Didier L’Aine Nicolas

History

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, as noted by John Dilworth 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', according to Cecie Stainer. 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, as stated by Cecie Stainer. 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, according to John Dilworth.

Craft

• Workmanship: Didier L'Aine Nicolas produced instruments that were effective rather than artistic in their workmanship, generally on a slightly oversized pattern, as described by John Dilworth. 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, according to John Dilworth. 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, according to George Hart. 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, as noted by John Dilworth.

Influence

• Family Lineage: Didier L'Aine Nicolas was the son of Antoine Nicolas, as stated by John Dilworth.

Legacy

• 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, according to John Dilworth.
• 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.

Further Information

• Branding and Labeling: Instruments were branded within the back, in place of a label, with 'A la Ville de Cremonne' (sic) arranged in a triangular form, as described by John Dilworth. George Hart notes that they are mostly stamped on the back, inside, 'A la ville de Cremonne, D. Nicolas Aine.' Cecie Stainer confirms they are branded, just where the label is usually placed, with the inscription: 'A la ville de Cremone, D. Nicolas, aine.' Internally, on the treble side, instruments were signed 'D. Nicolas aîné à Mirecourt', according to John Dilworth.
• Workshop Location: His workshops were located in Mirecourt, where he was born and died, and his internal signature also specifies 'à Mirecourt'.
• Business Sign: His business was carried on at the sign of 'A la ville de Cremone', as noted by Cecie Stainer.

Summary

Didier L'Aine Nicolas (1757-1833), known as 'le Sourd', was a highly prolific and commercial violin maker from Mirecourt, France, and the son of Antoine Nicolas. He operated his business under the sign 'A la ville de Cremone' and was notable for being the first Mirecourt maker to exhibit his work in 1802, later receiving a silver medal in 1806. His workshops were extensive, employing up to 600 craftsmen at the time of his death. Nicolas's instruments, often on a slightly oversized Stradivari pattern with large, open soundholes, were considered effective and possessed a powerful tone suitable for orchestras, though not always regarded as artistic masterpieces. He utilized both red-brown and thin yellow varnishes. His instruments were typically branded internally with 'A la Ville de Cremonne' in a triangular form and signed 'D. Nicolas aîné à Mirecourt'. His business and distinctive branding style were continued by his son Joseph, and later by Derazey, Laberte, and Magnie into the 20th century.