Pianoforte-makers in England
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ZEITTER Jacob Frederick
Image of a Pianoforte
in an advertisement of a pianoforte of
The Musical World, Volume 22, 1847, p. 179
Patent of 1833 :
"Nov. I, 1833. — Jacob
Zeitter. Sounding-board bars made of two or more pieces."
The History of the Pianoforte, Edgar Brinsmead,
1879, p. 205 (archive.org) - more info :
The London Journal of Arts and Sciences, and Repertory
of Patent ..., Volume 17, 1841, p. 211-212
Patent of 1834 :
"Jacob Frederick Zeitter, of
New Cavendish-street, piano-forte maker, for certain improvements in
piano-fortes and other stringed musical instruments."
The Annual Register, Or, A View of the History,
Politics, and ..., Volume 76, 1835, p. 391
"Her Majesty's Piano. — We had the
opportunity a few days since of examining one of Zeitter's New Patent Grand
Piano Fortes, which has been constructed for the use of the Queen. The
instrument is in every respect a magnificent one — its tone brilliant, and
its touch smooth and even. Her Majesty, who is not only a good judge of
music, but also an accomplished singer and pianoforte player, would, we
should think, be much pleased with the admirable manner in which her
commission has been executed."
The Musical World a weekly record of Musical Science,
Literature, and ..., 1838, p. 149
"ZEITTER & CO. most respectfully solicit the attention of the Public to
their new j GRAND PIANO-FORTES, the sounding j Hoard of which is constructed
on an entirely new principle, producing a more powerful and finer quality of
tone than any hitherto manufactured.— 4 & 5, New Cavendish-street,
The Musical World, 09/06/1837, p. 216
"PIANOFORTES. A few years since
a very important improvement was introduced into the construction of Grand
Pianofortes, by Zeiiter and Co., of 4 and 5, New Cavendish Street, Portland
Place, which greatly added to the power ami quality of tone. So decided has
been the success of Mr. Zeitter's invention, that it has excited the
jealousy of those makers who had nattered themselves that they had secured a
perpetual monopoly of the fashionable musical world. Reports nave been most
industriously circulated that Zeitter's Pianofortes, although brilliant at
first, are not durable, either in the mechanical action or in the tone. The
direct contrary is the fact, of which Messrs. Zeitter and Co. will be happy
to convince such of their friends as will honour them with a call at I heir
manufactory, 4 and 5, New Cavendish Street, by the exhibition of
testimonials from parlies who have had Zeitter's Pianofortes in use for
years, which have not only remained unimpaired in any respect, but have
improved in tone."
The Musical World, 17/10/1839, p. 396
AND COMPANY respectfully beg to submit the following list of prices of their
New Patent Pianofortes, which have all the latest improvements, particularly
wrought iron string plates, wrought iron bracings over the sounding-board,
and an additional iron bar on and under the wrest plank.
Also, their newly-invented Sounding Board, for which they obtained His late
Majesty's Royal Letters Patent, dated 1st November, 1833* and which has been
admitted by the first professors to be the most important improvement ever
applied to Pianofortes, producing a more full and equal quality of tone, and
being on a principle somewhat similar to the violin, warranted not to lose
its resiliency or to yield by the pressure of the strings, which is
invariably the case with sounding boards on the old construction, and are
therefore warranted to stand better in extreme climates than any pianofortes
hitherto made. (see next
'Pianoforte-maker' ca. 1835-47
& Co (**1841)(x1842)
CABINETS, SIX-AND-A-HALF OCTAVES.
Mahogany 60 to 70 guineas.
Rosewood 70 to 80 guineas.
Mahogany, with grand action. 75 to 90 guineas.
Rosewood ditto 80 to 100 guineas.
SEMI GRANDS, SIX-AND-A-HALF OCTAVES.
Mahogany 90 to 110 guineas.
Rosewood 100 to 120 guineas.
GRANDS, SIX-AND-A-HALF OCTAVES.
Mahogany 120 to 140 guineas.
Rosewood 130 to 160 guineas.
BOUDOIR PIANOFORTES, SIX OCTAVES.
Particularly adapted for singing, only four feet high, and being veneered
and polished at the back, can be placed in any part of the room.
Mahogany 40 to 50 guineas.
Rosewood 45 to 60 guineas.
Mahogany with grand action. 50 to 60 guineas.
Rosewood ditto 60 to 70 guineas.
COTTAGES, SIX OCTAVES.
Mahogany 45 to 60 guineas.
Rosewood 50 to 70 guineas.
Mahogany, with grand action. 55 to 70 guineas.
Rosewood ditto 60 to 80 guineas.
N.B. ZEITTER and Co. engage to keep all instruments purchased of them in
tune for six months, free of expense, in Loudon, and to exchange them, if
returned to them free of carriage, within the same time.
4 and 5, New Cavendish Street, Portland Place, London."
The Musical World, Volume 16, 1841, p. 112
PIANOFORTES CHEAP - The large and valuable STOCK of PIANOFORTES manufactured
by ZEITTER & CO., IS NOW SELLING OFF, At 4, New Cavendish Street, Portland
Place, London, In consequence of a
Dissolution of Partnership. The
Instruments, consisting; of mahogany and rosewood Grands, Semi-Grands,
Cabinet, Cottage, and Piccolos remade with the patent Sounding Board,
Metallic Plate, Check Action, and all the latest improvements. The
Pianofones made by ZEITTER and Co. have always enjoyed a preference among
the nobility and gentry, having been honored with the patronise of Her
Majesty the Queen, the Duchess of Sutherland, &c. The peculiar construction
of the sounding-Hoard insures their greater durability and the firm tone is
well known. Parties desirous of possessing one of these superior
Instruments, may now purchase the same on very advanti>geous terms. Grands,
heretofore from 120 to 145 Guineas, are now selling at 50 to 70, and ethers
in proportion. The premises No. 5 have been recently closed."
The Musical World, Volume 22, 1847, p. 179
[4-5], New Cavendish Street (*1835)(xx1837)(*1839)(*1841)(**1841)(x1842),
4, New Cavendish Street, Portland Place (*1847), London
ZENDER Henry & Co
'Pianoforte-makers' ca. 1895-1904
32a, Scrutton Street, E.C.
(**1895), 22 1/2,
Cazenove Road, Stoke Newington, N. (**1904),
ZENDER & BROCK
'Pianoforte-makers' ca. 1895-1909
3a, Luke Street, Great Eastern Street
22a, Cazeneuve Road Stoke Newington
ZENDER Sydney & Co
'Pianoforte-makers' ca. 1900
From 1980, succeeded by
BARRAT & ROBINSON, and from 1984 by
WHELPDALE took over in 1993
End : ca. 2003
'Pianoforte-maker' ca. 1903-10
67, New Bond Street, W. Street (*1903),
4, Wells Street (*1906)(*1909)(*1910),
ZUMPE Johannes Christoph
(1735 - 1783)
Collection Alain Roudier, France
Click on the
photo to enlarge
pianoforte ca. 1766, Württembergisches Landesgewerbemuseum, Stuttgart, Germany
pianoforte ca. 1766, National Music Center, Calgary, Alberta, Canada
pianoforte ca. 1766, Cambridge University, Emmanuel College, Cambridge, England,
pianoforte ca. 1766, Colonial Williamsburg Foundation, Williamsburg, V.A., U.S.
pianoforte ca. 1767, Royal Museum of Scotland, Edinburgh, Scotland,
pianoforte ca. 1767, Victoria and Albert Museum, London, England, U.K.
pianoforte ca. 1767, Metropolian Museum of Art, New York, N.Y., U.S.
pianoforte ca. 1767, Stewart Symonds Antique Piano Collection, Sydney, N.S.W.,
pianoforte ca. 1767, Andy Pforzheimer Collection, Wilton, C.T., U.S.
pianoforte ca. 1768,
Royal Museum of Scotland, Edinburgh, Scotland, U.K.
pianoforte ca. 1868,
his nameboard, Germanisches Nationalmuseum,
pianoforte ca. 1768, Royal Ontario Museum, Toronto,
pianoforte ca. 1768, The Schubert Club, St. Paul, M.N., U.S.
pianoforte ca. 1778, Musée de Bagnols-sur-Cèze, Bagnols-sur-Cèze, France
pianoforte ca. 1780, Collection Frenanda Giulini, Brisoco, Italy
pianoforte ca. 1780, Christian Depard Collection, Mont Saint Aignan,
pianoforte ca. 1782, Historisches Museum Sammlung alter Musikinstrumente,
ZUMPE & BUNTEBART
pianoforte ca. 1769, Historic Deerfield, M.A., U.S.
pianoforte ca. 1769, Ian Pleeth, Aylesbury, Buckinghamshire, England, U.K.
pianoforte ca. 1769, Musée Gétry, Liège, Belgium
pianoforte ca. 1769, Museum Geelvinck, Amsterdam, Netherlands
pianoforte ca. 1769, Cobbe Collection, Hatchlands Park, Surrey, England, U.K.
pianoforte n° 24 ca. 1770, Colonial Williamsburg Foundation, Williamsburg, V.A.,
pianoforte ca. 1770, Daniel and Deborah Jeffs, East Ilsley, England, U.K.
pianoforte ca. 1770, Museum of Fine Arts, Boston, M.A., U.S.
pianoforte ca. 1770, Marlow A. Sigal Collection, Newton Centre, M.A., U.S.
pianoforte ca. 1770, Smithsonian Institution, Washington, D.C., U.S.
pianoforte ca. 1770, University of Edingburgh, St. Cecilia's Hall of
Musical Instruments, Edinburgh, Scotland, U.K.
pianoforte ca. 1770, Frederick R. Selch Center for American Music, Oberlin
Conservatory of Music, Oberlin, O.H., U.S.
pianoforte ca. 1770, Private Collection, Gloustershire, England, U.K.
pianoforte ca. 1770, Accademia Nazionale di santa Cecilia, Rome, Italy
pianoforte ca. 1772, Marlow A. Sigal Collection, Newton Centre, M.A., U.S.
pianoforte ca. 1773, Haags Gemeentemuseum, Den Haag, The Netherlands
pianoforte ca. 1773, Händel-Haus, Halle an der Saale, Germany
pianoforte ca. 1773, Private Collection, London, England, U.K.
pianoforte ca. 1773, Powerhouse Museum, Sydney, N.S.W., Australia
pianoforte ca. 1773, Private Collection, Penn, Buckinghamshire, England, U.K.
pianoforte ca. 1774, Cité de la Musique, Paris, France
pianoforte ca. 1774, State Palace of Grand Duke Paul, Pavlovsk, Russia
pianoforte ca. 1774, Musée communal d'Histoire et d'Archéologie, Nivelles,
pianoforte ca. 1775, Museum of Welsh Life, Cardiff, South Wales, U.K.
pianoforte ca. 1776, Museu de la Música, Barcelona, Spain
pianoforte ca. 1776, National Music Museum, Vermillon, S.D., U.S.
pianoforte ca. 1777,
Pooya Radbon Collection, Germany
Square pianoforte ca. 1777-78, The Cobbe Piano Collection, Surrey, England,
pianoforte ca. 1778, Conservatoire National des Arts et Métiers, Paris, France
pianoforte ca. 1800,
Museu de la Música,
ZUMPE & MEYER
pianoforte ca. 1778, Museo degli Strumenti Musicali, Castello Sforzesco, Milan,
One of the 'twelve apostles'
He came from (Furth) Germany, was part of the
group of students of Gottfried SILBERMAN, passed Paris, and emigrated to
London, where he first worked for
Tschudi BURCKHARDT. Later he worked as
associate with some other pianoforte-makers :
& RIMBAULT (1760), look for
ZUMPE & MEYER
(1778), look for
SCHOENE, VINSEN & Cie in 1798.
"Piano Forto is tegenwoordig het alöm
gezochte en begeerde Snaren-Instrument, welke in London, bij uitzondering,
volmaakt vervaardigd wordt, en van daar voorzeker na alle oorden van de
wereld verzonden wordt; de invoering hiervan is nieuw en van een Duitsche
afkomst, zoo als de Heer SCHOENE mij verhaald heeft; men heeft, namentlijk
in Duitschland, zoogenaamde Hamer-Clavieren, in welke slechts houten hamers
tegen de snaren sloegen. Johannes SUMPE, een Klaviermaker uit Furth, wilde
zich in London nederzetten. Vóór zijne afreize, moedigde BACH
(waarschijnlijk de groote Hamburgsche Bach) hem aan, om zijn Hamer-Klavier,
naar den thans heerschenden smaak, te verbeteren, dat is : met leder te
beslaan, en het Klavier een gedempten toon te bezorgen; hieröm heet het
Piano Forto. In het jaar 1765 vervaardigde SUMPE de eerste kleine Piano
Forto’s in London. Zij verkregen den verlangden bijval, en zijn sedert tot
de grootste volkornenheid gebragt.
Na het overlijden van SUMPE, werd deszelfs Fabriek door zijn landsman, den
voornoemden SCHOENE, voortgezet. Tegenwoordig luidt de Firma SCHOENE en
Nieuwste reize door Engeland, Schotland en Ierland,
voornamentlijk ..., Philipp Andreas Nemnich, 1809, p. 284-285
"[...] A gentleman, who signs himself
R. R. D. in the Monthly Magazine, September 21, 1809, informs Capel Lofft,
esq. who had inquired in the same publication when piano-fortes were first
invented, that he has a square piano-forte made by Zum in 1768; it is upon
the common construction. It has the mark XVIII upon it, which appears to
have been the number be had then mode."
The Gentleman's Magazine (London, England), Volume
111, 1812, p. 11
now tried to render the pianoforte practicable and popular. The failures
were many; and it was not till 1766, that a German named Zumpe succeeded in
the construction of some small pianofortes (similar in shape and size to
their remote progenitor the virginal), whereof the tone was peculiarly
sweet, the touch facile, and the price sufficiently moderate to place it
within the reach of all those who had hitherto been purchasers of the
harpsichord and clavecin. A revolution the most sudden ensued in every
musical household in the kingdom. Zumpe'could not meet the demand, and
orders more numerous than he could execute poured in from all parts of the
United Kingdom, and even from the capital and northern shores of France."
Chambers's Journal of Popular Literature, Science and
Arts, 1855, p. 259
"About 1760, however, two
manufactories were established; one in London by Zumpe, and the other by
Silverman, in Germany. Both were successful, but that of Zumpe pre-eminently
so. Shortly after, M. Sebastian Erard commenced the manufacture of
pianofortes in France, and it is to him that we are indebted for many of the
most important improvements in the instrument. At the commencement of the
present century, pianoforte-makers were multiplying rapidly all over Europe;
the firms of Zumpe, Kirkman, Longman, the predecessors of ColJard & Collard,
Broadrip, Broadwood, Erard, and Clementi, were now flourishing."
Beeton's Dictionary of universal information, 1861,
"[...] These apostles “
with a mission " seem to have quite content to subside into obscurity;
unless, indeed some of them afterwards cropped up under the names Zumpe,
Pohlmnn, Buntebart, and Co., several of whose productions yet exist; for
instance, the Joannes Zumpe, fecit AD. 1776, which was in the possession of
Mr. Ramsay, of Bury, in 1802. According to Capel Loft, Sir George
Smart possessed a square piano, also made by Zumpe, in which some of the
keys were divided as they were in some spinets and harpsichords, to produce
what are incorrectly termed quarter tones, for amending tbe unavoidably
imperfect intonation of instruments which are limited to twelve intervals.
Although the Zumpe, dated 1776, is the earliest square piano certainly made
in England which I remember to have read of, it is probably far from the
first made here."
English mechanic and mirror of science, 1870,
SCHOENE & Co in London
SEE ALSO ...
ZUMPE on Wikipedia
Princes Street, Cavendish Square(P1789), London
Annual Register, Or, A View of the History, Politics, and ...', Volume 76,
1835, p. 391
Musical World', 09/06/1837, p. 216
Musical World', 17/10/1839, p. 396
Musical World', Volume 16, 1841, p. 112
Office London Directory', 1841, p. 807
London Directory', 1842, p. 1598 -1599(archive.org)
Musical World', Volume 22, 1847, p. 179
des artistes et de l'enseignement dramatique et musical', 1893,
p. 656-664 (Gallica)
Office London Directory, 1895, p. 2038-2039
des artistes et de l'enseignement dramatique et musical', 1897,
p. 834-841 (Gallica)
(*1903): 'Annuaire des artistes et de
l'enseignement dramatique et musical', 1903, p. 1103-1110 (Gallica)
(**1904) : 'Post
Office London County Suburbs Directory', 1904, p. 1129-1130
des artistes et de l'enseignement dramatique', 1906, p. 1091-1100
des artistes et de l'enseignement dramatique et musical', 1909,
p. 1105-1113 (Gallica)
des artistes et de l'enseignement dramatique et musical', 1910,
p. 1144-1153 (Gallica)
(1): 'Histoire de piano de 1700 à 1950',
Mario Pizzi, 1983
(2): 'Makers of
the Piano 1700-1820' and 'Makers of the Piano 1820-1860', Martha Novak
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