Music & Musical Instruments

This mandolin-like instrument was made by an unknown maker, provenance and date undetermined. This instrument, listed in the accession file as a tamboura, was acquired from the collection of Leopoldo Franciolini in 1892 and it is subject to study.

Leopoldo Franciolini (1844–1920) was an Italian antique dealer who flourished in the late 19th and early 20th centuries. He is remembered as a fraudster who sold faked and altered historical musical instruments.

This guitar was made by Robert Benedetto in Homosassa Springs, Florida, in 1978.

It is a 7 course (7x1) archtop model, serial #1678.

Robert Benedetto was born in 1946 in The Bronx, New York into a family of artists, cabinet maker s and musicians. Benedetto made his first archtop guitar in 1968. His reputation grew as he crafted guitars for noted guitarists Bucky Pizzarelli, Chuck Wayne, Joe Diorio and Cal Collins. From 1999-2006, Benedetto had a licensing agreement with Fender Musical Instruments to produce his models in a small, controlled manufacturing environment. Following the agreement with Fender, Benedetto joined forces with jazz guitarist and corporate executive, Howard Paul, to manufacture a broad line of more affordable professional instruments without compromising the unparalleled Benedetto quality. In 1977 Benedetto met jazz guitarist, John “Bucky” Pizzarelli and made this 7-string archtop guitar, serial #1678, for him a year later. Pizzarelli played this guitar up until the time he donated it to the museum in 2005.

This rebec was made by an unknown maker, provenance unknown, probably 19th century. It is a composite instrument with a one-piece table of poplar, body, neck and pegbox carved from one piece of similar poplar. The wood is not varnished but finished with a colored penetrating oil.

This instrument appears to be a crude copy of a rebec in the style of catalog #095310. It does not appear to have ever functioned as a playing object. Acquired from the collection of Leopoldo Franciolini in 1892.

Leopoldo Franciolini (1844–1920) was an Italian antique dealer who flourished in the late 19th and early 20th centuries. He is remembered as a fraudster who sold faked and altered historical musical instruments.

This accordaton was made by an unknown maker, possibly in Italy, undetermined date. It is a rectangular shape box made of wood, with 2 soundholes, and 7 strings. This instrument has a label from the shop of Leopoldo Franciolini.

This accordaton was acquired from the collection of Leopoldo Franciolini in 1892. Leopoldo Franciolini (1844–1920) was an Italian antique dealer who flourished in the late 19th and early 20th centuries. He is remembered as a fraudster who sold faked and altered historical musical instruments.

This violoncello was made Antonio Stradivari in Cremona, Italy, in 1701. It is known as the “Servais” violoncello. It is made of a two-piece table of spruce with even medium fine grain broadening toward the flanks, two-piece back of maple with beautiful medium descending figure (with wings originally added to the upper and lower bouts), ribs of similar maple, modern maple neck terminating in the original pegbox and scroll of even medium figure, and golden reddish-orange varnish. There is an original printed label inside the instrument:

Antonius Stradivarius Cremonensis
Faciebat Anno 1701

[“01” is handwritten}

Antonio Stradivari is credited with the final development and refinement of the violin family, creating instruments that are viewed today as the standard of perfection. Although little is known of his life, we know from notes on his labels that he was born in 1644 and apprenticed to Nicolo Amati, the pre-eminent violin maker of Cremona, Italy. Stradivari was 57 years old when he built the Servais cello, using particularly beautiful wood he reserved for such large instruments. The varnish is unusually rich, a reddish-orange color with golden transparency. The overall purity, and especially the sound of this cello, are remarkable. For its importance in the development of the modern bowed string family, the Servais stands alone.

Adrien-François Servais (1807-1866) was a celebrated Belgian cellist famous for his powerful tone and acrobatic technique, combined with increased use of vibrato, which was at that time an innovation in performance. He was also one of the first cellists to use the modern end-pin. In addition to his frequent performance tours, he was on the Brussels Conservatory faculty during a period when Brussels was an influential musical center. This is the cello he used in his career, building an enormous public reputation.

This violoncello was made by Antonio Stradivari in Cremona, Italy, in 1688. It is the Marylebon violoncello made of a two-piece spruce top with a grain widening toward the edges, back of two-piece plain maple, sides and scroll of similar plain maple, and orange-brown varnish on a golden background. This instrument has been judiciously reduced in size, from the larger pattern of the maker's work of that period. With 20th century applied decoration imitating Stradivarius ornamentation.

There is a compilation of measurements of the Marylebon violoncello by Christer A. Berglund available from the collections files.

The Marylebon violoncello 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.

This gusle was made by an unknown maker in the Sandak region, Yugoslavia probably 19th century. It is made of a table of hide stretched over the “spoon” body and fastened with 31 hardwood pins, body, neck and head carved from a single piece of hardwood, the instrument not varnished.

This single-string fiddle bears a spoon-shaped body, neck and stylized animal head, all carved from one piece of hardwood. The geometric pattern cut into the neck and the pyramid-shaped finials on the two ears of the head on this instrument are features common to gusles from the mountainous Sandzak region of the Montenegro republic in the southwestern region of the former Yugoslavia.

This trombone was made by F. Tabard in Lyon, France, around 1820-1848. It is a B-flat slide trombone, made of brass with a painted red with gold garland inside bell. The bell points to the rear. This trombone is inscribed on the bell:

TABARD
A LYON

(and on a ferrule):

DEPOT DE TOTI.

This trombone was acquired from the collection of Leopoldo Franciolini in 1892. Leopoldo Franciloini (1844–1920) was an Italian antique dealer who flourished in the late 19th and early 20th centuries. He is remembered as a fraudster who sold faked and altered historical musical instruments.

This rebec was made by an unknown maker, provenance unknown, probably 18th century. It is a composite instrument with a one-piece table of poplar, body, neck, pegbox and flat plate all carved from one piece of similar poplar, fingerboard of similar poplar, and opaque reddish-brown varnish heavily encrusted with dirt

This teardrop-shaped three-string instrument is probably 18th century or earlier and appears to survive en suite. The tailpiece and soundpost possibly belong with the rebec as does one of three pegs. The flat table, without interior bass-bar bears a soundpost and simplified f-holes. This instrument is accompanied by a bow. Acquired from the collection of Leopoldo Franciolini in 1892.

Leopoldo Franciolini (1844–1920) was an Italian antique dealer who flourished in the late 19th and early 20th centuries. He is remembered as a fraudster who sold faked and altered historical musical instruments.

This drum was made by an unknown maker in Europe, around 1808-1817. It has a brass shell with a cast coat of arms with a crown and the initials “FWR,” and skin heads. The wood hoops are painted red and white and drilled with 10 holes each for rope which is laced through leather ears, used to tighten the hoops. The shell is stamped below the vent hole:

GABLER
IN
BERLIN

(And on what appears to be a snare mechanism):

2A
2B 14 LR4

The attribution date for the drum is subject to study.

This B-flat clarinet (top instrument), serial number 22457, was made by Buffet-Crampon & Cie. Paris, France. 1938. It was previously owned and used by American jazz musician and band leader, Artie Shaw (1910 - 2004).

This B-flat clarinet (bottom instrument), serial number M6727, was made by Henri Selmer. Paris, France. 1945. It was previously owned and used by American jazz musician and band leader, Artie Shaw (1910 - 2004).

Shaw achieved International success with his recording of “Beguine the Beguine” in 1938. He continued his career performing around the world, selling thousands of records, and appearing on film and television. By the end of 1954 Shaw made his last appearance as a clarinetist and stopped performing to pursue other interests.

This trumpet was made by Horstmann Brothers & Company in Philadelphia, Pennsylvania around 1879-1882. It is an F natural trumpet made of brass, with a blue cord. This trumpet is stamped:

HORSTMANN BROS. & Co. [/] PHILADELPHIA

This is a standard military trumpet, made according to Specification No. 38, dated February 15th, 1879, “Specifications for Trumpets,” Quartermaster General’s Office, War Department:

“For all foot troops -- To be the same as standard sample brass trumpet ’F,’ two (2) coil, and with two (2) mouthpieces. When complete, with mouth-piece in, to weigh about twelve and a half (12 ½) ounces, and to measure about sixteen (16) inches in length, and about four and a half (4 ½) inches in width at center. Diameter of bell to be about four and a half (4 ½) inches.”

William Hortsmann, born in Germany, emigrated to the United States and established himself as a maker of fringe, laces, and trimmings in Philadelphia, in 1815. William Horstmann & Sons were located at North Third Street between 1830 and 1857, manufacturing and importing everything from textiles and trimmings to military goods including drums, pistols, and swords. As the company expanded, Horstmann & Sons moved the factory to 5th and Cherry Streets and their storefront to 2223 Chestnut Street. Later the company would grow to two stores in New York and an agency in Paris. William Horstmann retired from the company in 1845, and his sons, William and Sigmund continued the family business until 1872.

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

Another Strad magazine article in August 1983 documents

Beginning in 1975, the Corcoran loaned the instruments