Ifshin Violins
Rare & Fine Instruments

The Ifshin Collection of Fine Bows

Over the years, Jay Ifshin has acquired many fine bows from the most skilled contemporary makers and has kept some of the best for his personal collection. He has recently put several particularly nice bows from his collection on sale. This in addition to an already spectacular selection of fine bows makes now an excellent time to upgrade your bow!

Violin Bows

John Dodd

John Dodd

We are very pleased to offer this superlative bow from one of the first great English bowmakes on record. Surprisingly, John Dodd was originally trained as a gun-lock fitter. Later, constructing scales for money, he used his fine skills in detailed engineering in constructing bows for the violin family. Of the same generation as the unparalleled F.X. Tourte, Dodd’s bows are slightly shorter in length, but still earned him the nickname “The English Tourte.” Despite his excellent workmanship and superb quality, Dodd struggled financially his whole life and died in penury in 1839. This bow is one of his later works, more modern in style than his earlier Baroque and Cramer styles with their open trenched frogs. This bow is in excellent condition and has all the qualities of a fine old bow: rich sound, multi-layered in tone color, classic feel. This would be an excellent part of a collection, as it would be for a professional violinist.

Victor Fetique

Victor Fetique

Gold/ebony.

Jean Joseph Martin, branded Chanot

Jean Joseph Martin, branded Chanot

Paris. Martin was an archetier of great skill whose production was of high quality right up until his death in 1910, at the age of 73. After serving an apprenticeship in his native Mirecourt, he moved to Paris where he worked for Vuillaume, going on to be one of the firm’s great makers. He established his own workshop in the early 1860s. Although he was one of the best Parisian bowmakers of his time, he mostly made bows for other firms. This bow, branded Chanot, is a fine example of his work and is accompanied by a Raffin certificate.

A. Lamy

A. Lamy

Paris. One of the central figures in French bowmaking, Joseph Alfred Lamy, began his studies at the age of 12 with Husson, and later Arthur Vigneron. In 1876, at the age of 26, he began an apprenticeship with Voirin, later becoming his assistant. Voirin was to have tremendous influence on Lamy’s work, both in artistic concept and execution. Upon Voirin’s death in 1885, Lamy set up his own workshop in Paris, beginning a flourishing career as an independent bowmaker. He won silver medal in the 1889 Paris exposition and gold medal in the 1900 Paris exposition. He also taught his son, Hippolyte Camille Lamy the art, as well as Eugene Sartory.

Hippolyte Camille Lamy

Hippolyte Camille Lamy

Paris. Hippolyte Camille Lamy was the son and successor to his father Joseph Alfred Lamy. His training began at the age of 15 with his father, and ended after five years, in 1895, when he began assisting his father. After World War I he took over the family workshop and continued making bows in family tradition. Much of his work is quite similar to that of his father’s, and his best work, like this example, is almost indistinguishable from his father’s. This bow is in superb condition, still bearing the original wrapping. It is articulate and vibrant, and represents an excellent value for the professional violinist, as it would for a collector.

Victor Fetique

Victor Fetique

Paris. Fetique 19040Several examples. Victor Fetique was an exceptionally talented bowmaker, and winner of the coveted prize, “One of the Best Crafsmen of France”. Originally from Mirecourt, he apprenticed with the Husson family and Charles Nicolas Bazin, before working with the newly opened Parisian firm, Caressa & Francais, in 1901. While there he worked side by side with another great archetier, Claude Thomassin. 

By 1913 he set up his own shop and before long started supplying large numbers of bows to the musical community of Paris, and beyond. His best work was made personally, with the assistance of great makers such as his younger brother, Jules Fetique. He trained or hired bowmakers such as his son, Marcel Fetique, Paul Weidhaas, Louis Morizot Sr., and Andre Richaume. Because of his dependable quality, his bows are in high demand by top level musicians. His bows are characterized by their unwavering strength and flexibility, at once clear in tone and rich with color. They are consistently easy to play, handling the versatile technical demands of concert musicians.

We are delighted to have an unusually large selection of his bows, some of which are in mint condition with the original wrapping. They exemplify all the playing qualities that have given Victor Fetique his great reputation.

Justin Poirson

Justin Poirson

Paris. The son of a winegrower, Poirson studied with Nicolas Maire before working for Vuillaume in about 1870 and later. After Vuillaume died in 1875 he worked for the important Parisian firm, Gand and Bernardel. He set up on his own in 1879. His later bows were sometimes heavy in nature but always reflect his early training. He was murdered at the age of 74 while living in miserable conditions in the outskirts of Paris. This bow is one of the finer bows he produced. It is in excellent condition and is accompanied by a Raffin certificate.

Alfred Lamy

Alfred Lamy

One of the central figures in French bow making, Joseph Alfred Lamy began his studies at the age of 12 with Husson, and later Arthur Vigneron. In 1876, at the age of 26, he began an apprenticeship with Voirin, later becoming his assistant. Voirin had tremendous influence on Lamy’s work, both in artistic concept and execution. Upon Voirin’s death in 1885, Lamy set up his own workshop in Paris, beginning a flourishing career as an independent bowmaker. He won silver medal in the 1889 Paris exposition and gold medal in the 1900 Paris exposition. He also taught his son, Hippolyte Camille Lamy the art, as well as Eugene Sartory. This is an excellent playing bow, nimble and strong, optimal for any technique required of a fine violinist.

Emile A. Ouchard

Emile A. Ouchard

One of the greatest makers of the 20th Century, Emile A. Ouchard began his training at 13 years of age with his father in the Cuniot-Hury workshop. He set up his own shop in Paris in 1940. This fine bow has 2 silver rings surrounding a small eye

André Richaume

André Richaume

One of the finest bowmakers of the 20th century, Richaume spent his entire life surrounded by fine bows and brilliant bowmakers. He began his training under Emile F. Ouchard, working alongside another great young bowmaker, Emile A. Ouchard. He worked with his uncle, Jules Fetique, who worked with Sartory for many years. He also spent five years working with another uncle, the great Victor Fetique, before setting up on his own in 1932. Over the course of his prolific career he produced 1,000 silver and ebony bows of fabulous quality. This violin bow is an excellent example of his work: strong, precise, and dependable, it facilitates the performer's artistic endeavors. It is accompanied by a Raffin certificate.

Arthur Vigneron branded Gand & Bernardel Frers

Arthur Vigneron branded Gand & Bernardel Frers

A highly prolific maker of superb quality bows, Vigneron apprenticed with Claude Nicolas Husson before working with Jean Joseph Martin. This early training from some of the finest archetiers in France helped propel his career. From about 1880 he worked for the important firm, Gand & Bernardel Frers, further developing his career. He set up on his own around 1888. The strong, dense stick is ideal for the high level violinist. It is quick and responsive, and draws a sweet, clear tone that projects. It is accompanied by a Raffin certificate.

Victor Fetique/Emile A. Ouchard

Victor Fetique/Emile A. Ouchard

Victor Fetique was an exceptionally talented bowmaker, and winner of the coveted prize, "One of the Best Crafsmen of France." Originally from Mirecourt, he apprenticed with the Husson family and Charles Nicolas Bazin, before working with the newly opened Parisian firm, Caressa & Francais, in 1901. While there he worked side by side with another great archetier, Claude Thomassin. By 1913 he set up his own shop and before long started supplying large numbers of bows to the musical community of Paris, and beyond. Aside from making bows personally, he finished bows supplied to him by various bowmakers. This particular bow was made by E.A. Ouchard and finished by Fetique, an unusual collaboration by two of the century's greatest makers. The bow is strong and flexible, with a rich, ringing projection.

Jean-Jacques Millant

Jean-Jacques Millant

One of the finest archetiers after World War II, Jean-Jacques Millant studied with the Morizot family from 1946-1948 before working with his father and uncle, Roger and Max Millant. Setting up on his own in 1950, Millant developed a fine reputation, eventually being awarded the title of “One of the Best Craftsmen of France” in 1970. Around 1980 he only made bows mounted in ebony and gold. This collector's quality bow is in mint condition, having been purchased directly from the maker in the early 1990s and is accompanied by the original bill of sale.

Charles Husson

Charles Husson

Husson 19574An excellent maker with a fairly short working period, Charles Husson began his training with his father in Mirecourt.  In 1873 he moved to Paris to work at the Vuillaume shop before working with Voirin, and then Gand and Bernardel.  He set up on his own around 1880, producing bows that were influenced by his master, Voirin, and his ex-classmate, Andre Vigneron.  These bows are nimble and elegant, strong yet flexible, and produce a luscious tone.

Emile A. Ouchard

Emile A. Ouchard

Paris. One of the greatest makers of the 20th Century, Emile A. Ouchard began his training at 13 years of age with his father in the Cuniot-Hury workshop. He set up his own shop in Paris in 1940.

Justin Poirson

Justin Poirson

Paris. The son of a winegrower, Poirson studied with Nicolas Maire before working for Vuillaume beginning around 1870. After Vuillaume died in 1875 he worked for the important Parisian firm, Gand and Bernardel. With a good reputation firmly established, he set up on his own in 1879. He made excellent bows for many years, before passing away in squalid conditions in the outskirts of Paris. Our collection of Poirson bows highlights his varied style and consistently fine workmanship. All the bows are strong and responsive, and represent a good value for an old French bow.

Arthur Vigneron

Arthur Vigneron

A prolific maker of superb quality bows, Vigneron apprenticed with Claude Nicolas Husson before working with Jean Joseph Martin. This early training from some of the finest archetiers in France helped propel his career. From about 1880 he worked for the important firm, Gand & Bernardel Frers, further developing his career. He set up on his own around 1888. This bow is an exceptionally good playing stick, perfectly matching strength and agility, offered at a player's price.

Marcel Fetique

Marcel Fetique

Son and student of Victor Fetique, Marcel worked closely with his father shortly after World War I until 1930 when he set up on his own. Though his output was somewhat limited, much of his production is of the same quality as his father’s. This bow shows some influence of Ouchard. It is a very good playing stick, striking the balancing between flexible and resilient. It is accompanied by a Millant certificate.

Charles Husson

Charles Husson

An excellent maker with a fairly short working period, Charles Husson began his training with his father in Mirecourt. In 1873 he moved to Paris to work at the Vuillaume shop before working with Voirin, and then Gand and Bernardel. He set up on his own around 1880, producing bows that were influenced by his master, Voirin, and his former classmate, Andre Vigneron. This bow is nimble and elegant, strong yet flexible, and produces a luscious tone. It is accompanied by a Raffin certificate.

Louis Bazin

Louis Bazin

Mirecourt. The youngest son of C.N. Bazin, Louis apprenticed with his father, later taking over his workshop in 1907.Throughout his career he employed bow makers to help him out –including his son- always maintaining a high standard. Many of his bows were made for dealers, but he also made many bows with his own brand.

Shop of Victor Fetique

Shop of Victor Fetique

Branded P. Serdet A Paris. Victor Fetique was an exceptionally talented bowmaker, and winner of the coveted prize, "One of the Best Crafsmen of France." Originally from Mirecourt, he apprenticed with the Husson family and Charles Nicolas Bazin, before working with the newly opened Parisian firm, Caressa & Francais, in 1901. While there he worked side by side with another great archetier, Claude Thomassin. By 1913 he set up his own shop and before long started supplying large numbers of bows to the musical community of Paris, and beyond. Aside from making bows personally, he finished bows supplied to him by various bowmakers. This bow has excellent playing qualities with opulent tone. It is accompanied by a Raffin certificate.

André Chardon branded Chanot & Chardon

André Chardon branded Chanot & Chardon

In addition to being a talented bowmaker, André Chardon was also a renowned violin repairman and successful businessman. He headed the family company, Chanot-Chardon, selling fine quality bows and instruments. Grandson of the great violin maker Georges Chanot, Chardon began training as a luthier with his father at the age of 15, shifting to bow making after World War I. Because the family firm occupied much of his time, he was not as prolific as many of his peers, though the quality of his production was quite high. Part of his success as a bowmaker rests upon his grandfather’s collection of first rate pernambuco. This bow is flexible and strong, pulling a clear, rich sound. It is accompanied by a Millant certificate.

Louis Bazin

<a name="LouisBazin18845"></a>Louis Bazin

The youngest son of C.N. Bazin, Louis apprenticed with his father, later taking over his workshop in 1907. Throughout his career he employed bow makers to help him out –including his son- always maintaining a high standard. Many of his bows were made for dealers, but he also made many bows with his own brand. This bow is in superb condition and is easy to play, drawing a rich and nuanced tone.

Marie Louis Piernot

Marie Louis Piernot

The early part of Piernot's career was spent working with some of France's best shops. From 1892-1900 he apprenticed with the C.N. Bazin workshop before working with Vigneron Sr. From 1906-1923 he worked with Leon Bernardel, eventually solidifying his skills and reputation enough to open his own shop in Paris. This bow, in mint condition and with the original wrapping, is an excellent example of his later work.

Mars Auguste Husson

Mars Auguste Husson

Paris. After training with his family in Mirecourt, Husson worked for Thibouville-Lamy, and in 1906 for C.N. Bazin. After moving to Paris in 1910 he worked for Vigneron. In 1925 he set up his own shop, after which time he began branding his bows with his name. This bow shows the influence of Andre Vigneron, and is well balanced, strong and flexible.

Branded Ch.Enel

Branded Ch.Enel

by E.F.Ouchard. Perhaps most well known for training his son, Emil August Ouchard, Ouchard Sr. was himself a fine maker. He began his training at the age of 14 under Eugene Cuniot. In 1910, when Cuniot died, Ouchard Sr. took over the Cuniot-Hury firm and ran it until 1922. He set up his own shop the following year in Mirecourt and continued producing bows of high quality. During the early years his son was working in the shop, and during this period many of the bows Ouchard Sr. produced are of a very high quality. This fine bow is accompanied by a certificate by Rafffin.

Louis Morizot branded Boulangeot a Lyon

Louis Morizot branded Boulangeot a Lyon

This bow was made when Morizot worked with Sartory, probably before World War I. It is one of the best Morizots we have seen and is in near mint condition. Emile Boulangeot was the principal maker to the Lyon Conservatory and ordered bows to sell his customers. This bow would be a good fit for a professional musician or collector. It is accompanied by a Raffin certificate.

Gand & Bernardel

Gand & Bernardel

Possibly by Thomassin. The illustrious firm, Gand and Bernardel, hired many of the finest bowmakers in France in the late 19th century. One of these makers was Claude Thomassin, whose distinctive style during these years was heavily influenced by his first master, C.N. Bazin. This bow, likely made c. 1890, bears the faintly visible stamp of the Gand and Bernardel firm. The wear at the handle indicates that it was well loved by a player for many years, and the good condition of the stick demonstrates it has been well preserved. It feels exceptionally smooth across the strings and is offered at a player’s price.

L. Morizot, many examples

L. Morizot, many examples

Louis Morizot Pére began his training with Eugene Cuniot at the large Cuniot-Hury shop. At the turn of the 20th century, he continued his apprenticeship at the C.N. Bazin shop, a common step for young bowmakers perfecting their skill. Around World War I he went to work with the great Sartory, the final pass in his formal training. He established his own shop in Mirecourt in 1919 and very early on his sons began assisting him. 

By 1925 the Morizot family was able to produce a large number of well made bows, allowing them to supply a large number of bows to various dealers in France and beyond. In 1933 he incorporated his five sons into a shop know as Louis Morizot & fils (Louis Morizot and Sons).

Bernardel15538Together they produced great numbers of bows of consistent quality, frequently with superb playing characteristics. The bows of the Morizot family were sold at such firms as Serdet, Collin-Mezin, René Bernardel, Emil Boulangeot, R & M Millant and many others. Many of Louis Morizot Pére’s bows were made for, and branded by, such makers as Eugene Sartory and Victor Fetique. The Morizot bows in our collection are of their finest quality, some of them in pristine condition. They are well balanced and responsive, and represent classic French work of the 20th century.

Guillaume á Bruxelles (Pierre Guillaume)

Guillaume á Bruxelles (Pierre Guillaume)

Brussels. Gold and silver mounted, many examples.

Pierre Guillaume has become one of the best known and important bow makers in the world. He studied with many fine French makers including Morizot, Bazin and Ouchard in Mirecourt. He also operates the famous Maison Bernard in Brussels. We are delighted to be able to offer these fine bows.

Justin Poirson

Justin Poirson

Paris. Poirson was a pupil of the great Nicolas Maire and then went on to work with J.B.Vuillaume where he got to know the great bowmakers of the time. After Vuillaume’s death he worked with Gand and Bernardel. In 1880 at the age of only 29, he had set up his own workshop. This bow has exceptional playing qualities and we consider it an excellent value in that it is nickel mounted.

Arthur Bultitude

Arthur Bultitude

Bultitude began working at Hill in 1922, when he was only 14 years old. He left Hill nearly 40 years later as a highly respected craftsman of superior skill. He was also the longtime head of the bow making workshop. Much of his output was produced after he set up on his own, where he could focus on bow making rather than his various and sundry managerial duties- which included training. This bow is a prime example of his finest work. Made in 1964, it exemplifies the great craft of the Hill shop. He includes his trademark Tudor Rose on the frog. The bow is strong and lithe, easy to play, and is in mint condition.

Charles Bazin

Charles Bazin

Several examples. Son of Louis Bazin, and grandson of the extremely influential Charles Nicholas Bazin, Charles Bazin was one of the most important bow makers of the mid- 20th century. He was active in bowmaking by the age of 15, opening his own shop shortly after World War II. He had only one assistant, and made bows of fine quality for clients throughout France, the United States, and beyond. His bows are strong yet sweet, bridging the gap between the old tradition and new school of French bowmaking. They represent an excellent value in a classic French bow.

Cuniot- Hury

Cuniot- Hury

In 1884, at the age of 22, Eugene Cuniot took over his father’s firm, later adding his wife’s well known last name to his brand. Like most makers around the turn of the century, he was greatly influenced by C.N. Bazin, both in style and business model. Thus he had many archetiers in his workshop and supplied bows to dealers and violin shops throughout France. Despite having up to 12 makers working for him he was able to maintain quite a high level of quality. One of the bow makers, Emile Francois Ouchard, took over the firm in 1910 after Cuniot died. This is a fine bow and is lively and flexible.

E.F. Ouchard

E.F. Ouchard

Perhaps most well known for training his son, Emil August Ouchard, Ouchard Sr. was a fine maker. He began his training at the age of 14 under Eugene Cuniot, who headed the large and important firm, Cuniot-Hury. In 1910, when Cuniot died, Ouchard Sr. took over the atelier and ran it until 1922. He set up his own shop the following year in Mirecourt and continued producing bows of high quality. During the early years his son was working in the shop, and during this period many of the bows Ouchard Sr. produced are of a very high quality. This bow is responsive and smooth and represents some of E.F. Ouchard’s best work. It is accompanied by a certificate by Daguin.

Eric Fournier

Eric Fournier

One of the most exciting young archetiers of this generation, Fournier has won several medals for his work at the VSA and Concours International de la Ville de Paris. He has worked for Georges Tepho, Ulf Johansson, and Yanick Le Canu. His style is virtuosic in concept, deeply inspired by the great makers of the early 19th century. We currently have two gold mounted bows that are ideal for chamber music

W.E. Hill & Sons- Edgar Bishop & Albert Leeson

For over 100 years, W.E. Hill & Sons was synonymous with superb quality. Between the World Wars, the Hill shop ramped up production and made thousands of excellent bows, solidifying their reputation as the standard bearers of English bowmaking. They had several fine craftsmen working in assembly, wherein one maker would frequently make the frog, and another, the stick. This bow, brought to the sales room in 1936, is no exception. Edgar Bishop, one of the best archetiers in the workshop, made the stick, while Albert Leeson made the frog. By dividing the labor in this manner, Hill and Sons could ensure rapid production while maintaining the highest quality. This bow is consistent with the unrivaled standards set by the shop: It is strong and easy to play with a clear and robust tone.

Siegfried Finkel

Siegfried Finkel

Born in 1927 in Markneukirchen, Finkel studied bowmaking with his father-in-law, Paul Weidhaas. He settled in Switzerland and established a shop which is carried on by his family. This is a good, strong bow, weighted slightly toward the head. It pulls a rich, dark sound.

Morizot stamped Collin-Mezin

Morizot stamped Collin-Mezin

After training with Cuniot-Hury and then C.N. Bazin around the turn of the century, Morizot went to work with Sartory around the time World War I began. In 1919 he set up his own shop in Mirecourt. His five sons helped him in his workshop, allowing them to supply a large number of bows to various dealers in France and beyond. One of the dealers who received bows from Morizot was the award- winning violin maker, Collin-Mezin. At 56.6 grams this bow is quite light, lively, and perfectly balanced.

C.N. Bazin

C.N. Bazin

Charles Nicolas Bazin was one of the most important bow makers from Mirecourt in the last two centuries. Apart from being a great craftsman, he was also a great teacher and businessman, running a very efficient workshop that supplied bows of high quality to many shops in Paris and beyond. For this reason, his bows are frequently unbranded. This bow is light and lithe, and is an elegant example of his swan head model.

Morgan Andersen

Morgan Andersen

Check out our article on this important maker. Many fine examples, both gold and silver mounted.
The bow pictured here is one of the fine gold-mounted bows we have available.

Morgan won top prize for his violin bow in the prestigious instrument and bow making competition in Paris: The 2011 "Councours de Lutherie Etienne Vatelot".

C.Hans-Karl Schmidt

C.Hans-Karl Schmidt

Christian Barthe a Paris

Christian Barthe a Paris

Several examples. One of the finest contemporary Parisian makers, Barthe has won prizes in various competitions, including in 2016 in Paris for a viola bow. After studying violin for several years, Barthe embarked on his bowmaking career at the young age of 16, apprenticing with Gilles Duahuat. He perfected his skills with Stephane Thomachot and Jean-Jacques Millant. Since 1997 he has been working in Paris, where he continues to seek the advice of the inimitable Bernard Millant. Barthe’s work is reminiscent of historic French making, yet possesses distinct characteristics all his own. The bows are remarkably responsive and supple, drawing a warm, clean sound. They are excellent for any young musician seeking a fabulous modern bow at a reasonable price.

Ron Forrester

Ron Forrester

Forrester started bowmaking while he was already in his early thirties, apprenticing with and working side by side with the inimitable Yung Chin. Seven years later, Forrester set up on his own, where he gained a fine reputation among top musicians for the quality of his work. His clients include musicians in the Pittsburgh Symphony, The Takács Quartet, The American Quartet, among others. This bow is luxurious in feel, and rich in tone.

L.Morizot

L.Morizot

Stamped E.Boulangeot a Lyon. Besides making bows branded with the family name, the Morizots also made bows for several dealers in France. Emile Boulangeot was the principal maker to the Lyon Conservatory and ordered bows to sell his customers. This is an excellent playing bow, with depth of tone and great clarity.

Walter Barbiero

Walter Barbiero

Padova. Originally trained as a violist, Barbiero’s passion for woodworking led him into bow making. One of the few Italian bow makers of great reputation, he has trained with such masters as Christian Barthe, Nelly Poidevin and Alfredo Clemente. He has also made bows for some of the most important musicians of our day. This bow is full of character, focused and strong.

Robert Morrow

Robert Morrow

One of the top American bowmakers today, Robert Morrow is also a respected judge at bowmaking competitions, including the VSA. He trained with Charles Espey before setting up on his own in Port Townsend, WA. In 2008 he received the title "hors concours" at the VSA for his numerous gold medals. His work is always as elegant as it is functional, and this bow is no exception. Strong and vibrant, it is capable of drawing a huge tone from the instrument.

Pierre Guillaume

Pierre Guillaume

Brussels. Silver mounted. Special edition, reproduction of F. Tourte. Pierre Guillaume has become one of the best known and important bow makers in the world. He studied with makers like Morizot, Bazin and Ouchard in Mirecourt. He also operates the famous Maison Bernard in Brussels.

Marie Louis Piernot

Marie Louis Piernot

The early part of Piernot's career was spent working with some of France's best shops. From 1892-1900 he apprenticed with the C.N. Bazin workshop, before working with Vigneron Sr. From 1906-1923 he worked for Leon Bernardel, eventually solidifying his skills and reputation enough to open his own shop in Paris. This bow is a particularly good playing stick, strong and sensitive, offered at a player's price.

W.D.Watson

W.D.Watson

One of the first apprentices hired by the Hill family after WWII, Watson started in the case making department before the renowned Bultitude transferred him to the bowmaking department. Once there, he started a 6 year apprenticeship under the great William Retford. This close working relationship benefitted Watson immensely, becoming one of the best bowmakers at Hill & Sons. In 1962, already the senior bowmaker at Hill, Watson resigned because of a payment dispute, and set up on his own. He continued to make bows until the end of his life. At 63.6 g this bow is at once heavy and well balanced, a good strong bow in new condition.

Branded Gêrôme Devoivre

Branded Gêrôme Devoivre

Roger Gerome originally trained as a violin, guitar and banjo maker before focusing on bow making. He opened up his shop in Mirecourt where he began making fine quality bows. Among other bow makers, Georges Barjonette worked in the Gerome shop. This bow is smooth and easy to play. It represents a good value in a French bow.

Albert Nürnberger

The Nürnberger family worked in close concert with each other to fashion some of the finest bows in Germany. They maintained a high level of artistry over the course of their prolific oeuvre, frequently working on the Tourte model. With luthiers in the family dating back to the early 18th century, the Nürnbergers flourished as bowmakers beginning Nurnberger 18814in the late 19th century, widely recognized as the standard bearers of German bow making.

In 1890, Albert Nürnberger Jr. (b. 1854-d.1933) started branding their bows in order to make a name for the family workshop. Their workshop had already been producing fine bows for several decades, mostly supplying bows to other shops anonymously. By signing their works, they built up their business and established their reputation. This early stamp, in a font sans serif, was later changed to a font with serifs in 1910 before ultimately settling on their most widelyNurnberger 17287 used stamp, *ALBERT NÜRNBERGER*, in 1920.

With the stamp in use, the family expanded the business, wining a gold prize in Berlin, 1906, and silver prize in Leipzig, 1910. Their remarkable ability to quickly produce fine bows is due in part to the assistance of Nürnberger Jr.’s sons, Phillip Paul Nürnberger (b. 1882- d.1946), and the renowned Carl Albert Nürnberger (b. 1885- d.1971), Nurnberger 8522who worked with their meticulous father. They also trained some of Germany’s best bowmakers, including August Rao. With several excellent bowmakers working together, they were able to supply such demanding dealers as Hammig and Weichold, as well as the thriving market in the United States. After Carl Albert Nürnberger took over the shop, many of the world’s greatest concert artists, including David Oistrakh, owned and regularly performed on a Nürnberger.

We currently have several examples from the Nürnberger family, dating back to 1910. These classic examples have all the features that made their bows so popular for much of the 20th century- the workmanship is near perfect, the balance superb and the tone rich. These bows are ideal for musicians of any level, and collectors who appreciate the highest level of German bowmaking.

R.L. Steenbergen

R.L. Steenbergen

Sacramento gold/ebony. Steenburgen won gold medals for his violin, viola, and cello bows at the 1986 Violin Society of America competition, and was declared Hors Concours. He continued making bows in Carmichael, CA until his passing. His bows are consistently good and have been sought after by California's best musicians for decades. This bow is typical of his best work: Well balanced, strong and nimble, it is an excellent bow for any demanding violinist.

Gustav Prager

Gustav Prager

Highly sought after during his lifetime, his bows were used in concert by such great violinists as Jan Kubelik, among others. Gustav Prager studied with his father before setting up on his own in 1893. His workmanship is crisp and clean and his bows are consistently strong and clear in tone. Both examples are in near mint condition and have superb playing characteristics. They are lively and vibrant and easy to handle at any point on the stick.

Hermann Prell

Hermann Prell

Prell's bona fides include working for the great German masters Albert Nurnberger (1893-1895), and with August Rau (1896), before working with the venerable Eugene Sartory (1897-1898). He established his own shop in his native Markneukirchen in 1898. Prell died in 1925 at the age of 50.

François Lotte

François Lotte

Several examples. After training with and working for C.N. Bazin in Mirecourt until 1921, Lotte worked for Cuniot-Hury until 1925. He married into the Ouchard family in 1919, and was the brother-in-law of Emile A. Ouchard. He trained several workers including LaPierre, Mangenot, and his son, Roger. His bows are of a consistently good quality, frequently using excellent wood. These bows date from different working periods, but demonstrate the consistently high playing qualities of his bows.

C.N.Bazin

C.N.Bazin

Mirecourt (unstamped nickel mounted). Charles Nicolas Bazin was one of the most important bow makers from Mirecourt in the last two centuries. Apart from being a great craftsman, he was also a great teacher and businessman, running a very efficient workshop that supplied bows of high quality to many shops in Paris and beyond. For this reason, his bows are frequently unbranded. This bow represents an excellent value because it is nickel mounted and has a small repair at the tip. The bow is perfectly balanced and pulls the sweet sound typical of his bows.

Alysio de Mattos

Alysio de Mattos

One of the best Brazilian bowmakers on the market, De Mattos studied with Christian Barthe in Paris before returning to his native Rio De Janeiro. In essence a French bowmaker, he draws up a new head model with each bow. This bow is perfect for any musician seeking a fantastic bow at a reasonable price

J.B.Aniano

J.B.Aniano
New York. Beginning on his own in 1978, Aniano continued studying bowmaking with William Salchow in the early 1980s. Since 2002 he has worked with the renowned Yung Chin, whom Aniano considers his principal teacher and mentor. He won prizes at the VSA, including gold medal for a cello bow in 2006 and a viola bow in 2010.

Johannes Paulus

Johannes Paulus

Johannes Paulus first trained in the C.A. Schuster workshop in the early 1930s. He continued working in the Schuster shop after Schuster died in 1946, working closely with his father, Otto Paulus. In 1955, after taking over the Schuster workshop, he began branding his bows with his name. This bow is in mint condition and is exemplary of post WWII German making. The workmanship is exceptionally clean, and the bow would be an efficient tool for any violinist.

Garner Wilson

Garner Wilson

Wilson joined the Hills at the age of 16, where he apprenticed with Hill stalwarts Bultitude and Watson before working with Malcom Taylor. Wilson stayed with the Hills for 6 years, before setting up on his own, in 1966. With his superb early training, Wilson was very successful right up to his death in 2013. This bow is characteristic of his work, drawing a precise tone with rich power.

Eric Gagne

Eric Gagne

Montreal. One of the exciting young archetiers, Gagne began his studies with Blaise Emmelin before working with Pierre Guillaume in Brussels, Belgium. He has won numerous awards for his work, most recently in 2016 at the VSA for a viola and cello bow. This elegant bow draws a dark, smooth sound.

Arthur Thoma

Arthur Thoma

Hohendorf. Like so many of his peers, Arthur Thoma came from a long line of bowmakers, including his grandfather, Hermann. Arthur learned the craft together with his brother, Albert, in their father’s shop. Arthur set up on his own in 1931, where he branded bows with his own name, earning a fair amount of fame. This is a good playing bow, drawing a sweet and clear tone.

Paul Schubert

Paul Schubert

Schubert-18388-bow Markneukirchen. From one of the oldest bowmaking families in Markneukirchen, Paul Schubert worked in the W.A. Pfretzchner workshop with his father, August. He also worked with August Nürnberger-Süss until 1912. The next year Schubert established his own workshop in Markneukirchen, working prolifically until he died in 1961. Apart from Nürnberger-Süss in Marin County, Schubert’s primary contact in the Bay Area was his cousin, Richard Schubert, an esteemed violin maker who established his shop on Post Street, in San Francisco, in 1910. Schubert’s bows were imported to San Francisco and sold, with much success, to the area’s musicians. His bows are characterized by their detailed workmanship and their consistent playing quality. We currently have two fine examples.

David Forbes

David Forbes

Dodd Copy

Werner Uebel

Werner Uebel

Markneukirchen. Uebel spent his early years working anonymously, producing student grade bows. In the early 1950s he set up his shop in Markneukirchen, steadily improving the quality of his bows. He worked closely with musicians, culminating in a silver medal in 1969. This bow is in superb condition from the mid 1950s, demonstrating his technical mastery of the craft.

John W. Stagg

John W. Stagg

Bristol, England. One of the last bow makers employed at Hill, Stagg attained a high level of craftsmanship after 6 years with the firm before setting up on his own in 1983. Since setting up on his own he has solidified his sterling reputation and is the author of a detailed expose on bowmaking. This bow is big and strong, yet subtle and nuanced.

August Rau branded R.Weichold-Dresden

August Rau branded R.Weichold-Dresden

Without a doubt one of the greatest German bogenbauer, Rau set up on his own in 1890 after studying with the Nürnberger family and Wilhelm Knopf. He had a long working career, -over 60 years- and always maintained the highest standards of workmanship. Early in his career he worked for the Weichold shop and continued supplying bows for the Weichold firm until 1915. This bow exemplifies the bows he supplied to Weichold, and is in very good condition. A good playing nickel mounted bow, it represents a good value for any violinist.

Max Penzel branded Arnold Voigt

Max Penzel branded Arnold Voigt

After training with the Pfretzschner workshop in the early years of 1900, Penzel established his own shop in Erlbach. His reputation as a fine artist grew rapidly, and he trained several bow makers, among them Kurt Dölling and Willy Eichler. This bow is Penzel's own "Lupot model," a model he championed throughout his career. Interestingly enough, this bow is branded Arnold Voigt, showing a clear business relationship between Voigt, a violin and bowmaker, and Penzel. This bow is strong, nimble, and responsive.

Enrico Morelli

Monique Poullot

Monique Poullot

Several examples. For the past decade we have been the exclusive representatives of Monique Poullot’s bows in the United States. Her training can be traced back to the bow making school in Mirecourt run by Bernard Ouchard, as her first teacher was a graduate of the program. Well steeped in the traditional methods of the great French school, she has continued perfecting her craft with such masters as the renowned Stephane Tomachot. These bows are a great value for the price. Her wood selection is first rate, consistently rich in tonal properties and flexible across the strings. Her bows are excellent for any player looking for a good, modern French bow at an affordable price.
Read here more information on Monique and Jacques Poullot.

Friedrich Wunderlich Leipzig

Friedrich Wunderlich Leipzig

Wunderlich worked in Leipzig from the early years of 1900 until his shop was destroyed in an allied bombing raid during World War II. He later moved to Sweden before settling in Markneukirchen. He was a respected maker throughout his lifetime. This bow was likely made in the early part of his career, and shows many of the working aspects of the Nurnberger shop from his early training.

J.P. Bernard

Nickel mounted, ebony frog. In his Brussels workshop, Pierre Guillaume makes bows for violins, violas and cellos. With instrument maker Jan Strick he runs the Maison Bernard, which they took over in 1986. This affordably priced model has become one of our favorite high quality student bows and is always in high demand.

Arcos Brasil

Various makers, special model with horn or snakewood frog and pearl fleur d' lys.

Violin Bows Below $1,000

Jay Haide, J.H., Emile Richaud, Ary France Hybrid, Josef Sandner, Nicolas Delaune, Ernst Heinrich Roth, Lubas Odlas, Eduard Reichert, Chagas-Brasil, Horst John, V. Schaeffer, John Brasil, Ary France, Erich Steiner.

Read more about our affordable bow options.

Carbon Fiber Bows

Jay Haide; CodaBow: Diamond GX, SX, NX, and Prodigy; Jon Paul Bravo; J. Tabary.