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Trillingszither
Alternate name:Zither
Alternate name:Triple zither
Date: 1775-1800 ca.
Place Made:Germany
Place Made:Tyrol, Austria, Europe
Model: Triplet Zither / Trillingszither
Serial No: none
SignedTwo stamps on back of instrument: Joſeph Salzer / Wien / 111 Marxergasse 3
DescriptionThis unusual zither features an intricately carved head, guitar-shaped body, and three fingerboards. Its origin is not known, though it is likely from the Tyrol or Bavaria.
The ink stamp on the instrument is that of Joseph Salzer (1846-1923) of Vienna, industrialist and collector of various curiousities, including musical instruments.
Body:
Guitar-shaped wooden body with wide short black-painted neck at top similar to Stoessel lutes, but with more carved ornamentation; neck is a separate piece of wood from the body an is solid; 3 scrolls at top with center one being larger than the two symmetrical side scrolls; all three are carved; top and bottom of soundboard are separate pieces of wood attached to body with a liquid adhesive/glue; black painted border on top and side of soundboard; three fretboards, with carvings at bottom; border carving on sides, top and bottom of middle and right fretboards only, suggesting further that the left fretboard has been replaced; carvings at bottom of middle and left fretboard appear to have been painted red; all three carvings differ from one another; fretboards are attached with top and bottom screws; middle fretboard has a middle screw; 2 soundholes are located between middle and right fretboards, but not perfectly centered between the two; middle fretboard is actually left of center on soundboard and slightly overlaps the 2 soundholes; middle fretboard is not parallel to the others, as it angles slightly to the left, further showing proof of the instrument’s alteration; underneath and to the right of the left soundboard are what appear to have been former tuning pin holes; slight discoloration on base of scroll 1 ¼” tall possibly running the width of the base of the neck further showing the possibility of alteration; top soundhole is smaller than bottom one; centered between left and middle fretboard are holes in the soundboard forming a circle with a hole in the middle; elongated oval “slit” diagonally parallel to the bottom soundhole; could have been for original fretboard placement if instrument has been altered; all three nuts have the same border carvings as the middle and right fretboards; 2 wood saddles on bottom of instrument with metal wire across center; upper center and right saddle holds the strings for the middle and right fretboards with metal wire across center and is carved on the sides and middle in a fashion similar to the fretboards; lower and left wood saddle, also with metal wire across center, is also carved in a fashion similar to the fretboards and holds the strings to the left fretboard; 2 wood braces run the length of the soundboard and are located symmetrically on either side of the soundholes; block of wood on bottom rib possibly for standing instrument upright; on block of wood are crudely carved letters: “K” and “D” with a small “x” in between them; back of soundboard has 2 small identical stamps with black ink; one on the upper left of the back, the other on the lower middle of the back; both read: Joßeph Salzer / Wien / 111. (?Wienergasse—illegible); lower part of back is attached with what appear to be 5 metal, hand-hewn nails.
Tuning Pins:
34 metal, hand-hewn, flat-topped tuning pins of varying heights and widths.
Table-top Rests:
2 metal rounded table –top rests with two pieces of leather between them and the wood of the instrument; located on left and right sides of the back.
The ink stamp on the instrument is that of Joseph Salzer (1846-1923) of Vienna, industrialist and collector of various curiousities, including musical instruments.
Body:
Guitar-shaped wooden body with wide short black-painted neck at top similar to Stoessel lutes, but with more carved ornamentation; neck is a separate piece of wood from the body an is solid; 3 scrolls at top with center one being larger than the two symmetrical side scrolls; all three are carved; top and bottom of soundboard are separate pieces of wood attached to body with a liquid adhesive/glue; black painted border on top and side of soundboard; three fretboards, with carvings at bottom; border carving on sides, top and bottom of middle and right fretboards only, suggesting further that the left fretboard has been replaced; carvings at bottom of middle and left fretboard appear to have been painted red; all three carvings differ from one another; fretboards are attached with top and bottom screws; middle fretboard has a middle screw; 2 soundholes are located between middle and right fretboards, but not perfectly centered between the two; middle fretboard is actually left of center on soundboard and slightly overlaps the 2 soundholes; middle fretboard is not parallel to the others, as it angles slightly to the left, further showing proof of the instrument’s alteration; underneath and to the right of the left soundboard are what appear to have been former tuning pin holes; slight discoloration on base of scroll 1 ¼” tall possibly running the width of the base of the neck further showing the possibility of alteration; top soundhole is smaller than bottom one; centered between left and middle fretboard are holes in the soundboard forming a circle with a hole in the middle; elongated oval “slit” diagonally parallel to the bottom soundhole; could have been for original fretboard placement if instrument has been altered; all three nuts have the same border carvings as the middle and right fretboards; 2 wood saddles on bottom of instrument with metal wire across center; upper center and right saddle holds the strings for the middle and right fretboards with metal wire across center and is carved on the sides and middle in a fashion similar to the fretboards; lower and left wood saddle, also with metal wire across center, is also carved in a fashion similar to the fretboards and holds the strings to the left fretboard; 2 wood braces run the length of the soundboard and are located symmetrically on either side of the soundholes; block of wood on bottom rib possibly for standing instrument upright; on block of wood are crudely carved letters: “K” and “D” with a small “x” in between them; back of soundboard has 2 small identical stamps with black ink; one on the upper left of the back, the other on the lower middle of the back; both read: Joßeph Salzer / Wien / 111. (?Wienergasse—illegible); lower part of back is attached with what appear to be 5 metal, hand-hewn nails.
Tuning Pins:
34 metal, hand-hewn, flat-topped tuning pins of varying heights and widths.
Table-top Rests:
2 metal rounded table –top rests with two pieces of leather between them and the wood of the instrument; located on left and right sides of the back.
DimensionsScroll to bottom front of soundboard: 34.5 in., 87 cm. 870 mm
Waist: 11.5 in. across, 29.5 cm., 295 mm
Width: 3 12/16 in., 9.5 cm., 950 mm.
Right fretboard: 14.8 in. long, 37.3 cm, 373 mm.
Left fretboard: 13 ¾ in., 35 cm., 350 mm.
Soundboard back: 27 in. long, 68.6 cm., 686 mm.
Waist: 11.5 in. across, 29.5 cm., 295 mm
Width: 3 12/16 in., 9.5 cm., 950 mm.
Right fretboard: 14.8 in. long, 37.3 cm, 373 mm.
Left fretboard: 13 ¾ in., 35 cm., 350 mm.
Soundboard back: 27 in. long, 68.6 cm., 686 mm.
ProvenancePreviously owned by Joseph (Josef) Salzer, Vienna
Purchased by Paul Christian in 1980 from Lillian Caplin, Center for Musical Antiquities, New York, New York, 12/2/1980
Paul and Jean Christian Collection, St. Paul, Minnesota, 2006.
Purchased by Paul Christian in 1980 from Lillian Caplin, Center for Musical Antiquities, New York, New York, 12/2/1980
Paul and Jean Christian Collection, St. Paul, Minnesota, 2006.
Terms
Credit Line: Paul and Jean Christian Collection, 2006
Not on view
Object number: 12721