Search:
corilon violins

Search

Instrument finder

What kind of sound are you
looking for?
You can select one or more search fields and combine them however you like.

Instruments
Provenance
Year
Tone

Information archive

More detailed information about stringed instruments and the history of violin making.

Enter archive

corilon violins

Bernard Millant and Le Canu-Millant, Paris: lutherie and expertise


About Bernard Millant, the renowned expert and great master violin and bow maker, and his successors Loïc and Verena Le Canu


Making his first violin at the tender age of 13 marked the beginning of Bernard Millant’s career. Then again, it may have started even earlier, for Bernard Millant presumably spent a great deal of time in his father’s workshop from his early childhood on, as befitted a scion of one of the oldest and most venerated French violin-making dynasties. Born in 1929 to Max Stanislas Millant and Suzanne Lardon, Bernard Millant’s roots extend back to Mirecourt, where his grandfather Sébastien-Auguste Deroux and his family had become well-established luthiers by the mid-18th century. Bernard Millant returned to his place of ancestry when he began his apprenticeship under Amédée Dieudonné in Mirecourt in 1946. He stayed there until 1949, simultaneously learning the art of bow making at the Morizot Frères’ atelier. After his apprenticeship, Bernard Millant worked for Lazare Rudié in New York where he met Rembert Wurlitzer, an encounter that sparked his further vocation as a valuator and expert. In 1950 Millant returned to Paris and set up shop in 56 Rue de Rome, just a few doors away from the workshop owned by his father Max and his uncle Roger, and not far from the building where Millant’s greatest apprentice, J.-F. Raffin, would later establish his atelier.

Bernard Millant invented his own bow design by studying a collection of antique bows that was in his family’s possession. His model was an interesting and ingenious synthesis of elements from the Peccatte school, which influenced the style of the head, and from the English bow-making tradition, particularly the frog with its Hill-style underslide. Despite his concentration on bow making, Millant never abandoned his origins. He rose to be a multitalented master, as evidenced by his first great success, when he was awarded two certificates of honour at the International String Quartet competition in Liège in 1954, one for a quartet of instruments and the other for a quartet of bows. Upon winning a gold medal in Ascoli Piceno in 1959, Bernard Millant began one of the most productive and successful phases of his career. The sought-after bow maker and restorer went on to become a valuator of international repute, whose expertise and powers of discernment are respected to this day. Perhaps it was Millant’s critical, expert eye that inspired him not only to stamp his bows with the words BERNARD MILLANT PARIS, but also to inscribe the year of origin on the underslide, for he knew well what a difficult and complex task it could be to appraise a bow of unknown provenance. All products of his own workmanship bear the name Millant in lasting tribute to their maker, who ranks among the great masters of the French bow-making tradition, and are highly esteemed by professional musicians.

In 1989 Bernard Millant passed his business on to Loïc Le Canu. From 1996 to 2000 he collaborated with his former apprentice J.-F. Raffin on writing the monumental two-volume work L’Archet, a history of French bow making. This achievement firmly established Bernard Millant as a great authority. Millant found worthy successors in Loïc and Verena Le Canu. Both worked for Max Möller—who, like Millant, apprenticed under Amédée Dieudonné—at his renowned atelier in Amsterdam. Before that, both had pursued their training at several major international ateliers, including that of André and René Morizot, the last of the famous Morizot frères, in Mirecourt. The Le Canu-Millant atelier continues on in the spirit of Bernard Millant, who still regularly visits his old workshop and remains active as an expert, as the new owners carry on the business of violin making, restoration, consultation and scholarship in the tradition of their great predecessor.






Related information:

Returns and refund policy

Trade guarantee

Shipping costs

Consignment sales



 

Corilon violins • Lilienstrasse 2 • D-81669 München • Germany
Phone: +49 (0)89-444 19 619 • Fax: +49 (0)89-444 19 620
mail@corilon.comwww.corilon.com

New arrivals in our catalogue:
  • Early 19th century Hopf violin, approx. 1820 - sweet sound
  • LEASE ONLY: Fine 18th century Italian violin (certificate Hieronymus Köstler)
  • Fernando Montavoci, rare 1936 Italian violin
  • Modern German Bubenreuth violin, c1970
  • English violin bow, silver mounted, after James Tubbs
  • German violin bow, mellow, light, silver mounted, M. Winterling
  • Older German viola bow, silver mounted - a strong player
  • Fine and excellent silver mounted cello bow, Lothar Seifert
  • 3/4 - German 3/4 violin, Hermann Keim, 1991
  • WORKED OVER AND TONALLY OPTIMIZED: Contemporary Markneukirchen master viola, Jochen Voigt, 1982
  • German silver-mounted violin bow, Markneukirchen, 1940's
  • H.R. Pfretzschner violin bow, silver mounted (certificate Klaus Grünke)
  • 19th century Klingenthal Hopf violin for small handed players
  • French violin, Maison Gustave Faes, Anvers
  • LEASE ONLY: Fine Italian master violin, Giuseppe Marconcini, Ferrara
  • Antique English violin, Emanuel Whitmarsh, London, 1893
  • Plinio Michetti, a fine old Italian violin, Torino
  • Giulio Cesare Gigli, fine 18th century Italian violin, approx. 1750
  • Jean-Joseph Honoré Derazey: French master violin (certificate Hieronymus Köstler)
  • Good Mittenwald 7/8 violin, 1988, Mathias Klotz workshop
  • WORKED OVER AND OPTIMIZED: Historic French violin, Remy Paris approx. 1840 (certificate Bernard Millant)
  • Good French violin bow by Prosper Colas
  • Fine old Mittenwald violin by Anton Ostler, 1930's
  • Modern Italian 7/8 violin, Carlo Melloni, 1932 (certificate Eric Blot)