{"id":6377,"date":"2010-12-01T00:00:00","date_gmt":"2010-11-30T23:00:00","guid":{"rendered":"http:\/\/vichyencheres.wordpress.com\/2010\/10\/29\/un-violon-en-modele-guarnerius-del-gesu-de-jean-baptiste-vuillaume"},"modified":"2022-10-05T08:58:08","modified_gmt":"2022-10-05T06:58:08","slug":"un-violon-en-modele-guarnerius-del-gesu-de-jean-baptiste-vuillaume","status":"publish","type":"post","link":"https:\/\/vichy-encheres.com\/en\/2010\/12\/01\/un-violon-en-modele-guarnerius-del-gesu-de-jean-baptiste-vuillaume\/","title":{"rendered":"Jean-Baptiste Vuillaume en mod\u00e8le Guarnerius Del Ges\u00f9"},"content":{"rendered":"\n

Consid\u00e9r\u00e9 \u2013\u00e0 juste titre- comme le plus grand luthier fran\u00e7ais avec Nicolas Lupot, Jean Baptiste Vuillaume (1798-1875) va tout au long de sa carri\u00e8re, avec l\u2019aide des meilleurs ouvriers de son temps, copier les plus grands ma\u00eetres italiens des 17\u00e8me<\/sup> et 18\u00e8me<\/sup> si\u00e8cles tels que Stradivarius, Guarnerius Del Ges\u00f9, Amati (plus rarement) et Gio Paolo Maggini\u2026<\/p><\/blockquote>\n\n\n\n

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Catalogue<\/a><\/div>\n\n\n\n
R\u00e9sultats<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
English version<\/a><\/div>\n<\/div>\n\n\n\n
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Vuillaume le cr\u00e9ateur<\/h1>\n\n\n\n
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Cr\u00e9ateur infatigable, on d\u00e9nombrera \u00e0 sa mort en 1875 un catalogue de plus de 3000 instruments (sans compter les archets) r\u00e9alis\u00e9s dans son atelier ce qui est tout \u00e0 fait consid\u00e9rable. Si la plupart des instruments fabriqu\u00e9s dans l\u2019atelier de Vuillaume poss\u00e8dent une \u00e9tiquette ainsi que des signatures manuscrites \u00e0 l\u2019int\u00e9rieur, certains en sont totalement d\u00e9pourvus. C\u2019est le cas du violon pr\u00e9sent\u00e9 par l’H\u00f4tel des Ventes de Vichy \u00e0 l\u2019occasion de ses grandes ventes d\u2019instruments du quatuor, du 30 novembre au 2 d\u00e9cembre 2010.<\/p>\n<\/div>\n\n\n\n

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Ce bel exemplaire a \u00e9t\u00e9 con\u00e7u en mod\u00e8le Guarnerius Del Ges\u00f9 dont il porte une \u00e9tiquette, vraisemblablement au d\u00e9but des ann\u00e9es 1840. L\u2019inspection endoscopique tr\u00e8s minutieuse de l\u2019int\u00e9rieur du violon n\u2019a r\u00e9v\u00e9l\u00e9 aucune signature manuscrite (ni date, ni num\u00e9ro). Il semble que Jean Baptiste Vuillaume ait cherch\u00e9 tout particuli\u00e8rement \u00e0 se rapprocher du mod\u00e8le copi\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\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de Jean Baptiste VUILLAUME en mod\u00e8le Guarnerius Del Ges\u00f9
Instrument mis en vente par Vichy Ench\u00e8res le 2 d\u00e9cembre 2010
\u00a9 JH Bayle<\/figcaption><\/figure>\n\n\n\n
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\"Violon<\/a>
Violon de Jean Baptiste VUILLAUME en mod\u00e8le Guarnerius Del Ges\u00f9
Instrument mis en vente par Vichy Ench\u00e8res le 2 d\u00e9cembre 2010
\u00a9 Vichy Ench\u00e8res<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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En mod\u00e8le Guarnerius Del Ges\u00f9<\/h1>\n\n\n\n
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Certains d\u00e9tails dans la conception ont \u00e9t\u00e9 exag\u00e9r\u00e9s. Ainsi, peut on distinguer sur la volute de petits coups r\u00e9alis\u00e9s \u00e0 l\u2019aide d\u2019une petite gouge et laiss\u00e9s volontairement apparent ce qui conf\u00e8re \u00e0 la t\u00eate du violon un aspect \u00ab brut \u00bb . On retrouve assez souvent ces petit coups de gouges dans les volutes de Guarnerius Del Ges\u00f9.<\/p>\n<\/div>\n\n\n\n

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L\u2019incrustation des filets de la table et du fond est irr\u00e9guli\u00e8re avec des manques \u00e0 certains endroits. On retrouve \u00e9galement de petits coups de gouges dans les coins, autre caract\u00e9ristique des instruments de Guarnerius Del Ges\u00f9.<\/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
Violon de Jean Baptiste VUILLAUME en mod\u00e8le Guarnerius Del Ges\u00f9
Instrument mis en vente par Vichy Ench\u00e8res le 2 d\u00e9cembre 2010
\u00a9 Maison Vatelot Rampal<\/figcaption><\/figure>\n\n\n\n
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L\u2019utilisation d\u2019un bois d\u2019\u00e9rable piqu\u00e9 au vers pour le fond demeure assez myst\u00e9rieuse. Vuillaume a-t-il voulu accentuer l\u2019effet antique de ses copies? Ne s\u2019agit-il que d\u2019un choix m\u00e9canique ? Difficile d\u2019\u00eatre tout \u00e0 fait cat\u00e9gorique \u00e0 ce sujet. L\u2019auteur peut n\u00e9anmoins t\u00e9moigner de plusieurs exemplaires avec fonds piqu\u00e9s aux vers \u00ab d\u2019origine \u00bb toujours utilis\u00e9s pour des mod\u00e8les en imitation r\u00e9alis\u00e9s avant 1858.<\/p>\n<\/div>\n\n\n\n

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Le vernis, d\u2019un beau brun orang\u00e9 typique de Vuillaume a \u00e9t\u00e9 volontairement appliqu\u00e9 en d\u00e9grad\u00e9 sur le fond et sur la table dans la zone du d\u00e9manch\u00e9 et de la mentonni\u00e8re. Ce proc\u00e9d\u00e9 superbement r\u00e9alis\u00e9 sur cet exemplaire permet de recr\u00e9er artificiellement l\u2019usure du temps.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Violon<\/a>
Violon de Jean Baptiste VUILLAUME en mod\u00e8le Guarnerius Del Ges\u00f9
Instrument mis en vente par Vichy Ench\u00e8res le 2 d\u00e9cembre 2010
\u00a9 Maison Vatelot Rampal<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Un dernier d\u00e9tail qui caract\u00e9rise les belles copies de Jean Baptiste Vuillaume est sa fameuse \u00ab moustache noircie \u00bb. Ce proc\u00e9d\u00e9 \u2013artefact suppl\u00e9mentaire dans le domaine de l\u2019imitation- permet de simuler les couches de colophane et de poussi\u00e8res accumul\u00e9es sur la table entre les deux ou\u00efes qu\u2019avait pu observer Vuillaume lorsque les premiers instruments italiens furent visibles \u00e0 Paris au d\u00e9but du XIX\u00e8me si\u00e8cle. On connait d\u2019ailleurs la technique exacte employ\u00e9e par Vuillaume pour r\u00e9aliser cet effet gr\u00e2ce \u00e0 une lettre dat\u00e9e du 1er juillet 1872 envoy\u00e9e \u00e0 son fr\u00e8re Nicolas Fran\u00e7ois de Bruxelles dont nous reproduisons ici la teneur :<\/p>\n<\/div>\n\n\n\n

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\u00ab (\u2026) Quant \u00e0 l\u2019affaire des moustaches fondues, rien n\u2019est plus facile. On broye \u00e0 l\u2019huile siccative sans vernis, une couleur brune de la terre de sienne calcin\u00e9e avec une pointe de noir et avec la paume de la main, on tape jusqu\u2019\u00e0 ce que le fondu soit parfait. \u00bb<\/em><\/p>Lettre de Jean Baptiste Vuillaume dat\u00e9e du 1er<\/sup> juillet 1872 envoy\u00e9e de Bruxelles \u00e0 son fr\u00e8re Nicolas Fran\u00e7ois Vuillaume.<\/cite><\/blockquote>\n<\/div>\n<\/div>\n\n\n\n

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\"Violon<\/a>
Violon de Jean Baptiste VUILLAUME en mod\u00e8le Guarnerius Del Ges\u00f9
Instrument mis en vente par Vichy Ench\u00e8res le 2 d\u00e9cembre 2010
\u00a9 Maison Vatelot Rampal<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Malheureusement, un certain nombre de ces fameuses moustaches ont disparu aujourd\u2019hui et ce \u00e0 cause de multiples nettoyages effectu\u00e9s au fil du temps par des luthiers \u00ab trop scrupuleux \u00bb. C\u2019est probablement ce qu\u2019il s\u2019est pass\u00e9 dans le cas du violon pr\u00e9sent\u00e9 ici.<\/p>\n<\/div>\n\n\n\n

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En regardant sous la touche dans sa partie sup\u00e9rieure, on peut encore apercevoir une couche noire assez \u00e9paisse preuve irr\u00e9futable de la pr\u00e9sence ancienne d\u2019une moustache typique de Vuillaume sur la table d\u2019harmonie du violon.<\/p>\n<\/div>\n<\/div>\n\n\n\n

Jean-Jacques Rampal & Jonathan Marolle – Maison Vatelot-Rampal<\/h6>\n\n\n\n
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JEAN-BAPTISTE VUILLAUME VIOLIN AFTER GUARNERI DEL GES\u00d9<\/h1>\n\n\n\n
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Jean Baptiste Vuillaume (1798-1875), who is, alongside Nicolas Lupot, rightfully considered as the greatest French violin maker, spent his entire career, with the assistance of the best craftsmen of his time, copying the greatest Italian masters of the 17th and 18th centuries, including Stradivari, Guarneri Del Ges\u00f9, Amati (less frequently) and Gio Paolo Maggini<\/em>.<\/p><\/blockquote>\n\n\n\n

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Catalog<\/a><\/div>\n\n\n\n
Results<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Version fran\u00e7aise<\/a><\/div>\n<\/div>\n\n\n\n
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Vuillaume, the tireless crafstman<\/h1>\n\n\n\n
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Vuillaume was a tireless craftsman, and upon his death in 1875 his records indicated that over 3,000 instruments (excluding bows) had been made in his workshop, which is quite remarkable. While most of the instruments made in the Vuillaume workshop bear a label as well as handwritten signatures inside, some are completely devoid of them. This is the case of the violin included in Vichy Encheres\u2019 fine sale of string quartet instruments, which will be held from 30 November to 2 December 2010.<\/p>\n<\/div>\n\n\n\n

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This fine example was modelled after Guarneri Del Ges\u00f9, of whom it bears a label, and was probably made in the early 1840s. A very meticulous endoscopic inspection of the inside of the violin revealed there was no handwritten signature (or inscription with a date or number). It seems in this instance that Jean Baptiste Vuillaume was particularly keen to reproduce as faithfully as possible the example he copied.<\/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
Violon de Jean Baptiste VUILLAUME en mod\u00e8le Guarnerius Del Ges\u00f9
Instrument mis en vente par Vichy Ench\u00e8res le 2 d\u00e9cembre 2010
\u00a9 JH Bayle<\/figcaption><\/figure>\n\n\n\n
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\"Violon<\/a>
Violon de Jean Baptiste VUILLAUME en mod\u00e8le Guarnerius Del Ges\u00f9
Instrument mis en vente par Vichy Ench\u00e8res le 2 d\u00e9cembre 2010
\u00a9 Vichy Ench\u00e8res<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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On a Guarnerius Del Ges\u00f9 model<\/h1>\n\n\n\n
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Certain typical features of Del Gesu\u2019s making have been exaggerated. For instance, the volute has small dents made with a small gouge which have been left unfinished on purpose in order to give the head of the violin a “raw” appearance. These small gouge marks are often found in volutes by Guarneri Del Ges\u00f9.<\/p>\n<\/div>\n\n\n\n

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The inlay of the purfling on the front and the back is irregular, with gaps in certain places. There are also small gouge marks visible in the corners, another characteristic of Guarneri Del Ges\u00f9’s instruments.<\/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
Violon de Jean Baptiste VUILLAUME en mod\u00e8le Guarnerius Del Ges\u00f9
Instrument mis en vente par Vichy Ench\u00e8res le 2 d\u00e9cembre 2010
\u00a9 Maison Vatelot Rampal<\/figcaption><\/figure>\n\n\n\n
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The use of maple with woodworm holes for the back remains a mystery. Did Vuillaume seek to reinforce the antique effect of his copy? Is this just a case of picking the next available wedge of wood? It’s hard to be certain. We can however attest to having come across several examples of instruments by this maker with original woodworm holes, which were all copies of great masters made before 1858.<\/p>\n<\/div>\n\n\n\n

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The varnish, of a beautiful orange brown colour typical of Vuillaume, was deliberately applied in gradients in the areas on the front and back in contact with the player\u2019s hand and chin. This antiquing, superbly carried out on this example, artificially recreated the wear and tear which would have occurred over a period of time.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Violon<\/a>
Violon de Jean Baptiste VUILLAUME en mod\u00e8le Guarnerius Del Ges\u00f9
Instrument mis en vente par Vichy Ench\u00e8res le 2 d\u00e9cembre 2010
\u00a9 Maison Vatelot Rampal<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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A final detail that is typical of the most accomplished copies by Jean Baptiste Vuillaume is his famous “blackened moustache”. This process \u2013 another trick in the art of imitation \u2013 allowed Vuillaume to simulate the layers of rosin and dust accumulated on the front between the two soundholes, which he noticed when he studied the first Italian instruments that arrived in Paris at the beginning of the 19th century. We also know the exact technique used by Vuillaume to achieve this effect thanks to a letter dated 1 July 1872, sent from Brussels to his brother Nicolas Fran\u00e7ois, which reads:<\/p>\n<\/div>\n\n\n\n

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\u201c(\u2026) As for producing the melted moustaches, nothing is easier. One has to grind, with drying oil devoid of varnish, a brown colour of burnt sienna with a hint of black, and apply it with the palm of the hand, until the melted effect is perfect.\u201d<\/em><\/em><\/p>Letter from Jean Baptiste Vuillaume dated 1 July 1, 1872 sent from Brussels to his brother Nicolas Fran\u00e7ois Vuillaume.<\/cite><\/blockquote>\n<\/div>\n<\/div>\n\n\n\n

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\"Violon<\/a>
Violon de Jean Baptiste VUILLAUME en mod\u00e8le Guarnerius Del Ges\u00f9
Instrument mis en vente par Vichy Ench\u00e8res le 2 d\u00e9cembre 2010
\u00a9 Maison Vatelot Rampal<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Unfortunately, a number of these famous moustaches have now disappeared due to multiple cleanings carried out over the years by overzealous luthiers. This is probably what happened in the case of the violin presented here.<\/p>\n<\/div>\n\n\n\n

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It is still possible to see, in the upper bout of the front under the fingerboard, a fairly thick black layer, which is irrefutable proof that the violin would have had originally a typical Vuillaume moustache on its front.<\/p>\n<\/div>\n<\/div>\n\n\n\n

Jean-Jacques Rampal & Jonathan Marolle – Maison Vatelot-Rampal<\/h6>\n\n\n\n
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\ud83d\ude80 Suivez-nous !<\/strong><\/h2>\n\n\n\n