Extremely fine original finishes on Loar-signed F-5s: left, #72450, March 16, 1923; right, 76553, March 31, 1924.

Original violins made in Cremona, Italy: left, 1735 Guarneri del Gesu; right, 1792 Giuseppe Guagagnini.

In 1921, the Gibson Sounding Board Salesman announced a new finish, “Gibson Cremona Brown.” The creation of this finish, which looked “not a cent less than a million dollars,” was credited to Fred Miller, foreman of the finishing department. At that time, Gibson Cremona Brown was available on models F-4, H-4, and F-4 (for an additional charge of $5). In catalog “N” of 1923, “Cremona” was listed as the standard finish on the style 5 Master Models. Below, we focus on Fred Miller, and Cornelius Kievit, previous foreman in the finishing department, who brought his experience as a carriage painter to the team at 225 Parsons Street. There is no evidence that either of these“two gentlemen of Cremona” had a background in violin making.

Friederick Martin Miller, 37, foreman, finishing department, speaks reads and writes English. Born on February 25, 1885, in Mecklenburg-Vorpommern, Germany. He is listed in the Kalamazoo City Directory in 1909 as a clerk at the Strand Cigar Store, Kalamazoo. He was hired by Gibson as finisher in 1911. In 1925, he left Gibson and became a painter for Roamer Automobiles manufactured by Barley Motor Car Company in Kalamazoo. Barley Co. was already in decline, and went bankrupt by 1928. Martin’s final job before his death in 1944 was as a clerk in Strand Cigar Store.

Cornelius Kievit, 49, finisher. Born in Holland on May 23, 1873; speaks, reads and writes English. Immigration date: 1883. He was foreman in finishing at least by 1918 and continued through 1920. He arrived in Kalamazoo shortly after immigration and at the age of 21, married Jennie Pikkaart (1894), and began working as a painter. He painted buggies and later horseless carriages with Lull & Skinner Carriage Company in Kalamazoo from 1902 until 1911, when wife Jennie died. Kievit came to Gibson as finisher later in 1911 and continued in that role until he left in 1926. In 1927 he was listed as pipe fitter and later started Kievit Plumbing Co. He is not to be confused with his son, Cornelius “Neil” Kievit, who was finisher for Gibson from 1926 to 1930. The elder Cornelius died July 14, 1967 at age 94.

Other finishers in 1922:

Thomas Jäger, 39, finisher. Born in Michigan, son of Dutch immigrants. Came to Gibson in 1921, was formerly “calender man at paper mill” (1920 census). (“Calender” refers to a pressing machine consisting of revolving cylinders) Finisher at Gibson through the 1930s.

Edward F. Howard; 30, born 1892; Came to Gibson 1912, started as a sander, moved to bench mechanic and finisher from 1914 - 1950. He died in 1952.

James Burnett Platt. Born in 1873 in Battle Creek Michigan. Worked at Lull and Skinner Carriage Company beginning in 1910; only came to Gibson for a few years in the mid-teens before returning to the Carriage Company by 1919.

Gibson catalog K, 1918, p. 38. Identical text appears in catalog J, p. 45, 1917 and catalog M, p. 35 1921.

"Violin Making, As It Was and Is” by Ed Heron-Allen. Published in London, 1884, Ward, Lock & Company. (Scan and highlight courtesy Steve Gilchrist)

While the comparison of Gibson mandolins to the violins of Stradivarius and other Cremona masters was a recurrent theme in Gibson sales literature, the often-quoted article above was outright plagiarism. In order to get to the bottom of the mystery of the finish of the Loar-signed F-5s, we have asked our foreign correspondent and eminent mandolin maker Steve Gilchrist his thoughts. Mr. Gilchrist writes:

"From my observations and experience, after the initial water staining of the wood the Loar signed Master Model instruments were finished with a combination of shellac and the newly developed synthetic oil varnish (phenolic resin, similar to modern spar varnish that was first developed in the early 20th C.), not violin oil varnish as they were trying to intimate in their publicity of the time. i.e., dark TN shellac (Truly Native) sealer coats followed by body coats of phenolic oil varnish before a top polishing coat of lighter coloured orange shellac.

The dark shellac dribbles inside the f holes can clearly be seen on most Loars, often with a lighter orange shellac and clearer oil varnish?”

Gibson F-5 73982 showing the shellac dribbles, contradicting Gibson catalog assertions about finish. (Photo courtesy Steve Gilchrist)

“Years ago, a Gibson worker sent me the varnish scrapings removed from a Loar that I sent to an industrial chemist who had an interest in formulating violin varnishes. The brief analysis showed TN shellac, orange shellac and another polymerised material that could not be specified. I suspect that was the oil varnish."

From Gibson catalog “M” p. 29, 1921: “Glimpses of Main Machine Room and Two of the Finishing Department Rooms.” Identification of Cornelius Kievit and Fred Miller in the center photo remains unconfirmed.

Although we continue the search for the mysterious supervisor who “has made a life study of varnish as used on the Violin,” at this point we must conclude that the finishers at Gibson had their background in carriage manufacturing. The truth behind the Loar finish is a story of inventiveness unique to that era, and the unsung heroes of 225 Parsons Street that dared to do things differently. In a concerted effort toward improvement, they made a departure from the shellac-based spirit varnish featured on the artist models of the teens. The beautiful finish they created was in use just a few years before nitrocellulose lacquer revolutionized manufacturing of all types. The finish on the Loar Master Models, even though misnamed “Cremona,” has stood the test of time and continues to deliver the sound that has captured the imagination of generations of musicians.

Lull and Skinner Buggy, ca. 1905. Cornelius Kievit worked as painter for Lull and Skinner from 1902 until he came to Gibson in 1911.

Roamer Motor Car from the 1920s Fred Miller, the man credited with creating “Gibson Cremona Brown,” worked as a painter for Roamer after leaving Gibson in the mid 1920s.

As a parting thought, we leave you Cornelius Kievit’s formula for cleaning mandolins, brought to us by the pen of none other than Jimmy Johnstone. Please do not try this at home!!