ARTHUR JAMES MASKREY

Lutherie

A close look at the work of great and unusual makers

Arthur James Maskrey, an extensively educated man, rose to high levels in every interest he pursued: industrialist, inventor, chemical engineer, musician, painter, horticulturist, athlete, dog breeder and violin maker. Born in 1853 inWolverhampton, UK, he soon moved with his family to Coatbridge near Glasgow. He made his first violin when he was 15, the result of the same curiosity and inquisitiveness that guided him through life. Professionally he followed in the footsteps of his forebears, who were involved in tin plate manufacturing. . is soon took him to the centres of the industry and eventually, in 1898, to the US. Chester, West Virginia, where the violin shown here was made, may seem like an obscure place but that is far from the truth. It is situated in an area of rich history of steel and pottery making, south-west of Pittsburgh on the banks of the Ohio River. Maskrey’s violin making was more of a leisure time obsession, but I’m sure it was taken very seriously and obviously follows the lead of strong, well-established fundamentals.

INSTRUMENT

Dated 1908, this violin was made ten years after Maskrey’s arrival in the United States. . e workmanship shows his mature and knowledgeable hand. It is made on his own personal model, following Stradivari.

Signed on the inside back, in the upper bout, the instrument also has amost unusual label, all in black ink directly applied to the wood (no paper). Enclosed in a decorative border, it reads: ‘A J Maskrey / Chester W Va / 1908’. This is a label for the ages.

MATERIALS

The top is made from two bookmatched pieces of very evenly grained spruce.The back is also of two pieces, of well-figured maple with flame descending from the centre. The wood of the ribs and scroll appears to match that of the back.

The edges and corners are very surely finished, and bear a little less varnish. There are half-pins in each block placed in the top, and full pins in the back at each block, all inside the purfling. All linings and blocks are of spruce that has been well finished.

F-HOLES

The f-holes are cut with precision and are extremely well balanced; they are mirror images of each other. Probably a circle cutter was used to cut the eyes.There is subtle fluting to the lower wings.

PURFLING

The purfling is made from maple, well inlaid, with the hint of a bee-sting at each corner.These bee-stings are uniformed, with a slight ascent to the lower corners and descent to the upper.

SCROLL

The scroll, well balanced and nicely executed, shows complete harmony with the violin.There are steady bevels on all edges, with a small amount of blackening present.The pegbox has even, wellproportioned sides, also with a slight bevel.

VARNISH

The varnish is still wet-looking, having been applied evenly and generously. It shows some natural wear and a very small amount of separation.The colour is arich, transparent red-orange over a golden ground.

ALL PHOTOS NATHAN TOLZMANN

Arthur James Maskrey and his wife Sarah in the 1920s