PAGANINI, NICOLO. (1782-1840). Italian musician and composer; regarded as the violin’s greatest virtuoso. Signed engraving. (“Nicolo Paganini”). 1p. Small 4to. Bristol, December 12, 1831. An engraving of Paganini by London’s John Bell taken from an uncredited lithograph by Nicolas Eustache Maurin after a painting (presumably lost) by Édouard Pingret inscribed in Italian to “My Dear Madame Dunne.”

A child prodigy, Paganini began his career playing throughout the surroundings of his native Genoa, followed by a successful premiere in Milan in 1813, after which his name became synonymous with virtuoso. Many of Paganini’s compositions were deemed unplayable, prompting some to claim that his talent was the result of supernatural, if not diabolical, influences.

Paganini arrived in London on May 14, 1831, where, on June 3, he gave the first of a series of 18 concerts. His well-received debut led The Times, which had protested the high ticket prices, to write, “He is not only the finest player that has ever existed on that instrument, but he forms a class by himself,” (The New Grove Dictionary). The concerts brought Paganini over 10,000 pounds, more than $1.8 million dollars today, after which he left for Ireland, Scotland, and the provinces.

However, at least one anonymous citizen of Bristol known as “Philadelphus” objected to a Paganini performance in December 1831, going so far as to print a lampoon on December 10, declaring “Fellow Citizens—It is with feelings of unqualified disgust that I witness the announcement of Signor Paganini’s Performance to take place in this City: Why at this period of Distress? With the recollection of so many scenes of misery still fresh in our minds, and whilst Subscriptions are required to the extent of our means in order to Feed and Clothe the Poor: why is this Foreign Fiddler now to appear? For the purpose of best feeling of man—Charity. Do not suffer yourselves to be imposed upon by the Payment of Charges which are well worth the name of extortion; rather suffer under the imputation of want of Taste than support any of the tribe of Foreign Music-Monsters, who collect the Cash of this Country and waft it into their own shores, laughing at the infatuation of John Bull,” (quoted in Nicolo Paganini: His Life and Work, Stratton). Philadelphus was objecting to Paganini’s concert because of the riots that had erupted after Parliament failed to pass an electoral reform bill and which, from October 29-31, led to the burning of Bristol’s inner city, significant casualties, and at least 12 deaths. More than 100 rioters were tried and 31 executed.

The British Museum describes Maurin’s image printed by Gihaut Freres, as showing “Paganini in his most romantic guise, with tousled hair and gaunt cheeks, the product of his reliance on mercury and opium... ” (

Light age wear and in very fine condition. Of the greatest rarity in this format.