Claude Pierray, proche la Comédie
à Paris, 1725.
PIERRAY, Claude, Paris, from about 1700 to 1725. Was an excellent workman, and many of his productions partake of the Italian character to a considerable extent. They are of two patterns, the majority being large. Amati would seem to have been his model, but his instruments can scarcely be considered copies of that maker, the outline only being retained, while the other features are dissimilar. The wood is rarely handsome, but its quality is good; the thicknesses are variable. The work is of average merit. Varnish is of a pale red colour, of good quality. It is interesting to learn that these instruments were appreciated in England at the beginning of the eighteenth century. Tom Britton had in his collection of books and instruments at Clerkenwell a "Claude Pierray," which is described in the sale catalogue as "a very beautiful Violin, and as good as a Cremona."
PIÈTE, N., Paris, about 1780.
PILLEMENT, F., Paris, 1790-1820. Work branded inside.
Pique, rue de Grenelle St. Honoré,
au coin de celle des 2 Ecus, à
Paris, 1790.
PIQUE, F. L., Paris, about 1788-1822. As a copyist of Stradivari, this maker approached, perhaps, nearest to Nicolas Lupot. It has been supposed that some Violins bearing the name of Pique were made by Lupot, and varnished by Pique. There are several specimens of Pique's instruments upon which have been lavished care and skill of a very high order. Each feature is brought out, while, at the same time, exaggeration, that common error of the copyist, is avoided. The scrolls are well executed, both in point of finish and style; the sound-hole also is cut with precision. Many of his instruments have whole backs, of well-chosen material; the bellies are of a fine quality of wood. The instruments of Pique have long been esteemed, and will grow in reputation.
PIROT, Claude, Paris, about 1800. Pressenda style and appearance.
PONS, César, Grenoble, about 1775.
PONS, ——, Paris, chiefly known as a maker of Guitars.
RAMBAUX, Claude Victor, born 1809. Worked in early life at Mirecourt, and afterwards in Paris. He was a clever repairer, and gifted with excellent judgment in his treatment of the works of the old masters. He was at one time in the workshop of Gand. He died in 1871.
RANCE, Thomas, Brussels, about 1683. Good workmanship, well purfled, flat model.
RAUT, Jean, worked at Rennes about 1760.
REMY, ——, Paris, about 1760.
REMY, Jean Mathurin, Paris, 1770-1854.
REMY, Jules, Paris, 1813-76.
REMY, ——, London, 1840. Originally from Paris. Copied the old masters with average ability, but unfortunately adopted the pernicious practice of preparing the wood, making his instruments prematurely old without the qualities of healthy age.
RENAUDIN, Léopold, Paris, about 1788.
RENAULT, Nicolas, an early maker, contemporary with Tywersus.
ROMBOUTS, Peeter, Amsterdam, about the middle of the 18th century. High model, varnish of much brilliancy, but flaky.
à Paris, 1725.
PIERRAY, Claude, Paris, from about 1700 to 1725. Was an excellent workman, and many of his productions partake of the Italian character to a considerable extent. They are of two patterns, the majority being large. Amati would seem to have been his model, but his instruments can scarcely be considered copies of that maker, the outline only being retained, while the other features are dissimilar. The wood is rarely handsome, but its quality is good; the thicknesses are variable. The work is of average merit. Varnish is of a pale red colour, of good quality. It is interesting to learn that these instruments were appreciated in England at the beginning of the eighteenth century. Tom Britton had in his collection of books and instruments at Clerkenwell a "Claude Pierray," which is described in the sale catalogue as "a very beautiful Violin, and as good as a Cremona."
PIÈTE, N., Paris, about 1780.
PILLEMENT, F., Paris, 1790-
au coin de celle des 2 Ecus, à
Paris, 1790.
PIQUE, F. L., Paris, about 1788-
PIROT, Claude, Paris, about 1800. Pressenda style and appearance.
PONS, César, Grenoble, about 1775.
PONS, ——, Paris, chiefly known as a maker of Guitars.
RAMBAUX, Claude Victor, born 1809. Worked in early life at Mirecourt, and afterwards in Paris. He was a clever repairer, and gifted with excellent judgment in his treatment of the works of the old masters. He was at one time in the workshop of Gand. He died in 1871.
RANCE, Thomas, Brussels, about 1683. Good workmanship, well purfled, flat model.
RAUT, Jean, worked at Rennes about 1760.
REMY, ——, Paris, about 1760.
REMY, Jean Mathurin, Paris, 1770-
REMY, Jules, Paris, 1813-
REMY, ——, London, 1840. Originally from Paris. Copied the old masters with average ability, but unfortunately adopted the pernicious practice of preparing the wood, making his instruments prematurely old without the qualities of healthy age.
RENAUDIN, Léopold, Paris, about 1788.
RENAULT, Nicolas, an early maker, contemporary with Tywersus.
ROMBOUTS, Peeter, Amsterdam, about the middle of the 18th century. High model, varnish of much brilliancy, but flaky.