Budapest School
Johann Baptist Schweitzer
Budapest, 1790–1865
Johann Baptist Schweitzer was a pivotal figure in 19th-century Hungarian violin making, recognized for his significant influence on Central European and German schools. A pupil of F. Geissenhof, he established himself in Pest (Budapest) by the mid-1820s, gaining particular fame as a cello maker. He was notable for his early adoption and emulation of Cremonese masters, especially the Stradivari and Amati models, a conscious departure from the prevailing Stainer model. While sources conflict on his exact birth (c. 1790/1798) and death (c. 1865/1875) dates, his meticulous craftsmanship, distinctive interior work (hardwood linings), and beautiful wood selection are consistently praised, though his extensive efforts to perfect his varnish were less successful. He was also a highly regarded teacher, mentoring several influential makers of the next generation. Due to the high regard for the good tone of his violins and magnificent cellos, his work is frequently imitated, often with counterfeit labels that complicate authentication.
Auction price history
Highest auction price
| Type | Details | Sold | Price |
|---|---|---|---|
| Violin | 36.3 cm late 19th C. [Workshop] | December 2008 | £227 |
| Cello | 75.0 cm Pestini, 1852 | June 2008 | £29,640 |
| Violin | (Workshop) | July 2005 | £525 |
| Violin | (Workshop) | July 2005 | £262 |
| Violin | (Workshop) | July 2004 | £343 |
| Cello | Budapest, 1832 | July 2004 | £22,800 |
| Violin | 1880 | October 1995 | £10,120 |
| Violin | 1850 c. | June 1994 | £2,200 |
| Violin | 1858 | October 1982 | £2,588 |
Maker Overview
Life
Johann Baptist Schweitzer (Born c. 1790/1798, Died c. 1865/1875) was an influential Hungarian violin and cello maker. Sources present conflicting information regarding his birth and death dates: John Dilworth in "The Brompton's Book of Violin & Bow Makers" states he was born in 1790 in Pécs and died in 1865 in Budapest, Hungary. This is supported by Henri Poidras in "Critical & Documentary Dictionary of Violin Makers Old & Modern" who also lists 1790-1865. However, Cecie Stainer in "A Dictionary of Violin Makers" claims he was born in 1798 and died in 1875. He was a pupil of F. Geissenhof (also spelled Geisenhof or Gaissenhof) in Vienna. was active in Pécs from 1822 and established in Budapest by the following year. Willibald Leo Lütgendorff in "Die Geigen- und Lautenmacher vom Mittelalter bis zur Gegenwart" states that he settled in Pest (Budapest) in 1825, where he soon gained recognition as the best master of his craft, becoming particularly famous as a cello maker.
Characteristics
- Innovation
- Johann Baptist Schweitzer was one of the first violin makers, alongside figures like Pressenda in Turin, to widely adopt the Stradivari model over the earlier Stainer model, attempting a closer emulation of the Cremonese masters (Dilworth).
- Joh. Bapt. Schweitzer
in Pesth 1845John Dilworth - Joh. Bapt. Schweitzer fecit ad forman Hieronym Amati Pestini, 1814John Dilworth
- Joh. Bapt. Schweitzer fecit ad forman Anonii Stradiuarii Pestini 1836John Dilworth
- Joh. Bapt. Schweitzer Discipulus
F.Geissenhoff fecit Pestini 1836John Dilworth
Influence and legacy
- Training and Mentorship: Schweitzer was a pupil of F. Geissenhof in Vienna. He was also a highly regarded teacher, with many important makers of the subsequent generation counted among his pupils and assistants, including Gabriel Lemböck, Anton Sitt, J. B. Dvořák, S. Nemessányi, and his eventual successor T. Zach (Dilworth, Lütgendorff).
- Schools/Tradition: He exerted significant influence on the work of all the central European and German violin-making schools in the nineteenth century (Dilworth).
- Modern Recognition: His cellos are now as much sought after as they are imitated (Poidras). Lütgendorff further notes that his violins and cellos are highly coveted today for their good tone, leading to widespread imitation in Markneukirchen, where instruments are often produced with his label, frequently bearing the anachronistic year 1813.
Biographies
The overview above is drawn from the following published accounts. Read them in the original:
John Dilworth+
SCHWEITZER, Johann Baptist Born 1790 Pécs, died 1865 Budapest Hungary. Pupil of F. Geissenhof in Vienna. Active in Pécs from 1822 and established in Budapest by the following year. One of the first makers, like Pressenda in Turin, to adopt the Stradivari model over the Stainer, and to attempt closer emulation of the Cremonese masters. Very influential on the work of all the central European and German schools in the nineteenth century, but this has led to numerous fakes being made in the larger German workshops. Pupils and assistants include many important makers of the subsequent generation: G. Lemböck, A. Sitt, J. B. Dvorák, S. Nemessányi and his eventual successor T. Zach. Very fine work on all the classical Italian models; also using that of his master, F. Geissenhof. Magnificent cellos, some on a Serafin model. Interior work quite distinctive with hardwood linings spliced into the blocks with short, tapering joints. Joh. Bapt. Schweitzer / in Pesth 1845 Joh. Bapt. Schweitzer fecit ad forman Hieronym Amati Pestini, 1814 Joh. Bapt. Schweitzer fecit ad forman Anonii Stradiuarii Pestini 1836 Joh. Bapt. Schweitzer Discipulus / F.Geissenhoff fecit Pestini 1836
Cecie Stainer+
A maker in Budapest; b 1798, d. 1875. He was a pupil of Geisenhof in Vienna. His violins were made without arching, the workmanship was neatly finished ; he also made some tenors.
Willibald Leo Lütgendorff+
Schüler von Franz Gaissenhof. Im Jahre 1825 liess er sich in Pest nieder, wo er bald als der beste Meister seines Fachs galt und namentlich als Violoncellomacher berühmt wurde. Er kam seinem Lehrer sehr nahe, verstand es trefflich, die Italiener zu copiren, und ahmte vornehmlich das Amati-Modell nach. Seine Arbeit ist in allen Theilen sorgfältig, das Holz sehr schön; nur sein Lack ist weniger gut, obwohl er sich sein Leben lang mit Versuchen plagte, den italienischen Lack herauszubringen. In seiner Villa am Schwabenberge hatte er sich ein ganzes Laboratorium eingerichtet und verbrachte dort alle seine Mussestunden. Seine Violinen und Violoncelli sind heute ihres guten Tons wegen so gesucht, dass in Markneukirchen seine Arbeit nachgeahmt und mit seinem Zettel versehen (meist mit der unsinnigen Jahreszahl 1813) ausgeboten wird. Er verwendete sehr verschiedene Zettel; viele davon tragen den Vermerk: »fecit ad formam Hieronymi Amati« oder »ad formam Antonii Stradivarii«. Sehr verdienstvoll war er auch als Lehrmeister; zu seinen besten Schülern gehören Gab. Lemböck und Anton Sitt.
Henri Poidras+
Pesth 1790-1865. Good make. Pupil of F. Geissenhof. Clever copyist of the Amati. Finished workmanship. His ‘cellos are now as much sought after as they are imitated.
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Working in Budapest at the same time
Benedikt Eberl worked 1820–1827
Christian Neubauer worked 1819–1830
Ferdinand (I) Patzelt worked 1820–1859
Franz Boehm worked 1803
Franz Hackhofer 1786–1839
Franz Nagy worked 1840–1847
Gabriel Lembock 1814–1892