As April arrives my thoughts turn to the late and great Bernard Millant.

All around the world there are players and dealers who remember with their time with Bernard. To me personally he extended a hand of genuine warmth and kindness. He took time to explain detail regarding makers and understood I was a true bow enthusiast driven to understand more about the art of fine bows. When his room fell silent when he inspected a bow i cherished the silence and just his presence.

Once at a gathering of dealers in London I remember him entering the room, everyone turned to greet him. At this point he pointed at me and came across the room to shake me warmly by the hand. It was such a kind gesture! There were another time I went the Paris with a bow I may have bought from Japan. I knew it very fine but was not sure who had made it. I decided to visit a number of dealers for their opinion, this was a very interesting experience. When Bernard saw me with the bow he said ‘but you know what this is!’ I had a fair idea, but like all who sought his advice, the most important view was his. I miss him very much, I hope he is deep in conversation with Eugene Sartory. Thank you Bernard for all your time and kindness.

James Tubbs, a superb maker. 1835 - 1921.

Generally speaking here at P H bows we only stock the higher end French bows for our customers, this has been so for now approaching forty years! However, there is one exception, and that is with the young gentleman below, why so I hear you ask. Well, it is straightforward, several years ago I took in a Tubbs bow in part exchange for a bow, on a whim I decided to use it in a practice session. What occurred truly amazed and shocked me, if I allowed the bow to tell me how to play it played beautifully. It opened up new ways of playing and also suggested specific, unthought of phrasing, truly a new experience. At that moment I was nearly converted to being a Tubbs player! However such is the interest in this maker that I generally don’t have a Tubbs for long, they go out almost as soon as they arrive! I love his spirit and the determination to make on his own terms despite several high up people in the trade suggesting he should emulate the latest trends from Paris.

This bring me to another area he was involved in, making fine bows that do indeed look like bows from an earlier French period in making.

Occasionally when on the continent looking for stock I am offered bow sticks of undoubted quality, also from very fine pernambuco, not Tubb’s normal rather unique type. Mostly the dealer imagines they are by a maker like Maire or Pajeot, but they are not quite the same, these bows are clearly (once you know what to look for) by James Tubbs, an interesting departure for him from his usual bow!

As a life long admirer of French bows there is a small part of me that truly loves this great maker, we should be proud of his achievements and the owner of a fine Tubbs is a lucky person indeed!

Happy New Year!

2024 has started well here at P H bows with several high profile sales going through to delighted players now playing on top of the range bows. It is also a delight to see other bows, sometimes severely damaged once more playing and producing the most beautiful sounds!

Although P H bows is scaling back a little after so many years of hectic restoration for mostly the trade and selling on a world wide basis still there is a slow but continuous line of fine bows either in the workshop in Spain or out being used by players.

This Spring sees top exceptional bows by Joseph Rene Lafleur being offered, rare indeed to the marketplace and highly regarded by soloists.

Also two fabulous bows Hippolyte Camille Lamy are here for those players who love the extraordinary sound that these bows can produce.

Enjoy your playing!

I.t. Consultant finds dominique Peccatte

In 2010, quite out of the blue, an I.T. manager was made redundant, let’s call him Alan! On the train and in shock, he pondered, what should I do now? He had always played the cello and loved working a little on instruments and bows in his spare time, maybe, he mused, I should become an instrument repairer. Friends in his local orchestra were a bit concerned about Alan, they liked him, he had been a member for a number of years. A colleague in the cellos decided to ask Alan if he could help with a computer glitch he had at home, Alan happily went round to help.

The glitch solved they shared a cup of coffee together, Alan told his friend of his plan to restore stringed instruments. As he was leaving his friend reached on top of a kitchen cabinet and said ‘I was about to throw these two bows away but you could practice on them!’ Alan thanked him even though there looked awful, totally caked in rosin, a cello and violin bow.

The next morning Alan sat at his bench, he began to methodically clean off the years of rosin of the violin bow, it took hours, but it was cathartic, he was content. After a few days it was totally clean and Alan began to think about putting hair in the bow, at that point he realised there was a stamp suggesting who had made the bow, he was no expert in bow makers but was glad to see he would have a name to look up. He could read P E C C AT T E hhhmmm, interesting name!

So this bow then travelled to a well known dealer in the uk, he sent it to Pierre Guillaume in Belgium, who was happy to report the stick, albeit damaged, was indeed by a certain Dominique Peccatte circa 1860. Then the bow made its way to Peter Hembrough bows. At this moment it is receiving restoration and having custom made replica fittings made to bring it back to near its former glory.

It will have binding near the head, about 16mms. But then it will also be very good value since an average price for one from this era undamaged is about £80/£100k!

It shall be one the website in about two months. I would like to thank Alan, and his friend Martin for all their kindness. Martin I have known for some years, I owe him a drink when we next meet in France searching for bows! For some bow dealers they are chasing riches, here at PHB we are genuine enthusiasts, THE most important thing here is that we are bringing back to use a top class Dominique Peccatte that was so nearly lost to the playing community.

See below the correct stamp and font for Dominique Peccatte, also the area near the head where the stick shall need binding. Disregard the fittings you can see, they are to be replaced by superb ones. The eventual binding shall be much less and thinner than you see in the photo below, but note the fabulous proud head, drop dead chamfers as well, although you cannot see them on here. Lucky, the eventual owner of this bow! Best wishes, Peter

Ex Marie Hall James Tubbs pays a quick visit!

I have always had an affection for James Tubb’s late bows, their mastery, given that he only put into a bow what was totally necessary for a fine playing stick. Below is indeed a tremendously exciting bow that recently visited our workshop before heading off to the Nederland to its new owner, Lykle. A gift from the greatest of players Marie Hall to the violinist Achille Rivarde, goodness, what a wonderful gift to receive. A masculine soloists bow if ever I saw one, this bow is at the same time lively on the string and can create the most glorious rich sound! What a bow, what a maker!

A great month on stage and in the pit!

This was a confusing week regarding violins! Despite playing on several fine Stradivari violins over the years my feet are firmly in the Guarneri camp, for me, an ideal sound world. In the last few weeks I have played on one of the top ten late Guarneri violins, a Pressenda model semi-modern Italian violin and an inexpensive but fine Guarneri copy by one of the leading violin shops in U.S.A.

The finest Guarneri was played in my favourite hall in the UK, Syphony Hall, Birmingham, so with that sound world still in my ears I then played a Guarneri copy made in 2021, imagine my shock when I realised they shared many of the same qualities, one being about eight million euros more to buy than the other! I then spent the week on stage and on the pit playing either Wagner, John Williams or a contemporary musical on either a semi- modern Italian or the new Guarneri antiqued copy. Add to that using the new instrument in ensembles as a soloist in the four seasons and teaching. Here is the most important news NOBODY NOTICED!

This is very important news for violinists, they don’t need to spend a fortune on a violin, technology has moved so far through careful study that these very fine new copies are every bit as enjoyable to play on. I say this as someone who has spent thirty years as a professional player carefully saving up and trading up in instruments!

To me the biggest shock was just how similar the copy Guarneri was to the original, in a blind test I would have struggled to tell the difference!

I am still shocked by all these situations and I am trying to process exactly what it means, I am aware some will think I have lost my marbles!

Here is a photo of the copy Guarneri, I feel very proud to own it! And yet, a few years ago I owner an original! The price difference certainly does not reflect the sound quality difference, that was much much closer!

Note below the charming copy of the ‘il cannone’ violin scroll, this is from another copy violin in stock, this is a copy of the J.B. Vuillaume Guarneri copy of Paganini’s Guarneri violin.

Below is a beautiful copy of the Ole Bull 1744 Guarneri, Stradivari, and Balastieri copies are available to buy at £3,200. Stock is very limited for these superb violins.

Sleeping beauty early sartory

In the late 1890’s a professional violinist was pondering his next bow purchase in the French city of Marseilles. He played on a fine Nicolo Amati and his bows were a Pierre Simon, Thomassin and a Prosper Colas. He was hearing from Paris of a great young maker causing a real stir at the Paris Conservatoire, pupils and professors alike were falling over themselves to order bows. He took the plunge and ordered a bow, it duly arrived and he was delighted, it was beautiful. As one of four bows he used it only for his best concert work however no sooner had it arrived than disaster struck, in a freak accident the bow was broken in the centre, he was in despair. He never spoke to his family about what happened, he told them never to touch the bow and that one day he would have it repaired, although broken, he loved the bow.

In time the violinist passed away and the violin in its case with four bows inside was passed down through the family, the violinists had left instructions it was to stay in the family and that the broken bow must never be touched as one day it would be repaired. Just over one hundred years later the family approached a top Parisienne dealer for his advice. As soon as he saw the Sartory he said, ‘I know exactly where this bow should go as I know a dealer who specialises in broken and damaged Sartory bows’. Consequently this bow is as I write being sent to our Spanish workshop to be restored. Made around 1895-1900 it is very unusual in that apart from the break the rest of the bow is as if brand new from Eugene Sartory, even the pearl has no wear at all, his original! Lucky is the next owner of this wonderful bow. The first owner was right, eventually his beloved Sartory would be restored! Imagine playing on such a bow, left dormant for a century, sometimes being a dealer can be a really rewarding occupation!

Eugene Sartory, the master!

I suppose many violinists remember the first time they played on or bought a bow by a great maker, these experiences are etched into my memory. Over the decades as violinists we fall into and out of love with both bows and violins, even specific repertoire follows similar routes.

The first two great bows I owned very heavily damaged, but heavenly, for different reasons. They were a Voirin and a Sartory! Here is a small story about them.

The Voirin was late and octagonal, pinned at the head and heavily worn, I bought it for £500 from my then teacher. With Voirin you get fabulous articulation and a brighter sound. I loved this bow! My teacher at the time was at the front of an opera orchestra in London, at the end of the season the company sent down balloons as a festive gesture, my teacher with his Voirin prodded at a balloon, it burst and the force was enough to break the head on his Voirin, hence I could afford it. For a good five years I was content, although owning the Retford bows and bow makers meant that I already had the bug for bows.

Then one day I was in Ealing strings when it was in its hayday chatting to the owner Malcolm Sadler, a kind and intelligent man.

After a while he said ‘ you like bows don’t you’ I said yes, he said would you like to see the Queen Elizabeth of the Belgians Sartory? I said yes, not really knowing what he meant. He came back with two sensational Sartory bows, one Ivory and silver, the other Gold and Tortoiseshell, I was overwhelmed with the beauty of these magnificent bows. After a while he sensed that I was a bit troubled, he said what’s wrong? I explained that I would never own a Sartory and that Retford in his book was a big fan of them. This comment he really liked, you see he knew and was a friend of Retford when he was alive. He seemed touched that a way younger player would have knowledge of Retford.

Malcolm said, ‘just wait there, I shall see what we have’ I sat in a chair wondering what he was doing. After ten minutes he returned with a bow saying, ‘well, it’s very damaged but you can buy it for what we paid since I know you love bows!’ It was a Sartory stick with a big repair in the centre of the stick with new ‘cheeks’ of pernambuco added where a break had been. Also the frog and button were replicas. The price (I have never forgotten his kindness at this) was £902!

Well, I LOVED THAT BOW! it was fantastic, it was just BEAUTIFUL aesthetically, but it had that magical thick deep broad sound that Sartory has. Even though it was thirty years ago I remember it all as if it was yesterday. It was a lucky day I simply explained to Malcolm my love for bows.

Of course eventually a player in a rehearsal offered me a sum of money for that bow, stupidly I accepted her price, I wish I had the bow!

It took me a long time to find another Sartory that was as good, although his build quality is for the most part very good, there are good Sartory bows, and then there are the exceptional ones, those are the ones to keep hold of. Thank you Malcolm for your kindness that day to a young student violinist.

Jacob Eury on the west end!

Appearing on the west end, for one week only, a violin bow by Jacob Eury circa 1830! So how was a recent arrival from Copenhagen going to fair, playing a week of contemporary music sitting as co-leader? Three days of six hour rehearsals then eight shows in four days! Plenty of time to get to know the bow and put it through its paces. The music was technically challenging so it was a great test of a bow approaching two hundred years of age.

So what did I learn? Firstly, it seems impossible to make an unpleasant sound! The sound is silky, smoothe, lithe and elegant, there were very little difficulties in control. The stick vibrated through the fingers, I always love this zingy feel, it shows a stick with ideal equilibrium.

Under intense duress I thought the stick might be a bit soft, this turned out to be a silly school boy error, I soon learnt to allow the stick to show me how I should be using it at these times. The bows flew through all my tests and is a delight.

A great deal rarer than both F. X. Tourte and Dominique Peccatte it is a delight to have this bow in the collection for a discerning violinist.

Bernard Millant 1929 - 2017

Here we are, sharing a happy time between looking at bows!

Today we remember our colleague and good friend Bernard Millant, countless dealers and players must remember times sitting with Bernard as he concentrated on their bows in the quiet tranquility of the LeCanu shop, magical times indeed! RIP Mr. Millant, thank you for all your kindness over the years of our friendship.

Norman Rosenberg, a charming man, sadly missed.

As a young player and dealer the 80’s and 90’s London auction rooms were always a bit intimidating, despite the kindness of one or two auction houses. You had the usual suspects! Always someone playing ludicrously tough pieces very well, also the other end of the spectrum somebody playing so badly it was excruciating! Viewing days were a trial, SO noisy, people crashing around on violins! It soon became clear that a stormtrooper tactic was necessary, go in fast, check just the one or two items you were interested in, then leave!

In the middle of all this carnage I would stand away from the chaos in a quiet area, it was usually in this situation that Norman would appear, come across and have a chat. He was shockingly knowledgeable, happy to share views and had a tremendous memory for bygone players. He would chat about seeing Christian Ferris in the 1950’s in Liverpool, talk about his playing, his bows. For a young player it was just what the doctor ordered. I liked him a great deal, this feeling seemed mutual as we would always find time for such conversations.

His knowledge of instruments was tremendous, I remember once at the Wigmore Hall showing Norman a fabulous red Landolfi, the moment he saw the violin he pointed at the scroll and said ‘well, that’s wrong!’ This was within three seconds! So good was his eye.

Near the end of his life he phoned and suggested I come over to look through his bows, to my shame I told Norman I was too busy and would see him at the next viewing. Not a particularly kind thing to do to such a good colleague, who always found time for me, I hope he forgave me!

Rather like the late, great, Bernard Millant sitting up there chatting with all the great bow makers I imagine Norman deep in conversation with the Italian violin maker Storioni. Telling about a young violinist with blonde hair from Manchester instantly falling in love with one of his violins in a visit to his home in the 1990’s! Goodbye Norman, thank you for your guidance and friendship.

Several classic bows arrive to dazzle the player in Autumn

Here at Peter Hembrough bows we have quietly working over the last eighteen months to find the rarest and most exciting classic bows for our loyal customers. Many of you have been emailing and asking what is new, only to be batted off with a slight email saying all shall be revealed. So now, with great pride, we can announce the arrival of bows by the following makers.

Lafleur, Henry, Adam, Lamy pere, Lupot and the truly mythical Jean Pierre Marie Persoit.

What a list! All made within thirty-five years of each other they vividly show the depth of quality and magnificence of this epoch. From a playing point of view they are sublime, inspirational. They are also very interesting from a historical point of view. These are bows around whilst Beethoven was still writing symphonies. Paganini was in correspondence with Lupot about his bows, a rich time in European cultural history. You can play on and own a little piece of that history.

These days it is customary for dealers to have stacks of bows to try, but try to think of a pyramid, lots of stones at the bottom, only a few at the top! These bows represent some of the very pinnacle of human achievement in this arena, you only need one world class bow! I look forward to hearing from you and send my best wishes to previous buyers from all over the world, happy playing and concertising! Peter

Violin Bow by Emile Auguste Ouchard circa. 1930

Emile Auguste Ouchard is one of the most important makers of the twentieth century, a precocious talent he was a tremendously gifted maker.

He soon garnered a notebook for of orders from the most important players of the day. He was keen to use the best possible pernambuco and took his ingenious model to its furthest point to produce exceptional bows.

At his best he is nearly unbeatable, when confronted by one of his best bows the feeling is nearly unanimously ‘I love this bow!’.

He was always in demand and spent several years in the U.S.A. working for William Lewis and Son, Chicago (Established 1874 has since become a division of Conn-Selmer, Inc., a wholly owned subsidiary of Steinway Musical Instruments.). However, every September he would travel to Paris to sell some of his bows to colleagues in the making profession for them to sell on under their banner.

Left is a photo of Emile Auguste as a young drummer, perhaps at this age he would glance over at his father, by this time occasionally wearing three pairs of spectacles at once (!) and think to himself ‘I think I can make a bit better than my father!

This bow was bought in such a way by the Laberte firm, founded in 1780 it was well known in Paris to all in the dealing world and run by Marc Laberte at this time.

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