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Violin
Maker: Johann Gottfried Hamm
Date: 1796
Place Made:Markneukirchen, Saxony, Germany, Europe, Vogtland
Model: Stainer
Serial No: none
SignedPrinted on paper label with double-line border with two floral motifs on upper and lower side, one each on left and right sides, and six-pointed stars in each corner, the last two digits of year written in black ink: Iohann Gottfried Hamm, / probe Violino Markneukirchen bey / Adorf in Voigtland fecit. Ao 1796.
Branded on inside of back below label: [sprig] I [asterisks on each side of vertical line ending in three parts] G [asterisks on each side of vertical line ending in three parts] H [sprig]
Branded on inside of back below label: [sprig] I [asterisks on each side of vertical line ending in three parts] G [asterisks on each side of vertical line ending in three parts] H [sprig]
MarkingsBranded on Stradivari-model bridge toward fingerboard: W.L.MONICAL NEW YORK
DescriptionThis violin by Johann Gottfried Hamm is preserved in its original condition. It has the high-bulbous arching, influenced by the Stainer model, that can be found in instruments made in the Vogtland region, of which Markneukirchen is a part.
Top: two-piece, quarter-cut spruce: very fine grain; no notch in top edge at neck heel; two wooden dowels through top into top block on each side of center joint, the treble dowel missing; two dowel holes through top into bottom block on each side of center joint, both dowels missing
Back: two-piece, quarter-cut maple: very narrow curl ascending slightly from center joint; paper strip glued along inside of back joint
Ribs: quarter-cut maple: narrow curl; wide grain; one-piece lower rib with scored marks at bottom indicating center position
Head and neck: maple: plain; two filled holes on back of pegbox at and above E-peg position; notch on bass side of neck marking nut position
Arching: high and full with deep re-curve
Purfling: wide center strip; continues under fingerboard
Varnish: medium brown
Fingerboard: later spruce veneered with ebony; by William Monical (original wedge-shaped spruce veneered with black-stained pearwood)
Nut: ebony; short; later
Tailpiece: ebony; tailgut passes through holes drilled in top of face; inlaid saddle; beveled lower end; strongly curved face; two abalone eyes inlaid on lower half; large abalone diamond with smaller abalone eyes inlaid on upper half of face
Tailgut: red gut
Pegs: ebony with undercut heads; by William Monical
Saddle: ebony; extends into rib; raised, lozenge-shaped nut on upper edge
Endpin: red hardwood; three turned grooves and raised eye at center
F-holes: curved wings; slightly rounded f-hole corners; inside edges stained black
Linings: spruce
Corner blocks: spruce
Top block: integral with neck; rounded lower edge with chisel marks; platform with rounded and tapered lower edge carved from back under top block
Bottom block: spruce; small
Bassbar: long; low height; possibly carved from top
Other: toothed plane and burn marks on inside of ribs
Top: two-piece, quarter-cut spruce: very fine grain; no notch in top edge at neck heel; two wooden dowels through top into top block on each side of center joint, the treble dowel missing; two dowel holes through top into bottom block on each side of center joint, both dowels missing
Back: two-piece, quarter-cut maple: very narrow curl ascending slightly from center joint; paper strip glued along inside of back joint
Ribs: quarter-cut maple: narrow curl; wide grain; one-piece lower rib with scored marks at bottom indicating center position
Head and neck: maple: plain; two filled holes on back of pegbox at and above E-peg position; notch on bass side of neck marking nut position
Arching: high and full with deep re-curve
Purfling: wide center strip; continues under fingerboard
Varnish: medium brown
Fingerboard: later spruce veneered with ebony; by William Monical (original wedge-shaped spruce veneered with black-stained pearwood)
Nut: ebony; short; later
Tailpiece: ebony; tailgut passes through holes drilled in top of face; inlaid saddle; beveled lower end; strongly curved face; two abalone eyes inlaid on lower half; large abalone diamond with smaller abalone eyes inlaid on upper half of face
Tailgut: red gut
Pegs: ebony with undercut heads; by William Monical
Saddle: ebony; extends into rib; raised, lozenge-shaped nut on upper edge
Endpin: red hardwood; three turned grooves and raised eye at center
F-holes: curved wings; slightly rounded f-hole corners; inside edges stained black
Linings: spruce
Corner blocks: spruce
Top block: integral with neck; rounded lower edge with chisel marks; platform with rounded and tapered lower edge carved from back under top block
Bottom block: spruce; small
Bassbar: long; low height; possibly carved from top
Other: toothed plane and burn marks on inside of ribs
DimensionsTotal violin length: 596 mm
Back length: 361 mm
Upper bout width: 161 mm
Center bout width: 104 mm
Lower bout width: 200 mm
Upper rib height: 30-31 mm
Center rib height: 30-31 mm
Lower rib height: 30-31 mm
Stop length: 193 mm
Vibrating string length: 320 mm
Neck length (bottom of nut to ribs): 131 mm
Back length: 361 mm
Upper bout width: 161 mm
Center bout width: 104 mm
Lower bout width: 200 mm
Upper rib height: 30-31 mm
Center rib height: 30-31 mm
Lower rib height: 30-31 mm
Stop length: 193 mm
Vibrating string length: 320 mm
Neck length (bottom of nut to ribs): 131 mm
ProvenanceWilliam Monical purchased the instrument around 1973 near London. It was sold to Robert Seletsky in 1978, then Jacquer Francais, New York, New York. It then was acquired by Sarah Summer, followed by Jean Twombly, New London, New Hampshire.
Purchased by the National Music Museum from Jean Twombly in 1991.
Purchased by the National Music Museum from Jean Twombly in 1991.
Terms
Credit Line: Purchase funds gift of Stella Anker, 1991
Not on view
Published ReferencesWilliam Monical, Shapes of the Baroque, (American Federation of Violin and Bow Makers, 1989), pp. 64-65.
André P. Larson, “Rare Violin Acquired,” The Shrine to Music Museum Newsletter 19, No. 1 (October 1991), p.3.
“1991 Acquisitions at USD Music Museum,” American Musical Instrument Society Newsletter 21, No. 1 (February 1992), p. 7.
André P. Larson, “Rare Violin Acquired,” The Shrine to Music Museum Newsletter 19, No. 1 (October 1991), p.3.
“1991 Acquisitions at USD Music Museum,” American Musical Instrument Society Newsletter 21, No. 1 (February 1992), p. 7.
Object number: 05204