Both bows will be certified either by a French bow expert or one in the U.S. before the sale has been finalized. Just let me know that you are interested, and after that I will have the bows certified. 

10-day trial basis with full payment as security. 100% money back if not satisfied and bow is returned in the same condition it was received. If you want to trial/play the two bows before purchase, then write to me and I will try to make an arrangement. Otherwise, you can buy through one of the marquee named violin shops in America or UK. Add 10 to 20 percent to the price.

The two bows are, in my opinion, authentic Dominique Peccatte violin bows made in Amourette, silver mounted, and in near pristine condition.  

At the Tarisio London, February 2026, auction a certified Francois Peccatte violin bow, in Amourette, with later mounts, sold for 41,300 USD. 

U.S. buyers who want to buy direct from me or through a different third party do inquire as the price will be lower.

Lastly, I can sell a bow individually as opposed to a pair—50k USD. 

Yes, experienced violinists can often distinguish between a pernambuco bow and an amourette (also known as snakewood or unfigured snakewood) bow when picking it up and playing it, though it's not always immediate or obvious without direct comparison.

Key Differences in Feel and Play

• Weight and balance — Amourette is generally denser and heavier than pernambuco (often resulting in bows around 60-66g, sometimes feeling heavier in the hand). Pernambuco typically allows for lighter, more agile sticks with ideal balance for modern playing.
• Stiffness and response — Amourette tends to be stiffer, producing a quicker attack, more focused or brilliant sound, and sometimes a "glassy" or less forgiving feel. Pernambuco is prized for its superior elasticity, offering better bounce (spiccato/sautillé), smoother bow changes, and a warmer, more responsive tone with greater nuance.
• Sound characteristics — Amourette can yield a clear, radiant, or deep tone but often with fewer overtones and less warmth compared to pernambuco. Some players find it less versatile for romantic or modern repertoire, while others appreciate its precision.

Visual cues (plain reddish-brown for amourette vs. the often figured, orange-brown "snakeskin" grain of pernambuco) help initially, but playing reveals the differences most clearly—especially in off-the-string strokes, dynamics, and articulation.

Performance of François and Dominique Peccatte Amourette Bows

Both François and Dominique Peccatte (brothers and renowned 19th-century French bowmakers) produced some bows in amourette, likely as a substitute during pernambuco shortages. These are rarer and typically less valuable than their pernambuco examples (often 1/4 to 1/5 the price), but high-quality ones can play exceptionally well due to the makers' skill.

• François Peccatte amourette bows → Often described as having excellent elasticity, perfect hand feel, powerful yet controllable response, and a brilliant, clear sound. One player on Violinist.com called a François workshop amourette bow "the best I've ever played," outperforming their Sartory and even a Dominique pernambuco they tried—citing amazing playing characteristics.
• Dominique Peccatte amourette bows → Known for strength and big, rounded sound; some (including cello examples) are praised as very fine. However, opinions vary—some find them outstanding, while others note the wood's limitations compared to Dominique's legendary pernambuco bows (strong, subtle, and highly versatile).

Overall, Peccatte amourette bows can be superb and even preferred by some players for their focus and power, but most professionals consider pernambuco superior for responsiveness and tonal warmth in modern playing. Exceptional examples (like the one in the forum) stand out, proving the maker's artistry can elevate the material. These bows are more common in baroque or transitional styles today, where snakewood's qualities shine.

Dominique Peccatte (1810–1874) primarily used high-quality pernambuco for his bows, which are celebrated for their power, density, projection, and balanced suppleness—especially during his best Paris period (roughly 1838–1847). Amourette (also called snakewood or unfigured snakewood) bows by him are quite rare and represent an experimental or alternative material choice rather than his standard output.

Amourette is a dense, dark hardwood (heavier per volume than pernambuco in many cases), sometimes showing a faint mottled or snake-like figure, though “amourette” often refers to plainer pieces. Mid-19th-century French makers, including the Peccatte family and school, occasionally turned to it (or similar exotic woods) when pernambuco supplies varied or for specific tonal experiments. Confirmed examples exist, such as an unstamped Dominique Peccatte violin bow with a round amourette stick and nickel mounts weighing around 58.5–60g.

Playing Characteristics and Insights

Player and dealer opinions on amourette Peccatte bows are mixed and subjective—the maker’s craftsmanship often shines through more than the wood itself:

• Weight and feel: Amourette bows tend to be heavier or feel denser than equivalent pernambuco ones. This can give a solid, grounded presence in the hand but sometimes results in a perception of slower response or less immediate “attack” compared to pernambuco’s quicker elasticity and lively bounce.
• Sound profile: Descriptions frequently note a warmer, rounder, richer, or more resonant tone with good clarity in some cases. Some players find it offers more “body” or a velvety quality, while others describe it as slightly “lazy” or less brilliant/projecting than pernambuco Peccattes. It can excel in nuanced or warmer repertoire but may not match the dense, authoritative “fist in velvet” projection and articulation of top pernambuco examples in large halls or high-demand Romantic/modern playing.
• Response and versatility: Many compare it unfavorably for off-string strokes (spiccato, ricochet) or virtuosic demands, with comments like “no match” to pernambuco in responsiveness. However, positive experiences highlight excellent elasticity, hand feel, and playability in certain bows—proving that a fine Peccatte model can still deliver strong results even in amourette. One player noted an amourette example outperforming a pernambuco Dominique in direct comparison, underscoring that individual bow quality and setup matter enormously.
• Overall suitability: These bows are sometimes recommended for Baroque or lighter repertoire where a warmer, less aggressive tone is desired. They are not typically first-choice for modern soloists seeking maximum power and precision, but they can be delightful “character” bows for players who appreciate their unique warmth and resonance.

Peccatte’s spontaneous, prolific style means even his amourette bows retain his signature bold hatchet head, strong camber, and powerful frog design—qualities that can elevate the material beyond generic snakewood bows.

Market and Value Perspective

Amourette versions trade at a significant discount compared to pernambuco Peccattes (often 1/4 to 1/5 the price or less, depending on condition, mounts, and certification). Pernambucos in excellent condition from his best period routinely reach $80,000–$250,000+ at auction/private sale (with outliers higher), while documented amourette examples have sold in the low-to-mid thousands historically (e.g., around £20,000–£50,000 range in older sales, adjusted for inflation and specifics). They appeal more as collector curiosities or affordable entry points into Peccatte craftsmanship than as primary investment or concert tools. Resale can be slower due to the material preference for pernambuco in the high-end market.

Final Thoughts

Dominique Peccatte amourette violin bows are fascinating outliers—proof of his versatility and the 19th-century French makers’ willingness to experiment with woods. They offer a warmer, denser tonal alternative that some players love for its richness and character, but they generally lack the quick response, projection, and all-around authority of his finest pernambuco work. If you have (or are considering) one, its success will depend heavily on the specific bow’s camber, graduations, condition, and how it mates with your instrument and playing style. A hands-on trial is essential, ideally alongside a comparable pernambuco Peccatte.

These bows remind us that while pernambuco became the gold standard, a great maker’s hand can coax musical magic from alternative materials too. Experience the Peccatte magic in Amourette. 

"From my own experience, I have found Pernambuco to have a quicker attack as opposed to Amourette (non-figured snake wood) being a bit slower. The sound of Amourette is warmer and rounder than Pernambuco. A bit like playing an awesome Tubbs, which plays like a Rolls-Royce as opposed to a Sartory. Both Amourette and Pernambuco are generally of equal strength. Both species have weak and stiff sticks."

Chris Weiden (Maestronet)

"Personally - not really. I think with the Peccatte school makers the differences in the approach to camber are dominant, and that wood density (whether pernambuco or amourette or abeille) is far more important than the species.

But we did sell an amourette F. Peccatte to a very fine player a couple of months ago - he has now given us his pernambuco FX Tourte to sell. He's not the only very serious player and bow nerd who prefers it ...

Generally I've found it easier to sell non-pernambuco bows to viola players. But that may be because viola players have a wider take on what constitutes good sound than violinists."

Martin Swan (Maestronet)

Silver mounted. (All parts original). 

Superior quality ebony for the frog (Original).

62 grams. 

Ivory tip-plate (original).

Tinsel lapping (original).

The dark thumb pad is original on that bow.

I will provide more photos by the end of the month. For now, let me know if you have a serious interest in learning more about these fine bows by Dominique Peccatte. The sale will be contingent upon certification, appraisal, and condition report if available. Allow three to six weeks for certification. Willing to negotiate a lower price (based on 2011 pricing) on a direct sale. Serious inquires only, please. Bow Collectors welcome! More photos to come shortly. Let me know if you're interested in the photos, then I'll put them up.

You will of course get a chance to play the bow and make up your own mind as to whether it is a keeper or not. TBA.

By the way, if you think that eBay is not the place to engage in the buying of a Dominique Peccatte violin bow ... no problem! 

I need to know if you are a domestic buyer or you are based outside of the U.S. This request is based upon the new CITES regulations now enforced with all national custom enforcement agencies relative to pernambuco wood bows. These two bows are not Pernambuco wood bows but they do carry ivory tip plates.  

 Dominique Peccatte (1810–1874) primarily used high-quality pernambuco for his bows, which are celebrated for their power, density, projection, and balanced suppleness—especially during his best Paris period (roughly 1838–1847). Amourette (also called snakewood or unfigured snakewood) bows by him are quite rare and represent an experimental or alternative material choice rather than his standard output.

Amourette is a dense, dark hardwood (heavier per volume than pernambuco in many cases), sometimes showing a faint mottled or snake-like figure, though “amourette” often refers to plainer pieces. Mid-19th-century French makers, including the Peccatte family and school, occasionally turned to it (or similar exotic woods) when pernambuco supplies varied or for specific tonal experiments. Confirmed examples exist, such as an unstamped Dominique Peccatte violin bow with a round amourette stick and nickel mounts weighing around 58.5–60g.

Playing Characteristics and Insights

Player and dealer opinions on amourette Peccatte bows are mixed and subjective—the maker’s craftsmanship often shines through more than the wood itself:

• Weight and feel: Amourette bows tend to be heavier or feel denser than equivalent pernambuco ones. This can give a solid, grounded presence in the hand but sometimes results in a perception of slower response or less immediate “attack” compared to pernambuco’s quicker elasticity and lively bounce.
• Sound profile: Descriptions frequently note a warmer, rounder, richer, or more resonant tone with good clarity in some cases. Some players find it offers more “body” or a velvety quality, while others describe it as slightly “lazy” or less brilliant/projecting than pernambuco Peccattes. It can excel in nuanced or warmer repertoire but may not match the dense, authoritative “fist in velvet” projection and articulation of top pernambuco examples in large halls or high-demand Romantic/modern playing.
• Response and versatility: Many compare it unfavorably for off-string strokes (spiccato, ricochet) or virtuosic demands, with comments like “no match” to pernambuco in responsiveness. However, positive experiences highlight excellent elasticity, hand feel, and playability in certain bows—proving that a fine Peccatte model can still deliver strong results even in amourette. One player noted an amourette example outperforming a pernambuco Dominique in direct comparison, underscoring that individual bow quality and setup matter enormously.
• Overall suitability: These bows are sometimes recommended for Baroque or lighter repertoire where a warmer, less aggressive tone is desired. They are not typically first-choice for modern soloists seeking maximum power and precision, but they can be delightful “character” bows for players who appreciate their unique warmth and resonance.

Peccatte’s spontaneous, prolific style means even his amourette bows retain his signature bold hatchet head, strong camber, and powerful frog design—qualities that can elevate the material beyond generic snakewood bows.

Market and Value Perspective

Amourette versions trade at a significant discount compared to pernambuco Peccattes (often 1/4 to 1/5 the price or less, depending on condition, mounts, and certification). Pernambucos in excellent condition from his best period routinely reach $80,000–$250,000+ at auction/private sale (with outliers higher), while documented amourette examples have sold in the low-to-mid thousands historically (e.g., around £20,000–£50,000 range in older sales, adjusted for inflation and specifics). They appeal more as collector curiosities or affordable entry points into Peccatte craftsmanship than as primary investment or concert tools. Resale can be slower due to the material preference for pernambuco in the high-end market.

Final Thoughts

Dominique Peccatte amourette violin bows are fascinating outliers—proof of his versatility and the 19th-century French makers’ willingness to experiment with woods. They offer a warmer, denser tonal alternative that some players love for its richness and character, but they generally lack the quick response, projection, and all-around authority of his finest pernambuco work. If you have (or are considering) one, its success will depend heavily on the specific bow’s camber, graduations, condition, and how it mates with your instrument and playing style. A hands-on trial is essential, ideally alongside a comparable pernambuco Peccatte.