By Corinne Ramey
This article appeared on the February 2012 cover of Strings Magazine

It’s not a Strad, but maestro Lorin Maazel will have you know that his 1783 Guadagnini is second to none. “The violin is one of the spectacular examples of Guadagnini’s expertise,” Maazel says. “Everyone loves his instruments. Strad is much more known, but the truth of the matter is that there are Guads that are equal or in some cases superior to Strads.”

On November 10, Maazel auctioned his violin, which he played for the past 66 years, through online auction house Tarisio in New York City. The violin fetched $1,080,000. Tarisio’s pre-sale estimate was that the violin would sell for between $800,000 and $1.2 million.

The money raised from the violin’s sale will go toward an endowment for the Castleton Festival, launched in 2009 by Maazel and his wife, Dietlinde Turban Maazel.

The festival, held at the Maazel’s farm in Virginia, aims to educate and develop the careers of young instrumentalists, singers, and conductors. “I love this sort of sale,” Tarisio director Jason Price says. “It’s such a great thing to generate goodwill and money for a cause and make everyone a real winner on every level.” Maazel has had a lengthy career as a conductor. At age 11, he conducted the NBC Symphony Orchestra on the radio. He later served as music director of the Cleveland Symphony Orchestra and, until 2009, the New York Philharmonic. He also is a composer and violinist.

The violin is particularly exceptional because Maazel, now 82, owned it for so long. “You rarely run into that kind of longevity,” Price says.

Giovanni Battista Guadagnini made the violin while living in Turin, Italy, just three years before his death. “It looks almost like a caricature of a late Strad,” Price says.

Previously, the violin belonged to Maazel’s teacher, Vladimir Bakaleinikoff. “I was about to make my debut,” recalls Maazel, speaking on the phone from New York, where he conducted several concerts with the New York Phil in October. “He said, ‘Lorin, you can play my violin.’ I said ‘Wow!’ I bonded with this violin.” Maazel continued to use it for several years.

“Then Bakaleinikoff said, ‘You are ready to spread your wings in the world, and I have no use for this violin. Maybe you’d like to buy it from me.’”

When asked the original selling price, Maazel declines to answer. “It’s embarrassing,” he says, “but it was a four zero number.

“There’s a saying, ‘You put your money where your mouth is,’” Maazel adds. “I speak well of Castleton, so I wanted to make a gesture to show my firm belief in the future.”

Many thanks to Strings Magazine for their coverage of this unique sale.  Read more about the ‘Maazel’ Guadagnini of 1783 on our blog

In 1577, upon the death of Andrea Amati, his sons Antonio and Girolamo inherited the Amati family workshop and the highly successful partnership now known as the Brothers Amati was born. The renowned reputation of the workshop was safe in their hands. The brothers had trained with and worked alongside Andrea and they maintained a consistently high and often outstanding standard of production.

The Brothers Amati’s large output shows an experimental approach and the many different sizes of violins, violas and cellos they created suggests that they were working with musicians to perfect the tone quality of their instruments. Their work was widely copied by makers all over Europe and today their instruments are prized for their fine tone and elegant appearance.

Lot 281 A FINE ITALIAN VIOLIN BY ANTONIO & GIROLAMO AMATI, CREMONA, EARLY 17th CENTURY Labeled, “Antonius et Hiéronimus F. Amati, Cremonen Andreae fil. F. 16..” The head probably Cremona, late 17th century. LOB 35.3 cm * Sold with certificates from Pierre Vidoudez, Geneva (January 15, 1972), Hamma & Co, Stuttgart (April 27, 1958) and Max Möller, Amsterdam (March 10, 1969) all referring to the head as original. View Certificates View this Lot in the Auction

Estimate: $200,000–300,000

Giovanni Tononi was one of the earliest Bolognese luthiers. His work is varied in output but typically follows the stylistic ideas popular in Venice and the Veneto during the late 17th century.

Cellos came in many different shapes and sizes in northern Italy during the 17th century and it was only after Stradivari’s extensive experimentation that the instrument’s size and dimensions became more standardized.  This cello from c. 1680 is built on a large model with a back length of 77.3 cm.  Remarkably, its dimensions have never been altered, unlike so many other 17th-century cellos.  It shows an unusual choice of materials, with the top pieced together from four unmatched pieces of spruce cut slightly away from the quarter, creating a unique visual effect towards the upper and lower edges. The back, ribs and head are made of ash.  This was probably a local alternative to flamed maple, which was no doubt more expensive and hard to acquire in sizes large enough for a cello back.

The cello is covered in a glorious craqueled red varnish of the sort that one might expect to see on a great Venetian instrument.

Lot 45 A FINE ITALIAN CELLO BY GIOVANNI TONONI, BOLOGNA, c. 1680 Unlabeled. LOB 77.3 cm * Sold with a photocopy certificate from W. E. Hill & Sons, London (July 6, 1928). View Certificates View this Lot in the Auction
Estimate: $250,000–400,000

Philip J. Kass

Lot 248                                                                              Lot 249

“Gemünder’s style was alternately French,
German and American, though not always in that order.”

George Gemünder (1816–1899) was for almost 50 years the finest and most important violin maker in the USA.  Born in Germany, the son of a minor violin maker in the employ of an equally minor German prince, young George sought the opportunities for advancement that characterized so many other immigrants.  He worked under Jean-Baptiste Vuillaume in Paris, coming to know both fine instruments and leading musicians, before leaving for the US in 1847.  Apart from a brief residency in Boston, he worked in Manhattan, New York, and later across the East River in Astoria, Queens,for most of his American career.  He won many awards for his works and received the endorsement of important performers and colleagues, including his former employer in Paris…..jump the rest of this article.

Lot 248 A GOOD AMERICAN VIOLIN BY GEORGE GEMUNDER, ASTORIA, 1889 Labeled, “George Gemünder, fecit Astoria L.I., Anno 1889.” Branded to the upper inside back. LOB 35.8 cm * Sold with a certificate from Reuning & Son, Boston. Please note: Branded to the upper inside back. View this Lot in the Auction
Estimate: $15,000–22,000

Lot 249 A GOOD AMERICAN VIOLIN BY GEORGE GEMUNDER, ASTORIA, 1885 Labeled, “George Gemünder, fecit Astoria, LI, Anno 1885.” LOB 36.0 cm View this Lot in the Auction
Estimate: $15,000–22,000

From 1876 until 1889 Gemünder both lived and worked in a house at the corner of Washington and Hallett Streets in Astoria.  In 1876, after a long, acrimonious and ultimately unsuccessful lawsuit against his landlord, he abandoned Manhattan for his own spacious property across the river.  This had the effect of cutting off contact with day-to-day trade, especially potential clients, who now found it easier to go to the ‘other’ Gemünder, his brother August, whose shop was still in Manhattan.  In response to this, he set up a branch office in 1886, under the title George Gemünder and Son, just off Union Square.  This office was managed by his son, George Jr., who would eventually succeed to the family business.

“The 1889 example has his brand, not always seen, set on the inside back.”

Gemünder’s style is a blend of French, German and American characteristics, not always in that order, although a certain stiffness of character, balanced by a French precision and style, is ever present in his work. The two violins presented in this auction show him at the height of his power. The violin of 1885 was made as a copy of Stradivari. These copies he considered among his best instruments, their prices exceeded only by his copies of Guarneri ‘del Gesù’.  His training at Vuillaume’s is particularly evident in the antiquing of the varnish, the clean and precise purfling, strong edging and confident carving.  The antiquing is not overdone, the varnish being a rich orange, applied over his signature dark-gold base.  The low but full arching, rising strongly from the edges to a low plateau, is also characteristic.

“Although he was deeply proud to be an American,
the umlaut in “Gemünder” is always present.”

The violin of 1889 was created on the same model and pattern but shows a deeper and redder hue, something one often sees in the work of George Jr.  It also represents one of his very last works, for later that year he suffered the stroke that left him a virtual invalid for the rest of his life.  In no way does it show any less fastidiousness than the violin of four years earlier.

Gemünder had several ways of marking his instruments.  Besides the usual labels, both are signed to the interior of the upper treble flank of the top, a simple inscription of his signature, his town (Astoria Long Island) and the date.  In addition, the 1889 example has his brand, not always seen, set on the inside back to the bass side of the top block.  In size and style this brand resembles a bridge stamp and states ‘Geo. Gemünder N.Y.’.  Although he was deeply proud to be an American, the umlaut in “Gemünder” is always present in his signature, brand and printed labels.

Gemünder’s stroke in 1889 marked the beginning of a tragic decline for him and his family.  George Jr could not command the market the way his father could, and George Sr’s medical care was expensive.  By his death in 1899, the family was bankrupt. Of the three violin making sons, only George Jr made many instruments, and he died without successor in 1915.

Another violin by Gemunder in the November 2011 New York sale

Lot 247 AN AMERICAN VIOLIN BY GEORGE GEMUNDER, NEW YORK, 1859 Labeled, “George Gemünder, New York, 1859.” LOB 36.1 cm View this Lot in the Auction
Estimate: $10,000–15,000

Lot 156 A FINE FRENCH VIOLIN BOW BY EUGENE SARTORY Stamped, “E. Sartory à Paris.” Silver mounted with original tinsel lapping. 58.5 grams * Sold with a certificate from Pierre Guillaume, Bruxelles. View this Lot in the Auction
Sold for $39,000 November 9, 2011

Tarisio: What aspects of Lot 156 are most exciting to see in this exceptionally well-preserved state?
PG: This bow is exceptionally well preserved and all the fittings are absolutely original.  Even the lapping is the original fine French silver thread and natural silk of an electric blue.  It also retains a crispness of finish that is rare to see in a bow of this age.  It was made during Sartory’s 30s, when he was at the pinnacle of his career. I often jokingly say to my apprentices:  “It is before the age of glasses that a bow maker works best!”

Tarisio: Which signature traits of Sartory are most visible here ?
PG: Sartory’s individual style is clearly visible in this bow.  One example is the original ivory face, which becomes thicker and stronger towards the back of the head.  Other fine distinctive traits are the color of the mother of pearl used for the slide and the eyes (blue–green “goldfish” abalone), and the brass eye with its large chamfers.

“This bow is exceptionally well preserved and all the fittings are absolutely original.”

Tarisio: Why do Sartory bows appeal to collectors?
PG: This is an interesting question. Firstly, for collectors, we can never forget that Sartory was a child prodigy.  After only two to three years of making with A. Lamy, he had assimilated all the knowledge he could, and he opened his first workshop at the age of 18. I think he was unique in the history of bow making.  His life was dedicated to his work, and there was something very special about his making from the very beginning.  It is his genius that collectors intuitively recognise and respect in his work.

“Like Dominique Peccatte, the bows Sartory made were
for playing, not to be studied under a microscope.”

Tarisio: Why does Sartory appeal to musicians?
PG: Each bow maker has their own concept of style, which influences their making accordingly.  Such stylistic individualities can be the stiffness of the stick, the height of the head and frog, and so on.  All these aspects drastically influence the functionality of a bow and how it plays.  Sartory designed a bow that musicians enjoy playing mainly because it is relatively rigid.  Whereas a Tubbs is much more flexible, some might say a little bit too much for actual playing, this would be very rare in a Sartory.  For his entire life, it was his regularity and reliability of output that helped contribute to Sartory’s excellent reputation.

Tarisio: What enabled Sartory to be so consistent and productive?
PG: When we look at his work we instantly see that, like Dominique Peccatte, the bows he made were for playing, not to be studied under a microscope. To explain: we have everything necessary in a Sartory bow – the mechanics and the style – yet he rarely impeded himself with detail. Like Peccatte, he was not really interested in fine adjustments to create perfection. We can deduce that, like all the great artisans, Sartory was a quick and efficient worker, driven by his inspiration and natural motivation.

 “His life was dedicated to his work and there was something
very special about his making from the very beginning. “

Tarisio: What additional comments can you share about this bow?
PG: One of the most noticeable qualities of this stick is the outstanding choice of wood, which influences the playability of the bow. As a bow maker myself, I understand the importance of choosing the right stick, and I have returned tons of pernambuco to the supplier.  Part of Sartory’s secret was his ability to select wood, as he was very rarely mistaken.  For all his bows, his choice of wood was correct and the relationship between the density and stiffness is perfect.  Such is the case with the bow offered today – it is a truly beautiful stick and will bring many years of happiness to any musician.

Other bows by Sartory in the November 2011 New York Sale

Lot 155 A GOOD FRENCH VIOLIN BOW BY EUGENE SARTORY Stamped, “E. Sartory à Paris.” Silver mounted. 61.5 grams *Sold with a certificate from Bein & Fushi, Chicago. View this Lot in the Auction
Sold for $24,000 November 9, 2011

ex-Isidore Cohen Lot 154 A GOOD FRENCH VIOLIN BOW BY EUGENE SARTORY Stamped, “E. Sartory à Paris.” Silver mounted. The contemporary frog made for the stick. Accompanied by the original frog separately. 58.5 grams * Sold with a certificate from Isaac Salchow, New York. View this Lot in the Auction
Sold for $21,600 November 9, 2011

Lot 153 A GOOD FRENCH VIOLIN BOW BY EUGENE SARTORY Stamped, “E. Sartory à Paris.” Silver mounted. 63.5 grams View this Lot in the Auction
Sold for $16,800 November 9, 2011

The proceeds of the sale will enable The Castleton Festival, which Maazel launched in 2009, to help young instrumentalists, singers and conductors to develop in their professional careers.

On November 10, 2011, this violin was sold for a new auction record of $1,080,000 to an anonymous bidder.

Cover feature of Strings Magazine, February 2012 issue

“Lorin Maazel’s 1783 Guadagnini Violin sold at Auction for Charity
Sale of renowned instrument raises money for arts foundation

It’s not a Strad, but maestro Lorin Maazel will have you know that his 1783 Guadagnini is second to none. ‘The violin is one of the spectacular examples of Guadagnini’s expertise,’ Maazel says. ‘Everyone loves his instruments. Strad is much more known, but the truth of the matter is that there are Guads that are equal or in some cases superior to Strads.’…”

Read the entire article by Corinne Ramey at AllthingsString.com

• Maestro Lorin Maazel

• ‘Through My Eyes’ by Dietlinde Turban Maazel

• The Castleton Festival

• Public Viewing

• Private Viewing

• Contact & Bidding

Lorin Maazel – All proceeds to benefit The Castleton Festival Lot 282 A FINE AND IMPORTANT ITALIAN VIOLIN BY GIOVANNI BATTISTA GUADAGNINI, TURIN, 1783 Labeled, “Gio Bat Guadagnini, Cremonensis alumnus Antoni Stradivari, fecit taurini 1783 GBT…” LOB 35.5 cm View this Lot in the Auction
Sold for $1,080,000 November 10, 2011

Public Viewings

September 31 – October 2
Mondomusica @ CremonaFiere
Cremona, Italy
Convention Hours

October 3
Westbury Hotel, 2nd Floor Gallery
Conduit & New Bond Streets
Mayfair, London W1S 2YF
10am-6pm

October 7 – November 8
Tarisio
244 W. 54th St., 11th Floor
New York, NY 10019
Monday-Friday, 11am-5pm

November 5 – 6
Park Plaza Hotel, Terrace Ballroom
50 Arlington St.
Boston, MA 02115
Saturday 12pm-7pm, Sunday 10am-3pm

Private Viewings

October 3-5
By appointment in London

October 6-8
By appointment in Geneva

Through November 8
By appointment in New York, Tarisio

Contact & Bidding

Please contact Ethan Ladd at +1.800.814.4188 or eladd@tarisio.com to schedule a private viewing
and assistance with bidder registration. Bidding is conducted online at Tarisio.com. Bidding ends on 10 November 2011. Phone bidding welcome. Special registration to bid on this lot is required 24 hours in advance. Download the Press Release

It’s 1777. You’re a violin maker who has been working for decades, struggling to make a living. You’ve recently worked on a number of late Stradivari violins, and you’re realizing that this may be where the future lies. You don’t want to be caught on the wrong side of history.  What do you do? If your name is Giovanni Battista Guadagnini, the first thing you do is add ‘alumnus Antonio Stradivari’ to your label….read more

ex Sidney Huxham Lot 46 A FINE ITALIAN CELLO BY GIOVANNI BATTISTA GUADAGNINI, TURIN, 1783 Labeled, “Joannes Baptista Guadagnini, Cremonensis fecit Taurini, alumnus Antoni Stradivari 1783.” The varnish recent over original ground.  LOB 70.9 cm * Sold with certificates from Silvestre & Maucotel, Paris (July 24, 1923), The Rudolph Wurlitzer Co., New York (May 16, 1927), William Lewis & Son, Chicago (March 16, 1949) and William Moennig & Son, Philadelphia (December 26, 1972). View this Lot in the Auction

Sold for $800,000 November 9, 2011

Rare but refined, the surviving instruments of Giulio Cesare Gigli establish his reputation as one of Rome’s finest classical makers. He was born in the city in 1724 or 25 and his uncle, Michele Platner, took him on as an apprentice in 1738. Perhaps unsurprisingly, his work shows the influence of Platner, particularly in the cellos, rather than that of the other great Roman maker, David Tecchler, who taught both Platner and Francesco Emiliani but who died early in Gigli’s career. After Platner’s death in 1753, Gigli inherited the workshop and remained there until his own death in 1794.

A FINE ITALIAN CELLO BY GIULIO CESARE GIGLI, ROME, c. 1789 Labelled, “Julius Caesar Gigli Romanus, fecit Romae, 1789.” LOB 72.8 cm (28 11/16 inches) * Sold with a certificate from Etienne Vatelot, Paris.

The first known owner of this fine Vuillaume was the collector R. D. Waddell of Glasgow, Scotland, who also owned the ‘Betts’ Stradivari. It then passed to another notable collector, Nathan E. Posner of Beverly Hills, California, who in turn sold it to the American violinist Louis Kaufman. Kaufman himself owned many instruments, including the ‘Zimbalist’ Guadagnini and the ‘Barrère’ Stradivari. A highly active performer, he played for hundreds of MGM films, including Casablanca and Gone With the Wind. He also premiered works by Copeland, Milhaud and Martinů and made the first recording of the Barber Violin Concerto. Kaufman sold the violin to the Rembert Wurlitzer Company and since then it has remained in the USA.

ex-Waddell, Posner, Kaufman A FINE FRENCH VIOLIN BY JEAN BAPTISTE VUILLAUME, PARIS, 1829 ‡ Labelled, “J. B. Vuillaume, rue Croix-des-Petits-Champs à Paris, an 1829, #165.” Signed to the upper left inside back. LOB 35.7 cm * Sold with a certificate from W. E. Hill & Sons, London (17 July 1929) and interior pictures of maker’s signature and inscription to the inside top and back.

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