EESBROECK, Jean Van, 1585, Antwerp, Lute-maker. M. C. Chevalier de Brabure states he was the son of Josse van Eesbroeck, of Maria Kerch. He gives some interesting particulars relative to the connection of music with the guild of St. Luke at Antwerp, and speaks of the makers of Clavichords seeking for admission into the Guild in 1557, adding that it was natural these makers should desire to belong to a corporation so great and honourable as that of St. Luke, which since 1480 had its Chambers of Rhetoric "dite de Violiren, de Violier."
FALAISE, ——. Copied the Amatis and Stradivari. The workmanship may be likened to that of Pique. Varnish yellow and thin. There is no indication of a resort to any maturing process. Wood frequently handsome.
FENT, or FENDT, ——, Paris, 1780. A maker known among French connoisseurs; related to the Fendts who worked in London.
FLEURY, Benoist, Paris, from about 1755 to 1788. A Viol da Gamba of this maker, from the Clapisson collection, is at the Conservatoire, Paris.
FOURRIER, Nicolas, Mirecourt. See [NICOLAS].
GAILLARD, Charles, Paris, about 1850-81. Born at Mirecourt. Worked in Paris with C. A. Gand, and later on his own account. He was one of the best modern French makers, and his instruments already take high rank and command good prices.
GAILLARD-LAJOUE, J. B., Mirecourt, brother of the above. Apprenticed to Gand, for whom he worked until about 1852. Much of his work is of a high order, and his best instruments are yearly increasing in value. He died about 1870.
GAND, Charles François, Paris. He became a pupil of Nicolas Lupot in the year 1802. During his apprenticeship he proved himself an excellent maker, and was much valued by his famous instructor. He married the daughter of Lupot, and succeeded him in the Rue Croix des Petits Champs in the year 1824. The career of François Gand was one of much activity. As a repairer of the works of the great masters he early obtained a high reputation, and perhaps restored more valuable instruments than any repairer of his time. The care that he took and the judgment which he exercised in endeavouring to bring together the various broken parts of an imperfect instrument, that the original appearance might be maintained as closely as possible, cannot be too highly praised. He often accomplished seeming impossibilities. Splintered cracks were by his ingenuity closed as though no fibre had been severed, while at other times pieces were inserted so deftly that the most experienced eyes might fail to detect their presence. It was with him a labour of love, and he did not scruple to spend days over work on which others would only spend hours. He made many Violins, several of which were given as prizes at the Paris Conservatoire. They are well-made instruments, though heavy in appearance. They are good serviceable instruments, and, the wood not having been browned by baking or other injurious process, age mellows them greatly. He died in the year 1845.
GAND, Charles Adolphe, son of Charles François Gand, was instructed by his father, and succeeded, together with his brother, to the old-established house founded by his grandfather. He died in 1866.
GAND, Charles Nicholas Eugène, Paris, brother of C. Adolphe Gand, was a connoisseur of much experience and reputation. Upon the death of his brother C. Adolphe he entered into partnership with Bernardel Brothers. The firm employed many workmen, and turned out large numbers of useful, well-made instruments, with red varnish. They were the recipients of numerous medals and decorations. C. N. E. Gand died in 1892.