Iconography Index
"Emmanuel Fuermann's Cellos", Seymour W. Itzkoff, , 1977: Black-and-white photos (front, back, side, scroll & f-hole).
"Ne Plus Ultra", John Dilworth, , 1987: Color photos (front & back).
"Poster supplement", , 2000: Color photos (front, back & scroll).
"Shrink to fit", John Dilworth, , 2000: Color photos (front, back, side, scroll & corner).
"The "Last" Stradivarius Violoncello", , 1944: Black-and-white photos (front, back, side, scroll & f-hole).
"The Right Partner", Seymour W. Itzkoff, , 1988: Color photo (f-hole).
, Newsquest, London, 2010: Color photos (front & back).
, Charles Beare, Arnoldo Mondadori S.p.A., Milan, 1987: Black-and-white photo (f-hole).
, Ernest N. Doring, William Lewis & Son, Chicago, 1945: Black-and-white photos (front, back, side, scroll & f-hole).
, Stewart Pollens, Cambridge University Press, Cambridge, 2010: Color photos (front, back, side & scroll).
, Smithsonian Institution, Washington, D.C., Box 43: Black-and-white photos (front, back, side, scroll & f-hole - initialed by Emil Herrmann).
, Herbert K. Goodkind, Larchmont, New York, 1972: Black-and-white photos (front, back, side, scroll & f-hole).
Notes
- "This instrument was made in 1730 as one of the 70 to 80 cellos ever made by Antonio Stradivari. It is known for its relatively long and narrow shape of body. It was owned and played worldwide by one of the world's greatest cellist, Emmanuel Feuermann (1902-1942) since the late 1930s."
- http://www.nmf.or.jp/english/
- Dated 1710.
- Stradivarius-Guarnerius del Gesù: Catalogue descriptif de leurs instruments (Facsimile of Gand's notes from 1870-91), Charles-Eugène Gand, Les Amis de la Musique, Spa, 1994.
- "In recent years it has been the cherished instrument of the late Emmanuel Feuermann, who during his many tours showed it almost the consideration he would extend to a human being, always obtaining an extra berth for it in which the instrument reposed. In his home it rested upon its own special couch.. . . Unlike so many Stradivari violoncellos, especially those of earlier date, this has not had to be altered in size to make it playable in comfort."
- "The "Last" Stradivarius Violoncello", The Strad, November, 1944, 1944.
- "The consensus of the Hill concern was that while the modeling probably represented a final Strad experiment, since there were several others of this size among the late instruments, as well as at least one normal 29 1/16 to 29 15/16 instrument during this period, it was probable that the sons had had a hand in its construction."
- "Emmanuel Fuermann's Cellos", Seymour W. Itzkoff, VSA Proceedings, Vol. IV, No. 1, Winter, 1977/78, 1977.
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
References
, Newsquest, London, 2010.
, W. Henry, Arthur F. & Alfred E. Hill, William E. Hill & Sons, London, 1902.
, Charles Beare, Arnoldo Mondadori S.p.A., Milan, 1987.
, Ernest N. Doring, William Lewis & Son, Chicago, 1945.
, Stewart Pollens, Cambridge University Press, Cambridge, 2010.
, Charles-Eugène Gand, Les Amis de la Musique, Spa, 1994.
, Smithsonian Institution, Washington, D.C., Box 43.
, Herbert K. Goodkind, Larchmont, New York, 1972.
W. E. Hill Business Records (1850 - 1990).
"Emmanuel Fuermann's Cellos", Seymour W. Itzkoff, , 1977.
"Ne Plus Ultra", John Dilworth, , 1987.
"Poster supplement", , 2000.
"Shrink to fit", John Dilworth, , 2000.
"The "Last" Stradivarius Violoncello", , 1944.
"The Right Partner", Seymour W. Itzkoff, , 1988.
http://www.cello.org/heaven/hill/pix/Index.htm
http://www.nmf.or.jp/english/
http://www.nmf.or.jp/english/instrument/isserlis.html
http://www.stradivariinvest.com/