You get the sense that you have something in reserve when using this bow. The balance Sartory creates is wonderful to behold, especially so in this case. I have found that throughout concerts I am having a dialogue with my bow arm and I am constantly delighted with the possibilities this bow suggests in a concert environment. Truly a master bow with just a hint of a swagger!
When using this bow it brings to mind Oistrakh"s fabulous bow arm, this is totally understandable since from 1958 until his death in 1974 he played mostly on a bow by Richaume. A truly beautiful example of this fine makers work the violinist who buys this bow can enjoy a first class bow with a wonderful feel on the string.
Here is a delightful late Sartory sadly damaged on it's return from Paris for certification, this meant a new beautiful replica head had to be made using the original as a template. Late bows of this type of pernambuco are extremely highly sought after as this particular wood and concept design wise is a joy to use, suffusing several different aspects you would expect to find in a bow by this maker.
The bows of this rare and wonderful maker have reached mythical status due to their tremendous playing capabilities. Persoit, for some years (around 1809-1815) lived on Rue de Prouvaires, one of the most fashionable streets at the time, close to the great Francois Xavier Tourte
Lucky indeed is the violinist who plays on a bow by Vigneron pere! He was a quick worker making on average six bows a week. That being said many of his bows are somewhat lacking, he viewed the bow as a tool for the artist.
A superb Maire from between 1835-1845 in near mint original condition with no repairs or wear. Indeed when I first saw this bow the frog and button (mounted in maillechort) was black with dirt, underneath to my amazement was the best Maire frog and button I have ever seen.
An extremely important maker, here is a rare chance to own one of his best examples. From the same era as the hugely influential gold and tortoiseshell Pajeot once owned and extensively played by the late Isaac Stern.
Here is a truly wonderful bow by Joseph Henry complete with a certificate from Jean-Francois Raffin. Sadly, over the years it has sustained a fair bit of damage, making the bow financially more viable for a violinist on a limited budget. Having said that, from a playing point of view it is sensational imbued with a remarkable balance in the hand when being used.
Here is a Golden Period Tourte bow weighing 60g made from pernambuco cut on the slab rather than on the quarter. It arrived with an extremely early head repair in Ivory that has now been replaced with a pernambuco clavette. I am always pleased to see Ivory splines as they are a very early way of restoration and indeed Lafleur occasionally put these in his new bows to add strength.
Here is a superb example from the Morizot family complete with a certificate from Jean-François Raffin.
The production of this workshop is considerable and, although this bow is one of their entry level student type bows it is still imbued with the tremendous qualities one would expect from such an esteemed family.
This type of Lamy pere is extremely easy to date as he made this Vuillaume style bow from 1894-1900. Wonderful to use in stressful chamber orchestra situations, I remember only too well in recording studios with small sections, this type of bow was the 'go to' bow for these times.
Here is a wonderful early Sartory with its original Ivory and Silver fittings from the early twentieth century, some would say his best period of work.
Complete with paperwork from international bow experts Paul Childs of New York and Peter Oxley here is a tremendous Joseph Henry equal to any concert violinists demands. It has a small clavette repair to the head, so beautifully done it is all but invisible and only serves to bring the price down a little on this example of one of the top five bow makers production.
Complete with a wonderful certificate and 1993 insurance appraisal from the renowned American violin dealers Bein and Fushi. I am delighted to be able to offer this superb Sartory bow with wonderful playing credentials. Its previous owner was Franz Kinberg, one of the best American violin makers of his generation.
Here is a very fine bow, it was found in rural France on one of my frequent visits and although it was in a dreadful state of preservation its qualities immediately rang alarm bells of recognition.
The bow, has wonderful playing credentials as one would expect from such an era.
Read MoreThis bow dates from about 1932 towards the end of his five year spell of working in his uncle Victor Fetique's shop in Paris. In 1932 Richaume set up his own shop at 60 Boulevard de Clichy, from this period he made several unstamped bows to send to the Fetique shop since Fetique was ill and in need of stock to sell, Fetique passed away in 1933. That being said it is clearly the work of Richaume and comes with a certificate issued by Jean-Francois Raffin. 62 grammes
I have not been able to offer a Eury for sale since the last sold in 2008 due to their relative scarcity and the financial punch they carry in the international marketplace. I am particularly pleased to be able to offer this superb example after searching on several continents and constantly being outbid by other dealers.
Some experts have suggested that Paganini's favourite bow was a Eury, One with several repairs! This type of bow was and still is first call for many soloist given its playing credentials
I am truly delighted to offer this bow for sale, especially since I have known this bow since owning it as a young player thirty years ago! I sold it (a foolish move) in the 1990's to an established chamber player and promptly regretted the sale. It was then passed down to the son, also a fine chamber musician and recently returned to my collection.
