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Received early training from Giuseppe and Ignazio Tadolini of Modena, and moved to Bologna in 1847
Apprenticed in Mirecourt, Fonclause worked for Tourte, Lupot and J. B. Vuillaume. An excellent bow maker, Fonclause set up on his own around 1840.
Francais is a family that has been making instruments since 1612. Henri Francais served his apprenticeship with A. Darte, working for Gand & Bernadel post 1880. Francais, in partnership with Albert Caressa took over the firm, changing its name to Caressa
Violin maker and dealer. Worked around Germany, moving to the United States in 1883 where he opened his shop with his brother William.
Violin maker and bow maker, working in Paris in the twentieth century.
The most refined maker of the Florentine school, working almost exclusively in the Stainer style with a golden yellow-brown varnish.
The founder of the Gagliano dynasty and the Naples school of violin??"making. Probably introduced to instrument making by Fussen-trained lute makers already present in Naples.
Son of Nicola, but probably assistant to his uncle Gennaro. Work shows elements of both, but workmanship of a more restrained order, and varnish generally tending towards a thinner, harder quality.
Son of Alessandro, and the best craftsman of the family. Used many patterns, mostly based on Amati and Stradivari precedents, and deeply coloured varnish of good quality.
Son of Nicola, worked initially with brothers Giuseppe and Antonio, but later developed a strong style of his own, though usually restricted by the relatively inferior quality of varnish in general use by this time.
Son and pupil of Nicola, an effective and consistent maker at first, but later worked in partnership with his brother Antonio, and quality generally declined.
More prolific than Gennaro, his work is less consistent in quality, but often shows great distinction.
A very fine maker in the imitative style of nineteenth century Paris, the pupil of Nicolas Lupot. His work is rare due to his concentration on business as a dealer and expert in antique instruments.
Pupil and successor of Nicolas Lupot, his Paris shop was overshadowed by that of his contemporary J.-B. Vuillaume.
Charles Francois Gand (known as Gand Pere), worked for Nicolas Lupot between 1802 and 1810, succeeding to Lupot's business in 1824, an elevation perhaps helped by his marriage to Lupot's daughter.
More a bow maker than a maker of stringed instruments. Roda mentions that one of his bows has been noted as being in the Paris Conservatoire.
A rare Cremonese maker who worked for Nicolo Amati alongside Andrea Guarneri from 1641 until 1646. Instruments attributed to him are similar in style to Amati and early Rogeri work, though less well finished
Follower of Tecchler, capable of very fine work, more classical in apperance than his predecessor. Rich red and sometimes a slightly harder orange varnish.
Apprenticed under Barbe, Louis Gillet subsequently instituted his workshop in Mirecourt. He worked for Eugene Sartory and for Sartory's son in law, the Parisian violin maker Georges Dupuy.