30 replies to this topic

[Brad Dorsey]

We have all seen these old wood violin cases (at least those of us in the United States) with this trade mark stamped on the bottom:



I was never sure if the central device was "GSB" or "G&B."

I recently found out that these cases were manufactured in Charlestown, New Hampshire, not too far from where I live. Here's an excerpt from a page on a genealogy website:

"George S. Bond, a manufacturer of Charlestown, was born in that town, March 2, 1837, son of Silas and Alice (Abbot) Bond...[In 1880] he bought out the violin case manufactory that had been established in Charlestown. There was but little work done here at first, and he employed but one man. Subsequently he had to enlarge the place, and in 1893 he had forty hands in his employment and was using a fifty horsepower engine. In that year the factory was burned. Eleven weeks later his substantial new factory was ready for business. He has now a sixty horse-power engine, and he employs from twenty-five to thirty-five hands. The factory is said to be the best equipped establishment of its kind in the world, having a capacity of twenty-four dozen violin cases per day. Mr. Bond has dealings with some of the largest firms in this country..."

Here's a link to the page, should anyone want more information on George S Bond not related to the manufacture of violin cases:

http://www.accessgen...ticleID=0023993

The people who told me about Bond said they would send me a copy of a recent magazine article about him. If they do, I will put up some more information here.

[Ken Pollard]

Thanks, Brad. I've wondered about these cases over the years. 24 dozen cases a day would certainly explain the numbers I've seen. I've noted some variation in the latching mechanisms, from simple hook-and-eye (not a great idea unless the case never leaves the house) to more complicated hook-eye-flap-and-spring mechanisms, with their own patent number. Back in the 60s and 70s, some folks had fun fixing these cases up with better liners and exterior paint, sometimes quite colorful -- flowers, paisley, and such. Wonder what old George S would have thought?

[fiddlewallop]

Brad, do you have a picture of a full case? I don't know I've ever seen one before.

[GlennYorkPA]

We have all seen these old wood violin cases (at least those of us in the United States) with this trade mark stamped on the bottom:



I was never sure if the central device was "GSB" or "G&B."

I recently found out that these cases were manufactured in Charlestown, New Hampshire, not too far from where I live. Here's an excerpt from a page on a genealogy website:

"George S. Bond, a manufacturer of Charlestown, was born in that town, March 2, 1837, son of Silas and Alice (Abbot) Bond...[In 1880] he bought out the violin case manufactory that had been established in Charlestown. There was but little work done here at first, and he employed but one man. Subsequently he had to enlarge the place, and in 1893 he had forty hands in his employment and was using a fifty horsepower engine. In that year the factory was burned. Eleven weeks later his substantial new factory was ready for business. He has now a sixty horse-power engine, and he employs from twenty-five to thirty-five hands. The factory is said to be the best equipped establishment of its kind in the world, having a capacity of twenty-four dozen violin cases per day. Mr. Bond has dealings with some of the largest firms in this country..."

Here's a link to the page, should anyone want more information on George S Bond not related to the manufacture of violin cases:

http://www.accessgenealogy.com/scripts/data/database.cgi?file=Data&report=SingleArticle&ArticleID=0023993

The people who told me about Bond said they would send me a copy of a recent magazine article about him. If they do, I will put up some more information here.

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Brad, Thanks for sharing this information. It sheds new light on the history of American violin case making and the meagre history of case making in general.

The cypher definitely is GSB because some contain a printed label stating that: ‘This is a genuine G.S.B. case. The best violin case made for the money. None genuine unless the impress of this trade mark is on the bottom of the case’.

However, in my book on the art & history of violin cases, I ascribe a different meaning to the letters.

In 1888, John L. Lines and Marion A. Morris were granted a patent for a hasp fastener for trunks and musical instrument cases. The patent was assigned to the Scoville Manufacturing Company of Waterbury, Conn,. This company was huge in its day and owned Scoville Brass so it was suggested to me that the initials stood for Genuine Scoville Brass.

I will correct this in the second edition in the light of the new information you have provided and please share any additional information.

Glenn

[Brad Dorsey]

Brad, do you have a picture of a full case?...

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[fiddlewallop]

Thanks Brad!

I found a youtube videos on american cases:


(Perhaps the first one is a GSB? Unfortunatly, the sound on my laptop stopped working so I can't hear him.)

[Ken Pollard]

The GSB cases I've seen are the black 'coffin' cases. Here are two I have with the GSB brand.


















These are the type of case that is shown, for example, in the ca 1900 Sears & Roebuck catalogs. Undoubtedly, both started out with a full coat of black paint. The one with more paint remaining here has the simple hook-and-eye latch and the brand one the back. The more weathered one has a fairly nice latch; the hook-and-eye is modified with a spring-plate, which puts pressure on the hook when it's in the eye, keepiing it in place. The patent is from 1888, though who knows how long these were made. I have another coffin case with a cartoon from WWII inside.

If you want to see bigger versions of these images, you can see those in one of my Flickr sets.

[GlennYorkPA]

Thanks Brad!

I found a youtube videos on american cases:


(Perhaps the first one is a GSB? Unfortunatly, the sound on my laptop stopped working so I can't hear him.)

The first case is the Mirecourt original (Thibouville Lamy) on which the GSB case is modelled. The second one is a similar coffin case found in Louisville Kentucky but made in Germany in the 1880s.
Both of the first two cases I show in the video are the workhorses of European production which were more or less copied in America by GSB before the development of the New Century molded case sold under the Bull's Head brand in 1901.

If I remake the video again, I will begin with the pre-civil war American primitive cases hand made and decorated in New England in the 1830s but I was unaware of them when I made the video or wrote the book.

Glenn

[Richf]

Glenn, I just noticed this Youtube lecture on American cases. That's you, isn't it -- not some handsome British actor hired to play you? I see you have a new interest in very early American cases. Can you tell us what you've been finding? Are you willing to share any pictures of those early American violin cases? Thanks,

Richard

[GlennYorkPA]

Glenn, I just noticed this Youtube lecture on American cases. That's you, isn't it -- not some handsome British actor hired to play you? I see you have a new interest in very early American cases. Can you tell us what you've been finding? Are you willing to share any pictures of those early American violin cases? Thanks,

Richard

Hello Richard,

Yes, I can confirm that is really me in the video and not an impostor!

I will happily share some pictures regarding the new class of early American cases but I'll start a new thread for the purpose as this is Brad's thread and relates to GSB cases.

Glenn

[fiddlewallop]

Thanks Glenn! Very interesting subject indeed.

[GlennYorkPA]

Thanks Glenn! Very interesting subject indeed.

Thanks fiddlewallop. I appreciate you saying so.

The number of replies suggests that not many people are interested in old violin cases but my own interest is undiminished. The more I study them, the more they seem to tell us about our cultural history.

This is especially true of American cases because they came full circle in 200 years from the original, folk styles of the early 19thC (mentioned in the other thread on Lost Cases), through the copycat era highlighted by Brad Dorsey in this thread, to the final triumph of creativity by one of the greatest of modern cases makers who happens to work in America.

Glenn

[bmccarthy]

Hi Glen, I didn't reply as I haven't anything to contribute but I do find this subject very interesting and am enjoying reading both threads. The early American cases in particular are beautiful objects. I love the fact that each one is unique and made by individual craftsmen as opposed to the later factory ones. Brian.

The number of replies suggests that not many people are interested in old violin cases but my own interest is undiminished.

[GlennYorkPA]

Hi Glen, I didn't reply as I haven't anything to contribute but I do find this subject very interesting and am enjoying reading both threads. The early American cases in particular are beautiful objects. I love the fact that each one is unique and made by individual craftsmen as opposed to the later factory ones. Brian.

Hi Brian,

Never underestimate the power of the cheering crowd

I wonder if there was a fiddle tradition in Ireland that came over to the US in the 1840s to enrich the musical culture over here.
Please let me know if you come across similar cases over there because I have no idea where this tradition of painted furniture (and cases) originated.
Maybe one or two more examples will jog a thought.

Thanks
Glenn

[Brad Dorsey]

GSB also made guitar cases. The person who told me about the GSB factory in Charlestown, New Hampshire, has just told me that he has a guitar case made by GSB.

[GlennYorkPA]

GSB also made guitar cases. The person who told me about the GSB factory in Charlestown, New Hampshire, has just told me that he has a guitar case made by GSB.

It's true, they did make guitar cases and used the same stamp as on the violin cases.
I wonder if they also made cases for violas and cellos.

Does his guitar case look like this?

Glenn

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[Brad Dorsey]

...Does his guitar case look like this?...

I don't know. I haven't seen it.

[GlennYorkPA]

Hi Glen, I didn't reply as I haven't anything to contribute but I do find this subject very interesting and am enjoying reading both threads. The early American cases in particular are beautiful objects. I love the fact that each one is unique and made by individual craftsmen as opposed to the later factory ones. Brian.

Hi Brian,
I just posted another one on the other thread where the maker left his finger prints all over it - quite literally !
The surface is very faded and I would love to clean it but the risk of damage is too great plus I'm not sure about the ethics of it.

Glenn

[Conor Russell]

I thought this might be of interest. It dates from about 1790, and it's covered with tooled leather.

I've always been amazed at the sadistic nature of the handle departments in the violin case workshops. They seem to have been intent on cutting off the circulation to the fingers of violinists. An extra inch of brass wire would have made all the difference.

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[GlennYorkPA]

I thought this might be of interest. It dates from about 1790, and it's covered with tooled leather.

I've always been amazed at the sadistic nature of the handle departments in the violin case workshops. They seem to have been intent on cutting off the circulation to the fingers of violinists. An extra inch of brass wire would have made all the difference.

CRussell,
Thanks for sharing. This is of more than a little interest.
This is a museum piece in an amazing state of preservation.

I have no idea what the instrument is but I'm comfortable with a date from the late 18thC.
The construction is in line with what was happening in the continent at that time.
Sadly, there are very few examples of cases that have survived from that period so it is hard to build a picture of styles from that period
I think this case survived because the instrument wasn't played much.
One could speculate that the Perry shop supplied its best violins in similar cases but they are long gone as the instruments changed hands once a generation, on average.

You mention handles but I don't see a handle on this case.
With your permission, I would like to include this case in the second edition of my book, suitably credited, of course. (I assume the case is yours and in your possession?).

Would it be possible to send more and better pictures to: glennpwood@yahoo.com?

My study is violin cases but when we get back as far as the 1700s, we have to take what we can get and make inferences.
Are the curved ends of the case carved rather than bent?

Thanks
Glenn