Antonio Stradivari ‘Gustav Mahler’ viola 1672 poster
Currently played by Antoine Tamestit, the 'Mahler' is one of only ten surviving violas by Antonio Stradivari – and the earliest known viola he made. The instrument bears all the hallmarks of the Cremonese master, as well as some intriguing details that suggest the 28-year-old luthier was already experimenting with the form.
'The more one looks into the "Mahler", the more facets and curiosities reveal themselves. Like all great artworks it is a product of its time and circumstances, as well as a result of experiments to bring something totally new and unique into the world'
– Jonathan Marolle in the July 2019 issue
The poster includes full measurements, outlines of the back, scroll side, f-holes, and front and back archings and rib outline.
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The Strad Directory 2019
Antonio Stradivari ‘Cecil’ violin 1724 poster
The 1724 'Cecil' is that rare thing: a genuine Stradivari violin that has gone virtually unreported for the past three centuries. It spent decades in the possession of an Italian family, which means it remains in an excellent state of preservation – the varnish is virtually unblemished and its sound quality is excellent. It was one of the instruments in the collection of Count Cozio di Salabue, and has also been examined and verified by Charles-Eugène Gand and Charles Beare. Despite coming from Stradivari's late period (he was 80 at the time), the hand of the master, rather than that of his sons, is identifiable all over the instrument. The poster includes full measurements, outlines of the back, scroll, f-holes, and front and back archings, as well as thickness maps and the rib heights.
'The varnish is the same deep, rich red–brown seen on great examples of the golden period like the 1721 ‘Lady Blunt’ and 1716 ‘Medici’. It is, apart from the repairs to the front, unadulterated by polish and other accretions that camouflage the texture of so many well-used and restored examples' – John Dilworth in the November 2018 issue of The Strad
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The Strad Calendar 2019: Antonio Stradivari Instruments
'For the 2020 Strad Calendar please click here'
‘Vieuxtemps’ Guarneri ‘del Gesù’ 1741 poster
Currently the most expensive violin in the world, the 1741 'Vieuxtemps' Guarneri 'del Gesù' was sold in 2012 for a sum in excess of $16 million. It has been given on lifetime loan to US violinist Anne Akiko Meyers. Among its illustrious former players was Henri Vieuxtemps; at his funeral it was carried behind the hearse on a velvet cushion, by fellow violinist Eugène Ysaÿe.
As well as full measurements, the back of this poster contains detailed CT scans, thickness maps and actual-size cross-sections of the archings. The violin still remains in a remarkable state of preservation, especially considering it has been in use for most of its life.
'The violin has a colossal range. I found I could play the entire repertoire, from Vivaldi to Sibelius to modern works, just on this one violin. It feels as though there’s colour in my fingertips' – Anne Akiko Meyers in the June 2018 edition of The Strad
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‘Armingaud, Fernández Blanco’ Guarneri ‘del Gesù’ violin 1732 poster
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The Strad Calendar 2018: The Friends of Stradivari
Antonio Stradivari ‘Dancla’ violin 1708 poster
The 1708 'Dancla' Stradivari is an exceptional violin from the middle of the maker's so-called 'golden period'. It perfectly represents Antonio Stradivari's later experiments while also embodying some rare characteristics. This poster not only boasts full-length, actual-size photographs by Jan Röhrmann, but also CT scans, thickness and arching maps, and full measurements.
'The archings are consistent in height and curve in a violin of strong visual impact —a powerful, bold look for which Stradivari was striving from the turn of the century, especially from 1707' - Alberto Giordano in the July 2017 edition of The Strad
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Francesco Rugeri violin 1686
Was the 17th-century maker Francesco Rugeri trained by Nicolò Amati? This violin appears to show the clear influence of the great master, with arching close to Amati's late style and f-holes showing Rugeri's personal interpretation of an Amati model. Conversely, the head seems to anticipate the work of Carlo Bergonzi, some decades later. A fascinating violin by a highly regarded Cremonese maker. Includes measurements.
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Antonio Stradivari ‘Saveuse’ cello 1726 poster
The 1726 'Saveuse' is one of the smallest cellos ever to come out of Antonio Stradivari's workshop. From the beautifully carved scroll to the smouldering, rich maroon colour of the varnish, the instrument displays the finest characteristics of the luthier's late period. It remains in almost perfect condition and provides a fascinating insight into the mind of Stradivari the innovator. This poster will be an excellent resource for anyone looking to learn from the master.
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José Contreras violin 1767 poster
This splendid violin from the so-called ‘Classical Age’ of Spanish violin making might well have been commissioned for King Charles IV. José Contreras (c.1710–82) was one of the greatest luthiers of the era, sometimes referred to as ‘the Spanish Stradivari’. The influence of the Cremonese master can clearly be seen in this fine instrument.
‘The general form of the arching is rounded and slightly bulbous, especially in the middle of the upper and lower bouts. The f-holes are very Stradivarian in form, and generally widely cut and broadly spaced on the front. The lower wings are lightly fluted and the nicks are typically small’ – John Dilworth in the December 2013 issue of The Strad
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Guarneri ‘del Gesù’ ‘Brusilow’ violin 1743 poster
A superb violin from the last years of the maker's life, the 'Brusilow' is in an incredible state of preservation. Played for many years by Anshel Brusilow during his years as concertmaster of the Philadelphia Orchestra, the instrument displays many of the idiosyncratic qualities that characterise the late period of 'del Gesù'. Includes scans and measurements.
'It has a kind of powerful three-dimensionailty that hits the eyes and makes the viewer want to touch it lightly in order to scan its unpredictable surface' – Alberto Giordano in the December 2015 issue of The Strad
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Antonio Stradivari ‘Huberman’ violin 1713 poster
This stunning instrument from Stradivari’s golden period has sleek, taut arching, lithe and slender corners, and a bubbled texture to the plum-red varnish. It was played by Bronislaw Huberman until 1936 until it was notoriously stolen from his dressing room at Carnegie Hall. Fifty years later it was recovered, and is now the property of US soloist Joshua Bell. Includes scans and measurements.
'The scroll is made of typical fine-grained maple, with only minimal figure, allowing for very fluid carving. The profile is sleek, with a graceful oval head, slender pegbox, and narrow throat, echoed in the tight cutting into the eye' – Sam Zygmuntowicz in the November 2013 issue of The Strad
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Antonio Stradivari ‘Benvenuti’ Violin 1727 poster
One of the masterpieces of Stradivari’s late period, the ‘Benvenuti’ has had a rich playing history – which makes it all the more remarkable that the instrument remains in superb condition today. This is the first of The Strad's posters to use full-colour micro-CT scans, with all the scanned images actual-size reproductions of the instrument.
'From both the front and rear, the pegbox appears wide and powerful, the fluting remaining quite shallow all over (as in the volute), to deepen only under the throat' – Andrea Zanrè in the December 2016 issue
Full-colour micro-CT scans, with all the scanned images actual-size reproductions of the instrument.
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Guarneri ‘del Gesù’ ‘Plowden’ violin 1735 poster
One of the finest and most acclaimed ‘del Gesù’ instruments in existence, the ‘Plowden’ is striking in its vivid freshness and particularly notable for the intense orange–red varnish on its stunning one-piece back. Includes scans and measurements.
'The ‘Plowden’ gives an outsize impression that defies its rather petite dimensions. Several factors combine to create this effect: the very broad-flamed maple back, the substantial thickness of the purfling, the wide-grained top, back arching that quickly rises from the relatively shallow channel, the open f-holes and, above all, the plentiful red varnish that lies with an almost sculptural effect over the undulating flames of the back.’ – Sam Zygmuntowicz in the July 2011 issue of The Strad
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Antonio Stradivari ‘Messiah’ violin 1716 poster
Stradivari’s 1716 ‘Messiah’ violin is one of the most coveted in the world. The pristine condition of the instrument, made during his ‘golden period’ and barely played since then, offers unique insights into the mind of the great master. This poster will be an excellent resource for anyone trying to replicate such a violin. Includes measurements.
'The ‘Messiah’ was as exceptional to Stradivari as it is to us. And this ‘apartness’ was as obvious to his sons, and even the Bergonzis who lived on in the Casa Stradivari, making and selling new instruments as well as salvaging and finishing partly completed work for a good 20 years after Antonio’s death.’ – John Dilworth in the March 2011 issue of The Strad
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Guarneri ‘del Gesù’ ‘Cessole’ violin 1736 poster
Guarneri ‘del Gesù’ made the ‘Cessole’ violin during his period of full maturity. It bears a label dated 1736, and the character of the instrument fits perfectly with his style in that year. The back is spectacular, with a broad and deep flame extending upwards from the central joint. Includes measurements
'The main character of the violin is an appearance of delicacy, a trait that is generally unexpected for "del Gesù", but which is often found in his instruments before his later period. The body of the violin is a little small, a few millimetres shorter than a standard Stradivari' – Carlo Chiesa in the July 2010 issue of The Strad
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Jacob Stainer tenor viola c. 1650 poster
The only remaining tenor viola made by the Tyrolean maker Jacob Stainer reveals the maker's painstaking attention to detail and offers tantalising clues about Italian influence on his style. It is in superb condition: the scroll is a replacement but the rest of the instrument – including, remarkably, the neck and fingerboard – are believed to be original. The label, which is a facsimile, states that it was made in 1650. Includes measurements.
'The viola's most striking feature is its size. The body stretches more than 18 arm-aching inches. The neck is relatively short, however. In the 18th century, many tenor violas were cut down to more manageable sizes, though a few were left large. Three of the best examples are the 1690 Antonio Stradivari 'Medici', the 1574 Andrea Amati, and this Jacob Stainer' – Darren Freeman in the March 2010 issue of The Strad
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Antonio Stradivari ‘Titian’ violin 1715 poster
The 'Titian' Stradivari of 1715 has long been counted among the finest violins of the maker's golden period. It has revealed itself to be a formidable concert instrument of unusual power and scope, remarkable for its focus and resilience under the bow. The violin was dubbed 'Titian' by the French dealer Albert Caressa because of its clear orange–red colour, which reminded him of the work of the famous Venetian painter. Includes photographs, scans and measurements.
‘On first look, the violin seems strong and solid, with its smoothly worn patina, sturdy arching and edgework, and immaculate finishing with virtually no visible trace of the hand – all is pure architecture, with the execution almost completely subsumed. The patina shows careful use, with the edges rounded and the varnish smoothed to a luminous film.’ – Sam Zygmuntowicz in the February 2009 issue of The Strad
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Nicolas Lupot violin 1808 poster
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Brothers Amati cello c.1600 poster
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Henry Jaye viol 1618 poster
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Carlo Bergonzi violin 1736 Poster
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