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Pianoforte-makers in England

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Brand Image Info Addresses
       
ZEITTER Jacob Frederick

 

 

Image of a Pianoforte in an advertisement of a pianoforte of ZEITTER, 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, Portland-place." 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

"ZEITTER 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.

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.
(see next )

 

 

'Pianoforte-maker' ca. 1835-47

ZEITTER & Co (**1841)(x1842)

Succeeded by RÜST & STAHL

(continuation)

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

"ZEITTER & COMPANY - Respectfully beg to submit the following list of prices of their Patent Pianofortes, which have all the latest improvements, New 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, fbr 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 the Pianoforte, 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—
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 – 60 guineas.
Mahogany, with gran 50 – 60 guineas.
Rosewood, 60 - 70 guineas.
COTTAGES, SIX OCTAVES.
Mahogany, 45 to 60 guineas.
Rosewood, 50 – 70 guineas.
Maohgany, with grand action. 55 — 70 guineas.
Rosewood ditto, 60 – 80 guineas.
CABINETs, SIX-AND-A-HALF octaves,
Mahogany, 60 to 70 guineas.
Rosewood, 70 – 80 guineas.
Mahogany, w 75 – 90 guineas.
Rosewood 80 – 100 guineas.
SEMI-GRANDS, SIX-AND-A-HALF octaves.
Mahogany, 90 to 110 guineas.
Rosewood, 100 — 120 guineas.
GRANDS, SIX-AND-A-HALF OCTAVES.
Mahogany, 120 to 140 guineas.
Rosewood, 130 – 160 guineas.
N.B.-ZEITTER and Co. engage to keep all instruments F. of them in tune for six months, free of expence, in ondon, and to exchange them if returned to them free of carriage within the same time."
The Musical World, 1842 p. 396

"GOOD 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), London
ZENDER & BROCK 'Pianoforte-makers' ca. 1895-1909

ZENDER & CO (*1906)(*1909)

 

3a, Luke Street, Great Eastern Street (*1895)(*1897)(*1903), 22a, Cazeneuve Road Stoke Newington (*1906)(*1909), London

 

ZENDER Sydney & Co

 

BRANDS

BLENHEIM
IMPERIAL
KADETTE
PRESIDENT

 

 

'Pianoforte-makers' ca. 1900

From 1980, succeeded by BARRAT & ROBINSON, and from 1984 by BENTLEY.

WHELPDALE took over in 1993

End : ca. 2003

 

London
ZIMMERMANNN Jules-Henri 'Pianoforte-maker' ca. 1903-10 67, New Bond Street, W. Street (*1903), 4, Wells Street (*1906)(*1907)(*1909)(*1910), London
ZUMPE Johannes Christoph

(1735 - 1783)

 

Collection Alain Roudier, France

Click on the photo to enlarge

ZUMPE Joannes

Square pianoforte ca. 1766, Württembergisches Landesgewerbemuseum, Stuttgart, Germany
Square pianoforte ca. 1766, National Music Center, Calgary, Alberta, Canada
Square pianoforte ca. 1766, Cambridge University, Emmanuel College, Cambridge, England, U.K.
Square pianoforte ca. 1766, Colonial Williamsburg Foundation, Williamsburg, V.A., U.S.
Square pianoforte ca. 1767, Royal Museum of Scotland, Edinburgh, Scotland, U.K.
Square pianoforte ca. 1767, Victoria and Albert Museum, London, England, U.K.
Square pianoforte ca. 1767, Metropolian Museum of Art, New York, N.Y., U.S.
Square pianoforte ca. 1767, Stewart Symonds Antique Piano Collection, Sydney, N.S.W., Australia
Square pianoforte ca. 1767, Andy Pforzheimer Collection, Wilton, C.T., U.S.

Square pianoforte ca. 1768, Royal Museum of Scotland, Edinburgh, Scotland, U.K.
Square pianoforte ca. 1868, his nameboard, Germanisches Nationalmuseum, Nürnberg, Germany
Square pianoforte ca. 1768, Royal Ontario Museum, Toronto, Ontario, Canada
Square pianoforte ca. 1768, The Schubert Club, St. Paul, M.N., U.S.
Square pianoforte ca. 1778, Musée de Bagnols-sur-Cèze, Bagnols-sur-Cèr>ze, France
Square pianoforte ca. 1780, Collection Frenanda Giulini, Brisoco, Italy
Square pianoforte ca. 1780, Christian Depard Collection, Mont Saint Aignan, France
Square pianoforte ca. 1782, Historisches Museum Sammlung alter Musikinstrumente, Basel, Switzerland

ZUMPE & BUNTEBART

Square pianoforte ca. 1769, Historic Deerfield, M.A., U.S.
Square pianoforte ca. 1769, Ian Pleeth, Aylesbury, Buckinghamshire, England, U.K.
Square pianoforte ca. 1769, Musée Gétry, Liège, Belgium

Square pianoforte ca. 1769, Museum Geelvinck, Amsterdam, Netherlands
Square pianoforte ca. 1769, Cobbe Collection, Hatchlands Park, Surrey, England, U.K.
Square pianoforte n° 24 ca. 1770, Colonial Williamsburg Foundation, Williamsburg, V.A., U.S.
Square pianoforte ca. 1770, Daniel and Deborah Jeffs, East Ilsley, England, U.K.
Square pianoforte ca. 1770, Museum of Fine Arts, Boston, M.A., U.S.
Square pianoforte ca. 1770, Marlow A. Sigal Collection, Newton Centre, M.A., U.S.
Square pianoforte ca. 1770, Smithsonian Institution, Washington, D.C., U.S.
Square pianoforte ca. 1770, University of Edingburgh, St. Cecilia's Hall of Musical Instruments, Edinburgh, Scotland, U.K.
Square pianoforte ca. 1770, Frederick R. Selch Center for American Music, Oberlin Conservatory of Music, Oberlin, O.H., U.S.
Square pianoforte ca. 1770, Private Collection, Gloustershire, England, U.K.
Square pianoforte ca. 1770, Accademia Nazionale di santa Cecilia, Rome, Italy
Square pianoforte ca. 1772, Marlow A. Sigal Collection, Newton Centre, M.A., U.S.
Square pianoforte ca. 1773, Haags Gemeentemuseum, Den Haag, The Netherlands
Square pianoforte ca. 1773, Händel-Haus, Halle an der Saale, Germany
Square pianoforte ca. 1773, Private Collection, London, England, U.K.
Square pianoforte ca. 1773, Powerhouse Museum, Sydney, N.S.W., Australia
Square pianoforte ca. 1773, Private Collection, Penn, Buckinghamshire, England, U.K.
Square pianoforte ca. 1774, Cité de la Musique, Paris, France
Square pianoforte ca. 1774, State Palace of Grand Duke Paul, Pavlovsk, Russia
Square pianoforte ca. 1774, Musée communal d'Histoire et d'Archéologie, Nivelles, Belgium
Square pianoforte ca. 1775, Museum of Welsh Life, Cardiff, South Wales, U.K.
Square pianoforte ca. 1776, Museu de la Música, Barcelona, Spain
Square pianoforte ca. 1776, National Music Museum, Vermillon, S.D., U.S.
Square pianoforte ca. 1777, Pooya Radbon Collection, Germany
Square pianoforte ca. 1777-78, The Cobbe Piano Collection, Surrey, England, U.K.
Square pianoforte ca. 1778, Conservatoire National des Arts et Métiers, Paris, France
Square pianoforte ca. 1800, Museu de la Música, Barcelona, Spain

ZUMPE & MEYER

Square pianoforte ca. 1778, Museo degli Strumenti Musicali, Castello Sforzesco, Milan, Italy

 

 

'Pianoforte-maker' ca. 1766-1800

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 :

ZUMPE & RIMBAULT (1760), look for RIMBAULT

ZUMPE & MEYER (1778), look for MEYER (1)

ZUMPE & BUNTEBART (1784), look for BUNTEBART (1)

Succeeded by 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 REIJK." 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

"Every harpsichord-maker 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, p. 1393

"[...] 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, p. 469

Succeeded by SCHOENE & Co in London

SEE ALSO ...

BUNTEBART

INFO EXTRA

ZUMPE on Wikipedia

Princes Street, Cavendish Square(P1789), London
 

 

(*1835): 'The Annual Register, Or, A View of the History, Politics, and ...', Volume 76, 1835, p. 391

(xx1837): 'The Musical World', 09/06/1837, p. 216

(*1839): 'The Musical World', 17/10/1839, p. 396

(*1841): 'The Musical World', Volume 16, 1841, p. 112

(**1841): 'Post Office London Directory', 1841, p. 807 (specialcollections.le.ac.uk)

(x1842): 'Robson's London Directory', 1842, p. 1598 -1599(archive.org)

(*1847): 'The Musical World', Volume 22, 1847, p. 179

(*1893): 'Annuaire des artistes et de l'enseignement dramatique et musical', 1893, p. 656-664 (Gallica)

(**1895): 'Post Office London Directory, 1895, p. 2038-2039 (specialcollections.le.ac.uk)

(*1897): 'Annuaire 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 (specialcollections.le.ac.uk)

(*1906): 'Annuaire des artistes et de l'enseignement dramatique', 1906, p. 1091-1100 (Gallica)

(*1907): 'Annuaire des artistes et de l'enseignement dramatique et musical', 1907, p. 1094-1104 (Gallica)

(*1909): 'Annuaire des artistes et de l'enseignement dramatique et musical', 1909, p. 1105-1113 (Gallica)

(*1910): 'Annuaire 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 Clinkscale, 1993

 

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