Antoine Despont

History

Antoine Despont worked in Paris, France, with sources providing conflicting information regarding his active period. Cecie Stainer notes him as a maker in Paris about 1610, while John Dilworth states he worked circa 1634-1669. Willibald Leo Lütgendorff mentions his involvement in the Médard process in 1636. He was known as 'Maître d'instruments de musique' and operated from a workshop at the sign of 'The Royal Lute'. According to John Dilworth, Despont was held in good regard during his own time, but the poor work subsequently attributed to him through falsification has diminished his later reputation. Dilworth notes that, according to Vannes, Despont has been the victim of much falsification and misrepresentation. George Hart, however, states that Despont is said to have made excellent instruments of various patterns.

Craft

• Patterns: Antoine Despont followed Italian patterns closely, according to Cecie Stainer.
• Tone: Cecie Stainer states that Despont failed to obtain a good tone in his instruments.
• Workmanship & Varnish: Sources contain conflicting information regarding the quality of his instruments. Cecie Stainer describes one known instrument as 'badly made and badly varnished'. John Dilworth references Henley's highly critical description of a coarse instrument of 'slip-shod' workmanship attributed to Despont. Conversely, Willibald Leo Lütgendorff notes that various good instruments by him are said to still exist, although Vidal was unable to locate any. Lütgendorff also mentions that violins superficially made after Italian models, with poor wood and poor varnish, bearing his name, are clearly later forgeries.
• Rarity: Authentic instruments by Antoine Despont are very rare, as noted by Cecie Stainer and John Dilworth.

Further Information

• Workshop Location: Antoine Despont's workshop was located 'Sur le Pont Notre. Dame / Au Luth Royale' in Paris.
• Expert Role: Willibald Leo Lütgendorff notes that Despont appeared as an expert in the Médard process in 1636.
• Name Variations: According to Willibald Leo Lütgendorff, the name is documented as D'Hespont, while Vidal writes 'Despont' and Fétis writes 'Despons'.
• Label: An example of his label reads: 'Antoine Despont demeurant / A Paris / Sur le Pont Notre. Dame / Au Luth Royale / 1634'.

Summary

Antoine Despont was a 'Maître d'instruments de musique' working in Paris, France, from a workshop at 'The Royal Lute'. His active period is subject to conflicting dates, with sources suggesting activity around 1610 and between 1634-1669. He followed Italian patterns, but the quality of his instruments is debated among historians, with some describing them as poorly made and varnished, while others suggest he made excellent instruments. Authentic instruments by Despont are very rare, and he has been a victim of significant falsification, leading to a diminished reputation due to later, inferior works bearing his name.