I began making pre-modern bows initially as an inquiry into the historical context of the early modern bow. After all, when François Tourte developed his model, many players still favored bows we now refer to as “baroque” or “transitional/classical.” Like genuine François Tourte bows, earlier-style bows are much more flexible and less cambred than the typical contemporary bow that evolved a century or more after Tourte.
Here in Boston, I collaborate with Dr. Robert E. Seletsky, the owner of two important 17th- and 18th-century violin bows and a leading authority on early bows (see Early Music 5/2004 & 8/2004), as well as a very fine early violinist and interpreter. These bows have not been recambred, as most old bows were; they have their original clip-in frogs, which few extant early bows do; and each plays as brilliantly in its own right as the best Tourte-style bow.
The majority of my pre-modern bows are faithful reproductions of these bows, the later of the two in a modest adaptation upon request with a screw-frog. I have studied, played, and copied these models repeatedly with the originals in front of me, and with Dr. Seletsky’s useful recommendations on virtually all of them. I am careful to keep the original graduations, balance, cambre, materials, and precise sculptural aesthetic of the originals. I believe that my bows are as close as one can come to the original 17th/18th century bows without owning an antique, both artistically and practically. Many excellent and well-known players have made my period bows their primary playing bows.
As I make almost all my baroque bows on commission, I rarely have a bow on hand available to audition. However, if you are interested in trying one of these bows, I can often direct you to a current owner who may be in your area.
I have also been producing other selected models of transitional/classical and baroque violin bows, viola bows, and cello, and viola da gamba bows. See the gallery for examples.