French Violin Makers
Alibert (Jean-Pierre). – Born in Montauban, in 1820. Inventor of a peg system for bowed instruments.
Aubert. – Handwritten label, found inside a guitar-shaped hurdy-gurdy: Aubert luthier 1767. It may be the same Aubert who made the two-necked guitar from the old Sax collection, which is dated Troyes, in 1789.
Autiero (Joseph). – Avignon, 1886. Printed label, found in a Charotte-Millot cello: Repaired by Jh Autiero luthier Avignon, year 1886 .
Bachelier (Jean-Gaspard). – Paris, rue de la Tissanderie, in 1777. Place Baudoyer, near Saint-Gervais, from 1783 to 1789.
Barbey (Guillaume). – Paris, 1717. Of which there is a six-stringed "viola a gambe" in the Brussels museum:
Bassot (Joseph). – Paris, c. 1764-1810. Elegant instrument making. Lupot style. Amber-red varnish. Initially located at Quinze-Vingts, he settled at 1 rue Chabannais in 1788:
Baton. – Versailles, early 18th century . He is said to have made hurdy-gurdies with old guitars, and with the bodies of lutes and theorbos.
Belleville. – Paris, 1828. Author of a violin of new cut, but not very graceful, which is in the museum of the Conservatoire, in Paris [337] .
Bigourat. – Le Havre, 19th century . Son of the preceding. Like his father, he mainly carried out repairs.
Bongars (Simon). – Known for a six-stringed bass viol belonging to M. de Bricqueville, in Versailles.
Bourlier. – Mirecourt, 1820. Ordinary violin making. He mainly made quarter, half and three-quarter size violins.
Brubac (Antoine). – Mirecourt, 1847 + 1894. A skilled craftsman who made all the instruments signed by M.A. Klein, in Rouen. Charles Brubac, his brother, a skilled luthier, has worked for twenty-seven years in the workshops of M. Gustave Bernardel.
Buthod. – Mirecourt, 19th century . Good luthier of J.-B. Vuillaume, in Paris, who made some violins marked with his name, before founding a string instrument factory which later became the Thibouville-Lamy company, run today by Mr. Acoulon.
Cabresy. – Bruni, who inventoried a cello by this maker dated 1725, does not say in which city he worked.
Chanot (Joseph). – Mirecourt, c. 1760 + c. 1830. Ordinary instrument making. Varnish sometimes red or dark brown. Branding mark on the inside.
Charles. – Paris, at Quinze-Vingts, 1748. A violin by this maker, bearing this date, is mentioned in Bruni's inventory.
Charlotte Millot (Joseph). – Mirecourt, c. 1810-1850. Probably the brother of the preceding. He mainly made cellos, double basses, and hurdy-gurdies: He also adopted the following as his sign: To the city of Cremona:
Charotte. – Mirecourt. Second half of the 18th century . Maker of a large hurdy-gurdy, guitar-shaped, belonging for more than a century to the Pajot family, in Jenzat, and marked: "Charotte, in Paris, 1763 [358] ".
Chevrier. – Mirecourt. Third son of J. Chevrier. He has been managing the string instrument factory, which currently belongs to Mr. Thibouville-Lamy, for thirty-five years.
Christophle (Jean) of Avignon. – Handwritten label imitating large printed type: John Chrysophlus of Avignon 1654. The museum of the Conservatoire de musique, in Paris, has a viola, a great master of this author [363] .
Claudot (Augustin). – Mirecourt, 19th century . Brother of the preceding. Same type of instrument making. He also marked his instruments with fire.
Claudot (Paul). – Mirecourt, 1800 + 1886 approximately. Son of Augustin Claudot. Its double basses have a reputation. Here is his brand, still applied with a hot iron:
Collichon (Michel,). – Paris, 1683. A charming bass viol by this author, bearing this date, was seen at the Retrospective Exhibition in 1889, in Paris.
Collin (Claude-Nicolas). – Mirecourt, where he died in 1864. A good luthier, whose pupils included Charles-Auguste Miremont, and
Colson. – Mirecourt, around 1840. He made guitars and hurdy-gurdies in particular. Ordinary workmanship.
Colson. – Mirecourt, circa 1860. Son of the preceding. He also specialized in the manufacture of the same instruments. We saw a rather beautiful hurdy-gurdy by this maker. It was marked: Colson au feu, on the left side of the keyboard.
Convert. – Bourg, c. 1830-1870. Amateur luthier who made a number of hurdy-gurdies, Louvet style. He owned a mold from an 18th – century Parisian luthier, which he used to build his hurdy-gurdies.
Cornu. – Marseille, 1759. Handwritten label, found in a well-made cello, Italian style, yellow varnish: Cornu Fecit In Marseille, 1759.
Coty (Jean-Claude). – Versailles, 1787. Handwritten label: Jean-Claude Coty, luthier Versailles, 1787.
Cuchet (Gaspard). – Grenoble, 1729. Label printed in large type: Made by Gaspard Cachet at Grenoble, 1729.
Cuny. – Paris, circa 1750. Ordinary violin making. One of his violins is in the museum of the Conservatoire de musique, in Paris [364] . It is branded:
Darte (Auguste). – Mirecourt, 19th century . Student, son-in-law, and successor of Nicolas Vuillaume. He had worked for J.-B. Vuillaume in Paris. He died in Mirecourt in 1888.
Delannoy (L.). – Lille, 19th century : Repaired by L. Delannoy in Lille in 1835. A similar label dated 1828 was found in a Fent violin.
Delaunay. – Paris, 1775. Known from the small hurdy-gurdy, bearing this date, which is in the instrumental museum of the Conservatoire, in Paris [369] .
Delunet (Auguste). – Paris. Contemporary luthier. Originally from Mirecourt, he completed his apprenticeship there and spent a few years with MH-C. Silvestre in Paris, before working on his own account at 10 rue Paradis.
Denizot. – Tours, 1828. Oval label, printed on red paper: Repaired by Denizot Luthier in Tours, 1828.
Derazey (Just). – Mirecourt. Son and successor of the preceding. Died around 1885. He made fairly good luthiers, most often branded with a fire mark. In 1864, he became the owner of the stringed instrument factory of Joseph Nicolas Jr.
Desroussaux. – Verdun, 18th century . We saw a violin of ordinary manufacture, branded under the heel of the neck: Desrousseaux at Verdun.
Dieulafait. – Paris, 1720. Known for a very fine seven-stringed bass viol, which is in the museum of the Conservatoire de musique, in Paris [371] .
Du Mesnil (Jacques). – Paris, 1655. Known from a violin-shaped pouch, a true little gem, which is in the museum of the Conservatoire de musique, in Paris [372] .
Element (Jean-Laurent). – 1783. Mr. Constant Pierre, who quotes him, does not say in which city he worked.
Engelhard. – A hurdy-gurdy with a harpsichord keyboard and a crank on the left is preserved in the Cluny Museum [373] , bearing the inscription Engelhard fecit, 1742. The town where this instrument was made is not indicated. Was this luthier French?
Feyzeau. – Bordeaux, 1760. Known from a quinton, well-made, grey-brown glaze. Printed label: Feyzeau in Bordeaux 1760.
Finz. – Avignon, 1853. Handwritten label found inside an ordinary violin: Repaired by Finz Avignon 1853.
Gand (Charles-Michel). – Mirecourt, 1748 + Versailles 1820. He had come to settle in Versailles, in 1780, first at 71 rue du Commerce, then at 32 rue de la Paroisse, at the sign: Aux tendres accords.
Gand (Guillaume). – Paris, July 22, 1792 + Versailles, May 31, 1858. Brother of the preceding. Also a pupil of N. Lupot, he succeeded his father in Versailles. His instruments are reminiscent of those of his master.
Ghent. – Amiens, 1803. Label found on a Tyrolean cello: Cross-checked by Ghent luthier in Amiens in 1803. He was probably from the same family as the Parisian luthiers of that name.
Gilbert (Nicolas-Louis). – Metz, 1701, known for a five-stringed viola pardessus, belonging to Messrs. Mabillon brothers, in Brussels, which was featured at the Exhibition in 1878, in Paris.
Gilbert (Simon). – Metz, c. 1737-1760. A quinton by this maker, dated 1744, was part of the Sax collection; a similar instrument, from 1749, belonged to M. Loup.
Giquelier (Christofo). – Paris, 1712. Of which there is a bastard viol, lacquered, with six strings, in the museum of the Conservatoire, in Paris [385] .
Girod (Claude). – Bruni, who inventoried a viola by this maker, does not indicate the period or the city where he worked.
Grandjon (Jules). – Mirecourt, 1855, brother of the preceding. He worked for quite some time in Paris before founding his factory.
Grandjon. – Mirecourt. 19th century . Eldest son and successor of the previous one. More refined instrument making.
Grobert. – Mirecourt, 1794 + 1869. Author of the guitar which bears the signatures of Paganini and Berlioz (museum of the Conservatoire, in Paris, no. 278).
Grou. – Paris 1752. He is known for the crank viol [387] listed in the catalogue of the Arrigoni collection (Milan 1881), and for a small hurdy-gurdy from 1752.
Guillaume. – Paris, 1789. He is only known from the guitar inventoried by Bruni, which had been seized at the home of the Marquise de Marboeuf.
Guinot (Nicolas). – G. Ghouquet, who cites him as the brother-in-law of Nicolas Maire, the Parisian bow maker, does not say in which city he worked.
Harmand. – Mirecourt, where he took the oath as master of the guild of luthiers, on February 19, 1771.
Henry (H.). – Paris, 1292. "Fiddle maker", Henry of the viols, The oldest luthier known to this day.
Jacquet. – Mirecourt, around 1850. He specially built double basses. His two sons succeeded him. The younger son is currently a maker of tools for luthiers in Mirecourt.
Jacquot (Pierre-Charles). – Nancy, March 10, 1828 + January 1900. Son and pupil of the preceding, whom he succeeded in 1854 when the latter settled in Paris. Pierre-Charles Jacquot was made a Knight of the Legion of Honour on July 14, 1891.
Lacroix (Salomon). – Mr. Constant Pierre, who mentions this luthier, does not indicate the period or the city where he worked.
Lafleur (J.). – Paris, 1783-1833. He lived successively on rue de la coutellerie, 1783; rue de la Verrerie, 1785; rue de la Juiverie, 1788-1789. He is said to have been born in Nancy in 1760; he died in 1833.
Lagetto (Louis). – Paris, 1745-1753. Luthier of Italian origin, whose sign was: To the City of Cremona: Louis Lagetto, Luthier, rue des Saints- Fathers, Faubourg Saint-Germain, Paris, 1753. To the city of Cremona (signed) Lagetto.
Lamy (Jules). – Paris. Contemporary luthier. Originally from Mirecourt. He worked for a long time in that town, then with Mr. Thihouville-Lamy, in Paris, before settling there at 74 rue de Turenne. Currently he lives at number 41 of the same street.
Lapaix (J.-A.). – Lille, c. 1841-1855. A luthier of some merit, he sought, but without success, to modify the classical form of the violin.
Laurent (Louis-Sigismond). – Paris, Passage du Saumon, 1775-1789. Of which there is a theorbo from 1775 in the Brussels museum. He also made harps and his sign was: "At the German cymbal".
Leblond (G.). – Dunkirk, 1779. A cittern by this luthier is in the museum of the Conservatory of Music, in Brussels.
Leclerc (J.-N.). – Paris. Second half of the 18th century: Bruni's inventory includes a violin "repaired by Le Clerc".
Lorange. – Lyon. Contemporary luthier. Born in Mirecourt in 1872. Former worker of Mr. Paul Blanchard. He set up his own business in November 1899. High-quality workmanship.
Maline. – Mirecourt, around 1840. Ordinary violin making, branded: "Maline in Paris". He worked extensively. His sons also produced violins of the same type.
Mareschal. – Paris, late 18th century . Luthier and piano maker, who lived on rue Neuve-Le-Pelletier.
Martin (Guillaume). – Paris. Nephew of Lejeune, whom he succeeded in 1822. The business then passed to his son Charles; and then, in 1890, to his grandson Alexandre. For a long time now, these gentlemen have been solely engaged in sales and repairs.
Masgontier (Jacob). – Handwritten label found inside an ordinary violin: Jacobus Masgontier Gallicanus reaedificalif Caesar Augustus 1806.
Masson (Nicolas and Antoine). – Paris. Contemporary luthiers. Born in Tons (Vosges) in 1863 and 1804. Self-taught, they received no formal instruction from any luthier. Their instruments are not without merit and each bears a different name:
Mennesson (Emile). – Reims. Contemporary luthier, maker and publisher. Modern, inexpensive lutherie, attractive in appearance, and bearing the name of Guarini.
Micollier. – Lyon, 1822. He was Alba's partner. Repaired by Micollier and Alba luthier place Comfort No. 12 in Lyon 1822
Miraucourt (Louis). – Verdun, 1743. Probably the son of the previous one, whose six-stringed viol, bearing this date, appeared in Paris in 1889.
Musnier (Joseph). – Metz, 1789. Printed label, surrounded by a border: Repaired by Joseph Musnier, Master Luthier with a passion for the bass, remaining on the parade ground next to the town hall in Metz 1789
Nadermann (Jean-Henri). – Paris, second half of the 18th century . Sworn accountant in 1774. Renowned for his harps. He built the bissex, a type of twelve-stringed lute, invented by Van Kecke in 1773.
Nermal (J.-M.). – Paris, rue Saint-Germain-l'Auxerrois, 1777; du Pot-de-Fer, 1783; du Vieux-Colombier, 1788-1789.
Nigout. – Jenzat (Allier). Former worker of the Pajot company, who established himself in 1863. Specializing in hurdy-gurdies.
Pacquet. – Marseille, 1785. Maker of an arpi-guitar belonging to Mr. Gautier, in Nice: Packet d'Aix, Luthier in Marseille, 1785.
Pajot (Jacques-Antoine). – Jenzat (Allier), 1835 + 1877. Cousin, pupil and successor of the previous one. Same work. Label inside: Former Pajot father and son. Pajot successor , and on the fire, on the left side of the keyboard: Pajot at Jenzat .
Pajot (Jean). – Jenzat (Allier), 1795 + 1847. Farmer who built hurdy-gurdies, from 1795. The bodies of the first ones were most often made from a single piece of hollowed walnut.
Pajot jeune (Joseph, dit). – Jenzat (Allier), where he was born in 1868. Contemporary. Student of the previous one, whom he succeeded in 1897. His hurdy-gurdies are marked and labeled like those of his father.
Petit (L.). – Saint-Omer. Contemporary amateur luthier. Violin teacher at the School of Music. Handwritten label: Repaired by L. Petit, in Saint-Omer, 1856.
Pierray (Claude). – Paris, c. 1700-1735. One of the finest luthiers of the old French school. Beautiful craftsmanship, slightly dark red varnish. A very fine bass viol by Claude Pierray is in the museum of the Conservatoire de musique, in Paris [416] .
Pimpard. – Jenzat (Allier). Specializing in hurdy-gurdies. Formerly a worker at the Pajot company, he established himself in 1881.
Pirot (Claude). – Paris, c. 1800-1820. Good craftsmanship. Reddish-brown varnish, fairly thick. Two violins by Pirot, 1803 and 1813, are in the Conservatoire Museum, Paris [420] :
Pitais. – Paris, 18th century . Contemporary of Bocquay. Lutherie, Amati style. Brand mark on the back, below the heel of the neck.
Poiros (Louis). – An ordinary violin by this luthier appears in Bruni's inventory. The latter indicates neither the period nor the city where this instrument was made.
Poirson (Eloph). – Lyon. Contemporary. Former chief clerk of the telegraph, who, since about 1870, has been making violins of some merit.
Prudhomme (Jean-Pierre). – Paris, 1753. Handwritten label: Made by Jean-Pierre Pru- dhomme in the year 1753 in Paris.
Regnault (Jacques). – Author of a silver-rimmed pouch, from 1682, belonging to Mr. Blondin, in Choisy-le-Roy.
Ressuche (Charles). – Bordeaux. Contemporary luthier who worked in Paris and Lyon, where he was for a very short time the associate of Justin Diter.
Rol. – Paris, Cour Saint-Denis-de-la-Chartre, 1753. Of which there is a pouch in the Conservatoire Museum, in Paris.
Ropiquet, – Paris, around 1815. Artist in the Opera orchestra, who played some violins. He had a daughter who was a dancer at the same theatre.
Sacquin. – Paris, circa 1830-1800. He is said to have been a pupil of Aldric. Very fine instrument making, Lupot style. Printed label: Sacquin, luthier, 14 rue Beauregard In Paris, 1851.
Sales. – Caen, 1784. Handwritten label: Mended by Dirty Sons Luthier in Caen 1784 rue Saint-Etienne.
Saumier (Edmond). – Paris, circa 1770-1780. First on rue Tiquetonne, then on rue des Prouvaires. He mainly made guitars. One of them was inventoried by Bruni.
Saunier. – Bordeaux, 1754. According to this handwritten label cited by Vidal: Saunier in Bordeaux 1754 Mr. Constant Pierre believes that this luthier and the next one are one and the same.
Simoutre (Nicolas). – Mirecourt, 1788 + Metz, 1870. A student of Nicolas Lupot in Paris, he was established in Mirecourt from 1820 to 1844, then in Metz from 1844 to 1870. A skilled luthier, the instruments he signed bear this label:
Stork. – Strasbourg, 1775. Label found inside an ordinary violin: Stork in Strasbourg 1775. In 1784, there was a J. Reinhart Storck, musical instrument maker, "At the Stork Concert, near the Corbeau Bridge", in Strasbourg. Was it the same person?
Sulot (Nicolas). – Dijon. In 1829, he took out a first patent for violins and basics with wavy tops; and a second in 1839, for a double echo violin, which had three tops.
Thibout (Albert). – Paris, April 27, 1839 + December 25, 1865. Son and successor of the preceding. After his death, the Gand brothers became luthiers to the Opera.
Thibout (Gabriel-Adolphe). – Paris, 1804 + June 14, 1858. Son and successor of the preceding. He died two years after his father.
Thibout fils. – Caen, 1774. Handwritten label: Repaired by Thibout son M d luthier rue Saint-Jean in Caen
Thouvenel. – Mirecourt, second half of the 19th century . A student of Colson, he also specialized in the manufacture of guitars and hurdy-gurdies.
Tiriot. – Brand mark found in an ordinary-made viola: Tiriot in Paris. He probably worked in Mirecourt.
Tissier (Pierre). – Jenzat (Allier). Contemporary. Former worker of J.-B. Pajot. Specializing in hurdy-gurdies.
Touly (Jean). – Nancy, 1747. Small printed label, surrounded by a vignette: Done by me, John Touly, in Nancy, 1747.
Vanderlist. – Paris, rue des Vieux-Augustins, 1788-1789: He lived on rue Montmartre, in year VIII (1800), and also made harps. Beautiful instrument making.
Varquain or Varquin. – Paris, circa 1720-1750. Rue and crossroads of Bussy. He made excellent hurdy-gurdies and published Ravet's Suite for Two Hurdy-Gurdies .
Vermesch (The Father). – Beaumont-sur-Oise, 1781, where he was a Minim friar. Amateur luthier. Handwritten label of a very ordinary violin, yellow varnish: Done by Father Vermesch minimal rel at Beaumont-sur-Oise, 1781.
Vissenaire. – Lyon, c. 1830-1870. Originally from Mirecourt. He made a few violins and many guitars. Printed label: Repaired by Vissennaire M d luthier in Lyon Comfort Seat No. 16.
Voboam (Alexandre). – Paris, second half of the 17th century . Famous for his guitars. We discussed the one in the Cluny Museum, no. 6.006, in our Introduction.
Vuidard. – Paris, 19th century . Handwritten label found inside a guitar: Repaired by Vuidard luthier and string maker Greneta Street No. 9 in Paris.