Francois Caussin

History

Francois Caussin (1794-1866) was born in 1794 in Rouvres-la-Chétive and died in 1866 in Neufchâteau, Vosges, France. According to John Dilworth in The Brompton’s Book of Violin & Bow Makers, he was a pupil of Gaillard in Mirecourt. He established an atelier in his hometown of Rouvres-la-Chétive in 1815, later moving to Neufchâteau after 1830. Willibald Leo Lütgendorff notes in Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart that Caussin came annually to Paris with his violins, which were easily sold to dealers due to their good tone. Lütgendorff also mentions the possibility of a Nicolas Caussin.

Craft

• Workmanship: He produced finely worked copies, frequently inspired by Amati, as noted by John Dilworth.
• Varnish: Dilworth describes his varnish as good quality, usually applied in a shaded 'antiqued' manner, thin, and not highly reflective. Willibald Leo Lütgendorff adds that he was particularly skillful at imitating old varnish with all its accidental flaws.
• Models: Lütgendorff states that he mostly built after a small model.
• Experimental Forms: Dilworth also notes that he worked on some bizarre experimental forms.
• Reputation: Lütgendorff remarks that many who believe they possess a genuine Cremonese instrument actually have a 'Caussin', highlighting his exceptional skill in imitation.
• Sound Quality: His instruments were known to have good tone, according to Lütgendorff.
• Branding: Instruments were branded 'Caussin' or 'Caussin Luthier Neufchâteau (Vosges)'.

Influence

• Training: He was a pupil of Gaillard in Mirecourt, as stated by John Dilworth.

Further Information

• Workshop Locations: He established an atelier in Rouvres-la-Chétive in 1815 and later moved to Neufchâteau after 1830.
• Branding: His instruments were branded 'Caussin' or 'Caussin Luthier Neufchâteau (Vosges)'.

Summary

A French luthier, Francois Caussin (1794-1866) was a pupil of Gaillard in Mirecourt, known for his finely crafted copies of Italian instruments, particularly those inspired by Amati. He established workshops in Rouvres-la-Chétive and Neufchâteau, and his instruments, featuring good quality, antiqued varnish, were often mistaken for genuine Cremonese works due to his exceptional skill in imitation.