Gabriel David Buchstetter

Life

Gabriel David Buchstetter (circa 1730-1780) worked in Stadtamhof, Regensberg, Germany, and was the son of Christoff Buchstetter. in The Brompton's Book of Violin & Bow Makers, he was "a very well-regarded maker of great individuality." Willibald Leo Lütgendorff, in Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart, noted that Buchstetter was considered one of the best German masters of his era, and the renowned violinist Spohr played a 'Buchstetter' instrument in his concerts until he acquired a 'Lupot'. Lütgendorff also described him as industrious and very wealthy. His labels were frequently numbered, with an example from 1752 being the 26th instrument made. Labels appeared in both Gothic and Roman type, with various forms such as "Gabriel David Buchstetter, Lauden und / Geigen Macher, zu Stadt am Hoff / neben Regenspurg Anno 1750", "Gabriel Buchstetter Lautten und / Geigenmacher zu Stadt am Hof / prope Ratisbonae. 1761", and "Gabriel David Buchstetter, Lautten- / und Geigenmacher, Pedeponti prope / Ratisbonam. Anno 1764".

Characteristics

Model

He worked on a Stradivari-derived model, also following Cremona patterns.

Workmanship

John Dilworth noted his "great finesse in craftsmanship," and Cecie Stainer observed that "all the details are carefully finished."

Varnish

Dilworth described it as "thin and opaque," while Stainer mentioned it was "dark yellow or brown colour," with one exhibited in Paris in 1878 having "very dark yellow varnish."

Wood

Dilworth noted "sometimes a hint of unattractive stain in the wood," and Stainer stated the "wood not always well selected."

Scrolls

His scrolls are "very distinctive, with a long, swan necked pegbox and deep, open throat, and a very concentric volute extending up behind the eye,".

Soundholes

Dilworth highlighted "Very fine Stradivarian soundholes with subtle fluting in the lower wing."

Arching

He employed "Well-regulated low arching," and his instruments were "not much arched."

Materials

Dilworth generally noted a "fine choice of materials."

Tone

Cecie Stainer described the tone as potentially "harsh" due to wood selection but also "powerful," making his violins "much used for orchestra playing."

Dimensions

Willibald Leo Lütgendorff mentioned that his best violins were "lang und schmal" (long and narrow).

Influence and legacy

• Recognition: The renowned violinist Spohr played a 'Buchstetter' instrument in his concerts in Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart.
• Exhibitions: One of his instruments, dated 1752, was exhibited in Paris in 1878.

Further Information

• Working Locations: He worked in Stadtamhof, Regensberg, Germany, also referred to as Ratisbon, Regenspurg, and Pedeponti prope Ratisbonam.
• Labeling Practices: His labels were frequently numbered, with an instrument from 1752 being the 26th made. Labels were printed in both Gothic and Roman type.
• Label Examples: Specific label texts include "Gabriel David Buchstetter, Lauden und / Geigen Macher, zu Stadt am Hoff / neben Regenspurg Anno 1750", "Gabriel Buchstetter Lautten und / Geigenmacher zu Stadt am Hof / prope Ratisbonae. 1761", and "Gabriel David Buchstetter, Lautten- / und Geigenmacher, Pedeponti prope / Ratisbonam. Anno 1764".