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


“The finest approach to handling wood”: Hieronymus Köstler


Notes on Hieronymus Köstler, expert for old stringed instruments, restorer and luthier, in Stuttgart, Germany


One of the top addresses in the world of historic instruments is the Stuttgart atelier of Hieronymus Köstler, where valuable violin-making masterpieces have been restored, appraised and traded since 1982. Below is a brief portrait of the Stuttgart expert for historic stringed instruments. At the tender age of 16, Hieronymus Köstler left his home town of Munich to study at the highly acclaimed Violin-Making School of Mittenwald and to learn, as he put it, “no doubt the finest approach to handling wood.” After completing his training as the youngest of his class, he took up his trade and diligiently applied himself to becoming a master in restoring historic stringed instruments. Two years later he had become a journeyman under Max Möller in Amsterdam, and following that he took the plunge and went to London, one of the foremost cities for trading historic instruments. There he spent four years at the famous atelier of J. & A. Beare Ltd.

Upon returning to Stuttgart, Hieronymus Köstler found the ideal environment for opening his own business. A mere four years after his studio was founded, there were ten journeymen in his employ, and he made his way into the small and exclusive circle of internationally renowned experts in restoring and appraising older stringed instruments. Köstler's appraisals enjoy the utmost confidence among musicians, collectors, merchants and investors around the world. It is obvious that violin expert Hieronymus Köstler's work as an appraiser is enhanced by the specialist knowledge and practical experience he gained as a violin maker and restorer. But the inverse is true as well: his finely-honed sensitivity as an expert informs the hands-on work he does on instruments. One of his guiding principles is not to allow the original to be altered by the restoration. If original wood is present, none of it should be removed: this means that any corrective procedure can be reversed if it turns out not to be ideal. Such strict and carefully considered standards have not only benefited the valuable historic instruments that are restored in Hieronymus Köstler's atelier – they also serve the many journeymen well who perfect their craft there.


Hieronymus Köstler · Hohenzollernstraße 16 · 70178 Stuttgart · GERMANY
Phone: +49 711 601 602

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New arrivals in our catalogue
  • SALE French violin,Charles Simonin, approx. 1860
  • Mario Gadda: Italian violin suitable for soloists, 1985 - radiant tone
  • NEW SOUND SAMPLE: Contemporary Markneukirchen master viola, Jochen Voigt, 1982, for soloists
  • Fine and excellent Cello bow. Copy of Eugene Sartory, Markneukirchen, 1910/1920
  • Antique violin. Modeled after Stradivarius approx. 1900
  • Markneukirchen violin by C. A. Götz, 1937
  • Old Markneukirchen 3/4 violin, c.1940
  • Old Markneukirchen violin with a warm sound, 1930's
  • Antique lion head violin from Saxony
  • SALE Fine antique French 3/4 sized violin, noble sound
  • Italian violin, Raffaele Calace e figlio 1929
  • German violin bow. Very good playing qualities
  • MARMA, silver violin bow after Sartory, approx. 1920
  • WORKED OVER AND IMPROVED: Old Italian violin, Stefano Caponetti (certificate Christian Lijsen)
  • Antique German violin after Stainer, c.1910
  • Contemporary English violin, Elspeth Noble 1991 - Guarnerius model
  • Fine 18th century violin, Klotz circle, approx. 1790 (certificate Hieronyms Köstler)
  • Contemporary Italian violin by Giovanni Lazzaro, Padua 1990
  • 18th century English violin, approx. 1760. Probably by James Preston
  • Cristiano Ferrazzi. Italian violin op. 120
  • Viennese master violin, c.1910
  • Giulio Cesare Gigli, fine 18th century Italian violin, approx. 1760 (certificate Etienne Vatelot)
  • Antique Mittenwald violin, Neuner & Hornsteiner, approx. 1900 (certificate C. Sprenger)
  • French violin. Probably J. T. L., after J. B. Vuillaume