IN FOCUS: JOHN FRIEDRICH

A close look at the work of great and unusual makers

Born in 1858 in Kassel, Germany, John Friedrich started his violin making studies aged 14 with Joseph Schonger (1812–88), but his real pedigree began in 1869 when he moved to Berlin to work for Oswald Möckel (1869–1937). From 1877 he was in the Leipzig workshop of W. H. Hammig (1838–1925). He immigrated to America in 1883 to join his brother William, a musician, and together they formed a business in New York City: John Friedrich and Brother.

Many prizes were awarded to Friedrich during his lifetime. In 1893 he took the highest honours at the World’s Columbian Exposition in Chicago, while in 1904 he received the grand prize and special gold medal at the Louisiana Purchase Exposition in St Louis. At the Sesqui-Centennial International Exposition in Philadelphia in 1926 he exhibited thirteen instruments, the ones numbered 300 to 308 being made especially for this occasion – two cellos and seven violins. He erected a small, special shop at his home in Peekskill, NY, to make them in. The violin shown here is number 306.

Unlike a number of people who have been trained in violin making but have then been distracted by the pressures of commerce on a wider scale, Friedrich always maintained his love for the bench. Even with great success already behind him, he endeavoured to strive for higher goals. As he put it in the catalogue for the Sesqui-Centennial Exposition: ‘Each instrument embodies within it something of the spirit of its master, and each bespeaks his caressing touch.’

FORM AND CONSTRUCTION

The exhibition catalogue also includes a listing written by Friedrich for this violin: ‘In the style of Giovanni Paolo Maggini, idealized. A striking instrument, showing the characteristic “ff”, but with only single lines of purfling inlaid.’

MATERIALS

The top is made from a remarkable single piece of wide-grained pine, showing a section of closer grain at the right edge.

For the one-piece back, Friedrich used a strongly figured piece of maple, with flame slightly descending from left to right. The ribs are somewhat less flamed than the back, and the flame runs perpendicular to the plates.

HEAD

The scroll and pegbox have been masterfully carved, with Friedrich paying close attention to the edgework. The sides of the pegbox are nicely rounded, in keeping with the overall execution of the scroll. It is also grafted.

PURFLING

All three strips of purfling are made from maple, very neatly added and slightly thin. In the back, the strips are joined together below the button, just off-centre.

VARNISH

The varnish is a very rich red-brown colour, slightly shaded and of a soft texture.

LABEL

This is Friedrich’s personal label, not that used by his firm. It has a printed ‘190’ for the date, with the 0 modified to a 2, and the 6 appended in ink. Inside, the violin also bears the number ‘#306’ on the upper back, and is signed in black ink: ‘John Friedrich / 1858-1926 / Peekskill, N.Y.’

The author wishes to thank Natalie Cunningham for her help with this article