INSIDE INFORMATION

The purpose of a chamfer in bow making is to protect sharp edges from chipping off. Then, as now, these chamfers would be executed in the final stages of carving. These small details of a bow head have been largely neglected - unlike, say, the graduation or the camber, they have no bearing on the bow’s playability, and string players are perhaps unaware of their function. Nevertheless, the chamfers have a crucial role in identifying the bow maker and expressing their style, as well as showing the dexterity of their hands.

There are three basic tools used to finish the chamfers: knife, file, and sandpaper. Each method leaves its own marks on the bow. By way of introduction, here are the characteristics one can look out for when assessing a bow chamfer:

• Chamfers finished with a knifewill not show file marks, giving a clean and brisk impression, as in this 2019 cello bow by the British bow maker Dominic Wilson

PENZEL PHOTO DAI-TING CHUNG, ENGLISH BAROQUE BOW PHOTOS COURTESY ROYAL MUSEUMS OF ART AND HISTORY, BRUSSELS.ALL OTHER PHOTOS ANTON LU

• In chamfers finished with a file, we could notice filemarks in various directions on different bows. From the oblique direction of the marks on this self-rehairing Dominique Peccatte bow from c.1835-36, we can also presume that he is right-handed.

• On chamfers finished with sandpaper, there may be very fine scratches. On this violin bow, by the 20th-century German maker Kurt Gerhard Penzel, they are most evident on the upper part.

BAROQUE BOWS

In the Baroque period, both stringed instruments and their bows were made on diverse models. Accordingly, the bow chamfers also display a wide spectrum of variations. Some bows were made with vaguely executed, filed chamfers (figures 1aand 1b) and sometimes with fully rounded ones (figures 2aand 2b).

FIGURE 1The shallow chamfers of an English Baroque bow made near the end of the 18th century. Coarse marks can be noted on the posterior surface of the head

FIGURE 2Fully rounded chamfers resulting in oval-shaped headplate in the posterior part, as seen in this Cramer bow made by F.X. Tourte in c.1780-85

In a few Baroque bows, the chamfers are so profoundly cut and rounded that the back of the bow head becomes oval (figure 2) or V-shaped (figure 4), which would decrease the ‘attack’ while playing in the upper half of the bow. As the down-bow playing of these open-frog bows is already softer, this feature of Baroque bows might facilitate the so-called Messa di vocestyle, the particular crescendo-diminuendo articulation of a long note. Messa di voceis considered as an ornament in Baroque violin playing and was designed to imitate the characteristics of natural human singing, which were emphasised by composers such as Monteverdi, Geminiani and Tartini among many others.

In 18th-century Paris, Nicolas Pierre Tourte frequently made chamfers with a uniquely angled chisel in his fluted bows. The flutings of the stick are considered to reduce its weight while maintaining its strength. Pierre Tourte very often extended the chamfers to make them confluent with the flutings (figure 3).

FIGURE 3A c.1750 Nicolas Pierre Tourte fluted cello bow, where the chamfer flutings extend on to the stick

Some Pierre Tourte violin bows have very wide chamfers (figures 4aand 4b). The chamfers often become so wide that they meet in the middle of the back of the head. These are referred as ‘V-pattern’ chamfers.

FIGURE 4Wide chamfers in a c.1750 Nicolas Pierre Tourte violin bow

CLASSICAL BOWS

Approaching the end of the 18th century, some Mirecourt bow makers adopted a unique form of chamfer that started right above the level of the headplate. Thus, when viewed from below, no chamfer could be seen at all. This unusual style can be observed, for example, in bows by Nicolas Duchaine I (figure 5) and Jean Lagrosse (figure 6).

FIGURE 5A c.1775-85 violin bow by Nicolas Duchaine I

FIGURE 6In this c.1790-1800 violin bow made by Jean Lagrosse, the chamfer starts above the headplate level

THE 19TH CENTURY

Chamfers carved by François Xavier Tourte (figure 7) give evidence of his extraordinary craftsmanship. The width of each chamfer remains almost equal throughout the vertical part. They are finished with very fine files, are well-proportioned and aesthetically are amazing works of art.

FIGURE 7Chamfer of a c.1805 violin bow by F.X. Tourte

The majority of Jacob Eury’s bows have chamfers wider in the lower part than the upper (figure 8). However, in some of his ‘violin-head model’ cello bows, the ‘V-pattern’ chamfer is adopted, showing the influence of the Tourte family. (figure 9).

FIGURE 8A Jacob Eury violin bow of c.1810-15

FIGURE 9The V-pattern chamfers of a c.1815-20 Eury cello bow

The style of Etienne Pajeot’s chamfers changed during the different periods of his lifetime. In his early years, the turning of the chamfer is rather angular (figure 10). A later trend had the chamfer start from the headplate very narrowly, and become gradually larger as it goes upwards. This sort of chamfer, reminiscent of Jean Lagrosse, can be observed in some other makers towards the middle of the 19 th century, such as Jean ‘Grand’ Adam (figure 11) and Nicolas Maline (figure 12).

FIGURE 10Note the angular turn of the upper chamfer in this c.1815-20 Pajeot bow

FIGURE 11The chamfer of this c.1850-55 Grand Adam violin bow starts narrowly from the headplate and gets larger as it goes upwards

FIGURE 12Chamfer of a Nicolas Maline violin bow c.1845-50

In the case of Dominique Peccatte, very often the chamfers retain their file marks. These not only reveal his swift working style but also add a bold feature to the masculine character of the bow head. The marks can be coarse, as in the example on page 50, or fine, as in figure 13:

FIGURE 13Fine file marks are noted in this c.1855 Dominique Peccatte viola bow

SWAN-NECK BOWS

Swan-neck bows, such as this Peccatte example (figure 14), were comparatively popular for a period in the 19th century but fell out of fashion in the 20th century. Their chamfers are totally rounded out, and no facet exists.

FIGURE 14 A c.1850 Dominique Peccatte swan-neck cello bow

Approaching the end of the 19th century, an intriguing trend appeared in the bow chamfers - the width of the chamfer enlarged significantly in the upper part where it connects to the neck. This characteristic has been observed in the works of Joseph Arthur Vigneron (figure 15) and in some early works of Eugene Sartory (figure 16a).

FIGURE 15In this c.1890 violin bow by Joseph Arthur Vigneron, the width of the chamfer is obviously wider in the upper part close to the neck

In the case of Sartory, it is often noted that the audience-side chamfer is slightly wider than on the player side (figures 16aand 16b).

FIGURE 16In this early Sartory violin bow, made c.1890-92, the upper part is remarkably enlarged (16a). The audience-side chamfer is slightly wider (16b).

In some examples of Eugene Sartory, vertical strokes from fine files can also be identified (figure 17).

FIGURE 17File marks almost vertically executed can be detected on the chamfer of this 1937 Sartory violin bow

PECCATTE’S FILE MARKS REVEAL HIS SWIFT WORKING STYLE AND ADD A BOLD FEATURE TO THE BOW HEAD

THE 20TH CENTURY

With the advent of the 20th century, some French makers adopted narrower chamfers than before, as observed in the works of Jules Fetique, Louis Morizot pere (figure 18) and Louis Gillet (figure 19), just to name a few.

FIGURE 18Narrow chamfer of a Morizot pere violin bow of c.1945

FIGURE 19Another narrow chamfer, this time on a Louis Gillet cello bow made c.1955-60

Generally speaking, some French bow makers would tend to emphasise the elegance and dynamics of the curve, in contrast to their English counterparts, who preferred their chamfers to be neat and parallel (figures 20aand 20b).

FIGURE 20Parallel and even chamfers of a Samuel Allen violin bow mad e for the Hill workshop, London, c.1885

In the opinion of Belgian bow maker Pierre Guillaume, ‘A beautiful chamfer that is perfectly fiat and aesthetically proportional to the head requires great attention and skill. It is thus an essential element in judging the talent of a bow maker.’ For the French maker Jacques Poullot, ‘The chamfer brings dynamics to the bow head. It is the last operation in the finishing of a bow, which allows the maker to leave his final personal touch on his creation. It reveals both his gestures and his character.’ This is a corner of a secret garden where the maker can give his own personal, artistic expression to the final work of art.

Special acknowledgements to Anne-Emmanuelle Ceulemans, Jerome Akoka and Constance Frei for their contributions to the Baroque bow section, and to Pierre Guillaumefor access to his prestigious collection