Born in Schwaz (Tyrol). Worked at Innsbrück. Said to be Uncle and instructor of Bernhard Fendt. Ultimately decided to make Paris his headquarters, and worked there from 1760-1791. Frenchified his name by omitting the “d”. An artist of great ingenuity, a man who could delineate the Stradivarius model more gracefully than any maker of French nationality (and in stating this, we are not forgetting there was a Lupot), but also one who occasionally neglected his genius, forsook the proper path in which he should have trodden, and wandered into the attractive labyrinth of generally rosy prospects where a quick and abundant return for his labour was to be found. During these periods, he became singularly careless, hurried his workmanship, and was temporarily a mere empiric in the art which nature had intended him to pursue conscientiously, altogether a deadening influence having the sole effect of affording posterity improper ideas of his actual abilities. The instruments in which he took a personal pride are wonderful achievements in the matter of contour, and fully deserve the high praise assigned to them by all the leading experts. Ribs finely full, consequently small margins as the model is never over-broad. Scroll never large or masculine, but grandly shaped, and perfectly harmonious with entire structure. Sound-holes endowed with similar gracefulness, though sometimes slightly more open than those of a Stradivarius. Usually narrow purfling, done with delightful steadiness of hand. Often belly wood of the most delicate nature, and of very fine grain, but unfortunately often worm-eaten today. Generally one-piece backs cut on the quarter, and always of handsome curly maple. Ribs of same material. Body length seldom under 14 inches; varnish (owing to oxidation), frequently quite dark, but originally of a rich red-brown or lustrous orange tint. Tonal quality singularly of Italian character, having that fine full sonority which can be subjugated at the player’s will into a sweetness pervading every niche of a large hall. A violinist of the finest sensibilities, if he is lucky enough to meet with a well-preserved Fent violin, and one on which the varnish has lost little of its original colour and elasticity will surely feel it bringing forth something equal with real beauty of tone, if not in power, with any Lupot specimen, something easily emerging with clear responsiveness under undulating bow strokes, something not requiring that perpetual propelling of energy, which many French violins demand. Occasionally these instruments are labelled Lupot, and passed off as such. In fact, one was once sold as a Stradivarius, fully guaranteed (though not honestly), by a leading expert. French violinists frequently rave about them, but in England they somehow have failed to meet with the recognition their tonal qualities assuredly deserve. Perhaps the continual darkening of the varnish, and the worm-eaten bellies, are the causes of this neglect. Usually catalogued at £50 (1925) and 300 to 800 dollars in America. Also produced ideally toned violas, and a few ’cellos. £80, 1959.
Ran,Entendt
