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"stradivari" ?
labels ... fakes or clues?
If you have a violin bearing a label such as, "Antonius
Stradivarius Cremonensis", perhaps vaguely similar to the one pictured above,
(which is known to be a fake) don't get too excited. It is alas,
almost certainly a fake or a trade copy. In the past some makers and restorers have put
labels inside various instruments of the violin family and there has been, and may still
be, a trade in the manufacture of fake labels, apart from the trade in fake violins.
There have been many instances throughout the history of violin making, of
apparently reputable, but not at the time very well known violin makers, who have put the
names of their better known contemporaries in their own violins. Obviously this practice
would be to enhance the chances of selling their less well-known work.
Nowadays, no violin expert would judge the value of a violin by its label.
Labels such as "Antonius Stradivarius Cremonenfis Faciebat Anno 17..",
whether or not followed by the usual circles with crosses, initials or other signs are
made to be completed by the hand-written insertion of the last two digits, before being
stuck inside the instrument: in fact "... Anno 17" shows only the first two
digits of a year represented in the 18th century. A complete label should read "...
Anno 1713" or perhaps "... Anno 1721", the date is in full and the last one
or two digits are hand-written.
Then there are also instances of labels where there is no intention at all of them even
pretending to be fake. A label such as: "Antonius Stradivarius Cremonensis /
Faciebat Anno 1721 / Made in Germany" (or Bohemia, or France, or Czechoslovakia)
is merely an indication in the loosest sense that the instrument is perhaps partly
modelled on the general outline and style of the original master, after all Stradivari
certainly never learned to speak or write English!
If you wish to find out more about the authenticity, value and quality of the instrument you have, you should certainly take it to a reputable violin expert and connoisseur, who will tell you if it is a good quality instrument or if it is only a "trade" copy or fake. Today a good and honourable expert/connoisseur cannot risk his/her reputation by being untruthful. It is necessary to note at this point however that makers of new violins are not usually expert in the appraisal of old instruments, or even of instruments by more recent or contemporary makers.
The field of the appraisal of violins is very complicated and takes many years of experience (and personal mistakes) to bring to a good level of reliability. Some new violins, made during the past twenty years, have been passed off and sold as the "genuine old" work of such eminent makers as Montagnana, Pressenda or Rocca. The list, in fact, could be endless. This has been done not usually by the modern makers themselves but by unscrupulous people who have "sold on" the work of others after inserting fictitious labels in place of the original.
Often copies were made by the "trade" workshops and were not intended to deceive. They were labelled with facsimiles of original labels but were merely intended to indicate "made in the style of". Many of these instruments made in the latter half of the nineteenth century, in Germany, France and Bohemia have of course, now come to look quite old in today's terms, through normal usage .. this is where much confusion now arises, as the untutored eye of the "violin enthusiast" cannot differentiate between 150 years old and 300 years old. Astonishing as this may seem, it is alas true.
Some names, often found on the labels of apparently old violins, that have been used by the commercial copyists of last century include, STRADIVARIUS, AMATI, CAPPA, DALLA COSTA, GUARNERIUS (GUARNERI), STAINER, KLOZ (KLOTZ), DUKE, BANKS, GAGLIANO, GUADAGNINI, RUGGIERI, TONONI, VUILLAUME, MONTAGNANA. Many, many more could be listed. A task well beyond the scope of these pages. If you have a violin which bears a label included in the above list please do not get too excited about it .. the chances of it being a "trade" copy are far greater than of it being the genuine article.
If, upon an initial examination, the violin expert recognises a certain "quality" in the instrument, it will be worth while asking them for a "specialist's appraisal" and for them to issue a certificate of attribution and an estimate of the instrument's value. You must expect to pay for expert and reliable advice, the only free advice is usually from someone who insists on their own expertise, not from someone who has independently recognised expertise. The person you are consulting should have spent many years in the violin business and will have gained his/her knowledge and expertise at no small cost to themselves. Generally speaking, the cost of an initial examination is modest, only a few pounds for a verbal valuation, but money well spent as it will at least put you properly in the picture and on the right lines about your instrument. For a written appraisal and valuation expect to pay a percentage as, the written document will be found to be a good aid if or when you come to sell it.
See my page "beware labels" for illustrations of misleading labels often found in violins and also read my "articles and links" and "makers biog" pages where you will find a wealth of accurate information about instruments of the violin family.
I welcome constructive feedback or comments that you may have regarding any of the above. Please see my email page and let me know your thoughts .. It would be appreciated if you identify yourself properly and remember to let me know your location ... thanks.
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