The Collection of Dr. Glenn P. Wood Sale 3490T
| November 9–19, 2020 | www.skinnerinc.com
The Collection of Dr. Glenn P. Wood
Specialist
Adam Tober Department Director 508.970.3216
Auction Information Auction 3490T
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November 9–19
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View all lots online at www.skinnerinc.com FRONT & BACK COVER : 1025 INTERIOR FRONT & BACK COVERS : 1009
Table of Contents 1
Auction & Specialist Information
3
Preface
4
Provenance
5
Lots 1001–1070
81
Glossary of Terms
83
Conditions of Sale
Please Note: All lots sold subject to our Conditions of Sale. Please refer to page 83 of this catalog for the full terms and conditions governing your purchase.
Copyright Š Skinner, Inc. 2020 All rights reserved MA LIC. 2304
Preface I began collecting old violin cases almost 20 years ago when I discovered two cases purporting to be “old Cremona cases” in a violin dealership in England. I thought it would be a simple matter to do a little research to establish authenticity or not but I quickly found that a search of the catalogs of the British Library and the Library of Congress (over 500 million titles) yielded not a single one on violin cases. My curiosity was piqued. I had previously played and collected violins but my attention was more and more directed towards violin cases not least because of the soaring cost of trying to form a collection of violins! Over the years, building a collection and travelling to visit museums and private collectors in many countries, one begins to build an innate knowledge of cultural differences. Discounting cases made by mass production methods, particularly those developed in France and Germany at the end of the 19th century, we are talking about cultural artefacts made individually by craftsmen who work with tools and materials reflecting the times and places in which they live. For example, craftsmen working in England during the 18th and 19th centuries were part of an empire stretching across the globe which funnelled rare and exotic woods into the country on an unprecedented scale. Such materials were not available to the provincial craftsman in the United States of America, such as Amish woodworkers in Pennsylvania, and so they used the woods, materials, and ideas that were immediately available to them. There are certain unwritten rules which govern the design of violin cases. These rules are few and vary between time and place. Generally, they should protect the violin from the hazards of weather, shock, or insects, and should accommodate one or two bows and the necessities of playing, such as spare strings and rosin. Even these rules are not hard and fast, but one thing the old craftsmen didn’t have to contend with were the requirements that the case be virtually weightless while having the strength to withstand alarming impacts, and also fit into an overhead locker on board an aircraft. I have always recognised that a violin is part of a triumvirate, a Holy Trinity consisting of instrument, bow, and case, of which the case is considered the most humble. But just as interest in bows has risen in recent years, raising their value from a mundane and replaceable playing stick to an artistic object, so the case, which is usually considered as disposable as the bow used to be, is slowly attracting the attention of connoisseurs and collectors. My hope is that my humble collection will add to the sum knowledge of what a violin case can be, thus adding newfound respect for relatively humble objects and the craftsmen who continue to seek to construct a case for the 21st century using the technology currently available to them, such as humidifiers, hygrometers, GPS tracking devices, and carbon fibers. In contrast to the basic design of the violin which was seemingly perfected in the 16th century, case design is much more fluid with no “right or wrong” answers. The search goes on for the ideal combination of parameters governing case design. We are seeing evolution in progress, and the past has many lessons and options to offer the case designers of the present. It is satisfying to think we may have played a small role in that progress.
—Glenn P. Wood (G.P.W.), York, Pennsylvania, September 2020
Provenance Glenn Wood, British by birth, now lives in Pennsylvania. He has played the violin since the age of 11 and even played with the Bolivian National Symphony Orchestra in La Paz where he lived and taught for five years. On his return to England he attended a course on violin making, several of which he retains for sentimental reasons. A scientist by training, Dr. Wood gained a doctorate in photophysics at Oxford University in England but has always maintained his enthusiasm for playing and collecting violins. The soaring price of violins coupled with a curiosity about the cases in which they might have originally been contained caused him to switch his collecting mania to violin cases. In the process of cataloging his extensive case collection he searched for reference material on the subject but found none so decided to write his own book on the topic. Thus The Art & History of Violin Cases was published in 2008 and to this day remains the only reference work for collectors of historical violin cases. Amongst his many publications on the subject, a richly illustrated article in the Spring 2007 copy of JVSA Papers encouraged others to appreciate the beauty and fascination of these objects. Many of the cases offered for sale in this auction have been illustrated in Wood’s previous publications including: An article written in collaboration with master case maker Dimitri Musafia establishes a link between Stradivari and one of the cases offered here (The Strad, March 2018, p. 54). The article “Better by the Dozen” (The Strad, October 2008, p. 78) was the first to draw international attention to the celebrated Apostle violin cases made by W.E. Hill and Sons, one of which is illustrated in the article and two of which are included in this sale. The article “Violin Cases: History and Development from 17th to 21st Century” (JVSA Papers, Vol. XX, No. 2) summarises the evolution of the design and construction of violin cases over the last 300 years in response to changing needs and how these cases reflect the aesthetics and technical capabilities of the countries that produced them. Most of the cases illustrated in this article are from the author’s private collection and are now offered for sale in this auction. The article “Security and Splendour” (The Strad Supplement, October 2014) examines ten fine examples of the case makers’ craft selected from the past four centuries. The unique history of American cases is described in “Development of Handmade Violin Cases in America during the 19th Century” (JVSA Papers, Vol. XX1V, No. 2). The illustrated article “Violin Cases of the Baroque Period,” (JVSA Papers 2018, pp. 20-26) is a comprehensive record of the only thirty-nine documented examples of baroque period violin cases known to survive. Five of them are included in this sale.
1001
1001 American Tooled Leather Oblong Double Fiddle Case, Possibly Gibson, c. 1920, the leather exterior embossed with floral motif, the lid monogrammed P, the reverse depicting cowgirl and bucking bronco, the purple velvet interior, approximate length of back 370 mm, ht. 5 1/2, wd. 31, dp. 12 1/2 in. Literature: “Development of Handmade Violin Cases in America during the 19th Century,” Journal of the Violin Society of America Papers, Vol. XXIV, No. 2, 2014, p. 12, illustrated.
N.B. “This highly decorated American case shows the art of leather decoration which originated in Spain and came to America through Mexico and the Southwest, principally Texas and southern California. The art of leather decoration is still practised in America especially for the embellishment of boots and saddles. It is believed this case belonged to Bob Pyron, a rancher and fiddle player in the Texas town that bears his name. The embossed P is consistent with that claim. The iconography depicts Annie Oakley who performed for years in the vaudeville circuit before joining Buffalo Bill’s show in 1885. The case bears a strong resemblance to those used by Gibson during the Lloyd Loar era for their Master Model instruments, including Loar’s personal case to house his mando-viola, electric viola, musical saw, and bows.” —G.P.W. $400-600
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1002
1002 English Leather Violin Case, Finnigan, c. 1900, branded FINNIGAN/MAKER/ MANCHESTER, ht. 9 1/2, wd. 30 3/4, dp. 5 1/2 in. Literature: The Art & History of Violin Cases, 2008, pp. 56-57, illustrated. N.B. “It is rare to be able to trace violin cases to workshops without specific links to the violin trade, but here we have one of unquestioned provenance. Twice branded with the Finnigan logo, this case was made in Manchester, England, around the turn of the 20th century.
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In its day, Finnegan’s was a highly prestigious store specializing in luxury items rivaling those of Harrods or Liberty. Most prized were its leather goods and in particular traveling trunks and cases. Many first class passengers sailing with the Titanic would have had luggage made by Finnigan’s, and with that doomed cargo began the end of an era that was not to return. The Titanic disaster soon followed by the First World War ushered in a period of austerity that sealed the fate of the two Finnigan stores in London and Dublin. The finest saddle leather has been fashioned around a steel box thus providing total stability to the structure and protection for the instrument. The edging to the case and top are of fine Moroccan leather dyed purple to match the velvet lining.
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Two bows can be accommodated on a plush pad hinged by leather within the lid. The ebony spinners were typical for the day. Side loading cases like this one are unusual; the design is rarely used. However, the footprint of the case is small and it would stack neatly amongst other luggage, not to mention the comfort of hand carrying.” —G.P.W. $400-600
1003
1003 English Leather-bound Violin Case, W.E. Hill & Sons, c. 1955, the exterior stamped W.E. HILL & SONS. LONDON. ENGLAND., the blue velvet interior and blanket, approximate length of back 370 mm, ht. 4 1/2, wd. 30 3/4, dp. 9 1/4 in. Provenance: David Cerone. N.B. “According to the late Bill Watson, this case was made at W.E. Hill & Sons by the brilliant case maker Ken Turtle, who pioneered the construction of this groundbreaking, postwar leather case.
David Cerone’s comments to me regarding his association with the case are: ‘OK. Here is the story, as best I can recall. My family had been working with William Moennig & Son since my grandmother purchased a beautiful Balestrieri violin for me at age 14, or so. The relationship between my parents and the Moennig shop grew over the years as the violin was always placed in its hands when it came time for occasional maintenance. Upon arriving in Philadelphia to begin studies at the Curtis Institute in 1959, I immediately made it a point to personally meet the folks at the famous Moennig & Son violin shop. It was a glorious experience in every way. Mr. Moennig, Jr. was so very kind, welcoming and warm to me - the visit more than fulfilled my every expectation. I brought my Balestrieri with me for a ‘bath,’ and while there, noticed a very beautiful Hill violin case on display. It took my breath away, and Mr. Moennig couldn’t help but notice my lowered jaw, whereupon, he asked me if I might like to own it.
Of course, I responded “yes,” but wasted no time in telling him that I had absolutely no way of paying for such a glorious extravagance (my memory tells me it was in the range $250 - a fortune to me at the time). Mr. Moennig then said, “Take it, it is yours. I trust you to pay me, in whatever installments you are able, until it is paid off.” I did just that, five dollars here, ten dollars there, until, indeed, it was fully mine - and let me add, that with each installment payment, he would lower the overall price of the case! I used this beautiful case most of my career, but as I began traveling for concerts, more and more, it was simply too heavy to carry but it was always the case of choice for my instrument while at home in my studio. As a professional, Mr. Moennig (Bill) and his wife, Wilda, became extremely close friends, as did his son Bill III and his wife, Mary.’ David Cerone, President, Cleveland Institute of Music, retired” —G.P.W. $600-800
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1004
1004 German Leather-bound Oblong Violin Case, Heinrich Ziehe, 1917, the brown pigskin exterior, the interior stamped Made in Germany, the lid fitted with compact mirror, approximate length of back 365 mm, ht. 5, wd. 32, dp. 10 in. $300-500
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1005 English Amboyna Veneer Dart Violin Case, the upper compartment labeled JOHN HART./ OLD INSTRUMENTS PURCHASED AND REPAIRED./A VARIETY OF CREMONA AND OTHER INSTRUMENTS./Violin, Violoncello Double Bass & Guitar Maker,/DEALER IN CREMONA INSTUMENTS./14, Princes Street, Leicester Square./LONDON./ONE DOOR FROM GERRARD STREET./Importer of Roman & Neapolitan Violin, Violoncello,/and Harp Strings., the mother-of-pearl plaque inscribed Lyon & Healy/CHICAGO, the bass compartment stamped TUBBS, approximate length of back 370 mm, ht. 5 5/8, wd. 31 3/4, dp. 9 1/2 in. Provenance: Hermann Walecki.
1005
N.B. “This case was owned by Hermann Walecki, the manager of Lyon & Healy’s Los Angeles store, and it was his determination that this case was formerly part of the collection of Dwight J. Partello, the prolific violin collector referenced in Lyon & Healy’s own catalog, The Hawley Collection of Violins, published in 1904. Hermann Walecki left this as part of his large rare violin book collection. The label inside the end compartment is that of John Hart. John Hart died in 1874 and had the distinction of handling more Cremonese violins than anyone else in Britain. The firm of Hill hardly existed at this time. In the last quarter of the 19th century, the firm was run by John’s son and grandson and had the name Hart & Son. If the case is contemporary with the label, and the association with the violins in the Hawley Collection (supplied by Hart & Son) would suggest so, then the case would predate 1874. The puzzle is now why the case belonging to Sarasate and now in the Conservatorio de Musica, Madrid, is identical in construction and yet bears a Hill label. This label has the address 72 Wardour St dating it to before 1887 when they moved to larger premises in 38, New Bond St. It seems likely, therefore that both cases were made by Hart at their peak and Hill subcontracted the work of making these cases before they had the skills and space to undertake such work themselves.” —G.P.W. $800-1,200
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1006
1006 German Trapezoidal Violin Flight Case, Gewa, c. 1970, labeled West-Germany, the sage interior and integral cushioned blanket, the Bakelite handle, the reinforced corners, stenciled 19A throughout, the canvas cover with Original Tuck-Tite locking fasteners, approximate length of back 365 mm, ht. 5 1/2, wd. 25 3/4, dp. 11 in. $400-600
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1007 American Oak Coffin Violin Case, c. 1850, approximate length of back 370 mm, ht. 4 1/2, wd. 32, dp. 9 3/4 in. $200-300
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1008 English Fruitwood Shipper Violin Case, approximate length of back 350 mm, ht. 4 1/2, wd. 24 1/2, dp. 9 3/8 in. $300-500
1007
1008
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1009
1009 Spanish Brass-mounted Double Violin Case, 19th Century, leather-bound and tack-decorated, the interior lined with spongedecorated paper, approximate length of back 355 and 370 mm, ht. 6 1/2, wd. 30 1/2, dp. 13 in. Literature: “Violin Cases of the Baroque Period,” Journal of the Violin Society of America Papers, Vol. XXVII, No. 1, 2018, p. 20-26. N.B. “This case listed as 3D20 in the registry of ‘Violin Cases of the Baroque Period’ is a fine example of its type, and one of only two known to us with individual compartments in the lid for two bows (the other being the one currently in the Chi-Mei Collection, Taiwan, which bears the family crest of the northern Italian Natta family, c. 1700).
The precise origin of this case is still under investigation and the findings will be published in due course. The similarities in design to Spanish trunks of the 18th and 19th centuries is noted and unsurprising given the influence of Spain in Italy from the 16th century.” —G.P.W. $1,000-1,500
The salmon pink suede lining with braided edging is identical to the interior of the ex-Bisiach double case (registry no. 3D14) ascribed to Carlo Landolfi and currently owned by case maker Luis Negri. That case also has a lift out tray with lower compartment lined with hand decorated paper.
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1010
1010 English Mahogany Dart Violin Case, W.E. Hill & Sons, the plaques inscribed W. E. HILL & SONS,/VIOLIN MAKERS/88, NEW BOND ST.,/LONDON., the exterior inlaid with herringbone banding, the leather cover embossed W.E. HILL & SONS/ VIOLIN MAKERS/140 NEW BOND STREET/ LONDON., approximate length of back 360 mm, ht. 6 1/8, wd. 31 3/16, dp. 10 in. $800-1,200
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1011
1011 American Paint-decorated Violin Case, 19th Century, the design of black and gold over a red ground with green pinstripe details, the lid monogrammed C.G.M., ht. 5 1/8, wd. 30 3/4, dp. 9 1/2 in. $300-500
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1012
1012 American Leather-bound Violin Case, redpainted and tack-decorated throughout, the unlined interior, approximate length of back 370 mm, ht. 6, wd. 30 3/4, dp. 10 in. Literature: “Development of Handmade Violin Cases in America during the 19th Century,� Journal of the Violin Society of America Papers, Vol. XXIV, No. 2, 2014, p. 9, illustrated. Consignment Agreement: Clark Music Co., 1947. $300-500
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1013
1013 American Vinegar Putty-painted Violin Case, 19th Century, the domed lid, the unlined interior, ht. 4 3/4, wd. 30 1/4, dp. 9 1/4 in. Literature: “Development of Handmade Violin Cases in America during the 19th Century,� Journal of the Violin Society of America Papers, Vol. XXIV, No. 2, 2014, p. 2, illustrated. $300-500
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1014
1014 English Leather-bound Shaped Violin Case, W.E. Hill & Sons, the lock stamped W.E. HILL & SONS./VIOLIN MAKERS/LONDON, ENGLAND., approximate length of back 365 mm, ht. 4 1/2, wd. 31, dp. 9 1/4 in. $300-500
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1015
1015 French Leather-bound Violin Case, Probably Gainier Debouche, the green leather exterior embossed with acanthus leaf and lyre motif, the handle mount engraved with a crown and monogrammed P-G, the purple velvet interior, approximate length of back 355 mm, ht. 5 3/4, wd. 31 1/16, dp. 9 1/2 in. N.B. “Further research is required to determine the original illustrious owner of this splendid case. It bears the insignia of a nine pearl coronet which, in French aristocratic rankings, indicates a Comte (Count). The device on this case can be distinguished from the nine pearl coronet of a British Viscount by the central lozenge on the encircling head band indicative of a chevalier. In ranking, it falls slightly below a Duc (Duke). The case displays the highest attention to structural detail seen only in the best French cases. The single hinge stretches the entire length of the case and with the turn of a single key the lock engages at four separate places on the lid. The interior is of French fit design lined with royal purple velvet which even covers the bow spinners.” —G.P.W. $1,000-1,500
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1016
1016 Rosewood Veneer Violin Case for George Withers, c. 1890, labeled GEORGE WITHERS & CO.,/Violin & Bow Makers & Repairers,/51, ST. MARTIN’S LANE,/LONDON./(Late of 31, Coventry Street.)/Estb. 1765., approximate length of back 365 mm, ht. 5 3/4, wd. 31 1/2, dp. 9 1/4 in. $100-150
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1017
1017 English Georgian Mahogany Violin Case, c. 1790, the lid stamped externally 102, approximate length of back 360 mm, ht. 4 1/2, wd. 32, dp. 9 1/2 in. $300-500
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1018
1018 Palisander Veneer Dart Violin Case, the lock stamped SECURE/LEVER, approximate length of back 365 mm, ht. 5 5/8, wd. 32 1/8, dp. 9 3/4 in. $200-300
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1019
1019 Brass-mounted Double Violin Case, Possibly the Workshop of Antonio Stradivari, 18th Century, tooled leatherbound and tack-decorated, the domed lid monogrammed I Rz, ht. 6 3/4, wd. 30 3/4, dp. 11 1/2 in. Literature: The Art & History of Violin Cases, Cases 2008, pp. 18-19, illustrated. N.B. “The hand embossed decoration (originally gilded) on the lid of this case includes the masonic symbol of the ‘all seeing eye.’ It is not a standard bookbinders’ pattern and suggests a special commission. We have argued that this case was created in the Stradivari workshop, c. 1700. It seems that it also passed through the workshop of W.E. Hill & Sons who recognised the elegant and unique form when they created an homage to it early in the 20th century. The extraordinary Hill case has an identical outline and several other similarities to our case. It is currently owned by the Italian violin maker Alfredo Primavera who, understandably, declined to sell it to me in 2009!” —G.P.W. $3,000-5,000
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1020
1020 English Walnut Veneer Dart Violin Case, W.E. Hill & Sons, the plaques inscribed W. E. HILL & SONS,/VIOLIN MAKERS./140, NEW BOND ST.,/LONDON., the exterior inlaid with herringbone banding, the compartments lined with gold peacock feather pattern paper, approximate length of back 365 mm, ht. 6, wd. 31, dp. 10 in., with canvas cover. $800-1,200
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1021
1021 Novel Shaped Half Size Violin Case, the carved and flocked interior, approximate length of back 320 mm, ht. 5, wd. 30 3/8, dp. 7 3/4 in. $100-150
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1022 Mahogany Dart Three-quarter Size Violin Case, approximate length of back 340 mm, ht. 5 1/4, wd. 31 1/2, dp. 9 1/2 in. $100-150
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1023 American Poplar Bentwood Violin Case, c. 1890, ht. 5 1/2, wd. 28 5/8, dp. 8 5/8 in. $100-150
1022
1023
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1024
1024 English Oak Double Violin Case for Caressa & Français, W.E. Hill & Sons, the plaques inscribed CARESSA & FRANÇAIS/LUTHIERS DU CONSERVATOIRE./12, RUE DE MADRID,/à PARIS., approximate length of back 360 mm, ht. 5 1/4, wd. 30 3/4, dp. 12 3/8 in. Provenance: Lynn Armour Hannings. N.B. “This case provides an interesting insight into the murky violin case business at the end of the 19th century. Although this case bears the name and address of Caressa & Francais, Paris, it bears a strong similarity to Hill cases from their Hanwell workshop, c. 1890. Not only is the entire interior layout identical to some of those used by Hill, but the raised, box-like compartments are the same as those that appear in the double case they made for Jascha Heifetz, and which sold at auction in 2012 for $24,000.
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Although W.E. Hill & Sons claimed they didn’t make cases for competitors, the tags and the inks used bear a striking resemblance to those seen on Hill cases of the period. It should be recalled that during that period there was a generous influx of skilled workers from Paris to London. Joseph Prunier, Joseph Maurice Somney, Leon-August Delunet and Charles François Langonet, the workshop foreman, were among those French imports who appeared in the Hill workshop from 1880 onwards. For this reason, the distinction between an English case and a French one at that time becomes blurred.” —G.P.W. $600-800
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1025
1025 French Leather-bound Violin Case, Probably Gainier Debouche, c. 1874, the burgundy leather exterior, the gilded mounts engraved with acanthus leaf and lyre motifs throughout, the handle plate monogrammed AS, the green velvet interior, approximate length of back 370 mm, ht. 5 5/8, wd. 31 5/16, dp. 9 1/2 in. N.B. “This case is unique amongst cases in that every metal surface is gilded and hand engraved. The carefully designed, spring-loaded bow holders are highly unusual and ensure that the bow frogs are visible in their entirety. Such an exceptional case was clearly commissioned for an exceptional violin. The engraved letters AS on the handle plate appear to be a double entendre suggesting the names of the Belgian industrialist Amédée Soil and Antonio Stradivari. We like to believe that Soil commissioned the case for the exceptional 1714 Stradivari violin that bears his name ‘SOIL’ and was formerly owned by Yehudi Menuhin. That violin’s dimensions have been verified and correspond perfectly to the internal dimensions of this case. This case was almost certainly made by Debouche in Paris, c. 1874, possibly the finest case maker of his day. This case is a superior version of the one he made earlier for Paganini currently in the possession of the Museum in Genoa.” —G.P.W. $1,000-1,500
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1026
1026 Carved Violin Case, c. 1880, the carved foliate exterior with brass appliquĂŠ, the lock stamped PAT. OCT. 71, ht. 5, wd. 32, dp. 9 in. $100-150
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1027
1027 English Georgian Mahogany Violin Case, the plaque engraved John Craven,/ DOCKROYD,/near Keighley., approximate length of back 370 mm, ht. 4 3/4, wd. 31 7/8, dp. 10 1/4 in. N.B. “The Craven family is well known and remembered in the north of England. They were considerable property owners and a respected family of substance. The Pater Familias, Hiram Craven, died in 1842 and the following year his son John (1804-1859) had a stone erected in a street prohibiting people from trespassing on the road to his home Berridge House. This is Bronte country, Charlotte and Emily were his neighbors and contemporaries just up the road at Haworth.” —G.P.W. $300-500
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1028
1028 Regency Sarcophagus-form Mahogany Violin Case, c. 1830, the domed lid, the steel screws, ht. 5 1/2, wd. 31 5/8, dp. 10 7/8 in. $400-600
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1029
1029 Italian Brass-mounted Double Violin Case, 18th Century, leather-bound and tack-decorated, the domed lid monogrammed L F, the interior lined with marbled paper, ht. 5 1/2, wd. 31 1/4, dp. 11 1/4 in. $3,000-5,000
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1030
1030 English Walnut Veneer Dart Violin Case, W.E. Hill & Sons, c. 1895, the plaques inscribed W. E. HILL & SONS/VIOLIN MAKERS./38, NEW BOND ST/LONDON, the compartments lined with gold embossed paper, approximate length of back 360 mm, ht. 5 7/8, wd. 31 1/4, dp. 9 3/8 in. N.B. “This case was discovered in Adamstown, Pennsylvania, in 2017. The model of case is illustrated in the W.E. Hill & Sons catalogue, c. 1897. It is proudly described as follows:
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‘The most careful attention has been paid to every detail of construction and the locks and flush bolts are all specially made after our own patterns. We may mention that the lock is so made that if it be damaged it can be taken out without disturbing in the least the woodwork or the lining of the case… Without enumerating further details, we think we are justified in stating that no such cases have ever been made before. To show that these cases have already met with some recognition we may mention that the beautiful violin case of mahogany and satinwood in which a Stradivari violin was presented to Dr. Joachim on the occasion of his jubilee, was made by us.’
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This design of case became popular towards the end of the 19th century as is exemplified by one such solid silver Vesta match case with English silver hallmarks precisely dating it to 1893.” —G.P.W. $800-1,200
1031
1031 Georgian Sycamore Veneer Dart Violin Case, the interior lined with hand painted wallpaper, approximate length of back 360 mm, ht. 5, wd. 31 1/4, dp. 10 1/2 in. $100-150
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1032
1032 American Red-painted Violin Case, with violin, ht. 4 1/2, wd. 27, dp. 9 in. $100-150
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1033
1033 French Mahogany Trapezoidal Violin Case, c. 1800, approximate length of back 360 mm, ht. 4 7/8, wd. 30 3/4, dp. 9 7/8 in. $100-150
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1034
1034 English Mahogany Dart Violin Case, Workshop of John Betts, the lock stamped with a crown device, approximate length of back 370 mm, ht. 5 5/8, wd. 31 3/4, dp. 9 1/2 in. $600-800
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1035
1035 French Leather-bound Violin Case, Probably Gainier Debouche, the black leather exterior gilt-embossed with floral motif, the snake-form handle, the green velvet interior, the case floor inscribed Madame Paul Bailly/47 rue de TrĂŠvise/Paris 1886, also stamped FROM/Victor S. Flechter/23 Union Square, N. Y./Importer and Dealer in/VIOLINS, STINGS, ETC., approximate length of back 355 mm, ht. 5 7/8, wd. 31 1/2, dp. 9 5/16 in. $1,000-1,500
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1036
1036 English Oak Double Violin Case, W.E. Hill & Sons, the plaques inscribed W. E. HILL & SONS,/VIOLIN MAKERS./140, NEW BOND ST.,/LONDON., approximate length of back 360 mm, ht. 5 1/4, wd. 30 3/4, dp. 12 3/8 in., with Gewa canvas cover. $600-800
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1037 Georgian Brass-mounted Mahogany Double Violin Case, the domed lid, the steel screws, the interior lined with marbled paper, ht. 6 1/4, wd. 31, dp. 11 3/4 in. $400-600
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1038 English Brass-inlaid Mahogany Violin Case, the military handle, the removable compartment with slide cover, ht. 4 3/4, wd. 31 3/4, dp. 9 in. $300-500
1037
1038
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1039
1039 Italian Brass-mounted Violin or Viola Case, Possibly the Workshop of Antonio Stradivari, c. 1730, leatherbound and tack-decorated, the interior lined with foliate pattern paper, ht. 7, wd. 31 3/4, dp. 12 1/4 in. Literature: The Art & History of Violin Cases, 2008, p. 1516, illustrated. N.B. “This case is decorated with 1,223 hand-beaten nails which chemical analysis showed to have been originally covered with gold. 820 of them decorate the lid alone. Careful examination shows that underneath the leather, two handwrought iron hinges completely encircle the case, each being 35 inches long and 1 inch wide. One can only surmise that the labour invested in creating this case and all its component parts must have been comparable to that used in making the instrument it contained.
It caused a similar reaction when I displayed it at one of the conventions of the Violin Society of America, and that was when the idea was muted to portray a violin case on the cover of that distinguish journal and include a pioneering article about historical violin cases. By that time I had discovered that there were no reference books about violin cases and so, with my collection rapidly growing, stimulated by the acquisition of this case, I decided to write my own book.� —G.P.W. $4,000-6,000
This is the case that started it all. On a trip to England in 2006, I found this case in a dark corner of a shop. It was unlike any case I had ever seen before and I knew I had to have it. According to the shop owner, it was a Cremona case and only recently arrived. We agreed on a price and I decided to hand carry it back to the USA with the intention of doing some research to find out more about it. It caused a minor sensation as I carried it through arrivals at Kennedy Airport in New York. Many people stopped me and wanted to know more about it. Back in those days, immigration officers were much more friendly and the one that checked my passport asked me if I had another one for my distinguished companion.
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1040
1040 English Mahogany “Apostle” Violin Case, W.E. Hill & Sons, c. 1890, the plaques inscribed W. E. HILL & SONS/VIOLIN MAKERS/38, NEW BOND ST/LONDON, the domed lid inlaid with herringbone banding, the compartment lid inlaid with music-themed marquetry, approximate length of back 360 mm, ht. 5 5/16, wd. 30 11/16, dp. 10 1/4 in. Literature: Journal of the Violin Society of America Papers, Vol. XXI, No. 1, 2007, cover, illustrated.
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N.B. “There is a funny story relating to the discovery of this case. It appeared on eBay in 2006 with a starting price of $20. I couldn’t believe my eyes and wrote to the seller to ask if his price was correct. He replied that it was and that he had found it in a local yard sale and was hoping to get $50 for it. Keen to terminate the auction before others had a chance to bid, I mentioned to him that if he was prepared to sell it immediately I might go to $200. He replied incredulously that the case did not include a violin, it was the case alone. While he was mulling over my offer he received another offer and decided that he would just leave the case on the auction to let the chips fall where they may. In the end, just as the prospect of acquiring an Apostle case for $200 slipped from my grasp, I had to pay well over four figures. I was never able to find out how such a distinguished violin case ended up in a yard sale in Ohio.
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This edition of VSA Papers also contains my paper titled ‘Violin Cases of the 18th and 19th Centuries in their Historical Settings.’ In the article, a strong connection can be seen between this case and the one made by Gand Freres in 1865 for ‘Mad’ King Ludwig ll of Bavaria currently in the collection of the Library of Congress in Washington, D.C. The case was also the subject of the YouTube video ‘An Outstanding Violin Case by W.E. Hill & Sons’ (April 2009) which has attracted 13,000+ views.” —G.P.W. $4,000-6,000
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1041
1041 American Eastlake-style Red-painted Trapezoidal Violin Case, c. 1875, the lock stamped SECURE/LEVER, the foliate damask interior, approximate length of back 360 mm, ht. 5, wd. 31 1/2, dp. 9 1/4 in. Literature: “Development of Handmade Violin Cases in America during the 19th Century,” Journal of the Violin Society of America Papers, Vol. XXIV, No. 2, 2014, p. 10, illustrated.
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N.B. “Everything about this case is refreshingly different, idiosyncratic, and displaying an emerging American independence from European traits. From its milk paint exterior, to its left hand layout, to its lack of flat surfaces and extraordinary lining sporting marijuana leaf motifs, this case, c. 1875, embodies many design innovations which failed to take root in mainstream case design.
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As with so many handmade American cases, this one was discovered in Massachusetts and seems to have been conceived by an immigrant struggling to assert an independent style. The trapezoidal shape contemplates only a single bow stored at the bottom of the case which tapers towards the handle, presumably to reduce its total volume.” —G.P.W. $200-300
1042
1042 French Mahogany Shaped Violin Case for Charles Brugère, c. 1900, labeled MÉDAILLE D’ARGENT LYON 1894/CHARLES BRUGÈRE, LUTHIER/11, Faub. Poissonnière, à Paris, the lock stamped SÛRETÉ 44, the green velvet interior, approximate length of back 360 mm, ht. 4, wd. 31 1/2, dp. 9 3/4 in., with Gewa canvas cover. $100-150
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1043
1043 Eastlake-style Mahogany Violin Case, c. 1890, the brass geometric handle with flowerpot motif, the pink lined interior, ht. 4 1/4, wd. 29 3/4, dp. 9 1/8 in. $200-300
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1044
1044 English Mahogany Dart Violin Case, Workshop of John Betts, the lock stamped VR/PATENT, the instrument compartment stamped BETTS, approximate length of back 360 mm, ht. 5 3/4, wd. 31 1/4, dp. 9 3/4 in. $600-800
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1045 French Mahogany Double Violin Case, Possibly the Workshop of Jean-Baptiste Vuillaume, the brass-inlaid domed lid engraved Camilla Urso, the handle in the form of two bears eating two snakes eating a pomegranate, the blue velvet interior, the underside of the removable pads inscribed Madame Paul Bailly Luthier/a Bruxelles, and Paul Bailly Luthier/Bruxelles/le 19 février/1893, the case floor inscribed Victor S. Flechter, approximate length of back 360 mm, ht. 5, wd. 33, dp. 11 3/4 in. Provenance: Camilla Urso. N.B. “I was forced to research the extraordinary history of this remarkable woman when I acquired her violin case. Her violin is well documented. Joseph Silverstein, for most of his career, played the 1742 ‘ex-Camilla Urso’ Guarnerius del Gesù, but she seems to have passed into oblivion.
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Camilla Urso (1840-1902) was a child prodigy and American violinist born in France. She preceded Maud Powell by at least 20 years, and although born in France and trained in the Paris Conservatoire, considered herself to be American. As a child in France, the family was very poor because her father couldn’t get work as an orchestral flautist in Paris and her mother had to do long hours of embroidery to support the family through Camilla’s three years at the conservatory. She beat out 70 boys to gain a scholarship. She had to quit temporarily after two years in order to earn money concertising and playing in the salons of the high and mighty. I suspect that during these six months (in c. 1855) she was given or purchased a nice violin and case. That would correspond with my guess as to the age of the case. There is a reference to it on page 82 of her biography - ‘Presently the symphony rehearsal came to an end and without the slightest hint of affectation she rose from her seat smiled and went to the stage. Selecting a violin from its blue satin wrappings she threw a white silk handkerchiefs over her left shoulder tuned her violin and took her place at the front of the stage in the centre of the orchestra.’ This was in Boston in 1874.
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The case accompanied her back and forth between Europe and America, and between New York City and San Francisco (where she received a rapturous welcome), and got quite damaged in the process. In the end she became quite wealthy, so I imagine she had the case refurbished at the Bailly shop in Belgium where it was expertly restored by Paul Bailly and relined by his wife, as both of their signatures indicate. Camilla kept it until the end as a souvenir of her travels. Later, she took grand tours across the globe from South Africa to Australia, and spent her last struggling years in New York vaudeville.” —G.P.W. $1,000-1,500
1045
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1046
52
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1046 English Georgian Teak Violin Case, c. 1850, the brass screws, approximate length of back 355 mm, ht. 4 7/8, wd. 30 1/2, dp. 9 in. N.B. “This case is remarkable in many ways. Stylistically, we can place it in the late Georgian period, c. 1820-1850. That it is English is indicated by many detail features. Although there are a few small nails, small screws have mostly been used in its construction. Screws were well known in England at this date and earlier because the technology for producing them had been well developed for the manufacture of watches and clocks. In America, nails were mostly used. A clue to the date comes from the impossibility of placing in it a violin with modern dimensions. Only those with a shorter, baroque neck will fit. From the exterior it is possible to appreciate the fine dovetailing and precise placing of the box opening to accurately bisect a dovetail on each corner. Inside, it can be seen that the end plates and the separately cut valence strips were fashioned from thick blocks and trimmed down to leave thickness for the corners. This is an especially remarkable feature in the side parts of the valence (now mostly lacking the upper projections) which is only 2 mm thick.
One feature of the case construction overshadows all others when the case is opened - the strong aroma of teak wood. From the outside, the case appears to be made of mahogany and the top could indeed be of that wood but all the rest is teak - a wood virtually unknown in the Americas as it is a native of India and Southeast Asia. This curious fact is possibly explained when we relate that the case was discovered in an antique shop in Zebulon, North Carolina, east of Raleigh, but still a good drive from the coast. This area is littered with plantations belonging to wealthy owners who imported luxury goods from Europe. It helps to know that teak (tectona grandis) is a tropical hardwood. It is resistant to termite attacks and damage caused by other insects. It is particularly valued for its durability and water resistance, and is used for boat building, exterior construction, veneer and furniture. In addition to relatively high strength, teak is also highly resistant to rot, fungi and mildew. In addition, teak has a relatively low shrinkage ratio, which makes it excellent for applications where it undergoes periodic changes in moisture. It would therefore be a natural choice of wood for a commission to build a case to protect a valuable violin for shipment to the hot and humid Carolinas where it has remained free of cracks in the 250 years of its life. Aesthetically, this case represents a perfect transition from the chests of the baroque to the high style of the Victorian cases epitomised by the art cases of W.E. Hill & Sons of the end of the 19th century.” —G.P.W. $200-300
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1047
1047 American Red-painted Violin Case, 19th Century, the lid affixed with U.S. Army Model 1881 helmet plate, ht. 4 1/2, wd. 28 3/4, dp. 10 1/2 in. $200-300
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1048
1048 English Georgian Mahogany Double Violin Case, Betts School, c. 1800, the compartments lined with marbled paper, approximate length of back 365 and 360 mm, ht. 5 1/2, wd. 30 3/4, dp. 11 1/2 in. $400-600
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1049
1049 Italian Brass-mounted Tenor Viola Case, 18th Century, leather-bound and tackdecorated, the plaque engraved ANTONIUS ET HIERONIMUS/AMATI FRATRES FECERUNT/CREMONENSES AN DOM/ MDCXX., approximate length of back 450 mm, ht. 5, wd. 32, dp. 11 7/8 in. Provenance: Leonard Lefkovitch. N.B. “Formerly the property of Leonard Lefkovitch, who passed away in 2010. He was born in London, England, and lived near there until the family moved to Canada in 1967. He purchased the case in England, c. 1945, and it was donated to the author’s collection by his daughter, Una Elliot, in 2012. As recorded on the brass plaque, the instrument it contained was made by the Brothers Amati in 1620, and the cavity for the body of the instrument it contained is 17.75 in. long. This size corresponds exactly to the Brothers Amati 1620 viola in the collection of the Royal Academy of Music in London. It seems likely that the case is not contemporary to the viola.” —G.P.W. $3,000-5,000
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1050 English Mahogany “Apostle” Violin Case, W.E. Hill & Sons, the lock stamped J.T. NEEDS/100 NEW BOND ST./LATE/J. BRAMAH/124 PICCADILLY, the domed lid inlaid with geometric pattern banding and fans to corners, the compartment lid inlaid with music-themed marquetry, approximate length of back 360 mm, ht. 5 1/16, wd. 30 3/4, dp. 10 1/16 in. N.B. “The history of this Apostle case is fascinating and deserves this opportunity to memorialise it. We can be certain this is a Hill Apostle art case dating to around 1890 by comparison with others known to us, but its recent history begins on 21 July, 2015, when the guy in England who ultimately sold it to me discovered it in a second hand furniture shop close to the Hill’s Hanwell workshop near London. According to his account:
‘I came by the case about five minutes after a chap in a secondhand furniture shop wrenched it open believing it to be a cutlery box (a very low and shop) hence the lock needs repairing! The lady who brought it into the shop said that her Grandfather made violins in London! The guy in the charity junk shop cranked it open leaving the top lock plate in the main lock. I refrained from screaming as I could see the quality of construction immediately and had a vague recollection of that kingfisher blue lining I had seen in a video on your YouTube last year when researching a Hill bow. Ironically I live around 3 miles from great Missenden where Hills ended up later in their history.’ Note 1: 1874-1901 the Bramah lock company was owned by JT Needs & Co and held Royal warrants from Queen Victoria and King Edward VII. The locks of that period marked JT Needs & Co-100 New Bond St (late J. Bramah 124 Picadilly). 1904 The business name was changed back to Bramah & Co. Note 2: The lock striker plate should not be reinstalled onto the lid unless there is a proven way of unlocking it. Note 3: As far as I’m aware, this case is unique in the use of rare fiddle back mahogany to reflect the use of fiddle back maple on a violin.” —G.P.W. $4,000-6,000
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1050
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1051
1051 Scandinavian Violin or Hardanger Fiddle Case, 17th Century, the green-painted carved foliate lid, the red-painted exterior, the ornamental escutcheon, the interior inscribed Anno 17 Feb 1654., ht. 5 1/2, wd. 26, dp. 9 1/2 in. $300-500
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1052
1052 American Leather-bound Coffin Violin Case, the tooled and tack-decorated exterior, the lid monogrammed J.B.S., the unlined interior, ht. 5 1/2, wd. 32, dp. 10 in. $300-500
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1053
1053 English Leather-bound Dart Violin Case, W.E. Hill & Sons, the exterior stamped W.E. HILL & SONS. LONDON. ENGLAND., labeled REMBERT WURLITZER/VIOLIN MAKERS AND DEALERS/120 West 42nd Street, New York 36, N. Y., approximate length of back 370 mm, ht. 6, wd. 31 1/2, dp. 9 1/2 in. $600-800
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1054 French Brass-mounted Double Violin Case, Gainier Debouche, c. 1820, the leather exterior gilt-embossed with floral motif, the lid embossed FR. T. WEXSCHALL., the case floor labeled Rue Saint-Honoré, entre les rues de/l’Arbre-Sec et du Roule, No. 91./ DEBOUCHE,/GAÎNIER, Successeur de GREMER./Fait des Etuis pour toutes sortes d’ins-/truments, comme Harpes, Guitares,/ Basses, Violons, Flutes, Clarinettes,/ Trompettes, Cors-de-Chasse, Cors en/tous les tons; généralement tout ce qui/concerne la Musique. A PARIS., approximate length of back 365 mm, ht. 5 3/4, wd. 31 1/8, dp. 11 1/4 in. 1054
N.B. “Friderich Thorkildsen Wexschall was a violinist of some distinction in the early part of the 19th century. He was born 1798 and died in Copenhagen 25th May 1845. He was married to an actress Anna Nielsen 9th of August 1823, but the marriage didn´t last and they divorced in 1831. He showed early promise and quickly rose to become concertmaster of the Danish Royal Orchestra in Copenhagen. It was probably upon this appointment, or shortly afterwards, that he commissioned this magnificent case to house his two violins. Although we don’t know what violins he possessed (in 1864 that a wealthy goldsmith donated a 1714 Stradivarius violin to be used by the concertmaster...) it was customary for concertmasters to use two violins during concerts so that a quick substitute was available if a string broke. We know exactly who undertook the commission and where because of a label under the padding. According to the label, a M. Debouche, successor to Gremer, specialized in making cases for all types of musical instruments and was located at #91, Rue Saint Honore between Rue de l’ArbreSec and du Roule. Debouche was one of the few case makers to ever use a label to identify his work. For him, case making for all types of musical instruments was his specialty and he excelled at it. The label specifies that this firm made cases not only for violins but also for harps, guitars, basses, flutes, clarinets, trumpets and a variety of horns.” —G.P.W. $600-800
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1055
1055 English Mahogany Double Violin Case, Workshop of John Betts, c. 1800, the underside of the removable instrument compartment labeled John Betts,/Real Musical Instrument Maker,/At the Violin & German Flute,/No. 2 Under the North Piazza of the Royal Exchange./Makes in the neatest manner Violins the pattern of/ Antonius Stradivarius, Hieronimus Amati, Jacobus Stainer & Tyrols./Equal for a fine full in their tone to those made in Cremona./ Tenors, Violoncello’s, Pentachords, &c. &c./ NB. Musical Instruments Alter’d for/Sound Old Instruments./Carefully Repaired in the neatest manner, & at Reasonable Rates., the interior of the domed lid papered with penmanship exercises, approximate length of back 358 mm, ht. 6, wd. 30 1/2, dp. 12 in. $1,000-1,500
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1056
1056 English Georgian Mahogany Violin Case, Betts School, c. 1800, approximate length of back 365 mm, ht. 5 1/16, wd. 31 1/16, dp. 9 1/2 in. $400-600
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1057
1057 Victorian-style Mahogany Violin Case and Stand, Theodore Alexander, c. 2000, Althorp Living History Collection, approximate length of back 365 mm, ht. 24, wd. 32, dp. 11 in. $600-800
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1058
1058 English Japanned Tin Violin Case, Workshops of W.E. Hill & Sons, c. 1897, the plaque embossed W.E. HILL & SONS,/VIOLIN MAKERS/140, NEW BOND ST. W., the lock stamped SECURE/LEVER/G. HARLEY & CO./W HAMPTON, approximate length of back 360 mm, ht. 4 1/2, wd. 32, dp. 10 3/4 in. N.B. “This case is identical in construction to cases made by Jones Brothers & Co. of Wolverhampton, UK, founded in 1853. Their main business was the manufacture of steel cases similar to these intended for use by British military engaging overseas campaigns during the latter part of the 19th century.
The rectangular ones were used by officers to contain and transport accessories such as boots and belts. The two sons, William Hall Jones and Highfield Jones, travelled widely in India, China and South Africa during the 1880s so it seems natural that W.E. Hill & Sons would commission them to make specially adapted boxes to ship and store violins destined to humid parts of the British Empire, especially India. They are offered for sale in the extremely rare 1897 Hill catalogue of cases for violins, violas and cellos. The listing includes the statement ‘these cases are made specially for use abroad and are the only effectual means of preserving a violin in India and other tropical climates.’” —G.P.W. $400-600
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1059
1059 Two French Violin Cases, c. 1930, the oblong case labeled LES PETITS-FILS de S. A. DEROUX/Lutherie d’ Art/51, RUE DE ROME, 51. PARIS, the exterior of stamped leather, approximate length of back 365 mm, ht. 4 1/2, wd. 31 1/2, dp. 10 in.; the shaped case labeled Lucien Schmitt luthier à/Grenoble, approximate length of back 370 mm, ht. 4, wd. 31 1/2, dp. 9 3/4 in. $300-500
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1060
1060 Two English Shaped Violin Cases, W.E. Hill & Sons, the locks stamped W.E. HILL & SONS/VIOLIN MAKERS/LONDON, the oak exterior with sage interior and blanket, the japanned exterior with blue interior, approximate length of back 360 mm, ht. 4 1/2, wd. 31, dp. 9 1/4 in. $200-300
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1061
1061 Two French Kingwood Veneer Violin Cases, the shaped chevron pattern lid inlaid with rosewood stringing, the green velvet interior with rust-colored blanket monogrammed EL, approximate length of back 370 mm, ht. 4 1/2, wd. 30 7/8, dp. 9 in.; the dart exterior decorated with rope inlay and stringing, the nickel mounts engraved with floral motif, the burgundy velvet interior, approximate length of back 365 mm, ht. 5 1/2, wd. 30 7/8, dp. 9 3/8 in. $200-300
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1062
1062 Two German Novel Shaped Violin Cases, c. 1900, approximate length of back 360 mm, ht. 5, wd. 30, dp. 9 in. $100-150
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1063
1063 Two French Rosewood Veneer Dart Violin Cases, c. 1890, the exteriors decorated with rope inlay and stringing; the blue velvet interior labeled VICTOR S. FLECHTER,/23 UNION SQUARE/NEW YORK., approximate length of back 365 mm, ht. 5 3/8, wd. 30 1/2, dp. 9 1/4 in.; the purple velvet interior unlabeled, approximate length of back 370 mm, ht. 5 1/8, wd. 30 13/16, dp. 9 1/4 in. $200-300
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1064
1064 Two American Grain-painted Pine Violin Cases, 19th Century, ht. 5 1/4, wd. 30 1/2, dp. 9 1/2 in., with bow. Literature: “Development of Handmade Violin Cases in America during the 19th Century,” Journal of the Violin Society of America Papers, Vol. XXIV, No. 2, 2014. $200-300
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1065
1065 Two French Double Violin and Viola Cases, the double violin case with red lining, labeled EMILE FRANÇAIS/LUTHIER DU CONSERVATOIRE/12, Rue de Madrid - Paris, approximate length of back 365 mm, ht. 5, wd. 32, dp. 12 1/2 in.; the violin and viola case with blue lining, the lock engraved PARIS. GAND & BERNARDEL, approximate length of back 360 and 410 mm, ht. 6 1/4, wd. 33 1/8, dp. 12 7/8 in. $300-500
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1066
1066 Two French Violin and Viola Cases, c. 1900, the shaped violin case of papier-mâché, the lock stamped BTE SGDG/V.P., approximate length of back 365 mm, ht. 5, wd. 31, dp. 9 1/2 in.; the dart viola case labeled 68-70. RUE RÉAUMUR/Jérôme/THIBOUVILLE-LAMY & CIE/PARIS, approximate length of back 415 mm, ht. 6, wd. 32 1/2, dp. 10 1/4 in. $100-150
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1067
1067 Two Shaped Violin Cases, ht. 4 1/2, wd. 31, dp. 9 in. Literature: “Development of Handmade Violin Cases in America during the 19th Century,” Journal of the Violin Society of America Papers, Vol. XXIV, No. 2, 2014. $100-150
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1068
1068 Two American Novel End Load Violin Cases, c. 1885, ht. 5, wd. 31, dp. 10 in. $100-150
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1069
1069 Two Rosewood Veneer Violin Cases for W.E. Hill & Sons, c. 1890, the dart case labeled W. E. HILL & SONS,/Violin Makers,/140, NEW BOND STREET, LONDON, W., the plaque engraved VIOLIN BY Joannes Baptista Guadagnini 1767/Miss Caroline Denny 1889., the handle mount stamped DÉPOSÉ, approximate length of back 370 mm, ht. 5 1/2, wd. 31 5/16, dp. 9 5/16 in.; the shaped case labeled W. E. HILL & SONS,/ Violin Makers,/38, NEW BOND STREET, LONDON, W., approximate length of back 365 mm, ht. 5, wd. 30 3/4, dp. 9 in. $100-150
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1070 Three American Violin Cases, Maulbetsch & Whittemore, c. 1910, stamped with a bull’s head device, the brown tooled leather No. 51 side load holster, the black tooled leather No. 52 end load holster, and the black molded case; ht. 5 1/2, wd. 31, dp. 10 1/4 in. Literature: “Development of Handmade Violin Cases in America during the 19th Century,” Journal of the Violin Society of America Papers,, Vol. XXIV, No. 2, 2014; The Art & History of Violin Cases,, 2008, pp. 91-93, illustrated. N.B. “This is possibly one of the more influential American case designs of all time. Until the end of the 19th century, the design of violin cases always incorporated one or more straight lines and the manufacturing of cases was somewhat complicated. In a single invention, M&W freed up the design so that all edges and surfaces could be curved and they patented a radical new production process whereby the case was made from synthetic materials shaped in a mold. This design freedom caused a sensation when it was exported to Europe and became known in France as the ‘Etui Forme Americaine.’ Producers in France and Germany scrambled to mimic the appearance of these ‘New Century’ cases but were fearful of the US patent. In Germany, a case of similar design was carved from solid wood to avoid litigation over the thermoforming process. In France, Thibouville and Laberte did the best they could using steam presses and wood to try and simulate the American form-fitting cases.” —G.P.W. $100-150 1070
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Glossary of Terms All items in the catalog are described according to the following table of terminology. Please note that all statements in this catalog as to Authorship, Period, Origin, are qualified statements subject to the Conditions of Sale. All weights and measurements are approximate.
Authorship will be described in the following ways: Joseph Guarneri: In our judgment the work is by the maker. Ascribed to Joseph Guarneri: The work is believed to be by the named maker, in the opinion of the authors of the accompanying certificates or letters. Attributed to Joseph Guarneri: A traditional attribution with which we may not agree. Probably Joseph Guarneri (also possibly): A work which we have no definitive opinion on. School of Joseph Guarneri: In our judgment the work of a follower executed in the style of the maker or area stated. Workshop of Joseph Guarneri: In our judgment the work is executed in the style of the named maker and possibly under his supervision. Labeled Joseph Guarneri (also stamped, branded, etc.): In our judgment the instrument is not necessarily the work of this maker, but bears the maker’s mark.
opposite: 1051, detail
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INVITING CONSIGNMENTS
Fine Musical Instruments Italian Violin, Neapolitan School, sold for $67,650
For buyers, consignors, and the passionately curious F I N D W O R T H AT S K I N N E R I N C . C O M
Conditions of Sale 1. Some of the lots in this sale are offered subject to a reserve. The reserve is a confidential minimum price agreed upon by the consignor and Skinner, Inc. below which the lot will not be sold. In most cases, the reserve will be set below the estimated range, but in no case will it exceed the estimates listed. A representative of Skinner, Inc. will execute such reserves by bidding for the consignor. In any event and whether or not a lot is subject to a reserve, the auctioneer may reject any bid or raise not commensurate with the value of such lot. 2. All property is sold “as is,� and neither the auctioneer nor any consignor makes any warranties or representation of any kind or nature with respect to the property, and in no event shall they be responsible for the correctness, nor deemed to have made any representation or warranty, of description, genuineness, authorship, attribution, provenance, period, culture, source, origin, or condition of the property and no statement made at the sale, or in the bill of sale, or invoice or elsewhere shall be deemed such a warranty of representation or an assumption of liability. 3. Except as provided in paragraph 1 above, the highest bidder as determined by the auctioneer shall be the purchaser. In the case of a disputed bid, the auctioneer shall have sole discretion in determining the purchaser and may also, at his or her election, withdraw the lot or reoffer the lot for sale. The auctioneer shall have sole discretion to refuse any bid, or refuse to acknowledge any bidder. Any bidder that plans on spending in excess of $100,000 should make arrangements with the accounting department at least five (5) days in advance of the sale, as a deposit may be required to participate. 4. All merchandise purchased must be paid for and removed from the premises the day of the auction. Skinner Inc. may impose, and the purchaser agrees to pay, a monthly interest charge of 1.5% of the purchase price of any lot or item lot not paid for within thirty-five (35) days of the date of sale. Skinner, Inc. shall have no liability for any damage or loss to property left on its premises for more than seven (7) days from the date of sale. If any property has not been removed within seven (7) days from the date of sale, at the option of Skinner, Inc. (a) Skinner Inc. reserves the right to charge a minimum storage fee of $10 per lot per day, and may impose, and the purchaser agrees to pay, a monthly storage charge of 1.5% of the purchase price of any lot or portion of a lot not removed within the seven (7) days, and/or (b) Skinner Inc. may place the merchandise in a subsequent auction, without Reserve, to be sold to the highest bidder, and after deducting the standard commission and any additional charges that may apply, remit the proceeds to the purchaser. 5. Skinner accepts cash or check for payment. Personal checks will be acceptable only if credit has been established with Skinner, Inc. or if a bank authorization has been received guaranteeing a personal check. Skinner, Inc. reserves the right to hold merchandise purchased by personal check until the check has cleared the bank. The purchaser agrees to pay Skinner, Inc. a handling charge of $25.00 for any check dishonored by the drawee. Please contact Accounting for additional payment methods. Skinner does not accept payment by credit card for merchandise purchases. 6. If the purchaser breaches any of its obligations under these Conditions of Sale, including its obligation to pay in full the purchase price of all items for which it was the highest successful bidder, Skinner Inc. may exercise all of its rights and remedies under the law including, without limitation, (a) canceling the sale and applying any payments made by the purchaser to the damages caused by the purchaser’s breach, and/or (b) offering at public auction, without reserve, any lot or item for which the purchaser has breached any of its obligations, including its obligation to pay in full the purchase price, holding the purchaser liable for any deficiency plus all costs of sale. 7. In no event will the liability of Skinner, Inc. to any purchaser with respect to any item exceed the purchase price actually paid by such purchaser for such item. 8. Shipping is the responsibility of the purchaser. Upon request, our staff will provide the list of shippers who deliver to destinations within the United States and overseas. Some property that is sold at auction can be subject to laws governing export from the U.S., such as items that include material from some endangered species. Import restrictions from foreign countries are subject to these same governing laws. Granting of licensing for import or export of goods from local authorities is the sole responsibility of the buyer. Denial or delay of licensing will not constitute cancellation or delay in payment for the total purchase price of these lots. 9. Sales in Massachusetts, Florida, New York, and Maine are subject to the respective current sales taxes. Dealers, museums, and other qualifying parties may be exempt from sales tax upon submission of proper documentation. 10. A premium equal to 25% of the final bid price up to and including $250,000, plus 20% of the final bid price from $250,001 up to and including $3,000,000, plus 12% of the final bid price from $3,000,001 and over will be applied to each lot sold, to be paid by the buyer as part of the purchase price. 11. Bidding on any item indicates your acceptance of these terms and all other terms printed within, posted, and announced at the time of sale whether bidding in person, through a representative, by phone, by Internet, or other absentee bid. 12. Skinner, Inc. and its consignors make no warranty or representation, express or implied, that the purchaser will acquire any copyright or reproduction rights to any lot sold. Skinner, Inc. expressly reserves the right to reproduce any image of the lots sold in this catalog. The copyright in all images, illustrations and written material produced by or for Skinner, Inc. relating to a lot, including the contents of this catalog, is, and shall remain at all times, the property of Skinner, Inc. and shall not be used by the purchaser, nor by anyone else, without our prior written consent. 13. These conditions of sale shall be governed by the laws of the Commonwealth of Massachusetts (excluding the laws applicable to conflicts or choice of law). The buyer/bidder agrees that any suit for the enforcement of this agreement may be brought, and any action against Skinner in connection with the transactions contemplated by this agreement shall be brought, in the courts of the Commonwealth of Massachusetts or any federal court sitting therein. The bidder/buyer consents to the exclusive jurisdiction of such courts and waives objections that it may now or hereafter have to the venue of any such suit.
Revised September 21, 2020
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Board of Directors
Departments
Chairman of the Board
20th Century Design
Discovery Auctions
Dan Ayer
Carly Babione
20thcentury@skinnerinc.com
Kyle Johnson
508.970.3253
discovery@skinnerinc.com
Stephen L. Fletcher Bear Albright
508.970.3202
John Deighton Karen M. Keane
American & European Paintings & Prints
Andrew Payne
Robin S.R. Starr
European Furniture & Decorative Arts
Elizabeth C. Haff
Stuart G. Slavid
Kathleen M. Leland
Stephanie Opolski
Brianna Lovensheimer
european@skinnerinc.com
paintings@skinnerinc.com
508.970.3203
Ruth Kennedy Sudduth
Executive Management President/Chief Executive Officer Karen M. Keane
Chief Financial Officer
508.970.3206
Historic Arms & Militaria American Furniture & Decorative Arts
Christopher D. Fox
Stephen L. Fletcher
militaria@skinnerinc.com
Chris Barber
508.970.3215
Christopher D. Fox americana@skinnerinc.com 508.970.3200
Jewelry Kaitlin Shinnick John Colasacco
American Indian & Ethnographic Art
Gloria Liebermann
Michael Evans
Olivia Joy
indian@skinnerinc.com
jewelry@skinnerinc.com
508.970.3254
617.874.4313
Antique Motor Vehicles
Judaica
Jane D. Prentiss
Kerry Shrives
antiquemotorvehicles@skinnerinc.com
judaica@skinnerinc.com
508.970.3253
508.970.3256
Asian Works of Art
Musical Instruments
Judith Dowling
Adam Tober
Kerry Shrives
Helen Eagles
music@skinnerinc.com
Stuart G. Slavid
Suhyung Kim
508.970.3216
Kristina Sutton, CPA
Executive Vice President Stephen L. Fletcher
Managing Director Marie Keep
Senior Vice Presidents Marie Keep
Vice Presidents LaGina Austin Eric Jones
asian@skinnerinc.com 508.970.3263
Lawrence Kearney
Books & Manuscripts
rugs@skinnerinc.com
Christopher D. Fox
508.970.3247
Gloria Lieberman
books@skinnerinc.com
Jane D. Prentiss
508.970.3293
Robin S.R. Starr Frederic Trottier
Oriental Rugs & Carpets
Photographs photographs@skinnerinc.com
Ceramics
508.970.3264
Stuart G. Slavid ceramics@skinnerinc.com
Regional Offices
508.970.3203
Clocks, Watches & Scientific Instruments
305.503.4423 florida@skinnerinc.com
Jonathan Dowling clocks@skinnerinc.com 508.970.3201
Elizabeth Y. Turner 207.517.8389 eturner@skinnerinc.com
508.970.3203
Wines & Spirits Marie Keep Joseph Hyman
Coins & Currency
Anna Ward
Kyle Johnson
finewines@skinnerinc.com
New York: Katie Banser-Whittle
coins@skinnerinc.com
212.787.1114 kbanser-whittle@skinnerinc.com
508.970.3191
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Stuart G. Slavid silver@skinnerinc.com
Florida:
Maine and Northern New England:
Silver
508.970.3296
Auction Services Consignments
Marketing, Media & Communications
Appraisal & Auction Services
Exhibitions & Property Boston:
LaGina Austin
Jeffrey R. Antkowiak
Christine E. Finn
Mia Cesar
Rachel Kingsley
Kristina M. Harrison
Alison Ritacco
Mireille Lyall
508.970.3299
Cheryl Richards Photography Penina Seigel
Julia M. Dry
Receptionist 617.350.5400
Valerie Worth
Consignment Services Marlborough:
Carol Zeigler 508.970.3204
Skinner Online
Warehouse Frederic Trottier
Accounting
Kerry Shrives
508.970.3209
Florentina Gutierrez
Samantha Heighton
Judie Ochsner
William Madden
Nicole Nicas Rovner
508.970.3266
Valerie Worth
William Debordes-Jackson
online@skinnerinc.com
Receptionist Grant Savastano
508.970.3283
508.970.3000
508.970.3279
Transportation Eric Jones 508.970.3229
Absentee & Telephone Bidding Boston: 617.874.4318 Marlborough: 508.970.3211 Discovery: 508.970.3208
Auctioneers Chris Barber, John Colasacco, Stephen L. Fletcher, Karen M. Keane, Marie Keep, Kerry Shrives, Stuart G. Slavid, Robin S.R. Starr
63 Park Plaza Boston, MA 02116 617.350.5400 Fax 617.350.5429
www.skinnerinc.com
274 Cedar Hill Street Marlborough, MA 01752 508.970.3000 Fax 508.970.3100
Florida 305.503.4423 New York 212.787.1113
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