Ambroise De Comble

History

Ambroise De Comble was a renowned Flemish violin maker, born in Tournai, Belgium, towards the end of the 17th century, and active until approximately 1760. He hailed from an old family of musicians and was himself a musician, possibly traveling to Italy as a scholarship recipient in his youth, according to Willibald Leo Lütgendorff in Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart. Sources contain conflicting information about his training; while George Hart and Cecie Stainer mention the claim that he was a pupil of Antonio Stradivari in Cremona, Lütgendorff refutes this, citing De Comble's work and verifiable lifespan as counter-evidence. His instruments are now considered scarce.

Craft

• Models: Ambroise De Comble built instruments following Italian models, often described as having a large pattern and a flat model. His violins and altos generally followed the Stradivari pattern, often well arched, with thick edges and corners. His violoncellos were frequently made on a small pattern, more arched than his violins.
• Wood: While Lütgendorff notes that De Comble was sometimes careless in his choice of wood, Stainer describes his instruments as being made of excellent wood.
• Workmanship: Sources present varied descriptions of his workmanship. Hart notes that his instruments are inclined to roughness and are not always pleasing to the eye, with details sometimes neglected. Lütgendorff also describes his work as 'unsauber' (unclean) and states he neglected 'Nebensachen' (secondary matters). Conversely, Hart also states the workmanship is skillful, and Stainer describes his instruments as 'extremely well made'.
• Varnish: His varnish was generally considered good, often a rich red or a beautiful red-brown color, sometimes described as a little dry by Stainer, but also as soft and flexible by Hart. Lütgendorff notes he often applied a yellow varnish to the top and a red varnish to the back and sides.
• Purfling: The purfling on his instruments was typically very narrow and fine.
• Tone: The tone of his instruments is almost always described as full and good, large, and rich, often possessing a quality admired in Italian works. Stainer notes the tone is equally good in all strings but may lack brilliancy.
• Labels: He used labels such as "Ambroise De Comble a Tournay, 1741" and manuscript labels like "Fait a Tournay par Ambroise de Comble, 1750", with similar labels dated 1753 and 176-.

Influence

• Mentorship: It was claimed by some, including Fétis, that Ambroise De Comble was a pupil of Antonio Stradivari in Cremona. However, Willibald Leo Lütgendorff disputes this, citing discrepancies in De Comble's working style and known timeline. George Hart suggests that, judging by the character of the work and varnish, it is not unlikely he received instruction from the great Cremonese maker.
• Stylistic Influence: Despite the debate over direct mentorship, De Comble's instruments were built after Italian models, and his forms show a resemblance to Stradivari's instruments made after 1732, suggesting he copied these later instruments.

Legacy

• Collections: Instruments by Ambroise De Comble have been noted in significant collections. Violins and violoncellos were listed in the Selhof's auction catalog in The Hague in 1759. A violoncello from the Snoeck collection (No. 587) is housed in Berlin. Prince Caraman-Chimay once owned a string quartet made by him.
• Scarcity: His instruments are now considered scarce.

Further Information

• Workshop Location: Ambroise De Comble worked in Tournay, Belgium.
• Instrument Details: His violoncellos, while generally well-made, sometimes featured plates of wood that were too thin. The sound-holes and corners on these instruments were typically well cut.

Summary

Ambroise De Comble was a prominent Flemish violin maker from Tournai, Belgium, active from the late 17th century until around 1760. Although some sources claim he was a pupil of Antonio Stradivari, this is disputed by others, who point to his distinct working style and timeline. De Comble's instruments, which are now scarce, were built on Italian models, often exhibiting a large pattern and flat arching. His varnish was typically a rich red or red-brown, and his instruments are known for their full, rich tone, despite some inconsistencies in workmanship and wood selection.