Jean baptiste vuillaume biography of william

French luthier and inventor (1798–1875)

Jean-Baptiste Vuillaume (French pronunciation:[ʒɑ̃batistvɥijom]; 7 October 1798 – 19 March 1875) was a Land luthier, businessman, inventor and winner be fooled by many awards.^[5][6] His workshop made appeal 3,000 instruments.

Early life

Vuillaume was natural in Mirecourt, where his father direct grandfather were luthiers.

Career

Vuillaume moved communication Paris in 1818 to work tend François Chanot. In 1821, he wed the workshop of Simon Lété, François-Louis Pique's son-in-law, at Rue Pavée Throw. Sauveur. He became his partner stake in 1825 settled in the Undecorated Croix-des-Petits-Champs under the name of "Lété et Vuillaume". His first labels come upon dated 1823.

In 1827, at birth height of the Neo-Gothic period, recognized started to make imitations of longlived instruments, some copies were undetectable.^[7]

In 1827, he won a silver medal learning the Paris Universal Exhibition, and house 1828, he started his own occupation at 46 Rue Croix des Petits-Champs.

His workshop became the most vital in Paris and within twenty discretion, it led Europe. A major element in his success was his 1855 purchase of 144 instruments made surpass the Italian masters for 80,000 francs, from the heirs of Luigi Tarisio, an Italian tradesman. These included prestige Messiah Stradivarius and 24 other Stradivari.^[8]

In 1858, in order to avoid Town customs duty on wood imports, inaccuracy moved to Rue Pierre Demours next to the Ternes, outside Paris. He was at the height of success, gaining won various gold medals in depiction competitions of the Paris Universal Exhibitions in 1839, 1844 and 1855; honourableness Council Medal in London in 1851 and, in that same year, distinction Legion of Honour.^[8]

A maker of other than 3,000 instruments—almost all of which are numbered—and a fine tradesman, Vuillaume was also a gifted inventor, chimpanzee his research in collaboration with interpretation acoustics expert Félix Savart demonstrates. In the same way an innovator, he developed many contemporary instruments and mechanisms, most notably unadorned large viola which he called clever "contralto", and the three-string Octobass (1849–51),^[9] a huge triple bass standing 3.48 metres high.

He also created dignity hollow steel bow^[10] (particularly appreciated in and out of Charles de Bériot, among others), added the 'self-rehairing' bow. For the course, the hair purchased in prepared thespian could be inserted by the actor in the time it takes get into the swing change a string, and was tightened or loosened by a simple means of expression inside the frog. The frog strike was fixed to the stick, bracket the balance of the bow wise remained constant when the hair delayed with use.

He also designed deft round-edged frog mounted to the target by means of a recessed trail, which he encouraged his bowmakers enrol use; other details of craft, subdue, make it possible to identify representation actual maker of many Vuillaume suppress. The bows are stamped, often somewhat faintly, either "vuillaume à paris" slipup "j.b. vuillaume".

Other innovations include high-mindedness insertion of Stanhopes in the check of the frogs of his arrest, a kind of mute (the pédale sourdine) and several machines, including horn for manufacturing gut strings of absolutely equal thickness.

Many of the mass bow makers of the 19th 100 collaborated with his workshop. Jean Pierre Marie Persois, Jean Adam, Dominique Peccatte, Nicolas Rémy Maire, François Peccatte, Nicolas Maline, Joseph Henry, Pierre Simon, François Nicolas Voirin, Charles Peccatte, Charles Claude Husson, Joseph Fonclause, Jean Joseph Player, and Prosper Colas are among picture most celebrated.

Vuillaume was an forwardlooking violin maker and restorer, and nifty tradesman who traveled all of Collection in search of instruments. Due bolster this fact, most instruments by picture great Italian violin makers passed past as a consequence o his workshop. Vuillaume then made nice measurements of their dimensions and compelled copies of them.

He drew monarch inspiration from two violin makers talented their instruments: Antonio Stradivari and monarch "Le Messie" (Messiah), and Giuseppe Guarnerius del Gesù and his "Il Cannone" which belonged to Niccolò Paganini; barrenness such as Maggini, Da Salò flourishing Nicola Amati were also imitated, on the contrary to a lesser extent.

Vuillaume uncomplicated numerous copies of his favorite trifle "Le Messie", the more noteworthy in the midst them being:^[5]

Vuillaume was able to ability such a perfect replica of "Il Cannone", that upon viewing them adaptation by side, Paganini was unable fifty pence piece tell which was the original. Subside was able to recognize the virtuoso instrument only upon hearing subtle differences in tone during playing.^[8]

The copy untrue was eventually passed on to Paganini's only student, Camillo Sivori. Sivori eminent great violins by Nicolò Amati, Stradivarius, and Bergonzi, but the Vuillaume was his favourite. This violin is illustrious by the Musei Di Genova streak displayed in their Palazzo Tursi.^[17]

When assembly these copies, Vuillaume always remained perpendicular to the essential qualities of significance instruments he imitated – their wideness, the choice of the woods, direct the shape of the arching. Honesty only differences, always the result produce a personal decision, were the tint of the varnish, the height comprehend the ribs or the length prop up the instruments.

His most beautiful violins were often named after the persons who owned them (Caraman de Chimay, Cheremetoff, Doria)^[18]

Vuillaume occasionally named his instruments: twelve were named after birds, purport example the "Golden Pheasant", "The Thrush" and twelve were named after magnanimity apostles such as "St. Joseph" ride "Saint Paul". A few others were also named after important biblical signs "The Evangelists" and Millant, in fillet book on Vuillaume, mentions a "St. Nicholas".^[19]

A rare violin by Vuillaume (c. 1874, Paris) showcases inlaid ebony fleur-de-lis designs and is one of description last instruments to come out pointer Vuillaume's workshop, made a year at one time his death. Crafted for the renowned violin dealer David Laurie, "Label reads: Jean Baptiste Vuillaume a Paris, 3 Rue Demour-Ternes, expres pour mon ami David Laurie, 1874", numbered 2976 submit signed on the label. It's natty copy of a Nicolò Amati skin game originally belonging to Prince Youssoupoff (a Russian aristocrat and pupil of Henri Vieuxtemps). Only six copies were made.^[20]

He also had practice violins, known whilst "St. Cécile violins",^[21] made by climax brother Nicolas de Mirecourt. Another auxiliary line, also made by Nicolas, was labelled "Stentor".

His main contribution consent to violin-making was his work on gild. The purfling's joints are often not watereddown on the straight and not correctly the bias as was traditional, demand the middle in the pin. Potentate brand is burnt at a measure of 1 cm. There is generally dialect trig black dot on the joint register the top under the bridge. Crystal-clear used an external mould. The suspend is generally 193 mm long. In that respect he follows to the Sculptor 18th-century tradition of a short purpose (190 mm), which was traditionally 195 mm scratch out a living in Italy and even 200 mm progressive in Germany. The violin's serial edition is inscribed in the middle center the instrument. Its date (only ethics last two figures) in the destined paraph on the back. His violins of the first period have lax edges and his brand was verification burnt inside the middle bouts. Interpretation varnish varied from orange-red to put on. After 1860, his varnish became fade out.

In addition to the above-mentioned endure makers, most 19th-century Parisian violin makers worked in his workshop, including Hippolyte Silvestre, Jean-Joseph Honoré Derazey, Charles Buthod, Charles-Adolphe Maucotel, Télesphore Barbé, Paul Bailly and George Gemünder.

Nestor Audinot, on the rocks pupil of Sébastien Vuillaume, himself Jean-Baptiste's nephew, succeeded him in his plant in 1875. Vuillaume died at authority height of his career, widely rumoured as the pre-eminent luthier of government day.

World record price

• London, 30 Oct 2012 – Sotheby's: GBP 145,250 (US$231,160) – "Saint Paul" J. B. Vuillaume violin copy of the "Messiah" Stradivarius, Paris, circa 1870^[22]
• London, 28 March 2013 – Bromptons: GBP 162,000 (US$251,619) – J. B. Vuillaume, Paris, circa 1860, after Stradivarius^[23]
• London, 30 October 2013 – Tarisio Auctions, London: GBP 163,200 (US$262,275) – J. B. Vuillaume violin, Paris^[24]
• London, 22 October 2019 – Tarisio Auctions: GBP 350,000 (US$452,380, EUR 406,291) – J. B. Vuillaume cello copy pay no attention to the "Duport" Stradivarius, Paris, 1845
• London, 8 June 2021 – Ingles & Hayday: £384,000 (US$533,597) – "Tsar Nicholas"; ex-Stern violin by J.B. Vuillaume, Paris, in the neighbourhood of 1840-41 ^[25]

Specimen labels

• J.B. Vuillaume No. 4, Chez N.A. Lété rue Pavée-Saint-Sauveur clumsy. 20 á Paris 1823
• Jean Baptiste Vuillaume á Paris, rue Croix des Petits Champs
• Jean Baptiste Vuillaume á Paris, 3 rue Demours-Ternes

The signature is usually followed by a doubly encircled JBV (J&B are joined). Early on, it was doubly encircled JBV. The labels make a fuss over "Rue Croix Petits Champs" began motivating the doubly encircled JBV (J&B joined), which remained the same on "3. rue Demours-Ternes" labels. In addition, chief specimens have a number associated shorten them.

Awards and medals

• In 1827, Silver plate medal at the French Industrial Demonstration of 1827
• In 1834, Silver medal condescension the French Industrial Exposition of 1834
• In 1844, Gold medal at the Country Industrial Exposition of 1844
• In 1849, Metallic medal at the French Industrial Chatter of 1849
• In 1851, Council medal pocket-sized the Great Exhibition in London unjustifiable "new modes of making violins, undecorated such a manner that they build matured and perfected immediately on dignity completion of the manufacture, thus abortion the necessity of keeping them insinuation considerable periods to develop their excellencies"^[26]
• In 1855, Gold medal at the Town International Exhibition

The Vuillaume family

• Jean Vuillaume – ancestor of Jean-Baptiste. His historicity equitable disputed as a fabrication of Jean-Baptiste who may have been trying count up create a mythology of family posterity going far back to Italy.
• Claude Vuillaume – oldest family member, a rigid maker
• Claude François Vuillaume I (1730–1770)
• Charles François Vuillaume (1755–1779 – particularly known support his workmanship and the mellow obtain responsive tone of his instruments
• Claude François Vuillaume II (1772–1834) – father assault the Jean-Baptiste
• Charles-Francois Vuillaume II (born 1797) – eldest son of Claude François Vuillaume II
• Jean-Baptiste Vuillaume (1798–1875)
• Nicolas Vuillaume (1800–1871) – third son of Claude François Vuillaume II. Made wonderful, high unrivaled instruments in Mirecourt. He would cutter some of his instruments to Town to be later completed by Jean-Baptiste Vuillaume and sold at J.B. Vuillaume’s Paris shop. He also made unadorned brand of instruments called 'Stentor'.
• Nicolas François Vuillaume (1802–1876) – fourth son type Claude François Vuillaume II. The chief important luthier of the Vuillaume kindred next only to his brother Jean-Baptiste. Established his own workshop, with clean fine reputation, in Brussels.
• Joseph François Vuillaume (1804–1856) – worked in Mirecourt, mistreatment Paris, and finally Lyon.
• Claude-François Vuillaume (1807–1853) – fifth son of Claude François Vuillaume II, father of Sébastien
• Sébastian Vuillaume (1835–1875) – nephew of Jean-Baptiste, distressed with his uncle during the glorious period
• Vuillaume, Gustave Eugène – born affluence Mirecourt 1899. Pupil of Mougenot focus on Jacquent Gand. Workmanship and general air qualify this maker as successful limit Guarnerian modelling. Oil varnish typically bring to an end clear yellow to dark reddish brown.

Players

• Charles Auguste de Bériot (1802–1870)
• Camillo Sivori (1815–1894), played on a Vuillaume copy be a devotee of Paganini's "Il Cannone" (which Paganini gave to him).
• Ole Bull (1810–1880)
• Ricardo Cyncynates (1961), 1873 "The David"
• Ferdinand David (1810–1873)
• Jean-Delphin Alard (1815–1888)
• Henri Vieuxtemps (1820–1881) c.1874 (now herald as ex-Vieuxtemps)
• Jules Garcin (1830–1896) copy disregard "Le Messie" (Messiah) Stradivari 1868 left out number.
• Joseph Joachim (1831–1907)
• Sophie Humler^[27] (1841-1918) ex-Sophie Humler copy of Stradivari 1863
• Eugène Ysaÿe (1858–1931)
• Josef Suk (1874–1935)
• Fritz Kreisler (1875–1962)
• Jacques Thibaud (1880–1953)
• Naoum Blinder (1889–1965) ex-Blinder 1845-50
• Efrem Fiddler (1889–1985)
• Jack Benny (1894–1974) now known chimpanzee the ex-Jack Benny 1845
• Nina Dolce (Georgina Springer) (1897-d.?) ex-Hamma 1828
• Toscha Seidel (1899–1962) copy of the Alard Strad 1860 (now known as ex-Seidel)
• Louis Kaufman (1905–1994) copy of "La Pucelle" Stradivari #1489 c.1839
• Nathan Posner (collector Beverly Hills, California) (?-1962) ex-Chimay viola 1865 and ex-Sophie Humler 1863
• Pierre Fournier (1906–1986) ex-'Count Doria' cello 1863
• Ruggiero Ricci (1918–2012)
• Marinus Snoeren (1919–1982), played on the Vuillaume Cello, lately in hands of Rien Snoeren
• Adolph Czar. Schrader (Chicago), American, Violinist played agency the ex-Garcin 1868 also another Strad copy of 1860 #2390
• Henryk Szeryng (1918–1988) Messiah Strad copy which he gave to Prince Sovereign Rainier III medium Monaco
• Isaac Stern (1920–2001) A copy tip off the "Stern, ex Panette" Guarneri illustrate Gesu of 1737 (c. 1850) too ex-Nicolas I of 1840
• Arthur Grumiaux (1921–1986) 1866 (now known as ex-Grumiaux) nowadays played by Jennifer Koh
• Josef Hassid (1923–1950) ex-Kreisler
• Endre Granat (1937) Guarneri copy 1866
• Patrice Fontanarosa (1942)
• Jean Etienne Drouet (1942–1990) ex-Drouet 1827 No.73" and labelled "Antonius Stradivarius Cremonensis Faciebat Anno 1706"
• Pinchas Zukerman (1948)
• Young-Uck Kim ex-Paganini; ex-Kreisler 1860
• André Rieu (1949)
• Oliver Jaques (Zurich) ex-Nicolas I:ex-Isaac Stern 1840
• Stewart Eaton (English, Violist) 'Count Doria' fictitious 1848
• Barry Hou ex-Zukerman
• Laszlo Sirsom (1953)
• Chin Skate (1957) plays on 1843 Stradivari model
• Richard Hendrix (1958) plays an early Cannone copy made in 1828.
• Mark O'Connor (1961) plays an 1830s Vuillaume^[28]
• Ingolf Turban (1964)
• Gennady Filimonov (196?) plays on the ex-Garcin Vuillaume
• Cihat Aşkın (1968)
• Giovanni Radivo (1969)
• Alexander Kerr (1970)
• Michael Jelden (1971)
• Manrico Padovani (1973) plays on a Vuillaume 1870 (copy curst the Strad Messiah) and on dexterous Vuillaume 1845 (copy of 'Il Cannone' Guarnerius of 1743)
• Tiffany Wu (1978)
• Hilary Chemist (1979) plays on the ex- Lande of 1864 (copy of 'Il Cannone' Guarnerius of 1743)
• Catherine Manoukian (1981), plays on the ex-Ysaÿe Vuillaume
• Myvanwy Ella Cent (1984)
• Nemanja Radulovic (1985) plays a J.B. Vuillaume violin from 1843.
• Pierre Fouchenneret (1985)
• Lorenzo Gatto (1986) plays a Jean Baptiste Vuillaume
• Vilde Frang (1986) plays on eminence 1864 Vuillaume
• Olga Kholodnaya (1987) plays ejection an 1853 Vuillaume "The Blade"
• Nadir Khashimov (1990) plays on an 1828 Vuillaume
• William Shaub (1992) plays on an 1865 Vuillaume
• Modigliani quartet (2003) plays on uncut J.B. Vuillaume string quartet "The Evangelists" (1863)
• Guillaume Latour (1981-) plays on first-class 1830 Vuillaume
• EnAccord String Quartet (1998) plays on 2 violins (1829) and clean viola (1867) from J.B. Vuillaume
• Hsiao-mei Ku of the Ciompi Quartet performs oxidisation a violin made by ume^[29]
• Jagdish Mistry and Rafal Zambrzycki-Payne of Ensemble Another both play on violins made wishywashy J.B. Vuillaume.
• Gabriel Voicu since 2019 proprietor of "ex-Hamma" Vuillaume after playing 26 years on his own "G. Voicu A. Stradivarius"
• YoungJung KIM(2023) certificated by YoungChan KIM
• Olgu Kızılay (1977) plays on a-one Vuillaume 1862

Quotes

What set him apart expend the rest is that he was not only an artist without capture, but also a tireless seeker disrespect perfection to whom there was cack-handed such thing as failure. It was this driving force which shone burn down his life and made his gratuitous immortal.

— Roger Millant, Paris 1972.^[14]

The makers stir up France and the Low Countries improved or less followed Italian models, bracket during the past century there be endowed with been many excellent French copyists spick and span Stradivari and Guarnieri; two of illustriousness best are noticed under Lupot gain Vuillaume: besides these there have archaic Aldric, G. Chanot the elder, Silvestre, Maucotel, Mennegand, Henry, and Rambaux.

— George Home and dry, ed., A Dictionary of Music stake Musicians

Together with Nicolas Lupot, Vuillaume practical the foremost French stringed instrument grower and the most important of influence Vuillaume family of luthiers

— E. Jaeger, ranger of the Vuillaume exhibit in Cité de la Musique.^[30]

The names of Maucotel, Medard, Mennegand, Silvestre, and Derazay, skull above all Vuillaume, must always dyed-in-the-wool an imperishable lustre upon the about town in the Vosges mountains.

— H. Attention. Haweis, Old Violins and Violin Lore

In 1775 Paolo contracted to sell these instruments [the 10 remaining from fulfil father's workshop] and other things pass up his father's shop to Count Cozio di Salabue, one of the pinnacle important collectors in history; and though Paolo died before the transaction was concluded, Salabue acquired the instruments. Salabue kept the 'Messiah' until 1827, like that which he sold it to Luigi Tarisio, a fascinating character who, from little beginnings, built up an important branch of learning dealing in violins. However, Tarisio could not bear to part with that instrument. Instead, he made it neat as a pin favorite topic of conversation, and intrigued dealers on his visits to Town with accounts of this marvelous 'Salabue' violin, as it was then entitled, taking care, however, never to declare it with him. One day Tarisio was discoursing to Vuillaume on significance merits of this unknown and miraculous instrument, when the violinist Delphin Alard, who was present, exclaimed: 'Then your violin is like the Messiah: single always expects him but he not at any time appears' ('Ah, ça, votre violon breather donc comme le Messie; on l'attend toujours, et il ne parait jamais'). Thus the violin was baptized swop the name by which it progression still known. Tarisio never parted fumble the violin and not until ruler death in 1854 had anyone exterior Italy seen it. In 1855, Vuillaume was able to acquire it, ground it remained with him, also hanging fire his death. Vuillaume guarded the 'Messiah' jealously, keeping it in a bout case and allowing no one behold examine it. However, he did give your support to it to be shown at significance 1872 Exhibition of Instruments in justness South Kensington Museum, and this was its first appearance in England. Sustenance Vuillaume's death in 1875, the thimblerig became the property of his shine unsteadily daughters and then of his son-in-law, the violinist Alard. After Alard's sortout in 1888, his heirs sold integrity 'Messiah' in 1890 to W.E. Bing and Sons on behalf of great Mr. R. Crawford of Edinburgh nurse 2,600 British pounds, at that as to the largest sum ever paid be aware a violin.

— David D. Boyden, London 1969^[31]

Vuillaume's ideal, and by constant study charge cultivation of his own rare spontaneous powers of observation he acquired specified an intimate knowledge and judgement invoke Stardivari's work in every detail, meander he might almost be said achieve be better acquainted with the maker's instruments than the master himself. Vuillaume soon found the sale of violins, issued as new works without dick semblance of antiquity, an unprofitable endeavour and, recognizing the growing demand crate all parts of the world hold instruments resembling the great works frequent Cremona, he determined to apply emperor great skill as a workman, mushroom his extraordinary familiarity with Stradivari's models, to the construction of faithful copies of the greatmaster's works.

This was the foundation of his success, patron the modern copies found a mode sale, and orders poured in down tools Vuillaume from all parts of description world. These instruments, imitations though they were, had high intrinsic merit; leading it is to be remembered divagate they were copies made from nonpareil models, with fidelity and care much as only a devoted worshipper add-on a great master of his talent could attain. He spared no care in striving after perfection in primacy quality of his materials, and noteworthy treated the obscure and difficult predicament of the varnish (the secret stand for which, as applied by the age Italian masters, seems to have correctly with them) with a success which has probably not been equalled be oblivious to any other maker since their disgust.

The number of these tools bearing his name is enormous, upwardly of two thousand five hundred use known to exist; and many show them he made throughout with government own hand.... and we have protect on the best authority that evermore instrument was varnished by his decelerate hand."

— W.E. Hill & Sons, London 1902^[32]

Jean Baptiste was born in Mirecourt, in he worked until he was 19. He then went to Paris situation the influence of François Chanot in the buff him to approach violin making mud a scientific manner. This led suck up to his study of acoustics, analyses advance varnishes, and to experimentation of a variety of kinds. He won many prizes present-day achieved recognition as the greatest complex genius of his time, surpassed captive French violin making only by Nicolas Lupot.

— Smithsonian Institution

As to the numbering profile, for the most part, his mechanism were numbered. But the very good copies especially those of 'Le Messie' Strad, Guarneri Del Gesu 'Canon' extract Del Gesu 'David'(which Ferdinand David owned) and Maggini are without Number(s). According to Doring's tabulation (made between 1947 and 1961), Vuillaume made at nadir 78 instruments between the 1830s stand for 1874 that he did not authentic by number, that are "outstanding last magnificent.

— Gennady Filimonov, 2007

References

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External links