Hendrik Jacobs

Name: Hendrik Jacobs auction price records, Amati Instrument Archive
Creator: Amati

Amsterdam, Holland, c.1629–1704

Hendrik Jacobs (circa 1629-1704) was a renowned Dutch violin maker from Amsterdam, known for his highly refined and skillful instruments. Initially, his work was strongly influenced by Nicola Amati, whose large patterns he copied so faithfully that his violins were often mistaken for genuine Italian instruments. Later in his career, his stepson and pupil, Pieter Rombouts, increasingly influenced the workshop's output, introducing Stainer-like characteristics. Jacobs is particularly noted for his use of broad whalebone purfling and a distinctive red-brown varnish. His instruments are now rare and highly valued.

Worked Amsterdam, Holland

Made Cello, Violin

Auction price history

Highest auction price

£29,378

Type	Details	Sold	Price
Violin	35.6 cm Amsterdam, 1694	October 2011	£13,750
Violin	35.7 cm Amsterdam, 1690 c.	March 2011	£18,750
Violin	35.7 cm Amsterdam, 1693 [Ascribed to & probably by]	April 2010	£18,854
Violin	35.6 cm Amsterdam, 1695 c.	October 2008	£10,272
Violin	35.6 cm Amsterdam, 1680 c. [Probably by]	April 2008	£29,378
Violin	35.7 cm Amsterdam, 1699	November 2006	£14,400
Violin	1700 c.	May 2003	£8,750
Violin	169-	June 1999	£9,430
Violin	1690	May 1999	£7,035
Violin	1710	March 1999	£14,950
Violin	1690	November 1998	£17,250
Violin	1700 c.	April 1998	£18,400
Violin	1702	November 1995	£10,350
Violin	1714	June 1990	£8,580
Cello	1690 c.	November 1988	£9,900
Violin	1690 c.	March 1986	£4,620
Violin	1692	December 1983	£3,080

Maker Overview

Life

Hendrik Jacobs (circa 1629-1704) is thought to have shared his early training with Cornelius Kleynman under Kleynman's step-father Francis Lupo in Amsterdam, Netherlands. Sources contain conflicting information regarding his training; some legends, suggest he learned in Cremona and was even the step-brother of the last Amati, likely due to his excellent ability to imitate Nic. Amati's work. Up to approximately 1670, his work was extraordinarily Amatisé, and throughout his life, it remained extremely refined and skillful. After this preliminary period, his instruments became more original in form and method. After 1685, the hand of his stepson, pupil, and successor, Pieter Rombouts, became increasingly dominant in his workshop. Rombouts seems to have used the Jacobs label for up to ten years after his master's death. A typical label reads: "Hendrik Jacobs me fecit / in Amsterdam, 1690".

Characteristics

Models: He made a great number of good violins, altos, and violoncellos. He copied the large pattern of Nicola Amati so faithfully that his violins are often taken for genuine Italian instruments.
Characteristics: His instruments are generally slightly over-sized.
Materials: The wood is carefully chosen.
Varnish: He used a darker coloured red-brown varnish of good quality. George Hart describes his varnish as "excellent varnish, of a deep red, very transparent; full of character, but wanting in finish." Later works carry a particularly thick rich red varnish of Venetian quality.
Purfling: He used quite broad whalebone purfling. Willibald Leo Lütgendorff suggests Jacobsz is considered the first to use whalebone for inlays, leading to any instrument with whalebone purfling being colloquially referred to as a "Hendrik Jacobs." George Hart notes the purfling as "embedded."
Scrolls & Soundholes: Jacob's own scrolls are perhaps a little weak in character but well cut. Cecie Stainer notes that the scroll and sound-holes are not very well cut. After 1685, the influence of Pieter Rombouts brought even broader whalebone purfling and soundholes with extended curving lower wings imitated from Stainer, whose work was becoming increasingly popular. Rombouts pursued the Stainer manner with a prolonged last turn around the eye on scrolls.
Tone: The tone is described as sweet, but not very powerful.

Recorded labels

Hendrik Jacobs me fecit
in Amsterdam, 1690John Dilworth

Influence and legacy

Training: He is thought to have shared his early training with Cornelius Kleynman under Kleynman's step-father Francis Lupo.
Mentorship: Pieter Rombouts was his stepson, pupil, and successor.
Stylistic Influences: His early work was extraordinarily Amatisé, copying the large pattern of Nicola Amati. Later, his stepson Pieter Rombouts introduced elements imitated from Stainer, such as soundholes with extended curving lower wings and scrolls with a prolonged last turn around the eye.
Rarity & Value: His works are now quite rare and highly priced. Even the Selhof'sche Verzeichniss (1759) listed only two violins by him.
Attribution Challenges: Most of the cellos attributed to Jacobs are probably the work of Pieter Rombouts in the later period, and Rombouts seems to have used the Jacobs label for up to ten years after his master's death.
Notable Instruments: A beautiful violin from the Snoeck collection is located in Berlin.

Found an error? Report Now

Biographies

The overview above is drawn from the following published accounts. Read them in the original:

John Dilworth+

JACOBS, Hendrik Born circa. 1629, died 1704 Amsterdam Netherlands. Thought to have shared his early training with Cornelius Kleynman under Kleynman’s step-father Francis Lupo. Up to c.1670 his work is extraordinarily Amatisé, and throughout his life is extremely refined and skilful. After this preliminary period the instruments become more original in form and method. They are generally slightly over-sized, with darker coloured red-brown varnish, and use quite broad whalebone purfling. After 1685 the hand of his stepson, pupil, and successor Pieter Rombouts becomes increasingly dominant. The signs of this are even broader whalebone purfling and soundholes with extended curving lower wings imitated from Stainer, whose work was becoming increasingly popular. Jacob’s own scrolls are perhaps a little weak in character but well cut, while Rombouts pursued the Stainer manner with a prolonged last turn around the eye. Last works carry a particularly thick rich red varnish of Venetian quality. Most of the cellos attributed to Jacobs are probably the work of Rombouts in this period. Rombouts seems to have used the Jacobs label for up to ten years after his master’s death. Hendrik Jacobs me fecit / in Amsterdam, 1690

George Hart+

Probably a son of [Peeter Jacobs]. Excellent varnish, of a deep red, very transparent ; full of character, but wanting in finish. Purfling embedded.

Cecie Stainer+

A maker in Amsterdam about 1690-1740. He made a great number of good violins, altos, and violoncellos; he copied the large pattern of Nicola Amati so faithfully that his violins are often taken for genuine Italian instruments; the wood is carefully chosen ; the red-brown varnish of good quality ; the scroll and the sound-holes are not very well cut; the purfling is of whalebone; the tone sweet, but not very powerful.

Willibald Leo Lütgendorff+

Wohl der berühmteste holländische Geigenmacher, dessen Geschichte von
einem ganzen Sagenkranz umwoben ist. So soll er in Cremona gelernt haben
und sogar der Stiefbruder des letzten Amati gewesen sein. Entstanden sind
diese Sagen wohl dadurch, dass er Nic. Amati vortrefflich nachzuahmen verstand.
Sein Lack ist rothbraun. Jacobsz gilt als der Erste, der Fischbein zu
den Einlagen verwendete, wesshalb Händler auch jede mit Fischbein eingelegte
Geige kurzweg als eine »Hendrik Jacobs« bezeichnen. Seine Arbeiten kommen
jetzt ziemlich selten vor und stehen hoch im Preis, durften aber auch früher nicht häufig gewesen sein, denn selbst das Selhof’sche Verzeichniss (1759) führt nur zwei Geigen von ihm auf. Eine hübsche Violine befindet sich aus der Sammlung Snoeck in Berlin.

Sell your instrument with Amati

Get started by uploading photos of your instrument for our experts to review.

Get a Valuation

Sell your instrument with Amati

Get started by uploading photos of your instrument for our experts to review.

Get a Valuation