Jean Cornelius Vauchel

History

Jean Cornelius Vauchel (1782-1856) was born in Offenbach, Germany, in 1782, the son of French refugees. According to Willibald Leo Lütgendorff, his father, Joseph Maria Vauchel, was an engraver who had come to Germany as a political refugee. After the outbreak of the French Revolution, his father returned to Paris with his family, where Jean Cornelius Vauchel learned violin making and worked for Tourte, with whom he was also friends. He later returned to Germany alone, establishing himself in Würzburg around 1809 as luthier to the Grand Duke. He was also appointed maker to the court of Tuscany. Vauchel worked in various locations, including Damme and Mainz, before retiring to Schweinheim in 1853. Lütgendorff notes that Vauchel was described as an eccentric character, dedicating his free time to pigeon breeding in Schweinheim. After an incident where local youths shot his pigeons, he moved to Damm near Aschaffenburg in 1853, purchasing a small property at lit. A. Haus No. 7, where he set up a workshop with his assistant, J. Reiter. He avoided most social interaction, only occasionally conversing with a Frenchman named Régnier (or Renier). Vauchel died in 1856 in Schweinheim, Germany, and was buried on January 13, 1856, in Aschaffenburg, not in Damm, according to his last wish.

Craft

• Subheading: Early Work: According to John Dilworth, Vauchel's early work is characterized by high arches and is considered unremarkable.
• Subheading: Mature Period: His mature period shows a stronger influence from the classical Cremonese school and is regarded as more successful.
• Subheading: Workmanship: Dilworth describes his workmanship as fine and accurate. Lütgendorff adds that he worked with impeccable care, possessed fine sensibility, and valuable knowledge of acoustic laws.
• Subheading: Varnish: The varnish on his instruments was inconsistent, but the best examples are of very fine quality, as noted by Dilworth.
• Subheading: Tone Quality: Henri Poidras states that his instruments are valued by artists for their Italian quality of tone. Lütgendorff further emphasizes that the tone of his violins very closely approaches that of genuine Italian instruments.

Influence

• Subheading: Mentorship: Jean Cornelius Vauchel worked for Tourte in Paris, as stated by John Dilworth and confirmed by Willibald Leo Lütgendorff, who also notes their friendship.
• Subheading: Assistant/Student: He left his shop in the care of his assistant, J. Reiter of Mittenwald, upon his retirement. Lütgendorff identifies Reiter as his apprentice and notes that Reiter completed all unfinished works and acquired Vauchel's tools from his heirs.

Legacy

• Subheading: Patronage: Vauchel was enthusiastically supported and highly esteemed by renowned virtuosi of his period, including Niccolò Paganini and Louis Spohr, as mentioned by John Dilworth and Willibald Leo Lütgendorff.
• Subheading: Recognition: His instruments were well-paid for, and he was considered one of the best violin makers in the world by figures like Spohr and Paganini.
• Subheading: Tombstone: A violin was engraved on his tombstone in Aschaffenburg, marking his profession and artistic legacy.

Further Information

• Subheading: Workshop Locations: Vauchel worked in Offenbach, Paris, Würzburg (from circa 1809), Damme, and Mainz. He retired to Schweinheim in 1853 and later moved his workshop to Damm, specifically at lit. A. Haus No. 7.
• Subheading: Labels: John Dilworth provides examples of his manuscript labels, including "Rep von J Vauchel / Darmstadt / 1815", "J. Vauchel d'Offenbach / fecit 1850", and "J. Vauchel d'Offenbach fecit et / von J.Reiter, dessen Eleven aus Mittenwald à Isar / Vollendet in Damm / bei Aschaffenburg / Anno 1857".
• Subheading: Personal Habits: Willibald Leo Lütgendorff describes Vauchel as a peculiar individual who dedicated his free time to pigeon breeding. He was also known for his distinctive attire, wearing a brown top hat and a long coat that reached below his knees when he went out.

Summary

Jean Cornelius Vauchel (1782-1856) was a German luthier of French descent, born in Offenbach. He trained in Paris with Tourte, establishing himself in Würzburg around 1809 as luthier to the Grand Duke and the court of Tuscany. Vauchel's mature work, influenced by the classical Cremonese school, is noted for its fine and accurate workmanship, with instruments valued by artists like Niccolò Paganini and Louis Spohr for their Italian quality of tone. Despite his eccentric personal habits, including pigeon breeding, he was considered one of the best violin makers of his time.