DOCSLIB.ORG

T2 July 2020 Auction Catalog

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
T2 July 2020 Auction Catalog July 2020 PDF Catalog Bidders are required to read and agree to the Terms and Conditions of Sale at https://t2-auctions.com/terms-of-use/ Books 6 1 LA LUTHERIE LORRAINE & FRANÇAISE TWO CATALOGS by Albert Jacquot, 1912. "The Hawley Collection of Violins" by Lyon & Healy, 1905. Estimates: $80-120 No. 1820 of 2000 copies. Ending time: 9 Jul 2020 11:05 AM EDT "Rare Violins, Violas, Violoncellos of the 17th, 18th & 19th 7 centuries" by Rudolph Wurlitzer Company. LIUTERIA ITALIANA Estimates: $50-80 Ending time: 9 Jul 2020 11:00 AM EDT by Umberto Azzolina, 1989. Limited to 1000 copies of which this is No. 891. 2 Estimates: $80-120 Ending time: 9 Jul 2020 11:21 AM EDT ERICH LACHMANN COLLECTION By Erich Lachmann, 1950. 8 Signed by the author and photographer. TOURTE LE JEUNE Estimates: $50-80 Ending time: 9 Jul 2020 11:01 AM EDT by Paul Childs, 2008. Estimates: $80-120 3 Ending time: 9 Jul 2020 11:07 AM EDT J.B. VUILLAUME SA VIE ET SON OEUVRE 9 by Roger Millant, 1972. CHI-MEI COLLECTION OF FINE VIOLINS Estimates: $60-90 Ending time: 9 Jul 2020 11:32 AM EDT by Chi-Mei Culture Foundation, 1997. Estimates: $100-150 4 Ending time: 9 Jul 2020 11:08 AM EDT ENCYCLOPEDIA OF THE VIOLIN: Volumes 1&2 10 by Karel Jalovec, 1968. LES TRESORS DE LA LUTHERIE FRANCAISE DU XIX Estimates: $70-100 E Ending time: 9 Jul 2020 12:18 PM EDT by Phillipe Bodart et al. Limited to 2000 copies of which this is No. 193. 5 Estimates: $100-150 JAKOB STAINER Ending time: 9 Jul 2020 11:09 AM EDT by Walter Senn & Karl Roy. Edition Verlag E. Bochinsky, 1986. 11 Estimates: $80-120 LOAN EXHIBITION STRINGED INSTRUMENTS AND Ending time: 9 Jul 2020 11:04 AM EDT BOWS By Walter Hamma, Kenneth Warren, and Marianne Wurlitzer, 1966. Estimates: $100-150 Ending time: 9 Jul 2020 11:10 AM EDT 12 19 THE MEISEL FAMILY VIOLINMAKERS THE BOWMAKERS OF THE PECCATTE FAMILY by K. Lothar Meisel, 2007. by Paul Childs, 1996. Estimates: $100-150 Limited to 2500 copies of which this is No. 247. Ending time: 9 Jul 2020 11:11 AM EDT Estimates: $200-300 Ending time: 9 Jul 2020 11:18 AM EDT 13 ANTONIO STRADIVARI: HIS LIFE & WORK & THE 20 VIOLIN-MAKERS OF THE GUARNERI FAMILY TWO BOOKS BY JOSEPH REGH By William, Arthur & Alfred Hill, 1980. 'The Art of Bow Restoration' by Joseph Regh, 2010. First Boxed set. edition of which this is number 241 of 2000. Estimates: $150-220 'Violin Bow Playability: A Player's View' by Joseph Regh, Ending time: 9 Jul 2020 11:42 AM EDT 2018. First edition of which this is number 60 of 500. Both signed by the author. 14 Estimates: $200-300 Ending time: 9 Jul 2020 11:34 AM EDT BOWS FOR MUSICAL INSTRUMENTS by Joseph Roda, 1959. 21 First edition limited to 3000 copies of which this is No. 408. VIOLIN ICONOGRAPHY OF ANTONIO STRADIVARI Estimates: $150-220 Ending time: 9 Jul 2020 11:13 AM EDT by Herbert K. Goodkind, 1972. Estimates: $200-300 15 Ending time: 9 Jul 2020 11:35 AM EDT JEAN-BAPTISTE VUILLAUME 22 by Jost Thöne & Stefan Peter Greiner, Jost Thöne Verlag TWO BOOKS ABOUT VIOLIN MAKING IN BRITAIN 1998 There are 2000 copies of which this is No. 690. 'The British Violin' by By Tim Baker, John Dilworth and Estimates: $150-220 Andrew Fairfax, 2000. Ending time: 9 Jul 2020 11:29 AM EDT 'Edward Withers Ltd.' by Adam Whone, 1996. Estimates: $250-400 16 Ending time: 9 Jul 2020 11:36 AM EDT UM?NÍ HOUSLA?? 23 by Vladimir Pilar, 1989. IHS - GIUSEPPE GUARNERI DEL GESU: Volumes 1 & 2 Estimates: $150-220 Ending time: 9 Jul 2020 11:15 AM EDT By Peter Biddulph, 1998. Estimates: $500-800 17 Ending time: 9 Jul 2020 11:37 AM EDT ITALIAN & FRENCH VIOLIN MAKERS: Volume 1 24 by Jost Thoene, 2003. LES ARCHETS FRANÇAIS Volumes 1&2 Estimates: $200-300 Ending time: 9 Jul 2020 11:16 AM EDT by Etienne Vatelot, 1976. Estimates: $600-900 18 Ending time: 9 Jul 2020 12:08 PM EDT MARKNEUKIRCHEN VIOLINS AND BOWS 25 by Bruce Babbitt, 2014. THREE BOOKS ABOUT ITALIAN VIOLIN MAKERS A limited edition of 1000 copies of which this is number 756. Estimates: $200-300 "Liuteria Moderna in Emilia-Romagna" by Artemio Versari, Ending time: 9 Jul 2020 11:32 AM EDT 2002. "Liuteria Piemontese: Annibale Fagnola, Annibalotto Fagnola, S.V. Fasciolo, R. Genovese" by Giovanni Accornero, Ivan Epicoco and Eraldo Guerci, 1999. "The Makers of Central Italy" by Florian Leonhard, 2011. Estimates: $700-1,000 Ending time: 9 Jul 2020 11:24 AM EDT T2 - July 2020 10 Jul 2020 12:20 PM EDT - Page 2 of 17 26 33 L'ARCHET: Volumes 1-3 64 EBONY VIOLIN TAILPIECES by Bernard Millant and Jean Francois 40 x 11.1 cm Raffin, 2000. 24 x 10.8 cm Estimates: $800-1,200 Estimates: $80-120 Ending time: 9 Jul 2020 11:40 AM EDT Ending time: 9 Jul 2020 11:32 AM EDT Miscellaneous 34 27 64 EBONY VIOLIN TAILPIECES A COLLECTION OF STRAD MAGAZINE POSTERS 64 x 11.2 cm. Poster are folded and include, "Matteo Gofriller 'Schneider' Estimates: $80-120 cello 1693", "Henry Jaye viol 1618", "Brothers Amati viola, Ending time: 9 Jul 2020 11:33 AM EDT c. 1620", "Brothers Amati cello c. 1600", "Andrea Amati violin c. 1566", "Antonio Stradivari 'Titian' violin 1715", 35 "Domenico Montagnana violin 1717", "Antonio Stradivari ROSEWOOD VIOLIN PEGS 'De Munck' cello 1730", "Antonio Stradivari 'Kruse' violin 1721" and "G. B. Rogeri violin, Brescia 1704." 12 sets. Estimates: $80-120 Estimates: $80-120 Ending time: 9 Jul 2020 12:11 PM EDT Ending time: 9 Jul 2020 12:19 PM EDT Violinmaking Supplies 36 28 36 FRACTIONAL VIOLIN BRIDGES 12 ROSEWOOD VIOLIN TAILPIECES 24 x 31mm 12 x 31.5mm. 12 x 11.7 cm. Estimates: $100-150 Estimates: $50-80 Ending time: 9 Jul 2020 11:50 AM EDT Ending time: 9 Jul 2020 11:27 AM EDT 37 29 EBONY VIOLIN PEGS BOXWOOD VIOLIN PEGS 62 pegs. 32 pegs. Estimates: $100-150 Estimates: $60-90 Ending time: 9 Jul 2020 11:36 AM EDT Ending time: 9 Jul 2020 11:28 AM EDT 38 30 TIN-FOIL FOR VIOLIN RESTORATION 36 EBONY VIOLA TAILPIECES 6 rolls totalling 6 1/2 lbs. 24 x 12.5 cm 12 x 13 cm Estimates: $100-150 Ending time: 9 Jul 2020 12:07 PM EDT Estimates: $70-100 Ending time: 9 Jul 2020 11:29 AM EDT 39 31 23 VIOLIN BRIDGES 36 EBONY VIOLA TAILPIECES 23 x 41mm. 36 x 12.8 cm. Estimates: $120-180 Ending time: 9 Jul 2020 1:53 PM EDT Estimates: $70-100 Ending time: 10 Jul 2020 1:00 PM EDT 40 32 24 VIOLA BRIDGES EBONY CELLO PEGS 24 x 50mm. 18 pegs. Estimates: $120-180 Ending time: 9 Jul 2020 11:39 AM EDT Estimates: $70-100 Ending time: 9 Jul 2020 12:01 PM EDT T2 - July 2020 10 Jul 2020 12:20 PM EDT - Page 3 of 17 41 49 26 VIOLA BRIDGES A MAPLE VIOLA NECK BLOCK, c. 1960-90 26 x 45.2mm. Estimates: $40-60 Ending time: 9 Jul 2020 12:03 PM EDT Estimates: $120-180 Ending time: 9 Jul 2020 12:25 PM EDT 50 42 A MAPLE VIOLA NECK BLOCK, c. 1960-90 23 CELLO TAILPIECES Estimates: $40-60 Ending time: 9 Jul 2020 12:04 PM EDT 12 boxwood x 23 cm 5 ebony x 23 cm 51 6 ebony x 26 cm. A MAPLE VIOLA NECK BLOCK, c. 1960-90 Estimates: $150-220 Ending time: 9 Jul 2020 11:56 AM EDT Estimates: $40-60 Ending time: 9 Jul 2020 12:20 PM EDT 43 52 36 VIOLA BRIDGES A MAPLE VIOLA NECK BLOCK, c. 1960-90 36 x 48mm. Estimates: $40-60 Estimates: $150-220 Ending time: 9 Jul 2020 12:06 PM EDT Ending time: 9 Jul 2020 11:57 AM EDT 53 44 A MAPLE VIOLA NECK BLOCK, c. 1960-90 60 VIOLA BRIDGES Estimates: $40-60 60 x 46mm. Ending time: 9 Jul 2020 12:07 PM EDT Estimates: $200-300 Ending time: 9 Jul 2020 11:43 AM EDT 54 A MAPLE VIOLA NECK BLOCK, c. 1960-90 45 Estimates: $40-60 48 CELLO BRIDGES Ending time: 9 Jul 2020 12:08 PM EDT 48 x 90mm. 55 Estimates: $500-800 Ending time: 9 Jul 2020 11:59 AM EDT A MAPLE VIOLA NECK BLOCK, c. 1960-90 Estimates: $40-60 46 Ending time: 9 Jul 2020 12:09 PM EDT 60 CELLO BRIDGES 56 24 x 90mm 32 x 88mm A MAPLE VIOLA NECK BLOCK, c. 1960-90 4 x 87mm. Estimates: $40-60 Estimates: $550-800 Ending time: 9 Jul 2020 12:10 PM EDT Ending time: 9 Jul 2020 11:45 AM EDT 57 Violin Necks A MAPLE VIOLA NECK BLOCK, c. 1960-90 47 Estimates: $40-60 Ending time: 9 Jul 2020 11:56 AM EDT A MAPLE VIOLA NECK BLOCK, c. 1960-90 Estimates: $40-60 Ending time: 9 Jul 2020 12:01 PM EDT Violin Tops 58 48 A SPRUCE VIOLIN TOP, c. 1960-90 A MAPLE VIOLA NECK BLOCK, c. 1960-90 Two-piece. Estimates: $40-60 Estimates: $60-90 Ending time: 9 Jul 2020 12:02 PM EDT Ending time: 9 Jul 2020 2:12 PM EDT T2 - July 2020 10 Jul 2020 12:20 PM EDT - Page 4 of 17 59 68 A SPRUCE VIOLIN TOP, c.
Load more

Recommended publications
  • A Violin by Giuseppe Giovanni Battista Guarneri
    141 A VIOLIN BY GIUSEPPE GIOVANNI BATTISTA GUARNERI Roger Hargrave, who has also researched and drawn the enclosed poster, discusses an outstanding example of the work of a member of the Guarneri family known as `Joseph Guarneri filius Andrea'. Andrea Guarneri was the first He may never have many details of instruments by of the Guarneri family of violin reached the heights of his Joseph filius at this period recall makers and an apprentice of contemporary, the Amati school, this type of Nicola Amati (he was actually varnish, in combination with registered as living in the house Antonio Stradivarius, but he the freer hand of Joseph, gives of Nicola Amati in 1641). Andrea's does rank as one of the the instruments a visual impact youngest son, whose work is il - greatest makers of all time. never achieved by an Amati or , lustrated here, was called. We should not forget he with the exception of Stradi - Giuseppe. Because several of the sired and trained the great vari, by any other classical Guarneri family bear the same del Gesu' maker before this time. christian names, individuals have traditionally been identified by a It should be said, however, suffix attached to their names. that the varnish of Joseph filius Thus, Giuseppe's brother is known as `Peter Guarneri varies considerably. It is not always of such out - of Mantua' to distinguish him from Giuseppe's son, standing quality the same can be said of Joseph's pro - who is known as `Peter Guarneri of Venice'. duction in general. If I were asked to describe the instruments of a few of the great Cremonese makers Giuseppe himself is called 'Giuseppe Guarneri filius in a single word, I would say that Amatis (all of them) Andrea' or, more simply, `Joseph filius' to distinguish are `refined', Stradivaris are `stately', del Gesus are him from his other son, the illustrious 'Giuseppe `rebellious' and the instruments of Joseph filius An - Guarneri del Gesu'.
    [Show full text]
  • Reconstructing Lost Instruments Praetorius’S Syntagma Musicum and the Violin Family C
    Prejeto / received: 3. 5. 2019. Odobreno / accepted: 12. 9. 2019. doi: 10.3986/dmd15.1-2.07 RECONSTRUCTING LOST INSTRUMENTS Praetorius’S Syntagma musicum and the Violin Family C. 1619 Matthew Zeller Duke University Izvleček: Knjigi De organographia in Theatrum Abstract: Michael Praetorius’s De organographia instrumentorum Michaela Praetoriusa vsebujeta and Theatrum instrumentorum provide valuable dragocene namige, ki pomagajo pri poznavanju clues that contribute to a new understanding glasbil iz družine violin okoli leta 1619; številna of the violin family c. 1619, many surviving ex- preživela glasbila so manjša, kot so bili izvirniki amples of which are reduced in size from their v 16. in 17. stoletju. Podatki o preživelih glas- sixteenth- and seventeenth-century dimensions. bilih – predvsem izdelki družine Amati – skupaj The record of surviving instruments – especially z metrologijo, sekundarno dokumentacijo in those of the Amati family – alongside metrologic, ikonografskim gradivom kažejo na to, da je documentary and iconographic evidence shows Michael Praetorius opisal veliko glasbilo, po that Michael Praetorius describes a large in- velikosti izjemno podobno violončelu (basso strument conforming remarkably well to the da braccio),kar je odličen primer predstavitve original dimensions of the basso da braccio glasbila iz družine violin in točne uglasitve, kot (violoncello), as well as furnishing an excellent so jih poznali v času izida Praetoriusovega dela. scale representation of the violin family as it was at the time of these works’
    [Show full text]
  • SKINNER Fine Musical Instruments
    SKINNER Fine Musical Instruments November 6, 2011 Sale 2569B Boston Fine Musical Instruments specialist in charge David Bonsey 508.970.3224 General Inquiries: [email protected] auction 2569B Sunday, November 6, 2011 at 12 noon 63 Park Plaza Boston, Massachusetts preview Friday, November 4, 2011 12 to 7 p.m. Saturday, November 5, 2011 10:30 a.m. to 5 p.m. Sunday, November 6, 2011 9 to 10:30 a.m. absentee bidding Tel: 617.874.4318 Fax: 617.350.5429 Online: www.skinnerinc.com general inquiries 617.350.5400 View all lots online at www.skinnerinc.com cover : 18, frontispiece: 22, inside back cover : 28, back cover : 8, 15, 21, 22 Register… Preview… and Bid Live Online Preview Auctions Online Bid Live Online with SkinnerLive! Flip through the pages o our interactive virtual catalogues, Get the live auction experience rom your home or oice or view all lots in an upcoming auction to browse with SkinnerLive! Register in advance or an auction to bid through images and detailed lot inormation. You can also online in real time. download and print a PDF ile o a catalogue. Find Items with Lot Alert Read the Skinner Blog Find out immediately when items you like are available at Keep up on market trends with tips rom our expert auction. Lot Alert searches upcoming Skinner auctions or appraisers. Discover the stories behind the art and items matching your interests, and automatically emails antiques Skinner oers at auction, and add your own you when an item is posted in the online catalogue. comments to join the conversation.
    [Show full text]
  • Violin Detective
    COMMENT BOOKS & ARTS instruments have gone up in value after I found that their soundboards matched trees known to have been used by Stradivari; one subsequently sold at auction for more than four times its estimate. Many convincing for- KAMILA RATCLIFF geries were made in the nineteenth and early twentieth centuries, but the science did not exist then. Forgers now are aware of dendro- chronology, and it could be a problem if they use wood from old chalets to build sophisti- cated copies of historical instruments. How about unintentional deceit? I never like to ‘kill’ a violin — reveal it as not what it seems. But if the wood does not match the claims, I investigate. I was recently sent photos of a violin supposedly made by an Italian craftsman who died in 1735. The wood dated to the 1760s, so I knew he could not have made it. But I did see strong cor- relations to instruments made by his sons and nephews who worked in the 1770s. So Peter Ratcliff restores and investigates violins from his workshop in Hove, UK. I deduced that the violin might have been damaged and an entirely new soundboard made after the craftsman’s death. The violin Q&A Peter Ratcliff was pulled from auction, but not before it had received bids of more than US$100,000. Will dendrochronology change the market? Violin detective I think it already has, and has called into Peter Ratcliff uses dendrochronology — tree-ring dating — to pin down the age and suggest the question some incorrect historical assump- provenance of stringed instruments.
    [Show full text]
  • Musical Instruments Monday 12 May 2014 Knightsbridge, London
    Musical Instruments Monday 12 May 2014 Knightsbridge, London Musical Instruments Monday 12 May 2014 at 12pm Knightsbridge, London Bonhams Enquiries Customer Services Please see back of catalogue Montpelier Street Director of Department Monday to Friday for Notice to Bidders Knightsbridge Philip Scott 8.30am to 6pm London SW7 1HH +44 (0) 20 7393 3855 +44 (0) 20 7447 7447 New bidders must also provide proof www.bonhams.com [email protected] of identity when submitting bids. Illustrations Failure to do this may result in your Viewing Specialist Front cover: Lot 273 & 274 bids not being processed. Friday 9 May Thomas Palmer Back cover: Lot 118 +44 (0) 20 7393 3849 9am to 4.30pm [email protected] IMPORTANT Saturday 10 May INFORMATION 11am to 5pm The United States Government Department Fax has banned the import of ivory Sunday 11 May +44 (0) 20 7393 3820 11am to 5pm Live online bidding is into the USA. Lots containing available for this sale ivory are indicated by the symbol Customer Services Ф printed beside the lot number Bids Please email [email protected] Monday to Friday 8.30am to 6pm with “Live bidding” in the in this catalogue. +44 (0) 20 7447 7448 +44 (0) 20 7447 7447 +44 (0) 20 7447 7401 fax subject line 48 hours before To bid via the internet the auction to register for Please register and obtain your this service. please visit www.bonhams.com customer number/ condition report for this auction at Please provide details of the lots [email protected] on which you wish to place bids at least 24 hours prior to the sale.
    [Show full text]
  • Musical Instruments, 30 October 2013, Knightsbridge, London
    Wednesday 30 October 2013 at 11am 30 October 2013 at Wednesday London Knightsbridge, Instruments Musical Musical 20770 Musical Instruments, 30 October 2013, Knightsbridge, London Musical Instruments Wednesday 30 October 2013 at 11am Knightsbridge, London Bonhams Enquiries Customer Services Please see back of catalogue Montpelier Street Director of Department Monday to Friday for Notice to Bidders Knightsbridge Philip Scott 8.30am to 6pm London SW7 1HH +44 (0) 20 7393 3855 +44 (0) 20 7447 7447 New bidders must also provide proof www.bonhams.com [email protected] of identity when submitting bids. Illustrations Failure to do this may result in your Viewing Specialist Front cover: Lot 230 bids not being processed. Sunday 27 October Thomas Palmer Back cover: Lot 3 +44 (0) 20 7393 3849 11am to 3pm [email protected] Monday 28 October 9am to 4.30pm Department Fax Tuesday 29 October +44 (0) 20 7393 3820 9am to 4.30pm Live online bidding is available for this sale Customer Services Bids Please email [email protected] Monday to Friday 8.30am to 6pm with “Live bidding” in the +44 (0) 20 7447 7448 +44 (0) 20 7447 7447 +44 (0) 20 7447 7401 fax subject line 48 hours before To bid via the internet the auction to register for Please register and obtain your this service. please visit www.bonhams.com customer number/ condition report for this auction at Please provide details of the lots [email protected] on which you wish to place bids at least 24 hours prior to the sale. New bidders must also provide proof of identity when submitting bids.
    [Show full text]
  • Searching for Giuseppe Guarneri Del Gesù: a Paper-Chase and a Proposition
    Searching for Giuseppe Guarneri del Gesù: a paper-chase and a proposition Nicholas Sackman © 2021 During the past 200 years various investigators have laboured to unravel the strands of confusion which have surrounded the identity and life-story of the violin maker known as Bartolomeo Giuseppe Guarneri del Gesù. Early-nineteenth-century commentators – Count Cozio di Salabue, for example – struggled to make sense of the situation through the physical evidence of the instruments they owned, the instruments’ internal labels, and the ‘understanding’ of contemporary restorers, dealers, and players; regrettably, misinformation was often passed from one writer to another, sometimes acquiring elaborations on the way. When research began into Cremonese archives the identity of individuals (together with their dates of birth and death) were sometimes announced as having been securely determined only for subsequent investigations to show that this certainty was illusory, the situation being further complicated by the Italian habit of christening a new- born son with multiple given names (frequently repeating those already given to close relatives) and then one or more of the given names apparently being unused during that new-born’s lifetime. During the early twentieth century misunderstandings were still frequent, and even today uncertainties still remain, with aspects of del Gesù’s chronology rendered opaque through contradictory or no documentation. The following account examines the documentary and physical evidence. ***** NB: During the first decades of the nineteenth century there existed violins with internal labels showing dates from the 1720s and the inscription Joseph Guarnerius Andrea Nepos. The Latin Dictionary compiled by Charlton T Lewis and Charles Short provides copious citations drawn from Classical Latin (as written and spoken during the period when the Roman Empire was at its peak, i.e.
    [Show full text]
  • 1002775354-Alcorn.Pdf
    3119 A STUDY OF STYLE AND INFLUENCE IN THE EARLY SCHOOLS OF VIOLIN MAKING CIRCA 1540 TO CIRCA 1800 THESIS Presented to the Graduate Council of the North Texas State University in Partial Fulfillment of the Requirements For the Degree of MASTER OF MUSIC By Allison A. Alcorn, B.Mus. Denton, Texas December, 1987 Alcorn, Allison A., A Study of Style and Influence in the Ear School of Violin Making circa 1540 to circa 1800. Master of Music (Musicology), December 1987, 172 pp., 2 tables, 31 figures, bibliography, 52 titles. Chapter I of this thesis details contemporary historical views on the origins of the violin and its terminology. Chapters II through VI study the methodologies of makers from Italy, the Germanic Countries, the Low Countries, France, and England, and highlights the aspects of these methodologies that show influence from one maker to another. Chapter VII deals with matters of imitation, copying, violin forgery and the differences between these categories. Chapter VIII presents a discussion of the manner in which various violin experts identify the maker of a violin. It briefly discusses a new movement that questions the current methods of authenti- cation, proposing that the dual role of "expert/dealer" does not lend itself to sufficient objectivity. The conclusion suggests that dealers, experts, curators, and musicologists alike must return to placing the first emphasis on the tra- dition of the craft rather than on the individual maker. o Copyright by Allison A. Alcorn TABLE OF CONTENTS Page LIST OF FIGURES.... ............. ........viii LIST OF TABLES. ................ ... x Chapter I. INTRODUCTION . .............. *.. 1 Problems in Descriptive Terminology 3 The Origin of the Violin.......
    [Show full text]
  • Metropolitan Pavilion Proudly Presents Italian Masterpieces in New York
    NEW YORK March 15-17, 2013 - Metropolitan Pavilion proudly presents Italian Masterpieces in New York The inspiration Historical musical instruments represent a very precious heritage. They continue to inspire contemporary violin makers, and they are able to communicate to the general public the values associated with art, culture and human endeavor. Mondomusica New York will bring to the U.S. some of the finest instruments ever made in violin-making history. They come from three of the most renowned collections in Italy, and some of them have never before been taken out of Italy. The instruments Cremona Municipal Collection The Municipal Building of Cremona houses one of the foremost strings collections in the world. These instruments characterize the history of the greatest violin-making dynasty ever known, originating in Cremona from the first half of the sixteenth century and developing until the first half of the eighteenth century. Mondomusica New York makes it possible to admire: Andrea Amati - Carlo IX, 1566 - violin In 1966, due to the efforts of Alfredo Puerari with the expert advice of Simone Fernando Sacconi, two masterpieces by great violin makers born in Cremona returned to the town: the Carlo IX di Francia, a violin constructed by Andrea Amati in 1566, and the Hammerle, made by Nicolò Amati in 1658. Both instruments, purchased by the Provincial Tourist Board in Cremona, came from the Rembert Wurlitzer Company in New York, which in turn had obtained them from the banker Henry Hottinger, a famous collector. Andrea Amati was able to determine the fundamental characteristics of the violin family of bowed stringed instruments, which with some small variations of proportion with regard to violas and violoncellos, are still in use today.
    [Show full text]
  • Violin, I the Instrument, Its Technique and Its Repertory in Oxford Music Online
    14.3.2011 Violin, §I: The instrument, its techniq… Oxford Music Online Grove Music Online Violin, §I: The instrument, its technique and its repertory article url: http://www.oxfordmusiconline.com:80/subscriber/article/grove/music/41161pg1 Violin, §I: The instrument, its technique and its repertory I. The instrument, its technique and its repertory 1. Introduction. The violin is one of the most perfect instruments acoustically and has extraordinary musical versatility. In beauty and emotional appeal its tone rivals that of its model, the human voice, but at the same time the violin is capable of particular agility and brilliant figuration, making possible in one instrument the expression of moods and effects that may range, depending on the will and skill of the player, from the lyric and tender to the brilliant and dramatic. Its capacity for sustained tone is remarkable, and scarcely another instrument can produce so many nuances of expression and intensity. The violin can play all the chromatic semitones or even microtones over a four-octave range, and, to a limited extent, the playing of chords is within its powers. In short, the violin represents one of the greatest triumphs of instrument making. From its earliest development in Italy the violin was adopted in all kinds of music and by all strata of society, and has since been disseminated to many cultures across the globe (see §II below). Composers, inspired by its potential, have written extensively for it as a solo instrument, accompanied and unaccompanied, and also in connection with the genres of orchestral and chamber music. Possibly no other instrument can boast a larger and musically more distinguished repertory, if one takes into account all forms of solo and ensemble music in which the violin has been assigned a part.
    [Show full text]
  • 'Fortissimo Di Voce, E Quasi Tenore' Part
    ‘Fortissimo di voce, e quasi tenore’ ‘Very strong of voice, and like a viola’ An evidence-based investigation into the historical reality of the 1724 Stradivari violin which Il Conte Cozio di Salabue sold to Niccolò Paganini in July 1817 Nicholas Sackman © 2018-2021 Revised following receipt of new information from the USA. The present writer wishes to place on record his gratitude to Ms Christine Windheuser (NMAH Archives Center, Smithsonian Institution) for her help in locating archived documents. In early 1817 Niccolò Paganini learned from Carlo Carli, in Milan, that the latter had for sale a Stradivari violin, dated 1724, which was the property of Il Conte Ignazio Alessandro Cozio di Salabue. Carli was Count Cozio’s banker and commercial agent; he was also a talented violinist who was good enough to play in quartets alongside Paganini. A letter sent by Paganini to Carli on 21 June 1817 (see below) demonstrates that Carli, on Niccolò’s behalf, negotiated the virtuoso’s purchase of the 1724 violin from Count Cozio. The Count’s price was 100 Luigi (100 Louis d’or 20-franc coins) but he was willing to allow a 5 Luigi discount to secure Paganini’s custom. It is possible – indeed, more than likely – that Count Cozio was expecting Paganini to use and advertise the Stradivari violin during his European concert tours, and the violinist’s admirers would then beat a path to Carlo Carli’s door to purchase more of the Count’s instruments. Documents written by Count Cozio demonstrate that this 1724 violin was one of twelve which the Count had obtained in 1774-75 from Paolo Stradivari (the youngest son born of Antonio Stradivari’s second marriage).1 There are no known documents within the Cozio archive at the Biblioteca Statale di Cremona which indicate that Count Cozio ever sold more than the one violin, of 1724, to Paganini.
    [Show full text]
  • Frequency Response in the 'Vieuxtemps' Guarneri 'Del Gesù'
    ‘VIEUXTEMps’ ‘DEL GESÙ’ THE STRAD PAPERS q An impact hammer and microphone identify a violin’s sound output at each frequency Frequency response in the ‘Vieuxtemps’ Guarneri ‘del Gesù’ The chance to examine the acoustics of a great late Guarneri ‘del Gesù’ violin was too good for a team of maker–researchers to pass up. In the first of a two-part investigation of the ‘Vieuxtemps’, JOSEPH CURtiN sets to work with his impact hammer ne of the last manually operated elevators in most notably in Peter Biddulph’s two-volume Giuseppe Guarneri Chicago is tended by a Polish man called Joe, who del Gesù. In the decade since that work was published, new pulls shut the cage-like doors, asks which floor, measurement technologies have become increasingly available and then throws a brass lever, setting the whole to researchers, among them a handful of technically minded apparatus into motion. All this made my ride up violin makers. In the 1980s German maker Martin Schleske Oto violin dealers Bein & Fushi seem like a journey back in time – pioneered modal analysis and sound radiation measurements back to when men wore hats and everyone smoked, and Milstein as workshop tools. In 1989 American maker John Waddle and Stern could still be heard at Chicago’s Orchestra Hall. Nothing teamed up with radiologist Steven Sirr to CT-scan old Italian inside the violin shop breaks the illusion. Signed photographs of instruments. Everything began accelerating in 2002, when the famous players cover the walls. A painting of Heifetz presides over VSA Oberlin acoustics workshop started bringing makers and the Great Room like some frowning deity.
    [Show full text]