Francois-Louis Pique

History

Francois-Louis Pique (1758-1822) was born in 1758 in Roret, Mirecourt, and passed away in 1822 in Charenton-Saint-Maurice, France. He served his apprenticeship under E. Saunier in Mirecourt. Pique established himself in Paris from 1777, initially on the rue Coquillière. He moved to rue Platrière from 1778 to 1779 before returning to the rue Coquillière, and finally relocated to 52 rue de Grenelles Saint-Honoré, where he remained until his retirement in 1816. He retired to Charenton-Saint-Maurice in 1816. According to John Dilworth, Pique was a highly important and influential maker, considered a guiding light of the post-revolutionary Paris school. He is distinguished from the earlier 'vieux Paris' style by his academic application of Stradivari ideas and workmanship. Although born in the same year as Nicolas Lupot, Pique was seen as the senior of the two, having been established in Paris from an earlier date. He commissioned work from Lupot from approximately 1792. Willibald Leo Lütgendorff notes that it is a fact that Lupot made violins for Pique, which Pique then varnished and provided with his labels. Cecie Stainer further specifies that in 1792, Pique applied to Nicolas Lupot, who was then still in Mirecourt, for a certain number of unvarnished violins, which Pique subsequently varnished himself and sold under his own label. By the time of Pique's retirement in 1816, Lupot had settled in the capital in 1796 and was clearly the more prestigious maker. Despite his retirement, his business appears to have continued for some time, as evidenced by a violin with his label dated 1830 found in the Snoeck collection.

Craft

• Style and Workmanship: Francois-Louis Pique was a very fine copyist of Stradivari, distinguishing himself with an academic application of Stradivari ideas and exemplary workmanship. His work is generally on a large scale, though John Dilworth notes it can be a little clumsy compared to Lupot's best work. He was not slavish in his adherence to Stradivari in the detail of his work.
• Scrolls: Scrolls are well-proportioned but often quite distinctive, sometimes even eccentric, and described as graceful by Willibald Leo Lütgendorff.
• Purfling: The ebony purfling generally features an exaggerated mitre, sweeping across the corner.
• Functionality: His instruments are functionally very good.
• Materials: Pique used very fine materials, often preferring one-piece backs. However, some instruments have relatively coarse wood in the tops. The wood quality is generally described as very good.
• Varnish: The varnish can vary from a rather dry, dull red to a more luscious and oily orange-brown with a tendency to craquelure. Cecie Stainer describes his varnish as a dark red oil varnish, rather opaque. Willibald Leo Lütgendorff notes the varnish is of a beautiful red or reddish-brown color, though sometimes too thick and not transparent enough.
• Soundholes: Soundholes are usually fairly straight and upright, and described as sweeping by Willibald Leo Lütgendorff.
• Instrument Rarity: Violas and cellos made by Pique are extremely rare.
• Specific Instruments: The Paris Conservatorium possesses a theorbo from 1779 made by Pique, and Prince Lobkowitz owns a violin from 1806 located at Schloss Roudnic.

Influence

• Training: Francois-Louis Pique was apprenticed to E. Saunier in Mirecourt.
• School and Tradition: He is considered a guiding light of the post-revolutionary Paris school, distinguishing its style from the earlier 'vieux Paris' tradition.
• Mentorship/Relationship: Pique was seen as senior to Nicolas Lupot, having established himself in Paris earlier. He commissioned work from Lupot from approximately 1792, with Lupot making unvarnished violins that Pique then varnished and labeled.

Legacy

• Recognition: His violins are mentioned by Spohr in his Methode de Violon as being among the best of the period.
• Market Value: Pique's instruments vary in price, with the best reaching prices up to 2000 Marks (according to Lütgendorff) or as much as £50 (according to Stainer).
• Institutional Supply: He was a supplier to the Conservatorium.
• Collections: A theorbo from 1779 is held by the Paris Conservatorium, and a violin from 1806 is owned by Prince Lobkowitz at Schloss Roudnic.

Further Information

• Workshop Locations: Pique's workshop locations in Paris included the rue Coquillière (from 1777, and again around 1790), rue Platrière (1778-1779), and finally 52 rue de Grenelles Saint-Honoré (until 1816). Specific descriptions include "rue Coquilliere au coin de la rue du Bouloy" (around 1777-1779), "rue Platriere vis-a-vis de l'Hotel de Bullion" (1787-1789), "rue Coquilliere vis-a-vis le Roulage de France" (around 1790), and "36, rue de Grenelle-St -Honore" or "52 rue de Grenelles Saint-Honoré".
• Manuscript Labels: Examples of his manuscript labels include "Pique rue grenelle N25 / fait à Paris 1777", "Pique / rue Coquillière / vis-à-vis le Roulage / de France. à Paris, 1791", "Pique rue de Grenelle / St. Honoré No 52 / à Paris, 1797", and "Pique Rue Coquillière / vis à vis L'hotel du / Roulage à Paris, 1789".
• Printed Labels: An example of a printed label is "Pique, rue de Grenelle / St. Honoré, au coin de celle / des 2 Ecus, à Paris, 18..".
• Post-Retirement Activity: A violin with his label and the year 1830 is found in the Snoeck collection, suggesting his business may have continued for some time after his official retirement in 1816.

Summary

Francois-Louis Pique (1758-1822) was an influential French luthier, born in Mirecourt, who established his workshop in Paris from 1777. Apprenticed under E. Saunier, he became a guiding light of the post-revolutionary Paris school, known for his academic application of Stradivari's ideas and exemplary workmanship. Pique was considered senior to Nicolas Lupot, even commissioning unvarnished instruments from him which Pique then finished and labeled. His craftsmanship is characterized by well-proportioned, sometimes eccentric scrolls, exaggerated ebony purfling, and the use of fine materials, often with one-piece backs. His varnish varied from dry red to luscious orange-brown. Pique retired in 1816, but his legacy continued, with his instruments recognized for their quality and functionality.