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JC & Ava

T. Perry / Wilkinson Violin

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Hi all, this is my first post.  I just wanted to get your thoughts of the authenticity of this violin.  Is it a Perry, Wilkinson, or workshop instrument? The violin shows its age both inside and out, and I do believe the label to be authentic, aside from someone trying to scribe ‘17’ over ‘18’.  I have read there are German copies of Perry violins.  The repair work seems to have been done centuries ago, lending credit to the repair inscription of 1841.  Purfling lines are painted on, but I’ve read that is a characteristic of some Perry violins.   Also, any general suggestions on repair of the neck would be appreciated as well. Thank you!

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Yes, this is a Perry and Wilkinson.  They had others making  for them, either in the shop or as out workers. It's  hard to say who made what, without a signature  hidden somewhere, which is very  rare. They made various  grades of violin, some with purfling, some without.

I'd make a button  and put the neck back in. You'll have to join in the new wood without the luxury  of  real purfling. With an original  setup they're perfectly playable.

Lots of  them  seem to come in this sort of condition. Unfortunately  good repairers were thin on the ground in years gone by.

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Conor, 

I have only seen a few Perry's and some time ago. Was this BOB? Were all of them? I am remembering  somewhat nicer violins with conventional neck joints. How about the way that the eye of the scroll joins the volute at the 6 o'clock position? Is that typical of these fiddles?

Thanks  

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1 minute ago, nathan slobodkin said:

Conor, 

I have only seen a few Perry's and some time ago. Was this BOB? Were all of them? I am remembering  somewhat nicer violins with conventional neck joints. How about the way that the eye of the scroll joins the volute at the 6 o'clock position? Is that typical of these fiddles?

Thanks  

Hi Nathan, I do believe the neck joint is an attempted repair, and not original to the violin. 

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Since Perry & Wilkinson isn’t my department either, I will join in your questioning of Conor. The blocks, if anything, suggest the old French method, which was a sub-division of BOB (to use Mn diction). Cheaper English fiddles of the time have more higledy-pigldy corner blocks. Were there Franco-Irish conections? (apart from Panormo)

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1 hour ago, jacobsaunders said:

Since Perry & Wilkinson isn’t my department either, I will join in your questioning of Conor. The blocks, if anything, suggest the old French method, which was a sub-division of BOB (to use Mn diction). Cheaper English fiddles of the time have more higledy-pigldy corner blocks. Were there Franco-Irish conections? (apart from Panormo)

 

I think that i’d Read somewhere that he was related to Claude Pierray, but I don’t recall any sort of citation that went along with that claim...

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I'm up to my neck at the moment,  but I'll try to show a few more examples  and tell you as much  as  I  know in a few days. 

I'm not sure  if the French  connection  is very real, and I've always  thought  that  the Dublin  makers were more related to London  than  anywhere else.

The workshop  produced  a very wide variety over it's 45 or so years. From pretty crude to exceptionally  fine. In fact I wonder were there occasional  visitors who just made a few and then went off again. It must be remembered  that  Dublin  had a vice regal court and a large wealthy  population until  the  act of union in 1800, and a thriving  music   scene for years after that, so a decent shop would  have done well, and might well have attracted  journeymen. 

Nathan, to my knowledge the necks were always set with a single nail, with a small overstand and a  gently wedged ebony fingerboard.  The stop lengths are almost invariably  a quarter  of  an  inch  or so short, like some English  fiddles. I have a couple  of  fine ones with a full stop, and I wonder who made them!

Often, when someone  turns  up  with a Perry, it turns out to be a German  trade fiddle with a brand beneath the button. You see the same fiddles branded Duke.  But the Perry  brand is very distinct, the OP's is correct, and there's  usually  a number  on the button  itself. 

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Here's what is left of one of the 3 that I see. Unmistakable outline and model. Of the other two, one is in great condition, and the third has been purfled after the fact. You wouldn't know unless you look carefully in the corners and see that the inlaid purfling didn't completely follow the painted lines in the corners!20190906_155533.thumb.jpg.3fd2f7685abab01eaf90ce08bfb1cbd4.jpg20190906_155649.thumb.jpg.68a29d8b7e548d57580d96d1e8d3140d.jpg20190906_155610.thumb.jpg.63e317536730c0f7405a7209a6d6d1b1.jpg

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I believe I read somewhere that Perry was actually a descendant of a Pierray family member...hence a connection with old French techniques. Could be an apocryphal story, though, so I'll look it up and share if I find a reliable source.

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53 minutes ago, Michael Appleman said:

I believe I read somewhere that Perry was actually a descendant of a Pierray family member...hence a connection with old French techniques. Could be an apocryphal story, though, so I'll look it up and share if I find a reliable source.

Here?

https://tarisio.com/cozio-archive/browse-the-archive/makers/maker/?Maker_ID=1616

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1 minute ago, jacobsaunders said:

sadly merely a Tarisian wet dream without the slightest evidence

I'm filing "Tarisian wet dream" away for future use...

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After seeing the comment about short body stop, I am posting this violin which may be Perry Wilkinson. The body stop is 189 mm with 360 mm size back.

Perry  fscroll.jpg

Perry b scroll.jpg

Perry back.jpg

perry front.jpg

Perry side.jpg

Prry s scroll.jpg

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Because it has been suggested by someone with a good reputation in the violin world but not confirmed by that person. Hence the 'may'.

What do you think it is then?

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