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switched to using a darker, richer varnish, as opposed to a yellower varnish similar to that used by Amati. He continued to use this pattern until 1698, with few exceptions. Between 1698 and 1700, he abandoned the Long Strad model and returned to a slightly shorter model, which he used until his death. The period from 1700 to 1725 is often termed the "Golden Period" of his production. Instruments made during this time are usually considered of a higher quality than his earlier instruments. These instruments also fetch much higher prices than his other instruments and are especially prized by collectors. Late-period instruments made from the late 1720s until his death in 1737 show signs of
Stradivari's advancing age. These late instruments may be a bit less beautiful than the Golden Period instruments, but many nonetheless possess a fine tone. Heavier and looser craftsmanship of the late Stradivari output can be seen in the 1734 'Habeneck'.
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Additionally, the utilization of a small dorsal pin or small hole, invariably used not just by Nicolò Amati but all of his recognized pupils — but not used by
Antonio Stradivari — adds further evidence that Stradivari may not have learnt his craft from Amati. This pin or hole was fundamental in the graduation of the thickness of the plates and was a technique passed on through generations of pupils of the Amati. This dorsal pin is also not found in any of the instruments of the Rugeri family, suggesting Antonio Stradivari may have actually learnt his craft from Francesco Rugeri, both of them having been influenced by Amati.
572:. However, Stradivari did not repeatedly put Amati's name on his labels, unlike many of Amati's other students. Stradivari's early violins actually bear less resemblance to Amati's than his later instruments do. M. Chanot-Chardon, a well-known French luthier, asserted that his father had a label of Stradivari's stating, "Made at the age of thirteen, in the workshop of Nicolò Amati". This label has never been found or confirmed. Amati would also have been a logical choice for Antonio's parents, as he represented an old family of violin makers in Cremona, and was far superior to most other luthiers in Italy.
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was left her jewelry, clothing, linens, and income on loans. Paolo, the youngest child, would get six finished violins—valued at 1,000 lire—as well as some household effects and cash. Three other children who had joined religious orders were left with their share of inheritance: Maria, a nun, would get an annuity; Alessandro, a priest, would get fixed income on a home mortgage loan; and
Giuseppe, another priest, would get some income on half a share from a pastry shop. There were also annual payments to his two sons of 150 and 300 lire each and 170 lire for Annunciata and 100 for Francesca.
2354:"Only a handful of instruments are reliably attributed to Francesco alone. ... two authentic labels known: 'Franciscus Stradivarius Cremonensis / Filius Antonii faciebat Anno 1742' ... Notably it omits the A+S stamp that occurs on Antonio's labels. Another label states 'Sotto la Disciplina d'Antonio / Stradivari F. in Cremona 1737'. This is of course the year of his father's death, and the phrase 'sotto la disciplina' ('under the discipline'), although it appears in a few other instruments, may here be a particular sign of his respect."
549:, daughter of Leonardo Moroni. They married on 30 August 1622, and had at least three children between 1623 and 1628: Giuseppe Giulio Cesare, Carlo Felice, and Giovanni Battista. The baptismal records of the parish of S. Prospero then stop, and it is unknown whether they had any children from 1628 to 1644. This gap in the records may be due to the family leaving Cremona in response to war, famine, and plague in the city from 1628 to 1630, or the records may have been lost due to clerical reforms imposed by
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workshop at eighteen, Omobono made a few instruments on his own, such as the 'Blagrove' and another violin dating from 1732. On his side, Francesco made very few violins independently, such as the 1742 'Salabue' and 'Oliveira', spending his lifetime in his father's shop. This was one of the main reasons that
Francesco had a large part in Antonio's will, and Omobono a lesser one. One of the major differences between Antonio and his sons' craftsmanship was the quality of the
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work. However, the precision with which he carved the heads and inserted the purfling quickly marked him as one of the most dextrous craftsmen in the world, a prime example of this being the 1690 "Tuscan" violin. Pre-1690 instruments are sometimes termed "Amatisé" but this is not completely accurate; it is largely because
Stradivari created many more instruments later on that people try to connect his early work with Amati's style.
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557:(of Cremona) on many of Stradivari's labels, which suggests that he was born in the city instead of merely moving back there to work. Antonio was born in 1644, a fact deducible from later violins. However, there are no records or information available on his early childhood, and the first evidence of his presence in Cremona is the label of his oldest surviving violin from 1666.
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1565:'s, one of the first important British makers. In the 1720s Daniel Parker, a very important British luthier, produced fine violins after Stradivari's work selling anywhere from £30,000 to £60,000 in recent auctions. Parker based his best instruments on Stradivari's "long pattern", having the opportunity to study one or more of the instruments. Well into the 19th century,
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speculators. Many local players could no longer afford the sought-out instruments and most of the purchased instruments would be hidden in private collections, put in museums, or simply put back in their cases, hoping that they would gain value over time. This is when the
Stradivari "fever" really took off. The violin collector Count
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Contreras of
Granada and Madrid. Having the privilege to be exposed to Stradivari's instruments through the Spanish court, he was experienced enough to replace the scroll of a 1717 Stradivari cello and possibly even make its back and ribs. He had a great ability to imitate the original varnish and intricacy of the instrument.
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have all contributed to this frenzy that would extend well into the 21st century. Also, most of the other major
Cremonese luthiers died soon after Stradivari, putting an end to the golden period of Cremona's violin making, which lasted more than 150 years, starting with the Amatis and ending with the
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Stradivari generated substantial wealth in his lifetime. His will, dated 1729, counted eight living heirs, including his wife. Zambelli was left with her clothing, bed linens, household items, and half of her jewelry. Antonia would become the responsibility of his two eldest sons. Annunciata
Caterina
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bought another five years later. Amati died in 1684, an event followed by a noticeable increase in
Stradivari's production. The years 1684 and 1685 also marked an important development in his style—the dimensions he used generally increased, and his instruments were more in the style of Amati's work
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than has previously been recognized. Despite the long-held belief that Antonio Stradivari was the pupil of Nicolò Amati, there are important discrepancies between their work. Some researchers believe early instruments by Stradivari bear a stronger resemblance to Francesco Rugeri's work than Amati's.
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Giacomo Capra, with whom she had two children. Francesca's brother had shot Giacomo with a crossbow on the Piazza Garibaldi (formerly the Piazza Santa Agata) in 1664. He was later exiled, though allowed to return to Cremona many years later. After their marriage, Stradivari moved into a house known
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Assuming that Stradivari was a student of Amati, he would have begun his apprenticeship in 1656–58 and produced his first decent instruments in 1660, at the age of 16. His first labels were printed from 1660 to 1665, which indicates that his work had sufficient quality to be offered directly to his
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Even though Antonio had a very long working life, it is impossible for him to have crafted more than 1,000 instruments entirely by himself, meaning that his sons, Francesco and Omobono, as well as possibly a third son, must have been working on and off in his shop. It is known that having left the
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are terms often used to refer to his instruments. It is estimated that Stradivari produced 1,116 instruments, of which 960 were violins. Around 650 instruments survive, including 450 to 512 violins. His instruments are considered some of the finest ever made, and are extremely valuable collector's
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The Stradivari parish, San Matteo, and the Amati parish, San Faustino, comprised the center of Cremonese violin making. They exerted influence on one another's shape, varnish and sound of instruments, but also on many of their contemporaries'; they defined violin making standards for the next 300
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By 1680 Stradivari moved to No. 1 Piazza Roma (formerly No. 2 Piazza San Domenico). The house was just doors away from those of several other violin-making families of Cremona, including the Amatis and Guarneris. Stradivari probably worked in the loft and attic, and he lived in this house for the
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Stradivari's relatively early success in his career may have allowed him to use a more experimental approach to violin building. In fact, Stradivari's early career is marked by wide experimentation, and his instruments during this period are generally considered of a lesser quality than his later
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Stradivari died in Cremona on 18 December 1737, aged 93, after roughly 75 years of crafting instruments. He is buried in the Church of San Domenico. The tomb was acquired eight years prior to his death, having been bought from a Cremonese family, substituting his name for theirs in the tombstone.
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An alternative theory is that Stradivari started out as a woodworker: the house he lived in from 1667 to 1680 was owned by Francesco Pescaroli, a woodcarver and inlayer. Stradivari may even have been employed to decorate some of Amati's instruments, without being a true apprentice. This theory is
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Antonio Stradivari's birthdate, presumably between 1644 and 1649, has been debated amongst historians due to the numerous inconsistencies in the evidence of the latter. The 1668 and 1678 censuses report him actually growing younger, a fact explained by the probable loss of statistics from 1647 to
2565:, for more than $ 2.7 million to an anonymous bidder in the auction house's fine musical instruments sale. Its price, US$ 2,728,000 including Christie's commission, far outdid its estimated value: $ 1 million to $ 1.5 million. On 14 October 2010, a 1697 Stradivari violin known as "
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In the 18th century, Cremonese luthiers were the suppliers and local players on the demand side. After Stradivari's death, this drastically changed. Although the Cremonese luthiers remained the suppliers, the demand side now consisted mainly of collectors, researchers, imitators, profiteers, and
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In the early 1690s, Stradivari made a pronounced departure from this earlier style of instrument-making, changing two key elements of his instruments. First, he began to make violins with a larger pattern than previous instruments; these larger violins usually are known as "Long Strads". He also
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Stradivari purchased a house now known as No. 1 Piazza Roma (formerly No. 2 Piazza San Domenico) around 1680 for the sum of 7000 lire, 2000 of which he paid at the time of the purchase. The totality of the house was paid for by 1684. The residence was just doors away from those of several other
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His remaining two sons from his first marriage had both worked in the family shop. Omobono, who had left the dwelling aged eighteen in search of new employment possibilities in Naples, would inherit six violins, and Francesco, who was named his father's successor, would inherit the rest of the
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was also one of the many luthiers who based many of his violins on Strads. He learned about them in Paris between 1779 and 1789 when he worked closely with Léopold Renaudin, another one of Strad's followers. Stradivari's influence could also be seen in Spain with the outstanding work of José
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Stradivari married his second wife, Antonia Maria Zambelli, on 24 August 1699. She was 35 at the time of the marriage. They had five children from 1700 to 1708—Francesca Maria, Giovanni Battista Giuseppe, Giovanni Battista Martino, Giuseppe Antonio, and Paolo.
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such as Gennaro and Nicolo made excellent copies of the instruments in the 1740s, though the only similarity to Stradivari's instruments was the execution of the form and arching as well as consistently fine and detailed varnish. Nicolo would usually use the
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Stradivari married his first wife, Francesca Ferraboschi, on 4 July 1667. A clue to how they would have met lies in the 1659 Easter census, which lists the Ferraboschi family four houses away from the Amati residence. Francesca was the young widow of the
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Stradivari's instruments are regarded as amongst the finest bowed stringed instruments ever created, are highly prized, and are still played by professionals today. His violins are desired more than those of any other luthier except his contemporary,
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violin, which had much larger proportions. Stradivari's early (pre-1684) violins are in strong contrast to Amati's instruments from the same time period; Stradivari's have a stronger build; less rounded curves, with the purfling set farther in.
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estate, including all of the tools, stencils, finished violins, patterns, and—ostensibly—his father's reputation. In 1733, he had bought his youngest son a partnership in a local textile firm for the large amount of 25,000 lire.
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to make some replicas of the instruments. Although many features of Strads are present in the copies, they still remain heavily influenced by Guadagnini's workshop principles and represent well the maker's Turin period.
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emerged from a seemingly uneventful and experimental period. These makers, sometimes basing their early violins on Strads, would later on make their own models and would inspire each other's work.
2714:, the last violin made by Stradivari, and soloist instrument of the great Cuban 19th-century virtuoso Joseph White. The collection, known as The Cappella, was used in concerts with the
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estimates that Stradivari produced 1,116 instruments, of which 960 were violins. It is also estimated that around 650 of these instruments survive, including 450 to 512 violins.
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between the ages of 12 and 14, although a minor debate surrounds this fact. One of the few pieces of evidence supporting this is the label of his 1666 violin, which reads,
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concede that they fail to find the hand of Stradivari in any of Nicola Amati's work, although the unmistakable hands of Andrea Guarneri and Francesco Rugeri are evident.
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nor acoustic analysis have ever demonstrated that Stradivarius instruments are better than other high-quality instruments or even reliably distinguishable from them.
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Even at the beginning of the 18th century, Stradivari's influence could be seen not only in the work of Cremonese makers, but also international ones, such as
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of the 1640s and 1650s. Stradivari's instruments underwent no major change in the next five years, although in 1688 he began cutting a more distinct
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The 19th century was not as eventful in comparison to the previous centuries. Some of the most important luthiers from this part of history include
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B model for his cellos and as the quality of the output steadily declined within the family, the Stradivari models were almost abandoned in Naples.
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1649, when renewed belligerency between France's Modenese and Spain's Milanese proxies led to a flow of refugees that included Stradivari's mother.
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patrons. However, he probably stayed in Amati's workshop until about 1684, using his master's reputation as a launching point for his career.
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Stradivari probably developed his own style slowly. Some of his early violins were smaller, with notable exception to this is the 1679
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the Spanish royal collection with five instruments (an undecorated cello plus a quartet of decorated instruments: two violins, the
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While the usual label for a Stradivarius instrument, whether genuine or false, uses the traditional Latin inscription, after the
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dating from 1188. The origin of the name itself has several possible explanations; some sources say it is the plural of
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on their instruments, which in the case of Francesco and Omobono has been referred to as "startlingly poor".
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in Paris displays several beautiful Stradivari instruments that formerly belonged to the Paris Conservatory.
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638:. Stradivari probably worked in the loft and attic, and he stayed in this house for the rest of his life.
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2577:: at the time its price was the highest for any musical instrument sold at auction. On 21 June 2011, the
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had the largest number of Stradivari in its string section, purchased in 2003 from the collection of
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Stradivari's wife Francesca died on 20 May 1698, and received an elaborate funeral five days later.
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for a new record of US$ 3,544,000. On 2 April 2007, Christie's sold a Stradivari violin, the 1729
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Some researchers believe there is a closer educational association between Antonio Stradivari and
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for £947,500 in 1998 constitute two top-selling Stradivari. A record price paid at a public
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in the 1920s contained as many as 65 stringed instruments by such masters as Stradivari,
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Stradivari's Genius: Five Violins, One Cello, and Three Centuries of Enduring Perfection
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South Dakota Curiosities: Quirky Characters, Roadside Oddities & Other Offbeat Stuff
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Baron von der Leyen Strad was auctioned by Tarisio on 26 April 2012, for $ 2.6 million.
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Antonio's parents were Alessandro Stradivari, son of Giulio Cesare Stradivari, and Anna
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By 1680, Stradivari had acquired at least a small, yet growing, reputation. In 1682, a
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Antonio Stradivari Master Luthier: Cremona, Italy, 1644–1737; his life and instruments
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The 20th century was the so-called rebirth of Cremonese making, when luthiers such as
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supported by some of Stradivari's later violins, which have elaborate decorations and
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3568:"The Big Question: Why do Stradivarius violins fetch so much, and are they worth it?"
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and began outlining the heads of instruments in black, a quite original improvement.
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In recent years, it has not been played at all owing to the demands of conservation
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uses several Stradivari instruments that were purchased by Austria's central bank
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banker ordered a complete set of instruments, which he planned to present to King
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Digital Stradivari: computer models of violins reveal master luthier's techniques
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3695:"Violinists can't tell the difference between Stradivarius violins and new ones"
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All Music Guide to Classical Music: The Definitive Guide to Classical Music.
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3622:"Stradivari, Antonio." (2018). Funk & Wagnalls New World Encyclopedia, 1
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del Gesù, who commands a similar respect among violinists. However, neither
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Having acquired many Strads from Paolo Stradivari, Count Cozio commissioned
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The violin : a social history of the world's most versatile instrument
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The Secret Havemeyer Stradivari: A Story of Sugar, Suffrage, and Stardom.
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3598:"How many Antonio Stradivari instruments still exist in the world ?"
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Carlo Bergonzi: Alla scoperta di un grande Maestro by Christopher Reuning
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Publicly displayed collections of Stradivari instruments are those of:
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Some violinists and cellists use Stradivari instruments in their work.
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30:"Stradivari" redirects here. For the instruments bearing his name, see
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Antoine Stradivari, luthier célèbre connu sous le nom de Stradivarius
4654:"William F. Fry: A Physicist's Quest for the "Secrets" of Stradivari"
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The NPR Guide to Building a Classical CD Collection, Second Edition.
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da gamba, later modified into a cello form, one of two known choral
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of Austria in 1788. The latter explanation is supported by the word
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Cremona Violins – A Physicist's Quest for the Secrets of Stradivari
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Kalbacker, Warren. "The Rotarian Conversation: Itzhak Perlman."
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2637:) with several instruments by Antonio Stradivari, including the
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Hill, W. Henry; Hill, Arthur F.; Hill, Alfred E., eds. (1902).
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in Oxford, England—has not been played at all in recent years.
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Antonio Stradivari's second house, at No. 2 Piazza San Domenico
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1589:(1663–1719), while staying true to the Grand Amati Pattern by
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as the Casa del Pescatore, or the Casa Nuziale, in his wife's
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Instruments of Antonio Stradivari on the online database MIMO
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Sessions with Sinatra: Frank Sinatra and the Art of Recording
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4101:. International Music Academy of Montpellier. Archived from
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Woodstra, Chris, Brennan, Gerald & Allen Schrott (eds.)
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has three Stradivari violins dated 1693, 1694 and 1717. The
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Reuning, Christopher (October 2007). "Vincenzo Rugeri".
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The American Heritage Dictionary of the English Language
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Hill, W. Henry; Hill, Arthur F; Hill, Alfred E (1963).
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at Christie's in New York, April 2005. On 16 May 2006,
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Stradivari's ancestry consisted of notable citizens of
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The Violin Explained: Components, Mechanism, and Sound
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San Anselmo, CA: String Letter Publishing, 1999. 96.
3460:"Copying the best of Cremona: a brief survey, part 1"
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Poulain, Yann (May 2018). "Geometrical Progression".
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for a world-record price of $ 3,600,000 to violinist
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The Preservation of Antonio Stradivari’s instruments
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before being dispersed after Wanamaker's death. The
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2978:
403:
371:
4637:. Vol. 25 (11th ed.). 1911. p. 977.
2770:
1640:in the US, who both created experimental violins.
4351:The Violin: Its Famous Makers and Their Imitators
1446:Stradivari and the Cremonese violin making school
630:violin-making families of Cremona, including the
4729:
4587:Antonio Stradivari – a story of sound and echoes
3951:The Complete Idiot's Guide to Playing the Fiddle
3538:"What makes the Stradivarius violin so special?"
1636:in France and the artist, inventor and musician
1552:
4601:The Four Centuries Gallery – Antonio Stradivari
4025:"'Baron von der Leyen' Stradivarius of c. 1705"
3723:Proceedings of the National Academy of Sciences
2710:, Baptiste and Giuseppe Guarneri. Included was
3719:"Player preferences among new and old violins"
4592:
4567:
4241:. Guildford, CT: Insiders' Guide, 2007. 171.
3973:. Yahoo! News. Associated Press. April 2007.
3918:
2791:
1675:
670:
533:
4376:
4126:"Symphony Will Sell a Collection in Dispute"
3430:
3418:
3394:
3357:
3345:
3333:
3309:
3282:
3270:
3215:The Musical Times and Singing Class Circular
3208:
3173:
3146:
3117:
3105:
3081:
3041:
3029:
3014:
2943:
2931:
2894:
1416:. The fate of these instruments is unknown.
3779:Yo-Yo Ma: Internationally Acclaimed Cellist
3638:. Oxford University Press. pp. 89–90.
3560:
2920:The Heart of Music: The Story of the Violin
2878:"Antonio Stradivari – Italian violin maker"
2357:
4443:: CS1 maint: location missing publisher (
4408:
4153:. Pompton Plains, NJ: Amadeus, 2004. 176.
3810:Berkeley, CA: All Media Guide, 2005. 758.
3782:. Minneapolis, MN: Compass Point. p.
3258:
2922:. New York: Dodd, Mead and Co., 1921. 268.
2341:
1682:
1668:
677:
663:
53:
4497:
4459:. Cambridge: Cambridge University Press.
4397:
4340:Grove's Dictionary of Music and Musicians
3775:
3752:
3742:
3590:
3406:
3159:Fuller-Maitland, Grove & Pratt (1922)
2907:Fuller-Maitland, Grove & Pratt (1922)
2543:for a Stradivari was $ 2,032,000 for the
1540:Learn how and when to remove this message
570:Alumnus Nicolai Amati, faciebat anno 1666
3535:
3483:
3169:
3167:
2603:with three violins, a viola, and a cello
2373:
1632:, as well as the two non-Italian makers
603:
491:
487:
4451:
4380:Antonio Stradivari: His Life & Work
4224:, "Heilbrunn Timeline of Art History",
4208:, "Heilbrunn Timeline of Art History",
4192:, "Heilbrunn Timeline of Art History",
3665:
3659:
3442:
3294:
3196:
3053:
2972:
2955:
14:
4730:
3631:
2535:at £902,000 ($ 1,776,940) in 1990 and
1624:Influence in the 19th and 20th century
685:Immediate family of Antonio Stradivari
303:
4569:Real Conservatorio Superior de Música
4500:Stradivarius: sa vie, ses instruments
4480:
4292:
4123:
3716:
3382:
3321:
3164:
3129:
3093:
2999:
2987:
2779:
2726:uses four violins and one cello. The
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4022:
3995:
3509:
1478:adding citations to reliable sources
1449:
4763:18th-century Italian businesspeople
4758:17th-century Italian businesspeople
3998:"'Lady Blunt' Stradivarius of 1721"
3971:"Stradivari violin goes for $ 2.7M"
3953:. New York: Alpha Books, 2008. 23.
1575:Ignazio Alessandro Cozio di Salabue
436:– 18 December 1737) was an Italian
276:
272:
24:
4682:"Is A Stradivarius Just A Violin?"
4474:
4373:London: Longman's, Green & Co.
4124:Wakin, Daniel (24 November 2007).
3902:. Gretna, LA: Pelican, 2001. 199.
3457:
2583:2011 Tōhoku earthquake and tsunami
644:
25:
4779:
4594:Archivio della liuteria cremonese
4577:Information on Antonio Stradivari
4558:, website mimo-international.com.
4525:
3977:from the original on 5 April 2007
3882:. Chicago: A Capella, 2004. 126.
3548:from the original on 22 June 2011
3512:"Stradivari and his sons, Part 1"
3486:"Stradivari and his sons, part 2"
599:
528:, while others say that the form
4715:
4542:Violin Making at The Violin Site
4415:(First ed.). New York, NY.
4383:. New York: Dover Publications.
2442:, and, until his death in 2007,
2370:List of Stradivarius instruments
2332:Maitre-Eleve (master to student)
1454:
1305:
1278:
977:
399:
346:
4611:Stradivari and his sons, Part 2
4606:Stradivari and his sons, Part 1
4327:Fuller-Maitland, John Alexander
4251:
4231:
4215:
4206:"Violin: "The Francesca," 1694"
4199:
4183:
4163:
4143:
4117:
4091:
4077:"Royal Academy of Music Museum"
4069:
4043:
4016:
3989:
3963:
3943:
3912:
3892:
3872:
3853:
3840:
3820:
3800:
3769:
3710:
3688:
3666:Coggins, Alan (February 2007).
3625:
3616:
3536:Saunders, Emma (21 June 2011).
3529:
3503:
3484:Dilworth, John (14 July 2014).
3477:
3451:
3436:
3363:
3202:
3066:
3047:
1465:needs additional citations for
1437:"Golden" period and later years
1393:
1045:
1007:
778:
705:
426:[anˈtɔːnjostradiˈvaːri]
299:
268:
4768:Bowed string instrument makers
4485:. Brighton: Amati Publishing.
4333:; Pratt, Waldo Selden (1922).
4222:"Violin: "The Antonius," 1717"
3830:New York: Workman, 1999. 309.
3574:. 4 April 2007. Archived from
2912:
2870:
2855:Merriam-Webster.com Dictionary
2842:
2813:
2785:
496:Panorama of Cremona, with the
13:
1:
4502:(in French). Paris: Minerve.
4171:An Encyclopedia of the Violin
4053:. Cozio. 2008. Archived from
4027:. tarisio.com. Archived from
4000:. tarisio.com. Archived from
3850:188.5 (November 2009): 48–51.
2801:(5th ed.). HarperCollins
2759:
2696:New Jersey Symphony Orchestra
2635:Royal Academy of Music Museum
2586:
2478:Oesterreichische Nationalbank
2458:of 1714 is owned by virtuoso
2417:authenticating the instrument
2180:
2000:
1801:
1730:
1553:Influence in the 18th century
1260:
1036:
987:
430:
162:
69:
4259:"Violin: Antonio Stradivari"
4173:. Da Capo Press, 1966. 411.
3540:. Entertainment & Arts.
3431:Hill, Hill & Hill (1963)
3419:Hill, Hill & Hill (1963)
3395:Hill, Hill & Hill (1963)
3358:Hill, Hill & Hill (1963)
3346:Hill, Hill & Hill (1963)
3334:Hill, Hill & Hill (1963)
3310:Hill, Hill & Hill (1963)
3283:Hill, Hill & Hill (1963)
3271:Hill, Hill & Hill (1963)
3174:Hill, Hill & Hill (1963)
3147:Hill, Hill & Hill (1963)
3118:Hill, Hill & Hill (1963)
3106:Hill, Hill & Hill (1963)
3082:Hill, Hill & Hill (1963)
3042:Hill, Hill & Hill (1963)
3030:Hill, Hill & Hill (1963)
3015:Hill, Hill & Hill (1963)
2944:Hill, Hill & Hill (1963)
2932:Hill, Hill & Hill (1963)
2895:Hill, Hill & Hill (1963)
2553:auctioned Stradivari's 1707
2291:Giuseppe Guarneri "del Gesu"
1610:Giovanni Battista Guadagnini
968:
956:
944:
764:
482:
474:, as well as the colloquial
7:
4628:"Stradivari, Antonio"
4263:Highlights of the Ashmolean
4228:, accessed 2 February 2011.
4196:, accessed 2 February 2011.
4169:Bachmann, Alberto Abraham.
2413:McKinley Tariff Act of 1890
2300:Pietro Guarneri "de Venice"
560:Stradivari likely began an
36:Stradivari (disambiguation)
27:Italian luthier (1644–1737)
10:
4784:
4699:by François-Joseph Fétis,
4409:Schoenbaum, David (2013).
4398:Petherick, Horace (1900).
4286:
4226:Metropolitan Museum of Art
4210:Metropolitan Museum of Art
4194:Metropolitan Museum of Art
3919:Julie Carlson (May 2005).
2728:Metropolitan Museum of Art
2367:
2361:
1329:Giovanni Battista Giuseppe
34:. For other meanings, see
29:
4562:The National Music Museum
4498:Pigaillem, Henri (2012).
4099:"Stradivarius Exhibition"
3373:. Strad, 132(1575), 22–27
2752:violin—on display in the
2326:Pere-Fils (father to son)
2313:
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1870:
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1850:
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1766:
1764:
1649:Giovanni Battista Morassi
1388:
1336:Giovanni Battista Martino
1251:
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149:
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118:
110:
94:
61:
52:
45:
4658:Wisconsin Academy Review
4079:. Royal Academy of music
3860:21st Century Violinists.
3776:Weatherly, Myra (2006).
2764:
2736:Vermillion, South Dakota
2618:viola) exhibited at the
2358:Stradivarius instruments
1366:
697:Giulio Cesare Stradivari
4701:Jean-Baptiste Vuillaume
4634:Encyclopædia Britannica
4532:Nippon Music Foundation
4481:Henly, William (1961).
4151:Efrem Zimbalist: A Life
3744:10.1073/pnas.1114999109
3668:"Blind Listening Tests"
2882:Encyclopedia Britannica
2836:Oxford University Press
2579:Lady Blunt Stradivarius
2468:is currently played by
2342:Stradivari and his sons
1577:, Vuillaume, and later
1567:Jean-Baptiste Vuillaume
1375:
534:
520:, essentially meaning "
4743:Stradivari instruments
4593:
4568:
4547:Stradivari violin wood
4212:, accessed 2011-02-02.
3900:The Name's Familiar II
2716:Philadelphia Orchestra
2694:The collection of the
2631:Royal Academy of Music
2624:Palacio Real de Madrid
2620:Royal Palace of Madrid
2439:Barjansky Stradivarius
2390:
1645:Giuseppe Antonio Rocca
1034:Antonia Maria Zambelli
941:Giuseppe Giulio Cesare
609:
501:
289:Antonia Maria Zambelli
178:Stauffer; ex-Cristiani
114:Church of San Domenico
4738:Luthiers from Cremona
4582:Antonius Stradivarius
4404:. New York: Scribner.
4367:Haweis, Hugh Reginald
4348:Hart, George (1875).
4335:"Stradivari, Antonio"
3632:Beamen, John (2000).
2832:UK English Dictionary
2825:"Stradivari, Antonio"
2820:"Stradivari, Antonio"
2732:National Music Museum
2569:" was sold online by
2444:Mstislav Rostropovich
2406:blind listening tests
2394:The Hills Violin Shop
2377:
1418:Cosimo III de' Medici
1002:Francesca Ferraboschi
761:Alessandro Stradivari
607:
495:
488:Family and early life
468:form of his surname,
258:Francesca Ferraboschi
66:Antonius Stradivarius
4671:by Kameshwar C. Wali
4293:Faber, Toby (2006).
3878:Granata, Charles L.
3369:Hopfner, R. (2021).
2918:Chapin, Anna Alice.
2749:Messiah Stradivarius
2531:The London sales of
2480:and other sponsors:
2429:Davidov Stradivarius
1694:violin-making school
1651:, Beltrami, and the
1638:William Sidney Mount
1585:The Cremonese maker
1489:"Antonio Stradivari"
1474:improve this article
1291:Catterina Annunciata
582:W.E. Hill & Sons
275:; died
18:Antonio Stradivarius
4680:Kestenbaum, David,
4023:Auctions, Tarisio.
3996:Auctions, Tarisio.
3735:2012PNAS..109..760F
3161:, pp. 707–12 .
2909:, pp. 707–12 .
2830:Oxford Dictionaries
2724:Vienna Philharmonic
2688:Musée de la musique
2677:Marquis de Corberon
2675:(1696) violas, the
2601:Library of Congress
2562:Solomon, Ex-Lambert
2524:owns and plays the
2514:owns and plays the
2474:Vienna Philharmonic
2449:Duport Stradivarius
2434:Julian Lloyd Webber
2389:of a craftsman-hero
1414:James II of England
1298:Alessandro Giuseppe
542:means "open road".
498:Torrazzo di Cremona
440:and a craftsman of
89:(present-day Italy)
4684:, NPR, 16 May 2014
4677:, 13 November 2009
4650:Wali, Kameshwar C.
4551:The New York Times
4537:Stradivari Society
4401:Antonio Stradivari
4130:The New York Times
4031:on 9 November 2013
3717:Fritz, C. (2012).
3084:, pp. 27, 31.
2700:Herbert R. Axelrod
2526:Gibson ex-Huberman
2391:
2387:romanticized image
2379:Antonio Stradivari
2014:Antonio Stradivari
1433:rest of his life.
1312:Omobono Stradivari
984:Antonio Stradivari
624:Omobono Stradivari
610:
502:
442:string instruments
342:Antonio Stradivari
226:Stradivarius style
47:Antonio Stradivari
4466:978-0-521-87304-8
4422:978-0-393-08440-5
4247:978-0-7627-4336-0
4237:Hunhoff, Bernie.
3959:978-1-59257-768-2
3707:, 2 January 2012.
3385:, pp. 29–30.
3371:The Heir Apparent
3336:, pp. 37–38.
3312:, pp. 36–37.
3259:Schoenbaum (2013)
2858:. Merriam-Webster
2720:Leopold Stokowski
2575:Anne Akiko Meyers
2465:Countess Polignac
2402:Giuseppe Guarneri
2339:
2338:
2317:
2316:
2176:Giuseppe Guarneri
2027:Girolamo Amati II
1653:Antoniazzi family
1550:
1549:
1542:
1524:
1364:
1363:
1360:
1359:
965:Giovanni Battista
540:Cremonese dialect
391:
339:
338:
193:Alard–Baron Knoop
105:Cremona, Lombardy
102:(aged 92–93)
16:(Redirected from
4775:
4720:
4719:
4718:
4711:
4689:Historical books
4665:
4638:
4630:
4596:
4571:
4521:
4494:
4470:
4453:Pollens, Stewart
4448:
4442:
4434:
4405:
4394:
4371:My Musical Life.
4363:
4361:
4359:
4344:
4322:
4281:
4280:
4275:
4273:
4267:Ashmolean Museum
4255:
4249:
4235:
4229:
4219:
4213:
4203:
4197:
4187:
4181:
4167:
4161:
4147:
4141:
4140:
4138:
4136:
4121:
4115:
4114:
4112:
4110:
4105:on 25 March 2010
4095:
4089:
4088:
4086:
4084:
4073:
4067:
4066:
4064:
4062:
4047:
4041:
4040:
4038:
4036:
4020:
4014:
4013:
4011:
4009:
3993:
3987:
3986:
3984:
3982:
3967:
3961:
3947:
3941:
3940:
3938:
3936:
3931:on 21 April 2009
3927:. Archived from
3916:
3910:
3896:
3890:
3876:
3870:
3857:
3851:
3844:
3838:
3824:
3818:
3804:
3798:
3797:
3773:
3767:
3766:
3756:
3746:
3714:
3708:
3692:
3686:
3685:
3683:
3681:
3663:
3657:
3656:
3654:
3652:
3629:
3623:
3620:
3614:
3613:
3611:
3609:
3594:
3588:
3587:
3585:
3583:
3564:
3558:
3557:
3555:
3553:
3533:
3527:
3526:
3524:
3522:
3510:Dilworth, John.
3507:
3501:
3500:
3498:
3496:
3481:
3475:
3474:
3472:
3470:
3458:Gindin, Dmitry.
3455:
3449:
3448:
3440:
3434:
3428:
3422:
3416:
3410:
3407:Petherick (1900)
3404:
3398:
3392:
3386:
3380:
3374:
3367:
3361:
3355:
3349:
3343:
3337:
3331:
3325:
3319:
3313:
3307:
3298:
3292:
3286:
3280:
3274:
3268:
3262:
3256:
3247:
3246:
3221:(716): 663–665.
3206:
3200:
3194:
3185:
3171:
3162:
3156:
3150:
3144:
3133:
3127:
3121:
3115:
3109:
3103:
3097:
3091:
3085:
3079:
3073:
3070:
3064:
3063:
3051:
3045:
3039:
3033:
3027:
3018:
3012:
3003:
2997:
2991:
2985:
2976:
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2959:
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2947:
2941:
2935:
2929:
2923:
2916:
2910:
2904:
2898:
2892:
2886:
2885:
2874:
2868:
2867:
2865:
2863:
2846:
2840:
2839:
2817:
2811:
2810:
2808:
2806:
2789:
2783:
2777:
2754:Ashmolean Museum
2704:Rodman Wanamaker
2671:(1714), and the
2667:(1666) violins,
2608:Spanish I and II
2591:
2588:
2571:Tarisio Auctions
2512:Viktoria Mullova
2490:ex-Smith-Quersin
2185:
2182:
2005:
2002:
1806:
1803:
1735:
1732:
1701:
1700:
1684:
1677:
1670:
1661:
1660:
1617:Vincenzo Panormo
1579:Tarisio Auctions
1545:
1538:
1534:
1531:
1525:
1523:
1482:
1458:
1450:
1343:Giuseppe Antonio
1309:
1282:
1265:
1262:
1049:
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1038:
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989:
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782:
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672:
665:
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655:
577:Francesco Rugeri
537:
435:
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389:
387:
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364:
361:
358:
355:
352:
325:19189 Stradivari
321:
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301:
280:
278:
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270:
243:Cremonese school
167:
164:
152:
131:Francesco Rugeri
101:
98:18 December 1737
74:
71:
57:
43:
42:
21:
4783:
4782:
4778:
4777:
4776:
4774:
4773:
4772:
4728:
4727:
4726:
4722:Classical music
4716:
4714:
4706:
4652:(Spring 2000).
4625:
4528:
4510:
4477:
4475:Further reading
4467:
4436:
4435:
4423:
4391:
4357:
4355:
4354:. London: Dulau
4311:
4289:
4284:
4271:
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4021:
4017:
4007:
4005:
3994:
3990:
3980:
3978:
3969:
3968:
3964:
3949:Klein, Ellery.
3948:
3944:
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3932:
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3897:
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3877:
3873:
3858:
3854:
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3664:
3660:
3650:
3648:
3646:
3630:
3626:
3621:
3617:
3607:
3605:
3604:on 23 June 2011
3596:
3595:
3591:
3581:
3579:
3572:The Independent
3566:
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3281:
3277:
3269:
3265:
3257:
3250:
3227:10.2307/3369629
3207:
3203:
3195:
3188:
3178:My Musical Life
3172:
3165:
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3136:
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2804:
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2790:
2786:
2778:
2771:
2767:
2762:
2679:(1726) and the
2663:(1718) and the
2652:Viotti ex-Bruce
2614:cello, and the
2589:
2533:The Mendelssohn
2372:
2366:
2360:
2344:
2330:dashed lines =
2302:
2293:
2183:
2178:
2169:
2167:Pietro Guarneri
2152:
2143:
2040:
2038:Andrea Guarneri
2029:
2016:
2003:
1999:
1890:
1815:
1804:
1800:
1733:
1729:
1695:
1688:
1658:
1634:François Chanot
1626:
1598:Gagliano family
1596:Members of the
1587:Vincenzo Rugeri
1555:
1546:
1535:
1529:
1526:
1483:
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1471:
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1448:
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1322:Francesca Maria
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777:
776:
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762:
715:Leonardo Moroni
704:
703:
702:Doralice Milani
686:
683:
653:
647:
645:Second marriage
602:
490:
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345:
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310:
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172:Cipriani Potter
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4589:
4584:
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4559:
4553:
4544:
4539:
4534:
4527:
4526:External links
4524:
4523:
4522:
4509:978-2869311305
4508:
4495:
4476:
4473:
4472:
4471:
4465:
4449:
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4323:
4309:
4288:
4285:
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4250:
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4214:
4198:
4190:"Violin, 1693"
4182:
4162:
4142:
4116:
4090:
4068:
4042:
4015:
4004:on 15 May 2012
3988:
3962:
3942:
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3792:
3768:
3709:
3687:
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3644:
3624:
3615:
3589:
3578:on 28 May 2008
3559:
3528:
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3476:
3450:
3435:
3423:
3421:, p. 149.
3411:
3399:
3387:
3375:
3362:
3350:
3338:
3326:
3314:
3299:
3295:Pollens (2010)
3287:
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3263:
3248:
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3197:Pollens (2010)
3186:
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2973:Pollens (2010)
2960:
2956:Pollens (2010)
2948:
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2924:
2911:
2899:
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2812:
2784:
2768:
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2763:
2761:
2758:
2692:
2691:
2684:
2627:
2604:
2460:Itzhak Perlman
2446:played on the
2362:Main article:
2359:
2356:
2343:
2340:
2337:
2336:
2335:
2334:
2328:
2324:solid lines =
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601:
600:First marriage
598:
562:apprenticeship
530:de Strataverta
489:
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140:Known for
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91:
87:Duchy of Milan
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58:
50:
49:
46:
26:
9:
6:
4:
3:
2:
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4432:
4428:
4424:
4418:
4414:
4413:
4407:
4403:
4402:
4396:
4392:
4390:0-486-20425-1
4386:
4382:
4381:
4375:
4372:
4368:
4365:
4353:
4352:
4346:
4342:
4341:
4336:
4332:
4331:Grove, George
4328:
4324:
4320:
4316:
4312:
4310:0-375-76085-7
4306:
4302:
4298:
4297:
4291:
4290:
4279:
4268:
4264:
4260:
4254:
4248:
4244:
4240:
4234:
4227:
4223:
4218:
4211:
4207:
4202:
4195:
4191:
4186:
4180:
4179:0-306-80004-7
4176:
4172:
4166:
4160:
4159:1-57467-091-3
4156:
4152:
4146:
4131:
4127:
4120:
4104:
4100:
4094:
4078:
4072:
4057:on 3 May 2008
4056:
4052:
4046:
4030:
4026:
4019:
4003:
3999:
3992:
3976:
3972:
3966:
3960:
3956:
3952:
3946:
3930:
3926:
3922:
3915:
3909:
3908:1-56554-822-1
3905:
3901:
3895:
3889:
3888:1-55652-509-5
3885:
3881:
3875:
3869:
3868:1-890490-26-1
3865:
3861:
3856:
3849:
3843:
3837:
3836:0-7611-0487-9
3833:
3829:
3826:Libbey, Ted.
3823:
3817:
3816:0-87930-865-6
3813:
3809:
3803:
3795:
3793:0-7565-1879-2
3789:
3785:
3781:
3780:
3772:
3764:
3760:
3755:
3750:
3745:
3740:
3736:
3732:
3729:(3): 760–63.
3728:
3724:
3720:
3713:
3706:
3705:
3700:
3696:
3691:
3675:
3674:
3669:
3662:
3647:
3645:0-19-816739-3
3641:
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3491:
3487:
3480:
3465:
3461:
3454:
3446:
3439:
3433:, p. 45.
3432:
3427:
3420:
3415:
3409:, p. 13.
3408:
3403:
3397:, p. 41.
3396:
3391:
3384:
3379:
3372:
3366:
3360:, p. 40.
3359:
3354:
3348:, p. 39.
3347:
3342:
3335:
3330:
3324:, p. 41.
3323:
3318:
3311:
3306:
3304:
3297:, p. 16.
3296:
3291:
3285:, p. 34.
3284:
3279:
3273:, p. 33.
3272:
3267:
3261:, p. 30.
3260:
3255:
3253:
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3228:
3224:
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3205:
3199:, p. 26.
3198:
3193:
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3183:
3179:
3175:
3170:
3168:
3160:
3155:
3149:, p. 10.
3148:
3143:
3141:
3139:
3132:, p. 28.
3131:
3126:
3119:
3114:
3108:, p. 28.
3107:
3102:
3096:, p. 27.
3095:
3090:
3083:
3078:
3069:
3061:
3057:
3050:
3044:, p. 25.
3043:
3038:
3032:, p. 26.
3031:
3026:
3024:
3017:, p. 27.
3016:
3011:
3009:
3002:, p. 25.
3001:
2996:
2990:, p. 26.
2989:
2984:
2982:
2975:, p. 12.
2974:
2969:
2967:
2965:
2958:, p. 11.
2957:
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2800:
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2794:
2788:
2782:, p. 59.
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2683:(1709) celli.
2682:
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2616:Spanish Court
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2150:O. Stradivari
2142:
2141:F. Stradivari
2130:
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2019:
2015:
1998:
1997:Jacob Stainer
1988:
1986:
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1899:
1889:
1868:
1866:
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1798:Antonio Amati
1777:
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1630:Giovanni Rota
1621:
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1533:
1530:December 2021
1522:
1519:
1515:
1512:
1508:
1505:
1501:
1498:
1494:
1491: –
1490:
1486:
1485:Find sources:
1479:
1475:
1469:
1468:
1463:This section
1461:
1457:
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1434:
1430:
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535:strada averta
532:derives from
531:
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111:Resting place
109:
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4499:
4482:
4456:
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4400:
4379:
4370:
4356:. Retrieved
4350:
4338:
4301:Random House
4299:. New York:
4295:
4277:
4270:. Retrieved
4262:
4253:
4238:
4233:
4217:
4201:
4185:
4170:
4165:
4150:
4149:Malan, Roy.
4145:
4133:. Retrieved
4129:
4119:
4107:. Retrieved
4103:the original
4093:
4081:. Retrieved
4071:
4059:. Retrieved
4055:the original
4045:
4033:. Retrieved
4029:the original
4018:
4006:. Retrieved
4002:the original
3991:
3979:. Retrieved
3965:
3950:
3945:
3933:. Retrieved
3929:the original
3924:
3914:
3899:
3898:Lee, Laura.
3894:
3879:
3874:
3859:
3855:
3848:The Rotarian
3847:
3842:
3827:
3822:
3807:
3802:
3778:
3771:
3726:
3722:
3712:
3702:
3690:
3678:. Retrieved
3671:
3661:
3649:. Retrieved
3634:
3627:
3618:
3606:. Retrieved
3602:the original
3592:
3580:. Retrieved
3576:the original
3571:
3562:
3550:. Retrieved
3541:
3531:
3521:16 September
3519:. Retrieved
3515:
3505:
3493:. Retrieved
3489:
3479:
3469:16 September
3467:. Retrieved
3463:
3453:
3444:
3438:
3426:
3414:
3402:
3390:
3383:Faber (2006)
3378:
3370:
3365:
3353:
3341:
3329:
3322:Faber (2006)
3317:
3290:
3278:
3266:
3218:
3214:
3211:"Stradivari"
3204:
3177:
3154:
3130:Faber (2006)
3125:
3120:, p. 8.
3113:
3101:
3094:Faber (2006)
3089:
3077:
3068:
3059:
3055:
3049:
3037:
3000:Faber (2006)
2995:
2988:Faber (2006)
2951:
2946:, p. 6.
2939:
2934:, p. 4.
2927:
2919:
2914:
2902:
2897:, p. 3.
2890:
2881:
2872:
2860:. Retrieved
2853:
2850:"Stradivari"
2844:
2828:
2815:
2803:. Retrieved
2796:
2793:"Stradivari"
2787:
2780:Faber (2006)
2747:
2711:
2693:
2680:
2676:
2672:
2668:
2664:
2660:
2656:
2650:
2646:
2645:(1694), the
2642:
2638:
2623:
2615:
2611:
2607:
2594:
2560:
2554:
2546:Lady Tennant
2544:
2537:The Kreutzer
2536:
2532:
2530:
2515:
2507:
2506:, 1718; and
2500:
2493:
2489:
2485:
2481:
2463:
2453:
2447:
2437:
2436:employs the
2427:
2421:
2410:
2398:
2392:
2378:
2364:Stradivarius
2353:
2345:
2331:
2325:
2013:
1888:Nicola Amati
1727:Andrea Amati
1657:
1642:
1627:
1615:
1607:
1602:
1595:
1591:Nicolo Amati
1584:
1571:
1563:Barak Norman
1560:
1556:
1536:
1527:
1517:
1510:
1503:
1496:
1484:
1472:Please help
1467:verification
1464:
1440:
1431:
1427:
1407:
1399:
1397:
1394:Early career
1383:
1379:
1370:
1258:Giulia Maria
983:
953:Carlo Felice
652:
648:
640:
628:
611:
594:
586:
574:
569:
566:Nicola Amati
559:
554:
544:
529:
517:
507:
503:
475:
471:Stradivarius
469:
341:
340:
229:Rugeri style
207:
199:
191:
183:
177:
171:
158:
151:Notable work
126:Nicola Amati
100:(1737-12-18)
40:
32:Stradivarius
4753:1737 deaths
4748:1644 births
4135:14 December
3921:"Strad Mad"
3495:14 December
2590: 1705
2567:The Molitor
2522:Joshua Bell
2496:Arnold Rosé
2486:ex-Hämmerle
2383:Edgar Bundy
2004: 1618
1805: 1537
1734: 1505
1264: 1667
1048: 1699
1040: 1664
1010: 1667
991: 1644
971: 1628
959: 1626
947: 1623
781: 1622
774:Anna Moroni
767: 1602
708: 1600
555:Cremonensis
538:, which in
434: 1644
320:Memorial(s)
232:Amati style
166: 1666
73: 1644
4732:Categories
4457:Stradivari
4109:14 October
4083:14 October
3651:23 January
3182:pp. 322–28
2760:References
2681:Markevitch
2657:Kustendyke
2551:Christie's
2517:Jules Falk
2508:ex-Halphen
2470:Gil Shaham
2385:, 1893: a
2368:See also:
1500:newspapers
518:stradivare
514:land grant
209:Lady Blunt
4518:801807841
4491:833217788
4439:cite book
4431:783162545
3673:The Strad
3445:The Strad
3235:0958-8434
3056:The Strad
2822:(US) and
2744:mandolins
2708:Gofriller
2629:London's
2426:uses the
2303:1695–1762
2294:1698–1744
2170:1655–1720
2153:1679–1742
2144:1671–1743
2041:1626–1698
2030:1649–1740
2017:1644–1737
1891:1596–1684
1816:1561–1630
1692:Cremonese
1582:Cerutis.
1352:1708–1776
1345:1704–1781
1338:1703–1727
1331:1701–1702
1324:1700–1720
1315:1679–1742
1300:1677–1732
1293:1674–1748
1286:1671–1743
1284:Francesco
1273:1670–1670
1271:Francesco
1004:1640–1698
636:Guarneris
551:Joseph II
524:-man" in
500:prominent
483:Biography
466:Latinized
119:Education
4643:Articles
4572:, Madrid
4455:(2010).
4369:(1898).
4358:5 August
4319:66905437
4061:26 March
3975:Archived
3763:22215592
3704:Discover
3680:14 March
3546:Archived
3542:BBC News
3447:: 70–71.
3180:(1892),
3062:: 54–58.
2712:The Swan
2673:Archinto
2659:(1699),
2655:(1709),
2649:(1699),
2641:(1698),
2510:, 1727.
2492:, 1714;
2488:, 1709;
2484:, 1725;
2482:Chaconne
2424:Yo-Yo Ma
2349:purfling
1410:Venetian
590:purfling
444:such as
422:Italian:
329:Asteroid
240:Movement
82:Lombardy
4287:Sources
3981:7 April
3935:7 April
3754:3271912
3731:Bibcode
3699:Ed Yong
3676:: 52–55
3608:28 June
3582:28 June
3552:21 June
3516:Tarisio
3490:Tarisio
3464:Tarisio
3243:3369629
2665:Ex Back
2639:Joachim
2541:auction
1558:years.
1514:scholar
1401:Hellier
615:burgher
526:Lombard
510:Cremona
479:items.
454:guitars
446:violins
438:luthier
308:
296:
292:
281:
265:
261:
248:Spouses
159:ex-Back
144:Luthier
78:Cremona
4708:Portal
4516:
4506:
4489:
4463:
4429:
4419:
4387:
4317:
4307:
4272:4 July
4245:
4177:
4157:
3957:
3925:Forbes
3906:
3886:
3866:
3834:
3814:
3790:
3761:
3751:
3642:
3241:
3233:
2862:20 May
2805:20 May
2740:violas
2669:Ex Kux
2661:Maurin
2647:Crespi
2643:Rutson
2610:, the
2556:Hammer
2503:Viotti
2472:. The
2462:. The
2452:. The
1516:
1509:
1502:
1495:
1487:
1389:Career
632:Amatis
620:parish
547:Moroni
464:. The
458:violas
450:cellos
302:
271:
212:(1721)
204:(1716)
196:(1715)
188:(1714)
174:(1683)
4035:8 May
4008:8 May
3239:JSTOR
2765:Notes
2734:, in
2381:, by
2179:1666–
2006:–1683
1807:–1607
1736:–1577
1603:forma
1521:JSTOR
1507:books
1423:bevel
1367:Death
1350:Paolo
1042:–1737
993:–1737
564:with
476:Strad
462:harps
306:)
298:(
294:
279:)
267:(
263:
220:Style
4664:(2).
4514:OCLC
4504:ISBN
4487:OCLC
4461:ISBN
4445:link
4427:OCLC
4417:ISBN
4385:ISBN
4360:2011
4315:OCLC
4305:ISBN
4274:2008
4243:ISBN
4175:ISBN
4155:ISBN
4137:2019
4111:2009
4085:2009
4063:2008
4037:2012
4010:2012
3983:2007
3955:ISBN
3937:2007
3904:ISBN
3884:ISBN
3864:ISBN
3832:ISBN
3812:ISBN
3788:ISBN
3759:PMID
3682:2011
3653:2009
3640:ISBN
3610:2011
3584:2011
3554:2011
3523:2015
3497:2019
3471:2015
3231:ISSN
2864:2019
2807:2019
2718:and
2686:the
2599:the
2455:Soil
1690:The
1493:news
1376:Will
634:and
522:toll
460:and
390:also
304:1699
277:1698
273:1667
185:Soil
95:Died
62:Born
3749:PMC
3739:doi
3727:109
3697:by
3223:doi
3060:129
2501:ex-
2494:ex-
1476:by
410:ɛər
378:ɑːr
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3058:.
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