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Everything posted by GennadyF.

  1. Unfortunately the cause of his death is not listed in his death certificate. Btw, my Part 2 of the Knopf Dynasty will be featured in the August issue.
  2. If any of you are interested, my research on the Knopf Dynasty is featured in the June 2021 issue of STRAD magazine.
  3. Hello friends, My publication is out: "Sartory and the case of spurious bows" it is the complete story of Sartory's court battle in the US, and includes a lot of new important statistical information regarding his working methods etc. I tried to download the photo here, but no luck. Here is a link to a post on FB (3) Les Archetiers - Bow Makers : Dear all, my new publication "Sartory and the case of spurious bows" is out | Facebook
  4. Interesting thread. Btw, according to Sartory, his assistants did the rough work. He would finish all the bows himself. If you are interested, you can read my article from February Strad issue 2019 about Sartory and his legal battles against trademark infringement in America. Although Monsieur Sartory refrained from disclosing the names of his workmen/assistants in his deposition, we do know that prior to WWI, Sartory hired Jules Fetique in 1902, who stayed as his assistant until 1934.
  5. Incidentally, the Knopf family certainly were inspired by the work of their French counterparts such as this one by Persoit c.1805
  6. It looks to me like a typical 2nd generation Knopf family bow. C.W. Knopf produced four sons who carried on his craft: Christian Wilhelm Jr. (1799-1835), Karl Wilhelm (1803-1860), Christian Friedrich Wilhelm I (1808-1874) and Christian Friedrich Wilhelm II (1815-1897). I'm posting two examples below by Knopf family members: one of the sons of C.W. Knopf (C.W. Jr. or C.F.W. I) and Karl Moritz Knopf:
  7. Just came across this very interesting thread. This is no doubt a very nice example by Leman. The name of the instrument is "Izida", c.1908. Leman studied with Ernest Andre Salzard in Moscow (Arnold, Ludwig Otto and Arkhusen), later moved to Saint Petersburg. He was also a writer and editor and a professional billiards player. He wrote many books on violin making and violin acoustics. Admirers called him the "Messiah of the Violin". He declared himself the "Russian Stradivari". Initially that title was bestowed upon Ivan Batov in 1829 when he won the big silver medal at the 1829 Russian Exhi
  8. I don't have one, but would like to see some good examples. I have seen a few. I know his bows.
  9. Yes Henry R. Knopf. Preferably c.1919 and after. He modeled them on the Alard and Messiah Strad. Of course we all love his bows too.
  10. Does anyone here own a violin made by Henry R. Knopf?
  11. That is amazing to know. Thank you for sharing!!
  12. Just wondering, if anyone here aside from Dwight, have a Frank Kovanda bow? and is it branded F. KOVANDA? personal model or copy of Tourte or Peccatte or other? numbered?
  13. If you are in NYC, you should go visit Isaac Salchow.
  14. with the Pandemic, hard to say....but I'm close.
  15. It was possible maybe in the 1960's. But not anymore.
  16. My current articles in STRAD: Carlo Bisiach and his US connections November 2020 STRAD issue. Napoleonic Bows June 2020 STRAD issue Sartory and his legal battles against trademark infringement/ Phony Wars February 2019 STRAD issue. new research/bio on Venitian luthier Giulio Degani https://tarisio.com/cozio-archive/cozio-carteggio/giulio-degani-part-1/ new research/bio on Venitian luthier Jago Peternella https://tarisio.com/cozio-archive/cozio-carteggio/jago-peternella/ new research/bio on Roger Nestor Chittolini https://tarisio.com/cozio-
  17. I came across this very interesting discussion. Perhaps we could revive the subject? Collection numbers are often a mystery. But with regards to certain numbers on the Nurnberger bows here, the #1896 represents the year of manufacture. As it stated so in this 19th century Wurlitzer catalog. And the other brand No.5858 is a Wurlitzer number.
  18. If one studies the bows of the Knopf workshop from C.W. Knopf to Henry R. Knopf and their disciples, one begins to understand their characteristics and evolution from early 1800's to 20th century.
  19. Hello everyone and GeorgeH, Hope you are all well. I came across this thread and was reminded...about a bow (August Moritz Knopf) I thought I would share. It's a A.M. Knopf bow that was certified by H.C. Schmidt in Dresden. Which seems to be very similar to yours. Also the marks on both sides just below the leather looks like perhaps the jig was too tight when it was re-haired long ago, or perhaps it had some kind of clamp there. It's unfortunate. But, there are those who do more harm than good when it comes to re-hairs. Anyway, I've been busy writing in the last two years, about
  20. 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 discussing proliferation of the Tourte bow. And finishing up new research on Nikolai KITTEL.
  21. Yes I have uncovered a lot of new information regarding Nikolai Kittel and his circle of friends. Vitacheck mentions Maryanenko, but does not specify where or with whom he learned the craft.
  22. Nikolai Kittel, certainly was a great maker of string instruments and especially of exquisite bows. I am finishing my new research which will soon be published. it will reveal a lot of new information regarding his life, work and his circle of friends.
  23. I just came across this interesting discussion. As I am finishing my new research on Kittel.....Regarding KIttel, he was born in Saint Petersburg, Russia to Austrian parents. He maintained his Austrian citizenship throughout his life. Kittel brought his son Nikolai Jr. to study with Derazey (at Vuillaume shop) in Mirecourt, France 1858-1860. Now regarding the very interesting Russian label, of Master Luka Maryanenko Luka Maryanenko, according to Vitachek worked in Kerch and then Kiev where he built several dozen violins and violas.
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