Description
A fine English violin by Richard Duke (Senior), London, circa 1765.
Richard Duke (b.1718, d.1783) was one of the most important makers of eighteenth century London. Whilst his work tends to have highly characteristic traits, including very consistent choice of varnish and wood nevertheless his finer work, of which this is an example, underscore a significant awareness of celebrated older instruments and a desire to incorporate his observations into his own work. As his fortunes improved, Duke employed a number of assistants and apprentices including the young John Betts, and it is evident that his shop was catering to a varied market, with different qualities of instruments sold through his business. However, his best work is remarkable, and he stands apart from the majority of the London trade. Posthumously, perhaps promoted by John Betts his former apprentice, his reputation continued to be celebrated through the nineteenth century as one of the great British makers of his time, however changing taste means that the Stainer and Amati copies that Duke was most celebrated for are less regarded in modern times in preference for the broader and flatter models of eighteenth-century Cremonese making.
This is a reasonably early example of Duke’s work stamped DUKE/LONDON on the back, just below the neck, but without any label or inscription as is to be expected in Duke’s work. The scroll is very typical of what we deduce to be Duke (senior)’s work before his son entered the workshop, and the extraordinarily delicate crafting of the belly, edgework and soundholes is a characteristic that I perceive in early work. There are few makers who produced instruments to this level of delicacy, though the brownish varnish makes it difficult to see quite how particular the carving is.
The instrument is made after the manner of Jacob Stainer. I think there are important differentiations to be made here because there are many makers in eighteenth century Britain who seem to have simply followed an idea of Stainer without ever seeing an original one. Then, there are the rare examples where a maker has laboured to emulate an original in every detail. Lastly there are the makers who observed Stainer’s ideas and tried to evolve them into something personal of which this is an example, often producing exciting outcomes in their own right. The arching is more generous than we would expect of Stainer’s work, and in particular Duke has created the instrument with a very strong long-arch that lacks the expected scooping around the perimeter, but more in common with Italian work. The tonal result is something with tremendous depth of colours and a lovely silky sound to it. By reputation, certain dealers above my pay-grade have put tremendous value in these instruments because they have the richness of a great Italian violin, though lacking in power and projection, making a beautiful substitute for the musician looking for that quality of sound without the requirements of a great concert hall or a world-class modern orchestra. Resultingly there are enormous possibilities where this makes for an exciting violin with beautiful tonal response. The upper strings are smooth, and the lower strings have a cavernous depth to them.
Certificate: Benjamin Hebbert
Condition notes: The instrument is in an overall good state of preservation, but it has significant repairs to the belly that have been excellently done many years ago. We know it passed through Guiviers many years ago, and before that it has stock markings from J&A Beare from before the Second World War.
CONTACT US
If you are interested in this instrument please email us here:
