Bow & Bridge

Gosselin, Jean

As printed

  1. Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart (1904)

    Gosselin, Jean. — Paris. 1814. 1830.

    scan pages 253, 255 · line 34See the scans: 253, 255source record

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    scan page 253, line 34

    1. Goss, W. S.
    2. Ein amerikanischer Geigenmacher, der in Lynn lebt.
    4. Gosselin, Jean. — Paris. 1814. 1830.
    5. Der Vater der beiden, zu ihrer Zeit berühmten Tänzerinnen. Ein verdienstvoller Dilettant, mit Koliker eng befreundet und von diesem unterwiesen. Er machte sowohl Geigen als Violoncelli nach Stradivari, die in gewisser Beziehung geschätzt sind und jetzt Preise bis zu 800 Mk. erreichen. Seine Arbeit ist sorgfältig, der Lack von rother und gelber Farbe und gut. Das eigenartig gesprenkelte Ahornholz, das er mit Vorliebe verwendete, giebt seinen Instrumenten ein persönliches Gepräge.

  2. An encyclopedia of the violin (1925)

    GOSSELIN, JEAN, Paris, 1814 to 1830.

    scan page 49, line 15; scan page 51, line 14See the scans: 49, 51source record

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    scan page 49, line 15

    1. GOBETTI, FRANCESCO, Venice, 1690 to 1732. Judging by his work he must have been a pupil of Stradivarius. He is, next to Montagnana and Serafino, the most important Venetian violin maker. It is claimed that he did all his work in the years 1690 to 1725, but there always has been great doubt about these dates. In the monastery of St. Florian in Austria can be found a violin with his trademark of 1761, but it is most likely that the figure "6" can also be taken for an "0." His model may be called the happy medium between the Stradivarius and Amati model. The varnish is of a clear light red color. One especially fine instrument of his make can be found in a collection at Antwerp. The label used by Gobetti is reproduced on Plate 5, and one of his instruments on Plate 6.
    2. GOFRILLER, FRANCESCO, Venice, Udine, 1690 to 1740.
    3. GOFRILLER (GOFFRILER OR GAFRILLER), Matteo, Venice, 1690, d. 1742. His work suggests the old Italian school and he appears to have been a pupil of Carlo Bergonzi. His work is exemplary in the selection of the wood, the beautiful red varnish, and the excellence of tone. One of his instruments, dated 1742, is in a Museum at Cologne. Gofriller frequently omitted the label from his violins.
    4. GOSSELIN, JEAN, Paris, 1814 to 1830.
    5. GOUGH, WALTER, London, 1810, d. about 1830.
    6. GRABENSEE, T. K., (OR T. G. OR J. A.), Dusseldorf, 1818 to 1861.
    7. GRAGNANI, ANTONIO, Livorno, 1741, still living in 1800. Although not one of the master makers, Gragnani's violins have an excellent tone and pleasing appearance. One of his instruments is reproduced on Plate 14.

    Two machine readings of this page disagreed on line 1, and nothing has chosen between them — the words above are one of the two readings, not an established one.

  3. An encyclopedia of the violin (n.d.)

    GOSSELIN, JEAN, Paris, 1814 to 1830.

    scan page 53, line 14See the scan

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    scan page 53, line 14

    1. GOBETTI, FRANCESCO, Venice, 1690 to 1732. Judging by his work he must have been a pupil of Stradivarius. He is, next to Montagnana and Serafino, the most important Venetian violin maker. It is claimed that he did all his work in the years 1690 to 1725, but there always has been great doubt about these dates. In the monastery of St. Florian in Austria can be found a violin with his trademark of 1761, but it is most likely that the figure "6" can also be taken for an "0." His model may be called the happy medium between the Stradivarius and Amati model. The varnish is of a clear light red color. One especially fine instrument of his make can be found in a collection at Antwerp. The label used by Gobetti is reproduced on Plate 5, and one of his instruments on Plate 6.
    2. GOFRILLER, FRANCESCO, Venice, Udine, 1690 to 1740.
    3. GOFRILLER (GOFFRILER OR GAFRILLER), Matteo, Venice, 1690, d. 1742. His work suggests the old Italian school and he appears to have been a pupil of Carlo Bergonzi. His work is exemplary in the selection of the wood, the beautiful red varnish, and the excellence of tone. One of his instruments, dated 1742, is in a Museum at Cologne. Gofriller frequently omitted the label from his violins.
    4. GOSSELIN, JEAN, Paris, 1814 to 1830.
    5. GOUGH, WALTER, London, 1810, d. about 1830.
    6. GRABENSEE, T. K., (OR T. G. OR J. A.), Dusseldorf, 1818 to 1861.
    7. GRAGNANI, ANTONIO, Livorno, 1741, still living in 1800. Although not one of the master makers, Gragnani's violins have an excellent tone and pleasing appearance. One of his instruments is reproduced on Plate 14.

Named in 3 books printed between 1904 and 1925. Read by software from scans of those pages, not yet checked by a person against the page. Entries from 3 books stand under this name, and the software judged them likely the same person. Tell us if that is wrong and we will split the record.

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Details and sources

Record note

Printed in An encyclopedia of the violin (1925); An encyclopedia of the violin (1925); An Encyclopedia of the Violin (1926); Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart (1904); Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart (1904), and nowhere else on this site: that is the entire basis of this maker’s record. Entries from 3 books stand under this name, and the software judged them likely the same person. Tell us if that is wrong and we will split the record. No claim beyond the printed naming is invented here — not established is the accurate word for it, and we want to hear from you if that can change.

What the books say

Places and dates of work
GOSSELIN, JEAN, Paris, 1814 to 1830. reported1
Places and dates of work
GOSSELIN, JEAN, Paris, 1814 to 1830. reported1
Places and dates of work
GOSSELIN, JEAN, Paris, 1814 to 1830. reported1
Places and dates of work
Gosselin, Jean. — Paris. 1814. 1830. reported1
Places and dates of work
Gosselin, Jean. — Paris. 1814. 1830. reported1

How the pages were read

5 of the 5 lines here were read from machine text (software that turns a photo of a page into words), not by a person looking at the page image. 1 of them rests on a section heading above a list of names, not on a trade word printed on its own line: “VIOLIN MAKERS IN EUROPE”.

Notes

  1. Read from machine text (software that turns a photo of a page into words, or a typed transcription), not by a person looking at the page image. ↩

The books behind this record

This record draws on 3 sources. Each is listed below with how it was read, because a claim read from a photo of the page is stronger than one read from machine text.

  1. Alberto Bachmann, An encyclopedia of the violin (1925). archive.org, encyclopediaofvi0000albe_h3k7. https://archive.org/details/encyclopediaofvi0000albe_h3k7.machine textcited for 1 linesource record

    scan page 49, line 15

  2. Bachmann, Alberto and Ysaye, Eugene, An encyclopedia of the violin (New York, Da Capo Press, n.d.). archive.org, encyclopediaofvi0000bach_r6r5. https://archive.org/details/encyclopediaofvi0000bach_r6r5.machine textcited for 1 linesource record

    scan page 53, line 14

  3. Alberto Bachmann, An Encyclopedia of the Violin (1925). archive.org, encyclopediaofvi0000albe_u1d5. https://archive.org/details/encyclopediaofvi0000albe_u1d5.machine textcited for 1 linesource record

    scan page 51, line 14

  4. Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart (1904). archive.org, bub_gb_cWCqAAAAIAAJ. https://archive.org/details/bub_gb_cWCqAAAAIAAJ.machine textcited for 1 linesource record

    scan page 253, line 34

  5. Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart (1904). archive.org, diegeigenundlau00vongoog. https://archive.org/details/diegeigenundlau00vongoog.machine textcited for 1 linesource record

    scan page 255, line 34