Charles (I) Harris

History

Charles (I) Harris (1780-1800) was a notable maker in London, active during the late 18th and early 19th centuries. According to Cecie Stainer, he worked from 1780 to 1800. John Dilworth notes he worked circa 1810 in London and Steeple Aston, Oxfordshire, UK, and William Meredith Morris provides label dates of 1791 and 1826. He resided in Cannon Street Road, Ratcliffe Highway, with other labels indicating 69 Parsons Street, Ratcliff Highway, and later moving to Oxford around 1810 and Adderbury, Oxon. Originally, Harris was a Custom House officer, an occupation he maintained to support himself, as noted by Willibald Leo Lütgendorff and George Hart. This dual role brought him into contact with mercantile men, enabling him to secure commissions for the export trade. He was considered one of the best English makers of his time, with Pearce stating, as quoted by Lütgendorff, "His instruments are among the finest of the English." He was even referred to by his admirers as the englische Lupot (English Lupot). Despite his exceptional skill, he often sold his instruments unlabelled to the trade, a practice Morris describes as "foolishly sold his birthright for a mess of meat," thereby depriving himself of due credit.

Craft

• Varnish: Harris was noted for his excellent varnish, which often had a particular reddish tinge, described as golden-red by William Meredith Morris and dark amber on a magnificent viola. George Hart highlights the "fine quality of varnish" on his instruments.
• Patterns: He copied the Stradivari and Amati patterns, with his Stradivari copies being particularly admired and, according to George Hart, "not inferior to those of Lupot."
• Violoncellos: His violoncellos were highly prized and eagerly bought during his lifetime.
• Workmanship: George Hart notes the "exquisite finish" of his instruments. Morris describes a genuine Stradivari copy with "beautiful" workmanship and tone, featuring full proportions, a whole back with curl inclining to the right, fine pine with a "reed" of narrow and regular width, a masterfully carved scroll, and beautifully designed sound-holes (though "just a trifle wide, perhaps"). The margin was full, and the edges strong and nicely rounded, with a moderately pronounced ridge. The tone was described as round and mellow.
• Copying Method: He faithfully copied the form of instruments without resorting to "deleterious means to indicate upon the surface of an instrument the ravages of time," focusing instead on the true form.

Influence

• Mentorship: Samuel Gilkes worked for Charles (I) Harris for some time and was taught by him, as noted by Cecie Stainer, Willibald Leo Lütgendorff, and John Dilworth.

Legacy

• Reputation: Charles (I) Harris is recognized as one of the foremost English makers, with his instruments considered among the finest of his era.
• Esteem: His violoncellos were highly prized and eagerly sought after during his lifetime.
• Notable Instruments: A magnificent viola, illustrating work "thoroughly Italian in feeling," was the property of C. Close, Esq., of Dagmar Lodge, Leeds.

Further Information

• Workshop Locations: He worked in London, specifically Cannon Street Road, Ratcliffe Highway, and 69 Parsons Street, Ratcliff Highway. He later moved to Oxford circa 1810 and Adderbury, Oxon.
• Labeling Practice: He seldom labelled his instruments with his name, often selling them unlabelled to the trade. However, some instruments were signed internally.
• Known Labels: Two specific labels are recorded: "CHARLES HARRIS, FECIT, IN CANNON STREET, LONDON, 1791" and "MADE BY CHARLES HARRIS, ADDERBURY, OXON, 1826."

Summary

Charles (I) Harris was a highly regarded English violin maker active from the late 18th to early 19th centuries, known for his exceptional craftsmanship and the use of a distinctive reddish varnish. Based in London and later Oxfordshire, he was also a Custom House officer. Harris excelled at copying Stradivari and Amati patterns, with his violoncellos being particularly prized. He is noted for his exquisite finish and faithful reproduction of instrument forms. Despite his skill, he often sold his instruments unlabelled to the trade. He also taught and employed Samuel Gilkes.