EMILIANI, Francesco de.—Rome; eighteenth century. Rather high built. Work of the Tecchler school. He possibly assisted that maker. Scrolls very neatly cut.
ERNST, Franz Anton.—Gotha. Died 1805. Work little known in this country. Said to be of Stradivari pattern. He was also a violinist and composer.
EURY.—Paris; early nineteenth century. An excellent bow-maker.
FABRIS, Luigi.—Venice; 1860. Obtained medal in 1872 at Treviso.
FAGNOLA, Annibale.—Turin; contemporary. A maker whose instruments have lately attracted attention. His imitations of Pressenda and Rocca’s instruments are clever and not unfrequently pass as originals. Some are not well finished. Writer has recently seen a very good example made in the style of J. B. Guadagnini.
FENDT.—London; late eighteenth and nineteenth centuries. A gifted family of makers. The first, Bernhard Fendt, was a native of Innsbruck, born circa 1775; died, London, 1832. An admirable workman who copied the best features of the great Italian makers. He worked much for Thomas Dodd (q.v.) and in association with John Lott. Later he worked for old John Betts, continuing to work for the house after the death of that maker. Work so made bears Betts’s stamp. Bernhard Simon Fendt, his eldest son, died in March, 1852. Worked for Betts and was for some time partner with one Purdy (“Purdy & Fendt”). He was a wonderfully clever copyist, and made, amongst other types, instruments of all sizes, from violins to double basses, in imitation of the Brescian style (Gaspar da Salò and Maggini). These instruments have been constantly mistaken for genuine Brescian examples—particularly the double-basses, of which a number are in existence. Jacob Fendt, third son of Bernhard I., died comparatively young in or about 1849. His abilities were also of a high order. He worked for Davis, of Coventry Street, and for Turner, the dealer, producing “modern antiques,” chiefly of Stradivari type, in which the appearance of wear and time are most skilfully imitated. The tone of his copies is usually of excellent quality. Other members of the family were Martin, William, and Francis; all good workmen.
FENT, François.—Paris; circa 1760-91. Related to above family, and stated to have been uncle and instructor of the first Bernhard Fendt. In his labels he omits the “d” from his name. Said to have come from Innsbruck. His best work has never been surpassed and seldom equalled by any maker working in France. The violins are of Stradivari form, and the style is Italian throughout. Wood of handsome figure, and the finish irreproachable. Varnish, a beautiful red brown. The tone of very fine quality even in inferior examples. His instruments, unfortunately, were obviously made in different grades; and the commoner types, which frequently bear his name stamped in various places, are of relatively little importance and money value. Some of his varnish is much oxydised (almost black), and the wood of both backs and bellies worm eaten. His finest fiddles have sometimes passed as genuine Strads, and occasionally Lupot’s labels have been inserted; but the work is less heavy and more graceful than that of Lupot. His ordinary label has an ornamental border, bears no date, and contains errors of spelling.
FICHTL.—A number of German and Austrian makers of this name are mentioned. Two named Martin Matthias worked in Vienna in the eighteenth century and followed the Stainer pattern.
FICKER.—The name of fully a score of Markneukirchen and other German makers. Johann Gottlob, who died in 1832, is amongst the best known. Used a brand with his initials. Other Fickers followed the same practice.
FIORINI.—Two makers of the name may be mentioned. Raffaele worked in Italy, chiefly in Bologna, and died there in 1898. He made some well-finished instruments, amongst them a number of violoncellos. Varnish varies in colour, but is often a rather dark red. He was also reputed a good judge of old Italian work. Giuseppe, his son, migrated to Munich, where he was at work recently.