Introduction I have been making Historical Bows for more than 35 years. I will say simply that my bows are everywhere that early music specialists and devotees meet. To anyone wishing references from performers throughout the world, please ask, and I will provide them. I have always put a great emphasis on a musical familiarity with the musician for whom I work; in other words, to see and hear how the individual works with the instrument, and match bow to player and instrument. This has often been practical, as I work with many early music specialists. Of course, over the years many of my bows have become well known, and it is now often the case that I am asked simply to make a bow "like the one that .... owns." This is made easier because I have kept a detailed log of my bows over the years---models, weight and individual characteristics. Finally, I simply will not permit an owner of one of my bows to be anything but happy with his or her choice. I stand behind my work always, asking no charge for any repair, cleaning or restoration to a bow I have made, except for restoration after a catastrophic accident. My bows have consistently increased in value over the years and remain a fine investment, aside from their musical attributes.
Thomas Georgi, specialist in the performance and history of the viola d'amoré, has a fine site, including photos and a discussion of the bow I made for him some years ago: (click "The Bow")
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