This is an excellent gold-mounted bow by Alfred Knoll – according to Hartmut Knoll it dates from the late 1960s or early 1970s, although it looks brand new. It’s a very attractive bow of octagonal section red pernambuco, and it plays like a dream, not too stiff, not too slappy – silky would be the best word to describe the action and the sound. I would recommend it for an aspiring soloist – it’s clean, lively and very responsive. And it’s in perfect condition. More details
This is a lovely bow by Roger Lotte carrying his own later brand. It’s a classic example of his work with a rounded heel, Parisian eye, and a Simon-like backwards curve to the head. The fine red pernambuco is also typical – round in section, with mounts of silver and ebony. The condition is excellent.
Arthur Bultitude is a highly respected English maker who spent much of his working life at Hills. On leaving the Hill shop he specialised in exquisite bows with ornamental frogs, and his work has influenced an entire generation of contemporary English makers. More details
This is a very fine Nürnberger family viola bow, probably an early work by Carl Albert Nürnberger. The brand with a * at each end came into use after 1910, yet some archaic aspects of this bow’s construction suggest that it can’t be much later than that. The bow has a silver face and a pinned underslide, and it oozes style. The stick is of beautifully flecked round section pernambuco – mounts are silver and ebony.
Hill bows have a well deserved reputation for consistency of workmanship and for the quality of the sticks. The finest sticks were branded WE Hill & Sons, and the best of those such as this bow were mounted in gold. More details
Peccatte is one of the big names in French bow-making. François, brother to Dominique, had a very short life and his work is relatively unknown. He is thought to have worked alongside his brother before setting up on his own in 1843, and this bow dates from the early years of his independent production. More details
Emile Auguste Ouchard is one of the most highly valued bow makers of the 20th century. His style is individual and very precise, and the playing qualities of his bows are rarely surpassed. Many professionals use an EA Ouchard. This fine viola bow from his New York period is a very good example, powerful yet responsive and with a huge sound. More details
Nicolas Maline, also known confusingly as Guillaume Maline, is quite a maverick figure from the Golden period of French bow-making. Even his dates are disputed, as is the question of whether or not he worked for Vuillaume. However, his work is unique and distinctive, and of the highest quality. More details
FN Voirin is one of the greatest names in bow-making. Although his bows haven’t become a currency in the way that Sartory bows have, he is generally regarded as the better maker. While his bows are inevitably lighter, they have unparalleled elegance and are renowned for their quality of sound.
This viola bow is a lovely example of his work, typically refined and perfectly proportioned. The stick is of octagonal section orange-brown pernambuco with speckled figure, mounts are silver and ebony. The condition is astounding.