William John Acton

History

William John Acton (1848-after 1900) was born on December 12, 1848, in St. Mary Street, Woolwich, UK. He was the only son of A. W. Acton and was educated at Rectory Place Academy. He began his career in 1868, making his first instrument in that year. He conducted his business in Woolwich until 1898, when he relocated to 472 Katherine Road, Forest Gate, London. According to John Dilworth, he was active from 1868 and died after 1900 in Forest Gate, London. Meredith Morris notes his workshop was at Gipsey Lane, Forest Gate, E.

Craft

• Models: William John Acton created instruments based on Stainer and Stradivari models, in addition to his own personal designs. His model approximated that of Stradivari.
• Varnish: He utilized an amber oil varnish of his own formulation, available in various colors including amber, ruby, and brown.
• Tonewoods: Acton used imported tonewoods of good quality, which, while sometimes plain, were carefully selected for their acoustical properties.
• Instrument Production: Sources contain conflicting information regarding the exact number of instruments produced. According to John Dilworth, up to 1904, he completed 210 violins, 19 violas, 29 cellos, and 21 double basses. William Meredith Morris, however, states that up to the time of his writing, Acton had completed no violins, 12 violas, 19 violoncellos, and 10 double basses. Willibald Leo Lütgendorff reports over 110 violins, 12 violas, 20 violoncelli, and 10 contrabasses.
• Bows: He also crafted over 250 bows, described as being made from fine pernambuco. His bows were noted for being strong and well-balanced, though not considered highly artistic.
• Measurements (Violin): His violin model featured a body length of 14 inches, upper bouts measuring 6 7/16 inches, lower bouts 8 1/16 inches, and inner bouts 4 3/8 inches. The length of the inner bouts from corner to corner was 3 1/10 inches. Sound-holes were 2 3/4 inches long, with a width of 1 3/5 inches at the top and 5 inches at the bottom. The height of the sides was 1 1/4 inches at the lower bouts and 1 3/16 inches at the upper bouts, with an arching height of 9/16 inches.
• Workmanship: The ff holes were original and harmonized with the instrument's contour. His scrolls were considered very good, exhibiting significant character. The purfling was inlaid with taste, showing no infinitesimal chips or gaps, indicating a steady hand.
• Tone: The tone of his instruments was described as powerful and penetrating. One instrument examined by Meredith Morris had a particularly fine G string. The tone lacked the sweetness of Amati or the bell-like clarity of Stradivari, but was considered good and expected to develop further positive qualities.
• Pricing: His instruments were sold at prices ranging from £6 for violins up to £35 for double basses.

Influence

• Training: William John Acton received his training from his father, A. W. Acton.

Legacy

• Publications: William Meredith Morris published a biography of William John Acton, including a portrait, in The Strad in January 1900.

Further Information

• Labels: He used a printed label that read: "William J. Acton, / Maker / St.Mary Street, Woolwich, 188." He also used a manuscript label: "William John Acton / Maker / Forest Gate London 1898".
• Workshop Practices: Acton employed no assistants, performing all aspects of instrument making himself.
• Skills: He was also recognized as a skilled bow maker, an extremely careful restorer, and a proficient violinist.

Summary

William John Acton (1848-after 1900) was a British luthier and bow maker who began his career in 1868. Trained by his father, A. W. Acton, he operated his business in Woolwich before moving to Forest Gate, London, in 1898. He crafted violins, violas, cellos, and double basses, utilizing Stainer, Stradivari, and personal models, and was known for his self-made amber oil varnish and carefully selected tonewoods. Acton also produced over 250 bows from fine pernambuco. His instruments were noted for their powerful and penetrating tone, and his workmanship, particularly the purfling and scrolls, was highly regarded. He worked independently, without assistants, and was also recognized as a skilled restorer and violinist.