CHARLES JOSEPH THEODORE GUINOT; THE FOLLOWEREven though it is an expression used in the jargon of cycling, it is a figure you can find in any field. Usually the followers are persons with a good talent, who haven’t though the capability to compete with their leader. You can make them work hard, getting the best out of them. As in the case of Guinot, the “follower”.
Violin bow by Charles Joseph Théodore Guinot 1840 cc. Charles Joseph Théodore Guinot was born on the 27th of october 1809 in Mirecourt. He was son of the winemaker Antonie Guinot and Anne-Francoise Rol. He became familiar with bow making by working in several of the citizens workshops, and the way he worked leaves us more than one clue that might make us understand by whom. Charles Joseph Théodore Guinot married Marie-Louise Joséphine Monath, on the 18th of April 1836, and opened his workshop in about the same period. We are not aware of any of his work after 1855, even though he remained registered as a bow maker until his death. After his first wife died on the 26th of July 1855, he married Marie Félicité Bonne on the 1st of April 1856 – who died the 17th of November 1857. Then he married Geneviève Adélaide Rosalie Quié, on the 15th of February 1858 - who died the 26th of May 1862 and last he married Jeanne Dié, on the 14th of November 1868 - who died on the 17th of November 1872. A true “black widow” he was! After having buried his last wife Charles Joseph Théodore Guino died on the 20th of June 1877, at the age of 68, in his native town. Now I will get on to why I call him the follower. You will notes it when you look on the photo of the post. Leaving a part the frog, which probably isn't original, the more you look at the bow head the more it looks familiar. Obviously the bow head is much less refined, but in the geometry, or in the development of it, I believe you can foresee the phantom of Fonclause? It is a bow head with a round chamfer and quite angled on the inside of the throat, and it has very thin cheeks. All typical to see in bow heads made by Fonclause, in the beginning of his career – that is when Fonclause worked for Pajeot. It is easy to believe that Charles Joseph Théodore Guinot attended the workshop of Pajeot. It isn't a documented statement, but his work says it all. In the those years his style was inspired by Fonclause and at the same time Fonclause worked as the second captain at the workshop Pajeot. When Fonclause betrayed his superior and moved to Paris - taking with him the secrets of the selfrehairing bow - the young Guinot “probably” returned under supervision of Pajeot and so did his style. Pajeot died in 1849, and the style of Charles Joseph Theodore Guinot, changed towards Jean Grand Adam, who, note the coincidence, in those years had returned from Paris, to open up His expanded workshop. Guinot was the perfect follower. If someone is very talented, as Fonclause and Maire, sooner or later they will try to start their own workshop. With a double damage to the Master who looses a good worker and gain a rival. In the case of Fonclause and Maire - even more talented than their Master. If someone is only slightly good at his job that is not talented enough to compete with his Master, but enough to do an honest work, it is unlikely he will defy, but remain a faithful and useful worker. Even if Charles Joseph Théodore Guinot, didn't make bows after 1855. Guinot had still worked for thirty years - the Mirecourt standard was 2500/3000 - but out and about, you won't find any of his bows. Who knows who he rode for? So long, Paolo To read more about this topic: ETIENNE PAJEOT; THE THOUSAND HEADED BOW MAKER CLAUDE JOSEPH FONCLAUSE; THE NICE NICOLAS REMY MAIRE; THE HUMBLE VUILLAUME, PAJEOT AND INDUSTRIAL SPYING
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