This is a very blingy Tourte model bow made from excellent Brazilian pernambuco, assembled and finished by Alecio Luiz Dos Reis, a young Brazilian maker living in the UK. It represents excellent value for money. The stick is of dark brown round section pernambuco, mounts are silver and ebony. More details
These new bows are made from high quality Brazilian pernambuco, and are assembled and finished by Alecio Reis, a young Brazilian maker living in the UK. This example has a Hill-style unlined ebony frog – the stick is round section. More details
On trial, £1,250
Amongst the innumerable Markneukirchen makers of the early 20th century Gustav Prager stands out for the elegance of his work. This is a very nice example made with unusually good flamed pernambuco, silver and ebony mounted. Condition-wise there’s a small repair behind the mortise and some wear to the frog, and the price reflects this. More details
This is a relatively modest Mirecourt bow stamped Pillot which plays superbly. The stick is of deep red pernambuco, mounts are ebony and nickel. The condition is excellent throughout, with the exception of the ebony collar of the adjuster which has two small cracks. More details
This is a very good Cuniot-Hury made by Emile F. Ouchard, who apprenticed with Eugene Cuniot-Hury and then took over the workshop in 1912. The model is characterized by a tall narrow head and a frog with a rounded heel – the plain adjuster of slightly greater diameter than the stick is also typical. The output of this workshop is vary varied in quality, but this is a lovely example, finely worked and with good wood. More details
This is a new bow by contemporary French maker Jacques Poullot. Like so many of the new wave of French makers, Poullot studied under Bernard Ouchard, but he is a highly respected maker in his own right. The bow we are offering for sale is his ‘Special Atelier’ model with a plain pearl eye, stick of round section red pernambuco, and sliver and ebony mounts. More details
This is a lovely Markneukirchen bow made for the London firm of Chanot by the Nürnberger workshop. The head and the pinning of the underslide are identical to this authentically branded Nürnberger. The stick is of round section mid-brown pernambuco, mounts are of silver and ebony. The condition is excellent. More details
This is a classic Mirecourt bow made by Roger Francois Lotte, branded Georges Coné & Fils Lyon. Lotte supplied a lot of unbranded bows like this to French violin-makers such as Coné. The mounts are not typical of Lotte – although they are a perfect fit and of fine quality, it seems wise to assume they aren’t original. The stick is of round section red pernambuco – the wire lapping appears original and everything is in excellent condition. More details
This is a very good silver-mounted Mirecourt bow stamped Leon Bernardel Paris. This brand was owned by the Cousenon firm, but most likely the bow was supplied by the Laberte workshops. Typical French features include the cuts to the corners of the ferrule and the visible transition from octagonal to round section beyond the end of the lapping. More details
This a lovely Hill bow by Arthur Copley, silver mounted, and with its original whalebone lapping. Although it bears the WE Hill & Son stamp reserved for their best bows, it’s a bit tatty here and there, hence the bargain price. There are no significant condition issues, but the frog is chipped and has a repaired crack, the stick’s a bit nibbled here and there, and the silver face plate is slightly dented. More details
This is a classic Hill bow from the 1920s. Branded simply “Hill”, and a bit more economical on the mounts than the pricier models, it’s nonetheless a great bow which has stood the test of time. Frank Napier was the son of William Napier, also a bow-maker at Hills – he apprenticed in the shop and worked for a decade or so before becoming a scientific instrument maker. More details
This is a very nice lightweight Albert Nürnberger from around 1890. Although it carries an 1878 brand, Klaus Grünke tells me that this doesn’t relate to the year of manufacture. It also bears a Wurlitzer brand, indicating that it was made for or sold by Wurlitzer in New York. The stick is of round section lightly flamed chocolate brown pernambuco, with a distinctly French transition from octagonal to round; the frog is silver-mounted. All parts are original and the condition is excellent More details
This is a very fine early 20th century Tourte model Nürnberger bow, bearing a “Saxony” brand on the underside of the stick behind the frog. The stick is of octagonal section red-brown pernambuco, mounts are silver and ebony. The condition is exceptional, with no issues to report. More details
This is a classic Knopf bow made for the firm of Ludwig Bausch in Leipzig. Many great bows were produced by this shop, either by the Bausch family themselves or by various members of the Knopf family. Johann Wilhelm Knopf (1835-1912) made may bows under his own stamp, and from a study of these we are able to establish that he was responsible for this bow. Some general features of the Knopf school are immediately apparent – the massive plain pearl eye and the distinctive rounded cut to the adjuster collar are the most noticeable. The head with its Simon-like bell shape is specific to Johann Wilhelm.
The stick is finely worked orange pernambuco of round section, mounts are silver and ebony. The condition of the bow is excellent. More details
This is one of two superb bows we have by this fine French maker. Ouchard apprenticed to Eugène Cuniot, and ended up running the firm of Cuniot-Hury after Cuniot’s death in 1910. From 1923 onwards, Ouchard worked under his own name along with his son Emile Auguste.
This is a very typical example of Ouchard’s work, with a rounded heel, finely tapered pearl slide, and his most classical head. The wood is beautifully flamed orange-brown pernaumbuco, round section, mounts are silver and ebony. The condition is excellent. More details
Auguste Barbé is a highly respected maker who worked exclusively for Gand & Bernardel, and whose bows are regarded as equal to those of FN Voirin. Gand & Bernardel employed some of the great names in French bow-making (Joseph Henry and Pierre Simon perhaps the most famous), and their output was of the highest quality. This bow is typical of their later period, branded simply Gand & Bernardel rather than Gand & Bernardel Fres indicating a post-1885 date. The stick is of excellent orange-brown pernambuco, the frog is ebony with silver mounts. The head is exquisitely worked and vey artistic. More details
On trial, £8,500
The second of two superb bows we have by this fine French maker, this is a unique and collectable bow. Ouchard apprenticed to Eugène Cuniot, and ended up running the firm of Cuniot-Hury after Cuniot’s death in 1910. From 1923 onwards, Ouchard worked under his own name along with his son Emile Auguste.
This is a very interesting and stylish bow with a Vuillaume-style trench frog – Pierre Guillaume considers it an unusually fine example of Ouchard’s work. The wood is dark brown round section pernaumbuco of high quality, mounts are silver and ebony. The bow is in excellent condition. More details
This is a superb collectable bow by one of the most obscure members of the Knopf bow-making dynasty, which dominated the German trade in the 19th century. I’ve gradually become aware of the spectacular playing qualities of good Knopf bows, mainly on the context of the bows made for Kittel and for the great mid/late 19th century firms such as Ludwig Bausch and Richard Weichold. But this bow is a stand-out – in near mint condition, with an excellent certificate, and with fantastic playing qualities. More details
We always try to keep a couple of James Tubbs violin bows on the website – perhaps that gives a clue as to how I rate him as a maker! His model is individual and very distinctive with long buttons, long rounded ferrules, the head broad and elegant, always with a silver face. This example from Tubbs’ later period is typical – very dark brown pernambuco, silver and ebony mounts, the plain ebony frog with its square heel characteristic of the period. The stick is in great condition – there’s a bit of scratching to the player side of the frog and handle, and the pearl slide is a replacement, otherwise no issues. More details
Like so many of the better late 19th century makers, Joseph-Arthur Vigneron worked for Gand & Bernardel before setting up on his own. His bows are distinctive stylistically and in playing character, sometimes works of genius, sometimes a bit lumpy. This particular bow is one of the best playing bows I have come across!
The stick is of round section mid brown pernambuco with a strong flame, mounts are silver and ebony. In this case we have a plain pearl eye and a square heel, suggesting quite an early date. More details
I have to admit that I’ve woken up rather belatedly to the qualities of a fine Tubbs. The wood in his bows is very variable, and some seem just too soft or light to be useful. But the bows he made with strong and dense wood like this one are amazing. His model is individual and very distinctive with long buttons, long rounded ferrules, the head broad and elegant, always with a silver face. More details
This is an outstanding later period Tubbs bow in great condition. The round section stick is of dark red-brown pernambuco, mounts are silver and ebony. The frog is plain and the adjuster slightly shorter than on a middle period bow. It’s quite rare to see a Tubbs in this sort of condition – there’s minimal wear to the stick and the frog, and all the silver is crisp and undamaged. More details
Victor Fétique was an extremely productive maker – the first half of his working life was spent in the employ of CN Bazin and Caressa & Francais, subsequently he ran a busy workshop in his own name, and in 1925 received the honour of “Premier Archetier de France”. Fétique stamped bows are a bit of a nightmare, since his workshop bought in and finished some sticks from Markenukirchen, and the German makers in turn faked his brand. Fétique also made a large number of unbranded bows for other dealers or violin-makers. The only way through this morass is to entrust the identification to an expert, and in this case JF Raffin has confirmed that the bow is entirely the work of Victor Fétique, though sold by and branded Paul Jombar Paris. More details
Joseph-Arthur Vigneron is another of the great names in French bow-making. Like so many of the better late 19th century makers he worked for Gand & Bernardel before setting up on his own. He developed his own very successful model, rather more masculine than Voirin or Lamy, balanced a bit more to the heel, and with very exaggerated chamfers to the head. This is a typical example of his work – it was the much-loved first bow of a retired professional. More details
This is a very fine Joseph Alfred Lamy in excellent condition, stamped A Lamy à Paris. Lamy worked for FN Voirin until the latter’s death in 1885, then set up on his own producing bows of superb quality. This bow dates from Lamy’s earlier period – the plain eye set far back in the frog is typical of his work at this time. But unlike some bows from this period, this example has a strong stick and a perfect weight. Very much the ideal Lamy, it has a great sound, great technical quality and optimal antique value. More details