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Violin
Maker: Jérôme Thibouville-Lamy
Trade Name: François Breton brand
Date: 1867-1931 ca.
Place Made:Mirecourt, France, Europe
Model: 467
SignedBranded on inside of back: BRETON, BREVETE [words angled to form upside-down "V"] / [crown on dome-shaped object] / DE S. A. R. M.E
Branded on back button in cursive lettering, the letter "n" ending in a decoratively-looped underline: Breton
Branded on back button in cursive lettering, the letter "n" ending in a decoratively-looped underline: Breton
MarkingsWritten in black ink on inside of pegbox, bottom side, under varnish: 467
Written in pencil on inside of top, upper treble bout: A Richardson / [illeg.] 1931 [Arthur Richardson, 1882-1965, worked with the donor, Lothar Meisel, in the 1950s]
Written in black ink on small paper label, visible through treble f-hole, facing bass side: DDA 3705 / 860
Written in pencil on inside of top, upper treble bout: A Richardson / [illeg.] 1931 [Arthur Richardson, 1882-1965, worked with the donor, Lothar Meisel, in the 1950s]
Written in black ink on small paper label, visible through treble f-hole, facing bass side: DDA 3705 / 860
DescriptionFrancois Breton (fl. 1778-1830) was a Mirecourt maker whose name was subsequently used by a variety of Mirecourt instrument manufacturers. This example was produced by the firm of Thibouville-Lamy between 1867 and 1932. Evidence for this is the presence of the model 467 written in the base of the pegbox under the varnish. This model number corresponds to the Breton model in Thibouville-Lamy catalogs from the year of founding,1867, through 1929. The Breton model has a different number in the 1932 catalog.
Andrew Dipper identified the top arching as pressed rather than carved in January 2003. This was confirmed by John Koster. In spite of the high arching, the ray structure of the spruce is not interrupted by carving. The grain is rotated where the arching is highest, consistent with bending. There is a center ridge on the top arching, inconsistent with a carved arch. The arching as viewed from the side is a segment of a circle, without any bulge below the fingerboard and tailpiece. Numerous small cracks in top, open on inside only.
Top: two-piece, quarter-cut spruce: fine grain, broadening toward the flanks
Back: one-piece, quarter-cut maple: narrow curl, descending slightly from treble to bass
Ribs: quarter-cut maple: narrow curl; rib corners chamfered and painted black
Head and neck: maple: narrow curl; scroll and pegbox chamfers painted black
Arching: high, full arching with subtle center ridge on top; pressed rather than carved into top
Varnish: light orange; polishing abrasive marks visible
Fingerboard: ebony; later
Nut: ebony; later
Tailpiece: ebony; 19th century tailpiece added by Andrew Dipper, January 2003 for exhibit
Tailgut: plain gut
Pegs: ebony with convex heads, rounded edges, and mother-of-pearl eyes; copies by Andrew Dipper of original Breton pegs in his collection, January 2003
Saddle: ebony; later
Endpin: ebony
Bridge: small kidneys; small heart; low feet; made by Andrew Dipper, January 2003, based on Museum Bridge B-11
Chinrest: ebony; comet-shaped with rounded edges; nickel-plated steel hardware, made by Andrew Dipper, January 2003, based on a mid-19th century model
F-holes: slightly undercut
Linings: spruce; wide
Corner blocks: spruce
Bottom block: spruce; small
Bassbar: original
Andrew Dipper identified the top arching as pressed rather than carved in January 2003. This was confirmed by John Koster. In spite of the high arching, the ray structure of the spruce is not interrupted by carving. The grain is rotated where the arching is highest, consistent with bending. There is a center ridge on the top arching, inconsistent with a carved arch. The arching as viewed from the side is a segment of a circle, without any bulge below the fingerboard and tailpiece. Numerous small cracks in top, open on inside only.
Top: two-piece, quarter-cut spruce: fine grain, broadening toward the flanks
Back: one-piece, quarter-cut maple: narrow curl, descending slightly from treble to bass
Ribs: quarter-cut maple: narrow curl; rib corners chamfered and painted black
Head and neck: maple: narrow curl; scroll and pegbox chamfers painted black
Arching: high, full arching with subtle center ridge on top; pressed rather than carved into top
Varnish: light orange; polishing abrasive marks visible
Fingerboard: ebony; later
Nut: ebony; later
Tailpiece: ebony; 19th century tailpiece added by Andrew Dipper, January 2003 for exhibit
Tailgut: plain gut
Pegs: ebony with convex heads, rounded edges, and mother-of-pearl eyes; copies by Andrew Dipper of original Breton pegs in his collection, January 2003
Saddle: ebony; later
Endpin: ebony
Bridge: small kidneys; small heart; low feet; made by Andrew Dipper, January 2003, based on Museum Bridge B-11
Chinrest: ebony; comet-shaped with rounded edges; nickel-plated steel hardware, made by Andrew Dipper, January 2003, based on a mid-19th century model
F-holes: slightly undercut
Linings: spruce; wide
Corner blocks: spruce
Bottom block: spruce; small
Bassbar: original
DimensionsTotal violin length: 589 mm
Back length: 359 mm
Upper bout width: 166 mm
Center bout width: 107 mm
Lower bout width: 205 mm
Upper rib height: 30-32 mm
Center rib height: 31-32 mm
Lower rib height: 30-31 mm
Stop length: 194 mm
Vibrating string length: 327 mm
Neck length (bottom of nut to ribs): 131 mm
Back length: 359 mm
Upper bout width: 166 mm
Center bout width: 107 mm
Lower bout width: 205 mm
Upper rib height: 30-32 mm
Center rib height: 31-32 mm
Lower rib height: 30-31 mm
Stop length: 194 mm
Vibrating string length: 327 mm
Neck length (bottom of nut to ribs): 131 mm
Terms
Credit Line: Gift of Kurt Lothar and Patricia A. Meisel, 2002
Not on view
Published ReferencesAndré 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. Page 31.
Object number: 10173