Yann Besson presents
Arthur's Workshop
Arthur's Workshop perpetuates the concept of François Xavier Tourte
Arthur Dubroca and Alexandre Aumont, the two bow makers at Arthur's Workshop on rue Truffaut in Paris, base their work on an optimized relationship between curvature and balance, in line with what François Xavier Tourte had started by discovering the virtues of Pernambuco wood and its perfect compromise between rigidity and weight.
The straight rods are bent, then the diameter and the curvature are adjusted, and a mother-of-pearl cleat secures the horsehair strand… in short, the soul of the master still inhabits Arthur's workshop!
For the conservation of natural resources
Arthur's workshop contributes to preserving pernambuco, a Brazilian wood species used to make bows for almost 3 centuries, through the IPCI-COMURNAT program (International Pernambuco Conservation Initiative and Confederation of Trades and Users of Natural Resources).
François Xavier Tourte
Arguing that the quality of a good bow depends first and foremost on the quality of its wood, he advocated the use of Pernambuco for their manufacture as early as 1775.
Learn more on Wikipedia
A short history lesson
Arthur's Workshop before 2004
Arthur Dubroca is the founder of Arthur's workshop. Like Yann Besson, Arthur trained at the National School of Violin Making in Mirecourt. There he prepared his Vocational Aptitude Certificate, his Technician's Certificate, and then obtained his Diploma of Artistic Crafts in Violin Making in 1993.
During the year 1995, he was the assistant of Mads Hjorth, a luthier in Copenhagen, Denmark.
In 1996, he became respectively the assistant and the workshop manager of Jean-François Raffin in Paris and thus completes his initiatory journey.
Arthur's Workshop since 2004
Feeling ready to fly on his own and eager to initiate his professional world, Arthur Dubroca created Atelier d'Arthur in 2004.
It was in September 2005 that he began working with Alexandre Aumont.
Alexandre was awarded a silver medal at the Manchester International Bow Making Competition in 2007 for the creation of a cello bow.
Within their bow-making workshop, they develop new restoration techniques, but also produce replicas of historical bows and contemporary bows for Baroque music and other more recent musical styles.
Tradition, innovation and openness
Arthur's workshop regularly welcomes luthier friends and students from the National School of Lutherie in Mirecourt for internships or professional exchanges.
Despite a solid reputation built on restoration, Arthur's workshop also makes bows. Arthur and Alexandre draw their inspiration and models from 19th-century French authors.
The two bow makers combine their talent with that of other luthiers and bow makers by adhering to the French Association of Violin and Bow Makers.
Alexandre Aumont tells you more
Each bow has its own personality; it is adapted to the instrument it serves…
A violin bow measures 70,5 to 73 cm. Its weight: 60 to 62 g. A cello bow – which does not exceed 70 cm – weighs between 80 and 82 g. The double bass bow is much less standardized but weighs approximately 135 g.
The bow has changed considerably over time, also depending on playing technique. It's easy to imagine that a bow for jazz violin is different from a bow from the Romantic era.
The hair used for the wick is horsehair from Siberia or Mongolia. These horses live in a semi-wild state.
Apart from the wick, there are three elements: the rod, the riser, and the button. Nothing is glued. Everything is adjusted to allow for the removal of the wick.
In fact, we make the violinist's tool. That's why we're craftsmen, not artists. We work with the material; we have to find the right horsehair for the bow. A violin bow needs very fine hair. This is assessed by touch.
Many contemporary bow makers create their own models; we, on the other hand, draw inspiration from the old. We don't go off on a wild goose chase.
The bow's curvature varies depending on the bow; it's not standardized. It's a vast and complex field. Sometimes a violinist has two bows. Much more often, only one. Bows aren't the same either, depending on the performer's preferred repertoire.
The horsehair of a classical bow, being significantly less curved than that of a baroque bow, is freer than on a modern bow where the stringing is tighter. Baroque bows, used by Tartini or Vivaldi, have a sort of pike-head shape. Corelli used a short bow… These are different styles of instrument making. It is quite obvious that using a gut string or a metal string requires a different setup…
It's a feeling. It's difficult to put into words.
The bow we use today originated at the end of the 18th century.e The 19th century saw the development of chamber music, thanks in particular to Haydn and Mozart. There was significant research into instruments, and especially bows, in England, France, and Italy. By the end of the 18th century, all the virtuoso violinists were flocking to Paris. It was said throughout Europe that "violin making is Italian and bow making is French." Great bow makers emerged in France in the 19th century.e century. These bows are the most sought-after internationally.
Arthur's Workshop's unique approach
Arthur's Workshop is a place that fosters encounters between artists who gravitate around music. Musicians feel comfortable expressing their expectations there, and bow makers listen attentively to share their insights.
Friendliness combined with professionalism makes Arthur's Workshop a top destination for bow making.
The bows made in Arthur's workshop, which always stem from a special relationship, are in fact unique.
Visit Arthur's Workshop
Arthur's Workshop is a unique place where links are created between luthiers, bow makers and musicians.