Welcome to week 2 of Six Weeks of Stradivarius! Over the next weeks I shall be drawing six of my favourite violins made by the master himself, Antonio Stradivari.
Hellier - 1679
In my second week of drawings, I introduce the exquisite 1679 Hellier Strad, which is my personal favorite. Over the past year, I've become well-acquainted with this instrument as I am currently making a replica of it in my luthier course in London. Although it may not be the most sought-after Stradivarius in terms of sound quality, it certainly marks the onset of Stradivari's 'Golden Era'. The detailed floral patterns on the ribs and scroll demonstrate the meticulous attention to detail of the master luthier, with each element being inlaid rather than simply painted on, as is common with many replicas of the instrument. The Hellier was named after its original owner, Sir Edward Hellier, who possessed the instrument starting in 1734.
"It is possible to trace the history of the 'Hellier' back almost as far as Stradivari's famous workshop. In fact, several sources, including the Hills, endorse the account that the Englishman Sir Samuel Hellier of Wombourne–a passionate collector of musical instruments and books on music–had bought the instrument directly from Stradivari, in Cremona, in 1734. Apparently, in a letter to Sir Samuel, Stradivari himself referred to the price the gentleman paid for the instrument, the princely sum of £40. [...] the letter was unfortunately lost some time around the end of the 19th century." – Alessandra Barabaschi
Antonius Stradivarius (Volumes I-IV), Jost Thöne, Jan Röhrmann, Alessandra Barabaschi, Jost Thöne, Jan Röhrmann, Alessandra Barabaschi, Antonius Stradivarius (Volumes I-IV), Cologne
"As regards the dimensions, it differs from any other violin seen by us dated before 1684-85; these proportions were, in fact, never at any later period exceeded. Thus we see that Stradivari was already contemplating that change of proportions to which he was more generally to give effect after 1685. The perfect symmetry of the head, and the position and admirable design and cutting of the "f" holes, are also in advance of any of his contemporaneous work known to us. On the other hand, the model, heavy edge and small purfling are thoroughly characteristic of his early work, and the whole presents a heaviness and solidity of construction such as we may almost venture to say borders on clumsiness. We may here incidentally remark that this violin shows that Stradivari occasionally enjoyed rich patronage previous to 1680, for he received no ordinary remuneration for the making of such an instrument."
Antonio Stradivarius: His Life & Work, W. Henry, Arthur F. & Alfred E. Hill, W. Henry, Arthur F. & Alfred E. Hill, Antonio Stradivari: His Life & Work (1644-1737), London
This drawing required more than 13 hours to complete, focusing meticulously on the purfling and the inlaid pearl. The instrument also features several blank spaces that reveal the subtle wood grain, accomplished through fine pencil strokes.
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