6/15/2018 All about Bows

All about Bows & Bow Makers

WPS Dictionary of famous Bow makers
Westbury Park Strings Edited Nov 2013
© Roland Herrera1998-2013 ver.1.55
Please send comments / suggestions to Roland Herrera

Contents: Introduction Materials Choosing a bow Categories

1) French;
2) English;
3) German;
4) Brazilian;
5) American bows

Other Bow links on my site: View some details of F

Picture tip ; if you click on the thumbnail pictures you may
View some reviews I made for myself when I started inv

In preparation : Bow FAQs or frequently asked questions

and Checking out the health of a bow ; check for wood sh
Loss of camber, broken tips, worn frogs, worm holes, repairs
Also my latest article on Buying a Bow is we

Please note ; while I rate myself fairly knowledgeable and experienc

complete accuracy of everything stated here... some of it
This page still has omissions, but will expand heavily in

Introduction

A good bow is often considered as important as the violin itself. Students should not overlook the importance of possessing a reasonable bow, rather
should vary from 1:6 up to 1:1. The best bows are without question French, but there are great English and German bows out there too...(and nowaday
rich and rounded sound. French bows are followed in quality by English bows, though early English bows compare well with French bows. English bows
next, and are very popular in their more mass produced and affordable quantities. Surprisingly, no other country has as significant a tradition or school o
of French bows (he would buy a whole bunch every visit to Paris) played with one of the original German Nürnbergers ; (he also used a Richaume). K
H.R. Pfretzschnerfor practice. In early times, it was common practice for violin makers and shops to stamp and supply bows made by others ; for exam
it is important to seek documentation for such a bow, including written valuations and authenticity certificates from such a reputable firm as François Ra

Wood & Materials

South American Pernambuco (“pear-nahm-BOO-koo”) is a type of wood that grows in Brazil. It offers perfect resistance, strength, and springiness for vi
violin bow makers! One alternative to Pernambuco is a wood called “Brazilwood”. They are not as responsive as Pernambuco bows, and tire out your h
not as durable as Pernambuco, which lasts hundreds of years, if properly cared for. Brazilwood has more of a tendency to warp. Pernambuco wood, a t
having experimented with various other materials ).

Recently, I asked Janine Jansen what bow she used after her recital. It turned out to be a Tourte, though she said for Concerto work she needed somet
and some have become very tired. The average weight of a violin bow is 60 grams ; a viola bow 70 gr., and a Cello bow averages 80 gr. It is common to
is stronger and more robust than Asian hair, which is finer and more silky in texture. No more than 5% of the hair is suitably cylindrical and regular to be
same cohesive and smooth tone. Surprisingly to some people, the tonal qualities of bows fall into two main categories; "dark" sounding & "soprano" like
more lively and springy than a Lamy. Incidentally, Lamy and Voirin bows are very similar and possess in sheer beauty of tone the finest quality sound. S
bow possesses a compact and rounded tone, and adheres to the string to a high extent, ensuring a substantial "bass" component in the sound. A stiff o
body of tone... consequently, chords and Spiccato are thin sounding and frustratingly unsatisfying. No two bows by the same maker are exactly the sam
consistencies in the bows of the same maker which will make them readily identifiable to an expert. Good bows at an affordable price are becoming har
Insurance are the two main companies that do this). Also, make sure you look after it and get it maintained or at least checked out by a reputable bow m

How to choose a bow ; practical thoughts

Please also see this article on Buying a bow

Well, here's how I do it: I play open strings, especially the D.. plain, even and simple... ( gather up as much healthy tone as possible, working with the
violin and bow ; how much body does it have ? Does the tone on the E string have body ? or is it scratchy and brittle ? Do chords sound full and round ?
sound. I don't pay attention to balance, weight and mounting of the bow.. these are all external, and quite superficial characteristics, that people are usu
of a bow can be "measured" by the quality of sound it produces. A heavy bow does not necessarily mean a large tone : A large sound can be obtained f
the true capabilities of a bow, and to hear if it is drawing the maximum tone from your violin. An exceptional bow will feel and sound striking straight awa
a pure tone ) then you have probably stumbled across a fine English or even French bow. Well made bows will bounce very nicely, with little effort, and
at all. Some extremely soft old French bows have lost some spring and elasticity, and some extremely rigid German bows are too rigid to produce a plea
French traditional bow, are almost too rigid for all round playing. It is very hard to compare bows one after another; the firmness of bow grip and the opt
consistency and will sing when these variables are balanced for that particular bow. A more rigid bow may require a looser bow hold, and a completely d
tonally to the correct consistency a particular bow may require.

I sometimes help people find a bow.. (usually for a typical fee of around £50; about the same fee as a one hour Consultation Lesson). While a bow
characteristics. For example a G. Coné & Fils a Lyon that I am trying out at the moment has the following characteristics ; a lively spring, fresh sound, c
standard French Bow. It would do as an excellent student bow at around £2000 in Feb 2007. It's a fair price, as bargains are hard to find, but every so o
would like to stress this last point ; unstamped bows can sometimes turn out to be more valuable than they appear at first. Conversely, mediocre bows w
member of the workshop of that stamped name). For example some Fetique and Sartory stamped bows were made by assistants! This is why one mus

Bow Categories & Prices (these generalizations give the idea)

The First class of French bow is a François Tourte or Dominique Peccatte or even Pajeot (the founders early-mid 19 Century £30-50k GBP in 200
The Second class French bow is a Voirin, Lamy, Simon or Joseph Arthur Vigneron (best late 19th Century £10-16k GBP in 2007)
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The Third class French bow is a Sartory, Jules Fetique, Richaume, Andre Vigneron or EA Ouchard (best early-mid 20th Century £7.5-11k GBP in
The Fourth class French bow is an a Bazin, Morizot or Claude Thomassin (best mid 20th Century workshop £3.5-5k GBP in 2007)
The Fifth class French bow is a contemporary bow by Millant, Raffin, Thomachot, Rolland and others (best contemporary £2-4k GBP in 2007)
The First class English bow is a Dodd or Tubbs (Founders of the English school circa £8k GBP in 2007)
The Second class English bow is by WE Hill or by a Hill & Sons maker such as Retford or Bultitude (best 20th Century bows £2-4.5k GBP in 2007
The Third class English bow is by a contemporary maker such as Bristow, Wilson, Green, Burke (best contemporary £1.6k-3k GBP in 2007)
The First class German bow is an Albert Nürnberger or HR Pfretzschner (best late 19th Century £1.4-2.8k GBP in 2007) (Kittel who was actually
The Second class German bow is a Bausch, Hermann, Knopf or Prager (best early 20th Century £1.2-1.8k GBP in 2007)
The Third class German bow is a Weichold of Dresden or Roderich Paesold (best mid 20th Century £800-£1k in 2007)(but there are also a numb

NB. Please note that the word class is used to denote category. A Third or Fifth class bow is still a World Class leading example of that category. There
A new category / Country is starting to evolve ; Brazilian makers.. but they have not developed into a significant talent as a whole yet, though their stude

Pre-History and Birth of the Modern Bow back to top

A Transitional bow was used in Mannheim for the compositions of Tartini, Haydn and Mozart. F. Tourte & The Dodds made them. Wilhelm Cramer ( 174
involved in improving bows, around 1730, using lighter wood and using a straighter stick ( as opposed to a convex curve ) He also established the octag
who made a decidedly concave stick as used nowadays. From an illustration in Leopold Mozart's Violinschule, it can be seen that convex bows were st
Tourte bows happened more rapidly in Europe than is commonly believed. In Mannheim and Munich, the Violinist Franz Eck took on Spohr as his pupil
Spohr later writes that although Tourte's bows were expensive, they were "the best and most sought after.". They had won European recognition on acc
Battista Viotti was the founder of the modern school of violin playing. He was the greatest violinist of his day, becoming famous in Paris overnight on his
cantabile, and contained more power and his style of bowing contained more variety of expression and bowing strokes than anyone before him. The mo
Tourte and Viotti. Viotti, on arriving in Paris, almost immediately went to Tourte and asked him if there was a way of keeping the bow hairs from bunchin
frog. Viotti's collaboration with Tourte coincided exactly with the final design changes made to the bow, which resulted in the modern bow, unchanged in
discuss their opinions and views on what makes a good bow: Certainly, like Violin makers, bow makers look for feedback from players on their bows. So

WPS Dictionary of famous Bow

Part 1: French Bow Makers

Paris & Mirecourt (Alphabetical order)
Adam, Jean Dominique (1795-1864 ) Father and teacher of Jean (Grand) Adam . Only his best bows are stamped. His octagonal bows are very muc

Adam, (GrandAdam) (1823-1869) Mirecourt. Pupil and son of Jean Dominique Adam. He surpassed his Fathers' bows.. Simply stamped "Adam". Bew

Adam, Jean (d.1820) worked at Mirecourt after a brief period in Valence-on-the Rhone. Violin maker and later bow maker of trade quality bows.

Aubry, J. Aubry (see L. Morizot)

Acoulon, A. à Paris, Finest (Usually Octagonal) bows of Pernambuco wood.

Audinot, Jacques Paris, c1955. Round stick, mounted with silver and ebony. Price: £3,000

Barbé, Auguste Paris, (1875-1902) c1890. Round stick, mounted with silver and ebony. Excellent work. Price £4,500 in 2005

Barjonnet Georges (around 1960) based in Mirecourt, France was one of Emile Francois Ouchard's great protégés.

Baroux very skilful maker.. very little known about him.

Bazin, Family & School Many bows are unbranded French silver mounted circa 1920 emanating from a member of the Mirecourt based Bazin family o

Charles Alfred Bazin (1907 / 1987) Son of Charles-Louis, with whom he worked (1922). Established on his own accord in 1945, at Mirecourt, succeed
his Grandfather's : C. Bazin. A Cello bow by Charles Alfred Bazin, Mirecourt, c1960. Octagonal stick, mounted with gold and ebony in 2004 is priced £3
Charles Louis Bazin, (1881 / 1953). Also called Louis Bazin fils, was son, pupil and successor (in 1907) of Charles-Nicolas Bazin II. He operated in Mi
standard and fame in his craft. He started making bows from the age of 12. During the 20th century Louis Bazin’s bows were widely acclaimed by Frenc
maker.” An typical example of his work shows a silver-mounted bow of a perfectly straight Pernambuco stick, cut round. The screw is of plain silver, and
allowing for very direct control of the string. It has superb balance and marvellous weight distribution, making play comfortable. Some of Louis Bazin's b
he had apprenticed at the age of 12) in 1915. Many bow makers worked with him (Granier, Lorange, Tournier, Delprato, Lapierre, Ouchard, Jacquemin,
René and Charles-Alfred.
Charles-Nicolas BAZIN I (1831 / 1908) Was the Brother of François-Xavier Bazin and Uncle of CN Bazin II
Charles-Nicolas BAZIN II, also called Charles Bazin fils. Great French bow maker (1847-1915). Son of François-Xavier Bazin, who formed with him (1
Mirecourt when he was only 18. One of his bows was made around 1890 and comes with a Raffin certificate. Charles Nicolas was born on April 24th 18
are - in much demand. In 1869 Bazin established a workshop in Mirecourt and employed some of the most famous bow makers there. In the first six ye
years of his life devoted to making bows. He died on 6th December 1915. Here is a description of one of his examples : A fine classic French Pernambu
on each side of the shaft. Charles Nicolas Bazin is known to have made these bows for Joseph Hel. The bow is nickel-silver mounted and weighs 58.5
Nestor Audinot, Charles Brugère, Joseph & Pierre Hel, Georges Chanot, Charles Peccatte… He was a member of the Conseil municipal de Mirecourt (
Emile Joseph BAZIN (1868 / 1956). Born and died in Mirecourt. Son of Charles-Nicolas Bazin II. First a bow maker, then a professor of music (1894).
Eustache-Joseph BAZIN (1823 / 1864). Born and died in Mirecourt. Cousin of François-Xavier. Not to be confused with Joseph-Eustache, father of Fra
Charles-Nicolas Bazin I, and father of Charles-Nicolas Bazin I. Probably formed by Dominique Peccatte in Paris, then established himself in Mirecourt a
Gustave BAZIN (1871 / 1920). Son of Charles-Nicolas Bazin II. Starts off as a bow maker (working for Collin-Mézin in Paris from 1888 to 1891), then m
René BAZIN (1902 or 1906 / 1982). Son and pupil of Charles-Louis (for bow making), pupil of Dieudonné (for instrument making). Worked with Marcel V

Bernardel, Léon was born in Paris in 1853, son and pupil of Ernest Auguste. He worked Derazey and with Gand. One example weighs 64 g and is sta
for as much as 5 Guineas in 1920.

Bigot, Sylvain Contemporary World Class French Bow maker. Former 1st assistant to JF Raffin and Silver Medal Winner at Vatelot Competition 1999.

Bodart, Doriane Homepage - Archetière Née en 1972 - Londres - Angleterre - 1994/95 apprentissage chez Gilles Duhaut - Mirecourt - France - 1995 a
de perfectionnement avec Charles Espey à Shaw island - Washington - USA - 1998 "Masterclass d'archeterie" - Oberlin - Ohio - USA - 1999 stage chez

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participe à un programme au sein du Ministère de la Culture et de la Communication, visant à promouvoir les maîtres d'art et leurs élèves - depuis 1999

Buthod á Paris, (b. Mirecourt 1810-1889) apprenticed with Vuillaume and later became director of the firm Jerome Thibouville-Lamy (JTL). Produced s

Burr, Paris

Camurat, Pascal (b1960-) Trained with Stephane Thomachot. Contemporary French violin and bow maker based in Montpellier, France. Website here.

Chanot, Georges (B. Paris 1830-1895) Worked in father’s workshop and became assistant to Maucotel in London from 1851-1857. Es
mention at the Paris Exhibition in 1878. Made a good number of bows that are not outstanding. Usually dark sticks, slightly longer th
Magnificently finished and rather exquisite-looking when cleaned up, the bows have little elasticity and with use, warping possible. S
Parisian bow makers.

Clasquin (b. Paris d.1926) pupil of Bazin. Refined bows with strong heads, perfect balance.

Claudot (Mirecourt 1750-1828) Not particularly noteworthy

Clement, Edwin. Contemporary Belgian born World Class bow maker. Clement loves to make many different models. All very much with a feel of the fi
the best Maker of France.

Colas, Prosper (1842-1918) Worked for Vuillaume in Paris. Good bows marked PC, Mirecourt, circa 1920s.Round section abeille wood sometimes use

Collin-Mezin, Charles Jean Baptiste (Mirecourt 1841-1923). Mainly instruments but also produced some excellent bows.

Coné, G. & Fils, a Lyon. George Coné (born Mirecourt 1877 d.1959) and Sons (namely Robert) based in Lyon, France, workshop. George Coné was a
produced bows and violins around 1940s, succeeding Emile Boulengeot in 1928. being a typical date of bows and EA.Ouchard being a typical maker w

Cuniot-Hury Paris.(1861-1912) Eugène Cuniot, more commonly known as Cuniot-Hury. This example of his work stamped Lupot is in excellent con
mother of pearl slide and back heel. His business was later carried on by assistants. Cuniot Pierre, c.1880 Mirecourt. Round section Iron or Amourette w

Darche Nicholas (b. Mirecourt 1815-1873) a Brusselles. Some splendid bows from his early days stamped ‘N. Darche x Bruxelles’.

Dubois from Mirecourt. Here is a description of one of his bows ; The following is from a certificate of authenticity by MOREL & GRADOUX-MATT of N
frog is made of ebony, silver lined, with silver mountings and inlaid pearl eye. Screw is made of ebony with 2 silver rings and pearl eye at the end. Tip pl
repairs etc.

Dupuy, Georges Louis was the son in law of Eugene Sartory. He had a shop / firm in Paris. Louis Gillet made bows for him.

Eulry, Clement ( c.1760 - c.1835 ) French bow maker and teacher ( or pupil ? ) of Nicolas Maire or Pajeot fils. He was the first maker to use a metal thu
bows.

Eury, Jacob (formerly known as Nicolas cf. Vatelot "Les Archets Français") ( b. Paris c.1785 (prob. 1765) d.c.1835 (prob. 1848)) A member of the Mi
number of other makers stamped their bows with his name. Details are few on this maker. A contemporary of Tourte; was certainly influenced by Tourte

Féret-Marcotte He took over the bow business of Prosper Colas in 1919. With new hair and a hard straight stick of good colour. Circa 1920.

Fetique, Victor ( 1872 - 1933 ) son of Charles-Claude. Head of the family was Charles Claude Fetique (1853-1911) who was a violin maker. He had tw
daughter Marie Augustine Marthe Fetique (1879-1928). Victor Francois Fetique had a son Marcel Gaston Fetique (1899-1977) and Marie Augustine Ma
(Charles-Claude), Maline (Sigisbert) et Miquel (Emile). Worked in Paris with Charles-Nicolas Bazin (the second) in 1901. Established himself in 1913. O
German maker Paul Weidhaas (who Victor Fetique trained) worked for him. One of the "Meilleur Ouvrier de France" . Signed his bows Vtor Fétique. Wa
Français in Paris in 1901. From 1913 he worked independently. His bows are patterned after those of Voirin, though less distinct. Characteristics : Made
Frog: Ebony with a Parisian eye, Mounting: Silver, Button: One-piece silver cap, Lapping: Silver winding with a leather trim, Tip: Ivory, Weight: 60.5 gram
range tells you that some of the Fetique bows are very fine and some may not be so good at all (for example, some bows, made in the workshop were s
bows, but the attention of his atelier seemed to focus on quantity, and thus the output is frequently of a more commercial quality. Many "Fetique" bows w
bow, it certainly decreases its value - if the maker's name has a value, as Fetique's does. A Cello bow by Victor Fetique, Paris, c1920. Octagonal stick,
into two general categories ; ones by himself, his brother Jules and his nephew Andre Richaume and all those made in his workshop by other makers. T
(who were many, because Victor Fetique struggled at certain stages to meet production demands). Victor's bows are generally very stiff; he also design

Fetique, Jules ( 1875 - 1951 ) was brother of Victor Fetique, served his apprenticeship under Emile Miquel (Miguel) before joining & working for Charle
influence on his style. During this period he also worked for his brother, Victor Fetique. He joined Caressa & Français in 1917 (or maybe as early as 191
Dugad, himself a former collaborator of Caressa & Français. Later his style changed and became more influenced by the school of Peccatte. His best w
softer (but still of a certain moderate amount of firmness) and rounder. Solid, heavy bows ideal for powerful solo playing. In 1927 Jules received the dipl
Jules's bows are stamped Sartory; there a fewer Jules than Victor Fetiques, but Jules is considered superior.

Fleury, H. (Paris, 1900-1927). Strong sticks, modelled after Tourte, generally with whalebone lapping. Stamped “H. Fleury”.

Fonclause, Joseph (Paris 1800 - 1864). One of the best French makers. Was trained by Dominique Peccatte in Mirecourt and in 1820 went to Paris to
Peccatte at Mirecourt. From 1840 he worked alone. Most of his bows are stamped, and some stamped “Fonclause” in broad lettering.

Fonclause, Henry ( c. 1812)

Français, Emile Marcel (1894) Pupil of Henri. Established own premises at Paris, 1938, the same shop where Lupot worked. Known as the “modern V
Stamped “Emile Français à Paris” in two places.

Gand Frères, Firm in Paris existed from 1855-1866. From 1866 it became Gand et Bernardel Frères. Bows branded “Gand Freres à Paris”. Beautifully
efficiency and increased elasticity

Gaulard, François Jude (c. 1845) Mirecourt. The frog decoration - mother-of-pearl shields with mother-of-pearl suns set in black mastic - is typical of b

Germain, Emile Born at Paris, 1853. Son of Joseph Louis. Apprenticed to the trade at Mirecourt, 1865. Succeeded to father’s business at Paris, 1870.
prices. Substantially built, rather too heavy for some players, but of accurate balance. Some sticks have a remarkable satiny appearance. Stamped “E.

Gerome, René Vincent (F-1910 / 1987). L. also Gerome, Roger Gold and ebony, France, 1960 weight 64.5g retails for $3,500 USA/2005 price.

Gillet, Louis (b. 1891) Great French maker who produced fine bows. Born in 1891, he was a pupil of Barbe at Mirecourt. Gillet worked with Eugene Sa
1927. This bow weighs 62grms and is in good condition. Valued at approx £4k GBP in 2008.

Grandchamp, Eric Contemporary French Bowmaker, b. France 1957 and is presently based in Crozon, Brittany (Fr). Apprenticed initially in wood carvi
Worldwide, particualry makers in the USA and was awarded the coveted title of "Meilleur Ouvrier de France", and Gold medals at International competit

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Guillaume, Pierre School in Brussels

Hell, (Hel) Pierre Joseph (1842-1902) Firm of instrument makers, also produced bows. Certain bows have an eye with a slide (black and white project

Henry, Joseph (also known as Jacques) ( 1823 - d.1870 aged 46) Studied with Peccatte, Chanot and Simon in Paris. Established his own business t
two most well known pupils were Joseph Henry and Pierre Simon. Henry produced a bow similar to a Peccatte but of a somewhat lower general quality
Peccatte. Henry made many viola bows and used about five different brand stamps that are generally accepted. Chocolate coloured sticks. Had a spec
into nuts of tortoiseshell. Gold-mounted specimens stamped “Henry Paris”.

Holder, (Thomas) Jacques imported bows from Mirecourt school to London and then Cardiff. T.J. Holder worked for Jean Baptiste Vuillaume in Paris u

Husson, Charles (1846c-) son of Claude Husson with whom he apprenticed. In around 1880 he left the shop of Gand & Bernardel Frères to set up his

Jammoneau, Michel Professionally trained French bow maker, working in France. A very fine playing bow. Excellent investment too. Made in 2002, 63

Jombar, Paul (1868-1949) Worked for Gand and Bernardel; established own workshop, 1892. The Violinist Hilary Hahn uses one of his bows. Paul Jom

Laberte (Lavest). Some Laberte Workshop bows were made by Lavest.

Lafleur, Jacques ( 1757 - 1832 ) Violin and bow maker. Apprenticed in Mirecourt, and under Francois Tourte. He moved to Paris in 1783. His bows re
Occasionally Maire and Pajeot fils used his brand name. His son, pupil, and successor was Joseph Rene Lafleur who initially started out as a violinist.
Outstandingly fine imitations of the Tourte, and so finely balanced, etc., as to frequently pass for original Tourtes. Seldom stamped with his own name.

Lafleur, Joseph Rene ( 1812 - 1874 ) Son of Jacques Lafleur, and initially a violinist, he surpassed the work of his father. He learnt much through obse

Lambert N. active in 1902

Lamy, Alfred Joseph ( 1850 - 1919 ) Studied in Mirecourt with Husson ( from 1862 - 68 ) and worked for Goutrot in Chateau-Thierry before working for
and gold medals at the Paris Exposition. His son Alfred ( 1876 - 1944 ) succeeded him. By 1880 many makers were beginning to consistently aim for a
variance in weight and quality of materials. The best Lamy bows are very good but often feel stiff and unyielding, never coming close to equalling the be

Lapierre, Marcel Charles Born 1907. Established at Mirecourt, 1947. Maker of very fine bows much sought after by soloists." (Universal Dictionary of V
Jerome Thibouville-Lamy between 1921-1923. He worked for Brouillier & Lotte, F. Lotte, Bazin, Morizot, Ouchard and Vidoudez. The octagonal stick of
grs. Valued at 2.75k in 2008.

LeCanu, Yannick World class Contemporary maker in Rue de Rome, Paris. He studied with Bernard Millant, Gilles Duhaut and Eric Grandchamp and n
every five years. Youngest maker award (va) and mention spéciale (vn) Paris 1999; certificates of merit (vn & va) VSA 2002; certificate of merit BVMA L
Medals Concours Etienne Vatelot 2004 Concours de lutherie et d'archèterie. Meilleur Ouvrier de France 2007; 2 gold medals (vn & vc) VSA 2008 "Hors

Lenoble, Auguste (b. Mirecourt 1828) perhaps a student of Francois Peccatte, he was Charles Peccatte's partner for at least eight years. He lived with
as Madame Lenoble. There is a strong connection in style and technical likeness between the bows of Charles Peccatte and Lenoble from this period. I

Lorange Paul (F-1902 / 1969). L. Established himself at Lyon, his home town, before being associated with Paul François Diter in Marseille in 1927. Fo

Lotte, François (b.1889 - d.1970) was a French bow maker. He received his training in the best French workshops. He worked for many French bow m
stamped with the stamp of the shop or maker he was working for or not stamped at all. The bows are often nickel or maillechort mounted, of wonderful w
price/quality relation.

Lotte, Francois Roger Roger Francois Lotte, born 1922, was the son of bow maker Francois Lotte. He studied and worked with his father and took ove
father around 1930c. Bows by Francois Lotte, Mirecourt, c. 1940 price £4000 in the year 2004 - Another fine bow by Roger François Lotte stamped Ch
light bow it produces a nice clear tone and has good balance

Lupot, Francois ( 1774 - 1837 ) One of the sons of Francois I, and brother of Nicolas. He claimed to be a pupil of Stradivarius, but this has always bee
friction as you tighten and loosen the bow hairs ). His bows are considered among the best in France.

Maire, Nicolas ( Mirecourt 1800 - 1878 ) A member of the Mirecourt family of violin and bow makers. He trained in the Lafleur workshop in Paris, where
of fine craftsmanship. Did not always stamp his bows. Maire's bows are very similar to those of Dominique Peccatte; the 2 are sometimes indistinguisha

Maline, Guillaume ( b.1793 d.c.1855 ) was a luthier (but was long considered to be the bow maker Maline).

Maline, Nicolas ( b. Feb 18 ,1822 d. April 28th 1877) Son of Guillaume, studied in Mirecourt, and then worked for Pajeot and Vuillaume, but often prod
Dominique Peccatte's style. The frog section are often of the Vuillaume type (round edged ferrules) and some of the earliest examples of this style, acco
1840, around the time he came to Vuillaume - Vatelot certificate. "One of history's important bow makers. His successor was François Nicolas Voirin. M

Malo, François Contemporary French-Canadian bow maker who trained with William Salchow and Stéphane Thomachot. A Cellist by training, Franço
Québec with the Strasbourg bow maker Yves Matter, he decided to broaden his knowledge in France. Finding a teacher in the closed community of bow
than one master bow maker to accept him as an apprentice. He obtained three Canada Council grants which enabled him to study with Gilles Duhaut in
Thomachot in Paris. His clients include musicians from major Canadian and American orchestras, in Toronto, Montreal, Winnipeg, New York, Philadelp
Quebec, Canada. Bows branded F. Malo à Montreal

Martin, Jean Joseph , (b.1837) had served a typical Mirecourt apprenticeship and then perfected his technique in Paris at the Vuillaume shop before re
splendid bows, only a few branded with his name. “J. J. Martin”.

Millant, Jean-Jacques (b.1928-1998) son of violin maker Roger was apprenticed in Mirecourt. Established at Paris, 1951. Industrious bow maker. His
20thcentury, the most important bow-maker was probably Jean-Jacques Millant who made excellent playing bows following the Peccatte pattern more o
choice of materials, weight, strength, and flexibility make them excellent playing tools, and bows by this maker are becoming increasingly desirable in th
Century French Bow makers. He was still living in 1992, and his Gold mounted bows were only made during his last years as a maker (or from the 60s
produced a number of his own patented design bows, with that unusual frog (in variety of mounts). Due to lack of demand, he abandoned the idea. Tow
editions. His top bows go for $15k+. Millant's talent was celebrated in 1970, when he was awarded the title 'Un de Meilleurs Ouvriers de France'. After t

Millant, Bernard (b.1929 -) Son of Max Millant. The great-grandfather of Bernard was the cousin of Eugène Sartory. Maker, Collector and Co-author, w
Morizot brothers. In 1951 started his own workshop in Rue de Rome 56, where he remained ever since. Liked to copy Dominique Peccatte model.

Miquel (Miguel) (1851-1911). Worked at Mirecourt. Also produced bows at a guinea which have considerable analogy with the standard models, quite
1889) was his pupil and successor.

Moinel, René Joseph (F-1889 / 1932). A. Born and died in Mirecourt. René worked for Cuniot-Hury (1906).

Moinel-Cherpitel A French Violin shop producing bows and instruments at the turn of the century. Some bows stamped Moinel Cherpitel have been att

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Morizot, Louis (Père) Great French bow maker (1874-1957). He worked in Mirecourt in France in 1925. Louis Morizot worked with Cuniot Hury, CN Ba
Grand Prix in 1924, and then a gold medal three years later. It became a family dynasty, with his five sons taking over the shop in 1937. An example Lo
Morizot: "Atelier at Mirecourt, 1925. Assisted by five sons. Presented magnificent handmade bows. Admired by artists, connoisseurs, and amateurs. Ma
highest award at the Exposition Artisanale, Paris, 1927." (Universal Dictionary of Violin and Bow Makers) Valued at £3,300 GBP in 2007. His bows are s
Presented magnificent handmade bows. Admired by artists, connoisseurs, and amateurs. Made of rich material and very artistically mounted. Obtained
Arthur Parisot. Lightly flamed round-section orange-brown pernambuco.

Morrow, Robert is a contemporary bowmaker based in Port Townsend, America. He was trained and works in the French bow making style, studying w

Müller, Stephane studied with Bernard Ouchard at Mirecourt and after travelling in Brazil to improve his knowledge of Pernambuco he established a wo

Nehr, Gilles Contemporary French Bow maker. Homepage Giles apprenticed with his Cousin, Jean Pascal for 3 years in Marseille. He then worked in T
maker in residence. In 1999 he opened his own workshop in Manhattan, but 3 years later returned to Europe, settling in Lisbon, and from 2004 in Rom

Nehr, Jean Pascal (gold & tortoise) ‘Meilleur Ouvrier de France’, studied with Bernard Ouchard at Mirecourt and now works in Marseille, France. Prizes

Ouchard, Emile Francois (1872-1951 or 1934) Also know as simply Francois Ouchard: Great French bow maker and Father of the more prestigious
up his own shop in Mirecourt in 1923 or 1824. An example violin bow is from circa 1940 with a Raffin certificate. Emile François Ouchard, stamped Pi
Circa 1900. An exmple from 1925 circa silver mounted (stamped Pillot Ainé Paris) very soft and flexible with warm tone. Wide band of hairs. Silver mou

Ouchard, Emile August ( b. Mirecourt, Vosges 1900 - Gan, 1969 ) was son and pupil of Emile François Ouchard. Worked in Paris from 1940-46, Chica
those of the Voirin-Lamy school, and are said to use the fortified Voirin model. Therefore the heads are typically rounded and bell-shaped. In a London
ebony has Price £7,500. In 2007 London price is £10,000. Paris retail price in 2008 is Euro 10,500. Following Sartory, E. A. Ouchard produced an even
that perform beautifully as tools, but some of them are just too stiff to be considered optimal as playing tools. Ouchard's stiffer bows come mainly from h
bows which are stamped with different firm brands, such as, George Cone and Sons, Lyon and Boulengeot. Magnificent bows with beautifully carved he
(Chicago) chief distributors. Stamped “Emile Ouchard”.

Ouchard, Bernard (1925 - 1981) Son of Emile August Ouchard. A Silver Violin Bow by Bernard (Probably Geneva, c. 1970) was priced at 2,430-3,240
August (his father), and worked with Vidoudez in Geneva before being appointed professor of bow making at the Mirecourt school in 1971. in 1971 he r
Belgian Edwin Clement, and subsequently indirectly inspired the newest generation of award winning makers including S. Bigot, Gilles Nehr and Yan

Paquotte, Jean Baptiste (Mirecourt, 1827-1900). Nephew of Sebastien whom he assisted for eight years. Worked fourteen years for Lafleur. Succeede
Ultimately drifted into violin-making and became rather celebrated for repairing as well as for expert knowledge of old instruments. These violins have th
their exterior beauties are so plentiful that an avowal of approbation cannot altogether be suppressed. Noble-looking scroll, handsome wood, and varnis

Pajeot, Etienne ( 1791 - 1849 ) His father, Louis Simon ( c.1750 - 1792 ), was also a bow maker. Pajeot was a student, then a business partner of Nico
stamped bows are valued at the highest prices at around £30k GBP or higher in 2007. Pajeot's bows, while strong, possess a little more "give" on the st
Employed largely by Lafleur. He and his assistants operated successfully on a large scale and turned out 8,000 various grades of bows varying in p
yellow wood with enlarged veins, gold mounted, perfectly balanced and remarkably strong. Sometimes worth five guineas. Branded “Pajeot”. £65 in 196

Peccatte, Dominique (Mirecourt 1810 - 1874) Apprenticed to a violin maker in Mirecourt, he soon worked in the workshop of J.B.Vuillaume, from 1826
of Vuillaume. By 1837 he had taken over the workshop of Lupot. He returned to Mirecourt in 1847 for the rest of his life. He seldom used a stamp mark,
presumed to have learned his craft with Persoit, and apparently worked in the Lupot atelier as well, before a stint in the Vuillaume workshop) continued
than anything before him in France, and his output was vast and consistent. If not as flexible as earlier bows, Peccatte bows are still normally fairly flexi
degree of articulation appropriate to large, modern concert halls. The Peccatte bow is one (but not the only) ideal compromise in terms of tone productio
a fine Peccatte does everything it must do very well, and with a thick rich sonority. Peccatte heads are typically hatchet or square shaped. The chamfer
chamfer should be clearly seen as leaving a rather constant pattern, quite equidistant from one to the next, and at a certain angle to the verticality of the
strong - the outstanding characteristic being a rather original sharpness towards the peak, only noticeable when viewed from the back instead of sidewa

Peccatte Charles, Son of Francois. Born at Mirecourt, 1850. Worked for Vuillaume, Voirin and Lenoble before opening own establishment at Paris, 190
de Valois. Here he moved into a more contemporary style of bow making also using different brand stamp. His meritorious bows have received consiste
to go a little higher into the throat (or the stick itself) on the audience side of the bow.

Peccatte, François (1820 - 1855) was Dominique's younger brother, also a good bow maker who worked in Mirecourt. His bow heads were less pointe

Persoit, (Persois) Jean Pierre Marie ( b.1790s ? -1850) Employed with Vuillaume for 15 or 18 years from 1823-1841. His bows are stamped and rese
Owing to his identity being more or less hidden under the name of his employer, the specimens stamped with his initials are indeed very rare. Heads ha
shade, having a beautifully sweeping curve from the head. On every specimen we see the most minute exactness in every detail. Standard of true bala

Pillot a Paris - Stamped “Pilot à Paris” or “Pillot ainé Paris” EF and EA Ouchard and Morizot Brothers are known to have made bows for Pillot. $1000-3

Poirson, Justin Paris. French maker similar in range to someone like Claude Thomassin. Poirson is one of those makers whose output varied a great d
Even though his early career showed promise, it was not as brilliant as those of his contemporaries. From 1890 his production deteriorated from year to
he met the best Great makers of the time including Voirin. Just a side note about Justin Poirson. Poirson and Thomassin both vary in weight, wood sele
upwards (silver mounted bows). Remember, at 6K, the bows are priced roughly the same as bows from workshops like Bazin or Morizot (really, the nex
circumstances of his death? It seems curious that a violin or bow maker would be a target of assassins.

Poullot, Jacques & Monique - Contemporary French bow makers

Raffin, Jean François Contemporary French expert, maker and reputable firm / shop in Paris. Mr Raffin is currently the World's foremost expert on Fre
bow makers including detailed photos of their bows. Considered the new basic reference book A comprehensive encyclopaedia of French bow makers
German is accompanied by hundreds of photographs. Text in English, French and German. 4 Volumes, ca. 1500 pages, more than 3000 colour photos.
Lee (Second of the Concours du Meilleur Ouvrier de France 2007) etc. were trained in the Raffin workshop

Rolland, Benoit Website Contemporary French master bow maker and violinist. Benoit studied bowmaking in Mirecourt with Bernard Ouchard. Benoit s
thought to be the world's best carbon-fibreglass bows. The flexibility of the bows can be altered by an invisible adjusting system. He now makes traditio
very exacting and precise workmanship is evident. Moved to Boston, USA. If you view the precision of workmanship in a Rolland bow you will note that
craftsmanship point of view. Presently still in Boston, Benoit has continued steadily making bows. He is soon to reach about 1,800 pernambuco bows m
continued refining his work over the years and is honored to make bows for several string soloists, on a regular basis. He was awarded the 2012 MacAr
evolution of the classical bow by designing the Galliane frog (galliane.com). Great soloists like Miriam Fried, Anne-Sophie Mutter, Julian Rachlin, Alekse

Richaume, Andre Georges ( born in Mirecourt on 08/02/1905 and died in Paris on 31/03/1966. ) Apprenticed with Emile Francois Ouchard in Mirecour
Meilleur Ouvrier de France " Supplied fine bows to other Parisian makers under his own brand. The fact that Richaume was apprenticed with Emille Ou
see in his bows. Etienne Vatelot 'Les Archets Français' (Second edition published by Sernor - M. Dufour) states in Volume 2 page 808 "One of the most
Beaux Arts Editions page 173 writes "One of the great French bow makers of the 20th century". The violinist David Oistrakh used a bow by Richaume t
workmanship.

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Sartory, Eugene ( 1871 - 1946 ) was taught by his father in Mirecourt. He went to Paris in 1890 and worked for Charles Peccatte and Alfred Lamy befo
rounded and bell-shaped, like a Voirin. His bows are marked "Sartory". The apex of the trend toward heavy, strong bows was exemplified in the output o
Fetique produced bows that at times could rival a Sartory in terms of strength and handling, but the consistency of Sartory bows has made them a pere
playing tools. Authenticity tip ; as with many other bows, a further stamp Sartory can be found under the wrapping. "Pupil of his Father; worked for Pecc
diplomas at Brussels, 1887; Lyons, 1894; Liege, 1905; Milan, 1906 and London, 1908. Decorated "Officier d'Academie" Paris. Bows universally admired
Pernambuco. All orchestral players greatly admire his productions." (Universal Dictionary of Violin and Bow Makers). Early (1910) Sartory bow heads ar

Sasano, Mitsuaki Japanese Contemporary Bowmaker living and working in France

Serdet, Paul example Paul Serdet nickel/ebony France c.1920 weight 55.5 g $3,250.00 USA/2005 prices.

Silvestre & Macoutel French firm / shop at the turn of the Century.

Simon, Barthélémy long lost brother of Pierre. Little is known about him. His bows were stamped Pierot, after his wife's name. Barthélémy lived to the

Simon, Pierre (b.1808 - d.1882, aged 73 & later known as Paul Simon) Became one of the most important makers of his time. He worked in Paris for P
his own and the other based on a Peccatte model. Not much is known about his early work. He probably apprenticed from the age of 12 in Mirecourt, working fo
at least as early as 1827. However, the earliest bow attributed to Pierre, according to Raffin & Millant, was made for Vuillaume and dates back to 1845 when Pierre wa
bows on several patterns and of varying weights. Sometimes he used a model similar to the Peccatte interpretation of Tourte, and these heavier Simon bows play simila
flexible than the classic Peccatte model. The finest Simon bows can have a highly attractive, lithe flexibility and a genuine beauty of tone. A pristine and glorious bo
wonderful qualities of Simon's work. The strong, finely balanced stick produces a smooth and velvety tone. 60 grams. Simon is one of the few makers fr
Simon bow follows a large, generous curve which can be seen from the profile. Also, the chamfers are quite symmetrical in a Simon bow. Pierre made bows for Vuillau
a bow maker.

Sirjean, of great distinction

Tauziède, Jean Luc homepage Contemporary maker. Born in Anglet (Basque country-France) a seaside resort located between the cities of Bayonne
college (CNR Bayonne) . I used to be a cello student (of Jacques Doué) before dedicating my life to Bow making. In 1992 Jean-François Raffin, offered
have been working in the Basque area, my native country, implementing the know-how which Jean-François Raffin, Stéphane Thomachot and Jean Gr
including older models of the transitory and baroque periods. I also work for the restoration and maintenance of quartet bows. May 17, 2011- Filimonov
France competition.

Thibouville-Lamy, Jerome ( JTL complete name Louis Emile Jérôme Thibouville-Lamy or J.T.L.) (F-1833 / 1902). A superbly balanced and elegant silv
string and pulls out sound really well. Branded J. Thibouville-Lamy and one side and on the other side D'apres Lamy. A nice large mother-of-pearl dot o
Jean-Joseph Martin, in 1870. This shop closed in 1968.

Thomachot, Stéphane (living) Maître d'Art Website : World class contemporary French bow maker who has trained some of the most eminent bow ma
competitions. The modern revival and interest in bow-making has been led by makers such as Stéphane Thomachot in France. He made many bows in
his own model which he has not deviated from for the last 15-20 years (similar to that of Sartory in feel but more supple). He makes quartet bows : violin
personal, and is also inspired by the famous bow makers of the 19th century and early 20th century. Concerning the sound, the making is marked by th
bow" renowned Parisian bow maker Stéphane Thomachot once told Strings magazine: "No.1 is the sound, no.2 is the sound and n.3 is the sound". To o
: [email protected] A period of time of 3 to 6 months will be needed to make your bow. You may either come to the workshop to get your bow,
Avenue du général Leclerc 75014 Paris / Main Workshop or Atelier: rue du Mourre Fres 84160 Cucuron, France tel. +33 4 90 77 24 69, Prices in Janua
Euro for Silver). I have ordered a bow (view it here)! View an example

Thomassin, Louis ( 1855 - c.1905 ) After working with Bazin in Mirecourt went to Paris in 1872 to work with Voirin, and later with Lamy. From 1891 he
death.

Thomassin, Claude was son and pupil of Louis (Mirecourt 1870 - 1942 ) Studied with Bazin. also made fine bows in Paris, based on Voirin's model. H
orange-brown Pernambuco wood. The ebony frog is silver mounted with pearl eyes. The ebony end button has two silver rings. Very rounded ferrule or
Paris". The bow weighs 61.5 grams. ($10,000-12,500 in 2004). Claude Thomassin has been called one of the best makers of his generation. He learn
his own atelier in the Rue de Paris in 1901. Typical Claude Thomassin would be dated 1920.C. Thomassin a Paris silver/ebony France 60.9g $4,000 US
Opened own premises in the rue de Paradis, 1901. Bows which admirably realise that elasticity constitutes an inseparable part of strength. Beautifully d
of resisting power. Stamped “C. Thomassin à Paris”. Some of his bows were stamped P Serdet A Paris. Many examples from around 1920. Slim and el
Hungarian violin maker Bela Szepessy, round section dense high quality wood valued at £9000 GBP in 2013. Some unstamped Thomassin bows suppl

Tournier, Joseph Branded J Tournier Paris this silver mounted bow is a really exceptional item. A truly artistic head tops a near mint condition round st
stamped by this violin maker were nearly all made by Louis Bazin, Louis Morizot & Fils or Emile A. Ouchard.

Tourte, Francois Xavier Le jeune ( 1747 - 1835 ) most famous maker of all times did not stamp his bows. Initially a clock maker, he went on to designe
maker. The modern bow was approved of around 1785 or 86 by Spohr, who described them as having " trifling weight with sufficient elasticity of stick an
between the head and the frog" as well as the "extremely accurate and neat workmanship" in Spohr's " Violinschule " published in 1832. Tourte designe
playing hair at 65 cm, and the balance point at 19 cm above the frog. The weight averaged at around 56 grams. Each bow fetched 15 Louis d'Or, and e
pumice powder and oil. Tourte achieved his bend ( as is still done now ) by heating the wood thoroughly and then bending it. Up to then, bows had been
Nicolas Maire, Francois Lupot, Joseph Henry and Persois though these followers did ( especially Peccatte and Voirin ) tended to make bows about 1 cm

Vigneron, Joseph Arthur ( b.31 July 1851 Mirecourt - d.13 June 1905 Maisons-Alfort aged 53) Studied with his step-father Claude Husson in Mirecour
AlfredLamy père (father of the Lamy family of bow makers), who was less than a year older than him. Vigneron worked with Husson until the latter's de
Martin. Before opening his own workshop in 1888 at 54 Rue de Cléry, Paris (less than 200 metres away from his old colleague Joseph Alfred Lamy pèr
His bows were quite solid and followed his own individual style. Typical date of manufacture would be 1890... Whenever we take up one of these bows
A maker who decided on selecting the finest wood and worked it with loving care. He worked quickly, with powerful execution, without pondering nor fus
even hand ; irregularities or weaknesses are never found. He made a bow a day, it is said (or more like a batch of 6 bows per week). Bows made by a m
sensitive of the beautiful, and highly cultivated by experience. Vigneron had a fairly even camber along the stick. The curve was not like Voirin's, behind
the grip. Vigneron also designed bows with a bottom heavy cross section.. a sort of rounded triangular cross section which added stability to the bow (lo
longer by about 1cm, may have been designed in collaboration with the violinist Lucien Capet (modele Lucien Capet was often stamped on such bows)
anomalies in the grain direction were well balanced and intuitively compensated for. Very elegant sticks with a fine and strong sway, and splendid heads
and some have a feminine interpretation of a late period Pierre Simon. Mostly his bows are silver mounted, with solid buttons and matching Parisian eye
Millant in their book "L'Archet" write "Many musicians are unconditional admirers of the production of this great master." The chamfer of a Vigneron wide
style. Information on Vigneron appeared in an article from "The Strad" written by Bow Maker Mr. Matthew Wehling

Vigneron, Andre ( b. 19 Sept 1881 - 1924 aged 43) a prolific maker in his father's style. Apprenticed 12 years with his father, Joseph Arthur. Strong b
contemporaries, though some were equal or surpassed the finest of his day. Andre's bows are considered good, but not as good as those by his father.
with lower centre of gravity (see cross section middle bow). In my experience, Joseph Arthur's bows have been more elegant, lighter, more refined than
bow comes in at 63g. Made many bows known as the “Lucien Capet Model” with a wider “heel” than customary, and round chocolate coloured sticks.

Voirin, Joseph c.1870 typical dates of workmanship. Brother of F.N.Voirin. Born at Mirecourt, 1830. Worked for Gautrot at Château-Thierry near Paris;
Majority of specimens do not bear his stamp, consequently remains comparatively unknown.

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Voirin, François Nicolas ( 1833 - 1885 ) in Paris, Voirin was a cousin of JB Vuillaume. FN Voirin was the brother of Joseph Voirin. He was known as
Vuillaume at first ( 1855 until 1870 ). In fact his early bows were stamped with the name Vuillaume. He produced a radically different bow from Tourte; S
thickness of the shaft especially at the heel. A very, perhaps too light ( as low as 52 gr. ) but strong stick. At around 1870 most French makers, inspired
head, which was now lighter, rounder and more feminine, but the camber curve is now concentrated in the third of the bow directly behind the head. (Be
made previously. Voirin bows typically have a rounded bell-shaped head. Voirin was often tempted by English makers and dealers to work for them, but
Peccatte ( 1850 - 1920 son of François Peccatte.) His followers were Alfred Lamy, Louis and Claude Thomassin and Charles N Bazin. After he died h
Round stick, mounted with silver and ebony costs £10,000 in the year 2004 in a London shop. Francois Nicolas Voirin was the most skilled maker of his
inconsistency with the quality of wood, and many of his bows were produced on a lighter, smaller model. The best Voirin bows are exquisite playing too
generally thought) the general price for Voirin has been held in check by their inconsistency in playability (not quality of workmanship - read more becau
the highest quality. Bows were feminine, elegant precise and delicate. He had the elevated and inspired theme of emulating Tourte, in refined workmans
worked heads have a marked thinning of the two faces, and to preserve balance, he reduced the diameter of the lower end of stick, which is sometimes
brought weakness after a few months’ playing. c.1870 a Nicolas Vuillaume is branded Stentor (which is a typical brand name of the Nicolas Vuillaume w

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Vuillaume, Jean Baptiste ( 1798 - 1875 ) was trained as a violin maker in Mirecourt and later became one of the most famous French violin makers of
example he did invent a hollow steel bow, and a self re-hairing bow, though neither these inventions proved to be of lasting importance. He made a prof
makers. Bow makers who passed through his shop were Dominique, Francois & Charles Peccatte, Joseph Fonclause, Pierre Simon, Persois, Guillaum
making. Vuillaume experimented with the design of the bow: innovations such as the self-rehairing bow, by which a musician might change the hair with
as the invention of the Steel bow, which while lacking in terms of warmth and beauty of tone, handles remarkably well. None of these modifications or e
making was his capacity to extract the highest quality output from the many bow-makers who worked for him. In particular, Nicolas Maline produced his
extremely fine bows for Vuillaume. Maline’s bows were presumably influenced by Peccatte, whose bold hatchet head they seem to emulate. While they
and the vast output of Maline’s atelier subsequent to his tenure in the Vuillaume workshop gives us plenty of chances to become familiar with the playin

Belgian Bow Makers

Darche, Nicholas ; Belgium. Beautiful and rare professional bow in exquisite condition. $5600

Part 2: English Bow Makers

Allan, Samuel (b.1858) - initially employed by Hill & Sons. Established his own business in 1891. Similar to Dodd. Very good bows.

Beare, John and Arthur, Wardour Street, London dealers and connoisseurs still active today; many good bows stamped with this name.

Bellis, Andrew Contemporary maker works in Bournemouth, UK. I do my best by making when I can and teaching the next generation, even rehairing
was Arthur Bultitude, when Arthur was in his retirement years though still making. http://www.andrewbellis.com/

Bristow, Stephen E. Trained with Hill & Sons. Excellent Contemporary bow maker in the Hill tradition ; one of the best living English bow makers lives i
strong bows. Recently tried an octagonal bow of 60 grs made from a fine dark, dense wood. Highly desirable bows.

Brown, James (b. London 1786) produced good Cello bows in particular.

Bryant, Percival Wilfred (b.1902, d.1994) Bryant gained a great reputation in his lifetime and was the only British bow maker to be directly trained by a
Square as an apprentice after James Tubbs said he (Tubbs) was too old to teach him!! At Withers he started in 1920 and was taught by a member of th
connection between the two families, and also with the Bazin clan). That Withers shop folded in 1932 so Percy left to go to the south coast (buying a pl
directly from a Frenchman, but also the first genuine production bow maker to set up outside of London (as far as I know, anyway). The Thomassin bow
of confusion, otherwise they are stamped Geo. Withers & Sons. When Bryant started up in Ovingdean he bought a load of pernambuco that he conside
met him in 1987 and he gave me very valuable advice but he was very scathing about dealers (he once chased an Ealing-based dealer off his property
helpful. (Info courtesy of Andrew Bellis)

Bultitude, A.R. (1908-1990) His bows bear the makers brand stamp on each side of the handle and 'England' on the bottom facet. Made bows of the fi
frogs often have the trade mark Tudor Rose emblem, the face is fitted with silver. On the sticks beneath the frog can be seen figures such as 58 75, rec
quite prolific. In some years between 130 to 140 bows were made.

Burke, Noel Ireland, trained with S. Thomachot. Bow maker of world repute / rather good modern bows / good sound / not too rigid. 89 Friars Green, Tu
International Cello Festival in 1998 and awarded 6 gold medals at the Violin Society of American Competitions in 1994 and 1996. He now lives in Irelan

Clutterbuck, John English bow maker pupil of Malcolm Taylor

Cocker, Lawrence excellent maker from the 1950's/60's. Cocker developed the built cane sticks after becoming frustrated with pernambuco (now made
'threatened' (though there seems to be a lot around...) these bows play well and were very popular in the Midlands orchestras near him in Derby.

Collins, Roy. A very decent quality silver mounted bow suitable for a good student or as a second bow for a touring professional. The stick is in the sty

Dodd, John ( London 1752 - Surrey 1839 ) son of Edward Dodd ( Sheffield 1705- London 1810 ), who was also a bow maker, even though his bows w
greatest English bow maker until Tubbs. He was a gunlock fitter and then a money-scale maker before turning to bow making. His later bows are particu
fine bows, but his measurements and quality of bows are never entirely consistent. For instance, some bows were made slightly shorter than the norm.
an offer of 1000 pounds sterling for a copy of his pattern. He also refused to teach pupils for the same reason. Dodd used 2 forms for the head ; the sle
wood was available to Dodd and much of this came to England in the form of Barrels. This explains the numerous traces of nail holes which sometimes
shorter than the Tourte model. Many of Dodd's bows have this fault of not being long enough. He arrived at a similar bow design to Tourte, though throu

Hawkes & Son were prominent English dealers of a range of high-quality instruments and bows including Pedrazzini, Roth, Milton and Falise. In terms

Hill & Sons ( W.E.) designed own bow, English in character, from Dodd & Tubbs. Many 20th C English bow-makers passed through Hill workshops. Th
Hill & Sons - W. E. H & S - Hill & Sons England - H & S - Hill. The last two are debatable as to which is the higher quality, but this is the order William Re
pile of bows and pick up a newly re-haired pile ! Like many great players he used different bows. Hill bows often have metal tips, and are often strong a
are around 2k GBP (2005-07 prices) and rise to £4.5k or more for the Fleur-de-Lys frogs.

Warning: There are fake Hill bows "floating around". They're easier to copy than some other bows because the shop was so meticulous about the workm

Green, Howard. English bow maker. Homepage link. Itzhak Perlman has a couple of Green's bows and Ilya Gringolts plays on one and there many oth

Retford, William Charles served with the firm of Hill for sixty-four years as a Bow Maker & Restorer. One of England's finest ever makers.

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Taylor, Malcom Morris ( b.1933 ) Apprenticed with Hills & Sons, also working there until 1973. Set up his own workshop in Barnstaple, Devon . His pup

Taylor, Michael John ( b.1949 ) Trained at Ealing Strings, London. His fine bows combine the Tourte model with a more sturdy and solid English frame
GbP circa... this maker is still working as of 2012.

Tubbs, James ( b.1835 d.1919 or 1921 ) Son of William. He worked in London, at first for W.E Hill & Sons. The most famous member of this bow-makin
Together with his son Alfred ( d.1912 ) they produced more than 5000 bows. Another member of the family was Edward, who worked in New York arou
William. Worked for father until 1860... Received the special appointment of bow maker to the Duke of Edinburgh. It is impossible for any person who ap
disciplined, stepped forward to challenge the opinion that French bows were the only bows worthy of artists' acceptance, and, he won the day on this fie
(Universal Dictionary of Violin and Bow Makers) It is universally accepted that James Tubbs (1835-1921) ranks among the five or six most important bo
String players generally regard his bows as extremely desirable, and will often go to great lengths to obtain one and collectors may pay huge amounts t
with the minutiae or perfect balance, familiar with the diversified style of celebrated predecessors, trained by long study of all the laws, wisely assimilate
elasticity, imbued with a sincere love of artistry and profound reverence for its dictates, and withal, endowed with a natural gift of manipulative skill. Poss
has a round stick of very dark brown Pernambuco – his preferred type of stick. The tip is silver-mounted and all other fittings are of silver. The original e
perfect balance. Worked for father until 1860. Owned a small shop in Church Street, Soho, 1861. Moved to High Street, Marylebone, 1864. Employed b
patronised by the renowned quartettists at the Monday Popular Concerts, London, from 1865. Extended his reputation by splendid productivity. Engage
Street, 1911. Received the special appointment of bow maker to the Duke of Edinburgh. It is impossible for any person who appreciates a fine bow, not
examples. Intimately acquainted with the minutiae of perfect balance, familiar with the diversified style of celebrated predecessors, trained by long study
bearings couched under strength and elasticity, imbued with a sincere love of artistry and a profound reverence for its dictates, and withal, endowed wit
perfection. This champion, completely disciplined, stepped forward to challenge the opinion that French bows were the only bows worthy of artists’ acce
wild and extravagant hypothesis. Artists have rendered it a matter of imperious necessity to possess one or more of Tubb’s bows, and take pride in trium
soon be aware of owning a real treasure, something to stimulate fine playing. Turned out about ten bows a month. Best period 1875-1895. Contour of h
occasionally of lighter colour. Wilhelmj owned a gold mounted presentation bow bearing the inscription “To Wilhelmj, from the Orchestra of the Wagner
particularly the German exporters.

Tubbs, Thomas ( c.1770 - c1830 ) witnessed the birth of the modern bow. The quality of his work was variable. His son, William ( c.1805 - 1878? ), wa

Watson, W.D. Made bows for W.E.Hill & Sons.

Walcher, Jutta was an apprentice with Garner Wilson and then worked with Matthew Coltman. Since 1995 her mentor has been bow maker Peter Oxle

Wilson, Garner Contemporary English bow maker. One of UK's best makers. His Gold mounted bows sell for £2200 in the year 2004. One of the few m
Bultitude. Website link

Yeoman, Sydney (1876-1948) worked for Hill & Sons. Silver-mounted bow, stamped W. E. HILL & SONS, is almost certainly the work of Sydney Yeom
next to the lower mortise. Furthermore, the bows Yeoman made for Hill had the number 6 on the silver tip facing under the hair, and this bow bears the
similarly has the Hill name stamped upside down into the shaft. The stick is octagonal and the lapping of whalebone with a leather thumb pad. The frog
minor cracks in the ivory of the button. The tip has had 5mm of wood grafted onto the head, into which the top mortise is cut. This is an impeccable graf

Part 3: German Bow Makers

Bausch, Ludwig Christian August (Naumburg 1805 - 1871 ) Studied in Dresden with Fritsche and eventually set up his own firm in Leipzig (1839-186
Tourte". Made dark chocolate round sticks, slightly long but strong and elastic. His 2 sons, Otto and Ludwig produced bows until 1908. He met Spohr in
bows. In 1840 Bausch received a Silver Medal at Dresden. Stamped ‘Bausch. Leipzig’, or ‘L. Bausch, Leipzig’. Many stamped on stick under nut. Bewa
Markneukirchen around 1940. Back plates are often pinned. Classic all-round German bows.

Baur, Martin (1793-1875) In 1824 established himself in Stuttgart. Heavy but fine bows.

Dörfler, WE, For more than three generations Dörfler have been producing bows with superior craftsmanship and in the style of the great master, Tourte
quality. Egidius Dörfler has made the master workshop what it is today by means of perfection, high quality standards and artistic intuition. lt is for this re

Finkel, Siegfried ( b.1927 ) From a Swiss bow maker family. They continued the work of Ewald Weidhaas in Markneukirchen. Siegfried studied with E
Germanic versions of the Peccatte model. Seigfried taught his son and pupil Johannes ( b.1947 ). "Pupil of Weidhaas. Worked at Konigsberg (Prussia)
Makers)

Gabriel, Josef P. b. Germany 1960. One of the best Contemporary German bow makers, and co-author of the book about Kittel. Homepage

Götz, Conrad A., Junior Worked at Wernitzgrün (Saxony), 1880. Later at Markneukirchen. Commercial instruments of all kinds, also bows and strings.

Gutter, Fritz "Pupil of Pfretzschner and Nürnberger. Worked at Markneukirchen, 1919. Bows of high merit showing that the maker had consummate jud

Hamming, Wilhelm Hermann Leipzig Violin shop. It is known that the Nürnbergers produced several bows for them.

Hermann, Lothar (b.1914) *** star bows.

Hermann, August Friedrich (b.1863-1943) Dresden maker in the style of Knopf.

Hoyer, Otto named "the Parisian", because he worked in France for some time with the famous bow maker Sartory. Markneukirchen c.1930. Sometime
Strong sticks.

Hoyer, P Markneukirchen c.1970 German Hoyer Workshop bows valued at around £700 GBP in 2012. Often uses re-brown pernambuco.

Hums, Albin Bow maker at Markneukirchen, 1925. Pupil of Knorr and Prell. Fine artist bows, used by several virtuosi. Some stamped with the name He

Kittel, Nicholas of German origin worked in Petersburg ( from 1839 to 1870 ) was known as the "Russian Tourte". In Czarist Russia Nicolas Kittel serv
design of Kittel bows is also derived from an advanced Tourte model although this interpretation of Tourte is distinctly different from the French interpret
characteristics alongside a unique beauty of tone. His bows have the prime essentials of strength and elasticity. Light coloured chocolate round sticks e

Knopf Heinrich, head of family of bow makers. Born at Markneukirchen, worked in Berlin and later in Moscow.

Knopf Henry Richard (b.1860-1939) son of Heinrich. Worked with Bausch and settled in New York in 1880. Inherited father’s talent for fine bow making

Knorr, Ernst Octagonal branded bows made in Markneukirchen c. 1960 valued at £1900 in 2013.

Latour, Armand c.1930 German bows valued at £1,200 GBP in 2012. Octagonal honey coloured pernambuco. Tinsel lapping in origin.

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Mönning, August Hermann Worked at Markneukirchen, 1875-1927. Son Johann continued the business. Splendid artist bows for violin and ’cello.

Nürnberger, Franz Albert II Junior ( 1854 - 1931 ) Worked with his father, Franz Albert I, Senior ( son of Karl Gottlieb ) in Markneukirchen. His father
bows as models. Around 1890 he introduced the first workshop stamp ALBERT NÜRNBERGER. His brand was also used by his son, Karl Albert ( b19
years with Vuillaume and Philipp Paul, son of Albert II, who established himself in 1897. Franz Albert Junior's two sons were Philip Paul (1882-1946) an

Karl Albert Nürnberger (b1906) This bow, stamped *Albert Nürnberger* would be the work of Karl Albert Nürnberger, who was born in Markneukirchen
his father in their studio. He produced bows of extreme refinement and exceptional quality. What makes this bow of unusual interest (and a potential co
making. It is truly in mint condition, as if made only yesterday. The bow is of high-grade Pernambuco, cut octagonally. The unembellished plain ebony n
bows are today in South Africa. They were imported into this country by the great Danish violinmaker, Amon Bilmark, who was based in Durban, and wh
were hard hit by food shortages and lack of materials, and Bilmark used to send him food parcels and other necessities in exchange for his bows. Most
maker - A further note of interest is that during the difficult war years Nürnberger could not obtain silver or mother-of-pearl to mount his better bows in, a
bow is mounted in silver with fine mother-of-pearl. This would signify that the bow was either made well before the outbreak of the war, or some time aft
over. An Albert Nürnberger example from c.1920 has fine silverwork and a Voirin model head. Quite strong bows, with dense dark sound, somewhat stif

Nürnberger Brothers Many of the family members stamped their bows "Albert Nürnberger." The line begins with Christian Gottlob Nürnberger (1792-1
being a bow maker and citizen of Markneukirchen (according to the Town's 1824 address registry.) Franz Albert I Nürnberger Senior (1826-1895) was th
bow-making school in Markneukirchen in 1888, and instructed there for twenty-five years. He was supposedly a student of Bausch. Frantz Albert II was
family productions are more of the "shop" variety. Others rival French bows

Paesold, Roderich Bow maker at Bad-Brambach, 1925. Family of Bowmakers; Silver/ebony Germany 2004 62.5g $445.00 and 2007 UK prices are aro

Prager, August Edwin (similar to Bausch and Knopf)

Prager, Gustav Markneukirchen c.1920. Flamed pernambuco sometimes used.

Pfretzschner, Carl Richard c. 1860 bow valued at £2k in 2008.

Pfretzschner, Herman Richard ( b.1857 ) was first a pupil of his Father, Richard Pfretzschner, then he became the last pupil of Vuillaume in Paris for a
Tourte and Voirin models. He created the "Wilhelmj" bow in collaboration with the great Violinist Wilhelmj. His sticks are not varnished. ( common with G
what a brilliant maker he was. The head is elegantly carved and has neat, precise chamfers. The stick is round and made from wonderful dense Pernam
1901 Pfretzschner was appointed the title of Bow maker to the Royal Saxonian Court. Bows after this date were stamped with this brand. He supplied b
is a delight to use. Silver mounted. From the Universal Dictionary of Violin and Bow Makers : "Went to Paris to study with Vuillaume. Founded his bow m
decorated by that exalted personage. Attained a world-wide reputation, possibly second to none. Beautifully balanced affairs, strong yet full of elasticity,
wanting to complete the fascination of the whole." Some of his bows were made for the French firm Silvestre & Macoutel. Of the large Pfretzschner fam
considered as one of the foremost German bow makers whose work has universal renown.” Henley writes of his work: ”He attained a world-wide reputa
(…) All harmony in perfection and nothing wanting to complete the fascination of the whole.” Although German, H. R. Pfretzschner went to Paris to stud
In 1901 he was appointed by the King of Saxony as bow maker to the Royal Court of Dresden. This bow, of Pernambuco cut into a round stick, shows t
and the thumb pad is somewhat worn, but for the rest the stick is sound and perfectly straight. The ebony nut has a simple mother-of-pearl eye and the
his father Carl Richard in Markneukirchen. After the finish of his apprenticeship he decided to study the craft of bow making in Paris, where the bow ma
Vuillaume (1798-1875) in Paris. Vuillaume worked after the tradition of the great French master Franz X. Tourte (1747-1835) who gave bows the curren
influence for his following life and should influence the whole German bow making. Hermann Richard founded his own company in Markneukirchen 188
(purveyor to the court of Saxony). From now on he was allowed to stamp the "king's coat of arms" on the frogs of his bows. 1911 he also received the ti
master of bow making ever, who received those titles. The bows from his early working period (before 1900) usually show the influence of the models fr
own style. A number of his many bow models were named after famous musicians of this time and he was particular fond of his so-called Wilhelmj-mod
August Wilhelmj (1845-1908). Together they developed the Wilhelmj-model after their meeting in 1903. Later on, Hermann Richard patented this model
bow making from their father. In the workshop at that time, there were made a remarkable amount of bows of different quality and price categories. Add
until today. After the death of his uncle Hermann, Horst Pfretzschner, who learned the craft of bow making from his father Berthold, took over 1958 the c
Horst was forced to put his company in the PGH Sinfonia, which was a organisation led by the state. This organisation turned over in 1972 to the VEB S
VEB Musima. The brothers Heinz and Richard learned then from their father Horst and grandfather Berthold in the family workshop in Markneukirchen t
family stamp "H. R. PFRETZSCHNER" and the Saxonian king's coat of arms in the frog. Some HR bows have Voirin style heads. Round section red pe
somtimes above £2000 GBP in 2012.

Pfretzschner, F. C Neither the French authority, René Vannes, nor William Henley lists F. C. Pfretzschner. However, this bow has all the characteristics
dealers offer this maker’s bows. This bow is old, probably dating from the beginning of the 20th century and shows some wear of the wood at the grip, w
ebony nut with a somewhat small mother-of-pearl eye. The fittings are of nickel and the tip appears to be in ivory. It has excellent playing properties for

Prell, Hermann (ca. 1875 - ca. 1925) set himself up in Markneukirchen in 1898, although before World War I he supposedly worked for a short time wit
Prell," in very small letters

Schuster, Adolph Curt (1890-1947) The Schuster family of violinmakers and bow makers that operated mainly in Markneukirchen, is huge, with diction
Pernambuco, perfectly straight, tipped in bone (or ivory). The unembellished plain ebony nut is mounted in Sterling silver (with matching screw), and be
evidence of much use, but is in good condition. It is light and has excellent playing properties.

Wanka Christian studied bow making for 3 years with his father and worked in Toronto before returning to work in the family workshop in Baiersdorf, G

Wanka Herbert studied bow making at Bubenreuth 1952-55 and worked for Gotthard Schuster for many years before setting up his own workshop in 1

Weichold Richard Dresden Excellent German bows. Saxon Violin shop; It is known that the Nürnbergers produced several bows for them.

Weidhaas (Wiethaas), Paul (1894-1962) worked in Paris, probably with Victor Fetique, before World War I. He established himself in Markneukirchen i
a Paris." Worked among others for the Parisian shops, and the Van Der Meer workshop, Amsterdam.

Winkler, Franz Products much recognised, c. 1920/1950. Original model (known as the Winkler), also imitations of the Tourte and Voirin. Impressive an
Markneukirchen from Franz Heinrich Winkler, his father. He set up on his own in Markneukirchen in 1896, travelling later to America, where he worked i
spending the rest of his life there. He also owned a restaurant 'Weidmannsruh' (Shepherds Rest) and also had a small farm

Zapf, Walter Modern German bow-maker (typically valued at £700-900 GBP in 2012) in Makneukirchen-Siebenbrunn, in Saxony, Germany. Usually str

Part 4: Brazilian contemporary makers

Bottoni, J ; Brazil; Octagonal bow; strong but lively; exquisite balance, 61.2grams. Mounted in gold and ebony. $2,000 in 2004

Carlesso, Alessandro ; Brazil; Octagonal, mounted in silver and buffalo horn. $1,200 in 2004, or £800 GBP in 2012. Sartory copies. Some excellent st

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Chagas, C. - Brasil ; worked for Arcos Brazil

Horst, John ; An early group of Brazilian Makers, including Walter Violet and Marco Raposo.

Nilo, Jose working for Marco Raposo

Pereira, M ; Brazil; Round, silver mounted. Special Edition. $1,200 in 2004 - another bow is round, mounted in gold and ebony. Moderately light, lively b
the Pierre Guillaume school in Brussels (formerly J. P. Bernard school) for further training. He made "special edition" bows in both
independent maker. His slightly-stiff bows play well. Other "Special Edition" makers, of the Guillaume school, use the large eye rathe

Raposo, Marco ; (Formerly Arcos Brazil) A group of Brazilian bow makers, lead by Marco Raposo, established in 1995 in the Atlantic Forests of Brazi
Violin Bow stamped Marco Raposo... the individual maker would be a member of staff.

Reis, Alecio Luiz Dos Young Brazilian maker living and working in the UK. Uses dense red pernambuco, and often makes Tourte sty

Santos, C. used to work for Water Violet and left around 2004 to become an independent maker

Schaeffer, Floriano octagonal Brazilian bow

Part 5: American and Worldwide Bow Makers a

Bolander, John A. Jnr. (active 1959) Californian Instrument and bowmaker in San José.

Childs, Paul a New York bow collector and connoisseur, believes we are living in the time of the best bow making in history. Dealer from 1974.

Ellis, Jeffrey A Homepage. Australian maker. Sydney's Jeffrey Ellis, is one of Australia's most notable bow makers. He was a Churchill Fellow and stu
Society of America and in 1993 he was awarded a silver medal at the Mittenwald Violin and Bow making Competition

Radosavljevic, Vladimir Serbian bowmaker trained in Belgrade. Replicas of Tourte, Peccatte and Simon. Owns and supplies to makers a variety of hig

Salchow, William (Salchow & Sons bow makers) first studied bow making and repair under Simone Sacconi in New York and then at Mirecourt with Ge
since. Salchow Stephen was taught by his father, William Salchow and his nephew Isaac. He is currently making close copies of bows by Peccatte and
close copies of originals by Tourte, Persoit and Pajeot. William Salchow was the first American to study bow making in France. With the recommendatio
Emile Francois Ouchard's great protégés, in 1960. He was joined by his grandson Isaac in 1992, and his son Stephen in 1995.

Wehling, Matthew (Matthew Wehling Homepage) Contemporary American Bow Maker. Studied on Summer courses with Bill Salchow. Subsequently s
workshop of Tepho, Brittany France. In 2001 Wehling settled in Northfield, Minnesota, USA, a small college town 45 minutes south of the Minneapolis/S

Alfred, John, Buffalo, NY - Bender, EW, Newman, IL - Copland, JN Chicago, IL - Guetter, Julius, Philadelphia, Pa - Karr, Albert, H, Kansas City, Mo
Mathewson, CH, Providence, RI - Passa, Frank - Reindahl, Knute, Madison, Wisc - Robinson, Robert, Portland, Ore - Roy, Ben J, Seattle, Wash - W
S, Asheville, NC

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