Showing 17–32 of 40 results
B763 European, unstamped, late 19th or early 20th century$ 1,600.00
With silver mounts and a warm dark brown, octagonal, pernambuco stick, this bow is unpretentious and workmanlike.
S386 unstamped European violin bow$ 1,600.00
This is an intriguing bow, made from snakewood rather than pernambuco, and displaying the characteristic dark stripes of this dense South American hardwood. Snakewood was commonly used for Baroque-period bows but is rarely seen these days. Despite the wood having a heavier weight than pernambuco, this bow feels surprisingly light in the hand, but produces a clear, warm sound. Silver mounts enhance its elegant appearance.
Start sale price: $1,600.00
Bow weight: 66.9 grams
C359 C.A. Reichel, stamped ‘Techler’, Markneukirchen, Germany, late 19th century$ 1,700.00
The silver mounts and well-selected pernambuco stick indicate that this is a higher grade bow from the bow-making workshops of one of the numerous and prolific Markneukirchen Reichel family. The bow bounces and articulates well, and draws a warm sound.
S339 Cuniot-Hury workshop, Mirecourt, France, late nineteenth or early twentieth century$ 1,775.00
Eugene Cuniot, also known as Cuniot-Hury, had a very successful bow-making workshop in Mirecourt, employing up to ten highly skilled archetiers, who were allowed to follow their own stylistic preferences under his supervision. This silver-mounted bow, with its round pernambuco stick, has outstanding playing characteristics, with a very steady legato, an excellent spiccato and a clear and responsive, stable articulation. Normally a bow from this workshop would sell for over $7,000.00. This bow is priced at a fraction of this sum because of an old head break, which has been previously spliced and recently pinned with a nickel-silver pin in our workshops.
S411 Unstamped, Germany, late nineteenth or early twentieth century violin bow$ 1,900.00
Well-used and loved by a professional player for many years, this octagonal, pernambuco violin bow, with silver mounts and an unusually elaborate abalone slide, has had a thorough restoration in our bow workshop. It is of average weight and feels very steady on the string, giving a clear but substantial spiccato and a warm sound.
Start sale price: $1,900.00
Bow weight: 60.2 grams
S272 Bob Berg, Wellington, NZ, late 20th century
This is very representative of a number of prototype carbon fibre bows handmade in New Zealand by Bob Berg, an American double bass player in the New Zealand Symphony Orchestra. Berg later moved to Indiana, USA, where his carbonfibre expertise was refined by William Duff into the modern Berg Bow. Although the finish on the head is slightly rough, this bow has excellent playing characteristics, with clear articulation, steadiness in rapid legato strokes and a great bounce.
S424 violin bow, stamped “Dodd”, Germany, late nineteenth or early twentieth century$ 1,950.00
Like many German bows of this era, this bow has been stamped with the name of a famous maker. Unlike most, however, this has silver mounts and a well-selected Pernambuco stick. The playing characteristics are also good, with a very even, steady response along the full length of the stick. At 62.3 grams, it is at the heavier end of the violin bow spectrum, and pulls a warm, rich sound as a result, without losing articulation.
Start sale price: 1,950.00
Bow weight: 62.3 grams
S303 German “Tourte” copy violin bow$ 2,000.00
François Xavier Tourte, is for bow manufacturers, what Antonio Stradivari is for the 19th and early 20th century big mass-production violin workshops of Mirecourt, Markneukirchen and Schönbach – the star maker in the firmament, and therefore the name to put on countless thousands of reproductions. In the case of this octagonal, pernambuco violin bow, the copy, while nothing like the quality of its name-sake, is still a decent playing bow, with good strength and steadiness in the stick. The nickel button may be a later addition or it may be an original match for the nickel frog lining and Parisian eyes, in an otherwise silver-mounted frog.
S343 Unstamped, European, late nineteenth or early twentieth century$ 2,000.00
Despite its somewhat plain appearance, this silver-mounted violin bow, with its round, finely-shaped, pernambuco stick, has a very attractive playing style, producing a characterful sound with good potential for phrasing and clean articulation. The frog has moderate wear but is in good, stable condition, an old stick crack has been professionally bushed and the tip face replaced, both repairs carried out in our own workshops.
Weight: 58.6 grams
S392 violin bow, “Ch. Buthod,” Mirecourt, France, late nineteenth or early twentieth century$ 2,100.00
Charles Buthod worked for Jean-Baptiste Vuillaume before establishing a large workshop in Mirecourt in the mid-nineteenth century, initially called “Husson, Buthod et Thibouville” and later famous as the French production house “Jrôme Thibouville-Lamy” or “J.T.L.”, of which Buthod was for many years a director. This bow, although it bears his name, was not made by him, but produced in Thibouville-Lamy’s bow department, where his name was used as one of a number of brands. The bow is steady in the hand, has good spiccato and articulation, and makes a smooth, creamy sound. The frog shape has been slightly altered at some point, which has affected the value, making this a very affordable bow for an advancing student.
Start sale price: $2,100.00
Bow weight: 61.5 grams
C404 Violin bow stamped “Bausch”, Germany, early-mid twentieth century.$ 2,185.00
Description: There are many thousands of German bows stamped “Bausch”, in acknowledgement of the pre-eminent bow maker Ludwig Christian August Bausch and his two sons, but most of them are nickel-mounted and made for the student market. This silver-mounted example is of a higher standard. Although the head lacks the wide chamfers of most genuine Bausch bows, it has a pleasing, flowing elegance. The round stick, made of well-selected pernambuco, is very responsive, with excellent articulation at the tip and a clear but creamy sound.
Start sale price: $2185.00
Bow weight: 56.5 grams
S181, Wilhelm Raum, Germany, 20th century$ 2,200.00
Little is known about Wilhelm Raum except that he was a German manufacturer of bows during the mid-late 20th century. Most Raum bows on the market are nickel-mounted and of student quality, but this bow has silver mounts and a well-selected, responsive pernambuco stick. Although it is a little on the heavy side, the bow feels relatively light in the hand, and creates a smooth, creamy, warm sound.
S177, Unstamped, European, early-mid 20th century$ 2,200.00
This silver-mounted violin bow has a round, relatively slender pernambuco stick. The round-backed frog is deceptive, for the bow, far from approaching a viola bow weight, is slightly on the light side at 59.1 grams, and feels even lighter in the hand. The stick produces a clear, crisp spiccato, and the sound and general response are smooth and elegant.
S287 Stamped “GERMANY”, late 19th or early-mid 20th century$ 2,200.00
The round, pernambuco stick sits well on the string and draws a warm, clear sound despite the bow’s relatively light weight of 58.1 grams. Articulation in fast string crossings is good, and the bow produces a reliable, steady spiccato. Like many unbranded silver-mounted German bows of this period, this bow will provide a good playing experience for students in the higher grades, or for committed amateur players.
S361 Unstamped, “Vuillaume” violin bow copy, Europe, late nineteenth or early twentieth century$ 2,300.00
This “Vuillaume” style, silver-mounted violin bow, with its curved-ferrule frog set slightly into the stick for stability, has a very attractive playing style, despite its lack of pedigree. The round, pernambuco stick feels light in the hand but draws a clear, warm sound, with good articulation and spiccato. While versatile, it would particularly suit Classical and Baroque repertoire.
Weight: 59.6 grams
B906 Bob Berg, Wellington, NZ late 20th century$ 2,500.00
Carbon-fibre bows are now a commonplace, though the modern “Berg” bows, manufactured in Indiana by William Duff are head and shoulders above most, if not all, their competition. Back in the 1980s, when Bob Berg, then a bass player in the NZSO, pioneered this process and produced his early prototypes, they were an exciting novelty. These early bows, of which this is one, are visually a little rough, but possess the qualities of clarity and precision that the later Berg bows became renowned for.