Strad Poster Index

The Strad Poster series is an invaluable source of information for creating instruments inspired by the Greats.  This is a list of the posters published by The Strad.  Unfortunately, most are out of print.  Their poster website can be found here.  Violin Case and Cremona Tools also sells them.  The posters have a stock number for ordering purposes and they are indexed below by that number.  Descriptions are taken from The Strad.

For the period of December 2015 to June 2017, The Strad discontinued providing posters with regular issues of the magazine.  Beginning in July 2017 they returned to issuing posters with regular issues.

Strad# Maker Instrument Year Published Short Description
P101 Antonio Stradivari violin “Hellier” 1679 May-87 Perhaps the most famous of all decorated violins, the ‘Hellier’ is a visual feast.
P102 Guarneri ‘del Gesu’ violin ‘Kreisler’ 1733 May-88 The full charm ol del Gesu’ flourishes in the Kreisler’, the tone of which has been magnificently demonstrated by one of this century’s most remarkable players. NOTE: ‘Kreisler’ Correction: Due to a printing error a number of measurements of the 1733 ‘Kreisler’ Del Gesii published in the May STRAD (p. 406) were misprinted. While the measurements of the button, rib height and purfling are correct, those of the  body of the instrument should read as follows: (in millimetres) Back/Belly: Overhang (uneven), in Cs 3.5  3, in bouts 3.2  2.5
P103 ‘filius Andreae’ Joseph Guarneri violin c.1705 Among the most exceptional examples of a Giuseppe ‘filius Andrea’ instrument, singling him out as a fine maker as well as sire and teacher of the great ‘del Gesù’ .
P104 Guarneri ‘del Gesù’ violin “David/Heifetz” 1742 Dec-88 A wonderfully sustained instrument emerging amidst the intermittent weak examples from del Gesu’s declining …
P105 Antonio Stradivari violin ‘Betts’ 1704 May-89 “From the year of the “Betts’, it is evident that Stradivari had arrived at the principles of acoustical construction to serve him until the end of his career.” (Hill brothers-Life and Work of Antonio Stradicari)
P106 Antonio Stradivari cello ‘Servais’ 1701 Dec-87 The only example which combines the grandeur of the pre-1700 instruments with the more masculine build of the master’s earlier years.’ (Hill Brothers – Life and Work of Antonio Stradivari)
P107 Map of Cremona Cremona map, 1580.  A richly pictorial map depicting Cremona as the masters would have known it.
P108 Andrea Amati violin 1564 Dec-91 The beauty of the workmanship, tonal properties and rich decoration of this royal instrument has seldom if ever been matched or surpassed. (Roger Hargrave)
P109 Alessandro Gagliano violin ‘Rotondo’ 1710 ?May ? 1987 The Rotondo stands at the forefront of the handful of surviving works by the first recorded Neapolitan violin maker.
P110 Guarneri ‘del Gesu’ violin ‘ex-soil’ 1733 Apr-84 Admirers of Tibor Varga will appreciate the qualities of this almost perfectly preserved violin, with which he made some of his finest recordings.
P111 Antonio Stradivari “Gibson” Viola 1734 Sep-86 The accuracy and beauty of this viola was a painstaking feat and a virtual swan-song for the old maker in his nineties.
P112 Jacob Stainer violin 1679 Apr-90 A remarkably preserved violin by the most popular non-Italian maker of his day.
P113 G.B. Guadagnini violin ‘Lachmann Schwechter’ 1776 Feb-85 This excellent example of Guadagnini’s work has a powerful tone, equal in quality to its striking, fiery-coloured varnish.
P114 Antonio Stradivari violin ‘Muir-Mackenzie’ 1694 Dec-85 A fine example of a long-pattern Stradivari, showing a marked divergence from the Amati pattern.
P115 Nicola Amati violin ‘Alard’ 1649 Mar-92 A magnificently crafted violin by the teacher of Rugeri, Guarneri, Stainer and possibly even Stradivari himself.
P116 Antonio Stradivari viola ‘Tuscan-Medici’  1690 Oct-92 A rare surviving viola from the master’s most skilful period.
P117 Brothers Amati tenor viola 1592 Mar-93 A fine example of the rarely played tenor viola, which set the standard for all the great Cremonese makers.
P118 Domenico Montagnana cello ‘Sleeping Beauty’ 1739 Oct-93 Called ‘the Mighty Venetian’ by novelist Charles Reade, Domenico Montagnana is venerated as one of the greatest cello makers. This 1739 instrument is a mature example of his craft, with beautiful deep-flamed maple and well-matched pine, and thickly laid-on red–golden varnish.
P119 Giovanni Paolo Maggini contralto viola Unkwn Jun-94 A rare example of an unaltered contralto viola from the middle period of the great 17th-century Brescian maker. Date unknown.
P120 Guarneri ‘del Gesù’ violin ‘Kochanski’ 1741 Oct-94 One of the few ‘del Gesù’ instruments dated 1741, this violin is exceptional due to its fine state of preservation and pristine varnish.The thickness of the coat is almost undisturbed by polishing, and its glistening texture emphasises the instrument’s freshness and natural condition.
P121 Carlo Bergonzi violin 1731 Jun-95 Carlo Bergonzi’s output was among the smallest of the Cremonese makers but is characterised by outstanding quality, as this violin shows.
P122 Pietro Guarneri of Venice violin 1735 Dec-95 A master combination of the traditions of Cremona and Venice by the elder brother of ‘del Gesù’. The flamed maple of the back has a richness associated with golden-period Stradivaris, and Guarneri’s flowing, mannered f-holes work well with the red brilliance of the Venetian varnish.
P123 Antonio Stradivari viola ‘Archinto’  1696 Jun-96 Stradivari’s elegant design and nt perfected red varnish combine in remarkable instrument
P124 Nicolò Amati violin 1666 Feb-97 In both conception and creation this ‘Grand Pattern’ violin is a treasure of craftsmanship. The wood of the front has a wonderful rippling gleam that seems to come only from the greatest Cremonese grounds, and the arching is almost square across the centre bouts but with a beautiful long arch that dips only barely at the ends.
P125 Andrea Guarneri viola ‘Conti Vitali’ c.1676 An important instrument from the first maker to concentrate on the smaller-pattern viola.
P126 Alessandro Gagliano cello 1704 Sep-97 Advanced for its date in design, this fine cello is also remarkable for its varnish.
P127 G.B. Rogeri violin 1704 Dec-97 A characteristic violin from the end of the Brescian maker’s career, clearly showing the influence of Amati.
P128 Antonio Stradivari violin ‘Milanollo’ 1728 Jun-98 A rare violin in fine condition, conserved rather than played, which matches several of the period, including the ‘Kreutzer’. Made when the master was in his 84th year, the violin is capable of producing a clean, aggressive, light sound and all shades in between as well.
P129 G.B. Guadagnini viola 1785 Dec-98 A typical small and stocky viola of the Turin period, which is both rare and finely preserved.
SCD05 Guarneri ‘del Gesù’ Violin ‘Il Cannone’ 1742 Jun-99 Poster, CD and Booklet
P130 Gasparo da Salò viola c.1580 Dec-99 Possibly the only small Gasparo viola in existence, this is a fascinating and uncut example of the early Brescian maker’s work.
P131 Antonio Stradivari cello ‘De Munck’ 1730 Jun-00 This marvellous, well-presented cello played by Feuermann and Isserlis is striking for the originality that created a new cello form.
P132 Matteo Gofriller (Goffriller) violin 1700 Dec-00 A classic example of the great Venetian’s work: his own pattern with glorious varnish and individual wood selection.
P133 Brothers Amati viola c.1620 Jun-01 This rare example of a contralto viola by the Amati brothers is uncut and in superb condition.
P134 Antonio Stradivari cello ‘Davidov’  1712 Dec-01 > not available <
P135 Guarneri ‘del Gesù’ violin ‘Alard’ 1742 Jun-02 In undisturbed condition, this violin gives an unparalleled insight into the working methods of ‘del Gesù’. Its unpolished finish, lack of patina, pale ground and general condition mean it could almost be mistaken for a 19th-century or even a modern instrument. The bulky look of the head places it in the group of those carved by the maker himself.
P136 G.B. Guadagnini cello ‘Simpson’ 1777 Dec-02 This impressive cello, Guadagnini’s last commission from his patron Count Cozio, follows a Stradivarian template, but his own style still shines through.
P137 G.P. Maggini violin c.1630 Jun-03 One of the few Magginis to remain at its original size, this Cremonese-influenced violin is in superb condition
P138 Matteo Gofriller (Goffriller) cello ‘Schneider’ 1693 Dec-03 An unusual cello by the Venice-based luthier, with a rosette that harks back to his German training and influences.
P139 Guarneri ‘del Gesu’ violin ‘Lord Wilton’ 1742 Apr-04 Once the concert instrument of Yehudi Menuhin, this magnificent violin makes an interesting contrast with the ‘Alard’ of the same year.
P140 Carlo Giuseppe Testore violin c.1703 Jun-04 This fine-sounding Milanese violin, with a one-piece belly and imitation purfling, is still in excellent condition
P141 Peter Guarneri of Mantua (Pietro Guarneri of Manua) violin 1704 Dec-04 A stunning violin by the greatest craftsman of the Guarneri family
P142 Andrea Amati violin c.1566 Jun-05 One of the decorated instruments made for the French court, this harmoniously designed violin is a striking reminder of Andrea Amati’s achievements
P143 Domenico Montagnana cello 1740 Dec-05 This fine, unusually small cello, played by Steven Isserlis, has the dark-toned, signature sound of the great Venetian maker’s larger instruments.
P144 Antonio Stradivari violin ‘Viotti’ 1709 Mar-06 One of the top Stradivari violins in the world, the 1709 ‘Viotti’ helped to establish the master’s name – thanks to its illustrious owner. The powerful tone and brilliance of sound created by this exceptional combination of instrument and performer (G.B. Viotti) helped to create the Stradivari legend.
P145 Antonio Stradivari violin ‘Kruse’ 1721 Jun-06 Played by Kreutzer, Maurin and Stern, the 1721 ‘Kruse’ is one of the master’s finest violins and remains in superb condition.
P146 Domenico Montagnana violin 1717 Dec-06 A vivid and uncompromising violin that shows both the strong effect of Montagnana’s early influences and also the rapid evolution of his own style – by 1717 he was already a very experienced maker. The varnish is lush, deep and vivid, and looks as if it was poured on with a ladle over a ground of sparkling gold. Includes measurements
P147-P204 ? ?     > Mostly likely these poster numbers were never used <
P205 Gasparo da Salò double bass c.1550 A magnificent double bass by the 16th century Italian master, Gasparo da Salò with original scroll.
P206 Carlo Bergonzi violin 1736 Mar-07 A fabulous instrument made by Bergonzi at the height of his powers.
P207 Henry Jaye viol 1619 Jun-07 The intricate work of British viol maker Henry Jaye is testament to the unsung tradition of viol making in 17th century London.
P208 Brothers Amati Cello (5-String)  c.1600 Feb-08 As the only known example of this specific form of instrument, this Brothers Amati five-stringed cello c.1600 from the workshops of Cremona, is something of an oddity
P209 Nicolas Lupot violin 1808 Jun-08 The impact this violin makes on both the eye and ear is very little short of that of its inspiration, a truly great golden period Stradivari. It is quite appropriate that he is known as the French Stradivari. The varnish on this violin is simply glorious, and present in good quantity and thickness. The colour is a wonderful deep red with the faintest blue notes of a very fine wine. John Dilworth, The Strad, June 2008
P210 Antonio Stradivari violin ‘Titian’ 1715 Feb-09 The ‘Titian’ Stradivari of 1715 has long been counted among its maker’s finest golden-period violins. It has revealed itself to be a formidable concert instrument of unusual power and scope, remarkable for its focus and resilience under the bow. The violin was dubbed ‘Titian’ by the French dealer Albert Caressa because of its clear orange-red colour that reminded him of the work of the famous Venetian painter. Includes photographs, scans and measurements
P211 Pietro Giacomo Rogeri cello 1717 Jul-09 This cello, made in 1717, was owned by Nicolò Paganini who pawned it to pay off a gambling debt. The superb quality of maple used for the cello is obvious and most features of the construction follow Amati principles. The Hills mentioned in specifically in their book Antonio Stradivari, His Life and Work and called it an ‘admirable form…of excellent dimensions’.
P212 Jacob Stainer tenor viola 1650 Mar-10 This tenor viola is in superb condition. The scroll is a replacement, but the rest of the instrument – remarkably the neck and fingerboard – are believed to be original. The instrument’s label, which is a facsimile, states that it was made in 1650.
P213 Guarneri ‘del Gesù’ Violin ‘Cessole’, ‘Teja–Ferni’ 1736 Jul-10 Guarneri ‘del Gesù’ made the ‘Cessole’ violin during his period of full maturity. It bears a label dated 1736, and the character of the instrument fits perfectly with his style in that year. The violin has a delicate, balanced appearance, a trait that is generally unexpected for ‘del Gesù’, but which is often found in his instruments before his later period. The back is spectacular, with a broad and deep flame extending upwards from the central joint.
P214 Antonio Stradivari Violin ‘Messiah’ 1716 Mar-11 Stradivari’s 1716 ‘Messiah’ violin is one of the most coveted in the world. Made during his golden period and barely played since then, its pristine condition offers unique insights into the mind of the great master.
P215 Guarneri ‘del Gesù’ violin ‘Plowden’ 1735 Jul-11 One of the finest and most acclaimed ‘del Gesù’ instruments in existence, the ‘Plowden’ is striking in its vivid freshness and particularly notable for the intense orange–red varnish on its stunning one-piece back.
P216 Antonio Stradivari Cello ‘Saveuse’ 1726 May-12 The 1726 ‘Saveuse’ is one of the smallest cellos ever to come out of Antonio Stradivari’s workshop. From the beautifully carved scroll to the smouldering, rich maroon colour of the varnish, the instrument displays the finest characteristics of the luthier’s late period. It remains in almost perfect condition and provides a fascinating insight into the mind of Stradivari the innovator. This poster will be an excellent resource for anyone looking to learn from the master.
P217 Francesco Rugeri violin 1686 Dec-12 Was the 17th-century maker Francesco Rugeri trained by Nicolò Amati? This violin appears to show the clear influence of the great master, with arching close to Amati’s late style and f-holes showing Rugeri’s personal interpretation of an Amati model. Conversely, the head seems to anticipate the work of Carlo Bergonzi, some decades later.  A fascinating violin by a highly regarded Cremonese maker.
P218 Jean-Baptiste Vuillaume Cello 1865 Jun-13 This beautiful cello was made by Jean-Baptiste Vuillaume as part of a quartet for Count Dmitry Sheremetev. It is a rare copy of an early Stradivari of large size, and the form corresponds closely with that of the ‘Cristiani’, ‘Stauffer’ Stradivari of 1700. The arching is fuller than in the usual post-1700 B-form flattened style of the Stradivari, and Vuillaume’s habitual use of ebony for the purfling gives it a personal touch. The varnish is rich and dark, and the back is emblazoned with the Sheremetev coat of arms.
P219 Antonio Stradivari Violin ‘Huberman’ 1713 Nov-13 This stunning instrument from Stradivari’s golden period has sleek, taut arching, lithe and slender corners, and a bubbled texture to the plum-red varnish. It was played by Bronislaw Huberman until 1936 until it was notoriously stolen from his dressing room at Carnegie Hall. Fifty years later it was recovered, and is now the property of US soloist Joshua Bell. Includes scans and measurements.
P220 G.B. Guadagnini Violin ‘Salabue’, ‘Berta’ 1774 Jun-14 One of the early violins of Guadagnini’s Turin period, the ‘Salabue’, ‘Berta’ is in an excellent state of preservation, having been owned by various collectors (including Count Cozio di Salabue) for the past three centuries.  The condition of the golden brown varnish is particularly fine.
P221 José Contreras violin 1767 Dec-14 This splendid violin from the so-called ‘Classical Age’ of Spanish violin making might well have been commissioned for King Charles IV. José Contreras (c.1710–82) was one of the greatest luthiers of the era, sometimes referred to as ‘the Spanish Stradivari’. The influence of the Cremonese master can clearly be seen in this fine instrument.
P222 Andrea Amati cello ‘King’ Uknwn Jun-15 Thought to be the oldest surviving cello in the world, the ‘King’ provides a wealth of information about Amati’s techniques. Although the instrument has undergone extensive modifications over the centuries, it is the only decorated Amati cello to have retained its original scroll. In the 16th century it formed part of the instrument collection of the French royal court.
P223 Guarneri ‘del Gesù’ Violin ‘Brusilow’ 1743 Dec-15 A superb violin from the last years of the maker’s life, the ‘Brusilow’ is in an incredible state of preservation. Played for many years by Anshel Brusilow during his years as concertmaster of the Philadelphia Orchestra, the instrument displays many of the idiosyncratic qualities that characterise the late period of ‘del Gesù’.
P224 Antonio Stradivari Violin ‘Benvenuti’ 1727 Dec-16 One of the masterpieces of Stradivari’s late period, the ‘Benvenuti’ has had a rich playing history – which makes it all the more remarkable that the instrument remains in superb condition today.
P225 Antonio Stradivari Violin ‘Dancla’ 1708 Jul-17 The 1708 ‘Dancla’ Stradivari is an exceptional violin from the middle of the maker’s so-called ‘golden period’. It perfectly represents Antonio Stradivari’s later experiments while also embodying some rare characteristics. This poster not only boasts full-length, actual-size photographs by Jan Röhrmann, but also CT scans, thickness and arching maps, and full measurements.
P226 Guarneri ‘del Gesù’ Violin ‘Armingaud, Fernández Blanco’ 1732 Nov-17 NOTE: Recalled, the instrument outline on the back of the poster does not belong to the 1732 violin, but was in fact held over from a previous poster.  Re-issued in the Feb’18 Edition.
P227 Guarneri ‘del Gesù’ Violin ‘Vieuxtemps’ 1741 Jun-18 ‘The violin has a colossal range. I found I could play the entire repertoire, from Vivaldi to Sibelius to modern works, just on this one violin. It feels as though there’s colour in my fingertips‘
P228 Antonio Stradivari Violin ‘Cecil’ 1724 Nov-18 ‘The varnish is the same deep, rich red–brown seen on great examples of the golden period like the 1721 ‘Lady Blunt’ and 1716 ‘Medici’. It is, apart from the repairs to the front, unadulterated by polish and other accretions that camouflage the texture of so many well-used and restored examples‘
P229 Antonio Stradivari Viola ‘Gustav Mahler’ 1672 Jul-19 ‘The more one looks into the “Mahler”, the more facets and curiosities reveal themselves. Like all great artworks it is a product of its time and circumstances, as well as a result of experiments to bring something totally new and unique into the world‘
P230 Nicolo Amati Viola ‘Romanov’ 1677 Dec-19 ‘The 1677 ‘Romanov’ was made when Nicolò Amati was 81 years old and clearly shows the hand of the master, along with that of his son, Girolamo Amati II. It has been part of the collections of the Venetian nobility and Russian imperial dynasty, and was for many years the concert instrument of Max Aronoff, violinist with the Curtis Quartet.‘


6 responses

  1. Thank you for compiling this list. As you said, tis a shame most are unavailable, but this helps the novice such as I choose from the many, many options.

  2. Thanks for making the poster list. Do you know which violin (if not the “Blanco” as you indicate) is shown on the back of the Nov. 2017 del Gesu 1732″ poster? The back of the poster I received matches the little inset image of the poster shown on page 43 if the November 2017 Strad issue. I presume it is also wrong then.

    • Hi Henry, The Strad has indicated that “The instrument outline on the back of the poster does not belong to the 1732 violin, but was in fact held over from a previous poster.” I expect it’s the Strad “Dancla”, but I cannot verify this at the moment. Thanks, Stephen

  3. I am currently a technician in the Music Division at the Library of Congress and I wanted to thank you for this resource. I pulled some of these posers out, then realized they were bound with their corresponding issues. Not sure I could have matched them back up without this!

  4. What a great helpful list. Thanks so much! If anyone has a copy of 116 / Strad’s Tenor Viola, I’d be really happy to hear from you 🙂 Thanks again.

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