One in stock at present
These new viola bows are made from excellent Brazilian pernambuco, assembled and finished by Alecio Luiz Dos Reis, a young Brazilian maker living in the UK. They represent exceptional value for money. More details
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.
This is a very nice example of the general output of the Hill shop between the wars. Branded simply “Hill”, and a bit more economical on the mounts than the pricier models, it’s nonetheless a very good playing stick. Albert Leeson joined the Hill shop in the 1920s and quickly showed enough talent to be allowed to work on his own – his bows are identified by a number 3 on the silver face plate. More details
The Morizot workshop in Mirecourt was formed in 1937 by the sons of Louis Morizot. It was a busy place full of talented and competitive people, and the quantity and quality of bows produced is staggering. This particular bow is a very fine example in perfect condition, made for Collin-Mézin, and with an ornamental “R” engraved on the ferrule. The stick is of octagonal section red-brown pernambuco of high quality, mounts are silver and ebony. 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.
Claude Thomassin worked for Gand & Bernardel before setting up on his own , first in Paris then from 1904 in Mirecourt. He was a highly respected and very successful maker who supplied bows to numerous shops and instrument-makers. J&A Beare in London bought bows from Thomassin, as did Withers and many others. His bows are very distinctive, mainly on account of the heavily swept back ferrule and rounded frog – the work is of high quality and the bows generally play very well. 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.
This is a superb Sartory viola bow in near pristine condition, stamped E SARTORY A PARIS, and certified by Pierre Guillaume. Sartory bows represent a kind of gold standard for professional players – utterly reliable, with the brilliance of the greatest of French makers, but with a weight and balance that works for modern technique.
The stick is of round section red brown pernambuco with silver and ebony mounts. The condition is superb – there are no issues to report aside from a minor repaired pin crack to the stick at the adjuster. More details