Bernhard Simon Fendt

History

Bernhard Simon Fendt (1769-1832) was born in 1769 in Füssen, Germany, and passed away in 1832 in London, UK. According to John Dilworth, he was the nephew and pupil of François Fent, working at his workshop in Paris from approximately 1783 until François' death in 1796. Cecie Stainer and Willibald Leo Lütgendorff also note his early training with his uncle in Paris, with Stainer suggesting he arrived as a seven-year-old boy. In 1798, Fendt moved to London, a move potentially influenced by the events of the French Revolution, and immediately joined the workshop of Thomas Dodd, working alongside J. F. Lott. He remained with Dodd for eleven years, as noted by Stainer. When Dodd relocated his shop from Covent Garden to St Martin’s Lane in 1809, Fendt transitioned to working for John Betts in the Royal Exchange, serving as his workshop foreman. Following a dispute with Betts in 1825, he left to establish a partnership with Betts’ nephew, Charles Vernon, at 37 Cornhill. Stainer specifies his death occurred in Aylesbury Street, Clerkenwell, and he was buried in Clerkenwell Churchyard.

Craft

• Versatility: Bernhard Simon Fendt was a remarkable and versatile craftsman, highly skilled in producing a range of stringed instruments.
• Italian Copies: He was particularly renowned for making some of the best copies of antique master instruments seen at the time, specifically emulating the works of Amati and Stradivari, as detailed by John Dilworth and Cecie Stainer. George Hart further emphasizes that Dodd guided Fendt to use the great Italian masters as models.
• Regulation and Varnish: His copies were beautifully regulated and commonly featured a dark ground with a rich red-brown textured varnish, according to Dilworth. However, instruments made for Thomas Dodd often bore Dodd's label, with Dodd himself invariably applying the varnish, as noted by Stainer and Hart.
• Instrument Specialization: His cellos were particularly appreciated, and excellent contralto violas are relatively common and highly effective. His double basses were also highly prized, according to Dilworth.
• Collaboration: He frequently made instruments with J. F. Lott, whom he persuaded to transition from cabinet-making to violin-making, as described by Stainer and Hart.
• Labeling: Very little of Fendt's work carries his own label; instruments made for Dodd and Betts typically bore their respective names.

Influence

• Early Training: He was the nephew and pupil of François Fent, working in his Paris workshop from around 1783. Willibald Leo Lütgendorff also suggests he may have learned violin making in Tyrol.
• Mentorship: Upon his arrival in England, Thomas Dodd played a crucial role in guiding Fendt's talent, steadfastly presenting the originals of the great Italian masters as models for his workmen, as highlighted by George Hart.

Legacy

• Family Continuity: Bernhard Simon Fendt had four sons, all of whom became violin makers, ensuring the continuation of his craft, as noted by Cecie Stainer and Willibald Leo Lütgendorff.
• Valued Instruments: The copies of Amati instruments he made for John Betts are highly valued, according to Stainer and Hart.
• Impact on Craft: George Hart states that Fendt's distinctive style of work, influenced by Italian masters, gave rise to a new and independent class of makers in England.

Further Information

• Workshop Locations: Fendt worked at Thomas Dodd's shop (initially in Covent Garden, later St Martin’s Lane), John Betts' establishment in the Royal Exchange, and later partnered with Charles Vernon at 37 Cornhill.
• Personal Label: The only recorded example of his personal ticket is dated 1811, which reads: "Bernard Simon Fendt / fecit Jany 30th 1811 for (illegible) Londini" [BVMA].
• Style Evolution: Although German by birth, his style of work is not considered German in character, having been shaped by his early training in Paris and subsequent guidance in England towards Italian models, as observed by George Hart.

Summary

Bernhard Simon Fendt (1769-1832) was a distinguished German luthier who became a pivotal figure in London's violin-making scene. Trained by his uncle François Fent in Paris, he moved to London in 1798, working first for Thomas Dodd and later for John Betts. Fendt was renowned for his exceptional copies of Italian masters like Amati and Stradivari, characterized by their beautiful regulation and distinctive dark ground, rich red-brown varnish. His versatility extended to highly appreciated cellos, contralto violas, and double basses. His influence was significant, shaping a new generation of English makers, including his four sons who followed in his craft.