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Kenneth G. Fiske Museum

Bowed Strings

Violins, Practice Violins, Walking-Stick Violin, Violas, Violas d’amore, Viols, Double Bass, Monochord, Bowed Zithers



S62 Violin, Andrea Guarneri, Cremona, 1672.

S74 Violin of German or Swiss origin, 17th century.

S12 Folk Violin, Joseph Plummer, before 1845, Meredith, New Hampshire. In original

wooden case.

S66 Violin of German origin, ca. 1890.

S60 Violin attributed to Breton, Paris, 19th century.

S63 Violin, Italian origin, ca. 1900.

S5 Miniature violin, Mittenwald, ca. 1900.

S15 Ornamental Violin, Mittenwald, ca. 1900. Inlaid designs of single ornamental

boxwood purfling on belly and back; carved dog head with red tongue.

S16 Violin, Mirecourt, ca. 1900.

S18 Violin, probably of Mittenwald origin, ca. 1900.

S17 Violin, Czechoslovakia, ca. 1910.

S57 Violin, Schönbach, ca. 1910.

S6 ¼-size Violin, Mirecourt, ca. 1920.

S8 ½-size Violin, Jackson-Guldan Co., Columbus, Ohio, 1920-1940.

S10 ¾-size Violin, Jackson-Guldan Co., Columbus, Ohio, 1920-1940.

S80 Violin, Roy Wyman, Los Angeles, ca. 1940.

S7 ¼-size Violin, Czechoslovakia, ca. 1940.

S58 Violin, probably of German origin, ca. 1940.


Practice Violins

S23 Mute Violin, probably made in Mirecourt, late 19th century. Fruitwood body

in guitar form with vertical and horizontal central members.

S1 Violin of American origin, ca. 1890. Body in the shape of an "F" hole, with

the lower wing acting as a chin rest. 14 circular sound holes, the ribs consist

of narrow vertical strips of wood.

S11 "Fiddle-ette", C. W. Mott Co., Rock Falls, Illinois, ca. 1932. A hollowed

block of wood fitted with a chinrest on a dowel. Sold by the Gamble Hinged Music

Co. of Chicago.


Walking-Stick (Cane) Violin

S4 Violin, Markneukirchen, 1870-1900.


Experimental Violins

S75 Stroh-viol (violin with a horn attachment), Strohl-viol Co., London, ca.

1920. Loan of Leta Eastman, 1990.

S20 Violin in the shape of a Baryton, Franz Kannamüller, Obernzell, 1836-48.

Flat back and top, lion-head scroll.

S19 Violin, probably of German origin, 19th century. Guitar form with

crescent-shaped sound holes; Saxon or Bohemian carved lion-head scroll.

S13 Violin, of German origin, ca. 1880. Guitar form with five sounds on each

side lined with ebony. Lion-head scroll.

S14 Violin, probably of German origin, late 19th century. Guitar with flat belly

and back, flame sound holes, and two end-pin holes. Probably an acoustic

experiment using string tension.

S21 Patent Violin, Otto Reiner, Bremen, 1920. Designed by Heinrich Kelfers with

only center bout ribs, the table and back joined in the bouts.

S31 Violin, 20th century. Guitar form with flame sound holes, frets cut into

fingerboard and pearl inlays on the tail piece and the fifth and ninth frets.



S22 Small Viola probably of French origin, 18th century. Viol-shaped body.

S32 Viola, Germany; viola d’amour table, 18th century probably Germany; viola

neck, South Germany, ca. 1780; back and ribs, Germany 19th century, Germany.

S25 Viola converted from a viola d’amour, Czechoslovakia, ca. 1740. Pegbox and

scroll, Bohemian, ca. 1790, with 18th century Saxon tailpiece of beechwood.

S24 Viola converted from a viola d’amour, Czechoslovakia, 18th century. Carved

Blind cupid pegbox, Germany, 19th century.

S64 Viola, Carl Anton Rösch, Leipzig, 1870.

S59 Viola, James F. LeCyr, Los Angeles, 1947. Gasparo da Salo copy with double

purfling on belly and ornamental purfling on back.

S65 Viola, Hellmuth Ellersieck, Laguna Beach, 1956.


Violas d’amours

S38 Viola d’amour. Body of Prague school, ca. 1725 with an early 20th century

back, pegbox and scroll of German workmanship in Bohemian style. Seven bowed and

sympathetic strings.

S41 Viola d’amour, possibly Southern Germany, ca. 1725. Six bowed and six

sympathetic strings.

S39 Viola d’amour, Prague School, ca. 1740.

S40 Viola d’amour, Johann Andreas Doerffel, Klingenthal, ca. 1750. Six bowed and

six symphathetic strings.

S37 Viola d’amour. Belly, South Germany, ca. 1750; Pegbox, carved woman’s head,

neck, Bohemian, ca. 1730. Seven bowed and sympathetic strings.


Viols (Violas da gamba)

S33 Treble Viol, Leandro Bisiach, Miland, ca. 1895. A direct and accurate copy

of a 16th century viol by Gioan Maria of Brescia in the Hill collection,

Ashmolean Museum, Oxford.

S67 Bass viol, Georges and André Chardon, Paris, 1900. 7 string viol made for

the Paris International Exhibition, 1900. Loan of Pomona College, 1988.

S34 Bass viol, probably of German origin, 20th century. Angel’s head peg box.

S70 Bass viol, Karl Roy, Mittenwald, 1967. Five strings, made for a cellists who

are learning the bass viol.



S36 Cello converted from a bass viol, Simon Schödler, Passau, 1766. Neck, pegbox

and scroll, South Germany, late 18th century.

S26 Child’s Cello, probably Markneukirchen, after 1850.

S76 Cello of German origin, ca. 1890.

S35 ¼-size Cello, L. H. B. Hand, United States, 1914-1917.

S27 ½-size Cello, Karel Vysoky, Czechoslovakia, 1930.


Double Bass

S30 Double bass, Czechoslovakia, 19th century.

S90 Double bass, probably English origin, folk construction, ca. 1800.



S42 Monochord, 20th century. Violin body having one string, an extended fingerboard and a floor



Bowed Zithers

ES6 Bowed zither of Austrian origin, "Petzmayer model" with heart-shaped body

and 4 strings.

ES7 Bowed zither of Austrian origin, "Petzmayer model" with hear shaped body and

4 strings.

ES8 Bowed zither, Hans Wach, Munich. Fretted fingerboard, flat back, 4 strings.

ES9 Bowed zither, Neuner & Hornstein, Mittenwald. In violin shape with F-holes

and 4 strings.

ES65 Ukelin, Marx Co., Jersey City, New Jersey, ca. 1940. 32 strings.

ES71 Ukelin, Marx Co., Jersey City, New Jersey, ca. 1940. 32 strings.

ES122 Ukelin, Manufacturers Advertising Co., Jersey City, New Jersey, ca. 1940, 32 strings.

ES113 Bowed zither, Lorenz Kriner, Stuttgart, ca. 1900.  4 strings.


Vielle (Hurdy-Gurdy)

ES112 Vielle, Decante, Jenzat, late 19th century.  Lute-shaped body with a man’s carved head for a scroll.