Showing 49–64 of 68 results
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.
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.
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.
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.
S389 Otto Adler viola bow, Mittenwald, Germany, early-mid twentieth century$ 2,750.00
The Otto Adler bow-making workshop was based in Mittenwald, the famous Sourthern German centre of violin making until Adler’s death in 1945. This octagonal, pernambuco viola bow has silver mounts and a solid, square-backed ebony frog in good condition. At just under 67 grams, the bow is relatively light for a viola bow and would perhaps suit a player with a smaller instrument. The playing characteristics are good, with a clean, smooth action.
Start sale price: $2,750.00
Bow weight: 66.9 grams
S377 Violin bow stamped “JA [?] TUBBS”, English or European, early-mid twentieth century$ 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
S395 Violin bow Albert Nurnberger, Germany, early-mid twentieth century$ 3,000.00
Franz Albert Nurnberger Jnr, trained by his father of the same name, built up the family bow-making workshop to be one of the most outstanding not only in its home town of Markneukirchen, but in Germany. The stamp, using a serif font, was only used after 1910, which helps to date this bow to a period stretching from shortly before WWI through to the mid-twentieth century. The head is rounded in the distinctive style of the Albert Nurnberger workshop. The bow produces a lovely, smooth and creamy sound, and the articulation is precise, with a clear, elegant spiccato.
Start sale price: $3,000.00
Bow weight: 58.0 grams
B580 “E. Withers. London”, England mid-late 20th century$ 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.
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.
S383 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.