Claude Pierray

PIERRAY, Claude Worked circa. 1700, died 1729 Paris France. Established in the rue des Fossés, Saint-Germain-des-Prés from 1725 (further identified as ‘proche la Comédie Français’). The most influential maker of the ‘vieux Paris’ school, working on a very Amati-like form. Medium-high arch and soundholes rather stiff. Generally a golden-brown varnish, sometimes with a red accent. Craftsmanship of a high order, but sometimes a little too robust and not always perfectly finished. London musical promoter Thomas Britton owned a Pierray violin which he considered ‘as good as a Cremona’. Cellos much praised. His work is generally of a better order than that of his contemporary Boquay. Bass viol, dated 1712, in the Musée de la Musique, Paris. Claude Pieray / à Paris, 171.. Claude Pierray / à Paris, 1715 Claude Pierray, rue des Fossés / Saint Germain-des-préz à Paris, 1714 Claude Pierray / proche la Comédie / à Paris 1725 Claude Pierray, 1729

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.”

A contemporary of Boquay, he worked in Paris about 1700-30. He made a great many violins and violoncellos, the former on a large pattern. He sometimes copied the work of Girolamo Amati rather closely. He used good wood, though not very beautiful to look at, and red varnish. The proportions of his thicknesses varied too much; the tone is excellent but not powerful; the work is carefully finished.
In Thomas Britton’s Collection of instruments was a violin by “Claude Pieray, of Paris, as good as a Cremona.” Some of his pupils became good makers, such as Jean Ouvrard, Paul Grosset, and Louis Guersan.
Labels: “Claude Pierray, rue des Fosses-Saint-Germain-des-Pres a Paris, 1710”; a similar label, dated 1714,
There is a bass-viol, dated 1712, in the Paris Conservatoire Collection

Einer der besten Vertreter der alten Pariser Schule, der, wie alle seine
Zeitgenossen, nach italienischen Vorbildern arbeitete. Er wohnte in der Rue
des Fosses-Saint-Germain-des-Près und 1725 »proche la Comédies« seine Geigen
zeigen sowohl grosses als kleines Patron und meist hellrothen oder gelben Lack,
der jetzt sehr nachgedunkelt erscheint. Das Holz ist gut, wenn auch oft unscheinbar,
nur ungleich in den Stärkenverhältnissen. Der Ton ist immer kräftig,
wenn auch nicht sehr ansprechend. Er stand schon bei Lebzeiten in hohem Ansehen
und bildete eine Reihe tüchtiger Schüler aus. In Thomas Britton’s
Katalog liest man: »a violin by Cl. Pierray as good as a Cremona«. Bessere
Arbeiten von ihm werden jetzt von Liebhabern bis 1000 M. bezahlt, was freilich