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Virtual Tour of
"Beethoven & Berlioz, Paris & Vienna:
Musical Treasures from the Age of Revolution & Romance
1789-1848"


NMM 10010. Violoncello by Chanot & Lété Workshop, Paris, ca. 1819-1820

NMM 10010.  Violoncello by Chanot & Lété workshop, Paris, ca. 1819-1820. Side view of violoncello by Chanot & Lété workshop, Paris, ca. 1819-1820. Back view of violoncello by Chanot & Lété workshop, Paris, ca. 1819-1820.

NMM 10010. Violoncello by Chanot & Lété workshop, Paris, ca. 1819-1820. Designed by François Chanot and built probably by Georges Chanot and/or Jean-Baptiste Vuillaume. A magnificent example of maple with spruce top and the shield finial that is shown in Chanot's original designs. A rare example, giving the Museum a complete quartet, plus a unique violin/viola. Board of Trustees, 2000.




Pegbox and Scroll

Front view of pegbox Side view of pegbox Back view of pegbox


Handwritten paper label in black ink:  Chanot . p B. d’inv. 21 Janv. 1818_. / Paris . C . I .D . No. 129___.

Body:  guitar-shaped body without corners or overhanging edges.

Top:  two-piece, quarter-cut spruce with wide grain narrowing significantly at the flanks; slight bear-claw figure on lower bouts.

Back:  two-piece, quarter-cut maple with prominent, very narrow curl ascending slightly from center joint; ebony cap over entire button; button slightly recessed from plane of back.

Ribs:  quarter-cut maple with medium curl, angled slightly to right on bass side, angled slightly to left on treble side; lower ribs divided by 24-27 mm ebony band, wider at top than bottom.

Head and neck:  maple, narrow curl; pegbox terminates in front-facing shield, convex along vertical dimension; back of pegbox not fluted; pegbox shoulders with concave outline; back of neck heel made from separate piece of wood.

Edging:  edges not scooped; edges capped with rounded ebony finished with same varnish as body.

Purfling:  ebony and ivory; very wide.

Varnish:  dark red-brown.

Fingerboard:  ebony; slightly angled at C-string position; possibly later.

Nut:  two pieces of laminated ebony.

String holder:  guitar-style ebony, wider at upper end, with raised, carved border, forming saddle at upper end; strings held by ebony pins with ivory eyes.

Pegs:  four ebony with convex heads and mother-of-pearl eyes.

Saddle:  none.

F-holes:  curved, slot-shaped, slightly wider at lower ends; edges lined in ebony and ivory, the inside edge painted light brown.

Linings:  spruce; wide.

Top block:  spruce.

Bottom block:  spruce.

Bassbar:  narrow; extends over and through ebony string holder, which is cut away between G and C pins to accommodate bassbar on inside of top. Diamond-shaped spruce cleats along inside of back center joint.

Literature:  André P. Larson, Beethoven & Berlioz, Paris & Vienna: Musical Treasures from the Age of Revolution & Romance 1789-1848, with essay by John Koster, exhibition catalog, Washington Pavilion, Sioux Falls, South Dakota, September 12-November 2, 2003 (Vermillion: National Music Museum 2003), pp. 21 and 37.

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Most recent update: February 26, 2014

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