My bowmaking studio was founded in 1970. I wanted a clean and beautiful rural area in which to start my business—with a great local orchestra in which to perform. Maine has been just the right place to work, to live, and to raise a family. By keeping my business small, I have been able to maintain high quality and build personal relationships with my customers.
I provide a selection of the finest quality handmade bows for violin, viola, cello and bass for the professional. Also available is a carefully-chosen selection of bows in a range of prices for the student. Whether for student or professional, these bows are personally chosen for quality materials, workmanship, and excellence in playability.
I focus my efforts on six areas:
- creating artistic and responsive bows of the highest quality
- selling bows by other makers in all price ranges to meet all needs—from beginning student to professional
- restoring/rehairing bows for my customers
- providing “Lynn’s Favorites,” a time-tested catalog of bowmaking tools and supplies, plus a number of other items of interest
- educating about bow repair, restoration, and preservation
- supporting conservation and reforestation efforts
LYNN ARMOUR HANNINGS, bowmaker
- Member, American Federation of Violin and Bow Makers
- Member, Entente Internationale des Maitres Luthiers et Archetiers d’Art
- Studied with John Roskoski and William Salchow of New York
- William Salchow's teaching assistant at UNH for the years 1980-1990
- Awarded a Fulbright Scholarship and the Annette Kadé Fellowship; spent a year studying in Paris with Bernard Millant—the world-renowned authority of French bow making
- Teacher of bow rehairing, restoration and bow making for historical preservation at universities in the United States; in 2015, celebrating her 29th year of teaching at UNH
- Recipient of a 2011 [Bass Bow] Lutherie Prize from the International Society of Bassists
- Professional Bassist; Member, Portland Symphony Orchestra
- Bass Teacher, Bowdoin College
As a professional musician, I bring to my work a great understanding of the essential aspects of playability to create bows that are both responsive and comfortable to play. I am proud to be a respected bow maker in the French tradition. I have been making fine bows for three decades and am a member of the American Federation of Violin and Bow Makers, and of the Entente Internationale des Maitres Luthiers et Archetiers d’Art. I originally studied with John Roskoski and William Salchow of New York. Awarded a Fulbright Scholarship and the Annette Kadè Fellowship, I spent a year studying in Paris with Bernard Millant—the world-renowned authority of French bow making.
I teach bow rehair and bow making for historical preservation at universities in the United States.
As I stand on stage during performances, I am surrounded by tropical hardwoods; from the stringed instruments and bows, to the woodwinds and percussion, to the organ console and the conductor’s baton. We are an industry reliant on these precious resources. For the future of classical music and for the good of our planet, we need to develop and support programs that focus on conservation, education, responsible actions and restoration of depleted forests. We can all make a difference.
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