Showing 49–64 of 66 results
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.
S334 Unstamped, Germany, late nineteenth or early twentieth century$ 2,500.00
This old, much-played and appreciated bow has been thoroughly restored in our workshop so that it can go on sharing its playing qualities with future generations of cellists. The original, silver-mounted, ebony frog has been complemented by a new, silver and ebony button.
Unusually, the head has an internal splice but no detectable signs of a head break. A splice makes an unbroken head more resistant to damage, perhaps echoing the actions of William Retford, Hill’s famous and fiery bow maker, who pinned his personal bow heads as a preventative measure.
Weight: 75.5 grams
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.
Stamped “JA [?] TUBBS”, English or European, early-mid twentieth century$ 2,800.00
James Tubbs, arguably England’s most outstanding bow maker, is widely copied, in the sense that his name appears in various forms on a wide variety of later bows. This bow, both in its making and its playing characteristics is rather better than most. The round, pernambuco stick is well-selected, the bi-coloured whalebone lapping and silver mounts lift the work out of the ordinary, and the frog, if not the head, is a reasonable approximation of Tubb’s style. The bow has a warm, full, steady legato and an effective spiccato and articulation.
Weight: 60.0 grams
B580 “E. Withers. London”, England mid-late 20th century$ 3,070.00
Founded by Edward Withers in the mid 19th century, this reputable London violin firm employed their own bowmakers. This bow has an octagonal stick, silver mounts and a one-piece button.
S208, violin bow, Carl Albert Nürnberger, Germany, mid 20th Century$ 3,700.00
This finely-finished, octagonal violin bow, from the Nürnberger workshop in Markneukirchen, is stamped “*ALBERT NÜRNBERGER*” and “MADE IN GDR”. These stamps identify the bow as the work of one of the more famous members of the numerous Nürnberger bow making family, Carl Albert Nürnberger, and dates it to the decades after the Second World War. The Parisian eyes in the frog, as Nürnberger’s work often shows, are unusually large, and the “Tourte” style head is carved with strength and clarity. The three-part, silver and ebony button is unoriginal. The bow draws a warm, full sound.
S320 Howard Green, United Kingdom, early twenty first century$ 3,900.00
Now resident in Fife, Howard Green, one of Britain’s best known makers, made this violin bow in London, as evidenced by the stamp above the frog. The frog is fitted to the round, pernambuco stick in his characteristic style, an adaptation of the Vuillaume method, without a frog lining, a design that helps to enhance a full tonal response. The bow has attractive red-gold mounts; the frog is inlaid with gold dots around the pearl eyes, a pattern echoed in the gold and ebony button. Despite the weight, the bow has a fine, elegant appearance, and feels quite light in the hand. Playing performance is as one would expect from a bow of this price and pedigree.
Weight: 63.5 grams
S298 Albert Nürnberger Jnr, Germany, after 1920$ 4,000.00
This octagonal, silver-mounted pernambuco bow is well weighted, at 83.9 grams, and has excellent playing qualities. A head break has been repaired skilfully with a splice, which hasn’t affected the bow’s performance characteristics but has brought its sale value down to an affordable level for a professional player or advanced student.
S305 “Berg”, William Duff, Bloomington, Indiana, USA$ 4,000.00
Pioneered in New Zealand by Bob Berg, “Berg” carbonfibre bows were further developed in Indiana by William Duff to the point where they have established themselves firmly as one of the very best carbonfibre bows in today’s violin market. This Indiana-made violin bow weights 62 grams but still feels light and responsive in the hand, with the playing characteristics, shared by all top carbonfibre bows, of responsiveness and excellent articulation.
S199, Doriane Bodart, Paris, France, 2009$ 4,200.00
This is a beautifully-made bow from one of the second generation of “new” French bow makers. Bodart trained with both Gilles Duhaut and Stephane Thomachot, who studied bow-making in the early 1970’s from the famous French archetier, Bernard Ouchard, in Mirecourt. Although the bow is on the heavy side at 62 grams, the balance and the fineness of the head give the bow a sense of lightness in the hand, while retaining good articulation and tone at the tip.
Richard Grunke, Germany, mid-late twentieth century$ 4,750.00
Richard Grunke is one of the most esteemed German bow makers of the second half of the twentieth century. He began his apprenticeship with Edwin Herrmann, just after WWII, and completed it in the H. R. Pfretzschner workshop, inheriting the best of the early twentieth century Gedrman bow making traditions, while later coming under the influence of great French bow makers such as Lamy and Sartory. This fine, silver-mounted violin bow, though slightly heavier than average, has great balance and feels clean and responsive in the hand, while drawing a full, warm sound. A lovely bow for a professional or advanced student.
Weight: 62.1 grams
S306 “Hill”, Edgar Bishop, W. E. Hill and Sons, London, early-mid 20th century$ 5,000.00
Under the Hill bow-making workshop system, the individual makers were able to establish some sort of mutual recognition by stamping their own symbol or number on the silver tip face, under the hair. This bow is stamped “2”, identifying it as the work of Edgar Bishop, who began work as a Hill bow maker in 1918. The Hill family still retained some of the “Victorian” tradition of control over their workers – the identification system was officially a secret until the late 20th century. The bow feels surprisingly light in the hand for its weight, at 62.6grams. Like other early Hill bows stamped “Hill”, the bow performs very well, with a good bounce, clean articulation, and steadiness on the string in fast, light, full bow strokes.
S312 “Beare” London, late twentieth century$ 6,000.00
This fine viola bow was made by Tim Baker, the last bow maker to be trained and employed by W.E. Hill and Sons. Baker then joined the workshop staff at J. and A. Beare in 1984, where he focussed on bow making, bow restoration and the study of old bows. The influence of the great nineteenth century French bow makers, particularly Peccatte, is visible in this bow: an elongated octagonal section extends forward into the otherwise round stick and the head is carved in a clear, somewhat angular style. At 71.4 grams, the bow is of moderate weight, with a smooth but responsive playing action.
B956 “W.E. Hill & Sons”, London, early-mid 20th century$ 7,000.00
The full stamp “W.E. Hill and Sons” indicates this is one of their first grade bows; the figure “3 ” on the tipface under the hair shows that this is the work of Albert Leeson, who worked at Hill from 1920 till his death in 1946. The pernambuco stick is octagonal, and the ebony frog has silver mounts. At 57.9 grams this is a relatively light bow, but it still pulls a warm, full sound.
“W.E. H. & S”, by W.E. Hill and Sons, London, early-mid twentieth century$ 7,000.00
This “Hill”, 2nd grade violin bow is typical of their workshop production in the first half of the twentieth century. A small nick in the silver tip face below the head mortice indicates the work of Sydney Braithwaite Yeoman, the bow workshop’s first apprentice, who joined the company in 1890 and who retired 55 years later, in 1945. The ebony frog has a full-length pearl slide and pearl back plate. The black whalebone lapping is original. The bow produces a full, warm sound and the spiccato is very well-balanced and precise.
Weight: 61.6 grams