Reference Library Biographies

Apprenticed with Charles Claude Husson from 1862 - 1868. Following a spell in Chateau- Thierry, Lamy went to Paris to become assistant to F. N. Voirin.

A German-born violin maker who came to Milan in the middle of the 18th century, where he plainly came under the influence of Paolo Antonio Testore.

Fine, strong work in the style of Giovanni Grancino, with elements of Landolphi. Arching low but full, varnish strong golden brown. Not a particularly prolific maker.

Son of Max Leicht, a maker of violins and bows. Worked for Zerries in Brunswick and Mockel in Berlin.

Apprenticed to his father Max before setting up on his own in Hamburg. Subsequently moved to Hohendorf to work with his brother Alfred.

In style Lenoble bows are similar to those of Francois Peccatte to whom he was apprenticed before working for Bonnel in Rennes as a luthier. In 1862 Lenoble moved to Paris, making bows for J. B. Vuillaume, as well as on his own account.

A rare maker whose style evolved strongly during a long career. Early work much influenced by J.B. Guadagnini, who also began in Piacenza only a few years before, but with a coarseness of conception and finish.

The finest of the nineteenth century English copyists, and in some ways superior to many of his contemporary Parisian makers, with some of whom he was involved in trade

Brother to Nicolas Lupot.

The best of the post-revolutionary Paris makers. His antecedents were instrument-makers over several generations, possibly even linked to the Lupo family, who provided musicians and makers across Europe from the sixteenth century

Pupil and successor to Gaspar da Salo, he devoted more time to the violin family, producing considerable numbers of violins, violas, cellos and basses.

A pupil of Jacques Lafleur where he worked alongside Pageot. Bows by all three makers exhibit similarities, although it is Maire who is credited with inventing the metal face at the thumb seat of the frog.

An exceptional bow maker working for J.B. Vuillaume. Most bows are branded 'Maline'.

A follower of C.F. Landolphi in Milan, and a stylish and very competent maker in his own right, working in partnership with his brother Domenico

A pupil of J.F. Guidantus, his instruments are comparatively rare, but are well-made and varnished with a clear, hard yellow or golden-brown, similar to that of Guidantus.

A fine maker in the style of Guidantus, he apparently spent the years 1760-68 in Bologna, although Guidantus himself died in 1760. All his known instruments are labelled from his native town of Ferrara.

A distinctive, in some ways primitive maker whose work has been frequently confused with that of Gaspar da Salo and Maggini. Generally used plain wood, with a low arching, long corners and close-set Andrea Amati-like soundholes.

Worked as apprentice to Nicolas Maire until 1865 before working for J.B. Vuillaume.

Maussiell was a German maker, probably serving his apprenticeship under his grandfather, Matthias Maussiell

Pupil of Nurnberger, frog sometimes bears his name.

Stylish and distinctive maker using a fine, well balanced model and a strong, full arch, with good quality varnish of brown or yellow colour. A rather cramped volute, and small corners.

Contemporary French maker and expert. Son of Max.Contemporary French maker and expert. Son of Max.

Grandson of S. A. Deroux, from whom he learned his craft. Worked with his brother Roger Millant in London with Harry Dyke before moving to Paris.

Grandson of S. A. Deroux, working with his brother for Harry Dykes before the brothers established their own shop in Paris