Thomas Urquhart

URQUHART, Thomas Born circa. 1629, d.c.1698 London UK. Important early British maker whose origins are unclear but probably lie in Inverness, Scotland. Authenticated labels are rare but most published sources say that he worked on London bridge. Various music shops were sited on London bridge in this period, including that of John and Elizabeth Miller who may have acted as agents for Urquhart. His work has also been found bearing the labels of John Shaw, the owner of another music shop in The Strand. No records have been found for his own habitation in the city or its environs. His work is quite fastidious, appearing to be on an Amati model, some with slightly pinched arching; others slightly more bulbous and Brescian. Many particular mannerisms characterise his work and those of contemporary English luthiers: the ribs are set into a slot cut in the inner edge of the back, like contemporary Flemish makers; and the scrolls usually have a fan-shaped incised carving at the chin and drill points tracing the spiral of the volutes. Purfling is remarkably neat, with an extended mitre in the corners. Corners may be shaped to a flattened arrow shaped point rather than a simple squared off terminus. Soundholes also are stylized in various ways with extended pointed or spade shaped wings. Varnish is of high quality golden brown, quite Amatis� in appearance, although somewhat harder. Quite plain materials in general, probably of local species. No cellos known. One contralto viola recorded. Manuscript label: Thos Urquhart 1681 Printed labels: Tho. Urquhart, 166.. Tho. Urquhart Fecit Londini 1646 [BVMA]

A maker in London about 1650-80; he was probably a Scotchman. His work resembles that of Jacob Rayman, with whom he may have worked, and shows great merit for the period at which he lived. His violins are of two sizes, some on a small, others on a large pattern, very arched, the corners not very prominent, the purfling narrow and placed close to the edge; the oil varnish, of a yellowish-brown or sometimes red colour, is of excellent quality, and is similar to Italian varnish; the tone is clear and silvery. His instruments are rare.

The best part of the work is the varnish, which very closely resembles the Italian varnish. I have seen only one genuine violin of his make, which was much arched, and had a sweet but very small tone.

Nothing is known concerning the history of this excellent maker. The style may be considered as resembling that of Jacob Rayman, and it is possible that he worked with him. His varnish is equal to that on many Italian instruments.

Dem Namen nach muss er aus Schottland stammen. Er durfte aus derselben Schule wie Jakob Rayman hervorgegangen und der Lehrer Edw. Pamphilon’s gewesen sein. Er hatte ein grosses und ein kleines Modell, beide sehr hochgewölbt, mit ziemlich stumpfen Ecken. Seine Arbeit ist recht gut; der Lack von gelbbrauner oder röthlichbrauner Farbe, ist überraschend schön. Auch im Ton sind seine Geigen vorzüglich, die von Nichtkennern schon oft für echte Stainer oder gar Gasp, da Salò genommen wurden. Arbeiten von ihm waren u. A. auf der Wiener Musik- und Theater-Ausstellung zu sehen. (Vgl. Katalog, England. S. 18.)

Very fine brown- red varnish. Very high model.