Showing 49–64 of 76 results

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    S343 Unstamped, European, late nineteenth or early twentieth century

    $ 2,000.00

    Despite its somewhat plain appearance, this silver-mounted violin bow, with its round, finely-shaped, pernambuco stick, has a very attractive playing style, producing a characterful sound with good potential for phrasing and clean articulation. The frog has moderate wear but is in good, stable condition, an old stick crack has been professionally bushed and the tip face replaced, both repairs carried out in our own workshops.

    Weight: 58.6 grams

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    S392 violin bow, “Ch. Buthod,” Mirecourt, France, late nineteenth or early twentieth century

    $ 2,100.00

    Charles Buthod worked for Jean-Baptiste Vuillaume before establishing a large workshop in Mirecourt in the mid-nineteenth century, initially called “Husson, Buthod et Thibouville” and later famous as the French production house “Jrôme Thibouville-Lamy” or “J.T.L.”, of which Buthod was for many years a director. This bow, although it bears his name, was not made by him, but produced in Thibouville-Lamy’s bow department, where his name was used as one of a number of brands. The bow is steady in the hand, has good spiccato and articulation, and makes a smooth, creamy sound. The frog shape has been slightly altered at some point, which has affected the value, making this a very affordable bow for an advancing student.

    Start sale price: $2,100.00

    Bow weight: 61.5 grams

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    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.

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    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.

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    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.

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    S361 Unstamped, “Vuillaume” violin bow copy, Europe, late nineteenth or early twentieth century

    $ 2,300.00

    This “Vuillaume” style, silver-mounted violin bow, with its curved-ferrule frog set slightly into the stick for stability, has a very attractive playing style, despite its lack of pedigree. The round, pernambuco stick feels light in the hand but draws a clear, warm sound, with good articulation and spiccato. While versatile, it would particularly suit Classical and Baroque repertoire.

    Weight: 59.6 grams

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    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.

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    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.

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    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.

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    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.

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    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

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    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.

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    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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    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

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    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

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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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