Ireland School
Michael H. Lindsay
1837–1906
Michael H. Lindsay (1837-1906) was an Irish-born, self-taught violin maker who became active in Stockton-on-Tees around 1860. He crafted a variety of instruments, including violins, violas, violoncellos, and double-basses, primarily following the Stradivarius model. Lindsay was particularly noted for his distinctive golden-yellow amber oil varnish, which was highly praised by experts for its "Cremona-like" qualities. His instruments were well-regarded for their tonal qualities, earning him a medal at the Liverpool Exhibition in 1886. Towards the end of his career, a paralytic seizure limited his work to repairs.
Auction price history
Highest auction price
| Type | Details | Sold | Price |
|---|---|---|---|
| Violin | 35.9 cm 1893 | March 2011 | £660 |
| Violin | 1869 | March 1991 | £242 |
| Violin | 1896 | November 1988 | £660 |
| Viola | 39.7 cm 1884 | April 1987 | £935 |
| Violin | 1885 | May 1986 | £453 |
| Violin | 1890 | November 1985 | £518 |
Maker Overview
Life
Michael H. Lindsay (1837-1906) was born in Ireland on April 12, 1837, and later moved to England at the age of 14, where he learned to play the violin and violoncello, also receiving training as a double-bass player., he had been a professional violin-maker for nearly forty years by the time Morris wrote his account. John Dilworth notes that Lindsay was active from approximately 1860 in Stockton-on-Tees. Around two years prior to Morris's writing, Mr. Lindsay suffered a paralytic seizure, which rendered him unable to create new instruments, confining his work to repairs.
Characteristics
- Model
- He primarily followed the Stradivarius model, incorporating his own original arching forms and applying his own calculations for thickness proportions.
- Materials & Workmanship
- He utilized handsome wood and was noted for good work and materials. He made all parts of his instruments himself.
- Varnish
- Lindsay placed particular emphasis on his varnish, which he had been developing since 1860. It was described as a fine, golden-yellow amber oil varnish, possessing an Italian appearance and commendable qualities. Messrs. Balfour, violin experts, stated that his varnish "should rank among the highest of the varnishes now in use, being Cremona-like in style."
- Output
- He made a large number of instruments, including violins, violas, violoncellos, and double-basses. Sources contain conflicting information about the exact number of instruments produced: John Dilworth credits him with over 500 violins, cellos, and double basses, while Willibald Leo Lütgendorff states he made 420 violins, 10 violoncellos, and one contrabass.
- Michael Lindsay M.L.
Maker
Stockton-on-Tees. 1895John Dilworth
Influence and legacy
- Training: Michael H. Lindsay was a self-taught violin maker, beginning in 1860 without a teacher or instruction.
- Inspiration: His interest in violin making was significantly sparked when he acquired two violins by Vuillaume, which were copies of Stradivari and Guarneri instruments, prompting him to examine their internal construction.
- Awards: He was awarded a medal for an exhibit of violins at the Liverpool Exhibition in 1886.
- Reputation: His instruments were highly regarded; M. Polonaski reported very favorably on their tonal qualities, and experts like Messrs. Balfour praised his varnish.
Biographies
The overview above is drawn from the following published accounts. Read them in the original:
John Dilworth+
LINDSAY, Michael H. Born 1837 Republic of Ireland, died 1906, Worked UK. Musician and self-taught violin maker, active from c.1860 in Stockton-on-Tees. Medal awarded at the Liverpool Exhibition 1886. Stradivari model with original arching forms. Own golden-yellow amber oil varnish. Good work and materials. Credited with over 500 violins, cellos, and double basses. Michael Lindsay M.L. / Maker / Stockton-on-Tees. 1895
William Meredith Morris+
He was born in Ireland on April 12, 1837. He has been a professional violin-maker for nearly forty years. He follows the Stradivarius model, using handsome wood and a fine varnish. I have seen only one of his instruments, which was well made and had a rather small but very sweet tone. M. Polonaski has tried some of this maker’s violins, and reports very favourably on their tonal qualities. The Messrs. Balfour, the violin experts, say with regard to his varnish that it “should rank among the highest of the varnishes now in use, being Cremona-like in style.” Whilst unable to endorse all that these experts say in this matter, I unhesitatingly add that the varnish is of an excellent quality. But it is impossible to form just conclusions either as to workmanship or tone from the examination of a single specimen. Mr. Lindsay had a paralytic seizure some two years ago, and he is unable now to make new instruments, but has to confine himself to repairs. He won a medal for an exhibit of violins at the Liverpool Exhibition. He has made a large number of violins, violas, violoncellos, and double-basses.
Willibald Leo Lütgendorff+
Mit 14 Jahren kam er nach England und lernte das Violin- und Violoncello-
Spiel ; auch als Bassgeiger wurde er ausgebildet. Als er in den Besitz von zwei
Geigen von Vuillaume (eine Stradivari- und eine Guarneri-Copie) kam, begann
er sich für das Geigenmachen lebhaft zu interessiren; er wollte sehen, wie seine
Geigen im Innern beschaffen waren, und 1860 begann er, ohne Lehrer und Anleitung,
selbst Geigen zu machen. Angebornes Talent und rastloses Studium
brachten ihn bald vorwärts, so dass er ein geschickter Geigenmacher wurde,
dessen Arbeiten von Kennern geschätzt werden. Er hat bis jetzt 420 Violinen,
10 Violoncelli und einen Contrabass gemacht. Er macht Alles an seinen Geigen
selbst und legt besonderen Werth auf den Lack. In den Umrissen ahmt er
Stradivarius nach; die Dickenverhältnisse wendet er nach eigenen Berechnungen
an. Seine Verzücke mit dem Lack gehen bis 1860 zurück; er besitzt jetzt in
der That einen schönen Lack von italienischem Aussehen und lobenswerthen
Eigenschaften.
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