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Cultures that used composite bows (bows made of several materials, classically horn, wood, and sinew) had to rely on skilled craftsmen. Composite bows could be made relatively short, heavily recurved, and highly effective but the constituent materials had to be put under enormous stress and the bow's limbs needed to be perfectly aligned.
Served his apprenticeship in Mirecourt (his hometown). His early style of bow making was very much influenced by the Adam school. He produced excellent bows. He also made many instruments including an occasional guitar. According to Mr. Bernard Millant and Mr. Raffin, Joseph Gaude may have worked for the Etienne Pajeot firm around 1835. At this ...
His bows are patterned after those of François Nicolas Voirin, though less distinct. Victor Fétique and his workshop made bows for numerous other music houses, including: Collin-Mezin, Granier à Marseille, Caressa & Francais, Chanot & Chardon, J.B.L. Corolla (stamped Nadegini), Paul Jombar, Maucotel & Dechamp, Lucien Schmitt, and Alfred ...
Jean Pierre Marie Persoit [Persois] - (1782/83? in Mirecourt – after 1854) was a great [1] and intriguing French bowmaker or Archetier. [2]One of the first bowmakers to be hired by the young Jean Baptiste Vuillaume.
A bow maker/archetier is a person who builds, repairs or restores ancient or modern bows for bowed string instruments Pages in category "Bow makers" The following 74 pages are in this category, out of 74 total.
He was a great craftsman and was responsible for producing a great many bows that are still in demand. In his Mirecourt workshop, he employed some of the most famous bow makers. In the first six years of the 1900s there were between 12 and 17 makers producing some 2 000 - 3 000 quality bows a year.
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