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OCTOBER 2010 AUCTION Fine Instruments & Bows OCTOBER 2010 AUCTION Fine instruments & bows www.tarisio.com OCTOBER 13 & 14, 2010 • 2010 & 14, 13 OCTOBER The Molitor Stradivarius of 1697 The Molitor first surfaces in Paris around the turn both of which have since been lost. Upon of the 19th Century in the hands of Madame receipt by Curtis, the violin was branded Juliette Récamier (1777–1849), a prominent “CURTIS PHILA” to the uncut lower rib and socialite and patroness of the arts in post- entered Curtis’s formidable fleet of loaned revolutionary France. Married at the age of instruments. During its time at Curtis The fifteen to a wealthy banker 30 years her senior, Molitor was loaned to several promising Madame Récamier held a fashionable salon that students including Henri Temianka, was frequented by leading artists, musicians and Jascha Brodsky, Ethel Stark and others. Elmar Oliveira the political elite of French Empire society. In In 1936 The Molitor was sold to the firm of New York addition to The Molitor, Madame Récamier owned W. E. Hill & Sons. Madame Recamier, painted by another Stradivarius from the year 1727. It’s not Jacques-Louis David, 1800 In 1937 the Hills sold the violin to a Mr. R. A. Bower of Somerset, England known for certain how Madame Récamier came and in 1957 E. R. Voigt sold the violin to a Miss Muriel Anderson of into possession of these two violins, but Herbert Londonderry in Northern Ireland. Goodkind’s Violin Iconography of Antonio Stradivarius and other references name their first owner as none other than Napoleon Bonaparte. Elmar Oliveira acquired The Molitor at Christie’s in 1989 and concertized and recorded with it until he acquired the c. 1729 Stretton del Gesu around In 1804 Madame Récamier’s two violins passed the time of the Guarneri exhibit in 1994. Mr. Oliveira, the first American to a young general in Napoleon’s army, the violinist to win the gold medal at the Tchaikovsky Competition, has enjoyed A FINE ITALIAN VIOLIN Count Gabriel-Jean-Joseph Molitor (1770– a distinguished career as a soloist and a champion of new music. BY ANTONIO STRADIVARIUS, 1849). Count Molitor was evidently a musician CREMONA, 1697, THE ‘MOLITOR’ of some stature as well as a distinguished Labeled, “Antonio Stradivarius, Cremona, 1697…” New York soldier under both Napoleon and the Provenance LOB 35.5 cm Estimates available upon request Bourbons. After Count Molitor died in 1849 Current owner (1994–present) The Curtis Institute, Philadelphia (1929–1936) Certificates: the violins remained in the possession of the Elmar Oliveira (1989–1994) Molitor family for nearly 70 years. Charles Enel through Certificate from W. E. Hill & Sons, London (March 23, 1937) Count Gabriel Jean Joseph Molitor Christie’s (1989) Louis Bailly (1929) Letter from Alfred Hill, London (March 23, 1937) Miss Muriel Anderson, Maucotel & Deschamps (1923) At the height of World War I in 1917 the two violins changed hands and Londonderry (1957–1989) Certificate from E. R. Voigt, London (February 7, 1957) J. Mazeran, Paris (1917–1923) parted company, and The Molitor made its way to Monsieur J Mazeran E. R. Voigt (1957) Certificate from Emil Herrmann, New York (photocopy only) Caressa & Français (1917) through the firm of Caressa & Français. Mr. R. A. Bower, Somerset (1937–1957) Molitor family (1849–1917) Please visit our blog for a condition In the summer of 1929 The Molitor was acquired by the Curtis Institute W.E. Hill & Sons (1936) Count Gabriel-Jean-Joseph Molitor, report and more information: in Philadelphia from the Parisian dealer Charles Enel. At the time, the Paris (1804–1849) www.tarisio.com/Molitor Madame Juliette Récamier, violin had certificates from Charles Enel and also from Silvestre & Maucotel, Paris (? – 1804) OCTOBER 13 & 14, 2010 • 2010 & 14, 13 OCTOBER OCTOBER 13 & 14, 2010 • 2010 & 14, 13 OCTOBER New York A FINE ITALIAN VIOLIN A FINE ITALIAN VIOLIN BY NICOLO AMATI, CREMONA, 1655 BY FRANCESCO RUGGERI, CREMONA, c. 1670 Labeled, “Nicolaus Amatus Cremonen, Labeled, “Francesco Ruggeri detto il Hieronymi Fil. ac Antoni Nepos Fecit 1655.” per Cremona 1673.” LOB 35.7 cm New York Bearing the Wurlitzer inventory number “M- * Sold with certificates from the Rudolph Wurlitzer Company, 467” to the inside back. LOB 35.5 cm New York (November 30, 1926) and Reuning & Son Violins, * Sold with certificates from Rembert Wurlitzer Inc., New York Boston (October 26, 2004). (December 8, 1955), Harry A Duffy Violins Inc., Dumont, (December 15, Estimate: $180,000–250,000 1978), and Emil Hermann, Easton (January 15, 1955). Estimate: $300,000–500,000 OCTOBER 13 & 14, 2010 • 2010 & 14, 13 OCTOBER OCTOBER 13 & 14, 2010 • 2010 & 14, 13 OCTOBER New York New York A FINE FRENCH VIOLIN A GOOD ITALIAN VIOLIN A GOOD ITALIAN VIOLIN A GOOD ITALIAN VIOLIN BY JEAN BAPTISTE VUILLAUME, PARIS, c. 1865 BY TOMASO EBERLE, NAPLES, 1776 BY TOMASO CARCASSI, FLORENCE, c. 1770 BY ANNIBALE FAGNOLA, TURIN, 1930 Labeled,” Jean Baptiste Vuillaume, à Paris, 3 rue Demours-Ternes.” Bearing Labeled, “Tomaso Eberle Fecit Nap. 1776.” LOB 35.4 cm Labeled, “Tommaso Carcassi, Firenze, 17…” Bearing an Labeled, “Hannibal Fagnola fecit Taurini anno the number “2596” to the inside back. “Alard” model. LOB 35.6 cm * Sold with a certificate from the 1937 Cremona exhibit, a letter from Tullo Bellomi original inset insignia to the center back. LOB 35.1 cm Domini 1930” and “Joseph Rocca.” * Sold with a certificate from Hamma & Co. signed by Fridolin Hamma, Stuttgart (June 9, 1951) and a (July 9, 1937) and a certificate from the Commissione Technica of the 1937 exhibit. Estimate: $50,000–80,000 Signed to the upper rib. Branded internally and certificate from Jacques Français, New York (December 16, 1958). Estimate: $50,000–80,000 to the pegbox floor, “GR.” LOB 35.5 cm OCTOBER 13 & 14, 2010 • 2010 & 14, 13 OCTOBER Estimate: $100,000–150,000 Estimate: $40,000–60,000 OCTOBER 13 & 14, 2010 • 2010 & 14, 13 OCTOBER New York A B C D E F G H I J K L A A GOOD AND RARE ITALIAN VIOLIN C A GOOD ITALIAN VIOLIN E GOOD ITALIAN VIOLIN G A GOOD ITALIAN VIOLIN I AN ITALIAN VIOLIN K AN ENGLISH VIOLIN BY GAETANO CHIOCCHI, PADUA, BY VINCENZO POSTIGLIONE, NAPLES, 1892 BY GIOVANNI BAPTISTA GABRIELLI, BY VINCENZO SANNINO, NAPLES, 1924 BY ENRICO POLITI, ROME, 1928 BY W.E. HILL & SONS, LONDON, 1903 New York th MID 19 CENTURY Labeled, “Vincentius Postiglione FLORENCE, c. 1760 Labeled, “Vincenzo Sannino, fecit in Bearing a signed label, “Enrico Politi, Labeled, “W.E. Hill & Sons, Makers, 140 New Bond Labeled, “Laurentius Storioni, fecit me fecit ad imitationem Stradivari, Labeled, “Joannes Baptista Gabrielli, Napoli anno 1924.” LOB 35.5 cm Roma, anno 1928.” LOB 35.7 cm Street, London, 1903, No. 42.” LOB 35.5 cm Cremonae 1774.” LOB 35.5 cm Neapoli 1892.” LOB 35.9 cm Florence.” LOB 35.2 cm Estimate: $30,000–50,000 Estimate: $18,000–25,000 * Sold with a certificate by Dario D’Attili, Dumont, * Sold with a certificate from Dmitry Gindin, London. * Sold with a certificate from Rembert Wurlitzer, New York * Pictured in Meister Italienischer Geigenbaukunst by ascribing the violin to Giuseppe Fiorini (April 13, 1982). (November 28, 1962). Walter Hamma. Estimate: $50,000–80,000 H A GOOD ITALIAN VIOLIN J AN ITALIAN VIOLIN Estimate: $8,000–12,000 Estimate: $35,000–55,000 Estimate: $30,000–50,000 BY GIORGIO GATTI, TURIN, 1928 BY GIOVANNI BATTISTA MORASSI, B GOOD ITALIAN VIOLIN Labeled, “Giorgio Gatti, fece in Torino CREMONA, 1966 L A GOOD ITALIAN VIOLIN D A GOOD ITALIAN VIOLIN F A GOOD COMPOSITE VIOLIN, BY ANTONIO MARIANI, PESARO, l'anno 1928, Via Bardassano, 8.” Branded Labeled, “Morassi Giobatta fece anno BY ORESTE CANDI, GENOA, c. 1900 th BY RICCARDO ANTONIAZZI, MILAN, 1910 THE TOP BY GIOVANNI BATTISTA MID 17 CENTURY to the inside back. LOB 35.2 cm 1966 no. 252.” LOB 35.6 cm Branded to the inside back, “Candi Labeled, “Antoniazzi Riccardo di GUADAGNINI, PARMA, c. 1760 The head probably later. LOB 35.2 Estimate: $20,000–30,000 Estimate: $15,000–22,000 Oreste.” LOB 35.5 cm * Sold with a certificate from Dmitry Gindin, London. Cremona, figlio di Gaetano fece in Labeled, “Joannes Baptista Guadagnini, * Sold with certificates from Kenneth Warren & Son, Milano l'anno 1910.” LOB 35.3 cm Centinus fecit Mediolani 170…” LOB 35.6 cm Chicago (April 7, 2004), and Dario D'Attili, Estimate: $60,000–90,000 Estimate: $35,000–50,000 Estimate: $30,000–50,000 Winter Garden (May 5, 1996). Estimate: $6,000–9,000 OCTOBER 13 & 14, 2010 • 2010 & 14, 13 OCTOBER OCTOBER 13 & 14, 2010 • 2010 & 14, 13 OCTOBER New York A FINE AND RARE ITALIAN CELLO A FINE ITALIAN VIOLA BY GIOVANNI BATTISTA GENOVA, BY GIOVANNI GRANCINO, MILAN, c. 1670 TURIN, LATE 18th CENTURY Labeled, “Giovanni Grancino in Contrada Larga di Unlabeled. LOB 73.6 cm Milan, al Segno della Corona, 1670…” LOB 39.8 cm New York * Sold with certificates from W.E. Hill & Sons, London (May 17, 1912) * Sold with a certificate from William Moennig & Son, and Reuning & Son Violins, Boston (July 23, 2010). Philadelphia (October 14, 1987). Estimate: $200,000–300,000 Estimate: $150,000–220,000 OCTOBER 13 & 14, 2010 • 2010 & 14, 13 OCTOBER OCTOBER 13 & 14, 2010 • 2010 & 14, 13 OCTOBER New York New York A GOOD ITALIAN CELLO A GOOD ITALIAN VIOLA A GOOD AMERICAN VIOLA AN INTERESTING COMPOSITE VIOLA, A GOOD ITALIAN VIOLA A GOOD FRANCO-ITALIAN VIOLA BY LORENZO VENTAPANE, BY STEFANO SCARAMPELLA, MANTUA, 1909 BY CARL BECKER & SON, THE BACK ATTRIBUTED TO ANDREA BY CELESTINO FAROTTO, MILAN, 1968 BY ANTOINE CHEVIER, TURIN, 1831 NAPLES, EARLY 19th CENTURY Labeled, “Stefano Scarampella di Brescia, fece CHICAGO, 1961 AMATI, CREMONA, LATE 16th CENTURY Labeled, “Cav.
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