Perth School
Frank Devoney
Perth, b. 1854
Frank Devoney (1854-after 1920) was a Scottish violin maker who worked in the United Kingdom before emigrating to California, USA, in 1910. Originally a tailor, he was known for his ingenuity and deep interest in acoustics, publishing The Acoustics of Violin-making in 1893. He produced instruments on both classical and personal models, often using a golden-red or reddish amber oil varnish. While some of his earlier work was noted for being heavy in the wood, his American instruments, often copies of Stradivari, Guarneri, and Brescian models, were considered more convincing. His instruments were described as strongly built with a large, though sometimes shrill, tone.
Auction price history
Highest auction price
| Type | Details | Sold | Price |
|---|---|---|---|
| Violin | 1895 | February 2001 | £628 |
| Viola | 40.2 cm 1895 | June 1996 | £1,610 |
| Violin | 1896 | November 1987 | £220 |
| Violin | 1894 | May 1981 | £44 |
Maker Overview
Life
Frank Devoney (1854-after 1920) was born in 1854 in Perth, Scotland, United Kingdom, and passed away after 1920 in Cupertino, California, USA., he was originally a tailor and was described as an ingenious man. He received guidance from several local makers, but developed a strong interest in the acoustical work of Savart and the principles of Ghladni-pattern plate tuning. Devoney worked in Blackpool, Lancashire, before emigrating to America in 1910. Subsequently, he established workshops in various Californian cities, including Pittsburg, San Francisco, Fresno, and Cupertino.
Characteristics
- Models and Varnish
- Frank Devoney was quite prolific, producing many instruments during his Blackpool period on various classical and slightly eccentric personal models. His American work, was generally more convincing, utilizing Stradivari, Guarneri, and Brescian models. Willibald Leo Lütgendorff also notes that he imitated the models of Caspar da Salò, Stradivari, and Guarneri. All his instruments were similarly varnished with a golden-red oil varnish, or yellow or red oil varnish. William Meredith Morris observed an instrument of his make covered with a reddish amber oil varnish of his own creation.
- Construction and Tone
- Instruments from his Blackpool period were generally rather heavy in the wood. William Meredith Morris described an instrument he observed as not finely made, but strongly built, possessing a rough sort of character. The tone of this instrument was noted as large, but rather shrill.
- Labels
- Examples of his labels include "Joseph Guarnerius / Copy / by Frank de Voney 1893" and "Antonio Stradivari / Copy / by Frank de Voney 1905".
- Joseph Guarnerius
Copy
by Frank de Voney 1893John Dilworth - Antonio Stradivari
Copy
by Frank de Voney 1905John Dilworth
Influence and legacy
- Mentorship and Interests: Frank Devoney received guidance from several local makers. He was particularly interested in the acoustical work of Savart and the principles of Ghladni-pattern plate tuning.
Biographies
The overview above is drawn from the following published accounts. Read them in the original:
John Dilworth+
DEVONEY, Frank Born 1854 Perth, Scotland UK, d. after 1920 Cupertino, California USA. Received guidance from several local makers, but became very interested in the work of Savart on acoustics, and the principles of Ghladni-pattern plate tuning. Published a book of his own findings, The Acoustics of Violin-making (Edinburgh, 1893). Worked in Blackpool, Lancashire before emigrating to America 1910. Subsequently worked in Pittsburg, San Francisco (not Pittsburgh, PA), Fresno, and Cupertino, California. Quite prolific; many instruments labelled from the Blackpool period, on various classical and slightly eccentric personal models with golden-red oil varnish. Generally rather heavy in the wood. American work generally more convincing, using Stradivari, Guarneri, and Brescian models, but all similarly varnished. Joseph Guarnerius / Copy / by Frank de Voney 1893. Antonio Stradivari / Copy / by Frank de Voney 1905
William Meredith Morris+
He is an ingenious man, and was originally a tailor. He makes on an original model. The only instrument of his make which I have seen was not finely made, but it was strongly built, and had a rough sort of character. It was covered with a reddish amber oil varnish of his own make. The tone was large, but rather shrill. He was born about forty-eight years ago, and is a native of Perth, Scotland. He has lost one limb, but he wears another of his own manufacture.
Willibald Leo Lütgendorff+
Ein englischer Geigenmacher, der die Modelle von Caspar da Salò, Stradivari und Guarneri nachahmt und gelben oder rothen Öllack verwendet.
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Working in Perth at the same time
Thomas Mitchell b. 1852
W. H. Falconer worked 1850