Books › Musical Courier 1913-12-10: Vol 67 Iss 24, 1913 › scan 30
Scan 30
Musical Courier 1913-12-10: Vol 67 Iss 24, 1913
62 lines. Read by computer on 26 September 2026, twice; the two readings disagreed in places. Printed page 31. See the scan on archive.org.
1OLE BULL'S GASPAR DA SALO.
3Last May there appeared in the MUSICAL COURIER a very entertaining article taken from Harper's New Monthly Magazine of January, 1881, containing interesting data of Ole Bull and his violins and especially referring to his Gaspar da Salo, which is the instrument understood to have been bequeathed to the Museum in Bergen, Norway, by Ole Bull's widow.
5In commenting upon the article in question, our Berlin representative, Arthur M. Abell, states that his father-in-law, D. J. Partello, the violin connoisseur, who has in his collection thirty-seven masterpieces, has seen the violin referred to, and in our issue of November 5 he states that Mr. Partello held it in his own hands before it was sealed up, and asserted that the same was not a Gaspar da Salo, but a Maggini. Mr. Abell, who himself is a connoisseur and has seen the famous instruments of nearly all the great violinists now before the public, furthermore says, in commenting upon Mr. Partello's declaration: "This news will be interesting to violin connoisseurs the world over, since it comes from such a great authority."
7In this connection it is interesting to publish the following communication to the MUSICAL COURIER from Ralph S. Bartlett, Counsellor-at-Law, of Boston, Mass., who was administrator of the estate of Ole Bull's widow, in reference to an article which was published in this paper on November 5:
9RALPH S. BARTLETT
10COUNSELLOR AT LAW
11626-628 Exchange Building
1253 State Street
13Telephone Main 7115, 7116
14Cable Address "Ralshart"
15Western Union Code
16Boston, November 22, 1913.
17To the Musical Courier, New York, N. Y.:
18My attention has been called to an article published in your issue of the 5th inst. relating to Ole Bull's Gaspar da Salo violin, which for the past eleven years has been exhibited in a sealed glass case in the Vestlandske Kunstindustri Museum, in Bergen, Norway. It has been said that this violin has a more distinguished history than any other instrument in the world.
20As the article referred to not only tends to question the genuineness of the violin, but even to suggest that Ole Bull's Gaspar da Salo is now in the possession of a Norwegian violinist by the name of Ole Theobaldi, it is perhaps fair that readers of the MUSICAL COURIER should know that, at the time the late Mrs. Ole Bull presented her husband's Gaspar da Salo to the Bergen Museum, she accompanied the gift with a printed booklet which contained the history of the instrument, illustrations of same, and the conditions under which the gift was made.
22In view of the recently published article, it is perhaps well to here refer to the history of the instrument as given in the booklet, which reads as follows:
24THE GASPAR DA SALO BENVENUTO CELLINI VIOLIN.
25"This instrument was made to the order of Cardinal Aldobrandini, one of a noble family at Rome, memorable for their patronage of the fine arts. He gave for it 3,000 Neapolitan ducats, and presented it to the treasury of Innsbruck, where it became celebrated, under the name of 'The Treasury-Chamber Violin.' When that city was taken by the French, in 1809, it was taken to Vienna and sold to Rhaczek, a wealthy Bohemian, whose splendid collection of rare instruments had made him known as a collector. The gem of his collection was this violin made by Gaspar da Salo and sculptured by Cellini. He was offered enormous sums for it by English, Russian and Polish noblemen, but to all such offers he answered, 'Not for the price of half Vienna.'
27"Rhaczek attended Ole Bull's first fifteen concerts in Vienna (1839), became an enthusiastic admirer of his, and soon became personally acquainted with him. Until then Rhaczek had considered himself the most learned man in Europe in the history of violins. But Ole Bull had sought them as eagerly as an Oriental merchant seeks for rare pearls. He imparted to the Bohemian amateur much information that was new and valuable, and this sympathy of tastes and pursuits brought about a warm friendship between them. Rhaczek, who loved the violin as if it were his child, could not bring himself to part with it, but he promised Ole Bull he should have the preference over every other man in the world. He died two years afterward, and a letter from his son informed the Norwegian artist that his dying father remembered the promise he had given.
29"On the scroll of this instrument is carved a cherub's face, surrounded by flowing curls and colored. Behind this figure, leaning against the shoulders, is an exquisitely beautiful little mermaid, the human form of which terminates in scales of green and gold. The neck of the violin is ornamented with arabesques in blue, red and gold. On the tail-piece is a carved mermaid in bronze color. Thorwaldsen took great delight in examining these figures, and bestowed enthusiastic praise on the gracefulness of the design and the excellence of the workmanship. Ole Bull was born in February, and, by an odd coincidence, the original boxwood bridge of his darling violin was carved with two intertwining fishes, the zodiacal sign of February. The instrument has the look of the Middle Ages, and would have been a royal gift to some princely troubadour. It had always been preserved as a museum piece, and when it came into the possession of Ole Bull, Vuillaume, of Paris, lengthened the finger board and adjusted the violin to Ole Bull's use.
31"It so happened that Liszt and Mendelssohn were dining with Ole Bull when he received the letter announcing the clause in Rhaczek's will which permitted him to become the purchaser of the violin. They considered the price prohibitive, but claimed the promise that with their assistance the 'Kreutzer' should be its initiation. It was in this memorable way that the Da Salo-Cellini violin received its musical baptism.
33"The accompanying illustrations will be of interest.
35"The booklet also contains the following Letter of Presentation and Letter of Acceptance:
37"CONDITIONS OF GIFT AND SUGGESTIONS.
38"To the Directors of the Vestl. Kunstind. Museum, Bergen:
39"GENTLEMEN—Confirming your Letter of Acceptance of October 19, 1902, I beg leave to send you the following Statement of Gift of the Da Salo-Benvenuto Cellini Violin, with the conditions and suggestions:
40"(1) The above violin is placed with the Vestlandske Kunstindustri Museum of Bergen, for preservation as a model, in accordance with Ole Bull's expressed judgment, as the best means of perpetuating its value.
41"Combining the names of two masters, it was reverently handed down by Ole Bull as his best memorial to them in all its original parts, although its carved scroll intact with its small pegs made it impracticable for much use. It is given in memory of his loving care for the instrument to his birthplace, Bergen. The adjustment of the violin is exactly as left by Ole Bull—his flat bridge and fingerboard. The measurements of the model are:
42"Length of body 14 3/16 inches; length of stop, 7 12/16 inches; top width of body, 6 1/4 inches; bottom width of body, 8 1/12 inches; the height of sides, 1 1/16 inches; bottom height of sides, 1 1/8 inches.
43"(2) It is incumbent upon the Vestl. Kunstind. Museum, according to its promise in the person of its official representative to Sara Bull on accepting its care, and confirmed by the Letter of Acceptance of the directors given below, to carry out the following conditions in spirit and letter, thus making the desire of the donors effectual, to preserve to the Commune of Bergen and to the world of art for centuries to come, in the condition delivered, this the most valuable instrument of Ole Bull's collection. The donors confidently hope for whole hearted cooperation on the part of all concerned to this end as a sacred trust, morally and affectionately held by Ole Bull's countrymen.
44"(3) The sealed glass case as delivered to the above museum by Sara Bull is not at any time to be opened, excepting for necessary repairs, such as unglued parts or unforeseen emergency. A fallen bridge or sound post would not warrant the removal of the violin from the case unless some luter of repute could undertake the adjustment. Should such adjustment become necessary at any time as a result of accidental jar, or from the breakage of the strings by their deterioration, the luter should examine the jointure of top and back with the sides, and, if it be found imperfect, he should repair the same by regluing.
45"(4) Should more extensive repairs be regrettably necessary, these shall be submitted to and undertaken by the advice of Walter E. Colton or his successor appointed by himself; and, when such repairs are to be made, the case is to be opened for said purpose in the presence of the guardians—John Lund, or his successor appointed by himself, the president of the Museum, and the Mayor of Bergen.
46"(5) No attempt is allowed to test the tone of the violin, should it be removed from the glass case for said necessary repairs; but it should be wrapped in silk and well protected from dampness. And, when such repairs are effected, the instrument shall be returned and sealed again in the airtight glass case by the guardians (no drying powder to be again placed inside case), and such precautions while it may be outside said case shall be taken as they may devise. Suggestion: The luter should work on the instrument in the Museum itself, and place the instrument when he leaves it in the steel case made to receive the glass exhibition case, also provided by Sara Bull.
47"(6) Said violin shall be removed from its place only for repairs or for the purpose of being placed in the steel case enclosed in its glass exhibition case. The Museum has no power to loan the instrument or to exhibit it otherwise than as above provided. The room and position in it, offered and accepted by Sara Bull, secured as even a temperature and as little vibration and jar as could be found, as well as light for its exhibition and a fit environment.
48"(7) Should any of the above conditions be violated or omitted by the Vestl. Kunstind. Museum, the Commune of Bergen, through its official representatives, is empowered to remove said violin to some stronghold where it can be adequately safeguarded as to temperature, dryness, freedom from jars, etc., until a suitable place can again be chosen for its public exhibition.
49"(8) The guardians of this gift who are appointed by Sara Bull are ex officiis Mayor of Bergen and the president of the above Museum, and John Lund of Bergen, Norway, and Walter E. Colton, of Exeter, New Hampshire, U. S. A.
50"Any vacancy occurring in the guardianship to be filled by Sara Bull or her legal representative or heirs.
51"(9) Suggestions: That Sara Bull and her daughter Olea be considered entitled to advisement during their lifetime of any need that may arise connected with the care of the above instrument. And that they be called upon—they and their heirs—for expenses attending the same.
53(no line here) one of two readings
54"SARA BULL.
56(no line here) one of two readings
57"LETTER OF ACCEPTANCE.
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60"To Mme. Sara Bull:
61"We, the undersigned directors of the Vestlandske Kunstindustri Museum of Bergen, beg to present our profound acknowledgments for the confidence and interest shown by you in intrusting to our care the Cellini-Gaspar Da Salo violin which belonged to your distinguished husband. We accept this instrument as your gift to the Com-
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