Bernhard Simon Fendt

FENDT, Bernhard Simon (I) Born 1769 Füssen Germany, died 1832 London UK. Nephew and pupil of François Fent at whose workshop in Paris he worked from about 1783 until François’ death in 1796. In 1798 moved to London, perhaps propelled by the events of the French Revolution, and immediately joined the shop of Thomas Dodd alongside J. F. Lott. In 1809 Dodd moved his shop from Covent Garden to St Martin’s Lane and Fendt joined John Betts in the Royal Exchange as his workshop foreman. In 1825, after a dispute with Betts, he left to become the partner of Betts’ nephew Charles Vernon at 37 Cornhill. Very little of his work carries his own label. Only recorded example of his ticket is the one dated 1811, below. A remarkable and versatile craftsman who made for Betts some of the best copies of antique master instruments hitherto seen. Beautifully regulated copies of Amati and Stradivari, commonly with a dark ground and rich red-brown textured varnish. Cellos particularly appreciated. Excellent contralto violas are relatively common and highly effective. Double basses also highly prized. Bernard Simon Fendt / fecit Jany 30th 1811 for (illegible) Londini [BVMA]

He was evidently a born Fiddlemaker, genius being stamped in a greater or less degree upon all his works. To Thomas Dodd belongs the credit of bringing his talent into play. Dodd obtained the services of Fendt upon his arrival in England, which the latter reached at an early age. He remained with Dodd many years, frequently making instruments with John Frederick Lott. The instruments so made bear the label of Thomas Dodd. Lott being also a German, reciprocity of feeling sprung up between him and Fendt, which induced Lott to exchange the business to which he was brought up for that which his fellow countryman Fendt had adopted, and henceforth to make Violins instead of cabinets. By securing the services of these admirable workmen, Dodd reaped a rich harvest. He found in them men capable of carrying out his instructions with an exactness that could not have been surpassed. Dodd was unable to use the tools himself, but in Fendt and Lott he had men who were consummate masters of them. When the instruments were finished as far as construction was concerned, they were clothed in coats of the master’s livery— “Dodd’s varnish,” the secret of making which he kept carefully to himself. With these coats of varnish upon them the work was doubly effective, and every point of excellence was made to shine with the happiest effect. Upon leaving the workshop of Thomas Dodd, Bernard Fendt worked for John Betts, making many of those copies of Amati which are associated with the name of Betts, and which have so high a value. Although Fendt was German by birth, his style of work cannot be considered as German in character. Having early quitted his post of trade in Paris for England, and having in this country placed himself under the guidance of Dodd, who steadfastly kept before his workmen the originals of the great Italian masters for models, his work acquired a distinctive stamp of its own, and in its turn gave rise to a new and independent class of makers.

A nephew of François Fent, of Paris: b. 1735-6, at Innsbruck, in the Tyrol . d. 1832-3, in Aylesbury Street, Clerkenwell. aged 57, and was buried in Clerkenwell Churchyard. When seven years old he left Innsbruck for Paris to live with his uncle there ; later he went to England, and entered the employ of Thomas Dodd in Jan., 1798, remaining with him for eleven years.
He persuaded J. F. Lott (also a German) to leave his trade of cabinet-making in order to make violins with him under Dodd; their instruments always have Dodd’s label in them, the latter invariably doing the varnishing himself. Fendt. on leaving Dodd, worked for John Betts, making those excellent copies of Amati which are so highly valued ; they all bear the name of Betts. Betts died in 1823, but Fendt continued to work for the same firm. He had four sons, also violin makers.

Er war ein Neffe des Pariser Fendt und soll den Geigenbau in Tyrol erlernt
haben. Er ging dann auf die Wanderschaft, und es ist nicht unmöglich, dass er
in Italien, vielleicht auch in Cremona gearbeitet hat, was nicht viel sagen will,
da die italienische Schule damals schon ganz in Verfall gerathen war. Nach
Anderen soll er schon als siebenjähriger Knabe zu seinem Oheim nach Paris
gekommen sein und bei diesem gelernt haben. In den letzten Jahren des
18. Jahrh. kam er nach London und arbeitete von 1798—1809 bei Th. Dodd.
Hierauf war er für Betts beschäftigt, und die meisten seiner trefflichen Amati oder
Stradivaricopien tragen Betts’ Namen. Er ist in der Aylesbury Street,
Clerkenwell, gestorben und hinterliess vier Söhne, die alle Geigenmacher waren.