violins, violas, celli, bows and baroque bows
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|Excellent cello bow by and faintly stamped L Panormo. Typical modelling, octagonal stick of fine pernambuco wood. One of the better Panormo bows I have sold.
Louis Panormo was the second son of Vincenzo Trusiano, who adopted the name of Panormo, the latin for Palermo when he left his native Sicily, moving between Rome, Naples, Marseilles, Paris, Dublin and London. Louis was born in Paris in 1791, but the family moved to the British Isles in response to the French Revolution, and settled permanently in London in 1781. Vincenzo was hugely influential, coming to London with knowledge of Italian violin making techniques at a time when English makers were turning away from Stainer models of the nineteenth-century and looking towards classical Italian work. All three of Vincenzo rsquo;s sons, Joseph, Louis and George followed into the music trade, running a series of businesses in Soho and Bloomsbury, becoming as famous for the newly-introduced Spanish Guitar as for violins. The business thrived into a second generation under George's son , George Louis Panormo, but in 1854 Louis sold his share and emigrated to New Zealand.
There is some debate as to who exactly made bows for Panormo. The workmanship and choice of materials is consistent with the thriving workshop of John Dodd, the flatness of ivory faceplate, the narrow silver ferrule and full length pearl slide are all entirely typical of Dodd rsquo;s working practices. Yet Louis Panormo appears to have imposed his own designs. Contrasting with the swan-headed bows typical of Dodd's workshop, the very upright head recalls bows of Francois-Xavier Tourte of the period 1810-1815. Likewise the throat of the frog follows the Parisian practice with a square profile, making the bows more profoundly French-influenced than other examples made in England at the time. The silver adjuster with a narrow ebony band and ebony end is a consistent feature of Panormo bows not otherwise encountered in England or France. There are is rumour of graduate research on the Panormo family which lists two bow makers, more on this later. The bow is unstamped, but the features make it a definitive example of Panormo's work from the period around 1840. The bow predates the use of a metal underslide on the frog. Many bows from this period have suffered damage, and others fitted with an open-frog have seen their fittings replaced later in the nineteenth-century. It is rare to find examples in such fine original condition.
Early English cello bows are relatively heavy, and have long been appreciated for their soloistic powers. Both Amaryllis Fleming and Jacqueline du Pre used bows by Dodd in preference to French bows. After du Pre's bow was broken beyond repair she eventually settled on a Louis Panormo and used it for every important performance throughout her career. nbsp; Supplied with a Philip Brown Violins certificate of authenticity.