Pianoforte-maker and/or pianoforte dealer ca. 1906-12 [since 1870 (x1906)(x1912)]

'Piano-Handlung' (x1906)(x1912)

Image of a Pianoforte in an advertisement of a pianoforte of ZEITTER, The Musical World, Volume 22, 1847, p. 179

1838 - "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

1839 - "ZEITTER & Co. of 4 and 5, New Cavendish-street, Portland-place, which greatly added to the power and 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 flattered themselves that they had secured a perpetual monopoly of the fashionable musical world. Reports have 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 & Co will be happy to convince such of their friend as will honour them with a call at their
Manufactory, 4 and 5, New Cavendish-street, by the exhibition of testimonials from parties who have had Zeitter's Pianofortes in use for years, which have not only remained unimpaired in any respect, but bave improved in tone." The Athenaeum, 17/08/1839, p. 623

'Pianoforte-maker' ca. 1833-47

ZEITTER & Co (**1841)(x1842)(*1843)

"Manufacturers of all kinds of horizontal & upright pianofortes by Royal letters patent." (*1843)

Student of ERARD (see ZEITTER & WINKELMANN Publicity in 1854)

He worked also in Vienna (Catalogue of ZEITTER & WINKELMANN 20th century)

Succeeded by RÜST & STAHL

ZEITTER moved back to Germany ca. 1849 and became associated with WINKELMANN in Brunswick (Braunschweig.  ZEITTER Jacob Friedrich & WINKELMANN Christian Ludwig Theodor in Braunschweig, Germany

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

"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.
Mahogany, 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

'Pianoforte-makers' ca. 1895-1912

ZENDER & Co (*1906)(x1906)(*1909)(x1912)

'Piano-Fabrik' - 'Piano-Manufacturer' (x1906)(x1912)

3a, Luke Street, Great Eastern Street (*1895)(*1897)(*1899)(*1903), 22a, Cazenove Road, High Street, Stoke Newington Station (*1906)(x1906)(*1909)(x1912), London

'Pianoforte-makers' ca. 1900

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

WHELPDALE took over in 1993

End : ca. 2003

Patent of 1871 : "April 25, 1871. - A. ZEWADSKI. Octave-coupler." The History of the Pianoforte: With an Account of the Theory of Sound and ..., Edgar Brinsmead, 1889, p. 222

German 'Pianoforte-maker' ca. 1899-1910

'Piano-Handlung' - 'Cottage-Orgeln, Pianos u. Orgophons etc.' - 'Auch Verlag.'(x1906)

SEE ALSO ...

ZIMMERMANN in Leipzig, Germany

BRANCH : 67, New Bond Street, W. Street (*1899)(*1903), 4, Wells Street, Oxford Street, W. (*1906)(x1906)(*1907)(*1909)(*1910), London

FACTORY in Leipzig, Germany

(1735 - 1783)

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, Kolthoorn Collection, Geelvinck Muziek Musea, Heerde, The 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 of 1774, Private collection, Basel, Switzerland
Square pianoforte ca. 1775, Rijksmuseum, Amsterdam, The Netherlands
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. 1778, Museo degli Strumenti Musicali, Castello Sforzesco, Milano, Italy
Square pianoforte ca. 1800, Museu de la Música, Barcelona, Spain

ZUMPE & MEYER

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

'Pianoforte-maker' ca. 1766-1800

Succeeded by SCHOENE, VINSEN & Cie in 1798.

(continuation)

1809 - "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

1810 - "Johann Zumpe, ein Claviermacher aus Fürth, welcher sich in England niederließ, war mit einer der ersten und vorzüglichsten Verfertiger der Fortepiano's. Fast úberall in Teutschland waren noch die sogenanen Hammerklaviere im Gebrauch. Bach munterte den Zumpe vor seinern Abgange nach England sebr ernstlich auf, sich auf die Verfertigung der Fortepiano's zu legen, oder die Hammer mit Leder anschlagen zu lassen und Dämpfer anzubringen. Zumpe befolgte dieser Rath; und wårklich war er auch der erste, welcher in England solche Instrumente machte. Im Jahr 1765 verfertigte er die ersten kleinen Fortepiano's in London. Sie erhielten vielen Beyfall; und dadurch aufgemuntert, machte sie Zumpe immer vollkommner und schöner. Nach dem Tode dieses geschickten Mannes setzte sein landsmann Schöne die Fabrik fort. Gute gesponnene Darmsaiten wurden in England forvorgebracht ; aber gute Drathfaiten mußten die englischen Künstler immer noch aus Nürnberg kommen lassen, zwar reiste ein Instrumentmacher aus England expreß nach Nürnberg, um daselbst die Vorteile in der Verfertigung der Drathsaiten abzufeben. Allein demongeachtet konnten die Künstler in England sie nicht zu der erforderlichen Härte und Elasticitat bringen." Geschichte der Technologie, 1810, p. 295-296

1812 - "[...] 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

1815 - "Das Pianoforte. Dieses in England so beliebte und von London nach allen Weltgegenden versandte Instrument, wurde von einem Deutschen erfunden, und zuerst im Jahr 1765 in London verfertigt Johannes Zumpe, ein Klaviermacher aus Fürth, wollte sich in London niederlassen. Vor seiner Hinreise munterte Bach ihn auf, das Clavker, nach der jetzige Art zu verbessern, das ist mit Leder anzuschlagen und Dämpfer anzubringen. . Daher entstand der Namen Pianoforte. Im Jahr 1765 verfertigte Zumpe die ersten in London, sie erzielten den größten Beifall, seine Fabrik hatte gutten Fortgang und wird nun von seinen Landsmann Schöne, unter der Firma Schöne und Reyh fortgeführt. Von London gehen sie stark nach Spanien, Amerika, Rußland c. In der oben genannten Fabrik kostet ein großes Pianoforte von 6 Octaven 85 Guineen, detto von 5 ½ Octaven 75 Guineen, ein kleines Pianoforte mit zirkelrunden Enden und 6 Octaven, 3 Pedalen, 60 Guineen, detto viereckig kleiner, 5 ½ Octaven, 32 Guineen." Der Wanderer, 09/10/1815, p.1160

1841 - "THE PIANO-FORTE. - FATHER Wood, an English monk, made the first piano-forte, of which we have any account, in 1711. After the arrival of Bach in England, and the establishment of his concert in conjunction with Abell, all the harpsichord makers tried their mechanical powers at piano-fortes; but the first attempts were always on the large size, till Zumpe, a German, constructed small piano-fortes of the shape of the virginal, of which the tone was very sweet, and the touch, with a little use, was equal to any degree of rapidity. These, from their low prices, the convenience of their form, as well as power of expression, suddenly grew into such favor, that there was scarcely a house in the kingdom, where a keyed instrument ever had admission, but was supplied with one of Zumpe's piano-fortes, for which there was nearly as great a demand in France as in England. In short, he could not make them fast enough to gratify the public fondness for them. Pohlman, whose instruments were very inferior in tone, fabricated a great number for such as Zumpe was unable to supply. From this period, the piano-forte has constantly been improving, until it has attained its present complete state." Musical Reporter, 01/1841, p. 27

1853 - "Ebenso besaß Ph. E. Bach eines, das sich, ebenfalls fortwährend gut hielt ungeachtet der Myriaden Noten, die Bady darauf spielte. – In England ward das Silbermann'sche Instrument 1760 durch, Zumpe, einen Deutschen, eingeführt und daselbst diese Mechanik auf das dortige beliebte Harpsichord (Sonderbarer Weise erhielt sich in England auf den Musikalien bis in neuere Zeit das stereotype for the harpsichord: ein Beweis, wie schwer man dort vom Hergebrachten abgeht.) übertragen. Das große Pianoforte deint in London zuerst am 16. Mai 1767 producirt worden zu sein; auf einem noch aufbewahrten Theaterzettel steht: „Am Ende des ersten Actes wird Miß Brickler ein beliebtes Lied aus Judith singen, welches von Hrn. Dibbin auf einem neuen Instrument, Pianoforte genannt, begleitet wird." Musicalische Neu-Jahrs-Gedichte: Gott zu Ehren, und zu Vermehrung ..., 1853, p. 8

1855 - "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

1861 - "About 1760, however, two manufactories were established; one in London by Zumpe, and the other by Silverman [SILBERMANN], 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

1870 - "[...] 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

(*1897): 'Annuaire des artistes et de l'enseignement dramatique et musical', 1897, p. 834-841 (gallica.bnf.fr)

(*1899): 'Annuaire des artistes et de l'enseignement dramatique et musical', 1897, p. 1010-1017, Leeds p. 1016 (gallica.bnf.fr)

(*1903): 'Annuaire des artistes et de l'enseignement dramatique et musical', 1903, p. 1103-1110 (gallica.bnf.fr)

(**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.bnf.fr)

(x1906): 'Weltadressbuch der gesammten Musikinstrumenten-Industrie', 1906, London PF p. 417-420 & London PD p. 423-434 (digital.sim.spk-berlin.de)

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

(y1907): 'Kelly's Directory of Merchants, Manufacturers and Shippers', 1907, p. 13-14, London p. 5-6

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

(*1910): 'Annuaire des artistes et de l'enseignement dramatique et musical', 1910, p. 1144-1153 (gallica.bnf.fr)

(x1912): 'Welt-Adressbuch der gesamten Musikinstrumenten-Industrie', 1912, London PF p. 550-554 & London PD p. 559-572 (digital.sim.spk-berlin.de)

(y1914): 'Kelly's manufacturers and merchants directory, including industrial services', 1914, p. 3019-3020 London p. 2356-2357 (archive.org)

(x1921): 'Kelly's Directory of Stationers, Printers, Booksellers, Publishers and ...', 1921, Liverpool p. 954-966

(x1926): 'Weltadressbuch der gesammten Musikinstrumenten-Industrie', 1926 (digital.sim.spk-berlin.de)

(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