Showing 49–61 of 61 results

  • 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.

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  • 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.

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  • 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.

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  • 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

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  • S294 “H. R. Pfretzschner, Germany, early-mid 20th century” cello bow

    $ 4,000.00

    Hermann Richard Pfretzschner, whose name appears on bows not only by him but by his sons, grandsons and great-grandsons as well, trained under Jean Baptiste Vuillaume in Paris before setting up his own workshop in Markneukirchen. This French training was to have a major influence not only on his own family’s work but on subsequent bow making in Germany. From 1901, the King of Saxony’s royal coat of arms appears, as it does on this example, in the right hand upper corner of the facing side of the frog. This bow is made from excellent quality pernambuco and would make a good bow for an advanced student or professional. It is well-weighted to pull a big sound.

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  • 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.

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  • 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.

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  • 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.

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  • 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.

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  • 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.

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  • 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.

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  • B754 “Bourguinon à Bruxelles” Belgium, mid 20th century

    $ 7,660.00

    This beautiful bow has been reliably attributed to the French bow maker Marcel Lapierre, but bears a dealer’s stamp. The octagonal stick is of well-selected pernambuco and the tortoiseshell frog has silver mounts.

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  • S304 Louis Morizot, stamped “Collin-Mézin”, France, early-mid twentieth century.

    $ 8,750.00

    Violinists are mostly familiar with violins produced by the workshops of Charles Jean-Baptiste Collin-Mézin and his son of the same name. Less well-known is the fact that the Collin-Mézins also sold bows, although they didn’t employ an in-house bow maker. Instead, as was common in France at the time, they purchased bows from an independent bow maker, in this case the now-renowned Louis Morizot, and his four talented bow-making sons.

    This is a beautiful player’s bow, smooth and silky on the string but with an effortless articulation in awkward string crossing passages, and an exciting sautelé. At 62.4 grams, it has enough weight to pull a big sound, while the balance makes it feel light in the hand. The frog has a fairly typical Morizot rounded back.

    Weight: 62.4 grams

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