Plate 1

    "Worked at Vienna, 1768-1809. It is pleasant to record the fact that he was one of those Viennese makers who increased his reputation by a liberality of design, and did his share toward the development. of national habits in violin-making. Though many of us have a preference for the Italian school, we cannot escape being rather impressed with these freely designed (though having certain characteristics of Thir and Stainer) instruments. 'Advanced Guard' of the workmanship carries a 'banner' to which any prejudice (which might have been previously entertained) must capitulate. Model of narrow dimensions with rather high and full arching, but nothing forced or unnatural,no sudden bulging as we sometimes see in specimens of the Stainer school. Sound-holes, typically Stainerish, have a perfect swing, which is extremely pretty. Purfling not always neatly done, particularly in the corners. Scrolls (some having lion heads) always of pear tree wood carved with acceptable artfulness. Varnish usually a dark brown without much fire-also used an old-looking one of yellow tint-the latter considered to be his best, instruments having reached prices almost double of the first-named. Sometimes back and ribs varnished slightly darker than the top. Splendid wood acoustically, top usually of strong grain, but not always pretty material for back. No illiberality of sweetness in the tone, and generally good enough and strong enough to meet the requirements of those soloists not in financial position of being able to purchase a Cremonese specimen. Altogether these instruments can manfully stand up to criticism that some experts indulge in. Sometimes branded on back...."

    Plate 2

      ...Sometimes name given as 'Dallillger', 'Dalmiger' and 'Tallinger'. Also produced many cellos on which he exercised every bit of skill he possessed Instruments eagerly sought for because of a somewhat remarkable warm sonority of tone. Model has strong reminiscences of the Brescian school, and impresses connoisseurs. Workmanship has that delicacy of touch which a maker of critical capacity displays. Happy pose and picturesque vigor characterize the scroll. Similar excellent traits apparent in the sound-holes. Very thin dark red varnish, of a peculiar fascination which engraves itself indelibly on the memory. Wood, unfortunately, too thin, but tone comes up to the standard of ordinary requirement. Several unscrupulous dealers have inserted Italian labels in his instruments. Polish players like sweet and small-tone violins, and to this, more than to anything else, lies their remarkable popularity in that country."

      -William Henley, The Universal Dictionary of Violin and Bowmakers