Worked at Mittenwald, 1760-1808. Nicknamed "Dax" or "Dachs". Best and most celebrated of the entire family. Amatese-Stradivarian outline, rather attractive. Generally of medium arching, giving the typical Tyrolean appearance. Well-known charac¬teristic of the design is the slight shoulder droop. Middle bouts never deep or long. Edges neatly rounded, margins never prominent. ScroUs often without dignity, never large or robust, occasionally altogether stiff and inartistic. Sound¬holes vary, sometimes of Stainerish straightness, but longer, often unequally positioned, but never wholly ungraceful. Purfling not always neat and regular, the black element being much thinner than the white. Belly wood generally of very fine narrow grain; backs and ribs usually of moderately flamed material. Occasional instruments have wide-grain spruce and rather plain maple. Three shades of varnish-pale golden-yellow, dark golden-brown, and a reddish-brown; the latter seemingly his particular fancy. Never otherwise than thinly applied, but of excellent texture. Tonal quality often of genial warmth, never brilliant, and occasionally dull. £35 (1930). Produced a few good toned violas somewhat following the Guarnerius model as well as that of an Amari, Body length, IS! Inches. 'Cellos also of rather warm and flexible tone. Best period of productivity, 1765-1795. £90, J 959.
Worked at Mittenwald, 1760-1808. Nicknamed "Dax" or "Dachs". Best and most celebrated of the entire family. Amatese-Stradivarian outline, rather attractive. Generally of medium arching, giving the typical Tyrolean appearance. Well-known charac¬teristic of the design is the slight shoulder droop. Middle bouts never deep or long. Edges neatly rounded, margins never prominent. ScroUs often without dignity, never large or robust, occasionally altogether stiff an...
Hornsteiner (Hornstainer),Mathias (2)
