Bow & Bridge

Paris, Claude

As printed

  1. A dictionary of violin makers (1896)

    Paris, Claude. A maker at Paris, in the rue du Roulle-St.-Honoré, 1775-91. In 1816 was joined by his nephew. In a violin, on which the purfling was a zig-zag pattern, both back and front, with spirit varnish, a red-yellow colour, was the label: “Claude Paris, luthier, rue du Roulle à Paris, 1780.”

    scan page 79, line 17See the scan

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    scan page 79, line 17

    2. Pardini, Bastiano. Worked in Florence about 1700. Label: "Bastiano Pardini in Firenze."
    4. Paris, Claude. A maker at Paris, in the rue du Roulle-St.-Honoré, 1775-91. In 1816 was joined by his nephew. In a violin, on which the purfling was a zig-zag pattern, both back and front, with spirit varnish, a red-yellow colour, was the label: "Claude Paris, luthier, rue du Roulle à Paris, 1780."
    6. Parker, Daniel. A maker in London about 1740-85. He was a very clever workman, possibly a pupil of Urquhart or Pamphilon, but made a step in advance, improving the pattern of his instruments, making them more similar to those of Amati. He used red varnish, a disagreeable colour, rather thickly laid on; the wood was excellent, often handsomely figured; the varnish rather transparent and soft; the tone clear and powerful. He made largely for the trade, consequently his instruments are often sold under other names; no viola or violoncello of his has ever been seen, only violins are known. About 1793 they were valued at five guineas each; about 1805 they realised as much as fifteen guineas each.

  2. A dictionary of violin makers (n.d.)

    Paris, Claude. A maker at Paris, in the rue du Roulle-St.-Honoré, 1775-91. In 1816 was joined by his nephew. In a violin, on which the purfling was a zig-zag pattern, both back and front, with spirit varnish, a red-yellow colour, was the label: “Claude Paris, luthier, rue du Roulle à Paris, 1780.”

    scan page 81, line 17See the scans: 81, 81source record

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    scan page 81, line 17

    2. Pardini, Bastiano. Worked in Florence about 1700. Label: "Bastiano Pardini in Firenze."
    4. Paris, Claude. A maker at Paris, in the rue du Roulle-St.-Honoré, 1775-91. In 1816 was joined by his nephew. In a violin, on which the purfling was a zig-zag pattern, both back and front, with spirit varnish, a red-yellow colour, was the label: "Claude Paris, luthier, rue du Roulle à Paris, 1780."
    6. Parker, Daniel. A maker in London about 1714-85. He was a very clever workman, possibly a pupil of Urquhart or Pamphilon, but made a step in advance, improving the pattern of his instruments, making them more similar to those of Amati. He used red varnish, a disagreeable colour, rather thickly laid on; the wood was excellent, often handsomely figured; the varnish rather transparent and soft; the tone clear and powerful. He made largely for the trade, consequently his instruments are often sold under other names; no viola or violoncello of his has ever been seen, only violins are known. About 1793 they were valued at five guineas each; about 1805 they realised as much as fifteen guineas each.

  3. Dictionary of Violin makers (1928)

    PARIS (Claude) — Paris circa 1780. Good workmanship. Orange varnish. Was established rue Roulle-Saint-Honoré.

    scan page 159, line 17See the scan

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    scan page 159, line 17

    2. PAQUOTTE Frères — Sons of above mentioned. Good modern make.
    4. PARIS (Claude) — Paris circa 1780. Good workmanship. Orange varnish. Was established rue Roulle-Saint-Honoré.
    6. PAUL (Pierre-Saint) — Paris circa 1740. Instruments of the Amati model. Grey-yellow or red varnish. He was established at rue Saint-André-des-Arts. Sign-board: « A la Lyre d’Apollon ». Nos 145-296.

Named in 3 books printed between 1896 and 1928. 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

Nothing on this site confirms this record beyond what one or more sources state, and that is the whole basis for it: A dictionary of violin makers (1890); A dictionary of violin makers (1890); A dictionary of violin makers (1896); Dictionary of Violin makers (1928). 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 that has been invented here, which leaves the record not established; tell us if you can change that.

What the books say

Places and dates of work
Paris, Claude. A maker at Paris, in the rue du Roulle-St.-Honoré, 1775-91. In 1816 was joined by his nephew. In a violin, on which the purfling was a zig-zag pattern, both back and front, with spirit varnish, a red-yellow colour, was the label: “Claude Paris, luthier, rue du Roulle à Paris, 1780.” reported1
Places and dates of work
Paris, Claude. A maker at Paris, in the rue du Roulle-St.-Honoré, 1775-91. In 1816 was joined by his nephew. In a violin, on which the purfling was a zig-zag pattern, both back and front, with spirit varnish, a red-yellow colour, was the label: “Claude Paris, luthier, rue du Roulle à Paris, 1780.” reported1
Places and dates of work
Paris, Claude. A maker at Paris, in the rue du Roulle-St.-Honoré, 1775-91. In 1816 was joined by his nephew. In a violin, on which the purfling was a zig-zag pattern, both back and front, with spirit varnish, a red-yellow colour, was the label: “Claude Paris, luthier, rue du Roulle à Paris, 1780.” reported1
Places and dates of work
PARIS (Claude) — Paris circa 1780. Good workmanship. Orange varnish. Was established rue Roulle-Saint-Honoré. reported1

How the pages were read

4 of the 4 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: “A DICTIONARY OF VIOLIN MAKERS.”.

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. Stainer, C. (Cecie), 1867-1937, A dictionary of violin makers (London: Novello, n.d.). archive.org, dictionaryofviol00stai. https://archive.org/details/dictionaryofviol00stai.machine textcited for 1 linesource record

    scan page 81, line 17

  2. Stainer, C. (Cecie), 1867-1937, A dictionary of violin makers (London: Novello, n.d.). archive.org, dictionaryofviol1899stai. https://archive.org/details/dictionaryofviol1899stai.machine textcited for 1 linesource record

    scan page 81, line 17

  3. Stainer, C. (Cecie), 1867-1937, A dictionary of violin makers (London ; New York: Novello, Ewer, 1896). archive.org, dictionaryofviol00stai_0. https://archive.org/details/dictionaryofviol00stai_0.machine textcited for 1 linesource record

    scan page 79, line 17

  4. Arnold Sewell, Dictionary of Violin makers (1928). archive.org, dictionaryofviol0000arno. https://archive.org/details/dictionaryofviol0000arno.machine textcited for 1 linesource record

    scan page 159, line 17