ZABEL, AUGUST
Son of Gottfried. Worked at TangermŸnde (Saxony), 1812. Mediocrity exemplified in structure and varnish. Tonal quality too sluggish for anything faster than crotchets.
ZABEL, GOTTERIED
Worked at TangermŸnde, 1792-1803. Imperfect instruments by a maker who proceeded by hazard rather than by scientific knowledge. Varnish as dull as the tone. £15, 1925.
ZACH, CARL
Son and successor of Thomas. Worked at Vienna from 1886. Organised the Carl Zach Company, suppliers to the Court, patentees, etc., 1897. Branches at Budapest, Mannheim and Darmstadt. Invented (with Professor Ernest Fleischer) a process for impregnating the wood with resin in order to give it nourishment, but its success was very indecisive. Instruments thus constructed have had a comparatively short period of health, and after a few years, premature maturity with its definite weakness of tone set in.
-------------------------------------------------------------
Carl Zach Geigenmacher Sohn des Thomas Zach
Gemacht in Wien. 1888
-------------------------------------------------------------
Bearing a triangular design with initials of himself and father. Other labels have the inscription ÒProf Ernst FleischerÓ.
ZACH, FRANZ
Brother and pupil of Thomas. Worked at Bukarest (Rumania), 1872-1890
ZACH, THOMAS
Born 1812. Originally employed at a mill. Went to Prague to study violin making with Dvor‡k and Sitt. Engaged by Schunda at Budapest. Lived at Szabadka, 1863. Moved to FŸnfkirchen, 1864. Passed seven years at Bukarest, 1865-1868. settled at Vienna, 1869. Exhibited a quartet of instruments of Guarnerian modelling; won first prize, 1873. and gradually increased his reputation throughout Austria and Hungary. Died 1892. Though he had a preference for the Guarnerian style he built many of equal standard on the Stradivarian. All specimens take authoritative rank in style, workmanship and clear tone. Attractive varnish though somewhat viscid and adhesive, and possibly not of great durability. Varying prices.
---------------------------------
Thomas Zach fecit
ad for A.S. Viennae 1869
---------------------------------
(with initials encircled)
ZACHER, ANTON
Son of Franz. Worked at EichstŠtt (Bavaria), 1706-1726. Maker to the Court. Violins, violas with finely wrought ornamental heads, and viols.
ZACHER, FRANZ
Worked at Ingolstadt (Bavaria), 1700-1710. Good workmanship, Stainer outline with customary high arching. Strong, over prominent corners, rather displeasing. Sound-holes not committed to the Stainer style altogether, and afford welcome originality. Some instruments have painted lines instead of purfling. Particularly handsome wood and fair quality varnish. £80, 1935. More violas, and better than the violins.
-----------------------
Frantz Zacher
Lauthenmacher in
ingolstadt 1704
-----------------------
ZACHER, MAXIMILIAN
Worked at Breslau (Silesia), 1730-1784. Violas of large proportions, high arching and deep grooving. Some specimens have very fascinating and delicately cut childrenÕs heads. Violins of broad proportions and medium arching. Belly of fine grain spruce and two-piece back of broad figured maple. Frequently golden yellow varnish, but also an effective deep brown. Large tone but not absolutely free or easily responsive.
----------------------------------
Maximilian Zacher
Lauten und Geigenmacher
in Breslau, Anno 1732
----------------------------------
ZAISER, EUGEN
Born 1868. Violinist, pianist and composer. Resident at Bregenz-on-Bodensee (Austria), 1925. Formulated notions of violin structure, 1892, and began the execution of them under the experienced guidance of J. A. Haff. First favoured the Stainer principles, but soon realised that these first period instruments could never occupy a specially commanding position in the camp of soloists. Became more self reliant and wisely drifted into Stradivarian modelling. Went through much meditation on proportions and thicknesses, gave unsparing pains to achieve perfect accuracy and ultimately succeeded in creating instruments to satisfy the fluent and versatile arm of the virtuoso-bowist rather than merely aiming at puny vehicles that might gratify (in tonal sweetness) the more feeble bow strokes of amateurs. Produced 55 up to the year 1909. Beautiful workmanship and lovely varnish. Tonal quality delightfully refreshing, a real solo-tone. Made further experiments, occupying several years, to create an entirely new model, primarily intended to facilitate the advanced technique of the present day. These art works are made entirely with his own hands, and the several pronounced characteristics merit consideration from all searchers of tonal enhancement.
-----------------------------
Eugen Zaiser, Bregenz
No. 55. 1909
-----------------------------
ZAJAC, J.
Worked at Cracow (Poland), 1922. Good modelling and pretty varnish.
ZAMBERTI, GIUSEPPE
Born 1893. Pupil of Sgarabotto. Resident at Vicenza, 1920. Won medals at Florence, Padua and Cremona. Produced (up to year 1949) 67 violins, 6 violas, 12 Õcellos and 4 double basses. Generally Strad modelling, though sound-holes are slightly longer. Golden reddish varnish. Strong tone of easy reponse. £125, 1960.
-------------------------------
No: 64 Joseph Zamberti
fecit Vicenae anno 1947
-------------------------------
ZANARIA, ALDO
Born 1908. Worked at Trecati, 1930. Excellent Amatese modelling, also one slightly individualistic. Golden red oil or spirit varnish.
ZANCKER, JOHANN
Worked at Hermsdorf, 1730-1750. Chiefly viol-da-gambas and double basses.
ZANDER, CHARLES EDWARD
Resident at Vallejo (California), 1925. Amateur. Strad and Guarnerian models; oil varnish.
ZANETTO, PEREGRINO DI MICHELIS
Born at Brescia, 1520. Described as ÒMagister a ViolinisÓ in the local records, 1563. Worked until 1603. Produced particularly interesting and large violas (tenores); probably the first maker of consequence to build such instruments. Lived about twenty years prior to the advent of Gasparo da Salo. Body length, 17-1/2 inches, across upper part, 8-1/2, lower, 10-1/8, ribs, 1.9/16 to 1-5/8. Very strongly built, a remarkably confident looking outline and of medium arching. Primitive scroll turned rather abruptly. Single purfling and fairly long corners. Nice fibred wood for belly and plain material for back. Tonal quality relatively, large and noble but also Òslow of speechÓ. Golden brown or darker brown varnish, full of vital brilliancy. Viol-da-gambas of greater rarity, and much sought for by connoisseur collectors. Often small size. Backs generally of beech wood.
-----------------------
Peregrino Zanetto
Bresciae, 1547
-----------------------
(Gothic lettering)
ZANETTO, PIETRO
Worked at Brescia, 1680-1692. Instruments belonging to the Maggini style. Golden brown or orange red varnish. Not particularly noteworthy in workmanship or tone.
-------------------------------
Pietro Zanetto di Brescia
-------------------------------
ZANFI, GIACOMO
Born 1756. Worked at Modena. Died 1822. Held a Government position in the town; also a music teacher. Outline (Cassini like) of considerable elegance. Arching developed in orderly and rightful graduation. No disorders in purfling. Artistic dexterity characterises the scroll and sound-holes. Varnish generally of a clear yellow shade but occasionally tends towards brown. Also made violas, Õcellos and double basses. £175, 1960.
------------------------------------------
Jacobus Zanfi, Musicae professor
fecit Mutinae, 1809. G. Z
M
------------------------------------------
ZANI, ALDO
Born 1906. Resident at Cesena (Forli), 1930. Well made violins, violas and Õcellos. Strad and Guarnerian modelling. Golden yellow or brown varnish. £120, 1960.
ZANI, FRANCESCO
Worked at Reggio-Emilio (Italy), 1722-1765. Thought built after the style of a Carlo Landolfi, these violins cannot be regarded as particular participants in the ascending scale of importance. Modelling slightly under the customary full size. When viewing the scroll and sound-holes, we are brought face to face with something to which a second invitation would probably be evaded. Uncomfortable tone and distressingly uneven. Written label in imitation of printed lettering.
ZANIER, DR. FERRUCCIO
Amateur. Resident at Trieste, 1923. Published a pamphlet describing his new method of constructing violins. Produced about 50 instruments to be worthily associated with the highest Italian art, whether in respect of form, proportions, or varnish. Some specimens have a flat deck and back. £150, 1960.
ZANIOL
see ZANOLI.
ZANISI, FILIPPO
Born 1911. Studied at Cremona. Fair attainment in Strad and Guamerian modelling. Golden red oil varnish. £100, 1960.
-------------------------
Zanisi Filippo
Fece in Castelleone
(Cremona)
Anno 1934
-------------------------
(with signature)
ZANKL, FRITZ
Worked at Leitmeritz (Bohemia), 1890-1930. Good modelling and nice varnish. Received several medals at various exhibitions.
Z€NKER, J. C.
Violins and violas of faultless proprieties. £95, 1960.
--------------------------------------------
Johann Christian ZŠnker
Lautten-und Instrumentenmacher
in Hermsdorf unterm Kynast, 1745
--------------------------------------------
ZANOBON, FILIPPO
Worked at Cremona, 1700-1720. Commonplace style and workmanship. Reddish vamish.
ZANOLI, GIOVANNI BATTISTA
Worked at Verona, 1716-1757. Some instruments decidedly inferior, not much in common with Italian ideas, and bearing distinct traces of German influence. There is want of balance and harmony in the whole contour which is very damaging to his reputation. Outline never really graceful, nor any of its tributaries brought out by careful workmanship. Oval type of scroll, crushed and squeezed everywhere. Strikingly small sound-holes. Accuracy and regularity violated in the purfiing. Thoroughly bad varnish which throws his instruments off the Òtrunk linesÓ of Italian artistry on to the ups and downs of the Tyrolese. The better productions (very rare) are of flattened modelling with Guarnerian waist curves, but other parts wholly incongrous to that model, especially in the insignificant sound-holes. However, they are built with especially fine material and treated to a golden tinted varnish, velvety and vivid. Gleams of rich tonal quality assertively emerge from these beautifully varnished but improperly curvatured instruments. Violin (dated 1731); body length, 36.2 cm, upper bouts, 16.7, middle, 11, lower, 20.4. £275, 1960.
------------------------------
Joannes Baptista Zanola
Verona 17-
------------------------------
-------------------------------
Joannes Baptista Zanoli
in Verona 1737
-------------------------------
ZANOLI, GIACOMO
Son of Giovanni Battista. First worked at Venice, 1730. Moved to Padua, 1736. Settled at Verona, 1740-1761. Modelling of best specimens traverse the fields of several prototypes and cleverly blends their variety. Amati style well established in the graceful outline. Body length generally 13-7/8 inches. Arching taken from a minute survey of the Guarnerian. Thoughts of a Rogeri spring up when viewing the scroll. As far as relates to harmony and proportion the sound-holes fit the picture perfectly, notwithstanding their comparative straightness reminiscent of the Brescian but more delicately traced. Ribs of gratifying depth. Very strong belly wood, often fine grain widening to medium towards the centre. Ribs and two-piece backs of nicely flamed material. Purfling slightly wider than usual, and quite a reasonable distance from the edge. Pale orange or brownish red shades of rich varnish plentifully applied. Tonal quality of considerable volume, much freedom, penetrative sonority and delightful evenness. Fine authentic examples rarely seen. Also made instruments which follow a course not so well mapped out, and in workmanship as well as style, a strong boundary separates them from the others. These less artistic violins have broadish shoulders and medium arching, with a varnish of brownish hue. £450, 1960.
--------------------------
Giacomo Zanoli
fece in Verona, 1741
--------------------------
(very small)
----------------------------
Fato in Verona di
Giacomo Zanoli 1752
----------------------------
(large with decorative border)
ZANOTTI, ANTONIO
Worked at Lodi and Mantua, 1706-1745. Well considered and carefully prepared modelling. Outline and arching reminiscent of a Petrus Guarnerius and Guadagnini. No disordered thought about the well poised scroll. No feeling of discomfort about the sound-holes. Purfling fearlessly tackled and safely accomplished. Attractive varnish of brownish yellow hue. £400, 1960.
-------------------------------------------
Antonius Zanotus Lodegianus
fecit Mantuae, sub Titulo Fortunae
1731
-------------------------------------------
--------------------------------------
Antonio Zanotti nel Mantoano
1745
--------------------------------------
ZANOTTI, CRISTOFANO
Worked at Modena, 1680-1690. Violins, Õcellos, lutes and bows for violin and Õcello.
ZANOTTI, GIUSEPPE
Worked at Piacenza, 1710. Instruments timidly stepping within the circle of the Brescian and Cremonese styles but not comporting themselves nicely; sometimes even vulgarly. Varnish of un-Italian bloom. Tonal quality far from being efficacious for present-day needs. £300, 1960.
ZANTI, ALESSANDRO
Worked at Mantua, 1765-1820. A maker having the right understanding of his subject, except the varnishing. Sought inspiration from the models of a Petrus Guarnerius and Stradivarius. Outline and arching presented under their most impressive aspects. Scroll and sound-holes assume freedom. Disappointing brownish varnish, not wholly bad but has limitations in quality. Easy and fluent tone, but without richness. Some instruments falsely dated as early as 1720. £450, 1960.
ZANURA, PIETRO
Viol maker at Brescia, 1500-1520. Specimen in the South Kensington Museum has four strings and one circular sound-hole.
ZAPELLI, F.
Born in Yugoslavia, 1898. Worked at Rijeka, 1938, and at Fiume, 1949. Guarnerian and own modelling. Yellow reddish oil varnish.
-----------------------------
Fece Zapelli Francesco
Via Cavour No. 6.
Fiume 11. 194-
-----------------------------
ZAPF, WALTER
Bow maker at Siebenbrunn, 1925.
ZARA, GASPARE (CASPARE)
Worked at Pontremoli (Italy), 1876-1902. Well conceived Gagliano designs; art of graceful curvature assuredly mastered. Details treated with subtle and refined attention. Each instrument fortunately endowed with those tonal seeds which must quickly develop into fruitful maturity. £250, 1960.
ZARI, FRATELLI
Well-made modem instruments of Stradivarian type with nothing to disconcert the eyes, although somewhat heavily built. Golden yellow varnish.
ZçRSKI, TOLIMIR
Machine operator who started violin making as a hobby. Went to Warsaw for further guidance in the art. Passionately devoted his entire thoughts to delving for and pursuing the usual elusive secrets of tonal purity. Having a spirit not to be quelled or subjugated he went to Italy, and ultimately fancied he had captured the secret by some original plan concerning the harmonic tuning of the plates. The various experiments, etc., soon depleted his small savings, so he perforce, wandered from town to town doing odd repairs, always aiming at reaching the city of Prague. Arrived there, 1884, wellnigh destitute, but imbued with the ambitious idea of establishing a school for violin making. Dreams which never materialised, though he attained some success as a repairer in the workshop of J. Wolf. Soon left this comfortable (though to him insignificant) position, and elected to work independently in a garrett in a poor Jewish quarter of the city where he was happy to work out his ideals of endowing new violins with the beautiful Cremonese tone quality and steadfastly hoped to be acknowledged and rewarded. Announced that he could produce Stradivarian, Guarnerian, or any other tone specifically desired. Several soloists, including Buchtele and the very famous OndricŽk, preferred his productions to their own Italians and did much to popularise his ÒCremona discoveriesÓ. But Prague also domiciled many envious persons, particularly antagonistic to anything Polish, who considered him a humbug and swindler, furthermore reporting him to the police for trading as a violin maker without paying a business tax. Returned to Warsaw, 1892, and found considerable recognition as well as a little opposition. Subsequently went to Prague. Died in 1900.
ZASADIL, JOANNES
Born in Vienna. Apprenticed to Uncle (Vaclar Kartak) in 1909 at the age of nine years. Went to U.S.A. and opened own premises in Chicago, 1916, and sold his first violin in 1917. Large model on the pattern of Balestrieri. Varnish usually amber colour. Large tone of good quality. Lion head scrolls. Also made copies of all the old masters. At one time worked for Richard Wunderlich, John Hornsteiner and Frank Sindelar, who sent him most of their bass and Õcello repair work. Later established premises in Hermosa, S. Dakota, where he was still busily engaged, 1960.
----------------------------------------
Joannes Zasadil
ÒLuthierÓ
Hermosa, South Dakota, U.S.A.
November 1917
----------------------------------------
ZAUBITZER, A.
Concertina maker at Cologne. Died 1903. Traded in violins labelled with his name, but they were manufactured at one of the German factories.
ZEIDLER
Worked in Silesia, 17-. Stainer models. Very rare.
ZEIHE, HEINRICH LUDWIG
Established in Leipzig, 1890 and Berlin, 1912. Very good modelling and handsome varnish.
ZEITLER, ADOLF CARL
Born 1871. Worked at Markneukirchen, 1894. Produced violins and Õcellos. Excellent trade instruments.
ZELAS, MICHEL
Theorbo maker at Genoa, 1730. Instruments richly decorated in shell, various colours, peg box inlaid with ivory.
ZELL, J. WILFRED
Resident at Duncannon (Pennsylvania), 1924. Advocate of the Horvath formula. Fair workmanship.
ZENATTO, PIETRO
Worked at Treviso (Italy), 1694-1732. Violins of interesting construction. Small Aniatese outline, arching somewhat full. Pretty two-piece backs, light brown or dark shades of excellent varnish and a pleasingly mellow tone. £50, 1925. Also made viols, violas, Õcellos and basses.
----------------------------
Pietro Zenatto fece in
Treviso, anno 1694
----------------------------
ZENCKER, H. G.
Worked at Schreiberhan, 1790-1813. Little known work.
ZENKER, GOTTFRIED
Worked at Rumberg (Bohemia), 1808-1815. Stainer-Amati outline with suitably high arching. Close grained material for the ÒdeckÓ and small flamed maple for the two-piece backs. Yellow brown varnish. Tonal quality generally nasal, harsh and weak.
ZERBONI, ANTONIO
Worked at Milan, 1900. Violins and violas, generally small patterned. Pretty instruments having an exceptional reddish varnish. Tonal quality of refreshing clarity. £20, 1926. Some instruments purposely dated as though belonging to a hundred years ago.
ZERTI DE
Worked at Florence, 1890-1900. Attractive outline and perfectly graduated arching. Corners, scroll and sound-holes equally satisfactory. Completely harmonious design covered with a transparent varnish of exquisite hue.
ZESWITZ, WILLIAM H.
Born at Philadelphia, 1895. Studied fifteen years with William Mšnnig (brother-inlaw). Worked at Reading (Pennsylvania), 1927. Made first instrument, 1920. Produced 22 during the next seven years. Especially elegant model, mostly Guarnerian but occasionally Strad. Arching, scroll and sound-holes each exemplify good taste and ingenious workmanship. Prettily figured wood (the oldest obtainable) imported from Europe. Reddish brown varnish of brilliant hue and durable. A maker who tried to impart a tonal quality resembling that of the older school. Recipient of many testimonials from reputable players.
---------------------------------------------------------------
Handmade, workmanship and material guaranteed
William Zeswitz
Reading. Penna.
No.22. Anno 1927
---------------------------------------------------------------
ZETTACOSTE, AGONZO
Worked at Genoa, 1853. Instruments of the nicest mathematical proportions. Fine wood and rich orange varnish. £50, 1926.
ZETTLER, ANDREAS
Worked at Vienna, 1830-1840. Principally a guitar maker, but made a few violins of really attractive design and smooth workmanship. Tonal quality not strong or brilliant, but one easily coaxed and stimulated into sympathy.
ZETTWITZ
Made violins and Õcellos. Resident in Liverpool, later went to New Zealand. Returned to London and established business premises in King Street, Hammersmith under the name of Zettwitz & Son. Exquisite tone and quality.
ZHARSKI, IGNAZ
Worked at Lemberg (Poland).
ZIANNI, PIETRO
Worked at Bologna, 1745-1750. Instruments of earnest intent, but not especially talented workmanship. Narrow, flat pattern. Good tone wood.
ZIDRICH, JACOB
Worked at BrŸnn (Moravia), 1810-1836. Nothing outstanding in these ordinary type violins.
ZIEGLER, DR. W. S.
Resident at Clinton (Iowa). Died 1924. Spent thirty years evolving tone producing theories. Made several instruments of entirely original outline and arching, with certain innovations in the treatment and thicknessing of the wood. Also had a special varnish of own preparation. Workmanship notably exact and masterfully refined. Possessed an intuitive sense of pitch and how to control it, made a deep study of the inside of many Cremona violins and claimed that he could duplicate any old specimen in quality and volume of tone as well as in design and varnish. Also theorised that new wood was equal to old and reputed to have a secret process of prematurely ageing wood one hundred years of ÒFather TimeÓ, which could be accomplished in a fortnight. Attempted to prove there was no secret in the old varnish by treating one of his violins to painterÕs burnt amber as colour, and common floor varnish to finish.
ZIEGNER, HEROLD
Pupil of Kessler. Worked at Berlin, 1906. Received highest awards at Turin (1911) and other exhibitions. Died 1945. Instruments fully showing that concurrently with a retaining of individuality there is an equal regard of the best models and their scientific principles. Each specimen made entirely by hand. Workmanship controlled by the judicious guidance of a sure hand. Fine modelling with a beautiful oil varnish.
ZIELINSKY, POLICARP
Worked at Warsaw, 1838-1861. Little known instruments.
ZILD, ADAM
Worked at Amsterdam, 1835-1860. Notice in the Caecilia Art Journal, 1849; Òhe made violins equal to the CremoneseÓ. Man of versatile ability; was a spinner of thread, also worked in glass, making mirrors, magnifying glasses for telescopes, also a fine marine painter. Lived over 90 years; carried to his grave a secret process of cutting velvet.
ZIEPL, SEBASTIAN AND LEMANSKY
Residents at Hannover, 1920-1930. Patented Òviolins with a wooden sound bar mounted longitudinally within; formed of two sections which are connected by a silver sleeve containing ground glass bodies pressed firmly togetherÓ. Usual sound post inserted.
ZIESCHE, BERNARD
Resident at Magdeburg-Buckau (Saxony), 1922. Inventor of an oscillatory device for increasing vibrations.
ZIMMER, KARL
Born 1848. Worked at Erlbach (Saxony). Died 1888. Well made trade violins, attractively varnished.
ZIMMER, KARL OTTO
Born at Erlbach, 1865. Brother and pupil of Karl. Worked at Dresden, 1885. Settled at Budapest, 1892. Winner of medals at Hungarian and French exhibitions. Stradivarian and Guamerian modelling with some praiseworthy individualities. Designs which reach the highest standard of gracefulness and workmanship fully satisfying connoisseurs. Red,yellow and brown shades of fine texture oil varnish.
----------------------------------------
Zimmer, K. Otts
Langszer K—azitš Budapest VI. TŽrez-Kšrut 4 sz.
-----------------------------------------
ZIMMER, MAX
Born at Grosszšbern (Saxony), 1874. Worked at Worms, Munich and Rossbach. Established at NŸrnberg (Bavaria), 1906. Gained the usual knowledge by diligent examination of Cremona violins, studied tension and experimented in tone production. Carefully thought out plans did not materialise until 1918, when he brought out several splendidly wrought designs. Stradivarian and Guarnerian models with an oil varnish of the best quality.
------------------------
Max Zimmer
Instrumentenbauer
NŸrnberg
------------------------
(with vignette, lute-player and year)
Sometimes branded ÒM.Z.N.Ó
ZIMMER, OSKAR (called F€RBER)
Born at Markneukirchen, 1870. Worked at Copenhagen and Augsburg. Returned to birthplace. Capital new instruments circulating widely through Europe, 1912. Spirit and oil varnishes. ÒFŠrberÓ branded on the back. Also produced viol-dÕamours and viol-da-gambas.
ZIMMERMAN, JOSEPH S.
Bank manager at Asheville (North Carolina), 1927. Born 1861. Self-taught. Made first instrument, 1880. Built 150 up to the year 1927. Entirely satisfactory modelling, Stradivarian or Guarnerian. Arching admirably done in accordance with recognised hypothesis. Workmanship generally denotes neatness and bespeaks an excellent tone. Dark yellow brown or amber varnish.
ZIMMERMANN, ALEXANDER
Born in Russia. Worked at New York, 1925. Models of the Cremonese and Neapolitan. Brown shade of transparent oil varnish.
ZIMMERMANN, FRIEDRICH
Worked at Dresden, 1900. Powerful toned orchestral instruments. Golden hue oil varnish.
ZIMMERMANN, JULIUS HEINRICH
Born at Sternberg (Mecklenburg), 1851. Established at St. Petersburg as a music publisher, 1876. Ultimately opened branches at Moscow, Riga, London, Berlin and Leipzig. Set up a factory at St. Petersburg, 1895, for the manufacture of all instruments and accessories. Employed the best workmen from Saxony. Transferred the business to Markneukirchen, 1908. Violins and Õcellos named ÒSoloÓ and ÒConcertÓ of the highest grade of machinery produced instruments. Beautifully finished and nicely varnished. Prices ranging from £5 to £20.
-----------------------------------
Jul. Heinr. Zimmermann
St. Petersburg. 18. . No. . .
-----------------------------------
Similar labels for each city; name changed to Moscow, Leipzig, etc. Also bearing the registered trade mark ÒH.J.ZÓ encircled by a heart design. Various models of bows, 10s. to £10. Best specimens of pernambuco wood round sticks and thin silver plate instead of ivory at top. Stamped ÒJul. Heinr. Zimmermann, LeipzigÓ. Bows £15, 1960.
ZIMMERMANN, ULRICH
Student at the violin making school, Brienz, 1950.
ZINI, ALBINA
Widow of Faggioli. Worked in the Strada Stefano at Bologna, 1885.
ZIOLLIOLI, DOMENICO
Worked at Parma, 1790-1797. Logically built instruments with an excellent tone.
ZINK, ANTONIO
Worked at Zara (Venezia Giulia), 1930. Small productivity and seldom seen.
ZOBEL, VENCESLAUS
Worked at Budapest, 1782-1791. Possibly a pupil of the Viennese Sebastian Dalinger, as the instruments are quite similar to the early productions of that maker. Stradivarian or Stainer modelling.
ZOBOLI, CESARE
Worked at Modena, 1750.
ZOCCOLI, PIETRO
Worked at Modena, 1750-1760. Outline and arching not exempted from slight violations of artistry. Small scroll and wide sound-holes, also widely placed. Good wood, backs generally of small curl. The tone (though responsive) wants the finer qualities of warmth and sympathy.
ZONALI, VALONINI
Worked at Venice, 1733-1760. Medium-large design, more German than Italian. Though lacking in grandeur of conception, there is considerable attractiveness. Workmanship well finished. Scroll not always of a commanding sweep; some quite cramped. Often beautifully close-veined belly wood. Warm tonal quality, but apt to be sluggish in rapid passages.
--------------------------
Valonini Zonali fece
in Venezia, 1738
-------------------------
Z…PHEL, ADOLF
Born 1874. Pupil of Petzold at Markneukirchen. Worked at Magdeburg (Saxony), 1899-1928. Designs worked out into flowing gracefulness and niceties. Varnish of own preparation, rich in texture and colour. Recipient of several diplomas.
Z…PHEL, ERNST WILLY
Bow maker at Rohrbach (Saxony), 1925.
Z…PHEL, GUSTAV HERMANN
Esteemed bow maker at Landwuest (Saxony), 1898-1936.
Z…PHEL, KURT RICHARD
Born at Markneukirchen, 1906. Pupil of Paul Heberlein.
Z…PHEL, M. A.
Established at Markneukirchen, 1923. Trade violins, bows, etc.
Z…PHEL, RICHARD
Bow maker at Brambach (Saxony), 1908.
Z…PHEL AND KOHLMANN
Factory at Kaiserslautern (Bavaria), 1908. Trade instruments.
ZORZI, VALENTINO DE
Born at Vittorio (Italy), 1837. Self-taught. Natural aptitude for the art soon brought along good results. Opened a shop at Pistoja, 1880. Removed to Florence, 1885. Worked very industriously and rapidly acquired a splendid reputation. Fell into mental decadence towards the end of life. Died 1916. Aimed at originality by combining the characteristics of the Stradivarius and Stainer models, and shows he had abundant discrimination in avoiding exaggeration. A skilled workman who imparted ÒcharacterÓ to every detail, even in the mattey of varnishing. Fitted each instrument with own hand-made pegs, fingerboard, bridge and tailpiece. £35, 1910. Inventor of a ÒContra violinoÓ pitched an octave lower than the ordinary violin, and played Õcello-wise. Tone colour supposed to fill up the gap between the viola and Õcello. Measurements: body length, 21 inches, upper bouts, 9-1/2, middle, 6-1/2, lower, 12.3/16, ribs, 2-1/4 and 2-3/8, length of neck back and front, 6 and 7-5/8, stop, 19-1/4. Also invented a Òharp-guitarÓ, eighteen strings and a compass of five octaves.
-------------------------------
Valentinus de Zorzi
Cenetensi Venetum fecit
Pistorii, A.1880
-------------------------------
(generally written, until later years)
Labels for the contra-violino is the same except the date; this reads ÒA.D. 1912. No 9Ó. Also branded ÒV.O.Z.Ó £175, 1960.
ZRAM, LORENZ
Excellent model and good workmanship, dated 1780.
ZURBICH, JOHANN FRIEDRICH
Worked at Breslau (Silesia), 1775-1790. Respectable modelling and agreeable tone.
ZUDECK, C.
Worked at Schwartzwaldt (Bavaria), 1690-1706. Bavarian style, arching not especially attractive, indifferently carved scroll, brown non-transparent varnish, tonal quality which cannot cope with present-day requirements.
ZUGOLO, FEDERICO
Worked at Udine (Italy), 1885-1900.
ZUGOLO, PIETRO
Worked at Udine. Died 1888. Violins that give quick appreciation on account of prettily tinted varnish and rather rich quality of tone.
ZUICKEL, HENRY
Worked at Madison (Wisconsin), 1918-1928. Little known instruments.
ZUNTERER, ANTON
Born at Mittenwald, 1858. Taught violin making at the school there. Worked at Stuttgart and Vienna. Settled at Munich, 1888. Maker to the Bavarian Court. Stradivarian and Guarnerian modelling with no propensity for modificatlon. Oil and spirit varnishes.
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Anton Zunterer
MŸnchen
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ZUNTERER, CONRAD
Worked at Seefeld (Tyrol), 1750-1778. Known for nicely constructed Õcellos of small pattern.
ZUNZERER, PONCRAZ
Worked at Seefeld, 1740-1752. Unmistakeably Tyrolese style, having considerable fluctuation in workmanship. Wholly out of the question to suppose that any critical care or skill was brought to bear on the texture or the application of the varnish.
ZUSKER, EDWARD
Amateur at Hoboken (New Jersey), 1927. Impressive modelling, neat workmanship and experienced varnishing.
Z†ST, J. EMIL
Born 1864. Pupil of Marks at Munich. Worked at Zurich since 1886. Head of the Swiss Violin MakersÕ Society, 1927. Died 1946. Violins, violas and Õcellos all exclusively clinging to the Guarnerius. Critical abilities, skill and industry, fully fitted him to produce the best possible. Each detail in precise conformity with the other. Quality and transparency of varnish equally praiseworthy. £125. ÕCellos, £175. Bows, £30.
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J. E. ZŸst Geigenmacher
fecit anno 19 Ejz Zurich.
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Also bows of significant workmanship, easily taking the lead in Swiss productivity.
ZUZZI, VITTRIO
Established in San Giacomo dellÕ Orio (Venice), 1925. Died 1945. Good violins, Venetian style inspired by Degani. Golden brown varnish.
ZWERGER, ANTON (1)
Worked at Mittenwald, 1750-1796. Model somewhat after the Klotz, not designed for especially penetrative tonal quality. Pretty outline, medium arching and workmanship generally without blemish. One-piece bellies and two-piece backs of plain or slightly flamed maple. Fairly rich, dark, yellow brown varnish, but often without brilliance. Also built healthy violas which often have a broad and intense tonal quality. Specimens catalogued at £40, 1925. £85, 1960.
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Antoni Zwerger, Geingenmacher
in Mittenwald an der Iser
An. 1793
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ZWERGER, ANTON (2)
Worked at Salzburg and Passau, 1785-1830. Absolute replicas of the best Klotz model, not to be disparaged or depreciated. Singularly nice arching of medium height, very accurate purfling and attractive sound-holes. Wood for the ÒdeckÓ sometimes of wide grain on the left and of fine grain on the right. Generally two-piece backs of pretty material. Reddish brown or reddish yellow shades of varnish of brighter appearance than customary with the Tyrolese-school. Tonal quality of the ÒsingingÓ and appealing sort, most pleasantly even and clear.
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Anton Zwerger kurfŸrst: Hof und bŸrgl:
Geigenmacher in Salzburg. 1804.
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Also branded ÒA.Z.Ó £70, 1960.
ZWERGER, BLASIUS
Born 1768. Son of Ignaz. Worked at Mittenwald, 1794. Instruments not worthy of much consideration. Ordinary modelling and careless workmanship. Wood indiscriminately chosen, brown varnish almost as bad, and a weak tone. Usually written labels.
ZWERGER, FRANZ XAVER
Born at Mittenwald, 1763. Worked at Neuburg (Swabia). Died 1830. Stainer outline but reduced arching and very light grooving. Honest and careful workmanship. Well cut scroll though plump in form. Brittle varnish, mostly lemon yellow shade. Tonal quality of fair strength and clarity.
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Franz Xaver Zwerger
Geigenmacher in Neuburg.
1812 a/D
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Succeeded by his son and pupil, who failed to maintain the excellence of fatherÕs work.
ZWERGER, IGNAZ
Worked at Mittenwald and Neuburg, 1750-1770. Good workmanship, modelling and varnish.
ZYRLER, JOHANN
Worked at NŸrnberg, 1790-1796. Ordinary Klotz modelling.
ZYTOMIERZKI, CASIMIR
Customs Officer at Warsaw, 1860. Built various types of bowed instruments and showed pronounced aptitude for art work.