An important violin by Antonio Stradivari of Cremona, Italy in 1714, known as the Joachim-Ma. The violin bears the maker’s label: Antonius Stradivarius Cremonenfis Faciebat 1714. The handsome two-piece quarter cut maple back is of mostly broad curl ascending from the center joinꦏt. The quarter cut maple ribs are of similar wood. The maple head is of fainter broad curl. The two-piece spruce table is of fine grain broadening slightly toward the flanks. The varnish is of a rich red brown color over an amber gold ground.

MEASUREMENTS:

Length of Back: 355 mm

Upper Bouts: 166.5 mm

Middle Bouts: 109.5 mm

Lower Bouts: 206 mm

CERTIFICATES:

The certificate of William E. Hill & Sons, London, dated 27 February 1923 and made out to the Rudolph Wurlitzer Company, describing the violin as “a thoroughly characteristic example of the above period of the maker’s work.” Together with a letter dated 27 February 1923, describing the provenance of the violin (“In 1849, it was purchased… by Joachim ﷽… whose favourite instrument it was until well on in the seventies”)

The certificate of the Rudolph Wurlitzer Company, N෴ew York, dated 8 May 1923 and made out to Mr. Albert E. Stephens of Spr🎀ingfield, Mass., describing the violin as “in a fine state of preservation… in our judgement a very representative specimen of this period of Stradivari’s work.”

The certificate of Rembert Wurlitzer, New York, dated 16 August ꦏ1967 and made out to Si Hon Ma, with photographs attached, stating “This instrument known as the “Joac🌳him” is a typical and famous example of the master’s work.” 

LITERATURE:

American Art Association, Anderson Galleries. The Collection of John Hudson Bennett. ꦛNew Yor🎶k, 5 February 1932 (illustrated pp. 12-13)

Alberto Bachman. An Encyclopedia of the Violin. New York, 1966

Ernest Doring. How Many Strads? Chicago, 1999 (illustrated p. 181)

Herbert K. Goodkind. Violin Iconography of Antonio Stradivari 1644-1737. Larchmont, 1972 (illustrated pp. 440-441)

Jost Thöne, ed. Antonius Stradivarius Volumes I-IV, Verlag, Cologne, 2010 (illu⛦strated vol. III, pp. 100-107)

Mostra di Antonio Stradivari. Cremona, 1963 (illustrated)

EXHIBITED:

Museo del Violino, Cremona, Italy, 2013–2015

PROVENANCE:

He🐭inrich Müller or Möller (?), Bremen, Germany (–1849)

Joseph J♛oachim, pur🦂chased from the foregoing (1849–1885) 

Dietrich A. Meier, traded the 1715 de Barrau Stradivarius with the preceding (1885–)

Baron Johann Knoop, purchased fro🔯m the fಌoregoing (–1913)

S🙈ir Alexander Kennedy, London, via William E✨. Hill & Sons (1913–)

Alfred E. Stephens, Massachusetts, via the Rudolf Wur🃏litzer Company (1923–)

John Hudson Bennett, New York, v꧒ia Nathan E. Posner (1925–1932)

Hugh W. Long, via Kenneth Warren & Son (–1964🧜)

Si-Hon Ma, via Rembert Wurlitzer Inc. (1967–2009)

The Estate of Si-Hon Ma, by (2009–2015)

The New England Conservatory💞, Massachusetts, gifted from the foregoing (2015–preseℱnt)

DENDROCHRONOLOGICAL REPORT

Dendrochronological tests conducted by Peter Ratcliff♒, Instrument Dendrochronology Ltd., revealed that the latest visible tree-rings on the bass and treble sides date from 1699. The dendrochronological report presents many highly significant correlations with data from instruments of Italian origin, almost in their entirety. The eleven most important cross-matches were identified with the ring-patterns of violins made by Antonio Stradivari, including the following instruments:

• 1711, Vogelweith, Hamma
• 1712, Schreiber. Said to have been played on by Henri Wieniawski at court concerts for Alexander II of Russia. Significant players: Bronislaw Huberman, Pinchas Zukerman
• 1712, Hrimaly
• 1714, Leonora Jackson. Significant owners/players: Joseph Joachim
• 1715, Cremonese, Harold Joachim. Significant owners/players: Joseph Joachim
• 1716, Milstein (Maria Theresa), Goldman. Significant owners/players: Nathan Milstein
• 1716, Provigny
• 1718, Arnold Rose, Viotti. Significant owners: Giovanni Battista Viotti