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More detailed information about stringed instruments and the history of violin making.


corilon violins

The second phase: the more recent history of violin making in western Bohemia


Driving the Sudeten Germans out of Schönbach and Graslitz: A déjà-vu of violin-making history


The Great Depression did major damage to the export-orientated production of musical instruments, and then the National Socialists' policy of autarky exacerbated the situation further. In 1939, orders were given to found an “association of Vogtland and Sudeten German makers of stringed instruments” — a mandatory consortium which represented the region's final cross-border enterprise before WWII ended the 200 or so years of Bohemian-Saxonian violin-making history. After the war, some 12,000 Germans were expelled from the region and, in a kind of historical déjà-vu, they took their art with them.


As was the case during the Counter-Reformation, this wave of deportations led to the development of a new centre of musical-instrument production. After attempts to create a joint settlement in Mittenwald failed due to the heated resistance of local violin makers, the majority of the people in Schönbach then found a new home in Bubenreuth in 1949. They turned the Franconian village into a rapidly blossoming musical venue; soon other former masters and merchants from Markneukirchen relocated there as well because they no longer had entrepreneurial horizons in the German Democratic Republic.


Schönbach, which was known as Luby from then on, remained a city of instrument building despite this second round of figurative blood-letting. It developed independently of Markneukirchen; the historical link across the border had dissolved. The few German violinmakers who had remained in Luby were joined by specialists from other towns in Czechoslovakia. They primarily worked for the production cooperative “Cremona,” which formed the basis for “Strunal AG” after the Velvet Revolution. Some of today's violinmakers in Luby attribute the city's new name to “luba,” the Czech word for the rib of a violin. And with its turbulent history, why should Luby not be a city – perhaps the only one – in which violin making is quite literally part of the name?


Recommended reading (in German): Kurt Kauert, Vogtländisch-westböhmischer Geigenbau in fünf Jahrhunderten. Entstehung – Standorte – Strukturen. Verlag der Kunst, Dresden 2006. 156 pages, multiple images. ISBN 978-3-86530-079-9.


New arrivals in our catalogue
  • Strong, active violin bow, by Karl Heinz Richter, Silver
  • Roger François Lotte, fine French violin bow
  • French violin bow, Mirecourt, probably J.T.L., approx. 1920
  • Very fine French viola bow by Pierre Testa, Paris (contemporary)
  • Fine antique Mittenwald Neuner & Hornsteiner violin, approx. 1860
  • Powerful German violin bow, Richard Geipel
  • Fine Italian viola by Marcello Martinenghi, 1949 (certificate Eric Blot)
  • Modern handmade Markneukirchen violin, by E. Wenzel 1992
  • Jacques Camurat, 1958: A French Paris master violin
  • Albert Nürnberger: Powerful silver mounted violin bow
  • French master violin No. 34 by Paul Hilaire, 1950
  • From the estate of Prof. Günter Szkokan: Fine viola by Ferdinand Kugler, Vienna, 1973
  • Old Bohemian / Czech violin, approx. 1930
  • Fine French violin, Andre Coinus, Mirecourt 1927
  • Antique Mittenwald violin, c.1910, inventory of Eugen Gärtner Stuttgart
  • Luigi Lanaro, Padova, modern Italian violin, 1975 (certificate Eric Blot)
  • Jean-Joseph Honoré Derazey: French master violin (certificate Hieronymus Köstler)
  • Contemporary Italian master violin, Virgilio Cremonini, 2012
  • Italian violin, Francesco Cossu, 1979
  • Older Italian violin with a golden sound, 1970's
  • Giuseppe Lucci, fine Italian viola, Rome 1967 (certificate Eric Blot)
  • Modern Italian violin, Piero Virdis, Pattada 2002 (certificate Piero Virdis)
  • 3/4 - German 3/4 master violin, A. Fritsch, 1950
  • Decorated, antique 1850's German Klingenthal violin