Perry, James
James Perry
flourished circa 1780-1800
Back Lane, Kilkenny, Ireland.
James Perry was the younger brother of Thomas Perry (II). He evidently took some training and influence from the Perry and Wilkinson shop in Dublin, because most of his instruments are made to their characteristic model. It is important not to run to hasty generalisations of Perry's work. Other dictionaries have characterised his work as rough, but it seems to run the gamut from cheaper unpurfled instruments to those that are quite fine, although the average tends to be lower than those of Perry & Wilkinson who made to a very consistent standard in Dublin. Additionally, several hands can be seen amongst authentically stamped instruments. The majority of a familiar design to those made in Dublin, but some others also exist. Amongst his better work, some indicate the hand of Richard Tobin, especially in the very fine carving of the scroll, suggesting that Tobin spent a brief spell working with him (likely on a return visit to Ireland from London). Varnishes vary from quite a light brown spirit varnish to good opaque oil varnishes. Instruments are stamped below the button, and labelled.
"PERRY / KILKENNY"
"J. PERRY / KILKENNY"
"JAMES PERRY / KILKENNY"
"Made by James Perry, Back Lane, Kilkenny, No. 137, 1783"
"Made by James Perry / Kilkenny. No. 200 1785"
Benjamin Hebbert
www.hebberts.com
flourished circa 1780-1800
Back Lane, Kilkenny, Ireland.
James Perry was the younger brother of Thomas Perry (II). He evidently took some training and influence from the Perry and Wilkinson shop in Dublin, because most of his instruments are made to their characteristic model. It is important not to run to hasty generalisations of Perry's work. Other dictionaries have characterised his work as rough, but it seems to run the gamut from cheaper unpurfled instruments to those that are quite fine, although the average tends to be lower than those of Perry & Wilkinson who made to a very consistent standard in Dublin. Additionally, several hands can be seen amongst authentically stamped instruments. The majority of a familiar design to those made in Dublin, but some others also exist. Amongst his better work, some indicate the hand of Richard Tobin, especially in the very fine carving of the scroll, suggesting that Tobin spent a brief spell working with him (likely on a return visit to Ireland from London). Varnishes vary from quite a light brown spirit varnish to good opaque oil varnishes. Instruments are stamped below the button, and labelled.
"PERRY / KILKENNY"
"J. PERRY / KILKENNY"
"JAMES PERRY / KILKENNY"
"Made by James Perry, Back Lane, Kilkenny, No. 137, 1783"
"Made by James Perry / Kilkenny. No. 200 1785"
Benjamin Hebbert
www.hebberts.com
![]() |
| A violin by James Perry of the lowest quality, unstamped and with painted purfling. For whatever reason painted up in the French Napoleonic style. (Courtesy of Andrew Hooker) |
![]() |
| Violoncello of a very typical Dublin Perry & Wilkinson model, but the head more typical of James Perry's work, stamped "PERRY / KILKENNY" (Courtesy of Andrew Hooker). |
![]() |
| Violin labelled "Made by James Perry, Back Lane, Kilkenny, No. 137, 1783" (Courtesy of Andrew Hooker) |
![]() |
| Violin stamped "PERRY / KILKENNY" showing the hand of Richard Tobin (Quick photos, courtesy of Philip Brown Violins) |
![]() |
| Scroll of the violin stamped "PERRY / KILKENNY" particularly strongly showing Tobin's hand. The Stradivarian form would suggest that the violin was made during some return visit to Ireland from London. (Courtesy of Philip Brown Violins) |










