Antonio Stradivari 1695
"SANDARS"
COPYRIGHT PHOTO BY ACAM
Violin c.1695 “Sandars” From 1690 on to the end of the century, Stradivari
entered a phase characterised by numerous experiments, called by the experts
period of the ‘Long Strad’, or ‘Long Pattern’. The Hill Brothers described
precisely this evolution: “The year 1690 is perhaps one of the most interesting
epochs in Stradivari’s career; it certainly marks the most complete innovation
as regards the form, construction, and proportions of the violin which took
place in his work; […] We refer to the creation of the ‘long Strad’.”1 This
constant search for an ideal style was going to help Stradivari to reach a full
artistic maturity that would begin with the turn of the century and will be
referred to as his ‘golden period’. Apparently the master himself considered the
period right before 1700 as distinguished by the elongated forms, as he marked
two moulds of the time ‘S’ and ‘S.L.’, probably meaning ‘Stretto’ and ‘Stretto
Lungo’, as suggested by Edward John Payne2. The mould ‘S’ and the subsequent
mould ‘S.L.’ - dated 9th November 1691 - present distinctive features typical
of the long pattern; their analysis can be found in Stewart Pollens’3
comprehensive work from 1992. During the period of the’ long Strad’ Stradivari
reconsidered critically the work of Nicolò Amati, besides looking around for
other examples that could provide him with the results that he was looking for.
He found an answer in the work of Giovanni Paolo Maggini, the lute-maker from
Brescia who died in 1628. The Hill Brothers published a book dedicated to
Maggini4 and emphasized their belief “that Stradivari was influenced in the
conception of the long-pattern instrument by Maggini’s violins”5. Nevertheless
for Stradivari that of Maggini was a style to be taken as an example, not as a
possible final solution. Therefore, his production is somehow already looking
ahead, as Franz Farga pointed out: “Man könnte die ersten Geigen dieser Zeit
beinahe für Maggini-Modelle halten. Aber bald gab Stradivari seinen Instrumente
andere Umrisse. Sein neues Modell ist in der Mitte etwas schmäler als früher,
wodurch die Geigen größer erscheinen.”6 Although George Hart could not conceal a
scarce enthusiasm for the instruments produced in this period, he nevertheless
considered it as a fundamental stepping stone: “We have here quite a differently
constructed instrument; it is less graceful, although there is no absence of
the
masterly hand throughout the work. It has received the title of ‘long
Strad’ from its increased length, as the name would imply. Fortified with the
experience which the variously constructed instruments […] had enabled him
to gather, he would seem to have marshalled all his forces in order to enter on
an entirely new campaign, one that should be alike glorious to himself and his
art.”7 William Henley singled out the year in which the main revolution took
place: “In 1693 he [Stradivari] again modified his pattern, narrowing its shape,
making them a little longer and at the same time changing the colour of the
varnish, amber yellow or light red. Long Strads of this period are so named
because the Master increased the length of the back to 14¼ inches. The
difference in total length between these and his earlier work is approximately
one-eighth of an inch. However, the appearance of ‘Long’ is not so much the
actual difference in length but the fact that in the ‘Long pattern’ the
openings of the curves called the C’s measure, from corner to corner, nearly 3¼
inches. The same openings in other models, measure only 3 inches.”8 While the
Hill Brothers discussed how these changes affected the acoustic qualities of
the instruments of this period: “It is instructive to find that in 1692-93
Stradivari returned to his first idea, retaining the extra length, but
narrowing the width, apparently convinced of the futility of attempting to
attain the characteristics brightness of tone combined with the solemn depth of
power of the Magginis. Until 1698, with but rare exceptions, he continued to
make violins of long pattern only.”9 Herbert K. Goodkind explained as well the
tonal qualities of the ‘long pattern’: “Then Stradivari developed a more
independent and mature design from 1690 to 1699, when he lengthened and also
narrowed his outlines, and flattened his arching of top and back. These
instruments looked longer and more narrow and have become known as the “long”
Strads. They have a fuller tone than his previous pure and sweet-sounding
instruments.”10 The violin called Sandars is a clear example of the ‘long
Strad’ period. It contains an original label from Stradivari dated 1700, but the
Hills certified it as an instrument produced “about 1695.”11 Also Etienne
Vatelot agreed with the date suggested by the Hills and wrote in his
certificate: “… est un oeuvre originale de ce Maître dans toutes ses parties
principales et faite vers 1695, dans sa période ‘Longuet’”12. The first
certificate known for this instrument came from G. Hart13 and did not contain a
reference to the label.
The
Sandars has a two-piece back of handsome maple wood characterised by a broad
curl descending from the joint toward the flank. The sides and the head are made
from a similar maple wood. But while the sides are also highly-figured, the
scroll presents a lighter curl. The top is in two pieces of pine wood finely
grained opening out on the flanks. The varnish is of a red colour applied over a
gold base, and it is still of a good quality. F. Farga described in a
poetically touching way the shades of the several tones of the varnish that
Stradivari had applied in those years: “Wahrscheinlich fand Stradivari in
dieser zweiten Periode auch das bis heute unbekannte Rezept für die Herstellung
seines Lackes,
der eine seltsame transparente Leuchtkraft aufweist und dem
früheren Dunkelgelb in rötliche Farbtöne übergeht, die sich wie rosa Schleier
über den funkelnden Grund legen.”14 The first information available about the
proprietors of this instrument stems from 1917, when G. Hart sold it to the
Hon. Mrs. George Sandars of Gainsborough (sometimes spelled Sanders15). On the
7th of July 1938 it was put on auction at Puttick & Simpson’s, in London,
where it was bought by the English dealer Ralph P. Powell. He sold it the
following year to the dealers William Lewis & Son of Chicago, Illinois, and
the instrument left Europe for the US. By October 1938 the Sandars was in
possession of Norman H. Chase of Detroit, Michigan, having him bought it from
Lewis for $8,000. After the death of Mr. Chase, Mrs. Ada Chase maintained the
instrument for several
years. In July 2007 the violin reached the
prestigious collection of the current owner in Venice, Italy, through the Swiss
dealer C.L.
Text by
Alessandra Barabaschi
entered a phase characterised by numerous experiments, called by the experts
period of the ‘Long Strad’, or ‘Long Pattern’. The Hill Brothers described
precisely this evolution: “The year 1690 is perhaps one of the most interesting
epochs in Stradivari’s career; it certainly marks the most complete innovation
as regards the form, construction, and proportions of the violin which took
place in his work; […] We refer to the creation of the ‘long Strad’.”1 This
constant search for an ideal style was going to help Stradivari to reach a full
artistic maturity that would begin with the turn of the century and will be
referred to as his ‘golden period’. Apparently the master himself considered the
period right before 1700 as distinguished by the elongated forms, as he marked
two moulds of the time ‘S’ and ‘S.L.’, probably meaning ‘Stretto’ and ‘Stretto
Lungo’, as suggested by Edward John Payne2. The mould ‘S’ and the subsequent
mould ‘S.L.’ - dated 9th November 1691 - present distinctive features typical
of the long pattern; their analysis can be found in Stewart Pollens’3
comprehensive work from 1992. During the period of the’ long Strad’ Stradivari
reconsidered critically the work of Nicolò Amati, besides looking around for
other examples that could provide him with the results that he was looking for.
He found an answer in the work of Giovanni Paolo Maggini, the lute-maker from
Brescia who died in 1628. The Hill Brothers published a book dedicated to
Maggini4 and emphasized their belief “that Stradivari was influenced in the
conception of the long-pattern instrument by Maggini’s violins”5. Nevertheless
for Stradivari that of Maggini was a style to be taken as an example, not as a
possible final solution. Therefore, his production is somehow already looking
ahead, as Franz Farga pointed out: “Man könnte die ersten Geigen dieser Zeit
beinahe für Maggini-Modelle halten. Aber bald gab Stradivari seinen Instrumente
andere Umrisse. Sein neues Modell ist in der Mitte etwas schmäler als früher,
wodurch die Geigen größer erscheinen.”6 Although George Hart could not conceal a
scarce enthusiasm for the instruments produced in this period, he nevertheless
considered it as a fundamental stepping stone: “We have here quite a differently
constructed instrument; it is less graceful, although there is no absence of
the
masterly hand throughout the work. It has received the title of ‘long
Strad’ from its increased length, as the name would imply. Fortified with the
experience which the variously constructed instruments […] had enabled him
to gather, he would seem to have marshalled all his forces in order to enter on
an entirely new campaign, one that should be alike glorious to himself and his
art.”7 William Henley singled out the year in which the main revolution took
place: “In 1693 he [Stradivari] again modified his pattern, narrowing its shape,
making them a little longer and at the same time changing the colour of the
varnish, amber yellow or light red. Long Strads of this period are so named
because the Master increased the length of the back to 14¼ inches. The
difference in total length between these and his earlier work is approximately
one-eighth of an inch. However, the appearance of ‘Long’ is not so much the
actual difference in length but the fact that in the ‘Long pattern’ the
openings of the curves called the C’s measure, from corner to corner, nearly 3¼
inches. The same openings in other models, measure only 3 inches.”8 While the
Hill Brothers discussed how these changes affected the acoustic qualities of
the instruments of this period: “It is instructive to find that in 1692-93
Stradivari returned to his first idea, retaining the extra length, but
narrowing the width, apparently convinced of the futility of attempting to
attain the characteristics brightness of tone combined with the solemn depth of
power of the Magginis. Until 1698, with but rare exceptions, he continued to
make violins of long pattern only.”9 Herbert K. Goodkind explained as well the
tonal qualities of the ‘long pattern’: “Then Stradivari developed a more
independent and mature design from 1690 to 1699, when he lengthened and also
narrowed his outlines, and flattened his arching of top and back. These
instruments looked longer and more narrow and have become known as the “long”
Strads. They have a fuller tone than his previous pure and sweet-sounding
instruments.”10 The violin called Sandars is a clear example of the ‘long
Strad’ period. It contains an original label from Stradivari dated 1700, but the
Hills certified it as an instrument produced “about 1695.”11 Also Etienne
Vatelot agreed with the date suggested by the Hills and wrote in his
certificate: “… est un oeuvre originale de ce Maître dans toutes ses parties
principales et faite vers 1695, dans sa période ‘Longuet’”12. The first
certificate known for this instrument came from G. Hart13 and did not contain a
reference to the label.
The
Sandars has a two-piece back of handsome maple wood characterised by a broad
curl descending from the joint toward the flank. The sides and the head are made
from a similar maple wood. But while the sides are also highly-figured, the
scroll presents a lighter curl. The top is in two pieces of pine wood finely
grained opening out on the flanks. The varnish is of a red colour applied over a
gold base, and it is still of a good quality. F. Farga described in a
poetically touching way the shades of the several tones of the varnish that
Stradivari had applied in those years: “Wahrscheinlich fand Stradivari in
dieser zweiten Periode auch das bis heute unbekannte Rezept für die Herstellung
seines Lackes,
der eine seltsame transparente Leuchtkraft aufweist und dem
früheren Dunkelgelb in rötliche Farbtöne übergeht, die sich wie rosa Schleier
über den funkelnden Grund legen.”14 The first information available about the
proprietors of this instrument stems from 1917, when G. Hart sold it to the
Hon. Mrs. George Sandars of Gainsborough (sometimes spelled Sanders15). On the
7th of July 1938 it was put on auction at Puttick & Simpson’s, in London,
where it was bought by the English dealer Ralph P. Powell. He sold it the
following year to the dealers William Lewis & Son of Chicago, Illinois, and
the instrument left Europe for the US. By October 1938 the Sandars was in
possession of Norman H. Chase of Detroit, Michigan, having him bought it from
Lewis for $8,000. After the death of Mr. Chase, Mrs. Ada Chase maintained the
instrument for several
years. In July 2007 the violin reached the
prestigious collection of the current owner in Venice, Italy, through the Swiss
dealer C.L.
Text by
Alessandra Barabaschi
