Georg (I) Klotz

History

Georg (I) Klotz was a member of the prominent Klotz family of violin makers. According to John Dilworth and Willibald Leo Lütgendorff, he was born in 1687 and died in 1737 in Mittenwald, Germany. However, Cecie Stainer states he was working in Mittenwald about 1750-80, indicating a discrepancy in the historical records regarding his active period. Lütgendorff identifies him as the son of Mathias Klotz from his first marriage. He was known in parish records as a “chelyfactor” and held the honorary position of “Marktverraithers” (market chamberlain). Georg (I) Klotz was married to Anna Sprenger, who passed away on December 6, 1734.

Craft

• Pattern and Model: Georg (I) Klotz primarily followed the Stainer pattern, as observed by Cecie Stainer. John Dilworth describes his instruments as having a large model with medium height arching.
• Workmanship: His instruments were generally well made and characterized by clean execution, according to Cecie Stainer and Willibald Leo Lütgendorff. Stainer specifically mentions "beautifully finished work."
• Varnish: The varnish used by Klotz is a notable characteristic, though often described with reservations. Cecie Stainer notes it as a spirit varnish, sometimes yellow, sometimes red, but of poor quality—thin, brittle, and laid on a coat of size, which prevented penetration into the wood, making it opaque and perishable. George Hart similarly describes the instruments as chiefly yellow in color. John Dilworth corroborates this, detailing a poor quality, thin, and brittle varnish laid over a fragile glue size in red or yellow tints. In contrast, Willibald Leo Lütgendorff praises his brown-yellow or red-brown lacquer.
• Wood Quality: A recurring observation across sources is the quality of wood used. Cecie Stainer, George Hart, and Willibald Leo Lütgendorff all mention that the wood was often worm-eaten, with Lütgendorff noting that Klotz sometimes used inferior wood.
• Distinctive Features: Many of his violins are distinguished by beautifully carved lion heads, a detail highlighted by both John Dilworth and Willibald Leo Lütgendorff.

Influence

• Family Lineage: Georg (I) Klotz was the son of Matthias Klotz, a foundational figure in the Mittenwald school of violin making, as confirmed by John Dilworth and Willibald Leo Lütgendorff. This familial connection suggests his training and early influences stemmed directly from his father's workshop and the established traditions of the Klotz family.

Legacy

• Collections: Instruments crafted by Georg (I) Klotz are still found in many collections today, attesting to their enduring value and quality, as noted by Willibald Leo Lütgendorff.
• Museum Holdings: A viola d'amore made by Georg (I) Klotz is preserved in the Museum Kraus in Florence, Italy, according to Willibald Leo Lütgendorff.

Further Information

• Labels: Several examples of his labels have been documented. Cecie Stainer records a label from 1753 stating: "George Klotz propria mea manu feci in Mittenwald," and another from 1761: "George Klotz in der Mittenwald an der Iser." John Dilworth mentions manuscript labels, such as "George Kloz in Mitten- / vvald an der Iser. 1737."
• Label Design: Willibald Leo Lütgendorff points out that the border decoration of the printed labels used by Aegidius, Mathias III, and Georg Klotz is identical, suggesting a shared workshop practice or printer.

Summary

Georg (I) Klotz (1687-1737) was a prominent German luthier from Mittenwald, the son of the esteemed Matthias Klotz. Known for following the Stainer pattern, his instruments are characterized by a large model with medium arching and often feature distinctive carved lion heads. While his workmanship was generally considered good, sources frequently note the variable quality of his spirit varnish, which could be thin, brittle, and opaque, and his occasional use of wood prone to worm damage. Despite these material challenges, his instruments were well-finished and are preserved in numerous collections, including a viola d'amore in the Museum Kraus in Florence. His labels, sometimes handwritten, provide specific dates and locations of his work in Mittenwald.