Andreas Kempter

History

Andreas Kempter (1701-1786) was born in 1701 in Lechbruck, Allgäu, and died in 1786 in Denklingen, Landsberg, Germany. According to John Dilworth, his name appears in the records of Füssen, where he was likely apprenticed. Willibald Leo Lütgendorff notes that Kempter probably completed his apprenticeship in Füssen, which was near his hometown, and arrived in Dillingen around 1725. He married Jungfrau A. Maria geb. Bairin on April 13, 1732, in Dillingen, where he also acquired citizenship. Kempter practiced his art as a violin maker in Dillingen for over 50 years, celebrating his golden wedding anniversary there on June 29, 1782. Shortly thereafter, he moved to live with his son, who was a pastor in Denklingen (between Landsberg and Schongau), and spent his final years there. In church records, he was referred to as "artificiosus chelii factor" and was highly regarded as both a lute and violin maker.

Craft

• Model: Andreas Kempter followed a Stainer-derived model, characterized by a high arch and broad proportions that were quite elegantly handled, as noted by John Dilworth. Cecie Stainer states that he followed the Stainer pattern, and Willibald Leo Lütgendorff confirms that his violins, like those of most Swabian violin makers, were based on the Stainer model, though Kempter managed to express his own individuality.
• Arching: His violins featured a high arch, while his cellos had a relatively flatter arch. Lütgendorff observed that the variety in his arching (Wölbungen) demonstrated his experimental approach.
• Proportions: Instruments exhibited broad proportions, handled with elegance, and a strikingly broad pattern.
• Varnish: Kempter used good varnish in various shades, sometimes yellow-brown and sometimes pale red, as described by Cecie Stainer. Lütgendorff added that his varnish, though often applied thinly, was very good.
• Materials: He utilized excellent wood, and the purfling on his instruments was well done.
• Instruments: Besides violins, he also made cellos, tenor violas, and viola d'amores. Several viola d'amores are noted for their finely carved lion heads, including examples in the Heyer collection and the Museum of Hamburg, and one in the Musikhistorisches Museum von Paul de Wit in Leipzig. A lute from 1747 is found in the Scheurleer collection.
• Labels and Inscriptions: A printed label reads: "Andreas Kempter Lauten und / Geigenmacher in Dillingen, 1760". An instrument from the Heyer collection, a viola d'amore dated 1746, bears an internal inscription: "Andreas Kempter lauthen und / geigen Macher in Dillingen hat / dise grand viole d'amour 1746 / gemacht für den gesitl. Hern / Joan Anton Walther chori / vicario und caeremonario zu / Eychstätt in Dombstyft."

Influence

• Apprenticeship: Andreas Kempter likely completed his apprenticeship in Füssen, as suggested by records and noted by John Dilworth and Willibald Leo Lütgendorff.
• Stylistic Influence: He primarily followed the Stainer model, a common practice among Swabian violin makers. However, Lütgendorff emphasizes that Kempter was able to express his own individuality within this tradition.

Legacy

• Family Continuity: Andreas Kempter spent his final years living with his son, who was a pastor in Denklingen.
• Museum and Collection Holdings: His instruments are preserved in notable collections, including viola d'amores in the Heyer collection and the Museum of Hamburg. A lute from 1747 is part of the Scheurleer collection, and a beautiful viola d'amore with a lion's head is housed in the Musikhistorisches Museum von Paul de Wit in Leipzig.

Further Information

• Primary Workshop Location: Dillingen, where he was active from 1725 and practiced his craft for over 50 years.
• Final Residence: Denklingen, Germany, where he lived with his son during his last years.

Summary

Andreas Kempter (1701-1786) was a highly regarded German luthier born in Lechbruck, Allgäu, who was active in Dillingen from 1725. He was likely apprenticed in Füssen and later married and acquired citizenship in Dillingen, where he worked for over five decades. Kempter's instruments, including violins, cellos, tenor violas, and viola d'amores, followed a Stainer-derived model with high arches and broad, elegantly handled proportions. He was known for his good varnish, excellent wood, and well-executed purfling. His work is preserved in significant collections, and he was recognized in his time as an "artificiosus chelii factor."