-
Genesis
Antonio Stradivari (1644-1737), one of the most distinguished luthiers in history, completed the Gibson ex-Huberman violin in 1713. From around 1700, Stradivari began making instruments in his "grand pattern," as characterized by a shorter, and wider design of the violin body. The next two decades were termed the "golden age" of his violin making. The label inside the violin reads: "Antonius Stradivarius Cremonensis Faciebat Anno 1713," indicating that the instrument was made in Cremona. -
Period: to
Unclear ownership
The violin's history from immediately after its genesis is unclear, but it is known that Hippolyte Silvestre (1845-1913), a French violin-maker, owned the violin until 1894. The Silvestres were a prolific family of luthiers, of which included his uncle, Pierre Silvestre (1801-1859), one of the finest makers of the 19th century, alongside George Chanot and Jean-Baptiste Vuillaume. Both Silvestres made exquisite copies of Stradivarius, Amati, and Guaneri violins. -
Owned by Hippolyte Silvestre
Hippolyte Silvestre was a Parisian violin luthier who owned the 1713 Stradivarius until 1894. He and his uncle, Pierre Silvestre, were distinguished French luthiers who often made copies of Stradivarius instruments themselves. -
Period: to
W.E. Hill & Sons
W.E. Hill & Sons, founded by William Ebsworth Hill in 1880, was a London-based family business. It enjoyed unrivalled success and respect throughout the 20th century as violin and bow makers, restorers, and experts. W.E. Hill and Sons reportedly bought the 1713 Stradivarius from "an old French family" -- presumbly, the Silvestres, before selling the violin to George Alfred Gibson, an accomplished English violinist. -
Period: to
George Alfred Gibson
George Alfred Gibson (1849-1924) was a distinguished English violinist. He was a professor of violin at the Royal Academy in the UK, a famous violin soloist, and the viola player in the renowned "Joachim Quartet." -
Huberman acquires the violin
There are mixed reports about how Huberman acquired the 1713 Stradivarius. Some sources state that Huberman was gifted the Gibson Stradivarious by Polish Count Zamoyski, a wealthy music lover who recognized Huberman's musical talent, while others state that Huberman purchased the instrument. -
Period: to
Bronislaw Huberman
Bronislaw Huberman (1882-1947) was a Jewish Polish violinist who, beyond his incredible musical achievements, is remembered also for his role in founding the Palestine Symphony Orchestra -- now the Israel Philharmonic Orchestra -- which provided refuge for nearly 1,000 European Jews during World War II. While Huberman was in possession of the 1713 Stradivarius, he made several commercial recordings of large-scale works, including the violin concertos of Mendelssohn, Tchaikovsky, and Beethoven. -
First theft attempt
A thief attempted to steal violin from Huberman's hotel room while he was in Vienna in 1919. Fortunately, the police successfully recovered the violin within 3 days when the thief tried to sell it. -
Period: to
Julian Altman
While there is some debate about whether Altman himself stole the violin from Huberman's dressing room in 1936, or whether he paid a friend $100 for the stolen violin, he came to own the violin in 1936. He covered the 1713 Strad with shoe polish, and performed on it for the rest of his career -- an amalgamation of bar stints, and at his peak, as the first chair of the National Symphony Orchestra during World War II. He confessed the true identity of the instrument to his wife at his deathbed. -
Violin stolen from Huberman
When Bronislaw Huberman was performing in a benefit recital to raise funds for his Palestine Symphony Orchestra, his beloved Stradivarius was stolen from his dressing room. At the time, he owned two great violins: the Stradivarius, and a Giuseppe Guarneri. Unfortunately, while he was on stage performing with the Guarneri, a thief -- arguably violinist Julian Altman -- made his way into Huberman's dressing room, and left with the violin hidden in his coat. -
Huberman's death
Huberman passed away without knowing the fate of his violin. His only compensation was the $30,000 he received from Lloyds of London, an insurance company. -
Julian Altman's deathbed confession
Julian Altman made a deathbed confession to his wife, Marcelle Hall, about the true identity of his violin. "I want you to do something about that violin," he told his wife. "That violin is important." (NY Times 1987). Hall ended up finding newspaper clippings in the canvas cover of the violin case about a violin stolen in 1936 and quickly made the connection. She later returned the instrument for a finder's award two years after Altman's death. -
Violin returned to Lloyds of London
Marcelle Hall returned the violin to the Lloyds of London in exchange for the $263,000 finder's fee. Photo: The violin shortly after restoration. -
Period: to
Norbert Brainin
British musician Norbert Brainin was the first violinist of the Amadeus Quartet, one of the world's most highly regarded string quartets. He purchased the violin from J and A Beare Violins, acting on behalf of the Lloyds of London in 1989. During this time, Brainin had once let Joshua Bell play on the instrument after they rehearsed the Mozart G Minor String Quartet together for a concert. "One day you might be lucky enough to have such a violin," Brainin said prophetically at that time. -
Joshua Bell acquires violin
Joshua Bell, while buying some violin strings at a shop, was introduced to the 1713 Stradivarius. At first, he was told that the violin was being sold to a German industrialist for his private collection, but after Bell played on the violin for only a few notes -- he "vowed that this would not happen." "This was an instrument meant to be played, not just admired," Bell said. He acquires the violin for approximately $4 million, after selling his previous violin, the Tom Taylor Stradivarius. -
Period: to
Joshua Bell
Joshua Bell acquired the 1713 Stradivarius in 2001 and is in current possession of the instrument. He has since performed in Israel with the Israel Philharmonic, an experience of which he states: "I am always touched to think how many of the orchestra nd audience members are direct descendants of the musicians Huberman saved from the Holocause with funds raised by concerts performed on the very same instrument I play every day."
