Ferdinand (II) Patzelt

Name: Ferdinand (II) Patzelt auction price records, Amati Instrument Archive
Creator: Amati

Vienna, b. 1854

Ferdinand (II) Patzelt (1854-after 1912) was an Austrian-born violin maker who worked in Germany. Son and pupil of Johann Ferdinand Patzelt, he apprenticed at the Grimmschen shop. After initially pursuing painting, he returned to violin making, establishing his own workshop in Berlin in 1876 with his brother, before moving to Dresden in 1883 and finally Meissen. Patzelt was known for his thoughtful approach, not merely copying old masters but adapting principles to modern requirements, notably being the first German maker to use balsam fir wood for violins. His work, described as fine and slightly eccentric, received a first prize at either Boulogne or Bologna for a quartet. His instruments were branded 'F. Patzelt / Dresden /1899'.

Worked Vienna

Made Violin

Taught by Johann Ferdinand Patzelt

Family Son of Johann Ferdinand Patzelt

Auction price history

Highest auction price

£3,080

Type	Details	Sold	Price
Violin	1910	June 1991	£3,080
Violin	1910	March 1984	£748

Maker Overview

Life

Ferdinand (II) Patzelt (1854-after 1912) was born in 1854 in Vienna, Austria, and died after 1912 in Meissen, Germany. He was the son and pupil of Johann Ferdinand Patzelt., he was apprenticed at the Grimmschen shop with his father. Willibald Leo Lütgendorff states that after his apprenticeship, he initially intended to become a painter and attended the Berlin Art Academy. However, the premature death of his father compelled him to return to violin making. He established himself independently in 1876, opening his own workshop in Berlin with his brother, who assisted him for some time. He moved to Dresden in 1883 and finally settled in Meissen. Sources contain conflicting information regarding the location of a significant award, with John Dilworth mentioning a first prize awarded at Boulogne, while Willibald Leo Lütgendorff specifies Bologna for a quartet with balsam fir tops.

Characteristics

Approach: Willibald Leo Lütgendorff describes Patzelt as a thoughtful artist who did not view the slavish copying of Italian masters as the sole path to successful violin making. He believed that the well-considered proportions of old masters' instruments were disrupted when necks (mensuren) had to be lengthened and bass bars enlarged due to the higher modern pitch and increased tension.
Principles: Patzelt maintained that what could and must be successfully altered in old violins to meet modern demands should not become the rule for new instruments. He followed the principles of the great masters by accounting for increased tension and constructing violins whose overall design did not require the modifications essential for old masterworks.
Material Innovation: He was the first German violin maker, at the instigation of O. Lessmann, to construct violins from balsam fir wood (Balsamfichte), a material discovered by Concertmeister Schradieck in America. Patzelt considered the lighter and more delicate structure of this resin-poor spruce, and the results were satisfactory in every respect.
Branding: He used a brand mark. John Dilworth notes his instruments were branded: 'F. Patzelt / Dresden /1899'.

Recorded labels

Branded: ‘F. Patzelt / Dresden /1899’John Dilworth

Influence and legacy

Parentage & Training: He was the son and pupil of Johann Ferdinand Patzelt. He received his apprenticeship at the Grimmschen shop alongside his father.
Early Education: Willibald Leo Lütgendorff notes that he attended the Berlin Art Academy, initially pursuing a career as a painter.
Awards: A quartet with balsam fir tops made by Patzelt received the first prize in Bolognaütgendorff. John Dilworth also mentions a first prize awarded at Boulogne.
Reputation: His work is described as fine, though slightly eccentric by John Dilworth. Willibald Leo Lütgendorff states that his works receive unrestricted praise, and he is considered a worthy son of his excellent father, a fine connoisseur, and a capable violinist.

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Biographies

The overview above is drawn from the following published accounts. Read them in the original:

John Dilworth+

PATZELT, Ferdinand (II) Born 1854 Vienna Austria, d. after 1912 Meissen Germany. Son and pupil of Johann Ferdinand Patzelt, below. Apprenticed at the Grimmschen shop with his father. Established independently from 1876 and assisted for some time by a brother. Moved to Dresden 1883, and finally to Meissen. First prize awarded at Boulogne. Fine but slightly eccentric work. Branded: ‘F. Patzelt / Dresden /1899’

Willibald Leo Lütgendorff+

Schüler seines Vaters Johann Ferd. P. im Grimm’schen Atelier. Nachdem
er ausgelernt hatte, wollte er, von besonderer Neigung getrieben, Maler werden
und besuchte bereits die Berliner Kunstakademie, als er durch den frühzeitigen
Tod seines Vaters veranlasst wurde, zum Geigenmachen zurückzukehren. Er
eröffnete 1876 mit seinem Bruder eine eigene Werkstatt in Berlin und siedelte
1883 nach Dresden über. Er ist ein denkender Künstler, der nicht im sklavischen
Copiren der italienischen Meister das einzige Heil des Geigenmachens
sieht. Er ist der Überzeugung, dass das von den alten Meistern wohlerwogene
Verhältniss aller Theile der Geige zu einander gestört wurde, als man wegen
der jetzt üblichen höheren Stimmung und stärkeren Belastung die Hälse
(Mensuren) verlängern und den Bassbalken vergrössern musste. Was bei alten
Geigen den heutigen Anforderungen entsprechend mit Erfolg geändert werden
kann und muss, darf nach seiner Ansicht bei neuen nicht zur Regel werden.
Er befolgt die Grundsätze der grossen Meister insoferne, als er der erhöhten
Spannung Rechnung trägt und Geigen herstellt, die vermöge ihrer Gesammtanlage
der Hilfsmittel nicht bedürfen, die für die alten Meisterwerke unentbehrlich
geworden sind. Er ist auch der erste deutsche Geigenmacher, der auf Veranlassung
O. Lessmann’s aus dem von Concertmeister Schradieck in Amerika entdeckten Holze der Balsamfichte Geigen gemacht hat. Er berücksichtigte
dabei die leichtere und zartere Structur dieser harzarmen Fichtenholzart,
und der Erfolg war in jeder Beziehung zufriedenstellend. Ein Quartett mit
Balsamfichtendecken von ihm erhielt in Bologna den ersten Preis. Er glaubt,
dass die allen Meister dieses Holz auch verwendet haben dürften, wenn sie es
gerade zur Hand hatten, und findet, dass man mit der jetzt zu Tage tretenden
Missachtung der Balsamfichte ebenso über das Ziel schiesst wie vorher, als man
sich den übertriebensten Hoffnungen hingab. Patzelt ist ein würdiger Sohn seines trefflichen Vaters, ein feiner Kenner und tüchtiger Geiger. Seine Arbeiten finden
uneingeschränktes Lob. Er verwendet eine Brandmarke: