Scan 124
Critical & Documentary Dictionary of Violin Makers Old and Modern, 1928
12 lines. Read by computer on 5 October 2026, twice; the two readings disagreed in places. No printed page number was found. See the scan on archive.org.
1COMME — Blois towards 1710. Vielles and lutes. Vielle: A kind of viol with a handle. one of two readings
2COMME — Blois towards 1710. Vielles and lutes. Vielle : A kind of viol with a handle. one of two readings
4CORNU — Marseilles circa 1750. Yellow varnish. Little known.
6CORVISIER (Eugène) — Paris. Born in 1873. Pupil of Cunault, he worked successively in the workshops of Deroux and Audinot, succeeding the latter in 1908. His instruments are of different models and his orange-red varnish is of good quality. A distinguished repairer, he occupies the house founded by Sébastien Vuillaume, boulevard Bonne-Nouvelle, 17. No 403.
8COUSINEAU (Georges) — Paris towards 1750. Maker of all sorts of string instruments, bowed or plucked. His violins are of a graceful model and brown in colour. Branded: Cousineau père et fils. Maker of harps of value. Collectors of xviii th century instruments almost fight for possession of the gracefully carved specimens by Cousineau, as for those by Naderman. These instruments have lost their interest from the musical point of view, but are looked upon as decorative furniture. In antiquity the harp was played by the Indians and Egyptians, its appearance in the Occident dating back to the vi th century of our era. In the middle ages the harp, which was diatonic, had twenty-five metal strings which later on were replaced by gut ones. The first improvements in connection with the instrument took place in the xvi th century, and it was only at the beginning of the xviii th century that the pedals for modulating were invented by a German named Hochbrücker. These were later improved by Cousineau, Naderman and lastly Sebastien Erard, who towards 1810 created the double-movement, which permits of the raising of a note by one or two semi-tones. At the same time another German, Pfanger, produced the Chromatic harp, improved upon by our contemporary maker, G. Lyon. one of two readings
9COUSINEAU (Georges) — Paris towards 1750. Maker of all sorts of string instruments, bowed or plucked. His violins are of a graceful model and brown in colour. Branded : Cousineau père et fils. Maker of harps of value. Collectors of xviii th century instruments almost fight for possession of the gracefully carved specimens by Cousineau, as for those by Naderman. These instruments have lost their interest from the musical point of view, but are looked upon as decorative furniture. In antiquity the harp was played by the Indians and Egyptians, its appearance in the Occident dating back to the vi th century of our era. In the middle ages the harp, which was diatonic, had twenty-five metal strings which later on were replaced by gut ones. The first improvements in connection with the instrument took place in the xvi th century, and it was only at the beginning of the xviii th century that the pedals for modulating were invented by a German named Hochbrücker. These were later improved by Cousineau, Naderman and lastly Sebastien Erard, who towards 1810 created the double-movement, which permits of the raising of a note by one or two semi-tones. At the same time another German, Pfanger, produced the Chromatic harp, improved upon by our contemporary maker, G. Lyon. one of two readings
11COUSINEAU (Pierre-Joseph) — Paris circa 1780. « A la Victoire ». Son of the afore-mentioned. Was harpist at the Opera and has signed some instruments which are esteemed, like those of his father.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.