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. .
--------------------------------

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)

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”
Modèle que j‘ai créé 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).

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, 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.

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 d’amours with fantasy heads, back and front richly ornamented. £80, 1960.

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.

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, 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, 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.

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
------------------------------------------

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.

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 maker’s 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, CARL
Son of Georg. Worked at Mittenwald, 1756-1795. Violins of ordinary Stainer pattern made for export trade, and mostly labelled with Stainer’s name. o be viewed with complaisance as typical of Tyrolese work, and that is all. £50, 1959.

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, 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, 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 father’s establishment at Mittenwald since 1919. £75, 1959.

KLOTZ, MATTHIAS (1)
Born 1656. Son of Urban Klotz (a tailor). Taken (in 10th year), to Stainer’s 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-d’amours 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, 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, 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)

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, 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.

KNOPF, HEINRICH
Born at Markneukirchen. Worked many years at Löwendall’s 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, 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 father’s talent for fine bow making and made 1,000, stamped “H.R. Knopf. New York”.
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Henry Richard Knopf. New York.
Anno 1902
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Henry Richard Knopf
No. 318. New York. Anno 1923.
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Also branded under fingerboard.

KNORR, ALBERT
Born 1876. Pupil of Max Dölling. 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.

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 Lütgendorff (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).
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Prof. F. J. Koch/Dresden.
Anno 1922. No. 534.
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Trade mark, a ring and arrow burnt in the wood, also the name Koch as though written.

KOVANDA, FRANK
Born 1904. Worked for Lewis & Sons at Chicago, 1924. Many fine bows of various famous models, used extensively in U.S.A.

KRAUS, CARL
Worked at Moravská Ostrava (Moravian Austria). Guarnerian modelling, long sound-holes (very decidedly sloping,) large scroll, varnish of light straw colour.
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Doctor Carolus Kraus
Moraviae Ostraviae in Austria
fecit anno 1914.
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KRELL, ALBERT
Born at Kelbra, 1832. Went to America, 1855. Worked at Cincinatti for many years. Died 1900. Made the instruments associated with Schradieck’s 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.
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Albert Krell
Maker of Cincinatti. Ohio
1884
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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.

KRUMBHOLZ, LORENZ
Born at Dürngrun (Austria), 1886. Established at The Hague. Died 1944. Splendid Italian designs, golden red varnish.

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.

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.

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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