Subscribe to Cigar Aficionado and receive the digital edition of our Premier issue FREE!

Email this page Print this page
Share this page

Heavenly Strings

For Centuries, Experts Have Struggled--Unsuccessfully--To Duplicate the Perfection of Antonio Stradivari's Violins
Neil A. Grauer
From the Print Edition:
Tom Selleck, Winter 95/96

(continued from page 7)

Stories abound of Strads emerging from dusty attics or dank castles, but most of such tales are bogus. Many of the would-be Strads are cheap imitations churned out in Europe or Asia for more than a century. A few are remarkable copies made by exceptionally skilled luthiers of the past who sought to honor Stradivari by emulating him. One such well-known instrument is a copy of the 1716 Strad known as the "Messiah," made in 1851 by Joseph Rocca, a fine Italian violin maker.

The number of recognized experts in Stradivari instruments is even more limited than the supply of Strads themselves. Only about 10 or 12 dealers of international reputation in the United States or overseas, including those associated with Sotheby's and Christie's, are qualified to judge whether a violin, viola or cello came from Stradivari's workbench. Sometimes even the experts disagree. Potential purchasers often are advised to obtain certificates of authenticity from three or more experts to satisfy their own concerns--and those of insurance companies.

How do the experts know a purported Strad is genuine? Experience is the only teacher, according to René Morel, in whose New York shop Strads are either in for repairs or up for sale fairly regularly. "If a person knows the Stradivarius, he doesn't have to question," says Morel in a thick Gallic accent undimmed by more than 40 years in the United States. "He takes it in his hands, he looks around it, and he knows it's a Stradivarius. The analogy to this is that if you open a book, and if it's in a language you can read, you read it because you know. If you don't know it, that's it. It's a book with print, but you can't read it. To an expert, it's easy.

"Stradivarius had a very special signature in his art of craftsmanship," Morel adds. "In other words, at the end of a letter, someone signs the letter, and each and every one of us, we have our own little way of signing our name. In the hand of Stradivarius, it's there. It's in the way he handled his tools, the way he finished the instrument. That's his signature as a craftsman."

Every once in a while, a Strad miraculously appears--or reappears, saved from a mysterious disappearance or disaster. In this century, two tales of recovered and redeemed Stradivaris are especially extraordinary.

In 1936, a 1713 Strad owned by Polish virtuoso Bronislaw Huberman was stolen from his dressing room at Carnegie Hall while he was on stage playing his Guarneri. The Strad seemingly vanished forever.

Not quite. Fifty-one years later, Huberman's Strad suddenly reappeared when Marcelle Hall, widow of a strolling violinist, gambler and convicted child molester named Julian Altman, revealed that the violin her husband had used for nearly half a century was the stolen Huberman.

Hall told police that as her imprisoned spouse lay dying of stomach cancer in 1985, he urged her to "do something about that violin. That violin is important." Returning home, she looked inside the canvas cover of the violin's case and found yellowed newspaper clippings about the theft of Huberman's Strad. Altman, who had been jailed for molesting one of Hall's granddaughters, claimed that in 1936 he had purchased the instrument for just $100 from an unnamed friend who might have been the thief. "Maybe for once in his life he told the truth," Hall told The New York Times in May 1987, once the Strad had been positively identified.

Altman, who had been a violinist with the National Symphony Orchestra in Washington, later made his living as a performer at ritzy social events, even entertaining such luminaries as then-vice president Hubert H. Humphrey and then-president Richard M. Nixon with the stolen Strad.

Lloyd's of London had paid Huberman $30,000 when the violin was stolen and thus was its rightful owner. After Charles Beare of London authenticated the recovered instrument, Lloyd's put an $800,000 valuation on it, authorized Beare to refurbish it, and ultimately sold it in 1988 for what Beare says is a "confidential" sum of "over a million dollars."

< 1 2 3 4 5 6 7 8 9 >

Share |

You must be logged in to post a comment.

Log In If You're Already Registered At Cigar Aficionado Online

Forgot your password?

Not Registered Yet? Sign up–It's FREE.


Search By:



Cigar Insider

Cigar Aficionado News Watch
A Free E-Mail Newsletter

Introducing a FREE newsletter from the editors of Cigar Aficionado!
Sign Up Today