The finishing of the head is nice and clean, but its shape is slightly slimmer than that of the previous bow. The nose is somewhat longer and the throat is more extended. The chamfer is more prominent.
The precisely cut chamfer is relatively wide and runs in a rather flat (obtuse) angle along the throat.
The topview also shows the head to be more elongated.
The frog is made of tortoise shell with silver fittings. The shape of the throat is similar to the form of the ebony frog. The ferrule is higher and slightly cone-shaped.
The base of the underslide is relatively wide, the lower part of the heel, bent from one piece of silver and pinned at two places is almost square shaped. The golden slide is rather unusual — it is not common to use silver and gold on the frog at the same time. The slide may not be original. The frog sides are nicely indented. The button rings on the adjuster are extremely thick. It is possible that the master balanced the bow with this extra weight.
The tongue of the higher ring is stronger, the peg is thinner.
The underslide is fixed with two iron screws.
The frog sides are parallel.
The three-piece ring, made of a silver and tortoise shell ring and a pearl eye, was completed separately and put in the frog later. The silver ring is of the same size, the inner ring is wider and the pearl eye is smaller than those of the ebony frog.
The button of the adjuster consists of three parts. There are two octagonal silver rings sitting on an ebony core and similar to his bow made around 1880, there is no pinning here either.
We can see the special collar on the button being a characteristic of this master.
At the two ends of the mortice he made small cuts to reduce the risk of cracking. The nipple is cone-shaped.
After almost forty years in London he still uses his first stamp with his name written in Hungarian.