Violin by François-Louis Pique

France, 1793

Certification

Vatelot-Rampal, Paris

This handsome violin by Parisian luthier (and contemporary of Lupot) François-Louis Pique boasts a wonderful level of sound and beauty of form and construction. A broad two-piece back and artful shading of the varnish complements the responsive, complex and maleable tonal palette, making this instrument as much of pleasure to examine as play. With a powerful projection on stage, this violin is an excellent choice for the discerning soloist seeking both form and function.

Dimensions

• Body Length: 358mm
• Upper Bout: 165mm
• Lower Bout: 204mm

Specs

• Back: Two-piece, matching, well defined curl
• Top: One-piece, medium to medium-wide grain throughout
• Scroll: Of wood similar to back
• Ribs: Of wood similar to back
• Varnish: Deep red brown

Label

“Pique Paris 1793”

Violin by François-Louis Pique
Violin by François-Louis Pique - Image 2
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Owen Lee

CEO & Appraiser

Owen (Hojoon) Lee is the founder of Los Angeles Violin Shop, established in 2002, and the newly opened LA Fine Violins in Downtown Los Angeles. With over two decades of experience in the violin trade, Owen is widely recognized for his expertise in appraising fine string instruments and bows. He has built enduring relationships with professional musicians, collectors, and institutions across the United States. Owen provides accurate, in-depth appraisals informed by his extensive hands-on experience and deep knowledge of historical and contemporary instruments. His appraisals serve a variety of purposes including insurance, certification, and personal valuation.

He is the organizer of Authenticate LA, a biennial event hosted at LA Violin Shop that brings together internationally respected experts—including Jean-François Raffin, Sylvain Bigot, Yannick Le Canu, Jean-Jacques Rampal, and Jonathan Marolle—to provide trusted authentication and certification services to clients throughout North America. Owen also curates La Forma del Suono – in Los Angeles, a major exhibition dedicated to showcasing the work of today’s finest contemporary violin and bow makers. This exhibition serves as a platform for connecting makers with musicians, collectors, and institutions in the Southwest United States. Throughout his career, Owen has actively fostered collaborations with leading experts, luthiers, and violin shops around the world, promoting excellence in craftsmanship, knowledge exchange, and access to quality instruments. Under his leadership, LA Violin Shop and LA Fine Violins continue to serve as trusted centers for string players and the broader violin community.

Jake Jiwon Han

Chief Violin Maker

Jake (Jiwon) Han is the current Head Luthier of Los Angeles Violin Shop and is entrusted with the finest instruments that come through our doors. Already a well-established luthier, he joined LAVS in 2016 to further broaden his level of crafting and restoration. Jake’s acoustical adjustment and set-up skills have greatly aided musicians of all levels since his arrival. In addition to his work at LAVS, Jake currently crafts award-winning violins & violas by commission. These instruments are in demand by advanced and professional level players due to their incredibly nuanced sound and Jake’s fine workmanship.

Jake has won several awards for his craftsmanship from the prestigious Violin Society of America including the 2022 Silver Medal for Tone for Violin, the 2022 Certificate for Tone for Viola, and the 2018 Certificate for Tone for Violin.

Before relocating to the U.S., Jake lived and worked in Seoul, South Korea. He gained workshop and restoration experience at the Stradi Workshop. While affiliated with Stradi Workshop, he worked closely with the Kumho Asiana Foundation and Songwoo Trading Company. These companies are regular distributors of supplies to the leading international violin dealership, John & Arthur Beare.

Virginia Morricone

Bow Maker

Virginia Morricone’s journey as a luthier extends beyond instrument making, encompassing a distinguished career in bow making and restoration. Her expertise in this specialized craft was cultivated through immersive experiences with renowned bow makers around the globe. During her time at Bele Luthiery School in Bilbao, Spain, Virginia participated in a bow rehair and restoration workshop under the guidance of the esteemed Frederic Becker. This invaluable opportunity allowed her to refine her skills and gain insights into the intricate art of bow making. Building on this foundation, Virginia embarked on an apprenticeship and assistantship with Michael Yeats in Amsterdam, Netherlands, from 2021 to 2023. Under Yeats’ mentorship, she delved deeper into the nuances of bow making, honing her craftsmanship and expanding her repertoire of techniques. Additionally, Virginia contributed her expertise as a bow restorer at Valencia Violins, collaborating with master luthier Sergi Marti to meticulously restore and enhance bows to their optimal condition.

With a diverse range of experiences and accolades, Virginia brings a wealth of knowledge and skill to her craft. Her dedication to excellence and passion for preserving the artistry of bow making make her a valuable asset to any team. She looks forward to contributing her expertise in both instrument and bow making, further enriching the shop’s legacy of exceptional craftsmanship and service.

Antonio Gragnani

Livorno, Italy

(1740-1794)

Antonio Gragnani was a distinguished 18th-century Italian luthier known for his refined craftsmanship and distinctive style. Working from the bustling port city of Livorno, Tuscany, Gragnani built instruments that combined elegant aesthetics with tonal excellence, drawing influence from the great Cremonese makers such as Stradivari and Amati, while developing his own unique voice. Unlike many of his Tuscan contemporaries, Gragnani’s instruments reflect a more Cremonese approach in their arching and f-hole design, with graceful outlines, sharp purfling mitres, and a scroll style that became his signature—featuring an elongated pegbox and horizontally oval eye. One of his trademarks is the use of whalebone for purfling, a rare material choice that highlights his connection to Livorno’s maritime trade.

His violins are often branded with his initials “A.G.” on the back button, ribs, and under the fingerboard. They feature a transparent amber-to-reddish varnish, typically applied over a light ground, which enhances both their beauty and tonal warmth. Despite working outside the Cremonese tradition, Gragnani achieved a level of precision and artistry that earned his instruments a place in important collections—including the Metropolitan Museum of Art and the Smithsonian Institution.

Antonio Gragnani’s instruments are admired today for their clarity, responsiveness, and elegant appearance. They are a superb choice for advanced players and collectors seeking a fine Italian violin with both historical significance and exceptional playability.

Enrico Marchetti

Turin, Italy

(1855 – 1930)

Enrico Marchetti was one of the most accomplished Italian luthiers of the late 19th and early 20th centuries, and a leading figure of the Turin school. Born in Milan in 1855, he trained under Luigi Bajoni and Gaetano Rossi before moving to Turin in the 1870s, where he worked with Gioffredo Rinaldi and later Antonio Guadagnini. By the early 1880s, Marchetti had opened his own workshop, quickly earning a reputation for instruments that combined refined craftsmanship with powerful tonal quality.

Marchetti’s style was firmly rooted in the Piedmontese tradition, with clear influence from makers such as Pressenda and Guadagnini, though his personal flair is evident in every instrument. His violins are recognized for their bold, elegant outlines, and scrolls that are typically narrow and elongated with a horizontally flattened eye. The purfling is set deep into the corners with precision, often framed by blackened chamfers that emphasize his clean workmanship. In his later work, the f-holes occasionally take on a more tilted or expressive appearance, contributing to the individuality of his mature period.

From around 1890 to 1912, Marchetti worked in the town of Cuorgné, producing a number of award-winning instruments and exhibiting at international fairs in Turin, Paris, Antwerp, and Toulouse. His instruments from this period are widely considered his best, showing strong modeling, careful varnish work, and excellent tonal response. After returning to Turin in 1912, he continued working—sometimes assisted by his son Edoardo—until his death in 1930.

Marchetti’s varnish varies across his career but is typically a rich golden-orange to reddish hue, applied over a lighter ground that enhances the flame and character of the wood. The arching, modeled on Stradivari or Guadagnini patterns, lends his instruments both tonal strength and clarity, making them especially appealing to soloists and professional players. Today, Enrico Marchetti’s instruments are prized for their resonant tone, responsive feel, and sophisticated aesthetic, bridging the tradition of 19th-century Italian making with the emerging demands of the modern concert stage. His work stands as a testament to the elegance and strength of the Piedmontese school, and his best instruments remain in high demand among collectors and performers worldwide.

Giovanni Battista Grancino

Turin, Italy

(1637 – 1709)

Giovanni Battista Grancino was a highly esteemed Italian luthier whose work helped define the Milanese school of violin making during the late 17th and early 18th centuries. Born into the distinguished Grancino family—one of the most important dynasties of instrument makers in Northern Italy—he was the son of Andrea Grancino, an early pioneer of violin craftsmanship in Milan. Giovanni Battista was the son of Andrea Grancino, and inherited not only the family workshop but also a deep understanding of the art of instrument making, which he refined and elevated throughout his career.

Grancino’s instruments are admired for their elegant design, superb craftsmanship, and excellent tonal qualities. He built a wide range of string instruments, including violins, violas, cellos, and occasionally double basses. His violins are particularly notable for their slightly broader proportions, delicately carved scrolls, and rich, amber-colored varnish. The tone of his instruments is characteristically warm, full, and resonant, making them highly sought after by professional musicians. Working during a time when the Cremonese makers—such as Amati and Stradivari—were establishing global reputations, Grancino brought a distinct Milanese identity to his work. While influenced by the Cremonese style, especially in his early years, he developed his own recognizable models and construction techniques. His instruments often exhibit a strong and personal aesthetic that helped define the Milanese tradition.

Grancino’s contributions to the craft extended beyond his own workbench. His instruments and methods influenced an entire generation of Milanese makers, including Carlo Giuseppe Testore, who would go on to establish another important family of luthiers. Grancino’s workshop became a hub of innovation and tradition, preserving the Italian violin-making heritage while also advancing it. Instruments by Giovanni Battista Grancino remain highly valued for their historical significance, beauty, and exceptional playability. Today, they are played by leading musicians around the world and preserved in important collections, serving as enduring examples of Italy’s golden age of violin making.

François-Louis Pique

Paris, France

(1758-1822)

François-Louis Pique, a contemporary and colleague of Nicolas Lupot, was born in Roissy, Île-de-France, near Paris. It remains uncertain where he learned the craft of violin making, but by 1787 he had relocated to Paris and established his own workshop.

Pique’s association with Lupot seems to have begun in the early 1790s, when Pique hired Lupot, who was then still in Orléans, to craft violins for him. Lupot moved to Paris in 1796, and the two collaborated closely on their models, though it’s unclear who exerted a greater influence. Pique’s violin model closely resembles Lupot’s, though his work may display less refinement, particularly in the scrolls, and has been somewhat undervalued in the early history of French violin making. Pique retired in 1818 and passed away in 1822 following the loss of his right arm.

Gustave Bernardel

Paris, France

(1832 – 1904)

Son and apprentice of Auguste-Sébastien. In 1860, Gustave Bernardel joined his father’s workshop as a partner, and upon his father’s retirement in 1866, he and his brother, Ernest Auguste, took over the business. He later became partners with Charles Eugène Gand to establish Gand & Bernardel Frères.

Bernardel became the sole owner of the enterprise in 1892, continuing under the name Gustave Bernardel until his retirement in 1901, at which point he sold it to Caressa & Français. The instruments were known for their exceptional quality, crafted with oil-based varnishes.

Spirito Sorsana

Saluzzo, Piedmont, Italy

(fl. 1720 – 1740)

Spirito Sorsana was an Italian violinmaker active in Saluzzo during the 18th century, a region whose makers absorbed influences from the great Cremonese tradition while developing their own distinctive voices. Although his surviving instruments are comparatively rare, they reveal a refined hand and a clear artistic identity within the Piedmontese school.

His violins are characterized by slightly elongated yet harmonious outlines, elegant arching, and carefully cut f-holes. The scrolls often show subtle individuality in their carving, suggesting both discipline and expressiveness in his work. Sorsana’s varnish is typically transparent and luminous, ranging from golden amber to reddish-brown, and applied in a way that enhances the natural beauty of the maple and spruce.

Praised for their clarity, resonance, and warm singing quality, Sorsana’s instruments are particularly well suited to chamber and solo repertoire. Today, they are appreciated by collectors and players not only for their tonal refinement but also for their place in the wider story of Italian violin making, where regional traditions flourished alongside the great Cremonese masters.

Igino Sderci

Florence & Sienna, Italy

(1884–1983)

Igino Sderci was one of the foremost Italian violinmakers of the 20th century, trained in Florence under the influential Leandro Bisiach. Building on the Bisiach workshop’s revival of classical Cremonese traditions, Sderci developed a highly personal style marked by precision, elegance, and tonal refinement.

His instruments display clean, disciplined workmanship with graceful outlines, finely cut f-holes, and scrolls of striking balance and symmetry. The varnish is typically a warm golden-orange to red, applied with transparency to highlight the quality of the woods—always carefully selected. Sderci produced a wide range of violins, violas, and cellos, with tonal qualities that combine warmth, clarity, and excellent projection, making them attractive to both soloists and ensemble players.

Sderci’s long career, extending well into the mid-20th century, yielded a substantial body of work. His instruments are recognized today as some of the finest examples of the modern Italian school, prized by performers and collectors for their reliability, aesthetic beauty, and superb sound.

Giovanni Battista Guadagnini

Piacenza, Milan, Parma & Turin, Italy

(1711-1786)

Giovanni Battista Guadagnini is regarded as one of the most important and influential Italian violinmakers of the 18th century, second only to the great Cremonese masters. Working across several cities—Piacenza, Milan, Parma, and ultimately Turin—Guadagnini developed a style that evolved throughout his career, reflecting both his surroundings and his own continual search for tonal and aesthetic refinement.

His early instruments, made in Piacenza, show the influence of Amati traditions, with graceful outlines and elegant archings. In Milan and Parma, Guadagnini’s work became bolder, featuring more robust archings, broader f-holes, and a richer application of varnish, often in warm shades of red and orange. During his final Turin period, under the patronage of the Count Cozio di Salabue, his style reached maturity, producing instruments with a distinctive personal character—recognized for their powerful tone and striking visual presence.

Guadagnini’s violins are celebrated for their tonal brilliance, projection, and versatility, qualities that continue to make them highly sought after by leading soloists. His cellos, too, are considered among the finest ever made, admired for their depth and resonance. With a prolific output spanning over four decades, Guadagnini left an enduring legacy that bridges the classical Cremonese school and the modern tradition of violin making.

Today, his instruments stand as treasures of Italian lutherie—prized equally for their artistry, rarity, and extraordinary musical qualities.

Lorenzo Ventapane

Naples, Italy

(c. 1755–c. 1830)

Lorenzo Ventapane was one of the most prominent Neapolitan violinmakers of the late 18th and early 19th centuries, a key figure in carrying forward the traditions established by the Gagliano family. Working in Naples, Ventapane absorbed the hallmarks of the Neapolitan school—graceful outlines, bold f-holes, and a rich, transparent varnish—while developing a style and tonal identity that were distinctly his own.

Ventapane’s violins are admired for their elegant proportions and careful craftsmanship, with scrolls that are characteristically lively and f-holes of confident execution. His varnish typically ranges from golden-yellow to deep orange-red, applied with warmth and transparency to enhance the striking figure of the maple. In addition to violins, Ventapane produced fine violas and cellos, many of which are prized today for their outstanding tonal qualities.

Renowned for their strong projection, warmth, and clarity, Ventapane’s instruments are particularly valued by professional players. His work exemplifies the finest traditions of the Neapolitan school, linking the artistry of the Gaglianos with the evolving demands of 19th-century performance.

Pierre Hel

Mirecourt & Lille, France

(1884-1932)

Pierre Hel was a respected French violinmaker from the renowned Hel family of Mirecourt, a dynasty that produced several distinguished luthiers in the 19th and 20th centuries. Trained in this tradition of French craftsmanship, Hel became known for refined instruments that combined Mirecourt precision with a tonal palette admired by professional players.

His work is noted for clean, elegant lines, finely executed arching, and meticulous detail. The f-holes are neat and balanced, while his scrolls reveal both discipline and individuality. He favored warm golden-orange to rich red-brown varnishes, applied transparently to showcase fine materials. Though best known for violins, he also built violas and cellos praised for tonal clarity, warmth, and projection.

As part of the celebrated French tradition of the early 20th century, Hel’s instruments stood out for their reliability, artistry, and tonal appeal. They were favored by prominent violinists including Georges Enesco, Eugène Ysaÿe, and Jacques Thibaud. Enesco’s use of a Hel violin during his 1924 US tour significantly contributed to Hel’s reputation and legacy in the world of classical music and instrument making. Today, Hel’s instruments remain highly valued by performers and collectors, representing a vital link in the Mirecourt school.

Amos Hargrave

Cincinatti, OH

(b. 1954)

Amos Hargrave is a distinguished contemporary American violin maker celebrated for his refined craftsmanship and deep commitment to historical authenticity. Based in Cincinnati, Ohio, Hargrave has devoted his career to building instruments that blend artistic elegance with tonal sophistication, drawing particular inspiration from the great Cremonese and Venetian masters.

His instruments are characterized by graceful outlines, carefully modeled archings, and an exceptional sense of proportion. Hargrave is renowned for his meticulous varnish work, which he applies in richly transparent layers ranging from luminous golden-amber to deep reddish-browns, highlighting the beauty of the wood and recalling the patinas of classical Italian instruments. His scrolls are finely carved with both discipline and individuality, while his f-holes exhibit a refined symmetry and balance.

In addition to his own models, Hargrave is admired for his historically sensitive copies and reconstructions, which demonstrate his scholarly attention to detail and respect for traditional methods. Professional players prize his instruments for their warmth, clarity, and responsive projection, making them highly sought after across the United States and abroad.

As part of the modern generation of American luthiers, Amos Hargrave has established a reputation for artistry, integrity, and tonal excellence, ensuring his place among today’s leading makers.

Jean-Baptiste Vuillaume

Paris, France

(1798-1875)

Born in Mirecourt, a renowned violin-making town, Vuillaume moved to Paris in 1818 and apprenticed under Chanot before establishing his own workshop. He initially imitated the work of Lupot and quickly developed into a skilled copyist of historic instruments, especially those by Stradivari and Guarneri ‘del Gesù’.

In addition to being a renowned and prolific maker of fine violins, Jean-Baptiste Vuillaume was also a highly successful dealer, connoisseur, and inventor. His Paris workshop trained and employed some of the greatest 19th-century violin and bow makers, including Maucotel, Silvestre, Derazey, the Peccatte brothers, Persoit, Fonclause, Simon, and Voirin. Founded in 1827 on rue Croix des Petits Champs and relocated to rue Demours-Ternes in 1858, the workshop produced over 3,000 instruments, many of which are similar enough to be easily identifiable. Most of these instruments bear labels, brands, numbers, and signatures that verify their origin in the Vuillaume workshop.

Michael Fischer

Los Angeles, CA

Michael Fischer was born and raised in the South of Germany. At the age of 18 Michael decided to learn the art of violin-making, which offered him a fulfilling mixture of craft, visual arts, and music. He attended the Violin Making School in Mittenwald, Germany; and after graduating, continued on to London to make viola-da-gambas and baroque instruments for Dietrich Kessler at Withers. While in London he also worked for the internationally renowned Charles Beare, performing complex restorations and studying the many fine, old instruments in the Beare’s shop.

In the early 1980s Fischer moved to Los Angeles to work at Hans Weisshaar’s shop. In 1984 he opened his own shop with a concentration on restoring instruments. This year he celebrates his 40th year in business.

While restoring a severely damaged Mateo Gofriller violin built in 1697, he thought to make a copy of it “just for fun”. When the two violins were finished, he offered them together and to his surprise, most musicians preferred the sound of his copy.

Since then, he has made and sold nearly 320 copies of specific instruments, while also continuing the more traditional work of restorations and sale of fine old string instruments and bows. His instruments are played by professionals all over the world. He has received testimonials from some of the finest musicians and soloists, like Gil Shaham and Gidon Kremer, about the performance of his instruments.

Andrea Caccia

Mantua, Italy

Andrea Caccia is a highly regarded Italian violin maker known for his exceptional craftsmanship and adherence to the Mantua tradition. He began his career as an apprentice to his uncle, Mario Gadda, and has since established a successful shop in Mantua. Andrea’s work is characterized by its personal touch and attention to detail, reflecting the rich heritage of the Gadda family.

JiHwan Park

Cremona, Italy

(b. 1982)

JiHwan Park was born in 1982 in Daejeon, South Korea. His violin making career began in 2005 at the International Stradivari Violin Making School of Cremona. He studied under the guidance of the Maestro Liutaio Massimo Negroni for five years. After acquiring his diploma, he built deep knowledge and skills on violin making, and laid the bases for violin repair under Sung Hyun Park and Michele Dobner.

He opened his own workshop in Cremona, Italia in 2015. His instruments are played by professional musicians, amateurs, and music students worldwide.

M. Neuner & Hornsteiner

Mittenwald, Germany

Neuner & Hornsteiner was founded in the early nineteenth century by the Neuner and Hornsteiner families, both of whom were long-established violin makers in Mittenwald. The first partnership was between Mathias Neuner and Cantius Hornsteiner, with Anton Seitz credited as the chief craftsman and maker of the better quality instruments. Johann Neuner was born in 1809 and died in 1883, serving as the director of the firm, which was later inherited by his son Ludwig (1840-1897). Under Ludwig’s leadership, the company grew enormously, employing over 200 workers and producing all grades and types of bowed instruments.

Andre Somer

Melsele, Belgium

(b. 1986)

Born in Belgium, Anton’s woodworking experience started at age 15. Studies at the Violin Making School of Antwerp followed. In 2006 he established a workshop in his hometown of Melsele. In 2022, he relocated his workshop to the historic heart of Antwerp, marking a new era in his career. Anton’s instruments have garnered worldwide acclaim from musicians and collectors alike, reflecting his dedication to excellence in violin making.

Johannes Tóth

Budapest, Hungary

(1875-1944)

The son of a cabinet maker, Toth went on to become one of the most influential Hungarian makers of the 20th century. Toth studied making with J. Braun in Szeged and I. Lutz in Vienna.He lived briefly in London and Paris before settling and establishing his workshop in Budapest. Typical models utlized are those of Guarneri del Gesu but he utlized others as well and has come to be recognized for his quality woodworking and crafting.

Christopher Dungey

Eugene, OR

Christopher is a violin maker specializing in the new making of cellos and violas. He graduated from The Newark School of Violin Making in England with ‘Distinction’ in 1982. After returning to the states he worked in Los Angeles for Hans Weisshaar and Thomas Metzler learning the fine art of restoration. He is a current member of the AFVBM Inc. and has won numerous cello-making awards.

Stefan Valcuha

New York, NY

(b. 1974)

Stefan Valcuha is a distinguished modern maker and restorer whose deep mastery of the classical Italian tradition sets him among the foremost luthiers of his generation. Born in Bratislava, Slovakia, he trained in the historic Mirecourt region of France and further refined his craft in Strasbourg under Jean‑Christophe Graff. In 1997, he relocated to New York to work alongside the legendary René Morel, and in 2008 co-founded his own workshop within the Tarisio Auction House, continuing their partnership until Morel’s passing in 2011.

Valcuha’s instruments reflect a profound understanding of classical form, tone, and responsiveness—qualities shaped by his intimate restoration work on historic Italian masterpieces. Valcuha’s excellence has also been recognized by the Violin Society of America, where he received a Silver Medal for Tone at the 2022 competition.

Georges Chanot I

Mirecourt & Paris, France

(1801-1883)

Georges Chanot I was one of the foremost 19th-century French luthiers, celebrated for uniting the precision of Mirecourt craftsmanship with the artistry and innovation of the Parisian school. Trained under his father, Joseph Chanot, in Mirecourt, he later worked alongside his brother François before establishing his own Paris workshop in 1823.

Chanot earned a reputation for his refined copies of Cremonese and Brescian masters—particularly the violins of Guarneri “del Gesù”—crafted with meticulous attention to proportion, arching, and varnish. His instruments are characterized by their elegant modeling, bold yet harmonious outlines, and resonant, powerful tone. The varnish, often a rich orange-brown with transparency and depth, enhances both the aesthetic and acoustic qualities of his work.

Regarded by contemporaries as the equal of Lupot and Gand, Chanot helped define the high standard of French violin making in the mid-19th century. His Paris workshop became a center of excellence, continuing under the Chanot-Chardon name after his retirement in 1872. Today, his instruments remain admired for their balance of beauty, precision, and tonal richness—hallmarks of the finest French tradition.

Bernard Millant

Paris, France

(1927-2017)

Bernard Millant ( 1927- 5 April 2017) was a bowmaker and luthier in Paris, France. He studied violin-making at Amédée Dieudonné’s workshop in Mirecourt. He also studied bow-making with Louis Morizot before establishing his own worshop and atelier.

Victor Fétique

Mirecourt, France

(1872-1933)

Victor François Fétique (Mirecourt, 1872-1933) was a prominent French bowmaker from a family of bowmakers. Signed his bows “Vtor Fétique.” His bows are patterned after those of François Nicolas Voirin, though less distinct.

Émile Auguste (E.A.) Ouchard

Paris, France

(1900-1969)

Émile Auguste Ouchard (24 July 1900–14 February 1969) was a French bow maker of repute and son and pupil of Émile François Ouchard. Honors and awards include the Grand Prix of the 1942 International Paris Exhibition.

James Tubbs

London, UK

(1835-1921)

James Tubbs (1835 – 1921) is one of the most celebrated English bow makers and is considered “The English Tourte”.

Roman Teller

Erlangen, Germany

Roman Teller operated a well-known violin workshop in Erlangen, Germany. His son-in-law Rudolph Bruchner eventually took over the business and retained his father-in-law’s name in the company’s branding. Bruchner’s son-in-law went on to run the shop in more recent times and maintained the company’s legacy of fine workmanship.