Has been reduced from its original size.
L'Esposizione di Liuteria Antica a Cremona nel 1937, L'Esposizione di Liuteria Antica a Cremona nel 1937, Cremona
"There is only one known decorated Strad cello, the 1696 instrument made for the Spanish court which is currently (and one might presume forever) on display in Madrid's Prado Museum. So Axelrod had the Madrid cello's design made into a transfer and affixed it to the 1688 'Marylebone' cello. Anner Bylsma calls it the 'tattooed cello.'"
Preservation or incarceration, Pierre Ruhe, The Strad, November, 1997, London
"I know that instrument very well because it used to be in London. It had a coat of very pinkish varnish that had been applied by the firm of Betts, about 1790 or 1800: this is something they quite often did to the back, sides, and scrolls. For some reason, they did this less often to the fronts. Although the original ground varnish remains on that particular instrument, there is certainly a nearly 200-year coat of something in between the ground and what Betts put on. I would not, by any means recommend that these things be done, generally, for the very reasons that you say. In this case, I don't think there would be any serious loss to the originality of this instrument in 100 years."
Violin Dealing, Then and Now, Charles Beare, Journal of the Violin Society of America, Vol. X, No. 1, Flushing, NY
"It is named after two of its past proprietors, Mr. James Cazenove, member of a renowned family of financiers, and a Mr. Payne, who lived in Marylebone, an area in London that lent its name to this cello. Alfred Hill described Mr. Payne as a 'somewhat eccentric character', and also deemed the man's vast collection of fine instruments to be composed of 'a considerable number of good, bad and indifferent instruments." – Alessandra Barabaschi
Antonius Stradivarius (Volumes I-IV), Jost Thöne, Jan Röhrmann, Alessandra Barabaschi, Jost Thöne, Jan Röhrmann, Alessandra Barabaschi, Antonius Stradivarius (Volumes I-IV), Cologne