I began making bows in 1980 after living in New York and devoting myself to a career in Early Music. By this time I had already worked for some years as a violinist and violist with many of North America's outstanding original instrument ensembles, most notably, Aston Magna, Concert Royal, and the Smithsonian Chamber Players. I was given invaluable instruction, assistance and advice from William Salchow in New York, who taught me the basics of bow making in the French style. Over many years, I have visited museums and private collections to find healthy surviving examples of bows made before 1800. The Victoria and Albert Museum, Paris Conservatory, Shrine to Music Museum, Beare's Violin Shop, the Yale Collection and many others have beautiful old bows, carefully preserved. Also, many individual performers have old bows which I have studied and measured. I now have more than 30 models for my Historical Bows, and many others which serve as reference for comparison.

The Tafelmusik Orchestra and various chamber ensembles have been my musical home for over thirty years. My own performing has been a valuable asset in developing bows that truly function. Over this time, I have performed with and led numerous ensembles in the US and Canada, with a special interest in Chamber Music with Fortepiano. I also taught at the Oberlin Baroque Performance Institute for many years, developing a "technique class," which was an in-depth approach to handling an early string instrument, emphasizing gesture and phrasing along with the essential relaxed, physical approach. The Lumieres String Quartet, for which I played viola, has retired after many years. Many thanks to my colleagues, Christina Mahler, cello, Paule Prefontaine and David Stewart, violins, for our many hours of rehearsal and enjoyable performances.

During these years I have endeavoured to make bows from historical examples that exhibit both fine playing qualities and the highest level of craftsmanship. I have purchased wood from South America, selecting the finest of a variety of species used in past centuries for bows. I do not use elephant ivory in my bows.

Though I have concentrated on early bows, I have always wanted to make a few really fine modern bows after the finest examples. To this end I have collected wood especially suited for modern design, following Francois Tourte: ebony, pernambuco, satine, swartzia species and several others. A few of these modern bows are pictured on this site, and examples are available for sale.

I am pleased to do high quality restoration work, selectively, on old bows, or more recent bows when the maker is not available.

Several bowmakers have worked with me for a period of time, much as I once trained with William Salchow. They have gone on to become fine and successful bowmakers themselves, each one with a unique style and varied models. They are: Basil de Visser, Peter Visentin and Trevor Ewert. I am additionally indebted to various violin makers, restorers, dealers, bowmakers as well as past students of mine for their suggestions and encouragement over the years. Among these are Jaak Lorius, William Monical and Mark Norfleet; Canadian bowmakers: my associate, Trevor Ewert; also, close Toronto associate, David Tamblyn; US bowmakers: Harry Grabenstein, Steve Salchow, Richard Riggall, and David Orlin. In Rome, Basil de Visser has a successful business in early bows.

My newest novel, Francis, which takes place in Loiyangalani, Kenya, is now complete.  It is the first book, of The Great Rift Valley trilogy. Erica's Song, also complete, is the second novel of the trilogy. I am presently looking for an agent for my novels.