HAGUE 11, LOAN 11
1560 C ?
No. of Strings:
Kunstmuseum Den Haag (formerly Gemeentemuseum)
Royal College of Music, London; Sir George Donaldson, -1904; Chardon, Paris; Jean-Baptiste Bonaventure Roquefort, Paris (d. 1833)
PT visits 6/77 & 9/78; Loan 1904, p. 151
Moens 1995, p. 170; Heyde 1986, pl. 30; van der Straeten 1909, pp. 281-82; Loan 1904, p. 151; Coutagne 1893, pp. 39-40 (?); Sandys & Forster 1864, 198
Mackey 2019, pp. 486-88 (back body only, head side, fingerboard [color]); Moens 1995, p. 169 (back); Heyde 1986, pl. 30 (front 3/4, back); AMIS Newsletter 12/2 (6/83): 1 (front); Bletschacher 1978, p. 133 (F+B); Hogwood 1978, p. 5 (front 3/4); Baines 1966, pl. 84-5 (front 3/4, back 7/8); Möller 1958 (F+B, head side, bass soundhole, fingerboard inscription, maker’s monogram); Ligtvoet 1955, p. 31 (front 7/8); also H.R. Haweis, Old Violins (Edinburgh 1910), p. 287, pl. 1 (not seen; cf. Moens 1995, p. 170, n. 18)
Body has only upper, no lower corners; overhanging edges. Heyde 1986 says probably from late 18th/early 19th C. using an old table, according to Moens. Back has (marquetry) picture of St. Matthew and angel. Fingerboard inscription: Viva fui in silvis sum dura occisa securi dum vixi tacui mortua dulce cano. Moens 1995: signed with monogram GD on back, whose decoration resembles that of BRUS 35 (St. Luke). Tourin: large wedge under fingerboard; changes at neck butt and at lower end of pegbox; plugged 7th hole. Baines 1966: body length 64. Möller 1958: recently repaired by him; external rib linings; maker’s mark matches that in Woerlot’s portrait (1562); head is a horse, with eyes of ebony; Van der Straeten 1909: “Every part of this perfectly preserved instrument is in its original condition except the bridge and the tailpiece” by Chardon, from whom Donaldson acquired it. Sandys & Forster 1864 say it’s St. John, after Raphael; their source was Choron’s Dictionnaire historique des muisiciens, artistes, at amateurs, morts ou vivants (2/1817).