Voirin François Nicolas, violin bow, Paris circa 1875.
François Nicolas Voirin trained with Jean Simon in Mirecourt, before moving to Paris in 1855 to work for his cousin, J.B. Vuillaume. Vuillaume, very pleased with Voirin's work, mentioned him as a collaborator in the production of the bows presented at the 1867 exhibition and made him an apprentice supervisor. As he trained many important makers, Voirin is regarded as the leader of a new generation of bow makers. He set up his own business in Paris in 1870, and changed his style: the heads became finer, a characteristic that would continue to be accentuated until his death. He is thus one of the rare bow-makers whose style was refined with time and experience. Today, his work is praised for its elegance and refinement. The bow shown here is a magnificent example of his work from the mid-1870s. It is in an exceptional state of preservation, being entirely original in all parts except for a pearl eye and the pearl slide. It belonged to Luben Yordanoff, a Bulgarian soloist and winner of the 1951 Queen Elisabeth Competition. Source: L'archet, by B. Millant and J.F. Raffin, 2000. The Luben Yordanoff collection, Vichy Enchères, 2021.
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Voirin François Nicolas, violin bow, Paris circa 1875.
François Nicolas Voirin trained with Jean Simon in Mirecourt, before moving to Paris in 1855 to work for his cousin, J.B. Vuillaume. Vuillaume, very pleased with Voirin's work, mentioned him as a collaborator in the production of the bows presented at the 1867 exhibition and made him an apprentice supervisor. As he trained many important makers, Voirin is regarded as the leader of a new generation of bow makers. He set up his own business in Paris in 1870, and changed his style: the heads became finer, a characteristic that would continue to be accentuated until his death. He is thus one of the rare bow-makers whose style was refined with time and experience. Today, his work is praised for its elegance and refinement. The bow shown here is a magnificent example of his work from the mid-1870s. It is in an exceptional state of preservation, being entirely original in all parts except for a pearl eye and the pearl slide. It belonged to Luben Yordanoff, a Bulgarian soloist and winner of the 1951 Queen Elisabeth Competition. Source: L'archet, by B. Millant and J.F. Raffin, 2000. The Luben Yordanoff collection, Vichy Enchères, 2021.
