KABINGER, JACOB
Worked at Budapest from 1846. Migrated to Russia. Died at Kiev, 1876. Powerful looking violins, broad modelled, and plentifully wooded. Firmly posed and finely chiselled scroll. Sound-holes of truly graceful sweep. Workmanship and varnishing accomplished by a maker who loved his theme and was master of it.
--------------------
Jakob Kabinger
in Pest, 1857
-------------------
KAGLE, C. M.
Established at Spokane (U.S.A.), 1925.
KAHLER, FRANZ
Worked at Langfuhr (near Danzig), 1850-1862. Fair work.
KAHLER, F. E.
Born at Washington (D.C.), 1907. Violinist and saxophonist. Worked at Arlington, 1943. Strad and Guarnerian modelling, but with little divergencies of his own, showing commendable personality. Also notably nice amber oil varnish. Tone not impressive, but certainly remarkable and responsive, and should quickly mature.
----------------------------------
Hand made by:
Frederick Kahler
Violin Maker and Repairer
862, Nor. Edison St.
Arlington. Va.
---------------------------------
(with signature)
KAHLER, JOSEPH
Worked at Schonbach (Bohemia), 1925.
KAIML, FERENCZ
Worked at Budapest, 1870-1915.
KALIES, JOHANN HEINRICH
Born 1767. Worked at Lbeck. Died 1814.
Intricate gamut of details traversed with pronounced success.
KALLER, JOHANN
Bow maker at Drngrn (Bohemia), 1915.
KALTENBRUNNER, KARL R.
Born 1878. Worked at Vienna, 1919. Not any particular grandeur of style, but several details to be appreciated. Varnish and tone completely convincing. 80, 1960.
--------------------------------
K. Richard Kaltenbrunner
fecit Viennae. Anno 19. .
--------------------------------
KAMBL, JOHANN ANDREAS
Born 1699. Died 1781. Instrument maker to the Bavarian Court, Munich.
Amatese outline considerably imprinted on this modelling, but the medium high arching and the long shallow middle bouts rather touch on the traditional Bavarian style. Whole contour inclined to be unique. Scroll not fascinating, but characteristic of the period. Workmanship always well finished. Sound-holes not beautifully graceful, but they have character. Finely textured orange red varnish near to the Cremonese. Tone not always satisfactory in rapid passages, and (though fairly full) sometimes hard and unresponsive in sustained playing. 30 (1932). 80, 1960.
---------------------------------------
Johann Andreas Kmbl
Chrfrstl
Hof Lauten und Geigenmacher
in Munchen. 1740
---------------------------------------
KAMBL, JOHANN CORNELIUS
Worked at Darmstadt and Munich, 1635-1660.
KAMINSKI, J.
Worked at Vilno (Poland).
KAMPFE, KURT
Worked at Markneukirchen. Died 1928.
KAMPFFE, ALBIN
Born 1866. Pupil of Kessler. Worked at Markneukirchen, 1890. Died 1949. Good Italian, Tyrolean and French copies.
---------------------------
Albin Kamffe,
Geigenbaumeister
in Markneukirchen.
Fecit anno 19- Copie.
---------------------------
A.K.
1890
(decorative border)
KANAMULLER, FRANZ
Amateur at Obernzell, 1820. Excellent Klotz modelling, neat edging, well cut sound-holes, smallish but well posed scroll, and deep brown varnish.
KANDELHARDT, ROBERT
Born at Oldenburg (Prussia). Pupil of Paulus. Succeeded his father, Franz, 1893. Gold Medal, 1905.
KANDLER, LAURENZ SEBASTIAN
Worked at Nrnberg (Bavaria). Violins and cellos of interesting style. Very artistic sound-holes. Scroll of full swing, tonal quality rather unsatisfactory.
----------------------------------
Laurenz Seb. Kandler.
Lauten und Geygenmacher.
Nrnberg, Anno 1793.
----------------------------------
(also signature)
KANIGOWSKI, F.
Worked at Warsaw, 1840-1850. Violinist in the Symphony Orchestra at Kiev. Stradivarian modelling in French style. Ordinary workmanship, varnish and tone. Name sometimes given as Konigowski.
-----------------------------------
Fridericus Kanigowski
Correxit Varsaviae an: 1848.
-----------------------------------
Some excellent (though perhaps rather heavy) bows bear his name.
KANNICH, MICHAEL
Worked at Warsaw, 1890-1926.
KANTUSAR, JOZE
Born at Loutomer (Serbia), 1923. Won Diploma at the Mittenwald School of Violin making, 1949.
KAPLAN, LADISLAV
Born in Moravia, 1874. Worked at New York, 1893. Established at South Norwalk (Conn.), 1929. Head of the Kaplan String Co. First violin dated 1895. Subsequently produced more than 100. Generally Strad modelling but with own principles of thicknessing. Excellent textured varnish of own formula, golden yellow and orange shades.
Also several violas (body length 17 inches) of superb workmanship, built in such a way as to guarantee a glorious future in tonal quality. A few have received careful attention from viola artists.
---------------------
Ladislav Kaplan
South Norwalk
Conn. U.S.A.
--------------------
(with photo)
KARASS, JOHANN
Worked at Dresden. Maggini modelling, double purfling. Sound-holes of distinctive type, splendid workmanship, orange red varnish.
---------------------------
Johann Karass
Dresden, Anno 1849.
---------------------------
KARAKIYA, SHOTEN
Established at Tokyo (Japan), 1925. Native stringed instruments, also violins and cellos.
KARCHER, STEFAN
Born at Sombor (Serbia), 1914. Excellent copies of a Strad (dated 1709). Reddish brown spirit varnish.
---------------------------------------
Stephanus Karcher filius Garoli
Somborensis
Faciebat anno 1946. Op 4.
---------------------------------------
KARG, GREGOR
Worked at Konigsberg (Prussia). Lutes and viols often richly decorated.
---------------------------------
Gregorius Karg
in Konigsberg Anno 1693.
---------------------------------
KARLSSON
see CARLSON.
KARLSSQN, ANDERS PETTER
Born 1848. Amateur at Mlnbo (Sweden). Died 1930. Fair work.
KARLSSON, KARL GUSTAV
Born 1889. Worked at Stockholm.
KARLSSON, KARL THORSTEN
Born 1903. Amateur at Sundvall (Sweden).
KARLSSON, WILHELM
Born 1896. Amateur at Lindefallet (Sweden).
KARLSTRM, FRANS CONRAD
Born 1863. Amateur at Kiruna (Sweden). Won silver medal at Stockholm, 1925.
KARNER, BARTOLOMEWS (1)
Worked at Mittenwald, 1714-1752. Modelling much in the style of Klotz, and slightly under full size. Workmanship not scarcely commensurate in neatness with the excellent outline. Brown or deep red brown varnish.
-------------------------
Bartolmews Karner
Geigenmacher in
Mittenwald, 1730.
------------------------
KARNER, BARTHOL (2)
Worked at Mittenwald, 1750-1797. Similar outline and arching to the previous maker, but occasionally a model somewhat after Stradivarius. Workmanship on the whole, more satisfactory. Same shade and quality of varnish. Frequently strong grain spruce. Very clear tone and reasonable fullness. 30. 70, 1960.
--------------------------------------
Barthol; Karner in Mittenwald,
an der Iser, 1784.
--------------------------------------
(decorative border, italicised lettering)
KARNER, GEORG
Pupil of Georg Klotz. Worked at Mittenwald, 1790-1800. Instruments having all the virtues of the Bavarian school. Careful workmanship, tonal quality of moderate power. 60, 1960.
------------------------------------
Georg Karner in Mittenwald,
an der Iser. 1795.
------------------------------------
(decorative border - italic lettering)
Sometimes the a in Karner appears like an O doctored to look like an a.
KARNER, JOHANN GEORG
Worked at Enns (Austria), 1810-1830. High modelling, mediocre workmanship, wood often worm-eaten. Yellow brown varnish.
-------------------------------------
Johann Georg Karner.
Geigenmacher in Enns, 1810.
-------------------------------------
KARNER, JOSEPH
Little known.
--------------------------------------------
Joseph Karner
Geigenmacher in Mittenwald, 1752.
--------------------------------------------
KARNER, STEPHAN
Worked at Mittenwald, 1835-1843. Klotz like modelling of nice breadth and freedom. Often pretty wood covered with a fairly rich oil varnish of brownish shade. 65, 1960.
KARR, ALBERT H.
Born 1885. Worked at Bloomington, Chicago, and New York. Settled at Kansas City, 1925. Subsequently moved to Independence (Mo).
Splendid modelling after Strad and Guarnerius. Workmanship of every detail preeminently neat. Very satisfying tone from all his 500 instruments. Clear and finely textured varnish, red and reddish brown.
Perfectly balanced and well finished bows. Also a fully equipped technician on the violin.
KASPAR, M.
Viol damour known, richly ornamented in ivory and mother of pearl, fantasy head of a Moor.
------------------------------
Matheus Kaspar fecit
Anno 1737. Dusseldorf.
------------------------------
KASSLER
see KESSLER.
KASTL, F.
Worked at Heilbrnn (near Stuttgart). Ordinary work.
-------------------------------------
Franz Kastl Geigenmacher
in Heil Brunn im Jahre, 1756.
-------------------------------------
KAUDEZKY (KOUTECKY), FRANZ
Worked at Marburg (Germany), 1797-1842. Modelling rather similar to the Joseph Guarnerius-son-of-Andrea. Very effective reddish brown varnish.
----------------------------
Franz Kaudezky
in Marburg. An, 1807.
----------------------------
KAUFMANN, HEINRICH
Carpenter. Resident at Cham (Switzerland), 1840-1850. Excellently built double basses, modelled in the Klotz style, warm dark yellow varnish, splendid tone.
KAUL, PAUL
Born at Mirecourt, 1875. Apprenticed to Thibouville-lamy. Worked for Silvestre and Maucotel at Paris 1900-1905. Established at Nantes, 1907. Also lived for short periods at Ancemis, Hyeres and Cannes. Finally, at Paris, 1928. Various models inspired by the Maggini, Amati, Stradivarius, Stainer and especially Guarnerius. All very artistically and scientifically constructed.
Golden fawn to red brown shades of splendidly transparent varnish. Tonal quality endowed with that healthiness indissolubly united to future grand maturity. Also built violins on the Chenantais (see this name) principles.
------------------------------------
Paulus Kaul ex Silvestri faber
in Namnetium urbe fecit.
Anno No.
------------------------------------
(border of sound-holes)
------------------------------------------
Paul Kaul
Ancenis An, 1923.
Le Porpora
Modle que jai cr specialement
pour Lucien Capet. 44.
-------------------------------------------
Popora, famous old Italian composer of violin sonatas. Capet, one of the finest of French violinists, noted for his classical renderings and teachings. Other names similarly associated with some of his productions.
Author of Italian Idolatry (1908), The Feud between the Ancients and Moderns (Nantes, 1928), Paul Kaul and the renaissance of violin making (Leyde, 1934).
KAYE, JOSEPH
Born 1866. Resident at Pittsburgh (Pa). Produced 150 violins up to year 1940. Generally Guarnerian modelling (with a few modifications). Oil varnish, yellow to orange and light red to red brown. Also accomplished artist-painter.
KEEBLE, JOWETT R.
Born at Aylesbury, 1867. Resident at Cirencister, 1924. Spent twenty or more years experimenting with varnish in relation to continuity of tone. To arrive at a basis of construction so that chance is eliminated (so far as humanly possible) and good tone obtained with certainty has been his enthusiastic endeavour. Formula as follows: -
Leave a little more wood in the tables than given in most text books. Leave the bass bar deeper than usual but shorter, 8-1/2 inches being quite long enough, depth of ribs, 1-1/2 at bottom and slightly less at top. Finish instrument entirely in the white, string, test it. If the tone continues like a piano with loud pedal down, dont touch it, if not, take a scraper and work from purfling towards centre, taking a very little off the back, with an occasional touch round the belly until this effect is obtained. To retain this tonal freedom after the varnish is applied, prepare the wood so that the varnish cannot penetrate the pores. Size and prepare by soaking a few shreds of saffron in half a teacup of water, until all the colour is extracted - add this to the white of one egg, froth it with a whisk allow it to settle, then filter through muslin, add half a teaspoon full of olive oil and properly mix.
After well sandpapering, apply a small quantity of olive oil on a rag and well rub it in, this is only to make the grain of wood show up nicely, and must not be over done, then give two coats of the above size, allow two hours or so between the coats, and see the effect, if it appears nicely covered, then a good varnish may be applied solely as an ornament, the tone will not be affected to any noticeable extent.
Model of his own creation is a composite one, Stradivarian outline and Amatese sound-holes. Varnish varies with the whim of the moment, all prepared by himself.
KEENAN, EDWARD
Born 1876. Established at Dublin. Modelling principally after Stradivarius, but occasionally Guarnerius, artistic contours. Everyhing of bold and robus character, proportions large and broad. Graduation of plates indicates scientific knowledge. Scroll full of muscular power, thrown slightly backward, arrogantly dignified, but of free grace and beautifully rounded.
Perhaps evolved a little too much for some critics, and being fringed with black edging seems to make its masculinity more obvious. Sound-holes rest negligently, yet finely and vigorously drawn. Purfling also excellent, being rather darker than usual, shows up all the more. Exercised considerable judgment in quality and figure of wood. Yellow brown varnish. Tone singularly free, particularly full and resonant, and near approach to solo mellowness. Splendid future. Made some violins from native woods but tonal result lacked uniform quality.
-------------------------
Made by
- Edward Keenan -
Dublin
Anno. 1918.
-------------------------
(with signature across a black ground)
KEFFER, FRANZ
Worked at Reiterndof and Ischl (Austria), 1793-1822. Modelling rather exclusively dwelling on the side of the Mittenwald school, except the exaggerated scroll. Fair workmanship and brownish varnish of dark hue. Moderate tonal quality.
-----------------------------------------
Franz Keffer, Geigen und
Lautenmacher in Ischl, Ao: 1806.
-----------------------------------------
KEFFER, JOHANN (1)
Worked at Ramsau (Austria), 1781. Backs and scrolls generally of beech and pear wood. Tonal quality not too limited in strength or mellowness.
KEFFER, JOHANN (2)
Worked at Goysern and Ischl, 1760-1810. Generally medium arching with Stradivarian outline, occasionally flatter and larger. Scroll conflicts with the contour, not having a natural swing or any nice curvature. Reddish yellow, brownish yellow and darkened varnish. Excellent wood, tonal quality often agreeably resonant.
Also violas of pleasant tone.
------------------------------------------------
Joannes Keffer, Geigen und
Lautenmacher in Goysern, Anno 1787.
------------------------------------------------
----------------------------------------------------
Joannes Keffer, Geigen und Lautenmacher
In ischl, Anno 17-
----------------------------------------------------
Sometimes branded on back under button. Some instruments anti-dated 100 years.
KEFFER, JOSEPH (1)
Worked at Ramsau (Austria), 1725-1742. Broad modelling, ugly uppish shoulders. Straightish sound-holes not incongruous with the entirely inartistic structure. Smooth but dull varnish of dark yellow shade. Workmanship not bad, but far from neat. Tonal quality rather blatant, sweetness nil. No label. Branded J.K. on button, also on upper block inside. Several good toned violas have been attributed to him.
KEFFER, JOSEPH (2)
Born 1739. Son and pupil of the preceding. Worked at Goysern. Died 1813. Violins which preserve rational symmetry, consequently less offensive to players who generally have a dis-relish for anything Tyrolean. Varnish relatively excellent.
-----------------------------------------------
Joseph Keffer Geigen und
Lautenmacher in Goysern, Anno 1766.
-----------------------------------------------
KEFFER, MATHIAS
Worked at Goysern, 1728-1740. Modelling not especially propitiatory though of good workmanship, small headed scroll, straight, long sound-holes with extremely small apertures, reddish brown varnish, and not a particularly free tone.
------------------------------------
Mathies Keffer, Geigen-und-
Lautenmacher in Gaysern.
Anno 1737.
-----------------------------------
KEIFER, JOHN P.
Worked at Hamilton (Ohio), 1910-1926. Excellently toned violins. Nicely balanced bows.
KEITH, CHARLES R.
Resident at Tarrytown (New York), 1918-1930.
KEITH, STANLEY J.
Born 1891. Cellist at the Eastman School of Music, Rochester. Initiated in violin construction by Goodwin and Sacconi. Resident at Fresno (Calif.) Violins, violas and cellos of irreproachable workmanship, splendid copies of celebrated Strads and Guarnerius. Finest procurable woods and excellent varnish of own formula. Also bows, admirable copies of the French artistry.
--------------------------
Stanley J. Keith
No. 19.
Rochester, N. York.
--------------------------
(square design on left)
-----------------------------
Stanley J. Keith
Violin and Bow Maker
No. . . 19. .
Fresno. California.
-----------------------------
(round design)
KELBY, H.
Worked at Edinburgh, 1880-1902.
KELBICH
see KIELBICH.
KELLE, SEBASTIAN
German, Worked at Cremona, 1690-1720. High arching, structures by no means obedient to Cremonese style. Not inspired work. Tonal quality never timid, but often indelicate.
------------------------------------
Sebastianus Kelle
fecit Cremonae, Anno 1697.
------------------------------------
KELLER, JOHANN
Born 1894. Worked for Max Dlling at Markneukirchen. Established at Landwuest, 1920. Assisted by son Johann (born 1919). Excellent copies of standard models - workmanship esteemed, frequently felicitous tonal quality.
KELLER, PHILIPP
Born 1868. Worked at Wrzburg (Bavaria), 1896-1926. Stradivarian modelling with no derogation from the perfectness of the original. Also specimens of individualistic outline and plates attuned on the Grossman theory. Golden yellow or golden red oil and spirit varnishes. Finely, full tone, sonorous and rather mellow.
----------------------------------
Phil. Keller.
Knigl: Bayer. Hoflieferant.
Wrzburg, gegr. 1832.
Verfertigt 19. . Nr. . .
---------------------------------
(Bavarian coat-of-arms on left)
Also branded with a facsimile of signature.
KELLER, VINZENZ
Born at Schonbach, 1865. Worked at Drngrn, Bohemia. Died 1936. Customary modelling of classical types.
KELLERMANN, M. G. S.
Born at Hohenziatz (Saxony), 1851. Cellist. Worked at Zerbst, 1897-1926. Italian modelling, oil and spirit varnish, usually of yellow shade.
-------------------------------
M.G.S. Kellermann.
Hofinstrumentenmacher.
Zerbst (Anhalt), 1897.
-------------------------------
KELLEWAY, A. ERNEST
Excellent modelling (mostly Stradivarian); oil varnish of various shades.
-------------------------
Arthur E. Kelleway
Violin Maker
Southampton
No. 10. 1914
-------------------------
KELLIE, W. C.
Born at Creetown (Scotland). Cabinet maker. Went to Australia, 1912. Settled in Canterbury (Victoria). Ultimately had a craze for making violins, violas and cellos, also bows. Succeeded in making attractive specimens, 1949, enhanced by a so-called secret varnish by a local enthusiast named Charles Levett.
KELMAN, JAMES
Gardener at Auchintoul (Scotland), 1884-1896. Stradivarian design of average amateur workmanship. Spirit and oil varnish.
------------------------------------
Made by James Kelman
Auchintoul, Banffshire, 1892
------------------------------------
KEMPTER, ANDREAS
Born at Lechbruch (Allgau), 1706. Worked at Dillingen (Bavaria), 1725-1786. Many instruments are high arched similar to the Stainer style, but of slightly broader proportions. Not a prepossessing model by any power of imagination. Others of an Amati outline and medium high arching, the better instruments of the two. Scrolls always well cut and well poised. Some have lion heads of careful carving. Purfling more neat than usual with Bavarian makers. Two shades of varnish, yellow-brown, and pale red, of excellent texture but thinly applied. Nicely responsive tone, rather mellow, but without power and brilliancy. 20.
-----------------------------------------
Andreas Kempter
Lauten und
Geigenmacher in Dillingen, 1760
-----------------------------------------
(sometimes two lined)
Some labels in German lettering, others in ordinary type; name sometimes spelt Kembter. Splendid violas, often too large for players to easily handle. Cellos always flat modelled, tone of fine sonority. Many viol damours with fantasy heads, back and front richly ornamented. 80, 1960.
KENDLE, PHILIP
Worked at Hereford, 1820.
Ordinary structures with equivocal fruition of tone.
KENNE, CASPAR A.
Resident at Whitemore (Iowa), 1926.
KENNEDY, ALEXANDER
Resident at Wallsend on Tyne, 1910-1924.
Modelling of certain originality, golden yellow varnish, excellent tone.
--------------------
A. Kennedy
Maker
Wallsend, 19. .
--------------------
KENNEDY, ALEXANDER
Born in Scotland, 1699. Worked in London, 1730-1785. Had the then invariable propensity for copying the high built Stainer model, but managed, also, to get a slight touch of the Italian. Avoided the Stainer tubbiness usually associated with English makers. Scroll, though rather small, shows his acute perception of the artistic, also his general fineness of feeling adds charming delicacy to the sound-holes.
Purfling altogether superior to anything accomplished by contemporaries. Edges nicely finished. His fine intent and sensibility of mind gave distinction to whole contour. Wood frequently very handsome. Good looking spirit varnish of brownish yellow shade, not particularly transparent, and thinly applied. Refined workmanship, exterior and interior. Tonal quality generally mellow, and of fair strength. Early instruments not labelled, many being sold to other makers. Earliest dated instrument is 1743. No doubt several have been re-labelled with other names, far more influential. 30 a safe speculation.
-------------------------------------
Made by Alexander Kennedy
In Oxford Market, London
July 10th, 1747
-------------------------------------
-------------------------------------------------
Alexander Kennedy, musical Instrument
maker, living in Market Street, in
Oxford Street, London. 1749
-------------------------------------------------
Some instruments signed twice inside. Name sometimes signed neatly with pen and ink on the surface of corner block. 75, 1960.
KENNEDY, JOHN
Born in London, 1730. Nephew and pupil of Alexander. Worked first in Coopers Gardens, then at various addresses, finally in Moorfields. Died 1816.
Had not the indubitable marks of talent belonging to Alexander and Thomas. Chiefly made cheap violins for dealers. Having but very ordinary ability, he failed to build the very much arched Stainer pattern to anything beyond what is now known as the commonplace old English violin of superficial structure, sold at the trifling sum of 10. Invariably light reddish varnish. Also produced a few violas. Signed J. Kennedy.
KENNEDY, THOMAS
Born in London, 1784. Son and pupil of John. Worked with Thomas Powell and William Forster. Established own workshop first in Princes Street, Westminster, and afterwards in Oxford Street. Died 1870.
Many instruments (somewhere near 2,000 came from his hands) splendidly neat in workmanship. Good and attractive wood, fine acoustical belly wood. Tone of quite excellent sonority and fair power. Worth at least 35, though none are of uncommon brilliancy and magnitude of conception. Used various shades of yellow varnish, sometimes very lustrous, other times of dull transparency. Usually accounted the best maker in the family.
But from an unsettled habit of life, and a neglect of the rules of prudence in money matters, he occasionally plunged himself into the unsatisfactory chaos of making instruments hurriedly for a quick return of cash. The consequences have proved fatal to his reputation, for a large number of these second rate specimens are marketed about. Violinists, when they play on them, are not ambitious of purchasing them, owing to the dullness of tone (often harsh and metallic) and the various concomitants that go with careless workmanship. Therefore we are glad to note that his volatile genius did produce others that offer a more pleasing prospect, and show all the laudible sincerity of a conscientious worker.
Some violins have birch backs. Early violas often very splendid in tone. Period 1812 to 1816, before his enthusiasm was dimmed by commercial necessity. Modelling almost as refined as the Amatis he copied with a few modifications. Also produced about 300 cellos. Many of these have Amati characteristics, of very attractive outline, and beautifully varnished with a transparent yellow shade. Made various experiments with textures of varnish, and did not always come through with successful results. Good examples 80, cellos 100, 1960.
----------------------------------
Thos. Kennedy
Maker
364 Oxford Street, London
----------------------------------
Frequently signed {Thos. Kennedy London} in ink above the tailpin.
Some authorities state that he did not date any instruments after 1849, but we have seen one bearing the label:
--------------------
Thos. Kennedy
Londini. 1860
--------------------
Also a cello to our notice, with the following written label:
-------------------------------
Thomas Kennedy
Stratford-on-Avon. 1837
-------------------------------
Very well made, neat purfling, excellent corners, reddish varnish crackled. Quite possibly the work of the Londoner whilst taking a holiday.
KENYON, ALBERT
Born 1895. Educated Elementary School, Bradford; Carlton Secondary School (now Carlton Grammar School); Regional College of Art, Bradford, 1913-1917 and 1920-1922. Holds College Diploma of Art and College Associateship. Now engaged chiefly as an architectural and scenic model maker having made models for some of the largest industrial concerns in the country. Worked as a violin repairer since 1948.
KPSZELY, JOHANN
Worked at Besztercze-Bnya (Hungary), 1864. Won medal at Budapest, 1885.
KERKOWITZ, FRANZ
Worked at Neutra (Hungary), 1785-1810. Violins and cellos, contour and sound-holes reminding of the Maggini. Robust edges, very deep grooving. Yellowish brown greasy varnish, generally full of so-called brush marks, presumably dried too quickly. On account of the antique appearance, his work has often erroneously been put as of 17th century.
KERLINO, JOANN
Worked at Brescia, 1449-1493. Assumed that he came from Brittany as many family names there commence with Ker. Probably founder of the Brescian school. Made rebecs and viols of all varieties. One violin known (probably transformed from a small viol), which some historians have suggested as being the first to resemble the present form. Four strings, very much arched, soft but muffled tone.
-------------------------------
Joann Kerlino ann. 1449
-------------------------------
KERN, HERMANN AUGUST
Born 1873. Worked at Markneukirchen. Subsequently lived at various towns. Little known work.
KERR, WALTER
Native of Liddesdale (Scottish border). Enthusiastic amateur violinist. Resident at Maggini House, Newcastle-on-Tyne, 1890-1916. Acquired thoroughly theoretical and practical notions concerning violin structure. Imbued with the high sentiment of imparting (supplemented by skilful craftsmanship in accurate proportions), part of his own magnetism, individuality, and eschewed all fads and new discoveries. Accomplished much in this direction, and his instruments should have a prosperous future. Workmanship completely artistic though not over refined. Covered with a rich, transparent, brilliant, and elastic oil varnish. Tonal quality of ready speech and far carrying power.
-------------------------
Walter Kerr
Brandling Park
Newcastle-on-Tyne
-------------------------
KERSCHENSTEINER, FRANZ XAVER
Born 1869. Worked at Regensburg (Bavaria). Excellent musician as well as maker. Built a good number of much appreciated violins. Faultless workmanship. Brilliant and transparent oil varnish.
---------------------------------
Frz. Xav. Kerschensteiner
fecit Ratisbonae
Anno 1918
---------------------------------
(beautifully scrolled)
Regensburg Shield on the left - two keys (crossed) and M.P. on right.
KESHAMER, FRANZ P. J.
Worked at Strassburg, 1771-1796. Violins with German traits predominating. Steep scroll, scalloped and pointed towards the back. Uniformly wide sound-holes, but non-uniform end points. Brown varnish. Moderate tone in quality and quantity.
------------------------
Franz Keshamer
in Strassburg, 1789
------------------------
KESSEL, ANTON
Worked at Breitenfeld (Saxony), 1890-1895. Violins largely exploited by Haynes and Co., London. Catalogued at four guineas. Somewhat original model based on the Guarnerian. Arching rises very slightly from the purfling. Perfect contour, full margins and ribs, the whole having an artistic aspect of solidity. First rate workmanship, very handsome wood, excellent golden brown varnish, pleasing tone. Also cellos of similar model.
---------------------------------
Anton Kessel
Geigenmacher. Breitenfeld
---------------------------------
Produced guinea bows - stamped Anton Kessel.
KESSEL, M. J. H.
Factory at Tilburg (Holland), 1880-1940. Many workmen engaged to make stringed instruments for export to all parts of the world.
KESSLER, ALBIN W.
Worked at Frankfort-on-Main. Died in 90th year, 1845.
KESSLER, CARL WILHELM (1)
Born 1832. Worked at Markneukirchen. Died 1905.
KESSLER, CARL WILHELM (2)
Born 1860. Worked at Markneukirchen. Died 1907.
KESSLER, CHRISTIAN FRIEDRICH
Born 1774. Died 1850. Worked at Markneukirchen. Branded C.F.K..
KESSLER, CHRISTIAN GOTTFRIED
Born 1800. Worked at Markneukirchen. Died 1869.
KESSLER, CHRISTIAN GOTTFRIED
Established at Markneukirchen, 1882-1925. Specialist in good grade violin and cello bows. Stamped C. G. Kessler.
KESSLER, DIETRICH
Born in Zurich (Switzerland) 1929. Trained at the Swiss Violin Making School at Brienz. Came to England in 1950 where he entered the workshop of Arnold Dolmetsch Ltd. at Haslemere where he remained until the end of 1952. Entered the employment of Albert Arnold Ltd. of London, as a repairer. Made Viola da Gambas in spare time, and made one especially for the Coronation of Queen Elizabeth II, having for its head-piece a carving depicting the uncrowned head of the Queen. Appropriate design carried out on back and sides of peg-box incorporating the Tudor Rose, thistle, daffodil and shamrock. Modelled on Louis Guersans instruments. Also made treble viols, quintons, double-basses, and violins. Used woods imported from Switzerland. Beautiful workmanship altogether. Not all instruments are labelled. Established own workshop at Highgate, London, 1959.
------------------------------
Dietrich M. Kessler
of Zurich
No. 6. LONDON 1953
------------------------------
KESSLER, ERNST
Born at Markneukirchen, 1856. Pupil of A. Voigt and Lugwig Otto. Worked for Riechers at Berlin. Established own workshop at Charlottenburg (suburb of Berlin), 1882. Appointed, after the demise of Riechers, principal repairer to the Hochschule, where his work was largely patronised by Joachim. Still actively employed 1925. Proclivity led him to copy the first period Stradivarius in outline, length, and width; but arching is slightly more developed. Attempted no eccentricities, consequently his instruments will go to the future as evidence of exquisite, and in some respects, almost unnapproachable beauty of design and workmanship. Wood altogether effective as regards appearance, also well seasoned, and finely acoustical. Tonal quality has disadvantage of being temporarily new, but is brilliant and sonorous. Application, texture, and shades of varnish completely splendid.
-----------------------------
Ernst Kessler. Berlin
fecit anno 1927. No. . .
-----------------------------
(E.K. double-circled on right)
----------------------
Ernst Kessler
E. K.
fecit Berlin 1899
----------------------
Sometimes branded E.K. Others stamped Joachim Stipendium. Recipient of several medals and decorations. Name also associated with a large productivity of artist bows.
KESSLER, ERNST JOHN
Son and pupil of Ernst. Born at Berlin, 1885. Assistant in fathers business. Met with great encouragement, in 18th year, from Joachim.
KESSLER, GEORG ADAM
Born 1746. Died 1808. Worked at Markneukirchen. Very high modelling, commonplace workmanship, sometimes signed Kessler.
KESSLER, HEINRICH
Born at Markneukirchen, 1853. Son of Heinrich Adolf. Pupil of Hammig at Dresden. Worked with Padewet at Carlsruhe. Established at Mannheim, 1880. Appointed repairer to the Grand Duke of Baden, 1888. Some violins of excellent modelling, fine exactitude of proportions, and effectively varnished. Others less analogous with artistry as though built for dealers. Rewarded with Exhibition medals. Retired from business, 1919, and produced subsequent instruments amidst rustic surroundings.
-----------------------------------
Heinrich Kessler fecit
Mannheim. Anno 19. . H+K
-----------------------------------
KESSLER, HEINRICH ADOLF
Born 1865. Worked for Hammig at Leipzig. Established at Markneukirchen, 1891.
KESSLER, HERMANN ADOLF
Born 1869. Established at Wiesbaden, 1898-1925. Stradivarius and Guarnerius modelling. Oil varnish.
---------------------------
Hermann Ad. Kessler
Geigenbauer
Wiesbaden 19. .
---------------------------
KESSLER, JOHANN GEORG
Born 1735. Died 1801. Master in the Violin Makers Guild at Markneukirchen, 1756. High arched model after the Stainer style. Yellow-brown varnish. Frequently fancifully carved heads.
-----------------------------------
Johann Georg Kesler
Violin und Lautenmacher
erfunden von Stainer, 1759
-----------------------------------
KESSLER, OSCAR
Established at Schneidemhl (Germany), 1908-1925.
KESSLER, PAUL
Born 1879. Worked with brother Ernst at Berlin. Established at Markneukirchen, 1908. Died 1931. Excellent productivity of violins and cellos.
KESSLER, WILHELM ALBIN
Born at Markneukirchen, 1856. Worked with Lenk and Noebe. Established at Frankfort-on-Maine, 1897. Died 1945. Stradivarian modelling, outline finely conceived and worked with the greatest readiness, equal facility in the arching. Nothing hampered his hand in the cutting of the scroll. Sound-holes correspond to the character of the outline. No irregularity whatsoever, in the purfling. No carelessness displayed within. Orange shade of oil varnish, fully transparent and very luminous. A generally expressed opinion is that these already fine toned instruments will, by and by, be sought for and regarded as exquisite solo violins.
KESSLER, WILHELM AUGUST
Born at Markneukirchen, 1860. Son and pupil of Heinrich. Established at Mannheim, 1883. Died 1917. Outline assumes a somewhat modified Stradivarian aspect, also the arching. Sound-holes very original, Guarnerian stem with Amatese upper and lower curves, particularly the latter. Tonal quality very flexible and sonorous. Spirit dissolved in oil, varnish, claimed to be his secret. Recipient of several medals.
----------------------------
W. Aug. Kessler Jr.
Instrumentenmacher
Mannheim fecit 1887
----------------------------
------------------------
W. Aug. Kessler jr.
Geigenbauer
Mannheim 1895
------------------------
(decorative border)
With reproductions (both sides) of gold medals.
KETTERER, F. M.
German maker at Jekaterinburg (Kasan, Russia), 1888.
KEUWEZ
Amateur at Namur (Belgium), 1920. Constructed several well made violins on principles of his own concerning the affinity of back and belly for tonal sonority.
K. F.
see FRIEDEL.
KIAPOSSE, SAWES
Worked at St. Petersburg, 1740-1760. Built instruments in the Russian style, back and front worked off straight to the margins, and rounded with the sides, no edge whatsoever beyond the joints of the middle bouts. This bevelling propensity never did nor never will, supersede the usual mode of edges, no matter how fine the workmanship may be. Even Kiaposse, good worker as he was, did not succeed in establishing an attractive form, moreover, the whole ideal is technically imperfect. Whole appearance looks rustic and undeveloped, though not actually so in this case. Long model. Corners remind of the beak of a bird, personification of ugliness. Back and front plates thinly constructed, ribs quite thick. Varnish of fair texture, dark brown on a yellow ground. Nothing outstanding about the scroll, nor the small and strangely shaped sound-holes. though the workmanship shows traces of a master-hand. Proportions technically accurate according with the peculiarity of the structure. Thinnish tone, metallic and nasal, all just as might be expected. Whilst such productions may have their value, and doubtless their use, in Russia, among common dance players, etc. they have no claim to be considered in the same class as ordinary violins.
------------------------
Sawes Kiaposse
A Petersburg. 17. .
------------------------
KIAT, J. H.
Worked at Singapore, 1882. Little known work.
KIEF, DOMINIK
Worked at Botzen (Tyrol), 1740-1770. Small modelling, medium arching. Theoretically the design may be accepted as fairly accurate, but general appearance certainly not prepossessing. Insignificant scroll, small in size and conception. Straight sound-holes, decidedly ungraceful. Opaque brown varnish thinly applied. Indifference of design and workmanship slightly redeemed by good and pretty wood.
-------------------------------
Dominicus Kief in Bsan
in Tyroli. 1743
-------------------------------
KIEFER, ALBERT
Born 1910. Worled at Treves (Rheinish Prussia). Little known work.
-----------------------------------
Geigen, Lauten, Gitarrenbau
Albert Kiefer
Musikinstrumentenmacher
Trier. Max Brandis Str. 33
19. .
----------------------------------
KIEFER, PAUL JRME
Worked at Hamilton (Ohio), 1925. Stradivarian, Guarnerian, and own models. Splendidly finished workmanship. Varnish of own formula.
KIEGER, JOSEPH
Worked at Mittenwald, 1810-1815. Some instruments have fancifully carved heads.
KIELBICH, JULIAN
Born at Warsaw, 1865. Worked at St. Petersburg and Kiev, then for ten years at Warsaw; and (in 1927) at Bidgosez (Poznan). Sometimes the name Kelbich on labels. Conscientious workmanship.
KIELOW, ERICH
Born at Lodz, 1896. Pupil of Mckel at Berlin. Established at Potsdam, 1933. Good workmanship, and tone.
KIENDL, ANTON
Born at Mittenwald, 1816. Worked at Vienna, 1843. Died 1871. Zither player of good reputation. Made hundreds of zithers but few violins (and those mostly at Mirecourt).
-----------------------
Anton Kiendl
in
Wien
Josefstadt No. 18
-----------------------
(with designs of medals)
KIENDL, CARL
Born at Graseck, 1850. Studied at Mittenwald. Established at Mdling (near Vienna), 1862. Violins and cellos date from 1869. Outline and arching (rather flat), based on Italian models, occasionally one with a few divergencies of his own. Generally spruce of medium grain, and maple of slight flame. Workmanship not first-class. Brownish red shade of balsam-ground oil varnish. Tonal quality rather free and clear. Best period, 1900-1906.
KIENDL, CARL JUNR
Born 1879. Son and pupil of Carl. Worked at Mdling. Violins of similar modelling to that of father.
KIENER, THEODOR
Established at Markneukirchen, 1925. Violins, cellos, and bows.
KIESGEN, LOUIS
Worked at Paris, 1875-1894. Instruments that bring out, with prominence and distinction, all traits of a Gand. Worked for that well-known man. Very finely finished workmanship. Red varnish already looking positively beautiful now that several years of wear is ripening its shade. Tone leaves no room for the occasional flippant taunts of certain dealers who try to maintain that Frenchmen fail where the Italians succeed. 80, 1960.
KIHLEN, ARNE ELIS
Born 1915. Amateur at Vsters (Sweden). Strad modelling, yellow or yellowbrown varnish. Triangular label (written).
KILIAN, HERMANN
Born at Freiburg, 1875. Became principal cellist at Munich. Studied violin construction with Fiorini in that city, 1906. Chief repairer for A. Schmid, 1912. Constructed several violins and cellos which have received praise from virtuosi.
KINDSTROM, AXEL EINAR
Born 1896. Violinist at Stockholm. Made about 50 violins of splendid modelling, impeccable workmanship and brilliant tone.
KING, WILLIAM
Born in England. Pupil of Mitchell at Hamilton, 1907. Cremonese models, gold to red-brown oil varnish.
-----------------------------------
Made by
William King - Violin Maker
Hamilton, Canada
1928
-----------------------------------
KINNEMANN, ERNEST
Marine engineer. Resident at Sydney (Australia), 1880-1904. Sophisticated designs, excellent workmanship.
KINNEMANN, FRIEDRICH
Born 1809. Carriage builder. Resident at Neuhaldensleben. Died 1860. Ordinary violins with a tone satisfying to several fiddlers in his district.
-------------------------------
Fr. Kinnemann
zu neuhaldensleben 1851
-------------------------------
(written)
KINNEY, EDWARD and WALTER
Father and son. Worked at Springfield (Mass.) 1925.
KINNEY, ROBERT
Resident at Bayonne (New Jersey), 1920.
KINPOLTH, JOHANN CHRISTIAN
Worked at Vienna, 1752-1763. Agreeable variety in modelling. Very graceful Amatese outline, fine exactitude of curves. Corners nicely attended to, avoidance of the square-cut or sharpness, by a happy medium. Edges slightly and effectively prominent owing to pronounced lowness of purfling. Medium high arching, looking more developed than actually so. Skilfully exemplified in the fine scroll, boss very prominent. Long sound-holes, upper curves slightly inharmonious with the lower. Inside workmanship carefully and studiously accomplished. Rich orange-brown varnish. Even grained belly wood, and maple of moderate flame. Tonal quality of felicitous mellowness though without great power. 30 (1932).
------------------------------------------
Joann Christian Kinpolth, Lauthen
und Geigenmacher Fecit in Wien
Anno 1760
------------------------------------------
KIRKHAM, S. R.
Born 1883. Amateur. Resident at Albia (Iowa), 1935. Strad modelling, brown oil varnish.
KIS, FRANZ
Resident at Arokszlls (Hungary), 1890.
KITTEL, NICOLAUS
Worked at St. Petersburg, 1840-1880. A German of splendid talents. One who absorbed himself in reproducing the beauties of the Cremonese, and had the cleverness to beautifully accomplish everything. All scientific proportions perfectly attended to. Faultlessly prettily figured wood. Produced few specimens.
------------------------------------------
Nicolaus Kittel
faber instrumentorum caesarianus
Petropoli Anno 1842
------------------------------------------
(bearing the Russian Imperial Emblem)
Better known for magnificent bows. So finely constructed that he was often termed the Russian Tourte. Have the prime essentials of strength and elasticity. Catalogued at 10. 200 dollars in America (1930). Light coloured chocolate round sticks especially fine. Stamped Kittel. 60, 1960.
KJELLBERG, LEO NATANAEL
Born 1891. Amateur at Jdraas (Sweden). Very good workmanship, Strad model.
KJELLIN, JONAS
Born 1836. Amateur. Resident at stersund (Sweden). Died 1917. Studied acoustics, etc., achieved good tonal results in a modest output of violins. Gained medals at Exhibitions.
KLARK, LARS
Resident at estersj (Norway), 1655-1670. Probably the first to construct the primitive instrument known as the Norwegian Fele.
KLATOVSKY, VINCENZ
Born 1849. Pupil of Wenzel Tichy. Established at Olmtz (Moravia), 1910.
KLEE, J.
Worked at Leitmeritz (Bohemia), 1856-1893. Originally a travelling cooper. Being a good connoisseur of wood, and meeting with plenty of opportunities of acquiring good material, ultimately became interested in violin making. Opened a small shop, and dealt in cheap Schnbach instruments, but did not copy their false proportions when constructing his own. On the other hand he developed an altogether splendid skilfulness, and built violins rationally. Outline, arching, and scroll all meretorious. Gratified himself and prospective buyers with obtaining a nicely sonorous tonal quality. Unfortunately impregnated the wood with potassium of chromide, and covered it with a spirit varnish, the whole surface being glossy and hard.
--------------
Josef Klee
Leitmeritz
1859
-------------
KLEIJN, J.
Born 1893. Amateur at Alphen s/R (Holland). Strad model, reddish varnish.
----------------------
J. Kleijn fecit
No. . . . Hollande
----------------------
KLEIN, ALOYS
Founded an important business at Rouen, traded under the name of A. Klein et Cie, 1884. Engaged Antoine Brubach as chief workman. Produced a superior class of commercial violins, violas, and cellos. Soon attained European popularity. Well constructed instruments of attractive appearance. Brilliant red or yellow varnish. 10 (1890).
--------------------
A. Klein
Luthier Rouen
18. . A K
--------------------
Also branded A. Klein & Cie, Rouen. Recipient of several Exhibition medals. Officer of the Academy des Beaux Arts, 1887.
KLEIN, HERBERT
Born 1907. Worked at Hannover, Reichnau, Gmund, and Heidenhei.
KLEIN, WILLY
Born 1903. Established at Rostock (Germany). Good workmanship and tone.
KLEINGARDT, L. GUNNAR
Born 1891. Amateur at rebr (Sweden). Several violins, guitars and zithers.
KLEMM, C. A.
Worked at Leipzig, 1810-1840. Ordinary productiops.
---------------------------
Carl August Klemm
A Leipzig
Peterstrasse No. 116
--------------------------
KLEMM, JOHANN GEORG
Born 1727. Worked at Neukirchen. Died 1791. Modelling and varnish similar to the Fickers.
KLEVEN, ANDERS CHRISTIANSEN
Born 1855. Worked at Christiannia (Norway). 1890-1910. Originally a joiner and cabinet maker. Particularly and warmly exercised his faculties to modelling instruments on the Stradivarian-Vuillaume style. Workmanship and style considerably in advance of any native predecessors. Singularly well graduated arching. Fine scroll. Sound-holes of splendid grace. Clear yellow-brown spirit varnish of own preparation. Produced about 150 instruments.
--------------------------------------------------------
Stockholm 1897 Paris 1900 Bergen 1878
Diplom. Bronce. Guld.
A.C. Kleven
Violinmager
Kristi- ania
--------------------------------------------------------
(bearing design of various medals)
KLEYNMAN, CORNELIUS Worked at Amsterdam, 1670-1699. Name sometimes given as Kleyman and Kleinmann. Fairly skilful modelling of the Jacobs-Amati style. Whale-bone purfling. Brown, or red-brown varnish of no particular excellence. Robust scroll. Sound-holes rather wide, deeply notched, and upset the otherwise good features of the contour. Often very thin in wood. Clear tone but small.
-------------------------------
Cornelius Kleynman fecit
Amsterdam, 1681.
-------------------------------
-------------------------------
Cornelis Kleynman
in Amsterdam fecit 1683
-------------------------------
------------------------------
Kleinmann
me fecit
Amsterdam. anno 1694
------------------------------
Some instruments have Italian names inserted. 60, 1959.
KLIEBHAHN, ANDREAS
Worked at Schnbach (Bohemia), 1908-1915.
KLIER
About a dozen of this name worked at Schnbach, 1820-1920. Exporters of trade instruments.
KLIER, ALOYS
Firm founded at Graslitz, 1845. Bows of all grades - style and workmanship always of the best. Still going strong, 1925. l0-15-20, 1960.
KLIER, BENEDIKT
Worked at Schnbach (Bohemia), 1870-1904. One engrossed in his art, and did not allow it to languish. Had the idealising faculty and produced genuine hand-made instruments now becoming noticed for their rapidly maturing tonal quality.
KLIER, JOSEPH
Born 1895. Studied at Schnbach. Established at Markneukirchen.
KLIER, ROMAN JOSEF
Born at Schnbach, 1904. Worked at Budapest. Went to U.S.A., 1927. Employed by Wurlitzer at New York, 1933. Died 1950. Violins, violas, and cellos. Strad and Guarnerian modelling. Golden brown varnish of own preparation.
KLIMENT, JAKOB
Born 1810. Died 1897. Worked at Brnn (Moravia). Interesting violins structurally. Tonally much that pleases the sensitive ear. Brought all enthusiasm to bear upon his work. One who produced not for gold alone, but for art and beauty also. Nursed and encouraged his talents and created instruments satisfying all modern demands. 100, 1960.
---------------------
Jakob Kliment
fecit Brnn 1849
--------------------
------------------
Jakob Kliment
Brnn 1873
------------------
(with Austrian Double Eagle)
KLIMENT, JOHANN
Brother and pupil of Jakob. Worked at Trebitsch, 1851; and Brnn, 1868. Died 1897. Printed label, signed with pen.
KLIMITS, JOSEPH
Born 1783. Worked at Vienna. Died 1866. Rather good violins, one realised 50 in London, 1928.
---------------------------------
Joseph Klimits
Geigen und Guitarmacher
Wien No. 50
---------------------------------
(within an oval)
KLING, AIM Viola player. Resident at Geneva, 1914. Produced several instruments having workmanship equal to the best professionals.
KLINGLER (KLINGER), CHRISTOF
Worked at Rattenberg (Tyrol), 1644-1677. Model ostensibly of Stainer traits. Some specimens have heads of fanciful but commonplace lion or angel type. 70, 1959.
----------------------------
Christophorus Klingler
uas Rattenberg a 1671
----------------------------
KLINT, MARTIN
Born 1890. Cellist of talent. Resident at Virby (Sweden). Produced several Strad models, good designs and workmanship.
KLIPPHAHN, MAX
Born 1887. Worked at Leipzig, Breslau and Berlin. Established at Augsburg (Bavaria), 1930. Good workmanship and tone.
KLIPPHAHN, OTTO
Worked at Markneukirchen, 1935. Excellent bows, various standard models.
KLITZKE, R. H.
Took correspondence course with Bretch (Oswego), 1913. Resident at Snohomish (Washington), 1925. Violins and cellos made from spruce and maple growing on the balmy slopes of the Cascade Mountains. Plates perfectly synchronised. Advocate of the Horvath formula.
KLOEIVE, A. R.
Norwegian. Guitars, zithers and violins.
----------------------------------------------------
Anders Ragnaldsen Kloeive
Violinmager, boende i Rentesmuget inden
for Muuren i Bergen Anno 1795
---------------------------------------------------
KLGL
see KGL.
KLOPFLEISCH, KARL FR
Born 1870. Worked at Weimar, 1909. Made violins in leisure hours. Achieved excellent modelling from which a good tone quickly emanates.
KLOR, FRANZ ANTON
Worked at Neu Kolin (Tyrol), 1722-1739; and at Prague, 1739-1754. Early instruments of Tyrolean modelling verging near to the mediocre. Later, similar Klotz-like modelling of better workmanship, especially the scroll. Brownish yellow varnish.
----------------------------
Antonius Klor me fecit
Neo-Kolinij A 1739.
----------------------------
-----------------------------
Antonius Klor
fecit Pragae Anno 1749
-----------------------------
-------------------------------
Franciscus Antonius Klor
fecit Pragae Anno 1752
-------------------------------
Sometimes incorrectly given as Klot.
KLOSS, ERNST AUGUST
Amateur. Resident at Breslau, 1860-1870. Very ordinary in every respect, scrolls quite inelegant. flattish arching, yellow brown varnish.
KLOTZ, AEGIDIUS (1)
Born about 1625. Worked at Mittenwald, 1655-1711. First member of this family to make violins. Tradition says that he learned his art from Stainer at Absam, then returned to native place and founded the school of violin manufacture there which subsequently became world famed. Instruments religiously follow the Stainer model, and all attempts to eliminate any weaknesses of it were resisted. So distinctively do they resemble the Absam makers work, that for a long period they practically eclipsed them in sale, and even now, through fluctations of opinion during the intervening years, they are not coldly acknowledged. Workmanship inside, and outside, it precise, definitely accurate, though not superlatively neat. Generally choice figured wood. Varnish of nice appearance, amber coloured, light brown, and a deep reddish brown, the latter being favourite. Some few experts give them a standing pre-eminence over those of Sebastian, but this opinion is not conclusive. Body length generally 35.6 cm. Well preserved specimens worth 40 (1925), but unfortunately many are damaged in one place and another, so their value frequently falls to 20, though the tone is splendidly clear and fairly powerful.
---------------------------------
Egidious Klotz
Fecit Mittenwald a/I. 1690
---------------------------------
-----------------------------
Aegidius Kloz in Mitten
wald an der Iser. 1735
-----------------------------
(decorative border, sloped lettering)
Some signed Egidi Klotz. 85, 1959.
KLOTZ, AEGIDIUS (2)
Known as Aegidius Sebastian. Born 1733. Died 1805. Son of Sebastian. Worked at Mittenwald. Copied the mannerisms of Aegidius (1) in every detail to such a marvellous degree that no real difference has ever becn detected by experts in their critical scrutiny. So much so that until about 1880 it had been universally understood that there was only one Aegidius, which of course in its turn, brought about considerable controversy over the wide interval of the first and last dated, and the only conclusion to arrive at was to accept the fact that many labels must have been forgeries. But Baader in his Chronik des Marktes Mittenwald proved there were two of the name of Aegidius. Instruments of (2), generally not so valuable as (1). Many of them being of Stainer modelling have been labelled as such, and sold as Stainers for fancy prices. Dark red brown varnish not always of the best quality. Sound-holes sometimes unusually pretty for Tyrolese work. Scroll often long and not particularly artistic. Invariably nicely figured material. Sometimes the arching of front is stronger and more pronounced than that of back. Adopted the Amati model at a later period, specimens much advanced in design and workmanship. Excellently carved scroll, quite Amatese, very beautifully marked backs, varnish of soft lustrous orange shade, tonal quality of peculiar sweetness and sympathy. One splendid example, dated 1791, secured the remarkable sum of 600 dollars in the U.S.A., 1920. Produced a few cellos of quite good proportions and tone. Edges frequently inlaid with ebony and ivory to half the thickness of the table, and about a quarter of an inch wide. Fingerboard and tailpiece inlaid in the same manner, also the peg box as far as the turn of the head. Quite a curiosity.
------------------------------------
Aegidius Kloz in
Mittenwald an der Iser, 1783
------------------------------------
(decorative border, sloped lettering)
Several Amati designs bear labels with that name (and have been sold as such), probably done by himself to hide the actual place of emanation. 125, 1959.
KLOTZ, ANTON JOSEPH
Son and pupil of Joseph Anton. Born 1790. Died 1835. Worked at Mittenwald. Worked principally for dealers. Usually placed in the category of the passingly good, commonplace. 70, 1959.
KLOTZ, BALTHASAR (1)
Born 1854. Worked for Neuner and Hornsteiner up to 1888. Established own workshop at Mittenwald, 1890. He and his wife celebrated their golden wedding, 1928, and a festival was held in honour of the event. His talent procured him impartial recognition, and his careful workmanship has always received appreciative notice. Always persevered to give the closest transepts of Cremonese and Stainer models which satisfy scientific experts as well as players. Enthusiastically scaled the heights in the posing of the scroll and positioning of the sound-holes. Tone also happily worthy of his skill. 90, 1959.
---------------------------------
Balthasar Klotz
Instrumentenmacher
Mittenwald a/Iser. Nr. 224
---------------------------------
-------------------------------------------------------
Balthasar Klotz & Shne, Geigenbauer
Nachkommen von Mathias Klotz
Bayer Hochgeb. Mittenwald Bayer. Hochgeb
-------------------------------------------------------
KLOTZ, BALTHASAR (2)
Son and pupil of preceding. Born 1885. Worked in fathers establishment at Mittenwald, 1926. 75, 1959.
KLOTZ, CARL
Son of Georg. Worked at Mittenwald, 1756-1795. Violins of ordinary Stainer pattern made for export trade, and mostly labelled with Stainers name. o be viewed with complaisance as typical of Tyrolese work, and that is all. 50, 1959.
KLOTZ, EGIDI
see AEGIDIUS KLOTZ.
KLOTZ, FERDINAND
Born 1744. Son of Johann Carl. Worked at Mittenwald, 1788. Attempted nothing beyond the style of other members. Workmanship and varnish quite satisfactory, 45, 1959.
------------------------------------
Ferdinand Klotz
in Mittenwald an der Iser 17-
------------------------------------
KLOTZ, GEORG (1)
Born 1687. Died 1737. Son of Mathias. Worked at Mittenwald. Medium arching showing a slight divergence from the usual Tyrolese manner, but without absolutely disregarding the foundation doctrines of Stainer. Pattern of larger build than that of an Aegidius and some broader than that of a Sebastian, others occasionally under normal proportions. Every intelligent and candid violinist will recognise the undoubted neatness in workmanship. Everything set forth with due regard to the complementary parts of the model, all carefully done and well considered, everything beautifully accurate. The spirit varnish, however, is extremely bad, being thin and brittle, and as it is laid on a coat of size, cannot penetrate the wood, thus rendering it opaque and perishable. Also varies in colour, sometimes red brown, but more frequently yellow brown. Wood often worm-eaten. Used Tyrolese timber (an excellent wood), but he had the faulty habit of having the trees cut at the wrong season, or perhaps he purchased wood (through ignorance), that had been cut at the wrong time of the year, and the natural consequence follows that much of it having been taken when full of sap, must sooner or later become worm-eaten, especially so in the case of the maple used for the back and ribs. Several of this family had a partiality for lion-heads. Georg perhaps excelled the other members in this particular department. The cutting of an ordinary scroll was generally their weakest handling. Good tone of its kind, but not so sweet as its age would lead us to believe. 25 (1925). One other little matter, the wood used for backs is invariably of plainer figure than that seen in the other Klotz violins. 90, 1959.
-----------------------------
George Kloz in Mitten
vvald an der Iser. 1737
-----------------------------
(decorative border, sloped lettering)
------------------------------------
Giorgio Kloz in
Mittenwald an der Iser. 1736
------------------------------------
(written)
------------------------------
Aegegeorgius Kloz, Mea
gregoriu Manu fecit in
Mittenwald Ao. 1724
------------------------------
(written)
KLOTZ, GEORG (2)
Known as Georg Carl Klotz. Born 1723. Died 1797. Generally Stainer outline and arching. Occasionally some of greater breadth and slightly reduced arching. Stainer modelled ones, have a pronounced droop in the shoulders, not at all a wrong idea if the comfort of the performer is considered. Workmanship of same order as Georg (1). Deep brown or reddish brown varnish of splendid quality. Altogether the contour, from head to foot, is as pretty as one can desire. 30, for well preserved specimen is money well spent. Produced several fine toned violas of a Stainer model, finished with all the artistry of that maker. Body length, 16-3/8 inches. Fine grain spruce, and small figured curly maple. Generally chose more handsome wood than Georg (1).
-----------------------------
Georg Kloz in Mitten
wald an der Iser. 1791.
-----------------------------
(sloped lettering, decorative border)
--------------------------------------
George Klotz propria mea
manu feci in Mittenwald. 1753
--------------------------------------
Used written and printed labels. Some violins have autograph signature inside on the back, top of left-hand corner. 100, 1959.
KLOTZ, HANS
Born 1803. Worked at Munich, 1927. Little known.
KLOTZ, JOAN CAROL
Born 1709. Died 1790. Son of Mathias. Worked at Mittenwald. These somewhat rare instruments have medium high arching, though a few are rather flat. Occasionally characterised Stainer in the outline, though less massive in the proportions; but more frequently a considerable Amati influence. These latter ones have a darkish yellow varnish, and are recognised as his best instruments, ranking almost as high as any of the Klotz family and, after a long slumber of neglect, violinists and connoisseurs are waking up to appreciate them justly. Very nicely figured wood. There are other violins of his on which he put a dark brown varnish, very poor stuff, known as glue varnish, that has undergone a change nearly into black (particularly on the belly), resulting in an abominable appearance which few can tolerate. In contradiction to this there are occasionally red brown specimens quite acceptable in tone and appearance. Lighter varnished examples realised 25 (1920), for the tone has a kind of all-round quality particularly pleasing to drawing room amateurs. A few have the label of the brothers Amati.
---------------------------
Johan Carl Klotz frcit
in Mittenwald, 1754
---------------------------
-----------------------------
Joan Carol Kloz
in Mittenwald, an 1780
-----------------------------
(sloped lettering, decorative border)
Used written and printed labels. 80 to 125, 1959.
KLOTZ, JOHANN NEPOMUK
Born 1903. Trained at Mittenwald. Worked at Munich, and for Mckel at Berlin. Established at Berlin-Frohnau, 1946. Very good workmanship. 75, 1959.
KLOTZ, JOSEPH (1)
Known as Joseph Thomas and Joseph, senior. Born 1743. Died after 1809. Worked at Mittenwald. Son and pupil of Sebastian. One of the cleverest of this family, but work unaccountably unequal; and we can only assume that he especially intended (for commercial reasons) to produce two classes of work. Stainer-Amati modelling, and rather flatter arching than that usually associated with a Klotz. Very shallow ribs. Carefully selected wood and treated with consideration. Rather small and straightish sound-holes, seldom of pretty design, notches often deep and ugly. Long scroll well thrown back, rather flat in front, but fine sweep of volute. Citron yellow varnish with a reddish or brown tinge. Close grained white larch for table, material for back often of plain figure, though sometimes prettier. Second-class specimens must be relegated to even an insignificant place among the scores of Tyrolese makers, and on which the glue varnish completely robs them of whatever beauty they may have had originally. 75 to 100, 1959.
----------------------------------
Joseph Klotz Laut-Geigen
macher in Mittenwald, 1792
----------------------------------
--------------------------------
Joseph Kloz senior in
Mittenwald 1807 No. 308
--------------------------------
---------------------------------
Joseph Kloz in Mittenwald
an der Iser. anno 1782
---------------------------------
(sloped lettering, decorative border)
-----------------------------
Josef Klotz
Mittenwald. anno 1797
-----------------------------
KLOTZ, JOSEPH (2)
Son of the preceding. Born 1771. Died 1831. Worked at Mittenwald. Workmanship, varnish and tone, all typical of the Klotz school. Frequently very handsomely figured wood. 20 to 30. 80, 1959.
--------------------------------------
J. Joseph Klotz in
Mittenwald an der Iser an 1795
--------------------------------------
----------------------------
Joseph Klotz junior in
Mittenwald an der Iser
anno 1793
----------------------------
----------------------------------
Joseph Klotz in Mittenwald
an der Iser. Musicus 1831
----------------------------------
KLOTZ, JOSEPH ANTON
Born 1760. Died 1822. Son of Aegidius. Worked at Mittenwald. Frequently labelled his violins Anton Kloz omitting Joseph. Never been definitely ascertained which is which of the instruments of Joseph Anton and Anton Joseph. 75, 1959.
KLOTZ, JOSEPH (3)
Born 1879. Son and pupil of Balthasar (1). Worked in his fathers establishment at Mittenwald since 1919. 75, 1959.
KLOTZ, MATTHIAS (1)
Born 1656. Son of Urban Klotz (a tailor). Taken (in 10th year), to Stainers workshop at Absam for guidance from that master. Produced little of consequence at that early age but, in 15th year realised that his workmanship was oppressive, and that instead of having a great command in handicraft, it had the command of him. Attached himself to some travelling merchants and ultimately reached Cremona, where he solicited lessons from Nicolo Amati. Soon won the favour of that celebrity and made such rapid progress as to subsequently draw forth the jealousy of the other assistants who, by various innuendos eventually made his existence almost unbearable. After practically being forced to leave the town, necessity of a livelihood caused him to accept the somewhat ignominous role of a servant at some hostelry. Discontent soon overcame him, so he once more set out on the road, wandered from village to village doing odd repairing jobs, and finally (in 1683) returned to Mittenwald, with the newly-awakened ambition of making that little town a Cremona in Tyrol. He could not have chosen a more opportune time, for the entire vicinity was just then well nigh impoverished owing to the Fairs (at which Venetian and other traders bought, in large quantities, the wood carving specialities of the villagers, and which had been held there for at least two centuries), before being removed to Botzen. Imbued with Cremonese enlightenment, he rented premises in the old market place, instructed many of the financially distressed inhabitants how to make ordinary cheap fiddles, and these were hawked about at the churches, castle and monasteries throughout the extensive Tyrol, for whatever price the would-be purchasers chose to offer. In this way, Mittenwald quickly resumed its former prosperity, and eventually became a serious rival to the similar cheap fiddle centres in Saxony. Klotz and his associates were considerably favoured in this rivalry through being situated in the heart of the Bavarian Alps where abundantly flourished a particularly suitable pine, remarkable for its delicate yet strong and highly resonant fibre. After achieving Tyrolese fame, he went to Padua, 1702, and attempted to establish rivalry with Cremona but (meeting with scant appreciation) soon retraced his steps to birthplace and steadfastly concentrated his activities in advancing the instrument industry. Died 1743. Violin makers of Mittenwald afterwards financed the erection of an iron monument to his memory, stands opposite the Churches of St. Peter and St. Paul. Nearly all his violins belong more to the Stainer than the Amati model. Correctly enough made, with all appropriate undulating curves, and honest inside work. Scroll far from real artistry; rather small sound-holes. Wood not always handsomely figured, now frequently worm-eaten. Varnish of yellowish shimmer, thinly applied on a dark brown ground, altogether insufficient in quantity and inferior in quality. Also many dissentient opinions concerning the tone, which not only lacks strength but likewise genuine mellowness. Several viol-damours and viola-da-Gambas known.
---------------------------------------
Matthias Klotz Geigenmacher
zu Mittenwald an der Iser 1697
---------------------------------------
------------------------------------------
Mathias Klotz Lauten und Geigen
macher in Mittenwald an der Iser
Anno 1695
------------------------------------------
-----------------------------------
Mathias Kloz Lautenmacher
in Mittenvvaldt Anno 1725
-----------------------------------
Some written, other printed entirely in German lettering. One manuscript label gives the date 160093 - meaning of course, sixteen hundred and ninety-three. Occasionally the name has seemed to read as Khlotz or Glotz, owing to the uneducated caligraphy. Also been stated that he had fair ability as a violinist for rustic gatherings, etc. 85 to 125, 1959.
KLOTZ, MATTHIAS (2)
Son of Georg. Worked at Mittenwald, 1732-1770. Ill-prepared wood, transparently awkward workmanship, all further disfigured by a nearly black varnish. 75, 1959.
-----------------------------
Matthias Kloz in Mitten
vvald an der Iser. 1770
-----------------------------
(sloped lettering, decorative border)
KLOTZ, MATTHIAS (3)
Born 1787. Worked at Mittenwald. Died 1868. 70, 1959.
KLOTZ, MAX
Born 1896. Son and pupil of Balthasar. Showed remarkable aptitude but unfortunately lost his life in the war, 1916.
KLOTZ, MICHAEL
Worked at Mittenwald, 1753-1786. Produced a very large number of ordinary Klotz model violins, brown varnish. Also built on the Stainer and Amati styles, and (when particular specimens resulted in a superior tone), generally omitted his own label and substituted those of the two more celebrated makers. However, he did not always hide his best work under a fictitious label. Description of one especially splendid example dated 1776 (owned by Franz Ries, well-known composer of violin solos): -
Body length, 36.2 cm; upper bouts, 16.6; middle, 11.4; lower, 20.8; ribs, 2.9 to 3.2; from purfling to sound-hole notch, 19.1. Breast wood of narrow fibre, back, ribs and scroll of delicately flamed material. Pure golden brown varnish, glue foundation of same colour tone, delightfully effective. Grooving (not very deep), starts in the middle of the edges. Sound-holes big and widely cut. Narrow edged and deeply cut scroll, showing splendid uniformity, also not showing such a high forehead as usually associated with Mittenwald violins. Full arching, but with a finely conceived gradient. Purfling points run exactly into delicately rounded corners. Lower ribs undivided, and provided with the known Mittenwald notch cut under the tailpin hole. Very small and narrow pine wood linings. A harmoniously uniform work, which, notwithstanding its size, instantly charms by its stamp of personality.
----------------------------------
Michael Kloz in Mittenwald
an der Iser. An. 1776
----------------------------------
Unfortunately for his reputation this label has frequently been forged in dissolutelymade nondescripts. 75 to 95, 1960.
KLOTZ, NIKOLAUS
Born 1814. Worked at Mittenwald. Died 1861.
KLOTZ, NIKOLAUS
Born 1892. Son and pupil of Balthasar. Killed in the war, 1914.
KLOTZ, SEBASTIAN (1)
Son of Matthias (1). Born 1696. Died 1768. Worked at Mittenwald. The superiority of any particular member of this family has given rise to much fruitless and absurd discussion. Each is bound to have some degree of excellence assigned to him and supported by their advocates, but it seems to have been more stoutly maintained that Sebastian stands foremost. The intrinsic tonal beauty of his instruments has long been one of the dogmas of connoisseurs. This we think, has been completely contradicted by the present generation of solo violinists, and even amateurs, for they have practically ignored them. Although the model is beautifully large, less Stainerish, and only slightly arched in comparison to those of the other members of the family, we doubt their fitness for the modern player. There is not sufficient stability about the tone. Whilst admitting their simple grandeur, both without heaviness, recording in their artistic appearance all the eloquence of talent they have not that bright, free, full responsive and brilliant tone which a soloist must have. The feelings of persons in general, on playing a Klotz is delight in the possession but scarcely satisfying for all practical purposes. It has all the proportions we desire, yet a forcible player can never do himself justice with it. Still a lover of fiddles does like to own a Sebastian Klotz. We can admire the rather original outline, with slight corners and being very flat near the carefully rounded and raised edges. Workmanship practically flawless, and all inside work as well finished as outside. Length of body never less than 14 inches, and sometimes a trifle in excess of that. Generally fine grain material for top, acoustically good, and well marked wood for backs. Splendidly cut sound-holes which do not absolutely leave out Stainer. Clear cut scroll with its drooping appearance (an outstanding feature of the various violins bearing the name of Klotz). Varnish altogether of better and thicker texture than that his father used. Various colours but mostly red brown or dark brownish yellow, which looks lustrous, but being brittle is likely to come off in little bits. Sometimes somewhat similar to that on an Albani. We have read a lot of fictitious nonsense about the value of a Sebastian Klotz - 200 having been recorded; and we are aware that American dealers catalogued them at 500 dollars, but no professional violinist with his wits on the alert would be inclined to give more than 40, and then he ought to get a specimen free from the slightest damage.
-----------------------------------
Sebastian Klotz in
Mittenwald an der Iser 1734
-----------------------------------
-------------------------
Sebastian Kloz, in
Mittenwald, an 1743
-------------------------
-------------------------
Seb. G. Kloz
in Mittenwald, 1732
-------------------------
Written labels up to 30th year, subsequently printed ones. Sometimes the lettering is large and sloped, and uneven. Others also longish and slanting lettering, may be distinguished by the fact that the words are not on a straight line and look as though stamped. A few violins are marked inside with the initials S.K., but they can only be detected by repairers when taking the instruments to pieces. Up to 150, 1960.
KLOTZ, SEBASTIAN (2)
Born 1762. Son of Aegidius (2). Died 1825. Ordinary style of the family - also showing less individuality in minor details.
--------------------------
Sebastian Kloz in
Mittenwald. An 1803
--------------------------
Authentic instruments of the Klotz family are not easily guaranteed as there are innumerable spurious examples which are marvellous replicas of the genuine. No name has been more tampered with, put into any German fiddle of a common order, and foisted on the public. Hundreds of fiddles that resemble in any slight degree the Mittenwald manufacture (having a dauby dark brown varnish and well arched, etc.) are labelled Klotz. Therefore, let us all beware of what we are purchasing. We desire to make a strong protest against hasty judgment even when the sum involved is only 30 or perhaps less. None of us should imagine that a genuine Klotz is waiting ready to be picked up for a ten pound note. Avoid the cheaply produced instrument. This mania for cheapness is a calamity, quite wrong, and an offence to the purchaser. Which costs us little may cost us the loss of our public concert, and our success a great deal.
KLOTZ, SEBASTIAN
Reasonable imitations - largely exploited by Haynes & Co., London, 1907. Priced at one guinea!
----------------------------
No. 152
Haynes
Sebastian Klotz Violin
19-
----------------------------
(bearing design of a sound-hole)
KLOZ, CARL
Four guineas violins, widely circulated by Beare & Son, London, 1900. Good copies of a Sebastian Klotz, well matured wood, oil varnish of mellow appearance, very acceptable tonal quality.
---------------
Carl Kloz
Mittenwald
---------------
(decorative border)
KLUIBENSCHDL, J.
Worked at Innsbruck (Tyrol), 1851-1872.
-------------------------
Josef Kluibenschadl
Violinmacher
in Innsbruck 186
-------------------------
KNAGGS, WILLIAM
Worked at Toronto, 1888-1920. Fairly good workmanship and nice tone.
KNUSCHER, JOHANN GEORG
Worked at Schwabach, 1790-1810. Violins and cellos of fair achievement.
-------------------------------
Johann Georg Knuscher
Fecit Schwabach, 1800
-------------------------------
KNICHTEL, J. M.
Worked at Lubeck, 1760-1797. Well made instruments, but meagre varnish. Not well chosen wood. Nasal tone. 60 (1928).
------------------------------------
Gemacht
von Johann Michael Knichtel
in Lbeck. 1789
------------------------------------
KNIGHT, ALFRED
Resident at Worcester, 1800-1812. Ordinary work.
KNIGHT, F. R.
Born 1870. Amateur. Resident at Reigate (Surrey). Stradivarian modelling, oil and spirit varnishes of own formula, golden brown to dark brown.
-------------------------------------
Frank R. Knight
Reigate Anno 1928
No. 31. Pupil of W. Glenister
-------------------------------------
KNILLING, ANTON
Worked at Mittenwald, 1763-1770. Thick and muddy brown varnish.
-----------------------------
Anton Knilling geigmch
Mittenwaldt ano 1767
-----------------------------
(written)
KNILLING, ANTON ALOYS
Born 1765. Worked at Mittenwald. Klotz model.
KNILLING, JOHANN
Worked at Mittenwald, 1750-1768. Instruments impressed with a Bavarian style peculiarly its own. Whole appearance has a subtle and inexplicable harmony (notwithstanding the semi-high arching), in which nothing is violated, yet everything marked by a personality. Sound-holes perfectly united to the contour. Scroll constitutes the best of its particular type. Orange brown varnish not too thickly applied.
KNILLING, JOHANN (2)
Born 1822. Died 1905. Worked at Mittenwald and Rassau. Principally engaged in varnishing instruments for dealers.
KNILLING, JOHANN JOSEF (1)
Son of Anton. Born 1763. Worked at Mittenwald. Died 1838. Modelling somewhat Amatese usually. Occasionally tried one more Stradivarian. Outline and arching of both very prettily conceived. Often fine grain spruce for tops, but not always of the best quality - a certain number of his instruments suffer from the ravages of the mischievous anobium domesticum, commonly known as the worm. Backs and ribs frequently of plain material. Orange red varnish, also a coagulated plum red, an original product, strongly compounded with linseed oil often running into streaks. Responsive tonal quality without great power, 30.
-----------------------------------
Johann Knilling in
Mittenwald an der Iser 1788
-----------------------------------
-------------------------------------
Johann Knilling Geigenmacher
in Mittenwald an der Iser
1821
-------------------------------------
KNILLING, JOHANN JOSEF (2)
Born 1853. Trained at the Violin Making School, Mittenwald, 1866-1869. Well established, 1900. Principally made zithers and guitars, but a few violins of the usual Bavarian style are known.
----------------------------------------
Joh. Knilling
Instrumentenmacher
No. 66 Mittenwald-a-d-I. Nr. 66
Oberbayern. ano 1896
---------------------------------------
KNILLING, JOSEF
Worked at Mittenwald, 1765. Outline and arching quite similar to productions of other members of the family, but differentiated himself by applying yellow varnish. Passably good workmanship. Tonal quality mellow but not clear or brilliant.
KNILLING, JOSEF MATHIAS
Son of Anton. Worked at Mittenwald, 1797-1838. Most talented of the family. Large and flat modelling somewhat Stradivarian, perhaps reminding of the instruments of Pique. Body length often 14.3/16 inches. Entire structure shows much executive and imitative cleverness, yet a very acceptable individuality. Scroll bears unmistakeable impress of conscious dignity. Sound-holes not merely well shaped, but placed by the best workings of an eye trained by the laws of harmony. Splendidly accurate purfling. Very effective reddish oil varnish, of tender composition, and plentifully applied, sometimes a red with brownish tinge. Seldom very fine grain tops, more often medium grain. Generally maple of smallish figure for backs. Tonal quality sometimes agreeably sonorous, but never very persuasively mellow. Cellos also modelled on Stradivarian principles. Reddish brown varnish. Body length, 76 cm. 80, 1960.
------------------------------------
Mathias Knilling
Geigenmacher in Mittenwald
an der Iser. 1837
------------------------------------
(printed and written)
KNILLING, MATHIAS
Worked at Mittenwald, 1753-1762. Not to be confused with the preceding. Modelling and varnish somewhat Klotz like.
KNILLING, PAUL ANTON
Worked at Mittenwald, 1780-1812.
--------------------------------------
Paulus Knilling Geigenmacher
in Mittenwald an der Iser 1812
--------------------------------------
KNILLING, PHILIPP
Worked at Mittenwald, 1753-1762. Rather slight arching, showing an appreciative desire to escape from the Tyrolian to the Italian.
KNILLING, PHILIPP BERNALT
Worked at Mittenwald, 1820. Went yearly as pedlar, with his Klotz-like violins to all the villages and monasteries in South Bavaria, also visited all the towns on the Danube as far as Vienna.
KNIPP, JOHANN HEINRICH DAVID
Cabinet maker at Helsa (Prussia), 1790-1807. Wretched designs. Abominable varnish - dark red gone nearly black.
------------------------
J. H. D. Knipp aus
Helsa 1802
------------------------
KNISCH, ROBERT
Born at Vienna, 1897. Pupil of Jaura from 14th year. Established own atelier, 1923. Stradivarian and Guarnerian modelling. Everything shows precision running concurrently with the free agency of artistry. Golden red or red brown oil varnish. Violas and cellos equally praiseworthy. 75, 1960.
------------------------------
Robert Knisch
Geingenmacher in Wien
19-
------------------------------
(decorative border)
KNITL, FRANZ
Worked at Freising (Bavaria), 1768. Born at Mittenwald, 1744. Died 1791. Repairer to the Episcopal Bishop of Freising. Scientific designer who tried to combine the characteristic traits of Stainer and Amati. Arching not too high, and never bulgy looking. No slight anatomical oversights at any part of the scroll. Narrow sound-holes. No falsity of proportions lurking within the instrument. Tops often severely damaged. Nice curly maple for back and ribs. Reddish brown varnish of moderate attraction. Tonal quality not penetrating, but has a certain mellow warmth. 30. 70, 1960.
----------------------------------------
Franz Knitl. Hof Geigen und
Lautenmacher in Freysing. 1786
----------------------------------------
(small; German lettering)
KNITL, JOSEF
Worked at Mittenwald, 1756-1795. Modelling belongs to the Klotz school. Arching fairly pronounced and not especially attractive. Workmanship of the ordinary Bavarian standard. Yellowish brown varnish. 20, 1930. 60, 1960.
----------------------------------------
Joseph Knitl, Lauten und Gei-
genmacher in Mittenwald an der
Iser. An 1794
----------------------------------------
(decorative border)
KNOP, WILHELM
Resident at Meiningen (Thuringia), 1820-1840. Amateur. Musician at the Ducal Court. Good Stainer modelling.
-------------------------------------
Fabricato Per Guilielmo Knop
Membro della capella ducale
in Meiningenia. Anno 18-
-------------------------------------
KNOPF, ALBERT MORITZ
Born 1885. Pupil of O. B. Heinel. Worked at Markneukirchen, Hamburg, Magdeburg and Leipzig. Very good modelling and varnish.
KNOPF, KARL WILHELM
Born 1803. Died 1860, Son and pupil of Christian W. Worked at Markneukirchen. Specialised in bow making. Ideal bows, results of intellectual deductions collated from all the art of predecessors. Stamped K. W. Knopp. 30, 1960.
KNOPF, CHRISTIAN FRIEDRICH WILHELM
Born 1815. Died 1897. Worked at Markneukirchen and Dresden. Bows of fine workmanship, and having that remarkable balance for which soloists crave. Had a prolific number of pupils and imitators. 45, 1960.
KNOPF, CHRISTIAN WILHELM
Born 1767. Worked at Markneukirchen. The first of this family. Died 1837. Good bows much valued by collectors. Up to 50, 1960.
KNOPF, HEINRICH
Born at Markneukirchen. Worked many years at Lwendalls Factory at Berlin. Established own workshop in that city, 1873-1885. Subsequently went to Moscow to work for Zimmermann. Built commercial violins, but of a class fully showing the liberal training of a mind naturally endowed with a certain order of perception for combining artistry with mass production. Bows particularly valued, every requirement of the player being most happily fulfilled.
KNOPF, HEINRICH ERNST
Born at Markneukirchen, 1868. Worked there 1888-1898; then at Leipzig; returned to native town, 1906. Died 1917. Used oil spirit varnish of own special ingredients.
--------------------
Heinrich Knopf
Geigenbauer
Leipzig
--------------------
---------------------
1889
Heinrich Knopf
Geigenbauer
Markneukirchen
---------------------
Not related to the other Knopfs.
KNOPF, HENRY RICHARD
Born at Markneukirchen, 1860. Son of Heinrich. Worked with Bausch at Dresden, and with Christian Adam at Berlin. Established at New York, 1880. Died 1939. Made 450 violins and 50 violas. Fine modelling after the larger Stradivarian proportions. Workmanship most delightfully well finished. Scroll has that fine grace arising from a devotion to beauty - sound-holes also. Used the finest wood procurable. Orange red oil varnish of own compounding. Tonal quality very responsive and of fullest power. Catalogued at 150 dollars. Produced 50 cellos of the highest possible artistry. Inherited fathers talent for fine bow making and made 1,000, stamped H.R. Knopf. New York.
------------------------------------------
Henry Richard Knopf. New York.
Anno 1902
------------------------------------------
----------------------------------------
Henry Richard Knopf
No. 318. New York. Anno 1923.
----------------------------------------
Also branded under fingerboard.
KNOPF, JOHANN WILHELM
Born at Markneukirchen, 1835. Ultimately settled at Dresden, and was working there in 1908. Small productivity of violins. Specialised in bow making and attained conspicuous reeognition. Bows, 10, 1960.
KNOPF, LUDWIG
Bow maker at Markneukirchen, 1850-1875. 10 to 15, 1960.
KNORR, ALBERT
Born 1876. Pupil of Max Dlling. Worked at Markneukirchen. Died 1939. Violins and cellos, customary excellent designs and workmanship of trade instruments.
KNORR, ALBERT ALBRECHT
Born 1906. Son and pupil of Albert. Worked at Breitenfeld (Saxony). Violins and guitars, good class commercials.
KNORR, ERNEST AND ARTHUR
Worked at Markneukirchen, 1900-1915. Both specialists in bows of good class.
KNORR, ERNST ROBERT
Established the firm of Knorr and Strbel at Markneukirchen, 1906. Died 1932. Various grades of violins and bows.
KNORR, PAUL
Born 1882. Pupil of Max Dlling. Worked at Breslau and Berlin. Established at Markneukirchen, 1921. Well made instruments. Initials branded.
KNOSPE, D.
Worked at Riga, 1900-1916. Good workmanship but little known.
KNUDSEN
Norwegian maker of Hardanger fiddles.
-------------------------
Jorg. Knudsen.
Fiolin Mager, 1838.
-------------------------
KOBENZI
Worked at Paris. Tolerably smooth workmanship, medium arching, pretty scroll, brown varnish. Branded Kobenzi a Paris.
KOCH, ANDREAS
Established at New York, 1923. Manufacture of violins and bows.
KOCH, FRANZ JOSEPH
Resident at Dresden, 1915. Delved into the tone quality of Cremonese instruments and by microscopical scientific researches identified a substance which is bound capillarily in the wood, and which is the cause of the striking and typical homogeneity of old Italian violin wood and determines the resonance feature of the old classical tone. Brought out violins, violas and cellos under the name of Homogeneous Stringed Instruments, 1920, claimed they were distinguished from other modem instruments by their extraordinary and characteristic Cremona tone, etc. Achieved wide publicity by soliciting famous virtuosi to publicly solotise on them, had high praise from Ltgendorff (who affirmed the nobly sweet tone, etc.) and other well known connoisseurs, also passed throught the armour of inevitable adverse criticism. Models of various old Italian instruments, sometimes absolute replicas in varnish and wear, and one named Aeona (for orchestral players) all splendid commercial realisations, impeccable workmanship, transparent oil varnish of different tints (dark brown, reddish brown, orange, red and yellow).
--------------------------------
Prof. F. J. Koch/Dresden.
Anno 1922. No. 534.
--------------------------------
Trade mark, a ring and arrow burnt in the wood, also the name Koch as though written.
KOCH, JOHANN
Two of the same christian name, worked at Hamburg, 1737 and 1767.
KOCH DER JUNG
Cellist in the Court Orchestra at Rudolstadt, 1820-1835. Cellos and guitars in lyre form.
----------------------------------------
Hofmusicus Koch in Rudolstadt,
in Hores successive, 1826.
----------------------------------------
KODED, JOSEPH
Worked at Schweidnitz (Silesia), 1801-1826. Violins of reasonable conformity with the artistic, but of no definite style. Tonal quality frequently of a peculiar harshness.
-----------------------------------------
Jos. Koded in Schweidnitz, 1825.
-----------------------------------------
KOEDERITZ, JOHANN GEORG
Worked at Jena (Thuringia), 1765-1775. German-Italian designs, not without gracefulness. Scroll especially attractive. Waxen yellow varnish.
KOEGL
see KGL.
KOEHLER
see KHLER.
KOELLER, CARL
Bom 1891. Worked at Schonbach and Augsburg. Established at Constance, 1930. Good work.
KOELLMER
see KOLLMER.
KOENIG
see KONIG.
KOEUPPERS
Cuypers germanised. See this name.
KOGL, BALTAZAR
Born at Fuessen. Worked at Prague, 1628. Several fine viol-da-gambas of Italian style.
KOGL, HANS
Born at Fssen (Bavaria), 1641. Worked at Vienna, 1670-1692. Successfully imitated the Brescian school. Outline under full size, and somewhat narrow. Edges not at all prominent and fairly high arching. Whole contour forcibly reminiscent of a Gasparo da Salo. Sound-holes design and positioning are exact reproductions of Salo. Small scroll, rather flat in the region of the eye. Workmanship displays manliness of execution that spurns elaborate neatness. Ustially fine grain spruce and birds-eye maple back. Brown or reddish yellow varnish. Broadened the model in later years. Quite a good number of instruments haye Italian labels. Sweet and responsive tone, occasionally quite strong. 40.
Some labels have the name Klgl but more give Kgl.
-----------------------------------------------
Hans Klogl Lauten and Geigenmacher
in Wienn. Anno 16-
-----------------------------------------------
(German lettering)
Sometimes labelled Hannes Khogl and Hannez Khogl.
KGL, JOHANN
Worked at Fussen, 1620-1640. Famous for lutes, but made several violins bearing the most refined workmanship, sound-holes especially well placed, splendid scroll and reddish brown varnish.\
-----------------------------------
Johann Khogl, Fssen 1631.
-----------------------------------
KOHANYI, KARL
Drawing master. Resident at Wiesskirchen and Buda Pesth. Died 1889. Produced several violins built on experimental lines of Dr. Geyer, and ambitiously aspired to attain Italian tonal quality. Only partially successful in real purity but managed to get fair clarity and strength.
KOHL, ANTON
Born 1907. Worked at Schnbach for a firm named Cremona in that town, 1945. Exhibited instruments at the Hague, 1949.
KOHL, FRANZ
Worked at Liebwerda, 1886; at Aussig, 1902; and Chemnitz, 1938. Rather good instruments, picturesque reddish varnish.
--------------------------------
Franz Kohl i Liebwerda
bei Reichenberg in Bhm
1893 erbaut.
-------------------------------
KOHL, FRANZ
Born 1873. Son and pupil of Josef. Worked at Leipzig, Gablonz, Vienna and Schnbach. Died 1939. Excellent modelling, etc., of various standard types.
KOHL, HANS
Attached to the Bavarian Court at Munich, 1573-1583. Lutes and viols highly prized by collectors.
KOHL, JOSEF
Born at Fleissen, 1831. Worked at Schnbach. Died 1905. Customary Bohemian style of copying the classical models.
KOHLBACHER, MICHAEL
Worked at Schnbach, 1790-1802. One specimen (dated 1795) realised 20 in London, 1928.
KOHLER, CARL
Worked at Schnbach, 1864. Good commercial violins, seldom labelled with his name.
KOHLER, CONRAD
Born 1882. Pupil of Monnig. Worked at Erlbach (Saxony), 1908. Good copies of classical models.
----------------------
Conrad Khler
Geigenbaumeister
Erlbach (Vogtl).
----------------------
KHLER, EGIDI
Born at Schnbach. Worked at Wels, 1846. Died 1909. Won medals for well modelled violins and guitars.
KOHLER, LUDWIG
Born at Abanj-Szanto (Hungary), 1859. Pupil of Pilat at Buda-Pesth. Went to U.S.A. Subsequently returned to Buda-Pesth. Excellent designs, etc., but few have his label.
KOHNEMANN, DIEDRICH
Worked at Harsum (Hanova), 1837-1869. Amatese modelling, good workmanship, and yellow brown varnish.
---------------------------
Diedrich Kohnemann
in Harsum
bei Hildesheim,
Anno: 18-
---------------------------
(decorative border)
KOK, JOHANN WARNAAR
Born at Amsterdam, 1819. Pupil of Heims and Louis Bernardel. Established (with brother Gerritt (1828-1899), the firm of Gebroeders Kok, 1848. Died 1889. Business carried on by Peereboom Kok. Repairers, etc., to the Conservatorium.
--------------------
Gerrit Kok.
Amsterdam. 18-
--------------------
--------------
Gebr. Kok.
--------------
(written)
KOLDITZ, JACOB
Born 1718. Died 1796. Worked at Ruhmburg (Bohemia). Agreeable outline of the Prague school. Arching very slight. Contour of broad proportions. Workmanship may be taken as a refined aspiration towards ideality in neatness. Fine grain spruce, and nicely figured maple. Red brown varnish, applied intelligently. No fairyland of tone but much appealing quality though not very full. 30 (1930). Good players will find themselves at home on a Kolditz viola, and should revel in the warm tone. 85, 1960.
------------------------------
Jacobus Kolditz me fecit
Rumburgiae. 1796.
------------------------------
(bearing the design of a violin and lute, crossed)
KOLDITZ, MATTHIAS JOHANN
Worked at Munich, 1710-1760. Violins of rather slim contour, medium arching (definitely less than the customary German style of that period). Ribs also less deep, the whole having a praiseworthy aspect of originality. Small scroll but savouring of considerable artistry, frequently skilful arabesques on peg box. Sound-holes agreeably slanting, some Stradivarian. Fine belly wood, splendidly marked backs. Full textured varnish of warm reddish brown hue. 40 (1930). Violas also of original design, deep ribs and long modelling, good architecture. Cellos generally depart from customary dimenslons and are recommended for their large proportions. Sometimes, in addition to ordinary sound-holes, he conceived the idea of a specially carved rosette under fingerboard. 95, 1960
---------------------------------
Mathias Joannes Kolditz
Lauten und Geigenmacher
in Mnchen. 1760.
---------------------------------
(German lettering)
Name occasionally spelled as Koldiz.
KOLIKER, JEAN GABRIEL
Worked in the rue des Fosses-Saint-German, Paris, 1783-1799. Also in the Rue Croix des petits Champs, 1800-1820. Especially adept at building modern antiques for dealers. Some cellos highly commended for workmanship and tone. Label states that he made and repaired all sorts of musical instruments including pianos, harps and guitars.
KOLLER
see KOELLER.
KLLMER, GEORG NICHOLAS
Born 1775. Worked at Crawinkel near Ohrdruf. Died 1843. Accredited with being the best maker in that locality. Fair workmanship, ordinary imitations of the Stainer and Italian types. Very much favoured by dealers of his period.
-------------------------------------
Georg. Nicol. Kollmer, 1798.
Erfundum von Jacob Stainer,
in Absam probe Oenipontum.
------------------------------------
KOLLMER, JOHANN DIEDRICH
Worked at Crawinkel, 1760-1770. In-attention to the laws of correct dimensions has given these instruments quite an inelegant appearance as well as an impoverished tone.
KOLLMER, JOHANN MICHAEL
Worked at Crawinkel, 1770. Brother of J.
KOLLMER, JOHANN NICOLAUS
Born 1794. Worked at Crawinkel until 1845. Design and workmanship betray less grievous mistakes than those effected by relatives.
KOLLMER, JOHANN VALENTIN
Worked at Crawinkel, 1770-1810. Specimens entirely characteristic of inelegancies in outline and arching, very peaked corners, exaggerated waist curves, good belly wood, thin yellow varnish.
---------------------------------------
Johann Valentin Kllmer,
Violin und Instrumentenmacher
in Crazvinkel, 1800.
---------------------------------------
(German lettering, also large Gothic)
-----------------------------------------
Johann Valentin Kllmer
Violinmacher in Crawinkel, 1784.
-----------------------------------------
KOLOWRATNIK, JOHANN
Worked at Glatz (Silesia), 1879-1926.
KOMAROMI, SANDOR
Born 1889. Pupil of Bergmann at Buda-Pesth. Established at Ujpest (Hungary), 1919.
KNIG, ALBERT PAUL
Born 1880. Pupil of Kessler. Worked for Glass at Altona, 1906. Good work.
KNIG, ADOLF HEINRICH
Born at Zurich, 1908. Pupil of Liestal at Bale. Worked for Aerts at Brussels. Director of a violin making school at Brienz (Switzerland), 1944. Won Diploma of Honour at The Hague, 1949. Violins, Violas and cellos - splendid modelling, flawless workmanship, beautiful transparent varnish and an impressive tonal quality.
Also constructed viol-da-gambas and guitars.
--------------------------
Adolf Knig.
Nr. Zurich 19
Labor vincit omnia.
--------------------------
Translation: Labour conquers all things.
KONIG, FREDERICK MORRIS (MORITZ)
Born at Schoneck (Saxony), 1866. Pupil of Carl Neumarker (Uncle). Worked for Gtter (Markneukirchen) and Heckel (Dresden). Became acquainted in the latter city with the oldest Weichold, and gained much insight in varnishing under his guidance. Worked at Berlin (where he built first complete violin), 1884. Went over to New York to assist his relative Hermann, 1890. Connected with Peates Music House at Utica, 1920. Resident at Bronx (New York, 1925). Produced about 200 instruments. Copies of the Stradivarian and Guarnerian, accurate to the minutest detail and cleverly imitated. Golden yellow to deep red shades of varnish of beautiful transparency, comparing favourably with the old Cremonese product. Mellow and responsive tonal quality, full and strong in the higher register.
--------------------------------
Fred. M. Koenig.
Violin maker and repairer.
Utica. N.Y. 1920.
--------------------------------
KONIG, MAX
Born at Munich, 1870. Pupil of Monnig. Worked in different countries. Returned to Munich, 1904. Splendid modelling of Cremonese types.
KONIGOWSKI
se KANIGOWSKI.
KONSALIK, EDMUND
Worked at Jena (Germany), 1868-1904.
-----------------------
Edmund Konsalik
in Jena, 1876
-----------------------
KONSTANTINOV
Worked at St. Petersburg, 1925. Stradivarian modelling broadly conceived, curvatures beautifully round. Dark brownish yellow varnish, or a brilliant copal preparation of bright red shade.
KONWALINKA, JOSEPH W.
Originally a gunsmith. Resident at Mason City (Iowa), 1910. Made violins of fair workmanship.
KOODLACH, A.
Born in Russia. Pupil of Rakovsky and Hilinsky (Kiev). Went to Winnipeg (Canada), 1910. Ceased making instruments, 1920. Became a connoisseur and repairer at Los Angeles, 1920.
KPFF, PETER
Lute maker at Munich, 1637-1670.
----------------------------------
Peter Kpff, Lautenmacher
in Munich. Anno 1652
----------------------------------
KORIN, JOHANN
Worked at Kiev, 1868-1890.
KORT
se DE KORT.
KORTRIGHT, G. W.
Resident at Des Moines (Iowa), 1908. Little known work.
KOSOVEL, E.
Born 1902. Studied at Ljubljana. Worked at Belgrade (Serbia), 1950. Fine Strad modelling, spirit varnish, orange and brownish shades.
--------------------------------
Kosovel Eugen
Belgradi Fecit Anno 1950
--------------------------------
KOSSLER, FERDINAND ANDREA
Worked at Regensburg (Bavaria), 1770-1780. Pupil of Buchstetter, almost replicated his style and varnish, excellent productions. Violins, violas, cellos and double basses.
-----------------------------------
Ferdinandus Andreas Kosler
Ratisbonae. Anno 1772
-----------------------------------
------------------------------------
Ferdinandus Andreas Kossler
fecit Ratisbonae Anno 1775
------------------------------------
KOSTRZEWSKI, JACOBI
Worked at Lemberg (Poland), 1770-1800. Rather impressive modelling, details of workmanship carefully executed. Tonal quality of that responsiveness which immediately delights.
-------------------------------
Jacobus Kostrzewski
fecit Leopoli. Anno 1792
-------------------------------
(decorative border)
KOVACIC, TEREZIJA
Worked at Agram-Zagreb (Croatia), 1900-1925. Maker of national lutes and excellent tamburitzas.
KOVCS, KOLOMAN
Born 1865. Pupil of Mnnig. Worked at Szegedin (Hungary), 1900-1922.
KOVCS, LAJOS
Born 1891. Pupil of Bikszeji. Worked at Budapest, 1928. Italian classical models, flawless workmanship and fine varnish.
KOVANDA, FRANK
Born 1904. Worked for Lewis & Sons at Chicago, 1924. Many fine bows of various famous models, used extensively in U.S.A.
KOVANSKY, WENZEL
Worked at Prague. Richly decorated violin bought for 300 ducats by the Empress Maria Theresa, preserved at the Museum, Vienna. Instrument of great beauty. Signed Kovansky on small escutcheon posed outside the deck.
KRAFT, MATHIAS PETTER
Born at Gvle (Sweden), 1753. Son of a cabinet maker. Worked at Stockholm, 1778. Ultimately honoured as instrument maker to the Court. Died 1807. Few violins, generally meriting discriminate censure in tonal quality, though workmanship has no serious errors. Not carefully chosen wood, also ineffective varnishing. Probably thought anything would do for the Court fiddlers. Lavished more attentive skill on lutes, theorbos and harps for his Royal and other wealthy patrons. Labels fancifully scrolled, either egg-shaped with border, or a rococo vignette with a lute and harp.
--------------------------------------
Matth. Pett. Kraft Kngl Hof
Instrument Makare Stockholm.
Ao. 1781. No. 39
--------------------------------------
KRAHL, ALBERT OSCAR
Born at Erfurt, 1877. Pupil of Beyer. Established at Meerane (Saxony), 1902.
KRAJEWSKI, S.
Worked at Detroit (U.S.A.) up to 1916, then went to Warsaw.
KRAMER, HEINRICH
Worked at Vienna, 1680-1720. Splendid lutes. Few violins.
------------------------------------------
Heinrich Kramer Lauten
und Geigenmacher in Wienn 1715
------------------------------------------
KRMLING, ERNST
Worked at Fleissen, 1895. Moved to Steingrub (Bohemia) and worked there, 1926.
KRMLING, JOSEF
Bow maker at Steingrub, 1925.
KRAMMER, JOHANN
Oboist and repairer at Budweis (Bohemia), 1818-1837. Studied violin structure with Anton Fischer.
-------------------
Reparirt von
Joh: Krammer
Budweis 1829
------------------
KRAMPERA, JAKOB
Worked at Znaim (Moravia), 1840-1859. Son and pupil of Jan. Violins not invested with beauty of gradation. Poor tonal quality.
--------------------------------------------
Jakob Krampera
Brgl:
Instrumentenmacher in Znaim 1840
--------------------------------------------
KRAMPERA, JAN
Worked at Znaim, 1820-1839. Rampant Stradivarian modelling, wholly commonplace aspect, reddish varnish shaded to look old. 40 (1926).
--------------------------------------
Jan Krampera
bgl: Lauten und Geigenmacher
in Znaim. 1826
--------------------------------------
KRANABETTER, FRANZ
Worked at Klagenfurt (Austria), 1830-1845. Large and flat pattern, not attractive in design, but not deficient in structural solidity or good workmanship, though the scroll does not reach the acme of artistry. Excellent quality of wood, handsome onepiece backs. Fairly rich golden brown varnish. Tone powerfully resonant but unsympathetic. 25. 65, 1960.
--------------------------------------------------
Franz Kranabetter, brgl. Geigen und In-
strumentenmacher zu Klaganfurt 1841
--------------------------------------------------
(German lettering, decorative border)
KRANZER, LEOPOLD
Born 1797. Studied with Frank at Linz. Died 1874. Modelling having good and indifferent attributes. Pretty outline though of broadish proportions, arching often strikingly high, scroll rather heavy-looking. Workmanship quite skilful considering that he used an ordinary table knife almost exclusively. Apparently careless of the top plate year rings being parallel to the central line. One piece backs of prettily flamed material. Bright yellow varnish of wintry aspect.
-------------------------------------
Leopold Kranzer
in St. Thomas am Blasenstein
im Mhlkreis 1842
-------------------------------------
KRASNY, JACOB
Worked at Vienna, 1838-1858. Violins, guitars and harps.
KRASSNOCHEKOV, IVAN JAKOVLEVITCH
Born at Zemekki, 1798. Worked at Moscow, 1827. Died 1877. Especially famed for guitar-like native instruments, various sizes having four to ten strings. Also produced violins showing deft craftsmanship in all details, generally yellow varnish.
KRATOCHVIL, FRANZ
Worked at Prague, 1720. Few instruments seen.
KRATSCHMANN, FRANZ JOSEF
Worked at Graslitz, Reichenberg, Znaim and Brnn (Moravia). First instrument dated 1796. Died 1845. Stradivarian outline and delightful flat arching. Edges finished most neatly. Artistic cutting of scroll. Sound-holes rather widely opened, but not without character. Top wood usually of wide grain and backs of curly maple of small but pretty figure. Generally pale yellow varnish of thin texture but of fair quality. Occasionally red brown or brown. Tone not particularly mellow or very responsively brilliant. 25. Had a better reputation for guitars and zithers.
---------------------------------------
Joseph Kratschmann Violin und
lauten-macher in Grasslitz
Ano. 1799
---------------------------------------
(written)
----------------------------------
Franz Joseph Kratschmann
Geigen und Instrumenten
macher in Graslitz.
Anno 1817
----------------------------------
-----------------------------------------
Joseph Kratschmann Geigen
u.Guittar Macher in Reichenberg
Anno 1831
-----------------------------------------
-----------------------------------
Joseph Kratschmann
Geigen und Guitarenmacher
in Znaim. Anno 18-
-----------------------------------
(German lettering, decorative border)
Branded J. Kratschmann in middle of back, inside. 80, 1960.
KRATSCHMANN, JOHANN
Born 1831. Son of the preceding. Worked at Brnn, Znaim and Vienna. Died 1870. Mediocre class instruments.
KRATZ, JOSEPH EDUARD
Born 1864. Worked at Metz, 1888; and at Montabaur (Lorraine), 1896. Died 1921. Excellent Strad models, varnish of own formula.
-------------------
Jos. Ed. Kratz
Montabaur 19-
-------------------
KRAUS, ANTON
Tyrolean. Worked at Mittenwald and at Markneukirchen, 1820.
KRAUS, CARL
Worked at Moravsk Ostrava (Moravian Austria). Guarnerian modelling, long sound-holes (very decidedly sloping,) large scroll, varnish of light straw colour.
-------------------------------------
Doctor Carolus Kraus
Moraviae Ostraviae in Austria
fecit anno 1914.
-------------------------------------
KRAUS, MARTIN JOHANN
Worked at Enns (Upper Austria). Good workmanship makes us look with more tolerant eye on the abnormally high arching. Excellent belly wood, but tone is involved in the dangerous zone of hollowness.
-----------------------------------
Martin Joh. Kraus
Geigenmacher in Enns 1804
-----------------------------------
KRAUSCH, G. A.
Worked at Vienna, 1802-1827; later at Iglau (Moravia). Stradivarian outline, careful workmanship. Medium arching, rising steadily from the purfling, so that the grooving at the waist appears very narrow. Yellowish varnish of commendable quality. Handsome wood for back and scroll. Tonal quality pure and clear, if not of rich mellowness. 35 (1932). 75, 1960.
---------------------------------
Georg Adam Krausch
Geigen und Lautenmacher
in Wien 1823
--------------------------------
(decorative border)
KRAUSS, A.
Bow maker at Raun, 1925. 10, 1960.
KRAUSS, E. R.
Born 1874. Pupil of Durrschmidt. Died 1945.
----------------------------
Ernst Robert Krauss
Geigenbaumeister
Markneukirchen i. Sa.
Anno 19. .
---------------------------
KRAUSS, HERMANN
Worked at Erding, 1898; later at Landshut. Commercial violins, generally Stradivarian modelling. Also guitars and mandolines.
KRAUSS, JOHANN ADAM
Born 1764. Worked at Neukirchen. Died 1815. Good representations of Saxonian style.
---------------------------------------
Johann Adam Krauss
Macht mich in Neukirchen bey
Adorf in Voigtlande. 1810
---------------------------------------
KRAUSS, ROBERT BERTHOLD
Born 1903. Pupil of August Anton Reichel. Attained special distinction at the Markneukirchen School of Violin Making. 60, 1960.
---------------------------
R. Berthold Krass
Geigenbaumeister
Markneukirchen i/Sa.
Anno:
--------------------------
(large italic lettering)
KREBIEHL, OSSA ACIDALUS
Born in Clinton County, 1883. Gained knowledge from Heron Allens book - also took cortespondence course from the Bretch School. Resident at Rossville (Indiana), 1910-1935. First instrument produced in 1912, two completed yearly since. Stradivarian modelling with very slight modifications. Various shades of varnish, red, yellow and brown. Fine workmanship, perfect graduation. Tonal quality without newness whatsoever, very satisfactorily full, round and smooth.
----------------------------
Made by
Ossa A. Krebiehl
Rossville, Ind. U.S.A.
Anno 19-
O.A.K.
----------------------------
(border of oak leaves and acorns)
In the making of high grade violins he has been exceedingly thorough and by consistently disregarding time and money has produced much to be highly prized in the future. Appended are some of his ideas: -
A modern violin can be as good as those made in Cremona were when new, both as to tone and workmanship, and varnish comparison is impossible as no one knows what some of the varnish used today will be like a hundred years hence. Difficult to conceive that Stradivarius had any great secret other than an open mind. The open mind is the mind without bias and prejudice, responsive to reason, and willing to listen to others. Progress has always been hampered and retarded because of the closed mind of the majority - habits of thought and custom are hard to alter, and are clung to with a tenacity worthy of a better cause. Prejudice and bias in one generation is carried into the next, and becomes an additlonal barrier to change. Hope of the future is always in the open mind. The open mind is not the mind that accepts every idea it hears or that changes merely because new doctrines are presented. The open mind listens willingly to reason, pushes preconceived notions out of the way, and before making a decision weighs evidence of the arguments on both sides. The open mind realises that we are living in an age of rapid change, it also feels that research and discovery are pushing back the boundaries of knowledge, and thus making frequent adjustments necessary. Stradivarius served his generation well and added much to the art, and we have lost nothing of his wonderful contributions but, it is not logical to assume that the Cremonese achieved the ultimate, except perhaps, in proportions and outline. Progress could be made by the aid of proper machines, not machines to make violins faster, but such as would eliminate all guess-work. Mans physical abilities are within a fixed range, and for him to go beyond these bounds, mechanical means have been invented, to extend his powers man has progressed mechanically until he is stronger and more sensitive, thus massive things have been accomplished minuteness of things have been delved into and when properly applied, the desired end has been reached. Man has discovered that he is fallible, because of uncontrollable changes of various natures that affect him. Properly built machines kept in condition are infallible, and can be made to register variations so slight as to be imperceptible to human senses. Scales have been made that register the weight of a human hair, microscopes and telescopes make visible the unseen, an automobile mechanic uses a micrometer when honing cylinders which register 1/1000 of an inch; the machinist does not trust the eye or fingers when determining the size of shafts, etc., but uses a registering caliper. The greatest problem in making fine toned violins lies in being able to ascertain the correct qualities of the wood used. Firstly, a machine is needed that will determine the quantity of different wood required to equal the same strength or to establish the correct amount of resistance under the same conditions. Secondly, fine calipers. Norwithstanding all that may be said in favour of science, etc., ideal violins will always unexpectedly result from so-called guess-work, we would rather say inspiration.
KREBS, RAIMUND
Worked at Iglau (Moravia), 1899-1902. All kinds of stringed instruments.
KREINBERG, GUSTAV
Cheap violins for dealers. Markneukirchen, 1900.
KRELL, ALBERT
Born at Kelbra, 1832. Went to America, 1855. Worked at Cincinatti for many years. Died 1900. Made the instruments associated with Schradiecks discovery that Canadian balsam-pine gave the Cremonese tone, etc., 1885. Violins with a kind of silvery tone but of slight solidity - advertised that they would revolutionise the world - a bubble that soon burst. His independant instruments, though of first-class workmanship, are generally too thick in wood, and all parts conceived in too robust a manner to be truly artistic. Seldom realised more than 15. Some better violas came from his hands, broad Stradivarian model, golden yellow varnish. Body length, 15-3/4 inches; upper bouts, 7-1/2; lower 9.
--------------------------------
Albert Krell
Maker of Cincinatti. Ohio
1884
--------------------------------
KRENTZER (KRENZER), J. C.
Worked at Salzburg, 1740-1755. Klotz modelling with medium arching. Fairly neat workmanship. Yellow brown varnish.
------------------------------------
Johann Caspar Krentzer
Lauten und Geigenmacher in
Salzburg, 1749
------------------------------------
--------------------------------
Johann Caspar Krenzer in
Saltzburg 1752
--------------------------------
KREPELKA, JOSEF
Worked at Iglau (Jihlav in Moravia), 1830-1840. Violins of the normal type emanating from Bohemia.
---------------------------------------
Josef Krepelka
Instrumentenmacher nstrojnik
in
Iglau 1833 Jihlav ---------------------------------------
(in two languages, decorative border)
KRESNIK, FRANCESCO
Medical doctor and amateur violinist at Fiume (Italy), 1910. Author of treatise on How to obtain powerful yet sweet tone. Made experiments in varnish and woods. Found a 17th century recipe in Latin, and formulated a varnish from its instructions. Solicited assistance of a clever maker and together they built violins of Guarnerian modelling. Thicknesses of wood calculated according to the particular kind of material. Strad and Guarnerian models. Transparent red varnish. Many instruments destroyed by bombardment, 1943. A few preserved at Fiume Museum and at Belgrade Academy.
------------------------------
Franciscus Kresnik fecit
Fiumie. anno 1940.
------------------------------
KRETZSCHMANN, CARL RICHARD
Born 1860. Worked at Markneukirchen. Died 1893.
KRETZSCHMANN, CHRISTIAN GOTTFRIED
Born 1773. Died 1842. Worked at Markneukirchen. Violins of early period built with enthusiasm and an ambition to get away from the beaten Stainer track of his native predecessors and contemporaries. Outline and arching belong to the Amati school. Cherry brown varnish of nice quality. Later violins drifted into the rather commonplace Saxon style. Very dull varnish and an equally dull tone. Branded C.G.K. inside, where the label is usually placed. Subsequently produced principally for dealers. Work and style something rather similar to a Ficker.
KRETZSCHMANN, ERNST AUGUST
Born 1859. Worked in Hungary for a short period before settling at Markneukirchen. Died 1932. Very good workmanship.
KRETZSCHMANN, ERNST HERMANN
Born 1870. Worked at Markneukirchen. Died 1919. Excellent modelling of the Cremonese. Attractive varnish.
KRETZSCHMANN, GEORG CARL
Born 1702. Died 1783. Best maker of his time at Markneukirchen. Master in the Violin Makers Guild, 1723. Instruments date from 1723. Amati outline and medium arching. Rather deep and strongly built ribs. Sound-holes and scroll show acceptably little touches of originality. Excellent wood which brings the reward of a nicely full tone with considerable age quality, generally one-piece backs. Brown varnish of satisfying quality. 20 to 35 according to condition.
-----------------------------------
Georg Carl Kretzschmann
Violinmacher in Neukirchen
1763
-----------------------------------
(German or Gothic lettering)
KRETZSCHMANN, H.
Worked at Markneukirchen, 1924. Beautifully balanced bows and every detail neatly finished. Heads very artistic and splendidly rounded off. Gold fittings. 30.
KRETZSCHMANN (KRETSCHMAR), JOHANN ADAM
Born 1750. Died 1796. Worked at Markneukirchen. Rather superior workmanship to anything produced by contemporaries in that industrious Saxon town. Best instruments somewhat follow the Guarnerius model, but with slightly higher arching. Frequently fine grain spruce and handsome curly maple for backs, ribs and scroll. Especially rich textured golden brown varnish entirely covering the instrument. Broad and full tone, responsively easy and of considerable mellowness. 40. He was so clever that he became in 19th year, Master in the Guild. 90, 1960.
------------------------------------------
Johann Adam Kretzschmann
Violinmacher in Neukirchen, 1784
------------------------------------------
(German lettring)
Also used the following written label feigning that Prague was the place of origin-
---------------------------------
Joh. Kretschmar
Lauten und Geigenmacher
In Prag.
---------------------------------
KRETZSCHMANN, JOHANN GOTTFRIED
Born 1744. Worked at Markneukirchen. Died 1809. Several violins known of attractive modelling and good varnish.
KRETZSCHMANN, PAUL ERNST
Born 1892. Established at Markneukirchen, 1919. Fairly good workmanship and tone.
KRETZSCHMANN, WILHELM JULIUS
Worked at Markneukirchen, 1860-1894. Good workmanship.
KRETZSCHMANN
- in addition to the above, about 20 of this name worked at Markneukirchen.
KRETZSCHMAR, GEBRDER
Established at Markneukirchen, 1920. Manufacturers of stringed instruments. Carl August is the principal in the violin making department, and Richard Otto controls the production of lutes and guitars.
KRETZSCHMAR, H. A.
Born at Weissenburg (Bavaria), 1876. Served a long apprenticeship at Markneukirchen. Prize winner, with highest marks at the Chicago Contest, 1912, during the Convention of the American Guild of Violinists. Established at Chicago, 1928. Convinced that correct principles and practice can alone be learnt from the study of the old masterpieces, and to make detailed drawings and accurately measure such examples. Investigated and dissected their construction, noticed how treatment had been modified to suit material, and style had been evolved jointly therefrom. Thus discovered the method by which the old master-architects met practical difficulties, and in this way, the moot points (which frequently arise at the present day with many violin makers) of construction and varnish have been solved. Claimed that his violins were a triumph of art. Believed in the principle of leaving sufficient wood to ensure a healthy tone in the beginning, and only to be matured by playing and age.
------------------------------------------
H. A. Kretzschmar H.K.A.
Expert Violin Maker and Repairer
Chicago, Ill. fecit anno 19-
------------------------------------------
KRETZCHMAR, WILHELM
Born 1878. Pupil of Voigt and Wilfer. Established at Markneukirchen, 1920. Violins held in much esteem.
KREUL, ALBERT
Good bow maker at Augsburg (Bavaria), 1925.
KREUL, ERNST WALTER
Born 1895. Worked at Markneukirchen. Died 1944.
KREUL, HANS
Worked at Bad-Brambach, 1914. Subsequently opened branches at Leipzig and Tbingen. Many excellent bows bear his name.
KREUTNER, S.
Amatenr at Hart, 1886-1914. Violins in Tyrolean style.
-----------------------------
Simon Kreutner in Hart
Post Fgen in Tirol
-----------------------------
KREUZINGER, ANDREAS
Worked at Schnbach (Bohemia), 1826. Produced many satisfactory instruments.
KREUZINGER, ANTON
Born 1840. Worked at Schnbach. Died 1885. Made instruments for traders, labelled according to model.
KREUZINGER, ANTONIN
Born at Schnbach, 1873. Worked at Znaim (Moravia), 1900-1925. Produced much excellent imitative work, faultless craftmanship. Also built own model, somewhat Stradivarian contour but with narrower waist (to facilitate bowing) and higher arching. Orange red oil varnish of soft properties. Ordinarily good tone though the instruments carry small value.
------------------------
A. Kreuzinger Gei-
genmacher Znaim
Fecit 1909. A K
------------------------
------------------------------
Anton Kreuzinger
Geigenmacher in Znaim
fecit anno 1910
-----------------------------
(beautifully scrolled)
KREUZINGER, JOHANN
Bow maker at Schnbach, 1925.
KREUZINGER, JOSEF (1)
Worked at Schnbach, 1864-1892. In early years he had the worthy ambition of making something superior and more individualistic than merely providing cheap violins for dealers. These were very satisfactory in all parts including the varnish, but finding only a small outlet for them, he ultimately restricted his activities to making bodies and scrolls for factories.
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Josef Kreuzinger
Geingenmacher in Schnbach, 18-
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KREUZINGER, JOSEF (2)
Born at Schnbach, 1871. Son of J. (1). Worked in various German towns, then finally settled at native place. Well made violins of various models. Labels bear the name of model represented.
KREUZINGER, JOSEF (3)
Born 1904. Worked at Markneukirchen, 1940. Very good workmanship.
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Josef Kreuzinger
Werkstatt fr Violinen und Cello
Markneukirchen. Sa.
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KRICHBAUM, JOHANN CARL
Worked at Prague and Vienna, 1757-1787. Stradivarian modelling, excellent scroll, splendid wood, non-transparent brown varnish.
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Joannes Carolus Krichbaum
fecit Pragae 1760.
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(slightly decorative border)
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Joannes Carolus Krichbaum
fecit Viennae 1778
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KRIEG, JOHANN
Worked at Prague, 1731-1758. Somewhat of the Stainer design. Brown varnish very thinly applied.
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Johannes Krieg Lauten und
Geigenmacher in Prag. Ao 1758
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KRIGGE, HEINRICH
Worked at Danzig, 1725-1760. Brescian models slightly elongated, generally double purfling. Fine workmanship. Replicas of a Maggini so perfect that several have been ticketed with this famous name. 80, 1960.
KRINER, AUGUST
Worked at Mittenwald, 1725-1747. Enthusiastically copied the Klotz style.
KRINER, GEORG
Born at Landshut (Bavaria), 1874. A great wanderer. Worked in South America, South Africa and Germany. Customary models of the Tyrolese and Cremonese.
KRINER, HANS B.
Born 1888. Worked at Hamburg, Leipzig, Berlin, Zurich and finally at Mittenwald. Good workmanship and varnish.
KRINER, JOSEF (1)
Worked at Mittenwald, 1737-1795. Modelled on the principles of the larger type of Klotz fiddle with rather flat arching. Brown red varnish not very impressive. Wood chosen with some idea of good acoustical properties. 20. 45, 1960.
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Joseph Kriner Geigenmacher
von Mittenwald 1767
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KRINER, JOSEF (2)
Worked at Mittenwald, 1788-1835. Produced largely for local dealers. Best work dates from 1817. Vitalised the conventional Mittenwald fiddle, by adopting a few Stradivarius traits and (by judicious incorporation of German and Italian styles) turned out an instrument of quite nice appearance. To his credit also belongs the fact that he never permitted himself to use poor material although receiving only small sums for his productions. Red brown varnish. Excellent freedom of tone and of warm quality. 30. Signature on the inner side of belly. 70, 1960.
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Joseph Kriner, Geingenmacher in
Mittenwald an der Iser, 1791.
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KRINER, JOSEF (3)
Worked at Landshut (Bavaria), 1850-1899. Son and pupil of Lorenz. Modelling after Stradivarius and Guarnerius, also one of his own, a via media, one that combined the two. Purfling especially interesting and fascinating. Particularly mild tone and quite clear. Best instruments have reddish oil varnish, the cheaper ones spirit, both of good quality. 45, 1960.
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Joseph Kriner
Landshut. 1877
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Joseph Kriner
Suiten und Instrumentenmacher
Landshut. 1852
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Joseph Kriner
Geigenmacher und Reparateur
Landshut. Bayern
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Viol with six metal strings preserved at Geneva Museum.
KRINER, LORENZ (1)
Born at Mittenwald. Worked at Munich, Ratisbon and at Landshut, 1830. Died 1864. Made a few violins of average workmanship, one specimen realised 20 (1930). 40, 1960.
KRINER, LORENZ (2)
Born 1836. Son and pupil of L. (1). Worked at Stuttgart, 1863, and New York, 1873-1906.
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LK Lorenz Kriner, fecit LK
Stuttgart. 1867
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KRINER (KRINNER), M.
Born 1843. Worked at Stuttgart, 1892. Italian models, yellowish red spirit varnish. Inventor of a vibrating bridge which simultaneously increased the vibrations and resisting power of the body.
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Matthus Krinner
Geigenmacher Stuttgart
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KRINER, SIMON
Worked at Mittenwald, 1796-1826. Seems to have stood aloof from the various makers of that town who were busy from morning until night, manufacturing cheap fiddles, for his instruments have much of the Italian variety of character, thus giving them nearer fellowship with future years. Handsome wood nice workmanship and the rich red brown varnish show that his powers of reflection and thought did not act mechanically or that his mind was a mere passive recipient of what was put before him. On the contrary, his understanding was both active and free. Some instruments double purfled. Tone (within certain limits), fairly full and even. Travelled Europe with his examples and occasionally visited London. Labels are of two kinds, some ordinary lettering, those of later date in italicised lettering; both the same wording -
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Simon Kriner
Geigenmacher in Mittenwald an
der Iser. Anno 1815
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85, 1960.
KRISTALL, AUGUST
Worked at Jurgenthal, 1889; and Tallin (Esthonia), 1929.
KROLLE, JEAN BAPTISTE
Bow maker at Mirecourt, 1785-1798. Stamped Krolle or J. B. Krolle.
KRMLING, ANTON
Worked at Schnbach, 1825. Ordinary violins.
KRUMBHOLZ, LORENZ
Born at Drngrun (Austria), 1886. Established at The Hague. Died 1944. Splendid Italian designs, golden red varnish.
KRUSE, WILHELM
Worked at Markneukirchen, 1920. Generally mediocre violins, cold-looking yellow varnish. Labelled and branded.
KRTTNER, R.
Worked at Salzburg and Munich. Established at Pilsen (Bohemia), 1877. Stradivarian and Stainer modelling.
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Rich. Krttner
fecit Pilson. 1899
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Richard Krttner
Instrumentenmacher. Pilsen, 1902.
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KRUZINSKI, PAVEL
Worked at Warsaw, 1898-1922. Fair workmanship.
KUCHBAUERL, JOHANN
Worked at Ach, 1835-1860. Ordinary violins and cellos.
KUCZER, JOHN THOMAS
Born at Pyrimylo (Ukraine), 1888. Resident at Winnipeg (Canada), 1904. Produced 60 violins and 6 violas up to year 1949. Instruments highly praised by violinists in North America. Also many excellent viola bows.
KUCZINSKI, JOHANN
Worked at Lemberg and Debreczen.
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Johannes Kuczinski
Leopoldi Anno 1806
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Johann Kuczinski
Debreczen, 1832
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KUDLIK, ISTVAN
Born 1908. Worked at Ngykanizsa (Hungary), 1943. Good workmanship.
KUGLER, WILLIAM J.
Born 1899. Pupil of Herbrig. Established at Minneapolis, 1938. Stradivarian and Guarnerian modelling, neat workmanship, oil and spirit varnish, golden yellow shaded to red. Also produced rebabs, vielles and other ancient types.
KULHAWY (KULLHAVY), ANTON
Worked at Vienna, 1804-1830. First period instruments very unprepossessing, often indifferent wood, dull dark brown varnish. Improvement naturally followed after 1810, and he planned an altogether effective Stradivarian model. Scroll perhaps less meritorious in being over its rightful size. Backs of beautifully flamed maples. Pale yellow varnish, very transparent. Some violins and cellos have unnecessary ivory inlay on the edges, also on the scroll, though the latter is of the same material as the ordinary purfling. 30. 90, 1960.
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Antonius Kulhawy
fecit Viennae 1813.
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KULIK, JOHANN
Born 1800. Worked at Prague. Died 1872. Formal and definite transcepts of Italian models, seldom bringing out any inventive modifications. Scroll most beautifully traversed easily surpassing those of other Bohemians. Unerring hand in workmanship, perfect neatness everywhere, magnificent wood. Although unwisely favouring a spirit varnish he achieved pretty effects in golden brown or red. Tonal quality never quite satisfactory - generally too acutely piercing and totally lacking in persuasive sympathy. Cellos also frequently emit a hard sound. Also produced instruments of small pattern and very high ribs on principles submitted to him by Leopold Savoi.
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Joh. Kulik. Geigenmacher
in Prag.
A. 18-
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(bearing the design of two ancient instruments crossed, and an imaginary animal on each side)
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Genau urach Antonius Stradivarius gemacht
von Johann Kulik, 1852.
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Some labels (of latest years) in Bohemian language. 100, 1960.
KLLER, TURE
Born 1896. Amateur at Stockholm. Died 1950. Enthusiastic woodworker who produced about 20 violins which found favour locally.
KUNKEL, L. N.
Born at Oregon (Missouri), 1897. Physician and surgeon at Weeping Water, 1950. Conductor of the local symphony orchestra. Made about 60 violins up to year 1951. Stradivarian and Guarnerian modelling, conspicuous for neat workmanship. Swiss pine and maple, a few with American sycamore. Red orange oil varnish of own formula - some shaded. Also Stradivarian violas of three body lengths - 16 inches, l6-3/8 and 17-1/2 (the latter tuned an octave lower than violin).
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Lloyd N. Kunkel,
Weeping Water, Nebr.,
U.S.A.
No. . . 19-.
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( - with design of a Red Indian Chief)
Also branded.
KUNTZE-FECHNER, M.
Born at Leipzig, 1877. Chemist and Doctor of Philosophy at Boston University (U.S.A.) Went to Munich, studied violin playing with Felix Berber in that city, and soon commenced to make violins. Worked at Brussels, 1905-1912. Returned to Munich; afterwards took to farming at Wall. Lived at a boarding house carrying the name of Haus am Brunnen, 1919. Died there, 1950. Altogether splendid violins and violas, most refined workmanship, especially fine scrolls, wood for backs nearly always with the flame flowing downwards, and brownish oil varnish on a golden ground.
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Martin Kuntze-Fechner
No. 30. Brussel. 1910.
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KUNTZEL, LAURENT (LORENZ)
Born at Hof (Bavaria), 1789. Did considerable wandering in youthful years. Ultimately found his way to Breslau, 1815, and worked there till 1857. Went to Berlin as instrument maker to the Court, 1858. Died 1864. Produced a very large number of violins, violas and cellos, many of them of variable qualities, but seldom passing the ordinary standard of Italian imitative merchandise. Occasionally specialised an original model, very slight arching and rather broad edge. Workmanship having absolute acquittal from any blemish. On the breast wood, year rings stand out for the most part dark, backs always of the handsomest material. Yellow brown or red brown varnish. Exhibited a quartet in London, 1862.
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Laurent Kuntzel
Geigenmacher in Breslau, anno 1857.
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Lorenz Kuntzel Hof
Geigenmacher in Berlin, 1863.
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KUNZE, WILHELM PAUL
Born at Markneukirchen, 1875. Travelled to Amsterdam in 17th year. Worked for Kok. Settled at The Hague, 1902. Trained himself to produce violins of uniform proportions and thicknessing so that the tonal quality should never be a fluke. Disassembled several Cremonas and found nothing he could not replicate if desired. Exclusively adhered to certain Stradivarian model and achieved much success. Thibaud and other virtuosi have solotised on his fine toned creations. Carried off the highest number of points in a duel between the old and modern instruments at Paris, 1912. Varnish never applied to the white wood, but the white violin is dipped in a mineral solution which dries immediately (therefore not aqueous). Glassy appearance. Leaves the wood porous, remains elastic, and prevents the varnish from penetrating the wood (this solution is undoubtedly a kind of glazing applied as a thin film to the wood surface). Kunze believed that it causes the tone to retain its uniform suavity and the varnish (undulating red) its beautiful transparency. Won medal at the Geneva Exhibition, 1927. 90, 1960.
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Wilhelm Paul Kunze
fecit s-Gravenhage
No. 122. Anno 1924.
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KUNZL, JOHANN
Born at Schnbach, 1825. Worked at Znaim (Moravia), 1862-1904. Well constructed violins wholly in the style of Lembck (with whom he worked at Vienna 1852). Unfortunately applied a dark varnish which opposes enhancement of the really pretty wood. Some instruments double purfled. Tonal quality frequently of Italian smoothness.
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Johann Kunzl
Instrumentenmacher in Znaim,
Anno 1869.
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(decorative border - name only in German lettering)
KNZEL, ERNST
Bow maker at Hohendorf (Saxony), 1910-1925. Excellent work. 10 to 15.
KURKDJIAN, KAREKINE
Worked at Constantinople, 1925. The first maker in the Turkish Empire to construct other than native instruments (Oud-luth, Kementche, three-string fiddle and Kanoun-zither). Made many really fine violins of the usual Cremonese models which reveal an artist of the first order, art creations greatly admired by connoisseurs. Presented one to Henri Marteau (famous French virtuoso) who publicly used it on several occasions. Also delved into the mysteries of the Cremona varnishes and introduced one for which he claimed equality with the past formulas.
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Karekine Kurkajian
Pera
Stamboul 19-.
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(unusual design)
KURSCH, CARL DAVID
Worked at Berlin, 1803-1815. Principally guitars but made a few violins. Thoroughly grounded in the personality of Cremonese models, imbued with their spirit, comprehended the minor but changed requirements of modern players (such as stronger bass bars, etc.) practised his art with propriety and gave the world a few instruments that are rapidly maturing. 85, 1960.
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Carl David Kursch.
Geigenmacher. Berlin 1813.
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KURSCHNER, OSWIN OSKAR
Born 1888. Worked at Wohlhausen, 1920. Good Saxonian modelling of standard types.
KURTEN, WILLIAM
Worked at Brooklyn, U.S.A., 1915.
KURTH, THEODOR
Born 1860. Pupil of Oswald Mckel. Worked in Berlin, 1885-1935. The model although having originality, nevertheless shows that the maker has invigorated his imagination by repeated contemplation of Italian masterpieces. Faultless workmanship. In varnishing (own preparation) he exhibits that rare power of elasticity of thought regarding effective shading. Purfling also shows a remarkably quick certainty and consequently is wonderfully neat. Tone of violins and cellos, finely large and penetrating. Set himself a high standard and never deviated from it.
KURZENDORFER
About 15 makers (principally guitars) of this name worked at Markneukirchen, 1732-1940.
KUTTNER, AUGUST
Pupil of Arthmann at Wechmar, subsequently worked at Gntersleben. Not much value.
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August Kttner
zu Gunthersleben, 1854
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KUTZER, ANDREAS
Born 1872. Pupil of Werner at Schnbach. Worked at Steingrub (Bohemia), 1897-1925. Ordinary workmanship.
KVETKO, MARTIN
Born in Bohemia, 1886. Worked for Simonin at Cleveland (Ohio), 1910. Subsequently established own atelier in Memphis Avenue, same city. Built 150 violins, 1911-1930. Stradivarian modelling, thoroughly seasoned wood about sixty years old, orange red varnish. Tonal quality of good volume, round and clear. Name, etc., inscribed in ink where label is usually placed.
KWIALKOVKSI
Worked at Warsaw, 1800. Not particularly attractive Italian models, dull varnish.
KYMATO
Name of violins made by Moritz Glaesel. (See this name.)
KYOYEKI SHOSHA
Largest firm in Tokio, 1900. Makers of the numerous types of Japanese fiddles and guitar-like instruments. Also produced commercial grades of ordinary violins without the slightest hint of extravagance in proportions or oriental taint in style.