Born at Brampton, 1739. Son of William (1). Instructed by father in the making of spinning wheels, also initiated into the art of violin making. Accomplishments supplemented by practising the violin, and in this capacity he ultimately enjoyed a good local reputation for vivacious reel playing. Went to London, 1759, intending to follow the trade of spinning wheel making. Soon found his country ambitions “knocked on the head”. Made a few unlabelled violins, toured through the streets to the various music sellers, and thereby gained a little money to the rapid depletion of his finances. Next, set up as a gun-stock maker which likewise failed to lift him from the menace of starvation. Made a few more violins, did a second tour with every hope of disposing of them, offered his services as repairer, etc. and ultimately managed to get regular employment (at a poor wage) with a music seller named Beck on Tower Hill. Settled down after a few months, and seriously gave attention to the production of the best violins he could accomplish. These Stainer-modelled instruments soon brought along approving customers, and his name commenced its deserved circulation throughout London and the provinces. Started in business for himself in Duke’s Court, 1762. Speedy attainment of splendid reputation subsequently encouraged him to remove to more imposing premises in St. Martin’s Lane. To this flourishing business of violin making and dealing he added that of a music publisher, in which capacity (in 1781), he entered into an agreement with Haydn, and published 83 symphonies, 24 string quartets, and other compositions of that celebrated composer. Established at No. 348, The Strand, in 1784. There he gradually reached the high plateau of fame and financial prosperity, and enjoyed a very expansive “view particularly gratifying, after the stiffish up-hill climbing of earlier days. Issued (in 1795) a copper medal or token, the size of a halfpenny bearing on the obverse side “Wm. Foster, Violin, Tenor, and Violoncello Maker, No. 348, Strand, London”, with the addition of the Prince of Wales’ feathers. On the reverse side, the melody of “God save the King”, a Crown, the title of the melody, and date 1795. At that time, universally recognised as the premier violin maker of British birth. Died 1808. Generally alluded to as “Old Forster”. Sometimes as “Royal Forster”. Violins dated from 1762 to 1771 invariably of the Stainer model, and, judging from the highest standard, they do not assume the essence of grace in outline or arching; breadth of the lower bouts seeming out of proportion to the narrowness of the top. Workmanship generally free from any very perceptible blemishes. Apparently stained the wood previous to applying the varnish (now of a dark red shade with a blackish tinge). Tonal quality decidedly good for this particular high arched model. Favoured (after 1771) the modelling of the brothers A. and H. Amati, also of Nicolo, and these are altogether superior in construction. Comparatively broad pattern with medium arching. Scrolls often of massive design, but winningly spiritual and majestic. Rather original portrayal of sound-holes, result of deliberate and thoughtful intent. Generally closely grained material for tops, and prettily figured maple for ribs and backs. Reddish brown varnish not especially lustrous on the surface, but the tint lasts well. Occasionally tried an orange-red varnish which seems to be far richer and prettier than the former. Finally, the tone is always satisfactory if not really fine, and the possessor of a good specimen may well be proud of his treasure. Very occasionally set himself to copy the Stradivarius. Violas of similar outline and arching, and usually deep ribs. Body length usually just over 15 inches. ’Cellos considered to be quite superior to either the violins or violas. Most of them belong to the finely proportioned large Amatese model. Used two shades of varnish for these - yellow brown and dark red. The rather full and penetrating tone attracted all the ’cellists of his day, particularly the one at the head of them - Robert Lindley, who did so much to popularise the instruments, and sometimes persuaded the public to prefer them to Cremonas. Many have unusually wide grain belly wood.
Made a ’cello for George IV, since known as the “Royal George”, painted with the “arms” and the motto “Liberty and Loyalty”. Sold at Christie’s in London in 1903 for 52 guineas. Realised £120 at Puttick & Simpson’s sale rooms. Average catalogue price today £100. One specimen dated 1790 realised the astounding sum of 1500 dollars (1930).
Reputed (by their contemporaries), that both he, and son William (3) sometimes thinned the wood in the vicinity of the bridge, also increased the weight of the blocks and linings, thereby obtaining an unusually rich quality of tone without the assistance of legitimate old age; but the result of such tampering with the normal thickness particularly under the bridge, can have no other effect than that of tonal deterioration as the years pass. The assertion that William the elder resorted to any tricks at all is flatly contradicted by experts today, also the sound condition of the instruments themselves further emphasise the fact of his honesty. A kind of J. B. Vuillaume in his day - very versatile in building any model to suit his patrons - but he had a conscience and never faked. We like to think of him as a man who remained true to his art throughout life - one who had a predilection for the genuine, and clung to it with the utmost steadfastness. Many instruments about with Forster labels, many of them altogether of common appearance, sometimes even devoid of purfling, but they ought not to be attributed to anything coming from his hands, but rather to the unscrupulous ticketing of certain traffickers. Produced double-basses, but only four, and three of them were made for the private band of George III.
Forster,William(2)
