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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Gasparo da Salò double bass c.1550 poster
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Domenico Montagnana violin 1717 poster
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‘Kruse’ Stradivari violin 1721 poster
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Andrea Amati violin c.1566 poster
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Pietro Guarneri of Mantua violin 1704 poster
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Carlo Giuseppe Testore violin c.1703 poster
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‘Schneider’ Gofriller cello 1693 poster
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G.P. Maggini violin c.1630 poster
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‘Alard’ Guarneri ‘del Gesù’ violin 1742 poster
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‘Milanollo’ Stradivari violin 1728 poster
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