Nathaniel Cross

John Dilworth

CROSS, Nathaniel Born 1686, died 1751 London UK. In partnership with Barak Norman from c.1713: Norman viol of that date is inscribed ‘Nathaniel Cross wrought my back and belly’. In 1724 Cross’ name appears alongside Norman’s on a violin label with the address ‘St Paul’s Churchyard’. From 1725 Cross’ own label appears with the shop at ‘ye Crown in Piccadilly’. In 1730 he had moved to the George Inn, Aldersgate and in 1733 to St. James, Aldermanbury. His final move was to the ‘Bass Viol’ in Bow Churchyard, Cheapside. A prolific maker, generally on a Stainer model. The head a little lacking in definition. Quite elegant soundholes. Cellos of the small 27”-28” (68.5cm-71cm) model favoured in England at that time. The materials are generally plain with a clear yellow varnish. His influence is seen on subsequent London makers, Kennedy and Johnson, whom he may have taught directly. Often branded on the back with initials ‘N.C.’ surmounted by a cross. Nathaniel Cross, maker, / the George Inn, Aldersgate Street / London 1731 Nathanaeli Crosso / Stainero, fecit / No 2417 Viola d’amore in the Copenhagen Museum has label: Nath Cross in pickdily near St. James Church London

William Meredith Morris

Some suppose that he was a pupil of Stainer, but this is a mere conjecture. His instruments, although made on the Stainer model, are a sufficient proof that he had never received a day’s training in the great workshop at Absam. From 1700 to 1720, when he entered into partnership with Barak Norman, they are rather plain and tasteless, large and highly arched, with short, blunt corners — in fact, his work is in dangerous proximity to the Stainer caricature. From 1720 on the work improves and approaches more nearly to the lines of the German model. This is contrary to the rule. If he had been a pupil of Stainer, we should naturally have expected to see the more correct copies dating from the early years of his career, and work showing departures or originality dating later. He never got rid of the exaggerated fluting round the edge, and the tone is consequently rather small and feeble. His fine cutting of the scroll shows what he was capable of if he had had a better ideal. The varnish is soft, and of a light brown to light yellow hue. He marked his instruments on the back inside with his initials, with a [maltese cross] above. After he entered into partnership with Norman the label runs : —

BARAK NORMAN AND NATHANIEL CROSS, AT THE BASS VIOL IN ST. PAUL’S CHURCH YARD, LONDON, FECIT 172-

Cecie Stainer

A maker in London about 1700-51. About 1720 he entered into partnership with Barak Norman His instruments resemble those of Stainer, of whom it is supposed that he was a pupil.
He made good violins, beautifully finished in all details, the fluting round the edge, where the purfle is inlaid, is very acute, and the scrolls are excellently cut. Violoncellos of his are known very similar to those made during his partnership with Norman, they are rather small in size with soft light-yellow varnish ; the tone is clear and penetrating. He marked his instruments inside on the back with his initials N. C. and a [cross] above.

Willibald Leo Lütgendorff

Einer der bekanntesten Vertreter der englischen Schule. Er hat das Stainermodell
gut studirt und baute recht genau nach demselben. Dass er aber selbst
bei Stainer gelernt hat, wie man früher gerne behauptete, ist ausgeschlossen.
Seine Geigen haben einen edlen, kräftigen Ton und sind gelb lackirt. Seit 1715
war er Gesellschafter von Barak Norman, doch ist seine Arbeit leicht von der
Norman’s zu unterscheiden. Er bezeichnete seine Geigen im Innern in der
Mitte des Bodens mit einem Kreuz (»Cross«) unter den Buchstaben N. C. Arbeiten
von ihm findet man in verschiedenen Sammlungen.