Cello Bow by Emile A Ouchard, Paris c.1940
Émile Auguste Ouchard (b.1900 – d.1969) Born in 1900 in Mirecourt (Vosges). Émile Auguste Ouchard studied with his father Émile François in the Mirecourt workshop of Cuniot-Hury, he began to assist him sometime around 1913. E.A. Ouchard worked for a few years with his father at rue Canon in Mirecourt. Émile Auguste produced progressively more well-crafted bows in collaboration with his father.
Around 1930 his work matured, becoming rounder and more sophisticated. By the mid 1930’s he began to use Hill underslides. In 1940 he started his own workshop at rue de Rome in Paris, during this period the heads of his bows increase in thickness and strength, this gradual development marks the golden period of his production, approximately 1940-1960.
In 1946 he left for the United States in 1946. At first he worked independently before obtaining an exclusive position with the firm of William Lewis & Son, Chicago in 1948.
His bows show similarities to those of the Voirin-Lamy school.
An artist making bows with perfect symmetry, balance, suppleness and resistance allowing natural staccato and cantabile sound.
He died in Gan in 1969.
Collaborators & successors include Bernard Ouchard (b. 1925) (son) and Jean Claude Ouchard (b. 1935) (son).
Stamps include: Emile OUCHARD» (first period) «E.A. OUCHARD FILS» «E.A. OUCHARD PARIS» «E.A. OUCHARD».
“His son, Bernard, ( b.1925 ) became his pupil, and worked with Vidoudez in Geneva before being appointed professor of bow making at the Mirecourt school in 1971, giving rise to the New French School which has produced such luminaries as Benoit Rolland, Jean-François Raffin and Stéphane Thomachot. Most notable of the younger generation include Edwin Clément, Sylvain Bigot, Gilles Nehr and Yannick LeCanu.” – Gennady Filimonov ”
As playing tools, bows by Emile A. Ouchard are similar to those by Sartory in that they are designed to accommodate the player’s need for weight and strength in a bow. Some in the trade have maintained that bows by E.A. Ouchard are often actually superior in craftsmanship to those by Sartory. There is merit to this argument, but in general Ouchard bows go further in the direction of strength and weight than Sartory bows, and they require even more cushioning intervention to produce the optimal tone quality.” – Stefan Hersh
He received the Grand Prix at the 1942 Internationl Paris Exhibition.
The following stamps on bows by E.A. Ouchard : Maurice Bourguignon, Georges Cone, Cone Georges & Fils, Lucien Schmidt.
The round stick of pernambuco of a dark orange-brown colour, silver mounted ebony frog inlaid with Parisian eye. Plain silver adjuster.
Stamped ‘E.A.OUCHARD PARIS’ on the shaft
Condition as new
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