filimonovfineviolins

Alina Kostina is a fabulous maker who spends half the time in Seattle and the other in Eugene, Oregon with David Gusset. She won a Cert. of Merit in VSA 2016

yes, I don't hide who I am. Chacun a son gout! and the "head salesperson in a major shop" is infallible? very funny

Your assertion does not prove factual. Like Trumpian defense against crimes and misdemeanors. It really depends on who was selling the bow. You accepted what you were told as truth. But that may not be the case. N'est-ce-Pas? To this day people make mistakes with Perlman and Zukerman, such as Pinchas Perlman and Itzhak Zukerman. For sure Pinchas Zukerman was known to have a Voirin/Vuillaume model(such as you describe) with his initials engraved on the ferrule. And last time we played with Itzhak Perlman, I asked what he was playing, he said Howard Green. He also used a repaired bow at rehearsal, which looked to me like an Henry.

I think your source meant Pinchas Zukerman used a Voirin (at one time). Itzhak has used many nice old bows in the past, but for many years now he has been using a 65g bow by Howard Green (English maker). Perlman also introduced Green's bows to Gringoltz. I also know that in 1959, Perlman bought a Hill bow for $125.

Thank you Violadamore!

Hey Michael, Thanks! As I remember, Spohr is definitely on my list as a Tourte player. For some reason, at some point, the app scrambled the order, so it's out of alphabetical order. My new research on the proliferation of the Tourte bow mentions all Viotti exponents (direct and indirect exponents). I just submitted to STRAD. We'll see which issue they decide to publish it in. But it will be as Part 2 to Napoleonic Bows.

And btw, I am a member of the Seattle Symphony Orchestra not that other one mentioned. Off topic, anyone looking for a Victor Fetique frog & button (ebony/silver)?

Yes David Oistrakh used a Nurnberger, but later (around 1956) his son Igor brought back a fabulous A. Richaume for his father, and gifted that to him. Last time Anne Sophie Mutter played with us, about a year ago, she showed me her Benoit Rolland bow which she said she enjoys very much.

My Sartory article is in February 2019 issue of STRAD. You can try STRAD magazine online. Other articles can be found on Tarisio Carteggio Section: New Research on Gulio Degani, Jago Peternella and Roger Nestor Chittolini.

wow, I had no idea you guys were discussing my list. I created that list using an Apple app which does not exist anymore. So I'm not able to update it. But working on redoing my site, so at some point it will get done. And I am busy these days writing new research about other things. One of my recent articles was regarding E. Sartory and his court battles against Trademark infringement in Feb. 2019 STRAD issue. I have an upcoming article regarding Napoleonic Bows followed by part 2 discussing proliferation of the Tourte bow. And finishing up new research on Nikolai KITTEL. BTW, my friend Clive Greensmith is also using bows by Jean-Luc Tauziede and Sylvain Bigot (when he is not playing the Tourte). I believe Robert DeMain also has a KITTEL.

Occasionally I visit NEW YORK. I can let you know when I'm there.

It's always best to study the bow in person. Btw George, what is the weight of your bow? Are you located in Seattle? If so, I'll be happy to welcome you with your bow. Btw, when my article is finished, I will let you guys know when it is due for release.

My assessment is based on research and experience. And I put my name on my posts. I have been researching this subject for a while as I am working on new research regarding the workshops of Knopf and Kittel. And I have new data that will get published soon. You can view my previous new research on Giulio Degani, Jago Peternella and Roger Nestor Chittolini on Tarisio's Carteggio section. The Knopf dynasty was influential in their day and taught makers such as Christian Gottlob Nurnberger (who trained with C.W. Knopf), J.C. Suss (who learned from C.F.W. Knopf) August Rau who had studied with Wilhelm Knopf in Dresden and there were plenty more. Recent discoveries led to the understanding of the fabulous bows by J. Christoph Nurnberger, most of which were branded L. Neuner. Ten years ago, these bows were thought of as being made by Heinrich Knopf. So as the dedicated few keep digging, the collective knowledge grows.

I just happen to stumble on this thread and the bow in question. Yes, in my view there is the prevalent Knopf style in some of the areas. But this is the work of a lesser known Knopf.........August Moritz Knopf (1857-1899). Son of Karl Moritz Knopf (who was Heinrich's cousin). After learning the family business, he made bows for R. WEICHOLD, Grimm, Louis Lowenthal, and from around 1889 went to Moscow worked for Jul. H. Zimmermann. He died in 1899.

Quite interesting to come across this thread. It has been many years that I have had the pleasure of dealing with Sylvain Bigot. I met him in mid 1990's when he was working (as a young man) at Raffin's shop on Rue de Rome. I had realized then, the great talent he possessed! That is why I have been representing him since then. He has proven himself in every aspect of his profession: 1. as one of the great bow makers today (Meilleur Ouvrier de France 2011) 2.one of the leading experts on antique bows (along with Yannick LeCanu and J. F. Raffin) 3.one of the greatest restorers today! His bows are highly sought after around the globe, and are in the hands of top professionals. The choice of wood he has is exceptional. As far as secondary markets go, one of his violin bows (circa 2006) sold at Tarisio in 2014 for $6,600. Also a word about our American Makers. At a time when French bow-making was on the decline in the mid-20th century, people like Frank Kovanda and Ernst Lohberg were producing masterpieces (between 1930-1940's). I own a spectacular example by Frank Kovanda in Gold/Petrified Prehistoric Ivory (one of a kind), copy of the ex- Sam Bloomfield F.X. Tourte. Since that time, makers such as William Salchow, Frank Passa, Charles Espey, Paul Siefried, Keith Peck, Jose DaCuhna, Matt Wehling, Morgan Andersen, Robert Morrow and many others have followed in their footsteps, producing bows in the best French tradition. Many of the American bows from mid 20th century from some of these makers, are indeed undervalued (IMO).