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Violin
Maker: Chanot & Lete
Date: 1819-1825 ca.
Place Made:Paris, France, Europe
Model: Chanot
Serial No: none
Signednone
Markingsnone
DescriptionGuitar-shaped body without corners or overhanging edges.
Top: one-piece, quarter-cut spruce: medium grain
Back: one-piece, quarter-cut maple: narrow, horizontal curl; later ivory cap by Andrew Dipper over entire button
Ribs: quarter-cut maple: faint, medium curl, angled to right on bass side, angled to left on treble side; top and back do not overhang ribs
Head and neck: maple: narrow curl; reversed scroll, reeded; back of pegbox fluted; neck varnished
Edging: edges not scooped; edges capped with rounded ivory (on top bass side, later celluloid) over a later stained pearwood strip by Andrew Dipper on top and an ebony strip on back
Purfling: ebony and ivory; continues under back button
Varnish: golden-brown; similar to NMM 10,375
Fingerboard: ebony; channeled over neck position
Nut: bone; later, by Andrew Dipper
String holder: later guitar-syle ebony by Andrew Dipper, with no saddle; rounded upper surface with facets on sides; strings held by later bone pins with abalone eyes
Pegs: four boxwood with flat head surfaces and mother-of-pearl eyes set in ebony rings
Saddle: later ebony by Andrew Dipper; rounded front edge; ridge along upper edge
Endpin: ebony with central incised hole surrounded by incised ring
Bridge: English transitional-style bridge by Andrew Dipper
F-holes: curved, slot-shaped, slightly wider at lower ends; edges lined in stained pearwood and ivory, the inside edge painted black
Linings: spruce upper; later wide poplar lower by Andrew Dipper
Top block: small spruce; nail into neck heel
Other: narrow bassbar, probably original; inside of body stained brown, possibly due to original nitric or pyrogallic acid treatment
Top: one-piece, quarter-cut spruce: medium grain
Back: one-piece, quarter-cut maple: narrow, horizontal curl; later ivory cap by Andrew Dipper over entire button
Ribs: quarter-cut maple: faint, medium curl, angled to right on bass side, angled to left on treble side; top and back do not overhang ribs
Head and neck: maple: narrow curl; reversed scroll, reeded; back of pegbox fluted; neck varnished
Edging: edges not scooped; edges capped with rounded ivory (on top bass side, later celluloid) over a later stained pearwood strip by Andrew Dipper on top and an ebony strip on back
Purfling: ebony and ivory; continues under back button
Varnish: golden-brown; similar to NMM 10,375
Fingerboard: ebony; channeled over neck position
Nut: bone; later, by Andrew Dipper
String holder: later guitar-syle ebony by Andrew Dipper, with no saddle; rounded upper surface with facets on sides; strings held by later bone pins with abalone eyes
Pegs: four boxwood with flat head surfaces and mother-of-pearl eyes set in ebony rings
Saddle: later ebony by Andrew Dipper; rounded front edge; ridge along upper edge
Endpin: ebony with central incised hole surrounded by incised ring
Bridge: English transitional-style bridge by Andrew Dipper
F-holes: curved, slot-shaped, slightly wider at lower ends; edges lined in stained pearwood and ivory, the inside edge painted black
Linings: spruce upper; later wide poplar lower by Andrew Dipper
Top block: small spruce; nail into neck heel
Other: narrow bassbar, probably original; inside of body stained brown, possibly due to original nitric or pyrogallic acid treatment
DimensionsTotal violin length: 596 mm
Back length: 370 mm
Upper bout width: 167 mm
Center bout width: 110 mm
Lower bout width: 211 mm
Upper rib height: 31 mm
Center rib height: 31 mm
Lower rib height: 31 mm
Stop length: 199 mm
Vibrating string length: 338 mm
Neck length (bottom of nut to ribs): 136 mm
Back length: 370 mm
Upper bout width: 167 mm
Center bout width: 110 mm
Lower bout width: 211 mm
Upper rib height: 31 mm
Center rib height: 31 mm
Lower rib height: 31 mm
Stop length: 199 mm
Vibrating string length: 338 mm
Neck length (bottom of nut to ribs): 136 mm
Terms
Credit Line: Arne B. Larson Estate
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. Page 32.
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. Page 32.
Object number: 05972