George Ward (luthier)

Very little is known about Ward's early life.^[6] It has been proposed that he was born in Dublin in 1715 to Samuel and Mary Ward, based on baptism records from the Church of St Nicholas Without, Dublin, 18 May 1715.^[7] He had a brother named John (1703–1778),^[8] whom there is also evidence of being baptized to the same parents and at the same church on 1 October 1704.^[7] John was also a violin maker based in Dublin.^[2] John's daughter, Isabelle, married Dublin guitar maker, William Gibson.^[9] Ward may have spent his childhood in Christchurch Yard in Dublin, where he is first recorded to have worked. Faulkner's Dublin Journal records the death of a Mr. Lewis Ward, Toyman, of Christchurch-yard on 5 October 1765, possibly a relation to George.^[10]

It is uncertain who Ward apprenticed with as a violin maker, but it is possible that he was a pupil of Dublin luthier Thomas Molineux (d. 1757), who also resided at Christchurch Yard.^[11] Furthermore, Ward branded his instruments 'WARD/DUBLIN' at the back below the button, a trait which he may have adopted from Molineux.^[12] Based on his proposed year of birth, Ward likely began his apprenticeship around 1729. However, the dates that Ward was active as a luthier are debated amongst historians.^[13] William Henley believed him to be active as early as 1710, probably based on the earliest date attributed to one of his instruments, supposedly labelled 1719.^[4] However, it has been suggested that Henley may have misread the label.^[8] Others date the start of his career as late as 1750,^[6] from which period there are more extant instruments. However, there is evidence that Ward was working as a violin maker at Christchurch Yard by around 1740.^[14]

Some time between 1740 and 1750, Ward moved to Lee's Lane, Aston Quay.^[2] It has been proposed that Ward may have taken on a young Thomas Perry as an apprentice around 1752 due to the similarity of Perry's early instruments.^[15] Perry also began his career as a luthier at Christchurch Yard and used to brand his instruments 'PERRY/DUBLIN' at the back below the button, a trait that he likely inherited from Ward.^[15] Perry would go on to become one of the most prolific Irish luthiers and later set up a thriving workshop where numerous Irish and international luthiers would learn their trade. Sometime around 1760, Ward moved his business to Anglesea Street. It is likely that he worked at this address with his brother, John, as there is an Irish harp that bears the brand 'John Ward / Anglesea Street / Dublin 1761'.^[16] Ward remained and worked at this address until his death in 1769.^[3] It has been suggested that Perry may have succeeded Ward at the same address in Anglesea Street, since he appears to have moved to this address about the same time as Ward's death, adding to the possibility that Perry was a former pupil of his.^[17]

It is considered that Ward developed his own original style of violin making.^[4] It is uncertain whether he inherited some of these unique traits directly from his teacher or developed them over time. The link between Ward's style and Perry's earlier instruments also suggests that Ward had his own unique style, which Perry supposedly adopted as his student.^[8] Ward's instruments have also been said to have close similarities to the Stradivari model.^[4][6] It is not known if he ever had the chance to study directly from an original Stradivarius or if he also adopted such traits from his teacher. In terms of his workmanship, Ward has been described by Rev. Morris as an "artist" and by Henley as a "maker of undoubted ability".^[6][4] Ward's surviving instruments have been described by Henley as having "very handsome wood and beautiful varnish" and as being "quite superior" to those of Perry.^[4] As well as branding his instruments in the usual manner with his name and place, Ward also branded them with a crowned harp on the button.^[12]

It is not known how many instruments Ward produced in his lifetime. Some of them still survive today and occasionally come up for sale or auction, others are housed as part of collections and exhibits. One of Ward's finest violins was acquired by the National Museum of Ireland in 1891 and is preserved as part of a collection of musical instruments by Irish makers.^[18] The collection also includes instruments by Perry, Molineux, Delany and Mackintosh.^[5]

Some of Ward's extant instruments:

• ?: sold by Christie's in July 1996 for £748 (Lot 64), LOB: 35.5 cm^[19]
• 1719: labelled 'Made by George Ward in Anglesey Street 17 Dublin 19' (may have been misread)^[4]
• 1740: labelled 'Made by George Ward in Lee's Lane on Aston's Quay, Dublin, 1740', National Museum of Ireland collection^[18]
• c. 1750: branded 'WARD/DUBLIN', private collection^[20]
• c. 1750: sold by Bonhams in July 1997 for £1610 (Lot 170)^[21][22]
• 1751: sold by Christie's in June 1990 for £825 (Lot 92)^[21][22]
• 1753: formerly Graham collection^[23]
• 1758: labelled 'Made by George Ward in Lee's Lane on Aston's Quay, Dublin, 1758'^[23]
• 1764: labelled 'Made by George Ward in Anglesea Street in 1764'^[23]
• 1766: labelled 'Made by George Ward in Anglesea Street 17 Dublin 66'^[23]
• 1768: sold by Philip's in June 1992 for £990 (Lot 54)^[21][22]

• (?): similar to the 1753 violin^[23]

• Thomas Molineux (Irish luthier)
• Thomas Perry (Irish luthier)

• George Ward on Dublin Music Trade
• George Ward on Brian Boydell Card Index
• George Ward on Tarisio
• George Ward on Amati
• George Ward on Brompton's