VACCARI, R.
Born 1908. Studied with Sgarabotto. Established at Lentigione (Reggio Emilia), 1926. Won gold medal at Cremona, 1949. Various models: Strad, Guarneri, Amati and one very artistically combining the three. Sometimes oil varnish, occasionally spirit, both of beautiful aspect in golden orange or red shudes. £85, 1960.
---------------------------------------
Raphaël Vaccari Lentigionensis
Cajetani Sgarabotto alumnus
Parmae. fecit Anno 19 . .
---------------------------------------
VAN DE GEEST, JACOB
Born at Rotterdam, 1899. Worked for Hart in London, 1921-1938. Established at Johannesburg, 1939, and soon became known as “The wonderful Dutchman”. Received laudatory notices from Carl Flesch and other virtuosi. Strad and Guarnerian models, irreproachable workmanship, varnish artistically applied. Assisted by son Jacob Jan (born 1924); similar style to that of father.
-----------------------------------------
Jacobus Jan van de Geest
Maker
London, W. 19 . . Johannesburg.
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VAN DER MEER, KAREL
Born at The Hague, 1862. Worked at Amsterdam from 1889. Resident at Bussum, 1923. The most celebrated of modern Dutch makers. Generally Guarnerius style with slightly greater breadth. Everything of manly and unstudied naturalness. Sound-holes and scroll flow from the springs of artistry. Prettily figured old wood. Golden yellow or red varnish applied with the greatest of care. Tonal quality allows a parallel to be drawn with the best of the Italians. £250, 1960.
-------------------------------
Karel van der Meer
Luthier du Conservatoire
Amsterdam 1904
-------------------------------
VAN HOOF
see HOOF.
VAUTELINT, PIERRE
Worked at Paris, 1900-1910. Oil varnish, ordinary modelling.
VAUTRIN, JOSEPH
Born at Mirecourt, 1875. Apprenticed to Chipot-Vuillaume in that town. Employed as principal workman in the atelier of Emile Germain at Paris. Established own premises at Mirecourt, 1898. Worked at Chaumont, 1900-1926. Instruments deserving of wide recognition. Modelling Stradivarian of elevated and refined conception. Large scroll but characterised by fascinating boss approach. Sound-holes well positioned. Reddish varnish merging into a brownish maroon. Good purfling. Tonal quality splendidly brilliant and clear which will breathe its true sonority fifty years hence. £95, 1960.
-------------------------------
Joseph Vautrin fecit
Chaumont anno 19- J.V.
-------------------------------
VÁVRA, JAN B.
Born 1870. Established at Smichov (Prague), 1925. Early instruments not executed in the most finished style. Tonal quality not commensurate with that required by first-class modern players. Later instruments of finer and more accurate dimensions, therefore, more desirable companions for artists.
VÁVRA, KAREL
Born 1903. Pupil of Uncle, Jan. Established at Prague, 1932. Excellent Strad or Guarnerian modelling, the latter being his favourite. All the little niceties of detail which invariably impress, are there. Golden brown or reddish brown varnish.
------------------------------
Karel Vávra
fecit Pragae. Anno 19. .
------------------------------
Design on left with two notes of music, A, D, with a lion on top of stave.
VENTAPANE, LORENZO
Worked at Naples, 1790-1843. Early productions sometimes follow Amati traits. Best specimens belong to the Gagliano style, though the flatness and breadth of upper part are occasionally exaggerated. Also copied the Stradivarian model less successfully. Some of the scrolls may be criticised for severity of pose. Sound-holes interestingly drawn. Purfling variable, sometimes careless as well as very steady. Went deeply into the internal organisation, where everything seems to have been critically analysed. Thicknesses of plates discriminately attended to, and generally unsparing in the use of material. One and two-piece backs always prettily marked. Belly wood of narrow fibre, occasionally of one piece. Orange yellow shade of varnish, with a slight brownish tint, of fine elasticity and consistency; also a few examples with a more reddish varnish. Tonal quality responsively brilliant, not of great volume but delightfully penetrative and fascinatingly clear. This applies to the Gagliano and Stradivarian types. Amati models much less valuable on account of smallness of tone though mellow. Several of his finest productions sold as genuine Gaglianos. Best period, 1800-1830. Later years were forced into the calculating commercial race and the struggle fettered his genius. Built a few fine toned ’cellos highly prized by connoisseurs and players. Modern makers would unquestionably benefit by studiously examining the splendid proportions. Some instruments ante-dated fifty years. £300, 1960.
------------------------------------------
Lorenzo Ventapane.
Fabbricante di Strumenti armonici
Strada Donnaregina No. 35
Napoli 1809
-------------------------------------------
-------------------------
Lorenzo Ventapane
Napoli 1760
-------------------------
(possibly not genuine)
--------------------------------------------
Lorenzo Ventapane
Fabbricante di Strumenti da Corde
Abita Calata Borgo di Loreto No 23
--------------------------------------------
VENTAPANE, PASQUALI
Probably son of the preceding. Worked at Naples, 1860-1870. Serviceable instruments of the Gagliano school, admirably modelled, much resembling those of Lorenzo, but less refined in workmanship. Boss of scroll protrudes inelegantly. Orange yellow varnish. Brilliant and “cutting” tonal quality. Especially famed for his ’cellos. £250, 1960. ’Cellos, £450.
---------------------------------------
Ventapane Pasquale
Fabricante di violini e violoncelli
via Speranzella No. 23 Napoli
----------------------------------------
VENTAPANE, VINCENZO
Worked at Naples, 1750-1800. Broad and flat modelling, beautifully proportioned on a large scale with certain Gagliano traits. Also produced a few of the grand Strad style, not altogether felicitous across the middle. Backs of beautifully flamed material. Golden orange and brownish yellow shades of vamish, both very bright. Belly wood selected with discrimination. Tonal quality refreshingly clear and rather brilliant. £350, 1960.
VERHASSELT, F.
Worked at Brussels, 1820-1850. Violins and ’cellos but principally guitars. Mirecourtian style.
VERINI, ANDREA
Worked at Modena, 1884. Son of Serafino, and made similar instruments.
VICTOR, T.
Bow maker at London 1900. Excellent bows which respond to the diversity of strokes necessary to first-class playing. £15, 1960.
VIDOUEZ, ALFRED
Born at Geneva 1879. Studied with Bazin at Mirecourt. Worked for Mougenot at Brussels, and Léon Bernardel at Paris. Established at birthplace 1900. Won gold medals at Berne and Lyons. Died 1943. Outline either Stradivarian or Guarnerian. Arching bears impress of a little originality. Sound-holes drawn with faultless precision, and not slavish copies of the Cremonese. Scroll also evades the almost inevitable replica of famous Italians. Every detail of the design shows perfect knowledge. First period instruments treated to a thick oil varnish of red-brown shade, later ones to a golden-yellow or reddish-orange, much less thick and consequently more supple. Tonal quality has a refreshing abundance of brilliance, clearness, and smoothness. £90, 1960.
--------------------------------------------------
Alfred Vidouez. Luthier du Conservatoire
Genève l‘an 1916
---------------------------------------------------
(with design of viotin scroll within a doubte-lined oval)
Author of a small brochure entitled “Some Observations on my Work”.
VTDOUEZ, PIERRE
Born at Geneva 1907. Son of A. Worked for Boulangeot (Lyons), also for Caressa (Paris). Succeeded father 1949. Recipient of gold and other medals at various exhibitions. Magnificent copies of old Cremonese models. Yellow-orange varnish. Also fine bows inspired by Tourte and Peccatte. £80; bows £20, 1960.
------------------------------------
Pierre Vidouez
Maître Luthier à Genève P.V
l’an 19 . . No.
------------------------------------
VIERTEL, HOLM
Born at Zwickau 1865. Pupil of Paulus. Worked with Riechers at Berlin. Establislied at Markneukirchen 1888. Moved to Aachen (Germany) 1896. Died 1948. Bold fashioning on Stradivarian principles. Delightful and confident flight of outline. Scroll and sound-holes done without fear of mischance. Riecher’s spiritturpentine-oil varnish. Bass bar placed in after varnishing. Supposed to ameliorate tone of a new instrument.
--------------------------
Holm Viertel
Aachen - Anno 1902
--------------------------
Assisted by son Karl Georg (born 1894), and second son Walter (born 1902 - killed in the war, 1944).
VIGNERON, A.
Stradivarian design and bold scroll. Normal type of French work. Nice looking red varnish.
VIGNERON, ANDRÉ
Born 1882. Son, pupil and successor of Joseph Arthur. Worked at 70 rue de Rome, Paris. Died 1924. Bow-maker. Similar in style and workmanship to that of father. Stamped “André Vigneron, à Paris”. Made many bows known as the “Lucien Capet Model” with a wider “heel” than customary, and round chocolate coloured sticks. Capet was a famous French quartet player. £20, 1960.
VIGNERON, JOSEPH ARTHUR
Born at Mirecourt 1851. First guided in the art of bow making by Charles Husson. Worked for Gand and Bernardel. Established at Paris 1880. Died 1905. Whenever we take up one of these bows an involuntary exclamation of pleasure rises to our lips. A maker who decided on selecting the finest wood and worked it with loving care. Bows made by a man upon whom nature had bestowed a mind deeply sensitive of the beautiful, and highly cultivated by experience. Very elegant sticks with a fine and strong sway, and splendid heads. Few of the past French makers surpassed him in refinement. Produced two kinds, one rather heavy (generally octagon sticks), the other lighter - both of unique resistance, equilibrium and elasticity. Stamped “A. Vigneron à Paris”. £30 to £45, 1960.
VILLAUME, GUSTAVE EUGÈNE
Born at Mirecourt 1899. Pupil of Mougenot and Jacquent Gand. Wood, workmanship and general appearance eminently qualify this maker as highly successful in Guarnerian modelling. Oil varnish of clear yellow to dark reddish-brown.
------------------------------------
Médaille d’Argent
Mirecourt 1918. Année 1927
Gustave Villaume No. 113
9, Place du Marché - Nancy
------------------------------------
(with signature across)
VINACCIA, GAETANO
Son of Antonio (1). Worked at Naples 1779-1831. Stradivarian-Gagliano modelling, somewhat original in design. Particularly handsome wood. Rich golden amber varnish entirely covering the surface. Tonal quality smooth and brilliant. Also splendid productivity in ’cellos. Many ingeniously constructed mandolines and guitars, often richly decorated. £275; ’cellos £450, 1960.
------------------------------------------
Gaetano Vinaccia
Napoli Rua Catalana No 46. 1817
------------------------------------------
(large, with decorative border)
------------------------------
Gaietanus Vinaccia fecit
napoli 1795 Nella
Rua Catalana
------------------------------
VINACCIA, GENNARO
Son of Antonio (1). Worked at Naples 1755-1778. Distinguished himself from other members of the family by giving more attention to producing of violins and ’cellos than to mandolines. In support of this he placed a signboard over the doorway bearing the wording - “Sub signo Cremona”. Truthfulness of the Gagliano style awakens unstinted admiration, and may be nomenclatured as fine art. Altogether a pretty design of delightfully comfortable proportions. Also copied the Stradivarian long model with conspicuous success. Dark golden-yellow or brown varnish, very rich in hue, texture and brilliancy. Produced sumptuously decorated mandolines. Sometimes gave his name as Vinaccio. £325, 1960.
--------------------------------------------------
Januarius Vinaccia fecit Napoli
Sub Signo Cremonae anno Domini 1757
--------------------------------------------------
VINCENT, ALFRED
Born 1877. Worked in London 1902. His great talent as a maker of violins was brought to public notice when one of his instruments won first prize in the Cobbett Competition. At that time (1923) he was first violinist at His Majesty’s Theatre, a position he held for many years. He made over 300 instruments, and just before his death in 1947, he completed a quartet of instruments which he bequeathed to the Royal Academy of Music. In 1929 he was acknowledged as the “English Stradivari”, some of his violins having actually been taken for Stradivari’s. The late Albert Sammons once played upon a Vincent violin and a Strad in the Cobbett Competition, and the Strad took second place. Assisted by his brother. Beautiful workmanship, with golden-red varnish. In 1927 he was established in Great Pulteney Street, Piccadilly, London. Retired to Brighton, Sussex, where he died at the age of 70 years. i75, 1960.
---------------------
A. & H. Vincent
London, 1902
---------------------
VISTOLI, LUIGI
Born at Lugo (Romagna) 1890. Showed a happy passion from childhood for tools and woodcraft. Made several early attempts at violin construction. Placed himself under the guidance of Nicola Utili, and was encouraged to practice the art professionally. Instruments date from 1910. Exclusive adherence to the Stradivarian model. Everything of beautiful concordance. Workmanship dictated by sense, reason, and inherent artistry. Tone gradually amplifying in strength and clarity. Always interested in the mystery of the old varnish, and his own experiments in the subject were crowned with success. Critics of colour as well as technical experts testify to the beauty of this varnish and state that it merits comparison with any used by Stradivarius, Guarnerius, or Amati. Produced ten to a dozen instruments yearly. £100, 1960.
---------------------------------------------------
Luigi Vistoli
allievo di Utili Nicola da Castelbolognese
Fece in Lugo. 1922
----------------------------------------------------
(decorative border)
VITOR, PIETRO PAOLO DE
Worked at Brescia 1730-1750. Born at Venice. Fine large model of some Maggini characteristics but with exaggerated arching. Very nice workmanship. Small, short, and compressed scroll, offspring of novelty. Pale red oil varnish of rich quality. Also built violins of 7/8 size, body length 13-5/8 inches. Frequently high arching. Large, clear, and far-carrying tone. £175, 1960, (for better models).
---------------------------------
Petrus Paulus de Vitor
Venetus fecit Brixiae, 1738
----------------------------------
VIVENET
Worked at Landau (France) 1790-1820. Trained at Mirecourt. Modelling (Stradivarian) and workmanship not aimed at a high mark, and both stimulate the desire of avoiding them. Dark brown or cherry-red varnish, thick and lustreless. “Vivenet à Landau” branded on back.
VLUMMENS, D. C.
Born at Antwerp 1885. Pupil of his father Isidor, a capable repairer. Worked for several firms in London. Set up for himself, 1926. Stradivarian and Guarnerian modelling not wanting in the higher qualities of artistry. Yellow and brown varnish. Achieved conspicuous success as a particularly skilful restorer. £80, 1960.
-----------------------------------
Dominicus Vlummens +
London 1927 D.V.
-----------------------------------
VOGLER, JOHANN GEORG
Worked at Würzburg (Bavaria), 1740-1756. Violinist and ’cellist. Father of the celebrated scientist, Abbé Georg Joseph Vogler. Instruments exercising considerable influence over the many makers in his district. Those dated 1740 perhaps slightly heavy-looking, but he soon cast off certain fetters and from 1745 conceived a truly elegant medium high model. Belly wood of finest quality, medium grain, two-piece backs always of pretty material. Soft and rich red brown varnish applied with artistic zeal. Tonal quality generally well mellowed. £70, 1960.
--------------------------------
Joannes Georgius Vogler
me fecit Wirceburgi 1749
--------------------------------
(German lettering)
VOIGT
Worked at Quittenbach (Saxony), 1760. Instruments representing little beyond the ordinary productions of that country. Plainness of wood might be censured, but at any rate it is fairly good acoustically. Non-transparent varnish on a stained ground. Smooth tonal quality but small.
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Voigt, Violinmacher in Quiddenbach
--------------------------------------------
(written)
VOIGT, ARNOLD
Born at Markneukirchen, 1864. Pupil of Heberlein. Resident in London, 1885-1890. Established at Markneukirchen, 1890-1927. Very prolific productivity. Skilful copyist of the Cremonese, Stradivarian model in particular. Excellent adherence to true scientific rules. Had a clear and definite notion of what he was setting about, and produced instruments of all grades to meet the requirements of average players. Oil and spirit varnishes of own formula, the former thinly applied and generally of a yellow shade. Tonal quality rather hard but suits a violinist with a taste for almost unlimited volume. £60, 1960.
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Arnold Voigt
London, 1889
------------------
(in ink)
-----------------------------------------
Arnold Voigt
Geigenbauer
Markneukirchen. Sachsen. 1905
------------------------------------------
Also an expert bow maker. Faithful representations of celebrated models worked with an artistic eye.
VOIGT, CARL HERMANN
Born at Markneukirchen, 1850. Began industrial life as a bow maker, and turned out many excellent specimens before 17th year. Went to Budapest, 1867, apprenticed to S. F. Nemessanyi for violin making. Worked for Kemböck at Vienna. Established own workshop in the Nussdorferstrasse, Vienna, 1876. Appointed maker and repairer to the Viennese Court. Principal of the Austrian Guild of violin makers. Recipient of many exhibition medals. Consulted by the best connoisseurs, friendly with artists, scrupulous in dealing and magnificently expert in appraising old instruments. Died 1925. Built many copies of the Dolphin Strad, design and workmanship not outstripping his excellent powers of inner construction. No violation of artistry in the application of golden red varnish. Produced violas, ’cellos and double basses. Also bows of various degrees of excellence, generally dark sticks.
VOIGT, JOHANN GEORG (1)
Son and pupil of Johann Adam. Born 1748. Died 1802. Master in the Guild at Markneukirchen, 1769. Recognised as the best of the family. Solidly constructed instruments of fairly flat arching. Often one-piece backs of plain maple. Belly wood noticeable for its fine vein. Brown varnish of satisfactory hue. Tonal quality soft and pleasant. Suitable for amateurs.
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Iohann Georg Voigt
Brobe Violinmacher in Neukirchen
bey Adorf in Voigtlande. Correspontent
Cremona 1798
-------------------------------------------------
Also branded “I.G.V.”
VOIGT, JOHANN GEORG (2)
Son of Simon. Born 1752. Died 1842. Worked at Markneukirchen. Made Stainer-like instruments, with medium arching, in young days. Later developed into a bow maker.
----------------------------------------
Iohann Georg Voigt
erfunden von Jacob Stainer in
Absam brobe ocnibuntum, 1775
----------------------------------------
VOIGT, JOHANN GEORG (3)
Born 1776. Died 1829. Worked at Markneukirchen. Gentle flat modelling of interesting design. Almost invariably pretty wood. Brownish shade of varnish. Nicely smooth tonal quality without brilliance.
-----------------------------------------
Johann Georg Voigt
Violinmacher in Neukirchen 1798
-----------------------------------------
(German lettering)
VOIGT, PAUL
Born 1881. Pupil of Schmidt at Markneukirchen. Established at Manchester. Stradivarian and Guarnerian modelling; varnish of own formula. First-class workmanship. Dealer and repairer.
------------------------------
Paul Voigt. Manchester
Fecit anno 1906 +
P.V.
-----------------------------
VOIGT, PAUL
Son of preceding, and brother of Ernst. Established in Central London for many years as repairer and dealer. Still working, 1960.
VOIGT, WERNER
Born 1911. Pupil of Reichel. Worked at Stuttgart. Director of the M.G. Voigt firm at Markneukirchen.
-----------------------
Werner Voigt
Geigenbaumeister
19 . .
----------------------
(with two small designs)
VOIRIN, FRANCOIS NICOLAS
Born at Mirecourt, 1833. Trained in workshops there. Went to Paris, 1855 and worked fifteen years for Vuillaume, and during that period, made all the fine bows bearing the violin maker’s name. Won silver and gold medals at the Paris and Antwerp Exhibitions. Established own workshop in the Rue-du-Bouloi, 1870. Worked indefatigably until stricken down with apoplexy whilst taking a bow to a patron, 1885. He had the elevated and inspired theme of emulating Tourte, in refined workmanship and elegance, but made a new departure by making the heads less square and reducing the weight. These delicately worked heads have a marked thinning of the two faces, and to preserve balance, he reduced the diameter of the lower end of stick, which is sometimes actually smaller than the accompanying tip. Sometimes he exaggerated this head tenuity, arrived at too light a weight, which brought weakness after a few months’ playing. However, his finest specimens (just the thing for virtuosi) though refreshingly light, have wondrous heads affording equal wondrous elasticity of sticks. Works of art, decoratively and technically. Stamped: “F. N. Voirin à Paris”, sometimes “F. N. Voirin”, and to this (on bows made for the Paris Exhibition), was added “Exposition, 1878”. Hundreds of imitations stamped “Voirin” have come from French and German factories. £30, 1960.
VOIRIN, JOSEPH
Brother of F.N. Born at Mirecourt, 1830. Worked for Gautrot at Château-Thierry near Paris; and at Paris, 1855-1867. Fine bows for bringing down the strongholds of fanciful bowings such as sautillé and staccato, etc. Majority of specimens do not bear his stamp, consequently remains comparatively unknown. £25 to £30, 1960.
VUILLAU ME, JEAN BAPTISTE
Eldest son of Claude Francois (2). Born in Mirecourt, 1798. Worked with father until 19th year then, finding his genius somewhat hampered in the small town in the Vosges mountains, he turned his attention to reaching Paris. Worked two years with Francois Chanot, who led him into the more scientific atmosphere of violin making: Engaged by Lété, an organ builder who had a violin repairing establishment, 1821. Went into partnership with him, 1825, and opened premises in the Rue Croix-des-Petits Champs (a favourite quarter for fiddle makers), under the name of Lété and Vuillaume. Had frequent association with Pique (father-in-law of Lété) which had considerable influence upon the investigating mind of Jean Baptiste. Also established friendly relations with the renowned acoustician Savart, who helped to refine his talent by divulging many of the newly-found discoveries relating to so-called secrets of Cremona varnish. Severed partnership, 1828, and moved to No. 40 in the same street. Remained there over thirty years. First instruments built on normal lines, made carefully and solid looking, much in the style of contemporaries but they sold too slowly and for too small a price to suit this enterprising maker. He soon realised that amateurs and professionals eschewed modern instruments in favour of old Italian. He made a further close study of any Cremonese that lay to hand, and ultimately produced a wondrous facsimile of Stradivari violin (with its worn appearance, etc.) plus a label, for £12, and a ’cello for £20. Perfect imitations in modelling and varnish, also in liquid quality of tone to a lesser degree which he obtained by thinning the wood and impregnating it with violent acids and other artificialities. The fact that this would eventually destroy the fibres and weaken the resistance of tone did not penetrate the faculties of eager violinists. The flute-like, pleasant tone, easily responsive under the bow, gratified their sensibilities. Thus did Vuillaume set off on his road of masterly deception, and orders came thick and fast. Recipient of silver medals at the Paris Expositions of 1829 and 1834. Imitative work did not prevent continued research into the secrets of straight-forward construction based on Stradivarian perfection. No detailed analysis of master works went past his enthusiasm for critical investigation; quality and thickness of wood, arching, depth of ribs, various intricacies of inside work and peculiarities of varnish. Travelled throughout Switzerland, Tyrol and Silesia in search of old wood and old furniture of any kind. Produced many instruments constructively magnificent and plentifully wooded in all sections, awaiting time and usage to give mature tonal quality. Won two gold medals in Paris, 1839 and 1844. Made two quartets and gigantic octo-bass for the World’s Fair in London, 1851, and received the grand “Council Medal”. Moved to larger premises in the Rue Demours-Ternes, 1860, and engaged an extensive staff of workmen. Success further signalised by the French Government awarding him the Legion of Honour ribbon, also decorated by Royal insignias of other countries.
Died at the zenith of universal admiration in 1875. Acknowledged to be the greatest technical genius of his time, though some of his dodges and subterfuges may be unpardonable. No Frenchman surpassed him except Lupot. Made many solidly built copies of the Tuscan and Messie Strads, one in particular numbered 1391. Produced so perfect a replica of Paganini’s Guarnerius that the famous virtuoso could not distinguish one from the other until he played on them; twins, now resting beside each other in the Museum at Genoa. Made many other fine Guarnerian examples which differentiatc a good deal (except in outline), particularly in the sound-holes, scrolls and varnish. One, with a handsome one-piece back, magnificent scroll and red brown varnish, with the appearance of old age and wear wondrously produced, realised 2,500 dollars in Chicago, 1929. Also made some fine Lupot replicas when he worked for Lété. One made in 1820 belonged to Joachim in his youth (1846-1860), who sold it to his pupil Theodor Thomas, who took it to America when he became leader of the New York Symphony Orchestra. This was acquired by an amateur collector named Rosenbecker, 1870. Offered for sale at 1,000 dollars in 1925. Exquisite workmanship, very striking inlay and a rich tone of considerable volume. Made a Stradivarian model (No. 2599) for Reményi (famous Hungarian virtuoso who lived a year or two at Paris before going on his world tour). Hungarian Arms emblazoned on back. Bought by David Laurie (Glasgow). Owned by a Mr. Hilton at Matlock Bridge, 1895. Also produced several Maggini models some with inlay designs on back. Highly appreciated in the United States. Many fine copies of the Brescian School have fanciful heads, inscriptions on the ribs and a painted design of St. Cecilia on the back. See under “Duiffoprugcar” for another remarkable demonstration of ingenious versatility. Some early instruments are delightful transcripts of a famous Amati violin inlaid with floral designs. In later years he built several violins of individualistic modelling based on combined attributes of Stradivarius, Guarnerius and Amati; varnished as new instruments. One hundred years hence they will rank as his finest productions. Several violas known, usually red brown varnish. General body length 16-1/4 inches, upper bouts, 7-3/8, lower, 8-1/2.
Introduced in 1855, a new model Viola (named contralto), broader and deeper in size; tried at the Brussels Conservatoire. This had a kind of violin tone, but twice as powerful as the ordinary viola. Players found it too difficult to play, consequently gained no favour. Specimen preserved at Paris Conservatoire. Also made five-stringed violas, which are now only regarded as curiosities. Some early ’cellos of Stradivarian design much sought for today, body length usually 29-1/8, inches, golden red varnish, frequently one-piece backs of picturesque flame. His varnish and the method he had of applying it was rather unique. Many subsequent Frenchmen (such as Derazey) copied it, but in a less effective style. Made a String Quartet (No. 2602-3-4-5) for Count Basil de Cheremetor, decorated (on the back) with the family crest, 1865. Beautiful reddish varnish. Also another quartet the same year, for Prince Caraman de Chimay, with the family Coat-of-Arms emblazoned. Chestnut brown varnish.
-----------------------------------------
J. B. Vuillaume No. 4
Chez N. A. Lété
rue Pavée-Saint-Sauveur No. 20
à Paris 1823
-----------------------------------------
(sometimes written)
---------------------------------------
Jean Baptiste Vuillaume a Paris
Rue Croix des Petits Champs
---------------------------------------
(with B V double-circled)
--------------------------------------
Jean Baptiste Vuillaume a Paris
3 Rue Demours-Ternes
--------------------------------------
(with B V double-circled)
---------------------------------------
Jean Baptiste Vuillaume à Paris
3 Rue Demours-Ternes
1844
---------------------------------------
(with B V double-circled and flourishing signature after date)
------------------------------
Ste. Cecile des Thermes
Paris 1848. No. 398
------------------------------
---------------------------------------------
J. B. Vuillaume No. 21
Rue Croix des petits Champs No. 30
Paris 1829
----------------------------------------------
(written)
-------------------------------------------------
Antonius Superios Cremonensis
Alumnus Joseph Guarnerius Anno 1797
-------------------------------------------------
(in a violin made in 1858, one of his harmless inventions)
All instruments numbered - for example No. 2594, and 2689 in 1867. Kept a record of every instrument made by himself or his workmen. Pencilled his paraph on the inside of back, near right-hand upper corner.
“Trade” violins are numerous and did not come from his workshop, but manufactured since by Mirecourt firms.
---------------------------------------
Vuillaume à Paris
Rue Croix des petits champs 45
---------------------------------------
Always undated, but good-class merchandise. Sometimes branded “Vuillaume à Paris” at top of back. In early days he made many splendid bows, results of the frequent opportunities he had of seeing Tourte at work, but after he became famous as a maker and dealer of violins, he engaged a fine staff of bow makers (including Voirin and Peccatte) who produced all subsequent bows for him. These were all stamped “Vuillaume”. Of course, there are hundreds of bows similarly stamped which have been produced in Mirecourt but these are easily recognised by the less refined workmanship, very light chocolate coloured sticks, and often under the weight to adequately satisfy first-class players. He also invented a steel tubular bow which had considerable popularity for several years - stamped
-----------------------
Vuillaume a Paris
Brevet d’invention
-----------------------
Another invention was a chin-mute, a contrivance by which the players pressed their chins on the tailpiece, instead of placing a mute on the bridge.
In addition to numbering his instruments Vuillaume stamped them inside on the back, generally on the right-hand upper bouts with his name, similar to the one found on his bows. It is difficult to state with certainty all those luthiers who at one time or the other worked for Vuillaume, but we give the following list of those known:
Paul Bailly, Télesphore-Amable Barbé, Charles Buthod, Auguste Darte, Alexandre Delanoy, Jean Joseph Honoré Derazey, George Gemünder Senr., Joseph Louis Germain, Charles Adolphe Maucotel, Maurice Mermillot, Ludwig Neuner, Hippolyte Silvestre, Charles Simonin, Nicolas Vuillaume, Nicolas François Vuillaume, etc.
It is also stated on good authority that Barbe made many of his instruments. Instruments branded “St. Cecilia” or back £250, personal work violins £400 to £500, ’cellos up to £500, 1960. Bows £15 to £25.
VUILLAUME, NICOLAS
Second son of Claude François (2). Born 1800. Died 1871. First worked with father at Mirecourt, afterwards in Paris with brother Jean Baptiste 1832-1841, and returned to Mirecourt 1842. Busied himself chiefly with production of superior class “trade” instruments, which were good enough in their way, and met requirements they were intended for - workmanship comparatively ordinary. For a long time they were favoured by many, and this popularity was scarcely even checked by disfavour of the few. However, the time came when they fell to scant approval, owing to other French productions superseding them, and ultimately became recognised only as second-rate affairs of small monetary value. Modelling generally of rather massive construction, sometimes a modified Stradivarian with considerable resemblance to the Lupot style, and occasionally one somewhat Guarnerian. Reddish varnish not especially supple. Often very handsome backs and good belly wood. Full and responsive tone without much smoothness, and quite serviceable as orchestral instruments. £20, 1920. From his rather prolific productivity several specimens stand out from the mass, and dealers run the price up accordingly, but not unfairly. Exhibited (1855) a class of instrument termed “Stentor” named after a herald of the Greeks in the Trojan war whose voice (as related by Homer) was as loud as that of fifty other men. Recipient of a bronze medal in recognition of certain slight constructive originalities. Tonal quality quite allied to the title. Shield placed on the back of scroll, with “Stentor” thereon.
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Nicolas Vuillaume
fecit a Mirecourt, anno 1830
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A cross and initials within a circle. Sometimes branded “N. Vuillaume”. Other times, in place of label, autographed “N. Vuillaume”. £65, 1960.
VUILLAUME, NICOLAS FRANÇOIS
Third son and pupil of Claude François (2). Born at Mirecourt 1802; and apprenticed in father’s workshop. Worked with brother J.B. at Paris until 1828; then settled at Brussels. Died 1876. Received silver medals for conscientious workmanship of instruments, at Brussels Exhibitions of 1835 and 1841. Appointed maker and repairer to Conservatoire. Exhibited instruments in London 1831, Paris 1855 and Dublin 1867, for which medals of the first class were awarded. Sent a quartet of instruments to the Vienna Exhibition 1873, and secured highest honours from the council. Success further rewarded by the Belgian Government when made a “Chevalier de l’Ordre de Léopold”. Frequently travelled through Savoy and the Tyrol, also visited Italy in search of woods, and any valuable violins lying in obscure places. Intimate acquaintance of David Laurie (Scottish connoisseur) who described him as “a man of middle height, broad and wellmade, having more the appearance of a Lowland Scot than a Frenchman”. Produced many instruments of superb workmanship, creating much envy among Belgian makers. Stradivarian, Guarnerian, and Maggini modelling. Workmanship and style rather faithful to the influence of brother’s precepts. Good edges, well margined. Excellent curvatures with graceful approach to corners. Some sound-holes pronouncedly Gothic, often quite long, and of a style difficult to determine. Varying scrolls, sometimes of classical proportions, and as frequently rather stiffish. Beautifully transparent reddish varnish on best specimens, rubbed down to represent wear and age. As yet the general public deny him his rightful place, but his fame is gradually speeding up, and he will eventually occupy a place beside Jean Baptiste. Unfortunately, this has been retarded by his occasional descent into the production of cheaper and a kind of “commercial” instrument for which he received £10. Purplish-mahogany shade of varnish doctored up etc., to look like genuine old age. Made several facsimiles of the Servais Strad ‘cello which have received all possible commendation.
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N. F. Vuillaume, No 175
Luthier du Conservatoire Royal de Musique
Rue de l’Eveque No 30
N.F.V. Bruxelles. L’an 1884
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175 is the number of the instrument. Also produced many artistic bows. Generally round sticks of chocolate colour. Branded “N.F. Vuillaume”. Violins £125, Bows £12, 1960.
VUILLAUME, SÉBASTIEN
Born 1835. Worked at Paris. Died 1875. Last maker of this family. Awarded bronze and silver medals at Paris Exhibitions of 1867 and 1868. Generally wide proportioned patterns. Deep red varnish. Workmanship very diverse. The maker seems to have fallen into the meshes of contradictions, and never had the patience (or perhaps it was ill-health), to systematically adhere to the thoroughness and uniformity so necessary to retain a conspicuous position. He has not flagrantly abused any particular part, inside or out, but in general, was too invariable, consequently his instruments have never been greatly desired, though an occasional first-class specimen has been appreciated.
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Sébastien Vuillaume à Paris
27 Boulevard Bonne Nouvelle
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Initials and a cross double-circled. Bows bring his name into better recognition. Similar to those of Jean Baptiste. Used the machine invented by his uncle. Violins £90, Bows £15.