The origin of this Bass is currently believed to be early English from the latter period of the 18th Century or early 19th Century. Several English authorities have guessed from the photos that it is from the English Midlands but at least one sees a possibilty of the Early London School of makers that used the Gamba form like George Corsby (c.1785-1800 or Corsby of Northampton c.1780) and Joseph Hill & sons (c.1765-1780s).

While the Restorer and the London dealers place its origin in England, some other American dealers and bassists have guessed from the photos that it is Bohemian or Central Europe from Germany thru Prague.

Recently I contacted a prominent Bass maker in Prague hoping he might shed some insight on his own school of makers and this is what he had to say from these exact same photos;

"As far as I can guess from the photos and dating (end of 18th or beg. of 19th century), this bass has nothing to do with the central European origin. This period in middle Europe was completely influenced either by Viennese makers like Posch (and their apprentices like Eberle, Willer) or by Saxony makers and their influence (Rauch family etc.)
The instrument on the photograph shows no similarities with any of these makers. I do not think there is any middle European influence on this bass"

According to his statement this rules out the Bohemian/Germanic theory and points us right back to Northern Europe's England or France.

A few other origin guesses besides French were American Prescott School and even Italy naming Gagliano as the possible maker. The Yankee guess was mainly from the old repairs that remain in the Bass currently and the Gagliano thought was inspired by the long FFs on the Bass. Never before have I seen the origin of a Bass guessed so broadly thru Europe as well as New England. I think that when the Bass is finally done and seen in person by some of these same people, we will get more agreement to a degree as to the origin of the Bass. So far, only the Restorer and myself have seen this Bass in person 'inside and out'.

This Bass is currently getting a complete restoration including internal Blocks cleaned and re-glued, Linings as needed & a Neck Graft as well as some cosmetic & structural repairs to last the next century. The Bass will be kept as original as possible with only the necessary replaced internal or external work. The existing 'Yankee' X-Brace and current small/low Bass Bar will actually remain as these are in perfect condition and holding up well doing the Job intended for at least the last 100-150 years. The restoration (started in 2004) is expected to be completed sometime in 2008.

I would like to point out that even though this restoration is in its 4th year, this slow-go acclimation process is actually favorable for a Bass that has been out of circulation and neglected for almost a century. This way, the Bass gets to settle in little by little under the watchful eye of a very skilled Luthier and treated accordingly. Many of the cracks and splits had to have the 'coal dust' cleaned out of them. The 'coal dust' being just one more sign of how long this Bass has been out of service and lying around in dis-repair. The Buckled Ribs are also being gradually straightened, glued and re-glued as the Bass returns closer and closer to its original form.

Patience must be on the 'menu' for any serious restoration projects such as this.

Note the bottom of the 'C' how is turns so softly towards the Lower Bout. This is one of the unusual features of this Bass that confuse the possible identity. The original Cross Bars/Rails are Gamba style construction. The Purfling on the Top is Northern European as used in England and France. The Back is not Purfled but has a few traces of 'inked' Purfling identified as 'English Ink'. The wood on the Back and Ribs is quartered Maple (or Sycamore) with narrow even flames. The current Neck Block is not original but is very old. There was a small piece of wood left glued to the upper Back near the current Neck Block which seems to be from the inner 'tab' of a Blockless style Neck. The upper Rib curve at the block however does not follow any of the typical Blockless forms we have seen. What we have here is a barrel full of Mysteries. Perhaps this was made as a Large Viol or Violone and was converted to a Double Bass sometime in the 19th century, first as a 3-string Bass and then fitted with 4-strings in the late 19th or early 20th century. The 4-gears however were from sometime in the 19th century as I have seen these on a few older Basses mainly German and English.