Benjamin (I) Banks

History

Benjamin (I) Banks (1727-1795) was born in 1727, with Cecie Stainer specifying July 14, 1727, and died in 1795, with Stainer noting February 18, 1795. Sources contain conflicting information regarding his early training; John Dilworth states he was apprenticed to his uncle William Hutoft in 1741, while Cecie Stainer identifies him as a pupil of Wamsley in London. Following his apprenticeship, he settled in Salisbury. According to Dilworth, he remained in occupation of Hutoft's workshop in Catherine Street from Hutoft's death in 1747 until Banks's own demise in 1795. From 1757 until the late 1760s, Banks primarily focused on keyboard instruments. Subsequently, his violins, violas, and cellos began to appear, demonstrating a high level of sophistication informed by the best London practices. He collaborated with the London shop of Longman & Broderip, who sold his violins in London, often stamped with the Longman name, in exchange for keyboard instruments supplied to Banks in Salisbury.

Craft

• Workmanship: His work is generally considered very fine and excellently made, though Cecie Stainer notes that the scrolls could sometimes be somewhat clumsy.
• Varnish: Banks employed a transparent and rich varnish. John Dilworth describes it as deep red brown or golden orange. Cecie Stainer details a brownish-yellow color with a reddish tinge for his best instruments, and a deep red with a blackish tinge for others. Willibald Leo Lütgendorff also notes a beautiful transparency, with brownish-yellow, reddish hues for his best works and a blackish-dark red for ordinary pieces. Stainer, however, observed that the varnish sometimes clogged the fiber of the bellies, giving them a white appearance, or, technically, 'the grain was killed.'
• Models: Benjamin (I) Banks was one of the first English makers to abandon the previously favored Stainer model, instead taking Amati and the Cremonese makers as his inspiration, copying them very closely.
• Instruments: He built violins, violas, and violoncellos. His cellos are particularly sought-after and considered his best work, with his large violoncellos being especially prized for their tone. Cecie Stainer notes that smaller cellos, while equally well made, did not possess the same volume of tone. No double-bass of his is known, and it is doubtful if he or any member of his family ever made one.
• Tone: The tone of his instruments is generally good, particularly that of his violoncellos.
• Inferior Instruments: For Longman & Broderip, he produced inferior instruments, likely with the assistance of sons or other workmen. These instruments typically followed a longer pattern, more akin to the Stainer model, and featured red varnish.

Influence

• Apprenticeship: Sources provide conflicting accounts of his apprenticeship. John Dilworth states he was apprenticed to his uncle William Hutoft in 1741. Conversely, Cecie Stainer identifies him as a pupil of Wamsley in London.
• Stylistic Influence: He was a pivotal figure in English violin making, being among the first to move away from the prevalent Stainer model and instead adopt the forms and principles of Amati and other Cremonese masters.

Legacy

• Workshop Practices: It is suggested by Cecie Stainer that he was assisted by his sons or other workmen, particularly in the production of instruments for firms like Longman & Broderip.
• Market Value: Between 1790 and 1794, the average price for his best violoncellos ranged from ten to twelve guineas. In the century following his death, these instruments realized prices as high as £50.

Further Information

• Workshop Location: Benjamin (I) Banks operated his workshop in Catherine Street, Salisbury.
• Branding and Labels: Instruments were branded 'Banks' externally and on the inner linings, and frequently signed on the interior of the front. He also used a brand stamp with 'B. B.' on the back or beneath the button at the end of the neck, and 'B. Banks, Sarum.' Printed labels included variations such as 'Benjamin Banks / Musical Instrument Maker / In Catherine Street, Salisbury, 1779,' 'Made by Benjamin Banks / Catherine Street, Salisbury, 1770,' 'Benjamin Banks / fecit / Catherine Street, Salisbury, 1775,' and 'Benjamin Banks / Catherine St., Sarum.'
• Collaboration: He supplied instruments to the London firm of Longman & Broderip, with some instruments sold by them being stamped with the Longman name.

Summary

Benjamin (I) Banks (1727-1795) was a significant English luthier based in Salisbury, known for his pivotal role in shifting English violin making from the Stainer model to the Cremonese tradition, particularly that of Amati. He operated his workshop in Catherine Street, Salisbury, from 1747 until his death. Initially focusing on keyboard instruments, he later produced highly sophisticated violins, violas, and especially sought-after cellos. His instruments are characterized by fine workmanship and a rich, transparent varnish, often in deep red-brown or golden-orange hues. Banks collaborated with Longman & Broderip, supplying them with instruments, some of which were branded with the London firm's name. His work is identifiable by various internal and external brandings and printed labels.