The forest of Stradivari


In eastern Trentino, in South Tirol department,  there is a natural park called Panaveggio. In it´s hundreds years old forests you find red spruce with special resonance wood, which was discovered already by famous Antonio Stradivari in 17th century. Thanks to the climate conditions of this altitude and also special composition of soil the trees grow with annual rings very close to each other and absolutely even.

The best sound has „Moon wood“. It comes from trees cut in a period when Moon is in the farthest phase from the Earth. The sap withdraws to the roots and wood is lighter and resonates better. In well preserved forest only trees with height around 45m, age between 150 and 200 years. The annual extraction doesn´t exceed 50m3 and that´s why the wood from this area is so rare and prized among luthiers. They wait for it for years, because demand all over the world highly exceeds the offer. There are only few places in the world where trees with such special features grow. Except the Val di Fiemme we can also name Tarvisio and Latemar. In Germany it would be well known area of Mittenwald or Zakopane in Poland.


Frankfurt musikmesse


The traditional music expo in Frankfurt am Main will be held between April 7th and 10th 2016. More than 30.000 music instruments will be exhibited in seven halls.


Violin from Titanic


Until June 30th 2016 you can see the violin, which was played by the bandleader W. Hartley to Titanic passengers while sinking, exhibited at PVA EXPO Praha. The violin, made in Germany, was in a leather case strapped to his body when found dead in the ocean. Despite the fact being for several days in salty water, the violin is not damaged and was played for many years in the past. In 2013 the instrument was sold in auction for £900 000.


We are on facebook


Dear customers, if you are part of the facebook comunity, we would like to invite you to our profile where you will find more information and news.


Congratulations on Grammy Award


One of our honored customers is also well known doublebass player Mr. Christian McBride who recently won the category „Best improvised Jazz solo“ and received his 5th Grammy Award. Congratulations Mr. McBride.

Photo from his visit in our atelier


Svátky hudby v Praze


On March 22nd 2016 there will be held one of the concerts from XXIV. year of cycle Svátky hudby v Praze, which was founded and is guaranteed by virtuoso Mr. Václav Hudeček. The mission of this musical cycle is to support young beginning artists. Concert named „Od notiček k notám“ will be performed in Pražská konzervatoř.




New atelier


Dear customers, it´s a pleasure to announce that we have moved our atelier to new spaces by the end of the year. The address remains the same, Španělská 6, but you will enter the house by the main door and proceed on the staircase to the first floor.

We are looking forward to welcome you in our new atelier.


Nový atelier





Dear Customers, we would like to inform you about significant change in the organization of our studio from May 1th 2014.
All visits for the purchase, testing and offer of instruments should be arranged with us in advance by phone 603 410 773 or by e-mail:
This is to ensure time flexibility and ideal individual care. Classic opening hours of the shop are hereby canceled.
Thank you for your understanding and we hope that we will be able to find the best way to satisfy your requests.


F.Sollner - the influence of the great Master


Sollner 3Sollner 4


The Influence of the great Master


My work gives me a great feeling every time I meet the instruments from eminent violinmakers from different eras, who are already a part and are inherently inscribed into the history of violin making. Such an instrument is always impressing but never surprising. It is even more pleasant when I meet an excellent instrument from less-known violinmakers, whose instruments are not frequent or rather little occurring.
Francis John Sollner was born in 1848 in Tachov, where he also died in 1908. Being a student of Gabriel Lemböck, he worked in Vienna, London and Budapest. In 1892 he returned back to Tachov, where he was recognized as an expert and an excellent violinmaker. At the present time, he is not very well known for any magnificent feats and his instruments are found only sporadically. That is why his name is often forgotten.
Gabriel Lemböck, on the contrary, was a renowned Master, one of the best violinmakers of his time and is recognized and appreciated even today.
I already came across a Sollner´s instrument, which was distinctive and interesting. However, I did not consider that as conclusive of Sollner´s art. I rather held onto the opinion of Karel Jalovec, who wrote about him in his book "Czech violin-makers ". He writes that although Sollner was hailed in the time he lived, his instruments were not a miracle. I do not fully agree with this opinion now. Although Sollner did not overtake his teacher in the mastery of his instruments, his work had a very good standard. We can discover interesting masterpieces from his workshop particularly among the instruments from his first period, when Lemöck' s impact on him was the strongest.
The instrument presented here was built in Lemböck's workshop in the 1860s. It is provided with initials G.L. on the connection of the lower rib just as all Lemböck instruments. (Sollner later marked his instruments similarly under the base of the bottom plate by his initials FS). It was also common that violinmakers sold some of their instruments as copies of famous Masters. They didn´t sign these instruments by themselves or only covertly. For such instruments, the violinmaker often used the help of his skillful students and assistants and only led their work or eventually finished the important details. Therefore, there is an original copy of the label of Giuseppe Guarneri inside the bottom plate and only after opening the instrument we discovered a very subtle label in place where violinists hold their chin on the top plate. This label only confirms Sollner´s cooperation with Lemböck. Using a burning monogram testifies that Lemböck was not ashamed of this instrument at all, but rather that it was proudly sold as a work of his workshop. These violins were built as copies, including the instrument wear and imitation of the old varnish. Therefore, this varnish differs from the varnish used on most of the other instruments of the Lemböck's workshop. Sollner kept this harder old varnish imitation in the future as well. On the other hand, the head of the instrument is a masterpiece that reminds us of Lemböck all along the line. It is made generously and yet carefully and brings these violins to the level of high quality instruments of that time.
Even when Sollner left Vienna, he took his skills and patterns into other places where he worked. Perhaps if we discover more interesting and good-quality instruments from his workshop, this little-known Master can end up being recognized also today.


Sollner 1Sollner 2




Sollner 7