{"id":33279,"date":"2026-10-06T14:42:53","date_gmt":"2026-10-06T12:42:53","guid":{"rendered":"https:\/\/vichy-encheres.com\/?p=33279"},"modified":"2026-10-08T11:16:48","modified_gmt":"2026-10-08T09:16:48","slug":"musique-spoliation-violon-caressa","status":"publish","type":"post","link":"https:\/\/vichy-encheres.com\/en\/2026\/10\/06\/musique-spoliation-violon-caressa\/","title":{"rendered":"D\u00e9couverte et restitution d\u2019un violon Caressa & Fran\u00e7ais spoli\u00e9 pendant la Seconde Guerre mondiale"},"content":{"rendered":"\n
<\/div>\n\n\n\n
\n

Lors de la pr\u00e9paration de nos belles ventes d\u2019instruments du quatuor de d\u00e9cembre 2024, nous d\u00e9couvrions un violon Caressa & Fran\u00e7ais fabriqu\u00e9 \u00e0 Paris en 1905 et portant le num\u00e9ro 152. Les recherches de provenance habituellement effectu\u00e9es avant sa mise en vente r\u00e9v\u00e9l\u00e8rent qu\u2019il s\u2019agissait d\u2019un instrument disparu en 1940 et recherch\u00e9 depuis la fin de la guerre. La vente fut aussit\u00f4t suspendue et de nouvelles recherches furent entreprises afin d\u2019en retracer l\u2019histoire et d\u2019en retrouver les ayants droit. Le 7 octobre 2026, quatre-vingt-six ans apr\u00e8s sa disparition, le Caressa & Fran\u00e7ais n\u00b0152 sera officiellement restitu\u00e9 \u00e0 la famille par l\u2019association Musique et Spoliations<\/em>, \u00e0 la Maison Paul Beuscher \u00e0 Paris. \u00c0 cette occasion, il sera jou\u00e9 par la violoniste Sarah Dayan, accompagn\u00e9e au piano par David Kadouch.<\/p>\n<\/blockquote>\n\n\n\n

<\/div>\n\n\n\n
Par C\u00e9cile Alves-Convert, documentaliste pour Vichy Ench\u00e8res<\/h6>\n\n\n\n
<\/div>\n\n\n\n
\n
Catalogue (bient\u00f4t disponible)<\/a><\/div>\n\n\n\n
Vente du 30 novembre 2026<\/a><\/div>\n\n\n\n
Vente du 1 d\u00e9cembre 2026<\/a><\/div>\n\n\n\n
Vente du 2 d\u00e9cembre 2026<\/a><\/div>\n\n\n\n
Vente du 3 d\u00e9cembre 2026<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
English version<\/a><\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n

Un violon fabriqu\u00e9 par Caressa & Fran\u00e7ais en 1905<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\"R\u00e9pertoire<\/a><\/figure>\n\n\n\n
\"R\u00e9pertoire<\/a><\/figure>\n\n\n\n
\"R\u00e9pertoire<\/a><\/figure>\n
R\u00e9pertoire des biens spoli\u00e9s en France durant la guerre 1939-1945, chapitre VIII, Instruments de musique<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
\n
\n

Le violon n\u00b0152 a \u00e9t\u00e9 fabriqu\u00e9 en 1905 par Caressa & Fran\u00e7ais, l\u2019une des incontournables Maisons de lutherie parisiennes du d\u00e9but du XX\u00e8me<\/sup> si\u00e8cle. Albert Caressa et Henri Fran\u00e7ais avaient repris en 1901 la Maison Gand & Bernardel et poursuivaient son activit\u00e9 sous leurs deux noms. Plusieurs luthiers et archetiers travaillaient alors dans leurs ateliers, parmi lesquels \u00c9mile Laurent et \u00c9mile Boulangeot pour la lutherie, ou encore Victor et Jules F\u00e9tique pour l\u2019arch\u00e8terie[1]<\/sup><\/a>.<\/p>\n\n\n\n

Par chance, les archives de Caressa & Fran\u00e7ais ont \u00e9t\u00e9 en grande partie conserv\u00e9es. Elles appartiennent aujourd\u2019hui au fonds \u201cLupot \/ Gand \/ Bernardel \/ Caressa & Fran\u00e7ais\u201d du Mus\u00e9e de la musique et comprennent notamment plusieurs registres d\u2019atelier permettant de retrouver les instruments pass\u00e9s entre les mains de ces luthiers<\/a>.<\/p>\n\n\n\n

Les recherches effectu\u00e9es dans ces archives permirent de retrouver notre violon, sous le n\u00b0152.Cette archive est, \u00e0 plusieurs \u00e9gards, pr\u00e9cieuse, car elle nous renseigne sur la date pr\u00e9cise de sa fabrication le 10 juillet 1905, et indique le nom du luthier, \u00e0 savoir \u201cLaurent\u201d[2]<\/sup><\/a>. <\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a> Sylvette Milliot, Nicolas Lupot, ses contemporains et ses successeurs, Pique, Thibout, Gand, Bernardel<\/em>, Messigny-et-Vantoux, JMB Impressions, 2015, volume I<\/p>\n\n\n\n

[2]<\/sup><\/a> Mus\u00e9e de la musique, registre d\u2019inventaire de l\u2019atelier Caressa & Fran\u00e7ais, 10 juillet 1905, inv. E.981.8.8<\/p>\n<\/div>\n\n\n\n

\n

Il s\u2019agit tr\u00e8s probablement d\u2019\u00c9mile Laurent fils, n\u00e9 \u00e0 Mirecourt en 1875. Celui-ci travaille tout d\u2019abord chez Paul Blanchard \u00e0 Lyon entre 1894 et 1896, avant de rejoindre \u00c9mile Germain \u00e0 Paris de 1897 \u00e0 1902. Il entre ensuite chez Caressa & Fran\u00e7ais, o\u00f9 il reste jusqu\u2019en 1908<\/a>.<\/p>\n\n\n\n

La concordance des dates est particuli\u00e8rement int\u00e9ressante puisque \u00c9mile Laurent travaille pr\u00e9cis\u00e9ment dans l\u2019atelier Caressa & Fran\u00e7ais en juillet 1905. Il est donc tr\u00e8s vraisemblable qu\u2019il s\u2019agisse de notre luthier.<\/p>\n\n\n\n

\n\n\n\n
\n
\"D\u00e9tail<\/a><\/figure>\n
D\u00e9tail du registre Caressa & Fran\u00e7ais, inscription du violon n\u00b0152, 10 juillet 1905. Mus\u00e9e de la musique<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de CARESSA & FRANCAIS fait \u00e0 Paris en 1905, luthiers du Conservatoire de Musique, n\u00b0152.
Instrument mis en vente par Vichy Ench\u00e8res le 3 d\u00e9cembre 2026.
\u00a9 Vichy Ench\u00e8res \/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Le violon n\u00b0152 dans la famille Girondelot<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\n

Concernant le propri\u00e9taire d\u2019origine du violon, les archives Caressa & Fran\u00e7ais ne livrent malheureusement aucun nom. C\u2019est seulement en 1945, lorsque Gabriel Girondelot adresse une lettre \u00e0 la Commission de r\u00e9cup\u00e9ration artistique, que le violon Caressa est associ\u00e9 \u00e0 son nom.<\/p>\n\n\n\n

Cette d\u00e9claration permet \u00e9galement de conna\u00eetre les circonstances de sa disparition. En 1940, Gabriel Girondelot, notaire \u00e0 Vitry-le-Fran\u00e7ois, avait entrepos\u00e9 une partie de ses biens dans deux ch\u00e2teaux de la Marne, \u00e0 Loisy-sur-Marne et \u00e0 Maisons-en-Champagne. Le 12 juin, devant l\u2019avanc\u00e9e des troupes allemandes, il quittait la r\u00e9gion avec sa famille pour se r\u00e9fugier dans le sud de la France. Plusieurs instruments, dont le Caressa en question, \u00e9taient alors conserv\u00e9s au ch\u00e2teau de Maisons-en-Champagne.<\/p>\n\n\n\n

D\u2019apr\u00e8s la d\u00e9claration \u00e9tablie apr\u00e8s la guerre, cinq violons furent emport\u00e9s par des soldats allemands le 15 juin 1940. Ils furent charg\u00e9s dans un camion avec diff\u00e9rents objets, parmi lesquels des bicyclettes et une machine \u00e0 coudre. Les \u00e9poux Richer, jardiniers du ch\u00e2teau, auraient assist\u00e9 \u00e0 leur enl\u00e8vement[1]<\/sup><\/a>.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a> Archives diplomatiques, dossier Gabriel Girondelot, 209SUP\/9, dossier 45.119<\/p>\n<\/div>\n\n\n\n

\n

Apr\u00e8s la guerre, Gabriel Girondelot entreprit donc des d\u00e9marches afin de retrouver ses instruments.<\/p>\n\n\n\n

Le 14 avril 1945, il \u00e9crivit \u00e0 la Commission de r\u00e9cup\u00e9ration artistique et dressa la liste des cinq violons qui lui avaient \u00e9t\u00e9 d\u00e9rob\u00e9s. Parmi eux figurait le Caressa de 1905. Trois jours plus tard, le 18 avril, M. G\u00e9raudel, archiviste, fut sollicit\u00e9 par la Commission afin de proc\u00e9der \u00e0 l\u2019expertise des cinq instruments faisant l\u2019objet de cette demande de restitution[1]<\/sup><\/a>.<\/p>\n\n\n\n

Malgr\u00e9 ces d\u00e9marches, le violon ne fut pas retrouv\u00e9. Il fut par la suite inscrit dans le R\u00e9pertoire des biens spoli\u00e9s en France durant la guerre 1939-1945<\/em>, o\u00f9 il appara\u00eet sous le num\u00e9ro de classement 2176 comme \u201cCaressa, violon, 1905 n\u00b0152\u201d, avec Gabriel Girondelot indiqu\u00e9 comme propri\u00e9taire[2]<\/sup><\/a>. Sa trace se perdait alors pour plus de quatre-vingts ans.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a> Archives diplomatiques, dossier Gabriel Girondelot, 209SUP\/9, dossier 45.119<\/p>\n\n\n\n

[2]<\/sup><\/a> R\u00e9pertoire des biens spoli\u00e9s en France durant la guerre 1939-1945<\/em>, suppl\u00e9ment aux tomes II, III et IV, p. 109<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\"Lettre<\/a>
Lettre de Gabriel Girondelot adress\u00e9e \u00e0 la Commission de r\u00e9cup\u00e9ration artistique, 14 avril 1945. Archives diplomatiques, dossier Gabriel Girondelot<\/figcaption><\/figure>\n\n\n\n
\"Sarah<\/a>
Sarah Gensburger, Images d\u2019un pillage. Album de la spoliation des Juifs \u00e0 Paris, 1940-1944, couverture<\/figcaption><\/figure>\n\n\n\n
\"Etats<\/a>
Etats des circonstances du vol au ch\u00e2teau de Maisons-en-Champagne. \u00a9 Archives diplomatiques, dossier Gabriel Girondelot, 209SUP9, dossier 45.119<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n
\n
\"R\u00e9pertoire<\/a><\/figure>\n
R\u00e9pertoire des biens spoli\u00e9s en France durant la guerre 1939-1945, chapitre VIII, Instruments de musique<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Hypoth\u00e8se concernant le propri\u00e9taire d\u2019origine<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\n

Nous ne savons pas comment le Caressa n\u00b0152 est entr\u00e9 en possession de Gabriel Girondelot, les archives de la maison Caressa & Fran\u00e7ais ne mentionnant aucun propri\u00e9taire. Parmi les autres instruments spoli\u00e9s de sa collection figure un second violon Caressa dont nous connaissons cette fois le propri\u00e9taire, Eug\u00e8ne Choubry. En effet, ici aucun doute, puisque l\u2019instrument portait au dos le nom d\u2019Eug\u00e8ne Choubry[1]<\/sup><\/a>. <\/p>\n\n\n\n

Or, Eug\u00e8ne Choubry \u00e9tait le fr\u00e8re de Madeleine Choubry, \u00e9pouse de Gabriel Girondelot[2]<\/sup><\/a>. Violoniste et \u00e9l\u00e8ve du Conservatoire de Paris, il y obtint, en ao\u00fbt 1913, un premier prix de violon et re\u00e7ut, \u00e0 cette occasion, le violon Caressa portant au dos, en lettres dor\u00e9es, l\u2019inscription \u201cEug\u00e8ne Choubry Ier prix de Conservatoire Paris\u201d.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a> R\u00e9pertoire des biens spoli\u00e9s en France durant la guerre 1939-1945<\/em>, p. 109<\/p>\n\n\n\n

[2]<\/sup><\/a> Acte de mariage d\u2019Eug\u00e8ne Gabriel Girondelot et de Madeleine Marie L\u00e9onie Choubry, Archives municipales de Reims, 1E 552<\/p>\n<\/div>\n\n\n\n

\n

Une photographie prise \u00e0 Reims le 22 septembre 1913 repr\u00e9sente d\u2019ailleurs Eug\u00e8ne Choubry avec un violon, sans qu\u2019il soit possible d\u2019identifier celui-ci[1]<\/sup><\/a>. Mobilis\u00e9 pendant la Premi\u00e8re Guerre mondiale, Choubry devint sous-lieutenant \u00e0 titre temporaire au 20e r\u00e9giment d\u2019infanterie et mourut pr\u00e9cocement au combat le 30 avril 1917 \u00e0 Moronvilliers, dans la Marne[2]<\/sup><\/a>.<\/p>\n\n\n\n

La pr\u00e9sence de ces deux Caressa parmi les biens de Gabriel Girondelot, et le lien familial de ce dernier avec Choubry, pourrait donc laisser penser que le n\u00b0152 ait lui aussi appartenu au violoniste \u00e0 l\u2019origine. Toutefois, sans preuve documentaire, cette piste reste \u00e0 l\u2019\u00e9tat d\u2019hypoth\u00e8se.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a> Musica<\/em>, n\u00b0 131, ao\u00fbt 1913<\/p>\n\n\n\n

[2]<\/sup><\/a> Service historique de la D\u00e9fense, dossiers individuels d\u2019officiers, dossier d\u2019Eug\u00e8ne Paul Choubry, sous-lieutenant \u00e0 titre temporaire au 20e r\u00e9giment d\u2019infanterie, cote GR 5 YE 128913<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\"Lettre<\/a>
Lettre de Gabriel Girondelot adress\u00e9e \u00e0 la Commission de r\u00e9cup\u00e9ration artistique,
14 avril 1945. Archives diplomatiques, dossier Gabriel Girondelot<\/figcaption><\/figure>\n\n\n\n
\"Eug\u00e8ne<\/a>
Eug\u00e8ne Paul Choubry en 1913. Fonds photographique Poyet<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n

La r\u00e9apparition du violon \u00e0 Vichy Ench\u00e8res<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\"Vichy<\/a>
Vichy Ench\u00e8res, expertises<\/figcaption><\/figure>\n\n\n\n
\"Vichy<\/a>
Vichy Ench\u00e8res, violons en vitrine lors des journ\u00e9es d’expositions<\/figcaption><\/figure>\n
\u00a9 Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\n
\n

En d\u00e9cembre 2024, soit quatre-vingt-quatre ans apr\u00e8s sa disparition, le violon Caressa n\u00b0152 r\u00e9apparait \u00e0 l\u2019occasion de la pr\u00e9paration de notre vente aux ench\u00e8res d\u2019instruments de prestige des 2 et 3 d\u00e9cembre. Comme de coutume, nous proc\u00e9dons \u00e0 plusieurs v\u00e9rifications de provenance, notamment aupr\u00e8s de l\u2019Art Loss Register<\/em>. Nos recherches nous am\u00e8nent \u00e9galement \u00e0 consulter le R\u00e9pertoire des biens spoli\u00e9s<\/em>, dans lequel nous relevons le violon Caressa de 1905 portant le m\u00eame num\u00e9ro et d\u00e9clar\u00e9 disparu par Gabriel Girondelot en 1945.<\/p>\n<\/div>\n\n\n\n

\n

La vente est alors imm\u00e9diatement suspendue et nous saisissons la Mission de recherche et de restitution des biens culturels spoli\u00e9s entre 1933 et 1945 du minist\u00e8re de la Culture.<\/p>\n\n\n\n

C\u2019est alors que le Mus\u00e9e de la musique entreprend des recherches dans les archives de l\u2019atelier Caressa & Fran\u00e7ais et retrouve le n\u00b0152 dans le registre du 10 juillet 1905. La confrontation de ce document avec la d\u00e9claration de Gabriel Girondelot de 1945 et le R\u00e9pertoire des biens spoli\u00e9s<\/em> confirmaient l’identit\u00e9 de l\u2019instrument.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de CARESSA & FRANCAIS fait \u00e0 Paris en 1905, luthiers du Conservatoire de Musique, n\u00b0152.
Instrument mis en vente par Vichy Ench\u00e8res le 3 d\u00e9cembre 2026.
\u00a9 Vichy Ench\u00e8res \/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Vers la restitution du Caressa & Fran\u00e7ais n\u00b0152<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\n

L\u2019identification du violon permit d\u2019engager les d\u00e9marches en vue de sa restitution. L\u2019\u00c9tude Gu\u00e9nifey – experte en g\u00e9n\u00e9alogie – reconstitua la descendance de Gabriel Girondelot et de Madeleine Choubry, qui avaient eu trois enfants, Marie-Louise, Henri et Genevi\u00e8ve. <\/p>\n\n\n\n

Marie-Louise \u00e9tait entr\u00e9e \u00e0 l\u2019abbaye Notre-Dame du Val d\u2019Igny, dont elle devint l\u2019abbesse. Les recherches rev\u00e9l\u00e8rent les ayants droit ainsi que l\u2019abbaye, d\u00e9sign\u00e9e comme l\u00e9gataire. L\u2019association Musique et Spoliations<\/em><\/a> prit ensuite contact avec eux afin de pr\u00e9parer la restitution.<\/p>\n<\/div>\n\n\n\n

\n

Le violon fut \u00e9galement confi\u00e9 \u00e0 nos experts Jean-Jacques Rampal et Jonathan Marolle de la Maison Vatelot-Rampal<\/a>, o\u00f9 Adela\u00efde Aumont et Thomas Vibert r\u00e9alis\u00e8rent les restaurations n\u00e9cessaires \u00e0 sa conservation et \u00e0 sa remise en jeu.<\/p>\n\n\n\n

Le 7 octobre 2026, il sera officiellement restitu\u00e9 \u00e0 la famille de Gabriel Girondelot \u00e0 la Maison Paul Beuscher, \u00e0 Paris – un \u00e9v\u00e9nement exceptionnel coordonn\u00e9 par Musique et Spoliations<\/em>. Lors de cette soir\u00e9e, Sarah Dayan jouera le violon fra\u00eechement restaur\u00e9, accompagn\u00e9e au piano par David Kadouch.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\"Restauration<\/a>
Restauration du violon Caressa dans les ateliers de la Maison Vatelot-Rampal. Maison Vatelot-Rampal<\/figcaption><\/figure>\n\n\n\n
\"D\u00e9tail<\/a>
D\u00e9tail du violon Caressa n\u00b0152 au cours de sa restauration.
Maison Vatelot-Rampal<\/figcaption><\/figure>\n\n\n\n
\"Maison<\/a>
Maison Paul Beuscher, Paris<\/figcaption><\/figure>\n\n\n\n
\"Les<\/a>
Les experts Jean-Jacques Rampal et Jonathan Marolle, de la Maison Vatelot-Rampal<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n
\n

Ainsi, la r\u00e9apparition de l\u2019instrument \u00e0 Vichy Ench\u00e8res et les recherches entreprises par la suite auront permis sa restitution, quatre-vingt-six ans apr\u00e8s sa spoliation.<\/p>\n<\/blockquote>\n\n\n\n

<\/div>\n\n\n\n
\n\n\n\n
<\/div>\n\n\n\n

THE DISCOVERY AND RESTITUTION OF A CARESSA & FRAN\u00c7AIS VIOLIN LOOTED DURING WORLD WAR II<\/h1>\n\n\n\n
\n
<\/div>\n\n\n\n

While preparing for our December 2024 sale of fine string instruments, we were presented with a Caressa & Fran\u00e7ais violin made in Paris in 1905 and bearing the number 152. Our usual provenance searches prior to the sale revealed that this instrument had disappeared in 1940 and been reported missing since the end of the war. Its sale was immediately suspended, and further research was conducted to trace the instrument’s history and locate its rightful owners. On 7 October 2026, 86 years after it disappeared, the Caressa & Fran\u00e7ais violin no. 152 will be officially returned to the family who owns it by the association<\/em> Musique et Spoliations at the Paul Beuscher store in Paris. To mark the occasion, the violin will be played by violinist Sarah Dayan, accompanied on the piano by David Kadouch<\/em>.<\/p>\n<\/blockquote>\n\n\n\n

<\/div>\n\n\n\n
By C\u00e9cile Alves-Convert, archivist at Vichy Ench\u00e8res<\/h6>\n\n\n\n
<\/div>\n\n\n\n
\n
Catalog (available soon)<\/a><\/div>\n\n\n\n
Sale on 30 November 2026<\/a><\/div>\n\n\n\n
Sale on 1 December 2026<\/a><\/div>\n\n\n\n
Sale on 2 December 2026<\/a><\/div>\n\n\n\n
Sale on 3 December 2026<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
Version fran\u00e7aise<\/a><\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n

A violin made by Caressa & Fran\u00e7ais in 1905<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\"R\u00e9pertoire<\/a><\/figure>\n\n\n\n
\"R\u00e9pertoire<\/a><\/figure>\n\n\n\n
\"R\u00e9pertoire<\/a><\/figure>\n
R\u00e9pertoire des biens spoli\u00e9s en France durant la guerre 1939-1945, chapitre VIII, Instruments de musique<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
\n
\n

Violin no. 152 was made in 1905 by Caressa & Fran\u00e7ais, one of the preeminent Parisian violin-making firms of the early 20th century. Albert Caressa and Henri Fran\u00e7ais took over the firm of Gand & Bernardel in 1901, and continued its activities under their own names. Several violin and bow makers worked in their workshops at the time, including \u00c9mile Laurent and \u00c9mile Boulangeot on the violin making side, and Victor and Jules F\u00e9tique on the bow making side[1]<\/sup><\/a>.<\/p>\n\n\n\n

Fortunately, the Caressa & Fran\u00e7ais archives have largely been preserved. They are now part of the Lupot \/ Gand \/ Bernardel \/ Caressa & Fran\u00e7ais\u201d bequest to the Mus\u00e9e de la Musique and include, in particular, several workshop ledgers that allow us to trace the instruments that passed through the hands of these makers<\/a>.<\/p>\n\n\n\n

Research conducted into these archives led to the discovery of our violin, listed as no. 152. These records are a precious source of information in more than one way, as they provide the precise date of manufacture, 10 July 1905, and indicate the name of the maker, i.e. \u201cLaurent\u201d[2]<\/sup><\/a>.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a> Sylvette Milliot, Nicolas Lupot, ses contemporains et ses successeurs, Pique, Thibout, Gand, Bernardel<\/em>, Messigny-et-Vantoux, JMB Impressions, 2015, volume I<\/p>\n\n\n\n

[2]<\/sup><\/a> Mus\u00e9e de la musique, registre d\u2019inventaire de l\u2019atelier Caressa & Fran\u00e7ais, 10 juillet 1905, inv. E.981.8.8<\/p>\n<\/div>\n\n\n\n

\n

This mention almost certainly refers to \u00c9mile Laurent fils, born in Mirecourt in 1875. He initially worked for Paul Blanchard in Lyon between 1894 and 1896, before joining \u00c9mile Germain in Paris from 1897 to 1902. He subsequently joined the firm of Caressa & Fran\u00e7ais, where he remained until 1908<\/a>.<\/p>\n\n\n\n

The timeline is particularly compelling, given that \u00c9mile Laurent was working in the workshop of Caressa & Fran\u00e7ais in July 1905. It is therefore highly likely that he is indeed the luthier who made our instrument.<\/p>\n\n\n\n

\n\n\n\n
\n
\"D\u00e9tail<\/a><\/figure>\n
D\u00e9tail du registre Caressa & Fran\u00e7ais, inscription du violon n\u00b0152, 10 juillet 1905. Mus\u00e9e de la musique<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de CARESSA & FRANCAIS fait \u00e0 Paris en 1905, luthiers du Conservatoire de Musique, n\u00b0152.
Instrument mis en vente par Vichy Ench\u00e8res le 3 d\u00e9cembre 2026.
\u00a9 Vichy Ench\u00e8res \/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Violin no. 152 and the Girondelot family<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\n

Unfortunately, the Caressa & Fran\u00e7ais records do not reveal the name of the violin\u2019s original owner. It was not until 1945, when Gabriel Girondelot wrote to the Commission de r\u00e9cup\u00e9ration artistique<\/em> (Commission for the recovery of artworks), that the Caressa violin became associated with his name.<\/p>\n\n\n\n

This declaration also sheds light on the circumstances around the instrument’s disappearance. In 1940, Gabriel Girondelot, a notary in Vitry-le-Fran\u00e7ois, had stored some of his possessions in two ch\u00e2teaux in the Marne department, in Loisy-sur-Marne and in Maisons-en-Champagne. On 12 June, in the face of the advance of the German troops, he left the region with his family to seek refuge in the south of France. Several instruments, including the Caressa in question, were being kept at the Ch\u00e2teau de Maisons-en-Champagne at the time.<\/p>\n\n\n\n

According to a statement drawn up after the war, five violins were taken by German soldiers on 15 June 1940. They were loaded onto a truck along with various other items, including bicycles and a sewing machine. The Richers, the ch\u00e2teau\u2019s gardeners, reportedly witnessed their removal [1]<\/sup><\/a>.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a> Archives diplomatiques, dossier Gabriel Girondelot, 209SUP\/9, dossier 45.119<\/p>\n<\/div>\n\n\n\n

\n

Therefore, after the war, Gabriel Girondelot took steps to recover his instruments.<\/p>\n\n\n\n

On 14 April 1945, he wrote to the Commission de r\u00e9cup\u00e9ration artistique<\/em> and drew a list of the five violins that had been stolen from him. Among them was the Caressa of 1905. Three days later, on 18 April, the Commission asked Mr. G\u00e9raudel, an archivist, to appraise the five instruments subject to the restitution claim[1]<\/sup><\/a>.<\/p>\n\n\n\n

Despite these efforts, the violin was not recovered. It was subsequently listed in the R\u00e9pertoire des biens spoli\u00e9s en France durant la guerre 1939 \u2013 1945<\/em> (Register of property looted in France during the 1939 \u2013 1945 War), appearing under reference number 2176 as \u201cCaressa, violin, 1905 no. 152\u201d, with Gabriel Girondelot listed as the owner[2]<\/sup><\/a>. All trace of the instrument was lost for more than 80 years.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a> Archives diplomatiques, dossier Gabriel Girondelot, 209SUP\/9, dossier 45.119<\/p>\n\n\n\n

[2]<\/sup><\/a> R\u00e9pertoire des biens spoli\u00e9s en France durant la guerre 1939-1945<\/em>, suppl\u00e9ment aux tomes II, III et IV, p. 109<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\"Lettre<\/a>
Lettre de Gabriel Girondelot adress\u00e9e \u00e0 la Commission de r\u00e9cup\u00e9ration artistique, 14 avril 1945. Archives diplomatiques, dossier Gabriel Girondelot<\/figcaption><\/figure>\n\n\n\n
\"Sarah<\/a>
Sarah Gensburger, Images d\u2019un pillage. Album de la spoliation des Juifs \u00e0 Paris, 1940-1944, couverture<\/figcaption><\/figure>\n\n\n\n
\"Etats<\/a>
Etats des circonstances du vol au ch\u00e2teau de Maisons-en-Champagne. \u00a9 Archives diplomatiques, dossier Gabriel Girondelot, 209SUP9, dossier 45.119<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n
\n
\"R\u00e9pertoire<\/a><\/figure>\n
R\u00e9pertoire des biens spoli\u00e9s en France durant la guerre 1939-1945, chapitre VIII, Instruments de musique<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

A theory regarding the original provenance<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\n

It is not known how the Caressa violin no. 152 came into Gabriel Girondelot\u2019s possession, as the historical records of the firm of Caressa & Fran\u00e7ais do not mention an owner. Among the other looted instruments from his collection is a second Caressa violin, whose owner, Eug\u00e8ne Choubry, we know this time. There is indeed no doubt about this, as the instrument bore Eug\u00e8ne Choubry\u2019s name on the back[1]<\/sup><\/a>.<\/p>\n\n\n\n

As it happens, Eug\u00e8ne Choubry was the brother of Madeleine Choubry, the wife of Gabriel Girondelot[2]<\/sup><\/a>. He was a violinist and student at the Paris Conservatory, where he was awarded a First Prize for violin in August 1913, and received, on that occasion, the Caressa violin bearing the inscription \u201cEug\u00e8ne Choubry Ier prix de Conservatoire Paris<\/em>\u201d in gold letters on the back.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a> R\u00e9pertoire des biens spoli\u00e9s en France durant la guerre 1939-1945<\/em>, p. 109<\/p>\n\n\n\n

[2]<\/sup><\/a> Acte de mariage d\u2019Eug\u00e8ne Gabriel Girondelot et de Madeleine Marie L\u00e9onie Choubry, Archives municipales de Reims, 1E 552<\/p>\n<\/div>\n\n\n\n

\n

A photograph taken in Reims on 22 September 1913 shows Eug\u00e8ne Choubry with a violin, though it is not possible to identify the instrument in question[1]<\/sup><\/a>. \u00a0Choubry was mobilized during World War I, temporarily became a second lieutenant in the 20th Infantry Regiment, and was killed in action at a young age on 30 April 1917, at Moronvilliers in Marne[2]<\/sup><\/a>.<\/p>\n\n\n\n

The presence of these two Caressa violins among Gabriel Girondelot\u2019s possessions, combined with his family ties with Choubry, might suggest that violin no. 152 also originally belonged to the violinist. However, without documentary evidence, this remains merely a theory.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a> Musica<\/em>, n\u00b0 131, ao\u00fbt 1913<\/p>\n\n\n\n

[2]<\/sup><\/a> Service historique de la D\u00e9fense, dossiers individuels d\u2019officiers, dossier d\u2019Eug\u00e8ne Paul Choubry, sous-lieutenant \u00e0 titre temporaire au 20e r\u00e9giment d\u2019infanterie, cote GR 5 YE 128913<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\"Lettre<\/a>
Lettre de Gabriel Girondelot adress\u00e9e \u00e0 la Commission de r\u00e9cup\u00e9ration artistique,
14 avril 1945. Archives diplomatiques, dossier Gabriel Girondelot<\/figcaption><\/figure>\n\n\n\n
\"Eug\u00e8ne<\/a>
Eug\u00e8ne Paul Choubry en 1913. Fonds photographique Poyet<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n

The violin reappears at Vichy Ench\u00e8res<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\"Vichy<\/a>
Vichy Ench\u00e8res, expertises<\/figcaption><\/figure>\n\n\n\n
\"Vichy<\/a>
Vichy Ench\u00e8res, violons en vitrine lors des journ\u00e9es d’expositions<\/figcaption><\/figure>\n
\u00a9 Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\n
\n

In December 2024, i.e. 84 years after its disappearance, the Caressa violin no. 152 resurfaced while we were preparing for our auction of fine instruments scheduled for 2 and 3 December. As is our standard practice, we conducted several provenance checks, in particular against the Art Loss Register. Our searches also led us to consult the R\u00e9pertoire des biens spoli\u00e9s<\/em> (Register of looted assets), where we came across an entry for a 1905 Caressa violin bearing the same number, and which had been reported missing by Gabriel Girondelot in 1945.<\/p>\n<\/div>\n\n\n\n

\n

The sale was immediately suspended, and we referred the matter to the Ministry of Culture\u2019s Mission for the research and restitution of cultural property looted between 1933 and 1945.<\/p>\n\n\n\n

The Mus\u00e9e de la Musique<\/em> then undertook research into the archives of the Caressa & Fran\u00e7ais workshop and found violin no. 152 in the register dated 10 July 1905. The cross-referencing of this document with Gabriel Girondelot\u2019s 1945 declaration and the R\u00e9pertoire des biens spoli\u00e9s<\/em> confirmed the instrument\u2019s identity.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n\n\n\n
\"Violon<\/a><\/figure>\n
Violon de CARESSA & FRANCAIS fait \u00e0 Paris en 1905, luthiers du Conservatoire de Musique, n\u00b0152.
Instrument mis en vente par Vichy Ench\u00e8res le 3 d\u00e9cembre 2026.
\u00a9 Vichy Ench\u00e8res \/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

The restitution of the Caressa & Fran\u00e7ais violin no. 152<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\n

The identification of the violin made it possible to initiate proceedings for its restitution. Genealogy experts of the Gu\u00e9nifey practice traced the descendants of Gabriel Girondelot and Madeleine Choubry, who had three children: Marie-Louise, Henri and Genevi\u00e8ve.<\/p>\n\n\n\n

Marie-Louise entered the Abbey of Notre-Dame du Val d\u2019Igny, where she eventually became the abbess. The research led to the identification of the rightful owners as well as the abbey, named as a legatee. The association Musique et Spoliations<\/a> subsequently contacted them to arrange the restitution.<\/p>\n<\/div>\n\n\n\n

\n

The violin was also entrusted to our experts Jean-Jacques Rampal and Jonathan Marolle of Maison Vatelot-Rampal<\/a>, where Adela\u00efde Aumont and Thomas Vibert carried out the restoration work necessary to preserve the instrument and make it playable again.<\/p>\n\n\n\n

On 7 October 2026, it will be officially returned to Gabriel Girondelot\u2019s family at the Paul Beuscher store in Paris \u2013 an exceptional event organised by Musique et Spoliations<\/em>. During that evening, Sarah Dayan will play the newly restored violin, accompanied on the piano by David Kadouch.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\"Restauration<\/a>
Restauration du violon Caressa dans les ateliers de la Maison Vatelot-Rampal. Maison Vatelot-Rampal<\/figcaption><\/figure>\n\n\n\n
\"D\u00e9tail<\/a>
D\u00e9tail du violon Caressa n\u00b0152 au cours de sa restauration.
Maison Vatelot-Rampal<\/figcaption><\/figure>\n\n\n\n
\"Maison<\/a>
Maison Paul Beuscher, Paris<\/figcaption><\/figure>\n\n\n\n
\"Les<\/a>
Les experts Jean-Jacques Rampal et Jonathan Marolle, de la Maison Vatelot-Rampal<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n
\n

Therefore, the instrument\u2019s reappearance at Vichy Ench\u00e8res, and the research conducted subsequently, paved the way for its restitution, 86 years after it was looted<\/em>.<\/p>\n<\/blockquote>\n\n\n\n

<\/div>\n\n\n\n
\n

\ud83d\ude80 Suivez-nous !<\/strong><\/h2>\n\n\n\n