Charles Beare, a distinguished expert and dealer of string instruments, passed away at the age of 87, leaving behind a legacy deeply intertwined with the world of fine instruments and bows. His unparalleled knowledge made him a prominent figure in the intricate field of violin authentication.

With just a glance at the corner of an instrument, an f-hole, or a glimpse of a scroll, Beare could often recognize a piece thanks to his extraordinary eidetic memory. He didn’t require measurements to identify instruments or bows. “To truly learn, one must see instruments with their original labels; if people hadn’t removed so many, it would have been much simpler,” Beare recounted in an interview.

“A photographic memory is essential; in fact, it’s a necessity. I don’t memorize each instrument individually but focus on the nuances of a maker’s craftsmanship, allowing me to recall similar instruments from years past when something unusual comes my way.”

As the fourth generation of the J&A Beare family business, Beare transformed the shop, located in a 19th-century space on Broadwick Street in Soho, into a cornerstone of London’s violin market and a gathering place for celebrated musicians who soon became friends rather than mere clients.

He cultivated strong connections with notable players such as Nathan Milstein, Pinchas Zukerman, Mstislav Rostropovich, Yehudi Menuhin, Yo-Yo Ma, and Jacqueline du Pré, even locating her 1712 “Davidov” Stradivarius cello, which Yo-Yo Ma later used. A lift was added to the shop for Itzhak Perlman’s convenience in accessing his second-floor office, but it also proved practical for moving cellos.

The London workshop, influenced by Beare’s guidance yet never oppressive, was known for its more forgiving style compared to the brighter, tighter approaches found elsewhere. High gloss finishes were avoided, favoring a protective touch for the soft, porous varnish. The bridges he preferred carried a substantial mass, eschewing a thin or “brash” appearance as noted by a workshop restorer. The sound post placement was carefully adjusted further back to achieve a more natural sound.

In the business approach, restorers rather than accountants took precedence, many of whom later became leading restorers and makers themselves. Beare asserted that the successful operation of the workshop depended on both the dealing and restoration facets.

He was a generous employer, known for his calm demeanor and supportive attitude, allowing ample time for extensive projects while prioritizing quicker turnarounds for smaller tasks, such as bridge replacements or bow repairs for visiting soloists.

The workshop maintained an egalitarian atmosphere, encouraging a culture of shared knowledge without a strict hierarchy. The only sound accepted was the Test Match Special; Beare would occasionally check for updates.

Musicians enjoyed equal footing in this collaborative environment. Beare was skilled at setting up instruments, a talent that enhanced even modest instruments’ performance. He welcomed musicians for input; the violinist Nicola Loud fondly remembered using Kreisler’s Praeludium and Allegro for demonstrations due to its steady tempo and balanced sound across all strings.

Beare was passionate about supporting musicians and restorers, offering instruments on lifetime loans and lending beautiful, smaller models to children. His charitable endeavors were abundant, including support for organizations like Buskaid, which aids young musicians in Soweto, South Africa, and backing the Loan Fund for Musical Instruments.

He also mentored emerging makers, allowing documentation of items from his collection and lending instruments to instrument-making classes to enhance skill development. Regular visits to students at the Newark School of Violin Making in Nottinghamshire were part of his commitment to nurturing the craft.

Born in London as the son of an acoustical engineer, Heinrich Adelmann, and Elizabeth Adlitt, a model and seamstress, Beare took on his stepfather’s surname after his mother married William Beare in 1949. A scholarship took him to Repton School in Derbyshire in 1950. After completing national service in Cyprus, he was asked by his stepfather to photograph a viola, leading to his involvement in the family business.

In 1958, he attended a prestigious violin-making school in Mittenwald, Bavaria. His remarkable memory for details drew the attention of notable New York dealer Rembert Wurlitzer during Beare’s early 1960s tenure there. Working alongside Simone Fernando Sacconi, he learned restoration techniques that emphasized preserving an instrument’s character with minimal alteration.

While at Wurlitzer, Beare encountered over 100 examples of Stradivari violins and many Guarneris. This knowledge-sharing philosophy shaped his management style back in London. Restorers recall Beare presenting stacks of violins from particular makers, arranged chronologically for contextual reference. “Just head down to the basement, third shelf on the left,” he’d guide staff to a unique instrument or bow.

Upon returning to the family business, he worked initially in Wardour Street before relocating to a larger space in Broadwick Street in 1978, as Beare gradually took over management from his stepfather.

In 1998, he formed a new collaborative venture with another London dealership, rebranding the original family business as Beare Violins Ltd, while the new entity retained the name J&A Beare. He and his son Peter stepped down as directors in 2012, later re-establishing the Beare legacy in Kent, where the business continues to thrive in its fifth generation.

Beare supported the British Violin Making Association and played a pivotal role in the creation of the influential 1998 catalogue, The British Violin. He also persuaded the Ashmolean Museum to host an exceptional Stradivari exhibition in 2013, following an important showcase in Cremona in 1987, for which he was honored as an honorary citizen.

Both exhibitions featured exquisite catalogues authored by Beare, and the Cremona event included a comprehensive book he produced. His charm, humor, and persuasiveness were crucial in securing instruments from leading musicians worldwide for display. Beare was equally respected in the United States, where dealers like Jim Warren of Chicago hailed his impeccable reputation as a modern dealer and expert. He was appointed OBE in 2004.

In 1961, Beare married Kathleen Day, with whom he had two children, Peter and Sally. This marriage ended in divorce, and in 1989 he wed Penelope Hills, with whom he welcomed Freddie and Emma. He leaves behind Penny, his children, and seven grandchildren.

Charles Theodore Sydney Beare, a renowned authority on string instruments and dealer, was born on May 22, 1937, and passed away on April 26, 2025.