Nicolas Lupot

History

Nicolas Lupot (1758-1824) was born in Stuttgart, Germany, in 1758 and died in Paris, France, on August 13, 1824 (Brompton's, Stainer). He was the son and pupil of François Lupot (I) in Stuttgart and was active from around 1770 (Brompton's). He moved with his father to Orleans in 1768 (Stainer) or 1770 (Hart), and his earliest known works from Orleans are dated 1776 (Lütgendorff).

While still in Orleans, Lupot began supplying "in the white" (unvarnished) instruments to the Parisian maker François Pique around 1792 (Brompton's, Stainer). He moved to Paris in 1794 (Brompton's, Stainer, Lütgendorff). His first workshop in Paris was at 24 rue de Gramont, with labels from that address dating from 1796 (Brompton's). However, Cecie Stainer and Willibald Leo Lütgendorff state he did not open his business there until 1798. By 1810, he was established as the leading maker in Paris, and arguably throughout Europe (Brompton's).

In 1806, he moved his workshop to rue de la Croix des Petits Champs, where he remained until his death (Brompton's, Stainer). Lupot received significant official recognition, being appointed luthier to the Chapelle of the King and Emperor in 1813, luthier to King Louis XVIII in 1816, and luthier to the Conservatoire in 1817 (Brompton's). Stainer notes his appointment as maker to the King in 1815 and the Paris Conservatoire in 1816. Lütgendorff states he was appointed maker to the royal chapel in 1815 and supplier to the royal music school in 1816.

In 1820, he began the ambitious task of entirely replacing the instruments of the royal orchestra with new ones of his own, but his death cut short this work, which was completed by his successor, Charles François Gand (Stainer).

Craft

• Innovation: Nicolas Lupot made instruments "far above anything produced up to that time by French makers" by combining theory and practice to an extraordinary degree, according to Cecie Stainer. George Hart notes that Lupot "scorned all those mischievous maturing processes common to the majority of French copyists" and "never desired that his copy should pass with the unwary as the original; it left his hands wholly unsophisticated," always varnishing the copy completely and letting time do its work of wear.
• Methods: He was known for his precise work in the classical style of Stradivari (Brompton's). He carefully studied the work of Italian makers, especially Antonio Stradivari (Stainer), aiming to produce exact imitations of Stradivari violins (Stainer). George Hart states that Stradivari was Lupot's "idol," and "every feature of Lupot's instruments was clearly a matter of study with him," with "every portion of his work contributing to the harmonious whole." Hart further asserts that Lupot was "untouched in his own day, and his productions have never been approached since." It is said, according to Cecie Stainer, that "every instrument that left his workshop was entirely made by his own hands." Willibald Leo Lütgendorff noted that Lupot worked after Stradivari "ohne ihn sklavisch zu copiren" [without slavishly copying him].
• Technical Characteristics: Most of his work is in a large Stradivari model (Brompton's). His instruments are distinguished by "slightly exaggerated purfling mitres" and a "rich shaded deep red-brown varnish of slightly hard consistency" (Brompton's). His early work from Stuttgart reflected Germanic origins, being "rather stiff in form with narrow edges" (Brompton's). Cecie Stainer describes his varnish as "good quality, free from hardness," though often "too thick and heavy, especially on the violoncellos," and its color varies from yellow to dark red. George Hart further characterizes his varnish as "peculiar to him," "between the Italian and French," with its color varying "between light and dark red." Lütgendorff mentions that Lupot often applied varnish too thickly, which "im Alter leicht rissig wird" [easily cracks in old age], though this "nicht beeinträchtigt" [does not affect] the tone. Lupot also "nahm wiederholt Fischbein" [repeatedly used fishbone] for inlays (Lütgendorff). His instruments are also noted for a tone that is "round and telling, and free from roughness" (Hart).

Influence

• Training and Mentorship: Nicolas Lupot was the son and pupil of François Lupot (I) (Brompton's). He was joined briefly by his father François (who died in 1805) and his brother François (II), who specialized in bow making (Brompton's). He took Charles François Gand as his apprentice in 1802, who later became his son-in-law and successor (Brompton's, Stainer). He also took Auguste Bernardel as an assistant (Brompton's). Cecie Stainer also lists Nicolas Eugène Gand among his distinguished pupils. The Bernardel family eventually joined the Gand family, forming a significant Paris atelier (Brompton's).
• Schools/Tradition: Nicolas Lupot "exercised a great influence on the French School of violin making" (Stainer). He is widely considered "the king of modern makers" (Hart) and has been termed the "French Stradivari" (Hart, Lütgendorff).
• Notable Associations: Lupot collaborated with Abbé Sibbire in writing "La Chélonomie," published in Paris in 1806, which was described as the first important book in French on violin making (Brompton's, Stainer). He was famed for his skillful repair of old Italian instruments (Stainer). The violinist Spohr played on one of Nicolas Lupot's violins during his concert tours (Stainer, Lütgendorff).

Legacy

• Museum Collections: An example of a prize instrument made by Lupot, dated 1816 with gold leaf inscriptions, is now in the Ashmolean Museum, Oxford (Brompton's). In 1818, he restored the Andrea Amati violin of Charles IX, which is now housed in the Cremona Civic Museum (Brompton's).
• Famous Owners: The violinist Spohr used one of Lupot's violins for his concert tours; this instrument later passed into the possession of Matthai of Leipzig and then Ulrich (Stainer).
• Modern Recognition: Lupot's appointment as luthier to the Conservatoire required him to make instruments as prizes for students (Brompton's). George Hart writes that Lupot's works "will be more valued as time rolls on," and he is "the king of modern makers."

Further Information

• Historical Uncertainties: Cecie Stainer notes that Pique, the Parisian maker, made an arrangement with Lupot in 1792 to supply him with "violins in the white" (i.e., unvarnished). George Hart states, "It is said that many instruments having the name of Pique in them are the work of Lupot, and this misnomer is accounted for by the story that Pique purchased them in an unvarnished state, and varnished them with his preparation." Hart, however, believes Pique's varnish could not serve to benefit such instruments.
• Notable Quotes: "He was a real artist, and every small detail was beautifully finished," according to Cecie Stainer. George Hart describes him as "an artist in every sense of the word." Willibald Leo Lütgendorff notes that "wenn man ihn den »französischen Stradivari« nennt, so hat dies seine volle Berechtigung" [if one calls him the "French Stradivari," this is fully justified].

Summary

Nicolas Lupot (1758-1824) was a preeminent French violin maker, renowned as the "French Stradivari" for his mastery in creating instruments in the classical style of Antonio Stradivari. Born in Stuttgart and trained by his father, Lupot established his influential workshop in Paris in the late 18th century, eventually becoming the city's leading maker. He was distinguished by his precise craftsmanship, sophisticated varnish (though sometimes applied thickly), and a commitment to faithful copies of Stradivari's work, presented without artificial aging. Lupot played a significant role in the French School of violin making, collaborating on "La Chélonomie," the first important book in French on the subject, and training notable apprentices like Charles François Gand. His career was marked by prestigious appointments as luthier to the King and the Conservatoire, and his instruments are found in significant collections, including the Ashmolean Museum. Lupot's dedication to quality and his impactful contributions cemented his legacy as a master craftsman whose works continue to be highly valued.