{"id":1886,"date":"2021-06-13T16:30:07","date_gmt":"2021-06-13T07:30:07","guid":{"rendered":"http:\/\/192.168.0.250\/izuta\/violin\/?p=1886"},"modified":"2022-07-22T18:55:32","modified_gmt":"2022-07-22T09:55:32","slug":"voirin-francois-nicolas-1833-1885","status":"publish","type":"post","link":"https:\/\/izuta-violin.co.jp\/makers\/archives\/1886","title":{"rendered":"VOIRIN, Fran\u00e7ois Nicolas (1833-1885)"},"content":{"rendered":"\n

After his initial training and early work in Mirecourt, Fran\u00e7ois Nicolas Voirin moved to Paris in 1855 to join his cousin Jean Baptiste Vuillaume<\/a>. His work in the Vuillaume workshop gave him access to distinguished bow makers of the Peccatte<\/a> school, but Voirin was inspired largely by the work of Pierre Simon<\/a> and of Vuillaume himself. Most of the firm’s “picture” bows of this period, which feature an eye with a tiny lens microfilm of Vuillaume, are by Voirin. <\/p>\n\n\n\n

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In 1870 Voirin set up his own workshop and gradually his model began to change. Frogs continue to be in the style of Vuillaume, but heads are increasingly thin and refined for the rest of his career, which is an unusual transition for a bowmaker. In fact, Voirin’s stylistic evolution is a fitting narrative for the prevailing transition between the square and powerful Peccatte school and more delicate Vuillaume school in the latter half of the 19th century.<\/p>\n\n\n\n

1870\u5e74\u306b\u30dc\u30ef\u30e9\u30f3\u306f\u5f7c\u81ea\u8eab\u306e\u30ef\u30fc\u30af\u30b7\u30e7\u30c3\u30d7\u3092\u8a2d\u7acb\u3057\u3001\u5f90\u3005\u306b\u5f7c\u306e\u30e2\u30c7\u30eb\u306f\u5909\u5316\u3057\u59cb\u3081\u307e\u3057\u305f\u3002 \u30ab\u30a8\u30eb\u306f\u5f15\u304d\u7d9a\u304d\u30f4\u30a3\u30e8\u30fc\u30e0\u306e\u30b9\u30bf\u30a4\u30eb\u3092\u4fdd\u3063\u3066\u3044\u307e\u3059\u304c\u3001\u5f7c\u306e\u30ad\u30e3\u30ea\u30a2\u306e\u6b8b\u308a\u306e\u671f\u9593\u3001\u982d\u306f\u307e\u3059\u307e\u3059\u8584\u304f\u6d17\u7df4\u3055\u308c\u3066\u3044\u307e\u3059\u3002\u3053\u308c\u306f\u5f13\u8077\u4eba\u306b\u3068\u3063\u3066\u306f\u73cd\u3057\u3044\u79fb\u884c\u3067\u3059\u3002 \u5b9f\u969b\u3001\u30dc\u30ef\u30e9\u30f3\u306e\u6587\u4f53\u306e\u9032\u5316\u306f\u300119\u4e16\u7d00\u5f8c\u534a\u306e\u6b63\u65b9\u5f62\u3067\u5f37\u529b\u306a\u30da\u30ab\u30c3\u30c8\u5b66\u6821\u3068\u3088\u308a\u7e4a\u7d30\u306a\u30f4\u30a3\u30e8\u30fc\u30e0\u5b66\u6821\u306e\u9593\u306e\u4e00\u822c\u7684\u306a\u79fb\u884c\u306b\u3075\u3055\u308f\u3057\u3044\u7269\u8a9e\u3067\u3059\u3002 <\/p>\n\n\n\n

In 1872 he hired Louis Thomassin<\/a> to assist him and Joseph Lamy ‘p\u00e8re’<\/a> joined the shop four years later. Both worked alongside Voirin until his death in 1885. His bows, which he declined to sell to other firms with the exception of a few to Chanot<\/a>, are stamped, “F.N. Voirin \u00e0 Paris.” They are among the best and most important in the history of the trade. <\/p>\n\n\n\n

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F.N. \u30dc\u30a2\u30e9\u30f3 ( 1833 – 1885 )
\nVOIRIN, FRANCOIS NICOLAS
\nBorn at Mirecourt, 1833. Trained in workshops there. Went to Paris, 1855 and worked fifteen years for Vuillaume, and during that period, made all the fine bows bearing the violin maker\u2019s name. Won silver and gold medals at the Paris and Antwerp Exhibitions. Established own workshop in the Rue-du-Bouloi, 1870. Worked indefatigably until stricken down with apoplexy whilst taking a bow to a patron, 1885. He had the elevated and inspired theme of emulating Tourte, in refined workmanship and elegance, but made a new departure by making the heads less square and reducing the weight. These delicately worked heads have a marked thinning of the two faces, and to preserve balance, he reduced the diameter of the lower end of stick, which is sometimes actually smaller than the accompanying tip. Sometimes he exaggerated this head tenuity, arrived at too light a weight, which brought weakness after a few months\u2019 playing. However, his finest specimens (just the thing for virtuosi) though refreshingly light, have wondrous heads affording equal wondrous elasticity of sticks. Works of art, decoratively and technically. Stamped: \u201cF. N. Voirin \u00e0 Paris\u201d, sometimes \u201cF. N. Voirin\u201d, and to this (on bows made for the Paris Exhibition), was added \u201cExposition, 1878\u201d. Hundreds of imitations stamped \u201cVoirin\u201d have come from French and German factories. \u00a330, 1960.<\/p>\n\n\n\n

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