Scan 17
Catalog of Rare Old Violins, Violas, Violoncellos, Bows of Rare Makes, 1921
24 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1CARLO BERGONZI, CREMONA, 1733
2From The Schley Collection
4NUMBER 5299. "As fine as a Strad" is an expression often used, greatly abused, but which can properly be applied to the violins of his greatest pupil, Bergonzi, who, on the death of Stradivari's sons, succeeded to the business and occupied the famous house which faced the square in the city of Cremona, the habitat of his great master.
6This instrument and the following number, 5300, by the same maker, are now, and have for many years been regarded by violin experts as among the finest known examples of Bergonzi's art.
8They belong to the epoch in Bergonzi's activities during which were produced those wonderful instruments which have placed him on a par with Stradivari and Guarneri as a maker of violins.
10It is not known definitely when he left Stradivari's establishment and started for himself in a house but a few doors removed from that of his former employer, but doubtless it was around 1716-20.
12Stradivari was still at his bench in 1733, and it was not until four years later that he died. His influence on Bergonzi, is, therefore, very easy to understand.
14Workmanship and varnish of this 1733 Bergonzi are of the choicest description known to the maker. The back is formed of one piece of the finest curly maple, having a handsome figure extending across its breadth. The sides match the back. The front is of spruce of even, straight grain, and of that splendid quality invariably selected by Bergonzi. The varnish is of a deep ruby red. It is a thick, heavy coat, entirely original.
16In preservation it is practically as it left Bergonzi's hand. It has no break or crack, and its wood is of the original thickness. By reason of this perfect physical condition the tone is of the utmost purity and sweetness. (Plate IV)
18Price: $10,000
20CARLO BERGONZI, CREMONA, 1737
21From the Schley Collection
23NUMBER 5300. Still more beautiful than the 1733, though hardly so well preserved, would be a concise statement of the difference between these two instruments.
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