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Yes it is. The proportions and model are simply
divine, the quality of wood used throughout is superb and the neatness
of making is outstanding. As for the deep red-brown hues of the
beautifully preserved varnish - well these are simply breathtaking.
Because there are no maker's brands, internal labels
or inscriptions on or in this exceptionally fine instrument - it
becomes a matter of formulating an opinion based on the features
of the instrument.
Well - we know for sure that this instrument was
made in London around the 1820's. We can deduce this much quite
easily because of the model, the fine quality of the materials
used, the fine workmanship throughout and the simply glorious "Fendt-red" varnish.
They all shout out loud and clear that it is London making at its
very highest level.
The instrument displays features that aren't quite
typical of the main London makers of the time. The model in particular
is more "Amatise" in
its arching and it is slightly smaller than the Classic Lott, Fendt,
Kennedy, Betts or Hart instruments. In addition there is the use
of outside linings that suggest influence from the earlier side
of the nineteenth century with makers such as Hill, Corsby and
Dodd.
All aspect of the making will be examined. Of particular
interest is the model, the workmanship, the placement and cut of
the F-holes, the use of outside linings and the form and execution
of the scroll. In addition an attempt at placing the instrument
in a historical context will be necessary in order to support our
theories.
The "Great Age" of Double Bass making in England can
be traced back to the move to London in 1794 by the Venetian bassist
- Domenico Dragonetti. Besides being a virtuoso player Dragonetti
was a collector of fine instruments and imported many double basses
into the country. The blossoming of the musical scene fuelled a
demand for the creation of theatres, concert halls and societies
in every town and city which in turn created a demand for more
musicians. With only a short supply of old instruments, players
began to source their instruments from the modern makers of the
day and a thriving industry emerged.
Yes - that is right. The Lott and Fendt families
came over from Germany and Vincenzo Panormo came over from Italy
via Paris in about 1791. All the makers were to have an enormous
impact on the British violin making scene.
Baptism records show that John Lott 1 (1776-1853)
was born in London rather than the usually described Gottingen
in Germany. He became acquainted with Bernard Simon Fendt 1 (1769
- 1832) who helped him obtain a position making cellos and basses
in the shop of the violin dealer and maker Thomas Dodd (1764 -
1834). Both started working for Dodd in 1798. Lott Snr was to remain
with Dodd until Dodd died in 1834 while Fendt Snr was to stay for
eleven years (1809) after which he departed to work in the shop
of John Betts.
It is probable that Fendt Snr was responsible for instructing Lott
Snr.
At around the age of 14 - after learning the basic
skills of violin making from his father - John Frederick Lott Jnr
(1804- 1870) became apprenticed at the shop of Richard Davis (formerly
the shop of John Norris and Robert Barnes) where he worked alongside
his older brother - George Frederick Lott. There are two different
accounts as to how long Lott Jnr stayed with Davis. The first account
puts it at four years while the second puts it at only a year.
Whichever case - it does appear that he obtained wood and tools
from Dodd - where his father worked - to make instrument - selling
the finished instruments through Dodd and Metlzer until about 1823
when disillusioned with his way of life he gave it up for "twenty years of colourful
travel" which are documented in the semi-biographical novel "Jack
of all Trades" - written in 1858 by his friend the violin
connoisseur Charles Reade. Lott Jnr finally returned to London
in the early 1840's. In 1852 he established his own shop at 60
Wardour Street where he developed the art of copying old master
instruments to a very high level.
Bernard Simon Fendt I was born in the Bavarian town
of Füssen
on 9th May 1796 and died in London on 15th November 1832. Fendt
Snr moved to London in 1798 and joined the shop of Thomas Dodd
where he remained for eleven years. In 1809 Fendt I joined John
Betts where he remained as workshop foreman for fourteen years.
Bernard Simon Fendt II (often referred to as Junior)
was the eldest son of Bernard Simon Fendt 1. He was born in 1801
and was also employed in the workshop of John Betts - where, no
doubt he was taught by his father. He remained in the Betts shop
until at least 1823. Around 1831 he became partners with Charles
Joseph Farn. In September 1832 - after Farn's death he joined George
Purdy. Fendt Jnr died of tuberculosis on March 3rd 1852.
Thomas Dodd was born in 1764. By 1794 he had established
a shop in Covent Garden and in 1798 he employed Bernard Simon Fendt
Snr and John Frederick Lott Snr. His activities included making
copies of master instrument, importing, reassembling and fabricating
Italian instruments with adaption's and alterations so as to deceive.
Whilst in Dodd's employ Fendt and Lott produced many fine double
basses. Dodd died in 1834.
Well - this is because they were all so closely
linked together that in many cases it is difficult to separate
their work. In many instances - in order to fulfil orders or demand
- the shops, dealers and makers both commissioned and undertook
bits and pieces of work for each other. With regard Lott Jnr's
basses - although they do differ in some ways from those of his
father - they are sufficiently similar in others to be confusing.
Similarly it is often difficult to distinguish between the instruments
of Fendt Snr and Fendt Jnr. Add in the influence of Thomas Dodd
or John Betts to the equation and you start to see why the picture
becomes blurred.
Yes - as mentioned previously there was a lot happening
in the instrument trade in London at this time. The following makers
have also been considered:
1) John Devereux's (1810- 1883) name was suggested
because it is said that he trained in the workshop of Fendt Jnr
before emigrating to Melbourne, Australia in 1854.
2)John Furber (1780 - after 1857) and his son Henry John Furber
(1809 - 1891) both of whom worked for the businessman Arthur Betts
(1775 - 1847) have been suggested and considered.
3) John Thomas Hart (1805-1871) who was a maker, dealer and connoisseur
of instruments.
There is an old repair label positioned on the bass
side of the central back brace which reads 'Repaired by E. Withers
and Co, 31 Coventry Street, London'. Although it doesn't help us
in our quest for authenticity it does establish that the repair
was undertaken sometime between 1846 and 1878 when the Withers
shop was located at this address. The shop being the same one in
which John Lott Jnr had worked when it had been in the ownership
of Richard Davis.
On balance and after careful consideration of each
makers work we would have to say that the Bernard Simon Fendt Jnr
attribution is not unfounded.
Yes - we received a lot of useful ideas and inputs
from several well established and knowledgeable double bass dealers
and makers. We thank them very much for their time and contributions.
The listing is not complete but here are the main
sources:
- The British Violin - published by the British
Violin Making Association in 2000 (ISBN 0 953471 27) is full
of wonderful photographs and concise information on the English
instruments and their makers that were exhibited at the Royal
Academy of Music, London during 1998.
- Edward Withers Ltd -
230 years of Violin Craft in Soho by Adam Whone. Published
in 1996 by Mill Hill Publications (ISBN 0 9529264 07)
- Universal
Dictionary of Violin & Bow Makers by William
Henley. Published by Amati Publishing Ltd 1973
- Domenico Dragonetti
In England (1794-1846) by Fiona Palmer. Published in 1997 by
Clarendon Press, Oxford (ISBN 0 19 816591 9)
- The Strad - February
1995 - Article about a classic bass by John Lott Snr entitled "King of the Double Bass" -by
Thomas Martin
- The Strad - February 1997 - Article about Bernard
Simon Fendt Jnr entitled "Double Vision" by Thomas
Martin and Martin Lawrence.
- The Strad - July 1997 - Article
about the basses of Thomas Dodd entitled "From Brewer to Bass Innovator" -
by Thomas Martin.
- The Strad - July 1998 - Article on the basses
of Hart & Sons
entitled "Hybrid at Heart" by Thomas Martin and Martin
Lawrence.
- The Stad - January 2000 - Article about John
Lott Jnr's talents entitled" Bass Behaviour" -by
Martin Lawrence and Thomas Martin.
- The Strad July 2004 - Article
about John Devereux entitled "Making
it Down Under" by Alan Coggins and Michael Lea.
- Double
Bassist Number 26 - Autumn 2003 - Article about Bernard Simon
Fendt Jnr entitled "London Pride" by
Stefan Krattenmacher.
The instruments produced by both Fendt Snr and Fendt
Jnr are consistently of a very high standard and both makers had
the ability to turn their hand to any pattern or style of work
required. With regard to this instrument it is the superb quality
of wood that has been used throughout, the general proportions,
the uprightness of the F's and the incredibly neat, strong and
bold making that is more suggestive of Fendt Jnr. The head too
is reminiscent of Fendt Jnr. The scroll is bold and well-carved,
there is a slight flatness around the volutes of the scroll and
the peg-box is fairly short. The rich red-brown varnish is also
characteristic of Fendt Jnr. The particularly neat use of the outside
lining is evidence of the strong links with Thomas Dodd.
Yes it does. We are pleased to say that the instrument
comes complete with the glorious full-bodied quality of sound that
is associated with fine English instruments.
This instrument has a great many wonderful qualities
that should figure highly on the wanted-list of any prospective
customer. The timber used in its construction is beautifully figured,
the proportions are perfect for every type of player, the instrument
is structurally in exceptional condition and the quality of sound
that it produces is full and tonally-rich. With nineteenth century
London made instruments of this sort of quality and in this sort
of condition now in demand more than at any other period previously
- we firmly believe that this instrument will land its new owner
a top position in a major city and prove in time to be wonderful
investment.
LOB (length of back) - 114.8cm (45.15in)
Width across upper bouts - 53.0cm (20.85in)
Width across middle bouts - 38.0cm (14.98in)
Width across lower bouts - 67.4cm (26.50in)
Depth of lower ribs inc both plates- 22.8cm (8.95in)
Body Stop - 61.2cm (24.10in)
String length - 106.4cm (41.85in)
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Are there any repair labels that establish anything?
