The owners at last communicated with Duport, who, after a good deal of bargaining, was fortunate enough to become its possessor at the price Of 2400 francs. That this fine bass aided Duport in gaining and upholding the reputation he acquired for purity and breadth of tone none can doubt.
He jealously guarded his treasure until his death, which took place in 1819. Vidal, in his work, "Les Instruments de Musique, etc.," relates the following amusing anecdote a propos of Duport and his Stradivari: "One day, when Duport was playing a solo at a private party at the Tuileries, Napoleon suddenly appeared in the drawing-room, booted and spurred. He listened with pleasure, and as soon as the piece was over he approached Duport, complimented him, and, snatching the bass from him with his usual vivacity, he asked, 'How the devil do you hold this, Monsieur Duport?' and, sitting down, he squeezed the poor violoncello between his spurred boots. The unfortunate artiste, whom mingled respect and surprise had stricken dumb for a moment, could not master his fright at seeing his precious bass treated like a war-horse, and made a hurried step forward, uttering the word 'Sire!' in such a very pathetic tone that the instrument was immediately returned to him, and he was thus able to give his demonstration without again letting it out of his hands."
At Duport's death the Stradivari passed to his son, also a violoncellist, who, after holding an appointment as principal ,cellist at Lyons for some years, decided to relinquish the profession of music and to return to Paris, where he established himself as a pianoforte maker. For years he refused all offers for his father's violoncello, and it was only after experiencing business reverses that he finally decided to part with it.
Vuillaume, apprised of the state of affairs, called upon Franchomme and earnestly exhorted him to make an effort to secure the bass, saying to him, "You are Duport's successor, and you alone should have his instrument." The price demanded by Duport junior was a high one, and we are assured by Madame Andre, Franchomme's daughter, that the purchase money was only raised by strenuous efforts on the part of her father. The price paid was 22,000 francs, £880 (Fetis says 25,000 francs), at that time-1842 or 1843-an unprecedented one. At Franchomme's death the instrument was left to his daughter, from whom we purchased it in 1892 on behalf of the present owner.
The "Stanlein" bass is to-day only a moderate example, as it bears signs of considerable and injudicious restoration. The most interesting fact known to us concerning this instrument is the episode of its purchase early in the last century by Signor Merighi, a violoncellist of Milan, and Piatti's master. We have it on the authority both of Piatti and of Signor Pezze, also a pupil of Merighi, that in 1822, while the last-named was passing through the streets of Milan, he perceived
a working man carrying, among other things, a violoncello on a truck or barrow. Merighi at once accosted him, and ended by becoming the owner of the instrument, which was in a dilapidated state, for a sum equivalent to 4s.! Eventually, about 1834-35, Merighi disposed of the cello to Paganini, who sold it to J. B. Vuillaume, who resold it in 1854 to the late Count Stanlein.
The "Mara" bass, made in the same year as the Duport, strongly resembles it in character, work, and proportions, the model being a shade higher. Mara, husband of the celebrated singer of that name, appears to have been a man of dissolute habits and violent temper, and unfortunately his violoncello seems to have suffered somewhat from his viciousness. Traces of alcoholic liquor having been upset and allowed to drip from the top to the bottom sides, removing the beautiful varnish on its downward course, are still discernible.
Whence Mara obtained this fine instrument is unknown. He brought it to England in 1784, and between that year and 1802, when he departed from our shores, sold it to Crosdill, the English violoncellist. In 1808 it was resold through Betts to a Mr. William Champion for £150, and two years later-in 1810-it was put up to auction at Messrs. Phillips, and there bought at the increased price of two hundred guineas by General Boswell, afterwards Lord Macdonald. It subsequently passed into the hands of Lucas, the player, who parted with it to Mr. Whitmore Isaac, a Worcester banker, about 1860. At this gentleman's death it came into our possession, and was sold by us to its present owner in 1888.
The "Romberg" bass is not without interest, and in one feature we believe it to be unique: it has only a single line of black purfling instead of the usual three branches (two black and one white). Stradivari probably did this experimentally, and not finding it successful-it has too meagre an appearance-returned to surer ground. In another respect also it is exceptional for its period: the back and sides being of plain wood,--poplar.
We have pointed out elsewhere that in his earlier days Stradivari used this material more frequently than in later years. We have met with it in ten or twelve violoncellos made prior to 1700, whereas we have seen it in but three later examples: the "Romberg," the one dated 1717 in possession of M. Loeb, and that owned by M. Fau.
The "Davidoff" bass of the year 1712 was presented to that distinguished artiste in 1870 by Count Wielhorsky, an equally distinguished amateur. Of the latter it is related to us by one of his friends that, in order to have lessons from Romberg, he lodged him in his Palace at St. Petersburg for two years. The Count obtained this instrument from Count Apraxin under the following conditions, we are told. He gave for it his Guarneri cello, 40,000 francs (equal to £1600), and the handsomest horse in his stables.
This violoncello bears the strongest affinity to the instruments of the preceding year. Its dimensions, form, character of work, and especially the model, are a reproduction of those of the "Duport." The curl of the wood of the back is small, strong, and runs nearly straight,-that of the "Duport" and "Mara" instruments being placed on the slant; the sides are cut on the slab, and, curiously enough, five of them match and the sixth does not, which illustrates the fact that Stradivari could not aft-ord to be so particular in this respect as modern makers.
The varnish is rich in texture and is of a warm orange-red colour. This fine example suffered considerably during Davidoff's ownership, and it bears marks not only of wear but also of careless usage. It is now the property of a Parisian amateur, M. Goupillat.
The violoncello of the year 1713 was formerly in the collection of Mr. John Adam, later in that of the Duc de Camposelice, at whose death it passed into our hands, and was sold to the present owner. This instrument is the so-called "Bass of Spain," the romance of the purchase of which by Tarisio is narrated by Charles Reade in his "Letters to the Pall Mall Gazette" published in 1872. The story will also be found in Hart's book. Reade confused this Stradivari with the one to which he refers as being then exhibited by M. Gallay at the Exhibition of
Ancient Instruments held at South Kensington. (The Bass of Spain is now in the possession of cellist Carlos Prieto.)
Brought from Madrid by Tarisio, who, we are assured, journeyed the whole way from Paris on foot, it was purchased by Vuillaume, who sold it to a Russian nobleman. At the death of the latter it was disposed of, with other instruments, to the late Mr. David Laurie, who brought it to England in 1876.
The "Batta" violoncello of the next year-1714-is a pre-eminently fine example, and bears the same impress as the type of violin of the same date-the "Dolphin," for instance. Increased substance and breadth of edge and purfling, slightly fuller swell of model, broader cut f's, and head of heavier design, combined with wood of a fine broad curl, tend to give it a masculine appearance in contrast to the unobtrusive neatness of the "Duport."
Both this instrument (the "Batta") and that of the year 1726 (ex Chevillard), were sent from Madrid in 1836 to M. Thibout, one of the most capable of the Parisian luthiers of that time; but, although we have tried to find out by whom they were consigned to him, we have failed to do so. We have on various occasions gleaned from M. Batta details as to how the instrument came into his possession. He says: "Meeting Casually with Servais one day, I was both interested and amused to hear him say that he was spending all his time at Thibout's. Said he, 'Thibout has a Stradivari bass with a tone such as I have never before heard in my life. Do come and see it.'
In consenting to do so I went purely as a matter of curiosity, and with no intention whatsoever of becoming its owner. Furthermore, I was perfectly happy with my own instrument, which I had only recently purchased, and was also well aware that the price asked for a Stradivari even then placed it far beyond the reach of both Servais and myself. I may add that, struck by the earnestness of Servais, I did feel a certain desire to compare the violoncello with my Amati, and thus form my own conclusions. I saw it, played upon it, and was completely captivated: never had I experienced such a passionate longing to possess an instrument. In my despair I called upon a dear friend, M. Place, to whom I shall ever owe an eternal debt of gratitude, and poured out my feelings to him. He immediately went with me to Thibout's, came to terms with him, and then and there presented the Stradivari to me. The price paid to Thibout was 7500 francs, £300, which even at that time was extremely reasonable."
We may add that this Stradivari has been Batta's lifelong companion, sharing in, and largely contributing to, his successful career. Tempting offers were made for it, but without avail. The most remarkable was perhaps that of a Russian nobleman, who tendered Batta his signed cheque on Rothschilds, begging him to fill in the figures! The late Duc de Camposelice offered 70,000 francs, and expressed his willingness to increase the offer, but Batta declined to entertain any proposals whatsoever. In 1893 circumstances induced him to alter his decision, and we purchased the instrument on behalf of the present owner, Baron Knoop.
The three instruments of the year 1717 and that of 1719 are interesting examples; in fact, as is the case with the violins, all possess that individuality which the hand of genius invariably imparts to its works. That of M. Loeb, a meritorious Parisian artiste, belonged formerly to the Marquis de Corberon, and, as already stated, it is similar in wood to the "Romberg." That of M. Kuchler bears the strongest resemblance in wood, varnish and character to the "Batta," but, unfortunately, neither the belly nor the head is original. The third example was for some years the property of Mr. Bonamy Dobree, and was frequently played in public by M. Lasserre. The wood of the back of this instrument is cut on the slab, and it is the only one so treated known to us of this pattern.
The 1719 example is also unfortunately not as left by the maker; its proportions, wood and varnish, are admirable. At the beginning of the last century it belonged to the Duke of Marlborough, and is now the solo instrument of that distinguished artiste, Herr Hugo Becker.
The "Piatti" bass, dated 1720, is indeed an admirable example, by itself a worthy monument of the maker. It was brought from Cadiz in 1818 by Mr. A. Dowell, of Dublin. Mr. Dowell was evidently an admirer of Stradivari instruments, and apparently never missed an opportunity of purchasing them, as, to our knowledge, he brought into the country at different times six violins besides the above-mentioned violoncello; all came from Spain. (Mr. Allen Dowell was a wine merchant and army contractor during the Peninsular War, and lived for many years at Jerez, in Spain. An accomplished musician, on his retirement to Dublin he took considerable interest in all musical matters.)
In 1821 he sold the bass to the Rev. Mr. Booth, an amateur of County Carlow, on the recommendation of Alday, a Dublin musician, for three hundred guineas; and ten years later we find it for sale in London at Messrs. (Paul Alday bore the reputation of being a good violinist; he also kept a music warehouse in Dublin.) Cramer & Beale's, when Pigott, a well-known Dublin cellist of the time, came over and succeeded in carrying it off again to the Emerald Isle. He was already well acquainted with the instrument, and probably eagerly availed himself of the opportunity of becoming its owner. We do not know the exact price paid by Pigott. (We are indebted for some of the details of the history of this violoncello to Sir Francis Cruise, of Dublin.)
In 1844 Signor Piatti came to England for the first time, and in the course of that year also visited Ireland. While in Dublin he casually heard of this Stradivari, and, keenly interested as he was in fine instruments, called on Pigott in order to see it. He says: "Great was my astonishment to see such a noble example, and I must confess I greatly envied its owner, who, I may add, seemed to thoroughly appreciate his treasure." Pigott died in 1853, and his widow entrusted the cello, with a view to its sale, to Sir Robert Gore-Booth, a friend of her late husband, who brought it to London once more.
Sir Robert Gore-Booth was an amateur cellist, and himself possessed a Stradivari dated 1710, now owned by Baron Nathaniel Rothschild. He was acquainted with Piatti, and accordingly requested him to come and see the instrument, quite unaware that it was already an old love! Signor Piatti says on this subject: "I was agreeably surprised on immediately recognising my former acquaintance, and great was my chagrin at not being in a position to purchase it; I simply had not the means to do so."
"Happening to call upon Maucotel, the violin-maker, I talked about the instrument, and strongly urged him to see it and try to buy it. He followed my advice, and after some bargaining became its owner at the very modest figure of £300. It remained only a short time in his hands, as at my suggestion he offered it for £350 to Colonel Oliver, who accepted it; this took place in 1853."
"A short time afterwards J. B. Vuillaume came to London, and hearing through Maucotel of the cello, called upon its owner and there and then made an offer of £800 for it, but the Colonel refused to sell. I was a frequent visitor at the house, and often played upon the Stradivari. I used to restring it; in fact, looked upon it as if it had been my own child! One day-a day graven in my memory-in 1867, I was as usual at the Colonel's house, and was playing on and comparing the three violoncellos which he possessed-an Antonio and Hieronymus Amati, a Montagnana and the Stradivari. The Colonel suddenly said to me: 'Which do you prefer?' Laughingly I answered: 'One cannot have a doubt-the Stradivari.' 'Take it home,' was his rejoinder. I felt so embarrassed by what appeared to me a sudden resolve that I politely declined, and in due time took my leave and went home. To my astonishment, though-and I must say it was of a joyful nature-the Stradivari followed in my wake." (On the death of Piatti, July 1901, his daughter Countess Lochis. sold the violoncello to Herr Robert von Mendelssohn.)
In point of merit the Piatti violoncello is unquestionably of first rank; it is also in a high state of preservation, which speaks well for its different owners. Could it but tell us, we should doubtless learn that, as is the case with the majority of Stradivari's instruments, it has from the first day of its completion been confided to appreciating hands. It is a remarkable production, especially when we consider that it is the work of the master in his seventy-sixth year, and the most careful scrutiny fails to detect any unmistakable sign of its being the handiwork of an old man.
True, in a few minute details-such as the mitres of the purfling, the form of the corners, and the position and design of the fs, there is not the perfect symmetry, the grandeur of a few years back; still, none but the most practised eye could possibly note these subtle differences. Its construction is magnificent: model rising at once, yet not abruptly, from the purfling, sides of the highest dimensions and set close to the outer edge-i.e. the margin around is but slight. The original strips of canvas on the interior of the sides here remain untouched.
The purfling is of medium thickness, and the substance of the edges light; the head is sharp and finely cut, and it is, we believe, the only one in existence which still retains its original neck. The maple of the back and head is plain in appearance, although of fine sonorous quality, and cut from a tree which Stradivari had evidently acquired about the year 1720, as we meet with it in the majority of the violins of these years; the curl small and faint. The sides contrast by their handsome broad markings; and we observe that Stradivari employed this particular cut of wood for the sides of several violoncellos, quite irrespective of the fact that it did not match the backs.
The pine of the belly leaves little to be desired, being of even grain, neither too close nor too coarse. One might perhaps wish that the several twists and shades-caused through knots being in close proximity to the piece from which the belly is made-were not there. The varnish is of a rich deep red colour, the texture softer than is usually met with in 1720; it reminds one much of the varnish of the "Rode" violin. As a whole it is above reproach, and the more one contemplates such an instrument, the more one is struck by the complete harmony which reigns throughout. As the late Lord Leighton very truly remarked to its owner, "It appeals even to the uninitiated."
Four years now elapse before we come to the next example: the "Hausmann" violoncello, dated 1724. The early history of this instrument is uncertain, but we believe that it also came from Spain, and passed into the hands of that distinguished admirer of the fine arts, Andrew Fountaine. It was purchased from him in 1839 by George Hausmann, a violoncellist of some reputation, who spent the greater part of his life in this country. On retiring from his musical career, however, he went to Hanover, where he died, and his Stradivari then passed to his nephew, Robert Hausmann, the well-known artiste of today.
The "Vaslin" violoncello of the following year, 1725, belonged to one of the foremost Parisian players of the present time, M. Loys (We regret to record the death of M. Loys, which occurred in September 1901.) It was purchased from Signor Fenzi, a Florentine banker, in 1827 by M. Girard (a violinist of some repute-pupil of Habeneck, whom he succeeded as professor, and as director of the Societe des Concerts)-on behalf of his friend and colleague, Vaslin, a violoncellist of no mean order. The price paid was, we believe, £160. It remained the trusty companion of Vaslin during many years, and not until 1869 could he be tempted to part with it.
Grown old and fidgety-he was over eighty years of age-M. Vaslin conceived the notion that something was amiss with the neck of his cello-in fact, that it was ill-shapen! In vain did the best luthiers of the day, such as Gand, Victor Rambaux and others replace it: nothing could satisfy him, and after having it changed times without number, he finally took to scraping it down himself, though still without satisfaction.
The late M. Gallay, to whom we are indebted for these interesting details, adds: "I followed the wanderings of this admirable instrument to the different luthiers with a sad heart, and watched during many years for my opportunity to secure it. At last, in 1869, an offer of £600, plus my own Stradivari, which I valued at £400, obtained it for me. In 1880 I parted with it in favour of the present owner. Need I add that 'je m'en suis separe les larmes aux yeux.'"
The "Baudiot" bass was for many years in the possession of the artiste of that name, at whose death it was sold by his widow (in 1850) for ten thousand francs, £400. It subsequently passed into the hands of the Marquis de Pluvie, a most enthusiastic amateur violoncellist, who bequeathed it to his daughter, the Comtesse de Kerdrel, from whom we purchased it in 1894.
As regards build and proportions, this example is very similar to the "Piatti," although in general characteristics the hand of the old man is becoming more perceptible to the observer; nor can we wonder when we remember that the master was now eighty-one! The varnish is also more heavily laid on. The sides, which are of quite plain wood, in contrast to the back, which is comparatively handsome, are curiously marked by a pronounced vein or sap-mark running round them all; to the casual observer this conveys the impression that they have been heightened.
The "Chevillard" bass, dated 1726, is the last of this series of noble works that we can vouch for. As already stated, this instrument was in 1836 in the hands of Thibout, who sold it to M. Mulzer, an amateur, and it was subsequently purchased by the above-named artiste. In 1878 the latter parted with it through the medium of Vuillaume to the late King of Portugal, Dom Luis, who was an amateur violoncellist.
The price paid by the King was 20,000 francs - £800. In form and dimensions this instrument does not differ from the preceding ones, but we detect points in the work and style which betray the fact that Stradivari was beginning to be assisted in his labours-no doubt by his sons. The head is of large size, and although, as regards varnish, it matches the body well, we are of opinion that it is of pre-1700 period.
The next few years preceding 1730 are, as far as we know, blanks in violoncello construction, but in that year we come to a distinct type of Stradivari instrument. Form and dimensions have undergone a change, and the character of the work is no longer that which we have followed during the preceding twenty years. The master's advanced age may account for both changes. He doubtless realised, however reluctantly, that at four-score years and more his physical strength no longer permitted him to undertake the task of violoncello construction; consequently, while still assiduously applying himself to the making of violins, he in great measure resigned the violoncello work to his two sons, who were possibly assisted by Carlo Bergonzi.
That his mind still to a certain extent guided them is apparent, but that his share in their construction was a minor one is, we think, conclusively demonstrated by a scrutiny of the instruments themselves. The principles of construction remain the same; but we miss the old man's trembling hand and failing sight, which make themselves so evident in certain of the violins of these years. The reason why the proportions should have been diminished is more difficult of explanation: it may be that the younger men asserted themselves and sought to carry out their own ideas: in fact, they had yet to learn the real greatness of the master's principles.
On the other hand, we must remember that sufficient time had not yet elapsed for the absolute superiority of Stradivari's perfected instruments to be fully established and recognised. Even close upon half a century later we still find makers of repute, such as J. B. Guadagnini and C. F. Landolfi, constructing their violoncellos without exception of undersized form, which proves that the matter was still a debatable one.
Of this late form of Stradivari we are acquainted with five examples; one, though, has been enlarged to make it accord with the earlier type of instrument, and another has been cut down still smaller, but the remaining three are excellent and characteristic specimens. That in possession of Mr Murray-for many years owned by Mr. F. Pawle- was dated 1730; that owned by Braga, of "Serenata" fame, 1731, and lastly the instrument of M. De Munck, which, although dated 1710, really belongs to this period.
The last-named violoncello (The "De Munck," pictured at left) formerly belonged to M. de Barrau, a Parisian amateur, who possessed several fine Stradivaris, notably one of Joachim's violins. It was subsequently lent to Franchomme, and destined for his only son, who gave great promise as a player, but who died young. Through the medium of the firm of MM. Gand and
Bernardel Fre'res, it then passed to the present owner.
The very interesting example owned by Herr Robert von Mendelssohn, dated 1736(?), calls for special remark. It is the only example known to us made later than 1730 which brings us back to the pre-1730 type, its proportions being of the best; and it thus reasserts the fact that this form, although apparently in abeyance, was not discarded. The wood, varnish, and general characteristics are very similar to those of the "Pawle" violoncello. The back and sides are cut from fairly handsome maple of native growth- the wood cut slightly on the slab; the belly of fine and vigorous pine; the varnish of warm orange-red brown colour, the texture a little inclined to be chippy-in fact, that which we expect in these years.
As already stated, it bears a label dated, we believe, 1736 (the last figure is unfortunately completely obscured); but as the master says on the margin "D'Anni 92," the year must have been 1735 or '36. Whether this label-which, although tampered with, undoubtedly original-really belongs to this violoncello we hesitate either to affirm or deny; that the instrument is the work of the 1730 period is unquestionable, and furthermore the best of them.
It was purchased from Vuillaume in 1840 by a distinguished German amateur, M. Lemire, for, we believe, 6000 francs, and Vuillaume stated that it came from Paganini. It subsequently passed into the hands of a violoncellist, Krumbholz by name, at the still moderate price of 8000 marks -approximately £400. He died about 1876, when the violoncello was purchased from his heirs by Mr. C. G. Meier for 10,000 marks, and brought to London. It afterwards passed into the possession of M. Ladenburg of Frankfort, who sold it in 1895 to its present owner.
We have now shown clearly that the progress from the violoncello of large proportions and light build existing in Stradivari's youth to the modern form was a gradual one, the instrument being perfected step by step during a period of fifty years. All the pupils of the Amatis contributed more or less to that progress, but to Stradivari must be awarded the credit of having created the most perfect form of violoncello in existence: in fact, it was he and he alone who raised it to that state beyond which no further progress has been made. We cannot, of course, foretell what may happen in the future, but we may emphatically say that no light task awaits the man who seeks to make a real improvement on the violoncello as left to us by Stradivari. In the case of violins the difference is less marked, as the Amatis, Maggini and others all made instruments more approaching his in point of merit.
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