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Scan 81
A dictionary of violin makers, 1896
36 lines. Read by computer on 27 September 2026. Printed page 73. See the scan on archive.org.
1wood, though not very beautiful to look at, and red varnish. The proportions of his thicknesses varied too much; the tone is excellent but not powerful; the work is carefully finished. In Thomas Britton's Collection of instruments was a violin by "Claude Pieray, of Paris, as good as a Cremona." Some of his pupils became good makers, such as Jean Ouvrard, Paul Grosset, and Louis Guersan. Labels: "Claude Pierray, rue des Fossés-Saint-Germain-des-Prés à Paris, 1710"; a similar label, dated 1714, "Claude Pieray à Paris, 1715"; "Claude Pierray proche la Comédie à Paris, 1725." There is a bass-viol, dated 1712, in the Paris Conservatoire Collection.
3Piete (Picte), Noel, b. about 1760. Worked in Paris till about 1810. Was a pupil of Saunier. Made violins and violoncellos of beautifully finished workmanship.
5Pilet. See "Pitet."
7Pillement, F. A maker in Paris about 1790-1820. His instruments vary very much, as he often changed his pattern; he used dark varnish. He branded his violins inside with "Pillement, Paris."
9Pilosio, Francesco. Was working in Gorizia in 1748.
11Pique, François Louis; b. 1758, at Rorei, near Mirecourt; d. 1822, Charenton-St.-Maurice. Was a pupil of Saunier. He went to Paris in 1777 or 1778, living first in "rue Coquillière au coin de la rue de Bouloy," according to a label in a theorbo dated 1779; then, 1787-9, in the "rue Platrière vis-à-vis de l'Hôtel de Bullion," according to a label in a sixteen-stringed mandore dated 1787; and finally at 36, rue de Grenelle-St.-Honoré, where he remained till he retired from business in 1816. He made some beautiful copies of Stradivari, the workmanship being of a very high order; the scrolls and sound-holes are well cut and the wood is of excellent quality. Some instruments have the backs cut in one piece, and the proportions of the thicknesses are sometimes exaggerated; he used a dark red oil varnish, rather opaque. In 1792 he applied to Nicolas Lupot, then still at Mirecourt, for a certain number of unvarnished violins, which he then varnished himself and sold with his label. His instruments vary from a moderate price to as much as £50. His violins are mentioned by Spohr (Méthode de Violon) as being some of the best of the period. Label: "Pique, rue de Grenelle-St.-Honoré, au coin de celle des deux Ecus, à Paris, 1790"; a similar label is dated 1809.
13Pirot, Claude. A maker in Paris about 1800-20. He made good violins on the Italian pattern; the bellies are slightly arched, the backs hardly at all; the sound-holes are well cut; the varnish is very thick, sometimes red-brown, sometimes pale yellow colour. Label: "Cde. Pirot fecit Parisiis, anno 1803." Similar labels have been found in violins dated 1808, 1810, 1813.
15Pitet (or Pilet). A maker in Paris in the latter part of the 17th century. His instruments are more curiosities for collectors than of any great value. His name, encircled by a Latin motto, is often found written on the sides of his instruments, most frequently on the violoncellos.
17Pizzurnus (Pozzurnus), David. Working in Genoa about 1760.
19Plack (Plach), Francís. A maker in Schoenbock, Bohemia, about 1740-80. He is best known for the good violins that he made.
21Plane, W. Working in Glasgow in 1860.
23Plani, Agostino de. A maker in Genoa in 1778, according to this label: "Augustinus de Planis fecit Genuae, 1778." His work was commonplace.
25Platner, Michele. Probably a Swiss. Was working in Rome in 1747. His instruments show very fair workmanship; they are rather arched, the scroll is well cut, the varnish is a golden-red colour. Label: "Michael Platner fecit Romae, anno 1747."
27Plumerel. Was working in Paris in 1740, for this date was found in a violoncello of rather poor work, with yellow varnish; his name was branded inside.
29Plumerel, Charles. Was working in Angers, France, in 1822.
31Poiros, Louis. A violin of his is known, he was a French maker.
33Poirson, Eloph. Worked in Paris. At first took up violin making as an amateur, but in 1878, having received a very flattering verdict from Marsick on one of his violins, he decided to give his whole time to it. In 1889 he exhibited some of his instruments and was awarded a bronze medal, a violin being specially remarked as of very good quality and of beautifully finished workmanship.
35Polis, Luca de. A maker in Cremona in 1751.
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