Attributed to Honoré DERAZEY, 1794 – 1883.

The back of curly maple is edged with a double filet and carved with floral motives on the top and the four corners. The bottom, venneered with ivory, mother of pearl and different woods, shows an appearance of Jerusalem, inspired of the Renaissance.

A polychromatic decalcomania representing the tea ceremony is visible on the center.

The ribs are engraved of the latin inscription: “Viva fui in silvis, dum morta, dulce cano”.

The spruce table is carved with the same floral motives and edged with a double filet.

The pegbox is terminated with an old man head supposed to be Gaspard Duiffopruggar.

Length of the back: 36,2cm.



Jean Joseph Honoré DERAZEY served his apprenticeship with the violin makers of Mirecourt before working in Paris. Famous worker he became an important collaborator of Jean-Baptiste Vuillaume around 1830, for who he made “antic musical instruments”. Inspired of the work of Gaspard Duiffopruggar and Gasparo da Salo, more imagined, the aesthetic of these violins show firstly the interpretation of the Renaissance style in the 19th century.



– Roger MILLANT: J. B. Vuillaume, sa vie et son œuvre”. W.E. Hill & sons, London 1972.

– René VANNES: Dictionnaire universel des luthiers”. Les amis de la musique, Bruxelles 1979.

– Karel MOENS: Vuillaume et les premiers luthiers. Catalogue d’exposition Vuillaume, Cité de la musique, Paris 1999.


Provenance: Ancienne collection du luthier Charles Enel, (1880 – 1954)