J.F. Lott Snr. (John Frederick Lott, 1776-1856)

[Ken Smith]

While reading in the book 'The British Violin' (1998) I have found new information that John Lott, a Chair maker (maybe?) from Gottingen, Germany married Ann Waring at St. Georges (London) in 1775. This is actually the Father of J.F.Lott I (Violin/Bass maker) who was born on April 26, 1776 and christened on June 16th in London. J.F. Lott I is actually of British birth and not from Germany as previously believed! The father was born about 1755 and maybe in Germany as the records are not totally clear. One thing that is clear, there are actually 3 generations of John Lotts, not two! Only two of them were makers though.

I read this casually about a year ago when I first got the Book but now that I have a Lott Bass in my office, I am looking quite a bit closer at the written words!

[Ken Smith]

While reading once again in the same book it mentions that Lott made internal 'stepped' linings ("The hardwood linings are of a distinctive stepped or doubled profile", 'The British Violin', pg. 140). I am happy to report that despite all the restoration work previously performed on this 'well played' Bass over the years, this 'Stepped Lining' is still intact on the center bout Rib/Back joint from block to block. The other linings look just as old as to my eye so this might be the way he made this particular Bass or maybe it was an early experiment on his earlier models. This Bass looks to be a bit older than my Gilkes of 1814 but being Lott's actual dates, it can't be too much older. I would guess maybe 1810 or so while still working for Dodd possibly.

Next week I will get this Bass up to Arnold in NY and maybe to Duane Rosengard as well earlier in the week to look at and see what they think of this and it's various restorations and points of originality.

The Wood of the Back and Ribs while both Curly Maple/Sycamore do not match in grain pattern or style at all. This is also a feature of Lott Basses as well according to the same reference ("The wood of the back seldom matches that of the ribs, which in this instance are of deeply flamed half-slab maple, since Lott made use of sawn veneer for the ribs, which consequently can be relatively thin and vulnerable.")

[Abe Gumroyan]

I played Art Davis' 1810 John Lott @ LA Bassworks with Art's Vigneron bow. All I have to say is WOWWWWWWWWWWW

[Matthew Tucker]

Found this

http://ezinearticles.com/?John-Lott-...ass&id=4259391

and this

http://johnlottjunior.webs.com/

and this

http://johnlottjunior.webs.com/doublebassistarticle.htm

[Ken Smith]

Originally Posted by Matthew Tucker

Found this

http://ezinearticles.com/?John-Lott-...ass&id=4259391

and this

http://johnlottjunior.webs.com/

and this

http://johnlottjunior.webs.com/doublebassistarticle.htm

I have read the original article on that Bass but I do not agree it being made by Lott Jr. aka Jack Lott. That bass looks exactly like a regular John Lott bass. Tom Martin wrote that article and unless it is signed inside by Jr., I doubt it is by him. Jr. was famous for forging Violins by Strad and Del Gesu and also did other things. Look for an article called 'Jack of all Trades'.

On that Stamp in the Back, it is not what is in my Bass at all but then again, my Bass is an early John Hart and not Hart & Sons. I don't know of any mark being made that says 'Harts'. The firm was known as Hart & Sons and that was the mark. If you look at the back of my Dodd Bass, you will see a similar type stamp on the back but different letters, too blurred to read though. It came to me as a Betts bass and then attributed to Dodd BY Tom Martin and more recently another London dealer said he thought it was by Craske. I think that is an 'inked on' stamp that could have been used by dealers. Possibly as rental instruments as many dealers loaned out basses for visiting Orchestras. My Hart had a business card laminated to the block area rib stating they have basses and music stands for rent and that dates over 100 years ago. If you show anyone that bass without the article written, they will tell you it's a typical Lott. Also, as I mentioned, Lott Snr. the Luthier was actually Lott Jnr. himself as his father the non-luthier also John Lott was married in 1775 in the same church a year before the son was christened in 1776. This is how they discovered J.F. Lott as being of British birth.

So, copy that bass as well if you like. It IS a Lott in my book and not by Jack or Jnr. Also, J.F. Lott, the first London maker by that name (b.1776) made basses for other shops by trade. The 5 basses bearing the label of Simon Andrew Forster are J.F. Lott basses, maybe not the Scroll or the Varnish but the Carcass is Lott. Lott Snr. as we will call him was a Bass Maker and made the basses for Dodd that had the outer linings. Lott Jnr., Jack Lott was mainly a Violin maker and according to Whithers where he worked, Jack made only one bass for a Quartet, period. After reading all the stories and seeing the instruments by both makers you can draw your own conclusion. A Jack Lott Bass (Jnr.) is rare as there is only one bass recorded. John Lott made many many basses so they are less rare or somewhat common in comparison. Perhaps the Jr. attribution was financially motivated. Of the 3 Hart basses I have seen with my own eyes (only 1 in person, mine), if this was made for the Hart's then I know 3 different actual makers. John Hart, the early ones (4 of them known like mine), William Valentine, his 'half brother' and bass maker of record (1846 is the one I know), and now this bass from 1845 that looks like a regular Lott bass and has a different stamp on the back.

[Matthew Tucker]

I read in an old back issue of Strad that Withers was a student of Lott Sr, so probably set up shop while Lott Jr was gallivanting around with his elephants, and then maybe gave him a job when he came back 20 years later ...

[Ken Smith]

Originally Posted by Matthew Tucker

I read in an old back issue of Strad that Withers was a student of Lott Sr, so probably set up shop while Lott Jr was gallivanting around with his elephants, and then maybe gave him a job when he came back 20 years later ...

ONE of the Withers guys was the pupil of Lott Jnr., Jack Lott.. There are several generations of the Withers makers. To learn more, read the book 'Edward Withers LTD .. 230 Years of Violin Craft in Soho' by Adam Whone.

It was in this book that he referenced the Forster's incorrectly by calling old Forster William I and Young Forster William II when in fact they were II and III. I emailed him but he never responded. I bought the book on line directly from the author. It is actually a great book to read and not all Violin shop talk. I suggest you get a copy and some insight to the gathered information thru the eyes of this Author and the accounting's on record of the last 230 years.

[Matthew Tucker]

Here's the link to the book "jack of all trades" very loosely about Jack Lott. great read.

http://www.digitalpixels.org/jr/cr/jack.html

[Anselm Hauke]

wow, thanks for that link matthew!

[Adrian Levi]

Originally Posted by Matthew Tucker

Here's the link to the book "jack of all trades" very loosely about Jack Lott. great read.

http://www.digitalpixels.org/jr/cr/jack.html

A very interesting read ! Making instruments in between pitchforking and abusing elephants , doesn't get more diverse than that.