An enduring legacy

Like their close contemporaries the Knopfs, the Herrmann family of bow makers left behind a large number of bows, many of which show exquisite craftsmanship. In the second of two articles, Gennady Filimonov examines their history, their connections with the Knopfs, and several examples of their work

GENNADY FILIMONOV

In the 19th century, the German city of Markneukirchen was one of the global centres of bow making. It is understandable, then, that the people involved in the industry there might come together and their family lines might merge. While researching my article for The Strad on the Knopf family of bow makers (‘A tangled web’, June 2021)

I repeatedly came across links with the Herrmann family of bow makers. Not only is the dynasty contemporaneous with the Knopfs, it actually lasted for longer; for while the Knopf dynasty ended with the demise of Henry R. Knopf in 1939, the Herrmanns continued making bows until the last surviving bow maker, Lothar Herrmann, died in 1987.

The Herrmanns’ bow making style is also linked to that of the Knopfs – not least because the family members worked together in the same shop, which frequently did business with Nikolai Kittel in Russia.

And indeed, the two dynasties merged quite early on, with the marriage of Christian Friedrich Herrmann to Carolina Wilhelmine Knopf in 1861. One might even call the subsequent line the ‘Herrmann–Knopf dynasty’ of bow makers.

The present article is the result of in-depth archival research and many discussions with members of both the Knopf and Herrmann families. It brings to light a rich legacy that had previously remained untouched since 1987. In terms of the family lineage, since the Herrmanns used the same few names for their children repeatedly, it can be even harder to keep track of their members than the Knopfs. For this reason, the first time a bow maker is mentioned in this article, and in the family tree above, the name most often used on their brand is underlined. This is also the name by which he is subsquently referred to in the text.

According to family chronicles, the Herrmann dynasty can be traced back at least six generations in Saxony’s Vogtland region to Johann Gottfried Herrmann. He may have been born around 1740 and is named as its first bow maker, who founded his workshop in 1760. This is commemorated in the first Herrmann family monogram, which can be found on several of the family’s bows. However, it is still uncertain whether he made any bows. In the Markneukirchen cemetery records, his occupation is given as ‘Master shoemaker’, and the date of his death as 1 January 1817. Since craftsmen such as Johann Gottlob Knopf (1731–86), a tailor, turned to bow making as the industry in Markneukirchen flourished, it could be hypothesised that Johann Gottfried Herrmann did the same. Unfortunately documentary evidence of his birth or his activities as a bow maker have so far yet to be found. Perhaps further search in the church registers in Markneukirchen might yield results.

Another of the early Vogtland bow makers, Josef Strötz (1715–60), started out as a musician and carpenter/cabinet maker. He immigrated to the region from Bavaria and then devoted himself entirely to bow making. His granddaughter Eva Margarethe Strötz married Christian Gottlieb Herrmann (1783–1845), son of Johann Gottfried, who worked as a shoemaker and farmer. He later joined Markneukirchen’s city gendarmerie. The couple had at least two children, both of whom became bow makers: Heinrich Wilhelm (1807–48) and Christian Friedrich (1819–96). Wilhelm enjoyed an excellent reputation as a bow maker in Markneukirchen and later in Landwüst, although unfortunately his bows were only occasionally signed as his clients requested unsigned deliveries. On 19 November 1831 he married Christiana Wilhelmina Kretzschmann from Markneukirchen, The couple had a son, Friedrich Alexander (1845–99), who became a bow maker in the family tradition, and worked in Wernitzgrün.

WILHELM’S BOWS WERE ONLY OCCASIONALLY SIGNED AS HIS CLIENTS REQUESTED UNSIGNED DELIVERIES

Several bows by Lothar Herrmann (1914–87) are branded ‘HERRMANN–KNOPF’, emphasising the link between the families

Two examples of brands used by August Herrmann. The top one also includes the 1760 monogram on the frog.

Chr. Friedrich learnt bow making in the workshop of Christian Wilhelm Knopf and worked for a long time with his future father-in-law Karl Wilhelm Knopf and brother-in-law Heinrich Knopf. Between 1860 and 1868, Chr. Friedrich was one of the principal collaborators, along with Heinrich and other members of the Knopf family, producing bows for Nikolai Kittel, Ludwig Bausch and Charles Bruno in New York, and other shops. The Herrmann–Knopf family connection undoubtedly helped to combine their mastery and expertise, which proved beneficial to the quality of their bows. Chr.

Friedrich briefly worked independently in Schönlind, about two miles south of Markneukirchen, and later retired there, eventually dying in the town in 1896. He, too, never stamped his bows, although according to written accounts, and oral tradition from his contemporaries, he was a superb bow maker whose bows were highly valued.

While still at the Knopf workshop, Chr. Friedrich fell in love with Heinrich Knopf’s sister Carolina Wilhelmine (1832–1917), and they married in 1861. Thus, two of the oldest bow making dynasties in Markneukirchen merged. The marriage produced three sons: Friedrich August (1863–1945), Karel Ludwig (1866–1945) and Franz Albert (1868–1960). All were born into the Knopf family workshop in Markneukirchen and all three followed the family tradition of bow making.

Church records indicate that many successful local artisans were godparents to Herrmann–Knopf children, including bow makers Ludwig Bausch and Franz Albert Nürnberger Sr; luthier Edward Prager; guitar makers Ernst Ferdinand Fischer and Heinrich August Kepler; and instrument maker August Wilhelm Eschenbach, who was Heinrich Knopf’s father-in-law.

Chr. Friedrich’s oldest son August (1863–1945) learnt bow making from his father and uncles, and became a great bow maker himself. He worked in Schönlind from 1883, then in Dresden for his uncle Wilhelm Knopf. In 1900 he set up his shop in Markneukirchen at 313 Bergstrasse and later at 22 Plauenschestrasse, where he worked until his death in 1945. He also supplied bows to Julius Heinrich Zimmermann in Leipzig. In the estimation of expert Ernest Doring, Friedrich August’s ‘ingenious work is the finest that has ever been done in the art of bow making’. He was a highly respected maker in his time, and made splendid bows in the style of Knopf. They were branded ‘FR. AUGUST HERRMANN’ or ‘FR. HERRMANNMARKNEUKIRCHEN’ and sometimes displayed the Herrmann monogram with the stamp ‘JGH 1760’ on the frog. Some bows are branded ‘d . . DEUTSCH.TOURTE’ on the audience side.

This violin bow, made c.1920 by August Herrmann for Julius Heinrich Zimmermann, is a superb example of his work. It features a head very much influenced by the Knopf–Kittel working traditions. The slender, elegant stick is made from dark pernambuco. The German silver frog is typical of the maker’s output, with its short ferrule and a throat that opens upward, reminiscent of some Kittels. The three-part button has a double-gorge collar. Brand: ZIMMERMANN LEIPZIG

ALBERT HERRMANN BOW COURTESY SAM MATTHEWS

Ludwig also became a bow maker working in Markneukirchen and then in Schönlind, where he died. The youngest son, Albert, also learnt bow making in the Knopf workshop and from his father. He set up his own shop in Schönlind in 1893, and continued to work there even after he was appointed bow maker to the Leipzig Conservatorium. He made bows until he was 91 years old, dying in Schönlind a year later, in 1960. Like August he was a highly respected maker, and around 1956 his bows were selling for similar prices to those of Eugène Sartory. His beautiful bows, made in the Knopf tradition, are branded either ‘A. HERRMANN’ or ‘A. HERRMANN ***’.

The Herrmann family saw themselves as a continuation of the Knopf dynasty, which came to an end with the death of Henry R. Knopf in 1939. However, since the grandchildren of Friedrich Herrmann carried on the family tradition, the Herrmann–Knopf dynasty continued through much of the 20th century. Following are details of the grandchildren who forged careers in the industry.

EDWIN HERR MANN VIOLA BOW COURTES Y JEFFREY R. JUDD

This cello bow is an intriguing example of Albert Herrmann’s work. It displays his Kittel inspiration, as the head is almost identical to some Kittels. The octagonal stick has rounded-off edges, while the contemporary frog, mounted in silver and ebony, is typical of his output. The three-piece button has a double-gorge collar. Brand: A. HERRMANN ***

Two children of August Herrmann went into the profession. Paul Fritz Herrmann (1885–1972) learnt bow making from his father in Markneukirchen and in 1918 opened his own shop at Oberer Berg 13. He made excellent bows, many of which display heads based on the Knopf model. They are stamped ‘PAUL HERRMANN’. Fritz Karl Herrmann (1887–1968) became a master violin maker, studying the craft under Max Dölling and then working for Julius Hempel in Hamburg. He returned to Markneukirchen, establishing his own shop in 1920, although he later worked in Erlbach and Wernitzgrün. He made very nice reproductions of classic Italian instruments, some of which were sold under the ‘Andreas Morelli’ brand, and his work was exported throughout Europe and to the US. Ludwig had one son who went into bow making: Paul Walter Herrmann (1897–1972). His bows are excellent, with superb playability, and can again be distinguished by the Knopf-model head. He used top-quality pernambuco even on his silver-mounted bows. All are branded ‘W. HERRMANN’.

Albert’s son Edwin Otto Herrmann (1893–1972) made artistic bows in the family tradition. His frogs displayed both the Herrmann monograms at different times. They are also branded ‘E.HERRMANN’ and ‘EDW. HERRMANN’, and an arrow can often be seen branded in front of the name. Stars can also be seen: */**/***. Both Walter and Edwin were born and died in Schönlind.

This very fine violin bow by Paul Herrmann features his Kittel-style head and Hill-style frog, emulating his father. The round stick is slender and elegant, as befits the family. The plain ebony frog is mounted in silver, and is typical of his contemporary output. The button has a silver cap over ebony with a double-gorge collar. Brand: PAUL HERRMANN

Here is an excellent violin bow by Walter Herrmann. The octagonal stick is of top-quality light brown pernambuco which is highly flamed and has a Knopf-type head fitted with an ebony and ivory faceplate. The handle is wrapped with silver wire and black leather grip. The ebony frog is mounted in silver, with a silver ferrule, two-piece heelplate and an underslide. There is a pearl slide in the top and matching Parisian eyes are fitted in the flanks. The ebony button is encased in two silver rings, and it has a double-gorge collar. Brand: ‘W. HERRMANN’

This fine violin bow by Edwin Herrmann is reminiscent of August’s work and features a Knopf/Kittel-style head. The octagonal stick is again slender and elegant, with rounded-off edges. The silver- and ebony-mounted frog is typical of his contemporary output, with thick Parisian eyes reminiscent of Kittel’s. The button has a silver cap over ebony with a double-gorge collar. Brand: E.HERRMANN (and monogram)

In this superb viola bow by Edwin Herrmann one can see some Gallic inspiration in its French-style frog, mounted in silver and ebony, with eyes made from sterling silver. The stick again has rounded-off edges. The three-piece button has a double gorge collar. Brand: EDW. HERRMANN **

Edwin Herrmann’s bows are typically branded with either the Herrmann monogram, showing ‘1760’ as the date of the founding of Johann Gottfried Herrmann’s workshop, or a crest with the date 1835, signifying the start of Christian Friedrich’s professional career. The crest shows an ‘H’ on a shield supported by lions regardant. Both devices are surmounted by the ‘Chi Rho’ symbol for Christ.

In analysing the work of the Herrmann–Knopf generations, one clearly sees the inspiration they derived from the association of their business with that of Nikolai Kittel. The similarities are intriguing in these heads: (top left) an Edwin Herrmann violin bow and the ‘ex-Heifetz’ Kittel; (top middle) a Paul Herrmann violin bow and a Kittel; (top right) an Albert Herrmann cello bow and a Kittel.

Edwin’s son Edwin Lothar Herrmann (1914–87) also became a superior bow maker. Like his father, he learnt bow making from Albert Herrmann at the Schönlind workshop, after which he attended the trade school for instrument makers in Markneukirchen. After his father’s death he carried on the family tradition until his own demise in 1987. In 1949, after completing a masters exam in bow making, he started using his own brands on his bows. By 1961 he had opened his own shop in Markneukirchen, where he worked until his old age. In 1970 he was awarded the title Kunstschaffender des Musikinstrumentenbaus (‘Artist of Musical Instrument Making’) by the German Ministry of Culture. He also served as the head of the Markneukirchen bow makers guild. Like his father, he used the family devices on different bows. He also used various brands in his career: ‘HERRMANN–KNOPF’;

‘HERRMANN’; ‘E.L. HERRMANN’; ‘E.L. HERRMANN– KNOPF’ and ‘LOTHAR HERRMANN’.

In the early to mid-20th century, the bows of the Herrmann family, especially those by Albert, Edwin and Lothar, sold for the same prices as those of Sartory, Fétique and Ouchard, and over the course of the 20th century they received several plaudits by players and writers alike. Karel Jalovec, an expert in the 1950s, opined: ‘The Herrmann bows are masterpieces,’ while William Henley, in his Universal Dictionary of Violin and Bow Makers, referred to Lothar’s as ‘Bows of individual and distinctive propriety fit for the most exacting soloist. Beautiful workmanship.’ Erich Mühlbach, first concertmaster of the Dresden Staatskapelle, said that Lothar’s bows were ‘extremely good in terms of strength, weight distribution and elasticity’, and that ‘Virtuosos, for whom the violin has become a vital element, play Master Herrmann’s bows in all the capitals of Europe.’ In 1958 David Oistrakh sampled some of Lothar’s bows and declared: ‘Your bows really satisfy the very highest demands!’

Here is a very fine violin bow by Lothar Herrmann, with a typical Knopf–Kittel-style head. The octagonal stick with rounded-off edges follows the family tradition: slender and elegant. The frog, mounted in silver and ebony is typical of his contemporary output, with thick Parisian eyes reminiscent of Kittel’s. The button has a silver cap over ebony with a single collar. Brand: ‘HERRMANN KNOPF’

This is a fine late example (1970s) of a violin bow by Lothar, made after he received the title of Kunstschaffender des Musikinstrumentenbaus and featuring his Knopfstyle head. This time the octagonal stick is strong and powerful. The frog, mounted in silver and ebony, is inspired by his father, with thick Parisian eyes reminiscent of Kittel’s. The three-piece button has a single collar. Brand: LOTHAR HERRMANN *** (and 1760 monogram)

A ferrule from a Lothar Herrmann bow, showing both the ‘HERRMANN–KNOPF’ brand and the 1760 monogram

This Lothar Herrmann frog shows the 1835 Herrmann crest as well as a stylised lyre. The brand on the stick says ‘E.L. HERRMANN’

Since the publication of the article on the Knopf dynasty, new information has come to light linking them to the well-known family of brass instrument makers also called Knopf. In 1852 Christian Heinrich Knopf (1831–1914), the grandson of Johann Gottlob Knopf and younger brother of bow maker Karl Moritz Knopf, founded the Knopf brass workshop at 210

Teichstrasse, Markneukirchen. Christian Heinrich even supplied Heinrich Knopf with his instruments, as proven by some of Heinrich’s advertisements from 1868, which included wind instruments. The last line of Heinrich Knopf’s advertisement in the 1868 edition of Die Tonhalle magazine (right) says:

NB. Aufträge auf Streich- und Blasinstrumente, Saiten usw. werden gut und billig ausgeführt (‘NB. Orders for stringed and wind instruments, strings, etc. will be carried out well and cheaply’).

These instruments (French horns) were sold to other music shops under miscellaneous names until January 1893, when the ‘August Knopf’ firm was established by Christian Heinrich’s older son, Heinrich August Knopf (1865–1947). The Knopf horn shop is still producing innovative horn designs today, and since 1981 has been led by Christian Heinrich’s great-great-grandson, Christian Knopf.

Family tree of the Knopf horn makers,

HERRMANNS PHOTO COURTESY MUSIKINSTRUMENTEN-M USEUM MARKNEUKIRCHEN

A 1772 birth certificate owned by Christian Knopf showing the name of his ancestor, Johann Gottlob Knopf

An 1868 advertisement from Die Tonhalle proving bow maker Heinrich Knopf also dealt in wind instruments

IN THE MID-20TH CENTURY, HERRMANN BOWS SOLD FOR THE SAME PRICES AS THOSE OF SARTORY, FÉTIQUE AND OUCHARD

Three generations in one workshop: Albert, Edwin and Lothar Herrmann

The Soviets placed an order for Lothar’s bows worth DM56,000, via his representing agent – the biggest order they ever had.

Although the Herrmann name died with Lothar in 1987, the lineage carries on today: Paul Herrmann’s grandson Michael Mönnig (1958–) still makes bows in Markneukirchen. As he states, his first impressions of bow making were formed in the workshop of his grandfather. He began his apprenticeship in 1975 with Günter Paulus and worked with him until 1982, when he received his master diploma. He opened his own shop in 1983. In 1989 he was given the title Anerkannter Kunsthandwerker (‘Acknowledged Art Craftsman’) by the German Ministry of Culture. His bows are branded ‘MÖNNIG’ or ‘MICHAEL MÖNNIG’.

It is perhaps surprising that a family of bow makers that was so highly esteemed in the 20th century should be so little regarded today, despite the undoubted quality of their workmanship. Like those of the Knopfs, Herrmann bows were sold throughout Europe and the US, and even made it to Japan, but hardly anything has been written about them beyond the standard reference works. Yet there might still be valuable information to be discovered in the Markneukirchen archives, and it is hoped that this article might prompt further research into this fascinating dynasty, which left the string music world with so many enviable pieces of work.

Thanks to the Knopf family, Michael Mönnig, Leipzig Archives, Berlin Archives, Klaus Grünke, Isaac Salchow, Enrico Weller, Bruce Babbitt, Bernhard Zoebisch and the Markneukirchen Musical Instrument Museum.