Part 17

GAVINIES, Francois, Paris, about 1734.

Gavinies, rue S. Thomas du Louvre, a Paris, 17--

Father of Pierre Gavinies, the Violinist. Old French school. The wood is often of excellent quality, and the varnish also. Many of these old French makers, like our good English ones, made instruments of two qualities, and Gavinies was one of them.

GERMAIN, Joseph Louis, born at Mirecourt in 1822. In Paris he was employed by Francois Gand, and afterwards worked for Vuillaume, for whom he made several choice instruments. It is to be regretted that his exceptional abilities were not allowed to add lustre to his name, he having made for the trade. He died in 1870.

GERMAIN, Emile, Paris. Son of the above; established in Paris as a maker and restorer of Violins. He was, until 1882, in partnership with a maker named Dehommais.

GOSSELIN, ----, Paris, 1814-40.

GRAND-GERARD, Paris, about 1800. Commonplace work branded occasionally with his name.

GRANDSON, Fils, Mirecourt, about 1850.

GROSSET, Paul Francois, Paris, about 1750. Pupil of Claude Pierray.

GUERSAN, Louis, succeeded Paul Pierray.

Ludovicus Guersan prope Comaediam Gallicam, Lutetiae, Anno 1766.

HEL, Pierre Joseph, Lille, contemporary. Well-made instruments.

HENRY, Jean Baptiste. Born 1757, near Mirecourt. Worked in Paris.

HENRY, Jean Baptiste Felix, son of the above. Established in Paris 1817.

HENRY, Charles, brother of the above, born 1803. Made several excellent instruments.

HENRY, Octave, nephew of Charles.

HENRY, Eugene, son of Charles, born in 1843.

HOFMANS, Mathias, Antwerp, 1700-25. A Kit of this maker was exhibited at Milan in 1870.

JACOBS, Hendrik, Amsterdam, 1690-17--. A close imitator of Niccolo Amati. Few makers have been more mistaken than Jacobs; so exact was he in following the model of Amati, that numbers of his Violins are passed by the inexperienced as original. He mostly selected the grand pattern of Amati for his model, which gave him full scope for the exercise of his powers. He selected wood as nearly as possible resembling that found in the works of Niccolo Amati. The backs are mostly of even grain, and compact; the modelling can only be found fault with near the purfling, where its sharpness at once catches the attention of the critic in these matters, and divulges the true author. The varnish, though good, is not equal to that of Amati. The scroll is inferior to the body in merit. The purfling is of whalebone, like that of most of the Dutch makers.

JACOBS, ----, Amsterdam, probably a son of the above. Excellent varnish, of a deep red, very transparent; full of character, but wanting in finish. Purfling embedded.

JACQUOT, Charles, born at Mirecourt in 1804. Worked in Paris. He obtained prizes for his instruments at the Paris and other exhibitions.

JACQUOT, Pierre Charles, Nancy, son of the above.

JEANDEL, P. N., born in 1812. Worked for some years in Paris, and received prizes at the Paris and other exhibitions. He died in 1879.

KOLIKER, ----, Paris, 1789-1820.

LAMBERT, Jean Nicolas, Paris, about 1745.

LAPAIX, ----, Lille, about 1855.

LAPREVOTTE, Etienne, Paris, 1825-56.

LECLERC, ----, Paris, about 1775.

LECOMTE, ----, Paris, 1788.

LEDUC, Pierre, Paris, 1646.

LEFEBVRE, ----, Amsterdam, about 1730.

LEFEBVRE, ----, Paris, 1788.

LE JEUNE, Francois, Paris, 175-.

LE PILEUR, Pierre, about 1754.

LESCLOP, Francois Henry, Paris, 1746.

LOUIS, ----, Geneva.

LOUVET, Jean, Paris, 1750.

LUPOT, Jean, Mirecourt.

LUPOT, Laurent, Mirecourt, born 1696. Son of Jean Lupot, removed to Plombieres, afterwards to Luneville, and again to Orleans.

LUPOT, Francois, born 1736. Son of Laurent. Born at Plombieres. In the year 1758 he removed to Stuttgart, and was appointed maker to the Duke of Wurtemberg. Francois removed with his son Nicolas to Orleans in 1770. He died in Paris in 1804. The workmanship and style are similar to those seen in the instruments of Chappuy and other makers of that period. Scroll rather rough, varnish dark brown, broad pattern.

LUPOT, Nicolas, son of Francois, born at Stuttgart in 1758, removed with his father to Orleans in 1770.

N. Lupot fils, Luthier, rue d'Illiers, a Orleans, l'an 1791.

Nicolas Lupot, Luthier, rue de Grammont; a Paris, l'an 1803.

Nicolas Lupot, Luthier, rue Croix des-petits-champs, a Paris, l'an 1817.

He established himself in Paris in 1794, his fame having reached that city some time before. The attention which he soon received from the musical world of Paris proved to him that his removal was advantageous. He had not long been in Paris before he was honoured with the patronage of the Conservatoire of Music, an honour which is attended with many benefits, the chief of which is the making of a Violin annually, to be awarded as a prize to the most successful student among the Violinists. By this arrangement the maker has an opportunity of exercising to the best advantage all the skill of which he is capable, as he is at once aware that the attention of the public is directed to the constructor of the prize, as well as to the receiver, and that an immediate road to popularity is thus opened. Lupot's appointment as maker to the Conservatoire was enjoyed by his successor, Francois Gand, and was retained by the latter's son, in conjunction with Bernardel. Nicolas Lupot may be justly termed the French Stradivari. He was an artist in every sense of the word. He regarded the works of Stradivari with the utmost veneration. While, however, he laboured unceasingly to imitate him, he scorned all those mischievous maturing processes common to so many French copyists; he never desired that his copy should pass with the unwary as the original; it left his hands wholly unsophisticated. There is not an instance in which he did not varnish the copy all over, leaving time to do its work of wear, although by so doing he doubtless sacrificed much in his own time, inasmuch as all new Violins, so varnished, have a crude appearance, notwithstanding any amount of high finish expended upon them. What, however, Lupot lost in his own day has been awarded to his name a hundredfold since. He seldom occupied himself in copying Guarneri or Amati, although there are a few beautiful examples met with now and again in which he adopted these forms. Stradivari was his idol, and from the fact already mentioned, that he is very rarely found to have followed any other model than that of Stradivari, he would seem to have been aware of his own peculiar fitness for the great master's design. Every feature of Lupot's instruments was clearly a matter of study with him. It cannot be said of him, as of most other makers, that certain points are good, while others are weak. Every portion of his work contributes to the harmonious whole. The outline is perfect; the sound-hole is executed in a masterly manner; the model, purfling, and scroll of equal merit. He was untouched in his own day, and his productions have never been approached since. The varnish of Lupot is peculiar to him. Its qualities are good, being free from hardness. Though it is not of the Italian type, neither is it of the kind usually met with on the Violins of his contemporaries: it may be described as a quality of varnish coming between the Italian and the French. Its colour varies between light and dark red. Age has assisted in heightening its lustre, and although it will never rank with the varnish of Cremona, yet it will hold its own among the varnishes of modern times. It is said that many instruments having the name of Pique in them are the work of Lupot, and this misnomer is accounted for by the story that Pique purchased them in an unvarnished state, and varnished them with his preparation. Be this as it may, it is certain that the varnish of Pique could not serve to benefit such instruments; on the contrary, it would reduce their value. The tone of Lupot's instruments improves yearly. The quality is round and telling, and free from roughness. He died in Paris in 1824, aged 66, and was succeeded in his business by his son-in-law, Francois Gand.

MARQUIS DE LAIR, Mirecourt, about 1800. The name is generally branded on the back. The wood is chiefly of a plain description, and varnish wanting in transparency.

MAST, Jean Laurent, Paris, about 1750.

MAST, Joseph Laurent, Mirecourt and Toulouse. Son of Jean Laurent. A Violin dated 1816 is in the Museum of the Paris Conservatoire.

MAUCOTEL, Charles, born at Mirecourt, in 1807. In 1834 he entered the workshop of Gand in Paris. In 1844 he was employed by Davis, of Coventry Street, London, and ultimately commenced business in Rupert Street, from which he retired in 1860, and returned to France. He made several instruments, all of which have good qualities in workmanship and tone. They are strong in wood and carefully modelled.

MAUCOTEL, Charles Adolphe, Mirecourt, worked in Paris from 1839 until 1858, in which year he died. He made many excellent instruments.

MEDARD, Francois, was established in Paris about 1700.

Franciscus Medard fecit Parisiis 1710.

The work is excellent, and the varnish soft and transparent.

MEDARD, Nicolas, Nancy, brother of Francois.

MEDARD, Jean, Nancy, brother of Nicolas.

MENNEGAND, Charles, born at Nancy in 1822. He is distinguished both as a maker and repairer of instruments. He entered the service of Rambaux in Paris in 1840. He has been rightly regarded as having displayed singular ability in the delicate and difficult task of "cutting" the large Italian Violoncellos and Tenors. The practice of reducing the dimensions of Cremonese instruments has happily come to be looked upon as emulative of the acts of the Goths and Vandals. It is in any case certain that numerous instruments have been operated upon with no greater skill than might have been expected at the hands of those barbarians. "These ruthless men," remarks Charles Reade, "just sawed a crescent off the top, and another off the bottom, and the result is a thing with the inner bout of a giant and the upper and lower bout of a dwarf." He rightly names this, "cutting in the statutory sense, viz., cutting and maiming," and implores the owner of an instrument in its original state to spare it, and if too large, to play on one of the value of 5 pounds, with the Cremona set before him to look at while he plays. To "cut" a Cremona, and to cut a diamond into a brilliant or a rose, are tasks equally difficult. The indifferent operator, in both cases, suffers more or less from the injury and annoyance his unskilfulness has occasioned. Borgis, a Venetian diamond-cutter, was employed by Shah Jehan to cut the Koh-i-nor, and in place of a reward was fined ten thousand ducats for his imperfect performance. Had it happened that some possessors of Cremonese gems had inflicted monetary or other punishment on incapable instrument cutters, the world would have been richer in Cremonas. Mennegand was at Amsterdam for a few years, and returned to Paris in 1857. He died in 1885.

MIREMONT, Claude Augustin, Paris. Born at Mirecourt in 1827, removed to Paris in 1844. Miremont has made several excellent Violins, copies of Stradivari and Guarneri. He was for some years in New York, but returned to Paris and died at Pontorson in 1887.

MODESSIER, ----, Paris, 1810. Made several instruments of large pattern, excellent for orchestral purposes. Wood of good quality.

MOUGENOT, Georges, Brussels, contemporary.

NAMY, ----, Paris, 1780 to 1806.

NEZOT, ----, about 1750, maker of Viols.

NICOLAS, Francois (Nicolas Fourrier), went from Mirecourt to Paris, where he is said to have worked from about 1784 to 1816.

NICOLAS, Didier, Mirecourt, 1757-1833. The instruments of this maker are chiefly of large size, the outline being after that of Stradivari. They are mostly stamped on the back, inside, "A la ville de Cremonne, D. Nicolas Aine." Colour, yellow; tone very powerful, and admirably adapted for the orchestra.

NICOLAS, Joseph, son of Didier, born 1796, died 1864.

OUVRARD, Jean, pupil of Claude Pierray.

[Illustration: _Plate XIV_. ANTONIO STRADIVARI.]

PACHERELE, Michel, Paris, about 1779.

PACHEREL, Pierre, Nice, died 1871, probably related to Michel Pacherele. Good workmanship; made several copies of Stradivari.

PAUL, Saint, Paris, 17th century. Chiefly copied Amati. In the style of Boquay.

PIERRAY, Claude, Paris, from about 1700 to 1725.

Claude Pierray, proche la Comedie a Paris, 1725.

Was an excellent workman, and many of his productions partake of the Italian character to a considerable extent. They are of two patterns, the majority being large. Amati would seem to have been his model, but his instruments can scarcely be considered copies of that maker, the outline only being retained, while the other features are dissimilar. The wood is rarely handsome, but its quality is good; the thicknesses are variable. The work is of average merit. Varnish is of a pale red colour, of good quality. It is interesting to learn that these instruments were appreciated in England at the beginning of the eighteenth century. Tom Britton had in his collection of books and instruments at Clerkenwell a "Claude Pierray," which is described in the sale catalogue as "a very beautiful Violin, and as good as a Cremona."

PIETE, N., Paris, about 1780.

PILLEMENT, F., Paris, 1790-1820. Work branded inside.

PIQUE, F. L., Paris, about 1788-1822.

Pique, rue de Grenelle St. Honore, au coin de celle des 2 Ecus, a Paris, 1790.

As a copyist of Stradivari, this maker approached, perhaps, nearest to Nicolas Lupot. It has been supposed that some Violins bearing the name of Pique were made by Lupot, and varnished by Pique. There are several specimens of Pique's instruments upon which have been lavished care and skill of a very high order. Each feature is brought out, while, at the same time, exaggeration, that common error of the copyist, is avoided. The scrolls are well executed, both in point of finish and style; the sound-hole also is cut with precision. Many of his instruments have whole backs, of well-chosen material; the bellies are of a fine quality of wood. The instruments of Pique have long been esteemed, and will grow in reputation.

PIROT, Claude, Paris, about 1800. Pressenda style and appearance.

PONS, Cesar, Grenoble, about 1775.

PONS, ----, Paris, chiefly known as a maker of Guitars.

RAMBAUX, Claude Victor, born 1809. Worked in early life at Mirecourt, and afterwards in Paris. He was a clever repairer, and gifted with excellent judgment in his treatment of the works of the old masters. He was at one time in the workshop of Gand. He died in 1871.

RANCE, Thomas, Brussels, about 1683. Good workmanship, well purfled, flat model.

RAUT, Jean, worked at Rennes about 1760.

REMY, ----, Paris, about 1760.

REMY, Jean Mathurin, Paris, 1770-1854.

REMY, Jules, Paris, 1813-76.

REMY, ----, London, 1840. Originally from Paris. Copied the old masters with average ability, but unfortunately adopted the pernicious practice of preparing the wood, making his instruments prematurely old without the qualities of healthy age.

RENAUDIN, Leopold, Paris, about 1788.

RENAULT, Nicolas, an early maker, contemporary with Tywersus.

ROMBOUTS, Peeter, Amsterdam, about the middle of the 18th century. High model, varnish of much brilliancy, but flaky.

ROZE, ----, Orleans, about 1760. Average workmanship, yellow varnish, heavy scroll.

SACQUIN, ----, Paris, 1830-60, made several excellent instruments; oil varnish of good quality, neat work, "Strad" pattern, name branded on back, inside.

SALLE, ----, Paris, about 1825-50. Made several copies of Guarneri, many of which are excellent. He was also a clever restorer of old instruments, and had a critical eye for the works of the old Italian masters, in which he dealt to some extent.

SALOMON, Jean Baptiste Deshayes, Paris, about 1750.

SAUNIER, ----, about 1740-70.

SCHNOECK, Egidius, Brussels, 1700-30.

SILVESTRE, Pierre, Lyons. A maker of rare abilities. The finish of his instruments is of the highest order; indeed, it would be difficult to find any maker within the range of the modern French school who has surpassed him in delicate workmanship. It may be said of him, as of many others, that extreme fineness of work is obtained often at the expense of character; to develop both qualities needs the mind of a Stradivari. Silvestre was fortunate in procuring wood of beautiful quality; there is scarcely an instrument of his which is not handsome. He chiefly copied Stradivari. It is to be regretted that so few of his works are to be met with. Pierre Silvestre was born at Sommerwiller in 1801, and died at Lyons in 1859. In Paris he worked in the workshop of Lupot, and in that of his successor, Francois Gand.

SILVESTRE, Hippolyte, born 1808, brother of Pierre, with whom he worked in partnership at Lyons from 1831-48. Hippolyte worked in the shop of Vuillaume. He retired from business in 1865.

SILVESTRE, Hippolyte Chretien, Lyons, succeeded to the business of his uncles, Pierre and Hippolyte, which he transferred in 1884 to Paris.

SIMON, Claude, Paris, about 1788.

SIMONIN, Charles, Paris and Toulouse, pupil of J. B. Vuillaume.

SOCQUET, Louis, Paris, about 1760-1800.

THERESS, Charles, London.

THIBOUT, Jacques Pierre, Paris, born 1777, died 1856. A well-known dealer in rare Italian instruments. To him belongs the merit of having encouraged Luigi Tarisio to bring to Paris his Cremonese gems. When Tarisio paid his first visit to Paris, the reception that he met with was not of such a nature as to warrant his returning; but having ultimately decided upon once more visiting the French capital, he met with Thibout, who, by earnest solicitation, prevailed on him to remove his rich wares to Paris. Jacques Pierre Thibout was an excellent workman, and his instruments are highly esteemed.

THOMASSIN, ----, Paris, about 1845.

TYWERSUS, ----, Nancy, 16th century.

VAILLANT, Francois, Paris, about 1750.

VERON, Pierre Andre, 1720-50.

VIBRECHT, Gysbert, Amsterdam, about 1700.

VUILLAUME, Jean, Mirecourt, 1700-40.

VUILLAUME, Claude, Paris, 1772-1834. The earliest maker of this family; made commonplace instruments branded with his name.

VUILLAUME, J. B., Paris, born 1798, died in 1875. There are upwards of 2,500 Violins which bear his name. Many of these he made throughout. The early ones are much appreciated, and having been wisely varnished over at first, now begin to show the good results of such handling. The career of Vuillaume was singularly eventful. Commencing life from the first stage of the ladder, he gradually mounted to the highest, by the help of the usual nurses of fortune, skill and perseverance. He was a great lover of Cremonese instruments, and was intimately associated with Tarisio. At the death of the celebrated Italian connoisseur, he purchased the whole of his collection. He employed a number of skilful workmen, some of whom have achieved independent and individual reputations, and will be found noticed in their proper places in this work.

VUILLAUME, N. F., Brussels. Brother of the above. Was well known both as a maker and connoisseur. Born in 1802; died 1876.

VUILLAUME, Claude Francois, born 1807.

VUILLAUME, Sebastien, Paris, nephew of J. B. Vuillaume, made a few excellent instruments. He died in the same year, 1875.

SECTION IX The German School

There is no trace of any German Violins of the time of Gasparo da Salo, or Maggini. This is certainly remarkable, and the more so when we consider how near were the German makers of Lutes, &c., to the old Italian town where Violins were being made. It is evident from this non-production of Violins that the Tyrolese were content with their Viols and Lutes, and did not recognise the wonderful effects of the little Violin until it had become pretty nearly perfected by the Italians. The manufacture of Lutes, Viols, and Guitars in Germany had in 1650, or a little later, reached its zenith, and the exquisite pieces of workmanship, in the shape of Lutes, Viols da Gamba, and Viols d'Amore, richly inlaid with mother-of-pearl, ivory, and tortoiseshell, made at this period, evidence the high state of the art.

To Jacob Stainer is due the credit, to a great extent, of changing the system of modelling so long in vogue in Germany. Although so great a maker, he was seemingly unable to free himself entirely from the proclivities common to his countrymen as Violin makers. There remained, after all Stainer's changes, the German sound-hole and extra arching, &c. Yet it must be readily admitted that the example which Stainer put before his countrymen was of great value, and served to engender an improved style throughout the Violin manufacture of Germany. The exceptional merits of this famous German artist were soon recognised, and his followers were legion. Among them were Sebastian Kloz, George Kloz, Egidius Kloz, and other members of that, perhaps the largest, family of Fiddle-makers the world has seen (had they been as good as they were numerous, what stores of prized Violins would have been bequeathed to us!); Reiss, of Bamberg; Rauch, of Breslau; and Leopold Widhalm, of Nuremberg, who was one of Stainer's best imitators; and others less known.

There were several German makers--led, possibly, by the example of Stainer and Albani the younger--who turned their attention to Italy, as furnishing models superior to their own, and thus combined the styles of both countries; while they endeavoured to copy closely the Italian masters, without attempting to be original. Niccolo Amati was the maker whom these men chiefly copied, and most successfully did they perform their task. These copies, however, did not meet the success to which they were entitled, and the popularity of Stainer's mode was then so great that the instruments made upon systems other than his found no favour in the Fatherland. The makers who were copyists of the Italian masters were Ruppert, Bachmann, Jauch, and Eberle of Prague.

When we consider the long list of makers forming the German School, we cannot fail to feel surprised that the number of really good artists was not much larger; and our surprise increases when the close proximity of the Tyrolese workers to the chief Italian centres of the manufacture of Violins is also considered. If the names of Jacob Stainer and Mathias Albani be excepted, the list is singularly destitute of makers famous for originality. The Germans were certainly great in the manufacture of the older stringed instruments, but seem to have made a poor beginning in the making of Violins. The form selected was bad, and they failed to improve upon it to any great extent. It would be quite impossible to furnish anything approaching a complete list of German makers, their number being so extended, and so many of their instruments being anonymous, and withal so weak in character that it is hard to discern them. Every care, however, has been taken to render the following list as complete as possible.

SECTION X German Makers

ALBANI, Mathias, Botzen. M. Fetis, quoting the Biographical Dictionary of Moritz Berman, with regard to Albani, states that he was born in 1621, and died in 1673. The form is somewhat like Stainer's, but higher and heavier in construction. The varnish is very rich. Wood of good quality.

ALBANI, Mathias, Botzen, about 1650-1712.

Mathias Albani Fecit Bulsani Tyrol 1651.

Matthias Albanus Fecit Bulsani in Tyroli 1680.

Son of the above. This maker should, perhaps, have been classed with those of Italy, his style being Italian; but as he was the son of the well-known German maker, it was thought best that his name should follow that of his father under the head of German makers. The son has shown but faint marks of having been tutored by his parent in the art of Violin-making. He is said to have visited Cremona, in order to receive instruction there under Amati, and this circumstance may have given to his work that Italian air which is so pleasing to the connoisseur.[1] This maker is often credited with the work of the elder Albani, it having been supposed that there was but one of that name. The model is good, and the workmanship throughout demands high praise. Gerber states that the famous Violinist, Tomaso Albinoni, possessed two Violins of this maker, dated 1702 and 1709.