William (III) Forster

Auction price history

Highest auction price

£86,400

Type	Details	Sold	Price
Cello	74.0 cm London, 1810 c.	December 2011	£26,400
Cello	75.6 cm London, 1805	October 2011	£86,400
Violin	35.3 cm London, 1806	June 2011	£2,640
Viola	39.3 cm London, 1800 c.	May 2008	£8,990
Viola	39.7 cm London, 1810	April 2007	£11,523
Viola	39.7 cm England, early 19th C.	November 2004	£7,800
Cello	1814	March 2001	£7,200
Violin	1810	July 2000	£3,800
Viola	38.1 cm 18--	April 1998	£2,530
Cello	1800 c.	March 1998	£31,740
Viola	39.0 cm 1807	July 1997	£2,800
Cello	1800 c.	November 1996	£10,350
Viola	38.3 cm 1800 c.	November 1995	£3,450
Cello	1800 c.	November 1995	£12,650
Cello	1800 c.	March 1994	£12,100
Cello	1794	November 1993	£26,400
Violin	1800-25	July 1993	£1,610
Cello	1790 c.	November 1992	£20,900
Cello	1823	March 1992	£9,900
Violin	1820 c.	April 1991	£3,300
Viola	39.4 cm 1800 c.	June 1990	£3,850
Viola	38.1 cm 1807	March 1990	£4,620
Viola	38.3 cm 1800 c.	November 1989	£2,860
Viola	39.4 cm 1800 c.	April 1987	£5,500
Viola	39.4 cm 1804	April 1983	£4,104
Viola	38.1 cm 1807	November 1982	£2,592

Maker Overview

History

William (III) Forster (1764-1824) was born on January 7, 1764, and passed away on July 24, 1824. He was the son and pupil of William Forster (II) and was often referred to as 'Young Forster' or 'Forster Junr.' He began his active career in 1779 and became a partner in the family business in 1800. William (III) Forster married in 1786 and had two sons, both of whom also became violin makers. He maintained, to some extent, the traditions and reputation established by his father. His workshop locations changed over time; in 1803, he moved to York Street, then in 1816 to 87 The Strand, and finally in 1821 to 41 Lisle Street in London.

Craft

Workmanship: William (III) Forster's work varied significantly in quality; some instruments were considered as good as his father's best, while others were comparable to cheaper factory-made instruments. He developed impressive Stradivari models alongside the more common Stainer copies. He also produced various grades of work to compete with the influx of inexpensive German trade instruments of his era.
Varnish: His higher-quality instruments featured his father's amber oil varnish, applied thinly and well polished. However, some of his inferior instruments, particularly those intended for hire, were finished with two or three coatings of a hard spirit varnish.
Instrument Types: He made violins, violoncellos, tenors, and bows. He also produced a number of double-basses, primarily for letting out on hire, which were shaped like violoncellos and exhibited inferior workmanship. Some of his inferior instruments were unpurfled.
Labels: Two primary label types are noted. One reads: "WILLIAM FORSTER, JUN., VIOLIN, VIOLONCELLO, TENOR, AND BOW MAKER 1815." Another, cited by John Dilworth, includes "William Forster Junr./ Violin, Violoncello, Tenor, and Bow Maker / 1810. Also Music seller No. 43. / to their Royal Highnesses the / Prince of Wales and the Duke of Cumberland. Made and sold at / Forsters Music Warehouse / 41, Lisle Street, Leicester Square, / London, 1824." A similar label, also mentioning "to their Royal Highnesses the Prince of Wales and Duke of Cumberland," is noted by Cecie Stainer and William Meredith Morris. The number of the instrument, the date, and the abbreviation "jun." were typically added in handwriting.
Conflicting Information: Sources contain conflicting information regarding the precise wording on some of William (III) Forster's labels; William Meredith Morris's account uses "Royal Richnesses," while John Dilworth and Cecie Stainer cite "Royal Highnesses."

Influence

Training: William (III) Forster was the son and pupil of the renowned William Forster (II).
Assistants: He was assisted at various times by George Craske and Samuel Gilkes.

Legacy

Family Continuity: He had two sons who followed in his footsteps and became violin makers, continuing the family's tradition.
Royal Appointment: He held the title of "Violin, Violoncello, Tenor, and Bow Maker to their Royal Highnesses the Prince of Wales and Duke of Cumberland."

Further Information

Workshop Locations: His workshops were located at York Street (from 1803), 87 The Strand (from 1816), and 41 Lisle Street (from 1821).
Business Activities: In addition to instrument making, he was also a music seller, with one label indicating "Music seller No. 43" and "Forsters Music Warehouse / 41, Lisle Street."

Summary

William (III) Forster (1764-1824), known as 'Young Forster,' was a British violin, violoncello, tenor, and bow maker, and the son and pupil of William Forster (II). Active from 1779, he became a partner in the family business in 1800. He produced instruments of varying quality, from those comparable to his father's best, featuring amber oil varnish and impressive Stradivari models, to more basic instruments with hard spirit varnish. He served as a maker to the Prince of Wales and Duke of Cumberland and had two sons who also became violin makers.

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Biographies

John Dilworth George Hart William Meredith Morris Cecie Stainer Willibald Leo Lütgendorff

John Dilworth

FORSTER, William (III) Born 1764, died 1824 London UK. Son and pupil of William Forster (II). Known as ‘Young Forster’ or ‘Forster Junr’. Active from 1779; a partner in the business from 1800. In 1803 moved to York Street, in 1816 to 87 to The Strand, and finally in 1821 to 41 Lisle Street. Continued his father’s work and developed very impressive Stradivari models alongside the usual Stainer copies. Also various grades of work in competition with the cheap imports of German trade instruments at the time. Assisted at times by George Craske and Samuel Gilkes. William Forster Junr./ Violin, Violoncello, Tenor, and Bow Maker / 1810. Also Music seller No. 43. / to their Royal Highnesses the / Prince of Wales and the Duke of Cumberland. Made and sold at / Forsters Music Warehouse / 41, Lisle Street, Leicester Square, / London, 1824 [BVMA]

William Meredith Morris

“Young Forster,” as he has been called, was the son of the great Forster. He was born Jan. 7, 1764, and died July 24, 1824. He maintained to some extent the traditions and reputation of his father, but he failed (or did not try) to maintain the same standard of excellence throughout. His work varies a great deal ; some of it is no better than the cheapest of the modern factory noise boxes, and some is fully as good as the best of his father’s.

Haweis says there was an erratic vein in the Forster family, which in “old” Forster took the shape of “amazing versatility,” but in the younger members degenerated into ” speculative eccentricity.” I prefer to think of ” old ” Forster as a genius, and of the sons and grandsons as the offspring thereof. And it is a well-nigh universal rule that the offspring of genius are the shipwreck of genius. Genius, as I conceive it, is the abnormal development of some particular gift or faculty, with the other faculties also sufficiently strong to give it support. The offspring of a genius often show the same gift developed in the same abnormal degree, but they have not the other powers of the mind in the necessary state of health and strength to give it equilibrium ; i.e. in other words, they have not sufficient ballast. Genius without the accompanying staying powers of the mind is like a vessel without a helm. We have the children of a dozen geniuses living amongst us to-day, nearly all of whom may be recognised as the sons of their fathers, but they are more or less rudderless sails in a stormy sea. It has been often said that the sons of great men elect to walk the quieter paths of mediocre distinction out of consideration for their fathers, but this is said more in charity than in sincerity. No man puts his candle under a bushel without at the same time extinguishing it, and suicide is not sacrifice. I have seen one or two violins by “young” Forster, which were excellent as regards finish and tone, and they had his father’s amber oil varnish, thinly laid on and well polished. He made a number of inferior instruments, some unpurfled, and with two or three coatings of a hard spirit varnish, which he let out on hire. Labels : —

(1) WILLIAM FORSTER, JUN., VIOLIN, VIOLONCELLO, TENOR, AND BOW MAKER 1815

(2) WILLIAM FORSTER, VIOLIN, VIOLONCELLO, TENOR, AND BOW MAKER TO THEIR ROYAL RICHNESSES THE PRINCE OF WALES AND DUKE OF CUMBERLAND, LONDON

The number of the instrument, the date, and the abbreviation ” jun.” were added in handwriting.