Jacob (II) Rayman
worked 1650
Jacob (II) Rayman, a Tyrolese maker who settled in England around 1620, is widely considered the founder of violin making in that country. His instruments, though sometimes described as primitive in workmanship, are highly regarded for their fine yellow-brown varnish with a red tint, and their clear, penetrating tone. He made violins and tenors, characterized by a flat model, small F-holes, and a well-carved but disproportionate scroll. His work shows German influences and was valued in collections such as Tom Britton's.
Maker Overview
Life
Jacob (II) RAYMAN (circa 1620-circa 1650) was a Tyrolese maker who established himself in England, likely around 1620, and is considered by many to be the first to make a violin in that country. He worked until about 1650., he was the son and pupil of Jacob Rayman (I). Sources contain conflicting information regarding the extent of his known work; John Dilworth states his work is unknown, while Henri Poidras, Willibald Leo Lütgendorff, George Hart, and Cecie Stainer provide detailed descriptions of his instruments. His work reveals characteristics of the German school, distinguishing it from the English viol makers of his time. He resided first at Blackman Street, and later at Bell Yard, both in Southwark, London.
Characteristics
- Workmanship
- His work is described as somewhat primitive or rough in exterior, and not always careful, yet it exhibits ability and talent. The purfling is sometimes noted as defective.
- Model
- His instruments feature a flat model, standing between the Stainer and Brescian schools, though sometimes considered less elegant in form and not arched.
- Varnish
- Rayman's varnish is consistently praised as very fine, beautiful, and yellow-brown, often with a slight red tint.
- Sound-holes
- The F-holes are described as very small and striking, though not particularly graceful.
- Scroll
- The scroll is diminutive or small, and well carved or cut, but Henri Poidras notes it is not always in proportion with the body of the instrument.
- Tone
- His instruments are valued for their good, clear, and penetrating tone.
- Instruments
- He made violins, often of a small size, and also produced fine tenors.
Influence and legacy
- Training:, he was the son and pupil of Jacob Rayman (I).
- School: His violins reveal characteristics of the German school.
- Valuation: His instruments are greatly valued and have maintained their appreciation.
- Collections: An "extraordinary Rayman" and "three others ditto" were mentioned in the catalogue of Tom Britton's collection of instruments.
- Exhibitions: Works by Jacob Rayman were exhibited at the Vienna Music Exhibition.
Biographies
The overview above is drawn from the following published accounts. Read them in the original:
John Dilworth+
RAYMAN, Jacob (II) Worked circa. 1650 Southwark, London UK. Son and pupil of Jacob Rayman (I) above. Work unknown. [Bletschacher]
Cecie Stainer+
b. in the Tyrol, but settled in London about 1620, living first at Blackman Street, then at Bell Yard, Southwark. He worked till about 1650. He seems to have been one of the earliest makers of violins in England ; they are of small size, of rather an ugly pattern, not arched. with small sound-holes ; the scroll also small but well cut; the varnish very fine, its colour a yellow-brown tinged with red; the tone, clear and penetrating. He also made some fine tenors, the workmanship good, although the purfling is sometimes defective. His instruments show ability and talent, and are greatly valued ; they have many of the characteristics of German work, and differ greatly from the work of the old English viol makers. In Thomas Britton’s collection of instruments was an ” extraordinary Rayman ” and also ” three others ditto.” Labels : ” Jacob Rayman dwelling in Blackman Street, Long-Southwark, 1641,” and “Jacob Rayman, at ye Bell Yard in Southwarke, London, 1648.”
George Hart+
The subject of this notice was probably a German from the Tyrol, who settled in England about 1620 and may be considered as the founder of Violin-making in this country, there being no trace of any British Violin-maker previous to that time. His work is quite different from that of the old English Viol-makers. The instruments of Rayman are of a somewhat rough exterior, but full of character. The form is flat, considering the general style of the work. The sound-holes are striking, although not graceful in any way. The scroll is diminutive, but well cut. The varnish is very fine. In the catalogue of the effects of Tom Britton, mention is made of ” an extraordinary Rayman.”
Willibald Leo Lütgendorff+
Er soll um 1620 in England eingewandert sein, ob wirklich aus Tyrol, wie man annimmt, ist jedoch ungewiss. Thatsache ist nur, dass seine Geigen deutsche Schule verrathen und sich sehr von den damals in England gemachten unterscheiden. Sein Modell steht zwischen der Stainer- und der Brescianer-Schule, ist aber wenig elegant in der Form. Dagegen ist der schöne, gelbbraune Lack, der oft einen feinen Stich ins Röthliche hat, sehr zu loben; auch im Ton sind seine Arbeiten gut, so dass er die Werthschätzung, die er heute noch findet, vollauf verdient. Er ist einer der Ersten, die in England Violinen gemacht haben; bei diesen sind die F-Löcher sehr klein, ebenso die Schnecke, die jedoch gut ausgestochen, während die übrige Arbeit wenig sorgfältig ist. Arbeiten von ihm waren zuletzt in der Wiener Musik-Ausstellung zu sehen. Seine Wohnungen geben seine Zettel an.
Henri Poidras+
A Tyrolese who established himself in England and in all probability was the first to make a violin in that country. His work is a little primitive but his varnish particularly fine. This is yellow brown, slightly tinted with red. Flat model. The scroll, although well carved, is not in proportion with the body of the instrument.
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