Iconography Index
"The ex-Joachim Elman Stradivari", Ernest N. Doring, , 1954: Black-and-white photos (front, back & side).
, Jost Thöne & Jan Röhrmann (editors), photos by Jan Röhrmann, instrument descriptions by Alessandra Barabaschi, Jost Thöne Verlag, Cologne, 2010: Color photos (front, back, side, scroll & detail of C-bout & f-hole).
, Bongartz's, Cologne, 1982: Color photos (front & back).
, Geigenauktionen Bongartz, Aachen, 1986: Color photos (front, back & scroll).
, Sotheby's: Black-and-white photos (front & side).
, Sotheby's: Color photo (back).
, Jen-wu Chen, Chi-Mei Culture Foundation, 1997: Color photos (front, back, side & scroll - all high-resolution)).
, Herbert K. Goodkind, Larchmont, New York, 1972: Black-and-white photos (front, back & side).
Notes
- Listed as an instrument of the year 1721 in Doring's book.
- How Many Strads?, Ernest N. Doring, William Lewis & Son, Chicago, 1945.
- "[quoting Elman]: 'Of course, the instrument the artist uses is an important factor in making it possible for him to do his best. My violin? It is an authentic Strad -- dated 1722. I bought it of Willy Burmester in London. You see he did not care much for it. The German style of playing is not calculated to bring out the tone beauty, the quality of the old Italian fiddles. I think Burmester had forced the tone, and it took me some time to make it mellow and truly responsive again, but now. . ..' Mr. Elman beamed. It was evident he was satisfied with his instrument."
- Violin Mastery: Talks with Master Violinists and Teachers, Frederick H. Martens, Frederick A. Stokes Co., New York, 1919.
- "[quoting Nachez:] 'My violin? I am a Stradivarius player, and possess two fine Strads, though I also have a beautiful Joseph Guarnerius. Ysaye, Thibaud and Caressa, when they lunched with me not long ago, were enthusiastic about them. My favorite Strad is a 1716 instrument—I have used it for twenty-five years. But I cannot use the wire strings that are now in such vogue here. I have to have Italian gut strings. The wire E cuts my fingers, and besides I notice a perceptible difference in sound quality.'"
- Violin Mastery: Talks with Master Violinists and Teachers, Frederick H. Martens, Frederick A. Stokes Co., New York, 1919.
- Dated 1721.
- Caressa & Francais Notebook (c1900 - 1936), part of the Jacques Francais Collection at the Smithsonian Institution, Washington, D.C..
Provenance
Current owner
Indicates that the owner is or was also a musician
Players
Current player
Indicates that the musician is or was also an owner of one or more instruments
Certificates
Letter: August Riecher, Berlin, Undated
Certificate: William Lewis & Son, Chicago, October 20, 1962
Letter: Emil Herrmann, Berlin, New York, Easton, October 20, 1962
Letter: Rembert Wurlitzer, Inc., New York, November 12, 1957
Letter: August Riecher, Berlin, March 15, 1893
Letter: Rudolph Wurlitzer Co., Cincinnati, December 10, 1948. Signed by J. C. Freeman
Certificate: Rudolph Wurlitzer, New York, December 10, 1941. Signed by J. C. Freeman
Letter: William Lewis & Son, Chicago, August 14, 1953. Signed by R. A. Olson
Certificate: Henry Werro, Berne, 1972
Certificate: Rudolph Wurlitzer Co., Cincinnati, 1943
References
, Jost Thöne & Jan Röhrmann (editors), photos by Jan Röhrmann, instrument descriptions by Alessandra Barabaschi, Jost Thöne Verlag, Cologne, 2010.
, Bongartz's, Cologne, 1982.
Caressa & Francais Notebook (c1900 - 1936), part of the Jacques Francais Collection at the Smithsonian Institution, Washington, D.C..
, Geigenauktionen Bongartz, Aachen, 1986.
, Ernest N. Doring, William Lewis & Son, Chicago, 1945.
, Sotheby's.
, Charles-Eugène Gand, Les Amis de la Musique, Spa, 1994.
, Jen-wu Chen, Chi-Mei Culture Foundation, 1997.
, William Dana Orcutt, Da Capo Press, New York, 1977.
, Herbert K. Goodkind, Larchmont, New York, 1972.
Violin Mastery: Talks with Master Violinists and Teachers, Frederick H. Martens, Frederick A. Stokes Co., New York, 1919.
"Star Gazing", World of Strings, Spring, 1958, 1958.
"The ex-Joachim Elman Stradivari", Ernest N. Doring, , 1954.
Correspondence with Fuchi Hsu of the Chi-Mei Culture Foundation, May, 2004.