20 years in London……..
Arriving in London in 1992 to start post graduate viola studies at the Royal Academy of Music…I guess it was quite obvious my bigger skills would be elsewhere as in the first week of my RAM studies I had sold Violin Professor Eric Grunberg a very fine F.N.Voirin. Playing was my obsession, indeed my dream was always to play in a London Orchestra (having grown up in a small Australian country town!) but buying and selling instruments was already in my life.
After graduating in 1993 I was fortunate to immediately start working with all of London’s best Orchestras. This I did for 8 years…but always selling instruments and bows to my friends and colleagues. In about 1998 I realised my dream was a shop! , not an Orchestra. So I spent more time trying to learn and deal!
In 2002/3 I closed the viola case and went full time. I was never sure how I could leap from dealing at home to an actual premises but in 2004 I was offered a nice small studio in Mayfair, South Molton street on the 3rd floor. It was affordable. Just. We set up, polished the floors, painted the walls and bought a desk! I found a great old bookcase I converted into an instrument hanger…I still use it today!
We stayed at 42 South Molton st only for a year as the roof started leaking and It was time to move really. …….just across from number 42 was number 18!
A bigger shop, office for me, showroom and a small workshop. Business continued on an upward projection, and I was able to get my first P.A, Lisa Rattray, wife of the RAM’s instrument custodian, David! And then Alexandre Valois started working 3 days a week or so as my in house restorer. I had also Michael Shakespeare as my main restorer since the 1990’s…he probably worked 2 days a week for me for 20 years… he was one of the quickest and most able restorers I have ever met, and it was always nice to visit him in his Blackheath workshop or later on when he would visit us with a collection of restored instruments.
In 2010 my 5 year shop lease was up and the shop owner wanted it back so I was on the hunt again. I first saw 2 Hinde street on a brochure, dismissed it as far to expensive for me and was busy looking elsewhere. I found a new place near Oxford circus…but the “legals” seemed to be dragging on so thought I had better have a B plan.
Back to 2 Hinde Street….it was Love at first sight! So I did it. What was an old Spanish travel agent became my home for the next 11 years. I spent a small fortune kitting it out and off we went. I held “Cremona Violin Making “ Exhibitions every second year, we did 1 or 2 masterclasses a year in shop with great visiting artists… And I sold many instruments including Stradivari, Montagnana, Guadagnini, Gagliano, Vuillaumes etc etc
It was a great place to be.
In 2020, the pandemic hit, and while I rode the storm ok, I was wondering did I want a different place. So in June 2020 I found 92/93 Great Russell st and we fitted it out and moved January 2021. I love GRS and expect this to be my last shop. It feels like home.
Some numbers…..
2004-2024…….
Started with 4 instruments and 10 bows…the rest consignment.
Now…I own 140 instruments and 250 bows…..no real need for consignments.
Around 2000 sales.
I am lucky to do a Job that I love.
Thank you for the 20 years….let’s get another 20!
Instrument & Bow of the Month – February 2024
Piero Parravicini was born in Bovisio, just outside Milan, in 1889. He then moved to Milan to study with Romeo Antoniazzi and later worked in the Monzino workshop for one year in 1924 before setting up on his own. He had a successful career in his own right and was awarded medals in Rome in 1925 and 1929, Cremona in 1949 and Rome again in 1954.
Parravicini is in some ways typical of the Modern Italian school in that his instruments are unantiqued. His work demonstrates the influence of the Antoniazzi family, particularly in his use of Classical Italian models with a rich orange varnish.
Parravicini died in 1957, having made around 600 violins as well as 10 violas, 12 cellos and 3 double basses. A prolific and very fine maker whose instruments deserve greater attention! I have always been interested in this maker as his work shows a high level of skill and real refinement. We are lucky to have 2 violas and especially the 2 violas here in the shop.
As for the bows…well, Emile August Ouchard can be regarded as one of the finest makers of the 20th century. He is a maker I love, probably more than Sartory, as you feel it’s one maker doing his thing! Sartory had too many workers, and although the end result is special…I prefer the one man and his tools approach!
This EAO viola bow is special. FX Tourte copy. I remember when it was for sale in the 1990’s whilst I was still a musician. It’s price was around £7000……Sartory viola bow were £8000. And sadly out of my reach, But I already owned a fine Lamy so probably didn’t need it! A colleague bought it and now I am selling it.
The EF Ouchard is actually as good as an early EAO…if you get my drift. Elegant and still strong. It’s tough when the kids start getting better than the parents…but isn’t that what we want from our kids anyway?
Come and try these fine violas and bows………..
Instrument & Bow of the Month – August 2023
William Prior ( Born 1690 Gateshead, died 1759 Newcastle, County Durham UK) is an extremely interesting and rare UK maker.
I have seen a few violins by him but this is the first viola. Who did he learn off? no idea? how many instruments? no idea.
You see what I’m up against!
Certainly he must have known the other great British maker of the time, Daniel Parker as this viola show too much skill to be a self taught or at least someone whom has a deep understanding of making (that Parker had).
The main thing to get excited about with this viola is it’s size. No baby 15″ back like you see in so many early English instruments. This is a full, grown up instrument.
The last great English viola by Parker sold at auction for £220 000.
I think I’m being reasonable at half this price £110 000.
The viola will come with a letter from John Dilworth.
LOB 41.7cm
James Tubbs (1835-1921)was one of the finest and most prolific bow makers in the history of British violin making. His work rivals that of the finest French makers, and he is said to have made thousands of bows in his lifetime. Initially Tubbs trained with his father William before starting his own business in the 1850s. He collaborated with William Ebsworth Hill starting around 1858, but never appears to have been officially employed by Hill or the Hill firm. In fact, after their relationship deteriorated steadily and eventually foundered in 1870, whenever Tubbs came across an example of his own work bearing a Hill brand, he stamped his own name on top of it, either ” J. Tubbs” or “Jas Tubbs.”
Tubbs’ work is widely sought-after and has been copied and forged by makers ranging from French and German trade workers and Bazin families. The sticks of his bows are usually round and the metal parts are of generous thickness.
This bow is a very fine example of his “own style” work. Perfectly balanced, strong and excellent condition, for less than half the price of a Sartory you will find a bow that produces more colours and a better tone on your viola.
We have 3 Tubbs viola bows in stock
Instrument & Bow of the Month – July 2023
Giuseppe Sgarbi (1818-1905) A talented luthier who spent much of his life in the city of Modena, Italy, Giuseppe Sgarbi was perhaps one of the last true 19th century makers before “Modern” Italian violin making. Sgarbi’s work is renowned for being high in skill with fine workmanship – something he later taught his son, Antonio.
A unique yet traditional style
Much of Sgarbi’s work was classical in design and inspired by the Cremonese tradition, but he was not afraid to add his own personal flair. Many of his instruments would feature unique characteristics such as decorative designs, which added a vibrancy to his work. A highly accomplished Italian maker, Sgarbi’s violins, violas and cellos are highly sought after by musicians, collectors and investors today.
This viola is typical example of his refined work. Although just over 16”(40.8cm) back, this viola still has the punch of it’s C string tone.
I have actually been playing it for the last year myself! (Leading the viola section of the Windsor & Maidenhead Symphony Orchestra)
The last Sgarbi viola I had was sold to the Hungarian State Opera House Orchestra!
The viola comes with a recent certificate of Eric Blot.
Louis Gillet viola bow, made Paris C1945/50
Gillet served his apprenticeship , as typical with most French makers of the time, in the city of Mirecourt. He eventually set up his own workshop in 1924. From 1934 he started working for and with Eugene Sartory until the masters death in 1946. Of course his work from this period and beyond is heavily influenced by Sartory and this bow is an example of this!
Stamped Sartory a Paris…twice (under the lapping as Sartory did) this bow was probably sold as an original. Yes, it’s that good! 72 grams strong, and still half the price of his master!
Instrument & Bow of the Month – June 2023
This month, immerse yourself in the world of masterful instrument craftsmanship with two exceptional pieces. First, an Italian violin by Andrea Guarneri, crafted in 1694, boasting a seamless collaboration as English maker John Betts replaced its damaged table around 1790. This remarkable composite instrument showcases their combined artistry and comes in impeccable condition, cherished by a renowned UK concertmaster. Certificates from Charles Beare and W.E.Hill & Sons affirm its authenticity. Accompanying this treasure is a rare bow by Émile Auguste Ouchard, born in 1900. Crafted between 1930 and 1935, this rose gold masterpiece epitomizes Ouchard’s refined style and holds immense collectability. With a Raffin certificate as testament, this bow encapsulates the renowned bowmaker’s legacy.
A Violin By Andrea Guarneri, C1694 – Table By John Betts
Extremely fine Italian violin made by Andrea Guarneri in Cremona 1694, obviously the table suffered some damage and was replaced by the great English maker, John Betts c1790. So often with these composite instruments you get a top that is found to try and fit the body of the instrument…so it’s nice to see in this instance a great maker of the past making a top in the style of the body to fit!
Condition is very good and any restoration done has been first class.
This violin is the property of one of the UK’s finest concertmasters and he has performed in Proms and concertos on this violin for the past 15 or so years.
Certificates from Charles Beare and W.E.Hill & Sons.
A Violin Bow By E. A. Ouchard, Gold Mounted
Émile Auguste Ouchard was born in Mirecourt in 1900. He started studying bowmaking at the age of 13 with his father, Emile Francois Ouchard. At the time Émile François worked out of the workshop of Eugene Cuniot Hury. After 10 years, the father and son opened their own workshop.
Auguste Ouchard’s work improved over the next decade and he started to distance himself from his father in terms of style and design. Eventually he moved to Paris to establish independently. Between 1938 and 1946 he worked in Paris, branding his work with his own label. In 1942 he won the Grand Prix at the 1942 International Paris Exhibition. At the coaxing of his associates, Ouchard moved to New York City in 1946. He worked at the shop of Lazare Rudié in New York until 1948. Then he was invited to work as an executive at the William Lewis & Son firm in Chicago. Later he moved back to New York, and then finally back to Paris where he spent the rest of his life.
This is an extremely fine example of his most refined work of 1930/35. Beautiful rose gold. Raffin certificate.
Rare example. Highly collectable.
Gaetano Antoniazzi, 1894, Violin, Strad Magazine Article
The art of violin making has a rich history, and Gaetano Antoniazzi is a name that stands out as a significant figure in the transition between the classical Italian Cremonese school and the modern violin dynasty of the Bisiach-Antoniazzi school of Milan. Born in Cremona in 1825, little is known about Antoniazzi’s early career, but his instruments produced after the late 1870s have become highly sought after by collectors and musicians alike. In this article, we delve into the life and work of Gaetano Antoniazzi and his contributions to the world of modern Italian lutherie.
New Bow partnership with Paul Sadka
Sean Bishop, Director of Bishop Instruments & Bows Ltd is proud to announce a new partnership with internationally acclaimed bow maker, Paul Sadka.
Sadka is the only UK maker to have won three Gold medals at the Violin Society of America Bow Making Competition for his violin, viola & cello bows; the viola bow was subsequently sold to the Royal Academy of Music collection. Sadka bows follow closely the art of the French 19th century tradition of bow making. Each month, one or two new Sadka bows will join one of Europe’s largest contemporary and antique bow collections at Bishop’s.
We welcome you to visit the shop to try the Sadka bows. Appointments to meet Sadka are also available. 
Cremona visit 2022!
For a violin dealer, Cremona is our Mecca. I have been lucky to visit every year for the past 15 years or so…and now try and go more than once a year. Certainly not easy during the pandemic.
Anyway, it went something like this…
Early morning start, breakfast at Heathrow…mask up…on the flight to Milan. Post Brexit it’s a long wait for passport checks…I must remember to get my Irish Passport sorted (Thanks Grandad!).
We picked up our hire car and my assistant, Martin, drove the 80 minutes to Cremona.
First stop, my B&B…a great 2 bedroom apartment to myself…..of course above a violin makers workshop (Giuseppe Arrè)…stuffed full of Italian artefacts, paintings and a few violin related bits! You cannot escape it in this city. Martin stayed in a nearby Hotel.
First up we went downstairs and saw Giuseppe Arrè. He had just finished a nice violin…is it for sale? Probably not but he will let me know. He is an ex musician and his instruments always sound great. I love the colour of his varnish also.
We then visited Eric Blot for me to collect my Enrico Marchetti viola (Turin, 1885/90) that Eric had certified. I bought this viola last September in the Mondomusica carpark…didn’t even play it…but it was love at first sight. Maybe after doing this job full time for 20 years now I know what I’m doing!
For the next 2 days we had some great dinners and actually after drinking far too much with my good friend and maker, Alessandro Tossani on the Monday night I was a little worried about my head first thing Tuesday morning…thank goodness for Italian coffee!!
For the next 2 days it was meetings with 10 or so makers that I have orders with or wanted to see. I really have enough new instruments now so can afford to be a little picky………we don’t have many sub £10K instruments in the shop so I was lucky to pick up 4 violins that now fit into this group. I have to remind myself sometimes that it’s a lot of money for most people to spend on a violin!
We arrived back in London on the Wednesday…in the office on Thursday it felt like we had been away for a week!
I look forward to my next visit in May.
Dealing in and with Lockdown!
Well, for the last 12 months the world has been dealing with Covid-19. I like most, have been trying to avoid it and follow the rules here in the UK. We are now heading towards the end of our third lockdown and as such, the shop has been closed since December. I have been lucky during this time as I was thinking of moving shop as my lease had finished and I found a new place quite easily and it meets all the spec I need. From my last blog you can see the work we did.
Anyway, we moved in on the 1st December and have yet to have any clients ! I’m visiting the shop once a week (I don’t live in London) to collect mail and sort out odd jobs (just had a state of the art alarm system go in…). I even bought a new kettle. So yes, it does feel a little slow this final (hopefully) lockdown.
I do hope the vaccines will sort the problem, they seem to be working, and I pray all my clients and musicians will be able to resume their musical lives soon, it’s been tough .
We reopen on the 12th April and I will have a drink at the ready for any of my friends that pop in to say hello.
As you can see from my picture, my home office (or dinning table as my family call it) has been my work spot. While not quite as nice as my new office, I still have access to great coffee!
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