When the Ashmolean first decided to create this exhibition with the world-renowned violin specialist Charles Beare, it was clear that this was going to be something very special indeed.
For the first time ever in the UK, 21 of Stradivari’s most important, well-preserved instruments are on display (until 11 August) to showcase the brilliance of his craft, including 11 works from his golden period. Each instrument has been selected by Beare, based on its age, condition, and relevance to the aims of the show.
Detailed views
For a publisher, the images were going to be the key to the success and quality of the final catalogue.
Having had the pleasure of working on a large tome of the Hill Collection of Musical Instruments in the Ashmolean in 2011, I felt I had an aspirational example to work towards. With this book in mind, I contacted the same designer, photographer and printer to bring the exhibition catalogue to publication.
The concept was to have a series of matching views for every instrument: front and back views; views of sides, scrolls; and key details such as pegbox, varnish wear and so on. This would make the book attractive to luthiers, collectors, players, as well as the general reader.
It would be inconceivable to attempt to publish a book on such fine musical instruments without beautiful images to illustrate the craftsmanship of Stradivari. This approach is more involved than a two-dimensional exhibition of oils, watercolours or works on paper, where one view (a perhaps an enlarged detail) are usually all that is required.
The practice, as opposed to the theory, was not so straightforward. While some instruments were within easy reach of Oxford, others were in private collections in the US and in Europe.
The photographer Tucker Densley (also an expert luthier) had to fly to Seattle, New York, Cremona, Madrid and also make a trip to London, clocking up around 50,000 miles, to ensure that each instrument was given the same attention. He used the same lighting and camera to ensure a high level of consistency throughout the book.
As if distance were not enough of an obstacle, some of the instruments are regularly played in concert orchestras, so the timing of the photo shoots was also a critical factor to take into account. Indeed, the timing of the exhibition is based around the availability of a number of the violins on display.
Spot varnish
With photography finally completed by early April, we had around eight weeks to plan, layout, design and print the catalogue. Each image has been modified, by cutting out the original backgrounds, then they are spot varnished while on press, to give a natural lift to the texture, allowing the woodgrain of the instruments to be appreciated.
It is the extra attention to detail that will make this title outstanding and a worthy commemoration of this once in a generation show.
Declan McCarthy is the head of publications at the Ashmolean Museum, Oxford
For the first time ever in the UK, 21 of Stradivari’s most important, well-preserved instruments are on display (until 11 August) to showcase the brilliance of his craft, including 11 works from his golden period. Each instrument has been selected by Beare, based on its age, condition, and relevance to the aims of the show.
Detailed views
For a publisher, the images were going to be the key to the success and quality of the final catalogue.
Having had the pleasure of working on a large tome of the Hill Collection of Musical Instruments in the Ashmolean in 2011, I felt I had an aspirational example to work towards. With this book in mind, I contacted the same designer, photographer and printer to bring the exhibition catalogue to publication.
The concept was to have a series of matching views for every instrument: front and back views; views of sides, scrolls; and key details such as pegbox, varnish wear and so on. This would make the book attractive to luthiers, collectors, players, as well as the general reader.
It would be inconceivable to attempt to publish a book on such fine musical instruments without beautiful images to illustrate the craftsmanship of Stradivari. This approach is more involved than a two-dimensional exhibition of oils, watercolours or works on paper, where one view (a perhaps an enlarged detail) are usually all that is required.
The practice, as opposed to the theory, was not so straightforward. While some instruments were within easy reach of Oxford, others were in private collections in the US and in Europe.
The photographer Tucker Densley (also an expert luthier) had to fly to Seattle, New York, Cremona, Madrid and also make a trip to London, clocking up around 50,000 miles, to ensure that each instrument was given the same attention. He used the same lighting and camera to ensure a high level of consistency throughout the book.
As if distance were not enough of an obstacle, some of the instruments are regularly played in concert orchestras, so the timing of the photo shoots was also a critical factor to take into account. Indeed, the timing of the exhibition is based around the availability of a number of the violins on display.
Spot varnish
With photography finally completed by early April, we had around eight weeks to plan, layout, design and print the catalogue. Each image has been modified, by cutting out the original backgrounds, then they are spot varnished while on press, to give a natural lift to the texture, allowing the woodgrain of the instruments to be appreciated.
It is the extra attention to detail that will make this title outstanding and a worthy commemoration of this once in a generation show.
Declan McCarthy is the head of publications at the Ashmolean Museum, Oxford
