The transitional period of bow making
The Cramer bow, the most renowned Transitional model, originated in Germany and was first used by the Mannheim Orchestra. Violinist Wilhelm Cramer is believed to have introduced it to Paris around 1770, helping to popularize its design. Compared to Baroque bows, the Cramer model featured a stronger, heavier, and taller head, enhancing its playing capabilities.
Classical “Cramer” bow, Germany c.1770. The stick is ironwood, the frog and button mastodon. It weighs 53-54 grams. A great bow for Mozart and Haydn.
Classical bow as above, in pernambuco. This version weighs 49-52 grams.
Early Tourte type bow in pernambuco, 52-53 grams.
Classical French bow, “Cramer” type. The original is by an unknown maker, I would date it after 1770. The original stick and the copy are bloodwood with mastodon frog and button: 50-52 grams.
Viennese style
Viennese style bows remained in use throughout the early 19th century, particularly among musicians resistant to the French revolutionary standards and the aesthetics of the Viotti school. While Woldemar observed that the Cramer bow quickly fell out of fashion—likely true for Paris—this does not appear to have been the case for early 19th-century German examples.
Early Romantic bow, probably Vienna 1800-20 with a snakewood stick. It is longer and a little heavier (54-56 gram than the previous bows. The frog and button are mastodon, the stick is snakewood. A very special bow for playing Mendelssohn and Beethoven.