Books › Dictionary of Violin makers, 1928 › scan 179
Scan 179
Dictionary of Violin makers, 1928
12 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1VATELOT (Marcel) — Paris. Maker and expert. Great-grandson of Blaise of Mirecourt. After completing his apprenticeship with Poirson and in other workshops at Mirecourt, he came to Paris in 1899, there working for Ch. Brugère and Marchand. He then went to Nantes to what was formerly the Maison Lété and in 1909 returned to Paris where he established himself at 11, rue Portalis. Maker and repairer for the Ecole Normale de Musique of Paris. His work is much appreciated and is based upon the fine Italian models in his collection. No 432.
3VAUTRIN (J.) — Chaumont, 9, rue de Verdun. Born at Mirecourt in 1875. Pupil of Chipot Vuillaume of Mirecourt, ex-first hand with Emile Germain in Paris. Established himself at Mirecourt in 1898 and transferred his business to Chaumont in 1900, where he still prospers. His model follows that of Stradivarius and his varnish is of a chestnut brown shade. No 446.
5VÉRON (Pierre-André) — Paris towards 1730. Work lacking finish.
7VIARD (Nicolas) — Versailles circa 1750. Unimportant make.
9VIBERT — Paris circa 1775. Light red varnish. Pierray style.
11VIGNERON (Joseph-Arthur) — Paris. Born at Mirecourt in 1851, died in 1905. Pupil of Ch. Husson. This master bow maker is among the best of his time. Despite the fact that his sticks do not always possess the finish or refinement of Voirin, they are much sought after by artists as they are responsive, strong and well balanced, though sometimes a little heavy. We have discussed this subject with him personally in the days when exceptionally light bows were in vogue and experience has taught us that his arguments and methods were not altogether wrong. Tourte also generally made heavy bows. The most important factor is the balance of the stick, so that it permits free handling, the weight actually depending on the mood of the player. For this reason, every violinist should have two bows of different weights. By the use of a fairly heavy bow the playing of a somewhat nervous concertist will gain in fulness of tone with less effort. Mark : A. VIGNERON, à Paris.
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