Over the forty years I have been selling Sartory bows I have realised it is an error to think of one particular era of his making as his best.

Right is picture of Sartory taken at the time he made this bow. He is, without doubt, the most important maker from the twentieth century, his output demand high prices. 

A soloist friend of mine based in Spain was correct when he asserted

every violinist should have a Sartory in their case

The stick is in lovely condition, a real peach, condition wise, very clean.

Although the stick does not have a certificate from Jean-Francois Raffin, he has researched the bow and asserts Sartory certainly made the stick around 1940, there are subtle hints that suggest this is a war bow.  

To use it is a delight, works with the player and offers no resistance to the players wishes. It is not too stiff as some late bows can be, but a total joy. This bow does have a certificate from the UK’s leading bow maker and expert Michael J. Taylor. It is an understated Sartory that packs a big punch and a fantastic broad rich sound. It weighs 58g the same weight as all the best Dominique Peccatte bows.

It has the most glorious fittings as can be seen, made for this bow by Michael J. Taylor as a special request. There are probably less than ten original gold and tortoiseshell bows in existence so here is an opportunity to own an original undamaged Sartory stick with stunning replica fittings by one of the finest restorers currently active. 

This bow is not stamped under the lapping, in conversation with Bernard Millant on this matter he felt that about 95% of his bows beyond the early 1920’s were stamped here.   But there are correct sticks not stamped here produced by Sartory, here is one.

Everything on this bow points to it being very late, possibly within war conditions, this would account for many small idiosyncratic areas on the stick, also perhaps the onset of old age. It is, having said that, a glorious bow, any violinist would be overjoyed to own it.