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Stradivari’s “Golden Period” is just as remarkable for the cellos he produced, in what was an exceptional burst of creativity. His earliest known work in this field dates from 1680, but the best examples are three celli from 1684, the “Bonjour”, “Visconti” and the “Kyd”. These are all of exceptionally large size by modern standards, with a back length of over 79cm. Stradivari progressively reduced this dimension during his developmental years, and finally arrived at his most celebrated cello design, which he called the “forma B”, in the first decade of the eighteenth century. The “B” form has become the most admired and imitated model for the cello, and its design, elegant proportion and playing qualities set new standards for the instrument. The ‘Markevitch’ is possibly the earliest example of this new pattern, although there are some inconsistencies in the outline which might mean it represents but the fi nal stage of experimentation prior to the perfected “B” form. The “B” form is perhaps the first soloist’s cello, designed to provide the leading voice in an ensemble, with the same low and powerful arching as the violins Stradivari was making at the same time. It’s compact and beautifully flowing shape, and in particular the elegant upper bouts, give the player access to every part of the fi ngerboard to allow virtuostic playing which would be tiring on larger instruments.
The “Markevitch” is constructed from the fi nest quality timber. Unflawed wood is difficult to find in the quantity required for cello making, but this wood is perfect in every way, with a beautiful mirrored flame figure on the two-piece back, and exceptionally straight, even-grained spruce in the top. Although the varnish is now very abraded, traces of the original dark red colour still remain. Signs of alteration to the original work can be seen in the ribs, which like those of the “Archinto” viola, have been lowered at some point. The head too has been altered by re-shaping the pegbox; Stardivari’s earlier cello design had a larger head, and this may be the last of these, remade by a later hand to resemble the more slender “B” pattern. The last turn into the eye of the scroll is also longer than might be expected on this cello model.
The small plugged hole between the upper corners of the back is a common feature of seventeenth century cellos. Prior to the introduction of the extended endpin, a neck – or shoulder-strap was used to support the instrument whilst being played, fastened to the instrument itself by means of this peghole. This method quickly became obsolete and is rarely seen in fine instruments after this period. The cello was owned in the eighteenth century by an Italian cellist, Count Delphino.He took it to Russia in around 1800 where he sold it to Count Gudovich. He then gave it to his godson Senator Andrei Markevitch, founder of the Russian Musical Society. It was in his possession when Alfred Hill, the English connoisseur and dealer, made a trip to Moscow with the violin collector Baron Knoop in 1899. The Paris dealer Albert Caressa subsequently sold it to Grace Broadbent in America, from whom Rembert Wurlitzer of New York acquired it in 1938. Meanwhile, the descendants of Andrei Markevitch had settled in Italy, and in the 1950s Dmitri Markevitch was able to buy it back. In the following decade he sold it again to the present owners, the Fridart Foundation.
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