Table of Contents

William Tarr

Auction price history

Highest auction price

£10,120

Type	Details	Sold	Price
Violin	36.2 cm 1870 c.	February 2006	£936
Cello	1840	September 2001	£10,120
Violin	1883	November 1996	£1,464
Violin	1881	October 1989	£825
Violin	1876	September 1989	£1,045
Violin	1870 c.	September 1989	£605
Violin	1885	November 1988	£550
Cello	18--	April 1987	£3,520
Violin	1885	March 1987	£264
Violin	1881	May 1986	£1,320
Violin	1881	March 1986	£756

Maker Overview

History

William TARR (1808-1891) was born in Manchester on February 21, 1808, and was baptized a few days later at St. Mary's Church in the same city. His father, a fustian cutter who had himself made instruments including violins, 'cellos, and basses, apprenticed William to a cabinet carver. William became such an expert workman that at the age of eighteen, he purchased his indentures from his master for £100 and immediately began work as a journeyman. At this young age, his parents became dependent on him, and he supported them for the remainder of their lives.

Having studied music and desiring to play the double-bass, Tarr set about making one for his own use. Two friends persuaded him to make one for each of them, and upon completion, the bass he had intended for himself was so coveted by another friend that he let it go. This pattern repeated with nine more basses, all made in sets of three, meaning he made twelve basses without being able to keep one for himself. Before Tarr began making instruments, there were no privately owned basses in Manchester; only churches and theatres possessed them. His business gradually evolved into violin and bass making, primarily the latter, alongside repairing instruments. He worked until he was about eighty years of age.

Sources contain conflicting information regarding the exact period, but William Tarr temporarily gave up violin making to become a photographer, with Willibald Leo Lütgendorff noting this occurred in the late 1850s (Ende der fünfziger Jahre), though he later returned to his original profession. He travelled extensively during his lifetime, particularly in the United States. While in New Orleans, he played in the theatre orchestra and served as an organist for one of the churches there for some time.

In his later life, Tarr was a prominent secularist, socialist, and anti-vaccinator, yet he maintained friendships with many priests and ministers who valued his character. He was a fair Latin scholar and was proud of his father's reputation as one of the best Latin scholars in Manchester. A gentleman for whom he had worked provided him with a small annuity for the last ten or twelve years of his life. He adhered faithfully to his principles, even going to prison for seven days at the age of sixty rather than allowing his youngest child to be vaccinated, refusing to let friends pay his fine.

Towards the end of 1886, Tarr faced financial hardship, writing about his inability to pay rent and his struggle to give up working in May 1886 due to incapacity, stating, "Farewell work, my greatest joy! Farewell, my valued tools." He possessed a remarkable memory for fiddles, comparable to William Ebsworth Hill's. On one occasion, he recognized a bass he had made forty years prior by a "flash in the base of the neck." William Tarr died on July 10, 1891, and was buried with secular rites in the Southern Cemetery, Manchester, on St. Swithin's day.

Craft

Instrument Production: William Tarr produced over 200 basses, in addition to a number of violins, violas, and 'cellos.
Bass Characteristics: His basses are described as having flat backs, appearing in both large violin form and smaller viol patterns. The scrolls are neatly cut with a small but prominent eye.
Construction Method: He often made his early basses in sets of three, featuring corners like a violin.
Quality: Cecie Stainer noted that he made "very good double-basses," while Willibald Leo Lütgendorff stated he made "recht gute Geigen" (quite good violins).
Other Crafts: Tarr also built a number of organs and pianofortes and took out several patents for his inventions in this line.
Reputation: His basses have acquired a very high reputation, with some now bearing forged labels and passing as Italian instruments.

Influence

Apprenticeship: William Tarr was apprenticed to a cabinet carver.
Family Influence: His father, a fustian cutter, also made instruments, including violins, 'cellos, and basses.
Pupils and Assistants: James Cole was his pupil and assistant, whilst J.W. Briggs was his pupil and friend.
Family Involvement: His eldest son worked with him in the business until his eighteenth year. Another son, Joseph, also became a violin-maker.

Legacy

Instrument Legacy: William Tarr's basses have acquired a very high reputation, with over 200 produced. These instruments are scattered across the country and abroad, and some are now fitted with forged labels, passing as Italian instruments.
Family: He was twice married and had eleven children with each wife, totaling eleven sons and eleven daughters. In 1884, eleven of his children were still living.
Recognition: A gentleman for whom he had done work provided him with a small annuity for the last ten or twelve years of his life.
Unacknowledged Contributions: Tarr felt that writers on the violin had done him "scant justice, or no justice at all," noting that his pupil James Cole received a mention in Hart's work while his own name was absent.

Further Information

Location: William Tarr was born and lived in Manchester, UK.
Musical Career: He was an excellent musician and served for twelve years as one of the bassists of the Gentlemen's Concerts orchestra in Manchester, which later became the nucleus for Sir Charles Halle's orchestra. He also played in a theatre orchestra and was an organist in New Orleans.
Associates: His pupil and friend was Mr. J. W. Briggs, of Glasgow.
Specific Instruments: He made a double-bass for Father O'Toole, a Roman Catholic priest, in 1854, which was later presented to Father Callagham.

Summary

William TARR (1808-1891) was a highly respected English double-bass maker from Manchester. Apprenticed as a cabinet carver, he became a prolific luthier, producing over 200 basses, along with violins, violas, and 'cellos. His basses are noted for their flat backs, violin-like corners, and neatly cut scrolls, earning a high reputation, with some even being passed off as Italian instruments. Tarr was also a musician, playing double-bass in orchestras and serving as an organist. He briefly worked as a photographer in the late 1850s before returning to instrument making. He trained pupils like James Cole and was assisted by his sons. Despite his significant contributions, he felt his work was largely unacknowledged by contemporary violin writers.

Found an error? Report Now

Biographies

John Dilworth Cecie Stainer William Meredith Morris Willibald Leo Lütgendorff Henri Poidras

John Dilworth

TARR, William Born 1808, died 1891 Manchester UK. Double bass player and maker; first instruments dated 1829. Produced over 200 basses, with the later assistance of his sons Thomas, Joseph, and Shelley which have acquired a very high reputation. Some violins and cellos also recorded. Also trained and assisted by James Cole and J. W. Briggs. Basses are flat backed, large violin form, and smaller viol pattern. Scrolls neatly cut with small but prominent eye. Took out several patents for organs and also worked as a photographer. [Hill Archive]

William Meredith Morris

He was born at Manchester, Feb. 21, 1808, and baptized a few days later at St. Mary’s Church, of the same city. He was apprenticed by his father (a fustian cutter, who had himself made several instruments, including violins, ‘cellos, and basses) to a cabinet carver, and he became so expert a workman that at the age of eighteen he purchased his indentures from his master for £100, and he at once commenced work as a journeyman. At this age his parents became dependent upon him, and he maintained them for the rest of their lives. Having studied music, and desiring to play the double-bass, he set about making one for his own use. Two of his friends becoming aware of the fact persuaded him to make one for each of them also. So soon as these were completed, the one which he had made for himself was so eagerly coveted by another friend that he must needs let it go. And so it happened with nine others — all made in sets of three, with corners like a violin — he was not able to keep one of them for himself. Thus, although he had made twelve basses, he was still without a bass for his own use. Previous to the time when Tarr took up the gouge, there was not a single privately owned bass in Manchester, the only ones in use being the property of churches and theatres. A curious circumstance illustrating this fact is that a man who played the bass in the Old Theatre Royal for forty-nine years never had a bass in his own house. The instrument he played upon is now the property of Mr. W. H. Stewart, principal bass of the Crystal Palace. This instrument it was that created in Tarr a first longing to make and play one, and he was often seen in the gallery listening to its tones. His business, subsequently, gradually resolved itself into that of violin- and bass-making, chiefly the latter, with that of repairing. He worked till he was about eighty years of age, and turned out two hundred and six basses, besides a number of violins, violas, and ‘cellos. His eldest son was with him in the business till his eighteenth year, when he left home. Another son, Joseph, was also a violin-maker, and is now, I believe, in America. His youngest son, Shelley, is in business in Manchester. Tarr also built a number of organs and pianofortes, and took out several patents for his inventions in this line. At this time he had James Cole as pupil and assistant. On the occasion of a great festival in Dublin, where Tarr was playing, each of the nine basses used were of his make. He was an excellent musician, and was for twelve years one of the bassists of the Gentlemen’s Concerts orchestra, which was the nucleus from which Sir Charles Halle formed his. He was twice married, and had eleven children of each wife, in all eleven sons and eleven daughters, and in 1884 there were eleven of them living. He travelled a great deal in his lifetime, principally in the United States. Whilst in New Orleans he played in the theatre orchestra along with one of the sons of William Foster. He was also for some time organist of one of the churches there. Tarr was during the latter and greater part of his life a prominent secularist, socialist, and anti-vaccinator. Still he numbered amongst his friends many priests and ministers, who alike valued his friendship and upright character. He was a fair Latin scholar, and was proud to speak of his father as one of the best Latin scholars in the city in his day. It may be cited here as an instance of the esteem in which he was held that a gentleman for whom he had done work, gave him a small annuity for the last ten or twelve years of his life. He adhered faithfully to his principles in the face of many difficulties. At the age of sixty he went seven days to prison rather than have his youngest child vaccinated, and would not allow any one to pay the fine, although many of his friends were anxious to do so. He was a conscientious and a diligent worker. For the long stretch of sixty years he handled his gouge and turned out some really fine basses. These instruments are scattered all over the country ; some are abroad, and not a few now bear forged labels and pass as Italian instruments. Writers on the violin have done him scant justice, or no justice at all, and he felt it very keenly. Writing under date of Sept. II, 1884, to his pupil and friend Mr. J. W. Briggs, of Glasgow, he says : ” Hart has published another edition of his work, but my name is still not to be seen in it. And yet Cole my pupil has a line ! It is somewhat strange.” Towards the end of 1886 he began to feel the weight of the heavy hand of adversity. He writes : ” There will be a change very soon, as I cannot pay the rent … are still on my hands, and they keep me very poor . . . says he will enlist if something does not turn up in a day or two. I wish he would, much as I despise the army.” On laying down his tools he writes : ” I have had a desperate struggle to give up the idea of working [May 1886], but it is all over now. I am totally incapable, and am more reconciled (necessitas non habet legem) ; so farewell work, my greatest joy ! Farewell, my valued tools — we have cut our way together so long, but now we must part — a severe parting ! ” How simple and pathetic ! The following, written shortly after the above, shows his continued passion for his beloved art, “To-morrow I shall have another double-bass here, made out of the same wood (back and ribs) as yours. I made it for Father O’Toole, a Roman Catholic priest, in 1854, who has presented it to another priest. Father Callagham. Father Callagham says the bass is worth £40. The instrument will remain here till Saturday morning, and I should like you [i.e. Briggs) to see it. . . . Joe is making another violin for the Exhibition, and Shelley has bought wood for a ‘cello ! Joe feels determined —–shall not filch away the gold medal as he did at —— for work which was not his own.” When at death’s door, leaning on the arm of his first love — the fiddle — he says : ” My dear friend Briggs, I shall not be able to visit you again, I am so feeble. … I am sorry to say my daughter Eleanor died on the 23rd, and was buried on the 27th, of last month. My eldest daughter became a widow on the 1st of May last. . . . Leaving these sorrows, let us come back to the tenor. I have sufficient confidence in your knowledge of construction to leave it entirely in your hands. When finished, send your bill and I shall be glad to pay.” Sorrows were to him but passing clouds on the bright firmament of violin-making. He possessed a remarkable memory for fiddles. It was as infallible as that of William Ebsworth Hill. On one occasion his friend Briggs took him to see another friend of theirs in Wakefield, who, unknown to either, possessed a Tarr bass, and as soon as they entered the room Tarr exclaimed, “I remember that bass well. There is a flash in the base of the neck, and I had a devil of a job to keep it from springing out.” He had not seen that bass for forty years ! He died on July 10, 1891, and was buried with secular rights in the Southern Cemetery, Manchester, on St. Swithin’s day.