||Johann Carol Klotz (1709-1769)
Johann Carol Klotz (Johan Carl, Karl, Khlotz, Kloz) was born in Mittenwald on January 29, 1709. He was the youngest son of Matthias Klotz and his second wife, Ursula, born Schlaucher, who had been the widow Schändl. His godfather was the lute and violin maker Andreas Jais (1685-1753), a former student of his father´s. Johann Carol Klotz died on May 25, 1769 in Mittenwald.
Training, Family and Self-employment
Johann Carol Klotz most likely learned lute and violin making from his father and/or his half-brother Sebastian I Klotz. Johann Carol was awarded half of his parent´s house in the Herrengasse, Mittenwald, when the house was divided on his father´s initiative in 1736. He later lived in one half of a house on Untermarkt (at the corner of Gemeinen Weg) which had formerly been occupied by Thomas Nebel.
He most likely became self-employed when he married Margaretha Knilling (d. April 8, 1751) on May 30, 1735. They had 10 children, among them two who later became violin makers, Wolfgang Ferdinand (1744-after 1786) and Michael (1749-1804).
After the death of his first wife, Johann Carol Klotz married Maria Sailler (b.1705, d.January 12, 1785); they had one son.
Phillip Sailer (apprenticeship c. 1737-1742)
J.C.Klotz´s son Wolfgang Ferdinand Klotz (1744-after 1786)
J.C.Klotz´s son Michael Klotz (1749-1804)
There are not very many instruments by Johann Carol Klotz in existence. It is hard to judge how great an influence his father had had on him; there is no doubt, though, that Sebastian, his elder half-brother, was the example he chose to follow. Both the arching patterns and edge work of their instruments have many similarities, which can also be seen in their usage of wooden pins in the backs. Although quite similar, his instruments still do not match up to the essential elegance of Sebastian´s.
His design for the way the purfling was inlaid deviated from that of other family members in one aspect: he ran his purfling parallel to the edge in the middle bout, which resulted in the corners of his purfling not being centered in their placement on the corner itself.
His f-holes have characteristically round circles which flow into a wide central arm. The upper and lower wings are of equal width and run steeply into the arm of the f-hole.
His later instruments (as of c.1755) do not have wooden pins in their backs anymore; the f-holes are clearly smaller and more round in feeling and the wings flow into the arm in a more rounded fashion. The scrolls retain their characteristic rounded form even though they have become somewhat smaller.
Some instruments are to be found in Hamma (1986) and Lütgendorff/Drescher (1990)
There are a number of labels known to have been used by Johann Carol Klotz. The most common is:
Ioan. Carol. Kloz, in
Mittenwald, An. 17
Hand printed in cursive Italian roman print, first line with a right-sided margin, second line with a left-sided margin, with a decorative border, has been seen with dates as of 1748
Baader 2/1936, 143. Beare 1980. Hamma 1986, 437-443. Klinner 1983. Layer 1959. Lütgendorff 6/1922. Lütgendorff/Drescher 1990. Senn 1958.