Matthias Johann Kolditz

History

Matthias Johann Kolditz (circa 1710-1760) was a violin maker who worked in Munich, Germany. According to Cecie Stainer, he was active in Munich from about 1720-1755, while John Dilworth specifies his working period as circa 1710-1760. Willibald Leo Lütgendorff notes that Kolditz's work is close to Alletsee's but deviates noticeably in the models, suggesting he emerged from a different school. Lütgendorff also states that claims of a Tyrolean origin are highly improbable, unless it was a temporary stay before his relocation to Munich.

Craft

• Model: His instruments featured a low-arched model, sometimes derived from Stradivari, and were less highly arched than was typical in Germany at the time.
• Wood & Carvings: He utilized very good wood, and the carvings on the pegbox were skillfully executed.
• Scrolls: Scrolls were small, occasionally featuring an extra carved embellishment on the pegbox.
• Violas: He produced fine violas, with one known example having multi-curved ribs and a length of 65 cm.
• Cellos: His violoncellos often deviated from usual proportions, favoring particularly large models, and sometimes included a special carved soundhole (rosette) below the fingerboard, in addition to the F-holes.
• Varnish: He used a good red-brown varnish.

Influence

• Stylistic Proximity: According to Willibald Leo Lütgendorff, Matthias Johann Kolditz's work is stylistically close to that of Alletsee, though his models noticeably diverge, indicating he likely originated from a different school.

Further Information

• Working Period & Location: Matthias Johann Kolditz worked in Munich, Germany, circa 1710-1760.
• Labels: Known labels include "Mathias Joannes / Kolditz Lauten- und Geigenmacher / in München 1760" and "Mathias Joannes / Koldiz, lauten- und Gei- / genmacher in München. 1739".

Summary

Matthias Johann Kolditz was a German violin maker active in Munich from approximately 1710 to 1760. He was known for his good workmanship, utilizing a low-arched, sometimes Stradivari-derived model, which was less highly arched than typical German instruments of his era. His instruments featured good wood, skillfully carved pegboxes, and a good red-brown varnish. He produced fine violas and violoncellos, with the latter often being larger than standard and occasionally featuring a carved rosette below the fingerboard.