STRAD VIOLINS

Southland Times, Issue 22491, 28 January 1935, Page 6

STRAD VIOLINS

LABELS NO GUIDE.

TESTS FOR GENUINE INSTRU-

MENTS.

When is a Strad not a Strad? It seems that only the experts can really answer this question. Every now and then there are Press references to old and valuable violins, especially to those by the master Stradivarius, but quite a few owners of instruments labelled with the famous maker’s name have had their hopes of obtaining large sums of money for their violins dashed to the ground simply because they have not possessed the really genuine Strad. Following the announcement that the late Archbishop Redwood had bequeathed his Stradivarius to St. Patrick’s College, Wellington, quite a few supposed Strads have been discovered in the Dominion and last week the following letter from Mr A. E. Shirley, of Ohai, appeared in the correspondence columns of the Southland Times: “Reading of the finding of two old violins in Hamilton, supposed to be Strads, I am writing to inform you that I have a violin with exactly the same label, Antonius Stradivarius Cremonesis Faciebat Anno 1788. I have known of this violin for fifty years, but don’t know where it originally came from.” . False hopes are repeatedly raised m those who, on peering into the interior of a violin through one of the soundholes, catch sight of a printed label bearing the words: “Antonius Stradivarius Cremonensis faciebat Anno 17 The last two figures of the date are usually written in with a pen, and the label bears a small badge consisting of a cross and the letters “A. S.” within, a circle. As a matter of fact, however, there are probably in existence in New Zealand only two or three really genuine Strads. The label is rarely more than a device adopted by violin makers to indicate that an instrument is after the model of those made by Stradivarius at the particular period in his career to which the date refers. The device, which is a very old one, may in the past have been used disingenuously—for Stradivarius had dishonest imitators even in his own lifetime —and possibly to-day. However, in the factory production of violins, which is now a considerable industry, it serves a perfectly legitimate purpose. Disregard of Labels.

In ordinary violins of this grade, dealers always specify the particular model that they wish to obtain, whether Stradivarius, Guarnerius, Amiti or any other established design, and the instruments are delivered bearing appropriate labels. Those found in German factory-made violins are stated to include as a rule the words “Made in Germany,” and others indicating that the instrument is a copy of the model named. Other European manufacturers, however, generally do not follow this practice. Little attention to any label a violin may contain is, as a rule, paid by the experts when estimating the age and origin of the instrument. They rely entirely upon the evidence offered by the sign and design of the instrument, its workmanship, the nature of the wood and varnish, its general condition and a hundred and one details which mean much to the practised eye. Its authenticated history, if any, is also relevant.

Authentic Instruments.

The expert is always on the alert to detect faking which has been, and no doubt still is, carried on extensively. Like furniture, oil paintings and other objects of art and vertu, violins can be given a spurious appearance of age. Even the tone can be improved by certain illegitimate means, the effect of which wears off in a year or so. It is the view of experts that the chances of any particular violin being a genuine “Strad” are very remote. The master made something over 700 instruments in the course of his long career, which extended from 1679 to 1736, and between 300 and 400 are known to be still in existence. A number are listed and bear individual names, like famous diamonds or Maori meres. Some of the names are the “Tuscan” (1690), “Messiah” (1716) and “Sarasate” (1724). As much as £lO,OOO has been paid for an instrument. New Zealand audiences in the north have often heard undoubted Strads played by celebrated violinists on tour in the Dominion. It is believed, however, that there are probably only two or three New Zealand-owned genuine Strads.