Music & Musical Instruments

The Museum's music collections contain more than 5,000 instruments of American and European heritage. These include a quartet of 18th-century Stradivari stringed instruments, Tito Puente's autographed timbales, and the Yellow Cloud guitar that belonged to Prince, to name only a few. Music collections also include jukeboxes and synthesizers, square-dancing outfits and sheet music, archival materials, oral histories, and recordings of performances at the museum. The vast Sam DeVincent Collection of Illustrated Sheet Music is a remarkable window into the American past in words, music, and visual imagery. The Duke Ellington and Ruth Ellington Boatwright collections contain handwritten music compositions, sound recordings, business records, and other materials documenting the career of this renowned musician. In various ways, our collections find expression in performances of the Smithsonian Chamber Players, the Smithsonian Jazz Masterworks Orchestra, and in other public programs.

Prop violin used by Lindsey Stirling in the music video for her song "Beyond the Veil." The wooden violin was made in Czechoslovakia in the 20th century and it bears a fake Stradavari label; the actual maker is unknown.
Description (Brief)
Prop violin used by Lindsey Stirling in the music video for her song "Beyond the Veil." The wooden violin was made in Czechoslovakia in the 20th century and it bears a fake Stradavari label; the actual maker is unknown. In the video, Stirling is shown waking up on a beach to see a girl running into the sea; the girl is holding this violin. As Stirling pursues the girl through the water, she discovers an underwater fantasy world. That plot line is intercut with footage of Stirling playing a different violin on the beach and in a forest.
Lindsey Stirling is an American musician, dancer, and songwriter known for blending a diverse variety of musical styles including classical, pop, rock, and electronic influences with dance performance. As a contestant on season five of the television series America’s Got Talent in 2010, Stirling gained an enthusiastic following among viewers who enjoyed her unique dance and violin performances, but was voted off by the celebrity judges in the quarter finals. Undaunted by their criticism, Stirling started posting music videos online in 2011, pairing mash-ups of electro-pop styles with lively steps and twirls in settings often drawn from video games or movies. Her posts inspired millions, then billions, of fans worldwide and revealed how audiences and entertainers could forego traditional tastemakers and gatekeepers to build powerful connections directly through digital platforms.
Location
Currently not on view
date made
20th century
associated date
2014
performer
Stirling, Lindsey
ID Number
2015.0303.03
accession number
2015.0303
catalog number
2015.0303.03
This composite violin was made in Germany in the 19th century. The unrelated 19th-century German table, with a 20thcentury neck-graft, pegbox and scroll, was added to the back and ribs to create the complete instrument.
Description
This composite violin was made in Germany in the 19th century. The unrelated 19th-century German table, with a 20thcentury neck-graft, pegbox and scroll, was added to the back and ribs to create the complete instrument. This violin bears a reproduction Gagliano label and is made of a table of spruce in two pieces, back of maple in two pieces with irregular, mild horizontal figure, ribs of similar maple cut on the slab, grafted maple neck, pegbox and scroll with fine, irregular figure, and a semi-opaque orange-brown varnish.
Location
Currently not on view
Date made
1800-1899
ID Number
MI.66.095
catalog number
66.095
accession number
182022
This violin was made by Nicolò Amati in Cremona, Italy in 1656.
Description

This violin was made by Nicolò Amati in Cremona, Italy in 1656. It is the King Loius XIV violin with a top of spruce with grain of narrow width, one-piece back of slab cut maple with medium width flame mostly horizontal, ribs and volute of quarter sawn maple with narrower flame, double purfling to the top and back, mastic fleur-de-lys inlays to the corners of the top and back and to the rib joints, and varnish of a golden-brown color over a golden ground. There is an original printed label inside the instrument:

Nicolaus Amatus Cremonen. Hieronymi
Fil. ac Antonij Nepos Fecit. 1656

["56" is handwritten]

This violin has also been known as the “Youssoupoff” (see

The Strad magazine, March 1967, pages 410-433). The earliest
known owner is Jean Baptiste Vuillaume who bought the violin at
a London sale in 1855, and then sold it to the Russian nobleman,
Prince Nicholas Yousoupoff. As a student of the violin, Prince
Yousoupoff studied under Henry Vieuxtemps; he composed music
and even wrote a history of the violin.

Another Strad magazine article in August 1983 documents

the violin was again sold by J.B. Vuillaume on 8 February 1862 to
Mr. Liodor de Panajeff of Moscow. The next known owner is the
violin dealer Emil Herrmann who assembled a quartet of Amati
instruments (the 1656 King Louis XIV and the 1672 Florian Zajic violins, the 1663 Professor Wirth viola, and the 1677 Herbert violoncello) for Mrs. Anna E. Clark. She lent them to the Loewenguth Quartet of Brussels before bequeathing the quartet to the Corcoran Gallery of Art in Washington DC. The Corcoran loaned the quartet to the Claremont String Quartet of the North Carolina School of the Arts, and in 1966, this violin was stolen. Its fate remained a mystery until the New York dealer, Jacques Français, came upon the instrument in 1971 and promptly returned it to the Corcoran.

Beginning in 1975, the Corcoran loaned the instruments

to the Tokyo String Quartet, and then to the Takács Quartet before
selling them to Dr. Herbert Axelrod in 1998.

Date made
1656
maker
Amati, Nicolo
ID Number
2000.0100.01
accession number
2000.0100
catalog number
2000.0100.01
This violin was made by Antonio Stradivari in Cremona, Italy, about 1700.
Description

This violin was made by Antonio Stradivari in Cremona, Italy, about 1700. It is the Greffuhle violin with a two-piece table of spruce with even medium fine grain broadening toward the sides, one-piece back of maple with narrow, nearly horizontal figure, ribs of similar maple, modern maple neck terminating in the original pegbox and scroll of similar maple, and golden red-brown varnish. This instrument has an original printed label, with altered date:

Antonius Stradiuarius Cremonenfis
Faciebat Anno 1709

[*709 handwritten]

A brief history of the Greffuhle is cited in this excerpt from a letter in 1960 to Hug & Co. in Switzerland from W. E. Hill & Sons, the highly respected British firm of violin dealers and experts.

The history of the Stradivari violin dated 1709, known as the “Greffuhle”, is, as far as it is known to us, as follows. The particulars given are from the notes made by the late Mr. Alfred Hill, who had known the instrument since boyhood days.

This violin bears the original label dated 1709. The earliest record we have of it is when in the possession of Dr. Camidge, organist at York Cathedral ca. 1830-40. From him it passed to the Reverend Blow of Layer Breton, Essex. He was an amateur player of distinction and also posessed a fine Nicolo Amati. He was a frequent visitor to the business premises of the late William Ebsworth Hill and it was thus that the late Mr. Alfred became well acquainted with the instrument, ca. 1870. Owing to declining health the Reverend Blow sold the violin to Mr. John Adam, a well-known collector who had owned many famous violins. On the sale of the Adam collection it passed to David Laurie, also a well-known collector of his time.

About 1880 Laurie took the instrument to Paris and sold it through the intermediary of Gand to the Visconte de Greffuhle in 1882. It was sold by the Visconte to Caressa in 1910 and later passed into the possession of the firm Hamma & Co. of Stuttgart. The firm of Hamma in turn sold it to Herr Walter of Bohemia, and in later years he sold it to your firm. Reference to this violin is made in “Violins and Violin Makers” by J. Pearce.

Hug & Co. sold the Greffuhle in 1962 to Carl Tannewitz of Grand Rapids, Michigan. Jacques Français bought the violin at auction in 1977 and sold it to Herbert Axelrod in 1979.

There is a compilation of measurements of the Greffuhle violin by Gabriela Guadalajara available from the collections files. Computer Tomography (CT) scans were made of the entire instrument, courtesy of Bruno Frohlich, Museum of Natural History, Smithsonian Institution.

The Greffuhle violin is part of The Herbert R. Axelrod Quartet of Decorated Instruments by Antonio Stradivari, consisting of the Ole Bull violin,1687; the Greffuhle violin, c.1700; the Axelrod viola, 1695; and the Marylebone violoncello, 1688.

Location
Currently not on view
Date made
ca 1700
maker
Stradivari, Antonio
ID Number
2000.0013.01
accession number
2000.0013
catalog number
2000.0013.01
This violin was made in Markneukirchen, Germany around 1875-1899.
Description
This violin was made in Markneukirchen, Germany around 1875-1899. It is of commercial manufacture and is made of a table of spruce in two pieces, back of maple in one piece with even medium figure, ribs of complementary maple, plain maple neck, pegbox and scroll, and an opaque reddish-brown varnish
Location
Currently not on view
Date made
1875 - 1899
ID Number
MI.094873
catalog number
94873
accession number
22998
This violin was made in Mirecourt, France around 1880 This commercial Mirecourt violin was inspired by J.B. Vuillaume of Paris, who began making ornamental violins with carved male heads after 1829 (see catalog #1992.0388.01).
Description

This violin was made in Mirecourt, France around 1880 This commercial Mirecourt violin was inspired by J.B. Vuillaume of Paris, who began making ornamental violins with carved male heads after 1829 (see catalog #1992.0388.01). In this example, a plain commercial Mirecourt instrument with the addition of a carved male head is marketed by J. Howard Foote in New York City, where it appears in his 1882 catalog, “Nos. 5943 Copy of Gaspard Duiffo Pruggar, superior quality, carved head and corners, plain ebony trimmings ... $15.00 each.”

Carved bearded male heads made in Paris and Mirecourt were taken from a famous 1565 engraving of Gaspar Tieffenbrucker, surrounded by a group of bowed and plucked instruments and his tools. He was born in Bavaria in 1514, was trained and Guild-certified as a lute and instrument maker in Füssen, and then immigrated to France, where he established workshops in Lyon in 1533 and became famous for his viols and other bowed and plucked instruments. He continued working in Lyon until his death in 1571, after which his son Gaspar Tieffenbrucker the younger moved to Paris and continued in his father's tradition as an instrument maker. This violin has a reproduction Gaspar da Salo label and is made of a two-piece table of spruce, two-piece back of maple with irregular, medium descending figure, ribs of similar maple, neck of mildly figured maple with pegbox and carved male head, and a yellow-orange varnish.

Location
Currently not on view
Date made
1878 - 1882
ID Number
MI.055683
catalog number
55683
accession number
11535
This violin was made in Mirecourt, France around 1880. An oversized commercial Mirecourt violin (with 14 3/8 inch body length), this violin is listed in J. Howard Foote’s 1882 catalog under French copies of old masters.
Description
This violin was made in Mirecourt, France around 1880. An oversized commercial Mirecourt violin (with 14 3/8 inch body length), this violin is listed in J. Howard Foote’s 1882 catalog under French copies of old masters. It is item #5935: “Copy of Stradivarius, extra fine quality, . . . Each $22.00.” Many violins like this were made in Mirecourt. While thousands of these violins were sold with reproduction labels of famous makers like Amati, Guarneri, Stainer and Stradivari, this instrument is clearly labeled to prevent misunderstanding of the Stradivari attribution. A second Smithsonian example is catalog #55682, described in the Foote catalog as the same quality of instrument. It is built with similar archings, outline and pearwood purfling, but bears a reproduction Guarneri label. This violin is made of a two-piece table of spruce, two-piece back of maple with medium-fine ascending figure, ribs, neck, pegbox and scroll of similar maple, and a shaded orange-brown varnish.
Location
Currently not on view
Date made
1878 - 1882
ID Number
MI.072846
catalog number
72846
accession number
12809
This violin was made in Mirecourt, France around 1880. In his 1880 catalog, J.
Description
This violin was made in Mirecourt, France around 1880. In his 1880 catalog, J. Howard Foote places this instrument in the category of “Small Size, or Boys’ Violins, French Make, #5992 Three-quarter Size, fine model, inlaid, pearl edges, plain ebony trimmings ...$12.00 each.” The edge work on this violin bears a plain inner purfling with a second outer purfling of alternating pearl trapezoidal lozenges and stained black wooden inlay. This violin is made of a two-piece table of spruce, one-piece back of field maple with irregular figure descending to the left, ribs of similar maple, plain maple neck, pegbox and scroll, and a semi-opaque reddish-purple varnish.
Location
Currently not on view
Date made
1878 - 1882
ID Number
MI.055685
catalog number
55685
accession number
11535
This violin was made in Markneukirchen, Germany around 1880. This commercial violin from the J. Howard Foote collection was intended to be a copy of Vuillaume, with scratch marks and walnut stain applied in imitation of age and wear.
Description
This violin was made in Markneukirchen, Germany around 1880. This commercial violin from the J. Howard Foote collection was intended to be a copy of Vuillaume, with scratch marks and walnut stain applied in imitation of age and wear. It also bears spruce blocks and linings set into the corner blocks. The instrument was itemized in the Smithsonian accession documents of 1882 as cat. #1654, but does not correspond to listings in known Foote catalogs. It is described in the accession as: "Vuillaume" copy, plain ebony trimmings. This violin bears a reproduction Vuillaume label and is made of a two-piece table of spruce, two-piece back of maple with broad, even descending figure, ribs of complementary maple, similarly figured maple neck, pegbox and scroll, and is artificially shaded and stained, with a transparent reddish-orange varnish.
Location
Currently not on view
Date made
1878 - 1882
ID Number
MI.055681
catalog number
55681
accession number
11535
This violin was made in Mirecourt, France around 1880. This instrument, with shaded varnish to imitate age and wear, is based on a model of violins by Joseph Guarneri “Del Jesu.” It is described in Foote's 1882 catalog as “No.
Description

This violin was made in Mirecourt, France around 1880. This instrument, with shaded varnish to imitate age and wear, is based on a model of violins by Joseph Guarneri “Del Jesu.” It is described in Foote's 1882 catalog as “No. 5928 Copy of Guarnerius, extra fine quality, beautiful oil varnish, plain ebony trimmings $22.00.” Four Guarneri models are listed in the catalog in the French violin group, ranging in price from $10.00 to $35.00 each. This violin is the next to the most expensive.

Many large and oversized violins like this (with 14¼ inch body length) were made in Mirecourt. A second Smithsonian example is catalog #72846. These two instruments have similar archings and outlines, both have pearwood purfling, and are listed in the Foote catalog at the same price and “extra fine quality” under French copies of old masters. The second instrument, with a different design of f-holes, is identified as a copy of Stradivarius.

This violin has a printed reproduction Guarneri label and is made of a two-piece table of spruce, two-piece back of maple with even, medium-fine ascending figure, ribs of moderately figured maple, neck, pegbox and scroll of faintly figured maple, and a yellow-brown varnish.

Location
Currently not on view
Date made
1878 - 1882
ID Number
MI.055682
catalog number
55682
accession number
11535
This violin was made in Mirecourt, France around 1880. This instrument is a typical example of commercial Mirecourt, France production for export. J.
Description

This violin was made in Mirecourt, France around 1880. This instrument is a typical example of commercial Mirecourt, France production for export. J. Howard Foote, in his catalog published in 1882 describes the Salzard models: "The following are made by the successor of François Salzard, who died early in 1875. They are the only Violins made which rightfully bear the stamp - "Salzard à Paris" - and are imported by this house only: Nos. 5915 Genuine Salzard, beautiful dark color, elegant plain finish, ebony trimmings . . . Each $12.00"

The Salzard family of makers were working in Mirecourt from the last quarter of the 18th century. François was born in Mirecourt in 1808, the son of the Mirecourt maker Dominique Salzard. François established a business in his name in 1836 and later moved his activities to Paris. His son, Ernst André, born in 1842, studied under François and in 1863 opened a business first in Moscow and later in St. Petersburg as maker to the Imperial Court where he achieved an excellent reputation.

This violin is made of a two-piece table of spruce, back of maple in one piece bearing an even, medium, horizontal figure, ribs of complementary maple, mildly figured maple neck, pegbox and scroll, and a semi-opaque reddish-purple varnish.

Location
Currently not on view
Date made
1878 - 1882
ID Number
MI.055680
catalog number
55680
accession number
11535
This violin was made in Mirecourt, France around 1880. This commercial ¼ size “Boys’” instrument is listed in the 1880 Foote catalog, item #5986, for $4.25 each. The violin is very cleanly made with plain ebony fittings but without purfling.
Description
This violin was made in Mirecourt, France around 1880. This commercial ¼ size “Boys’” instrument is listed in the 1880 Foote catalog, item #5986, for $4.25 each. The violin is very cleanly made with plain ebony fittings but without purfling. Young apprentice violin makers often began training in Mirecourt before the age of 14. Among their first tasks it was common for them to make simplistic small violins such as this example. Students would be graduated to larger instruments requiring more detailed purfling as their skills, knowledge and speed developed. This violin is made of a two-piece table of spruce, two-piece back of maple with irregular, medium horizontal figure, ribs of similar maple, neck, pegbox and scroll of plain maple, and a semi-opaque orange-brown varnish.
Location
Currently not on view
Date made
1878 - 1882
ID Number
MI.055684
catalog number
55684
accession number
11535
This violin was made in Markneukirchen, Germany around 1880. It is a commercial instrument in Russian form which is constructed with ribs that bulge out from its sides. The edges of the body and ribs are rounded to form a continuous curve with the archings of the table and back.
Description

This violin was made in Markneukirchen, Germany around 1880. It is a commercial instrument in Russian form which is constructed with ribs that bulge out from its sides. The edges of the body and ribs are rounded to form a continuous curve with the archings of the table and back. From the plan view the ends of the corners terminate as points. The closed scroll with two volutes and pegbox are rounded en suite with the body. The bass bar is carved from the graduations of the table.

On page 52 in his 1882-83 catalog, J. Howard Foote describes this instrument (#5880) among the “GERMAN VIOLINS, Russian Model ... Dark red, rounded edges, beautifully made, ebony trs., Russian Style ... $120.00 Per Doz."

The violin bears a reproduction Rubus label and is made of a two-piece table of spruce, two-piece back of maple with fine, irregular descending figure, ribs are of similar maple, neck of moderately figured maple with stylized rounded pegbox and scroll, and an opaque brown varnish heavily shaded to imitate wear and age.

Location
Currently not on view
Date made
1878 - 1882
ID Number
MI.055678
catalog number
55678
accession number
11535
This violin was made in Klingenthal, Germany around 1880. This commercial violin bears a square arching and outline typically seen in Klingenthal trade instruments of the late 19th century branded “HOPF.” J.
Description

This violin was made in Klingenthal, Germany around 1880. This commercial violin bears a square arching and outline typically seen in Klingenthal trade instruments of the late 19th century branded “HOPF.” J. Howard Foote, in his 1882 catalog indicates: “Hopf violins are well known by their peculiar shape and color. But few Violins sold as “Hopf” are genuine. Nos. (catalog numbers) 5871-73 are made by the successor of the original “Hopf” both in name and vocation.” This instrument, Foote catalog #5872, is described as “Genuine ‘Hopf,’ extra quality, ebony trimmings and fingerboard, ‘Stainer’ model...$80.00 per dozen.”

Caspar Hopf is thought to have founded the Klingenthal tradition of violin making in the late 17th century. From these beginnings until this century, 24 makers bearing the Hopf family name worked in Saxony, primarily in Klingenthal. The family is generally known for their extensive production of inexpensive and commercial instruments for the trade. This violin is made of a two-piece table of spruce, back of maple with irregular fine figure, ribs of medium-fine figure, neck, pegbox and scroll of medium-fine figured maple, and a deep reddish-purple varnish.

Location
Currently not on view
Date made
1878 - 1882
ID Number
MI.055677
catalog number
55677
accession number
11535
This violin was made in Mittenwald, Germany around 1880. In the 1882-83 catalog of J. Howard Foote, this violin is among a group that “represent a line of cheap German Violins, which for workmanship and finish is not equaled by any similar goods in the market: No.
Description
This violin was made in Mittenwald, Germany around 1880. In the 1882-83 catalog of J. Howard Foote, this violin is among a group that “represent a line of cheap German Violins, which for workmanship and finish is not equaled by any similar goods in the market: No. 5857 Beautifully made, white or natural color of wood, with three elegant pearl inlayings on back, in Grecian scroll work, etc. ... $108.00 per dozen.” The double purfling on the table and back is augmented by a central ornamental purfling with shards of pearl imbedded in black pastiche and similar small ornaments at the top and bottom block areas. While the violin is constructed with complete spruce linings and blocks, for economy the bass bar is carved in place from graduations of the table. This violin is made of a two-piece table of spruce, back of maple in two pieces with broad horizontal figure and ornamental inlay, ribs of medium-fine figured maple, neck, pegbox and scroll of moderately figured maple, fingerboard of spruce with a veneer of stained pear wood, and a colorless clear varnish.
Location
Currently not on view
Date made
1878 - 1882
ID Number
MI.055676
catalog number
55676
accession number
11535
This violin was made in Schonbach, Bohemia around 1880. In his 1880 catalog, J. Howard Foote describes this Saxon violin in “a line of cheap German violins, which for workmanship and finish is not equaled by any other line imported ....
Description
This violin was made in Schonbach, Bohemia around 1880. In his 1880 catalog, J. Howard Foote describes this Saxon violin in “a line of cheap German violins, which for workmanship and finish is not equaled by any other line imported .... made by hand, in the good old-fashioned way, and not ground out of a mill.” The instrument is listed as cat. #5854, “Excellent quality, finely finished, with fancy pictures, gilding and flowers on back, fancy trimmings, veneered fingerboard ... $45.90 per dozen.” The violin bears a reproduction Stradivari label and is made of a two-piece spruce table, one-piece maple back, ribs, neck, pegbox and scroll of maple, and the back of the violin is ornamented with three colorful decals.
Location
Currently not on view
Date made
1879 - 1882
ID Number
MI.055675
catalog number
55675
accession number
11535
This violin was made by an unknown maker, possibly in Italy around 1878-1882. It has a reproduction Jacob Stainer label, and is curiously referenced as Italian in origin by the New York musical instrument dealer, J. Howard Foote.
Description
This violin was made by an unknown maker, possibly in Italy around 1878-1882. It has a reproduction Jacob Stainer label, and is curiously referenced as Italian in origin by the New York musical instrument dealer, J. Howard Foote. Foote, in his commercial musical instrument catalog of November 1880, describes his Italian violins as follows: ". . . these goods are often sold as French; their excellent quality, handsome models, choice wood, and beautiful varnish, being even more attractive than the French of similar grades." This violin, item number 5908 is listed as: "Fine Copy of Jacobus Stainer, bird's-eye maple back, elegant varnish - a little gem - ebony trimmings . . . $17.00 each." This violin is made of a table of cedar in one piece, bird’s-eye maple back, ribs, neck, pegbox and scroll, and a transparent yellow-orange varnish.
Location
Currently not on view
Date made
1878 - 1882
ID Number
MI.055679
catalog number
55679
accession number
11535
This violin was made from the Nicolo Amati School in Cremona, Italy around 1670. This instrument has been the focus of study and speculation since it arrived at the Museum of American History in 1976.
Description

This violin was made from the Nicolo Amati School in Cremona, Italy around 1670. This instrument has been the focus of study and speculation since it arrived at the Museum of American History in 1976. While clearly displaying the influence of Nicolo Amati, this violin is probably the work of a gifted apprentice in his workshop.

Francesco Rugieri (ca. 1620-1695?) was among the first students of Nicolo Amati, and did later establish his own violin making shop in Cremona. He was the founder of the Rugieri family of makers, followed by his two sons, Vincenzo and Giacinto. Antonio, son of Giacinto, continued the tradition into the third generation.

Francesco Rugieri is the most probable Amati apprentice to have crafted this violin. He embraced the style of his teacher, bringing a careful elegance of character and form to his instruments. He frequently used the “Grand Pattern” Amati model with slightly lengthened f-holes and a more robust treatment of the pegbox and scroll. Rugieri almost always chose handsome wood for his instruments, combined with beautiful transparent golden-orange or reddish-orange varnish.

This violin is made of a two-piece table of spruce of even medium grain, two-piece back of maple cut on the quarter with even, fine, horizontal figure, ribs of similar maple, modern baroque reproduction maple neck with grafted 19th-century German pegbox and scroll, and a golden yellow-brown varnish.

Location
Currently not on view
date made
1665-1675
maker
Nicolo Amati School
ID Number
MI.76.22
catalog number
76.22
accession number
1977.0067
This violin was made by Giovanni Francesco Leonporri in Milan, Italy in 1755. Leonporri, whose attributed (signed) work is rarely encountered, is thought to have worked in Milan during the period 1750-1768.
Description
This violin was made by Giovanni Francesco Leonporri in Milan, Italy in 1755. Leonporri, whose attributed (signed) work is rarely encountered, is thought to have worked in Milan during the period 1750-1768. The Tyrolean character of his instruments implies that he may have been of Germanic background. It is possible that he Italianized his name when he moved to Milan. This violin is made of a two-piece table of spruce, two-piece back of maple cut on 45o with very fine irregular gently descending figure, ribs of similar maple, grafted maple neck with original plain maple pegbox and scroll, and a semi-transparent golden-brown varnish.
Location
Currently not on view
date made
1755
maker
Leonporri, Giovanni Francesco
ID Number
1980.0838.01
catalog number
1980.0838.01
accession number
1980.0838
This violin was made in the United States in the 19th century. It is an instrument of amateur construction with a neck, pegbox and scroll of commercial German origin of the same period. The name “Miles Standish” is scratched into the varnish of the back beneath the button.
Description
This violin was made in the United States in the 19th century. It is an instrument of amateur construction with a neck, pegbox and scroll of commercial German origin of the same period. The name “Miles Standish” is scratched into the varnish of the back beneath the button. There is a handwritten label inside the violin that reads “Repaired by I.B. Wilson, Music Dealer and Repairer, Moundsville, W. VA., Sept. 30th, 07 190.” This violin is made of a two-piece table of spruce, one-piece back of American burl maple cut on the slab, ribs of American maple with even medium-fine figure, neck, pegbox and scroll of faintly figured maple, and a semi-opaque brown varnish.
Location
Currently not on view
Date made
1800 - 1899
ID Number
MI.394503
accession number
214741
catalog number
394503
This violin was made in Mittenwald, Germany around 1800. It shows evidence of extensive repairs and retouching of the varnish.
Description
This violin was made in Mittenwald, Germany around 1800. It shows evidence of extensive repairs and retouching of the varnish. This violin has a reproduction Sebastian Klotz label and is made of a two-piece table of two-piece spruce, two-piece back of maple with even medium-fine descending figure, ribs of similar maple, grafted maple neck terminated in the original maple pegbox and scroll, and an opaque reddish-brown varnish.
Location
Currently not on view
Date made
1790-1810
ID Number
MI.76.12
catalog number
76.12
accession number
322697
This violin was made by Victor Carroll Squier of Michigan in 1925. Victor Squier established a violin and string manufacturing company in Battle Creek, Michigan and was known as “the American Stradivarius” for his high-quality work.
Description
This violin was made by Victor Carroll Squier of Michigan in 1925. Victor Squier established a violin and string manufacturing company in Battle Creek, Michigan and was known as “the American Stradivarius” for his high-quality work. This violin was made for his niece Olive, for her high school graduation. The violin was played by Olive until the varnish wore off and she purchased a new violin in 1962. She continued to perform until 1990 but rarely used the Squier violin again.
Location
Currently not on view
Date made
1925
maker
Squier, Victor Carroll
ID Number
2002.0275.01
accession number
2002.0275
catalog number
2002.0275.01
This violin was made by Albert Moglie in Washington, DC in 1923. It is patterned after instruments made by Venetian luthier, Sanctus Serephin (1699-1776).Albert Moglie (b. Dec. 16, 1890, Rome; d.
Description

This violin was made by Albert Moglie in Washington, DC in 1923. It is patterned after instruments made by Venetian luthier, Sanctus Serephin (1699-1776).

Albert Moglie (b. Dec. 16, 1890, Rome; d. June 9, 1988, Washington DC) operated a violin shop in Washington DC for 65 years from 1922 until 1987. At the age of twelve he was apprenticed to Antonio Sgarbi; he then worked under Luigi Enbergher, Giuseppe Rossi and Rodolfo Fredi, all of Rome. He later was a student of Hippolyte Sylvestre in Paris and Leandro Bisiach in Milan.

Albert Moglie came to America at the age of 24 to work for the Rudolph Wurlitzer Company, first in Cincinnati and then New York City in 1916. By 1917 he had established his own shop in New York at 1431 Broadway. He moved to Washington DC in 1922.

Moglie enjoyed a fine reputation in Washington as a violin restorer, and is especially remembered as the caretaker of the Gertrude Clark Whittall Stradivari quartet of instruments at the Library of Congress, an association that began in the 1930s and lasted more than 50 years.

The Smithsonian, National Museum of American History, Archives Center houses additional materials on the life and career of Albert F. Moglie:

Albert F. Moglie Violinist and Violin-Making Collection

Location
Currently not on view
date made
1923
maker
Moglie, Albert
ID Number
1988.0749.01
accession number
1988.0749
catalog number
1988.0749.01
This violin was made by Leopold (Martin) Widhalm in Nuremberg, Germany in 1782. He was the eldest son of violin maker Leopold Widhalm (1722-1776). His work is generally less refined than that of his father, with rather narrow purfling close to the rounded edge.
Description
This violin was made by Leopold (Martin) Widhalm in Nuremberg, Germany in 1782. He was the eldest son of violin maker Leopold Widhalm (1722-1776). His work is generally less refined than that of his father, with rather narrow purfling close to the rounded edge. This Widhalm example in the style of Stainer is typical, with a rather high built arching that is broad in the breast area with narrow edge and purfling set into pronounced channelling. This violin is made of a two-piece table of spruce, back of maple in two pieces cut on quarter with mild, fine gently descending figure, ribs of similar maple, grafted neck onto the original maple peg-box and scroll, and a semi-transparent orange-brown varnish.
Location
Currently not on view
date made
1782
maker
Widhalm, Martin Leopold
ID Number
1985.0794.01
accession number
1985.0794
catalog number
1985.0794.01

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