Didier Nicolas L’Aîné

Life

Didier L'Aine Nicolas (1757-1833), also known as 'le Sourd' ('the deaf one'), was born in Mirecourt and died there, as documented by Cecie Stainer. He was the son of Antoine Nicolas in The Brompton's Book of Violin & Bow Makers. Didier L'Aine Nicolas was a highly prolific and commercial maker, operating his business under the sign of 'A la ville de Cremone'. He first exhibited his work in 1802, becoming the first maker from Mirecourt to do so, and although he received no award then, he was later awarded a silver medal at the Paris Exhibition in 1806. By 1810, his workshops employed approximately 500 craftsmen, a number that grew to about 600 workmen at the time of his death. The business was continued after Didier's death by his son, Joseph. Even after Joseph's death in 1864, the distinctive triangular brand associated with Didier L'Aine Nicolas was continued by Derazey and subsequently passed to Laberte and Magnie of Mirecourt, who continued to produce violins in the Didier Nicolas style well into the 20th century.

Characteristics

Workmanship

Didier L'Aine Nicolas produced instruments that were effective rather than artistic in their workmanship, generally on a slightly oversized pattern. Cecie Stainer notes that he was a clever workman who made large quantities of instruments that were fairly good, though sometimes deficient in certain respects. Willibald Leo Lütgendorff, in Die Geigen- und Lautenmacher vom Mittelalter bis bis zur Gegenwart, states that he made quite good, inexpensive violins which, while not considered true works of art, possessed praiseworthy qualities.

Pattern and Design

His best work features his signature on the label and represents good examples of the Stradivari pattern, characterized by rather large, open, and broadly spaced soundholes. George Hart, in The Violin, also notes that his instruments are chiefly of large size, with an outline after that of Stradivari. Cecie Stainer adds that they are generally on a large pattern and slightly arched, with sound-holes that are rather peculiar in cut and very widely opened in the middle.

Varnish

The best instruments typically have a red-brown varnish, while a second category of production, often the work of his employees, features a thin yellow varnish, as detailed by John Dilworth. Cecie Stainer mentions varnish that is either red-brown tinged with yellow or a bright red color, noting that instruments with red varnish are generally superior in work. George Hart describes the color as yellow.

Tone

The instruments are known for their very powerful tone, admirably adapted for orchestral use. Cecie Stainer also describes the tone as large and suitable for orchestras.

Production

Didier L'Aine Nicolas was highly prolific, producing many small violas in addition to violins.

Influence and legacy

• Family Lineage: Didier L'Aine Nicolas was the son of Antoine Nicolas.
• Business Continuity: After Didier L'Aine Nicolas's death, his business was continued by his son, Joseph. The distinctive triangular brand was subsequently carried on by Derazey and later by Laberte and Magnie of Mirecourt, who continued making violins in the Didier Nicolas style well into the 20th century.
• Awards and Recognition: He was the first maker from Mirecourt to exhibit his work in 1802 and was awarded a silver medal at the Paris Exhibition in 1806, as documented by Cecie Stainer.