COUSINEAU, Paris, about the end of the 18th century. Well made, name often branded on button.
CUNAULT, Georges, Paris, contemporary; worked with Miremont, and afterwards alone; a careful maker.
CUNY, ——, Paris. 18th century.
CUYPERS, Johannes, 1755-18—. Worked at the Hague; varnish often yellow in colour. Well finished instruments, which are rising in value.
DANIEL, ——, 1656, is described as having made a Double-Bass for the orchestra of one of the chapels at Antwerp Cathedral.
DARCHE, Nicholas, Aix la Chapelle, died 1873. Made many useful instruments on the lines of the Cremonese Masters. Other makers of this name worked in Brussels and Mirecourt in the 19th century.
DAVID, ——. Maker to the court of Louis XVI.
| Fait à Tournay par Ambroise de Comble, 1750. |
DE COMBLE, Ambroise, Tournay, about 1760. It is said that he worked in the shop of Antonio Stradivari, and judging from the character of the work, together with that of the varnish, it is not unlikely that he did receive instructions from the great Cremonese maker. The varnish is very like Italian; the colour often a rich red, with much body. His instruments are inclined to roughness as regards workmanship, and therefore are not pleasing to the eye. There is a resemblance to the instruments of Stradivari after 1732 in form, though not in workmanship, and he would therefore seem to have copied those late instruments. They may be described as of large pattern, flat model, and having an abundance of wood. They are deserving of attention both from the professor and the amateur, the workmanship being skilful and the material excellent. The tone is large, and frequently possesses the richness so much admired in the works of the Italians. This quality is traceable to the soft and flexible nature of the superior varnish with which these instruments are covered. Several Violas and Violoncellos are extant which were made by De Comble.
DEHOMMAIS, Paris, 1870. See [GERMAIN (Emile)].