{"id":28871,"date":"2025-05-22T10:53:45","date_gmt":"2025-05-22T08:53:45","guid":{"rendered":"https:\/\/vichy-encheres.com\/?p=28871"},"modified":"2025-11-25T17:07:32","modified_gmt":"2025-11-25T16:07:32","slug":"jacques-tainturie","status":"publish","type":"post","link":"https:\/\/vichy-encheres.com\/en\/2025\/05\/22\/jacques-tainturie\/","title":{"rendered":"Tainturi\u00e9 et Jacques Le Teinturier : un seul et m\u00eame facteur d\u2019instruments ?"},"content":{"rendered":"\n
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La d\u00e9couverte d\u2019un archet sign\u00e9 \u00ab\u202fTainturi\u00e9\u202f\u00bb, mis en vente \u00e0 Vichy Ench\u00e8res le 5 juin 2025, relance l\u2019int\u00e9r\u00eat pour ce nom myst\u00e9rieux de l\u2019histoire de l\u2019archet fran\u00e7ais. Cet instrument exceptionnel, deuxi\u00e8me archet authentifi\u00e9 \u00e0 porter ce nom, invite \u00e0 reconstituer la trajectoire d\u2019un artisan dont l\u2019\u0153uvre, bien que discr\u00e8te, s\u2019inscrit dans la p\u00e9riode charni\u00e8re entre l\u2019archet baroque et l\u2019archet moderne. En croisant archives notariales et comparaisons stylistiques, une hypoth\u00e8se de rapprochement se dessine avec le luthier rouennais Jacques Le Teinturier, actif au milieu du XVIIIe<\/sup> si\u00e8cle.<\/p>\n<\/blockquote>\n\n\n\n

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Catalogue<\/a><\/div>\n\n\n\n
Vente du 2 juin 2025<\/a><\/div>\n\n\n\n
Vente du 3 juin 2025<\/a><\/div>\n\n\n\n
Vente du 4 juin 2025<\/a><\/div>\n\n\n\n
Vente du 5 juin 2024<\/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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Le nom de Tainturi\u00e9 associ\u00e9 \u00e0 des archets : trois instruments conserv\u00e9s<\/h1>\n\n\n\n
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Le nom de Tainturi\u00e9 appara\u00eet aujourd\u2019hui associ\u00e9 \u00e0 trois archets du XVIIIe si\u00e8cle, dont deux sont sign\u00e9s et un troisi\u00e8me attribu\u00e9 par expertise.<\/p>\n\n\n\n

Le premier, vendu en 2019 lors de la vente Bernard Millant \u00e0 Vichy Ench\u00e8res, porte la signature \u00ab Tainturi\u00e9 \u00bb sur la baguette. Il s’agit d’un archet de violon dont la hausse et le bouton avaient \u00e9t\u00e9 remplac\u00e9s. L\u2019instrument avait \u00e9t\u00e9 r\u00e9f\u00e9renc\u00e9 dans le tome I de L\u2019Archet<\/em> de Jean-Fran\u00e7ois Raffin et Bernard Millant, qui notaient d\u00e9j\u00e0 sa haute qualit\u00e9 de facture.<\/p>\n<\/div>\n\n\n\n

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\u00ab Cet unique archet connu correspond \u00e0 une personne qui exer\u00e7ait tr\u00e8s certainement un autre m\u00e9tier en parall\u00e8le et il est tr\u00e8s dommage qu\u2019il n\u2019ait pas pu produire davantage de baguettes car son travail est de tout premier ordre. \u00bb[1]<\/sup><\/a><\/p>\n\n\n\n

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[1]<\/sup><\/a> Bernard Millant, Jean Fran\u00e7ois Raffin, L\u2019Archet, tome I, deuxi\u00e8me partie, L\u2019Archet Editions, 2000<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n

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\"Archet<\/a><\/figure>\n\n\n\n
\"Archet<\/a><\/figure>\n
Archet de violon de Tainturi\u00e9, instrument mis en vente par Vichy Ench\u00e8res le 27 novembre 2019. \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Le deuxi\u00e8me archet sign\u00e9 Tainturi\u00e9 est celui d\u00e9couvert \u00e0 l\u2019occasion de la vente du 5 juin 2025 \u00e0 Vichy Ench\u00e8res. Il conserve une hausse en ivoire ajour\u00e9e d\u2019un c\u0153ur stylis\u00e9, aux formes d\u00e9coratives et aux joues ouvertes, dans un style transitoire caract\u00e9ristique de l\u2019\u00e9poque. Le bouton est post\u00e9rieur, mais l\u2019ensemble reste homog\u00e8ne.<\/p>\n<\/div>\n\n\n\n

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Le troisi\u00e8me archet, non sign\u00e9, est conserv\u00e9 dans une collection priv\u00e9e et est attribu\u00e9 \u00e0 Tainturi\u00e9 par les experts Yannick Le Canu et Sylvain Bigot.<\/p>\n\n\n\n

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\"Archet<\/a><\/figure>\n\n\n\n
\"Archet<\/a><\/figure>\n
Archet de violon de Jacques TAINTURIE
Instrument mis en vente par Vichy Ench\u00e8res le 5 juin 2025
\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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\"Archet<\/a><\/figure>\n\n\n\n
\"Archet<\/a><\/figure>\n
Archet de violon de Jacques Tainturi\u00e9 non sign\u00e9, collection priv\u00e9e. \u00a9 Cabinet Raffin<\/figcaption><\/figure>\n\n\n\n
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Rapprochements stylistiques avec Jacques Le Teinturier<\/h1>\n\n\n\n
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\"Rouen<\/a>
Rouen au XVIIIe si\u00e8cle, domin\u00e9e par la cath\u00e9drale au centre et l\u2019abbatiale Saint-Ouen \u00e0 droite. Estampe. \u00a9GallicaBNF<\/figcaption><\/figure>\n\n\n\n
\"Roles<\/a>
Roles de capitation de la Communaut\u00e9 des ma\u00eetres joueurs et faiseurs d’instruments et ma\u00eetres \u00e0 danser de la ville faubourg et banlieue de Rouen, 1759.<\/figcaption><\/figure>\n\n\n\n
\"Roles<\/a>
Roles de capitation de la Communaut\u00e9 des ma\u00eetres joueurs et faiseurs d’instruments et ma\u00eetres \u00e0 danser de la ville faubourg et banlieue de Rouen, 1759.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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La raret\u00e9 du nom \u00ab Tainturi\u00e9 \u00bb dans les sources anciennes et la proximit\u00e9 orthographique avec \u00ab Le Teinturier \u00bb – attest\u00e9 \u00e0 Rouen au XVIIIe si\u00e8cle – permet d\u2019envisager qu\u2019il s\u2019agisse d\u2019une m\u00eame personne. <\/p>\n\n\n\n

\u00ab Jacques Teinturier \u00bb (Jacques Le Teinturier) est mentionn\u00e9 dans les r\u00f4les de capitation de Rouen comme \u00ab faiseur d\u2019instruments \u00bb de la \u00ab Communaut\u00e9 des ma\u00eetres joueurs et faiseurs d’instruments et ma\u00eetres \u00e0 danser de la ville faubourg et banlieue de Rouen \u00bb de 1756 \u00e0 1776[1]<\/sup><\/a>.<\/p>\n<\/div>\n\n\n\n

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Il fut apprenti de Jean Delafosse, au moins \u00e0 partir de 1749, comme l\u2019indique une \u00e9tiquette manuscrite pr\u00e9sente dans un de ses violons.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Roles de capitation, Archives d\u00e9partementales de la Seine-Maritime. Nous remercions l\u2019Espace Musical de Normandie pour nous avoir communiqu\u00e9 ces archives num\u00e9ris\u00e9es par leurs soins.<\/p>\n\n\n\n

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\"Violon<\/a><\/figure>\n\n\n\n
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Violon de JACQUES LE TEINTURIER, datant de 1749. \u00a9 Espace Musical Normandie<\/figcaption><\/figure>\n\n\n\n
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Parmi les instruments document\u00e9s figurent trois violons, dont celui pr\u00e9c\u00e9demment cit\u00e9 dat\u00e9 de 1749 et sign\u00e9 \u00ab Jacques Le Teinturier \u00bb. Il a \u00e9t\u00e9 acquis en 2018 par l\u2019Espace Musical de Normandie<\/a>.<\/p>\n<\/div>\n\n\n\n

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Un deuxi\u00e8me mod\u00e8le, en collection priv\u00e9e, a \u00e9t\u00e9 expertis\u00e9 par la Maison Vatelot-Rampal. Ce violon a \u00e9t\u00e9 r\u00e9alis\u00e9 en 1751, comme l\u2019indique son \u00e9tiquette sign\u00e9e et dat\u00e9e.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Etiquette<\/a>
Etiquette du violon de Jacques Le Teinturier, 1751, archives Maison Vatelot-Rampal<\/figcaption><\/figure>\n\n\n\n
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Le troisi\u00e8me est dat\u00e9 de 1759 et porte l\u2019\u00e9tiquette \u00ab Jacq. le Teinturier \u00e0 Rouen \/ Place du March\u00e9 Neuf \/ 1759 \u00bb. La Place du March\u00e9-Neuf, aujourd\u2019hui Place du Mar\u00e9chal-Foch, se situe \u00e0 deux pas de la rue Massacre. L\u2019instrument est conserv\u00e9 au Mus\u00e9e de la Musique \u00e0 Paris (sous le num\u00e9ro d\u2019inventaire E.980.2.413) et provient de l\u2019ancienne collection Genevi\u00e8ve Thibault de Chambure.<\/p>\n\n\n\n

On conna\u00eet enfin un violoncelle 7\/8 de Jacques Le Teinturier, pass\u00e9 en vente \u00e0 Vichy Ench\u00e8res en 2014, \u00e9galement dat\u00e9 de 1759 et portant \u00e9tiquette sign\u00e9e.<\/p>\n<\/div>\n\n\n\n

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Notons que l\u2019esth\u00e9tique et la facture de ces instruments rappellent celles de Nicolas Pierre Tourte. Ce lien stylistique renforce la parent\u00e9 avec les archets sign\u00e9s Tainturi\u00e9 – eux-m\u00eames marqu\u00e9s par l\u2019influence des Tourte p\u00e8re et fils.<\/p>\n\n\n\n

En effet, leurs formes hybrides entre baroque et moderne situent ces archets dans la mouvance d\u2019une \u00e9cole pr\u00e9-Tourte, en pleine p\u00e9riode d\u2019exp\u00e9rimentations.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Violon<\/a><\/figure>\n\n\n\n
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Violon de Jacques Le Teinturier, dat\u00e9 de 1759, conserv\u00e9 au mus\u00e9e de la Musique \u00e0 Paris. \u00a9Jean-Claude Billing<\/figcaption><\/figure>\n\n\n\n
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Violoncelle de Jacques le Teinturier, instrument mis en vente par Vichy Ench\u00e8res le 12 juin 2014. \u00a9 J.H.Bayle<\/figcaption><\/figure>\n\n\n\n
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Sources d’archives et hypoth\u00e8ses biographiques<\/h1>\n\n\n\n
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\"Contrat<\/a>
Contrat de mariage de Jacques Tainturi\u00e9 et Rose Genevi\u00e8veLeduc.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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Le nom \u00ab Tainturier, luthier \u00bb appara\u00eet \u00e9galement dans les comptes de Paul Jean Baptiste Alexis Barjot de Ronc\u00e9, chevalier seigneur comte de Ronc\u00e9e, en janvier 1775. Le comte de Ronc\u00e9e r\u00e9sidait principalement \u00e0 Paris, paroisse Saint-Roch, comme l\u2019indique son contrat de mariage de 1751. Il \u00e9tait mari\u00e9 avec Ad\u00e9la\u00efde Julie Sophie Hurault de Vibraye, la Dame de compagnie de la princesse de Cond\u00e9 Charlotte Godefride de Rohan en 1753. Ces informations nous offrent ainsi un rare t\u00e9moignage de l\u2019activit\u00e9 d\u2019un luthier nomm\u00e9 Tainturier, gravitant cette fois-ci dans les plus hautes sph\u00e8res parisiennes durant le dernier tiers du XVIII\u00e8me si\u00e8cle. La question du lien avec Jacques Le Teinturier, actif \u00e0 Rouen, vient alors naturellement. S\u2019agit-il du m\u00eame luthier ?<\/p>\n\n\n\n

Il se trouve qu\u2019un contrat de mariage dat\u00e9 du 19 f\u00e9vrier 1789, conserv\u00e9 au Minutier central des notaires de Paris, mentionne un \u00ab Jacques Tainturier \u00bb domicili\u00e9 rue de la Vieille Monnoye \u00e0 Paris. L\u2019inventaire apr\u00e8s d\u00e9c\u00e8s de son \u00e9pouse Rose-Genevi\u00e8ve Leduc indique que Jacques Tainturi\u00e9 a par la suite r\u00e9sid\u00e9 au 376 rue Saint-Honor\u00e9. L\u2019adresse est notable, puisque la rue Saint-Honor\u00e9 \u00e9tait \u00e0 l\u2019\u00e9poque un quartier commer\u00e7ant fr\u00e9quent\u00e9 par de nombreux artisans, notamment des luthiers et des marchands de musique. L\u2019inventaire mentionne \u00e9galement que Jacques Tainturi\u00e9 \u00e9tait \u00ab ancien marchand boulanger \u00bb. Il pourrait s’agir de notre Tainturier luthier et cette double identit\u00e9 de boulanger et ancien marchand (luthier) confirmerait ce qu\u2019avaient d\u00e9j\u00e0 suppos\u00e9 Jean-Fran\u00e7ois Raffin et Bernard Millant dans L\u2019Archet <\/em>: Tainturi\u00e9 n\u2019a probablement jamais \u00e9t\u00e9 archetier \u00e0 temps plein. Cela sugg\u00e9rerait un parcours professionnel multiple, coh\u00e9rent avec les profils de luthiers de l\u2019Ancien R\u00e9gime, qui pouvaient changer plusieurs fois de sp\u00e9cialit\u00e9 durant leur carri\u00e8re, devenir marchand ou se consacrer \u00e0 une nouvelle activit\u00e9 \u00e0 la fin de leur vie pour subvenir \u00e0 leurs besoins ou attester de leur richesse. Ce mariage \u00e0 un \u00e2ge avanc\u00e9 – environ 55 ans si l\u2019on postule une formation vers 1730-40 – laisserait entrevoir la possibilit\u00e9 de secondes noces apr\u00e8s une carri\u00e8re \u00e0 Rouen. <\/p>\n\n\n\n

L\u2019absence de poin\u00e7on ou d\u2019inscription dans les r\u00f4les parisiens ne permet pas d\u2019attester une carri\u00e8re stable \u00e0 Paris, mais la qualit\u00e9 de ses archets, leur coh\u00e9rence avec le style Tourte, ainsi que la pr\u00e9sence de son nom sur des instruments de premier ordre, suffisent \u00e0 inscrire Jacques Tainturi\u00e9 dans l\u2019histoire de la facture instrumentale de cette p\u00e9riode de transition.<\/p>\n\n\n\n

[1]<\/sup><\/a> Minutes et r\u00e9pertoires du notaire Toussaint Nicolas Garnier, Archives Nationales de Paris, MC\/ET\/XXXVIII\/702<\/p>\n\n\n\n

[2]<\/sup><\/a> Minutes et r\u00e9pertoires du notaire Louvois, Archives Nationales de Paris,MC\/ET\/XXXVIII\/979<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Minutes et r\u00e9pertoires du notaire Louvois, \u00a9 ARCHIVES NATIONALES DE PARIS<\/figcaption><\/figure>\n\n\n\n
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Minutes et r\u00e9pertoires du notaire Pierre Lormeau. \u00a9 Archives Nationales de Paris<\/figcaption><\/figure>\n\n\n\n
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Un acteur des archets de transition<\/h1>\n\n\n\n
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En effet, ces archets sont particuli\u00e8rement int\u00e9ressants car ils appartiennent \u00e0 une p\u00e9riode \u00ab de transition \u00bb – autour des ann\u00e9es 1760\u20131785 – durant laquelle les faiseurs d\u2019instruments ont cherch\u00e9 \u00e0 r\u00e9pondre aux nouveaux besoins des musiciens. Cette phase, entre le style baroque et l\u2019archet moderne codifi\u00e9 par Fran\u00e7ois Tourte \u00e0 partir des ann\u00e9es 1785, voit appara\u00eetre une profusion d\u2019essais. C\u2019est dans ce contexte que se situent les archets de Tainturi\u00e9.
Celui de la vente Vichy Ench\u00e8res de juin 2025 notamment, par sa hausse audacieuse et son montage all\u00e9g\u00e9, rappelle certaines exp\u00e9rimentations visibles chez les Tourte et Nicolas Duchaine.<\/p>\n<\/div>\n\n\n\n

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Il partage avec eux une recherche de solutions formelles souvent in\u00e9dites. Le profil de sa hausse, tr\u00e8s d\u00e9coup\u00e9e, r\u00e9pond \u00e0 la m\u00eame logique que celle des hausses en ivoire ajour\u00e9es vues sur les archets Cramer. Tainturi\u00e9 peut ainsi \u00eatre consid\u00e9r\u00e9 comme l\u2019un des acteurs silencieux de cette transition – certes marginal – mais d\u00e9sormais davantage document\u00e9. Il a particip\u00e9 de cette g\u00e9n\u00e9ration d\u2019artisans qui, avant m\u00eame que l\u2019archet moderne soit fix\u00e9, ont exp\u00e9riment\u00e9 et parfois anticip\u00e9 des solutions qui seront par la suite standardis\u00e9es.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Archet<\/a><\/figure>\n\n\n\n
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Archet de violon de Nicolas Duchaine II, mis en vente par Vichy Ench\u00e8res le 12 juin 2014. \u00a9 J.-H.Bayle<\/figcaption><\/figure>\n\n\n\n
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Archet de violon de Archet de violon de Nicolas Duchaine II, mis en vente par Vichy Ench\u00e8res le 6 juin 2019. \u00a9 C.Darbelet<\/figcaption><\/figure>\n\n\n\n
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Archet de violon de Nicolas L\u00e9onard Tourte, instrument mis en vente par Vichy Ench\u00e8res le 28 novembre 2019. \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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\"Archet<\/a><\/figure>\n\n\n\n
\"Archet<\/a><\/figure>\n
Archet de violon de Nicolas L\u00e9onard Tourte et Fran\u00e7ois Xavier Tourte, instrument mis en vente par Vichy Ench\u00e8res le 12 juin 2014.
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R\u00e9sultats des ventes du 2 au 5 juin 2025<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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Les trois archets aujourd\u2019hui li\u00e9s au nom de Tainturi\u00e9, les rapprochements stylistiques avec les instruments de Jacques Le Teinturier et les documents d\u2019archives permettent d\u2019envisager l\u2019existence d\u2019un seul et m\u00eame faiseur d\u2019instrument discret mais talentueux, actif entre Rouen et Paris, \u00e0 un moment charni\u00e8re de l\u2019histoire de la facture instrumental.<\/p>\n<\/blockquote>\n\n\n\n

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TAINTURIE AND JACQUES LE TEINTURIER: ONE AND THE SAME INSTRUMENT MAKER ?<\/h1>\n\n\n\n
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The discovery of a bow stamped “Tainturi\u00e9”, which will be auctioned by Vichy Ench\u00e8res on 5 June 2025, has reignited interest in this mysterious name in the history of the French bow making. This exceptional bow, which is only the second one bearing this name to be authenticated, provides us with an opportunity to try and to piece together the career of this craftsman, whose work, although relatively unknown, falls within the pivotal period of the transition between the baroque and modern bows. The examination of historical archives and comparison of making styles suggests there might be a connection with the instrument maker Jacques Le Teinturier, who was active in the mid-18th century in Rouen.<\/em><\/p>\n<\/blockquote>\n\n\n\n

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Catalog<\/a><\/div>\n\n\n\n
Sale of 2 June 2025<\/a><\/div>\n\n\n\n
Sale of 3 June 2025<\/a><\/div>\n\n\n\n
Sale of 4 June 2025<\/a><\/div>\n\n\n\n
Sale of 5 June 2024<\/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
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Bows associated with the name Tainturi\u00e9: three extant examples<\/h1>\n\n\n\n
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Three 18th-century bows are attributed to Tainturi\u00e9: two of those are stamped, and a third one has been attributed through expert appraisal.<\/p>\n\n\n\n

The first one, which was sold in 2019 during the Bernard Millant sale at Vichy Ench\u00e8res, is stamped “Tainturi\u00e9” on the stick. It is a violin bow whose frog and button have been replaced. The bow was referenced in Volume I of L’Archet<\/em> by Jean-Fran\u00e7ois Raffin and Bernard Millant, who remarked on the high quality of its craftsmanship.<\/p>\n<\/div>\n\n\n\n

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“This unique known example was most likely made by someone who exercised another profession on the side, and it is a great pity that he was unable to produce more sticks, as his work is of the highest order.” [1]<\/p>\n\n\n\n

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[1]<\/sup><\/a> Bernard Millant, Jean Fran\u00e7ois Raffin, L\u2019Archet, tome I, deuxi\u00e8me partie, L\u2019Archet Editions, 2000<\/p>\n<\/div>\n<\/div>\n<\/div>\n<\/div>\n<\/div><\/div>\n\n\n\n

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\"Archet<\/a><\/figure>\n\n\n\n
\"Archet<\/a><\/figure>\n
Violin bow by Tainturi\u00e9, instrument offered for sale by Vichy Ench\u00e8res on 27 November 2019. \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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The second bow stamped Tainturi\u00e9 is the one we came across during the sale of 5 June 2025 at Vichy Ench\u00e8res. It retains an ivory frog decorated with a stylized heart, with decorative shapes and open sides, in a transitional style typical of the period.<\/p>\n\n\n\n

The button is from a later period, but is coherent stylistically with the rest of the bow.<\/p>\n<\/div>\n\n\n\n

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The third bow, unstamped, is held in a private collection and was attributed to Tainturi\u00e9 by experts Yannick Le Canu and Sylvain Bigot.<\/p>\n\n\n\n

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\"Archet<\/a><\/figure>\n\n\n\n
\"Archet<\/a><\/figure>\n
Violin bow by Jacques TAINTURIE
Instrument offered for sale by Vichy Ench\u00e8res on 5 June 2025
\u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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\"Archet<\/a><\/figure>\n\n\n\n
\"Archet<\/a><\/figure>\n
Unsigned violin bow by Jacques Tainturi\u00e9, private collection. Cabinet Raffin<\/figcaption><\/figure>\n\n\n\n
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Stylistic similarities with Jacques Le Teinturier<\/h1>\n\n\n\n
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\"Rouen<\/a>
Rouen in the 18th century, dominated by the cathedral in the centre and the abbey church of Saint-Ouen on the right. Print. \u00a9GallicaBNF<\/figcaption><\/figure>\n\n\n\n
\"Roles<\/a>
Poll tax rolls of the Community of master instrument players and makers and dance masters of the city, suburbs and outskirts of Rouen, 1759.<\/figcaption><\/figure>\n\n\n\n
\"Roles<\/a>
Poll tax rolls of the Community of master instrument players and makers and dance masters of the city, suburbs and outskirts of Rouen, 1759.<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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The rarity of the name “Tainturi\u00e9” in historical archives, and the similarity with the name “Le Teinturier” \u2013 attested in Rouen in the 18th century \u2013 suggests that they were the same person. “Jacques Teinturier” (Jacques Le Teinturier) is mentioned in the Rouen poll tax rolls as “instrument maker” of the “Community of master instrument players and makers and dance masters of the city, suburbs and outskirts of Rouen” from 1756 to 1776 [1].<\/p>\n<\/div>\n\n\n\n

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He was an apprentice of Jean Delafosse, at least from 1749, as indicated by a handwritten label in one of his violins.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Poll tax rolls, Archives d\u00e9partementales de la Seine-Maritime. We would like to thank Espace Musical de Normandie for providing us with these digitised archives.<\/p>\n\n\n\n

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\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Etiquette<\/a><\/figure>\n
Violin by JACQUES LE TEINTURIER, dating from 1749 \u00a9 Espace Musical Normandie<\/figcaption><\/figure>\n\n\n\n
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Amongst the known instruments he made are three violins, including the one mentioned above, dated 1749 and signed “Jacques Le Teinturier”. It was acquired in 2018 by the Espace Musical de Normandie<\/a>.<\/p>\n<\/div>\n\n\n\n

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A second example, in a private collection, was appraised by Maison Vatelot-Rampal. This violin was made in 1751, as indicated by its signed and dated label.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Etiquette<\/a>
Label on Jacques Le Teinturier’s violin, 1751, Maison Vatelot-Rampal archives<\/figcaption><\/figure>\n\n\n\n
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The third is dated 1759 and bears the label “Jacq. le Teinturier \u00e0 Rouen \/ Place du March\u00e9 Neuf \/ 1759.” The place du March\u00e9-Neuf, now place du Mar\u00e9chal-Foch, is located a stone’s throw from rue Massacre. The instrument is kept at the Mus\u00e9e de la Musique in Paris (inventory reference E.980.2.413) and originated from the former collection of Genevi\u00e8ve Thibault de Chambure.<\/p>\n\n\n\n

Finally, we know of a 7\/8 cello by Jacques Le Teinturier, which was auctioned at Vichy Ench\u00e8res in 2014, also dated 1759 and bearing a signed label.<\/p>\n<\/div>\n\n\n\n

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It is worth noting that the appearance and craftsmanship of these instruments are reminiscent of those of Nicolas Pierre Tourte. This closeness in style reinforces the idea of a connection with the bows stamped Tainturi\u00e9, as they were themselves influenced by Tourte father and son.<\/p>\n\n\n\n

Their hybrid form, between baroque and modern, date these bows to the pre-Tourte era, during a period of experimentation.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Violon<\/a><\/figure>\n\n\n\n
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Violin by Jacques Le Teinturier, dated 1759, in the Mus\u00e9e de la Musique in Paris. Jean-Claude Billing<\/figcaption><\/figure>\n\n\n\n
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\"Violoncelle<\/a><\/figure>\n\n\n\n
\"Violoncelle<\/a><\/figure>\n\n\n\n
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Cello by Jacques le Teinturier, instrument offered for sale by Vichy Ench\u00e8res on 12 June 2014. J.H.Bayle<\/figcaption><\/figure>\n\n\n\n
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Historical archives and biographical theories<\/h1>\n\n\n\n
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\"Contrat<\/a>
Marriage contract of Jacques Tainturi\u00e9 and Rose Genevi\u00e8veLeduc.<\/figcaption><\/figure>\n<\/div>\n\n\n\n
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A marriage contract dated 19 February 1789, held in the Central Register of Notaries of Paris, mentions a “Jacques Tainturier” residing on rue de la Vieille Monnoye in Paris [1]. The stock take after the death of his wife, Rose-Genevi\u00e8ve Leduc, indicates that Jacques Tainturi\u00e9 subsequently resided at 376 Rue Saint-Honor\u00e9. This address is significant as, at the time, rue Saint-Honor\u00e9 was a shopping area where many craftsmen, including instrument makers and music merchants, could be found. The stock take also mentions that Jacques Tainturi\u00e9 was an “antique merchant baker” [2]. This dual profession of baker and antique merchant corroborates the theory of Jean-Fran\u00e7ois Raffin and Bernard Millant in L\u2019Archet<\/em> that Tainturi\u00e9 never dedicated himself fully to making bows. This suggests multiple career paths, consistent with other makers of the Ancien R\u00e9gime, who could change specialty several times during their career, become merchants, or devote themselves to a new activity at the end of their lives to support themselves or demonstrate their wealth.<\/p>\n\n\n\n

This marriage at an advanced age \u2013 around 55 if we consider he was an apprentice around 1730-40 \u2013 raises the possibility it was a second marriage after a career in Rouen. The absence of a hallmark or mention in the Parisian registers suggest he didn\u2019t have an established career in Paris, but the quality of his bows, their similarity with the Tourte style, as well as the presence of his name on first-class instruments, are sufficient to place Jacques Tainturi\u00e9 as one of the figures in the history of instrument making during this transitional period.<\/p>\n\n\n\n

[1]<\/sup><\/a> Minutes and repertoires of notary Toussaint Nicolas Garnier, Archives Nationales de Paris, MC\/ET\/XXXVIII\/702<\/p>\n\n\n\n

[2]<\/sup><\/a> Minutes and repertoires of the notary Louvois, Archives Nationales de Paris,MC\/ET\/XXXVIII\/979<\/p>\n<\/div>\n<\/div>\n\n\n\n

\"Minutes<\/a>
Minutes and repertoires of the notary Louvois, \u00a9 ARCHIVES NATIONALES DE PARIS<\/figcaption><\/figure>\n\n\n\n
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Minutes and repertoires of notary Pierre Lormeau. Archives Nationales de Paris<\/figcaption><\/figure>\n\n\n\n
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A key figure in transitional bows<\/h1>\n\n\n\n
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Indeed, these bows are particularly interesting because they belong to a “transitional” period \u2013 around 1760\u20131785 \u2013 during which instrument makers sought to meet the new demands of musicians. This period, which saw the transition between the baroque bow and the modern one, whose standard was set by Fran\u00e7ois Tourte around 1785, saw a flurry of experiments. It is within this period that Tainturi\u00e9’s bows were produced.<\/p>\n\n\n\n

The one in the Vichy Ench\u00e8res sale in June 2025, with its bold frog and pared-back fittings, recalls certain experiments by Tourte and Nicolas Duchaine.<\/p>\n<\/div>\n\n\n\n

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It shares with them a desire to radically experiment with form. The profile of its frog, highly cut away, follows the same logic as that of the ivory frogs with openings seen on Cramer bows. Tainturi\u00e9 can therefore be considered as one of the unspoken figures in this transition, on the margins, admittedly, but whose contributions are now better documented. He was part of a generation of craftsmen who, before the modern bow form was established, experimented and sometimes introduced innovations that would later become the standard.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Archet<\/a><\/figure>\n\n\n\n
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Violin bow by Nicolas Duchaine II, offered for sale by Vichy Ench\u00e8res on 12 June 2014. J.-H.Bayle<\/figcaption><\/figure>\n\n\n\n
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\"Archet<\/a><\/figure>\n\n\n\n
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Nicolas Duchaine II violin bow, offered for sale by Vichy Ench\u00e8res on 6 June 2019. C.Darbelet<\/figcaption><\/figure>\n\n\n\n
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\"Archet<\/a><\/figure>\n\n\n\n
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Violin bow by Nicolas L\u00e9onard Tourte, instrument offered for sale by Vichy Ench\u00e8res on 28 November 2019. \u00a9 C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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\"Archet<\/a><\/figure>\n\n\n\n
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Violin bow by Nicolas L\u00e9onard Tourte and Fran\u00e7ois Xavier Tourte, instrument offered for sale by Vichy Ench\u00e8res on 12 June 2014.
J.-H.Bayle<\/figcaption><\/figure>\n\n\n\n
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R\u00e9sultats des ventes du 2 au 5 juin 2025<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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The three bows now associated with the name Tainturi\u00e9, their stylistic similarities with the instruments of Jacques Le Teinturier, and the historical archives all point to the existence of a single, lesser-known but talented instrument maker, active in Rouen and Paris, at a pivotal moment in the history of instrument making.<\/em><\/p>\n<\/blockquote>\n\n\n\n

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