Born in Switzerland, Michel Eggimann made his first violins there before studying at the Cremona Violin Making School with V. Bissolotti, graduating in 1986. Even before graduation he won 4th prize at the 4th Trienalle in Cremona. In 1986 he won the Stouffer Prize for a superb Guarneri copy. He opened his workshop in Lucca, Tuscany in 1991 and then to Rome in 2007. Even before graduation from the Cremona school, he had specialized in reproductions of the great Cremonese masters with superb antiquing that very few of today’s makers can equal.
His work is in great demand, difficult to obtain and we are pleased to offer this superb Guarneri copy.
Made in the Ernst Heinrich Roth workshop in Markneukirchen.
Jules Grandjon was born in Mirecourt, the son and probably student of his father Prosper Grandjon. He worked in Paris and Amsterdam taking over his brothers workshop before establishing a workshop in Mirecourt around 1850. This workshop was very successful and his work won medals at Paris and London exhibitions.
This beautiful violin has a wonderfully responsive tone, very even and powerful.
Bailly is one of the best known and respected makers in 19th century France. Born in Mirecourt, he trained with Galliard and J.B.Vuillaume before working in many cities including several locations in France and also Brussels, London, Leeds and even New York. He established his final workshop in Paris in 1899. He won ten medals at important exhibitions all over the world. His work is always of the very highest quality.
This violin is a classic example of his fine work and has a fine mature tone, suitable for a professional violinist.
Herbert Wanka is one of the best known and respected of today’s Germen bow makers. He began his training in 1952 when German violin and bow makers, mostly refugees from Czechoslovakia, were first establishing their workshops in Bubenreuth. He then worked for several years with Gotthard Schuster before opening his own shop in 1971. He was later joined by his son Christian. Although his work still shows some of the qualities of Schuster’s work, his bows have his own personal style.
Heinz Dölling worked with his father Otto and established his own workshop in 1938. He was highly respected for his elegant workmanship. Even though the GDR (East Germany) was not favorable towards individual craftsmen developing their own personal style, he was able to establish an international reputation through major trade fairs.
The latter 19th and early 20th centuries were the “Golden Period” of French bow making. The great masters like Victor Fetique, Claude Thomassin, Eugene Sartory and of course Joseph Arthur Vigneron brought the standard of bow making to a new level. Known as Vigneron Père, he studied with his stepfather, C.N.Husson along side Alfred Lamy in his native Mirecourt. He subsequently worked for J.J.Martin and Gand & Bernardel among others before establishing his own Parisian workshop in 1888.
This bow is an excellent example of his work and is very suited to a professional cellist.
Victor Fetique was one of the great masters of classical tradition of French bow making. He apprenticed with C.C.Husson, S.F.Maline, Miquel and C.N.Bazin. He moved to Paris in 1901 and worked with Caressa & Français alongside Claude Thomassin. He established his own Parisian workshop in 1913. He was awarded the title “Greatest archetier in France” at the Paris Exhibition of 1927. Over the years we have offered many bows by this master and this is one of the finest we’ve seen.
This exceptional bow has all the playing qualities a top professional could want. This beautiful gold mounted bow is a great demonstration of why Victor Fetique has such a high reputation among top musicians as well as collectors.
The Morizot family of bow makers was founded by Louis Morizot and continued by his five sons, all master bow makers. In addition to making bows sold with the L.Morizot stamp, they made fine bows for dealers and shops.
This bow was made for Lucien Schmitt in Grenoble.
Son of Adolf Nürnberger and grandson of J.C.Suess set up his own workshop in Markneukirchen at age 25 before emigrating to USA in 1912. He set up his workshop in Novato, California in Marin County north of San Francisco.
This bow is of excellent quality and is offered at an excellent price due to the fact that the frog is not original to the bow but a later replacement
For 39 years Gerald Kagan was the assistant principal cellist of the Metropolitan Opera Orchestra. He was also well known as a bow maker as well as a creator and designer of fine jewelry. This elegant cello bow is typical of the high degree of craftsmanship he had become well known for. The unusual slide is of pearl and engraved gold.
Bernard Ouchard was an important figure in the history of 20th century French bow making. He studied with his father, the great Emile Auguste, After service in the French military, he moved to Geneva as the bow maker for Vidoudez where he stayed for over 20 years. In 1971 he returned to his native France where he was the professor of bow making at the Mirecourt School of Lutherie. He taught many of the best French bow makers of the last 50 years. We’ve recently been very fortunate to have had several bows by this important maker.
Roger François Lotte studied with his father François, taking over his father’s workshop around 1960. He was very successful, supplying bows to dealers all over the world. This bow is unstamped, has a replacement frog, and is priced affordably.
After winning a number of gold medals in International bow making competitions, Morgan Andersen has become one of the most important bow makers of his generation.
Read the article on Morgan Andersen here.
A beautiful Weichold bow with an exotic wood frog and a distinctive three piece button.
Otto Paulus and his son Johannes worked together for many years, taking over the Schuster workshop in the 1950’s. The Paulus family of bow makers is today in its fourth generation, still making excellent bows in Markneukirchen.
At the beginning of the 20th. century, some especially fine violins were made in Germany, especially in Markneukirchen. Many of these were often referred to as “Art Violins” because of their beauty and quality. The violins labeled “Carlo Micelli” were sought after, especially in this country. The label of this violin is hand inscribed “Master Art” indicating that it is of exceptional quality. Tonally, this violin is truly exceptional, offering a lot of violin for the money.
Violins labeled “Paolo Fiorini” were of high quality generally from the 1920’s, made in Markneukirchen. These “Art Violins” were among the best being made in Germany at that time. In fact, ads from the U.S. distributers sometimes claimed them to have been made in Italy.
Kurt Arno Gutter studied with O.B.Heinel in Markneukirchen, then worked in Berlin with Glaesel and back in Markneukirchen with H.T.Heberlein before opening his own workshop a