{"id":22998,"date":"2023-11-09T14:22:10","date_gmt":"2023-11-09T13:22:10","guid":{"rendered":"https:\/\/vichy-encheres.com\/?p=22998"},"modified":"2024-10-29T18:03:17","modified_gmt":"2024-10-29T17:03:17","slug":"lutherie-lyonnaise-19eme-20eme-siecles","status":"publish","type":"post","link":"https:\/\/vichy-encheres.com\/en\/2023\/11\/09\/lutherie-lyonnaise-19eme-20eme-siecles\/","title":{"rendered":"La lutherie \u00e0 Lyon aux 19\u00e8me et 20\u00e8me si\u00e8cles"},"content":{"rendered":"\n
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Silvestre, Blanchard, Boulangeot, Vissenaire, Poirson, etc. Autant de noms \u00e9voquant la lutherie lyonnaise des XIXe<\/sup> et XXe<\/sup> si\u00e8cles, tous r\u00e9unis \u00e0 Vichy Ench\u00e8res le 30 novembre 2023. L\u2019occasion pour nous de dresser un panorama de cette \u00e9cole encore si peu \u00e9tudi\u00e9e.<\/p>\n<\/blockquote>\n\n\n\n

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Catalogue<\/a><\/div>\n\n\n\n
R\u00e9sultats<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
English version<\/a><\/div>\n<\/div>\n\n\n\n
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Aper\u00e7u historique de l’\u00e9cole lyonnaise<\/h1>\n\n\n\n
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Les origines de la lutherie \u00e0 Lyon<\/h2>\n\n\n\n
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\"Nicolas<\/a>
Nicolas Le Febvre, Vue de Lyon, 1555, BnF<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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L’histoire de la lutherie \u00e0 Lyon remonte au XVI\u00e8me si\u00e8cle, bien avant la renomm\u00e9e des luthiers lyonnais du XIX\u00e8me si\u00e8cle. Lyon, \u00e0 cette \u00e9poque, est une ville prosp\u00e8re en \u00e9troite relation commerciale avec l’Italie, important des produits de luxe pris\u00e9s de l’aristocratie. La ville est aussi un important foyer culturel, berceau d\u2019id\u00e9es nouvelles, fr\u00e9quent\u00e9 par les humanistes, dont Erasme ou Rabelais. C’est dans ce contexte que Gaspar Tieffenbrucker, \u00e9galement connu sous le nom de Gaspard Duiffoprugcar, s’installe \u00e0 Lyon. A l\u2019\u00e9poque, le rebec est en vogue et Tieffenbrucker d\u00e9cide de lui ajouter une quatri\u00e8me corde pour en augmenter l\u2019\u00e9tendue. Depuis, il est ainsi fr\u00e9quemment consid\u00e9r\u00e9 comme l’inventeur du violon. Dans le m\u00eame temps, plusieurs luthiers s’installent \u00e0 Lyon, principalement issus de familles tyroliennes, faisant de la ville un important foyer de lutherie au XVI\u00e8me si\u00e8cle. Cependant, au XVII\u00e8me si\u00e8cle, le pouvoir politique se centralise \u00e0 Paris, amenant Lyon \u00e0 perdre ses privil\u00e8ges. La classe moyenne, autrefois prosp\u00e8re en raison de ses monopoles, entre d\u00e8s lors dans un d\u00e9clin \u00e9conomique. Les quelques luthiers ayant subsist\u00e9 n\u2019ont pas laiss\u00e9 de trace majeure dans l\u2019histoire de la lutherie, \u00e9tant p\u00e9nalis\u00e9s par le manque de musiciens professionnels \u00e9tablis \u00e0 Lyon \u00e0 l\u2019\u00e9poque. En effet, les politiques culturelles de Louis XIV et Louis XV ne favorisaient pas les \u00e9changes musicaux et, \u00e0 la fin du XVII\u00e8me si\u00e8cle, la France ne comptait plus que 46 luthiers, contre environ 400 en Italie et dans d’autres r\u00e9gions de l’Empire germanique.<\/p>\n<\/div>\n\n\n\n

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\"Gaspar<\/a>
Gaspar Duiffoprugcar<\/figcaption><\/figure>\n\n\n\n
\"G\u00e9rard<\/a>
G\u00e9rard David, Vierge entour\u00e9e d’anges musiciens, 1509, d\u00e9tail<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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La lutherie \u00e0 Lyon au XIXe<\/sup> si\u00e8cle<\/h2>\n\n\n\n
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\"Victor<\/a>
Victor Fonville, Lyon, Place Bellecour, 1851, Biblioth\u00e8que municipale de Lyon. <\/figcaption><\/figure>\n\n\n\n
\"Violoncelle<\/a>
Violoncelle de Charles MERIOTTE, Lyon, 1760
Instrument mis en vente par Vichy Ench\u00e8res le 9 juin 2011 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Giovanni<\/a>
Giovanni Battista Viotti, XVIIIe si\u00e8cle, Mus\u00e9e de la Musique<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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A la fin du r\u00e8gne de Louis XV, la politique culturelle encourage \u00e0 nouveau les \u00e9changes artistiques, principalement avec le Saint-Empire romain germanique et l\u2019Italie. Au XVIII\u00e8me si\u00e8cle, quelques luthiers de renom sont actifs \u00e0 Lyon, parmi lesquels Meriotte et Pommier. On assiste \u00e0 un progessif renouveau de la lutherie \u00e0 la fin du si\u00e8cle, acc\u00e9l\u00e9r\u00e9 par l\u2019arriv\u00e9e en France, en 1782, du c\u00e9l\u00e8bre violoniste italien Giovanni Battista Viotti. Accompagn\u00e9 de son Stradivari, il donne \u00e0 voir et \u00e0 entendre un nouveau mod\u00e8le de perfection, duquel la lutherie parisienne et, par ricochet, la lutherie lyonnaise, voudra se rapprocher. Au d\u00e9but du XIX\u00e8me si\u00e8cle, Lyon devient une importante ville de garnisons (voir l’article suivant<\/a>), conduisant \u00e9galement au d\u00e9veloppement de la musique militaire et \u00e0 la facture d\u2019instruments \u00e0 vent. De m\u00eame, l\u2019essor \u00e9conomique que conna\u00eet Lyon favorise l\u2019activit\u00e9 des luthiers d\u2019instruments \u00e0 cordes. Beaucoup d’entre eux partent se former \u00e0 Paris dans de grands ateliers, avant de revenir s\u2019\u00e9tablir \u00e0 Lyon. <\/p>\n<\/div>\n\n\n\n

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Empreints des savoir-faire parisiens, eux-m\u00eames influenc\u00e9s par les ma\u00eetres italiens, ces luthiers lyonnais du XIX\u00e8me si\u00e8cle n\u2019en \u00e9laborent pas moins un style personnel. Pour r\u00e9pondre \u00e0 la demande croissante d\u2019instruments, ils collaborent parfois avec les luthiers de Mirecourt pour fournir les musiciens. Bien que le terme d\u2019 “\u00e9cole lyonnaise” soit couramment utilis\u00e9, il ne d\u00e9signe pas une \u00e9cole au sens strict, mais plut\u00f4t un groupe de luthiers qui a prosp\u00e9r\u00e9 \u00e0 Lyon au XIX\u00e8me si\u00e8cle et qui, malgr\u00e9 des identit\u00e9s stylistiques personnelles et vari\u00e9es, partageaient certaines mani\u00e8res de faire, quelles soient techniques ou esth\u00e9tiques. Jean-Fr\u00e9d\u00e9ric Schmitt, \u00e0 l\u2019origine d\u2019un des rares ouvrages sur la lutherie lyonnaise, met notamment en \u00e9vidence le fait que les instruments lyonnais de cette \u00e9poque pr\u00e9sentent fr\u00e9quemment de fausses chevilles, des culs-de-poule (arri\u00e8re de la t\u00eate) anguleux, des coulisses en forme de “U” ou encore des vernis souvent tr\u00e8s rouges[1]<\/sup><\/a>.<\/p>\n\n\n\n

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[1]<\/sup><\/a>  J.F. Schmitt, La lutherie lyonnaise, 1991<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"N\u00b0<\/a>
Beau violoncelle de Paul BLANCHARD, 1903
Instrument mis en vente par Vichy Ench\u00e8res le 3 juin 2021 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon de Paul BLANCHARD,1887
Instrument mis en vente par Vichy Ench\u00e8res le 6 juin 2019 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon de Paul BLANCHARD, 1884, n\u00b040, en mod\u00e8le Guarnerius del Gesu – Collection Bernard Millant – Instrument mis en vente par Vichy Ench\u00e8res le 29 novembre 2017 \u00a9 C. Darbelet <\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Panorama des luthiers :
La dynastie des Silvestre, les pr\u00e9curseurs<\/h1>\n\n\n\n
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Pierre Silvestre (1801-1859)<\/h2>\n\n\n\n
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Les Silvestre font partie des premiers luthiers d\u2019instruments du quatuor \u00e0 s\u2019installer \u00e0 Lyon au XIX\u00e8me si\u00e8cle et ont, \u00e0 ce titre, grandement particip\u00e9 \u00e0 la renaissance de cette lutherie lyonnaise. Pierre Silvestre est n\u00e9 le 9 ao\u00fbt 1801 \u00e0 Sommerviller d\u2019un p\u00e8re qui, chose originale, fut moine avant de devenir instituteur apr\u00e8s la R\u00e9volution fran\u00e7aise. En 1818, alors \u00e2g\u00e9 de 17 ans, Pierre Silvestre entame son apprentissage chez Laurent Blaise \u00e0 Mirecourt, o\u00f9 il acquiert les bases de la lutherie. Son d\u00e9sir de perfectionnement le pousse \u00e0 gagner Paris, o\u00f9 il entre dans l\u2019atelier de Nicolas Lupot. A la mort de ce dernier en 1824, il rejoint l\u2019atelier de Charles-Fran\u00e7ois Gand (Gand P\u00e8re). Toutefois, il d\u00e9cide de s\u2019installer \u00e0 Lyon en 1829, o\u00f9 il fonde son propre atelier Place des Terreaux. Certains mod\u00e8les de cette \u00e9poque sont \u00e9loign\u00e9s de ce qu\u2019il fera par la suite et il n\u2019est pas impossible qu\u2019il s\u2019agisse de cr\u00e9ations de luthiers de Mirecourt, \u00e0 qui Pierre Silvestre aurait demand\u00e9 de l\u2019aide pour r\u00e9pondre \u00e0 la demande. 
En 1831, il s\u2019associe \u00e0 son fr\u00e8re Hippolyte et travaille avec lui jusqu\u2019en 1848. La Maison prend alors le nom de Silvestre Fr\u00e8res. Ils r\u00e9alisent ensemble de nombreuses copies d\u2019instruments italiens et il est assez ais\u00e9 de reconna\u00eetre la main d\u2019Hippolyte, encore sous l\u2019influence de Vuillaume, son pr\u00e9c\u00e9dent ma\u00eetre. 
Hippolyte quitte l\u2019atelier en 1848. Commence alors une nouvelle p\u00e9riode dans la production de Pierre Silvestre, souvent reconnue comme sa p\u00e9riode d\u2019or, s\u2019\u00e9tendant de 1848 \u00e0 1859.
Durant cette p\u00e9riode, il r\u00e9alise en effet des instruments de grande qualit\u00e9, se distinguant par leur tr\u00e8s beau et d\u00e9licat vernis. <\/p>\n<\/div>\n\n\n\n

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\"Lyon,
Lyon, Place des Terreaux, XIX\u00e8me si\u00e8cle, carte postale<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Il ajoute aussi parfois sur ses instruments des petites t\u00eates de femmes ornant les manches ou encore des chevilles \u00e0 incrustations figuratives.
En 1844, il participe \u00e0 l\u2019Exposition nationale de Paris o\u00f9 il remporte la m\u00e9daille de Bronze et en 1855, ses instruments sont r\u00e9compens\u00e9s d\u2019une mention honorable \u00e0 l\u2019Exposition universelle de Paris, consolidant ainsi sa r\u00e9putation de luthier de premier ordre. 
A sa mort en 1859, l’entreprise est reprise durant quelques mois par Pichon avant qu\u2019il ne la c\u00e8de \u00e0 Hippolyte. Pierre Silvestre a marqu\u00e9 de son nom le monde de la lutherie lyonnaise et a \u00e9t\u00e9 parmi les premiers \u00e0 contribuer \u00e0 son renouveau au XIX\u00e8me gr\u00e2ce \u00e0 ses instruments de grande qualit\u00e9 recherch\u00e9s pour leur sonorit\u00e9. <\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Pierre SILVESTRE, vers 1829-1830. Instrument mis en vente par Vichy Ench\u00e8res le 5 d\u00e9cembre 2013 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
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\"N\u00b0<\/a><\/figure>\n\n\n\n
\"N\u00b0<\/a><\/figure>\n
N\u00b0 105 – Violoncelle de Pierre et Hippolyte SILVESTRE, 1835, n\u00b0215. Instrument mis en vente par Vichy Ench\u00e8res le 11 juin 2015 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Pierre et Hippolyte SILVESTRE, 1838, n\u00b0164. Instrument mis en vente par Vichy Ench\u00e8res le 2 juin 2022 \u00a9 Christophe DARBELET<\/figcaption><\/figure>\n\n\n\n
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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Pierre SILVESTRE, 1857. Instrument mis en vente par Vichy Ench\u00e8res le 6 d\u00e9cembre 2018 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
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\"Exposition<\/a><\/figure>\n
Exposition universelle de Paris, 1855<\/figcaption><\/figure>\n\n\n\n
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Hippolyte Silvestre (1808-1879)<\/h2>\n\n\n\n
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N\u00e9 le 14 d\u00e9cembre 1808 \u00e0 Saint-Nicolas-de-Port, Hippolyte Silvestre suit le chemin de son fr\u00e8re Pierre en entrant en apprentissage chez Laurent Blaise \u00e0 Mirecourt. A la fin des ann\u00e9es 1820, tout comme l\u2019avait fait avant lui Pierre Silvestre, il rejoint Paris pour se perfectionner dans l\u2019atelier d\u2019un grand ma\u00eetre : Jean-Baptiste Vuillaume. Finalement, il retrouve son fr\u00e8re \u00e0 Lyon en 1831 et collabore avec lui jusqu\u2019en 1848. Durant cette premi\u00e8re p\u00e9riode, l\u2019influence de Vuillaume est perceptible dans sa facture, mais il est \u00e9galement fortement marqu\u00e9 par le style de son fr\u00e8re Pierre. Cependant, le vernis appliqu\u00e9 sur ses cr\u00e9ations \u00e9tait souvent plus fin que celui de Pierre. <\/p>\n<\/div>\n\n\n\n

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Entre 1848 et 1859, Hippolyte Silvestre s\u2019installe \u00e0 son propre compte et r\u00e9alise des instruments de belle qualit\u00e9, \u00e0 l\u2019image du remarquable violon de la vente du 30 novembre 2023, fabriqu\u00e9 vers 1850-1855. 
\u00c0 la mort de Pierre Silvestre en 1859, il reprend l’atelier et continue la production d\u2019instruments s\u2019inscrivant stylistiquement dans la lign\u00e9e de son fr\u00e8re.
En 1865, il c\u00e8de finalement l’atelier \u00e0 son neveu, Hippolyte Chr\u00e9tien Silvestre, assurant la filiation de la dynastie. Hippolyte Silvestre meurt le 3 d\u00e9cembre 1879 \u00e0 Sommerviller, laissant derri\u00e8re lui un h\u00e9ritage durable dans le monde de la lutherie.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Violon
Violon de Pierre et Hippolyte SILVESTRE, 1835, n\u00b078\nInstrument mis en vente par Vichy Ench\u00e8res le 11 juin 2015\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon
Violon de Hippolyte SILVESTRE, 1850-1855\nInstrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Violon
Violon de Hippolyte SILVESTRE, 1850-1855\nInstrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Violon
Violon de Hippolyte SILVESTRE, 1850-1855\nInstrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Hippolyte Chr\u00e9tien Silvestre (1845-1913)<\/h2>\n\n\n\n
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Hippolyte Chr\u00e9tien Silvestre, mieux connu sous le nom de “Silvestre Neveu” – en r\u00e9f\u00e9rence \u00e0 son lien de parent\u00e9 avec son oncle – est n\u00e9 le 1er avril 1845 \u00e0 Sommerviller. A l\u2019instar des luthiers de la famille l\u2019ayant pr\u00e9c\u00e9d\u00e9, il effectue son apprentissage \u00e0 Mirecourt avant de rejoindre l\u2019atelier lyonnais. En 1865, alors qu\u2019il n\u2019a que vingt ans, il succ\u00e8de \u00e0 son oncle \u00e0 la t\u00eate de l’entreprise. <\/p>\n\n\n\n

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\"B\u00e2timent<\/a><\/figure>\n
B\u00e2timent de l’Exposition universelle de Lyon en 1872<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Ses instruments rencontrent un vif succ\u00e8s aux diff\u00e9rentes expositions phares de son temps. Il remporte ainsi la m\u00e9daille d\u2019argent \u00e0 l\u2019Exposition de Lyon de 1872, la m\u00e9daille de progr\u00e8s \u00e0 l\u2019Exposition universelle de Vienne en 1873, la m\u00e9daille d\u2019argent \u00e0 l\u2019Exposition universelle de 1878, la m\u00e9daille d\u2019or \u00e0 l\u2019Exposition universelle de Paris, et enfin le Grand Prix \u00e0 l\u2019Exposition universelle de 1900. Autrement significatif de l\u2019estime dont il jouissait, il est nomm\u00e9 \u00e0 la L\u00e9gion d\u2019Honneur. En 1884, il quitte Lyon pour Paris, o\u00f9 il s\u2019installe rue du Faubourg Poissonni\u00e8re (successivement aux num\u00e9ros 24, 20 et 25).
En 1891, il demande \u00e0 Ernest Maucotel, alors employ\u00e9 dans l\u2019atelier moscovite de Salzard, de devenir son collaborateur. Ils s\u2019associent finalement en 1900 et fondent la Maison Silvestre et Maucotel pour laquelle il \u0153uvre jusqu\u2019\u00e0 sa mort en 1913. Avec Maucotel, ils r\u00e9alisent notamment des instruments influenc\u00e9s par les ma\u00eetres v\u00e9nitiens.
Soulignons enfin que de nombreux “violons” attribu\u00e9s \u00e0 Hippolyte Chr\u00e9tien Silvestre sont probablement l’\u0153uvre de Blanchard, qui travaille dans l\u2019atelier au d\u00e9but de sa carri\u00e8re. Selon Schmitt, ce sont les instruments estampill\u00e9s \u201cH.C. Silvestre\u201d r\u00e9alis\u00e9s entre 1873 et 1876 qui ont \u00e9t\u00e9 fabriqu\u00e9s par Blanchard, y compris en ce qui concerne leurs finitions et vernis[2]<\/sup><\/a>.<\/p>\n\n\n\n

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[2]<\/sup><\/a> J.F. Schmitt, La lutherie lyonnaise, 1991<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon d’Hippolyte Chr\u00e9tien Silvestre, Lyon, 1877. Instrument mis en vente par Vichy Ench\u00e8res le 6 juin 2019 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon d’Hippolyte Chr\u00e9tien Silvestre, n\u00b0163, Lyon, 1882. Instrument mis en vente par Vichy Ench\u00e8res le 11 juin 2015 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
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\"Violon<\/a>
Violon d’Hippolyte Chr\u00e9tien Silvestre, 1889\nInstrument mis en vente par Vichy Ench\u00e8res le 3 juin 2010\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"N\u00b0<\/a>
N\u00b0 210 – Violoncelle d’Hippolyte Chr\u00e9tien SILVESTRE, Paris, vers 1890 \nInstrument mis en vente par Vichy Ench\u00e8res le 3 juin 2021\n\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Violoncelle<\/a>
N\u00b0 210 – Violoncelle d’Hippolyte Chr\u00e9tien SILVESTRE, Paris, vers 1890 Instrument mis en vente par Vichy Ench\u00e8res le 3 juin 2021 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Violoncelle<\/a>
N\u00b0 210 – Violoncelle d’Hippolyte Chr\u00e9tien SILVESTRE, Paris, vers 1890 Instrument mis en vente par Vichy Ench\u00e8res le 3 juin 2021 \u00a9 C. Darbelet<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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\"Alto<\/a><\/figure>\n\n\n\n
\"Alto<\/a><\/figure>\n\n\n\n
\"Alto<\/a><\/figure>\n
Alto de SILVESTRE et MAUCOTEL, 1905, n\u00b0572. Instrument mis en vente par Vichy Ench\u00e8res le 12 juin 2014 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
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\"Joli<\/a><\/figure>\n\n\n\n
\"Joli<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Joli violoncelle de SILVESTRE et MAUCOTEL. Instrument mis en vente par Vichy Ench\u00e8res le 1 juin 2023 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Paul Blanchard, une figure majeure :
D\u00e9couverte de son premier violon<\/h1>\n\n\n\n
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Le premier violon de Blanchard<\/h2>\n\n\n\n
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\"Lyon,<\/a><\/figure>\n
Lyon, l’Exposition universelle de 1889<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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S\u2019il est un nom associ\u00e9 \u00e0 la lutherie lyonnaise, c\u2019est bien celui de Blanchard. Natif de Mirecourt, Paul-Fran\u00e7ois Blanchard (1851-1912) fait partie de ces luthiers itin\u00e9rants qui se sont form\u00e9s dans les plus grands ateliers avant de s\u2019\u00e9tablir \u00e0 leur compte. Entre Mirecourt et Paris, il se forme ainsi aupr\u00e8s de Jean-Auguste Darte, de Jean-Baptiste Vuillaume et des Silvestre (cf ci-dessus). Apr\u00e8s sept ann\u00e9es de travail dans cette derni\u00e8re maison, c\u2019est \u00e2g\u00e9 de seulement vingt-cinq ans qu\u2019il s’installe \u00e0 son compte \u00e0 Lyon, en 1876.
Le 30 novembre 2023, le tout premier violon r\u00e9alis\u00e9 par Blanchard alors qu\u2019il vient seulement d\u2019ouvrir son atelier sera mis en vente \u00e0 Vichy Ench\u00e8res ! Il s\u2019agit d\u2019une pi\u00e8ce historique et d\u2019une d\u00e9couverte cons\u00e9quente dans l\u2019histoire de la lutherie lyonnaise. Dat\u00e9 de 1876, cet exceptionnel violon a \u00e9t\u00e9 construit par Blanchard \u00e0 son arriv\u00e9e \u00e0 Lyon, comme l\u2019indique son \u00e9tiquette \u201cFait par Paul BLANCHARD \/ P.B. \u00e0 Lyon en 1876 N\u00b01\u201d. Con\u00e7u en mod\u00e8le Guarneri del Gesu, il porte \u00e9galement les marques au fer du luthier \u00e0 l\u2019int\u00e9rieur, ainsi qu\u2019une signature manuscrite pr\u00e9cisant l\u2019ann\u00e9e, la localisation et son num\u00e9ro 1. Sur un total d\u2019environ 1200 instruments r\u00e9alis\u00e9s, il est inou\u00ef que ce premier instrument fabriqu\u00e9 par Blanchard ressorte aujourd\u2019hui. Plus qu\u2019un instrument, il nous offre un document historique et est jalon fondamental de la carri\u00e8re de Blanchard.
Comme le souligne J.F. Schmitt, on peut distinguer deux grandes p\u00e9riodes dans sa production. La premi\u00e8re couvrant le d\u00e9but de sa carri\u00e8re jusqu’en 1885, durant laquelle ses cr\u00e9ations portent davantage l’influence stylistique des Silvestre. A cette \u00e9poque, on constate notamment que les filets de ses instruments sont particuli\u00e8rement fins et qu\u2019il regarde du c\u00f4t\u00e9 des ma\u00eetres italiens, interpr\u00e9tant les mod\u00e8les de Stradivari, Amati ou Guarneri – comme c\u2019est le cas  de ce tout premier violon.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Paul BLANCHARD, n\u00b01, 1876
Instrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Deuxi\u00e8me partie de carri\u00e8re et reconnaissance<\/h2>\n\n\n\n
<\/div>\n\n\n\n
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\"Exposition<\/a><\/figure>\n
Exposition universelle de Paris, 1889<\/figcaption><\/figure>\n\n\n\n
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A partir de 1885 se dessine une nouvelle phase dans la production de Blanchard. Le style de ses instruments \u00e9volue, comme le d\u00e9montre le deuxi\u00e8me violon de la vente du 30 novembre 2023, r\u00e9alis\u00e9 en 1892. De mani\u00e8re g\u00e9n\u00e9rale, on observe que les bords de ses instruments se creusent moins profond\u00e9ment et que les filets, que l\u2019on trouvait jusque-l\u00e0 plut\u00f4t fins, tendent \u00e0 s\u2019\u00e9largir. Blanchard fait \u00e9galement \u00e9voluer son vernis pour obtenir des rouges parfois vifs et brillants sugg\u00e9rant l’\u00e9mail. Num\u00e9rot\u00e9 265, ce deuxi\u00e8me violon porte \u00e9galement l\u2019\u00e9tiquette de Blanchard, sa marque au fer et deux signatures manuscrites \u00e0 l\u2019int\u00e9rieur.<\/p>\n\n\n\n

C\u2019est \u00e0 cette \u00e9poque qu\u2019il expose pour la premi\u00e8re, en 1889, \u00e0 l’Exposition universelle de Paris au cours de laquelle son travail est r\u00e9compens\u00e9 par la m\u00e9daille d\u2019argent. Le compte-rendu \u201cLyon \u00e0 l’Exposition universelle\u201d en fait l\u2019\u00e9loge suivante :<\/p>\n<\/div>\n\n\n\n

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\u201cSon atelier est devenu le rendez-vous de tous les dilettantes lyonnais, parmi lesquels il compte de nombreux amis ; artistes et amateurs s\u2019y rencontrent, dissertant sur l\u2019art musical. M. Blanchard a expos\u00e9 \u00e0 Paris un double quatuor d\u2019instruments \u00e0 archet, comprenant : quatre violons, deux altos, deux violoncelles d\u2019une excellente sonorit\u00e9 ; les artistes Lyonnais ont tellement appr\u00e9ci\u00e9 la valeur de ces instruments, qu\u2019ils en ont fait l\u2019acquisition avant m\u00eame leur exp\u00e9dition \u00e0 Paris.\u201d<\/p>\n\n\n\n

\nAdrien Storck et Henri Martin, Lyon \u00e0 l\u2019exposition universelle de 1889, Volume 1<\/cite><\/blockquote>\n\n\n\n

Blanchard a \u00e9galement jou\u00e9 un r\u00f4le important dans la vie musicale de Lyon. Il a \u00e9t\u00e9 le luthier attitr\u00e9 du Conservatoire de la ville et a assum\u00e9 le r\u00f4le de pr\u00e9sident de l’Association des luthiers et marchands de Lyon. A sa mort en 1912, Emile Boulangeot le remplace dans ses diverses fonctions.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Paul BLANCHARD, n\u00b0265, 1892
Instrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
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\u00c9mile Boulangeot, digne successeur de Blanchard<\/h1>\n\n\n\n
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N\u00e9 \u00e0 Mirecourt en 1877, Emile Boulangeot suit le parcours d’apprentissage traditionnel, se formant d\u2019abord dans sa ville natale, aupr\u00e8s d\u2019Emile Laurent, avant de poursuivre sa formation \u00e0 Paris. L\u00e0-bas, il int\u00e8gre l’atelier de Gustave Bernardel d\u00e8s 1893 et reste dans cette m\u00eame Maison lorsqu\u2019elle devient Caressa et Fran\u00e7ais au d\u00e9part de Bernardel.
Son s\u00e9jour \u00e0 Paris prend fin en 1909, date \u00e0 laquelle il d\u00e9cide de rejoindre Paul Blanchard \u00e0 Lyon. Il poursuit notamment la commercialisation d\u2019une gamme d\u2019instruments cr\u00e9\u00e9e par Blanchard appel\u00e9e \u201cLUGDUNUM\u201d. Boulangeot collabore \u00e9galement avec Morizot P\u00e8re ou la Maison Bazin, comme en attestent certains archets pass\u00e9s \u00e0 Vichy Ench\u00e8res.
En 1913, peu de temps apr\u00e8s la mort de Blanchard survenue en 1912, \u00c9mile Boulangeot a l’opportunit\u00e9 de reprendre la direction de l\u2019atelier et de devenir le luthier officiel du Conservatoire et de la Soci\u00e9t\u00e9 des Grands Concerts de Lyon – succ\u00e9dant l\u00e0 encore \u00e0 Paul Blanchard. Cela marque un v\u00e9ritable tournant dans sa carri\u00e8re l\u2019amenant \u00e0 fournir les plus grands musiciens de Lyon.
En 1928, Boulangeot cesse son activit\u00e9. Sa production est alors estim\u00e9e \u00e0 environ 175 violons, 7 altos et 28 violoncelles[3]<\/sup><\/a>. Ses instruments se distinguent par leur \u00e9l\u00e9gance et un vernis \u00e0 l’huile de couleur rouge-orange.
Le 30 novembre 2023, \u00e0 Vichy Ench\u00e8res, un violon de fin de carri\u00e8re de Boulangeot sera mis en vente. R\u00e9alis\u00e9 en 1925, au paroxysme de son art, il est num\u00e9rot\u00e9 122 et porte l\u2019\u00e9tiquette ainsi que la marque au fer du luthier. Ce mod\u00e8le est un bon condens\u00e9 de son savoir-faire et de l\u2019exp\u00e9rience acquise au cours des ann\u00e9es. A son d\u00e9part en retraite, Georges Con\u00e9 reprend l\u2019atelier.<\/p>\n\n\n\n

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[3]<\/sup><\/a> J.F. Schmitt, La lutherie lyonnaise, 1991<\/p>\n<\/div>\n\n\n\n

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\"Victor<\/a>
Victor Fonville, Lyon, Place Bellecour, 1851, Biblioth\u00e8que municipale de Lyon. <\/figcaption><\/figure>\n\n\n\n
\"Archet<\/a>
Archet de MORIZOT P\u00e8re pour Boulangeot, estampill\u00e9 Boulangeot \u00e0 Lyon, 1925 \nInstrument mis en vente par Vichy Ench\u00e8res le 1er juin 2022\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n<\/figure>\n\n\n\n

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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon d’Emile BOULANGEOT, 1925, n\u00b0122
Instrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Georges Con\u00e9 :
le consensus entre Blanchard et Boulangeot<\/h1>\n\n\n\n
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Georges Con\u00e9 (1877-1950) na\u00eet \u00e0 Mirecourt en 1877 et commence son apprentissage chez H. Durand. \u00c0 partir de 1896, il rejoint l’atelier de Paul Blanchard \u00e0 Lyon. Il collabore avec lui jusqu’en 1912, puis travaille dans divers ateliers \u00e0 l’\u00e9tranger. En 1928, il revient \u00e0 Lyon pour remplacer Emile Boulangeot en tant que luthier du Conservatoire et de l’Association Philharmonique de Lyon et s\u2019\u00e9tablit au 77 puis 79 rue de la R\u00e9publique. Con\u00e9 s’inspire du mod\u00e8le de Stradivari pour cr\u00e9er ses instruments, caract\u00e9ris\u00e9s par un vernis \u00e0 l’huile de couleur rouge-orang\u00e9 \u00e0 rouge-brun, appr\u00e9ci\u00e9s pour la puissance de leur sonorit\u00e9. Son fils Robert Con\u00e9 travaille tr\u00e8s t\u00f4t \u00e0 ses c\u00f4t\u00e9s. En effet, la plus ancienne mention d’un travail commun est attest\u00e9e par une \u00e9tiquette dat\u00e9e de 1930, alors que Robert n’a que dix ans ! Robert Con\u00e9 succ\u00e8de \u00e0 son p\u00e8re \u00e0 sa mort en 1950.<\/p>\n\n\n\n

Les instruments de Georges Con\u00e9 portent des \u00e9tiquettes mentionnant la date et le num\u00e9ro de fabrication et on y trouve parfois la mention “Georges Con\u00e9 et fils.” Con\u00e9 produit \u00e9galement des s\u00e9ries d\u2019instruments portant les \u00e9tiquettes “Copie de Nicolas Lupot” ou “LUGDUNUM” – poursuivant le travail de Blanchard et Boulangeot.<\/p>\n<\/div>\n\n\n\n

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Il pr\u00e9cise \u00e9galement parfois sur ses \u00e9tiquettes que l\u2019instrument a \u00e9t\u00e9 \u201cfini sous ma direction\u201d ou \u201cfait dans l\u2019atelier de Georges CON\u00c9\u201d. En outre, son atelier commercialise des archets portant sa marque au fer mais fabriqu\u00e9s par divers archetiers dont Victor F\u00e9tique, Fran\u00e7ois Lotte et Emile Auguste Ouchard.<\/p>\n\n\n\n

Le travail de Georges Con\u00e9 est r\u00e9compens\u00e9 \u00e0 de nombreuses reprises. Il re\u00e7oit notamment des m\u00e9dailles d’argent et d’or aux Expositions universelles et internationales de Paris (1889 et 1900) et les Grand Prix des Expositions internationales de Lyon (1894 et 1914). A la suite de Boulangeot, il devient luthier du Conservatoire de musique et de la Soci\u00e9t\u00e9 des Grands Concerts.<\/p>\n\n\n\n

Le beau violon de la vente du 30 novembre 2023 de Vichy Ench\u00e8res, r\u00e9alis\u00e9 en 1938 par Georges Con\u00e9, donne \u00e0 voir l’\u00e9tendue de son savoir-faire, conjuguant les diff\u00e9rentes influences de Blanchard et de Boulangeot en une facture personnelle. Num\u00e9rot\u00e9 73, il porte l\u2019\u00e9tiquette et la marque au fer du luthier et pr\u00e9sente un vernis typique de l\u2019\u00e9cole lyonnaise.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Georges CONE, 1938, n\u00b073
Instrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Les Vissenaire : tradition et avant-garde<\/h1>\n\n\n\n
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\"Lyon,<\/a>
Lyon, Place des Jacobins vers 1900<\/figcaption><\/figure>\n\n\n\n
\"Etiquette<\/a>
Etiquette dans un violon de Louis Nicolas Vissenaire\nInstrument mis en vente par Vichy Ench\u00e8res le 9 juin 2011\n\u00a9 Vichy Ench\u00e8res<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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La famille Vissenaire a laiss\u00e9 une empreinte durable dans la lutherie et son nom est directement associ\u00e9 au savoir-faire lyonnais. S’installant parmi les premiers \u00e0 Lyon durant le premier tiers du XIX\u00e8me si\u00e8cle, Louis-Nicolas Vissenaire, surnomm\u00e9 “Vissenaire P\u00e8re”, est \u00e0 l\u2019origine d\u2019un atelier foisonnant qui donna une impulsion nouvelle \u00e0 la lutherie lyonnaise du XIX\u00e8me si\u00e8cle. N\u00e9 \u00e0 Mirecourt, il d\u00e9cide tr\u00e8s t\u00f4t de s\u2019installer \u00e0 Lyon, Place Confort – actuelle Place des Jacobins. De grandes proportions, ses instruments du quatuor \u00e9taient souvent con\u00e7us d\u2019apr\u00e8s des mod\u00e8les parisiens. Malheureusement, peu d\u2019instruments de Vissenaire P\u00e8re sont parvenus jusqu\u2019\u00e0 nous. Ils restent rares sur le march\u00e9 et dans les collections. Le violon en vente \u00e0 Vichy Ench\u00e8res le 30 novembre 2023, r\u00e9alis\u00e9 en 1830, nous donne ainsi une belle occasion de conna\u00eetre davantage ce luthier.<\/p>\n<\/div>\n\n\n\n

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Son fils a\u00een\u00e9, couramment appel\u00e9 Vissenaire II (premi\u00e8re moiti\u00e9 du XIX\u00e8me – c.1880) le rejoint dans l\u2019atelier apr\u00e8s avoir effectu\u00e9 son apprentissage \u00e0 Paris, sous la direction de Bernardel P\u00e8re. Il reprend l\u2019atelier vers 1870 et travaille avec son fr\u00e8re Nicolas, dit Vissenaire III, auparavant Second Violon du th\u00e9\u00e2tre de Lyon. Les instruments r\u00e9alis\u00e9s par Vissenaire P\u00e8re et ses fils se distinguent par certaines similitudes de facture, notamment en ce qui concerne le positionnement des filets et des ou\u00efes tr\u00e8s proche des bords. Cependant, les travaux des fils sont \u00e9galement influenc\u00e9s par Bernardel, Gand ou encore Lupot. Leurs instruments sont aussi plus courts que ceux de leur p\u00e8re et sont recouverts d\u2019un vernis doux rouge-orang\u00e9. Les deux fr\u00e8res sont nomm\u00e9s luthiers du Conservatoire de Lyon et r\u00e9alisent des mod\u00e8les \u00e9tiquet\u00e9s \u201cVissenaire fr\u00e8res\u201d.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Violon<\/a>
Violon de VISSENAIRE P\u00e8re, 1843
Instrument mis en vente par Vichy Ench\u00e8res le 2 juin 2022 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon de VISSENAIRE II ?, 1869
Instrument mis en vente par Vichy Ench\u00e8res le 6 d\u00e9cembre 2018 \u00a9 C. Darbelet <\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Les Vissenaire se sont aussi d\u00e9marqu\u00e9s par l\u2019originalit\u00e9 de leurs guitares, dont l\u2019avant-garde de la facture se caract\u00e9rise par des \u201ccornes\u201d sur le haut du corps. A une \u00e9poque o\u00f9 la guitare conna\u00eet une transition entre sa forme baroque et moderne, ouvrant le champ des possibles, les Vissenaire en proposent une version d\u00e9routante refl\u00e9tant leurs aspirations visionnaires et leur go\u00fbt de l\u2019innovation (c\u2019est \u00e9galement ce qui conduit Michelot, \u00e0 la m\u00eame \u00e9poque, \u00e0 inventer la guitare en bateau).<\/p>\n\n\n\n

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Voir notre dossier<\/a><\/div>\n<\/div>\n\n\n\n

La famille Vissenaire a contribu\u00e9 de mani\u00e8re significative au renouveau de la lutherie \u00e0 Lyon au XIX\u00e8me si\u00e8cle, laissant en h\u00e9ritage des instruments de grande qualit\u00e9 et des guitares atypiques !<\/p>\n<\/div>\n\n\n\n

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\"Guitare<\/figure>\n\n\n\n
\"Guitare<\/figure>\n
Guitare de VISSENAIRE, 1829
Instrument mis en vente par Vichy Ench\u00e8res le 6 mai 2023 \u00a9 C. Darbelet <\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Elophe Poirson, le luthier t\u00e9l\u00e9graphe<\/h1>\n\n\n\n
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\"Lyon,<\/a><\/figure>\n
Lyon, H\u00f4tel des T\u00e9l\u00e9graphes, Rue de La Barre<\/figcaption><\/figure>\n\n\n\n
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Elophe Poirson est l\u2019une des figures les plus \u00e9tonnantes de ce panorama. N\u00e9 \u00e0 Landaville le 6 septembre 1840 et d\u00e9c\u00e9d\u00e9 \u00e0 Lyon en 1918, il a marqu\u00e9 de son empreinte la lutherie lyonnaise alors qu\u2019il fut longtemps consid\u00e9r\u00e9 comme un amateur, en raison de l\u2019activit\u00e9 de t\u00e9l\u00e9graphe qu\u2019il exer\u00e7ait en parall\u00e8le. Il travaille en effet comme employ\u00e9 au bureau des t\u00e9l\u00e9graphes avant d\u2019\u00eatre nomm\u00e9 chef du bureau central au T\u00e9l\u00e9graphe de Sainte-Foy-l\u00e8s-Lyon. Il se serait mis \u00e0 la lutherie apr\u00e8s avoir accidentellement bris\u00e9 un violon[4]<\/sup><\/a> qu\u2019il aurait r\u00e9par\u00e9 sans outils sp\u00e9ciaux. Suite \u00e0 cela, il aurait pris go\u00fbt \u00e0 la lutherie et aurait r\u00e9alis\u00e9 environ 300 instruments de 1876 \u00e0 1918[5]<\/sup><\/a>. Son nom figure dans l\u2019Annuaire des artistes et de l\u2019enseignement dramatique et musical <\/em>en 1895, puis de 1905 \u00e0 1909, et est associ\u00e9 \u00e0 plusieurs brevets d\u2019invention pour des outils facilitant le travail des luthiers, \u00e0 l\u2019image de mentonni\u00e8res ou d\u2019\u00e9taux \u00e0 main[6]<\/sup><\/a>.<\/p>\n\n\n\n

Son travail est reconnu en 1889, \u00e0 l\u2019occasion de l\u2019Exposition universelle de Paris, au cours de laquelle il remporte la m\u00e9daille de bronze pour un quatuor d\u2019instruments \u00e0 cordes. <\/p>\n\n\n\n

Il re\u00e7oit \u00e9galement le soutien du violoniste Martin-Pierre Marsick qu\u2019il rencontre lors d\u2019un passage \u00e0 Lyon au cours duquel ce dernier est \u201c\u00e9merveill\u00e9\u201d[7]<\/sup><\/a> par ses instruments et adresse une lettre aux membres du jury de l\u2019Exposition universelle :<\/p>\n\n\n\n

\u201cNous sommes en pr\u00e9sence d’un v\u00e9ritable artiste, d’un convaincu ayant la foi des grands na\u00effs sans laquelle tout art est creux, faux et inutile. \u00ab C’est pourquoi, messieurs, j’ai pris sous ma responsabilit\u00e9 artistique de faire conna\u00eetre les efforts dignes d’encouragement d’ Elophe Poirson, et vous pr\u00e9senter le premier r\u00e9sultat de ses travaux. En ajoutant que, gagn\u00e9 moi-m\u00eame par son enthousiasme, je ne pouvais, artiste sinc\u00e8re, sous peine de trahir notre grand art, refuser mon appui et mes encouragements \u00e0 un homme que la simple vue d’un violon remue au fond de l’\u00e2me, Elophe Poirson, messieurs, j’en suis convaincu, fera honneur \u00e0 son pays. M.-P. MARSICK\u201d[8]<\/sup><\/a>.<\/p>\n\n\n\n

Notons enfin qu\u2019une part de l\u2019activit\u00e9 d\u2019Elophe Poirson consistait \u00e0 vernir des instruments dont un grand nombre provenait de Turin.
Certains mod\u00e8les portant un num\u00e9ro \u201cbis\u201d ont \u00e9t\u00e9 vernis une deuxi\u00e8me fois, plus tardivement, par ce luthier perfectionniste. La majorit\u00e9 de ses instruments sont de belle facture et pr\u00e9sentent un vernis rouge fonc\u00e9 sur fond jaune.<\/p>\n<\/div>\n\n\n\n

\n
\n
\"Le<\/a>
Le T\u00e9l\u00e9graphe, invention de Claude Chappe<\/figcaption><\/figure>\n\n\n\n
\"Photo<\/a>
Photo d’\u00e9tiquette de violon de Poirson, dans Chann Cornilleau, Elophe Poirson, \u00c9cole nationale de lutherie, Mirecourt, Dipl\u00f4me des M\u00e9tiers d\u2019Art, 2021<\/figcaption><\/figure>\n\n\n\n
\"Annuaire<\/a>
Annuaire des artistes et de l’enseignement dramatique et musical, facture instrumentale, 1905, BnF<\/figcaption><\/figure>\n\n\n\n
\"Annuaire<\/a>
Annuaire des artistes et de l’enseignement dramatique et musical, facture instrumentale, 1905, BnF<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
\n\n\n\n

[<\/sup><\/a>4<\/a><\/sup>]<\/sup><\/a> Le Salut public<\/em>, 15 ao\u00fbt 1889<\/p>\n\n\n\n

[<\/sup><\/a>5<\/a><\/sup>]<\/sup><\/a> Ren\u00e9 Vannes, Dictionnaire universel des luthiers<\/em>, 1959<\/p>\n\n\n\n

[6]<\/sup><\/a> Chann Cornilleau, Elophe Poirson, \u00c9cole nationale de lutherie, Mirecourt, Dipl\u00f4me des M\u00e9tiers d\u2019Art, 2021<\/p>\n\n\n\n

[7<\/a><\/sup>]<\/sup><\/a> Le Salut public<\/em>, 15 ao\u00fbt 1889<\/p>\n\n\n\n

[8]<\/sup><\/a> Le Salut public<\/em>, 15 ao\u00fbt 1889<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\"Lyon,<\/a>
Lyon, l’Exposition universelle de 1889<\/figcaption><\/figure>\n\n\n\n
\"Exposition<\/a>
Exposition universelle de 1889, grande galerie<\/figcaption><\/figure>\n\n\n\n
\"Martin-Pierre-Joseph<\/a>
Martin-Pierre-Joseph Marsick, New York, 1895<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n
\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1881\nInstrument mis en vente par Vichy Ench\u00e8res le 5 d\u00e9cembre 2002\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1881\nInstrument mis en vente par Vichy Ench\u00e8res le 5 d\u00e9cembre 2002\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1896\nInstrument mis en vente par Vichy Ench\u00e8res le 3 d\u00e9cembre 2015\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1896\nInstrument mis en vente par Vichy Ench\u00e8res le 3 d\u00e9cembre 2015\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1898\nInstrument mis en vente par Vichy Ench\u00e8res le 4 d\u00e9cembre 2014\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1898\nInstrument mis en vente par Vichy Ench\u00e8res le 4 d\u00e9cembre 2014\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1904\nInstrument mis en vente par Vichy Ench\u00e8res le 3 juin 2021\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1904\nInstrument mis en vente par Vichy Ench\u00e8res le 3 juin 2021\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1912\nInstrument mis en vente par Vichy Ench\u00e8res le 1er juin 2023\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1912\nInstrument mis en vente par Vichy Ench\u00e8res le 1er juin 2023\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n

Paul-Victor Lorange<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\"Lyon,<\/a>
Lyon, Rue de l’H\u00f4tel de Ville<\/figcaption><\/figure>\n\n\n\n
\"Atelier<\/a>
Atelier de Mangenot<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
\n
\n

Paul-Victor Lorange (1873-1920) est n\u00e9 \u00e0 Mirecourt le 9 septembre 1873. Il commence son apprentissage chez Blanchard de 1890 \u00e0 1896, avant de quitter Lyon pour rejoindre l\u2019atelier de Gauti\u00e9 puis de Mangenot. Il retourne \u00e0 Lyon en 1898 et s’\u00e9tablit \u00e0 son compte en 1900. Son atelier est successivement implant\u00e9 rue Childebert, 67 rue de l\u2019H\u00f4tel de Ville et enfin 36 rue Ferrandi\u00e8re. En 1919, un an avant son d\u00e9c\u00e8s, il le l\u00e8gue \u00e0 Andr\u00e9 Conot. On lui conna\u00eet seulement un peu plus de 70 violons.<\/p>\n\n\n\n

\n

“Sa production de belle qualit\u00e9, environ 70 violons, reste limit\u00e9e. Cela s\u2019explique par la grande part que tient la restauration dans son activit\u00e9”.<\/p>\n J.F. Schmitt, La lutherie lyonnaise, 1991<\/cite><\/blockquote>\n<\/div>\n\n\n\n

\n

Contrairement \u00e0 de nombreux luthiers de son \u00e9poque, il n’a pas \u00e9t\u00e9 fortement influenc\u00e9 par l’\u00e9cole parisienne ni par ses ma\u00eetres successifs. Il a, au contraire, cultiv\u00e9 une facture personnelle.
Le fils de Paul-Victor Lorange – Paul Lorange – est aussi luthier et travaille un temps dans l\u2019atelier de Charles-Louis Bazin, o\u00f9 il s’initie \u00e0 l’arch\u00e8terie sans toutefois choisir de devenir archetier. T\u00e9moignant de cela, deux archets de la Maison Bazin sign\u00e9 Lorange seront vendus le 30 novembre 2023 \u00e0 Vichy Ench\u00e8res.
En 1927, Paul Lorange fils devient associ\u00e9 de Paul Diter \u00e0 Marseille (ce dernier fut aussi l\u2019\u00e9l\u00e8ve de Bazin). Selon Ren\u00e9 Vannes, 40 violons porteraient l\u2019\u00e9tiquette “Diter et Lorange”. En 1933, Paul Lorange prend d\u00e9finitivement les r\u00eanes de l’atelier marseillais. Deux instruments de Paul Lorange \u00e0 Marseille seront mis en vente le 30 novembre 2023, un archet de sign\u00e9 \u201cP. Lorange \u00e0 Marseille\u201d et un beau violon de 1947 portant le num\u00e9ro 41.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
\n
\"Archet<\/a><\/figure>\n\n\n\n
\"Archet<\/a><\/figure>\n\n\n\n
\"Archet<\/a><\/figure>\n
Archet de violon de Charles Nicolas BAZIN, sign\u00e9 P. Lorange \u00e0 Lyon
Instrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
\n
\"Archet<\/a><\/figure>\n\n\n\n
\"Archet<\/a><\/figure>\n
Archet de violon de Charles Nicolas BAZIN fait pour Paul Lorange \u00e0 Lyon
Instrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
\n
\"Archet<\/a><\/figure>\n\n\n\n
\"Archet<\/a><\/figure>\n
Archet de Violon de Georges \u00c9mile BARJONNET fait vers 1940, sign\u00e9 P.Lorange \u00e0 Marseille
Instrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Paul LORANGE, n\u00b041, fait \u00e0 Marseille en 1947
Instrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Charles Resuche<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\"Lyon,<\/a>
Lyon, Passage de l’Argue<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
\n
\n

Charles Resuche est n\u00e9 \u00e0 Mirecourt le 11 d\u00e9cembre 1858. Il r\u00e9alise un apprentissage aupr\u00e8s de Didion, avant de rejoindre l’atelier de Gand & Bernardel. En 1896, il s\u2019associe \u00e0 son ami Justin Diter (fr\u00e8re de Paul Diter cit\u00e9 ci-dessus) avec lequel il ouvre un atelier Passage de l’Argue \u00e0 Lyon, avant de d\u00e9m\u00e9nager rue de l\u2019H\u00f4tel de Ville. Cette association sera de court terme puisque, d\u00e8s 1897, ils mettent un terme \u00e0 leur travail commun. Resuche quitte Lyon et part alors s’installer \u00e0 Bordeaux.<\/p>\n<\/div>\n\n\n\n

\n

Le travail de Charles Resuche est souvent d\u00e9crit comme \u00e9l\u00e9gant et est caract\u00e9ris\u00e9 par l\u2019utilisation d’un beau vernis \u00e0 l’huile de couleur rouge[9]<\/sup><\/a>. Peu d\u2019\u00e9l\u00e9ments pr\u00e9cis nous sont parvenus sur sa vie et son \u0153uvre. Il aurait pris sa retraite en 1913.<\/p>\n\n\n\n

\n\n\n\n

[9]<\/sup><\/a> J.F. Schmitt, La lutherie lyonnaise, 1991<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Charles RESUCHE, 1895
Instrument mis en vente par Vichy Ench\u00e8res le 11 juin 2015 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
\n
\"Violon<\/figure>\n\n\n\n
\"Violon<\/figure>\n\n\n\n
\"Violon<\/figure>\n
Violon de Charles RESUCHE, 1906
Instrument mis en vente par Vichy Ench\u00e8res le 2 juin 2022 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\n
<\/div>\n\n\n\n

Nous vous donnons rendez-vous \u00e0 Vichy Ench\u00e8res pour les expositions de ces instruments le dimanche 26 novembre apr\u00e8s-midi, les lundi 27 et mardi 28 toute la journ\u00e9e, ainsi que les matin\u00e9es du mercredi 29 et jeudi 30 novembre. Ne manquez pas leur mise aux ench\u00e8res le jeudi 30 novembre, \u00e0 partir de 14h ! A tr\u00e8s vite !<\/p>\n<\/blockquote>\n\n\n\n

<\/div>\n\n\n\n
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<\/div>\n\n\n\n

VIOLIN MAKING IN LYON IN THE 19TH<\/sup> AND 20TH<\/sup> CENTURIES<\/h1>\n\n\n\n
\n
<\/div>\n\n\n\n

The names of Silvestre, Blanchard, Boulangeot, Vissenaire, Poirson, etc. are all evocative of violin making in Lyon of the 19th and 20th centuries. These makers will be well represented at Vichy Ench\u00e8res on 30 November 2023. It provides us with an opportunity to take another look at this, little studied, school of violin making.<\/em><\/p>\n<\/blockquote>\n\n\n\n

<\/div>\n\n\n\n
\n
Catalog<\/a><\/div>\n\n\n\n
Results<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
Version fran\u00e7aise<\/a><\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
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<\/div>\n\n\n\n

Historical overview of the Lyon school<\/h1>\n\n\n\n
<\/div>\n\n\n\n

The origins of violin making in Lyon<\/h2>\n\n\n\n
<\/div>\n\n\n\n
\n
\"Nicolas<\/a>
Nicolas Le Febvre, Vue de Lyon, 1555, BnF<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n
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\n

The history of violin making in Lyon dates back to the 16th century, well before the time of its famous 19th century violin makers. Lyon, at that time, was a prosperous city with close commercial relations with Italy, and was importing luxury goods popular with the aristocracy. The city was also an important cultural centre, and a cradle of new ideas, frequented by Christian humanists, including Erasmus and Rabelais. It is in this context that Gaspar Tieffenbrucker, also known as Gaspard Duiffoprugcar, settled in Lyon. At the time, the rebec was an instrument in vogue, and Tieffenbrucker decided to add to it a fourth string in order to increase its range. As a result, he is often considered as the inventor of the violin. At the same time, several violin makers settled in Lyon, mainly from Tyrolean families, making the city an important centre for violin making in the 16th century. In the 17th century, political power was centralized in Paris, leading to Lyon losing its privileges. The middle classes, who had prospered thanks to their monopolies, were now entering economic decline. The few violin makers who survived did not leave a major mark on the history of violin making, as they were hindered by the lack of professional musicians established in Lyon at the time. Indeed, the cultural policies of Louis XIV and Louis XV did not encourage musical exchanges and, at the end of the 17th century, France only had 46 violin makers, compared to around 400 in Italy and the other regions of the German Empire.<\/p>\n<\/div>\n\n\n\n

\n
\n
\"Gaspar<\/a>
Gaspar Duiffoprugcar<\/figcaption><\/figure>\n\n\n\n
\"G\u00e9rard<\/a>
G\u00e9rard David, Vierge entour\u00e9e d’anges musiciens, 1509, d\u00e9tail<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n

Violin making in Lyon in the 19th<\/sup> century<\/h2>\n\n\n\n
<\/div>\n\n\n\n
\n
\"Victor<\/a>
Victor Fonville, Lyon, Place Bellecour, 1851, Biblioth\u00e8que municipale de Lyon. <\/figcaption><\/figure>\n\n\n\n
\"Violoncelle<\/a>
Violoncelle de Charles MERIOTTE, Lyon, 1760
Instrument mis en vente par Vichy Ench\u00e8res le 9 juin 2011 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Giovanni<\/a>
Giovanni Battista Viotti, XVIIIe si\u00e8cle, Mus\u00e9e de la Musique<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n
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At the end of the reign of Louis XV, cultural policy once again encouraged artistic exchanges, mainly with the Holy Roman Empire and Italy. In the 18th century, several renowned luthiers were active in Lyon, including Meriotte and Pommier. A gradual revival of violin making took place at the end of the century, accelerated by the arrival in France, in 1782, of the famous Italian violinist Giovanni Battista Viotti. He was accompanied by his Stradivarius, which he showcased and became the new standard of perfection, to which Parisian violin making and, by extension, Lyon violin making, aspired. At the beginning of the 19th century, Lyon became an important military centre (see the following article<\/a>), which led to the development of military music and wind instrument making. Meanwhile, the economic boom experienced by Lyon benefited the activity of stringed instrument makers. Many of them left to learn their trade in large Parisian workshops, before returning to Lyon to set up shop.<\/p>\n<\/div>\n\n\n\n

\n

These 19th century makers from Lyon, who were trained according by Parisian makers, themselves influenced by Italian masters, nonetheless developed an individual style. To meet the growing demand for instruments, they sometimes collaborated with Mirecourt makers. Although the term \u201cLyon school\u201d is commonly used, it does not refer to a school of making per se, but rather to a group of violin makers who flourished in Lyon in the 19th century and who, despite each having their very individual style, shared certain ways of doing things, whether from a technical or visual point of view. Jean-Fr\u00e9d\u00e9ric Schmitt, the author of one of the rare works on violin making in Lyon, points out in particular that instruments from Lyon from this period frequently have false pegs, angular \u201ccul-de-poules\u201d (back of the head), \u201cU\u201d-shaped slides, and varnishes that are often very red[1]<\/sup><\/a>.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a>  J.F. Schmitt, La lutherie lyonnaise, 1991<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\"N\u00b0<\/a>
Beau violoncelle de Paul BLANCHARD, 1903
Instrument mis en vente par Vichy Ench\u00e8res le 3 juin 2021 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon de Paul BLANCHARD,1887
Instrument mis en vente par Vichy Ench\u00e8res le 6 juin 2019 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon de Paul BLANCHARD, 1884, n\u00b040, en mod\u00e8le Guarnerius del Gesu – Collection Bernard Millant – Instrument mis en vente par Vichy Ench\u00e8res le 29 novembre 2017 \u00a9 C. Darbelet <\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n

Overview of the violin makers:
The Silvestre dynasty and its precursors<\/h1>\n\n\n\n
<\/div>\n\n\n\n

Pierre Silvestre (1801-1859)<\/h2>\n\n\n\n
<\/div>\n\n\n\n
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The Silvestres were among the first violin makers to settle in Lyon in the 19th century and, as such, were instrumental to the revival of violin making there. Pierre Silvestre was born on 9 August 1801 in Sommerviller to a father who, unusually, was a monk before becoming a teacher after the French Revolution. In 1818, then aged 17, Pierre Silvestre began his apprenticeship with Laurent Blaise in Mirecourt, where he acquired the basic violin making skills. His desire to perfect his craft led him to Paris, where he joined Nicolas Lupot’s workshop. When the latter died in 1824, he joined the workshop of Charles-Fran\u00e7ois Gand (\u201cGand P\u00e8re\u201d). He returned to Lyon in 1829, where he set up his workshop Place des Terreaux. Certain instruments from that period are very different from those he produced later on, and it is not impossible that they were actually made by Mirecourt makers, from whom Pierre Silvestre would have enlisted the help in order to meet the demand.
In 1831, he joined forces with his brother Hippolyte and worked with him until 1848. The workshop was then renamed Silvestre Fr\u00e8res. They made many copies of Italian instruments together, and it is quite easy to spot Hippolyte’s hand, as he was still influenced by Vuillaume, his previous master.
Hippolyte left the workshop in 1848. This signalled the start of a new period in Pierre Silvestre’s production, often considered as his golden period, and which extended from 1848 to 1859.
During that period, he created high quality instruments, that stand out by their very beautiful and delicate varnish.<\/p>\n<\/div>\n\n\n\n

\n
\n
\"Lyon,
Lyon, Place des Terreaux, XIX\u00e8me si\u00e8cle, carte postale<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

He also sometimes added small women’s heads to his instruments, decorating the necks and pegs with figurative inlays.
In 1844, he took part in the National Exhibition in Paris, where he won the bronze medal, and in 1855, his instruments were awarded an honourable mention at the Universal Exhibition in Paris, therefore confirming his reputation as a first-rate maker.
Upon his death in 1859, the business was taken over for a few months by Pichon, before he sold it to Hippolyte. Pierre Silvestre left his mark on the world of Lyon violin making and was among the first to contribute to its revival in the 19th century thanks to his high-quality instruments sought after for their sound.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Pierre SILVESTRE, vers 1829-1830. Instrument mis en vente par Vichy Ench\u00e8res le 5 d\u00e9cembre 2013 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
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\"N\u00b0<\/a><\/figure>\n\n\n\n
\"N\u00b0<\/a><\/figure>\n
N\u00b0 105 – Violoncelle de Pierre et Hippolyte SILVESTRE, 1835, n\u00b0215. Instrument mis en vente par Vichy Ench\u00e8res le 11 juin 2015 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Pierre et Hippolyte SILVESTRE, 1838, n\u00b0164. Instrument mis en vente par Vichy Ench\u00e8res le 2 juin 2022 \u00a9 Christophe DARBELET<\/figcaption><\/figure>\n\n\n\n
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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Pierre SILVESTRE, 1857. Instrument mis en vente par Vichy Ench\u00e8res le 6 d\u00e9cembre 2018 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
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\"Exposition<\/a><\/figure>\n
Exposition universelle de Paris, 1855<\/figcaption><\/figure>\n\n\n\n
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Hippolyte Silvestre (1808-1879)<\/h2>\n\n\n\n
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Born on 14 December 1808 in Saint-Nicolas-de-Port, Hippolyte Silvestre followed the path of his brother Pierre by taking up an apprenticeship with Laurent Blaise in Mirecourt. At the end of the 1820s, just like Pierre Silvestre had done before him, he went to Paris to perfect his skills in the workshop of a great master: Jean-Baptiste Vuillaume. Finally, he joined his brother in Lyon in 1831 and worked with him until 1848. During this first period, the influence of Vuillaume is perceptible in his style, but he was also strongly influenced by the style of his brother Pierre. However, the varnish on his instruments was often thinner than Pierre’s.<\/p>\n<\/div>\n\n\n\n

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Between 1848 and 1859, Hippolyte Silvestre set up on his own and produced high-quality instruments, like the remarkable violin in the sale on 30 November 2023, made around 1850-1855.
When Pierre Silvestre died in 1859, he took over his brother\u2019s workshop and continued producing instruments stylistically similar to those of his brother.
In 1865, he finally handed over the workshop to his nephew, Hippolyte Chr\u00e9tien Silvestre, ensuring the workshop remained in the family\u2019s hands. Hippolyte Silvestre died on 3 December 1879 in Sommerviller, leaving behind a lasting legacy in the world of violin making.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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\"Violon
Violon de Pierre et Hippolyte SILVESTRE, 1835, n\u00b078\nInstrument mis en vente par Vichy Ench\u00e8res le 11 juin 2015\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon
Violon de Hippolyte SILVESTRE, 1850-1855\nInstrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Violon
Violon de Hippolyte SILVESTRE, 1850-1855\nInstrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Violon
Violon de Hippolyte SILVESTRE, 1850-1855\nInstrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \n\u00a9 C. Darbelet<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Hippolyte Chr\u00e9tien Silvestre (1845-1913)<\/h2>\n\n\n\n
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Hippolyte Chr\u00e9tien Silvestre, better known as \u201cSilvestre Neveu\u201d \u2013 in reference to his family connection with his uncle \u2013 was born on 1 April 1845 in Sommerviller. Like the makers of the family who preceded him, he completed his apprenticeship in Mirecourt, before joining the Lyon workshop. In 1865, when he was only 20, he succeeded his uncle at the head of the company.<\/p>\n\n\n\n

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\"B\u00e2timent<\/a><\/figure>\n
B\u00e2timent de l’Exposition universelle de Lyon en 1872<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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His instruments met with great success at the various important exhibitions of his time. Indeed, he won the silver medal at the Lyon Exhibition of 1872, the progress medal at the Universal Exhibition in Vienna in 1873, the silver medal at the Universal Exhibition of 1878, the gold medal at the Universal Exhibition in Paris, and finally the Grand Prix<\/em> at the Universal Exhibition of 1900. Another sign of the esteem in which he was held was that he received the Legion of Honour medal. In 1884, he left Lyon for Paris, where he settled on rue du Faubourg Poissonni\u00e8re (successively at numbers 24, 20 and 25).
In 1891, he asked Ernest Maucotel, who was then employed in Salzard’s workshop in Moscow, to come work with him. They eventually joined forces in 1900 and founded Maison Silvestre et Maucotel, where he worked until his death in 1913. With Maucotel, they notably produced instruments influenced by Venetian masters. Finally, it is worth noting that many violins attributed to Hippolyte Chr\u00e9tien Silvestre are probably the work of Blanchard, who worked in the workshop at the start of his career. According to Schmitt, these are the instruments stamped \u201cH.C. Silvestre\u201d made between 1873 and 1876, which were made by Blanchard, including their finishing and varnishing[2]<\/sup><\/a>.<\/p>\n\n\n\n

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[2]<\/sup><\/a> J.F. Schmitt, La lutherie lyonnaise, 1991<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon d’Hippolyte Chr\u00e9tien Silvestre, Lyon, 1877. Instrument mis en vente par Vichy Ench\u00e8res le 6 juin 2019 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon d’Hippolyte Chr\u00e9tien Silvestre, n\u00b0163, Lyon, 1882. Instrument mis en vente par Vichy Ench\u00e8res le 11 juin 2015 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
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\"Violon<\/a>
Violon d’Hippolyte Chr\u00e9tien Silvestre, 1889\nInstrument mis en vente par Vichy Ench\u00e8res le 3 juin 2010\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"N\u00b0<\/a>
N\u00b0 210 – Violoncelle d’Hippolyte Chr\u00e9tien SILVESTRE, Paris, vers 1890 \nInstrument mis en vente par Vichy Ench\u00e8res le 3 juin 2021\n\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Violoncelle<\/a>
N\u00b0 210 – Violoncelle d’Hippolyte Chr\u00e9tien SILVESTRE, Paris, vers 1890 Instrument mis en vente par Vichy Ench\u00e8res le 3 juin 2021 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Violoncelle<\/a>
N\u00b0 210 – Violoncelle d’Hippolyte Chr\u00e9tien SILVESTRE, Paris, vers 1890 Instrument mis en vente par Vichy Ench\u00e8res le 3 juin 2021 \u00a9 C. Darbelet<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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\"Alto<\/a><\/figure>\n\n\n\n
\"Alto<\/a><\/figure>\n\n\n\n
\"Alto<\/a><\/figure>\n
Alto de SILVESTRE et MAUCOTEL, 1905, n\u00b0572. Instrument mis en vente par Vichy Ench\u00e8res le 12 juin 2014 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
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\"Joli<\/a><\/figure>\n\n\n\n
\"Joli<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Joli violoncelle de SILVESTRE et MAUCOTEL. Instrument mis en vente par Vichy Ench\u00e8res le 1 juin 2023 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Paul Blanchard, a major figure in Lyon:
The discovery of his first violin<\/h1>\n\n\n\n
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Blanchard\u2019s first violin<\/h2>\n\n\n\n
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\"Lyon,<\/a><\/figure>\n
Lyon, l’Exposition universelle de 1889<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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If there is one name associated with Lyon violin making, it is definitely that of Blanchard. Born in Mirecourt, Paul-Fran\u00e7ois Blanchard (1851-1912) is one of those itinerant makers who trained in the largest workshops before setting up on their own. Between Mirecourt and Paris, he trained with Jean-Auguste Darte, Jean-Baptiste Vuillaume and Silvestre (see above). After seven years with the latter, at the age of only 25, he set up on his own in Lyon in 1876.
On 30 November 2023, the very first violin made by Blanchard, made when he had only just opened his workshop, will be auctioned at Vichy Ench\u00e8res! This is a historic instrument and an important discovery in the history of Lyon violin making. Dated 1876, this exceptional violin was made by Blanchard upon his arrival in Lyon, as confirmed by its label \u201cFait par Paul BLANCHARD \/ P.B. a Lyon en 1876 No 1\u201d. It was made on the Guarneri del Gesu model, is branded inside, and bears an inscription with his signature, the year, the location and the number. Considering he made around 1,200 instruments, it is amazing that his very first instrument would resurface today. More than an instrument, it is a historical testimony and represents a key milestone in Blanchard’s career.
As J.F. Schmitt points out, we can distinguish two major periods in his production. The first covers the beginning of his career until 1885, during which his output is influenced by the style of Silvestre. At that time, his instruments\u2019 purflings were particularly thin and he was emulating the Italian masters, re-interpreting the models of Stradivari, Amati and Guarneri \u2013 as is the case with this very first violin.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Paul BLANCHARD, n\u00b01, 1876
Instrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Second part of career and recognition<\/h2>\n\n\n\n
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\"Exposition<\/a><\/figure>\n
Exposition universelle de Paris, 1889<\/figcaption><\/figure>\n\n\n\n
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The year 1885 marked a new phase in Blanchard’s production. The style of his instruments evolved, as demonstrated by the second violin in the sale on 30 November 2023, made in 1892. Generally speaking, the edges of his instruments were hollowed out less deeply and the purflings, that were previously rather thin, tended to become wider. Blanchard also modified his varnish to obtain red tints that were sometimes lively and shiny, reminiscent of enamel. This second violin, numbered 265, also bears Blanchard’s label, iron brand and two handwritten signatures inside.<\/p>\n\n\n\n

It was at that time that he first took part in exhibitions, in 1889, at the Universal Exhibition in Paris, where his work was awarded a silver medal. The report \u201cLyon at the Universal Exhibition\u201d reads as follows:<\/p>\n<\/div>\n\n\n\n

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\u201cHis workshop has become the meeting place for all Lyon dilettantes, amongst whom he has many friends; artists and amateurs meet there, discussing musical art. Mr. Blanchard exhibited in Paris a double quartet of bowed instruments, including: four violins, two violas, two cellos of excellent sound; the artists from Lyon appreciated the quality of these instruments so much that they acquired them before they had even left for Paris.\u201d<\/p>\n\n\n\n

\nAdrien Storck et Henri Martin, Lyon \u00e0 l\u2019exposition universelle de 1889, Volume 1<\/cite><\/blockquote>\n\n\n\n

Blanchard also played an important role in the musical life of Lyon. He was the official violin maker of the city\u2019s conservatory and took on the role of president of the Association of violin makers and dealers of Lyon. When he died in 1912, Emile Boulangeot succeeded him in his various posts.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Paul BLANCHARD, n\u00b0265, 1892
Instrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
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\u00c9mile Boulangeot, a worthy successor to Blanchard<\/h1>\n\n\n\n
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Born in Mirecourt in 1877, Emile Boulangeot followed the traditional apprenticeship route, first training in his hometown, with Emile Laurent, before continuing his training in Paris. There, in 1893, he joined Gustave Bernardel’s workshop, which became Caressa et Fran\u00e7ais after Bernardel left.
His time in Paris ended in 1909, when he decided to join Paul Blanchard in Lyon. In particular, he was in charge the distribution of a range of instruments created by Blanchard, called \u201cLUGDUNUM\u201d. Boulangeot also worked with Morizot P\u00e8re and Maison Bazin, as attested by bows sold by Vichy Ench\u00e8res.
In 1913, shortly after Blanchard’s death (1912), \u00c9mile Boulangeot took over management of the workshop and became the official violin maker of the Conservatoire and the Soci\u00e9t\u00e9 des Grands Concerts de Lyon \u2013 succeeding Paul Blanchard in these positions. This marked a real turning point in his career, leading him to work with the greatest musicians in Lyon.
In 1928, Boulangeot ceased his activity. His production was then estimated at around 175 violins, 7 violas and 28 cellos[3]<\/sup><\/a>. His instruments are notable for their elegance and a red-orange oil varnish.
On 30 November 2023, at Vichy Ench\u00e8res, a late violin by Boulangeot will be sold. It was made in 1925, when he was at the height of his powers, and it is numbered 122 and bears the maker\u2019s label and brand. This example provides a good overview of his craftsmanship and the knowledge he acquired over the years. When he retired, Georges Con\u00e9 took over his workshop.<\/p>\n\n\n\n

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[3]<\/sup><\/a> J.F. Schmitt, La lutherie lyonnaise, 1991<\/p>\n<\/div>\n\n\n\n

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\"Victor<\/a>
Victor Fonville, Lyon, Place Bellecour, 1851, Biblioth\u00e8que municipale de Lyon. <\/figcaption><\/figure>\n\n\n\n
\"Archet<\/a>
Archet de MORIZOT P\u00e8re pour Boulangeot, estampill\u00e9 Boulangeot \u00e0 Lyon, 1925 \nInstrument mis en vente par Vichy Ench\u00e8res le 1er juin 2022\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon d’Emile BOULANGEOT, 1925, n\u00b0122
Instrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Georges Con\u00e9:
the synthesis of Blanchard and Boulangeot<\/h1>\n\n\n\n
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Georges Con\u00e9 (1877-1950) was born in Mirecourt in 1877 and began his apprenticeship with H. Durand. In 1896, he joined Paul Blanchard’s workshop in Lyon. He worked with him until 1912, and then in various workshops abroad. In 1928, he returned to Lyon to replace Emile Boulangeot as violin maker of the Conservatoire and the Soci\u00e9t\u00e9 des Grands Concerts de Lyon and set up shop at 77, and later 79, rue de la R\u00e9publique. Con\u00e9 was inspired by the Stradivari model when creating his instruments, which feature a red-orange to red-brown oil varnish, and are sought after for their powerful sound. His son, Robert Con\u00e9, worked alongside him very early on. Indeed, the earliest mention of their joint work is on a label dated 1930, when Robert was only ten years old! Robert Con\u00e9 succeeded his father upon his death in 1950.<\/p>\n\n\n\n

Georges Con\u00e9’s instruments bear labels mentioning the production date and number, and sometimes include the name \u201cGeorges Con\u00e9 et fils\u201d. Con\u00e9 also produced a series of instruments bearing the labels \u201cCopie de Nicolas Lupot\u201d or \u201cLUGDUNUM\u201d, which were a continuation of the work of Blanchard and Boulangeot.<\/p>\n<\/div>\n\n\n\n

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He also sometimes indicated on his labels that the instrument was \u201cfinished under my direction\u201d or \u201cmade in the workshop of Georges CON\u00c9\u201d. In addition, his workshop sold bows bearing his stamp but manufactured by other bowmakers, including Victor F\u00e9tique, Fran\u00e7ois Lotte and Emile Auguste Ouchard.<\/p>\n\n\n\n

Georges Con\u00e9’s work was rewarded on numerous occasions. In particular, he received silver and gold medals at the Universal and International Exhibitions in Paris (1889 and 1900) and the Grand Prix<\/em> at the International Exhibition in Lyon (1894 and 1914). Following in the footsteps of Boulangeot, he became violin maker of the Conservatoire<\/em> and the Soci\u00e9t\u00e9 des Grands Concerts<\/em>.<\/p>\n\n\n\n

The beautiful violin in the Vichy Ench\u00e8res sale on 30 November 2023, made in 1938 by Georges Con\u00e9, shows the extent of his knowledge, which builds on the influences of Blanchard and Boulangeot to arrive at a personal style. It is numbered 73, bears the maker\u2019s label and brand, and features a varnish typical of the Lyon school.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Georges CONE, 1938, n\u00b073
Instrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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The Vissenaires: tradition and innovation<\/h1>\n\n\n\n
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\"Lyon,<\/a>
Lyon, Place des Jacobins vers 1900<\/figcaption><\/figure>\n\n\n\n
\"Etiquette<\/a>
Etiquette dans un violon de Louis Nicolas Vissenaire\nInstrument mis en vente par Vichy Ench\u00e8res le 9 juin 2011\n\u00a9 Vichy Ench\u00e8res<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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The Vissenaire family left a lasting mark on violin making and its name is directly associated with the craftsmanship of Lyon. Louis-Nicolas Vissenaire, aka \u201cVissenaire P\u00e8re\u201d, was amongst the first to settle in Lyon during the first third of the 19th century, and he was behind a thriving workshop which gave new impetus to 19th century Lyon violin making. He was born in Mirecourt, but decided very early to settle in Lyon, Place Confort \u2013 now Place des Jacobins. His instruments, of large proportions, were often designed after Parisian models. Unfortunately, few of Vissenaire P\u00e8re\u2019s instruments have survived; they remain rare on the market and in collections. The violin for sale at Vichy Ench\u00e8res on 30 November 2023, made in 1830, gives us a great opportunity to learn more about this violin maker.<\/p>\n<\/div>\n\n\n\n

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His eldest son, usually referred to as Vissenaire II (first half of the 19th century \u2013 c.1880), joined him in the workshop after completing his apprenticeship in Paris, under Bernardel P\u00e8re. He took over the workshop around 1870 and worked with his brother Nicolas, known as Vissenaire III, who was until then second violin at the Lyon theatre. The instruments made by Vissenaire P\u00e8re and his sons share certain similarities in their construction, in particular the positioning of the purflings and the f-holes, very close to the edges. However, the sons’ work is also influenced by Bernardel, Gand and even Lupot. Their instruments are also shorter than their father’s and are covered with a soft orange-red varnish. The two brothers were appointed violin makers of the Lyon Conservatoire and produced instruments labelled \u201cVissenaire Fr\u00e8res\u201d.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Violon<\/a>
Violon de VISSENAIRE P\u00e8re, 1843
Instrument mis en vente par Vichy Ench\u00e8res le 2 juin 2022 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon de VISSENAIRE II ?, 1869
Instrument mis en vente par Vichy Ench\u00e8res le 6 d\u00e9cembre 2018 \u00a9 C. Darbelet <\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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The Vissenaires also stood out for the originality of their guitars, whose innovative construction included \u201chorns\u201d on the upper body. At a time when the guitar was experiencing a transition between its baroque and modern form, opening the field of possibilities, the Vissenaires proposed an unusual form reflecting their vision and innovative taste. (The same spirit drove Michelot, around the same time, to create the boat guitar.)<\/p>\n\n\n\n

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See our article<\/a><\/div>\n<\/div>\n\n\n\n

The Vissenaire family contributed significantly to the revival of violin making in Lyon in the 19th century, leaving behind high quality instruments and unusual guitars.<\/p>\n<\/div>\n\n\n\n

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\"Guitare<\/figure>\n\n\n\n
\"Guitare<\/figure>\n
Guitare de VISSENAIRE, 1829
Instrument mis en vente par Vichy Ench\u00e8res le 6 mai 2023 \u00a9 C. Darbelet <\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Elophe Poirson, the telegraph violin maker<\/h1>\n\n\n\n
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\"Lyon,<\/a><\/figure>\n
Lyon, H\u00f4tel des T\u00e9l\u00e9graphes, Rue de La Barre<\/figcaption><\/figure>\n\n\n\n
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Elophe Poirson is one of the most remarkable figures in this overview. He was born in Landaville on 6 September 1840 and died in Lyon in 1918, and left his mark on Lyon violin making even though he was long considered as a mere amateur, due to his activity as a telegraphist, which he carried out in parallel. Indeed, he was employed by the telegraph office before being appointed head of the central office at the Sainte-Foy-l\u00e8s-Lyon Telegraph. He is believed to have taken up violin making after accidentally breaking a violin[4]<\/sup><\/a> which he proceeded to repair without specialist tools. This gave him a taste for the craft, and he made around 300 instruments from 1876 to 1918[5]<\/sup><\/a>. His name appeared in the Directory of Artists and Dramatic and Musical Education in 1895, and from 1905 to 1909, and is associated with several patents for tools facilitating the work of violin makers, such as chin rests and hand vices[6]<\/sup><\/a>.<\/p>\n\n\n\n

His work was recognized in 1889, during the Universal Exhibition in Paris, in which he won the bronze medal for a quartet of stringed instruments.<\/p>\n\n\n\n

He also received the support of the violinist Martin-Pierre Marsick, whom he met during a visit to Lyon, during which the latter was \u201camazed\u201d[7]<\/sup><\/a> by his instruments, and which prompted him to send a letter to the members of the jury of the Universal Exhibition:<\/p>\n\n\n\n

\u201cWe are in the presence of a true artist, a man of conviction with the faith of the great naive without which all art is hollow, false and useless. \u201cThis is why, gentlemen, I have taken it as my artistic responsibility to make known the efforts worthy of encouragement of Elophe Poirson, and to present to you the first result of his work. I should add that, won over by his enthusiasm, I could not, as a sincere artist, at risk of betraying our great art, refuse my support and my encouragement to a man for whom the mere sight of a violin touches his soul, Elophe Poirson, gentlemen, I am convinced, will do great honour to his country. M.-P. MARSICK\u201d[8]<\/sup><\/a>.<\/p>\n\n\n\n

Finally, we should note that part of Elophe Poirson’s activity consisted of varnishing instruments, many of which came from Turin.
Instruments bearing a \u201cbis\u201d next to the number on their label were varnished a second time, later, by this perfectionist maker. The majority of his instruments are beautifully made and have a dark red varnish on a golden ground.<\/p>\n<\/div>\n\n\n\n

\n
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\"Le<\/a>
Le T\u00e9l\u00e9graphe, invention de Claude Chappe<\/figcaption><\/figure>\n\n\n\n
\"Photo<\/a>
Photo d’\u00e9tiquette de violon de Poirson, dans Chann Cornilleau, Elophe Poirson, \u00c9cole nationale de lutherie, Mirecourt, Dipl\u00f4me des M\u00e9tiers d\u2019Art, 2021<\/figcaption><\/figure>\n\n\n\n
\"Annuaire<\/a>
Annuaire des artistes et de l’enseignement dramatique et musical, facture instrumentale, 1905, BnF<\/figcaption><\/figure>\n\n\n\n
\"Annuaire<\/a>
Annuaire des artistes et de l’enseignement dramatique et musical, facture instrumentale, 1905, BnF<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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[<\/sup><\/a>4<\/a><\/sup>]<\/sup><\/a> Le Salut public<\/em>, 15 ao\u00fbt 1889<\/p>\n\n\n\n

[<\/sup><\/a>5<\/a><\/sup>]<\/sup><\/a> Ren\u00e9 Vannes, Dictionnaire universel des luthiers<\/em>, 1959<\/p>\n\n\n\n

[6]<\/sup><\/a> Chann Cornilleau, Elophe Poirson, \u00c9cole nationale de lutherie, Mirecourt, Dipl\u00f4me des M\u00e9tiers d\u2019Art, 2021<\/p>\n\n\n\n

[7<\/a><\/sup>]<\/sup><\/a> Le Salut public<\/em>, 15 ao\u00fbt 1889<\/p>\n\n\n\n

[8]<\/sup><\/a> Le Salut public<\/em>, 15 ao\u00fbt 1889<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\"Lyon,<\/a>
Lyon, l’Exposition universelle de 1889<\/figcaption><\/figure>\n\n\n\n
\"Exposition<\/a>
Exposition universelle de 1889, grande galerie<\/figcaption><\/figure>\n\n\n\n
\"Martin-Pierre-Joseph<\/a>
Martin-Pierre-Joseph Marsick, New York, 1895<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n
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\"Violon<\/a>
Violon d’Elophe POIRSON, 1881\nInstrument mis en vente par Vichy Ench\u00e8res le 5 d\u00e9cembre 2002\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1881\nInstrument mis en vente par Vichy Ench\u00e8res le 5 d\u00e9cembre 2002\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1896\nInstrument mis en vente par Vichy Ench\u00e8res le 3 d\u00e9cembre 2015\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1896\nInstrument mis en vente par Vichy Ench\u00e8res le 3 d\u00e9cembre 2015\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1898\nInstrument mis en vente par Vichy Ench\u00e8res le 4 d\u00e9cembre 2014\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1898\nInstrument mis en vente par Vichy Ench\u00e8res le 4 d\u00e9cembre 2014\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1904\nInstrument mis en vente par Vichy Ench\u00e8res le 3 juin 2021\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1904\nInstrument mis en vente par Vichy Ench\u00e8res le 3 juin 2021\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1912\nInstrument mis en vente par Vichy Ench\u00e8res le 1er juin 2023\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
\"Violon<\/a>
Violon d’Elophe POIRSON, 1912\nInstrument mis en vente par Vichy Ench\u00e8res le 1er juin 2023\n\u00a9 C. Darbelet <\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n

Paul-Victor Lorange<\/h1>\n\n\n\n
<\/div>\n\n\n\n
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\"Lyon,<\/a>
Lyon, Rue de l’H\u00f4tel de Ville<\/figcaption><\/figure>\n\n\n\n
\"Atelier<\/a>
Atelier de Mangenot<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Paul-Victor Lorange (1873-1920) was born in Mirecourt on 9 September 1873. He did his apprenticeship with Blanchard between 1890 to 1896, before leaving Lyon to join the workshop of Gauti\u00e9, and then that of Mangenot. He returned to Lyon in 1898 and established his own business there in 1900. His workshop was located on rue Childebert, then 67 rue de l\u2019H\u00f4tel de Ville, and finally 36 rue Ferrandi\u00e8re. In 1919, a year before his death, he bequeathed it to Andr\u00e9 Conot. He is known to have made only just over 70 violins.<\/p>\n\n\n\n

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\u201cHis production, of around 70 good quality violins, remained limited. This is explained in large part by the fact that he was very active as a restorer.\u201d<\/p>\n J.F. Schmitt, La lutherie lyonnaise, 1991<\/cite><\/blockquote>\n<\/div>\n\n\n\n

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Unlike many makers of his time, he was not heavily influenced by the Parisian school or by his successive masters. On the contrary, he developed a personal style.
Paul-Victor Lorange’s son \u2013 Paul Lorange \u2013 was also a violin maker and worked for a time in the workshop of Charles-Louis Bazin, where he learned about bow making without, however, choosing to become a bow maker. Attesting to this, two bows from Maison Bazin stamped Lorange will be sold on 30 November 2023 at Vichy Ench\u00e8res.
In 1927, Paul Lorange (son) became an associate of Paul Diter in Marseille (the latter was also a student of Bazin). According to Ren\u00e9 Vannes, 40 violins bear the label \u201cDiter et Lorange\u201d. In 1933, Paul Lorange eventually took full charge of the Marseille workshop. On 30 November 2023, a bow stamped \u201cP. Lorange a Marseille\u201d and a beautiful violin from 1947 bearing the number 41, both by Paul Lorange in Marseille, will be auctioned.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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\"Archet<\/a><\/figure>\n\n\n\n
\"Archet<\/a><\/figure>\n\n\n\n
\"Archet<\/a><\/figure>\n
Archet de violon de Charles Nicolas BAZIN, sign\u00e9 P. Lorange \u00e0 Lyon
Instrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
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\"Archet<\/a><\/figure>\n\n\n\n
\"Archet<\/a><\/figure>\n
Archet de violon de Charles Nicolas BAZIN fait pour Paul Lorange \u00e0 Lyon
Instrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
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\"Archet<\/a><\/figure>\n\n\n\n
\"Archet<\/a><\/figure>\n
Archet de Violon de Georges \u00c9mile BARJONNET fait vers 1940, sign\u00e9 P.Lorange \u00e0 Marseille
Instrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Paul LORANGE, n\u00b041, fait \u00e0 Marseille en 1947
Instrument mis en vente par Vichy Ench\u00e8res le 30 novembre 2023 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Charles Resuche<\/h1>\n\n\n\n
<\/div>\n\n\n\n
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\"Lyon,<\/a>
Lyon, Passage de l’Argue<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Charles Resuche was born in Mirecourt on 11 December 1858. He completed an apprenticeship with Didion, before joining the workshop of Gand & Bernardel. In 1896, he joined forces with his friend Justin Diter (brother of Paul Diter mentioned above), with whom he opened a workshop in Passage de l’Argue in Lyon, before moving to rue de l’H\u00f4tel de Ville. However, this association was short-lived, and was terminated in 1897. Resuche then left Lyon and moved to Bordeaux.<\/p>\n<\/div>\n\n\n\n

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Charles Resuche’s instruments are often described as elegant and feature a beautiful red-coloured oil varnish[9]<\/sup><\/a>. We have little information about his life and work. He is thought to have retired in 1913.<\/p>\n\n\n\n

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[9]<\/sup><\/a> J.F. Schmitt, La lutherie lyonnaise, 1991<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Charles RESUCHE, 1895
Instrument mis en vente par Vichy Ench\u00e8res le 11 juin 2015 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
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\"Violon<\/figure>\n\n\n\n
\"Violon<\/figure>\n\n\n\n
\"Violon<\/figure>\n
Violon de Charles RESUCHE, 1906
Instrument mis en vente par Vichy Ench\u00e8res le 2 juin 2022 \u00a9 C. Darbelet <\/figcaption><\/figure>\n\n\n\n
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<\/div>\n\n\n\n

We look forward to seeing you at Vichy Ench\u00e8res for the viewing of these instruments, on Sunday 26 November in the afternoon, Monday 27 and Tuesday 28 all day, as well as the mornings of Wednesday 29 and Thursday 30 November. Don’t miss their auction on Thursday 30 November from 2pm! See you then!<\/p>\n<\/blockquote>\n\n\n\n

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\ud83d\ude80 Suivez-nous !<\/strong><\/h2>\n\n\n\n