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Bass viola da gamba
Alternate name:Violoncello
Alternate name:Cello
Alternate name:Bass viol
Date: 1730 ca.
Place Made:Cremona, Italy, Europe
Model: Viola da gamba
Serial No: none
SignedFacsimile printed label, the last three digits of year written in purple ink: Antonius Stradiuarius Cremonenſis / Faciebat Anno 1730 [“+ / AS” Stradivari monogram in double-line circle]
MarkingsWritten on parchment strip on inside of top, visible under UV light (see photos by Stan Schmidt in file): Jos Wagner, Jahre, 1831.
Branded on bridge: BEIN & FUSHI CHICAGO
Written in pencil on underside of bridge: FRUH-STRAD-FLAT-BACK
Branded on bridge: BEIN & FUSHI CHICAGO
Written in pencil on underside of bridge: FRUH-STRAD-FLAT-BACK
DescriptionThe "Fruh" Stradivari cello was adapted from a viola da gamba attributed to the Stradivari workshop ca. 1730. The original top and lower portion of the back are preserved, married to sides and neck made in the 19th century. A faint inscription on the interior, Jos Wagner, Jahre, 1831, is likely its date of modification. It is one of three surviving Stradivari violas da gamba.
Top: four-piece, quarter-cut spruce: wide grain; original shape of viola da gamba still outlined with purfling in upper bouts; two large spruce pins through top into bottom block on bass side of center joint, the larger pin closer to center joint; small wood pin through top into top block on bass side of center joint
Back: two-piece, quarter-cut maple: faint, broad curl descending from center joint; upper portion of bend later, possibly taken from another instrument – notches survive for back button but current button is integral with adjustable neck
Ribs: quarter-cut maple: broad curl; angled to left on bass side, angled to right on treble side; later
Head and neck: maple: broad curl; adjustable neck with nickel-silver screw mechanism; later
Arching: none on back
Edging: later
Purfling: wide, later purfling around outside edges; thinner purfling outlining viola da gamba shape
Varnish: original orange-red; later orange-brown
Fingerboard: ebony with bevel at C-string; later
Nut: ebony; later
Tailpiece: ebony; later, added by NMM 6/29/05 from Arne B. Larson Estate parts
Tailgut: black plastic
Pegs: ebony; later
Saddle: ebony; later
Endpin: rosewood and gold-over-chrome plating with chrome-plated steel spike
F-holes: strongly curved lower wings; lower wings not chamfered; slightly undercut; inside edges stained dark
Linings: willow; wide
Corner blocks: spruce
Top block: spruce
Bottom block: spruce
Other: three spruce braces on inside of back, one in lower bouts and two in upper bouts, one each above and below bend; parchment strip along center joint of back
Technical drawing available for purchase.
Top: four-piece, quarter-cut spruce: wide grain; original shape of viola da gamba still outlined with purfling in upper bouts; two large spruce pins through top into bottom block on bass side of center joint, the larger pin closer to center joint; small wood pin through top into top block on bass side of center joint
Back: two-piece, quarter-cut maple: faint, broad curl descending from center joint; upper portion of bend later, possibly taken from another instrument – notches survive for back button but current button is integral with adjustable neck
Ribs: quarter-cut maple: broad curl; angled to left on bass side, angled to right on treble side; later
Head and neck: maple: broad curl; adjustable neck with nickel-silver screw mechanism; later
Arching: none on back
Edging: later
Purfling: wide, later purfling around outside edges; thinner purfling outlining viola da gamba shape
Varnish: original orange-red; later orange-brown
Fingerboard: ebony with bevel at C-string; later
Nut: ebony; later
Tailpiece: ebony; later, added by NMM 6/29/05 from Arne B. Larson Estate parts
Tailgut: black plastic
Pegs: ebony; later
Saddle: ebony; later
Endpin: rosewood and gold-over-chrome plating with chrome-plated steel spike
F-holes: strongly curved lower wings; lower wings not chamfered; slightly undercut; inside edges stained dark
Linings: willow; wide
Corner blocks: spruce
Top block: spruce
Bottom block: spruce
Other: three spruce braces on inside of back, one in lower bouts and two in upper bouts, one each above and below bend; parchment strip along center joint of back
Technical drawing available for purchase.
DimensionsNote that in upper bouts, widest point of the viola da gamba outline is not at same location as the widest point of the current ‘cello outline.
Back length: 695 mm
Upper bout width (‘cello): 327 mm
Upper bout width (v.d.g.): 309 mm (actual, without purfling); about 320 mm (with estimated edging and purfling)
Center bout width: 231 mm
Lower bout width: 417 mm
Stop length: 373 mm
Top measurements
Top length: 697 mm
Upper bout width (‘cello): 326 mm
Front upper bout width (v. d. g.): 311 mm (actual, without purfling or edging); about 325 mm (with estimated edging and purfling)
Front center bout width: 228 mm
Lower bout width: 414 mm
Total violoncello length: 1168 mm
Upper rib height: 117-121 mm
Center rib height: 120-122 mm
Lower rib height: 120-124 mm
Vibrating string length: 659 mm
Neck length (bottom of nut to ribs): 273 mm
Distance between upper f-hole eyes: 85 mm
Back length: 695 mm
Upper bout width (‘cello): 327 mm
Upper bout width (v.d.g.): 309 mm (actual, without purfling); about 320 mm (with estimated edging and purfling)
Center bout width: 231 mm
Lower bout width: 417 mm
Stop length: 373 mm
Top measurements
Top length: 697 mm
Upper bout width (‘cello): 326 mm
Front upper bout width (v. d. g.): 311 mm (actual, without purfling or edging); about 325 mm (with estimated edging and purfling)
Front center bout width: 228 mm
Lower bout width: 414 mm
Total violoncello length: 1168 mm
Upper rib height: 117-121 mm
Center rib height: 120-122 mm
Lower rib height: 120-124 mm
Vibrating string length: 659 mm
Neck length (bottom of nut to ribs): 273 mm
Distance between upper f-hole eyes: 85 mm
ProvenanceKarl Fruh, Chicago, Illinois and Austin, Texas. Fruh was an influential Chicago-area cello teacher and performer. This Stradivari viola da gamba was identified by Robert Bein and Charles Beare at a London auction in the early 1980s. It was subsequently sold to Fruh by Bein & Fushi.
Credit Line: Gift of Karl B. and Helen Fruh Estate, 2005
Not on view
Published ReferencesStan Schmidt, “The Crystal Clue in Stradivari’s Varnish: An Investigation with Polarized, Optical Light Microscope and Electron Microprobe,” Violin Society of America Journal 9, No. 3 (1989), pp. 51-70.
Myrna Herzog, “Violin Traits in Italian Viol Building, Rule or Exception?” Proceedings of the International Symposium on the Italian Viola da Gamba, Magnano, 29 April - 1 May, 2000 (Solignac and Turin: Édition Ensemble Baroque de Limoges and Edizioni Angelo Manzoni, 2002), pp. 145-163.
Tom McCracken, “Italian Instruments in a List of Extant Viols Made Before 1900,” Proceedings of the International Symposium on the Italian Viola da Gamba, Magnano, 29 April - 1 May, 2000 (Solignac and Turin: Édition Ensemble Baroque de Limoges and Edizioni Angelo Manzoni, 2002), pp. 127-144.
Myrna Herzog, “Stradivari’s Viols,” The Galpin Society Journal, Vol. 57 (May 2004), pp. 183-194, 216.
The National Music Museum presents Celebrating the 500th Birthday of Andrea Amati: The Secrets, Lives & Violins of the Great Cremona Makers 1505-1744, Vol. 1 (Claire Givens Violins, Inc., 2005) CD
André Larson, “Another Splendid Gift Received . . . Rare Stradivari Cello Now On Exhibit in Rawlins Gallery," National Music Museum Newsletter 33, No. 2 (May 2006), pp. 1-2.
Stewart Pollens, Stradivari. Cambridge: Cambridge University Press, 2010, pp. 151-152.
Myrna Herzog, “Violin Traits in Italian Viol Building, Rule or Exception?” Proceedings of the International Symposium on the Italian Viola da Gamba, Magnano, 29 April - 1 May, 2000 (Solignac and Turin: Édition Ensemble Baroque de Limoges and Edizioni Angelo Manzoni, 2002), pp. 145-163.
Tom McCracken, “Italian Instruments in a List of Extant Viols Made Before 1900,” Proceedings of the International Symposium on the Italian Viola da Gamba, Magnano, 29 April - 1 May, 2000 (Solignac and Turin: Édition Ensemble Baroque de Limoges and Edizioni Angelo Manzoni, 2002), pp. 127-144.
Myrna Herzog, “Stradivari’s Viols,” The Galpin Society Journal, Vol. 57 (May 2004), pp. 183-194, 216.
The National Music Museum presents Celebrating the 500th Birthday of Andrea Amati: The Secrets, Lives & Violins of the Great Cremona Makers 1505-1744, Vol. 1 (Claire Givens Violins, Inc., 2005) CD
André Larson, “Another Splendid Gift Received . . . Rare Stradivari Cello Now On Exhibit in Rawlins Gallery," National Music Museum Newsletter 33, No. 2 (May 2006), pp. 1-2.
Stewart Pollens, Stradivari. Cambridge: Cambridge University Press, 2010, pp. 151-152.
Object number: 10845