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Up until relatively recently we had believed that
this well proportioned viol shaped instrument had been the work
of John Devereux who worked in London with Bernard S. Fendt before
emigrating to Australia in about 1864. Like many of the Maggini
copy instruments made by Fendt, this instrument has a distinctive
double purfilling that flows around the shape of the back button,
continuing on the upper and lower back to form two simple geometric
patterns. Because few Northern English makers bothered with double
purfilling it was very natural to assume that this Fendt like characteristic
must be from a maker with a close association with Fendt. Indeed
the previous owner swore that it was categorically a Fendt bass.
So you can see why Briggs never entered the equation.
Confusion arose over almost every aspect of the instrument.
The workmanship, the flattish arch of the table, the stunning golden-brown
varnish over a yellow ground and the distinctive rib wood (which
is of the exact same type as that used by Vincenzo Panormo on many
of his basses - a beautiful fine English or European sycamore probably
grown in a cool climate, slowly and evenly) all strongly suggested
London. Even the fine and distinctive Brecian type scroll that tops
the instrument added to the dilemma, because it could well have
been produced by Devereux.
From London to Northern maker doesn't say too
much for your expertise? Yes we do apologise for our complete reversal
of thoughts on this particular instrument but this is exactly why
a good instrument dealer should continue to research and question
everything. What had confused us apart from the elaborate purfilling
was the quality of the work. Seldom has such quality of timber,
varnish and workmanship been lavished on one instrument by any Northern
maker. It is comparable to the best of London work and is even more
exceptional for having being made by a Northern English maker.
So what aspect of the instrument finally made you
realise that it is the work of Briggs? Well the answer is all in
the F holes. They are so typical of this maker. After that things
do slot into place.
Two internal pencil inscriptions and brands from
the Bolton repairer Tom Nuttal point toward the less than desirable
repair work that had taken place during the first quarter of the
20th century on this instrument. Having removed and replaced all
offending work, this instrument is now offered in a fully restored
condition. Undertaken by Martyn Bailey and ending in a repair bill
in excess of UK£ 7,500 the major restorations to the table
included re-gluing and securing of all the cracks. No less than
77 separate studs were used plus a post patch, upper bass bar patch,
two joined patches to correct an over thinned table area, new bass
bar and total re-edging work. Additionally, replacement back bars
and a new neck and board have rescued this fine instrument.
When played one will be thrilled by the way the whole
of this instrument vibrates. The tremendous power and quality of
sound that comes forth is an equal to the finest of Italian instruments.
A hardened professional recently described it's
qualities as follows “It's really quite astonishing.
Words can not begin to describe how enjoyable this instrument is
to play”.
Width at the upper bout 22in (55.7cm)
Width at the centre bout 15.4in (39.1cm)
Width at the lower bout 28.4in (72.2cm)
LOB 45.4in (115.3cm)
String length 41.4in (105.2cm)
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