Joseph Bassot
Lyon, Mirecourt, Paris, c.1740–1808
Joseph Bassot (1740-c.1808) was a Parisian violin maker originally from Mirecourt, active from around 1774. He operated from the Quinze-Vingt and later at 1 rue Chabanais. His early work featured yellow varnish and an undistinguished Mirecourtian style, but his mature instruments, including violins, cellos, and violas, adopted a Lupot-Stradivari manner with a fine amber red-brown varnish and delicately fashioned scrolls. Sources note a progression in his craftsmanship, though some suggest he may have used his labels on instruments made by others due to varying quality. Instruments bearing his label dated after 1808 are considered products of commercial workshops.
Auction Price History
Highest auction price
23 results
| Type | Details | Auction house | Sold | Price |
|---|---|---|---|---|
| Violin | Bearing the maker's label, lower rib and table restorations including the sound post crack Lot 225 | Laurent | January 2024 | £19,145est. € 20.000-25.000 |
| Violin | One-piece back of faint broad curl, later varnish of a reddish-brown colour on a golden ground, alterations Lot 1415 | Gardiner Houlgate | June 2018 | £5,280est. £ 3,000-5,000 |
| Violin | Labelled JOSEPH BASSOT Luthier / a Parisi 1804 Lot 50 | Freeman's | November 2015 | £8,176est. $ 12,000-15,000 |
| Cello | Branded Bassot à Paris to the back and rib Lot 736 | Vichy | June 2015 | £4,228est. € 1.000 |
| Violin | Bearing the maker's label Lot 303 | Vichy | December 2014 | £3,579est. € 3.500-4.000 |
| Violin | Violin, 1795-1800 c. Lot 320 | Vichy | December 2014 | £6,121est. € 7.000-8.000 |
| Violin | Inscribed to the inside back Rebaré (sic) par DuMoulin, Bordeaux, 1826 Lot 243 | Tarisio | October 2013 | £10,537est. $ 6,000-9,000 |
| Violin | Violin, 1800 c. Lot 408 | Vichy | June 2013 | £18,360est. € 12.000-13.000 |
| Violin | Bearing the maker's label Lot 467 | Vichy | June 2012 | £4,367 |
| Violin | 35.9 cm Paris, 1785 | — | January 2011 | £16,380 |
| Violin | 35.7 cm Lyon, 1930 | — | January 2011 | £1,063 |
| Violin | 35.8 cm Paris, 1789 | — | January 2010 | £19,676 |
| Violin | 36.0 cm Paris, 1795-1800 c. | — | January 2009 | £11,927 |
| Violin | 35.6 cm Paris, 1806 c. Probably by | — | January 2009 | £3,064 |
| Viola | 39.6 cm Paris, 1788 | — | January 2004 | £5,975 |
| Violin | 1780 c. | — | January 2002 | £5,805 |
| Viola | 39.7 cm 1887 | — | January 1999 | £8,853 |
| Violin | 17-- | — | January 1997 | £4,600 |
| Violin | 1791 | — | January 1996 | £1,725 |
| Cello | 1798 | — | January 1988 | £2,640 |
| Violin | 1750-99 | — | January 1986 | £2,200 |
| Viola | 40.6 cm 1780 c. | — | January 1984 | £5,500 |
| Violin | 1785 | — | January 1984 | £2,444 |
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Maker Overview
Life
Joseph Bassot (1740-c.1808) was a violin maker born in Mirecourt in 1740, who later established himself in Paris from 1774. He was active in Paris about 1780 to 1802, residing at the Quinze-Vingt in 1783, and then at rue Chabanais from 1788. John Dilworth specifies his address as 1 rue Chabanais from 1788. He passed away around 1808 in Paris, France.
Characteristics
- Workmanship
- , his violins show such variation in workmanship, wood choice, varnish, and model that it suggests he may have affixed his labels to instruments made by others.
- Early Period
- Cecie Stainer notes that his earlier instruments, featuring yellow varnish, were not as well made. John Dilworth describes his early instruments as being in an undistinguished Mirecourtian style with yellow varnish. Willibald Leo Lütgendorff adds that during his initial period, while residing at Quinze Vingts, he used poor wood and a bad yellow varnish, though the purfling, often made of fishbone, was clean.
- Mature Work
- John Dilworth states that his mature work was in the Lupot-Stradivari manner, though it lacked finesse. He crafted beautiful violins, cellos, and violas.
- Varnish
- Cecie Stainer mentions his use of brown varnish, sometimes tinged with red. John Dilworth describes a fine amber red-brown varnish. Willibald Leo Lütgendorff notes that he later used a better, mostly red varnish.
- Scroll
- John Dilworth highlights a delicately fashioned scroll.
- Progression
- Willibald Leo Lütgendorff observes that he made noticeable progress over time, becoming more careful in his wood selection, working more precisely, and applying a better varnish. His best violins are considered usable orchestral instruments.
- Luthier,
à Paris, 17..John Dilworth
Influence and legacy
- Posthumous Labels: John Dilworth states that instruments extant with labels dated after 1808 are the product of commercial workshops that acquired and used a stock of his labels after his death.
Further Information
- Addresses: He was located at the Quinze-Vingt in 1783, and at rue Chabanais from 1788, specifically 1 rue Chabanais.
- Label: An example label reads "Joseph Bassot. Luthier, / à Paris, 17..".
Biographies
The overview above is drawn from the following published accounts. Read them in the original:
John Dilworth+
BASSOT, Joseph Born 1740 Mirecourt, d.c.1808 Paris France. Established in Paris from 1774; at 1 rue Chabannais from 1788. Early instruments in undistinguished Mirecourtian style with yellow varnish. Mature work in the Lupot-Stradivari manner, though lacking finesse. Delicately fashioned scroll. Fine amber red-brown varnish. Admirable cellos and violas. Instruments extant with label date after 1808 are the product of commercial workshops who acquired and used a stock of his labels after his death. Joseph Bassot. Luthier, / à Paris, 17..
Willibald Leo Lütgendorff+
Vidal rechnet ihn zwar zu den guten Pariser Geigenmachern aus der zweiten
Hälfte des 18. Jahrh., doch sehen seine Geigen so verschieden aus, sowohl was die Arbeit, die Wahl des Holzes und des Lackes als des Modells anbelangt,
dass man zu der Annahme, er habe fremde Instrumente mit seinen Zetteln versehen,
gezwungen wird. In seiner ersten Zeit, solange er noch Quinze Vingts wohnte, verwendete er schlechtes Holz und hatte einen schlechten gelben Lack, nur die Einlagen, die oft aus Fischbein bestehen, sind sauber. Später machte er zusehends Fortschritte, er wird sorgfältiger in der Wahl des Holzes, arbeitet genauer und verwendet einen besseren, meist rothen Lack. Seine Werkstatt hatte er 1788
nach der Rue Chabanais No. 1 verlegt. Seine besten Geigen können als brauchbare Orchester-Instrumente gelten.
Cecie Stainer+
A maker in Paris about 1780 to 1802, at the Quinze- Vingt (1783), then rue Chabanais (1788). He made beautiful violins, with brown varnish, sometimes tinged with red. His earlier instruments, with yellow varnish, are not so well made.
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