Historical
Focus
Exploring the secrets of Stradivari's workshop
The workshop where Stradivari made the instruments of his golden period was demolished in 1938. Andrew Dipper uncovers the clues that give an insight into the great master's working environment
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The gain in Spain: German makers in Naples
In the 16th century, many European cities saw an influx of makers from Germany – and the cultural milieu and civic policies of Spanish-held Naples proved particularly attractive. Luigi Sisto explains how the expatriate community laid the groundwork for the city’s lutherie tradition
Current issue
January
Lisa Batiashvili: The Georgian violinist steps outside her comfort zone to take on new artistic challenges.
Premium ❘ FeatureJacob Stainer: reviewing the situation
It has long been assumed that Jacob Stainer received some training in Cremona – but the theory rests on slim evidence. Rudolf Hopfner explores a middle-period violin using micro-CT technology to cast doubt on what we think we knowWolfgang Schneiderhan
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Auction Report: January 2020
Old Italians and a modern bow proved popular at this autumn’s auctions, as Kevin MacDonald reports
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In focus: a 1933 violin by Ansaldo Poggi
Roberto Regazzi examines an instrument by the Italian maker, whose fame and reputation have grown in recent years
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On the borders of greatness
Giuseppe Sgarbi’s instruments have a unique vibrancy and individuality, while still respecting the traditional Cremonese forms. Lorenzo Frignani examines his career, as well as that of his son Antonio, to suggest why his work deserves more recognition than it has in the past
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From the Archive: a viola of the Gofriller School, Venice c.1700-10
An illustration of a viola of the Gofriller School published in The Strad, February 1962
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In focus: an 1819 violin by David Stirrat
David Rattray examines an instrument by the Edinburgh maker
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Witnesses to the fall
First published in the March 2014 issue to mark 25 years since the fall of the Berlin Wall, nine string players and makers from the East and West sides here reveal the stark contrast between life on either side of the divide
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A Massive Achievement
Made in 1677, the ‘Romanov’ Nicolò Amati viola is one of the maker’s late masterpieces. Alberto Giordano and Rudolf Hopfner investigate its turbulent history and examine how it fits into the Amati family’s oeuvre
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Like Fathers, Like Sons
This year marks the 50th anniversary of the death of Émile Auguste Ouchard, as well as the 40th of his son Bernard – both regarded as among the 20th century’s finest bow makers. Thomas Martin, Andrew McGill, Martin Lawrence and George Martin examine the legacy of the Ouchard dynasty, particularly ...
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From the Archive: an ornamented violin believed to be the work of J.B. Vuillaume
This illustration of a violin by J.B. Vuillaume was published in The Strad, February 1974. The following text is extracted from the article accompanying the photographs
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In Focus: 1778 violin by G.B. Guadagnini
Dorothy DeLay’s favourite instrument comes from Guadagnini’s Turin period, and shows the influence of his patron Count Cozio di Salabue, writes John Dilworth
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From the Archive: a Joseph Rocca violin, 1836
This illustration of a Joseph Rocca violin was published in The Strad, May 1938. The following text is extracted from the article accompanying the photographs
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From the Archive: a violin by Giuseppe Guarneri 'filius Andreae', Cremona, 1712
This illustration of a violin by Giuseppe Guarneri 'filius Andreae' was published in The Strad, April 1973. The following text is extracted from the article accompanying the photographs
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In focus: a 1929 violin by Paolo Guadagnini
Richard Ward examines an instrument by the last member of the Guadagnini dynasty
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From the Archive: a violin by Joseph Rocca, Turin, 1847
This illustration of a violin by Joseph Rocca was published in The Strad, February 1973. The following text is extracted from the article accompanying the photographs
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From the Archive: a viola by Paolo Antonio Testore, Milan, c.1740
This illustration of a viola by Paolo Antonio Testore was published in The Strad, January 1973. The following text is extracted from the article accompanying the photographs
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From the Archive: a violin by Nicolas Lupot, Paris, 1809
This illustration of a violin by Nicolas Lupot was published in The Strad, December 1972. The following text is extracted from the article accompanying the photographs
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When does a violin copy become a forgery?
There's a fine line between copying an instrument and forging a masterpiece. Alan Coggins offers a humorous perspective on the perils luthiers face when interpreting past masters
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From the Archive: a violin by Benjamin Banks, Salisbury, late 18th century
This illustration of a violin by Benjamin Banks was published in The Strad, May 1970. The following text is extracted from the article accompanying the photographs
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First Class: European bow makers in America
Despite achieving a high level of quality, the American bow makers of the early 20th century have languished in obscurity – until now. Raphael Gold explores the lives of Frank Kovanda, Ernst Lohberg and Anders Halvarson, who all learnt their craft in the Chicago workshop of William Lewis & Son
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From the Archive: the ‘Doria’ Maggini violin
This illustration of the ‘Doria’ Maggini was published in The Strad, June 1939. The following text is extracted from the article accompanying the photographs
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