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Violoncello
Alternate name:Cello
Maker: Chanot & Lete
Date: 1819-1820
Place Made:Paris, France, Europe
Model: Chanot
Serial No: 129
SignedWritten in black ink on paper label: Chanot . p B. d’inv. 21 Janv. 1818_. / Paris . C . I .D. No. 129___
This label is similar to the label in Karl Jalovec’s Encyclopedia of Violin Makers. The letters CiD identify Chanot’s military rank Capitain Ingenieur Deuxième Classe.
This label is similar to the label in Karl Jalovec’s Encyclopedia of Violin Makers. The letters CiD identify Chanot’s military rank Capitain Ingenieur Deuxième Classe.
Markingsnone
DescriptionTop: two-piece, quarter-cut spruce: wide grain narrowing significantly at the flanks; slight bear-claw figure on lower bouts
Back: two-piece, quarter-cut maple: prominent, very narrow curl ascending slightly from center joint; ebony cap over entire button; button slightly recessed from plane of back
Ribs: quarter-cut maple: medium curl, angled slightly to right on bass side, angled slightly to left on treble side; lower ribs divided by 24-27 mm ebony band, wider at top than bottom
Head and neck: maple: narrow curl; pegbox terminates in front-facing shield, convex along vertical dimension; back of pegbox not fluted; pegbox shoulders with concave outline; back of neck heel made from separate piece of wood
Edging: edges not scooped; edges capped with rounded ebony finished with same varnish as body
Purfling: ebony and ivory; very wide
Varnish: dark red-brown
Fingerboard: ebony; slightly angled at C-string position; possibly later
Nut: two pieces of laminated ebony
String holder: guitar-style ebony, wider at upper end, with raised, carved border, forming saddle at upper end; strings held by ebony pins with ivory eyes
Pegs: four ebony with convex heads and mother-of-pearl eyes; probably original
Saddle: none
Endpin: extendable; pernambuco with brass screw and ring with groove around edge; nickel-plated steel spike
Bridge: Chanot-model by Claire Givens workshop
F-holes: curved, slot-shaped, slightly wider at lower ends; edges lined in ebony and ivory, the inside edge painted light brown
Linings: spruce; wide
Top block: spruce
Bottom block: spruce
Bassbar: narrow; extends over and through ebony string holder, which is cut away between G and C pins to accommodate bassbar on inside of top
Other: diamond-shaped spruce cleats along inside of back center joint
Back: two-piece, quarter-cut maple: prominent, very narrow curl ascending slightly from center joint; ebony cap over entire button; button slightly recessed from plane of back
Ribs: quarter-cut maple: medium curl, angled slightly to right on bass side, angled slightly to left on treble side; lower ribs divided by 24-27 mm ebony band, wider at top than bottom
Head and neck: maple: narrow curl; pegbox terminates in front-facing shield, convex along vertical dimension; back of pegbox not fluted; pegbox shoulders with concave outline; back of neck heel made from separate piece of wood
Edging: edges not scooped; edges capped with rounded ebony finished with same varnish as body
Purfling: ebony and ivory; very wide
Varnish: dark red-brown
Fingerboard: ebony; slightly angled at C-string position; possibly later
Nut: two pieces of laminated ebony
String holder: guitar-style ebony, wider at upper end, with raised, carved border, forming saddle at upper end; strings held by ebony pins with ivory eyes
Pegs: four ebony with convex heads and mother-of-pearl eyes; probably original
Saddle: none
Endpin: extendable; pernambuco with brass screw and ring with groove around edge; nickel-plated steel spike
Bridge: Chanot-model by Claire Givens workshop
F-holes: curved, slot-shaped, slightly wider at lower ends; edges lined in ebony and ivory, the inside edge painted light brown
Linings: spruce; wide
Top block: spruce
Bottom block: spruce
Bassbar: narrow; extends over and through ebony string holder, which is cut away between G and C pins to accommodate bassbar on inside of top
Other: diamond-shaped spruce cleats along inside of back center joint
DimensionsTotal violoncello length: 1260 mm
Back length: 763 mm
Upper bout width: 343 mm
Center bout width: 242 mm
Lower bout width: 427 mm
Upper rib height: 120-121 mm
Center rib height: 119-120 mm
Lower rib height: 119-120 mm
Stop length (lowest bridge position): 425 mm
Vibrating string length (highest bridge position): 688 mm
Vibrating string length (lowest bridge position): 717 mm
Neck length (bottom of nut to ribs): 280 mm
Back length: 763 mm
Upper bout width: 343 mm
Center bout width: 242 mm
Lower bout width: 427 mm
Upper rib height: 120-121 mm
Center rib height: 119-120 mm
Lower rib height: 119-120 mm
Stop length (lowest bridge position): 425 mm
Vibrating string length (highest bridge position): 688 mm
Vibrating string length (lowest bridge position): 717 mm
Neck length (bottom of nut to ribs): 280 mm
Terms
Credit Line: Board of Trustees, 2000
Not on view
Published ReferencesJohn Koster. "Inventive Violin Making . . . Important Acquisitions Enrich Museum's Holdings." America's Shrine to Music Museum Newsletter 28, No. 3 (August 2001): 1-3.
André P. Larson. Beethoven & Berlioz, Paris & Vienna: Musical Treasures from the Age of Revolution & Romance 1789-1848. With essay by John Koster. Exhibition catalog, Washington Pavilion, Sioux Falls, South Dakota, September 12-November 2, 2003. Vermillion: National Music Museum 2003. Pages 21, 37.
André P. Larson. Beethoven & Berlioz, Paris & Vienna: Musical Treasures from the Age of Revolution & Romance 1789-1848. With essay by John Koster. Exhibition catalog, Washington Pavilion, Sioux Falls, South Dakota, September 12-November 2, 2003. Vermillion: National Music Museum 2003. Pages 21, 37.
Object number: 10010