Matthaus Friedrich Scheinlein

History

Matthaus Friedrich SCHEINLEIN (1710-1771) was born in 1710 in Langenfeld in Franken (Franconia) and died there in 1771, according to Cecie Stainer. John Dilworth notes that he worked circa 1710 and died in 1771 in Langenfeld, Nuremberg, Germany. Originally a musician, a skilled violinist and harpist, he initially focused on crafting harps, with his so-called 'Davidsharfen' quickly gaining popularity, as detailed by Willibald Leo Lütgendorff. Due to his concurrent violin trade, instruments were brought to him for repair. Lütgendorff explains that he ventured into repairs, and after successfully replacing the top of an old violin, he developed a passion for violin making. He traveled to Mittenwald multiple times to purchase materials and to observe the local masters' techniques. It required several such journeys before he could produce a satisfactory instrument. While his initial instruments reflected his Tyrolean influences, his later and superior violins showcased an original model.

Craft

• Model Development: His early instruments recalled Tyrolean prototypes, but his later and better violins exhibited an original model, as noted by Willibald Leo Lütgendorff. Henri Poidras also states that instruments made towards the end of his career followed a model of his own and are considered most interesting.
• Arching and Edges: John Dilworth describes his work as having a high arch and narrow edges, while Cecie Stainer mentions his instruments are 'much arched'.
• Varnish: Henri Poidras notes a yellow varnish. John Dilworth describes a dark opaque varnish, and Cecie Stainer mentions a dark brown varnish.
• Workmanship: John Dilworth characterizes his work as 'clean work on Germanic models'. Cecie Stainer states the work was 'carefully done'.
• Tone Quality: Willibald Leo Lütgendorff observed that the tone of his violins is good and sharp in the high register, though he generally made his violins too weak.

Influence

• Self-Taught Learning: Willibald Leo Lütgendorff details that Matthaus Friedrich Scheinlein traveled to Mittenwald to purchase materials and to learn the art from the masters there, indicating a self-directed apprenticeship or study.
• Tyrolean Influence: Lütgendorff also notes that his first instruments were reminiscent of Tyrolean models.

Legacy

• Family Continuity: Willibald Leo Lütgendorff states that Matthaus Friedrich Scheinlein left six children, but only his third son continued the paternal art. Henri Poidras identifies this son as Johann Michel, noting that his work is similar to his father's.

Further Information

• Workshop Location: He worked in Langenfeld, near Nuremberg ('Langenfeld prope Nürmberg'), as indicated on his labels.
• Internal Branding: John Dilworth mentions that he branded his instruments internally with 'M.F.S.'.
• Labels: Henri Poidras provides an example label: '« Matthaeus Friderich Scheinlein fecit in Langenfeld 1750 »'. John Dilworth provides further examples: 'Matthaeus Friderich / Scheinlein fecit in / Langenfeldt. 1757', 'Matth. Fridr. Scheinlein / fecit Langenfeld prope Nürmberg 1768', and 'Matth: Frid: Scheinlein / fecit, in Langenfeld prope Nürnberg 1770 [Hamma]'.