Scan 119
Critical & Documentary Dictionary of Violin Makers Old and Modern, 1928
8 lines. Read by computer on 5 October 2026. No printed page number was found. See the scan on archive.org.
1recalling that of Chappuy. His instruments are branded inside and at the button.
3CHANOT (Francis) — Son of the one preceding. A Marine Engineer, suspended after political events, he made instruments, creating a violin model devoid of corners with a scroll turning backwards and called « Guitar-Violin ». This innovation brought him a certain fame and caused him to be re-instated in his post. He died at Rochefort in 1823, 1st. class Engineer.
5CHANOT (Georges) — Paris 1801-1883. The youngest of J. Chanot's sons. Born at Mirecourt in 1801, at the age of thirteen he went to Genoa to join his brother Francis, whom he eventually left to serve his apprenticeship with his father at Mirecourt. He afterwards left for Paris at the time of the famous invention of his brother's Model the « Guitar Violin », in the making of which he only collaborated for a short time, in J.-B. Vuillaume's company at Lété's. Thence he went to work with Gand Senr. and remained with him until 1821, when he established himself and was enabled to give vent to his natural gifts, inspired by the great specimens of Italian instruments, most of which still preserved their original beauty at that period. He travelled extensively in Europe, mainly in Italy and Spain, this enabling him to bring back a number of splendid instruments. After leaving his business to his son-in-law and pupil, Joseph Chardon, he retired to a property he possessed at Courcelle, in the valley of Chevreuse, where he continued restoring and making fine instruments. He died in January 1883. No 450.
7CHARDON (Joseph) — Born in Paris in 1843. Son-in-law and pupil of Georges Chanot. Worked constantly with his master and remained his collaborator until 1872, when he succeeded him. He repeated his predecessor's travels to Italy and brought back a considerable number of instruments, among them genuine masterpieces, for which he fought hard against foreign buying opposition. Having thus lived among instruments of all countries and all schools, it is not surprising that J. Chardon should have been
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