Quote:
Originally Posted by Ken McKay
Here is a quote for a description of a 1802 Panormo ex Fred Zimmerman.
"The top and back are not purfled, but the top does show places where the purfling was scribed (i.e., painted) on. The varnish is a dark orange-brown color on the back, ribs and scroll, while the top has a deeper reddish brown color. The arching of the top was modeled beautifully to correspond to the back arching. Over the central bridge area the arching reaches deeply to the channel along the edges, providing a strong yet flexible platform. The back is carved flatter in the central area to provide power and projection." I believe from the Elgar book, which I don't have. I got it off the cozio site.
So that also might give you some ideas.
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A Panormo without Purfling? This from a guy whose Violins sit side by side with Strad? I have recently seen another Bass attributed to Panormo as well with similar graduations on the Top that he used (6mm, all across the Top!). This Bass however did not look to be of the same level of workmanship expected from V.Panormo.
Who can this be then that looks, talks and smells like Panormo? Did he have any assistants or apprentices other than his Sons? The answer is, Yes. His name was William Taylor and is listed as Panormo's assistant as well as having made many of his own Basses in the style of Panormo. Probably most or some have a carved Round back with angle break.
When examining the attr. Dodd I used to have just after I got it some years back, we noticed the Studs across the upper angle break of the Flat Back. This is a feature usually only seen on Panormo Basses. Panormo also worked for some time in or for the shop of John Betts. Not all that Panormo built was built as his own work or model. Not every Bass carrying his attribution is Panormo either. He was one of the most famous of that English school then so you have to assume there were others that followed suit when the occasion arose to do so.