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Showing results for tags 'bows'.
Found 18 results
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I recently went bow shopping and i have found a german bow that fit me perfectly (it felt like an extention of my hand) and was a delight to play especially for string crossings and techniques like sautille and spiccato could be executed effortlessly. Its sound was kinda meh compared to some fine french sticks that i have tried but it is not too bad either However, it is an older bow from the 1920s and was from a german workshop, and costs around 2400 freedom eagles. I was just wondering if the asking price from the dealer is justified, given its age and provenance. Can any of the experts give advice on the quality of the pernambuco and perhaps even shed some light on the particular workshop it was made in? Should there be any special care and attention given to older bows? Attatched is the picture of the bow in question. The stamp on the bow simply reads "TOURTE". The bow happens to be 55.7g and a bit tip heavy from what the sticker says Sorry for my ignorance, i know next to nothing about bows.
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I've bought 2 bows from a current auction, I would like some common and identificaiton on those bows. The W.E Hill&Sons one looks a bit doggy to me, because the wood does not look like pernambuco to me and I don't think that happends to a legit H&S bow. The HRP one has a crack on the bottom but has been repaired, anyone knows if that's gonna affect the playability?
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In certificates for violin bows I often read that a bow is not assigned to a specific bow maker directly, but to his "school" ("School of Paejot" or similar). What does "school" mean? Was the bow made in the workshop of the named bow maker? Or from one of his pupils? Or by anyone else who only worked in the style of the named bow maker? I would be grateful for an answer from the experts.
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Hello, Recently I had a bow's frog replaced (the original frog had a crack in the tongue) and a rehair done. I notice there is a gap between the stick and the screw when the bow is untightened. Is this a problem? The bow seems tighten ok (the gap dissapears) but it seems it takes more turns than is usually required. I've attached a photo.
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Broadly, I am hoping that the answer is at least good wood for the purpose. More specifically, I am also hoping that the answer is pernambuco. I have to ask though. No matter how many sample images of violin bow wood I look at (fiddlecollector's sets in the Bow Wood Identification thread probably should do it, but...), I can't get comfortable with that identification. The link points to some photos. If they are not clear enough to make a determination I can try to reshoot in some better light. https://photos.app.goo.gl/YvqgTNnj381VJbGf6 Also, I presume the winding is nickel with a few contrasting lines of silk thread? Please enlighten me! Thanks. Ben
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Any downsides to hanging a bow on a hook in a protected area (a corner of the room with little likelihood of physical impact from people or objects)? The bow would be loosened and the humidity is within a proper range. Storing the bow in this fashion would allow me to loosen the bow more than I would when it is placed in the case under the bow clip where hairs might break or get caught in the clip (which has occurred). Theoretically, this would ensure that the hair is not under any tension.
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I’m in the weeds on bows - I found this with a decent mid-19th century French fiddle. It sounds good/plays nicely. Is it worth getting rehaired?
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Help on identifying this violin bow? Reminds me of Knopf school bows. Tip plate is made out of silver I think and is pinned. Underslide is pinned twice. Length is around 71.5cm without adjuster, 73cm with adjuster. https://www.flickr.com/photos/152316993@N07/albums/72157710193863751
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Greetings from a newb ... I recently acquired a 1968 Roth 4/4 in good shape but full of rosin. With it came 2 bows, a Lupot (also heavily rosined) and an unidentified one. I'd be very grateful if experienced bow aficionados would please weigh in.
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Exempt Bows of Stringed Instruments from the Ivory Act Registration Requirement In December 2018 the UK parliament passed the Ivory Act. Musicians, music shops and auction houses are going to be severely affected by a new requirement to register bows of stringed instruments under the Ivory Act. The practicalities of doing so, along with the cost will make it very difficult – and in some cases impossible - to buy and sell antique bows. Over the last few months, behind the scenes quite a few people in our field have been lobbying the UK government to try to get exemption for ivory head plates on bows. We even managed to get an amendment in the bill but frustratingly it was not passed. So it is time to bring this very important issue to a wider audience. We will continue to fight the corner as robustly as we can, but in the meantime if you are a British resident, please, please, please sign (and share!) the petition - https://petition.parliament.uk/petitions/237247 Whilst the ethics of this Act cannot be faulted, the practical application can. The only outcome of having to register, and pay a fee for such a small fragment of antique ivory, will be unnecessary damage and devaluation of bows. Please sign. The petition is a really important element of a bigger lobbying plan and your support is invaluable - we will only have one more chance to get this law changed and we are going to need as much support as possible. Thank you very much. Additional Information Thankfully there is some good news in the shape of a musical instrument exemption. Section 8 - Pre-1975 musical instruments An item that has ivory in it is exempt from the prohibition if— (a) the item is a pre-1975 musical instrument (b) the volume of ivory in the instrument is less than 20% of the total volume of the material of which the instrument is made (c) the instrument is registered under section 10. In this section “musical instrument”— (a) does not include anything that, although capable of being played as a musical instrument, was not made primarily for that purpose; (b) includes a bow, plectrum or other thing made for playing a musical instrument.
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Bill Watson will rightly be remembered as the last living link with the bowmaking tradition of the House of Hill. But he began his work with Hills as a case maker and it was in that context that most of our conversations took place. He recalled how the return of staff after WW11 brought with it great technical innovation to the Hanwell workshop. The invention of 'beetle cement' and lamination technology aimed at producing lighter and faster aircraft enabled his friend Ken Turtle to develop stronger and better cases which served as model for later generations of instrument cases. When I approached him about 5 years ago about making something for me (I have an early Watson bow which is my standard 'go to' playing bow) he laughed and said he had just finished making a bow box and wouldn't be able to take on any new commissions for about 5 years! Even in retirement his time and work was eagerly sought. What a fascinating and wonderful person he was. He will be much missed. Glenn
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Here's a link to the Brompton's catalogue for their September sale. Enjoy! https://www.bromptons.co/auction/17th-september-2018/list/page-1.html?
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Hello all, Just wondering if anyone out there is eyeing the current Amati.com auction listings. I am a complete novice but have seen a few nice bows and violins. Any opinions/thoughts on the following lots. I haven’t been able to attend the viewings so going on my gut instincts. Lot. 73 I really like the look of this bow and the low reserve suggests it will hit a bidding frenzy? My hunch is it’s a nice JTL bow. Slight warping can be straightened so not an issue. I think it will reach about 1,200 euros (my guess) Frog looks nice and flush. good condition. Lovely head in my opinion. Wood looks to be good quality from my eyes. Lot. 71 Lovely looking Hill bow. Clean repair to back of head. So for a player it will be a good value. Good Broken bows are still sought after so I think this will get a good price. I have a repaired Lamy pere that I bought on the cheap and works a treat. Lot 65, 66 two nice childrens violins. I think both will have a good tone. Bargain price for my students if I can win either of these. Problem is they sell for much higher in Japan so I will be up against the big guns. Lot 9. Betts violin looks nice although not sure of the starting price. This is just my humble beginners eye opinion. Any experts please feel free to offer pearls of wisdom. Thanks,
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Please come to The Amati Exhibition on Sunday 23rd and Monday 24th being held at the Langham Hotel in London. The Amati Exhibition showcases the very best antique and contemporary instruments and bows. Now in its fourth year the exhibition is an invaluable networking event for the stringed instrument community. The focus for this year is to reintroduce a more relaxed and informal feel so rather than a host a concert we are delighted to be joined by Trio Isimsiz for Sunday’s drinks reception. They are going to play Dvorak’s piano trio in F minor and the last movement of Schumann’s piano trio in G minor. On Monday there is an ‘Open Stage’ session where musicians from YCAT (Young Classical Artists Trust) and the Royal Welsh College of Music and Drama will perform with instruments chosen from the exhibitor’s tables. Our instrument highlight this year is a cello by Giovanni Grancino, Milan, 1696, generously loaned from a private collection courtesy of J & A Beare. The cello has survived in a remarkably pure state with unpolished naturally worn varnish. Entrance on both days is free. For more information please contact Charlott on +44 (0)20 7099 7114 or visit the exhibition page on our website. Exhibitor List Adam Whone Violins Allianz Amati Auctioneers British Violin Making Association Caballero & Graswinckel Chaconne Chris Halstead Colin Adamson Fiddlease Florian Leonhard Fine Violins Gaspar Borchardt Helge Netland Lark Leatherwood Bespoke Rosin Mark Jennings Matthias Kayssler Newark School of Violin Making Noel Burke Paul Shelley Peter Oxer Rod Ward Royal Welsh College of Music and Drama Sunrise Thwaites Turner Violins Ulf Johansson Ulf Kloo William John
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Hello, I have several pieces of Pernambuco available for bows. I obtained these blanks while working for a tone wood dealer over 10 years ago. They were part of a bow maker’s estate and we were asked to help sell the wood he had stored for over 50 years. They have been stored in a climate controlled room for the last 10 years along with the rest of my tone wood that I use for my guitars. I purchased these when I thought I would go to school for bow making but that is not likely to happen and I would like them to be used. I am told because of their size and Lucchi number that they are optimum for Bass bows. Most have a very lovely dark color except 5.51 which is a paler orange. I have included their dimensions in inches below. The individual pieces are listed by their Lucchi number to help you match them with the attached photos. Lucchi Number Length Width Thickness Length CM Width CM Thickness CM 5.51 37 1 9/16 0.45 93.9 3.96 1.14 5.3 36 1 13/16 0.835 91.4 4.60 2.12 5.25 35.5 2 15/16 0.53 90.1 7.46 1.34 5.35 37 1 7/8 0.81 93.9 4.76 2.05 5.29 35 5/8 1 7/8 0.86 90 2/5 4.76 2.18 5.58 37 3/4 1 7/8 0.525 95 4/5 4.76 1.33 5.56 35.5 1 3/4 0.785 90.1 4.44 1.99 5.06 35.5 1 4/5 0.56 90.1 4.57 1.42 I estimate that there is enough material for 16 bows. Looking at current availability and pricing of Pernambuco I am pricing the lot (no individual sales) at $200 per potential bow blank which comes up to $3000 for all 8 pieces OBO. I hope this email is not an intrusion but I am writing several bow makers that I found on a list on a discussion board. If this is an unwanted email please rest assured that I will not send any follow up emails unless directly requested. If you are not interested but know someone who might be please feel free to forward this message. Please feel free to contact me at any time if you have any questions or would like any more information. I will email the pictures upon request. Thank you and I appreciate your time, Andrew McSpadden amcspadden@comcast.net
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A friend got this bow to rehair. I'm curious if the serial number under the frog is an indication this went through the Hill shop? Sorry for the low quality picture. Thanks Stephen
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Today my clients of a chamber orchestra asked me for baroque bows of middle range and reasonable price from an european dealer or maker. Will appreciate if you share your experience testing and dealing with such a bows. Thank you all in advance. Stepan Demirdjian
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I'd love to see some more bowmakers involveld around here. I'll try to provoke some interest.... Please be kind and don't apply Henley vocabulary to me....
