Nathan "Tossy" Spivakovsky

Nathan "Tossy" Spivakovsky (December 23, 1906 - July 20, 1998), Jewish Russian-born, German-trained violin virtuoso who taught in Australia and later settled in the United States, was considered one of the finest violinists of the 20th century. Original, vintage, pen and ink, "on-the-spot" illustration by George 'Georges' Krishizki. The hand drawn illustration has been signed by Spivakovsky and additionally signed, dated and titled by Krishizki: "Georges / 1972 / Tossy Spivakovsky playing Mozart's Concerto No 4 for violin and orchestra, D major, K 218."

In order to draw from his instrument the richest, most brilliant tone possible, Spivakovsky developed an innovative method of bowing that was described in detail in a book entitled "The Spivakovsky Way of Bowing," by Gaylord Yost. In a lifelong effort to perform his repertoire just as the composers wanted their music performed, he sought and researched their original sheet music. Upon discovering that Bach wanted certain chords in his solo violin suites played without arpeggiation, he wrote an article entitled "Polyphony in Bach's Works for Solo Violin," published in 1967 in The Music Review, Vol. 28, No. 4, in which he provided the evidence for Bach's preference. A curved bow, or "Bach Bow," which Spivakovsky acquired from Knud Vestergaard of Denmark, enabled him to execute the whole four-string chords of the Bach sonatas and partitas with greater ease and sonority.

George 'Georges' Krishizki (March 22, 1924 – December 20, 2001), Russian-Polish-American illustrator who came to the U.S. in 1949. While he earned acclaim for his renderings of the city’s architectural landmarks, it was his on-the-spot drawings of musicians in performance that attracted an especially appreciative audience. In a 1973 article published in conjunction with two simultaneous exhibitions, Georges explained the genesis of his long-running engagement with the concert hall: “I’ve always enjoyed going to concerts, and one day I decided it would be fun to combine my interests in music and art and make sketches of musicians during performances.”  Indeed, the most remarkable feature of Georges’ oeuvre, apart from the astounding range of performers who gladly expressed their approval and appreciation by signing, is the skill with which the drawings are accomplished.

This original pen and ink illustration, measuring approximately 9 x 12, on heavy-weight sketch paper, is in fine condition with some light overall toning. Its verso is blank and clean.