Scan 18
Catalog of Rare Old Violins, Violas, Violoncellos, Bows of Rare Makes, 1922
21 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1The top is of the usual fine selection, which none knew so well how to make as the Cremonese masters. The model is of the flat, broad type, which was exclusively used at this time. It is covered with a ripe, plum colored varnish of wonderful richness and beauty.
3The scroll is a Bergonzi masterpiece.
4It is magnificent in preservation, and a perfect beauty in appearance.
5The tone is glorious.
6Price: $9,000
8NICOLA AMATI, CREMONA, 1674
9NUMBER 5886. This is an exceptionally beautiful example of Amati's large type of violin, commonly known as the grand pattern. It is unusually beautiful. The color of the varnish is a deep orange brown, tinged with red, which is rare among his violins, which are, for the most part, of a lighter shade.
11As far as we know this violin has the distinction of being the first Cremonese violin of the first class to be imported by a Chicagoan.
13The papers which came with it, disclose the fact that it was purchased from the very well known violin dealer of London, the late Mr. George Hart, by a Mr. R. A. Johnson of Chicago, in the year 1872. The late Mr. John P. Waters, of Brooklyn, who at that time was forming his collection, purchased it eventually from Mr. Johnson and he some years afterwards parted with it to his warm personal friend, Mr. R. A. Pitkin, of Hartford, Connecticut, a close friend of Mr. Hawley. Shortly before Mr. Pitkin's death, we purchased it from him, together with the Henry IV Amati, which is also described in this catalog. It is strong in wood and is in unusually fine playing condition. Its tone is surpassingly lovely, being unusually large for an Amati; full of color and refinement.
14Price: $8,500
16DOMINICUS MONTAGNANI, SUB SIGNUM CREMONÆ VENETIIS 1737
17From The Schley Collection
18NUMBER 5302. Of all the creations of "The Mighty Venetian," this violin may be said, without fear of contradiction, to be the most beautiful known, while its tone is of the utmost beauty of quality and power.
20It was made in Venice at the time when violin making in Cremona was at its pinnacle, after Montagnani had served his apprenticeship
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