This is a unique early Sartory bow in superb condition – it’s a highly collectable bow but it also has a unique clarity of tone. More details
Joseph Henry is in my opinion the greatest maker of the Peccatte school. This bow has a replacement frog and is quite worn, but it’s an exceptional player. More details
Paul Weidhaas is one of the most respected of early 20th century German bow-makers. Here we have a fine cello bow made in the French style, and in unusually pristine condition. More details
A good cello bow from the Bausch workshop, dating from the early 1900s. More details
Charles Maucotel was the first of the Parisian makers to come to London. A tremendous yet relatively unknown maker, here we have a beautiful del Gesu copy of his in excellent condition, and with a first class sound. More details
Dominique Peccatte occupies a unique place in the history of bow-making. While Tourte commands the highest prices, Peccatte brought the bow to a state of modernity which remains the archetype to this day. This is an unusually fine and rare example with an open frog and wood-to-wood mounts, but currently sporting a gold copy frog and button. More details
A lovely French bow from one of the less well known makers of the early 20th century – very similar to EF Ouchard in style, also in feel. Robust yet quick on the draw, and pulling a big rounded tone. More details
Louis Morizot’s main claim to fame is his association with Sartory, yet he’s a great maker in his own right. Under his sons, the family name became rather associated with mass production and clunky student bows, but at the time this bow was made, a Morizot was a thing of great refinement and beauty. More details
Jan Kulik is perhaps the most refined maker of the Prague school. His violins are very individual, artistic and yet precise. This is a fine example with a superb sound, loosely based on a Gragnani and carrying a Gragnani label. More details
An exceptional gold-mounted bow in unused condition by one of the most esteemed German makers of the 20th century. More details
Garner Wilson was one of the last of the Hill makers, and his work embodies the Hill tradition. Made with precision, well balanced, utterly reliable … More details
Joseph Calot is a fascinating figure in the history of violin-making. He is best known as a Turin maker for his association/collaboration with Pressenda, but he was also an apprentice in the workshop of Nicholas Lupot, and our violin is a bold variation on Lupot’s Paris style. This is a perfectly preserved example of Calot’s Parisian work, showing exceptional ability. More details
Dominique Peccatte is widely regarded as the greatest bow-maker of all time – his bows show unusual flair and workmanship, and they are unsurpassed in technical quality. More details
Tourte is without question the most prestigious name in the history of bow-making. While FX Tourte was largely responsible for the design of bow that we recognize today, his older brother NL or “Tourte l’Ainé” was equally revolutionary. More details
Alfred Acoulon was the foremost luthier employed by the Jerome Thibouville Lamy workshops, and he produced their flagship instruments under the soubriquet “Lutherie Parisienne”. Violins sold under his label were made entirely by him – in 1912 an Alfred Acoulon cost 20 times the price of a Geronimo Barnabetti. More details
This is a rare and interesting Genoese violin from the mid 1700s in a wonderful state of preservation and with an outstanding tone. The head is probably not original to the violin. More details
The workshops of Marc Laberte produced a huge range of instruments and bows in the early 20th century – their silver-mounted bows are of consistently high quality. More details
Our Hardanger fiddle is a simplified version of a traditional Hardanger, made with a violin scroll and without ornamentation. The body is copied directly from an award-winning instrument by Sveinung Gyovland. This historic instrument had excellent tone and sustain, so we followed the outline, arching and thicknesses faithfully. The result is an affordable Hardanger with a completely authentic sound.
Our Hardanger has 4 sympathetic strings, tune-able with ease thanks to the incorporation of Wittner geared pegs. Principal strings are traditional gut (normally tuned CGCE).
We generally have one of these instruments in stock – we’re also happy to make them to order with 5 sympathetic strings, dragon’s head scrolls, and/or traditional inlaid tailpieces and fingerboards. 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.
This is one of a number of prototypes we made from Cremonese patterns when looking for a successful model with a short back length. This particular violin is 35.2cm but with a conventional stop length, and is designed with the smaller player in mind. Like all of our MSV violins, it’s made entirely with hand tools in Reghin, Transylvania, and is finished with an Italian Balsamic varnish. More details
This is a good Stradivarius pattern violin made entirely with hand tools by one of our Hungarian makers in Reghin. The varnish is an “antiqued” finish which we have developed in collaboration with a specialist restorer in Budapest – we continue to refine this process and welcome any feedback. The sound is charming and refined, not the loudest violin we’ve produced but smooth and silky in character, unusually responsive, even with a light technique. More details
A fine early Mirecourt violin in mint condition and with an excellent sound More details
The Chanot family have been hugely influential in the history of violin-making, both in France and in England. Georges Chanot II was sent to England by his father in order to stop him misbehaving in Paris – it definitely worked, and he became a consummate and very successful maker. More details
Mario Gadda is one of the best-known names in modern Italian violin-making, and this violin is a great sounding example of his own model in excellent condition. More details
“A Vuillaume by any other name would smell as sweet …”! Here we have a superb sounding violin by Vuillaume’s right hand man, Charles Adolphe Maucotel. It is in almost all respects indistinguishable from a Vuillame, and it has a superb concert sound.
Pierre and Hippolyte Silvestre were exceptional makers, and their success owes much to their training with Nicolas Lupot and JB Vuillaume respectively. The two brothers worked together from 1829 until 1848, and then worked independently – Hippolyte survived his brother by 20 years and produced the greater number of instruments, but both makers are accorded equal status within the trade. This Guarneri model violin is a superb example of Hippolyte’s later work, and it’s in great condition. 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