Honoré Derazey trained in Mirecourt and then worked for various makers in Paris, including J.B. Vuillaume between 1830 and 1839. He returned to Mirecourt around 1840 to establish his own workshop.
His instruments are in the style of Vuillaume, mainly Stradivari copies. They are generally stamped ‘H DERAZEY’ to the inside back. His son Justin Amédée Derazey succeeded him in 1879.
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2021.5.22
DERAZEY, HONORÉ
Full name: Jean Joseph Honoré. Born at Mirecourt, 1794. Died there 1883. Spent several years in various workshops at Paris. Ultimately established at Mirecourt. Gained Exhibition medals at Paris 1839, 1844 and 1855; also at London, 1862.
Early instruments especially attractive in being substantially built – all departments of modelling inspired by that of Stradivarius and others of the Italian school. Workmanship “à la finesse” in all verity. Scrolls always conducive to the dignity he continually visualised. Sound-holes not surpassed by any maker of any period or school for perfect grace of curve. Edges never very pronounced, and here again we see the essence of delicacy. Same deftness accentuates the squarishly designed corners.
Enthusiasm of an ardent young man strivina towards individuality plainly discernible on every instrument of this early period.
Varnish (generally of an orange yellow shade) unfortunately the antithesis of elasticity and warmth. Some specimens have table wood of Carpathian pine – a material rather too brittle and strong in fibre to be ideal for tonal quality; grain (a perfectly straight one) often wider towards the sides. Generally of yery long Stradivarius pattern, very flat arching, and Maggini-like shoulders. Of remarkably powerful tone, though perhaps rather blatant, but certainly not hard – and its sonority is becoming mellower. Nevertheless, we do not think it can ever reach the peculiar sensitiveness necessary to the enjoyment of soloists and their listeners. Seldom labelled. H D branded inside on the back and within a circle.
Later set out to traverse the busy road of commercialism, and from the year 1844 his indefatigable activity resulted in the enormous production of about 600 violins yearly, for which he asked 5 to 150 francs according to the different grades.
Modelling altogether similar to that of the many Strad-Vuillaumes. Influence of Vuillaume also easily traced in the colour and style of applying the varnish – colour generally reddish with a slight purplish tendency and rather hard-looking, applied and rubbed off here and there to give instruments an appearance of wear. Became enormously popular, particularly in England, and the name Derazey was on everybody’s lips. No finer wrought commercial violins have ever come from Mirecourt; undoubtedly their finished workmanship influenced the many other makers in that town to emulate his achievements.
The particular point of interest in these violins is artistic combination of the sound-holes with the waist curves; beautiful originality quite distinct from others of the Mirecourt school.
Years after death, violins bearing his labels were poured into the trade, but these have been the productions successively of his son, then Mangenot, and finally Laberte-Magnié.
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H. Derazey
à Mirecourt
Médaille de 1re classe
Exposition Universelle 1855
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(designs of medals on left and right)
Occasionally branded “H. Derezey père”. Some of the modern productions give his name as “H. Derasey”. Today’s prices £80 to £90.