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He settled in Mirecourt at 8 rue Saint Georges, in 1933. In 1969, he joined the National school of violin making as a Master teacher, in Mirecourt, where he stayed until 1982. His great grandson, Didier Claudel, entered the Mirecourt school in 1974 and became a master bow maker, he is still working at the craft today, based in South West France.
Up until the standardization of the bow by François Tourte in 1785, most bows with rare exceptions remained anonymous (before 1750). [3] And although François Tourte attained an enormous measure of fame in his own lifetime, the tradition of the anonymous bow maker was still so strong that theorists like Woldemar and Fetis called Tourte's new-model bow not the Tourte bow but the Viotti bow ...
Millant bows function much as good facsimile Peccattes. The combination of choice of materials, weight, strength, and flexibility make them excellent playing tools, and bows by this maker are becoming increasingly desirable in the market today and are sought after by top professionals. - Stefan Hersh [1]
"Not surprisingly, his [Pajeot's] style of work strongly influenced his contemporaries, and his ideas can be glimpsed in the later works of Nicolas Harmand, Jean Adam (bow maker) (Dominique GrandAdam) and his son Jean, Charles Guinot, Joseph Gaudé, Georges Ury, and Nicolas Mauchard, this last almost certainly a pupil or employee for many years."
"His bows are exquisite, showing mastery in technical as well as stylistic aspects. His son, Heinrich Richard gen. Knopf (1860–1939) (known as Henry) became an excellent bow & violin maker who established what was to become a very important and successful shop in New York City (from 1879–1931)."
François-Xavier made only a small number of bows, but this was sufficient to establish the family’s reputation. He made excellent bows in Peccatte style. His bows are rare. [3] Bazin was a master bow maker, who was very much influenced by Dominique Peccatte. According to Italian bow expert Paolo Sarri: "Two are the periods of his work.
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