Showing 33–48 of 61 results
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.
C365, Unstamped, European, early-mid 20th century
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.
S247 Bryant cello bow$ 1,995.00
Percival Bryant, Ovingdean, England, early-mid 20th century bow
Percival was one of the few distinguished English bow makers of the early-mid 20th century who did not train at W. E. Hill and Sons. He worked as a bow maker at George Withers for eight years, before setting up his own bow-making workshop in Ovingdean, East Sussex, in 1932. An angled back lining, and Vuillaume-style frog and stick fitting distinguish this bow physically. At 84 grams, it feels firm and forceful in the hand. A beautifully executed splice repair through the head has reduced this price to place it within reach of good players with smaller budgets.
S184, Stamped “Dodd Ro. 8027”, Germany, late 19th or early 20th century.$ 2,000.00
This silver-mounted bow has a slender, round pernambuco stick which gives it a light, almost airy feel in the hand. Both the stick and the frog share the stamp “Ro. 8027” plus an intriguing addition on the stick “Reg. lapping 595960”, stamped in tiny letters forward of the silver wire lapping.
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.
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.
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.
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.
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.
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.
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.
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.
S335 Bob Berg, Wellington, New Zealand, late twentieth century$ 2,500.00
Bob Berg bows have gained an international reputation since Robert Berg took what was then a revolutionary pioneering technique with him from New Zealand back to his native USA in the mid 1980’s. There he passed on his knowledge to New Zealander Michael Duff, who has taken Berg’s carbon-fibre bow construction to a level which competes with the very best bows in this field. Berg’s early bows, made in Wellington, are, despite their prototype status, not historical oddities but fine playing bows in their own right.
B818 “Rich Geipel…”, Germany mid 20th century$ 2,550.00
Richard Geipel was a member of a large family of violin and bow makers. Based in the Markneukirchen area, his workshop produced many fine bows. This bow is characterised by large Parisian eyes and a bi-coloured whalebone lapping.
S259 Berg cello bow$ 2,750.00
S259 Bob Berg cello bow, Wellington, New Zealand late 20th century
This is an early New Zealand-made prototype for the now famous “Berg” bows made and marketed in the U.S. Bob Berg, an American double bass player in the NZSO, was a pioneer in the making of carbon-fibre bows. While his bow heads are not as elegant as modern productions, the sticks share the attractive, wood-like texture and colour, and the playability is very good, with excellent articulation.
S272 Bob Berg, Wellington, NZ, late 20th century$ 2,800.00
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.