Showing 33–48 of 66 results

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    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.

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    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.

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    S337 Höfner, Germany, late nineteenth or early twentieth century

    $ 1,800.00

    The Höfner workshops were established in what was then Austrian Bohemia in the 1880’s. From the beginning, they made a wide diversity of stringed instruments and their accessories for a burgeoning middle-class market. Then, as now, Höfner produced a broad range graded according to quality. This well-preserved early cello was made for the upper end of the market, as its silver mounts and selected, octagonal pernambuco stick can testify. The stick is strong and resistant to sideways pressure.

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    C365, Unstamped, European, early-mid 20th century

    $ 2,500.00 $ 1,950.00

    This is a fairly heavy violin bow, at 63.5 grams, but it feels very comfortable and well-balanced in the hand. The round stick is made from an excellent, strong pernambuco, and the lower section has been finished with an extended octagonal section in the French style. The bow sits very steadily on the string, draws a warm, full sound, and bounces and articulates clearly.

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    S272 Bob Berg, Wellington, NZ, late 20th century

    $ 2,800.00 $ 1,950.00

    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.

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    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.

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    S356 Stamped “GE…L” possible “GEIPEL” Germany, early-mid twentieth century

    $ 2,000.00

    This silver-mounted, pernambuco bow, despite a relatively heavy weight of 62.3 grams, has a finely-carved head and feels light in the hand. The stamp “GE…L” is on the far side of the stick above the frog, and inverted in the French style. Nonetheless, it is quite possible that the bow comes from the workshops of Oswald Geipel, in Wohlhausen, Saxony.

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    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

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    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.

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    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.

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    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.

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    Unstamped, “Vuillaume” 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

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    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.

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    S188, violin bow

    $ 2,500.00

    This is an intriguing silver-mounted bow, stamped “DODD” as many German copyists’ bows are. But beside the main stamp is a much smaller one “No 0271”, with an additional stamp just above the lapping, also in very small letters: “PEG LAPPING 595950”. The lapping itself is unusual, starting with around 20 turns of silver wire which then alternates with black whalebone. The bow is particularly light, and may suit someone moving away from heavier sticks, particularly for the pre-Romantic repertoire.

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    S263 Stamped ‘Techler’, C. A. Reichel workshop, Markneukirchen, Germany, 19th century

    $ 2,500.00

    Despite the resemblance in the names, there is no connection with the Rome-based German violin maker, David Tecchler. The Reichel family were a numerous clan of luthiers and bowmakers largely based in Markneukirchen. C. A. Reichel stamped a wide range of student grade bows with the name ‘Techler; this cello bow, with its well-selected pernambuco stick and silver mounts, is one of the better examples.

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    S315 Bob Berg, New Zealand, late twentieth century

    $ 2,500.00

    This early carbon-fibre violin bow was made in Wellington by Bob Berg, an American double bass player in the New Zealand Symphony Orchestra who pioneered carbon fibre bow-making technology. Unlike the colour of most later, internationally-made bows, Bob Berg’s early New Zealand bows, like the later “Berg” bows made in Indiana by William Duff, who succeeded him, have a reddish-brown colour and a visual texture very like pernambuco. The bow is silver-mounted, with Parisian eyes, and has very good playing characteristics. At 63.6 grams, it is a little heavier than the average violin bow.

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