Bow & Bridge

Erikson, Knudt

As printed

  1. A dictionary of violin makers (1896)

    Erikson, Knudt. A maker in Norway. Inside a sort of viola d’amore of the Hardanger peasants in Norway, was the label: “Fabrokert of Knudt Erikson, Helland, 1872.”

    scan page 34, line 19See the scan

    Read the transcript line

    This is what the software read off the scan, not the page itself. The cited line is marked, and three lines either side are shown for context.

    scan page 34, line 19

    1. Emiliani, Francesco de. A maker in Rome about 1715-20. He made some beautiful instruments, rather arched, the wood of excellent quality, the varnish a golden-yellow colour. Label: "Franciscus de Emilianis, fecit Roma, anno Dñi, 1729."
    2. Engleder, Andreas. Was maker to the Court at Munich. In 1854 he exhibited there a quintet of instruments made on a new pattern of his own; they were of beautiful workmanship, and of full excellent tone; he was awarded medals. He is well known for his great experience and good work.
    3. Engleder, Ludwig. A maker in Bamberg. Exhibited at Munich, 1854, a violoncello with bow, and two violins, well made, on the German pattern, of excellent tone.
    4. Erikson, Knudt. A maker in Norway. Inside a sort of viola d'amore of the Hardanger peasants in Norway, was the label: "Fabrokert of Knudt Erikson, Helland, 1872."
    5. Ernst, Franz Anton; b. Dec. 3, 1745, at Georgenthal, in Bohemia; d. Jan. 16, 1805, Gotha. Was a celebrated violinist, but also the maker of some very excellent instruments. His first work was done in Prague, where he went for purposes of study about 1763; but in 1778 being appointed solo violinist to the Court of Gotha, he there found leisure to devote himself to the making of violins. He had at first working with him J. A. Otto, who later became one of the best German makers. When Otto started his own business at Weimar, Artmann and Bindernagel, both carpenters, left Weimar and became apprenticed to Ernst. He followed the Stradivari model, and the tone of his instruments is said almost to have equalled that of the Cremona instruments. In 1804 he published in the Allgemeine Musikalische Zeitung (Leipzig) a very interesting article on the construction of violins.
    6. Esler. See "Elsler."

  2. A dictionary of violin makers (n.d.)

    Erikson, Knudt. A maker in Norway. Inside a sort of viola d’amore of the Hardanger peasants in Norway was the label: “Fabrokert of Knudt Erikson, Helland, 1872.”

    scan page 36, line 19See the scans: 36, 36source record

    Read the transcript line

    This is what the software read off the scan, not the page itself. The cited line is marked, and three lines either side are shown for context.

    scan page 36, line 19

    1. Emiliani, Francesco de. A maker in Rome about 1715-29. He made some beautiful instruments, rather arched, the wood of excellent quality, the varnish a golden-yellow colour. Label: "Franciscus de Emilianis, fecit Roma, anno Dni, 1729."
    2. Engleder, Andreas. Was maker to the Court at Munich. In 1854 he exhibited there a quintet of instruments made on a new pattern of his own; they were of beautiful workmanship, and of full excellent tone; he was awarded medals. He was well known for his great experience and good work.
    3. Engleder, Ludwig. A maker in Bamberg. Exhibited at Munich, 1854, a violoncello with bow, and two violins, well made, on the German pattern, of excellent tone. He died 1873.
    4. Erikson, Knudt. A maker in Norway. Inside a sort of viola d'amore of the Hardanger peasants in Norway was the label: "Fabrokert of Knudt Erikson, Helland, 1872."
    5. Ernst, Franz Anton; b. Dec. 3, 1715, at Georgenthal, in Bohemia; d. Jan. 16, 1805, Gotha. Was a celebrated violinist, but also the maker of some very excellent instruments. His first work was done in Prague, where he went for purposes of study about 1763; but in 1778, being appointed solo violinist to the Court of Gotha, he there found leisure to devote himself to the making of violins. He had at first working with him J. A. Otto, who later became one of the best German makers. When Otto started his own business at Weimar, Artmann and Bindernagel, both carpenters, left Weimar and became apprenticed to Ernst. He followed the Stradivari model, and the tone of his instruments is said almost to have equalled that of the Cremona instruments. In 1804 he published in the Allgemeine Musikalische Zeitung (Leipzig) a very interesting article on the construction of violins.
    6. Esler. See "Elsler."

Named in 2 books, all printed 1896. Read by software from scans of those pages, not yet checked by a person against the page. Entries from 2 books stand under this name, and the software judged them near-certain the same person. Tell us if that is wrong and we will split the record.

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Details and sources

Record note

This record exists because one or more sources name this maker. Printed in: A dictionary of violin makers (1890); A dictionary of violin makers (1890); A dictionary of violin makers (1896). Nothing else on this site confirms this record beyond what those sources state — no claim is invented here. Entries from 2 books stand under this name, and the software judged them near-certain the same person. Tell us if that is wrong and we will split the record. Not established is the honest state of this record; if you can change that, we want to hear from you.

What the books say

Places and dates of work
Erikson, Knudt. A maker in Norway. Inside a sort of viola d’amore of the Hardanger peasants in Norway was the label: “Fabrokert of Knudt Erikson, Helland, 1872.” reported1
Places and dates of work
Erikson, Knudt. A maker in Norway. Inside a sort of viola d’amore of the Hardanger peasants in Norway was the label: “Fabrokert of Knudt Erikson, Helland, 1872.” reported1
Places and dates of work
Erikson, Knudt. A maker in Norway. Inside a sort of viola d’amore of the Hardanger peasants in Norway, was the label: “Fabrokert of Knudt Erikson, Helland, 1872.” reported1

How the pages were read

3 of the 3 lines here were read from machine text (software that turns a photo of a page into words), not by a person looking at the page image. 1 of them rests on a section heading above a list of names, not on a trade word printed on its own line: “A DICTIONARY OF VIOLIN MAKERS.”.

Notes

  1. Read from machine text (software that turns a photo of a page into words, or a typed transcription), not by a person looking at the page image. ↩

The books behind this record

This record draws on 2 sources. Each is listed below with how it was read, because a claim read from a photo of the page is stronger than one read from machine text.

  1. Stainer, C. (Cecie), 1867-1937, A dictionary of violin makers (London: Novello, n.d.). archive.org, dictionaryofviol00stai. https://archive.org/details/dictionaryofviol00stai.machine textcited for 1 linesource record

    scan page 36, line 19

  2. Stainer, C. (Cecie), 1867-1937, A dictionary of violin makers (London: Novello, n.d.). archive.org, dictionaryofviol1899stai. https://archive.org/details/dictionaryofviol1899stai.machine textcited for 1 linesource record

    scan page 36, line 19

  3. Stainer, C. (Cecie), 1867-1937, A dictionary of violin makers (London ; New York: Novello, Ewer, 1896). archive.org, dictionaryofviol00stai_0. https://archive.org/details/dictionaryofviol00stai_0.machine textcited for 1 linesource record

    scan page 34, line 19