Showing 49–64 of 69 results
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
S455 Violin bow stamped: “Vuillaume A Paris”, Germany, late nineteenth or early twentieth centuries$ 2,500.00
In keeping with the stamp, the bow stick and frog are fitted together using the Vuillaume method, with a silver-wound thread lapping in keeping with the overall French styling of the frog. In contrast, the octagonal pernambuco stick is skillfully but robustly shaped. The playing characteristics are very good indeed, with an excellent balance and clean articulation, especially at the tip. The bow sits very steadily on the string for legato and draws a warm, full sound.
Start sale price: $2500.00
Bow weight: 60.9 grams
B818 “Rich Geipel…”, Germany mid 20th century$ 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.
“A. Metzner”, Angers, France, late nineteenth century$ 2,700.00
The “A. Metzner” whose name is stamped on this fine cello bow may well be the same maker as A. Metzner-Leblanc, known nowadays only through the work of the Mirecourt-born luthier Louis Martin. Martin trained originally as a bow maker before apprenticing as a violin maker. He later worked for the “A, Metzner-LeBlanc” workshop in Angers, France, and then bought it just after the turn of the twentieth century. The bow has a strong, octagonal, pernambuco stick and silver mounts. At 79.1 grams, it would suit an advanced student or professional player looking for a slightly lighter bow with good playing characteristics.
Start sale price: $2,700.00
Bow weight: 79.1 grams
S259 Berg cello bow$ 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.
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
S336 violin bow stamped “W.E. Hill and Sons”, W.E. Hill and Sons workshops, London, early-mid twentieth$ 2,950.00
Bows made by the illustrious workshops of W.E. Hill and Sons come in several grades: in New Zealand we commonly see four different stamps, from “H+S” and “Hill”, “W.E. H+S” indicating their second grade production through to their top quality bows stamped “W.E. Hill + Sons”, of which this is an example. The workshop stamp “3”, concealed under the hair at the tip, indicates that this bow was made by Albert Leeson, who worked at Hills from 1920 until his death in 1946. The strongly-modelled, octagonal stick has excellent playing characteristics, without any of the unsteadiness sometimes found around the balance point in lesser-grade Hill bows. An old stick repair at the heel has been professionally restored but the fact of it having previous damage prices the bow at a fraction of its value were it in pristine condition. The restoration is fully guaranteed by The Stringed Instrument Company.
Start sale price: $2,950.00
Bow weight: 61.8 grams
S395 Violin bow Albert Nurnberger, Germany, early-mid twentieth century$ 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: $3,000.00
Bow weight: 58.0 grams
S460 “Albert Nürnberger” violin bow, Germany, early-mid twentieth century$ 3,000.00
This attractive bow is from the workshops of Franz Albert Nürnberger, son of the nineteenth century German bow maker of the same name. The stamp, with its Serif font, indicates that the bow was produced after 1910, as a less exclusive bow than Nürnberger’s top work. The well-selected, round, pernambuco stick still has its original whalebone lapping. As can be expected from any bows from this workshop, this bow has very good playing characteristics. Although slightly heavier than the average, at 61.7 grams, it feels balanced and responsive in the hand.
Start sale price: $3,000.00
Bow weight: 61.7 grams
B580 “E. Withers. London”, England mid-late 20th century$ 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.
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.
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.
S406 Richard Grünke, Bubenreuth, Germany, mid-twentieth century$ 5,000.00
Richard Grünke is one of Germany’s most prestigious modern bow makers. After training with Edwin Hermann and the H.R. Pfretzschner workshop, he joined the Roderick Paesold workshops, where he was their master bow maker for over twenty years. This fine, silver-mounted viola bow, made during that period, is stamped with Grünke’s name; the frog also bears the shield symbol containing his initials which he used at that time. The strong, octagonal stick is made from selected pernambuco, and is both steady and responsive. This bow would suit a professional player or advanced student planning for a career as a viola player.
Start sale price: $5,000.00
Bow weight: 67.1 grams