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corilon violins

Violin making in western Bohemia and the Vogtland region


Schönbach and Graslitz: The history of violin making on the Bohemian-German border


In the 19th century, the new constellation of violin making in the economic region of the border between western Bohemian and the Vogtland evolved into a highly efficient division of labour. It went on to shape the wide-scale musical culture of Europe and the U.S. with the large numbers of cost-effective instruments it yielded. Smaller workshops throughout the entire binational area built instruments and, more notably, instrument parts to large-volume merchants who sold them internationally at top profits. In Schönbach, nearly 150,000 violins were produced each year in the late 19th century – along with 200,000 violin backs! These admirable figures clearly illustrate the economic structure of the instrument “publishing” business, as it was called.


There were, however, downsides to the industry's success. One was the massive need which prevailed amongst the families, who were completely financially dependent; the other was the dubious reputation of the lower-quality industrial products which to this day still clings to the era's Bohemian-Saxonian stringed instruments. Schönbach and Graslitz in particular were home to only a few violin makers who were able to create an instrument and all its parts from scratch– and who could afford the time to do so. However, their works – which were often purchased anonymously – had quite good acoustic and aesthetic properties, and these old Bohemian-Saxonian instruments do not deserve the fundamental disdain they frequently are given.


The Schönbach instrument makers experienced a minor form of emancipation from the supremacy of Markneukirchen around the turn of the 20th century when they founded two production cooperatives and established their own brokers. As a result, they were able to export some 20% of their own production by themselves. Within the interlinked business structure of the region, Schönbach stood out as the key centre for trading tonewoods, some 700 train cars of which were sold each year.



New arrivals in our catalogue:
  • Antique Mittenwald violin from the Mittenwald violin-making school, 1919
  • Interesting master violin from Bohemia, approx. 1880
  • Powerful German violin bow by H.R. Pfretzschner
  • Older English violin, J. R. Dutton 1979
  • Fine master violin by Marcus Klimke, contemporary elite violin maker (certificate Markus Klimke)
  • Excellent French violin bow, Morizot Frères (certificate J.F. Raffin)
  • Fine Italian violin by Mario Gadda, approx. 1960 (certificate Mario Gadda)
  • Fine French master violin, Victor Aubry, Paris 1944
  • WORKED OVER AND TONALLY OPTIMIZED: Ernst Heinrich Roth, fine 1955 violin - Guarnerius model
  • Antique German Saxon violin with a bright, warm tone
  • Antique French 3/4 cello by J.T.L., approx. 1880
  • Fine master violin bow by Hermann Richard Pfretzschner
  • Good German violin bow, W. E. Dörfler
  • Fine French violin bow by E. Sartory (certificate J.F. Raffin)
  • Fine English violin bow by Frank Napier / W.E. Hill & Sons (certificate Hieronymus Köstler)
  • Mario Gadda, Italian violin after Oreste Candi, 1984 (certificate Mario Gadda)
  • Mario Gadda workshop, Italian violin after Stefano Scarampella
  • Old, 1940's Saxon violin, Markneukirchen, bright warm tones
  • Powerful older silver-mounted violin bow, Germany, by Klaus Ringer
  • Modern violin made in the French style, probably Czech or Hungarian
  • Antique Markneukirchen violin, by Schuster & Co. approx. 1900/1910
  • Antique German violin from Saxony, approx. 1920
  • Old, silver mounted violin bow, after Lupot - noble, classy tone
  • Lothar Seifert, German master violin bow, silver