Articles
Whole violin of Mirecourt, copy of luthier Jean-Baptiste Vuillaume *, 3 rue Demours-Ternes in Paris late nineteenth century.
This violin is in its own juice and will be restored. It is signed inside.
A note: slots on the table, some accidents, scratches and wear of time, missing a key, see photos (see red arrows).
was not only one of the best French luthiers of the nineteenth century but also a key figure of the violin making. In 1818, he went to Paris and worked for François Chanot and, in 1821, in the store of Joseph Dominique Lette. In 1824, they opened a common workshop in the Rue Croix-des-Petits-Champs called "Lette and Vuillaume". In 1827, he received his first silver medal at the world exhibition in Paris and the following year, in 1828, he settled on his own in the rue des Petits-Champs, at 46. His contacts with Hector Berlioz , soloists Niccolò Paganini, Henri Vieuxtemps, Jean Alard, Pablo de Sarasate, Belgian cellist Adrien-François Servais, Norwegian violinist Ole Bull, as well as surgeon, physicist and acoustics researcher Félix Savart had a great influence on his work. Vuillaume developed octobasse and a counter-viola for works by Berlioz. He maintained a real fascination for the instruments of Cremona luthiers, whose bulimia of instruments made him the great specialist: the most famous violins, Stradivarius (Soil, Messiah, Betts, The Maid, Alard, Dauphin, Song of the Swan) or Garnerius Del Gesù (Stern, Sarasate) and famous cellos (including the Servais Stradivarius) passed through his studio. He had Karl Rudolf Koenig for student.
