Scan 76
The Violin Gallery: Comprising: Section I. South Kensington Special …, 1890
17 lines. Read by computer on 3 September 2026. No printed page number was found. See the scan on archive.org.
1terminating nearer the edge of the instrument—his scroll has at least an intimation of that Guarneri character developed and perfected by Del Gesu.
3210 JOSEPH GUARNERIUS, SON OF ANDREAS. CREMONA, 1709.
4Geo. A. Dissmore, Des Moines.
5Sparkling red varnish clotted in places, good preservation, and of the flat model so much preferred by artists and connoisseurs—being no doubt one of the "flatter" violins of this maker which Charles Reade writes about.
6It is in this type of Joseph, son of Andreas, that we find the only clue to the source of Joseph Guarnerius Del Gesu's early instruction. Authorities all now agree that Del Gesu received his early education in fiddle making from Joseph son of Andreas, and it was this style of fiddle—hewed out under the shoulders, the long f hole with a sudden drop at the upper turn, the obtuse corners, and the partially straightened out curve of the lower half of the center bout,—that he was making when his great cousin was his apprentice. Compare this specimen with No. 94;—taking the fact of the known similarity in the varnish, the resemblance is at once striking and convincing.
8211 ANTONIUS STRADIVARIUS. 1690.
9W. E. Hill & Sons, 38 New Bond St., London.
10As Stradivari is the man who brought the violin to a state of perfection, to no one is the following beautiful comparison by the great English statesman more eminently applicable
11"To perfect that wonder of travel—the locomotive—has perhaps not required the expenditure of more mental strength and application, than to perfect that wonder of music—the violin.—W. E. Gladstone.
12"The Tuscan Strad," taken from Hill's book, price asked $12,500; color light red or rose scarlet.
13I condense from the book giving three colored plates (which I fear are more faithful to the color than the form of the instrument) the following:
14The delicate surface of matchless orange-red-brown varnish shows scarcely a sign of the wear of the two centuries passed since it was first laid on, while the tone, in power, rich brilliancy and purity, fully sustains the impression created by the appearance of an instrument so perfect in form and material.
15The record of the instrument for the second century is complete, and there is a strong presumption as to its previous history. The interesting document in the possession of Messrs Hill & Sons shows that in 1794 the violin passed from the hands of Signor G. F. Mosell of Florence, into those of Mr. David Ker, of Portavo, in Ireland, for the sum of about £25. Signor Mosell's statement that the violin originally belonged to the court of Tuscany points to the strong probability of its having been one of the concerto of instruments supplied by Stradivari in 1690 to the Grand Duke of Tuscany, Cosimo III de Medici. The Concerto consisted of five instruments—two violins, two violas and a violoncello.
16In 1845 this violin was rescued from a fire and later was taken to Vuillaume, Paris, for repairs.
The computer misreads some letters and numbers. Where a name matters to you, read the scan.