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Hel was apprenticed under Bazin before working for his father, Pierre Joseph. On his father's death Pierre Jean took over the Lille-based business, after which he won several prizes at expositions.
Apprenticed under his father Albert Franz. Subsequently established in Schonlind from 1919.
Based in Mittenwald in 1893, Herrmann later became bow maker for the Leipzig Conservatory in 1921.
Son of Friedrich Christian, from whom he learned his trade. Subsequently worked for William Knopf in Dresden before returning to Markneukirchen in 1900.
A German family of violin and bow makers, instruments and bows mostly 'trade', although Otto (b. 1889, Markneukirchen) worked for E. Sartory in Paris and made some good bows.
Worked for J. - B. Vuillaume, Charles Bazin, Thomassin and Vigneron before starting his own shop in Paris.
One of the founders of Jerome Thibouville Lamy et Cie. As a bow maker he also taught A. Lamy and J.A. Vigneron. He branded his bows Ch. Husson.
A strikingly early follower of Amati in Northern Europe, and the most successful and prolific of the Amsterdam school. Possibly a pupil of Francis Lupo (ca 1582-1635).
Bows from the Kittel workshop are rated amongst the greatest, although doubts have been raised as to whether he made the bows himself, as Ivanoff and Heinrich Knopf are both known to have worked for him
Trained by his stepfather, Francis Lupo (ca 1582-1635), possibly alongside Jacobs, whose work is similar. Kleynman was not so prolific, even though his work is more classical and disciplined than Jacobs, with a lighter varnish and closely-set soundholes.
The founder of the still-extant Mittenwald school, he was apprenticed to the German lute-maker Giovanni Railich in Padua and returned to Mittenwald in 1678.
The best maker of the sons of Mathias (the others being Georg, 1687-1737 and Johann Carl, 1709-1770). He used the Stainer model with great style, and retained a soft, rich golden yellow varnish.
Superb copyist, making bows based on the models of Tourte, Peccatte and others. Apprenticed to John Hornsteiner, Chicago, later working for William Lewis & Son.
Son of Louis Tourte (pere) and brother to Francois Xavier Tourte, too many bows have been misattributed to this maker to make generalisation straightforward. Such are the inconsistencies between bow styles that it has even been suggested, that L'Aine did
Apprenticed in Mirecourt, Lafleur was both a violin and bow maker. Unlike his violins, bows comparatively rare and resemble those of the early Adam school. Bows branded 'Lafleur'.
Son of Jacques although a far more competent maker. Worked in partnership with Nicolas Maire who was working at Jacques' workshop and produced some fine, although sometimes eccentric -bows.
Work closely resembles that of his father and teacher Alfred Joseph Lamy. Used the same stamp as his father, but certain characteristics differentiate between the two makers, including the width of the mother of pearl slide