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Finding Good Values in Bows It all started with Tourte. François Tourte of Paris (1750–1835) is considered the patriarch of the fine French school of bow making that is still so admired today. "He was trained as a watchmaker," says Jay Ifshin, a violin maker, dealer, and owner of Ifshin Violins in Berkeley, California, "and he had the technique for fine work. But his [violin] bows are outrageous—you’ll spend anywhere from $40,000 to $120,000 for a Tourte." Dominique Peccatte (1810–74) is the other name everyone knows, but prices for a good example are also sky-high. "Peccatte [violin bows] are running at about $60,000 at retail," notes bow maker and dealer Yung Chin of New York City. What if you’re looking for a good bow but can’t pay those prices? First, according to luthier, dealer, and Strings corresponding editor James N. McKean, you should look at other makers from the great J.B. Vuillaume shop in Paris in the 1800s. "While expensive," McKean notes, "they’re relative bargains, and they’re skyrocketing in value." Vuillaume started his business in the 1820s, and it ran well into the 1870s. Most of the best makers of the period worked for him—not only Peccatte but also P. Simon, Claude Joseph Fonclause, Nicolas Eury, and many others. Their violin bows often command prices in the $25,000–$30,000 range, according to Chin. F.N. Voirin was another maker whose bows are widely admired (and can cost $14,000–$22,000), though they tend to be light by today’s standards. To drop down in price, look at the Morizot or Bazin families of Mirecourt. Their violin bows now sell for roughly $4,000–$5,500. Both families were in mass production, so their bows cover a wide spectrum in quality, according to Kerry Keane, head of the musical instrument department at Christie’s. "But if you search out the better pieces, you’re going to get a wonderful piece of workmanship and a great playing bow." Charles Nicolas is often considered one of the best of the Bazins. Eugene Sartory (1871–1946), who settled in Paris, is the big name of the early 20th century; his bows cost about $15,000 at retail, according to Ifshin. But many dealers like the work of E.A. Ouchard, at $7,000–$10,000, just as well. Bows by the Thomassins, especially Claude, can run $5,000–$8,000. Lamys are also highly regarded—"some Lamys are better than Sartorys," says Ifshin—and they fall into the $8,000–$12,000 range. There were also several Fétiques, Victor being the best known and Jules the best regarded by many of today’s dealers. Their bows cost anywhere from $7,000 to $11,000. J.A. Vigneron’s bows are also very fine; a good cello bow can sell for $15,000. Keane says deals are to be had among the older shop bows, those that bear brands of the big Parisian companies Gand & Bernardel or Caressa & Français. These companies bought their wares from such makers as Vigneron, Justin Poirson, André Richaume, Louis and Claude Thomassin, and Auguste Barbé. "They may be stamped, say, Gand & Bernardel," says Keane, "but by and large they’re [examples of] great French making." And they’re much more affordable, often less than $5,000 at auction. (Most of the makers discussed here are represented in the 2000 edition of Strings’ Musical Instrument Auction Price Guide.) Although McKean regards many of these lesser-priced French bows very highly, he nonetheless includes a "big, fat caveat" in his advice to buyers: beware of fakes. "Any time demand is this strong, and goods are this scarce, prices skyrocket and dead makers rise and return to the bench," he observes. "You must buy well-certified bows from reputable dealers. That’s always true, of course, but particularly with French bows." Which leads to the next key question for the buyer: does your bow have to be French? No, according to every maker and dealer we asked. "Many German bows are undervalued," emphasizes Ifshin. "Albert Nürnberger [Franz Albert II] was as good a maker, technically, as any French maker, but because there was a huge industry in Germany making thousands of cheaper bows, it kept his prices down. I have a Nürnberger violin bow for $2,500; if it were a French bow with that same workmanship, it would be worth $10,000." Other good German makers include H.R. Pfretzschner and several of the Knopfs. Nicolaus Kittel of Russia is another favorite of Ifshin’s. The other place to look, according to every source, is right under our noses—at contemporary bows. "I sing their praises constantly," says Keane. "There’s a wonderful community of bow makers working now, not only French but American—brilliant makers, and some of the best of them on the West Coast. Look at a contemporary bow and match it up to its French comparable." "If someone is looking for a really great bow and they have only $5,000–$6,000 to spend, they are way better off buying an American contemporary or an old German," agrees bow maker and former dealer Paul Siefried of Port Townsend, Washington. "The work is great, the materials are great. If they take that same money and try to buy something [antique and] French, they’re definitely getting a lower-quality bow. I’m not just saying that because I’m a bow maker. My colleagues and I are now seeing more players who are starting to think that the best thing they can do is buy modern bows." There are many factors to consider when bow shopping, including the option of buying at auction versus retail. As is usually the case, dealers advise against auctions, while auctioneers tout the values that can be had when buying off the block. "Condition, condition, condition" is Keane’s mantra. He acknowledges that bows have a high attrition rate and that very advanced repair techniques are often successful, but, he says, "I always tell people to be very conservative when buying a bow that has serious repair damage on the stick itself." It’s also important to note that viola and cello players are looking at a tighter market, and hence higher prices, than violin players. "Especially in older viola bows," says Chin. "There’s nothing out there. You see a lot of contemporary viola bows being used, because there are no others." Above all, according to all the experts, buy the bow that feels right. "Don’t have any preconceived notions," advises Ifshin. "Just try as many bows as you can. Concentrate on the way each plays, the balance, tone, feel, weight." Finally, don’t worry too much about the bow’s investment value. "I don’t think one should ever buy with that as the primary focus," Keane stresses. "Players should always buy what they like, what excites them, what they enjoy playing with. Then they’ll never go wrong." —Mary VanClay
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