The Strad, violin, Antonio Stradivari, "Titian" 1715 The Strad Posters & Books
  • The Strad, violin, Antonio Stradivari, "Titian" 1715 The Strad Posters & Books

The Strad, violin, Antonio Stradivari, "Titian" 1715

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<p>The ‘Titian’ Stradivari of 1715 has long been counted among the finest violins of the maker’s golden period. It has revealed itself to be a formidable concert instrument of unusual power and scope, remarkable for its focus and resilience under the bow. The violin was dubbed ‘Titian’ by the French dealer Albert Caressa because of its clear orange–red colour, which reminded him of the work of the famous Venetian painter. Includes photographs, scans and measurements</p> <p></p> <p>‘On first look, the violin seems strong and solid, with its smoothly worn patina, sturdy arching and edgework, and immaculate finishing with virtually no visible trace of the hand – all is pure architecture, with the execution almost completely subsumed. The patina shows careful use, with the edges rounded and the varnish smoothed to a luminous film.’ – Sam Zygmuntowicz in the February 2009 issue</p> <p>Poster: 680 x 835 mm</p> <p></p>
047.050
The Strad, violin, Antonio Stradivari, "Titian" 1715 The Strad Posters & Books
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The ‘Titian’ Stradivari of 1715 has long been counted among the finest violins of the maker’s golden period. It has revealed itself to be a formidable concert instrument of unusual power and scope, remarkable for its focus and resilience under the bow. The violin was dubbed ‘Titian’ by the French dealer Albert Caressa because of its clear orange–red colour, which reminded him of the work of the famous Venetian painter. Includes photographs, scans and measurements

‘On first look, the violin seems strong and solid, with its smoothly worn patina, sturdy arching and edgework, and immaculate finishing with virtually no visible trace of the hand – all is pure architecture, with the execution almost completely subsumed. The patina shows careful use, with the edges rounded and the varnish smoothed to a luminous film.’ – Sam Zygmuntowicz in the February 2009 issue

Poster: 680 x 835 mm

047.050

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