Francois (Franz Placidus) Fent

Name: Francois (Franz Placidus) Fent auction price records, Amati Instrument Archive
Creator: Amati

Fussen, Mittenwald, Paris, 1733–1796

Pupil of A. Gedler. Moved to Paris c.1760, working in Monmartre ‘près de la rue du Mail’ or ‘cul-de-sac St Pierre’. Altered his name to the French ‘François Fent’ but gave the description ‘Deutser’ or ‘Deitscher’ on some labels. Joined in about 1783 by his nephews Johann and Bernhard Simon. Johann d\u{2026} — John Dilworth

Worked Fussen, Mittenwald, Paris

Made Cello, Viola, Violin

Taught by A. Gedler

Auction price history

Highest auction price

£7,214

Type	Details	Sold	Price
Viola	Bearing the maker's label, lower rib restoration	June 2024	£5,531
Violin	35.6 cm Paris, 1800 c. (some restorations)	June 2009	£6,223
Violin	36.3 cm Paris, 1787 c. [Probably by]	October 2007	£3,711
Violin	35.8 cm Mittenwald, 1760 c.	June 2007	£2,565
Violin	35.9 cm Paris, 1800 c. (restored soundpost crack)	June 2007	£7,214
Violin	1790	September 2001	£2,400
Violin	1770	November 2000	£5,750
Violin	1795 (scroll replaced)	December 1999	£7,201
Violin	1770 c.	March 1998	£2,530
Cello	1780 c.	November 1989	£6,820
Violin	1770	November 1989	£5,060
Violin	1770 c.	March 1989	£5,500
Violin	17--	June 1984	£3,056

Maker Overview

Life

Francois (Franz Placidus) Fent (1733-1796) was born in Füssen, Germany, and died in Paris, France. He was a pupil of A. Gedler. Around 1760, he moved to Paris, working in Monmartre 'près de la rue du Mail' or 'cul-de-sac St Pierre'.

Characteristics

Model: His work is on a Stradivari model, with dimensions exactly the same as those of a violin by Ant. Stradivari.
Workmanship: His work is described as perhaps a little raw compared with later work, but authentic and vivid, and carefully finished.
Soundholes: The soundholes are noted as being a little upright and widely set.
Varnish: He used a rich, complex red-brown or amber varnish. Cecie Stainer describes it as a beautiful red-brown oil varnish that, with time, has become almost black. Willibald Leo Lütgendorff also notes the magnificent, beautiful red-brown varnish that has darkened and now appears almost black.
Wood: The wood used was excellent and magnificent.
Tone: His instruments have a rich and very good tone.
Condition: instruments are often heavily attacked by worms.
Specific Instruments: An alto has been seen, as well as a violin dated 1774, which was repaired by Delannoy of Lille in 1828. A violin was found with its original neck and scroll still in place.

Recorded labels

fait par fent
Mtre luthier Montmartre
près de la rue du Mail à Paris
Deitscher Fait par Fent
Maître Lutier, rue Montmartre
Cul-de-sac Saint Pietre, à ParisJohn Dilworth

Influence and legacy

Training: He was a pupil of A. Gedler.
Mentorship & Influence: Fent was a precursor of Pique and Lupot, and certainly a strong influence on them.
Study: He carefully studied Italian instruments, particularly those of Ant. Stradivari, and understood how to imitate them excellently.
Family Continuity: His nephew, Bernhard Simon, continued as his assistant until Fent's death in 1796 and subsequently moved to London, continuing the family's connection to instrument making.

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Biographies

The overview above is drawn from the following published accounts. Read them in the original:

John Dilworth+

FENT, François (FENDT, Franz Placidus) Born 1733 Füssen Germany died 1796 Paris France. Pupil of A. Gedler. Moved to Paris c.1760, working in Monmartre ‘près de la rue du Mail’ or ‘cul-de-sac St Pierre’. Altered his name to the French ‘François Fent’ but gave the description ‘Deutser’ or ‘Deitscher’ on some labels. Joined in about 1783 by his nephews Johann and Bernhard Simon. Johann died in 1789. Bernhard continued as his assistant until his death in 1796 and then moved to London. In the context of the pre-revolutionary Paris school, Fent was an extremely advanced and sophisticated maker, a precursor of Pique and Lupot, and certainly a strong influence on them. His work is on a Stradivari model, perhaps a little raw compared with later work, but authentic and vivid. Soundholes a little upright and widely set with rich complex red-brown or amber varnish. fait par fent / Mtre luthier Montmartre / près de la rue du Mail à Paris /Deitscher Fait par Fent / Maître Lutier, rue Montmartre / Cul-de-sac Saint Pietre, à Paris [BVMA]

George Hart+

A maker known among French connoisseurs; related to the Fendts who worked in London.

Cecie Stainer+

Best known in France as Fent. A German maker who settled in Paris and was living there ” cul-de-sac St.-Pierre, rue Montmartre,” about 1763-91. In his time he had the reputation of being one of the cleverest makers in Paris ; he carefully studied Italian instruments, particularly those of Ant. Stradivari; he used a beautiful red-brown oil varnish which, with the progress of time, has become almost black ; his instruments are also much worm-eaten, but have a rich tone.
His label,” Fait par Fent, maitre luthier, rue Montmartre, cul-de-sac Saint-Pierre, a Paris,” was found in a violin which might be mistaken for a most beautiful Italian instrument; the dimensions are exactly the same as those of a violin of Ant. Stradivari ; the work is carefully finished, the wood excellent, and the tone very good, the original neck and scroll are still in place. An alto has also been seen and a violin, dated 1774, repaired by Delannoy, of Lille, in 1828.

Willibald Leo Lütgendorff+

Ein wahrscheinlich aus Tyrol eingewanderter Meister. Er wohnte Cul-de-sac
Saint Pierre und gilt als einer der geschicktesten Pariser Geigenmacher seiner
Zeit, der die Italiener und besonders Stradivari gut studirt hat und trefflich
nachzuahmen verstand. Ausgezeichnete Arbeit, prachtvolles Holz, schöner, rothbrauner
Lack, der jetzt freilich sehr nachgedunkelt hat und fast schwarz aussieht
Vidal macht darauf aufmerksam, dass gerade Fent’s Instrumente sehr stark vom Wurm angegriffen werden. Der Name wird oft Fendt geschrieben. Er selbst schrieb sich stets
Fent und liess gewöhnlich die Jahreszahl fehlen.

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