François Xavier Tourte

François Xavier Tourte (b. 1748–d. 1835)

Also known as Tourte ‘le Jeune’ to distinguish him from his elder brother, Nicolas Léonard, François Xavier Tourte is probably the most important figure in the history of modern bow making. His violin, viola, and cello bows are exquisite and command the highest prices for their extraordinary craftsmanship, elegance and appreciation by players. Tourte initially worked as a clockmaker but began making bows around 1774–5. The first definitive evidence of the existence of an independent Tourte workshop on the Quai de l’Ecole dates from 1800, but Tourte was certainly active before that date, possibly in collaboration with his brother. Read more on Cozio.

François Xavier Tourte c. 1765–70

This exceptional violin bow in pernambuco has remarkably fine and elegant fluting on the upper two-thirds of the stick. The high upright head follows the Italian style compared to the pike-head model that was more commonly employed by his father. The frog has delicate chamfers on the edges of the throat and the ivory button is compact with discrete collars and no ball decoration at the end. The head and frog mortises are similar to those of the later work of François Xavier. A similar early example can be found in the Ashmolean Museum in Oxford.

François Xavier Tourte c. 1765–70

François Xavier Tourte c. 1775

This early example of François Xavier Tourte’s work is a Cramer model made in ironwood. The head is only slightly different to the model used by his elder brother, Nicolas Léonard Tourte. The sides of the frog are not flat but rounded somewhat back to front. As with all open trench frogs up until the introduction of the metal ferrule, the bow hair is formed in a slightly convex ribbon, allowing for a softer production of sound. The tongue at the back of this Cramer style head also forms the hair into a beveled ribbon. The handle is fitted with another invention often seen on Cramer models – a flat ivory plate with a protruding pin designed to guide the frog as it slid backwards when the bow hair was tightened. When in tension, the stick is intended to be parallel to the hair.

François Xavier Tourte c. 1775

François Xavier Tourte c. 1790

This elegant cello bow shows a stylistic change that occurred around the time of the French Revolution. With a graceful swan-head and a frog made of the same pernambuco, the bow has a more classical, less decorated style than before. As the frog is quite high, the cut-off angle at the heel helps it not to touch the strings or the C-bout at the beginning or end of the bow-stroke.

François Xavier Tourte c. 1775

François Xavier Tourte c. 1790

The frog and head of this cello bow are slightly lower than the swan-head one shown above. The ivory frog is more typical of the later bows of the family, although it has no metal parts. It bears the ‘Tourte’ brand used at first by the brothers for their joint work after they had established themselves in Paris, and then by François Xavier alone after Nicolas Léonard had apparently distanced himself from the business for a time during the Revolution. The Tourtes’ move into Paris from the lieu privilégié meant that they were no longer required to stamp their bows with the location where the bow was made.

François Xavier Tourte c. 1790

François Xavier Tourte (b. 1748–d. 1835)

François Xavier Tourte c. 1765–70

François Xavier Tourte c. 1775

François Xavier Tourte c. 1790

François Xavier Tourte c. 1790

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