Laurent Kuntzel

History

Laurent Kuntzel (1789-1864) was born in 1789 in Hof, Bavaria, as noted by John Dilworth and Cecie Stainer. He began his career as a piano maker, working for Rosenkranz in Dresden and Streicher in Vienna, according to Willibald Leo Lütgendorff. Lütgendorff further states that Kuntzel subsequently traveled to Italy, where he reportedly learned violin making from a master named Zesserini (?).

After his training, Kuntzel worked for Strnad in Prague and Fichtl in Breslau, as detailed by Lütgendorff and Stainer. Stainer indicates that he settled in Breslau around 1815, working under Fichtl for several years. He was active in Breslau from 1815 to 1857, according to Dilworth, and opened his own workshop as a violin maker in that city around 1820, as reported by Lütgendorff.

After 1858, Kuntzel relocated to Berlin (Dilworth, Lütgendorff). In 1858, he was appointed luthier to the court in Berlin (Dilworth) after presenting a violin to the Crown Prince (Lütgendorff). Laurent Kuntzel died in Berlin, Germany, in 1864 (Dilworth, Stainer).

Craft

• Production: A prolific maker, Laurent Kuntzel produced approximately 110 violins, 5 violas, and 4 cellos, as detailed by Willibald Leo Lütgendorff.
• Quality: John Dilworth described his quality as "unremarkable," yet Lütgendorff noted his work was "clean and conscientious." Cecie Stainer mentioned he produced "good imitations of Italian violins and violoncellos."
• Models: He employed both Cremonese and personal models (Dilworth). Lütgendorff described his model as "very flat with a rather wide edge."
• Varnish: Kuntzel applied varnish of "various shades with excellent materials" (Dilworth), specifically "light yellow or reddish-brown" (Lütgendorff).
• Materials: He placed great value on "beautiful, preferably old wood," though he also produced "mediocre violins" (Lütgendorff). The top wood often showed dark aging (Lütgendorff).
• Exhibitions: He exhibited a quartet in London in 1862 (Dilworth). Lütgendorff and Stainer refer to a quintet exhibited in London in 1862, built between 1833-1857, for which he sought 2000 Thaler. While Stainer noted its "excellent tone," Jean-Baptiste Vuillaume's assessment was "not very favorable" (Lütgendorff).

Influence

• Early Career: Initially trained and worked as a piano maker for Rosenkranz in Dresden and Streicher in Vienna, as reported by Willibald Leo Lütgendorff.
• Violin Making Training: Reportedly learned violin making in Italy from a master named Zesserini (?), according to Lütgendorff.
• Workshop Experience: He worked for Strnad in Prague and under Fichtl in Breslau, as noted by Lütgendorff and Cecie Stainer.

Legacy

• Royal Appointment: Laurent Kuntzel was appointed luthier to the court in Berlin in 1858 (Dilworth), following the presentation of a violin to the Crown Prince (Lütgendorff).
• Exhibition Recognition: He exhibited instruments in London in 1862 (Dilworth, Stainer, Lütgendorff).
• Unrealized Project: He intended to collaborate with violin connoisseur Major Reich on a textbook of violin making, but both passed away before its completion, as detailed by Lütgendorff.

Further Information

• Technical Studies: Kuntzel dedicated particular study to mensural proportions, according to Willibald Leo Lütgendorff.
• Labels: Known labels include "Laurent Küntzel / Geigenmacher in Breslau, anno 1857." and "Lorenz Küntzel Hof / Geigenmacher in Berlin, 1863." (Dilworth).

Summary

Laurent Kuntzel (1789-1864) was a German luthier born in Hof, Bavaria, who initially trained as a piano maker before learning violin making in Italy and working for notable makers like Strnad and Fichtl. He established his own workshop in Breslau around 1820, where he was active until 1857, before moving to Berlin in 1858 and receiving an appointment as court luthier. Kuntzel was a prolific maker, producing approximately 110 violins, 5 violas, and 4 cellos, utilizing both Cremonese and personal models with a flat design and wide edges. While John Dilworth described his quality as "unremarkable," Lütgendorff noted his "clean and conscientious" work, and Stainer praised the "excellent tone" of his exhibited instruments. He valued old wood and used varnishes of various shades, including light yellow and reddish-brown. Kuntzel also studied mensural proportions and planned a violin making textbook, which remained unfinished.