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UNIVERSITY
 MAKERS OF THE
HARPSICHORD AND CLAVICHORD
1440-1840

THIRD EDITION

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3 JNIVERSITY OF MICHIGGAAN
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 MAKERS OF THE
HARPSICHORD
AND
CLAVICHORD
1440-1840

DONALD H. BOALCH

THIRD EDITION
Editedby
CHARLES MOULD

With an index of technical terms

in seven languages by
ANDREAS H. ROTH

CLARENDON PRESS - OXFORD

1995

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Mure
ML
G54.
Oxford University Press, Walton Street, Oxford 0X2 6DP
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and associated companies in
Berlin Ibadan

Oxford is a trade mark of Oxford University Press

Prblished
in the United States
by Oncford University Press Inc, New York
© Donald H. Beaks and Charkes Mould 1993
Index of Technical Terms © Andreas H. Rech 1993
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted, in any form or by any means,
without the prior permission in writing of Oxford University Press
Within the UK, exceptions are allowed in respect of any fair deaking for the
purpose of research or private study, or criticism or review, as permitied
‘underthe Copyright, Designs and Patents Act, 1988, or in the case of
reprographic reproduction in accordance with the terms of the licences
issued by the Copyright Licensing Agency. Enquiries concerning
reproduction ontside these terms and in other countries should be
sent to the Rights Department, Oxford University Press,
at the address above

This book is sold subject t0 the condition that it shall not, by way
Of trade or otberwise, be lent, r-sold, hired out or otherwise circulated
without the publisher prior consent in any form of binding or cover
other than that in which it is published and without a similar condition
including this condition being imposed om the subsequent purchaser
British Library Cataloguing in Publication
Data
Data available

Library of Congress Cataloging in Publication Data

Boalb, Donald H. (Donald Howard)
Makers of the barpsichord and clavichord 1440-1840 / Donald H.
Boalcb.—grded. / editedby Charles Mould; with an index of
technical terms in seven languages by AndreasH1. Roth,
om.
Includes bibliographical npn @ )
1. Harpsichord makers. 2. Clavichord makers. 3. Harpsichord.
+ Clavichond. 1. Mould, Carls. Il, Roth, Andreas H.
HL. Tithe.
MLb;2.B666 1993 786 19'0922—dero-(B]—gp-a2103
ISBN o-tg-s1tgag-X
13579108642

Typeset by Latimer Trend & Company Lid, Plymouth

Printedin Great Britain
on acid-free paper by
Bookcraft Lid
Midsomer Norton
Avon

y Google WIVeWertyOF
 The dedication by Donald Boalch in the second edition was

MEMORIAE PERVIRENTI
RAIMONDI RUSSELL
INDAGATORIS ASSIDUI
COOPERATORIS LIBERALIS
AMICI FIDELIS
ANNO MCMLXIV MELITAE MORTUI
HAEC EDITIO
DEDICATEUR

The dedication by Donald Boalch in the first edition and that

by the editor of the third edition is also

UXORI DILECTISSIMAE

Google saiueners
Google
PREFACE TO THE THIRD EDITION

In 1956 Donald Boalch produced his first edition of Makers of the Harpsichord and Clavichord
1440-1840 [Bi]. It was an immediate success, and was sold out within a year or so. Published
by George Ronald, it included summaries of the biographical details of all the then known
makers of plucked string keyboard instruments and clavichords, and recorded their surviving
instruments. By 1972 Boalch had completed the work on an updated and enlarged second
edition, which was published by the Clarendon Press in 1974 [Bz]. This too had great success,
and within a short time, once the print run was exhausted, copies were changing hands at
considerably inflated prices. Works such as these can never be completely up to date, for
within a matter of weeks of the presentation to the publisher of the final script, the author
finds new, and in many cases important, material, the incorporation of which is precluded by
the need to adopt a serminus ad quem, beyond which it is impossible to update or alter the
volume. Nevertheless, periodic attempts to summarise and encapsulate the known state of
scholarship in any field of learning have their place, and, whatever their shortcomings, they
form a useful reference tool for those engaged in the study of the subject.
In 1984, Donald Boalch was asked by Oxford University Press to revise and update Baz,
but sadly he declined, and at his suggestion, I was invited to take on the project. I use the
word ‘sadly’ with great feeling, for at the outset I must pay tribute to the work of the
supervisor of my doctoral thesis and my friend over many years. Increasing familiarity with
the second edition over the past eleven years has given me a unique insight into the painstaking
research in which Donald was engaged for so long, and has underlined the enormity of the
pioneering project which he faced. His devotion to the search for truth, his methodical
approach, his perceptive comments, and above all his scholarship deserve the highest praise,
and I am conscious that in my attempts to edit and update his original writing the resulting prose
is often inferior to his. But, like those rewriting the glorious seventeenth-century prose of the
Bible for modern generations, it had to be attempted. The results in both cases may be more
digestible, but lack the elegance and polish which have been our delight for many years.
At the beginning of the project many friends and advisers suggested ways in which the
new third edition [B3] should be produced, some advocating a complete rewrite, others hoping
that it would be possible simply to republish the second edition with an ‘erratum and
addendum’ section. In addition, I received many pleas for the new volume to contain details
of surviving instruments by anonymous makers; however, it became increasingly obvious that
this was a minefield, and, possibly because I had spent twenty years in the Army, I decided
to avoid it. In 1984 I formally accepted the invitation to take on the editorship of B3, signing
a contract with OUP with the hopelessly optimistic promise of a first script by May 1987.
Subsequently I went to the United States in May 1985 for a joint meeting of the Galpin
Society and the American Musical Instrument Society (AMIS) in Boston. There I met a
number of colleagues, from both Societies, with whom I had corresponded, and after

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vii PREFACE TO THE THIRD EDITION

discussion with them, and others in the United States, my ideas on the project became firmer.
On my return I discussed them with OUP, and it was agreed that Bz would be in two parts:
the first consisting of the biographies of the makers, using the Bz entries where these had
not changed, but updating those for which new information was available, and adding new
makers as they came to light; the second listing the surviving instruments by these makers.
At this time electronic publishing was emerging, and it was decided that the whole project
would be set up in an electronic format, the biographies being in text files using Word Star
as the word-processing software, the instruments being held on a database, using dBase III
plus. It was not at that stage decided whether the finished product would be marketed as a
piece of electronic publishing, possibly in the form of floppy disks, or in hard copy, or both.
Needless to say, at that time the third, and today possibly the most obvious format, the CD
ROM, was in such a state of infancy as to be disregarded. In fact, following further consultation
with a number of musicologists in 1989, it was decided that Bz should again be produced as
a book, though the electronic formats are still available, and, as will be seen in the sections
below dealing with the biographies and the database, it is hoped that this format will be of
value beyond the useful lifespan of this book.
Work began in earnest in 1985, pleas for information being placed in many journals, and
a number of known interested individuals and institutions being contacted privately. It was
surprising to find how many publications between 1972 and 1985 contained relevant in-
formation, and much time was spent in sifting these. The initial editing of the Bz biographies
was carried out by photocopying the pages of the 1974 edition, removing the instrumental
tables, and then, by means of the KDem (an optical character recognition machine) in the
Oxford University Computing Service, converting the text to electronic format in the form
of floppy disks which could be read into a microcomputer. (It is interesting to note at the
time of going to press that the KDem, so much a feature of Oxford University Computing
Services in the 1980s, has now been almost totally superseded by the use of flat-bed scanners
associated with personal computers.) Unfortunately the KDem rules for showing such things
as bold text, italic, and diacritics, are different from those required by OUP for transcription
to their laser printer; so much conversion was necessary.
Here, for example, is a piece of the text as received from the KDem:
<2ZIRENGAST, Joseph.>2 Organ builder at Wiener
Neustadt; dates ascertained, 1761--7, when he worked
on harpsichords (among other instruments) at the
Esterha/zy court [ <1Watter].>1

And here, by comparison, is the same piece of text shown in the ‘Oxford Rules’ format:
\BZIRENGAST, Joseph.B\ Organ builder at Wiener
Neustadt, dates ascertained, 1761-7, when he worked
on harpsichords (among other instruments) at the
Esterha\zc\zy court [\SWalterS\].

Here, finally, is the text as it is to be found in the biographies section of this book:
ZIRENGAST, Joseph. Organ builder at Wiener Neu-
stadt, dates ascertained, 1761-7, when he worked

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 PREFACE TO THE THIRD EDITION ix
on harpsichords (among other instruments) at the
Esterhézy court [Waster|.

Perceptive readers will readily recognise the following comparative table:

KDem Oxford Rules
Begin bold <2 \B
End bold >2 B\
Begin italics <1 \s
End italics >1 S\
a with acute accent a/ a\zc\

and these are reasonably easy to convert using standard word-processing ‘find and replace
commands’. What is less obvious in the above KDem quotation is the zero which begins the
word ‘Organ’, the double hyphen in the date, the figure ‘1’ which appears in place of a lower
case T in ‘Warter’, and the placing of ‘>1’ outside the square brackets at the end. These are
all due to faults arising in the KDem, which, though it must be said greatly reduced the work
of transcribing Bz for re-editing, did make it essential to carry out the most careful proof-reading.
Even ten years later it was still not uncommon to pick up such faults as are mentioned above,
and the scrupulous reader may even yet detect one or two.
In 1987 I first heard of the work which Dr. Martha Novak Clinkscale of Riverside,
California, was carrying out on her book Makers of the Piano 1700-1820 (published by OUP in
1993). It was evident that this was to be a volume of great importance, and would fill a
lacuna which many of my earlier advisers had suggested that I should undertake to fill in By.
We therefore co-operated, the major joint undertaking being a world-wide mail-shot to all
those individuals and institutions which we thought might be of service to either one of us.
Each of the 850 or so communications sent out contained forms for the entry to our databases
for either pianos, plucked-string keyboard instruments, or clavichords; while in the case of
institutions, requests were made for information about their latest catalogues and, if possible,
their supply to us on repayment. The response was encouraging so far as Bz was concerned,
particularly in the case of individuals. In the case of institutions, with notable exceptions, it
served to emphasise the lack of up-to-date catalogues for many of the major collections. It
would be invidious here to single out institutions for which a reliable and comprehensive
catalogue, or even a check-list, is urgently needed; this will be obvious from the instrument
section, in the sketchy—or what may in due course turn out to be erroneous—information
given. Donald Boalch stated in the preface to Bz: ‘my descriptions of instruments vary widely
in their detail, since I have seen only few of them myself and have, therefore, had to rely on
published catalogues or letters from informants’. Though I have been privileged to see
probably a few more instruments than Donald Boalch, much the same caveat must still apply
to this volume, and I am greatly indebted to my informants, who, wherever possible, have
been identified and acknowledged.
There have, however, been two problems. The first has arisen when informants have
disagreed. It has not been unusual to hear from friends returning from holiday that they have
seen ‘a red instrument’ in a remote town in Spain, while the following year another observer

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x PREFACE TO THE THIRD EDITION

has reported ‘a green instrument’ in the same area. The surge of adrenalin accompanying
such revelations has usually subsided on discovering from a third, more reliable source that
it was in fact a modern instrument with a green outer case and a red-painted interior lid. A
more common situation is that to be found in the following entry for instrument number
GRABNER, J. H. 1739:
Inscriptions. According to Fergus Hoey, on underside
of soundboard Johann Heinrich Grabner Hof-Orgel und
Instrumentmacher in Drezden ’anno 1739. According to
Thoene, p. 98n. the inscription reads: Johann Heinrich
Grabner Orgel und Instrumentenmacher Dreszden Anno 1739.
According to the data sheet from the Museum it reads
Johann Heinrich Grabner, Hoff-orgel und Instrumentenmacher
Dresden 1739.

The second problem concerns listings of collections. Despite my disparaging remarks above
concerning the lack of catalogues, it is pleasing to note the trend towards comprehensive and
detailed works which probably began with the catalogues of Hubert Henkel. Though not
lavishly illustrated, Henkel in 1979 [Henkel] and 1981 [Henkel] described the collections of
harpsichords and clavichords at the then Karl Marx Universitat, Leipzig, with admirable clarity
and standardisation. Beyond these, I must pay special tribute to two outstanding catalogues
which serve as exemplars for all future similar projects. The first is that by Professor Luigi
Ferdinando Tagliavini and Dr. John Henry van der Meer, entitled Clavicembali e Spinette dal
XVI al XIX Secolo, being the catalogue of the private collection of Professor Tagliavini,
published by the Cassa di Risparmio in Bologna in 1986 [Zag]. The second is that published
in 1991 in Berlin by the Staatliches Institut fir Musikforschung Preussischer Kulturbesitz.
Entitled KIELKLAVIERE. Cembali, Spinette, Virinale, contributions are again by Dr. John
Henry van der Meer and also by Drs. Martin Elste, Ginther Wagner, Horst Rase, and Dagmar
Droysen-Reber [BerlinCaf.. It is to be hoped that the several large institutions which currently
have catalogues in preparation will produce similarly exhaustive compendia, including, where
possible, drawings of internal construction, photographs (preferably in colour), silhouettes of
the case mouldings, and standardised descriptions. It is even more to be hoped that those
institutions which currently do not have comprehensive catalogues will find the necessary
funding to rectify this lacuna in world scholarship.
The third edition contains over 440 new biographical entries and more than 4oo revisions
of former entries. It also contains details of over 500 instruments not recorded in Bz.

CONVENTIONS ADOPTED IN THE THIRD EDITION

Throughout this volume, where some doubt exists concerning the veracity or reliability of a
piece of information, it is followed by the symbol (A), meaning ascribed. Wherever the source
of the ascription is known, this is shown in square brackets.

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 PREFACE TO THE THIRD EDITION xi

In Part I, all new entries are prefixed with the symbol *, while revisions of former entries
in Bz are prefixed with @. All entries not prefixed by either symbol are effectively reprints of
what appeared in Bz, though certain small changes have been made, such as the avoidance
of the use of the first person singular and standardisation of the spelling of certain words to
conform with 1990s practice (for example, ‘show’ for ‘shew’, etc.). As in Bz, sources of
information are given in square brackets, and a key to these is given in the Selective
Bibliography and Sources of Information at the back of the book. In the alphabetisation of
names, diacritical marks have been disregarded. After considerable discussion with OUP, it
has been agreed not to include an index. It is difficult in a work of this nature to decide on
the scope and extent of an index. The makers are listed alphabetically, as are the instruments.
Since the texts of Parts I and II both exist in electronic format, it is very easy to search them
for any required subject or term. Moreover, the editor is very willing, on request, for a very
nominal charge, to meet the needs of any scholar in this respect. Queries should be addressed
to him at St. Cross College, Oxford, or by e-mail to charles.mould@st-cross.ox.ac.uk.
In Part II, the surviving instruments listed include those which are known to have survived
into the twentieth century, even though in some cases they are known to have been lost. The
instruments are listed alphabetically under the maker’s name, in chronological order. The
details of the instruments are recorded in the order in which they are stored in the fields of
each record in the database (see section on the database below). Each instrument is assigned
a unique Bz number.

Boalch 3 Numbers
In Br and Bz, numbers were assigned to the instruments on a simple numerical basis, though
because of the greater number of instruments recorded in Bz, it was necessary in that volume
to adopt new numbers for newly discovered instruments. In order to try and overcome the
problem ofa third revision of Bz numbers, a totally new numbering system has been adopted,
which it is hoped will serve, first, to make future identification of instruments simpler and,
second, to render a change of system unnecessary in any future edition of this work which
may be considered desirable. It is also hoped (possibly presumptuously) that it may be of use
to institutions seeking a universal form of numbering instruments for their own catalogues.
The number consists of two parts: the maker and the date.

Maker
This consists of a distinctive surname, followed generally by the initials of the first names.
Thus, for example, John Harrison appears as HARRISON, J., and Pasquino Querci as
QUERCI, P. Instruments ascribed to this maker would be shown as QUERCI(A), P. Where
the name is such as Dominicus Pisaurenisis, though the second name denotes a place, the
maker is recorded as DOMINICUS, P, while Dominicus Venetus appears as DOMINICUS,
Vv.

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 xii PREFACE TO THE THIRD EDITION
Date
If the date is known, this follows two spaces after the last character entry under the name.
Thus the full B; number for an instrument by Jacob Kirkman dated 1757 would appear as
KIRKMAN, J. 1757. If there is more than one instrument with this date, the date is followed
by (1), (2), (3), ete.
In the case of undated instruments, the name is followed by n.d., and again, if more than
one survives, a figure in parentheses to give specificity to the number. An attempt has been
made to number the ‘n.d.’ instruments in ascending order of likely date, but this should not
be relied on.
Typical (fictitious) examples of instrument numbers are:
VATER, A(A). 1758—instrument by a member of
the Vater family, thought to be A. Vater (Antoine),
and known to be dated 1758.
KIRKMAN, J. and A. 1793(A)—instrument by
Jacob and Abraham Kirkman, to which an observer
has ascribed the date 1793.
KIRKMAN, J. and A(A). 1791(A)—instrument
definitely by Jacob Kirkman, though ascribed by one
or more observers to Jacob and Abraham, and also
ascribed by the same or other observers to the year
1791.
FRAGMENTI(A), N. _n.d.(3)—instrument ascribed
to a member of the Fragmenti family, and if this is
the case, the member has the first initial N. The
instrument is the third by this maker to survive without
a known date.

The Database
The design of the database was an interesting exercise. dBase III plus was chosen as the
software for several reasons, of which the most compelling was, at that time, its universal
availability, its relational capability (which in the end was not really utilised), its relatively easy
programming language, and the fact that it could be mounted on any IBM-compatible
microcomputer. Several months were spent in deciding on the fields to be used, the final
version evolving over a year or so. It had been thought originally that a relational database
should be set up, with makers in one file and instruments in another. In the end, however,
no file for makers was compiled, and the database simply contains one large file for the
instruments. At the time when the database was being designed, it was considered bad practice
to include more than twenty fields in each record, because manipulating the data with the
machines then available was usually slow and cumbersome. The advances in hardware since
that time, happily, have not made the use of some thirty-seven fields difficult to handle.

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 PREFACE TO THE THIRD EDITION xiii

The advantages to the scholar of an electronic database are many. Whereas it may take
several hours to find from the book the earliest surviving English bent-side spinet which has
a compass of FF-f*, with the use of the database it can be accomplished in under a second.
Similarly, much more complicated queries can be answered in much the same time. Accordingly,
though the database has not been published, a descriptive note on its construction and
capabilities may be obtained free from the editor (see the address above), and it is possible,
for a nominal charge to cover administrative costs, to obtain answers to specific queries. At
the time of writing, it is hoped that within one year of publication of this book the database
will have been transferred to the Russell Collection, St Cecilia’s Hall, Edinburgh, and that in
due course it will be available free of charge to all scholars via the internet.

Tue Layout AND Use oF Part II

Descriptions of the surviving instruments in Part II are based on the way that information
was collected for the database. Contributors were asked to submit information on a form
which would allow it to be entered into the database with ease and uniformity. In 1993, when
the information was ready to be submitted to OUP for publication, a program was written
which output the contents of the database into a text file, which (after a certain amount of
editing) produced the text which follows.
The information on each instrument conforms to a ‘template’ containing the following
information. (Where there is no information the heading is omitted.) When there is doubt
about the accuracy of the information it is followed by (A), meaning ascribed. Wherever
possible, the source of the ascription is given.

‘Name of Maker: [Given once only. The instruments
by the maker follow in chronological order].
Type. [Type of instrument].
Date. (Date of manufacture].
Ownership. [Name of the present owner].
‘Number. [Accession or catalogue number].
Inscriptions. [All inscriptions on the instrument, whether
original or later].
Specification. [The number and pitch of all choirs of
strings].
Additional features. [Devices to control volume, timbre,
change of registration, etc., such as lid or venetian
swell; peau de buffle, numbers of hand stops, machine,
etc].
Compass. [Keyboard compass using the system de-
scribed in Russellgsg. The omission of keys is indicated
by the use of commas; thus a compass shown as
FF,GG-f? indicates that the key for FF} is not present.
Broken or short octave compasses are indicated by
the standard notation such as C/E-c’. This is followed,
where known, by the words ‘short octave’ or ‘broken
octave’.
Keyboard: [A simplistic way of describing the colours
of the natural and sharp keys using three designators;
black, white, and special. Thus a keyboard, which
appears to have ivory naturals and ebony sharps in an
illustration as the only source of evidence will be
described as ‘White naturals, black sharps’. Similarly,
a keyboard having ornately inlaid naturals and ivory
sharps will be reported as ‘Special naturals, white
sharps’. Any further, more detailed description of the
keyplates, if known, will be found in ‘Remarks].
Number of roses. [The number of roses in the sound-
board}.
Style of roses. [Standard descriptors are used, such as
‘Harping figure’, ‘Parchment’, etc.].
Initials in roses. [Any initials in the roses are shown
here].
Exterior of case. (Standard descriptors are used such as
‘Plainwood’, ‘Crossbanded’, ‘Painted’, etc.].

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xiv PREFACE TO THE THIRD EDITION

Case construction. (In general this applies only to Italian
instruments, where the descriptors ‘Inner/outer’ or
‘False inner/outer are used’].
Stale. [The length (in mm.) of the 8’ string at c’.
Observers have seldom specified, in the case of more
than one 8’ choir, whether the longer or shorter
string has been measured; caution must therefore be
exercised when using this figure].
Length. Width. Depth. [Reporters have seldom stated
whether these dimensions (in mm.) include or exclude
mouldings, and, in the case of instruments with outer
cases, whether the measurements refer to the inner
instrument or the outer case. Accordingly, caution
must be exercised when using these figures. A further
complication arises in the case of wing spinets, where
it is assumed that the observer has specified length as
the overall length of the spine, and width as the
perpendicular distance from the spine to the foremost
edge of the case—but this cannot be relied upon].
Remarks. (Observations which serve to amplify or
extend anything which has been reported in the above
categories].
Previous history. [Information on the history of the
instrument before it passed into the hands of the
owner shown above].
References. (Publications in which further information
on the instrument may be found].
Security. [This ‘field’ in the database does not appear
in Part Il. Throughout the project, owners submitting
information on their instruments have been guar-
anteed anonymity if they so desired. Accordingly,
where the name of the owner is not given, it may
be that this is known to the editor, but that, in
accordance with the wishes of the owner, his or
her identity has been suppressed. Readers desirous
of contacting the owner may correspond with the
editor c/o St. Cross College, Oxford, and their requests
will be sent to the owner who may, or may not choose
to respond].
Information supplied by. [The name(s) of those supplying
the above information. Occasionally this is shown as
‘not disclosed’, indicating that the informant wished
to remain unidentified].
Boalch 3 number. (See. Preface on the way in which
Boalch 3 numbers are constructed].
Boalch 2 number. [The number of the instrument in the
second edition of this work. Where the instrument
‘was not numbered by Boalch, it may usually be inferred
by counting sequentially from the first instrument
recorded].

INDEX AND TRANSLATIONS OF TECHNICAL TERMS

The index and translations of technical terms have been prepared by Dr. A. H. Roth, to
whom the editor is greatly indebted. It follows much the same form as the glossary in Bz,
though it has been extended by the addition of three further languages: Dutch, Spanish, and
Swedish. In addition, the number of terms is almost doubled, and rather than being called a
glossary, it is more accurately described as an index. It is possible, by virtue of its layout, for
a scholar using one language easily to translate any term into any of the other six languages.
Dr. Roth has included an introduction which describes how it may be used.

ACKNOWLEDGEMENTS

Throughout the period of eleven years during which this book has been in preparation, I
have received encouragement and co-operation from a large number of friends, colleagues,
and institutions. I am greatly indebted to the British Academy and to the Radcliffe Trustees
for generous grants which have enabled me to travel and to purchase the necessary hardware
and software for the setting up of the database. Beyond this, Mrs. Bridget Geddes and Mrs.
Nicky Jones spent many hours transcribing material on instruments from Bz to the database.

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 PREFACE TO THE THIRD EDITION xv

I have also received additional secretarial assistance from Elaine Bland, Patricia Butler, and
Liz Howe, all of which has been freely and cheerfully given. My friends Pauline and Andrew
Roth have given most generously of their hospitality during several summers which my wife
and I spent at their homes in Spain and France and which afforded me the opportunity of
study in a friendly environment free of telephone interruptions; while Ed (Professor Edward)
and Martha (Dr. Martha Novak) Clinkscale continually gave me information on previously
undiscovered instruments, liberally interspersed with advice on how to make the best use of
software.
It is hard to single out those who gave me the greatest advice on technical matters, but I
cannot let this section pass without especial mention of the help I have received from Dr.
John Henry van der Meer, Dr. G. Grant O’Brien, John Barnes (who read all the proofs of
Part II and gave invaluable advice), John Koster, Professor Edward L. Kottick, Marc
Champollion, David Weldon, Steve Barrell, Denzil Wraight, and Beryl Kenyon de Pascual.
Some 20 feet of filed correspondence in my study is taken up by their writings.
In addition I am greatly indebted to the following and to others too numerous to mention
(since when writing to me, many of them modestly omitted their titles, I hope that they will
forgive me for, in the interests of uniformity, stripping them of their doctorates or pro-
fessorships): Odd Aanstad, Richard and Jeannine Abel, Giuseppe Accardi, Derek Adlam,
Percival Agnew, Sabine Ahrens, Christopher Allworth, Alain Anselm, Phillip Ayres, Peggy F.
Baird, Margaret Downie Banks, Patrizio Barbieri, R. L. Barclay, Alan Barnes, Wilson Barry,
Peter Bavington, Lothar Bemmann, J. Bence, Roland Berger, H. Bergstrom-Nielsen, Edwin
Beunk, Andreas Beurmann, C. J. Bevan, Tony Bingham, Margaret Birley, J. Blasdale, Cristina
Bordas, Martha Borgsmidt, T. Bosklopper, Edmund A. Bowles, George Braithwaite, John S.
Braithwaite, Josiane Bran-Ricci, Klaus-Peter Brenner, Hendrik Broekman, Douglas Brown,
Richard Burnett, Maurice Byrne, John Caldwell, Richard Clayson, Elisa-Isolde Clerc, Cecil
Clutton, Alec Cobbe, Michael Cole, Warwick Cole, Howard Collinson, Michael Collon, C. F.
Colt, Danilo Constantino, Ghislaine Courtet, Frederick Crane, John Cranmer, Margaret
Cranmer, Alan Cuckston, Bjarne B. Dahl, Cristian Dan, Robert Deegan, Jorg Demus, T. A.
Diehl, William Dow, William Dowd, Dagmar Droysen-Reber, Martin Elste, Ulrich Felgner,
John Fesperman, Charles P. Fisher, Eszter Fontana, Anne French, Andrew Garrett, Donald
Garrod, Sheridan Germann, Arend Jan Gierveld, Gerald Gifford, Kenneth Gilbert, Clemens
von Gleich, Andrea Goble, Hugh Gough, Géran Grahn, Robert Greenberg, Ivor Guest,
Yannick Guillou, N. C. Gunn, Veronika Gutmann, Walter Haacke, Robert Hadaway, Margery
Halford, Frederick Hammond, Michael Heale, Eva Helenius-Oberg, Friedemann Hellwig, Uta
Henning, R. R. Henshaw, Herbert Heyde, Harald Hoeren, Fergus Hoey, Christopher Hogwood,
Peter Holman, Cynthia Hoover, Renate Huber, Jérg Dieter Hummel, David P. Hunt, Leonard
Ingrams, Richard Ireland, Christianne Jacottet, Martin Friedrich Jehle, Volker Jehle, Michael
Johnson, Robert A. Johnson, Harry S. Johnstone, Lewis Jones, John W. F. Juritz, Jan Kalsbeek,
Martha Katz-Hyman, Nicholas Keen, Andreas Kilstrém, Igor Kipnis, Peter Andreas Kjeldsberg,
Eva Kjerstrém Sjéllin, Francis Knights (whose generous offers of help with the compilation
of a discography I was sadly not able to use to the full extent), Ton Koopman, Tibor Kovacs,

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xvi PREFACE TO THE THIRD EDITION

Dieter Krickeberg, T. Kunze, Darcy Kuronen, Barbara Lambert, Jeannine Lambrechts-Douillez,

Robin Langley, André Larson, David Law, R. Kenneth Lee, David Leigh, Gustav Leonhardt,
Laurence Libin, Richard Luckett, Alys Luttrell, A. L. van Maanen van der Lee, Alastair
McAllister, M. Macdonald, Thomas McGeary, Ray McIntyre, Alexander C. N. Mackenzie of
Ord, Ann and Peter MacTaggart, Darryl Martin, Jean Maurer, Sarah Medlam, Renato Meucci,
Rodger Mirrey, Oscar Mischiati, Kenneth Mobbs, Jeremy Montagu, Gerard Montagut, G.
Montanari, John Morley, Stephen Morris, Hannelore Miiller, Mette Miller, David Murdoch,
Arnold Myers, Minor Myers Jr., Rodney N. Myrvaagnes, Dennis Naish, Austin Niland,
Ann-Marie Nillson, Christopher Nobbs, Henrik Nyrop-Christiansen, Jay Scott Odell, John
Odom, Enrica Pagella, Frances Palmer, Larry Palmer, John Paul, Estevas Pereira, Alexander
Pilipczuk, Umberto Pineschi, Jean-Marc Pittet, Ian Pleeth, Stewart Pollens, Anthony Powys-
Lybbe, John Poynter, Martin Pihringer, Michaela Pupeza, Vincent Pussiau, Sam Quigley,
Harry Randall, John Rawson, John N. R. Raymond, John Redman, Ginter Reinheckel,
Nicholas Renouf, Martin Renshaw, Richard T. Rephann, J. J. K. Rhodes, Albert R. Rice, Otto
Rindlisbacher, Ed Ripin, Julian Roberts, José L. Romanillos, Alan Rubin, David Rubio,
Wolfgang Ruf, M. V. Runkles III, Pauline Rushton, Howard M. Schott, the Schubert Club,
Kathryn L. Shanks, Gillian Sheldrick, Thomas Sherwood, Marlowe A. Sigal, Martin Skowroneck,
Edgardo Sodero, Christopher Stembridge, Hugh Stradling, Gerhard Stradner, Mr. and Mrs.
Simon Sturgis, Margaret Susands, Luigi Ferdinando Tagliavini, Maurizio Tarrini, Walter Thoene,
Fritz Thomas, Michael Thomas, William R. Thomas, Mario Tiella, Jean Tournay, Bernard
Trebuch, Edward R. Turner, Michael Turner, K. Usher, Koen Vermeij, David Wainwright,
Mimi Waitzman, Robert R. Wark, Roger Warner, John Watson, Robert K. Weis, Elizabeth
Wells, Graham Wells, Edwin Werner, Thomas Wess, Lance Whitehead, Brigitte Wied, D. S.
Wilkinson, Peter Williams, Ted Williams, Charles West Wilson, Andrew Wooderson, Galbraith
Woods, Dennis Woolley, N. L. Wright, Seizo Yokota, Angelo Zaniol.
Finally, I gladly record here my heartfelt thanks to David Vaisey (Bodley’s Librarian) and
my colleagues at the Bodleian Library for all their help; to my family, and most of all my
wife, Adrienne, who for eleven years has loyally supported me in every way, from offering
constructive criticism to enduring almost every minute of my spare time spent in front of a
VDU, when any reasonable husband would have been sharing a full and relaxing family life.
C.M.M.
Shipton-under- Wychwood
February 1995

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CONTENTS

Preface to the Third Edition

The Chief Collections containing Early Keyboard Instruments
and their Catalogues xix

PART I BIOGRAPHIES OF THE MAKERS

PART II DETAILS OF SURVIVING INSTRUMENTS BY

NAMED MAKERS 215

Geographical and Chronological Conspectus of Makers 691

Surviving English Virginals 714
Some London Apprentices 1622-1758 715
Index of Technical Terms in Seven Languages by Andreas H. Roth 717
Genealogies 739
Selective Bibliography and Sources of Information 749
Errata and Addenda 781

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Google
THE CHIEF COLLECTIONS CONTAINING
EARLY KEYBOARD INSTRUMENTS,
AND THEIR CATALOGUES

In Bz the introduction to this section ran as follows:

Note. When more than one catalogue of a collection has been published, I have usually given only
the best. A number of private collections, now dispersed or made over to public collections, have
been included. Wherever possible I have given the date of their dispersal. A few temporary exhibitions,
and their catalogues, have also been recorded.
In 1989, a letter was sent to all the Museums and Collections which were known, asking
them to give their correct designation and a description of their most recent catalogue. The
following list is therefore the most reliable which could be compiled, though it is clearly not
exhaustive, and in many cases the catalogue cited may well have been superseded. In some
cases the address of the Museum has been given, and unless otherwise stated, it may be
assumed that this is derived from the list of Museums available from the Comité International
des Musées et Collections d’Instruments de Musique (CIMCIM). Complementary information
on the collections may also be had from the excellent similar section entitled ‘Collections’ in
Clink, pp. 367-93.

Aso. Historical Museum (Turun Kaupungin Historial- Sammlung Jeble, Kultur und Verkehrsamt, 7470,
linen Museo). Albstadt, Germany.

Aso. Akademi. Ampras COLLECTION.

See. Vienna. Kunsthistorisches Museum.
Sibeliusmuseum vid Abo Akademi, Biskopsgatan
Piispankatu 17. Turku, Abo, 20500, Finland. AMSTERDAM. Rijksmuseum.
Sibeliusmuseum Musikvetenskapliga Institutionem The collection of J. C. Boers was added in 1899.
vid Abo Akademi, Bibliotek & Arkivi, Fabian See: ZIM, Vol. 1, 1900, p. 30. The instruments
Dahlstrém. Finlandsk Klavertillverkning fore ar 1900 (with a few exceptions) are now housed in the
samt beskrivning av Sibeliusmuseets inbemskaklaviersamling Gemeentemuseum at The Hague.
(Abo, (Turku), [Abo Akademi], 1978). Catalogue
ANN Arsor, Michigan.
of the Sibelius Museum Collection of Keyboard
University of Michigan. Albert A. Stanley, Catalogue
Instruments.
of the Stearns Collection of Musical Instruments, 2nd edn.
(Ann Arbor, University of Michigan Press, 1921).
ALBSTADT.
The Musikhistorische Sammlung Jehle, founded by Antwerp. Musée du Steen.
Martin Friedrich Jehle (1914-82), which includes a P. Génard, Catalogue du Musée d'Antiquités d’Anvers,
small number of keyboard instruments is housed at 4th edn. (Anvers, 1894). In the 1950s this became
Schloss Lautlingen, Albstadt, Germany. See: Schloss a maritime museum, and the instruments were
Lautlingen. Die Schenken von Stauffenberg Musikbistorische transferred to the Vleeshuis.

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xx THE CHIEF COLLECTIONS
Antwerp. Museum Vleeshuis.
Vleeshouwersstraat 38, B-2000, Antwerpern,
gium. Contains instruments from the Musée d’An-
tiquités, which superseded the Musée du
Antwerp. In 1966 the instruments in the Con-
servatoire were deposited on loan in the Vleeshuis.
The relevant catalogues are: Vieeshuis Museum,
Antwerp. Catalogus. V, Muziekinstrumenten [1956], and
Catalogus. V bis, Muziekinstrumenten [1967]. See also:
J. Lambrechts-Douillez. Collections of musical In-
struments in Antwerp, in: Hin. The Rubenshuis
the Plantin Moretus Museum also contained in-
struments in 1972. The most recent catalogue is
Catalogus van de Muziekinstrumenten uit de verzameling
van het Museum Vieeshuis (Antwerp, Ruckers Genoot-
schap, 1981).
ASHMOLEAN Museu.
See. Oxford.
Bap KrozinGEN.
The small but important private collection of Fritz
Neumeyer. The most recent catalogue is by Rolf
Junghanns, Historische Tasteninstrumente, Katalog der
Sammlung Fritz Neumeyer (Bad Krozingen, n.d.).
It contains some useful illustrations.
BarceLona. Museu de la Musica.
Avenida Diagonal 373, Barcelona 8, Spain. A new
comprehensive catalogue was published in 1991 (in
Catalan) with short descriptions of all the in-
struments including 5 harpsichords and 7 clavi-
chords. Musew de la Muisica 1/Catalog d'instruments,
Ajuntament de Barcelona, 1991.
Barrow COLLECTION.
Llandudno. William Barrow Collection. The
lection has now been entirely dispersed.
Base. Historisches Museum.
Karl Nef, Historisches Museum, Basel. Katalog no. 4,
Musikinstrumente. (Basel, 1906). The collection is
housed in the Barfisskirche, and the most recent
catalogue is Walter Nef, Ale Musikinstrumente in
Basel= Instruments de musique anciens a Bale= Ancient
Musical Instruments in Basle Basel (1974).
Bate COLLECTION.
See. Oxford.
BELLE SKINNER COLLECTION.
Now part of the Yale Collection of Musical In-
struments. See: New Haven.
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BENTON FLETCHER COLLECTION.
Bel- See: London. Benton Fletcher Collection.
Steen, BerGen. Historisk Museum.
A collection with some clavichords.
BERLIN.
The collections in Berlin have been as follows:
Founded 1888 in the Alte Bauakademie, Schin-
kelplatz; later in the Hochschule fir Musik; later
in the Palais Kreutz; dispersed during 1939-45 and
and considerably damaged; reassembled in the Schloss
Charlottenburg; by 1971 in the former Joachimsthal
Gymnasium in the Bundesallee; by 1984 in the new
building of the Musikinstrumenten-Museum des
Staatlichen Instituts fir Musikforschung Preu-
ssischer Kulturbesitz (SIMPK), Berlin, next to the
Philharmonie. This is designated in the text as the
Musikinstrumenten-Museum, Berlin, Germany.
The collection incorporates those of Paul de Wit
at Leipzig (1888-91) and the first of César Snoeck
at Ghent (1905). Catalogues: Curt Sachs, Sammlung
alter Musikinstrumente bei der Staatlichen Hochschule fir
Musik % Berlin. Beschreibender Katalog (Berlin, Julius
Bard, 1922) [Sa] which superseded Oskar Fleischer’s
Fuhrer durch die Sammlung der Kiniglichen Hochschule fir
Musik in Berlin (Berlin, 1882), and was succeeded
by Fubrer durch das Musikinstrumenten-Museum, Abt. III
des Staatl, Instituts fir Deutsche Musikforschung (1939),
and by Alfred Berner, Die Berliner Musikinstrumenten-
Sammlung: Einfuhrung mit bistorischen und technischen
Enlauterungen (Berlin, 1952) [Ber 1952]. In 1965 was
published Irmgard Otto’s Musikinstrumenten-Museum
Berlin. Ausstellungsverzeichnis mit Personen-und Sach-
registern.
A number of other publications have come out
col- in the post-war years, of which one of the most
useful is Haase, Gesine, und Dieter Krickeberg,
Tasteninstrumente des Museums (Berlin, Staatliches In-
stitut fir Musikforschung, 1981), which contains
beautiful but not complete drawings of the exhibited
stringed keyboard instruments. In 1990, a check-list
of instruments was available from the Direktor
of the Musikinstrumenten-Museum des Staatlichen
Instituts fir Musikforschung Preussischer Kul-
turbesitz, Berlin. This showed that many of the
instruments listed in Bz under the head ‘Berlin
Collection’ were in fact missing, and had probably
been destroyed in World War II or been taken
elsewhere during that time. The editor also received
considerable help from Dagmar Droysen-Reber,
Director of the Museum, and Martin Elste, who
between them were able to help in identifying

the surviving instruments. A new catalogue was
advertised in the spring of 1991, at the time of an
exhibition of the instruments, and this was received
in May 1992, when the present volume was already
in an advanced state of preparation; accordingly
only salient features revealed therein are recorded
here, and scholars are referred to this catalogue for
full details of the Berlin instruments. This catalogue,
KIELKLAVIERE, Cembali, Spinette, Virginale, (Ber-
lin, Staatliches Institut fur Musikforschung Preu-
ssischer Kulturbesitz, 1991), [BerlinCaf, set a new
standard for catalogues of instrument collections,
but dealt only with plucked-string keyboard in-
struments, and a volume on the clavichords and
pianos in the Berlin collection is awaited. The
present address is: Musikinstrumenten Museum,
D-10785, Berlin, Tiergartenstrasse 1.
BoppincTon COLLECTION.
See. Manchester. Boddington Collection.
Boers Coutection.
See. Amsterdam. Rijksmuseum.
Botocna. Liceo Musicale (now Conservatorio Musicale
‘G. B. Martini’).
Raccolta di antichi strumenti
armonici . . (Bologna, 1880).
The collection was transferred from the Liceo to
the Museo Civico.
Botocna. Museo Civico.
In 1988, a new catalogue was reported to be in the
course of preparation by J. H. van der Meer.
Botocna. Museo Davia Bargellini.
The instruments in this collection are under the
administration of the Museo Civico.
Botocna. Tagliavini Collection.
‘The important private collection of Professor Luigi
Ferdinando Tagliavini, Bologna, is described in the
scholarly and profusely illustrated catalogue: Luigi
Ferdinando Tagliavini and John Henry van der Meer.
Clavicembali e Spinette dal XVI al XIX Secolo, Catalogue
of the collection of L. F. Tagliavini, exhibited at the
church of San Giorgio, Poggia, 1 November—21
December 1986 (Bologna, Cassa di Risparmio, 1986)
[Tag
Boomxkamp COLLECTION.
See: Bussum.
Boston, Massachusetts. Museum of Fine Arts.
Nicholas Bessaraboff, Ancent European Musical In-
struments. An organological study of the musical instruments
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THE CHIEF COLLECTIONS xxi
in the Leske Lindsay Mason Collection at the Museum of
Fine Arts ... (Boston, Harvard University Press,
1941; teissued, 1964). Contains the greater part of
the Boston Museum of Fine Arts: Galpin Collection
formerly at Hatfield Broad Oak, Essex; see also an
article with illustrations in Museum of Fine Arts Bul-
sein, Boston, Mass., 1917. A recent published work
is Musical Instruments Collection, Checklist of Instruments
on Exhibition (Boston, Museum of Fine Arts, 1983),
[MFA(Lamber)). The information in this work comes
from data sheets on the instruments compiled by
John Koster and kindly made available by the
Museum, which launched its new catalogue: John
Koster, Keyboard Musical Instruments in the Museum of
Fine Arts, Boston (Boston, Museum of Fine Arts,
1994) [BostonCai\, at a celebration on 24 May 1994.
The collection now includes a number of the in-
struments formerly the property of the late Edwin
Ripin.
Bousquet CoLLEcTION.
See: Paris. De Bousquet Collection.
Bres.av. Schlesisches Museum fir Kunstgewerbe und
Altertimer.
Peter Epstein and Ernst Scheyer, Fidhrer und Katalog
zur Sammlung alter Musikinstrumente (Breslau, Verlag
des Museums, 1932).
BricQUuEVILLE COLLECTION.
See. Versailles. Bricqueville Collection.
Broapwoop COLLECTION.
See. London. Broadwood Collection.
Brownsea IsLanp, Dorset. Van Raalte Collection.
Dispersed in 1927. Sale Catalogue of the Brownsea Castle
Collection, Brownsea Island, Dorset, Seventh day of sale,
Tuesday 21 June 1927 (Musical Instruments and
Armour and Arms). On that occasion, part was
sold by auction; the remainder was in 1972 in the
collection of Lord Howard de Walden, Dean Castle,
Kilmarnock, though individual instruments have
been sold off since that time.
Bruces.
Gruuthusemuseum Brugge, Dijver 17, 8000 Brugge/
Belgium 050/339911. The most recent catalogue is:
M. Awouters, I. De Keyser, and S. Vandenberghe,
Gruuthusemuseum Brugge. Catalogus van de mu-
xiekinstrumenten (Brugge, 1985). 120 pp. illustrated.
Brunswick. Stadtisches Museum.
Hans Schréder, Verzeichnis der Sammlung alter Musik-
instrumente ... (Brunswick, Appelhans, 1928).
xxii THE CHIEF COLLECTIONS
Brussets. Musée Instrumental de Bruxelles.
This large and important collection was formerly
under the direction of the Conservatoire Royal de
Musique, and includes the collections of César
Snoeck, A. Tolbecque, and most of the instruments
of Correr in Venice (see: Venice). Referred to
throughout B3 as Brussels Museum, its correct title is
Musée Instrumental de Bruxelles, and it is now
administered by the Musées Royaux d’Art et d’His-
toire. The most recent comprehensive catalogue
is; Victor Mahillion, Catalogue descriptive et analytique du
Musée Instrumentale ..., 2nd edn. (Gand, 1893-1922;
reprinted 1978) [Mah]. A computer-based check-list
is in course of preparation (1994). The check-list
used for this work was kindly supplied by Denzil
Wraight.
Buparest. National Museum of Hungary (Magyar
Nemzeti Miézeum).
Gyorgy Gabry, Old Musical instruments (Budapest,
Corvina Press, 1969). A selection of instruments in
the Museum is described and illustrated.
Bussum, near Amsterdam.
C. v. L. Boomkamp Collection of Musical In-
struments. C. v. L. Boomkamp and J. H. van der
Meer, The Carel van Leeuwen Boomkamp Collection of
musical instruments. Descriptive catalogue (Amsterdam,
Frits Knuf, 1971). According to Bz, this collection
does not yet contain any early stringed keyboard
instruments.
Cuicaco. George F. Harding Collection.
CHRISTIANIA (KRISTIANIA).
See. Oslo. Musik-Konservatoriet.
Cincinnati Art Museum.
Collection of the Cincinnati Art Museum. Musical In-
struments (Cincinnati, 1949).
CiarEmont, California. The Kenneth Fiske Museum.
A small but important collection of old and modern
keyboard instruments.
Ciauptus COLLECTION
See. Copenhagen. Carl Claudius Collection.
Cosse CoLtection, Hatchlands Park, East Clandon,
Surrey.
An important collection of early keyboard in-
struments, mainly forte-pianos, assembled by Alec
Cobbe, and currently housed in the National Trust
property Hatchlands, East Clandon, Surrey, Eng-
land. Concerts using the instruments are held reg-
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ularly. There are three catalogues, one describing
the house, one describing the collection of paintings
and a third giving details of the instruments: The
Cobbe Foundation and Collection of Instruments,
Catalogue of the Instruments in the Cobbe Collection
(Hatchlands Park, Surrey, 1991) [CFC].
Couocne. Heyer Collection.
See. Leipzig. Heyer Collection.
Cott CLavier CoLtection, Bethersden, Kent.
The Colt Clavier Collection, Silver Jubilee 1944-1969. List
(Bethersden, 1969). The Colt Clavier Collection, Golden
Jubilee 1941-1981 (Bethersden, 1981). It is reported
that the majority of the harpsichords and a spinet
are on loan to the Germanisches Nationalmuseum,
Nuremberg, but exhibited at the Stadtische In-
strumentensammlung der Stadt Minchen. The pi-
anos, however, are believed still to be in Bethersden.
Coorer Unron.
See. New York. Cooper Union.
CopENHAGEN.
Musikhistorisk Museum & Carl Claudius Sammlung,
Abenra 30, DK-1124, Kobenhavn, Denmark. Carl
Claudius, Car! Clandins’ Samling af gamle Mu-
sikinstrumenter (Copenhagen, Levin & Munksgaard,
1931). Angul Hammerich, Beskrivende illustreret kata-
log ... Copenhagen, Hos Nielsen & Lydiche, 1909.
(German edition: Beschreibender Katalog ... Copen-
hagen, 1911. Supplement zum Katalog ... Copenhagen,
1960 (reproduction of typescript).
The Carl Claudius Collection is now in the care
of the Musikhistorisk Museum. Though there is at
present no comprehensive catalogue, data sheets
were kindly supplied by the Museum for this pub-
lication.
CorreR COLLECTION.
See. Venice. Correr Collection.
Crossy Brown COLLECTION.
See. New York. Metropolitan Museum of Art.
Dean CastLe CoLLection, Kilmarnock.
See. Brownsea Island.
De Bousquet COLLECTION.
See: Paris. De Bousquet Collection.
Dona.pson COLLECTION.
See. London. Royal College of Music.
Drespen. Staatliche Kunstsammlungen Dresden. Mu-
seum fir Kunsthandwerk.

Schloss Pilnitz, PSF 450, Dresden, DDR-Go12. No
catalogue is available (1990), but notes on the in-
struments made by Martin-Christian Schmidt of
Berlin in 1984 are available from the Museum.
Duan. National Museum.
Many of the keyboard instruments in this collection
receive mention in W. H. Grattan-Flood, ‘Dublin
Harpsichord and Pianoforte Makers’, Journal of the
Royal Society of Antiquaries of Ireland, Vol. 39, 1909,
Pp. 137-45 [Fad
Dunpee. The Dundee Museum. W. A. Simpson Col-
lection.
Epivsurcu University. The Russell Collection of
Early Keyboard Instruments.
Sidney Newman and Peter Williams, The Russell
Collection and Other Early Keyboard Instruments in Saint
Cecilia’s Hall, Edinburgh (Edinburgh, Edinburgh Uni-
versity Press, 1968); Anne Macauley, 4 Check-List
of the Plucked and Hammered Stringed Instruments in
the Edinburgh University Collection of Historic Music
Instruments (Edinburgh, 1982); A Brief Guide to the
Russell Collection of Harpsichords and Clavichords in St.
Cecilia's Hall (Edinburgh, 1981; revised 1986). This
important collection contains the whole of Raymond
Russell’s private collection except for four in-
struments which were retained by his mother, Mrs.
Maud Russell, including two Kirkman harpsichords,
a Taskin harpsichord, and a Hass clavichord. A new
catalogue of keyboard instruments is reported (1993)
to be in course of preparation.
E,senacu. Bachhaus.
Curt Sachs, Verzeichnis ..., Neue Bachgesellschaft,
Jhg. 19, Vol. 1. (Leipzig, 1918). According to Bz, no
harpsichords or clavichords have been added since
this collection was established; therefore the Sach’s
catalogue is as useful for present purposes as the
newer catalogue by Friedrich Breidert and Conrad
Freyse, Verzeichnis der Sammlung alter Musikinstrumente
im Bachhaus xu Eisenach, herausgegeben von der Nenen
Bachgesellschaft. (Leipzig, Breitkopf & Hartel, 1939;
4th edn. 1964). Nevertheless, there is a more recent
publication: Herbert Heyde, Historische Instrumente im
Bachbaus Eisenach (Eisenach, 1976) [Heyde].
ERLANGEN UNIVERSITY.
The collection of 77 instruments contains 4 clavi-
chords, 1 spinet, 1 virginal, 1 modern two-manual
harpsichord, and a number of pianos and Tan-
gentenfligel. The keyboard instruments were do-
nated by Reinhold Neupert (1872-1952) between
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THE CHIEF COLLECTIONS xxiii
1923 and 1925, and by Dr. Ulrich Ritck (1882-1962)
from about 1950 onwards, while others came by
donation or loan from other private individuals. A
check-list is to be found in Eschler
FraLa-AHLGRIMM COLLECTION
See. Vienna. Sammlung Fiala-Ahlgrimm.
Fincucocks, Goudhurst, Kent.
A comprehensive collection of early keyboard in-
struments assembled by Richard Burnett, including
organs, clavichords, harpsichords and pianos. Wil-
liam Dow, Fincheocks Collection: Catalogue. The Richard
Burnett Collection of Historical Keyboard Instruments.
Compiled by William Dow, with a foreword by
Richard Burnett (Goudhurst, Kent, 1989).
Fiske COLLECTION.
See. Claremont.
Frorence. Conservatorio di Musica ‘Luigi Cherubini’.
L. Bargagna, Gi strumenti musicali raccolti nel Museo del
R. Instituto ‘L. Cherubini’ a Firenze (Florence, 1911).
Vinicio Gai, Gi strumenti musicali della corte Medicea e
il Museo del Conservatorio ‘Luigi Cherubini’ di Firenze
(Florence, Licosa, 1969). See also: Antichi Strumenti:
Collezioni del Medici e dei Lorena alla formazione del
Museo del Conservatorio di Firenze, Firenze, Palazzo Pitti,
Sebbruario—dicembre 1960 (Florence, 1980).
Fiorence. Kraus Collection.
Alexander Kraus, the Younger, Catalogo della collezione
etnografco-musicale Kraus in Firenze. Sezione strumenti
musicali (Florence, Tipografia di Salvadore Landi,
1901). This collection was absorbed in the Heyer
Collection (then at Cologne, now at Leipzig) in
1908.
ForsytH CoLLectIon.
See: Manchester. Forsyth Collection.
FRANKFURT AM Marn. Historisches Museum.
Peter Epstein, Katalog der Musikinstrumente im Hi-
storischen Museum der Stadt Frankfurt am Main (Frank-
furt, 1927).
FRANKFURT AN DER ODER.
Raritaten und Kuriositdten der Staatlichen Reka-Sammlung
historischer Musikinstrumente im Bezirksmuseum Viadrina,
Frankfurt/Oder. The most recent catalogue is: Her-
bert Heyde, Historische Musikinstrumente der Staatlichen
Reka-Sammlung am Bezirksmuseum Frankfurt(Oder)
(Wiesbaden, 1989).
xxiv THE CHIEF COLLECTIONS
FRANz FERDINAND COLLECTION.
See: Vienna. Sammlung des Erzherzogs Franz Fer-
dinand von Osterreich-Este.
FrisMuTH COLLECTION.
See. Philadelphia. University of Pennsylvania Mu-
seum. Frismuth Collection.
Gatutnt COLLECTION.
See: Milan, Museo Civico. Gallini Collection.
Ga.PIn COLLECTION.
The greater part of this collection, originally as-
sembled by Canon F. W. Galpin at Hatfield Broad
Oak, Essex, was sold to the Museum of Fine Arts,
Boston, Mass., during World War I; most of the
remaining instruments were sold by auction in Lon-
don, in 1946. William Lynd, Ancient Musical Instru-
ments ... as Illustrated by Typical Examples in the Galpin
Collection ... (London, 1897). Most of the instru-
ments are also illustrated in F. W. Galpin, Old English
Instruments of Music, 3rd edn. (London, Methuen,
1932). See also: Boston, Mass., Museum of Fine Arts.
Geneva. Musée d’instruments anciens de musique.
23, rue Frangois Lefort, 1206 Genéve. A private
museum (but open to the public), created in Sep-
tember 1960 by Elisa-Isolde Clerc and Fritz Ernst.
A preliminary catalogue is available, but a more
comprehensive work is in course of production.
GERMANISCHES NATIONALMUSEUM.
See: Nuremberg. Germanisches Nationalmuseum.
GHENT.
Two collections were formed at Ghent by C. C.
Snoeck. First, C. C. Snoeck, Catalogue de la collection
dinstruments de musique anciens on curienx formée par
C. C. Snoeck (Gand, Vuylsteke, 1894). Incorporated
in the Berlin Collection in 1902. Second, C. C.
Snoeck, Catalogue de la collection d’instruments de musique
Ramands et néerlandais de C. C: Snoeck (Gand, 1903).
Bought by the Belgian Government in 1909 and
added to the Brussels Museum Collection. A number
of Snoeck instruments also went to St. Petersburg.
Among these was only one keyboard instrument,
an Italian spinet.
GorGa CoLLecTION
See. Rome, Museo degli Antichi Strumenti Musicali.
GortuensurG. The Gothenburg Museum.
Otto Thulin, Historiska Avdelningen, Goteborgs Museum
Musikinstrument (Gothenburg, Elanders Boktryckeri,
1931).
Google
Graz. Steiermarkisches Landesmuseum.
Details of a small collection of clavichords in the
Steiermarkisches Landesmuseum, Joanneum, are
given in Gerhard Stradner, ‘Musikinstrumente in
Grazer Sammlungen’, in Verlag Osterriichische Ak-
ademie der Wissenschaften Tabulae musicae Austriacae:
Kataloge Osterreichischer Musikitberlieferung, Vol. 11 (Vi-
enna, 1986).
Tue Hacue. Gemeentemuseum.
The nucleus of the instrument-collection consists
of the Scheurleer Collection, assembled between
1885 and 1927. Nearly as many instruments again
have been added since. See: Dirk Balfoort, Gemeente-
Museum 's-Gravenbage. Vol. 2: De Muxiekbistorische
Afdee-
ing (ver, D. F Scheurleer) ... (The Hague, 1935).
The most recent catalogue is Clemens von Gleich,
Haspsichords Clavichords Organs Harmoniums, Checklist
of the Musical Instrument Collection, Music De-
partment, Haags Gemeentemuseum (The Hague,
1989).
Hate. Handel-Haus.
Musikmuseum der Stadt Halle, Grosse Nikolai
Strasse 5, Halle (Saale), DDR-4020. Konrad Sasse,
Katalog zu den Sammlungen des Handel-Hauses in Halle.
Part 5: Musikinstrumentensammlung, Besaitete Tasten-
instramente (Halle an der Saale, 1966); and also:
Herbert Heyde, Historische Musikinstrumente des Han-
del-Hauses: Fibrer durch die Ausstellungen (Halle, Han-
del-Haus, 1983), [HeydeHH].
Hampurc. Beurmann Collection.
The collection assembled by Professor Dr. Andreas
Beurmann, containing important examples of key-
board instruments from all the national schools, is
now almost certainly the largest and most prestigious
in private hands. There is, as yet, no catalogue,
though Dr. Beurmann reports that a descriptive
catalogue, in two volumes, with many photographs
and moulding profiles, will be published by him by
the end of 1994.
Hamepurc. Museum fir Hamburgische Geschichte.
Hans Schréder, Verzeichnis der Sammlung alter Musik-
instrumente ... (Hamburg, 1930).
HameurG. Museum fir Kunst und Gewerbe.
An important collection of early keyboard in-
struments. Alexander Pilipczuk, ‘Erwerbungen fur
die Sammlung alter Musikinstrumente’, Jahrbuch des
Museums fiir Kunst und Gewerbe Hamburg, Vol. 6-7
(Hamburg, 1988). There are also a number of spe-

cialist articles dealing with instruments, published
by the Museum from time to time.
Hammer COLLECTION.
See. Stockholm. Museum Christian Hammer.
Harp1nG COLLECTION.
See. Chicago. George F. Harding Collection.
Hatcuanps Park, East Clandon, Surrey.
See. Cobbe Collection.
HatFrELp Broap Oak, Essex.
See. Galpin Collection.
Hotyoxe, Massachusetts. Belle Skinner Collection.
William Skinner, The Belle Skinner Collection of Musical
Instruments. Catalog ... (Holyoke [Philadelphia prin-
ted], 1933). Later incorporated in the Yale Collection.
See. New Haven.
Horniman Museum.
See: London. Horniman Museum.
Howarp De WALDEN COLLECTION.
The collection of Lord Howard de Walden at Dean
Castle, Kilmarnock, Ayrshire, which at one time
formed part of the van Raalte Collection, Brownsea
Island, Dorset, and was dispersed in 1927; it con-
tained no signed instruments.
HunGartian Nationat Museum.
See. Budapest.
Kraus Couiection.
See. Florence. Kraus Collection.
Le1pzic. The Heyer Collection.
Georg Kinsky, Musikbistorisches Museum von Wilbelm
Heyer ... Katalog. Vol. 1: Besaitete Tasten-instrumente ...
(Cologne, Wilhelm Heyer (Kommissions-Verlag von
Breitkopf & Hartel in Leipzig), 1910). The collection
was presented to Leipzig by H. Hinrichsen in 1926.
It was originally housed in the Musikhistorisches
Museum Wilhelm Heyer, Cologne, but in 1927
became part of the Musikinstrumenten-Sammlung
of Leipzig University noted below.
Lerpzic. Sammlung Paul de Wit.
Paul de Wit, Perlen aus der Instramentensammlung Paul
de Wit (Leipzig, 1892). This collection was absorbed
in 1905 into the Heyer Collection, then at Cologne.
The Berlin Collection had bought, in 1888 and 1891,
two collections made by de Wit. Some of the de
‘Wit instruments have disappeared completely.
aty Google
THE CHIEF COLLECTIONS xxv
Lerpzic. Leipzig University Musikinstrumenten-
Sammlung.
The University was until 1991 known as the Karl-
Marx Universitat, Leipzig, but in that year its tide
reverted simply to Leipzig Universitit. The col-
lection contains the Heyer Collection (see above)
and other instruments. There are a number of
catalogues, of which the two most comprehensive
in terms of the keyboard collection are those shown
in the bibliography as Henkel and Henkelz. Bz lists
an earlier catalogue, and Clink also gives other useful
references.
LentnGrab. Institute for Scientific Research on the
Theatre and Music.
(Gosudarstvennyi Nauchno-Issledovatel’skii Institut
Teatra i Muzyki.) The collection of instruments at
the Hermitage Museum (see: Ging) has been moved
to this Institute. There is no collection at the
Leningrad Conservatoire.
Léry COLLECTION.
See: Paris. Léry Collection.
Linz. Museum Francisco-Carolinum.
Fithrer durch das Musenm ... Herausgegeben von der
Museums- Verwaltung, 3rd edn. (Linz, 1910).
Linz. Oberésterreichisches Landesmuseum. Musik-
instrumentensammlung.
A collection containing a number of early keyboard
instruments, although with the exception
pianos, none are by named makers. Othmar Wessely,
of the
Die Musikinstrumentensammlung des Oberisterreichisches
Landesmuseum (Linz, [1952]), and Brigitte Heinzl,
‘Die Musikinstrumentensammlung des Ober-
ésterreichischen Landesmuseum, eine Erginzung
zu Othmar Wessely’, in Jabrbuch des Oberisterreichisches
Museum Musealverins, Gesellschaft fir Landeskunde,
126 (Linz, 1981). Clink also has other recent ref-
erences, but since they relate to unsigned in-
struments, they are not listed here.
Lisson. Conservatorio Nacional.
Michel’Angelo Lambertini, Primeiro miicleo de um museu
instrumental em Lisboa: catalogo sumario (Lisbon, 1914).
Records some of the instruments in the collection,
which has, however, grown considerably since that
date. A general account of the Museu Instrumental,
with illustrations of three of the keyboard in-
struments, is in: Boletim do Coservatorio Nacional, Vol.
I, no. 1, [Lisbon], 1946-7. See also: Festival Gulbenkian
de miisica. Exposigio internacional de instrumentos antigos.
Catalogo (Lisbon, 1961).
xxvi THE CHIEF COLLECTIONS
LiveRPOoL.
The former Rushworth & Dreaper Collection of
Messrs Rushworth & Dreaper Ltd. The Rushworth
& Dreaper Collection of Antique Musical Instruments
and Historical Manuscripts (Liverpool, [¢. 1925]). The
collection was purchased in 1967 by the Liverpool
Museum (National Museums and Galleries on Mer-
seyside), William Brown Street, Liverpool, L3 8EN.
There is currently no catalogue available, but a
basic inventory check-list is available for curatorial
purposes, and it is understood (1994) that a new
comprehensive catalogue is in course of preparation
with the title: Ewrpean Musical Instruments in the
Liverpool Museum.
LiaNDupNo, North Wales. William Barrow Collection.
Most of the instruments are listed in: William Bar-
row, ‘Instruments of the Masters’, Listener, London,
12 January 1939, p. 100. The collection has now
been dispersed.
Lonpon. Benton Fletcher Collection.
Benton Fletcher, ‘Early Music at Devonshire
House’, Listener, London, 1938, pp. 713-14, gives
an illustrated description. Its pre-war home, Dev-
onshire House, Bloomsbury, was destroyed in an
air raid in 1940, together with the stands of some
of the instruments, though the most important
instruments had fortunately been sent to safety. They
are now reassembled at Fenton House, Hampstead.
Raymond Russell, Catalogue of the Benton Fletcher
Collection of Early Keyboard Instruments at Fenton House,
Hampstead (London, Country Life Ltd., for the
National Trust, 1957; reprinted with revisions by
Trevor Pinnock and Andrew Garrett, 1976, and
again in 1981 with further revisions by Andrew
Garrett, and finally in 1986 with further revisions
by Mimi Waitzman) [BFCa4.
Lonpon. Broadwood Collection.
John Broadwood & Sons, Collection of Antique In-
struments at John Broadwood ¢ Sons, Ltd. (London,
[1903]). In 1903 the collection was housed in the
firm’s premises in Conduit Street, and was sub-
sequently moved to Hanover Street. The collection
has now (1994) been dispersed.
Lonpon. Captain J. Lane’s Collection, Wanstead,
Essex, near London.
Dispersed after World War II.
Lonpon. Horniman Museum.
Jean Jenkins, Musical instruments... Horniman Museum
(London, 1958; znd edn. London, 1970). See also:
Google
Palmer. The instruments in the collection were re-
displayed in 1993.
Lonpon. The Mirrey Collection.
This important collection, assembled by Dr. Roger
Mirrey contains harpsichords, spinets, clavichords,
and early pianos. A check-list is available [Mirrej.
Lonpon. Music Loan Exhibition, Fishmongers’ Hall,
1904.
Illustrated catalogue (London, Novello, 1909).
Lonpon. Raymond Russell Collection.
After Russell’s death in 1964 most of the instruments
went to Edinburgh University, where they now form
the major part of the Russell Collection at St.
Cecilia’s Hall. See: Edinburgh University.
Lonpon. Royal College of Music Collection (including
the Donaldson and Hipkins collections).
Sir George Donaldson, Catalogue of the Musical In-
struments and Olyects Forming the Donaldson Museum ...
the Royal College of Music (London, 1899). Not reliable.
See also. Elizabeth Wells, Guide to the Collection (Lon-
don, 1964).
Lonpon. Victoria and Albert Museum.
Carl Engel, A Descriptive Catalogue of the Musical In-
struments in the South Kensington Museum, 2nd edn.
(London, Chapman & Hall, 1874). Raymond Russell,
Catalogue of Musical Instruments (Victoria and Albert
Museum): Nol. 1: Keyboard Instruments (London,
HMSO, 1968). Many of the instruments in this
collection are illustrated and described in Philip
James, Early Keyboard Instruments (London, Peter
Davies, 1930); and the Museum issued a Picture Book
of Keyboard Musical Instruments (London, 1929), which
was superseded in 1959 by Raymond Russell, Early
Keyboard Instruments (Small Picture Book no. 48). A
further useful pictorial record is contained in Peter
Thornton, Musical Instruments as Works of Art (Victoria
and Albert Museum, London, HMSO, 1968; znd
edn. London, 1982); while the most recent and
reliable catalogue is Catalogue of Musical Instruments,
Volume 1: Keyboard Instruments, edited by Howard
Schott, Victoria and Albert Museum, 2nd edn. (Lon-
don, HMSO, 1985), [V&A Caf.
Loup CouLection.
See: Paris. Loup Collection.
Lucerne. Schumacher Collection.
Heinrich Schumacher, Katalog yu der Ausstellung von
Muzikinstrumenten friherer Zeiten (Lucerne, 1888). See
also. Franz August Géhlinger, Geschichte des Klavichords

@asel, Birkhauser, 1910), p. 68. This collection
was offered for sale in 1909, but apparently was
eventually dispersed in 1923.
MANcHesTER. Boddington Collection.
J. Kendrick Pyne, Catalogue of Musical Instruments
Principally Illustrative of the History of the Pianoforte, the
Property of Henry Boddington [formerly of J. K. Pyne].
(Manchester, 1888).J. K. Pyne (1852-1938) was city
organist at Manchester. H. Boddington lived at
Pownall Hall, Wilmslow, Cheshire. The collection
was dispersed about 1900.
MaNcHesTER. Forsyth Collection.
Messrs. Forsyth Bros., Ltd., 126/8 Deansgate, Man-
chester. There is no catalogue, though the collection
still exists at the premises in Deansgate.
Mancuester. Henry Watson Collection.
Henry Watson, The Royal Manchester College of Music.
Catalogue of the Henry Watson Collection of Musical
Instruments (Manchester, 1906). Divided between the
Central Library, Manchester, and the Royal Man-
chester College of Music; some instruments were
destroyed in World War II. The instruments appear
now to have been further dispersed.
MEYER COLLECTION.
See: Paris. André Meyer Collection.
MicuicaN UNIveRsITY.
See: Ann Arbor.
Mian. Conservatorio di Musica.
Eugenio de’ Guarinoni, Gi strumenti musicali nel museo
del Conservatorio ..., (Milan, 1908).
Mian. Museo Civico, Gallini Collection.
Natale Gallini, Mostra di antichi strumenti musicali della
collezione N. Gallini (Milan, 1953), 43 pp.; 32 plates.
In all, 190 instruments 10 of them keyboard in-
struments. Natale Gallini, Civico Museo di Antichi
Strumenti Musicali: catalogo descrittivo (Milan, Comune
di Milano, 1958), 128 pp.; 77 plates. Natale and
Franco Gallini, Museo degli Strumenti Musicali (Comune
di Milano): Catalogo (Milan, Castello Sforzesco, 1963).
Miran. Museo Teatrale alla Scala.
Stefano Vittadini, Catalogo del Museo Teatrale alla Scala
(Milan, 1940). Giovanni Pellini, ‘Strumenti Musicali’,
in Museo Teatrale alla Scala, Vol. 20 (Milan, Electa
Editrice, 1975), pp. 309-22. Giampiero Tintori, //
Museo Teatrale
alla Scala (Milan, Electa Editrice, 1985).
The most recent catalogue is La Collezione di Strumenti
Google
THE CHIEF COLLECTIONS xwii
Musicali del Museo Teatrale alla Scala, ed. G. Bizzi
(Milan, S. Ivam Editoriale, 1991) [Scala].
Mopena. Museo Civico.
A short description of the collection of instruments
appeared in Luigi Francesco Valdrighi, No-
mocheliurgografia ... (Modena, Societa Tipografica,
1884). See also. catalogue of the Italian section of
the Vienna Exhibition, 1892: Internationale Ausstellung
fir Musik und Theaterwesen, Wien, 1892. Fach-Katalog
der Musik-historischen Abteilung des Konigreiches Italien
(Vienna, 1892), pp. 293-4. The most up-to-date
catalogue is Anticht strumenti musicali. Catalogo del fondo
musicale del Museo Civico di Storia e Arte Medievale ¢
Moderna di Modena (Modena, 1982). This is well
illustrated and presented, but the Museum plans to
issue an updated version.
Municu. Bayerisches Nationalmuseum.
K. A. Bierdimpfl, Die Sammlung der Musikinstrumente
des Bayerischen Nationalmuseums (Munich, 1883). This
collection was severely damaged during World War
II. Despite suggestions to the contrary, the collection
has not been moved to the Deutsches Museum.
Municu. Deutsches Museum von Meisterwerken der
Naturwissenschaft und Technik.
Fubrer durch die Sammlungen (Leipzig, [1907]). A more
recent general guide is given in Oljekt- und Demon-
strationsverzeichnis: Stand Oktober 1976, and it is
intended that further, more complete supplements
listing instruments by type will be issued. Of these,
the first, describing all the wind instruments, ap-
peared in 1976.
Municu. Stadtische Instrumentensammlung der Stadt
Minchen.
Several instruments from the Colt Clavier Collection
(gx) are on display in the Museum.
Naptes. Conservatorio di Musica ‘S. Pietro a Majella’,
Museo Storico Musicale.
Ettore Santagata, // Museo Storico Musicale di ‘S. Pietro
a Majella’ (Naples, Francesco Giannini& Figli, 1930).
NeuperT COLLECTION.
See. Erlangen University, and Nuremberg, Ger-
manisches Nationalmuseum.
New Haven, Connecticut. Yale University. Collection
of Musical Instruments.
Morris Steinert presented part of his collection to
Yale University in 1900 (see: Steinert Collection).
The Albert Steinert Collection is now also on long-
term loan to the Yale Collection. The Belle Skinner
xxvi THE CHIEF COLLECTIONS
LiveRPOoL.
The former Rushworth & Dreaper Collection of
Messrs Rushworth & Dreaper Ltd. The Rushworth
& Dreaper Collection of Antique Musical Instruments
and Historical Manuscripts (Liverpool, [¢. 1925]). The
collection was purchased in 1967 by the Liverpool
Museum (National Museums and Galleries on Mer-
seyside), William Brown Street, Liverpool, L3 8EN.
There is currently no catalogue available, but a
basic inventory check-list is available for curatorial
purposes, and it is understood (1994) that a new
comprehensive catalogue is in course of preparation
with the title: Ewrpean Musical Instruments in the
Liverpool Museum.
LiaNDupNo, North Wales. William Barrow Collection.
Most of the instruments are listed in: William Bar-
row, ‘Instruments of the Masters’, Listener, London,
12 January 1939, p. 100. The collection has now
been dispersed.
Lonpon. Benton Fletcher Collection.
Benton Fletcher, ‘Early Music at Devonshire
House’, Listener, London, 1938, pp. 713-14, gives
an illustrated description. Its pre-war home, Dev-
onshire House, Bloomsbury, was destroyed in an
air raid in 1940, together with the stands of some
of the instruments, though the most important
instruments had fortunately been sent to safety. They
are now reassembled at Fenton House, Hampstead.
Raymond Russell, Catalogue of the Benton Fletcher
Collection of Early Keyboard Instruments at Fenton House,
Hampstead (London, Country Life Ltd., for the
National Trust, 1957; reprinted with revisions by
Trevor Pinnock and Andrew Garrett, 1976, and
again in 1981 with further revisions by Andrew
Garrett, and finally in 1986 with further revisions
by Mimi Waitzman) [BFCa4.
Lonpon. Broadwood Collection.
John Broadwood & Sons, Collection of Antique In-
struments at John Broadwood ¢ Sons, Ltd. (London,
[1903]). In 1903 the collection was housed in the
firm’s premises in Conduit Street, and was sub-
sequently moved to Hanover Street. The collection
has now (1994) been dispersed.
Lonpon. Captain J. Lane’s Collection, Wanstead,
Essex, near London.
Dispersed after World War II.
Lonpon. Horniman Museum.
Jean Jenkins, Musical instruments... Horniman Museum
(London, 1958; znd edn. London, 1970). See also:
Google
Palmer. The instruments in the collection were re-
displayed in 1993.
Lonpon. The Mirrey Collection.
This important collection, assembled by Dr. Roger
Mirrey contains harpsichords, spinets, clavichords,
and early pianos. A check-list is available [Mirrej.
Lonpon. Music Loan Exhibition, Fishmongers’ Hall,
1904.
Illustrated catalogue (London, Novello, 1909).
Lonpon. Raymond Russell Collection.
After Russell’s death in 1964 most of the instruments
went to Edinburgh University, where they now form
the major part of the Russell Collection at St.
Cecilia’s Hall. See: Edinburgh University.
Lonpon. Royal College of Music Collection (including
the Donaldson and Hipkins collections).
Sir George Donaldson, Catalogue of the Musical In-
struments and Olyects Forming the Donaldson Museum ...
the Royal College of Music (London, 1899). Not reliable.
See also. Elizabeth Wells, Guide to the Collection (Lon-
don, 1964).
Lonpon. Victoria and Albert Museum.
Carl Engel, A Descriptive Catalogue of the Musical In-
struments in the South Kensington Museum, 2nd edn.
(London, Chapman & Hall, 1874). Raymond Russell,
Catalogue of Musical Instruments (Victoria and Albert
Museum): Nol. 1: Keyboard Instruments (London,
HMSO, 1968). Many of the instruments in this
collection are illustrated and described in Philip
James, Early Keyboard Instruments (London, Peter
Davies, 1930); and the Museum issued a Picture Book
of Keyboard Musical Instruments (London, 1929), which
was superseded in 1959 by Raymond Russell, Early
Keyboard Instruments (Small Picture Book no. 48). A
further useful pictorial record is contained in Peter
Thornton, Musical Instruments as Works of Art (Victoria
and Albert Museum, London, HMSO, 1968; znd
edn. London, 1982); while the most recent and
reliable catalogue is Catalogue of Musical Instruments,
Volume 1: Keyboard Instruments, edited by Howard
Schott, Victoria and Albert Museum, 2nd edn. (Lon-
don, HMSO, 1985), [V&A Caf.
Loup CouLection.
See: Paris. Loup Collection.
Lucerne. Schumacher Collection.
Heinrich Schumacher, Katalog yu der Ausstellung von
Muzikinstrumenten friherer Zeiten (Lucerne, 1888). See
also. Franz August Géhlinger, Geschichte des Klavichords

@asel, Birkhauser, 1910), p. 68. This collection
was offered for sale in 1909, but apparently was
eventually dispersed in 1923.
MANcHesTER. Boddington Collection.
J. Kendrick Pyne, Catalogue of Musical Instruments
Principally Illustrative of the History of the Pianoforte, the
Property of Henry Boddington [formerly of J. K. Pyne].
(Manchester, 1888).J. K. Pyne (1852-1938) was city
organist at Manchester. H. Boddington lived at
Pownall Hall, Wilmslow, Cheshire. The collection
was dispersed about 1900.
MaNcHesTER. Forsyth Collection.
Messrs. Forsyth Bros., Ltd., 126/8 Deansgate, Man-
chester. There is no catalogue, though the collection
still exists at the premises in Deansgate.
Mancuester. Henry Watson Collection.
Henry Watson, The Royal Manchester College of Music.
Catalogue of the Henry Watson Collection of Musical
Instruments (Manchester, 1906). Divided between the
Central Library, Manchester, and the Royal Man-
chester College of Music; some instruments were
destroyed in World War II. The instruments appear
now to have been further dispersed.
MEYER COLLECTION.
See: Paris. André Meyer Collection.
MicuicaN UNIveRsITY.
See: Ann Arbor.
Mian. Conservatorio di Musica.
Eugenio de’ Guarinoni, Gi strumenti musicali nel museo
del Conservatorio ..., (Milan, 1908).
Mian. Museo Civico, Gallini Collection.
Natale Gallini, Mostra di antichi strumenti musicali della
collezione N. Gallini (Milan, 1953), 43 pp.; 32 plates.
In all, 190 instruments 10 of them keyboard in-
struments. Natale Gallini, Civico Museo di Antichi
Strumenti Musicali: catalogo descrittivo (Milan, Comune
di Milano, 1958), 128 pp.; 77 plates. Natale and
Franco Gallini, Museo degli Strumenti Musicali (Comune
di Milano): Catalogo (Milan, Castello Sforzesco, 1963).
Miran. Museo Teatrale alla Scala.
Stefano Vittadini, Catalogo del Museo Teatrale alla Scala
(Milan, 1940). Giovanni Pellini, ‘Strumenti Musicali’,
in Museo Teatrale alla Scala, Vol. 20 (Milan, Electa
Editrice, 1975), pp. 309-22. Giampiero Tintori, //
Museo Teatrale
alla Scala (Milan, Electa Editrice, 1985).
The most recent catalogue is La Collezione di Strumenti
Google
THE CHIEF COLLECTIONS xwii
Musicali del Museo Teatrale alla Scala, ed. G. Bizzi
(Milan, S. Ivam Editoriale, 1991) [Scala].
Mopena. Museo Civico.
A short description of the collection of instruments
appeared in Luigi Francesco Valdrighi, No-
mocheliurgografia ... (Modena, Societa Tipografica,
1884). See also. catalogue of the Italian section of
the Vienna Exhibition, 1892: Internationale Ausstellung
fir Musik und Theaterwesen, Wien, 1892. Fach-Katalog
der Musik-historischen Abteilung des Konigreiches Italien
(Vienna, 1892), pp. 293-4. The most up-to-date
catalogue is Anticht strumenti musicali. Catalogo del fondo
musicale del Museo Civico di Storia e Arte Medievale ¢
Moderna di Modena (Modena, 1982). This is well
illustrated and presented, but the Museum plans to
issue an updated version.
Municu. Bayerisches Nationalmuseum.
K. A. Bierdimpfl, Die Sammlung der Musikinstrumente
des Bayerischen Nationalmuseums (Munich, 1883). This
collection was severely damaged during World War
II. Despite suggestions to the contrary, the collection
has not been moved to the Deutsches Museum.
Municu. Deutsches Museum von Meisterwerken der
Naturwissenschaft und Technik.
Fubrer durch die Sammlungen (Leipzig, [1907]). A more
recent general guide is given in Oljekt- und Demon-
strationsverzeichnis: Stand Oktober 1976, and it is
intended that further, more complete supplements
listing instruments by type will be issued. Of these,
the first, describing all the wind instruments, ap-
peared in 1976.
Municu. Stadtische Instrumentensammlung der Stadt
Minchen.
Several instruments from the Colt Clavier Collection
(gx) are on display in the Museum.
Naptes. Conservatorio di Musica ‘S. Pietro a Majella’,
Museo Storico Musicale.
Ettore Santagata, // Museo Storico Musicale di ‘S. Pietro
a Majella’ (Naples, Francesco Giannini& Figli, 1930).
NeuperT COLLECTION.
See. Erlangen University, and Nuremberg, Ger-
manisches Nationalmuseum.
New Haven, Connecticut. Yale University. Collection
of Musical Instruments.
Morris Steinert presented part of his collection to
Yale University in 1900 (see: Steinert Collection).
The Albert Steinert Collection is now also on long-
term loan to the Yale Collection. The Belle Skinner
xxviii THE CHIEF COLLECTIONS
Collection was incorporated in that of Yale about
1960; its catalogue is noted above under Holyoke.
Sibyl Marcuse, Check-list of Western Instruments. (Yale
Unix. School of Music.) Part 1: Keyboard Instruments (New
Haven, 1958). (This catalogue includes some Cooper
Union instruments which were later (1960) given
to the Smithsonian Institution.) An exhibition of
selected instruments in the Yale Collection was held
in the University Art Gallery, February-March 1960.
Catalogue by Sibyl Marcuse: Musical Instruments at
Yale (New Haven, 1960). Richard Rephann, Checklist,
Yale Collection of Musical Instruments (New Haven,
1968). Idem, Yale University Collection of Musical
Instruments, Inventory of Accessions’ (un-
published, New Haven, October 1988). A new
catalogue is in course of preparation (1993).
New York. Cooper Union.
The instruments were on loan to the Yale Collection
in 1957. In 1960 they were given to the Smithsonian
Institution, Washington.
New York. Metropolitan Museum of Art.
The Crosby Brown Collection of Musical Instruments ...
Catalogue of Keyboard Instruments, Metropolitan Mu-
seum of Art Handbook no. 13 (New York,
Metropolitan Museum of Art, 1903). Emanuel
Winternitz, Keyboard Instruments in the Metropolitan
Museum of Art a picture book (New York, 1961).
[Want 1967]. Laurence Libin, Keyboard Instruments, The
Metropolitan Museum of Art Bulletin, Vol. 47, no.
1 (New York, Metropolitan Museum of Art, Summer
1989) [LibinKT]. A new check-list of the keyboard
instruments was produced in 1991, and is available
from the Museum.
New York. Morris Steinert Collection.
See: Steinert Collection.
Nuremserc. Germanisches Nationalmuseum.
Damaged during World War II. Later incorporated
the Neupert (1968) and the Rick (1962), collections
both of which are administered separately. A check-
list is available: Renate Huber, Verzeichnis sdmtlicher
Musikinstrumente im Germanischen Nationalmuseum
Nambeg (Wilhelmshaven, Florian Noetzel Verlag,
1989) [Huber]. It is also believed that a full catalogue
of the collection is available, though this has not
been seen.
NureMBerc. Neupert Collection.
Fithrer durch das Musikebistorische Museum Neupert in
Number (J. C. Neupert, 1938). Its Nuremberg home
Google
having been destroyed in World War II, this col-
lection was temporarily housed at Bamberg. In 1968
it was acquired by the Germanisches National-
museum, Nuremberg. A number of the instru-
ments are illustrated, not only in the guide noted
above, but also in: Hanns Neupert, Das Cembalo,
2nd edn. (Kassel, Barenreiter-Verlag, 1951); [Neap
Cemb\; idem, Vom Musikstab zum modernen Klavier,
3rd edn. (Berlin, Krause, 1952); and in Katalog der
internationalen Ausstellung ‘Musik im Leben der Volker’,
von Kathi Meyer (Frankfurt/Main, 1927). A check-
list of the Collection, by J. H. van der Meer,
was issued in the Azeiger des Germanischen
Nationalmuseums, 1969(?), pp. 255-66.
NuremserG. Rick Collection.
At one time partly housed in Erlangen University.
A number of the instruments are described in Tobias
Norlind, Systematik der Saiteninstrumente (Musik-
historisches Museum, Stockholm), and also in Ge-
schichte des Klaviers (Hanover, Albert Kuster, 1939).
The Rick Collection was later incorporated in
the Germanisches Nationalmuseum, Nuremberg,
though some instruments from the collection of
Dr. Ulrich Rick are in the collection of Erlangen
University.
Nypaut CoLLectIon.
See, Stockholm.
Onrario, Canada. Royal Ontario Museum.
See. Toronto.
Oso. Musik-Konservatoriet.
Kristiania, 1904.
Osto. Norsk Folkemuseum, Bygdey.
Harry Fett, Norsk Folkemuseum, Saerudstilling, no. 2:
Musikinstrumenter.
Oxrorp. Ashmolean Museum.
Thurston Dart, The Instruments in the Ashmolean
Museum’, GSJ, Vol. 7, 1954. David D. Boyden,
Catalogue of the Hill Collection of Musical Instruments
in the Ashmolean Museum, Oxford (London, Oxford
University Press, 1969).
Oxrorp. Bate Collection.
The extensive collection of wind instruments as-
sembled by Philip Bate, and subsequently greatly
extended, is housed in the Faculty of Music of
Oxford University. There is also an important col-
lection of keyboard instruments, some of which
came from the Taphouse Collection; others are by

private donation or loan; and the most recent ac-
quisitions are from the former collection of Michael
Thomas. A shortened form of catalogue, BateCat,
called ‘Demi-Catalogue No. 1’, listing the keyboard
instruments with fairly full descriptions, but no
illustrations, is available from the Curator, Bate
Collection, Faculty of Music, St. Aldate’s, Oxford
University.
Oxrorp. Pitt Rivers Museum.
An extensive collection of ethnomusical interest,
with one Italian virginal and a number of other
keyboard instruments of importance.
Oxrorp. Taphouse Collection.
A private collection of keyboard instruments the
greater part of which was sold at Sotheby’s on 7
June 1905, and the remainder of which is now
incorporated in the Bate Collection, Faculty of
Music, Oxford University.
Paris. André Meyer Collection.
148 Bd. Malesherbes, 8¢.
See. Hin, plates 31-4.
Paris. De Bousquet Collection.
This collection, formed by Mme de Bousquet, was
for the most part dispersed at her death in 1955. A
few instruments, including a Ruckers harpsichord,*
were retained by her great-grandson M. Maurice le
Roux, though this appears now to be in other hands.
Paris. Léry Collection.
Catalogue des anciens instruments de musique. . composant
Pancienne collection de M. le Baron de Léry (Paris, 1910)
[Sale catalogue]. The collection, which contained
491 items, was sold by auction in Paris in 1910.
Paris. Loup Collection.
Collection @'instruments de musique. (Paris, 1888). Its 296
instruments were sold by auction in Paris in 1888.
Paris. Musée Instrumental.
The Collection of the Conservatoire National de
Région, formerly housed in the buildings in the rue
de Madrid, is at the time of writing (1994) housed
in the Zone Musique, Halle aux Cuirs de ’EPPV,
avenue Jean-Jaurés, F-75019, Paris. This is the most
comprehensive collection in Paris, containing many
of the instruments formerly in the collection of the
Comtesse de la Chambure. Though there is currently
no complete catalogue, a check-list [M/CL] is avail-
able from the Conservateur du Musée. Publications
dating from the time when the collection was that
of the Conservatoire de Musique include: Gustave
Google
THE CHIEF COLLECTIONS xxix
Chouquet, Catalogue descriptif et raisonné... , new edn.
(aris, Didot, 1884); Léon Pillaut, 1 suppliément au
catalogue de 1884 (Paris, 1894); 2‘ supplément (Paris,
1899); 3° supplément. (Paris, 1903). Other background
material includes: Paris, Exposition Universelle
1900, Musée Rétrospectif de la Classe 17. Instruments de
Musique . & ? Exposition Universelle Internationale de
1900, & Paris, (Paris, 1900) and Musée Instrumental
du Conservatoire, Erand: du clavecin mécanique au piano
en forme de clavecin, (Paris, 1979). See also. ECMIFB.
Parts. Savoye Collection I.
Catalogue des instruments de musique... des XV", XVT,
XVII’ et XVIII’ sitcles (Paris, 1882). This, the ‘Old
Savoye Collection’, containing 214 instruments, was
sold by auction on 15 May 1882.
Paris. Savoye Collection II.
René Savoye, ‘Catalogue des instruments de musique
de la collection Savoye. Liste numérique et dés-
ignation des instruments’ (MS., [1910]). A copy
of this unpublished catalogue, which contains 756
items, was in the Heyer Collection, Leipzig.
Parts. Savoye Collection III.
Léon Savoye, Catalogue des anciens instruments de mu-
sigue. Clavecins et orgues ... [Sale catalogue, Hétel
Drouot, Paris, 13 June 1924].
Paris. Tolbecque Collection.
The collection of A. Tolbecque was eventually added
to that of the Brussels Conservatoire.
PHILaDELpuHt. University of Pennsylvania Museum.
The Frismuth Collection of Musical Instruments.
Poznan. Muzeum Wielkopolskie.
Pracue. National Museum.
Fitbrer durch die Sammlungen des Museums des Konigreiches
Bébmen, in Prag. (Prague, 1897).
ProvipencE, Rhode Island. Rhode Island School of
Design.
Albert Steinert Collection (a portion of the collection
of Morris Steinert. See below. Steinert Collection).
On long-term loan to the Yale University Collection
of Musical Instruments.
Renarx. Régibo Collection.
Abel Régibo, Catalogue d’une ... musicale et d'une
collection d’antiquités (Renaix, 1897), pp. 89-95, deal
with the instruments, which numbered 117. The
collection, which contained a number of harp-
sichords and virginals by Ruckers and other Flemish
makers, was sold by auction in September 1897.
xxx THE CHIEF COLLECTIONS

Rincve Museum. SMITHSONIAN INSTITUTION.

See: Trondheim. Ringve Museum. See. Washington.

Rome. Gorga Collection. Snoeck COLLECTION.

The collection of Evan Gorga is now mostly in the See: Ghent.
Museo degli Antichi Strumenti Musicali, Rome. SouTHEASTERN U.S.A.
Rome. Museo degli Antichi Strumenti Musicali. In January 1979, the Southeastern Historical Key-
Piazza S. Croce in Gerusalemme, 9a. Now contains board Society (SEHKS) was founded by George H.
most of the instruments formerly in the collection Lucktenberg at Converse College, and by 1982, John
Watson (of the Colonial Williamsburg Foundation)
of Commendatore Evan Gorga. The main catalogue
is: Luisa M. Cervelli, ‘Per un Catalogo degli Stru- had started a project, under the auspices of the
menti a Tastiera del Museo degli Antichi Strumenti Society, to catalogue surviving early keyboard in-
struments, particularly those in private hands in the
Musicali’, in Academie ¢ Biblotheci d'Italia, Anno 44
south-eastern U.S.A. The project continues with the
(27° Nuova Serie), nos. 4-5, 1976, pp. 305-43. annual production of the Early Keyboard Journal
RorTHscHILp COLLECTION [EK/) of the The Southeastern Historical Keyboard
See: Vienna. Sammlung des Baron Nathaniel von Society. The main catalogue is to be found in Vols.
Rothschild. 2 and 3.
STEARNS COLLECTION.
Rick CoLLection
See. Nuremberg. Germanisches Nationalmuseum, in See. Ann Arbor.
which it was incorporated, though administered STEINERT COLLECTION.
separately. Morris Steinert printed a catalogue of his New York
collection of harpsichords and clavichords, entitled:
RusHworTtH & Dreaper COLLECTION. In-
The Morris Steinert Collection of Keyed and Stringed
See. Liverpool. struments (New York, C. F. Tretbar, 1893). The
RussELt COLLECTION. collection was shown at the World’s Fair in Chicago,
See. Edinburgh University. 1893, and a part of it presented to Yale University
(see: New Haven). Steinert’s sons were bequeathed
SABATHIL COLLECTION. the remainder, of which a number are in the Albert
See: Vancouver. Steinert Collection in the Rhode Island School of
Design, Providence (q.x), while others were sold,
SatzpurG. Museum Carolino-Augusteum. four of these being bought by the Belle Skinner
Karl Geiringer, Alte Musikinstrumente ... Fibrer und Collection which is now at Yale.
beschreibendes Verzeichnis ... (Leipzig, Breitkopf & The various Steinert catalogues are described in
Hartel, 1932). John H. van der Meer, ‘Die Kiel- Sibyl Marcuse’s Check-list ... (see above under New
klaviere im Salzburger Museum Carolino- Haven). The chief are: Morris Steinert. The Morris
Augusteum’, in Jabresschrift. Salzburger Museum Carol- Steinert Collection of Keyed and Stringed Instruments ...
ino-Axgusteum, Vol. 12-13, 1966-7, pp. 84-96. Kurt (New York, Charles F. Tretbar, 1893); and Theodore
Birsak, Salzburger Klaviere. Verzeichnis und Ent- Booth Willson, Historical Catalogue of the Morris Steinert
wicklungsgeschichtliche Untersuchungen zu den Saiten- Collection of Musical Instruments (New Haven, Yale
Alavieren im Salzburger Museum Carolino Augusteums, University Press, 1913).
Salzburger Museum Carolino Augusteum Jahre-
schrift, Vol. 34, Salzburg, 1988. StockHoLM. Museum Christian Hammer.
Katalog der... Kunst-Sammlung des Museums Christian-
Savoye COLLECTION. Hammer ... Serie II... Die Sammlung der Mu-
See. Paris. Savoye Collection. sikinstrumente (Cologne, 1893). The Collection, which
contained 210 items, was sold by auction at Cologne
ScHUMACHER COLLECTION. in 1893.
See. Lucerne. Schumacher Collection.
SrockHoLm. Musikhistoriska Museet.
SIBELIUSMUSEUM. Johannes Svanberg, Musikhistoriska Museers i Stock-
See. Abo Akademi. holm-Instrumentsamling. Ar 1902 (Stockholm, 1902).

Google

Tobias Norlind, Systematik der Saiteninstrumente ...
Vol. 2: Geschichte des Klaviers (Hanover, Albert Kuster,
1939), is almost a catalogue of the keyboard section
of this collection.
SrocxHotm. Nydahl Collection.
The private collection of Captain Nydahl is now
housed in the Stiftelsens Musikkulturens Framjande,
Stockholm. An extended check-list is available, in-
cluding more detailed descriptions of certain in-
struments: A Complete List of Keyboard Instruments in
Stiftelsens Musikkulturens Frimjande (Nydabl Collection)
in Stockholm, ed. Gdran Grahn (Stockholm,
[SMA.
Srurtcart. Wiarttembergisches Landesgewerbe-
museum.
Hanns H. Josten, Die Sammlung der Musikinstrumente
-. Gtuttgart, 1928).
TaGiiavint COLLECTION
See: Bologna. Tagliavini Collection.
TapHousE COLLECTION.
See: Oxford. Taphouse Collection.
Toxyo.
A small, but growing, collection of keyboard in-
struments. Catalogue of the European Musical Instruments
of the XVIIth, XVIIIth and XIXth Centuries in the Ueno
Gakaen [occasionally transhiterated as Gakuen| Collection
(Tokyo: Institute for the Study of Musical In-
struments, Ueno Gakaen College, 1980), 243
2nd issue (supplement, 1990), 92 pp. In Japanese
and English.
ToLBECQUE COLLECTION.
See: Brussels.
Toronto. Royal Ontario Museum.
A catalogue of the instruments in the Museum is
to be found in: Ladislav Cselenyi, Musical Instruments
in the Royal Ontario Museum (Toronto, 1969). More
up-to-date notes for this publication were kindly
supplied by the Curator.
TRonpHEIM. Ringve Museum.
An important and expanding collection of in-
struments. Peter Andreas Kjeldsberg, Musikk-
instrumenter ved Ringve Museum, The Collection of
Musical Instruments, Ringve Museums Skrifter II,
2nd edn. (Trondheim, 1981). A check-list of in-
struments in the Ringve Museum, Norway. Sissel
Guttormsen, Peter Andreas Kjeldsberg and Jan
Google
THE CHIEF COLLECTIONS xxxi
Voigt: Ringve Museum, Trondheim. Urgitt av Ringve Mu-
seums Venner (Trondheim, 1988). An illustrated se-
lection of the instruments in the Ringve Museum,
Trondheim, with explanatory text in Norwegian,
French, German, and English.
Turku.
See: Abo.
Vancouver. Sabathil Collection.
This collection has been dispersed.
Van Raatre COLLECTION.
1988), See: Brownsea Island.
Venice. Correr Collection.
Elenco degli strumenti musicali antichi da arco, ap pixgico
¢ tasto, posseduti dal Nob. Conte Pietro Correr. . . (Venice,
1872]. Also, a catalogue by Furstenau was published
in Monatshefte fir Musikwissenschaft, Vol. 6, 1874, pp.
105-7. The greater part of this collection, which
contained 121 instruments of the sixteenth and
seventeenth centuries, was acquired by the Brussels
Conservatoire; a few instruments passed into the
Museo Civico at Venice.
Versattes. Bricqueville Collection.
Eugene de Bricqueville, Catalogue sommaire de la col-
lection instruments de musique anciens ... (Versailles,
Cerf, 1893). It is not known when this collection
was dispersed.
Vienna. Museen der Stadt Wien.
pp.; Despite enquiries directed to the various museums
in Vienna, it has not been possible to discover
whether new catalogues are available, or what has
happened to the collections listed in Bz, though a
cordial invitation was received from the ‘Museen
der Stadt Wien’ to send an expert to examine them.
The following entries are therefore unchanged from
those in Bz.
Vienna. Gesellschaft der Musikfreunde.
Gebdude und Kunstsammlungen der Gesellschaft der Musik-
freande in Wien und ibres Conservatoriums (Vienna,
1872), pp. 12-20: ‘Musikalische Instrumente’. A
descriptive article by E. Mandiczewski appeared in
the Jubildums-Festschrift of the Society: Geschichte der
K K Gesellschaft der Musikfreunde, Zusatzband (Vienna,
1912). The early instruments are now in the Kunst-
historisches Museum, Vienna.
Vienna. Kunsthistorisches Museum.
Julius Schlosser, Die Sammlung alter Musikinstrumente.
Beschreibendes Verzeichnis (Vienna, Kunstverlag Anton
xxxii THE CHIEF COLLECTIONS
Schroll, 1920). Victor Luithlen, Katalog der Sammlung
alter Musikinstrumente. Part 1: Saitenklaviere (Vienna,
Kunsthistorisches Museum, 1966). Contains the
Ambras Collection and some instruments bought
from E. Fiala.
Vienna. Sammlung des Baron Nathaniel von Roths-
child.
A list of its 117 instruments appears in: Jnternationale
Ausstellung fiir Musik- und Theaterwesen (Vienna, 1892).
Fach-Katalog der Musikbistorischen Abtheilung von De-
wtschland und Osterreich-Ungarm (Vienna, 1892), pp.
181-8. It has not been possible to discover when
this collection was dispersed.
Vienna. Sammlung des Erzherzogs Franz Ferdinand
von Osterreich-Este.
A catalogue appears in the Fach-Katalog mentioned
in the previous entry, pp. 83-8. The greater part, if
not all, of this collection reached the Kunst-
historisches Museum, Vienna.
‘Vienna. Sammlung Fiala-Ahlgrimm.
Some of the instruments are described and illus-
trated in HaasBM.
Wasuincton, DC. Smithsonian Institution, U.S. Na-
tional Museum of American History.
Frances Densmore, Handbook of the Collection of Mu-
sical Instruments in the United States National Museum,
Smithsonian Institution Bulletin 136 (Washington,
DC, U.S. Government Printing Office, 1927). Check-
Uist of Keyboard Instruments at the Smithsonian Institution,
prepared by the Division of Musical Instruments
(Washington, DC, 1967) (includes the extensive
Worch Keyboard Collection, which was not re-
corded in Densmore, and the former Cooper Union
ized ty Google
instruments, which were given in 1960). Cynthia A.
Hoover, Harpsichords and Clavichords [Illustrations of
selected instruments in the Smithsonian Institution]
(Washington, DC, Smithsonian Institution Press,
1969). A Checklist of Keyboard Instruments at the Smiths-
onian Museum (Washington, DC, Smithsonian In-
stitution, 1967, revised 1973; 2nd edn. 1975, revised
1989). It is understood that a new comprehensive
catalogue is in course of preparation.
Watson COLLECTION.
See. Manchester. Henry Watson Collection.
Wiiramsurc, Virginia.
The Colonial Williamsburg Foundation, P.O. Box
C, Williamsburg, VA 23187, U.S.A. There is no
catalogue at present, but information on instruments
may be obtained from the Foundation.
Wir CoLLEcTIon.
See: Leipzig. Sammlung Paul de Wit.
Worcu CoLtectIon.
Now in the Smithsonian Institution, Washington,
DC.
WURTTEMBERGISCHES LANDESGEWERBEMUSEUM.
See: Stuttgart.
YALE Unrversity. Collection of Musical Instruments.
See: New Haven.
ZurRIcH.
Collections mostly of unsigned clavichords and
small spinets including those of the Gesellschaft
der Freunde alter Musikinstrumente Zirich are to
be found in the Schweizerische Landesmuseum, the
Museum Bellerive, and the Kunstgewerbe Museum.
There appears to be no catalogue though it is
believed that one is in preparation.
PART I BIOGRAPHIES OF THE
MAKERS

Google
Google
 A
A, C. See: ASTON, Cawton. to him is dated 1686 when he received 10 scudi per
elemosina (for alms?). [Barbieri, p. 147.]
A, D. See: D, A.
ACCIARI, Girolamo. Italian maker of harps and
possibly harpsichords. F/. 1631-3. The evidence for
A, F. Kenneth Gilbert had in 1976 a harpsichord recording him here comes from Hammond, who notes
bearing on the top and bottom keys the inscription:
that he is sometimes described as cembalaro or harp-
FA 1677. The instrument is Italian in style, of cypress
sichord maker. He is known to have made at least one
in a red painted case. Compass C/E-c’, 2x8’ registers
harp for Carlo Moretti, one of the musicians in the
in movable slides.
service of Cardinal Francesco, a nephew of Pope Urban
For details of surviving instruments see Part II. VII Barberini.
A, G. An ottavino in the Nydahl Collection, Stockholm, ADAM, Abel, of Turin. Maker of virginals and
carries G A 1627 on the bottom key, while a harpsichord harpsichords. Dates ascertained, 1657-1714.
in the Museo degli Antichi Strumenti Musicali, Rome, For details of surviving instruments see Part II.
is also similarly signed on the bottom key lever G
A|1630. Whether the two instruments are by the same ADAM, Alexander. A Scottish virginal maker, f. 1659
maker is not clear. [GD (1928), s.v. Virginal].
For details of surviving instruments see Part II.
ADLUNG, Jakob. Organist and maker of clavichords;
A, I. A clavichord in the Kunsthistorisches Museum, 1699-1762. Born at Bindersleben near Erfurt on 14
Vienna, bears the initials ] A on the nameboard. These January 1699, son of David Adlung, who was school
refer presumably not to the maker but to a previous attendant (Schuldiener) and organist there, his mother
owner Ignaz Assmayer (1790-1862), Hofkapellmeister, being Dorothea Elisabetha, née Meuerin, of Tondorf.
who was a friend of Schubert’s. It had belonged earlier In 1711 he went to the Andreasschule in Erfurt as a
to two other Hofkapellmeister: Josef Eybler (1765— choral pupil; he also played the violin and had lessons
1846) and Adalbert Gyrowetz (1763-1850). Presented on the clavichord and the kettledrum. He went to Jena
by the violin maker Gabriel Lembéck in 1873. (Ges. in 1723, when Johann Nikolaus Bach (9.v.) was organist
d. Musikfreunde nr. 4.) [Luith, p. 8.] there. J. N. Bach gave Adlung permission to practise
For details of surviving instruments see Part Il. on the organ, which he did in his spare time after
attending general lectures and doing some writing on
A, T. The lowest key on an anonymous spinet which musical subjects. Hiller thinks well of his writing, but
belonged to Raymond Russell bears the initials T..A. politely disapproves of his manner of playing—‘den
Geschmack im Vortrage kénnte man vielleicht etwas
anders bey ihm wiinschen.’
ACCIARI, Benedetto. Harpsichord maker of Rome. In 1727 Adlung became organist at the Predigerkirche
Born ¢. 1666, and appears in the registers of S. Salvatore in Erfurt in succession to Buttstedt, a post which he
in Onda with his father, Francesco, until at least 1683. held till his death. In 1732 he married Beata Elisabetha
From 1705 until 1717, he appears as a harpsichord Ritter, of Grosswannsleben near Magdeburg, by whom
maker in the records of the Oratorio di S. Girolamo he had one daughter, Sophia Elisabetha.
della Carita. [Barbieri, p. 147.] He gave instruction in keyboard playing and in
languages, and lectured on various subjects. Teaching
ACCIARI, Francesco, of Rome. Born ¢. 1609-11. He must have taken up a good deal of his time, for between
was almost certainly the father of the Girolamo Acciari 1728 and 1762 he instructed 218 people in playing and
(g-2.) mentioned in Hammond [note 18, p. 46], as active 248 in languages. He says that he started making
in 1631. Francesco is one of the harpsichord makers clavichords as an alternative to studying, but exactly
known to have been working for the house of the when this was is not known. ‘He had so little inclination
Pamphili and in the documents quoted by Barbieri there for further study’, writes Hiller, ‘that he preferred to
are references to payments made to him for maintenance pick up his plane and devote himself to clavichord-
work on a variety of harpsichords. The last reference making.’ He made 16 of them, and sold them all except

'y Google
4 ADRIANO
one, but was very careful to distinguish himself from On 28 March 1558 he entered the Guild of St. Luke
the professional instrument maker: as a harpsichord maker [5¢].
I have never been responsible [he writes] for bad work, since
there are for this purpose instrument makers who have to @ AELBRECHTS, Lucas. Harpsichord maker of Ant-
earn their bread by it; | have never wished to become such as werp, fl. 1583-9 [Hirtz]. In 1588 he entered the Guild
they, and when I have found such clavichords anywhere I of St. Luke. He was probably the son of Jacob [5¥],
have thought that I should have employed my time on other and seems to have made lutes as well as keyboard
things to better purpose. However, it has been done without
instruments [Lj].
detriment to my main work, in my spare time; partly for
physical exercise and the preservation of my health. They are
mostly veneered [‘fourniret’, perhaps ‘inlaid’] all round; the AERTSZ, Jan. Harpsichord maker in Amsterdam, f.
keys are faced with ivory and black ebony, and reach from 1594 when his son by his wife Cathalyna née Sarvaes
FF to d with three strokes [i.. from FF to d’]. was baptised in the Oude Kerk (Curtis, p. 47].
He goes on to relate proudly that he applied stops
which gave 6 varieties of tone—less discerning in this * AGUILAR, Fray Bartolomé de. A blind Spanish
than some of his contemporaries who realized that the monk. Dates ascertained, 1740-1801. He made salterios,
clavichord is not really suited for stops. In the lowest clavichords, harpsichords, and pianos as well as tuning
20 notes he used covered strings; in the rest, brass. and cleaning organs [F. A. Barbieri: Legado Barbieri (ed.
However, on Sunday, 21 October 1736, the great E. Casares), Vol. 1, Madrid, 1986].
Erfurt fire destroyed his house, his stock of rare woods,
and most of his music and furniture; and what was not
burnt was looted. This nearly broke his heart, and he ALAND, James. See: SLADE, Benjamin.
never had the same enthusiasm afterwards. Amongst
his losses in the great fire were 3 works which he ALARIL, Giannantonio, of Rome. Harpsichord maker,
had written at Jena, Eine vollstdndige Amweisung zum fi. 1700 [Va]. Restored an ottavino of 1657 by Adam
Generalbasse, Eine Anweisung zur Fantasie und zu den Fugen, (q.v.), his name being on the back of the nameboard.
and Eine Amweisung zur italienischen Tabulatur. He had
also written a work on Latin grammar called Par-
* ALARI, Giovanni Antonio. Roman harpsichord maker
allelismus latinae linguae.
of the house of Pamphili who was replaced by his
He died at Erfurt on 5 July 1762.
brother, Giuseppe (q..), in the early eighteenth century
Adlung is known today chiefly through his Masica
as tuner and maintainer of the harpsichords of Cardinal
mechanica organoedi, published in 1768, which is a work Benedetto Pamphili [Berbieri, p. 147].
of great interest to students of the history of the organ
and other keyboard instruments. He started it in Jena
at the age of 27, and added to it constantly throughout * ALARI, Giuseppe, of Rome, ff. 1728. Probably a
the rest of his life. Albrecht prepared it for the press harpsichord maker, who is known to have received
after its author’s death (J. F. Agricola adding some payments in 1728 for tuning Cardinal Pamphili’s harp-
footnotes), which will partly account for the lack of sichords. He most probably replaced his brother,
arrangement in many parts. Its prolixity, however, must Giovanni Antonio, in the work of maintaining the
be a reflection of the author himself and of his time harpsichords of Cardinal Benedetto Pamphili (Barbieri,
and environment. At any rate the book was a success— P- 147).
‘die Besitzer dieses Werks haben dabei sehr viel
gewonnen.’ ®@ ALBANA or ALBANI or ALBANO. Family of
Adlung does not seem to have occupied himself harpsichord makers in Italy. Though grouped together
much with composition. The Berlin Library [Bz does here, the relationships between the following 4 makers,
not specify which library] has a manuscript (not other than that between Andrea and Silvestro, are
autograph) of an organ arrangement by him of the uncertain.
chorale Herr Jesu Christ der Einig. |Adl, AdlG, Hil, Eit, (1) Nicolo ? Albani, of Venice. Spinet maker; f. 1579
Ge] [Va]. Possibly a member of the Albana family.
(2) Andrea or Andreas Albana, born ¢. 1552, died 19
ADRIANO, of Rome. See: HADRIANUS, of Rome. August 1639. Father of Silvestro, and probably related
to Orazio. Andrea was registered as a harpsichord
AELBRECHTS, Jacob. Harpsichord and clavichord maker in 1623 with his son Silvestro and his nephew
maker of Antwerp. Earliest date ascertained, 1542 (after Giovanni Battista Monti [Barbieri, p. 148]. He was
13 February according to Hirtz); he died before 26 probably the same person as Andrea Albani, a harp-
September 1585 (Hirtz2 says he might have died in sichord maker, probably in Florence (though Barbier?s
1583). list of makers, in which Andrea appears, relates to

»y Google
 ANTES 5
Roman harpsichord makers), early in the seventeenth ALLERY, Thomas Charles Auguste d’. See: DAL-
century, and who is mentioned by G. B. Doni (4.».), LERY, Thomas Charles Auguste.
writing ¢. 1640, as having made an enharmonic harp-
sichord, and is said by him to be of great repute ALLIAMET, Frangois [Allaumet]. Parisian spinet
[Trattato sopra il genere enarmonico. \n: Lyra barberina, maker. Dates ascertained 1587-94. In 1594 he took
Florentiae, 1763, Vol. 1, p. 307]. Pierre Moulle as apprentice [Verlet, Laborde}.
(3) Silvestro. Harpsichord maker of Rome, born «.
1598, died 20 February 1628, as Barbieri quotes ex longo
morbo etico, vel potius gallico, which implies that he died * ALSINAS, Juan. Harpsichord maker (?) of Barcelona.
of syphilis. Professor Luigi Ferdinando Tagliavini, An advertisement in the Gaceta de Madrid of 4 July
Bologna, has a trapezoidal ottavino inscribed Silvestro 1780 for the sale of music refers to the shop of Juan
filins Andreas Albana Fecit Romae MDCXVII [Tag, Alsinas maestro de claves which can mean either a
Miscb-1979 II]. He was probably also related to Orazio. harpsichord maker or a conductor-continuo player. An
For details of surviving instruments see Part II. advertisement for the same music was placed by Joseph
(4) Orazio, of Rome. Harpsichord maker; born «. Alsinas (maker of the salterio dated 1779 and signed
1588, died 14 November 1648, son of Andrea. He is Josephus Alsina, Barcelona in the Brussels Conservatoire
registered continuously as a harpsichord maker from collection) on 23 February 1781. Whether Juan and
1631, and married to Lucia Bassi of Verona. Amongst Joseph Alsinas were related or even the same person
his workmen were Francesco Cimino (1641-7) and has yet to be established [KéP].
Angelo Argutij (1648). His house appears to have been
within sight of the church ‘del Gesu’, near the Palace ALVISE, Giacomo. Horn maker of Padua, fl. 1595.
“De Petroniis’. Since Barbieri says that he left no That he also concemed himself with the harpsichord is
successors, it seems likely that the family line died with shown by a letter written by him with the date 3 March
him. 1595, preserved in the Este records:
Prof. (p. 292) mistakenly observes that Albana
T have let Messer Alessandro see and hear . . . one of my quill
(though which one is not specified) was ‘the first [de penne) instruments of new invention, that with two unisons
to make 4-octave harpsichords—much earlier than [dee mani di corde] forms three changes of sound [GD (1928),
Trasontino’. t.v. Stops (Harpsichord) —taken from Va).
For details of surviving instruments see Part II.
ANDRESSI, Giovanni Bartolomeo. Franc! lists a
* ALBERTUS, Ionnes (sic). Virginal maker of Bologna, ‘cimbalone’ [large harpsichord] inscribed: Io. Bartolomeo
A. 1568. An Italian virginal was sold at Sotheby’s on Andressi F. A. 1769 Napoli.
22 November 1973 signed: lonnes Albertus faciebat Anno
1568, Bononia.
For details of surviving instruments see Part II.
© ANGEL, Jirgen Hinrichsen. Danish cighteenth-
century clavichord maker. At least one surviving
clavichord is signed with the words ‘.. . in Flensburg’,
© ALBRICL, Vincenzo. Given as a maker of instruments and it therefore seems certain that his workshop was
in Bz, but this is not a correct interpretation of the located there.
source document Drechse/, where it appears that Vicenzo For details of surviving instruments see Part II.
Albrici, J. W. Forchheim, J. Fiissel, P. Keyser, and P.
P. Morelli were not instrument makers but simply ‘un ANJO, Miguel [Manuel]. See: LEO, Manuel Anjos.
consegnatario dei medesimi in dotazione della cappella
musicale’ (custodians of the instruments?) of the Dres-
den court. Further information on this matter is to be ANNIBALE, of Milan or ANNIBALE Mediol-
found in: Moritz Firstenau, Zur Geschichte der Musik anensis. See: ROSSI, Annibale.
and des Theaters am Hofe x» Dresden, Dresden, 1861, pp.
254-5 [Misch-1979 II]. ANNIBALE, of Rome. Harpsichord maker at Rome,
ff. 1655 [Va].
ALDIGERIO, of Ferrara, fl. 1549. Made clavichords
[Va]. © ANTES, John. Made harpsichords and other stringed
keyboard instruments at Bethlehem, Pa., in the 1760s
[Armstr, p. 17]. Thomas McGeary in ‘David Tan-
ALESSANDRO di Modena. See: PASI, Alessandro.
nenberg and the Clavichord in Eighteenth-Century
America’, OrgYb, 1982, p. 94 ef seg. quotes Antes as
ALESSANDRO DAGLI ORGANI, of Mantua [?], f. one of Tannenberg’s (9.».) rivals as an instrument maker
1540. Made organs and harpsichords [a]. within the Moravian community in Pennsylvania.

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 6 ANTEGNATI
© ANTEGNATI. Family of organ and virginal builders ANTUNES, Joachim José. Portuguese harpsichord
in Brescia in the fifteenth, sixteenth, and seventeenth maker; dates ascertained, 1758-89. Though three of his
centuries. The family name was hitherto more often instruments survive, little is known of him. Presumably
given as ANTEGNATO, but work by a number of he was a relation of Manuel Antunes. A grand piano
scholars including Mischiati, Giuseppe Pagani (whose by the latter, externally very similar to the few remaining
unpublished paper La genealogia antegnatiana, presented harpsichords from the Iberian peninsula, dated 1767
at the conference Convegno su gli Antegnati. Stato attuale and signed on the topmost key, was sold at Sotheby’s
degli studi e prospettive di recerca, Brescia, Sept., 1990 on 22 November 1990, and is now in the collection of
contained much new information), O’Brien, and others the Shrine to Music Museum, Vermillion, South
has shown demonstrably that the correct form is Dakota. The catalogue states that according to doc-
ANTEGNATI. uments held in the Tone do Tombo, Manuel Antunes
Though at least one instrument is reported bearing was granted the monopoly by King Joseph I for the
the name Antonio Antegnati, and dated variously as construction and sale of pianos in Portugal.
1508 and 1583, thereby in itself causing some problems, For details of surviving instruments see Part II.
the most important stringed keyboard-making member
of the family was Gian Francesco or Giovanni Francesco APPLEGREN, Johan. Swedish keyboard instrument
[Joannes Franciscus Briscianus; probably = also Fran- maker. Dates ascertained, 1794-1815. Served an appren-
ciscus Brixiensis], who made arpichordi as well as ticeship with Anders Ekstrém in Linképing from 25
virginals and harpsichords. The latter’s known dates October 1794 until the same date in 1798. It seems that
are 1533 to 1583, of which the former comes from Lan, he then intended to go abroad, but by 1802 he was
p. 143. Gian Francesco Antegnati was the brother of working as a journeyman for a box maker, Daniel
Gian Giacomo (6. 1501), who built the organ in San Sehfbom, in Stockholm, remaining with him until
Maurizio, Milan, and they were the sons of Bartolomeo, 1808, He then, and subsequently, made clavichords in
who built the small organ in Milan Cathedral (1489- association with Pehr Lindholm (g.v.) in the period
91). 1809-10. In the following year he worked with Eric
It seems likely that some instruments bearing the Grénbom (g.v.), though the firm ceased in 1811.
names of other Italian makers are the work of this Gian Following a further short period with Lindholm, he
Francesco, though they may have passed through the became independent and by 1813 was making pianos.
hands of restorers or dealers. For example the spinet A piano of his make dated 1815 survives in the Blekinge
inscribed Jobannis Francisci Brisciani 1544, in the Museo Museum. For further details see: H-O, p. 184, and also
Teatrale alla Scala, Milan, and the harpsichord inscribed under Grénbom.
both Francesco da Brescia 1364 and Domenicus da Pesaro
1790 in the National Museum of Ireland, Dublin, may ARGANDO, Paolo. Restorer and perhaps maker. In
be in this category. In addition, the spinet in the 1808 he repaired an anonymous ottavino which later
Victoria and Albert Museum, (No. 155-1869), inscribed reached the Heyer Collection, Leipzig.
with both the names of Marco Jadra (Marci ladrae For details of surviving instruments see Part II.
MDLXVII) and Francis of Bresci (Francisci Brixiensis
fecit 1569), may also be by Antegnati [Ve*ACat, ARGENT, Humphrey, of Cambridge, f. 1789-91.
P- 145]. Organ builder and keyboard-instrument maker.
A family tree showing the relationship of Giovanni He is recorded as an organ builder in Bailey’s
Francesco to the organ-building members of the family Directory for 1791 (Guildhall Library). Bjarne B. Dahl,
is to be found in the Genealogies section. of Sunnyvale, Calif., when restoring Argent’s one
For details of surviving instruments see Part II. surviving instrument, a wing spinet, in 1970, found an
inscription Thomas Hattersley, shoemaker, Cambridge, who
presumably supplied the leather for the plectra (and
© ANTEGNATO. See above: ANTEGNATI. perhaps even voiced the spinet).
For details of surviving instruments see Part II.
ANTONI, Joannes. See: JOANNES, Antoni.
ARGIROPOULOS, Isaac [Isac Argyropulo], of Milan.
Organ builder, organist, and harpsichordist. Galeazzo
ANTONIUS, Bononiensis, or ANTONIO of Bologna.
Maria, Duke of Sforza, described him in 1472 as ‘nostro
See: BRENZI, Antonio. Cortesano et Sonatore de gravacymbolo’ [F. Malaguzzi
Valeri, La corte di Ludovico il Moro, Vol. IV, Milano,
ANTONIUS, Patavinus, or ANTONIO of Padua. 1923, p. 194]. Argiropoulos may have made harp-
Virginal maker, ff. 1550. See alse: FRANCISCUS sichords also, but no authority has been found for
Patavinus. Prof’s statement (p. 291) that he had a factory (‘fabbrica’)
For details of surviving instruments see Part II. for harpsichords in Milan ¢. 1474.

v Google
 ASIOLI 7
He was commended as an organist, together with wing-like shape of a harpsichord, and Arnault offers a
‘Domenico the Venetian’ and Daniel Stack, by Pope choice of 4 actions for use in it. In the first 3 the string
Leo X [Bed, p. 34]. appears to be plucked by a plectrum of metal, and a
form of escape mechanism is implied (though the jacks,
© ARKEL, Rijk van. 1747-1823. Harpsichord maker of Sorpices, are quite different from those familiar in the
Gouda and Leiden. Rijk van Arkel was baptised in the classical period) and their elaborateness brings to mind
Reformed Church in Gorinchem on 29 January 1747. the action of a clavicytherium [Box]. This is probably
His parents, Jasper van Arkel and Maria van der Lee, the earliest description of the harpsichord. In the fourth
moved with their 2 daughters to Gouda in 1765, though the string is struck by a rebounding hammer, being in
evidently Rijk had already left Gorinchem at that time. fact a simple form of pianoforte action, which was to
On 8 October 1769 he married Magdalena Veenstra in disappear, and then be rediscovered about three cen-
Gouda, and they lived on the Kleywegsteeg. Van Arkel turies later. Elsewhere in the manuscript there is a brief
worked in the workshop of the organ builder Hess reference to another plucking medium, quill, which was
(q.e.) and moved with the latter to Leiden in 1794. Hess soon to oust the metal plectra with which Arnault was
died very soon after this, and van Arkel established his most familiar. But the fourth (‘pianoforte’) action was
own workshop at the outset with L. van Dam. Van associated par excellence with the dulce melos, in its
Arkel died at Leiden in his house on the Haar- developed form with keyboard, a rectangular instrument
lemmerstraat, wijk 6 no. 253, on 14 June 1823. His identified by the late F. W. Galpin with the échiguier or
widow was Geertrui Fassyn whom he had married in chekker thus suggesting one solution to a problem which
Leiden in 1796 [Gier]. has exercised a number of authors.
For details of surviving instruments see Part II. Arnault’s treatise (Bibl. Nat., Paris, MS. Latin 7293)
was published in facsimile, with a transcription, French
ARNAULT, Henri, of Zwolle [Henricus Arnault de translation, and commentary, by F. Le Cerf and E. F.
Zuuolis}). Was familiar with the details of the design of Labande under the title: Instruments de musique du XV*
clavichords, harpsichords, and other instruments. He is sitcle, Les traités @Henri-Arnaut de Zwolle et de divers
a very important and early authority on the early anonymes ... (Paris, Auguste Picard, 1932), from which
history of keyboard instruments; it seemed pardonable, most of the biographical details given above are derived
therefore, to record him here, even though it is most and which should be consulted for further information.
unlikely that he ever made an instrument with his own Arnault’s drawing of a harpsichord is reproduced in
hands. Jur, p. 20, also, and in colour in Brag 1967.
He was born at Zwolle, probably soon after 1400.
In his youth he studied at Paris University under ARNOLDI, Biaggio (born ¢. 1769-72, died 20 August
Johannes Fusoris, becoming a Master of Medicine. 1855) son of Pietro Antonio Arnoldi. Biaggio was a
Entering the service of Philip the Good, Duke of harpsichord maker originally from Trento, but sub-
Burgundy, as a physician and astronomer, he lived for sequently, from 1795, worked in Rome in the via
a period at Dijon. He passed into the service of Louis Condotti, near to the shop of Carlo Arnoldi, who was
XI and died in Paris on 6 September 1466, having been probably his brother. From 1800 he was to be found
stricken by the plague which ravaged the city severely at number 71, and from 1814 until his death he lived
in that year. Jean de Roye refers to him as ‘Maistre at number 21 on the first floor, in the same street, the
Amoult . . . qui estoit fort homme de bien, saige et via Condotti. He was married to Pautilla Pesoli.
plaisant’. (Barbieri, p. 148.)
While at Dijon Arnault constructed astronomical
instruments, for one of which the record of payment ARNOLDI, Carlo, of Rome (born ¢. 1764), harpsichord
is preserved. That he devoted some time also to the and lute maker, and most probably brother of Biaggio
designing of musical instruments, amongst them the Arnoldi. In 1795, his shop was, like his brother’s, in
clavichord and harpsichord, seems likely, for about the the via Condotti, but by 1801 it was registered as being
year 1440 he wrote (as observer rather than inventor) near to the Piazza S. Silvestro. He was married to
a Latin treatise giving a detailed description of the Elisabeth Pozzi (Barbieri, p. 148).
design and working of the clavichord, lute, organ,
clavisimbalum, and dulce melos, with a note on the
ASARD, John. See: HASARD.
harp, accompanied by excellent diagrams showing their
layout, and by some less satisfactory sketches of various
types of action employed in the stringed keyboard ASHE, John. Harpsichord maker in Cope Street,
instruments of his day. Dublin, in 1788 [Teaban].
The passages dealing with the clavisimbalum and the
dulce melos are especially interesting, although unfor- ASIOLI, Quirino, of Fazzano [?], fl. in the eighteenth
tunately obscure in parts. The c/avisimbalum has the century. Maker of harpsichords and organs [Va].

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 8 ASSALONE
@ ASSALONE, Gaspare. Ostensibly a clavichord maker of the Joiners’ Company 170 [Join]. Though a surviving
of Rome, the only surviving instrument bearing this spinet has been ascribed to him with a provisional
name is almost certainly a Franciolini fake of ¢. 1890, date of 1700, this seems unlikely, and his earliest
though if the inscription is genuine, it indicates that he authenticated surviving instrument (made jointly with
worked in Rome in 1732. Barton (g.».)) is dated 1709, while the latest currently
For details of surviving instruments see Part II. known (1989) is dated 1733 and numbered 324. No.
268 is dated 1726, and Andrew Garrett [of CasdG] has
@ ASSEMANI. Bz recorded this name with the caveat pointed out that this indicates that Aston was probably
that, though it was apparently the name of an Italian finishing an instrument every 6 or 7 weeks—a not
harpsichord maker found in Paris, it might in fact refer inconsiderable rate of production.
to a modern Parisian restorer. It now seems likely, in In 1730 he lived at the Prince’s Arms, New Queen
view of an inscription on a harpsichord in the possession Street [J].
of the Musée Instrumental, Paris, to be the name of For details of surviving instruments see Part II.
the twentieth-century restorer ‘Asseman’.
AUBE, Antoine. Parisian harpsichord maker, f. 1758.
* ASSENDELFT, Pieter, 1714-66. Probably an organ Only son of Pierre Aubé, an organ builder [Hsbb,
and harpsichord maker in Leiden. Born in Oegstgeest Verkt}.
near Leiden and baptised on 25 September 1714,
Assendelft was registered in the Album Studiosorum AUGUSTIN, Johann Gottfried, 1762-1806. Organ
of Leiden University as ‘Musicorum instrumentorum builder at Bautzen; also made pianos and clavichords
artifex’. In December 1744 he married Sara Beckius and [Biebie, p. 48).
lived with her on the Turfmarkt. On his death on 29
March 1766 he was buried in the family vault in the
Onze Lieve Vrouwe Kerk in Leiden. His wife died in AUTERBON, L. See: LAUTERBON.
September of the same year. The inventory of the
estate includes 4 harpsichords (virginals) and one AXSEN, Ahlert Gerhard. Dates ascertained, 1770—
claviorganum, none made by himself, but no tools. A 1811. Organ and harpsichord maker from Oldenburg,
list of clients (debtors), being part of this inventory, Germany, who settled in Amsterdam with his family
shows that Assendelft was a harpsichord tuner and about 1770. From 1771 until 1782 he was the foreman of
repairer, and also that he rented them out. Despite an A. J. Paradijs (g.».) and advertised in the Amsterdamsche
advertisement placed by him in the Avsterdamsche Comrant of 30 May 1782 that he had started his own
Courant of 2 December 1758, in which he styled himself workshop in the Tuinstraat. He calls himself ‘Gerhard
as ‘Pieter Assendelft, Mr. Orgel-en Clavecimbaalmaaker’ Axsen, Mr. Orgel-en Clavecimbaalmaker en stelder
and offered a claviorganum and clavichord for sale, [{=tuner]’. In 1784 he advertised a harpsichord, made
there is no firm evidence that he made any instruments by ‘een voornaam meester’ and a two-manual clavichord
himself [Gier]. with a pedalboard. It cannot be proved that he actually
built harpsichords. He died on 5 March 1811 in
© ASTON, Cawton, of London. Spinet maker, appren- Amsterdam. His last address was on the Tweede
ticed to John Player for 8 years from 1693, Freeman Weteringdwarsstraat. [Gier.]

Google
© B, C. An undated Italian spinet, seventeenth-century, [Adf}. (Reproductions of this instrunment have been
formerly in the Berlin Collection but now probably made in the 1980s by Rudolf Richter, and the instrument
lost, bears the initials C.B. In Bz it was suggested that has been recorded by Christianne Jacottet (see also:
the instrument might have some relationship with Fleischer).)
Charles Brackley (g.9.), but since the instrument was J. N. Bach made them with 2 and even 3 keyboards;
described as ‘Italian’, this seems unlikely [Se, p. 59]. the latter he sold for about 60 thalers. Ad/G (p. 555
n.) mentions what in Bz was described as a push-pull
B, F. See: F, B. F. keyboard coupler, but what Koster describes as a
stop-changing mechanism, on a J. N. Bach harpsichord.
B, G. B. See: BONI, Giovanni Battista. See also: Adlung, Mxs. Mech. Org., 2, p. 108. J. N. Bach
died at Jena on 4 November 1753 at the age of 84
B, L M. A gebunden clavichord dated 1705 in the [Go]. In a brochure published by Nikolaus Damm of
Folkemuseum, Oslo, is signed with these initials.
Hirschorn, Germany, it is claimed that a J. N. Bach
For details of surviving instruments see Part II. harpsichord still exists, while an entry in the accounts
of the Hertfordshire musician, Thomas Green (q.v.),
records his tuning of a harpsichord by Bach and Nofree,
BACCHUS, Andrew. See: BACKERS, Americus.
belonging to Lord and Lady Melbourne of Brocket
Hall, in the period 175 3-80 [Sheldrick]. Whether this is
BACH, Johann Michael, 1648-94. Son of Heinrich by J. N. Bach is not clear, while the name ‘Nofree’ is
Bach. Born at Arnstadt on 9 August 1648. A second not recorded elsewhere.
cousin of J. S. Bach, he became organist at Gehren
near Arnstadt in 1673. He married in 1675, and his
youngest daughter became the wife of J. S. Bach. BACKERS, Americus. Harpsichord and pianoforte
He also composed, and was interested in constructing maker. Dates ascertained, 1763-81.
instruments, particularly clavichords (according to Fé), He was a Dutchman who (according to Ri, p. 131)
of which he supplied several to Councillor Wentzing was employed in the Silbermann workshop for a time.
of Arnstadt in 1686. He died at Gehren in May 1694. He must have come to England by 1763, for he was a
See further: Eit. resident in Jermyn Street, London, under the name of
Andrew Backus (sometimes Bacchus!), from 1763 until
@ BACH, Johann Nikolaus, 1669-1753. Maker of 1778, which latter may be the date of his death [RBJ}.
organs and other keyboard instruments. He was born John Hitchcock’s spinet number 2012 is signed:
at Eisenach on 10 October 1669, his father being Backus No. & Backers may thus have worked for
Johann Christoph Bach, organist at Eisenach. In 1695 Hitchcock before he set up on his own account.
he became City and University organist at Jena. He It was Backers who, with the assistance of his
married in 1697 Anna Amalia Baurath of Jena, and apprentice Robert Stodart and John Broadwood, inven-
after her death in 1713, Anna Sibylla Lange of Isserstadt ted the ‘English’ pianoforte action, as Henry Fowler
[Ge]. He had in all ten children. His contemporaries Broadwood relates in his comments on the ms. notes
regarded him as a clever composer of suites [Fé]. of his father, James Shudi Broadwood. These notes
In his spare time he was very active as a maker of (privately printed in 1838) give 1776 as the date of
organs and keyboard instruments, and was widely Backers’s invention: but the same author, writing in
known as a repairer and restorer. Ad/, II. 108, gives the Gentleman's Magazine (1812) dates it 1772 and the
an account of a new (and it would seem, rather grand pianoforte of this year by Backers (Russell
cumbersome) method of changing the registration on Collection, Edinburgh) incorporates it. Broadwood
a harpsichord by means of shifting the keyboard, began producing grand pianos with this action about
invented by J. N. Bach. Spitta (J. 5. Bach, 2 vols., 1784; no. 103, dated 1788, is still in existence.
Leipzig, 1873-80, I. 137), refers to this invention Burney (II. 147) writes with approval of ‘the piano-
without criticism. fortes of Backers’; but the reference to him in Abraham
Adlung commends his Lastenk/avier, a gut-strung Rees’s Cyclopaedia (1819) as a ‘harpsichord maker of the
harpsichord invented probably by J. C. Fleischer of second rank’ does not do him justice.
Hamburg, and designed to imitate the tone of a lute For details of surviving instruments see Part II.

»y Google
 10 BADER
© BADER, BADERS or BODER. Family of organ and Cristofori in 1716 [Pw]. Baffo is also mentioned as a
harpsichord builders of whom the following are known: sixteenth-century maker in a list of harpsichord builders
(1) Peter Daniél. Maker of organs, harpsichords, in a Vatican manuscript of 1741 [see: Misch-71972].
and virginals. Born (possibly at Munster) in 1595 or According to GDN-EKI only 2 harpsichords and a
1560, died 1638. virginal attributed to him are genuine. It cites the
After possibly working as a pupil of Arnold Lampe- harpsichords of 1574 in the Victoria and Albert
ler, he settled in Antwerp for a short time, entering Museum, and the 1579 harpsichord in the Paris Con-
the Guild of St. Luke as an organ and harpsichord servatoire as fine examples of his work (and presumably
maker in 1600. His contract to build an organ in the the 2 genuine instruments). Further information on
St. Jacobskerk, Antwerp, survives, the work occupying Baffo will be found in WraightIKI.
him in 1603-4 [St, who reproduces Bader’s signature For details of surviving instruments see Part II.
in facsimile, Daniell Bader).
Certainly he continued building harpsichords after © BAGNINIUS, Jacobus, possibly a virginal maker of
he had left Antwerp and returned again in 1607 to Lucca; fl. 1613, though Misch-1979 II points out that
Arnsberg in Westphalia where he was ‘Chur C6llnischer the evidence for his existence comes only from the
Orgelmacher’. Ater restoring the organ in Munster surviving instrument which appears to have passed
cathedral in 1610-12, he moved at some later date to through Franciolini’s hands. This must give rise to
Friesland, and Groningen where he died in Appingedam some cynicism concerning the maker’s true identity.
in 1638. In the Amsterdamsche Courant for 20 March For details of surviving instruments see Part II.
1735, ‘een schoon staartstuk van Daniel Baders’ was
advertised. [Vannes, Haine/Meeus, Gier.]
* BAILEY, John (or Robin) and William. One harp-
In 1769 a lute bearing his name was auctioned in sichord by John (or Robin) and William Bailey is
London [L#].
For details of surviving instruments see Part II. known to survive, indicating that they were instrument
makers in the mid-eighteenth century, in London. The
(2) Hans Heinrich. Son of (1). Came from Unna in
confusion is caused by the difficulty of reading the first
Westphalia, organ builder, f. ¢. 1625-65. In the contract
name on the nameboard.
dated 1639 for building an organ at Zutphen, in which
he had to promise not to build any other organs or
For details of surviving instruments see Part II.
harpsichords in the meantime, he is described also as a
harpsichord maker. After 1644 he returned to Westph- * BAILLON, Luigi. Possibly a descendant of Pierre
alia where about 1660 he built a harpsichord with 4 Baillon (see be/ow), he is known only from an inscription
registers [GL, Gier, Haine|Meens, see also: Vente, p. 149]. on a harpsichord in the collection of Dr. R. Mirrey,
(3) Arnoldus. Another son of (1). He was born in London, which runs: fait par Luigi Baillon organiste et
Antwerp in 1601 and died December 1656. He settled facteure a Cytenx 1755 [Mirrey].
with his brother (4) Tobias (died 1666) as organ For details of surviving instruments see Part II.
builders in Leeuwarden. An unfinished harpsichord was
listed in the inventory of his estate (5 January 1657). BAILLON, Pierre. French harpsichord and organ
(5) Conrad, (6) Ernst, are recorded by Haine/Meeus maker, music engraver, and organist in Paris. Died
as fourth and fifth sons respectively of Peter Daniél, 1681. In 1659 he married Jeanne Leviez. He seems to
while (7) Johann Gottfried, f. Brussels, ¢. 1686-90, have started his career as an organ builder. As a
son of Hans Heinrich (above), and (8) Joseph, f. harpsichord maker he may well have been a pupil of
Brussels, 1719-47, are also noted, though it seems one of the Denis family (g.v.). He was a friend of
most probable that they confined themselves to organ and collaborator with Nicolas Lebégue, organist and
building. composer. He died on 20 October 1681. The inventory
of the contents of his house includes a number of
BAETHMANN, W. H. A clavichord in the Goethe- harpsichords, spinets, and clavichords [see: N. Dufourcq
haus, Frankfurt/Main, is inscribed: W. H. Baethmann in Hin, pp. 196-200; also Verlet}.
Hoforgelbauer in Hannover 1799 f.
For details of surviving instruments see Part II. * BAISOCKI. See: BESOCKI.

© BAFFO, Giovanni Antonio, of Venice. Celebrated

BALBASTRE, Claude. Organist. Ge credits him with
maker of harpsichords and virginals, dates ascertained,
the original invention of peaw de bufle: ‘verfertiget durch
1570-81. The lute and harp maker mentioned by L# as
Mr. Taskin’. Burney described his Ruckers harpsichord
Antonio Baffo may be the same man. (The date 1523, which he saw in Paris.
if correct, points to another maker of the same name.)
A harpsichord by Baffo was amongst the instruments
of Ferdinand de’ Medici entrusted to the care of BAN, J. M. de DE. See: DEDEBAN, Jean Marie.

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 BARTON 11
© BAN, Jan Albert [Bannius], ¢. 1597 to 1644. Priest of inventory of Jean Denis (II) in 1686 [MC]. He had
Haarlem. (Formerly recorded as Archbishop of Haarlem been made Juré of the Community in 1667.
but, as Gier points out, Haarlem was not an Arch-
bishopric, and furthermore there was no archbishop in BARBIERI, of Modena. Harpsichord maker in the
the Calvinist Dutch Republic.) According to B/ [also nineteenth century according to V2, who must surely
Vd, 1. 61] he made an archicymbalum, whose virtues be wrong here. Giovanni Barbieri of Modena made
were set forth in his Zangb-bloemzel, dat is, staeltjes van barrel-organs, and well before the nineteenth century
den zinroerenden zangh . . . (Amsterdam, P. Matthys voor [MarcP).
L. Elzevier), but which won very little interest. Gier,
however, believes that he was the designer of the BARTELS, Julius Heinrich. Clavichord maker, lived
instrument and not the maker. in the Mihlengasse, Cologne, in 1797, according to a
directory for that year [Ks].
BANKS, Benjamin. Harpsichord, spinet, and piano-
forte maker; ff. at Salisbury, Wiltshire, in 1768. An BARTOLI, A. FranclI records a ‘spinetta a tavolino’
advertisement in the Salisbury Journal for 26 September inscribed: A. Bartoli 1777 (item 7). Bz recorded that
1768 reads: ‘To be Sold, A Neat Second-Hand Harp- the Deansboro (N.Y.) Musical Museum has a harp-
sichord consisting of two Unisons, a Lute and Harp sichord by him allegedly made for Ercole II, Duke of
Stops: Enquire of Benjamin Banks, Musical Ferrara (former owner: C. Albert Jacob, Jr.) but this
Instrument-maker, (at his Music-Shop, in Catherine- is almost certainly the harpsichord recorded under
Street, Sarum;) by whom Harpsichords, Piano Fortes, Bortolus, and it may well be that A. Bartoli was a name
and Spinnets, are made, tuned, and carefully ‘invented’ by Franciolini [Koster].
repaired...’ For details of surviving instruments see Part II.

* BARABANI, Giuseppe. See: MACERATA. BARTOLOTTI. See: BERTOLOTTI.

BARBERINA, Sieur. See: BARBERINI, Jacques. BARTON, Thomas. Maker of spinets and harp-
sichords. Son of Thomas and Mary Barton of Hoxton
© BARBERINI, Jacques. Harpsichord and pianoforte in the parish of St. Leonard Shoreditch; baptised 1
maker; fl. 1770-91 (Germig gives the name as January 1685 [Parish Reg]. Apprenticed for 7 years to
“Barberi’). Between 1781 and 1791 he lived no. 53 rue Stephen Keene (whose surviving wing spinet of 1705
de Ja Verrerie, Paris, where he also stocked English bears his initials) from 1 August 1699; freeman of the
pianofortes of the best makers. In 1783 he entered the Joiners’ Company, August 1706 [Join]. Master of John
Guild of Parisian harpsichord makers [Pi]. Ladyman (4.».).
G. Cucuel (Bulletin de la Société frangaise de musicologie, He was dead by 1735 [Join]. His son William was
Vol. 3) says he was an Italian maker who lived in the made free of the Joiners’ Company by patrimony, 6
tue Chenoise, Grenoble, in 1770. March 1743/4. He lived at ‘The Crown, near the South
Vallas, pp. 355, 378, refers to a ‘Sieur Barbarina’ Seas House’, Bishopsgate Street, London. In 1726 he
who made harpsichords and pianofortes at Lyons, f. designed an upright harpsichord, which he advertised
1770; almost certainly the same man as Barberini. in the press [J].
See: Germigéo, pp. 439-41 for a map of Paris showing Thomas Barton worked with Cawton Aston (g.v.)
the location of the workshop in relation to other makers for a time (a spinet of 1709 by them both survives);
and some prominent musicians of the time. and it is probably Thomas Barton to whom the
composer John Baptist Grano refers in his journal
written in the Marshalsea Prison from May 1728 to
BARBI, Michele. Venetian maker of polygonal vir- September 1729, being confined there for debt [Bodleian
ginals, ff. 1758. One by him was shown by L. Savoye Lib., MS. Rawlinson d. 34]. Grano records on Wednes-
at the Paris Exhibition, 1900. The catalogue entry reads: day, 9 October 1728: ‘John Anthony, the Tauny Moor
“Epinette portative de Michel Barbi, 1758, M. L. Savoye, 1 teach brought me an old spinnet which I intend to
4 Sevran’ [Par. 1900, p. 109]. put in order and divert myself with’; but on 1 April
Daniel Fryklund’s collection at Hilsingborg contains 1729, after teaching one of his pupils, he ‘sent him
a dulcimer by Barbi of Venice dated 1748 (formerly in away with my spinnet to Mr. Barton to have it repaired’.
the Bricqueville Collection and shown at the Paris Two days later the pupil ‘brought home my spinnet
Exhibition in 1900). from Barton’s who told him it was not worth repairing
for he would not give half a crown for it.’ [Byrne].
BARBIER. Harpsichord maker, referred to in passing The workbooks of Thomas Green of Hertford carry
by Cor (p. 84). Antoine Barbier was the expert for the a number of references to tunings of Barton spinets

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 12 BARTON
which he carried out in the latter half of the eighteenth
century [Sheldrick].
For details of surviving instruments see Part II.
BARTON, William. English harpsichord maker (pos-
sibly son of Thomas Barton (see above),f. 1730, in which
year he took out a patent, numbered 525,
to improve the Use of Harpsichords, Spinnetts, and Musical
Instruments used in most Families of the Nobility and Gentry
of this our Kingdom, he hath after four Years Application
and Study, and with great Expence, invented Pens of Silver,
Brass, Steel, and other Sorts of Metall, which will improve
the Tone of the said Instruments, and last many Yeares
without Amendment, Crow and Raven Quills, of which they
are now made, requiring frequent Charge and Trouble in
repairing . . . the said new-invented pens have been highly
approved of by several gentlemen and professors who have
seen the same...
Like many devices in the history of keyboard
instruments, these metal plectra were a rediscovery.
BAS. Spinet maker, of Lyons, f. 1786.
For details of surviving instruments see Part II.
BAS, Jean. Harpsichord maker of Marseilles, f. 1737-
81 (Hirt).
For details of surviving instruments see Part II.
BAS, Louis. Harpsichord maker of Marseilles, perhaps
son of the foregoing, ff. 1778-86. A harpsichord of the
above date by Bas, restored by Martel in 1831, C/E-P,
was in de Bricqueville’s collection [Pi]. A harpsichord
of the same date, converted into a piano, was for sale
in New York in August 1949 (possibly the same
instrument).
For details of surviving instruments see Part II.
* BASSE. Spinet maker of Marseilles, f. 1791. The
existence of this maker is known only from a surviving
spinet inscribed Fait par Basse a Marseille, 1791 in the
collection of the Musée des Arts Decoratifs, Bordeaux
[Williams).
For details of surviving instruments see Part II.
BASSI, G. Most probably an Italian spinet maker. F/.
1772 [MarcP].
For details of surviving instruments see Part II.
BASSILICHI, Luigi. Harpsichord maker in the Via
Larga, Florence, in 1695, in which year he is recorded
as paying a matriculation fee to his Guild. His father’s
name was Gaetano B. and his grandfather’s Giovanni
B. [Ps].
BASTIANO, of Verona. Lived in the fifteenth and
sixteenth centuries. He is said to have made lutes, viols,
Google
lyres, flutes, horns, monochords, psalteries, harps, and
harpsichords [Li#, Gi.
BATES & CO., of London, eighteenth-century. May
have made harpsichords, seeing that Houston & Co.,
who took over their business, made spinets and harp-
sichords as well as pianos.
BATI, Antonio, of Arezzo, a town just south of
Florence, ¢. 1691. Made virginals and harpsichords, also
theorboes of moderate workmanship [Lé]. It seems
likely that he may have reworked the one surviving
instrument by Berti (g.v.), though the identity of the
workman is by no means certain, and it may have been
Cati (9.v.).
RipICOLF, Catalogue 2, no. 102, p. 10 records a
‘Spinetta a Tavolino’ inscribed Antonius Bati me fecit in
Arezzo 1691 (item 9), and there are other references to
Bati in Catalogue 3-Ag, Catalogue 4-Ag, and Catalogue
5-A1o, and possibly photograph 7, which all refer to
the same instrument.
BATOV, Ivan Andreevich, born 1767. Maker of
violins, etc., also of harpsichords and fortepianos, St.
Petersburg [Moos II. 645] and elsewhere in Russia. See
Surther Vannes. He had been apprenticed to a Moscow
maker called Vladimirov.
BATTAGLIA, Francesco. _Eighteenth-century
stringed instrument maker in Milan. A painted spinet
(with bent side) in the Gallini Collection, Milan,
inscribed F.B.F. Mediolani 1733, is probably by him.
For details of surviving instruments see Part II.
BATZ. Family of organ and harpsichord builders from
Utrecht:
*(1) Johann Heinrich Hartmann. Famous organ
builder and harpsichord maker in Utrecht. He was born
in Frankenroda in Saxony on 1 January 1709. Until
May 1733 he was an apprentice of Christoph Thielmann.
He came to Holland and probably became the foreman
of Christian Muller (g.#.). In Utrecht he set up a firm
of his own in 1739. He died in that town on 13
December 1770. His widow Johanna Maria Liepoldes
advertised after his death that she would ensure that
the firm would continue making and repairing organs
and harpsichords. Several instruments were listed in an
inventory of the estate made in 1774: A cabinet organ
valued at 400 guilders, a harpsichord at 60 and a
clavichord at 10 guilders; some new and unfinished
harpsichords and tools were also listed.
Advertisements in which harpsichords made by Batz
were offered for sale appeared in the Usrechtse Courant,
1769 no. 6o (‘een capitale clavecimbaal van sieur Batz’);
 BELISONIUS 13
1775 no. 111 (In an estate in Vianen ‘een extra the date as 1786]. But he was not a true harpsichord
fray clavecimbaal, zynde een staartstuk, gemaakt door maker.
Hendrik Hartman Bitz te Utrecht 1759’); 1791 no. 95
(an announcement of the organization of a lottery to BAUMGARTNER, Abraham. Lived in Berne.
dispose of a harpsichord by J. H. H. Batz, ‘zynde cen According to an advertisement of 1756 he made
van de beste instrumenten van deze beroemden meester’. harpsichords, clavicytheria, and clavichords [Rindl}.
Tickets were for sale at four guilders each); finally
Ustrechtse Courant, 1792, no. 83 (a ‘staartstuk’). (See
BAUMGARTNER, Johann. Clavichord maker, f.
further the advertisement recorded under Christoffel
1683 at Bozen (Bolzano, Austrian Tirol).
Batz.)
For details of surviving instruments see Part II.
*(2) Christoffel. Organ and harpsichord maker, and
organist, in Utrecht. Baptised in that town on 15
August 1755, as a son of Johann Heinrich Hartmann * BAYLE, Pedro. Maker of organs and harpsichords in
Batz. In 1782 he married Christina Sophia Johanna Zaragoza. F/. 1505~g. It is possible that the surname
Roll. Christoffel died in Breukelen on 1 May 1800. The was Baylo. In a legal document of 1505 he is described
following notice appeared in the Usrechtse Cowrant: as a master builder of organs and ‘clavicembalos’
living in Zaragoza. His will, dated 1509, mentions a
Christoffel Bitz, Meester orgel-en clavecimbelmaker, ten huizen ‘clavicembalo’ and organ which had been sold for 80
van de heer C. Schouten, koopman, tussen de Bakker-en
gold florins to Don Lope de Rebolledo, Lord of the
Bezembrug tot Utrecht, adverteert by dezen aan alle liefhebbers
in de voorschreeven kunst, dat hij na het overlijden van zijn castle of Atienza [Calaborra, KdP).
vader Johan Hendrik Hartman Batz, (in der tijd zynde geweest
gerenommeerd orgel-en clavecimbelmaker) ten huizen van zijn * BAYLO. See: BAYLE.
moeder tot haar dood toe de voorschreven affaire heeft helpen
adsisteeren en als nu dezelve met goed succes voor zijn privé
eige rekening exerceert, waaromme hij cen ieder zo civiel als BAYR, Antoni. F/. as an organ builder in Munich in
mogeliijk is zal tragten volkomen contentement en genoegen 1781. He also made clavichords.
te geeven, zo tot het maken als verstellen van alle orgels en For details of surviving instruments see Part II.
clavecimbels etc. verzoekende dethalve een ieders gunst en
recommandatie. © BECK. Spinet maker in England in 1741. He may have
(an advertisement to announce that he had set up a been a forebear of the London pianoforte maker
firm of his own). Frederick Beck, whose ascertained dates according to
*(3) Gideon Thomas. Organ and harpsichord maker Clink are 1756-98. Though it is known that in 1777
in Utrecht, where he was baptised on 8 January 1751. Taskin (g.v.) owed money to a ‘Mr. Beck in London’
Eldest son of Johann H. H. Batz. Throughout his life [Hubb 1965, p. 295}, it would seem most likely that this
he lived on the Beschuitmarkt in Utrecht and was his was the piano maker, since he operated a workshop in
father’s successor. He died on 31 January 1820. In 1780 Paris, where he would most probably have known
he advertised in the Amsterdamsche Courant for 20 June, Taskin, as well as a shop at 4 Broad Street, in Golden
as ‘G.T. Batz, Mr. Orgel-en clavecimbaalmaker te Square (1772) and at 10 Broad Street, Carnaby Market
Utrecht’. (1785) [Clink].
For details of surviving instruments see Part II.
BAUDIN, Frangois. He was apprenticed soon after
1623 to Jean Marie Galland, the Parisian harpsichord BEEST, Martin van der. See: BIEST, Marten van der.
maker, and presumably father of Jean Galland (g..)
[Verke}. BELAMY, Pol or Paul (I). Parisian instrument maker,
apprenticed to Claude Denis (g.v.). F/. 1571-91 [Les,
BAUDIN, J. Was apprenticed to Jean Galland (q.v.) Laborde).
on 1 August 1723, which implies that he was born
about 1708. Later settled in England. C/P (p. 71) gives BELAMY, Paul (II). Parisian maker of harpsichords
the name as Boudin. and other instruments; perhaps nephew of Paul I. Died
For details of surviving instruments see Part II. 1612 [Verlet}.

BAUDIN, Robert. Was apprenticed to Claude Lesclan * BELAZQUEZ. See: VELAZQUEZ [KdP].
(q.».) in 1632 [Hxbb]. He was still alive in 1646 [Laborde].
BELISONIUS, Paul, of Pavia, a priest. Dates ascer-
BAUER, Hofrat, of Berlin. Built in 1768 a transposing tained, 1522-39. He was considered an expert in quilling
harpsichord called a Royal crescendo (Ri, p. 207; Fi gives harpsichords with vulture’s or raven’s feathers. A

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14 BELLANFAN
reference to him by Teseo Albonesio (Introductio in degli Antichi Strumenti Musicali, Rome. Though its
chaldaicam linguam, Pavia, 1539) is quoted by Va. ascription to Benti (and indeed the very existence of
Antonio Benti) is in question, the spinet seems to be a
BELLANFAN. See: FRANCESCA DELLA NOVA. genuine sixteenth-century Italian instrument.
For details of surviving instruments see Part II.
BELLOT, Pierre (1). Parisian harpsichord maker; born
about 1675, died between 1732 and 1747. He had 2 BENTI, Matteo, of Brescia, born 1580, latest date
sons, Louis Charles and Pierre, both harpsichord ascertained, 1653 [Vannes]. Lute maker. Also made
makers. A ‘clavecin de Bellot le pére’ was advertised violins and (according to Li and Gé) virginals. Possibly
for sale, 5 November 1761 [Bg]. a relative of Antonio Benti.
For details of surviving instruments see Part Il.
BERCHTHOLD ZU SONNENBURG, Joseph
BELLOT, Pierre (Il). Son of 1, harpsichord maker. von, carly owner, not a maker. He lived at Salzburg
In 1747 he was living in the rue des Boucheries, in the and St. Gilgen and married Marianne (‘Nannerl’),
parish of St. Sulpice [Veriet]. See: Germrg8o, pp. 439- Moazart’s sister, in 1784. He died in 1801.
41 for a map of Paris showing the location of the He owned an undated clavichord now in the Museum
workshop in relation to other makers and some prom- Carolino-Augusteum, Salzburg, carrying an almost
inent musicians of the time. illegible inscription on the soundboard: Joseph vom
Berchthold xu Sonnenburg{?]. The instrument dates from
BELLOT, Louis Charles. Parisian harpsichord maker, the end of the eighteenth century.
second son of Pierre 1. Worked between 1717 and 1759 For details of surviving instruments see Part II.
([Verlet}. See: Germrg80, pp. 439-41 for addresses, and
a map of Paris showing locations of the workshop in BERERA, Joannes Antonius [Berero], of Trento, f.
relation to other makers and some prominent musicians 1745-61. Maker of harpsichords and other instruments.
of the time. A study by C. Lunelli entitled ‘Giovanni Antonio
In 1732 he is said to have devised a harpsichord bridge Berera: construttore di strumenti musicali, incisore ¢
which would give exactly the same speaking-length to violinista del settecento’ appeared in Studi trentini di
each pair of unison strings, his object being a greater Scienze storiche . . ., 1969. A psaltery dated 1745 is to be
uniformity of tone. On 18 September 1752 and 7 April found in the Museum Carolino-Augusteum, Salzburg,
1753 he provided spinets for use at the Opéra [Pi, p. and a further psaltery of the same date is in the
90]. Metropolitan Museum of Art, New York.
Cor (p. 84) refers to the ‘petits clavecins 4 deux For details of surviving instruments see Part II.
cordes de Bellot’.
For details of surviving instruments see Part II. BERETONI (or BERTONI), Rinaldo. Franc] lists a
‘spinetta’ inscribed: Rinardo (sic) Beretoni fecit anno 1738
BENARD, Louis. Parisian harpsichord maker. Dates (item 24). VdM reports that Signora de Michele, Milan,
ascertained, 1776-89. Between 1776 and 1778 he entered owns a trapezoidal octave virginal with signature on
the Guild of Instrument Makers [Pi]. See: Germrg8o, the bottom key F. (fatto) da Rinaldo Bertoni, Bolognese]
PP. 439-41 for an address, and a map of Paris showing f Anno 1707, which points to BERTONI as the more
locations of the workshop in relation to other makers likely spelling. But see a/so below CARCASSI, Giovanni,
and some prominent musicians of the time. where the name ‘Beretoni’ appears again but in asso-
ciation with Franciolini (g.v.).
BENISMIS, Doanusa. Bz noted with some incredulity For details of surviving instruments see Part II.
that a little pentagonal virginal housed at Ingatestone
Hall, is inscribed Doanxsa Benismis, and went on to say BERGER, Giovanni Domenico. See: BIRGER, Gio-
that it was possible that the inscription represents a vanni Domenico.
misreading of the signature Franciscus Bonafinis (g.v.).
In 1964 [GSJ XVI, pp. 109-10], F. G. Emmison, BERGER, Joseph-Antoine, 1719-77. Organist at
County Archivist of Essex, explained how this mis- Grenoble Cathedral. He invented a mechanism for
reading could have come about, and confirms that producing a crescendo on the harpsichord and spinet by
the inscription is almost certainly that of Franciscus means of a genouillére, and, submitting it to the
Bonafinis under whose name it is recorded in part II. Académie des Sciences at Paris in 1762, received a certificate
of merit from them. But the invention did not become
BENTI, Antonio. Francl lists a ‘spinetta’ inscribed: popular, and no trace of it survives. Perhaps the plans
Antonius Bentes Brexia anno Domini 1y80 (item 21), and and parts were stolen by Frick, the German who
it is clearly this instrument which survives in the Museo worked for him in 1765 and ran off with his plans for

Google

a keyed harp [Pi, p. 92]. G. Cucuel (in Bulletin de la
Société francaise de musicologie, Vol. 2) gives his first name
as Joseph and says that he built a clavecin organisé which
was played in Grenoble in 1764.
In 1762 a proposal for subscriptions towards the
application of his crescendo pedal to the instruments of
subscribers appeared in the Mercure de France. He is
mentioned in Diderot’s Encyclopédie, s.v. ‘Epinette’. Les
Anmonces, Paris, 1765, contains a paragraph
‘pneumocorde’ [Hubb].
* BERGSTEDT, Adam. Swedish clavichord maker who
can be traced to Bjérk6. F/. 1832-3. His only surviving
instruments are an unfretted clavichord of 1832, with
a label on which it is signed, dated, and given the
number 30, and a ‘tafelklavier’ of 1833 [H-O].
For details of surviving instruments see Part II.
* BERLIN, Johann Daniel. Though most probably not
a maker of instruments, a tuning device of his called
the ‘Monochordum Unicum’ dated 1752 survives in the
Ringve Museum, Trondheim. It is equipped with 4
strings with the same diameter, length, and
and 4 bridges which can be moved to any point on
scales marked out on the soundboard. H-O illustrates
the device [p. 25] and quotes from him as follows:
‘I now possess and use this Monochorde, and I am tolerably
certain that the strings cannot in any measure be distuned
even were the strings to stretch, the pitch would
remain at the pitch-setting indicated, and moreover also remain
unchanging in cold and warm air, in dry and wet weather.’
[H-0}.
BERTI 15
They will be found in part vi of book vi.) This seems
to imply that he was making instruments of a new
design, but the non-publication of book vi precludes
further research on the matter. None of his instruments
appears to have survived [See: Robert Stevenson, Juan
de Bermudo, The Hague, 1960; and GDN].
BERNARDINUS DE TRASUNTINUS. See:
on his TRASUNTINO.
BERNARDO d’ALLEMAGNA. Misch-1979 II points
out the confusion of the entry in Bz under MURER,
Bernard. Reference to this alleged person, called ‘Der
Deutsche’, comes from C. F. Weitzmann, Geschichte des
Clavierspiels . . ., 2 aufl., 1879, p. 253, and here, apart
from (erroneously) being named as a former organist
of St. Mark’s, Venice, he is also credited ¢. 1445 with
the invention of a pedal mechanism for changing
registration on the harpsichord and clavichord. It seems
that there was a second BERNARDO di Stefano Pavari,
and he it was who was organist of St. Mark’s, and he
was known as ‘murér’, i.e. ‘mason’.
tension, There is a further reference to Bernardo d’Allemagna
in Dizionario Biografico degli Italiani, 1X (Roma 1967),
PP. 257-9.
BERNARDO di STEFANO PAVARI. See: BER-
NARDO d’ALLEMAGNA.
however
BERNER], Giorgio, of Trento. Dates ascertained,
1594-1608, at Rome as a maker of virginals [Va].
For details of surviving instruments see Part II.

* BERMUDO, Fray Juan. Spanish Franciscan monk, BERTARINI, Giambattista, of Pesaro. Harpsi-
chordmaker; dates ascertained, 1554-95 [Va].
clavichord maker and innovator. Born Ecija 1500, died
«. 1565 in Andalucia. Son of a well-to-do family of For details of surviving instruments see Part II.
Ecija, by the age of 15 he was a novice Observant
Minorite. He received a university education at Alcala BERTI, Niccold. Florentine harpsichord maker, f..
do Henares, and following an early inclination for 1681-96. Son of Pier Francesco Berti, he paid a
mathematics he turned to music. In 1555 he wrote his matriculation fee to his Guild in 1696, when he was
Declaracién de Instrumentos Musicales, intended to be residing near the church of S. Giovannino [Ps, Gai, p.
published in 7 books, though sadly the last 2, which 12]. An undated harpsichord by him was shown at the
were intended to give diagrams and other details of his International Inventions Exhibition, London, 1885, by
instruments, were not published. However, in the F. Smallfield. The Exhibition catalogue gives a repair
prologue to the second book he refers to chromatic date: 1764, but this is almost certainly inaccurate and
and enharmonic clavichords (de un monachordio chro- most probably refers to the only surviving instrument
matico, de otro enarmonico) and this may relate to a by Berti, described in part II, which was reworked in
mention elsewhere of a clavichord designed by him 1764. RipICOLF records two harpsichords by him,
which was capable of playing A flat as well as G sharp. one dated 1681, and a second dated 1682 inscribed:
On f. xxvii r. Bermudo states that “Todo la sobredicho Nicolaus Bertins Florentinus Fecit anno MDCLXXXII. It
se entiende en los instrumentos hasta ahora hechos: is not known if this Berti was related to Pietro Berti
poque en los que yo hago otra cosa es, y otras reglas of Rome (q.».).
son menester, y se hallaran en el tractado sexto del For details of surviving instruments see Part II.
sexto libro.’ (All the above applies to the instruments
that have been made hitherto, because those that I am BERTI, Pietro, of Rome. In 1721-2 he was a harp-
making are a different matter and need other rules. sichord maker with a workshop near the Oratorio di

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16 BERTIN
S. Girolamo della Carita (Barbieri, p. 148]. It is not clavier, lang over de vier octasf en lopende van contra G tot
known if this Berti was related to Niccolo Berti of boven aan d toc, gemaakt door S. Brusoski.
Florence (q.v.). In 1766 the organ and harpsichord maker G. Th.
Batz (g.».) advertised a 2-manual harpsichord with 4
BERTIN, Daniel, of Memel. Organ builder, f. ¢. registers made by ‘Sander Bezorski’. Another harp-
1757. Albert Jacquot (Dictionnaire pratique . . . des sichord made by ‘S. Baisoski 4 Utrecht’ was advertised
instruments . . ., Paris, 1886) writes that he ‘inventa le in the Amsterdamsche Courant for 23 March 1782, as
clavecin d’amour vers 1757; les cordes étaient du double being for sale in Amsterdam [Gier}.
plus longues que celles du clavecin ordinaire.’ The
invention was presumably a copy of the so-called BETTON, William. Maker of stringed keyboard
‘cembal d’amour’ invented by Silbermann in 1721. instruments in London, ff. 1538-53 [Rassel! 1939,
P. 65].
BERTOLOTTI, Alexander, of Venice. Virginal and
harpsichord maker [Va]. Dates ascertained, 1585-6. It * BEZORSKI. See: BESOCKI.
is impossible to decide whether Bertolotti or Bortolotti
is the correct form of the name. The matter is further BIAGIO, Stefano di. See: BONISSIMO, Stefano.
complicated by a Vatican manuscript of 1741 [see:
Misch-1972) which lists amongst well-known sixteenth-
© BIDERMAN, Samuel. Born at Ulm in 1540; died at
century Italian makers I/ Bertolotti. The inscriptions on
Augsburg in 1622. Organ builder and spinet maker,
both his surviving instruments are finely written, clearly
best known for his automatic spinets, i.e. ottavinos
by the same man, presumably a professional scribe.
with a clockwork mechanism which could be used or
However, Messrs Rhodes and Thomas of Burntisland,
turned offat will. (The action of one of these instruments
Fife, Scotland, reported in 1985 that when they had the
is photographed in A. Protz, Mechanische Masi-
Brussels Conservatoire claviorganum for repair they
Akinstrumente, Kassel, Birenreiter-Verlag, 1943, p. 56.)
realized that the inscription had been scraped to the
After his death Biderman’s work was continued by his
extent that it was possible that the original inscription
sons, Samuel the Younger (1600-at least 1653) and
could have been Franciscus Bonafinis.
Daniel (1603-63).
For details of surviving instruments see Part II. For details of surviving instruments see Part II.
BERTRACCINO, Giovanbattista. Italian harpsichord BIDERMANN, Johann, f. 1606. A toy rectangular
maker of the seventeenth century. From Hammond, p.
virginal in the Firstlich Octtingen-Wallenstein’sche
44, note 6, it is known that Cardinal del Monte owned
Bibliothek und Kunstsammlungen at Schloss Harburg,
a number of harpsichords and related instruments, and
near Donauwérth, is signed: Joannes Biderman MDCV1.
quotes: ‘Un’ Cimbalo grande 4 I’ottavabassa con doi
It is quite possible that this maker was related to Samuel
registri fatto da Giovanbattista Bertraccino’.
Biderman: Donauwérth is not far from Augsburg
[VaM}.
BERTSCHE, of Vienna. Organ or keyboard instru- For details of surviving instruments see Part II.
ment (most probably clavichord) maker of the late
eighteenth or early nineteenth century. The work of BIEST, Marten van der, of Antwerp. Harpsichord
this maker was particularly esteemed by Christian maker. Dates ascertained, 1557-84. In 1557 he entered
Friedrich Gottlieb Thon. See entry under THON.
the Guild of St. Luke as a harpsichord maker. In 1575
he was a witness to the marriage of Hans Ruckers the
BESOCKI, Sander (Alexander). (Also Baisocki, Elder (q.».) at the O. L. Vrouwe Kerk: ‘Hans Rucka-
Bezorski, Bisocki, or Brusoski.) Harpsichord maker in erts—Naenken Cnaeps—Solemnisatum 25 junii anno
Utrecht in the second half of the eighteenth century. 75 Testes Merten Van der Byest, Adam Boest’ [S#].
The only personal details known are that on 30 Shortly before 1587 he moved to Amsterdam, where
December 1780 he lost his wife, Elizabeth Verlee. he was enrolled as a citizen on 25 May 1587 [Cartis,
Apparently he was not well-to-do because she was - 47).
buried ‘pro Deo’. At that time he had three children x An anonymous painting of the Dutch school, in
of age and lived on the Gortsteeg in Utrecht. the Gemeente-Museum, The Hague, shows a virginal
Two virginals (‘vierkante clavecimbalen’) made by bearing on the jackrail the inscription: Martin van der
‘Bisoski’ were listed in the inventory of the estate of Biest 184.
the organ builder Pieter Assendelft (g.v.) at Leiden (died For details of surviving instruments see Part II.
1766). At an auction (1774) in Ijsselstein near Utrecht
there was for sale:
* BINI, Pietro, of Rome. Possibly a harpsichord maker,
een extra fraaij en groot clavecimbaal, zijnde een dubbelt though the reference to him shows him simply as

Google

maintaining the harpsichords of the house of Pamphili
in the period 1698-1705 (Barbieri, p. 148).
BIRAN, Moras. Ser: GYSE, Johannes.
BIRGER, Giovanni Domenico [? Berger] of Milan.
Virginal maker, f. 1746. The evidence from the sur-
viving instruments suggests that the spelling BIRGER
is the more likely.
For details of surviving instruments see Part II.
BISOSCEL See: BESOCKI.
BLACKARD, Jasper. See: BLANCKART, Jasper.
BLAHA, V. von. F/. 1765 in Prague; built claviorgana,
and invented a new stop for harpsichords [ Abbandlungen
saber Klaviersaiteninstrumente, 1843).
BLANCHE, Frangois Yacinthe, of Estavayer, Swit-
zerland (canton of Fribourg). Harpsichord maker. From
1758 to 1761 he worked in Fribourg and
Yverdon [Rind)}.
BLANCHES, Frangois. Harpsichord maker at Lyons
in the eighteenth or late seventeenth century, according
to Vallas, p. 379.
BLANCHET. A family of harpsichord makers resident
in Paris from the end of the seventeenth century until
the middle of the nineteenth century.
and DowdHH for accounts in greater detail. See also:
Germigé0, pp. 439-41 for greater detail concerning
addresses, and a map of Paris showing locations of the
workshops in relation to other makers and some
prominent musicians of the time.)
*(1) Nicolas Blanchet, master instrument
born in Paris in 1598, and working in Paris in the first
half of the seventeenth century. Most probably an
ancestor, perhaps even the grandfather, of the following
harpsichord maker of the same name. [See: Documents
de Minntier Central concernant [histoire de la musique (1600-
1630), Paris 1974, Vol. i., and DowdHH, p. 22].
(2) Nicolas Blanchet, Parisian harpsichord
1660-1731. A native of Rheims, he set up
shortly before 1686 [Hardonin 1957, p. 10], in the rue
des Fossés St. Germain, in the parish of Saint-Germain
l’Auxerrois. (He is not to be confused with his son
Nicolas Pierre Blanchet, who was priest of the parish
church of St. Merry, Paris, in 1752 and lived in the rue
St. Martin in that parish in 1789 [Bos].) In 1686, the
year of what appears to be his earliest surviving spinet,
Nicolas Blanchet married a cooper’s daughter, Marthe
Bacquet, and in 1689 was admitted as a master to the
Guild of Instrument Makers.
Google
BLANCHET 17
In 1701 he invested 3,000 livres in an annuity in the
royal treasury, and in 1717 became treasurer of the
guild of instrument makers, and at about the same time
the family moved to the rue Saint-Germain |’ Auxerrois.
Apart from making his own instruments, it is
clear that he carried out repair and restoration on
harpsichords by other makers, notably Ruckers and
Couchet.
(3) Frangois-Etienne Blanchet (1) [often called
Etienne Blanchet]. Born ¢. 1695 (according to Bz) or
more probably some time after 1700 (according to
DowdHH) and died in 1761. He became a full partner
in his father’s firm in 1722, equally sharing the profits
and owning a quarter of the capital. Father and son
prospered together and almost tripled the value of their
shop in several years. In 1722 he married Antoinette
Catherine Rameau, who died in 1726, and in 1729 his
daughter Elizabeth Antoinette was born to his second
wife, Elizabeth Gobin, whom he had married in 1727
and from whom he had obtained a house in the rue de
la Verrerie in the parish of St. Merry, Paris, into which
he moved soon after his marriage. (Before this he lived
in the rue St-Germain |’Auxerrois.) He was still residing
1762-3 in in the rue de la Verrerie in 1752, when Elizabeth
Antoinette was married to the organist and composer
Armand-Louis Couperin (1727-89), a cousin of Frangois
Couperin-le-Grand [Boss]. The workshops of Blanchet
and Taskin (.9.) were to remain at this address until
the end of the century.
A document of 1741 refers to ‘Frangois-Etienne
Blanchet et Paul Villars, maitres luthiers, faiseurs
d’instruments de musique et jurés en charge de leur
(See: Verlet communauté’ [Loxb, p. 174], who had brought an action
against certain persons, not members of the Guild of
Instrument Makers, who were producing instruments
(Villars was a maker of woodwind instruments. See Pi,
99)»
P Dowd says that following his election in 1739 as juré
maker, de la communauté (guild examiner) his relationship with
the Court began in the 1740s when Christophe Chique-
lier (g.v.), keeper of the King’s instruments, sent more
and more work to the Blanchet shop, and by about
1756 Blanchet had become factear des clavessins du Roi,
ice. maker to the King of France. Pascal Taskin (9.».)
was apprenticed to him, and later succeeded to his
maker, business [J, p. 135]. (This is borne out by Taskin’s own
in Paris trade-card, pasted on to a Taskin harpsichord of 1769.)
A harpsichord made by Blanchet in 1749 is mentioned
in an inventory dated 1794 [Br, p. 101].
Besides making and repairing instruments, Blanchet
did a good deal of extending (mettre 2 grand ravalement)
of the early Flemish harpsichords, especially those from
the Ruckers workshops, and his work clearly had a
wide reputation. DowdHH gives a list of some 8
surviving instruments which are by other makers,
including Ruckers, Couchet and Goujon, on which
Blanchet worked, though it must be said that it is not
18 BLANCKART
possible to tell whether the workmanship is that of
father or son. The Dictionnaire portatif des arts et métiers
(Yverdon, 1767, Vol. 2, p. 7) refers to him: ‘C’est dans
cet art d’aggrandir les clavecins des Ruckers que feu
Blanchet a réussi incomparablement bien . . . . Un
clavecin de Ruckers ou de Couchet, artistement coupé
& enlargi, avec des sauteraux, régistres et claviers de
Blanchet, devient aujourd’hui un instrument
trés-précieux.”
The name of Blanchet’s son was also:
(4) Frangois-Etienne Blanchet (II), ¢. 1730-66. He
must have started work for his father in the mid-1740s,
and in 1753 [DowdHH, p. 23, though Bz says 1757] he
married, was admitted to the guild as a master, and set
up a separate shop in the same house in the rue de la
Varrerie. When he died at the young age of 36 in 1766,
Pascal Taskin (I) married his widow, but she bore him
no children. Frangois-Etienne Blanchet II inherited
from his father the title Factewr du Roi.
(5s) Armand Francois Nicolas Blanchet, 1763-
1818. Son of Frangois-Etienne II, was born in Paris.
He learnt harpsichord making from his father’s former
apprentice Pascal Taskin. Highly skilled in tuning, he
was tuner to the King of France. In 1795, and in 1801
when he published his Méthode abregée pour accorder le
clavecin et le piano, he was living at 167 rue de la Verrerie,
which appears to have been the house bequeathed to
Taskin by Frangois-Etienne Blanchet. He died in Paris
on 18 April 1818 (Fé, and his son Nicolas succeeded
to his business, by then devoted entirely to pianoforte
making, and it was in this context that Nicolas formed
a partnership with Jean (or Johann) Roller, a German
piano maker who had moved to Paris. For further
details of the firm thereafter, see: GDN-EKI, p. 250.
DowdHH, pp. 89-93 gives a succinct account of the
development of the work of the members of the
Blanchet family, and its relation to the work of Pascal
Taskin.
A family tree of the Blanchet and Taskin family is
to be found in the Genealogies section.
For details of the surviving instruments by the Blanchet family
see Part II.
BLANCKART, Jasper. Maker of virginals. Dates
ascertained, 1566-82 [J]. He came over from Flanders
to London in 1566 and worked for William Treasorer
(g.v.). Afterwards he set up on his own account. He
lived in Aldgate [J].
BLANKENBURG, Quirijn Gerbrandt van or, as Gier
gives the name: BLAN(C)KENBURG(H), Quirinus
Gerbrandstz van. Born at Gouda in 1654; died at The
Hague 12 May 1739. Primarily theorist, organist, and
composer. Studied at Leyden University. In 1708 he
rebuilt a Ruckers harpsichord. The process is described
on p. 145 of his book Elementa musica, of nieww licht tot
het welverstaan van de musiec en de bas continuo (The Hague,
Google
L. Berkoske, 1739). In 1708 he advertised a 3-manual
clavichord: ‘een clavichord, met 3 clavieren, lang octaaf,
elk van een bysondere aert en geluyt, voor een redelycke
prijs’. In 1712 he ceded a harpsichord to his creditors.
For further details of his life see GD and also the
chapter ‘Foreign influence in the eighteenth century’
on p. 122 of Gier.
BLASSER, Thomas. Harpsichord maker in London,
ff. 1744. Some aspects of his one surviving harpsichord
suggest that he may have worked at some time for
Shudi. (He must have served his apprenticeship outside
London, as he does not appear in Join.)
For details of surviving instruments see Part II.
* BLERSCH, of Straubingen. Organ or keyboard instru-
ment (most probably clavichord) maker of the late
eighteenth or early nineteenth century. The work of
this maker was particularly esteemed by Christian
Friedrich Gottlieb Thon. See entry under THON.
BLOMSTEEN, Marten, of Antwerp. Harpsichord
maker. Dates ascertained, 1535-62. The contract
whereby he took Ghijsbrecht van Sammelt into his
workshop as assistant in 1535 is quoted by St. In 1540
he was received into the Guild of St. Luke as harpsichord
maker. He married Pauline, daughter of the organ
builder Antonius Moors, in 1562 [5#].
BLOMSTEEN, Christoffel, of Antwerp. Harpsichord
maker, son of Marten B. Dates ascertained, 1550-8, in
which latter year he entered the Guild of St. Luke as
harpsichord maker [5S¢]. Hirt gave his latest known date
as 1580, but in Hirtz the recorded dates were changed
back to 1550-8 as in Bz.
BLOUNT, Edward. See: BLUNT, Edward.
* BLUM, Mathias. Viennese harpsichord and organ
maker, fl. 1778. His existence is known only from a
harpsichord (which may originally have been a forte-
piano) which survives in the Schloss Museum, Gre-
illeinstein, Austria [StradnerPC].
For details of surviving instruments see Part II.
BLUME, Heinrich Julius, of Brunswick, f. 1804. His
name appears as an Instrumentenmacher together with
that of Lemme. He probably made harpsichords and
clavichords [SB, p. 48].
© BLUMER, Samuel. London maker of harpsichords,
spinets, and clavicytheria. Dates ascertained, 1742-88.
He was probably a member of an old-established family
of this name in Schwanden, Glarus, Switzerland, and
was driven by economic conditions to seek a livelihood
elsewhere, like other joiners such as his fellow citizen
 BOLCIONI 19
Burkat Shudi, for whom he worked at some time before on his one surviving instrument, he was ‘tuner of
about 1745. keyboard instruments in both of the Court Theatres’.
The accounts of Thomas Green (g.v.) indicate that Bz stated ‘His one surviving spinet is the only plucked
he was making instruments in his own right from 1742 keyboard instrument of Viennese provenance extant’,
onwards, since in the period 1742-64 Green tuned an but this is not true for there are surviving instruments
instrument belonging to Lord and Lady Cowper of by Pantzner (9.v.) and Leydecker (g..), both of whom
Cole Green, which was identified in 1750 (from the worked in Vienna in the middle of the eighteenth
accounts) as having been made by Blumer [Sheldrick]. century.
A bill-head bearing his name states that he was For details of surviving instruments see Part II.
‘harpsichord and spinet maker, in Great Poulteney
Street near Golden Square, London. NB. late Foreman BODE, Johann Friedrich, of Berlin, fl. 1798. Made
to Mr. Shudi’. This document is a receipt for £63 paid clavichords and pianofortes [Ge].
for a clavicytherium or upright harpsichord on 22
August 1753 [Da, p. 51]. BODECHTEL, Johann Jacob. Maker of organs and
His trade card between 1749 and 1755, on which he stringed keyboard instruments in Nuremberg in the
is depicted tuning a harpsichord in the presence of a eighteenth century. His name is given by Thon (q.v.) as
lady and gentleman, is reproduced by J (p. 129), where ‘PODECHTEL’.
an advertisement from The World of 12 January 1788 For details of surviving instruments see Part II.
is quoted, offering a ‘capital double-keyed Harpsichord,
one of Blumer’s best make and cost 46 guineas’.
BODER, Daniel. See: BADER, Daniel.
Blumer lived in Great Pulteney Street from 1749 to
1755 [RBJ]. It is possible that before working for
BODY, Thomas. Virginal maker in London. Dates
Shudi, Blumer worked for John Hitchcock and was
ascertained, 1647-62. Came to London from Hand-
the ‘Sam’ who signed 4 surviving instruments of this
maker.
borough, Oxon.; in 1647 apprentice to Joseph Boddy,
presumably a relative, joiner; free of the Joiners
Company, 1656 [Join].
BLUNT, Edward. Born about 1678; died before
For details of surviving instruments see Part II.
December 1718. Apprenticed to Stephen Keene for 7
years from 5 September 1693; freeman of the Joiners’
Company December 1700 [Join]. (His father, Edward BOGAERDE, Ghijsbrecht van den. Harpsichord
maker of Antwerp; dates ascertained, 1557-9. He was
B., recorded as a ‘citizen and weaver’ of London, may
possibly have made instruments also.) J, p. 65, refers born at Ghent, son of Joos v. d. B., and entered the
to 2 spinets labelled ‘Blunt’, made in 1664 and 1703 Guild of St. Luke, Antwerp, in 1557 [S#]. He also made
respectively, both of them signed Thos. Hitchcock on lutes and zithers [Li].
jack or key. See below: HITCHCOCK; also Musical
Times, 1890, p. 719. BOHAK, Johann. Clavichord maker, probably Bohe-
For details of serviving instruments see Part II. mian, f. 1794. In an article in the Musical Times (April
1930) Philip James illustrated a 5-octave clavichord by
BLUNTE, Thomas, of London. Virginal maker, f. this maker dated 1794, and adduced evidence connecting
1594 [Parish records of St. Giles, Cripplegate]. it with Haydn. It is illustrated by Walter, 272, where
several pages are devoted to its history.
© BLYTH, Samuel, of Salem, Mass. Painter, organist, For details of surviving instruments see Part II.
maker of Venetian blinds, and maker of musical
instruments. He was baptised in 1744 and died in 1795. BOHR, Christoph H., of Dresden. F/. 1713, the date
On 7 February 1786 he charged Mrs. Margaret Barton of a 2-manual spinet by him formerly in the Heyer
“to making a spinnett for her daughter £18.0.0.’. Collection, whose catalogue (Ks) records it as anonym-
For details of surviving instruments see Part II. ous [Fla]. According to Henkel it is now in the
possession of the Nobel family in Stockholm.
© BOCCALARI, Giovanni Natale. (The first name has For details of surviving instruments see Part II.
been changed on the advice of several correspondents
from Nataje as it appears in Bz.) Harpsichord maker at BOLCIONE, Vicentio. This name was recorded in
Naples who, from the evidence of surviving instru- Bz but is most probably a misreading of Vicenzo
ments, appears to have worked between 1680 and 1717. Bolcioni (q.v.) [Misch-1979 II].
For details of surviving instruments see Part II.
BOLCIONI. A family of harpsichord, organ and other
© BOCK, Christoph,f. 1804. Maker of keyboard instru- instrument makers at Florence of whom the following
ments in Vienna, where, according to the inscription were most probably related:

«vy Google
20 BOLTON
(1) Vicenzo. F/. 1608-12 at Florence as a maker of
harpsichords, organs, and other instruments [VM, Vol.
5, 1889, pp. 552 ff].
(2) Stefano. Almost certainly son of Vicenzo [see:
Pw). Harpsichord maker; dates ascertained, 1627(?)-41.
He was living in the Via dei Servi, Florence, in 1634,
in which year his name appears on the matriculation
books of his Guild there. The epithet Pratensis, which
follows his name in the inscription on some of his
instruments, may indicate that he was a native of Prato,
11 miles north-west of Florence. Va (p. 279) notes a
Stefano Folcione, spinet maker of Prato ff. 1641, and a
Stephanus Colciunnius [?], spinet maker of Prato, f.
1629. Both of these could presumably be Stefano
Bolcioni, but the matter is complicated by a surviving
instrument on loan from the Museum fiir Kunst-
handwerk, Leipzig to the Musikinstrumenten Museum
of Leipzig University, which carries the inscription,
though possibly falsified: Stefanus Colcionius Pratensis
1641. Franciolini’s hand may possibly be discerned here,
and certainly Franc] lists a ‘spinetta’ inscribed: Stefanus
Bolcionius Pratensis 1629, and it is this instrument which
survives in the Museo degli Antichi Strumenti Musicali,
Rome.
For details of surviving instruments see Part II.
(3) Antonio. Son of Stefano, Florentine harpsichord
maker; dates ascertained, 1663-4. In 1663 his name
appears on the matriculation books of his Guild in
Florence: ‘Faciente far bottega di strumentaio, riconosce
suo padre.’ In the following year he is recorded as
working for Bartolomeo Pini (g.v.) [Pw].
Bz recorded a further member of the family, Janus,
but this has been shown to be a misreading of the
instrument in Leipzig, mentioned above under Stefanus
Colcionius.
For details of surviving instruments see Part II under
COLCIONIUS.
BOLTON, Thomas. English virginal maker, f. 1684.
An English virginal in the Warrington Museum, for-
merly thought to be by Charles Haward, is now (1990)
ascribed by Martin to this maker, though nothing else
is known of him. [Martin].
For details of surviving instruments see Part II.
BOMBINI. Shown in Bz as a maker of Modena and
Rome, and as having made a harpsichord which was
in Modena in 1598. Miscb-r979 I] demonstrates, with
a series of letters, that he was not the maker of the
instrument but that he owned it and gave it to the
Duke d’Este. Bz quotes from Va (p. 129) a wardrobe
inventory of the house of Este (eighteenth-century):
‘Un cembalo piccolo, con tastatura di bussolo e legno
nero, con due registri, opera dell’abb. [= Abate]
Bombini danneggiato ¢ con una bruciatura nel davanti,
in controcassa di piella con serra tura ¢ senza chiave.
, Google
Cosi ¢ stato restituito da casa Marsciani a di Maggio
171."
BONAFINIS, Francesco. Possibly an Italian virginal
maker, f. 1585-7, though the evidence for the existence
of such a person rests on the inscription on a polygonal
virginal in the Metropolitan Museum of Art, New
York, which carries Franciscus Bonafinis, MDLXXXV
on the front of nameboard, and in a different hand
Factum Anno 1787 on the reverse. VdM reports that
the nameboard, though undoubtedly old, has been cut
down and does not belong to the instrument, and was
probably originally part of a harpsichord. It is possible
that Franciolini had a hand in the exchange of name
batten and instrument.
For details of surviving instruments see Part II.
BONDBOUGH, John. See: PRINGLE, Archibald.
BONETTI, Pietro. A spurious ottavino at the Smiths-
onian Institution, Washington (until 1960 in the Cooper
Union, New York), is inscribed on the nameboard:
Petrus Bonettus faciebat anno domini 1531.
For details of surviving instruments see Part II.
BONGA(E)ERTS, Willem or Rutgerus. On 14
November 1686, the following notice appeared in the
Arsterdamsche Courant:
Den organist tot Harderwijck maeckt bekent dat by hem
gemaeckt is, en voor een civile prijs verkoft sal werden, cen
treffelijck soo in resonantic als macksel, dubbelt clavecordium,
met een pedaal, sprekende op acht voet, en soo in’t manuael
als pedal clavier met Cis, Dis, Fis, Gis. Oock is by hem een
staertstuck gemaeckt om te verkoopen, het clavier van deselve
natuur als boven, ook cometten-toon, elck clavier sprekende
op dry snaren; als mede sijn bij den selven te bekomen
heele goede enckelde clavecordiums. Yemant daer gading in
hebbende, kan sich by den selven vervoegen.
This anonymous organist who offered a 2-manual
pedal clavichord, a harpsichord with 3 registers, and
some single-manual clavichords may be one of the sons
of Gosewijn Bongaerts who as organist of Harderwijk
(1636-74) was succeeded on 20 July 1674 by his son
who was obliged to care for his mother. In 1681
‘Bongaerts the Younger’ was paid 336 Carolus guilders
as his fee.
Gier, who despite search, could not find Bongaerts’
name in the marriage registers of Harderwijk (a town
on the then Zuiderzee) believes that he never married,
and reports that the burial registers are not preserved.
As Gosewijn Bongaerts and his wife Sara van
Mammerden had two sons, Willem (baptised 8 May
1642) and Rutgerus (baptised 23 June 1647) one
 BONONIEN 21
of them will be ‘Bongaerts the Younger’, organist, © BONI (de BONIS, BUONI), Giuseppe or Gioseffe,
harpsichord and clavichord maker [Gier]. of Cortona. Harpsichord maker; born ¢. 1629-30, died
18 March 1702. Son of Giovanni Battista da Cortona
BONGIORNO. Harpsichord maker of Rome. (g-v.), from whom he learned the rudiments of his
For details of surviving instruments see Part II. profession, and Elisabetta Porcelli from Florence. In
the records of the church of S. Marco, he is shown in
1644, after the death of his father, with the following
BONI, Giovanni Battista, da Cortona. Harpsichord other workmen: Camilla Tessarini, Veronica Tessarini,
maker of Cortona. Until recently, the main sources of Giuseppe Boni, Lorenzo Ragonese (¢.r.), Gio. Battista
information on Boni were Va, who gives his dates as Ragonese, Caterina Ragonese (see also entry under
1617-75, and VdS, Vol. 6, p. 514, where it is noted Zenti). But in 1648 he is shown in the registers in what
that he is recorded in Pinaroli’s MS. Polyantbea technica must have been his own shop near the via dei Cimatori,
as ‘Giuseppe De Bonis, detto il Certina o Cortina’. with his first wife, Caterina Peri, and from 1650 with
With the publication, in 1987, of Frederick his second wife Antonia Garzini. Barbieri records a
Hammond’s article ‘Some notes on Giovanni Battista number of changes of address in the period until 1697,
Boni da Cortona, Girolamo Zenti, and others’, in GSJ and several entries in archives showing payments to
XL, pp. 37-47, considerable further light was shed on Boni during the period in which he was harpsichord
Boni’s life and work. maker to the house of the Pamphili from 1663 to 1700.
Hammond shows that during the pontificate of Urban A harpsichord inscribed Giuseppe Buoni da Cortona
VII Barberini (1623-44), his 3 nephews, Cardinal facevea MDCLXXXI was in the collection of Prince
Francesco, Don Taddeo, and Cardinal Antonio, all used
Ferdinand of Tuscany in 1700. It had 1x8’, 1x4’ stops;
the services of Boni, either for tuning or the supply of
harpsichords and other instruments. The earliest date
45 keys; no rose (Gai, p. 12].
Franc II records a ‘spinetta di viaggio’ with the
quoted by Va of 1617 is presumably based on the date
inscription: Joseph Bonos et Cortona.
of the earliest surviving instrument, a polygonal virginal
with split keys, but the earliest documented date is 28 For details of surviving instruments see Part II.
April 1620, when Boni was paid go baiocchi ‘for tuning
the harpsichord in the Station of Sant’Apollinaire and BONISSIMO. (1) Giannantonio. Referred to as
for the feast of the martyrs 1619’. ‘Zaneantonio dai manachordi’ and ‘Joane Antonio
In 1628 Boni restored what must have been a maistro da manachordi’. Harpsichord and clavichord
much-prized harpsichord acquired by Cardinal France- maker of Modena; fl. 1485 (Va; MarcP].
sco and from the summer of that year he worked, until (2) Stefano [Stefano di Giannantonio, Stefano di
his death, as harpsichord tuner for the Cardinal. In Biagio] son of (1). Of Venice, maker of harpsichords and
1629 he made a harpsichord for him for which he was clavichords. Dates ascertained, 1506-15; also referred to
paid a total of 11 scudi (albeit in two instalments). as ‘maistro d’arpicordi’ (Va; Marc P}.
In April 1631 Boni made a new harpsichord for Don
Taddeo, by now Prince of Palestrina, for which he was
paid 26 scudi, and in August 1634 the third brother, BONNOT, Joseph [Josef Bonau]. F/. 1665 at Avignon
Cardinal Antonio, purchased from Boni ‘a harpsichord as a maker of harpsichords and other instruments. In
and gilded stand on feet’, for 50 scudi. From then on June 1665 he signed (using the form Josef Bonau) a
it is clear that Boni was very fully occupied in making contract to make a double harpsichord with 2x8’ and
and maintaining instruments for all 3 members of the 1x4’ stops, a compass of 50 keys, and apparently a
family. Hammond gives a detailed picture of the many push-pull coupler, for the nobleman Jean de Roland
transactions. [F. Lesure in GSJ, Vol. 6, 1953, p. 106].
A mandato of Cardinal Francesco dated 10 July 1641
records a payment of 18 scudi ‘to Elisabetta Boni wife * BONOMIUS, Dominicus, Sebastanius. Possibly an
of the late Giovanni Battista Cortona, harpsichord
Italian harpsichord maker of the eighteenth century. A
maker, for his pay for adjusting harpsichords for six harpsichord in private ownership is reported to carry
months ending with the entire month of June’. Despite the inscription on the vertical face of the wrest
the possibility of mistaken identity due to the presence plank (seen on removing the front board)—Dominicus
in Rome of ‘Sig. Giosippi Boni, Cimbalaro’, aged 37,
Sebastanius Bonomius fecit Anno Domini MDCCII
in 1666, it seems that Va must have been wrong in
LJaccottet}.
ascribing 1675 as Boni’s year of death—it was almost
For details of surviving instruments see Part II.
certainly 1641.
Boni was succeeded in the Barberini establishments
by Girolamo Zenti (g.v.). BONONIEN, Ioannes Baptista. See: IOANNES
For details of surviving instruments see Part II. BAPTISTA.

»y Google
 22 BONONIENSIS
BONONIENSIS, Antonius. See: ANTONIUS, been assigned to the 1540s. It was in 1971 owned by
Bononiensis. C. F. Maikoffske, Naples, and is s instrument
no. 551 in Kraus. (It seems therefore that 76.. in the
BONONIENSIS, Hieronymus. See: HIERONY- inscription on the Schumacher virginal is a misreading
MUS, Bononiensis. for 17.., but this has still to be verified.)
For details of surviving instruments see Part II.
* BONOMO, Gregorio. A harpsichord in private own-
ership in Germany is reported to be signed Gregorio BOS, Hans [Bossus]. Dates ascertained, 1543-72.
Bonomo, and dated 1785. No further details are known Well-known organ builder of Antwerp, who also made
(Champ). harpsichords. He entered the Guild of St. Luke,
For details of surviving instruments see Part II. Antwerp, in 1558 as an organ builder [5#].
In 1543 he lived in the parish of St. Joris, and
BONTAN, Pierre. See: TOURNAN, Bertrand. married Jeanne Oden of the parish of O. L. Vrouw.
Various entries in official books relating to Bos’s
activities as organ builder and tuner are quoted by Si.
BONTEMPS, Nicolas. Dates ascertained, 1506-23.
In two documents of 1550 and 1572 he is described as
Clavichord maker who lived at Lyons as a ‘faiseur
‘harpsichord maker’ (clavesimbel-maker) (Po).
d’instruments’ and ‘de manichordions’. [Cow; see also
Pr (p. 16) mentions him as an outstanding maker of
Mab. Ill. 169, and Pi, p. 63.] Va provides his carliest harpsichords and symphonies, most of them tuned a
date (1506) and M. Dalbanne of Lyons his latest. third lower than those in Germany: ‘der vortreffliche
Instrumentmacher zu Antorff Johannes Bossus . . .”
BORDEGATUS, Antonius. Italian virginal maker in For details of surviving instruments see Part II.
the seventeenth century.
For details of surviving instruments see Part II. BOSCH, Apollonius. Organ builder in Rotterdam in
the middle of the seventeenth century. According to
* BORGHETTI, G. Strictly, Borghetti might, in this Vente he was also a harpsichord maker. Dates ascertained
volume, be excluded on the grounds that his surviving 1654-77. Bosch was a member of the Lutheran Church
three instruments are probably later than 1840—but in Rotterdam. He was already widowed on 27 June
only just. Working in Brescia, Italy, in the 1840s, 1666, when he remarried in the village of Loosduinen.
Borghetti built a large rectangular virginal dated 1844, The bride was Cornalia van der Hart from The Hague.
while two other undated instruments of very similar His eldest child was baptised in 1647. Presumably Bosch
design survive. This trio must surely be the latest was born about 1620. In 1686 he built an organ in
examples of virginal building of the classical period. Vollenhove which still survives [Géer].
They all have a compass of BB-c*, though they may
have been tuned to give a short octave compass of BOSI, Camillo. Born ¢. 1765. Harpsichord maker of
GG/BB-c*, and all three have their original jacks with Rome. Registered in 1805 at number 17 in the via di
leather plectra [O’ BriemPC}. Porta Pinciana [Barbieri, p. 148}.
For details of surviving instruments see Part II.
BOSSART, Emanuel. Organ builder in Berne, born
BORTOLO PADOVANO. See: CRISTOFORI, 1729(?). Also made spinets, of which he advertised one
Bartolommeo. in 1755 [Rind)}.
BORTOLOTTI, Alexander. See: BERTOLOTTI, BOSTEM, Mathias. Harpsichord and piano maker in
Alexander. Lisbon. F/. 1766-1806. According to J. Schepereel in
L’Orchestre et les instrumentistes de la Real Camara a
© BORTOLUS. Virginal maker possibly of the sev- Lisbonne, Lisbon, 1985, he opened a ‘fabrica de claves
enteenth century, but more probably of the sixteenth e de pianos-fortes’ in the Rua de Emenda. He was also
century, and also, probably Italian. A polygonal virginal harpsichordist and harpsichord tuner to the Opera and
in Heinrich Schumacher’s collection, Lucerne (1910), Royal Chamber in Lisbon, 1806-11 [KdP].
bore the inscription: Bortolus fecit anno 16.. Quintilins
Caplezzo renovavit] et ornavit Sensis ?] {G}. BOTTISANGO, Giulio Cesare [? or Bottifango]. Died
The Old Music Store, Deansboro, New York, had at Rome 1626. Amateur maker of wind and other
(March 1957) a lavishly decorated single harpsichord instruments. He made a harpsichord [‘Clavicymbel’]
inscribed: Her I] Fer Dux IIII CRI, presumably and bequeathed it to the Jesuit College at Rome [Wa].
recording ownership by Ercole d’Este II, Duke of
Ferrara (b. 1508, succeeded 1534, d. 1559). It is signed BOUDIN, Joseph. CIP (p. 71) gives this form in
Bortolus fecit on the back of the nameboard and has mistake for Baudin (g.v.).

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 BRELIN 23
©@ BOURDET, Jacques (I), ¢. 1660-1737, when an Gillis Brebos (d. 1584). Dates ascertained, 1567?-1609,
inventory [MC, pp. 91, 758, 2 March 1757] lists the latter being the year of his death. In Bz it was
instruments in his possession, his tools having appar- recorded that:
ently already been taken over by his son Jacques In 1567 he became the pupil of Peter van Geelaer [Bu], and
Guillaume. He entered the Guild of Harpsichord Makers in the following year is recorded as announcing his intention
in 1678 and became juré in 1689 [Hubb 1963, p. 92]. of going to Copenhagen [quoted in 5/).
Either the father or the son attended the Goermans
(¢-s.) marriage in 1730—probably the father. For further It seems, however, that both of these facts are unlikely
details see Verlet and Hubb 1963, and also Germigéo, to be correct for Bordas reports that this is a frequent
PP. 439-41 for addresses of the various members of mistake, there being another Hans Brebos, brother of
the family, and a map of Paris showing locations of Gilles (sic) Brebos, who was an organ builder in
their workshop in relation to other makers and some Copenhagen. [See: ‘Nuevos datos sobre los organeros
prominent musicians of the time. Brebos’, in (1990) a forthcoming publication in homage
to M. S. Kastner, to be published by the Fundagao
BOURDET, Jacques (Il). Parisian harpsichord maker, Calouste Gulbenkian, Lisbon.}
son of Jacques Guillaume’s first marriage. Born before At some time after 1567 he went to Spain where
1711; died before 1764 [Verlet}. before 1584 Juan (as he was known by this time) and
his three brothers Caspar, Miguel, and Nicolas were
working on the four Escorial basilica organs, following
BOURDET, Jacques Guillaume. Parisian harp-
their father’s death. This period, including various
sichord maker, fl. 1736-50, in which year he made
contracts relating to Juan’s building and repairing of
certain repairs to the harpsichord at the Opéra [Pi, p.
organs from 1590 to 1608, the year before his death, is
go]. In 1736 he became instrument maker to the Queen.
well documented in AHPM, Papeles Barbieri in the
See further Verdet.
Biblioteca Nacional, Madrid, and several other sources
[KdP].
BOUSSU, Jacques. Parisian harpsichord maker, f. In 1592 he went to Toledo to build a monumental
1706 [Verlet}. organ. The documents relating to this are quoted in VdS
(VIII. 246-52). He repaired the Queen’s harpsichord at
BOUTON, Jacques. Harpsichord maker in Paris; f. Valladolid [ibid., p. 254]. His other undertakings
1627 as ‘Maitre Faiseur d’espinettes du Roy’ [Laborde]. included the organ in the Royal Chapel of the Alcazar,
a claviorganum for the Count de Nieve, and an organ
* BOYSE, Edwardus. See: GYSE, Johannes. in Madrid. It had also, until recently, been thought that
a further reference [ibid., p. 255] suggested that he
BRACKLEY, Charles. Spinct maker in London, born made 2 regals for the Escorial, but recent research by
¢. 1688. Apprenticed to Stephen Keene for 7 years from KdP shows that the Spanish word used is realejos, which
2 November 1703; by 1719 had been taken into refers to positive organs. He was buried in the church
par:aership by him. Freeman of tbe Joiners’ Company, of St. Martin, Madrid, in 1609. His will is quoted in
January 1711. A Stephen Keene spinet of 1706 is Vd (VIII. 255-8).
initialled 34/CB/1705/6 on the top key and jack, the
CB presumably being Charles Brackley while in his BREITENBACH. Adi (II. 110) writes: ‘Es ist mir aber
apprenticeship. auch ein Breitenbachisches Clavessin mit 2 Clavieren
For details of surviving instruments see Part II. vorgekommen, das dreychéricht war.’ He goes on to
describe the instrument (1xq’, 1x8’, 1x16’, coupler) in
BRADSHAW, Albion. The evidence for the existence detail. The 4’ and 16’ registers worked on the lower
of this London spinet maker rests on the survival of a keyboard; the 8’ on the upper. Breitenbach probably
spinet inscribed Albion Bradshaw Londini Fecit, and the refers to the town in Thuringia, 30 miles south of
record of his apprenticeship to Thomas Watts for 8 Erfurt, called Gross-Breitenbach, where several makers
years from 18 March 1701; freeman of the Joiners’ worked. J. H. Harrass (g.v.) was probably the man
Company, January 1712. whom Adlung had in mind.
For details of surviving instruments see Part II.
BRELIN, Nils, 1690-1753. Swedish theoretician,
BRAUTIGAM, Johannes. See: BRUYDEGOM, inventor, harpsichord and clavichord builder, and vicar
Johannes. of Bolstad in the province of Dalsland. While aspects
of his life and work are covered in Nor, p. 140, and
© BREBOS, Jan or Hans or (probably after his arrival an article in German appears in Marp, Il. 322, and Ge
in Spain)—Juan. Originally a Flemish builder of organs (1814), the most recent and more comprehensive survey
and harpsichords, son of the celebrated organ builder of his life and work is given by Eva Helenius-Oberg—

Google
24 BREMERS
‘Kyrkoherden Nils Brelin—mechanicus och kla-
verilskare’, in SvenskTM, 1987, p. 91 (with summary
in English), while other aspects of his work are covered
in H-O, from which 2 works the following summary
has been compiled, with acknowledgement.
He was born the son of a tenant farmer, lived in
poverty, and died destitute. It was not until he was 22
that he was able to study at the Karlstad Grammar
School, and this was followed by a period at the law
faculty of Uppsala University in 1717, theology at Lund
University in 1721, and again at Uppsala from 1723.
After holding various official appointments at Karlstad
from 1718 onwards, he was eventually appointed Vicar
of Bolstad in 1743. In the years 1719-21 and 1735-8
he travelled abroad, during which time he developed
his aptitude for mechanical inventions, and apart from
building keyboard instruments with good mechanical
durability, his inventions included a wide range of more
domestic articles such as brewing-houses, handmills,
baking ovens, windmills, ploughs, and tiled ovens.
In the year 1739 he was elected to the newly founded
Royal Swedish Academy of Sciences in Stockholm, and
published a paper, ‘Reflections on the great improve-
ment of the quality of Clavichords and Harpsichords’,
in the proceedings of that institution. This laid the
foundations for the construction of the bridges and
soundboards of Swedish clavichords. Sadly none of his
instruments survives, but some of the innovations
suggested by him, particularly concerning bridge con-
struction and pinning are to be found in other surviving
Swedish instruments [see: H-O p. 26]. Brelin contributed
a number of other articles to the proceedings of the
Swedish Royal Academy of Sciences including, also in
1739, designs for a polygonal clavichord; and in 1741,
for an upright ‘double harpsichord’, which was almost
certainly equipped with hammer action; and in 1751
designs for his own jacks. These are reproduced by
H-O at pp. 53, 51, and 52 respectively.
It was not until the publication of Helenius-Oberg’s
work that the importance of Brelin as an influence on
Swedish instrument building, and beyond that into
Europe, was more fully appreciated.
BREMERS, Mathias. Maker of harpsichords and
pianofortes. Originally from Gladbach, his earliest
known date is 1741. He died in Brussels on 22 August
1803. The son ofa carpenter, he is known to have been
living in Brussels by 1768, though the first mention of
him as an instrument maker dates from 1785 when he,
with Ermel pére and fils (g.v.) and 2 anonymous makers,
laid a successful petition for an import duty on incoming
harpsichords and other keyboard instruments, for the
protection of local makers. The certificate attached to
the petition indicates that he was making harpsichords
“a jeu de buffle’ (price 25 louis), and ‘a mécanique et 4
differents jeux’. As a piano maker he appears to have
Google
specialised in ‘pyramid pianos’. [Haine/Meexs, VdS, Il.
121.)
BRENZI, Antonio, of Bologna (otherwise Antonius
Bononiensis). Maker of musical instruments including
(though not primarily) keyboard instruments at
Bologna, f. 1592-1628. Winternitz (Musical Instruments
of the Western World, 1966) illustrates a lira da gamba,
now probably in the collection of Leipzig University,
signed: Antonixs Brensius Bonon. 1592, Also a viola
survives bearing an authentic printed label reading:
Ant. Brenzi Bologna Ano 1628.
For details of surviving instruments see Part II.
BRESCIANO. See: TRAERI, Domenico.
BRESSANO, Carlo, of Bologna. Virginal maker, f.
1772 [Va].
BRETON, Jacques le. See: LE BRETON, Jacques.
BRIDGE, Richard, of London. Spinet-maker, f. 1753,
and probably the organ builder Richard Bridge or
Bridges, pupil of Renatus Harris II; f. London 1729-
30 [GD, sth edition, V. 384]. The workbooks of
Thomas Green of Hertford carry a reference to the
tuning of a spinet between 1764 and 1766 by Edw’d
Bridge, at Mrs. Briant’s at Hoddesdon [Sheldrick]. Green
was, probably in error however, mistaking the signature
‘on the instrument for that of Richard Bridge.
For details of surviving instruments see Part II.
BRISCIANO, Giovanni Francesco. See: ANTE-
GNATO, Giovanni Francesco.
BRISSART, Jehan. Known to have been working in
Paris as a harpsichord maker (épinetier), 1578-1607, first
in the parish of St. Merry and later in the rue
Montorgueil; friend of Pol Belamy and Médéric Lorillart
(g-v.) (Les.
BRITSEN. Family of harpsichord makers in Antwerp
in the seventeenth century of whom the following have
been identified:
(1) Joris I. Dates ascertained, 1613-81 [Hirtz]. In
1613 he was accepted by the Guild of St. Luke as a
pupil of M. Ykens (‘Joris Britsen by Melsen Ykens,
antyckensnyder’ [Ro, I, 498], ‘Joris Britsen by Melchior
Yckens, antycksnyder’ [Ro, I. s00]).
(2) Joris Il, probably son of Joris I. Entered the
Guild of St. Luke as a harpsichord maker, in 1655-6.
(3) Joris Ill [called The Younger]. Received into the
Guild as a master’s son, 1658-9. Hirtz gives his latest
date as 1675.
(4) Alexander, received into the Guild in 1717.
 BROADWOOD 25
At least four instruments have survived bearing the century harpsichord building was slowly displaced by an
name of Joris Britsen. It is impossible to ascribe them increasing demand for the piano.
with certainty to any one of the 3 makers of that name. Broadwood had come to work for Shudi in the year
The difficulty is further compounded by the survival that another former employee of Shudi’s, Johann
of a virginal in the Brussels collection (no. 631) by Christoph Zumpe (g.9.), had left to start up on his own.
Georg (Joris) Britsen, dated 1686. Zumpe’s success, particularly in popularising small
For details of surviving instruments see Part II. square pianos, must have fired Broadwood with enthu-
siasm to tap this growing market. In addition, several
BRIXIENSIS, Franciscus. See: ANTEGNATO, Gio- makers were experimenting with the development of
vanni Francesco. what was to become ‘the grand’, and with particular
regard to the action. To quote Watmwright:
BROADWOOD, John, 1732-1812. Founder of the ‘The story was passed down from John Broadwood to his son
firm of John Broadwood & Sons, pianoforte makers. James Shudi Broadwood, and is thus given by bis son: ‘John
He was born at Oldhamstocks near Cockburnspath in Broadwood, then with his apprentice Stodart ((g.7.)], in the
Scotland, and learned from his father, James Broad- employ of Burckhardt Shudi, used to go of an evening to
wood, the trade of a carpenter and joiner. Though it Jermyn-street, to assist Backers [Americus Backers (¢.».)} in
is often said that he set out to seek his fortune in bringing his mechanism to perfection. This was the case, and
London with a half-crown in his pocket, it seems more hence the dying man recommended the further care of his
likely that with the help of the local laird, Sir John invention to his friend John Broadwood.’
Hall of Dunglass, he went to London in September Shudi died in 1773, leaving Broadwood the rights in
1761, with letters of introduction which enabled him the Venetian Swell, provided he paid Shudi’s young
to gain employment with Burkat Shudi (g.v.) as an son (also named Burkat) an annuity of {40. The
apprentice harpsichord maker. partnership between Broadwood and Shudi was con-
it is clear that he soon gained favour with Shudi, tinued with the young Burkat Shudi (born 1737) and
and was trusted with some of the most exacting work. although Broadwood was now the senior partner his
A published affidavit of the period concerning the name still appeared second in the harpsichord name-
commission which Shudi received in 1765 for harp- board inscriptions (after 1780, however, his Christian
sichords for Frederick the Great of Prussia, for his name appears in full, ‘Johannes’). The latest surviving
New Palace at Potsdam [5b-A/], asserts that: harpsichord which is known to bear both their names
the greatest part of the work of the said Harpsichords was is dated 1791, but, according to Hipkins, Broadwood
done by . . . Andrew Clark and John Broadwood, under the carried on the direction of the firm alone from 1782
direction of their said master Burkat Shudi; and particularly onwards, although Burkat Shudi Junior survived until
. ++ John Broadwood remembers
his having glewed up the 1803.
sounding boards of all the said Harpsichords, and his having In 1776 Barbara Shudi died at the age of 27, leaving
assisted his said master Burkat Shudi, in putting the sounding- Broadwood to bring up 3 children, but in 1781 he took
board (after [he] had wrought and finished the same under Mary Kitson as his second wife, and she bore him a
the immediate direction of . . . Burkat Shudi), into the first
further 6 children between 1782 and 1793.
of the said Harpsichords sold to his Prussian Majesty. In 1793 Broadwood took his son James Shudi
In 1769 he married Shudi’s daughter Barbara (1749- Broadwood (1772-1851) into partnership, making the
76), and in the following year was taken into partnership firm John Broadwood and Son (by this time devoted
by his father-in-law. It is clear that by the early years wholly to the pianoforte); and when another son,
of the 1770s following Shudi’s lease to him of his Thomas, entered the partnership in 1807, it became
Pulteney Street and Bride Lane premises in 1771 for John Broadwood and Sons.
£50 per annum, Broadwood was involved in 4 main In 1780, Francis Hopkinson, a lawyer of Philadelphia,
types of business. First he was making harpsichords devised his improved method of quilling the harp-
and selling them at home and abroad; secondly he was sichord whereby a small metal staple was added to the
hiring harpsichords for domestic and concert use. He quill to give it greater stability. He read papers on the
‘was carrying out tuning and regulating of instruments subject to the Philosophical Society of Philadelphia in
on an extensive scale, and finally he was selling a variety 1783 and 1784, and mentioned therein the instrument
of other musical instruments. made for him (as he put it) by Messrs Shudi and
Barbara’s role in the business is fascinatingly revealed Broadwood, though in a later part of the 1784 paper
in her Accoxnt Book, preserved in the Bodleian Library, it is clear that Broadwood was the person who built it.
MS. Eng. misc. c. 529, and this, together with two The further ramifications of Hopkinson’s experiments
other manuscripts, MS. Eng. misc. b. 107, Jobn Broad- and his friendship with Thomas Jefferson are also
woods Joxrnal, and MS. Eng. misc. ¢. 663, Jobn alluded to in the articles on Shudi and Kirkman. See
Broadwood’s personal financial dealings, shows how, in the also appendices 14 and 15 of Rasse/l 1959 for documents
period from 1783 until the end of the eighteenth relating to Jefferson and Hopkinson. From these and

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26 BROCK
other sources it is clear that Broadwood was increasingly @ BROMAN, Johan or Johann. Harpsichord and clavi-
using leather plectra in harpsichords, and the workbooks chord maker of Stockholm. Probably related to Olof
have references to older instruments being taken back Broman (sce below). According to VdM, he was born
in to be fitted with leather. in 1720 (though H-O says 17172) and was ‘gesill’ of
In 1787, Broadwood, requiring more space for Anton Perichon (g..). He became independent in 1756
business and a growing family, took a lease of 21 years and died in 1772 [VM].
on ‘a house in the country’ as his family described it, He was the first to accept the theories of scaling of
at No. 14 Kensington Gore (£25 per year). He also Nils Brelin (g.».) which the latter set out in 1739, and
leased the adjoining house, No. 15 (£10 per year), he was licensed in 1756 through the offices of Jacob
which was smaller, but had a longer garden running Faggot (9.9.). Broman’s surviving clavichord from the
down to the market gardens which gave an open view same year, 1756, demonstrates Brelin’s principles, and
at the back over the village of Brompton. The house the former is therefore an important figure in the
was approximately where the Royal College of Arts development of the ‘Swedish clavichord’. His workshop
now stands. was not large, but produced a small steady flow
Broadwoods sent annually for many years a harp- of instruments. Pehr Lindholm (g.v.) worked as a
sichord to St. James’s Palace for the performance of journeyman for him in the period 1771-3. By 1770
the King’s Birthday Ode. As usual in 1793 the harp- Broman’s clavichords had been extended to 6
sichord was sent, but it was the last occasion, for octaves.
though used in rehearsal, a pianoforte was used for the
The same principles of doubling the string length at
performance, and the harpsichord was never used again.
the octave were applied by Broman to at least one of
It is not clear when the last Broadwood harpsichord
his harpsichords. This resulted in the instrument being
was made, but it may be significant that the latest extant
of extreme length. There may have been more than one
instrument is dated 1793, and is the only harpsichord
built, but the surviving instrument signed Johannes
signed by Broadwood alone: Johannes Broadwood London
Fecit 1793. Broman Stockholm 1756, having a length of 3,600 mm
must be by far the longest extant instrument, and
The further rise of the piano is not relevant here,
though Broadwood played a prominent part in it until possibly the longest ever built at any time [H-O].
his death in mid-July 1812, when, dining with his son, For details of surviving instruments see Part II.
Thomas, in Great Pulteney Street, he suffered a stroke
and, lingering on for one day more, died on 17 July © BROMAN, Olof. Harpsichord and clavichord maker
in his 80th year. at Ronneby (Blekinge); born ¢. 1712, died or was dead
The definitive history of the Broadwood firm has in 1760. Little is known of him except that he was a
been recorded by David Wainwright, Broadwood by carpenter at Ronneby in 1740, and probably carried on
Appointment
—A history, Quiller Press, London, 1982, this trade as well as building clavichords. The fact that
while apart from the three Bodleian manuscripts men- only one of his clavichords survives suggests only a
tioned above, the remainder of the Broadwood archive
modest output of instruments.
is at the Surrey Record Office. See above under Johan Broman for the possibility
A full genealogical tree of the Broadwood family is
that Olof built harpsichords.
given at pp. 324-5 of Wain, and an abridged version
For details of surviving instruments see Part II.
is to be found in the genealogies section under Shudi.
For details of surviving instruments see Part II.
* BROSI. See: BROSY.
BROCK, Hermann Willen. See: WILLENBROCK,
Hermann.
© BROSY, BROSI, or PROSI. A family of organ build-
BRODERIP, Francis Fane. See: LONGMAN AND ers in the eighteenth century in Schabisch-Hall and
BRODERIP. Basel. Rindlisbacher [Rénd/K/av] mentions two members
and gives some information about them, and an in-depth
BRODMANN, of Vienna. Organ or keyboard instru- study by Veronika Gutmann [‘Zum Schaffen der Instru-
ment (most probably clavichord) maker of the late ment und Orgelmacher Peter Friedrich Brosi und Johann
eighteenth or early nineteenth century. The work of Jacob Brosy’, in Basler Jabrbuch fiir Historische
this maker was particularly esteemed by Christian Musikpraxis, X1, Amadeus, 1987, Basel] gives con-
Friedrich Gottlieb Thon. See entry under THON. siderably more biographical information about both the
father and son. Though chiefly remembered as organ
BROEDLER. Organ builder and clavichord maker builders, the two men made plucked-string keyboard
from Vaihingen a.d. Enz, fl. 1809. instruments. Apart from descriptions of the surviving
For details of surviving instruments see Part II. spinets by Peter Fridrich and the spinets and clavichord

Google
 BRYNE 27
by Johann Jacob, Gutmann also gives details of some BRUCK, Mathias. Clavichord maker, lived in the
six ‘tafelklaviere’ by the latter. Katzenbauch (now Katzenbug), Cologne, in 1797,
(1) Peter Fridrich (occasionally Friedrich) whose according to a directory for that year [Ks].
surname usually appears in the form Brosi (occasionally
Prosi) was the son of Johann Caspar Brosi (1650-1734), BRUNELLI, Antonio. Italian virginal maker, f. 1798.
who like his father before him was also a cooper. Peter For details of surviving instruments see Part II.
Fridrich was baptised at Schwabisch-Hall on 14 January
t7oo. After early training as a carpenter, he studied BRUNER, Frederick. Harpsichord maker at Tyler’s
organ building in the period 1721-8 with Johann Court, Westminster, 1790 [Westminster Poll Book, Byrne].
Christoph Wiegleb of Wilmersdorf. Thereafter in Stras-
bourg he worked with Silbermann, and the organ
builder Rohrer. On 5 November 1733, Brosi married ©@ BRUNETO dalli Organi, or Pontoni [see: Luciano
Rognoni, L’antico organo di S. Maria, in Organo, in Studi
Maria Elisabeth Illinger of Strasbourg, and by her had
14 children. In 1745 he obtained citizenship (‘civis Storici Veronesi, Luigi Simeoni, XX-XXI, 1970-1, pp.
academicus’) of Basel, and by the year 1750 his address 30-1 [VdM]] of Verona, known particularly for his
organ building, f. 1556-64. Despite further research in
was given as Steinbachgisslein 28, and he appears in
the Historischen Grundbuch as ‘organbuilder’. His earliest the period since the publication of Bz, there is still
surviving spinet dates from 1755, the year in which he confusion concerning this maker, and the correct
was made ‘Orgelinspektor’, but he must have been rendering of his name. See also below: TRASUNTINO,
active in this field since at least 1752 when he received Giovanni Francesco, and FLORIANO, Benedetto.
a commission from the College of Music ‘das . . . For details of surviving instruments see Part II.
Clavecin zu accomodieren’, while from 1753 he appears
regularly in the accounts book of the College until the * BRUSOSCKI. See: BESOCKI.
year of his death. On 4 April 1764 Peter Fridrich Brosi
was buried in the church of St Leonard. © BRUYDEGOM, Johannes. Maker of keyboard instru-
For details of surviving instruments see Part II. ments. Born at Stargard in Pomerania in 1704 or 1705.
(2) Johann Jacob, the eleventh child of Peter By 1742 Bruydegom had settled in The Hague where
Fridrich, was baptised on 25 June 1748. He received he was registered as a member of the Evangelisch
his early training in his father’s workshop. After his Lutherse Kerk (Lutheran Church) ‘Dom XXI post
father’s death he was trained in the same craft by a trinitatis’, and on 22 October 1747 he married Catharina
foreign master, probably J. H. Silbermann, at the cost Barbara van Asten from Stolberg.
of the state and some musicians, ‘because there had to In 1754 he delivered, as did G. Steevens (9.v.), a
be someone to look after the organs and harpsichords’ 2-manual harpsichord for 300 guilders to the court of
(weil doch die allhiesigen Orgeln und Clavessins jemand the stadtholder in The Hague. In 1751 he had already
zur Unterhaltung derselben nétig haben) [Rind/K/ay]. made an organ for the chapel of the palace of the
Gutmann gives considerably more about his training stadtholder in Apeldoorn (Het Loo). In 1759 he made
as an organ builder, and despite the fact that he was an estimate of the musical instruments of the late
primarily renowned for his skill in this craft, and there Princess Anna of Hannover who lived in The Hague
is ample surviving evidence of the wide range of work (wife of the stadtholder Willem 1V). Curtis mentions a
that he carried out in Basel and the surrounding area, two-manual harpsichord made in 1761. Marpurg refers
it is clear that he made and worked on spinets, to him under the name Brautigam in the 11 December
harpsichords, and pianos. Records exist of bills from 1762 issue of his Kritische Briefe as ‘ein braver Clavier-
the period 1775-98 for work carried out on these macher im Haag’. In 1773 some harpsichords were
instruments, as well as the organ in the house of Peter offered for sale; among them ‘an important one, made
Ochs in Basel. His surviving instruments also include by Bruydegom’. Other harpsichords by Bruydegom
one clavichord. were advertised in 1778 and 1792, while references to
At the age of 25, in 1773, Brosy married H. Imhof, harpsichords by him appear in wills of 1780 and 1786.
and lived with her in the house at Steinbachgisslein, See further Curtis, pp. 47-8, and Gier.
which he had taken over from his father, until 6
November 1812 when he sold the property. He died * BRYNE, Isaac. Virginal maker of Bristol. Dates
on 17 September 1816. ascertained, 1620-43. The Bristol apprentice register of
For details of surviving instruments see Part II. 1536-1643 contains lists of apprentices and entries
recording their freedom from their masters. Isaac
BROWNE, Thomas [Broun]. Organ builder, of Cam- Byme appears on several occasions, in connection with
bridge; f. 1508. He probably made virginals as well, apprentices Philip Brown, Stephen Fudger, Bar-
for his dealings with Robert Colyns ‘wyerseller’ are tholomew Bristoll, and Humfrie Bryne etc. [W. L.
recorded. (See further MA, 1910-11, p. 179.) Goodman, Musical Instruments and their Makers in Bristol

Google
28 BUCA
Apprentice Register, 1536-1643, in GS] XXVU, 1974, Gé@ thinks it possible that he may be identical with the
P-9) next maker, though it seems unlikely that he is.

BUCA, Isabella, f. 1612, of Naples and Rome. Was BULL, Johann Peter. Harpsichord maker in Antwerp.
concerned with the making of harpsichords [Va]. Her According to the Musikalischer Almanach of 1782 he
husband was Francesco della Nona (g.v.). was born in Germany. Dates ascertained, 1723-1804
[GDN-EKI]. Having arrived in Antwerp in 1745, he
was trained in the workshop of J. D. Diilcken (q.».)
BUCHHOLZ, Fryderyk. An ‘épinette’ signed Fry-
and received favourable mention in BarnG (1. 47) as ‘a
deryk Buchholz w Warszawie is reported as being in the
good workman . . . who sells his double harpsichords
Piotrk6w Museum. Whether it is indeed a spinet or
for a hundred ducats each . . .”
virginal, or only a square piano, has not been verified.
It is possible that there was a relationship between
this maker and the English composer John Bull (1562—
BUCKTROUT, Benjamin. Harpsichord and spinet 1628), who was organist at the Cathedral in Antwerp
maker of Williamsburg, Virginia, USA. F/. 1767. from 1617 until his death there 11 years later.
John Watson has drawn attention to an advertisement For details of surviving instruments see Part II.
appearing in the Virginia Gazette of6 January 1767:
‘MR. ANTHONY HAY having lately removed to the RAW- BULYOWSKY DE DULYCZ, Michael. Presumably
LEIGH tavern, the subscriber [Bucktrout] has taken his Polish, ¢. 1700, an organist, made a transposing harp-
[Hay’s] shop, where the business will be carried on in all its sichord. Friedrich Suppig’s Calculus musicas (in Laby-
branches . . . N.B. SPINETS and HARPSICHORDS made rinthus musicus, MS., 1722, in the Paris Conservatoire)
and repaired. BENJAMIN BUCKTROUT.’ mentions the ‘gantz neuen fiinffachen Transponier-
Mr. Watson, writing from the Williamsburg, adds Clavier des Hoch und Weltberiihmten Michaelis
that Hay and Bucktrout were furniture makers of Bulyowsky de Dulycz’ and refers to the maker as
considerable note ‘here in the Virginia colonial capital’. ‘Hoforganist’.
It would appear that no instruments by Bucktrout have
come to light. BUNCE, F., of Oxford. Though hardly a professional
maker, he placed this notice in Jackson's Oxford Journal
(22 and 29 October 1785): ‘F. Bunce, late apprentice to
BUGGIANO. A pentagonal virginal formerly in the
Berlin Collection, but probably lost in the 1939-45 war, Mr. Cross begs leave to acquaint the ladies and
gentlemen of Oxford and its vicinity that he teaches,
was inscribed: Per Buggiano, ¢ che non si presti mai a
tunes and keeps in repair harpsichords, spinnets and
Nissuno Spinetta costruita ? Anno 1618, ¢ acquistata dalla
casa N...fAm.... On the nameboard the date 1706.
pianofortes. All orders directed to Mr. Bunce at Mrs.
Though the instrument is recorded under this name,
Bird’s Ship Lane will be thankfully received and due
attention paid to them.’ [Byrne].
Misch-1979 II points out that Buggiano is the name of
a district in the province of Pistoia, in the diocese of
Pescia.
BUONFIGLIUOLI, Pierfrancesco. Florentine harp-
sichord maker, f. 1660. [Va gives his florsit as 1653,
but the grounds are not known.]
BUGNON, Aimé. Organist at Chalon-sur-Saone. Built For details of surviving instruments see Part II.
in 1535 an ‘orgue-épinette’ [Nor, p. 144]. For further
details see Fleury. BUONL, Gioseffe. See: BONI, Gioseffe.

BUHLER, Johann Michael. Born in 1746, married BURCKHARD, Christian. Harpsichord maker of
in 1780, and died in 1832 at Vaihingen an der Enz in Swallow Street, St. James’s, London. Died some time
Wiirttemberg. His father was first a servant of the between 1772 and 1792. He was a cousin of Jacob
Obrist-Leutnant von Steinbeiss, then a citizen and Kirkman, who bequeathed £40 to his son, likewise
finally a vintner. He worked with Spith and Schmahl called Christian Burckhard [Kirkman’s will].
(g.v.) at Regensburg, and devised a pianoforte with 2
keyboards [Jebé, p. 22]. BURR, Henry. Organ and harpsichord maker, lived
On his return to Vaihingen, he sold bundfrei clavi- in Great Queen Street, Lincoln’s Inn Fields, London,
chords for 30 florins [Ge (1814)]. His one surviving in 1763 [Un]. He was born in London about 1716,
clavichord is dated 1803. apprenticed to Richard Coombes 6 October 1731, and
For details of surviving instruments see Part II. became free of the Joiners’ Company 5 July 1743.

BUL, Nikolaas. The last harpsichord maker entered BURR, J. His signature appears on keys on a Joseph
on the books of the Guild of St. Luke, Antwerp, 1793. Mahoon (q.v.) spinet of 1742.

Google

* BUSCAINI (BUSCARINI), Antonio. Born ¢. 1594-
1603, died 27 March 1675. Originally from Sarzana, he
is first mentioned in the records of the church of S.
Maria in Via, with no particular description, but with
his wife Olimpia Gabbiani. He was very probably
the son of Nicolao Buscorni, Sarzensis gravicembalarius
(harpsichord maker of Sarzana) who in 1624 had his
own shop in that area. From 1645, Antonio continuously
appears in the registers at his shop near the convent of
S. Giacomo delle Muratte in Rome as a harpsichord
maker though occasionally as an organ builder. His
sons, Francesco Maria (born ¢. 1632, died 19 August
1655) and Giuseppe (born ¢. 1638, and still living in
1675) also appear with him in the registers [Barbieri, p.
149)-
© BUSCORNI, Nicolao, of Rome, fl. 1624. See above
BUSCAINI [Va].
BUSSY, Johann Heinrich Sury de. An carly owner,
not a maker. A clavichord bearing his name is in the
Google
BYARD 29
Richard-Wagner-Museum, Tribschen/Lucerne; owner's
date: 1723. See further Rind/K/av, p. 218.
BUTI), Giulio Cesare. Italian organ, and probably,
harpsichord maker of the seventeenth century. Builder
of one of the 2 organs that Cardinal Francesco Baberini
presented to his Basilica of San Lorenzo in Damaso.
Hammond (p. 42] records a Venetian source of 1640 in
which Butij is quoted as possessing ‘an Arpicordo,
which makes in addition to the sound of the Arpicordo,
that of a prized lute’. What the word ‘Arpicordo’ means
in this context is by no means clear.
BUX, Augustffn. Spanish organist and man of letters.
Dates ascertained, 1723-83. He also made harpsichords
and flutes. [F. A. Barbieri: Legado Barbieri (ed. E.
Casares), Vol. I, Madrid, 1986.)
BYARD, Mary. An early owner, not a maker. Her
fname appears on a 1643 virginal by Thomas White
(q.9.).
 C
C. A. See: ASTON, Cawton. CAGNOLATHI, Filippo, of Reggio nell’Emilia. Harp-
sichord maker; f. 1655 [Va].
C. B. See: B, C.
* CAHMAN, Johan Niclas. Swedish organ builder,
C. G. See: G, C. often described as the father of Swedish organ building,
who in 1732 carried out an assessment of Christopher
Polhem’s attempt to use pure mathematics to calculate
Ch., M. A clavicytherium in the Gemeente Museum, an equal temperament. Though no harpsichord or
The Hague, has on the inside of the lid the initials M. clavichord by him survives, and indeed it is by no
Chb., and the date 1740. The instrument is said by the means certain that he ever built keyboard instruments
museum to come from the Low Countries, but the other than organs, his importance, and the reason for
identity of the builder is not known. including him here, rests on the fact that a number of
For details of surviving instruments see Part II. Swedish clavichord builders were apprenticed to him,
and received their formal education in instrument
C, I. N. Edward McElwee, of Hagerstown, Md., building at his hands [H-O].
possesses a harpsichord having an INC rose. It has
1x8’ and 1xq’ registers, and a double curve to the bent * CALCIUNNIO. Probably the fictitious name of a
side. The case and stand are of oak. In this instrument builder since it appears occasionally in the Franciolini
a Flemish soundboard with its floral decoration and catalogues [Randall].
rose would appear to have been enclosed in its present
oaken case in England or Germany ¢. 1700. Hubb says
* CAMPEN, A. Organist, harpsichord and clavichord
that it has an inscription recording its maker as
maker in Koudum, a village in the province of Friesland,
Cowsseneers (or some such spelling) in Cologne, and that
who advertised in the Leewarder Cowrant for 12 February
Challis would not believe this inscription. Neither
Hubbard nor Dowd, who worked on it chez Challis, 1777:
found any trace of English workmanship on it; they De organist A. Campen te Koudum adverteert dat hij zijn
believe it was made in Cologne (? Cousseneers = gunst verzockt aan de Heeren en kerkvoogden voor het
Cuisinier). A harpsichord (1x8’, 1x4’) formerly in the jaarlijks stellen van orgels. Ook maakt en repareert A. Campen
Berlin Collection, formerly in the Snoeck Collection, allerhande zoorten van instrumenten als clavichordiums, clave-
cimbels, pantelons, steertstukken en spinetten.
Ghent, has a rose with a harping angel and the letters
INC. In the catalogue Sachs simply comments ‘? (He recommends himself as a tuner of organs and tells
Couchet in Antwerpen’. Both Jean Couchet and P. E. that he makes and repairs harpsichords, clavichords,
Jean Couchet normally used the initials IC in their etc.) On 11 November 1780, he advertised in the same
roses, and there is no known member of the Couchet newspaper, offering a single-manual harpsichord with
family with the initials I.N. Sachs’s guess therefore a full octave, a compass of more than 4 octaves, and
appears to be erroneous. with two 8’ stops for sale [Gier].
For details of surviving instruments see Part II.
CAMPI, Niccold. Franc] lists a harpsichord inscribed:
C. R. See: R, C. Niccols Campi 1632 Florenza, which is probably the
instrument owned by the Hon. George A. Drew,
CAAVELLA, Alfonso. An early owner, not a maker. Toronto, and illustrated at A/s, p. 23.
See: D., A. For details of surviving instruments see Part II.

CADAVOGLIO. An Italian harpsichord, dating from CAMUS, Felicianus Fidelis. The outer case only of
1650-1720, owned by Professor George Lucktenberg, a harpsichord dated 1806 made by Camus is in the
is inscribed on the box-slide: Cadavoglio in Piazza museum at Aix-en-Provence [GL].
Madama. The identity of Cadavoglio (maker, restorer,
or perhaps owner) is not known. © CANCELLIERI, Virgilio. Born 1680-2, died 15
For details of surviving instruments see Part II. November 1735. Harpsichord maker of Rome, but

»y Google
 CASTEEL 31
originally from Pompei. There are various references © CARPEL, Nicola(a)s van. Harpsichord maker. Born
to him in the archives of S. Stefano del Cacco, S. Maria at Antwerp. Died at Amsterdam in 1637 [C/, p. 34].
in Via, and S. Maria Eleonora Rossi sopra Minerva. By ¢. 1635 he was living in Amsterdam, where he
After the loss of his first wife, Eleonora Rossi in 1731— married. In the same year he entered an agreement to
2, he married Caterina Leonardi. In these years he study with Lucas van Huffel (¢.».) for 2 years to learn
appears to have lived in the ‘Via Frattina’, and in his ‘het hantwerck ende de conste van clavecimbel maeken
will he mentions four sons, of whom Giacinti (born in gelijckerwijs de Rickersz ’t selve zijn exercerende’. In
¢. 1708), and his workman, Pietro Paolo Palazzi, appear the contract, van Carpel as van Huffel’s apprentice had
to have carried on the business. to work every day from 5 a.m. until 8 p.m. for which
Cancellieri was also the organist of the church of the he was to receive 3 guilders a week (Curtis, p. 48, and
Maddelena (Va, Barbieri, p. 149). Gier).

CAPEZZO, See: BORTOLUS. CARRETTI, Giovanni Domenico, of Piedmont,

blind harpsichord maker. On 14 February 1786 he was
CAPILUTO, Giulio, of Mantua. Virginal maker, f. presented to the Académie de Lyon as the maker of
‘un instrument nouveau 4 l’instar d’un clavecin ou d’un
1545 [Va]. pianoforte’ [Vallas, p. 490].
* CARBALLEDA (or CARVALLEDA) DOMINGO
CARTON, Jean Louis, ff. Paris 1769. Master harp-
DE. Spanish organ, harpsichord, and clavichord maker.
Fi. 1684. The inventory and assessment of his estate, sichord maker [Hubb].
drawn up in 1684 shows that apart from building
organs, he must have been a maker of stringed keyboard CASINI, Giammaria, of Florence, f. 1675. Harp-
instruments, for there are included 5 ¢/avicordios (i.c. sichord maker [Va].
harpsichords or 8’ spinets); 7 spinetas (i.e. spinets,
probably at 4’ pitch); 7 completed monacordios (i.c. ©@ CASPARINI, Eugen. Dates ascertained, 1623-1706.
clavichords); and 5 uncompleted monacordios [KdP, and From Sorau in Lower Lusatia, organ-builder, mostly
Madrid Archivos de Protocolos, protocolo 10360, quoted in L. at Dresden. He appears to have been responsible for
Jambon, Evoluciin del Organo Espaiol, sigls XVI-XVIII, rebuilding the harpsichord by Joseph Salodiensis (4..)
Oviedo, 1988, Vol. 2, pp. 92-4]. now in Vienna. He also built claviorgana during his
time in Venice (c. 1656-9) [VdMZeiss, p. 155; LunCas}.
CARCASSI, Giovanni. Probably of Florence, dates
ascertained, 1688(according to Hérf)-98; maker of vir- CASSINEAU. Fi. 1770 in the rue des Prouvaires prés
ginals. A surviving polygonal virginal of 1698 signed Saint-Eustache, Paris, ‘fait, vend, achete et loue toutes
by him also carries the words Rinaldo Beretoni fecit 1744, sortes d’instruments, violons, basses de violes,
and a legend relating it to Franciolini on the top key. pardessus, guitares, clavecins, mandolines, contrebasses,
For details of surviving instruments see Part II. vielles et autres instruments’ [Pi, p. 110].

CARDINALI, Matteo. Maker of keyboard instruments © CASSUS, Jesses. Robert Johnson of Encinitas, Cali-
at Aquileia in 1659. fornia, has for many years owned a single manual
For details of surviving instruments see Part II. harpsichord with 2x8’, and lute, which carries a very
indistinct inscription thought to be ‘Jesses Cassus’,
CAREST. See: KAREST. though whether this relates to the maker, a repairer,
or a former owner is not clear. The style of the
instrument suggests English workmanship of the middle
® CARGNONUS. Italian seventeenth-century harp- seventeenth century, and its place in the history of the
sichord maker. Miscb-1979 II reports that this maker is
development of the English harpsichord is treated in
probably the same person as Carenonus Salodiensis (g.v. the standard works [Hwbbr96s, Russelligsg et al.}.
under Salodiensis).
For details of surviving instruments see Part II.
For details of surviving instruments see Part II.
© CASTEEL, Henri-Joseph van. He was listed formerly
* CARIANAT, Torriglio. See: TORRIGLIO, Carianat. in Bz as having the forename Henrique, on the basis of
an inscription on a cravo de martelos (a grand pianoforte
CARMO, Manoel de Sa., of Oporto. Clavichord with a Cristofori-derived action) in the Lisbon Con-
maker, ff. 1796. servatoire, having a compass of 4 octaves and 2 notes
For details of surviving instruments see Part II. (CC-d??) and signed: Henrique van Casteel 1763.

»y Google
 32. CASTELLETTI
Haine|Meexs gives considerably more information,
notably that he was born at Tournai, baptised on 19
November 1722, and died at Brussels on 7 June 1790,
and was a maker of harpsichords and pianos, active in
both Lisbon and Brussels. The seventh child of Frangois
Van Casteel (Van de Casteel), and Marie-Angélique
Crudenaire, he appears to have wosked first in Lisbon
where on 3 July 1757 he married Catherine-Joseph
Pierret of Liége, and it was probably in Lisbon that he
made the instrument noted above. By 1769 he was
working in Brussels. Haine/Meexs gives the addresses of
his workshops, and the text of several announcements
which indicate that he was making both harpsichords
and pianos, the former in some cases with pedals for
changing the registration.
Apart from the piano noted above other pianos
survive, including a pyramid piano of 1771, and another
of 1778, described incorrectly in Bz as a harpsichord.
It would appear that no harpsichords are known to
have survived [See: article by Paul Raspé in Haine/Meexs
where there is an illustration of the above-mentioned
pyramid piano.]
* CASTELLETTI, D. Matteo. Harpsichord maker of
Sorrento. That he was living in 1704 is known from a
signed harpsichord of this date reported by Laurence
Libin and Kathryn L. Shanks in EM, May 1989, pp.
216-18. So far as is known this is the latest single
strung Italian harpsichord.
For details of surviving instruments see Part II.
* CASTELLI, Giovanni Battista. Born ¢. 1692-3. He
is noted in Roman archives as a harpsichord maker,
being married to Maria Francesca Conti, ¢. 1730-4
[Barbieri, p. 149].
CASTIGLIONI, Luigi, dates unknown. His name
appears as restorer on the jack of an anonymous
harpsichord [Ks, p. 89 n.].
CASTLEMAN, George. See: SLADE, Benjamin.
* CATI, Pietro Antonio. A harpsichord in private
ownership, which is almost certainly by Niccolé Berti,
and dated ¢. 1690, has on the reverse of the nameboard
an inscription which is difficult to transcribe, indicating
that it was restored in 1764 by a maker, Pietro Antonio
Cati (or, just possibly, Bafi) of Florence.
* CAUSTO, Jozé. Portuguese harpsichord maker, fl.
1780. The evidence for his existence rests on reports
of a harpsichord in a private collection in Germany
bearing this name [Koster].
For details of surviving instruments see Part II.
Google
* CATLIN, George. American maker of a range of
instruments, including string, woodwind, and key-
boards (organ, piano, and harpsichord). Dates ascer-
tained, 1777 or 1778-1852. He was also the inventor
of the bass clarinet, known as the ‘clarion’ [(GDN-EKI].
CAVALLETTI, Stefano. A ‘polygonal virginal on
which the boy Verdi learnt to play (1821) is in the
Museo Teatrale alla Scala, Milan. On the lid is an
inscription stating that Stefano Cavalletti restored it in
1825. (Illustrated in the catalogue (1940), p. 28.) It may
be therefore that Cavalletti was a restorer or repairer
rather than a builder.
© CELESTINI, Giovanni, of Venice. Harpsichord and
virginal maker; fl. 1583-1610. J (p. 101) quotes the
Daily Journal of 16 May 1724, announcing the sale
of some instruments belonging to William Corbett
including ‘two fine-toned Cyprus [i.e. cypress] spinnets,
one of Celestini and the other of Donatus Undeus,
(9.v.).
ih painting once owned by Alfred Cortot shows a
boy purporting to be the young Mozart seated at a
harpsichord signed: Joanmes Celestini © Veneti
MDLXXXIII. (The painting, done in 1770, was for-
merly attributed to Cignaroli, but is ascribed by Clem,
who reproduces it, to Saverio della Rosa.)
Celestini is remembered as the inventor of the
‘arcispinetta’—an 8’ single strung rectangular instru-
ment (effectively a rectangular virginal), of which one
example, dated 1610, survives in the Brussels Museum
of Musical Instruments.
In recent years there has been a revival of interest
in the work of Celestini, particularly as a result of the
scholarly work of some of the owners of his instruments.
In addition, Denzil Wraight, ‘The 1605 Celestini Harp-
sichord: Another Misleading Instrument’, in Org Yb.
1988, pp. 91-103, has examined a harpsichord pur-
porting to be by Celestini, dated 1605, and has shown
that it is very unlikely to be by this maker and was
most probably made in the early seventeenth century.
[See also: Misch-1972.]
For details of surviving instruments see Part II.
* CELINI, Nicholas. Harpsichord maker of Narbonne,
France. F/. 1661. A 2-manual harpsichord which was
sold in 1987 at auction in Augsburg is inscribed
NICHOLAS CELINI NARBONNIENSIS 1661.
Nothing else is known of the maker.
For details of surviving instruments see Part II.
© CELLINI, Giovanni, of Florence. Born ¢. 1460; died
1527 or 1528 in Pest. He was primarily an architect,
but turned his hand to many crafts. His famous son
Benvenuto writes of him in his Memoirs (Benvenuto
Cellini, Memoirs, translated by Anne McDonnell (adap-
ted), London, J. M. Dent, 1907, p. 8): ‘My father made
 CHIQUELIER 33
wonderful organs with wooden pipes, and harpsichords Ruckers (formerly in the possession of Comtesse de
the best and finest that had ever been seen, as well as Chambure) in 1739 [see: Russel 1939, pl. 27, and RG.I,
viols, lutes, and harps, all of them beautifully and Pp. 80].
excellently fashioned.’
Unfortunately, no fully authenticated Cellini instru- CHARRON, Siexr.
ment seems to have survived, the only instrument
which is reported to bear this name is a harpsichord Le Sieur Charron, organiste et facteur d’orgues chez les RR.
PP. Cordeliers de Saint-Bonaventure [Lyons], a fait depuis
dated 1661 (and is thus probably spurious), about which peu un clavessin d’un mécanisme nouveau et de son inven-
very little is known. It is therefore difficult to verify tion . . .; l'on y fait forte, piano et crescendo avec un seul
Benvenuto’s high estimate of his father’s skill. clavier, et sans les secours des plumes . . .
For details of surviving instruments see Part II.
[Petites affiches, 12 July 1769; quoted in Vallas,
@ CELSON, Ephraim. Harpsichord maker in London P. 355)
in the eighteenth century. J (p. 65) quotes from an
announcement in the Pab/ic Ledger, London, 2 October CHEERDINCE, Artus. See: GHEERDINCK, Artus.
1778:

To be sold by Christie & Ansell . . . (Earl Ferrers dead. * CHEW, James. Harpsichord maker at Worcester.
effects)... A remarkable fine toned Harpsichord by EPHRAIM Dates ascertained 1769-81. Maurice Byrne has found a
CELSON . . . it contains a double Bass (presumably a 16’ reference to this maker in 1769, though the name
register], two Unisons and an Octave, the Welch harp, Piano appears as ‘Crew’ [Byrne]. Mr R. J. Roberts, Deputy
Forte [i.e. a piano action as well as the harpsichord) and Librarian of the Bodleian Library, Oxford, has drawn
Celestial
ings]. Harp [a device which removed the dampers from the attention to the spelling ‘Chew’, which appears in a
reference in ‘Samuel Hellier: A Collector with a
It should be noted that Robert Stodart (9.r.) took out Purpose’, Book Collector, Autumn 1990, in which in
a patent for a combined harpsichord and piano in 1777, 1781, Samuel Hellier’s harpsichord was being serviced
though J. S. Broadwood [Gentlemen's Magazine, London, by James Chew, a harpsichord manufacturer in Worces-
1812] says that Backers made such an instrument as ter. On 22 December Hellier proposed that the instru-
early as 1772. ment should return home by water and took elaborate
Luckett gives the following additional information: precautions to ensure that it should come to no harm
by being thus transported.
While looking through the judicial notebooks of the 1st Lord
Mansfield, I found a note of a case tried before him in 1781
for infringing Joseph Merlin’s patent (g.x.) for the invention CHIANEI, Giovanni, of Venice. Harpsichord maker.
ofa compound harpsichord. The instrument was produced in Dates ascertained, 1766-71.
court and some technical evidence was given by Dr Burney. For details of surviving instruments see Part II.
The other witnesses were Broadwood, Chiersty (the seller),
and James Cox. The plaintiff recovered 28 damages. Merlin ». CHILD, Francis. Harpsichord maker, f. 1749 in
Ephraim Celson. Scone Palace MS. TD 80/52/487 pp. 107-12. London. His name appears in a Westminster poll book
J H Bakers (letters).
Ul.
CENTAMIN, Petrus, of Venice (Calle de Carbon no. © CHIQUELIER, Christophe (1). Parisian harpsichord
277'). Virginal maker, fl. 1711. maker, born ¢. 1661, died 1748; lived in the rue
For details of surviving instruments see Part II. Tiquetonne all his life. Married a widow in 1703.
Appointed keeper of the King’s Instruments in 1728.
CESTINETTI. See: NIGETTI, Francesco. He also made other instruments: a viol by him is in
the Paris Conservatoire [Ver/et]. He was said to have
CEULEN, Hans van. See: HANS VAN CUELEN. constructed a harpsichord with 21 notes to the octave
[CIP, p. 59]. Germig&o, pp. 439-41 gives a map of
* Ch, M. A clavicytherium in the Gemeentemuseum at Paris showing locations of the workshops of both
the Hague bears on the inside of the lid in flowing members of the family in relation to other makers and
script characters M. Cd./1.7.40. This could be the initials some prominent musicians of the time.
of the maker or possibly an owner [HaagCL,
pp. 36-7]. © CHIQUELIER, Christophe (Il). Parisian harpsichord
For details of surviving instruments see Part II. maker, 1715-92. Keeper of instruments to the royal
family. He lived in the rue St. Honoré, until 1745, and
CHAPPELLE, Frangois. Instrument maker at Sois- later at Versailles. In 1770 he procured for Pascal Taskin
sons, known to have rebuilt the 1598 Virginal by Hans the succession to his post and retired in 1792 [Veriet].

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 34 CHIUSOLE
CHIUSOLE. Fi. ¢. 1775 in the Trentino; made CLAUDIUS, C. Scandinavian clavichord maker of the
harpsichords, spinets, and clavichords {MarcP]. seventeenth or early eighteenth century.
For details of surviving instruments see Part II.
CHRISTENSEN, M. Clavichord maker at Copen-
hagen, f. 1759. CLEMENTI, Muzio. Born at Rome in 1752, died at
For details of surviving instruments see Part II. Evesham in 1832, celebrated pianist, teacher, and
composer. About the age of 50 he took to instrument
CHRISTOPH. Austrian clavichord maker, date making and founded the firm of Clementi & Co.,
unknown though probably eighteenth century [Fi, p. makers of pianofortes, which later became Collard &
26). A harpsichord at the Rhode Island School of Collard, in its turn taken over by Messrs. Chappell &
Design, Providence, R.I., is inscribed Christoph Fecit Co., Ltd. For the various metamorphoses of these firms
London 1789 but is probably an early ‘revival’ instrument, see Her.
whose maker knew little about harpsichords. It has The only evidence that the firm made harpsichords
2x16’ registers and 1x8’. is a passage in Hi (p. 92): ‘A harpsichord was made by
For details of surviving instruments see Part II. Clementi . . . as late as 1802.’ It seems likely that this
instrument was made for Clementi to sell, rather than
CHRISTOPHORI, B. See: CRISTOFORI, by him, which applies also to the large number of wind
Bartolommeo. instruments bearing his name which survive.

@ CICERONE, Giovanni. Born ¢. 1671. He appears in CLEMM, Johann Gottlob [Klemm]. Organ builder
Roman archives in 1681 as the stepson and pupil of and spinet maker, 1690-1762. Born 12 May 1690
the harpsichord maker Antonio Carlo Lagardi (g.v.). In near Dresden. Emigrated to America via Rotterdam,
1701 he replaced Giuseppe Boni di Cortona (9.v.) as reaching Philadelphia on 18 September 1733. He settled
the person responsible for the maintenance of the near there working at his craft, and occasionally making
harpsichords of the house of Cardinal Benedetto Pam- stringed keyboard instruments besides organs, until
phili, a position which he retained until February 1726. 1745 or 1746. Later he moved to New York and, in
He appears to have been the proprietor of a shop in 1757, to Bethlehem, Pa., where he died on 5 May 1762.
the street crossing the ‘via del Croce’ from 1710 until David Tannenberg (9.v.) was an apprentice of his.
1728, together with his wife, Cecilia Robbati (Rubanti?), For fuller details see Armstr.
and his daughter, Antonia (born ¢. 1706) [Barbieri, Va, For details of surviving instruments see Part II.
Va, VI, p. 514).
CLOYS, Bartholomew. F/. in London 1623; made
CIGULARIL, Agnolo. Florentine harpsichord maker, “Klavierautomaten’. See Kinsky in Z/M, Vol. 4 (1921-
fl. 1665 [Pal. 2).

CLARELLI, Geronimo [Hieronymus Clarellus Vicen- © COCCIN(S). See: GOCCINI.

tinus], of Vicenza. Harpsichord maker, f. 1695.
For details of surviving instruments see Part II. ©@ COENEN, Johannes Josephus, f. 1735. Organist at
the Cathedral of Roermond, an amateur maker of
CLARK, Andrew. Eighteenth-century harpsichord instruments, like Adlung (9.2.) who was his contem-
maker in the parish of St. James, Piccadilly, f. 1767, porary. He is best known for having made a 2-manual
before which he had at some time been apprenticed to harpsichord with a virginal built into the bent side,
Shudi and had worked for him for over 9 years. He thereby producing a rectangular instrument [see also
figures in an affidavit sworn on 12 January 1767 Gier].
concerning the work of Shudi’s nephew, Joshua (g.v.) For details of surviving instruments see Part II.
[Sb Af.
COLCIONIUS, Janus. See: BOLCIONI.
@ CLAUDE [surname unknown]. Bz contained a ref-
erence to a maker with this first name, saying that COLCIUNNIUS, Stephanus. See: BOLCIONI,
the surname was unreadable, and giving the maker's Stefano.
workshop as being at Carpentras near Avignon. The
information came from a harpsichord dated 1699 in COLESSE. See: COLLESSE, L’ Ainé.
private ownership. Thanks to the research of Champ,
it seems almost certain that the maker's surname is © COLLESSE, I. H. This maker was recorded in Bz as
Labréche, and that the 1699 harpsichord is still in Colless (sic) on the basis of a French eighteenth-century
private ownership in France. See: Labréche. double harpsichord formerly belonging to E. M. Ripin,

Google
 COOL(S) 35
and now in the possession of the Museum of Fine Arts, Cf. Curt Sachs, Real-Lexicon der Musikinstrumente, Berlin,
Boston. The instrument contains in the interior a Bard, 1913, p. 329.)
strut which, according to Koster, reads PAR I H
COL{LESSE)/A LION 1739. The brace has been at * COLOMBO, Vincenzo. Instrument maker (pre-
some time rudely reduced in width, and the inscription sumably Italian) mentioned by Misch-1979 II as missing
mutilated in the process. from Bz, but with no further details given.
The likelihood of the instrument being by a member
of the Collesse family is negligible and, despite possible COLYNS, Michiel, of Antwerp. Dates ascertained,
attributions to Louis Denis (q.¥.), which have now been 1631-2 to 1667-8.
disproved, the museum now records the instrument as In 1631-2 he entered the Guild of St. Luke as
by an anonymous maker. Nevertheless the existence of Clavesingelstelder (harpsichord tuner). He must have been
the inscription on the strut makes it appear possible able to undertake repairs, though there is no record of
that another member of the Collesse family had the his having become a harpsichord maker. In 1636 he
initials 1. H., and that he was working in Lyons in was organist of the Church of St. Andries. He was
1739- buried in Antwerp Cathedral [5].
For details of surviving instruments see Part II.
COMPENIUS, Ludwig. Born ¢. 1603, died 1671, son
COLLESSE, Jacques. Musician and harpsichord of Heinrich Compenius junior. Organ builder, chiefly
maker of Lyons. Born 1716 or 1717; latest date of Erfurt, but also made harpsichords [A. Schering,
ascertained, 1768. Son of Jacques Collesse, organist at Musikgeschichte Leipzigs, I. 111).
Nantes Cathedral; married Mile Argaud at Saint-Pierre
on 20 January 1740, when he was 23 years of age COMINUS. See: CONINUS.
(Vallas}.
® CONINUS, Joseph Max, of Bologna. Hirtz gives the
COLLESSE, L’Ainé [Colesse]. Dates ascertained, name as COMINUS. Ostensibly a virginal maker, f.
1763-70. He settled in Lyons about 1766 as a maker 1657, on the basis of an inscription on an ottavino in
of organs and harpsichords, residing at first with his the Deutsches Museum, reported to be inscribed Joseph
brother Joseph, but seems not to have remained long Mae de Coninus Bononiensis opus MDCLVII. In fact
[Vallas}. ‘Coninus’ is a conjecture, the word being illegible. It
For details of surviving instruments see Part II. might be COUINUS, but is more likely, in view of the
appearance of the first two names on instruments by
COLLESSE, Joseph. Brother of Collesse I’ Ainé, musi- Goccini (g.v.), to be by him. [See: Misch-1979 II et al.)
cian and harpsichord maker of Lyons. Dates ascertained, The date, however, is suspicious, and the instrument
1768 to his death in 1776 [Vallas, p. 377]. may well be a Franciolini fake.
For details of surviving instruments see Part II. For details of surviving instruments see under Goccini.

CONRAD, Johann Gottlieb, of Berlin. Eighteenth-

COLOMBO, Vincenzo. Italian harpsichord maker.
Date unknown. century clavichord maker. A maker of this name is
mentioned for 1804 and 1806 [C. Sachs, in ZI, Vol. 32,
1912, p. 1088].
COLONNA, Antonio. Organ and harpsichord maker For details of surviving instruments see Part II.
of Bologna, f. 1635. His portrait in oils is preserved
in the Liceo Musicale, Bologna. His son Giovanni * COOL(S), Jacob(us). Organist, organ and harpsichord
Paolo instructed Buononcini. maker in Dordrecht and Rotterdam. He was baptised
on 22 June 1663 in Dordrecht, as a son of Abraham
COLONNA, Fabio, called Linceo. Born at Naples ¢. Cools, organist of the Grote Kerk (1656-99). On 9
1580, one of the founders of the Accademia dei Lincei January 1686, Jacobus married Anna van Dalen, also
in Rome. from Dordrecht. More than once he had financial
He designed an enharmonic instrument having 8 problems. In or before 1694 he handed over a harp-
manuals, called the ‘Sambuca Lincea’ and described, sichord to his creditor Gerbrandt van Blankenburg,
with a drawing, in his La sambua lincea overo dell’in- organist in Gouda, because he was unable to pay his
strumento musico perfetto, Napoli, Vitale, 1618. The debts. In 1696 a citizen of Dordrecht brought an action
instrument has a tangent action, and is an enharmonic against him, because Cools had sold his harpsichord
clavichord. and owed him the proceeds (10 guilders) of the sale.
(The ancient Greek instrument oopBixn was a kind In 1709 he sold his parental house in Dordrecht; in the
of triangular psaltery, having 4 strings and a shrill tone. document he is called ‘orgel-’ and ‘clavecimbelmaker

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 36 COOL(S)
te Rotterdam’. As an organ builder he was not very Because of Coston’s position as a native English maker,
successful: in 1706 he was pressed to complete the living at the time of transition from the earlier and
building of an organ for the Waalse Kerk in Rotterdam more simple early cighteenth-century English styles of
[Gier}. building and the Flemish-influenced builders such as
Kirkman and Shudi of the later eighteenth century,
®@ COOL(S), . . . see a/so: KOOL. careful, comparative, examination of all his instruments
would be of great interest.
The historical evidence for the instruments comes
COOLY, John. Apprenticed to Gabriel Townsend first from the outline description of an instrument
1647; free of the Joiners’ Company 1656 [Join]. attributed to Coston, and formerly in the Boddington
Collection (described in Bz but without the reference)
COPIJN de Holanda. Harpsichord and virginal maker with 2 manuals; compass 5 octaves F-F (presumably
originating from the Low Countries who established FF-f), oak case inlaid with satin-wood. No pedals.
himself in Lisbon and fl. 1523-53 at the court of Juan 2x8’, 1x4’, harp stop. Ivory naturals.
Ml. This instrument was coupled with the attribution
that it was shown by the Dowager Lady Heathcote at
CORDELIER, priest, of Avignon. Made a harpsichord the International Inventions Exhibition, London, 1885.
in 1768. But the catalogue entry in William Dale, Brief Description
For details of surviving instruments see Part II. of Spinets, Virginals, Harpsichord, Clavichords and Pianos
shown in the Loan Collection of the International Inventions
Exhibition 1883, records the following description:
© CORTONA, Guiseppe. Care must be exercised when
dealing with this name. Bz states ‘Harpsichord maker 17. Harpsichord by Francis Coston. Early Eighteenth Century.
at Rome in the seventeenth century [Va]’, while In veneered walnut case with very large brass strap hinges
Misch-1979 II suggests that the name is synonymous engraved exactly like the Hitchcock Instrument [which appar-
with Boni (9.v.). ently it stood next to (presumably instrument number HITCH-
Amongst the instruments of Ferdinand de’ Medici COCK, T. n.d.(24) in part ID]. Four legged frame or stand
entrusted to the care of Cristofori in 1716 was ‘Un’
with turned legs. No Pedals. Soundboard painted with flowers
cimbalo piccolo opa del Cortona di Roma’ [Px]. A
and parrots. Upon the first jack 1761 which can only be
regarded as the date of the jack. Double. 5 stops—octave, 1st
harpsichord attributed to Cortona dated 1678 was and and unison. GG-P, GG# and di’ are wanting. Ivory
shown at the Paris Exhibition of 1889; painted white, naturals with gilded fronts, ebony sharps inlaid with ivory
with flowers; seascape on lid [ErnstP]. Bz reports slips. On jack rail Franciscus Coston, Londini fecit. Lent by
(without reference) that he worked for Cardinal Bene- the Dowager Lady Heathcote.
detto Pamphili (1653-1730).
For details of surviving instruments with the name There are sufficient differences between the first instru-
CORTONA see Part II. ment described, in the style of the case and the compass,
to make it appear that they were not the same
harpsichords (despite the connection with Lady
* COSTA, Johannes. Luckett reports that a wing spinet,
Heathcote).
thought to be Italian, and dated ¢. 1730, was seen by
Since 1991, the Russell Collection has been the owner
a Canon G. A. Luckett in the shop of Bernhard von
Hinerbein, in Lintgasse, Cologne, in 1978. of the harpsichord which was originally in the possession
For details of surviving instruments see Part II. of the Dowager Lady Heathcote, and this is described
fully in Part II. It would seem to confirm that there is
only one surviving Coston harpsichord, and to underline
® COSTANZA, Orlando. A name appearing inside a the notoriously careless way in which observers describe
rectangular virginal of 1661 by Guarracino (g.».), instruments, for there are several differences between
now in the Musikintrumenten Museum, Berlin. Most the instrument described as being in the Boddington
probably Costanza was a restorer, or possibly one of Collection, that shown at the 1885 Exhibition, and that
Guarracino’s workmen. described by Sotheby’s in their 13 November 1987
catalogue, when the Russell Collection instrument was
© COSTON, Francis. Harpsichord maker of Brownlow advertised for sale (though withdrawn during
Street, Drury Lane, London. Dates ascertained, ¢. 1700— the sale).
38 [J]. He was paid 5 guineas in 1728 for repairs to the A two-manual harpsichord by Coston was restored
Duke of Chandos’s harpsichords at Cannons [Chandos, p. some time ago by Messrs. Morley when in South
132]. He sold up his stock in 1738. Kensington. Whether this was the ‘Heathcote’ harp-
There has been, and still is, some speculation about sichord or another instrument is not known.
the number of Coston instruments which survive. For details of surviving instruments see Part II.

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© COUCHET. Family of harpsichord makers in Antwerp
in the seventeenth century. They were direct des-
cendants of the Ruckers (9.».) family, and the instru-
ments produced in their workshops bear many of the
characteristics of those of their forerunners. The most
comprehensive summary of the family is to be found
in O’Brien, pp. 11 ef seqg., on which this article relies
heavily. And yet O’Brien, himself, relies on the work
of many former scholars who have traced the Couchets’
history in order to be able to give an authoritative
account of a family whose influence on the development
of the harpsichord in Europe was almost as profound
as that of their forebears.
The principal members of the harpsichord building
family were:
(1) Toannnes I Couchet [Joannes, Johannes, Jan,
Jean, or Jan the Elder]. Born on 2 February 1615, he
was a grandson of Hans Ruckers (¢. 1550-98) and
nephew of loannes Ruckers (1578-1642—sometimes
called Hans the Younger). In 1611, his mother, Cath-
arina Ruckers (daughter of Hans Ruckers and sister of
loannes Ruckers), married Carel Couchet, and by him
had the one child, Ioannes, before she died in 1625.
Carel Couchet married Catharina Wortelmans shortly
thereafter, and by her had at least four children, though
it seems that none of them were to become harpsichord
builders.
As with the Ruckers family, the first names of the
Couchets have been taken from O’Brien, who has done
much to clarify a situation which has, for many years,
been dogged by the problems of distinguishing relations
known often by similar names, and with little consist-
ency. loannes (or when there is a need to distinguish
him more clearly—lIoannes 1) is therefore the name used
for this, the oldest member of the harpsichord-building
Couchet family. He was apprenticed to his uncle,
loannes Ruckers, in about 1626, and worked with him
for 16 years. In 1642 or 1643, according to the registers,
he entered the Guild of St. Luke as a master harpsichord
builder, and between 1646 and 1653 the official records
mention him frequently as repairing and tuning the
organ in the O.L.V. Kerk, and other churches, in
Antwerp. Ioannes Couchet, according to the fascinating
obituary poem by Constantijn Huygens, quoted by
O’Brien on page 307, dated 8 April 1655, was probably
deformed in some way:
In this crooked box rests Jan Couchet; for a good reason; It
shows his craft, and fits his shape exactly— The crust fits the
filling. Then, reader, know from this, He lies not on his back,
but on his left side.
He died on z April 1655, and was buried in the O.L.V.
Kerk on 4 April [S¢, p. 38]; 2 days later his death was
alluded to by Huygens in a letter [5¥, p. 35], where he
is called ‘le célébre Couchet’. The composer Cham-
bonniéres had a harpsichord by him, and expressed
himself as extremely pleased with it.
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COUCHET 37
Constantijn Huygens’s letter to H. Dumont of 6
April 1655 [5¢, p. 35] would seem to say merely that
in his opinion no one builds double harpsichords as
good as Couchet’s.
Ioannes Couchet married Angela van den Brant on
26 December 1643 and of their four sons, at least three,
loannes (known also, when there is a need for greater
clarity, as Ioannes II), loseph Ioannes, and Abraham
became members of the Guild of St. Luke, therereby
carrying on the tradition of harpsichord building.
For details of surviving instruments see Part II.
The Sons of Ioannes I Couchet. (2) Ioannes I
Couchet. Little is known of the life of the elder son,
beyond the date of his entry to the Guild of St. Luke
at the age of 11 in 1655/6. It is not entirely clear
whether some of the surviving instruments are by him
or his brother loseph Ioannes—see: (4) below.
(3) Petrus Ioannes (Petrus Jan the Younger; P. E.
Jean) son of (1). O’Brien says that he is not mentioned
in the records of the Guild of St. Luke, and speculates
that he may not have become a harpsichord maker.
Nevertheless, he records that following the death of
Toannes 1 Couchet, his widow entered an agreement
with Simon Hagaerts (9.2.) on 4 July 1656. By this, her
son Petrus was to be taught the trade of clavicimbel
builder for eight years, from his twelfth birthday on 24
June 1660. Hagaerts was to receive payment of 200
guilders for the young Couchet’s training, and a number
of other privileges, though his instruments were to be
produced at specified prices, the profits of which were
to be shared equally. O’Brien records further details of
this agreement and its ramifications, and an update of
the contract in 1661 whereby, amongst other matters,
Petrus loannes would have been released from his
apprenticeship only one year after beginning to work
for Hagaerts. Bz reports further details of Petrus
loannes, but it seems that there has, not surprisingly,
been a problem of identification, and care should be
exercised when using the text of Bz in respect of this
member of the family. It is, nevertheless, noteworthy
there is one surviving harpsichord signed Petrus Joannes
Conchet me fecit Antverpiae (in the Gemeente Museum,
The Hague), which despite its having a number of
characteristics unlike any other instruments by the
family, at least does indicate that Petrus loannes may
well have laid some claim to being a maker in his own
right. Further, S¢ quotes from the catalogue of the
Nicolaas Seelhof sale, The Hague, 1759:
Nr. 113. Een staertstuk van den vermaerden P. E. Johannis
Couchet, Antverpise, 1662, met 3 registers en 1 register Spinet,
dubbel clavier, boven tot D en beneden tot contra E. Nr. 117.
Een ditto staertstuk van P. E. Joannis Couchet, zoon van Jan
Couchet, Antverpiae, met 2 registers unison, lang clavier.
—the keyboard having been lengthened (‘mis en rav-
38 THE COUCHET INSTRUMENTS
alement’) according to the common cighteenth-century
practice.
With respect to these latter quotations, Koster notes
the form Jobannis and Joannis as probably being the
genitive of Johannes or Joannes, and suggests that the
inscription may mean P{etrus] E[ruditione, i.e. with the
learning of] Johannes Couchet. Several
abbreviations could equally well be applicable [Koster].
For details of surviving instruments see Part II.
(4) Ioseph Ioannes [Jan, Joannes Josephus], son of
(1). He entered the Guild of St. Luke in 1666 -7 [5#],
and 4 of his instruments survive. By 1694 he was insane
and after periods of recovery and decline, he died in
the Cloister in Lier in 1706, and it would appear that
with his death the Ruckers/Couchet line came
end.
For details of surviving instruments see Part II.
(5) Abraham [Maria Abraham]. Son of (1). He
entered the Guild in 1666-7 as both painter and
harpsichord maker [S¢], but nothing else seems to be
known of him.
The family tree of the Couchets will be found in the
genealogies section under Ruckers.
The Couchet instruments. Following as they did, in
the wake of the Ruckers instruments,
senses, preserving the traditions of the latter which had
remained almost unchanged for seventy
which, at the same time, had won approbation through-
out most of northern Europe, the Couchet instruments
were equally prized. And yet, despite their dependence
on the Ruckers tradition, the Couchets were not unaware
of the pressure of musical tastes. The adaptability of
the Couchets to changes in demand is illustrated, despite
many changes to them, by their surviving instruments.
O’Brien, in referring to the 1652 double in private
ownership in Paris says ‘Like all the instruments bearing
the name Couchet, it is interesting and unusual’, and
readers are referred to O’Brien for a full account of the
Couchets’ innovations. Three are mentioned here—the
first being the use, in a Flemish instrument,
GG/BB short octave. The second is the
disposition with three registers of which
plucking (both using the same string, and
some means of ensuring that only one
register was in use at the same time),
plucking register. The third, the means by which the
right plucking registers were used only one at a time
was a complete departure from Flemish practice and
involved the use at an early date of an embryonic
form of pedal-controlled machine stop (or possibly a
genouillére), which certainly predates the mention of
such a device in England (See: Haward, where Mace is
quoted (1676)) by over twenty years.
The Couchets also experimented with
compass and the evidence from an instrument of 1650
Google
of a pitch of R+2 is unusual while the extension of
the compass down to FF considerably predates a
practice which was to become standard throughout
Europe in the eighteenth century.
Bz quotes 2 types of rose known to have been used
by the Couchet family, of which he names and describes
other Latin them as follows:
(1) The body of the harping angel is turned towards
her right; her head is half turned towards her left. One
of her feet reaches the surround of the rose. Large
figure: small wings.
(2) The body and head of the angel face to the front.
Wings bigger than in type (1). Neither foot reaches the
surround. Small figure: large wings.
to its It is clear, however from O’Brien, p. 161, and
illustrations 7.30-7.33 that, as with Ruckers, different
types were used in the virginals (type (2) above) and
in the single and double manual harpsichords, of which
the former is the smaller and the latter is the larger and
is also surrounded by a wreath (these correspond to
the Bz type 1 rose). It seems unlikely that these roses
can be used for ascertaining the member of the Couchet
family who made the instrument. Since in the Bz table
of instruments all harpsichords are shown to have a
type (1) rose, with the exception of the 1669 harpsichord,
allegedly by Petrus loannes Couchet, which is almost
and, in many
certainly spurious, Bz’s list of roses has been dispensed
with in the descriptions of the instruments.
years, but
VdS, VIII. 432 reports that a Couchet virginal rose
divorced from its instrument was discovered at Toledo
in Spain,
The success of the Couchets in meeting the require-
ments of the musical public of the eighteenth century
is demonstrable from the advertisements for a number
of Couchet harpsichords which were among those for
sale in Paris, as recorded in Bg:
Clavecin de Jean Couchet [22 July 1754]. Clavecin de Couchet
25 louis [24 February 1755]. Clavecin de Jean Couchet
d’Anvers, ayant 5 tons de plus que les clav. a grands rav. et
dont toutes les cordes basses sont en argent doré, 1000 livres.
of the I ena couté so00. [10 September 1772. A Kirkman harpsichord
use of a 2x8’ had been offered two years earlier for 1200 livres.] Clavecin
two are right de Couchet refait 4 neuf et mis a grand rav. par P. Taskin,
thus requiring avec des peintures précieuses et mécaniques au pied pour
varier le jeu de 10 4 12 maniéres (décés de M. Demarville,
or the other
and one left
receveur général des finances, rue du Sentier) [1782].
Sachs thought that a harpsichord formerly in the
Berlin Collection having an INC rose was perhaps by
Couchet. But see above, C., I. N.
COUINUS. See: CONINUS.
pitch and COUSHETTE. Variant spelling of COUCHET (¢.».)
in Burney’s article ‘Harpsichord’ in Rees’s Cyclopaedia.

* COUSINEAU, J.-G. Given in Germ-1g8o, p. 440 as a
tuner and regulator, and possibly a maker, of harp-
sichords in Paris in the rue des Poulies, vis-d-vis la
Collonade du Louvre, 1775-83. It seems possible that
there may be some confusion with CASSINEAU
@q.).
COUTURE. See: LA COUTURE.
COWTES. ‘One Cowtes, of London’, who mended
Princess Mary’s instruments during the reign of Henry
VIII, was presumably a maker of virginals as well as
other instruments [Ga].
CRAMOR, Thomas. ‘Virginal maker’ was buried on
15 May 1598 in the parish of St. Mary
London [Byrne].
©@ CRANG, John, of Devonshire and London,
builder. Dates ascertained, 1745-92, when
Also made harpsichords, spinets, and claviorgana. His
spinets, and to a lesser degree his harpsichords, are
commended in the preface to John Arnold’s Compleat
Psalmody (5th edition, London, 1761):
‘The spinnet comes next of course, it being of the Harpsichord
kind, but is much more convenient for a small Room; for it
being smaller will therefore stand in less Compass; of which
Mr. Hitchcock’s and Mr. Crang’s are said to be the best. Mr.
Hitchcock and Mr. Crang also make very good Harpsichords;
Mr. Crang likewise builds Organs of all kinds.
Crang appears as an organ builder in Un (1763),
where he is described as ‘resident in Great Queen-Street,
Lincoln’s-Inn-fields’. At another time he was living in
Wych Street. He died near Maidstone in January
1792 [Sem, p. 173]. His surviving claviorganum is a
magnificent instrument, though sadly only the original
harpsichord part remains, the organ being a replacement
of the original. He became a partner with Hancock
(g-v.), and it will be seen from the various references
under the latter name that there is room for some
confusion over the various makers with the names
Crang and Hancock. A Crang harpsichord with 2
unisons an octave, and lute is recorded by Thomas
Green (q.9.), as belonging to Mr. and Mrs. Stratton of
Little Berkhampstead, and as being tuned by him in
the period 1780-81. The firm turned to piano making,
and patented an action in 1790.
For details of surviving instruments see Part II.
® CREHORE, Benjamin. Born at Milton,
chusetts, where he died 1819. He built spinets from
1791. According to Hipkins he was the first to make
Google
CRESCHI 39
pianos in Boston, about 1798-1800. He also made
violins, spinets, and probably harpsichords. A square
piano by him is in the Metropolitan Museum of Art,
New York, and another (lent by Mrs. Alexander
Steinert) in Boston Public Library, Mass., bequeathed
by Miss C. A. R. Adams.
For details of surviving instruments see Part II.
* CREMISI. A family of Roman harpsichord makers, of
which the following are recorded by Barbieri, p. 149:
(1) Giovanni I, born ¢. 1652, Da Colonia (from
Cologne?), the founder of the family which was to
provide three generations of harpsichord makers. He
appears in the records of the church of S. Maria sopra
Minerva as a harpsichord maker, married to Elisabetta
Dionisi.
Woolnoth, (2) Pietro, born ¢. 1682, son of Giovanni I (above).
In 1722 he was registered as being a harpsichord maker
in the records of the Oratorio di S. Girolamo della
Carita, and from 1750-2 possessed a shop near to the
organ Pantheon. He was father of Simone and Giovanni II
he died. (see below).
(3) Simone, born ¢. 1707, d. 1788-9. In 1748 he was
mentioned in the will of his father, Pietro, from
whom he appeared to have received some part of his
inheritance, before the latter’s death. After the death of
his wife in 1778, he left the running of the business to
his son, Filippo.
(4) Giovanni II, bor 1722-5. From 1750-2 he
appears as registered in the archives of S. Maria ad
Martyres with his father, Pietro. In 1766 he received 3
scudi for the restoration of the harpsichord of the
Oratorio di S. Girolamo della Carita.
(5) Filippo, born ¢. 1739, died 16 November 1792.
Pupil and fellow worker with his father Simone (see
above). In 1778, he was operating from a shop, near to
the church of S. Elena dei Credenzieri. Since he appears
not to have had any children, in his will he left all
his belongings to his wife, Elena Ferri, and wished
to be buried in the church of S. Maria dell’Orazione
¢ Morte.
© CRESCHI, Antonio, of Pisa. According to Bz, Harp-
sichord maker, the information being based on a
misreading of a slip of wood attached to an eighteenth-
century harpsichord which in 1974 was in private
ownership in New York, though it may never have
been an integral part of the instrument. In 1979
Marianne Kozlowski, Music Librarian of Southern
Illinois University, reported that the instrument was
identical with an instrument then in the possession of
the University, and that the inscription on the slip of
Massa- wood was Alessandro Cresci Pisano and dated 24 Aprile
1756. It seems therefore that the existence of Antonio
Creschi is seriously in doubt.
 40 CRESCI
© CRESCI, Alessandro, of Pisa. Most probably an writers as well as the original material in Bz that this
eighteenth-century (f. 1756) harpsichord maker. article relies heavily, while they in turn have derived
See the entries for CRESCHI (above) and CRESCI much from the Archivio Mediceo, and the Archivio di Stato
(below). di Firenze. Montanari gives a very useful bibliography, to
which those seeking further information should turn.
CRESCI. Family harpsichord-making firm at Leghorn; Pollens and Tag-Ferr also contain interesting information
dates ascertained, 1760-78. Three members are on the relationship between Ferrini (g.¥.) and Cristofori,
known—Alessandro, Federigo, and Roberto, but their while further material is to be found in Stewart Pallens,
relationship has not been discovered. Whether the ‘The Pianos of Bartolomeo Cristofori’, in AMISJ, X,
Alessandro Cresci of this entry is the same as that 1984, pp. 32-68, and J. H. van der Meer, ‘Bartolomeo
shown above is not certain, though it seems likely. Cristofori und das “Gravecembalo col piano ¢ forte”’,
For details of surviving instruments see Part II. in Das Musikinstrument, 9, 1986, pp. 18-22.
Cristofori started his instrument-making career as a
CREW. See: CHEW, James. tuner, maker of lutes, and bowed string instruments,
and may have been the same Bartolomeo Cristofori
CRICCA. Family of instrument makers from Ferrara. who was living in the Cremona house of Niccolo Amati
(1) Alfonso, called Paliarino; f. 1591 as maker of in 1680, though Ks points out (p. 219) that the violin
organs and other keyboard instruments [La]. maker Bartolomeo Cristofori must be another person,
(2) Hippolito, a/so called Paliarino, apparently brother since he is mentioned in that year as a 13-year-old pupil
of (1), f. 1598. Maker of organs and other keyboard of Amati, that is to say he was 12 years younger than
instruments. In a letter of December 1598 he signs the Cristofori born in 1655.
himself ‘Hippolito Cricca detto Paliarino’ [Luigi France- Cristofori also made harpsichords, and was not slow
sco Valdrighi, Musargiana, Modena, 1879, p. 26]. in winning recognition in the latter craft, the earliest
A letter to his patron the Duke of Modena, dated authentic surviving harpsichord being dated 1690 [Gai,
31 December 1598, contains this list of materials needed P- 10] (though a suspect harpsichord of 1689 is
for instrument making: recorded).
When the Grand Duke Ferdinand de’ Medici, eldest
Asse tre di Tio [tiglio] per far tastadure per lo Instromento son of the reigning Grand Duke Cosimo III of Toscana,
Pian ¢ Forte che si fa di nuovo et per altri che ¢ in camera.
Avoglio per far tutti li Pironj alle Violle del Concerto. visited Padua on his way to Venice in 1687, Cristofori’s
Asse IV una di cipresso per far il fondo de sudetto instruments were so much admired by him that their
Instrumento. maker was persuaded to move to the Court at Florence,
Colla Tudesca ¢ Caravella per detto bisogno. where he became the head-master of his workshop,
Ebano, per detto bisogno. probably in 1688. The Duke was himself a capable
Fillo d’ottone.
harpsichordist and patron of the arts.
Buxe per coprire dette tastadure.
Montanari gives several insights into these early
It seems probable that the ‘Instromento Pian e Forte’ years, when Cristofori was establishing his reputation,
above was a 2-register harpsichord with movable including a photograph of an opening of the Archivio
jack-slides. di Stato di Firenze in which appears the list of household
articles with which the ‘Guardarova’ provided him in
CRINETUS, Franciscus Poggio. Se: POGGIO, 1688.
Franciscus, Crinetus. It appears, according to the court opera composer
and music director, Francesco Mannuci, that even
before 1698 Cristofori had started preliminary work on
© CRISTOFORI, Bartolommeo or Bartolomeo (Bor-
his arpicimbalo che fa il piano e il forte—the forerunner
tolo Padovano], 1655-1732. Son of Francesco Cristofori,
of the present-day pianoforte. The Medici inventory of
he was born at Padua on 4 May 1655, and baptised in
the Church of St. Luke, his parents being of humble musical instruments states that he had completed work
origin. His name at this time appears to have been on the instrument prior to 1700. It is equally clear that,
Christofani. despite his experiments with the new instrument,
In recent years a number of writers have carried out probably with the encouragement of the Grand Duke,
research on Cristofori’s life and work, notable among Cristofori continued to make conventional harpsi-
them being Professor Ronald Surace, whose analysis will chords, and no less than 7 instruments are mentioned
appear in EXI, and Giuliana Montanari, ‘Bartolomeo in the Medici account files of 1700, 2 spinets, a
Cristofori, A list and historical survey of his instru- spinettone, three harpsichords of which one was a
ments’, in EM, Vol. XIX, No. 3, August 1991 clavicytherium, and an arpicembalo, which may have
[Montanari], and it is upon the work of these two been Cristofori’s first piano.

Google
 CULLIFORD 41
On a visit to Florence in 1709 Scipione Maffei, A cello by him, dated 1716, was sold at Puttick &
the writer and archaeologist, became acquainted with Simpson’s, 18 October 1934, and this is a reminder of
Cristofori and with his invention, now known by him Cristofori’s bowed string instrument making, an aspect
as the gravicembalo col piano ¢ forte. Montanari shows a of his craft which is demonstrated further by Montanari,
photograph of the record of Maffei’s account of the in a list of references to Cristofori’s instruments which
interview between him and Cristofori in that year. Two includes several cellos and double basses. The same list
years later he published an account of it in the Giornale also contains all the known references to Cristofori’s
dei Letterati d'Italia. Kénig’s translation of Maffei’s keyboard instruments including those which are known
article into German appeared 14 years afterwards. Both to have survived to the present day.
Surace and Montanari give a more detailed account of A portrait of Cristofori, discovered by Professor
Cristofori’s achievements in the invention of this Schiinemann of Berlin and described in Z/M, Vol. 16
instrument, together with other contemporary refer- (1934), was formerly in the Staatliches Institut fir
ences. It seems more than likely that in the first decade Musikforschung, Berlin, but was destroyed in World
of the eighteenth century both Handel and Scarlatti War Il. It is reproduced in Fis (1953), p. 256. Ks also
would have been able to try out Cristofori’s new reproduces 2 documents with his signature.
instruments during visits they made to Florence. For details of surviving instruments (other than pianos), see
It would seem that by 1710, the spelling of Cristo- Part II.
fori’s name was established. Until that time it appears
variously as Cristofai, Cristofani, Christofani or
Cristofali. * CROON, A. Unknown harpsichord maker. In 1770
the estate of the late Mr. Nebbens, first clerk of the
In 1713 Ferdinand died, but Cristofori remained at
Admiralty of Zeeland, was auctioned and contained a
the Court, to receive 3 years later from the Grand
three-manual harpsichord: ‘een groote clavecimbel, met
Duke Cosimo III the curatorship of the collection of
deszelfs voet, van A. Croon, met 3 clavieren, zeer fraay
instruments left by Ferdinand. The inventory taken in
beschildert’ [Gier].
1716 includes 159 items of this collection, of which 48
were keyboard instruments by Giovanni Antonio Baffo
(4-9.), Domenico da Pesaro (q.v.), Girolami Zenti (g.».), CROSS. Worked for Jacob Kirkman (g.v.) in 1769. A
Giuseppe Mondini (9.».), and Cristofori. There were 20 single-manual Kirkman harpsichord of that year bears
harpsichords, 16 spinets, 3 clavichords, 2 small organs, Cross’s signature on the back of the nameboard, and
and 3 organs in combination with other instruments, on the top key.
though surprisingly none of Cristofori’s pianos are
mentioned.
On 27 January 1732 Cristofori died at Florence, and CROTONE. Mentioned by Prof (p. 272)—probably a
was succeeded as curator of the instruments by Pietro corruption of Cortona (q.v.).
Mazzetti on 19 September 1732, while Giovanni Ferrini,
Cristofori’s assistant, continued the work on the instru- CRUDELI, Giuseppe, of Lucca. Virginal maker, f.
ments. (Cristofori had also had as apprentices Geronimo 1781. Probably related to the organ builder Federigo
of Florence, and Gherardo of Padua.) Crudeli (f. 1820).
Despite considerable experiment and alteration of the For details of surviving instruments see Part II.
original version of his invention, the Cristofori piano
was received with little enthusiasm in his lifetime, and
this caused him considerable disappointment. Certainly CUELEN, Hans van. See: HANS VAN CUELEN.
in Italy it was not successful, and Swrace demonstrates
that of the 2 pianos by Cristofori (or possibly Ferrini) CUISINIER [Cuisinié]. Dates ascertained, 1708-34.
which were sold to Queen Maria Barbara of Spain
French harpsichord maker. He also experimented with
before 1756, both were changed back to harpsichords. a clavecin-vielle, which worked on the same principle as
The importance of the invention of the piano has the Narnbergisch Geigenwerck [Pi, p. 90].
rather overshadowed 2 other Cristofori innovations, the
‘cembalo traverso’ which was in effect a large bentside
spinet; and an improved clavichord, fretted for the © CULLIFORD, Thomas. Maker of spinets, harp-
bottom 12 notes, in which an action using special levers sichords, and pianofortes. Dates ascertained: 1750—
instead of splaying the keys helped to overcome 1800 [J]. Addresses: Fountain Court, Cheapside; 112,
the performance problems of the fretted part of the Cheapside; 172, Strand, London.
instrument. He also built at least one symmetrically He worked for John Hitchcock, and around 1774
shaped ‘spinetta ovale’, described in full in Henkelr, (on the evidence of a surviving spinet of this date) he
Pp. 34-8. worked with Wallcutt. Subsequently he worked with

Google
42 CUNTZ
Rolfe and Barrow [HS]. (A square piano at one time usually cither behind the nameboard or under the
at Cirencester is signed: Calliford e Barrow, 172 Strand, soundboard.
and a surviving spinet is also signed by them both.) For details of surviving instruments see Part II.
This firm succeeded Culliford, Rolfe & Barrow
CUNTZ, Lucas. Organ builder in Nuremberg in the
[HerS]. (In 1785 it was called simply ‘Culliford and seventeenth century. In 1619 he made a claviorganum
Co.’—see at least 2 harpsichords under Longman and for Lucas Friedrich Behaim, using for the stringed part
Broderip.) of this instrument a German polygonal virginal of
He supplied instruments to Longman and Broderip, which the lid, bearing a painting of the complete
who sold them with their names on the nameboard. claviorganum, is in the Germanisches Nationalmuseum
Calliford signed these instruments in some other part, at Nuremberg [VdM Salzb, p. 88].

Google
 D
© D., A. See: MULLER, Hans. destroyed, is said by the Catalogue of the Henry Watson
Collection (1906) to have borne the inscription: Joseph
© D., A. Richard Burnett, Edinburgh, bought (1973) a Danis fecit in Trevisus Anno 1570. Boxwood naturals,
spinet with a rose: AD 1750. The style and compass black sharps; projecting keyboard; 3 octaves. Exterior
(six octaves) make it unlikely to be by Delin (g.v.). painted with scroll work on a greenish ground; inside
For details of surviving instruments see Part II. the lid was painted the figure of Saint Joseph. The
instrument appears in one of Franciolini’s catalogues.
D. E. See: E, D.
DARGILLIERES, Antoine. Parisian organ builder,
D. F. See: F, D., a/so D, E. organist and organ builder to the King; earliest date
known, 1540; died 1572. He may well have made
harpsichords also [Verlet; see also Laborde}.
D, H. See: H, D.

DADDI, Lorenzo, of Empoli. Virginal maker: born

DARGILLIERES, Jean. Parisian organ and harp-
1686 in Siena. Formerly shown under DOTTI, but this sichord maker. F/. 1563-8. His godmother was Jean
Dugué’s wife [Verlet, Laborde]. Cor (p. 84) refers to
seems to be a misreading of the name [dM]. See below
him in passing.
also: the entry under DANCO.
For details of surviving instruments see Part II.
DASTENET. Harpsichord maker, probably
* DAGLY, Gérard. Decorator of harpsichords. See: seventeenth-century French. Cor (p. 84) refers to him
in passing.
MIETKE.

* DAUG, Johan Heinrich. See: OLSSON, Lars.

DAGONEAU [also Dagneau]. Surgeon at Malines, f.
1773. He turned to harpsichord making [C/, pp. 7, 39].
DALLERY, Thomas Charles Auguste. Born at
Amiens 4 September 1754, died Jouy-en-Josas (Seine-
et-Oise) 1 June 1835. Son of Charles Dallery the organ
builder, he made harps, claviorgana, and organs, being
entrusted with the building of an organ for Amiens
Cathedral, which was, however, never realized owing
to the Revolution [Fé, who has a long article].
DANAYS. Clavichord maker, f. 1838 [Va]. Apparently
a mistake by Va.
* DANCO(?), Antonio Daddi Del. A surviving single-
manual harpsichord in the Accademia Chigiana, Siena,
is signed in such a way as to suggest that a maker with
the name Danco existed in Siena in 1705. But see also
Daddi, above [WraightIKI].
DAULPHIN, Jean (I). Parisian maker of spinets and
other instruments, mid sixteenth century [Ver/et].
DAULPHIN, Jean (II). Parisian spinet maker, perhaps
son of I. Dates ascertained, 1553-71 [Verlet).
DAULPHIN, Maria. Parisian maker of instruments,
probably including spinets. Perhaps another son of Jean
1 (Verled).
DAVIDSON, John. Scottish virginal maker, f. 1652
[GD, 1928, s.v. Virginal].
DAVIES, James, of Tottenham Court Road, London.
Organ builder. In 1792 he patented a combined harp-
sichord and pianoforte, the action of each having its
own keyboard [Patent no. 1887, dated 6 June 1792].

DANGEVILLE. ‘Facteur d’orgues et de clavecin de DAWSON, Gilbert. Perhaps an cighteenth-century

Paris’ in 1774 [Hubb]. repairer [and maker?] of spinets. See: KEENE, Stephen.

DANIS, Joseph, of Treviso. Virginal maker, f. 1570. © DEACONS, William. [Deakens, Deecken, Deckens,
A polygonal virginal preserved in the Royal Manchester Dicken, although Gier prefers Willem Deakens]. Harp-
College of Music until World War II, when it was sichord maker, born ¢. 1600 and presumably in England,

»y Google
44 DEBBONIS
who worked in the Low Countries. In 1627 he exhibited DEELEY, William. English spinet maker, f. ¢. 1700.
an automatic claviorganum at the Mary Magdalen fair For details of surviving instruments see Part II.
in Utrecht. This instrument was held by Pieter Pampus
(q.v.) to infringe his 6-year patent of 18 February 1626, DEFIELD, Paul. Virginal maker born at Louvain
and he sued Deacons, with what result is not known. who fled to England from religious persecution in 1568
About 1634 Deacons was living in Leyden, and by and worked for L. Theeuwes (g.9.) in London. He had
1640 in Haarlem. In 1645 he settled in Bergen-op-Zoom, left Theeuwes by 1571 and is last mentioned in 1582/3.
but 2 years later he appears to have been living in His name, which must originally have been Vandervelde
Dordrecht [GSJ, no. 11, 1958, pp. 63 seq. (where his or something like it, appears as Pawyl Fandevell, Polle
signature spelt ‘William Deakens’ is reproduced on p. Fyeld, and Pawle Defield [C. van den Borren, Les
63); TVNM, Vol. 4, 1894, pp. 54 £.; Curtis, p. 48). Musiciens belges en Angleterre... p. 137).
Concerning Deakens’s activities much is to be found
in J. H. Kluiver, Historische orgels in Zeeland, in Archief DE GRANDIS, Giovanni. Roman harpsichord maker
uitgegeven door het Koninklijk Zeeuws Genootschap who is recorded in 1660 as having a workshop in the
der Wetenschappen, 1972/1973, pp. 50 ff. [Gier]. Piazza S. Lorenzo in Lucina [Berbieri, p. 150].

DEBBONIS, Franciscus. According to Bz, DEITENBACH, Johannes Christoffel. Organ and

seventeenth-century harpsichord maker of Cortona who harpsichord maker in Alkmaar. He was a pupil of
worked in Rome. A harpsichord inscribed behind the J. S. Strumphler (g.v.). In the Alkmaarse Comrant for
nameboard Franciscus Debbonis Cortonensis fecit Romae 8 September 1817, he advertised as ‘Mr. orgel-en
1678 is privately owned in France. Misch-1979 II points clavecimbaalmaker op het Verdronken Oord in
out, however, the reasonable possibility of confusion Alkmaar’. He died in December 1829 at the age of 79
with CORTONA and BONI (¢.».). [Gier].
For details of surviving instruments see Part II.
DEL...,
Se: L..., de.
DECKENS, Willem. See: DEACONS, William.
DE LA BARRE, P. de C. See: LA BARRE, Pierre
de Chabanceau, Siexr de la Barre.
DECKERS, Henry. Harpsichord maker at Gorinchem,
Low Countries. Dates ascertained, 1625-9 [Curtis]. At
an auction in The Hague
DE LA BORDE, Jean Baptiste. See: LA BORDE,
on 3 January 1664, a
harpsichord being a ‘staartstuk’ made by Hendrick Jean Baptiste de.
Decker was sold at 300 guilders [Gier].
DE LA COUTURE. See: LA COUTURE, DE.
DECKERT, Georg Nikolaus, or Nikolas. German DE LAINE. See: LAINE, DE.
harpsichord maker, 1772-1844 [Ks, Vol. 2, p. 660].
DE LALANDE. See: LALANDE DE.
DECKERT, Johann Nicolaus or Nicolas. Father of
Georg Nikolaus, 1733-1826. Born at Grossbreitenbach DELAVIGNE, Philibert, of Paris. A wood-turner.
near Arnstadt. (Hirt gives his dates as 1772-1844.) He made harpsichords and certain other instruments,
About 1800 he made clavichords and harpsichords, as but in 1723 and 1741 these were confiscated, as he was
well as square pianos and lutes [Fé]. His clavichords not a member of the Guild of Instrument Makers [Loxb,
fetched prices between 5 and 7 louis d’or [Gé]. p. 176; Verde).
For details of surviving instruments see Part II.
DELIN, Albert. Harpsichord maker of Tournai,
DEDEBAN, Jean Marie. Parisian harpsichord maker; Belgium. The most recent research into the life and
dates ascertained, 1770-91. From 1778-89 he lived in work of this maker is by Jean Tournay, ‘A propos
the rue de |’Eperon. His name is given in connection d’Albertus Delin (1712-1771). Petite Contribution a
with his surviving instrument in Swithcheck as Jean Vhistoire du clavecin’ in FdC in 1980, supplemented by
Mari De De Ban. Dedeban was an expert for the a further short article by the same author in Haine/Meens,
inventory on the death of Treyer (L’Empereur) in 1778 Pp. 121, from which two sources the following summary
[MC]. See further Verlet, Laborde, and Germrgéo, pp. is mostly taken, with grateful acknowledgements.
439-41 where there is a map of Paris showing the Delin was born on 17 April 1712 in the parish of
location of his workshop in relation to other makers St. Julien, in the town of Ath, where the baptismal
and some prominent musicians of the time. register gives his name as Albert Deligne. According
For details of surviving instruments see Part II. to the registers of the parish of St. Piat, Tournai, in

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1738 he married Anne Martin (or Anne-Josephe Marte)
(1717-99), and subsequently, in 1739, the birth of a
son, Josephus Albertus Delin, is recorded. In fact the
couple appear to have had eight children of whom at
least two were dead by 1751. The period was one of
considerable hardship, and shortages, unemployment,
and inflation were rife, while it seems
epidemic of dysentery carried off large numbers
people. On 16 November 1771, the registers of St. Piat
record the death of a son of Albert Delin (aged 33),
and 10 days later the death of his father, Albert Delin,
at the age of 60. There are no other documents to
prove that this was the harpsichord maker, but the
supposition seems reasonable. The name appearing
variously as Delin, Delain, Deling, and Deligne, comes
from Picardy. It is thought, though without proof, that
Delin was apprenticed at Antwerp in the workshops of
Antoine Dulcken (q..), father of the better-known
Johan Daniel Dulcken. A son of Albert
established as a painter in Antwerp in about
Tournay gives some interesting sidelights on Delin’s
life, some drawn from the research of Soi! de Moriame,
from which comes the following passage:
Albert Delin, claveciniste (sic), renseigné sous le nom de
Deligne dand le premier document tournaisien
qui parle de
lui, en 1738, était originaire d’Ath, mais vint se fixera Tournai,
avant 1752, Epoque od il expose qu’établi 4 Tournai, il y
fabrique des clavecins, et demande une gratification aux
magistrats tournaisiens (2 janvier 1752). On lui accorde a ce
titre 50 florins attendy gu’'il fabrique avec beanconp dart et de succis
kes clavecins et pinettes.
For further details see Jean Tournay, FdC, pp. 139 ef
seq.
Delin’s instruments bear the marks of a relationship
with the Ruckers, and though restrained in their external
decoration, are beautiful examples of
instrument making. The earliest surviving instrument
appears to be a spinet, which is listed in MICL,
dated 1738. This, however, is not
Tournay, and his earliest authenticated instruments date
from 1750. During a period of 20 years from this date,
Delin made a number of wing-spinets, harpsichords,
clavicytheria, and polygonal virginals. The latest instru-
ment is dated 1770. All the extant authenticated instru-
ments are described in detail in FdC.
For details of surviving instruments see Part II.
DELINEAU, Joseph Cassella. Probably
harpsichord maker. A surviving harpsichord, but of
dubious authenticity bears this name and the date 1793.
For details of surviving instruments see Part II.
DE L'SLE, Blondel. See: LISLE, Blondel de.
DELITZ. Born in Danzig. In 1765 he was a noted
maker of organs and keyboard instruments. He invented
DENIS 45
a harpsichord with a wind register and other innov-
ations. Wagner of Dresden improved on this and called
his result the ‘clavecin royal’, giving it out as his own
invention. Delitz was a pupil of Hildebrand, after whose
death he continued to build organs and keyboard
instruments in Danzig and Thorn [Gé].
likely that an
of DELLA VALLE, Pietro. See: VALLE, Pietro della.
DEL MELA, Domenico. See: MELA, Domenico del.
DE LOEUVRE, Honoré. Maker of spinets in the first
half of the sixteenth century at Lyons. He is mentioned
as ‘Faiseur d’espinettes’ for the first time in 1523 in the
Archives de Lyon, and for the last time in 1545.
Pxssiaw, who has carried out much research on French
harpsichord makers, has drawn attention to Coutagne’s
Delin was observation that together with Nicolas Bontemps (q.».)
1740. and Gaspard Duiffoproucart, de Loeuvre was considered
to be one of the oldest makers of instruments in Lyons
[Con].
Pussiaw also notes that the Archives de Lyon record
him as Honoré de Loeuvre while occasionally, 4
December 1551, a certain ‘Pierre de Levres’ appears as
a ‘faiseur d’espinettes’. Pussiaw suggests that Pierre and
Honoré were in fact one and the same person, though
according to Va Honoré died in 1550.
DE LOEUVRE, Pierre. See: DE LOEUVRE, Honoré.
DELYEN, Pieter. See: LYN, Pieter de.
DEMACHY, P. See: MACHY, Pierre Antoine de.
the craft of
DENIS. A family of organ builders and harpsichord
and is makers who flourished in Paris from the sixteenth to
mentioned by the eighteenth centuries. For further details of places
of residence and family relationships see Veriet, from
which a good deal of the following information is
derived. See also Hubb 1965 passim. A condensed family
tree is given in the Genealogies section.
DENIS, Robert (1). Organ and harpsichord maker;
1520—between August 1588 and April 1589. He worked
in the parish of Saint-Merri from 1544, the date of the
a French birth of his eldest son Claude.
DENIS, Claude. Harpsichord maker and dealer in
instruments, 27 May 1544-87. Son of Robert I. From
1580 he lived in the parish of Saint-Gervais (rue de la
Planche-Mibraye). It appears that he had over 600
instruments in his workshop at the time of his death.
He married a sister of Paul Belamy (9.v.) in 1570, and
took Paul as an apprentice 1571-6.

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 46 DENIS
DENIS, Jean (I). Maker of harpsichords and other
instruments; 23 March 1549 until after 1634. Second
son of Robert I. Apprenticed to the organ builder
Gabriel Dargilliéres (g.v.). In 1601 he was elected jaré
of the Guild.
All his 3 sons were harpsichord makers. It may well
be this Jean Denis whom Mer mentions, together with
Jacquart, as one of the best harpsichord makers of his
day.
DENIS, Robert (II). Harpsichord maker and dealer in
instruments; born after 1550, died 1589. Youngest son
of Robert 1, he worked with Dargilliéres (9.v.).
DENIS, Thomas. Maker of
including harpsichords; born 1585, died before 1634.
Eldest son of Jean I. In 1615 he was elected juré of the
Guild.
DENIS, Pierre (II). Maker of instruments including
harpsichords; fl. 1705. Son of Philippe.
For details of surviving instruments by the Denis family see
Part Il.
© DE QUOCO. See: QUOCO, Nicolaus de.
* DE ROUAIS, Giles. Clavichord? maker of Tournai,
ff: 1385. He is recorded in an account of the Court of
Burgundy on 20 December 1385 as ‘religieuse de l’église
Saint-Martin de Tournay’, in which he was awarded 12
francs ‘pour un instrument nommé eschiquier que Mgr
a fait acheter de lui et mectre en sa chapelle.’ It is not
the purpose of this book to discuss the nature of the
instruments, probably ‘chequer’, of which there are a number of scholarly
accounts in the standard literature. Suffice it to say that
this may be an early record of a clavichord maker
[Haine] Meexs}.

DENIS, Jean (11). Organist, harpsichord maker, and DESPONT, Antoine (I), Luc, and Robert. Three
writer on tuning; ¢. 1600-January 1672. Second son of brothers who were harpsichord makers in Paris in the
Jean I. He became juré of the Guild in 1647. In 1650 seventeenth century, as also were Antoine (II) (b. 1573),
the second edition of his Traité de Paccord de Pespinette Jean, Philippe (I), and Robert—all sons of Antoine I,
avec la comparison de son clavier avec la musique vocale, Pacis and Louis and Philippe (11), sons of Luc; also a Pierre
1643, was issued; in it he calls the harpsichord the ‘plus Despont [Hwbb 1963, p. 92, based on MC); further
bel Instrument du monde, et le plus parfaict’. He went details of the family are given in Verdet.
to Nancy in 1653, where he restored the Duchesse de
Lorraine’s harpsichord. See also Hubb 1965, pp. 122-3. © DESRUISSEAUX, Gilbert. [Deruisseaux, Des Ruis-
seaux] Harpsichord maker of Lyons, born at Moulins
DENIS, Pierre (I). Maker of instruments, almost in 1652, and died on 13 October 1703 [Pussian]. On 20
certainly including harpsichords; ¢. 1600-after 1664. January 1670 he entered an apprenticeship with Michel
Youngest son of Jean I. In 1632 he qualified as ‘faiseur Richard (g.».) in Paris [ Archives national, Minutier central,
et maitre joueur d’instruments de musique’ [MC]. He Paris]. On achieving his majority he set up at Lyons
was juré of the Guild in 1662. where as ‘maitre faiseur d’instruments demeurant en
ceste ville’, in 1678 he married Guillemette Mamillon
DENIS, Jean (III). Organist and harpsichord maker; Gouttenoire, whose father, Francois, was also an
¢. 1630-December 1685. Eldest son of Jean II. In 1682 instrument maker. Until recently, Desruisseaux’s death
he obtained 8 votes in the election of a jaré of the could only be dated as ‘after 1694’, since he was a
Guild, but was not elected. A harpsichord by him dated signatory of the inventory of Gouttenoire’s possessions
1658 was in one of the Savoie Collections. after his death on 13 August 1694, but the researches
of Vincent Pussiau have now revealed the exact date.
Further information is given in Pussia, V., ‘Benoit, M.’,
DENIS, Louis. Organist and maker of instruments,
almost certainly including harpsichords; 16 November in Dictionnaire de la Musique en france aux XVIF et
1635-after 4 June 1710. Second son of Jean II, he bore XVIIF siécles, Fayard, 1992.
the title in 1666 of ‘maitre faiseur d’instruments ordinaire For details of surviving instruments see Part II.
du Roy’. In 1689 his daughter married the organist
Louis Marchant. Besides his Paris house he had a DESRUISSEAUX, Louis. French seventeenth-century
property at Cormeilles which he bought in 1683. harpsichord maker, presumably related to the foregoing.
A harpsichord privately owned in France (formerly A harpsichord by him dated 1658 was in one of the
in Le Cerf’s collection) is signed underneath the Savoye collections.
soundboard: Fait par Louis Denis a Paris, 1658. For details of surviving instruments see Part II.

DENIS, Philippe. Organist, instrument maker, and DE TAEGHS, V. de. See: TAEGHS, Vincentius de.
record-keeper of the King’s buildings; ¢. 1615—2 January
1705. Youngest son of Jean II. Accepted by the Guild DETERPIGNY, Jacques. Born in the diocese of
in 1637, and juré in 1669. Noyon, France. Went to Grenoble where he married

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 DOMINICUS 47
in 1779 and set up as a maker of organs, harpsichords, in 1785 [Hin, p. 180]. Hirt gives his name as Dodds
and spinets [Féesry]. and his flormit as 1756.

DE VRIES, Dirck. See: VRIES, Dirck de. DOHAUSEN, Claus, of Brunswick, f. 1635. Son
of Claus Dohausen; maker of clavichords and other
DIAKEN, W. See: DEACONS, William. instruments. He learnt instrament making for 4 years
from Gottfried Fritzsch, organ builder, of Hamburg,
DIEPENRIJCK, Lodewijk van. Was received into apparently finishing his training in 1635 [SB, p. 48].
the Guild of St. Luke, Antwerp, as a harpsichord maker
in 1558, and was still alive in 1589. He also made lutes DOHNAL, Joseph. See: G, C.
(Bu, Li}.
DOMENICO DEL MELA DA GAGLIANO. See:
DIERCKX, Jan [a/so Diericxsen]. Harpsichord maker MELA, Domenico del.
of Antwerp. Born 1531; entered the Guild of St. Luke
in 1557. In 1574 he is referred to in a legal document DOMENICO, Giovanni, of Venice. Most probably the
as ‘Mter Jan Diericxen clavesingelmaker’ [S#]. same maker as Dominicus Pisaurensis (g.v.), though
Koster suggests that he is a ‘ghost’ originating in the
DIEREN, Willem van. Harpsichord maker at Zutphen old catalogue of the Museum of Fine Arts, Boston.
and Amsterdam. He advertised in the Amsterdamsche
Courant for 5 November 1737, as a Master harpsichord DOMENICUS Venetus. See: © DOMINICUS
maker established in Zutphen. In 1757 he lived in PISAURENSIS.
Amsterdam on the ‘derde Weteringdwarsstraat’ and the
Amsterdamsche Cowrant of 3 May 1757 contains the
DOMINICUS Pisaurensis. ‘Domenico of Pesaro’, or
following notice: ‘Willem van Dieren, clavecimbaal-
“Domenica da Pesaro’ (See: article on Cristofori above),
maker en stemmeester, adverteerd, dat hy is gaan
or ‘Domenico, Giovanni’, maker of harpsichords, vir-
woonen in de derde Weteringsdwarsstraat, . .. Amster-
ginals, and clavichords in the sixteenth century. F/.
dam.’ In 1769 his wife Catharina van Berendrecht died,
(according to GDN-EKI) 1533-75. Misch-1972 quotes
at which time he still lived in the same street. His
from a Vatican manuscript of 1741 describing Italian
widow, Aaltje van den Bogaert from Utrecht, who was
harpsichord makers Ne/ principio del X° 6 Secolo,
probably his second wife, remarried in Amsterdam
Domenico da Pesaro Uomo Insigne, ¢ tra Cembalari il
(bethrothal 17 January 1782). He was dead by 1782. In
Dittatore.
1784 a ‘royal harpsichord by W. van Dieren’ was
Born at Pesaro, he was well known as an instrument
advertised [Curtis, p. 48, and Gier].
maker at Venice by 1548 when the theorist Zarlino had
a harpsichord made by him with an enharmonic
DILKEN. See: DULCKEN. keyboard (‘il quale fece Maestro Dominico Pesarese
fabricatore eccelente di simili instrumenti; nel quale non
DI PANDOLFO, Camillo, of Rome. Born ¢. 1559. solamente li semituoni maggiori sono diuisi in due
From 1609 he appears in local church archives together parti, ma anche tutti li minori’, Gioseffe Zarlino,
with his son, Francesco (born ¢. 1588), as a harpsichord Institutioni harmoniches, . . . Venetia, 1558, p. 140).
maker, together with the lute maker Bartolomeo Frezza, Charles Burney saw this instrument in Florence in 1770,
though in the period 1613~15 he appears on his own and says that it was afterwards sent to England; but
as ‘Camillo di Pandolfo zimbalaro’ (Barbieri, p. 150]. no trace of it has survived. In an inventory of musical
instruments of King Philip I] of Spain there is an entry:
DIVISS, Procopius [Diwisch], 1696-1765. Preacher at ‘Cinco vihuelas de arco de maderna blanco, con unos
Znojmo (Znaim) in Moravia. About 1730 he invented quadros samblados de taragea de mano de Dominico
a keyboard instrument called ‘orchestrion’, ‘goldne entres caxas no. 59’, which was thought by Li to refer
Dionys’, or ‘Denis d’or’. It had 790 strings and 130 to this maker; but this is, to say the least, doubtful [Ks,
variations of tone, and imitated the tone of nearly all p. 224].
wind and stringed instruments. Its dimensions were Numerous instruments signed Dominicas Pisaurensis,
150 cm long by 60 to go cm wide. ranging in date from 1533 to 1622, have survived or
He may have made harpsichords as well [Gé; Blueth- are presumed to have survived, and several signed:
ner and Gretschel, Der Pianoforteban, Leipzig, 1909, Domenicus Venetus. Though some Domenicus/
P. 9]. Dominicus instruments almost certainly suffered at the
hands of Franciolini (g.¥.), the wide spread of dates,
DOBBS, Thomas. Harpsichord and pianoforte maker and 2 forms of the signature, might well imply 2 makers
in New York, fl. 1756 [Hirf]. He arrived from London named Domenicus and Dominicus.

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48 DOMOS
GDN-EKI says that Dominicus Pisaurensis is not to Doni was clearly of a practical turn of mind, for when
be confused with Domenicus Venetus (who does not around 1640 he discussed the problem of maintaining
fate a separate entry there), but the fact remains that the consonance of the tuning of the pipes and strings
there is confusion, and there is a need for a careful of a claviorganum so that they might remain in
assessment of these makers. The confusion is heightened tune throughout a complete theatrical production, he
by examination of the surviving instruments, for suggested that the harpsichord strings be tuned a
example a harpsichord in the National Museum, Dublin, quarter tone higher than the pipes so that (to quote
is signed by Domenico and dated 1590, and he was Barbieri) ‘the whole instrument may come to its proper
considered to have been the maker until another pitch when the air is warmed by the torches [which
inscription was found on it suggesting that it was made light the theatre]; and [indeed] if the higher strings did
by Francesco da Brescia in 1564, and this inscription not also warm as much, either because they are made
in turn must suggest that Antegnati (g.v.) at least of steel, or because they are so thin, it would be
had a hand in its manufacture. Further, a 2-manual Necessary to retune many of the notes . . .’. Doni also
harpsichord in the Carl Claudius Collection, Musik- indicated which metal the lowest strings were made of
historisk Museum, Copenhagen, decorated in rococo in a letter to ‘Father’ Mersenne at Paris. [See further:
style and inscribed Dominicus Pisaurensis without date, Barbieri, op. cit.]
is regarded by the catalogue as unauthentic. It is to be
hoped that the painstaking research of such workers DONIS, Joseph. See: DANIS, Joseph.
as Denzil Wraight, Grant O’Brien, and others, will
eventually clarify the situation. DONNER, Johann Jakob Heinrich. German harp-
The Medici Collection of which Cristofori (g.v.) was sichord maker, who worked in London for some years.
in charge contained 4 instruments by Domenico: a His name appears in the list of subscribers to Sheraton’s
harpsichord, a claviorganum, an ottavino, and a clavi- Cabinet-maker [J]. Donner was born at Hamburg on 16
chord [Ps, p. rot]. In 1693 Cristofori repaired a December 1760 and died there on 12 June 1802. From
harpsichord and a virginal by Domenico [Ferdinando ¢. 1780 to ¢. 1795 he lived in London; 1796-8 he was
Casaglia, Per le onoranze a Bartolommeo Cristofori . . ., instrument maker in the firm of Donner & Schultz in
Firenze, 1876, pp. 24, 27]. Hamburg [Scbu/tze].
For details of surviving instruments see Part II.
DONZELAGUE [Vandonserague, Vandonzelague].
DOMOS. See: Douwes, Klaas. Family of instrument makers, active at Aix-en-Provence
and Lyons in the seventeenth and eighteenth centuries.
(1) Frangois, born at Bruges before 1640, died at
DONAL of Vienna. Organ or keyboard instrument
(most probably clavichord) maker of the late eighteenth Aix-en-Provence after 1691, was recorded under the
or early nineteenth century. The work of this maker was Latinised name of Franciscus Vandonserague . . . operatoris
particularly esteemed by Christian Friedrich Gottlieb instrumentorum musicae civitatis brages in flandria in the
register of the baptism of his eldest son, Pierre (Arch.
Thon. See entry under THON.
mun. Aix-en-Provence], in 1668. It was in this year
that Frangois set up at Aix-en-Provence and married
DONAT, Johann Jakob, of Leipzig, fl. 1700. Organ Elizabeth Bayon, and he remained there at least until
builder and maker of keyboard instruments. He 1691 as a harpsichord maker.
belonged to a family of organ builders, branches of (2) Pierre, born at Aix-en-Provence, 23 March 1668,
which were spread over Saxony during the seventeenth died at Lyons, 16 June 1747, the eldest son of Frangois.
and eighteenth centuries. Christoph Donat, who built At the age of 20 he left Aix for Lyons, where on 27
the organ in the Leipzig Stadtkirche in 1667, was October 1688 he joined the newly established Académie
probably an earlier member of the same family as J. J. royal de Musique (or Opera) de Lyon as a singer and
[Ks, p. 225]. Hirtz records him as a clavichord maker ‘joueur de basse de violon continuo’. He married Jeanne
with the surname DONATI, and dates of 1663-1732. Chaudet on 5 June 1691 at the parish church of St.
For details of surviving instruments see Part II. Nizier. He combined his association with the opera and
his work as an instrument maker, and, in the period
DONI, Giombattista. F/. 1640-7, (see also: Albana 1713-15, probably was frequently in the company of
(g.v.))—not a builder, but most probably a Florentine Jean-Philippe Rameau, who was then in Lyons. He
theoretician, who was infer alia interested in the stringing acquired citizenship of Lyons in 1719.
of harpsichords. Patrizio Barbieri [GSJ XXXVIII Donzelague’s instruments are of some importance,
(1985), pp. 27-8] points out that he noted that in being of high quality workmanship and also early
Frescobaldi’s day Roman harpsichord makers used steel examples of French harpsichords with the full 61 note,
in the higher ranges, changing over to brass and then 5 octave compass. Passiaw, who has kindly contributed
to pure copper for the lowest notes of the harpsichord. the majority of the information in this article, has

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 DOUWES 49
recorded a number of references to advertisements for town hall). In 1708 he was also carilloneur of the tower
Donzelague harpsichords in the second half of the of the Westerkerk. It seems likely that he had a full-time
eighteenth century, including that from a 1754 issue of job as well since his yearly income was then 1000
the Ziircher Wochenblatt quoted by Bz: guilders, a considerable amount. After his death, on 9
I fartrefliches Clavecin mit 3 Registern und 2 Clavieren, deren October 1719, his son Gerardus was appointed as his
jedes 61 Claves hat, verfertigt von dem berihmten Meister successor.
Donzelhage, in Lion; es hat einen sowol iiberaus angenehmen On 5 April 1687, the following notice appeared in
als starken Thon, und ist in allen Absichten in ginzlich the Oprechte Haerlemse Saturdaegse Courant:
vollkommenem Stand, auch mit dazugehérigem sauber ver-
arbeiteten Fuss versehen [Rind]. Comelis van Dort, organist van de Lutherse Kerck in
's-Gravenhage, heeft weder gemacckt cen clavecordium met 2
Pussian notes further that in December 1756 two lange clavieren en pedael, sprekende op 8 voet, cometti toon,
Donzelague instruments were included in the inventory seer curieus. Oock zijn bij hem te bekomen veelderley soorten
of the Hétel du Concert where, on 13 August 1766, van welgestelde clavecimbels, waer onder cen is met 3 clavieren
the young Mozart appeared while passing through en cen met 2, waer van het onderst clavier spreeckt met 3
Lyons. snaren en boven met 2 te gelijck of boven met 3 snaren en
For details of surviving instruments see Part II. onder met 2 lemant, tot cenige der selve genegen zijnde,
(3) Mastin Frangois, born at Aix-en-Provence ¢. adressere sig aen de voorn. Comelis van Dort.
1679, died at Lyons, 2 January 1766, was a musician, There is no evidence that he was the maker of the
but it is not known whether he made instruments.
harpsichords mentioned in this text. Nevertheless it is
For further information see: Pussiau, V., ‘Benoit, M.’, a very early report of a three-manual harpsichord.
in Dictionnaire de la Musique en France aux XVII et On 6 January 1689, van Dort advertised all kinds
XVIIF siécls, Fayard, 1992, and Pussiau, V., Pierre
of ‘staafspelen’ (a domestic practice instrument for
Domzelague, Aix-en-Provence, 1668—Lyon, 1747, in pre-
carilloneurs), several clavichords with 1 or 2 manuals
paration in 1993.
with or without a pedalboard, some harpsichords and
other musical instruments. It seems that after 1695 van
DOPPO. Harpsichord maker in Florence at some time Dort stopped his activities as a dealer and builder of
before 1665, according to Wald’ transcription from the musical instruments; at least no further advertisements
Innsbruck inventory (1665) of the Archduke Siegmund have been found [Gier].
Franz of Austria: ‘Ein anders Instrument mit 3 Registern
mit einem weissen Futtral, so der Doppo von Florenz
gemacht, ist von Cypress.” DOTTI, Lorenzo. See: DADDI.

DORT, Cornelis van. Gier reports that in the begin- DOUBLET. A family of harpsichord decorators in
ning of the eighteenth century there were at least two Paris in the seventeenth and eighteenth century. Though
persons with this name living in Amsterdam. The first perhaps, strictly, they should not appear in this volume,
(listed in Bz) was a harpsichord maker, who was born since they did not build instruments, their association
in 1673 of 1674. In the Avmsterdamse Courant of 6 with a number of the leading French makers is of some
October 1694 he advertised ‘various harpsichords with interest and importance. Sheridan Germann [Germg80}
2 to 3 manuals . . . ’. His latest ascertained date is 1703,
has identified three generations, J. M. Doublet (f. 1775-
when he married Machteld Hervegh [Curtis, p. 48]. 83), and his father and grandfather, resident in the Rue
The second Cornelis van Dort was a carilloneur,
Ste. Anne, at the corner of the Rue de Langlade in
organist, dealer in musical instruments, and clavichord
Paris from 1695-1783.
maker in The Hague and Amsterdam. Born at Bergen
op Zoom and married Catharina van Heemskerck from
Alkmaar in The Hague (betrothal 6 August 1684). She DOUVE, Michel. Parisian master harpsichord maker
was a daughter of the late reverend Gerardus van in 1661. He married in 1643 [Hubb 1963, p. 92].
Heemskerck. (In another document he is registered as
a doctor of medicine.) Though Cornelis was organist
of the Lutheran Church in The Hague, their children DOUWES, Klaas [= Nicolas]. Called Domos by
were baptised in the Remonstrantse Kerk, their first Marpurg and Lustig; organist, theorist, and amateur
son, Gerardus van Dort on 18 December 1685, their clavichord maker. It was until recently believed that he
third son on 30 August 1693. Soon after this date the was born at Leeuwarden in 1668 or 1669. However, in
family settled in Amsterdam, where on 4 December the introduction to the facsimile edition (1970) of
1693, Cornelis was appointed carilloneur of the tower Douwes’ book Grondig onderzoek van de toonen der muzyk
of the Zuidkerk. In 1695 he was appointed as supervisor Peter Williams states that recent archival studies have
of several municipal carillons (among them that of the established that Douwes was not born in 1668/9, for

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 50 DOWNING
on 27 March 1667 he was already a schoolmaster in
Tzum, coming from Hennaard (a few miles south of
Franeker) and he married in 1676 in Achlum. In 1690
he was appointed organist there also.
On p. 104 of his book, he refers to a device in the
construction of pedal-clavichords which he says was
employed by no one else but himself.
This little volume, of which a second edition appeared
in 1722 and a third in 1773, contains much interesting
information on various instruments including the clavi-
chord and harpsichord. It gives detailed instructions in
clavichord design, including pedal-clavichords, together
with virginal scaling and string gauges; and contains
terse but relevant observations on the harpsichord,
¢.g. ‘The pleasantness of the tone depends on the
soundboard being of the correct thinness, and on
the soundboard bars lying in the right place’ (‘De
aangenaamheit van ’t geluidt bestaat daar in, dat de
sangbodem behoorlijk dun is, ende dat de spalken
onder de sangbodem op de regte plaats leggen’, p. 105).
The name Claas Douwes occurs frequently in the
Frisian archives. He died in Tzum about 1724 [Eit, Fé,
Gier).
DOWNING, George. Harpsichord maker, 243 Strand,
London. Dates ascertained, 1763-83 [J].
* DRESSEL, Christoph. A fretted clavichord dated
1680-90 signed with this name is in the possession of
the Bachhaus at Eisenach.
For details of surviving instruments see Part II.
DRIEL, Abraham von. Became a citizen of Hamburg
in 1710. He made lutes, and probably keyboard instru-
ments as well [Lj].
DUBOIS, Henry. Was apprenticed to Jean Jacquet
(g.v.), harpsichord maker of rue Beaubourg, Paris, on
14 February 1658 [Hsbd}.
© DUBOIS, Pierre. Parisian harpsichord maker. Dates
ascertained: 1778-98 or 1799. Entered the Guild of
Instrument Makers in 1778. Was living then, and in an
VII (1798-9), in the rue St. Honoré ‘vis a vis Les ecurij
du roij’ (as inscribed on the underside of a harpsichord)
‘re fait [by him] . . . 1780’, which is in private ownership
in Paris and may be by a member of the Ruckers family.
Germ1980, pp. 439-41 gives a map of Paris showing
the location of his workshops in relation to other
makers and some prominent musicians of the time.
For details of surviving instruments see Part II.
DUBUG, Nicolas. Harpsichord maker in Paris. Born
1638 or 1630 [Laborde]. See also: SELLIER, Jean.
DUBUT GUISSIERE, Charles Philippe. Parisian
harpsichord maker in 1729 [Habb].
Google
DUCASTEL, Augustin Hippolyte. Parisian harp-
sichord maker, born ¢. 1698. Latest date ascertained,
1734. Verlet gives further details.
* DUENAS, Antonio Lépez de. See: LOPEZ.
© DU FOUR, Claude. Harpsichord maker at Lyons;
born ¢. 1624, died 8 July 1709. Though appearing in
Bz as DU FOUR, from the researches of Pussiaw it
would appear that the name could equally well be
DUFOUR, and that his alternative, and probably
correct, name given heretofore as Gondard [Bz] should
be ‘Goudard’ (‘Claude GOUDARD, dit DUFOUR’
[Pxssiaw]). After his first marriage to Madeleine Durel
ended in separation on 30 April 1677, he married
Frangoise Dumontier in 1691, having, in the meantime,
become ‘maitre de la communité’, and subsequently
[Archives de Lyon quoted by Bz] ‘Me. faiseur de clavecins,
mort le 8 juillet 1709, 4 80 ans’.
An edict of the King dated March 1700 referring to
him is quoted by Bz and also by Passian with slight
differences. The latter says that he was living ‘en cette
ville place de Bellecour, maison de Mr Bay’, and that
in the month of March, he had, in pursuance of an
order ‘sgavoir douze vieux clavessins et six neuf, dont
la roze et les émolures sont dorées, quatre autres
clavessins dont les frises qui sont autour et au dedans
sont peintes sur papier doré et les émolures sont dorés;
un pied d’un vieux clavessin de bois doré’ (cf. Guigue,
G., Note sur les mobiliers de luxe a Lyon, in la Réwnion des
Sociétés des Beaux-Arts des Départements, XX1 (1897),
Pp. 605~20.]
Despite the above quotation stating that Dufour was
80 when he died in 1709, Passiaw states that he was 84
in that year and accordingly gives his date of birth as
‘about 1624’.
An inventory of his possessions made on 17 July, 9
days after his death in 1709 records his last known
address (which still survives) as ‘scis en cette ville
sue le quay St Antoine, au quatriesme estage d’une
maisonapartenant au sieur Gayot’. Cor (p. 84) mentions
him in passing. A ‘clavecin de Dufour’ was advertised
on 27 August 1753 [Bg].
For details of surviving instruments see Part II.
* DU FOUR, Nicolas. French harpsichord maker. F/.
1683. Possibly related to Claude Dufour (¢.0.), though
Pussia states that no maker of this name can be found
in the Archives de Lyon.
For details of surviving instruments see Part II.
DUGUE, Pierre. F/. at Paris in the sixteenth century;
organist, and afterwards maker of instruments including
probably the harpsichord [Les, p. 15].
According to Norbert Dufourcq’s Le c/avecin (Paris,
1949, p. 16) there was a Parisian harpsichord maker
 DULCKEN 51
called Dugué in the seventeenth century. Ver/et calls harpsichords, dated between 1745 and 1769, and with
him ‘an organist and instrument maker’. compass which is generally of five octaves (FF-f),
though at least three are of shorter compass (BB-d’).
DUKERN. The inventory of the greffier Duxout (9 With only one exception they all have a specification
April 1756; 91, 930) refers to a ‘clavecin de Dukern of 2x8’, 1x4’, the exception being a single of 1745
. - » 800 livres’. But this may be an error for Ruckers which has only 2x8’, These instruments are of some
or Dulcken. importance, not least because in the last twenty years
or so they have been copied by many modern makers,
DULCKEN. A Flemish family of distinguished harp- often with considerable success. A full investigation of
sichord makers, of German origin. There is at present Dulcken’s instruments is to be found in Tourn AD.
some confusion concerning the members of the family, For details of surviving instruments see Part II.
largely due to the similarity of their names. The (3) Johann Lodewijk, the elder, or Jan Louis, or
following members, however, seem generally to be Louis, eldest son of Johann Daniel. Born Maastricht
recognised as separate persons: in 1733/4 [Gier], and baptised in the same city on 15
(1) Antoine. Died 1763. Maker of instruments April 1736 [Cwrtis], though as Gier points out there
including harpsichords at Antwerp. The scope of his does seem to have been a long delay between birth and
work is indicated by his widow’s words: ‘Nous avons baptism, even for Calvinists. GDN-EKI records his
eu de tout tems et nous y avons encore des ouvriers year of decease as being ‘after 1793’.
en toutes sortes d’instruments’ [V/dS, I. 197-205]. His On 27 January 1755, ‘Jan Louis Dulken van De
relationship to the other members of the family is Leur’ (province of North-Brabant) became a member
uncertain. of the Reformed Church of Amsterdam. He lived in
(2) Johann Daniel. (His first name appears sometimes the Nieuwstraat. An entry in the betrothal registers for
as ‘Johan’ or ‘Joannes’.) The most famous member of 7 May 1756, states ‘Johan Lodewijk Diilken van
the family, whose ancestry and surviving instruments Mastrigt, gereformeert, oud 22 jaar, in de Nicuwstraat,
are recorded in Tourn AD, from whom it is known that geassisteerd met zijn vader Daniel Dulken te Antwerpen
as the eldest son of Georg Ludwig Dulcken and en Catrina Koning etc.’ (The wedding date is given as
Johanna Maria, he was born in Wingeshausen, and was 23 May 1756 by Haine/Meeus.) The bridegroom signed
baptised there on 21 April 1706. His father, Georg himself ‘Johan Lodewijk Diilcken’. Several of his
Ludwig (1679-1752), was the pastor of the village, and children were born in Amsterdam; the name of the
his grandfather was Eberhard Dulcken, the pastor of mother is always written in the same way; the name of
Berleburg. Johann Daniel was said by Burney [BarxG] the father is ‘Louis’ in 1757 and 1758, but in 1761 ‘J.
to have died on the second day of Easter in the year L. Diilcken’.
1757 (11 April). According to Haine/Meexs, he was From 1756 until 1760 he advertised very often in the
settled in Antwerp by 1738 together with his wife, A>sterdamsche Courant, mostly as ‘Louis Dicken, Mr.
Susanna Maria Knopffell, and some account of the orgel-en clavecimbaalmaker’, sometimes only as organ
latter’s struggle for financial independence after her builder. A survey; 1756 no. 59: ‘een staart-clavecimbaal
husband’s death is given in the same reference. An met lang klavier, zynde een veritabel Hans Ruckers’;
initial study of the Dulcken family was completed by 1756 no. 103: ‘een staert-clavecimbaal van Andreas
Tournay in 1987, and is published in Toxrx. AD, where Ruckers met 3 registers en lang clavier’, 1756 no. 145:
details of the authenticated surviving instruments by his ‘royal’ cabinet organ and another harpsichord; (1757
him are fully treated. The full biographical background NO. $4; 1758 Nos. 99, 133; 1759 NO. 45; cabinet organs
of the Dulcken family is promised by the publishers of made by him); his last advertisement of 18 November
Toarn AD in Volume 2, and at the time of writing 1760 is the most interesting concerning harpsichords:
(1992) this is awaited with eager interest, together with ‘Louis Diilcken, Mr. orgel-en clavecimbaalmaker,
further studies by J. Lambrechts-Douillez which are wonende bezyden het Cathuyserskerkhof t’Amsterdam,
promised in Haine/Meens. presenteerd te koop eenige staartclavecimbaals van zyn
Bz contains the statement, culled from Li, that ‘Some eigen werk, zo dubbelde met 4 registers en 5 octaaf,
lutes survive bearing his name’, but Tournay has not als enkele met 3 registers en lang clavier onder andere
been able to verify this. BaraG (1. 48) refers to him as een extra kleyn comodieus staartstukje met 2 registers,
the master of Bull [i.e. J. P. Bull (g.v.) who was trained edog lang clavier etc. alle dagen te zien . . .” (2-manual
in his shop] and says that ‘the harpsichord maker of and 1-manual harpsichords made by himself were offered
the greatest eminence after them [i.e. the Ruckers] was for sale in this advertisement). Louis Diilcken left
J. Dan. Dulcken; he was a Hessian. At present there Amsterdam some time after 9 August 1761, when his
is... Bull.’ See further dS, I. 197-205. (Burney was son and namesake was baptised. In the Middelburgse
in error in calling him a Hessian.) Conrant for 17 August 1765, he advertised that ‘J. L.
According to the assiduous research of Tournay there Diilcken, Mr. orgel-en clavecimbaalmaker’ had arrived
are ten surviving genuine Johann Daniel Dulcken in Middelburg with two ‘magnifique cimbaals’. His

Google
52. DULYCZ
wife, Catrina Koning, remained in Amsterdam (after a
divorce?) and moved in 1766 to Hoorn. Haine/Meeas
reports that he returned to Antwerp in 1774. There is
the possibility that Jan Lodewijk went to France, for
Curtis reports ‘a Louis Diilcken as a piano maker in
Paris on the rue Vieille-du-Temple in 1783 and on the
rue Mauconseil in 1788-9. But an identification of Louis
with Jan Lodewijk (Jan Louis) is mere speculation’.
Nevertheless, Gier, who reports further on the Dulckens
[pp. 119-21, 383-5, and 415] believes that the two are
identical, and this suggests that the entry shown
previously for a fifth member of the Dulcken family
simply called Louis should be rescinded. Bz says that
a Louis Dulcken was making pianos in Paris during
the period 1783-93. Verlet records him there from 1780
to 1791, though her entry is not very clear. A
single-manual harpsichord in the Gemeente Museum at
The Hague, signed Louis Dulcken 1793, was originally
a grand piano in the Viennese style. (It was presented
by Albert Hess; the date of its conversion is not known,
and it is not shown in part 2 of this publication.)
(4) Johan Lodewijk the Younger. Son of (3). Baptised
in Amsterdam on 9 August 1761. (Ge, and others
following him, mistakenly regard him as the son of
Johan Daniel.) In 1781 the Elector of Bavaria summoned
him to become ‘mechanischer Hofklaviermacher’ in
Munich, where in 1799 he married the pianist Sophie
Lebrun and turned to piano making. He was still living
in Munich in 1835 (Curtis, p. 49, Haine/Meexs}.
(5) Johannes van or Joannes. According to Haine/
Meeus, son of (2) above, and according to J.
Lambrechts-Douillez, was born 10 September 1742. In
1763 he was living in Brussels with his mother, and
worked there at least until 1769. On 29 November 1771
Google
he married, in Scheveningen, Sara Brull from ‘Gulpen
by Mastricht’. The couple drew up a will on 21 May
1775, in which the husband is called a ‘clave-
rcingelmaker’. Their daughter Suzanna Maria Sara van
Dulcken was baptised on 21 May 1775. The name of
the child is an indication that her father was also a son
of the harpsichord maker Johan Daniel Dulcken, whose
wife’s name was Suzanna Maria Knoppffel. The little
girl was thus probably named after both her grand-
mother and her mother. Johannes van Dulcken died
very soon as a result of ‘kramp’, only 36 years old. His
death was registered at The Hague on 22 July 1775
[Gier}.
For details of surviving instruments see Part II.
A list, compiled in 1795, of instruments belonging
to victims of the Terror, contains ‘un clavecin, par
Ludovicus Dulcken, avec pupitre’ [Br].
DULYCZ, Michael Bulyowsky de. See: BULYOW-
SKY DE DULYCZ, Michael.
DUMONT, Jean. Eighteenth-century French harp-
sichord maker. Louis XVI (born 1754, guillotined 1793)
had 3 harpsichords by him [MarcP].
DUMONT, Nicolas. Parisian harpsichord maker, f.
1673-1710 (according to GDN-EKI). He was married
in 1673 [MC], and was received into the Guild of
Instrument Makers in 1675 [Verlet]. A 1680 harpsichord
by him was offered for sale on 7 May 1782 [Bg]. Cor
(p. 84) refers to him in passing. The inventory of
Stehlin (died 1774) includes a harpsichord made by him
in 1695.
For details of surviving instruments see Part II.
 RE
* E, D. Bz gave a description of a harpsichord with the the late eighteenth or early nineteenth century, men-
initials DE. It seems almost certain that the initials are tioned by Thon, in the list of makers whom he had
in fact D.F., and the relevant information is now given met. See entry under THON.
under F, D.
ELSCHE, Jakob van den [also van Elsen]. Harp-
EAST, Peter. See: JOYCE, George. sichord maker in Antwerp. Dates ascertained, ¢.
1689[GDN-EKI]-1772. He entered the Guild of St.
* ECHAVARRIA. See: LIBORNA. Luke in 1717, though he may have been building
instruments before then, since the Brussels Museum
has a name board inscribed: Jacobus van den Elsschen (sie)
* EDE, John. Lute and harpsichord maker. F/. London, me fecit Antwerpiae 1715. In 1767 he was commissioned
1466. Lackett reports the case of Brandon and Frank v. to repair the harpsichord in the cathedral, used for
Ede in 1466 [CP 40/820 no. 511] in which Ede is choir training, and sometimes for services [Bw]. BurnG
described as lutemaker, but since he was sued by 2 (1. 48), commenting on the Antwerp harpsichord makers
members of the Earl of Warwick’s household for failing in 1772, writes of him: ‘The work too of Van den
to deliver ‘unum parium de clavisimbalis continentibus Elsche, a Flamand, has a considerable share of merit’.
viginti et duas planas claves’, it appears that he made Elsche is effectively the only known maker to have
harpsichords also. been active in Antwerp from the time of the Ruckers—
Couchet workshop until the arrival of J. D. Dulcken
EDELMANN, Gottfried Ludwig. Maker of keyboard in 1738.
instruments (including harpsichords, spinets, and piano- For details of surviving instruments see Part II.
fortes) and organist; born at Strasbourg on 24 January
1753, the second son of Caspar Samuel Edelmann, a ELSNER. Carpenter in Grottkau, Prussia, in the first
joiner. (His elder brother Johann Friedrich, the com- half of the eighteenth century. He made harpsichords
poser (born 1749), moved to Paris and was guillotined and other musical instruments. Father of Joseph Elsner
there in 1794.) [R. Benton, in MQ, April 1964.] the composer (1766-1854) [Fé, Est].
“Une épinette a grand rav[alement] de Edelmann, a
Strasbourg, laquelle se replie en deux et se met dans ELST, Aert, or Arnold van der, of Antwerp. Harp-
une caisse’ was advertised for sale, 16 October 1775 sichord maker; dates ascertained, 1576-9 [S#].
(Bq).
ELWICK, Joseph. Recorded as a harpsichord maker
EESBROECK, Jan van. Born at Mariakerck, son of at 53 Long Acre, London in 1788 [Byrne].
Josse van Eesbroeck. Received the citizenship of
Antwerp on 9 December 1583. He was primarily a lute ELWICK, Joshua. Maker of harpsichords, resident
maker, but apparently also made harpsichords [La]. 1790-7 in Long Acre, on the corner of Phoenix Alley,
London [RB. A}.
* EGGEDACHER. Austrian clavichord maker from He is mentioned as a harpsichord maker in J. Doane’s
Salzburg, f. 1747. The name is known only from his Musical Directory (London, 1794) [L. G. Langwill, Twe
one surviving instrument. Rare Eighteenth Century London Directories. In: Music and
For details of surviving instruments see Part II. Letters, London, January 1949].

* EHRLICH of Bamberg. Organ or keyboard instrument EMERY. See: LORILLART, Médéric.

(most probably clavichord) maker of the late eighteenth
or early nineteenth century. The work of this maker was ENGLAND, George. Organ builder and harpsichord
particularly esteemed by Christian Friedrich Gottlieb maker, fl. in London 1763 [Lengpill].
Thon. See entry under THON.
ENRIQUE, Maestre, f. 1470. Lived at his shop in
* EICHMULLER of Kloster Heilbrun. Organ or key- the Calle de las Sierpes, Seville. Gestoso (see entry for
board instrument (most probably clavichord) maker of Marmol) records (translation from the Spanish): Master

Google
54 ERARD
Enrique, master of the construction of harpsichords. December 1801. On 10 July 1742 he married Marie-
‘Husband of Violante Rodriguez. Lived in the calle de Joseph Dehon, and by her had nine children between
las Sierpes’ [KdP]. 1747 and 1763. He was living at Mons by 1767, and in
1780 he sold a harpsichord with a ‘jeu de buffle formant
le piano’. In or before 1785 he sold another ‘ayant 2
ERARD, Sébastien [Erhard], 1752-1831. Maker of
harpsichords and pianofortes, and founder of the firm jeux de bufle formant le piano’; and in 1785 a ‘clavessin
of Erard. dit forte piano’ and others [V/dS, II. 121]. In the same
He was born on 5 April 1752 at Strasbourg, of year, he joined with Bremers (q..) in petitioning for
German stock. In 1768 he went to Paris and started an increased import duty on keyboard instruments for
work under a harpsichord maker there. After a few the protection of native makers [ibid.]. Haine/Meexs
years his ingenuity found expression in a mechanical makes further observations on this case and gives details
harpsichord which was noticed in 1776 by the Abbé of his later life and his organ and piano making.
Roussier. (2) Frangois-Joseph-Eugéne. Son of (1), born
In the following year he made the first pianoforte (a Saint-Symphorien, 30 April 1752, died Mons, 10 August
square) to be made in France, at the chateau of the 1811. He worked first at Namur and subsequently at
Duchesse de Villeroi. Soon afterwards he was joined Mons, in the family workshop. Haine/Meeus gives
by his brother Jean-Baptiste, and set up in the rue de considerable detail of his three marriages and his
children, and his organ building and piano making. He
Bourbon, Paris. From this time onwards his attention
turned more and more to piano making. In 1796 he laid claim to an invention of crescendo and diminuendo on
was in London, where he remained for 10 years; after the harpsichord [C/, p. 40].
which he returned to Paris and made his first grand (3) Symphorien-Joseph. Maker of pianos, born, St.
Symphorien, 14 May 1761, died, Gand, 21 April 1842,
piano. Germigéo, pp. 439-41 records addresses for his
workshops and gives a map of Paris showing their son of (1).
locations in relation to those of other makers and some (4) Jacques-Phillipe-Joseph. Maker of pianos and
organs, born Saint Symphorien, 5 March 1763. Also
prominent musicians of the time.
For further details see the long article in Fé (Vol. son of (1). These latter 2 members of the family
3); also GD, and Ks, p. 226.
are not particularly relevant to the history of the
‘The firm of Erard has made a number of harpsichords harpsichord.
since the revival, though one interesting instrument at Hirtz records only one entry: ‘ERMEL, Eugéne et
least was made after Sébastien’s death, and before the Phillipe’ as piano makers with the date 1785.
revival. Dated 1860 it is housed at the Oberé-
sterreichisches Landesmuseum, Linz (inventory number ERRLICH, of Mergentheim. Organ or keyboard
Mu 251), and was given in 1989 by the Bruckner- instrument (most probably clavichord) maker of the
konservatorium, Linz. late eighteenth or early nineteenth century. Mentioned
An anonymous portrait of Sébastien Erard was by Thon in the list of makers whom he had met. See
shown at the International Inventions Exhibition, 1885 entry under THON.
(Catalogue, p. 63).
For details of surviving instruments (of the Classical Period) ESTAMPROY, Gregory. F/. 1526 in London as a
see Part II. maker of stringed keyboard instruments [Russell 1959,
p. 65].
ERHART, A. F. The entry in Bz for A. F. Erhart EULER, Leonhardt. The celebrated mathematician
ran as follows: ‘Clavichord maker at Strasbourg in (1707-83) is said by the eighteenth-century scientist
1679 [Hirt]. Perhaps an ancestor of Sébastien Erard.” John Robison (1739-1805) to have invented a variety
However, Koster has drawn attention to information of clavichord (a variant of Silbermann’s cembal d'amour)
supplied by Krickeberg that in the collection at Nur- [Ripscot, p. 488).
emberg there is a grand piano signed A. F. Erbart/
Clavichordienmacher|in|Strassbourg 1782, and that 1782 is EVANS, Diego. The name by which the late
the date recorded by Hirt, p. 494, presumably based eighteenth-century London barrel-organ maker, James
on this instrument. Evans, was often known. It seems that he may have
made harpsichords also, for a claviorgan of his was the
ERMEL or Ermelle, Hermel, Hermelle. A family prize in a raffle held in Madrid in February 1794;
of makers of organs, harpsichords, and pianos, coming though on the other hand it may be that he added the
originally from the area near Mons. The following organ part to a harpsichord which had been built
members have been identified [Haine/MeeusS]: elsewhere. The organ stops were flawtads and flasta
(1) Jean-Joseph. Organ, harpsichord and piano inglesa but little is known of the harpsichord [see:
maker, baptised, 28 February 1719, died, Mons, 9 KdP-RMA-RC}.

Google
 EYSDONCK 55
©@ EVERBROEK, Gommaar van. Harpsichord maker EYLENSTEIN, Johann Friedrich. Born at Weimar
at Antwerp. Sé, p. 49 records him as dying in 1655-6, 11 May 1705. In 1724 he became a pupil of Joseph
though this may be in error, since a harpsichord bearing Heinrich Ruppert, a violin maker at Erfurt. By 1731
this name at the Shrine to Music Museum, Vermillion, he had taken over Ruppert’s position and was Court
South Dakota, has the date 1659. Alternatively, the instrument maker of Weimar. As well as keyboard
harpsichord which is not fully authenticated may be instruments he made violins, lutes, mandolins, and
other instruments [Eit, Ge, La].
spurious.
For details of surviving instruments see Part II. * EYSDONCK, Leonard van. Organ and harpsichord
maker, born in Gemert (province of North-Brabant) in
1735/6, son of an organ builder. He had his workshop
EVERRATT, Henry, of London. Virginal maker, f. in ’s-Hertogenbosch and died in Oss, on 8 April 1812
1664. [Parish records of St. Giles Cripplegate.] [Gier}.

»y Google
 F, A. See: A, F. dated 17[.]o, the third digit being illegible—and has
been assigned to the year 1700; but it must be many
F, B. F. See: BATTAGLIA, Francesco. decades later than this. See below, under: GRUNEBERG.)

F, D. An extant 2-manual seventeenth-century harp- © FABER, Franciscus, of Senigallia. F/. 1631. From the
sichord, probably French but made in the Flemish style, evidence of the surviving instruments attributed to him,
bears what are apparently the maker’s initials D.F. See he made enharmonic harpsichords. See also: under
also: E, D. FABBRI, Francesco.
For details of surviving instruments see Part II. For details of surviving instruments see Part II.

F, F. See: FABER, Franciscus. FABER, Wolfgang. Organist at Munich, f.. [according

to Hirtz] 1555-65. He also made organs, harpsichords,
F, J. A harpsichord in private ownership in Paris had flutes, lutes, and other instruments [La].
(1953) a rose bearing the initials: J.F.
For details of surviving instruments see Part II. * FABRI, Alexandri. Organ and harpsichord maker at
Naples. F/. 1591-1617. Further details are to be found
* FABBIANI, Luciano. Italian harpsichord maker. F/. in Ulisse Prota-Giurleo’s article on Neapolitan organ
1633-6. Hammond records that in 1633, a harpsichord makers: Organai napoletani del XVII ¢ XVIII secolo, in
was purchased from this maker for one of Cardinal L’Organo II (1961), pp. 109-28, and G. M. Trabaci e gli
Francesco Barberini’s musicians, Paolo Cipriani, for 25 organisti all Real Cappella di Palazzo di Napoli, in
scudi. Subsequently in April 1636, Francesco’s maestro L’Organo I (1960), pp. 185-96, and also Tag, p. 155
di casa paid 25.30 scudi to Fabbiani for a harpsichord where other references are given [see also: Misch-1979
to be used by Giovanni Carpano. 1m.
For details of surviving instruments see Part II.
* FABER, Alexander, or Alessandro. See: FABRI,
Alexander. * FABBRI (FABR)), Filippo. Born ¢. 1636-41, died 21
May 1691. Roman harpsichord maker. (Barbieri says ‘Di
© FABER, Daniel Tobias. Dates ascertained (according Ludovico’) originally from Ripa, in the diocese of
to Jeble), 1668-1744. Organist at Crailsheim in 1725; Senigallia. Nephew and pupil of Francesco (see beic),
made a bundfrei clavichord at that time. Wa’s words with whom he appears in church records in 1659. In
are: Faber ‘hat ein Clavichordium erfunden, so dur- 1675 he had a shop in the street linking the college of
chgehends Bundfrey ist . . . ’ (he is quoting from the S. Maria del Pace with the piazza Navona. From 1671—
Coburgischer Zeitungs-Extract for 1725). This much-cited 6, he appears to have worked on the harpsichords in
passage has been interpreted as signifying that bundfrei the house of the Pamphili, and in the bills relating to
clavichords were not known before this time, which of this work his name appears as ‘Fabbri’, with the double
course is a mistake, for instance the clavichord pictured b (Barbieri, p. 150].
in Mersenne (1636) is bundfrei apart from the 5 topmost
notes. But it is true that until the eighteenth century * FABBRI (FABRI), Francesco. Born ¢. 1591, died 19
bundfrei clavichords were the exception rather than the July 1675. (Barbieri says ‘Di Sebastiano’), also, like his
rule. uncle Filippo (above) originally from Ripa in the diocese
It seems, however, that Faber may have made some of Senigallia. He appears continuously in the records
other innovations for Jeble goes on to say that, apart with his nephews Carlo and Filippo, and his shop was
from being double strung and fret-free throughout 4 in the same area as that of Filippo’s (it may have been
octaves, his clavichord had three registers giving the the same one). In his will he left all his possessions to
sound of a lute, or a damped or undamped glockenspiel. his niece, Elisabetta Fabbri, sister of Filippo. Barbieri
Bz added the following note in 1974: (Note: The piece (p. 151) quotes an inventory of 1675 in which some of
of evidence most frequently adduced to refute Faber’s his tools are listed. The possibility that Francesco Fabbri
claim to being the inventor of the bundfrei clavichord and Franciscus Faber (9.v.) are the same person should
is the Griineberg instrument in Manchester. This is not be overlooked.

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FABRIZIUS, Wolfgang. Se: FABER, Wolfgang.
© FABY (or FABIUS), P. (an alternative spelling might
be Fabij, the genitive of Fabius [Miscb-1979 II). Fi.
1677-91. Born in Bologna, and subsequently a brother
of the Franciscan order of the Minori Osservanti, his
earliest surviving instrument is dated ¢. 1658. Misch-1979
II quotes in extenso from P. Giacinto Picconi da
Cantalupo O.F.M.Obs., Centone di memorie storiche con-
cernenti la Minoritica Provincia di Bologna raccolte ¢ postillate,
Il, Parma, 1911, pp. 295-6, where the history of a
certain Fabio di Bologna is related, giving a birthdate
of 1639, and death in 1703. Several other important
references are given by Misch-1979 II, though none of
these indicate, as Bz and GDN-EKI suggest (without
reference), that he settled as an instrument maker in
France. His latest dated instrument of 1691 is signed
P. Faby de Bononia Ord. Min, Obs. opus, suggesting that
he was still at Bologna at this date.
For details of surviving instruments see Part II.
* FAGGOT, Jacob. Swedish musical theoretician
the eighteenth century, and member of the Swedish
Academy of Sciences, whose theories on harpsichord
and clavichord scaling had some influence on the builder
Johan Broman (g.».). The principle of doubling the
length of the string at every octave was put into practice
in the Broman harpsichord of extreme length (3,600
mm.) which survives in the Nordiska Museet, Stock-
holm. Eva Helenius-Oberg in an article—‘The harp-
sichord in Sweden and the origin of the Swedish
Clavichord’, SvenskTM, 1979, Vol. 61:1, p. 13, reports
that Faggot made a speech to the Board of Commerce
in 1756 to request privileges for Broman, and this was
for her the touchstone for a more detailed examination
of the part played by the Academy of Sciences in the
encouragement of the manufacture in Sweden of organs
in particular, and also other keyboard instruments. It
is clear that Faggot’s influence extended to Broman’s
clavichord building, for an instrument of his survives
in the Nordic Museum which incorporates the same
scaling principles as the large harpsichord. This clavi-
chord exhibits so many ‘characteristics of what
Helenius-Oberg calls the ‘Swedish clavichord’, that it
may be regarded as the prototype of a number of
instruments with string lengths doubling at the octave
down to and including ¢, made by Swedish builders.
FAHRHOFF.
A clavichord in the Museum
Blumenstein, Solothurn, has an almost illegible sig-
nature which might be read: Fabrboff Nr. 4.
For details of surviving instruments see Part II.
FAINI, Francesco. Florentine harpsichord maker, /..
1791 [Fab, p. 171].
Google
FALKENER 57
FAIRN, Alexander. English harpsichord maker, f.
1793. His name appears in the list of subscribers to
Sheraton’s Cabinet maker [J].
FALCONER. See: FALKENER.
FALCONI, Giuseppe, of Florence. Maker of keyboard
instruments, living in the Via dei Calzolai in 1689, in
which year he paid a matriculation fee to his Guild.
His father’s name was Jacopo [Ps].
FALCONI, of Florence. Maker of keyboard instru-
ments, fl. 1765. Probably a descendant of the foregoing.
For details of surviving instruments see Part II.
FALKENER, Robert [a/so Falconer, Faulkner,
Falkner, Falknor]. Harpsichord maker of Salisbury
Court, Fleet Street. Dates ascertained, 1760-73. J (p.
67 n.) quotes a reference to ‘the famous Falconer’
as maker of a ‘curious Ton’d, double key’d, new
harpsichord, just imported in Capt. Millard from
of London’, in the Boston Gazette of 27 June 1763.
His name appears in Un as a harpsichord maker.
The Robert Ffalknor against whom Jakob Kirkman
brought an action in 1771 for exposing ‘to sale a certain
Harpsichord for a large sum of money to wit the Sum
of £27. 6s. as and for a harpsichord made by the said
Jacob’ (see J, p. 43 n.) was this Falkener; as also was
the Robert Falkener who wrote Instructions for playing
the harpsichord. Wherein is fully explained the mystery of
thoroughbass . . ., to which is added exact rules for tuning the
harpsichord, with all the different-sized wires used in that
instrument . . ., London, 1774. (This is the second
edition; the first was published in 1762, but no copy
seems to have survived. The author was a German who
settled in England in the middle of the eighteenth
century. Ge and Fé give his Christian name as Rudolph.
It would seem that he exchanged Rudolph for Robert
after his arrival in England.)
Two harpsichords apparently signed by Kirkman,
and superficially resembling his style of instruments,
bear on the underside of the soundboard Falkener’s
signature (dated 1770 and 1773). They have been
examined in detail [see: Mould Th, pp. 117-24] and it is
clear that they are most unlikely to be by Kirkman,
though since they have Kirkman nameboards they
appear in the list of instruments under Kirkman.
Careful research at the Public Record Office has failed
to reveal the outcome of the legal suit brought by
Kirkman against Falkener in 1771, and since one of the
instruments is signed under the soundboard Robert
Falkener London Fecit 1773 September, i.e. after the suit
was brought, there must have been some means whereby
Falkener was able to continue the practice of ‘faking’
Kirkman harpsichords. It is more than likely that
Kirkman, who was a shrewd businessman, and very
 58 FANDEVELL
hard headed when it came to the question of money refers to him in passing under the name of ‘Verjure’.
owed to him, settled the case out of court, and may See further: Verket.
have come to some arrangement whereby Faulkner was
able to continue to place Kirkman’s name on his @FERDENANT or FARDENANT or FERDI-
instruments provided that he paid a royalty to him. NAND, Zacharias. In January 1678 the widower
For details of surviving instruments see Part II under Kirkman. Fardenant, living on the Keizersgracht (Amsterdam),
remarried and was registered then as an organ builder
FANDEVELL, Pawyl. See: DEFIELD. born in Erfurt (Germany). His first wife was Geertruy
Jurrians; his bride was Lysbeth Clorius, 34 years old
FANI, Luigi (?). Ks (p. 64) lists an ottavino which [Gier].
was in the Heyer Collection, Leipzig, on whose topmost In 1684 he worked, apparently in Amsterdam, as an
jack is the barely legible inscription: Lwigi/Fani[?]/16/35. ‘orgel ende clavesimbel maker’. He was then about 6o
On the same key is a repairer’s note: Aprile/1769/rest: years of age [Curtis. p. 49].
For details of surviving instruments see Part II.
@ FERMANNI, Pietro. Spinet maker, presumably
Italian. F/. 1750. The name Sermanni appears in the
FARINI. Florentine harpsichord maker who exper-
Franciolini catalogues and is probably a misreading or
imented ¢. 1620 with the substitution of gutstrings for
corruption of this name.
metal [CA]. Cf. Hildebrand.
For details of surviving instruments see Part II.
FARNABY, Nicholas, of London. Maker of virginals. @ FERNANDEZ, Diego. (Full title: Diego José Fer-
Dates ascertained, 1587-1630, the latter being the year nandez Caparros.) Harpsichord tuner and builder, of
of his death [Registers, St. Olave Jewry, London]. He Madrid. He was born at Vera (Granada) on 26 December
was probably related to Giles Farnaby the composer 1703 [Romanillos, and see: J. Martinez Cuesta and B.
(d. 1640) and his father Thomas (d. 1594), both of Kenyon de Pascual: ‘El Infante Don Gabriel (1752-
whom appear in the books of the Joiners’ Company as 1788), gran aficianado a la musica’, Revista
de Musicologia,
‘Citizen and Joiner’ [information supplied by John XI (1988), no. 3, pp. 767-806], and died on 15 February
Boston]. Two apprentices of his, John Haslupp and 1775 in Madrid. In the Libro de Difuntos (death-register)
Henry Walker, are mentioned in Join. no. 32 (f. 283) he is described as being of the Parish
Nicholas Farnaby’s son, also called Nicholas, is of San Sebastian.
recorded as a virginal maker, during his father’s lifetime From 1722 (as recorded in a report of 1747) until
[Ibid.]. 1747, he acted as maker, repairer, or tuner to members
of the royal family, and through the 1730s and 1740s
FAULKNER, Robert. See: FALKENER, Robert. his name can be found amongst the lists of musicians
involved in special royal musical entertainments. On 1
© FEDERIGI, Agostino. Virginal maker in Pisa in the September 1747, he was granted, by royal decree, a
eighteenth century. Earliest likely date—1766, latest— salary of 500 ducados per annum, for which he was to
1786, both derived from instruments which survive, make, repair, and take care of all the harpsichords
but whose authenticity is slightly suspect. which existed or should be needed in the royal
For details of surviving instruments see Part II. household. Presumably in recognition of good service,
on 8 April 1755, he was granted a further 200 dacados
FEIGENSER, Johann Christian. Most probably a de véllon.
repairer of instruments since an anonymous clavichord It had for some time been thought that Fernindez
in the Kobstadmuseet, Aarhus, Denmark, bears an was the builder of a harpsichord with 5 registers and
inscription to the effect that he repaired it in 1778. 4 sets of jacks made for Queen Maria Barbara of Spain
(daughter of John V of Portugal and Queen of
Ferdinand VI of Spain) and which was bequeathed to
FENTON. English spinet maker, ¢. 1700 [Ré. pp. 69,
Farinelli, the singer, by the Queen and became one of
85].
his favourite instruments [see also: Sac, p. 47, cited by
Kirk}. In 1986 [KédP-QMBH] evidence was found that
* FERANDI DE ROSIS MEDIOLANENSIS. See: in fact he built at least 3 harpsichords. The first, of
ROSSI, Ferrante dei. 1749, probably of modest size and decoration costing
2,100 reales, the second, made in 1757 for San Lorenzo
FERCHOUR, Jean. Harpsichord maker in Paris, of (El Escorial), is described as ‘. . . a harpsichord of
German origin, died 30 January 1729 leaving a minor white poplar, the inner case, music desk and jack rail
son Pierre. He acted as expert for the inventories of de of cedar and cypress. 61 ebony and mother-of-pearl
Machy (1726) and Blanchet (1726) [MC]. Cor (p. 84) keys, the end blocks of ebony, mother-of-pearl and

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 FERREIRA 59
bone. The stand of turned beechwood with iron plates assistant, he took over Diego Fernandez’s court duties.
and screws (or bolts) for dismantling . . .’. This cost Despite the fact that from a report on his circumstances
4,800 reales, while the third, also with 61 keys, was for commissioned by the King from the Marqués de
Aranjuez. Montealegre it is clear that his workmanship and
It is also possible that Fernandez made Farinelli’s competence were beyond question, the King did not
folding harpsichord, as well as the transposing harp- see fit to reward him with a salary. Nevertheless he
sichord with movable keyboard described by Burney, continued to perform work for members of the royal
made to order by Farinelli, and mentioned in his will. family, receiving payment from them individually, and
That he made large harpsichords is further verified by occasionally receiving single payments from the King.
an advertisement for one of his harpsichords appearing This uncertain and sporadic income, however, left him
in the Spanish press 3 times in 1795 in which it was with little time to develop his own instruments, and it
stated that it had 2 manuals, 6 registers and 4 sets of seems that the only harpsichord of which there is a
jacks. record [DdeM of 12 April 1788 and 5 August 1788] is
Following the death of Queen Maria Barbara in 1758, very similar to an instrument made by his uncle for the
Fernandez was concerned mainly with the King’s Infante Gabriel in 1775.
children, and in 1761, 1765, and 1775, the Infante Presumably, following the death of his first wife,
Gabriel, a keen keyboard player, ordered instruments Julian married Rita de Murcia, and he died, almost
from him. certainly in impecunious circumstances, on 23 October
Much information on the instruments built by Fer- 1781 in San Martin parish. [For further details of repair
nandez is to be found in the bills presented by him to work carried out by Julian Fernandez, see: J. Martinez
the Duquesa de Osuna, and the Infante Gabriel, who Cuesta and B. Kenyon de Pascual, ‘El Infante Don
were his customers, and also in the advertisements in Gabriel (1752-1788), gran aficianado a la misica’,
the personal columns of the Madrid daily newspaper. Revista de Musicologia, X1 (1988), no. 3, pp. 767-806;
Beryl Kenyon de Pascual [KdP-DeyJF, KédP-QMBH, see also: Cristina Bordas, ‘les instruments 4 clavier,
and KdP-RMA-RC] has made a useful summary of the clavicordio, monacordio et piano’, Catalogue Instruments
references from these sources which should be consulted de Musique Espagnols du XVI". au XIX*. siécle, Bruxelles,
for more complete details. Générale de Banque, 1985, pp. 101-13. Beryl Kenyon
Fernandez apparently never married, for in the record de Pascual, ‘Diego Fernandez, harpsichord-maker to
of his death he is shown as a bachelor. There are, the Spanish royal family from 1722 to 1775 and his
however, baptismal records of the Parish of San nephew Juliin Fernandez’, GSJ XX XVIII, pp. 35-47,
Sebastian which show the birth of several children to and also ‘Queen Maria Barbara’s harpsichords’, GSJ
Diego José Fernandez, and Maria Valdivia, who is XXXIX, pp. 125-7.]
shown as his wife. He left all his estate to his daughter
Maria Ana Fernandez (believed to be illegitimate) by FERNANDEZ SANTOS, Andrés. Harpsichord
Maria Valdivia. By 1769, Julian Fernandez, Diego’s maker of Valladolid, f. 1728-54. In 1754, an Andrés
nephew, replaced him at the palace during periods of Fernandez, ‘maestro en Valladolid’, repaired an organ
sickness, and acted as his assistant until Diego’s death. in Sepulveda [Information from L. Jambon]. Nothing
Sadly no Fernandez instrument has survived. further is known of this maker than can be deduced
[See: Cristina Bordas, ‘les instruments a clavier, from a surviving single manual harpsichord with 1x8’,
clavicordio, monacordio et piano’, Catalogue Instruments 1x4’ which bears the inscription De mano de Andres
de Musique Espagnols du XV Ie. au X1Xe. siécle. Bruxelles, Fernandez Santos|en Valladolid y Julio de 1728 ad. \t is
Générale de Banque, 1985, pp. 101-13. Beryl Kenyon just possible, but unlikely, that there was a relationship
de Pascual, ‘Diego Fernandez, harpsichord-maker to with the 2 makers shown above.
the Spanish royal family from 1722 to 1775 and his For details of surviving instruments see Part II.
nephew Julian Fernandez’, GS] XX XVIII, pp. 35-47,
and also ‘Queen Maria Barbara’s harpsichords’, GS]
XXXIX, pp. 125-7.] FEROCI. (1) Michele, Florentine harpsichord maker,
living in the Via dei Calzolai in 1680, in which year he
FERNANDEZ, Julidn. (Full title: Julian Fernandez paid a matriculation fee to his Guild. His father’s name
was Giuseppe F. [Ps].
Cabezudo.) Nephew of Diego Fernandez (g.v.). Harp-
sichord tuner and builder of Madrid. Julian married (2) Agostino, Italian spinet maker, fl. 1705, son of
(1).
Maria Leocadia Belazquez, and in 1772 the two of them
For details of surviving instruments see Part II.
in the presence of a lawyer signed a declaration of
poverty, which exempted them from certain taxes and
dues and entitled them to free treatment in a public FERREIRA, Jacintho. Clavichord maker at Lisbon,
hospital. They had 3 children, Francisco, Bernardo, and fi. 1783.
Maria Josepha. By 1775, having acted as his uncle’s For details of surviving instruments see Part II.

ized ty GOOgle
 60 FERRINI
© FERRINI, Giovanni, of Florence. Harpsichord and FFALKNOR, Robert. See: FALKNER, Robert.
piano maker, ff. 1699(?)-1758. He was a pupil of
Cristofori (g.v.), who thought sufficiently highly of him FISSOT. Restored in 1762 a harpsichord which
to leave him a small sum of money ‘in recognition of belonged to the late Paul Brunold, who ascribed it
his good service’. That he was capable of continuing erroneously to Vater (g.v.).
Cristofori’s work after his death in 1732 is evidenced
by Sac, cited by Kirk, who records that Farinelli had a FITELER, Jean. Organ builder in Paris; f. 1650. He
pianoforte by him, and this instrument, if Burney is to probably made harpsichords also [Laborde].
be believed, was dated 1730.
Though the last dated instrument by Ferrini is dated © FLEISCHER. Surname of a family of instrument
1755, an anonymous manuscript Italian dictionary, makers at Hamburg in the seventeenth and eighteenth
quoted by Pollens and Tag-Ferr (where it is reported centuries. A family tree is given in the Genealogies
that the dictionary was discovered by Oscar Mischiati), section.
states that he died at Florence in 1758. The dictionary (1) Hans Christoph [Johann Christoffer 1], born
also shows conclusively that Ferrini was the first to 1638, still alive 1688. Was baptised in the S. Petri
combine the harpsichord and piano action in one Kirche on 28 May 1638 as the son of Christoffer
instrument as well as reporting Ferrini’s experiments Fleischer. He received Hamburg citizenship on 12 April
with gut strings and leather plectra. There are a number 1672, and married in 1675 Sophia Margaretha Zaego,
of other references to him and his association with who 1676-8 bore him 9 children (but by 1694
Cristofori including an article by Swrace in the forth- was married to Johann Middelburg, the organ and
coming EKI, Hwilm, Pollens, and Tag-Ferr, the latter clavichord builder). His sister Catherina married (7
being concerned with an in-depth study of the 1746 September 1669) Joachim Tielke, the lute maker (1641-
combined harpsichord-pianoforte in the collection of 1719), who was godfather to one or more of his children
Professor Tagliavini.
At least two of the surviving instruments nominally
[Heg).
Although chiefly known as a lute maker, Hans
by Ferrini are almost certainly the work of Franciolini; Christoph is said to have made keyboard instruments;
the clavichord, which is harpsichord shaped, being a a double-bass by him was sold at The Hague in 1759
particularly obvious
harpsichord in the Metropolitan Museum
example. The nameboard
of Art, New
of a (La.
(2) Johann Christoph [Johann Christoffer II]. The
York, bears an inscription stating that it was made by eldest son of Hans Christoph, he was baptised in the
Zenti (g.v.) and restored by Ferrini in 1755 (see: S. Petri Kirche on 4 July 1676, and was alive in 1728
Catalogue, p. 66). He made other instruments after (see an inscription on a clavichord in the Ringve
Cristofori’s designs including a cembalo traverso. These Museum, Trondheim), and quite possibly still alive in
two instruments are treated in detail in Pollens. For 1729 (see an inscription on a clavichord which according
further references to Ferrini see a/so under Cristofori. to the Addenda in Bz is in the Heimats Museum, Stade,
For details of surviving instruments see Part II. though there is a chance of a misreading of the
inscription). Hirtz partly confirms this in saying ‘died
* FERSCHUR, J. Sheridan Germann [Germ1980, p. 439] after 1724’. He received Hamburg citizenship on 12
records a Parisian harpsichord maker with the dates June 1705, and between 1706 and 1710 3 children of
?-1729, living in the rue des Arcis. his were baptised there [Hbg].
In 1708 he was in serious conflict with the Guild of
FESSEL, Johann Heinrich Ernst. Maker of clavi- Joinets, who considered his work an encroachment
chords and other keyboard instruments. Born at Wer- upon their rights. He made lutes and violas, but
nigerode, 17 April 1764; latest date ascertained, 1796. specialised in keyboard instruments, and invented in
In 1785 he was working with J. G. Horn (g.v.) at 1718 a ‘Lauten-Clavessin’, which was a gut-strung
Dresden and receiving instruction in instrument mak- harpsichord with 2x8’ registers, and a ‘Theorbenfligel’,
ing; after which in 1791 he set up on his own. His which had 2 gut-strung registers and 1 of metal. [See:
clavichords which had the ‘double soundboard’ were Artic II] of Sammlung von Natur und Medicin, Winter
said to possess a good strong tone [Ge, Gé]. Quartal 1718, Breslau, 1719.] According to Germrg8s,
quoting from Ernst rgss, this is the earliest reference
FEYRING, Philip [Feuring], 1730-67. Maker of to a gut-strung harpsichord at 16’ pitch, though it is
harpsichords, spinets, and other instruments including pointed out that there is reference to Michael Mietke
organs. (g.v.) having made 2 harpsichords with a 16’ register
Born at Arfeld, Germany, 5 September 1730, he before has death in 1719, and thus, quite possibly before
emigrated to Philadelphia in his youth and soon gained 1718.
a good reputation for his instruments. He died in 1767. Extensive research on both Fleischer instruments has
See further Armstr. p. 28. been carried out by Rudolf Richter who has made

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 FOGIOLO 61
copies of both instruments, which have been recorded in the middle range and 2 cello in the bass . . .. He also builds
by Professor Christianne Jacottet. Further information quill and piano ‘claves’ and with other registers, 1s Merlin
is also available from HenningLH. does in London, of whatever compass is requested. He makes
Wa calls him (p. 248) a ‘very well known and glass harmonicas which sustain the sound and are played from
experienced artist in the making of all kinds of musical a keyboard. He builds barrel organs with clockwork or other
instruments, but especially stringed and keyboard types of movement. Finally he makes pianos for 23 doubloons
instruments’, and says that his harpsichords cost 60, 70, which cannot be had from London for less than 40. . .
100, and up to 1,000 talers. It is clear therefore that Florez was considerably
MatNO mentions him and his brother, together with influenced by Merlin (g.».), and that as well as making
Middelburg (g.».), as makers of good clavichords. harpsichords he experimented with a variety of effects.
In 1724, Johann Christoph Fleischer restored the
The gut strung register may well have been similar to
Ruckers instrument dated 1618, now deposited in the
Merlin’s vocal harp or the Celestial Harp and full Band
Kulturhistoriska Musect, Lund, Sweden [O’Brien].
of Keyed Instruments [see: Merlin, p. 91], though it
For details of surviving instruments see Part II.
might refer to a lyrichord or celestine.
(3) Carl Conrad, born 1680, still alive 1721 but had
died by 1738. Another son of Hans Christoph, he was KdP has a reference to a ‘clave’ bought for 4,500
baptised 13 November 1680 in the S. Petri Kirche as reales from Francisco Fléres ‘maestro de claves’ by the
his fourth child, and received Hamburg citizenship on Duquesa de Osuna in 1787. The word ‘claves’ however
3 January 1716. Four daughters and one son of his could mean clave-piano, or claves de martillos, as well
were baptised between 1712 and 1721 [Hbg]. The year as harpsichord.
of his death is given in Vannes as 1757. Flérez fell out of royal favour during the reigns of
For details of surviving instruments see Part II. José Napoleon, and Fernando VII in the nineteenth
century.
Sadly no harpsichords of his make survive though
FLEUROT. French maker of épinettes in Val d?Ajol, it is reported [Bordas] that one square, and one upright
the Vosges, eighteenth century [Pi]. An épinette by him
was lot 489 in the de Léry sale in Paris in 1910. piano of 1807 are still extant. [KdP, KdP-RFMA-RC,
and Cristina Bordas, ‘Dos constructores de pianos en
Madrid: Francisco Florez y Francisco Fernandez’.
FLORANO, Gianpietro, of Rome. Harpsichord Revista de Musicologia X1, December 1988, pp. 807-51.
maker, f. 1624 [Va].
See also: KdP: ‘English square pianos in eighteenth
century Madrid’. Music and Letters, Vol. 64 (1983), nos.
FLOREZ, Francisco. F/. 1784-d.1824. Spanish 3-4, Pp. 212-7.] Apart from a square piano in the
builder, possibly of harpsichords, pianos, and hybrid palace at Madrid, and in the Victoria and Albert
instruments. Having been born in Murcia he moved to Museum, another square piano by Flérez was acquired
Madrid and by 1784 was advertising that he could make a few years ago by the Museo Municipal in Madrid.
pianofortes as good as English ones. He was pensioned
by King Carlos IV between 1789 and 1790. In 1791 he
announced that he had been to London (at the King’s FLORIANI, Benedetto [a/so Floriano], of Venice.
expense) to perfect his craft. Although he called himself Virginal and harpsichord maker. Dates ascertained,
the King’s piano builder, he was officially appointed 1568-72. (Hirt gives 1558 as his earliest known date.)
on 7 Feb 1795 ‘Constructor de organos y claves de la A Vatican manuscript of 1741 [see: Misch-1972] listing
Real Camara’. In the same year on 23 November the the most famous Italian harpsichord builders gives
following announcement (translated from the Spanish Floriani Bendetto, e Domenico in the sixteenth century,
by Beryl Kenyon de Pascual [Mer/in, p. 96)) appeared and so it may be that there were 2 makers of this name.
in the Diario de Madrid: See also: BRUNETO dalli Organi.
Don Francisco Flérez, piano builder to His Majesty’s Chamber Philip James conjectures that the well-known poly-
announees that, wishing to perfect himself and make advances gonal virginal in the Victoria and Albert Museum
in this art, he went to London with a pension from His known as Queen Elizabeth’s virginal may be the work
Majesty and that not merely has he succeeded in building of this maker.
instruments as perfect as those made there, but the touch is For details of surviving instruments see Part II.
better than any known hitherto. As proof of his advance he
has just had the honour of presenting to Their Majesties an
instrument in which he has employed all the knowledge he FODINI, Michael. See: TODINI, Michael.
has gained from observation. This fortepiano, which has
received royal approval, has the following registers: ‘harpa”
and ‘Ileno’ (harp and full), two organ registers and one of FOGIOLO. A polygonal virginal by Giovanni France-
gut. The latter is special in that it sustains the sound as though sco Trasuntino, dated 1532, now in Leningrad, carries
it were a wind stop. It imitates a violin in the treble, a viola

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62 FOGLAR
an inscription on the soundboard Tibi nome di Dio e de
San Josepo questo ¢ ante... per un Spilnet|to del Fogiolo
che con un poco letizia ed anche per. gr... fara
um poco
cantare alum... sara mezo al mese di Ottubria de anno
153... . To Brunetto maistro su dita opera ff. In Dei nomine
speravi. It would seem therefore that Fogiolo was an
Italian spinet maker, f. 1532.
FOGLAR, Ignaz. Hungarian organ and clavichord
maker. He died in Eger in 1782 [Kovdcs].
FOLCIONE, Steffano. See: BOLCIONI, Stefano.
FOLLON, Nicolas. Organ builder, and very probably
harpsichord maker, in Paris; f. 1532 [Laborde].
FONTANA, Nicolo. F/. 1571-3. Italian harpsichord
and virginal maker, who worked at Reggio Lepidi, as
it was called in the sixteenth century. Its present name
is Reggio nel-l’Emilia, or simply Reggio Emilia. A
useful article by Eszter Fontana, ‘An Italian Harpsichord
of 1571; Clues to its Construction’, in GSJ XLIV,
(1991), Pp. 55-70, explains that despite careful research,
little more biographical evidence concerning Fontana
has come to light. The article does, however, explain
how it was possible to compare the surviving virginal
and harpsichord by Fontana and to demonstrate that
they were made by the same person, despite a misleading
ascription to Domenicus Pisaurensis (g.v.) on the harp-
sichord. The article also goes on to show the method
by which the instrument was designed and laid out using
a range of interrelated measurements and proportions.
For details of surviving instruments see Part II.
Theaters am Hofe zu Dresden, Dresden 1861, pp. 254-5.
[Miseh-1979 II].
FORKEL, Johann Nikolaus. 1747-1818. Musician,
writer on music and composer. The son of a cobbler,
he was born on 22 February 1749 at Meeder bei Coburg
and died 20 March 1818 at Géttingen where he had
spent the greater part of his life. He was an early
champion of the music of J. S. Bach, of whom he
wrote a biography published in 1802 (reprinted by
Kassel, Barenreiter-Verlag, 1932: Uber J. 5. Bachs Leben,
Kunst und Kunstwerke).
His love of the clavichord is exemplified in bis essay
Von der wabren Giite der Clavichorde (MS. in Deutsche
Staatsbibliothek, Berlin), and it was doubtless his
friendship with the Géttingen family of clavichord
makers, the Kramers (q.v.), that caused him to try his
hand at clavichord making on an amateur basis. [See:
Ernst 1961; also MGG, Vol. 4, cols. 514-20.]
* FORSMAN, Peter. Swedish clavichord builder who
was active in Karlstad as a carpenter and instrument
maker between 1748 and 1773. He received his education
in part during travels abroad and from an association
with Olof Hedlund (g.v.) [H-O].
For details of surviving instruments see Part II.
FOUCAULT. According to the A/manach Daspbin of
1777 a harpsichord maker of this name was living in
the rue Platriére, Paris [Hubb].
FOURNAFORIS, of Lyons. Harpsichord maker, f.
1791. A harpsichord existed in the last years of the
nineteenth century signed Fowrnaforis Lyon 1791.

FOURNAN, Bertrand. A mis-reading of Tournan,

FORASASSI, Carlo. Harpsichord maker of Rome.
Born ¢. 1626-7, died 18 September 1673. Barbieri says
(g-.).
‘Fiorentino’, ‘da Barberino’, son of Giovanni. He is FRANCESCO da Brescia. See: ANTEGNATO, Gio-
recorded as a harpsichord maker from 1654 at Campo vanni Francesco.
Marzio, and married to Marta Marini. By 1662, pre-
sumably following the death of his first wife, he had * FRANCESCO DELLA NOVA. Harpsichord maker
married a certain Agata from Florence, by whom he of Rome, but originally from France. Born ¢. 1567. He
had two sons, Francesco Maria, (born ¢. 1644) and appears in the registers from 1610-12 as a carpenter
Lorenzo Filippo (born ¢. 1671). In the period 1659-63, and harpsichord maker, and from 1611 his nephew,
he employed a workman named Giovanni Battista Pietro Bellanfan, who was also from France (born ¢.
Turchetti (born ¢. 1642) [Barbieri, p. 151]. 1594, died at Rome on 7 July 1611) appears with him.
Their workshop appears to have been in the street
FORCHHEIM, Johann Wilhelm. Given as a maker called the ‘via Nova ad Pellegrinum’, and it is probably
of instruments in Bz, but this is not a correct inter- from this that the title ‘della nova’ is derived (Barbieri,
pretation of the source document Drechsel, where it p. 151]. He appears, probably incorrectly, in Bz as
appears that Vicenzo Albrici, J. W. Forchheim, J. Francesco della Nona, with dates of 1610-12 ascribed by
Fassel, P. Keyser, and P. P. Morelli were not instrument Va, taken most probably from the registers mentioned
makers but simply ‘un consegnatario dei medesimi in above.
dotazione della cappella musicale’ of the Dresden court.
Further information on this matter is to be found in: * FRANCIOLINI, Leopoldo. Italian antique dealer
Moritz Fiirstenau, Zur Geschichte der Musik und des who specialized in old keyboard instruments. Strictly

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 FREY 63
speaking, since his dates are 1844-1920 he should not Pp. 36-44. This translation does not mention Franciscus
be recorded here, but his name occurs in many places Patavinus, but records item no. 2 as ‘A harpsichord in
largely because of his activities as an able forger a white wooden case with a long keyboard. Made of
of instruments. During his time as a dealer, which cypress wood in Venice’, while items 3 and 7 are
corresponded with the period in which a number of recorded as being made by ‘Francesco Ungaro of
collections of importance, both private and public, were Venice’.
being built up, he brought forgery to a fine art. He The link between Franciscus Patavinus and Francesco
appears to have forged the nameboards of genuine, but Ungaro has been further strengthened by John Koster
anonymous, instruments (particularly Italian), often [‘Italian harpsichords and the Fugger Inventory’, in
providing them with dog-Latin inscriptions which GSJ, XXXIV (1981), p. 148) citing the large sixteenth-
defy translation. In some cases he used parts of one century harpsichord in the Deutsches Museum, Munich,
instrument and combined them with another, and in which (according to him) was said to have a nameboard
other cases he added modern parts to old instruments, reading Francisci Patari Ni Dicti Ongaro 1561. This
faking the additions to look contemporary. As a result, instrument bears certain resemblances to the other
many collections contain spurious instruments and it harpsichords listed in the inventory, and Koster plaus-
is always essential, when examining any instrument ibly suggests that Patari Ni must be a misremembering
(particularly of Italian origin) which shows the slightest or mistranscription of Patavini though Bz, written some
sign of having been tampered with to keep in mind 9 years earlier, already records this form. Koster
the possibility of Franciolini having played a part in its goes on to describe other aspects of this instrument,
history. particularly concerning its pitch.
Luckily, much of his work can be identified from A harpsichord by Franciscus Patavinus dated 1562
the catalogues which he published, and these have been was in the collection of Prince Ferdinand of Tuscany
dealt with in some detail in RipICOLF. in 1700 (Gai, p. 13]; 1x8’, 1x4’ stops; 4 roses.
For details of surviving instruments see Part II.
FRANCISCUS Brixiensis. See: ANTEGNATO, Gio-
vanni Francesco. FRANCK, Ludwig (or Ludwick or Ludewick), of
Liibeck. He was born about 1700 and died on 9 April
FRANCISCUS. A simple Italian harpsichord belonging 1763. He received the citizenship of the town as
to Dr. Mirrey of London bears the inscription Franciscus instrument maker on 16 June 1724 and became cathedral
de Paslinis Parochus Diocesis Ariminisis fecit anno Jubilei organist in the following year.
1725 etatis suei anno 37. The exact meaning of this In 1729 he married Catherina Dorothea Raggen. His
inscription is not clear. It seems unlikely that this son Ludwig died in 1752.
Franciscus can be confused with any of the other makers Franck seems to have devoted most of his attention
with this name. to making organs and clavichords; but he also repaired
For details of surviving instruments see Part II. lutes and harpsichords.
For details of surviving instruments see Part II.
FRANCISCUS Patavinus ‘Francesco of Padua’, also
called I/ Hongaro (‘the Hungarian’). He is referred to in FRANCO, Giovanni Francesco. Harpsichord maker,
a Vatican manuscript of 1741 [see: Misch-1972] as f. 1757; probably of Turin [Ks].
Francesco Padovano, detto ! Ongaro. Harpsichord and vir- For details of surviving instruments see Part II.
ginal maker who worked, at any rate for a time, in
Venice. Dates ascertained, 1527—62. Possibly the brother FRANKY, Jean. Worked on harpsichords in Lyons
of Antonius Patavinus (¢.».). in 1775, when he finished an incompleted harpsichord
(FrenclI lists a ‘spinettina’ bearing an inscription by Joseph Collesse (9.».).
given as: Tonnes [sic] Patavini decti [sic] Hongeri
MDXXXxX. It is possible that Franciolini had mixed FRASSONI. See: TRASUNTINO, Vito.
up the Patavinuses when he was composing this
inscription.) FRELICH, Matthdus, of Gurk. F/. 1550 at Innsbruck
‘The inventory of the Raymond Fugger Collection in as a maker of harpsichords and virginals [Senm, p. 53;
Augsburg, dated 1566 and sent 10 years later to Albrecht VdMDen].
V of Bavaria, records 4 harpsichords by Franciscus
Patavinus made in Venice. The inventory is quoted in FREUDENTHALER, Wilhelm. Made harpsichords
extenso in Sandberger’s introduction to Vol. 5 of in Paris towards the end of the nineteenth century, and
Denkmiler der Tonkunst in Bayern, Leipzig, 1904, pp. |-li. subsequently pianos [Verlet].
It has also received further attention more recently
from Douglas Alton Smith, “The Musical Instrument FREY, Carl Heinrich. An early owner, not a maker.
Inventory of Raymund Fugger’, in GSJ XX XIII (1980), A clavichord bearing his name and the date 1765 is in

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64 FREY
the Historisches Museum, Basel. See further Rind/K/av, Gera whose instruments are famous far and wide’.
p. 218. Likewise, Mozart’s home contained Friederici instru-
For details of surviving instruments see Part II. ments, for he wrote (9 October 1777): ‘Wenn Du mit
Herrn Stein (i.e. Johann Andreas Stein g.v.) sprichst,
FREY, Michael, of Leipzig. Clavichord maker, f. 1535 so musst Du alle Gelegenheit vermeiden, von unseren
(Ka, p. 19]. Instrumenten von Gera eine Meldung zu machen, denn
er ist cifersiichtig mit dem Friederici’ (If you speak
with Herr Stein, you must avoid all occasion of
FRICK. A German who worked for Berger (g.v.) in mentioning our instruments from Gera, for he is jealous
1765 [Enc{ Did) s.v. Epinette].
of Friederici).
Gerber says that Friederici built 50 organs, the one
FRICKER, William. Spinet maker of London, prob- at Chemnitz costing 3,000 talers. ‘His clavichords’, he
ably in the latter half of the eighteenth century. The continues, ‘and pianofortes in the shape of clavichords
workbooks of Thomas Green of Hertford record the [i.e. square pianos] which he called Fortbiens are famed
tuning of a spinet belonging to Mrs. and Miss Binyon and scattered over half the world.’
of Hertford in 1761 which was described as Gulielmus In 1770, according to Ge, Friederici published an
Fricker Fecit, and a further spinet tuning in 1765 for Abertissement von seiner Invention, eine Bebung auf den Klavecin
Mr. and Miss Wilson of Cats Hill, the instrument being anzubringen (‘Notice of his invention for introducing a
described as Fricker Fecit (Sheldrick). For a mention of vibrato on the harpsichord’) probably in a musical
Fricker as a workman, see: HILL, H. periodical, for it has not been possible to trace a copy.
Agricola, in a note to Ad/, Vol. 2, p. 139, states
FRICX, Joannes. Harpsichord maker, born in Brussels that Friederici also made Lamtenklavecymbels. [See also:
in 1703/4, who married Catharina Hodde in May 1735 HenningLH, p. 480.]
(betrothal 13 May) in Amsterdam, while living on the For details of surviving instruments see Part II.
Keizersgracht. He was a rather well-to-do man, for he (2) Christian Gottfried (1714-77). Born at Meerane,
was listed in the ‘Kohier’ (a tax register) of 1742 when 21 March 1714, died at Gera, 6 March 1777; brother
he lived in the Amstelstraat and had a yearly income of (1), with whom he worked at instrument making.
of 800 guilders. [Gier]. Moved to Gera in 1744. He married Christiane Dorothee
Steinbeeck (1717-70) [Ks, Gé].
FRIEDERICI [originally Friderici, and surprisingly it (3) Christian Gottlob (1750-1805), a son of (2), was
is this form which is used by THON (¢.».)]. Surname born at Gera 23 August 1750, and died there 21 January
of the members of a family who made keyboard 1805. From 1769 to 1774 he studied law at Leipzig
instruments of all kinds, resident in Germany, whither University, then returned to Gera and worked at
they moved from Austria (South Tyrol) early in the instrument making with his uncle Christian Ernst (1),
eighteenth century. (The name is Italianized from the whose business he took over in 1780. In the following
German ‘Friederichs’.) year he married Christiane Wilhelmine Firbringer
A family tree is given in the Genealogy section. (1756-1840), who bore him 7 children.
(1) Christian Ernst (1709-800, born at Meerane, In 1786 he attained the title of ‘First. Reuss.
Saxony, 8 March 1709, died at Gera, 4 May 1780. He Lobensteinischer Kammerrat’. According to the Kantor
was a pupil of Gottfried Silbermann at Freiburg [Ks]. Gruner’s statement in 1793, his clavichords were equal
In 1737 he moved to Gera, and 8 years later invented in quality to those of his uncle.
the Pyramidenfligel, 5 examples of which survive, one In 1798 he put a notice in the Reichsamzeiger that
in the Brussels Conservatoire, another (illustrated and ‘... er Clavichorde mit der monochordischen Abteilung
described in ZI, Vol. 21, 1900-1) at the Goethehaus, desgleichen auch neu erfundene Sordin-Fortepianos mit
Frankfurt, both dated 1745; a third, dated 1750, is in the 6 Veranderungen anfertige, deren Intonation der Fléte
Neupert Collection, Germanisches Nationalmuseum. C. und Oboe zur Taiischung dhnlich sei’.
P. E. Bach wrote to Forkel (10 November 1773) that For details of surviving instruments see Part II.
he preferred Friederici’s clavichords to those by Fritz (4) Christian Ernst Wilhelm (1782-1872), eldest
and Hass because of their workmanship (Tractament), son of (3), was born near Liebschwitz, 19 April 1782.
and because they had no octave strings in the bass, After schooling he trained in his father’s workshops as
which he hated. [Letter in the Preussische Staats- an instrument maker, and from there went on to
bibliothek, quoted by C. H. Bitter in C. P. E. Bach wnd Dresden and Berlin.
W. F. Bach . . ., 1868.) At his death C. P. E. Bach In 1803 he came back to Gera, and took over his
possessed 2 Friederici clavichords, one of which must father’s business when he died.
be the ‘vortrefflicher dieser Art’ referred to by Gerber. The account-books of the firm make it clear that he
In book IV of Dichtung und Wabrheit Goethe mentions made mostly pianos. Less frequently he sold clavichords
the harpsichord in his parents’ house, by ‘Frederici in for 25-40 talers. Between 1803 and 1872 he made

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 FYELD 65
a great number of instruments (‘more than 1000 1729 he restored the organ at the Moravian Church in
instruments’, says Gé). He died on 3 February 1872. Brunswick. Apparently he was taxed at a reduced rate,
(5) Ernst Ludwig (1806-83), presumably son of (4), having married a widow of the town.
born 27 November 1806, carried on his father’s business. It seems that in 1755 he and Télleke were the only
In 1883 he died, the last keyboard instrument maker instrument makers in Brunswick [SB]. During the
in Gera bearing the name of Friederici. following year his ‘Anweisung wie man Claviere,
(Note: Michel, p. 134, shows a clavichord-like instru- Clavecins, und Orgeln, nach einer mechanischen Art,
ment with the caption ‘Frederica Square Piano, Gera, in allen zw6lf Ténen gleich rein stimmen kénne, das
Germany about 1773; bichord clavichord’. It is perhaps aus solchen allen sowohl dur als moll wohlklingend zu
worth recording, for the benefit of all baffled readers spielen sey . . .’ (dedicated to C. P. E. Bach) was
of this caption, that the instrument was originally a published by J. G. I. Breitkopf in Leipzig. It went
square piano. Apparently the action had disappeared, through 5 editions between 1756 and 1829, and a Dutch
and a botcher in Germany put an inefficient plucking translation appeared in Amsterdam.
action in it and sold it as a Friederici spinet. Finally, a According to Ge he made ‘more than 500’ clavichords,
clavichord action was put in it, and it went to America some of which were exported as far afield as Archangel.
[Rindl}.) Schub speaks highly of his clavichords.
(6) Johann Christoph. A surviving clavichord Like a number of other German makers such as
allegedly bears this name, but no other reference to a Hass, he strengthened the bass register in his clavichords
member of the family with these Christian names is by adding a third string, tuned an octave higher. Ge
known. praises this expedient, ‘Sie haben vor andern eine
For details of surviving instruments see Part II. vorziigliche Starke im Bass’, but C. P. E. Bach regarded
On the Friederici family see further ZI, Vols. 24, 25 it as intolerable. [Letter to Forkel, 10 November 1773,
(1903-5), articles by Emil Fischer based on source quoted by C. H. Bitter in C. P. E. Bach und
material; also Christian Gottlob’s autobiography, which W. F. Bach . . . (1868).]
appeared in the Lobensteinischer Gemeinniitziger Inte- Fritz had an inventive turn of mind, which found
Uigenzblatt, 16 January 1802. expression in such pursuits, apart from instrument
It is not clear which member of the family is the making, as constructing musical clocks, mechanical
‘Friderici in Gera’ who figures in the list of makers singing-birds, special weavers’ looms, and even a
who had been met by Christian Friedrich Gottlieb Thon horizontal windmill. John Joseph Merlin (g.r.). in
(q-v.), writing in the first quarter of the nineteenth England, his contemporary, also invented similar
century, but Thon, despite considerable familiarity with automata.
the clavichord and other keyboard instruments, does Fritz died on 17 July 1766 at the age of 70 years,
not single out the firm for especial commendation. and was buried in the churchyard of St. Ulrici,
Brunswick.
FRIEDRICH, Johann Christoph. Clavichord maker A portrait of him by J. C. Eberling is reproduced
of Schleswig. F/. 1790. Nothing further is known of at SB, p. 4.
this maker other than a reported sighting of a surviving For details of surviving instruments see Part II.
clavichord with an inscription recording the above
information. The whereabouts of the instrument are FUCHS, Johann Anton. Maker of organs and stringed
not known. [Rubia]. keyboard instruments at Innsbruck, f. 1781.
For details of surviving instruments see Part II. For details of surviving instruments see Part II.

FRIQUE—See: FRICK. FUSSEL, Johann. Given as a maker of instruments

in Bz, but this is not a correct interpretation of the
FRITSCH, Gottfried. ‘Organ and clavichord maker source document Drechse/, where it appears that Vicenzo
in Hamburg’—a mistake of Schroeter’s for Barthold Albrici, J. W. Forchheim, J. Fiissel, P. Keyser, and
Fritz (9.2.). P. P. Morelli were not instrument makers but simply
‘un consegnatario dei medesimi in dotazione della
FRITZ, Barthold [Bartholomaeus Fritze], 1697-1766. cappella musicale’ of the Dresden court. Further inform-
Maker of organs, positives, harpsichords, clavichords, ation on this matter is to be found in: Moritz Firstenau,
pianos and mechanical instruments of various kinds. Zur Geschichte der Musik und des Theaters am Hofe zu
He was born, the son of a miller, at Holle, 20 miles Dresden, Dresden 1861, pp. 254-5. [Misch-1979 II].
south-west of Brunswick, to which town he moved,
being granted citizenship there on 12 July 1720. In FYELD, Polle. See: DEFIELD.

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 G
* G. A clavichord of about 1780 in a private collection Galland (see below). He lived, before 1723, in the rue
in Leipzig bears on the nameboard an inlaid letter ‘G’. des Petits Champs [Germrg§o].
Whether this refers to the maker or owner is not
known. GALLAND, Jean, of Paris. Harpsichord maker, juré
For details of surviving instruments see Part II. comptable of the Guild, 1744-5; died 1760. Father-in-law
of the maker Robert Richard (g.».). He resided in the
G. B. B. See: BONI, Giovanni Battista. rue des Petits Champs St. Honoré. The notice of the
sale of his stock which appeared 19 June 1760 contains
G, C. A clavichord in the Fiala-Ahlgrimm Collection, this passage: ‘Clavecins organisés et brisés (aprés le
Vienna, bears a pencilled date 1789 and the initials C. G. décés de Galland, facteur de clavecins, beau-pére du
On the soundboard a label records Reparirt 1827/ Joseph mécanicien et facteur Richard) . . .’ [Bg, p. 11]. His
Dobnal|biirger! instrumentenmacher|wobnt an der neuen Wienn widow maintained the shop until 1779 [Pi]. Cor, in a
in der Gart-|-ner Gasse in eigenem Haus beym Metr-|sturm passing reference on p. 84, spells his name ‘Galand’.
No. 176[in Wien.
For details of surviving instruments see Part II. GAND, Mattia di. See: MATTHIAS, of Ghent.

G, C. A Flemish harpsichord of the seventeenth century GANER, Christopher. Harpsichord spinet, and piano
formerly in the Berlin Collection but now probably lost maker of Leipzig and later London (22 Broad Street,
had a rose with harping angel and the initials C. G. in Golden Square; afterwards 47, 48, and 49 in the same
it [Sa, p. 65}. street). Earliest and latest dates known, 1774-1811 [J;
For details of surviving instruments see Part II. He}.
Letters of denization were granted on 11 February
G, G. A single manual harpsichord with 2x8’, formerly 1792 to Ganer ‘formerly of Leipzig . . . but now of
in the Musikinstrumenten-Museum der Karl- Broad Street, Carnaby Market, in the parish of St.
Marx-Universtitat, Leipzig, and lost in the second world James’s Westminster . . . grand pianoforte maker’
war, allegedly of south German origin, and from the [HsD, XXVII}.
end of the seventeenth century, bore these initials on The shell of a harpsichord by him, dated 1781, was
the keyframe. The identity of the maker is not known. in the possession of John Challis, Detroit (1953). No
For details of surviving instruments see Part II. spinets seem to have survived, although a few handsome
square pianos from Ganer’s workshop are still to be
G, I. See: GELLINGER, Israel. seen. He is recorded as a pianoforte maker in J. Doane’s
Musical Directory (London, 1794) (L. G. Langwill, in
G, Z. See: ZENTI, Girolamo. Music and Letters, London, 1949}.
Note. There was sold at Christie’s on 14 March 1792
GABRECHT. Made harpsichords in Kénigsberg in ‘an organized pianoforte with harp stop, pedal, etc., by
the second half of the sixteenth century [Pa]. Ganer in an elegant inlaid case with leather cover’.
For details of surviving instruments see Part II.
* GABRY. See: HESS, H. H.
GANSEN, Wolf. It appears from the inventory of
GAI, of Paris. Harpsichord maker in the second half instruments at the court of Eberhard III, taken at
of the eighteenth century [Pa]. Stuttgart in 1589, that Wolf Gansen made harpsichords,
spinets, etc. ‘t Instrument von Wolf Gansen an cin
GAIRAUD, of Nantes, where about 1735 he was ander Instrument vertaucht worden, welches auch zu
making violins and also harpsichords. In 1737 he den Tantzen gebraucht wird’ [WVS, Vol. 21, 1912, pp.
married Margarethe Destains. He was still alive in 1770 133-7].
[La.
GARBUTT, Thomas. Harpsichord maker living in
* GALLAND, Jean Marie. Parisian harpsichord maker King Street, Golden Square, London, from March 1770
of ¢. 1690-1760, and most probably father of Jean until 1776 [RB.J].

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A certain J. Garbutt (piano maker, ff. 1793) was
probably his son [J].
* GARCIA, Francisco. Clavichord maker of Toledo, f.
1715—19. In 1715 he is recorded in the Toledo Cathedral
archives as having repaired a clavichord for the cathed-
ral, while in 1719 he made a clavichord and also repaired
a clavichord for the cathedral. One of these instruments
was restrung by Félix de Miranda. [See: Transcription
of the Toledo Cathedral Archives by F. A. Barbieri in
Biografias y Documentos sobre Miisica y Miisicos Espanoles
(Legado Barbieri), edited by E. Casares, Madrid, 1986,
Vol. 1, p. 223; KdP.]
* GARMAN, Goran, & MOLLENBERG, Lorentz.
Swedish clavichord makers who were both journeymen
in the workshops of Mathias Petter Kraft (q.v.), Garman
remaining in this capacity for 23 years, which probably
bears testimony to the craftsmanship of their master,
whose business they took over on his death in 1807.
Garman lived for only 2 more years, until 1809, when
Mollenberg continued alone until he died in 1824. As
a firm their output comprised mostly square Pianos and
lutes though some clavichords were made. H-O records a
particularly fine instrument called an ‘organochordium’,
signed by Mollenberg alone and dated 1812, no. 60.
[See further: H-O, p. 185.]
GARNIER, Sébastien. Harpsichord maker in Paris in
the middle of the eighteenth century.
For details of surviving instruments see Part II.
* GARTNER, of Tachau in Bohemia. Organ or keyboard
instrument (most probably clavichord) maker of the
late eighteenth or early nineteenth century. The work
of this maker is known only through the list of makers
given by Christian Friedrich Gottlieb Thon, though he
does not single him out for especial praise or esteem.
See entry under THON.
* GARZINI, Giacomo. Harpsichord maker of Rome,
born ¢. 1637, son of Raffaele Garzini, a tailor. From
1652 to 1664 he was a workman in the shop of Giuseppe
Boni da Cortona (9.v.) to whom he was related. He was
working on his own by 1663, and employed Camillo
Legge as a workman [Barbieri, p. 151].
© GASPARRINI, Francesco Antonio. Italian harp-
sichord maker of Monte Carotto, a town near Marche
(in the province of Ancona, diocese of Jesi). Date
ascertained, 1762, from his surviving harpsichord which
[according to Misch-1979 IT| bears the inscription Opus
Fran{n\cisci Antonij Gasparrini A Monte Carotto 2.. Julij
1762. (The method of showing the day has given rise
to some doubts about authenticity.) It is possible that
he was a descendant of Domenico, the builder of a
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GEERDINGHS 67
positive organ which in 1979 was in the possession of
Professor Gianfranco Ferrara di Treviso, inscribed
Dominicus Gasparrini 4 Monte Carotto fecit Anno Dom(mi]
ni 1726 [Misch-1979 II].
For details of surviving instruments see Part II.
GATEAUX, Pierre. Parisian harpsichord maker, ff.
1780-8. Admitted to the Corporation in 1780 and
the Guild in 1783. He lived in 1781-3 in the rue
Guérin-Boisseau and in 1788-9 in the rue de la Harpe
[Verlet, Pi, Germigéo where a map of Paris is given
on p. 440 showing the location of his workshop in
relation to those of other Parisian makers and musicians
of the period].
GATTO, of Krems. Organ or keyboard instrument
(most probably clavichord) maker of the late eighteenth
or early nineteenth century. The work of this maker is
known only through the list of makers given by
Christian Friedrich Gottlieb Thon, though he does not
single him out for especial praise or esteem. See entry
under THON.
GEBEL, Georg. Organist and composer, born at
Breslau in 1685. He became organist of the Church of
St. Christopher in that town in 1713. His autobiography,
quoted in MatGE (pp. 405f.), reveals an inventive
disposition. He devised a clavichord with quarter-tones;
also a clavichord with pedal keyboard all in one case,
probably similar to the instrument depicted in Reyav,
and finally a harpsichord of 6-octave compass, with
pedal keyboard in one case. References to this latter
type of instrument are not common; some are: Halle
1764, p. 363; Turk 1802, p. 2; Adl, p. $28; AdlG, note
m to para 248. According to some, it was for a pedal
harpsichord that Bach’s Aria variata alla maniera italiana,
possibly his Trios, the Aria in F, and a few other
pieces of the Weimar period were composed. (See a/so:
NEUBAUER below.)
For details of the compositions of Georg Gebel, and
of his son of the same name, see Est, IV. 186.
GEERDINGHS, GEERDINCX, GEERDINX,
GEERDINXIUS or GHEERDINCEK, etc. Two harp-
sichord makers of Amsterdam are known, though there
seems to be little consistency in the spelling either of
the surname or of their Christian names.
(1) Artus, or Aert, born 1564. He worked and lived
in Amsterdam, and died there in 1624. In 1595 Aert
Geerdinghs was appointed ‘beyerman’ (man who chimes
the bells) of the Oude Kerk in Amsterdam, where at
that time Jan Peterzoon Sweelinck was the organist.
Geerdinghs had his workshop in an attic of that church
and was also charged with the tuning of the 2 organs
in the Oude Kerk. A ‘clavesimbel van Artus Geerdinck’
was recorded in the inventory (1617) of a Frisian estate.
68 GEHRHARD
“Een vierkant clavecimbaal’ (=a virginal) by a Geerding for a period. He patented a new piano action in 1786,
was sold in 1765 in Middelburg at about to guilders and a combined piano and clavichord in 1792.
[Géer]. There may be some doubt about the date of his On 24 July 1797 he emigrated to America [SmithM;
death since Koster reports having seen photos of a see also Antiques, Vol. 16, p. 12]. There is no evidence
Flemish-style muselar in the Alastétten Museum in that he made any harpsichords in America. He died at
Switzerland with a rose containing the initials 4.G. Newark, N.J., and was buried in St. Paul’s churchyard,
dated 1642. On stylistic grounds (by comparing it with New York City [SmithM]. See further Jobn Geib and bis
the surviving virginal in the Germanisches National seven children, by Alger C. Gildersleeve, Far Rockaway,
Museum, Nuremberg) he attributes this instrument to N.Y., 1945.
Artus Gheerdinck, and this would suggest that he was
still alive in 1642. GEISSINGER. Listed in Bz as a separate maker, it
For details of surviving instruments see Part II. seems almost certain that Geissinger is a variant spelling
(2) Harmanus, or Hermanus. His relationship to of Gessinger (q..). See also: SCHNELL, Johann Jakob.
Aert is uncertain. Earliest date ascertained, 1644 [GL].
Harpsichord maker in Amsterdam about the middle of GELLINGER, Israel. Organ, harpsichord, and clavi-
the seventeenth century.
chord maker; dates ascertained, 1639-77. Born at
Hermanus Geerdinghs was witness at the betrothal Strasbourg, he moved in 1639 to Frankfurt am Main,
of his daughter Anna Adriana with Johannes Schonat, where he became organist at St. Katherina’s 10 years
a son of the organ and harpsichord maker Hans Wolff later. On 23 April 1653 he received the citizenship of
Schonat (g.v.), on 15 October 1677. Geerdinghs was
Frankfurt, entering the Joiners’ Guild there as an
thus still alive then. The Schonat family was also related
instrument maker 2 months afterwards. He married 4
to Artus. times.
A ‘vierkant clavecimbaal van Geerdinxius’ was In 1672 his son Andreas became organist at the
advertised in the Amsterdamsche Courant 1734, No. 133.
Barfiisser Kirche. In 1716 an organ builder named Israel
It is not clear whether Aert or Harmanus was the Gellinger, presumably a descendant of this one, received
builder [Gier]. the citizenship of Frankfurt [Ks].
For details of surviving instruments see Part II.
GEHRHARD, of Linding, near Kahla. Organ or
keyboard instrument (most probably clavichord) maker
GENOVESE. V4 lists an Italian harpsichord maker
of the late eighteenth or early nineteenth century. The
of Genoa known simply as ‘Il Genovese’.
work of this maker is known only through the list of
makers given by Christian Friedrich Gottlieb Thon,
though he does not single him out for especial praise GEORGE, Meister. An inventory drawn up in 1613
or esteem. See entry under THON. for Moritz, Landgrave of Hesse, includes mention of 2
small virginals [Instrument] made by Meister George
GEIB, John Lawrence. Maker of harpsichords, piano- [Anthony C. Baines, in GSJ IV, June 1951, p. 34].
fortes, and organs. Born on 27 February 1744 at
Standerheim; died on 30 October 1818 at Newark, N.J. GERARD, Jean. Parisian harpsichord maker, living in
[New York Evening Post, 31 October 1818]. the place Cambrai in 1769 [Pi, Germrgé0, where a map
It is not known when he came to England, but on of Paris is given on p. 440 showing the location of his
zo August 1779 he married Rebecca Shrimpton in workshop in relation to those of other Parisian makers
London. For a time he lived in the Old Bailey, then in and musicians of the period].
Tottenham Court Road (1786). In 1792 when he was
living in Southampton Row [or Place] he patented ‘a GERBER, Heinrich Nicolas, 1702-75. Court organist
new musical instrument, the end and intention of which at Sondershausen, father of the lexicographer, and
is to play the pianoforte, clavichord or spinett, with amateur clavichord maker, he was born at Wenigen-
two sets of keys, to which either of these three Ehrich on 6 September 1702.
instruments may be joined together . . .’ [Patent no. In 1724 he went to Leipzig to study under J. S.
1866]. On 11 February in the same year letters of Bach, but was so shy (his son explains) that he could
denization were granted to Geib ‘formerly of Stand- not muster the courage to approach the great man until
erheim in the Upper Palatinate of the Rhine . . . now at last he
of Southampton Place, in the parish of St. Pancras
. +. organ builder’ [HwD, Vol. 27].
told his desire to a friend, called Wilde . . . who introduced
him to Bach. Bach took to Gerber at once as a Schwarzburger,
He was in Shudi’s employ for a time, and also and thereafter always addressed him as ‘fellow countryman’.
worked for Longman & Broderip. Signatures on He undertook to give him lessons as he desired, and asked at
some of his early pianos shew that he worked with once whether he had worked hard at fugue-playing. During
Goldsworth; he was later in partnership with Lenkfeld the first lesson he put his Inventions before him. After he had

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 GHERARDO 69
worked through these to Bach’s satisfaction there followed a Stockholm from 1727 until his death in 1758. Though
number of suites, and then das Temperirte Klavier (i.e. the first he appears to have been primarily an organ builder,
book of the ‘48”]. Bach played this last volume through to one of his clavichords survives. For further information
him with his unequalled skill three times . . . [and Gerber] see H-O, p. 120.
counted among his happiest hours those in which Bach, on For details of surviving instruments see Part II.
the pretext of having no inclination to give a lesson, sat down
at one of his excellent instruments and so transformed these
hours into minutes . . . GERONIMO. See: ZENTI, Girolamo.
In 1727 Gerber returned to his father in the country
and began to marshal the knowledge collected at GERONIMO, of Bologna. See: HIERONYMUS
Leipzig. He also started to make a small organ of 12 Bononiensis.
stops with pedals, with the help of a joiner.
Next year he became organist at Heringen, and 3
years after that at Sondershausen. @ GERONIMO, of Florence. According to Bz, the
In 1742, according to his son, he began work, again ‘Geronimo da Firenze’ mentioned by Prof (p. 272) is
with the help of a joiner, on a clavichord ‘almost in probably a mistake for Geronimo da Bologna. However,
the shape of a pyramid, with two manuals and a pedal since Swrace reports a Geronimo of Florence as having
keyboard, and 10 variations of tone’. been one of Cristofori’s apprentices, there seems to be
H. N. Gerber also gave music lessons, and produced no reason why such a maker did not exist in his own
a number of compositions, which his son lists in his right.
Historisch-biographisches Lexicon.
GERSTENBERG, Johann David, 1716-96. Builder
GERBER, William. Harpsichord maker who flour- of organs and other keyboard instruments at Ger-
ished in England in 1775, probably a German by birth ingswalde in Saxony. His name was properly Ger-
who, like a number of German instrument makers in stenberger, having been born on 2 May 1716 to Hans
the eighteenth century, came over to England. Gerstenberger of Hilmsdorf and his wife Susanne. He
A harpsichord by him, dated 1775, bears the number died on 24 December 1796 [Ks].
115 [)- For details of surviving instruments see Part II.
For details of surviving instruments see Part II.
GERLE, Georg. GDN, p. 260, mentions a German GESE [Geza], of Halberstadt. Eighteenth-century
instrument maker of this name, adding that according maker of ‘Claviere’, probably primarily clavichords, f.
to Va, he came from Immenthal,
near St. Gall, and in 1752 [Masikalischer Almanach, 1782).
1548 was made a citizen of Fiissen. By 1569 he was
organ blower, and instrument maker to the Archduke © GESSINGER, (or possibly Geissinger) Georg Martin.
Ferdinand at Innsbruck, where Gerle died ¢. 1589. It
Clavichord maker at Rothenburg, 1717-91. Mentioned
is clear that he made lutes, but the report ofa ‘cembalo by Christian Friedrich Gottlieb Thon as living at
del Gherla’ in the 1598 catalogue of the Este Collection
‘Rothenburg an der Tauber’ (borne out by the inscrip-
at Modena suggests that he also made harpsichords.
tion on his one surviving clavichord), though he does
Nevertheless, the possibility that this entry refers to
not single him out for especial praise or esteem. See
one of his three sons, Melchior, Georg, or Jacob,
entry under THON, and also Wobnhaus.
cannot be discounted.
For details of surviving instruments see Part II.
GERLACH, Johann Christian. Maker of clavichords
and harpsichords. On 24 January 1744 he was granted * GHEERDINCE. See: GEERDINGHS.
the freedom of the city of Hamburg, where he was still
living about 1790 [Ge, La.
GHERARDI, of Parma. According to Va, makers of
For details of surviving instruments see Part II.
virginals and harpsichords.
1. Antonio, f. 1823.
GERMAIN. See: GOERMANS.
2, Giambattista.
3. Camillo.
GERMAN, Erich Miansson. Clavichord maker of
4. Giuseppe.
Stockholm. Dates ascertained, 1712-58. He came ori-
ginally from Sédertilje, Sweden, and was thus of
Swedish birth. As a master carpenter, he was apprenticed GHERARDO, of Padua [Prof, p. 272]. Probably a
to the famous organ builder Arp Schnitger in Hamburg member of the preceding family. He is recorded as
from 1712 to 1713 and had his own workshop in having been one of Cristofori’s apprentices [Sarace].

'y Google
70 GHERARDO
GHERARDO, Giacomo, of Bologna. Francl lists a GILL, George, fi. at London, 1641. He is described in
harpsichord inscribed: Giacwmus Gherardus 1663 Bononiae. La (III) as ‘Musical Instrument Maker’, which probably
includes virginals and harpsichords.
GHERLA, of Ferrara. F/. sixteenth to seventeenth
centuries as harpsichord maker [Va]. A harpsichord by GILLESPY, Samuel. Harpsichord maker of Brownlow
him was in Modena in 1598. Street, St. Giles in the Fields, London. Dates ascertained,
1769-74 U)-
GIACOMO, da Modena. See: JACOBUS, of Modena. On 28 December 1774 he patented ‘my New-
Constructed Principle of Putting on the Quills to Strike
GIANNANTONIO, called I] Veneto, of Venice, vir- the Strings of a Harpsichord with a Peddle and Swell,
ginal maker who flourished in the seventeenth century which raises the Top, brings on the Tone, and Swells
[Va]. a new Celestial Stop, at the same time Preserving the
Instrument compleat’ [Patent no. 1092]. (The Celestial
GIANNANTONIO, di Biagio. See: BONISSIMO, tone is produced by ‘heads of taned (sic) leather, buff
Giannantonio. leather, kid leather, cloth and wood’.).

GIANNINI, Gaetano. Italian virginal maker, ff. 1628. GIOBERNARDL, Bartolomeo. See: JOBERNARDI,
For details of surviving instruments see Part II. Bartolomeo.

GIANNINI, Marco. Franc] (item 27) lists a ‘spinetta’
inscribed: Marcus Gianninus faciebat Florentiae anno 1470.
GIBSON, William, of Dublin. Dates ascertained,
1764-died 1790, was primarily a guitar maker, but also
interested himself in the harpsichord. From
1774 he was on College Green, whence he moved
6 Grafton Street (1774-90), where he was in partnership
(1775-8) with Robert Woffington (g.v.) who may have
been the Woffington elected organist of St. Mary’s in
1773-
In 1778 the firm dissolved, but in 1784 Gibson’s
address is still given as 6 Grafton St. [Dwb/. 1784]. [Fid,
MA, H&S.)
GIESEN, van. A claviorganum made by van Giessen
was listed in the inventory of the estate of the organ
builder Pieter Assendelft (g.».), who died in Leiden in
1766. Perhaps this Van Giessen was Johan van Giessen,
member of a family of organ builders who came from
Sprang and worked in Haarlem ¢. 1715. [See: Gier, 73,
133,]
GIGLI, Giovanni. Possibly a harpsichord
Rome in the seventeenth century, but more
Francolini figment.
For details of surviving instruments see Part II.
GIOVACINO. See: GUARRACINO, Honofrio.
GIOVAN-MARCO, di Ferrara. Maker of harpsichords
at Ferrara. Dates ascertained, 1522-50 [Va].
1766 to GIOVANNI. V4 lists a Fra’ Giovanni of Metz,
to clavichord maker, flourishing in 1506.
GIOVANNI, da Udine. Harpsichord maker of Udine
and Venice, f. 1473 [Va].
GIOVANNINI, Giuliano. Italian harpsichord maker,
probably of the seventeenth century. A single manual
harpsichord (2x8’), undated, by him, was in the col-
lection of Prince Ferdinand of Tuscany in 1700 [Gai,
p- 12].
GIROLAMO. Virginal maker of Rome, f. 1655 [Va].
See: ZENTI Girolamo.
GIUSEPPE, da Sais. A Vatican manuscript of 1741
listing the most famous Italian harpsichord makers
maker of gives this name, though with no further details, and so
likely a far as is known no instruments of his survive [Miscb-
1972}. It is possible that he was a member of the family
listed under Salodiensis (q.v.).

GIJSEN, Coenradus. From Elberfeld—the German GIUSEPPE, @Organe. A polygonal virginal in the
form of his surname is not certain—entered into a Museo Civico, Padua, is inscribed: Ginseppe d’Organe.
contract in 1628 with Pieter Pampus (4.».), who also Anno MDXXII. Assigned to the eighteenth century by
came from Elberfeld, and who eventually settled in the catalogue.
Amsterdam, by which Pampus was to teach him to For details of surviving instruments see Part II.
make automatic harpsichords [Cuwrtis, Gier].
GIUSTI, Giovanni Battista. Originally of Lucca, but
GILCHRIST, Doug’ld. Harpsichord maker, pre- worked in Rome. Maker of harpsichords and lutes,
sumably Scottish, who flourished in 1793. He subscribed born ¢. 1624-35. Son of Antonio. From 1648-64 he
to Sheraton’s Cabinet-maker [J]. worked under Giuseppe Boni da Cortona (g.v.), and

» Google

from 1665 under Girolamo Zenti (g.».) and appears in
the registers at that time as ‘Joannes Baptista son of
the late Antonio Justi of Lucca’ (Barbieri, p. 151].
According to L#, he also studied with Vicentius
Pratensis [Koster]. A number of instruments bear his
name spuriously, but these are listed under his name
in the instruments section. He probably died in or after
1693.
For details of surviving instruments see Part II.
GLANVILLE, George. Harpsichord maker in West-
minster in 1749. His name appears in a Westminster
poll-book [J].
GLEICHMANN, Johann Georg, 1685-1770. Born at
Stelzen, near Hildburghausen in Saxe-Meiningen. At
the age of 13 he built himself a clavichord without any
instruction. Some 10 years later he built a ‘lute
harpsichord . . . without quills’, and these are mentioned
by Adlung, who says that they may be played forte,
piano and pianissimo (HenningLH, p. 479).
Working along the lines of Hans Hayden’s Geigenwerk,
he invented in 1709 his Klaviergamba, and this was
imitated later by Michael Pachelbel of Hamburg and
Hohlfeld of Berlin.
In 1706 he was appointed organist at Schalkau near
Coburg and in 1717 organist at Ilmenau, not far away,
where he later became a town councillor (Wa, Ko, Eit,
Adl.II, pp. 126, 138].
Ge states that in his day (1790) one of Gleichmann’s
instruments was in Sondershausen.
GLEINIGER, Theophile Gottlieb [Gleinicher]. Born
1766 at Hermsdorf (Lower Saxony); died 1823 at Bern,
where he had settled in 1756 as a keyboard instrument
maker. In the Berner Adressbuch of 1810 he is recorded
as ‘facteur de clavecins et forte-pianos’ [Hirt, p. 472].
GLISS, Johann. Nuremberg organ builder in the first
half of the eighteenth century. He built an organ for
the Lutheran church in that town in 1737-8; and must
have made clavichords as well, for he is probably the
maker referred to by Schub (pp. 207-8) in his description
of the dying Léffelloth, who played the ‘Glisiches
Clavichord’ which stood by his death-bed.
@ GLONNER, Joseph. Clavichord and harpsichord
maker to the Court at Munich. Dates ascertained, 175 3—
72. He built there in 1756 ‘ein dreifaches Clavicord’
(this could mean 3 manual, but more probably triple
strung) [Koster] for the Electress of Bavaria at a price
of 60 florins. He also supplied harpsichords to the
Court, ¢.g.:
1753. ‘3 meue doppelte fligen’ [2 manual harpsichords],
200 florins.
1757. ‘2 Churfurstliche Kammerfligen’ [harpsichords,
presumably single manual], 60 florins.
Google
GOCCINI 71
[K. A. Bierdimpffl, Die Sammlung der Musik-Instrumente
im Baierischem Nationalmuseum, Minchen, 1883, pp. 54,
56]
GLUCK. An undated but probably early eighteenth-
century clavichord in the Deutsches Museum, Munich,
is said to bear the inscription (not normally visible):
Glick, Friedberg, which may refer to this maker.
For details of surviving instruments see Part II.
*GOCCINI, Giuseppe Maria. or COCCINIS,
CONINUS, GOZZINI, GOZZINO, GUZZINI.
There has been considerable difficulty in establishing
the correct identity of this maker. Bz gave separate
entries under Joseph Maria Gozzini and Joseph Max
Coninus, as well as references to Coccinis and Gozzino.
The misunderstandings have been due to somewhat
illegible inscriptions on a series of instruments some of
which have probably suffered at the hands of Franciolini.
Misch-1979 II gives the preferred spelling as ‘GOZZINI,
alias GOCCINTI’, but the careful research of VdM, and
Tag, in whose collection there are now (1991) 3
instruments, has revealed the most likely version to be
Giuseppe Maria Goccini—a maker of harpsichords,
born 13 February 1675 at Bologna. Surviving instru-
ments date possibly from 1707, and certainly from 1721,
to 1733. In the year 1718 he was paid 6 lire by the
basilica of S. Petronius in Bologna for tuning the spinet
of the school of singing. The date of his death is not
known. Further biographical notes are given in Tag-Goe.
FranclI records a harpsichord inscribed loseph Mae de
Coccinis Bononiensis Opus MDCCVI D.O.D., which could,
in the light of the inscriptions on the known genuine
instruments, have also been a Goccini instrument, and
would have been the earliest recorded.
According to Bz, the iconographical collection at the
Brussels Conservatoire has a photograph of a ‘Gozzini’
harpsichord dated 1725 painted by Cavazzoni. This is
quite clearly the single manual harpsichord of 1725 by
Goccini described in considerable detail in Tag, pp. 95-
107, and (1992) in the collection of Professor Tagliavini.
The ottavino at the Deutsches Museum, described
in Bz as having the inscription Joseph Mae de Coninus
Bononiensis opxs MDCLVII must almost certainly be by
Goccini, though the date, which is suggested in Tag-Goc
to be MDCCVIII, is very misleading, and the instrument
may have suffered at the hands of Franciolini.
The spinet of 1726 is a remarkable instrument, being
very similar in design to a Cristofori instrument of
1693, which is, in effect, a combination of two polygonal
spinets, one of the normal shape, and the other, a
mirror image. The two are joined on the longside so
that the bass strings run longitudinally down the centre
of the instrument, with the higher strings progressing
towards the player from the centre, and also away
towards the proximal edge of the instrument. The
 72 GODELART
Specification is 2x8’, and a form of coupler allows one Guild of St. Luke as harpsichord maker. A son is
8’ or the two sets of 8’ strings to be played at will. recorded as born to him on 7 November 1580. He
Further information is to be found in the references: seems to have been closely connected, perhaps related,
Misch-1979 I], VdM, Tag, Tag-Goc. to the Ruckers family [5*]. He also made harps and
For details of surviving instruments see Part II. lutes [La].

© GODELART, Pierre Jacques. Harp maker living in GONDARD, Claude. See: DU FOUR, Claude.
the rue du Faubourg St. Germain, Paris until 1789
when he was to be found at 34 rue des Fossés GOODMAN, William [a/so Goodale]. Virginal maker
St. Germain. Dates ascertained, 1781-9. Also made at Chester in the reign of Queen Elizabeth I [Bos].
harpsichords [Pi, p. 133 n.]. Admitted to the Guild in
1781 [Véerlet, and Germrg80 where a map of Paris is © GOSSET, of Rheims, f. 1776. He made a clavicytherium
given on p. 440 showing the location of his workshop [Hubb based on the Mercure de France, September 1776].
in relation to those of other Parisian makers and A two-manual harpsichord of his was recorded in Bz,
musicians of the period]. as belonging to Mme Fayolle of Toulouse in 1971, and
it seems very likely that this is the same instrument
© GOERMANS [a/so Germain]. Surname of a family of which was sold on 10 June 1991 in Toulouse for
instrument makers and musicians, of Flemish origin FF897,256, and the export of which was pre-empted
but resident in Paris in the second half of the eighteenth by the Museum Chateau Champs-sur-Marne, near Paris,
century. Germrgéo gives details of addresses for the where the instrument remained on public display.
family, and a map of Paris on p. 440 showing the Dr Ted Williams of Paris suggests that this Gosset
location of their workshop in relation to those of other is the same as the Nicolas Gosset who was listed in
Parisian makers and musicians of the period. A family René Vannes, Dictionnaire Universe! des Luthiers, as a
tree is given in the Genealogies section. luthier in Rheims between 1752 and 1780. He and
(1) Jean, the Elder, harpsichord maker. Born 1703 in his ‘confrére’ Turpin, an organ maker, presented an
‘Galdere, near the Brandenburg frontier’; was admitted invention to the French Academie des Sciences, in 1769,
as master harpsichord maker in Paris before 1730, when concerning the fretting of plucked instruments (and
he was living in the rue St. Denis. He died 18 February bowed viols) permitting more accurate intonation of
1777, at which time he was resident in the rue Férou semi-tones.
[P4]. For details of surviving instruments see Part II.
Br (p. 201) mentions an undated harpsichord by him.
Bq (p. 9) records the sale of a harpsichord by a GOTTHEIMER, Christian Gottlieb. German clavi-
‘Germain’, perhaps this member of the family. chord maker of the eighteenth century. A photograph
For details of surviving instruments see Part II. taken in America ¢. 1905 shows Arnold Dolmetsch
(2) Jacques, son of (1). Maker of harpsichords, playing a Gottheimer clavichord of 5 octaves, with 3
harps, and pianos. Accepted as Master, 1766. Dates roses.
ascertained, 1740-89 (the year of his death), during For details of surviving instruments see Part II.
which period, according to Pi, he resided in the rue
des Fossés, Saint-Germain-des-Prés, though Bg (p. 15) * GOUDARD, Claude. See: DU FOUR, Claude.
quotes a ‘sieur Goermans, marchand de clavecins et de
harpes, rue de Limoges’ in 1778. This is not cor-
roborated by Germigéo.
© GOUJON, Jean Claude. French harpsichord maker
of the eighteenth century. F/. 1743-58 [GDN-EKI].
In 1781 he designed a harpsichord which was
Apart from making harpsichords and spinets, much of
described in the A/manach Musical of the following year
his work involved ‘ravalement’ of Ruckers harpsichords.
as having 21 keys to the octave.
He was one of the many eighteenth-century makers An ‘épinette de Goujon’ was advertised for sale on 14
who made harpsichords based on the pieces of earlier January 1760; and, on 12 January of the following year,
another ‘5 pieds de long sur 2 de large, grand
Flemish instruments. See Hubb 1963, p. 55.
For further details see Hardowin 1957, pp. 21-5, and
raval[ement]. prix 12 louis’ [Bg. Cor (p. 84) refers to
him in passing].
Verket.
A harpsichord in the Musée Instrumentale, Paris
For details of surviving instruments see Part II.
Collection purporting to be by Hans Ruckers, dated
1590, was found, when opened up for repair, to have
GOLDSWORTH. See: GEIB, John. the pencilled signature of Goujon inside [RG.I, p. 81].
This instrument is described and illustrated by O’Brien
GOMPAERTS, William, of Antwerp. Harpsichord at pp. 278-9, where he suggests that it is mostly the
maker; dates ascertained, 1560-1610. Received into the work of Goujon in the period before 1749, though Bz

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 GREGORI 73
suggests that it was merely the 3 rows of jacks which GRAY, Robert and William. Makers of harpsichords,
were made by Goujon. A further fake Ruckers by pianos, and organs at ‘72 Queen Ann (sic) Street East’,
Goujon, purporting to be a loannes Ruckers double of London, in 1793. Their trade card is reproduced in J,
1632 is in private ownership in Paris, and is described pl. xlix.
by O’Brien at p. 281. For details of surviving instruments see Part II.
For details of surviving instruments see Part II.
GREEN, Thomas. Maker, peripatetic tuner and main-
GOZZINI, Joseph Maria. See: GOCCINI. tainer of harpsichords, and a range of other instruments,
and teacher of music, resident in Hertford. Dates
GOZZINO. See: GOCCINI. ascertained, 1718-91. Gillian Sheldrick [Sheldrick] has
made an analysis of his accounts which is of great use
and interest in identifying and corroborating evidence
GRABALOS, Jozé. Clavichord maker at Tarazona in of the musical life of the English home counties in
the eighteenth century. the eighteenth century. Like the three Broadwood
For details of surviving instruments see Part II. manuscripts [SéBa, ShJ/, and Shz: 4), the list of hirings
and tunings of harpsichords and spinets gives a useful
GRABNER. Makers of organs, harpsichords, and survey of the gentry who owned instruments, and some
other instruments at Dresden in the seventeenth and indications of the charges for tuning and maintenance.
eighteenth centuries: It also identifies a number of hitherto unknown makers
(1) Johann Christian, maker of organs and other of English harpsichords and spinets, who, from the
instruments; dates ascertained, 1678-1704. In 1692 he serial numbers of their instruments must have been
built the organ in the church of St. John at Dresden prolific makers, but until now had been entirely
(F4. forgotten or overlooked. A typical example is Peter
(2) Johann Heinrich, the Elder, brother of (1); 1665— Gunan (9.v.) whose instrument, No. 166, belonging to
1739. Kurfiirstl. Sachs. and Kgl. Polnisch. Hofor- Mr. and Mrs. Robinson Lytton, was tuned at Kneb-
gelmacher. Also made harpsichords, and clavichords worth House from 1754 to 1762. In addition there are
(Wa, p. 287]. Organist at the Frauenkirche, Dresden, many references to well-known instrument makers such
1696 onwards. Ks (Vol. 2, p. 657) suggests that he was as Kirkman and Hitchcock.
a pupil of G. Silbermann. The only clear indication that Green made harpsichords
For details of surviving instruments see Part II. is an entry in his books that one of his instruments
(3) Johann Heinrich, the Younger, son of (2); ¢. 1700- was used for concerts in the (presumably Hertford)
¢. 1777. Became Court organ and harpsichord maker. Shire Hall in the years 1773-76, while he may have
For details of surviving instruments see Part II. supplied the instrument which he tuned for the Hertford
(4) Johann Gottfried, eldest son of (3). Born Dresden Concert, 1754-67. It is, however, possible, from the
1736. Like his father he became Court organ and number of instruments by other makers which passed
harpsichord maker. Died 1808 [Hirt]. From 1786 through his hands that these particular harpsichords
onwards he made pianofortes with his brother Johann may have been by other makers, and only transitorily
Wilhelm, and, after his death, with his half-brother in his ownership. Sadly none of his instruments has
Karl August [Hird]. survived.
(5) Johann Wilhehn, another son of (3). Born 1737;
died 1795 [Hirt].
GREGORI (or, as appearing in B2-GREGORIO).
(6) Karl August, third son of (3), to whom he was
born in 1749 by his second wife. After his father’s An Italian harpsichord belonging to John Barnes of
Edinburgh bears the inscription: OPUS AELPIDIJ
death he left his brothers and set up a firm of his own,
which produced keyboard instruments of high quality GREGOR] A S$. AELPIDIO 17(?)6. Francl lists a
[Fé]. Latest date ascertained, 1796 [Hirt]. harpsichord inscribed: 1691 Elpidins Gregori e Selfidio
For details of surviving instruments see Part II. Jecit, also another (I. 45): Opws Elpidii Gregorii et Sancta
(7) Emnst Gottlob, 1734-59, son of (3) by his first Elpidis Caefani Quarta Katena Areminis 1779. Another
marriage. Organ and instrument maker [Hirt]. harpsichord, in the Finchcocks Collection, is signed
1679 ELPIDIUS GREGORI. E. S$. ELPIDIO FECIT
(though the date is in question) while Hubb 196) (p.
GRAET, Willem. F/. 1663-82 as a harpsichord maker 37) cites a fourth harpsichord, dated 1697, without
at Warmond near Leiden about 1670 [Cuwrtis, p. 50; giving its location. It could be the same as the
Gier). Finchcocks instrument.
A further instrument, probably made in the period
GRAUWELS, Johannes. See: GROUWELS, 1650-80, survives, bearing the inscription Nicolae de
Johannes. Gregorij fecitti Anno Domini 1740.

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74 GREGORIO
Though the inscriptions of any instruments which Merton’s spinet at Lord’s Lane, Hoddesdon. It was
have passed through Franciolini’s hands must be treated described by him in 1760 as Thos Griffin London Fecit,
with caution, and though there is a wide spread in the and in 1762 as Thomas Griffin Fecit No 427 [Sheldrick].
dates (from 1679-1779) the indications are that there If Griffin made 427 instruments, it is surprising that
were possibly 2 makers with the surname Gregori, none of them appear to have survived.
(Nicola and Elpidio) and that they came from
Sant’Elpidio, on the Adriatic, near Marche (province © GRIMALDI, Carlo, of Messina. Lute and organ maker,
of Ascoli Piceno, diocese of Fermo) [Misch-1979 II, et ff. 1697-1703. Also made harpsichords, of which there
al.). are 2 surviving examples, and is notable as the maker
For details of surviving instruments see Part Il. of the only surviving Italian folding harpsichord (or
clavecin brisé). If this latter instrument is roughly
GREGORIO. See: GREGORI. contemporary with the surviving dated harpsichords of
1697 and 1703, it predates the instruments of Marius,
GREINER, Johann Karl. Born at Wetzlar in 1753; who is generally thought of as the inventor of the
died 8 October 1798. Probably a harpsichord maker clavecin brisé. It may in fact be the case that the folding
first and foremost, he is chiefly remembered for an harpsichord originated in Italy, for there is evidence
instrument imitating Hans Hayden’s Geigemwerk [Ko, that Mondini (g.».) also made these instruments in the
Go. seventeenth century [ Vannes, Hirt, VdM, Cerv.M.ASM,
and Corsi, Giordano. ‘Un grande cembalaro italiano
GREN, Jonas, & STRAHLE, Petter. Clavichord del’600: Carlo Grimaldi’. In: Nuovo Rivista Musicale
makers in Stockholm in the latter half of the eighteenth Italiana, 1981, pp. 206-15].
century. For details of surviving instruments see Part II.
A portrait of Jonas Gren, the organ builder, painted
by Peter Rostrém in 1755, appears on p. 23 of H-O. * GRONBERG, Anders. Clavichord maker of Stock-
A plan and photograph of their workshops are holm. Dates ascertained, ¢. 1775-84. It is known that
illustrated by H-O at pp. 35 and 36. in 1778, he was an apprentice in the workshop of Lars
Only one of their clavichords survives, dated 1750, Kinstrém (q.».), which by that time was being run by
and it is noteworthy in that it shows relics of pinning his widow, Kinstrém having died in 1763. By about 1780
which may have been intended for a 2’ stop. [See further: Grénberg appears to have left Kinstrém’s workshop, for
H-O, p. 148.) in that year he is recorded as harpsichord tuner to the
For details of surviving instruments see Part II. Russian embassy, and by 1784 he was working with
Pehr Lundborg (g.».) [H-O].
GRENOT, Pierre. Dates ascertained, 1778-89. Harp- For details of serviving instruments see Part II.
sichord maker living in the rue du Moulin-Neuf, Paris,
1778-83, and at 59 rue de la Calandre, 1788-9. In 1778 * GRONBOM, Eric. Clavichord maker of Stockholm.
he entered the Guild of Instrument Makers [P#]. Further Dates ascertained, 1799-1810. In 1799 he applied for a
details of his addresses are given in Germrgso where licence in Stockholm and was refused, probably because
in a map of Paris on p. 440 the location of his workshop he built violins and pianos as well as clavichords, but
is shown in relation to those of other Parisian makers he was successful in 1802. He worked with Lundborg
and musicians of the period. Germrgéo also notes a (.».) and Lindholm (g.v.) for 8 years until 1810 when
tuner and regulator of harpsichords with the same he became a partner in the firm of Groénbom &
surname, living Au Marché-Neuf, a la Cage, in 1778- Applegren HO),
83.
GRONBOM, Eric & APPLEGREN, Johan. Col-
GRIES, of Graz, Steiermark. Organ or keyboard laborators in Swedish clavichord building in Stockholm,
instrument (most probably clavichord) maker of the in the period 1810-11. For further information see:
late eighteenth or early nineteenth century. The work H-O, p. 165.
of this maker is known only through the list of makers
given by Christian Friedrich Gottlieb Thon, though he © GROU, Damien. Maker and player of the harpsichord
does not single him out for especial praise or esteem. at Lyons. Dates ascertained, 1718-70. Thanks to the
See entry under THON. research of Pxssiaw it is known that Grou was appren-
ticed on 23 August 1718 in Paris to Jean-Baptiste
GRIFFIN, Thomas. Spinet maker of London, prob- Rigault (g.v.), maker of musical instruments, in the rue
ably in the eighteenth century. The only reference to de la Truanderie (parish of Saint-Eustache), for a period
him appears in the workbooks of Thomas Green of of six years. Bz states that the Lyons directories, 1716—
Hertford, who between 1760 and 1762 tuned Mrs. 65, record a Grou who was a teacher of the mandolin

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 GUNDET 75
and made instruments [Va//as], and this may have been because of the absence of the third digit. Though at
Damien Grou, but the early date of 1716 (before his one time thought to be 17[o]o, it is now more generally
apprenticeship) may indicate that there was an older thought to be 17[8]o.
member of the family working before 1718. On the For details of surviving instruments see Part II.
occasion of the birth of his first daughter, Jeanne
Honoré, on 24 March 1723, he was to be found in @ GUARRACINO, Honofrio or Onofrio. Italian virginal
Lyon (most probably from the evidence of the registers maker of Naples, who may also be the maker of an
of the parish of Sainte-Croix) as ‘faiseur d’instruments early surviving Italian bentside spinet. Dates ascertained,
de musique 4 Lyon’, and he appears similarly in the 1652-92. The complete latinization of his name is
years 1724 and 1725 (presumably on the birth of further Honofrius Guarracinus, but his instruments are signed
children). In 1732, he was with Pierre Donzelague (9.v.) with a number of variations. In particular the first name
a harpsichordist at a concert given at Neuville-sur-Saéne appears sometimes as Onofrio and at others as Honofrio.
on 10 July 1732 in honour of the Cardinal de Polignac. The catalogue of the Museo Teatrale alla Scala, Milan,
The viol Fafte a Lyon Par Grou de Paris 1713 (Bg, p. 8] when referring to his instrument of 1667 refers to
may have been made by him. From 1761 to 1765 the him as ‘Fra Giovacino’, but this seems to be a
Almanachs de Lyon record him as a professor of the misinterpretation [VdM].
mandoline and maker of instruments, while in 1763 (2 The only biographical details come from Tag who
and 9 March), the Afiches de Lyon published an states that Guarracino was active in Naples in the
advertisement for a ‘mandoline a huit cordes, ornée en second half of the seventeenth century and adds:
marqueterie, 4 vendre: s’adresser 4 M. Grou, Facteur Nulla si sa su un suo possibile rapporto con Alessandro Fabri;
d’Instruments, rue de la Gerbe . . .’. certo ¢ che—come gia s’¢ sottolineato—vi sono molto analogie
On 27 April 1770, he was charged with Joseph construttive tra i virginali di questi due artefici. Gurracino
Rabiny (g.v.) with having given his advice ‘sur les appare quindi continuatore dell’arte del Fabri, anche se la
ouvrages faits par le dit sieur Barbariny a un clavecin distanza cronologica tra i periodi in cui la loro rispettiva
appartenant au sieur Capellin fils’. Pussiaw reports that attavita @ documentata rende improbabile che vi sta stato un
at the time the instrument was being decorated by the rapporto diretto maestro-allievo.
painter, Deproge. GDN-EKI comments: ‘He made several rectangular
Grou died in 1770 at the Hotel de l’ecu de France. virginals; they show careful workmanship and are not
in the northern Italian tradition.’
GROUWELS, Johannes or Hans (Grauwels]. Maker For details of surviving instruments see Part II.
of virginals and harpsichords. Master of the Guild of
St. Luke, Antwerp, 1579 [Ba]. He is recorded as * GUGLIELMINI, Claudio. Harpsichord maker of
becoming a citizen of Middelburg in 1593 (Curtis, p. Rome, but originally from Lorraine. Born ¢. 1579, died
50]. His surviving virginal is of some importance since 1651? Son of Nicola. Recorded as a harpsichord maker
it represents a ‘half-way house’ between the muselar in the via dei Corona from 1617-51, with his wife
and spinet, having its keyboard placed roughly centrally. Suriana Di Cesare, from Montepulciano (died 14
For details of surviving instruments see Part II. December 1648). Though the date of his death is not
known with certainty, it is clear that in 1649, when in
GROUWELS, Lodewijck, or Lodewyk, or the parish registers he is called ‘Lothingarius cimbalarius
Lodewyck [Ludovicus Grouuelus]. Probably son of in Urbe’ (harpsichord maker from Lorraine, in Rome)
the above. F/. at Middelburg, near Flushing, in 1593 he was ill at his home (Barbieri, p. 152].
[Cartis, p. 51]. :
His beautifully decorated double virginal, dated 1600, GUISSIERE. See: DUBUT GUISSIERE.
in the Metropolitan Museum of Art, New York, may
well be the earliest surviving virginal (or harpsichord) * GUNAN, Peter. English harpsichord maker. Dates
made in the North Netherlands [Gier]. ascertained, 1754-63 during which period Thomas
For details of surviving instruments see Part II. Green (.».) tuned a harpsichord by him in the possession
of Mr. and Mrs. Robinson Lytton, at Knebworth
GRUNEBERG, Johann Wilhelm, of Alt- House, Herts. The serial number was recorded by
Brandenburg. Dates ascertained, 1776-96. Maker of Green as 166, indicating that Gunan’s output was not
organs, clavichords, pianos, and other keyboard instru- inconsiderable. It is therefore surprising that no other
ments. In 1796 he erected an organ in the church of instruments by this maker have been recorded.
St. Catherine at Magdeburg [Fé]. He is also mentioned [Sheldrick]
in the list of makers given by Christian Friedrich
Gottlieb Thon, though he does not single him out for GUNDET, Robert. Virginal maker in Westminster,
especial praise or esteem. See entry under THON. The 1551. [Acts Privy Council (1891), HI. 306; quoted in
date of Grineberg’s surviving clavichord is uncertain O.E.D. s.v. Virginal}.

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76 GUNZER
GUNZER, Marx. Organ builder of Stuttgart, fl. 1600
when he made a ‘Clavier’ for Prince Achilles Friedrich
(Warts. Vierteljabresschrift, 1900}.
GUSNASCHI, Lorenzo [a/so Gusnasco, Lorenzo di
Pavia, Laurentius Papiensis}, of Pavia. Maker of organs,
harpsichords, and clavichords. Dates ascertained: 1494,
he died before 1539.
He was a friend of Aldus Manutius and acquaintance
of Leonardo da Vinci. His contemporaries esteemed
him so highly as an organ builder that they called
him Principe. Beatrice d’Este had a clavichord of his
construction, and he made for Pope Leo X in 1514 a
large harpsichord (‘uno clavecimbalo grande con do
registri’). (See also below: VINCENTIUS, probably of
Florence.) A stone was erected to his memory
Mantua.
Va refers to the remains of a little organ made by
him in 1494, preserved in the Correr Museum at Venice.
See further Teseo Albonesio, who has a few para-
graphs on him in his Introductio in Chaldaicam linguam,
Pavia, 1539; also Carlo dell’Acqua’s Lorenzo Gusnasco ¢
i Lingiardida Pavia, Milano, 1886.
GUTH, of Tschisdan, Bohemia. Organ or keyboard
instrument (most probably clavichord) maker of the
late eighteenth or early nineteenth century. The work
of this maker is known only through the list of makers
given by Christian Friedrich Gottlieb Thon, though he
does not single him out for especial praise or esteem.
See entry under THON.
»y Google
GUZZINI or GUZZINO. See: GOCCINI.
GYSE, Johannes. Fifteenth-century organ maker, and
possibly harpsichord maker of York.
Christopher Page and Lewis Jones [‘Four more
fifteenth-century representations of stringed keyboard
instruments’, in GSJ XXXI (1978), p. 151] drew
attention in 1978 to further examples of carved figures
of angels playing early forms of keyboard instruments,
to be found in the city of York, and to add to those
shown in RipKb, p. 11. Page and Lewis mention the
fact, evidenced in many of the entries in this book, that
organ makers were often also makers of stringed
keyboard instruments. With this new additional evid-
at ence of the knowledge of the form and shape of the
fifteenth-century harpsichord shown in the carvings, it
seems clear that such instruments were known in
fifteenth-century York. Seven organ makers are recor-
ded in the York Freemen’s Register between 1431-2
and 1488:
1431-2 Johannes Gyse, organemaker; 1447 Willelmus Nyvell,
organmaker; 1465-6 Johannes Roos, frater ordinis Prae-
dicatorium organista [and organmaker]; 1477 Willelmus Hall,
orgonmaker als. mercator; 1477 Edwardus Boyse, orgonmaker;
1486 Moras Biran, organer [‘organmaker’ in his will of 1510];
1488 Johannes Hugh, orgonmaker.
Whether they made harpsichords is by no means certain,
but there is quite a reasonable probability that one or
more did so.
 H
H, A. W. Two ottavino virginals in the Flemish style © HAASE, Johann Ernst. A clavichord in the Museo
bearing these initials survive. de la Musica, Barcelona, bears the maker’s label which
For details of sserviving instruments see Part II. according to Bz appeared to read (though several
words are indistinct): Jovann Ernst Haase/Orgelmacher und
H, D. An undated polygonal virginal in the Brussels erbalter|Organist zi Sti. Petri] in Budissin|1728. KdP has
Museum bears initials which appear to be DH. examined the inscription, and reports that it more
For details of surviving instruments see Part II. probably reads Jobann Er . . . an{Orgelmacher und
Gestalter|?]|Organist zu St. Petrilin Budissin[1728. On the
H, H. See: HILL, Henry. basis of this, the maker’s first name appears almost
certainly to have been Johann. The surname, according
© H, L. A spinet once owned by E. M. Ripin, New York, to KaP is illegible, and whether this instrument is by
has its original name batten, which is blank; but the
a relative of Georg Haase is not clear.
inscription JH 1771 is roughly painted on the inside of For details of surviving instruments see Part II.
the bottom of the case. The instrument has a single
curve in the bentside. This has now been firmly HABOR. Nor (91) refers to a clavichord by ‘Habor,
attributed by Koster to John Harris, Boston (9.v.). Ansbach’. This is a mistake (? misprint) for Huber, an
For details of surviving instruments see Part II. alternative spelling of Hubert, the Ansbach maker. The
instrument is numbered 528 in the collection of the
H, J. B. A clavichord in Copenhagen is signed JBH, Staatlichen Hochschule fiir Musik, Berlin, and is
but is undated. described by Sa (p. 50) with a photograph. It is listed
For details of surviving instruments see Part II. in the instruments section under Hubert.

H. O.N. See: N, H. O. HACKER, Jérg. Organ and ‘instrument’ maker at

Steyr, Austria, in the sixteenth century. In 1587 he sold
H. V. L. See: V, L. a 2 manual harpsichord; and in 1591 a pedal clavichord
to Kremsmiinster [Mar¢P].
* HAAR, Andries (Andreas) Johannes van der. Harp-
sichord and pianoforte maker, baptised in Amsterdam HADRIANUS, of Rome. Possibly a harpsichord
on 3 December 1758. He was apprentice and successor maker,
f. 1753, but the name is most probably fictitious,
to his uncle Andreas Johannes Paradijs (g.v.). In 1785 and by Franciolini.
be married Johanna Gesiena Upper in Amsterdam. His For details of surviving instruments see Part II.
last address was Egelantiersgracht no. 168, where he
died on 8 May 1826, at the age of 67 years. On that HAFFENREFFER, Samuel, of Ulm, f. 1540. Made
date he was registered as a pianoforte tuner only. In according to Va, a ‘monocordo speciale’, which may
1783 he announced that he had taken over his uncle’s have been a clavichord.
workshop on the Boomstraat and that he made and
tuned organs, fortepianos and harpsichords. In 1785 he © HAGAERTS [osherwise Haquaerts, Haghens, Hagart].
called himself a ‘pianoforte en clavecimbaalmaker en Harpsichord and virginal makers in Antwerp:
stelder in de Korte Koningsstraat’. It is possible that (1) Cornelius (or Cornelis). Dates ascertained, 1626/
he did not make harpsichords [Gier]. 7, died 1641/2 [Books of the Guild of St. Luke,
Antwerp, quoted by St, p. 56, where he is described
@ HAASE, Georg. Maker of organs and clavichords, as clavesimbalmacker and claversingelmaker].
was born, according to the church records of S. Petri, For details of surviving instruments see Part II.
Bautzen, at Ossling near Kamenz in Saxony, in 1650, (2) Simon. Very probably son of Cornelius. Entered
and married Dorothea Wentzel at Bautzen (for which the Guild 1641/2 as a harpsichord maker. He took
Budissin is the old Wendish name) in 1679. He died one of Johannes Couchet’s sons as an apprentice
there on 9 March 1712, a ‘Vornehmer Birger und (clavesimbelmaker).
Kunsterfahmer Orgel und Instrumentmacher’. Further information on the family is to be found in
For details of swrviving instruments see Part II. J. Lambrechts-Douillez and M.-J. Bosschaerts-Eykens,

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78 HAGEMAN
‘Dokumenten betreffende de familie Hagaerts’. Mede-
delingen van bet Ruckers-Genootschap. Ul (Antwerp, 1982).
11-24.
For details of surviving instruments see Part II.
HAGEMAN, Johannes Engelbert. Organ and harp-
sichord maker from Sonnbornn on the Wupper, near
Diisseldorf, where he was born in 1743. On 13 August
1767 he became a member of the Reformed Church of
Amsterdam and lived in “t Noorderbosch’. Five months
later he married Helena Bettink.
The following advertisement appeared in the Amster-
damsche Courant for November 22, 1768:
Johannes Engelbert Hageman, orgel-cn clavecimbealmaker,
woont op de Prinsegragt. het eerste huis in de Roozenstraat
te Amsterdam; stelt orgels en clavecimbaals en repareert de
oude, alles prompt en ten genoegen van de Heeren en Dames,
aan welke hij zig recommandeert; met verzeekering van ten
allen tijden voor zijn werk in te staan en niemands goed te
mishandelen. Heeft verscheide extra fraaic stukken gereed, die
dagelyks bij hem te zien zijn.
(An advertisement in which he recommends himself as
an organ and harpsichord maker and tuner, offering
instruments for sale). Hageman died in 1782 and
buried on 23 October in Amsterdam. His widow
to continue the workshop on the Looiersgracht
the foreman Cornelis van Grondelle whom she
married [Gier 140s and 394].
HAGERODF, Johann Christian. (or according to VdM,
HAGERUF). Clavichord maker at Tiibingen, f. 1795.
For details of surviving instruments see Part II.
HAGHENS. See: HAGAERTS.
HAHN, Klaus. Maker of clavichords (‘Klaffi-
cordienmacher’), presumably at Leipzig. F/. 1555~65,
at which dates he is recorded as having children [R.
Wustman, Musikgeschichte Leipzigs, Vol. 1, Leipzig,
1909].
HAHNEL, Johann Ernst (Héhnel], of Mcissen.
Clavichord maker and organ builder to the Court of
Saxony, flourished in the first half of the eighteenth
century. He is mentioned in Ad/ (II. 126) as adding
certain stops to the Cembal d’amour invented by
Silbermann. Va mentions him (s.v. Hoenel) as a maker
of cembals d’amour. See: Fe (IV. 176) who mentions 3
organs built or rebuilt by him.
HAIDEN. See: HAYDEN.
HAINHOFFER, Philipp, of Augsburg, born 1578.
He made automatic spinets. Cf. Biderman.
HAKE, Henning, of Riga, f. 1657. Maker
clavicytheria.
Google
For details of surviving instruments see Part II.
* HALL, Willelmus. See: GYSE, Johannes.
* HALLENGREEN, Barnard. Harpsichord maker of
London who is known only from Thomas Green’s
(q-v.s) records of tuning of instruments in Hertfordshire.
In 1761, Green tuned a harpsichord identified as being
by Barnard Hallengreen London 1749. In another entry in
a workbook he describes Hallengreen as being a
‘Harpsicord [sic] Maker the znd Door on the left hand
in May’s Buildings near St Martin’s Lane [Sheldrick].
HALLEY, Robert. See: HATLEY, Robert.
© HANCOCK, James, was alive in 1820. An organ
builder [GD].
James and John may have been brothers, and may
well have been related to Thomas. They are both
mentioned in the contract for an organ at Chelmsford
in 1772 [GD].
was John Crang (g.v.) took one, or perhaps both, of them
tried into partnership in piano making and organ building,
with the firm being called ‘Crang & Hancock’. Nine organs
later built by them are recorded by Sum (p. 173). One of
these, reported by Darcy Kuronen, in the possession
of Lawrence Tropiano of New York is signed James
Hancock Harpsichord Organ and Piano Forte Maker Nephew
and Successor to the Late Mr. Jobn Crang.
©@ HANCOCK, John, died 1792. Organ builder [GD]
and spinet maker.
For details of surviving instruments see Part II.
©@ HANCOCK, John Crang. John Crang Hancock was
@ pianomaker and organ builder, living at 32 Parliament
Street, Westminster, and afterwards at 82 Wych Street,
St. Clement Danes. Dates ascertained, 1779-99 [Ha].
In patent number 1743, dated 10 May 1790, he
describes himself as ‘John Crang Hancock, of Wych
Street, in the Parish of Saint Clement Danes . . . Organ
Builder’.
In 1794 he is recorded in J. Doane’s Musical Directory
(London, 1749) [L. G. Langwill in Masic and Letters,
London, January 1949].
At least 3 examples of spinet-shaped pianos by John
Crang Hancock survive. One with the inscription Crang
Hancock Londini Fecit 1777, and exhibited at the Ardingly
Exhibition in 1969, was sold at Sotheby’s on 22
November 1989; a second, dated 1779, belonged in
1885 to A. M. Lawrence, and was sold by Christie’s in
1987 to the Finchcock’s Collection [see: EM, Vol. XV,
of No. 4, November 1987, p. 527 (including illustration)],
and a third, dated 1782, formerly in the Broadwood

Collection, was in 1989 in the Colt Clavier Collection.
The latter 2 were shown at the International Inventions
Exhibition, London, 1885 [Sotheby's Catalogue of 22
November 1989].
Despite the above convincing weight of evidence for
the existence of one man called John Crang Hancock
(mone of which has been further checked since the
publication of Bz) one cannot help being confused by
the perplexities of the interrelation of the names. Darcy
Kuronen has suggested that following the death of
John Crang, James Hancock signed his instrument
‘John Crang, Hancock’, the comma being lost in the
traditional scrolling script of the nameboards of the
period. There is room for further research here, which
is beyond the scope of this article.
HANCOCK, Thomas. Harpsichord and spinet maker,
London. Dates ascertained, 1700-20.
For details of surviving instruments see Part II.
HANERT of Arnstadt, Thuringia. Organ or keyboard
instrument (most probably clavichord) maker of the
late eighteenth or early nineteenth century. The work
of this maker is known only through the list of makers
given by Christian Friedrich Gottlieb Thon, though he
does not single him out for especial praise or esteem.
See entry under THON.
HANS VAN CUELEN, ic. Hans from Cologne.
This ‘very important but shadowy figure’, as Edwin
Ripin [RG.I, p. 13] aptly calls him, was primarily
concerned with organ building and in 1509 came to
Antwerp to do some work on the organ at the O.L.V.
Kerk there. But he also concerned himself with the
making of stringed keyboard instruments, and it seems
probable that in him the earliest signs of the devel-
opment of the great Flemish tradition of harpsichord
making, which culminated in the work of the Ruckers
family (g.v.), should be sought.
Hans van Cuelen appears under various names, such
as Hans Suys (Siiss), Johan de Colonia, Meister Hans
Suest von Nirnberg, Maistre Hans Blangz, Jan van
Zwanenbroeck, and a number of others (if Vente is to
be believed, though G. Pietzsch in MGG, vol. 12, s.v.
Siiss, is considerably more cautious).
In 1512 he made a ‘clavicenon’ for Eleanor
Austria, the deed of payment for which is reproduced,
transcribed, and translated in Ripin’s paper given at the
May 1970 Colloquium of the Ruckers Genootschap
(RG.I, pp. 13-14].
Relying on Po, p. 28, where it is stated ‘Beiden (i.¢.
Joos Karest and Gosuin Karest) zijn zij de zoons van
Hans van Ceulen (sic) and on St, p. 67, where
quotation from an original document is given: ‘Goosen
Kareest, van Coelen, Janssone, schilder’, Boalch recor-
ded Hans van Cuelen in his first edition under ‘Karest
(Jan)’; but more recent research has made it necessary
Google
HARRASS 79
to change this, as the name ‘Jan Karest’ (or a similar
variant) had not by 1974 been found in any relevant
archives.
Douglas Alton Smith [‘The Musical Instrument
Inventory of Raymund Fugger’ in GSJ XX XIII (1980),
Pp. 36-44] records one of the instruments in the
inventory as: ‘9. Further, a harpsichord with two
keyboards made in Cologne, so that two can play
together on each one’, as a possible further reference
to a harpsichord by Hans van Cuelen.
Hirtz gives 1557 as Hans van Cuelen’s last date.
HANSEN, Christian. Clavichord maker at Satrup,
Schleswig-Holstein, in 1799.
For details of surviving instruments see Part II.
HANSIN, of Bamberg. Organ or keyboard instrument
(most probably clavichord) maker of the late eighteenth
or early nineteenth century. Though it is just possible
that there may be some confusion with the name of
the above maker, Hansen, the name Hansin is otherwise
known only from the list of makers given by Christian
Friedrich Gottlieb Thon, though he does not single
him out for especial praise or esteem. See entry under
THON.
HANSON, J. A Longman and Broderip harpsichord
of 1783 bears the signature J. Hanson No 5. It is most
probable that Hanson was a workman employed by
Culliford (4.».).
HARRASS, Johann Heinrich, of Gross Breitenbach.
Harpsichord maker, b. 4 May 1665, son of Heinrich
and Martha Harrass of Gross Breitenbach. In 1712 he
married Catherine Bulle, though the parish registers of
Gross Breitenbach contain no mention of the year of
his death, which probably took place in some other
area, and which Bz, without reference, suggests as being
in 1714, and this is confirmed in the reference given
below. Bz says ‘he is presumably the Breitenbach master
referred to by Adlung’ [Ad/ II, 110].
Two important instruments by him survive, the
first, a 2-manual harpsichord in the Heimatsmuseum,
Sonderhausen [G. Kinsky, ‘Zur Echtheit des Berliner
of Bach Fligels’, Bach-Jabrbuch, 1924] and the second in
the Musikinstrumenten Museum Berlin [BerlinCaf].
Both are examined exhaustively in VdMFest.
In an article (by H. Liebermann) in the Bréetmicher
beimat Echo, 9/90 (the Heimatzeitung fiir die Stadt Gross-
breitenbach—brought to notice by O’BrienPC), further
ideas concerning the relationship between Harrass and
a the Bach family, as well as the existence of a possible
Thuringian school of harpsichord building are explored.
The article also cites three other members of the family:
(1) Johann Matthias Harrass, harpsichord maker
and cabinet maker, 1671-1746; (2) Johann Heinrich
80 HARRIS
Harrass, son of (1) harpsichord maker, 1707-78, and © HARRIS, John. Son of Joseph Harris. Spinet and
(3) Johann Nicol Harrass, harpsichord maker. See a/so harpsichord maker, Red Lion Street, Holborn, later
above: BREITENBACH. Boston, Massachusetts. Dates ascertained, 1730-68 (in
For details of surviving instruments see Part II. London) and 1768-¢. 1772 (in Boston).
On 22 October 1730 John Harris took out a patent
HARRIS, Baker, of London. Maker of spinets and (numbered 521) for: ‘A new invented Harpsichord,
harpsichords, and also of organs and pianofortes. upon which (having only two Sets of Strings) may be
Earliest and latest dates known, 1740-80. In 1763 his performed either one or two Unisons and one Octave
mame appeared [Un] as ‘Harpsichord maker, Denmark- together or the Forts and Pianos, or Loud or Soft, and
stree?. Longman and Broderip of Cheapside acted as the contrary may be executed as quick as Thought, and
agents for Baker Harris and probably also John Kemys also Double Basses, by touching only single Keys
whereby hard Divisions on the Bass Part may be well
q.v.).
The numbering and dating of Baker Harris’s instru- played in a Double Manner without the Thumb and
ments is still not entirely clear. Broekman has done some Finger together, which could not well be executed
valuable research on this matter and there is still more otherwise; that besides the above-mentoned Advantages
work to be done. Though the instrument numbered 1 a great deal of time and Trouble will be saved in
is dated 1761, the figure is indistinct, and an instrument Quilling and Tuning the said Harpsichord, and it will
allegedly dated 1740 was lent to the Loan Exhibition keep much longer in Tune than any Harpsichords that
in London in 1904. The inscription on a spinet of 1760 have Octave Stops, and consequently will not be so
has still to be verified. It is, however, clear that later expensive to keep the same in good Order as those
spinets are numbered and dated as follows: no. 4— Instruments which are made in the Common Way,
1763; no. s—17(6)3 (third figure indistinct); no. 1o— neither can any double-key’d Harpsichord be so ser-
1765; no. 77—1768; no. 93—1771; no. 148—1774; viceable and useful as the Peticoner’s new-invented
no 222—1777. Nevertheless, an instrument with the Harpsichord, although the Expence is vastly greater’.
number 20, or 21, is now thought to be dated 1776, The octave and ‘double-bass’ stops described here
and so it is difficult to draw valid conclusions on the cannot have been true octave and 16’ stops, since the
rate of Harris’s annual production. instrument had only 2 sets of 8’ strings. They must
In the records of Thomas Green’s (g.».) tunings one therefore presumably have been a kind of super-octave
entry notes the tuning of an instrument belonging to and sub-octave coupler, the one working on one 8’
Mr. and Miss Grindal of Ware, in 1779, as ‘Baker register, and the other on the second; though it is not
Harris 1772 2 unisons’. There are also entries for the easy to see exactly how these would have been contrived.
tuning of two spinets, one in 1763 and one in 1769. Certainly the instrument never attracted much public
Unfortunately no numbers are given [Sbe/drick]. attention, in spite of the long notice of it which
A. J. Hipkins had a harpsichord nameboard inscribed appeared in the press (quoted by Rj, p. 86); and Harris’s
Baker Harris Londini fecit 1780. Bz states that ‘this monopoly of ‘making and vending the said new
belonged to Henry Tull, and is now owned by C. F. invented harpsichord for the term of 14 years’ would
Colt’. In fact it would seem more than likely that it seem to have been unnecessary. No example of it has
was this nameboard which was affixed to the 2-manual survived.
1780 harpsichord which belonged at one time to C. F. The John Harris who appears in Un (1763) as a
Colt, and is now in private ownership in Germany (for ‘Maker of the Armonica’, resident in Bloomsbury
further details, see Part II). There is some confusion Market, may or may not be the same person.
over the involvement of Tull (who was a builder of In 1774, Thomas Green (9.».) of Hertford tuned a
instruments in the 1930s) with Baker Harris instruments. John Harris spinet dated 1765, for Mrs. Henshaw, of
A large 2-manual harpsichord with a Baker Harris Church Lane, Cheshunt.
nameboard, and a date of 1774 ascribed to it, may be In 1768 Harris emigrated to Boston, Mass., and in
genuine, or a complete copy by Tull, or a compromise that year he placed the following notice in the Boston
between these two extreme positions. Chronicle of 16-23 May:
A ‘grand piano Forte with pedal by Baker Harris in From London, JOHN HARRIS, who is just arrived in Capt.
a neat inlaid case’ was sold at Christie’s on 9 October Calef. begs leave to inform the public, that he MAKES and
1772 for £9. SELLS all sorts of HARPSICHORDS and SPINNETS.
For details of surviving instruments see Part II. Likewise mends, repairs, new strings, and tunes the said
instruments, in the best and neatest manner. Any ladies or
HARRIS, John. Son of James Harris of Sherborne,
gentlemen that will honour him with their custom, shall be
punctually waited upon. He lives at Mr. John Moore’s, next
Gloucestershire, was apprenticed to Stephen Keene door to Dr. Clarke’s in the North-end.
(q-v.) in 1675 and entered the Joiners’ Company in
1685. Master of John, the son of Benjamin Sison (9.v.). [Libin, Koster].

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 HASARD 81
In June he had moved to King Street, but by in 1762. His first wife, Philipina van Bijle, died in 1767
September 1769 he had moved back to North End, and and he remarried in 1770. His second wife was a widow
in that year the Boston Gazette for 18 September 1769 called Baldina Wijnstok and died in 1784. Jan van
contained the following notice (quoted by J): Hartevelt probably lived on the Baangracht until his
death. He was buried on 5 January 1798. In 1758 he
It is with pleasure that we inform the Public, that a few days
since was shipped for Newport, a very curious Spinnet, being advertised as a master harpsichord maker and tuner
the first ever made in America, the performance of the who lived on the Baangracht between the Lindegracht
ingenious Mr. John Harris, of Boston, (Son of the late Mr. and the Goublomstraat in Amsterdam. On 27 October
Joseph Harris of London, Harpsichord and Spinnet Maker) 1761, he advertised as ‘Johannes van Hartevelt, Mr.
and in every respect does honour to that Artist. Orgel-en klavesimbelmaaker’ and offered a 1-manual
It seems likely that this instrument is that now to be harpsichord with 3 registers for sale, made by himself.
found in the Metropolitan Museum of Art in New He also offered his services as an organ and harpsichord
tuner [Gier].
York, but Koster points out that Harris was wrong in
his statement that the instrument was the first to be
made in America, for one was made by Joseph Clemm HARTMAN, Jean Benjamin. Harpsichord maker, /..
(q-v.) in Philadelphia as far back as 1739. 1769 in the rue Béthisy, Paris (Pi. Germrgéo]. Died 7
The possibility that there were 2 (or even more) July 1770 [GL].
makers with the same name is evident from a surviving
wing spinet which bears the inscription Joannes Harris HARTMANN, Jacob. F/. 1765 at Dresden as harp-
London Wall 1796. There seems to be no other reference sichord maker.
to the above John Harris being resident at London For details of surviving instruments see Part II.
Wall, though it is not clear whether 1796 refers to the
date or a serial number. The matter deserves further HARTUNG, Cornelis (Hartungh, Hartingh]. Harp-
research. sichord and organ builder who worked in Utrecht
For details of surviving instruments see Part II. before 1624. Earliest date 1602z—he had died by 9
February 1624. Cornelis Hartung was a son of Jurriaan
Hartung, a municipal clerk in Utrecht in 1585, who
HARRIS, Joseph. Spinet and harpsichord maker,
came from Kitzingen (Germany). In 1602 Cornelis
London. Dates ascertained, 1737-65.
Hartung became a citizen of the German town Schwein-
For details of surviving instruments see Part II. furt. ‘Orgelmacher Cornelis Hartung aus dem Nie-
derlandt von Utrecht, welcher seine Kunst zu Arnheim
HARRIS, William. Spinet and harpsichord maker, 44 g Jahr lang gelernet.’ He accrued many debts in
Fetter Lane, London. Earliest and latest dates known,
Germany and returned to Utrecht in or before 1618.
1765-93. His creditors pursued him. [See Gier 1428, and Curtis,
For details of surviving instruments see Part II. pp. 51-2]
© HARRISON, John. Harpsichord and spinet maker, HARTWELL, Thomas. Virginal maker in the parish
living in London; dates ascertained, 1743-87. Freeman of St. Giles Cripplegate, London. Dates ascertained,
of the Joiners’ Company, 12 April 1743. In 1781 his 1589-92 [Parish Reg].
address was 8 Bell Head Court, Newgate Street. His
latest surviving spinet is dated 1787. A ‘fine ton’d HASARD, John. Harpsichord maker of London. Fi.
doublekey’d harpsichord by Harrison’ was sold at 1622. According to Alec Cobbe, in an illustrated article
Christie’s on 16 November 1791 for 9 guineas. Archibald “Charles II’s Virginals’ in a pamphlet produced for the
Pringle (9.».) was working for him in 1757. opening of an exhibition ‘The King’s Virginals and its
For details of surviving instruments see Part II. Music’, to celebrate the restoration of the 1664 Player
virginal in the Cobbe Collection of Keyboard Instru-
HARTAFFEL, Robert. Builder of organs and other ments, Hasard was the father-in-law of Gabriel Town-
keyboard instruments, 1717-82. Born 25 February 1717 send (q.v.). He also states that Hasard died in 1640.
at Leidek, Bingenheim (Hesse-Darmstadt). He lived The true identity of the maker of the 1622 harpsichord
near Marienborn and made a number of clavichords. at Knole, Kent, has eluded researchers for many years.
In 1746 he emigrated to America, living in or near The source of confusion has been the inscription on
Lititz, Pa., for a time and moving thence to Lancaster, the nameboard, in black and yellow paint, from which
Pa., where he died on 7 November 1782 [Armstr, some letters of the surname are missing.
Pp. 14]. Disregarding conjecture concerning those letters
which are not readily decipherable, the attribution is
* HARTEVELT, Johannes (Jan) van. Harpsichord fairly clearly JOHANNES .A.ARD FECIT LON-
maker born in 1735/6 in Amsterdam where he married DINI MDCXXII. Recent research [Ann and Peter

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82 HASERT
MacTaggart, The Knole Harpsichord: a reattribution in 17 he started to make keyboard instruments. Two years
GSJ XXXI, (1978), pp. 2-8] has shown that the only later he learnt to play the trumpet, and in 1701 entered
logical way in which the inscription can be completed military service. He took part in 9 campaigns in Brabant,
is by the addition, in the first vacant space, of an ‘H’, but kept up his musical studies all the time.
drawn in the Gothic style, which occurs universally in From 1709 onwards he was Court Trumpeter at
hand-written documents of the period, and in the third Eisenach; and made at the same time violins, bass viols,
vacant space, of an ‘S’, to give the surname ‘Hasard’. cellos, and clavichords [Wa].
This has (one hopes) ended the speculation which has
occurred since 1860, when Rimbault [Ré] suggested
©@ HASS [Hasse, Haase, Haas, Hasch]. Family of harp-
‘ASARD’, through ‘HAYWARD’, ‘HAWARD?’ (hence
considerable confusion in Bz), ‘IASARD’, and to
sichord, clavichord, wind and string instrument, and
organ makers resident in Hamburg in the eighteenth
‘IZZARD’, all of which possibilities are discussed and
rejected by Ann and Peter MacTaggart. century. The following members are recorded or may
Sadly, despite painstaking research, neither the Mac- be deduced:
Taggarts, nor any other scholar, have been able pos- (1) Hieronymus Albrecht, born 1689; died between
1746 and 1781.
itively to identify a John Hasard who was a London
virginal or harpsichord maker, though they have He was baptised as the son of Conrad Hass at the
discovered a John Hasard or Hazard of the Parish of S. Jakobi Kirche, Hamburg, on 1 December 1689
St. Bartholomew behind the Exchange, and have found having been born probably within the preceding week.
it tempting to try and reconstruct a relationship between He married on 12 October 1711 Margreta Dorotea von
him and William Hassorde, or Hassard of St. Giles Héffen. On 23 March 1714 he acquired Hamburg
Cripplegate (g.v.) but without success. Further to this, citizenship and from 1715 lived in the Rackerstrasse. A
Martin, and Alec Cobbe in the above-mentioned article, daughter of his, Maria Johanna, was baptised at S.
have drawn attention to the Records of English Court Jakobi on 3 April 1715, and his son, Johann Adolph
Music, Vol. 4, p. 207, compiled by Andrew Ashbee, (see below) worked with him in his workshop. [Hamburg
where a passage is recorded: ‘Paid to Hazard that archives.) In the year 1744, Hieronymus Albrecht Hass
keepeth her graces virginalls in tune for his stipend for supplied a ‘Clavicymbel’ to the Duke Friedrich Carl
the qrter ending at xpemas 1612 10s’. Clearly, therefore, von Plén (1706-61) [Hamburger Tonkinstler-Lexicon,
Hasard was connected with the court (‘her grace’ being Vol. 4, Hamburg 1983]. Hirtz2 gives dates of 1721-85,
the Princess Elizabeth, only daughter of James I), and but these seem unlikely in the light of other available
Cobbe goes further to suggest that Hasard was a royal information.
instrument builder, adding that because much of the For details of surviving instruments see Part II.
furniture at Knole had come from royal palaces, there (2) Johann Adolph, son of the preceding; f. 1740-
is the possibility that the Knole harpsichord had also 75. A harpsichord currently at Yale University inscribed
at one time belonged to the crown. J. A. Hass bears a date which might be read as 1710,
Quite apart from the correct attribution of the though this seems too early, since his first authenticated
harpsichord, the instrument itself is of the greatest date is the receipt by him of Hamburg citizenship on
importance, being the second oldest surviving English 20 October 1746, as son of ‘Hieronymus Albert Hasse,
harpsichord (the first being the 1579 claviorganum by Klaviermacher’. In the same year he married Anna
Theeuwes (4.0.)). Elizabeth Tramnitz, on 22 November in St Catherine’s
Descriptions of the Knole harpsichord, and (in some Church, Hamburg. He was certainly dead by 30 January
cases) discussions on its original specification, may be 1776, but possibly as early as 1773. Seven children were
found in the following: Ri, p. 401; Macq (article on born between 1747 and 1761, of whom Margaretha
Musical Instruments); GD, 3rd edition 1927/8 (footnote Catharina (1754-24 May 1792) married the Hamburg
to article on Harpsichord); J; Edward Croft-Murray, instrament maker Johann Christoffer Krogmann (1748-
The decoration of some old English Keyboard Instruments, 3 January 1816, g.v.) on 24 July 1781, and it seems likely
Part I, Apollo XLIX, 1949, p. 6; Rassell-1959, p. 653 that the latter eventually took over his father-in-law’s
Hybb1963, p. 140; Mould Th; Thomas McGeary, ‘Early workshop.
English Harpsichord Building’, in EHM, Vol. I, no. Ge (Vol. 1, 1790) says: ‘Hasse, Vater und Sohn beyde
1, 1973, p- 9; Michael Thomas, ‘Venetian Harpsichords’, Orgelmacher zu Hamburg, auch beyde nicht mehr am
in EHM, Vol. I, no. 4, p. 119, and a very full and Leben; machten vortreffliche Fligel und Klaviere, die
critical examination in KosterEEH. noch sehr gesucht werden.’
For details of surviving instruments see Part II. Whether the reference refers to Hieronymus Albrecht,
or Johann Adolph, is not clear, but Adlung, in his
HASERT, Johann. Born in 1680 at Bercka vorm Anleitung x der musikalischen Gelabrtbeit, Erfurt, 1758,
Haynich. From early childhood he had music lessons, p. 676 refers to a ‘Hasse in Hamburg’ as the maker of
and also did a great deal of carpentry. At the age of a ‘Cembal d’Amour’, or ‘Clavier d’Amour’.

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Though the members of the Hass family are justly
famed for their clavichords, they are equally important
for the way in which they developed the potential of
the harpsichord. A 1723 instrument in Copenhagen, by
Hieronymus Albrecht, has a specification of 3x8’, 1x4’,
a compass of FF-c', and a shove coupler, while a 16’
and 2’ register is to be found on others. Russellr9s9,
plates 87 and 88, shows one of the longest harpsichords
made before the zoth century (one by Broman being
the longest), the author describing it as ‘old Hass’s
magnum opus. The specification includes 3 manuals,
compass FF,GG-P, 1x16’, 2x8’, 1x4’, 1x2’, six rows of
jacks, and elaborate decoration.
For further commentary on the importance of the
Hass family in the field of German clavichord building
See: Pilipezuk-88, pp. 42-51, where a genealogical tree
is also to be found.
For details of surviving instruments see Part II.
HAWARD 83
© HAUG, Friedrich, Dates ascertained, ¢. 1730-93. Hirtz
gives him as F. C. Haug with a recorded date of 1792.
Court instrument maker at Stuttgart. He was also
‘Inspector’ of the instruments at the Hofkapelle of the
Duke, Karl Eugen. Several reports on the instruments
show that he must have made harpsichords, clavichords
and pianos. Amongst these reports it is interesting to
note the number of harpsichords which, by the year
1783, were being made into pianos by the introduction
of hammer action.
His son Theodor Christoph Haug (1771-1847) was
first a pupil of his father, but soon went to study (piano
making) with Stein in Augsburg. [Jeb/e pp. 8, 9].
Friedrich Haug’s harpsichords cost between 80 and
100 florins [Ge].
HAUK, Kasper, of Cracow, harpsichord maker in the
seventeenth century [Szu/c].

© HASS, Dietrich Christopher. Dates ascertained 173 1-

©@ HAUSER, Johann Hermann, f. 1761. (See also
96. Baptised in the St Petri. Church at Hamburg, on 3
under HEUSE, below.) German clavichord maker. A
October 1731, the third son of Christian Hase III, (for
clavichord in the Leipzig University Collection, Leipzig,
a family tree of the Hase family see: Pillipezwk-88, p.
bears the inscription along the bridge: 1761 Jobannes
44) who from 1723 was ‘Ratsdirektor’ and from 1725
Hermannus Hauser in Gimb. Whether this refers to
to 1765 was ‘Musikdirektor’ in Hamburg. Nothing
is known of Dietrich Christopher’s activities as an Gimbom in the Rhineland, Gimbsheim in Hessen, or
Gimbweiler in Oldenburg, is impossible to say.
instrument maker with the exception of one surviving
For details of surviving instruments see Part II.
clavichord dated 1796 which is signed by him, but
whether he was the builder or a restorer is still a matter
for controversy. It seems that he was not related to the HAUSLAIB, Lorenz. Maker of keyboard instruments
celebrated Hass family, unless very remotely [Schaltze, at Nuremberg, f. 1596. The Metropolitan Museum of
from Hamburg archives]. Art, New York, has an organ-spinet inscribed: D.
For details of surviving instruments see Part II. G. quid posible (sic) apud Lasrentium Haxslaib Nor|im)
bergense[m) 1596.
HASSLINCK. See: HESSELIUS. For details of surviving instruments see Part I.

HASSORDE, William [Hassard, Hassett]. London ©@ HAWARD [also Hayward]. A famous family of spinet
virginal maker. He is mentioned in the parish registers and harpsichord makers resident in London in the
of St. Giles Cripplegate intermittently from 1610 until seventeenth century.
his burial in May 1617. Despite the similarity of the (1) Charles. Dates ascertained, ¢. 1660-87 [J]. Lived
surnames, it seems unlikely that he was related to John in Aldgate Street. Pepys ordered a spinet from him in
Hasard (g.».). April 1668:
To White Hall. Took Aldgate Street in my way, and there
HASTEY, Robert. A misreading of Hatley (¢.0.). called upon one Haward that makes virginalls, and there did
like of a little espinette, and will have him finish them for
HATLEY, Robert. London virginal maker; f. 1664, me... [4 April].
in which year he resided in the parish of St. Giles On 13 July in the same year he called again. The
Cripplegate [Parish Reg.]. See also: TOLLEY, Robert. spinet was delivered at his house on the 15th, and it
For details of surviving instruments see Part II. cost him £5. Thomas Salmon (Vindication of an Essay
to the Advancement of Music, 1672, p. 68) refers to a
* HAUCKEN. A cabinet maker who built a combined ‘curious pair of Phanatical Harpsichords made by that
tangentenflugel and harpsichord at Dresden in 1786, Arch Heretick Charles Haward’ which he had seen.
probably under the instruction of Carl Gottlob Sauer In 1674 Haward was paid £6. 10s. ‘for mending the
(g..). harpsichords and pedalls in the Great Hall in the Privy
Lodgings and for the private musick, for 2 whole
HAUERT, Johannes. See: HOWARD, Johann. years’, and next year £2 was paid to ‘Mr. Haward, the

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84 HAWARD
virginall-maker, for mending the harpsichords’ (La, pp. inward, he causeth a Various Stop to be heard, af bis Pleasure:
299, 300]. and if he claps down his Foot Flat, then he takes Them betb,
Queen Anne had a virginal by him, which she was at the same time, (which is a 3d. Variety, and Louder).
said to have prized very highly (Ré, p. 68], and it seems Then has he ready, under his Left Foot, 2 other Various
Stops, and by the like Order and Motion of the Foot, he can
that other people must have been pleased to use these immediately give you 3 other Varieties, either Softer or Louder,
older instruments well on into the eighteenth cantury, as with the Right Foot before Mentioned, he did. So that thus
for, in the records of the tunings carried out in Hertford you may perceive he has several Various Stops at Pleasure; and
by Thomas Green (q.v.), there is an entry for a Charles all Quick and Nimble, by the Ready Turn of the Foot... .
Hayward (sic) instrument belonging to the Revd. Mr. I caused one of Them to be made in my Hoxse, that has 9
Briggs in 1760, while Green, who was clearly an astute several other Varieties, (24 in all) by reason of a Stop (to be
businessman, in 1745 purchased ‘a harpsichord made Slip'’d in with the Hard) which my Work-man calls the
by Chas. Howard (sic)’ from Mr Wellington, Surgeon Theorboe-Stop; and indeed It is not much ynlike It; But what
in Hertford, for £4. 145. 6d. After restringing and
It wants of a Lute, It has in Its own Singular Prittiness.
repairing it, Green resold it to Mr Collins at Mr
We had in those days Choice Consorts, fitted on purpose to
suit with the Nature of This Instrument.
Innivers, Epping Place for £17. 175. od.
The undated virginal which is in the collection of Hubb 1963, p. 147, has shown that Mace’s harpsichord
the Warrington Museum was formerly thought to be was a single with 4 rows of jacks (2 unisons, a lute,
by him, but has (1990) been ascribed by Martin to and an octave—controlled by the 4 pedals—and a
Thomas Bolton (q.».). hand-operated harp stop).
For details of surviving instruments see Part II. The above paragraphs are important on several
(2) John. In 1649 he resided in the parish of St. accounts. First, there is no doubt as to the nature of
Helen Bishopsgate [Parish Reg.]. the instrument called Peda/, which is named freely in
John Haward probably died in 1667 [Join]. A John contemporary documents, though not described, for
Haward was admitted to the Joiners’ Company in example, in a warrant dated 3 November 1664 ‘to
1647/8, while a John and a Charles Haward were pay John Hingeston . . . for repairing the organs,
admitted by patrimony in 1652 and 1660 and a Thomas harpsichords, pedalls, and other instruments . . .’ [La,
Howard (Haward) was similarly admitted in 1657. The p. 173]. This is probably the earliest occurrence of the
relationship between these probable members of the term, twelve years before the publication of Mace,
same family is unclear. which sorts quite well with his words ‘an Instrument of
Thomas Mace (Musick’s monument, 1676, pp. 235-6) a Late Invention’. Another warrant, dated 29 January
has an interesting passage about a harpsichord fitted 1668, is to ‘pay John Hingeston . . . for strings for the
with registration pedals, invented by John Haward: pedals, harpsichords, and virginalls . . .’ [La, p. 200].
This leaves little doubt that they are instruments of the
... the Pedal... contriv’d ... by one Mr. Jobn Hayward of type described by Mace. Compare a 1671 warrant for
Conceming This Instrument, call’d the Pedal (because it is ‘strings for the base violl, pedals and harpsichords’ [La,
contriv'’d to give Varieties with the Foot) I shall bestow a few p. 231).
Lines in making mention of, in regard. It is not very commonly Thus it is not to be confused with the Pedal described
used, or known; because Few make of Them Well, and Fewer by Adlung, which is a clavichord or harpsichord fitted
will go to the Price of Them: Twenty Pounds being the Ordinary with a pedal keyboard [Ad/, S596]:
Price of One: but the Great Patron of Musick in His Time, Sir
Robert Bolles . . . had Two of Them, the one I remember at 30 Wir wandern endlich zum Pedale, . . . welches uns aber nicht
1. and the other at 0 1. very Admirable Instruments. (N.B. This lange aufhalten wird, weil das meiste mit dem Clavichorde,
is a high price, when 8 years before Pepys had bought his oder auch mit dem Clavicymbel, Obereinkommt.
spinet from Charles Haward for £5.] It is interesting to observe in passing that a clavichord
This Instrument is in Shape and Balk just like a Harpsicon;
only It differs in the Order of It, Thus, Viz. There is made with pedal-keyboard was known in the fifteenth century,
right underneath the Keys, near the Ground, a kind of Cubbord, being described by Paulus Paulirinus of Prague in his
or Box, which opens with a little Pair of Doors, in which Box Liber viginti artium, ¢. 1460: ‘Clavichordium . . . quo
the Performer sets both bis Feet, resting them upon his Heels, cum suo calcatorio datur magnum preambulum in
(his Toes a little turning up) touching nothing, till such time studium organorum .. .’”
as he has a Pleasure to employ them; which is after this manner, The earliest picture ofa pedal clavichord is in a MS.
viz. There being right underneath his Toes 4 little Pummels of at Stuttgart containing Hugo von Reutlingen’s Flares
Wood, under each Foot 2, any one of These 4 he may Tread upon musice, which was written in 1464. The picture dates
at bis Pleasure; which by the Weight of bis Foot drives a Spring, from the second half of the fifteenth century and is
and so Cawseth the whole Instrument to Sound either Soft or Loud,
according as be shall chuse to Tread any of them down; (for without reproduced in Jeans 1950, also in Handschin 1935. Mace
the Foot So us’d, Nothing speaks). The ont-side of the Right Foot implies that, although John Haward was the inventor
drives One, and the In-side of the Same Foot drives another; of the pedal, other makers produced them (Few make
so that by treading his Foot a little awry, either outward or of them well); and, to judge from references such as the

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 HAXBY 85
above, they must have existed in considerable numbers; This announcement suggests that Haxby was not at
which makes it all the more singular that no example this stage making instruments himself, and the earliest
should have survived into modern times. record of instrument building concerns the organ in
(3) Thomas. Virginal maker in London. Dates Leeds Parish Church which he repaired in 1760, while
ascertained, 1656-63. In 1650 he resided in Bishopsgate in 1762 he made a new organ for St. Mary’s Church,
Ul; in 1663 he was living in the parish of St Giles Scarborough. Nevertheless he was described as a musical
Cripplegate [Parish Reg]. He was probably the Thomas instrument maker when he claimed the freedom of the
Haward, or Howard, who is recorded in Join as master city per patrem in 1758. His interest in organ building
of apprentices in 1650 and 1653. (He should be continued for many years, for, apart from building a
distinguished from the Thomas Howard (?Haward) new organ for St James’s Church, Louth, Lincolnshire,
who was admitted free of the Joiners’ Company in between 1767 and 1768, he is known to have built a
1657, and who may well have been a son of the above barrel organ in 1782 (possibly the earliest reference to
John Haward (g.».).) this type of instrument by an English builder) which
was eventually installed in St. Michael-le-Belfry, York.
HAWEINS, Furley. A spinet bearing this name and In August 1790 he was still advertising barrel organs
a date ¢. 1734 was reported to CMM as being seen in and new barrels, but there is no surviving example
a dealer’s shop in Derbyshire in June 1974. from this date.
For details of surviving instruments see Part II. Clearly, in his earlier years in business, his trade was
diversified, for, apart from the wide range of activities
mentioned in the advertisement, in 1764 he published
HAXBY, Thomas. Organ, spinet, harpsichord and
Six easy lessons for the harpsichord, by John Camidge; in
piano maker, music publisher and seller, etc., of York.
1770 Six lessons for the guitar (Haxby is known to have
He was baptised on 25 January 1729, the second child
made a cittern for George III in 1770) by Thomas
and eldest son of Robert Haxby, who by his wife
Thackray of York, while in 1789 he collaborated with
Elizabeth had 7 children, including sons John (baptised
2 other York music sellers in having the text of Handel’s
20 January 1732) and Robert (baptised 15 October
Judas Maccabeus printed. He is known to have been paid
1739). He died in 1796.
Thomas’s father, Robert (born 1704), following an
15. 6d. in May 1766 for having written a solo anthem,
and he also made violins and guitars.
apprenticeship (in 1717) as a carpenter to Thomas
Haxby’s surviving spinets and harpsichords owe
Forster, became a freeman of York per patrem in 1725,
much to his more prolific contemporaries Kirkman and
and it was most probably from him that his son learned
Shudi, whose style they closely resemble. His earliest
the basic skills which were to serve him well as a
known surviving plucked string instrument is a spinet
builder of quality instruments. Nothing is known,
of 1764, and the first recorded harpsichord dates
however, of his formal education and training and there
from 1772 (though at the time of writing (1990) its
is no record of him having served an apprenticeship.
whereabouts are not known). His importance in this
He must however have been well educated to be able,
field is the patenting {Patent no. 977] of a new form
at the age of 21, in 1750, to accept the position of
of machine:
Parish Clerk for the Parish of St. Michael-le-Belfry, a
church which then, as now, played an important part a new single harpsichord, containing all the stops of a double
in the religious life of the city. In the same year he was cone, which by the use of one pedal only, produces every
also appointed a ‘singing man’ in the Minster, and in increase, diminution, and variation of tone that a double one
1754 comes the first evidence of his involvement with is capable of performing . . . A single harpsichord of two
instruments, for, having repaired the bellows of the
unisons, octave, lute and harp, which by the use of one pedal
only (which pedal has a connection with several sliding
Minster organ, he was thereafter paid £6. 6s. od. tumblers, springs, &c) produces ten variations of stops, also
annually for tuning it. an increase and diminution of tone (cither gradually or
Shortly after 19 February 1756, when Thomas Haxby instantaneously) from the softest stop to the full harpsichord,
married Mary Eatwell, he set up a shop, possibly with or from the full harpsichord to the softest stop.
the help of capital which she contributed, announcing
This device is to be found on a surviving Haxby
it in an advertisement in the York Courant as follows:
harpsichord of 1777, now in the Castle Museum, York.
June 15 1756. He seems to have started advertising his patent a
This day is opened (at the ORGAN) in Blake Street, York) year later in the London press, e.g. the St. James
A MUSIC SHOP, where Gentlemen, Ladies and others may Chronicle or British Evening Post and Lioyds Evening Post
be furnished with all sorts of Musical Instruments and and British Chronicle, which carry notices in July 1771
Cases, Bows, Bridges, Strings, and Wire, Music; Vocal and to this effect:
Instrumental; Books of Instruction; blank Books, ruled Paper
&c. Wholesale and Retail, at reasonable Prices by Their most Harpsichords: His Majesty having granted his Royal Letters
obedient and humble Servant THOMAS HAXBY N.B. Patent to Thomas Haxby of York for his new invention of
Instruments repaired, and kept in Order in Town or Country. an improved single harpsichord he takes this method of

ized ty GOOgle
86 HAYDEN
acquainting the public that [here follows the same wording as J. Malden of a comprehensive and scholarly article
the patent quoted] . . . to the softest stop. To which is added ‘Thomas Haxby (1729-1796) Musical Instrument
a swell in the lid. Price 55 guineas. These instruments (which Maker’ in York Historian, Vol. 2, 1978, from which
have been approved by many Professors and judges in Music) much of the above information is taken with grateful
may be tried any time of the day at his Warchouse, near the
Assembly Rooms, York; where may be had Chamber Organs, acknowledgement.
Upright harpsichords and all sorts of musical instruments, For details of surviving instruments see Part II.
music, strings and every other article in the Musical Branch,
Wholesale and Retale. Instruments repaired. HAYDEN, Hans, the Edder [Heyden], of Nuremberg,
Like most other English makers, Haxby turned to ¢. 1540-1613. Organist at S. Sebald. Made clavichords,
piano making as this instrument began to grow in violins, etc. [Va].
popularity in the last quarter of the eighteenth century, About 1600 he invented the Nirmbergisch Geigenwerck,
and at least 20 instruments survive, dating from 1772 which is described in his Commentatio de musicali instru-
to 1794. David Haxby and John Malden (see below) mento... (1605) and Musicale instrumentum reformatum
have been able to demonstrate that Thomas Haxby (1610) [Ge, 1812]. He used steel and brass strings;
commanded a sizeable workforce, and from the sequence otherwise his invention is the same as earlier
of numbers and dates on the surviving square pianos Gambenwerke, i.e. a keyboard instrument in which the
have shown that his workshops produced 375 in the strings are not plucked but are set in vibration by bands
period 1774-92. Such an enterprise must have demanded or rotating discs.
Haxby’s full attention, and in 1788, following the death Praetorius (p. 67) refers to it, giving much of
of his youngest brother, Robert, who had been closely Hayden’s description, and illustrates it as Plate III of
involved in the music selling and publishing business, his Theatrum instrumentorum.
Thomas announced [York Comrant, 14 October 1788] Kinsky has an account of Hayden in Z/M, Vol. 6,
that he had disposed of his stock of printed music and Heft 4/5, 1924.
‘every article in the musical business’ to Samuel Knapton Fé misdates his second treatise as 1620 and his death
(who had opened a shop opposite the Assembly Rooms as 1623.
in Blake Street) in order to devote closer attention to
the making, repairing and tuning of harpsichords and HEART, Jehan, of Paris. F/. 1578-1617 when he died.
pianos. In Bz it was mentioned that Samuel Knapton Organist of Saint-Jean-en-Gréve and harpsichord maker
[York Herald, ; November 1796] claimed to be Haxby’s [Les, Verlet}.
successor, and to the extent that Knapton took over
all aspects of the business other than instrument making
HEBENSTREIT, Pantaleon. Though not a maker
this is true. of keyboard instruments, it seems apt to record him
Possibly because his wife Elizabeth was 39 at the here in view of his influence upon the clavichord. Born
time of her marriage to the 26 year-old Thomas, they at Eisleben in 1667, and died at Dresden on 15
had no children. Elizabeth predeceased Thomas in 1795,
November 1750, Hebenstreit is chiefly remembered as
and Thomas remarried ‘my friend Mary Bulkeley, the inventor of the large hammered dulcimer with
widow of my friend Stephen Bulkeley’ [Haxby’s will sympathetic strings which became known as the Pan-
of 30 October 1792] but not surprisingly there was no
talon or Pantaleon. The name was subsequently applied
issue from this marriage, and Thomas died at the end
to a stop fitted to a small number of unfretted
of October 1796, aged 66, and was buried in St.
clavichords made in the second half of the eighteenth
Michael-le-Belfry. An obituary in the York Chronicle of
century. The device consisted of a second set of tangents
3 November speaks of him with great affection, and it which, by means of a stop action (usually divided
is clear that Haxby, who until the day of his death had between bass and treble) could be raised to the right
retained his post as Parish Clerk to the church in which
of the normal tangents, and enabled the note played
he was baptised and buried, was a much-loved and
from any key to be continued after the key had been
respected citizen of York.
released. A particularly good example survives in a
In 1767 Edward Tomlinson married Thomas Haxby’s
clavichord by Christian Kintzing, dated 1763, in the
younger sister Elizabeth, and by her in 1768 Tomlinson
Metropolitan Museum of Art, New York. [GDN, see
had a son, Thomas. Elizabeth died in 1769. It seems
articles on Pantalon stop and Hebenstreit, Pantaleon).
most likely that, having no children of his own, Haxby
took an interest in his nephew, and on his death in
1796, the business passed to the Tomlinsons, who HEDLUND, Olof. Swedish clavichord maker of
announced shortly afterwards that they would be Stockholm. Dates ascertained, 1722—d.1749. Hedlund
carrying it on ‘in all its branches as formerly’, and this reports that he served 7 years’ apprenticeship with the
they did until about 1840. organ builder Johan Niclas Cahman (q.¥.) from 1722 to
Studies of Haxby and his instruments took a step 1729, and subsequently, following the latter’s death,
forward in 1978 with the publication by D. Haxby and worked as an organ builder’s apprentice from 1729 to

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1734. Though other of Cahman’s apprentices set up
subsequently on their own, it appears that they did not
have their master’s approval to the extent of Hedlund,
who seems to have been considered by Cahman to be his
professional heir. From 1734 he worked independently
restoring and improving organs, and in 1738 with
Daniel Strihle and Jonas Wistenius he applied for
articles. These he must have obtained, for Peter Forsman
(g-¥.) was one of his apprentices. He died in Stockholm
in 1749 [H-O}.
For details of surviving instruments see Part II.
HEERDINCKE, Artus C. See: GHEERDINCK, Artus.
HEETWOLF, Martinus. Harpsichord maker from
‘Fredtborg in der Wetterau bij Frankfurt’ [? Friedberg],
fi. in Amsterdam 1635 (Curtis, p. 52].
HEHLEN, J. L. See: HELLEN, J. L.
* HEIDENREICH, of Hof. Organ or keyboard instru-
ment (most probably clavichord) maker of the late
eighteenth or early nineteenth century. The work of
this maker is known only through the list of makers
given by Christian Friedrich Gottlieb Thon, though he
does not single him out for especial praise or esteem.
See entry under THON.
* HEILMANN, of Erfurt. Organ or keyboard instru-
ment (most probably clavichord) maker of the late
eighteenth or early nineteenth century. The work of
this maker was particularly esteemed by Christian
Friedrich Gottlieb Thon. See entry under THON.
HEIJDEN, P. van der. See: VERHEYDEN P.
HEINEMANN, Johann J., of Antwerp. A blind
harpsichord maker, dates ascertained, 1790-3; he also
made lutes [Gé]. He restored a Van den Elsche (q.v.)
harpsichord in 1790.
For details of surviving instruments see Part II.
© HEINRICH, Johann Christoph. This name was given
in Bz as a clavichord maker (f. 1729), but it has since
proved that this was a misreading for Johann Christoph
Fleischer (9.v.).
© HELLEN, Johann Ludwig [a/so Hehlen]. Maker of
harpsichords and pianos in Berne; ¢. 1716-81 [Rindl].
The only surviving evidence of his work is a combined
harpsichord and pianoforte in the Musikinstrumenten
Museum, Berlin.
For details of surviving instruments see Part II.
HELLER, Ambros. German clavichord maker. An
inventory of 1626 records ‘ein Clavicordium, so Ambr.
Heller gemacht’ [Sit, p. 47].
Google
HEMPENIUS 87
* HEMING, Stephen. Spinet and harpsichord maker of
Covent Garden, London. Dates ascertained, 1697-1715.
Judith Milhous and Curtis Price provided an article
‘Harpsichords in London Theatres 1697-1715’ in EM,
February 1990, XVIII, 1, pp. 38-46, from which almost
all the extant knowledge about Heming is drawn.
Within this period, Heming, sometimes in consultation
with Daniel Purcell, brother of Henry Purcell, supplied
harpsichords to at least four London theatres—the
Dorset Garden, Theatre Royal Drury Lane, and the
second and third Lincoln’s Inn Fields Playhouses. Much
interesting evidence is also contained in a recently
discovered Chancery lawsuit between Heming and
Christopher Rich, the notorious manager of the Theatre
Royal, Drury Lane [Public Record Office, C11/2346/4). A
complete schedule of the tunings and repairs carried
out by Heming for the Theatre Royal in the years
1706-8, quoted in the above article throws further light
on the use of the harpsichord in the English theatre of
the time. The 1730 catalogue of the late Nicola Haym,
who was deeply involved in Italian opera in London
in the first decade of the eighteenth century, contains
a ‘Spinnet by Heming’. Sadly no instruments by Heming
are known to have survived.
* HEMPENIUS, Albert Sickes. Frisian schoolmaster,
organist; also a harpsichord, clavichord and organ
builder and finally a music seller too. Born in Engelum
on 4 May 1749, he was schoolmaster (‘schooldienaer’)
and organist in Deersum (1771-75), in St. Jacobi
parochie (1775~79), and in Franeker (1779-1811; 1804-
11 only organist). In Deersum he married Taetske
Jentjes (1772). Hempenius died about 1812. His activ-
ities are known from the advertisements in the Leew-
warder Courant. On 2 November 1782, he advertised for
2 assistants in organ building (he built an organ in
Hylaart 1783) and offered musical instruments for sale;
among them harpsichords and clavichords. In 1783 (10
May) he advertised a new harpsichord with a compass,
EE-f, made by ‘Klim’ and a clavichord, C-f. In 1784
(October) he offered a ‘vierkante clavecimbaal’ (virginal)
with 4 octaves, a ‘staarstuk’ with 4 ‘full’ octaves and
another harpsichord C-f. Finally in 1792 (10 and 17
November), appeared the following advertisement:
Uit de hand te koop: CLAVICORDIUMS in soorten als; van
groot C tot driegestreepte D, van groot C tot driegestreepte
F, van Contra F tot driegestreepte F, bandvrij. Iemands gading
zynde, vervoege zig by A. S. Hempenius te Francker; dezelve
continueert in ’t maken, repareeren, stemmen van alle clav-
ierinstrumenten zonder onderscheid, als ook in t verkoopen
van gesponnen en andere claviersnaaren.
(Several clavichords with different compasses: C-d’,
Cf, FF-f, all unfretted. He continues in making,
repairing and tuning of all kinds of keyboard instru-
ments and he also sells strings.) [Gier.]
 88 HEMSCH
©@ HEMSCH [also Hems, Hembsch, and probably Echme]. HENNEFUS, J. L., junior, of Berlin. Clavichord
Two harpsichord makers of this name lived in the rue maker, fl. 1802.
Quincampoix, Paris, in the eighteenth century. They For details of surviving instruments see Part II.
were brothers, born at Castenholz, near Cologne, and
came to Paris about 1720. [See also: Beitrage zur Rheinischen HENOCQ, Louis. Harpsichord maker in the rue du
Musikgescbichte, Vol. 1, pp. 3 and 113, Arno Volk- Chemin de Ménilmontant, Paris. Germrgéo give a map
Verlag, Cologne.] of Paris on p. 440 with the location of his workshop
(1) Henri, or sometimes Jean Henri. Baptised 21 in relation to those of other Parisian makers and
February 1700 with the German Christian name of musicians of the period. Juré comptable of the Guild in
Johannes, and surname Hembsch [Hoeren]; died 1769 1773; married, on 13 November 1783, Marie Marthe
[MC, pp. 109, 728, 28 September 1769]. He became Frangoise de Southieux; died 10 November 1790 [Har-
juré comptable of the Guild of Instrument Makers in douin in GSJ Vol. 12 (1959), p. 83, where the inventory
1746 [Hardouin in GSJ, Vol. 13 (1960), p. 52]. From taken at his death is transcribed in full).
1760 Henri worked with his nephew Jean Henri Moers
(q.v.). In 1767, an ageing bachelor, he made his will; 2 HENOCQ, Jacques, brother of the above. F/. 1790
years later he died. According to GDN-EKI, he worked as ‘maitre luthier’ [Hbb].
in the rue Quincampoix, where 14 harpsichords were
under construction at the time of his death. HENRICHINI, Augustin. Silesian harpsichord
Jean Henri Echme (f. 1759-67) from Cologne is maker, fl. 1706. A harpsichord by him was exhibited
probably the same person. In 1759 he was expert for in Bologna in 1888. Inscribed: Asgastinus Henrichini,
the inventory of Galland (q.».), when he mentions his Silesiensis, organifex et instrumentalis magister fecit mense
nephew Henri Moers who inherited his workshop [Hubb Augusti anno MDCCVI. (Va in his schedule, in another
1965]. Pi, p. 91, refers to a harpsichord of 1775 by part of the work, wrongly gives the date in Arabic
J. H. Hemsch as being shown in Paris in 1889. (He numerals as 1606.)
must have mistaken the date of it, since the maker had For details of surviving instruments see Part II.
died 6 years before.)
For details of surviving instruments see Part II. HERMEL. See: ERMEL.
(2) Guillaume, younger brother of Henri with whom
he worked. Baptised 5 December 1709 with German HERMES, Jean-Liborius. Parisian maker of harp-
Christian name of Wilhelm, and with parents Jacobus sichords, and from 1777 onwards of pianofortes. Born
Hembsch and Catharina Jansen (Hoeren); died ¢. 1776. at Paderborn, Westphalia. Dates ascertained, 1749-5
[GSJ, Vol. 13 (1960), p. 52; Pi, p. 117]. Admitted to August 1813. In 1773 he married Thérése-Victoire, a
the Guild in 1748 and juré comptable of it in 1760. In daughter of Jean Goermans the Elder, harpsichord
1759 he had married Marie Anne Offenheizer, daughter maker (q.v.). He lived in the rue du Colombier from
of a former Austrian officer. He appears (like a 1773 to 1783, and in the rue des Saints-Péres in 1788-
number of his contemporaries) not to have been above 9 [Pi, Verlet] while Germigs0, who records hin: as
counterfeiting Ruckers instruments, for a large double, living in the rue Neuve-Ste-Croix in 1793-4, shows a
the property of Raymond Touyére, Geneva, which map of Paris on p. 440 with the location of his
purports to be by Andreas Ruckers, and dated 1636, workshop in relation to those of other Parisian makers
was discovered in a recent restoration to be by Guilaume and musicians of the period.
Hemsch, possibly in the year 1766.
For details of surviving instruments see Part II. HERREMANS, Willem, of Antwerp. Harpsichord
maker; figures in 1557 in the books of the Guild of St.
HENDRIKSZ, Maarten. Harpsichord maker in Luke [54].
Amsterdam, 40 years of age in 1630 [Cwrtis, p. 52].
HERSTENBERG. A misreading of Gerstenberg
(9.¥.).
HENISCH. See: HEMSCH, of which it is a misreading.
HERZ, Daniel. Organ builder of Innsbruck, fl. 165 3—
* HENNE of Hildburghausen. Organ or keyboard 78, when he died. A harpsichord made by him is
instrament (most probably clavichord) maker of the recorded in an inventory of musical effects of the
late eighteenth or early nineteenth century. The work Arch-Duke Siegmund Franz of Austria taken in 1665:
of this maker is known only through the list of makers ‘Ein Instrument mit unterschidlichen Registern, so
given by Christian Friedrich Gottlieb Thon, though he der hiessige Orgelmacher Daniel Herz gemacht und
does not single him out for especial praise or esteem. auswendig grien angestrichen’ [Senm, p. 337], also a
See entry under THON. ‘spineta, darinnen zway claine spinetlin liegen’.

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* HESS, Hendrik Hermanus. Organ builder, born in
Leeuwarden on 10 October 1735, who settled in Gouda
where he became a citizen on 17 January 1755, and
where he died on 29 July 1794. He was a famous house
organ builder, the most productive in the Netherlands.
[See: Gier pp. 143-68 for more information
life and work.] His only activity as a harpsichord maker
is noted in an advertisement in the Amsterdamsche
Conrant 1738 no. 38 (appendix): ‘een fraai clavecimbaal
in drieén toeslaand, gemaakt door Hess, in zijn kasje’.
(A harpsichord (or spinet?) folding in 3 sections, made
by Hess, in its case.) Although Hess was primarily an
organ builder, it is not impossible that he made
a curiosity, like that of his apprentice Rijk van Arkel
(q-».), or possibly small versions of the claecin brisé of
Marius (g.».) and others. In the inventory
estate a harpsichord was also listed.
Gier adds the following note concerning Hess: Curtis
mentions a harpsichord maker Gabry in Gouda, but
this is a mistake. Gabry was a nineteenth-century organ
builder who was the then owner of a manuscript
Technische Orgelboxw-aanteckeningen. These technical notes
(written about 1765) probably belonged to Hess’s firm
and cannot have been written by Joh. Caspar Friedrichs
who was born in 1762 [see Gier 157, 218s].
these technical notes there are a few details about a
claviorganum and some notes concerning the strings
of a small harpsichord [Curtis 50, and Gier].
* HESSE of Ochsenhausen. Organ or keyboard instru-
ment (most probably clavichord) maker of the late
eighteenth or carly nineteenth century. The work of
this maker is known only through the list of makers
given by Christian Friedrich Gottlieb Thon, though he
does not single him out for especial praise or esteem.
See entry under THON.
HICKS 89
@ HEUSE, Johann Hermann, of Gimbor, near
Cologne. Clavichord maker, f. 1656. The evidence for
his existence rests on rather sketchy information on a
surviving clavichord in a private collection. The sim-
ilarity of his first names and town of origin to that of
about his HAUSER (4.».) suggest either they are the same person,
or were related.
For details of surviving instruments see Part II.
HEUSSLER, Urban. A German who made 2 ‘Instru-
mente’—i.e. spinets or possibly harpsichords—in 1602
[Monatshefte fiir Musik, 1876).
such
HEVILEZ, Johan de. Clavichord maker in Antwerp,
1561 [Sé].
of Hess’s
HEYDEN, Hans. See: HAYDEN, Hans, the Elder.
* HEYDENREYCH, Stephanus. Harpsichord maker
and organ builder. In 1679 he repaired an organ in the
St. Martinkirche in Zetel (Northern Germany). Soon
after that he seems to have come to the Netherlands.
In 1687 he built an organ in the Kasteelkerk of Batavia,
Among the then capital of the Dutch East Indies, and returned
to Holland. In 1699 he repaired an organ in Zwolle.
He married Maria Vergeist on 20 June 1700, in the
Lutheran Church in ’s-Hertogenbosch. In 1706 he was
working and living in The Hague. The following
advertisement appeared in the Avmsterdamsche Courant
for 6 May 1706: ‘Stephanus Heydenreych Mr. orgel-en
clavesimbelmaker presenteert sijn dienst acn elk om
orgels of positiven te maken en te stellen, alsmede
clavecimbels, heeft tegenwoordig drie groote sta-
ertstukken gereed om te verkopen. Hij woond in de
Snoekstraet in de Paeuw, in ’s-Gravenhage.’ (He offers
3 harpsichords for sale.) [Gier.]

* HESSE, TOMAS. Spanish clavichord maker of © HEYER, Daniel. Fi/. ¢. 1570-92 at Kassell. Organ
Burgos, fi. 1832. The evidence for his existence comes builder who also made harpsichords [Peter Williams in
from a surviving clavichord, signed by him, and shown ML. Vol. 2 (1971), p- 277):
in an exhibition entitled ‘Las Edades del Hombre’,
mounted in Leén, in 1991. In the catalogue of the
HEYER, Frederick. Organ builder of New York
exhibition, Hesse was shown as an organ-builder,
City, f. 1773; also made and repaired harpsichords and
though it seems that he must have made clavichords
spinets [Diapason, 1 March 1957, article by Maurer].
as well [KdP].
For details of surviving instruments see Part II.
© HICKS, Peter. English clavichord maker; ff. ¢. 1720,
or later. The existence and authenticity of apparently
HESSEL. German instrument maker in St. Petersburg, the only English clavichord maker has for many years
1785 [Moos]. May have made harpsichords. depended on a surviving clavichord in the Victoria and
Albert Museum. His existence has, however, been
HESSELIUS, Gustav. F/. 1742-3 as spinet maker in verified by the discovery of an entry in SéBa (p. 19)
Philadelphia [ZIM, Vol. 7, 1905-6, p. 122]. His name “Peter Hicks for tuning Harpd’. Since this must have
is given as ‘Hasslinck’ in Schweiz. Musikzeitung, Vol. been written between 1769 and 1772 it seems likely
88/2, 1948, p. 48, and as ‘Hasselinck’ in FurxOT, where that Hicks may have made his clavichord later than
on p. 286 it is stated ‘In 1742, Hasselinck (sic) made 1720 as was previously thought. [See a/so: Ve» ACat.]
spinets in Philadelphia’. For details of svrviving instruments see Part II.

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 90 HIERONYMUS
© HIERONYMUS, Bononiensis, i.e. Jerome of Bologna. HILL, Henry. Spinet maker; baptised in St. Botolph
Harpsichord maker, f. at Rome, 1521. The references without Cripplegate, London, 6 July 1715, the son of
in Cor and Bg are probably to Zenti (g.9.). His surviving Henry Hill, weaver [Parish Reg.]. Apprenticed to John
harpsichord dated 1521 was, until 1986, thought to be Ladyman 30 March 1731; free of the Joiners’ Company,
the oldest surviving harpsichord, but that honour has 2 April 1745 [Join].
now passed to a harpsichord of 1515 by Vincentius The H. H. on the bottom and top keys of a spinet
(q.v.). [See also: Ver ACat.] by Joseph Mahoon (g.x.) dated 1748 may be the initials
For details of surviving instruments see Part II. of this maker. The Geffrye Museum, Kingsland Road,
London, E.C., has a large ottavino spinet by him. The
HIERONYMUS DE ZENTIS. See: ZENTI, nameboard is missing, but the bottom key is signed H.
Girolamo. Hill 1750 Fricker 27 (the latter being presumably the
workman’s name and instrument number); and the top
© HILBERG, or HILBORG. A harpsichord by Hilberg
key H. Hill 1750. (See: Ver ACat.}
For details of surviving instruments see Part II.
was offered for sale in The World, 27 March 1788, [J],
and it may well be that an entry in the tuning records
of Thomas Green (g.v.) for the Revd. Mr. Natt, HILLIAR, William, f. 1733 in London. He worked
Netteswell: tuned 1775~9 and identified as ‘Hilborg at this time for Thomas Hitchcock the Younger (q.».),
1772 Fecit’ refers to the same maker [Sheldrick]. on one of whose spinets his signature appears.

©@ HILDEBRAND, Zacharias, of Miinsterberg (Silesia), HIMMENRAET, Michele. See: IMMENRAET,

1688-1757 [Hirf]. An organ builder, at one time the Michel.
favourite pupil of Gottfried Silbermann. He also made
(6. 1740) a Lawtenklavizymbel (a gut-strung harpsichord) HINGSTON, John [Hingeston]. Died in Westminster
according to the ideas of J. S. Bach. Adi (II, 139) near London in the year 1683. He should perhaps be
describes this instrument. It had 2x8’ of gut, and an mentioned here since he held the office of ‘keeper and
octave register of brass wire; and was shorter in length repayrer of his majesty’s organs, pedalls, harpsichords
than the normal harpsichord. This instrument must not and other instruments’, although he may never himself
be confused with the Nérmbergisch Geigenwerck and have made an instrument. The Lord Chamberlain’s
others of this type, e.g. the ‘arched viall’ mentioned by accounts refer to him frequently. For instance on 29
Pepys (5 October 1664), and Roger Plenius’s /yrichord, May 1670 there is a warrant to pay him £56. 16s. ‘for
in which the strings were not plucked but set in stringing and repairing the harpsichords . . . for strings
vibration by resined wheels. Burney in 1773 refers to for the . . . virginalls’. Again, 3 years later, ‘for repairing
one Hildebrand as ‘the best harpsichord maker of and mending two harpsichords for the practise of the
Berlin’. But this may have been his son Johann Gottfried private musick in the Great Hall, £1-10-0. For repairing
Hildebrand, organ builder, who ff. 1740 and died 1775 and amending two harpsichords and carrying them to
[MarcP}. See further ‘Bach’s “‘Lauten Werck”’, by H. the playhouse, £o-10-0’ [La, pp. 173, 223, 229].
Ferguson, in ML, Vol. 48 (1967), pp. 259-64, and It is interesting to find the composer Henry Purcell
HenningLH, p. 480. in 1673, as a boy of 14, admitted as ‘keeper, maker,
For details of surviving instruments see Part II. mender, repayrer and tuner of the regalls, organs,
virginalls, flutes and recorders . . . without fee . . . and
* HILGERS, Joannes Petrus. Organ and harpsichord assistant to John Hingston, and upon the death or
maker in Amsterdam. His father, an organ builder, other avoydance of the latter, to come in ordinary with
moved from Amsterdam to Aken (Germany) where fee’. Hingston died in 1683, and early in the following
Joannes Petrus was baptised in the St. Foillan Church. year Purcell succeeded him at a wage of {60 per annum
The Roman Catholic Joannes Petrus moved to Amster- (La, pp. 255, 364].
dam where, on 6 January 1761, he married Johanna A portrait of Hingston was lent by Oxford University
ten Velthuys, a widow from Oldenzaal. He was still to the International Inventions Exhibition in 1885 [Cat,
living in Amsterdam in 1783 when he built an organ Pp. 25]. It is now in the Music Faculty of Oxford
for a Roman Catholic church there. His date of death University.
is not known. Five-octave Hilgers harpsichords were
advertised in the Avmsterdamsche Courant in 1795 and * HINNE, Guillaume. F/. Brussels, 1785. Though he
1800 [Gier]. may have made instruments he appears more probably
to have been a tuner of harpsichords and pianos
* HILL. Harpsichord maker of Wells. F/. ¢. 1720. (Cf. [Haine] Meeus}.
Dr. Clavers Morris, Diary, 6 August, and 21 November
1719, and again on 27 March 1721.] HINRICHINI, A. See: HENRICHINI, Augustin.

'y Google
 HITCHCOCK 91
HINRICHS, Johann Peter. Attained on 8 January an entry for Governor Thickness, Datchworth Green,
1796 to the citizenship of the city of Hamburg. He tuned in 1769 and identified as ‘2 Unisons Tho
made harpsichords and pianofortes [Ge, Li]. Born at Hitchcock fecit 1766’. Green also records several other
Billwarder-Moorfleth 1765; died Hamburg 1848. See entries for Thomas Hitchcock instruments, though
Schultze 1957. sadly none of them sheds further light on the dates of
the members of the family [Sheldrick].
HINTE, Charles Frederick, harpsichord maker, prob- It is most likely this Thomas Hitchcock, who gave
ably of Leeds. F/. 1776. The Leeds Mercury of 10 his address as Fetter Lane, and who announced in the
September 1776 carried the following advertisement: London Evening Post of 15-17 April 1729 that he
disclaimed responsibility for a harpsichord bearing his
A Large Double Harpsichord with Two Setts of beautiful keys, name which had been sold by one Christopher Munday,
made of snake-wood, with Four Stops and in exceedingly fine a Musick Master in Oxford, to Francis Stratford, Esq.,
condition. The Maker Christian Frederick Hinte. It may be of St John’s College, Oxford [Jobnsé}.
seen at J Binn’s Music Shop in Leeds, where there are several
(3) John Hitchcock, almost certainly son of (2).
Harpsichords and Spinnets for Sale of various prices, and
most other kinds of Musical Instruments as cheap as in
Earliest date known, 1743; he died in 1774 [J]. In 1750
London. he was admitted by patrimony to the Company of
Haberdashers [J]. In 1761 his harpsichords and spinets
[Cuckston). were commended by John Arnold (quoted above under
John Crang).
HITCHCOCK. A family of spinet and harpsichord From Un it is known that in 1763 he was living in
makers in London in the seventeenth and eighteenth Fetter Lane, at the corner of Dean Street. A watch-rate
centuries. At least three members of the family would book gives the number of the house as 28 [J].
appear, from surviving instruments, to have been A painting ¢. 1765 by Allan Ramsay of Queen
makers. Burney, writing in Rees’s Cyclopaedia s.v. spinet, Charlotte with the Prince of Wales and the Duke of
held the view that there were 2 members of the family York (now in Buckingham Palace) depicts a Hitchcock
(members (2) and (3) below) but the evidence from spinet.
surviving instruments suggests an elder Thomas Hitch- The announcement of his death on 23 November
cock (number (1) below) and this is confirmed by Join, 1774, quoted by J [p. 31] from the Genera/ Evening Post,
and it may even be that there was a fourth member. reports that he was one of the common councilmen for
(1) Thomas Hitchcock, the Elder. Dates ascertained, Farringdon Without.
1660-1700. He died before February 1700 [Join]. He On 16 December 1774 administration of the property
was a freeman of the Haberdashers’ Company. of ‘John Hitchcock late of the parish of St. Andrew
(2) Thomas Hitchcock, the Younger. A son of the Holborn . . . was granted to Frances Hitchcock widow,
above. It scems likely that he was born about 1685, relict of the said deceased’ by the Prerogative Court of
since he was apprenticed to Benjamin Slade from 13 Canterbury.
February 1700 for 8 years. He took up the freedom of An interesting sidelight is cast on the work of John
the Haberdashers’ Company by patrimony, in preference Hitchcock by the records of Thomas Green, mentioned
to becoming free of the Joiners’ Company in 1715 [J, above, which contain an entry for the tuning of an
p- 31]. Latest date ascertained, 1733. (N.B. J (p. 70) instrument in 1772 which is identified as being by ‘Jno
gives this maker’s earliest date as 1690, but does not Hitchcock—bad’. Whether this refers to the instrument
note the evidence for it. If it is based on the style of or to Green’s assessment of his tuning of the instrument,
the harpsichord in the Victoria and Albert Museum it or even the character of its maker, is not clear [She/drick].
is probably far from correct, for this harpsichord would A small-scale sketch in red crayon by Sir James
appear to be some 30-40 years later than 1690.) Thornhill (1675-1734) of a scene showing Apollo and
While still apprenticed to Slade he apparently did the Muses (reproduced in Russell 1959 as plate 62),
some work for Edward Blunt or at least used him as formerly in the H. S. Reitlinger Collection, is at the
his retailer; for the first jack of a spinet formerly in the Fitzwilliam Museum, Cambridge (Sotheby’s, 26 May
Taphouse Collection (and not one of the instruments 1954). It is outlined in ink in the shape ofa harpsichord
now in the Bate Collection), ostensibly by Blunt, is lid, 54 x 134”. Below is written in an eighteenth-century
inscribed: Thos. Hitchcock No. 54-1703 [J, p. 65 n.]. hand: ‘Mr. Handel has or had the Harpsichord this
The date of his death is not known, but it probably design was made for.’ The artist’s name appears in
occurred some years later than 1733; for his spinet pencil in the bottom left-hand corner: Jas. Thornbill.
numbered 1425 was made in that year, and an instrument The shape of the instrument suggests that it may have
probably by him numbered 1547 has survived. More been a Hitchcock.
recently, evidence has come to light that he may The study of the Hitchcock family is still to be dealt
probably have survived until at least 1766, for in the with in detail, and would be a rewarding work. The
records of the tunings of Thomas Green (q.v.) there is fact that Hitchcock spinets were almost invariably

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92 HOENEL
numbered, but only sporadically dated, makes it difficult Thos 1518
to be certain of the dates of the three members of Thos or John 1519
the family. The following information gathered from 1750 John made free of the
inscriptions on surviving instruments relates makers, Haberdashers’ Company
dates, and case-numbers. It is interesting to note that John 1520
if Thomas the Elder died in 1700, and Thomas the 1547
Younger was apprenticed to Slade for eight years in
John 1570
John 1625
that year, it would seem likely that there was no member 1630
of the Hitchcock family who could have been making 1676
instruments signed with this name in the period at least 1677
from 1700 to 1708. In fact, if Thomas the Younger 1677
was not free (of the Haberdashers’ Company) until 2012
1715, there was probably a period of fifteen years when John 2018
no instrument could have been signed by a Hitchcock, 1774 Death of John Hitchcock
and yet it seems that there are a number of instruments
which could have been made during this time, notably For details of surviving instruments see Part II.
those surviving numbered 471 and 511. This suggests
that either the name was used under licence by another HOENEL. See: HAHNEL.
maker, or that there was a fourth, as yet, unidentified
member of the family. The listing of the Hitchcock HOFFMANN. Organ and instrument maker in Gotha
instruments in part two has presented an interesting 1779. He built a large ‘doppeltes Klayizymbel’ with 2
problem in that a number of owners and cataloguers keyboards at each end. This could be played either by
have ascribed dates to instruments. When these were a player at each end, or by one player using a keyboard
placed alongside the serial numbers it was clear that coupler. The Duke of Saxony bought the instrument
there were a number of discrepancies. Thus, unless an [Ko, Fé, Wa].
instrument bears a clearly dated inscription, it has been
shown as undated, though instruments with case serial HOFFMANN, Christian Gotthelf. Clavichord maker
numbers are shown sequentially. of Ronneburg, fi. 1763-84.
For details of surviving instruments see Part II.
Maker date case no family events
HOFFMANN, Johann Wilhelm. Born at Des-
Thos 1664 mannsdorf near Anspach, 11 February 1764; died on
1700 Death of Thomas the elder
23 September 1809 at Anspach. He assisted Chr. Gottl”
Thos = 1703 54
47 Hubert (q.v.) from 1789 until his death in 1793, when
su he took over his workshop and title of ‘Hochfarstlich
1715 Thomas the Younger made Anspachischer Hof-Instrumenten-Bauer’ [Ks]. A grand
Thos 1722 1007 free of the Haberdashers pianoforte dated 1798 by him is in the Rick Collection,
Thos 1060 Germanisches Nationalmuseum, Nuremberg.
Thos 1075
Thos 1093 HOFFMANN, N. Fi. 1781-90. Parisian harpsichord
Thos 1725 maker living in 1781 in the rue Percée-St-Séverin, and
17252 1102 subsequently in 1788-go in the ruc Quincampoix [Verlet,
Thos 1143 and Germrgg0, who shows on p. 440 a map of Paris
1193 with the location of his workshop in relation to those
1228 of other Parisian makers and musicians of the period].
Thos 1241
Thos 1243 HOFMANN, of Neustadt and der Halde. Organ or
Thos 17291279 keyboard instrument (most probably clavichord) maker
1287 of the late eighteenth or early nineteenth century. The
Thos 17301289 work of this maker is known only through the list of
Thos 1335 makers given by Christian Friedrich Gottlieb Thon,
Thos 1379
though he does not single him out for especial praise
1390 or esteem. See entry under THON.
1396
Thos 17331425 Ferdinand, ¢. 1756-1829. Viennese
1733 Earliest likely date for the death HOFMANN,
1442 of Thomas the younger keyboard instrument maker, chiefly known for his
1444 pianofortes, though he was particularly esteemed by
1455/1540 Christian Friedrich Gottlieb Thon, most probably for
1460 his clavichords. See entry under THON.
1484 For details of surviving instruments see Part II.

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 HOORNBEE(C)K 93
* HOFMEISTER of Leipzig. Organ or keyboard instru- * HOLMES, J. Spinet maker of Norwich, England. F/.
ment (most probably clavichord) maker of the late 1706. Margaret Cranmer, in 1975 reported an entry in
eighteenth or early nineteenth century. The work of the papers of Dr. A. H. Mann in which he stated that
this maker is known only through the list of makers he had tried to purchase a spinet signed ‘J Holmes,
given by Christian Friedrich Gottlieb Thon, though he Norwich, 1706’, but without success. The maker was
does not single him out for especial praise or esteem. not known to Hipkins, and the name does not appear
See entry under THON. in the list of Norwich voters in 1710.
A spinet by the same maker, or more probably by
HOHLFELD, Johann. Born at Hennersdorf in Saxony
his son, signed Jacobus Holmes, 1776, was in the
in 1711 and died in 1771. Originally an assistant at lace
possession of Sir Humphrey Wakefield, Bt., in 1982
making, he later worked as a craftsman in Berlin, where
he became known on account of 3 inventions: (Luckett).
(1) A machine to be connected to a harpsichord and For details of surviving instruments see Part II.
to take down the improvisations of composers. This
was submitted to the Berlin Academy in 1752. But the * HOLZHEU, of Ottobeuren and Kaufbeuren. Organ
problem was apparently not fully solved, and the or keyboard instrument (most probably clavichord)
Academy only praised the skilled workmanship of the maker of the late eighteenth or early nineteenth century.
individual parts of the machine [Ko, Li, Fé]. The work of this maker is known only through the list
A similar machine had been devised, slightly earlier,
by Johann Friedrich Unger (1716-81). Indeed Adlung
of makers given by Christian Friedrich Gottlieb Thon,
refers to Hohlfeld as the perfecter of Unger’s invention
though he does not single him out for especial praise
or esteem. See entry under THON.
[AdiG, 2nd edition, p. 691]. A workable device for this
purpose is found on the harpsichord/piano by Merlin
(9-9.) in the Deutsches Museum, Munich. HONGARO. See: FRANCISCUS Patavinus.
(2) The Bogenflige/, a gut-strung instrument after the
fashion of Hayden’s Geigenwerk. This was played to
Frederick the Great in 1754. C. P. E. Bach observes: * HOOGHUIS, Gerard Simon. Organ builder who
(Versuch .. . 2. Aufl, 1762. Il. 1] ‘Es ist schade, dass advertised in 1810 that he also made and repaired
die schéne Erfindung des Hohlfeldischen Bogenclaviers harpsichords and pianofortes. He was baptised on 1
noch nicht gemeinniitzig geworden ist; man kann daher January 1754 in the Roman Catholic Church of Wormer
dessen besondere Vorziige hierinnen noch nicht genau (Northern Holland). In 1780 he was established in
bestimmen.’ F. W. Marpurg refers to it in his Anleitung Middelburg. In 1806 the family moved to Bruges but
zum Clavierspielen (1755). returned in 1810 when he advertised his return in the
(3) A register-changing pedal for harpsichords which, Middelburgse Cowrant for 27 November. He died in that
according to C. P. E. Bach’s Versuch siber die wabre Art town on 24 January 1813 [Gier].
das Klavier zu spielen, I. 245, made it possible to bring
on all the registers by light foot-pressure while playing.
* HOORNBEE(C)K, Cornelis. Organ builder born
HOHNEL. See: HAHNEL. in Copenhagen in 1666/7, who married in 1706 in
Amsterdam where he lived on the Leidse Gracht. He
* HOLLAND of Schmiedefeld, near Suhl. Organ or died on 19 November 1722. He built a fine organ for
keyboard instrument (most probably clavichord) maker the Ronde Lutherse Kerk in Amsterdam, which was
of the late eighteenth or early nineteenth century. The burnt in 1822 [See: Gier 1778]. Apparently he was also
work of this maker is known only through the list of a harpsichord and clavichord maker. The inventory of
makers given by Christian Friedrich Gottlieb Thon, his estate, listed shortly after his death includes:
though he does not single him out for especial praise
or esteem. See entry under THON. A claviorganum in reparation valued at pro memor
a new unfinished ‘staartstuk’ with
© HOLLISTER. Irish family of eighteenth-century an old soundboard in it » om 35 guilders
organists and keyboard instrument makers from Dublin a new small clavichord wo #
including: an clephant’s tooth mow fw
(1) Robert Thomas. Harpsichord maker. Dates an unfinished harpsichord
ascertained, 1695-1720 [GDN-EKI] (1728-75 [Fid, (staartstuck) om 200»
JD. another smaller one, also unfinished 10»
(2) Philip. Died 1760 [GDN-EKI]. two old small clavichords moe 5
(3) William Castell. Harpsichord maker who died a miniature of a ‘staartstuk’ in
in 1802 [GDN-EKI]. (F/. 1762-99. [See: Teaban for ebony, on a book-shelf yo 200»
addresses and dates.])
(4) Frederick. F/. 1761-after 1802 [GDN-EKI]. ‘[Gier].

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94 HOPKINSON
HOPKINSON, Francis. Born Philadelphia 21 Sep- Mack here for a time.) His first clavichord here was
tember 1737; died there 9 May 1791; composer, and bought by Count Reuss of Koestritz, who was then in
signatory of the Declaration of Independence. Accounts power. By 1795 he had sold 556 instruments. His
of his experiments with the quilling of harpsichords prices were: clavichords, 30 thalers; pianofortes, 100;
appear in the Transactions of the American Philosophical harpsichords, 200. On his death in 1796 his pupil Carl
Society, Philadelphia, 1786, pp. 185-94, and in his Renzsch took over his workshop [Ge, 1814; Ks, p. 232].
Miscellaneous Essays . . ., Philadelphia, 1792, pp. 286— For details of surviving instruments see Part II.
gz. Reprinted in Rassell 1959.
Ri (p. 82) refers to a ‘Franz Hopkinson’ resident in * HORSBOROUGH, Richard. One of the five harp-
Paris in 1788 and experimenting with harpsichord sichord and spinet makers active in Edinburgh in the
plectra. He was doubtless thinking of Francis second half of the eighteenth century. Little is known
Hopkinson. of his early years and training, and none of his
instruments survive. From the middle 1780s his advert-
HOPTON, Heming. See: LOCKTON, Heming. isements included pianos together with other instru-
ments of his making [Cranmer]].
HORACE, of Kuttenberg, Bohemia. Organ or key-
board instrument (most probably clavichord) maker of HOTZEL, Peter. German clavichord maker, f. 1804.
the late cighteenth or early nineteenth century. The For details of surviving instruments see Part II.
work of this maker is known only through the list of
makers given by Christian Friedrich Gottlieb Thon, @ HOUSTON & CO. Spinet and harpsichord makers
though he does not single him out for especial praise (best known as piano makers), 54 Great Marlborough
or esteem. Thon also mentions a further maker of the Street, London. Koster records a John Henry Houston,
same name, and similar standing, living in Zwettel, who seems to have supplied square pianos to the dealer,
Austria. See entry under THON. John Bland, (unless, as Koster says, they had a common
source for very similar instruments). Houston may have
HORN, Christian August, of Dresden. Son of been one of the partners to buy John Bland’s business
Gottfried Joseph Horn; made clavichords and piano- in the mid 1790s. (Their establishment in Great Marl-
fortes [Hirt]. borough Street must have been rented by them, since
their names do not appear in the rate-books [RB.J].)
HORN, Gottfried Joseph, 1739-97 [Hirt]. Miller and Earliest and latest dates known, 1790-4. The firm is
instrument maker. Born at Nickern near Dresden; died recorded in J. Doane’s Musical Directory (London, 1794).
25 December 1797. He came into possession of the See: L. G. Langwill in Masic and Letters, London,
tools, plans, etc., of Schwarze, who before his death January 1949.
had worked for many years with Silbermann in Stras-
bourg. This stimulated him to take up instrument @ HOVEN, Lucas van. Harpsichord maker in Amster-
making, and in 1772 he completed his first clavichord. dam, ff. 1616, in which year he was ‘about 22 years of
Between then and 1795 he made 464 clavichords which age’, and was married. He was a nephew of Artus
had a great reputation for silvery tone and would seem Gheerdinck (9.v.) (Curtis, p. 52, Gier).
to have maintained the Silbermann tradition [Ge, 1812].
He was called ‘Senior’ to distinguish him from his
HOWARD, Hans [also Hauert]. Swiss harpsichord
younger brother, Johann Gottlob. He devoted his maker; 1730-1800; elder brother of Joseph Howard
attention chiefly to clavichords, but made a few pianos [Rindi}.
besides. (Gerber’s statement: ‘Nach Privatnachrichten
. . war dieser fleissiger Mann 1796 schon nicht mehr
am Leben’ was mistaken.) See Ks, p. 232. HOWARD, Johann [a/so Hauert]. Son of Hans Hauert;
For details of surviving instruments see Part II. Swiss maker of harpsichords, etc., born 1757 [Rindl].

HORN, Johann Gottlob, 1748-96. Younger brother HOWARD, Joseph. Born Wengi bei Biren (Canton
of the above. From his youth he showed a great Born) 1749; died Bern 1824. Originally surnamed
enthusiasm for instrument making; and his father had ‘Hauert’, he called himself ‘Howard’ from 1795
him taught joinery by Keitel in Dresden. In 1771 he onwards. He is known chiefly as a pianoforte maker;
went to Augsburg to work with the famous Stein, and but in the Berner Adressbuch for 1810 he appears as
stayed there for 2 years. Then he went on to Friederici ‘Facteur de clavecins Forté-pianos’. See further Hirt,
in Gera to perfect his craftsmanship, and on his P. 474-
advice settled in Dresden in 1779 and began to make
clavichords, harpsichords, and pianos. (He worked with HOWARD, Thomas. See: HAWARD, Thomas.

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© HUBERT, Christian Gottlob [occasionally Huber,
Va lists him erroneously as Hubert, Christiano-Gottlob].
1714-93. Born 3 May 1714 at Fraustadt (Wschowa) in
Poland, the second son of the baker, Christian Hubert.
Ge says of him [translation from the original by Strack]:
‘Organ and instrument maker of the court chapel at
Ansbach, born at Fraustadt in Poland in 1714; entered
the service of the Prince at Bayreuth in 1740 and came
to Ansbach with the chapel in 1769. His products,
those invented by him himself as well as improved
clavichords, harpsichords and pianofortes,
sought-after, paid for handsomely and in part sent to
France, England and Holland.’
Despite the above quotation, Kraut points out that
there is no proof of Hubert’s having moved to Bayreuth
before his marriage on 7 February 1748.
known instrument, the organ in the Spitalkirche at
Bayreuth, was built in this year. Strack gives an account
of a dispute over organ repairs between Hubert,
and Graichen and Ritter, both pupils of Gottfried
Sibermann, and surmises that it was for this reason that
Hubert turned to making stringed keyboard instruments
from then on. Strack also shows that the likelihood
that Hubert was a pupil of Silbermann is slight.
Surprisingly, despite what must have been intense
musical activity at the court in Bayreuth, under the
patronage of the Margravine, Wilhelmine (1709-58),
and despite Hubert’s clear involvement with the court
and his appointment (at least by 1756) as court organ
and instrument maker, only 4 instruments are known
from this period.
In 1769 the court moved to Ansbach and Hubert
moved with it, though again, surprisingly, only 3
clavichords are known from the 1770s.
greatest number of surviving instruments (fretted clavi-
chords, a transverse grand piano, a square piano, and
an organ) all date from the 1780s, and
surviving instrument, a clavichord, is dated
which time Hubert was 75 years old.
Ansbach on 16 February 1793 at the age of 79, and his
workshop and title were taken over by Johann Wilhelm
Hoffmann, 1764~1809, who had been his assistant since
1789.
J. G. Meusel has some interesting remarks to make
about Hubert (Miscellaneen artistischen Inbalts,
Erfurt, 1756, p. 137):
HUBERT 95
While Ge mentions Hubert as a harpsichord maker,
Meusel only speaks of organs, pianos, and clavichords.
It is not clear, therefore, whether he made plucked-string
instruments. Though a ‘spinet’ dated 1791 was auctioned
at Parke Bernet’s New York on 1 July 1956, the
sometimes inexact description of such instruments by
auction houses (particularly with regard to the term
‘spinet’ when describing the square piano) precludes
a firm statement concerning Hubert’s activity as a
harpsichord builder. Certainly no authenticated harp-
are much sichord survives by Hubert.
The surviving Hubert instruments justify Gerber’s
and Meusel’s favourable account of them, and in 1979
they received a critical examination by Strack including
the instruments other than clavichords (the organ of
His earliest
1748; the ‘Kleiner Hammerfliigel dated 1785, illustrated
in MGG, Vol. 6, col. 817, and described as having been
‘friher Rick, frither Heyer’; and the square piano of
1787).
By 1987, Vermeij had also carried out considerable
research on the surviving Hubert clavichords, making
copies and, in particular, a reconstruction (from a
photograph) of the clavichord recorded by Curt Sachs
in 1922 as being in the collection of the Staatliche
Hochschule, Berlin, and which was lost in World War
II [see: Vermeij Recon]. He also divides the instruments
into building periods, of which the earliest from 1756
to 1763 is characterized by relatively simple, small
fretted clavichords with dark-stained spruce cases. In
the second period from 176; to ¢. 1777 the compass
and size of the instruments increases, and the cases are
veneered with oak or walnut, while the final period
By far the from 1782 to 1789 (from which there are 11 surviving
examples) shows the maker at his most developed, with
a range of standard instruments. [See: Vermeij Hub.]
the latest Vermeij who in 1990 produced a comparative table of
1789, at all the surviving Hubert clavichords, also analyses
He died at some of Hubert’s contributions to the technology of
clavichord making, pointing out that he developed a
technique to prevent the warping of the case by making
a laminated bottom to the case with 2 layers, of which
the lower was parallel to the strings and the upper, and
thinner, layer was parallel to the rear case-wall. He goes
Heft 27,
on:

. . . He is famous far and wide not only for his good These two layers glued together, in which the upper layer had
clavichords and pianofortes, durable and of the most beautiful to be dryer than the lower, produced the desired effect. Hubert
tone .. . but also for other instruments and for his building applied this technique to some instruments from the latter
of the organ in the Catholic Bethaas at Anspach. His pianofortes period.
have already been sent as far as France, England and Holland; (Vermeij Hub p. 7. Krautwarst, Strack, Va, Vermeij.]
and although they are not as expensive as the English ones, As this volume goes to press comes the news that
they are very little inferior to them. A typical clavichord costs Koen Vermeij has produced a new work on Hubert,
3 Carolins. On the other hand he makes pianofortes for 20 to
25 Carolins. He is a very small man of a quiet and noble to be published in both Dutch and English, and
nature though at the same time somewhat choleric and containing revised measurements of the surviving
headstrong; in his work he is uncommonly accurate and instruments.
exact... For details of surviving instruments see Part II.

'y Google
 96 HUBNER
HUBNER, Johann Christoph. Instrument maker in eighteenth or early nineteenth century. The work of
St. Petersburg, 1777-¢. 1800 [Moos]. May have made this maker is known only through the list of makers
harpsichords. given by Christian Friedrich Gottlieb Thon, though he
does not single him out for especial praise or esteem.
HUFFEL, Frans van (Uffell, or Huffele], of Antwerp. See entry under THON.
Harpsichord maker. Dates ascertained, 1609-26 [Hirtz].
He entered the Guild of Saint Luke in 1609 [S#]. He HULSMA, Coenraad. Amsterdam harpsichord maker,
probably made lutes and theorboes as well [Li]. died in 1649 [Cwrtis, p. 52].
For details of surviving instruments see Part II.
HUMBERT, priest, of Metz, fi. 1521. May have made
© HUFFEL, Lucas van [Uffel or Huffele]. Harpsichord double spinets [Va]. Jac quotes: ‘1521, a messire
maker, perhaps the son of the foregoing. Dates ascer- Humbert, prebtre, demeurant a Metz, 38 francs pour
tained, 1634-5. Born in Antwerp, he had moved to une espinette double, que monseigneur a fait prendre
Amsterdam by 1634, when he accepted Nicola(a)s van de luy pour mettre en sa chambre.’ However, this does
Carpel (9.9.) as a pupil for 2 years. He worked in the not of course imply that he was a maker, which indeed
Ruckers tradition. See further Cwrtis, p. 52, Russell 1959, seems unlikely.
Pp. 50, and Gier.
HUNTER, David. Harpsichord maker at Waterford;
* HUGH, Johannes. See: GYSE, Johannes. died 1781 [Teaban}.

* HUGO, of Aschaffenberg. Organ or keyboard instru- HUYSEN, Johannes. Harpsichord maker, probably
ment (most probably clavichord) maker of the late Flemish, f. 1610 [Va].

Digitized by GOOgle
 L A. See: A., L
L G. See: GELLINGER, Israel.
LH. See: H, 1
LK. F. See: KILIAN, Lucas.
* 1, K. L. See: KILIAN, Lucas.
I. M. B. See: B, I. M.
LN.C. See: C, 1. N.
* 1, V. See: VI...
IES.
IADRA, Marco. See: JADRA,
For details of surviving instruments see Part II.
IMMENRAET, Michael. Son of Lucas Immenraet,
born at Cologne. Harpsichord maker at Antwerp, f.
1610 [Sé].
© IOANNES BAPTISTA. Virginal maker of Bologna,
fi. 1602. The identity of this maker rests on an inscription
on a rectangular virginal in the Smithsonian Instution,
Washington: loannes Baptista Bononien (Smithcheck],
quoted by Bz as Jobennes Baptista Bononien. It was
previously thought that the last word of the inscription
was Bonomen.
For details of surviving instruments see Part II.
Marco.

ILSAAS, B. of Osterladen, Norway. A clavichord IRENA, Antonio. F/. in Rome 1564 as a virginal
with hand-cranked barrel-organ, probably of the late maker.
eighteenth century, by him is at Bygdé, Oslo. For details of surviving instruments see Part II.

wed ty Google
* J. B. HL See: H, J. B.
Ju, F. See: F, J.
© J., J. The initials JJ appear on the top and bottom keys
of an undated spinet by Joseph Harris and J.J. is
inscribed on the lowest key of a spinet of Thomas
Hitchcock the Younger, number 511. It is likely that
the initials are those of a workman.
JLN.C. See LN.
J. WLR. See: R, J. W.
* JACKISCH, of Vienna. Organ or keyboard instrument
(most probably clavichord) maker of the late eighteenth
or early nineteenth century. The work of this maker was
particularly esteemed by Christian Friedrich Gottlieb
Thon. See entry under THON.
JACOBUS, of Modena, ff. 1494. Harpsichord maker
[evidence from a letter of Duke Ercole d’Este, 24 July
1494, cited by Va, p. 249].
JACOMINO, of Rome. Harpsichord maker, f. 1655.
Va (p. 166) quotes from an inventory dated 1655: ‘Un
cimbalo a tre registri di Jacomino, coperto di veluto
turchino et frinetta d’oro, con Chiodi indorati et dentro
lauorato d’oro all’Arabesca et foderato di broccato con
una chiave di ferro per accordare, et suoi piedi a
colonne’, and later: ‘Cimbalo di Jacomino che fa sei
toni diversi, dipinto di chiaro et scuro. . ..’
JACOT & LION. A z-manual harpsichord by these
makers dated 1723 is privately owned in France [Champ].
For details of surviving instruments see Part II.
© JACQUET, Jean [Jacquard]. Parisian harpsichord
maker, ¢. 1575—after 1648 (1658 according to GDN-
EKI). He was already making instruments when he
married, in 1600, Franc’oise Dupuy who died in 1632.
Mer (III. 159) praises his work. He also made organs,
according to Va. Verlet gives further details and a
family tree. She also mentions Marcel J., a son of Jean,
as a harpsichord maker. This is not certain, although
his apprenticeship to the organ builder Robert Despont
makes it quite likely.
Google
@ JACQUET, Claude. Son of Jean Jacquet. Parisian
harpsichord maker; baptised 1605, died before 1675
([GDN-EKI], married in 1630 [MC, pp. 68, 155, 26
January 1661).
For details of surviving instruments see Part II.
@JADRA, Marco, ksown as Marco dai Cembali or
Marco dalle Spinette. Dates ascertained, 15 52-68. Italian
virginal maker. (His name appears in Va as ‘Ladra’,
but this is corrected in the 4th Suppl. p. 26, and Hirtz
also records it as ‘Jadrae, Markus’.) Restoration work
carried out on the Marco Jadra spinet belonging to the
Victoria and Albert Museum by John Barnes in 1965
brought to light an inscription on the underside of the
soundboard which indicated that it may well have been
made by Francesco of Brescia (who may well be the
same person as Francesco Antegnato). From this it is
possible to conclude that Marco Jadra dealt in instru-
ments made by other suppliers, in much the same way as
Longman and Broderip (g.».) did in eighteenth-century
England.
Misch-1972 quotes a Vatican manuscript of 1741
which states that Jadra was the master of Domenico
da Pesaro (g.v.).
For details of surviving instruments see Part II.
JAMES, John. English virginal maker;f. 1571 [J]. See:
C. van den Borren, The Sources of Keyboard Music in
England, London, Novello, 1914[?], p- 108.
* JANO, or JANOC, W. An Italian polygonal virginal
in the Russell-Cotes Art Gallery and Museum, Bourne-
mouth, bears on the bottom boards an inscription
which could be the maker JANO, or JANOC, and
the letter W. There is also a figure which looks like
1490, but it seems very unlikely that this is a date.
Nothing further is known of the maker (Paw/].
For details of surviving instruments see Part II.
JANSEN, H., ¢. 1757. A clavichord maker at Moss in
Norway. Dates ascertained, 1754-63.
For details of surviving instruments see Part II.
* JAQUET-DROZ, Pierre. The Neuchatel Museum
possesses an android (automaton in human form), which
is a girl playing a clavichord, called ‘La Musicienne’.
An account is to be found in the International Herald
Tribune of 5 May 1978. The clavichord is an instrument
in its own right and is played by the fingers of the
automaton touching the keys [Blasdale].
 JOYCE 99
JARAS. A Spanish clavichord, now (1992) probably in JOHANN, Meister. Organ builder at Werden, fl. 1437,
private collection, or a German Museum [KdP, when he is recorded as selling a ‘clavecordium’ [Mos].
Bemmann, and Doderer] is signed: Jaras me hizo, Ano
1809, Belorado (Burgos province]. See Kastner, 1952. JOHN, John de. Stringed keyboard instrument maker
Another clavichord by Jaras is in the La-Nerran in London, fl. 1526-31 [Rassell 1939, p. 64).
collection. [See: Beryl Kenyon de Pascual, “Two features
of early Spanish keyboard instruments’, GSJ, 1991.) JOHNSTONE, or according to BX JOHNSTON, John.
For details of surviving instruments see Part II. Harpsichord and spinet maker of Edinburgh, in the
second half of the eighteenth century. Like his con-
JASPERS, Jan. Harpsichord maker, native of Coesvelt. temporary, Livingstone (g.9.), it is known that he
Applied for citizenship of Antwerp ¢. 1570 [Po, p. 29]. worked from Carruber’s Close during the 1760s and
Va notes him as a lute and harpsichord maker, fl. 1568. 17708. Cranmer], who has made a close study of this
period of Scottish instrument making spells the name
JEHANNIS. See: JOANNES. with the terminal ‘E’, though it is reported that this is
missing on the inscription on his one surviving spinet.
For details of surviving instruments see Part II.
JEROME, of Bologna. See: HIERONYMUS
Bononiensis.
JONECK, Michael. Maker of keyboard instruments.
Born at Wiirzburg on 14 May 1748. Entered the
JEROSME. See: ZENTI, Girolamo. Oberzeller monastery, which was later dissolved, in his
youth. Here he began to play the keyboard, and was
JESSE, Johann Christoph. Organist at St. Martin’s driven by lack of a suitable instrument to the idea of
Church, Halberstadt, and also clavichord maker, f. making one himself. Soon afterwards he left the
1765. monastery and devoted himself to keyboard-instrument
For details of surviving instruments see Part II. making. In 1812 he was still alive [Ge].

JOACHIM, of Halle. Clavichord maker; fl. 1785. An JONECEK, Joseph. Son of Michael, likewise a maker
unknown Silesian writer signing himself Hermes Jun. of keyboard instruments at Wirzburg. He worked at
refers to clavichords in his possession: ‘eins von Friderici first under the direction of his father, but later had
in Gera, eins von Horn aus Dresden, eins von Joachim instruction from Walther in Vienna. Afterwards he
aus Halle und—horchen Sie auf—ein Silbermannsches’ returned to Wirzburg to work [Ge].
(Schlesische Provinzialblatter, Vol. 1, Breslau, 1785, p.
196); which would seem to imply a high degree of JONES, Philip. English maker of virginals and harp-
excellence in this obscure maker. sichords, born about 1643; apprenticed to John Haward
for 8 years from 13 July 1658; freeman of the Joiners’
JOANNES, Antoni. Harpsichord maker. Member of Company, August 1667. In a catalogue (1714) of the
the Guild of Saint Luke, Antwerp, in 1627 [Bw; St, p. sale of the music and instruments of Thomas Britton
8]. A ‘Clavecin de Jehannis’ was advertised in 1757 after his death, there appears ‘a good harpsichord by
[Bg, p. 10]; this is probably the same maker. Va, Philip Jones’ [J].
spelling him Johannes, also gives his florait as 1627. For details of surviving instruments see Part II.

JOBERNARDI, Bartolomeo [Giobernardi]. A musi- JORGENSEN, Johan Jesper. Clavichord maker at

cian of Italian origin, was living in Madrid (at least Odense in Denmark;
f. 1777.
1634-6, probably earlier and perhaps later) as harpist For details of surviving instruments see Part II.
to Philip IV, King of Spain. He designed a cimbalo
perfetto or ‘perfected harpsichord’, which he described JOUBERT. Parisian maker of harpsichords and other
in an unpublished Tratado de la musica, dedicated on 15 instruments, 1777 [Hsbb).
October 1634 to the King and preserved in the
Biblioteca Nacional, Madrid. For a discussion of this JOYCE, George, and Peter East, of London, f. 1694,
treatise, with considerable quotation from the original are sometimes misleadingly referred to as authors of a
text, see Santiago Kastner’s paper in Assario musical del ‘self-acting harpsichord’. What they patented, however
Inst. Espattol
de Musicologia, Vol. VI11, Barcelona, 1953, (no. 327, dated 20 October 1694) was:
PP. 193-209. See also Russell 1959, p. 116.
A certain instrument which being applied to clocks, organs,
and any other key instrument, as harpsichords, virginalls, of
JOHANE ANTONIO. See: BONISSIMO, the like, will cause the same to chime, or play any manner of
Giannantonio. tune, air, or notes plain or performe a consort, and is alterable

Google
 100
to any tune or air in halfe an hour by any person, (tho noe Gotha, 1743, died Hamburg 1823 [Schultze 1957). Lived
master of musick) without changing the instrument. at Breitenbach, Thuringia, for a time; acquired Hamburg
citizenship in 1782.
* JUAN, Antonio(?). Possibly a clavichord maker of A clavichord by him dated 1760 was shown at the
Seville. F/. 1575. Gest under the entry for Roche describes International Inventions Exhibition by R. M. Rogers
him as ‘Official de monacordios’. The word ‘Official’ in 1885. C. P. E, Bach had a clavichord by him. The
could mean specifically a journeyman as well as the form of his surname ‘Langgath’ is a misreading.
general meaning of craftsman, while ‘monacordios’ For details of surviving instruments see Part II.
almost certainly means clavichords. In April 1575 he
was living in the Calle Limones in Seville (KdP]. JUNGERSON, Johann Christian. See: JURG-
ENSEN, Johann Christian.
* JUHAN, James. Maker of harpsichords, pianos,
organs, violins, bows, cases, bass viols, and guitars, b.
* JUNGKLAUS, Friedrich, or FPriederich, or Frie-
2 April 1736 at Yverdon, Switzerland; d. 23 March
dereich. Clavichord maker of Altona, Hamburg. From
1797, Petersburg, Virginia, USA. Little is known about
a photograph supplied by Aanstad it is clear that the
Juhan’s early years, and he is first recorded in America
maker has signed his instrument Friedereich JungKlaus,
in 1758/60-1768 in Halifax, Nova Scotia, as a school
and this may be the preferred spelling. It also looks as
teacher. Barbara Lambert, from whom this information
if he has written the town of manufacture as A/ltona,
comes, is working on a publication on Juhan, and has
despite the present day spelling A/tona. 2 clavichords
kindly supplied the following survey. In 1768-71 he
by him, both dated 1751, survive in Norway, one in
was in Boston, Massachusetts, making violins, screw
Tromsé, and the other at Molde. Aanstad suggests that
bows, and cases, and teaching French instrumental
in the eighteenth century there was regular trade
music, and dancing. He also performed ballad operas.
between Hamburg and the Norwegian ports, and that
In 1771-2 he is reported as being in Charleston, South
probably both instruments came to Norway in the same
Carolina, where he taught, sold, and repaired violins
boat. dM points out that at the time of manufacture,
and other instruments and tuned harpsichords. From
Altona, which is now effectively part of Hamburg,
1772 until 1783 he appears to have been in Haiti,
belonged to Holstein, which was Danish, and this may
Hispaniola, West Indies, where he worked as a violin
account for the absence in JungKlaus’s clavichords of
maker, moving in the period 1783-6 to Philadelphia as
a number of the usual Hamburg features such as the
a music teacher and piano maker. From 1786 until
wavy cresting on the key levers [VdM, Aanstad].
his death he was in Virginia, including Portsmouth,
For details of surviving instruments see Part II.
Williamsburg, Richmond, and Petersburg as a maker
of harpsichords (he is known to have made at least
one), organs and pianos. Sadly none of his instruments JORGENSEN, Johann Christian, of Schleswig.
appear to have survived. [Lambert, Koster]. Pianoforte maker, born ¢. 1754. He began instrument
making in 1780 and invented a ‘clavecin royal’ with 12
JUNGCURTH, Heinrich Wilhelm. Maker of variations of tone. Died at Schleswig in 1815 [Fé]. Hirt
stringed keyboard instruments; born at Tiingeda, Kr. notes him as having made clavichords.

'y Google

K., V. The Heimathaus at Wasserburg am Inn, Bavaria,
has a virginal signed on the keys: V.K. 7s88. On a
lower soundboard, acting as a jack-guide, the date 1588
is repeated [VdM].
For details of surviving instruments see Part II.
* KAISER, of Dresden. Organ or keyboard instrument
(most probably clavichord) maker of the late eighteenth
or early nineteenth century. The work of this maker is
known only through the list of makers given by
Christian Friedrich Gottlieb Thon, though he does not
single him out for especial praise or esteem. See entry
under THON.
@ KAISER, Martin. Harpsichord maker at
(Allgiu), fl. 1698, [Hiré]. Despite the survival of only
one keyboard instrument, Kaiser seems to have made a
variety of musical instruments. The Musikinstrumenten
Museum, Berlin has a guitar made by him, albeit not
in prime condition, and signed Martinus Kaiser|Ser.
Elect: Palatini|Instrumentorum Opy Fex|M.DC XCVIIII
in large Roman letters, while there is a lute in Brussels,
and L# mentions a Violoncello in the Correr collection
in Venice. In addition there was formerly a theorbo in
the Berlin collection with a printed label Martino Kaiser
1632 (though sadly this has been lost).
For details of surviving instruments see Part II.
* KAISOR. See: MCFARLING.
* KALB, of Prague. Organ or keyboard instrument (most
probably clavichord) maker of the late eighteenth or
early nineteenth century. The work of this maker is
known only through the list of makers given by
Christian Friedrich Gottlieb Thon, though he does not
single him out for especial praise or esteem. See entry
under THON.
KALIX. Maker of keyboard instruments in Berlin, ¢.
1786 [Ge].
KAMP, Hubert van. See: VAN KAMP, Hubert.
© KAREST, Claes. Claes is a misreading of Joes Karest
q-.).
©@ KAREST, Gosuin or Goosen. Dates ascertained, 15 19-
68. Born at Cologne, son of Hans van Cuelen. In 1519
Google
K
he was the pupil of Peter Matthys [S¢, p. 67]. Entered
the Guild of St. Luke in 1529 as painter and harpsichord
maker. Received citizenship of Antwerp as a painter, 9
March 1536. Worked with his brother Joes Karest on
harpsichords, and had a reputation as a maker of
clavichords and theorboes [Li]. He appears to have
married twice [5¢, who quotes a number of references
to him in documents].
KAREST, Jan. Confused in the first edition with Hans
van Cuelen, (9.».).
© KAREST, Ioes [Josse or Joes or Joos Careest]. Maker
of clavichords, spinets, and harpsichords; born in
Fiissen Cologne shortly before 1500, died 1559~-6o [S#, p. 66].
Son of Hans van Cuelen (9.v.). In 1516-17 he became
a citizen of Antwerp. He was received into the Guild
of St. Luke in 1523 as a painter and engraver (‘Joos
Kerrest, clavecordmaker, snyt en scildert’ [Ro, I. 101}).
Joos Karest headed the harpsichord makers who in
1557 petitioned the Guild of St. Luke for admission as
instrument makers rather than as painters [S#, p. 63]._
In the Dresden Inventory (1593) there is an entry:
‘ein Instrument [i.c. virginal], so etwan Jobst Karest
gemacht.’ (Inuentarium Uber die Instrumenta, welche . . .
dem Hof-organisten Christoff Walthern in Vor-
wahrunge gegeben . . . zu Dressden den z Aprilis 1593.)
Edited by M. Firstenau in the Mittbeilungen des K. S.
Allterthums-Vereins, Dresden, 1872 [Bw, Gi, Lil]. The
importance of one of Karest’s two surviving virginals
is emphasised in the essay ‘On Joes Karest’s Virginal
and the origin of the Flemish Tradition’. in RipKb,
p. 65.
FrancII contains an entry for a ‘spinetta a forma
d’arpa’ inscribed: Joes Karest de Colonia fecit 1syo, and
now in the Raccolta Statale degli Antichi Strumenti
Musicali, Rome. Though in Bz it was thought unlikely
that it could be genuine, O’Brien believes that there is
no doubt about its authenticity.
For details of surviving instruments see Part II.
KASTNER. German(?) clavichord maker, whose exist-
ence is known only from his surviving clavichord. F/.
1748.
For details of surviving instruments see Part II.
* KATHOLNIG, of Vienna. Organ or keyboard instru-
ment (most probably clavichord) maker of the late
eighteenth or early nineteenth century. The work of
102 KEENE
this maker was particularly esteemed by Christian location together with the locations of other makers,
Friedrich Gottlieb Thon. See entry under THON. and musicians of the period.

KEENE, Stephen. Virginal, spinet, and harpsichord KELLERMANN, C. F. A., of Nordhausen. A man
maker. Born about 1640, son of Richard Keene of of letters and of the law, also an amateur maker of
Sydenham, Oxon. Apprenticed to Gabriel Townsend keyboard instruments, in the eighteenth century [Ge].
in London for 7 years from 6 August 1655; freeman of
the Joiners’ Company, November 1662; Master of the © KEMP, or KEMPS, or KEMYS, John. Spinet maker
Company, 1704/5. Latest date ascertained, 1719. In 1693 in Bristol or in Gloucestershire in the eighteenth
he lived in Threadneedle Street. Among his apprentices century. In 1989 there were 3 known recorded wing
were Blunt, Brackley, and Barton [Join]. spinets bearing signatures which could be interpreted
Hipkins [HiMi, p. 62] says the earliest notice known in any of these 3 ways. Careful research by several
of Keene occurs in an advertisement at the end of the owners, especially Mr. N. C. Gunn, has failed to
sixth edition of Playford’s Introduction (London, 1671), produce authentication for any of the spellings, though
which announces that: clearly a maker with a name of this kind was at work
in Bristol around the middle of the century. Byrne
. .. Mr Stephen Keene, maker of Harpsycons and Virginals, records that a spinet and harpsichord maker, John
dwelleth now in Threadneedle Street, at the sign of the Kemys, of Small Street (then King Street), Bristol,
Virginal, who maketh them exactly good, both for sound and
substance. worked between 1752 and 1759 [J, Byrne).
For details of surviving instruments see Part II.
Charles Brackley is known to have been in Keene’s
employment in 1711, since a spinet of his is inscribed KEMPS, J. See: KEMP.
on the top key C.B./1711/78. By 1719 Brackley had
been taken into partnership, as is proved by the KEMYS, J, See: KEMP.
existence of a spinet-nameboard belonging formerly to
A. J. Hipkins, later to Henry Tull, inscribed Stephanus
Keene Carolus Brackley Londini fecerunt, and believed to
KERSHAW. See: KIRSHAW.
have come from an instrument dated 1719. At least one
* KESSLER, of Eger, in Bohemia. Organ or keyboard
nameboard exists on a spinet showing that Keene also
instrument (most probably clavichord) maker of the
took Blunt (q.».) into partnership.
late eighteenth or early nineteenth century. The work
For details of surviving instruments see Part II.
of this maker was particularly esteemed by Christian
Friedrich Gottlieb Thon. See entry under THON.
KEEYS. Workman in an English eighteenth-century
harpsichord and spinet making firm. John Paul bought ¢ KETTENHOVEN, Pierre, of Lyon. ‘Facteur de
at a Sussex auction sale in 1966 a spinet whose style clavecins, épinettes, “forte ¢ piano”, harpes 4 pédales,
dates it as from the late eighteenth century. On the typanons, serinettes, guitares, mandolines, vielles’; dates
baseboard, underneath the keyboard, is the signature: ascertained, 1772-8.
Keeys no. 11. (It is clear, and could not be Keene or A daughter of his was baptised at the Church of
Kemys.) Jack 41 is inscribed Edward Peel (Pax). Saint-Nizier on 28 October 1775. In 1778 he did some
For details of surviving instruments see Part II. work on the organ of the Charité [Vallas].
For details of surviving instruments see Part II.
KEHRMAN (KEERMAN), Pieter. Organ and harp-
sichord maker, born in Dortmund in 1707/8, who KEUSE, P. See: KUESE, P.
settled in Amsterdam in 1730. In 1745 he advertised as
an organ and harpsichord maker, living in the Lange e@ KEYSER, Paul. Given as a maker of instruments in
Leydse Dwarsstraat in Amsterdam, and offered to sell Bz, but this is not a correct interpretation of the source
or rent old harpsichords made by Ruckers, Couchet document Drechsel, where it appears that Vicenzo
and other Brabant masters [Gier]. Albrici, J. W. Forchheim, J. Fassel, P. Keyser, and P.
P. Morelli were not instrument makers but simply ‘un
KEISER, Jean Baptiste, called ‘L’Empereur’. A native consegnatario dei medesimi in dotazione della cappella
of Haute-Alsace, he made harpsichords in Paris; master musicale’ of the Dresden court. Further information on
in 1736 and jaré in 1749; died 1772 [Verlet]; he taught this matter is to be found in: Moritz Firstenau. Zar
and adopted his nephew Joseph Treyer (g.v.) also Geschichte der Musik und des Theaters am Hofe xu Dresden,
called ‘L’Empereur’ [Hardouin 1959]. Sheridan Germann Dresden, 1861, pp. 254-5 [Miscb-1974].
[Germ1g80] suggests that he lived in the rue Percée in
1764, and in a map of Paris on p. 440 shows this KIBURTZ. See: KYBURZ.

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 KIRKMAN 103
KIEDOLPS, F., of Schweinfurth. F/. 1751. Organ and licence to manufacture harpsichords, clavichords, etc.,
clavichord builder. stating in his application that he had not learnt
For details of surviving instruments see Part II. instrument building in the customary way, but through
his own diligence, and by associating with instrument
KIEJCHER, Krzysztof. Maker of harpsichords and makers. His practical knowledge of organ performance
clavichords at Cracow in the sixteenth and seventeenth was said by Per Brant, leader of the Royal Court
centuries [Szadc]. orchestra, to have been put to good use in his instrument
making, and it led him to experiment in making
KILIAN, Lucas. A Hungarian engraver, active (? in keyboard instruments with pedals, hybrid instruments,
Budapest) 1607-37, may have designed an ottavino, and those with hammer action. Eva Nordenfeldt-Aberg
said to have belonged to Catherine of Brandenburg, demonstrates further the variety of instruments pro-
the wife of Gabor Bethlen, Prince of Transylvania, in duced by Kinstrém, quoting a newspaper advertisement
the Hungarian National Museum, Budapest. It is of 1748 for a ‘clavcymbal’ with 3 registers and compass
inscribed: 1617 L:K:F: and (lower down) I:K:F: which FF-f or C-d’, and further advertisements in 1751 for a
has been interpreted as ‘Lucas Kilian invenit; I. Kilian ‘new-invented lute-cymbal’ with 8 variations, in 1752
[his son] fecit’, a possibility accepted by M. Rosenberg for a harpsichord with pedals, and in 1756, for an
(Der Goldschmiede Merkzeichen, Vol. 1, 3rd edition, upright harpsichord. Finally, in 1762, the year before
Frankfurt am Main, 1922). Gabry (1959) considers it his death, he announced the invention of the ‘Harp
likelier that it was made by Johann Klebiller of Cymbal’, which could be played like a harp or as a
Augsburg and brought by Catherine with her from harpsichord.
Germany. Illustrated in Gabry 1969. His workshop, which was carried on by his widow,
For details of surviving instruments see Part II. Christina, after his death in 1763, though small, was
comparatively productive, possibly due to a degree of
KING, Federico. See: RING, Friedrich. mechanization which he introduced [H-O].
For details of surviving instruments see Part II.
* KINSTROM, Christina. Widow of Lars Kinstrom,
and proprietor of the firm bearing her husband’s name KINTZING, Christian, of Neuwied. Maker of clavi-
after his death in 1763. See also: KINSTROM, Lars chords and pianos. F/. 1763. His son, Peter, also made
[H-O}. pianos.
For details of surviving instruments see Part II.
© KINSTROM, Lars. Clavichord maker of Stockholm.
Dates ascertained, 1710-63. (The name is given as KIRCHMANN, Johan Friedrich. Organ and harp-
‘Kindstrém’ by Eva Nordenfeldt-Aberg in EM, January sichord maker, a native of Berlin, who worked ¢. 1730
1981, p. 53.) Kinstroém was born in Risinge parish in in Zwolle and who settled in 1736 in Edam. On 8
tergétland, the son of the steward of an iron works, October 1732, he delivered a harpsichord to the
and attended Uppsala University from 1730-31. There magistrates of Zwolle for the price of 200 guilders. His
he probably met Andreas Ekman, the son of alderman signature on the document in question was ‘Johan
Lars Ekman, organist at Stringnas and father of Friederich Kirchmann, Orgel-en Clavecimbelmaker’.
Maria Elisabeth, Andreas’s sister, who was to become He was still living in Edam in 1746. [See: Gier for
Kinstrom’s first wife. After Lars Ekman’s death, Kin- further biographical dates.]
strém took over as organist until 1737, while at the
same time Carl Petter Lenning (9.v.) was the cathedral
organist. It seems most likely that the 2 men were KIRKMAN [Kirckman]. Anglicized form of the Ger-
acquainted, for Catharina Lenning acted as godmother man Kirchmann, surname of a family of eminent harp-
for Kinstrém’s eldest daughter, Rebecca Christina, on sichord and subsequently pianoforte makers. The firm
25 May 1737. In the same year, Kinstrém became of Kirkman & Sons dated their foundation from 1730.
organist at the Hedvig Eleonora church in Stockholm, (Cf. their advertisement in the Daily Graphic, London,
a post which he held until his death in 1763, though 31 July 1893 and in the first issue of the Evening News,
he did apply for the post of cathedral organist at Abo 26 July 1881.) Jacob Kirkman anglicized his name first
in 1741. HO gives further information on the way in of all as Kirckwan (as when witnessing the will of his
which other Swedish clavichord makers, notably master, Tabel, in 1738), and this form continued to be
Specken (g..) and Hedlund (g.9.) and David Kellner, used by the firm on the nameboards of their instruments;
who introduced Silbermann’s ‘cembal d’amour’, prob- but at least from 1755 (when he took out naturalisation
ably influenced Kinstrém’s instrument building. {H«D]) Jacob customarily signed his name Kirkman in
Kinstrém acknowledged his debt to his precursors documents. It is interesting to note the use of this form
when in 1742 he applied for, and was granted, his in that year when Mrs. Delany wrote ‘She [Mrs.

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104 KIRKMAN
Donellan} has got a new harpsichord of Mr Kirkman’
(Aatobiography and Correspondence of Mary Glanville (1861—
2), Vol. III, p. 383).
(1) Jacob (1710-92), an Alsatian of Swiss extraction
(his great-grandfather, Conrad, lived at Burgdorf in the
canton of Bern), was born at Bischweiler (or Bischwiller
as it is now more commonly known) near Strasbourg
where the archives describe him as a ‘cabinet maker’—
ébéniste. In the early seventeen-thirties he came to
England and worked for Hermann Tabel, a Flemish
harpsichord maker who had brought over the traditions
of the Ruckers (9.v.) family of Antwerp, and for whom
there had worked during the previous decade Burkat
Shudi (9..), who was destined to be the founder of the
house of Broadwood. Only one harpsichord by Tabel,
dated 1721, has survived; and his name would have
been almost forgotten but for his distinguished pupils
and for Burney’s entertaining paragraph (in Rees’s
Cyclopedia) telling how ‘Kirchmann worked with the
celebrated Tabel as his foreman and finisher till the
time of his death. Soon after which . . . Kirchmann
married his master’s widow, by which prudent measure
he became possessed of all Tabel’s seasoned wood,
tools and stock-in-trade . . .’. This took place in 1738
(although Burney mistakenly says that Kirkman arrived
in England in 1740).
On 8 May 1739 the following advertisement appeared
in the Daily Gazetteer:
Whereas Mr. Hermann Tabel late of Swallow Street, the famous
Harpsichord maker, dead, hath left several fine Harpsichords to
be disposed of by Mr. Kirckman, his late Foreman; this is co
acquaint the Curious, that the said Harpsichords, which are
the finest he ever made, are to be seen at the said Mr.
Kirckmann’s the comer of Pulteney Court in Cambridge
Street, over against Silver Street, near Golden Square.
The wording of the address at the end of the above
quotation gives rise to some speculation, and in modern
terminology might well be given more accurately as
‘the corner of Silver Place and Lexington Street,
opposite Beak Street’. It seems that Kirkman had either
lodgings or a small workshop there. By the end of
1739, however, he is found in the rate books at no. 17
Great Pulteney Street, and here he remained, only a
short distance from his rival, Shudi, at no. 32-5 in the
same street. It may well have been the proximity of the
latter which caused Kirkman to move by 1750 to larger
premises at what was then no. 19 Broad Street (now
no. 54 Broadwick Street). Here the business was able
to expand, particularly when the houses on either side
were eventually acquired. No. 18 (now no. 52) was
occupied by Jacob’s nephew, Abraham, from the time
that Jacob took him into partnership in 1772, while
Abraham’s brother, also Jacob, the organist and com-
poser, acquired no. 20 (now no. 56) in 1780, and
lived there until 1801. The Universal Director for 1763
announces Jacob Kirkman ‘Harpsichord maker to her
Majesty, and to several foreign princes. Broad Street,
Google
near Golden Square’, and it is interesting to note the
mention of Golden Square as an area of good repute,
which was alluded to by several other musical instru-
ment makers resident in streets close to the square but
not actually living in this sought after area. The
reference to an association with the royal family is a
reminder of the patronage of the King which Kirkman
enjoyed, while Shudi’s patron was Frederick Prince of
Wales; an echo of the unfriendly relations between
George II and his eldest son.
It was Kirkman who, some time in the middle
seventeen-forties, introduced Fulke Greville to Burney,
who became Greville’s harpsichord teacher. The occa-
sion is amusingly described by Fanny Burney, daughter
of the musician (Memoirs of Doctor Barney, London,
Moxon, 1832, Vol. 1, p. 24), who refers to Kirkman
as ‘the first harpsichord maker of the times’, and is
summarized by P. A. Scholes in The Great Doctor Burney
(London, Oxford University Press, 2 vols., 1948), Vol.
I, pp. 36 ff., where he quotes that Kirkman ‘came
forward to announce that in the following week he
[Greville] should have a new harpsichord with double
keys [i.e. 2 keyboards] and a deepened bass ready for
examination’. Quite what was meant by ‘a deepened
bass’ is not clear, but it is possible that Kirkman made
one or two harpsichords reaching down to CC, i.e. the
C below the customary FF (the lowest key in the almost
standard eighteenth-century 5-octave compass of FF-f*)
just as Shudi did. Whereas examples of Shudi’s practice
have survived, if Kirkman ever made such instruments,
sadly none remains.
About 1757 Kirkman constructed an enharmonic
harpsichord according to a plan supplied by Robert
Smith, Master of Trinity College, Cambridge, whose
remarks approving the instrument are quoted below in
the article under his name. Smith also explains in the
Postscript of 1762 to the second edition of his Harmonics,
or the Philosophy of Musical Sounds, London, 1759, how
any harpsichord may be adapted to become capable of
variation from one temperament to another by the use
of handstops. An analysis of the device and a com-
mentary are at Mould Th.
Like Shudi, Kirkman collaborated with Snetzler in
the building of claviorgana, one of which, made in
1750, has survived. [See: Peter Williams, The Earl of
Wemyss Claviorgan and its Context in Eighteenth-century
England, in RipKb.] Unlike Shudi, Kirkman also made
a small number of wing spinets, of which a few survive.
About 1770 a sudden fashion for the English guitar
Sprang up, which threatened to ruin the harpsichord
makers, if Burney’s oft-repeated story is to be believed.
But Kirkman saved the situation by buying a few such
guitars and putting them into the hands of milliner
girls and street singers, which made the ladies of the
bean monde so ashamed of themselves that they repented
of their follies and returned to the harpsichord.

Burney alludes to another aspect
practical shrewdness in that he became ‘a pawnbroker
and a usurer; obliging young heirs with money as
kindly, and with as much liberality, as a Hebrew’. While
there is no direct evidence of pawnbroking,
considerable documentary proof that he lent out money,
and from his will it is clear that a formidable list of
titled people and Army officers owed him money. He
showed equal acumen over the acquisition and disposal
of property, and about 18 leasehold premises or houses
in various parts of London are listed in his will.
In 1771 of the previous year Kirkman brought an
action against Robert Falkener (g.»., also spelt ‘Ffalk-
nor’) for putting up for sale as by Kirkman a harpsichord
made by another maker. He claimed £500 damages [/,
Pp. 43 n.]. Careful research has failed
outcome of the suit, though it has
cases which indicate that Kirkman
much of his time in the latter half
century in business transactions not
the building of harpsichords. One further instance of
a suit involving a counterfeit Kirkman harpsichord has
been reported by Richard Luckett. Scone Palace MS.
TB/80/52/477, p. 34, includes an indictment
Rose ‘for deceitfully selling an harpsichord to Joseph
Brett as a good one made by Jacob Kirkman and that
the person he bought it of shewed him Kirkman’s
receipt for 351. for it whereby he defrauded the said
Brett [znd count]. For selling an harpsichord with the
name of Jacobus Kirkman fictitiously wrote thereon.
Plea, not guilty.”
The catalogue of the International Inventions Exhib-
ition, London, 1885, lists a portrait by Hogarth
‘Jacob Kirckman’, possibly the harpsichord maker; but
considerable researches have not discovered whether it
is still in existence. Moxdd Th carries a detailed account
of the tracing of Kirkman portraits, and shows that
there were at least 2, 1 in crayon, and the other in oils.
The former may be the pen and ink drawing of a
member of the Kirkman family reproduced on p. 77 of
the article on ‘Kirckman’ (sic) in GDN.
unlikely, however, for it is almost certainly this same
drawing which is mentioned by Graham Wells, writing
in EM, Vol. 6, No. 2, April 1978, p. 277, in which he
describes the sale of a series of drawings of musicians,
by John Nixon at a Chistie’s sale in November 1977.
One of these was a caricature of ¢. 1785, which
unlikely to be other than Abraham
nephew of Jacob. The oil painting may possibly be the
portrait of an cighteenth-century gentleman, thought
by acknowledged experts to be from the last quarter
of the eighteenth century, and to be either by L. F.
Abbott, or possibly Gilbert Stuart,
possession of the family of the late Dr. Edgar Archer
of Sevenoaks. [See: Mould Th for a photograph of this
painting.)
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KIRKMAN 105
of Kirkman’s It has sometimes been assumed that Kirkman was
the same person as the Jacob Kirkman who was organist
of St. George’s, Hanover Square, and published a
number of musical compositions. This is a mistake; for
there is the harpsichord maker died in May 1792, while the
organist, who was the brother of the Abraham Kirkman
whom the harpsichord maker took into partnership in
1772, was born on 3 March 1746, died on 29 April
1812 and lived, at least until 1801, in the house adjacent
to the harpsichord maker at no. 20 Broad Street. In
this year he resigned from his post at St. George’s.
Apparently the Vestry would not grant further leave
of absence ‘in the hope of re-establishing his health by
a residence at Bath and Brighton’. It is clear that the
organist had been spending far too much time at
to reveal the Richmond, Brighton, and elsewhere for reasons not
unearthed other primarily connected with his health. In his will he
must have spent mentions his 3 ‘dear natural children’, all, it seems, by
of the eighteenth different women, none of whom he married. That he
strictly related to was fond of music is clear from his will which refers
to ‘3 charges of £50 a year which I have on the Opera
House’, together with 3 silver tickets, and ends with the
not-infrequent eighteenth-century precautionary request
of John that ‘my remains may be decently buried . . . not
however until about one week after my supposed
decease nor then unless there appear convincing signs
of my being really dead’.
It is probably this nephew who figures in the list of
subscribers to Burney’s History of Music, published in
1776, where 3 members of the Kirkman family appear:
‘Mr. Kirkman, Mr. Abraham Kirkman, Harpsichord
makers to Her Majesty’ [i.e. the celebrated Jacob and
of a his nephew Abraham, who were in partnership at this
time]; and ‘Mr. Jacob Kirkman’. An anonymous print
of about 1750, seen by J. G. Morley in 1954, represents
a lady playing a 2-manual harpsichord on whose
nameboard the signature Thomas Kirckman appears
clearly in an oval cartouche. The instrument was
probably by Jacob Kirkman, since no one in the family
was, as far as is known, named Thomas.
This seems It must have been at least as early as 1772 that Jacob,
the harpsichord maker, having no children by his
marriage, took his nephew, Abraham, into partnership,
for a number of surviving harpsichords from this date
onward are signed Jacobus et Abraham Kirckman. In the
records of tunings by Thomas Green (g.».) of Hertford
was there is an entry for the tuning in the period 1775-80
Kirkman, the of a harpsichord belonging to Sir Abraham and Lady
Hume, of Wormley Bury, which is, according to Green,
signed Jacobus and Abraham Kirckman 1771 fecit. \t may
therefore be that the two were in partnership by 1771.
About this time the piano began to be made in the
and now in the Kirkman workshops, for there is record of a square
piano inscribed Jacob &» Abrabam Kirckman dated 1775,
and a grand piano dated 1780 also bears their names,
so that the piano and harpsichord were manufactured
106 KIRKMAN
side by side by them for some years, as also by the
firm of Shudi-Broadwood.
With reference to the signing of instruments, Jacob’s
earliest harpsichords are signed Jacobus Kirckman fecit
Londini [date]. This order continued until 1760, when
the form Jacobus Kirckman Londini fecit (date) is first
encountered. The same order was preserved from 1772
onwards when the signature appears as Jacobus et
Abrabam Kirckman Londini fecerunt date], and
continued until 1788. No harpsichords survive signed
by Abraham alone. In 1789 the first instruments signed
Abrabam et Josephus Kirckman Londini fecerunt [date]
appeared, and the 2 surviving 1798 harpsichords by
Joseph are signed Josephus Kirckman Londini fecit 1798|No
19 Broad Street, Sobo. The form of the signature within
the above datings is so consistent that the nameboard
of an instrument bearing any other format must be
regarded with suspicion.
The house of Kirkman continued to make harp-
sichords for some years later than that of Shudi-
Broadwood; for a Kirkman dated 1800 survives, and
Engel states that the last harpsichord was made in their
workshop in 1809: ‘The late Mr. Kirkman [i.e. the
Joseph who died in 1877] told me that he, with his
father [i.c. the Joseph, several of whose harpsichords
have survived], constructed the last harpsichord in
1809” (‘Some account of the Clavicord . . .’, in Musical
Times, 1 July).
It was in 1790 that Jacob Kirkman retired to a house
at ‘Crumshill’ in the parish of Greenwich. There remain
at the top of the road now called Crooms Hill several
pleasant mid-eighteenth-century houses, and it seems
likely from careful examination of the records that
Kirkman passed his final years at the house now
called Park Hall, while Abraham owned the next-door
property now called the White House, and which, in
due course after his death, was used by the organist,
Jacob Kirkman.
The harpsichord maker, Jacob Kirkman, made
will on 31 March 1792. It was proved on 13 June in
the same year. In dating Kirkman’s death in
Burney is strangely wide of the mark; and although
Kirkman was a man of considerable substance, it seems
unlikely that he was worth the £200,000 with which
Burney credits him. He was a member of the Reformed
German Church of the Savoy, which he mentions in
his will as the place where he would wish to be buried.
In fact he was buried in the parish church of St. Alfege,
Greenwich, where the register records simply ‘9 June
1792 Jacob Kirkman a Gent’. He was succeeded by his
nephew:
(2) Abraham (1737-94), son of his half-brother
Abraham Kirchmann of Bischweiler. Abraham, after
being in partnership with his uncle for about 20 years,
worked with his son Joseph for several more; in fact
he seems to have taken Joseph into partnership in the
year before Jacob’s retirement, to judge from the
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inscription on a harpsichord of 1789. He died in ‘the
hamlet of Hammersmith in the parish of Fulham’ (where
the family owned substantial properties) but was buried
in the parish church of St. Alfege, Greenwich (pre-
sumably because of his ownership of the White House),
the registers recording the burial as simply as before—
‘16 April 1794 Abraham Kirkman a Gent’. His wealth
was possibly greater than his uncle’s, and he left
this property in several parts of London and elsewhere in
England, and even in Wales. He had 9 children by his
wife Charlotte, one of whom has been noted by Michael
Turner (See: Publishing History to be published by
Chadwyck Healey) as a stationer, active on Cornhill ¢.
1790. The harpsichord business was carried on by
Abraham’s second son:
(3) Joseph, whose name appears with his father’s on
at least 4 surviving harpsichords, and alone on at least
2 or possibly 3 more. Joseph joined the firm in 1789
and managed it from 1794 onwards, though it is
reported that a harpsichord of 1792 is signed by him
alone. His son:
(4) Joseph, the Younger, died at the age of 87 in 1877,
his second son:
(5) Henry having died some years earlier. The
showrooms were for many years in Soho Square. In
1896 the business was amalgamated with that of Collard,
later taken over by Chappell, and is now extinct.
(6) Thomas. [See above at (1).]
Mrs. Piozzi (not wholly accurately!) wrote on 10 July
1803: ‘Mason the poet I am told was the first inventor
of the Piano & Forte; They used harpsichords until his
time, about 1767 was the notion made public and
perfected by Professors in Music and in Mechanism.
Kirkman’s Harpsichords were once so famous, people
broke off ye front boards to put them on their own
instrument if that was made by Tchudi—tho’ a better
workman; you may now buy the best Kirkman in
England—for a guinea 1803’ [Thraliana, ed. K. C.
his Balderston, 1942, Vol. II, p. 1036 n.J.
[Da; Burney’s articles in Rees’s Cyclopaedia (1820); A.
1778 J. Hipkins’s researches; wills of the Kirkman family;
rate-books of parishes in Soho and near by; Alsatian
archives; article on Kirckman in GDN; and Mosid Tb.)
The Instruments
The similarity of Kirkman’s harpsichords to the
surviving harpsichord by Herman Tabel is obvious,
from his earliest instruments of the mid-1740s to the
last surviving instrument of 1800. In external case style,
layout of the string band, scale, specification and general
concept, the influence of Tabel can be seen in almost
every instrument produced by an English builder from
the earliest surviving Shudi of 1729 onwards.
Both Kirkman and Shudi produced several standard
instruments, including a single with 2x8’ stops, a single
with 2x8’, 1x4’, and a double with a dogleg 8’ available
from both manuals, a second 8’, and a 4’ available on
the lower manual (1), and usually an 8’ lute available
 KIRKMAN 107
on the upper manual (II). There is usually a harp stop to his rival simply because of the lack of the more
available, which on some instruments can be operated elaborate form of swell.
by a pedal. This specification on a 2-manual harpsichord All Kirkman harpsichords have a rose in the sound-
is a particularly English characteristic, and has its board while Shudi’s do not. In summary, what is a
limitations in the context of the performance of the somewhat complicated situation is as follows:
music of some continental composers. A useful dis- There are 4 main types of which type A is a forward
cussion on this matter is to be found in the article on and reverse intertwining of the initials J K, and is
Kirckman in GDN. similar to the cartouche to be found in the centre of
The standard Kirkman compass, like that of the the foreboard of some of the marquetried instruments.
Tabel, was in the earliest models FF,GG-f (i.e. less FF Its similarity to the rose in the surviving Tabel
sharp), though Shudi included this penultimate lower instrument cannot go unnoticed. Type A roses are
key in his instruments much earlier than Kirkman found in instruments from 1744 to 1752. Type Bi is
whose instruments continued without it until some the commonest, having a harping figure (usually said
time between 1781 and 1785. to be King David) flanked by the initials J K. Careful
The possibility that Kirkman extended the compass examination of the surviving examples from 1754 to
of some of his instruments from the standard 5-octave 1787 shows that there were 2 moulds from which these
FF-f down to CC in the bass to give 54-octaves has were cast. In 1788, the first Type Bz rose is found—
been alluded to above in the discussion on Fulke similar in design to Bi—the figure of the king is larger
Greville, but no such Kirkman instrument has survived. and more clearly defined and he is flanked by the initials
There is, however, one unique extension upwards to A K. Examples are found up until 1790. Type C roses
c¢ which does survive in an instrument of 1772, the also have the harping king, but he is smaller than in
reason for which is not clear. Bi or Bz, and is surrounded by a wreath of wind and
To all intents and purposes the external dimensions string instruments. Two versions exist, one cast and
of all surviving Kirkman harpsichords appear to be the the other stamped, and they are to be found from 1772
same. It was therefore surprising to find after careful onwards.
measurement of a number of instruments spanning 50 The internal structure of Kirkman harpsichords is
years of production that the overall length varied similar to that of Shudi instruments, and both are
incrementally, reducing from 2457 mm in 1745 down clearly derived from Flemish precursors. This structure
to a minimum of 2318 mm in the 1760s, and back again is, nevertheless, not particularly well conceived, being
to about 2388 mm by the 1790s, with a sizeable jump based on a series of trapezoids, rather than triangles.
to 2507 mm in the case of the 1798 double by Joseph The cases thus have a tendency to instability, which is
Kirkman, now at the Museum of Fine Arts, Boston, overcome mainly by the massive main external case
USA. The length of the longest (FF) string varied also members, with elaborate dovetails at their junctions
in conformity with the case length, though the rest of with each other. There is therefore a tendency for these
the string band from about F upwards was unaffected. cases to ‘curl up’, though this may be a more recent
‘The reason for this variation is quite unknown. phenomenon, brought about by restorers who have
Kirkman double-manual harpsichords often included used over-heavy strings. Certainly several instances of
a ‘machine stop’ which, when engaged, by means of a severely distorted Kirkman harpsichords are now to be
knob inside the left cheek-piece, is operable by a pedal. seen (perhaps the worst being the single manual
[See: article below on Shudi for a description of the harpsichord owned by the Smithsonian Institution). It
operation of the machine and the Venetian swell.] The was interesting, however, that when, some years ago,
machine appears to have been added to permit the the writer built an exact replica of a Kirkman case, it
playing of sudden or possibly gradual crescendos and began to develop the characteristic curl up, even before
decrescendos (see Rip Expr.). it was strung. Externally the cases are almost invariably
Kirkman experimented with means of varying the crossbanded with a range of fruitwood, box, sycamore,
volume of the harpsichord, and is known as the inventor tulipwood, or ebony strings or attractive combinations
of the lid (or appropriately named—nag’s head) swell. of these woods. There are a number of surviving
Traces of such swells can be found in Kirkman’s instruments with elaborate and highly distinctive mar-
instruments as early as 1754, and the more developed quetry in the keywell.
style of lid swell is common from 1766 up until The workmanship of the action is invariably
the 1790s. Shudi patented his Venetian swell on 18 exemplary.
December 1769 and it seems curious that such devices The most important difference between Kirkman and
are found on Kirkman harpsichords as well. There Shudi instruments is in the lute-stop, which in Kirkman
seems, however, to be no reason why Kirkman, who harpsichords has a more characteristic nasal tone, the
‘was a man of some acute business sense, should not string being plucked nearer to the nut. Burney preferred
have paid some fee or royalty to Shudi for the use of the Shudi tone. It is difficult to be precise about the
his invention rather than lose the sale of a harpsichord tonal differences of the instruments of Kirkman and

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108 KIRSCHNIGK
Shudi. So rarely can an example of both makers’ claim to be amongst the finest made by any builders of
harpsichords, in correct playing order, be heard side the classical period.
by side—and indeed the term ‘correct playing order’ is A family tree is to be found in the Genealogies
only relative. Voicing and regulation are such individual section.
matters that they can rarely, if ever, allow an objective For details of surviving instruments see Part II.
comparison.
Burney’s claim that Shudi’s instruments were more KIRSCHNIGE. ¢. 1787-90, St. Petersburg. Made
durable than Kirkman’s cannot now be verified, and is fortepianos organisés [Moos]. May have .made
discussed in the article below on Shudi. It is true that harpsichords.
more Kirkmans (probably as many as 170) have survived
than Shudis, (of which about s0 are known); but KIRSHAW [Kershaw]. Family of harpsichord and
Kirkman produced many more than Shudi. An inter- spinet makers in Tib Lane, Manchester.
esting, albeit imprecise, indication of this is contained (1) John, dates ascertained, 1740-73; mentioned as a
in the record of the accounts for the tunings of harpsichord maker in the Manchester Directory of 1772
harpsichords carried out by Thomas Green of Hertford (where he is spelt ‘Kershaw’). Hirt has found him in
[Sheldrick] where the keyboard instruments of most 1740.
English makers are mentioned once or twice, though For details of surviving instruments see Part II.
Shudi harpsichords appear with 6 entries, and Kirkman (2) Joseph, perhaps son of John, whom he joined
harpsichords are mentioned on 24 occasions. as partner in 1773 according to the Manchester Directory
It seems that Kirkman’s harpsichords commanded a of that year, which lists the firm as ‘John and Joseph
higher price than those of his rival, for in 1761 a Kershaw, harpsichord makers, Tib Lane’.
2-manual Kirkman cost 9o guineas, and a single-manual
so guineas, whereas Shudi’s prices varied from 35 KLEBLATT, of Edinburg, Hungary. Organ or key-
guineas to 80 guineas (1770). (Burney considered the board instrument (most probably clavichord) maker of
harpsichords of both these makers to be far superior the late eighteenth or early nineteenth century. The
to any which he came across in Germany or Flanders work of this maker is known only through the list of
[BurnG, Il. 147; I. 48].) The preface to John Arnold’s makers given by Christian Friedrich Gottlieb Thon,
Compleat psalmodist . . ., (sth edition, London, 1761) though he does not single him out for especial praise
states that ‘Mr. Kirkman’s are said to be the best, but or esteem. See entry under THON.
are of great Price’ while there are ‘very good common
Harpsichords to be sold at the Music-Shops for five- KLEBILLER, Johann. Perhaps a virginal maker, /.
and-twenty Guineas each’. In 1782, according to Der 1617 in Augsburg. See: KILIAN, Lucas.
musikalische Almanach published at Leipzig in that year,
Kirkman instruments cost from £60 to £90. Another KLEIN, Johannes. Instrument maker of Ockstadt. f.
indication of Kirkman’s fame having spread to the 1771. A combined square piano and organ signed
Continent is the notice, admittedly brief and inadequate, Johannes Klein, Orgel und Instumentenbaumeister in Ockstadt
in Ge: ‘Kirchmann: Ein Instrumentmacher zu London bey Frieberg in der Wetteraw 1771 is in the Nydahl
um 1772, ist wegen seiner schénen Fliigel beriithmt.’ collection, no. KL 71. It is not clear whether he made
Kirkman harpsichords maintained their value very harpsichords or clavichords.
well in the second-hand market, as is shown from the
following prices paid at Christie’s during the last KLEIN, Joseph. A spinet and clavichord maker of
decade of the eighteenth century: for single-manual Vienna. Fi. ¢. 1800.
harpsichords—18 guineas (16 April 1792), £19. 85. 6d. For details of surviving instruments see Part II.
(28 September 1792); for z-manual instruments—{21
(16 May 1791), £50 (16 April 1792), £36. 155. (25 KLEMM, of Leipzig. Organ or keyboard instrument
February 1793). As might be expected, fewer Shudis (most probably clavichord) maker of the late eighteenth
came up for sale, and usually fetched slightly lower or early nineteenth century. The work of this maker is
prices than Kirkmans. Thus a 2-manual Shudi harp- known only through the list of makers given by
sichord was sold at Christie’s on 7 May 1793 for 19 Christian Friedrich Gottlieb Thon, though he does not
guineas. single him out for especial praise or esteem. See entry
From time to time, doubt is cast on Hubbard’s claim under THON.
(Hubb 196s] that Shudi and Kirkman harpsichords
represent ‘the culmination of the harpsichord maker’s KLEMM, J. G. See: CLEMM, Johann Gottlob.
art’, and that ‘for sheer magnificence of tone, reedy
trebles, and sonorous basses, no other harpsichords KLIEM, ¢. 1800. Lived at Briiheim near Gotha. Maker
ever matched them’. Despite this, there can be little of keyboard instruments. Previously he had lived at
doubt that Kirkman harpsichords have a justifiable Kassel for a long period [Ge].

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 KOSTER 109
* KLIM. Possibly a harpsichord maker. See: * KONIG, Francis or Franz. Clavichord maker of Ingol-
HEMPENIUS. stadt. A clavichord by him survives in the Deutches
Museum, Munich, date 1739, with an inscription indic-
* KLOCKNER, Georg. Clavichord maker of Bratislava, ating that he lived at Ingoldstadt, but another instru-
Czechoslovakia, f. 1808. The existence of this maker is ment, most probably by him, in the Brussels
known only from a surviving clavichord bearing his Conservatoire is dated 1759, and gives his address as
signature in the Summer Palace Dardanelles (Mar- Obernberg. He was probably dead by 1817, when he
kusovce Museum), Yugoslavia [Bemmann]. He may be is listed amongst those whose instruments were thought
related to, or be the same person as Johann Georg to be worth mentioning by Christian Friedrich Gottlieb
Kkléckner (sic) who is mentioned in Otmar Gergelyi Thon. See entry under THON.
and Karol Wurm, ‘Historische Orgeln und Gehiuse in For details of surviving instruments see Part II.
der Westslowakei’, in Acta Organologica, band 14, 1980,
Verlag Hersebirger Berlin, Kassel, p. 166. This Kkléck- * KOOL (COOL, COOLS), Anthony. Harpsichord
ner, who came from Niederberg bei Ehrenbreitstein, maker from Haarlem who worked in Leiden around
Koblenz, was active in Pressburg from 1793, married 1750. In a tax register of 1748-9 he was listed as
in 1800, and died in 1844 at the age of 63 [Bemmann]. ‘Anthonij Kool, clavercimbaalmaker’ and had to pay
Sserviving instruments: 1 Cd. nearly 40 guilders. He died in the Hooglandsche
Koorsteeg in Leiden and was buried in Ocgstgeest,
* KLOGEL, of Ginz, Hungary. Organ or keyboard near Leiden, on 25 November 1783. In 1734 a ‘schoon
instrument (most probably clavichord) maker of the staertstuk met nootebomehout, gemaekt door Anth.
late eighteenth or early nineteenth century. The work Kool’ formed part of an Amsterdam estate. In the
of this maker is known only through the list of makers Leydse Cowrant for 20 February 1741, a 2-manual
given by Christian Friedrich Gottlieb Thon, though he harpsichord, compass FF-d’, made by ‘Anthony Cool’
does not single him out for especial praise or esteem. was advertised, and in 1776 the Rotterdam organist L.
See entry under THON. Sturenberg advertised a ‘fraaije clavercimbaal, zynde
cen staartstuk met 3 registers, door A. Gool (sic), voor
KNEIPHOF, Peter von. See: PETER vom Kneipho/. met een pedaal van 2 octaven’, probably a harpsichord
fitted with a pedalboard attached by trackers to the
KNOEBEL, Johann Christian. Organ builder, pupil underside of the keys of the lowest octaves, but of
of Ochme, ff. 1799; made clavichords, ‘only of soft course no certainty can be derived from the curious
wood, it is true, but of good tone’ [Fla, 1953 edition]. terminology of the advertisement. Finally in 1815 the
organist of the Roman Catholic Church in Middelburg
offered a ‘good’ harpsichord for sale, ‘made by the
* KOBER, of Vienna. Organ or keyboard instrument
famous A. Kool’ [Gier].
(most probably clavichord) maker of the late eighteenth
or early nineteenth century. The work of this maker was
particularly esteemed by Christian Friedrich Gottlieb * KOOL (COOL, COOLS), Jacob. Harpsichord maker,
Thon. See entry under THON. born in Haarlem, who worked in Leiden during the
second half of the eighteenth century. He was apparently
KOCH, Chr. A 2-manual harpsichord in the Musée a son of Anthony Kool (9.».). In 1757, when he married
Grévin, Paris, formerly attributed to Koch, is now Johanna Hofman, he was living on the Garenmarkt in
known to be by Christian Kroll, (g.0.). Leiden. In the Middelburgse Cowrant for 29 March 1766,
a harpsichord with 3 registers by ‘J. Cool a Leiden’
was offered for sale and in an Amsterdam estate is listed
KOCH, Mathias, of Strasbourg ‘wohnhaft in der
Miinchenstrasse’. Harpsichord and spinet maker, f.
‘een extra fraai en zeer konstig clavecimbaal, gemaakt
1757. In this year a description of a 3-manual harp- door Mr. Kool den Jongen, 4 Leiden’. Finally, a
harpsichord with 2 registers, made by ‘J. Cool’ in 1763,
sichord made by him appears in Marp. It had 3 unisons,
‘was advertised in the Amsterdamsche Courant, 1784, no.
an octave, and a double harp-stop (i.e. a divided one,
which could work on either half of the keyboard, 53 [Gier].
leaving the other half unaffected).
A spinet by him dated 1757 is in the National- KORYCKL, Stanistaw, of Warsaw. Eighteenth-century
museum, Munich [Ks, p. 428]. harpsichord maker (Va, Suid].
For details of surviving instruments see Part II.
* KOSTER, Heinrich, Rudolf, Bernhard. Instrument
* KOHLMANN, Georg. Assistant, and former appren- maker of Ueffeln, f: 1776. Rudolf Reuter, Orgeln in
tice, to Johann David Schiedmayer (g.v.) in the making Westfalen, Barenreiter, 1965, p. 298 quotes from the
of clavichords. F/. 1797, in Nuremberg. archives of the evangelische Kirche in Wesen that

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110 KRAFT
‘Heinrich Rudolf Bernhard Késter, Orgelbauer et Clav-
iermacher ex Ueffeln’ repaired their organ in 1776. The
term ‘claviermacher’ probably indicates that he made
clavichords.
KRAFT, Mathias Peter. Instrument maker of Stock-
holm. Born 14 June 1753 at Givle; died 9 July 1807
at Stockholm. The best-known instrument
his time in Sweden. Son of a joiner, he learnt instrument
making under Lundborg (g.r.). In 1750 he was already
Instrument-maker to the Swedish Court, which
he still held in 1802, for a square piano, now in the
Géteborgs Museum, bears the label: Pet. Kraft. Kongl.
Hof. Instrum. Makare, Stockholm n 276 A 1802. (In
addition, the Nordiska Museet, Stockholm,
pianofortes by him of 1788 and 1800, and the Nydahl
Collection, Stockholm, has a square piano of 1805.) In
1788 he received the citizenship of Stockholm. For over
2 decades he confined himself to violins, lutes, and
harps, but towards the end of the century he turned to
clavichord making and in 1798 became a member
the Guild of Joiners in order to obtain journeymen
joiners for this purpose [L#, Nor, p. 93]. His earliest
surviving clavichord is thought to date from 1772, but
an authenticated clavichord is dated 1782 and bears the
number 101, while an instrument of 1797 is numbered
611 (though there is some confusion over the dates and
the numbers, since another instrument believed to date
from 1806, the year before his death, is numbered 374).
Whatever the exact situation, it is clear that his
workshops produced considerable numbers of clavi-
chords [H-O].
For details of surviving instruments see Part II.
KRAMER. (1) Johann Paul (1743-9 March
maker of harpsichords and clavichords, was born in
1743 at Jiichsen in Meiningen, the elder
Johann Friedrich Kramer and Margaretha
Silchmiiller, who were married at Jiichsen in 1741. (The
other children of the marriage were Sophie Katharina
(born 1742) and Johann Sigmund Theodore (1751-
1828).) Johann Paul was instructed in
making at Grossbreitenbach in Thuringia and settled
in Gottingen. His harpsichords won him a great name
throughout Saxony and Hanover, and were as highly
valued (according to Gerber) as the violins of Stradivari
and Guarneri. Without being himselfa great musician,
he apparently had a very acute ear for beauty of tone.
On 19 April 1769, Johann Paul married Johanne (sic)
Elisabetha MGhring, and by her had 5 children (Johann
Christian Friedrich (1770-1859); Georg Adam (1774-
1826); Johann Ludolf David (1777-1828); Johanna
Sophie (1781-1804); and Johann Heinrich (1785-1822),
and from the inscriptions on surviving instruments he
must have made some of them in partnership with one
or more of his sons. He subsequently married Gertrud
Marie Happe (1763-1829) at Gottingen in 1796, and
by her had 2 daughters.
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In 1806 his sons set up on their own; but he continued
alone, and died at Géttingen 9 March 1819 [Ge, Ks].
He charged from 4 to 14 /oxis dor for his clavichords
[C. Engel, Musical Instruments, revised edition, London,
1908, p. 122].
(2) Siegmund Theodor (1750-1828)—according to
Bz, maker of clavichords and pianofortes, perhaps the
maker of
brother of Johann Paul (above). He married Elisabeth
Moringer, who bore him 2 sons. However, according
to Giinter Hart in an unpublished manuscript Géstinger
office
Instrumentenbau, Johann Paul’s brother was Johann
Siegmund Theodorus, whose dates are 1751-1828, and
who married Dorothea Sophie Kiihne at Géttingen on
14 June 1799. There is therefore some doubt as to
has grand
which Kramer it is who is mentioned by Thon (g.».)
as living at Heidelberg, and who appears in his list of
instrument makers whom he had met during his travels.
However, since the date of Siegmund Theodor’s death
is recorded by Bz as 26 October 1828 at Géttingen,
and Hart records the same date for the death of Johann
of
Siegmund Theodorus, it seems most probable that they
are one and the same person.
(3) Instruments exist from 1806 onward signed
Gebriider Kramer, and this appears to refer to Friedrich
and Georg Krimer, who were presumably the first 2
sons of Johann Paul [Bemmann].
For details of surviving instruments see Part II.
KRAMER. See a/so: MERCATOR, Sir Michael.
KRECH, of Meiningen. Organ or keyboard instrument
(most probably clavichord) maker of the late eighteenth
1819), or early nineteenth century. The work of this maker is
known only through the list of makers given by
son of
Christian Friedrich Gottlieb Thon, though he does not
Elizabetha single him out for especial praise or esteem. See entry
under THON.
instrument KRETZSCHMAR, Georg. Dates ascertained, 1565~-
1623 [Hirt]; organ builder and instrument maker at
Dresden ¢. 1574. In an inventory having the date 1593
there is an entry (no. 26): ‘Geigeninstrument so Georg
Kretschmar gemacht’, also for ‘ein Fliige! darunter auch
ein Positif, ‘ein gross Positif mit einem Instrument’
[probably a spinet], and (twice) ‘ein Clavicordium
darunter ein Flétwergk’. In 1547 he built an organ for
the Schloss-kirche at Annaberg, which earned him 200
florins, and in 1587 he received 250 thalers for an organ
built for the Schlosskirche at Freiberg [Li]. According
to Hirt he made clavichords as well.
KREUEL, Pius. Born Zug 1629; died Einsiedeln 1696.
Builder of organs and other keyboard instruments [Hirt,
P- 477].
 KYLE 111
* KREYNS, R .. . . Unknown harpsichord maker. known only through the list of makers given by
A harpsichord made by him was advertised in the Christian Friedrich Gottlieb Thon, though he does not
Amsterdamsche Conrant for 19 February 1737 [Gier]. single him out for especial praise or esteem. See entry
under THON.
KRICKHOF, Frederick. Spinet maker in London in
1731, most probably of German extraction. KUNZ, Ignaz. Clavichord maker, fl. 1821 at Jaromer,
For details of surviving instruments see Part II. near Kénigsgraz, Bohemia.
For details of surviving instruments see Part II.
* KROGMANN, Johann Christoffer. Hamburg instru-
ment maker (1748-3 January 1816) who was married © KUPPLER, Johann Georg. Nephew and pupil of
to Margaretha Catharina (1754-92), a daughter of Stein (g.v.). Settled in Nuremberg as instrument maker
Johann Adolph Hass (g.v.). It seems likely that Krog- in 1789. His work was chiefly piano making, and
mann eventually took over his father-in-law’s workshop converting harpsichords into pianos; but he probably
on the latter’s death. Square pianos by Krogmann are made harpsichords and clavichords in his earlier years
in the collections of the Museum fir Kunst und [Ge]. He is also mentioned in the list of makers known
Gewerbe, Hamburg, and the Stidtische Museum in by Christian Friedrich Gottlieb Thon, though he does
Flensburg, dated 1784 and 1789 respectively. not single him out for especial praise or esteem. See
entry under THON.
© KROLL, Christian. Harpsichord maker who came
from Soldine in the Electorate of Brandenburg, and KURTZ, Johann. Organist in Tibingen, built in 1681
subsequently worked at Lyons at least between 1770 a keyed harp, ‘eine neu erfundene Harfe, so durch ein
and 1774. He almost certainly worked with J. Collesse Klavier gleich einem Spinett zu schlagen’, probably a
(q.9.) at Lyons in the second half of the eighteenth kind of gut-strung clavicytherium [Ge]. He probably
century [Pxssian]. built normal keyboard instruments also.
For details of surviving instruments see Part II.
* KURZ, of Halle, Saxony. Organ or keyboard instru-
* KRUYFF, Jan Perk. Organist, organ builder and ment (most probably clavichord) maker of the late
harpsichord maker in Naarden, who advertised in the eighteenth or early nineteenth century. The work of
Asmsterdamsche Courant for 31 July 1764, 2s a maker this maker is known only through the list of makers
and tuner of organs, harpsichords and other musical given by Christian Friedrich Gottlieb Thon, though he
instruments. He also offered all kind of harpsichords at does not single him out for especial praise or esteem.
a modest price. [See: Gierveld, p. 1908.] See entry under THON.

KUESE, Pieter [? Keuse, ? Ruese]. Harpsichord maker KYBURZ, Georg Adam. [a/so Kiburtz], of Ober-
in Haarlem in 1611, when his age was 34 [Cwrtis, linsbach in the canton of Solothurn. Worked 1745-
p- 52]. 1801 in Berne making harpsichords and pianofortes
[Rindl].
* KUMMER, of Erfurt. Organ or keyboard instrument
(most probably clavichord) maker of the late eighteenth KYLE, William. Organ builder and harpsichord maker
or early nineteenth century. The work of this maker is at Charlemont St., Dublin, in 1790 [Teaban).

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 L
L., K. I. See: KILIAN, Lucas. auf diesem Instrument spielen, die man auf einem
gewohnlichen Clavessin oder auf einer Orgel spielen
L., V. See: V., L. kann.”
La Borde died about 1777, pastor at the village of
L., H. V. The Brussels Museum Collection has a Colancelle in the former Département Nivernais. He
2-manual harpsichord dated 1762 on the soundboard, had been a Jesuit until the suppression of that order
and inscribed: Landate Deum in Cymbalis et Organo. The in France [Est].
rose represents King David playing the harp and bears
the initials: H. V. L. LABRECHE, Claude. Harpsichord maker of Car-
The catalogue gives the Netherlands as its place of pentras, France, at the end of the seventeenth century.
origin; this instrument was formerly in the private Alternative spellings include La Burth and Lebréche.
collection of V. and J. Mahillion. At least 2 harpsichords survive, one of which, in private
For details of surviving instruments see Part II. ownership, is signed fait ¢ Carpentras par Claude Labriche
1699, and bears many of the hallmarks of typically
French instruments. The other, its twin, has lost its
LAAG, Heinrich, 1713-97. Organist at the Mar-
ienkirche at Osnabrick; he later devoted himself to inscription, but the similarities are so great as to make
making keyboard instruments, and gave music lessons. it fairly clear that it too is by the same maker [Champ].
His Anfangsgriinde zum Clavierspielen . . . was published For details of surviving instruments see Part II.
in 1774.
For details of surviving instruments see Part II. LA BURTH: See: La Breche.

LA BARRE, Pierre de Chabanceau, Sieur de La Barre. LA COUTURE, Pierre de. Cor (p. 84) refers to
Harpsichordist and lutenist to Louis XIII and Anne of harpsichords ‘de Geronimo, de la Couture, Rozé . . .’.
Austria; died 1656. About 1648 he caused to be made Of these 3 makers the first is probably Zenti (9.v.) rather
in Paris, according to his own design, a harpsichord than Jerome of Bologna (Hieronymus Bononiensis). P.
with ‘two manuals and triple strings with the device de La Couture’s earliest date is 1672, when (according
for shifting the keyboards for playing in all keys’. to GL) he married and was living at Cloitre St. Nicolas
A letter to M. Zuylychem (i.e. Constantijn Huygens) de Louvre. In 1678 he was received into the Guild
referring to this instrument, dated at Paris, 31 July [Hubb 1963, p. 90]; he had died by 1700.
1648, in La Barre’s own hand, was sold at Sotheby’s
on 12 October 1954. The letter, and a reply, are quoted LADRA, Marco. See: JADRA, Marco.
in full in the Revue de musicologie, Vol. 9 (1928), pp. 7-
9. More details of the La Barre family are given in the LADYMAN, John. Baptised at St. George-
article cited above, which is devoted to a study of them. the-Martyr’s, Southwark, 3 January 1693/4, son of
William Ladyman. Apprenticed to Thomas Barton 1708,
LA BORDE, Jean-Baptiste de. Published in Paris in but not admitted free of the Joiners’ Company until
1761 a description of his invention ‘Le clavessin 1725. He died before 1745.
électrique, avec une nouvelle théorie du mécanisme et For details of surviving instruments see Part II.
des phénoménes de |’électricité’, which had appeared
in the form of letters in the Journal des Scavans, August LAESCKE, (or LAESKE), Carl Friederich (or Fredrik).
and October 1759. Formerly recorded as LAESKE, it has here been
The instrument was not a harpsichord as its name changed to the spelling with the intrusive C, on the
implies, but consisted of bells electrically stimulated basis of the name on the one surviving harpsichord.
under the control of a keyboard. Forkel says of it: ‘Das Nevertheless, in view of other evidence there is some
Clavecin Electrique ist nicht wie das Augenklavier doubt about the correct spelling, and it may well be
[Castel’s Clavecin oculaire], wo man bloss Farben unter- that like Kirkman, or Kirckman, his instruments were
einander mischt; es klingt wirklich . . . Da nun jede signed with the C (i. LAESCKE), but that in
Taste mit seinem Heber und jeder Heber mit seiner documents, the form LAESKE was used. According
Glocke in Verhiltniss steht, so kann man alle Sticke to Libin, the Municipal Archive of Amsterdam records

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 LANGE 113
the burial in May 1781, at the Lutheran Church on the met 3 registers door den beroemden meester C. F.
Spui, of one Carl Frederick Laeske (sic), 2 49 year-old Laeske 4 Amsterdam 1761. [See: Libin, Gier.]
bachelor. His birth was therefore in 1732, and Libin For details of swrviving instruments see Part II.
believes he came from North Germany. Gier records
him as a Harpsichord maker, presumably from Silesia, LAESKE. See LAESCKE.
born about 1740, who settled in Amsterdam about
1755. From Libis and Gier it appears that before his
death, he had been living with Jan (Johan) Gottlieb LAGARDI, Antonio Carlo. Roman harpsichord
Schildbach, a merchant of Silesian linens, on the maker, who in 1680 had a workshop near the via di
Oudezijds Achterburgwal opposite the Stoofsteeg (near Propaganda, close to the piazza di Spagna. From 1681
Koestraat) in Amsterdam. he is recorded as married to ‘Laura’, and with his
Libin quotes from an advertisement of 11 November stepchildren, Giovanni Cicerone (born ¢. 1671), destined
1782 (no. 142) in the Amsterdamsche Courant (drawn to to achieve some fame in the same profession, and Rosa
his attention by GL): Cicerone (born ¢. 1675). There is no further trace of
them after this date (Barbieri, p. 152).
All those who, through tuning of harpsichords or fortepianos
or otherwise, may be debtors or creditors of the late Carl
Frederik Laescke, while living a harpsichord maker in Amster- LAINE, De. Parisian harpsichord builder, f. 1768-85.
dam, are once more requested to make it known before the Listed by the A/wanach Dauphin (1777) a8 a music
end of November 1782 at the office of the notary N. Brahé, master and inventor of a new mechanism for the
on the Brouwersgracht near the Heeremarkt, after which time harpsichord, described in Mercure de France, August
all assets will be distributed amongst those entitled. 1769. Address: Bureau d’Indication & Négociations
Générales, rue Comtesse d’Artois, vis-a-vis celle de la
Gier found the inventory of his estate as a result of Comédie Italienne [Hubb 196s, p. 254 n.]. Sheridan
a further very similar advertisement in the Amsterdamsche Germann [GermrgSo] gives other addresses for him,
Comrant for 21 November 1782, in which, as before, and a map (p. 440) showing these in relation to other
potential creditors of the late Laescke were requested Parisian makers and musicians. In the Mercure de France,
to report to the office of the notary Nic. Brahé (who August 1769, he claimed to have invented leather
had made the inventory of Laescke’s estate). plectra for jacks; and the Encyclopédie mentions (1785)
There seems to be some difference of opinion on harpsichords plucked with leather ‘somewhat the same
how well-off Laescke was at his death, for Gier says as those made today by M. de Laine and M. Pascal
that he was a well-to-do bachelor, and that he possessed Taskin’ (CIP, p. 46; Verlet}.
1,165 golden coins, making an amount of 7,348 guilders.
He noticed that in the estate there was no book with
names of creditors and debtors, though a little box LALANDE, De. Harpsichord maker of Caen. F/.
with tools for a harpsichord maker, and strings and 1746.
quills (‘kraaijepenne’) were listed as well as 2 harp- For details of surviving instruments see Part II.
sichords, being ‘staartstukken’, an unfinished pianoforte
and 138 sheets of soundboard wood. LAN. Spinet maker in Paris. F/. 1700. A spinet bearing
Libin, however, having noted that his death from the words Lan d Paris 1700 was seen by Hugh Gough
tuberculosis was registered on 22 May 1782, reports in an attic in Brussels in 1976.
that he was buried in grave 224 owned by the church For details of surviving instruments see Part II.
3 days later. The minimum burial fee of 3 guilders,
indicating that his estate was insignificant, was paid by LANDI, Agostino. Florentine harpsichord maker;
Johan George Neuman(n), and Libin remarks that the dates ascertained, 1694-1701. He was living near the
area in which Laescke lived was not well-to-do, either Duomo in 1694, in which year he paid 2 matriculation
then, or now. fee to his Guild. His name appears in 1701 in the
Apart from making instruments, it appears that he records of a law-suit [Pw].
enlarged instruments by Ruckers and Couchet, and
Libin is quite certain that the ravalement carried out on
the Couchet harpsichord at the Gemeentemuseum, The LANDI, Giovanni, of Siena. Virginal maker, f. 1670.
Hague, is the work of Laescke. For details of surviving instruments see Part II.
Gier reports that on 24 August 1782, a harpsichord
by Laescke was advertised and a harpsichord was listed LANGE, JOHANN FRIEDRICH. Clavichord
and sold at 20 guilders in the Auction Catalogue of the maker, probably German, fl. 1797. The existence of this
estate of the Amsterdam music director Bartholomeus maker is known only from one surviving clavichord,
Ruloffs. It was ‘een uitmuntend en schoonluidend dated 1797, in a private collection in Germany [Koster].
claviercimbaal, staartstuk van [four and a half] octaaf For details of surviving instruments see Part II.

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 114. LANGGUTH
LANGGUTH, H. W. See: JUNGCURTH, Heinrich LAURENTIUS, Papiensis. See: GUSNASCHI,
Wilhelm. Lorenzo.

* LANGSHALL or LANGSHAW or LONGSHALL or LAUTERBORN, Joseph Gaspard. Bohemian in

LONGSHAW. Probably an eighteenth-century spinet origin, he made harpsichords and pianos in Paris. Born
maker of Wigan. Margaret Susands and Ian Pleeth ¢. 1745; died 10 February 1814. Admitted to the Guild
report that a spinet of ¢. 1710-20 by Langshall was sold in 1781. Died at Bougival [See: Verlet, who gives further
in London in 1985. The Sunday Times of 16 June 1985 details, and Germrg8o, where addresses are given, and
(p. 7) carried a report which may refer to the same on p. 440, a map of Paris showing the location of his
instrument but gave the name as John Longshaw of workshop in relation to those of other makers and
Wigan. In a racy piece of reportage it was said to have contemporary musicians].
‘. . . originally belonged to a Bury family called Shaw,
one of whom owing to embarrassments of a pecuniary LE BRECHE. See: Labréche.
nature got 2s. 6d. for it at an auction. It was later
swapped for a useless sewing machine before being LE BRETON, Jacques. Parisian ‘épinetier’, born c.
sold for £5 in 1884.’ The asking price of this instrument 1589; latest date ascertained, 1656. Apprenticed to
in 1985 was £19,500. Médéric Lorillart (g.9.) on 17 April 1603, at which time
For details of surviving instruments see Part II under he was living at Villers-Cotteréts. He became in 1624
Longshall. ‘maitre joueur et faiseur d’espinette et d’instrumens du
roi’, in 1627 ‘maitre faiseur d’espinettes du roi’, and in
* LANGSHAW. See: Langshall. 1656 ‘maitre faiseur d’instrumens ordinaire du roy’
[Les]. Mer (II. 159) praises him.
* LANKHORST, Harmanus. Organ and harpsichord LECLERC, Nicholas. Harpsichord maker in Paris; f.
maker, born in 1729/30 in Nordhorn (Germany, not 1740 [Verlet}.
far from the Dutch border), settled in Amsterdam
where he married in 1756 and was buried in 1779. After
LECLERC, Jean-Pierre. Harpsichord maker in Paris.
his death his estate was sold, including his workshop
Perhaps a son of the foregoing. F/. 1777-99. In 1777
with some fine chamber organs, several harpsichords
he entered the Guild of Instrument Makers. From 1777
and clavichords. In 1785 a ‘fraaie clavecimbaal met 2
to 1781 he lived in the rue Chapon; 1788-9, rue
clavieren en 5 octaven, gemaakt door H. Lankhorst’
Beaubourg; 1799-1800, rue Simon-le-Franc [Pi, p. 134;
was sold at a book auction. In 1821 an excellent ‘Clavier,
Verlet, Germigé0, where on p. 440, a map of Paris is
zijnde lang van clavier’ was advertised in Middelburg.
given, showing the location of his workshop in relation
[See: Gierveld, 199s.]
to those of other makers and contemporary musicians].

LA ROUSSELIERE, Jean-Baptiste de. A Frenchman LE CROTONE. Early seventeenth-century Italian

who invented a new kind of plectrum described in his harpsichord maker [Hallm).
Traité des languettes imptriales (Paris, 1679). See: Hubb
196J, P. 323. LEE, Edmund. Harpsichord and piano maker, 2 Dame
St., Dublin. 1786-1810 [Teahex]. Probably related to
© LASSEN, Herlo. F/. 1745-50 as organ and harpsichord John Lee (below).
maker in Amsterdam [Amsterdamse Courant, 6 May 1745,
quoted by Curtis, p. 52; Gier]. LEE, John. Musical-instrament maker, 70 Dame St.,
Dublin. 1789-1803 [Teahan]. Probably related to
* LAURENS, Nicolaas. He advertised in 1756 as a Edmund Lee (above).
harpsichord maker from Lisbon, living in the Ege-
lantiersstraat in Amsterdam. This advertisement in the LEENHOUWER, Abraham, of Leyden. Harpsichord
Asterdamsche Courant for 29 September 1756 is the maker and organist. Baptised 8 June 1752; died 1798.
earliest one in which a piano is announced: ‘Een Builder of the extant 2-manual harpsichord, dated 1787,
Italians clavecimbaal, zynde een hamerwerk, genaamt in the Haags Gemeentemuseum.
de MARTOLINI, zeer aangenaam van geluid, met drie For details of surviving instruments see Part II.
veranderingen, diergelijke niet meer als één hier in
Holland te zien, dat van dezelfde meester gemaakt is; LEEST, Willem. Dates ascertained, 1561-9. Son of
alsmede nog een ordinair staartstuk van 3 registers.’ Godschalck Leest, he was a maker of clavichords and
Laurens also recommended himself as a harpsichord harpsichords in Antwerp, of which town he acquired
tuner [Gier]. citizenship as a clavichord maker in 1561 [Ba].

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 LEMME 115
LEFAURE, Joseph, of Lyons. Harpsichord maker, f. LEMAIRE, Marin. Organist and spinet maker in
in 1779 when he is recorded among the luthiers [ Vallas]. Paris. Born ¢. 1520; died 1587. In 1556 he was ‘maistre
organiste et faiscur d’instrumens’. He married twice.
LEFEBVRE, Charles ond Jean-Baptiste. Both sons See also: LEMAIRE, Claude [Verlet}.
of Nicholas Lefebvre (1), lutemaker at Rouen in 1630.
They made organs, harpsichords, and flutes, and were LEMAIRE, Jean. Parisian spinet maker. Perhaps a
both alive in 1725 [Lé. brother of the foregoing, he lived towards the end of
the sixteenth century [Verlef].
* LEFEBVRE, Louis. Recorded by Hirtz as a harp-
sichord maker with the same dates as Nicholas (II). See LEMAIRE, Claude. Parisian spinet maker; f. 1563-
below. 79. Son of Marin Lemaire by his first marriage [Verle!].
LEFEBVRE, Nicholas (II). Organ builder and maker
of spinets and harpsichords at Rouen. Dates ascertained,
LEMAITRE, Charles-Hubert. Born, Spa, Belgium,
17 November 1752, died 1805. It is known that he sold
1733-72 [Vannes].
harpsichords and made pianos, and it would seem
For details of surviving instruments see Part II. possible that he made the former though there is no
confirmation of this [Haine/Meexs).
LE GAY. French (not German) harpsichord maker, f..
1763 [SMI 1910/11, article by C. Sachs].
LEMME. (1) According to Bz—Friedrich Carl
Wilhelm, but according to his more recent biographer
LEGROS, Claude, of Metz. Organ builder, also made McGeary—Karl Friedrich Wilhelm (1747-1808), born
harpsichords. In 1714 he received from the Duke of
at Brunswick, the son of a musical instrument maker.
Lorraine a sum of money for making a harpsichord.
He was trained to be an organist, but at the same time
See further Flesry.
received instruction in instrument making from his
father, who died in 1780. By 1771 he was organist at
LEGROS, Pierre. Brother of the foregoing. Builder the Church of St. Catherine and St. Magnus, in
of organs and harpsichords at Metz. In 1713 he was Brunswick; but he continued making instruments, and
awarded the title of Maker to the Prince de Vaudemont, by 1787 had made 800 with his father.
at Commercy [Feary]. Forkel says (Musikalischer Almanach fiir Deutschland
auf das Jabr 1782) ‘His instruments rank with the best,
LEHMANN, Gotthelf David. Dates ascertained, [along with Friederici, Krimer, Silbermann, Spath, and
1764-96. Born in 1764 at Serkewitz near Dresden. For Stein] in respect of both workmanship and tone . . .
6 years he worked with the instrument maker Wagner. The usual price of his clavichords varies between 3 and
In 1790 he opened a workshop in Dresden, where he 10, even 12, louis d’or, according to the various types.”
made clavichords and pianos. The former were sold (Seine Instrumente gehéren mit zu den besten, sowohl
for 26-30 thalers. In 1796 he completed his soth in Betracht der Arbeit als des Tons .. . Der gew6hnliche
clavichord. Preis seiner Claviere ist nach der verschiedenen Sorten
3-10 auch 12 Louis d’or.)
LEHNER, Gottlieb, of the Hochstrasse, Pressburg Lemme, like other instrument makers, found himself
(Bratislava). Clavichord maker, f. 1816. at times (e.g. 1780, 1785) in conflict with the Guild of
For details of surviving instruments see Part II. Joiners, who complained that some of his work came
under the heading of joinery [SB, p. 47].
* LEHNER, Georg. Hungarian organ and clavichord In 1802 he published at Brunswick his Anweisung und
maker of Pozsony-Bratislava. Most probably a relative Regeln zu einer zweckmassigen Bebandlung englischer und
of Gottlieb Lehner (g.v.) [Kovdes]. deutscher Pianofortes und Klaviere (i.e. clavichords]. This
contains a list of the various types of piano and
clavichord made by him:
* LEICHT. Clavichord maker of Pilsen (Czechoslovakia).
FI. 1790 [Hirta). (1) ‘Large grand pianos made in the style of the great English
masters’, F-C, 5} octaves, 6o and 55 gold Fredericks.
(2) ‘Another large grand piano, F-F, 5 octaves, 36, 34, and
© LEISERT, Jean. Harpsichord maker in the Cul-de-sac 26 Fredericks.”
de l’Oratoire, Paris, f. 1769 [Pi; Germrgfo, where on (5) ‘Square pianos. 22, 18, or 16 Fredericks, according to
P- 440, a map of Paris shows the location of his compass.”
workshop in relation to those of other makers and (4) ‘Clavichords of all kinds, all of them unfretted’, 14 types
contemporary musicians]. of varying compass and size, costing from 4-15 Fredericks.

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116 LEMOYNE
He writes of type 14, which is represented by a Fortepiano and Clavichord Maintenance (1802), in EK],
clavichord in the collection of Leipzig University: ‘A Volume 8, 1990, pp. 111-29, where there is a translation
kind newly invented by myself. The outer case oval, of the manual itself, and further useful information on
in old fashioned [Louis Seize] style... F to A Lemme and his clavichords.
[five-and-a-third octaves], at 15 Gold Fredericks.’ For details of surviving instruments see Part II.
‘In the last five types I use the kind of soundboard (2) Casl or Karl (1769-1832), son of (1), born at
which I invented in 1772 [laminated] . . .; they give an Brunswick. Learnt clavichord and piano making from
excellent tone and are not subject to splitting and his father. In 1799 settled in Paris and founded an
cracking.’ N.B. Gerber (Vol. I, 1790) attributes this instrument-making firm.
invention to Lemme’s father in 1771. In any case they Fé calls him a good maker of the second class; and
were working together at this time. By 1802 Lemme his instruments, although inferior to those of Erard
had probably acquired the habit of ascribing the and some others and cheaper in price, were exported
invention to himself. According to Fé, its purpose was in considerable numbers, especially to America. His
to prevent damage by the heat when the instruments Nonvelle Méthode de musique et gamme chromatique, qui
were exported to India. Barnes notes that he discovered abrige le travail et étude de la musique; de onze douziimes,
that the 1794 clavichord by Bohak (g.v.), in the Royal on a réduit @ un dowziéme .. . was published in Paris by
College of Music, London, has a soundboard made of himself in 1829. He died at Charenton-le-Pont in
two layers of wood with the grain approximately at October 1832. For further details see Fé.
right angles, and he therefore suggests that there may
have been collaboration between Lemme and Bohak. LEMOYNE, Claude. Organist and organ builder in
Lemme’s invention is described by Ge, 1790, in a Paris; f. 1632-6. He probably made harpsichords. [See
curious article recounting some supposed improvements also: Laborde.|
in clavichord making effected by Lemme, in col-
laboration with his father:
(i) Straight keys, producing ‘a lighter touch and more L’EMPEREUR. Se: TREYER, Joseph, called
durable keys’. But careful workmanship could produce L’Empereur; a/so KEISER, J. B., called L’Empereur.
excellent touch and durability in reasonably crooked
keys. And such a straightening could be attained only LENAERT, ... van. Harpsichord maker in Antwerp
at the expense of either the string-scaling or the good in the sixteenth century. His name occurs in the books
position of the bridge on the soundboard. of the Guild of St. Luke [54].
(ii) ‘in den gepressten Resonanzbéden oder doppelten
Béden’, i.e. laminated soundboards with the grains
LENKER, Christoph Michael, ¢. 1765. Dead by 1790
running in opposite directions, referred to above. [Hirt2}. Instrument maker at Rudolstadt. He imitated
(iii) ‘oval-shaped clavichords, which in shape and Silbermann’s pianos, and his clavichords were con-
arrangement depart completely from the old style. They sidered little inferior to those of Silbermann (4.v.) [Ge,
combine with a pleasing shape an uncommonly beautiful
1814].
and powerful tone.’ As exemplified by the Leipzig
clavichord mentioned above, this design has no par-
ticular advantage over the normal oblong shape, to the * LENNING, Carl Petter. Clavichord maker. Dates
modern eye. ascertained, 1711?-88. He appears to have been a
However, even if his ‘improvements’ arouse suspi- musician who also built instruments. For a period he
cion, the excellence must be recognised of a maker who was a member of the ‘Hovkapelet’ (Royal Court
ranked with Hubert and Kramer, and of whom Forkel ensemble) in Stockholm before becoming the cathedral
says: ‘his instruments are among the best, both as organist in Stringnis. He moved to Abo in 1742 to a
regards workmanship and as regards tone’ (Musikalischer similar position, and following this was from 1743 the
Almanach. . . 1782) (Ks, Ge]. ‘director cantus’ at Abo akademi. Lenning probably
In 1786, Lemme asked the Duke of Brunswick for built organs, as well as clavichords, of which one
permission to place the Duke’s arms on his instruments survives, dated 1765, and inscribed Forfardigat af. . .
so as to protect them from being copied by his rivals Carl Petter Lenning, Musicaes Directeur, den forsta. Vid
in Leipzig and Hannover. This ‘concession’ was granted Longi: Acadi:i Abo. H-O gives further information on
his involvement with Hedlund, Kinstrém, and the
on 19 February 1786, but despite its protection, Lemme
attempted in May 1791 to have the import duty increased organ builder Cahman which indicates that he was a
on foreign instruments coming into Brunswick, and musician of some repute [H-O].
he wished to be granted a monopoly on trading in For details of surviving instruments see Part II.
keyboard instruments.
Further information on Lemme is to be found in Dr. LENOIR. According to Bg (p. 9) a ‘Clavecin de Lenoir’
Thomas McGeary’s article Kar/ Lemme’s Manual on was advertised in Paris on 1 July 1754. There is no

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 LEWES 117
other trace of this maker. It is conceivable that ‘Lenoir’ LE TOURNEUR. (1) Etienne, singer, organist, and
is a misreading of ‘Levoir’ (g.».). harpsichord maker at Lyons. Earliest date known, 1715,
when he and Antoine Fioco succeeded Rameau as
organists at the Jacobin church; he had died before the
LEO, Johann Christoph (1). Born at Stettin. Settled at
marriage of his son in 1730 [Vailas].
Augsburg as organ builder in 1685. Had a considerable
reputation for keyboard instruments of all kinds—
(2) Joseph Brunon, son of (1), and, like him, organist
and harpsichord maker at Lyons. Married 9 October
clavichords, harpsichords, spinets, and pianos [Ge].
1730, at Saint-Pierre, where a son of his was baptised
on 24 September 1731 [Vallas]. See also: TREYER,
LEO, Johann Christoph (II). Son of (1). Born in Jean-Baptiste, called Le Tourneur.
Augsburg. After his musical education he became
“Churf. Mainzischer und Markgr. Anspachischer Hofor- LEUERSIDGE. See: LEVERSIDGE.
gelbauer zu Augsburg’, where in 1721 he built the
organ at the Ulrichskirche. He also made clavichords, LEUMS. See: LEUNIS.
harpsichords, pantalons, and glockenspiels [Ge].
For details of surviving instruments see Part II. LEUNIS, Reynier, of Antwerp. Maker of lutes and
harpsichords; dates ascertained, 1620-6. He entered the
© LEO, Manuel Anjos. No relation to Johann Christoph Guild of St. Luke in 1610 [VdS, Ba, S#].
(1) or (Il). The name has for many years been accepted
as that of a Portuguese harpsichord maker who worked LEUTIS, Gerolamo de. According to Li, and Va, ft.
in Beja at the beginning of the eighteenth century. With at Rome in 1638. Made harpsichords, and perhaps lutes
the publication of BerlinCat in 1992, the evidence as well. But Lewtis may be a misreading of Zentis (g.v.)
for this, which was based on the barely-decipherable as Ks points out (283 n.).
inscription on an octave-harpsichord in the Musi-
kinstrumenten Museum, Berlin, has been re-in- LEVERSIDGE, Adam. London virginal maker.
vestigated. It now seems very questionable whether the Admitted to the Joiners’ Company 1649/50 and to the
mame Leo can be accepted, and the instrument was Livery 1657/8 [Join]. Latest date ascertained, 1670. It is
probably made by Manuel Anjo(s), son of Miguel Anjo. noteworthy that though in modern times the name has
For details of surviving instruments see Part II. traditionally been given as in this entry, his two
surviving instruments are both signed Adamus Lemersidge
@ LEONI, Giovanni Paolo or, according to Hirtz, For details of surviving instruments see Part II.
Johannes Paulus (of Rome). Italian harpsichord maker
#. 1773- LEVERSIDGE, William, the Elder. Father of Adam
For details of surviving instruments see Part II. Leversidge and master of Thomas Makeham; ff. 1641/2;
probably a virginal maker.

LE PRETRE. Italian harpsichord maker in the early
seventeenth century [Hail].
© LE ROY, Martin. Harpsichord maker in Paris. Was
apprenticed to Pierre Baillon on 26 September 1674
[Hxbb]. A double manual harpsichord by him was
mentioned in the Savoye Collection
recorded here as a surviving instrument, is thought by
GL to have been destroyed in the bombing of Rot-
terdam in 1940.
For details of surviving instruments see Part II.
LESCLAN, Claude. ‘Faiseur d’instrumens de musique
rue St. Honoré’, Paris, 1624. He took Robert Baudin
as apprentice in 1632 [Hubb].
LESCUIER, G., of Paris. F/. in the sixteenth century;
called himself ‘maistre faiseur d’orgues et espinette’
[Les].
LEVIEL, Adrian. F/, 1570-8 in Paris as organist of
St. Barthélemy and ‘faiseur d’espinettes’ (Les, Verlet].
LEVOIR. Fi. in Paris 1730-55. He invented a ‘bowed-
harpsichord’, similar to Hayden’s Geigenwerck, which he
submitted to the Paris Académie des Sciences in 1742.
III, but though [The action is described at Pi, p. 91, and by Veriet.]
LEWES, William, f. 1518-31. He supplied virginals
to Henry VIII, and probably made them also. In 1526
the Court bought five virginals from him. An entry in
the King’s Privy Purse Expenses runs as follows: ‘1530.
Paied to William Lewes for ii payre of Virginalles in
one coffer with iiii stoppes brought to Grenewich, iii
li? This was probably a 2-manual harpsichord with 4
stops or registers, as A. J. Hipkins, Hi (p. 78), suggests;
in which case this is the earliest reference to a
double-manual harpsichord. Ga (p. 127) thinks that the
reference is to 2 separate instruments, packed in one
trunk for transport, since the earliest surviving 2-manual

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118 LEYDECKER
harpsichords were made much later (though a 2-manual his workshop, and also because of the large number of
Ruckers dated 1588 was sold in the eighteenth century journeymen builders trained by him.
(Bq). Having started life as a cabinet maker he first worked
But it is by no means unreasonable to suppose that probably under Gottlieb Rosenau (9.v.) before moving
this type of harpsichord had been evolved by the early on to work with Johan Broman (q.».) in the period
years of the sixteenth century, since 2-manual organs 1771-3. He was licensed in 1774 to build pianos and
had been known for well over a century (the famous ‘ClavCymbaler’, though he can be shown to have been
Halberstadt organ built in 1361 had 2 manuals as well producing square pianos in series from at least as early
as pedals and another keyboard which could be played as the 1770s. Their derivation from the clavichord is
by either the hand or the knee [Pr, p. 98]). Moreover clearly shown by an illustration of an instrument of
the words ‘iii stoppes’ suggest strongly that only 1 1782 in fig. 165 of H-O (p. 204).
instrument was in question; the clerk who made the In 1781 he invented a compound harpsichord, called
entry would hardly add together the stops of 2 individual by him a crescendo, which had 5 varieties of tone:
instruments packed in one case. J (p. 34) favours the (i) Harpsichord, (ii) Pantaleon, (iii) Harpsichord and
view that the reference is to a 2-manual harpsichord, pianoforte together, (iv) Pantaleon and pianoforte
and suggests very reasonably that the instrument derived together, (v) Pianoforte [Nor, p. 149]. Li quotes a
from the Low Countries. violin label dated 1780.
Another entry in the Privy Purse expenses, of the In 1791 Lindholm was received into the Guild of
same date, records that £3 was paid to Lewes for ‘ii Joiners as a Master and he worked on his own until
payer of Virginalles in one coffer brought to the More’ 1800 when he associated himself with his journeyman
(Henry’s Hertfordshire residence). and future son-in-law Henric Johan Séderstrém (g.v.).
In 1802 he had 2 buildings [illustrated at p. 17 of H-O]
LEYDECKER, Johann. Harpsichord maker in erected on the land belonging to him on site no. 6 in
Vienna,
f. 1755. His surviving instrument has a compass the Ostergétland block in the parish of Maria, with the
similar to that of a contemporary harpsichord by the address Skaraborgsgatan 68, Stockholm. H-O illustrates
Viennese maker Johann Christoph Pantzner (g.».). a plan of his house and workshop at p. 37. In 1809
For details of surviving instruments see Part II. Lindholm retired and the production of the company
thereafter decreased [H-O].
For details of surviving instruments see Part II.
LEYKES, Johann. See: WEIL, Johann Wilhelm.
LINDHOLM, Pehr, & SODERSTROM, Henric
LIBORNA (or LIBORNIA) DE ECHAVARRIA, Johan. Swedish collaborators in the building of clavi-
Pedro Manuel. (Sometimes called simply Pedro Echav- chords in the period 1800-1809. See further under
arria.) Dates ascertained, 1724—d. 1 April 1771 [KdP]. separate entries for LINDHOLM and SODERSTROM
Son of Pedro Liborna de Echavarria (appointed Afinador and also in H-O.
de los organos y clavicordios de la Real Capilla on 15 July For details of surviving instruments see Part II.
1703, died 1724). Pedro Manuel was appointed tuner
of Royal Chapel organs and harpsichords on 21 January
1724, following his father’s death. In 1738 he made a © LION, Jacoust [?]. The existence of a French harp-
harpsichord for the Royal Chapel Choir School, for sichord by JACOT & LION is mentioned above. A
which he was paid 790 reales [ AP, Felipe V, Leg. 353). harpsichord known to have existed in Paris in 1956
He was succeeded by his son Joseph Echavarria [KdP, bears what may be the signature of the second of these
and see also GSJ, 1985, p. 47, note 6]. two makers.
For details of surviving instruments see Part II.
LIBORNIA. See: LIBORNA.
LISLE, Blondel de. Harpsichord maker of the sev-
enteenth or early eighteenth century, presumably
LIENARD, Charles. Harpsichord maker from Meaux French. A harpsichord by him was repaired by Blanchet
[Hubb]. [Hardoxin 1957, p. 12].

LINCOLN, John. Harpsichord maker,
Holborn, London, f. 1793 [J].
LINDHOLM, Pehr, 1741-1813, of Stockholm. Maker
of keyboard and other stringed instruments. He occupies
an important place in the history of Swedish instrument
making, partly because of the considerable output of
199 High * LIVINGSTONE, Richard. Harpsichord, spinet, and
probably piano-maker of Edinburgh. Dates ascertained,
1782-1804. Little further is known of him except that
he worked from Carrubber’s Close, and that towards
the end of this period he made chamber and barrel
organs, and specialising in organ building, remained
active in Edinburgh until at least 1804 [Cranmer]].

Google

LOCHMANN, Andrzej. Seventeenth-century
sichord maker at Wilno [Szai].
LOCKTON, Heming. Harpsichord maker in Rupert
Street, St. James’s, London. Dates ascertained,
52 [RB.J}. J (p. 71) lists ‘Heming
harpsichord maker in Rupert Street, his name appearing
in a Westminster poll book of 1749. This is J’s error
for ‘Lockton’.
LOERS, Marc. See: MOORS, Marc.
LOEUVRE, Honoré de. See: DELOEUVRE, Honoré.
LOEUVRE, Pierre de. See: DELOEUVRE, Pierre.
LOEWE, Christopher. See: Lowe, Christopher.
LOFBERG, Eric. Swedish clavichord
known to have been organist of the private chapel at
Strémsholms in 1739, and he died on
1757. During his period at Strémsholms, he probably
learnt something of instrument making from Daniel
Strahle in 1739 when the latter repaired the organ in
the chapel, and it is reported that around
had been repairing numerous organs with him. It seems
also that in addition to keyboard instruments he
made stringed instruments. H-O gives other interesting
sidelights on his career, though it seems likely that his
output of clavichords was not very large. [H-O.]
For details of surviving instruments see Part II.
LOGAN, James, of Edinburgh. Organ, harpsichord,
and spinet maker; dates ascertained, 1774-90. He is
now chiefly known as a supplier of spinets to Neil
Stewart (g.9.) and perhaps others. Inscriptions on
surviving instruments suggest a fairly large output, for
one spinet of his is signed James Logan Edinburgh fecit
0.104, for Neil Stewart No.12-1774, while another bears
the inscription Jas. Logan Edinr. fecit No.113—1775.—
Sor Neil Stewart 22. This would suggest an output of
at least 10 spinets per annum. This would have been
difficult to achieve single-handed, and in fact it appears
that Logan employed apprentices, a privilege which he
gained as a result of his becoming a burgess of the city
following his marriage to the daughter of Henry Goldie,
a local skinner. Cranmer], from whom most of the
information in this article comes, cites Andrew
as a notable protegé, who subsequently
successful piano maker in Edinburgh. It is, however,
not known whether Logan, himself,
Cranmer] reports that by 1790 Logan was associated
with Johnson’s music shop in the Lawn-market, as an
itinerant repairer and tuner. Since his name was omitted
Google
LONGMAN AND BRODERIP 119
harp- from the City directories after 1794, it seems likely that
he died between 1790 and 1794.
For details of surviving instruments see Part II.
1739- LONG. See: LONGFELLOW, below.
Hopton’ as a
LONGFELLOW. Bz recorded the following entry: A
‘harpsichord with gut-strings, made by Mr. Longfellow,
of Pembroke Hall, Cambridge’ was in the Duke of
Chandos’s house in Boswell Court, London, in 1720
(Chandos, p. 140].
Richard Luckett has pointed out that the name must
almost certainly have referred to Mr. R. Long, a fellow
and subsequently Master of Pembroke Hall, Cambridge.
LONGMAN, James. Founded about 1767 at 26
Cheapside a firm which achieved distinction in music
publishing and as dealers in keyboard and wind instru-
ments. In 1769 he was joined by Lukey so that the firm
builder. He is
became:
20 December
LONGMAN, LUKEY, & CO, 1769-75.
For details of surviving instruments see Part II.
In about September 1775 they were joined by Francis
1745 Léfberg Fane Broderip, making the firm:
LONGMAN, LUKEY, AND BRODERIP, 1775-6.
Among their advertisements is the following:
Longman. Lukey and Broderip, no. 26 Cheapside, London. Longman.
Lukey, and Broderip, having purchas’d the most valuable Part
of the old Stock of Mr. Lever the Successor of the later Mr.
Tyther, in Moorfields, (the oldest Shop in London) have it
now in their Power to oblige their Friends, Customers, and
the Public in general, with the greatest Choice of fine old
instruments and scarce Books, with many other Articles in
the Musical Way, on much lower Terms than usual; in
particular Harpsicords and Spinnets. Having purchas'd alll the
prime Instruments of the late ingenious Mahoon, Harpsicord-
maker to his Majesty, which are now ready for Sale, and will
be sold Fifty per Cent. under his usual Prices. In the above
Stock are Instruments made and books printed upwards of
three Hundred Year since.
[A copy of this advertisement is bound with Langdon’s
Divine Harmony (1774) formerly in the library of St.
Michael’s College, Tenbury (now in the Bodleian
Library, Oxford).
Wood In 1776 Lukey left the firm, which then became:
became a
made pianos. LONGMAN AND BRODERIP, and continued in
this form in Cheapside, and from 1782 onwards at 13
Haymarket as well, until 1798 when they went bankrupt.
[See further HeS.]
120 LONGSHALL
After 1798, John Longman associated with Muzio H 2 430 1785 Culliford yes
Clementi from 1799 until 1802 in the making of pianos. H o1 “4 1785 Culliford yes
Broderip joined Wilkinson from 1796 until 1810 to H 1 447 1785 Calliford nk
form the piano firm of Broderip and Wilkinson H 1 463 1786 Culliford yes
[Hirs2] H 4 600 1787 Mcfarling yes
H 1 637 1788* Baker nk
A considerable number of spinets, harpsichords, and Harris
pianofortes, as well as wind instruments, were sold H yar 1790% nk
bearing the name ‘Longman and Broderip’. In addition, H BS 1793 nk
the Nydahl Collection, Stockholm, has a combined
square piano and organ (claviorganum) signed Longman ** Originally a single, converted to a double by Dolmetsch,
and Broderip, London, Serial No. 4202 (1797-98) and but being reconverted to its original state (1992).
stamped 43 on the back of the nameboard. It appears, From this it seems that the numbering must have been a
however, that they were dealers rather than makers, at system used by Longman and Broderip, though often an
any rate as far as keyboard instruments were concerned. inscription by Culliford incorporates it also. Despite the
John Geib (9.».) worked for them at one time; Culliford puzzling discrepancy between numbers and dates in instru-
(q.v.) supplied them with a range of spinets and single ments 14, 143, and 277, instruments discovered from 1990
and double harpsichords, which were sold with the onwards may now more nearly be dated by reference to this
name Longman and Broderip on the nameboard while table.
Culliford’s name sometimes appears on the back of the For details of surviving instruments see Part II.
nameboard or in other concealed places such as below
the soundboard. In addition they acted as agents for
@ LONGSHALL, J. See: LANGSHALL.
Baker Harris (g.v.). In Kent’s Directory for 1871 Long-
man and Broderip are advertised as musical-instrument
makers; and the firm’s name appears in J. Doane’s
Musical Directory . . . London 1794 [L. G. Langwill in LONGSHAW, J. See: LANGSHALL.
Music and Letters, London, January 1949].
A recent example of their instrument dealing has
come to light [Raymond Head, ‘Corelli in Calcutta’, in
EM, Vol. 13, No. 4, November 1985, pp. 548-53] LOOSEMORE, John. Organ builder and virginal
showing that in 1786, Longman and Broderip sent Mr. maker of Exeter. Born 1613; died 1681 [J].
Mann and Mr. Russell to open a music-shop in ‘Loll The organ in Exeter Cathedral was built by him, and
Bazar, [Calcutta] facing the old Harmonic’. some of his pipes were retained when it was rebuilt. A
The numbering and dating of Longman and Broderip regal at Blair Atholl was made by him in 1650 (see Ga,
instruments has appeared in the past to be confused. P- 232, for description and photograph). An organ
Some bear a serial number with date and others either made by him for the hall at Nettlecombe Court,
the date or a serial number. The following table is Somerset, is still im sitw. One English virginal
compiled from information derived from the surviving survives.
instruments and gives firm information except that For details of surviving instruments see Part II.
those dates shown with an asterisk were previously
ascribed by the owners or in Bz, and have now been
reascribed in the light of the other dates and serial
numbers in the table: * LOPEZ DE DUENAS, Antonio. Clavichord maker
of Toledo, Spain. The existence of this maker is known
from a surviving clavichord dated 1829, in the Lopez
Type Manuals Number Date — Maker Signed Nieto Collection, and described by Beryl Kenyon de
by L&B Pascual, ‘Two features of early Spanish keyboard
instruments’ in GSJ XLIV, 1991, pp. 94-101. In
ws 1 10 1779 Culliford yes addition, according to a contract in the Public Record
ws 1 " 1780* yes Office in Toledo, Antonio Lopez de Duefias undertook
H 1 12 1780 Culliford nk
ws 1 123 1784 Culliford nk to build an organ in 178; [KdP, and L. Jambon:
ws 1 129 yes Evolucion del érgano Espanol. Sighs XV1-XVIII, Oviedo,
Ws 1 14 1785 Culliford yes 1989, Vol. 2, p. 229].
ws ot 143, 1786 Culliford yes For details of surviving instruments see Part II.
ws 1 157 nk
Ho 277 1783 Culliford yes
H we 381 1785 Culliford yes.
(rose) LORENZO, di Pavia. See: GUSNASCHI, Lorenzo.

Google
 LUNDBORG 121
LORILLART, Médéric. Sixteenth-century harp- Lugt who died on 4 June 1808, having lived in the
sichord maker in Paris; son of the organist Pierre Kromme Tuinstraat. GL reports one of them as a
Lorillart, he was over 21 years of age in 1569. harpsichord maker fl. 1770-89, who married in 1771
For a time he was himself an organist, but from 1579 and again in 1789, but Géer points out that the latter
onwards was ‘faiseur d’espinettes du roi’. He set up in were the dates of betrothal.
the rue de la Fontaine-Maubué in the parish of In 1775 a 3-manual harpsichord made by Van der
Saint-Nicolas-des-Champs, where he was still living in Lugt at Amsterdam was advertised: the first manual
1603 when he accepted Jacques Le Breton (q.».) as being a fortepiano, the second a harpsichord with one
apprentice. His daughter Anthoinette married the register and the third one with 3 registers. Perhaps this
instrument maker Jehan Jacquet. Lorillart died before is the same instrument advertised on 30 April 1791: a
1616 [Les]. Mer (p. 159) refers to him (‘Mederic ou harpsichord by Dirk van der Lugt, 3 manuals with
Emery’) and Antoine Potin, as having been in their ‘een hamerwerk’, compass C-f. Finally a 2-manual
time the best makers in France. harpsichord with 4 registers made by Van der Lugt
was advertised in 1801 [Gier, GL].
LORILLART, P. Harpsichord maker; son of Médéric For details of surviving instruments see Part II.
Lorillart; ‘faiseur d’espinettes du roy’; died October
1622 [Les, p. so}. LUKEY. See: LONGMAN and LUKEY.

LOTH, J. Harpsichord maker, later than Johann Loth * LUNDBOM, Matthias. Clavichord maker of Stock-
(q.9. below). An undated single-manual harpsichord by holm. Dates ascertained, 1740-after 1781. A nephew of
him survives [GL]. Lars Kinstrém (q.v.), to whom he was apprenticed in
For details of surviving instruments see Part II. 1760, a typical eighteenth-century situation seems to
have arisen on Kinstrém’s death in 1763, whereby his
LOTH, Johann. Born in Cologne; harpsichord and
widow, Christina Westervijk, appears to have continued
spinet maker, fl. 1647 [ZI 1900-1, p. 730]. the business with Lundbom as a journeyman, and this
continued until 1789. H-O gives considerably more
On 3 February 1766 there was advertised for sale in
Paris ‘un clavier de Jean Loth, de Cologne’, the price interesting background on Lundbom, demonstrating
being 1,200 louis [Bg, Clavier here probably means that he probably never held the requisite guild qual-
ifications to enable him to practise in his own right,
harpsichord, for it is applied to a harpsichord by Kirkman
elsewhere in Bg]. This Loth is probably the same as though the output of the workshop he supervised seems
the Johan Loth mentioned by Gier [p. 143], of whom to have been sizeable, and not unimportant. Despite
this, only one instrument of his survives. He is recorded
he reports: an ‘extra kapitaal clavecimbaal’ made by
Johan Loth, that belonged to an Amsterdam estate, in 1781 in connection with proceedings against Pehr
was advertised in the Amsterdamsche Coxrant, 1784, n0. Lundborg (9.».) who had been accused of fraudulent
124 [Gier].
export dealings [H-O].
For details of surviving instruments see Part II. For details of surviving instruments see Part I.

LOWE, Christopher, of Augsburg. Spinet maker and © LUNDBORG, Pehr, of Stockholm. Dates ascertained,
son of a silversmith, ff. 1632. 1744-1808, maker of clavichords and other keyboard
For details of surviving instruments see Part II. instruments. He is first recorded as a journeyman to
Gottlieb Rosenau (g.v.) at the end of the 1760s, and it
LUCA, Tommaso de. See: TOMMASO de Luca. is possible that he remained in this position for only
three and a half years. He was licensed in 1771 as a
maker of ‘ClavCymbaler, Claver och Spinetter’. It seems
LUCKSTADT. F/. 1793 as instrument maker in Berlin. likely that he was maker to the Royal Court from 1770
His clavichords were said to be good [Ge (1812), who to 1771.
refers to Berl. Mus. Zeit. 1793, p. 175].
Though his output of clavichords was considerable
he also made violins, harps, and lutes, and his production
LUDOVIC, of Avignon. In a deed of 1503 he is of square pianos is evidenced by a surviving example,
alluded to as making harpsichords with a double case, dated 1781 and numbered 239 [H-O, p. 197]. An
bone naturals and black sharps [GL]. ‘organized clavichord’, dated 1772 also survives, and
according to H-O (p. 170) this is the first dated
LUGT, Dirk van der. It appears that there were 2 instrument amongst Swedish clavichords in which a
persons of the same name living in Amsterdam: a Dirk finely worked nut for the 4’ strings is found. [See farther:
van der Lugt who was buried on 29 August 1798, who H-O)
had lived in the Handboogstraat, and a Dirk van der For details of surviving instruments see Part II.

Google
122 LUSSER
LUSSER, Joseph. Organ builder and clavichord maker LUXTON, Richard. Maker of virginals ‘of St. Ethel-
at Brixen (Bressanone), Austria, at the turn of the borrowe’s’ London; f.. 1611 [J].
eighteenth and nineteenth centuries. LYEN, Pieter de. Clavichord maker of Antwerp, f.
For details of surviving instruments see Part II. 1543 [Sé].

Google
 M
* M., Ch.: See: Ch., M. finally purchased by Ludovico Fraij. There is also an
extremely interesting tuning method described on the
Mz, R. See: RICHARD, Marius. paper [VdM].

©M.. .., Josef. A clavichord in the Musikinstrumenten * McFARLING or McFARLANE. A single-manual

Museum, Berlin, carries an inscription previously harpsichord by Longman and Broderip (4.v.) dated 1787
thought by Sachs to be Da Josef M... [rest illegible] and bearing the serial number 600, also bears various
|Madrid ano... . In recent years Dr. Dieter Krickeberg inscriptions on the reverse of the nameboard including
has tried to decipher this inscription, but it remains Mcfarlane No 3, and Aprile 6th Kaisor for Mcfarling No
stubbornly resistant. It is now thought that the first 3. Many of Longman and Broderip’s instruments were
name ends with a ‘g’, while the surname might be made by Thomas Culliford (g.v.), but this one does not
‘Mido’ or (less probably) ‘Miao’. [See: KdP-RMA-RC, appear to bear his name, and it may be that the
and B. Brauchli, ‘Le clavicorde dans la péninsule harpsichord was in fact built by Mcfarlane.
ibérique’, Revwe Musicale de Suisse Romande, June 1983,
Pp. 58-68.] * MACHALETT of Schmiedefeld, near Suhl. Organ or
For details of surviving instruments see Part II. keyboard instrument (most probably clavichord) maker
of the late eighteenth or early nineteenth century. The
MAAG, J. C. Born 1744 at Oberglatt in the canton of work of this maker is known only through the list of
Zirich; died 1822 in Zirich. Described himself as makers given by Christian Friedrich Gottlieb Thon,
‘faiseur des orgues et des clavecins’ [Rindi]. though he does not single him out for especial praise
or esteem. See entry under THON.
* MABERIANTI, Giovanni Battista. See: MOMBRIANI.
@ MACHY, Pierre de, of rue des Arcis (1668-1720),
Quai Pelletier (1722) and rue des Prétres, parish of St.
MACDONNELL. Dublin harpsichord maker. See: Paul (1726), Paris [Germ1gé0]. Born about 1675; married
below, and also under PEMBERTON. 1698; died 1726 [MC, Vol. 62, p. 340, 26 April 1726].
Related by marriage to the Denis family [Veried].
MACDONELL, Daniel. Harpsichord and piano Apparently more a dealer than a maker towards the
maker, Dublin: 26 Fleet Street, 1793-1800; 28 Fleet end of his life [Hb 196].
Street, 1801 12 Anglesea Street, 1804-15 [Teaban].
Made a harpsichord as late as 1804 [Fid]. MACHY, Pierre Antoine. French harpsichord maker
of the eighteenth century. A ‘Clavecin de Machy, 1713—
MACDONNELL, James and Alexander. Harp- 74’ advertised for sale, is quoted by Bg. Probably related
sichord, piano, and guitar makers in Dublin: 34 Anglesea to the preceding maker.
Street, 1787-8; 2 Church Lane, 1790-1800; 12 Anglesea
Street, 1801-5; 2 Church Lane, 1806-10 [Teaban]. @ MACK, Heinrich Rudolph. Clavichord maker at
Dresden in the eighteenth century; died 1807. Worked
* MACERATA. An instrument in the Museo degli for a time after 1792 with J. G. Horn (g.».). He set up
Antichi Strumenti Musicali, Rome, is described in on his own in 1799 [Hir#].
the catalogue [Cerv.MASM, pp. 340-41] as Spinettino
Macerata 1788. The description comes from a slip of MACKHAM, Thomas. See: MAKEHAM, Thomas.
paper on the nameboard 1786/Scudi quattro pagé questa
Spinetta|Ginseppe Barabani in Macerata|che poscia in dipinta MADDEY, John. Harpsichord maker in Custom
¢ accomodata|Da Scorzi Abbate che in cid si diletta. House Lane, Queen Square, Bristol, ¢. 1785 [J]. He
VdM suggests that this indicates simply that it was tuned and repaired the organ in St. James’s Church,
bought by Barabani at Macerata, most probably in Bath, during 1792-3 [Fale].
1788. The instrument is thought to be considerably
older (seventeenth-century?). There is a further inscrip- @ MAGNELLI, Giovanni, Battista. Italian harpsichord
tion which goes on to complete the story that after its maker, probably of the seventeenth century. A poly-
purchase, and decoration (by Scorzi Abbate), it was gonal virginal, undated, by him was in the collection

Google
 124 MAGNIAI
of Prince Ferdinand of Tuscany in 1700 [Gai, p. 12], held in 1739 according to the list of subscribers in
and what is probably a harpsichord (dated 1690) is Roseingrave’s edition of XLII swites de piéces pour le
reported to be in a private collection in France. clavecin. . . by Scarlatti. In 1763 he is described as
For details of surviving instruments see Part II. ‘Harpsichord maker to his Majesty, and resident in
Marybone’ [Un]. It is possible that his earliest surviving
MAGNIAL, Lorenzo, of Florence. Harpsichord maker instrument is a spinet signed uncharacteristically Maboon
fi. 1689. Londini Fecit (all other known instruments are signed
For details of surviving instruments see Part II. Joseph Maboon, London) and marked G.C./1734 (this
might be George Castleman, the former master of
Benjamin Slade, or possibly the ‘Cross’ who did work
MAGONA, Pietro de, of Ferrara. Harpsichord maker,
for Kirkman) on the top and bottom key, though the
A. 1494 [Va]. 1734 may be a serial number. His earliest surviving
harpsichord is a fine 2-manual instrument dated 1738.
© MAHIEU, Jéréme (or Hieronymus), of Brussels. One further (single-manual) harpsichord and several
Harpsichord maker. Earliest date ascertained, 1732; died other spinets, the last being dated 1771, also survive.
1737 [C/, p. 39]. His workshop was ‘sur le Nieulant 4 They are similar to the instruments by other English
Brusselle’. He had several Ruckers harpsichords [5, makers of the period, having crossbanded cases, and,
P. 93], and may not have been above counterfeiting with the exception of the single manual harpsichord,
them, for a large double in the Germanisches Nation- ivory naturals, and skunktail sharps of ebony-
almuseum in Nuremberg appears to be by Andreas ivory-ebony sandwich design.
Ruckers, but according to Hellwig and Elfrid Gleim, Mahoon died in London on 17 November 1773
(the latter dating it as ¢. 1730) it may well be by Mahieu [Gentleman's Magazine]. A 2-manual harpsichord by him
[see also: O’Brien, p. 282, no. ‘1617 AR’). was sold at Christie’s, 18 December 1772, for £24.
Bz states that he made 2-manual harpsichords with The workbooks of Thomas Green (4.v.) of Hertford
3 registers and 58 keys, and a range of single-manual contain several references to tunings of Joseph Mahoon
harpsichords with 5 registers and 58 keys; 3 registers instruments belonging to people in the Hertford area.
and 61 keys; and 2 registers (1x8’, 1x4’) with 58 keys. There are also two references to instruments by Hugh
Haine|Meeus reports that an announcement appearing Mahoon, a hitherto unrecorded maker. The first is for
in Les Relations véritables, published with several reprints a harpsichord belonging to Mr. Mrs. and Miss Plumer
in 1737 and 1738 gives notice of the sale of the in the period 1757-71, which was identified as being
instruments which were left after his death. by Hugh Mahoon in 1762. The second is for a
There is some doubt concerning the instruments by harpsichord, the property of Miss Ethelinda Rolt, of
him which survive. There is at least one single manual Sacombe Bury, which was tuned in 1756, and identified
instrument of 1732, which was sold by Legouix of Paris as ‘a Small Harpsichord . . . Hugh Mahoon a unison
in 1948, and it is possibly the same instrument, inscribed and 2 octaves (sic)’. This same instrument was strung
Hieronymus Mabien me fecit Bruxellis A. 1732 which was and tuned by Green in 1764 [Sheldrick].
for sale early in 1952 at Jacob, 19 rue Cambon, Paris For details of surviving instruments see Part II.
(Bz, Haine|Meeus]. The existence, at one time of a
double by him is confirmed in Christie’s announcement:
‘double-key’d harpsichord by Maihu of Brussels, and MAIR, Johann Andreas. A craftsman at the court of
the Duke of Nassau at Wiesbaden. From about 1788
later in the possession of Joseph Kelway Esq.’ sold at
Christie’s on 7 February 1791. (Vendor, the Revd. Mr.
onwards he had a wide reputation for his keyboard
instruments. He worked with his brother; and besides
Fountain; buyer, Higins; price, £16. 55. 6d.)
For details of surviving instruments see Part II. the normal keyboard instruments he made ‘Klavi-
Mandors’ [Ge 1814].
* MAHOON, Hugh. See below: MAHOON, Joseph. MAIHU, J. See: MAHIEU, Jérme.
©@ MAHOON, Joseph. Spinet and harpsichord maker,
living in York Buildings, and ‘King’s Arms, North MAIR, Sixt, of Stuttgart. Maker of organs and other
side of Golden Square’, London. Dates ascertained, keyboard instruments, f. 1584-92 [Wartt. Vier-
1729-73. A harpsichord by him is illustrated in teljabrsschrift, 1900, article by Bossert].
Hogarth’s Rake’s Progress (2nd plate; the painting was
done in 1735). ‘Joseph Mahoon, harpsichord maker’ is MAKEHAM, Thomas, a/so Mackham, Mekehum, of
recorded in LC 3/64, 24 June 1729. In the Evening Post, London. Virginal maker. Born ¢. 1626. Apprenticed to
London, 8 July 1729, it is recorded that ‘on Wednesday William Leversidge (g.v.) in 1641/2; admitted free
last Mr. Moon (sic) in York buildings was appointed of the Joiners’ Company 1649/50. John Crosse was
harpsichord maker to His Majesty’, a post which he apprenticed to him, May 1656 [Join]. In 1652 he resided

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in the parish of St. Michael Bassishaw, and for several
years up to 1661 his name appears in the parish registers
of St. Giles Cripplegate.
© MALADE, Jean Jacques. Harpsichord maker, living
in the rue Bourbon-Villeneuve, Paris, from 1773 to
1779. Married 1769, and again in 1774; died 1781. Son
of M. Barthélémy, citizen of Mainz. Master harpsichord
maker in Paris, 1768 [Hardouin 1759; Verlet, Germigfo,
where further addresses are given, and on p. 440, a
map of Paris showing the location of his workshop in
relation to those of other makers and contemporary
musicians]. After his death his wife took over his
business [Hirt2].
MALARME. One of the jacks in a Ruckers dated 1590
in the Paris Conservatoire is signed: Fait Par Malarme
et [d]Anton . . . 1790.
MALER, Sigismondo. The Smithsonian Institution,
Washington, has a clavicytherium (given by the Cooper
Union) inscribed: Sicismondo Maler faciebat Anno Domini
MDXXV Venetiae. However, the nameboard bearing
the signature does not belong to the instrument.
For details of surviving instruments see Part II.
* MANIL, Settimo. Most probably a restorer of instru-
ments from Lucca at the end of the seventeenth century.
Richard Luckett owns an Italian polygonal virginal
which was restored by Dolmetsch who, in 1894, left in
the instrument a piece of paper recording an inscription
which was previously in it, but which has either been
lost or is now unreadable:
Settimo Mani [anno 1692] Lucca sos . ¢ . strumenti [Toscana]
Since the instrument itself appears to be of the late
sixteenth century, this adds weight to the likelihood
that Mani was not the maker of the instrument.
For details of surviving instruments see Part II. 1 Pol V.
* MANN, Mr. Probably a dealer in musical instruments
in Calcutta in 1786. See: LONGMAN and BRODERIP.
* MANSHART, Jan. Organ and harpsichord maker
in Middelburg ¢.1770. In an advertisement in
Middelburgse Courant for 2 September 1769, he calls
himself ‘orgel-en clavecimbaal-maker’ living in the
Seisstraat in Middelburg. In 1780 (21 September) he
advertised only as an organ builder. [See: Gier 294,
416s.)
MANUEL, M. Harpsichord maker of Lugo
Ravenna. Dates ascertained, 1821-7 [Va].
MANUELANJO. See: LEO, Manuel Anjos.
iy Google
MARIONE 125
* MARAND, Thomas. Organ and harpsichord maker
in Utrecht in the second half of the eighteenth century.
His marriage is recorded in the registers of that town
on 11 January 1764. In 1767 he lived near the town
hall in a house called ‘de Snippevlugt’. The family
probably left Utrecht ¢. 1782.
In 1767 he advertised in the Usrechtse Courant no. 16:
‘Thomas Marand, meester orgel-en clavecimbaalmaker
a Utrecht, adverteert aen alle liefhebbers der musiek,
dat hy ook allerlei soorten van orgels en clavecimbaels
repareert en stelt. De bovengemelde, wiens woonplaats
thans in ’t Wystraat is, zal met May aenstaende
woonachtig zijn nabij het stadhuis tegenover het Bar-
bara—en Lamentii gasthuis’ (Gier].
MARBACH, Conrad. Clavichord maker at Kirch-
fembach near Langenzenn, fl. 1781.
For details of surviving instruments see Part II.
MARCHAL, N., of Nancy. Organist, and maker of
clavichords and harpsichords, though he appears to
have concentrated more on organ building. Dates
ascertained, 1724-63 [Jac, Va].
MARCHIONUS, Franciscus. Harpsichord maker,
born in Florence, f. in Rome in 1666.
For details of surviving instruments see Part II.
MARCO DAI CEMBALI, MARCO DALLE SPIN-
ETTE. See: JADRA, Marco.
MARCUS SICULUS. See: SICULUS, Marcus.
* MARCKERT, Johann Georg. A clavichord owned
by the Bach-Haus, Eisenach, is attributed to this maker
from Ostheim v. d. Rhon, and dated 1806-15.
For details of surviving instruments see Part II.
* MARIONE, Matteo. Born ¢. 1614, and still alive in
1671. Harpsichord maker of Rome, but originally from
Lucca, and son of Giovanni Marione. From 1657 he
worked for Girolamo Zenti (g.¥.), and it appears that
after Zenti left Rome, Marione continued in the
workshops of his master as an organ maker together
the
with his son, Antonio (born ¢. 1648). Nothing further
is recorded about Marione from 1666, however it seems
most probable that from 1648 he continued to be in
charge of the organ-building side of Zenti’s work, and
was responsible for the contracts drawn up with the
Pamphili family for the building of the large organ in
the church of S. Agnese in Agone (1660). Further
near useful information about Marione and Zenti is to be
found in Patrizio Barbieri e Arnaldo Morelli, ‘Regesto
degli organi di Roma’ in L’Organo, XIX, 1981, pp. 63-
103 [Barbieri, p. 152}.
 126 MARIUS
© MARIUS, Jean, of Paris. Harpsichord maker; f. 1700- [KdP]. References around the turn of the century may
16. He is usually credited with the invention of the refer to his son, also a piano maker, and also called
clavecin brisé, a harpsichord in 3 sections which folds up Juan [see also: RMA-RC—1982, GSJ—1985, EM of
by means of hinges and so becomes more easily portable; August 1985 under ‘Correspondence’. Baltasar Saldoni,
in 1700 he received a royal privilege of 20 years for his Diccionario Biogrdfico-Bibliogrdfico de efemtrides de miisicos
invention. (His cachet is depicted on Jur, p. 60.) It is espatioles, Madrid, 1881, Vol. IV, pp. 415-7. Cristina
clear, however, that the folding harpsichord had Italian Bordas, ‘Instrumentos Espafioles de los siglos XVII y
antecedents (see: articles on Grimaldi and Mondini). XVIII en el Museo de] Pueblo Espafiol de Madrid’, in
Like Schréter in Germany, Marius was working inde- Revista de Musicologia, Vil (1984), p. 303. Biblioteca
pendently of Bartolommeo Cristofori in the second Nacional (Madrid), Fondo Barbieri; MSS. 14035 (124-
decade of the eighteenth century, on the mechanism 5). Modern edition: Francisco A. Barbieri: Biografias y
which became the foundation of the modern piano. He documentos sobre miisica y misicos espatoles (Legado Barbieri),
also designed a hybrid which he called ‘clavecin @ Ed. a cargo de E. Casares, Madrid, Fundacién Banco
maillets et 4 sautereaux’, of which no example has Exterior, 1986, Vol. I, pp. 311-12].
survived [Fe]. H-O illustrates on p. 31 a drawing of
one of these instruments, which shows an upright MARSAM, Andrew. Virginal maker at Leicester 1579—
instrument with an embryonic action resembling that 80; dead by October 1601. The Leicester Chamberlain’s
of the tangenten-fliigel. Pw (pp. 111 ff.) quotes from Accounts for 1579-80 record: ‘Andrewe Marsam vir-
Recital des machines appromtes par P Académie Royale des gynall maker for his fredom. tos.’ [Records of the Borough
Sciences, 1716 onwards, regarding various ‘clavecins 4 of Leicester, by Mary Bateson. Vol. 3, p. 184. Cambridge
maillets’ by Marius, with illustrations. These designs University Press, 1905. The name might easily be
were never realized. misread as ‘Marsani’.]
Sheridan Germann [Germgéo] gives his address in The Coventry Chamberlain’s Accounts note the
the period until 1717 as the rue de Richelieu, vis-a-vis payment in October 1601 of 3/4d. ‘to Widdoe Massam
du Lion Ferré, and on p. 440 gives a map of Paris (sic) the virginal makers wife to bring her to Basing
showing this location in relation to other makers and stoke’.
musicians of the period.
For details of surviving instruments see Part II. MARSANI, Andrew. See: MARSAM, Andrew.

* MARMOL, Juan del. Harpsichord and piano maker * MARSCHAL, of Vienna. Organ or keyboard instru-
of Seville. Born 1737 (according to the Encyclopedia ment (most probably clavichord) maker of the late
Universal Ilustrada Espatia-Calpe, Madrid, 1917 and later eighteenth or early nineteenth century. The work of
edition); latest date ascertained, 1800. The above- this maker is known only through the list of makers
mentioned Encyclopedia also suggests that he was a pupil given by Christian Friedrich Gottlieb Thon, though he
of Pérez Mirabal (9..), and that he was pensioned by does not single him out for especial praise or esteem.
King Carlos II in 1779, (in which year according to See entry under THON.
Gest he took on 2 apprentices) having built a harpsichord
for the Princess ‘con 15 registros differentes que MARSCIANI. Italian firm of instrument makers, f.
comprenden en uno los dos claves de pluma y piano 1771. They restored in May 1771 a harpsichord made
tocandose ambos bajo de una pulsacién’ [Gaceta de by Bombini (9.v.).
Madrid, 26 October 1779]. The possibility that this
monumental instrument, combining harpsichord and MARSH, George, of London. Virginal maker, resident
piano, was inspired by Virbés’ clavecin harmonique et 1604-5 to 1608 in the parish of St. Giles Cripplegate
céléste is discussed by Beryl Kenyon de Pascual in [Parish Reg.].
‘Carlos III: un rey protector de la misica’, Reales Sitios,
XXV (1988), no. 3, pp. 33-38, and in the same reference MARTEL. See: BAS, L.
attributes to del Marmol the square piano with a
harpsichord-style keywell decoration in tortoiseshell, MARTIN, of Cracow, fl. 1609. Clavichord maker [V/a].
mother-of-pearl and gold, now in the Madrid royal
palace. In April 1783 he made some ‘pianos grandes de * MARTIN, Fray. A monk who made a clavichord for
orquesta’ [Gaceta de Madrid, 6 May 1783], and it seems El Escorial monastery at some time between 1571 and
that in his latter years he concentrated almost exclusively 1574. Perhaps the same monk who was a scribe in the
on the making of pianos—probably mostly squares. monastery. [See: Francisco A. Barbieri: Biografias y
Gest records that in Santiago de Chile there are 2 pianos documentos sobre missica y miisicos espatioles (Legado Barbieri).]
of his making, the one dated 1791, and the other 1800
[Romanillos}, while there are a quite a large number of MARTINELLI, called ‘il1 Gobbo’. Instrument maker
del Marmol’s square pianos in private hands in Spain at Modena in the seventeenth century. Besides bass-viols

Google
 MEERBACH 127
and violins he made keyboard instruments [La]. In until 1740, and from 1703 employed Giovanni Battista
assigning him to the nineteenth century Va is probably Reblingh (born ¢. 1670) as his workman (Barbieri, p.
confusing him with another of the same name—a 152]. He was considered to be the equal of the best
pianoforte maker. Italian makers [VdS, VI. 514]. Va lists him, under
Gand, while Barbieri lists him under Mattia di Gand.
MARTINI, of Friedrichstadt near Dresden. Maker of
harpsichords and organs, ff. 1740 [F4. * MATTIA DI GAND (de Gi, Dega). See: MATTHIAS,
of Ghent.
© MARTINUS (MARTIJN), Frederich (Frits). Organ,
harpsichord and clavichord maker, who came to Gron- MATTHYS, Peter, of Antwerp. Gosuin Karest
ingen as a soldier in German mercenary troops, married became his pupil in 1519. Matthys was probably a
there Gertrude Bucks in 1606, and lived on the ramparts painter, and not an instrument maker.
of that town. On 17 May 1616, ‘Predrich Martin,
clafsimbelmaeker’ became a citizen there. In 1617 he MAYER. Instrument maker at Gérlitz in the eighteenth
remarried a widow Jantien Pieters. This time he was century, made ‘Bogenfliigel’ like Hohlfeld, etc. He
registered again as a ‘clafsijmbelmaker’, a native of probably made some harpsichords [Ko].
‘Kruisborch’ in the country of ‘Sassen’ (Saxony), living
on the ‘Schoolholm’. In 1623 Martinus lived in the ©@ MAYER, Johann. Maker of organs and other keyboard
Nieuwe Boteringestraat in a house called ‘De Cla- instruments at Salzburg; f. 1619. His surviving harp-
effcimbel’ which was at the same time a pub. His name sichord of 1619 is one of the very few seventeenth-
occurs frequently in lawsuits because he had many century German harpsichords.
debts. In 1654 his creditors seized some instruments: For details of surviving instruments see Part II.
an organ, a positive organ and a harpsichord. On 22
December 1655, an inventory of his estate was made, MAYWALDT, Johann Christof, of Weigandsthal.
presumably forced by his creditors. On May 29, 1662, Clavichord maker, f. 1729.
his house ‘waar de oude Clavecimbel uithing’ was sold For details of surviving instruments see Part II.
and the profit (2,090 guilders) was divided among the
creditors. MAZLOWSEKLI, of Poznan, in Poland. F/. 1805, harp-
Gier says that probably Frederich Martinus is the sichord maker [Va].
same person listed by Curtis as an exceedingly dishonest
harpsichord maker who operated in Leiden in 1623 MECK. The Gazette
de Moscon, no. 17 of 1795, mentions
(Curtis, p. 53; B2] and who occurs in the document a concert given by Hassler on ‘deux clavecins et pédalier’
there as a ‘seecker persoon genaemt Martinus, synde made by Meck, probably not a Russian maker [Moos,
een claverchimmaecker’. Perhaps he is also the same Il. 626}.
“Mr. Martinus’ who was contracted on 15 January 1621
in Hasselt (province of Overijssel) to build a clavichord MEDARO, Antonio, of Florence, and later Nancy.
for the magistrates of that little town: a 2-manual Clavichord maker, f. 1616 [Va].
instrument for 15 guilders. Probably he had his reasons
to keep his domicile secret both in Leiden and in
MEDERIC. See: LORILLART, Médéric.
Hasselt. [Gier].
MEDIOLANENSIS, Annibalis. See: ROSSI,
MASSAM, Andrew. See: MARSAM, Andrew. Annibaledei.

MATHEUS, Johannes Franciscus, of Aerschot. MEER, Albrecht van. A native of Niel, near Julich,
Harpsichord maker. Dates ascertained, 1770-83 [Gé; lived in Antwerp as clavichord and harpsichord maker;
Vas, VIL. 288}. dates ascertained, 1542-60. He received the citizenship
The nameboard from a harpsichord by him is of Antwerp in 1542, in which year and in 1553 he is
preserved in the Brussels Conservatoire; inscribed: referred to as a clavichord maker; in 1560 he is called
Joannes Franciscus Mathens, Aerschot anno 1783. harpsichord maker [sources quoted by Sé]. He is
probably the Aelbrechts van Neere who was the fourth
©@ MATTHIAS of Ghent, or MATTIA DO GAND (de signatory to the petition headed by Joos Karest in 1557
Ga, Dega). Bom 1663-67. Originally from Ghent, he [S¢, p. 63].
was from 1695, assistant to Giuseppe Boni Cortona
(g-».) together with a certain ‘Giuliano d’Oratio march- * MEERBACH or possibly MERBACH, J. C. Clavichord
igiano’. He appears to have worked in Rome, as a maker of Gotha, f. 1799. It is reported by Heyde that
harpsichord maker, on his own from the end of 1703 there is a mention of him in the archives at Gotha, and

Google
 128 MEERENS
evidence of his existence also comes from surviving @ MENEGONI, Giovanni Andrea, of Venice. Maker
clavichords, one at Moravian College, Bethlehem, USA, of harpsichords and virginals. Dates ascertained, 16g0-
and the other at the Museum fiir Regionalgeschichte und 1715 [Hirt2]. Probably elder brother of Francisco
Volkskunde, at Schloss Friedenstein, Gotha [Bemmann]. Menegoni (see above). In 1707 a double harpsichord of
Since the latter is dated 1821, it would appear that his was sold to the Conservatorio, Naples, for 70 ducats
Meerbach lived at least until then. [MarcP}.
For details of surviving instruments see Part II. For details of surviving instruments see Part II.

* MEERENS, Ch. A clavichord in the Brussels Museum, @ MENSEN or MENSZ, Hendrik. Born ¢. 1590; f.
Brussels, is attributed to this maker. 1625 as harpsichord maker in Amsterdam. He was also
For details of surviving instruments see Part II. called ‘Henricus Frisius Orientalis’ because he was born
in Arll, north of Norden in the area called East
@ MEEUWSZ or MEEUWS. Harpsichord maker in the Friesland, now a part of Germany. He died in 1647.
Low Countries; f. 1629 [Curtis, p. 54]. Could possibly [See further: Curtis, p. 54, Gier.]
be the same person as MENSZ [Gier].
© MERCATOR, Sir Michael, va/go Kramer, of Venloo,
MEIDLING, Anton. See: MEIDTING. 1491-1544. Dutch or German maker of harpsichords
and maker of virginals to Floris Count of Egmont, and
MEIDTING, Anton, of Augsburg. Instrument maker, (between 1529 and 1532) to Cardinal Wolsey, and to
ff. 1587. An octave-spinet combined with a regal, in King Henry VII. A medal struck in his honour
the form of a chessboard, or backgammon board, by (perhaps by Hagenauer) in 1539 is reproduced in A. J.
him is in the Kunsthistorisches Museum, Vienna. Hipkins’s Musical Instruments, Historic, Rare, and Unique,
Russell1gs9 gives his name as Meidling. pv.
For details of surviving instruments see Part II. There is no evidence of his being connected with
the cartographer Gerardus Mercator (1512-94, born at
Rupelmonde in Flanders).
MEKEHUM, Thomas. See: MAKEHAM, Thomas.
MERCIA. According to the appendix in Ge (1792),
MELA, Domenico del, of Gagliano in central Sicily. Mercia ‘improved’ the harpsichord in 1783 ‘durch
F/. 1739, maker of keyboard instruments. (Hirt gives Nachahmung des Trompeten und Paukentons’(!).
his dates as: born 1683, died between 1751 and 1752.)
The late Canon Galpin saw at Pistoia an upright @ MERLIN, John Joseph. Harpsichord maker and
piano by this maker dated 1739. This instrument is inventor, 1735-1805. Until recently it had always been
now in the Florence Conservatoire. Inscription: P. asserted that he was born at Huys, near Liétge, on 17
Dominicus del Mela de Gagliano imvenit et fecit anno September 1735, the date and place being quoted by
MDCCXXXIX. Rose without monogram. his earliest biographer, R. S. Kirby, in The Wonderful
and Scientific Museum; or Magazine of Remarkable Charac-
MELLY. Harpsichord and pianoforte maker in ters, Vol I, 1803, pp. 174-9. In 1991, however, thanks
London, late eighteenth or early nineteenth century. A to the research of Peggy F. Baird of Huntsville,
square piano belonging (1969) to Mrs. Edith Chuelley Alabama, and the discoveries of Pierre Bauwens, work-
of Leigh, Surrey, contained a card inscribed Melly, ing on the family records in Merlin’s home town, it
Harpsichord and Piano-forte maker, No. 4o Fleet Street... became clear that the name of his birthplace is Huy
[Mould Note, 1969]. (pronounced ‘Whee’) and that John Joseph was the
third child of Maximilien Joseph Merlin (born at
© MENDINI. See: MONDINI, Giuseppe. Cambrai, 8 January 1710) and Marie-Anne Levasseur.
John Joseph Merlin was born (and baptised?) (at the
* MENEGONI, Francisci. Harpsichord maker of church of St. Pierre-outre-Meuse) on 6 September, 1735
Venice. Date ascertained, 1715. Probably the younger [see: Archives de état a Huy, Registres parroissiaux de
brother of Giovanni Andrea Menegoni (9.v.). Evidence Hwy, no. 5, p. 90]. (Haine/Mees gives his birthdate as
for Francisci’s (or should it be Francisco’s?) existence 17 September 1735, but this is more probably the date
and date comes from a report from Gwillow that he of baptism.)
owns the instrument (an ottavino) given in Bz under Merlin probably came from a family of inventors
Giovanni Andrea Menegoni as no. 4, but which bears and after 6 years in Paris from ¢. 1754, where he became
the inscription Francisci Menegoni Veneti Opus Anno noted for his mechanical ability, he came to England
MDCCXV. According to Guwillow the instruments in in 1760 in the suite of the Spanish ambassador, the
Bz numbered (3) and (4) are the same. Conde de Fuentes, with whom he resided for some
For details of surviving instruments see Part II. time in Soho Square.

Google

Studies of the life and work of Merlin took a
significant step forward in 198; when the Greater
London Council promoted an exhibition at the Iveagh
Bequest, Kenwood House, Hampstead Lane, London.
The catalogue of this event [see: Merlin] contains a
wealth of information, including a full biography
written by Mrs. Anne French, while further information
is to be found in a scholarly article in Haine/Meexs (pp.
297-9) by Michael Wright and Frances Palmer, both
of whom have made significant contributions to the
study of Merlin and his life and times. From these
sources, it is known that in 1763 he was living at ‘m
Sutton goldsmith at the Acorn (gland) in newstreet
near con(vent) garden’. Presumably Merlin worked for
Sutton, and most probably shortly after this he went
to work at Cox’s Museum in Spring Gardens where he
became ‘the first or principal mechanic’. Cox specialised
in extraordinary large-scale automata, which filled his
museum, and though this must have had a profound
influence on Merlin, it sadly did not prevent bankruptcy
from threatening Cox’s livelihood. Detecting the inev-
itable signs of the downturn of Cox’s fortunes, Merlin
left him by 1773 to set up independently as a maker of
mathematical instruments, and it was as such that he
described himself in his 2 patents, the first for a Dutch
oven (29 January 1773) and the second (no. 1081 on
12 September 1774) for a ‘compound harpsichord’. This
‘was a combination of a single-manual harpsichord with
2 unison registers and an octave—and a pianoforte with
a down-striking action. The patent specification shows
a 5-octave keyboard with compass FF,GG-f. It has 2
pedals: the left-hand pedal brings on the pianoforte
action working on the unison registers; the right-hand
pedal brings on the unison and octave registers one
after the other (with a mechanism completely different
from the machine-stop of Kirkman and Shudi), thereby
producing the effect of a swell. (One such device
survives in the Kirkman harpsichord of 1758, now in
the possession of the Museum of Fine Arts, Boston, to
which both the downstriking piano action and the
crescendo pedal have been fitted.) Merlin’s description
of his invention runs: . case is accordingly L shaped. The advantages of this
A new kind of compound harpsichord, in which, besides the
jacks with quills, a set of hammers of the nature of those used
in the kind of harpsichords called Piano Forte, are introduced
in such manner that either may be played seperately (si¢) or
both together at the pleasure of the performer, and for adding
the aforesaid hammers to an harpsichord of the common kind
already made, so as to render it such compound harpsichord.
Merlin’s one surviving harpsichord incorporates his
downstriking piano action, making it a combined
instrument, and it is noteworthy, not only for the
excellence of its construction, but also for its use of a
16’ stop—the only English example of this register,
and for the incorporation into it of a recording device
which by means of a complicated system of trackers
attached to pencils, records the player’s performance
Google
MERLIN 129
on a roll of paper driven by clockwork. The subsequent
deciphering of the marks on the paper must have taken
considerable time and expertise.
It is possible that it was upon this instrument that
J. C. Bach performed when he appeared in London at
two concerts in 1774. The Morning Chronicle of 5 and
22 April reported how he had played a ‘new Concerto
upon Mr Merlin’s lately-invented Harpsichord’
[Howard Schott, ‘From harpsichord to pianoforte’, in
EM, February 1985, p. 31, and Anne French, in EM,
August 1986, p. 470].
Merlin’s former employer, Cox, was to figure as
witness in a case brought by Merlin against Ephraim
Celson (g.».) for infringing Merlin’s patent compound
harpsichord. The case is described under the entry for
Celson.
Dr. Charles Burney, a great friend of Merlin’s, and
also a witness in the above-mentioned case, bought a
piano from him in 1777 and had the compass extended
in both directions. He bequeathed it to his daughter
Esther (‘My large Piano Forte with additional keys at
the top and bottom originally made by Merlin with a
compass of six octaves the first that was ever constructed
expressly at my desire for duets 4 quatre mains in
1777).
Merlin had the gifts of innovation, craftsmanship,
and showmanship combined, and though most of his
inventive talents were directed towards mechanical
contrivances, he developed a range of musical instru-
ments. Apart from the downstriking piano action, he
built square pianos, and at least one square claviorganum
combining piano mechanism with » chamber organ,
whilst an upright piano of his is in the possession of
the Brussels Museum. In addition, a unique square
piano is illustrated as item No. 39 in Haine/Meens-Ex,
being the property of Luc Schrobiligen. The instrument
appears to be similar to a normal square piano, though
the part of the instrument containing the string-band
is set up at right angles to the horizontal plane
containing the keyboard. Thus the instrument requires
an action not unlike that of a clavicytherium. The
disposition are not apparent, and the fact that no other
instrument is known with this shape would seem to
indicate that it was not immediately superior to the
standard square. It is also possible that Merlin made a
square ‘tangent piano’ which was offered for sale at
Sotheby’s in November 1992. Though not signed the
workmanship and case style suggest the hand of Merlin.
Though probably not made by Merlin himself, a
5-stringed cello called a Pentacherd bears his mark, while
a violin survives bearing a label inscribed Josephus
Merlin|Cremonese Emulus|No (121) Londini 17[76?][80
written over]/(Improved|No.66 Queen Ann Street East]
Portland Chapel). \t was probably a similar instrument
to this which Merlin used when popularising another
of his ‘inventions’—the roller skate. In fact the roller
130 MESCHITA
skate probably came from Holland in ¢. 1700, while the in demand at the tables of the hostesses of the day.
first recorded use of the device in England was on the Merlin’s Mechanical Museum was a popular resort for
stage at Drury Lane during a play by Tom Hood in visitors where they were entertained by the antics of a
1743. Nevertheless, the fact that Merlin used roller range of automata, which like his other inventions were
skates (or more properly ‘roller blades’ as they are now the product of the brain of a man who, as the Gentleman's
called since there were but two rollers, fore and aft, Magazine obituary reports, ‘hardly ever let 2 moment
rather than two pairs as is the case in what are now slip by unemployed’. He died on 4 May 1803.
known as roller skates) and a violin, sometime between For further details about Merlin’s life and inventions
1761 and 1772, is recorded in the following endearing see P. A. Scholes, The Great Doctor Burney (Oxford
scene described in Busby’s Concert Room Anecdotes, U1. University Press, 1948), Il. 202 ff., and the more
137: specialised works listed in the bibliography on p. 143
of Merlin.
During the latter part of the eighteenth century, that ingenious For details of surviving instruments see Part II.
mechanic and musical instrument maker gratified the curious
and tasteful by the public exhibition of his organ, pianoforte,
and other inventions, at his Museum in Princes Street, Hanover MESCHITA, Joseph. A Carmelite monk, possibly
Square. Merlin’s mind was adequate to the embracing the Spanish or Portuguese. On 23 June 1730 he finished
whole compass of mechanical science and execution; at least, the restoration of a curious instrument combining 2
in the articles connected with elegant and domestic amusement. psalteries, dating from the first half of the sixteenth
One of his ingenious novelties was a pair of shaites, contrived century, and still to be found in the collection of
to run on wheels. Supplied with a pair of these and a violin, Leipzig University. In the course of the work it was
he mixed in the motley group of one of the celebrated Mrs.
extended (‘mis en ravalement’). The signature Meschita
Corneily’s masquerades at Carlisle House, Soho Square; when, appears only on the lower psaltery (Ks, p. 81 ., KdP,
not having provided the means of retarding his velocity, or
commanding its direction, he impelled himself against a mirror Henkelr}.
of more than five hundred pounds value, dashed it to atoms, For details of surviving instruments see Part II.
broke his instrument to pieces and wounded himself most
severely. MESNAGER, Yves. Parisian harpsichord maker and
organist, who lived, with his wife Catherine Foulon,
An instrument by Merlin (most probably a square
in the rue des Arcis; died 1556. He also made clavi-
piano) is depicted in a portrait, now in Buckingham chords, for in an inventory of goods in his house, made
Palace, by Gainsborough, of Johann Christian Fischer after his death and dated 2 June 1556, there appears:
(1733-1800), the oboist, who married the painter’s ‘Item le boys d’un manicordion non parfaict . . .” [Les,
daughter Mary. Gainsborough, one of Merlin’s great Verlet\.
friends, also painted a portrait of him, which is
illustrated on the front cover of Merlin, and is to be
seen at Kenwood House, Hampstead, London.
MESSAN, Vincent. Was apprenticed to Claude Jac-
Some instruments in Merlin’s possession at the time
quet on 7 May 1653 [Hubb].
of his death were sold by auction in 1837; the
advertisement is quoted by Ri (p. 93).
METZENER, John. The workbooks of Thomas
Green (q.¥.), of Hertford, contain one entry for 1774
Merlin’s inventions extend over a wide range, some
useful, and others diverting. In the former category they in which a harpsichord identified as Johannes Metzener
Fecit Anno Domini 1754 was tuned for Mrs. Jones of
include the forerunner of the present-day wheelchair, the
Dutch oven (the exemplar for many modern rotisseries),
Two Bridges Enfield Highway [Sheldrick]. No other
reference to this maker has been traced.
a form of weighing machine for humans, and a number
of specialised clocks and watches. Amongst the less
essential necessities of daily life are the rotating table
MEUNIER, Jacques. Parisian harpsichord maker; f..
which enables the hostess to fill up to 12 cups of tea 1674-1705 [Verlet].
without leaving her place, the device to enable blind
people to play cards, and, very desirable for the MEYER. Clavichord maker in Liibeck, f. 1781. See
eighteenth-century business-man, a balance to weigh below: WINTHER AND MEYER.
gold coins so that those which had been pared might
be detected (it was in fact, this invention which MEYER, Daniel. Organ builder at Géttingen. In 1575
helped to establish the identity of the sitter in the he built an organ with ‘geduppelten Saittenwerk’.
above-mentioned Gainsborough portrait of Merlin,
since the balance is to be seen in Merlin’s hand). MIDDELBURG, Johann. Organ and clavichord
Merlin, who never married, and for that matter builder at Hamburg, where he received citizenship on
never became entirely anglicised, was nevertheless very 15 January 1692. By 23 August 1694 he was married
popular with much of London society, and was often to Sophia Margaretha Fleischer (née Zaego), formerly

'y Google
 MIETKE 131
wife of Hans Christoph Fleischer (g.v.). Mattheson The study of Mietke’s harpsichords has been given
writes in 1713: a considerable impetus in recent years by the realisation
Middelburg reussirt in Clavicordiis vor allen, wiewol die that the 2 harpsichords surviving at Schloss Char-
Fleischer [i.e. the brothers Johann Christoph
and Carl Conrad] lottenburg, Berlin, are almost certainly by him. They are
es ihm ziemlich gleich thun; deren einer die kostbarste und both beautifully japanned by Gérard Dagly (described as
sauberste Arbeit von der Welt machet, der andere seinen ‘Intendant der Ornamente’ to Frederic I of Prussia from
Wercken einen besonders starcken undhellen Resonanz zu 1693 to 1713 [Haine/Meeus]). The first, a single-manual
geben weiss. instrument, which on account of its predominant case
[MatNO}. colour, is known as ‘the white harpsichord’ was
probably used by J. S. Bach. This and other connections
MIETKE [or Mietcke], Michael. Harpsichord maker with musical and royal personages of the period
of Berlin (Célln). Dates ascertained, ¢. 1665-1726 or (particularly Queen Sophie Charlotte who owned it)
1729. are explored in several of the above references. The
Until recently little was known about the life of second, known as ‘the black harpsichord’, has less
Mietke beyond the oft quoted, and erroneous, date of pretentions to connections with Bach, but is of equal
his death given by Johann Walther [Wa] as 1719. Since importance musically. Nevertheless the remote pos-
the publication of Bz, largely because of the connections sibility that both instruments could have been built by
between J. S. Bach and Mietke, considerable research Johann Rost (q.v.) should not, at this stage, be over-
has been undertaken into the life and work of the latter, looked. This too is examined in the references, and it
mainly by Sheridan Germann and Dieter Krickeberg, seems most likely that Rost worked on Mietke’s
though several others have made significant contri- instruments after the latter’s death.
butions, and the reader is referred to the following Of more recent interest was the announcement in
works (on which the short summary given here relies 1991 of the discovery by Andreas Kilstrém of a third
heavily) for a full account: Germig8s; Krick-Mietke, Mietke harpsichord, at the Halsinglands Museum,
Henkel 1977; Krick-SC, and numerous references in Hudiksvall, Sweden. This single manual instrument
Fest-VdM. with 2x8’ stops, is of some importance for it is signed
Mietke was born, the son of Georg Mietke, ¢. 1665, by Mietke and dated 1710.
and was baptised at Célln, a city near Berlin. It appears In the second half of 1718, J. S. Bach went to Berlin
that he moved to Friedrichswerder, a suburb of both to buy a harpsichord by Mietke for the Hof Kappele
Berlin and Célln (the three were united in 1709) for an at Céthen (possibly for the performance of the virtuoso
entry in the parish registers of Fiedrichswerder records harpsichord part in the sth Brandenburg Concerto)—
the marriage of ‘Herr Michael Mietke Musikalische ‘das gross Fligel mit 2 Clavituren, von Michael Mietcke
Instrumentenmacher . . . mit Jungf. Maria Wagen- in Berlin, 1719’, and it was probably this instrument
fahrerinn Meist. Conrad Wagenfihrer Burgers und which Bach repaired in September 1722 and restrung
Drechslers in Berlin Eheliebl. Tochter’. In 1698 and and requilled in December of the same year. This
1699 the same registers record the baptism of z Mietke instrument was still in the Kapelle in 1784 when clearly
children, and by 1715 the family appears to have grown it needed attention since it was listed as defective
to 9 in number. By about 1700, however, Mietke had [Bach-Dokumente, 11. 74 (Kassel, 1969)].
moved back to Célln, probably to his father’s house. Germ1gés lists further references to Mietke harp-
It appears that Mietke served as court instrument sichords through the eighteenth century, mostly from:
builder possibly from as early as 1697, and according Stengel, W. Alte Wobnkultur in Berlin, Berlin, 1958.
to Sachs (Sachs, C. Musik und Oper am Kurbrandenburgischen Some of these confirm Mietke’s allegiance to Dagly as
Hofe, Berlin, 1910, pp. 186-7] was styled keyboard the decorator of his instruments, while mention is made
tuner and organ builder from 1711 to 1713 when the of a spinet, and an announcement in 1778 mentions a
court orchestra was dissolved. For this he received 70 Mietke ‘16’ two-manual harpsichord—of which only
Reichsthaler per annum. Wa thought well of his two exist by this master’. Whether Mietke had made
harpsichords, calling them ‘schéne Clavicymbel’, and harpsichords with a 16’ stop before 1718 is not known,
Ge describes them as ‘vortreffliche Fligel’. A reference but it is possible, and he may have made them
traced by Koster [see: Germigés, p. 134] indicates that before the hitherto earliest known reference to such a
Mietke adopted the French style of harpsichord building development in 1718 by Johann Christoph Fleischer
(at a time when King Frederick I, the former Elector (g-».). This new light on German harpsichord building
of Brandenburg, was intent on popularising the styles makes it seem more possible that J. S. Bach did at least
of the French court of Louis XIV) and Mietke then have access to a harpsichord with a 16’ register, and it
charged ‘300 Thaler for his instruments as French may even be the case that the Céthen harpsichord, or
imports until he was caught at it, and had to lower the the instrument which he took to Leipzig in 1733 (the
price to 60 to 80 Thaler suitable for the home-grown like of which no one has ever yet heard [Bach Dokumente
product’. II, p. 238]) were thus equipped.

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132. MIGLIAI
Dieter Krickeberg has drawn attention to the sim-
ilarities between the surviving instruments of Mietke
and Zell (g.».) and suggests that it is possible that the
latter was a pupil of Mietke.
For details of surviving instruments see Part II.
MIGLIAI, Antonio [Antonius de Migliais],
Florence. Son of Michelagnolo Migliai. Dates ascer-
tained, 1682-1704.
He made harpsichords, harps, and probably lutes as
well. His address in 1684, when he paid a matriculation
fee to his Guild, was ‘Da’ Gesuiti’. In 1704
involved in a lawsuit [Px]. His surviving instruments
are slightly suspect, and have probably suffered at the
hands of Franciolini. Certainly Francl lists a harpsichord
inscribed: Antonius Migliai Florentinus 1617, and in the
context of the above dates must either be spurious, or
indicate that there was an older member of the family
with the same name. A surviving clavicytherium at 4’
pitch presents even greater problems for it is dated
1590, and is signed Angiolus Migliai. This must either
be spurious, or add weight to the argument that there
were at least two generations with the same surname.
For details of surviving instruments see Part II.
MIGUELANJO. See: LEO, Manuel Anjos.
MIKLIS, Johann. Harpsichord maker of Prague, f.
1671. The only evidence of his existence is a harpsichord
of this date in the collection of Dr Andreas Beurmann.
For details of surviving instruments see Part II.
MILCHMEYER, Peter Johann, a/so Milchmaier. Son
of a clockmaker, born at Frankfurt am Main, 1750.
Although lame in both feet he became in 1798 attached
to the Court and the Electoral chapel at Munich. His
treatise Uber die wabre Art das Pianoforte zu spielen was
published in 1797 at Dresden, where he may have been
living at the time. In 1803 he became a teacher of the
piano at Strasbourg, and in this capacity attained a
considerable reputation. He died there on 15
1813, at the age of 63 years [Fé, Est]. He invented ¢.
1780:
einen neuen mechanischen Fliige! mit Klavieren [¢c. manuals}
und 250 Verinderungen {!], der doch nicht viel grésser als cin
gewohnlicher Fliigel [harpsichord] war. Das untere Klavier
asst sich herausschrauben, wenn zwei Personen zugleich auf
diesem Instrument spielen wollen. Das Steigen und Fallen der
Téne soll auf diesem Instrument schr gut ausgedriickt werden
kénnen. Die Veriinderungen imitieren die Flote, das Fagott,
die Clarinette und die Harfe u.s.w. (Magazin der Musik (‘Cramers
Magazin’), Hamburg, 1785).
MILLER, Henry. Organ, spinet, and harpsichord
maker of Bristol. F/. 1752. The only record of him comes
from an advertisement in The Gloucester Journal, 21
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April 1752, in which an advertisement for the sale of
an organ contains the following passage:
. . . For further particulars, enquire of Henry Miller Organ
Maker in Lewins Mead Bristol, by whom also are made in
the most elegant taste, Harpsichords and Spinnets 28 good
and as cheap as in London.
of
This passage appears in the Journal of the British Institute
of Organ Studies, Vol. 5, 1981, p. 86, and was reported
to the editor by Darryl Martin. It is not clear whether
there was any relationship between Miller and Bruce
Seede (g.».), either business or family, though it is
he was
noteworthy that they both shared the same address.
MIRABAL. See: PEREZ, MIRABAL.
MIRANDA, Félix de. See: GARCIA, Francisco.
MIRAVAL. See: PEREZ, MIRABAL.
MITTERREITER, Georg. Clavichord and organ
maker of Graz, Austria, f: 1727. He is known only
from one signed surviving clavichord and another
(unsigned) which is very similar and is thought to be
by him, both in the Landesmuseum in Graz. [Stradner].
For details of surviving instruments see Part II.
MOENS, Simon. See: MOYNS, Simon.
MOERMANS, Hans or Jan. It appears that there
were 2 harpsichord makers of this name in Antwerp,
perhaps father and son: The Elder, fl. 1570-1610, entered
the Guild of St. Luke as a harpsichord maker in 1570;
resident ‘op de Cathelijnevest, int guiden Serpent’ in
1584; was singing bass in the choir of O.L. Vrouwe
Kerk in 1610 [S#]. The Younger, fl. 1642, made at least
one surviving harpsichord (dated 1642) from those
surviving by the Moermans family.
For details of surviving instruments see Part II.
March MOERS, Anton. See: MOORS, Antonius.
MOERS, Jean Henri. Parisian harpsichord maker; f.
1754-93 [Verlef]. Nephew and pupil of Jean Henri
Hemsch (g.».). He came to Paris from Castenholz near
Cologne, and from 1754-89 lived in the rue Quicampoix
[Germ1g80, where this address is shown on a map of
Paris on p. 440, together with the locations of other
builders and musicians of the period]. He was naturalised
in 1760. Ten years later he was jaré comptable of the
Guild of Instrument Makers. In 1791 he was called in
as expert after the death of Louis Henocq. He may be
the same person as Jées Heinrich Moers, who was
baptised at Castenholz on 15 August 1734 with parents
Jacobus Méers, and Maria Catharina Hembs (sic), a
sister of Jean Henri and Guillaume Hemsch, and with
 MONDINI 133
godfather Joes Heinrich Hembs (probably Jean Henru in tum had 2 sons of whom Juan was an organ builder,
Hemsch). It is possible, however, that this man is the and Gabriel was a luthier. Sadly no plucked string
same as Henry Mors of Lierre (g.v.). [Hoeren). instruments by any of the Mofferriz family survive.
([Calahorra, KdP}.
MOFERIZ. See: MOFFERRIZ.
* MOLENBEEK, Jan. Maker of keyboard instruments
MOFERREZ. See: MOFFERRIZ. in Groningen ¢. 1775. In the Groninger Courant, 1776,
nos. 33 and 91, he advertised a new one-manual
harpsichord (‘staartstuk’) with 3 registers and a compass
MOFFERRIZ, Brahem. A Moor, and master builder C-f. His address was in the ‘Rozenstraat, het se huis
of organs and clavichmbalos, known to have been living noordzijde’. He made and sold all kind of ‘klavieren’
in Zaragoza, Spain, in 1511. Calaborra suggests that he and instruments [Gier].
may have been the brother of Mahoma Mofferriz (4.».),
and that he died in 1513 [Ca/aborra, KdP}.
* MOLLENBERG, Lorentz. Swedish clavichord
maker, active in his own right from 1809 to 1814, but
MOFFERRIZ, Mahoma (subsequently Joan). F/. 1483— before that in partnership with Goran Garman (g.».).
1545. Known as the ‘Moor of Zaragoza’, he was a No examples of Mollenberg’s instruments survive,
maker of harpsichords and claviorgana in Spain [Russell either of his own making or of the period when he
1939, p. 115]. The earliest reference to him appears to worked with Garman [H-O].
be in 1483: Mahoma Monffreig, the moor from Zaragoza,
repaired a ‘clavicimbalo e organo’ (a claviorganum
MOLLER, H. P. Eighteenth-century maker of clavi-
perhaps?) for Prince Juan [T. Knighton: Masic and
chords, pianofortes, and other instruments in Copen-
Musicians in the Court of Fernando of Aragon 1474-1516
hagen. He patented an instrument called the ‘Cylinder
(Unpublished thesis, Cambridge, 1983), pp. 207-8]. A
Lyre’, an example of which survives in the Carl Claudius
more detailed examination of Mahoma, and his brother
Collection, Copenhagen; it bears the inscription: H. P.
Brahem, is to be found in Calaborra, pp. 96-106. Miller i Kiobenbavn, forfaerdiger Pianoforter og Cylinderlyrer,
Following his conversion to Christianity in the late
and is illustrated in the catalogue. He was an ancestor
1520s he adopted the name Joan. Though recorded
of the firm of Hornung and Miller, piano makers, who
references (such as that above) mainly concern cla-
since the early-music revival have made clavichords
viorgana, he was described in 1511 as a master builder
of claviclmbalos and organs. A claviorgan belonging to
again.
the Infante don Juan at his death in 1497 is recorded
as having been made by the great Moorish master from * MOMBRIANI (MABERIAN)), Giovanni Battista.
Zaragoza, called Moferrez (the spellings of the name Born ¢. 1640-2. Roman harpsichord maker who worked
vary considerably), and it seems most likely that this on his own from about 1663 to 1666, and was
was Mahoma. In 1500, Mofferiz was exempted from harpsichord maker to the house of Pamphili in the
paying dues on his materials and instruments. The period 1683-85. His wife’s name was Maria Felice
popularity of the claviorgan in Spain at this time may [Barbieri, p. 152).
be judged from references to contracts signed by
Mofferiz to make such instruments in 1502, 1511 (for @ MONDINI, Giuseppe, a/so Mendini, of Florence.
the King of Portugal), and 1521. The first of these in Probably a native, and priest, of Imola (a Vatican
1502 specifies an instrument with a harp stop using gut manuscript of 1741, listing the famous seventeenth-
strings and to be 8 puntos above the clavichmbalo, which century Italian harpsichord builders [see: Misch-7972)
probably means that it should be at the octave, the refers to him as of the Roman school, and calls
instrument to be of the same dimensions and type ‘as him D. Gioseppe Mondini da Immola Sacerdote). Dates
the other which I made for the Bishop, with eleven ascertained, 1631-1718 (in which year he died). He
contras. The word contras can be translated in several made harpsichords and portative organs [C4], and
ways, and could mean either bass-notes or possibly according to Cerp.M ASM, p. 334, Pinaroli’s manuscript,
pedals. Polyanthea technica, now in the Biblioteca Casanatense,
Mofferiz seems also to have made harpsichords, for suggests that Giuseppe Mondini of Imola invented the
an inventory of 1543 mentions a clavicordio (the word ‘cimbalo piegatorio’, i.e. the folding harpsichord, or
in Spanish usually refers to a harpsichord, spinet or clavecin brisé. This latter is usually thought to have
virginal, and not a clavichord) made by the Moor of been invented by Jean Marius (g.».), but it seems that
Zaragoza. the Italians, Mondini and Grimaldi (q.v.), may well have
Mofferiz’s descendants appear to have been organ invented the instrument in the seventeenth century [See
builders and not harpsichord makers, and include his also: LibinFold|. Amongst the instruments of Ferdinand
sons, Mahoma, Calema, Gabriel and Miguel. Gabriel de’ Medici entrusted in 1716 to the care of Cristofori

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134 MONGUET
was a spinetta a due registri by Mendini [Pu], while the of Austria (1498-1558) 15 livres for a clavichord (‘. . .
inventory of the Prince’s Collection made in 1700 que madicte dame Lyenor d’Austria a fait prendre et
records also 2 harpsichords by him dated 1687 and acheter de luy’).
1678, the signatures being Joseph Mondini Imolensis with St (pp. 79-82) quotes a number of references to
the dates [Gai, p. 11]. He worked for Cardinal Benedetto Moors from various archives. [See also: VdS, VII. 206
Pamphili (1653-1730), and Misch-r979 II quotes the ff; Vente, p. 26.)
following reference for further information: Montalto,
Mina. Un mecanate in Roma barocca—Il Cardinale Benedetto MOORS, Marc, of Lierre (near Antwerp), Low Coun-
Pamphili (1653-1730), Florence, 1955, Sansoni. Misch- tries. Related to Jacob Moors of the family of organists,
1979 I also mentions 2 other manuscripts preserved in ff. 1508, made clavichords. In August 1508 he received
the Vatican Library, in one of which Mondini is 31 livres 5 sous for ‘ung manicor que Monsieur [the
mentioned as follows: archduke Charles, later Charles V, who had taken refuge
Don Giuseppe Mondini famoso nel far Cembali et altre at Lierre from the plague] a fait acheter de lui pour
operazioni mattematiche, stava al servitio dell’Emi:™ Prencipe son desduit et passe temps’ [St, p. 780; Va; Fé who
Panfilij et habitava nelle stanza in S. Agnesa in piazza Navona, misnames him Loers].
fatto li 14 Maggio 1713 € mori alli 17 Novembre 1718 di una
resipola in una gamba la quale gli si incancrené ¢ mi lasc[iJ6 MOOSER, Jean Pierre Joseph Aloys. See; MOSER,
un cembalo in ottava stesa. Jean Pierre Joseph Aloys.
It seems from these various references that his name
was most usually found in the form ‘Mondini’ and only MORA. Three advertisements are cited by KdP for the
occasionally ‘Mendini’. sale of clavichords in Madrid in 1785, 1791, and 1792,
A large harpsichord of 3 registers by him was respectively, all by a maker of this name but with no
amongst the instruments of Cardinal Pietro Ottoboni, suggestion of any first name [KdP-RMA-RC, p. 76].
1610-91, who became Pope Alexander VIII [Kiré, p. The clavichords offered seem to have fetched low prices,
360], and it was probably similar to the harpsichord and KdP suggests that Mora may have achieved his
with 3x8’ registers sold at the Hotel Drouot, Paris, on reputation in earlier years.
14 December 1988. This latter is also attributed to There was also an organ builder, Diego de Mora,
Mondini, and gives more weight to the probability that who worked in Madrid and died in 1688 [L. Jambon:
this was the correct spelling of the name. Exolucin del Organo Espaiol. Sigls xvi-xvii, Oviedd,
For details of surviving instruments see Part II. 1989, Vol. I, p. 181]. Whether he was a relation of the
clavichord maker, or even the same person, is not clear.
MONGUET, Frangois, of Lyons. Harpsichord maker,
fl. 1779 when he is recorded among the luthiers [Lyons MOREAU, Jacob Frangois. Well-known organ
archives). builder, born in 1684 in Ghent, settled in Rotterdam
in 1718. He died in that city on 9 October 1751. He
MONSUTTO, Antonino, of Udine. Harpsichord may also have been a harpsichord maker, for directly
maker ff. 1574. after his death, his widow drew up her will in which
For details of surviving instruments see Part II. she directed that all tools and everything in the
workshop concerning the making of harpsichords and
MONTAZEAU, Jean. French harpsichord maker, f. organs should belong to her sons Jan Jacob (Johannes
1632. Jacobus) (g.v.) and Joseph. [See: Gierveld, p. 231.]
For details of surviving instruments see Part II.
MOREAU, Johannes Jacobus. Organ builder in
MONTECUCCHI, Vincenzo. Most probably a false Rotterdam where he was baptised on 16 October 1729,
name coined by Franciolini, though this cannot be as a son of Jacob Frangois Moreau (9.v.). In 1764 he
proved. A surviving harpsichord bearing this partially left Rotterdam and settled in Middelburg. In the
legible name recalls other work by Franciolini. newspaper for that town for 3 November 1764, he
For details of surviving instruments see Part II. advertised that he had settled there and that he intended
to stay in Middelburg in the Vlissingsestraat and that
MOOR OF SARAGOSSA. See: MOFFERRIZ. he made, repaired, tuned, and sold all kinds of organs
and harpsichords at modest prices. [See: Gierveld, pp.
MOORS, Antonius, a/so Mors, Moers. Celebrated 231 and 415.)
maker of keyboard instruments (including organs) in
Antwerp, member of a family of organ builders (St, p. MOREL. Parisian harpsichord maker. Earliest date
77 gives a tree). Earliest date known, 1514; he died ascertained, 1772 [Ver/et]. Entered the Guild of Instru-
before August 1562. In 1516 he received from Eleanor ment Makers between 1776 and 1778. Hirt gives 1783

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 MUCCIARDI 135
as a date ascertained. His address is given as the rue organ builder. He also made harpsichords (advert-
Quicampoix in Germ1g80, and on a map on p. 440, this isement of 1773). Father of Jean Pierre Joseph Aloys
address is shown together with the locations of other Moser (below) [Rindl}.
builders and musicians of the period.
MOSER, Jean Pierre Joseph Aloys. Known as Aloys
MORELLATI, Paolo, of Vicenza. Made a harpsichord Moser (after 1791 ‘Mooser’); born Fribourg 1770; died
for the singer Farinelli (1705-82) who presented it to there 19 December 1839. He was a pupil of Silbermann,
the Duke of Parma [Sac, p. 48, cited by Kir&]. Kramer, and Anton. Known chiefly as an organ builder,
he also made pianofortes and apparently harpsichords
MORELLI, Pietro Paolo. Given as a maker of
[Hirt, p. 478, for further details].
instruments in Bz, but this is not a correct interpretation
of the source document Drecbsel, where it appears that MOSHACE, Moritz Georg, of Copenhagen. Organ
Vicenzo Albrici, J. W. Forchheim, J. Fissel, P. Keyser, and instrument maker. Born 1730; licensed 1761; had
and P. P. Morelli were not instrument makers but died by 1772.
simply ‘un consegnatario dei medesimi in dotazione For details of surviving instruments see Part II.
della cappella musicale’ of the Dresden court. Further
information on this matter is to be found in: Moritz
Farstenau, Zar Geschichte der Musik snd des Theaters MOSS, of Herpf near Meiningen. Organ or keyboard
am Hofe x Dresden, Dresden, 1861, pp. 254-5 [Misch- instrument (most probably clavichord) maker of the
1974). late eighteenth or early nineteenth century. The work
of this maker is known only through the list of makers
given by Christian Friedrich Gottlieb Thon, though he
MORKRAMER, Herman Frederik. Harpsichord does not single him out for especial praise or esteem.
maker from ‘Nicuwkerken in 't Osnabrugsche’ (Neu- See entry under Thon.
kirchen, Germany) who was living in The Hague where
he married in 1768. It is clear that financially he was
not successful, for his creditors are referred to in several MOUCHERELLE, Christophe, of Toul (Meurthe/
documents. He was buried ‘pro Deo’ on 30 November Moselle) and Metz. Maker of organs and harpsichords.
1789, at the age of 71. On 27 September 1764, ‘Frederik Dates ascertained, 1686-1761.
Morkramer, meester klavecimbaalmaker _alhier’ While in Rodez in 1734 he wrote a Mémoire instructive
appeared to be a creditor of the wholesale dealer pour faire les devis, desseins, plans, marchés et réception des
Krayenbrink who had rented a harpsichord from orgues, in which he describes himself as ‘architecte,
Morkramer [Giéer]. machiniste facteur de clavessins et de toutes sortes
d’'instrumens 4 vent’. While in Trévous he built a
harpsichord [Jac]. See further Flesry.
MORLAND. Harpsichord maker in Dublin; f. last
decade of the eighteenth century [F/d].
MOULLE, Pierre. See: ALLIAMET, F.
MORLISONI, Francesco. In 1991, information was
received of an Italian harpsichord, which was being MOYNS, Simon, a/so MOENS. Harpsichord maker
offered to the Bate Collection, Oxford, inscribed France- in Antwerp. Dates ascertained, 1552-7 [Bw, L#].
sco Morlisoni Fiorentinus, and dated 1646. Nothing further
is known of the maker.
For details of surviving instruments see Part II. MOYSE, Johann. Viennese instrument maker, f.
1765. In 1781, when he was ‘K.-K.-Nationaltheater
Instrumentenmacher und Stimmer’, he repaired 3 spinets
MORS, Antoine. See: MOORS, Antonius. for the Esterhazy court [Walter, p. 258]. His surviving
instrument is an ottavino clavichord in the form of a
MORS, Henry, of Lierre, Low Countries. According book.
to C/(p. 20) an organ and ‘manicordion’ maker in the For details of surviving instruments see Part II.
sixteenth century. It would seem likely, however, that
the name should be MOORS, and that he was another MUCCIARDI, Ignazio. Italian harpsichord maker of
member of the family listed above.
the late eighteenth century, probably of Florence. F/.
1780. He is known from three surviving harpsichords,
MOSER, Joseph Anton, of Niederhelfenschwil in the one in the collection in the Museo degli Antichi
canton of St. Gall, lived 1731-92 in Fribourg as an Strumenti Musicali, Rome, another similar instrument

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 136 MUELEVOETS
in the collection of Dr. R. Mirrey, London, and MULLER, Hartwich. Organ and clavichord maker
one in the collection of the Smithsonian Institution, in Copenhagen, 1716-93.
Washington, identified by G. Grant O’Brien. For details of surviving instruments see Part II.
For details of surviving instruments see Part II.
MULLER, Johan Casper. Organ and harpsichord
MUELEVOETS, Johannes. Harpsichord maker of maker from St. Andreasberg i. Harz (Germany), related
Antwerp, fl. 1584 [Va]. to the famous organ builder Christian Miller (q.+.).
Settled in The Hague in 1733. As an organ builder he
worked in Amsterdam in 1742 (Oude Kerk). In 1762
* MULLER, Christian. Organ builder, born in 1690 in a harpsichord (‘staartstuk’) on a walnut stand, made by
St. Andreasberg i. Harz (Germany) who came to J.C. Miiller, was offered for sale and another ‘staartstuk’
Amsterdam ¢. 1716. Maker of the famous organ (1738) by ‘Joh. Casp. Muller’ was for sale on the Keizersgracht
in the Grote of St. Bavo Kerk in Haarlem. [For more in Amsterdam [Gier].
information about his life and work, see Gier, pp. 233-
44.) He was also a harpsichord and clavichord maker
MULLER, Michael, of Marburg. Clavichord and
as is known from advertisements in the Amsterdamsche
piano maker; born 1758 [Hiri].
Courant. In 1733 he advertised as an ‘orgel-en clave-
cimbaelmaker in de Roosestraat te Amsterdam’ offering
a claviorganum for sale: ‘een clavecimbael met cen orgel MULLER, Pieter. Organ and harpsichord maker in
in de voet, waer in een Holpijp 8 voet, Regael 8 voet, Amsterdam where he was born in 1738 as a son of
Fluit 4’, Fluit 2’, Sexquialter voor de helft, elk zyn Christian Miiller (g.».). He probably left Amsterdam in
apart clavier . . .”. In 1745 Jan Sullyn, organist of the 1779/80. In 1774 and 1777 he advertised as an organ
Remonstrantse Kerk in Amsterdam, advertised ‘een and harpsichord maker. [For more information about
clavechorde met een pedaal door C. Muller’. Probably his life and work, see Gier, pp. 245 and 388.]
a harpsichord with 2 registers, made by ‘Mulder’ and
for sale on the Keizersgracht in Amsterdam, was also MULLER, of Vienna. Organ or keyboard instrument
an instrument from his workshop [Ger]. (most probably clavichord) maker of the late eighteenth
or early nineteenth century. The work of this maker was
particularly esteemed by Christian Friedrich Gottlieb
* MULLER of Eger, Bohemia. Organ or keyboard
Thon. See entry under THON.
instrument (most probably clavichord) maker of the
late eighteenth or early nineteenth century. The work
of this maker is known only through the list of makers MUNIER. Parisian harpsichord maker, probably of
given by Christian Friedrich Gottlieb Thon, though he the eighteenth century. A ‘Clavecin de Munier’ was
does not single him out for especial praise or esteem. advertised 12 December 1754 [By, p. 9; Pi, p. 91].
See entry under Thon.
MUNOZ, Antonio. Certainly an organ builder, and
© MULLER, Hans, of Leipzig. Harpsichord and clavi- possibly a harpsichord maker of Avila, Spain. Dates
chord maker. Dates ascertained, 1537-43 [Cerv; Ki, p. ascertained, 1701-67. He may well have been the son,
or a relative, of Ludovicus Mufioz (see below). In 1728
19]. One harpsichord of his survives, which is of some
he was paid 50 reales for making a set of jacks for the
interest, since, though by a German builder, it is similar
Avila Cathedral harpsichord and repairing it. [Carta
in its basic case construction to the thin-walled Italian
Quenta de las Rentas de la Fabrica del anjo de 1728, £. 35
harpsichords, and also exhibits other Italianate features.
v. Information supplied by Alfonso de Vicente y Delgado,
Despite this, it could not, partly because of its heavy
and KaP.]
construction, partly because of its short length, and
partly because of other features found in later north-
European harpsichords, be mistaken for a genuine MUNOZ, Ludovicus. Harpsichord maker of Toledo.
Italian instrument. In addition to being the carliest Fi. 1644. The only evidence for the existence of this
surviving dated north-European harpsichord, it is also maker, whose forename is given here in the Latinised
one of the few examples from any period of an style, comes from a single-manual instrument signed
octave harpsichord. In addition to this instrument, the and dated by him, in the collection of Dr. Andreas
importance of which is treated fully in O’Brien, there Beurmann.
are 2 clavichords in the Leipzig University collection For details of surviving instruments see Part II.
which are most probably by him, though they might
be by an unknown Niirnberg master. MURDOCK. Organ builder and harpsichord maker in
For details of surviving instruments see Part II. Dublin in 1785 [Teaban].

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 MUSSARD 137
© MURER. See; BERNARDO d’ALLEMAGNA and to a spinet in private ownership in New Haven, Conn.
BERNARDO di STEFANO PAVARI. [MarcP}.
For details of surviving instruments see Part II.
© MUSCH, Johann. The evidence for the existence of
this maker comes from a printed label of dubious MUSSARD, Henry. Maker of virginals in the parish
authenticity bearing the name, and dated 1684, affixed of St. Andrew’s, Holborn, about 1621.

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 N
N., H. O. The Museum Carolino-Augusteum at Salz- the Amsterdam marriage registers, it is not clear whether
burg has an ottavino, unsigned except for the letters this refers to the maker of this harpsichord (Gier].
HON on the fifth key lever. VdMSalzb, who gives a
detailed account of the instrument, regards it as German
NEERE, Albrecht van. See: MEER, Albrecht van.
but showing strong Italian influence.
For details of surviving instruments see Part II.
NEPRIDI, psexdonym. See: PEDRINI, Theodoric.
ON....,
Josef. Se: M..., Josef.
NERI, Francesco, of Rimini. Harpsichord maker, f..
N., N. See: BONAFINIS, Francesco. 1695.
For details of ssrviving instruments see Part II.
NADREAU. According to Br, a French eighteenth-
century harpsichord maker. NESLE, J. J. French, f. 1780. M. Coffinéres de
Nordeck exhibited in 1889 an Italian harpsichord
* NARDETTI, Antonio. Died 28 May 1631. Described inscribed: fait a Milan pour sonner a la quinte; refait pour
as ‘Filius bon. me. capitanei Alexandri Nardetti de sonneran ton, par J. J. Nesle. 1780 (Pi.
Neptunno’, and of the Roman Prudenzia Visconti.
From 1609 he was a workman in the shop of Filippo NEUBAUER, Frederick. Dates ascertained, 1763-died
Zoccolone (q.v.), but had set up on his own as a 1774. Harpsichord maker of Compton Street, Soho,
harpsichord maker by 1626 in the house of the fathers London. He appears in Un (1763) as ‘Maker of
of S. Agata a Monte dei fiori, together with his double-basset and treble-key’d Harpsichords, with six
Florentine wife, Ginerva Gilardi, and his mother. stops, and of Pianofortes, Lyrichords, Classichords,
Barbieri, from whom this information comes (p. 152) etc., living in Compton Street, St. Anne’s, Soho’.
gives further biographical details. On 11 February 1772 there were announced

NASH, Stephen. Harpsichord and piano maker at 106
Capel Street, Dublin, 1799-1803 [Teaban].
NAUBAUER. See: NEUBAUER.
© NAULOT, Jean. Parisian harpsichord maker. Dates
ascertained, 1777-83. Entered the Guild of Instrument
Makers in 1777, at which time he was living in the rue
Gaillon. In 1783 he lived in the rue du Bac [Pi]. Verlet
gives more details, as does Germzgéo, in which further
addresses appear, while on p. 440, a map of Paris shows
his workshops in relation to those of other makers and
musicians of the period.
* NAXHE, Henri. Harpsichord maker of Liége, f: 1661.
He is known only as the repairer in 1661 of an ‘espinette’
for a ‘sieur Pierre de Moulin’, living in the rue des
Clarisses at Liége [Haine/Meeus].
* NEDERHORST. In the Amsterdamsche Courant for 5
March 1748, is an advertisement for a harpsichord,
‘staertstuk’ with 3 registers, made by Nederhorst.
Though the family name Nederhorst can be found in
to be sold by auction by Mr. Christie, at his Great Room, late
the Royal Academy, in Pall Mall . . . Fifteen fine ton’d
Harpsichords, with double and single keys, several of which
with double and single bass pedals, and being the stock in
trade of Frederick Naubauer (sie), Harpsichord maker, together
with a Lyrichord a capital melodious instrument made by the
famous Rutgerus Plenius . . .
He had 2 daughters, one of whom, Charlotte, married
Abraham Kirkman, the harpsichord maker.
He died in 1774, and on 22 November in that year
‘administration of the goods . . . of Frederick Neubauer
late of the parish of St. Ann Westminster . . . widower
deceased was granted to Catherine Burkinyoung wife
of Philip Burkinyoung, and Charlotte Kirkman wife of
Abraham Kirkman, the natural and lawful daughters
of the said deceased. . .’ [Un; Mor; Ri, p. 88; Admon.
Acts of P.C.C. 1774].
The notice quoted from Un above is interesting on
several counts. The reference in Neubauer’s stock in
trade to harpsichords with a pedal keyboard is the only
indication that such instruments were known in Britain.
The ‘double-basset’ harpsichord was probably an instru-
ment with a 16-foot register, and the ‘treble-key’d’ one
a harpsichord with the range extended in the treble.

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 NONNEMACKER 139
NEVE, Godefroi de. According to C/ (p. 32), he was © NOBILL, Antonio Francesco, of Florence and Rome.
a seventeenth-century clavichord maker in Antwerp. Son of Piero Nobili. Dates ascertained, 1693[Va]-
95. He made instruments, including harpsichords and
guitars. It may be that there were two makers of the
NEWBANE. Harpsichord maker,fl. 1773. Lived in
same name, for, since the publication of Bz, Wraight
Greek Street, Soho, London. He is mentioned in an
advertisement in the Morning Post, 26 July 1773 UJ. has pointed out that a polygonal spinet in the Musée
Instrumental, Paris, formerly thought to be by what
turns out to be a fictitious maker Antonio Irena, is signed
NIEBUHR, Henning, of Brunswick, f. 1662. Made ANTONIUS NOBILIS Cfillegible] da BRENA, and
clavichords, harpsichords, etc. SB (p. 49) quotes the dated 1564.
following ruling relative to Niebuhr: For details of surviving instruments see Part II.
2 December 1662. ‘Henning Niebuhr darf Clavichordia, Cla-
vicymbal, Harpfen und andere musikalischen Instrumenta . . . NOBILI, Tommaso, of Rome. Harpsichord maker, f.
ungehindert verfertigen und verkaufen. Das ihm bei der 1684 [Va]. Possibly brother of the preceding.
jungsten “Besuchung’ von den Tischlern abgenommene Clavi-
chordium und Werkzeug wird ihm ohne Entgeld zuriick-
gegeben... NOESSLER. See: NOSSLER.

* NOFREE. Possibly a harpsichord maker. See under:

NIEVA, Gregorio Sanchez de. Harpsichord and BACH, J. N.
piano maker of Madrid. Dates ascertained, 1788-91.
Advertisements in the Diario De Madrid in this period NOLCK, Joachim Friedrich, of Libeck. Dates ascer-
suggest that he was active as a builder and tuner and tained, 1799-1802. Maker of organs and other keyboard
that he had worked, or at least lived, at the house of instruments. On 19 June 1802 be advertised in the
D. Joseph de Echavarria (see: LIBORNA,) the Royal Litbeck Amzeiger: ‘. . . zugleich empfehle ich mich mit
organ builder, [KdP-RMA-RC]. Verfertigen aller andereen Arten von Orgeln und
Saiten-instrumenten wie auch Stimmen derselben’ [Li].
NIGETTI, Francesco (called also ‘Cestinetti’ by a),
composer and performer, organist at the Cathedral in * NOLI, of Pilsen in Bohemia. Organ or keyboard
Florence, fl. ¢. 1660, died in 1682. instrument (most probably clavichord) maker of the
To him is ascribed the invention of a harpsichord late eighteenth or early nineteenth century. The work
without sharps (‘senza tasti neri’) to facilitate trans- of this maker is known only through the list of makers
posing [Eif]. A. M. Salvini (Della perfetta poesia italiana) given by Christian Friedrich Gottlieb Thon, though he
refers to a harpsichord with quarter-tones, constructed does not single him out for especial praise or esteem.
by Nigetti and called strumento onnisono; it was also called See entry under THON.
a Proteus and had, according to C. Sachs, Reallexicon .. .,
p- 306, 5 manuals. * NONA, Francesco della. See: FRANCESCO DELLA
G. B. Doni, writing ¢. 1640 (Trattato sopra gfin- NOVA.
strumenti di tasti, in Lyra barberina, 1763, Vol. I, p.
327), refers to ‘un Clavicembalo fatto ultimamente
raccomodare qui in Firenze dal virtuosissimo Sig. @ NONNEMACKER, Christian, f. 1732-57. Almost
Francesco Nigetti’. The 166; Innsbruck inventory certainly of German extraction, though the description
of Siegmund Franz, Archduke of Austria, records
of his one surviving folding harpsichord, dated 1757,
supplied in MMA, and in the Museum’s checklist,
(according to the transcription in Wald): ‘. . . ein
which at the time of writing (1992) is about to be
anderes Instrument mit vielen [? vieren] Claviaturen
von weissem helfenbein, worauf die Florentinische
published, suggests the place of manufacture as Genoa.
Wappen und in der Mitte des Auctoris Francesci Nigetti This is born out by the incription on a small mandora,
sold at Sotheby’s on 20 November 1980, Christiano
namen, und einem von Schwarzen Leder iiberzochenen
Nonnemacher 1732 Genoa. (For further references to
Futerall.’
Italian folding harpsichords see: Grimaldi and Mondini.)
He appears to have made other similar instruments for
NIXON, Thomas. Eighteenth-century harpsichord a 16-string ‘pandurina’ (treble lute) of his make (from
maker in the parish of St. James, Piccadilly, f. 1767, the Taphouse Collection) was shown at the Music Loan
before which he had at some time worked for Shudi Collection in 1904 [LibinFold]. The surviving folding
for about 2 years. He figures in an affidavit sworn on octave harpsichord of 1757 bears a close resemblance
12 January 1767 concerning the work of Shudi’s to the clavecin brisé of Marius (4-v.). [C/, p. 76; LibinFold.]
nephew, Joshua (g..). For details of surviving instruments see Part Il.

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 140 NORDQVIST
® NORDQVIST, Carl Jacob. Clavichord maker of Ethelburga before 1594 (Chanc. Ing. p.m. ser. II, Vol.
Stockholm. Dates ascertained, 1782?-c. 1832. Nordqvist 238, no. 92].
received training as a cabinet maker before moving on
to instrument making. He is first recorded as a * NOSER, of Anspach. Organ or keyboard instrument
journeyman with Swen Lundstrém in 1810, and was (most probably clavichord) maker of the late eighteenth
licensed in 1816. Thereafter he joined Pehr Lindholm’s or early nineteenth century. The work of this maker is
successors until 1829 when he moved, probably to known only through the list of makers given by
Arboga. His latest recorded date is 1832 when he left Christian Friedrich Gottlieb Thon, though he does not
his guild (H-O). single him out for especial praise or esteem. See entry
For details of surviving instruments see Part II. under THON.

NOSSLER, Johann Georg Kaspar. Clavichord maker

NORGATE, Edward. Dates ascertained, 1629-32.
at Rothenburg, fl. 1785. Son-in-law of Gessinger (¢.v.).
Repairer of organs and virginals to Charles I. An entry
[See also: Wobnbaus.)
in State Papers (Domestic) Vol. 229, no. 67, reads:
For details of surviving instruments see Part II.
A list of the Hon. Lord Chamberlain’s Warrants payd Anno
Domini 1652 . . . Edw. Norgate of the Organs, Virginalls etc. NOTTLE, Bonifazius. The account-books of Paul
04200... Behaim of Nuremberg for the year 1568 contain this
entry: ‘A di den 12 jenner zalt dem Bonifazius Nottle
Norgate may have been only a repairer or tuner; but
far ein Clafficordia darauf mein Paulus lernen soll cost
he was probably a maker as well. [Quoted in MA, III. 2 fl” (‘On 12 Jan. paid 2 florins to Bonifazius Nottle
238 (1911-12). See also La, pp. 68, 79, where he is for a clavichord for my Paul to learn on.’) [Ki, p. 96].
paid for repairing organs and virginals.] This would presumably be a hiring fee; and Nottle may
or may not have been a maker of clavichords.
NORTON, William, of London. Virginal maker, held
a shop in Bishopsgate Street in the parish of St. * NYVELL, Willelmus. See: GYSE, Johannes.

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 O
* OBERDORFER, of Secheim, an der Bergstrasse. for his surviving harpsichord dates from this year, and
Organ or keyboard instrument (most probably clavi- he is thought to have died sometime between 1792 and
chord) maker of the late eighteenth or early nineteenth 1794. He became a citizen of Berlin in 1760. Ge (1814)
century. The work of this maker was particularly writes: ‘, . . besonders verbreitet waren seine Fligel
esteemed by Christian Friedrich Gottlieb Thon. See mit den neuerfundenen ledernen Tangenten.’ This
entry under THON. It is just possible that there may probably refers to leather plectra, already reintroduced
be some connection with the following maker, or they by Taskin in France; though it might imply an
may be the same person. instrument similar to Spath’s Tangenten-flige/, but having
the tangents covered with leather.
OBERNDORFER. Schoolmaster at Jugenheim It is probably to this maker that CIP (p. 46) is
“besass besondere mechanische Geschicklichkeit in Ver- referring when he writes ‘J. K. Osterlein, in Berlin,
fertigung der Klaviere und Fortepianos. Seine Instr. employed the buffe after 1773’.
waren ums Jahr 1782 so geschatzt, dass man davor 100 Fe (VI. 352) records a C. H. Oesterlein, piano maker
Thaler bis 200 Gulden bezahlete. Auch sogar ausser in Berlin, who died in 1792, particularly renowned for
Deutschland fanden sie haufigen Abgang’ [Ge (1792), his grand pianofortes.
IL. 38). The name is recorded in Bz as OESTERLIN, but
the evidence is weighted in favour of OESTERLEIN,
OBERT. Harpsichord maker of Boulogne, f. 1753. A particularly in view of the signature on his surviving
letter in the London Chronicle, 17-19 May 1753, refers harpsichord.
to his upright harpsichords (giving the dimensions), For details of surviving instruments see Part II.
and costing 31 guineas. Two were then in England and
two were on order [Hubb]. OESTERLIN, Johann, Christoph. See: OESTER-
LEIN.
OBICL, Bartolomeo, of Verona. Spinet maker, fl. 1683.
For details of surviving instruments see Part II. * OHANN, Wolfgang. The catalogue of the exhibition
La Maisica en las artes plasticas, held in Madrid in 1967
© OEHME, ADAM GOTTFRIED. Maker of organs lists a ‘clavicémbalo’ (presumably a harpsichord) signed
and other keyboard instruments at Freiburg (Saxony),
Obann Wolfgang, and dated 1643, and thought to be
1795; pupil of Gottfried Silberman [Ge, 1812]. Dutch [KdP]. No other instrument by such a maker is
Hirt gives an Adolf Gottfried Ochme, 1718-died 25 known, and the possibility that the name has been
November 1789, pupil of G. Silbermann; maker of misread cannot be discounted; for example the inscrip-
organs and keyboard instruments at Freiburg. However, tion could probably have been Johann Wolfgang . . ., and
the evidence from the inscriptions on the surviving
this might indicate that Johann Wolfgang Schonnat
Ochme clavichords suggests that Hirt was wrong in (q.v.) was the maker.
giving him the forename Ado/f, and that his name was For details of surviving instruments see Part II.
actually Adam. The existence of a guitar by an Adam
Gottfried Oehme, dated 1831 [Vannes], suggests that
there may have been a son with the name Adam, or * OLEA, Juan Feliphe de. Eighteenth-century clavi-
that the father died in the nineteenth century. There chord maker of San Augustin, Mexico City [Lucket#].
may still be some confusion over the names of the For details of surviving instruments see Part II.
various members of the family.
For details of surviving instruments see Part II. * OLSSON, Lars, & DAUG, Johan Heinrich. Swedish
clavichord makers who were licensed to build pianos,
© OESTERLEIN, or OSTERLEIN. (1) Christoph clavichords, and other string instruments on 6 Novem-
Oesterlein, the elder, born probably at the end of the ber 1815. Though the company was dissolved in 1820,
seventeenth century, and was established in Berlin until Daug continued producing instruments in his own
the second half of the eighteenth century [Krick]. He workshop until he died in 1844 [H-O}.
was the father of:
(2) Johann Christoph, harpsichord maker, born in ONDEO. Perhaps a Venetian maker of stringed key-
Berlin 1728 or 1729 [Krick]. He was still alive in 1792 board instruments. Wa/d quotes: ‘Ein einfaches Spinet!

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 142. ONDERHORST
Thiorbata, so in Venedig von dem Ondeo gemacht OOSTERLINGH, Joannes. Harpsichord maker born
worden, so ohne Anstrich’ (inventory of 1665). If the in Kassel 1637 or 1638; married in Amsterdam, 1675
inventory is mistaken in the maker’s habitat, this maker (Curtis, p. 55].
might be identifiable with Donatus Undeus (q.v.) of
Bergamo. OPPELT. ‘Orgelbauer and Instrumentenmacher’, at
Regensburg; born 1578. At the age of 26 he went to
© ONDERHORST, Deetlef. Organ and harpsichord Italy and in 1604 built an organ in the church of St.
maker in Amsterdam in the eighteenth century. Ond- George at Verona [AdiG, Ge (1814).
erhorst lived in 1756 in the Tuinstraat; in 1757 he
bought a house in the Warmoesstraat; after having tried OPPERMANN, J. Bartholomaus. Maker of cembals
to sell it in 1759 he stayed at this address until 1763, d@amowur in Hamburg in the eighteenth century [Ad/G,
when he moved to The Hague. The family soon IL. 123 ff].
returned to Amsterdam (1764) where they were still
living in 1772 ‘op de Braak’. Probably Onderhorst did * OREIBLA: See PREIBLAN.
not die in Amsterdam. Several fine chamber organs by
Onderhorst are preserved, but no harpsichords from his ORLANDUS, Petrus Michael. Italian virginal maker,
workshop are known to have survived. He advertised in ff. 1702-10. The surname occurs also as ‘Orlando’.
the Amsterdamsche Courant for 12 April 1759: ‘Bij Deetlef For details of surviving instruments see Part II.
Onderhorst. Mr. orgel-en clavecimbaelmaker, woond
in de Warmoesstraat over de Enge Kerksteeg t’Am- * ORSI, Giovanni Battista. Born ¢. 1558-9. Originally
sterdam, is uit de hand te koop een kleyn cabinet-orgel from Bologna, he appears in Roman parish records as
met een uithaalend clavier, en 2 clavecimbaals van vijf a harpsichord maker from 1620 to 1623, together with
octaven en een staartstuk van Andreas Rukkers met 3 his son, Giacinto (born ¢. 1607) [Barbieri, p. 152].
registers; dezelve maakt ook allerhande zoorten van
cabinetorgels en clavecimbaals, en zijn bij hem in huur * ORTOSI, Giovanni. Roman harpsichord maker who
te bekomen. Hij presenteered ook zijn dienst om orgels appears with his wife, Caterina, in the records of the
en clavecimbaals te stellen en te onderhouden.’ (He church of S. Eustachio in 1642-44 [Barbieri, p. 153).
offered a chamber organ for sale and 2 harpsichords of
5 Octaves and a harpsichord by Andreas Ruckers. One OSSA, Sebastiano, of Bologna. Organ and harpsichord
could also rent harpsichords of his own make, and
maker, fl. 1687. He was apparently connected with the
finally he recommended himself as a tuner.) (For further house of Este [Va].
information about Onderhorst see Gier, pp. 251-58.]
OSTERLEIN, J. K. See: OESTERLEIN, Johann
ONGARO. See: FRANCISCUS, Patavinus. Christoph.

© OORT, Daniel van der. Amsterdam harpsichord OTS, Jan. Harpsichord maker in Amsterdam in 1631
maker; died in or before 1627 (according to Bz); 1607 (Curtis, p. 55].
(according to Gier). See further Curtis, p. 55. Sweelinck
chose an instrument by him in 1599 to be given by the * OTVARSA, Johann Lenhard. Hungarian organ and
town of Amsterdam to the Danish King [GL]. clavichord maker of Pécs. F/. 1793. [Kovacs].

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 P
P., B. [?], of Modena, fl. 1802. Made virginals [Va]. harpsichord [AP]. Since, however, it is known that a
painter of the same name was undertaking royal
*P...., F. W. Unknown harpsichord maker, 2 harp- commissions at the end of the seventeenth century,
sichords by whom were for sale in Middelburg in 1770. it seems more likely that, rather than building the
An advertisement in the Middelburgse Courant for 30 instrument, he painted the lid [KdP].
September 1770 announces: ‘Uit de hand te koop to
extra civiele prys twee klavecimbaals gemaakt door F. PAMPES, a/so Pampet, of Paris. Organ, harpsichord,
W. P. Het eene van een clavier en het andere van twee and spinet maker. F/. 1671, in which year he supplied
clavieren, in the herberg De Virginis te Middelburg.’ Louis XIV with an organ, a spinet, and a harpsichord.
It is possible that this builder was a foreigner [Gier]. (‘1671—11 Janvier—A Pampes, faiseur d’orgues et de
clavessins pour une orgue, une espinette et un clavessin
P., W. See: W., P. qu’il a fait pour le roi: 7500 1.’—quoted by Losd, p.
164). See further Veriet.
PADOVANO, Bortolo. = See: CRISTOFORI,
Bartolommeo. PAMPRES, Peter. See: PAMPUS, Pieter.

PAGNINI, of Pistoia. Organ and virginal maker in PAMPUS, Pieter. Harpsichord maker who came to
the eighteenth century [Va]. Amsterdam from Elberfeld in Germany. Dates ascer-
tained, 1623-8. On 18 February 1626 he patented a
* PALAZZI. Family of Roman harpsichord makers of type of automatic organ and automatic harpsichord. In
whom the following are reported by Barbieri, p. 153: 1627 he sued William Deacons (g.v.) for infringement
(1) Pietro Paolo. Born ¢. 1700-1, died 8 March 1784. of his patent. In 1628 he accepted ‘Coenradus Gijsen’
Originally from Orte; son of Giuseppe di Gallese, who from Elberfeld as a pupil in the construction of these
died in 1731. In 1713 he was working for Virgilio instruments. Thurston Dart [ML, 1960, p. 58, in a
Cancilieri (g.r.) who mentions him in his will dated review of Rasse/lr9s9] suggested that Pampus may be
1735. He was married to Anna Maria Gazioli di the same man as Pampes (q.v.); but this is unlikely.
Bergamo and appears to have set up on his own
between 1737 and 1740, and from the end of 1752 he * PANATA, Ygnatius. A Spanish clavichord probably
appears regularly in parish records until his death. exported from Spain to England around 1980 is reported
(2) Nicola. Born ¢. 1731-2, died 8 January 1810. to be signed: Fr. Ygnatius Panata and dated 1745/55.
Pupil of, and collaborator with, his father, Pietro Paolo, The name, however, may be Panceta, ot Parrata [KdP,
following whose death in 1784 he continued the Alsjandro Massé).
workshop. His son Vincenzo worked with him until For details of surviving instruments see Part II.
1807 when he set up on his own, though his younger
son Pietro (born ¢. 1793) continued to work with him. * PANCETA. See: PANATA.
Nicola was in the service of the house of Pamphili for
almost half a century. He is one of the few Roman *PANTZNER, Johann Christoph. Viennese harp-
makers to have left a clavichord, which is dated 1776. sichord maker, f. 1747, and known only from one
For details of surviving instruments see Part II. surviving instrument in a private collection in Austria.
(3) Vincenzo. Born ¢. 1783-4. Son of Nicola, with The compass, with a number of missing sharps, is
whom he worked until 1807 when he set up on his own. similar to that of a harpsichord by J. Leydecker (4.».),
He appears in archives in 1817 with his one-year-old son, who also worked in Vienna at much the same time.
Nicola. By 1842 he had turned to piano making. For details of surviving instruments see Part II.

PALIARINO. See: CRICCA. © PARADIJS, Andries Johannes. Maker of organs

and harpsichords from Oosterenburg (Germany) who
* PALOMINO, Antonio. It is possible that he was a settled in Amsterdam. Dates ascertained, 1754-82.
harpsichord maker of Madrid since in April 1688 he Paradijs married, when he was 28 years old, in Amster-
was paid 1,440 reales for finishing work on the Queen’s dam in 1754. In May 1782, nearly blind, he returned

Google
 144 PARRATA
to Germany (Oldenburg) and recommended his nephew * PAUKENS, Johannes. Unknown harpsichord maker.
Andries Johannes van der Haar (g.v.) as his successor. In a last will made in The Hague, 31 December
His foreman was Gerhard Axsen (9.9.) who worked 11 1707, appears: ‘Een clavecimbaal synde een staertstuk,
years with him. [See: Gier, p. 260.] Advertisements can gemaakt door Johannes Paukens met het cleijn clave-
be found in the Amsterdamsche Courant, 1757, 00. 131; cimbaeltje synde ook cen stertstukje, dat op het eerste
1759 nos. 88 and 100; 1782 no. 55. [Cartis, p. 56, Gier]. hiervoorengemelte staertstuk kan worden geset en
daarop is passende.’ (It concerns a ‘mother and child’
* PARRATA. See: PANATA. both in the form of a ‘staartstuk’.) It is not known
where Paukens had his workshop, nor even if he was
PARRINI, Serafino. Harpsichord maker of Perugia, established in the Dutch Republic [Gier].
ft. 1627 [Va].
PAUL. Instrument maker at Gotha. He built clavi-
PARRONCHI, Adriano. Frac] records an ottavino chords with a compass of five and a quarter octaves,
as restored by someone of this name in Prato, 1841. probably FF-a’ [Ge, 1814].
PARTICI, Giovanni da. See: PERTICI, Giovanni.
PAULUS, Petrus de. Franc] lists a clavicytherium with
the inscription: Petrus de Paulus, 1547.
* PASCAL. It is possible that a spinet maker of this
name worked in Paris in the eighteenth century. The
evidence is based on the existence in the collection PEBORGH, Jan or Hans van. Harpsichord maker in
of Dr. Andreas Beurmann of a spinet of very fine Antwerp in 1557, in which year he was received as a
workmanship, dated 1784, and signed on the name- master in the Guild of Saint Luke [S#].
board: Aw Lath d Argent Pascal Quay des Augustins Paris
1784. It is possible that the inscription relates to Pascal PEDRINI, Theodoric [Nepridi, pseud.]. 1670-1745. A
Taskin (g.v.) though no reference to him living at the Lazarist priest sent to China to succeed the Jesuit Father
above address is known. Pereira as court musician to the Ch’ing emperor K’ang
For details of surviving instruments see Part II. Hsi (1662-1723). Pedrini left Rome in 1702, but did
not reach Peking until 1711, after which he spent the
PASI, Alessandro [Pasio], of Modena. Organ and rest of his life in the emperor’s service.
harpsichord maker of what purports to be the earliest As well as teaching the princes, he made several
known Italian polygonal virginal, dated 1493, formerly harpsichords and 2 organs, one of which was automatic.
in the Museum at Perugia. _Inscription: Eight sonatas for violin and figured bass written by
ALEXANDRI/PASII MUTIN/ENSIS OPUS him under the pseudonym of ‘Nepridi’ were preserved
M/CCCCL/XXXX| III. The genuineness of this instru- (1937) in MS. in the National Library of Peking (Echos
ment is widely doubted, and its present whereabouts de IEcole César Franck, April 1937. See also Musical
are not known. Times, May 1937).
Va (p. 254) quotes a letter of 1513: ‘. . . Alessandro
de Modena esibitore presente viene a Ferrara dove dee PELLE, Christiaan, of Antwerp. Harpsichord maker.
fare un organo ¢ un clavicembalo . . .’ See also GD
Received into the Guild of Saint Luke, 1658-9 [5¢].
(1910), s.v. ‘spinet’.
For details of surviving instruments see Part II.
* PELLEGRINI, Carlo. F/. 1665. Not a maker, but a
PASTIN, Antoine. See: POTIN, Antoine. theoretician and interested in stringing. Patrizio Barbieri
[GS] XXXVIII (1985), p. 28] quotes him [Carlo
PATAVINUS, Antonius. See: ANTONIUS, Patavinas. Pellegrini, Musexm bistorico-legale bipartitum, i, (Rome,
1665)] on the stringing of instruments, in which he
PATAVINUS, Franciscus. See: FRANCISCUS, speaks of the manner of stringing the [8’] spimetta,
Patavinus. saying that it is a ‘very notable instrument . . . But its
sound is not produced by brass as on the harpsichord
PATAVINUS, Johannes. See under: FRANCISCUS, but by copper or steel. It is not sonorous like the
Patavinus. harpsichord, being of smaller dimensions. Sometimes a
red cloth is placed upon its strings in order that it may
PATIN, Antoine. See: POTIN, Antoine. emit a more submerged sound.’

PATRY, Pierre. Parisian spinet maker of the mid- PEMBERTON & M’DONNELL. Harpsichord and
sixteenth century, living in the parish of St. Merri piano makers at 26 Fleet Street, Dublin, 1789-92
(Verdes). [Teahan]. Fl. 1790 [Fld].

Google
 PERTICI 145
© PENTORISI. Spinet maker at Murano in 1590. [Ga/l, and it seems most likely that it disappeared during the
Pp. 236; pl. 119]. More recently WraigbtPC has suggested Spanish Civil War. A picture of it has recently been
that the date is most probably 1690. found and is illustrated in the reference below.
For details of surviving instruments see Part II. The Colegiata of Antequera bought a c/ave from him
in 1773. The account book records him as ‘artifice de
PENTOTIUS, D. Bartholomaeus. On a polygonal la mayor satisfaccin de clave en Sevilla’ (a harpsichord
ottavino formerly in the Ford Museum, Dearborn, maker from Seville who gives the greatest satisfaction).
Mich., but recently destroyed by fire was the barely (For a further examination of Pérez Mirabal and his
legible inscription: D. Bartholom. Pentotij Murane Neap. instruments see: Beryl Kenyon de Pascual, ‘Francisco
1694. Compass 4 octaves C-C (as reported by Bz) with Pérez Mirabal’s harpsichords and the early Spanish
short octave. Projecting keyboard. Built into its outer piano’, in EM, November 1987, pp. 503—12.] Juan del
case. Its authenticity was reported as doubtful. Happily Marmol (q.v.) appears to have been his pupil [KdP,
another ottavino dated 1694 still survives and is thought RMA-RC).
to be genuine. For details of surviving instruments see Part II.
For details of surviving instruments see Part I.
PERICHON, Anton. Most probably a clavichord, and
* PERELLI, Carlo. Roman harpsichord maker, born ¢. possibly organ, maker at Stockholm. He probably
1628-9, originally from Naples, and son of Antonio immigrated into Sweden ¢. 1740, and is best known as
the master-builder under whom Johan Broman (q.#.)
Perelli. He is mentioned as bei in the workshop of
Girolamo Zenti in 1642 and again in 1659, though by worked until the latter was free in 1755. He was
1676 he appears to have been working on his own concert-master in the Court Chapel under Adolf Fredrik,
[Barbieri, p. 153]. and received a ‘privilege’ to make musical instruments
in 1756. He died sometime after 1772. None of his
instruments appear to have survived.
PERES, (or possibly PERIUS) Valerius, of Rome.
Harpsichord and virginal maker. Dates ascertained,
PERONARD, Frangois-Balthazard, of Paris. Maker
1625-31.
of harpsichords, spinets, and pianos. Dates ascertained,
For details of surviving instruments see Part II.
1760-89. A harpsichord by him dated 1777 is listed in
Br (p. 105); and another, dated 1760, ibid. 207. A spinet
© PEREZ MIRABAL (or MIRAVAL), Francisco made by him in 1763 was advertised 20 February
(Pérez being his father’s surname and Mirabal his 1777 [Bg]. About 1780 he fitted a pedal keyboard to
mother’s). Harpsichord maker in Seville. Dates ascer- harpsichords [Pi, p. 118]. He is mentioned favourably
tained, 1745—73. He appears in a list of Seville organ in Ene Méth. Sheridan Germann [Germ1géo] gives three
builders in 1762. An early Cristofori-type piano of addresses for him, and on p. 440 a map showing his
his (incorrectly described in Bz as a double-manual workshops in relation to those of other Parisian makers
harpsichord, very like a Hass harpsichord) inscribed me and musicians.
Secit Francisco Perez Mirabal en Sevilla 1745 is known to
have existed from the evidence of a photograph included PEROUARD according to Ch, quoted by Gé, flour-
in a pre-war book on Spanish furniture by A. Byne ished at the beginning of the eighteenth century as a
and M. Stapely. It had a double-curved bentside which maker of harpsichords. Probably a mistake for Péronard,
appears, on the evidence of a number of surviving (q.0.).
anonymous instruments, to have been a fairly common
feature of eighteenth-century Andalucian practice. A
PERRINI, Giovanni. See: FERRINI Giovanni.
piano of almost identical external appearance, with the
double curved side and oriental decoration, which
originated in Seville, survives in Madrid, and may even PERROT, Jehan. Curt Sachs [SaHMI, p. 336] men-
be the same instrument as that featured in the Byne tions the Frenchman Perrot as the maker of an échiquier
and Stapely photograph. However, Beryl Kenyon de given by Edward III in 1360 to his prisoner King John
Pascual, who has examined it, was not able to find on of France. Perrot may have made clavichords as well.
it the inscription recorded by them. An instrument
which was almost certainly a single-manual harpsichord, PERTICL, Giovanni da, otherwise Johannes de Perticis,
inscribed Franceseus Perez Mirabal me fecit in Civitate of Florence. Son of Piero da Pertici. Harpsichord and
Hispalensi [Seville] in Anno Domini-1734, once belonged virginal maker. Earliest and latest dates known, 1665-
to the Count of Morphy, personal secretary to King go. His grandfather’s name was Bartolomeo [Ks, p.
Alfonso XII. On his death in 1899, his widow wished 250]. Pw (p. 80) lists him as ‘Buonaccordaio’ (i.e. tuner)
to sell the instrument to the National Archeological 1665. Franc] lists (nos. 10 and 11) a ‘spinetta’ signed
Museum in Madrid, but this was not carried through, Toannes di Perticis fecit anno Domini 1672. Florentinus and

Google
146 PESON
a ‘cimbalone’ signed Ioannes di Perticis fecit anno Domini
1672. Florentinus.
The above information suggests that there must have
been a genuine maker of this name. However, evidence
from RipinICOLF, and from the researches of R. K.
Lee of Waterstown, Mass., USA, who has produced a
comparative table of the four surviving instruments
supposedly by him, and who sees no common con-
structional features in them, makes it appear likely that
these instruments are al] Franciolini fakes.
For details of surviving instruments see Part II.
PESON or PESAN, Nicholas. Belgian harpsichord
maker whose existence is known only from two
surviving instruments, dated 1771, one in Palermo, and
the other in a private collection in Brussels. The two
instruments, which have the initials N. P. in the rose,
have many characteristics in common and are obviously
of the French school. Nothing further is known of the
maker. The most informative source is a short article
by Ugo Casiglia, ‘“‘Note” sul clavicembalo’, in Ka/és,
arte in sicilia (date not known), pp. 38-9, in which the
Palermo instrument is illustrated, and the evidence that
the two instruments are by the same maker is sifted.
The maker’s name is given in the article as Peson,
though O’Brien gives it as Pesan. (But see Addenda.)
For details of surviving instruments see Part II.
PESSETTI, or PESCETTI, Giovanni Battista, of
Mantua. F/. 1674 as joiner, lute, and harpsichord maker
[Vannes].
PETER vom Kneiphof, of Kénigsberg. Organ builder
who also made virginals and spinets, f. 1542 [Feder-
mann, Musik und Musikpflege zur Zeit Herzog Albrechts,
1932].
PETHER, George. Maker of harpsichords (also of
pianos, see Ha, pp. 59, 263; Ks). 61 Oxford Street; 16
John Street, Oxford Street, London. Earliest and latest
dates known, 1775~94 [J, Ha]. The inscription From
Mr. Kirkman’s on a square piano by him (quoted by J,
P- 74) indicates that he worked at one time for Kirkman.
PETHER, William. English harpsichord and spinet
maker, ff. 1763 5. Perhaps related to the foregoing. He
appears in Un (1763) as ‘Organ-builder and Harpsichord
maker, Brownlow-street, Drury-lane’. A ‘single-keyed
harpsichord by William Pether, mahogany case’, was
sold at Christie’s on 30 March 1793. Thomas Green
(q.v.), of Hertford, mentions tunings of William Pether
harpsichords, one in 1765 as having ‘2 Unisons, Lute,
and Octave . . .’ [Sheldrick].
For details of surviving instruments see Part II.
PETRELLI. Family of Roman harpsichord makers, of
whom the following are recorded by Barbieri, p. 153:
Google
(1) Domenico. Born ¢. 1760, died 26 October 1821.
Described by Barbieri, as Di Giovanni Battista, romano.
In 1790 he is recorded as a harpsichord maker in the
via Condotti, together with his first wife, Maddalena
Marcellini, and subsequently from 1800, with his second
wife Silvia Marzi, while from 1805 he appears regularly
in the archives as living in the via del Leoncino 13.
(2) Giacomo. Born ¢. 1801-2, died 17 January 1859.
Son of and successor to his father, Domenico. At least
from the end of 1844 he is registered in archives as
‘cembalaro’ (in view of this late date, when harpsichords
were hardly being made anywhere on the continent of
Europe, the term may mean keyboard maker rather
than just harpsichord maker). He was married to
Diomira Venenti, and lived at his father’s house in the
via del Leoncino though he appears to have ended his
days in the via Fontanella Borghese 69.
* PFAHLER of Schneeberg, Erzgebirge. Organ or
keyboard instrument (most probably clavichord) maker
of the late eighteenth or early nineteenth century. The
work of this maker is known only through the list of
makers given by Christian Friedrich Gottlieb Thon,
though he does not single him out for especial praise
or esteem. See entry under THON.
PFEIFER, of Stuttgart. Organ or keyboard instrument
(most probably clavichord) maker of the late eighteenth
or early nineteenth century. The work of this maker is
known only through the list of makers given by
Christian Friedrich Gottlieb Thon, though he does not
single him out for especial praise or esteem. See entry
under THON.
PIAZOLI, Antonio, of Modena. Harpsichord maker,
fl. 1723 [Va, pp. 70, 288].
PIAZZA, Carlo. Restorer and presumably maker of
harpsichords etc., fl. 1749, perhaps in Verona. A 1564
polygonal virginal of Bruneti delli Organi bears an
inscription on the frontboard: Fw restawrato da me Carlo
Piaga|Aito 1749.
© PICCHI, Gaetano, of Florence. Son of Severo Picchi;
fi. 1716, harpsichord maker [a]. The other evidence for
his existence is a surviving single-manual harpsichord in
poor condition, allegedly of the eighteenth century and
bearing a dubious inscription: Fee Gio Pichi-ri Stron-ri
A.D. **67. This raises more problems than it settles.
It would seem that the date must be 1667, but the
meaning of ‘Stron-ri’ is unclear.
For details of surviving instruments see Part II.
* PICCINI, Bartolomeo. From 1615 until 1621, he
appears in Roman archives as an organ builder, but in
accordance with the custom of the times, he was also
 PLENIUS 147
a harpsichord maker together with his son, Valerio, of the Joiners’ Company, June 1658, and master 1684/8
who by 1622-24 had set up on his own. His wife’s Uoin, which suggests that he died or retired between
name was Virginia (Barbieri, p. 153}. 1705 and 1708. J’s latest date for him seems purely
conjectural]. Ambrose Warren [Tonometer, 1725, p. 7]
* PICCINI, Valerio. Born ¢. 1599, died 8 September mentions Player as having made spinets with quarter
1644. Roman harpsichord maker, who was a pupil of notes, but this may be a misconception in the same
his father, Bartolomeo until 1621. By 1624 at the latest, way that the following quotation may also be, for
together with his wife, Maddalena, he had set up on in the correspondence preserved with the surviving
his own and, in 1628, his workshop was in the vicinity harpsichord by Joseph Tisseran (g.v.) Thomas Day,
of the via del Corso, near to the church of S. Silvestro writing to Edward Hansford of Woolas Hall on 10
in Capite. His wife died in 1661 or 1662, and shortly June 1712, states ‘I have this morning been to see
thereafter he married the 24 year old Caterina Chili, another harpsichord: it is of Player’s making, with split
who was 41 years his junior [Barbieri, p. 153). or quarter notes’ [MS. quoted in Apollo, March 1950,
and also in Hubb 1965 and Mould TA).
PICINANI, Francesca di. An early owner, not a It would seem likely that in both quotations the
maker. Christopher Hogwood, in 1972, acquired from normal form of broken octave with one or two of the
Colin Tilney (who had bought it from Michael Thomas bottom sharps split between front and rear is being
about 1962) a Florentine harpsichord, probably referred to.
seventeenth-century, with her name painted on the Further evidence of Player’s harpsichord making
frontboard. comes from the workbooks of Thomas Green (g.v.) of
For details of surviving instruments see Part II. Hertford where in 1746 he records an instrument which
he tuned for Mrs. Morgan of Warlies as a ‘double’
PIECHBECK. See: PINCHBECK, Christopher. (almost certainly meaning a 2-manual harpsichord),
while later in 1750 he calls it ‘Player’s D str’, and in
1753 ‘double strung’ [Sheldrick].
PIER FRANCESCO asd PIER GIOVANNI, of
Evidence of Player’s importance as a supplier of
Udine. Harpsichord makers in Venice, f. 1473 [Va].
instruments to the King came to light recently when
the virginal of 1664 was acquired by Alec Cobbe, who
PIETRO JACOPO [surname unknown], of Ferrara, realised that the letters WP, branded on the left front
harpsichord maker at the turn of the sixteenth and
of the case indicated that the instrument had probably
seventeenth centuries [Va].
belonged to Charles II at Whitehall Palace.
For details of surviving instruments see Part II.
PILZNA, Michsel de, of Rzesz6w. Made clavichords
at Cracow in the fifteenth century [Szadc]. PLENIUS, John. Harpsichord and spinet maker, 89
Holborn, London. Earliest and latest dates known,
PINI, Bartolomeo. Florentine harpsichord maker. In
1765-93 U]-
1664, when he paid a matriculation fee to his Guild, For details of surviving instruments see Part II.
he was working for Antonio Bolcioni (g.».) in the Via
dei Servi. His father’s name was likewise Bartolomeo PLENIUS, Roger [Rutger Pleunis]. Born in 1696 at
[Pa]. Orsoy; died 1774 in London. While still young, his
parents having died, he went to live in Amsterdam
PINCHBECEK, Christopher [Piechbeck, Pinchelbeck]. with his uncle of the same name. In 1720 he married
Clockmaker in London; 1670(?)-1732. Born about 1670, Catharina de Harder, but none of their children survived
probably in Clerkenwell, London; died 18 November infancy and she died in 1733.
1732. His inventive disposition was shown in a wide In 1734 he married Maria Stam, and in the following
variety of ways besides the copper and zinc alloy which year advertised a type of harpsichord of his own
perpetuates his name. For instance, according to the invention ‘zijnde een staertstuk, met 2 sangbodemen, z
appendix to Ge he ‘improved’ the harpsichord in 1724 clavieren, 4 registers, en 2 halve registers van 16 voet,
‘durch Zuthun von Fléten, Trompeten und Pauken’! spielende onzienbar’—perhaps (as GL suggests) a 16’
stop similar to the one in the Swanen (q.v.) instrument
PISAURENSIS, Dominicus. See: DOMINICUS, of 1786, using the bottom of the instrument as a
Pisasrensis. soundboard, the jacks working upside down.
In March 1736 Plenius was still in Amsterdam where,
© PLAYER, John. Spinet, virginal, and harpsichord in the Amsterdamsche Cowrant, 1736, nos. 27 and 28, he
maker in London. Born about 1634, son of Giles Player, repeated his advertisement of 1735 (above), but with
shepherd, of Longborough, Glos. Apprenticed to Gab- some further information about the stops: ‘Bij Rutgert
tiel Townsend for 7 years from 24 June 1630; freeman Pleunis, op de Utregtse Straet tusschen de Keyzersgragt

Google
148 PLEYEL
en Kerkstraet, is te zien en te koop een clavecimbael, In 1756 Plenius became bankrupt. (An announcement
door hem zelve gemaekt, zynde cen staertstuk, wiens in Jackson’s Oxford Journal of 31 July 1756 states
weerga noit is gezien, met 2 sangbodemen, 2 claviere “BANKRUPT Rutgerius Plenius of St. George’s, Han-
en 5 registers, als een Octaef 4 voet, twee 8 voet, twee over Square, Harpsichord Maker’.) However, there
halve 16 voet onzienbaer’ (a 2-manual harpsichord with survives a letter from George Washington to John
2 soundboards and 5 registers: a 16-foot, divided in Didsbury of London, dated at Mount Vernon 12
bass and treble; two 8-foot and one 4-foot stops) [Gier]. October 1761, and containing a request for ‘1 Very
By 1741 he was living in South Audley Street, good Spinit, to be made by Mr. Plinius, Harpsichord
London, and on 30 December took out a patent Maker in South Audley Street Grosvenor Square. //
(numbered 581) for various devices to be applied to Note it is beg’d as a favour, that Mr. Cary [the shipper]
the harpsichord (see Pat, pp. 3 ff.) which included a would bespeak this instrument as for himself or a
machine of weights and swivels for keeping harp- friend, and not let it be known that it is intended for
sichords in tune; ivory and tortoiseshell plectra, and Exportation. Send a good assortment of spare strings
regulating screws behind the tongues; metal jack-slides; to it’ (The Definitive Writings of George Washington, Vol.
hollow keys, made of 4 laths, to prevent warping and II, Washington, D.C., 1931, pp. 369-70). Presumably
to ‘make their motion more true and accurate’; also Washington had not heard of Plenius’s bankruptcy. Or
‘octave strings are kept in tune full as long as the perhaps Plenius had already started up again, for a
unison strings by means of iron or other metall pegs notice of a Plenius without Christian name appears in
or screws which are fixed in the body of the harpsichord, Un (1763) as resident in Catherine Street, Strand.
and appear through the belly thereof, and to which the (Washington must have had Roger and not John
said octave strings at the end are fastned to the tops Plenius in mind, as he gives Roger’s address.) See
of the said pegs or screws’. further Curtis, pp. 56-Go. The burial register of St.
In the same year, Plenius circulated an interesting Mary-le-Strand, London, records under 9 January 1774:
advertisement, which probably gives some clue to his Rutgerius Plenius.
finances: ‘To be raffled for sixty guineas, at half a guinea
per raffle, A very curious Harpsichord . . . to be seen... PLEYEL. (For detailed information see GD.)
at the Maker’s house, Roger Pleunius, etc’ [British (1) Ignaz Joseph, 1757-1831, may have made, or
Library, London, 1741. c. 116. i. 4(109)]. supervised the making of, a few harpsichords.
Four years later, on 10 July, he patented (no. 613) a (2) Camille, his son, 1788-1855. The firm of Pleyel
‘stop which imitates the Welch harp’, i.e. a buffstop; has made a number of harpsichords since the revival.
keys bushed by leather underneath and by ‘a little
frame’ mortised and ‘lined on each side with silk twist’, * POCK, Josua. Born between 1550 and 1560 in Inns-
which is stuck on top of the key. The keys have bruck. Worked with the organ maker Servatius Rorif
front-bushing, also with silk twist. He describes further (1578-82), and then with the furniture maker Michael
how he takes steps ‘to prevent the tongues sticking to Ziegler. Was accorded permission to establish himself
the sides of the jacks by closing the tops of the jacks, as ‘Orgel und Instrumentenmacher’ by Archduke Fer-
making them thereby more firm and solid, so that their dinand II of Tirol, in 1585. In 1584 he repaired an
sides can never touch the tongues, though squeezed ‘instrument’ made in Brixen (dM suggests it was a
ever so hard . . .. Damping-cloth is glued in the jacks, claviorganum). In 1591 he made a claviorganum for
in notches on either side of the tongue; and ‘bits of the Archduke which is now in the Salzburg Dom-
vellum glewed behind the tops of the jacks to prevent Museum. In 1592 he moved to Salzburg. The date of
their tongues from flying too far back when the quills his death is not known [Cro// and VdM].
on playing return under the strings’; and double For details of surviving instruments see Part II.
bridge-pinning is used, ‘so that the strings having no
pressure downwards, the belly is at full liberty to vibrate * PODECHTEL. See: BODECHTEL.
more equally than the belly of other instruments’.
Unfortunately no instrument by Roger Plenius has @ POGGIO, or POGGI, Francesco. There is some
survived so that these innovations might be examined, confusion about the correct name and appellation, for
nor of his ‘lyrichord, which imitates the violin, viol- on at least one of the surviving instruments it is alleged
incello, double bass, and organ, by catgut strings that the signature is followed by the word ‘Crinetus’,
alone . . .’. Eric Halfpenny [GSJ, Vol. 3, 1950, pp. 46— while on a surviving pentagonal virginal the signature
7] quotes ‘A description of the nature and construction is clearly followed by ‘Venetus’. The first probably
of the lyrichord’, which appeared in The General Magazine refers to his place of birth at Krinetz in Bohemia, while
of Arts and Sciences, August 1755, and reproduces ‘A the second may refer to a period when he worked in
perspective view of the lyrichord’ which accompanied Venice. It seems certain, however, that his main place
the description. of work was Florence, where he resided in the Via dei

Google
 POTT 149
Servi, for the matriculation records of the Guild of * POMARDL Camillo. Born ¢. 1756-9, died May 1818.
Instrument Makers note his’ death, without heirs, in Harpsichord maker, originally from Monteporzio, but
1634, giving his surname as ‘Poggi’. His father’s usually registered as Roman, and as son of Giovanni
Christian name was Piero. Battista. He was living in 1809 in the vicolo Soderini
For details of surviving instruments see Part II. (effectively in the via del Corso and the via dei Greci).
By 1814 he had moved to the via Frattina 62 or 67,
POHLMANN or POHLMAN, Johann. London where he lived with his wife Margherita Pentolai, and
maker of pianofortes, in Compton Street, Soho, and died there suddenly in 1818 [Barbieri, p. 154).
later at 113 Gt. Russell Street, Bloomsbury. Dates
ascertained, 1767-93. He also made harpsichords, as is PONCELET. French harpsichord maker; dates not
shown by an entry in a London directory of 1790 recorded [Va].
[Byrne], and the following entries in Christie’s sale
catalogues: * PONCINI, Giovanni Antonio. Harpsichord maker of
14 January 1793. Number 36 in the catalogue: Parma, fl. 1723.
A fine toned double keyed harpsichord, with 5 stops, by Appearing formerly in Bz under the name R. . .
Pohlmann [Vendor anonymous; buyer Mr. Price; price £9. 25. CINI, J. ANTONIO, was a small harpsichord in the
6d.}. Musikhistoriska Museum in Copenhagen, which bears
the inscription on the underside of the soundboard: Sia
3 November 1794. Number 63 in the catalogue:
come il mome di Dio e della Madona ¢ tutti i Santi del
A fine toned single-keyed harpsichord by Pohlman in a neat Paradis. Jo Antonio R. . . cini 1723. Parma. Misch-1979
mahogany case [Vendor anonymous; buyer Maxton; price II believes that this must without doubt be by a member
eighteen-and-a-half guineas). of the famous Parma family of organists.
His surviving instruments are all pianos of which For details of surviving instruments see Part II.
the earliest is dated 1767. These usually had a 5-octave
compass FF-f with 2 hand-stops to raise the dampers PONTANA. A misreading of Fontana (q.».).
in the treble and bass.
* PORTALESQUE. See: PORTALUPI.
POINT. ‘1 Dec. 1551. Paid to Point for the mending
and tuning of any virginals, 135. 4d.’ [Private accounts PORTALUPI, Francesco de’, of Verona. Maker of
of Sir Thomas Chaloner (1521-65); B.M. Lansdowne virginals, ff. 1523. VdS (I. 288) quotes Pontécoulant
MS. 824. See Woodf, p. 255.) writing on the one surviving polygonal virginal of
1523, as giving the maker’s name as Portalesqué.
POLIZZINI, Giovanni Pietro. See: POLIZZINO,
For details of surviving instruments see Part II.
Giovanni Pietro.
PORTIN, Jean. See: POTIN, Jean.
POLIZZINO or POLIZZINI, Giovanni Pietro.
Harpsichord maker who, according to Frederick Ham-
mond [EKI] and Barbieri, was active in Rome, not POTIN, Antoine. Son of Robert Potin, fl. 1548-58;
Florence, as previously thought. G. B. Doni, writing Parisian organist who worked as a harpsichord maker
¢. 1640, praises him as the highly skilled maker of an from 1548 onwards [Les]. Mer praises him highly.
enharmonic harpsichord according to the design of
Pietro della Valle (1586-1652): POTIN, Jean, of Paris. Probably youngest son of
Robert. He lived in the rue de la Verrerie.
...un Cembalo . . . fatto da Gio: Pietro Polizzino peritissimo,
ed ingegnosissimo artefice di questa sorta d’instrumenti per
I'lllmo. Sig. Pietro della Valle con due ordini di corde sulla POTIN, Pierre. Parisian maker of spinets and other
tavola, de quali il pid alto comprende quelle dell’ Armonia instruments; fl. 1540-50 [Laborde]. Possibly a younger
Frigia, ed il pid basso quelle della Dona, dell’Ipolidia . . . brother of Robert [Veriet].
[Trattato sopra gf instrumenti di tasti, in Lyra barberina, 1763, 1.
330). POTIN, Robert. Parisian mid-sixteenth-century organ-
According to Barbieri, from 1651 until October 1652 ist who towards the end of his life took to making
he was in the employ of the house of Pamphili as a spinets. He lived in the parish of St. Merri [Ver/e#].
harpsichord maker.
* POTT, Philip. Organ and harpsichord maker from
POLLASTRIS, Cesare de, of Ferrara. Made a 2-man- Grossbiilten (Hannover). He married, 32 years old, in
ual harpsichord on which the sharps were split through- Amsterdam in 1764. His first address there was the
out. Recorded in an Innsbruck inventory of 1665 Rozenstraat. In September 1776 ‘P. Pott, orgel-and
[Wald]. clavecimbaalmaker in de Egelantierstraat’ advertised a

Google
150 POULLEAU
cabinet organ and a very fine harpsichord with 3 PRINGLE, Thomas. The Thomas Pringle whose
registers, also made by himself. He probably left fame appears on the action ofa Longman and Broderip
Amsterdam after October 1780 [Gier p. 262]. ‘square piano of about 1785 may be related to Archibald
Pringle; and either Archibald or Thomas is probably
POULLEAU. Harpsichord maker in Moscow ¢. 1795 the pianoforte maker Pringle recorded by J (without
[Rassell 1939, p. 114). Christian name) as flourishing in 1792.

PRATO, Vincenzo da. See: VINCENTIUS, Pratensis.

* PROSI. See: BROSY.
PREIBLAN [?], or OREIBLA. F/. 1774. Much con-
troversy surrounds the name of the maker of a
harpsichord which (1992) belongs to the Shrine to Music PROSPERI, Pietro, of Siena. Prof. (p. 292, without
Museum, Vermillion, South Dakota, USA. Described giving sources) relates that in 1700 he invented a kind
briefly in Bz as being by Giuseppe Preiblan, it bears an of machine-stop for the harpsichord, which by means
inscription quoted variously as ‘Guiseppe Preibla (or of a pedal shut off one or more registers, leaving only
Oreibla, or Preiblan) Pue/in Sinnigalia (or Sinigaglia) one on.
nellanno 1774’. In August 1972, Sheridan Germann For details of surviving instruments see Part II.
suggested in a paper that Pe was the family name.
VdM, after a visit to see the instrument, remarked that
he thought the inscription was ‘as false as a wolf fifth’. PRUDENT, of Paris. F/. in the latter half of the
In 1989, Banks reported that the Museum had decided eighteenth century; probably made harpsichords. The
that Oreibla was not the maker’s name, and that the following advertisement appeared on 30 December
instrument dated from the seventeenth century with 1782: ‘Clavecin a rav. peint en gris, 4 filets d’or. 30
later rococo decoration in eighteenth-century style. The louis. Prudent facteur d’instruments, rue Dauphine,
origin of the instrument, and the name of the maker, chez un paissier’ [Bg].
thus remain in some doubt.
For details of surviving instruments see Part II.
PUCCINI, of Florence, fl. 1696. Harpsichord maker.
PRENO. A priest, f. Italy sixteenth century, when he Later one of Cristofori’s assistants in pianoforte making
made a harpsichord, formerly in Savoye Collection II, (Va).
which was repaired in 1610 by Vincentius Pratensis.
Inscriptions: Fra Preno nelli angli, and on back of
mameboard: Vincentins Pratensis 1610 restauro [Ks,
p. 278). PRZEWORSKI, Bernard, of Cracow. Harpsichord
For details of surviving instruments see Part II. maker, died 1620 [Szaéc].

PRETRE, Le. See: LE PRETRE.

PUCHERT, Johann Samuel, 1741-94. Born 10 Octo-
PREUSS, Joachim Bernard. Clavichord maker, /. ber 1741 at Adlersruh, near Rudelstadt in Silesia. His
1773; pupil of Barthold Fritz of Brunswick. He is father Siegmund Puchert (1719-68) made organs and
referred to in the German edition of Dr. Burney’s other instruments, and married Anna Renata
Musical Journeys [Tagebuch seiner mus. Reisen, 1773). Hauptmann (1704-74). After his father’s death Johann
Preuss may have worked in Hamburg [Schaltz 1937]. Samuel carried on the business, moving to Rudelstadt;
but in his later years he returned to his birthplace, and
PRIMO, Manuel. Clavichord maker of Madrid, living died there 11 September 1794 [Ks].
in 1791 in the Calle de Amaniel, 7 izquierda-bajo. For details of surviving instruments see Part II.
According to an advertisement in the Diario de Madrid,
he appears to have made a fully chromatic clavichord
with a keyboard like a piano (i.e. fully chromatic, 5 * PUE. See: PREIBLAN.
octaves?). [See: KdP-RMA-RC].

PRINGLE, Archibald, of Budge Row, near St. * PUPPE, of Roba near Jena. Organ or keyboard
Paul’s Cathedral, London. Made spinets and perhaps instrument (most probably clavichord) maker of the
Pianofortes; from 1757 until 1765 (at least) he was late eighteenth or early nineteenth century. The work
working for John Harrison (¢.».). of this maker is known only through the list of makers
For details of surviving instruments see Part II. given by Christian Friedrich Gottlieb Thon, though he

Google
 PURCELL 151
does not single him out for especial praise or esteem. of the regalls, organs, virginals, flutes and recorders . . .
See entry under THON. (without fee) . . . and assistant to John Hingston, and
upon the death or other avoidance of the latter, to
PURCELL, Henry. Composer, born in London (prob- come in ordinary with fee’ [La, p. 255]. On Hingston’s
ably in 1659) and died there in 1693. In 1673 was death in 1683 Purcell succeeded him in the following
appointed ‘Keeper, maker, mender, repayrer and tuner year at a fee of £60 a year.

wed ty Google
152

Q
QUEBON, Juan Baptista, of Madrid. Recorded in Bz Klavierinstrumentenmacher in Mainz and dated 1780, is the
as follows: only surviving instrument known, but he very probably
Probably a harpsichord maker, f. 1583. An inventory of the made clavichords as well as pianos.
Archduke Albert of Spain, taken in 1583, records ‘Un
clavicordio grande con dos juegos que se compro de Juan QUIJANO, Diego. Spanish organ builder and tuner
Baptista Quebon.” [quoted by V/dS, I, 311]. to the Royal Chapel, and most possibly a harpsichord
Cristina Bordas, however, believes that he was either maker. F/. 1614-19. Information on harpsichord repairs
an intermediary in the sale, or the person who sold the at the Royal Chapel comes from MS. 14040 in the
instrument to the Archduke, and that he was not the Biblioteca Nacional which was copied by the
maker. nineteenth-century musicologist Barbieri, (not to be
confused with Barbieri) whilst in the will of Juan Brebos
(g-¥.) Quijano is described as the son of his wife,
QUERCI, Pasquino. Maker of harpsichords, spinets,
Mariana de Hita. Thus Quijano appears to have been
and polygonal virginals in Florence; f. 1610-25. Some
Brebos’s stepson. It goes on to mention a claviorgan
of his instruments are listed in the Franciolini catalogues,
and a harpsichord which Brebos had undertaken to
and other ‘Querci’ instruments probably passed through
his hands. repair for 700 reales, and which Quijano was to finish
For details of surviving instruments see Part II. (MS. 14023-146) [KdP].

QUERCL, Vincenzio. Son of Pasquino (see above), f. QUINTILIUS. See: BORTOLUS.

1634. Harpsichord maker in the Via dei Servi, Florence,
in 1634, when his name appears on the matriculation QUOCO, Nicolaus de. Two Florentine harpsichord
books of his Guild. makers bearing the same name and spanning between
them the years 1615-97 (Hirt gives 1612 as the earliest
QUERNBACH, Edmund Ignatz, fl. 1780. Maker of known date). The latest date comes from a harpsichord
keyboard instruments in Mainz. A piano by him in the in private ownership.
Neupert Collection, signed Edmund Ignatz Quernbach For details of serviving instruments see Part II.

Google

R. See: RICHARD.
R., A. See: ROCHEAD, Andrew, & Son.
© R., C. Two virginals, having identical CR roses, though
clearly by different builders, have survived,
described by O’Brien as of rough workmanship. These
2 instruments were at one time attributed to Christoffel
Ruckers (g.».), who was assumed to be a member of
the celebrated family of instrument makers, but, though
they were built at the end of the period when the
Ruckers family was still active, it seems most unlikely
that they are by any member of that family.
For details of surviving instruments see Part II.
* R., I. A clavichord in the Metropolitan
Art, New York, thought to be of German make from
the mid-eighteenth century, has the inscription JR on
the top and bottom keys. Whether this refers to the
instrument maker, or to the workman
keyboard is not known.
For details of surviving instruments see Part II.
R, J. W. An undated virginal in the Norsk Folke-
museum, Bygdé, Oslo, has the initials JWR written on
the soundboard.
For details of surviving instruments see Part II.
* RABINY, Joseph. Passian reports a certain Rabiny as
“facteur d’orgues et de clavessins‘ in 1770 at Lyon.
Further information is given in the entry for Damien
Grou.
RABUS, Johann Georg. Organ and instrument maker
of Memmingen, Bavaria, where he was born 1 January
1762 and died 4 December 1826. Son of Georg Rabus,
cabinet maker, and Anna Catharina née Abrell.
For details of surviving instruments see Part II. 1 Cd.
RACCERIS, Filippus. Possibly a maker of virginals
and ottavinos in Mantua, though the form of the name
is very curious.
For details of surviving instruments see Part II.
@R...CINI See: PONCINI.
©@ RACKWITZ, George Christoffer, of
Clavichord and pianoforte maker. Dates
1760-1844. Rackwitz was born in Bohemia, and went
Google
R
a8 a journeyman to St. Petersburg. On the advice of
Johan Vogler he moved to Stockholm in 1791, becom-
ing a journeyman with Mathias Peter Kraft (g.v.) until
1793/4, and remaining in Stockholm as a licensed
builder of pianos and other stringed instruments until
and are his death.
Apart from 2 surviving clavichords, the Nydahl
Collection, Stockholm, has a 6-octave square piano with
English action.
He is of some im, ce in the study of the
development of the clavichord both in Sweden and in
Europe as a whole. For further information see H-O,
P- 174.
For details of surviving instruments see Part II.
Museum of © RAFA, Antonio. A 1580 ‘spinet’ said to be by this
maker was owned by Marcel Salomon, Paris. May
be a misreading of Baffo, and be the pseudo-Baffo
harpsichord, ostensibly of 1580 in the collection of
making the Leipzig University.
For details of surviving instruments see Part II.
* RAFRUT. Possibly the name of a clavichord maker.
Dr. R. Mirrey of London has an unfretted clavichord
with a faint and partially ruabbed-out inscription which
appears to read Verfertigt von [?|Rafrat [?]Zoille. The
true identity of the maker or the place of manufacture
has yet to be established [Mirrey].
For details of surviving instruments see Part II.
* RAGONESE, Lorenzo. Roman harpsichord maker,
originally from Viterbo. Born ¢. 1621. In 1644 he
appears together with Giuseppe Boni (g.».), though
from 1651, he worked on his own, living with his wife,
Caterina and sons Giacomo (born ¢. 1646) and Giovanni
Antonio (born ¢. 1647) (Barbieri, p. 154].
RAISIN, called |’ Ainé [Rayzin]. Organist at Troyes and
spinet maker, fl. 1661, 1662. He invented a special kind
of spinet (see Pi, p. 68). According to Va he made
spinets with 3 keyboards (as Bz says—whatever that
may mean!). (The date ‘1561’ in Suppl. 5 to Va, under
Rayzin, is a mistake for 1661.)
© RAMERINI, Jacopo, or (according to Barbieri), Jac-
omo or Jacopino. Born ¢. 1596, died 1 October 1674.
Stockholm. Originally from Florence, the son of Zenobio Ramerini.
ascertained, From 1650, he occupied a workshop in Rome, in the
via del Babuino (by the via del Greci, just in front of
154 RAMERINI
the clock). On 12 July 1666, his first wife, Margherita
Alba, who was about ten years older than
and in the following year he married Camille Benincasa,
who brought with her a dowry of a thousand scudi.
Though Ramerini is registered in the archives as an
organ builder, he also made harpsichords. From 1647
to 1658 he appears, though not continuously,
harpsichord and organ maker to the Pamphili. Ramerini
appears to have made three wills, in which are mentioned
his wife, Camilla, and Cecilia, the wife of Tommaso
Ramerini, his cousin, and his nephew Pietro Ramerini
(g.v.). Apparently there were no direct descendants.
Barbieri quotes from a range of archival documents
which describe his house and workshop.
also mentioned by Giovanni Battista Doni [Compendio
del trattato de’ generi e de’ modi della musica, Rome, Andrea
Fei, 1635, p. 70] as having devised a transposing
harpsichord. Kircher, 1650, (I. 461) gives a full descrip-
tion of the instrument (giving Nicolaus
name—could this be another member of the family?).
Ramerini is also alluded to by Wa and AdiG (2nd
edition, p. 664). See also: Hubb 196), p. 34.
RAMERINI, Pietro. Roman harpsichord
ginally from the diocese of Albano (Marino). He was
the son of Giuseppe Ramerini, and nephew of Jacopo
(see above). He appears from 1671 onwards in the church
archives of S. Lorenzo in Lucina, together with his
wife, Angela, and also with his uncle, from whom, in
1674 he inherited the latter’s tools, wood, and other
artefacts of the harpsichord maker’s trade, though it is
not known if Pietro carried on this trade after Jacopo’s
death [Barbieri, p. 154].
RAMUCINO, Giacomo. Italian harpsichord
probably in the seventeenth century. The composer
Luigi Rossi had a harpsichord by him in 1622 [MarcP].
RAND, John. Virginal maker in Threadneedle Street,-
London, in 1663 [Join].
RANGSTROM, Anders. Clavichord maker of Stock-
holm. Dates ascertained, 17447-1801. In 1766 Rang-
strom is recorded as an apprentice of the clavichord
and organ builder Carl Wahlstrém (¢.v.), and he was
made free of his master in 1770. Following this he was
a successful builder, probably working on his own,
though gradually the competition of his rivals
Lundborg, Lindholm, and Kraft (9.v.) gave cause for
concern, and by 1790 he considered himself unable to
make a living from instrument making and he seems
to have made nothing further until his death in 1801
(H-O}.
For details of surviving instruments see Part II.
RASORI, Luigi. Italian harpsichord maker
eighteenth century. The catalogue of the Museo Teatrale
Google
alla Scala (1940) records a ‘Cembalo in noce. Opera di
him, died, Luigi Rasori. Sec. XVIII’.
© RASTOIN, Honoré. Parisian harpsichord, spinet, and
organ maker, living in the rue St. Martin. Dates
ascertained, ¢. 1685-1721, when he died [Germzgéo]. In
as 1687 he made a ‘buffet d’orgues’ and in 1692 became
a juré comptable of the Guild of Instrument Makers. A
‘clavecin de Rastoin’ was advertised for sale 13 Novem-
ber 1760 [Bg]. Cor (p. 84) mentions him in passing.
For details of surviving instruments see Part II.
RASTOIN, Jacques. Son of Honoré. Hxbb 1965 quotes
Ramerini is a harpsichord ‘par Rastoin le pére’ from an inventory
of 1744.
* RAUSCH, of Leitmeritz, Bohemia. Organ or keyboard
instrument (most probably clavichord) maker of the
as his fore- late eighteenth or early nineteenth century. The work
of this maker is known only through the list of makers
given by Christian Friedrich Gottlieb Thon, though he
does not single him out for especial praise or esteem.
See entry under THON.
maker, ori-
RAYZIN. See: RAISIN.
REDOLFI, Giacomo. See: RIDOLFI, Giacomo.
REDPATH & CO. Eightcenth-century pianoforte
makers, presumably English. They also made harp-
sichords, as is shown by Christie’s sale of 18 March
1790: ‘Item 91. A fine toned double key’d harpsichord
by Redpath & Co. in a mahogany case’. [Vendor
maker, anonymous; buyer and price not given.] J, (p. 74)
records Redpath and Davidson as pianoforte makers.
@ REGNAULT, Jacques. Parisian harpsichord maker,
living in the Pont-au-Change (1658), and the rue de
Grenelle (1701); ff. 1630—post 1701 [Verlet, pp. 62, 67,
and Germrgéo, where on p. 440 a map of Paris shows
his workshops in relation to those of other makers and
musicians].
REINECKE. German keyboard-instrument maker of
the eighteenth century, to whom the maker Tdlleke
(q.v.) was at one time apprenticed [SB, p. 48].
© REINHART, Andreas, of Schneeberg [Reinhardus
Nivemontanus]. Organist and notary. F/. 1604; had
died by 1614. According to Bz: ‘not really a maker, he
designed a clavichord with a view to experimenting
with purity of intonation, described in his book
Monochordum Andreae Reinhardi (Leipzig, J. Rosius, 1604)
[Abraham Bartolus, Musica mathematica . . ., Leipzig,
of the 1614, pp. 147-8, 167-8. AdIG, p. 279].’ But this view
is probably no longer true since a surviving harpsichord
 RICHARD 155
of his make is described by dM in an article ‘Ein or early nineteenth century. Probably deceased by 1817,
wenig bekanntes deutsches Cembalo’, to be found in but whose instruments were thought to be worth
Das Musikinstrument, Vol. 7 (1988), pp. 6-10. mentioning by Christian Friedrich Gottlieb Thon. See
For details of surviving instruments see Part II. entry under THON.

© RELFE, John. English spinet maker, c. 1740. A spinet REWALLIN, Charles. Maker of virginals in St.
was identified as ‘Relfe’s’ by Thomas Green (q.9.) of Sidwell’s parish, Exeter. Dates ascertained, 1657-97,
Hertford when he first began to tune it for Mrs. and the latter being the year of his death. On 23 September
Miss Hyde of Ware Park, in 1750 while in 1762 he 1657 he married Hester Gosticke of Laurance in Exeter
began to tune another, belonging to Mrs. Nash of Cathedral. He died in 1697, and letters of administration
Lord’s Lane, Hoddesdon, which he described as Johannes of his property were granted on 5 July of that year.
Relfe fecit, leathers {or leathen]. This is an early use of His wife would appear to have died before him.
leather as a quill material for an English bentside spinet For details of surviving instruments see Part II.
[Sheldrick].
For details of surviving instruments see Part II. RICCARDO. An Italian harpsichord in the Smithsonian
Institution, Washington, bearing the date 1693, also
© REMOTI, Simone. Almost certainly a fictitious name carries the name ‘riccardo’ on the backs of the ‘g#’ and
invented by Franciolini. A 3-manual surviving harp- ‘a’ keys. It is most unlikely that this was the name of
sichord bears the inscription: Simone Remoti fecit Ao the maker of the entire instrument (which has undergone
1602... The authenticity of the inscription is doubted restoration in the late nineteenth/early twentieth century
by Josten in his catalogue of the Stuttgart Wiirttemberg and has now been ascribed to Giusti (g.».) [Wraigbé]).
Museum, and by Nor (p. 131). The instrument also Nevertheless, it may be that he either made or repaired
irs in a Franciolini catalogue. the keyboard, and it is possible that other instruments
For details of surviving instruments see Part II. may be found with the same attribution.

REMUS, John. A misreading of Kemys, John (g.v.). RICCATI, Count Giordano. Acoustician, physicist
and theorist, of Treviso, (1709-90). Though not a
RENAUD. A native of Orléans, lived in Paris, spinet
builder of instruments, Count Riccati devoted con-
maker, fi. 1745. He invented a ‘bowed spinet’ (épinette
siderable time and thought to the question of stringing
4 archet) in 1745 (Pi, p. 91). of the harpsichord and violin, and also to the design
of organ pipes. By 1740, he was working on his Della
RENAULT, Jean [a/so Renaud], from Lorraine. Organ corde ovvero fibre elastiche (‘Of elastic strings or fibres’),
builder, also made harpsichords and spinets; dates and, while developing his assumptions mathematically,
ascertained, 1708-10. In 1708 he repaired harpsichords
he carried out experiments on a Trasuntini harpsichord
and provided 2 spinets for the opera Vénus, given at
of 1559. The interesting theses set forth by him are
Lunéville, in the service of Duke Leopold. In 1710 he
described in an article by Patrizio Barbieri, ‘Giordano
received money for furnishing harpsichords to the
Riccati on the Diameters of Strings and Pipes’, in GSJ
Court [Jac].
XXXVIIL, (1985), pp. 22-34, much of which is drawn
from a forthcoming work by the same author, Acustica
RENTSCH, Salomon. Organ and instrument maker
accordatura ¢ temperamento nell Illuminismo veneto.
at Schwarzenberg in the latter part of the eighteenth
century [Ge].
RICE, John. Maker of harpsichords, fl. 1790 in Dublin
© RENZSCH, Carl Ernst Firchtegott. From 1792 (Fi.
assistant in Dresden to J. G. Horn (g.v.), on whose
death in 1796 he took over the workshop; but in 1797 RICEVUTI, Aurelio. Florentine harpsichord maker,
be set up on his own. He made clavichords and pianos fl. 1650, in which year his name appears in the
[Ks, p. 232; Hirt]. matriculation books of his Guild as apprenticed to
Stefano Talvini, a tuner. His father’s name was Appol-
RESPINI, Zaccaria. Possibly a virginal maker of lonio Ricevuti [Pw].
Brescia, though his one surviving instrument closely
resembles a square piano, and could be a conversion. RICHARD, of Paris. Several harpsichord and spinet
Fi. 1818. makers with this surname, some of them probably
For details of surviving instruments see Part II. related, worked in the seventeenth and eighteenth
centuries:
* REUSS, of Prague. Organ or keyboard instrument (1) Jean Richard, known only from a surviving
(most probably clavichord) maker of the late eighteenth harpsichord.

sy Google
156 RICHARDSON
(2) Michael Richard (I). Earliest date known, 1659 became craftsman and instrument maker. He made
(in MC), made harpsichords, ottavini, and spinets. harpsichords in the ordinary style, but also some
Latest date, 1693. He took Des Ruisseaux (g.¥.) as quilled with steel instead of feathers; also pianos, and
apprentice in 1670. Hullmandel praises him in Enc.meth. gut-stringed keyboard instruments imitating the tone
[I. 286]. He probably made the harpsichord purporting of 2 violins, a viola, a cello, a double-bass, and flutes.
to be the work of Hans Ruckers of 1613, in the Yale Further he devised an instrument on which whatever
University Collection of Musical Instruments, and listed the player played was taken down in score [Ge, 1794].
under the Ruckers instruments, signing the underside
of the soundboard: Fact par Michel Richard 1688. RIESCH, Georg Matthias, of Ilmenau Thuringia,
(3) Michael Richard (II). The existence of a second where he was born ¢. 1710. Built a Gambenwerck (Ks,
Michael Richard is implied in Germrgéo, p. 440, where Vol. 2, quoting Ge], which he played in public in 1752
a ‘Richard, M. II’ is referred to with dates ?-pre-1714, [F4.
and an address—rue de Paon, Parish of St. Nicolas-
du-Chardonnet, pre-1686. This location is shown on a RIGAULT, Jean-Baptiste. Parisian harpsichord
map on p. 440 together with other Parisian makers and maker; ¢. 1670-between June 1723 and April 1724. He
musicians of the period. was received into the Guild in 1691. A ‘Clavecin de
(4) Robert Richard. F/. 1753-76 in Paris primarily Rigault’ was advertised on 4 March 1756 [Bg], and he
as an organ builder but also as a maker of harpsichords. is mentioned in passing by Cor (p. 84). See also Verlet.
Son-in-law of Galland (9.v.), he wasjuré comptable of the Germrg8o gives three Parisian addresses for him, and
Guild of Instrument Makers in 1758/9 [Lowb]. Germigéo on p. 440 a map showing the location of his workshops
shows his workshop on a map on p. 440, as being in relation to those of other makers and musicians of
located in the rue de Richelieu. the period.
For details of surviving instruments by members of the Richard
Sfamily see Part Il.
RIGOLI, of Florence. Instrument maker, fl. 1620.
Gé (p. 108, probably relying on Chouquet) wrongly
RICHARDSON, Abraham. Apprenticed to Stephen
attributes to him the invention of the clavicytherium,
Keene (9.v.), February 1664; free of the Joiners’ Com-
which was known well before his time. Va gives the
pany 1671 [Join].
name as Rigali.
RIDOLFI, Giacomo. Italian harpsichord maker;
according to the inscriptions on harpsichords of 1650 RIGUNINI, Cristoforo, of Florence. Harpsichord
and 1665, he was possibly a pupil of Girolamo Zenti maker, ff. 1602.
(q.».). Dates ascertained, 1650-82. His name appears as For details of surviving instruments see Part II.
Ridolfi, Redolfi, and Rodolphus. In Bz only four
instruments were ascribed to him, but in 1990, an RIJKERS. Virginal maker at The Hague ¢. 1630?
unsigned Italian harpsichord, now in the Shrine to Though the name (as shown in Bz) has-been retained
Music Museum, Vermillion, South Dakota, was shown here as a separate maker, the weight of the evidence is
almost certainly to be the work of Ridolfi. The method that it is a variant spelling of the name ‘RUCKERS’.
used mainly involved a study of the case mouldings of The Herzog-Anton-Ulrich-Museum at Brunswick has
this instrument with the three other Ridolfi harpsichords an unsigned ottavino, compass 24 octaves, presented
available in public collections, and demonstrated the in 1876 by Th. Steinweg, who attributed it to Rijkers,
value of this technique, which was popularised in “having seen at the Paris Exhibition instruments by this
Hellwig. It is to be hoped that the recording of case maker which were in exactly the same style’. On the
moulding profiles will continue in the catalogues of the basis of this evidence it seems almost certain that the
major collections. name should be Rackers, and that the instrument was
For details of surviving instruments see Part II. the child of a mother-and-child virginal combination
instrument and that the place of manufacture, given as
RIEBELE, of Mainz. Organ or keyboard instrument The Hague, is a mistake. Nevertheless, the matter is
(most probably clavichord) maker of the late eighteenth not settled by this simplistic analysis, and further
or early nineteenth century. The work of this maker is research is required.
known only through the list of makers given by For details of surviving instruments see Part II.
Christian Friedrich Gottlieb Thon, though he does not
single him out for especial praise or esteem. See entry RING, Friderich, of Strasbourg. Harpsichord maker;
under THON. born 5 May 1666; died at Strasbourg on 16 March 1701
at the age of 34 [Strasbourg city archives, quoted in
RIEDLEN, Gottlieb Friedrich. Born in 1749 at Werner Miiller’s Auf den Spuren Gottfried Silbermanns,
Tuttlingen (Wiirttemberg); went to Bonn in 1782 and 1968, p. 47)-

'y Google

The definitive work concerning Ring, and his one
surviving harpsichord, is by Jérg-Dieter Hummel,
Friderich Ring, der vergessene Instrumentenbaner, Verlag J.
P. Himmer, Augsburg, 1976, from which the following
short outline biography is drawn. Ring’s father, who
died in 1698, was a priest at the village of Berstett,
north of Strasbourg, at the time of Friderich’s birth.
Friderich (note the revised spelling which in Bz was
given as Friedrich) had a brother and two sisters, and
was married to the 23-year-old Catherina Artopoeus on
12 October 1689. By her he had § children. In the
church registers of the Thomas-Kirche in Strasbourg
at the time of the christening of his fourth child in
1697, Ring is described as ‘Orgelmacher und Schreiner’,
and he had clearly established himself by then as a
builder of repute—he had restored the organ of the
same church in 1696, and had been concerned with
organs at Weissenburg and Hagenau.
When the 21-year-old Andreas Silbermann (g.v.) came
to Alsace in 1699 he worked for a time with Ring [see
also: Schweizer Musikzeitung, Vol. 94, (1954)]- In 1700
Ring signed a contract with Johann Reinboldt Friderici,
administrator of the great ‘Temple Neuf’ church in
Strasbourg, to build a new organ, and it is from this
document, bearing Ring’s clearly written signature, that
the authentic spelling of his name is taken, even though
from earlier church register entries such misspellings
as ‘Wing’ or ‘Rinck’ might be inferred.
In the same year, Ring built his harpsichord. Marc
Schaefer, ‘Les Anciennes Orgues Silbermann du Temple
Neuf 4 Strasbourg’ in La Musique en Alsace, Strasbourg,
1970, Pp. 97, states that using prototypes from Italy and
the Netherlands, the instrument was of such a size,
disposition, and richly furbished interior, that it could
only have been built by a builder with considerable
knowledge and renown.
The instrument does, in fact, have a number of
characteristics which indicate that its builder was
influenced by the harpsichord-building traditions which,
coming initially from the Flemish builders, were later
translated to the English instruments of Kirkman and
Shudi, and Hammel goes to some lengths to show how
Tabel (g.v.) might have been the link.
For details of surviving instruments see Part II.
RITMULLER, Gottlieb Wilhelm, 1772-1829. Born
at Géttingen, where he set up in 1798 as an instrument
maker. First of all he made lutes, harps, and guitars;
but later also clavichords and pianos. In 1800 he married
Dorothea Schenke, and had several sons, of whom
Johann Wilhelm (born 1802) and Johann Martin (born
1803) carried on the pianoforte business; which still
existed, as probably the oldest in Germany, in 1910 [Ge
(1814); Go].
RIVA, Alessandro. Born at Villa d’Adda, 5 February
1803; died at Bergamo, 21 December 1868; maker of
Google
ROCK 157
keyboard instruments. He married Romilda Claudi. His
last surviving spinet of 1839 probably marks him as
the last maker of such instruments in the old tradition
(ie. before the modern revival).
For details of surviving instruments see Part II.
RIVA, Giuseppe. Father of the foregoing. Joiner and
maker of harpsichords. Married Rosa Villa [Ks].
* ROCCATAGLIATA. A family of organ and plucked
string keyboard instrument makers from Liguria (mainly
at S. Margherita Ligure) from the seventeenth century
onwards. The following are reported:
Tomaso I. His existence is known from a letter to
Pier Constantino Remondini of Savona, dated 1829, in
which a certain Celestino Scoffiero writes about a
harpsichord by Tomaso Roccatagliata dated ¢. 1686,
having 49 keys and compass C to c’ and a harp stop.
This letter, which has further details of the instrument,
has been kindly made available by Dr Maurizio Tarrini
of Savona. Sadly the instrument referred to does not
appear to have survived.
Tomaso I. Dates ascertained, 1725-99. Grandson
of Tomaso I. His daughter, Maria Camilla married an
organ builder, Luigi Ciurlo, whose descendents may be
traced at least until 1929, and through whose hands the
Ruckers mother and child virginal now at Castello
Sforzesco passed in that year.
@ ROCHEAD, Andrew, & Son. Bz gives the dates
ascertained as 1793-1854, though as will be seen below,
an earlier date of 1784 is quite likely. In the Edinburgh
Post Office Directory for 1793/4 Andrew Rouchead
(sic) is described as ‘musical instrument maker, back
of weigh house’, i.e. Castlehill, Edinburgh. Shortly
thereafter the name appears in the Directory as ‘Roche-
ad’ which is the form found on the nameboard of the
only surviving spinet bearing this name, to which most
probably a post-1793 date can be assigned, thereby
probably making it the latest surviving bentside spinet
of the classical period. Andrew Rochead and Son also
made spinets for Neil Stewart, and the inscription 4.R.
Sor N.S. on a 1784/5 spinet by Neil Stewart (g.v.) almost
certainly refers to them. A later address for the firm
(by which time they were making pianos) is given as
Greenside Place, Leith Walk, Edinburgh, and in due
course the name changed again to ‘Rocheid’. The
1814/15 Directory adds ‘makers to his Royal Highness
the Prince Regent’. A later firm, P. C. Roughead, can
be traced from 1842 to 1905. [RassCo/l].
For details of surviving instruments see Part II.
* ROCHEDD, Andrew. See: ROCHEAD, Andrew.
* ROCK, Benjamin. An cighteenth-century wing spinet
by this maker is recorded, but there are no details of
 158 ROCK
the maker. He may be a relative of William Rock (9.».)
or even the same person, . articles, which allowed him to make ‘Clave Symbaler,
For details of surviving instruments see Part II.
ROCK, William. Harpsichord maker in Parliament
Street, Westminster, in 1780 [Byrne].
For details of surviving instruments see Part II.
RODILLY, Loys. Organ builder of Nancy; f. 1511,
in which year he constructed for Antoine Duke of
Lorraine an instrument comprising chekker, organ,
spinet, and flutes [Jac; see further Fleury].
RODOLFI. See: RIDOLFI, Giacomo.
RODOLPHUS, Jacobus. See: RIDOLFI, Giacomo.
ROMA, Hadrianus. See: HADRIANUS, of Rome.
ROMANO, Nicola Palazzi. See: PALAZZI, Nicola.
@ ROMARINI, Nicolas. Bz contained an
this name which simply stated: ‘See: RAMARINUS,
Nicolaus’. There was, however, no cross reference for
the latter name, though it may have been an error for
RAMERINI, Pietro (g.v.).
ROMER, Anton. Born at Brinn (Brno) 1724; died at
Graz 1779. Clavichord maker, probably in Austria.
For details of surviving instruments see Part II.
ROMITO, Giulio, of Ferrara. Clavichord maker, f.
1572 [Va].
* ROMMEL, of Linz. Organ or keyboard
(most probably clavichord) maker of the late eighteenth
or early nineteenth century. The work of this maker is
known only through the list of makers given by
Christian Friedrich Gottlieb Thon, though he does not
single him out for especial praise or esteem. See entry
under THON.
* ROOS, Johannes. See: GYSE, Johannes.
* ROOS, Johan Petter. Organ, harpsichord, viol, and
clavichord maker of Stockholm. Dates ascertained
1725-32 (by which year he was probably dead). He
says of himself: ‘from my childhood I acquired
complete knowledge of the making of all instruments’.
How he came by this knowledge is not known, though
it is clear that by 1725 he was apprenticed to Johan
Niclas Cahman (q.v.) whom he assisted in repairing the
organ in Vika Church in Dalecarlia, It may well be that
he had been with Cahman for some time before this
for he appears to have been independent by 1726 when
he was living in the parish of Katarina in S6dermalm,
Google
Stockholm, and on 16 October 1727 he received his
Symbaler, Spinetter, Claver, etc.’ Roos was thus the
earliest Swedish maker known to have been licensed to
make keyboard instruments other than the organ. His
master’s pre-eminence in this form of the art would
have probably made it impossible for him to make a
living from organ building. His 2 surviving clavichords
are very much in the tradition of the north German
instruments, though the earlier one is interesting in the
way that the keys are splayed at the distal ends,
suggesting a fretted instrument, though in fact it is
fret-free [H-O).
For details of surviving instruments see Part II.
© ROSE, of Berlin. A harpsichord maker of this name
was shown in Bz, with f. 1760 [Ge]. This was almost
certainly a misprint for ROST, Johann (q.v.).
@ ROSENAU, Gottlieb, of Stockholm. Harpsichord and
clavichord maker; dates ascertained, 1720-90.
entry for Rosenau was born in Kénigsberg, and following a
training in carpentry given by his father, he moved to
Sweden. He is recorded as having been a journeyman
with Philip Jakob Specken (g.v.) by 1749, but he may
well have joined him earlier than this, and there are
grounds for believing that instruments signed by
Specken and dated as early as 1745 may well have been
built by Rosenau. Having obtained his privilege as a
harpsichord builder in the 1750s, in 1759, Rosenau took
over the Specken workshop, and in the ensuing decade
a number of his instruments were exported. In 1767,
the export of 10 instruments to St. Petersburg caused
the government to impose a duty on the importation
instrument of musical instruments.
By 1770 several of his workmen, including Lundborg
(g.v.) and Lindholm (g.v.), had set up on their own, and
their high standards of workmanship, coupled with the
suggestions of poor quality wood and bad workmanship
on the part of Rosenau, caused him to lose his place
as one of the leading makers.
H-O, p. 168, shows a clavichord made by Rosenau
in the Specken (4..) workshops in 1758 [H-O].
For details of surviving instruments see Part IT.
* ROSENBERGER, of Vienna. Organ or keyboard
instrument (most probably clavichord) maker of the
a
late eighteenth or early nineteenth century. The work
of this maker is known only through the list of makers
given by Christian Friedrich Gottlieb Thon, though he
does not single him out for especial praise or esteem.
See entry under THON.
* ROSENKRANTZ, Ernst Philipp. Clavichord maker
of Dresden, fl. 1802, known only from his one surviving
 ROXIS 159
clavichord in the collection of the Musikwis- Mietke’s instruments after the latter’s death in 1726 or
senschaftliches Seminar der Georg-August Universitit, 1729. The quotation in Bz that Rost was paid by the
Gattingen, [Bemmann). Queen of Prussia for a ‘Fligel’ on 26 February 1720
For details of surviving instruments see Part II. refers to a refurbishment of the instrument, and not
that it was of his manufacture. [See: W. Stengel, Alte
ROSSI, Annibale dei, otherwise de Roxis and Rosso Wobnksltur, (Berlin 1958), pp. 75-6.] There are other
or Annibale Mediolanensis. Virginal maker of Milan. references to Rost in Stengel, Krick-SC, Krick-Mietke
Earliest date known, 1542 He died between 1577 and and VdM-Fest, and, in connection with Dagly, in Huth,
1595 [J]. V&A Cat, p. 37, when speaking of the H. Lacquer of the West, Chicago, 1971.
Museum’s very sumptuously decorated heptagonal vir- There is some confusion as to whether the Rost
ginal of 1577, quotes from P. Morigi, La nobilta di mentioned by Ge as living in 1760 was the same Johann,
Milano, 1595, p. 289, as follows: or his son, since according to Germrg8s, p. 135 (note
53), and Krick, the senior member of the family was
Annibale dei Rossi was worthy of praise, as he was the first dead not long before 1747. There is also some confusion
to modernize clavichords into the shape in which we now see
as to whether Rost might be identified with the French
them. This skilful maker constructed amongst other works a
clavichord of uncommon beauty and excellence . . .. Ferrante maker Rozet, or Rozé (9.».).
(Rosso), his son is following in the footsteps of his father in all
respects and continuing to make improvements in clavichords, ROTH, Johann. Organ builder at Odenburg (Sopron),
thereby making a name for himself. Hungary, repaired 2 harpsichords at the Esterhazy court
The original Italian is quoted in Engel 1870, p. 53, in 1775 (Walter, p. 258].
and Engel 1874, p. 273. [See also J, p. 100.]
For details of surviving instruments see Part II. @ ROTHER. At least one, and possibly 2 makers of
harpsichords, spinets and clavicytheria with this sur-
ROSSI, Ferrante dei, or Ferandus de Rosis. Virginal name were active in Dublin in the eighteenth century.
maker of Milan, son of Annibale dei Rossi. Dates Bz listed Henry, with dates 1762-74, and Henry William
ascertained, 1580-95. Morigi (see above under Annibale (as a separate maker, who also made organs) with dates
dei Rossi loc. cit.) praises him as maintaining his father’s 1770-82 and resident in Great Booter Lane 1770-4; 9
high standard of workmanship and making valuable Great Booter Lane 1775; 9 Bishop Street 1776-82
innovations; but this is hardly borne out by the [Teaban]. GDN-EKI gives only one maker—Henry
surviving instruments. William, with alternative surname spelling of Rowther,
For details of surviving instruments see Part II. having dates 1762-82 and ascribes the surviving cla-
vicytherium of 1774 to him.
ROSSI, Toma, of Viterbo. Harpsichord maker; f. For details of surviving instruments see Part II.
1759-
For details of surviving instruments see Part II.
* ROTT, of Prague. Organ or keyboard instrument
(most probably clavichord) maker of the late eighteenth
ROST, Johann. Harpsichord maker of Charlottenburg, or early nineteenth century. The work of this maker is
Berlin, born ¢. 1670 in Eilenberg, died 1747 (at the
known only through the list of makers given by
latest). He was a pupil of Michael Mietke (g.».) until Christian Friedrich Gottlieb Thon, though he does not
1696, and is mentioned as being at Célln, a city near
single him out for especial praise or esteem. See entry
Berlin, in 1700 and 1702. In 1711 he is recorded as
under THON.
‘Clavecinmacher’ and citizen of Charlottenburg where
he was still established in 1719 [Krick]. Bz and Germsg8s
quote a reference which concerns a ‘Fliigel anno 1706 * ROUCHEAD, Andrew. See: ROCHEAD, Andrew.
von dem berihmten Rost gemacht’, which, later, was
to be sold on 6 May 1748 at Neucdlln. This instrument
ROUSSELIERE, Jean-Baptiste de la. See: LA
was ‘beautifully painted inside’ and ‘lacquered in white ROUSSELIERE, Jean-Baptiste de.
with gold bands outside’, and the possibility that it was
decorated by Gerard Dagly who decorated instruments
for Mietke (.9.) is explored by Sheridan Germann in ROVERIO, Vittore de, of Rome, f. 1696. Virginal
Germ1g8s. Sheridan Germann and Dieter Krickeberg maker [Va].
have also examined the additional possibility that the z
important surviving harpsichords at Schloss Char- * ROWTHER. See: ROTHER.
lottenburg, generally thought to be by Mietke, might
be by Rost. It seems very likely that regardless of
who made these instruments Johann Rost worked on ROXIS, Annibale de. See: ROSSI, Annibale dei.

Google
 160 ROZE
© ROZE. Eighteenth-century Parisian harpsichord
maker. The inventory of J. H. Hemsch’s goods (28
September 1769) records: ‘un clavecin de Rozé . . . 120
livres’ [MC, pp. 109, 728; Hardouin 1960). Cor (p. 84)
refers to him. The possibility of confusion between this
maker and Roget (9.v.) and also Johann Rost (9.9.) is
suggested in Germigés, and seems quite probable.
© ROZET. Seventeenth-century French spinet maker.
Fi. 1680. See also Rozé.
For details of surviving instruments see Part II.
© RUBINO, Domenico. Perhaps a harpsichord maker
at Castro, in Lombardy, 1743, the evidence for which
fests on the inscription on one surviving harpsichord
sometimes said to be Spanish—Dominicus Rubino fecit
1743 a Castro nit... ?
Although Rubino does not figure in either of the
Franciolini catalogues, the instrument is dubious or, to
say the least, much altered. The lid bears a painting in
the Spanish style but it is not native to the instrument,
which is of Italian origin. KdPS-RMA-RC is very
doubtful of any Spanish connection.
For details of surviving instruments see Part II.
©@ RUCKERS [also to be found as: Ruyckers, Rueckers,
Rueckaers, Rycardt, Rickaert, Ruckeerts, Ruckaert,
Ricaert, Rickers, Ruykers, and possibly as Rijkers etc.]
The most famous name in the history of harpsichord
making, belonging to a family, possibly of German
extraction, resident in Antwerp in the sixteenth and
seventeenth centuries. The study of the family history
and the surviving instruments by members of that
family has occupied many scholars for over a hundred
years, resulting in the production of a wealth of material.
This short resumé cannot therefore do more than give
an outline of the most important features of the family
history and the instruments, and point the reader to
other more detailed sources. By far the most useful
reference book is O’Brien, on which, in part, this article
relies, while, in the bibliography of this work are cited
several hundred references, many of which are also to
be found in the bibliography of this volume. O’Brien
pays particular tribute to the work of Dr. Jeannine
Lambrechts-Douillez, and this tribute must be restated
here.
Ruckaert, or Ryckaert, is the Flemish equivalent of
the English name Richard, and the addition of the ‘s’
in Flemish is the equivalent of the addition of ‘son’ or
‘s’ to the English ‘Richard’ to give ‘Richardson’,
or ‘Richards’. Ruckers is thus an abbreviation of
Ryckaertszoon, or Ruckaerts, and this is one of the
reasons for the numerous forms of the spelling. It
would seem however that the spelling of names in
the Low Countries was, in the sixteenth century, as
notoriously inconsistent as it was in England, and
evidence of this may be seen elsewhere in this volume
Google
in the articles on other makers from the Low Countries.
The possibility that the family came originally from
Germany is attributable to the identification of a sketch
by Diirer as that of a ‘Master Arnold of Seligenstadt’,
completed in 1520 while the artist was on a trip to the
Netherlands. Arnold has since been further identified
as Arnold Rucker, or Riickers, who, inter alia, was an
organ builder making organs in Marburg-an-der-Lahn,
Aschaffenberg, Wiirzburg, Amorbach, Seligenstadt, and
elsewhere in the period 1508-36. Unfortunately it has
not proved possible to trace any direct line from him
to the harpsichord-building family, but the similarity
of name, and the involvement of the later Ruckers in
organ building and repair makes it seem likely that
there was a family connection.
There has always been confusion over the identity
of the harpsichord-building members of the family,
particularly in relation to the instruments made by
them, due in the main to the way in which the founding
member of the family, Hans, and his eldest son loannes,
referred to themselves and were referred to by others
by the different forms of the names Ioannes, Joannes,
Johannes, Jan, Jean, and Hans. This difficulty was
partially overcome in Bz and other works by referring
to the father as Hans she elder, and his eldest son as
Hans the younger. O’Brien has removed much of this
confusion by consistently referring to the father as Hans
and the son as loannes, and this convention has been
used throughout in this volume. The further confusion
caused in the past by the use of the words the elder and
the younger for two other members of the family called
Andreas has been alleviated by using the names Andreas
I and Andreas II respectively. A family tree is to be
found in the Genealogies section, but it may be useful
here to summarise the members of the family as they
are now known, before giving more background
information about them.
(1) Hans (born ¢. 1550, died ¢. 1598). Called Hans
the Elder in Bz.
(2) Ioannes—eldest son of (1), (baptised 15 January
1578, died 29 September 1642). Called Hans the Younger
in Bz,
(3) Andreas I—second surviving son of (1), (baptised
30 August 1579, died between June 1651 and 24 March
1653). Called Andreas the Elder in Bz.
(4) Andreas II—son of (3), (baptised 31 March 1607,
died between 20 April 1654 and 8 February 1655).
Called Andreas the Younger in Bz.
(5) Christoffel, Organist at Termonde (Dendermonde)
in 1594 and later. At one time it was thought that two
surviving virginals each having a rose with the initials
CR were his work, but it is clear from the compass,
and aspects of the decoration that they were made in
the second half of the seventeenth century and could
not be by him. His relationship, if any, with the other
members of the Ruckers family is not known, and there
 RUCKERS 161
is no evidence that he made instruments. He is not who did survive, was baptised on 15 January 1578.
considered further here. Following his mother’s death in March 1604 he appears
Further biographical information concerning the to have taken over the business, and in November of
Ruckers family. the same year he married Maria Waelrant, daughter of
(1) Hans. Unfortunately the exact date of Hans the Cathedral organist, at Antwerp Cathedral, where
Ruckers’ birth is not known, though it is known that from 1598 until 1642 he tuned and maintained the
he was born at Mechelen (Malines), and that his father organ, as well as attending to the organs of several
was Frans Ruckers. Since it is known that he was other Antwerp churches. He entered the Guild in 1611,
married on 25 June 1575 to Adriana (Naenken) Knaeps and from 1614 until his death on 29 September 1642
(or Cnaeps) at the Cathedral Church of Our Lady (the he was honorary ‘orgel en clavesimbelmaker van de
Onze Lieve Vrouwekerk) in Antwerp, and that he cappelle’, i.e. the Royal Chapel at Brussels [dB]. An
was admitted to the Guild of St. Luke in 1579 as indication of the esteem in which Ioannes Ruckers was
‘Claversinbalmakerre’, it would seem likely that Hans held is given by the documents quoted by Stellfeld in
was born around 1550. The Guild of St Luke catered VaB. In 1623 his name (quoted as Jan Ruckaerts)
for a wide range of trades ranging from painters and appears together with Rubens, Jan Breughel, and others
engravers to printers and glaziers, and from 1557, those of note, in a list of citizens exempted from civic guard
who pursued the trade of clavicimbel makers. It appears duties, which consisted of keeping watch on Antwerp’s
that by 1579 when Hans was admitted, he was the town walls.
nineteenth to be entered in the records. O’Brien deduces loannes and Maria had several children, of whom
that at this period, in the town of Antwerp, there were only three daughters survived, and Maria herself died
probably between 15 and 20 workshops all producing in 1613. Though there is evidence (from the signature
‘clavecimbels’ demonstrating that Antwerp was a centre on a virginal of 1604 IOANNES ET ANDREAS
of some importance. He goes on (pp. 13~15) to give RVCKERS FECERVNT) that loannes worked at
further information on the Guild of St Luke and to this early stage with his brother Andreas, it is known
describe conditions in the guild workshops. He also that Ioannes Ruckers took on his nephew, loannes
shows a map of Antwerp in 1565, with the Ruckers’ Couchet, as an apprentice, and after the death of his
family property. master, Ioannes Couchet took on the direction of the
Hans Ruckers’ name appears in a number of Antwerp workshops. It is therefore as a result of this association
records from 1579 onwards, notably the Guild mem- that the Couchet instruments present a direct line of
bership records and in the list of contributors to the tradition from those of the Ruckers. Because of the
emergency relief fund for Guild members, and from way in which the earlier loannes instruments contain a
1591, the Cathedral account books for tuning and rose with the initials HR, there has in the past been
maintenance of the organ. much confusion over the identity of the makers of
From 1584, the family rented a house in the Jod- instruments in the period from the death of Hans until
enstraat (Street of the Jews), and on 5 July 1597, Hans about 1616. O’Brien has made a significant contribution
purchased a house on the north side of the Vaerstraat, in sorting out this matter by classifying the instruments
not far from their former property. This latter was as ‘Ioannes Ruckers instruments with HR roses’ (some
appropriately called ‘de cleyn clavicingel’ (‘the little 11 instruments in the period 1595-1616), and ‘Ioannes
clavicimbel’), and following Hans’ death it went to his Ruckers instruments with IR roses’ (a further 27
widow, and subsequently became the workshop and instruments in the period ¢. 1612-42).
residence of later members of the family, probably until (3) Andreas I. As the second surviving son of Hans,
the time of the Couchets (g.v.). It passed out of the it has already been noted above that he worked at least
family in 1656. The establishment of the exact date of for a short time with his elder brother, Ioannes, from
Hans’ death has been difficult, O’Brien, after sifting the 1604 until 1608. Baptised on 30 August 1579, and
available evidence, concludes that it was during 1598. married on 25 January 1605 to Catharina de Vries, he
The earliest authentic surviving instrument by Hans seems in the same year to have started building on
Ruckers is the double muselar (see below for an his own, and using his own serial numbers on his
explanation of this term) mother-and-child virginal, instruments, though no authenticated and dated Andreas
dated 1581 in the Metropolitan Museum of Art, New instrument has survived with a date earlier than 1608.
York, and the latest is a single-manual harpsichord and In this year Andreas appears to have moved from ‘de
octave virginal combination at Schloss Kdpenick, in cleyn clavecingel’ to his own premises, though it is
Berlin. Only three other instruments by him have clear that the various properties which he occupied
survived. over the years were never very far from the old family
(2) Toannes. Hans and Adriana Knaeps had eleven workshops, which by 1608 were the sole property of
children. Not surprisingly, at a time when infant Toannes.
mortality was much higher than today, six of them did Seven children were born to Andreas and Catharina,
not survive into adulthood, and Ioannes, the eldest of whom a son, also Andreas (known here as Andreas

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162 RUCKERS
Il) was apprenticed to his father probably around 1620
when he was about 12, and he subsequently carried on
his father’s business after the latter’s death sometime
between June 1651 and 24 March 1653.
(4) Andreas II. Baptised on 31 March 1607, little
else is known of the early life of this son of Andreas
I, though, characteristically, his admission to the Guild
of St Luke in 1637/8, seems to have been also the
opportunity for matrimony, and on 12 June 1637 he
married Joanna Haechts (Haeghts or Hex). Again, the
similarity of name of father and son has been the cause
of confusion in the past; cataloguers of instruments
trying to assign instruments to one or other. The matter
is to some extent helped, but equally blurred by
inscriptions such as that on a 1644 single-manual
harpsichord ANDREAS RVCKERS DEN OVDEN
ME FECIT ANTVERPIAE, and another on
single-manual harpsichord probably of 1651 AND-
REAS RVCKERS ANDREAS] F.{ILIVS] ME
FECIT ANTVERPIAE, which might well indicate
a continuing joint working relationship between
father, then aged 72, and the son, of about 44. O’Brien
has wisely abandoned the assignation of instruments to
father or son, and simply lists them all under Andreas.
In the study of three generations of Ruckers one is
struck by the interrelation of the harpsichord and
virginal building and the painters who decorated the
instruments. Time and again the names of famous
painters can be found as relations, intermarrying with
the Ruckers or associated with them, as in the case of
the document noting the exemption of Ioannes from
civic guard duties. Though it is sometimes thought
anomalous that instrument makers should belong to a
guild primarily set up for the benefit of painters, (as it
seems equally anomalous that later English instrument
makers belonged to the Haberdashers’ company), the
symbiosis must have been useful, and the complete
integration of the two crafts is obvious in many of the
exquisite examples of the surviving instruments.
If imitation is the sincerest form of flattery there can
be little doubt that the instruments made by the Ruckers
family are a cogent exemplar of this proverb, and this,
combined with the diversity of instruments made by
them, the difficulty of unravelling the purposes of some
of the standard dispositions of the instruments, the
problems introduced by the instruments of their imit-
ators, and simply the many enigmas encountered in the
study of the development of the building traditions of
the family, make the study of the Ruckers instruments
one of the most fascinating in the history of the
harpsichord. Almost every writer on the history of
keyboard instruments has attempted an analysis of the
types of instrument made by the Ruckers family, but
once again, the most useful and authoritative work is
O'Brien.
Google
It is necessary at the outset to see the large range of
instruments built as being of specific sizes, the length
being a parameter set by the pitch of the instrument.
O’Brien has introduced the concept of a reference pitch
‘R’ (about a semitone below modern concert pitch
of A=440Hz) which was the pitch of the normal
single-manual Ruckers harpsichords. The pitch of other
instruments made may then be described in relation to
R, thus, R+2, R+4, R+5, R+8, and R+g are at
pitches of a major second, a fourth, a fifth, an octave,
and a ninth above reference pitch, while R—4 and
R—s are respectively a fourth and a fifth below R. The
word voet has also to be explained as the Flemish word
equivalent to the English ‘foot’, though the length of
a Flemish voet, which was divided into cleven duimen
(thumbs), was 284.7mm, while the present-day English
a foot is 304.8mm. The length of the instrument in voefen
is often to be found in the maker’s mark on the interior
of the case or the action of genuine Ruckers virginals,
indeed it is one of the ways of authenticating them.
the Thus O’Brien illustrates [plates 3.15—3.20] examples of
marks consisting of an upper figure which corresponds
to the length of the instrument in voeten, and a lower
figure which is effectively a serial number.
Ruckers Virginals
One further term has to be explained—the rectangular
virginals which represent a substantial amount of the
output of the Ruckers workshops are either of the type
known as the spinett virginal, in which the keyboard
is placed towards the left-hand side of the instrument,
and the jacks pluck the strings near to the nut, or of
the type known as the muselar virginal, in which the
keyboard is slightly to the right of centre, and the
strings are plucked more nearly centrally. The tone of
the latter type is much more flute-like than the former,
which is more nearly like the tone of the standard
harpsichord. The muselar is also very often equipped
with a stop known as the harpichordium (arpichordum
or arpichordium) in which a batten running alongside
the bass end of the bridge carries metal hooks which
can be brought into contact with the strings to produce
a rattling or braying sound. Finally, before listing the
forms of virginals made, it is necessary to describe the
compound instruments known as the ‘mother and child’
in which a 6-voet virginal of either the spinett or muselar
type has a space, respectively, either to the right or left
of the keyboard into which a 3-voet virginal is fitted,
the keyboards of both instruments being side by side.
It is possible however, to take out the smaller instrument
and place it on top of the larger. In this configuration,
when the jackrail of the mother is removed, the jacks
of the latter operate the keys of the child, and since
the child is at four foot pitch (R+8), the instrument
is capable of sounding like a harpsichord with the
specification 1x8’, 1x4’.
The following is a summary of the types of virginals
made by the Ruckers family, and the reader is referred
 RUCKERS 163
to O’Brien for further details. 6-vcet spinett virginal these were made for export to England where the
(mother) and 3-voet virginal (child); English music of that period often required a wider
6-voet spinett virginal; compass. A more unusual special instrument was the
j-voet spinett virginal (none survive, but it seems combination of a standard single manual harpsichord
almost certain that they were made); in a rectangular case, with the triangular area beyond
44-v0et spinett virginal; the bent side filled with a virginal at octave pitch.
4-voet spinett virginal; Non-standard doubles were also made with a chro-
child spinett virginal; matic extension in the bass, though in this case the
24-voet spinett virginal; manuals were arranged differently, the lower keyboard
6-voet muselar virginal (mother) and 3-voet virginal being at the reference pitch, with the compass GG-c’,
(child); with the upper manual, displaced by three keys to the
6-voet muselar virginal; right, the space to the left of the lowest key being filled
$-voet muselar virginal; by a block of wood. The pitch of the upper manual
4}-voet muselar virginal. was R—4 (a fourth lower than the pitch of the lower
Ruckers harpsichords manual) and the compass was F-f'. Thus the c keys of
Two standard harpsichords were made by the Ruckers the lower manual were in line with the f keys of the
family, the first being a single-manual instrument upper. This type of instrument may be called the
with 1x8’, 1x4’ registers, compass C/E-c’, sounding at ‘sub-quint double-manual harpsichord’, and seems to
reference pitch, R. The length was about 6-voer, 4-duimen. have becn associated with the French market.
The basic double-manual harpsichord was effectively By analogy with the rectangular single-manual harp-
two separate single-manual instruments in the same sichord combination, a double-manual version was
case each manual having two rows of jacks, though made, with the harpsichord keyboard layout being the
there are only two sets of strings, as in the single, 1x8’, same as in the standard double-manual harpsichord,
1x4’. Thus only one manual could be used at any time. and the virginal at octave pitch to the lower manual,
The upper manual had a compass of C/E-c’, and the ie. at pitch R+5.
lower manual which had a compass of C/E-P was The range of harpsichords made by the Ruckers
displaced to the left of the upper so that the pitch was family may be summarised as:
displaced by the interval of a fourth. The space at the Standard single-manual harpsichord;
left hand end of the upper manual was filled with a Chromatic bass-octave harpsichord;
block of wood. These instruments have become known Quint single-manual harpsichord;
as ‘transposing’ doubles. Their method of use and the Standard single-manual harpsichord/virginal com-
reason for this idiosyncratic disposition is beyond the bination;
scope of this article and is discussed fully by O’Brien Standard double-manual harpsichord;
and others. Nevertheless it is clear that the Ruckers Chromatic bass-octave double-manual harpsichord;
transposing double was not greatly liked abroad, even Sub-quint double-manual harpsichord;
though the beauty of tone and appearance of the Standard double-manual harpsichord/virginal com-
instruments was unsurpassed. Accordingly a large bination.
number of the surviving Ruckers doubles show signs Ruckers harpsichords and virginals have a number
of having been altered in disposition so as to give a of decorative features in common. The exterior of the
second set of 8’ strings, and aligned keyboards which case was invariably painted, either in imitation marble,
could be played simultaneously with a different regis- or in a strapwork pattern, and though attractive, the
tration available on each keyboard. Until comparatively marbling technique was somewhat primitive and very
recently it was thought that some of these instruments often in surviving instruments this has been removed
(known as ‘expressive doubles’) had been built in this in favour of a later, and often more exotic design.
way in the Ruckers workshop, but this has now been Perhaps the most characteristic feature was the use of
shown not to be the case. There is no evidence to blocked papers with elaborate designs which were
suggest that ‘expressive doubles’ were made by the applied to the interior surfaces of the instrument, while
family. the soundboards were invariably richly painted (though
There were several special models, of which the first in a variety of styles), and included a rose with a
was a smaller version of the 6-veef harpsichord, of harping figure and the initials of the maker. These vary
nominal 4-veet length, and sounding at a fifth higher in style, and clarity of execution. The keyboards were
than R. The compass and disposition of this instrument, invariably of the same style with keyplates of bone and
which may be described as a ‘quint harpsichord’, were sharps of bog-oak.
the same as the 6-voet model. A wider case version of Ruckers instruments were, and still are, much prized
the standard 6-voef harpsichord was also made, with an throughout Europe, and more recently in the USA,
extended chromatic compass down to C, (one survives and were imitated, and changed, both by musicians, to
with an upward extension to d’), and it is thought that reflect their musical tastes, and by dealers simply for

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 164 RUDLOFF
financial gain. It seems unlikely that further genuine For details of surviving instruments see Part II.
Ruckers instruments will now come to light, since their
worth is well-known, and the study of these instruments © RUELLE, Pierre. Harpsichord maker in Paris, ¢.
has been intense. As an indication of the latter, it may 1700-after 1764. In 1753 he became juré comptable of
be noted that William Dale [Da], writing in 1913 did the Guild of Instrument Makers. Germrg8o gives several
not even include a bibliography, though clearly he must addresses for him, and on p. 440 a map showing the
have relied on some of the early standard reference location of his workshops (and those of his second son,
works. By the 1930's, Philip James [J] was able to Joachim) in relation to those of other builders and
compile a list of some 51 references (excluding dic- musicians of the period.
tionaries and catalogues) the majority being of a general
nature. By 1956 Br contained a bibliography of nearly @ RUELLE, Joachim. Second son of Pierre (the elder
130 references, and three years later Raymond Russell by his second marriage). Harpsichord maker in Paris;
[Rass 1959] raised his total to over 150. In 1965, Frank ¢. 1732-after 1789. Master in 1755. See also under
Hubbard (Hwbbr96s} produced a bibliography of similar RUELLE, Pierre, above.
proportions, and by 1974, Bz contained over 280
references, though admittedly a number of these are to
RUESE. See: KUESE, P.
private communications and not to published works.
By contrast O’Brien, in 1990, set a new standard with
a bibliography of more than 400 references, relating RUETSCHI, Fridolin, of Bitschurl in the canton of
solely to Ruckers, supplemented with a tremendous St. Gall. Lived in Lucerne 1742-1822. In 1784 an
amount of original work. Though quantity is by no advertisement announced that he made ‘Fligel mit
means a measure of scholarship, it is clear that the Federn-werk’—presumably harpsichords [Rind/].
study of the Ruckers tradition has occupied probably
more people and more time than any other branch of RUIVE. Harpsichord maker at Liverpool, probably in
keyboard instrument building, and the fact that such a the eighteenth century. On 11 January 1790 there was
large number of genuine Ruckers instruments survive sold at Christie’s:
(approaching go, second only to the English builder,
Kirkman (q.v.), is an indication of the importance of
Item 36. A fine toned single keyed harpsichord with 4 stops
by Ruive of Liverpool. [Vendor anon.; buyer Yeatman; price
the position of the Ruckers tradition in the study of the £1. 108]
development of plucked-string keyboard instruments.
For details of surviving instruments by all members of the
Rackers family see Part II. RUNGELL, Mattheus. Instrument maker at
Augsburg. Born 1565; still alive in 1622.
RUDLOFF, Rudolph Friedrich Leopold, of Bruns- For details of surviving instruments see Part II.
wick, fl. 1795. He was a journeyman joiner, and obtained
a concession on 21 April 1795 to make keyboard * RUSSELL, Mr. Probably a dealer in musical instru-
instruments, including organs, in spite of the opposition
ments in Calcutta in 1786. See: LONGMAN and
of the Joiners’ Guild [SB, p. 50].
BRODERIP.
RUDOLF, Georg. Clavichord maker of Marlastheim.
The evidence for the existence of this maker rests on RYDER, Charles. Harpsichord maker at 88 Marl-
the survival of one unfretted clavichord dated 1790. borough Street, Dublin, 1800-6 [Teaban).

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 S
S., C. See: SLADE, Charles. in 1971 by the Parisian dealer René Denis [GL, who
considers the instrument genuine].
S., G. The Deutsches Museum, Munich, has a harp- For details of surviving instruments see Part II.
sichord inscribed G.S. a.D. 1729 on the top and bottom
keys, which suggests perhaps either Giuseppe Solfanelli SADRE, Marco. See: JADRA, Marco.
(g-9.) or Giuseppe Si. . . (g.».) as the maker. Another
harpsichord by G.S., dated 1722, is cited by Hubb 196 SALETZ, Nicolaus. Possibly a harpsichord maker in
without a note of its location. southern Germany (? Stuttgart) in the sixteenth century,
For details of surviving instruments see Part II. to judge from an entry in a 1589 inventory of the
instruments at the court of Eberhard III (WVS, Vol.
* S., LE. See: VI...
IES. 21 (1912), pp. 133-7].

S., I. H. An eighteenth-century Italian harpsichord SALO, Giuseppe da. See: SALODIENSIS.

offered for sale at Sotheby’s on 21 December 1972 bears
on the top key the initials JHS with a cross. The SALODIENSIS. Three makers have this final name.
inscription probably stands for Iesus bominum salvator, (1) Alberto, f. 1573. A collection of instruments
not for the maker’s name, but is recorded in the offered for sale anonymously in France (1953) contains
instruments section under I. H. S. a virginal which is said to be inscribed A/berti Salodiensis
For details of surviving instruments see Part II. [PO]PVS and dated 1573.
For details of surviving instruments see Part II.
S., J. An otherwise anonymous English bentside spinet (2) Baptista Carenonus, fl. 1689. The same collection
owned by the National Trust, Upton Park, England, has a harpsichord dated 1689, decorated in black and
bears on the topmost key an ink inscription which gold chinoiserie, with a rose, apparently inscribed
appears to be 4/J 5/1700. The identity of J. S. is not Baptista Carenonus Salilo?|diensis MD CLXXXIX.
known, and though there are a number of English For details of surviving instruments see Part II.
makers with these initials such as John Smith, Joseph (3) Joseph, ff. 1559-64. Several instruments survive
Smith, John Southwell, to name but a few, they all bearing the name J[I]oseph Salodiensis.
appear to have been working later than 1700. Bz stated when referring to this name that one would
For details of surviving instruments see Part II. expect it to be formed from a place-name (? Salé near
Brescia). In fact a Vatican manuscript of 1741 [see:
S., N. V. An Italian ottavino spinet formerly in the Misch-1972) does list an Italian maker of the sixteenth
Berlin Collection bore an inscription including N.V.S. century: Giuseppe da Salé, and though this name has
A. 1757 whose authenticity was regarded by Sa (p. 62) not been encountered elsewhere, the possibility that it
as open to question. refers to Joseph, above, cannot be discounted.
For details of this instrument see Part II. For details of surviving instruments see Part II.

* SAACHI, Camillo. Italian harpsichord maker of SANTINI, A. Spinet maker, thought formerly to be
Campo Marzo, who was crippled. The account books of Arezzo with floruit of 1570 [Va]. As a result of
and alms books of Cardinal Francesco Barberini record research by O’Brien on the surviving instrument in the
payments to this maker between the years 1631 and Brussels Museum of Musical Instruments, which bears
1636 (Hammond, p. 42]. this name, it seems likely that he came from Florence,
or near to that town, and was working around the year
SABBATINI, Galeazzo. Composer and theoretician, 1620. Not recorded in the instrument section is a
was born at Pesaro towards the end of the sixteenth ‘spinetta’ listed in Francl as signed A. Santinus. 1571,
century. [See further Fé, Eit.] He is said to have though the above mentioned Brussels instrument is
invented a harpsichord with enharmonic tuning [A. recorded.
Kircher, Musurgia umiversalis . . . (1650), 1. 460). For details of surviving instruments see Part II.

SABERINO, P. Gasparro. Italian harpsichord maker, SARAISSAC, Frangois, of Lyons. Clavichord maker,
AA. 1612. A harpsichord of this date was offered for sale fi. 1670 [Va].

itizea y Google
 166 SARI
* SARI, Cesar Domini. According to an advertisement
for an auction on 16 May 1989, there was for sale at
‘Le Dominique Boudu’ a wing spinet, bearing the
improbable inscription D. Cesar Domini Sari qum (sie) * SCHADLICH,
Petri Sibi hoc fecit A.D. 1618 Venetia. The Latin is not
easily translatable, and the D. may be short for Donum,
and thus the maker may well be anonymous. The
instrument may well be a fake or have suffered at the
hands of Franciolini.
For details of surviving instruments see Part II.
but also made viols and other instruments, probably
including keyboard instruments [L#].
of Hohenheim. Organ or keyboard
instrument (most probably clavichord) maker of the
late eighteenth or early nineteenth century. The work
of this maker is known only through the list of makers
given by Christian Friedrich Gottlieb Thon, though he
does not single him out for especial praise or esteem.
See entry under THON.

SASSADIAS, Johann Sigismund. In 1740, organist @ SCHANTZ, Johann. Lived in Vienna. Dates ascer-
at the parish church in Brieg. Mattheson praises his tained, 1780-90. He called himself ‘Birgerl. Orgel
skill not only as an organist but also as a craftsman. und Instrument Macher’, which probably includes
He made harpsichords and clavichords (Ge, Fé, Wa]. harpsichords and clavichords. He probably made harps,
guitars, and violins as well [Li]. His work is praised
* SAUER, Carl Gottlob. A harpsichord maker of Dres- as being of especial esteem by Christian Friedrich
den, whose only known date, 1786, is that ofa surviving Gottlieb Thon. See entry under THON.
harpsichord/tangentenflugel. Though this carries his
name, it appears from an inscription (sadly no longer SCHAUTZ, Mathieu. Maker of clavichords, harp-
visible, but verified from a photograph in possession sichords, and pianos, at Augsburg, 1755-1831.
of Peter Andreas Kjeldsberg) that it was most probably For details of surviving instruments see Part II.
made by a cabinet maker called Haucken [dM].
For details of surviving instruments see Part II. * SCHEFFER, Godfried. Harpsichord maker(?) from
Germany, living in Amsterdam in the second half of
* SAUER, of Prague. Organ or keyboard instrument the eighteenth century. In the Amsterdamsche Comrant
(most probably clavichord) maker of the late eighteenth for 24 December 1761, a Godfriedt Scheffer, living in
or early nineteenth century. It is just possible that this ‘de Nes, voorbij de Kuipersteeg naast de Son te
may be the same maker as Carl Gottlob Sauer, though Amsterdam’, advertised a harpsichord with 3 registers
it is more likely that he is of separate identity, being and an ‘extraordinary long keyboard’. The name Scheffer
known as one of the list of makers given by Christian occurs in the Amsterdam marriage registers of 1751
Friedrich Gottlieb Thon, though he does not single and 1778: ‘Gottfrient Schuffer, from Niederorke (Ger-
him out for especial praise or esteem. See entry under many), 35 years old’ and ‘Godfried Scheffer, from
THON. Swalenberg (Schwalenberg, Germany), 36 years old’,
but both without the indication ‘clavecimbelmaker’
SAUMET, Nicholas Joseph. Harpsichord maker in [Gier].
Versailles. A native of Besanc‘on [Verlet].
* SCHEFFER, Johannes (Jan). Harpsichord maker in
SAUMLIN, Anton. See: SOUMLIN, Anton. The Hague in the eighteenth century. The name
occurs frequently in the betrothal registers of that city.
Presumably he settled there in or shortly before 1743
* SAVERIO, Cesare. Italian harpsichord maker of the
when he was listed as a member of the Lutheran
eighteenth century. F/. 1752. He is known only from
Church: ‘Dom VII post trinitatis, Johannes Scheffer
a harpsichord of 1752, which survives in a private
with several attests from Merxheim’. In a notarial
collection in Germany.
For details of surviving instruments see Part II.
document of 24 February 1774, his name is given:
‘Johannes Scheffer, meester claversingelmaker’. The
signature under this document is in the same hand as
SAVEUR, Joseph. Maker of clavichords (‘monocordi’) under his will, drawn up in August 1775 because of
at ‘La leche’ in 1653 [Va]. the death of his wife Anna Geertruij Schultz. He had
married her on 1 August 1745. In the Amsterdamsche
SCAPPA, Petrus, of Milan. Franc] lists a ‘spinctta’ Courant, 1748, no. 30, a harpsichord ‘staertstuk’, by Jan
signed: Petrus Scappa Mediolani 1670. Scheffer was advertised [Gier].
SCHAAR, Timotheus, of Liibeck. Dates ascertained, * SCHEFFERS, . ... (probably SCHEFFERS, Godfried,
1647-50. He lived in M. Andreas Poeleke’s house in or SCHEFFER, Jan). In the inventory of the estate
the Kurze Kénigsstrasse. He was a schoolmaster, of Mr. A. van Heurn, pensionary of ’s-Hertogenbosch,

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 SCHIEDMAYER 167
made in 1762, a harpsichord ‘staartstuk’ with 3 registers are known today, although an early catalogue of the
by Scheffers was listed [Gier]. ‘Pianofortefabrik Schiedmayer’ at Stuttgart recorded a
clavichord made by Balthasar in 1735. Of his 5 children
SCHEIBE, Johann, of Leipzig. Organ and clavichord 3 were sons, all of whom were instrument makers.
maker. Born 1710; still alive 1765 [Ka]. (2) Johann Christoph Georg, born at Erlangen
1740, died Neustadt an der Aisch 1820; eldest son of
SCHENK, Johann Georg. Pupil of J. A. Stein; born Balthasar. Several clavichords from his workshop have
at Ostheim, 1766; maker of clavichords and pianofortes survived. If he made any pianofortes, none are known
at Weimar, where he was Hof-Instrumentenmacher in today.
1817. He died about 1830. (3) Adam Achatius, born at Erlangen 1745, died
Ks (II. 665) quotes an advertisement in Masikalische there 1817; second son of Balthasar, whose workshop
Real-Zeitung (Speyer, 1788) of pianofortes (grand and he carried on. Ce calls him ‘Instramentenmacher’. Only
square) and clavichords: ‘Simple bundfreie Klaviere mit 1 instrument from his hand has survived, a grand
einem hellen singenden Ton, und sehr fleissig und fein pianoforte (now in the Germanisches Nationalmuscum,
gearbeitet von Nussbaumen Holz 8 Karolin.’ A square Nuremberg), whose label on the soundboard reads:
by Schenk dated 1817, formerly in the possession of Adam Achatius Schiedmayer Instrumentenmacher in Erlangen
the Lortzings family, is in the Bach-Haus at Eisenach; 1797. Although it is not certain that he made clavi-
a MS. note by Obrist on the maker’s label gives chords, it is likely that a few came from his workshop
Schenk’s date of birth as 1766 and the fact that he was in his early years.
a pupil of Stein. His work was particularly esteemed (4) Johann David, born at Erlangen 1753, died at
by Christian Friedrich Gottlieb Thon. See entry under Nuremberg 1805; third son of Balthasar, by whom he
THON. The name is occasionally given as SCHNEK, was sent in 1778 as a pupil to Johann Andreas Stein
but this is almost certainly a misprint. in Augsburg. From then until his death Johann David
kept a workshop book recording details of each of
his instruments. Most unfortunately this book was
SCHERI, Fortunato Maria. Son of Adamo Scheri; of destroyed when the premises of Schiedmayer were
Benedello, virginal maker. Dates unknown [Va]. bombed in 1943, although a few passages from it had
been transcribed by Eisenmann.
SCHERZER, «. 1780. Organist at the cathedral of
On the death of his father in 1781, Johann David
Merseburg. He appears to have been a maker of returned to Erlangen, where he set up his own
clavichords as well [Ei#). workshop, being awarded, at some time before 1781,
the title Hoch-fiirstl. Hofinstrumentenmacher Erlangen. By
SCHETZ, Carolus J. (the spelling of the surname is this time he was making mostly pianofortes, but that
not certain), of Bratislava. Repaired, in March 1767, a he still made some clavichords is proved by the bundfrei
number of instruments at the Esterhazy court, including instrument of 1791 formerly preserved by the firm of
2 spinets and a harpsichord (Walter, p. 258]. Schiedmayer in their Stuttgart factory but destroyed by
bombing in 1943.
SCHETZ, Edmonde. Stringed-keyboard-instrument Johann David never had more than one assistant
maker in London, ff. 1587-1601 [Russell 1959, p. 65]. in his workshop—indeed he often worked alone—
although later his sons helped him. His conscientious
SCHEYDEMAN, David. Unknown harpsichord craftsmanship is emphasized by Ge: ‘. . . auch die
maker. In an advertisement in the Avmsterdamsche kleinsten zur Mechanik gehérigen Partikelchen durch
Comrant, 1737, NO. 131, 2 harpsichords were offered for seine eigenen Hinde gehen kénnten. Dafir sind aber
sale: one made by Johannes Couchet and another by auch seine Instrumente von innen und von aussen, firs
David Scheydeman [Gier]. Auge und firs Ohr, das Non plus ultra in ihrer Art.’
Other contemporary accounts of Johann David, cited
SCHIEDMAYER. The house of Schiedmayer, like by Rapp, pp. 52 ff., make it clear that by the 1790s he
that of Broadwood, originating in the cighteenth had reached the front rank of instrument makers.
century as makers of clavichords or harpsichords and In 1797 he moved to Nuremberg, where he was
later of pianofortes, has continued to the present day. joined by a former apprentice of his, Georg Kohlmann,
A full account of the family, with a list of instruments and where he died on 20 March 1805.
surviving from the early times, is given by Rapprecht. Johann David married 3 times. A son of his first
Only 4 members are dealt with here: marriage, Johann Lorenz (1786-1860), carried on for a
(1) Balthasar, born at Erlangen 1711, died there few months the workshop in Nuremberg: ‘Den 30.
1781. Son ofa baker, he worked for some time as a joiner September [1805] habe den Resonanzboden eingeleimbt
and then turned to instrument making (‘Orgel-und an dem ersten Pianoforte, das ich nach dem Tode
Claviermacher’, 1775). No instruments from his hand meines Vaters gemacht habe . . .’ [quoted by Eisenmann].

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 168 SCHIFFENSTEIN
But within a year he had left Nuremberg for Vienna,
where he made friends with Carl Dieudonné, who was
working for Nanette Streicher. In 1809 the 2 moved
to Stuttgart, where they founded the house of Sch-
iedmayer, which still flourishes today.
A portrait of Johann David, owned by the firm of
Schiedmayer, is reproduced in Rapp.
An abridged family tree appears in the Genealogies
section.
For details of surviving instruments by members of the
Schiedmayer family see Part II.
SCHIFFENSTEIN. Keyboard-instrument maker, f.
at Dresden in 1618 [Fia, p. 220n].
* SCHIORLIN, Pehr. Swedish clavichord maker. Dates
ascertained, 1736-1815. Apprenticed to Jonas Wistenius
from 1753, Schidrlin learnt organ and keyboard instru-
ment building and from 1769 was a partner with his
master, whose workshop he took over in 1778 by the
transfer to him of his articles. Though he seems not to
have travelled abroad, he received new inspiration
during his active years from, amongst others, the Abbé
Vogler in about 1790 [H-O].
For details of surviving instruments see Part I].
SCHIRMER, Johann Georg. Was born at Haurdden
in the principality of Schwarzburg-Sondershausen. He
was a pupil of Friederici in Gera for a considerable
time, and later rivalled his teacher in the quality of
his instruments. From 1782 onwards he lived at
Sondershausen, where he built all manner of keyboard
instruments, but especially clavichords and pianos.
The biographer Gerber possessed a large grand piano
made by him.
Schirmer became court instrument maker of Schwa-
rzburg. He died in 1790 [Ge, 1794].
SCHLEGEL, Elias (1), of Altenburg in Saxony, f..
1730. Made lutes, harps, and keyboard instruments
[La]. (Contemporaneously a Christian Schlegel, perhaps
his brother, made wind instruments and harps at Basel
[Vannes].)
SCHLEGEL, Elias (II), of Altenburg. In 1794 (accord-
ing to Nor, p. 149, who refers to the Hambwrgischer
Correspondent for 1794; no. 10) he constructed a com-
bined harpsichord and pianoforte.
© SCHLEGEL, Jeremias, of Basel. Maker of keyboard
instruments; Hirt gives him the surprisingly prolonged
flrxit of 1730-92, and this is confirmed again in Hirt2.
Va records a Schlegel, of Swiss nationality, resident in
Basel as a harpsichord maker in 1794. But there appears
to be some confusion amongst makers bearing the name
Schlegel.
Google
* SCHLETT, Adam. Clavichord maker at Wasserburg
am Inn, in 1769—the date of his sole surviving
instrument, and the only evidence for his existence.
For details of surviving instruments see Part II.
©@ SCHMAHL, Family of German instrument makers,
divided chiefly between Heilbronn, Ulm, and
Regensburg.
(1) Friedrich. The alleged existence of a Friedrich
Schmahl in 1692 at Regensburg, maker of clavichords
and other instruments, is due to the entry in Bz that a
clavichord dated 1692 was formerly housed in the
Bayerisches Nationalmuseum, Munich, in 1883 (recor-
ded by Bierdimpfi in his catalogue), but this has now
disappeared. Hans Neupert considered that it was a
small clavichord in a wing-shaped case, similar to one
in the Neupert Collection. V/dM believes that this
instrument is identical with a similar surviving clavi-
chord, signed C. Friedr. Schmabl in Regensburg 1790. \f
there ever was a Friedrich, who lived at the end of the
seventeenth century, his relationship to the other
members of the family is not known.
(2) Georg Friedrich, the Elder, 1700-73, of Heilbronn
and Ulm. Born at Heilbronn; 1723 in Augsburg; 1729
moved to Ulm. Pupil of his father. Maker of organs
(he built 43) and other instruments. He clearly made
clavichords, for Jeble quotes:
“Ein gut conditioniertes bundfreies Clavier (clavichord) von
contra F bis ins drey-gestrichene f [presumably FF-P] von
Georg Friedrich Schmahl dem dlteren verfertigt’ wird nach
seinem Tode angeboten; sonst ist aber seine Kla-
vierinstrumente nichts bekannt geworden.
A surviving guitar by him inscribed Georg Friedrich
Schmabl, Orgel-und Instrument-macher in Ulm, 1737, is
shown at Herrm, p. 36.
He had 5 sons, of whom Johann Matthius, number
(4) below, by his wife Anna Christina Rihlin, is the
most important.
(3) Carl Friedrich, f. 1790 at Regensburg [dM].
(4) Johann Matthaus, 1734-93 of Ulm. Made organs,
clavichords, pianofortes, and violins. About 1770 he
made-a small number of harp-shaped square pianos
(‘Hammerklaviere in Harfenform’), examples of which
survive in the Wiirttembergisches Landesgewerbe-
museum, Stuttgart (pictured in Josten’s catalogue,
p- 34), in the Rick Collection in the Germanisches
Nationalmuseum, Nuremberg, in the Mozarteum at
Salzburg, in the collection of Dr. Fritz Ernst, Sierne,
Geneva, and in the Colt Clavier Collection, Bethersden,
Kent.
(5) Georg Friedrich, the Younger, 1748-1827, of
Ulm. Pupil of his father. Maker of organs and other
instruments, including clavichords.
(6) Christoph Friedrich, 1739-1814, of Heilbronn
and Regensburg. Married Anna Felicitas Spith, the
eldest daughter of Franz Jakob Spith (¢.».), inventor
 SCHNELLER 169
of the ‘Tangentenfligel’, with whom Cristoph Friedrich late eighteenth or early nineteenth century. The work
Schmahl was in partnership from 1774 until 1793 of this maker is known only through the list of makers
[Hirt2}. See further Herrm. It is possible that it was given by Christian Friedrich Gottlieb Thon, though he
this member of the family who made a tangentenfligel does not single him out for especial praise or esteem.
in co-operation with Spath, now in the Shrine to Music See entry under THON.
Museum, South Dakota [Banks]. His 2 sons were:
(7) Jakob Friedrich, born at Regensburg 1777, died SCHMUZ, Conrad. Goldsmith and harpsichord
there 1819; and maker, born 12 November 1721 at Ziirich, died there
(8) Christian Carl, 1782-1815. 8 April 1771. Son of Leonhardt below (though he also
Christian Friedrich Gottlieb Thon (g.v.) praises the had a brother Leonhardt, 1719-78) [Rind].
work of Schmal (sic) at Ulm and Regensburg, though For details of surviving instruments see Part II.
which particular members of the family he is referring
to is not clear. See entry under THON. SCHMUZ, Leonhardt (or Leonhard). Harpsichord
For further details of the Schmahl family’s activities maker, Kapellmeister in Zirich; born there 1681, the
as piano makers see Hirtz. son of Caspar and Dorothea Schmuz; married on 21
A family tree is given in the Genealogies section. June 1716 A. Magdalena Haussli; died on 19 February
For details of surviving instruments by members of the Schmabl 1769; father of Conrad above [Rindi].
Samily see Part II. For details of surviving instruments see Part II. 1 Ot.

SCHMID, Michel, of Stuttgart, f. 1752. Organ builder
and maker of stringed keyboard instruments [Bossert
in Warttembergische Vierteljabrsschrift fiir Musik, 1900).
SCHMIDT, Johann (Hirtz gives the name as
SCHMID). Born at Strihlingen or Stichlingen in the
Black Forest. He learnt carpentry, and later organ
building from Samuel Oxle of Schénberg. Later he
worked for Stein at Augsburg. In 1785 he became court
organ builder at Salzburg on the recommendation of
Leopold Mozart. Ge (1814; IV. 86) pays great tribute
to his mechanical genius.
Christian Friedrich Gottlieb Thon (g.2.) mentions
him in the list of makers he had met, though he does
not single him out for especial praise or esteem (see
entry under THON) though, according to Fé, [VII.
477), he made pianos and clavichords which apparently
were highly thought of. His one surviving clavichord
exhibits an interesting method of placing the octave
strings on top of the bridge pins.
For details of surviving instruments see Part II.
SCHMIDT, Tobias. According to CIP (p. 71, n. 2) a
German maker and player of the harpsichord who
settled in Paris by 1785 and took the oath of entry into
the Corporation of Tabletiers-/utbiers. He is said to have
devised or recommended, with Dr. Guillotin, the
guillotine ordered by the Assembly in 1789, and to
have charged 824 livres (the price of a good harpsichord)
(Verket}. Germigéo, who provides a latest date of post
1792, gives his address as the rue Dauphine, and on p.
440 shows a map with the location of his workshop in
relation to those of other builders and musicians of the
period.
* SCHNEIDER, of Vienna. Organ or keyboard instru-
ment (most probably clavichord) maker of the late
eighteenth or early nineteenth century. The work of
this maker is known only through the list of makers
given by Christian Friedrich Gottlieb Thon, though he
does not single him out for especial praise or esteem.
See entry under THON.
* SCHNEK, Johann Georg. See: SCHENK, Johann
Georg.
® SCHNELL, Johann Jakob. Dates ascertained, pre
1740-post 1809. Born at Vaihingen an der Enz (Wirt-
temberg) in 1740. Hirtz records him as a maker from
Ludwigsburg. He was trained as a cabinet maker and
then worked for the instrument maker Geissinger (9.».)
of Rothenburg, and later for other makers also; finally
for J. D. Diilcken (g.v.) in Brussels for 6 years. In 1777
he settled in Paris and made harpsichords, receiving
the title of court instrument maker to the Comtesse
d’Artois and the position of citizen-craftsman of Paris;
in 1780 he was living in the rue Saint-Hyacinthe [Bg,
p. 13], and in 1781-9, he lived at the Marché des
Enfants-Rouges au Temple [Germzgé0, who shows on
P- 440 a map with these addresses in relation to other
builders and musicians of the period]. He invented the
antmocorde, in which the keys opened little doors, which
admitted a pressure of wind, causing the strings to
sound (1789). He showed this instrument in Vienna
(1799), and sold it in 1803 to the physicist Robertson,
who brought it to London [Ge, Fé]. He was still alive
in 1809 [Me]. He is not to be confused with the
composer of the same name who was ‘hochfirstlicher
Bamberger Kammer und Hofmusikus’ ¢. 1736; but he
is probably identical with the Schneller listed below.

SCHMIDT, of Ellbogen, Bohemia. Organ or keyboard SCHNELLER. Harpsichord maker in Paris in the
instrament (most probably clavichord) maker of the eighteenth century. On 10 January 1782 there was

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170 SCHOBERT
offered for sale: ‘Claver de Rukers 4 grand rav. avec 4 Wolff Schonat bought a house in 1659 [See: Curtis, p.
registres, jeu de buffles et mécanique pour les crescendo so, under Geerdinx, Hermanus).
et les diminuendo chez le Sieur Schneller, facteur de
clavecin, Marché des Enfants Rouges’ [Bq]. Probably SCHONNAT, Johann Wolfgang. German
identical with Johann Jakob Schnell. seventeenth-century organ builder who also made
stringed keyboard instruments [Mainfrankisches Fabrbuch
SCHOBERT. Ri (p. 81) calls him ‘an ingenious Ff. Geschichte und Kunst, Vol. 19 (1967), p- 99].
mechanic and an elegant composer of music, the For details of surviving instruments see Part II.
inventor of a harpsichord with double bottom, in which
was placed, above the fir sounding-board, a range of SCHORSE, f. 1780. Journeyman instrument maker
strings of two octaves, of considerable size and length, for the celebrated Lemme in Brunswick. He had earlier
to strengthen the bass. These strings were sounded by worked in Strasbourg and Osnabriick [SB, p. 47].
a piece of mechanism brought into action by a range
of pedals’.
* SCHOTT, of Bamberg. Organ or keyboard instrument
(most probably clavichord) maker of the late eighteenth
SCHON, or SCHONE, Anton. German clavichord or early nineteenth century. The work of this maker is
maker, or repairer. A clavichord in the Germanisches known only through the list of makers given by
Nationalmuseum, Nuremberg, bears an_ inscription Christian Friedrich Gottlieb Thon, though he does not
which VdM quotes as Dieses hab ich dir ym Lieb single him out for especial praise or esteem. See entry
gemacht|den 8ten Dezember] Anton Schon|1833. It could be under THON.
that Schén was a builder, but We/don thinks that the
instrument is earlier than 1835—-probably in the third
SCHRAMM, Tobias. Born 1701 at Schandau; latest
quarter of the eighteenth century, and that Schén was
date ascertained, 1750. Organ and harpsichord maker;
a repairer.
pupil of Gottfried Silbermann. In 1742 he obtained the
For details of surviving instruments see Part II. citizenship of Dresden. The date of his latest known
organ is 1749.
SCHON, Johann Emanuel. Clavichord maker, prob- Of his sons, Johann August was a tuner, Johann
ably German, fi: 1748. He is known only from reports Jakob (not to be confused with the organ builder Joh.
of instruments surviving (1990) in the Staatsbibliothek, Jak. Schramm, 1724-1808) was an instrument maker in
Berlin, and at Frankfurt/Oder [Champ]. Berlin, and Johann Christian was a well-known maker
For details of surviving instruments see Part II. of harpsichords, etc. [Fla, Fé].

SCHONE, Anton. See SCHON. SCHRAMM, Johann Christian. Son of Tobias, born
in Dresden, lived in Berlin as a maker of harpsichords
SCHONE, Georg Daniel [Schoene], 1760-1807. Son and clavichords. Dates ascertained, 1768-73. Fla says
of Johann Christian Schone (1713-83) who came from he ‘wurde 1768 Nachfolger Ph. Em. Bachs in Berlin’,
Torgau, Saxony, to Norway in 1750. Georg Daniel was and had a wide reputation as a maker of very fine
admitted to the Joiners’ Guild in Oslo on 10 August harpsichords and clavichords.
1787. Meanwhile he had spent time in London, where Burney refers to him as ‘the son, from Dresden’,
in 1783 he was working for Christian Shean (g.v.). Hirt who ‘resides in Berlin and makes very good harpsichords
finds him in Oslo again in 1793 and he is recorded as and clavichords’.
an instrument maker there in 1801. He died 22
November 1807. Probably related to Schoene, the SCHROETER, Christoph Gottlicb [Amadeus] of
London pianoforte maker, successor to Zumpe. Hohenstein and Dresden, 1699-1782. An organist. One
For details of surviving instruments see Part II. of the claimants to the invention of the pianoforte. In
his boyhood he learned to quill and tune harpsichords,
SCHONAT, Hans Wolff. Possibly identifiable with bur it is unlikely that he made any clavichords or
Johann Wolfgang Schonnat, (below) Hans Wolff harpsichords. For further details of his life, see GD,
Schonat was an organ and harpsichord maker from Fé, Eit, Herrm.
Kitzingen am Main (Germany) who settled in Holland
about 1645. He lived in Amsterdam where he married * SCHUBELE, of Ginzburg. Organ or keyboard instru-
in 1652. He died in or before 1677. [See: Gier p. 274.] ment (most probably clavichord) maker of the late
A Johannes Schonat, born in 1652 in Amsterdam, eighteenth or early nineteenth century. The work of
probably his son, married a daughter of the harpsichord this maker is known only through the list of makers
maker Hermanus Geerdinx (gv.) from whom Hans given by Christian Friedrich Gottlieb Thon, though he

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 SCHWEINEFLEISCH 171
does not single him out for especial praise or esteem. eighteenth or early nineteenth century. The work of °
See entry under THON. this maker is known only through the list of makers
given by Christian Friedrich Gottlieb Thon, though he
SCHUBERT, David. An organ and instrument maker, does not single him out for especial praise or esteem.
whose clavichords had a high reputation. He learnt his
craft from Gottfried Silbermann in Freiberg, and later * SCHWARZ, Franz Xaver. Clavichord maker of Graz,
settled in Dresden, where he built the organ in fi 1796, and also mentioned by Christian Friedrich
the French church (1765) and that in the Dresden Gottlob Thon with the address: Steiermark. Like his
Josephinenstift (1767). He was also responsible for namesake, above, Thon did not single him out for
organs at Herzogswalde and Haynichen. He died at especial praise. His surviving clavichord in the Lan-
Dresden in 1767 (Va says 1769) [Ge (1814); Fd. desmuseum, Graz, carries an unfinished inscription
Franz Schwarz in Gratz 1796, geborig Gottlieb . . . It
SCHULLER, Friedrich. Repaired a clavichord at the would be interesting to know the last word.
Esterhazy court in 1761 and 1764 (Walter, p. 257]. For further information see references quoted in
Stradner as Eberstaller, (1955), 101, Art. Franz Schwarz;
SCHULZE, F. G., of Leipzig. F/. 1794 as a maker of and Suppan, (1966), 526, Art. Schwarg Andreas [Stradner).
‘Klaviere [probably clavichords] and pianofortes’ [Ka]. For details of surviving instruments see Part II.

* SCHUMEYER (SCHUMIJER), Mattia. Harpsichord SCHWARZE. Organ and instrument maker at

maker in Rome, but of German origin. Born ¢. 1754. Dresden, who worked for many years with [? Andreas]
From 1794 to 1795 he was described in the records of Silbermann at Strasbourg. Towards the end of his life
S. Maria ad Martyres as ‘artifice di cembali’. His wife, he moved to Friedrichstadt near Dresden (1748), where
Elena Cristiana, also of German extraction is also he made clavichords which won a high reputation [Ge,
mentioned [Barbieri, p. 154]. 1814].
SCHURRIG, Johann Andreas Christian. Maker of * SCHWARTSBURGH (SWARTSBURG), Johan
harpsichords, clavichords, etc. His father was a court Michael. Organ and harpsichord maker, native of
sculptor. He worked with J. H. Silbermann at Stras- ‘Milhausen’ (Thiringen or Alsace) and who came in
bourg from 1776 to 1780. On 25 July 1780 he 1725 to Leeuwarden as a journeyman of Christian
applied for permission to settle in Brunswick and Miiller (g.v.) to build an organ in the Grote Kerk there.
make ‘musikalische Stuben-Instrumente, als Claviere [= After Miiller’s departure he stayed in Leeuwarden where
clavichords}, Clavecins, Pantalons, Fortepiano’ [SB, p. he married on 29 January 1730. In 1727 he established
so]. his own workshop. The family lived on the Grachtswal.
Schwartsburg did not die before 16 November 1748.
* SCHUMEIER, of Erlangen. Organ or keyboard instru- His 2 sons, who were under age, did not continue the
ment (most probably clavichord) maker of the late business. Some organs by Schwartsburg are preserved.
eighteenth or early nineteenth century. Probably In 1760 a schoolmaster in Leeuwarden advertised a
deceased by 1817, but whose instruments were thought harpsichord ‘staartstuk’ of 3 registers, made by M.
to be worth mentioning by Christian Friedrich Gottlieb Schwartsburg. The instrument was to be rented or sold
Thon. See entry under THON. [Gier].

* SCHUTTE, Hans. Clavichord maker of Hamburg, /.. * SCHWEINACHER, of Landshut. Organ or keyboard
1734. The existence of this maker is known only from instrument (most probably clavichord) maker of the
one surviving instrument of his make dated 1734, in late eighteenth or early nineteenth century. The work
the Skaraborgs Lansmuseum [Bemmann]. of this maker is known only through the list of makers
For details of surviving instruments see Part II. given by Christian Friedrich Gottlieb Thon, though he
does not single him out for especial praise or esteem.
®@ SCHWANDTNER, Carl. Organ and clavichord See entry under THON.
maker of Graz, fl. 1782. A surviving clavichord in the
Landesmuseum in Graz carries a label Car/ Schwandtner, SCHWEINEFLEISCH, Johann Christian Imman-
Orgel-und Instrument macher in Gratz anf den Gries Wobnbaft uel. German maker of organs and clavichords in
172. Leipzig, where he was Universitats-Orgelbaner. Dates
For details of surviving instruments see Part II. ascertained, 1731-92. From 1731 to 1739 he was a pupil
of his uncle the organ builder Gottfr. Heinr. Trost of
* SCHWARZ, of Salzburg. Organ or keyboard instru- Altenburg. In 1740 he worked with Joh. Gottfr.
ment (most probably clavichord) maker of the late Hildebrand on the renovation of the organ at St.

'y Google
172. SCHWEINS
Wenzeslaw, Naumburg, and from 1755 onwards inde- ©@ SEEDE, Bruce. Harpsichord maker. Lewin’s Mead,
pendently as an organ builder in Leipzig. In 1768 he Bristol. Dates ascertained, 1753-72 [J]. He is better
built the organ of the Reformed Church there, and in known as an organ builder [Swm], and it is noteworthy
1772 that of the Thomas-kirche, which was dismantled that he shared the same address as Henry Miller (9.v.).
in 1887 [Forkel’s Musikal. Almanach, 1782).
SEGAER, Passchier [Segar, Segaert, Chegaer]. Harp-
SCHWEINS, Johann, of Darmstadt, f.. ¢. 1800. Made sichord maker, born about 1573, who moved in 1595
guitars, lutes, harpsichords, clavichords, and pianos from Bondues near Lille to Leiden, where he became
[La, Go. a citizen on 16 February 1609. See further Cwrtis,
Pp. 60.
SCHWINGSTEIN, Johann Michael. Keyboard-
instrument maker in Heutingsheim (Swabia), ¢. 1799. * SEIDEL, of Vienna. Organ or keyboard instrument
At first he worked for the cabinet maker Réntgen at (most probably clavichord) maker of the late eighteenth
Neuwied, but his interest in instrument making led him or early nineteenth century. The work of this maker was
to Stein’s workshops, where his skill was such that he particularly esteemed by Christian Friedrich Gottlieb
was entrusted with the making of whole instruments Thon. See entry under THON.
from start to finish [Ge, 1814].
* SEIFFERT, of Wiirzburg. Organ or keyboard instru-
SCOTTI, Antonio. Harpsichord maker of Milan, f. ment (most probably clavichord) maker of the late
eighteenth or early nineteenth century. The work of
1753. this maker is known only through the list of makers
For details of surviving instruments see Part II.
given by Christian Friedrich Gottlieb Thon, though he
does not single him out for especial praise or esteem.
SCOULER, James, the Elder. Maker of spinets and See entry under THON.
harpsichords in London. Dates ascertained, 1762-82,
the latter being the year of his death. J (p. 75) gives SELLIER, Jean. Born ¢. 1597; died after 1676. In 1611
the dates ascertained as 1762-88; but on 11 December he was apprenticed to Pol Belamy II (g.v.). In 1662
1782 letters of administration of the goods and chattels Nicolas Dubuc, who had been apprenticed to Jacques
of James Scouler ‘of St. George’s Bloomsbury, Regnault (q..), transferred to Sellier (g.v.). There can
widower, deceased, were granted to his son, also called be no doubt that he made harpsichords [Verlef].
James Scouler, who [J, p. 75] was a painter of
miniatures. From 1762 to 1765 he lived in Great
Newport Street [RB.A]; and in Un (1763) his name SELLIER, Louis. Born ¢. 1625, a much younger
appears as a harpsichord maker. He may have been half-brother of Jean. Maker of instruments, probably
connected with, or identical to, the music publisher J. including harpsichords, in Paris [Verled].
Scouler who flourished in 1759 in Duke’s Court [He?S].
In the Shudi account-books there is an entry against 5 © SELLIER, Nicolas. Born before 1630; died after 1701.
March 1772: ‘Sold Mr. Hullmandel a harpsichord made Harpsichord maker in Paris, a relative of Jean and
by Scouler for 25 guineas’ [Da, p. 73]. Nicolas. According to Germrg8o, he lived in the cul de
Scouler also made combined instruments. There was sac de la rue Beaubourg in 1666, and subsequently in
sold at Christie’s on 9 October 1792: 1701 was to be found in the rue Jean-Pain-Mollet. In
1674 he became a member of the Guild [Verlet].
A capital fine toned harpsichord with piano Forte containing
2 complete distinct stops with set of keys to each, and pedal,
by Jacob Scouler, in 2 neat mahogany case [Vendor anon.; SELLS. Harpsichord maker, fl. ¢. 1750, London.
buyer Sir Archibald Murray; price nine and a half gns.). ‘Mr. Sells, Harpsichord-maker’ appears among the
subscribers to John Travers’s Eighteen camzonets
For details of surviving instruments see Part II. (London, ¢. 1745; another edition ¢. 1750).

SEAT, Christoph. A misreading of Fecit in Christoph
Fecit. . . See: CHRISTOPH.
SECRET, Jean de [? Segret]. Organist and maker of
instruments, probably including harpsichords. He lived
in the parish of Saint-Jacques-de-la-Boucherie, Paris,
towards the end of the eighteenth century [Ver/et, based
on Les]. Laborde gives ‘Segret’.
SEMLIN, Anton. See: SOUMLIN Anton.
SENFT, Ignace Joseph. Eighteenth-century maker of
organs, pianofortes, and harpsichords at Augsburg. Sa
(p. 81) records a square pianoforte with the following
inscription (of uncertain grammar): Ignace Joseph Senft]
faiseur @ Orgues de Clavecins de forte-pianolgrands et Petites
et de forte-piano Vis a Vis|a Augsbonrg.

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 SHUDI 173
SENTIS, Gerolamo de. See: ZENTIS, Girolamo de. the continuance of their favours, as they may depend on being
well and exactly served.
SERMANNI. See: FERMANNI. For details of surviving instruments see Part II.

SHEDE, Benjamin. See: SLADE Benjamin.

* SEUFFERT, of Vienna. Organ or keyboard instrument
(most probably clavichord) maker of the late eighteenth SHEENE, Christian. See: SHEAN, Christian.
or early nineteenth century. The work of this maker was
particularly esteemed by Christian Friedrich Gottlieb SHUDI. The anglicized form of the Swiss-German
Thon. See entry under THON. Tschudi; surname of a family of harpsichord makers.
(1) Burkat, the Elder (1702-73). Famous harpsichord
SEXTUS, Mutinensis. See: TANTINI, Sesto. maker and founder of the house of Broadwood,
pianoforte makers. His instruments are inscribed Barkat
Shudi, but his name was originally Burkhardt Tschudi,
© SHEAN, Christian. Harpsichord and spinet maker, of the Tschudis being a noble family of the canton of
London until about 1760 and thereafter of Edinburgh. Glarus in Switzerland. William Dale (who did much
Shean is recorded at New Street, Canongate, Edinburgh, valuable research on Shudi’s life, and whose monograph
from at least February 1772 until his death in 1794. on Shudi [see: Da] should be consulted for further details,
Born 1711 or 1712; died in Edinburgh on 14 September as should the early chapters of David Wainwright's book
1794, aged 82 years, In 1777 he is recorded [Williamson's on Broadwood [see: Wain), explains that Shudi’s father,
Directory of Edinburgh| as ‘harpsichord and spinnet Joshua Tschudi, wool-merchant and surgeon, was a
maker’ and in 1784 as ‘harpsichord maker’. He figures councillor of Schwanden, Glarus, where Shudi was
also in 1776 in Shudi’s account-books: ‘Mrs. Battman born, and that his mother belonged to the Elmer family.
of Hampstead bought and received a single keyboard Shudi came to England in 1718 as a journeyman
harpsichord made by Sheene’ (ShJ/, 9 August 1776). joiner, having been taught this trade by his uncle,
John Reid [New Lights on Old Edinburgh, 1894, p. whose name was also Joshua. (The reasons for the
165] refers to a ‘musical instrament maker, Christian migration of Shudi, and others who were to become
Shean, lately arrived from London’, advertising in 1761 celebrated English instrument builders, from this area
[Edinburgh Courant] that she ‘made and sold all sorts of of Switzerland, are to some extent dealt with by Dale,
harpsichords and spinets, etc.’ There appears to be no and Wainwright, but there is still much historical
other evidence suggesting that Shean was a woman. research to be carried out on this matter.) Within a
Reid seems to be in error in his reference, for no such short time Shudi took to harpsichord making, and
advertisement appears to be in the volume of the worked for Hermann Tabel (4.».), who lived in Oxendon
Edinburgh Courant for 1761. Street off Piccadilly—a Fleming who, according to J. S.
Cranmer] in his thesis underlines the fact that there Broadwood’s notes (1838), had derived his style from
are only five instrument makers known in Edinburgh the Ruckers tradition, which, transplanted here, was to
from the middle of the eighteenth century, and that enjoy a second flowering in the great English school
these, Livingstone, Johnstone, Logan, Horsborough, of harpsichord making, represented chiefly by Kirkman
and Shean appear to have been involved almost exclus- and Shudi. It seems likely that by 1723, when Tabel
ively in spinet making. He reports further that ‘the announced his intention to retire, Shudi had already
market for new, Edinburgh-made instruments was not been working for him for some time. When Shudi left
sufficient to support a high degree of specialisation, as Tabel and set up on his own account is not known,
illustrated by Shean’s various activities’ quoted in an but he had certainly taken this step by 1729, for a
advertisement in the Edinburgh Evening Courant of 29 harpsichord made in that year and bearing Shudi’s
February 1772: signature survives. This harpsichord, which is now
(1992) in Japan, is particularly interesting, for it bears
CHRISTIAN SHEAN—Harpsichord and Spinnet Maker from on the back of the nameboard the inscription: Questo
London, having moved from Upper Playhouse Close to the cimbalo ¢ dela Sigra Anna Strada, 1731 London, and might
New Street, north side of Canongate, continues as usual to possibly have been given to that celebrated singer by
MAKE and SELL all sorts of Harpsichords and Spinnets.
Handel, who was a friend of Shudi’s.
Also Tunes, in Town or Country, and repairs Harpsichords The earliest known business record of Shudi occurs
and Spinnets in the best and carefulest manner. He likewise
hires out per quarter, month or year, Harpsichords and in the diary of John Hervey, 1st Earl of Bristol (1688—
Spinnets, at the very lowest prices, in Town or Country, and 1742), under the date 11 April, 1733: ‘Paid B. Shudi
teaches young Ladies to Tune them according to the easiest for tuning the harpsichord, 17/6’, which may well have
method. He also buys and exchanges second-hand Harp- been for 7 tunings (at 2/6 each) during the previous
sichords and Spinnets for new ones./Christian Shean returns year. Some time between 1728 and 1732 Shudi married
his grateful acknowledgements to his customers and hopes for Catherine, daughter of Hans Jakob and Salome Wild,

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 174 SHUDI
natives of Schwanden, who had already settled in On this occasion the nine-year old Mozart played the
London by the time he arrived there. (Catherine Wild, 2-manual harpsichord of five-and-a-half octaves compass
1704-¢. 1758, was descended from Anna Zwingli, sister (numbered 496), which Shudi presented to Frederick
of the Protestant reformer.) It seems likely that the the Great the following year. Frederick must have been
marriage took place about 1728 or 1729, for at this well pleased with this gift for later in the same year he
time Shudi had set up on his own, and it is reasonable commissioned z more such harpsichords from Shudi,
to suppose that this step had been made possible by which, numbered 511 and 512, were housed at Potsdam.
some financial help from Jakob Wild, who was a These two instruments were (perhaps the earliest to be)
Prosperous merchant. fitted with the machine-stop, though neither had the
In 1739 (according to the rate-books of the parish Venetian swell. (See below for descriptions of both
of St. Anne’s, Soho) Shudi took up his residence at devices.)
no. 1 Meards Street, off Dean Street, one of the row In 1761, neatly 20 years after Shudi’s removal to
of handsome houses on the south side of the street, Great Pulteney Street, the young Scottish cabinet maker
which still stands today (see: Survey of London, Vol. John Broadwood (q.v.) began to work for him. This
XXXII, and illustration in Da/e). Here also Handel’s craftsman followed the traditional course of marrying
business manager and friend, Schmidt, who anglicised (in 1769) his employer’s daughter Barbara (bapt. 1748,
his name to John Christopher Smith, lived at no. 18. d. 1776), and later in the same year was taken into
Handel, whose friendship must have been of great value partnership by his father-in-law. Thenceforward the
to Shudi in promoting his business, was a frequent firm’s harpsichords normally bore the inscription Burkat
guest at his table, and owned a harpsichord by him Shudi et Jobannes Broadwood, though a few (such as
(see: note below). number 639 dated 1771) were sent out bearing Shudi’s
Shudi remained in Meard Street until 1742, when name alone. In March 1771 Shudi retired to a house in
according to the Daily Advertiser (5; October) he Charlotte Street, not far away, where he died on 19
‘removed Meard’s Street in Dean Street Soho to Great August 1773. In his will John Keble, the organist of
Pulteney Street, Golden Square’, where his house was St. George’s, Hanover Square, in succession to Thomas
occupied by his descendants the Broadwoods until 1904. Roseingrave, is named as one of the beneficiaries, while
About 2 years after this removal the portrait of Shudi Schnetzler, the organ builder, was left the ring which
and his family, which was recently given by the Frederick the Great had presented to Shudi in appre-
Broadwood Trust to the National Portrait Gallery, and ciation of the 2 harpsichords made for the Palace at
which is reproduced (in monochrome) as a frontispiece Potsdam. Provision was also made for other members
to Dale, and (in colour) between pp. 104 and 105 in of the family and for John Broadwood and his wife,
Wain, was painted. The work was formerly attributed Barbara (see article on Broadwood). On the day after
to Philip Mercier, whose portrait of Handel is well his death the harpsichord made for the Empress Maria
known, though Hogarth, Zoffany, and Knapton have Theresa and numbered 691 was sent on board ship for
at times also been suggested as the artist. In fact, the Vienna. Two years later another was sent to the same
staff of the National Portrait Gallery in 1989 identified city for Joseph Haydn.
Marcus Tuscher, a German, known to have been After Shudi’s death his son Burkat took his father’s
place in the partnership (Broadwood being now the
working in London ¢. 1742 as the artist. Shudi is
controlling partner) until about 1792 (pace Hipkins,
represented tuning a large harpsichord of his own make,
while his wife Catherine is taking her tea and their 2
who places the withdrawal of the younger Shudi about
sons Joshua and Burkat stand nearby with the cat. 1782). During the second half of the century Shudi’s
fame spread to the Continent, so that Gerber makes a
Shudi took for his sign at 33 Great Pulteney Street
brief mention of him in his Hist. biog. Lexicon d.
the Plume of Feathers, a reflection of the patronage of
Tonkiinstler (1790-2): ‘Schudi: Instrumentenmacher zu
Frederick Prince of Wales; while the house in Broad
London, ums Jahr 1772, ist vorziiglich wegen seiner
Street, Carnaby Market, of Jacob Kirkman, who in
Fliigeln berihmt.’ As a result of the excellence of
earlier years had worked with Shudi under Tabel, bore
the sign of the King’s Arms—a reminder of the
Shudi’s instruments they were obviously in demand at
home and overseas, for the order books show exports
unfriendly relations between George II and his eldest
of harpsichords, to Paris for Clementi, to Russia (1772-
son. The 2-manual harpsichord made by Shudi for
3), to Oporto—-probably for sale in Spain and Portugal,
Prince Frederick in 1740 still survives, and may be seen while Mrs Hamilton’s instrument in Naples was said
in Kew Palace.
by Burney (not surprisingly when one listens to the
An entry in Leopold Mozart’s diary of his visit to
very different sound of Italian instruments) to be
London with Wolfgang, apparently July 1765, reads: regarded locally as a phenomenon.
Mr Tschudi Claviermacher in Pulteney Strect near Brewer Since almost all the extant Shudi harpsichords are
Street. [Reproduced in Leopold Mozart’s Reise- Aufzeichnamgen both numbered and dated, it is possible to trace the
1763-71, edited by A. Schurig, Dresden 1920.] expansion of his business. In this connection, it should

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 SHUDI 175
be noted that Thomas Green (g.v.) of Hertford, whose March 1777), and Kirkman (16 May 1775, 13 November
workbooks give records of his tunings in the Hertford 1783). On 9 October 1773 Shudi sold some ‘brass wire
area, mentions several Shudi harpsichords which are for a clafcord’, gauges 3, 4, 5, 6, 7, 8, 9, 10, 03. Familiar
(so far as is known) no longer extant. In the period names such as Hullmandel, Gainsborough, Reynolds,
1763-8 he tuned for Mrs. Carter of Warliss an instru- Avison, Morland, occur. The firm sold individual parts
ment described as ‘Burkat Shudi No 100 Fecit Londini of harpsichords, ¢.g. 6 soundboards (21 October 1782),
1740—2 Unisons and Lute’—a rare but not entirely crow and raven quills (28 June 1784), flannel for
unknown specification. In 1772 he tuned for Mrs. dampers (26 August 1784), keys, jacks and ‘sockets’,
Watson of Northaw ‘Burkat Shudi Fecit 1741 No 105’, tongues, machine-stops, and bridges, also such tools as
and in 1779, for Miss Willis of Oigswell, ‘2 Unisons pliers for making loops (28 June 1784) and tuning forks
Octave and Lute, Peddel, Burkat Shudi No [blank] (of which a set was sold on 26 August 1784) and even
London 1741’. For Miss Welch of Cheshunt in the other instruments altogether, ¢.g. guitars (13 January
period 1750-62 he tuned Burkat Shudi No 298 Londini 1776) (see also the article under Broadwood). Harp-
Fecit 1753, and in 1779 he tuned Joshua Shudy 2 Unisons sichords were also frequently hired for concerts and for
Lute Octave for Mrs. Werg of Cow Bridge, Hertford. longer periods, and payments for tuning harpsichords
It also appears from his records that he tuned a ‘spinnet’ are recorded. Besides harpsichords, Shudi made cla-
in 1774 which he described as being by ‘Burkat Shudi viorgana (combined organ and harpsichord but often,
No 377, 1758”, but the entry may in reality refer to a in the eighteenth century, termed as ‘organized harp-
harpsichord in the house of Mrs. Amyand, Stevenage sichords’). William Tans’ur [The Elements of Musick
Parsonage, where there was also a spinet which was Display'd, London, 1772.] mentioned that Shudi prob-
tuned at the same time [She/drick]. It is interesting that ably built harpsichords to go with organs by Samuel
the number of harpsichords built each year by the firm Green and Snetzler. On 11 June 1800 there was sold
increased steadily right up to the time—in the middle at Christie’s: ‘an organized double keyed harpsichord
seventeen-nineties—when the harpsichord was effect- by Shudi’ [vendor the Duke of Leeds; buyer Smith;
ively ousted by the pianoforte. Thus during the decade price 13 gns.]. In 1988, Martin Renshaw reported that
1740-9 the average yearly output of harpsichords was in The Organ of 1838, no. 213, p. 45, it was stated that
13; from 1750 to 1769 it was 15; 1770 to 1779, 23; and a claviorganum signed jointly by Shudi and Snetzler
1780 to 1789, 25. The average yearly output over the dated 1731 had been seen at Moresby Hall in Cumbria.
whole half-century 1740-90 was 20 harpsichords. Sadly, careful research in that area has failed to bring
A contemporary printed label, observed by Frank this instrument to light. There is, however, evidence
Hubbard on one of the keyboards of the Shudi that the ¢. 1743 Shudi harpsichord at the Smithsonian
harpsichord numbered 955, may record one of Shudi’s Institution, Washington, was once the upper part of a
sources for ivory. It reads: ‘William Drane/Comb claviorganum since there is a slot in the baseboard
maker/(no 25) Aldgate Street/makes and sells all sorts under the distal ends of the keys, the ends of which
of Ivory, tortoiseshell, horn and Boxcombs, wholesale are covered on the underside with leather pads to mate
and retail sells also Ivory, Bone and Hard-wood-Turn’— with the upper ends of organ stickers.
(the rest wanting). \t may even be a label for the keyboard. In addition to the 3 children already mentioned,
Hubbard notices in this connection, that Messrs Pratt- Shudi had by Catherine Wild a daughter Margaret, who
Reed, the largest American keyboard manufacturers died in 1778. Soon after Catherine’s death he married
today, started as ivory comb makers early in the an Elizabeth Meier, who bore him a daughter, also
nineteenth century. named Elizabeth, and survived him by 30 years.
The price about the year 1770, of a single-manual (2) Burkat, the Younger (c. 1738-1803), younger son
Shudi harpsichord with two 8’ stops was 35 guineas, of Burkat the elder. After his father’s death in 1773 he
with a 4’ stop, 40 guineas; with swell also, 50 guineas; took his place in the partnership with John Broadwood,
a 2-manual harpsichord with swell was 80 guineas, though as junior partner. Exactly how long this
though of course special models were sometimes made partnership continued is uncertain. Hipkins places its
at a greater price, such as that made for Haydn, which dissolution about 1782, but it was probably about 1792
cost £110. The last harpsichord made at Pulteney Street, that Burkat the younger withdrew, for a harpsichord
in March 1793, for Henry de la Maine (Shudi’s agent dated 1791 bears the names of both of them, while a
in Cork), cost £84. solitary harpsichord signed by Broadwood alone is
Several account-books of Shudi, and later Broad- dated 1793.
wood, have survived, affording interesting sidelights (3) Joshua (1739-74), a nephew of Burkat the elder,
on their work and workshop [see: ShBa; ShJi; and Sh2: being the son of Shudi’s elder brother, Nicholas (born
4). Thus, they had 2 Ruckers harpsichords, which they 1700, of Schwanden, and later London, when he stayed
used to hire out in addition to their own instruments. with Burkat, then Holland, and finally America, where
They also dealt in harpsichords by other makers, e.g. he died in 1760). Joshua apparently spent a short time
Scouler (5; March 1772, 20 March 1777), Tabel (18 at sea and then came to work for Shudi in 1761. His

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176 SHUDI
work, however, was not satisfactory, and an affidavit for example was the case in the instrument made
sworn on 12 January 1767 by John Broadwood and 2 for Prince Frederick. Shudi, however, included the
other men who had at one time worked for Shudi states penultimate FF¥ lower key in his instruments much
that Joshua ‘during the whole time he lived with the earlier than Kirkman whose instruments continued
said Burkat Shudi never did begin and finish any one without it until some time between 1781 and 1785.
harpsichord’ [S&-A/]. Shortly before this, probably Shudi, unlike Kirkman, from at least 1765, extended
towards the end of 1766, Joshua had set up on his own the compass of some of his instruments from the
in Silver Street, Golden Square, at the sign of the Golden standard five-octave FF-f down to CC in the bass to
Guitar, relations having become strained between his give five-and-a-half octaves, and it may be this which
uncle and himself. On the same day as the above has given rise to some misunderstanding concerning
affidavit was sworn he put a notice of some length in the instrument owned by Handel, which is the subject
The Gazetteer defending himself and inviting the nobility of a notice in the Morning Herald, London, in 1788
and gentry to his apartments where they could see (quoted by F, p. 42): ‘Handel’s Harpsichord, at Mr.
‘harpsichords of my own making’. See further Da, pp. Cross’s opposite the Town Hall, Oxford. On Thurs.
51 ff. In 1775 his widow, Mary Shudi (by whom he the 26th June 1788, at two o’clock in the afternoon. A
had one daughter, Rose) announced in the Pwblic capital double Key’d HARPSICHORD by BUREAT
Advertiser her intention of carrying on the business, (sic) SCHUDI, made for the Immortal Handel and used
which she did in Joshua’s name. Only 2 harpsichords by him till his death, at the different Concerts in
bearing his name, dated 1773 and 1776, have survived London. It consists of four stops, which are as follows:
into modern times. A ‘double-key’d harpsichord by two unisons, an upper and lower octave, has a powerful
Joshua Shudi’ was sold at Christie’s on 16 April 1792 tone and is well calculated for Concerts.’ There has,
for £10. 125. Joshua’s sister Anna Margaret married the naturally, been some speculation that a ‘lower octave’
harpsichord maker Zopfe of Schwanden and London. might refer to a 16’ stop, though the fact that no other
(4) Bernard (f. 1769). The only evidence of the English instrument (with the possible exception of a
existence of this maker is a harpsichord which in 1974 much later instrument by Merlin (¢.v.)) is fitted with
was in the possession of Edgar Lister. The nameboard such a stop, makes it seem very unlikely that this was
bears the legend Bernardus Shudi Londini Fecit 1769, and
the case. The possibility, however, cannot be ruled out
on the back is the signature Bernardus Shudi 1769. In
style the instrument is very similar to those of Burkat,
completely. There are 3 other feasible interpretations,
the first being that the instrument was in fact one of
except that it has a gilt rose in the soundboard giving
the five-and-a-half-octave, CC-f compass, instruments
the initials BS and a harping angel. That Bernard was
noted above, which might have been regarded by an
related to Burkat Shudi is beyond doubt; but the
relationship remains a mystery; and it is strange that organist as equivalent to a harpsichord with a 16’ stop
Burkat makes no mention of him in his will (proved 3 (cf. the harpsichord with a ‘deepened bass’ which
September 1773), unless Bernard had predeceased him, Kirkman (g.v.) undertook to provide for Fulke Greville).
or the two had not been on friendly terms [Da, Shudi’s Or the term ‘upper and lower octave’ might mean that
will; RB}. the 4’ stop was available from both manuals. This again
A family tree is to be found in the Genealogies is unlikely and one last possibility suggests itself, that
section. the instrument, as would have been most likely, had a
lute stop, and this, with its thin nasal tone was regarded
The Instruments. The affinity of Shudi’s harpsichords by the writer of the announcement as being equivalent
with the surviving harpsichord by Herman Tabel is to the ‘upper octave’. Unhappily the instrument has
obvious, from his earliest instrument, to that of the last not survived.
Broadwood harpsichord of 1793. In external case style, Shudi’s double-manual harpsichords often included
layout of the string band, scale, specification and general a ‘machine stop’ (possibly invented specifically for
concept, the influence of Tabel can be seen in almost Frederick the Great’s instruments) which, when
every instrument produced by an English builder from engaged, by means of a knob inside the left cheek-piece,
1729 onwards. is operable by a pedal. When the pedal is not depressed,
Both Kirkman and Shudi produced several standard the dog-leg 8’ is playable from both manuals, and the
instruments, including a single with 2x8’ stops, a single 4’ is also engaged on the lower. The second 8’ may or
with 2x8’, 1x4’, and a double with a dogleg 8’ available may not be available on the lower manual, and is
from both manuals, a second 8’, and a 4’ available on worked by its normal handstop. Depressing the pedal
the lower manual (1), and usually an 8’ lute available removes the dog-leg 8’ from both manuals, and replaces
on the upper manual (II). There is usually a harp stop it on the upper with the 8’ lute, and on the lower with
available, which on some instruments can be operated the second 8’ (provided that the player has taken the
by a pedal. The standard compass, like that of the forethought to engage it beforehand). This device
Tabel, was in the earliest models FF,GG-f, and such, appears to have been added to permit the playing of

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sudden or possibly gradual crescendos and decrescendos
(see Rip Expr).
Shudi is known also as the inventor of the Venetian
swell (which received its apt name later) and which he
patented on 18 December 1769. (The Dublin maker F.
Weber was fitting a similar but inferior mechanism to
his harpsichords at about the same time.) It consists of
an inner lid to the harpsichord, covering the whole
soundboard area, and made up of slats which can be
raised and lowered by means of a pedal, thus increasing
or diminishing the volume, and incidentally altering
the timbre. It was probably invented as a counter to
Kirkman’s expressive ‘lid (or more appropriately called
nag’s head) swell’. Traces of such swells can be found
in Kirkman’s instruments as early as 1754. Ten guineas
was the price for the attachment of a Venetian swell to
a Shudi harpsichord; it soon became popular, and was
later transferred to the organ, to which instrument it
was in fact better suited.
Burney states that Shudi’s harpsichords were more
durable than those of his rival Kirkman—a statement
which it is now impossible to verify. The fact that
more than twice the number of Kirkmans survive
against those bearing the name of Shudi affords no
indication, since the house of Kirkman was much bigger
and produced many more instruments. Burney may
have been referring to the tendency of the cases of
Kirkman harpsichords to ‘curl up’, though this may be
a more recent phenomenon, brought about by restorers
who have used over-heavy strings. Certainly several
instances of severely distorted Kirkman harpsichords
are now to be seen (perhaps the worst being the
single-manual harpsichord owned by the Smithsonian
Institution) though the case construction used by both
makers is very similar, while the workmanship of the
action of both makers is exemplary. It would seem
unlikely therefore that Burney was referring either to
tuning stability, or to durability of the action.
Shudi harpsichords do not have a rose (except in the
case of the instrument by Bernard Shudi) and the
arrangement of the stop levers is different from
Kirkman’s.
Instances of lavishly decorated Shudi harpsichords
still exist, and the Frederick the Great instruments were
truly fine examples of the development of the restrained
cross-banded cases so typical of the eighteenth-century
English school. But the number of Shudi keywells with
elaborate intarsia is much less than is the case with
Kirkman.
The most important difference is in the lute-stop,
which in Kirkman harpsichords has a more characteristic
nasal tone, the string being plucked nearer to the nut.
Burney preferred the Shudi tone. It is difficult to be
precise about the tonal differences of the instruments
of Kirkman and Shudi. So rarely can an example of
both makers’ harpsichords, in correct playing order, be
heard side by side—and indeed the term ‘correct playing
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SILBERMANN 177
order’ is only relative. Voicing and regulation are such
individual matters that they can rarely, if ever, allow
an objective comparison. From time to time, doubt is
cast on Hubbard’s claim [Hubb 196s] that Shudi and
Kirkman harpsichords represent ‘the culmination of the
harpsichord maker’s art’, and that ‘for sheer mag-
nificence of tone, reedy trebles, and sonorous basses,
no other harpsichords ever matched them’. Despite
this, there can be little doubt that these instruments
have a claim to be amongst the finest made by any
builders of the classical period.
For details of surviving instruments signed by members of the
Shudi family, and by Shudi and Broadwood, see Part II.
SI. . ., Giuseppe. A clavichord in the Leipzig
University Collection bears this inscription which is
now thought to be the signature of Giuseppe Solfanelli
(9.».).
SICULO, Marco. Sixteenth-century virginal maker,
presumably Italian though perhaps of Sicilian origin.
Misch-1979 II suggests that Marco Siculo = Marco
Jadra. Hirtz records the name as Marcus Siculus, with
a date of 1540.
For details of surviving instruments see Part II.
SIEGMULLER, Heinrich Adam. Maker of keyboard
instruments in Berlin, ¢. 1793 [Ge]. He may have made
clavichords.
SIERCKS, Martin, of Libeck. Dates ascertained, 1712—
14. Maker of keyboard instruments [L4].
SILBERMANN. A name famous in the history of the
organ and other keyboard instruments. Two members
of the family were concerned particularly with the
harpsichord, clavichord, and related instruments:
(1) Gottfried, 1683-1753, outstanding member of the
Silbermann family, builder of organs, harpsichords,
clavichords, and pianofortes, was born at Klein-
Bobritzsch in Saxony on 14 January 1683. He was a
pupil. from 1702 until 1709 in the workshop of his
brother Andreas at Strasbourg, deputizing for him
1704-6 during his absence in Paris. In 1710 he settled
at Freiburg in Saxony.
He paid great attention to his store of old and mature
wood. The Schlesische Provincialblatter (Vol. 2, 1785, p.
439 1.) tell us that ‘as he travelled from village to
village mending the pews in the churches for the
peasants, he took away their old pews, which were then
over 100 years old, instead of payment’.
C. P. E. Bach had a Silbermann clavichord, and his
rondo Abschied van meinem Silbermann’ schen Clavier (1781)
depicts his sorrow at parting with it. A celebrated
passage in Burney (Present State of Music in Germany .. .,
and edition, 1775, 1. 269) describes C. P. E. Bach
178 SILBERMANN
playing it in 1772. (Welcker von Gontershausen’s the note on account of the double length of the string,
New-eréffnetes Magazin . . . musikalische Tonwerkzenge, and commends this problem to the attention of a
1855, p. 107, seems to be the authority for the statement ‘geschickter Kiinstler’ (a tangent-rail being of course
in GD (1940) that the clavichord particularly prized by impracticable since the string has to sound on both
C. P. E. Bach was by Gottfried Silbermann. He writes: sides of the striking point). The advantages of this
‘Capellmeister Bach in Hamburg hatte fast 50 Jahre instrument over the ordinary clavichord are (he says)
lang ein Clavier von [Gottfrieds] Arbeit . . .’.) threefold: (1) a strong tone, (2) a longer duration of
Silbermann clavichords were praised by C. F. D. tone, (3) a wider range of loudness and softness. E.
Schubarth (Ideen zw einer Asthetik der Tonksnst, 1806, p. van der Straeten contributed an interesting article on
168): ‘Rosetti’s Compositionen wirken auf bekieltem the Cembal d'amour to the Musical Times of 1 January
Fligel schlecht; auf Stein’s Fortepiano stark; am meisten 1924. He came across some notes on the instrument by
auf einem Silbermann’schen Clavichord, denn in seinen Johann Mattheson (1681-1764) in the Hamburg
Compositionen ist etwas Leichtes, Lichtvolles, Honig- Library. These contain a very good drawing of it,
siisses .. .’. which is reproduced (Adlung’s diagram, at Ad/, II.
In 1736 Silbermann completed 2 pianofortes, closely 125, is only sketchy), and an interesting note, perhaps
modelled on Cristofori’s, and showed one of them to in Mattheson’s hand, calling it ‘Clavir d’amour oder
J. S. Bach, who played it but considered its tone too ein doppelt Clavir’, which is a more sensible name.
weak in the treble and the instrument ‘zu schwer The instrument never became popular, and unfor-
zu spielen’. Some time afterwards, however, when tunately no example of it seems to have survived from
Silbermann had made some improvements, Bach classical times. Hugh Gough, however, made one in
(according to Ad/ Il. 117) tried one again and gave it 1954.
his full approval—-though he never forsook the clavi- Silbermann was unmarried, and left a considerable
chord and harpsichord for the instrument destined to sum of money when he died in 1753. His nephew
oust them. (According to Ernst 1961, the 3 grand Johann Daniel Silbermann carried on the business, and
pianofortes of Frederick the Great at Sanssouci (Pots- likewise attained the title of court organ builder.
dam) were undoubtedly made by Gottfried Silbermann. (2) Johann Heinrich [Jean Henri], 1727-99, maker
One of these instruments was destroyed in World War of clavichords, harpsichords, spinets, and pianofortes;
IL.) A verbal statement by Adolf Hartmann (the restorer also an organist and composer. The youngest son of
of the Berlin Collection, who died in 1943) recorded Andreas Silbermann, he was born at Strasbourg on 24
that one of them bore on the underside of the September 1727. Apart from making harpsichords, etc.,
soundboard the signature: G.S. 1746, Freiburg in Meissen. he carried on the pianoforte tradition of his uncle
Silbermann was granted, in 1736, the title of court Gottfried, in whose workshop at Freiburg (Saxony) he
organ builder (‘Kgl. Poln. und Churfiirstl. Sachs. studied the making of keyboard instruments in 1742—
Hof-und Landorgelbauer’). 3. Forkel says, in his Musikalischer Almanach (1782):
Fifteen years earlier he had invented an instrument ‘His instruments are so well known in the musical
which was given the inappropriate name of Cembal world that there is no need to say anything in praise
@amour— on account of its blending so well with the of them. Both his harpsichords and pianofortes, as well
viola d’amore, according to the earliest description of as the other instruments with keyboards, and pedals,
it, by Johann Ulrich Konig (Breslauische Gedriickte partly invented by him, are outstanding for their fine
Sammlungen, 1721). Actually it had nothing in common workmanship and beautiful tone . . . His pianofortes
with the harpsichord (‘Cembal’) at all, but was a variant cost usually 300 talers each.’ In the Strassburger Gelehrte
of the clavichord. A description of it was given later Nachrichten for 1783 (p. 255) it is recorded that his
‘on in the century by Gerber, who was at pains to make work consists of ‘all kinds of keyboard instruments,
it clear that Silbermann was the sole inventor of the some of which have been brought by him to a high
Cembal d amour. He goes on to describe it: pitch of excellence through careful thought and long
practice, while others have been quite recently designed,
It has keys and tangents exactly the same as those in the
clavichord, to which it is somewhat similar in shape. But the of which three deserve special notice: (1) an unusually
strings are twice as long as in the clavichord, for they are large harpsichord at 16-foot pitch, (2) a forté-piano en
struck in the middle by the tangent and must give a note of pédals, (3) a forté-piano manuel, These instruments of his
the same pitch on both sides of it. For the same reason there have, as is well known, earned such widespread praise
is a bridge and a soundboard on cither side of the tangent. that they have been sent not only to France, Switzerland,
In the middle the string rests on a rail covered with cloth and and Germany, but also to Lettonia, Russia, Sweden,
slotted [after the fashion of a jack-slide], and through these England, etc., and even to India, and are still on order
slots the tangents strike the string which is thereby lifted up from such places.’ Ge (1790) says that his pianos had
from the cloth and gives a double notc, from both sides of
the tangent... . widespread fame, especially in France.
He married Katharina Margarethe Mosseder about
Gerber remarks on the greater danger of sharpening 1760, and had 2 sons, of whom the elder, Johann

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Friedrich (1762-1805), became a builder of organs and
maker of keyboard instruments.
Christian Friedrich Gottlieb Thon
bermann, of Dresden, though without giving the first
name. He is amongst his list of makers deceased by
1817, and whose instruments were worthy of note. See
entry under THON.
A family tree appears in the Genealogies section.
For details of surviving instruments by members of the
Silbermann family see Part II.
SMITH 179
on the reverse of the nameboard the inscription Josepbas
Tisserant et Benjamin Slade faciebant Londini, is evidence
mentions a Sil- that at some time Tisseran (9.9.) worked with Slade.
A ‘Benjamin Shede’ is referred to in the appendix to
R. Seymour's Survey of the Cities of London and Westminster
(1933-5) as harpsichord maker to the royal household.
This is probably a misreading of Slade, for ‘Benjamin
Slade harpsichord maker in ordinary’ is recorded in
LC, 3/64, 21 August 1727.
For details of surviving instruments see Part II.

@ SIMONNEAU, Pierre-Charles. Harpsichord tuner SLADE, Charles. Spinct-maker, London, f. 1734-7.

and perhaps maker who lived in the rue Saint-Landry, For details of surviving instruments see Part II.
Paris. Dates ascertained, 1775-9. Germrgéo gives a map
of Paris showing the location of his workshop in © SLAGH MEULEN, Pieter van der. A 2’ ottavino in
relation to other builders and musicians of the time. the Museo degli Antichi Strumenti Musicali, Rome, in
He provided harpsichords for the Opéra [Pi, p. 134]. the form of a work box bears on the nameboard an
ink signature: Pieter van der Slagh Menlen tot Antwerpen
SIMPSON, James & John, of London. Music pub- 1600. The instrument is highly dubious, partly because
lishers and perhaps makers of musical instruments the name SLAGH appears in the Franciolini catalogues.
(flutes, harpsichords), though they may have been only VdM suggests that it belongs to the group of South
dealers. Dates ascertained, 1770-1800. They seem to German (usually Augsburg) 2’ virginals as typified
have been descendants of the music publisher John by those of Bidermann. See: VdMBei, p. 121 and
Simpson, whose premises they were occupying in 1770 RipICOLF.
and in 1800. For details of surviving instruments see Part Il.
For details of surviving instruments see Part II.
SMID, Bernhard, of Peissenberg, Bavaria. Maker of
* SIRENA, Galeazzo. Composer, organist, and maker clavichords and harpsichords, F/. 1433 [Hirt].
of theorbos and harpsichords in Cremona, d. 1636. [see:
Monteverdi Letters, translated D. Stevens, 1980, pp. © SMIT, Jan Christoffel. Born in 1700 in the village of
68-70; Luckett]. Dillstidt (Saxony), in 1733 he married Maria van
Raaden, from Amsterdam, and lived there ‘in de Oude
SISON, Benjamin [Sisson, Sissons]. London spinet Looiersstraat in de Jordaan’ where he stayed until his
maker, ¢. 1658-1710. The son of Henry Sissons, he was death on 9 January 1781.
apprenticed to John Needler, joiner, on 10 October He was a wealthy man and in 1742 had an income
1673 for 7 years. He was, most probably, chiefly a of 800 guilders. When he died, after deducting expenses
furniture maker and had numerous apprentices. His son and debts, he left 11,539 guilders, a formidable amount
John was apprenticed to John Harris, son of James at that time. In the inventory of his estate Gierveld
Harris of Sherborne, Oxon. found a list of instruments in the workshop of this
Benjamin Sisson and Anne his wife were living in 80-year-old man. Concerning harpsichords and clavi-
the parish of St. Michael’s, Cornhill, in 1695 (Lo, 1695), chords, it included: 5 harpsichords (‘staart-
in Birchin Lane. The registers of St. Michael’s, Cornhill, clavecimbaals’) made by himself; a harpsichord by
record that Sison was buried on 12 November 1710. Couchet and one by ‘Rukkers’; a ‘vierkant’ (virginal)
For details of surviving instruments see Part II. by Ruckers; another harpsichord, 2 clavichords and
some harpsichord strings [See: Gier, p. 279]. Advert-
SKEENE. English harpsichord maker, fl. 1779 [J]. Or isements mentioning him can be found in the Avster-
possibly a misreading of Sheene (= Shean, ¢.».). damsche Courant, 1736, nos. 67, 70; 1743, nos. 78,
115, 148; 1752, no. 111 and 1781, nos. 31, 52. The
@ SLADE, Benjamin. Maker of spinets and harpsichords. advertisement of 29 June advertises a 3-manual harp-
Born about 1669. Apprenticed to James Aland in sichord by him with the important addition: ‘opregt
September 1654, he was turned over to George Castle- overeenkomende met het geluyd an Rukkers’ (sounding
man. Freeman of the Joiners’ Company, March 1698. just like a Ruckers harpsichord). [See further: Curtis, pp.
Among his apprentices was Thomas Hitchcock the 60-1, and Gier.]
Younger.
The existence of a typical late seventeenth- SMITH, John, of Bristol. Maker of spinets and
century /early cighteenth-century English spinet, bearing harpsichords, fi. 1775 at 20 Bridge Street, Bristol [J].

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180 SMITH
SMITH, John, of Edinburgh. Maker of spinets, ¢. making claviorgana. In 1988, several researchers found
1760, College Wynd, Edinburgh [J]. evidence that he had collaborated also with Shudi in
the making of at least one claviorganum. He is recorded
SMITH, Joseph. Harpsichord maker, London. Fi. in Un in 1763 (without forename) as ‘organbuilder,
1791 [J]. Oxford-road’ [i.e. Oxford Street]. Shudi bequeathed the
For details of surviving instruments see Part II. ting given him by Frederick the Great to Snetzler, who
was one of Shudi’s 3 executors.
SMITH, Robert, 1659-1765. Plumian Professor of
Astronomy, and Master of Trinity College, Cambridge, SOCHER, Johann, ff. 1742. Maker of keyboard instru-
from 1742, was interested in temperament; and although ments at Sonthofen, Allgau. Although no clavichord
it seems certain that he never made an instrument from his workshop survives, it may be accounted
himself, he should be recorded here on account of the certain that he made them. A square piano (the oldest
enharmonic harpsichord which he designed. To the extant) by him is in the Germanisches Nationalmuseum,
second edition (London, 1759) of his Harmonics, or the Nuremberg. It is inscribed: Job. Socher im Obern Sonthofen,
philosophy of musical sounds he added a Postscript .. . upon Allgaw 1742, and is illustrated in the catalogue, as also
the changeable harpsichord: which being supplied with all the in Ha.
useful flat and sharp sounds and tuned in the best manner, is
made as harmonious as possible: and yet the execution of music SODERBERG, Johan. Swedish clavichord builder.
upon this perfect instrument is the same as upon the common Dates ascertained, 1772~-after 1820. It is possible that
harpsichord (1762). On page 5 of this he writes: Johan Séderberg is the same person as the journeyman
About five years ago Mr. [Jacob] Kirkman made me a Johan Gustaf Séderberg who worked with the organ
changeable harpsichord, which is much admired by the judges builder Jonas Ekengren (1788/9) in Stockholm. The
for the delicacy and distinctness of the harmony; owing not first authentic record of him is as a model builder at
only to a more copious scale and a better tuning than usual, the Royal mechanical factory in Stockholm, 1795-6.
but also to the single strings; which when the pens are as This was followed by a formal training as a piano
strong as they ought to be, throw out clearer and distincter builder, as journeyman to Pehr Lindholm (g.v.) 1796-
sounds than unisons, and loud enough for very large rooms, 1801, and subsequently Pehr Lundborg (g.v.) 1802-3.
especially in playing Sostensto, as on the organ . . . He operated from his own workshop from 1803 until
The Postscript gives complete details of the means €. 1820.
whereby this harpsichord allowed the performer to He is best known for his square pianos which were
change from one tuning to another using hand-stops. clearly derived from Broadwood, but one of his
Patrizio Barbieri (GSJ XX XVIII, (1985), p. 28] has clavichords survives. In addition, a cabinet piano of his
pointed out Smith’s interest in the stringing of the survives dated 1818, possibly built in connection with
harpsichord, and that (in 1759) he referred indirectly Carl XIV Johan’s accession to the Swedish throne
to the practice of changing over to copper in the lowest [H-O}.
range. The matter may be pursued further in the For details of surviving instruments see Part II.
references cited.
SODERSTROM, Henric Johan. Clavichord maker in
SMITH, William. Harpsichord maker in London. The Stockholm; dates ascertained, 1775-1817. Following
style of his one surviving harpsichord, which has apprenticeship with Anders Scherling in Stockholm in
much in common with the few remaining English 1793, he became a journeyman in 1796. Thereafter he
harpsichords of the era before Kirkman and Shudi, appears to have turned to piano building, being recorded
suggests that he lived and worked about 1715-1725. In as a journeyman to Pehr Lindholm (q.v.) at the end of
1991 it was suggested that this harpsichord, which is the 1790s. He was licensed in 1800, and from then
now in the Bate Collection, Oxford, may have belonged on worked with Lindholm, who was by then his
to Handel (see further in Part Il). A William Smith was father-in-law, the instruments being signed by them
apprenticed to Benjamin Slade in 1709. both until Lindholm’s death in 1809. The workshops
For details of surviving instruments see Part II. then became Séderstrém’s until his death in 1817 [H-O].
For details of surviving instruments see Part II.
SNETZLER, John. Born Schaffhausen 6 April 1710,
died in London 25 September 1755, organ builder. (The SODI, Vincenzo. (Shown in previous editions with
error giving Passau as his birthplace seems to have Vincenzio as first name, both Misch-1979 II and Tag
been due to Burney. See further Swm, p. 156.) Having have suggested the version now adopted.) Harpsichord
come to England about 1740, he opened in 1747 (not maker in Florence; f. 1779-92. Possibly the last sur-
1755) a workshop in Soho, where besides his normal viving harpsichord of 1792 was made by him
organ building he collaborated with Kirkman, in [GDN-EKIT].

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 SPATH 181
For details of surviving instruments see Part II. SOUTHWELL, John. Recorded as harpsichord and
piano maker at 34 Marlborough Street, Dublin, in 1815
* SOENIUS, Godfried. Harpsichord maker and com- and at 9 in the same street in 1822. He is recorded as
poser(?) in Amsterdam in the first half of the eighteenth piano maker at 3 Dublin addresses between 1824 and
century. In 1704, the 38-year-old Soenius married the 1844.
widow Jacoba Barrevelt in Amsterdam and lived on
the Groene Burgwal. When his wife died, in 1712, he SOUTHWELL, William, of Dublin. Harpsichord
was living on the Leliegracht. He was buried January maker, 1756-1842. Became apprenticed to Ferdinand
15, 1753, in the Nieuwe Kerk. In 1767 a harpsichord, Weber (9.v.) in 1772, and stayed with him for 10 years.
being a ‘staartstuk’ made by G. Soenius was for sale In 1782 he opened shop at 26 Fleet St., Dublin, and
on the Keizersgracht. Concerti seriosi, of ernstige gezangen, this address is given for him until 1786 [Teaban]. In
amet cen, twee, drie en 4 stemmen by a Godfried Soenius 1786 he turned his attention particularly to the piano,
were listed in an eighteenth-century auction catalogue and in 1787 he succeeded Weber’s son in Marlborough
[Gier]. Street. In 1793 he moved to Lad Lane, London, where
Haydn visited him. He returned to Dublin in 1836,
* SOFFENELLLI, Giovanni. See SOLFANELLI. died at Rathmines, and was buried at Glasnevin [F/d].
William Southwell & Co., harpsichord and piano
©@ SOLFANELLI, Giuseppe, or SOFFENELLI, Gio- makers, are recorded at 34 Marlborough Street, 1804-
vanni, of Pisa. There is some doubt as to whether 14 [Teaban].
there were 2 harpsichord makers with the different Several pianos in the shape of a semicircular table
names shown. The similarities of the names, dates, and survive; one, with a Venetian swell, was in 1955 in the
place of the workshop, indicate that they are one and possession of Mrs. Basil lonides, of Buxted Park, Kent
the same, a builder of Pisa. The earliest surviving (see also J, pl. lix); and Messrs. J. G. Morley, London,
instrument (apparently by Soffenelli) is a clavichord in had (1947) an upright cabinet grand piano by the same
the Leipzig University Collection, though this is by no maker. The Dundee Museum has an upright piano by
means a certain ascription, the instrument bearing the him dated 1798.
signature 1721/Ge Si (the authenticity of this ascription For details of Southwell’s pianoforte patents see Ha.
is discussed at Henkel2, p. 39), while another version A James and a Marcus Southwell are recorded as
of the name appears inside a harpsichord ostensibly by piano makers in Dublin from 1822 to 1844 [Teahan].
Nicholas de Quoco (4.v) of 1694 in the inscription
Ginseppe Solfanelli fece 1730. Pisa. SPATH. (1) Franz Jacob, the Elder. Died 4 January
For details of surviving instruments see Part II. 1760. Two years before, he had built the organ in the
Church of the Holy Trinity, Regensburg. He may have
© SOMER, Nicolas. Harpsichord maker and perhaps been the father of:
organ builder in Paris. F/. 1769-74 [Verlet]. Germig8o (2) Franz Jacob, the Younger. 1714-86 [Hirt]; maker
gives his address as rue St. Jacques in 1769, and Pl. of clavichords, organs, etc., and inventor of the Tan-
Maubert in 1774, together with a map of Paris showing gentenfligel, in which wooden tangents, covered with
these locations and those of other builders and
leather and held in guides like the jacks ofa harpsichord,
Musicians.
are thrown against the strings when the keys are struck
(see Ks, pp. 197 ff.). Ge says, in his 1814 edition:
SOMIGLIANA, Carlo Antonio. Born at Como; maes- ‘In 1751 he provided the Elector at Bonn with a
tro di cappella there in 1737. Besides composing he made Tangentenflige! with 30 varieties of tone, and had by
harpsichords and other musical instruments [Ge, 1794]. 1770 through his industry produced an instrument with
so varieties of tone. He died about 1796.’ He married
SONDERMAN, Marcus Gabriel. Clavichord maker Johanna Rosina Schlessinger and had 7 children, of
at Rendsburg, near Kiel, fl. 1796. whom Anna Felicitas was the eldest. Forkel’s Musi-
For details of surviving instruments see Part II. halischer Almanach . . . 1782 praises his instruments.
Anna Felicitas was married to Christoph Friedrich
SONNEMANN. (:) Anton. Schmahl (g.».) on 25 September 1772. This Schmahl
(2) Peter, probably related to each other. Both were later became a partner in Spath’s business. One of
clavichord makers living in Cologne in 1797, according his tangentenfliigels survives at the Shrine to Music
to a directory for that year [Ks]. Museum, South Dakota [Banks]. [See further Herrm.]
For details of surviving instruments see Part II.
SOUMLIN, Anton, of Basel and Freiburg im Breisgau. (3) Johann Adam, 1742-94. Cantor at Anspach,
Organ builder and clavichord maker; dates ascertained, neither an instrument maker nor connected with the
1490/1~1506 [Hir#). Regensburg Spaths. It seems, as Eitner says (IX. 214),

'y Google
182 SPATZ
that Ge has confused him with number (2) above.
Herrm, whom see further (p. 27), agrees with this
conclusion.
SPATZ. Schxb (p. 288) mentions a ‘Spatz’ together
with Fritz and Stein as an outstanding clavichord maker.
This is a misprint for ‘Spath’ (9.».).
SPECKEN, Philip Jacob. Dates ascertained, 1680/90~
1762. Maker of clavichords and harpsichords who learnt
his art in Dresden from Gottlieb Silbermann (4.v.), and
subsequently moved to Stockholm as a journeyman
where he is first recorded in 1730 as working for Gustaf
Berg. In 1733-6 he worked as a journeyman for the
widow of Johan Petter Roos (q.».), whose workshop
he probably took over. By 1745 he was curator of
instruments at the Royal Court, and by the end of the
1740s he was producing his own harpsichords, and
advertised ‘several types of cheap harpsichord’ during
the 1750s [Eva Nordenfeldt-Aberg, ‘The harpsichord
in 18th-century Sweden’, EM, January 1981, p. 47].
Presumably, like a number of other Swedish builders,
he took advantage of the boom in native instrument
building as a result of the prohibition on the import
of musical instruments imposed by the Swedish gov-
ernment from 1756. In the period 1756-9 he worked
with his journeyman Gottlieb Rosenau (9.v.). According
to Nor, p. 96, Specken is also known to have made
cembals damoxr [H-O).
For details of surviving instruments, including those made with
Rosenam see Part II.
del organo, Bologna, 1605) the term spinet is derived
from this maker’s name. Others have derived it from
Spina = thorn, supposedly referring to the plectrum
held in the jack-tongue.
SPINETUS, Johannes. See: SPINETTI, Giovanni.
SPRENGEL, Peter Nathaniel. Scholar, encyclo-
paedist, and editor. Born 1737 in Altbrandenburg. In
1762 he started to teach at the Kénigliche Realschule
in Berlin where Sprengel gave lectures on manufacturing
and trades. In 1768 he became pastor at Gross-
mangelsdorf in the Duchy of Magdeburg, and he died
in 1814.
He is arguably not entitled to be included in a work
on makers of instruments, but his Handwerks und Kitnste
in Tabellen (1767-95), a 17-volume collection of chapters
describing a range of crafts and trades, including
valuable articles on the practice of harpsichord and
clavichord building. These are important, for they do
not quote from Ad/ written in 1768, or Halle 1764,
and thus give fresh perspectives. The articles on the
harpsichord are quoted in Hxbbr96s, pp. 268-9, 275-
6, and 278, while those concerning the clavichord are
the subject of a careful study and translation by Thomas
McGeary ‘Peter Sprengel’s Description of Clavichord
Building’, in Org Yd, 1988, pp. 104-31, from which
much of the above material is taken with acknow-
ledgement. Despite Sprengel’s obvious interest in, and
knowledge of, instrument building, it is doubtful if he
ever made instruments himself.

SPEER, Christian Ferdinand. Emigrated from Silesia SPRINGSGUT, C. G. Clavichord maker, f: 1794.
to Denmark and obtained his maker’s licence in Despite the fact that his one known surviving clavi-
Copenhagen in 1761 (organs, harps, and stringed chord, in the collection of the Musikwissenschaftliches
keyboard instruments) [Miller]. His one surviving Seminar der Georg-August Universitat, Géttingen, is
instrument, a virginal, is dated 1762. numbered 17, indicating that he made more than a few
For details of surviving instruments see Part II. instruments, little else is known about him [Bemmana].
For details of surviving instruments see Part II.
SPEISSEGGER, Johann Konrad (or Conrad). Organ,
harpsichord, spinet, and clavichord builder in Schaff- STARCK, Johannes. Harpsichord maker in Amster-
hausen. F/. 1725 [Rind/Klav, p. 254]. dam in the second half of the eighteenth century. The
For details of surviving instruments see Part II. name Starck occurs more than once in the Amsterdam
marriage and burial registers, but in none of them is
SPEISSEGGER, Alexander. Born 19 January 1727 at the profession of harpsichord maker mentioned. Starck
Schaffhausen; died 16 July 1772. Son of the well-known advertised in the Amsterdamsche Courant for 3 January
organ builder Johann Konrad Speissegger. Organist 1760, as a harpsichord maker and tuner, living on the
and organ builder at Neuchatel. In 1760 he was Bloemgracht, offering a 2-manual harpsichord for sale.
commissioned to make a large 2-manual harpsichord In the Amsterdamsche Courant for 24 October 1758, he
for the Academy of Music there. See further Hirt, advertised without mentioning his profession:
P. 450. Johannes Stark,"t Amst. op de Blocmgragt Z.Z. het ade huis
SPIGHI, Francesco, of Florence, ff. 1790. Made
van de Prinsegragt, presenteerd uit de hand te verkopen ecn
kabinetorgel met 8 doorgaande registers en een tremulant; als
pianofortes; may have made harpsichords [Ge]. ook cen extra clavecimbaal van Joh. Couchet met 2 clavieren
en verscheide andere zo groote als kleine pandelongs, 2 pedasl
SPINETTI, Giovanni, of Venice, f. 1503. Maker of clavieren en clavicordium etc. alles voor cen civiele prys;
virginals. According to Banchieri (Conc/usione ne/ swono dezelve zyn dagelyks van 2 tot 5 uuren te zien.

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 STEIN 183
Further advertisements can be found in the Amster- * STEHLE. A name appearing in the Franciolini cata-
damsche Courant, 1761, no. 132, and 1762, no. 131. It is logues—most probably fictional.
possible that Johannes Starck is the same person as a
‘Mr. Starck, with whom a German harpsichord maker © STEHLIN, Benoist, c/so called Stellé. Born before
Kramer stayed in 1779 [Gier]. 1732 at Jettingen in Upper Alsatia, he became an organ
builder and harpsichord maker in Paris; a son of Georg
STAUDINGER, of Brinn in Moravia. Organ or Stehlin, a joiner in Oltingen in Upper Alsatia; married
keyboard instrument (most probably clavichord) maker 1753; died 11 July 1774. Germrgéo, p. 440, gives his
of the late eighteenth or early nineteenth century. The workshop address in the period 1753-73 as rue des
work of this maker was particularly esteemed by Cordeliers, and his home in 1773 as Quai des Augustins,
Christian Friedrich Gottlieb Thon. He was equally together with a map showing these locations in relation
enthusiastic about the work of another STAUDINGER to those of other builders and musicians. Bg quotes a
of Englesberg in Silesia. See entry under THON. ‘clavecin de Stella, 1714’ which must be a mistake. See
Verlet for further details.
STECKLER, N., of Metz, maker of harpsichords and For details of surviving instruments see Part II.
pianofortes (? eighteenth century). An instrument [?
harpsichord] by him was in the Chateau de Lunéville STEIBELT, Carl Ludwig. Dates ascertained, 1797/8
in 1910 [Jac]. [Hirt]; made clavichords and pianos in Berlin. Accord-
ing to Gerber (1814) he collaborated with his son in
STEEVENS, Gerrit. Dutch eighteenth-century instru- the work.
ment maker. Born at Tongeren ¢. 1710, he was registered
at Leiden University as ‘musicorum instrumentorum © STEIN, Johann (Georg) Andreas, 1728-92. Organ
artifex’ on 11 June 1742. He married in Leiden in 1742. builder and inventor of the ‘Viennese’ or ‘German’
In 1749 the family lived in the Vrouwesteeg there. In pianoforte action; was born at Heidelsheim in Baden.
the tax register of that year Steevens is called a From August 1745 until June in the following year he
‘claversimbaalmaaker’. On 25 July 1750, the family left was a pupil of the organ builder J. A. Silbermann in
Leiden and moved to The Hague where Steevens Strasbourg. During 1749 and 1750 he spent a good
became a citizen on 31 March 1751. He was living in deal of time at Augsburg, and settled there from 1751
‘het Westeinde’ where he owned two houses. In 1767 onwards. A few years later he built the organ at the
he remarried. In his last will, made in 1770, he Barfiisserkirche there, and became organist in 1757.
bequeathed his unfinished instruments and his tools to From October 1758 until the following January he
his son Michiel. Steevens died in May 1790 and was was in Paris. After his return to Augsburg, pianoforte
buried in the Nieuwe Kerk in The Hague. [See: Gier, making supplanted organ building as his chief interest.
p- 284.) It is true that he had made pianofortes before this time
In December 1754 he delivered a 2-manual harp- [Hertz, p. 44]-—indeed, from the beginning of his
sichord for 300 guilders at the court of the stadtholder working life he had shown an interest in the new
in i. he Hague. A ‘staartstuk’ of Steevens with a compass instrument—but from 1759 onwards his inventive
of B-d’ was sold at an auction in Zeeland in 1770. In disposition concentrated on the pianoforte. He was also
an advertisement in the Middelburgse Cowrant for 22 much exercised by the problem of making a stringed
October 1805, another harpsichord by Steevens was keyboard instrument capable of ‘expression’ and sostenuto
offered for sale. tone. In the pursuit of this aim he invented 4
There is evidence of his having made viols, as well instruments:
as harpsichords, and organs [V/am, Gier]. 1. His polytoni-clavichordium, described in the Aags-
burger Intelligenzblatt of 5 October 1769, was perhaps
STEFANINI, Bartolomeo. See: STEPHANINI, suggested by Marius’s pianoforte/harpsichord of 1716
Bartolomeo. in Paris (though in Marius’s instrument 1 set of strings
served for both the hammers and the jack action). The
STEFANO DI BIAGIO. See: BONISSIMO, Stefano. PC consisted of 2 instruments, one above the other:
‘on top a harpsichord with 3x8’ and 1x16’ stops and z
STEFANO DI GIANNANTONIO. See: BONIS- keyboards; underneath, a pianoforte with 1 manual.
SIMO, Stefano. 2. His melodika, completed in 1772 after 15 years of
experiment, consisted of a small organ with pipes
STEFANO DI GIOVANNI. See: BONISSIMO, arranged horizontally in a wing-shaped case, designed
Stefano. to be laid upon another keyboard instrument. Its
compass reached down only to G below middle C,
STEFANO DI MODENA. See: STEPHANUS since it was meant to supply the ‘melody’ only; volume
MUTINENSIS. could be varied by means of touch. The instrument is

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184 STEINERT
described in Stein’s Beschreibung meiner Melodika, eines A family tree is given in the Genealogies section.
neuerfundenen Clavier-instruments (Augsburg, 1772). For details of surviving instruments see Part Il.
3. The vis-d-vis, a long rectangular instrument with a
pianoforte (its keyboards at both ends) and a harpsichord STEINERT, Michael. Organist at Leipzig in the
with its keyboards at one end, could be played either eighteenth century; made a Geigenwerk [ AdiG].
by 1 person alone or by 2 simultaneously. Two surviving
examples of this type of instrument are known. STEINICHE. See: STEINICHT, Paul.
4. In 1753 Stein brought out his Saitenbermonika
(described in the Musikalische Realzeitung, Speyer, 1759),
which consisted of a bichord pianoforte, to which a STEINICHT, Paul, of Danzig, fl. 1657-61. Virginal
third set of strings, set in motion by a ‘sehr elastische maker.
Materie’, was added. This stop was called by Stein ‘ein For details of surviving instruments (ap to World War II)
uraltes deutsches Spinettchen’, and could be played see Part II.
either alone or in conjunction with the pianoforte.
In the anonymous work Die vornebmsten Merk- STELLA. Bg mentions a ‘clavecin de Stella, 1714’.
wiirdigheiten der Reich-Stadt Augsburg [by P. von Stetten, This would seem to be an erroneous reference to
1772] is an advertisement: ‘Hr J. A. Stein, Orgelmacher, Benoist Stehlin (9.».).
verfertigt Orgeln, Clavicembel, Claviere, die von ihm
erfundene Melodica. Man sieht auch dermalen bey ihme STELLE, Benoit, or Benoist. Eighteenth-century
cin Clavicembel von besonderer Zusammensetzung u. Parisian harpsichord maker. See: STEHLIN, Benoist.
Wirkung.’
Stein paid great attention to the clavichord, building © STEPHANINI or STEFANINI, Bartolomeo. Italian
a large number of instruments which spread throughout harpsichord maker, fl. 1694.
Germany, France, and the Low Countries. Mozart paid A harpsichord of his, dated 1694, is listed in the
a tribute to Stein’s clavichords in a letter dated at catalogue of the Historisches Museum, Frankfurt-
Augsburg, 14 October 1777: ‘. . . Ich hatte oben die am-Main [VdM, Misch-1979 II]. Francl lists a harp-
Ehre . . . so beylaiifig 3/4 Stunde auf cinem guten sichord signed: Bartolomeo Stepbanini 1646 which might
Clavichord von Stein zu spiellen’; and in a letter written possibly be the same instrument.
3 days later he gives a detailed account of Stein’s For details of surviving instruments see Part II.
treatment of soundboards. He also owned a Stein
clavichord, which Leopold Mozart had bought for him
STEPHANUS MUTINENSIS. Virginal maker of
when he was 7 years old. Leopold wrote to Leopold Modena, fl. 1537.
Hagenauer on 20 August 1763: ‘. . . Ich habe ein artiges For details of surviving instruments see Part II.
Clavierl vom H. Stein in Augspurg gekauft, welches
uns wegen dem Exercitio auf der Reise grosse Dienste
thut . . .’. This instrument still survives. STERNEMANN, Jacob. See: STIRNEMANN,
Scbub (p. 216) calls Stein ‘einen vorziiglichen musi- Jacob.
kalischen Kopf’ who ‘kennt alles Grosse, besonders
was Klavier-und Orgelspiel betrifft; als Mechaniker hat * STERNMANN, Jacob. See: STIRNEMANN, Jacob.
er schwerlich seines Gleichen in Europa. Seine Orgeln,
Fligel, Fortepianos und Clavikorde sind die besten, die STEWART, Neil. Music seller and publisher, also
man kennt. Starke mit Zartheit, Tiefsinn mit Schonheit dealer in spinets and pianofortes, of Edinburgh; earliest
gepaart’. date ascertained, ¢. 1759-60. Logan, and perhaps
In 1770 Stein made for a Swedish client a clavior- Andrew Rochead (9.v.), made spinets for him. In 1757
ganum, of which the upper keyboard worked on a his sons Neil and Malcolm entered the firm, which
pianoforte and the lower on an organ. This instrament carried on as Neil Stewart & Co., or N. and M.
is preserved in the Museum at Géteborg, and was Stewart, until about 1805. For their various addresses in
previously listed in Bz as no. [2]. Edinburgh see H & S.
Stein also won praise for his work from Christian Shudi’s books record the sale of pianos to Neil
Friedrich Gottlieb Thon. See entry under THON. Stewart.
His son Andreas and daughter Nanette supervised For details of surviving instruments see Part II.
his business during the last years of his life. He died
at Augsburg at the age of 64. For further details see * STIEFEL, of Rastadt. Organ or keyboard instrument
GD, Hertz, and Fischer, Karl August, ‘Johann Andreas (most probably clavichord) maker of the late eighteenth
Stein, der Augsburger Orgel-und Klavierbauer’, in: or early nineteenth century. The work of this maker is
Zeitschrift des Historischen Vereins fier Schwaben und known only through the list of makers given by
Neuburg, 50, (1932-33), Pp. 149-77 [VdM]. Christian Friedrich Gottlieb Thon, though he does not

Google
 STOY 185
single him out for especial praise or esteem. See entry harpsichord and grand piano. Upper bank Piano; lover,
under THON. barpsichord. (b) On lower board: Robertus Stodart. Londini
Jecit 1777. But the nameboards do not look genuine;
©@STIRNEMANN, Jacob [Sternemann, Sternmann, and the instrument is unlike the drawing in Stodart’s
Stirnimann]. Organ and harpsichord builder. Dates patent, but corresponds very closely with the z-manual
ascertained, 1777-89 [Vailas]. His country of origin is instrument illustrated in James Davies’s patent of
not known, but he worked in Lyons between 1779 and 1792—moreover the divided bridge makes the earlier
1786, and appears in the list of luthiers at Lyons in date highly unlikely.
1779, and in the Indicateur de Lyon in 1789 [Pussian]. A Stodart founded the firm of pianoforte makers bearing
‘piano organisé’ signed Stirnemann a Lyon 1783 was his name, which endured until 1861, and a number of
shown at the 1889 exhibition, Lyons. His only surviving his pianos are still in existence. Bz made several
harpsichord is reported by Roth (whose informant is a references to Stodart pianos, but this whole area,
restorer who (1992) had the instrument in his workshop) including the biographies of those members of the
to be signed Jacob Stirnemannn fecit 1777 with no mention family who were concerned solely with piano making,
of the place of manufacture. This is in contradistinction is now much more fully covered by Clink, and this
to Bz who reports the inscription as Jacob Stirnimann article confines itself only to instruments in which
(sie), Lyon, 1777- harpsichord action is found.
For details of surviving instruments see Part II. Roger Warner of Burford reports that sometime
before 1982 he sold a grand piano case on trestle stand
* STIRNIMANN, Jacob. See: STIRNEMANN, Jacob. with the inscription Mathews Guilamus Stoddard (sic)
Londini Fecit (1795). The date of the latter appears to
* STODDARD. See: STODART. have been altered, and indeed the whole instrument
seems to have undergone a number of changes, for it
is now a harpsichord. Mr. Warner thinks it was
STODART, Matthew and William. See: STODART,
Robert. originally a 2-manual instrament which was probably
a combined harpsichord and piano.
There was sold at Christie’s on 30 June 1790: ‘Item
© STODART, Robert. Dates ascertained, 1775-99, 40. A capital full toned harpsichord by Stodart in a
became a pupil of John Broadwood in the making of neat mahogany inlaid case and leather cover’ [Vendor
keyboard instruments. During 1775 he did some tuning
Robert Sanderson; buyer Dorset; price £43. 15.].
for customers, according to Broadwood’s books [GD].
For details of surviving instruments see Part II.
While working for Broadwood he joined with his
employer in helping Backers (g.v.) in the design of the
‘English’ pianoforte action. STOPPACIO, Priest. Possibly an Italian harpsichord
In 1776 he moved into a house on the west side of maker. F/. 1554. The inscription on a harpsichord at
Wardour Street; and in the following year he was Vassar College, Poughkeepsie, N.Y., USA: Fatto dal
granted a patent (number 1172) for: ‘a new sort of Padre Stoppacio del carmine melf Anno 1354, is now
instrument, or grand forte piano, with an octave swell, regarded as most likely to be the work of Franciolini,
and to produce various tones together or separate (sic), and the inscription Vincentins Pratensis 1610 scratched
and which instrument will be more durable, and produce on the reverse of the nameboard almost certainly
finer and more variable tones, than any yet made’. indicates the authentic maker. The instrument is there-
No. 1 pedal brings on the harpsichord action and fore listed under Vincentius.
switches off the piano action in one movement.
No. 2 pedal operates the swell.
In addition to the piano action, there are 2 rows of STOY, Georg Christop. A finely decorated French
jacks, which act on the 8’ and 4’ string respectively. harpsichord of the eighteenth century carries the inscrip-
In 1788 Stodart took over the adjacent house from tion: Georg Christop Stoy G. P. 5S. C. M. Angus p Bev.
William Rigg, and his name appears against both houses [Connaissance des Arts, no. 152, October 1964]. It is,
in the rate-books until 1796, when Thomas Sheraton however, by no means clear whether the name relates
took over one of them. In 1797 Stodart’s name to the maker, an owner, or the painter of the scenes
disappears altogether from the Poor-Rate book. William depicted on the inside of the lid. The fact that the
Frecker, the pianoforte maker who later lived at 21 inscription is quoted slightly differently by another
Rathbone Place, lived 2 doors away from Stodart in source also confuses the issue: GEORG CHRISTOP
‘Wardour Street from 1757 to 1800 [RB]. STOY G. P. S. C. M. AUGSP BEV [Notes accom-
A combined pianoforte and harpsichord preserved panying the Lionel Rogg recording of the instrument
in the Smithsonian Institution, Washington, has z on Harmonia Mundi, HMO 30 590 Artistique}.
manuals. Inscriptions: (2) on upper board: Combined For details of surviving instruments see Part II.

Google
 186 STOYTE
STOYTE, Richard. Harpsichord and spinet maker in same Will Strollger, a member of the Haberdasher’s
Golden Lane, Dublin, in 1745 [Teahan]. Guild, who was apprenticed in 1707 to Will Cookson
of the Merchant Taylors. He may be the same Strolger,
© STRAHLE, Daniel. Swedish organ and clavichord whose spinet still survives (see above).
maker (1700-46). He was, like Johan Petter Roos (g.».),
apprenticed to J. N. Cahman (¢.v.), and was also trained STRONG, Adrian. Maker of virginals, f. 1639-55,
by Christopher Polhem. Having an aptitude for the Dublin. He married Mary Meade, 19 August 1651,
theory of temperament, he published papers on the and was appointed Master of the Dublin House of
subject in 1741 in the proceedings of the Royal Academy Correction in the same year [F/d].
of Science in Stockholm. His surviving clavichords
show signs of North German influence as well as * STRUMPHLER, Johannes. Organ and harpsichord
Swedish characteristics. For further information see maker, born 1736 at Lippstadt (Germany) and moved
HO, p. 123. to Amsterdam about 1765, where he married in 1773.
For details of surviving instruments see Part II. The family lived on the Rozengracht, later on the
Egelantiersgracht. Strumphler, who is the most famous
* STRAHLE, Petter. See: GREN, Jonas, and STRAHLE, Dutch house organ builder, died in Amsterdam on 3
Petter. August 1807. [See: Gier, pp. 286-301; for an inventory
of his workshop pp. 428-30.] In the estate of the
STRANGE, Adrian. See: STRONG, Adrian. organist Paulus Musculus in Amsterdam (1802) there
was an ‘extra fraaije clavecimbaal door J. Strumphler’.
STRAUBE, Johann Augustin, 1725-1802. Born at In 1804 J. A. Remmers, the organist of the Waalse
Alt-Brandenburg, 15 May 1725. Moved to Berlin Kerk advertised a 2-manual harpsichord for sale, being
as ‘musikalischer Instrumentenmacher’, and acquired a ‘staartstuk’, 5 octaves and 4 registers, made by J. S.
citizenship on 28 August 1764. Forkel praises his Strumphler. Strumphler placed a harpsichord rose with
harpsichords (Musikalischer Almanach, 172, p. 202) and a harpist and the initials ‘J.S.’ [illustrated in Gier, no.
his square pianos, which cost 60 talers. Gerber also 96] in the centre carving of a bureau organ now in
mentions his high reputation as a pianoforte maker private collection in Chicago, U.S.A. [Gier].
[Ks]. For details of surviving instruments see Part II.
Straube was assisted in designing his instruments by
the theorist and composer J. P. Kimnberger (1721-83), * STUMM, of Hiinsdriick. Organ or keyboard instru-
according to a footnote in C. F. Reichardt’s Briefe ment (most probably clavichord) maker of the late
eines aufmerksamen Reisenden (Part 2, 1776): ‘Besonders eighteenth or early nineteenth century. The work of
gewinnt der letzte [i.e. Straube] durch die Hiilfe des this maker is known only through the list of makers
Herrn Kirnbergers, der ihn mit seinen theoretischen given by Christian Friedrich Gottlieb Thon, though he
Kenntnissen des Instrumentbaues unterstiitzt . . .” He does not single him out for especial praise or esteem.
also made and repaired violins [Li]. He died in his See entry under THON.
Berlin house, Leipzigerstrasse 17, on 18 April 1802
[Ks]. © STUMPFF, J. G. Clavichord maker at Ruhla bei
For details of surviving instruments see Part II. Eisenach,
f. 1816. He is metioned in the list of makers
known to Christian Friedrich Gottlieb Thon, though
* STREICHER. The name Streicher is usually associated he does not single him out for especial praise or esteem.
solely with the building of pianos. The appearance of See entry under THON. His brother Johann Andreas
the name, with the address ‘Vienna’, in the list of made harps and pianos—see article by Friedrich Ernst,
makers esteemed by Christian Friedrich Gottlieb Thon Der Instrumentenbauer Johann Andreas Stumpff, ein Frexnd
(see entry under THON) may be an indication that Beethovens, in Jabrbuch des Staatlichen Instituts fir Musikfor-
clavichords were also made by one or more members schung, 1968, Berlin, de Gruyter, 1969, p. 119, ff.
of the family. For details of surviving instruments see Part II.
* STROLGER. An English bentside spinet of ¢. 1700 is STUPAN, Jakob. Probably the early owner (1722) of
reported by Mrs. Margaret Susands to bear the name a seventeenth-century ottavino in the Zirich Lan-
Strolger in a very primitive form, burned into the desmuseum. See further Rind/Klav, p. 224.
nameboard. Whether this relates to a maker, a dealer, For details of surviving instruments see Part II.
or an owner is not known.
For details of surviving instruments see Part II. SUSS, Hans. See: HANS VAN CUELEN.
* STROLLGER, Will. Garrett reports that a Will Stroll- * SVEDE, Fredric. Swedish clavichord maker. Dates
ger (note the spelling with two L’s) may well be the ascertained 1753?-1838. Probably a minor maker who

'y Google

appears never to have been licensed, he was a jour-
neyman of Pehr Lindholm (g.».) in 1774. It is unlikely
that he had his own workshop [H-O].
For details of surviving instruments see Part II.
© SWANEN, Jacques Joachim. Harpsichord maker in
Paris; f. 1783-1816. Presumably of German origin, he
was living in 1783 in the rue du Faubourg-
Saint-German, and in 1786-9 at no. 106 rue des
Fossés-Monsieur-le-Prince (called rue de la Liberté after
the Revolution).
Germig8o, p. 440, gives a map showing
locations in relation to other Parisian builders and
musicians. His apprenticeship was served probably for
the most part not in France [Ver/et].
Swanen signed one of the rows of jacks in a
harpsichord ostensibly by Ruckers 1590 (actually by
Goujon), Fait par Joachim Swann{?], rue des fosses (sic)
Mr ke Prince, 1784 [GSJ, p. 13 (1960), p. 55, note 15].
For details of surviving instruments see Part II.
* SWARSBRICK, or SWARSBROCK. Organ
at Wells. F/. 1719-25. Built a clavicytheriorganum
(presumably an upright harpsichord combined with an
organ). Cf. Dr. Claver Morris, Diary of 30 September
1725 [Luckett}.
© SWART or SWERT, Willem. Dutch composer; born
in Amhem. By about 1610 he was living in Amsterdam.
Google
SZARKA 187
He probably made conventional harpsichords, but
certainly holds the probably unique distinction of
having made a harpsichord of porcelain, after 13
years’ work on the considerable problems of resonance
involved. (He even extracted 20 florins from the States
General for his achievement.) See further Curtis, p. 61.
* SWILLENS, Reynier. Harpsichord maker or tuner
who died in 1773 in Amsterdam. In the Amsterdamsche
Comrant for 21 March 1773 appears the following
advertisement: ‘Op dingsdag den 30 Maart is te zien,
these
om uit de hand te verkoopen: cenig orgel-en clave-
cimbaalmakers gereedschap; nagelaten door wylen Rein-
ier Swillens, woonachtig op ’t Kleereslootje; tussen de
Dijk-en Keizerstraaten, het erste huis van
Dwarsboomsloot te Amsterdam.’ (Some tools for organ
and harpsichord making or tuning (?).) [Gier].
* SYDEE, Nicholas. Most probably a repairer of instru-
ments in Cambridge. F/. 1783. The Cambridge Chronicle
builder for 20 December 1783 reports that ‘he repaires harp-
sichords, guitares, etc. . . .” [Luckett].
SYMELIN, Anton. See: SOUMLIN, Anton.
* SZARKA, Mathias. Hungarian organ and clavichord
maker of Sopron. F/. ¢. 1800 [Kovdcs].
 T
T., A. See: A., T. it has been possible to pinpoint with some accuracy on
Horwood’s Plan of Westminster, Southwark, and parts
© TABEL, Hermann [Tabell; Table]. Harpsichord adjoining, 1792-99 Tabel’s house, as no. 46 Swallow
maker. Dates ascertained, 1716-38 (year of death). Street, just north of the junction with Beak Street. The
He was born in the Low Countries. J. Shudi area has now sadly disappeared in the development of
Broadwood [Broad, p. 4] related the important fact that Regent Street, though the southern end of Swallow
Tabel learnt harpsichord making from the successors Street still remains.
to the Ruckers in Antwerp (i.e. the Couchets). Since Returning to the advertisement of 1733, it seems that
the latest ascertained dates for any of the Couchets are Tabel must have been the victim of rumour, but the
in the 1680s, it seems likely that by this time Tabel rate books indicate that something must have happened
must have been in his twenties and that he was born in the years when he was at Swallow Street to cause
about 1660. It is possible, though by no means certain, this state of affairs. The rate books have entries in
that Tabel was a Huguenot. pencil on the blotter which is found opposite each page
He settled in London, possibly as early as 1700 when and which was necessary not only for blotting the ink
he was probably in middle age. From the rate-books entries, but also for absorbing the rainwater which fell
of St. Martin-in-the-Fields, where he is shown as on the page in wet weather. In the 1729 book mentioned
‘Harmann Tabell’, it is known that he took up his above, the following entries appear:
residence in Oxendon Street in 1716. It is not certain
whether Burkat Shudi (g.v.), who had come over from s
Switzerland in 1715, had begun working for Tabel by Jn Enstone 15

aAnnanao
1723, when the latter put the following announcement come at midsomer Jn Ruby n
(quoted by J, p. 41 n.) in the Evening Post (30 May): she pleads poverty Widow Joyce Gilbert 1
‘Mr. Tabel, the famous Harpsichord maker, has 3 Mr. Till n
Harpsichords to dispose of, which are and will be the Mr. Table n
last of his making, since he intends to leave off Business.
Wm. More n
At his house in Oxendon Street over against the Black
In 1731, against the space previously occupied by
Horse in Piccadilly . . .’. Tabel seems to have changed
his mind and to have continued his work; for 10 years Tabel appears the word ‘Emp’ (presumably empty).
Similarly in 1733 both Widow Gilbert and Tabel are
later in The St. James's Evening Post (no. 2774, 22-4
February 1733) appears the following: ‘Whereas it has shown as ‘Run away’ (could it be they ran together?)
and in 1738, the year of Tabel’s death, they are both
been reported, that Mr. TABEL, the famous Musical
shown as ‘Poor’.
Instrument maker, was dead, and that he hath learn’d
his Art to one of his Men, to make that fine Tone in Tabel married twice. His second wife was Susanna
Harpsichords, all which is false and foundless, he Virgoe, who was probably the mother of his 2 daughters
lives still at his House in Swallow-street, over-against Gertrud and Catherine who in 1738 were living in
Haddon-Court, near Golden Square.” Amsterdam, possibly in the home of Tabel’s brother
By this time Shudi had set up on his own (in 1729), Barnard.
and Jacob Kirkman (4.v.) had probably come over from Tabel’s will is still available, signed in a firm clear
Alsace and started working for Tabel. At any rate, hand and sealed with a seal which makes it clear that
soon after this Kirkman became Tabel’s most trusted the rose in his surviving harpsichord is based on his
assistant, for in his will, dated 25 July 1738, Tabel personal monogram.
nominated Kirkman as one of his trustees and The story related by Burney in Rees’s Cyclopaedia,
bequeathed him £5 for mourning. how Kirkman proposed to Tabel’s widow, Susanna, at
Bz says that in 1724 (see the rate-books of St. James’s, breakfast and married her the same morning, is quoted
Piccadilly) Tabel moved to Swallow Street, St. James’s, by Dale (p. 26) and is fairly familiar. It has some
but the first mention of him in the rate-books occurs foundation in fact, for Kirkman did marry Tabel’s
in 1729. In 1700 there were 3 Huguenot churches in widow in 1738; but the marriage did not last long, for
the Parish of St James’s, Piccadilly, and this may have by October 1740 Susanna had died.
been the reason for Tabel’s move to Swallow Street. On 8 May 1739 the Daily Gazetteer contained the
From the rate-books used by the collector on his rounds notice:

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 TANNENBERG 189
Whereas Mr. Hermann Tabel late of Swallow Street, the famous harpsichords of Tabel, Kirkman, and Shudi, it is
Harpsichord maker, dead, hath left several fine Harpsichords to possible to see elements of direct descent from the
be disposed of by Mr. Kirckman, his late Foreman; this is to workshops of the Ruckers.
acquaint the Curious that the said Harpsichords, which are For details of surviving instruments see Part II.
the finest he ever made, are to be seen at the said Mr.
Kirckman’s, the comer of Pulteney Court in Cambridge Street,
over against Silver Street, near Golden Square. TABLE. See: TABEL, Hermann.
It may seem strange that the above advertisement
shows that there were ‘several harpsichords’ for disposal TACANI. Florentine harpsichord maker mentioned in
at Tabel’s death, for if they were as highly prized as CIP (p. 71).
previous notices are intended to indicate, it would be
unlikely that there would have been much in the TAEGHS, Vincentius de. See: TAEGGIIS, Vin-
workshop to dispose of. Dale points out that Shudi’s centius de.
instruments were sold as they were made, and the
conclusion might be that Tabel’s instruments, which TAEGGIS, Vincentius de. A virginal recorded in Bz
were different in style and concept from those by other as by TAEGHS was in the Savoye Collection, Paris.
native English builders of the time were not so popular The sale catalogue of Savoye Collection III (13 June
as the builder would have had the public believe. His 1924) assigns it to the seventeenth century, giving the
apparent penury might well support this conclusion. name as Vincentins de Taegis. It is almost certainly this
This premise also supports an occasionally expressed instrument which still survives in the collection of the
theory that the reason for the scarcity of pre-1740 Power House Museum in Sidney, Australia, signed F.
English harpsichords is simply that they were not VINCENTIUS DE TAEGIIS BONON. ORDINs
greatly in demand, and were not made in large numbers. SERVOR, B.M.V. ANNO D. MDCXXIX, and it
The counter to this argument is that Tabel’s one may be concluded that Vincentius de Taeggiis was a
surviving harpsichord is numbered 43, and dated 1721— virginal maker in Bologna in the year 1629.
but even this leads to no firm conclusion, for if Tabel For details of surviving instruments see Part II.
set up in about 1700 as may be the case, this points to
about 2 instruments a year. It is known for certain that
he was in business by 1716, and even this cannot TAMITIUS, Andreas. According to Hirt, born ¢. 1730
at Dohlen near Dresden; died ¢. 1770, but Hirtz
account for more than about 4 or 5 harpsichords a
year. gives dates of 1630-1700. ‘Churfirstlich Sichsischer
On 15 March 1777 Lady Howe ‘bought a second-hand Hof-orgelbauer’ at Dresden; also made clavichords
harpsichord by Table’ (sic). There was in 1720 a [Hirt].
2-manual harpsichord by Hermanus Table at Cannons,
the residence of the Duke of Chandos (Chandos, p. 139]. TAMITIUS, Johann Gottlieb, the Elder. Dates ascer-
Instruments by Tabel appear not infrequently in the tained [Hirt2] 1716-54. Son of Andreas T.; born at
sale room during the second half of the eighteenth Dresden, moved to Zittau; maker of organs and stringed
century, e.g. at Christie’s: keyboard instruments, including clavichords.
15 March 1793. Item 54. An excellent fine toned harpsichord
by Tabel [Vendor Richard Brickendon; buyer and price not TAMITIUS, Johann Gottlieb, the Younger, son of Joh.
given]. Gottl. the Elder, whose work he continued, also making
11 June 1795. Item 76. A fine toned harpsichord with 4 stops pianofortes and clavichords, until ¢. 1840 [Fla (1953);
by Tabel [Vendor Mrs. Bacon; buyer Rixon; price 5 gns.]. Hirt, Hirt2}.
The authenticity of the surviving Tabel harpsichord
has on occasions been questioned, but for a detailed TANNENBERG, David. Born 1725 [McGeary (see
account of it, see Charles Mould, The Tabel Harpsichord, below) says 1728] at Berthelsdorf, Upper Lausitz, in
in Rip Kb. Saxony. Tannenberg emigrated to Bethlehem, Pa., in
Though there are numerous instances of Flemish 1749, and was apprenticed there in 1757 or 1758 to
influence on harpsichords built in England before Johann Gottlob Clemm (Klemm), an organ builder
Tabel’s time, there can be little doubt that Tabel’s who was also an émigré from Europe. On his master’s
importance lies in his having influenced his 2 dis- death in 1762, Tannenberg set up as an organ builder
tinguished pupils to the extent that almost every on his own, moving in 1765 to Lititz, Pa., where he
harpsichord built in England from about 1729 onwards remained until his death in 1804, having achieved a
exhibits the many Flemish traits present in the Tabel considerable reputation.
harpsichord of 1721. Despite the fact that the Tabel He occasionally made other instruments, e.g. a
harpsichord has undergone some changes [see: RibKb) harpsichord for the Single Sisters’ House in Salem,
it may not be an overstatement to say that in the N.C., and at least 2 pianos. A design by him for a

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1909 TANTINI
clavichord (4 octaves, C-c’, 4’ long), sent with instruc- himself on a card which he stuck on some of his
tions for building it to Salem, N.C., is reproduced in instruments, as for example on a harpsichord of 1770:
Antiques, July 1965, and on pl. 6 of Armstr, who gives PASCAL TASKIN. Factenr|de Clavessins &” Garde des Instre-
details of his life and of the organs made by him. This ments de Musique du Roi, Elive et Succes-|seurde M. BLANCHET,
latter work has, however, been greatly extended by demeure|Méme Maison, rue de la Verrerie,|vis-d-vis la petite porte
Thomas McGeary in his scholarly article, ‘David Tan- de St. Merrzy|A PARIS [DowdHH]
nenberg and the Clavichord in Eighteenth-Century
America’ in OrgYb, 1982, p. 94, ef seq. McGeary also He appears to have remained at this latter address until
gives the instructions for building the clavichord, both 1793.
in German and in English, and he also gives a useful In 1768 he began to include among his plectra some
commentary. made of buffalo hide (peam de bufffe), a soft woolly leather
For details of surviving instruments see Part II. (‘imitant la flate’) to be distinguished from the hard
leather that was used by other makers as an alternative
TANTINI. (1) Sesto, clavichord and harpsichord to quill. His new device was widely approved. It ‘ne
maker in Modena. Dates ascertained, 1461-90 [Va]. pince plus, mais il caresse la corde’ wrote J. B. de
He asks the Duke Borso d’Este for payment for a Laborde in his Essai ser la musique . . . (1750; Vol. I,
‘clavicinbalo’ in a letter dated 15 November 1461 (Va, p. 346). He also perfected the use of genonilléres (knee-
P- 243). This is the earliest reference to the harpsichord levers) for changing the registration of the harpsichord,
in Italian. a peculiarly French mechanism which gained little
(2) Costantino his brother, also a maker. Dates recognition elsewhere.
ascertained 1419-51. It was in 1772 that he was offered by Louis XV the
Va quotes from a letter of Duke Ercole d’Este dated position of Court Instrument Maker and Keeper of the
19 July 1451: ‘Vos factores generales dari faciatis King’s Instruments, in succession to Chiquelier (q.v.).
Costantino Tantinis Flor: quattuor auri et in auro pro He did not in fact take over from Chiquelier until 1774;
pretio unius Manachordi facti per eum ad usum Illme. and then, not wishing to make the move to Versailles,
D. Isabelle Estensis . . .’ (Va, p. 245]. he contrived to have part of his work for the Court
(3) Giovanni, son of (2); fl. at Modena 1475. Pupil done by his nephew Pascal-Joseph I]. Mme du Barry
of his father, and therefore presumably a maker of had at Versailles a harpsichord by him costing 3,000
keyboard instruments [L#]. livres.
He also made pianos, of which 4 grands and 1
TASKIN. Family of harpsichord makers and musicians square survive [C/ink], and according to Chouquet he
in the eighteenth century. Originally from the province constructed the first grand pianoforte made in France,
of Liége in the Low Countries, they worked in Paris for the Princesse Victoire. He continued, however, to
in the latter half of the century. Sheridan Germann make harpsichords, assisted in his workshop by his 2
[Germz980] gives a map (p. 440) showing the locations nephews Henri-Joseph and Lambert Taskin and his
of the workshops of the members of the family given stepson Armand-Frangois-Nicolas Blanchet, and was
below together with those of other Parisian builders not above following the practice of some of his
and musicians. Some of what follows is taken from a contemporaries in making fake Ruckers instruments (a
useful summary in Haine/Meexs, pp. 397-8, where there typical example is a double, signed André Ruwkers, (sic)
is also an illustration of a painting of Pascal Taskin, anne 1636, |see: O’Brien, p. 282, no. ‘1636 AR’]), apart
and also of one of the several cards which are found from the common French eighteenth-century practice
inside his instruments. The following members of the of extending the compass of Ruckers instruments.
family have been identified: For a detailed examination of Taskin’s methods of
(1)Pascal (strictly Pascal-Joseph the Elder or Pascal- harpsichord construction see Hubb 1965, pp. 116-25.
Joseph I, but now universally called simply Pascal Taskin’s practice was to date the lowest jack of each
Taskin); 1723-9th February 1793. Son of Jean Taskin register. In 1784 he ordered 4 pianos from Shudi [Da,
and his wife Jeanne, née Rivier, he was born at Theux, p- 74], the result (apparently) of Clementi’s taking a
near Verviers in the province of Liége, whence he Shudi harpsichord and square piano with him on his
migrated, before 1763, and in his early manhood, to visit to Paris in 1781.
Paris to work under the celebrated harpsichord maker At the outbreak of the Revolution, while his rival
Frangois-Etienne Blanchet the Younger (g.».), and lived Sébastien Erard withdrew to London to await the
until 1766 in the rue des Ménétriers. A few months outcome, Taskin, as his letters show, looked with
after his master’s death (27 April 1766) Taskin married favour upon the cause of the rebels and even worked
his widow, having meanwhile been accepted into the for it.
Guild. Until at any rate 1770 he was in the habit of In April 1791 Taskin appears as a tuner in the list
signing himself é/éve de Blanchet. He was also harpsichord of the Ecole Royale de Chant, from which the Paris
maker to the King and gave numerous details about Conservatoire is descended.

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Br quotes (p. 67) from an inventory dated 1795: ‘Un
clavecin noir, a bandes dorés, par Pascal Taskin,
éléve de Blanchet, en 1770, no. 15’. Ge remarks on
the mathematical exactness of Taskin’s
design, and also on his discernment in the choice of
woods.
An anonymous portrait, probably of Taskin, painted
in 1762 is reproduced in C/ and also on p. 398 of
Haine|Meexs.
E. Closson’s article in SIM, vol. 12 (1910-11), pp.
234-67, publishes a number of Taskin’s letters, which
are, however, of disappointingly small musical interest.
Further light on Taskin’s life, work, and times is
given in Haine/Meeus, pp. 397-8.
For details of surviving instruments see Part II.
(2) Henri-Joseph. Born, Versailles, 24 August 1779,
died Paris, 24 May 1832. In 1793 he was living in the
rue du Mouton, Paris. He was Pascal Taskin’s nephew
and together with his brother, Lambert (4), was invited
by him to work with him. Haine/Meeus
Pascal-Joseph (II) had a son named Henri-Joseph, and
this has caused some confusion, for they may have been
different people, or possibly the same person.
(3) Pascal-Joseph (Il). Harpsichord maker in Paris;
born at Theux (Liége), 20 November 1750, died at
Versailles 5 February 1829. His father Henri, like Pascal
Taskin’s father, was a manufacturer at Theux (Liége);
but Pascal-Joseph chose to join his uncle in Paris in
1763 to learn the craft, and stayed with him until 1777
when he moved to Versailles. He was ‘Garde des
Instruments du Roi’ from 1772 until the revolution,
thereby taking over part of his uncle’s responsibilities
as harpsichord maker to Louis XV. In 1788 he lived
in the rue des Bourdonnais [Germrg8o]. On the death
of his uncle in 1793 he took over the duties of tuner
to the Ecole Nationale de Chant.
(4) Lambert. Harpsichord maker in Paris, f. 1793,
when, like his brother Henri-Joseph, he helped in
Pascal’s workshop, and lived in the rue du
[Germig80]. Nothing is known of his later life.
TEEUS. See: THEEUWES.
TENBE, Geronimo di. Mahillon’s Catalogue (Vol. 3,
1600) says of a small harpsichord in the
Conservatoire ‘Attribué 4 Jeronimus de Tenbe, 4 Rome
(vers 1656)’. This may be a mistake for Girolamo Zenti
(gr.).
* TERBY, Toussaint-Joseph. Probably a maker of
harpsichords at Namur. Born April 1759, died at
Louvain, 30 December 1852. He was the father of the
celebrated musician Joseph Terby. For further details
see: Haine|Meeus, p. 399.
Google
THEEUWES 191
TERMANINI (or TERNIANINI).
(t) Pietro, of Modena, violin maker. Dates ascer-
tained, 1738-73. Also made lutes and harpsichords [Va,
instrument Li, ASM).
For details of surviving instruments see Part II.
(2) Giuseppe, probably brother of Pietro, likewise
a violin maker [L#, ASM]. Dates ascertained, 1755—
7. It is not known whether he made any harpsichords.
TERNIANINI. See: TERMANINI.
TESTA, Andrea. Originally 2 Roman harpsichord
maker, born ¢. 1621. He worked for Girolamo Zenti
(g.v.) for 4 years from 1638, and, following the latter,
succeeded to the post of ‘Harpsicall maker’ to King
Charles Il, possibly in 1664, while in 1668 he petitioned
the king for a pension, as granted to his predecessor.
[La, pp. 208, 465; Barbieri, p. 154.]
notes that TEUTSCHMANN, of Vienna. Organ or keyboard
instrament (most probably clavichord) maker of the
late eighteenth or early nineteenth century. The work
of this maker was particularly esteemed by Christian
Friedrich Gottlieb Thon. See entry under THON.
THAMER, of Peterborough. Organ builder, f. 1648.
He also did some harpsichord work, for he was paid
£7 in 1648 for ‘repairing and setting in order both
the Orgaines and Harpsicale’ at Haddon Hall, near-
Bakewell, Derbyshire [quoted by J, p. 37 n.]. He built
the organ for Framlingham Church, Suffolk.
THEEUWES or THEEWES. (1) Jacob, harpsichord
and lute maker at Antwerp; dates ascertained, 1533-57
[5#, who quotes detailed information from sources; Li].
(2) Lodewijk (1), harpsichord maker in Antwerp, f.
1557, in which year his name appears as the last
signatory of the petition by Joos Karest [St, p. 63].
Mouton Possibly brother of Jacob Theeuwes.
(3) Lodewijk (Il) [various other spellings of the first
name, such as Lodewyke, Lodewyk, and Ludowicus,
exist, while the surname appears also as Tyves, Teeus,
or Theewes], son of Jacob; harpsichord maker in
Antwerp and afterwards in London. Dates ascertained,
1560-85 [GDN-EKI].
Brussels In 1561 [Hb] he was admitted to the Guild of St.
Luke, as the son of a master [Bw, S#]. Ten years
later he is recorded as living in the parish of St.
Martin-le-Grand, London (‘Lodewyke Tyves, virginall
maker, a Dutchman . . .’) [J, p. 29]; and 11 years after
this he made a claviorganum which is in the Victoria
and Albert Museum, London. This is signed with his
name as Ludowicus Theewes. The harpsichord part of this
instrument is especially interesting as being the earliest
surviving harpsichord known with certainty to have
been made in England, and also as having a 4’ stop as
192. THEIDEL
well as 2x8’. It also includes what is possibly an tuning of harpsichords, pianofortes, spinnets . . .’ Patent
arpichordium stop, and has a compass of C-c’. The no. 1583 [Paf]. Perhaps related to the preceding.
importance of the instrument for scholars of the English
harpsichord is paramount, and it has been treated by * THON, Christian Friedrich Gottlieb. Born Saxony,
many writers including Hubbard [Hubbr96s, and Two about 1780 [Eit, Fé], latest date 1843. Though it is
Early English Harpsichords, in GSJ, iii (1950), pp. 2- possible, though by no means certain, that Thon made
115], Russell [Rasse//rg 59], a full and critical examination one or more clavichords, his importance lies more in
by John Koster [‘The importance of the early English the information which he gives about the survival of
Harpsichord’, in GSJ, XX XIII, (1980), p. 41], Wilson the clavichord in Europe through the early years of the
Barry [‘Analysing the Theewes Claviorganum’, in Org nineteenth century. His book Ueber Klavierinstrumente
Yb XIV, 1983, and ‘The Lodewyk Theewes Cla- ran to 3 editions between 1817 and 1843, and a valuable
viorganum and Its Position in the History of Keyboard survey of this work is given by Bernard Brauchli in
Instruments’, in AMIS-J, 1990, pp. 5-41], and Mould AMIS-] IX, 1983, pp. 68-88. Amongst other useful
[Monld Th}. See also: V&A Cat, pp. 40-2. information, Thon gives a list of over a hundred organ
For details of surviving instruments see Part II. and keyboard instrument makers, most of whom he
had met during his many travels. He uses a dagger to
THEIDEL, of Breslau. Clavichord maker. In 1786 he denote deceased makers (presumably dead by 1817)
lived in ‘Junkern-Gasse zum goldnen Apfel’. Of his whose instruments were worth mentioning: K6nig,
clavichords J. T. Hermes writes: ‘. . . dass sie weder Moss, Reuss, Schiittmeier, and Silbermann; and an
so gros sind, als die Géttingschen, noch auch irgend asterisk to signify those makers whose work he espe-
etwas von Harte haben: sie halten genau nur das Maas cially esteemed, including: Bertsche, Blersch, Brodmann,
der Fridericischen und Hornschen . . .” [Schlesische Donal, Ehrlich, Heilmann, Hofmann, Jackisch, Kaiser,
Provinzialblatter, Breslau, Vol. 3 (1796), p. 62]. Katholnig, Kessler, Kober, Marschal (Vienna), Ober-
dérfer, Rosenberger, Schanz, Schenk, Schmal (Ulm),
THEVENARD. Harpsichord maker at Bordeaux in Schmal (Regensburg), Scidel, Seuffert, Staudinger
the eighteenth century [Cor]. (Brunn), Staudinger (Engelsberg), Stein, Streicher,
In 1727 he submitted to the Académie des Sciences, Teutschmann, Voigt (Liebenstein), Wachtl, Walther,
Paris, a design for a single-string harpsichord with Weisse, Wirth, and Wist. Though it is not clear which
brass plectra. It is not known whether it was ever of the makers in this list made clavichords, they are
constructed [Pi, p. 91, see also E. Gregoir, Bibliothéque each given an entry in this work.
musicale, Vol. 3 (1879), p. 163).
THIBAUT, Vincent. See: TIBAUT, Vincent.
THURIG, Johann Ludwig. Se: TURIG, Johann
Ludwig.
THIELEN, Jan. Clavichord maker of Antwerp; dates
ascertained, 1533-9 [S¢]. © TIBAUT, Vincent. Harpsichord maker at Toulouse,
fi. 1679-81. Tibaut’s 3 surviving instruments enable
THOANER. English harpsichord maker, fl. 1772. comparisons to be made with other makers of the
Br, p. 97, reads: ‘Un clavecin anglais de Thoaner, period from elsewhere in Europe.
année 1772, estimé 2,000 fr.’ (inventory from the year For details of surviving instruments see Part II.
1795). The name, however, appears corrupt.
@ TIEFENBRUNN or TIEFFENBRUNN, Otto
THOKOLI or THOKOLY, Stephanus. A harpsichord Joachim. Clavichord maker. There seems to be some
in the Hungarian National Museum is inscribed Comes controversy about the spelling of his name for it appears
Stephanus Thékélifde Rés=marck, which according to in Bz as TIEFFENBRUN, though the version which
Gabry1969 tefers to its ownership by the Thokéli family. is quoted there as being found in the signatures on
It is said to be of Hungarian manufacture from the surviving clavichords from 1793 and 1801 (which
seventeenth century. should in any case be 1807) is TIEFFENBRUNN.
For details of surviving instruments see Part II. From evidence supplied by VdM and MMCC, it seems
that the correct version must be TIEFENBRUNN.
THOMPSON, Charles, Samuel, Ann, Peter, etc. Born about 1737 in Germany, he emigrated to Denmark
Makers of spinets and harpsichords. Dates ascertained, and was married in Copenhagen in 1769. He was
1764-1802. London: 75 St. Paul’s Churchyard; 8 Lom- licensed as a maker in 1784 and died (probably) some
bard Street [J]. time after 1807. His workshop perished in the 1795
fire, but he started up again as is evidenced by the
THOMPSON, Wardhaugh. Patented on 15 January surviving instrument of 1807 mentioned above.
1757 ‘a perfect and compleat machine . .. for. . . For details of surviving instruments see Part II.

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 TOLLEY 193
TIM®, D. Repairer’s signature, dated 1690, on a a sign with the initials 4 T, which probably is an
clavichord signed ADj:s62 formerly in the Heyer abbreviation of Andrea Titi. The top key is clearly
Collection, Leipzig. dated 1707.
For details of surviving instruments see Part II.
TISSERAN, Joseph. Harpsichord maker in London,
¢. 1700, possibly of Huguenot extraction. Tisseran is TODINI, Michele. Born at Saluzzo, Piedmont, in
an important figure in the study of the harpsichord in 1625; ascertained in Rome until 1681 when he was
England since his one surviving harpsichord, dated “Decano degli Musici di Campidoglio’. Made organs,
1700, is the earliest authenticated English double-manual harpsichords, clavichords, and, furthermore, lutes, and
harpsichord. Though undoubtedly the product of a was an expert performer on the Italian musetta (a
foreigner living in London, it is a characteristic fore- bellows-blown chamber bagpipe). His ingenuity found
runner of the native English product which was to expression in designing instruments such as spinets,
dominate the home market until the end of the and, about the year 1670 the building of a claviorganum
eighteenth century. Incorporating such English features for the Verospi family. It seems to have been a complex
as the typical early English exterior framing at the instrument for Charles Burney described it in 1770 as
keyboard end, and the dogleg 8’, it has a short scale being ‘a very fine harpsichord, to look at, but not a
of 324 mm, though this is in excess of many earlier key that will speak: it formerly had a communication
English instruments, but not yet as long as the scale with an organ in the same room, and with two spinets
of the instruments of Kirkman and Shudi. On the other and a virginal; under the frame is a violin, tenor, and
hand, it also incorporates continental characteristics base [sic], which by movement of the foot, used to be
such as staggered wrest pins imitating the positioning played upon by the harpsichord keys. . .” [See: Wilson
of the naturals and sharps of the keyboard, and though Barry, forthcoming article on the Claviorganum, in
the exterior painted panels imitate the later English EKI]. His book Dichiaratione della galleria armonica .. .
crossbanded style, it is not found on any other harp- was published by Tirroni, Rome, 1676 (see Monatshefte
sichord by an English maker. It is therefore an f. Musikgesch., 1905, Beilage 3, p. 43). He later moved
interesting amalgam of continental and English practice. to France, where he died. See further Fé, GD (suppl.
An account of the instrument given by Alfred Reeve 1945, P- 599), Hirt, Vannes, and pl. 33 in F. Bonanni’s
of Maidenhead is to be found in Bz, p. 179 (much of Gabinetto Armonico (1722).
which is incorporated into the description of the Todini once owned, and perhaps made, the unsigned
Tisseran harpsichord in part II of this work) and its ‘Golden Harpsichord’ in the New York Metropolitan
significance is discussed in Mow/d Tb. Museum of Art—see his Dichiaratione . . . ch. 3, and
Preserved with the Tisseran harpsichord is cor- Wint 1956.
respondence between its first owner, Edward Hanford For details of surviving instruments see Part II.
of Woolas Hall, Worcestershire, and Thomas Day of
London. The latter, who visited the London dealers in
order to find a suitable harpsichord for Hanford, made TODINI, Pietro, of Rome. Harpsichord maker, f.
observations which are important in giving additional 1675; probably the son of the foregoing maker.
background to the state of instrument building in For details of surviving instruments see Part II.
England in the first decade of the eighteenth century.
This correspondence is discussed in Rassellr9s9, TOLLEKE, Karl. In 1755 Tdlleke is said to have been
Hybb1963, and others, including Mould Th. the only instrument maker in Brunswick apart from
Tisseran appears to have worked with Benjamin Fritz (g.v.). He had been apprenticed to Reinecke (SB,
Slade for a spinet signed jointly by them both survives, P- 45).
and it is interesting to note that the strap hinges of the
surviving Tisseran harpsichord are identical to those of
the one surviving Slade harpsichord. TOLLENARI, Joannes, f. 1670. Hirtz gives the first
For details of surviving instruments see Part II. names as Johannes Fiammengo. A Flemish harpsichord
maker who moved to Italy and set up his workshop at
L’Aquila, a town which is the capital of the Abruzzi
TITI, G. C. A. Italian spinet maker, f. 1707. His
region, not, as previously thought, ‘at the sign of the
existence is known only from a surviving small tri- eagle’ [Misch-1979 II].
angular spinet, in the collection of the Museo Teatrale
For details of surviving instruments see Part II.
alla Scala, Milan, which bears the inscription, behind
the nameboard Car G C A Titi, in which Can™ may
well be an abbreviation for Canonicus. The bass end TOLLEY, Robert. A spinet signed Robertus Tolley and
of the lower surface of the jackrail is signed Can dated 1661 is reported as having been seen in England
Andr{ea| Titi, the end of the word Andrea having in 1947. It has been suggested that this might be a
virtually disappeared. The treble end of the jackrail has misreading of Hatley (g.v.).

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 194 TOMASINI
© TOMASINI, Louis. Nor (p. 130) mentions a 5-register
harpsichord by Tomasini dated 1775 as being in Paris.
This appears to be an error arising from the fact that
the Longman and Broderip harpsichord in the Paris
Conservatoire was repaired by Tomasini, about 1883
according to Va. (A 5-octave (FF-f) harpsichord by
Tomasini dated 1889 was offered for sale in Paris in
1952, and it is reported by Elste that this instrument,
made for the World Exhibition in 1889, has been
since 1970 in the collection of the Musikinstrumenten
Museum, Berlin, Catalogue number 5080.) Incidentally
the Museum has a Pleyel harpsichord made for the
same occasion. Tomasini therefore emerges as an Italian
repairer working in Paris in the late nineteenth century,
and strictly speaking he should not appear in this
volume.
TOMASO, de Lua. Italian virginal maker from Lucca,
fi. 1711 (Val.
For details of surviving instruments see Part II.
TOMLINSON & SON. Edward, brother-in-law of
Haxby (g.v.), and Thomas, Haxby’s nephew, succeeded
to his business in York upon his death in 1796 (in spite
of S. Knapton’s claims). They had been assistants in
his workshop for some time before, and carried on the
business of making and selling a variety of instruments
including harpsichords.
Edward was born in 1738, married Elizabeth, daugh-
ter of Thomas Haxby, and died in 1813; Thomas, son
of Edward, was born on 5 October 1768 and died on
7 May 1846. See also: HAXBY, Thomas.
TONOLI, of Brescia. Nineteenth-century harpsichord
and organ maker [Va].
* TORNEL, Tadeo. Spanish maker of claviorgana from
Murcia. F/. 1770-7. He was recorded in 1770 as a
musician in the Chapel of the Convent of Corpus Christi
in Murcia. A claviorgan (harpsichord with pipes in the
treble) converted into a piano survives in the Museo
Arqueolégico, Murcia, with the label: D. TADEUS
TORNEL|me Fecit in Civitate|Murciensis Ano 1777, and
is numbered 20. [See: Articles in the Murcian newspaper
La Verdad of 29 November 1976 and 19 November
1979; and C. Bordas, ‘Les instruments 4 clavier, cla-
vicordio, monacordio et piano’, Catalogue Instruments
de Musique Espagnols du XVI an XIX® siécle, Brussels,
1985.]
For details of surviving instruments see Part II.
* TORRIGLIO, Carianat. A single-manual harpsichord
owned by the Musée d’Instruments Anciens de Musique,
Geneva, is signed A di primo Aprile 1704, CARIANAT
TORRIGLIO, fecit Mestre. It is believed to be of
Venetian origin, and probably earlier than the stated
Google
date. Beyond this, nothing further is known of the
builder.
For details of surviving instruments see Part II.
TOSI, Onesto. Genoese clavichord maker. Dates ascer-
tained, 1568 (?].
For details of surviving instruments see Part II.
TOURNAN, Bertrand, of Lyons, where the Archives
describe him as ‘facteur de clavecins’. Dates ascertained,
1772-9.
In 1772 he rented, in partnership with Pierre Bontan,
a joiner, a shop in the Place de la Charité, Lyons, for
9 years. He is recorded among the /wthiers in 1779. A
handsome square piano by him, inscribed Tournan 4
Lyon 1777, is preserved in the Musée Historique at
Lyons (FF-f, 5 octaves, 2 knee-levers).
LE TOURNEUR. See: TREYER, Jean-Baptiste, called
Le Tourneur.
TOUROUDE, Jacques. Parisian harpsichord maker,
fi. 1769-78 [Pi, Germrg8o}. He lived in 1769 in the rue
du Temple and later in 1778 in the Vieille rue du
Temple, Paris. Germ1980, p. 440, shows these locations
on a map together with the workshops of other builders
and musicians.
TOUSSAINT, Jean. Acquired the citizenship of Ham-
burg as ‘Instrumentenmacher’ on 21 February 1716 [La].
It is not certain that he made keyboard instruments.
TOWNSEND, Gabriel, or pobably Gabriel. English
virginal maker, born about 1604. Freeman of the
Joiners’ Company, London, 1624/5, and Master in
1657/8. Player and Keene were among his apprentices.
He was clearly a maker of some repute, for his surviving
virginal of 1641 was made for Elizabeth of Bohemia,
sister of King Charles II.
Townsend had probably died by 1662, since in that
year Keene, his apprentice, was admitted free of the
Joiners’ Company on the relation of John Player.
Alec Cobbe, suggests that he was the son-in-law of
John Hasard (.v.) [Alec Cobbe, ‘The King’s Virginals
and its Music’, pamphlet published privately for the
opening of an exhibition of the same name in the
. King’s Library, at the British Museum, 27 February
1992, and containing an article ‘Charles II’s Virginals?,
which is also reproduced in Country Life, 27 February
1992].
For details of surviving instruments see Part II.
TRAERI, Domenico. Harpsichord maker from Brescia
working in Bologna in 1700. Probably a relative of the
following maker.
For details of surviving instruments see Part II.
 TRAZENTINUS 195
TRAERI, Ugo Annibale. Clavichord maker at Bz recorded 2 separate makers, one with the first
Modena. Dates ascertained, 1726-9. name ‘Giulio’ and another with the remaining names
For details of surviving instruments see Part II. given above. It seems almost certain that they are the
same person, and that his family name was Frassoni.
* TRAMPELLI, of Adorf, Vogtland. Organ or keyboard He may have used the name Trasuntino simply for
instrument (most probably clavichord) maker of the business purposes. On the assumption that all the
late eighteenth or early nineteenth century. The work various forenames refer to the same person, the fol-
of this maker is known only through the list of makers lowing information applies to him. He was a maker of
given by Christian Friedrich Gottlieb Thon, though he harpsichords, clavichords, and arpicordi (though none
does not single him out for especial praise or esteem. have survived), and is perhaps best known as the maker
See entry under Thon. of the enharmonic harpsichord called the ‘Clavemusicum
omnitonum’. Built in 1606 (on the prescription of the
TRASORI, Alexandro. Italian harpsichord maker, f. inventor Nicola Vicentino, who describes it in his
1733. A painting in private ownership in England, L’antica musica . . . 1555) for Camillo Gonzaga, Count
by Sebastiano Lazari in 1733, depicts a harpsichord of Novellara; this instrument passed later into the
(single-manual) signed: Alexandro [-?a] Trasori possession of the papal maestro di cappella, Baini, and
MDCCXXXIII. is now in the Museo Civico at Bologna. Designed to
achieve purity of intonation, its compass is 4 octaves,
© TRASUNTINO. The surname of several Italian harp- each octave having 31 keys. It is inscribed: So/us/Camillus
sichord and clavichord makers, perhaps related: Gonzaga Novellariae comes || Clavemusicum omnitonum|
(1) Alessandro, of Venice; organ and harpsichord Modulis diatonicis, chromaticis et enbarmonicis || A docsta
maker, dates ascertained, 1531-8 [Bz], ¢. 1485—¢. 1545 manu tactum|Insigne|Vito de Trasuntinis veneto anctore|
[GDN-EKI], although 2 instruments bearing his name MDCVIL. It is illustrated in Russell 1959 and also at
are reported to have survived dated 1604. (These must Fig. 5 of GDN-EKI.
be regarded, however, with suspicion, the first, a Thomas Garzoni (Piazza wmiversale di tutte le professioni
polygonal virginal in the Handelhaus, Halle, and the del mondo, Discorso 136, Venetia, 1585) speaks of a
second, a spinet, which is listed by Franc] as no. 13). Messer Giulio Trasuntino, who had a singular skill in
The earliest surviving Venetian harpsichord dated 1530 the making of harpsichords and clavichords: ‘Degli
was made in his workshops [GDN-EKI, and Denzil instrumenti da penna c’hanno le corde di ferro, d’acciaio,
Wraight in ‘Vincentius and the earliest harpsichord’ in et d’ottone come sono arpicordi, manocordi [i.e. clavi-
EM, Vol. 14, no. 4, November 1986, p. 538, note 26]. chords], clavicembali et cithere nella compositione de
The possibility that Alessandro Trasuntino made quali é stato eccellente Messer Giulio Trasuntino.”
clavichords is interesting, in that two instruments Leonardo Fioravanti (Dello specchio di scientia universale,
survive, both of much the same size, construction, and Venetia, 1564, f. 273) has high praise for Guido, who
design, but almost certainly the work of Franciolini ‘nell’arte d’arpicordi, clavicembali, organi, et regali, é
(See: Dolmetsch in the Week-end Review, London, 12 huomo di tanta et dottrina et esperientia, che il mondo
July 1930, p. 57, where he reviews J). It is clear that si maraviglia in udire de suoi instrumenti: percioche di
Dolmetsch, who in 1897 and 1898 had met a man melodia et armonia passano tutti gli altri: et quelli che
whom he thinly disguises with anonymity, but is da altri sono fatti senza armonia egli si acconcia, et gli
obviously Franciolini, believed that the latter often used fatti divini et rari, como bene in Venetia si vede in
some pieces of original and sometimes worm-eaten diversi luoghi’.
wood in his forgeries. Thus, though the two surviving A harpsichord by Guido or Vito Trasuntino was in
articles, both bearing the date 1537 and curious Latin the possession of Padre Antonio Dalla Tavolo, ‘maestro
inscriptions, are, in their finished state, mostly the work di cappella’ at the Basilica of St. Antonio a Padova
of the forger, yet they may well have been based on from 1635 to 1674. Misch-1979 II gives 4 references to
genuine examples by the original Italian maker. this instrument which appears to have been built in
For details of surviving instruments see Part II. 1570, and compares it with a surviving instrument,
(2) Bernard; the only evidence for the existence of possibly of 1570 (though the inscription is not clear),
this member of the family is a surviving harpsichord in the Museo del Castello Sforzesco, Milan.
bearing the name Bernardinus de Trasuntino, 1574. It may be this ‘Trasontino’ to whom Count Giordano
For details of surviving instruments see Part II. Riccati refers as the maker of a harpsichord in the
(3) Giovanni Francesco of Naples, at the sign of year 1559 [Delle corde ovvero fibre elastiche schediasmi
the ‘Two Roses’, maker of polygonal virginals, f. 1532. fisico-matematici, Bologna, 1767}.
For details of surviving instruments see Part II. For details of surviving instruments see Part II.
(4) Guido, Giulio, Vito, or Vido [Vitus de Tra-
suntinis],
ff. ¢. 1522—after 1606 [(GDN-EKI], instrument TRAZENTINUS, Giovanni Francesco. See: TRA-
maker at Venice [Prof, p. 292]. SUNTINO, Giovanni Francesco.

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 196 TREASORER
TREASORER, William. Maker of virginals and described how a spinet and organ might be coupled
regals in London. Dates ascertained, 1521-76. He most together to create an espinette organisée. (Hubbard, 1967
probably died in 1584. Described in documents as ‘borne (not in Hxbbr965)].
in Germany’, as ‘a German’, and as a ‘Doucheman’, he
settled in England, the original form of his name being TRONCO, Giovanni Francesco. Italian maker of
unknown. In HwR he is described as ‘maker and tuner harpsichords, fi: 1757 [Gd].
of the Queen Majestyes instruments’. He made regals For details of surviving instruments see Part II.
for Edward VI and musical instruments for many. From
1547 onwards he lived in the parish of Christchurch,
TRUCHADO, Raymundo, Spanish monk or priest.
Newgate [MA, III (191 1-12), 103 ff). Made in 1625 a bowed ‘harpsichord’, on the lines of
La (p. 14) quotes a warrant of 25 May 1560 to deliver
Hayden's Geigenwerk, preserved in the Brussels Museum.
to William Treasorer ‘maker of our instruments five
yards of crimson velvett, to cover one payre of regalls,
It is illustrated and described by F. J. de Hen in RipKb,
pp. 17-26, and also in Russell 1959, pl. 103. See
and one yard of purple satin to line the same. Item for
the iron work of a case for a paire of virginalls aforesaid, alse; René de Maeyers, ‘Le ‘Geigenwerk’ du Musée
Instrumental de Bruxelles’, in the catalogue Instruments
covered with crimson velvett’.
de Musique Espagnols du XVI* aw XIX® siécle, Brussels,
TREMAINE. Harpsichord maker in New York; f.
1985.
1759 [Hirt].
TRUSKA, Simon Joseph, 1734-1809. Born at
* TRENCIJ, Nicolo Angelo. The Museo degli Antichi Roudnic, Bohemia, on 5 April 1734. On 8 December
Strumenti Musicali, Rome, possesses a small Italian 1758 he entered the Premonstratensian house of Strahov
harpsichord, upon which, with difficulty, can be near Prague, and was ordained priest on 1 January
deciphered the inscription: NAT Nicolo Angelo Trencij 1761. A musician and composer, he also made various
Jf. According to the catalogue, the authenticity of the instruments, such as clavichords, violins, and viols [Li].
inscription is dubious.
For details of surviving instruments see Part II. TRUTE, Charles. Maker of harpsichords and piano-
fortes. Earliest date ascertained, 1760 (on a square
TRENTIN, Gregorio, Abbé. Born 1768 at Conselve piano); died 1807. From 1782 until 1789 he resided at
near Padua; died at Padua in 1854. Made guitars, harps, 7 Broad Street North, Golden Square, London [RB].
lutes, and pianos, and devised a sostinente harpsichord (The rate book for 1790 shows the house empty). Not
after the fashion of Hayden’s Geigenwerk [Vannes]. long after this he emigrated to America, (Professor Ray
Presumably to be identified with Va’s Trentini (f. 1525 McIntyre, who has supplied much of the information
as harpsichord and violin maker). for this revised entry, believes he took with him to
(1) Joseph, called L’Empereur. A Swiss. Came to America, (via Santo Domingo) his stock of mahogany)
Paris and was taught and adopted by his uncle Jean and was, in 1794, in partnership with a certain Wiedberg
Keiser, who was likewise called L’Empereur. He was at 25 Filbert Street, Philadelphia. Their partnership by
a native of the canton of Solothurn, Switzerland. He this date is corroborated by an entry in James Hardie,
was admitted as Master in Paris in 1757, and married Philadelphia Directory and Register, 1794, in which the
in 1764. Died 1788 [Veriet]. names ‘Trutt & Wiedbery’ [sic] ‘musical instrument
Br (p. 77) refers to a harpsichord ‘fait par Joseph makers, 25 Filbert St.’ appear. That Trute was estab-
Treyer, surnommé Lempereur, 4 Paris, 1770’; and one lished by 1794 is equally clear from an article by Leon
of his harpsichords was advertised for sale, 5 March de Valinger, ‘A Pianomaker Identified’, in Antiques,
1756 [Bg]. Sheridan Germann [Germigéo, p. 440] gives January 1940, p. 15, in which it is stated that on ‘July
two addresses for him, rue Percée, in 1764, and rue des 2, 1794 Charles Trute and Trute Weidberg [sic] bought
Rats, Pl. Maubert, in 1781-8, and a map showing the of Daniel J. Adams, sheriff of New Castle County, for
locations of these premises (and also that of the £340, twenty acres of land in Brandywine Hundred
following maker) together with those of other builders that had formerly belonged to James and William
and musicians of the period. Kinnear . . . On May 11th 1803 Charles Trute and
(2) Jean-Baptiste, called Le Tourneur, maker of Trute Weidberg [sic] bought for $850 about seventeen
harpsichords and bowed instruments in the rue Percée- acres of land near their former purchase from John
Saint-Séverin, Paris (1778); dates ascertained, 1750-79 Warden and wife’. This article also refers to an early
[Pa]. In 1750 he became juré-comptable of the Guild of piano by Trute with illustrations and description (see;
Luthiers. Antiques, October 1939, p. 168) owned by Mrs George
S. Capella, Jr. of Wilmington. It was to Wilmington,
* TRICHET, Pierre, of Bordeaux, France. Fi. ¢. 1640. Delaware, that Trute and Weidberg moved, where
Probably an organ and spinet maker, who about 1640 in 1803, Weidberg died, while Trute who forsook

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harpsichord making for inn-keeping, having bought
the Swan Inn in 1799, died in Wilmington in 1807. De
Valinger in the article cited above suggests that Trute
and his partner emigrated to the USA fleeing the negro
rebellion of 1794 at Santo Domingo [see also: Clink].
The Henry Ford Museum at Greenfield has a square
pianoforte dated 1780 made by Trute during his London
period; another signed Carolus Trute Londini fecit 1784
was at Messrs. Legg, Cirencester, in 1954, while Clink
mentions these, and other pianos built during the
Wilmington and Philadelphia periods.
Harpsichords by Trute appeared in the sale room
from time to time at the end of the eighteenth century,
e.g. at Christie’s:
28 January 1792. A harpsichord by Trute [vendor, Sir Thomas
Rumbold; buyer, Boileau; price £30. 94.
11 November 1793. A single key’d harpsichord by Trute in
a neat inlaid mahogany case [vendor, Hon. Mr. St. John;
buyer, Boileau; price not given}.
Google
TYVES 197
For details of surviving instruments by Trute and Wiedberg
see Part II.
TSCHUDI. See: SHUDI.
TUNONI, Giuseppe. An Italian harpsichord by Josep
Tunonus is reported as being offered for sale in London
in 1925. 2x8’ stops; dated 1637. This is probably the
harpsichord in Francl with the remarkable inscription:
Joseph Tunonus fecit Bononia in Platea Pavaglionis anno
Domini 1637.
For details of surviving instruments see Part II.
TURIG, Johann Ludwig. A clavichord maker at Wy!
(or Wil) in Switzerland ¢. 1680.
For details of surviving instruments see Part II.
TURNER, Bernard. Harpsichord maker in Cambridge
in the eighteenth century.
TYVES. See: THEEUWES.
 U
UBERMANN, Ludwig, of Stuttgart. Organ builder. The Bath Abbey burial records contain an entry for
F/. 1618, when he made a stringed keyboard instrument a Thomas Underwood under 1 November 1777.
for the ‘fiirstiches Frauenzimmer’ for 20 florins [MarcP].
UNDEUS, Donatus, Bergomensis [Donatus de Undeis],
UDINE, Pier Francesco da. See: PIER FRANCESCO, of Bergamo. Harpsichord maker, fl. 1590-1623. See also:
of Udine. CELESTINI, Giovanni, and ONDEO.
For details of surviving instruments see Part II.
UDINE, Pier Giovanni da. See: PIER FRANCESCO,
of Udine,
UNDEUS, Hieronymus. Son of Donatus Undeus,
UFFEL, Frans van. See: HUFFEL, Frans van. harpsichord maker, f. 1632-3.
For details of surviving instruments see Part I.
UNDERWOOD, Thomas, of Bath. Earliest dates
ascertained, 1746; died in October 1777(). J [p- 78] UNGARO, Franco. See: FRANCISCUS Patavinus.
records him as a maker or seller of spinets and
harpsichords. In 1746 he had a shop ‘next door to the
Spread Eagle and Crown’ on Belvedere Hill, in the URBANI, Alessandro. Harpsichord maker of Monte
parish of Walcot, near Bath. Later he moved to the Giordano. F/. 1642. Hammond, from whom the inform-
Market Place. He seems to have been mainly a dealer ation on this maker is drawn, refers to Monte Giordano
in musical instruments of many kinds, although he calls as ‘the Orsini stronghold behind Piazza Navone, also
himself ‘musical instrument maker’ in an advertisement the residence of Cardinal Maurizio of Savoy’. Urbani
in the Bath Journal of 18 November 1754 ‘at the sign ‘was a contemporary of Zenti (g.v.) and, during the
of the Bass Violin in Stall-Street, near the White Hart period when the latter was in the service of the 3
Tavern; sells or lets by the week violins, basses, tenors, nephews of Pope Urban VIII Barberini, Cardinal
German flutes, English flutes, flagelets, bassoon reeds, Francesco, Don Taddeo, and Cardinal Antonio, the
hautboy reeds etc. Likewise sells harpsichord wires latter produced, in 1642, the Luigi Rossi/Giulio Ros-
. . .. Nor does he confine himself to musical goods, pigliosi opera I/ palazzo incantato, with Rossi supervising
for lower down is to be found: ‘To be sold at the the construction of 2 new harpsichords with the
above place; fine pickled mushrooms at four shillings description ‘oftava bassa’. These instruments were made
per quart...” by Urbani, who is known for no other work, while
In 1765 he subscribed to a set of harpsichord concerti Zenti merely made the stands. Hammond concludes that
by Thomas Chilcot (Byrne, Fale]. the term ‘oftava bassa’ refers to a 16’ stop.
 Vv
V., K. See: K., V. VAN DIEREN, Willem. See: DIEREN, Willem van.

© V., L. A harpsichord in the Leipzig University collec- VAN DORT, C. See: DORT, Cornelis van.
tion, has a rose containing the initials L. V. The maker
is not otherwise identified. It may possibly relate to VAN HOVEN, L. See: HOVEN, Lucas van.
Leonard Hermanus Vorstius (4.».).
VANINI or VANINUS, Francesco or Franciscus.
Spinet maker, f. at Bologna, 1673. Apart from the
VAILLANT, Denis. Parisian harpsichord maker in
reference in Va, a miniature spinet in the Shrine to
1737 [Hxbb}.
Music Museum, South Dakota, carries the pencilled
inscription Franciscus Vaninus on the underside. The
* VAILLE. See: BAYLE. Museum, however, does not believe that this is the
name of the maker and surmises that the instrument
* VALLE, Josef Francisco du (or more correctly in dates from ¢. 1600 [Banks].
Portuguese—Do Valle). Portuguese instrument maker, For details of surviving instruments see Part II.
living in Cadiz by the last quarter of the eighteenth
century. There is in the Lisbon Conservatoire a salterio VAN KAMP, Hubert [Vankemp] of London. Spinet
made by him in Lisbon in 1774, and so he clearly did maker. Dates ascertained, 1751-64; he probably died
not move to Cadiz until after that date [KdP]. by 1766. In 1751 he moved into a house on the north
side of Eagle Street, Holborn, where he remained until
VALLE, Pietro della. See: POLIZZINO, Giovanni 1754 [RB.GM}]. His children John and Hannah were
Pietro. baptised at the church of St. George the Martyr, Queen
Square, Holborn, in 1752 and 1754. From 1754 until
VALTER, Antoine. See: VATER, Antoine. 1764 he lived in Lee Street (now northern part of Dane
Street), Holborn [RB 1765-6 wanting].
For details of surviving instruments see Part II.
* VALVASSORI, Ercole. Member of a harpsichord and
organ building family, active in northern Italy, in VAN KAMP, William Hubert, of London. Organ
particular in Milan, in the sixteenth and seventeenth builder and maker of other instruments. Perhaps son
centuries. His association with harpsichord building is of Hubert. Dates ascertained, 1767-72, when he lived
verified by an inscription on an instrument by Antegnati in Lee Street, Holborn, in Hubert’s house. He placed
(g.v.) dated 1544, in the collection of the Museo Teatrale the following notice in nos. 155 and 156 of the Liverpool
alla Scala, Milan: Hercules Valwasorius 1638. A full study General Advertiser (9 and 16 December 1768):
of the family has been undertaken by Lorenzo Ghielmi,
who has produced a genealogical tree, and much MUSIC, WILLIAM HUBERT VAN KAMP, Organ-builder,
information on the organ-building activities of the At the Dial in Lee-street, the second Door from Red Lion
various members of the family.
Square, Holborn, LONDON, Makes and Repairs all Sorts
of Barrel Organs, for Minuets, Country Dances, &c. also
New-invented Concerto Organs that play whole Concertos,
VAN CASTEEL. See: CASTEEL. Songs of any Kind, by the Fingers or Windles. Likewise great
Choice of Organs performed by Clock-Work, fit for Palaces,
VAN DEN ELSCHE, J. See: ELSCHE, Jakob van
Halls, &c. finished for Sale at Reasonable Rates. My instru-
ments from the smallest to the largest are not only Ornamental
den. and Harmonious but will keep in order in any Climate.
N.B. Harpsichords and Spinnets made &c.
VAN DER BIEST, M. See: BIEST, Marten van der.
VAN MEER, Albert. See: MEER, Albrecht van.
VAN DER SLAGH, P. See: SLAGH MEULEN,
Pieter van der. VAN WYENBERGH, Josse. Variant spellings of the
surname include Vander Wyenberghe, Van Wacy-
VANDERVELDE, P. See: DEFIELD. enbergh, and Van den Wacyenbergh, while the Christian

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200 VASTI
name appears also as Judocus. Tuner, repairer, and ‘Un Clavecin a grand ravallement . . . avec Tuorbe (sic)
possibly maker of harpsichords, spinets, and organs at et flageolet.’ ‘Clavecin 4 4 rangs de sautereaux et 5
Brussels. F/: 1692-3. Haine|Meeus, p. 438 gives further jeux.’ For details of surviving instruments see Part II.
details of him.
VAUDRY. A family of harpsichord makers who made
VASTI. Italian harpsichord maker, sixteenth(?) century. instruments in Paris for several generations. At present,
A harpsichord by him was in Modena in 1598 [MarcP]. only one member, Jean Antoine (born ¢. 1680, died
1750 [Verlet}) can be identified with certainty. That he
VASTI, Prospero, of Reggio nell’Emilia. Organ, harp- must have made harpsichords is proved by 2 references
sichord, and virginal maker, fl. 1676-9 [Va]. to a ‘clavecin fait par Vaudry’ in the inventory taken
after J. Bourdet’s death [MC, XCI. 758; 1737, 2 March].
VATER. German family of instrument builders of He is also referred to in a legal document of 1718 as
whom the following are known: ‘maitre seul faiseur d’instruments de musique du Roi
(1) Mastin, organ and harpsichord maker, from 12 [VerA Cat, p. 64].
Hamburg. Dates ascertained, 1670-95 [Krick]. He was Studies of the Vaudry family and tradition of building
the father of: were given considerable impetus when, in 1974, the
(2) Christian. Baptised 1679-d. 1756 [GDN-EKI, Victoria and Albert Museum acquired a magnificent
Krick]. He was primarily an organ builder and worked two manual harpsichord signed under the soundboard
¢. 1700 with the well-known builder Arp Schnitger. Vaudry @ Paris—1681. Whether Jean-Antoine was the
Only one harpsichord of his is known—a single-manual maker is not certain. There is, however, an interesting
instrument now in the Germanisches Nationalmuseum, tradition that the instrument once belonged to the
Nuremberg. Biographical notes on Christian Vater are Duchesse de Maine, daughter-in-law of Louis XIV, and
to be found in Reinhard Stupnik, Der bannoversche after her banishment from the court, she took it with
Orgelbaner Christian Vater 1679-1756, Kassel, 1976. her to the Chateau Savigny-les-Beaunes where she had
For details of surviving instruments see Part II. the lid decorated (rather badly, in fact) in red and gold
(3) Antoine or Anton [Watter]. Born 1689, died after to match the decor of the room in which it was kept
1759. A harpsichord maker born in Hanover who until the 1970s, when it was acquired by the Museum.
settled in Paris in 1715. Jauré of the Guild there in Sheridan Germann [Germigfo, p. 440] gives the
1737. Sheridan Germann [Germrgéo, p. 440] gives his address of Jean Antoine as rue St. Jacques, and a map
addresses as rue du Temple in 1737, and rue Phélipeaux showing this location in relation to those of other
in 1759, together with a map showing the location of builders and musicians of the period. Sadly, however,
these premises and those of other builders and musicians beyond this, no further information on the Vaudry
of the period. family has come to light. [See: Derek Adlam, ‘Restoring
Harpsichords by him dated 1725, 1724, and 1755 are the Vaudry’, EM, iv, (1976), 255.]
referred to by Br (pp. 49, 67, 85), though he reads the For details of surviving instruments see Part II.
name as Valter (Antonius Valter, Lutetiae Parisiorum
1753). This might lead to his being confused with the * VELAZQUEZ, Pablo. Madrid harpsichord builder.
Viennese piano maker (Gabriel) Anton Walter who was An advertisement in the Diario Noticioso Universal of 15
married about 1785, and therefore perhaps born about February 1759 referred to... . wm clave de coro cuyo autor
1760—particularly as the Crosby Brown Catalogue es Pablo Belézguex, uno de los mejores que ha babido en esta
(New York) gives Walter’s name as Vatter. [Gabriel corte. This seems to have been a ‘choir’ harpsichord,
Anton Walter (the pianoforte maker) was born at the term referring to the part of the church in which
Neuhausen, 5 February 1752; he married in Vienna, on it was placed. Since the advertisement referred to him
27 January 1780, Anna Elisabeth née Reisinger, a widow, in the past, it may be that he lived in either the
and died in Vienna 11 April 1826. Some of the surviving seventeenth or eighteenth century [KdP-RMA-RC].
pianos from his hand are noted (and a fine grand
pianoforte of 1787 in private ownership in Amsterdam VELTMAN, Andries. Maker of organs, harpsichords,
(1971) illustrated) in HaasBM, whom see also for and mathematical instruments. Born 1730 or 1731 at
information on other instrument makers associated with Amsterdam; died there, aged 65, on 5 January 1796.
Mozart, especially Christian Baumann of Zweibriicken See further Curtis, pp. 61-2. It is possible that Weltman,
(1746-1816). See also Clink.) noted below, is the same man.
Cor (1753, P- 90) gives some measurements taken
from ‘un clavecin d’Antoine Vater’, and refers to him VENETUS, Domenicus. See: DOMENICO,
again on p. 84. Giovanni, of Venice.
Bg mentions a number of harpsichords by a maker
variously spelt Watters and Vaters, whose Christian © VENTURA, Aloysius. Two instruments survive bear-
name was Antoine. This must have been Antoine Vater. ing this name. The inscriptions, which are identical in

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both, are more than suspicious, and there seems
cause for doubt that they are the work of Franciolini.
‘The surviving clavichord in particular has the char-
acteristic diamond shaped gap which appears in 2 other
Franciolini fakes ascribed to Assalone (1732) and Ferrini
(1751). Whether a maker of this name ever existed is
questionable.
For details of surviving instruments see Part II.
© VENZRY. (1) Carl Rudolf August, born 1767 at
Langenhennersdorf near Pirna. Learnt organ building
1780-5 from J. F. Treubluth (1739-1821) and worked
with him until 1787 in Dresden. After
returned to him (1790). Next year he received
title of ‘Churfirstl. Sachs. Hoforgelmacher-Adjunctus’.
According to Me he made, besides organs, square and
grand pianos, and clavichords, with or without organs
attached (‘Flétenwerke’). He is mentioned by Christian
Friedrich Gottlieb Thon in the list of makers whom
he had met though he does not single him out for
especial praise or esteem, and he spelled the name as
‘VENSKI’. See entry under THON.
Venzky died in Dresden on 25 October 1811 [OrgYb,
X, 1979].
The Leipzig University Collection has a portative
organ by him dated 1807 [Ks].
For details of surviving instruments see Part II.
(2) Ernst Christian Gotthold, brother of the above,
set up in Birkenfeld as organ and instrument maker
[Ks].
VERBIEST, Marten, of Antwerp. Harpsichord maker,
ff. 1580 [S#]. Almost certainly the same person as Marten
van der Biest (g.v.).
© VERHEYDEN, Peter, of Antwerp. Harpsichord
maker. Dates ascertained, 1643-55. Stellfeld states that
on 16 February 1655 he married Anna
but Gier points out that at his death not only was Maria
Paulus his widow, but also (from his will of 31 January
1655) his 3 heirs were his wife Maria Paulus, their little
son ‘zoontje’ Hendrik and Verheyden’s son Nicolaas
from his first marriage with Anna van Thien(en). It
seems therefore that Maria Paulus must have been his
second wife, and that he married Anna
sometime before 1655. He died in Amsterdam on 31
July 1655 [Gier].
VERINI, Giovanni. See: FERRINI, Giovanni.
VERJURE. See: FERCHUR, Jean.
* VERNIER, PERE. Sheridan Germann [Germigéo, p.
440] lists a tuner and regulator, and perhaps maker, of
Google
VICENTINO 201
little harpsichords of this name living at the Carrefour de
Bussy in 1781.
VERWEY, Jan. Dutch harpsichord maker who worked
in Amsterdam about 1760. The name Verwey occurs
frequently in the Amsterdam marriage and burial
registers of the eighteenth century, but never with the
profession of ‘clavecimbelmaker’. An advertisement
in the Avmsterdamsche Conrant, 1761, no. 135, gives
information about him:
Jan Verwey, Mr. clavecimbaalmaker, woont in de Nege-
lantiersstraat Z.Z. voorby de laatste dwarsstraat t’Amsterdam
3 years he heeft thans vervaardigt en presenteert te koop cen clavecimbaal,
the zynde cen staartstuk met 2 clavieren en 4 registers, lopende
onder van C tot F, nog een vierkant prooper gearbeid en zeer
aangenaam van geluit; alle dagen van 2 tott 5 wuren te zien.
Nog presenteert hij sijn dienst aan alle liefhebbers van de
musiek om oude stukken te repareren, te verlengen of breeder
te maken.
(In this advertisement and in that in the Amsterdamsche
Cowrant, 1762, no. 116, Verwey offered a 2-manual
harpsichord with 4 registers and a compass C-f? and a
virginal. He also offered his services to modernize old
instruments by ravalement.) [Gier].
VESEY, Richard. Spinet maker in York, ¢. 1700.
For details of surviving instruments see Part II.
VICENTINO, Nicola. Born at Vicenza in 1511, died
at Milan 1575 or 1576; became a priest and studied
music under Adrian Willaert; later maestro di cappella at
the court of Ferrara, where he taught the prince and
princess of the family d’Este the harpsichord. Moving
to Rome in the train of the Cardinal Hippolyte of
Ferrara, he devoted much study to the music of the
ancient Greeks. In 1546 he published some 5-part
madrigals entitled: Dell unico Adriano Villaert discipulo
van Thienen, D. Nicola Vicento Madrigali a 5 voci per- teorica e per
pratica da lui composti al nuovo modo del celeberrimo suo
maestro retrovati lib I., designed to restore the Greek
modes; to which end also he designed an archicembalo,
having 2 keyboards capable of enharmonic scales, and
published his theoretical work L’antica musica ridotta
alla moderna Prattica . . . at Rome in 1555. Two of these
archicembali were constructed under his supervision, one
Thienen
in Rome for the Cardinal of Ferrara and one in Milan
in the year before his death of the plague which swept
through Italy in 1575-6. See H. Bottrigari’s I/ desiderio,
overo de’ concerti di varij strumenti musicali (Bologna, 1599;
facsimile reprint, Berlin, 1924, pp. 40-1); also H. W.
Kaufman, ‘More on the tuning of the archicembalo’,
Journal of the American Musicological Society, Vol. 23, part
1 (1970), pp. 84-94; and Paul R. Brink, The archicembalo
of Nicola Vicentino. (Ohio State University dissertation,
1966). Ann Arbor, Mich., University Microfilms, 67-
2420.
 202 VICENTINUS
Vicentino also achieved eminence as a performer on mutum{;) nominis omnis bonos.|MVCXVI.XF., which in
keyboard instruments. Bz, Boalch translated as: ‘This is the work of Vincentius,
rude in itself. Take away the name of Leo [and] it will
VICENTINUS, Hieronymus Clarellus. See: be dumb; all [its] honour is in [his] name’; and the date
CLARELLI, Geronimo. to be read as ‘10 February 1516’. The nameboard appears
now to have been lost, but Wraight demonstrated the
© VICENTIUS. Given in Bz as a separate maker, but authenticity of the instrument by the discovery of an
this is almost certainly wrong, since the detail reported inscription on the underside of the soundboard: rjry
there clearly refers to the first of the two makers with adi 18 de sett{b fu fondato Vinceio livigmeno faciebat showing
the name Vincentius recorded below. that the instrument was started on 18 September 1515.
It should be noted that an instrument in the collection
VI. . . IES. These syllables, which might possibly of the Castello Sforzesco, Milan, described in the
abbreviate the maker’s name, are above the nameboard catalogue as a clavichord of 1503 is in reality a
of a Venetian polygonal virginal, dated 1540, acquired harpsichord, but the date is suspect, and it cannot be
in 1953 by the New York Metropolitan Museum of authoritatively described as the earliest harpsichord.
Art. On the nameboard, besides an Italian motto, is: Gusnaschi (g.v.) is also known to have made a
MDXL. Venetiis. On the back of the nameboard is: harpsichord for Leo X.
Ordinato efatto per sua eccelenza la Sig.ra Duchessa D’Urbino For details of surviving instruments see Part II.
L’anno di nostra salute 1540 ¢ Pagata [2 words illegible]
seudi Romani No. so. Front of case richly inlaid. See: E. VINCENTIUS Pratensis, Harpsichord maker of Prato,
Winternitz in MMA journal. New York. Vol. 1, near Florence; ff. 1610-12. Also made lutes [La].
PP. 95-108, where, however, these syllables are not The René Savoye Collection, Paris, had (1910) a
discussed. sixteenth-century harpsichord by Preno (q.».), inscribed
For details of surviving instruments see Part II. on the back of the nameboard: Vincentius Pratensis 1610
restaxré (Ks, p. 278]. See also: Stoppacio, a harpsichord
VIERERIGEL, Johannes. Of Pressburg (Bratislava), by whom may likewise have been restored by Vincentius
clavichord maker, fl. 1744. in 1610.
For details of surviving instruments see Part II. For details of surviving instruments see Part II.
VIMERCATI, Petrus. Francl excels itself by recording
a ‘spinetta’ by this maker dated 1190: Petrus Vimercati VIRBES, de [Verbés]. Teacher of music in Paris, f.
fecit Brixiai anno Domini MCXC (sic). 1768-76 [Forkel, Mus. Krit. Bibl. 1. 298]. He was also
organist of St. Germain-l’Auxerrois, and ‘marchand de
®@ VINCENTIUS. According to Bz—‘Probably of clavecins, rue des Belles-Fituves’ (Bg, p. 18]. Sheridan
Florence,’ though possibly, more exactly, Vincentius’s Germann also gives his address as rue du Four St.
birthplace was the hamlet of Livignano. [See: Denzil Honoré in 1768, together with a map showing both
Wraight, ‘Vincentius and the earliest harpsichords’ in addresses in relation to those of other builders and
EM, November 1986, p. 534.] musicians of the period [Germrgéo, p. 440].
From the surviving example of his work a floruit of About 1771 he invented a clavecin acoustique which
1503~16 appears probable, and it seems that in 1515 he imitated 18 different instruments [Ge]. Three years
enjoyed the patronage of Leo X (Giovanni de’ Medici), before, he had built a harpsichord with 10 different
who was Pope from 1513 to 1521. Wraight in the above stops [Bg]; and Ko records another built in 1777, which
quoted reference has demonstrated quite clearly from was called clavecin harmonieux et céleste, and on which his
an inscription on the underside of the soundboard of son performed in a concert in 1786. A. Rodriguez
a harpsichord, in the possession of Count Chigi Saracini Mojiino, ‘Instrumentos Masicos para el Infante Don
[Bz], and now in the Accademia Ghigiana, Siena Gabriel’, in Misceldnea en Homenaje a Mons. Higinio Anglés
[Wraight] that it is the earliest surviving harpsichord (Barcelona, 1958-61) reproduces documents (to be
with a date of 1515. This is at least six years older than found in the Archivo Histérico Nacional, Madrid
the instrument dated 1521 by Hieronymus Bononiensis (Seccién Estado, leg. 2826 No 7), describing and
(Jerome of Bologna) which had until 1986 been thought discussing this latter invention of Virbés, and showing
to be the earliest surviving instrument. The Vincentius how the Infante was interested in buying one, but his
instrument has undergone a number of changes from agent in Paris discouraged him, pointing out the
its original state, and a comprehensive review of these instrument’s practical disadvantages [KdP].
is given by Wraight. Six sonatas for the harpsichord, by either the father
The Vincentius harpsichord at one time had a or the son, were published without date in Paris; some
nameboard which carried the legend: Leo Papa X/\in- trios also appeared in 1785, likewise of doubtful
centi boc opus est ex se rude. Deme Leonis|Nomen{,) erit authorship.

Google
 VORNENBERGH 203
Ri (p. 80) quotes a handbill ‘about the middle of the Christian Friedrich Gottlieb Thon. See entry under
eighteenth century’ [sic] announcing that ‘the Sieur THON.
Virbes, Professor of Music, and Teacher of the Harp-
sichord, from Paris’ would exhibit ‘a most extraordinary ® VOIT, Johann Michael, of Schweinfurt, Bavaria.
harpsichord’ at 40 Suffolk Street, Charing Cross. Dates ascertained, 1804-12. Organ builder who made
Verlet cites documentary evidence that he made pianofortes and clavichords in considerable numbers.
‘clavecins’ (p. 76). Probably related to the Voits who were connected by
marriage to the Stein family (g.v.). By 1811 he had
VIRY, A. A ‘grande épinette de A. Viry, 4 volute’ taken his son into partnership, although his name
‘was item 478 in the Lery sale of 1910 in Paris. appears alone on an instrument of 1812.
Johann Michael is mentioned also by Christian
VITALE, Giovanni. Active as a harpsichord maker in Friedrich Gottlieb Thon in the list of makers whom he
Rome in 1645 (Barbieri, p. 155). had met. See entry under THON.
The Neupert Collection in the Germanisches Nation-
VLADIMIROV. See: BATOV, |. A. almuseum, Nuremberg, has two Voit square pianos,
one of which is inscribed; Verfertiget von Job. Michael
VOGEL, Hanns. Sixteenth-century keyboard instru- Voit, Orgelmacher in Schweinfurt. Nr. 325 1804.
ment makers, father and son, in Nuremberg. A Stuttgart For details of surviving instruments see Part II.
inventory of 1589 records a keyboard instrument by
him. See further /dMDew, p. 106. © VOLBER, Jean. Parisian harpsichord maker. Dates
ascertained, 1771-99. He entered the Guild of Instru-
VOGEL, of Naumburg. Organ or keyboard instrument ment Makers in 1784. From 1771-99 he lived in the
(most probably clavichord) maker of the late eighteenth rue d’Argenteuil, which is shown on a map at p. 440
or early nineteenth century. May possibly be a des- of Germ1g80, together with the locations of other
cendant of Hanns Vogel (above), but the name is builders and musicians of the period [Pi, Verlet,
common, and it seems unlikely that Christian Friedrich Germ1980].
Gottlieb Thon, who records this Vogel in the list of
makers he had met would have confused Nuremberg * VOLTERIN, Francesco. Spinet maker of Rome,
with Naumburg. See entry under THON. known only from one surviving wing spinet in Tokyo
which bears the inscription Francesco Volterin|a/Roma.
VOGLER, Johann Caspar. Not a maker, but the The style of the instrument, known only from a
one time owner of an enormous, but anonymous, photograph, suggests the hand of Franciolini, though
harpsichord advertised in the Leipziger Intelligenz-Blatt this may be doing it an injustice. No date is given for
of 19 April 1766 [See: Carl G. Anthon, writing in GSJ the instrument, and no floruit can be ascribed with
XXXVII (1984), p. 115]. Vogler was court organist at certainty to the maker. [ Yokota].
Weimar from 1721 until his death in 1763, a position For details of surviving instruments see Part II.
held formerly by J. S. Bach (1708-17).
The instrument, apart from having a length of * VOOL, Jan Jacob. Organ builder, born in Altenkirchen
between 10 and 12 feet, had a pedal of 4 registers, on the Oder, who worked in Amsterdam from ¢. 1775
including a 32 foot stop. until his death on 30 June 1819 [See: Gier, pp. 304-
16]. In 1788 he advertised as ‘J.J. Vool, orgel-en
VOIGT, of Hamburg. Maker of keyboard instruments, clavecimbaalmaker, in de eerste Weteringdwarsstraat
fi. 1792 (Ge, 1812; Musikalischer Almanach). Z.Z. bij de Spiegelgragt te Amsterdam’ [Gier].

VOIGT, of Uhlstadt near Kahla. Organ or keyboard © VORENBERCH, Pieter [Vornenburch or Vor-
instrument (most probably clavichord) maker of the nenbergh]. Maker of clavichords and harpsichords;
late eighteenth or early nineteenth century. The work dates ascertained, 1542-52. Born at Cologne, he received
of this maker is known only through the list of makers the citizenship of Antwerp on 23 June 1542 as a
given by Christian Friedrich Gottlieb Thon, though he clavichord maker, and entered the Guild of St. Luke
does not single him out for especial praise or esteem. in 1552 as harpsichord maker [S¢]. He seems to have
See entry under THON. made lutes also [Li]. Probably father of Pieter van
Voornenburch, the painter, who entered the Guild in
VOIGT, of Liebenstein near Salzungen. Organ or 1582.
keyboard instrument (most probably clavichord) maker
of the late eighteenth or early nineteenth century. The © VORNENBERGH, Pieter. See: VORENBERCH,
work of this maker was particularly esteemed by Pieter.

piatized ty Google
204: VORNENBURCH
VORNENBURCH, Pieter van. See: VOREN- And also: ‘Die Flankenziige und die relativ geringe
BERCH, Pieter. Lange des Korpus (191.5 cm) wiirden cher das 17. als
das 18. Jahrhunderts vermuten lassen.”
Gier comments further: ‘We know that the instrument
VORSTIUS, Leonard Harmanus. Harpsichord
was built in Amsterdam in 1766; I do not think that it
maker, born in 1736/7 in Dinslaken (Germany). He
was rebuilt in that year. Probably the instrument was
lived in Amsterdam on the Looiersgracht in July 1765,
altered, less than one expected. I think that Vorstius,
and married Anna Slootman, also from Amsterdam.
like other Dutch builders of the eighteenth century, for
On 8 November 1779, when she was buried, he was
living in the Lange Leidsedwarsstraat between the instance Van der Lugt, Smit and Leenhouwer, built in
the Flemish tradition.”
Leidsestraat and the Kruysstraat, and he continued
Another harpsichord made by Vorstius is mentioned
there until his death. The burial registers of 11
in the Auction Catalogue of the estate of the well-known
September 1781 state: ‘Leonard Hermanus Vorstius,
Amsterdam musician and music director Bartholomeus
Mr. clavecymbaalmaker’.
Ruloffs (died 1801): The ‘zeer fraai clavercimbaal,
Gier states that undoubtedly Leonard Vorstius was
staartstuk door Leonard Vorstius 1765’ was sold at 8
the builder of the harpsichord containing a rose with guilders—a small amount [Gier, Henkel}.
the initials L.V. and the inscription Amster[dam] Ao Surviving Instruments. The instrument listed in Bz as by
1766 in the Heyer Collection. Gier goes on to say that V., L. is no longer shown here as surviving in view of
‘Now the ‘L.V.-problem’ is resolved it is a pity that what is recorded above.
the instrument that was in Leipzig was destroyed in an
Anglo-American air raid on December 4, 1943’. This
instrument had one manual, a compass of GG/BB-P VRIES, Dirck de, of Antwerp. Harpsichord maker;
and 3 registers: 8’, 8’, 4’. The register ends were covered died 1628-9. Probably related to Catherina de Vriese,
with ivory and outside the case on the right.’ Henkel wife of Andreas Ruckers the Elder [S#].
writes (1979): ‘Solange es nicht gelungen ist, die Initialen
aufzulosen, wird eine sichere zeitliche Einordnung nicht VRIESE, Frans de, of Malines. Harpsichord maker;
méglich sein, vor allem, weil der wirklich originale Af. before 1557 [CA]; Hirt gives his ascertained dates as
Zustand dieses Instrumentes nicht mehr bekannt ist.’ 1550-70.

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W., P. The letters P.W. on a spinet formerly in the
Germanisches Nationalmuseum, Nuremberg, but lost
in World War Il, may be a signature. The instrument
had split E flat keys throughout (Wilh. Dupont,
Geschichte der Musikal. Temperatur, Nérdlingen,
1935].
A 2-manual harpsichord, unsigned and undated,
probably French, eighteenth-century, was sold anonym-
ously at Sotheby’s on 5 December 1966. Its gilt rose
includes the initials PW (P above, W below).
For details of surviving instruments see Part II.
WACHTL, of Vienna. Organ or keyboard instrument
(most probably clavichord) maker of the late eighteenth
or early nineteenth century. The work of this maker was
particularly esteemed by Christian Friedrich Gottlieb
Thon. See entry under THON.
W
WAGNER, John Christian. Recorded as ‘single and
double harpsichord and spinet maker’ in Moore Street,
Dublin, in 1765 [Teaban}.
Beck, © WAGSTAFFE, Jane, carly owner, not maker. Noted here
because her name identifies an English spinet sold by
Mrs. Joyce Wilson at Sotheby’s on 22 October 1970 to
John S. P. Morley, and subsequently offered by Morley
in a catalogue of 1972. On the fore-edge of the jackrail
is inscribed Jane Wagstaffe 1742, who was probably the
first owner. Since the instrument is most probably by
Thomas Hitchcock the Younger, it is listed with his
instruments.
WAHL. German builder of Claviergamben, seventeenth
century [Wa].

WAGNER * WAHLSTROM, Anders. Swedish clavichord maker.

(1, 2) Michael and Johann, brothers who worked FI. 1732. For further details see H-O, p. 119-20.
together as makers of organs and other instruments at For details of surviving instruments see Part II.
Schmiedefeld. In 1764 they made a harpsichord com-
bined with a flute-stop, says Ge, i.e. a claviorganum.
* WAHLSTROM, Carl. Clavichord maker of Oster-
In 1770 they built a 3-manual organ in the church at
lovsta, Sweden. F/. ¢. 1779. For further details see H-O,
Ambhem. Their stringed keyboard instruments were
Pp. 158-60.
also well thought of [Ge, Fé]. ‘Wagner of Schmiedefeld For details of surviving instruments see Part II.
near Suhl’ receives favourable mention from Christian
Friedrich Gottlieb Thon. See entry under THON.
(3) Johann Gottlob [Jean Théophile] born 1741 at WAKEFIELD, Richard. Patented on 2 May 1771 ‘a
Medingen near Dresden; became a pupil in the Sil- new method of tuning and keeping in tune all kind of
bermann workshops [Hirt]. Harpsichord, clavichord, harpsichords, spinnets, forte pianos etc. . . .’ Patent no.
and organ maker at Dresden, where in 1774 he invented 989 [Pat].
a piano with 6 variations in tone, obtained through
pedals: lute-tone, damped lute, harpsichord, harp, and WALHAUPTER, David. Harpsichord maker in New
pantalon. The hammers were not covered and so the York; fl. 1773 [Hirt].
tone was more like that of the harpsichord. It was
called a clavecin royal and sold for 28 to 36 ducats [Ge,
Ko]. The Bachhaus at Eisenach has a piano by him [Ks,
WALKER. (1) Adam, (2) D., and (5) J. Earliest and
latest dates known, 1772-81. Harpsichord makers at 8
p. 280]. He died in 1789.
Great Pulteney Street, Golden Square, London.
For details of surviving instruments see Part II.
They invented a stop called the ‘celestina’, which
(4) Christian Salomon, younger brother of (3), born
at Medingen near Dresden in 1754. He was taken into aimed at a sostenuto by means of a continuous bow
partnership by his brother in 1773, and assisted him in operated by a ‘weight, spring, or traddle’. It is described
the invention of the clavecin royal. After his brother’s in patent 1020 and referred to by Jefferson in his
correspondence with Francis Hopkinson [Russell 1959,
death C. S. Wagner took over the business, and
continued making keyboard instruments until his death PP. 179-80].
in 1816 [Hirtz]. In 1796 he produced a method of
quilling harpsichords which claimed to render the WALKER, Henry. Apprenticed to the London virginal
replacement of quills unnecessary. His most expensive maker Nicholas Farnaby (q.v.). Free of the Joiners’
harpsichord commanded a price of 600 talers [Ge, Fé]. Company in 1628 [Join].

tized ty Google
 206 WALLCUTT
* WALLCUTT. See: CULLIFORD. seem to indicate more than one generation with this
name. Probably related to the Webers below.
© WALTER, Anton, of Vienna, 1752-1826. Best known
as a pianoforte maker, also built organs and concerned © WEBER, Ferdinand. Organ and harpsichord maker,
himself with harpsichords, etc. According to an invoice Werburgh Street, Dublin, 1715-84. Born at Bor-
of his dated 3 March 1781 he spent 12 days at the stendorf; died at Dublin. Learned organ building under
Esterhazy court ‘an denen zu verbesserenden Clavier J. E. Hihnel of Meissen, 1728-35. Came to Dublin in
und Fligel Instrumenten’ [Walter, p. 258]. He also 1739. When Handel came to Dublin in November
received favourable mention from Christian Friedrich 1741 he visited Weber’s House in Werburgh Street
Gottlieb Thon. See entry under THON, where his frequently. Weber moved to Marlborough Street in
name is given as ‘Walther in Vienna’. 1750 and married in 1755; in 1784 his address was 71
Marlborough Street [Dwb/. 1784]. In 1756 his son
© WALTHER, Anton. See: VATER, Antoine, and also Thomas Ferdinand was baptised. In 1752 he made a
above under WALTER. harpsichord for Thomas Roseingrave. He also made at
least one clavicytherium which still survives.
Southwell (g.v.) was one of his apprentices and
WARN, Thomas, of Gloucester. Maker of spinets and
possibly also Robert Woffington (g.v.).
harpsichords; fl. 1740 [J].
On Weber’s death the business passed into the hands
of his son Thomas Ferdinand, ‘who however’, says F/d,
WARTH, Philipp Jakob. Amateur maker of keyboard ‘did not long keep it owing to his convivial habits’.
instruments (chiefly pianos, but probably clavichords His recorded dates are 1787-90 [Teaban]. E. Halfpenny’s
too) at Untertiirkheim, Wiirttemberg, where he was article ‘Shudi and the Venetian swell’ (Music and Letters,
born. Dates ascertained, 1788-1800 [Hirt]. He was a July 1946) draws attention to the fact that if the date
school-master by profession. See further Ge (1812) and of 1768 or 1769 is correct for the single-manual Weber
the Speiersche Mus. Real-Zeitung, 1788. harpsichord in the National Museum, Dublin, the
Venetian swell may have been in use in Ireland by
WATSON, John, of York. Spinet maker, fl. 1762. Weber before Shudi patented it in England (1769).
For details of surviving instruments see Part II. Weber’s and Shudi’s swells are the same in principle,
though different in detail. From about 1772 he made
WATSON, Thomas. Appears in the list of members fortepianos.
of the Guild of St. Luke, Antwerp, in 1658-9, as For details of surviving instruments see Part II.
harpsichord maker and tuner [Bw]. He was also organist
of the St. Joris-kerk, Antwerp [S¢]. * WEELE, Frederik van der. Organ builder born on
16 March 1752 in Middelburg, where he worked until
WATTERS, Antoine. See: VATER, Antoine. his death on 24 January 1840. [See: Gier, pp. 316-20].
He was ‘stadsorgelmaker’ but also a harpsichord maker
as can be seen in an advertisement in the Middelburgse
WATTS, Charles. Primarily a pianoforte maker, first
Courant for 24 January 1777: ‘Frederik van der Weelle,
in London and then from 1788 in Charleston, S.C., woonende in de Zandstraat te Middelburg, presenteerd
where he advertised himself in the City Gazette as also
a repairer of harpsichords and spinets [Rita Benton in
zyn Dienst, om nieuwe orgels en clavecimbels te maken
en te stellen; ook neemd hij ze aan by het jaar te
Hin (p. 181)]. onderhouden.’ (He recommends himself as a maker and
tuner of organs and harpsichords.) Van der Weele was
WATTS, Thomas. See: BRADSHAW, Albion. also a good performer. During a visit by the Stadtholder
family to Middelburg in 1786, he played a ‘concert van
WE ... An early eighteenth-century 2-manual harp- musicq van orgel en clavecimbel gepaard’ (a concert
sichord in the Muz. Narodowe, Poznan, bears an almost played on a chamber organ and harpsichord together)
illegible label, on which the last word, perhaps the [Gier}.
maker’s surname, appears to begin We . . . The
instrument was converted later into a pianoforte of WEGNER, Friedrich. Organ builder and maker of
very simple action. stringed keyboard instruments at Wels, Austria, in 1598
For details of surviving instruments see Part II. [MarcP].

© WEBBER, Rachel. Recorded as a harpsichord maker * WEGNER, Johann. An instrument described in MICL
at 71 Marlborough Street, Dublin, in 1706 and at as a Virginale a cylindre is ascribed to loannes Wegner of
number 75 from 1777 to 1778 [Teaban]. The interval of Leipzig, and dated 1619. Beyond this, nothing is known
72 years between the earliest and latest dates would of this maker.

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For details of surviving instruments see Part II.
WEIDNER, David Jacob. Maker of organs
clavichords in Augsburg, f. 1697.
For details of surviving instruments see Part II.
WEIDTMAN, Peter. F/. 1724 as a clavichord maker
at Ratingen, near Diisseldorf.
For details of surviving instruments see Part Il.
WEIKHART, of Halle. Eighteenth-century maker of
quilled keyboard instruments--a ‘berihmter Instru-
mentenmacher’ according to J. S. Petri (Anleitung zur
Practischen Musik, 2nd edition, 1782, p. 369). He quilled
his instruments with turkey quills.
WHITE 207
© WELMAN or WELMANS, Stephen. Though appear-
ing in the second edition of this work as an English
and spinet maker, with floruit of 1680, some doubt has been
cast on this by the suggestion in the sale-catalogue of
the one surviving instrument by this maker (Sotheby’s
12 June 1974) that it is dated ¢. 1700 and is probably
of South German origin. Despite this, the illustration
of the instrument suggests strongly that the maker was
English.
For details of surviving instruments see Part II.
WELTMAN. Presented in 1759 to the Académie des
Sciences in Paris a method of changing registers and
producing a crescendo by means of genouilléres [RipExpr,
p. 69]. See above: VELTMAN, Andries.

WEIL, Johann Wilhelm, of Neuwied, near Coblenz. © WESSBERG, Eric. Clavichord maker of Stockholm.
Instrument maker, f. 1793. Dates ascertained, 1781-1857. Born on 6 October 1781,
The Bayerisches National museum at Munich had Wessberg is first recorded as an apprentice to the widow
(until World War II, when the instrument collection was of the cabinet maker Fredric Iwersens in the period
almost entirely destroyed) a mechanical claviorganum, 1801-5. He trained with Pehr Lindholm (g.».) as a piano
consisting of a clavichord and small organ, driven by builder from 1810 to 1812, and also Johan Everhardt,
clockwork. The clavichord was bichord and embraced the younger (1812), and Henric Johan Séderstrém (¢.v.)
two-and-a-half octaves, the organ, one-and-a-half from 1813 to 1814, becoming licensed as a builder of
octaves. The bellows were inscribed: Jean Guillaume pianos and clavichords in 1814. He then worked on his
Weil de Newwied, fait a Wied Runckel proche Limburg sur own until 1823 when he joined Lindholm’s successor
Labn le 3 Decemb. 1793. Nr. 37. The mechanism was Carl Jakob Nordquist (q.v.). Ill health caused him to
made by Job. Leykes in Creyfeld. give up by 1830, and he appears to have died a pauper
in 1857 [H-O].
WEISS, Johann. Clavichord maker of Stuttgart, f. For details of surviving instruments see Part II.
1702.
For details of surviving instruments see Part Il. * WESSMAN, Kantor. Swedish clavichord maker of
Karlstadt, fl. 1803. Little is known of him, and H-O
WEISSE, of Prague. Organ or keyboard instrument relates how he was discovered by accident through a
(most probably clavichord) maker of the late eighteenth reference (1803) to an application for an import licence
or early nineteenth century. The work of this maker was for a new kind of instrument, a ‘Melodica’ from
particularly esteemed by Christian Friedrich Gottlieb Copenhagen to Karlstadt. No instruments of his appear
Thon. See entry under THON. to have survived [H-O].

WEISSE, of Nabburg, near Amberg. Organ or key- © WEYENBERG, Josse van. Se: VAN WYEN-
board instrument (most probably clavichord) maker of BERGH, Josse.
the late eighteenth or early nineteenth century. The
work of this maker is known only through the list of WHITE. (1) Thomas (1). Almost certainly a virginal
makers given by Christian Friedrich Gottlieb Thon,
maker. Master of Gabriel Townsend and father of:
though he does not single him out for especial praise (2) Thomas (Il). Virginal maker. Admitted free of
or esteem. See entry under THON. the Joiners’ Company in 1621. Lived in Old Jewry,
London. He was buried on 5 January 1660. His widow
WEISSLAND, Georg, of Kassel, f. 1597. Court organ Mary died of the plague in 166; and was buried on 2
builder and maker of keyboard instruments to the September. Father of James White and of Thomas (III).
Land-graf Moritz of Hesse. Two spinets by him appear An ottavino of his, dated 1638, survives which is almost
in the Kassel inventory of 1613 [MarcP]. certainly the ‘child’ of a ‘mother and child’ virginal,
and is the only indication that such instruments were
WELCKER. German clavichord maker who was build- built in England, though they were relatively common
ing up to the year 1820 [Blithner and Gretschel, Der in the Low Countries.
Piano-fortebax}. For details of surviving instruments see Part II.

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208 WICLEF
(3) Thomas (Ill). Admitted free of the Joiners’ © WILLENBROCEK, Hermann. (or Willenbock [Hiriz]).
Company in 1669 on the relation of Adam Leversidge Maker of clavichords and harpsichords at Hanover.
and another person. He made in 1712 a claviorganum for the Crown-prince
(4) James. Son of Thomas (II). Dates ascertained, Georg, afterwards King George I of England, of which
1656-70. Admitted free of the Joiners’ Company by the double-manual harpsichord part still survives at
patrimony, 1 December 1656. Mentioned as virginal the Metropolitan Museum of Art, New York. The
maker in Old Jewry, 1664. He may be the organ inscription on this instrument gives rise to speculation
builder James White who subscribed to Mace’s Musicks about the correct form of his surname, for it appears
Monument (1676). The will of the organ builder Ralph on the nameboard as WillenBrock. It may therefore be
Dallam mentions his partner ‘Mr James White Citizen more correct to list the maker under Brock. See also
and virginal maker of London’. the observation by Koster noted under WILBROOK.
For details of surviving instruments see Part Il. His work is praised by a contemporary as ‘durch-
gehends gut’ [MafNo, p. 263).
WICLEF, Johan Christoph [Wiegleb] of Ansbach. For details of surviving instruments see Part II.
Dates ascertained, 1724-40. Maker of organs and other
instruments. He devised a plucking mechanism for the * WILSON, John. A pencilled note on the flyleaf of a
harpsichord which used brass plectra instead of quills. manuscript in the Coke collection dated 1734-40, and
(This was, of course, a rediscovery, brass having been most probably about 1736 states:
used for this purpose in early times) [Ad/, II. 107; see
also: Wobnbaus}. John Wilson at ye golden faulcon fetter lane near ficet stret
(sie) harpsichord maker.
WIEDBERG. See: TRUTE, Charles. This is most probably the John Wilson who was
apprenticed to John Player 1693-1701 [Jobnstone].
‘WIEGLEB. See: WICLEF.
* WIMULA. Two makers of this name, one in Bayreuth
WIERLING, Hendrik. Baptised 14 December 1721
and the other in Brinn, Moravia, both possibly clavi-
in Leyden. In 1747 he is described as a ‘clave-
chord makers, are mentioned by Christian Friedrich
cimbaelmaker’. By the following year, however, he had
Gottlieb Thon, though he does not single out either
become an inn-keeper. See further Cwrtis, p. 62.
one for especial praise or esteem. See entry under
THON.
WIGLEB, of Bayreuth. Possibly the same as WIEGLEB
or WICLEF, the name appears amongst the list of
makers known by Christian Friedrich Gottlieb Thon, * WINANDS. Family of organ and harpsichord builders
though he does not single him out for especial praise of Brussels in the eighteenth and nineteenth century
or esteem. Sce entry under THON. comprising:
(1) Jean-Baptiste, born Geiskirchen/Cologne, 1750;
WILBROOK, John. Harpsichord and spinet maker in died Brussels 30 April 1811. He was making instruments
London. F/. 1730. His surviving harpsichord of 1730 at Brussels by 1786, and married Marie-Joséphe Liéven,
clearly shows the influence of his master, Herman widow of Charles-Joseph Lavry in 1788. In 1795 he
Tabel, and he acknowledged this by writing under the was living in the Kerstemannekenstraat, and in 1802 in
soundboard the inscription Johannes Wilbrook Londini the rue des Droits de l’Homme [for further details see:
fecit Tabel's man. Koster has suggested that there may Haine|Meexs, p. 456]. In an announcement dated 1789,
be some connection between Wilbrook and Willenbrock he was said to be the seller of organs, organised-pianos,
(g.v.), but no clear evidence has so far come to light. and harpsichords. After his death the business was
Thomas Green (g.v.) of Hertford records that in 1772 carried on by his widow, and after that by his son-in-law
and 1774 he tuned an instrument for ‘Mrs. Crofts’ Frangois-Joseph Lavry, and eldest son:
which he described as Johannes Wilbrook fecit. (2) Jean-Baptiste-Joseph, born, Brussels, 5 April
For details of surviving instruments see Part II. 1790, died in the same city on 6 April 1853. He worked
with his father in the family workshop until 1811, but
WILHELM, of Kassel. Clavichord and harpsichord it would seem unlikely that by this time the firm was
maker, fl. 1784. He charged from 20 to so thalers apiece producing any plucked-string keyboard instruments.
for his clavichords [C. Engel, Musical Instruments, rev. [Haine|Meeus has much more information on this mem-
edn., London, 1908; p. 122]. He also made pianos ber of the family.]
[Hirt].
WINTHER. F/. 1781 in Liibeck, where he made
WILKINSON, W., English spinet maker, fl. 1741. See: clavichords in partnership with Meyer.
LADYMAN. For details of surviving instruments see Part II.

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 WOLTHERSSON 209
* WIRTH, of Augsburg. Organ or keyboard instrument taken into partnership by William Gibson (g.v.). In
(most probably clavichord) maker of the late eighteenth 1778 this partnership was dissolved, and Woffington
or early nineteenth century. The work of this maker was continued on his own account at 9 William Street
particularly esteemed by Christian Friedrich Gottlieb ‘where he has for sale several of these Instruments
Thon. See entry under THON. [mentioned above], and entreats the Commands of the
Nobility and Gentry . . .’. An upright piano by him
* WIST, of Vienna. Organ or keyboard instrument (most belonged to the Duchess of Connaught in 1912; and a
probably clavichord) maker of the late eighteenth or single-manual harpsichord by a Woffington—probably
early nineteenth century. The work of this maker was this one—passed through the hands of Messrs. Moss
particularly esteemed by Christian Friedrich Gottlieb Harris & Son, London, about 1944 [MA, Fid].
Thon. See entry under THON. For details of surviving instruments see Part II.
(2) John, son of the foregoing, fl. 1816, made
* WISSMAYER, Paul. Spinet maker of Nuremberg. F/. harpsichords and pianos [MA].
1619, in which year he built the spinet part of a J (p. 79) gives 1728-1836 as the earliest and latest
dates known of the firm of Woffington, instrument
2-manual claviorganum (of which Stefan Cuntz built
makers. The above 2 Woffingtons should be dis-
the organ). The hexagonal lid is all that remains of the
instrument which has a painting inside by Friedrich tinguished from:
von Falkenberg showing the instrument [See: Wilson (3) Robert, fl. 1720-49 (year of his death). Vicar-
Barry, forthcoming article on the Claviorganum in choral of St. Patrick’s. Probably took part in the original
performance of Handel’s Messiah in 1742.
EK]
(4) John, son of no. 3; fl. 1750.
(5) John, f. 1723-59, organist of Armagh Cathedral
* WITTIG, Elias. Swedish clavichord maker of Goth- [MA].
enburg. Dates ascertained, ¢. 1693~d.1716. Like Georg
Woytzig (g.v.), Wittig was born in Liegnitz in Silesia,
and after apprenticeship to him was made free on 8 WOGA, Werner, of Danzig. Maker of harpsichords.
June 1695. It seems likely, however, that Wittig had Thomas Green (4.v.) of Hertford records that in 1782-
been in Sweden since 1693 since a journeyman called 86 he tuned a harpsichord for Mr. Wood, of Hertford
Elias was a member of Woytzig’s staff in that year. He Market Place, which he described (1782) as Joannes
probably spent time outside Sweden in the period 1695 Werner Woge Danzig Fecit 1746 Sheldrick}. It is surprising
and 1701 for in 1703 he applied for a passport, and in to find an instrument from Danzig in a small English
market town in the eighteenth century, though if
the application it is mentioned that he had been in
Sweden for the past two and a half years as an organ Ge, 1812, is to be believed, Woga’s reputation was
builder. On 21 November 1707 he became a freeman considerable about 1740.
of Gothenburg. An organ of his dated 1707 still survives
in the Nyeds church Varmland, though it belongs to WOLF, C. H. Maker of organs and other keyboard
the Nordiska Museet, and it is known that he carried instruments at Leipzig in the late eighteenth century
out restoration of the organ in Marstrands church in [Ge, 1812).
1715, the year before his death.
For details of surviving instruments see Part II. WOLFAERT, Eewout [Edward]. Belonged to the
Guild of St. Luke, Antwerp, in 1589 as harpsichord
WITTMAN. There was advertised in Paris on 11 maker [5#].
December 1758: ‘Clavecin neuf et trés curieux de la
composition du Sr. Wittman, lequel donne, par le WOLFGANG, Ohann. See: OHANN, Wolfgang.
moyen d’un caisse de mécanisme, diverses modulations
aux sons depuis le pianissimo jusqu’au fortissimo. Prix: WOLTHERSSON, Gustav Gabriel. (Given incor-
600 livres. . .” [Bg]. rectly in Bz as Woltkersson.) Swedish clavichord maker.
Earliest and latest known dates 1739 and 1760. Little
WJLANDER, J. S. Swedish clavichord maker, f. «. is known of Wolthersson’s early life, though he was
1800. Little is known about him. [See: H-O, p. 183]. probably educated at the Vetenskapsakademien (the
For details of surviving instruments see Part II. Science Academy) between 1739 and 1756, and in 1750
he sat an examination in the industry and mining
WOFFINGTON. Makers of harpsichords and other department before obtaining his articles. It is reported
instruments in Dublin. that he was for a while with D. Strible (g.v.). The
(1) Robert, maker of the organ, harpsichord, and apparent discrepancy between his formal education and
pianoforte. Dates ascertained, 1773[?]-1823 [Teahan], his association with Strahle indicates that he probably
the latter being the year of his death. In 1774 he was followed 2 professions, the one in some area of

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 210 WOOLFINDEN
the mechanical sciences, and the other in keyboard retrospect this must be a mistake, and Gier corrects this
instrument building. He seems to have suffered from to ‘1698"; died 1776 [Curtis, p. 62].
ill health, and even as late as 1752 had not been able A ‘fraaye clavecimbaal, zijnde cen staartstuk van
to start his own business, though there are reports that L.W. met dubbeld klavier en 4 registers’ (a 2-manual
he did work on organs in the period 1747-60 [H-O]. harpsichord with 4 registers) and initials L.W. is listed
For details of surviving instruments see Part II. in the Auction Catalogue of the estate of Mr. S. van
Groenwegen at The Hague (7 August 1758) [Gier].
WOOLFINDEN, John. English spinet maker, ¢. 1725.
WOYTZIG, George. Born near Liegnitz in Silesia,
For details of surviving instruments see Part II.
and thus German by birth, he was working in Sweden
by about 1680. The oldest surviving Swedish clavichord
WORCKEN, Georg, of Germany. Clavichord maker; bears his signature, but the fact that he signed himself
fl. 1636 [Va]. ‘Orgel-und Instrumentenmacher’ shows that like many
other Swedish clavichord builders he also built organs
© WORMS, Lodewijck. Probably a harpsichord maker, and probably other instruments [H-O].
at The Hague. Bz stated ‘baptised 1658’, but in For details of surviving instruments see Part II.
 Y
YKENS, Melsen or Melchior. See: BRITSEN, Joris I.

vigtized ty Google
 Z
Z., G. See: ZENTI, Girolamo. For details of surviving instruments see Part II.
* ZABEL. (1) Gottfried Wilhelm. Dates ascertained, © ZENTI, Girolamo [Hieronymus de Zentis, Hierony-
1792-1803; organ and instrument maker at Tan-
mus de Zentis Viterbiensis]. Maker of harpsichords,
germiinde near Stendal in 1792. He was a pupil of spinets, and organs.
Hildebrand of Dresden. His clavichords had a high
Most of the information about Zenti has, until
reputation. In 1803 he was paid a fee of 620 thalers for
recently, been deduced from 2 of his surviving instru-
repairing the organ in Stendal Cathedral.
ments, a harpsichord of 1633 and a bentside spinet of
(2) Johann Gottfried. It is possible that this is the
same maker as Gottfried Wilhelm (see above). The only
1637. However, Barbieri in 1989, and Hammond in 1987
have both published new documentary evidence from
record of this maker exists in a surviving clavichord
made at Tangermiinde, but dated 1808. Since this is
which a more complete picture of his life and work
beyond the latest known date for Gottfried Wilhelm,
may be compiled. From Barbieri, it is known that he
was born ¢. 1609-11 and died 1666-7. Originally from
it suggests that perhaps a son, or younger brother, was
Viterbo, north-west Rome, and son of Francesco Zenti,
also active as a clavichord maker [Bemmann].
he is registered in the archives as a harpsichord maker
For details of surviving instruments see Part II.
from 1638-48, married to the Roman, Antonia Cafaggi
ZANETTI. Early seventeenth-century Italian harp- (born ¢. 1620), and with a workshop near the via del
sichord maker [C/P (71), Prof (272), Hwllm). CIP Pavone. From 1652 only his wife appears in the registers
domiciles him in Florence. (Ri (p. 79) calls him a together with some of the relatives from Viterbo, while
‘Venetian priest’.) Zenti was working in Sweden.
It seems probable that he knew Michelangelo Rossi,
* ZEDLER, of Kitzingen. Organ or keyboard instrument who in 1648 was registered in the same parish, together
(most probably clavichord) maker of the late eighteenth with his sister, a widow [Parish archives of Ss. Celso
or early nineteenth century. The work of this maker is e Giuliano in Banchi]. Zenti reappears in 1656 with a
known only through the list of makers given by shop near the Ospedale di S. Spirito, and continues to
Christian Friedrich Gottlieb Thon, though he does not appear until 1660, after which his name disappears and
single him out for especial praise or esteem. See entry the only ones to be registered are his wife, Antonia,
under THON. and Matteo Marione, a workman. In 1667, the wife
appears as widow, and does not reappear in the registers
ZEISS, Valentin. Builder of organs and other instru- for the following year, indicating that Girolamo was
ments in Linz, fl. 1639-46. On 17 August 1639 he was dead in the period between Easter 1666 and Easter
appointed court instrument maker to the Emperor 1667. This affirmation of the date of his death by
Ferdinand III of Austria. See further VdMSalzb and Barbieri is interesting since it had previously been
VdMZeiss. thought that he died in Paris ‘in the French King’s
For details of surviving instruments see Part II. service’ in 1668 (See RipZ for details). In addition, a
fine two manual harpsichord of this date, signed with
© ZELL, Christian (Zelle]. Harpsichord maker at the Zenti’s name, which exhibits features of the French
Ginsemarkt, Hamburg, where he acquired citizenship seventeenth-century style, survives in the collection of
on 14 August 1722. He married Florentina, widow of the Musée Instrumental, Paris. If Barbieri is right, this
Carl Conrad Fleischer (g.v.), at the S. Petri church there evidence must cast doubt on the authenticity of the
on 1 September 1722. Three children were baptised at latter instrument. In addition, for some years further
S. Petri: Christian (18 June 1723), Anna Maria (2 July doubt had been cast on the date of Zenti’s death by an
1725), and Elisabeth (11 March 1729). Among the extant harpsichord, which appears to be his work,
godparents was Gabriel Tielcke (son of Joachim, the bearing on a key and a jack an inscription variously
lute maker, and Catharina Fleischer) [Hbg]. interpreted as GZ 1672 or GZ 1622. Recent examination
Krick has drawn attention to similarities between the of the inscription by ultra-violet light has now made it
surviving instruments of Michael Mietke (4.v.) and Zell, clear that the date is in fact 1622. The date 1622,
and believes that the latter may have been one of however, raises other problems, since, if Barbieri is right
Mietke’s pupils [1/dM-Fest]. in giving Zenti’s year of birth as 1609 at the earliest,

iy Google

this harpsichord is probably unique in having
made by a 13 year-old builder!
From Hammond it is known that Zenti took over the
tuning and maintenance of the harpsichords of the three
nephews of Pope Urban VIII Barberini, Cardinal
Francesco, Don Taddeo, and Cardinal Antonio,
Giovanni Battista Boni da Cortona (4.».) on the latter’s
death in 1641. But as early as 1635 he was paid
twenty-eight scudi, by Don Taddeo in October of that
year for a harpsichord. On 12 January 1646, he received
25 scudi for the maintenance of the instruments in the
course of the year 1645, and for having
new harpsichord. Barbieri also quotes other documents
dealing with the finances of Zenti’s work.
Strangely, despite his position with the Barberinis,
when, in 1642, Cardinal Antonio produced
I/ palazzo incantato at the Palace Barberini, and required
two new harpsichords, ‘ottava bassa’, only the production
of the stands was entrusted to Zenti, and the instruments
themselves were made by a hitherto unknown maker,
Alessandro Urbani (g.v.). (For a discussion
description ‘ottava bassa’, see Hammond p. 41).
Zenti moved to the court of Queen
Stockholm in 1653 and after returning to Italy con-
tracted to build an organ for Prince Camillo Pamphilij
nephew of Pope Innocent X, in March 1660, Before
this project could be completed he went to Paris,
probably staying there until February 1662. He went
next to England in 1664 as the ‘King’s virginal maker’
but he returned to Rome in that year, being succeeded
by Andrea Testa (4.».), and in, or after, 1666 returned
to Paris, where, as mentioned above, he died.
A Vatican manuscript of 1741 listing the most famous
Italian harpsichord makers states [See: Misch-1972}:
Autori della scuola Romana: nell’ameta del X° 7° Secolo ha
fiorito Girolamo Zenti Viterbese; ha auto plauso universale
per il suo argento, ¢ quantita d’armonia, ¢ dopo, ¢ non meno
di detto Zenti . . .
Zenti may well have worked at some time for the
Medici family at Florence, for an inventory made in
1700 of Prince Ferdinando’s instruments records 6 made
by Zenti [Gai, p. 6], at least 4 of which were still there
when the collection was entrusted to the care of-
Cristofori [Ps].
He is mentioned by Giovanni Buontempi (Historia
musica, Perugia, 1695, p. 47): ‘l pit moderni
vicembali] sono stati ritrouati di Girolamo
in figura di Triangolo non giustamente equicrure . . .
per hauer tre lati ineguali, con due tastature . . . ¢ con
tre registri’. Hxbb 1965 and RipZ interpret this passage
as referring to the invention of the bentside spinet, of
which his instrument of 1637 is the earliest known
example. Li# mentioned him as a lute maker.
Zenti was an important influence on the harpsichord-
building tradition in Italy, for those employed by him
included Andrea Testa (g.v.); Giovanni Battista Palazzini
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ZIMMERMAN 213
been (born ¢, 162), in 1638; ‘Gasparo’, in 1642; Francesco
di
Tomaso Marchion, from Florence, in 1646-7; Antonio
Sabbatini, di Francesco, (Zenti’s nephew), 1646-8;
Domenico Ronconi di Sarzana, from Remigio, (born ¢.
1642), 1657-60; Carlo Perelli (g.v.); Giovanni Battista
from Giusti (g.v.); Matteo Marione (g.v.); ‘Joseph filius
Rodulphi Rodulfi’, of Rome (born ¢. 1647) 1659. This
latter is most probably the same as Giacomo Ridolfi
(q.).
According to Barbieri, amongst the circle of people
surrounding Zenti were two painters. First, it is known
built a that Francesco Sabbatini, of Orvieto, who probably
died between 1648 and 1652, executed some frescoes
in the church of S. Rosa in Viterbo. He was married
to Zenti’s sister Camilla, who died on 4 April 1665.
the opera Their son, Zenti’s nephew, worked for his uncle from
1646 to 1648. Secondly, it is known that Zenti was
associated with ‘Carolus Erasmus, filius quondam Pla-
cidi Regij, romanus, pictor’. Known also as Carlo
Raimo, this painter (born 1619-20) was married to
of the Santa (born ¢. 1626), daughter of Giovanni Battista
Boni da Cortona (.v.). Barbieri adduces from the
Christina in available evidence that Raimo must have been one of
Zenti’s collaborators.
There was advertised for sale in Paris on 26 February
1753 @ ‘clavecin a ravallement de Gerolamo de Sentis.
L’enlévement des Sabines est peint en dehors et de
grands morceaux d’architecture ornent le dedans . . .”
[Bd].
He is probably the ‘Geronimo’ referred to by Cor
(p. 84) (not Hieronymus Bononiensis), and also the
Jérosme in Bg’s ‘clavecin de Jérosme’ advertised in
Paris on 5 February 1767—also the Jérosme whose
harpsichord was in Treyer’s possession in 1779 [Hubb].
For details of surviving instruments see Part II.
ZEUSISCH, of Wiener Neustadt. Organ or keyboard
instrument (most probably clavichord) maker of the
late eighteenth or early nineteenth century. The work
of this maker is known only through the list of makers
given by Christian Friedrich Gottlieb Thon, though he
does not single him out for especial praise or esteem.
See entry under THON.
ZI, Go. See: ZENTI, Girolamo.
[cla- ZIEGLER, Johann Andrea. 1658-1737. Born at Wei-
Zenti, fatti mar in 1658 and remained there as a maker of keyboard
instruments. Wa speaks of the durability and good tone
of his harpsichords, clavichords, and clavicytheria. In
his youth he worked for his father as a cabinet maker,
and assisted in the construction of the cathedral organ
at Erfurt and the organ at Weimar, where he died on
20 September 1737 [Ge].
ZIMMERMAN. Harpsichord maker in the rue
Trainée, Paris; fl. 1786-8 (Verlet).
214 ZIRENGAST
ZIRENGAST, Joseph. Organ builder at Wiener Neu- {i.c. Blumer] of Switzerland—probably a relative of
stadt; dates ascertained, 1761-7, when he worked on Samuel Blumer, who was also a Schwanden man—and
harpsichords (among other instruments) at the Ester- finally ‘Sarah Wood now living with me’. Samuel
hazy court [Walter]. Tschudi of Glarus, no doubt a member of Burkat
Shudi’s family, is the trustee; and the organ builder
ZOANE-MARCO. See: GIOVAN-MARCO, di John Snetzler is one of the witnesses. The will was
proved on 17 January 1750.
Ferrara.
For details of surviving instruments see Part II.
ZOCCOLONE (ZACCOLON)), Filippo, of Rome,
ZUCCHERO, Federigo, of the nineteenth century.
born ¢. 1566, died 51 October 1617. He appears in the Maker of harpsichords [L#, Ge].
archives of the church of S. Nicola di Cesarini as a
harpsichord maker from 1609. Amongst his workmen
were Antonio Nardetii (gv.); a certain ‘Geronimo ZUMPE, Johann Christoph. A German craftsman,
romano’, born ¢. 1575, first registered in 1610 and 1611, born at Firth, Germany [V/dM], who, after being
and appearing in his own right in the following year, employed in the Silbermann workshops, came to
and Francesco Salvi, from 1613 (Barbieri, p. 156]. England some time in the 1750s and worked for a time
for the harpsichord maker Shudi. By 1761 he had
started up on his own, at 7 Princes Street, Hanover
ZOLFANELLI, Giuseppe, of Florence. Son of Square [RB.G.] and had turned, or was about to turn,
Francesco Zolfanelli. Dates ascertained, 1690-1709. He from harpsichord work to the making of the square
made musical instruments of many kinds, including pianos which were destined to become so popular. The
keyboard, but did not achieve distinction in any field catalogue of a Christie’s sale on 12 June 1979 states
[Ge, Li]. His name appears in the matriculation books that the earliest recorded English-made piano is by
of his Guild for 1690 and 1697, when he resided ‘behind Zumpe, and dated 1766. There can be little doubt that
the church of S. Michele Visdomini’. From 1709 his business was successful and he was the most famous
onwards he was at Bologna [Ps]. of the German makers who emigrated to London after
the Seven Years war, and became known as the ‘twelve
ZOPFE, John Belthazar [Hans B. Zopfi]. Maker of apostles’.
harpsichords and clavichords. Dates ascertained, 1747 He was in partnership from 1769 to 1778 with
50, the latter being the year of his death. Buntebart, and afterwards (pace Ri, p. 132) with Meyer.
Like Shudi, whose niece Anna Margarett he married Laurence Sterne wrote to Mrs. Daniel Draper in March
[Da, p. 52], Zopfe was born at Schwanden, in the 1767: ‘I have been with Zumps [sic]; and first your
canton of Glarus, Switzerland, in the chronicles of piano forte must be tuned from the brass middle string
which town he is referred to as Hans B. Zopfi of your guittar, which is C.—I have got you a hammer
‘claviercordmacher’ (Da, p. 31]. too, and a pair of plyers to twist your wire with. . ..’
RB.J. show that Zopfi owned a house in King Street, (First published in Letters from Yorick to Eliza, 1773.)
Golden Square, from 1747 until 1749. The RB for 1750 Gray the poet refers to a Zumpe piano in a letter to
is missing, but it seems likely that Zopfe was still a William Mason [J, p. 137].
resident there when he died. J (p. 79) quotes a notice In 1780 he moved to Princes Street, Cavendish
from the London Gazette, 23 February 1750, addressed Square, where he remained until 1784 [RB], in which
to ‘all persons indebted to the estate of Mr. John year he returned to Germany and died at his native
Belthazar Zopffee . . . harpsichord maker deceased’, town of Firth [dM], having acquired a considerable
who had died between the 12th and the 17th of the fortune, and leaving Schoene & Co. as his successors
previous month. (see J and Ha for the history of Zumpe’s piano making).
In his will, dated 12 January 1750, Zopfe describes It is interesting that even during the period when he
himself as ‘of the parish of Saint James, Westminster . . . was selling square pianos as fast as he could make them,
harpsichord maker’, and desires that his stock in trade he found time to turn his hand to a completely different
and household effects be sold up. No mention is made type of instrument, for the late Canon F. W. Galpin
of his wife Anna Margarett, who must presumably have noted that there is in the Frankfurt Museum a lute-
died before him, nor of any children: the beneficiaries shaped cittern by John Zumpe in Princes Street Hanover
being the children of his late brother Frederick, the Square at the sign of the Golden Guitar. The address dates
children of his sister Ann, wife of Frederick Bloomer it between 1761 and 1780.

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PART II DETAILS OF SURVIVING
INSTRUMENTS BY
NAMED MAKERS
sy Google
 A
A, F. Painted outer case, probably of date later than 1627. Case
Type: Single-manual harpsichord. of cypress with spruce soundboard. On the underside of
Date: 1677. the keys are remains of some sort of parchment hinging.
Ownership: KENNETH GILBERT, PARIS, FRANCE. Jacks and jackrail not original.
Inscriptions: On top and bottom keys: F A 1677. References. SMF, and photos from Museum, 80GK
Specification: 2x8’. 61-3.
Additional features: 2 hand stops. Information supplied by: Kilstrim|Grabn|S MF.
Compass: C/E-c’, short octave. Boalch 3 number: A., G. 1627.
Keyboard: White naturals, black sharps. Boalch 2 number: None.
Exterior of case: Painted.
Case construction: Italian style, inner/outer. ‘Type: Single-manual harpsichord.
Length: 1974 mm. Date: 1630.
Width: 725 mm. Ovnersbip: MUSEO DEGLI ANTICHI STRUMENTI
Depth: 195 mm. MUSICALI, ROME, ITALY.
Remarks: Naturals of boxwood, sharps of ebony. Instru- Number: 1187.
ment is Italian in style with inner case of cypress. Outer Inscriptions: Inscribed G A/r630 on the bottom keylever.
is painted red, with inner lid landscape painting. Specification: 1x8",
Previous history: According to Bz, it belonged to Hubbard Compass: C/E-c’, short octave.
and Dowd in 1950, and in the ADDENDA to Bz it is Keyboard: White naturals, black sharps.
given as being in the possession of Stuart (sic) Gilbert Number of roses: Originally 1.
(this must be Kenneth Gilbert). In fact it was acquired Scale: 286 mm.
by Kenneth Gilbert from David Aronson, Sudbury, Mass, Remarks: The place of manufacture is not known. Naturals
USA in 1965. Recorded by Davitt Moroney (Harmonia of box, sharps topped with ebony. The keyboard has split
Mundi)—Byrd: Pavans and Galliards. sharps at af, d#', g#', af', d#*, so as to give alternative
References: Subject of Plates 1, 11, and II] in Hubbrg6y. enharmonic tunings for the corresponding flats. The rose
Information supplied by: B2z|Gilbert. is missing, but was originally of parchment.
Boalch3 number: A., F. 1677. Previous history: Turned into a piano in 1830, but restored
Boaleh 2 number: 1. back to a harpsichord by Grant O’Brien in 1980.
References: Cerv.MASM, p. 321, No. VIII, and O’BrienPC.
A., G. Information supplied by: Cerv.MASM|O' BrienPC.
Type: Ottavino. Boalch3 number. A., G. 1630.
Date: 1627. Boalch 2 number: None.
Ownership: STIFTELSEN MUSIKKULTURENS
FRAMJANDE, STOCKHOLM, SWEDEN. A, H.
Number: KL 55. Type: Single-manual harpsichord.
Inscriptions. On C/E key ‘Potent cross’ above G.A. above Date: 1696.
1627 above 1. Ownership: KUNSTHISTORISCHES MUSEUM,
Specification: 1x4’. VIENNA, AUSTRIA.
Compass: C/E-c’, short octave. Number: 845.
Keyboard: White naturals, black sharps. Inscriptions: Signed and dated H. A. 1696.
Number of roses: 1. Compass: FF-g’. Remarks: The instrument was originally
Style of rose(s): Parchment. a harpsichord with 2x8’ registers, but was subsequently
Exterior of case: Painted. rebuilt by Franz Walter of Vienna in 1703, and later
Case construction: Italian style, inner/outer. changed to a ‘hammerklavier’ with double stringing from
Scale: 301 mm. (at c'). FF to g*, and triple strung from g#* to g’. Stradner reports
Remarks: The ascription to this maker is due to the that the compass is similar to that of the Pantzner
inscription noted above on the lowest key. The instrument harpsichord in the Museum’s collection.
is part of the Nydahl Collection. Naturals of box, sharps Information supplied by: Stradner.
of ebony. Keys have bone knobs to cover the tops of the Boalch 3 number: A., H. 1696.
balance pins, which project in front of the fascia board. Boalch 2 number: None.

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218 A., I.
A, 1. Boalch 3 number. ADAM, A. 1657.
Type: Fret-free clavichord. Boalch 2 number: 1.
Date: 1780(A).
Ownership: GESELLSCHAFT DER Type: Ottavino.
MUSIKFREUNDE, VIENNA, AUSTRIA. Date: 1663.
Number: GdM 4. Ownership: Not known.
Inscriptions. On the foreboard I. A. In ink on the Remarks. Might be a spinet.
soundboard, Renov. 1854 F.W./IX, and I.E. References: Recorded by Va.
Compass: C-P. Information supplied by: Bz.
Keyboard: Black naturals, white sharps. Boalch 3 number: ADAM, A. 1663.
Length: 1223 mm. Boalch 2 number: 2.
Width: 450 mm.
Depth: 170 mm. Type: Ottavina.
Remarks: The initials I. A. on the foreboard relate to a Date: 1693.
former owner, Ignaz Assemeyer, and not to the maker. Ownership: FORMERLY IN THE BERLIN
Stradner gives the date as ¢. 1780. Naturals of ebony, COLLECTION, BERLIN, GERMANY.
sharps topped with bone. Case of walnut. Number: 2215.
Previous history: The full history is in the catalogue. It Inscriptions: Abel Adam fecit Tavrini 1693.
belonged to Ignaz Assemeyer (1790-1862) Hof- Specification: 1x4".
kappelmeister, and friend of Schubert, and subsequently Compass: C/E-c’, short octave..
to two other Hofkappelmeisters, Josef Eybler (1765~ Number of roses: 1.
1846), and Adalbnert Gyrowetz (1763-1850). Presented Length: 790 mm.
by the violin-maker Gabriel Lemboeck in 1873. Width: 470 mm.
References: See: Luitb, p. 8. Remarks: Bz records this instrument as being in the Berlin
Information supplied by: Bz|Lwith|StradnerPC. Collection, but Ber/inCat confirms that it has been lost
Boalch 3 number. A., 1. 1780(A). since the second world war.
Boalch 2 number: 1. Previous history: Formerly in the Snoeck Collection.
References: BerlinCat, p. 374 gives the text of Sa.
A., T. Information supplied by: Bz|BerlinCat.
Type: Spinet. Boalch 3 number: ADAM, A. 1693.
Boalch 2 number: 3.
Date: Not known.
Ovnership: Not known.
‘Type: Ottavino.
Inscriptions: T. A., on the lowest key.
Remarks: Nothing further is known of the instrument. Date: 1712.
Ownership: NOBEL FAMILY, STOCKHOLM,
Previous bistory: Belonged at one time to Raymond Russell.
Information supplied by: Bz. SWEDEN.
Boalch 3 number: A. T. n.d.
Inscriptions: Abel Adam fecit Tavrini 1712.
Boalch 2 number: 1.
Compass: GG/BB-c'(A), short octave.
Length: 930 mm.
Width: 570 mm.
ADAM, ABEL. Remarks. The compass has been deduced from the Bz
Type: Ottavino. description, which says the compass is G/C-C, four and
Date: 1657. a half octaves, which is probably a mistake.
Ownership. YALE UNIVERSITY COLLECTION OF Previous history: At the sale of the Heyer Collection in
MUSICAL INSTRUMENTS, USA. Accession number 1926 this instrament was not acquired by the Karl-
not known. Marx-University, Leipzig, but was given by Wilhelm
Inscriptions. Abel Adam MDCLVII. Heyer to Eugenie Nobel-Heyer, in whose family it is still
Compass: C/E-c'(A), short octave. to be found.
Keyboard: White naturals, black sharps. References: Mlustrated in KsD.
Exterior of case: Painted. Information supplied by: Bz.
Remarks: Boxwood naturals. Boalch 3 number: ADAM, A. 1712.
Previous history: 1949—E. M. W. Paul, London; 1952—- Boalch 2 number: 4.
Mrs. A. Dana, Princeton; 1954—Mrs. Gregory Smith,
Washington, who presented it to Yale. It may, however, Type: Harpsichord (Number of manuals not known).
not be in the University Collection since it was not Date: 1714.
mentioned by Rephana. Restored by Alari (See: Part 1). Ownership: Not known.
Information supplied by: Bz. Remarks: Instrument was in the Old Savoye Collection,

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 ALBANA 219
but sold in 1882 by auction. Present whereabouts now Keyboard: White naturals, black sharps.
unknown. Described by Bz as a ‘small harpsichord’. Exterior of case: Painted.
Information supplied by: Bz. Case construction: Italian style, inner/outer.
Boalch3 number. ADAM, A. 1714. Remarks. Boxwood naturals. Elaborately painted outer
Boalch 2 number: 5. case with ornate gilt stucco stand.
References: Smithcheck89, Smithsonian photo negatives
ALBANA, ORAZIO. 56,322; 56,322A; 56,322B.
Type: Spinet. Information supplied by: B2|Smithcbeck89.
Date: 1589. Boalch 3 number: ALBANO, O. 1643.
Ownership: Not known. Boalch 2 number: 2.
Inscriptions: Horatius Albana Romanus 1589.
Remarks: Undoubtedly a fraudulent inscription from its Type: Nameboard only.
appearance in Franc] on a ‘spinetta’. Date: 1645.
References: Francl. Ownership: JAMES DEERING COLLECTION,
Information supplied by: B2. VIZCAYA, DADE COUNTY MUSEUM, FL., USA.
Boalch 3 number. ALBANA, O. 1589. Inscriptions. Nameboard inscribed: Horatius Albana F.
Boalch 2 number: 01. Anno MDCXXXXV.
Remarks: This entry refers only to the nameboard, which
Type: Single-manual harpsichord. appears on the instrument in this collection by Boni.
Date: 1628. Since the nameboard is genuinely by Albana, though the
Ownership: MUSEO CIVICO, BOLOGNA, ITALY. case is missing, it seems to be appropriate to record it
Accession number not known. here.
Inscriptions: Inscribed on the nameboard: HORATIVS Reference: See: Instrument no. BONI(A), G. B. 1619.
ALBANA ROMANVS F. M.D.C.XXVIII. Information supplied by: B2|Wraight.
Specification: 2x8’. Boalch 3 number. ALBANA, O. 16435.
Compass: C/E-F. Boalch 2 number: 3.
Scale: 192 mm.
Remarks: Original disposition 1x8’, 1x4’, with probably ALBANA, SILVESTRO.
the 8’ and 4’ sharing the same nut. Subsequently changed Type: Ottavino.
to 2x8’. At some time the 8’ bridge was moved further Date: 1617.
away from the bent side so as to shorten the scale. In Ownership: PROFESSOR LUIGI FERDINANDO
addition the whole keyframe was moved one note towards TAGLIAVINI, BOLOGNA, ITALY.
the treble though the compass remained the same. This Number: 10.
had the effect of further reducing the scale, which was Inscriptions. On the front edge of the wrestplank: Silvestrus
originally ¢. 260 mm. Barnes reports seeing two other filins Andreas {or Andreae\ Albana Fecit Romae MDCXVII.
instruments (including his own Gregori of 1736(A)) in Specification: 1x4’.
which the original specification was 2x8’, converted Compass: C/E-c}, short octave.
subsequently by an amateur to 1x8’, 1x4’, with the strings Keyboard: White naturals, special sharps.
sharing the same nut. He believes that this may have been Exterior of case: Painted.
the case with this instrument, which was subsequently Case construction: Italian style, inner/outer.
changed back to 2x8’. Seale: 143 mm.
References: Denzil Wraight, Letter to EM, Vol. 12, Feb Length: 615 mm.
1984, p. 151. Width: 370 mm.
Information supplied by: Bz] VdM|WraightPC. Depth: 115 mm.
Boalch 3 number. ALBANA, O. 1628. Remarks: Instrument is trapezoidal in shape with parallel
Boalch 2 number: 1. sides at right and left of keyboard and perpendicular to
it. The long side is at an angle to the keyboard, nearest
Type: Single-manual harpsichord. to it at the bass and running away towards the treble.
Date: 1643. Outer case painted green externally, and white internally
Ownership: SMITHSONIAN INSTITUTION, with an arabesque on the lid. Naturals of box with fronts
WASHINGTON, USA. of white card painted black and appliquéd. Sharps are a
Namber: 326,905. sandwich of ebony-ivory-ebony. Only six naturals and
Inscriptions. According to Bz, inscribed Horatius Albana F seven sharp keys are preserved, the remainder are lost.
Anno MDCXXXIII but since Smithcheck gives the date There is no rose. Dimensions refer to outer case. Width
as 1643, it is probably inscribed MDCXXXXIII. refers to right hand side of case.
Specification: 2x8". Previous bistory: Acquired by Professor Tagliavini at Pesaro
Compass: C/E-c’, short octave. in 1977 from an antique dealer.

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220 ALBERTUS
References: Misch-1979 II, p. 218; Tag pp. 144-9. inside lid. 8’ string gauges marked.
Information supplied by: VdM|Tag. References: Bz.
Boalch 3 number: ALBANA, S. 1617. Information supplied by: Bz|Weldon.
Boalch 2 number: None. Boalch3 number. ANGEL, J. H. 1760(A).
Boalch 2 number: 1.
ALBERTUS, IONNES.
Type: Rectangular virginal. ANTEGNATI, ANTONIO.
Date: 1568. Type: Ottavina.
Ownership. MUSASHINO ACADEMIE MUSICAE, Date: 1583.
TOKYO, JAPAN. Ownership: MUSIKINSTRUMENTEN MUSEUM,
Number. A1054. BERLIN, GERMANY.
Inscriptions: On jackrail Tonnes Albertus faciebat Anno 1568, Number: 4797-
Bononia. Inscriptions. ANTONIUVS ANTAGNATIVS|FECIT.
Specification: 1x8". BRESCIA/MDLXXXIII. On the key C in ink, the year
Compass. C/E-P, short octave. 1y08.
Keyboard: White naturals, black sharps. Specification: 1x4’.
Number of roses: 1. Compass: C/E-c’, short octave.
Style of rose: Geometrical pattern. Keyboard: White naturals, black sharps..
Exterior of case: Painted. Number of roses: None.
Case construction: \talian style—false inner/outer. Exterior of case: Painted.
Length: 1546 mm. Seale: 153 mm.
Remarks. Naturals of boxwood, sharps of ebony. Case Length: 872 mm.
painted with green scrolling foliage on a blue ground. Width: 473 mm.
Interior of lid also with scrolling foliage on a red ground Depth: 158 mm.
and with central circular painting within a floral wreath Remarks. Given in Bz under Giovanni Francesco Anteg-
of St. Cecilia at the organ. Sound hole in cypress nato, number 5. It seems very likely that this is also the
soundboard with pierced leather surround. same instrument as that recorded in Bz under Antonio
Previous history: Purchased at the Sotheby sale of 22 Antegnato, as having been an ottavino which was owned
November 1973 by the Museum of Musical Instruments, by Steingraeber, and had an outer case. According to Bz
Musashino Academia Musicae, Japan. it was signed Antonius Antegnatius fecit Breccia (sic) 1583.
References: Sotheby Catalogue of 22 November 1973. A more detailed investigation of its authenticity is given
Catalogue of the Collection of the Musashino Academia in BerlinCat, p. 166, where the fact that much of the
Musicae. H. Sakka, Graphic History of the Piano, Ongaku- instrument is of nineteenth-century origin is recorded,
notomo, Japan, 1986. and ascribed to Franciolini. It is most probably instrument
Information supplied by: Sothebys| Yokota. number 12 (Series A) ofa Franciolini catalogue of ¢. 1900,
Boalch 3 number: ALBERTUS, I. 1568. though it is dated there as 1593. Naturals of box, with
Boalch 2 number: None. arcaded fronts. Sharps of stained pear with ebony tops.
Lavishly decorated outer case with coats of arms and
ANGEL, JURGEN HINRISCHEN. ornamentation. Lid interior with painting of Bacchus and
Type: Fret-free clavichord. Ariadne. BerlinCat states that the sides, lid, bottom boards,
Date: 1760(A). keyframe, etc. belong to the middle of the seventeenth
Ownership. FY LKESMUSEUM FOR TELEMARK OP century. Much of the remainder of the instrument is from
GRENLAND, SKIEN, NORWAY. the nineteenth century.
Number. SM4s16. Previous history: Almost certainly passed through the hands
Inscriptions. On deadboard (the part of the soundboard of Franciolini in the nineteenth century. Formerly in the
beyond the wrestpins) Jargen Hinrischen Angel in Flensburg. Steingraeber collection, and acquired in 1962 from Dr.
The dating is by the Museum. Leopold Paur, Freiburg i. Br.
Compass: FF-P. References: BerlinCat, pp. 166-70.
Keyboard: White naturals, black sharps. Information supplied by: Bz|Droysen-Reber|Elste|BerlinCat.
Scale: 286 mm. Boalch 3 number. ANTEGNATI, A. 1583.
Length: 1768 mm. Boalch 2 number: 5 (GFA) and 1 (AA).
Width: 530 mm.
Depth: 173 mm. ANTEGNATI, GIOVANNI FRANCESCO.
Remarks: Naturals of ivory, sharps of black-stained fruit- Type: Pentagonal virginal.
wood. Keyfronts of arcaded black-stained fruitwood. Date: 1540(A).
Octave stringing for twenty-two notes in bass. Sound- Ownership: GERMANISCHES NATIONALMUSEUM,
board painted with flowers. Scene with musicians playing NUREMBERG, GERMANY.

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 ANTEGNATI 221
Number: MIR 1083. Number of roses: 4.
Specification: 1x8". Exterior of case: Painted.
Compass: C/E-P, short octave. Case construction: \talian style, inner/outer.
Remarks. Original compass E,F,G,A-P (but according to Scale: (now) 328 mm.
Barnes F,G,A-P). Length: 1420 mm.
References: Huber, p. 137. WraightIKI. Remarks: The date is given in the catalogue as from the
Information supplied by: Huber|Wraight|Barnes. first half of the sixteenth century. dM thinks it is more
Boalch number: ANTEGNATI, G. F. 1540(A). probably the middle of the century or possibly even later.
Boalch 2 number: None. The date of ¢. 1550 given here comes from O’BrienPC.
Naturals of box, sharps of stained wood—the keyboard
Type: Polygonal virginal. was remade in the nineteenth or twentieth century. The
Date: 1544. compass was probably originally F,G,A-f [O’BrienPC].
Ownership: MUSEO TEATRALE ALLA SCALA, The roses are cut out of the soundboard with extra incised
MILAN, ITALY. Accession number not known. decoration. The scaling is not original. Trapezoidal case,
Inscriptions: Name-batten over keys is signed D.[DO- painted externally. On the inside of the lid is King David
MINO] D.[DEDICATVM] OPVS JOANNIS FRAN- playing the harp in front of the temple, with angel
CISCI BRIXIANI MDXLIII(1). On the fascia board musicians above him.
VIRTV BELTA ET CONFORT E. SOL IN DIO Previous history: Formerly in the possession of Evan Gorga.
RAPIR DEN SVONI ET CANTI AL CVI DESIO. Restored in 1953.
An addition made to the bass end of the keyframe is References. Cerv.MASM, pp. 312-4. CervIM.
signed in pen and ink: Herewles Valvassorius 1638 (Ercole Information supplied by: Cer. MASM|VdM|CeroIM|
Vabvassori 1638). WraightPC|O’ BrienPC.
Specification: 1x8". Boalch3 number: ANTEGNATI, G. F. 1550(A).
Compass: C/E-P, short octave. Boalch 2 number: 6.
Keyboard: White naturals, black sharps.
Number of roses: 1. Type: Pentagonal virginal.
Style of rose: Geometrical pattern. Date: 1554(A).
Exterior of case: Plain wood. Ownership: DR. UGO VALIA, ATENEO, BRESCIA,
Case construction: Italian style, inner/outer. ITALY. Accession number not known.
Scale: 326 mm. Inscriptions: Inscribed on the name-batten: D.D.OPVS
Length: 1398 mm. IOHANNIS (sic) FRANCISCI BRIXIANI MDXLIV.
Depth: 185 mm. Specification: 1x8’.
Remarks: This is the same instrument as was reported to Compass: F,G,A-P.
Boalch in Bz as being in the Parma Conservatory, and Keyboard: White naturals, black sharps.
according to Wraight is the same instrument as Bz number Number of roses: 1.
6. Naturals of box with traces of parchment on the Style of rose: Geometrical pattern.
keyfronts below arcades. Sharps of stained fruitwood. Scale: 330 mm.
Original compass F,G,A-P, changed by Ercole Valvassori Length: 1270 mm.
to the present C/E-P in 1638, though the disposition was Depth: 184 mm.
not changed. The present celluloid rose is a replacement. Remarks: There is some confusion over the date, the
Plain cypress inner case with outer carrying case missin; inscription quoted showing a date of 1544 (in Roman
References: Lan, p. 143; Vittadini, No. 66, p. 29; Pellini, numerals), but it is shown by two observers to be dated
Pp. 309, No. 912; Tintori, p. 62. 1554. Naturals of box with box arcades, sharps of
Information supplied by: Bz|O’ Brien|WraightPC. bog-chestnut. Rose cut and incised into the soundboard
Boalch3 number: ANTEGNATI, G. F. 1544. itself. O’BrienPC says—perhaps the only instrument in
Boalch 2 number: 2/6. the world with a compass F,G,A-f which has never been
changed.
‘Type: Pentagonal virginal. References: WraightIKI.
Date: 1550(A). Information supplied by: WraightPC|O’ BrienPC.
Ovnersbip: MUSEO DEGLI ANTICHI STRUMENTI Boakh 3 number: ANTEGNATI, G. F. 1554(A).
MUSICALI, ROME. Boalch 2 number: None.
Number: 813.
Inscriptions: Signed on the nameboard: D.D.OP VS IOAN- Type: Single-manual harpsichord.
NIS FRANCISCI BRIXIANI. Date: 1564.
Specification: 1x8". Ownership: NATIONAL MUSEUM OF IRELAND,
Compass: C/E-P, short octave. DUBLIN, IRELAND. Accession number not known.
Keyboard: White naturals, black sharps. Inscriptions: Bears signatures: Franciscus Brigensius 1564,

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222 ANTEGNATI(A)
and Domenico Da Pesaro 1390 (reported by Butler). Boalch 3 number: ANTEGNATI(A), G. F. 1537.
Specification: 2x8',1x4". Boalch 2 number: 1.
Remarks: Shown separately by Bz under Domenicus
Pisaurensis 1590 (No. to). ANTONIUS, PATAVINUS.
References: HiMi, p. 47. Ks, p. 224 correctly doubted the Type: Virginal.
Dominicus attribution. Date: 1550.
Information supplied by: B2|WraightPC| Butler. Ownership: BRUSSELS MUSEUM, BRUSSELS,
Boalch 3 number: ANTEGNATI, G. F. 1564. BELGIUM.
Boalch 2 number: 3 and 10 (Dominicus). Number: 272.
Inscriptions: Antoni Patavini opus MDXXXXX.
ANTEGNATI(A), GIOVANNI FRANCESCO. Specification: 1x8".
Type: Pentagonal virginal. Compass: C/E-P(A), short octave.
Date: 1537. Scale: 341 mm.
Ownership: VICTORIA AND ALBERT MUSEUM, Remarks: Bz reports that the keyboard is ‘without bottom
LONDON, ENGLAND. G# and top D#’, ic. G# and d#’ (though Barnes reports
Number: 490-1899. that he does not recall these features when he visited the
Inscriptions: On name-batten D.D. opus Ioannis Francisi collection in 1978). In the absence of information from
Antegnati Brixiani MDXXXVII (probably spurious). the Museum, it is not clear what exactly the compass is.
Specification: 1x8". See also FRANCISCUS PATAVINUS.
Compass: F-P. Previons history: Shown at the International Inventions
Keyboard: White naturals, black sharps. Exhibition, London, 1885.
Number of roses: 1. References: Catalogue of the International Inventions Exhibition,
Style of rose: Geometrical pattern. London, 1885.
Exterior of case: Painted. Information supplied by: Bz|Barnes.
Case construction: Italian style, inner/outer. Boaleh 3 number. ANTONIUS. 1550.
Scale: 390 mm. Boalch 2 number: 1.
Length: 1444 mm.
Remarks: \t is questionable whether the nameboard with ANTUNES, JOACHIM JOSE.
the inscription shown above, was intended for this Type: Harpsichord (Number of manuals not known).
instrument. The inscription is not centred so that the date Date: 1758.
is noticeably close to the right end of the keyboard. The Ownership: LISBON CONSERVATOIRE, LISBON,
wood of the name-batten also appears to be of different PORTUGAL. Accession number not known.
type from the rest of the instrument, and there are other Inscriptions: Inscription on nameboard Joach. José Antes.
inconsistencies. See: Ve@A Cat, p. 18. The present Date on bottom key—1738.
compass is four octaves, but there has been much alteration Compass: C-e'.
over the years, and this is described in full in the main Information supplied by: Bz.
reference. Barnes, who restored the instrument, says that Boalch3 number: ANTUNES, J. J. 1758.
the original compass was F,G,A-f as shown by holes in Boalch 2 number: 1.
the original balance rail. This was later altered to C/E-P
somewhat amateurishly with a narrow C key which was Type: Single-manual harpsichord.
removed in 1965 giving the present compass of F-f. The Date: 1785.
keyboard projects from case. Arcaded boxwood naturals Ownership. FINCHCOCKS COLLECTION,
and ebony sharps. Case of instrument of cypress. Carved GOUDHURST, KENT, ENGLAND.
geometrical rose with seven ivory studs. Decorated on Number: 12.
each inner side with floral scrollwork and birds in gilt Inscriptions: Inscribed on keyshafts of highest and lowest
gesso. Outer case of lime appears to have belonged to key levers: 1785 Joachim Jozé Antunes and on the two top
another instrument, and is painted externally a dark jacks: Joagm Jozé Antunes 1785. According to O’BrienPC,
colour, probably originally blue. Inside the lid is a painted inscribed on nameboard Joachim José Antunes 178).
device of clasped hands with the motto Amoris vulnus idem Specification: 2x8’.
qui sanat fecit (He dealt the wound of love who heals it). Additional features: 2 pedals, harp stop.
No stand. Compass: GG-g).
Previous history: Purchased from the Bardini Collection, Keyboard: White naturals, black sharps.
1899 (catalogued as lot 739, and illustrated at p. 12) for Number of roses: None.
£190. Exterior of case: Painted.
References: RussellV&A, VerA Cat, pp. 18-20 Scale: 271 mm.
(Illustrated). Length: 2495 mm.
Information supplied by: B2|VeA Cat|Barnes. Width: 1000 mm.

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 ARGENT 223
Depth: 240 mm. ARGANO, PAOLO.
Remarks. According to the Sotheby Catalogue of 12 Type: Ottavino.
December 1985: ‘Fasciaboard, cheeks and soundboard Date: 1808(A).
surround veneered with tulipwood, the exterior of the case Ownership: Not known.
painted green with gilt lines, the interior of the lid painted Inscriptions. Paolo Argano Paccomodato Panno 1608. Also
with Apollo and the Muses and on the keyboard flap with inscribed round the inside of the case: Omnia dat Dominus
Minerva within an oval reserve. Arcaded boxwood naturals, Non Habet Ergo Minus.
and ebony sharps. Of the two 8’ stops, one is controlled Compass: B2 reports: two octaves and a sixth, G-E,
by a genouillére (now absent), a further genouillére without bottom G sharp and top D sharp.
controlling the harp stop. Jackrail absent. On two trestle Length: 370 mm.
stands painted en suite with the case. The larger front trestle Width: 210 mm.
has a drawer’. According to the Finchcocks catalogue: Remarks. Argano appeats to have been a repairer and not
“Pedals: buff to both registers: reat 8’ (these are modern: the maker. Though Bz says the instrument ‘later reached
added during the recent restoration).’ According to VdM, the Heyer Collection’, it does not appear to be recorded
the lid flap was originally made for an instrument of in Henkelz, and its present whereabouts are not known.
800 mm width (i.e. with compass probably of C-d’* or Information supplied by: Bz.
C-e’), and was adapted for this instrument by widening Boalch 3 number: ARGANO, P. 1808(A).
on both sides. The front 8’ is always on. O’BrienPC gives Boalch 2 number: 1.
slightly different dimensions from those in the catalogue—
Scale: 274; Length: 2457; Width: 957; Depth: 223. ARGENT, HUMPHREY.
Previous history: Bought by Richard Burnett 12 December Type: Wing spinet.
1985 at Sothebys. Date: 1789.
References: Sotheby’s catalogue of 12 December 1985 Ownership: BJARNE B. DAHL, SUNNYVALE,
includes illustration of complete instrument and the signed CALIFORNIA, USA.
keys and jacks. See also Finchcocks. In addition, a full Inscriptions: On nameboard Humphrey Argent fecit Cambridge
description in Portuguese was prepared in 1987 by VdM. 178. On the reverse of the nameboard in ink: Humphrey
Information supplied by: Sothebys|Nobbs| VVdM|O' BrienPC. Argent Junr. Cambridge No s—17&9. When Bjarne Dahl
Boalch3 number: ANTUNES, J. J. 1785. restored it in 1970 he found an inscription: Thomas
Boalch 2 number: None. Hattersley, shoemaker, Cambridge. \t is thought that he
possibly supplied the leather for the plectra.
‘Type: Harpsichord (Number of manuals not known). Specification: 1x8".
Date: 1789. Additional features: 1 pedal, harp stop, nag’s head swell.
Ownership: LISBON CONSERVATOIRE, LISBON, Compass: EE-P.
PORTUGAL. Accession number not known. Keyboard: White naturals, black sharps.
Inscriptions: Inscription on top and bottom keys Antunes Exterior of case: Crossbanded.
1789. Scale: 343 mm.
Compass. FF-a. Length: 2032 mm.
Remarks: Painted soundboard. Widsb: 787 mm.
Previous history: Formerly belonged to Conte de Castel Depth: 229 mm.
Branco. Remarks: Naturals of ivory with moulded boxwood fronts,
Information supplied by: Bz. sharps of ebony. No rose. Case of mahogany panels with
Boalch
3 number: ANTUNES, J. J. 1789. boxwood stringing and crossbanded mahogany. One foot
Boalch 2 number: 2. pedal, operating a nags head swell. Leather plectra—
probably original.
‘Type: Harpsichord (Number of manuals not known). Previous bistory: Sold at Sotheby’s 7 June 1963, and again
Date: Not known. 3 April 1964.
Ovnersbip: LISBON CONSERVATOIRE, LISBON, References: Sotheby’s catalogues for 7 June 63 and 3 April
PORTUGAL. Accession number not known. 64.
Compass: C-d'. Information supplied by: Bz|Dabl.
Remarks. VdM suggests that there are three harpsichords Boalch 3 number: ARGENT, H. 1789.
in the Lisbon Conservatoire, one of which has a compass Boalch 2 number: 1.
C-d’. Since the other two do not have this compass, this
is presumably the third. He suggests further details may Type: Wing spinet.
be had from Gerhard Doderer, Almeda. Date: Last quarter of the eighteenth century.
Information supplied by: VdM. Ownership: PRIVATE COLLECTION,
Boalch 3 number. ANTUNES, J. J. n.d. OXFORDSHIRE.
Boalch 2 number: None. Specification: 1x8".

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224 ARKEL
Keyboard: White naturals, black sharps. 1751). Naturals of box with semi-circular fronts and
Remarks: Crossbanded case, mostly in mahogany. Leather sharps of black-stained fruitwood. Large diamond-shaped
plactra. Reference: Seen by CMM in a private house in gap between the centre keys. Projecting keyboard. Paint-
Oxfordshire ¢. 1970, but only fleetingly. ing of Adam and Eve inside lid, which according to VdM
Boalch 3 number: ARGENT, H. n.d. is undoubtedly by one of Franciolini’s collaborators. The
Boalch 2 number: None. case is a kind of false inner/outer, there being a cypress
veneer along the case walls and above the soundboard
ARKEL, RIJK VAN. which is a patchwork made up of loose pieces.
‘Type: Folding harpsichord. References: Bz, Weldon.
Date: 1768. Information supplied by: B2|Weldon| VdM.
Ownership: GEMEENTEMUSEUM, THE HAGUE, Boalch 3 number: ASSALONE, G. 1732.
NETHERLANDS Boalch 2 number: 1.
Number: Ec133~1952.
Inscriptions: On underside of soundboard in pencil Rik ASTON, CAWTON.
van Arkel|beeft dit gemaakt|Jaar 17 17/12 68 (Rijk van Type: Wing spinet.
Arkel made this, 17 December 1768). Date: 1726.
Specification: 2x4". Ownership: COLONIAL WILLIAMSBURG
Compass: c-d*. FOUNDATION, USA.
Keyboard: White naturals, black sharps. Number. 1960-321.
Number of roses: 1. Inscriptions: Inscribed Cawton Aston Londini fecit No 268
Exterior of case: plain wood. A.D.1726 on the nameboard. Watson reports an inscription
Scale: 313 mm. under the soundboard recording a restoration by Dol-
Length: 990 mm. metsch in 1898.
Width: 725 mm. Specification: 1x8".
Depth: 140 mm. Compass: GG-g’.
Remarks: Instrument is a folding harpsichord, or clavecin Keyboard: White naturals, special sharps.
brisé, very similar to those of Marius, though at octave Exterior of case: Plain wood.
pitch. The instrument is on loan from the Rijksmuseum, Scale: 292 mm.
Amsterdam. It was shown in Bz as number 7 under Length: 1778 mm.
Marius, Naturals of bone, sharps topped with tortoiseshell. Width: 588 mm.
Keys of oak. Instrument is divided in three sections with Depth: 172 mm.
breaks between e and f, and a#' and b'. Soundboard Remarks: Naturals of bone with bone arcades, and sharps
painted with flowers. The rose is in the base section. of ebony/ivory/ebony. Outer case with double curved
Previous bistory: Given to the Rijksmuseum in 1882 by A. bent side and inlay of lines of walnut, box and ebony.
J. Enschede of Haarlem. Three large strap hinges for lid, and (modern) music
References: Gier, p. 129 (illustrated p. 128 ef seg). HaagCL desk. Raised on trestle stand with pad feet. Modern
p. 48 (illustrated, and on the cover). LibinFold. wrestpins..
Information supplied by: Gierveld| HaagCL|LibinFold. Previous history: Formerly in the collection of the late J.
Boalch3 number: ARKEL, R. V. 1768. Highfield Jones. Sold at Sotheby’s on 20 December 1954
Boalch 2 number: None. to Leonard Knight, Ltd, who sold it to Herbert Rothbarth
on 18 February 1955, who sold it at Christie’s (lot 87)
ASSALONE, GASPARE. on 26 May 1960. Bought by Colonial Williamsburg later
‘Type: Fret-free clavichord. in 1960. Displayed in the Apollo Room, Raleigh Tavern.
Date: 1732. References: Sotheby’s catalogue of 17 December 1954, and
Ownership: BIBLIOTECA NACIONAL, LISBON, Christie’s catalogue of 26 May 1960. EK] Vol. 2. Catalogue
PORTUGAL. number H-72.6.
Number: Mic 420. Information supplied by: Bz|W illiamsburg|Sothebys|EK]J.
Inscriptions: Gasparo Assalone fecit in Romae 1732. Boalch 3 number: ASTON, C. 1726.
Compass: C/E-b’. Boalch 2 number: 1.
Length: 1030 mm.
Width: 434 mm. Type: Wing spinet.
Depth: 100 mm. Date: 1733.
Remarks: The instrument is almost certainly a Franciolini Ownership: PRIVATE COLLECTION, ENGLAND.
fake of about 1890. Bz, VdM, and Weldon confirm this. Inscriptions: On nameboard: Cawton Aston Londini Fecit
Identifiable from a typical diamond shaped gap which No 324 A Dom. 1733. Punched at treble end of wrestplank
appears between two of the central keys (See also; behind the nameboard: G. R. LEE.
instruments VENTURA, A. 1733, and FERRINI, G. Specification: 1x8".

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 ASTON 225
Compass: GG-g). apprenticed.
Keyboard: White naturals, black sharps. Specification: 1x8",
Number of roses: 1. Compass. GG/BB-d', broken octave.
Style of rose: Unique. Keyboard: Black naturals, white sharps.
Exterior of case: Plain wood. Exterior of case: Plain wood.
Scale: 251 mm. Scale: 265 mm.
Length: 1796 mm. Length: 1540 mm.
Width: Joo mm. Width: 630 mm.
Depth: 177 mm. Depth: 170 mm.
Remarks: The latest known spinet by Cawton Aston. Remarks: Naturals of ebony with fronts of trefoil stamped
Naturals of ivory with ivory arcades, skunktail sharps. paper, sharps of ivory. Broken octave has
Instrument has been repaired and overhauled on many C# and D# split. According to Odom, case is walnut
occasions. About twelve or thirteen jacks are original, of veneered over softwood. Interior of case over soundboard
which three probably have their original tongues, which veneered in pear. According to Dow, case is solid walnut
like the rest are mortised to take leather though the with cypress interior.
instrument is now quilled in delrin. The bridge, nut, Previous bistory: If this instrument is Bz, number 2, the
hitchpin rail, internal edge mouldings, lid mouldings, following history applies. Former owners: the Earl of
keyblocks and wrestpins, and stand are all replacements. Newborough, Bodvean, North Wales; M. Goldstone,
The jackrail is original but has new housings at cither Bakewell; 1971 Peter C. Barnes of Whalley Range.
end. The rose is almost certainly a later (probably Probably this was the instrument offered for sale at
nineteenth century) addition, having a gilded putto-like Sotheby’s on 21 December 1972.
figure holding a snake or riband in one hand and a lyre References: Finchcocks. John Rawson has measured instru-
in the other. ment in detail and has a copy of it made by Roy Steer.
Previous bistory: Restored by Robin Bagot, and ¢. 1979 by Information supplied by: Jobn Odom|Dow|Finchcocks.
Morleys, and again in 1989, by Early Keyboard Instru- Boalch 3 number: ASTON(A), C. 1700(A).
ments (Messrs Clayson and Garrett). In present ownership Boalch 2 number: 2?
for about thirty years.
Information supplied by: Garrett. ASTON, CAWTON and BARTON, THOMAS(A).
Boalch 3 number: ASTON, C. 1733. ‘Type: Wing spinet.
Boalch 2 number: None. Date: 1709.
Ownership: Not known.
Inscriptions. Inscribed on wrestplank Aston e Barton
ASTON(A), CAWTON. Londini FF, and on one of the jacks 1709.
Type: Wing spinet. Specification: 1x8’.
Date: 1700(A). Compass. GG-g’.
Ownership: FINCHCOCKS COLLECTION, Previous bistory: From the Ligonier Museum, Ligonier,
GOUDHURST, KENT, ENGLAND. Pa., it passed to E. M. Ripin, and is probably now in the
Number: 9. collection of the Museum of Fine Arts, Boston, USA,
Inscriptions. No inscription on nameboard, but C.A. on though it does not appear in their checklist.
underside of one key, so giving rise to the belief that the Information supplied by: Bz.
instrument is by Cawton Aston. It is similar in style Boalch 3 number: ASTON, C. and BARTON, T(A). 1709.
to the spinets of John Player to whom Aston was Boalch 2 number: o1.

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 B
B., C. but no initials. Compass is reported as 5 octaves (most
Type: Spinet. probably FF-f).
Date: Not known. Previous history: Belonged at one time to the castrato
Ownership. FORMERLY IN THE BERLIN Tenducci (born ¢. 1736). Repaired in 1876 by George
COLLECTION, BERLIN, GERMANY. Stuart Semple, and again in 1948 by Hugh Gough.
Number: 2221. Information supplied by: B’.
Inscriptions: Branded with the initials C B. Boalch 3 number. BACKERS, A. 1766.
Specification: 1x8’. Boalch 2 number: 1.
Compass: C/E-P, short octave.
Remarks: B’ merely says ‘An undated Italian spinet, BADER or BODER, PETER DANIEL
seventeenth century in the Berlin Collection bears the Type: Virginal.
initials C. B., probably those of the maker [Sa., p. 59]’. Date: Not known.
BerlinCat confirms that it has been lost since the second Ownership: BRUSSELS MUSEUM, BRUSSELS,
world war. BELGIUM.
References: BerlinCat, p. 373 quotes the original description Number. 2925.
from Sa. Inscriptions: Initials in rose are P D B.
Information supplied by: B|BerlinCat. Number of roses: 1.
Boalch 3 number: B., C. n.d. Length: 1550 mm.
Boalch 2 number: 1. Width: 480 mm.
Remarks. Catalogue gives maker’s name as Boder. Com-
BI. M. pass is said by B? to be 4 octaves.
Type: Fretted clavichord. Previous history: Formerly in the Régibo Collection, Renaix,
Date: 1705. and afterwards in that of Snoeck.
Ownership: NORSK FOLKEMUSEUM, BYGDOY, Information supplied by: B?.
OSLO, NORWAY. Boalch 3 number: BADER, P. D. n.d.
Number: 184-04. Boalch 2 number: 1.
Inscriptions: IMB 1703.
Compass: C-c’. BAETHMANN, W. H.
Keyboard: White naturals, black sharps. ‘Type: Fret-free clavichord.
Length: 1310 mm. Date: 1799.
Width: 358 mm. Ownership: GOETHEHAUS, FRANKFURT AM
Remarks: Identity of the maker not known except from MAIN, GERMANY. Accession number not known.
initials IMB. Thought to have been made in North Inscriptions. W. H. Baethmann Hoforgelbaner in Hannover 1799
Germany. Forty-nine keys, thirty-three courses. f
References: Weldon. Compass: FF-P.
Information supplied by: B?|Weldon|O’ BrienPC. Remarks. B* reports octave strings in the bass.
Boalch3 number: B., 1. M. 1705. References: Weldon.
Boalch 2 number: 1. Information supplied by: B?|Weldon.
Boalch 3 number: BAETHMANN, W. H. 1799.
BACKERS, AMERICUS. Boalch 2 number: 1
Type: Two-manual harpsichord.
Date: 1766. BAFFO, GIOVANNI ANTONIO
Ownership: LORD HYLTON. Type: Harpsichord (Number of manuals not known).
Inscriptions: Americus Backers Londini fecit 1766. Date: 1523.
Specification: 2x8’, 1x4’, lute. Ownership: FORMERLY MUSEUM FUR KUNST
Additional features: Lid swell. UND INDUSTRIE, VIENNA, AUSTRIA. Accession
Number of roses: 1. number not known.
Style of rose: Trophy of instruments. Remarks: Stradner reports that nothing is now known of
Remarks: Lid swell is operated by a pedal which originally this instrument, which he believes was lost in World War
brought on the 4’ as well. Gilt rose with musical trophies IL.

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 BAFFO 227
Previous history: According to B*: In 1910 [Ks, p. 211] and a black or dark-blue ground has recently been uncovered.
probably 1930 [J, p. 115] it was in the Vienna Museum Stand missing. Dimensions refer to exterior of outer case.
fir Kunst und Industrie. He confirms its disappearance Previous history: Instrument has undergone numerous
in World War Il. changes details of which are at V&A Cat, p. 33-5, and
Information supplied by: B?|StradnerPC. at RipKb, pp. 3-4. Purchased for the Museum for £6. 75.
Boalch 3 number: BAFFO, G. A. 1523[lost]. od. in 1859. Restored by John Barnes in 1964.
Boalch 2 number: 1. References: VerA Cat, p. 32. RassellVerA. J, p. 114.
MIWA. (All have illustrations). Technical drawing avail-
Type: Polygonal virginal. able from the Museum.
Date: 1570. Information supplied by: B?| V&A Cat]Barnes.
Ownership: HOTEL DE CLUNY, PARIS, FRANCE. Boalch3 number: BAFFO, G. A. 1574(1).
Accession number not known. Boalch 2 number: 3.
Inscriptions. Joannes Antonius Baffo Venetws MDLXX.
Specification: 1x8'(A). Type: Single-manual harpsichord.
Compass: C-P. Date: 1574.
Number of roses: 1. Ownership: PRIVATE COLLECTION, NYACK, NEW
Style of rose: Geometrical pattern. YORK, USA. Accession number not known.
Remarks: Original compass of C/E-P with short octave. Inscriptions: According to Rindlisbacher (who because of
Projecting keyboard. Both instrument and case have been the absence of a date in the inscription, suspects the
shortened by about 254 mm.
instrument’s authenticity) inscribed: IOANNES ANTO-
Information supplied by. B’. NIO BAFFO VENETUS. On a pencilled label inside
Boakh 3 number: BAFFO, G. A. 1570. Ant. Luca Giordano di Bologna—a dealer or restorer.
Boalch 2 number: 2. Specification: 2x8’.
Compass: C-c’.
‘Type: Single-manual harpsichord. Keyboard: White naturals, special sharps.
Date: 1574. Exterior of case: Painted.
Ownership: VICTORIA AND ALBERT MUSEUM, Case construction: Italian style, inner/outer.
LONDON, ENGLAND. Remarks: Ivory naturals and ivory sharps inlaid with
Number. 6007-1859. ebony on the tops. Inner case of cypress, and outer richly
Inscriptions: Above keyboard—JOANNES ANTONIVS painted with an unknown shield, supported by lions.
BAFFO VENETVS MDLXXIIII.
Previous history: Was known to be in private ownership
Specification: 2x8’.
in New York in 1951, and formerly owned by A. Mottu
Compass: GG/BB-c’, short octave.
in Genf [Rindlisbacher].
Keyboard: White naturals, black sharps. References: Rindlisbacher, MarcP.
Number of roses: 1.
Information supplied by: B?|Rindlisbacher|WraightPC.
Style of rose(s): Geometrical pattern.
Exterior of case: Painted.
Boalch 3 number: BAFFO, G. A. 1574(2).
Boalch 2 number: 4.
Case construction: Italian style, inner/outer.
Scale: 286 mm.
Length: 2170 mm. Type: Harpsichord (Number of manuals not known).
Width: 835 mm. Date: 1578.
Depth: 187 mm. Ownership. PRIVATE COLLECTION, TOULOUSE,
Remarks: The original compass was C/E-f, short octave, FRANCE.
and the specification was 1x8’, 1x4’. The case has been Inscriptions: 10. ANTONIUS BAFFO VENETUS
reduced in length by about 260 mm. The instrument now MDLXXVIII.
has ivory naturals with arcaded wooden fronts. Sharps Specification: 1x8’, 1x4’.
of ebony. Case, baseboard, and barring of coniferous Number of roses: 5.
softwood. Soundboard of cypress. Wrestplank, original Style of roses: Ivory.
keys, and balance rail of sycamore. Inner face of case, Remarks: Not apparently any of the previously recorded
jackrail, nameboard, and keyblocks veneered with rose- Baffo instruments. Said to be in original state. Naturals
wood inlaid with boxwood and ebony and carry gilded of ivory. Fifty keys—compass not given. Case is reported
arabesques. Rose of cut parchment. Outer case painted by the owner to be exactly similar to that of a Jean
internally with grotesque decoration surrounding a car- Goujon in the Musée du Conservatoire in Paris. Raised
touche with scene of Apollo and the Muses on a on original stand with six balluster legs and central
white ground. Externally later eighteenth-century painted stretcher.
garlands of flowers on a sage-green background still Previous history: Bought by the present owner from a castle
remain in places though some original gilt scrollwork on in the south-west of France. B? lists a further instrument

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228 BAFFO(A)
by Baffo in a private collection in France, with the Previous history: Possibly owned by those specified in the
inscription 13... WraightPC believes that this is the same above inscriptions, and almost certainly by Franciolini
instrument as the one here described, and faute de mieux, immediately before it entered the Paul de Wit Collection,
this has been accepted. Leipzig in 1892.
Information supplied by: Owner|WraightPC. References: Ks, p. 96. Henkelr, pp. 77-80, and plates 36
Boalch 3 number: BAFFO, G. A. 1578. and 37.
Boalch 2 number: None/11. Information supplied by: Bz|Henkelr.
Boalch 3 number. BAFFO(A), G. A. 1580.
Type: Single-manual harpsichord. Boalch 2 number: (522).
Date: 1579.
Ownership: MUSEE INSTRUMENTAL, PARIS, ‘Type: Single-manual harpsichord.
FRANCE. Date: 1581.
Number: 951/324. Ownership: STIFTELSEN MUSIKKULTURENS
Compass. AA-P. FRAMJANDE, STOCKHOLM, SWEDEN.
Remarks: Date given incorrectly as 1578 by the Museum. Number: KL 58. j
Instrument is the same as that given as 5 and 5a in Bz. Inscriptions. Faked signature on nameboard: Ioannes Antonio
Original compass of C/E-c* with fifty-seven note range, Baffo Venetvsa (sic) F. MDLXXXI. On back of nameboard:
subsequently modified twice to present compass, though Proprieta Di Enrico Broccardi Schelmi.
the original keys remain. Specification: 2x8’.
Previous history: Formerly in Savoye Collection I. Compass: GG,AA-c?.
References: See WraightNE for illustrations of original Keyboard: White naturals, black sharps.
compass, and GDN-EKI, p. 19. Exterior of case: Painted.
Information supplied by: Bz|MICL|Wraight/Koster. Seale: 293 mm.
Boalch 3 number. BAFFO, G. A. 1579. Length: 2394 mm.
Boalch 2 number: 5|5a. Width: 800 mm.
Remarks: According to SMF the instrument is by an
BAFFO(A), GIOVANNI ANTONIO. unknown Italian builder of ¢. 1700. This is verified by
Type: Single-manual harpsichord. WraightCel, p. 96. Naturals of box, sharps of ebony. Case
Date: 1580. of dark-green lacquer with chinoiserie in gold relief.
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, Diagonal grained spruce soundboard. No rose. May
GERMANY. originally have had pedal ’pull-downs’.
Number: 79. Previous bistory: Instrument is part of the Nydahl Collection.
Inscriptions: On the reverse of the fascia board a false Despite the inscription, Andreas Kilstrém, Curator of the
signature, probably by Franciolini JOHANNES Collection thinks the instrument is late seventeenth
ANTONIVS BAFFO VENETVS F MDLXXX, also century and doubts its authenticity.
DI PROPRIETA DELLA SIG. TERESA BAR- References: SMF, and photos from Museum 80 GK 74-6.
GIACCHI NATA POMO MDLXXXxX, DI PRO- Kilstrom. WraightCel.
PRIETA DEL SIG.... A .... ALE BONCINI I. Information supplied by: SMF|Wraight|Kilstrom.
ANNO 1843, Di proprieta di Baffaello . . . (anno 1852). Boalch 3 number: BAFFO(A), G. A. 1581(1).
Specification: x8’, 1x4’. Boalch 2 number: None.
Compass: C-P.
Keyboard: White naturals, black sharps. Type: Single-manual harpsichord.
Number of roses: 1. Date: 1581(A).
Style of rose: Geometrical pattern. Ownership: GERMANISCHES NATIONAL MUSEUM,
Exterior of case: Painted. NUREMBERG, GERMANY.
Case construction: Italian style, inner/outer. Number: MINe 83.
Seale: 514 mm. Inscriptions. According to Huber the inscription is IOAN-
Length: 2294 mm. NES ANTONIVS BAFFO|/|VENETVS FM. VD
Width: 844 mm. LXXXI. The inscription was probably devised by
Depth: 180 mm. Franciolini.
Remarks: This instrument appears in Bz as being by Baffo Specification: 2x8".
(number saa) and also under Giusti (number 1). In Henke/r Compass: GG,AA-c’.
it appears simply as ‘Italian, second half of the 17th Scale: 285 mm.
century’. Its attribution here to Baffo rests on an unau- Remarks. The instrument is probably a fake of ¢. 1700,
thenticated signature on the back of the fascia board. The or at least carries a fake inscription. Hwber says that it
reason for its inclusion in Bz under Giusti is not clear. dates from the second half of the seventeenth century.
Full details from Henkelr. Outer case of lime. Haber gives the scale as 285 mm. and

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 BAFFO(A) 229
274mm. for the two 8’ registers respectively, but originally Remarks: According to the inscription the date is 1581,
they were 262 mm. and 251 mm. but the research of Thomas Wess of Wirral, Merseyside,
References: Huber, p. 132. England, indicates a later date of ¢. 1620 and in November
Information supplied by: B2|WraightCel| Huber. 1992, Denzil Wraight, with the help of Thomas Wess
Boalch3 number: BAFFO(A), G. A. 1581(A)(2). identified it as the work of Poggi (g.v.) [EM, Vol. XX,
Boaleh 2 number: (7). No. 4, p. 701]. Naturals of ebony; sharps boxwood.
Keyboard not original though of Italian manufacture. It
Type: Single-manual harpsichord. possibly originally had split keys in the bass octave with
Date: 1581(A). a compass of C/E-f'. The number of original jack mortices
Ownership: SMITHSONIAN INSTITUTION, and pinmarks on the keyframe is fifty-six. The soundboard
WASHINGTON, USA. has been extensively altered, probably during the late
Number: 326,903. nineteenth century in order to raise the pitch by five
Inscriptions: Jobannes Antoninus Baffo Venetus F MDLXXXI. semitones. Rose very crude. Inner case painted and gilt
Specification: 2x8". on front and inner face with garlands of leaves, fruit,
Additional features: 2 hand stops. birds, etc. Outer case and stand of later date—much
Compass. GG,AA-P. cruder than the inner case—painted with classical scenes
Remarks: Almost certainly a spurious instrument, or at and musicians, possibly by Alma Tadema. The general
least it carries a spurious inscription. appearance is of a rough and crude instrument.
References: Smithsonian photo-negatives 56,320; 56,320A; Previous history: Previously in the collection of Lawrence
56,320B. See also Smithcheckég. Alma-Tadema (1836-1912). Restored by Dolmetsch in
Information supplied by: Bz|Smithcheck8y. 1895, and by H. R. (Henry Rushworth) in 1937. Acquired
Boalch 3 number: BAFFO(A), G. A. 1581(A)(3)- at a date unknown by the Rushworth and Dreaper
Boalch 2 number: (8). Collection. Bought by the Liverpool Museum in 1967.
References: Russelligs9, p. 35 and p. 128. Denzil Wraight,
Type: Two-manual harpsichord. in EM, Vol. XX, No. 4, November 1992, p. 701.
Date: 1581(A). Information supplied by: B2|Rushton| Thomas Wess|WraightPC.
Ownership: HISTORISCHES MUSEUM, BASEL, Boalch 3 number. BAFFO(A) G. A. 1620(A).
SWITZERLAND. Accession number not known. Boalch 2 number: 6.
Specification: 2x8’, 1x4’.
Compass: GG,AA-c’. Type: Polygonal virginal.
Remarks: Wraight, writing in WraightCel (p. 96) states “This Date: 1791(A).
is a Franciolini concoction from a Giusti single-manual Ownership. BENTON FLETCHER COLLECTION,
harpsichord to which another keyboard has been added.’ FENTON HOUSE, LONDON. Accession number not
(p. 102) ‘My atttribution is based on a comparison of the known.
mouldings of this Baffo with several Giusti instruments.’ Inscriptions: Scratched on soundboard is a partly legible
The 4’ has been added later. inscription, perhaps dating from a restoration: . . .dalla
References: WraightCel, WraightITMH. Spinetta. . .1791.
Information supplied by: B|WraightPC. Specification: 1x8".
Boalch 3 number: BAFFO(A), G. A. 1581(A)(4). Compass: C,D-d’.
Boalch 2 number: (9). Keyboard: White naturals, black sharps.
Number of roses: 1.
Type: Virginal. Style of rose(s): carved.
Date: 1620(A). Exterior of case: Painted.
Ownership: LIVERPOOL MUSEUM, LIVERPOOL, Scale: 267 mm.
ENGLAND. Length: 1560 mm.
Number: 1967.161.13. Width: 520 mm.
Inscriptions: loannes Antonius Baffo Venetus F MDLXXXI. Depth: 220 mm.
On back of nameboard: Pesario written in black ink. Remarks: This instrument appears in Bz with the remarks
Specification: 1x8". “{Not signed by Baffo]’, and ‘No reason for this attri-
Compass: C-P. bution’. BFCat records the instrument (p. 11) and says: ‘Of
Keyboard: Black naturals, white sharps. seventeenth—or perhaps sixteenth-century manufacture,
Number of roses: 1. this polygonal instrament was formerly ascribed to the
Exterior of case: Painted. Venetian maker, Antonio Baffo (f. 1570-81), though the
Case construction: Italian style, inner/outer. origin of this doubtful attribution is unknown.’ Musical
Length: 1660 mm. Opinion of March 1936 described an Italian virginal,
Width: 485 mm. loaned by Major Fletcher for exhibit at Eastbury Manor,
Depth: 250 mm. Barking, which was ‘of sixteenth-century date’, made by

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230 BAGNINIUS
Buffa of Venice, ‘with boxwood naturals’ and a compass BAILEY, JOHN and WILLIAM.
‘running from C (no C sharp) to D”. This is the only Type: Single-manual harpsichord.
instrument in the Benton Fletcher collection with this Date: Not known.
compass, though the keys are not of boxwood. For further Ownership: ROBIN LANGLEY.
discussion, see BFCaf, p. 11. Subsequently attributed in Inscriptions: The first name on the nameboard is difficult
WraightHH to Vincentius Pratensis. Present keyboard to read, but appears to be Robin et Gulielmus Baily Londini
(compass C-d? less C sharp) has naturals of ivory with Fecit. The makers are recorded here, however, as John
arcaded fronts and ebony sharps. The keyboard, though and William Bailey.
old, is not original. No original jacks. Present jacks are Specification: 2x8'(A).
twentieth century—originally leather, now quill. See Additional features: 5 hand stops.
BFCat for discussion of changes in scaling. Case painted Compass: FF,GG-P.
black with delicate arabesques and thin gold bands. On Keyboard: White naturals, black sharps.
inner side of the projecting keywell are carved cornu- Exterior of case: Crossbanded.
copias. Cypress soundboard with carved wooden rose. Remarks: The instrument has much the same appearance as
Stand is not original. other standard English instruments of the mid-eighteenth
References: BFCat. WraightHH. century.
Information supplied by: B?/BFCat|Wraight. Previous bistory: Sold at Christie’s 22 November 1979 for
Boalch 3 number: BAFFO(A), G. A. 1791(A)- £7,800.
Boalch 2 number: [10]. References: Christie’s catalogue of 22 November 1979, and
EM, Vol. 8, No. 2, April 1980, p. 190 (Illustrated).
Information supplied by: GL| Langley.
Type: Single-manual harpsichord. Boalch 3 number: BAILEY, J and W. n.d.
Date: Not dated. Boalch 2 number: None.
Ownership: PRIVATE COLLECTION, AUSTRIA.
Information supplied by: WraightPC. BAILLON, LUIGI.
Boalch 3 number: BAFFO(A), G. A. n.d. ‘Type: Two-manual harpsichord.
Boalch 2 number: None. Date: 1755.
Ownersbip: DR. R. MIRREY, LONDON, ENGLAND.
Number: 8.
BAGNINIUS, JACOBUS.
Inscriptions: Inscribed fait par Luigi Baillon organiste et fateure
Type: Ottavino.
Date: 1613.
(sic) @ Cytenx 1755.
Specification: 2x8’, 1x4’, lute.
Ownership: MUSIKHISTORISK MUSEUM, Additional features: Coupler, harp stop.
COPENHAGEN, DENMARK. Compass. FF-P.
Number: Cl.54. Length: 2540 mm.
Inscriptions: Jacobus Bagninius fecit Lucensis Anno 1613.
Width: 930 mm.
Specification: 1x4". Depth: 270 mm.
Compass: cle-c*, short octave. Remarks: Dr. Mirrey reports that the lute and harp stop
Keyboard: White naturals, black sharps. are not original.
Number of roses: 1. References: Mirrey.
Style of rose: Geometrical pattern. Information supplied by: Mirrey.
Exterior of case: Painted. Boalch3 number: BAILLON, L, 1755.
Case construction: Italian style, inner/outer. Boalch 2 number: None.
Length: 840 mm.
Width: 460 mm. BARTOLI, A.
Remarks. According to Misch-1979 II, p. 219 almost Type: Harpsichord (number of manuals not known).
certainly a Franciolini fake. Pentagonal case. Outer case Date: Not known.
elaborately painted with internal lid scene of a harbour Ownership: DEANSBORO (NEW YORK) MUSICAL
or river with boats. Internal case appears to be of MUSEUM, NEW YORK, USA. Accession number not
plainwood (cypress?) with ivory buttons atop all case known.
sides and the jackrail. A dubious instrument. Remarks: Very little is known of the instrument beyond
Previous bistory: Formerly in the Carl Claudius Collection. the fact that it was allegedly made for Ercole II, Duke
References: Illustrated in the 1931 Collection Catalogue, p. of Ferrara (B*].
61. MMCC. Previous history: Previously owned by C. Albert Jacob, Jr.
Information supplied by: B?|MMCC. Information supplied by: B*
Boalch3 number: BAGNINIUS, J. 1613. Boalch 3 number: BARTOLI, A. n.d.
Boalch 2 number: 1. Boalch 2 number: 1.

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 BARTON 231
BARTON, THOMAS. 1719.
Type: Single-manual harpsichord. Specification: 1x8’.
Date: 1709. Compass: GG-g?.
Ownership: DR. R. MIRREY, LONDON, ENGLAND. Keyboard: Black naturals, special sharps.
Number: 9. Number of roses: None.
Inscriptions: Tho. Barton Londini fecit. Signed and dated TB Exterior of case: Plain wood.
1709 on the bottom jacks. String gauges marked on nut. Scale: 267 mm.
Specification: 2x8’. Length: 1775 mm.
Additional features: 2 hand stops. Depth: 174 mm.
Compass: GG/BB-d’, broken octave. Remarks: Ebony naturals. Ivory-ebony-ivory skunktail
Number of roses: None. sharps. Plain mahogany (walnut?) case. Double curved
Exterior of case: Plain wood. bent side. Pierced and shaped strap hinges. Fruitwood
Seale: 298 mm. nameboard. Raised on later stand with turned legs. The
Length: 1969 mm. bridge has been moved so as to increase significantly the
Width: 845 mm. scale. The scale given here is an estimate of what it was
Depth: 190 mm. originally.
Remarks: Keys were missing when the instrument was Previous history: Shown at the International Inventions
first discovered, but it was clear from the keyframe that Exhibition, London 1885, by G. Williamson. Crudely
there had been a broken octave, with two split sharps at repaired sometime in the nineteenth century. It belonged
C# and Dg. The present keys, based on a Barton spinet to Arnold Dolmetsch, who sold it to Lady Noble (M. D.
are modern. External case of walnut. Characteristic Noble) in 1903. Subsequently in the possession of C. H.
English strap hinges of pierced and shaped brass of very Brackenbury, Berwick on Tweed. It is recorded in
similar style to those of the William Smith harpsichord. RussCollrg86 as having been received into the Russell
Italian style boxslides. Most jacks original. Original stand Collection in June 1981 while still the property of Mrs.
missing. When first discovered a number of strings were Brackenbury. Sold at Sotheby’s on 22 November 1990.
present with brass in the bass and steel or iron (probably Present owner not known.
the former) in the treble. These were replaced as faithfully References: Sotheby’s catalogue of 22 November 1990.
as possible, with a resultant disappointing tone. They Data sheet by John Raymond, and report by John Barnes
were replaced by Dr. Mirrey with phosphor bronze, with available from the Russell Collection.
a marked improvement in tone. Information supplied by: B2|Sothebys|Raymond| Barnes.
Previous history: Dr. Mirrey bought it at Sotheby’s on 12 Boalch 3 number: BARTON, T. 1719.
March 1970 from Dr. C. Mould, who had bought it at Boalch 2 number: 2.
auction at Purton, near Swindon in 1969.
References: Mould Th. Monld Note. KosterEEH. McGeary. Type: Wing spinet.
Mirrey. Date: 1720.
Information supplied by: Bz|Mould Note|Mirrey. Ownership: CAPTAIN A. F. MATHESON, R.N.
Boalch 3 number: BARTON, T. 1709. INVERGORDON, SCOTLAND.
Boalch 2 number: 01. Inscriptions: Thomas Barton Londini fecit 1720. Calligraphy
of the date suspicious.
Type: Wing spinet. Specification: 1x8".
Date: 1714. Keyboard: Black naturals, white sharps.
Ownership: Not known. Remarks: Bz oberves: ‘36 naturals [black] and 25 sharps
Specification: 1x8". [white]’.
Remarks: Recorded in Bz as being in the ownership of Information supplied by: Bz.
C. A. Legg, Cirencester, since 1941. The firm is, however, Boalch 3 number. BARTON, T. 1720.
no longer in business, and the whereabouts of the Boalch 2 number: 3.
instrument are not known.
Information supplied by: Bz. Type: Wing spinet.
Boalch 3 number: BARTON, T. 1714. Date: 1723.
Boalch 2 number: 1. Ownership: PROFESSOR CHRISTIANE JACOTTET,
GENEVA, SWITZERLAND.
Type: Wing spinet. Inscriptions: On nameboard Thomas Barton Londini Fecit
Date: 1719. 1723.
Ownership: FORMERLY RUSSELL COLLECTION, Specification: 1x8".
EDINBURGH UNIVERSITY, SCOTLAND. Compass: GG-g?.
Number: 49. Previous bistory: 1974—W. Dobson, Aix-en-Provence;
Inscriptions: On nameboard: Thomas Barton Londini fecit 1986—-Professor Christiane Jacottet.

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232: BARTON
Information supplied by: Jacottet. Compass: GG-g'(A).
Boalch 3 number: BARTON, T. 1723. Remarks: Skunktail sharps.
Boalch 2 aumber: 10. Previous history: Auctioned at Sotheby’s on 11 March 1960.
Information supplied by: B’.
Type: Wing spinet. Boalh 3 number: BARTON, T. 1727.
Date: 1724. Boalch 2 number: 42.
Ovnersbip: Not known.
Inscriptions. On name-batten: Thomas Barton Londini Fecit Type: Wing spinet.
1724. Date: 1729.
Specification: 1x8". Ownersbip: Not known.
Compass: GG-g’. Inscriptions. On the nameboard Thomas Barton
Keyboard: Black naturals, white sharps. MDCCXXIX Londini fecit.
Exterior of case: Plain wood. Specification: 1x8’.
Remarks: Naturals of ebony with sunburst black paper Compass: GG-g’.
fronts. Sharps of solid ivory. Plain walnut case. Keyboard: Black naturals, white sharps.
Previous history: Formerly the property of the late Leonard Number of roses: None.
Elmhirst, Dartington Hall, Devonshire, England. Exterior of case: Plain wood.
Information supplied by: O’ BrienPC. Length: 1829 mm.
Boalch 3 number: BARTON, T. 1724. Remarks: Ebony naturals, and bone sharps. Plain walnut
Boalch 2 number: None. exterior case. Raised on trestle stand. The Sotheby’s
catalogue states “This instrument has been restored from
Type: Wing spinet. an (sic) poor state by Paul Neville. The restoration has
Date: 1724(A). required the insertion of a new soundboard, bridge,
Ownership: BLICKLING HALL, NORFOLK, keyboard, jacks, jack guides and nut. The stand is old
ENGLAND (ON LOAN TO THE NATIONAL but not contemporary with the case. A report with
TRUST). photographs on the restoration is sold with the
Inscriptions: Thomas Barton Londini fecit 1724. The inscrip- instrument.’
tion has been reworked, however, and the name could Previous bistory: Offered for sale at Sotheby’s on 26
be Barron, while the third digit of the date shows signs November 1992 after restoration by Paul Neville.
of having been repainted [Garrett]. References: Sotheby's catalogue of 26 November 1992, p. 233.
Specification: 1x8". Information supplied by: Sotheby's
Compass. GG-g’. Boalch 3 number: BARTON, T. 1729.
Keyboard: Black naturals, white sharps. Boalch 2 number: None.
Length: 1824 mm.
Remarks: Ebony naturals with embossed paper keyfronts. Type: Wing spinet.
Bone sharps. Date: 1730.
Previous bistory: Repaired by Paul Neville in 1984. Ownersbip: Not known.
Information supplied by: Garrett. Specification: 1x8’.
Boalch 3 number. BARTON, T. 1724(A). Previous bistory, Shown by Wm. Dale at International
Boalch 2 number: None. Inventions Exhibition, 1885.
Information supplied by: B*.
Type: Wing spinet. Boalch 3 number. BARTON, T. 1730(1).
Date: 1725. Boalch 2 number: 6.
Ownership: Not known.
Inscriptions: Thomas Barton Londini fecit 1725. Type: Wing spinet.
Specification: 1x8’. Date: 1730.
Previous history: Auctioned at Sotheby’s on 31 July 1953; Ownership. SMITHSONIAN INSTITUTION,
withdrawn. WASHINGTON, USA.
Information supplied by: B?. Number: 60.1416.
Boalch 3 number: BARTON, T. 1725. Specification: 1x8’.
Boalch 2 number: 4. Compass: GG-g’.
Keyboard: White naturals, inlaid sharps.
Type: Wing spinet. Previous history: Previously at the Cooper Union, New
Date: 1727. York. Given originally by Adam Norrie, who bought it
Ownership: Not known. from Steinert.
Inscriptions: Thomas Barton MDCCXXVII Londini fecit. References: Smithcheckég Smithsonian photo negatives
Specification: 1x8". 56,3313 56,331A; $6,331B.

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 BAS 233
Information supplied by: B?|Smithcheck89. on the soundboard.
Boaleh 3 number: BARTON, T. 1730(2). Compass: F-P.
Boalch 2 number: 7/{5}. Exterior of case: Painted.
Remarks: Case in ‘vernis Martin’, richly painted.
Type: Wing spinet. Previous history: A harpsichord by Jean Bas, possibly this
Date: 1731. one, from the Chateau d’Osny, was sold by auction for
Ownership: ROGER YATES, MICHAELSTOWE, Ff. 6,500 at the Hotel Drouot, Paris in 1902. This
ENGLAND. instrument was owned by Claude Mercier-Ythier, but its
Specification: 1x8". present whereabouts are not known.
Information supplied by: B?. References: ZI, 1901/2, p.5 39.
Boalch3 number: BARTON, T. 1731. Information supplied by: B?.
Boalch 2 number: 8. Boaleh3 number: BAS, J. 1737.
Boalch 2 number: 1.
Type: Wing spinet.
Date: 1740. BAS, LOUIS.
Ownership: Not known. ‘Type: Single-manual harpsichord.
Specification: 1x8". Date: 1781.
Compass: G-d'(A). Ownership: MRS. MARGERY HALFORD,
Keyboard: Black naturals. HOUSTON, TEXAS, USA.
Length: 1626 mm. Width: 584 mm. Inscriptions. Round the rose L. BAS FECIT 1781.
Previous history: Reported to have been at one time in the Compass: FF-P.
Taphouse Collection, Oxford. Keyboard: White naturals, black sharps.
Information supplied by: B’. Number of roses: 1.
Boalch 3 number: BARTON, T. 1740. Remarks: Instrument converted into a piano. Apparent
Boalch 2 number: 9. jack slide is still intact. There is a jackrail. Informant says
there was once a ‘knee lift pedal bar’. Instrument is not
Type: Wing spinet. playable. There is no escapement mechanism and the
Date: Not known. hammers are small (Could it be a tangentenfliigel?).
Ovnersbip: W. DOBSON, AIX-EN-PROVENCE, Previous history: Offered for sale to the Smithsonian
FRANCE. Institution, Washington, in 1977.
Specification: 1x8". Information supplied by: Mrs Halford/GL.
Remarks. This is probably the same instrument as Boalch 3 number: BAS, L. 1781.
BARTON, T. 1725 (above). Boalch 2 number: None.
Information supplied by: B?.
Boalch 3 number: BARTON, T. n.d. ‘Type: Wing spinet.
Boalch 2 number: 10. Date: 1783.
Ownership: CANNES, (OWNER UNKNOWN),
BARTON(A), THOMAS. FRANCE.
Type: Wing spinet. Inscriptions: Fait par Bas a Marseille, 1783.
Date: not known. Specification: 1x8".
Ownership: PRIVATE COLLECTION, Compass: EE-P(A).
BUCKINGHAMSHIRE, ENGLAND. Remarks: It is thought that this instrument is by Louis
Inscriptions. Nery fine parchment inscription on Bas. The compass is given by B’ as five octaves and one
nameboard. note.
Specification: 1x8". Previous bistory: B’ gives the location of the instrument as
Remarks: Reported by an undisclosed observer who last “Cannes (Aw Bonheur du Jour)’.
saw the instrument in about 1975. Information supplied by: B?.
Information supplied by: Not disclosed. Boalch3 number: BAS, L. 1783.
Boalch 3 number: BARTON(A), T. n.d. Boalch 2 number: 3.
Boalch 2 number: Not known.
‘Type: Harpsichord (Number of manuals not known).
BAS, JEAN. Date: 1778-86.
Type: Harpsichord (Number of manuals not known). Ownership: Not known.
Date: 1737. Compass: C/E-P(A).
Ovnersbip: Not known. Remarks: The dating of this instrument, and its existence
Inscriptions: Jean Bas fecit Ano 1737, on name-batten. Fait is due to the report in Pi, which is quoted under this
a Marseille (sic) par Jean Bas 1737, round a rose painted maker in B?,

tized ty Google
234 BASSE
Previous history: Formerly in de Bricqueville’s collection Boalch 3 number: BASSI, G. 1772.
[Pa]. Restored by Martel in 1831. Bz suggests that this is Boalch 2 number: 1.
possibly the harpsichord of the same date which was
‘converted into a piano’ and sold in New York in 1949, BATTAGLIA, FRANCESCO.
but according to Koster, this latter, which is now at the Type: Wing spinet.
Shrine to Music Museum, Vermillion, South Dakota, Date: 1735.
USA, seems never to have been a harpsichord, but Ownership: GALLINI COLLECTION, MILAN,
started life as a piano in 1781, in (more or less) ITALY. Accession number not known.
Cristofori/Silbermann style [Koster]. There is clearly some Inscriptions: F.B.F. Mediolani 1735.
room for confusion here with the instrument BAS, L. Specification: 1x8’.
1781 (above). Compass: C/E-c'(A), short octave.
References: Pi. Keyboard: White naturals, black sharps.
Information supplied by: B2| Koster. Number of roses: 1.
Boalch 3 number: BAS, L. 1778 86. Style of rose. Parchment.
Boalch 2 number: 1. Exterior of case: Painted.
Remarks: Most probably ivory naturals and ebony sharps.
Type: Spinet. Outer case elaborately gilded in patterns with overpainted
Date: 1786. geometrical designs. Interior lid painting of women
ip: MUSER GRANET, AIX-EN-PROVENCE, musicians surrounding a seated harpist on a throne (King
FRANCE. Accession number not known. David?). Raised on a three legged stand gilded en suite
Inscriptions: Fait par Bas @ Lyon 1786, on soundboard. with curved stretchers at floor level.
Specification: 1x8". Previous history: Formerly in Castello Sforzesco.
Remarks: Mahogany case with 3 legs in Louis Seize style. References: Ilustrataed in Pag, plate 25.
Information supplied by: Bz. Information supplied by: B2|Pag.
Boalch 3 number: BAS, L. 1786. Boalch 3 number. BATTAGLIA, F. 1735.
Boalch 2 number: 4. Boalch 2 number: 1.

BASSE. BAUDIN, JOSEPH.

Type: Wing spinet. Type: Wing spinet.
Date: 1791. Date: 1723.
Ownership: MUSEE DES ARTS DECORATIFS, Ownership: PRIVATE COLLECTION, ENGLAND.
BORDEAUX, FRANCE. Accession number not Inscriptions: Josephus Bandin Londini fecit 1723, on the
known. nameboard. The date is also painted on the decorated
Specification: 1x8’. soundboard.
Keyboard: Black naturals, white sharps. Specification: 1x8".
Exterior of case: Painted. Compass: GG-g?.
Remarks: The Museum description runs ‘Epinette peinte Keyboard: Black naturals, special sharps.
au vernis martin, de forme Louis XVI, mais décorée Number of roses: 1.
d’attribute révolutionaire: bonnet phrygien, faisceaux de Style of rose: Seated harping figure.
licteurs et rubans tricolores’. Raised on trestle stand with Exterior of case: Plain wood.
four turned legs. Bent side has trophy of instruments, Remarks: Ebony naturals with ivory arcaded fronts;
and there are garlands of foliage on the fascia board. skunktail sharps ivory-ebony-ivory. Walnut case.
References: Catalogue of the Museum. Previous history: The following entry incorporates much
Information supplied by: Williams. of what was in Bz but includes comments by Andrew
Boalch 3 number, BASSE. 1791. Garrett. J. Rimbault possessed in 1860 a spinet by Baudin
Boalch 2 number: None. (pictured in Ri, p. 69). It had formerly belonged to Simon
Fraser, Lord Lovat, and afterwards passed into the
BASSI, G. possession of T. W. Taphouse, of Oxford, who showed
Type: Spinet. it at the International Inventions Exhibition, London,
Date: 1772. 1885. Bz states that it was bought in the same year
Ovmership: Not known. by William Dale. But Garrett believes that the idea of
Specification: 1x8. Dale’s having bought it originated solely from the mis-
Remarks: Advertised as an Italian spinet. attribution of the words ‘. . . my spinet . . . p. 8’ on
Previous history: Advertised in the auction catalogue of the the front cover of a copy of Dale’s Catalogue which
Anderson Gallery, New York, October 1938 (No 4409). happens to have changed hands with the instrument.
References: Auction catalogue. The Catalogue belonged to Dr. G. A. Simmons,
Information supplied by: Bz. Tydeham, Newbury, in whose hand‘... my spinet ...’

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 BENTI(A) 235
and other notes and marginalia appear. ‘My spinet’ Boalch 3 number: BECK. 1741.
is in any case scarcely the way in which Dale would have Boalch 2 number: 1.
described the Baudin since he owned at least four others
(instruments by Haward, Hitchcock, Barton, and Haxby, BELLOT, LOUIS CHARLES
all of which he loaned for display). By 1950 it was the Type: Two-manual harpsichord.
property of Mrs. Jarvis of Newbury from whom it passed Date: 1742.
to its present owner. Restored by Dolmetsch in 1894. Ownership: METROPOLITAN MUSEUM OF ART,
References: Pictured in Ri, p. 69. C/P, p. 71 gives the name NEW YORK, USA.
as Boudin. Number: 89.4.1218.
Information supplied by: B2|Garrett. Inscriptions: Louis Bellot round rose. On soundboard 1742.
Boakcb 3 aumber. BAUDIN, J. 1723. Lois (sic) Bellot inscribed on the batten between the
Boalch 2 number: 1. keyboards (according to Bz), according to MMA, on
underside of key batten: M Louis Bellot.
BAUMGARTNER, JOHANN. Specification: 1-28’, 1x4’; I-1x8’.
Type: Fret-free clavichord. Additional features: Shove coupler, harp stop.
Date: 1683. Compass: GG-e'.
Ownership: NATIONAL MUSEUM, PRAGUE, Keyboard: Black naturals, white sharps.
CZECHOSLAVAKIA. Accession number not known. Number of roses: 1.
Inscriptions: Erzeuger Jobann Baumgartner, Bozen 1683. Style of rose: Unique (see below for further details).
Compass: C-P. Exterior of case: Painted.
Keyboard: Black naturals, white sharps. Scale: 368 mm.
Length: 1340 mm. Length; 2837 mm.
Width: 420 mm. Width: 901 mm.
Remarks: Barnes points out that a fret-free clavichord with Depth: 265 mm.
the compass quoted above does not seem to tally with Remarks: Ebony naturals with pear arcades. Dark-stained
the date. It seems some caution should be exercised. sharps with bone tops. Hand stops on wrestplank, do not
Information supplied by: Bz|Weldon| Barnes. protrude into the keywell. Figure in rose represents a
Boakh3 number. BAUMGARTNER, J. 1683. woman playing a small virginal. Exterior decoration of
Boalch 2 number: 1. speckled gold in varnish and painted floral designs —may
not be original. Gilded stand with seven cabriole legs.
’ BAYR, ANTONI. Previous history: Crosby Brown collection 1889.
Type: Clavichord. References: LibinKI, p. 24 (Illustrated). MMACL. Photos
Date: 1781. (negative numbers 193332, 193333, 193334, 193335) avail-
Ovnersbip: HOTEL POSTE, POSCHIAVO, able from the Museum.
SWITZERLAND. Accession number not known. Information supplied by: B2|MMA|LibinKI|/MMACL.
Inscriptions. Label inside keybox Antoni Bayr Burglicher Orgl Boalch 3 number: BELLOT, L. C. 1742.
snd Instrumentmacher in Miinchen fecit d. 15 Merz 1781. Boalch 2 number: 1.
References: Rindl.
Information supplied by: Bz. BELLOT, PIERRE (le pére).
Boalch 3 number: BAYR, A. 1781. Type: Single-manual harpsichord.
Boalch 2 number: 1. Date: 1729.
Ownership: THE ARCHBISHOP’S PALACE,
CHARTRES, FRANCE.
BECK.
Specification: 2x8’.
Type: Wing spinet.
Date: 1741. Compass: GG-c'(A).
Ovnersbip: Not known. Information supplied by: Bz.
Specification: 1x8". Boaleb 3 number. BELLOT, P. 1729.
Boalch 2 number: 1.
Compass: GG-e’""(A).
Keyboard: White naturals, special sharps.
Exterior of case: Plain wood. BENISMIS, DOANUSA. See: BONAFINIS, F. 1560(A).
Length: 1829 mm.
Width: 762 mm. BENTI(A), ANTONIO.
Remarks: Ivory naturals, skunktail sharps. Type: Pentagonal virginal.
Information supplied by: Bz. Date: 1580.
Previous history: Formerly the property of the late Alec Ownership: MUSEO DEGLI ANTICHI STRUMENTI
Hodsdon, Lavenham, Suffolk, England. MUSICALI, ROME.

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236 BERCHTHOLD ZU SONNENBURG
Number: 1838. BERERA, JOANNES ANTONIUS.
Inscriptions. On the casewall above the keyboard the Type: Single-manual harpsichord.
signature: Antonius Bentes in Brexcia Ao Domini 1580. The Date: 1761.
inscription itself must be suspect since almost every Ownership: MUSIKINSTRUMENTEN MUSEUM,
genuine Italian inscription is in upper case letters only; BERLIN, GERMANY.
this one is in upper and lower case letters. There is a Number: 322.
mutilated date on key number so: i. s6. There is also a Inscriptions: On a white rectangular plate surrounded by
maker’s mark burnt onto the casewall above the keys carving on either side of the foreboard are the inscriptions
which is a circle with the letters 4 and B in and around (on the left) IOANNES ANTONIUS/BERERA, and
it. (on the right) FACIEBAT TRIDENTI.A./MDCCLXI.
Specification: 1x8". On the inner side of a replaced belly rail: Repariert von
Compass: C/E-f, short octave. H. Sejffarth. Gioblis Leipzig den 10. Marz 1888.
Keyboard: White naturals, black sharps. Specification: 2x8’.
Number of roses: 1. Compass: C/E-P, short octave.
Case construction: Italian style, inner/outer. Keyboard: White naturals, black sharps.
Remarks: The authenticity of this instrument is much in Number of roses: 1.
doubt. First, the inscription Benfes is a curious rendition Style of rose: Geometrical pattern.
of Benti, while the place-name which in Cerv.MASM is Exterior of case: Painted.
given as Breccia, and by VdM as Brexcia is not the Scale: 337 mm.
normal latinised form of Brescia, which is Brixia. Careful Length: 1854 mm.
comparison of the instrument with that appearing in Width: 835 mm.
Francl makes it clear that this instrument is indeed that Depth: 190 mm.
advertised by Franciolini. Nevertheless there is enough Remarks: Naturals of box, with arcaded fronts. Sharps of
of a genuine sixteenth-century instrument surviving to black-stained walnut with an ivory knob at the rear.
cause it to be recorded here. Naturals of box with box Case exterior of mignonette-green, with appliqué strips
arcaded fronts. Sharps of stained walnut. Outer case of carved moulding to give the appearance of a cross-
mainly of poplar in dark green varnish. On the inside of banded case. The interior is in red. Raised on light-green
the lid, at the centre is the penitent Mary Magdalen, and and red legs.
in the interior are grotesques, angels with curved cornets, Previous bistory: Exhibited at the Allgemeine Musik-
putti, etc. Instrument itself mainly of cypress. Rose of ausstellung, Berlin 1898. In 1890 in the second collection
gilded card, incomplete. Traces remain of pedal pulldowns of Paul de Wit. Lid lost in World War II.
for C/E-B. The bridges are now loose, thus measurement References. BerlinCat, pp. 68-72.
of the scale is not possible. Information supplied by: B2|Droysen-Reber|Elste|BerlinCat.
Previous history: Formerly Evan Gorga, who acquired it Boalch3 number: BERERA, J. A. 1761.
from Franciolini. Boalch 2 number: 1.
References: Cero.MASM, pp. 317-18.
Information supplied by: Bz|Cerv.MASM|VdM. BERGSTEDT, ADAM.
Boalch 3 number: BENTI(A), A. 1580. ‘Type: Fret-free clavichord.
Boalch 2 number: 1. Date: 1832(A).
Ownership: STATENS MUSIKSAMLINGAR,
BERCHTHOLD ZU SONNENBURG, JOSEPH MUSIKMUSEET, STOCKHOLM, SWEDEN.
VON. Number: 2242.
Type: Fret-free clavichord. Inscriptions. Signed and dated on paper label as No. 30.
Date: 1780(A). Compass: FF-c*.
Ownership: MUSEUM CAROLINO-AUGUSTEUM, Keyboard: Black naturals, white sharps.
SALZBURG, AUSTRIA. Accession number not Number of roses: None.
known. Exterior of case: Painted.
Inscriptions: Almost illegible, on soundboard: Joseph von Scale: 275 mm.
Berchthold xu Sonnenburg. Length: 1908 mm.
Compass: F-P(A). Width: 620 mm.
Remarks: The name is not that of the maker but a former Remarks: Date could be 7436. Sixteen octave strings in
owner. The instrument is by an anonymous builder, and the bass. Soundboard 2.5; mm spruce, grain at fifty-five
thought to be of the late eighteenth century. degrees to the spine. Naturals of ebony, sharps of
Information supplied by: Bz. bone.
Boalch 3 number. BERCHTHOLD ZU SONNENBURG, References: H-O No. S 01 SMS/MM 2442. Illustrated at
J. VON. 1780(A). fig. 161, p. 184, and p. 252.
Boalch 2 number: 1. Information supplied by: Barrell|Weldon|H-O.

'y Google
 BERTI 237
Boalch 3 number: BERGSTEDT, A. 1832(A). Boalch 3 number: BERNERI, G. 1608.
Boalch 2 number: None. Boalch 2 number: 2.

BERNERI, GIORGIO. BERTARINI(A), GLIAMBATTISTA.

Type: Ottavino. Type: Single-manual harpsichord.
Date: 1594. Date: 1577.
Ownership: MUSEUM OF ART, TOLEDO, OHIO, Ownership: MUSEE BARDINI, FLORENCE, ITALY.
USA. Accession number not known. Accession number not known.
Inscriptions: \n ink: Giorgio da Trento figliolo di Antonio Bf?) Inscriptions: Joannes Baptista Bertarinus Pisauren. fecit Romae
srneri da edad\?) . . . (next line illegible] Anno. . .. Front Anno S. MDLXXVII.
of wrestplank inscribed: Giorgius Berneri Trideninus (sic) Specification: 2x8’.
Secit Romae AD MDLXXXXIV. Compass: C/E-c(A), short octave.
Specification: 1x4‘(A). Number of roses: 1.
Compass: E flat to C, according to Bz, but it is more Remarks: Bz suggests the inscription is probably spurious.
probably C-d’,e* [Barnes]. Information supplied by: B2.
Information supplied by: Bz| Barnes. Boalch 3 number. BERTARINI, G. 1577.
Boalch 3 number: BERNERI, G. 1594. Boalch 2 number: 1.
Boalch 2 number: 1.
BERTI, NICCOLO.
‘Type: Single-manual harpsichord.
Type: Ottavino.
Date: 1608.
Date: 1690(A).
Ownership: FRANK RUSSELL, ARDNAGEEHY,
Ownership: MUSEO DEGLI ANTICHI STRUMENTI
BANTRY, COUNTY CORK, IRELAND.
MUSICALI, ROME. Inscriptions. On the back of the nameboard -Niccolo Berti
Number: 1192. Fece-[$ Pietro Antj [= Antonio] (C?|ati fiorentino restauré
Inscriptions: Below the keyboard on the case bottom questo Cimbalo $/L'anno 1764—nel mese dOttobre-. This
boards: Giorgio Berneri da Trento, figlio di Antonio Berneri inscription appears to have been written in 1764 by
da Arco, ha{?) fatto in Roma il terzo anno dopo la morte|della whoever reworked the instrument. O’BrienPC, reports
sua fidelissima consorte Isabella, ?anno MDCVIII (VdM has that it is very difficult to transcribe the name of the
a slightly different reading—. . . la fece in Roma il terzo anno restorer who might be Cafi, but he is not known
dopo la morte|della sua fidelissima consorte MDCVIII/Isabella). from any other source. It might however be Bati (see
Specification: 1x4". Part 1).
Compass: c-d',e’.
Specification: 2x8".
Keyboard: White naturals, black sharps. Additional features: 2 hand stops.
Number of roses: 1. Compass: AA-P.
Style of rose: Pierced. Keyboard: Special naturals and sharps.
Exterior of case: Veneered. Number of roses: 1.
Remarks: The instrument is described in Cerv.MASM as Exterior of case: Plain wood.
a ‘Piccolo Virginale-Spinettino in Avorio Graffito’, but Scale: 286 mm.
VM suggests in view of the scaling that it is an ottavino. Width: 857 mm.
Naturals of ivory with decorated fronts, and sharps of Depth: 181 mm.
ebony. The entire case is ‘veneered’ with ivory, with Remarks: Naturals of palisander with ivory arcaded fronts.
plaques of ivory on the outside and inside of the case Sharps of cypress topped with veneer of decorative
walls above the soundboard and the keyboard, and on wedges. The central wedge is of ebony with the point
the top and sides of the jackrail. The jackrail supports facing the player and with three small circles of bone
are of solid ivory. A very elegant ivory moulding covers inlaid in the distal edge of the wedge. On either side of
the top of the case walls, and there are ivory cheekpieces. the central wedge are two smaller wedges of bone.
The wrestplank is at the front. There are two numbering Compass was originally GG,AA-d’. Case of oiled cypress.
systems on the keys, one of which points to the fact that The rose which was probably originally of parchment, is
the naturals are from an older keyboard, and that the missing. Present scale is 286 mm. but originally was about
original compass was probably different from the present 257 mm. The length of the instrument was shortened at
arrangement. an early stage in its development.
Previous history: Formerly the property of Evan Gorga. Previous history: Bought by the present owner at Parke-
Exhibited at the exhibition at the Collegio Romana, Bernet, New York. This is almost certainly the same
December 1965—January 1966. instrument as that recorded in Bz as being ‘in the USA’.
References: Cero.MASM, pp. 320-1. Cerv.ColRom, No. 85. References: RipICOLF. Vol 1a, p. 2.
Information supplied by: B2|Cerv.MASM|VdM. Information supplied by: B2|O’ BrienPC.

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 238 BERTOLOTTI
Boalch 3 number: BERTI, N. 1690(A). Number of roses: 1.
Boalch 2 number: 1. Style of rose: Geometrical pattern.
Exterior of case: Painted.
Case construction: Italian style, inner/outer.
BERTOLOTTI, ALEXANDER.
Scale: 332 mm.
Type: Single-manual Claviorganum.
Length: 1597 mm.
Date: 1585. Width: 500 mm.
Ownership: BRUSSELS MUSEUM, BRUSSELS,
Depth: 175 mm.
BELGIUM. Remarks: There is some confusion about the spelling of
Number: 1132.
the maker’s name—see Part I. The inner instrument is
Inscriptions: Inscribed: Alexander Bortolotti MDLXXXV,
pentagonal, fitted into a rectangular outer case. Naturals
but Messrs. Rhodes and Thomas reported in 1985 that
of box with arcaded fronts having ivory studs, and sharps
the nameboard may well have read Franciscus Bonafinis.
reportedly variously as being of American black walnut
This is confirmed in WraightIKI. Inscribed on the organ or rosewood (not original). Wrestplank not original.
Theodorus Wilbelmus Sigismundus {then some uncertain Jackrail and mouldings studded with ivory. There is an
words} 1677 [? 1657—then more illegible words]-—ie. extra jack-slot and string course for the note c. Outer
Gottlob W. S. Gut [GSJ, 1967, p. so].
case originally painted black, but later painted bright blue
Specification: 1x8',1x4".
and subsequently overpainted in green and provided with
Compass: GG/BB-c’, short octave.
a pair of matching stools to support the instrument.
Keyboard: White naturals, black sharps.
Hunting scene inside the lid—for further details see
Number of roses: None.
Exterior of case: Plain wood.
RassColl, p. 3.
Previous bistory: Bought by Hugh Gough at Sotheby’s on
Scale: 262 mm.
25 May 1951, restored by him and sold to Raymond
Length: 2202 mm. Russell in 1956. Given by Mrs. Russell to Edinburgh
Width: 845 mm. University in 1964. Restored by J. J. K. Rhodes and W.
Depth: 184 mm.
R. Thomas in 1968.
Remarks: There is much speculation as to the correct References: RussColl, p. 3 (Illustrated), and RussCollr968,
spelling of the putative maker’s name (see Part I). The p. 10. WraightIKI. Full scale technical drawing in course
harpsichord part has a plain cypress case. It stands on the of preparation in 1991—from the Friends of St. Cecilia’s
organ part, built by W. S. Gut (1657 or 1677), which Hall. Further references from J. N. Raymond, at St.
has a compass of C-c', and a specification of 4’ wood, Cecilia’s Hall.
quint wood, and 2’ metal, all operated by metal levers. Information supplied by: B2/RussColl/Russellrgs9/GSJ/
According to Rhodes and Thomas [GSJ XX, 1967, p. Raymond.
48) the original compass was C/E-f, short octave. The Boalch 3 number: BERTOLOTTI, A. 1585(2).
rectangular box case has elaborately carved panels. Boalch 2 number: 2.
Previous bistory: Formerly in the Correr Collection, Venice.
For further details of changes to the instrument see BERTONI, RINALDO.
WraightCelGSJ, p. 124. Type: Ottavino.
References: Hubb 1963, p. 29. GSJ, 1967, p. 513 1968, Date: 1707.
p. 179. Russellrgs9, illustrated, plate 8. WraightCe/GS]. Ownership: SIGNORA GIULINI DE MICHELE,
WraightIKI. MILAN, ITALY. Accession number not known.
Information supplied by: B2z/Russell1gs9/Hubb196s/GS]/ Inscriptions: Inscribed on the C key: F. [fatto] da Rinaldo
WraightPC. Bertoni Bolognese|? Anno 1707.
Boalch 3 number. BERTOLOTTI, A. 1585(1). Specification: 1x4’.
Boaleh 2 number: 1. Remarks: A trapezoidal octave virginal.
Information supplied by: VdM.
‘Type: Pentagonal virginal. Boalch 3 number: BERTONI, R. 1707.
Date: 1585. Boalch 2 number: None.
Ownership: RUSSELL COLLECTION, EDINBURGH
UNIVERSITY, SCOTLAND. BIDERMAN, SAMUEL. (The instruments by Samuel
Number: 1. Biderman described below, though reported variously as
Inscriptions: ALEXANDER BERTOLOTI virginals, spinets, or automatic spinets, are probably all
MDLXXXV (sic), on nameboard. [Bz gives incorrect of the same shape and type.)
date of 1586.] ‘Type: Ottavino.
Specification: 1x8’, Date: 1627.
Compass: C/E-P, short octave. Ownership: INSTITUTE FOR SCIENTIFIC
Keyboard: White naturals, black sharps. RESEARCH ON THE THEATRE AND MUSIC, ST.

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 BIDERMAN(A) 239
PETERSBURG, RUSSIA. Accession number not Ownership: KUNSTHISTORISCHES MUSEUM,
known. VIENNA, AUSTRIA.
Inscriptions: Samuel Biderman Augusta (sic) 1627. Number: 120.
Specification: 1x4'(A). Inscriptions: Contains four labels inscribed: Samuel Biderman,
Compass: F-P(A). Instrumentmacher in Augsburg.
Number of roses: 1. Compass. C/E-d’,e*, short octave.
Remarks. Bz reports a compass of three octaves with Remarks: Dated by Stradner as beginning of the seventeenth
thirty-seven keys. century. It plays six pieces which are transcribed in
Information supplied by: B2. Schlosser’s catalogue. Some, if not all, of them are
Boalch3 number: BIDERMAN, S. 1627. different
Boalch 2 number: 2. pieces from those played by the Breslau instrument. J. H.
van der Meer, Beitrage zwm Cembalobaw im Dewtschen
Type: Virginal. Sprachgebiet bis 1700, in Anzeiger der Germanisches Nation-
Date: 1640. almuseums, 1966, pp. 120-33 gives photographs (complete
Ownership: KUNSTSAMMLUNG, AUGSBURG, and dismantled) of the instrument and a transcipt of the
GERMANY. Accession number not known. pieces of music on the barrel.
Remarks: No details are known, though Koster reports Previous history: Taken over from the Ambras Collection
that Blumka, a New York antique dealer, had a small in 1880.
highly decorative almost toy-like virginal by Daniel (sic) References: See: Reference to van der Meer’s article, above.
Biderman, with compass g,a-d’,e’, thirty-two notes, in an Schlosser’s catalogue also has the six pieces transcribed.
ebony or black-stained case. It was allegedly sold to a Information supplied by: B2|StradnerPC.
Museum in Augsburg (¢. 1982) and Dr. Hannelore Miiller Boalch 3 number: BIDERMAN, S. n.d.(1).
of the Kunstsammlung, Stadt Augsburg, confirms that Boalch 2 number: 4.
they have a Biderman virginal of ¢. 1640.
Information supplied by: Koster|Miiller. Type: Virginal.
Boalch 3 number: BIDERMAN, S. 1640. Date: Not known.
Boalch 2 number: None. Ownership: MUSEUM FUR KUNSTHANDWERK,
DRESDEN, GERMANY.
Type: Automatic spinet. Number: 47714.
Date: 1651. Inscriptions: Samuel Biderman, Augsburg.
Ownership: SCHLESISCHES MUSEUM, BRESLAU, Specification: 1x8‘(A).
GERMANY. Accession number not known. Compass: C/E-c.
Compass: C/E-c’, short octave. Remarks: The data sheet from the Museum states that the
Remarks: Bz reports a compass of forty-five keys. The instrament is a virginal and gives the date as ‘17th-
instrument plays six tunes, listed on a manuscript label, century’. Soundboard of spruce decorated with flowers
presumably original: in tempera.
Previous history: According to the Museum ‘aus dem
Beschreibung dieses Instrumentes, was ¢s vor Stiick von sich
Arbeitstisch der Kurfurstin Magdalena Sybille—from the
selbsten spiclet. Zum Ersten cinen lustigen Aufzug, so durch die
Trompeter {:Alss Jr Kay: May: in Nirenberg den Finzug workbench of the Duchess Magdalena Sybille.
gehalten:] geblasen ist worden. References: Data sheet supplied by the Museum.
Anderen, einen Polnischen Tanz und repetiret ihn zweimal. Information supplied by: Reinbeckel.
Dritten, Noch ein andren Polnischen Tanz und repetiret ihn Boalch3 number: BIDERMAN, S. n.d.(2).
auch zweimal. Boalch 2 number: None.
Vierten, Lobet Gott unsern Herren in seinem Heiligthum, und
repetiret zwei gesetze. BIDERMAN(A), SAMUEL.
Finften, Ess stehen fur Gottes Throne:/:und repetiret zwei
gesetze. Type: Automatic spinet.
Sechsten, Allein Gott in der Hohe sei [Ehr’], und danken vor Date: Not known.
seine Gnade, repetiret zwei gesetze. Ownership: GERMANISCHES NATIONAL-
Nochmals mag ein Jeder, der nur schlagen kann, auf diesem MUSEUM(A), NUREMBERG, GERMANY.
Instrument aufspiclen alle diejenigen Stick, die man sonsten auf Accession number not known.
ander Instrumenten zu Spielen pfleget. Remarks: The instrument appears in Bz as being in
Information supplied by: Bz. the collection of the Germanisches Nationalmuseum,
Boalch3 number. BIDERMAN, S. 1651. Nuremberg, but it appears not to be listed in Huber.
Boalch 2 number: 3. Previous history: From the Riick Collection.
Information supplied by: Bz.
Type: Automatic spinet. Boalch 3 number: BIDERMAN(A), S. n.d.(1)
Date: Not known. Boalch 2 number: 1.

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240 BIDERMANN
Type: Automatic spinet. Information supplied by: Bz.
Date: Not known. Boalch 3 number. BIDERMAN, J. 1606.
Ownership: UPPSALA, SWEDEN, (unknown location). Boalch 2 number: 1a.
Remarks: Not playable.
Information supplied by: Bz. . BIEST, MARTEN VAN DER
Boalch 3 number: BIDERMAN(A), S. n.d.(2). Type: Mother and child virginal.
Boalch 2 number: 5. Date: 1580.
Ownership: GERMANISCHES NATIONALMUSEUM,
Type: Spinet. NUREMBERG, GERMANY.
Date: Not known. Number: MI 85.
Ownership: FORMERLY IN THE OLD SAVOYE Inscriptions: On jackrail: Martinus Van der Biest mle)
COLLECTION, PARIS, FRANCE. Accession number Slecit]_ 180. On fallboard of the ottavino: ESPOIR
not known. CONFOIRTE (sic).
Inscriptions: Samuel Biderman Augusta (sic). Specification: 1x8’ (mother), 1x4’ (child).
Specification: 1x8'(A). Compass: C-c’ (mother, now).
Remarks: This instrument is probably the same instrument Keyboard: White naturals, black sharps.
as that shown in the ownership of Mr. Tagger, Paris, Number of roses: 3.
(BIDERMAN, S. n.d.(4)). Compass two octaves and eight Style of roses. Parchment.
notes. Exterior of case: Painted.
Information supplied by: Bz. Scale: 390 mm.
Boalch 3 number: BIDERMAN(A), S. n.d.(3)- Length: 1800 mm.
Boalch 2 number: 6. Width: 475 mm.
Depth: 259 mm.
Type: Spinet(A). Remarks: The ottavino is on the right. According to
Date: Not known. Hellwig the date is 1585, but other observers give the date
Ownership: MR. TAGGER, PARIS, FRANCE. as 1580. Compass originally C/E-c’, but the mother is
Remarks: Tagger had the instrument in 1971. Probably now C-c'. Bone sharps with parchment fronts and sharps
the same instrument as BIDERMAN, S. n.d.(3). of bog-oak. The instrument is elaborately painted on the
Information supplied by: Bz. outside and has a pastoral scene in the lid, with fountain,
Boalch 3 number: BIDERMAN(A), S. n.d.(4)- castle, and strolling couples. The inside of the lid over
Boalch 2 number: 6a. the keys has a fanciful scene of an interior flanked by
trophies of instruments. Painted soundboard. Two gilded
Type: Automatic spinet. parchment geometrical roses in the mother, one in the
Date: Not known. child. Dimensions of the child are: Scale—187 mm.
Ownership: INSTITUTE FOR SCIENTIFIC Length—838 mm. Width—396 mm.
RESEARCH ON THE THEATRE AND MUSIC, ST. Previous history: Said to have been made for Alessandro
PETERSBURG, RUSSIA. Accession number not Farnese.
known. References: An anonymous painting of the Dutch school,
Compass: E-c'(A). in the Gemeente-Museum, The Hague, shows a virginal
Number of roses: 1. bearing on the jackrail the inscription Martin van der Biest
Remarks: The instrument is by an anonymous builder but 1784. See further RGI pp. 71-3, in a paper by J. H. van
is thought to be by Biderman. Uninitialled rose. der Meer. Illustrated in Po, pl. 14. Illustrated in colour
Information supplied by: Bz. in Rueger, pl. 16. Illustrated, and profiles given in Hellwig.
Boalch 3 number: BIDERMAN(A), S. n.d.(5). See also: O’Brien, p. 28, and Hxber, p. 140, and
Boalch 2 number: 7. other references are given in the above.
Information supplied by: B2|Rueger|Hellwig|Huber|O’
BrienPC.
BIDERMANN, JOHANN. Boalch3 number: BIEST, M. VAN DER. 1580.
Type: Ottavino. Boalch 2 number: 1.
Date: 1606.
Ownership: FURSTLICH OETTINGEN- BIRGER, GIOVANNI DOMENICO
WALLENSTEIN’SCHE BIBLIOTHEK UND Type: Virginal.
KUNSTSAMMLUNG, SCHLOSS HARBURG, Date: 1746.
DONAUWORTH, GERMANY. Accession number not Ownership: MUSEE PAUL-DUPUY, TOULOUSE,
known. FRANCE. Accession number not known.
Inscriptions: loannes Bidermann MDCV1, on jackrail. Inscriptions: Towanes Domrinicus Berger {?Birger] fecit Mediolani
Specification: 1x4"(A). 1746.
Previous history: Restored in 1960 by Fritz Thomas. Specification: 1x8'(A).

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 BLANCHET 241
Length: 730 mm. Exterior of case: Painted.
Width: 370 mm. Scale: 342 mm.
Information supplied by: B2. Length: 2353 mm.
Boaleh 3 number: BIRGER, G. D. 1746. Width: 916 mm.
Boalch 2 number: 1. Depth: 203 mm.
Remarks: Listed in DowdHH as authentic, and very similar
Type: Virginal. to the 1730 instrument of Nicolas and Frangois Etienne.
Date: 1759. Originally had a compass of FF-e', the f key being added
Ownership: PALAZZO VENEZIA, ROME, ITALY. later in the eighteenth century. Naturals with arcades of
Number: PV 8408. alisier, sharps of coarse grained wood stained black with
Inscriptions: On the nameboard: Giouani Birger feci Milano, bone tops. Exterior of case, keywell, and both sides of
1759. the lid highly decorated by Huet with flora and faunas
Specification: 1x8'(A). on a grey background. Inside the rim are pastel flowers
Compass: C/E-d’, short octave. on a brown background. According to Bz, quoting
Keyboard: White naturals, black sharps. Chambure, in 1970 it had its original strings. The history
Number of roses: 1. and changes to the instrument, together with its similarity
Style of rose: Parchment. to the 1730 harpsichord are described very fully in
Exterior of case: Painted. DowdHH to which the reader is referred.
Remarks: VdM suggests that with a scale of 335 mm. at Previous bistory: Said to have been delivered by Blanchet
c* and 173 mm. at c’, it was intended to be tuned at quint to the Chateau de Thoiry in 1735, where, apart from a
pitch. Naturals of ivory with parchment fronts. Sharps brief trip to Paris, it has remained ever since.
of ebony. Case is neither an inner/outer, nor a false References: Clavlist, s.v. Hemsch. DowdHH.
inner/outer. Richly decorated internally. Wrestplank is on Information supplied by: B2|DowdHH.
the treble side. Boalch 3 number. BLANCHET, F. E. 1733.
Previous bistory: Belongs to the Palazzo Venezia but is on Boalch 2 number: 2a.
Joan to the Museo degli Antichi Strumenti Musicali, and
appears in the catalogue of the latter. Type: Single-manual harpsichord.
References: Cerv.MASM, pp. 339-40. Date: 1736.
Information supplied by: B2|Cero.MASM|VdM. Ovnership: Not known.
Boalch 3 number: BIRGER, G. D. 1759. Inscriptions: FRANCOIS BLANCHET painted round
Boalch 2 number: 2.
the rose with FB initials. Dated on the soundboard along
the bass part of the 8’ bridge, and in ink on the lowest
BLANCHET. (GG) key, though the last digit is indecipherable.
Type: Two-manual harpsichord. Specification: 2x8’.
Date: 1725. Compass: GG-e'.
Ownership: Not known. Keyboard: Black naturals, white sharps.
Inscriptions: Andreas Ruckers me fecit Antverpiae. Number of roses: 1.
Remarks: Recorded in Bz as Ruckers instrument no. 89 Exterior of case: Painted.
s.v. Ruckers, but actually by Blanchet. Scale: 338 mm.
References: VAMRuck, p. 10. Length: 2200 mm.
Information supplied by: Bz. Width: 840 mm.
Boalch3 number: BLANCHET. 1725. Depth: 290 mm.
Boalch 2 number: 04. Remarks: Listed in DowdHH with the date of 1736, though
there seems to be some doubt about the last digit of the
BLANCHET, FRANCOIS ETIENNE. date, and the instrument was reported in 1979, by another
Type: Two-manual harpsichord. observer, to have the date 1735. One of the very few
Date: 1733. surviving French single-manual harpsichords. Naturals of
Ownership: COMTE DE LA PANOUSE, CHATEAU ebony with arcades of alisier, and sharps of black-stained
DE THOIRY, FRANCE. oak with bone tops. Decorated soundboard. Inside rim
Inscriptions: FRANCOIS BLANCHET painted round decoration of pastel flowers on a brown ground. Exterior
the rose which has initials FB. Date of 1733 painted on of case crudely painted in black. Inside lid is of bare wood
the soundboard along the 8’ bridge in the tenor octave. with black border. Stand, probably not contemporary with
Specification: 2x8’, 1x4’. the instrument, of crude design and execution with
Compass: FF-P. cabriole legs and straight apron. Dowd surmises that the
Keyboard: Black naturals, white sharps. instrument was delivered ‘in the white’ with only the
Number of roses: 1. soundboard and interior rim decorated, the rest to be

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240 BIDERMANN
Type: Automatic spinet. Information supplied by: Bz.
Date: Not known. Boalch 3 number. BIDERMAN, J. 1606.
Ownership: UPPSALA, SWEDEN, (unknown location). Boalch 2 number: 1a.
Remarks: Not playable.
Information supplied by: Bz. . BIEST, MARTEN VAN DER
Boalch 3 number: BIDERMAN(A), S. n.d.(2). Type: Mother and child virginal.
Boalch 2 number: 5. Date: 1580.
Ownership: GERMANISCHES NATIONALMUSEUM,
Type: Spinet. NUREMBERG, GERMANY.
Date: Not known. Number: MI 85.
Ownership: FORMERLY IN THE OLD SAVOYE Inscriptions: On jackrail: Martinus Van der Biest mle)
COLLECTION, PARIS, FRANCE. Accession number Slecit]_ 180. On fallboard of the ottavino: ESPOIR
not known. CONFOIRTE (sic).
Inscriptions: Samuel Biderman Augusta (sic). Specification: 1x8’ (mother), 1x4’ (child).
Specification: 1x8'(A). Compass: C-c’ (mother, now).
Remarks: This instrument is probably the same instrument Keyboard: White naturals, black sharps.
as that shown in the ownership of Mr. Tagger, Paris, Number of roses: 3.
(BIDERMAN, S. n.d.(4)). Compass two octaves and eight Style of roses. Parchment.
notes. Exterior of case: Painted.
Information supplied by: Bz. Scale: 390 mm.
Boalch 3 number: BIDERMAN(A), S. n.d.(3)- Length: 1800 mm.
Boalch 2 number: 6. Width: 475 mm.
Depth: 259 mm.
Type: Spinet(A). Remarks: The ottavino is on the right. According to
Date: Not known. Hellwig the date is 1585, but other observers give the date
Ownership: MR. TAGGER, PARIS, FRANCE. as 1580. Compass originally C/E-c’, but the mother is
Remarks: Tagger had the instrument in 1971. Probably now C-c'. Bone sharps with parchment fronts and sharps
the same instrument as BIDERMAN, S. n.d.(3). of bog-oak. The instrument is elaborately painted on the
Information supplied by: Bz. outside and has a pastoral scene in the lid, with fountain,
Boalch 3 number: BIDERMAN(A), S. n.d.(4)- castle, and strolling couples. The inside of the lid over
Boalch 2 number: 6a. the keys has a fanciful scene of an interior flanked by
trophies of instruments. Painted soundboard. Two gilded
Type: Automatic spinet. parchment geometrical roses in the mother, one in the
Date: Not known. child. Dimensions of the child are: Scale—187 mm.
Ownership: INSTITUTE FOR SCIENTIFIC Length—838 mm. Width—396 mm.
RESEARCH ON THE THEATRE AND MUSIC, ST. Previous history: Said to have been made for Alessandro
PETERSBURG, RUSSIA. Accession number not Farnese.
known. References: An anonymous painting of the Dutch school,
Compass: E-c'(A). in the Gemeente-Museum, The Hague, shows a virginal
Number of roses: 1. bearing on the jackrail the inscription Martin van der Biest
Remarks: The instrument is by an anonymous builder but 1784. See further RGI pp. 71-3, in a paper by J. H. van
is thought to be by Biderman. Uninitialled rose. der Meer. Illustrated in Po, pl. 14. Illustrated in colour
Information supplied by: Bz. in Rueger, pl. 16. Illustrated, and profiles given in Hellwig.
Boalch 3 number: BIDERMAN(A), S. n.d.(5). See also: O’Brien, p. 28, and Hxber, p. 140, and
Boalch 2 number: 7. other references are given in the above.
Information supplied by: B2|Rueger|Hellwig|Huber|O’
BrienPC.
BIDERMANN, JOHANN. Boalch3 number: BIEST, M. VAN DER. 1580.
Type: Ottavino. Boalch 2 number: 1.
Date: 1606.
Ownership: FURSTLICH OETTINGEN- BIRGER, GIOVANNI DOMENICO
WALLENSTEIN’SCHE BIBLIOTHEK UND Type: Virginal.
KUNSTSAMMLUNG, SCHLOSS HARBURG, Date: 1746.
DONAUWORTH, GERMANY. Accession number not Ownership: MUSEE PAUL-DUPUY, TOULOUSE,
known. FRANCE. Accession number not known.
Inscriptions: loannes Bidermann MDCV1, on jackrail. Inscriptions: Towanes Domrinicus Berger {?Birger] fecit Mediolani
Specification: 1x4"(A). 1746.
Previous history: Restored in 1960 by Fritz Thomas. Specification: 1x8'(A).

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 BLANCHET 241
Length: 730 mm. Exterior of case: Painted.
Width: 370 mm. Scale: 342 mm.
Information supplied by: B2. Length: 2353 mm.
Boaleh 3 number: BIRGER, G. D. 1746. Width: 916 mm.
Boalch 2 number: 1. Depth: 203 mm.
Remarks: Listed in DowdHH as authentic, and very similar
Type: Virginal. to the 1730 instrument of Nicolas and Frangois Etienne.
Date: 1759. Originally had a compass of FF-e', the f key being added
Ownership: PALAZZO VENEZIA, ROME, ITALY. later in the eighteenth century. Naturals with arcades of
Number: PV 8408. alisier, sharps of coarse grained wood stained black with
Inscriptions: On the nameboard: Giouani Birger feci Milano, bone tops. Exterior of case, keywell, and both sides of
1759. the lid highly decorated by Huet with flora and faunas
Specification: 1x8'(A). on a grey background. Inside the rim are pastel flowers
Compass: C/E-d’, short octave. on a brown background. According to Bz, quoting
Keyboard: White naturals, black sharps. Chambure, in 1970 it had its original strings. The history
Number of roses: 1. and changes to the instrument, together with its similarity
Style of rose: Parchment. to the 1730 harpsichord are described very fully in
Exterior of case: Painted. DowdHH to which the reader is referred.
Remarks: VdM suggests that with a scale of 335 mm. at Previous bistory: Said to have been delivered by Blanchet
c* and 173 mm. at c’, it was intended to be tuned at quint to the Chateau de Thoiry in 1735, where, apart from a
pitch. Naturals of ivory with parchment fronts. Sharps brief trip to Paris, it has remained ever since.
of ebony. Case is neither an inner/outer, nor a false References: Clavlist, s.v. Hemsch. DowdHH.
inner/outer. Richly decorated internally. Wrestplank is on Information supplied by: B2|DowdHH.
the treble side. Boalch 3 number. BLANCHET, F. E. 1733.
Previous bistory: Belongs to the Palazzo Venezia but is on Boalch 2 number: 2a.
Joan to the Museo degli Antichi Strumenti Musicali, and
appears in the catalogue of the latter. Type: Single-manual harpsichord.
References: Cerv.MASM, pp. 339-40. Date: 1736.
Information supplied by: B2|Cero.MASM|VdM. Ovnership: Not known.
Boalch 3 number: BIRGER, G. D. 1759. Inscriptions: FRANCOIS BLANCHET painted round
Boalch 2 number: 2.
the rose with FB initials. Dated on the soundboard along
the bass part of the 8’ bridge, and in ink on the lowest
BLANCHET. (GG) key, though the last digit is indecipherable.
Type: Two-manual harpsichord. Specification: 2x8’.
Date: 1725. Compass: GG-e'.
Ownership: Not known. Keyboard: Black naturals, white sharps.
Inscriptions: Andreas Ruckers me fecit Antverpiae. Number of roses: 1.
Remarks: Recorded in Bz as Ruckers instrument no. 89 Exterior of case: Painted.
s.v. Ruckers, but actually by Blanchet. Scale: 338 mm.
References: VAMRuck, p. 10. Length: 2200 mm.
Information supplied by: Bz. Width: 840 mm.
Boalch3 number: BLANCHET. 1725. Depth: 290 mm.
Boalch 2 number: 04. Remarks: Listed in DowdHH with the date of 1736, though
there seems to be some doubt about the last digit of the
BLANCHET, FRANCOIS ETIENNE. date, and the instrument was reported in 1979, by another
Type: Two-manual harpsichord. observer, to have the date 1735. One of the very few
Date: 1733. surviving French single-manual harpsichords. Naturals of
Ownership: COMTE DE LA PANOUSE, CHATEAU ebony with arcades of alisier, and sharps of black-stained
DE THOIRY, FRANCE. oak with bone tops. Decorated soundboard. Inside rim
Inscriptions: FRANCOIS BLANCHET painted round decoration of pastel flowers on a brown ground. Exterior
the rose which has initials FB. Date of 1733 painted on of case crudely painted in black. Inside lid is of bare wood
the soundboard along the 8’ bridge in the tenor octave. with black border. Stand, probably not contemporary with
Specification: 2x8’, 1x4’. the instrument, of crude design and execution with
Compass: FF-P. cabriole legs and straight apron. Dowd surmises that the
Keyboard: Black naturals, white sharps. instrument was delivered ‘in the white’ with only the
Number of roses: 1. soundboard and interior rim decorated, the rest to be

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242 BLANCHET
decorated at a later date. Compass: FF-c}(A).
Previous history: Formerly at the Chateau Boisrigaud, Remarks: Given in the list of Blanchet instruments in B?
France, and subsequently in the possession of Claude but with little detail. Dowd, in DowdHH does not include
Mercier-Y thier. it saying ‘I have so far been unable to find or examine
References: DowdHH. this instrument’. However, in 1990 Dowd reported that
Information supplied by: DowdHH. the instrument was in existence and still in the ownership
Boalch 3 number: BLANCHET, F. E. 1736. as recorded above.
Boalch 2 number: None. Information supplied by: B?|/Dowd|DowdHH.
Boalch 3 number. BLANCHET, F. E. n.d.
Type: Two-manual harpsichord. Boalch 2 number: 3.
Date: 1746.
Ownership: CHATEAU DE VERSAILLES, FRANCE.
BLANCHET, FRANCOIS ETIENNE(II(A).
Accession number not known.
Type: Two-manual harpsichord.
Inscriptions. The FB rose is encircled by the painted
Date: 1765.
inscription FRANGOIS BLANCHET, and the date [7] Ownership: CITY OF HAMAMATSU, JAPAN.
46 is painted on the soundboard near the bass end of the
Accession number not known.
boudin. The 7 has been obliterated. On the underside of
Inscriptions: Inscribed round the FB rose in black capitals
the cut-off bar is the inscription: Pixins de /a ville de
FRANCOIS BLANCHET, and with the date 1765 on
Neustatt dans le Hards a fait ce clavecin chez Monsieur Blachet
the soundboard between the rose and the spine.
(sic) en Pannee 1746. Dowd comments ‘Pixins, a German
from the Palatinate, must have been a fairly senior Specification: 2x8’, 1x4’.
journeyman if he was permitted to sign a case he had Additional features: Shove coupler, 4 hand stops.
made’. Compass. FF-P.
Specification: 2x8’, 1x4’. Keyboard: Black naturals, white sharps.
Additional features: Shove coupler. Number of roses: 1.
Compass: FF-’. Exterior of case: Painted.
Keyboard: Black naturals, white sharps. Scale: 338 mm.
Number of roses: 1. Length: 2310 mm.
Exterior of case: Painted. Width: 1040 mm.
Seale: 542 mm. Depth: 285 mm.
Length: 2280 mm. Remarks: Listed in DowdHH, where it is described as ‘a
Width: 869 mm. superb double harpsichord’. Giving considerable detail
Depth: 278 mm. concerning the instrument, he goes on to say that it could
Remarks: Listed in DowdHH as authentic, and is almost be thought of as a fitting close to the career of the
certainly the same as that listed in B? as number 3a, and Blanchet family, but can also be seen as a ‘pre-Taskin’
number 5. The latter is not listed separately here. A small and the beginning of the continuation of the family
double manual instrument, the shortest of all the surviving tradition under a different name. Naturals of ebony with
Blanchet doubles. When found by Dowd, the 4’ was on boxwood arcades. Exterior decoration said by DowdHH
the upper manual. Ebony naturals with arcades. Sharps to be sumptuous, with grotesques on a gold ground.
with bone tops. Soundboard decorated. Dark green Louis XV style stand with five heavily carved legs.
exterior and vermillion interior both with gold bands and Previous history: Auctioned by Gallerie Koller of Zurich
gilded mouldings. Louis XV stand with seven legs. in October 1975, the instrument fetched 120,000 Swiss
Previous history: According to B?, found by Harold Priest Francs, according to a report in The Times of 11 November
in 1961. Restored a number of times in the twentieth 1975. In 1979, Dowd wrote to DHB to report that the
century. Seen by Dowd in 1974 and again in 1978 in the instrument was owned by Dr. Rosenbaum, and it still
workshop of Claude Mercier-Ythier. appears under his name in DowdHH. The acquisition of
References: DowdHH. the Rosenbaum collection by the City of Hamamatsu was
Information supplied by: B?|DowdHH. announced in AMIS-NEWS, XX, No. 3, October 1991.
Boalch 3 number. BLANCHET, F. F.. 1746. References. Advertised with illustration in the Newe Zuricher
Boalch 2 number: 32/5. Zeitung of 23 October 1975, and in The Times of 11
November 1975 which gives a report of the auction.
‘Type: Two-manual harpsichord. Letters to DHB from J. C. Blasdale (19 November 1975)
Date: Not known. and Otto Rindlisbacher (; December 1975). See also:
Ownership: MADAME. OURY, PARIS, FRANCE. DowdHH, pp. 77 80.
Inscriptions: Francois Blanchet around the rose, which carries Information supplied by: Blasdale|Rindlisbacher|DowdHH.
the initials FB also. Boalch 3 number: BLANCHET, F. F. 1765.
Specification: 2x8’, 1x4’. Boalch 2 number: None.

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 BLANCHET 243
BLANCHET, NICOLAS. Keyboard: Black naturals, white sharps.
Type: Wing spinet. Rose: Though there is a hole for the rose, the rose itself
Date: 1686. is missing.
Ownersbip: THE CHARLESTON MUSEUM, Scale: 362 mm.
CHARLESTON, USA. Accession number not known. Length: 2320 mm.
Inscriptions. Faint pen markings, discovered by John Width: 770 mm.
Watson, while preparing for the catalogue entry in EKJ Depth: 265 mm.
reveal the signature on the back of the nameboard of Remarks: Listed as authentic in DowdHH, and according
(Nicolas) Blanchet. Dated on top and bottom key: 1686. to him, the oldest surviving Blanchet instrument, made
Specification: 1x8". when Nicolas Blanchet was 33. It may well be that the
Compass: GG/BB-c', short octave. surviving Nicolas Blanchet wing spinet of 1686 is in fact
Keyboard: Black naturals, white sharps. the oldest, but since this latter would have been made
Exterior of case: Painted. three years before he was admitted to the Guild of
Remarks: This appears to be the earliest (and hitherto Instrument Makers, it seems more likely that the spinet
unrecorded) instrument by Nicolas Blanchet. The identity is by another Nicolas Blanchet, or is spurious. Naturals
of this Blanchet is, however, slightly in question. The ebony faced, and gilded arcades; sharps have bone tops.
well-known Nicolas Blanchet was still not free of the Original range was GG/BB-c’ with E flat split to give
Guild of Instrument Makers in 1686—he did not acquire both E flat and BB or BB flat—fifty-one notes. Two
his freedom until 1689. It may be therefore that this notes cf and d’ have been added. Soundboard grain runs
instrument was made before his freedom, or that it is at 7 to 10 degrees from spine towards bent side. Dowd
spurious, or that it is by another member of the family suggests that at some time the upper manual register was
called Nicolas Blanchet. The instrument is now on a 4’. This might have been done by Enjalrie, but he
display in the Heyward- Washington House, Church Street, believes that it may be original, and that the instrument
Charleston, S.C. It is not mentioned in DowdHH. EK], was built as I: 2x8’; II: 1x4’, with shove coupler. He also
Vol. 2, reports ‘A strong Italian influence is evident in believes that the additional keys were added by Blanchet.
the moldings, framing, _—false__—_inner-outer Bz says ‘Pedalboard (30 notes) missing’, but Dowd makes
construction, box slides and scrolled key-well ends . . . no mention of this.
ebony naturals and solid bone sharps, plain ebony References: Full details in DowdHH, pp. 27 and 94.
keyfronts. Pine case sides are only 5 mm thick (bent side) Information supplied by: B2|DowdHH.
and 11 mm (spine and tail). Inner rim covered with 3 Boalch 3 number. BLANCHET, N. 1693.
mm cypress with cap molding. Pear jacks with simple Boalch 2 number: 01.
tongue profile, quill plectra. Possibly 18th-century gauge
numbers on pin block. . . . Soundboard painting is 17th
c.; the rose is a rose flower painted in black on the Type: Ottavino.
soundboard with a surrounding floral wreath. The case Date: 1696.
exterior, lid, and lid underside are covered with 18th c. Ownership: PRIVATE COLLECTION, FRANCE.
painted decoration. The stand, also 18th c., has a scalloped Inscriptions: In ink on lowest key lever—[7]696, over [N]
apron with drawer and cabriole legs with cast bronze B, the 1 and N having been cut away when the BB flat
sabots.’” key was added.
Previous bistory: Formerly Mr. and Mrs. Ashby Farrow of Specification: 1x4’.
Charleston. Compass: GG,AA-d’.
References. EKJ, Catalogue number H-68.6, Vol. z., Keyboard: Black naturals, white sharps.
p. 67, (illustrated, plates 1 and 2). Number of roses: None.
Information supplied by: EK]. Exterior of case: Painted.
Boalch 3 number: BLANCHET, N. 1686. Remarks: Listed in DowdHH as a small octave spinet of
Boalch 2 number: None. trapezoidal form (the spine is not parallel to the keyboard).
The date is given in Bz as 1698, but by DowdHH as 1696.
‘Type: Two-manual harpsichord. Ebony naturals with ebony arcades. Sharps are bone
Date: 1693. topped. No Rose. Case of thin walnut now painted dark
Ownership. PRIVATE COLLECTION, FRANCE. gteen with gold bands and vermillion interior. Painting
Inscriptions: Inscribed on front face of jackrail: FAIT- probably dates from a ravalement when the original range
*PAR*BLANCHET*A*PARIS. Lowest key of upper GG/BB-c', short octave (fifty notes) was extended to
manual has the sign of the cross, and 1693 NB written GG,AA-d'.
in ink, and also R en 1862 Par Henri Enjalrie. References: DowdHH.
Specification: 1: 2x8’, 1x4’; Ul: 1x8’. Information supplied by: B2|DowdHH.
Additional features: Shove coupler. Boalch3 number. BLANCHET, N. 1696.
Compass: GG/BB-d’, with split E flat, broken octave. Boalch 2 number: 02.

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244 BLANCHET
Type: Wing spinet. Ranger’s House’, published by GLC, 1985, obtainable
Date: 1709. from The Iveagh Bequest, Kenwood, Hampstead,
Ownership: HORNIMAN MUSEUM AND LIBRARY, London. See also the reference to Barnes above.
LONDON, ENGLAND. Information supplied by: B2|DowdHH|Birley|Germann|
Barnes.
Number: 1974.272. Boaleh 3 number: BLANCHET, N. 1709.
Inscriptions: On nameboard BLANCHET*PARIS* Boalch 2 number: 4(?).
1709. In front of wrestplank: Mise d Registre de cuir par
Blanchet @ Paris 1709. The present GG jack is marked
NN.B and there is an indecipherable inscription on the GG Type: Wing spinet.
key. Date: 1710.
Specification: 1x8’. Ownership: MUSEE DES ARTS, ANGERS, FRANCE.
Compass: GG-e’. Accession number not known.
Keyboard: Black naturals, white sharps. Inscriptions. Inscribed on the back of the jackrail
Number of roses: None. BLANCHET* A*PARIS* 1710.
Exterior of case: Painted. Specification: 1x8".
Scale: 245 mm. Compass: GG/BB-c’, broken octave.
Length: 1595 mm. Keyboard: Black naturals, white sharps.
Width: 1006 mm. Number of roses; None.
Depth: 202 mm. Exterior of case: Painted.
Remarks: Listed as authentic in DowdHH, though it Remarks: Listed as authentic in DowdHH, and in almost
has been much altered. Grant O’Brien in a private original condition. Naturals of ebony with arcades in
communication to the Museum (1985) says: “The instru- alisier. Sharps of stained lime with bone tops. Compass
ment has many Italianate features.’ It is most probably GG/BB-c’, with split E flat. DowdHH says ‘The scaling
this instrument which is shown in Bz as number 4(?), is a bit short in the treble compared to harpsichords . . .’
where it is listed as being at Hever Castle, Kent, and with but the actual scaling and dimensions are not given.
an inscription Blanchet, and dated 1709. Bz says: “This is Exterior case painted black. Raised on handsome apron
probably the virginale de Francois (sic) Blanchet in the Savoye stand with six turned legs and a stretcher at floor level,
Collection, III, sold in Paris on 13 June 1924, though it with a drawer in the apron. Inside the rim the case is
is not likely.’ DowdHH says that it was built possibly painted with pink, blue, and white flowers on a brown
earlier than 1709, by Nicolas Blanchet and that it was
background. Inside of lid decorated with a gold band,
very similar to the surviving spinet of 1710 except that
while inside the lockboard is a chinoiserie of two birds
it was fitted with leather plectra. Original compass GG-e’
and a butterfly.
with bottom E flat split. Later it was enlarged, and from
References: DowdHH.
the evidence of the N.B on the jack, by Nicolas Blanchet
himself, before 1731. Barnes, reviewing DowdHH in GSJ Information supplied by: B2|DowdHH.
XLII, 1989, p. 16, reports that following an examination Boalch 3 number: BLANCHET, N. 1710.
which he carried out, he concluded that the nut had been Boalch 2 number: 03.
replaced and extended in the treble while the bridge was
extended at both ends, resulting in a re-angling of the Type: Two-manual harpsichord.
strings. Naturals ebony with arcades. Sharps of stained Date: 1715(A).
alisier with bone tops. Case and framing of pine. Ownership: HUGUETTE DREYFUS, PARIS,
Nineteenth-century stand. Case with paintings with gold FRANCE.
leaf and gesso surround. Sheridan Germann in private Inscriptions. According to Bz, the numerals 1744 pencilled
communication to the Museum said: ‘Case decoration by on the jackrail do not record the year of construction,
the same hand as the decoration of 1765 Blanchet II which must have been before 1731. Has N.B rose.
harpsichord in Rosenbaum Colln; 1770 Taskin harpsichord Specification: 2x8’, 1x4’.
at Yale; 1737 Bas in the Paris Colln; 1736 Hemsch Additional features: Shove coupler.
harpsichord at MFA Boston. Lid exterior painting (of Ares Compass. FF-P.
and Aphrodite) is an old (presumably cighteenth-century) Number of roses: 1.
painting . . . which has been inlaid into the lid exterior,
Exterior of case: Painted.
central area, just as was done on the 1765 Blanchet and
Scale: 345 mm.
the Yale Taskin. Painted decoration of flowers on the
Length: 2365 mm.
soundboard probably not eighteenth-century.”
Width: 885 mm.
Previous history: On display at Ranger’s House, Greenwich
for some years. Depth: 265 mm.
Remarks: Listed in DowdHH as authentic, and though not
References: DowdHH. See also illustration and short descrip-
dated, it is ascribed to ¢. 1715 on the basis of the
tion in the six-page leaflet ‘The Dolmetsch Collection at

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 BLUM 245
construction and the style of the painting. Probably an BLASSER, THOMAS.
original compass of GG-e’. Keyboards and action are Type: Two-manual harpsichord.
replacements. Soundboard painted, but faded, probably Date: 1744.
due to its having been soaked out at some time for Ownership: FINCHCOCKS COLLECTION,
restoration. The instrument presents many questions, and GOUDHURST, KENT, ENGLAND.
the reader is referred to DowdHH for a full discussion. Number: 13.
Previous bistory: Raymond Russell owned it, and sold it at Inscriptions: Inscription on nameboard: Thomas Blasser Fecit
Sotheby’s on 29 June 1936 to the Pelham Galleries, Londini 1744. Restorer’s label on underside of soundboard:
London. Restored by Arnold Dolmetsch and W Nearn {12 Windmill
References: Allustrated at pls. 12 and 13 of Hof. See also: Street| London Sept. 1895.
DowdHH. Specification: 1: 2x8’, 1x4’; Il: 1x8’, lute.
Information supplied by: B?|DowdHH. Additional features: Harp stop, 5 hand stops, dogleg.
Boalch 3 number. BLANCHET, N. 1715(A). Compass. FF,GG-P.
Boalch 2 number: 2.
Keyboard: White naturals, black sharps.
Exterior of case: Veneered.
BLANCHET, NICOLAS & FRANCOIS ETIENNE. Scale: 375 mm.
‘Type: Two-manual harpsichord. Length: 2475 mm.
Date: 1730. Width: 955 mm.
Ownership. CHARLES P. FISHER, FRAMINGHAM,
Depth: 310 mm.
MASS., USA. Remarks: Naturals of ivory with lime-wood moulded
Inscriptions. N e¢ FRANCOIS BLANCHET painted
around the rose which has initials NB. Date 1730 is fronts. Sharps of ebony. Harp stop added later. A typical
English instrument and a very early example of the use
painted on the soundboard half-way along the 4’ bridge.
Specification: 2x8’, 1x4’.
of mahogany for the case (the key surround and inside
Additional features: Shove coupler, 4 hand stops. of case veneered with burr walnut with boxwood
Compass: FF-P. inlay).
Keyboard: Black naturals, white sharps. Previous bistory: Adlam and Burnett bought it at Sotheby’s
Number of roses: 1. on 13 March 1972 from the Countess of Dysart, who had
Exterior of case: Painted. kept it at Strobo Castle, Peebles.
Scale: 349 mm. References: Finchcocks.
Length: 2390 mm. Information supplied by: B?|Dow|Finchcocks.
Width: 907 mm. Boalch 3 number: BLASSER, T. 1744.
Depth: 294 mm. Boalch 2 number: 1.
Remarks: Listed in DowdHH as authentic. Original com-
pass of FF-c’, the f key being added later in the eighteenth
BLUM, MATHIAS.
century. There is evidence that it was orginally designed
for the range GG-e’. Ebony naturals with arcades of Type: Single-manual harpsichord.
alisier, and sharps of black stained fruitwood with ivory Date: 1778.
tops, though these were originally of bone. Exterior of Ownership: SCHLOSS MUSEUM GREILLEINSTEIN,
case has been repainted several times. Interior rim has AUSTRIA. Accession number not known.
pastel flowers on a brown background. Keywell painted Inscriptions. Signed: Mathias Blum biirgerlicher|Orgel und
red. Inside of lid has a land/seascape. Plain stand with Instrument-|macher Wobnbaft zu|Maria Trost im
seven cabriole legs. The instrument has undergone a Scwarzwalter|Haus im ersten Stock No. 29[17 in Wien 78
number of changes, and a detailed description is to be marcif?]20.
found in DowdHH. Compass: FF-P.
Previous history: Worked on by Lapicida in 1891, who Exterior of case: Plain wood.
worked on the keyboard, and Pleyel in 1893, who put on Remarks: May originally have been a fortepiano. Case of
the present laminated spruce bottom. Changes to the walnut with many Italianate features. Sides of case have
soundboard possibly by Asseman in Paris, and a further sloping cheeks.
restoration by Charles Fisher, while with Hubbard and References: Letter from Edward R. Turner to DHB—14
Dowd in 1958. Formerly owned by Raymond Russell. August 1974. Mr. Turner says he has a friend with further
References: DowdHH. information. More recent information including the
Information supplied by: B?|Fesperman|DowdHH. inscription from Stradner.
Boalch 3 number: BLANCHET, N. and F. E. 1730. Information supplied by: Turner|StradnerPC.
Boalch 2 number: 1. Boalch 3 number: BLUM, M. 1778.
See also: Instruments numbers TASKIN, P. 1789(1), Boalch 2 number: None.
TASKIN, P. 1789(2), and TASKIN, P. 1770.

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246 BLUNT
BLUNT, EDWARD. Length: 1803 mm.
Type: Wing spinet. Width: 648 mm.
Date: 1705. Depth: 210 mm.
Ownership: MRS. ] MAURER, SHIMPLING STREET, Remarks: It appears to be undated and is assigned by the
BURY ST. EDMUNDS, SUFFOLK, ENGLAND. Institute to the period 1785-go. There is some small
Inscriptions: On nameboard EDV ARDUS BLUNT— confusion concerning a spinet by Baker Harris—see under
LONDINI FECIT. On the top and bottom keys in ink: that maker for an instrument dated 1773. Naturals of
Thos. Hitchcock, bis make in 1703. Four ink dots in vertical ivory or bone; sharps ebony. Keyfronts carved maple or
line on front of wrestplank behind nameboard. similar wood. Case reported by museum to be of
Specification: 1x8’. mahogany veneer with decorative inlay.
Compass: GG/BB-d'(A), broken octave. Previous history: Gift to Essex Institute in 1866 by the heirs
Keyboard: Black naturals, white sharps. of Jesse Smith. Exhibited at the Chickering Exhibition,
Number of roses: None. Boston, 1902.
Exterior of case: Plain wood. References: J p. 112, gives its date as 1789. The catalogue
Scale: 262 mm. of the 1902 Chickering Exhibition, Boston gives the date
Length: 1652 mm. as 1786. Michel, p. 129 gives the date as 1784.
Width: 600 mm. Information supplied by: B2|Weis.
Depth: 175 mm. Boalch3 number: BLYTH, S. 1785(A).
Remarks: Ebony naturals, ivory sharps. Fifty-four note Boalch 2 number: 1.
keyboard with bottom C sharp and D sharp split. Solid
walnut case with pierced strap hinges. Nameboard and
inside case veneered in cedar. Contemporary oak stand
BOCCALARI, GIOVANNI NATALE
with turned legs. Instrument is original except jacks,
jackrail, and 3 inches at the treble end of bridge. Wrestpins ‘Type: Harpsichord (Number of manuals not known).
have been replaced at some time. Date: 1680.
Previous history: Mrs. S. St. John--great aunt of present Ownership: JEAN-PIERRE DECAVELE, TOULOUSE,
owner. M. D. Corke of Bury St. Edmunds—father of FRANCE.
present owner. Repaired at sometime by Robert Morley Remarks: No further details of this instrument are known.
of Bromley. Underside of soundboard covered at some Information supplied by: Michael Thomas.
time with fibreglass—removed in 1978. Boalch 3 number: BOCCALARI, G. N. 1680.
References: Further information from Maurer. Boalch 2 number: None.
Information supplied by: Maxrer|B2.
Boalch 3 number. BLUNT, E. 17035.
Boalch 2 number: 1. Type: Single-manual harpsichord.
Date: 1699.
Ownership: J. C. ZEHNDER, BASEL, SWITZER-
LAND.
BLUNT(A), EDWARD.
Specification: 2x8".
Type: Wing spinet. Compass: C-e?.
Date: 1700.
Ownership: MUSEUM OF FINE ARTS, BOSTON, Previous bistory: Formerly Gustav Leonhardt.
USA. Instrument shown in Bz as by Blunt, but listed
Information supplied by: B2|GL.
now under Stephen Keene. Boalch 3 number. BOCCALARI, G. N. 1699.
Boalch 3 number: KEENE, S. 1700(1). Boalch 2 number: 1.
Boalch 2 number: 2 (under Blunt).
Type: Single-manual harpsichord.
Date: 1717.
BLYTH, SAMUEL. Ownership: OTTO LOBECK COLLECTION, SCHOLA
Type: Wing spinet. CANTORUM BASILIENSIS, SWITZERLAND.
Date: 1785(A). Accession number not known.
Ownership: ESSEX INSTITUTE, SALEM, MA., USA. Inscriptions: Inscription on back of nameboard: Giovanni
Accession number not known. Natale Boccalari Napoli alli 22 de Maio 1717.
Inscriptions. Above keyboard: Samuel Blyth SALEM Mas- Specification: 2x8".
sachusetts Fecit. Additional features, Harp stop.
Specification: 1x8". Compass: C-c'.
Compass: GG/BB-P, short octave. Information supplied by: Bz.
Keyboard: White naturals, black sharps. Boalch3 number: BOCCALARI, G. N. 1717.
Exterior of case: Veneered. Boalch 2 number: 2.

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 BOHAK 247
BOCK, CHRISTOPH. Number of roses: 2.
Type: Wing spinet. Style of roses: Geometrical pattern.
Date: 1804. Exterior of case: Plain wood.
Ownership. KUNSTHISTORISCHES MUSEUM, Seale: 320 mm.
VIENNA, AUSTRIA. Length: 1699 mm.
Number: 365. Depth: 225 mm.
Inscriptions: On the back of the nameboard: Christoph Bock, Remarks: A typical English virginal. Roses of gilded
Clavierstimer beider K.K. Hoftheater fecit ano 1804 in Wien. gothic patterns in wood and vellum. Plain oak case and
Specification: 1x8". vaulted lid. The latter and the fall board have internal
Compass: C-P. paintings in gouache. Boxwood naturals with embossed
Previous bistory: According to Lwith, it was transferred to paper fronts and sharps of stained wood.
the Museum from the Court furniture store. Previous bistory: Acquired in August 1967 by William Lee
References: Luith, p. 23. of York, the instrument apparently having been since its
Information supplied by: B2|StradnerPC. making in the possession of the family of the previous
Boalcb 3 number: BOCK, C. 1804. owner, the late Sir Mark Millbank, Bt., of Barningham
Boalch 2 number: 1. Park, Richmond, Yorks. Thereafter acquired by Roger
Warmer 1969, and thence to a private collection.
BODECHTEL, JOHANN JACOB Information supplied by: B2|Warner|Nobbs| Martin.
‘Type: Fretted clavichord.
Boalch 3 number. BODY, T. 1662.
Date: 1750(A). Boalch 2 number: 1.
Ownership: COLIN TILNEY, TORONTO, CANADA.
Inscriptions: On a paper label: Johann Jacob Bodechtel, BOHAK, JOHANN.
Niirnberg. Type: Fret-free clavichord.
Compass: C-P. Date: 1794.
Keyboard: Black naturals, white sharps. Ownership: ROY AL COLLEGE OF MUSIC,
Number of roses. None. LONDON, ENGLAND.
Exterior of case: Plain wood. Number: RCM 177.
Scale: 268 mm. Inscriptions: A paper label on the side of the bass hitchrail
Length: 1320 mm. is now completely illegible but presumably once bore the
Width: 370 mm. maker’s name and date quoted in the 1852 documents (see
Depth: 140 mm. below).
Remarks: Estimates of the date vary from 1750 to 1805. Compass: F-P.
Nobbs reports the name as Bodechtal but this seems unlikely. Number of roses: None.
Ebony naturals with ebonised fronts. Sharps with bone Exterior of case: Plain wood.
tops. Exterior of case of unpainted pine, though probably Length: 1477 mm.
painted originally. Width: 485 mm.
Previous history: Probably the same instrument as sold to Depth: 168 mm.
Morley’s by Puttick & Simpson, 18 June 1931. Ascribed Remarks: Naturals ebony with flat black-stained pear
in Bz to Alexander Helman, London. Sold at Christie’s fronts; sharps bone-capped black-stained pear. Keys are
on 12 June 1974 by Miss Margaret Stevenson to Colin roof carved, angled in pairs. Most of the original
Tilney for £1,750. Restored by Christopher Nobbs in two-layer laminated soundboard survives but with narrow
replacement strips front and back. Locating holes show
1975. the position of the original bridge but the present bridge
References: See Christie’s catalogue of sale on 12 June
in a slightly different position is in the style of a Viennese
1974. piano and probably dates from ¢. 1830, at which time
Information supplied by: B2|Weldon| Luckett] Nobbs. the case height was increased to accommodate a clumsy
Boalch 3 number: BODECHTEL, J. J. 1750(A).
tangent rail. Cherry lid probably ¢. 1830 and walnut stand
Boalch 2 number: 1.
1912.
Previous history. Two documents owned by the Royal
BODY, THOMAS. College of Music and quoted in Walter, who dates them
Type: Rectangular virginal. 1852, assert the former ownership by Joseph Haydn.
Date: 1662. They give the maker and date which would otherwise be
Ovwmnersbip: PRIVATE COLLECTION. unknown, and state that Haydn gave the instrument to
Inscriptions: Thomas Body Londini Fecit 1662 on jackrail. the young Demetrius Lichtental, who sold it in 1831 to
Specification: 1x8’. Anton Richter. It seems probable that Richter com-
Compass: GG/BB-f', short octave. missioned most of the unfortunate alterations. Anton’s
Keyboard: White naturals, black sharps. son, Hans Richter, inherited it in 1854 and sold it in 1912

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248 BOHR
to Mrs. Elizabeth Chapman of Manchester, after he BOLCIONI, STEFANO.
relinquished the conductorship of the Hallé Orchestra. Type: Three-manual harpsichord converted from what
Shortly before this sale it was repaired for £7. 185. by was originally a single-manual instrument.
Messrs. Broadwood and a new stand made by Messrs. Date: 1627.
Morant for £15. 105. 6d. copying that of a Hass of 1767. Ownership: RUSSELL COLLECTION, EDINBURGH
In 1937, on Mrs. Chapman’s death, the instrument was UNIVERSITY, SCOTLAND.
presented to the Royal College of Music. Number: 4.
References: See: Musical Times, April 1930, p. 315, for Inscriptions. Inscribed on back of nameboard; STE-
history in an article by Philip James. See also: Walter, pp. FANVS BOLCIONIVS PRATENSIS F. A.D.
272-78, and Helga Haupt, ‘Wiener Instrumentenbauer MDCXXVII F. The restorer’s signatures also appear on
von 1791-1815" in Studien zur Musik-Wissenschaft, Vienna, the instrument.
1960. A 25~page investigation (from which much of the Specification: 2x8’, 1x4’.
above information is taken) by John Barnes is available Compass: C/E-g’, short octave.
from the RCM, as is a technical drawing, also by John Keyboard: White naturals, special sharps.
Barnes. Number of roses: 1.
Information supplied by: B2|Weldon|O’ BrienPC|Barnes. Style of rose: Parchment.
Boalch 3 number. BOHAK, J. 1794. Exterior of case: Painted.
Boalch 2 number: 1. Case construction: Italian style, inner/outer.
Scale: 368 mm.
Length: 1972 mm.
BOHR, CHRISTOPH HEINRICH Width: 778 mm.
Type: Wing spinet with 2 manuals. Depth: 225 mm.
Date: 1713(A). Remarks: The instrument originally had a compass which
Ownership. LEIPZIG UNIVERSITY, LEIPZIG, was probably C/E-c’, broken octave with six split acci-
GERMANY. dentals, and a specification of 2x8’. It has a separate outer
Number: 56. case, probably original, and certainly dating from before
Inscriptions: Christophorus Heinricus Bobr Art: Mechan. . . Franciolini worked on it. Original rose of wood and
A 1713/in Dresden in handwriting on the wrestplank, parchment. Whilst in its original state, pedal pulldowns
behind the fascia board. The date is indistinct. Jacks were fitted amateurishly, the importance of this being
inscribed T for the upper 8’, 5 for the lower 8’, and I that the holes through the baseboards of both the
for the 4’. instrument and outer case record the original C/E short
Specification: 1: 1x8’; Ul: 1x8’, 1x4’. octave and the width of the bass keyblock. Assuming a
Additional features: Shove coupler. symmetrical treble keyblock and the originality of the
Compass: GG/BB-c', short octave, but with Dé split. present jack guides, an original compass of C/E-c’ can be
Keyboard: Black naturals, white sharps. deduced. The instrument appears as photograph number
Number of roses: 1. 29 on page 127 of RipICOLF. The generous case depth
Style of rose: Geometrical pattern. (for a single-manual harpsichord) enabled Franciolini (g.v.
Exterior of case: Painted. in Part I) to create a much more valuable apparent rarity
Scale: 276 mm. by cutting out the original wrestplank, cutting back the
Length: 1372 mm. soundboard and fitting new bridges, a new wrestplank
Width: 912 mm. and three keyboards. The original two boxslides were cut
Depth: 205 mm. to make three. The workmanship of the bridges and
Remarks: The authenticity of the date is in question. In wrestplank is excessively crude. After leaving Franciolini,
shape like a Zenti-style wing spinet with protruding the harpsichord was worked on by A. & N. Masson, in
keyboard. Naturals of palisander. Sharps of stained oak 1915, and M. Asseman in 1930, both of whom put it into
with ivory tops. The bottom D sharp is split. Pattern of playing order. For some reason, as yet unknown, the lid
scrolling foliage around the inside of the case over the and case paintings, and the stand shown in Franciolini’s
soundboard, and similar decoration on the jackrail, and photograph, have been replaced by new paintings and a
over the keys on the fascia board. This is thought by new stand. The instrument is now unstrung.
Kinsky (1910) not to be original. Outside of case is a Previous history: ¢. 1875—L. Franciolini, Florence. Restored
yellow-brown with bronzed edges. by A. & N. Masson, 1915, Paris. 1930 restored by M.
Previous history: From the Kraus collection, Florence, in Asseman, owned by M. and A. Salomon, Paris. Before
Igor. 1956 it passed to Raymond Russell. In 1964 it was given
References: Full details in Henkelr, pp. 40-5, and pl. 15. to Edinburgh University by Mrs. Russell.
Information supplied by: Bz/Henkelt. References: RussColl. p. 9. (Illustrated b/w and colour).
Boalch ; number: BOHR, C. H. 1713(A)- RussColl1986. p. 10. J. p.12, and plate XLV. Russell 1959.
Boalch 2 number: \. pp. 29, 30, 36, and 144. RspICOLF, p. 127.

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 BONAFINIS(A) 249
Information supplied by Bz{RussColl| RussColl1986/Ray- Boaleh3 number: BOLCIONI, S. 1631(1).
mond] Barnes. Boalch 2 number: 3.
Boalch 3 number: BOLCIONI, S.. 1627.
Boalch 2 number: 1. Type: Virginal.
Date: 1631.
Type: Polygonal virginal. Ownership: Not known.
Date: 1629. Inscriptions: Inscription on front of nameboard (according
Ownership: MUSEO DEGLI ANTICHI STRUMENTI to Koster—obviously false): Antonixs Baffo Venetus
MUSICALI, ROME. MDLXxXI. Behind nameboard, an authentic inscription:
Number: 1764. Stefanus Bolcionius Pratensis 1631.
Inscriptions: On the nameboard Stefanus Bolcionius Pratensis Specification: 1x8".
S.. 1629|. . .|Landate sempre sia il nome di Gesu e di Maria. Compass: C/E-P.
Specification: 1x8". Remarks: Apparently by Antonius Baffo, but in fact by
Compass: C/E-P, short octave. Bolcioni. Case is rectangular except for right-hand top
Keyboard: White naturals, black sharps. corner which is angled. Mouldings similar to those used
Number of roses: 1. by Vincentius Pratensis [Koster].
Style of rose: Geometrical pattern. Previous history: Sold at Hotel Drouot on 6 June 1978.
Exterior of case: Painted. Information supplied by: Koster.
Case construction: Italian style—false inner/outer. Boalch 3 number: BOLCIONI, S. 1631(2).
Remarks: Though the instrument is a genuine Italian Boalch 2 number: None.
polygonal virginal of the sixteenth century [Cerv.MASM]
or the first half of the seventeenth century [dM], its BOLTON, THOMAS.
ascription to Stephanus Bolcionus is doubtful, and since Type: Rectangular virginal.
the instrument passed through Franciolini’s hands, must Date: 1684.
be treated with extreme caution. It is described in Ownership: WARRINGTON MUSEUM, CHESHIRE,
Cerr.MASM as SPINETTA ESAGONALE DEL ENGLAND.
SEC. XVI REDIPINTA NEL SEC. XVIII. Naturals Number: 654.
of box, with box fronts. Sharps of stained walnut, some Inscriptions. Maker's name and date on lowest jack-—Made
replaced with ebony. Hexagonal case painted externally by Tho. Bolton 1684. On jackrail: Musica donum dei.
with decorative motifs. Inside the lid is a biblical scene, Specification: 1x8’.
with traces of original painting of grotesques underneath. Compass: GG/BB-P, short octave.
One of the bridges is not original, and is also loose so Keyboard: Black naturals, white sharps.
that the correct scale cannot be measured. Number of roses: 1.
Previous history: Formerly Evan Gorga, who acquired it Style of rose: Geometrical pattern.
from Franciolini. Exterior of case: Plain wood.
References: In Francl, item 31. Cero. MASM. pp. 318-19. Scale: 290 mm.
Information supplied by: B2|Cerv.MASM|VdM. Length: 1775 mm.
Boalch 3 number. BOLCIONI, S. 1629. Width: 555 mm.
Boalch 2 number: 2. Depth: 224 mm.
Remarks: Until research was carried out recently by Martin
‘Type: Single-manual harpsichord. it was listed tentatively as by Charles Haward. Ebony
Date: 1631. naturals with embossed paper fronts; ivory topped sharps.
Ownership: YALE UNIVERSITY COLLECTION OF Has keys alphabetically marked (though prtobably not
MUSICAL INSTRUMENTS, USA. original, and in some places incorrectly) according to
Number: 4889.72. Haward’s custom, which is probably why the instrument
Inscriptions: F. Stefanus Bolcionius Pratensis MDCXXXI F. had hitherto been ascribed to him. Gilded geometric rose.
Specification: 2x8". Previous history: Exhibited at the International Inventions
Compass: C/E-P, short octave. Exhibition, 1885.
Keyboard: White naturals, black sharps. Information supplied by: B2|Martin.
Remarks: On loan to Yale from Rhode Island School of Boalch 3 number: BOLTON, T. 1684.
Design. Boxwood arcaded naturals; stained wood sharps. Boalch 2 number: 7[?] (Haward).
In August 1989 the instrument was reported to be in
storage and Yale was unable to give further details. BONAFINIS(A), FRANCESCO.
Previous history: Rhode Island School of Design. Repaired Type: Pentagonal virginal.
in 1921 by Adolf Wihan. On loan to Yale. Date: 1560(A).
Information supplied by: B2|Repbann. Ovnership: FACULTY OF MUSIC, UNIVERSITY OF

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250 BONETTI(A)
CAMBRIDGE, ENGLAND. Accession number not Information supplied by: Bz|MMACL.
known. Boalch 3 number: BONAFINIS(A), F. 1585/7.
Inscriptions: Nameboard apparently inscribed Doanusa Ben- Boaleh 2 number: 1.
ismis, but this has been shown by F. G. Emmison (County
Archivist of Essex) almost certainly to be a misreading
of Franciscus Bonafinis (GSJ XVII, 1964, pp. 109-10]. On BONETTI(A), PIETRO.
‘Type: Ottavino.
the bottom inside is written: Questa spinetta fu [?] 1560 del
Date: 1531.
Duca d' Urbino. A further inscription, partly erased, sug-
Ownership: SMITHSONIAN INSTITUTION,
gests that it was repaired in 1615.
WASHINGTON, USA.
Specification: 1x8’.
Number: 60,1414.
Exterior of case: Painted.
Case construction: \talian style, inner/outer. Inscriptions: Inscribed on nameboard: Petrus Bonettus faciebat
Remarks: The name of the maker is discussed further by anno domini 1531 (according to Bz) though Smithcheck&9
Mischiati [Miscb-1979 II]. Case of cypress wood. The states: ‘spurious nameboard Petrus Benettus’.
Compass: c'/e'-P, short octave.
outer case and stand in one piece are painted, the inside
being unpainted. Remarks: A rectangular miniature instrument. Almost
Previous history: Formerly owned by Captain Lane of certainly spurious.
Wanstead, thence to the Friends of Historic Essex, Previous history: Until 1960 in the Cooper Union, New
Ingatestone Hall. By 1984 it had been sold to Cambridge. York.
Information supplied by: Bz|Misch-1979 11|WraightPC. References: Smithcheck89.
Boalch 3 number: BONAFINIS, F. 1560(A). Information supplied by: B2|Smithchecké9.
Boalch 2 number: 1 (under BENISMIS, Doanusa). Boalch3 number. BONETTI(A), P. 1531.
Boalch 2 number: 1.
Type: Pentagonal virginal.
Date: 1585/7. BONGIORNO
Ownership: METROPOLITAN MUSEUM OF ART, Type: Harpsichord (number of manuals not known).
NEW YORK, USA. Date: 1656(A).
Number: 89.4.2765. Ownership: W. DOBSON, AIX-EN-PROVENCE,
Inscriptions: Inscribed on name-batten: Franciscus Bonafinis FRANCE.
MDLXXXYV, but on its back, in a crude hand: Factwm Specification: 2x8".
anno 1587. VdM says that the name-batten, though Remarks. Nothing further is known of the instrument.
undoubtedly old, has been cut down, and was probably Information supplied by: B2|GL.
originally from a harpsichord. The two dates would seem Boalch 3 number: BONGIORNO. 1656(A).
to indicate that, for some unusual reason, the instrument Boalch 2 number: 1.
was begun in 1585 and completed two years later, that
is, if the name-batten is original. A further inscription in
a neater hand, also on the back of the name-batten reads: BONI, GIOVANNI BATTISTA.
Post spacium centum triginta duo anorum Restauratum a me ‘Type: Single-manual harpsichord.
N: N: anno 1717. It appears to have been altered to a Date: 1619.
tangent piano in that year. The identity of this restorer Ownership: BRUSSELS MUSEUM, BRUSSELS,
(who may not necessarily have been Italian) is not known. BELGIUM.
Specification: 1x8". Number: 1603.
Compass: C/E-g’,a’, short octave. Inscriptions: According to Bz, inscribed: Gio Battista Boni
Keyboard: White naturals, black sharps. Cortenesi 1619, but O’BrienPC is cautious about the date
Case construction: Italian style, inner/outer. which he gives as 161().
Scale: 155 mm. Specification: 1x8".
Length: 767 mm. Compass. C/E-c’, broken octave.
Width: 317 mm. Keyboard: White naturals, black sharps.
Depth: 151 mm. Number of roses: 1.
Remarks: A pentagonal virginal in a rectangular case. Style of rose: Parchment.
Thought by dM to be anonymous but probably dated Scale: 261 mm.
in the middle of the sixteenth century. Bone naturals and Length: 1793 mm.
arcades. Sharps of ebony. Width: 732 mm.
Previous history: Crosby Brown Collection 1889. Depth: 202 mm.
References: MMACL. Inscriptions illustrated in Bz pl. 20- Remarks: Naturals of box, with box arcades, and sharps
1. Photographs (negative numbers MUS 987, MUS 1688, of three box stripes inlaid into bog oak. The di, g#, d'f,
etc.) available from the Museum. g'#, and d'# accidentals are split so as to give a partially

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 BONI(A) 251
enharmonic keyboard with the corresponding flats avail- BONI(A), GIOVANNI BATTISTA
able. Modern parchment rose. Type: Single-manual harpsichord.
Previous history: Formerly in the Correr Collection, Venice. Date: 1580(A).
References: Mab, Ill. p. 169. Ownership: LYONEL D’ESTRIES, PARIS, FRANCE.
Information supplied by: B2[Wraight/O’ BrienPC. Inscriptions. G.B.B. fecit.
Boalch 3 number: BONI, G. B. 1619. Specification: 2x8".
Boalch 2 number: 2. Remarks: Since the harpsichord is signed with initials
only, the attribution to Boni is conjectural. It also appears
in Bz as instrament number sb under Baffo, where it is
‘Type: Single-manual harpsichord.
stated to have fifty-four keys, and to be dated 158-.
Date: 1619(A).
Ownership: A. C. N. MACKENZIE OF ORD, References. ClavHist.
BRISTOL, ENGLAND. Information supplied by: B2|WraightPC.
Inscriptions: None. Boalch 3 number: BONI(A), G. B. 1580(A).
Specification: 1x8". Boalch 2 number. 3 and Baffo sb.
Compass. See below under
Remarks. Type: Rectangular virginal.
Case construction: Italian style, false inner/outer. Date: 1602.
Exterior of case: Painted. Ownership: SMITHSONIAN INSTITUTION,
Number of roses: 1. WASHINGTON, USA.
Number: 95,828.
Style of rose: Parchment.
Inscriptions. According to Smithcbeck8g: loannes Baptista
Keyboard: White naturals. Black sharps.
Boni|Bononien [which has sometimes previously been read
Scale: 290 mm.
as Bonomen|. WraightPC suggests that despite the inscrip-
Length: 1950 mm.
tion the instrument is not by Boni.
Width: 775 mm.
Specification: 1x8".
Depth: 235 mm.
Compass: C/E-f', short octave.
Remarks: WraightPC ascribes the instrument to Boni on
Case construction: Italian style false inner/outer.
the evidence of the case mouldings. Boxwood naturals
with arcaded boxwood fronts and oak sharps with ebony
Previous bistory: Purchased in Europe for the Smithsonian
by Mrs. John Crosby Brown in 1895.
tops. The pierced parchment rose has turned circular
References: Smithcheck&g. Smithsonian photo negatives:
wooden mouldings and possibly displays the letter M.
The exterior case is stained or painted brown. The 36,300; 56,300A; 56,300B.
Information supplied by: B2|Smitbcheck89|Wraight.
instrument has a most interesting history, having, most
Boalch3 number: BONI(A), G. B. 1602.
probably passed through the hands of Franciolini, who Boalch 2 number: 1.
is thought to have turned it into a two-manual instrument,
and changed it from a single-strung harpsichord to a
Type: Polygonal virginal.
specification of 2x8’, 1x4’. In the hands of the present Date: 1617.
owner, it has slowly returned, through a range of Ownership: SMITHSONIAN INSTITUTION,
restorations, to its original state including a keyboard
WASHINGTON, USA.
with compass FF, GG, AA, BB, in special pattern, then
Number: 60,1392.
C/E-c’ broken octave and divided d#, g#, d#', g#', at', Inscriptions: Inscribed on jackrail (according to Bz)-—
and the original specification of 1x8’. The full details may Joannes Batt. Boni da Cortona fecit anno 1617. According to
be had from the owner. Denzil Wraight, in a report to Dowd the inscription reads Ionnes Battista Boni, Cortona
the owner says ‘The lower moulding identifies the 1617.
instrument quite conclusively . . .. Thus I have no doubt Specification: 1x8".
about the attribution’. Compass: C/E-f', broken octave.
Previous History: Having passed through the hands of Number of roses: 1.
Franciolini, it was also owned by Elizabeth Moss, Alec Exterior of case: Painted.
Hodsdon [?], and Michael Thomas. Restorations by Michael Remarks: Smithchecké9 says ‘inseparable rectangular outer
Thomas, John Barnes, Andrew Garlick, David Law. case’. According to Dowd and Wraight, almost certainly
References. Wraight and Stembridge, article to be published by Francesco Poggio (g.v.)—on the evidence of the
(¢. 1992) in the Journal of Performance Practice. Friedemann mouldings. Split keys; F¥, G#, d#, then g# and d¥
Hellwig, in Rip Kb, p. 31. Letter from the owner to throughout. Lid painted with coat of arms in centre.
CMM, February 1992. Previous bistory: Given to Smithsonian Institution by the
Information supplied by: Mackenzie|Barnes|WraightPC. Cooper Union New York.
Boalch3 number. BONI, G. B. 1619(A). References: Ulustrated in Wash 1969. Smithchecké9. Smiths-
Boalch 2 number: None. onian photo negatives 56,326; 56,326A; 56,326B.

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252 BONI
Information supplied by: B2|Smithcheck89|Dowd|Wraight. Inscriptions. Bottom key signed in ink; 1638 GB. Initials
Boalch 3 number. BONI(A), G. B. 1617. CPC [Pof an earlier owner] cut in left side of case.
Boalch 2 number: 1. Specification: 2x8".
Compass: GG/BB-c'(A), short octave.
Type: Single-manual harpsichord. Keyboard: White naturals, black sharps.
Date: 1619. Length: 2410 mm.
Ownership: JAMES DEERING COLLECTION, Width: 875 mm.
VIZCAYA, DADE COUNTY MUSEUM, FL., USA. Remarks: Since there is only an abbreviated inscription,
Accession number not known. the attribution to Boni is only conjectural.
Inscriptions. According to EK] ‘An ill-fitting nameboard Previous history: Restored 1969 by Peter Kukelka.
from another instrument, probably added during Franc- Information supplied by: B2|WraightPC.
iolini’s circa 1908 restoration bears the inscription Horatius Boalch3 number. BONI(A), G. B. 1638.
Albana F, Anno Dai MDCXXXXV [See: Instrument no. Boalch 2 number: o1.
ALBANO, O. 1645] . . . Boni’s inscription was discovered See also: CORTONA. 1678. (below).
by Frank Hubbard on the bottom key during the 1974
restoration Gio, Bta. Boni|Cortona fecit|A 1619. According BONI, GIUSEPPE.
to Sheridan Germann, Betty Loucheim informed her in ‘Type: Harpsichord (Number of manuals not known).
1988 that the inscription was Giovanni Battista Bona, Date: 1693.
Cortona, 1619. Mrs. Germann thinks that Betty Loucheim Ownership: HARRY A. JOELSON, PATERSON, N.]J.,
was so thorough as not to have misspelled the end of the USA.
name Bona—though it must seem likely that the maker Inscriptions: Signed on a key; 1693 Gioseff{¢] Buoni Corton{a).
was Boni. One of the jacks initialled; GBC 1693.
Specification: 2x8’. Remarks: Misch-1979 II has corrected the first name of
Compass: C/E-c', broken octave. the maker from Gioseffe to Giuseppe.
Keyboard: White naturals, black sharps. Previous bistory: Formerly owned by Dean Brown of New
Exterior of case: Painted. York. Restored at one time by Alec Hodsdon.
Case construction: Italian style, inner/outer. Information supplied by: B2|Misch-1979 II.
Scale: 280 mm. Boaleh 3 number: BONI, G. 1693.
Length: 1835 mm. Boalch 2 number: 1.
Width: 707 mm.
Depth: 210 mm. BONI(A) (REPAIRER?), GIUSEPPE.
Remarks: Boxwood naturals with plain end-grain fronts, Type: Single-manual harpsichord.
and ebony topped stained oak sharps. Split sharps reported Date: not known.
at d’, g', d’, g* and d? (but the latter is at variance with Ownership. MUSEO DEGLI ANTICHI STRUMENTI
the reported compass, so care should be exercised). MUSICALI, ROME.
Originally 1x8’, given a second 8’ in the seventeenth or Number: 2826.
eighteenth century. According to a picture postcard Inscriptions: This annonymous harpsichord bears on the
showing the Music Room at Vizcaya ‘The harpsichord GG key of the (non-original) keyboard the inscription
was made by Giovanni Battista Boni in 1619, and is +/G.B.C. which VdM believes might be taken to mean
installed in a later 18th-century painted and decorated Giuseppe Boni Cortonese. Since the keyboard is not original,
case’. According to EK]: Stand and outer case were added it may be that Giuseppe Boni repaired the instrument.
¢. 1908-1914, and date from Louis XV. References: Cerv.M ASM, pp. 325-7-
Previous history: Restored by Frank Hubbard in 1974—a Information supplied by: VdM|Cer.MASM.
copy of the restoration report is available from Hubbard Boalch 3 number: BONI(A), G. n.d.
Harpsichords. Boalch 2 number: None.
References: Shown in Bz under Orazio Albana, no. 3. An
illustrated postcard is available showing the instrument BONOMIUS, DOMINICUS SEBASTANIUS
in the Music Room at Vizcaya. See also: EKJ, Vol. 3, Type: Single-manual harpsichord.
1984-5, No. H-61.9, p. 63. Date: 1702.
Information supplied by: Germann|Luckett|EK]|Brockman. Ownership: PRIVATE COLLECTION, LAUSANNE,
Boalch 3 number: BONI(A), G. B. 1619. SWITZERLAND.
Boalch 2 number: 5 (under Albana). Inscriptions: Dominicus Sebastianus Bonomius fecit Anno Domini
MDCCII. This inscription is on the vertical face of the
Type: Single-manual harpsichord. wrestplank, and can only be seen on removing the front
Date: 1638. board.
Ownership. PRIVATE COLLECTION, VIENNA, Specification: 2x8".
AUSTRIA. Compass: C/E-P, short octave.

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 BORGHETTI 253
Keyboard: White naturals, special sharps. Number of roses: None.
Number of roses: 1. Exterior of case: Veneered.
Style of rose: Parchment. Scale: 322 mm.
Exterior of case: Painted. Length: 1562 mm.
Case construction: Italian style, inner/outer. Width: 654 mm.
Length: 1900 mm. Depth: 216 mm.
Remarks: The identity of the maker is not known from Remarks: This must almost certainly be the latest surviving
any other evidence and it may well be that the inscription example of a rectangular virginal made in the classical
is spurious, or by Franciolini. Instrument of cypress. tradition. Ebony naturals with undecorated flat ebony
Soundboard of spruce. Two holes in the bottom showing arcades, and sharps of black-stained fruitwood topped
previous restoration(s). Outer case painted with flowers with bone. The apparent compass is BB-c*, but it may be
and arabesques. Informant says scale is 161, and then that the lowest notes were tuned to give a short octave
parenthetically says (483= 3 octaves)—it would seem and compass of GG/BB-c'. The keys from C to a have
therefore that 161 is more likely to be the octave span. holes for pedal pull-downs on their lower surfaces, and
Information supplied by: Jaccottet. the keyframe and baseboard have a carefully-made slot
Boalch 3 number: BONOMIUS, D. S. 1702. through which the pull-down cords must have passed.
Boalch 2 number. None. All these features appear to have been made by the
original maker, though the pedal-board is now missing.
BONOMO, GREGORIO. Outer case veneered in walnut. No rose. The instrument
Type: Harpsichord (Number of manuals not known). is very similar to the other two surviving Borgbetti
Date: 1785. virginals.
Ownership: HERR FRIEDRICH, VIERSEN, References: O’ Brien Scala.
GERMANY. Information supplied by: O’ BrienPC.
Remarks: Other than the fact that the jacks have no Boalch 3 number: BORGHETTI, G. 1844.
dampers, nothing further is known of this instrument. Boalch 2 number: None.
Information supplied by: Champ.
Boalch 3 number: BONOMO, G. 1785. Type: Rectangular virginal.
Boalch 2 number: None. Date: Not known.
Ownership: PASADORI PIANO WORKSHOPS,
BORDEGATUS, ANTONIUS. BRESCIA, ITALY. Accession number not known.
Type: Polygonal virginal. Inscriptions: Signed G. Borghetti Brescia on an enamelled
Date: 1703. escutcheon plate on the nameboard.
Ownership: MUSEO CIVICO, PADUA, ITALY. Specification: 1x8’.
Accession number not known. Compass. BB-c*
Inscriptions: Antonius Bordegatus Fecit MDCCIII. Remarks: This instrument is very similar to the other two
Specification: 1x4'(A). surviving Borghetti virginals. Original jacks with leather
Compass: c/e-c'(A), short octave. Number of roses: 1. plectra. Apparent compass is BB-c’ but the instrument
Remarks: Rose has no monogram. According to B?, the may have been tuned so as to give a short octave
compass is three octaves, so it may well be that the GG/BB-c*. Raised on stand with slim legs. There is a
instrument is an ottavino. non-removable nameboard and a removable name-batten
Information supplied by: B?. over the keys.
Boalch 3 number: BORDEGATUS, A. 1703. References: O’ BrienPC.
Boalch 2 number: 1. Information supplied by: O’ BrienPC.
Boalch 3 number: BORGHETTI, G. n.d.(1).
BORGHETTI, G. Boalch 2 number: None.
Type: Rectangular virginal.
Date: 1844. Type: Rectangular virginal.
Ownership: MUSEO TEATRALE ALLA SCALA, Date: Not known.
MILAN. Accession number not known. Ownership: VIRGILIO CATTANEO, MUSEO
Inscriptions. The maker’s name is visible on the proximal MUSICALE CHITARRISTICO, BRESCIA, ITALY.
surface of the box-slide, written in pen and ink: Borgbetti— Accession number not known.
Brescia—1844—No. 33. There is no mark or signature on Inscriptions. Not signed.
the nameboard, but on the lower surface of the top c* Specification: 1x8’.
keylever is written Landi Gifu?) 1882 (O’Brien surmises Compass: BB-c’.
that this is Giuseppe Landi 1882). Remarks: This instrument is unsigned but corresponds in
Specification: 1x8’. almost every detail to the other two surviving instruments
Keyboard: Black naturals, white sharps. by Borghetti. Original jacks, with leather plectra. The

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254 BORTOLUS
apparent compass is BB-c*, but may have been tuned to Ownership: MONASTERIO DE SANTA CLARA,
give a short octave GG/BB-c*. Raised on slim legs. TORDESILLAS, SPAIN.
There is a non-removable nameboard and a removable Inscriptions: (H]wius instrumenti factor est Tobannes Bossus factor
name-batten over the keys. org, on jackrail.
References: O” BrienPC. Specification: 1x8'(A).
Information supplied by: O' BrienPC. Compass: C/E-c’.
Boalch 3 number: BORGHETTI, G. n.d.(2). Keyboards. White naturals, special sharps.
Boalch 2 number: None. Remarks: The date 1570 was ascribed to it in the catalogue
when it was shown in the Toledo 1958 exhibition [‘Carlos
BORTOLUS. V y su ambiente; exposicion homenoje en el IV centenario
‘Type: Single-manual harpsichord. de su muerte’]. When E. M. Ripin saw the instrument in
Date: 1540(A). 1969 he could find no date on it. According to O’Brien
Ownership: C. F. MAIKOFFSKE, NAPLES, ITALY. and KdP it has decorated sharps. Typical Antwerp
Inscriptions: Inscribed: Her II Fer Dax III] CRI, which instrument with sea-horse paper.
Bz interprets as recording ownership by Ercole d’Este II, References: 1958 Toledo exhibition catalogue. Rasse// 1959,
Duke of Ferrara, (b. 1508, succeeded 1534, d. 1559). p. 116, mentions it, but calls it a harpsichord and slightly
Signed Bortolus fecit on the back of the nameboard, and misquotes the inscription; he gives no date.
has been assigned to the 1540s. References: O’Brien, p. 28. Beryl Kenyon de Pascual,
Remarks: According to Koster, this is the same instrument ‘Clavicbordios and clavichords in 16th-century Spain’ in
as that shown in Bz under A. Bartoli, as being in EM, XX, No. 4, November 1992, pp. 617-8 (with colour
Deansboro, NY. There is therefore no entry for an illustration).
instrument by Bartoli. Information supplied by: B2|O? BrienPC|KdP.
Previous history: Possibly instrument No. 551. in Krans. Boalch 3 number: BOS, H. 1570(A).
Was in March 1957 in The Old Music Store, Deansboro, Boalch 2 number: 1.
NY.
References: Kraus? BRACKLEY, CHARLES.
Information supplied by: Bz. ‘Type: Spine.
Boalch 3 number: BORTOLUS. 1540(A). Date: Not known.
Boalch 2 number: 2. Ownership: MRS. DIANA COLVILLE,
LAUNCESTON, ENGLAND.
Type: Polygonal virginal. Inscriptions: Carolus Brackley Londini Fecit.
Date: 1673. Remarks: For a spinet initialled by him during his
Ownership: GERMANISCHES NATIONALMUSEUM, apprenticeship see ‘KEENE, S. 1706’.
NUREMBERG, GERMANY. Previous bistory: Formerly Colonel N R Colville.
Number: MINe 92. References: Mlustrated in DEF [11.374].
Inscriptions. According to Bz the inscription reads: Bortolus Information supplied by: B2|Luckett.
fecit anno 16.. Quintilins Caplexzo renovavit] et ornavit Sensis Boalch 3 number: BRACKLEY, C. n.d.
PI (Ga. Boalch 2 number: 1.
Specification: 1x8’.
Remarks: The primary evidence for this instrument comes BRADSHAW, ALBION.
from Gé, who quotes it as having been in the Heinrich Type: Wing spinet.
Schumacher Collection, Lucerne, in 1910. The date is Date: 1712(A).
given as 76.. from the quoted inscription, but in view of Ownership: PRIVATE COLLECTION.
other evidence it seems possible that the date could be Inscriptions: Albion Bradshaw Londini Fecit.
rj... Nevertheless, dM in a letter to DHB states Specification: 1x8".
authoritatively that date is 1673. Compass: GG-e'.
Previous history: 1910 Heinrich Schumacher Collection, Keyboard: Black naturals, white sharps.
Lucerne. 1929—acquired by Neupert. 1974—formed part Number of roses: None.
of the Neupert collection at the Germanisches National Exterior of case: Plain wood.
Museum, Nuremberg. Seale: 298 mm.
Information supplied by: B2| VdM|Wraight. Remarks: Naturals of ebony with sycamore fronts. Sharps
Boalch 3 number. BORTOLUS. 1673. of ivory. Case of plain English walnut.
Boalch 2 number: 1. Previous history: According to Bz repaired by Morleys in
1964.
BOS, HANS. References: A copy of the instrument has been made by
Type: Virginal. John Bence, Leicester.
Date: 1$70(A). Information supplied by: B2|J Bence.

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 BRITSEN 255
Boalch 3 number. BRADSHAW, A. 1712(A). Ownership: Not known.
Boalch 2 number: 1. Inscriptions. Georgins Britsen Antverpiae 1675.
References: VdS, Ul, pp. 458-9.
BRENZI, ANTONIO (Otherwise BONONIENSIS, Information supplied by: Bz.
ANTONIUS). Boalch3 number. BRITSEN, J. 1675.
Type: Polygonal virginal. Boalch 2 number: 1.
Date: 1592.
Ownership: LISBON CONSERVATOIRE, LISBON, Type: Ottavino.
PORTUGAL. Accession number not known. Date: 1676.
Inscriptions: Antonius Bononiensis fecit anno 1592, signed on Ownership: BRUSSELS MUSEUM, BRUSSELS,
soundboard. BELGIUM.
Specification: 1x8"(A). Number: 2923.
Compass: C/E-P, short octave. Inscriptions: No inscriptions. Identified from the rose,
Number of roses: 1. construction and decorative features.
Style of rose: Geometrical pattern. Specification: 1x4’.
Remarks: The ascription of this instrument should be Compass: C/E-c’, short octave.
treated with caution since it appears in a Franciolini Keyboard: White naturals, black sharps.
catalogue. [Francl, No. 44.] Number of roses: 1.
Previous history: Shown at the International Inventions Exterior of case: Painted.
Exhibition, London, 1885. Scale: 181 mm.
Information supplied by: Bz. Length: 883 mm.
Boale 3 number: BRENZI, A. 1592. Width: 456 mm.
Boalch 2 number: 1. Depth: 168 mm.
Remarks: Has a serial number in the style of Ruckers
instrument 3/16, indicating it was the sixteenth 3—voet
BRENZI(A), ANTONIO. instrument made. According to O’Brien, at a pitch of
Type: Ottavino.
R+8. Naturals of bone, sharps of bog oak. Cast lead
Date: 1707. rose.
Ownership. DEUTSCHES MUSEUM, MUNICH,
Previous history: Formerly in the Régibo Collection, then
GERMANY. Accession number not known. .
in the Snoeck Collection.
Specification: 1x4'(A). Remarks: \t is not entirely clear who References: Régibo Collection Catalogue, 1897, no. 22?. Snoeck
was the maker since the name Bononiensis the type and
Collection Catalogue, 1903, no. 408. VdS, VIII. 458-9.
date are the only firm pieces of information given. Information supplied by: B2|O’ Brien.
Certainly it would seem unlikely from the dating that the Boalch 3 number: BRITSEN, J. 1676.
instrument noted above is by the same maker.
Boalch 2 number: 2.
Information supplied by: Kotick.
Boalch 3 number. BRENZI(A), A. 1707.
Boalch 2 number: None.
‘Type: Two-manual harpsichord.
Date: 1681.
Ownership: PRIVATE COLLECTION, BELGIUM.
BRIDGE, RICHARD. Accession number not known.
Type: Wing spinet. Length: 2000 mm.
Date: 1753. Remarks: In a letter of 10 March 1985 GL reports the
Ownership: FORSYTH COLLECTION, instrument was originally a single. Compass of four
MANCHESTER, ENGLAND. Accession number not octaves and one note.
known. Previous history: Formerly in the Régibo Collection. Now
Inscriptions: Inscribed: Ricardus Bridge London Fecit in private ownership, in a chateau in Belgium.
MDCCLIII. References: Régibo Collection Catalogue, 1897, no. 7.
Specification: 1x8". Information supplied by: B2/GL.
Compass: GG-g'(A). Boalch 3 number. BRITSEN, J. 1681.
Remarks: Skunktail sharps, case profusely inlaid. Boalch 2 number: 3.
Information supplied by: Bz.
Boalch3 number: BRIDGE, R. 1753. Type: Ottavino.
Boalch 2 number: 1. Date: 1686.
Ownership. BRUSSELS MUSEUM, BRUSSELS,
BRITSEN, JORIS. BELGIUM.
Type: Single-manual harpsichord. Number: 631.
Date: 1675. Inscriptions: Georgius Britsen me fecit Antverpiae, also Sic

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256 BROADWOOD
transit gloria mundi, and Acta virum probant. boxwood fronts and sharps of ebony. Case of mahogany,
Specification: 1x4". panels lined with boxwood stringing, crossbanded in
Compass: C/E-c’, short octave. mahogany. Music desk not by Broadwood. Left pedal for
Keyboard: White naturals, black sharps. machine, right for venetian swell.
Number of roses: 1. Previous history: Russell 1939, p. 81 suggests that from the
Exterior of case: Painted. evidence of several structural features, it was a case
Scale: 184 mm. designed to be a piano. Its tone is so lacking in brilliance
Length: 754 mm. ‘that early hammer action is suggested to the ear’.
Width: 456 mm. Formerly at Bluthner’s Perivale workshops (195 3). Bought
Depth: 211 mm. by Raymond Russell in 1955 from Dolmetsch. Given to
Remarks: An example of a two-and-a-half-voet virginal, Edinburgh University by Mrs. Russell in 1964.
examined in greater detail by O’Brien, in relation to the References: Noted without further details by Da. Russell
only surviving Ruckers instrument of this type. Shown 1959, p. 81. RussColl, p. 43. Illustrated p. 42, and
in B? with the date 1681, O’Brien records it as dated 1686 RussCollr986, p. 16. B? shows the instrument under Shudi,
with specification of 1x4’ at pitch R +9. Naturals of bone and it is the soth instrument in that list. Colour postcard,
with gesso fronts in imitation of gothic arches. Sharps of datasheets and photographs available from The Russell
bog-oak. Cast lead rose. In form like a small writing desk Collection, Edinburgh.
with sloping lid. Painted externally, with papers inside Information supplied by: B*/RussColl|RussColl1986/Raymond.
the lid and the motto SIC TRANSIT GLORIA MUNDI. Boakb 3 number: BROADWOOD, J. 1793(1).
The scaling is Pythagorean, and is very similar to that of Boalch 2 number: 50.
the equivalent, but earlier Andreas Ruckers instrument
of ¢. 1610, but a little shorter in the top octave and longer ‘Type: Two-manual harpsichord.
in the bass. There are also lutes bearing the name of Date: 1793.
Britsen. Ownership: Not known.
Previous history: Shown at the International Inventions Remarks: On page 5 of the Early Music Gazette, the
Exhibition London, 1885. supplement to EM, Vol. 8, No. 2, April 1980, under the
References: Mab No. 631. O’Brien, p. 287-8 where other heading ‘Some problems of reconstruction’, which deals
references are quoted. with activities in the Morley workshops, appears the
Information supplied by: B?/O’ Brien. following: ‘Some of his [John Morley’s] work may be
Boalch 3 number: BRITSEN, J. 1686. seen on display in the Morley Galleries alongside a
Boalch 2 number: 4. remarkable number of modern and antique pianos and
harpsichords from other makers which Morley’s have
BROADWOOD, JOHN. reconditioned when necessary. . .. Amongst instruments
‘Type: Single-manual harpsichord. for sale at the moment is a double-manual 1793 Broadwood
Date: 1793. harpsichord, built just before that firm gave up making
Ownership: RUSSELL COLLECTION, EDINBURGH harpsichords in favour of pianos around 1800—it now
UNIVERSITY, SCOTLAND. costs £19,200.’ It is possible that this refers to the
Number: 19. instrument formerly belonging to Raymond Russell, and
Inscriptions: Signed by Broadwood alone: Johannes Broad- now in the Russell Collection, Edinburgh, but this seems
wood Londoni Fecit 1793/No 1133 Great Pulteney Street unlikely. The possibility of the existence of a second
Golden Square on nameboard. On reverse of nameboard Broadwood harpsichord of 1793 should therefore not be
in pencil is Restored by John S. Morley AD 1925 and in discounted.
the middle is Established 1732. Shudi’s number 1135. Previous bistory: Apparently offered for sale by Morleys in
Specification: 2x8’, 1x4’, lute. 1980.
Additional features: Harp stop, machine, venetian swell, 2 References. EM.
pedals, 5 hand stops. Information supplied by: EM.
Compass: FF-P. Boalch 3 number: BROADWOOD, J. 1793(2).
Keyboard: White naturals, black sharps. Boalch 2 number: None.
Number of roses: None.
Exterior of case: Crossbanded. BROADWOOD(A), JOHN.
Scale: 349 mm. ‘Type: Two-manual harpsichord.
Length: 2302 mm. Date: Not known.
Width: 940 mm. Ownership: PRIVATE COLLECTION, ENGLAND.
Depth: 299 mm. Inscriptions. No nameboard.
Remarks: The only surviving harpsichord signed by John Specification: 2x8’, 1x4’, lute.
Broadwood alone. Naturals of ivory with moulded Additional features: Harp stop.

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 BROMAN 257
Remarks: The report of this instrument, which has no Ownership: STATENS MUSIKSAMLINGAR,
nameboard suggests that it was made as a piano (it is MUSIKMUSEET, STOCKHOLM, SWEDEN.
very heavily framed) and subsequently converted to Number: 57.244.
harpsichord. On this count, the maker is most probably Inscriptions, Inscribed on the area of the soundboard
Broadwood, and it is ascribed to him. Remains of a beyond the wrestpins: Johann Broman Stockholm Ao 1756.
machine. Soundboard grain angled. 8’ and 4’ backpinned Compass. C-P.
on the bridges throughout. Exterior of case: Painted.
Previous history: Restored to playing order by Robert Scale: 295 mm.
Deegan in 1985. Length: 1933 mm.
References: Further information from Deegan or Martin. Width: 505 mm.
Information supplied by: Deegan|Martin. Remarks: H-O gives the collection as Nordiska Museet]
Boalch 3 number: BROADWOOD(A), J. n.d. Musikbistorisk Museet, Stockholm, Sweden. Fifteen octave
Boalch 2 number: None. strings in bass, C-d. Naturals ebony with two pairs of
grooves, with embossed gilded paper fronts. Sharps,
BROEDLER. bone-capped, black-stained wood. Soundboard spruce.
‘Type: Fret-free clavichord. Bridges both beech. Case pine, painted [later] to look like
Date: 1809. wood. Keywell veneered in yew. String gauges marked
Ownership: GERMANISCHES NATIONALMUSEUM, on 8’ nut. Internal lid painting.
NUREMBERG, GERMANY. References: H-O No. S 01 NordM 57.244. Illustrated at
Number: MIR 1063. figs. 152A, 152B, p. 176.
Inscriptions: Inscribed Orgelmacher Broedler aus Vaibingen a. Information supplied by: Barrell] Weldon|H-O.
d. Enz. 1809. Boalch 3 number: BROMAN, J. 1756(2).
Compass: FF-c'. Boalch 2 number: None.
Scale: 245 mm.
Remarks: String gauges marked on keys. Type: Fret-free clavichord.
Previous history: From the Rick Collection. Date: 1763.
References: Huber, p. 130. Ownership: PRIVATE COLLECTION, VISBY,
Information supplied by: B2|Weldon| Huber. SWEDEN.
Boalch 3 number: BROEDLER. 1809. Inscriptions: Inscribed JB and Stockholm 1763 on
Boalch 2 number: 1. soundboard.
Compass: FF-P.
BROMAN, JOHAN. Scale: 277 mm.
Type: Two-manual harpsichord. Length: 1923 mm.
Date: 1756. Width: 560 mm.
Ownership: NORDISKA MUSEET, STOCKHOLM, Depth: 176 mm.
SWEDEN. Remarks: 14 Octave strings in bass. Soundboard spruce
Number. 83.118. with grain at thirty degrees to the long side. Bridges of
Inscriptions: Johannes Broman Stockbolm 1756. beech.
Specification: 1: 2x8’, 1x4"; I: 1x8’, lute. References. H-O No. S privat ago. Illustrated at fig. 156,
Additional features. Dogleg. P- 179.
Length: 3600 mm. Information supplied by: Weldon|H-O.
Width: 970 mm. Boalch 3 number: BROMAN, J. 1763.
Remarks: Deposition Musik Museet. Probably the longest Boalch 2 number: None.
instrument made—certainly the longest surviving harp-
sichord. Supported on a stand of eight cabriole legs. Eva Type: Fret-free clavichord.
Nordenfeldt-Aberg, in EM, January — 1981, Date: 1767.
P. 53, Says ‘It was made as an experiment to obtain more Ownership: MELLERSTA FINLANDS MUSEUM,
sound, and although still playable, and competently JYVASKYLA, FINLAND.
restored in 1970 by Mats Arvidsson, it is no louder than Number: 290.
average.” Inscriptions: Attributed to Broman by H-O.
References: Mlustrated at H-O, p. 27- Compass: C-c.
Information supplied by: Kilstrom|H-O|EM. Scale. 285 mm.
Boalch3 number: BROMAN, J. 1756(1). Length: 1623 mm.
Boalch 2 number: None. Width: 472 mm.
Remarks: Soundboard of spruce.
Type: Fret-free clavichord. References: H-O No. SF MFM 290.
Date: 1756. Information supplied by: Barrell|Weldon|H-O.

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258 BROMAN
Boalch3 number: BROMAN, J. 1767. Exterior of case: Painted.
Boalch 2 number: None. Scale: 285 mm.
Length: 1614 mm.
Type: Fret-free clavichord. Width: 469 mm.
Date: 1769. Remarks: Fifteen octave strings in bass. Soundboard grain
Ownership: STIFTELSEN MUSIKKULTURENS at thirty degrees to the long side.
FRAMJANDE, STOCKHOLM, SWEDEN. References: H-O No. S 22 MF 3484. Illustrated at fig. 153,
Number: KL 7o. P. 177
Inscriptions: Initialled with branding iron: JB. Inscribed: Information supplied by: Barrell{Weldon|H-O.
Stockholm 1769. Boalch 3 number: BROMAN, J. n.d.(2).
Compass: FF-P. Boalch 2 number: None.
Keyboard: Black naturals, white sharps.
Exterior of case: Painted. ‘Type: Fret-free clavichord.
Scale: 280 mm. Date: Not known.
Length: 1934 mm. Ownership: SODERMANLANDS MUSEUM,
Width: 545 mm. NYKOPING, SWEDEN.
Depth: 173 mm. Number: 406.
Remarks: Instrument is part of the Nydahl Collection. Inscriptions. Attributed to Broman by H-O.
Nineteen octave strings in bass. Naturals of ebony, two Compass: FF-P.
pairs of grooves, with embossed gilded paper keyfronts. Keyboard: Black naturals, white sharps.
Sharps, bone-capped, black-stained wood. Soundboard of Excterior of case: Painted.
spruce, much damp-stained and split. Bridges, both beech. Scale: 282 mm.
8’ has mini-bridge for tenor and bass strings. The rear Length: 1852 mm.
hitch pin rail slopes from left upwards 7 mm. to the Width: 580 mm.
right-hand end. Case pine, painted in imitation of wood. Remarks: Twenty octave strings in bass. Naturals ebony,
Lid and key flap have been renewed. Stand is original, sharps bone. Internal lid painting.
finished in the same way as the case. References: H-O No. *S 04 SLM 406. Illustrated at fig 154,
References: H-O No. S ot SMF u. nr. See also SMF p. 178.
(appendix by Weldon). Information supplied by: Barrell|Weldon|H-O.
Information supplied by: Barrell|Weldon|H-O/SMF. Boalch 3 number: BROMAN, J. n.d.(3).
Boalch 3 number: BROMAN, J. 1769. Boalch 2 number: None.
Boalch 2 number: None.
‘Type: Fret-free clavichord.
Type: Two-manual harpsichord. Date: Not known.
Date: Not known. Ownership: NORDMALINGS HEMBYGDGSGARD,
Ownership: NORDISKA MUSEET, STOCKHOLM, SWEDEN.
SWEDEN. Number: 416.
Number: 149.592. Inscriptions: Attributed to Broman by H-O.
Specification: 1: 2x8’, 1x4’; Il: 1x8’. Compass: CC-c*.
Additional features: Coupler. Keyboard: Black naturals, white sharps.
Length: 2750 mm. Scale: 333 mm.
Width: 950 mm. Length: 1995 mm.
Remarks: Deposition Musik Museet. Has internal lid Width: 586 mm.
painting. Stand with six cabriole legs. Remarks: Six-octave keyboard. String gauges marked. The
References: Illustrated at p. 63 of H-O. distribution is 10 wound, 8 brass, and 55 iron. Naturals
Information supplied by: Kilstrim|H-O. ebony, sharps bone. Soundboard grain at thirty-five
Boalch 3 number: BROMAN, J. n.d.(1). degrees to the long side.
Boalch 2 number: None. References: H-O No. *S 24 NH 416. Illustrated at fig. 155,
p. 178.
Type: Fret-free clavichord. Information supplied by: Barrell|Weldon|H-O.
Date: Not known. Boalch 3 number: BROMAN, J. n.d.(4).
Ownership. MEDELPADS FORNMINNESFORENING, Boalch 2 number: None.
SUNDSVALL, SWEDEN.
Number: 3484. BROMAN, OLOF.
Inscriptions. Attributed to Broman by H-0. Type: Clavichord.
Compass: C-e?. Date: 1756(A).
Keyboard: Black naturals, white sharps. Ownership: NORDISKA MUSEET, STOCKHOLM,

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 BROSY 259
Ownership: NORDISKA MUSEET, STOCKHOLM, in playing order.
SWEDEN. Accession number not known. References: Rind/Klav, p. 32, for details and illustration.
Remarks: B? gives the date as 1736 or possibly 1756. In Data sheet from the Museum. See also: Gutmann,
view of his dates, the latter seems more likely. The Pp. 49 and 53.
instrument appears not to be recorded by H-O, Barrell, Information supplied by: B?|RindKlav|Museum|Gutmann.
or Weldon. Compass said by B? to be four octaves plus a Boalch 3 number: BROSI, P. F. 1755.
note. Boalch 2 number: 1.
Information supplied by: B.
Boaleh3 number: BROMAN, O. 1756(A). BROSI(A), PETER FRIDRICH
Boalch 2 number: 2. Type: Wing spinet.
Date: Not known.
Type: Fretted clavichord. Ownership: HISTORISCHES MUSEUM, BASEL,
Date: 1758. SWITZERLAND (Sammlung alter Instrumente).
Ownership: KULTURHISTORISKA MUSEET FOR Number: 1878.75.
SODRRA SVERIGE (KULTUREN), LUND, Inscriptions: No signature.
SWEDEN. Specification: 1x8.
Number. KM 9.116. Compass: C-e.
Inscriptions. According to Weldon: Olof Broman i Ronneby. Keyboard: Black naturals, white sharps.
According to B?—Olof Broman Rumneby (sic) 1758. Number of roses: 1.
Compass: C-c'. Exterior of case: Plain wood.
Keyboard: Black naturals, white sharps. Scale: 256 mm.
Exterior of case: Painted. Length: 1696 mm.
Scale: 280 mm. Width: 583 mm.
Length: 1364 mm. Depth: 209 mm.
Width: 401 mm. Remarks: B? says ‘Very much in the Silbermann style’, and
Remarks: Weldon says that it is dated by the Museum, the data sheet from the Schweizerische Landesmuseum,
but B? gives the date 1778 in the inscription. H-O confirms Zurich, which also possesses the spinet BROSI, P. F.
this date. Naturals birch or pear with fronts of same 1755, says that this instrument is very similar, but has
wood. Sharps horn-capped birch. Soundboard spruce been changed to hammer action. Naturals of ebony,
with bridges of black-painted wood. Case pine, exterior sharps with bone tops. C-a single strung, and double
painted brown, interior papered green, except for lid strung from b upwards. Case of walnut. Stand with five
which is painted red. Main internal structures of oak. legs. Rose similar to J. H. Silbermann’s.
Details of fretting not known. Previous history: The instrument was rebuilt in the cight-
References: H-O No. $ 12 KM 9.116. Illustrated at fig. eenth century, probably by Johann Jacob Brosy with
113, p. 129. hammer action, and since the action required more space,
Information supplied by: B*|Barrell|Weldon|H-O. the original compass AA-e’ was shortened by three notes
Boalch3 number: BROMAN, O. 1758. to give the present compass, C-c’.
Boalch 2 number: 1. References: RindlKlav, p. 32, and Gutmann, p. 49 and 54.
Information supplied by: B?|Schweiz. Landesmuseum|Gutmann.
BROSI, PETER FRIDRICH Boalch 3 number. BROSI(A), P. F. n.d.
Type: Wing spinet. Boalch 2 number: None.
Date: 1755.
Ownership: SCHWEIZERISCHES LANDESMUSEUM, BROSY, JOHANN JACOB
ZURICH. Type: Wing spinet.
Number, LM 21469. Date: 1775.
Inscriptions: Signed on wrestplank behind the fascia board: Ownership: HISTORISCHES MUSEUM, BASEL,
Brosy in Basel 1753. SWITZERLAND.
Specification: 1x8’. Number: 1908.238.
Compass: C-c'. Inscriptions. On a printed label stuck to the soundboard
Keyboard: Black naturals, white sharps. Jobann Jacob|Brosy|Instrument und Orgelmacher|in Basel. The
Exterior of case: Plain wood. date 1775 is added in script.
Scale: 325 mm. Specification: 1x8’.
Length: 1630 mm. Compass: FF-P.
Width: 560 mm. Keyboard: Black naturals, white sharps.
Depth: 195 mm. Number of roses: 1.
Remarks: Naturals of ebony, sharps with bone overlay. Style of rose: Parchment.
Case of walnut. Raised on stand of four turned legs. Not Exterior of case: Plain wood.

Diatizes ty GOOGle
260 BROSY
Scale: 543 mm. Boalch 3 number: BROSY, J.(A) J.(A) 1795(A).
Length: 1950 mm. Boalch 2 number: None.
Width: 625 mm.
Depth: 221 mm. BRUNELLI, ANTONIO.
Remarks: Naturals ebony, sharps bone topped. Plain Type: Ottavino.
walnut case. Raised on stand with three legs and stretchers Date: 1798.
at floor level. In playing order. Ownership: FORMERLY KARL-MARX-
Previous history: Restored by Georg F. Senn, Binningen, UNIVERSITAT, LEIPZIG, GERMANY.
Switzerland, in 1988. Number: 64.
References: RindlKlav, p. 34. Gutmann, pp. 49 and 55. Inscriptions: ANTONIO BRUNELLI FECCE 1796,
Information supplied by: B?/RindlKlav|Gutmann. inscribed on soundboard behind the fascia board.
Boalch3 number: BROSY, J. J. 1775. Specification: 1x4".
Boalch 2 number: 1. Compass. C-c'.
Keyboard: White naturals, black sharps.
Type: Fretted clavichord. Exterior of case: Plain wood.
Date: 1790. Length: 595 mm.
Ownership. PRIVATE COLLECTION, GERMANY. Width: 295 mm.
Inscriptions: On a printed label on the soundboard: Johann Depth: 135 mm.
Jacob|Brosy|Instrument wd Orgelmacher|in Basel. The date Remarks: Boxwood naturals, ebony sharps. Rectangular
1790 is given after this in script. case of walnut. There is some doubt about the authenticity,
Compass: FF-P. in view of the late date for the style of the instrument.
Keyboard: Black naturals, white sharps. Previous history: From the Kraus collection, Florence, 1901.
Exterior of case: Plain wood. Lost in World War Il.
Length: 1550 mm. References: Inscription reproduced at Ks p. 214. For further
Width: 482 mm. details see Henkel.
Depth: 110 mm. Information supplied by: B?|Henkelt.
Remarks: Naturals of ebony, sharps bone topped. Case of Boaleh 3 number: BRUNELLI, A. 1798.
plain walnut with intarsia on the fascia board. Gutmann Boalch 2 number: 1.
gives the scale at c* as 821, but this cannot be correct. It
would appear to be the length of the f string. In playing BRUNETO(A), DALLI ORGANI.
condition. Type: Polygonal virginal.
Previous history: It may be this instrument which is recorded Date: 1556.
here separately under the ownership of Hannelore Unruh, Ownership: MILAN CONSERVATOIRE, MILAN,
and it may also be this instrument which is recorded ITALY. Accession number not known.
under B? as having passed through the hands of Messrs Inscriptions: Bruneto dali Organi veronese—fece l'anno 1556.
Sabathill of Vancouver in 1971. According to Gutmann, Adi 18 Luglio [18 July 1556].
it was restored by Martin Skowroneck of Bremen in 1976 Length: 1560 mm.
and as a result is now in playing condition. Width: 510 mm.
References: Not recorded in Rind/Klav, or as a clavichord Remarks: See Part 1 for a note on the maker’s name.
in B*, but see Gutmann, pp. 56-7, including illustration. Information supplied by: B?|VdM.
Information supplied by: Gutmann. Boaleh 3 number: BRUNETO(A), D. O. 1556.
Boalch3 number: BROSY, J. J. 1790. Boalch 2 number: 1.
Boalch 2 number: None.
Type: Polygonal virginal.
BROSY, JOHANN(A) JACOB(A) Date: 1558.
Type: Fretted clavichord. Ownership: MUSIKHISTORISK MUSEUM,
Date: 1795(A). COPENHAGEN, DENMARK.
Ownership: HANNELORE UNRUH, HAMBURG, Number: Asi.
GERMANY. Inscriptions: On lower jack guide inside instrument: Broneti
Length: 1540 mm. [djal{li] Organi Veronesis MDLVIII.
Remarks. Since the maker is reported as Brosy, and the Specification: 1x8".
reported date ¢. 1795, and since Peter Fridrich Brosi died Compass: C/E-P, short octave.
in 1764, it seems most likely that the instrument is by Number of roses: 1.
Johann Jacob Brosy, and may be the same instrument as Scale: 310 mm.
BROSY, J. J. 1790, above. Five octave compass. Length: 1555 mm.
Information supplied by: Champ. Width: 425 mm.

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 BULL 261
Depth: 185 mm. Date: 1803.
Remarks: See Part I for comments on the maker’s name. Ownership: PRIVATE COLLECTION, ROME, ITALY.
Pentagonal case, with mouldings, rose, and soundboard Accession number not known.
all of cypress. The keyboard is partly recessed into the Inscriptions: Signed in manuscript: Michael Babler|Vaibingen
case. Outer case and stand missing. Extremely light and der|Enx orgel und|clavier instrumenten| macher|Bernbart
construction. WraightPC deduces from a slot in the Sobon (the meaning of the latter two words is unclear.
baseboard that at one time there was a pedal board C/E-d. There is a further label scarcely readable: Bébler/. . .
Previous bistory: Sold by the piano maker J. G. Steingraeber umenten|.... in|. . ngen|. . .Enzj1803.
to the Museum in 1932. Exhibited at the nineteenth Art Compass. FF-f.
Exhibition of the Council of Europe, Denmark, 1988. Remarks. From FF to E the instrument has one 8’ string
References. MMCC. and one 4’ and thereafter is double strung for the 8’.
Information supplied by: B2| VdM|MMCC|WraightPC. Previous bistory: Was being repaired in 1988 by Dr. Andrea
Boalch3 number. BRUNETO(A), D. O. 1558. Gori and Donatella di Giampietro in Florence.
Boalch 2 number: 2. Information supplied by. VdM.
Boalch 3 number: BOHLER, J. M. 1803.
Type: Polygonal virginal. Boalch 2 number: None.
Date: 1564.
Ownership: GERMANISCHES NATIONALMUSEUM, BULL, JOHANN PETER
NUREMBERG, GERMANY. ‘Type: Single-manual harpsichord.
Number. MIR 1082. Date: 1776.
Inscriptions; On the jack-guide: Braneto Veronesis Ownership: BRUSSELS MUSEUM, BRUSSELS,
MDLXIIII 23 Marzo. On a front board: Benedicti Floriani BELGIUM.
MDLXVIIII and a restorer’s inscription: Fw restawrato da Number: 1601.
me Carlo Piaza|Ano 1749. Inscriptions: Johannes Petrus Bull me fecit Antwerpiae anno
Specification: 1x8". 1776.
Compass: C/E-c’. Number of roses: 1.
Remarks: See Part I for a note on the maker’s name. Previous history: Formerly in the Mahillon Collection.
Previous bistory: Formerly in the Riick Collection. Information supplied by: B2.
References: Huber, p. 137. Boalch 3 number: BULL, J. P. 1776.
Information supplied by: B2| VdM|Hxber. Boalch 2 number: 1.
Boalch 3 number: BRUNETO(A), D. O. 1564.
Boalch 2 number: 3. Type: Two-manual harpsichord.
Date: 1778.
Ovwnersbip: R. K. LEE COLLECTION,
BUGGIANO.
WATERTOWN, MASS., USA.
Type: Pentagonal virginal.
Inscriptions. loannes Petrus Bull Me Fecit Antwerpiae 1778.
Date: 1618. Specification: 2x8’, 1x4’, lute.
Ownership: FORMERLY IN THE BERLIN
COLLECTION, BERLIN, GERMANY.
Additional features. Dogleg, 2 genouilléres, 4 hand stops,
Number: 323.
peau de buffie.
Inscriptions: Per Buggiano ¢ che non si pressti mai a Nissuno Compass: FF-P.
Keyboard: White naturals, black sharps.
Spinetta costruita PAnno 1618, ¢ acquistata dalla casa Number of roses: 1.
N. . An. ... On the nameboard the date 1706.
Style of rose: Monogram of initials.
Specification: 1x8'(A). Exterior of case: Plain wood.
Compass: C/E-c’, short octave.
Scale: 389 mm.
Remarks: Misch-1979 II points out that Buggiano is the
Length: 2585 mm.
name ofa locality in the province of Pistoia, in the diocese
of Pescia. BerlinCat confirms its loss since the second
Width: 955 mm.
Depth: 288 mm.
world war.
Remarks: Naturals of polished bone with floral design
References: BerlinCat, p. 373 quotes the description from
punched fronts. Ebony sharps with rounded fronts. Four
Sa. rows of jacks. Double-tongued dogleg 8’, 4’. Instrument
Information supplied by: B2|Misch-1979 I1|BerlinCat. was fitted with both a machine stop operating from the
Boalch3 number: BUGGIANO. 1618.
left knee lever, which provides a peau de buffle when
Boaleh 2 number: 1.
activated, and a damper bar operated by the right knee
lever which damped both 8’ choirs simultaneously (this
BUHLER, JOHANN MICHAEL feature is not currently fitted). The damper bar and and
‘Type: Fret-free clavichord. knee lever are of different workmanship to the machine

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262 BUONFIGLIUOLI
stop, which appears to be more in character in period left. Three brass stopknobs, two on the right and one on
and workmanship than the damper. In addition there was the left. Exterior case in green lacquer.
a harp stop affecting one 8’, operated by hand. Two Previous bistory: Given to the Steen Museum anonymously
left-hand stops are dogleg (above) and lute (below); two between 1862 and 1876, and transferred to the Vleeshuis
right-hand stops are back 8’ (above) and 4’ (below). Case in 1952. Restored between 1972 and 1973 by Hubert
of poplar has original brown stained and varnished finish. Bédard. A report of the restoration is in RG.1969-74.
Interior painted sea green. One piece lid. Lock and hinges References: Lambr-D 1981, p. 156.
exactly like that used by Dulcken (See instrument owned Information supplied by: B?|Lambr-D 1981/RG.1969-
by the Smithsonian, Washington). Beech stand with six 74{O’ BrienPC.
legs and two drawers. Boalch 3 number: BULL, J. P. 1779.
Previous history: Believed to have been in the Mahillion Boalch 2 number: 3.
Collection. It was acquired from the estate of Alphonse
van Neste of the Brussels Conservatoire in 1958 in very Type: Two-manual harpsichord.
decrepit condition with its frame and bottom missing. Date: 1789.
References: Further information, and plan for sale from R. Ownership: BRUSSELS MUSEUM, BRUSSELS,
K. Lee. BELGIUM.
Information supplied by: B?|Lee. Number: 2936.
Boalch 3 number: BULL, J. P. 1778. Inscriptions: Inscribed IOANNES PETRUS BULL ME
Boalch 2 number: 2. FECIT ANTWERPIAE ANNO 1785.
Specification: 2x8’, 1x4’(A).
Compass: F-P.
‘Type: Single-manual harpsichord. Previous history: Formerly in the Régibo Collection.
Date: 1779. Information supplied by: B*.
Ownership: VLEESHUIS MUSEUM, ANTWERP, Boalch 3 number: BULL, J. P. 1789.
BELGIUM. Boalch 2 number: 4.
Number. VH 2114.
Inscriptions: Inscribed IOANNES PETRUS BULL ME BUONFIGLIUOLI, PIERFRANCESCO.
FECIT ANTVERPIAE. ANNO 1779. Type: Single-manual harpsichord.
Specification: 2x8’, 1x4’. Date: 1660.
Additional features: 5 hand stops, 2 genouilléres, peau de Ownership: FORSYTH COLLECTION,
buffle. MANCHESTER, ENGLAND. Accession number not
Compass: FF-P. known.
Keyboard: White naturals, black sharps. Inscriptions: Pierfrancesco Buonfigliuoli. On bottom key: P.B.
Number of roses: 1. 1660, [followed by an ornament].
Exterior of case: Painted. Compass: C/E-c’, short octave.
Scale: 371 mm. Remarks. Rustic scene painted on the inside of the lid.
Length: 2490 mm. Previous history: Formerly owned by Alec Hodsdon [?]
Width: 890 mm. Lavenham. Restored by Michael Thomas, 1958.
Remarks: Naturals of bone, sharps of ebony. Action Information supplied by: B?.
contains a row of double jacks which give quill when Boalch 3 number: BUONFIGLIUOLI, P. 1660.
moved to right and peau de buffle when moved to the Boalch 2 number: 1.

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 C
Cc, LN. Date: Not known.
‘Type: Single-manual harpsichord. Ownership: GEORGE LUCKTENBERG, LAKE CITY,
Date: 1688(A). GEORGIA, USA.
Ownership: EDWARD MCELWEE, HAGERSTOWN, Inscriptions: Inscribed on the box-slide Cadavoglio in Piazza
MARYLAND, USA. Madama. \t is not clear whether this refers to the maker
Inscriptions. None except the letters INC in the rose, of the instrument, or the box-slide, or a restorer or an
though Hywbb 1965 says it has an inscription recording its owner.
maker as ‘Cousseneers’ (or some such spelling) in Cologne, Specification: 2x8".
but Challis would not believe this inscription. The Compass: C/E-c’, short octave.
possibility that it is by ‘Cuisenier’ cannot be discounted, Exterior of case: Painted.
but both Hubbard and Dowd believe it came from Case construction: Italian style—false inner/outer.
Cologne. Scale: 280 mm.
Specification: 1x8’, 1x4". Length: 2025 mm.
Additional features: 2 hand stops. Width: 748 mm.
Compass: C-c. Depth: 213 mm.
Keyboard: White naturals, black sharps. Remarks: The instrument which is undoubtedly Italian is
Number of roses: 1. probably dated between 1650 and 1720. Whether Cada-
Style of rose: Seated harping figure. voglio was the maker is debatable. Boxwood naturals
Exterior of case: Plain wood. with arcaded fronts; sharps of pine with ebony tops.
Remarks: The provenance of this instrument is very Painted false marble external decoration. Lid not original.
uncertain. Naturals of bone or ivory. Sharps of ebony. End blocks decorated with moulded ebony lozenge and
Double curved bent side with case and stand of oak. In rectangle shapes. Typical Italianate turned stand and lid
this instrument a Flemish soundboard with its floral stick. Wrestplank, soundboard, and about a quarter of
decoration and rose with initials INC, for which various the jacks are not original.
observers have hazarded a date of ¢. 1688, would appear Previous bistory: Major restoration by Joe Hopwood, 1971,
to have been enclosed in its present oaken case, which Peter Redstone (1979), and Richard Kingston (1984). In
B? suggests was made in England or Germany ¢. 1700. good playing order.
Neither Hubbard nor Dowd, who both worked on it References: EK], Vol. 3, 1984-5, p. 64. No. H-67.
could discover any traces of English workmanship. It Information supplied by: EK].
seems most likely that this is the same instrument Boalch 3 number. CADAVOGLIO(A). n.d.
mentioned in B? as having been formerly in the Berlin Boalch 2 number: None.
Collection, and also possibly in the Snoeck Collection,
Ghent, since the description of the rose, the initials, and CALISTO, JOZE.
the specification are the same. Type: Single-manual harpsichord.
Previous history: Most probably, formerly in the Berlin Date: 1780.
Collection, and the Snoeck Collection, Ghent. Sub- Ownership: PRIVATE COLLECTION, GERMANY.
sequently owned by John Challis, then Professor Ray Inscriptions: Inscribed in front of the nut JOZE CALISTO
McIntyre. 1780.
References: In the Berlin catalogue Sachs simply comments Specification: 2x8".
‘Couchet in Antwerpen’. This was probably a guess, Additional features: 2 hand stops.
based on the initials in the rose, but from a reading of Compass: GG-g’.
the article on Couchet in Part I it will be seen that this Keyboard: White naturals, black sharps.
must be an erroneous interpretation. Photo of the rose Exterior of case: Painted.
available from Professor McIntyre. Scale: 258 mm.
Information supplied by: B?/Dabl{MclIntyre. Length: 2539 mm.
Boalch 3 number: C., 1. N. 1688(A). Width: 955 mm.
Boalch 2 number: 1. Depth: 228 mm.
Remarks: Case of coniferous wood, painted light green
CADAVOGLIO(A). outside with hardwood (Brazilian?) veneer inside. Some
‘Type: Single-manual harpsichord. parts of rosewood and others of palisander. Naturals of

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264 CAMPI
box, and sharps of dark stained wood with ebony tops. realized £7,200. The lowest key and jack were inscribed
The front part of the characteristically Iberian heart-shaped GBC 1688. Sensibly erring on the side of caution, the
stand is original. cataloguer tentatively suggested that the initials were
Previous history: Restored by Bernhard von Tiicher, those of Giovanni Carcassi.
Leitheim. Previous bistory: Sold at Christie’s in July 1980 for £7,200.
References: X-ray photos taken by the Germanisches References: Christie’s Catalogue of July 1980. EM.
Nationalmuseum, Nuremberg. Information supplied by: Christie’s|EM.
Information supplied by: VdM. Boalch 3 number: CARCASSI(A), G. 1688(A)
Boalch 3 number: CALISTO, J. 1780. Boalch 2 number: None.
Boalch 2 number: None.
CARDINALI, MATTEO.
CAMPI, NICCOLO. Type: Polygonal virginal.
Type: Harpsichord (Number of manuals not known). Date: 1659.
Date: 1632. Ownership: GALLINI COLLECTION, MILAN,
Ownership: HON. GEORGE A. DREW, TORONTO, ITALY. Accession number not known.
CANADA. Inscriptions. Signed on nameboard; Matthaei Cardinalis
Inscriptions. Niccols Campi 1632 Florenza. Aguileiae MDCLIX.
Remarks: An instrument with this inscription is listed in Specification: 1x8'(A).
Francl, and is presumably the same one. Remarks: According to Bz, compass of 4 octaves and 1
References: Francl. Illustrated at Alb, p. 23. note.
Information supplied by: Bz. References: Mustrated in Gall.
Boalch 3 number. CAMPI, N. 1632. Information supplied by: B2.
Boalch 2 number: 1. Boalch 3 number: CARDINALI, M. 1659.
Boalch 2 number: 1.
CARCASSI, GIOVANNI.
Type: Polygonal virginal. CARGNONUS.
Date: 1698. Type: Single-manual harpsichord.
Ownership. MUSIKHISTORISKA MUSEET, Date: 1689.
STOCKHOLM, SWEDEN. Accession number not Ownership: ALAIN VIAN, PARIS.
known. Specification: 2x8".
Inscriptions: Inscribed on top and bottom keys; Joannes Previous history: Alain Vian had the instrument in 1957,-
Carcassi Fecit Anno Domini MDCLXXXXVIII, and on though it is not known if he still owns it.
the jackrail; Im cilmbalis (sic) bene sonatibus (sic). The bottom References: Hubb 1965 records this harpsichord with 2x8’
key also bears the legend: Rinaldo Beretoni fecit 1744, and stops, in outer case dated 1689. [p. 38, table 6].
the top Di Propieta (sic) di Leopoldo Franciolini di Firenze. Information supplied by: Bz.
The mention of Franciolini must make the instrument Boalch 3 aumber. CARGNONUS. 1689.
suspect. Boalch 2 number: 1.
Specification: 1x8'(A).
Keyboard: Special naturals, black sharps. CARMO, M. DE S.
Remarks: According to Bz, compass of three and a half ‘Type: Fretted clavichord.
octaves. Brown naturals, black sharps. Date: 1796.
Previous history: Formerly in the Carl Claudius Collection. Ownership: BIBLIOTECA NACIONAL, LISBON,
Restored in 1899 by Robert Berg, Stockholm. PORTUGAL.
Information supplied by: Bz. Number: 12.
Boalch 3 number: CARCASSI, G. 1698. Inscriptions: Mel de Sa Carm” senior fez na rua dirf* de Sf?
Boalch 2 number: 1. Ildefonso da Cid. do Porto. a. 1796.
Compass: FF-P.
CARCASSI(A), GIOVANNI. Keyboard: White naturals, black sharps.
Type: Single-manual harpsichord. Exterior of case: Painted.
Date: 1688(A). Scale: 276 mm.
Ownership: Not known. Length: 1417 mm.
Inscriptions: On the lowest key and jack GBC 1688. Width: 438 mm.
Remarks: Writing in the ‘London Salerooms’ section of Depth: 136 mm.
EM, Vol. 9, No. 1, January 1981, p. 85, Graham Wells Remarks: Sixty-one keys, forty-six courses. Keys of chest-
reported on the Christie’s July 1980 sale: ‘...with the nut, roof-carved with guide slips of iron. Naturals, box,
exception, perhaps of the single-manual harpsichord. ... with two scorings and fronts carved into keylevers. Sharps
Attributed to the late 17th century Florentine School, it rosewood. Soundboard pine. Bridge and nut of beech.

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 CELESTINI 265
Case of pine, later painted externally to look like wood. Boalch 3 number. CASSUS, J. n.d.
Keyboard has been re-drilled, the original balance pin Boalch 2 number: 1.
positions would not have fitted on the balance rail. The
latter has not been moved. CASTELLETTI, D. MATTEO.
Information supplied by: Bz|Weldon. ‘Type: Single-manual harpsichord.
Boalch 3 number. CARMO, M. DE S. 1796. Date: 1704.
Boalch 2 number: 1. Ownersbip: HOTEL GRITTI PALACE, VENICE,
ITALY. Accession number not known.
CASSUS, JESSES. Inscriptions: On the lowest key: D. Matteo Castelletti in
Type: Single-manual harpsichord. Sorrento. 1704
Date: Not known. Specification: 1x8".
Ownership: DR. ROBERT A. JOHNSON, Compass: C/E-c’, short octave.
ENCINITAS, CALIFORNIA, USA. Keyboard: White naturals, black sharps.
Inscriptions: An inscription which is very uncertain is Number of roses: None.
normally taken to be Jesses Cassus. Whether this is the Exterior of case: Painted.
maker, a repairer or a former owner is not known. Scale: 308 mm.
Specification: 2x8’, L. Length: 1910 mm.
Compass: AA-P. Width: 750 mm.
Keyboard: White naturals, black sharps. Depth: 227 mm.
Number of roses: 2. Remarks: Probably the latest single-strung Italian harp-
Scale: 229 mm. sichord. A full description of the instrument is to be
Length: 1613 mm. found in EM May 1989, pp. 216-18. This gives details
Width: 826 mm. of the alterations carried out during its life. It also
Depth: 254 mm. describes the internal decoration. The lid interior main
Remarks: The possible form of the name of the maker is portion contains a painting of Poseidon, and the smaller
discussed in most of the standard works concerning the flap shows the nude Galatea. Dimensions refer to the
English harpsichord. Its attribution to an English maker outer case.
is based mostly on inclusion of the coat of arms of one Previous bistory: The harpsichord was acquired from a local
antiques dealer, Beppe Patitucci, at a Venetian Palazzo
of the royal houses of England, and the style of decoration
where it had evidently been situated for many years.
around the keywell which is very reminiscent of the
Restored to playing order by Bartolomeo Formentelli in
English virginals of the seventeenth century. This includes S. Pietro in Coriano, near Verona. Some parts show
the letters ER, which could be Elizabeth Regina, while,
evidence of an earlier restoration. It now stands in an
according to the owner, the painting on the bent side
anteroom of the Hotel Gritti Palace in Venice, where,
appears to be the sinking of the Spanish armada, and that
according to Libin and Shanks, it has stood since 1984.
on the inside of the lid, clearly of another style, bears
References. EM, May 1989, pp. 216-18, which also gives
close resemblance to Portsmouth harbour as it would
other relevant references.
have been in the eighteenth century. The sharps are
elaborately inlaid, and said by some observers to resemble
Information supplied by: EM|Libin-Shanks.
Boalch 3 number: CASTELLETTI, D, M. 1704.
closely the sharps of an English virginal in the Brussels Boalch 2 number. None.
Museum by Gabriel Townsend. Boxwood naturals with
four scorings, and a drawer under the keyboard. Name-
board decorated with gilt paper embossed with the coat CAUSTO, JOSE.
of arms of one of the royal houses of England. One Type: Harpsichord (number of manuals not known).
register is always ‘on’, and the other is operated by a Date: Not known.
small knob on the right cheek of the instrument outside Ownership: PRIVATE COLLECTION, GERMANY.
the case. Raised on framed stand with seven legs. Remarks: Nothing further is known of this instrument
Previous history: Previously owned by Dr. Robert B. Haas which was reported by Koster.
of Los Angeles, whose wife purchased it from an antique Information supplied by: Koster.
dealer in San Francisco. Listed erroneously in Bz as being Boalch 3 number: CAUSTO, J. n.d.
in the possession of the University of Arizona—Dr. Boalch 2 number: None.
Johnson confirmed in 1989 that it was still in his
possession. CELESTINI, GIOVANNI.
References: Hubb 1963 pp. 141-2. Russell19s9, pp. 69-70. Type: Polygonal virginal.
Illustrated at Br, plate XXI, and several other treatises Date: 1587.
on English harpsichord building. Ownership: DR. ANDREAS BEURMANN,
Information supplied by. B2/Hubb 1965|Jobnson. HAMBURG, GERMANY. Nuwaber: 06

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266 CELESTINI
Inscriptions: Joannis Celestini Veneti MDLXXXVII. LONDON, ENGLAND.
Specification: 1x8". Number. RCM176.
Number of roses: 1. Inscriptions: Joannis Celestini Veneti MDXCIII.
Remarks: Shown in error in Bz as a harpsichord. Rose Specification: 1x8".
identical with one of the roses in instrument number Compass: C/E-P, short octave.
CELESTINI, G. 1594. Keyboard: White naturals, black sharps.
Previous history: Formerly at Highcliffe Castle, then in the Number of roses: 1.
collection of F. R. Greenen, Bournemouth. Believed to Style of rose: Parchment.
have been acquired by Dr Beurmann at a Sotheby’s sale Case construction: Italian style— false inner/outer.
on 25 October 1988. Scale: 308 mm.
References: Further details from Dr Beurmann. See also Length: 1413 mm.
EM, Vol XVIII, No 2, May 1989, p. 233, and Sotheby’s Width: 376 mm.
catalogue of sale on 25 October 1988. Depth: 186 mm.
Information supplied by: Bz|Bexrmann. Remarks: Hexagonal case. Naturals of ivory with fruit-
Boalch 3 number: CELESTINI, G. 1587. wood fronts and sharps of ebony.
Boalch 2 number: 1. References: J, p. 101.
Information supplied by: B2|O” BrienPC.
Type: Polygonal virginal. Boalch 3 number: CELESTINI, G. 1593.
Date: 1589. Boalch 2 number: 2.
Ovnership: GEMEENTEMUSEUM, THE HAGUE,
NETHERLANDS. Type: Polygonal virginal.
Number: Ecio-1970. Date: 1594.
Inscriptions: IOANNIS CELESTINI VENETI Ownership: MUSEUM FUR KUNST UND GEWERBE,
MDCLXXXIX. HAMBURG, GERMANY,
Specification: 1x8". Number: 1908.69.
Compass: C/E-f', short octave. Inscriptions: _JOANNIS CELESTINI WENETI
Keyboard: White naturals, black sharps. MDXCIIII.
Number of roses: 1. Specification: 2x8".
Style of rose: Geometrical pattern. Keyboard: White naturals, black sharps.
Exterior of case: Painted. Number of roses: 2.
Case construction: Italian style false inner/outer. Style of roses: Geometrical pattern.
Scale: 326 mm. Exterior of case: Painted.
Length: 1612 mm. Length: 1595 mm.
Width: 512 mm. Width: 755 mm.
Depth: 198 mm. Depth: 200 mm.
Remares: In rectangular outer case, the keyboard partially Remarks: According to Dr. Andreas Beurmann, who
protruding. Boxwood naturals with boxwood gothic possesses the Celestini virginal of 1587 (see above), this
arched arcades a black paper background; fruitwood instrument is double strung, the rear 8’ being engaged
sharps with ivory buttons on top, and atop all mouldings by a push-pull movement of the keyboard. This is
on the inner case. Inside the lid is an allegorical painting confirmed by Dr. Pilipczuk of the Museum. The jacks,
of a nude woman sleeping beside a child. The outer case which are possibly original, have no tongues and instead
plain dark green. Raised on a turned trestle stand. there is a 6 mm.-wide leather ‘roll’ with a flat-cut appendix
Previous history: Bought from the dealer W. A. Seidler. to the string’s side serving as a plectrum and damper in
Formerly in the René Clemencic Collection, Vienna, and one. This may be seen in photos obtainable from the
earlier in the Correr Collection, Venice. Restored at least Museum. Natural keys are arcaded. Sharps are recessed
twice, the second occasion being described in the reference into the front board. Keyboard half projects from the
OK. case. The whole case is elaborately decorated, suggesting
References: Mlustrated in Clem, pp. 6 7. A full account of that it did not have an original outer case. Raised on
the restoration is at OK in Dutch and English. See also a five-legged stand which is probably modern. Two
A. W. Ligtvoct, ‘Spinet van Celestini in het Haags geometrical roses of carved wood and parchment. Scale
Gemeentemuseum’ in Mens en Melodie, 25 (1970), p. 337- is given as 750 mm., but this must refer to middle c, and
Information supplied by: B2|OK|FaagC1.|O’
Brien. not to pitch c.
Boalch 3 number: CELESTINI, G. 1589. Previous history: Bought by the Museum in 1908 from
Boalch 2 number: 1a. Siegfried Lammle, Munich. According to Bz, sent away
during World War I; now (¢. 1974) housed in the
Type: Polygonal virginal. Muscum fiir Kunsthandwerk, Dresden. According to Dr.
Date: 1593. Ownership: ROY AL COLLEGE OF MUSIC, Beurmann, it was stored in the cellars of a Saxon castle

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 CELESTINI 267
since the end of World War Il, and returned to the and cypress. Raised on two separate trestles—one of two
Museum in Hamburg early in 1989. legs at the front, and a single leg at the back—both
References: Brinck-Ber, 1908, p. 1 with photos of details, painted greyish green on a gesso ground. Dimensions
also p. 20, and pp. 35-6. Brinck-Flug, No. 3, p. 2. refer to outer case.
Gottschewski No. 17, p. 6. Gennrich, V. 1916, p. 3. Toffolo, Previous history: From the R. S. Williams Collection.
p. 158. References: ROM pp. Go-1 (Illustrated). WraightCelGSJ
Information supplied by: Bz|Bexrmann|Pilipcyuk. (Illustrated).
Boalch 3 number. CELESTINI, G. 1594. Information supplied by: B2|ROM|WraightCelGS].
Boalch 2 number: 3. Boalch 3 number: CELESTINI, G. 1596.
Boalch 2 number: 4.
Type: Single-manual harpsichord.
Date: 1595. Type: Polygonal virginal.
Ownership: R. M. ROSENBERG, LAFAYETTE, Date: 1608.
CALIFORNIA, USA. Accession number not known. Ownership: KUNSTHISTORISCHES MUSEUM,
Inscriptions. Celestini (on nameboard). Signature lettering VIENNA, AUSTRIA.
resembles that of instrument CELESTINI, G. 1589. Number: 122.
Specification: 2x8". Inscriptions: Joannis Celestini Veneti MDCVIII.
Compass: C/E-c’. Compass: C/E-P, short octave.
Number of roses: 1. Previous history: Formerly in Schloss Catajo.
Remarks: In Bz this instrument appears as number 3a and References: See Luith, p. 20.
number 9. They are the same instrument (confirmed Information supplied by: B2|StradnerPC.
by GL). Now 2x8’ stops, but originally 1x8’. Elaborate Boalch 3 number: CELESTINI, G. 1608(1).
rose resembling that in instrument CELESTINI, G. Boalch 2 number: 6.
1610. Wrestplank-face has string-gauges: 4, 2, 5, 7,
8, 9. Type: Single-manual harpsichord.
Previous history: Acquired in Italy by present owner in Date: 1608.
1960. Restored by Kaufman in Brussels, 1961, and outer Ownership: MUSEUM FUR KUNST UND GEWERBE,
case added. HAMBURG, GERMANY.
Information supplied by: B2/GL. Number: 1904.711.
Boalch 3 number. CELESTINI, G. 1595. Inscriptions: — IOANIS CELESTINI VENETI
Boalch 2 number: 9/ 3a. MDCVIII.
Specification: 2x8’.
Type: Single-manual harpsichord. Compass: C/E-f, short octave.
Date: 1596. Keyboard: White naturals, black sharps.
Ownership: ROY AL ONTARIO MUSEUM, Number of roses: 1.
TORONTO, CANADA. Accession number not known. Style of rose: Geometrical pattern.
Inscriptions: Inscribed according to ROM: Johannis Celestini Exterior of case: Painted.
Veneto MDXCVI. According to museum accession card : Case construction: Italian style, inner/outer.
Jobannes Celestini Veneti MDXCVI. Scale: 254 mm.
Specification: 2x8’. Length: 1805 mm.
Compass: C/E-P, short octave. Width: 816 mm.
Keyboard: White naturals, black sharps. Depth: 183 mm.
Number of roses: 1. Remarks: Was shown in Bz as a Pol. V, but is in fact a
Style of rose: Geometrical pattern. harpsichord. The distal ends of the key levers are ‘s’
Exterior of case: Painted. shaped. Exterior of outer case painted in panels with
Case construction: Italian style, inner/outer. neo-classical designs. Interior of lid with allegorical scenes.
Scale: 238 mm. The Museum description states that the stand is not the
Length: 1791 mm. original, and from the photo supplied, though it is clearly
Width: 818 mm. Italianate with a front and rear trestle with highly ornate
Depth: 182 mm. legs, it looks slightly too large.
Remarks: Boxwood arcaded naturals; black painted sharps. Previous history: Received by the Hamburg Museum in
The distal ends of the keylevers are ‘s’ shaped. Outer case 1904 from the bequest of the piano maker Adolph
painted with a yellow line decoration. Inside, on lid a Heinrich Emil Koch (1847-1902) and his wife Maria
painting on canvas of dancing and singing putti (see (1851-1904). According to Bz sent away during World
illustration on cover of ROM, and pl. VIII of Wraight- War II, and in 1974 was in the Eastern Zone. By 1989
CelGSJ). Rose of wood and paper. Registers project it was back in Hamburg.
through cheek—no handstops. Instrument (inner) of cedar References: Brinck-Ber, 1904, p. 16. Brinck-Flug, No. 4, p-

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268 CELESTINI(A)
3. Gottschewski, No. 17, p. 5. Samer, p. 26. Hirt, 1955, p. roses); scribe lines on bottom boards show the instrument
218—illustration, p. 220. Hirt 1981, p. 138 (given with to be seventeenth-century. It is also believed that the lid
incorrect inventory number). WraightCe/GSJ. painting is based on an engraving by Jacques Callot dated
Information supplied by: Bz|Pilipczuk|Hirt|WraightCelGSJ. 1622. Outer case panels painted with landscape scenes.
Boalch 3 number: CELESTINI, G. 1608(2). Raised on Italian style stand.
Boalch 2 number: 7. Previous history: Has Morley’s label.
References: WraightCel. R. van Acht, ‘Inventieve constructic
Type: Rectangular virginal. van een gerestaureerd klavicimbel van Celestini’ in Mens
Date: 1610. en Melodie, 38 (1983), p. 59-63. HaagCL, p. 15. including
Ownership: BRUSSELS MUSEUM, BRUSSELS, illustration. WraightCelGS].
BELGIUM. Information supplied by: B2|/WraightCel/WraightCelGSJ/
Number: 1590. HaagCL/Kottick.
Inscriptions: Jean Tournay quotes, but it is probably from Boalch 3 number: CELESTINI(A), G. 1605(A).
Mabillon: Arci Spineta loanes Celestini, Venetus, MDCX. Boalch 2 number: 5.
Compass: C/E-P, short octave.
Remarks: Jean Tournay writing to CMM on 25 April CELINI, NICHOLAS.
1985 reports that unusually the jacks are all arranged with Type: Two-manual harpsichord.
their plectra pointing towards the spine. Date: 1661.
Previous history: Formerly in the Correr Collection. Ownersbip: MICHAEL THOMAS, SAUSSINES,
References: Mab. FRANCE.
Information supplied by: B2|Towrnay. Inscriptions. NICHOLAS CELINI NARBONIENSIS
Boalch 3 number: CELESTINI, G. 1610. 1661.
Boalch 2 number: 8. Specification: 1: 2x8"; U: 1x4’.
Additional features: No coupler.
CELESTINI(A), GIOVANNI. Compass: C-c’.
Type: Single-manual harpsichord. Keyboard: Black naturals, white sharps.
Date: 1605(A). Exterior of case: Painted.
Ownership. GEMEENTEMUSEUM, THE HAGUE, Stale: 300 mm.
NETHERLANDS. Length: 2140 mm.
Number: Ec343—-1933- Width: 770 mm.
Inscriptions: IOANNIS CELESTINI MDCV on name- Remarks. There may be some confusion between this
board. Though not original it is in Venetian style. instrument, and that shown below as being by Giovanni
Specification: 2x8". Cellini, and caution should be exercised in using the
Compass: GG,AA-P. following information. The present keyboards, with 49
Keyboard: White naturals, black sharps. keys, are new (made in 1987 by Remy Gug of Strasbourg)
Number of roses: 3. and have ebony naturals and bone sharps. The original
Style of roses: Parchment. compass was possibly GG/BB-c’. The instrument is
Exterior of case: Painted. currently strung in brass and was probably originally
Case construction: Italian style, inner/outer. tuned a minor third lower than A 440 Hz. The case-sides
Scale: 306 mm. are in walnut but with painted borders. The stand is
Length: 2410 mm. peculiarly Spanish or Portuguese in style.
Width: 1035 mm. Previous history: Offered at auction at Kunsthaus im
Depth: 285 mm. Welserhof, Peter Golitz, Augsburg on 14 November 1987.
Remarks: Instrument is almost certainly not by Celestini, The French Government telephoned during the auction
despite the inscription, and is probably dated a little after to prevent the sale. It is reported that an English collector
1622. Keyboard is not original though it is of the same had already made a bid by this time, and that the
compass as the original. Wraight (see reference below) has instrument was finally sold privately to a private collector
carried out an exhaustive examination to determine shortly after the auction. Acquired by Michael Thomas
whether the instrument is by Celestini, and concludes on in 1991.
the basis of the following factors that it is not: Soundboard References: Ilustrated on the cover of the sale catalogue.
of spruce (not found in original sixteenth-century Venetian Information supplied by: Henning|Champ| Thomas.
harpsichords); nameboard (not of cypress as is the rest of Boalch 3 number. CELINI, N. 1661.
the instrument) not original, though in appropriate Boalch 2 number: None.
style; comparison of case mouldings with other Celestini
instruments shows that this instrument has entirely differ- CELLINI(A), GIOVANNI.
ent mouldings; rose of parchment is not like other Type: Two-manual harpsichord.
Celestini roses (according to HaagCL there are three Date: 1661.

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 CHRISTENSEN 269
Ownership: PRIVATE COLLECTION, SULZBURG, Inscriptions: Joannis Chianei V eneti opus anno MDCCLXXI.
GERMANY. Specification: 2x4’.
Remarks. Only very sparse information is available on Compass: C/E-c', short octave.
this, possibly the only surviving instrument by Giovanni Case construction: Italian style—false inner/outer.
Cellini. In view of the date of the instrument, and the Scale: 142 mm.
likelihood that Cellini died in 1527 or 1528, this instrument Remarks: Similar to instrument number CHIANEI, G.
may be spurious. It is also possible that there is confusion 1766 in the Handelhaus, Halle.
between this instrument and that shown above by Nicholas References: Mouldings shown in Hellwig. Huber, p. 135.
Celini. Care should therefore be exercised when using the Information supplied by: B2|Hellwig/Huber.
data relating to either of these instruments. Boalch 3 number. CHIANEI, G. 1771.
Previous history: Restored by Remy Gug, Strasbourg, Boalch 2 number: 2.
France.
Information supplied by: Bemman|WraightPC. Ch, M.
Boalch 3 number: CELLINI(A), G. 1661. ‘Type: Single-manual clavicytherium.
Boalch 2 number: None. Date: 1740.
Ownership. GEMEENTEMUSEUM, THE HAGUE,
CENTAMIN, PETRUS. NETHERLANDS.
Type: Virginal. Number, Ec 61973.
Date: 1711. Inscriptions: On the inside of the lid M.Cb. 1.7.40. (HaagCL
Ownership: DEUTSCHES MUSEUM, MUNICH, actually gives the inscription as M.C.b. 1.7.4.0., but the
GERMANY. Accession number not known. illustration does not bear this out).
Inscriptions: Signature on jackrail; Petrus Centamin faciebat Specification: 2x8".
in Venetia Calle de Carbon No 277' Anno 1711. Compass: C,D-c’.
Specification: 1x8'(A). Keyboard: White naturals, black sharps.
Remarks: Four and a half octaves. Split sharps. Number of roses: 1.
Information supplied by: Bz. Style of rose: Geometrical pattern.
Boalch 3 number. CENTAMIN, P. 1711. Exterior of case: Plain wood.
Boalch 2 number: 1. Scale: 291 mm.
Length: 2295 mm.
CHIANEI, GIOVANNI. Width: 845 mm.
Type: Octave harpsichord. Depth: 215 mm.
Date: 1766. Remarks: The identity of the maker is by no means clear
Ownership: HANDEL-HAUS, HALLE, GERMANY. and could be ‘M. Ch’, or ‘Ch. M.’ On modern stand.
Number: 70. Rose is modern. Though the soundboard looks new it
Inscriptions. Joannis Chianei Veneti opus anno MDCCLXV1, is, in fact, probably original [Champ].
‘on the nameboard, but this is thought to be not original, Previous bistory: Formerly Marc Champollion.
though according to HeydeHH, it is thought to be a References: HaagCL, p. 37.
seventeenth-century instrument. Information supplied by: HaagCL|Champ.
Specification: 2x4’. Boalch 3 number: Ch. M. 1740.
Compass: C/E-c’, short octave. Boalch 2 number: None.
Remarks: Bz describes it as a harpsichord, but in view of
its specification and the fact that it is similar to the CHRISTENSEN, M.
instrument in the Germanisches Nationalmuseum, it Type: Fret-free clavichord.
would seem more sensible to call it an octave harpsichord, Date: 1759.
and this is born out by the description in HeydeHH. Ownership: MUSEUM PA FREDERIKSBORG,
Previous history: The instrument belonged until 1938 to HILLEROD, DENMARK.
the Graf Kielmannseck in Wiesbaden. Number: B 2322.
References: HeydeHH, pp. 10-11. Inscriptions. M. Christensen fecit|Hafniae 1739.
Information supplied by: B2|HeydeHH. Compass: C-P.
Boalch 3 number. CHIANEI, G. 1766. Number of roses: None.
Boalch 2 number: 1. Remarks: Fifteen octave strings in bass. Has ‘Panta-
leonzug’, an extra set of tangents raised by a front handle.
‘Type: Octave harpsichord. The extra tangents are on the right of the normal ones
Date: 1771. [See under Hebenstreit in Part I].
Ownership: GERMANISCHES NATIONALMUSEUM, Previous history: Given to the Museum in 1916 by Count
NUREMBERG, GERMANY. Wedell-Neergaard of Svenstrup Manor, Borup, Denmark.
Namber: MINe 80. References: Hirt p. 122, No. 16. Madler.

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270 CHRISTOPH
Information supplied by: B2|Weldon Ownership: METROPOLITAN MUSEUM OF ART,
Boalch 3 number: CHRISTENS M. 1759. NEW YORK, USA.
Boalch 2 number: 1. Namber: 44.149.
Inscriptions: Jobaxnes Clemm fecit Philadelobia (sic) 1739.
Specification: 1x8’.
CHRISTOPH. Compass: FF-c’.
Type: Harpsichord (Number of manuals not known). Keyboard: White naturals, black sharps.
Date: 1789(A).
Ownership: RHODE ISLAND SCHOOL OF DESIGN, Exterior of case: Plain wood.
Length: 1885 mm.
PROVIDENCE, R.I., USA. Accession number not Width: 685 mm.
known. Depth: 202 mm.
Inscriptions: Christoph Fecit London 1789. Remarks: Most probably the earliest surviving spinet built
Specification: 2x16; 1x8’.
in America. The rose is missing. Case walls surround
Remarks: Thought to be an early ‘revival’ instrument, bottom boards. Keyboard is a modern piano-style replace-
whose maker, according to Bz knew nothing about ment with ivory naturals and ebony sharps. Original
harpsichords. compass was probably GG-d’. Action not original.
Information supplied by: B2. Though the instrument has been much rebuilt, the stand
Boalch number: CHRISTOPH. 1789(A). with three legs and turned stretchers is probably original.
Boaleh 2 number: 1. Previous history: Mrs. J. Amory Haskell, Red Bank, New
Jersey, and New York City. Purchased by the Museum
CLARELLI, GERONIMO. using the Rogers Fund in 1944.
Type: Single-manual harpsichord. References, Walter Edward Mann, Piano making in Pbil-
Date: 1695. adelphia before 1825. Ph.D. dissertation. University of lowa,
Ownership: Not known. 1977, P- 31, 88 ff, 120-3, 203 for discussion of maker.
Inscriptions: Hieronymi Clarelli Vicentini 1695. Laurence Libin American musical instruments in the Met-
Specification: 2x8". ropolitan Museum of Art, New York: MMA, 1985, pp.
Keyboard: White naturals, black sharps. 157-8. LibinKI, p. 27 (Illustrated). MMACL. Photo
Exterior of case: Painted. (negative number 133518) may be ordered from the
Length: 1753 mm. Museum.
Width: 737 mm. Information supplied by: B2|MMA|LibinKI|MMACL.
Remarks: Compass of four octaves. Boxwood naturals. Boalch 3 number: CLEMM, J. G. 1739.
Painted exterior case. Boalch 2 number: 1.
Previous history: \t belonged to Alfred du Cros and was
shown at the Crystal Palace in 1900. Sold at Sotheby's COENEN, JOHANNES JOSEPHUS
on 11 February 1938. Type: Combined two-manual harpsichord and virginal.
References: Sotheby’s catalogue of 11 February 1938. Date: 1735.
Information supplied by: B2. Ownership: MUSEUM PLANTIN MORETUS,
Boalch 3 number: CLARELLI, G. 1695. ANTWERP, BELGIUM. Accession number not
Boalch 2 number: 1. known.
Inscriptions: Over the keys of the harpsichord: Joannes
Josephus Coenen presbyter et organista cathedralis me fecit. Over
CLAUDIUS, C.
Type: Clavichord. the keys of the virginal: Ruraemundae Ao 1735.
Date: Not dated. Specification: Harpsichord: 2x8’, 1x4’. Virginal: 1x8’.
Compass: Harpsichord: GG/BB-c’, short octave. Virginal:
Ownership: MUSIKHISTORISK MUSEUM,
COPENHAGEN, DENMARK. Accession number not C,D-c’.
known.
Keyboards: White naturals, black sharps.
Compass: According to Bz: Four octaves, C/E-C with
Number of roses: 2. Style of roses: Gilded.
short octave.
Exterior of case: Painted.
Remarks: Nothing further is known of the instrument.
Scale: 352 mm.
Remarks: Two-manual harpsichord with virginal built
Information supplied by: Bz.
into the bent side so as to make a completely rectangular
Boalch 3 number: CLAUDIUS, C. n.d.
instrument. The outside of the case is painted black.
Boalch 2 number: 1.
Inside the lid is a scene of St. Cecilia playing an organ
surrounded by four putti and a pastoral scene in the
CLEMM, JOHANN GOTTLOB. distance. Soundboard decorated with flowers and birds.
Type: Wing spinct. Of the two gilt roses, one is a replacement for one which
Date: 1739. was destroyed when the instrument was damaged in the

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 COLLESSE 271
1939-45 war. Both contain the date 1734. Naturals ivory, Poste le 13m|d octobre|1667.
sharps ebony. Specification: i: 1x8’, 1x4’; U: 1x8".
Previous history: Made by Jan Coenen organist of Roermund Additional features: Harp stop, coupler.
cathedral in 1734 and subsequently in the home and Compass: GG,AA-d.
printing works of the Plantin Moretus family ever since. Keyboard: Black naturals, white sharps.
References: L. Voet. The Golden Compasses; the History of Number of roses: 1.
the bouse of Plantin Moretus, Vol. 1, Amsterdam, 1969. E. Style of rose: Parchment.
Closson. L’ornamentation en papier imprimé des Clavecins Exterior of case: Painted.
anversois. Scale: 332 mm.
Information supplied by: Bz/Owners|Russell19
39. Length: 2150 mm.
Boalch 3 number: COENEN, J. J. 1735. Width: 765 mm.
Boalch 2 number: 1. Depth: 259 mm.
Remarks: Though the above inscription is found on an
COLCIONIUS, STEFANUS. internal strut, remains of glue on it indicate that it was
Type: Pentagonal virginal. once glued to something else and the piece has been
Date: 1641. crudely reduced in width cutting off part of the inscription.
Ovnersbip: MUSEUM FUR KUNSTHANDWERK, Koster states that it is quite possible that this strut was
LEIPZIG, GERMANY. taken from another instrument and inserted much later
Number: 09.279. than 1739. The second inscription under the soundboard
Inscriptions: According to Henkelr: In ink on the back of gives the date 1667 and suggests that this earlier date
the fascia board: Stefanus Colcionius Pratensis 1641. Henkel may be more accurate. Germann ascribes the soundboard
suggests the inscription is false, but dates the instrument painting to a painter who also worked for members of
in the first half of the seventeenth century. the Denis family, and Barbara Lambert thought (¢. 1978)
Specification: 1x8". that the initials L.D. could be seen on the soundboard—
Compass: C/E-P, broken octave. but it subsequently transpired that these were irregularities
Keyboard: White naturals, black sharps. in the wood grain. The instrument differs significantly
Exterior of case: Plain wood. from other surviving Denis harpsichords, and is therefore
Case construction: Italian style, inner/outer. unlikely to be by a member of this family. Compass
Scale: 328 mm. originally GG/BB-c’. Naturals ebony with carved trefoil
Length: 1611 mm. fronts. Sharps of bone. Case primarily of walnut. Spine,
Width: 565 mm. bottom and interior of fir. Soundboard spruce. Exterior
Depth: 210 mm. now painted, probably originally plain walnut. Interior
Remarks: Bz reported this instrument erroneously under around soundboard and keycheeks covered with marbled
Bolcioni, Janus. There is still a possibility that the paper over which are punched and gilt metal reliefs,
instrument is by Stefanus Bolcioni, but the ascription Soundboard has painted borders, flowers, etc. Much
must remain dubious in view of Franciolini’s involvement damaged parchment rose. Original Louis XIII style stand.
with instruments ostensibly by these makers. Naturals of Modern lid. Treble of the 8’ bridge was moved back and
box, with box arcades. Sharps of black-stained pear. The the 4’ nut moved forward during ravalement to lengthen
outer case has been lost since before 1911. scaling. Original scaling at ct was about 260 mm. Because
Previous bistory: Obtained from Kommerzienrat Pfeiffer, of the considerable doubt surrounding the instrument,
Stuttgart, for the Museum in 1911, and since 1935, on the Museum now records it as by an anonymous maker.
loan to the Musikinstrumenten Museum of Leipzig Previous history: Formerly the property of E. M. Ripin
University. who acquired it from André Mayer, Paris.
References: Henkelr, p. 112. References: Acoustic tests carried out by E. L. Kottick,
Information supplied by: B|Henkels|Wraight. see Kottick-response. Data sheets by John Koster available
Boalch3 number. COLCIONIUS, S. 1641.
from the Museum. Boston Cat.
Boalch 2 number: +.
Information supplied by: B2|MF A.
Boalch 3 number: COLLESSE(A), 1. H. 1739(A).
COLLESSE(A), I. H. Boalch 2 number: 1.
Type: Two-manual harpsichord.
Date: 1739(A).
Ownership: MUSEUM OF FINE ARTS, BOSTON, COLLESSE, JOSEPH.
USA. Type: Two-manual harpsichord.
Number: 1977-55. Date: 1768.
Inscriptions: Anscription on strut: PAR 1H. Ownership: PRIVATE COLLECTION, FRANCE.
COL(LESSE)|A LION 1739, but this reading is only Inscriptions: J. Collesse a Lion, 1768.
tentative. Under the soundboard in ink or black crayon Compass: FE-P.

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272. COLLESSE(A)
Remarks: Compass of 5 octaves and 1 note. CANADA.
References: ChamP. Specification: 2x8’, 1x4’.
Information supplied by: Bz. Additional features. Harp stop, shove coupler.
Boalch 3 number. COLLESSE, J. 1768. Compass: F-P.
Boalch 2 number: o1. Number of roses: 1.
Remarks: Date and maker attributed by Hubbard on the
Type: Two-manual harpsichord. grounds of similarity with instrument number COLESSE,
Date: 1775(A). J. 1775(A) in the Musée Instrumental, Paris. Painted rose
Ownership: MUSEE INSTRUMENTAL, PARIS, without initials. Painting inside lid signed M. Lebart [?]
FRANCE. and dated 1778.
Number: 979.2.4. Previous bistory: Mr. Koerner bought it at auction at Parke
Inscriptions: Inscribed on soundboard, Commence par loseph Bernet’s in 1956, and was known to have it still in 1971.
Collesse Fini par Jean Franky 1777 [Bz]. (The Musée At one time it belonged to Mrs. Armour, Chicago.
Instrumental, Paris and Pwssian give the spelling of the Restored by Hubbard and Dowd.
latter as Francky.) ECMIFB also shows an inscription on Information supplied by: Bz.
a key +/J: C:/anno-/1773, while Pussia reports that the Boalch 3 number. COLLESSE(A), J. 1760(A)-
keyboards are signed Collesse 1775, the jacks are inscribed Boalch 2 number: 2[?).
Francky 1777, the rose is dated 1775, and the four-foot
hitchpin rail has 1777. Behind the nameboard in pencil: COLLESSE(A), L’AINE.
M. Mercié fera les flewrs et les guirlandes. ‘Type: Two-manual harpsichord.
Specification: 2x8’, 1x4’. Date: 1768.
Additional features: Shove coupler. Ownership: LOUIS DE VARAX, CHATEAU DE
Compass: EE-P. TERREBASSE, ISERE, FRANCE.
Keyboard: Black naturals, white sharps. Inscriptions: Inscription on the rose: Colesse @ Lyon 1768.
Number of roses: 1. Number of roses: 1.
Exterior of case: Painted. Remarks: Although not certain, it seems probable that
Length: 2330 mm. Collesse |’Ainé was responsible for this instrument.
Remarks: Shown in the checklist of the Musée Instrumental Information supplied by: Bz. .
as Colesse|Francky, with date 1775/77. Appears in ECMIFB Boalch 3 number: COLLESSE, L’AINE. 1768.
with dates 1774-1777. It would appear that Collesse Boalch 2 number: 1.
started the instrument in 1774/5 and it was finished by
Francky in 1775. Blackwood naturals with arcaded fronts. CONRAD, JOHANN GOTTLIEB.
Blackwood sharps topped with ivory or bone. Painted Type: Fret-free clavichord.
soundboard. Simple external case painted in panels with Date: 1804-6.
gilt bands. Keywell with painted central medallion flanked Ownership. MUSIKINSTRUMENTEN MUSEUM,
by swags of foliage. Pwssiaw has been able to ascertain BERLIN, GERMANY.
that these, together with the similar garlands around the Number: 4001.
inner rim, over the soundboard, were executed by Jacques Remarks. The date is at present uncertain. According to
Mercié (or Mercier) of Lyons, after the instrument as a Bz, a maker of this name is mentioned for 1804 and 1806
whole had been painted by another artist. The soundboard [C. Sachs, in ZI, Vol. 32, 1912, p. 1088]. The Museum
is painted with a maritime scene. Pwssiaw reports that the simply gives the date as ¢. 1800.
wrestplank is decorated with ‘un long radis rouge’ (is this Information supplied by: B2|Droysen-Reber| Elste.
really a long red radish?) indentical to that on instrument Boalch 3 number: CONRAD, J. G. 1804-6.
STIRNEMANN, J. 1777. Raised on typical French apron Boalch 2 number: 1.
stand with seven carved cabriole legs.
Previous history. Owned at one time by the Comtesse H. CORDELIER.
de Chambure. Exhibited in London, Edinburgh and Type: Two-manual harpsichord.
elsewhere in Great Britain in 1973. Date: 1768.
References: ECMIFB, p. 10, (Illustrated). Ownership: PRIVATE COLLECTION, PARIS,
Information supplied by: B2|MICL|ECMIFB| Pussian. FRANCE.
Boalch 3 number. COLLFSSE, J. 1775(A). Inscriptions: A nameboard on this harpsichord, but not
Boalch 2 number: 1. related to it reads: Fait par le P. Ma. Cordelier a Avignon
Lan 1768.
COLLESSE(A), JOSEPH. Remarks: Bz suggests that Cordelier was a priest.
Type: Two-manual harpsichord. Information supplied by: Bz.
Date: 1760(A). Boalch 3 number. CORDELIER. 1768.
Ovnership: MICHAEL M. KOERNER, TORONTO, Boalch 2 number: 1.

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 COUCHET 273
CORTONA. stringing. Name inscription on boxwood plaque. Sound-
Type: Harpsichord (Number of manuals not known). board extensively decorated with flowers, fruit, and
Date: 1678. foliage, inhabited by parrots. Three brass-knobbed hand
Ownership: Not known. levers with gilt vinous decoration controlling the two 8’
Exterior of case: Painted. and one 4’ stops. Raised on trestle stand with turned legs.
Remarks: Misch-1979 II says (p. 220) that Cortona is Previous history: Shown at the International Inventions
synonymous with Boni (¢.v.). Painted white, with flowers; Exhibition. London. 1885 [p. 19 of William Dale’s
seascape on lid. catalogue (full title in Part 1 under Coston)] when it
Previous bistory: This harpsichord by Cortona was shown belonged to the Dowager Lady Heathcote. Bought for
at the Paris Exhibition of 1889. £400 in 1926 as a present for his god-daughter on her
References: ErnstP. Pu. marriage to the Rev. John Hamilton. The latter gave it
Information supplied by: B?. to his daughter, Mrs. Hamilton Steedman, in 1980, and
Boalch 3 number: CORTONA. 1678. she offered it for sale at Sotheby’s on 13 November 1987,
Boalch 2 number: 1. but withdrew it during the sale. EM, Vol. XVI, No. 2,
May 1988, says that ‘it stopped at the top of its reserve’.
COSTA, JOHANNIS. It was then lent to the Russell Collection until 1991 when
Type: Wing spinet. the Collection purchased it.
Date: 1730(A). References. Discussions on Coston’s work appear in Russell
Ownership: BERNHARD VON HUHNERBEIN. 1963, B*, Mould Th. Sotheby's catalogue of the sale on
Inscriptions. Apparently carries the name COSTA and date 13 November 1987 where the instrument is illustrated in
1730. colour on the cover and on p. 73. There are some
Specification: 1x8'(A). inaccuracies in the catalogue description. A technical
Remarks: Little is known about the instrument except drawing is available from the Russell Collection.
that it is thought to be Italian. Information supplied by: Sotheby's Catalogne|Raymond|
Previous history: Seen by Canon G. A. Luckett in the shop O’BrienPC| Barnes.
of Bernhard von Huhnerbein in Cologne in 1978. Boalch 3 number. COSTON, F. 1725(A).
Information supplied by: Luckett. Boalch 2 number: None.
Boalch 3 number: COSTA. 1730(A).
Boalch 2 number: None. COUCHET, IOANNES.
Type: Single-manual harpsichord.
COSTON, FRANCIS. Date: 1645.
Type: Two-manual harpsichord. Ownership: RUSSELL COLLECTION, EDINBURGH
Date: 1725(A). UNIVERSITY, SCOTLAND.
Ownership: RUSSELL COLLECTION, EDINBURGH Number: 7.
UNIVERSITY, SCOTLAND. Inscriptions. Name-batten and jackrail both inscribed
Inscriptions. Front face of jackrail inscribed: Franciscus JOANNES COVCHET FECIT ANTVERPIAE.
Coston Londini fecit. Paper label glued to spine says Soundboard and jackrail both dated 1645.
I[nternational]. I[nventions]. E[xhibition]./,LOAN NO. Specification. 2x8’, 1x4’.
286|Name: Dowager Lady Heathcote| Address: Hussley Park] Compass: C-c’.
Chandlers Ford|(Description of object] Harpsichord|case Keyboard: Black naturals, white sharps.
return. Number of roses: 1.
Specification: Vz 2x8’, 1x4’; 1: 1x8’. Style of rose: Seated harping figure.
Additional features: Dogleg. Exterior of case: Painted.
Compass: GG,AA-d',c°. Scale: 368 mm.
Keyboard: White naturals, special sharps. Length: 1813 mm.
Number of roses: None. Width: 679 mm.
Exterior of case: Vencered. Depth: 242 mm.
Scale: 314 mm. Remarks: The earliest surviving and dated Couchet harp-
Length: 2310 mm. sichord. Originally built as a single with specification of
Width: 878 mm. 1x8’, 1x4’ and what O’Brien describes as a ‘normal
Depth: 257 mm. short-octave’ [C/E-c']. The instrument has undergone at
Remarks: An accession number appears not to have been least two changes, the first by extension of the treble side
assigned (1992). Naturals—ivory faced with embossed of the case to give a compass of AA,BB-f. From the
and gilded papers; sharps—sandwich of ebony, ivory, “style of the decoration and action, this seems to have
ebony. Case of plain walnut veneer with chevron stringing, been carried out in England. Relatively recently (O’Brien
with pierced and chased brass strap hinges. Fascia board suggests not long before its purchase by Raymond Russell)
and cheeks similarly veneered walnut with chevron the case was returned to its original width, and the

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274 COUCHET
keyboard remade to give the present compass. Ownership: VLEESHUIS MUSEUM, ANTWERP,
Eighteenth-century keys with naturals of ebony, moulded BELGIUM.
boxwood fronts, and sharps topped with ivory. The Number: VH 67.6.
soundboard has a standard Couchet single-manual harp- Inscriptions: Signed IOANNES COVCHET FECIT
sichord rose. The outer case is decorated with garlands ANTVERPIAE on the jackrail. Dated 1630 on the
of foliage on a green background, while inside the lid is soundboard.
a trophy surmounted by the initials R.L. In the keywell Specification: 1x8".
is sea-horse paper with colours reversed [i.e. white on Compass: C/E-c’, short octave.
black]. Keyboard: White naturals, black sharps.
Previous history: Bought by Raymond Russell from Messrs Number of roses: 1.
E. C. Legg and Son, Cirencester. Worked on by Hugh Style of rose: Seated harping figure.
Gough in 1952, though it appears to have been ravalé Exterior of case: Painted.
before this date. For further details see O’Brien. Scale: 362 mm.
References: Illustrated in RussColl. See Barnes in RG.I, pp. Length: 1708 mm.
35-6. O’Brien, p. 271. Technical drawing by Edward Width: 498 mm.
Turner (1983), available from the Russell Collection. Depth: 242 mm.
Information supplied by. B?|RussColl{O’
Brien| Raymond. Remarks: A 6-voet muselar virginal—the latest surviving
Boalch 3 number: COUCHET, I. 1645. from the Ruckers/Couchet workshops. Apart from the
Boalch 2 number: 1. decoration of the front flap, the exterior of the case and
the papers, which are recent, the instrument is in more
‘Type: Two-manual harpsichord. or less original state. The illustration in O’Brien, p. 272,
Date: 1646. which was probably taken by Bédard during restoration,
Ownership: BRUSSELS MUSEUM, BRUSSELS, shows the keyboard missing, though O’Brien speaks of
BELGIUM. the instrument retaining almost all of its keyboard arcades.
Number: 276. The illustration on p. 149 of Lambr-D 1981 shows a
Inscriptions: JOHANNES COVCHET FECIT keyboard with white naturals and black sharps. There are
ANTVERPIAE. Ruckers number: s¢/17. indications that there was originally an arpichordium stop.
Specification: 2x8’, 1x4’. There is an interesting lid painting with a group of skittle
Additional features: Dogleg. players with Antwerp and the River Scheldt in the
Compass: GG/BB-P, short octave. background. The presence of the coat of arms of the
Number of roses: 1. Marquesses of Antwerp and the Rockox family show that
Style of rose; Seated harping figure. the virginal was owned by the descendants of Nicolaas
Exterior of case: Painted. Rockox, who was Burgomaster of Antwerp, and who
Scale: 359 mm. died in 1640. Raised on a carved and turned stand, which
Length: 2226 mm. is probably original. The rose is of the type used in the
Width: 856 mm. Couchet virginals.
Depth: 830 mm. Previous history: Formerly owned by Abel Régibo, and
Remarks: O'Brien (his number 1646 IC) describes the Ronse (Renaix). Bought by the Vleeshuis in March 1967,
instrument as an aligned and ravalé normal double-manual and restored by Hubert Bédard, who gives a lengthy
harpsichord. Originally with a specification of 1x8’, 1x4’, account of it in RG.I, pp. 41-3. See also O’Brien, p. 272.
and an upper manual with compass of GG/BB-c', and References: Lambr-D 1981, p. 149. O'Brien (his number
scaling of 338 mm. giving a pitch about a semitone above 1650a IC), who also gives a number of other references.
R. It is the first known Ruckers/Couchet instrument to Information supplied by: B?/O’Brien|Lambr-D 1981.
have had a GG/BB short octave. Original harp stop not Boalch 3 number. COUCHET, I. 1650.
split. It is now as O’Brien says ‘a good example of an Boalch 2 number: 9.
aligned transposing double with a conservative ravalement
carried out competently’. This was probably done in
Flanders. Type: Two-manual harpsichord.
Previous history: Presented by de Sorlus. Date: 160(A).
References: MeeusCouch for detailed and illustrated account. Ownership: METROPOLITAN MUSEUM OF ART,
See also O'Brien, pp. 271-2 for details of changes and a NEW YORK, USA.
number of other references. Number: 89.4.2363.
Information supplied by: B?/O’ Brien et al. Inscriptions: On batten above upper keyboard JOANNES
Boalch 3 number: COUCHET, I. 1646. COVCHET FECIT ANTVERPIAE. Ruckers number
Boalch 2 number: 2. on back of batten s¢/34.
Specification: 1: 2x8’, 1x4’; I: 1x8’, lute.
Type: Rectangular virginal. Additional features: Dogleg.
Date: 1650. Compass: FF,GG-c'.

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 COUCHET(A) 275
Keyboard: White naturals, black sharps. Inscriptions: IC rose, placed in a position suitable for an
Number of roses: 1. instrument originally having no 4’ bridge, and hence
Style of rose: Seated harping figure. closer to the 4’ bridge which was added later.
Exterior of case: Painted. Specification: 2x8’, 1x4’.
Scale: 331 mm. Compass: GG/BB-c) with split E flat, short octave.
Length: 2290 mm. Number of roses: 1.
Widsb: 858 mm. Style of rose: Seated harping figure.
Depth: 269 mm. Exterior of case: Painted.
Remarks: Not dated, but thought to be ¢. 1650. Confirmed Scale: 337 mm.
by O’Brien—his number (c.1650)b IC. MMACL says ¢. Length: 2180 mm.
1650-80. Koster, however, has a theory that the style of Width: 790 mm.
the soundboard decoration including gold arabesques and Depth: 260 mm.
borders (not found in the other instruments by Ioannes Remarks: Listed in DowdHH under Blanchet as a rebuild
Couchet) indicates that this instrument may reattributed of 1701 (since the bottom key of each manual has the
to Joseph Johannes Couchet and dated ¢. 1675. Originally date 1701, and the resemblance of the keyboards to the
had 1 manual and 1x8’, 1x4’ and harp stops, at pitch of work of Blanchet is striking), and listed by O’Brien (his
R +2, with compass FF,GG,AA-c’ and scaling of 314 mm. number 1652 IC) as the latest extant instrument by loannes
Underwent ravalement, probably in the late seventeenth Couchet and described by him as a double-manual
century to present compass and with second manual harpsichord made from a single-manual harpsichord. A
added, and dogleg system. Ivory naturals with gilded very interesting instrument which was originally a single
keyfronts and dark-stained sharps. Soundboard undec- with two 8’ sets of strings with three registers of which
orated except for gold scallops and arabesques, and a two probably plucked the shorter string and the other
wreath of arabesques and vine work. Case, and stand the longer. The registration was controlled in performance
with seven legs and lower stretchers, all carved and gilded by an early form of machine stop, probably employing a
in the style of Louis XIV, and dating from the ravalement. pedal, and this predates Mace’s description of the ‘Pedal’
There was originally a harp batten. by at least twenty years. The original compass according
Previous history: Crosby Brown Collection 1889. to DowdHH was C-c’, but according to O’Brien, in his
References. RipCouch gives a detailed and_ illustrated later work, was GG/BB-c’ at reference pitch R. The 4’
account. Illustrated in Wint6s and also in Rueger plate 87. was added later and uses a hitch-pin-rail which is a strip
MMABu«ll Winter 1977/78, p. 36 (Illustrated). Photos of fruitwood glued to the upper surface of the soundboard.
(negative numbers 82866, 133249, 172201, etc.) available The 4’ bridge lies on top of the original soundboard
from the Museum. ‘MMACL’. Acoustic tests carried out painting. Both O’Brien and DowdHH give a resumé of the
in 1985 by E. L. Kottick, see Kottick-response. See also history of the work carried out on the instrument.
O’Brien, p. 273, for a number of other references. Previous history. Most probably the same instrument as
Information supplied by: that reported by GL at Chateau de Touvet, Cambery,
Bz|MMACL}Kottick|O” Brien| Koster. France.
Boalch 3 number: COUCHET, I. 1650(A). References: DowdClas, p. 113. DowdHH, p. 20 ff. O’Brien,
Boalch 2 number: 8. PP. 273-4.
Information supplied by: DowdClas| DowdHH|O’ Brien.
Type: Two-manual harpsichord. Boalch 3 number: COUCHET, I. 1652.
Date: 1651. Boalch 2 number: None.
Ovnersbip: Not known.
Inscriptions: Joannes Couchel. COUCHET(A), IOANNES(A).
Number of roses: 1. ‘Type: Two-manual harpsichord.
Style of rose: Seated harping figure. Date: Not known.
Remarks: Not seen by O’Brien—his number 1651 IC. Very Ownership: Reported to have been in Edinburgh in 1956.
little known about the instrument. Remarks: Not seen by O’Brien—his reference ‘n.d. IC’.
Previous history: Formerly Régibo. He reports that this is the same instrument as Bz 137,
References: VdS, VII1.431. and is entirely the work of Taskin. Nothing further is
Information supplied by: B2|O’ Brien. known about the instrument.
Boalch 3 number: COUCHET, 1. 1651. Information supplied by: B2|O’ Brien.
Boalch 2 number: 3. Boalch 3 number: See: TASKIN, P. 1770.
Boalch 2 number: 10 (Ruckers 137).
Type: Two-manual harpsichord.
Date: 1652. Type: Two-manual harpsichord.
Ownership: PRIVATE COLLECTION, PARIS, Date: Not dated.
FRANCE. Ownership: RUSSELL COLLECTION, EDINBURGH

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276 COUCHET
UNIVERSITY, SCOTLAND. soundboards’. In 1778, Pascal Taskin added genouilléres,
Number: 29. the peau de buffle, and the top f key, as well as putting
Remarks: Previously thought to be by Couchet, but now in a new frame, and probably making alterations to the
accepted as being by Goermans, 1764. O’Brien’s number wrestplank, spine, and cheek. Known to have belonged
‘n.d. IC’. to Princess Palffy-Kinsky, Paris, after 1778 or to her
Information supplied by: B2/O’ Brien. music-master Leontzi Honauer. Acquired by Professor
Reference: Germ1979. Gilbert at a Drouot auction in Paris in 1978. Restored
Boalch3 number: See under: GOERMANS, J. 1764. by Hubert Bédard, Maintenon, 1980.
Boalch 2 number: Couchet (7). References: DowdHH. Germ1g79, O’ Brien (his number 1671/
73 IC). Recorded by Kenneth Gilbert (J. S. Bach, Art of
COUCHET, IOSEPH IOANNES Fugue) on Archiv, 427 673-2 (1989).
Type: Two-manual harpsichord. Information supplied by: Dowd/Gilbert|O’ Brien.
Date: 1671-3. Boalch 3 number: COUCHET, I. I. 1671-3.
Ownership: KENNETH GILBERT, PARIS, FRANCE. Boalch 2 number: None.
Inscriptions: Apart from an I.C. rose and the dates 1677
‘Type: Single-manual harpsichord.
and 1673 on the soundboard the main inscriptions are
Date: 1679.
REFAIT PAR PASCAL TASKIN 1778 stamped on
Ownership: ETHELBERT NEVIN II, ON LOAN TO
the wrestplank, and a date 1757 on the keyboards, though
THE SMITHSONIAN INSTITUTION,
there is no signature.
WASHINGTON, USA.
Specification: 1: 2x8’, 1x4’, peau de buffle; Il: 1x8’.
Number. 75.41.
Additional features: Shove coupler, 6 genouilléres.
Inscriptions: Joseph Johannes Couchet. Ruckers number st/1.
Compass. FF-f.
Specification: 2x8’, 1x4’.
Keyboard: Black naturals, white sharps. Compass: C-c’.
Number of roses: 1. Keyboard: White naturals, black sharps.
Exterior of case: Painted.
Scale: 369 mm.
Number of roses: 1.
Style of rose: Seated harping figure.
Length: 2273 mm.
Exterior of case: Painted.
Width: 867 mm.
Scale: 356 mm.
Depth: 278 mm.
Length: 1929 mm.
Remarks: Listed in DowdHH under Blanchet. Though the
soundboard wood is Couchet, the instrument generally
Width: 761 mm.
Depth: 219 mm.
bears the marks of Blanchet workmanship, in particular
the keyboards which are dated 1757 though not signed.
Remarks: The only extant Ruckers/Couchet single-manual
harpsichord with its original chromatic-bass-octave keys,
It was rebuilt by Taskin in 1778. O’Brien, however,
compass and disposition, and three registers. There are
lists it under ‘Couchet’, calling it a grand ravalement,
only two sets of strings, one at 8’ and one at 4’, and the
double-manual harpsichord of a small single-manual
two rows of 8’ jacks pluck the same string. The q’ register
harpsichord and describing it as a ‘collage’ instrument,
is in the middle between the two 8’ registers. Naturals
having a soundboard from an old Couchet harpsichord of bone and sharps of bog-oak. The rose is the same
placed in a French eighteenth-century case. Naturals of as that found in double-manual Couchet harpsichords.
ebony with arcaded fronts. Sharps of ivory. Case painted. Originally painted externally in red marbling which can
O’Brien believes the original disposition was 2x8’, and be seen under a later covering of green paint. Internal
that the original compass was C-c’ chromatic, or C/E-c’,
lid painting attributed to Van Kessel.
with short octave. Dowd believes that the keyboards and
Previous bistory: Formerly Morris Steinert Collection. Mrs.
the essential part of the rebuilding can be attributed to Norman Learned, Washington. According to Smith-
Blanchet, and a few traces of bronze powder from the check8g—a loan instrument. According to Kottick the
original (Couchet) soundboard can still be seen. The dates owner’s name is Nevin, and O’Brien shows Ethelbert
1671 and 1673 are still visible on the soundboard. Nevin I] as a former owner.
Nevertheless it is clear that the harpsichord was reworked References: Inscription recorded in Steinert Catalogue
by Taskin in 1778 at which time he added the peau de (Chicago version]. Acoustic tests carried out in 1985 by
buffle and the genouilléres. E. L. Kottick. See Kortich-response. O’Brien (his number
Previous history: The instrument is one of those enigmatic
1679 IC), p. 275.
treasures which make the study of the harpsichord so Information supplied by: Bz|Smithcbeck89|Dowd]O’
Brien.
fascinating. John Barnes, who has kindly examined all Boalch 3 number: COUCHET, I. I. 1679.
the entries in Part II, summarises this instrument as Boalch 2 number: 5.
‘Probably built by Blanchet in 1757 with a compass of
FF-e' and three registers, using a small Couchet sound- Type: Two-manual harpsichord.
board, extended with extra wood from other Flemish Date: 1680.

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 COUCHET 277
Ownership: MUSEUM OF FINE ARTS, BOSTON, 1943-5 instrument rebuilt by an unsympathetic builder
USA who removed soundboard decoration and date and moved
Number: 1977.54- the treble parts of bridge. Further minor restoration ¢.
Inscriptions: I.C. on rose. Blanchet 1758 in ink on lowest 1960.
key of each keyboard (almost illegible on lower). RE References: Two pages of technical drawings 335 x 107
FAIT PAR PASCAL TASKIN A PARIS, 1781 m., and 220 x 107 cm. and photo of instrument prior to
stamped on wrestplank. 1943 restoration and notes on present condition, all by
Specification: 1: 2x8’, 1x4’; I: 1x8’. John Koster, available from the Museum of Fine Arts.
Additional features. Harp stop, coupler, peaus de buffle, 6 Acoustic tests carried out by E. L. Kottick in 1985, see
genouilléres. Kottick-response. DowdHH. MF A( Lambert). O’Brien, p. 275.
Compass: FF-P. Boston Cat.
Keyboard: Black naturals, white sharps. Information supplied by: B2| MF.A|Do»dHH|Koster|
Number of roses: 1. O’Brien.
Style of rose: Seated harping figure. Boalch 3 number: COUCHET, I. I. 1680.
Exterior of case: Painted. Boalch 2 number: 6.
Scale: 344 mm.
Length: 2218 mm. Type: Two-manual harpsichord.
Width: 929 mm. Date: 1680(A).
Depth: 273 mm. Ownership: STIFTELSEN MUSIKKULTURENS
Remarks: Originally a single-manual with a very wide FRAMJANDE, STOCKHOLM, SWEDEN.
compass, possibly with fifty-six notes (thirty-four natural Namber: KL 59.
keys), and possibly tuned to a pitch one tone above Inscriptions. On nameboard: NON NISI MOTA CANO.
normal (R+2). The identity of builder was formerly in Inside is Taskin label: PASCAL TASKIN, Facteur de
doubt, but in view of the authenticity of the remaining Clavecins & Garde des Instrumens (sic) de Musique du Roi,
portions of the original instrument including the case, Eleve & successeurde M. BLANCHET, . . . de la Verrerie,
wrestplank, lower framing, soundboard, barring, rose, vis-a-vis S. Merry. A PARIS. On one key is 1707 and on
and bridges, the Museum now believes that it is a genuine No. 60 jack is 1768 or 1769.
Couchet, and the latest extant instrument from the Specification: 2x8’, 1x4’.
Ruckers/Couchet family workshops. This is confirmed by Compass: FF-P.
O’Brien—his number 1680 IC. Naturals—ebony with Keyboard: Black naturals, white sharps.
boxwood arcades; Sharps—bone topped. Authentic Number of roses: 1.
Couchet rose. Case appears to be authentic Couchet with Style of rose: Seated harping figure.
original poplar outer, spine bottom and framing of pine. Exterior of case: Painted.
Outer case is modern paint and gilding covering several Scale: 360 mm.
layers of earlier paint. Six genouilleres added by Taskin Length: 2725 mm.
in 1751 operate from left to right: decrescendo; 4’; lower Width: 925 mm.
manual 8’; coupler; peau de buffle; elevation of peau de Depth: 254 mm.
buffle jacks. Cast lead rose of seated harping angel flanked Remarks: Instrument is not dated, and the ascribed date
by initials I.C. See also DowdHH, p. 73 for further of 1680 is from the Collection catalogue. O’Brien (his
comments on the history of the instrument, and in number n.d. IC), describes it as a grand ravalement
particular the keyboards which are by Blanchet. Dowd double-manual harpsichord made from an extended bass
believes the harpsichord was originally a single-manual single-manual harpsichord at a pitch of R +2, and thinks
with compass FF-c’ or possibly GG-d’, and has undergone it is one of the latest if not the latest to be produced by
a most interesting series of changes. O’Brien suggests the Ruckers/Couchet family. Instrument is part of the
an original compass of FF,(GG,AA)-d’, even possibly Nydahl Collection. Originally a single with 1x8’, 1x4’,
EE(CC/EE?)-c’ at pitch R+2. very long and very wide with compass FF-d’,e’. It has
undergone at least two stages of ravalement, of which
Previous history: Karl Freund, New York—sold 1925. Miss
the latest was by Taskin, who left his label glued to the
S. Marcuse, E. M. Ripin, 1977 purchased by Museum of inside of the bent side. Naturals of ebony and bone-topped
Fine Arts from the estate of E. M. Ripin. Instrument was sharps. Case finish has lavish decoration of gilt garlands,
probably originally a single with a very wide compass of with birds, flowers, etc. on red lacquer. Elaborately carved
fifty-six notes and thirty-four naturals. Altered four times rococo stand. Lid of one piece has internal painting,
in the eighteenth century: (i) ¢. 1700-second 8’ added to possibly by David Teniers. Original scale probably 327
original 1x8’, 1x4’; (ii) ¢. 172; France? Compass extended mm. O’Brien says—‘A breathtakingly —_ beautiful
to FF or GG-e’ and probably a second manual added; instrument’.
(iii) 1758—one of the Blanchets made present keyboards; Previons history: The full story of the changes is complicated
(iv) 1781 Taskin made number of structural changes and and interesting. Further details should be obtained from
added present Louis XVI stand and genouilléres. O’Brien, pp. 275-6, and Nydabi, appendix, item 1.

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 278 +COUCHET(A)
References: SMF (contains a full report by O’Brien), and References: W. R. Dowd. ‘A classification system for
photos from Museum Nos. GK 77-80. See also O’Brien. Ruckers and Couchet harpsichords’ in AMIS Journal, 4,
Information supplied by: Bz|Kilstrom|O’ Brien|SMF. (1978), p. 106. L. Libin. ‘A Dutch harpsichord in the
Boalch 3 number: COUCHET, I. I. 1680(A). United States’ in GSJ, 28 (1975), p. 43. VdMCemRuck,
Boalch 2 number: 12. p. 114. HaagCL, p. 2g (illustrated). O’Brien, p. 197, note
2, and p. 283. O’BrienPC.
COUCHET(A). Information supplied by: B2|HaagCL|O’ Brien|O’ BrienPC.
Type: Harpsichord (Number of manuals not known). Boalch 3 number: COUCHET(A), P. 1.(A) 1669(A).
Date: Not known. Boalch 2 number: 4.
Ownership: Not known.
Remarks: Not seen by O’Brien -his reference n.d. IC. Bz CRANG, JOHN.
says that it is referred to by C/ (p. 37), but he may have Type: Claviorganum, with 2 manuals.
been thinking of the 1680 double recorded in Bz as Date: 1745.
number 6, which is the instrument now in the Museum Ownership: DR. R. MIRREY, LONDON, ENGLAND.
of Fine Arts, Boston. Number: 13.
Information supplied by: Bz|O’ Brien. Inscriptions: Inscribed: This organ and harpsichord were a
Boalch 3 number; COUCHET(A). n.d. present from Beeston Long Esq., to his sister Mrs. Drake.
Boalch 2 number: 11. ‘Crang Londini 1745. (Beeston Long of Carshalton Park,
Surrey, was born 1710 and died 1785].
COUCHET(A), PETRUS IOANNES(A) Specification: 1: 2x8’, 1x4’; I: 1x8’, lute.
Type: Two-manual harpsichord. Compass: FF,GG-P.
Date: 1669(A). Keyboard: White naturals, special sharps.
Ownership: GEMEENTEMUSEUM, THE HAGUE, Number of roses: 1.
NETHERLANDS. Style of rose: Brass.
Number: Ect 34x1952. Exterior of case: Plain wood.
Inscriptions: PETRVS.IOANNES.COVCHET.ME. Length: 2591 mm.
FECIT.ANTVERPIAE on the nameboard. On the Remarks: A two-manual harpsichord, originally part of a
soundboard dated 1669. Initials IC in rose. claviorganum and now reconstructed with an organ which
Specification; 2x8’, 1x4’. may be non-original. Arcaded ivory naturals, skunktail
Additional features: Dogleg. sharps. Mahogany case. According to Mirrey the organ is
Compass: C-P. inscribed John Snetzler fecit Londini 1748, and has: stopped
Keyboard: White naturals, black sharps. diapason 8’, flute 4’, flute 2’, fifteenth 2’, mixture, cornet.
Number of roses: 1. Previous history: Shown by Kelly & Co. at the International
Style of rose: Seated harping figure. Inventions Exhibition, London 1885. Offered at Christie’s
Scale: 364 mm. on 18 July 1957, but bought in. Sold at Sotheby’s on 9
Length: 2086 mm. May 1958; buyer Greville, and price £380. According to
Width: 844 mm. Bz, the organ part was discarded about 1953 by John
Depth: 239 mm. Osborn, piano tuner, of London, but a contemporary
Remarks: The instrument is thought by O’Brien to be Snetzler organ in a modern reconstruction of the original
spurious. It is his number 1669 IC. Originally horizontal organ case now supports the harpsichord and
@ one-manual instrument with likely compass of is operated through the lower manual.
GG/BB-d’. It has undergone enlargement to the present References: Mirrey.
compass. The genuine Couchet virginal rose in the Information supplied by: B2|Mirrey|Barnes.
soundboard is the only part of the instrument which bears Boalch3 number. CRANG, J. 1745.
resemblance to any other Couchet instrument, and it is Boalch 2 number: 1.
for this reason that O’ Brien believes it is either not genuine
or that Petrus loannes Couchet was working in a Type: Wing spinet.
tradition quite unlike that of the other members of the
Couchet/Ruckers families. O’Brien also notes similarities
Date: 1753.
between this instrument and those of Joris Britsen. The Ownership: METROPOLITAN MUSEUM OF ART,
name-batten is clearly not original and was added after NEW YORK, USA.
the enlargement. The instrument is raised on a stand with Number: 1976.1772,b.
cabriole legs. Inscriptions: On front panel: Musica Laborum Dulce Levamen.
Previous bistory: Acquired by the Rijksmuseum, Amsterdam Slightly below and centred: 1753. On name-batten below
in 1899 from the collection of J. C. Boers (1812-96) in that: Crang Londini Fecit. Serial number 3 stamped in
Delft. Restored by the Museum in 1955 (No. 128), 1959 several places. Trophy of instruments in centre of fascia
(No. 421), and 1965. On loan from the Rijksmuseum, board.
Amsterdam to the Gemeentemuseum at the Hague. Specification: 1x8".

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 CREHORE(A) 279
Compass: GG-g’. No stand survives.
Keyboard: Black naturals, white sharps. Previous history: Instrument bequeathed to the Victoria
Number of roses: None. and Albert Museum by Miss C. R. Adams. Earlier
Exterior of case: Crossbanded. provenance unknown, but an old playing card folded and
Seale: 315 mm. glued in as packing for the balance rail states: ‘Mrs
Length: 2012 mm. Weston desires [Mr] Crang will call to[ morrow] by Eleven
Width. 817 mm. 0’ clock [without] fail the spinnet [is] so bad she cant
Depth: 226 mm. [play] upon it. Tues[day]’. The parts in square brackets
Remarks. A Crang wing spinet was reported by GL in a are conjectural, having been cut away. Whether Mrs.
note to CMM of 10 March 1985 with the suggestion that Weston was a former owner of this instrument is not
further details could be obtained from Hugh Gough. It clear.
seems most likely that this is that same instrument, though References: V&A Cat, pp. 81-2 (Illustrated).
the possibility of the existence of another spinet by Information supplied by: B2| V&A Cat.
Crang cannot be discounted. Ebony naturals (possibly Boalch3 number. CRANG, J. 1758.
replacements) with ebony keyfronts and dark-stained Boalch 2 number: 2.
sharps with ivory tops. Case walls surround bottom
boards. Case veneered with rosewood panels, mahogany CRANG(A), JOHN.
crossbanding and light stringing. Raised on simple (ori- Type: Wing spinet.
ginal) trestle stand with turned legs. Date: 1741.
Previous bistory: Purchased by the Museum using the Ownership: PRIVATE COLLECTION.
Rogers Fund and others, most probably from Hugh Inscriptions: On nameboard Intactwm sileo—percute dulce cano,
Gough. and dated 1747 on top and bottom keys.
References: Boothby, Meg Crang: ‘Crang and Hancock, Specification: 1x8".
organbuilders’, Country Life (November 1980): p. 1660. Keyboard: White naturals, special sharps.
Boston, Noel, and Langwill, Lindesay: Church and Chamber Exterior of case: Marquetried.
Barrel Organs, 2nd edn. Edinburgh, 1970, p. 53. LibinKI, Remarks: Confidently ascribed by Michael Thomas to John
Pp- 27 (Illustrated). MMA. MMACL. Photos (negative Crang. Naturals of ivory; Sharps of ebony/ivory/ebony
numbers 210061, 214319, 215830) available from the sandwich. Marquetry over keyboard—trophy of instru-
Museum.
ments plus inscription. Painted border around
Information supplied by: GLIMMA|LibinKI|MMACL. soundboard.
Boalch3 number: CRANG, J. 1753. Previous bistory: From Michael Thomas to present owner
Boalch 2 number: None.
in 1974.
Information supplied by: Owner.
Type: Wing spinet. Boalch3 number. CRANG(A), J. 1741.
Date: 1758. Boalch 2 number: None.
Ownership: VICTORIA AND ALBERT MUSEUM, See also: HITCHCOCK(A), T. 1742 (or before).
LONDON, ENGLAND.
Number: W. 16-1947.
Inscriptions: Motto inlaid in foreboard: Musica Laborum CREHORE(A), BENJAMIN.
Dulce Levamen, with trophy of instruments. Signed: Crang Type: Spinet.
Londini fecit, 1758. Date: Not known.
Specification: 1x8’. * Ownership: PRIVATE COLLECTION, SALEM,
Compass: GG-g?. MASS., USA.
Keyboard: White naturals, black sharps. Specification: 1x8".
Number of roses: None. Remarks: This instrument is reported by Bz who quotes
Exterior of case: Crossbanded. it from C/ as having been bequeathed to the present
Scale: 317 mm. owners by Miss C. A. R. Adams. It seems likely that
Length: 2018 mm. there is some confusion with instrument number BLYTH,
Width: 765 mm. S. 1785(A), at the Essex Institute, Salem, Mass. Bz goes
Depth: 247 mm. on to list square pianos by Crehore at the Metropolitan
Remarks: Naturals of ivory with ivory arcades. Ebony Museum of Art, New York, and another (lent by Mrs.
sharps. Case handsomely veneered with panels of burr Alexander Steinert) in the Boston Public Library, Mass.
walnut, crossbanded with unfigured walnut and decorated References: According to Bz: illustrated in Vex, MIWA,
with boxwood and ebony stringing. Italianate carved and in Rassell/V&A. Possibly also C/.
keyblocks at either end of keyboard. Unusually elaborate Information supplied by: Bz.
marquetry above the keyboard. Soundboard surrounded Boalch 3 number: CREHORE, B. n.d.
with gilt mouldings and decorated in the Flemish tradition. Boalch 2 number: 1.

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280 CRESCI
CRESCI(A), ALESSANDRO. NUREMBERG, GERMANY.
‘Type: Single-manual harpsichord. Number: MIR 1077.
Date: 1756(A). Inscriptions: Inscribed; Roberto, ¢ Federigo Cresci in Livorno
Ownership: LOVEJOY LIBRARY, SOUTHERN fanno 1778, on foreboard, and: 1778 Sotto la Protezione|dello
ILLINOIS UNIVERSITY, USA. Spiritossanto (sic) Roberto & Federigo Cresci Fecero, on
Inscriptions: See below. the bottom boards.
Specification: 2x8’. Specification: 2x8".
Exterior of case: Painted. Compass: FF-P.
Remarks: The instrument appears in Bz under the name Case construction: Italian style---false inner/outer.
CRESCHI, but in a letter of 13 July 1978 from Marianne Remarks: Compass not original.
Kozlowski, Music Librarian of Southern Illinois Univer- Previous bistory: Formerly owned by Klinkerfuss.
sity, Edwardsville, she says: ‘This harpsichord with 2x8’ References; Mouldings shown in Hellwig. Huber, p. 136.
stops, much altered in a lovely decorated case carries just Information supplied by: B2|Hellwig| Huber.
above the soundboard a slip of wood bearing the name Boalch3 number: CRESCI, R. & F. 1778.
Alessandro Cresci Pisano, and dated 24 Aprile 1756. The Boalch 2 number: 2.
slip of wood is roughly executed, and appears never to
have been an original part of it.’ Though there is nothing CRISTOFORI, BARTOLOMEO.
irrefutable about the evidence for the existence of Antonio Type: Spinet.
Creschi, the above does make it appear that this entry is Date: 1693.
a misreading of Alessandro Cresci. Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
Previous history: According to Bz, in 1974 it was in private GERMANY.
ownership in New York. By 1979, it was in the present Number: 53.
ownership, having come from the collection of a New Inscriptions: BARTHOLOMAEVS CRISTOPHORI
York violinist, Carl Tollefsen. PATAVINVS/FACIEBAT FLORENTIAE/
References: Possible further information from Marianne MDCXCIII, written in ink on the inner case near the
Kozlowski. keyboard.
Information supplied by: Bz/Kozlowski. Specification: 2x8".
Boaleh 3 number: CRESCI(A), A. 1756(A). Compass: C-c’.
Boalch 2 number: 1. Keyboard: Special naturals and sharps.
Number of roses: 1.
CRESCI, ALESSANDRO. Style of rose(s): Geometrical pattern.
Type: Single-manual harpsichord. Exterior of case: Inlaid.
Date: 1760. Scale: 288 mm.
Ownership: DR. R. MIRREY, LONDON, ENGLAND. Length: 1838 mm.
Number: 5. Width: 718 mm.
Inscriptions: Inscribed Io Alessandro Cresci Pisano feci in Depth: 176 mm.
Livorno a di 15 Aprile 1760. Remarks: Made for Prince Ferdinand de Medici. A unique
Specification: 2x8’, 1x4’. instrument which in plan view is rectangular with
Compass: GG-e'. extensions at either end shaped like gothic arches. It is
Length: 2210 mm. in effect two polygonal spinets one in normal form, and
Width: 920 mm. the other a mirror image, joined down a centre line.
Depth: 200 mm. The string band is laid out with bass strings running
Remarks: Mirrey says: ‘Single case, with no pretensions of longitudinally down the centre of the soundboard and
inner-outer . . . both nuts on the soundboard. All jacks progressively shorter (and therefore higher) strings on
pass through the soundboard. Michael Thomas plays it either side. The cantilevered keyboard which is to the
on the record Oryx 1725. left of the centre operates on two sets of jacks to sound
Previous history: Acquired by Dr. Mirrey in 1974. Formerly the two choirs of strings. The wrestplank is to the right
Michael Thomas. of the player and is under the soundboard and the strings
References: Mirrey. are hitched at the left. Naturals of box with inlay of
Information supplied by: B2|Luckett|Mirrey. ebony. Sharps of ebony with inlay of box. Rose of carved
Boalch 3 number. CRESCI, A. 1760. cypress. Case with inlay of ebony. The original outer case
Boalch 2 number: 1. and stand were lost about 1910.
Previous history: This and one other similar instrument
CRESCI, ROBERTO & FEDERIGO. built in 1690, but now lost, were made to the order of
Type: Single-manual harpsichord. the Grand Duke of Tuscany, Cosimo III da Medici. The
Date: 1778. original bill for the 1690 instrument it is still in the State
Ovnersbip: GERMANISCHES NATIONALMUSEUM, Archive in Florence. The instrument was in the inventory

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 CRISTOFORI 281
of Grand Duke Ferdinand da Medici in the year 1700, Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
and appears again in 1716 and 1732. It possibly changed GERMANY.
hands in 1827, and was in the Kraus collection in Florence Number: 84.
by 1878. Inscriptions: In ink on the fascia board over the keys
References: Mlustrated at Ks, p. 71. Original bill, reproduced BARTHOLOMAEVS CRISTOFORI PATAVINIVS
at Ks. p. 217. Further details from Henkel: pp. 34-8, and FACIEBAT FLORENTIAE MDCCXXII.
I. 12. Specification: 2x8".
Information supplied by: B2|Henkelr. Compass: C-c’.
Boalch 3 number: CRISTOFORI, B. 1693. Keyboard: White naturals, black sharps.
Boalch 2 number: 1. Number of roses: None.
Exterior of case: Plain wood.
Type: Wing spinet. Scale: 285 mm.
Date: 1720(A). Length: 2414 mm.
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, Width: 825 mm.
GERMANY. Depth: 196 mm.
Number: 86. Remarks: Naturals of box with arcaded fronts. Sharps of
Inscriptions: Unsigned, but almost certainly by Cristofori. stained pear with ebony tops. Characteristic vertical
Specification: 1x8", 1x4’. members at intervals along the outside of the integral
Compass: FF,GG,AA-P. case. Stand with three carved legs.
Keyboard: White naturals, black sharps. Previous history: Formerly in the Kraus Collection,
Number of roses: 1. Florence, since 1878.
Style of rose: Geometrical pattern. References: Ilustrated Ks, p. 101. See Henkelr for full
Exterior of case: Plain wood. details.
Scale: 335 mm. Information supplied by: Bz|Henkelr.
Length: 2435 mam. Boalch3 number: CRISTOFORI, B. 1722.
Width: 675 mm. Boalch 2 number: 4.
Depth: 202 mm.
Remarks: The instrument is in the form of a Spinettone Type: Single-manual harpsichord.
or Cembalo Traverso, which is not unlike the later form Date: 1726.
known as the wing spinet. Unlike the latter it has a Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
four-foot stop as well as an eight foot. Its ascription to GERMANY.
Cristofori, at one time questionable, now seems well Number: 85.
founded by comparison with other similar surviving Inscriptions: Signed in ink on the nameboard BAR-
instruments almost certainly by him, and in the light of THOLOMAEVS DE CHRISTOPHORIS PATA-
evidence rehearsed in detail in Henke/r. In addition, Denzil VINVS FACIEBAT FLORENTIAE M.DCC.XXVI.
Wraight in November 1992 [EM, Vol XX, No. 4, p. Specification: 1x8’, 1x4’, 1x2’.
7o1] reported that it has arcades and a moulding exactly Compass: C-c’.
similar to those on the Cristofori fortepiano in the Keyboard: White naturals, black sharps.
Metropolitan Museum of Art, New York, thereby con- Number of roses: None.
firming the identity of the maker. He also adduces a Exterior of case: Plain wood.
date of ‘before 1722’. Box naturals, with arcaded fronts. Scale: 286 mm.
Stand with six legs which replaces the original, lost in Length: 2434 mm.
1945. Width: 826 mm.
Previous history: Said to have been found in the monastery of Depth: 212 mm.
San Niccolo at Prato. Thereafter in the Kraus Collection, Remarks: Formerly described in Bz as having a spe-
Florence from 1878. Attributed by Kraws and Ks to cification of 1x8’, 1x4’, and 1x16’. Bz also lists a dubious
Cristofori, though its provenance is not fully authenticated instrument (his No. 6), as being formerly in the Kraus
by them. Collection, and with two manuals. It seems, however,
References: Ks depicts it at p. 103. See also Henkelr, that this was a misreading of the Kraus catalogue
Pp. 91-3 and pls. 48-9. Montanari. Denzil Wraight, letter (WraightPC points out that the next instrument in the
to EM, Vol XX, No. 4, November 1992, p. 701. catalogue was a two-manual harpsichord), and that the
Information supplied by: Bz|Henkelt. two instruments are the same. Montanari lists the latter as
Boalch 3 number: CRISTOFORI, B. 1720(A). an ‘Archicembalo da suonarsi ritto’, ic. an upright
Boalch 2 number: 7. harpsichord. Denzil Wraight, in a letter to EM, Vol. XX,
No. 4, November 1992, p. 701, states ‘Montanari has
‘Type: Single-manual harpsichord. conflated the genuine 1726 harpsichord (Leipzig no. 85)
Date: 1722. with Boalch no. 6 and thereby incorrectly created the

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282 CRISTOFORI(A)
impression that there may be some doubt about the Ownership: GERMANISCHES NATIONALMUSEUM,
authenticity’. Naturals of box; sharps of stained pear with NUREMBERG, GERMANY.
ebony tops. No rose. The plain integral outer case has Number: MINe 88.
characteristic vertical strengthening bars. There is a Inscriptions: Falsified inscription: Bartholomaeo Christofari
somewhat complicated system of divided registers which Patavinus fecit Florentiae 1703 (according to Huber).
is dealt with in Henkelr. Specification: Lowest keyboard 2x8’; middle keyboard 1x8’,
Previous history: Part of the Heyer Collection. 1x4’; top keyboard 1x4’.
References: Illustrated at Ks p. 101; inscribed at Ks p. 218. Compass: FF-P.
See also Henkelr, pp. 88-90 and pls. 46 and 47 for full Keyboard: White naturals, black sharps.
details. Exterior of case: Painted.
Information supplied by: B2|Henkel1|Montanari|WraightPC. Remarks: Hellwig gives date as ‘end of 19th century’, and
Boalch 3 number: CRISTOFORI, B. 1726. the chances that the instrument was made by Cristofori
Boalch 2 number: 5/6. seem very slim. Case elaborately painted, the outside with
neo-classical designs incorporating allegorical winged
CRISTOFORI(A), BARTOLOMEO. creatures, and geometric designs~ almost Egyptian in
Type: Single-manual harpsichord. concept. Inner lid painting of a triumphal procession in
Date: 1689. a fanciful landscape with castle. Raised on painted stand
Ownership: Not known. of five cabriole legs in cream and gold.
Inscriptions. Bartolomeo Cristofori, 1689. References: Illustrated in Neupert, Das Cembalo (1933).
Remarks: The existence and authenticity of this instrument Coloured illustration in Rueger pl. 14, where it is given
must be in question in view of its association with as ‘attributed to Cristofori 1703, Leopoldo Franciolini,
Franciolini. Described as a ‘Cembalone painted and gilded Florence, second half of the 19th century . . .. Mouldings
on a green background [signed]: Bartolomeo Cristofori, fece shown, and instrument illustrated in Hellwig. See also
in Firenze 1689; showing mythological subjects’. Huber, p. 134.
References: FrancII (item 12]. RipICOLF. Information supplied by: B2|Rueger| Hellwig] Huber.
Information supplied by: B2|/RipICOLF. Boalch 3 number. CRISTOFORI(A), B. 1703(A).
Boalch 3 number. CRISTOFORI(A), B. 1689. Boalch 2 number: 3.
Boalch 2 number: 01?

Type: Two-manual harpsichord. ‘Type: Fretted clavichord.

Date: 1690(A). Date: 1719(A).
Ownership. MUSEE INSTRUMENTAL, PARIS, Ownership: PRIVATE COLLECTION, HAMBURG,
FRANCE. GERMANY.
Number: 980.2.X. Compass: F,G,A-c’.
Remarks: Date ascribed by Bz and the Museum. In 1991 Keyboard: White naturals, black sharps.
WraightPC wrote to EM to explain that it was not by Exterior of case: Plain wood.
Cristofori, and he confirms this in a letter to EM, Vol. Remarks: This clavichord was only recently (22 May 1989)
XX, No. 4, November 1992, p. 701. attributed to this maker, but the research of Tagliavini
Previous history: Formerly the property of the Comtesse de and the owner make it seem certain that the attribution
Chambure, Neuilly sur Seine. is correct, not only because of the instrument’s great
References: Wraight in a letter to EM in 1991. similarities to several other Cristofori instruments, most
Information supplied by: B2|MICL|Wraight. notably the cembal traversi, but also because a ‘clavichord
Boalch 3 number. CRISTOFORI(A), B. 1690(A). with levers invented by the author’ is mentioned in
Boalch 2 number: 02. an eighteenth-century manuscript regarding Cristofori.
Subsequently in August 1989, the owner confirmed that
Type: Three-manual harpsichord. the Smithsonian Institution had agreed that the instrument
Date: 1702. was almost identical to their Cembalo Traverso. This
Ownership: STEARNS COLLECTION, MICHIGAN clavichord is an invention to free the fretted clavichord
UNIVERSITY, USA. Accession number not known. from the usual musical problems of fretting. It is fretted
Inscriptions: Bartolomeo Cristofori fece in Firenze Anno 1702. only in the bass twelve notes, and not in the treble, this
Remarks: Bz says~ ‘unauthentic’. by means of special levers that transfer the higher of the
Information supplied by: Bz. fretted pair in place of splaying. Soundboard of cypress,
Boalch 3 number: CRISTOFORI(A), B. 1702. with cantilevered keyboard. In the treble there is an S
Boalch 2 number: 2a. shaped bridge followed by eleven small horizontal bridges
with four strings (two choirs) each. The tuning pins are
Type: Three-manual harpsichord. placed along the front edge of the case and the strings
Date: 1703(A). are laid out so that the bass strings are furthest from the

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 CULLIFORD 283
player, and the treble strings are at the front. Naturals CULLIFORD, THOMAS.
box. Sharps stained fruitwood. Case is somewhat similar ‘Type: Harpsichord (Number of manuals not known).
to a wing spinet in shape. Date: Not known.
Previous history: Restored by Dolmetsch in the Chickering Ownership: HECTOR McCURRACH.
workshop, Boston, ¢. 1915. Previous owner was Hugh Remarks: Mr. McCurrach owned the instrument in 1951.
Gough of New York, from whom it passed to S. Barrell, Information supplied by: B?.
and thence to the present owner. Boalch 3 number. CULLIFORD, T. n.d.
Information supplied by: Barrell|WraightPC| Barnes. Boalch 2 number: 2.
Boalch 3 number: CRISTOFORI(A), B. 1719(A).
Boalch 2 number: None. CULLIFORD(A), THOMAS.
Type: Wing spinet.
Date: Not known.
Type: Single-manual harpsichord. Ownership: Not known.
Date: Not known. Specification: 1x8’.
Ownership: CONSERVATORIO DI MUSICA, Length: 1829 mm.
FLORENCE, ITALY. Accession number not known. Remarks: Messrs Morley owned the instrument in 1934.
References: VAMFE. B* says ‘Perhaps by Culliford’. Compass five octaves.
Information supplied by: VdM|WraightPC. Previous history: Sold by Norman Wilkinson at Sotheby’s,
Boalch 3 number: CRISTOFORI(A), B. n.d. 6 July 1934 to Morleys. It is possible that this instrument
Boalch 2 number: None. is the same as one of the other spinets recorded under
Culliford.
For details of a three-manual harpsichord in the DEUT- Information supplied by: B?.
SCHES MUSEUM, MUNICH, GERMANY, Boalch 3 number: CULLIFORD(A), T. nad.
Number: 9232, inscribed: BARTOLOMEO CRISTO- Boalch 2 number: 3?.
FARI FECIT FIRENZE A D MDCCII, see ZENTI,
G. 1658(A), (Boalch 2 number: 2 (under Cristofori)). CULLIFORD, THOMAS and BARROW.
Type: Wing spinet.
Date: Not known.
CRUDELI, GIUSEPPE. Ownership: Not known.
Type: Ottavino. Inscriptions: Signed Culliford and Barrow.
Date: 1781. Specification: 1x8’.
Ownership: FORMERLY KARL-MARX- Remarks: The only known plucked string keyboard
UNIVERSITAT, LEIPZIG, instrument by these two makers though a square piano
GERMANY. signed by them both is recorded in Part 1.
Number: 60. Previous history: Sold at Christie’s on 21 March 1980 when
Inscriptions: In Lucca Giuseppe Crudeli Fece sua prima Opera it fetched £4,000.
i 17ér handwriting on the back of the fascia board. References: EM, Vol. 8, No. 3, July 1980, p. 381.
Authenticity questionable. Information supplied by: EM|Christie’s.
Specification: 1x4". Boalch 3 number: CULLIFORD, T. and BARROW. n.d.
Compass: C/E-c', short octave. Boalch 2 number: None.
Keyboard: White naturals, black sharps.
Number of roses: 1. CULLIFORD, THOMAS and WALLCUTT.
Exterior of case: Painted. ‘Type: Wing spinet.
Length: 850 mm. Date: 1774.
Width: 490 mm. Ownership: HERR UWE EMSHOFF, BREMEN.
Depth: 180 mm. Inscriptions: On bottom key Culliford and Wallentt Londini
Remarks: Boxwood naturals, ebony sharps. Outer case Fecit 1774.
painted with painting inside the lid. Inner instrument case Specification: 1x8".
of trapezoidal shape, in plain cypress outer. Compass. GG-g’.
Previous history: From the Kraus collection, Florence, in Exterior of case: Plain wood.
1901. Lost during World War Il. Length: 1930 mm.
References: Illustrated at Ks, p. 77. Inscription reproduced Remarks: The only surviving instrument known to bear
by Ks, p. 218. Further details from Henkel’. both names. String gauges on nut as follows: g’-d'#: 4,
Information supplied by: B?|Henkelt. d'-Fis, e'-a: 6, git-di: 7, d-A: 8, G#-F: 9, E-C#: 10, C
Boalch 3 number: CRUDELI, G. 1781. BB: 11, AA#-AA: 12, GG$-GG: 15. Case is plain
Boalch 2 number: 1. mahogany. Original stand. Signed on bottom key.

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284 CULLIFORD
Previous bistory: Bought Christie’s 1980 by David Leigh. Information supplied by: David Leigh| Luckett.
Restored by him in 1981 and sold to Herr Emshoff on 3 Boalch 3 number: CULLIFORD, T. and WALLCUTT.
July 1981. Boalch 2 number None.
References: See EM July 1980, p. 389.

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 D
D., A. DADDI, LORENZO.
Type: Single-manual harpsichord. ‘Type: Ottavino.
Date: 1537. Date: 1686.
Ownership: CASTELLO SFORZESCO, MILAN, Ownership: MUSEO DEGLI ANTICHI STRUMENTI
ITALY. MUSICALI, ROME.
Number: 579. Number. 814.
Inscriptions: Though inscribed AD, this is most probably Inscriptions: On the back of the nameboard: Lorenzo Daddi
not a maker’s mark, but is short for Anno Domini. Hempolese fece in Sienna P Anno 1686. On key c’ underneath:
Specification: 1x8". Lorenzo Daddi, and on top 1686.
References: WraightHH, where its (incorrect) listing as a Specification: 1x4'(A).
clavichord in the Gallini Collection catalogue, with a date Compass: C/E-c’, short octave.
of 1503 is corrected to show it as a single-manual Keyboard: White naturals, black sharps.
harpsichord, with date of 1537. Number of roses: 1.
Information supplied by: Wraight. Style of rose: Geometrical pattern.
Boalch 3 number: D.(A), A.(A) 1537- Exterior of case: Painted.
Boalch 2 number: None. Case construction: Italian style—false inner/outer.
Remarks: Instrument is described by dM as a small
Type: Single-manual harpsichord. trapezoidal virginal. With a scale of 311 mm at c' and
Date: 15 37(A). 170 mm at c* it was probably intended to be tuned at
Ownership: HAENDEL-HAUS, HALLE, GERMANY. quint pitch. Naturals of box, sharps of stained walnut.
Number: MS-69. Inside of lid has a pastoral scene. Interior of instrument
Inscriptions. Though inscribed AD this is most probably veneered in cypress. Rose of wood and parchment.
not a maker’s mark, but the abbreviation for Anno Domini. Previous bistory: Formerly in the possession of Evan Gorga.
References: HeydeHH, WraightHH. Exhibited at the Collegio Romano, December 1965—
Information supplied by: Wraight. January 1966.
Boalch 3 number: D.(A), A.(A) 1537(A)(2)- References: Va. ChamP. Cerv.MASM, pp. 330-1.
Boalch 2 number: None. Cerv.ColRom, No 82.
Information supplied by: B2|Cerv.MASM|VdM.
Type: Spinet.
Boalch 3 number: DADDI, L. 1686.
Date: 1750.
Ownership: RICHARD BURNETT(A). Boalch 2 number: 1 (under Dotti).
Inscriptions. AD 1750 in the rose.
DANCO(A), ANTONIO DADDI DEL.
Specification: 1x8’.
Number of roses: 1. ‘Type: Single-manual harpsichord.
Date: 1705.
Exterior of case: Lacquered.
Length: 2210 mm. Ownership: ACCADEMIA CHIGIANA, SIENA,
Width: 838 mm. ITALY. Accession number not known.
Depth: 241 mm. References: WraightIKI.
Remarks: Despite the initials it seems unlikely to be by Information supplied by: WraightPC.
Albert Delin [ThomasW]. Compass six octaves plus two Boalch 3 number: DANCO(A), A. D. D. 1705.
notes (F-G) according to Bz. Largely oaken case lacquered Boalch 2 number: None.
red.
Previous history: Formerly Mrs. Currie of Edinburgh. DEBBONIS, FRANCISCUS.
Bought by Richard Burnett at Christie’s, July 1973 for Type: Single-manual harpsichord.
Date: 1678.
£2,300. Ownership: WESTDEUTSCHER RUNDFUNK,
Information supplied by: B2| Luckett.
Boalch 3 number: D.(A), A.(A) 1750. COLOGNE, GERMANY. Accession number not
Boalch 2 number: 1. known.
Inscriptions. Inscribed behind nameboard; Franciscus
See also: Instruments MULLER(A), H. 1540(A)(1), and Debbonis Cortonensis fecit Romae 1678 The front of the
MULLER(A), H. 1540(A)(2). nameboard is inscribed: Luigi de Carli, presumably an

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286 DECKERT
carly owner. Information supplied by: B2|Henkel2|Weldon.
Specification: 2x8’. Boalch 3 number: DECKERT, J. N. 1795(A).
Compass: C-e(A). Boalch 2 number: 1.
Remarks: Misch-1979 II points out that the name is
probably de Bonis. Bz says ‘Compass 4 octaves and 2 Type: Clavichord.
notes’. Date: 1800(A).
Information supplied by: B2/GL|Miscb-1979 11/WraightPC. Ownership: Not known.
Boalch 3 number. DEBBONIS, F. 1678. Inscriptions. J. N. Deckert Gross-Breitenbach bei Arnstadt.
Boalch 2 number: 1. Remarks: The existence of this instrument is known only
from Bz.
DECKERT, JOHANN NICOLAS. Previous bistory: In 1879 it belonged to Carl Engel.
Type: Fret-free clavichord. Information supplied by: Bz.
Date: 1792. Boalch 3 number: DECKERT, J. N. 1800(A).
Ovnership: MICHAEL THOMAS, CHATEAU Boalch 2 number: 2.
SAUSSINES, FRANCE.
Inscriptions. Attributed to Deckert by Michael Thomas. DECKERT(A), JOHANN NICOLAS.
There is an enamelled plaque on the nameboard which Type: Fret-free clavichord
reportedly bears the inscription Deckert, Gross Breitenbach Date: Not known.
bey Arnstadt. Ownership: BATE COLLECTION (LOAN), MUSIC
Compass. FF-c*. FACULTY, OXFORD, ENGLAND.
Keyboard: Black naturals, white sharps. Number: X 93.
Exterior of case: Plain wood. Inscriptions: On an oval cartouche on the nameboard the
References: ThomasKI, illustrated at plate 11. single word Kiavier. Attributed to Deckert by Michael
Information supplied by: B2|ThomasKI. Thomas on the basis of comparison with other instruments
Boalch3 number: DECKERT, J. N. 1792. by this maker.
Boalch 2 number: 3. Compass: FF-c*.
Keyboard: Black naturals, white sharps.
Type: Fret-free clavichord. Number of roses: None.
Date: 1795(A). Exterior of case: Plain wood.
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, Seale: 253 mm.
GERMANY. Length: 1710 mm.
Number: 31. Width: 545 mm.
Inscriptions: Inscribed in pencil on the area of soundboard Depth: 190 mm.
between the wrestpins and the case: Deckert in Breitenbach. Remarks: Ebony naturals, sharps of stained fruitwood
Compass: C-g?. with bone tops. Plain pine case. Cherrywood veneer
Keyboard: Black naturals, white sharps. round keywell. Marbled papers inside rim. Note names
Number of roses: None. written by the wrest pins.
Exterior of case: Plain wood. Previous history: From the Wrightson family of Cusworth
Scale: 262 mm. Hall, near Doncaster. On loan from Roger Warner,
Length: 1523 mm. Burford, Oxon, to the Bate Collection. Used occasionally
Width: 494 mm. for concerts in the Holywell Music Room , Oxford, where
Depth: 171 mm. it has been easily heard.
Remarks: Dated ¢. 1795 by the Museum. Key-plate of References: BateCat, p. 6, where it is listed as ‘anonymous,
alder, concave roof-carved. Guide slips of horn. Naturals ¢. 1810” though its possible attribution to Deckert is
black-stained walnut with two scorings. Fronts of key acknowledged.
levers cut across and area under the cut carved away. Information supplied by: Montagu|Warner|Tbomas.
Sharps bone capped, black-stained pear. Soundboard Boalch 3 number: DECKERT(A), J. N. n.d.
spruce, four bars at right angles to the bridge. Bridges Boalch 2 number: None.
maple, end slopes away in treble but cut vertically in the
bass. Case of pine. Keywell sides continue to the back of DEDEBAN, JEAN MARIE.
the instrument, balance rail continues to the right-hand Type: Two-manual harpsichord.
wall. Internal members of oak, with the hitch pin rail Date: 1770.
capped in maple. The case is stained brown both inside Ovnersbip: SMITHSONIAN INSTITUTION,
and out. Nameboard and top key are not original. WASHINGTON, USA.
Previous history: 1910 Heyer Collection, Cologne. Number: 73.29.
References: Henkel2, pp. 67-8, illustrated at pls. 38, 39, and Inscriptions: 1770 on soundboard. 1770 round ID rose. +
Gz. Illustrated in Ks, p. 218. Jean + Marie-De-De-Ban in yellow paint. The inscription

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 DELIN 287
1770 Jean Marie DeDeBan 1770 on the nameboard is FRANCE.
probably a modern addition. Number: 980.2.X.
Specification: 2x8’, 1x4’. Specification: 1x8".
Additional features: Genouilléres, harp stop, peau de buffle, Remarks: The earliest recorded Delin instrument. It is not
shove coupler. mentioned by Tournay, and may perhaps be spurious.
Compass. FF-P. References: MICL.
Number of roses: 1. Information supplied by: MICL.
Remarks: On loan from the Corcoran Gallery of Art, Boalch 3 number: DELIN, A. 1738.
Washington. Smithcheck&9 gives the name as Jean Mari Boalch 2 number: None.
(sic) De De Ban. Originally 2x8’, 1x4’, harp stop, shove
coupler. According to Bz the specification is now 3x8’, Type: Polygonal virginal.
1x4’, but according to Smithcheckég, 2x8’, 1x4’. The Date: 1750.
paintings on the case were at one time attributed to Ownership: BRUSSELS MUSEUM, BRUSSELS,
Boucher. BELGIUM.
Previous bistory: Restored by J. Scott Odell, 1970. Number: 2922.
References: Smithcheck8g. Smithsonian photo negatives: 71- Inscriptions. A. DELIN ME FECIT TORNACI 1730,
2116 plan; 71-2117; 71-2119; 71-2120. painted rather crudely on the soundboard.
Information supplied by: Bz|Smithebecké9. Specification: 1x8’.
Boalch3 number: DEDEBAN, J. M. 1770. Compass: C,D-e'.
Boalch 2 number: 1. Keyboard: Black naturals, white sharps.
Number of roses: 1.
DEELEY, WILLIAM. Style of rose: Seated harping figure.
Type: Wing spinet. Exterior of case: Painted.
Dai jot known. Remarks: Case is effectively six sided, but of special shape.
Ownership: Not known. Instrument authenticated by Jean Tournay—his number
Specification: 1x8"(A). No. 1. Naturals black stained pear. Sharps similarly but
Exterior of case: Plain wood. bone topped slips. Exterior case painting (not original)
Remarks: Oak case. in ‘vert d’eau’.
Previous history: Belonged to Morleys in South Kensington Previous history: From the Snoeck Collection.
in May 1946. References: Described at dS, I. p. 193. See full description,
Information supplied by: B2. plus illustrations and plan—Jean Tournay in FdC, pp.
Boalch 3 number; DEELEY, W. n.d.(1) 155-64.
Boalch 2 number: 1. Information supplied by: B2|Tournay.
Boalch 3 number. DELIN, A. 1750(1)
Type: Wing spinet. Boalch 2 number: 2.
Date: Not known.
Ownership: Not known. Type: Single-manual harpsichord.
Inscriptions: Inscription on jackrail; William Deeley fecit. Date: 1730.
Specification: 1x8". Ownership: MUSIKINSTRUMENTEN MUSEUM,
Length: 1524 mm. BERLIN, GERMANY.
Width: $33 mm. Number: 2238.
Remarks: Compass of four and a quarter octaves. Inscriptions: Above the keys on a batten: ALBERTUS
Previous history: Formerly at Hurstmonceaux. Then at DELIN ME FECIT TORNACI 1750.
Messrs. Moss Harris, London, in 1949, and thence to Specification: 2x8’.
Frank Partridge and Sons. Present whereabouts not Additional features: Divided harp stop.
known. Compass: C-e’.
References: Mlustrated in Antiques, New York, June 1950, Keyboard: Black naturals, white sharps.
P- 423 in an advertisement of Frank Partridge & Sons, Number of roses: 1.
where the name is given as Dealey. Style of rose: seated harping figure.
Information supplied by: Bz. Exterior of case: Painted.
Boalch 3 number: DEELEY, W. n.d.(z) Scale: 358 mm.
Boalch 2 number: 2. Length: 2040 mm.
Width: 804 mm.
DELIN, ALBERT. Depth: 233 mm.
Type: Wing spinet. Remarks: Authenticated by Jean Tournay—No. 2 in his
Date: 1738. list. Naturals ebony, sharps of stained pear with bone
Ovnership: MUSEE INSTRUMENTAL, PARIS, slips on top. Keyboard originally had fifty-two notes, but

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288 DELIN
two more added later. External case painting probably a photograph of a model of the action. Soundboard
not original, of blue-green and gold marbled effect. decorated with flowers etc. Rose with harping figure and
Decorated soundboard, with rose having a harping angel initials A.D. Case painted olive green. Regency stand.
and the initials AD. Raised on a complex turned trestle Lid missing. Fine state of preservation.
stand with six legs (probably not original). In a good Previous bistory: Formerly in the collection of Cesar Snoeck
state of preservation. in Ghent, and acquired by the Museum in 1902. Last
Previous history: Previously Snoeck Collection. Acquired restored in 1959 when internal bracers added by Adolf
by the Museum in 1902. Hartmann were removed. FdC.
References: Jean Tournay, FdC, pp. 190-201. Includes References: Jean Tournay, FdC, p. 202, and the full report
illustrations. Sa. BerlinCat, pp. 133-7, including illustration by Friedrich Ernst at Annexe 6 of this reference. There
in colour. is a full colour illustration on the cover of FdC. Sa.
Information supplied by: Bz|Tournay|Droysen-Reber| BerlinCat, pp. 160-5.
Elste|BerlinCat. Information supplied by: ~—_Bz| Towrnay/Droysen-Reber/
Boalch 3 number: DELIN, A. 1750(2). Elste/BerlinCat.
Boalch 2 number: 1. Boalch 3 number: DELIN, A. 1752.
Boalch 2 number: 4.
Type: Single-manual clavicytherium.
Date: 1751. Type: Single-manual clavicytherium.
Ownership: BRUSSELS MUSEUM, BRUSSELS, Date: 1760(A).
BELGIUM. Ownership: GEMEENTEMUSEUM, THE HAGUE,
Number: 531. NETHERLANDS.
Inscriptions: Albertus Delin me fecit Tornaci 1751. Number. Ecs 47-1933.
Specification: 2x8". Inscriptions: The initials A D appear in the rose.
Compass: G,A-c'. Specification: 2x8".
Keyboard: Black naturals, white sharps. Additional features: Harp stop.
Number of roses: 1. Compass: AA-P.
Style of rose: Seated harping figure. Keyboard: Black naturals, white sharps.
Exterior of case: Painted. Number of roses: 1.
Remarks: Authenticated by Jean Tournay—his No. 3. Lid Style of rose: Seated harping figure.
missing. Regency style stand. Case painted in ‘vert fonce’. Exterior of case: Painted.
References: See Jean Tournay in FdC and Haine/Meens-Ex Scale: 386 mm.
(Illustrated). Length: 2160 mm.
Information supplied by: B2|Tournay. Width: 895 mm.
Boalch3 number: DELIN, A. 1751. Depth: 248 mm.
Boalch 2 number: 3. Remarks: Authenticated by Jean Tournay in FdC—his
No. 5. The date ¢. 1760 is ascribed by the museum in OK
Type: Single-manual clavicytherium. and HaagCL. Naturals of blackwood and black sharps
Date: 1752. ivory or bone topped. Divided harp stop. Case painted
Ownership: MUSIKINSTRUMENTEN MUSEUM, in ivory colour with gilded decoration.
BERLIN, GERMANY. Previous history: Collection D. F. Scheurleer, acquired at
Number: 2237. auction by the Gemeente Museum in Brussels in 1913.
Inscriptions. ALBERTUS DELIN ME FECIT TOR- Restored in 1972 by Walter Scheurwater.
NACI 1732, on the nameboard over the keys. References: Ulustrated in Russel/rgs9, pl. 41. See also Jean
Specification: 2x8". Tournay in FdC. See also report on restoration by W.
Additional features: Divided harp stop. Scheurwater and R. van Acht in OK. In this reference
Compass: GG,AA-e’. there are several very attractive illustrations and a full
Keyboard: Black naturals, white sharps. description in English and Dutch of the restoration of
Number of roses: 1. the instrument. See also John Henry van der Meer, ‘Het
Style of rose: Seated harping figure. Clavicytherium’ in Mededelingen Gemeentemuseum van Den
Exterior of case: Painted. Haag, 11 (1956), p. 21. See also Clem, photograph 99, and
Seale: 356 mm. Pag, pl. 19.
Length: 2150 mm. Information supplied by: B2|Towrnai{OK/HaagCi/Pag.
Width: 880 mm. Boalch3 number: DELIN, A. 1760(A).
Depth: 243 mm. Boalch 2 number: 13.
Remarks: Authenticated by Jean Tournay. It is his No.
4. Naturals of ebony with arcaded fronts. Sharps of Type: Wing spinet.
stained red beech with bone tops. BerlinCat, p. 163 shows Date: 1763.

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 DELIN 289
Ownership: ANTWERP CONSERVATOIRE, Inscriptions: ALBERTVS DELIN ME FECIT TOR-
ANTWERP, BELGIUM. NACI 1766.
Specification: 1x8". Specification: 1x8".
Compass. C-P(A). Compass: C-e’.
Keyboard: Black naturals, white sharps. Keyboard: Black naturals, white sharps.
Number of roses: 1. Number of roses: 1.
Scale: 340 mm. Style of rose: Seated harping figure.
Remarks: Authenticated by Jean Tournay—his No. 6. Bz Exterior of case: Painted.
says that the rose has initials AR (but this is surely a Scale: 443 mm.
misprint for AD; if not it throws some doubt on the Remarks. Authenticated by Jean Tournay in FdC—his
authenticity). Though Tournay authenticates it, he says No. 8. Naturals of ebony. Sharps stained beech with bone
very little about it, except that it is in a very poor state slips on top. Case painted olive green. Tournay says: ‘Elle
of conservation and has suffered much. There is paper in est peinte exterieurement en vert olive avec un mince
the Flemish style on the soundboard surrounds. This may rinceau plus sombre. On pourrait douter que ce travail
be the same instrument as DELIN(A), A. 1763, below. soit de 1766, par contre, le pourtour de la table est decoré
References: See Jean Tournay in FdC—but little inform- d’un rinceau brun sur fond vieux rose; l’interieur du
ation is given. couvercle en gris, avec ton sur ton des motifs de style
Information supplied by: B2|Tournay. régence. Le lumiére, la poussiere et l’usure ont enfin
Boalch3 number: DELIN, A. 1763. ajouté des reflets qu’il serait audacieux de decrire dans le
Boalch 2 number: 6. cadre d’une si modeste monographe’. Trestle stand with
five legs.
Type: Wing spinet. References: See Jean Tournay in FdC, where it is illustrated.
Date: 1765. Information supplied by: Toxrnay.
Ownership: MUSIKINSTRUMENTEN MUSEUM, Boaleh 3 number: DELIN, A. 1766.
BERLIN, GERMANY. Boalch 2 number: None.
Number: 2216.
Inscriptions, ALBERTVS DELIN ME FECIT TOR- Type: Single-manual harpsichord.
NACI 176; on the nameboard. On the reverse in Date: 1768.
handwriting in ink: Charles Salvimiae de (Flos. . .par des?). Ownership: KENNETH GILBERT, PARIS, FRANCE.
Specification: 1x8". Inscriptions. Albertus Delin me fecit Tornaci 1768.
Compass. GG-e?. Specification: 2x8’.
Keyboard: Black naturals, white sharps.. Additional features: 1 hand stop.
Number of roses: 1. Compass: GG-e’.
Style of rose: Seated harping figure. Keyboard: Black naturals, white sharps.
Exterior of case: Painted. Number of roses: 1.
Scale: 350 mm. Style of rose: Seated harping figure.
Length: 1526 mm. Exterior of case: Painted.
Width: 467 mm. Seale: 350 mm.
Depth: 165 mm. Length: 2230 mm.
Remarks: Authenticated by Jean Tournay. It is his No. Width: 895 mm.
7. Case painted in blue grey with silver leaf on mouldings. Remarks: Authenticated by Jean Tournay—his No. 9.
Stand with three graceful cabriole legs. In perfect state Very little restored and in superb condition. The case (of
of preservation. Naturals of ebony, sharps of stained oak poplar) was painted elaborately sometime after it was
with bone tops. Original stand of red beech painted en built, and now has scrolling decoration on the case sides
suite with the rest of the case. and an internal lid painting representing ‘I’enlevement
Previous bistory: Number 216 in the 1894 Snoeck catalogue. d’Europe par Zeus’. The front 8’ is engaged by a
Acquired by the Museum in 1902. handstop. The rear 8’ is permanently engaged. Stand with
References. Jean Tournay, FdC. Illustrated there. Sa. five cabriole legs.
BerlinCat, pp. 175~9 including colour illustration. Previous history: Jean Martinod [1971]. Jacques Vian.
Information supplied by: Bz2|Tournay|Droysen-Reber| Elste| Bought by Kenneth Gilbert in 1973.
BerlinCat. References: See Jean Tournay in FdC, where it is illustrated.
Boalch 3 number: DELIN, A. 1765. Information supplied by: B2|Toxrnay|Gilbert.
Boalch 2 number: 8. Boalch 3 number: DELIN, A. 1768.
Boalch 2 number: 9a.
Type: Wing spinet.
Date: 1766. Type: Wing spinet.
Ovnersbip: PRIVATE COLLECTION. Date: 1770.

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290 DELIN(A)
Ownership: BRUSSELS MUSEUM, BRUSSELS, Compass: C-d(A).
BELGIUM. Keyboard: White naturals, black sharps.
Number: 275. Remarks: The instrument is not listed by Jean Tournay,
Inscriptions: Albertus Delin me fecit Tornaci 1770. and may either be spurious, or have disappeared. B’ says
Specification: 1x8". that the instrument has black sharps. This would be
Compass: C-e'. contrary to Delin’s practice in all his surviving
Keyboard: Black naturals, white sharps. instruments.
Number of roses: 1. Previous history: Formerly in Snoeck Collection.
Style of rose: Seated harping figure. Information supplied by: B’.
Exterior of case: Painted. Boalch 3 number: DELIN(A), A. 1766.
Scale: 343 mm. Boalch 2 number: 9.
Remarks: Authenticated by Jean Tournay in FdC—his
No. 10, and the latest of Delin’s instruments to be Type: Spinet.
authenticated. Case of poplar. Perhaps the best preserved Date: 1768.
of all Delin’s instruments. The presence of the rose is not Ownership: J. A. STELLFELD, ANTWERP,
fully confirmed by Tournay. BELGIUM.
Previous history: Presented by F. A. Gevaert. Inscriptions: Albertus Delin me fecit Tornaci 1768.
References: See Jean Tournay in FdC where it is illustrated Specification: 1x8"(A).
and there is a complete plan. See also Haine/Meeus-Ex, Remarks: Not authenticated by Jean Tournay. It may be
item No. 30 (illustrated). spurious, or now missing. Stellfield is described by B? as
Information supplied by: B?|Tournay. ‘the late’.
Boalch 3 number: DELIN, A. 1770. Previous history: Belonged to the late J. A. Stellfeld.
Boalch 2 number: 11. Information supplied by: B.
Boalch 3 number: DELIN(A), A. 1768.
DELIN(A), ALBERT. Boalch 2 number: 10.
Type: Spinet.
Date: 1756. Type: Harpsichord (Number of manuals not known).
Ownership: Not known. Date: 1770.
Inscriptions. Albertus Delin me fecit Tornaci 1756. Ownership: Not known.
Specification: 1x8". Remarks: Not authenticated by Jean Tournay, it may be
Remarks: Not authenticated by Jean Tournay. The instru- spurious, or now lost.
ment may be spurious, or may have disappeared. Previous history: Formerly in Snoeck Collection.
Previous history: Seen by VdS, I. 194 n. in 1863 and again Information supplied by: B*.
in an antique dealer’s shop in Brussels in 1951. Boalch3 number: DELIN(A), A. 1770.
References: VdS, I. 194 n. Boaleh 2 number: 12.
Information supplied by: B.
Boalch 3 number: DELIN(A), A. 1756. Type: Two-manual harpsichord.
Boalch 2 number: 5. Date: Not known.
Ownership: Not known.
Type: Spinet. Length: 1900 mm.
Date: 1763. Remarks: Not authenticated by Jean Tournay in FdC, so
Ownership: Not known. it may be spurious or lost. The sale catalogue of the
Specification: 1x8’. Régibo collection says (1897) ‘Clavecin d’Albert Delin.
Length: 1570 mm. 2 claviers dont |’un est suprime a 4 octaves. Longeur
Remarks. Not authenticated by Jean Tournay. It may 1g0 cm.”
have disappeared, or may be the same instrument as Previous bistory: Formerly Régibo Collection.
DELIN, A. 1763, above. References: Régibo sale catalogue [1897].
Previous history: Formerly in Régibo Collection. Information supplied by: B?.
References: Sale catalogue [1897] reads; ‘épinette tri- Boalch 3 number: DELIN(A), A. n.d.(1)
angulaire d’Albert Delin, 1763. Longeur 157 cm’. Boalch 2 number: 14.
Information supplied by: B?.
Boalch 3 number: DELIN(A), A. 1763. ‘Type: Single-manua! harpsichord.
Boalch 2 number: 7. Date: Not known.
Ownership: PRIVATE COLLECTION, FRANCE.
‘Type: Harpsichord (Number of manuals not known). Specification: 2x8".
Date: 1766. Remarks: Not authenticated by Jean Tournay in FdC so
Ownership: Not known, it may be spurious or lost.

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 DENIS 291
Information supplied by: Bz. Compass: GG/BB-c’, short octave.
Boalch 3 number: DELIN(A), A. n.d.(2) Keyboard: Black naturals, white sharps.
Boalch 2 number: 15. Number of roses: 1.
Style of rose: Parchment.
DELINEAU, JOSEPH CASSELLA. Exterior of case: Painted.
Type: Harpsichord (Number of manuals not known). Scale: 327 mm.
Date: 1793. Length: 1498 mm.
Ownership: Not known. Depth: 188 mm.
Inscriptions: Josepb Cassella Delineau, Terre Cujani 1793, and Remarks: For details of case construction see Tag, p. 179.
on the desk, Di Cituy Alphion Rhebanas ... Conditorare . . . Keyboard cantilevered from case. External case painted
1793. in chinoiserie of brown on cream ground with green
Remarks: Information on the instrument comes from a surrounds. Inside lid and keywell—dark red. Raised on
report made to D. H. Boalch of a sale of anonymous four cabriole legs in matching colours. Naturals ebony
instruments in France in 195 3. with arcades, sharps bone. Soundboard is decorated, and
Previous history: Sold anonymously in France in 1953. shows evidence that the bridge has been moved. When
Information supplied by: Bz. first acquired it had original strings which are tabled with
Boalch3 number: DELINEAU, J. C. 1793. the full description in Tag, p. 180.
Boalch 2 number: 1. Previous history: Acquired by Professor Tagliavini at
auction in Berne in November 1977 and restored by
DENIS, JEAN [III]. Andre Extermann, Geneva.
Type: Spinet. References: Auktion Stuker (1973) No 970. Hubbr96s,
Date: 1667. Pp. 289 under Louis Denis. Verdet pp. 34-6. Tag pp. 176-
Ovnership: MUSEE MUNICIPAL, VARZY, NIEVRE, 85 (Illustrated).
FRANCE. Accession number not known. Information supplied by: Tag.
Remarks: Shown in Bz as by Jean I, but now thought Boalch 3 number: DENIS, L. 1681.
by Anselm and Champ to be by Jean Ill. Boalch 2 number: None.
Information supplied by: B2| Anselm|Champ.
Boalch 3 number: DENIS, J. [III] 1667. DENIS, PHILIPPE.
Boalch 2 number: 1. Type: Polygonal spinet.
Date: 1672.
DENIS, LOUIS. Ownership: MUSEE INSTRUMENTAL, PARIS,
Type: Two-manual harpsichord. FRANCE.
Date: 1658. Number: 561/322.
Ownership: PRIVATE COLLECTION, FRANCE. Specification: 1x8".
Inscriptions: Signed underneath soundboard: Fait par Louis Remarks: Shown in MICL as ‘epinette polygonale’.
Denis a Paris, 1658. Possibly the instrument shown in Bz as ‘(1) 1672.
Number of roses: 1. Ottavino. Paris Conservatoire’.
Remarks: The initials BS in the rose may be those of B. Information supplied by: MICL.
Stehlin (4.».). Boalch 3 number: DENIS, PHILLIPE. 1672.
Previous history: Formerly in Le Cerf’s collection. Boalch 2 number: None or 1.
Information supplied by: Bz.
Boalch3 number: DENIS, L. 1658. DENIS, PIERRE [II].
Boalch 2 number: 1. Type: Harpsichord (Number of manuals not known).
Date: Not known.
Type: Wing spinet. Ownership: Not known.
Date: 1681. Remarks: Last heard of in private ownership in Paris in
Ownership: PROFESSOR LUIGI FERDINANDO 1953-
TAGLIAVINI, BOLOGNA, ITALY. Information supplied by: B2.
Number. 15. Boalch 3 number: DENIS, PIERRE [Il]. n.d.
Inscriptions: On jackrail in red letters: LOVIS DENIS A Boalch 2 number: 4.
PARIS 1681. On the left of the soundboard are the
initials LD and also on the right between the bridge and ‘Type: Harpsichord (Number of manuals not known).
the case. On underside of soundboard Louis Denis/a Paris Date: 1674.
and poir Mademoiselle|Maria geangue denis|an quosent 1681. Ownership: Not known.
The name probably relates to a daughter of the maker— Previous history: Was in the hands of C. Saloman, Paris,
Marie Angelique. in 1923. Formerly F. Le Cerf, Paris.
Specification: 1x8". Information supplied by: Bz.

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292 DESRUISSEAUX
Boalch 3 number: DENIS, PIERRE [Il]. 1674. DESRUISSEAUX, LOUIS.
Boalch 2 number: 2. ‘Type: Harpsichord (Number of manuals not known).
Date: 1658.
‘Type: Harpsichord (Number of manuals not known). Ownership: FORMERLY SAVOYE COLLECTION,
Date: 1691. PARIS, FRANCE. Accession number not known.
Ownership: Not known. Inscriptions: 1638.
Previous bistory: Owned in 1905 by the ‘Couperin’ Concert Remarks: Previously in one of the Savoye Collections.
Group. Ravalé in 1763. Information supplied by: Bz.
Information supplied by: Bz. Boalch 3 number: DESRUISSEAUX, L. 1658.
Boakb 3 number: DENIS, PIERRE [Il]. 1691. Boalch 2 number: 1.
Boalch 2 number: 3.

DESRUISSEAUX, GILBERT. DOMINICUS, PISAURENSIS.

Type: Two-manual harpsichord. ‘Type: Single-manual harpsichord.
Date: After 1678. Date: 1533.
Ownership: MUSEE INSTRUMENTAL, PARIS, Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
FRANCE. GERMANY.
Number: 979.2.3- Number: 67.
Inscriptions. Branded on the wrestplank: DESRUISSEAUX. Inscriptions: Signed on the fascia board in ink
Between the wrest pins: Asseman, and on the keyboards: DOMINICVS.PISAVRENSIS.M.D.XXXIII.
Renovavit anno 1753. Specification: 1x8’.
Specification: 1: 1x8’, 1x4’; I: 1x8’. Compass: C/E-f', short octave.
Compass: GG/BB-c’. Keyboard: White naturals, black sharps.
Additional features: Shove coupler. Number of roses: 1.
Remarks: Previously recorded as being dated ¢. 1670, and Style of rose: Geometrical pattern.
from Paris. The research of Pxssiaw has shown that it is Exterior of case: Plain wood.
dated sometime after 1678, and was made in Lyons. Scale: 287 mm.
Exterior case of walnut with double-curved bent side. Length: 1860 mm.
Lid painted with the theme of Orpheus charming the Width: 810 mm.
beasts. Pussiaw gives details of the origins and inspiration Depth: 174 mm.
for this. Soundboard decorated with flowers in tempera. Remarks: Naturals of box, sharps of stained pear. Carved
Raised on a baluster stand of Louis XIII style. wooden rose. Single-strung important early Italian instru-
Previous bistory: Previously owned by the Comtesse de ment with case of cypress. The outer case is missing.
Chambure, and before that (according to de Bricqueville) Henkel shows the similarity of scaling between this
by the Société de Musique d’Autrefois. Probably restored instrument and other harpsichords in the Leipzig col-
at some time by Asseman, and again in 1967 and 1976 lection by Cristofori, who restored two instruments of
by Hubert Bédard. Dominicus in 1693 and 1696.
References: MICL. Illustrated in Connaisance des Arts, Paris, Previous bistory: In the possession of the Priests Angiolo
15 August 1954. Much new information will be found in Guarneri of Prato until 1878 when it became part of the
Pussiau, V., Gilbert Desruisseanx, facteur de clavecins lyonnaiss, Kraus collection, Florence.
in course of preparation in 1993. References: Inscription reproduced at Ks, p. 222. For full
Information supplied by: MICL|B2/Pussiaw. details see Henke/r pp. 56-8 and pls. 22 and 23. See also
Boalch 3 number. DESRUISSEAUX, G. after 1678(1). WraightHH.
Boalch 2 number: 1. Information supplied by: B2|Henkel1|Wraight.
Boalch3 number: DOMINICUS, P. 1533.
Type: Two-manual harpsichord. Boalch 2 number: 1.
Date: After 1678.
Ownership: PRIVATE COLLECTION. Type: Polygonal virginal.
Inscriptions. Unsigned and undated, but attributed to Date: 1535.
Desruisseaux (after 1678) by Passiaw because of many Ownership: KRAUS, VANCOUVER, CANADA.
similarities with the above instrument. Accession number not known.
Remarks: Exterior with double-curved bent side. Dec- Specification: 1x8".
oration of high quality. Compass: C/E—P, short octave.
References: Pussiau, V., Gilbert Desruisseaux, facteur de Case construction: Italian style, inner/outer.
clavecins lyonnaiss, in course of preparation in 1993. Scale: 341 mm.
Information supplied by: Pussian. Remarks: Ownership by a member of the Kraus family at
Boalch 3 number: DESRUISSEAUX, G. after 1678(2). Vancouver is attributed by Edward R. Turner, in a letter
Boalch 2 number: None. to DHB, dated 14 August 1974. Instrument has new

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 DOMINICUS 293
name-batten, and wrestpins, otherwise in original cantilevered from front. Lime keys, roof-carved. Naturals,
condition. box with two grooves, with fronts having boxwood
Information supplied by: Edward Turner|WraightPC. carving on black background. Sharps, cypress capped
Boalch3 number: DOMINICUS, P. 1535. with black-stained hardwood. Two soundboards both of
Boalch 2 number: None. spruce, the top one angled in the centre, the other below
the keys. Three bridges all cypress. Treble has eleven
Type: Polygonal virginal. courses, middle five, bass six. Baseboard of pine, walls
Date: 1540. cypress. The wrestplank is of walnut and not covered by
Ownership: GERMANISCHES NATIONALMUSEUM, the soundboard. Balance rail walnut. In remarkably good
NUREMBERG, GERMANY. condition.
Number: MIR 1081. Previous bistory: In 1901 in the Kraus collection in Florence.
Inscriptions: Dominicus Pisaurensis MDXXXX. References: Henkelz2 p. 23. Illustrated in Hemke/z plates 1,
Specification: 1x8’. 44 (detail), 46, 59 (inscription). WraightHH.
Compass: C/E-P. Information supplied by: Bz|Weldon|Henkel2|WraightPC.
Keyboard: White naturals, black sharps. Boalch 3 number: DOMINICUS, P. 1543(2)-
Number of roses: 1. Boalch 2 number: 3.
Remarks: Instrument formerly had pedal pull-downs.
Previous history: Formerly in the Riick Collection. Type: Single-manual harpsichord.
References: Mouldings shown in Hellwig. Haber, p. 137. Date: 1546.
WraightHH. Ownership: GESELLSCHAFT DER MUSIKFREUNDE,
Information supplied by: B2|Hellwig|Huber|WraightPC. VIENNA, AUSTRIA.
Boalch 3 number: DOMINICUS, P. 1540. Number. GdM 395.
Boalch 2 number: 1a. Inscriptions: Dominicus Pesaur. 1546—an unusual form of
the name.
‘Type: Single-manual harpsichord. Specification: 2x8".
Date: 1543. Compass: C/E-a'.
Ownership: MUSEE INSTRUMENTAL, PARIS, Remarks: Lent to the Kunsthistorisches Museum, Vienna,
FRANCE. by the Gesellschaft der Musikfreunde.
Number. 984/323. References. WraightHH.
Inscriptions: Dominicus Pisaurensis MDXXXXIII. Information supplied by: B2|StradnerPC|Wraight.
Compass: C/E-c’, short octave. Boalch 3 number: DOMINICUS, P. 1546.
Remarks: Bz suggests probably at quint pitch not octave Boalch 2 number: 4.
and adds: pace Russell 1959, p. 36. No outer case.
Previous history: Gé refers to Dominicus harpsichords in Type: Polygonal virginal.
the Kraus Collection. Date: 1548.
References: Gé. WraightHH. Ownership: BRUSSELS MUSEUM, BRUSSELS,
Information supplied by: B2|/WraightPC. BELGIUM.
Boalch 3 number. DOMINICUS, P. 1543(1)- Number: 1584.
Boalch 2 number: 2. Inscriptions: Dominicus Pisaurensis MDXXXXVIII.
Specification: 1x8’.
‘Type: Fretted clavichord Compass: C/E-c}, short octave.
Date: 1543. Number of roses: 1.
Ovnersbip: LEIPZIG UNIVERSITY, LEIPZIG, Previous bistory: Formerly in the Correr Collection.
GERMANY References: Ks, II, p. 663. WraightHH (illustrated at
Number: 1.
P. 109).
Inscriptions: Inscribed DOMINICVS PISAVRENSIS M Information supplied by: B2|WraightPC|WraightHH.
D XXXXIII on the front board over the keys. Boalch 3 number. DOMINICUS, P. 1548.
Compass: C/E-c’, short octave. Boalch 2 number: 6 and 14.
Keyboard: White naturals, black sharps.
Number of roses: None. Type: Single-manual harpsichord.
Exterior of case: Plain wood. Date: 1554.
Scale: 233 mm. Ovnership: .MUSEE INSTRUMENTAL, PARIS,
Length: 1227 mm. FRANCE.
Width: 265 mm. Number: 2109.
Depth: 152 mm. Specification: 2x8'(A).
Remarks: Bz says ‘This is the earliest dated clavichord in Additional features: Harp stop.
existence, those purporting to be by Alessandro Tra- Compass: C-d?.
suntino (q.v.) being fakes’. Six-sided case with keyboard Keyboard: White naturals, black sharps.

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294. DOMINICUS
Number of roses: 1. Previous history: Bought at auction at Puttick and Simpson,
Style of rose: Geometrical pattern (A). London, 24 July 1901.
Exterior of case: Painted. References. ZIM, II. 408. WraightHH.
Case construction: Italian style, inner/outer. Information supplied by: B2|HaagCL|Wraight.
Remarks: Harp stop added later. Outer case appears to be _ Boalch3 number: DOMINICUS, P. 1575.
painted on exterior in imitation of a panelled case with Boalch 2 number: 9.
fruitwood stringing. At least one handstop and probably
two. Interior lid painting of a group of musicians in a Type: Two-manual harpsichord.
room (or possibly a chapel). Denzil Wraight (EM, Vol. Date: 1600.
XX, No. 4, November 1992, p. 701) suggests that it was Ownership. WASHINGTON UNIVERSITY(A),
probably altered in the workshop of Cristofori (g.v.). For SEATTLE, USA. Accession number not known.
further details see GDN-EKI, p. 83. Inscriptions: Dominicus Pisaurensis fecit Anno Domini 1600.
References: Rueger monochrome illustration, plate 33. Compass: C,D-f.
WraightHH, and the two references mentioned above. Keyboard: Black naturals, white sharps.
Information supplied by: Bz|/MICL|WraightPC. Length: 2108 mm.
Boalch 3 number: DOMINICUS, P. 1554. Width: 838 mm.
Boalch 2 number: 7. Remarks: Instrument is No. 11 in the Bz list with four
octave compass, three registers, boxwood naturals, sharps
Type: Pentagonal virginal. with ivory studs at the back. But in a letter of 14 August
Date: 1563. 1974 from Edward R. Turner to DHB, he poses the
Ownership: PRIVATE COLLECTION, ITALY. possibility that the instrument formerly owned by Mr.
Specification: 1x8'(A). Clark (See: Bz) is the same as that now owned by
References: For all details see: WraightHH. Washington University. He adds that the instrument is
Information supplied by: WraightPC. much altered, present compass C,D-f' but probably was
Boalch 3 number: DOMINICUS, P. 1563. originally GG,AA-c’. Mr. Turner has drawings. Koster
Boalch 2 number: None. suggests that the instrument is the anonymous two-manual
harpsichord at the Germanisches Nationalmuseum, Nur-
Type: Single-manual harpsichord. emberg, with a spurious Domenicus Pisaxrensis inscription.
Date: 1570. The matter requires further investigation.
Ownership: PRIVATE COLLECTION, NICE, Previous history: Sold at Sotheby’s by Alfred de Cros on
FRANCE. 11 February 1938. Shown at the Crystal Palace, 1900.
References: For all details see: WraightHH and Wraight- Possibly acquired from Mr. Clark by Washington Uni-
CelGSJ, p. 124. versity, Seattle.
Information supplied by: WraightPC. Information supplied by: B2|/Edward R. Turner|Koster.
Boalch 3 number: DOMINICUS, P. 1570. Boalch 3 number. DOMINICUS, P. 1600.
Boalch 2 number: None. Boalch 2 number: 11.

Type: Pentagonal virginal. Type: Single-manual harpsichord.

Date: 1575. Date: 1622.
Ownership: GEMEENTEMUSEUM, THE HAGUE, Ownership: Not known.
NETHERLANDS. Inscriptions: Dominicus Pisaurensis fecit 1622.
Number: Ecs46-1933- References: Recorded in Francl [item 5] and FranclI [item
Inscriptions. DOMINICUS PISAURENSIS MDLXXV, 4). For further information, see: WraightHH.
inscribed on nameboard. Information supplied by: B2|Wraight.
Specification: 1x8’. Boalch3 number: DOMINICUS, P. 1622.
Compass: C/E-c’, short octave. Boalch 2 number: 11a.
Keyboard: White naturals, black sharps.
Number of roses: 1. Type: Pentagonal virginal.
Style of rose: Geometrical pattern. Date: Not dated.
Exterior of case: Painted. Ownership: MUSIKINSTRUMENTEN MUSEUM,
Case construction: Italian style, inner/outer. BERLIN, GERMANY.
Scale: 230 mm. Number: 324.
Length: 1440 mm. Inscriptions. On the nameboard DOMENICUS PIS AU-
Width: 350 mm. RENSIS. Inscription on the back of the nameboard; Di
Depth: 175 mm. Jacopo Dinucei|Di S. Pietro a Marcigliano.
Remarks: Pentagonal spinet in rectangular outer case. Lid Specification: 1x8".
has internal paintings in three panels. Compass: C/E-c’, short octave.

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 DOMINICUS(A) 295
Keyboard: White naturals, black sharps. ITALY. Accession number not known.
Number of roses: 1 (missing). Specification: 1x8'(A).
Exterior of case: Plain wood. Number of roses: 1.
Seale: 311 mm. Remarks: Little known of the instrument. Zanio/ says
Length: 1450 mm. ‘perhaps the finest rose I ever saw in a keyboard
Width: 330 mm. instrument’.
Depth: 175 mm. References: WraightHH.
Remarks: The Museum dates the instrument simply as the Information supplied by: Stembridge|Zaniol|Wraight.
middle of the sixteenth century. Five sided case of plain Boalch 3 number: DOMINICUS, P. n.d.(4).
cypress with cantilevered keyboard. Box naturals with Boalch 2 number: None.
box arcades. Sharps of stained pear.
Previoxs history: From the second Paul de Wit Collection Type: Pentagonal virginal.
in 1890. Restored in 1939, and 1954. Date: Not known.
References: Sa. WraightHH. BerlinCat, pp. 204-8. Ownership: PRIVATE COLLECTION, HOLLAND.
Information supplied by. Bz|Droysen-Reber|Este|WraightPC] Specification: 1x8'(A).
BerlinCat. References: For all details see: WraightHH.
Boalch 3 number: DOMINICUS, P. n.d.(1). Information supplied by: WraightPC.
Boalch 2 number: 12. Boalch 3 number: DOMINICUS, P. n.d.(5).
Boalch 2 number: None.
‘Type: Single-manual harpsichord.
Date: Not dated.
Ownership: BRUSSELS MUSEUM, BRUSSELS, DOMINICUS(A), PISAURENSIS(A).
BELGIUM. Type: Fretted clavichord
Number: 1606. Date: 1547(A).
Inscriptions. Dominicus Pisaxrensis. Ownership: MUSEE INSTRUMENTAL, PARIS,
Remarks: Compass four and a half octaves. FRANCE.
References: WraightHH. Number: 1608/1485.
Information supplied by: B2|WraightPC. Inscriptions: Bz says ‘Unsigned; attributed to this maker’.
Boalch 3 number: DOMINICUS, P. n.d.(z). Remarks: The Musée Instrumental gives the date simply
Boalch 2 number: 13. as sixteenth-century, and the maker as ‘Attributed to
Dominicus Pisaurensis’.
Type: Single-manual harpsichord. Previous history: Shown in the historical collection of the
Date: Not known. Paris Exhibition in 1889, being then the property of M.
Ownership: MUSIKHISTORISK MUSEUM, Thibout fils (Hi, p.59]-
COPENHAGEN, DENMARK. References: MICL. WraightHH.
Number: C1.63. Information supplied by: B2|MICL|WraightPC.
Inscriptions: Dominicus Pisaurensis. Boalch 3 number: DOMINICUS(A), P(A). 1547(A)-
Specification: 2x8’. Boalch 2 number: ?5.
Compass. C/E-c', short octave.
Number of roses: 1. Type: Pentagonal virginal.
Scale: 282 mm. Date: 1561(A).
Remarks: The instrument is thought not to be authentic. Ownership: METROPOLITAN MUSEUM OF ART,
There is only one scribe line on the wrest plank for the NEW YORK, USA.
tuning pins indicating that originally the instrument was Number: 89.4.2527.
single strung, i.e. only 1x8’. Saw marks indicate that the Inscriptions: See below under Remarks.
treble of the front register was originally the lower Specification: 1x8’.
half of the back register. Keyboard of poplar. Further Compass: C/E-c’, short octave.
information from WraightIKI. . Keyboard: White naturals, black sharps.
Previous history: Formerly in the Carl Claudius Collection. Number of roses: 1.
References: WraightIKI, MMCC. Case construction: Italian style, inner/outer.
Information supplied by: B2|WraightPC/MMCC. Scale: 285 mm.
Boalch 3 number. DOMINICUS, P. n.d.(3). Length: 1350 mm.
Boalch 2 number: [16]. Width: 450 mm.
Depth: 157 mm.
Type: Polygonal virginal. Remarks: Though the instrument carries a name-batten
Date: Not known. with the inscription of Dominicus Pisaurensis, this has been
Ownership: MUSEO CIVICO, ASOLO, VENICE, taken from another instrument and made to fit. MMACL

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296 DOMINICUS
therefore lists the instrument as being by an anonymous likely that this is the instrument appearing in Bz as being
maker from Italy, and gives the date as ‘17th century?’ in the Schumacher Collection, Lucerne.
Yellow-brown-stained naturals with flat keyfronts and References: Huber, p. 132. WraightHH.
dark-stained sharps. Separate outer case with matching Information supplied by: B2|Hxber|WraightPC.
stand. Boalch 3 number: DOMINICUS(A), P(A). 1590(A).
Previous history: Crosby Brown Collection 1889. Boalch 2 number: 10a.
References: Shortridge, p. 107 gives date as 1548 in error.
MMACL. Photos (negative numbers MUS 996, MUS Type: Polygonal virginal.
997, etc.) available from the Museum. WraigbtHH. Date: Not known.
Information supplied by: Bz] MMACL|WraightPC. Ownership. MUSEO CIVICO, PADUA, ITALY.
Boalch 3 number: DOMINICUS(A), P(A). 1561(A). Accession number not known.
Boalch 2 number: 8. Remarks. Though much smaller, this instrument closely
resembles the instrument in the Museo Civico, Asolo,
Type: Single-manual harpsichord. and it is on this basis that it is ascribed (by Zaniol) to
Date: 1563-70. Dominicus Pisaurensis.
Ownership: STIFTELSEN MUSIKKULTURENS References: WraightIKI.
FRAMJANDE, STOCKHOLM, SWEDEN. Information supplied by: Zaniol]WraightPC.
Number: KL 57. Boalch 3 number: DOMINICUS(A), P(A). n.d.
Inscriptions. None. Boalch 2 number: None.
Specification: 2x8".
Compass: C/E-a', short octave. DOMINICUS, VENETUS.
Keyboard: White naturals, black sharps. Type: Polygonal virginal.
Number of roses: None. Date: 1556.
Exterior of case: Painted. Ownership: YALE UNIVERSITY COLLECTION OF
Case construction: Italian style, inner/outer. MUSICAL INSTRUMENTS, USA.
Seale: 275 mm. Number: 4869.60.
Length: 1975 mm. Inscriptions: Domenicus Venetus fecit MDLVI. One jack
Width: 641 mm. bears letters 1B.
Remarks: Attributed to Dominicus Pisaurensis by Denzil Specification: 1x8’.
Wraight on the evidence of the mouldings and dated Compass: C/E-c’, short octave.
probably between 1563 and 1570. Naturals of ivory, Keyboard: White naturals, black sharps.
sharps of ebony. Outer case of pine painted vermillion Number of roses: 1.
with chinoiserie. Inner case of cypress. Present compass Style of rose: Parchment.
not original, probably originally F,G,A-g’,a’ (total thirty- Exterior of case: Plain wood.
eight keys). Original specification probably 1x8’, 1x4’. Case construction: Italian style, inner/outer.
Lid painting from 1680s, Italy. The instrument may have Previous bistory: Formerly in the Belle Skinner Collection.
been a claviorganum. References: Catalogue of the Belle Skinner Collection.
Previous history: Part of the Nydahl Collection. Information supplied by: B2|Repbann.
References. SMF (see report annexed by Wraight), and Boalch 3 number. DOMENICUS, V. 1556.
photos 80 GK 18-20. WraightHH. Boalch 2 number: 7a.
Information supplied by: Kilstrim|WraightPC|SMF.
Boalch 3 number: DOMINICUS(A), P(A). 1563-70. Type: Polygonal virginal.
Boalch 2 number: None. Date: 1560.
Ownership. Not known.
Type: Two-manual harpsichord. Inscriptions. Dominicus Venetus 1560.
Date: 1590(A). References: Francl, {item 34].
Ownership: GERMANISCHES NATIONALMUSEUM, Information supplied by: Bz.
NUREMBERG, GERMANY. Boalch 3 number: DOMINICUS, V. 1560.
Number; MIR 1078. Boalch 2 number: 7b.
Inscriptions: Falsified inscription Domenico da Pesaro facebit
Anno Domini 1590 on the fascia board. Type: Polygonal virginal.
Specification: 2x8’,1x4’. Date: 1564.
Compass: C/E-c’, short octave. Ownership. HORNIMAN MUSEUM AND LIBRARY,
Case construction; Italian style, inner/outer. LONDON, ENGLAND.
Seale: 302 mm. Number. M70-1983.
Remarks: The inscription suggests Dominicus Pisaurensis, Inscriptions, On jackrail DOMINICUS VENETUS
though the latter is transformed to Pesaro. It seems most FECIT MDLXIII (according to the Museum) but this

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 DONAT 297
seems almost certain to be a misprint for a date of DOMINICUS(A).
MDLXIIII. Type: Rectangular virginal.
Specification: 1x8’. Date: Not known.
Compass: C/E-P, short octave. Ownership: MUSEUM OF FINE ARTS, BOSTON,
Keyboard: White naturals, black sharps. USA. Accession number not known.
Number of roses: 1. Inscriptions: Gié. Domen (the rest illegible) Lenti [or Lenzi]
Style of rose: Geometrical pattern. in paint on the crude (presumably nineteenth-century
Exterior of case: Plain wood. Franciolini) decoration on the lid flap over the keys.
Case construction: Italian style, inner/outer. Specification: 1x8".
Scale: 351 mm. Compass: C/E-P, short octave.
Length: 1495 mm. Keyboard: White naturals, black sharps.
Width: 466 mm. Number of roses: 1.
Depth: 205 mm. Style of rose: Geometrical pattern.
Remarks: Keyboard is modern, probably dating from 1958 Exterior of case: Painted.
restoration. Naturals—arcaded boxwood, sharps ebony. Case construction: Italian style—false inner/outer.
Outer case is nineteenth or twentieth century (possibly Scale: 332 mm.
by Dolmetsch). Gilt rose, pierced and carved with Length: 1530 mm.
geometrical pattern. Inner case is pine throughout. Sound- Width: 519 mm.
board decorated with painted scrolls. Nameboard dec- Depth: 195 mm.
orated in red with strapwork and a cartouche in grisaille Remarks: This instrument was included in Bz under
showing Orpheus playing the lira da braccia to a group Dominicus Pisarensis, but in view of information from the
of animals. Museum, there seems little justification for including it
Previous history: Bought by Dolmetsch in Italy and restored as anything other than a Franciolini fake, though it may
by the firm in 1954. Bought by the Horniman in 1983. date from the seventeenth century. Naturals of boxwood
References: Exhibition Catalogue: The Dolmetsch Collection of with boxwood arcades. Sharps of painted cypress. Case
Musical Instruments, Frances Palmer, (Horniman Museum) mainly poplar. Soundboard of cypress. Exterior crudely
No. I]; 1, p. 21. painted (Franciolini ?) and similar painting inside lid. A
Information supplied by: Bz|Heale|Birley. fine ‘wedding cake’ rose in the soundboard. Modern
Boalch 3 number. DOMINICUS, V. 1564. stand. BostonCat.
Boalch 2 number: 8a. References: Reference sheet by Koster from the Museum.
Information supplied by: B2|MF A.
Boalch 3 number: DOMINICUS(A). n.d.
‘Type: Rectangular virginal. Boalch 2 number: 15.
Date: 1566.
Ownership: GERMANISCHES NATIONALMUSEUM,
DONAT, JOHAN JACOB
NUREMBERG, GERMANY. Type: Fretted clavichord.
Number: MIR 1086. Date: 1700.
Specification: 1x8’. Ownership. LEIPZIG UNIVERSITY, LEIPZIG,
Compass: C/E-P. GERMANY.
Keyboard: White naturals, black sharps. Number: 12.
Number of roses: 1. Inscriptions: Inscribed Lipsiae Factum a Jobanno Jacobo
Exterior of case: Painted. Donato Organopaco|Mense Septembri Ao. 1700 and Hoc
Scale: 260 mm. Clavicordium Jobann Jacob|Donat Organopaeus fect Lipsiae [?]
Remarks: From the illustration in Rweger the case appears Ao. 1700 on the underside of lowest C key, though both
to be painted in imitation of wood with geometric inlay— inscriptions are not in the same hand.
but it may be genuine. Keywell is certainly painted and Compass: C-c’.
has a central coat of arms. The lid interior is painted with Keyboard: White naturals, special sharps.
a scene which appears to have a central harping figure Number of roses: 1.
with a halo (King David?) happily surrounded by a group Style of rose: Paper.
of adoring ladies playing tambourines. Raised on a Exterior of case: Veneered.
substantial trestle stand. Scale: 253 mm.
References: Wustrated in Nor, and in colour in Raeger, Length: 1230 mm.
pl. 22. Mouldings shown in Hellwig. Huber, p. 138. Width: 345 mm.
WraightHH. Depth: 85 mm.
Information supplied by: B2|Rueger|Hellwig| Huber|WraightPC. Remarks: Keys of alder, roof-carved having guide slips
Boalch 3 number: DOMINICUS, V. 1566. of tortoise-shell. Naturals ivory with three grooves, and
Boalch 2 number: 8b. fronts carved out of the keyplate. Sharps walnut capped

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298 DONZELAGUE
with tortoise-shell and ivory. Soundboard spruce with Inscription. On the nameboard: DONZELAGUE A
two bars. Rose of paper 48 mm. diameter. Bridges maple, LYON 1716.
sawn to shape in treble, bent in bass. Case of pine. Specification: \: 1x8’, 1x4’; Us 1x8.
Externally veneered with unknown timber inlaid with Additional features: Shove coupler.
ivory and tortoise-shell. Inside is papered. The inside of Compass: FF-f.
the resonance chamber is lined with glue and sand. Main Number of roses: 1.
internal structures are of oak. No lid. Style of rose: Parchment.
Previous history: 1910 Heyer Collection, Cologne. Remarks: Original keyboards missing—the present key-
References: Henkel2 p. 38 and illustrations plates 9, 47, 60, boards are a replacement by Hubert Bédard. Instrument
77- shows many Flemish characteristics. Exterior of brown
Information supplied by: B2|Weldon|Henkelz. marbling covering an older finish of geometric patterns.
Boalch3 number. DONAT, J. J. 1700. Flemish papers in the keywell, and the rim over the
Boalch 2 number: 1. soundboard. Soundboard decorated with flowers and
birds. Interior of lid has a painting of the Apotheosis of
DONZELAGUE, PIERRE. Jean-Philippe Rameau executed about 1768. Stand of 10
Type: Two-manual harpsichord. balusters (possibly by Thomas or Pierre Hache, Grenoble).
Date: 1711. References: Kenneth Gilbert in the notes to his edition of
Ownership: PRIVATE COLLECTION. ‘Jean-Philippe Rameau—Pieces de Clavecin’, Le Papitre,
Inscriptions. Domzelague @ Lyon L’an 1711 in ink on Heugel et Cie, says “The recent discovery of a five octave
baseboard. harpsichord by Donzelague (Lyons 1716, Musée Lyonnais
Specification: 2x8’, 1x4". des Arts Decoratifs, F to F) is especially interesting’.
Additional features: 2 hand stops, harp stop, shove coupler. Previous history: Bought at the chateau de la Rochette
Compass: FF-P. (Saint-Gengoux-le-National, Saéne et Loire) about 1924.
Keyboard: Black naturals, white sharps. Seen by Claude Dalbanne, Director of the Musée His-
Number of roses: 1. torique de Lyon, in 1937. Subsequently the property of
Style of rose: Parchment. an antiquary in Macon. Acquired by the Fondation
Exterior of case: Painted. MacDonal Steward with a view to installing it in the
Length: 2400 mm. chateau Ramezay at Montreal, but the sale was pre-empted
Width: 930 mm. by the French government in 1977, and it subsequently
Depth: 275 mm. went to the Museum at Lyons.
Remarks: Ebony naturals with boxwood arcades. Sharps References: Pussiau, V., in Marcelle BENOIT, Dictionnaire
of bone with gilded fronts. Outside, decorated in black de la musique en France aux XVIF et XVII siécles, Fayard,
lacquer with gilt lines (dating from ¢. 1735) covering an 1992. Pussiau, V., Pierre Donzelagne, Aix-en-Provence,
original decoration of red marbling with grey borders, of 1668—Lzyon, 1747, in preparation, 1993.
which some evidence can still be seen. Keywell and inside Information supplied by: Bz|Gilbert|GL|Champ|Pussian.
edges decorated in lilac and gilt, all ¢. 1735, replacing an Boalch 3 number: DONZELAGUE, P. 1716.
original vellum decoration. Stand, in black lacquer, on Boalch 2 number: 1.
seven cabriole legs with fine rococo carving and music
drawer. Lid painting on canvas, ¢. 1735, showing a DONZELAGUE(A).
‘concert champétre’. Deep layered parchment rose with ‘Type: Harpsichord (Number of manuals not known).
central pinnacle. Rim and hand stop lever covers covered Date: 1711(A).
with printed papers (not Flemish type). Register leathers Ownership: MICHAEL THOMAS, SAUSSINES,
silver leafed and varnished to simulate gilding. Made as FRANCE.
a five-octave instrument and only the decoration and Remarks. \t is understood that there are no inscriptions
stand were altered in the Louis XV period. Scale is given to ascribe it authoritatively to Donzelague, and the
at c' as 685 mm. This must be a mistake for the scale instrument is much damaged, though several observers
atc. report that the similarities between this instrument and
Previous history: Formerly ina private collection in Belgium. that numbered ‘DONZELAGUE, P. 1711’ are such that
Information supplied by: GL|Owner|MacTaggart. the identity of the maker cannot be in dispute. Beyond
Boalch 3 number: DONZELAGUE, P. 1711. this, nothing further is known about this instrument
Boalch 2 number: None. which was reported in 1992 by Michael Thomas, and in
March of that year was being restored by Jean Maurer.
Type: Two-manual harpsichord. Boalch 3 number: DONZELAGUE(A). 1711(A).
Date: 1716. Boalch 2 number: None.
Ownership: MUSEE LYONNAIS DES ARTS
DECORATIFS, LYON, FRANCE. Accession number Type: Single-manual harpsichord.
not known, Date: 1717.

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 DU FOUR 299
Ownership: Not known. Number: 79.
Remarks. This instrument is reported by Pussiaw who says Inscriptions: Attributed by museum to Dressel.
‘Anc. coll. Samy Chalom, 1954’, and goes on the note Compass: C/E-e’.
that all trace of it has been lost since 1968. Case decoration Information supplied by: Weldon.
of red and gold, possibly chinoiserie. Boalch 3 number: DRESSEL, C. 1680 -g0.
References: Musique Ancienne, Number 20, December 1985, Boalch 2 number: None.
p- 25. Pussiau, V., in Marcelle BENOIT, Dictionnaire de
la musique en France aux XVII et XVII siécles, Fayard, DUBOIS, PIERRE.
1992. Pussiau, V., Pierre Donzelague, Aix-en-Provence, Type: Harpsichord (number of manuals not known).
1668—Lyon, 1747, in preparation, 1993. Date: 1780(A).
Information from: Pussiaw. Ownership: PRIVATE COLLECTION, PARIS,
Boalch 3 number: DONZELAGUE(A). 1717. FRANCE.
Boalch 2 number: None. Inscriptions. Details of the inscription which give the
address of Dubois, who repaired the instrument in 1780,
‘Type: Harpsichord (Number of manuals not known). are in Part 1.
Date: Not known. Remarks: Nothing further is known of the instrument.
Ownership: VILLA MEDIC] (FRENCH ACADEMY IN Information supplied by: Bz.
ROME), ROME, ITALY. Accession number not Boalch 3 number: DUBOIS, P. 1780(A).
known. Boalch 2 number: 1.
Remarks: The possible ascription to a member of the
Donzelague family comes from MacTaggart. Painted case DU FOUR, CLAUDE.
with original marbling, and lid marbling completed in Type: Two-manual harpsichord.
1979. Keywell and rim lined with Flemish-style block Date: 1674.
printed papers. Lid painting from seventeenth-century Ownership: COLLECTION SAMY CHALOM, PARIS,
Italian harpsichord made up to size. Subjects based on FRANCE. Accession number not known.
engravings by A. Tempesta. Lid flap bears a painting of Inscriptions: Signed; Claude du Four] An 1674.
Orpheus charming the animals (also enlarged). Exterior of case: Painted.
Information supplied by: MacTaggart. Remarks: Case sumptuously decorated. Lid with painting
Boaleh 3 number. DONZELAGUE(A). n.d.(1). in the style of Claude Lorrain (Pussiaw says ‘monts du
Boalch 2 number: None. lyonnais?”). There is some confusion over the ownership
of this instrument (see note under the harpsichord by
‘Type: Harpsichord (Number of manuals not known). Nicolas Du Four).
Date: Not known. References: Mlustrated in Connaissance des arts, Paris, 15
Ovnership: CHATEAU D’ASSAS, FRANCE. Accession August 1954.
number not known. Information supplied by: B2|GL|Pussian.
Remarks: Little is known of this instrament beyond the Boalch 3 number: DU FOUR, C. 1674.
fact that it is not signed, and is raised on a Louis XV Boalch 2 number: 1.
stand.
Information supplied by: ThomasM. Type: Spinet.
Boalch 3 number: DONZELAGUE(A). n.d.(z). Date: 167[?}.
Boalch 2 number: None. Ownership: MUSEE D’?INSTRUMENTS ANCIENS DE
MUSIQUE, GENEVA, SWITZERLAND.
‘Type: Harpsichord (Number of manuals not known). Number: 1M 310.
Date: Not known. Inscriptions. CLAUDE DU FOUR, Lyon 167. (fourth
Ownership: EXELMANN, GENEVA, digit of date missing).
SWITZERLAND. Accession number not known. Specification: 1x8'(A).
Remarks: Little is known about this instrument, which is Number of roses: 1.
reported by Michael Thomas to have been formerly in Remarks: The instrument, described in Bz as a spinet is
the possession of M. Tiessiero of Geneva. described by the Museum as a ‘great Virginal’. Painted
Information supplied by: ThomasM. soundboard with fruits and flowers and gilded rose.
Boaleb 3 number: DONZELAGUE(A). n.d.(3). Compass of forty-nine keys, but limits not known. Raised
Boalch 2 number: None. on stand with four legs. The lid appears to have been
adapted from another instrument. In good playing order
DRESSEL, CHRISTOPH. after recent restoration.
Type: Fretted clavichord. Previous history: Formerly the property of Louis-Daniel
Date: 1680-90. Perret, Lutry, Switzerland.
Ownership. BACHHAUS, EISENACH, GERMANY. References: MLAM.

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300 DU FOUR
Information supplied by: B2|Clere. Specification: 2x8’, 1x4’.
Boalch 3 number: DU FOUR, C. 167[?]. Additional features. 3 hand stops, harp stop.
Boalh 2 number: 2. Compass: FF-c}.
Keyboard: White naturals, special sharps.
Type: Two-manual harpsichord. Nusber of roses: 1.
Date: Not known. Style of rose: Seated harping figure.
Ovnersbip: Pussian reports ‘Coll. part. M. Y. G., Paris.’ Exterior of case: Painted.
References: Claude Mercier-Ythier, Les Clavecins, illust. pp. Scale: 389 mm.
36-9. Length: 2456 mm.
Information supplied by: Pussiaw. Width: 950 mm.
Boalch 3 number: DU FOUR, C. n.d. Depth: 295 mm.
Boalch 2 number: None. Remarks: Since the instrument has no inscriptions it is
not clear which of the Dulckens was the maker, but the
DU FOUR, NICOLAS. presence of a rose with the initials [DD suggests Johan
Type: Single-manual harpsichord. Daniel Dulcken, though it is a different style from other
Date: 1674. Dulcken roses. The instrument is ascribed to Dulcken
Ownership: WOLFGANG RUF, RASTATT, and dated ¢. 1740 by Jean Tournay on the basis of internal
GERMANY. construction, rose, and compass [ToaraAD]. It is his
Inscriptions: According to Champ, labelled Nicolas Dufour. instrument No. 1. Naturals—bone; Sharps—unstained-
Specification: 2x8". pear topped with ivory. Jack row 1 plucks the shorter
Compass: GG/BB-c’, short octave. 8’, row 2 the longer 8’, and row 3 is for the 4’. Lid, case
Scale: 352 mm. sides, internal bracing of poplar. Wrestplank—oak. Rose
Length: 2150 mm. has a baby angel playing the harp—corresponding to
Width: 760 mm. entry in catalogue of Snoeck Collection of 1894 ‘une rosace
Remarks: Information on this instrument comes from fepresentant un petit ange dodu’ (a rose representing a
Champ and GL, both in March 1985. There is, however little chubby angel). No soundboard painting. Outer case
some confusion, for GL reported that Wolfgang Ruf decoration of raised chinoiserie on gesso relief (sides
owned the 1674 double (see above) by Claude Du Four. probably eighteenth-century but top of the lid is inferior
The instrument reported here does not seem to be the work, probably twentieth century). Painting on the inside
same, since it is reported as a single, and the maker is of the lid of the return of the Ark of the Covenant (2
given by Champ as Nicolas Du Four. The two are Samuel, 6) identified by Thomas Belz as derived from an
therefore shown separately. engraving in an illustrated bible published in Paris in
Previous bistory: Sold in Paris in 1953 possibly by Salomon. 1680. Drawstops for back 8’ and 4’. Hand stop on
Information supplied by: Champ|GL. wrestplank for front 8’ at left hand side.
Boalch 3 number: DU FOUR, N. 1674. Previous history: Formerly in Snoeck Collection (No. 233—
Boalch 2 number: None. see Brussels Museum of Musical Instruments Bulletin, Vol. IV,
Brussels 1974, p. 23). Mrs. K. H. Rees-Mogg gave, or
Type: Harpsichord. more probably loaned it, to the Bristol Museum in 1944.
Date: 1683. Probably sold by the executors of Mrs. Rees-Mogg at
Ownership: Not known. Christie’s on 29 November 1962 to Bernard Bibby, Seale,
Inscriptions: According to GDN-EKI, p. 253, the name Farnham. Bought by John Barnes 1974.
Nicholas Dufour appears on the label of a harpsichord References: Scale drawings available from John Barnes.
dated 1683. Snoeck Collection Catalogue. Recorded by Alan Cuckston,
Remarks: No other information about this instrument is Swinsty records, FEW 105. Illustrated and described in
known. detail in Toxrn AD, pp. 43-51.
Information supplied by: GDN-EKI. Information supplied by: B2|Barnes|Toxrn AD|MacTaggart.
Boalch 3 number: DU FOUR, N. 1683. Boalch 3 number: DULCKEN, J. D. 1740(A).
Boalch 2 number: None. Boalch 2 number: 12.

DULCKEN, JOHANN DANIEL. Type: Harpsichord nameboard.

Type: Single-manual harpsichord. Date: 1744.
Date: 1740(A). Ownership: BRUSSELS MUSEUM, BRUSSELS,
Ownership: JOHN BARNES, EDINBURGH, BELGIUM.
SCOTLAND. Number. 1605.
Inscriptions: No inscription except number 264s on 8’ Inscriptions. Joannes Daniel Dulcken me fecit Antwerpiae anno
register lever. Reason unknown. John Barnes thinks it is 1744
not a restorer’s number. Remarks. The whereabouts of the instrument to which

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 DULCKEN 301
this nameboard belongs are not known. Number of roses: 1.
Information supplied by: B?|WraightPC. Exterior of case: Painted.
Boalch 3 number: DULCKEN, J. D. 1744. Scale: 372 mm.
Boalch 2 number: [2b]. Length: 2582 mm.
Widtb: 966 mm.
Type: Two-manual harpsichord. Depth: 258 mm.
Date: 1745. Remarks: Authenticated by Tournay [Tourn AD]. It is his
Ownership: SMITHSONIAN INSTITUTION, number 2. Naturals of bone. Sharps of stained fruitwood
WASHINGTON, USA. topped with ebony. Rose with gilded monogram I D D.
Number: 315,758. Soundboard with flowers. Case of poplar, decorated with
Inscriptions. IOANNES DANIEL DULCKEN ME swirling garlands. Hunting scene inside the lid. Raised
FECIT ANTVERPIAE Ao. 1745 on the name batten. on stand with six cabriole legs. The original stops have
Specification: 1: 2x8’,1x4'; Ul: 1x8’, lute. been replaced by metal levers on the wrestplank (possibly
Additional features: 4 hand stops, dogleg. by Bull). A later geometric design of red and black has
Compass: FF-f. been added to the fasciaboard.
Keyboard: Black naturals, white sharps. Previous bistory: According to B’—lent by the Museum
Number of roses: 1. fir Angewandte Kunst. From 1967-9 it was the subject
Style of rose: Monogram. of a comparative study with the 1745 Dulcken at the
Exterior of case: Painted. Smithsonian, Washington (see above), and was partially
Seale: 384 mm. restored by Peter Kukelka. In 1983 it was restored to
Length: 2592 mm. playing order by Kurt Wittmayer. Provenance given by
Width: 966 mm. Tourn AD as ‘Kaiser Haus’.
Depth: 246 mm. References: Luith, pp. 14-15. Toxrn AD pp. 52-60, including
Remarks: Authenticated by Tournay [Towrn AD]. It is his illustrations.
number 5. Ebony naturals, with white painted fronts. Information supplied by: B*|Tourn AD|StradnerPC.
Sharps of stained fruitwood with ivory tops. Sixty-one Boalch 3 number: DULCKEN, J. D. 1745(2).
note keyboards with keys numbered from 1 to 61 in ink. Boalch 2 number: 4.
Decorated soundboard. Interior decoration of gold leaf.
Outer case in black with gilded bands. Lid of similar Type: Single-manual harpsichord.
decorative style. The instrument is in its original state Date: 1745.
with the exception of the bottom, wrestplank, and stand, Ownership: Not known.
the latter being a trestle of twelve bannister legs. It is Inscriptions: Inscribed on nameboard JOANNES DAN-
this instrument which has been copied in large numbers IEL DULCKEN ME FAECIT ANTVERPIAE 174).
by twentieth-century builders. Specification: 2x8".
Previous history: Previous history not known before its Additional features: 1 genouillére, 2 hand stops.
arrival at the Smithsonian. Restored by William Dowd. Compass: AA-e’.
References: Illustrated in Wash, 1969. Smithcheckég. Smiths- Keyboard: Black naturals, white sharps.
onian photo negatives 56,314; 56,314A; 56,314B. Tech- Number of roses: 1.
nical drawing by Sheridan Germann and Scott Odell Style of rose(s): Monogram.
available from Smithsonian. Hirt p. 148. Zuckig69 Exterior of case: Painted.
Pp. 32-3. GDN pp. 632-3. Acoustic tests carried out in Scale: 382 mm.
1985 by E. L. Kottick, see: Kottick-response. Length: 2243 mm.
Information supplied by: B?|Smithcheck89| Tourn AD. Width: 835 mm.
Boakh3 number: DULCKEN, J. D. 1745(t). Depth: 257 mm.
Boalch 2 number: 3. Remarks: Authenticated by Tournay [Tourn AD]. It is his
number 4. Compass originally BB-d’ but now (after
Type: Two-manual harpsichord. ravalement) AA-e’. Naturals of ebony with fronts of
Date: 1745. paper, having a small triangle of vermillion on a white
Ownership. KUNSTHISTORISCHES MUSEUM, ground. Stained fruitwood sharps with bone tops. Dec-
VIENNA, AUSTRIA. orated soundboard. Disposition 2x8’, with one register
Number: 726. having double jacks with leather in one direction and
Inscriptions: In black Roman capitals on a gilded name- quill in the other operated by a genouillére on the left
board: IOANNES DANIEL DULCKEN FAECIT side. Gilded lead rose with monogram. Exterior of case
ANTVERPIAE 174). mainly in white though it appears that originally it was
Specification: 2x8’, 1x4’, lute. grey and ochre. Lid also now in white, though also
Compass: FF-P. originally as the rest of the case, but with interior of
Keyboard: White naturals, black sharps. grey-mauve. Raised on stand with 5 simple cabriole legs.

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302 DULCKEN
Previous history: About 1880 it was bought in Antwerp by Keyboard: White naturals, black sharps.
Armand van Zuylen; it passed to Albert van Zuylen, of Number of roses: 1.
Liége, who owned it until 1964. Thereafter in the Style of rose: Monogram.
possession of Jacques Bernard of Liége, until sold at Exterior of case: Painted.
Sotheby’s on 26 November 1992 for £42,200 (lot 454). Scale: 383 mm.
References: Plan available from Jean Tournay and Michel Length: 2466 mm.
De Mayer, 1984. TournAD, pp. 71-84. Sotheby’s Cata- Width: 966 mm.
logue of 26 November 1992, pp. 224-5, (2 illustrations). Depth: 260 mm.
Information supplied by: B?|TournAD|Sotbeby’s. Remarks: Authenticated by Tournay [Tosrn AD). It is his
Boalch3 number: DULCKEN, J. D. 1745(3). number 6. Naturals of bone with paper fronts of white
Boalch 2 number: 4a. paper carrying a red rectangle with curved corners. Sharps
of stained fruitwood with ebony tops. Two hand stops
Type: Two-manual harpsichord. on left and right, under the wrestplank, projecting through
Date: 1745(A). the fascia board operate a left plucking 4’, and left
Ownership: BRUSSELS MUSEUM, BRUSSELS, plucking 8’ and a hand lever on the wrestplank operates
BELGIUM. the right plucking 8’. Decorated soundboard with flowers.
Number: 1604. Gold leaf on the soundboard and wrestplank surrounds.
Inscriptions: No inscriptions, and no name batten. Exterior of the case in grey, decorated with shells and
Specification: 2x8’, 1x4’, lute. garlands. A landscape scene in grisaille inside the lid.
Additional features: Hand stop. Stand with four cabriole legs also painted in grey.
Compass: FF-f. Previous history: Formerly in Snoeck Collection. J. Astfield,
Keyboard: White naturals, black sharps. 1925. Collection of the Koninklijk Muziek-Conser-
Number of roses: 1. vatorium, Antwerp, 1941. Vieeshuis Museum, Antwerp
Exterior of case: Painted. 1967. Restored between 1970 and 1972 by Hubert
Scale: 417 mm. Bédard—see report in RG.1969~-74.
Length: 2573 mm. References: Lambr-D 1970, H. Bédard, ‘Rapport de restau-
Width: 970 mm. ration’, Bulletin du Musée Instrumental du Conservatoire de
Depth: 245 mm. Bruxelles, Vol. IV, pp. 20-5, 1974. Plan by Hubert Bédard
Remarks: Date ascribed by Tournay, by whom it is and Michael De Mayer, 1977. Towra AD, pp. 92-9.
authenticated [Towrn AD]. It is his number 3. The instru- Lambr-D 1981, p. 155.
ment has no signature or date, though there is a monogram Information supplied by: B?|Tosrn AD|Lambr-D 1981.
in the rose which has been incorrectly replaced during a Boalch 3 number. DULCKEN, J. D. 1747.
restoration. Naturals of bone with paper fronts. Sharps Boalch 2 number: 5 & 2.
of stained fruitwood (pear?) with ebony tops. The case
is uncharacteristically of oak, and this has lead scholars Type: Two-manual harpsichord.
in the past to suspect its authenticity. Outer case painted. Date: 1755.
The inner lid carries a country scene signed Bigée in the Ownership: BRUSSELS MUSEUM, BRUSSELS,
left corner, but without date. Cast lead rose. BELGIUM.
Previous history: Restored by Frans de Vestibule in 1885 Number: 1608.
and again in 1946 by Moisse, who replaced the soundboard Inscriptions: The left part of the nameboard is missing,
with a new one of Douglas fir. but the inscription may be presumed to have been
References: Mabillon Vol. 1, pp. 173-5. ToxrnAD, (IOANNES DA)NIEL DULCKEN ME FECIT
Pp. 61-70, including illustrations. ANTVERPIAE ANNO 17353.
Information supplied by: B?/Toxrn AD. Specification: 2x8’, 1x4’, lute.
Boalch3 number: DULCKEN, J. D. 1745(A). Additional features: 4, handstops.
Boalch 2 number: 11. Compass: FF-f.
Keyboard: White naturals, black sharps.
Type: Single-manual harpsichord. Number of roses: 1.
Date: 1747. Style of rose: Monogram.
Ownership: VLEESHUIS MUSEUM, ANTWERP, Exterior of case: Plain wood.
BELGIUM. Scale: 370 mm.
Number: VH 67.1.115. Length: 2555 mm.
Inscriptions. On the name-batten ICANNES DANIEL Width: 970 mm.
DULCKEN FECIT ANTVERPIAE ANNO J7q7. Depth: 245 mm.
Specification: 2x8’, 1x4’. Remarks. Authenticated by Tournay [TowrnAD)]. It is his
Additional features: 2 hand stops, 1 hand lever. number 9. The instrument represents a new departure in
Compass: FF-P. construction for Dulcken, in which the earlier ‘double

by iz
bigt gle
GOOed

side’ construction is replaced by a thinner case. It seems
almost certain that this must be the same instrument as
the single-manual harpsichord recorded by Bz as his
number 7. Bone naturals with fronts of white paper
having a red rectangle with rounded corners. Sharps of
stained pear with ebony tops. Decorated soundboard.
Poplar case with dovetail joints. The
surrounds, and those of the wrestplank and fascia board
and case mouldings in gold leaf. The exterior of the case
appears never to have been painted, and is stained brown.
The lid, the jackrails the main part of the 4’ bridge and
several other parts are missing, possibly as a result of
water damage. There is a ‘trapdoor’ in the base boards,
and indications of hasty repair at some time in the distant
past, but not contemporary with Dulcken. Tosrn AD
considerably more detail of these aspects.
Previous history: Formerly in Régibo Collection.
References: Tourn AD, pp. 123-36. Plan available from Jean
Tournay, 1986.
Information supplied by: B2|Tourn AD.
Boalch3 number: DULCKEN, J. D. 1755(1)-
Boalch 2 number: 6 and 7.
Type: Single-manual harpsichord.
Date: 1755.
Ownership: DR. ANDREAS BEURMANN,
HAMBURG, GERMANY.
Number: 38.
Inscriptions: JOHANNES DANIEL DULCKEN ME
FECIT ANTWERPIAE 1735 on the jackrail. Also
inscribed on fascia board Musica-Magnorum Solamen-Dulce
Laborum. TowrnAD reports that infra-red photography
reveals traces of an inscription on the name board which
showing the date as 17s (the last digit being illegible,
but most probably 5).
Specification: 2x8’, 1x4’.
Additional features: 2 hand stops, 1 hand lever.
Compass: GG/BB-e’, short octave.
Keyboard: Black naturals, white sharps.
Number of roses: 1.
Style of rose: Monogram.
Exterior of case: Painted.
Scale: 378 mm.
Length: 2212 mm.
Width: 847 mm.
Depth: 256 mm.
Remarks: Authenticated by Tournay [Tosra
number 8. Dr. Beurmann reports: No
deformation. All case walls except spine
with carved scrolling foliage. Soundboard
flowers in gouache and metallic gilded rose all in good
condition. Exterior had been painted with a beige colour
leaving the original turqoise colour untouched beneath.
It has now been coated with a similar colour to the
original, though it is intended in due course to remove
both top coats so as to return it to the original colour.
Keyboard is now GG/BB-c! with the original di’ and e’
wed ty Google
DULCKEN 303
missing, the space having been blocked off with a false
cheekpiece, though the wrest pins and register holes for
these notes are still present. Additional information from
the Sotheby’s catalogue of 27 March 1990: Plain lid with
short brass strap hinges and internal painting from the
Antwerp school, depicting scenes from the Old Testament.
soundboard (Towra AD says that this is the subject of a representation
of the crossing of the Red Sea by Frans Francken, ¢.
1650). Arcaded ebony naturals with the facings now
missing, and ivory overlaid sharps. Fascia board with two
brass-knobbed hand levers controlling one 8’ and the 4’,
and a wooden hand lever to the left of the wrest pins
controlling the other 8’. Stand with five (Tourn AD
incorrectly says six) cabriole legs. See TowrnAD for a
gives further discussion of the changes in compass. The dimen-
sions are from the Sotheby’s catalogue, and are slighlty
different from those of Toxrn AD.
Previous history: 1953 in possession of M. Roose, Antwerp.
Sold at Sotheby’s 27 March 1990 to Dr. Beurmann.
References: Sotheby’s catalogue of 27 March 1990 (illus-
trated). Tourn AD, pp. 113-22. See also Jeremy Montagu,
writing in EM, Vol. XVIII, No. 3, August 1990, p. 449,
where the authenticity of the instrument is doubted. This
report subsequently roused several correspondents to
support the instrument (notably Allen James in EM, Vol.
XIX, No. 1, February 1991, p. 155). In view of Tournay’s
remarks, while the instrument has clearly been the subject
of some changes over the years, there seems little reason
to doubt that it is by Dulcken.
Information supplied by: Bz|Bexrmann|Sothebys| Tourn AD.
Boalch 3 number: DULCKEN, J. D. 1755(2).
Boalch 2 number: 8.
Type: Two-manual harpsichord.
Date: 1755.
Ownership: ROBERT KOHNEN, BRUSSELS,
BELGIUM.
Inscriptions: On the nameboard IOHANNES DANIEL
DULCKEN ME FECIT ANTWEPIAE ANNO 1755.
Specification: 2x8’, 1x4’.
Additional features: Dogleg, 2 hand stops, 1 hand lever.
Compass: FF-P.
Keyboard: Black naturals, white sharps.
Number of roses: 1.
Style of rose(s): Monogram.
Exterior of case: Painted.
AD}. It is his Scale: 37 mm.
sign of case Length: 2552 mm.
are decorated Width: 945 mm.
painted with Dapth: 256 mm.
Remarks: Authenticated by Tournay. [Tourn AD} It is his
number 10. The last surviving instrument known to have
been built by Dulcken before his death in 1757. Naturals
of ebony with stylized punched floral fronts. Sharps of
stained pear, with bone tops. Decorated soundboard.
Soundboard and wrestplank surrounds, and fascia board
in royal blue. Exterior of case with a frieze of foliage on
304. DULCKEN
a ground of ‘vieux-rose’. Exterior of lid to match the DULCKEN, JOHANN(A).
case. Interior of lid with borders of grey-blue, blue, and ‘Type: Single-manual harpsichord.
vieux-rose. Stand with six turned legs. Date: 1764.
Previous history: Bought around 1970 in Krainem near Ownership. FORMERLY IN THE BERLIN
Brussels from Mrs. Capart, who inherited it from her COLLECTION, BERLIN, GERMANY.
mother Mrs. Vaes, who had owned it for a considerable Number: 2231.
time. Restored in 1898 by de Vestibule who was then Inscriptions: Joannes Daniel Dulcken me fecit Bruxellis anno
working for the Brussels Conservatoire Collection, and 1764.
more recently by Hubert Bedard, Paris, who [TournAD] Specification: 2x8’, 1x4’.
in 1972 made a new 4’ bridge and new 4’ jacks. Restored Compass. FF-P.
again more recently by Alain Anselm. Length: 1450 mm.
References: Tourn AD, pp. 137-45. Width: 980 mm.
Information supplied by: Bz/Tourn AD. Remarks: Bz records this instrument as in the Berlin
Boalch3 number: DULCKEN, J. D. 1755(3)- Collection, but Ber/inCat confirms that it has been lost
Boalch 2 number: 6a. since the Second World War. It is not mentioned by
Tournay [Toarn AD]. Since Johann Daniel died in 1757,
if this is a genuine instrument dated 1764, it must be by
the latter’s son.
‘Type: Single-manual harpsichord. References: BerlinCat, p. 374, quotes the entry in Sa.
Date: 1755(A). Information supplied by: B2|BerlinCat.
Ownership: PRIVATE COLLECTION, ROUEN, Boalch 3 number: DULCKEN, J(A). 1764.
FRANCE. Boalch 2 number: 9.
Inscriptions: No signature, but instrument is attributed to
Dulcken on the basis of the rose and style of construction, Type: Single-manual harpsichord.
and thought to be of the period ¢. 1755. Date: 1769.
Specification: 2x8’, 1x4’. Ownership: BRUSSELS MUSEUM, BRUSSELS,
Additional features: 2 hand stops, 1 hand lever. BELGIUM.
Compass: BB-d. Number: 2512.
Keyboard: White naturals, black sharps. Inscriptions: On the nameboard IOHANNES DANIEL
Number of roses: 1. DULCKEN ME FECIT BRUXELLIS ANNO 1769.
Style of rose: Monogram. Specification: 2x8’, 1x4’.
Exterior of case: Painted. Additional features: 2 hand stops, 1 hand lever.
Scale: 361 mm. Compass: FF-P.
Length: 2211 mm. Keyboard: White naturals, black sharps.
Width: 835 mm. Number of roses: 1.
Depth: 261 mm. Style of rose(s); Monogram.
Remarks: Authenticated by Tournay [Towra AD]. It is his Scale: 382 mm.
number 7. The instrument had originally a single-manual Length: 2430 mm.
which was subsequently replaced by two new manuals, Width: 950 mm.
though it has now been returned to its original disposition. Depth: 260 mm.
Fifty-two keys with naturals of bone with white paper Remarks: Authenticated by Tournay [Towrn AD). It is his
fronts cut away in the form of a ‘clover-leaf’ arcade. number 11. Since by 1769, Johann Daniel had been dead
Sharps of ebony. Stop levers at left and right below the for twelve years, the instrument is not by Johann Daniel
wrestplank, projecting through the fascia board for Dulcken but by his son, Iohannes who used the same
left-plucking 8’, and left-plucking 4’ respectively, and trade-mark as his father. The instrument is to all intents
manette on the left top of the wrestplank for right- and purposes the same as one by the father. Naturals of
plucking 8’. Soundboard decorated with flowers. Exterior bone, with punched paper fronts of a floral style. Sharps
of the case, much changed from the original, has painted of walnut with black-stained pear tops. Two hand stops,
and gilded shells and foliage etc. carved in the thickness projecting through the fascia board, below the wrestplank
of the sides, thereby weakening the structure. Fascia operate (on the left) a left plucking 8’, and (on the right)
board repainted in ‘vieux rose’. Elaborately carved and a left plucking 4’. The remaining 8’ is operated by a hand
decorated apron stand with four cabriole legs. lever on top of the wrestplank, to the left. Decorated
Previous history: Alain Vian, Paris, 1956. soundboard. The soundboard surrounds, fascia board,
References: Tourn AD pp. 100-12. and exterior case painted in green-grey, with lid painted
Information supplied by: Bz/Toxrn AD. to match. The original stand has been lost.
Boalch3 number: DULCKEN, J. D. 1755(A)- References: Mabillion, 1V, 320-1. Tourn AD pp. 146-55.
Boalch 2 number: 2a. Information supplied by: B2| Tourn AD.

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 DUMONT 305
Boalch 3 number DULCKEN, J(A). 1769. BerlinCat confirms that it has been lost since the second
Boalch 2 number: 10. world war. This instrument is not mentioned by Tournay
in Tourn AD.
References: BerlinCat, p. 375 quotes the entry in Sa.
DULCKEN(A), JOHANN DANIEL
Information supplied by: Bz|BerlinCat.
‘Type: Single-manual harpsichord.
Date: 1750(A). Boalch 3 number: DULCKEN(A), J. D. n.d.(2).
Boalch 2 number: 13.
Ownership. GERMANISCHES NATIONALMUSEUM,
NUREMBERG, GERMANY.
Number: MINe 87. ‘Type: Single-manual harpsichord.
Inscriptions: Joannes Daniel Dulcken me fecit Antwerpiae 1689. Date: Not known.
The date, occurring on the jackrail and nameboard is Ownership: FORMERLY IN THE REGIBO
spurious. COLLECTION, RENAIX, FRANCE. Accession
Specification: 2x8’, 1x4’, lute. number not known.
Compass: FF-P. Compass: BB-d’(A).
Number of roses: 1. Length: 2200 mm.
Remarks: Whether Dulcken made this instrument is not Remarks. Shown in Bz simply as ‘Formerly Régibo
clear. It is not authenticated by Tournay [Tourn AD}. Bz Collection’: Sale Catalogue (1897) reads ‘Grand clavecin
says that the inscription is spurious, though goes on to de Dulcken, 1 clavier, 4 octaves et une quarte, 3 régistres,
say, presumably quoting J. H. van der Meer in RG.I. Longueur 220 cm.’ Possibly the same as one of the other
p. 69, that it is clearly eighteenth century ‘and was surviving instruments formerly in the Régibo
presumably made by the well-known J. D. Dulcken about Collection. This instrument is not recorded by Tournay
1750”. [Tourn AD].
References. RG.I, p. 69. Mouldings shown in Hellwig. References. Régibo sale catalogue, 1897.
Huber, p. 135. Information supplied by: B2.
Information supplied by: B2|VdM|Hellwig| Huber. Boalch 3 number: DULCKEN(A), J. D. n.d.(3).
Boalch3 number: DULCKEN(A), J. D. 1750(A). Boalch 2 number: 14.
Boalch 2 number: 1.
DUMONT, NICOLAS.
Type: Harpsichord (Number of manuals not known). ‘Type: Two-manual harpsichord.
Date: Not known. Date: 1697.
Ownership: FORMERLY IN THE REGIBO Ownership: MUSEE INSTRUMENTAL, PARIS,
COLLECTION, RENAIX, FRANCE. FRANCE.
Remarks: The only information on this instrument, which Number: 774/329.
is not recorded by Tournay [Towrn AD}, is that it is Inscriptions: Nicolas Dumont a Paris 1697. On wrestplank:
recorded in the sale catalogue of the Collection (1897) as Refait par Pascal Taskin a Paris 1789.
‘Grand clavecin de Dulcken’. It may well be the same Specification: 2x8’, 1x4’. Additional features: Peau de buffle,
instrument as that now in Brussels Museum (DULCKEN, genouillére.
J. D. 1755(1).). Compass: FF-f.
Information supplied by: Bz. Number of roses: 1.
Boalch3 number: DULCKEN(A), J. D. n.d.(1). Remarks. Compass originally less than now. Jacks are
Boalch 2 number: 15. early but were leathered by Tomasini in the nineteenth
century. Genouillére added by Taskin, probably in 1789.
Type: Single-manual harpsichord. Previous history: Ravalement by Pascal Taskin, 1789.
Date: Not known. References: For a full discussion of the instrument see Hubb
Ownership: FORMERLY IN THE BERLIN 1963, Pp. 114.
COLLECTION, BERLIN, GERMANY. Information supplied by: Bz|Hubbard|MICL.
Number: 2233. Boalch 3 number. DUMONT, N. 1697.
Inscriptions: No inscription. The ascription to Dulcken is Boalch 2 number: 1.
as a result of the letters J.D.D. which appear in the rose
with a harping angel. ‘Type: Two-manual harpsichord.
Specification: 2x8", 1x4’. Date: 1707.
Compass: C-d?.. Ownership: MARQUIS DE QUINSONA, CHATEAU
Number of roses: 1. DE TOUVET, CHAMBERY, FRANCE.
Length: 2170 mm. Specification: 2x8’, 1x4’.
Width: 830 mm. Compass: FF-e’.
Remarks: Recorded by Bz as in the Berlin Collection. Remarks: In the preface to Kenneth Gilbert’s Jean-Philippe

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306 DUMONT
Rameaw—Pieces de Clavecin, Le Pupitre, Heugel et Cie, he the harpsichord is the one reported here by GL in 1985.
states ‘Another recent discovery is a harpsichord by Information supplied by. Gilbert|GL|Woolley.
Nicolas Dumont (Paris 1707, private ownership) with an Boalch 3 number: DUMONT, N. 1707.
original F to E range’. It would seem most likely that Boalch 2 number: None.

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 ER
E., D. Ownership: BRUSSELS MUSEUM, BRUSSELS,
Type: Two-manual harpsichord. BELGIUM. Inscription: Jacobus van den Elsschen me fecit
Date: Not known. Antwerpiae 1715.
Ownership: YANNICK GUILLOU, PARIS, FRANCE. Information supplied by: B2.
Remarks: In Bz, instruments appeared under E., D., and Boalch3 number. ELSCHE, J. V. D. 1715.
F, D. Dr. Walther Thoene believes they are the same, Boalch 2 number: 3.
and this is confirmed by the owner, M. Guillou.
References: See under F. D. Type: Two-manual harpsichord.
Information supplied by: B2|Tboene|Guillon. Date: 1763.
Boalch 3 number: E., D. n.d.t. Ownership: VLEESHUIS MUSEUM, ANTWERP,
Boalch 2 number: 1. BELGIUM
Number: VH 67.114.
EGGEDACHER. Inscriptions: Inscribed above the keyboards; JACOBUS
‘Type: Clavichord. VAN DEN. ELSCHE ME FECIT ANTVERPIAE
Ao 1763.
Date: 1747.
Specification: 2x8’, 1x4’, lute.
Ownership: HEIMATMUSEUM, BAD AUSSEE,
AUSTRIA. Additional features: hand stops, 2 genouilléres.
Number. 971. Compass: FF-f.
Inscriptions: Inscribed Exggedacher in Salzburg [1747 hat dies. Keyboard: White naturals, black sharps.
Clavichordl (sic according to Stradner) gemacht. Number of roses: 1.
Compass: C,D,E-c?. Exterior of case: Painted.
Length: 2670 mm.
Information supplied by: StradnerPC.
Width: 970 mm.
Boalch 3 number: EGGEDACHER. 1747.
Boalch 2 number: None. Remarks. According to Bz on loan from the Conservatoire
since 1966. Is the date of 1767 in Bz a misprint, since the
inscription reads 1763? This suggestion is confirmed by
ELSCHE, JACOB VAN DEN Kottick. Gilded rose. Following a restoration by Hubert
Type: Two-manual harpsichord. Bédard in 1974-6, it has its original specification as shown
Date: 1710. above. Case painted green with ‘rocaille’ motives, and
Ownership: FORMERLY IN THE BERLIN gilded mouldings. Raised on stand with heavy turned
COLLECTION, BERLIN, GERMANY. Accession legs.
number not known. Previous history: Restored ¢. 1920, probably by Erard in
Inscriptions: According to Snoeck it was inscribed: Jacobus 1924 in the Royal Flemish Conservatory of Music in the
van. den Elsche me fecit Antwerpiae anno 1710, and Jobannes J. L. Arthur Le Roy Gallery in Brussels, in the collection
Heinemann refecit ao 1790. of H Colard. Since 1967 in the Vleeshuis Museum.
Specification: 3x8", 1x4’, of which, according to Bz, two 8° Restored by Bédard in 1974-6.
work on one string. References: Lambr-D 1981, p. 156.
Compass: FF-g'(A). Information supplied by: Bz|Kottick{Lambr-D 1981.
Number of roses: 1. Boalch3 number: ELSCHE, J. V. D. 1763.
Remarks: Bz records this instrument as being in the Berlin Boalch 2 number: 2.
Collection, but the checklist of the Musikinstrumenten
Museum does not contain it, and its whereabouts are not ERARD, SEBASTIEN
now known. The nameboard is missing. ‘Type: Two-manual harpsichord.
References: Snoeck Catalogue, 1894, p. 48. Date: 1779.
Information supplied by: Bz. Ownership: MUSEE INSTRUMENTAL, PARIS,
Boalch 3 number: ELSCHE, J. V. D. 1710. FRANCE.
Boalch 2 number: 1. Number: 979.25.
Additional features: Genoulliére, pedal(s).
Type: Nameboard only. Remarks: Four registers, three quilled and one leathered.
Date: 1715. Previous history: Shown by Mme. Erard at the Exhibition of

ized ty GOOgle
308 EVERBROECK
Ancient Musical Instruments, South Kensington Museum Date: 1659.
1872. For some years at Hever Castle, Kent. Bought by Ownership: SHRINE TO MUSIC MUSEUM,
M. Thomas, Hurley in 1969. Acquired by the Musée VERMILLION, SOUTH DAKOTA, USA.
Instrumental in 1973. A report in EM, Vol. 1, No. 3, Number: 3985.
July 1973, p. 167 states: Inscriptions: Gommar van Everbroeck, Antwerp, 1639. In the
The Brard Harpsichord from the Harpsichord Centre has been lid: LAVDE TVA,/LECTOR NON INDICET/
retumed to France and is on show at the Paris Conservatoire. AVTHOR; OPVSVE, HOC OPUS/AVTHOREM
This harpsichord which was made in 1779 is the only extant LAVDAT HIC AVTHOR OPVS. On lid flap NON
clavecin mechanisé. It was thought to have been brought over by NISI MOTA CANO.
Erard during the French revolution and was shown at the Great Specification: 1x8’, 1x4".
Exhibition of 1851. In 1968 it was dooded at Hever Castle and Additional features: Harp stop.
became completely unglued. The parts were collected together Compass: GG/BB-c’, short octave.
by Dr. Mirrey. Then Michael Thomas with the help of patient Keybéard: White naturals, black sharps.
friends John Homiblow and Peter Wilder, spent three years
reconstructing the most elaborate jig-saw puzzle of many thou- Number of roses: 1.
sand pieces. Part of the exchange with France will be a magnificent Seale: 325 mm.
Ruckers of 1634 rebuilt for the Princess of Savoy. Length: 2091 mm.
For further information on this transaction see: Country
Width: 796 mm.
Depth: 265 mm.
Life, 15 March 1990, pp. 62-3. Remarks: Date of 1659 may be suspicious since it appears
References: Rip.
that Everbroeck died in 1655-6. In 1985, GL noted to
Information supplied by: B2|Musée Instrumental. CMM that there was an instrument by this maker at
Boalch 3 number: ERARD, S. 1779.
Boalch 2 number: 1. Hugh Gough’s. The specification is identical, and it seems
likely that the two are the same. dM says (after seeing
Type: Harpsichord (number of manuals not known). it in 1986) signature looks ‘fishy’. He thinks it is an
Date: 1791. original Flemish harpsichord, probably double, but one
Ovnership: Not known. manual subsequently removed and compass changed from
Remarks: Present whereabouts not known. C/E-P to present GG/BB-c’. Painted soundboard.
Previous history: Formerly at Lemberg. Previous history: Formerly Hugh Gough. Acquired by the
References: Vienna Exbibition Catalogue, 1892. Museum in 1986 from the Rawlins Fund.
Information supplied by: Bz. References: Data sheet available from the Museum. STMPS,
Boalch3 number: ERARD, S. 1791. 42.
Boalch 2 number: 2. Ijformetion supplied by. STMCL|STMDS/VdM/GL]
O’BrienPC.
EVERBROECK, GOMMAR VAN Boalch 3 number. EVERBROEK, G. V. 1659.
Type: Single-manual harpsichord. Boalch 2 number: None.

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 F
F., D. Remarks: The rose carries the initials J. F.
‘Type: Two-manual harpsichord. Previous history: Was in private ownership in 1953.
Date: Not known, Information supplied by: Bz.
Ownership: YANNICK GUILLOU, PARIS, FRANCE. Boalch 3 number: F., J. n.d.
Inscriptions: See below. Boalch 2 number: 1.
Specification: 2x8’, 1x4’.
Additional features: Shove coupler. FABER, FRANCISCUS.
Compass: BB-c’, broken octave. Type: Single-manual harpsichord.
Keyboard: Black naturals, white sharps. Date: 1631.
Number of roses: 1. Ownership. GERMANISCHES NATIONALMUSEUM,
Exterior of case: Painted. NUREMBERG, GERMANY.
Scale: 358 mm. Number: MIR 1072.
Length: 2235 mm. Inscriptions: Franciscus Faber Semnogalliensis fecit Anno Dom-
Width: 771 mm. ini MDCXXXI.
Depth: 269 mm. Specification: 2x8".
Remarks: This instrument appeared in Bz under E., D. Compass: C/E-c’, short octave.
and also F., D. Dr Walther Thoene wrote to DHB in Scale: 282 mm.
October 1976 to say that they were both the same Remarks: According to Bz (quoting from VdM) Originally
instrument. The one ascribed to F., D. according to Bz an enharmonic instrument having 19 keys to the octave,
was the property of Claude Mercier-Ythier. In 1985 but changed to its present compass probably towards the
Yannick Guillow reported that he had been the owner end of the seventeenth century. Haber says it was
since 1974. He added that some thought that the initials originally a chromatic-enharmonic instrument, with a false
might refer to Donzelague (9.v.). Other correspondents inner-outer case. Original scale of 272 mm.
think it might be Du Four. It is not clear whether it is References: VdM. Mouldings shown in Hellwig. Huber,
French or Flemish—late seventeenth or early eighteenth p. 132.
century. Ebony naturals with gilded leather fronts. Bone Information supplied by: B2|Hellwig| Huber.
and pearwood sharps. The bottom D sharp is split, to Boalch3 number. FABER, F. 1631.
give a broken octave. The rose has a winged figure with Boalch 2 number: 1.
D to the left and F [or possibly E—there has been slight
damage] to the right. Modern jacks, with delrin plectra. Type: Harpsichord (Number of manuals not known).
Case beautifully decorated with lacquered patterns. Inside Date: Not known.
of lid has pastoral scene overlooked by a castle. Raised Ownership: PRO MUSICA CO., ANNAPOLIS,
on a gilded ten-legged apron stand with scrolling stretchers MARYLAND, USA.
at ground level. The instrument is in excellent order and Remarks: Little is known about this instrument, and Dr.
is regularly used. Ted Williams, the owner of an apparently identical
Previous history: Belonged to Claude Mercier-Ythier. In instrument believes that the two are the same. The
the possession of Yannick Guillou since 1974. evidence for two comes from Bz where it is stated ‘Pro
References: Photographs available from the owner. Recor- Musica, Annapolis, Md., had an undated harpsichord by
ded by Luciano Scrizzi, Alan Curtis, Laurence Boulay, him [Faber] in 1967. W. Zuckermann had in 1968 an
and Blandine Verlet. Italian harpsichord, C-C bass short octave, 2x8’ stops,
Information supplied by: Bz|Thoene|Guillou| Jobm Ritchie. boxwood keys. The top and bottom keys bore the initials
Boalch 3 number: F., D. n.d. FF, and it may well have been by Faber.’ There seems
Boalch 2 number: 1. little doubt that the latter instrument is that which is
owned by Dr. Williams (1991), but it is not certain that
F., J. it is also the one owned by Pro Musica. Because of the
Type: Harpsichord (Number of manuals not known). possibility that there are two instruments, this, Pro Musica
Date: Not known. instrument is listed separately here.
Ownership: PRIVATE COLLECTION, PARIS, Information supplied by: Bz.
FRANCE. Boalch 3 number. FABER, F. n.d.(1).
Number of roses: 1. Boalch 2 number: 2.

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310 FABER(A)
‘Type: Single-manual harpsichord. Compass: C/E-c’, short octave.
Date: Not known. Case construction: Italian style—false inner/outer.
Ownership: DR. TED WILLIAMS, PARIS, FRANCE. Remarks: Location supplied by Libin and Shanks, EM,
Inscriptions: Signed FF on top and bottom keys, and May 1989, where it is identified with the third instrument
originally. on bottom key +/IHS, though the I is now listed in B* under Faber, the ascription being on the basis
missing. of the inscription FF on the top and bottom keys. In
Specification: 2x8". view of information supplied by Dr. Ted Williams (see
Compass. C/E-c, short octave. above, instrument FABER, F. n.d.(z)) it seems more
Keyboard: White naturals, black sharps. likely that his instrument, similarly inscribed is the number
Number of roses: 1. 3 instrument in B? and this, the Barbetta Restaurant
Style of rose: Geometrical pattern. harpsichord, is not recorded in B*. Boxwood naturals.
Exterior of case: Painted. Eight split sharps.
Case construction: Italian style, inner/outer. References: Laurence Libin and Kathryn L. Shanks, ‘A
Scale: 289 mm. harpsichord from Sorrento’, in EM, May 1989, pp. 216-
Length: 1785 mm. 18.
Width: 724 mm. Information supplied by: Libin|EM.
Depth: 198 mm. Boalch 3 number: FABER(A), F. n.d.(1).
Remarks: Ascribed by B? to Franciscus Faber on the basis Boalch 2 number: None.
of the inscription FF on the top and bottom keys.
Boxwood naturals with boxwood arcades; ebony sharps. FABRI, ALESSANDRO.
Keyboard has been altered, the lowest key having been Type: Rectangular virginal.
cut on the side, shaving off the I of IHS. Lower keys Manuals: 1.
show evidence that at one time there were pull-downs. Date: 1598.
Inner instrument appears to be of cypress, with gothic Ownership: PROFESSOR LUIGI FERDINANDO
rose. Outer has elaborately painted case with putti on the TAGLIAVINI, BOLOGNA, ITALY.
case sides and an allegorical painting (Andromeda?) inside Number: 11.
the lid. Rustic musicians and dancers decorate the top. Inscriptions: In ink on the jackrail OPVS ALEXANDRI
These paintings are thought by a Sotheby’s expert to date FABRI NEAPOLITANI MDXCVIII.
from the late sixteenth or early seventeenth century. Specification: 1x8’.
Previous history: Offered for sale by William Baxter Compass: C/E-c’, short octave.
Antiques, Cape Cod, Massachusetts, USA, in January Keyboard: White naturals, black sharps.
1968, and most probably purchased by W. Zuckermann Number of roses: 1.
who had it in 1968. Purchased by Dr. Williams from an Style of rose: Parchment.
antique dealer in New York, in 1976. Exterior of case: Painted.
References: See also instrument FABER, F. n.d.(1) above. Case construction: Italian style, inner/outer.
Information supplied by: B?|Williams. Scale: 280 mm.
Boalch 3 number: FABER, F. n.d.(z). Length: 1430 mm.
Boalch 2 number: 3. Width: 465 mm.
Depth: 220 mm.
FABER(A), FRANCISCUS. Remarks: External case folds completely over the keyboard
‘Type: Harpsichord (number of manuals not known). which is cantilevered from case, with two fall boards, one
Date: 1629. hinged at bottom front, the other from the lid, the latter
Ownership: JEAN-PIERRE DECAVELE, TOULOUSE, providing a sloping surface over the keys. Outer case of
FRANCE. spruce painted green. Inner case of cypress with decorative
Remarks: The only information known about this instru- motifs. Lid has internal painting of King David with
ment is that it carries the letters F.F. and the date 1629. harp in a pastoral landscape. Naturals of bone, with bone
These initials are found on other Faber instruments, and arcades and sharps of ebony.
thus it is ascribed tentatively to this maker. Previous history: The style of the instrument suggests it
Information supplied by: Michael Thomas. was made for an Italian nobleman. Acquired by Professor
Boalch 3 number. FABER(A), F. 1629. Tagliavini at auction in Rome, 4 May 1974. External case
Boalch 2 number: None. and decoration restored by Otello and Marisa Caprara
respectively in 1976 at Bologna.
Type: Single-manual harpsichord. References: Vendita all usta Gioso, 1974, No. 259 (illus.
Date: Not known. XXVIID). Misch-1979 II, p. 220. VdM(1963), p. 91 (illus.
Ownership: BARBETTA RESTAURANT, NEW 149). Prota-Giurleo, ‘Su Alessandro Fabri’, in L’Organo
YORK, USA. (1960) pp. 185-96. Prota-Giurleo, in L’Organo (1961), pp.
Inscriptions: Libin reports it is signed F.F. 109-28. Stefano Romano, L’arte organaria a Napoli dalle

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 FABY 311
origini al sec. XIX, Naples, (1979) p. 119. Tag, pp. 150-8 Specification: 2x8".
(illust. and very full description.) Compass. GG/BB-c’, broken octave.
Information supplied by: Tag] VdM|Misch-1979 II. Remarks: On loan from the Louvre (1974). The date is
Boalch3 number: FABRI, A. 1598. given by MICL as 1681, but by Bz and Rassel/rgs9 as
Boalch 2 number: None. 1691. See remarks by Misch-1979 I] concerning the spelling
of Faby at instrument FABY, P. 1658(A) above. Since
FABY, PIETRO. Faby is reported to have worked in France, the instrument
Type: Not known. may have been made there, though the inscription would
Date: 1658(A). suggest it was made in Italy. The keys are almost identical
Ownership: PRIVATE COLLECTION, MILAN, with those of FABY, P. 1677 (above) except that the
ITALY. fronts have two small rounded arcades. C sharp and D
Inscriptions: Inscribed P. Faby O.M. de Bononia Opus sharp are split.
1658). Previous bistory: On loan in 1974 from the Louvre.
Remarks: Misch-1979 II points out that Faby is the References: MICL. Russelli939, pl. 5.
alternative spelling for Fabij, the genitive of Fabius. Information supplied by: B2|Misch-1979—‘1I|MICL]
References: Vincenzo Peria, Arte ¢ decorazione nella casa Rasselligs9.
Italiana, Milano, 1967, Valliardi, p. 14. Boalch 3 number: FABY, P. 1681/91.
Information supplied by: Misch-1979 II. Boalch 2 number: 2.
Boalch 3 number: FABY, P. 1658(A).
Boalch 2 number: None. Type: Ottavino.
Date: 1684.
‘Type: Single-manual harpsichord. Ownership: RINGVE MUSEUM, TRONDHEIM,
Date: 1677. NORWAY.
Ovnership: MUSEE INSTRUMENTAL, PARIS, Number: RMT 504.
FRANCE. Inscriptions, P. Faby Bononiensis Ops Anno Dom.
Number: 224/328. MDCLXXXIV.
Specification: 2x8". Specification: 1x4".
Compass: C/E-d’, broken octave. Compass: F-c’
Keyboard: White naturals, special sharps. Number of roses: 1.
Number of roses: 1. Style of rose: Parchment.
Style of rose: Geometrical pattern. Remarks: See remarks by Miscb-1979 II concerning the
Exterior of case: Painted. spelling of Faby at instrument FABY, P. 1658(A) above.
Remarks: See remarks by Misch-1979 II concerning the Since it is reported that Faby worked in France, the
spelling of Faby at instrument FABY, P. 1658(A) above. instrument may have been made there, though the
Since Faby is reported to have worked in France, the inscription suggests it was made in Italy. Parchment
instrument may have been made there. F sharp and G geometrical rose.
sharp split. Naturals probably ivory, with arcaded fronts Previous bistory: Probably passed through Franciolini’s
and decorated distal ends. Sharps are sandwich of hands. Previous owners; Duce d’Aosta; Evan Gorga,
blackwood/ivory/blackwood. Case elaborately decorated Rome; Mrs. Victoria Bachke, founder of the Ringve
externally with scrolling patterns, and internally with Museum.
geometric patterns, and (on the nameboard) with lion References. Ringverg81, p. 8.
masks. Inside of lid has painting of pastoral scene. Raised Information supplied by: B2|Misch-1979 I1/Kjeldsberg.
on stand of four turned legs and similarly styled stretchers. Boalch 3 number: FABY, P. 1684.
Previous bistory: Made for Count Hercole Pepoli, godson Boalch 2 number. 3.
of Louis XIV.
References: Ruger, pis. 64 and 65. Rasselligsg, pl. 2. Type:. Ottavino.
Information supplied by: Bz|Russellrgs9|Rueger|Misch-1979 Date: Not known.
II|MICL. Ovnersbip: MUSEE INSTRUMENTAL, PARIS,
Boalch 3 number: FABY, P. 1677. FRANCE.
Boalch 2 number: 1. Number: 986.1.1.
Inscriptions. Signed by Faby.
Type: Single-manual harpsichord. Specification: 1x4'(A).
Date: 1681 or 1691. Remarks: See remarks by Misch-1979 I concerning the
Ownership: MUSEE INSTRUMENTAL, PARIS, spelling of Faby at instrument FABY, P. 1658(A) above.
FRANCE. A small virginal in a silk-covered outer case. Almost
Number: 912.3.1. certainly the same instrument as that shown in Bz under
Inscriptions: P. Faby de Bononia Ord. Min. Obs. opus. the collection of André Meyer. According to MICL dated

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312. FAHRHOFF
seventeenth century. Compass of twenty-six notes. References. Ks, p. 64. Full details from Henkelr, pp. 17-
Previous history: Formerly in the collection of André Mayer. 18.
References: Illustrated in Hin, pl. 31. See also MICL. Information supplied by: Bz|Henkelt.
Information supplied by: Bz|Misch-1979 II|MICL. Boalch3 number: FANI, L.(A) 1635.
Boalch 3 number: FABY, P. n.d. Boalch 2 number: 1.
Boalch 2 number: 4.
FEDERIGI(A), AGOSTINO.
FAHRHOFF.
‘Type: Rectangular virginal.
Type: Clavichord.
Manuals: 1.
Date: Not known.
Ownership: MUSEUM BLUMENSTEIN,
Date: 1766.
SOLOTHURN. Accession number not known.
Ownership: RUSSELL COLLECTION, EDINBURGH
Inscriptions: Almost illegible signature which might be UNIVERSITY, SCOTLAND.
read Fabrboff Nr. 4. Number: 45.
References: Bz. Inscriptions: \n ink handwriting on the jackrail which does
Information supplied by: B2|Weldon. not belong to the instrument: Agostinus Federicus fecit in
Boalch 3 number: FAHRHOFF. n.d. Pisis Anno Domini 1766. \t is thought that the inscription
Boalch 2 number: 1. denotes either a restorer or is taken from another
instrument.
FALCONI. Specification: 1x8".
Type: Fret-free clavichord. Compass: C/E-P, broken octave.
Date: 1765. Keyboard: White naturals, black sharps.
Ownership. Not known. Number of roses: 1.
Number of roses: 1. Style of rose: Leather.
Remarks: Ivory naturals and mother of pearl sharps. Paper Exterior of case: Painted.
rose, and case covered with paper. Compass according to Case construction: Italian style—false inner/outer.
Bz was given as two octaves, but this seems unlikely. Scale: 338 mm.
Previous history: Was in the Van Raalte Collection, Brown- Length: 1577 mm.
sea Island, Dorset, England, but sold in 1927. Width: 430 mm.
Information supplied by: Bz. Depth: 214 mm.
Boalch3 number: FALCONI. 1765. Remarks: Richard Luckett, who originally reported this
Boalch 2 number: 1. instrument, suggests that it is possible that the instrument
may be a Franciolini fake, though the standard of
FANI, LUIGI(A). workmanship suggests it is genuine. Keys and touchplates
Type: Ottavino. are not original, but the keybed layout indicates that
Date: 1635. originally there were divided accidentals for D/F#, E/G#,
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, and all higher d# and g# keys. Otherwise the instrument
GERMANY. resembles entirely the instrument at pl. IV of Hubbrg6;.
Number: 38. Rose apparently of leather. Lid painted with unidentified
Inscriptions. On topmost jack is the barely legible inscrip- arms: ‘Gules, a lion rampant argent bearing an elephant’s
tion Luigi/Fani [?]/16]35. On the same key is the repairer’s tusk of the same. On a chief argent, a cross ankred,
note: Aprile/1769/rest. gules.’ The outside of the case, once painted, has been
Specification: 1x4’. covered over.
Compass: C/E-c', short octave. Previous bistory: Sold by Michael Thomas to Richard
Keyboard: White naturals, black sharps. Luckett in 1973. Michael Thomas believed it had come
Scale: 157 mm. from the Musikhistoriska Museet, Stockholm. Sold by
Length: 880 mm. Richard Luckett for £1,500 to William Hunt, London,
Width: 445 mm. 1978. Sold by Mr. Hunt to the Russell Collection in 1985.
Depth: 116 mm. RussColl1986 p. 28 says of instrument number 45: ‘The
Remarks: The original keys have been lost since 1945 but instrument was bought for the Collection by the Friends
the naturals were of ivory with ivory fronts and the of St. Cecilia’s Hall, with assistance from the Local
sharps overlaid with ebony. Case is an irregular shaped Museums Purchase Fund in 1984.’
six-sided polygon, decorated with ivory and ebony. The References: RussCollig&6, p. 28. See also: RipICOLF, Cat.
outer case has been lost. 6, Series A, no. 26, p. 69.
Previous history: Originally in the de Wit collection, Leipzig Information supplied by: Luckett|RussColl1986|Raymond.
in 1892. Most probably passed through the hands of Boalch 3 number. FEDERIGI(A), A. 1766.
Franciolini. Boalch 2 number: None.

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 FERREIRA 313
Type: Ottavino. Compass: C/E-c’, short octave.
Date: 1767. Exterior of case: Painted.
Ovnersbip: ANDRE MEYER COLLECTION, PARIS. Remarks: Soundboard, nuts, bridges, keyframe, and stand
Accession number not known. are not original, and the keys, though old, are from an
Inscriptions. Agostinus Federigixs fecit in Pisis Anno 1767. organ. Has characteristic Spanish scrolls on either side of
Specification. 1x4'(A). the keywell. Registers pass through the cheek. External
Remarks. The attribution must be treated with caution, case finished in chinoiserie on a red background. KdP says
since the instrument passed through the hands of that according to the report of the restorer (Tamburini) it
Franciolini. has a bottom octave which is ‘scavezza’, which she
Previous history: Was in the Meyer collection in 1970. confirms means short.
References: Listed in Francl, no. 23. Previous history: Formerly the Wakonnigg family, Bilbao.
Information supplied by: B’. Restored in 1927 by José Ivars Merofio, Madrid. Sold to
Boakb 3 number: FEDERIGI(A), A. 1767. an antique dealer ¢. 1970.
Boalch 2 number: 1. References: Beryl Kenyon de Pascual: ‘Two features of
early Spanish keyboard instruments.’ In GSJ XLIV,
Type: Virginal. (1991), pp. 94-102 (Illustrated).
Manuals: 1. Information supplied by: VdM|KaP.
Date: 1786. Boalch 3 number: FERNANDEZ SANTOS, A. 1728.
Ownership: Not known. Boalch 2 number: None.
Inscriptions: Agostinus Federigus fecit in Pisis 1786.
Remarks: Whether this is a virginal is uncertain, and in FEROCI, AGOSTINO.
view of its association with Franciolini, its authenticity ‘Type: Spinet.
must be suspect. Manuals: 1.
References: Francl, no. 26. Date: 1705.
Information supplied by: B*. Ownership: STUTTGART COLLECTION,
Boalch 3 number: FEDERIGI(A), A. 1786. GERMANY.
Boalch 2 number: 2. Inscriptions: Agostinus Feroci Filius Micbeaele (sic) Fecit Ao
1705.
FERMANNI, PIETRO. Specification: 1x8(A).
‘Type: Ottavino. Remarks: B’ gives the owner as ‘Stuttgart Collection’, but
Date: 1750. it is not certain whether this is the Wirttembergisches
Ownership. DEUTSCHES MUSEUM, MUNICH, Landesgewerbemuseum, or some other institution. B’
GERMANY. also states ‘Josten’s monograph gives no further details
Number: 19 435. of the instrument’.
Inscriptions, On the jackrail Pietrus Fermanni fecit A.D. Information supplied by: B’. The possibility that the maker
417J0. might be a member of the Federigi family should not be
Specification: 1x4’. overlooked.
Remarks: The possibility that the name might be SER- Boalch3 number: FEROCI, A. 1705.
MANNI, and that it is possibly a Franciolini ‘figment’ Boalch 2 number: 1.
should not be discounted. Three-octave compass.
Information supplied by: B*|WraightPC. FERREIRA, JACINTHO.
Boalch 3 number: FERMANNI, P. 1750. Type: Fretted clavichord.
Boalch 2 number: 1. Date: 1783.
Ownership: BIBLIOTECA NACIONAL, LISBON,
FERNANDEZ SANTOS, ANDRES. PORTUGAL.
Type: Single-manual harpsichord. Number: 7.
Date: 1728. Inscriptions, Paper label, virtually destroyed in front
Ownership. SIGNORA GIULINI DI MICHELE, right-hand corner of soundboard: Jacinto Ferreira, Lisboa
MILAN, ITALY. 1783 fecit.
Inscriptions. On reverse of nameboard in manuscript De Compass. C-d’.
mano de Andres Fernandez Santosen Vallaolid (sic) y Julio de Keyboard: White naturals, black sharps.
1728 ad also Restored 1927 JOSE IVARS MERONO/ Exterior of case: Painted.
PIANOS, ORGANOS Y ARMONIUMS/ Scale: 250 mm.
REPARACION|S. Andrés, 31.10/ MADRID. (Note that Length: 1184 mm.
in the main inscription Valladolid is written in the Width: 398 mm.
Castillian way, and the ‘e’ in Andres has no accent.) Depth: 120 mm.
Specification: 1x8’, 1x4’. Remarks: Keys of chestnut, roof-carved, having guide

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314 FERRINI
slips of iron. Naturals, boxwood with three grooves, with Previous bistory: According to VdM, the Cathedral author-
fronts carved and sawn to a pattern. Sharps of rosewood. ities, many years ago, found the instrument in the ‘attic’
Soundboard of pine with a single rib through treble. of the Cathedral. In the eighteenth century (and perhaps
Bridge of dark-stained wood. Case of pine, painted at a even after) it had probably been used for the performance
later date. Balance pins for the sharps are in front of of the basso continuo in oratorios. It was subsequently
those for the naturals. acquired by the present owner, Don Umberto Pineschi,
References: Bz. Dod, pp. 67-72 in the German text. who is Professor of organ at the conservatoire of Pesaro,
Information supplied by: Bz|Weldon. and who has had the instrument since at least 1974,
Boalch 3 number: FERREIRA, J. 1783. though recently (1992) he deposited it with the Museum.
Boalch 2 number: 1. Jacks replaced by Barruchieri of Florence in a recent
restoration.
References: Pollens, pp. 80-2 (Illustrated).
FERRINI, GIOVANNI.
Information supplied by: B2|Pineschi|Pollens|O’ BrienPC/| dM.
Type: Spinet. Boalch3 number: FERRINI, G. 1731.
Manuals: 1. Boalch 2 number: 12.
Date: 1731.
Ownership: MUSEO CLEMENTE ROSPIGLIOSI,
PISTOIA, ITALY. Type: Two-manual combined harpsichord and piano.
Date: 1746.
Inscriptions: Reportedly inscribed faintly on the name-
Ownership: PROFESSOR LUIGI FERDINANDO
batten: IOANNES FERRINI FACTO AN:
TAGLIAVINI, BOLOGNA, ITALY.
1731, though O’Brien reports the inscription as loannes
Number: 16.
Febrina{i?us| fecit anno 1731. VdM reports that the name-
Inscriptions. On the nameboard over the upper manual:
board is now missing, though he states that according to
IOANNES FERRINI FLORENTINVS FECIT
Don Pineschi the name and date were scribbled on the ANNO MDCCXLVI.
‘not bent’ bent side (see below). Gauge markings on Specification: 1: 2x8’ (harpsichord); I: 1x8’ piano.
wrestplank.
Compass. GG/AA-c’.
Specification: 1x8’, 1x4’. Keyboard: White naturals, black sharps.
Additional features: Shove coupler. Number of roses: None.
Compass: C-c'. Exterior of case: Painted.
Keyboard: White naturals, black sharps. Case construction: Italian style—false inner/outer.
Exterior of case: Plain wood. Scale: 274 mm.
Scale: 267 mm. Length: 2835 mm.
Length: 2200 mm. Width: 960 mm.
Depth: 200 mm. Depth: 250 mm.
Remarks: A ‘cembalo traverso’ or ‘spinettone’ (VdM Remarks: Since the harpsichord and piano use the same
prefers the latter term, and reports ‘It is in many respects strings, and the jack guides are fixed, the instrument
a bentside spinet (although the side is not bent, but becomes a piano or a harpsichord by sliding the lower
angled, as in the corresponding Cristofori instruments). keyboard in or out. The keyboard is locked in position
The wrestplank is immediately behind the keyboard; by spring-loaded catches, which are operated by accidental
behind the wrestplank are the jack rows; the strings slant keys located in the keyblocks on either side. Raised on
in respect of the direction of the keys; the longest string typical Italian trestle stand at the keyboard end and one
is at the back, the shortest one in front. It is a wee bit leg at the tail end. Naturals of box with arcades; sharps
larger than the normal bentside spinet . . .”) Though the of ebony. When acquired by present owner a number of
instrument is dated 1731, some observers (not dM) have original strings were in place and these are recorded in
reported that it was actually completed in 1732. Naturals Tag, p. 197, as is a description of both the harpsichord
of box with box fronts. Sharps (according to one observer) and piano action. External case painted with single line
of palisander on cypress (VdM reports stained walnut or of scrolling foliage longitudinally. Inside lid over the
possibly box). There was a rose, but it is missing. There action is a trophy of instruments within a border of
is a coupling arrangement (similar to that found on foliage on a light blue ground. VdM thinks it cannot
instrument FERRINI, G. 1746) whereby the 4’ may be have been the only such instrument made by Ferrini.
engaged by pushing in the keyboard. The keyboard is Previous history: Acquired by Professor Tagliavini in Milan
locked in one or other position by a spring loaded catch in 1984.
which takes the form of an additional ‘sharp key’ Reference: Corradina Mola, Elementi di tecnica del clavicembalo
mounted on the keyblock at either side. 4’ bridge divided. 0 pianoforte, Milan, 1941, Pp. 4 ¢ s¢g. Mario Rinaldi,
Soundboard of cypress with two ribs perpendicular to ‘Modernita del clavicembalo’ in the daily La Tribuna,
the belly rail. Case sides of a fruitwood such as pear Rome, 11 February 1942. Stewart Pollens, “The Pianos
[VM] (according to others—poplar). of Bartolomeo Cristofori’ in AMIS-J, vol. X, (1984), pp.

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 FLEISCHER 315
32-68. Sac (1784) p. 47. Kirk, pp. 15, 176, 178, 361 ef seg. See: RipICOLF, p. 10.
Tag, pp. 186-200 (illust. and X-ray). Pollens, pp. 82-5 References: Sec Sotheby Parke Bernet Sale Catalogue of 29
(illustrated). Tag-Ferr—a detailed account. October 1979.
Information supplied by: TAG|VdM|Pollens|Tag-Ferr. Information supplied by: B2|Sothebys|Ripin| Weldon.
Boalch 3 number: FERRINI, G. 1746. Boalch 3 number. FERRINI(A), G. 1751(A)-
Boalch 2 number: None. Boalch 2 number: ?2.

FERRINI(A), GIOVANNI. FLEISCHER, CARL CONRAD.

Type: Single-manual harpsichord. ‘Type: Single-manual harpsichord.
Date: 1699. Date: 1716.
Ownership: WORTTEMBERGISCHES LANDES- Ownership: MUSEUM FUR HAMBURGISCHES
MUSEUM, STUTTGART, GERMANY. GESCHICHTE, HAMBURG, GERMANY.
Specification: 2x8". Specification: 2x8’, 1x4".
Compass: GG-c'(A). Compass: C-c’.
Remarks: Since it is known that Ferrini died in 1758, and Remarks: Compass is given as four octaves by Skowroneck.
only began to sign instruments with his own name around Previous bistory: Formerly in New York. Restored by
the time of the death of his master, Cristofori, in 1732, Skowroneck.
the likelihood of his having made and signed an instrument References: Complete measurements are available from
of his own in 1699 is so improbable as to be discountable. Koster.
The inscription is therefore highly suspect and is probably Information supplied by: Skowroneck|GL|Kottick.
by Franciolini (item 46 in Francl?). Boalch 3 number: FLEISCHER, C. C. 1716.
Information supplied by: B2|Pollens|Wraight et al. Boalch 2 number: None.
Boalch 3 number: FERRINI(A), G. 1699.
Boalch 2 number: 1. ‘Type: Single-manual harpsichord.
Date: 1720.
‘Type: Clavichord. Ownership: MUSEU DE LA MUSICA, BARCELONA,
Date: 1751(A). SPAIN.
Ownership: Not known. Number. MDMBq20.
Inscriptions: According to the Sotheby’s catalogue, Inscriptions: Carl Conrad Fleischer me fecit in Hamburg 1720
inscribed on the nameboard Joannes Ferrini fecit Anno 1751, ‘on a scroll on the fascia board.
but according to Ripin the date is in Roman figures Specification: 2x8’, 1x4’.
MDCCLI. Additional features: 3 hand stops.
Compass: g-a"(A). Compass: GG-c’.
Keyboard: Black naturals, white sharps. Keyboard: White naturals, black sharps.
Number of roses: 1. Number of roses: 1.
Style of rose: Parchment. Style of rose: Geometrical pattern.
Exterior of case: Painted. Exterior of case: Painted.
Length: 910 mm. Scale: 367 mm.
Width: 345 mm. Length: 2364 mm.
Remarks: Information about the instrument comes mostly Width: 867 mm.
from the catalogue of its sale at Sotheby Parke Bernet Depth: 230 mm.
Inc., in New York on 29 October 1979, where it is Remarks: Naturals of bone, sharps of stained pear. Three
described as ‘Clavichord. Italian, late 19th century’. hand stops on wrestplank. Geometrical rose sunk in
According to information from Weldon, and Ripin the soundboard. Case has double curved bent side. The line
instrument is clearly spurious, being almost certainly by of the main gap is at an angle to the spine, as in the
Franciolini and is harpsichord shaped. Two and a half Italian style.
octave-keyboard with ebony naturals and bone overlaid References: BarcelonaCat, instrument number 394, p. 202.
sharps. The exterior case painted red with gilt bands. The Information supplied by: Bz|Goble|Kalsbeek|BarcelonaCat.
interior of the lid painted with a biblical subject. The Boalch 3 number. FLEISCHER, C. C. 1720.
soundboard has two sections flanking the action and the Boalch 2 number: 2.
rose is on the left section. Raised on an oak table.
Previous history: Formerly in the Harding Museum, Type: Harpsichord (Number of manuals not known).
Chicago. Sold at Sotheby Parke Bernet, New York on Date: 1722(A).
29 October 1976 for $300—purchaser not known and Ownership: MUSEO STIBBERT, FLORENCE, ITALY.
described in catalogue as ‘late C14’. Almost certainly a Inscriptions: 1..2, but see below.
nineteenth-century fake. The Catalogue suggests that it Remarks: VdM reported in March 1985 that he had seen
is possibly no. 97 in the Franciolini Catalogue of 1893. this instrument though the date was scarcely legible. The

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316 FLEISCHER
1722 is therefore VdM’s interpretation. Exterior of case: Painted.
Information supplied by. VdM. Scale: 285 mm.
Boakh 3 number: FLEISCHER, C. C. 1722(A). Length: 1494 mm.
Boalch 2 number: None. Width: 440 mm.
Depth: 144 mm.
FLEISCHER, JOHANN CHRISTOPH. Remarks: Instrument is part of the Nydah! Collection.
Type: Single-manual harpsichord. Keylevers of lime, naturals roof-carved. Key slips bone.
Date: 1710. Naturals bone or ivory with two pairs of grooves, with
Ownership: MUSIKINSTRUMENTEN MUSEUM, embossed paper fronts originally gilded, now green.
BERLIN, GERMANY. Sharps bone and tortoise-shell chevron-pattern capping
Number: 5083. on black-stained lime. Soundboard spruce painted with
Inscriptions. A faded ink inscription on the proximal edge flowers. Note names by wrestpins. Bridges, both of beech.
of the soundboard indicates that Fleischer made the Case of pine, with exterior of dark green (not original)
instrument in 1710 and restored it in 1724: Johan Christoph with crudely painted flowers. Inside of lid covered with
Fleischer auxit Ar? 1710. Restituit Aw? 1724.|Hamburgi. a piece of blue glass paper. Side hitch pin rail is not full
On the underside of the soundboard: Anno 1724 reparavit height and is pulling away from the side wall. Extra
and Soli Deo Gloria. [modern] bracer runs the full length of the instrument
Specification: 2x8’, 1x4". behind the balance rail, a second one runs back to front
Additional features: Harp stop. by the damm. Unfretted C to d then pairwise fretting,
Compass. GG-c’ excluding a’s and d’s. Octave strings from C to d.
Keyboard: Black naturals, white sharps. References: SMF (appendix by Weldon). Whitebead has
Number of roses: 1. further information.
Style of rose: Paper. Information supplied by: Weldon|SMF|O’ BrienPC|W bitebead.
Exterior of case: Painted. Boalch 3 number. FLEISCHER, J. C. 1722.
Scale: 361 mm. Boalch 2 number: None.
Length: 2253 mm.
Width: 826 mm. ‘Type: Fret-free clavichord with octave strings in the bass.
Depth: 224 mm.
Date: 1723.
Remarks: Naturals of ebony with gilded stamped leather
Ownership: DROTTNINGHOLM THEATRE
fronts. Sharps of stained pear with ivory tops. Case has
double curved bent side, and is decorated externally with
MUSEUM, DROTTNINGHOLM, SWEDEN.
Inscriptions: Reported by some observers to have inscrip-
chinoiserie on a red ground. Soundboard with flowers
and fruits in tempera and at the proximal edge, a shepherds tion: Joban Kristopher Fleischer Hamburg Ao 1723, but
scene, with the figures clad in eighteenth-century reported by Whitebead as Joban Christoph Fleischer|Fe:
costumes. Mounted on mahogany stand which does not Hamburg Anno 1723. The underside of the top key is
inscribed Maladt o renoveradt 1895 af Otto Edman Stockbolm.
belong to the instrument.
Previous history: The instrument may have been taken to Compass: FF-d!.
-America in the first half of the eighteenth century. It was Keyboard: Special naturals and sharps.
bought in 1952 by Dr. H. Sobotka, New York, and was Exterior of case: Painted.
purchased from his widow after his death in 1970 by the Scale: 285 mm.
Museum. Length: 1686 mm.
References. BerlinCat, pp. 87-92, plus illustrations, includ- Width: 495 mm.
ing one in colour. Depth: 163 mm.
Information supplied by: B?|Droysen-Reber|Elste/BerlinCat. Remarks: Keylevers of lime with crested wavy sharps.
Boalch 3 number: FLEISCHER, J. C. 1710. Naturals of tortoiseshell with ivory arcades. Sharps of
Boalch 2 number: 1. ivory and tortoiseshell marquetry on a block of black-
stained lime. Case sides decorated in imitation of red
Type: Fretted clavichord with octave strings in the bass. tortoiseshell, but this dates from 1895. Painted sound-
Date: 1722. board. Nameboard and toolbox lid have marquetry designs
Ownership: STIFTELSEN MUSIKKULTURENS in ivory and tortoiseshell. Complex gilt rose in front
FRAMJANDE, STOCKHOLM, SWEDEN. left-hand corner of the soundboard. Unfretted with
Number: KL 46. twenty-two octave strings from FF to d.
Inscriptions. Inscribed on the area of soundboard between Previous history: Restored in 1895 by Otto Edman,
the wrestpins and the case: Jobann Christoph Fleischer| Auxit Stockholm.
Hamb Anno 1722. References: Henning, H-O, and Whitebead who has further
Compass: C-c’. information.
Keyboard: White naturals, special sharps. Information supplied by. Weldon|Barrell|H-O|W bitebead.

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 FLORIANI 317
Boalch 3 number: FLEISCHER, J. C. 1723. Remarks. Appeared in B’ under Heinrich but corrected in
Boalch 2 number: None. the Addenda and Corrigenda. Fretted for top two notes
only.
‘Type: Fretted clavichord with octave strings in the bass. References: B? under Heinrich and also in Addenda.
Date: 1727. Information supplied by: B*|Weldon|Thoene.
Ownership: Not known. Boalch 3 number: FLEISCHER, J. C. 1729.
Inscriptions: Joban. Christoph Fleischer auxit Hamb. Ano Boalch 2 number: 4.
1727.
Compass: C-c}(A). FLORIANI, BENEDETTO.
Length: 1477 mm. ‘Type: Polygonal virginal.
Width: 431 mm. Manuals: 1.
Remarks: Noted in B’ but without owner. Fifteen octave Date: 1568.
strings in the bass. Ownership. CONSERVATORIO DI MUSICA,
References: B?. FLORENCE, ITALY.
Information supplied by: B*|Weldon. Number: 101.
Boalch 3 number: FLEISCHER, J. C. 1727. Inscriptions: Benedicti Floriani MDLXVIII on the
Boalch 2 number: 3. nameboard.
Specification: 1x8".
‘Type: Fretted clavichord. Compass: C/E-P, short octave.
Date: 1728. Keyboard: White naturals, black sharps.
Ownership: RINGVE MUSEUM, TRONDHEIM, Number of roses: 1.
NORWAY. Style of rose: Geometrical pattern.
Number: RMT 385. Exterior of case: Plain wood.
Inscriptions: According to Weldon inscribed Johan Christoph Remarks: Not strictly pentagonal since there are effectively
Fieischer/Hamburg 1728, on the soundboard, behind the six plain faces to the case. Rose without monogram.
oblique row of pins, but Whitebead gives Jobann Christoph Naturals of box—sharps of blackwood. There are geo-
Fleischer]. . .1728. metrical patterns over the nameboard.
Compass: C-c’. References: AS-Firenze, p. 93, and illustrated, p. 14.
Keyboard: White naturals, special sharps. Information supplied by: B*| AS-Firenze.
Scale: 288 mm. Boalch 3 number: FLORIANI, B. 1568.
Length: 1493 mm. Boalch 2 number: 1.
Width: 429 mm.
Depth: 145 mm. Type: Polygonal virginal.
Remarks: Keylevers of lime with wavy crested sharps. Manuals: 1.
Naturals of ivory with paper arcaded fronts of green and Date: 1571.
gilt, and sharps of tortoiseshell and ebony in herringbone. Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
Plain exterior case painted blue is very crude, and probably GERMANY.
not original. Inside of lid is painted red and also probably Number: 53.
not original. Raised on stand with cabriole legs and Inscriptions: BENEDICTI FLORIANI MDLXXI, on
drawer to the right and below the keyboard. Unfretted the nameboard above the keys.
C to d, then pairwise (including a’-ai*) but excluding a’s Specification: 1x8’.
and d’s. No octave strings. Compass: C/E-P, short octave.
Previous history: Restored by Lars Hohngren, Malmé, Keyboard: White naturals, black sharps.
Sweden, 1973. Number of roses: 1.
References: Ringverg81, p. 10. Whitebead has further Style of rose: Geometrical pattern.
information. Exterior of case: Painted.
Information supplied by: Weldon| VdM| Kjeldsberg|O’ BrienPC| Scale: 342 mm.
Whitebead. Length: 1683 mm.
Boalch 3 number: FLEISCHER, J. C. 1728. Width: 500 mm.
Boalch 2 number: None. Depth: 166 mm.
Remarks: Naturals of ivory, sharps of ebony. Cantilevered
Type: Fretted clavichord. keyboard. Case is polygonal with six sides of differing
Date: 1729. lengths. Original rose lost—replacement installed in 1910.
Ownership: HEIMATMUSEUM, STADE, HAMBURG, Outer case is painted in Islamic style with six panels on
GERMANY. Accession number not known. the front (long side).
Inscriptions. Johann Christoph Fleischer| Auxit Ham: . . . Previous bistory: First known of in the Kraus collection in
1729. Florence in 1878. Restored somewhere between the end

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318 FLORIANI(A)
of the nineteenth century and 1910. Formerly in the Heyer with cypress with arcaded fronts. Sharps of black-stained
Collection. hardwood. Rose of wood and paper. The outer case is
References: Mlustrated in Ks. Full details in Henkelr, pp. painted dark green, and has an inner lid painting of a
12-13, and plate 1. medallion surrounded by scrolling foliage. On the fascia
Information supplied by: B?|Henkelt. board of the inner instrument are three medallions with
Boalch 3 number: FLORIANI, B. 1571. portraits, and Latin inscriptions describing the sitters:
Boalch 2 number: 2. Francesco I, of the Medici house; Philip II of Spain; and
Johanna of Austria (1547-78).
Type: Polygonal virginal. Previous bistory: Acquired from a private collection in
Mannals: 1. 1985.
Date: 1572. References: BerlinCat, pp. 209-12.
Ovnersbip: MUSEE DES ARTS DECORATIEFS, Information supplied by: Droysen-Reber|Elste|BerlinCat.
PARIS, FRANCE. Accession number not known. Boalch 3 number: FLORIANI(A), B. 1570(A).
Specification: 2x8'(A). Boalch 2 number: None.
References: See Ks p. 229.
Information supplied by: B?|WraightPC. FLORIANI(A), BENEDETTO-ROSSI, ANNIBALE
Boalch 3 number: FLORIANI, B. 1572. DEL
Boalch 2 number: 3. Type: Polygonal virginal.
Mannals: 1.
Type: Polygonal virginal. Date: 1567(A).
Manuals: 1. Ownership: CASTELLO SFORZESCO, MILAN,
Date: 1572(A). ITALY.
Ownership: Not known. Number: 583.
Specification: 1x8'(A). Inscriptions. Signed FECIT/B.CTVS FLORIANI/
Keyboard: White naturals, black sharps. MDLXVII. The lower layer of the rose is re-used
Remarks: Ivory naturals, ebony sharps. Gilded rose. parchment and shows fine writing underneath.
Previous history: Sold at Puttick and Simpson’s, 12 May Specification: 1x8".
1909. Compass: C/E-f’, short octave.
References: Puttick and Simpson’s catalogue gives date as Keyboard: Special naturals and sharps.
1752 which is probably an error for 1772. Number of roses: 1.
Information supplied by: B’. Style of rose(s): Geometrical pattern.
Boalch 3 number: FLORIANI, B. 1572(A). Exterior of case: Plain wood.
Boalch 2 number: 4. Scale: 337 mm.
Length: 1334 mm.
FLORIANI(A), BENEDETTO. Depth: 194 mm.
Type: Polygonal spinet. Remarks: Originally number 1840 in the catalogue, and
Date: 1570(A). listed with date of 1562. Almost certainly the same
Ownership. MUSIKINSTRUMENTEN MUSEUM, instrument as B? number o1 under Floriani, and sa under
BERLIN, GERMANY. Anmibale dei Rossi. Naturals of box with rectangular inlay
Number: 5402. of ivory and circles of ivory and ebony. Keyfronts of box
Inscriptions. No inscription—the ascription to Floriani (or and parchment with central ivory dot. Sharps of ebony
Floriano as BerlinCat has it) is due to the similarity with inlaid rectangle of ivory into which circles of ivory
between this instrument and a signed instrument in the and ebony are inlaid. Most keylevers are not original, and
Leipzig University collection. probably came from a piano or other instrument. Rose
Specification: 1x8’. partly cut out of soundboard, with incised parchment
Compass: C/E-P, short octave. below. Instrument almost entirely made of cypress except
Keyboard: White naturals, black sharps. box slide which is of pear, and internal framing of fir. Plain
Number of roses: 1. cypress hexagonal external case with partly projecting
Style of rose: Geometrical pattern. keyboard, but with rich keywell inlaid decoration. Raised
Exterior of case: Painted. on heavy Italianate (probably unoriginal) stand.
Case construction: \talian style, inner/outer. Previous history: Part of the Gallini Collection.
Scale: 331 mm. References. Gall, no. $83, pp- 235-6, pl. CVX. WraightHH,
Length: 1655 mm. Pp. 80, ascribes it to Annibale dei Rossi, and shows how
Width: 370 mm. the inscription is spurious. He also gives a date of 1562.
Depth: 168 mm. Information supplied by: B?|O’ BrienPC|/WraightPC.
Remarks: Inner, six-sided, case of cypress with outer, Boalch 3 number: FLORIANI(A), B/ROSSI, A. 1567(A).
five-sided, case of pine. Original naturals of box replaced Boalch 2 number: 01 Floriani/5a Rossi.

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 FRANCISCUS 319
FONTANA, NICOLA. FORSMAN, PETER.
‘Type: Single-manual harpsichord. ‘Type: Fret-free clavichord with octave strings in the bass.
Date: 1571. Date: 1760(A).
Ownership: HUNGARIAN NATIONAL MUSEUM, Ownership: SKARABORGS LANSMUSEUM, SKARA,
BUDAPEST, HUNGARY. Accession number not SWEDEN.
known. Number: 21465.
Inscriptions. On the fascia board, which is a later replace- Inscriptions: Label on the area of the soundboard between
ment: Dominicus Pisawrensis. On the underside of the the wrestpins and the case: Pet. Forsman Instrumentmakare
soundboard the genuine inscription: Landate Deum omnes 4 Carlstad, Dated independently at ¢. 1760 by Weldon and
agentes 1571|Nicolo Fontana da Reggio Lepidi, 1571. Barrell.
‘Specification: 1x8", 1x4’. Compass: C-e?.
Compass: C/E-P, short octave. Keyboard: Black naturals, white sharps.
Number of roses: 1. Exterior of case: Painted.
Exterior of case: Painted. Scale: 258 mm.
Case construction: Italian style, inner/outer. Length: 1547 mm.
Length: 1836 mm. Width: 491 mm.
Width: 816 mm. Depth: 200 mm.
Remarks: Regio Lepidi is now known as Reggio Emilia. Remarks: Twelve octave strings in the bass. Keys of pine,
Keyboard and action missing. Evidence on the bottom roof-carved, key slips are brass pins. Naturals of ebony
of the instrument indicates there were formerly pedal with two pairs of grooves and fronts of embossed gilded
pull-downs for the lowest fourteen notes. The 4’ register paper. Sharps of bone capped black stained wood.
extends in compass only to c’. External case gilded and Soundboard of spruce. Bridges both beech. 8’ bridge
painted. Raised on elaborate carved stand. Changed from almost straight with only a slight hook in treble. Sound-
1x8’, 1x4’ to 2x8’ in the seventeenth century. board grain at thirty-five degrees to the spine. Case of
Previous bistory: At some time, probably the end of the pine, painted to look like wood. Keywell veneered in
nineteenth century the instrument was taken for repair to yew.
a craftsman who disassembled it, removing the keyboard, References: H-O no. S 16 VM 21465. Illustrated at fig. 115,
action, strings and wrestpins. The work was then unac- P. 132.
countably interrupted and these parts were lost. It was Information supplied by: Weldon|Barrell|H-O.
then in private hands until 1968 when acquired by the Boaleh 3 number: FORSMAN, P. 1760(A).
Museum. Boalch 2 number: None.
References: ChamP. Eszter Fontana. ‘An Italian Harp-
sichord of 1571; Clues to its Construction’, in GSJ XLIV, FRANCISCUS, PATAVINUS.
(1991), pp. 55-70, (illustrated). Type: Polygonal virginal.
Information supplied by: B2|Kovdcs| Fontana. Manuals: 1.
Boalch3 number: FONTANA, N. 1571. Date: 1527.
Boalch 2 number: 01. Ownership: BRUSSELS MUSEUM, BRUSSELS,
BELGIUM.
‘Type: Polygonal virginal. Number: 1586.
Manuals: 1. Inscriptions: Francisci Patavini dicti bongari MDXXVII. The
Date: 1573. lid bears the legend; Io da Je piaghe mie forma ricevo.
Ownership: DR. J. CAIN, MARSEILLES, FRANCE. Specification: 1x8’.
Inscriptions. Nicolaus Fontana ex Regio Lepido M.D.LXXIII. Compass: C/E-c'(A), short octave.
Specification: 1x8'(A). References: WraightSO, pp. 17-25.
Compass: C/E-P, short octave. Information supplied by: B2|WraightPC.
Keyboard: White naturals, black sharps. Boalch 3 number: FRANCISCUS, P. 1527.
Exterior of case: Painted. Boalch 2 number: 1.
Remarks: Reggio Lepidi is now known as Reggio Emilia.
Boxwood naturals. Outer case painted with a group of Type: Not known.
women painted inside the lid. Trapezoidal shaped case. Date: 1540.
Previous bistory: Formerly belonged to M. Legouix, Paris. Ownership: Not known.
References: Eszter Fontana. ‘An Italian Harpsichord of Remarks: The only evidence for this instrument is the list
1571; Clues to its Construction’, in GSJ XLIV, (1991), in FranclI, item 14.
Pp. 55-70, (illustrated). References: Francll.
Information supplied by: B2| Fontana. Information supplied by: B2|WraightPC.
Boalch 3 number. FONTANA, N. 1573. Boakh 3 number. FRANCISCUS, P. 1540.
Boalch 2 number: 1. Boalch 2 number: 1a?

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320 FRANCISCUS(A)
Type: Single-manual harpsichord. section of wrest pins: Ludwick Franck in Liibeck|fecit 1749.
Date: 1561. Compass. C-d?.
Ownership: DEUTSCHES MUSEUM, MUNICH, Keyboard: White naturals, black sharps.
GERMANY. Accession number not known. Length: 1620 mm.
Inscriptions: Inscription (on the nameboard, now lost) said Width: 550 mm.
to have read: Francisci Patavini Dicti Ongaro 1361. Remarks: Thirteen octave strings in the bass, C-c. Compass
Specification: 1x8’, 1x4’. reported variously as C-c’ and C-d’.
Compass: GG/BB-c', short octave. Information supplied by: B?|Weldon| VdM|O’ BrienPC.
References: For a discussion on the compass, pitch, and Boalch 3 number: FRANCK, L. 1749.
other matters see: John Koster, ‘Italian harpsichords and Boalch 2 number: 1.
the Fugger Inventory’. in GSJ XXXIV, (1981), pp. 149-
50. ‘Type: Fret-free clavichord with octave strings in the bass.
Information supplied by: B?|Koster|Wraight. Date: 1751(A).
Boalch 3 number: FRANCISCUS, P. 1561. Ownership: LANGELAND MUSEUM, DENMARK.
Boalch 2 number: 2. Accession number not known.
Inscriptions: Inscribed on soundboard Ladewick Franck in
Type: Pentagonal virginal. Labeck fecit Ao 1751 {or 1754).
Manuals: 1. Compass: C-d’.
Date: 1532. Remarks: The date could be 1754. (Langeland is an island
Ownership: CONSERVATORIO BENEDETTO south of Funen.) According to B? triple strung in bass,
MARCELLO, VENICE, ITALY. Accession number but this probably refers to the octave stringing for
not known. the bottom thirteen notes. Fifty-one keys and fifty-one
Specification: 1x8'(A). courses.
References: VAMFE. WraightIKI. Previous history: Belonged at one time to S. C. Orsted at
Information supplied by: WraightPC. Rudkobing, Langeland, father of the Danish physician
Boalch 3 number: FRANCISCUS, P. 1552. Hans C. Orsted (1772-1851).
Boalch 2 number: None. Information supplied by: Weldon] Bz.
Boalch 3 number: FRANCK, L. 1751(A).
FRANCISCUS(A). Boalch 2 number: 2.
Type: Single-manual harpsichord.
Date: 1725. Type: Clavichord.
Ownership: DR. R. MIRREY, LONDON, ENGLAND. Date: 1756.
Number: 3. Ownership: LUBECK MUSEUM(A), LUBECK,
Inscriptions: Inscribed Franciscus de Panlinis Parochus Diocesis GERMANY. Accession number not known.
Ariminis fecit anno Jubilei 1725 etatis suei anno 37. Remarks: The Liibeck Museum owned the instrument in
Specification: 2x8". 1910, whether it is still there is uncertain.
Compass: C/E-c’, short octave. References: Gé p. 81.
Case construction: Italian style—false inner/outer. Information supplied by: Weldon|B2.
Length: 2030 mm. Boalch 3 number: FRANCK, L. 1756.
Width: 720 mm. Boalch 2 number: 3.
Depth: 200 mm.
Remarks. The name of the maker and the place of FRANCO, GIOVANNI FRANCESCO.
manufacture are unclear, being derived from the inscrip- Type: Single-manual harpsichord.
tion. No internal bracing. Mirrey says ‘open-topped box’ Date: 1757.
in tail. Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
References: Mirrey. GERMANY.
Information supplied by: Mirrey. Number: 92.
Boalch 3 number: FRANCISCUS(A). 1725. Inscriptions: Inscription on lowest key; Gio. Francesco
Boalch 2 number: None. Franco, Fecit 1737.|nel mese di Novembre. Names scratched
on the lid fold Giuseppe Busst and Cristina Rapis—probably
FRANCK, LUDWIG. early owners.
Type: Fret-free clavichord with octave strings in the bass. Specification: 3x8".
Date: 1749. Compass: C-g?.
Ownership: NORSK FOLKEMUSEUM, BYGDOY, Keyboard: Black naturals, white sharps.
OSLO, NORWAY. Number of roses: None.
Number: E.1448-06. Exterior of case: Painted.
Inscriptions: Signature on soundboard parallel to bass Scale: 260 mm.

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 FRIEDRICH 321
Length: 1768 mm. Date: 1765.
Width: 888 mm. Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
Depth: 250 mm. GERMANY.
Remarks: Naturals ebony, sharps of stained pear with Number: 30.
ivory tops. Exterior of case dark green. Painting inside Inscriptions: Inscribed in ink on the rear of the nameboard
the lid of Orpheus charming the beasts in a pastoral Christian Gottfried Friederici{Gera October 1765. On the
setting (probably repainted at the end of the nineteenth inside of the compartment for the tuning hammer etc: C
century). The keywell has ornate carving and an inlaid G FRIEDERICI with a crown above and below. Also
mirror which is not original. Raised on stand with six on the outside C G F with a small crown below. On the
turned barley-sugar twist legs joined by a stretcher of the soundboard the initials A.L., probably a former owner.
same shape as the case at near-ground level. Compass: FF-P.
Previous history: For many years in the possession of a Keyboard: Black naturals, white sharps.
family in Turin. In 1893 in the collection of de Wit, Number of roses: 1.
Leipzig. According to Fuhrer durch das Musikinstrumenten- Style of rose: Geometrical pattern.
Museum, Markneukirchen, 1986, the instrument is displayed Exterior of case: Plain wood.
there and is on loan. Scale: 272 mm.
References: Pictured at Ks, p. 106. Inscription reproduced Length: 1749 mm.
at Ks, p. 222. Henkel, pp. 101-2 and plates 58 and 59. Width: 498 mm.
Information supplied by: B?|Henkelt. Depth: 155 mm.
Boalch3 number: FRANCO, G. F. 1757. Remarks: Keys of oak, roof-carved, guide slips of wood.
Boalch 2 number: 1. Naturals, head of ebony, arcaded, tails of black-stained
pear. Sharps, ivory capped black-stained pear. Soundboard
FREY, CARL HEINRICH. spruce with three bars and a 75 mm.-diameter rose.
Type: Clavichord. Bridges blackened maple. Back and base of pine, remainder
Date: 1765. of case of oak. Internal structures of beech. Hitch pin
Ownership: HISTORISCHES MUSEUM, BASEL, rail capped with maple. Note names by wrestpins in
SWITZERLAND. Accession number not known. Friederici’s own hand. Hatch, now filled, 150 mm. x 100
Inscriptions: Carl Heinrich Frey. mm. cut in the base. Lid, keyflap, front flap, and all
Remarks: According to B*, an early owner, and not to be hinges have been renewed.
confused with the maker Michael Frey of Leipzig, Previous history: 1910 in the Heyer Collection, Cologne.
clavichord maker, ¢. 1535. References: Henkelz, pp. 65—6. Illustrated at plates 36, 37,
References: RindiKlav, p. 218. 57, 63.
Information supplied by: B*. Information supplied by: B*|Henkel2|Weldon.
Boake3 number. FREY, C. H. 1765. Boalch 3 number. FRIEDERICI, C. G. 1765.
Boalch 2 number: 1. Boalch 2 number: 2.

FRIEDERICI, CHRISTIAN ERNST. Type: Clavichord.

Type: Fret-free clavichord. Date: 1791.
Date: 1772. Ownership: Not known.
Ownership: FORMERLY KUNSTHISTORISCHES Inscriptions: The maker of this Clavichorde is Christian Gottlob
MUSEUM, VIENNA, AUSTRIA. Accession number Frederic, Counsellor of. . . (illegible) at Gera, Saxony, in the
not known. month of March and year of Grace 1791.
Inscriptions: fait par C. E. Friedericifa Gera en Voigtland Previous bistory: Auctioned at Bethlehem Va. 19 June 1873.
172. Later owned by Mary Eyre of Bethlehem and her niece,
Remarks: Stradner says that the instrument was lost in Rosalie Tiers, of Philadelphia.
World War II. Compass of four octaves and a fifth. References: Transactions, Moravian Historical Society, Vol. 1
Previous history: Formerly housed at the Mozart- (1888), p. 217.
Gedenkstitte Schusterstrasse 8. Thought to have belonged Information supplied by: B*.
to Mozart (see: Richard Maunder, ‘Mozart’s keyboard Boalch 3 number: FRIEDERICL, C. G. 1791.
instruments’, in EM, Vol. XX, No. 2, May 1992, pp. Boalch 2 number: 3.
209-10.) and later to Liszt.
Information supplied by: B*|Weldon|StradnerPC. FRIEDRICH, JOHANN CHRISTOPH.
Boalch 3 number: FRIEDERICI, C. E. 1772. ‘Type: Clavichord.
Boalch 2 number: 1. Date: 1790.
Ownership: Not known.
FRIEDERICI, CHRISTIAN GOTTLOB. Remarks: Nothing further is known about this instrument
Type: Fret-free clavichord. except that it passed through the hands of the Pelham

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322 FRIEDERICI
Galleries in ¢. 1988. The name Johann Christoph Friederici hunt in blue monochrome. Raised on fluted and tapered
is not known from any other source. legs also painted green.
Information supplied by: Ruben. Previous history: Acquired by the Museum from the estate
Boalch 3 number: FRIEDERICI, J. C. 1790. of Carl Engel in 1881 for £15. Extensively restored in
Boalch 2 number: None. 1963.
Ree V&A Cat, no. 26.
FRIEDERICI (firet names not known). Information supplied by: B2|VerA Cat|Weldon|O' BrienPC.
Type: Clavichord. Boalch 3 number: FRITZ, B. 1751.
Date: Not known. Boalch 2 number: 2.
Ownership: SCHIMMEL (PIANOFORTE MAKERS)
FAMILY, BRUNSWICK, GERMANY. ‘Type: Clavichord.
Remarks: Virtually nothing is known about this instrument Date: Not known.
except its ownership. Ownership: GROTRIAN-STEINWEG, BRUNSWICK.
Information supplied by: Barrell. References: SB, p. 49.
Boalch 3 number: FRIEDERICI. n.d. Information supplied by: Bz.
Boalch 2 number: None. Boalch 3 number: FRITZ, B. n.d.(1).
Boalch 2 number: 3.
FRITZ, BARTHOLD.
‘Type: Fretted clavichord with octave strings in the bass.
Date: 1747. ‘Type: Clavichord.
Ownership: MUSIKINSTRUMENTEN MUSEUM, Date: Not known.
BERLIN, GERMANY. Ownership. PRIVATE COLLECTION, BOCHUM,
Number: 3394. GERMANY.
Inscriptions. On the soundboard behind the wrestpins, Remarks. The main evidence for this instrument is the
inscribed: . . . Fritz fecit Braunschweig... 1747... entry in Bz, though from information received, it seems
Compass. C-P(A). likely that the instrument still survives.
Length: 1520 mm. Information supplied by: Bz.
Width: 430 mm. Boalch 3 number: FRITZ, B. n.d.(2).
Remarks: Thirteen octave strings in the bass. Boalch 2 number: 4.
Previous bistory: Purchased by the Museum from
Liepmanssohn. FUCHS, JOHANN ANTON.
References: Advertised in Liepmanssohn’s catalogue as No. Type: Clavichord.
237. Date: 1781.
Information supplied by: B2/Weldon|Droysen-Reber|Elste. Ownership: TIONE DI TRENTO, ITALY.
Boalch3 number. FRITZ, B. 1747. Inscriptions. Job. Antoni Fuchss (sic)|Orgel und Clavier Macher
Boalch 2 number: 1. xu Innsbruck 1781.
Compass: 5 octaves.
‘Type: Fret-free clavichord with octave strings in the bass. References: Lun, pp. 48-9 (illustrated).
Date: 1751. Information supplied by: Bz.
Ownership: VICTORIA AND ALBERT MUSEUM, Boalch3 number: FUCHS, J. A. 1781(1).
LONDON, ENGLAND. Boalch 2 number: 1.
Number: 339-1882.
Inscriptions: Inscribed on the treble end of the wrestplank:
Barthold Fritz fecit Braunschweig ao. 1751 Mens. febr. Type: Fret-free clavichord.
Compass: FF-2°. Date: 1781.
Keyboard: Black naturals, white sharps. Ownership. GERMANISCHES NATIONALMUSEUM,
Number of roses: None. NUREMBERG, GERMANY.
Exterior of case: Painted. Scale: 294 mm. Number: MIR 1062.
Length: 1790 mm. Inscriptions: Job. Antoni: Fuchs{Orgl (sic) snd Clavier Macher/
Width: $81 mm. zu Insbruck 1781. String gauges marked on keys.
Depth: 172 mm. Compass: FF-P.
Remarks: Twenty octave strings in the bass. Naturals, Seale: 252 mm.
brown-stained wood, possibly rosewood, with embossed Remarks: Sixty-one keys, sixty-one courses.
and gilded paper fronts. Sharps, black-stained pear capped References: Huber, p. 128.
with engraved ivory. Soundboard of spruce. Bridges both Information supplied by: B2|Weldon| Huber.
beech. Case is of pine, painted pale green. The internal Boalch3 number: FUCHS, J. A. 1781(2).
structures of oak. Interior of lid has painting of a stag Boalch 2 number: 2.

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 FUCHS 323
‘Type: Pret-free clavichord. Width: 480 mm.
Date: 1784. Depth: 130 mm.
Ownership: YALE UNIVERSITY COLLECTION OF Remarks: Naturals of ebony with arcaded fronts, sharps
MUSICAL INSTRUMENTS, USA. covered with bone. Outer case of panelled pine. Bridge
Number: 4947.72. is currently (1989) loose and dislocated.
Inscriptions: A barely legible inscription on the rear of the Previous history: The Albert Steinert Collection. On loan
mameboard reads: [illegible]. . . stoni Fauchsslorgel und to the Yale Collection from the Rhode Island School of
clavier|macher zu Innsbruck, 1784. Design.
Compass: FF-P. Information supplied by: Rephann.
Keyboard: Black naturals, white sharps. Boalch3 number: FUCHS, J. A. 1784.
Length: 1330 mm. Boalch 2 number: None.

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 G
G. Length: 162 mm.
Type: Fret-free clavichord. Width: 54 mm.
Date: 1780(A). Remarks: The place of manufacture can only be surmised
Ownership: ULLRICH BOHME, LEIPZIG, from the label on the soundboard. Compare also with the
GERMANY. clavichord ‘G. 1780(A)’ (above). Much restored, front
Inscriptions: Inscribed G in inlaid work on the nameboard. guide pins having been fitted. Bz says six octave compass
Compass: FF-g'. but this would seem unlikely.
Keyboard: Black naturals, white sharps. Previous history: Stradner (1991) believes the instrument
Number of roses: None. may have been sold out of the collection.
Exterior of case: Plain wood. Information supplied by: B2|StradnerPC.
Remarks: The country of manufacture is not known. Boalch 3 number: G., C. 1789.
Previous history: Restored by Klaus Gernhardt, Leipzig. Boalch 2 number: 1.
Information supplied by: Bemmann.
Boalch 3 number: G. 1780(A). G., G.
Boalch 2 number: None.
Type: Single-manual harpsichord.
Date: 1675-99.
G., C. Ownership: FORMERLY KARL-MARX-
Type: Two-manual harpsichord. UNIVERSITAT. LEIPZIG, GERMANY.
Date: Not known. Number: 80.
Ownership: FORMERLY IN THE BERLIN Inscriptions: The initials G. G. on the right side of the
COLLECTION, BERLIN, GERMANY. keyframe.
Number: 319. Specification: 2x8’.
Inscriptions: Rose has harping figure of an angel with the Compass: GG/BB-P, short octave.
initials C.G. in it. Keyboard: White naturals, special sharps.
Specification: 2x8’, 2x4’ (sic according to Bz). Exterior of case: Painted.
Additional features: Shove coupler. Length: 2400 mm.
Compass: GG/BB-c', short octave. Width: 900 mm.
Number of roses: 1. Remarks: Lost in World War II. Naturals of box. Sharps
Style of rose: Seated harping figure. of various woods including mahogany, palisander, ebony
Length: 2190 mm. etc. Evidence of pedal pull-downs. Outer case painted
Width: 810 mm. with flowers on a grey ground. Four medallions painted
Remarks: According to Bz this seventeenth-century Flem- inside the lid. Two small soundholes in the soundboard.
ish harpsichord was in the Berlin Collection. BerlinCat Previous history: Formerly in the Heyer Collection, Cologne
confirms that it has been lost since the Second World in 1910.
War. References: Henkelt, p. 80.
References: BerlinCat, p. 374 quotes the entry in Sa. Information supplied by: Henkelr.
Information supplied by: Bz|BerlinCat. Boalch3 number: G., G. 1675~99.
Boalch 3 number: G., C. n.d. Boalch 2 number: None.
Boalch 2 number: 1.

Type: Clavichord. GANER, CHRISTOPHER.

Date: 1789. Type: Harpsichord (number of manuals not known).
Ownership: FIALA-AHLGRIMM COLLECTION, Date: 1781.
VIENNA. Accession number not known. Ownership: Not known.
Inscriptions: Bears a pencilled date 1789 and the initials C. Remarks: Shell of harpsichord only. Bz says of Ganer:
G. On the soundboard is a label: Reparirt 1827/Joseph ‘He was formerly of Leipzig and then moved to London,
Dobnal|burger!. Instramentenmacher|wobnt an der newen Wienn so it is only my supposition that this harpsichord was
in der Gart-|ner-Gasse im eigenen Haus beym Meer-|sturm No. made in London, as it could have been Leipzig.’
176|in Wien. Previous history: Was in the possession of John Challis of
Compass. FF-f(A). Detroit in 1953.

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 GELLINGER 325
Information supplied by: B2. the instrument is reproduced.
Boalch3 number. GANER, C. 1781. Information supplied by: Bz.
Boalch 2 number: 1. Boalch 3 number: GELLINGER, I. 1670.
Boalch 2 number: 1.
GARNIER, SEBASTIEN.
Type: Two-manual harpsichord. Type: Fretted clavichord.
Date: 1747. Date: 1670(A).
Ownership: DR. GERBER, HOLS RESEARCH Ownership: Not known.
INSTITUTE, HOLS, BELGIUM. Inscriptions: Monogram with IGF ( Israel Gellinger fecit)
Inscriptions: Sebastien Garnier 1747, on the top key, and and a hammer enclosed in a broken circle.
Garnier Luthier, on underside of soundboard. Compass: C-a(A).
Specification: 2x8’, 1x4’. Remarks: Very similar to the surviving instrument of 1670
Additional features: Shove coupler. at Namur.
Compass: GG-d?. Previous history. Formerly in the Wan der Straeten
Keyboard: Black naturals, white sharps. collection.
Exterior of case: Veneered. References: See VdS VIII, 303, where the monograms of
Remarks: Flemish in style. Ebony naturals with arcaded the two Gellinger clavichords are reproduced.
fronts, and sharps of ivory. Case in lime, veneered with Information supplied by: B2.
pearwood and mahogany in panels, except the straight Boalch 3 number: GELLINGER, I. 1670(A).
side, which is beech, as also is the wrestplank. Painting
Boalch 2 number: 3?
of a castle inside the lid. Raised on a unique ‘cross-leg’
trestle stand.
Previous history: Formerly in the collection of Michael Type: Two-manual ottavino.
Thomas. Date: 1677.
References: ThomasCetC, and ThomasKI, plate 5. Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
Information supplied by: B2|ThomasKI. GERMANY.
Boalch3 number. GARNIER, S. 1747. Number: 52.
Boalch 2 number: 1. Inscriptions: Signed on floor of case; fecit in francoforts am
Mon 1677 Is{z|rael Gellinger, and on the wrestplank;
GASPARRINI, FRANCESCO ANTONIO. Frankfurt am Mayn 1677 israel (sic according to Bz and
Type: Harpsichord (number of manuals not known). Henkel) Gellinger. On the wrestplank an IG monogram
Date: 1762. enclosed in a heart is branded. On the lower manual keys
Ownership: BARNARD COLLEGE, NEW YORK, G and d the monogram IG, and on the key d* the date
USA. Accession number not known. 1677.
Inscriptions: The inscription given in Bz reads: Opas Fracisci Specification: 2x2".
Antony Gasparrini a Monte Carotto 2e July 1762, has been Additional features: Shove coupler.
corrected in Misch-1979 II to Opus Fran{n|cisci Antonij Compass: F,G,A-d".
Gasparrini A Monte Carotto 2. Julij 1762. (The extra » Keyboard: White naturals, black sharps.
added by Mischiati in the first name seems as curious as Namber of roses: 1.
the omission of any ‘n’ in the Bz version). Exterior of case: Plain wood.
Previous history: Formerly in the Joline Collection. Scale 61 mm.
References: Misch-1979 II p. 221. Length: 478 mm.
Information supplied by: Bz/Misch-1979 II. Width: 400 mm.
Boalch3 number: GASPARRINI, F. A. 1762. Depth: 126 mm.
Boalch 2 number: 1. Remarks: Ivory naturals with pressed paper fronts, and
sharps of dark-stained birch. Rose is missing. Case of
GELLINGER, ISRAEL. harp-shape with cantilevered keyboard. Henke/r describes
‘Type: Fretted clavichord. it as ‘in Miniaturform des Zenti-Modelles gebaut’. Dec-
Date: 1670. orated soundboard. Shove coupler allows upper manual
Ownership: MUSEE HOTEL DE CROIX, NAMUR, to be coupled to lower.
BELGIUM. Accession number not known. Previous history: Originally in the Heyer collection,
Inscriptions: Monogram IG enclosed in a heart is incised Cologne, 1910. The instrument underwent an early
in the right-hand corner of the soundboard. restoration in which the case was strengthened, and a
Compass: C,D-a'(A). further restoration in 1976/77.
Number of roses: 1. References: For full details see Henkelr, pp. 33-4, and plate
Remarks: Fretted except for C-A in the bass. 1
References: See VdS VIII, 303, where the monogram of Information supplied by: Bz|Henkel1.

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 326 GERBER
Boalch 3 number: GELLINGER, I. 1677. Ownership: STATENS MUSIKSAMLINGAR,
Boalch 2 number: 2. MUSIKMUSEET, STOCKHOLM, SWEDEN.
Number: 2215.
GERBER, WILLIAM. Inscriptions: Painted on back of fascia board in gold letters:
Type: Harpsichord (number of manuals not known). Erich German ma ficit Holmia Ao 1736. This is not original.
Date: 1775. Compass: AA-d?.
Ownership: Not known. Keyboard: Black naturals, white sharps.
Inscriptions: Numbered 115. Exterior of case: Plain wood.
Remarks: Little is known about this instrument. Scale: 325 mm.
References: J. Length: 1569 mm.
Information supplied by: B?. Width: 476 mm.
Boalch 3 number: GERBER, W. 1775. Depth: 145 mm.
Boalch 2 number: 1. Remarks: Keys of pine, roof-carved. Guide slips of iron.
Naturals of dark wood, some are replacements with fronts
GERLACH, JOHANN CHRISTIAN. stained black. Sharps of bone-capped black-stained wood.
Type: Fret-free clavichord with octave strings in the bass. Pairwise fretting for all except AA-c, b, a', b', e’, bt and
Date: 1756. d?. Octave strings from AA to g#. Soundboard of pine,
Ownership: RINGVE MUSEUM, TRONDHEIM, rose hole to left front, rose missing. Bridges, both of
NORWAY. dark-stained wood, 4’ not original but very similar to 8’.
Number: RMT 74/15. Case and most of the internal structures are pine. The 4’
Inscriptions. The instrument is recorded in B? but is and lid painting of a reversed harpsichord (i.e. the treble
accorded an inscription acknowledged as illegible: Johan is at the left of the player) are not original but were
Gerlach Artifex| Anno 1778. This has however been recor- probably added when it was restored in 1896.
ded by dM as clearly J. C. Gerlach. Hamburg. 1756 to Previons bistory: Restored in 1896.
be found in manuscript on the area of soundboard References: H-O No. S or SMS/MM 2215. Illustrated at
between the wrest pins and the case. This is also confirmed fig. 108A and 108B on pp. 121 and 122. The lid painting
in Ringvergé1, p. 10. is shown at fig. 168, p. 209.
Compass. FF-P. Information supplied by: B*|Barrell|Weldon|H-O|VdM.
Keyboard: White naturals, black sharps. Boalch 3 number: GERMAN, E. M. 1736.
Exterior of case: Painted. Boalch 2 number: 1.
Scale: 288 mm.
Length: 1700 mm. GERSTENBERG, JOHANN DAVID.
Width: 524 mm. Type: Two-manuals and pedal fret-free clavichord.
Depth: 175 mm. Date: 1760.
Remarks: Twenty-two octave strings, FF-d. Naturals of Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
ivory with palisander arcades. Sharps of ebony-capped GERMANY.
black-stained wood. Painted case of pine. There is a good Number: 23.
deal of damage by damp, however everything, except the Inscriptions: Inscribed on the rear of the lower nameboard
strings, which are from an early restringing, is original. (lost since 1943, and according to Ks): Jobann David
The lid is decorated with a painting of two figures in a Gerstenberg, Orgelbaner xu Geringswalda, bat wns gemacht 1760.
landscape. It was decided in 1990 to leave it unrestored Compass, C-e}(manuals) CC-c(pedals).
to preserve its value as a historical document. Keyboard: Black naturals, white sharps.
Previous history: Acquired by the Ringve Museum in 1974 Number of roses: 1 each in the manuals and 2 in the pedal
from a private owner, Drivdalen, Norway. Examined in instrument.
1990 by Grant O’Brien. Exterior of case: Vencered.
References: See Ringvergé1, p. 10. An unpublished report Scale: 278 mm.
by O’Brien is available from the Museum. A technical Length: 1490 mm.
drawing by Darryl Martin is in the possession of the Width: 418 mm.
Museum. Depth: 114 mm.
Information supplied by: + Weldon| VdM|B2/Kjeldsberg/ Remarks: The instrument is two separate clavichords one
O’BrienPC|Martin| Barnes. above the other with a separate pedal instrument. Keys
Boalch 3 number: GERLACH, J. C. 1756. of alder, roof-carved (about half have been replaced).
Boalch 2 number: 1. Naturals of ebony, with four engraved lines. Sharps of
ivory-capped, black-stained pear. Soundboard of spruce.
GERMAN, ERICH MANSSON. Bridges, blackened maple. Dimensions given are for the
Type: Fretted clavichord. upper manual instrument. The difference between the two
Date: 1736. is that the lower one is 156 mm. depth and the treble

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 GIGLI 327
scaling is shorter. Pedal case is 2243 mm. x 471 mm. x Collection Catalogue. Mouldings shown in Hellwig. Huber,
202 mm., and the soundboard has two roses. The whole Pp. 141.
instrument is made from pine veneered with walnut. The Information supplied by: Bz|Hellwig|Huber|O’ BrienPC.
wrestplanks are of maple. Boalch 3 number: GHEERDINCK, A. 1605.
Previous history: Since 1893 in the collection of Paul de Boalch 2 number: 1.
Wit, Leipzig. Previously in the possession of ‘Musikdi-
rektor’ Chr. Lohse, Plauen. GHEERDINCK(A), ARTUS.
References: Henkelz pp. 52-5 and illustrated at plates 26, Type: Polygonal virginal.
27, 47, §7 61 and 69. See also Ks, and Russell 1959 Manuals: 1.
illustrated at plate 89. Date: 1603(A).
Information supplied by: B2|Henkel2|Russell|Weldon. Ownership: SMITHSONIAN INSTITUTION,
Boalch 3 number: GERSTENBERG, J. D. 1760. WASHINGTON, USA.
Boalch 2 number: 1. Number: 60.1391.
Inscriptions: Altus Gheerdinck me fecit anno 1603. This
GESSINGER, GEORG MARTIN. inscription on the jackrail is clumsily lettered, and appears
Type: Clavichord. not to be native to the instrument. This would be a
Date: 1780. reason for ascribing it to another maker such as, possibly,
Ownership: GERMANISCHES NATIONALMUSEUM, Antegnati (see below).
NUREMBERG, GERMANY. Specification: 1x8’. Compass. C/E-a’, short octave.
Number. MIR 1055. Case construction: Italian style, inner/outer.
Inscriptions: Inscribed: Georg Martin Gessinger|Orgel (und) Remarks: Bz says: ‘An obviously Italian polygonal virgin-
Instrumenten|macher in Rotenburg|ob der Tauber 1780. al.’ It seems very likely that the instrument is that listed
Compass: C-P. by Franel as a ‘cimbalo’ inscribed Altus Gheerdinck me fecit
Scale: 247 mm. anno 1603. According to Dowd and Wraight, it is attributed
Previous history: Formerly in the Riick Collection. to Francesco Antegnati, Brescia, before 1640.
References: Huber, p. 125. Previous bistory: Formerly at Yale, previously Morris
Information supplied by: B2|Huber. Steinert’s.
Boalch 3 number: GESSINGER, G. M. 1780. References: Described in detail in Marc Y, pp. 5-6.
Boalch 2 number: 1. Francl. Smithchecké9. Smithsonian photo negatives 50,325;
50,325A; 50,325B.
GHEERDINCK, ARTUS. Information supplied by: Bz|Smithcheck89|Dowd|WraightPC.
Type: Virginal. Boalch 3 number: GHEERDINCK(A), A. 1603(A).
Manuals: 1. Boalch 2 number: 2.
Date: 1605.
Ownership. GERMANISCHES NATIONALMUSEUM, GIANNINI, GAETANO.
NUREMBERG, GERMANY. ‘Type: Ottavino.
Number: MINe 935. Date: 1628.
Inscriptions: Artus Gheerdinck me fecit Anno 1603, on the Ownership: LISBON CONSERVATOIRE, LISBON,
jackrail. PORTUGAL. Accession number not known.
Specification: 1x8’. Inscriptions: Gaetanus Giannini faciebat Anno 1628, on
Compass: C/E-c’, short octave. nameboard.
Keyboard: White naturals, black sharps. Specification: 1x4'(A).
Number of roses: 1. Compass: C/E-g*.
Style of rose(s): Parchment. Number of roses: 1.
Excterior of case: Painted. Exterior of case: Painted.
Scale: 340 mm. Length: 750 mm.
Length: 1561 mm. Width: 520 mm.
Width: 468 mm. Remarks: Rose without monogram. Painted case bearing
Depth: 232 mm. the arms of a noble family. Projecting keyboard.
Remarks: Naturals of bone with fronts having parchment Information supplied by: Bz.
winged heads. Sharps of ebony topped stained pine. The Boalch 3 number. GIANNINI, G. 1628.
keyboard is to the left. Boalch 2 number: 1.
Previous bistory: This is almost certainly the virginal which
in 1910 was in the collection of Heinrich Schumacher, GIGLI, GIOVANNI.
Lucerne. Type: Single-manual harpsichord.
References: Mentioned in Go, who, however, misread the Date: 1610.
name as Artus C. Heerdinck. Ilustrated in the 1938 Neupert Ownership: Not known.

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328 GIUSEPPE
Inscriptions: Joanes Giglins fecit Romae Anno Domini 1610. to be by Franciolini PRESIDENTUS DELLA REPUB-
Specification: 2x8", LICA 1681.
Compass: C/E-c’(A), short octave. Specification: 2x8’, 1x4/.
Keyboard: White naturals, black sharps. Compass: GG/BB-c’, broken octave.
Case construction: Italian style, inner/outer. Keyboard: White naturals, black sharps.
Remarks: In view of its association with Franciolini, the Number of roses: None.
authenticity and date of the instrument must be treated Exterior of case: Painted.
with caution. In outer case. Case construction: Italian style, inner/outer.
Previous history: Was in Paris in 1972. Scale: 274 mm.
References: This instrument appears in Frencl, item 15, Length: 2390 mm.
and FranclI, item 5, the date there being given as 1510. Width: 953 mm.
Information supplied by: Bz. Depth: 295 mm.
Boalch 3 number: GIGLI, G. 1610. Remarks. Boxwood naturals, ebony sharps. Split key at
Boalch 2 number: 1. D sharp. The keyboard has undergone several changes
(see: Henkelr p. 68). Case of pine painted outside with
GIUSEPPE, D’ORGANE. flowers on a dark ground. Several internal paintings
Type: Polygonal virginal. (probably original) including an oval in the interior of
Date: 1522(A). the lid with a pastoral scene including a mermaid and
Ownership: MUSEO CIVICO, PADUA, ITALY. putti. Unique stand with three feet each having claws
Accession number not known. extending at front and at the rear.
Inscriptions: Guiseppe d Organe. Anno MDXXII. Previous bistory: Passed through the hands of Franciolini
Specification: 1x8'(A). (See: RipICOLF, p. 2) before entering the de Wit
Compass: C/E-c’, short octave. collection, Leipzig in 1892.
Number of roses: 1. References: Mlustrated at Ks, p. 92, inscription at Ks, p.
Remarks: Assigned to the eighteenth century by the 228. RipICOLF and Henkel, pp. 67-9 and plates 28, 29.
museum catalogue. Rose without monogram. Information supplied by: B2|Henkelt.
References: Catalogue of the Museo Civico, Padua. See a/so: Boalch 3 number: GIUSTI, G. B. 1676.
WraightSO, pp. 17-23. Boalch 2 number: 4.
Information supplied by: B2/WraightPC.
Boalch 3 number: GUISEPPE, D’ORGANE. 1522(A).
Type: Single-manual harpsichord.
Boalch 2 number: 1.
Date: 1677.
Ownership: HAENDEL-HAUS, HALLE, GERMANY.
GIUSTI, GIOVANNI BATTISTA.
‘Type: Single-manual harpsichord.
Number: MS-67.
Inscriptions, Inscribed on the jackrail Jobannes Baptista
Date: 1673.
Ownership: Not known.
Giusti Lucen faciebat 1677.
Specification: 2x8’.
Inscriptions: Jonnes (sic) Baptista Giusti Lucensis faciebat anno
Compass: C/E-c’, short octave.
1673.
Remarks. The existence, and certainly the authenticity, of Exterior of case: Painted.
this instrument is in doubt in view of its connection with Case construction: Italian style, inner/outer.
Franciolini. Remarks: There seems to be confusion over the Giusti
References: FranclI records an instrument which is probably instruments in the Haendel-Haus. The 1983 catalogue
(HeydeHH) records this instrument as being in the
this one.
Museum, and dated 1677. Bz records his number [2] as
Information supplied by: Bz.
Boalch3 number: GIUSTI, G. B. 1673. being dated 1667, and being the same as his number 7,
and states that both are in the Handel Haus, and both
Boalch 2 number: 3(?).
were in the Neupert collection in 1938—number 52.
Type: Single-manual harpsichord. Formerly there were pedal pull-downs for the six lowest
Date: 1676. notes. Inner case of thin cypress. Outer case heavily
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, over-painted with shields and violinists by R. Behrends
GERMANY. at the end of the nineteenth century. The inside of the
Number: 73. lid has a trophy of instruments and bucolic scenes. Raised
Inscriptions: In ink writing on the fascia board over the on later atypical stand.
keys: IOANNES BAPTISTA GIVSTI LVCENSIS References: HeydeHH, p. 13.
1676, and the date 1676 on the first jack of each 8’ register Information supplied by: B2|HeydeHH.
and on the bottom keylever—almost certainly original. Boalch 3 number: GIUSTI, G. B. 1677.
There is an inscription on the jackrail which is thought Boalch 2 number: (2}/7-

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 GIUSTI 329
Type: Single-manual harpsichord. the sharps of ebony. External case is painted a plain single
Date: 1679. colour. Scrolling design painted inside lid. Case has
Ownership. PROFESSOR LUIGI FERDINANDO. internal buttresses in Italian style with transverse struts.
TAGLIAVINI, BOLOGNA, ITALY. Previous history: Housed in the Haendel Haus, Halle in
Number: 1. 1953. Formerly number 51 in Neupert’s 1938 catalogue.
Inscriptions: Inscribed 10:BAPTA:IVSTVS LVCEN: Restored by the Museum in 1976. The restoration revealed
FERRAR:MDCLXXIX. On the keys in ink—bottom a particularly interesting series of changes in external
key +/GBG/1679, top key 52/GBG/1679. On 8’ front decoration.
row bottom jack +/P/7679, and on top jack 33/P/7679; References: Details of the Museum’s restoration are given
on 8’ second row bottom jack +/5/1679/GBG, and on in ‘Ein Cembalo des 17 Jahrhunderts klingt wieder’,
the top jack 3/5/1679/GBG, and on rear row, 4’ jacks— Restanrierungs Werkstatt fur Musikinstrumente, Ger-
bottom jack +/0/1679/GBG, top jack 53/0/1679/GBG. manisches National Museum, Numberg, 1976. Mouldings
On a label on the stand, with a coat of arms—MARCHIO shown, and instrument illustrated in Hellwig. Huber,
VDOVICVS DE BOLOGANIS and the motto P. 135.
LEAVTE. Information supplied by: B2|GNM Nwremberg/Hellwig/
Specification: 2x8’, 1x4’. VdM|/Hxber.
Compass. GG/AA-c’, short octave. Boalch3 number: GIUSTI, G. B. 1681.(1).
Keyboard: Black naturals, white sharps. Boaleh 2 number: 10.
Number of roses: None.
Exterior of case: Painted. Type: Single-manual harpsichord.
Scale: 259 mm. Date: 1681.
Length: 2350 mm. Ownership: JOHN KOSTER, VERMILLION, SOUTH
Width: 905 mm. DAKOTA, USA.
Depth: 264 mm. Inscriptions. G.B.G. Fecit 1681 in ink on front of jackrail,
Remarks: Though Giusti is referred to as being from somewhat retouched, but apparently not fraudulently so.
Lucca, the instrument appears to have been built at On the first jack of the rear register: [potent cross]/p [i.c.
Ferara to a special commission. Raised on a stand of primo for first register]/r68r, in ink, and [potent cross]
eighteenth-century style with four cabriole legs and a /168r in ink on bottom key. GB on c’ key (a final G was
drawer at the keyboard end one similar leg at the distal apparently cut away when the compass was extended).
end. External case painted plain light blue. Lid has internal Specification: 2x8’.
painting attributed to Guiseppe Zola (Brescia 1672—Ferara Compass: C/E-d’, short octave.
1743). Naturals of ebony, sharps of ebony covered with Keyboard: Black naturals, special sharps.
ivory slips. For a very full description see Tag. Exterior of case: Painted.
Previous history: Originally in the possession of the Marquis Case construction: Italian style—false inner/outer.
Ludovic of Bologna (1705-1767). Bought by present Scale: 281 mm.
owner from an antique dealer in Ferara in 1971. Restored Length: 1991 mm.
1974. Width: 768 mm.
References: Several other references are given in the main Depth: 232 mm.
reference—Tag, pp. 64-73 (Illustrations and X Ray). Remarks: Compass was originally C/E-c’. Naturals of
Information supplied by: Bz/Tag. ebony, sharps topped with ebony. Case painted decoration
Boalch 3 number: GIUSTI, G. B. 1679. is nineteenth or twentieth century. Case of poplar,
Boalch 2 number: ga. soundboard fir. The attribution to Giusti is beyond
question not only on basis of the inscriptions, but on
Type: Single-manual harpsichord. stylistic grounds including staggered wrestpins, the raised
Date: 1681. bass hitchpin rail, moulding sections, distinctive grain
Ownership: GERMANISCHES NATIONALMUSEUM, and angled direction of soundboard wood.
NUREMBERG, GERMANY. Previous history: At one time on extended loan to the
Number: MINE 78. Museum of Fine Arts, Boston, from a private owner in
Inscriptions: On nameboard: IOANNES BATISTA GIV- New Hampshire (number 28.1979). Acquired by John
STI LVCENSIS FACIEBAT]||1681. Koster in 1990.
Specification: 2x8’. References: Data sheet was available from the Museum.
Compass: C/E-c', short octave. Information supplied by: Bz] MF A| Koster.
Keyboard: White naturals, black sharps. Boalch 3 number: GIUSTI, G. B. 1681.(2).
Number of roses: None. Boalch 2 number: 11.
Exterior of case: Painted.
Case construction: Italian style—false inner/outer. ‘Type: Single-manual harpsichord.
Remarks. \t is thought that the naturals are of box and Date: 1693.

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330 GIUSTI(A)
Ownership. SMITHSONIAN INSTITUTION, Boake 3 number: GIUSTI(A), G. B. 1677(1).
WASHINGTON, USA. Boalch 2 number: 6().
Number: 326,904. :
Inscriptions: GG key and jack dated 1693. The word ‘Type: Single-manual harpsichord.
riccardo is scratched across the backs of the g# and a keys. Date: 1677.
It seems most likely that he was a repairer. Ownership: STADTISCHES MUSEUM, FLENSBURG,
Specification: 2x8’. GERMANY. Accession number not known.
Compass: GG,AA-c). Information supplied by: Bz.
Keyboard: White naturals, black sharps. Boalch 3 number: GIUSTI(A), G. B. 1677(2).
Case construction: talian style, inner/outer. Boalch 2 number: 8.
Scale: 262 mm.
Length: 2331 mm. Type: Rectangular spinet.
Width: 890 mm. Date: 1679.
Depth: 218 mm. Ownership: Not known.
Remarks: This instrument is listed in Smithcbeck&g with a Inscriptions: Joannes Baptisti Giusti Lucensis faciebat 1679.
question mark against the maker’s name. Its attribution Remarks: There must be some doubt about the authenticity
to Giusti comes from WraigbtPC, though formerly, and existence of this instrument in view of its connection
because of the inscription noted above, it was thought with Franciolini.
that the maker might be a certain Riccardo. It still has to References. Franc], item A17.
be checked against instrument number GIUSTI(A), G. Information supplied by: B2.
B. 1693 located at Michigan University. Naturals of box Boalch 3 number: GIUSTI(A), G. B. 1679.
with box arcades. Sharps of stained hardwood with ebony Boalch 2 number: 9(?).
tops. The outer case is lavishly decorated, and is thought
to be late nineteenth- or early twentieth-century work. ‘Type: Single-manual harpsichord.
The inner case is of plain cypress and is a well-made, fine Date: 1693.
instrument [Dowd]. Ownership: MICHIGAN UNIVERSITY, MICHIGAN,
References: Smithcheck&9. Hoover, Cynthia. Harpsichords and USA. Accession number not known.
Clavichords, Smithsonian Institution, Washington, 1969. Inscriptions: Joanmes Baptista Ginsti Lucensis faciebat anno
Smithsonian photo-negatives 56,321; 56,321A. Technical 1693.
drawing available. Acoustic tests carried out in 1985 by Remarks. Kottick reports that David Sutherland who
E. L. Kottick, see: Kottich-response. See also: WraightHH. restored this instrument says it is not by Giusti, but was
Information supplied by: Smithcbeck89|WraightPC|Dowd. so called by Franciolini. Sutherland believes it is by
Boaleh 3 number: GIUSTI, G. B. 1693. Cristofori, and Stuart Pollens says ‘school of, or influenced
Boalch 2 number: None. by Cristofori‘. Compass of four and a half octaves.
Information supplied by: B2|Kottick.
Boalch 3 number: GIUSTI(A), G. B. 1693.
GIUSTI(A), GIOVANNI BATTISTA.
Boalch 2 number: 12.
‘Type: Single-manual harpsichord.
Date: 1676. Type: Single-manual harpsichord.
Ownership: Not known. Date: 1700.
Inscriptions: Joannes Batista Giusti Lucensis 1676. Ownership: Not known. Bz says this is ‘ghost’ instrament
Remarks: The existence and authenticity of this instrument which never existed, and was recorded in the first
are in doubt in view of its connection with Franciolini. edition as ‘Bamberg, Neupert Museum (not in
References: FranclII, [no item no.). catalogue)’. WraightPC corroborates this.
Information supplied by: Bz. Information supplied by: B2|WraightPC.
Boalch 3 number: GIUSTI(A), G. B. 1676. Boalch 3 number: GIUSTI(A), G. B . 1700.
Boalch 2 number: 5(?).- Boalch 2 number: (13).
‘Type: Single-manual harpsichord. Type: Single-manual harpsichord.
Date: 1677. Date: Not known.
Ownership: Not known. Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
Inscriptions: Joannes Baptista Giusti Lucensis faciebat anno GERMANY.
domini 1677. Number: 81.
Remarks: The existence and authenticity of this instrument Inscriptions: Unsigned, but attributed by Ks to Giusti.
are in doubt in view of its association with Franciolini. Specification: 2x8".
References: Francl, item Aqz. Compass: FF,GG,AA-c’.
Information supplied by: Bz. Keyboard: Black naturals, white sharps.

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 GOCCINI 331
Number of roses: 1. clavichord.
Style of rose: Geometrical pattern. Date: 1775(A).
Exterior of case: Painted. Ownership: DEUTSCHES MUSEUM, MUNICH,
Case construction: Italian style, inner/outer. GERMANY.
Seale: 275 mm. Number: 34072.
Length: 2128 mm. Inscriptions: Inscription not normally visible Glick,
Width: 872 mm. Friedberg.
Depth: 211 mm. Compass: Manual: C-P, pedal C-d'.
Remarks: This instrument appeared in Bz as ascribed to Keyboard: White naturals, black sharps.
Giusti by Kinsky. Henkelr does not subscribe to this and Exterior of case: Plain wood.
it is described by Henkel simply as ‘italienisch, Ende Scale: 370 mm.
17.Jahrhundert’. There are a number of similarities Length: 1630 mm,
between this instrument and the other authentic Giusti Wideb: 375 mm.
harpsichord in the Leipzig collection, particularly the Depth: 160 mm.
stand, which has characteristically shaped legs and feet. Remarks. Ascribed to Gliick in Bz on the basis of a
Previous bistory: In the de Wit collection, Leipzig in 1892. Signature not normally visible. Weldon believes the date
References: Illustrated at Ks, p. 105. See: Henkelr pp. 80-3
and plates 38 and 39.
is 1775-1800. The original pedal clavichord is now
missing, but has been replaced by a modern copy which
Information supplied by: Bz|Henkelt.
Boalch 3 number: GIUSTI(A), G. B. n.d.(1). is placed upside down below the manual clavichord so
Boake 2 number: 14(?). that the soundboard is above the strings. Keys of pine
with extra piece glued on top of backs. Naturals, beech(?)
with fronts of plain flat beech. Sharps, black-stained
Type: Single-manual harpsichord.
Date: Not known. wood. Soundboard, pine. Bridges, pine, very heavy square
Ownership: MUSIKINSTRUMENTEN MUSEUM, section, double pinned in the bass. Other than the balance
BERLIN, GERMANY. rail which is beech, the whole instrument is pine. It is
Number: 317. very heavy and solid, almost certainly built by a piano
Inscriptions: On the foreboard in ink Cimbalo del Sig. maker. The pull wires for the pedalboard still hang
Professore Giustil17o1, probably executed at a later date. underneath although the pedal-board itself is missing.
The words ‘Professore’ and the date are very doubtful. References: Jeans 1950. Wlustrated in Russell 1939, plate 90.
Specification: 2x8’. Information supplied by: B2|Weldon.
Compass: C/E-c’, short octave. Boalch 3 number: GLUCK. 1775(A).
Keyboard: White naturals, black sharps. Boalch 2 number: 1.
Number of roses: None.
Exterior of case: Painted. GOCCINI, GIUSEPPE MARIA.
Case construction: Italian style—false inner/outer. ‘Type: Ottavino.
Scale: 280 mm.
Date: 1707(A).
Length: 1987 mm.
Ownership: DEUTSCHES MUSEUM, MUNICH,
Width: 760 mm.
Depth: 238 mm. GERMANY.
Remarks: The instrument is a typical Italian harpsichord Number: 19434.
of the period before 1700. The instrument is not in Inscriptions: Tag-Goc gives the inscription (on the jackrail)
playing order. Many of the keys, and the jacks are missing, as (.. .) Ioseph Mae de Coccinis Bononiensis (. . .) MDCCVII.
though at one time (see photo in Sa) there was a lid, and This reinterpretation from that given in Bz is confirmed
a heavily ornate baroque stand, and the instrument by Klemes Schnorr and Fritz Thomas of the Museum.
appeared to be in good condition. Naturals of box, sharps Specification: 1x4’.
of cypress with palisander overlay. Exterior case with Number of roses: 1.
painted scrolling foliage in blue-green. Case construction: Italian style, innerjouter.
Previous bistory: From the second collection of Paul de Seale: 335 mm.
Wit, 1890. Length: 913 mm.
References: BerlinCat. pp. 78-82, with illustrations. Remarks: This instrument is reported in Bz as being by
Information supplied by: BerlinCat. Coninus, and dated 1657, This is clearly a misreading of
Boalch3 number: GIUSTI(A), G. B. n.d.(2). the signature. Trapezoidal instrument with separate outer
Boalch 2 number: None. case. The compass is given by Tag-Gor as Sol,-Do, with
the first octave short, and the first six notes as Sol,, Do,,
GLUCK. La, Re,, Si, Mi, = fifty keys (ie. GG/BB-c’, short
Type: Fret-free clavichord with independent pedal octave). Naturals of box with inlaid fronts.

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332, GOCCINI
Previous bistory: The owner is given in Tag-Goc as Monaco Information supplied by. Tag] Sotheby's.
di Baviera, Deutsches Museum, Munich. The instrument Boalch3 number: GOCCINI, G. M. 1721.
appears to have passed through Franciolini’s hands, and Boalch 2 number: None.
may therefore be spurious.
References: Francll records a harpsichord inscribed: loseph Type: Single-manual harpsichord.
Mae de Coccinis Bononiensis Opus MDCCVI D.O.D. Date: 1725.
Information supplied by: B?|Tag|Tag-Goc. Ownership: PROFESSOR LUIGI FERDINANDO
Boalch 3 number: GOCCINI, G. M. 1707(A). TAGLIAVINI, BOLOGNA, ITALY.
Boaleh 2 number: 1 (Coninus). Number: 4.
Inscriptions: In ink on top and bottom keys respectively-—
‘Type: Single-manual harpsichord. Giosef\fo Ma/+ and Goccini|1725|Gingno]s3. Beneath the
Date: 1721. left of the keyframe GAC. On the outer case on a
Ownership: PROFESSOR LUIGI FERDINANDO picture of a box the dedication All: Molto Ill./P Abbate
TAGLIAVINI, BOLOGNA, ITALY. ZANOTTI. On a label on the interior of the lid
Number: 3. COMUNE/DI BOLOGNA/MOSTRA DEL 700
Inscriptions: On nameboard: ITALICA BONONIA BOLOGNESE/ORGANIZZATA IN OCCASIONE|
FECIT JOSEPH MARIA DE GOCCINIS ANNO DEL CENTENARIO CARDUCCIANO/NEL PAL-
DOMINI MILLESIMOS SEPTINGENTESIMO AZZO D’ ACCURSIO. Written on this in pen is Sig."
VIGESIMO PRIMO. On top and bottom keys Giose/|fo Maria Biavati ved. Costa.
Ma/+ and Goccini/1721/s6, respectively. On the first key Specification: 2x8".
partly legible J.S. 1977. . . Restored by John Sargeant/ Compass: GG/AA-c’, short octave.
Gr . . . om sea. Rebuilt/Gt Yarmouth/NORFOLK. Keyboard: White naturals, black sharps.
England. Number of roses: 1.
Specification: 2x8". Style of rose: Geometrical pattern.
Additional features: 2 hand stops. Exterior of case: Painted.
Compass: GG,AA-d’,e’. Case construction: Italian style—false innet/outer.
Keyboard: Black naturals, white sharps. Scale: 284 mm.
Number of roses: 1. Length: 2310 mm.
Style of rose: Geometrical pattern. Width: 877 mm.
Exterior of case: Plain wood. Depth: 249 mm.
Case construction: Italian style, inner/outer. Remarks: Naturals of wood, sharps of ebony with ivory
Scale: 295 mm. button at the distal end. External case and lid extensively
Length: 2582 mm. painted with pastoral and allegorical scenes. Keywell is
Width: 950 mm. painted and has carved decoration. Tag carries an illus-
Depth: 231 mm. tration and description in Italian of the twenty-three
Remarks: Rose of wood on parchment. Stand in mahagony controtasti fitted below the main keyboard, which appear
with cabriole legs of typical eighteenth-century design. to be some kind of octave and sub-octave couplers.
Outer case is mahogany, thought by dM to be English, Previous history: There is a full description in Tag, p. 107
while inner case is cypress. It seems likely that the whole under Vicende storiche of the history until Professor
of the outer case is English, and probably built specially Tagliavini acquired the instrument in May 1975 from a
for its first English owner. Bolognese antique dealer.
Previous history: According to the Sotheby’s sale catalogue References: Mostra del Settecento Bolognese, (1935), p. 80. plus
of 6 June 1974, this instrument was formerly the property illustration. B?, under Gozzini. Misch-1979 I, p. 409 and
of Elizabeth, daughter of Thomas Parker, first Earl of illustrations 252-5. Tag pp. 94-107 (illustrated and very
Macclesfield. Elizabeth married Sir William Heathcote of full description). Tag says that the photograph cited in
Hursley, Hampshire, in 1720 and a painting of her by Sir the iconographical collection of the Brussels Museum, i.e.
Godfrey Kneller shows her seated at a harpsichord which a Gozzini harpsichord dated 1725, (see: B? under Gozzini)
would seem to be this instrument. The catalogue states is probably identical to that in the catalogue of
that the instrument was offered as ‘The Property of a Longhi-Zucchini.
Lady’. It also states that both the harpsichord and the Information supplied by: Tag.
portrait are at present in the possession of different Boalch3 number. GOCCINI, G. M. 1725.
descendants of the Heathcote family. Sold at Sotheby’s Boalch 2 number: 2.
to A. Greig in 1974. Professor Tagliavini acquired the
instrument at Colonia from an antique dealer in 1981. Type: Spinet.
References: Sotheby's Catalogue, 1973, pp. 53-4, No. 54; also Date: 1726.
6 June 1974; and also 17 July 1975. Misch-1979 II, p. 221. Ownership: MUSIKHISTORISK MUSEUM,
Tag, pp. 86-93, (illus. and X-ray photo). COPENHAGEN, DENMARK.

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 GOERMANS 333
Number: Cl.s9(401). Scale: 267 mm.
Inscriptions. On nameboard Joseph Maria Gozzini Opus Fecit Length: 1137 mm.
Anno MDCCXXVI. VdM says this is false and notes Width: 722 mm.
that on the first keyshaft is + /Giose/[fo M.a/Goccini/1726. Depth: 191 mm.
This is confirmed by Tag-Goe. Remarks: The instrument is described by Tag as Cla-
Specification: 2x8". vicembalo alfottava. Outer case of spruce painted light
Additional features: Coupler. green with scrolling patterns. Raised on rather clumsy
Compass: C/E-c’, short octave. stand with three legs and matching decoration. Naturals
Keyboard: White naturals, black sharps. of box, sharps ebony. The instrument is effectively at 4’
Number of roses: 1. pitch, and is in a poor state of preservation and is
Style of rose: parchment. unplayable.
Excterior of case: Painted. Previous history: Probably in the hands of Dr. Peppe
Case construction: Italian style—false inner/outer. Patatucci (a Venetian dealer) in 1974 [Luckeff]. Bought
Seale: 265 mm. by the present owner from an antique dealer in Ferara in
Length: 1520 mm. 1974.
Width: 725 mm. References. Tag, pp. 123-9. Misch-1979 II, p. 221.
Depth: 260 mm. Information supplied by: Tag.
Remarks: The instrument is atypical, being apparently a Boalch 3 number: GOCCINI, G. M. 1730-33.
rectangular spinet but with the corners cut off to make Boalch 2 number: None.
it an elongated octagonal shape, but this is a simplification
for it is effectively two polygonal spinets, one in the GOERMANS, JACQUES.
normal format, and the other, a mirror image, joined to Type: Two-manual harpsichord.
it along a centre line. Though photographs supplied by Date: 1771.
the Museum indicate it has one manual, data sheets from Ownership: KENNETH GILBERT, PARIS, FRANCE.
MMCC state it has two manuals. VdM reports that there Specification: 2x8’, 1x4'(A).
is a coupling arrangement which when engaged ‘couples Number of roses: 1.
the back spinet to the front one’. Naturals of box with Remarks: Information concerning this instrument comes
arcades, sharps of black-stained wood. Exterior case solely from Germ1g79, p. 481.
elaborately painted. Rose of wood on parchment. Raised References: Germig79, p. 481.
on stand of eight turned legs. Information supplied by: Germrg79.
Previous bistory: Formerly in the Carl Claudius Collection. Boalch 3 number: GOERMANS, JACQUES. 1771.
References: Mlustrated in the 1931 Carl Claudius Collection Boalch 2 number: None.
catalogue. See also: Tag-Goc, pp. 107-9.
Information supplied by: B2| VdM|MMCC|Tag-Goc. Type: Two-manual harpsichord.
Boalch 3 number: GOCCINI, G. M. 1726. Date: 1774.
Boalch 2 number: 1 (Gozzini). Ownership: YANNICK GUILLOU, PARIS, FRANCE.
Specification: 2x8’, 1x4’.
Type: Single-manual octave-harpsichord. Additional features: Peau de buffle.
Date: 1730-33. Compass: FF-f.
Ownership: PROFESSOR LUIGI FERDINANDO Keyboard: Black naturals, white sharps.
TAGLIAVINI, BOLOGNA, ITALY. Number of roses: 1.
Number: 7. Style of rose: Seated harping figure.
Inscriptions: On the nameboard JOSEPH M:* GOCCINI Scale: 364 mm.
BONONIEN: FECIT ANNO MDCCXXXIII. On Length: 2350 mm.
the lowest and highest key lever +/Gioseffo/Ma and Width: 930 mm.
45|Goccini|1730 respectively. On the rear of the nameboard Depth: 280 mm.
Gavina Vincenzo Compro|Questo Cava zimbalo Li. 6| Apprille Remarks: Ebony naturals, bone sharps. Four rows of
Anno domine 18s1/da_ casimiero Casimiero|Quaquarelli jacks. Originally had genouilléres which are to be replaced.
in[Bolonia. On the lid Mia, Cisa, Clara, BR, Clementina, Previous history: Formerly M. Yoon Boquet, thence to
Claudia, Claudia Monari, Clementina, Cornachia{?), Laxra Mrs. France, Granmers (USA). Acquired by M. Guillow
Claudia, Giulia Maria, S.Ginlia, Giulia Monari. On the in 1990.
reverse of a panel, the date 1788. References. Germig79, p. 481, where slightly different
Specification: 2x4’. dimensions are given, including scale of 347 mm. Claude
Compass: C/E-c’, short octave. Mercier-Ythier, Les Clavecins, Paris, 1990.
Keyboard: White naturals, black sharps. Information supplied by: Bz/Germ1979|Guillow.
Exterior of case: Painted. Boalch 3 number: GOERMANS, JACQUES. 1774.
Case construction: Italian style—false inner/outer. Boalch 2 number: 5.

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 334. GOERMANS
Type: Two-manual harpsichord. 4» PP. 479-82, and ‘Monsieur Doublet and his confréres’,
Date: 1785(A). part Il, EM Vol. IX, No. 2, pp. 198-200. ‘Important
Ownership: SHRINE TO MUSIC MUSEUM, Acquisitions of 1983 await new Galleries’, Shrine to Music
VERMILLION, SOUTH DAKOTA, USA. Museum Newsletter, Vol. XI, No. 2, (January 1984), pp.
Number: 3327. 1-3. ‘Acquisitions at USD Music Museum’, AMIS-
Inscriptions. Painted round rose is JACQUES NEWS Vol. XIII, No. 2, (June 1984), pp. 5-6. STMPS,
GERMAIN, and the date 1785 is carved in rose. Hugh p. 43. Recorded by Arthur Haas ‘Harpsichord Music of
Gough reports this has been changed from 1735. Jean-Henry d’Anglebert’, Berkeley, California, Wildboar,
Specification: 1: 2x8’, 1x4’; I: 1x8". 1988.
Additional features: 4 hand stops, shove coupler, peau de Information supplied by: B2|STMCL|STMDS|STMPS/EM.
buffle, harp stop. Boalch 3 number: GOERMANS, JACQUES. 1785(A).
Compass: FF-P. Boalch 2 number: 4 & 6.
Keyboard: Black naturals, white sharps.
Number of roses: 1. GOERMANS, JEAN.
Style of rose: Carved. Type: Single-manual harpsichord (possibly an octave
Exterior of case: Painted. harpsichord).
Scale: 342 mm. Date: 1738.
Length: 2362 mm. Ownership: MUSIKHISTORISKA MUSEFT,
Width: 950 mm. STOCKHOLM, SWEDEN. Accession number not
Depth: 282 mm. known.
Remarks: There has been considerable discussion about Inscriptions. Joannes Gormans (sic) (according to B2).
the date. The Museum description includes a short essay Specification: 2x4’, or 2x8’, or 2x8’, 1x4’.
by Hugh Gough demonstrating that although the rose is Compass: G-c*.
original and though the soundboard has a date 1735, the Keyboard: Black naturals, white sharps.
third figure is an 8, and the date is therefore 1785. Bz Number of roses: 1.
however deduces that because of the style of the case Length: 1093 mm.
decoration ‘genre pittoresque’ which began about 1735 Width: 653 mm.
and was already out of style by 1750, the date of 1735 Depth: 238 mm.
may well be authentic. Naturals of ebony with box fronts. Remarks: Germig79 shows the instrument as belonging
Sharps of bone-topped blackwood. Case has lilac lacquered to the Nydahl Collection, and describes it as ‘miniature’,
groundwork with cartouches. Lid has painting internally. but Nydab/ does not list it as in the collection. O’Brien
‘The instrument is shown in Bz as number [4] and number shows the owner as the Musikmuseet, Stockholm. 2x4’
6—it seems very likely that the two instruments are the is reported by GL, 2x8’, 1x4’ by Bz, and 2x8’ by O’Brien.
same. The scale is given as 182 mm., which must surely indicate
Previous history: Originally most probably painted black an octave instrument, and this would accord with the
with gold trim. In ¢, 1860 all original finish stripped off dimensions. Naturals of ebony, with red painted French
and a magenta/lavender colour and cartouches applied. c. arcades. Sharps with bone tops.
1920—in the Marcel Salomon Collection/Gallery Paris. ¢. References: Germ1979, p. 480.
1930 sent to San Francisco, USA—purchased by Leander Information supplied by: B2|Germ1979/GL|O’
Brien.
Sherman of the Sherman Clay Music Co. (Records of Boalch3 number: GOERMANS, JEAN. 1738.
purchase and previous history of instrument destroyed Boalch 2 number: 01.
by fire.) 1950 in possession of Fred R. Sherman. 31 March
1950 bought by John Challis for $150. 21 April 1950 Type: Two-manual harpsichord.
restoration by Challis started. 4 February 1952 sold to E. Date: 1748.
McElwee of Hagerstown, Maryland, then in 1976 acquired Ownership: CUNNINGHAM COLLECTION,
by Thomas and Barbara Wolf, Washington DC. 1981 sold HAVERFORD, PHILADELPHIA, USA. Accession
to Hugh Gough and further restoration took place. 22 number not known.
October 1983 Hugh Gough sold it to Shrine to Music Inscriptions: Joannes Gormans (sic) (according to Bz).
Museum. Specification: 2x8’, 1x4’.
References: Shrine to Music Museum fact sheets include Additional features: Shove coupler.
eight pages of description, history and authentication, Compass: GG-e’.
and description of restorations. See also Germig79, where Number of roses: \.
slightly different dimensions are given. Paul Sentenac, Scale: 347 mm.
‘Epinettes et Clavecins décarés’, in La Renaisance de Part Length: 2285 mm.
francais et des industries deluxe, 6™ année, No. 5, (May 1923), Width: 859 mm.
Pp. 262. Russellrgs9, p. 62. Sheridan Germann, ‘Mrs. Depth: 270 mm.
Crawley’s Harpsichord reconsidered’, EM Vol. VII, No. Remarks: Signature round rose.

biatized ty GOOle
 GOERMANS 335
Previous bistory: Formerly in Boston, Mass. Ownership: METROPOLITAN MUSEUM OF ART,
References: Germ1g79, p. 480. NEW YORK, USA.
Information supplied by: B*|Germig979. Number: 44.157.8.
Boalch 3 number: GOERMANS, JEAN. 1748. Inscriptions. On nameboard IOANNES GOERMANS
Boalch 2 number: 1. ME FECIT PARISIS 1754 (B’ gives Parisiis). Around
the rose IOANNES GOERMANS.
Type: Two-manual harpsichord. Specification: 1: 2x8’, 1x4"; I: 1x8’.
Date: 1750. Additional features: Shove coupler.
Ownership: BATE COLLECTION, MUSIC FACULTY, Compass: FF-P.
OXFORD, ENGLAND. Keyboard: Black naturals, white sharps.
Number: 983. Number of roses: 1.
Inscriptions: IOANNES GOERMANS around rose. Style of rose: Seated harping figure.
Dated 1730 on a keylever. Exterior of case: Painted.
Specification: 2x8’, 1x4’. Scale: 328 mm.
‘Additional features: Harp stop, shove coupler. Length: 2417 mm.
Compass: FF-P. Width: 933 mm.
Keyboard: Black naturals, white sharps. Depth: 283 mm.
Number of roses: 1. Remarks: Converted into a piano at an unknown date.
Exterior of case: Painted. All information below refers to its original state as a
Scale: 370 mm. harpsichord. Original harpsichord compass may have been
Length: 2385 mm. FF-e’, with original scale probably of 370 mm. Ebony
Width: 894 mm. naturals with pear arcades, and dark stained sharps with
Depth: 280 mm. bone tops. There appear to have been some handstops
Remarks. Ebony naturals with fruitwood arcades and on the wrestplank, though it is not known if they
sharps with bone tops. Beautifully painted case and protruded into the keywell. Pewter rose in Ruckers style
stand-—instrument in fine condition, and has exceptional with initials IG. Inside of lid has chinoiserie in black and
tone and power. Outer case of dark blue with gold bands. gold depicting a two-manual harpsichord, recorder, viol
Inside lid of vermillion with gold bands. GL reports the da bracchia, viol da gamba, bagpipe, with their performers.
compass was originally FF-e’, and this has subsequently Tray stand with seven cabriole legs.
been corroborated by other scholars. It appears that the Previous history: Given in 1944 by Mrs. Susan Dwight
compass was enlarged by cutting away the treble keyboard Bliss.
end-block and adding an extra key. References: Depicted in Bulletin of the Metr. Mus. Art, N.Y.
Previous history: Formerly Chateau de Pouget (the Bate vol. 4, no. 10 [June 1946]. Wint 1966. Rueger, plate 82.
Collection data sheet says Chateau de Landres, Mauve- Laurence Libin, ‘An eighteenth-century view of the
sur-Nuigle, where it had been since the eighteenth harpsichord’, EM IV, (1976): pp. 17-18. LibinKi, p. 26
century), and then in the possession of Pelham Galleries, (Illustrated). MM.A. MMACL, Photos (negative numbers
London. Gustav Leonhardt in 1985 mentioned an instru- 134233, 134235, 134846 etc.) available from the Museum.
ment of 1750 which is probably this one sold at the Germ1979.
Gallerie Hervé Odermatt, Paris, in 1984. Worked on by Information supplied by: B?|MMA|Germi979|LibinKI
Claude Mercier-Ythier in Paris in 1984 and subsequently MMACL.
restored in 1985 by Mackinnon, Christopher Nobbs, and Boalch 3 number: GOERMANS, JEAN. 1754.
Waitzman. It appears to have been acquired from the Boalch 2 number: 2.
Cobbe Collection, Hatchlands Park, by Michael Thomas,
Type: Two-manual harpsichord.
¢ 1990, and subsequently acquired from him by the Date: 1768.
Arthur and Hope Pilkington Trust for the Bate Collection
in early 1991. Since then some requilling and regulation Ovmership: Not known.
Inscriptions: Johannes Goermans 1768.
by Michael Cole. Previous history: Formerly in Savoye Collection III, Paris.
References: Ilustrated on cover of Cowntry Life—Collectors’
Possibly the same as instrument 3a in B?, ie. a harpsichord
number—June 1988. Also mentioned in text of article in
dated 1768 which was sold after World War II.
this number by Hugo Cole. BateCat, p. 12. References: Sale catalogue [Savoye Collection II] 13 June
Information supplied by: CMM|Cobbe|GL|Nobbs/
Thomas] 1924.
Montagu.
Information supplied by: B*.
Boalch 3 number: GOERMANS, JEAN. 1750. Boalch 3 number: GOERMANS, JEAN. 1768.
Boalch 2 number: None. Boalch 2 number: 3 or 3a.
Type: Two-manual harpsichord. Type: Ottavino.
Date: 1754. Date: not known.

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336 GOERMANS
Ownership: LISBON, PORTUGAL. deception the full history of the instrument has been
Specification: 1x4'(A). unravelled, and readers are referred to the more detailed
Remarks: In Lisbon in 1971 (MareP). accounts in the references, particularly Germ1g79.
Information supplied by: B’. Previous bistory: Almost certainly built by Goermans in
Boalch 3 number: GOERMANS, JEAN. n.d. 1764. Reworked by Taskin in 1783-4, and sold by him
Boalch 2 number: 3b. as a ‘Couchet’ harpsichord. Restored in July 1899 by
Arnold Dolmetsch and W. H. Nearn. Bought from
GOERMANS, JEAN(A). Dolmetsch by Mrs. George Crawley, Wentworth, Virginia
‘Type: Two-manual harpsichord. Water, and as a result the instrument is often known as
Date: 1764. Mrs. Crawley’s Couchet, and from her bought by Ray-
Ownership: RUSSELL COLLECTION, EDINBURGH mond Russell in 1959, though he did not acquire it until
UNIVERSITY, SCOTLAND. 1962. It was not amongst the instruments given to the
Number: 29. University of Edinburgh by Mrs. Russell on the death of
Inscriptions: Dated 1764 on soundboard. Has rose with her son, but in 1971 she loaned it to the University and
initials IG changed to IC. On the nameboard: FAIT it was subsequently bought from her by the University
PAR PASCAL TASKIN A PARIS 1783 [Raymond]. in 1974. Restored in 1976 by Grant O’Brien who
Raymond also reports that it is stamped on the wrestplank re-instated the genouillére and associated trapwork.
in front of the 8° nut REFAIT PAR PASCAL References: The early history of the instrument is dealt
TASKIN A PARIS 1784. It would seem that it was with in detail by B’, modified by a scholarly account in
expected that the instrument would be finished in 1783, Germi979, and summarised in O’Brien, p. 283. J, p. 134,
but by the time it was being strung, and the wrestplank plate LIV. RassCollrg&6, p. 21. Arnold Dolmetsch. The
was stamped it was the following year. One of Taskin’s Weekend Review, 12 July 1930, p. 36. O’Brien, G. The
trade cards, similar to the card quoted under Taskin in 1764/83 Taskin Harpsichord, in OrgYb, 5, (1974), PP-
part I is glued inside the bent side, close to the cheek. gi-10z. MacTaggart, Peter and Ann. ‘Some Problems
Specification: 2x8’, 1x4’. Encountered in Cleaning Two Harpsichord Soundboards’,
Additional features: Peau de buffie, genouilléres, harp stop. Studies in Conservation, 22, (1977), pp- 73-89. Full scale
Compass. FF-f. drawing on three sheets by Edward Turner (1983) plus
Keyboard: Black naturals, white sharps. data sheets and photographs available from the Russell
Number of roses: 1. Collection.
Exterior of case: Painted. Information supplied by: B?|Germ1g79/O'
Brien| MacTaggart/
Scale: 366 mm. Barnes.
Length: 2365 mm. Boalch 3 number: GOERMANS, JEAN(A). 1764.
Width: 939 mm. Boalch 2 number: 7 (Couchet), 01 (Taskin).
Depth: 271 mm.
Remarks: According to O’Brien (his number #.d. IC), and Type: Two-manual harpsichord.
in view of the researches of Sheridan Germann, it is clear Date: 1765.
that the instrument was made in 1764 by Jean or, just Ownership. KENNETH GILBERT, PARIS. FRANCE.
possibly Jacques, Goermans (though the latter was not Inscriptions. According to Germig79 signed Jacobvs Goer-
admitted to Guild membership until 1766), and then mans Fils.
reworked by Taskin in 1783/4. Taskin carried out con- Specification. 2x8’, 1x4".
siderable changes including staining the soundboard to Compass: FF-f.
make it look older and changing the initials in the rose Number of roses: 1.
from IG to IC. He also added the peau de buffle and a Seale: 534 mm,
genouillére, and redecorated the case and lid. B’ gives Length: 2350 mm.
the instrument as number o1 under Taskin. Taskin may Width: 914 mm.
well have sold the instrument as a genuine Couchet Depth: 267 mm.
double which he had modernised. Naturals of ebony with Remarks: The ascription to Jean is based solely on the
gilded pearwood arcades, and sharps of stained oak fact that the younger member of the family, Jacques, was
capped with bone. Summarising briefly, it seems that the not admitted as a master until the year 1766. A number
instrument was made by Goermans in 1764. In 1783/4, of other parameters are available from Germsg79.
Pascal Taskin reworked it, obliterating the original References: Germ1g79 p. 481.
Goermans signature around the rose and changing the Information supplied by: Germ1979.
initials in the rose from IG to IC to make it appear that Boalch 3 number: GOERMANS, JEAN(A). 1765.
it was by Couchet (hence its occasional attribution to the Boalch 2 number: None.
latter). Taskin also stained the soundboard to make it
look older. In addition, he redecorated the case and lid, GOSSET.
added a peau de buffle, and a genouillére. Despite the Type: Two-manual harpsichord.

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 GRABALOS 337
Date: 1770-5. GOUJON, JEAN CLAUDE.
Ownership: CHATEAU CHAMP-SUR-MARNE, ‘Type: Two-manual harpsichord.
FRANCE. Date: 1749(A).
Specification: 2x8’, 1x4’. Ownership: MUSEE INSTRUMENTAL, PARIS,
Compass: FF-P. FRANCE. See: RUCKERS(A), H(A). 1590(A)(2)-
Keyboard: Black naturals, white sharps. Boalch 3 number: RUCKERS(A), H(A). 1590(A)(2).
Number of roses: 1. Boalch 2 number, Goujon 1/Ruckers [4].
Exterior of case: Painted.
Length: 2300 mm. Type: Wing spinet.
Width: 930 mm. Date: 1753(A).
Remarks. The date is given by the advertisement for the Ownership: MUSEE INSTRUMENTAL, PARIS,
sale in June 1991. By observation of the illustration in FRANCE.
the advertisement it appears to have ebony naturals with Number: 971.5.1.
bone or ivory topped sharps. The soundboard has Inscriptions: According to Bz—Jean Goujon a Paris, 1743,
elaborate painting towards the belly rail, and between the but according to ECMIFB it is Jean Gomjon, 1763. If
8’ bridge and the bent side, and between the wrestpins MICL is to be believed the date should be 1753. Also
and the fascia board there are painted white scrolls. The behind the nameboard is an inscription Mise au ravalement
exterior appears to be painted a pinkish cream, with gold et en banff (baffie) par P Abbé Tapray, Pannée 1789. This
bands. A pastoral scene with shepherds in the style of Abbé Tapray, or Taperet, was the organist in 1773 at the
Boucher is painted inside the lid. There are hand stops Ecole Royale militaire.
projecting through the fascia. Mounted on a typical, but Specification: 1x8".
relatively plain, French apron stand with seven cabriole Compass. FF,GG-f.
legs. It seems almost certain that this is the instrument Keyboard: Black naturals, white sharps.
given in Bz. Number of roses: 1.
Previous history. Mme. Fayolle had the instrument in 1971 Style of rose: Geometrical pattern.
according to Bz. At the sale on 10 June 1991, the export Exterior of case: Vencered.
of the instrument was pre-empted by the Chateau Champ Remarks: B2 gives the date as 1743, while MICL gives it
sur Marne at the price of FF897,256. It was thought that (without inscription) as 1773. Bz also lists a spinet acquired
the instrument would remain on public display at the by the Paris Conservatoire in 1971, by this maker with
the date 1758, which is probably in error, since no such
Chateau for some time.
References: The only reference is a 1991 advertisement instrument is listed in MICL. The matter is further
headed *‘LAVAIL—TAJAN—BLONDEAU’ and complicated since the instrument is listed in ECMIFB
*TOULOUSE/Hétel des Ventes, 4, rue des Trois- with the date 1763. Blackwood naturals with arcaded
Journées’. The text runs ‘Lundi 10 Juin a 21 h. Rare et fronts; sharps of blackwood with ivory or bone tops.
beau clavecin frangais 4 deux claviers, vers 1770-1775, de External case appears from illustration in ECMIFB to be
veneered in light wood and cross banded with ornate
Gosset 4 Reims’. The expert is given as M. Sylvain
Levy-Alban, 17 bis, Quai Voltaire, 75007 Paris, from stringing, though it might be painted. The instrument is
mounted on six cabriole legs. Painted soundboard.
whom further details and illustrations were available.
Appears to have undergone a ravalement in 1789 when
There are two illustrations in colour. The record of the
it was converted to peau de buffle, and the top f and
sale is in La Gazette of 21 June 1991.
bottom FF were added but without extending the case.
Information supplied by: B2|GL|Rotb| Williams. References. MICL. ECMIFB, p. 4 and plate 1.
Boalch 3 number: GOSSET. 1770-5.
Information supplied by: Bz2|MICL|ECMIFB.
Boalch 2 number: 1.
Boalch 3 number. GOUJON, J. C. 1753(A).
Boalch 2 number: 01 and 2.
GOTTHEIMER, CHRISTIAN GOTTLOB. See also: RUCKERS(A), I(A). 1632(A)(1).
Type Clavichord.
Date: 1700(A). GRABALOS, JOSE.
Ownership: Not known. ‘Type: Fretted clavichord.
Compass: 5 octaves [Bz]. Date: Not known.
Number of roses: . Ownership: MUSEO DE LA MUSICA, BARCELONA,
Remarks: The whereabouts of this instrument are not SPAIN.
known, and evidence of its existence comes only from a Number: MDMB463.
photograph of Arnold Dolmetsch playing it ¢. 1905. Inscriptions: Label on soundboard JOSE GRABALOS/
Information supplied by: Bz. Contralto en Tarazona.
Boalch 3 number: GOTTHEIMER, C. G. n.d. Compass: FF-f.
Boalch 2 number: 1. Keyboard: White naturals, black sharps.

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338 GRABNER
Exterior of case: Plain wood. Boalch3 number: GRABNER, J. H. 1722.
Remarks: Dated by KdP as late eighteenth century. Boalch 2 number: 1.
Naturals of box(?); sharps of rosewood(?). Seven single
strings and forty-four double courses; partly fretted. The GRABNER, JOHANN HEINRICH (the younger).
six-octave compass can be seen in Russell 1959 plate 102B. ‘Type: Two-manual harpsichord.
References: Russell1939, plate 102B. BarcelonaCat, instrument Date: 1744.
number 385, p. 192. Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
Information supplied by. B?|KdPS|BarcelonaCat. GERMANY.
Boalch 3 number. GRABALOS, J. n.d. Number: 91.
Boalch 2 number: 1. Inscriptions. Jobann Heinrich Grabner|fecit in Dreszden 1744.
(Henkelr gives the spelling of Dresden with the German
GRABNER, JOHANN HEINRICH (the elder). ‘beta’ symbol for ‘ss’: B’ gives it as here.) The signature
is inside the instrument and not normally visible.
‘Type: Two-manual harpsichord.
Specification: 1: 1x8’, 1x4’; Il: 1x8’, lute.
Date: 1722.
Additional features: 4 hand stops.
Ownership: VILLA BERTRAMKA, PRAGUE,
CZECHOSLOVAKIA. Accession number not known.
Compass: FF-P.
Keyboard: Black naturals, white sharps.
Inscriptions: On a piece of paper on the proximal edge of
the wrestplank, visible only when the nameboard is Number of roses: 1.
Style of rose: Geometrical pattern.
removed Jobat Heinrich Grabner|Kénigi. Pobln. und Churf. Exterior of case: Plain wood.
Sachs. Hof-Orgelmacher, und Organist in der Franenkirche fecit Scale: 336 mm.
Dresden Anno 1722. Length: 2545 mm.
Specification: 2x8", 1x4’.
Width: 990 mm.
Additional features; Harp stop, shove coupler. Depth: 275 mm.
Compass: EE-e’. Remarks: The disposition was originally 2x8’, 1x4’,
Keyboard: Black naturals, white sharps.
(according to Ernst, 1955, p. 73), and has been returned
Exterior of case: Painted. to this (c. 1955) though for a period from before 1892,
Scale: 349 mm. it was 1x16’, 1x8’ (lower manual), and 1x4’ (dogleg).
Length: 2520 mm. Ebony naturals with arcades; sharps black stained hard-
Width: 938 mm. wood with ivory tops. Outer case stained brown with
Depth: 304 mm. brass carrying handles. The fascia board extends upwards
Remarks: No sign of transposing device as noted in Hirt. only to the level of the wrestplank, and the four stop
Elaborate stand with carved and gilded cabriole legs is levers project out over the upper edge of the former.
probably not original. Present compass and scaling are Raised on stand with six carved cabriole legs. The
not original. The 8’ nut has been moved towards the Museum has a copy of this instrument made by Otto
registers by ¢. 23-30 mm. in the treble and bass respect- Marx, Cologne, ¢. 1911. It is Museum number 3093.
ively, thus shortening the scaling. 8’ nut now covers Previous history: In his catalogue (vol. 1, 1910) Ks attributed
original holes of 4’ wrestpins which have been placed in it to G. Silbermann; but later repairs revealed inside the
new holes on proximal side of the nut, and thus the 4’ instrument the signature of Grabner (vol. 2, p. 657). In
strings run through holes in the 8’ nut. Case is painted the de Wit collection by 1892, and probably belonged to
plain white with gilded mouldings. Original compass was Paul de Wit in 1890.
probably FF-d’. All bridges and nuts have been extended References: Ks vol. 1, 1910. Ks vol. 2, p. 657. Ernst 1953,
in the treble by two notes and in the bass by one. The p. 73. Henkel, pp. 89-101 and pls. 56 and 57.
harp stop works only on the upper manual. Pubringer Information supplied by: B?|Henkelr.
states: ‘I have noticed a number of features that suggest Boalch 3 number: GRABNER, J. 1744.
that the original compass was FF-d’. All bridges and nuts Boalch 2 number: 2.
have been extended by two notes in the treble and one
in the bass. Scribe lines for the 8’ tuning pins on the ‘Type: Fretted clavichord.
wrestplank start at FF and stop at d’. d’ sharp is covered Date: 1761.
with a strip of bone instead of ivory as on all other sharps Ownership: CHRISTOPHER HOGWOOD,
and the blocks on cither end of the keyboard are narrower CAMBRIDGE, ENGLAND.
than on other instruments by the Grabner family.” Inscriptions: Jobann Heinrich Grabner Dresden 1761 on the
Previous history: Used by Mozart in Prague in 1787. Shown underside of the soundboard.
at the Centenary of the Prague Conservatoire 1911. Compass: C-c’.
References: Henk 77. Hirt illustrated p. 34. Kinsky in Acta Keyboard: Black naturals, white sharps.
Musicologica vol. 12, 1940. Number of roses; None.
Information supplied by: B?|Piibringer. Exterior of case: Plain wood.

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 GREGORI 339
Length: 950 mm. Date: 1775.
Width: 330 mm. Ownersbip: BRUNSWICK (OWNER UNKNOWN),
Remarks: The only known surviving clavichord by Johann GERMANY.
Heinrich Grabner the younger. A unique instrument, Specification: 2x8".
probably designed as a travelling clavichord and intended References: Hirt.
to be at quint pitch. Naturals of ebony with ebonised Information supplied by: Bz|Hirt.
fronts, sharps with bone tops. Case of walnut with paper Boalch3 number: GRABNER, K. A. 1775.
inside above soundboard. Shallow drawer at bottom of Boalch 2 number: 3.
case. Now strung in brass and tuned a fifth above standard
pitch (a= 392Hz). Type: Two-manual harpsichord.
Previous bistory: Bought in Hampstead in the 1970s. Date: 1782.
Restored by Christopher Nobbs in 1982. Ownership. GERMANISCHES NATIONALMUSEUM,
Information supplied by: Nobbs| Hoey. NUREMBERG, GERMANY.
Boalch3 number: GRABNER, J. H. 1761. Number: MIR 1079.
Boalch 2 number: None. Inscriptions: Inscription not normally visible is on the front
face of the wrestplank, behind the nameboard; Car! August
GRABNER, JOHANN HEINRICH (the elder or the Grabner Instrumentenmacher in Dresden anno 1782.
younger). Specification: 2x8’, 1x4’, lute (more probably a harp stop).
Type: Two-manual harpsichord. Compass: FF-f.
Date: 1739. Previous History: Formerly in the Riick Collection.
Ownership: MUSEUM FUR KUNSTHANDWERK, References: Mlustrated Nor, p. 128. Illustrated, and mould-
DRESDEN, GERMANY. ings shown in Hellwig. Huber, p. 136.
Number: 37414. Information supplied by: Bz|Hellwig| Huber.
Inscriptions: According to Fergus Hoey, on underside Boalch 3 number: GRABNER, K. A. 1782.
of soundboard Johann Heinrich Graber Hof-Orgel snd Boalch 2 number: 4.
Instrumentmacher in Drezden "anno 1739. According to
Thoene, p. 98 n. the inscription reads: Johann Heinrich GRAY, ROBERT and WILLIAM.
Grabner Orgel und Instrumentenmacher Dreszden Anno 1739. Type: Harpsichord (number of manuals not known).
According to the data sheet from the Museum it reads Date: 1793(A).
Jobann Heinrich Grabner, Hoff-orgel und Instrumentenmacher Ownership: CASTLE MUSEUM, YORK.
Dresden 1739. Remarks: Nothing further is known about the instrument.
Specification: 1: 1x8’, 1x4"; I: 1x8". Information supplied by: Bz.
Additional features: Harp stop, shove coupler. Boalch3 number. GRAY, R. & A. 1793(A).
Compass: DD-d’. Boalch 2 number: 1.
Keyboard: Black naturals, white sharps.
Scale: 338 mm. GREGORI, AELPIDIO.
Length: 2743 mm. Type: Harpsichord (number of manuals not known).
Remarks: Displayed at Schloss Pilnitz. Naturals of ebony, Date: 1697.
sharps of bone tops on black-stained wood. Case all pine Ownership: Not known.
except wrestplank of oak. The Museum data sheet says Compass: C/E-d'.
‘Lautenzug fur beide Manuale verwenden’ literally ‘harp Remarks: The instrument is quoted by Hubbr96s, without
stop available from both manuals’. Hoey (1985) states giving the location. It is almost certainly the same
after an examination of the internal structure: ‘The instrument as that now in the Finchcocks collection (see
diagonal crossbars under the soundboard were typically below). Equipped at one time with pedal pull-downs.
Italian as was the buttress case bracing. However there References: Hubb1963, p. 37.
were additional struts supporting liners in the North Information supplied by: Bz.
European manner and an interesting small treble bar Boalch 3 number. GREGORI, A. 1697.
between the 8’ bridge and liner. Fascia not original. Faint Boalch 2 number: 2.
evidence of soundboard decoration.’
References: Further information from Fergus Hoey and Type: Single-manual harpsichord.
from the data sheet available from the Museum. Date: 1736(A).
Information supplied by: Bz|Hoey|Thoene|Reinheckel|O” Brien. Ovnersbip: JOHN BARNES, EDINBURGH,
Boalch 3 number: GRABNER, J. H. 1739. SCOTLAND.
Boalch 2 number: 1a. Inscriptions: On nameboard Opas AElpidij Gregeory a
S.AElpidio 17-6 (in both cases the AE is a dipthong.
GRABNER, KARL AUGUST. The third digit in the date is thought to be a 3).
Type: Harpsichord (number of manuals not known). Under music desk an owner’s name: Io Giov Battista

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340 GREGORI
Mannocchi|Maestro di Cappela Petiloti 1816. Both inscrip- decided to adopt the form shown here. The Finchcocks
tions are thought to be credible by Dr. Cervelli. S. catalogue gives the date as possibly 1797 (sic), but records
Aelpidio exists near the Adriatic, and Petiloti is near S. the date on the name batten as 1679 but with the
Aelpidio. The ascription to Gregori is supported by cautionary note ‘the figure 6 seems to have been inked
Misch-1979 II and the place is given as Sant ’Elpidio. in over a 7 which has been scratched out’. Because of the
Specification: 2x8’. conflicting evidence this instrument is given a separate
Additional features: Harp stop. identity, but it is almost certainly the same as that recorded
Compass: C/E-d’,e’ short octave. by Hxbbi96s dated 1697, which is recorded above.
Keyboard: White naturals, black sharps. Naturals box with modern light wood arcades; sharps of
Number of roses: None. stained fruitwood with capping of a holly strip. Case
Exterior of case: Painted. painted with landscapes and applied printed paper figures
Case construction: Italian style—false inner/outer. (probably late nineteenth-century, as is the cabriole legged
Scale: 264 mm. stand).
Length: 1895 mm. References: Finchcocks. Misch-1979 II.
Width: 817 mm. Information supplied by: Dow|Misch-1979 1 |Fincheocks.
Depth: 241 mm. Boalch 3 number: GREGORI, A. 1797(A).
Remarks. The name appears in Bz as ‘GREGORIO, Boalch 2 number: None.
Aelpidio’, but the inscription suggests GREGORI and
other instruments with similar inscriptions are now GREGORIL, NICOLAS DE.
ascribed to GREGORI. The date on the inscription is ‘Type: Single-manual harpsichord.
unclear in that the third figure has been erased. John Date: 1650-80.
Barnes thinks 3 is most likely, making the date 1736. Ownership: THE SCHUBERT CLUB, ST. PAUL,
Naturals—box with boxwood arcades, sharps—with a MINNESOTA, USA.
sandwich of ebony/sycamore/ebony atop black stained Number. A82.4.
pear. Integral case construction of spruce and poplar with Inscriptions: According to Bz and Sotheby’s catalogue
soundboard of spruce. External decoration is a plain inscribed on the nameboard Nicholas de Gregorij fecitti
brick-red wash with no decoration (probably not original). Anno Domini 1740. Thought by some to be spurious.
Jacks of European cherry, nameboard and jackrail of According to the Schubert Club Museum, the inscription
cypress, wrestplank of walnut. Front row of jacks plucks is on the back of the nameboard: Nicolae de Gregori fecitti
longer string. Harp stop probably original. Anno Domini 1740.
Previous history: John Barnes bought the instrument from Specification: 2x8".
an antique shop in Westbourne Park in London, 1953. Additional features: 1 hand stop.
References: Full-size drawings available from John Barnes, Compass: C/E-c’, short octave.
3 East Castle Road, Edinburgh. Keyboard: White naturals, black sharps.
Information supplied by: B2|Barnes. Number of roses: None.
Boalch 3 number. GREGORI, A. 1736(A). Case construction: Italian style—-false inner/outer.
Boalch 2 number: 1. Scale: 260 mm.
Length: 1910 mm.
Type: Single-manual harpsichord. Width: 770 mm.
Date: 1797(A)- Depth: 195 mm.
Ownership: FINCHCOCKS COLLECTION, Remarks: The date 1630-80 is ascribed by Bz, and is
GOUDHURST, KENT, ENGLAND. supported by the present owners. The maker was probably
Number: 14. related to Aelpidio Gregori. The description given in the
Inscriptions. On nameboard: 1679 ELPIDIUS GREGORI. Sotheby’s Catalogue of the sale on 22 June 1978 is:
E. S. ELPIDIO FECIT. 60. An interesting Italian single-manual Harpsichord, inscribed
Specification: 2x8’. on the nameboard Nicholas de Gregorij fecitti Anno Domini 1740.
Aidditional features: Harp stop. The inner case of cypress integral with the limewood or poplar
Compass: C/E-d’, short octave. outer case, the three and a half octave keyboard, E-<', with
Keyboard: White naturals, special sharps. boxwood naturals and ebony overlaid accidentals, two 8 ft stops,
Exterior of case: Painted. length 6 ft 5} in (191.1 cm.), width 2 ft 64 in (77.5 cm.), circa.
Seale: 245 mm.
1700, raised on two baluster supports at front and one at the
Length: 1900 mm.
tail.
Width: 800 mm. The present owners note that there are indications that
Depth: 200 mm. at one time there was a seventeen-note pull down pedal
Remarks. There is some controversy over the correct board.
spelling of the maker’s name, and even more over the Previons history: Formerly the property of Richard Luckett
date. On the evidence of several scholars it has been until sold at Sotheby’s to Hugh Gough on 22 June 1978

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 GRIMALDI 341
for £4,800. Acquired by the Schubert Club Museum from Ownership: GERMANISCHES NATIONALMUSEUM,
Barbara and Thomas Wolf, instrument makers. Restored NUREMBERG, GERMANY.
by Hugh Gough. Number: MIR 1075.
References: Sotheby’s catalogue of 22 June 1978. Illustrated Inscriptions: Carolus Grimaldi fecit + Messane, 1697.
there. Specification: 2x8'(A).
Information supplied by: B2|Sotheby’s|Luckett|Schubert Club. Exterior of case: Painted.
Boalch 3 number: GREGORI, N. DE. 1650-80. Remarks: Outer case elaborately decorated with gilt
Boalch 2 number: 1. scrolling flowers and arabesques on a black background
within gilt panels. Raised on an inordinately decorated
GREN, JONAS and STRAHLE, PETTER. gilt stand. Interior lid of plain scarlet. A very handsome
‘Type: Fretted clavichord with octave strings in the bass. instrument.
Date: 1750(A). References: Vannes, Hirt. There is a postcard in colour
Ownership: KULTORHISTORISKA MUSEET FOR issued by the Museum. Illustrated and mouldings shown
SODRA SVERIGE, LUND, SWEDEN. in Hellwig.
Number: 12.801. Information supplied by: B2|GNM Nuremberg] Hellwig.
Compass: C-d?. Boalch 3 number: GRIMALDI, C. 1697.
Exterior of case: Plain wood. Boalch 2 number: 1.
Scale: 275 mm.
Length: 1502 mm. ‘Type: Harpsichord (number of manuals not known).
Width: 430 mm. Date: 1703.
Remarks: Date and attribution by the museum. Fifty-one Ownership: MUSEE INSTRUMENTAL, PARIS,
keys of pine, roof-carved. Soundboard of pine. Both FRANCE.
bridges of birch. Fifteen octave strings in the bass. Number: 980.2.X.
Casework all pine, with internal structures of oak. H-O Inscriptions. CAROLVS GRIMALDI MESSANENSIS
suggests that the keyboard is similar to an organ keyboard, ANNO DONI (sic) 1703.
and thart it may have been intended to have a 2’ stop.
Remarks: Information comes from VdM who reports
References. H-O No. S 12 KM 12.801. Illustrated at fig.
the instrument has been converted to a pianoforte.
128, p. 148.
Corroborated by MICL, and Koftick, who reports that
Information supplied by: Weldon|Barrell|H-O.
when he saw it first in 1982 it had been converted to
Boalch3 number: GREN, J. & STRAHLE, P. 1750(A).
tangent action.
Boalch 2 number: None.
References: MICL.
Information supplied by: VdM|MICL|Kottick|WraightPC.
GREN(A), JONAS and STRAHLE(A), PETTER.
Type: Fretted clavichord.
Boalch 3 number: GRIMALDI, C. 1703.
Boalch 2 number: None.
Date: 1750(A).
Ownership: GOTLANDS FORNSAL, VISBY,
SWEDEN. Type: Folding harpsichord.
Number: 3913. Date: Not known.
Compass: C-c?. Ownership: MUSEO DEGLI ANTICHI STRUMENTI
Keyboard: Black naturals, white sharps. MUSICALI, ROME.
Number of roses: None. Number: 1278.
Exterior of case: Painted. Inscriptions: Inscribed on the first key: Carolus Grimaldi
Length: 1173 mm. Secit.
Width: 343 mm. Specification: 2x8".
Depth: 160 mm. Compass: C/E-c’, short octave.
Remarks: Asctibed by H-O to Gren and Strahle. Naturals Keyboard: White naturals, special sharps.
wood, sharps bone. Scale: 278 mm.
References: H-O number S og GF C 3913, and illustrated Remarks: Reported by VdM to be a ‘folding harpsichord-
at fig. 130, p. 152. spinet, similar to a Marius clavecin brisé’. It is the only
Information supplied by: Barrell|H-O. surviving Italian instrument of this type, though an
Boalch 3 nwmber: GREN(A), J. & STRAHLE(A), P. instrument by Nonnemacker may be of Genoese origin.
1750(A). Dated by the Museum as ‘end of the seventeenth century’.
Boalch 2 number: None. Naturals of ivory. Sharps of gold and tortoiseshell. Case
in three sections with exterior painted in chinoiserie VdM
GRIMALDI, CARLO. says ‘art pauvre’. The sections are C/E-ff, g-a', and b'-c!
Type: Single-manual harpsichord. (fifteen keys each section).
Date: 1697. Previous history: Formerly in the Gorga collection. When

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342 GRONBERG
the instrument entered the Museum, it had been converted BELGIUM.
into a sort of tangentenfliigel in which the jacks had been Number: 2929.
cut away and replaced by round hammer heads. During Inscriptions: Inscription on side of jackrail: Johannes Gromwels
the restoration the jacks were reinstated with 2x8’, of Fecit.
which the rear plucks towards the treble, and the front Specification: 1x8",
towards the bass. Compass. C/E-g’,a’, short octave.
References: Cerv.MASM, pp. 333~5. Mostra corelliano. Cata- Keyboard: White naturals, black sharps.
Jogo. Roma, F.lli Palombi, 1953, p. 41. Number of roses: 1.
Information supplied by: VdM|/Cerv.MASM. Style of rose: Geometrical pattern.
Boalch 3 number: GRIMALDI, C. n.d. Exterior of case: Plain wood.
Boalch 2 number: None. Scale: 342 mm.
Length: 1524 mm.
GRONBERG, ANDERS. Width: 453 mm.
Type: Fret-free clavichord. Remarks: According to O’Brien it has sycamore naturals
Date: 1770(A). and decorated sharps. The inside of the lid has a painting
Ownership: NORDISKA MUSEET, STOCKHOLM, which the Snoeck catalogue attributes to Peter Brueghel
SWEDEN. the Elder. It is a delightful scene of villagers rejoicing
Number: 61.316. with their village in the background. The external case
Compass: C-e'. is probably of plain wood, and the keywell has typical
Keyboard: White naturals, black sharps. Ruckers seahorse pattern surrounds. Raised on simple
Number of roses: None. trestle stand of four legs.
Exterior of case: Painted. Previous history: From the Snoeck Collection.
Scale: 300 mm. References: Snoeck catalogue. Raeger, plate 68. Russellr959,
Length: 1554 mm. Pp. 42. Hubbr96s, p. 48. O’Brien, p.28.
Width: 469 mm. Information supplied by: B?|Rseger|O’ BrienPC.
Remarks: Date and attribution by the Museum. Naturals Boalch 3 number: GROUWELS, J. 1580(A).
Wood, sharps ebony. Stand with cabriole legs. Boalch 2 number: 1.
References: H-O number *S o1 NordM 61.316. Illustrated
at figs. 129A, 129B, on p. 150. GROUWELS, LODEWIJCK.
Information supplied by: Barrell] Weldon|H-O. Type: Mother and child virginal.
Boalch 3 number: GRONBERG, A. 1770(A). Date: 1600.
Boalch 2 number: None. Ownership: METROPOLITAN MUSEUM OF ART,
NEW YORK, USA.
Type: Fretted clavichord. Number: 89.4.1196.
Date: 1775(A). Inscriptions. On the jackrail is inscribed: LODVVICVS
Ownership: E. BACKLUNG, SNAPPERTUNA, GROVVELVS ME FECIT 1600. On the interior
FINLAND. of the fall board: SCIENCIA (sic) NON HABET
Inscriptions: Signed and: Grénb. INIMICUM NISI IGNORANTEM. On the fallboard
Compass: C-d?. of the ottavino, presumably by Dolmetsch: ARS VSV
Keyboard: White naturals, black sharps. IVVANDA.
Number of roses: None. Specification: Mother: 1x8’, child: 1x4’.
Exterior of case: Painted. Compass: GG/BB-c’(mother), short octave.
Scale: 295 mm. Keyboard: White naturals, special sharps.
Length: 1510 mm. Number of roses: 1.
Width: 432 mm. Style of rose(s): Unique (see below for further details).
Remarks: Dated by H-O as 1775-80. Naturals of some Exterior of case: Painted.
form of whitewood, and sharps of ebony. Scale: 331 mm.
References: H-O No. SF E. Backlund. Illustrated at figs. Length: 1852 mm.
118A, 118B, on p. 135. Width: 498 mm.
Information supplied by: Barrell|Weldon|H-O. Depth: 233 mm.
Boalch 3 number: GRONBERG, A. 1775(A). Remarks: Mother and child virginal with ottavino to the
Boalch 2 number: None. right, and main keyboard to the left. The ottavino is a
replacement by Arnold Dolmetsch dating from 1896. The
GROUWELS, JOHANNES. following details refer to the mother: Naturals of ivory;
Type: Rectangular virginal. sharps are dark-stained wood (bog oak?) inlaid with a
Date: 1580(A). geometric design, but keycovers and levers are probably
Ovnership: BRUSSELS MUSEUM, BRUSSELS, not original and date from the period when the compass

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 GUARRACINO 343
was enlarged by narrowing the endblocks and substituting Ownership: PIER PAULO DONATI, FLORENCE,
anew keyboard with narrower octave span. Bridges have ITALY.
been moved or replaced. Original scaling of the instrument Specification: 1x8".
was longer than at present (¢. 400 mm.), and non- Compass: C/E-c’, short octave.
Pythagorean. Rose represents Pan blowing an organ with Scale: 259 mm.
his lips. Inner case appears to be covered with Flemish Length: 1440 mm.
papers, but is, in fact, painted with scrollwork. The fall Width: 394 mm.
board and lid are painted—the latter, internally has a Depth: 177 mm.
scene with a city to the left and pastoral to the right. Remarks: The type of instrument is not absolutely certain,
Raised on a trestle stand. bur Tag (p. 162 under biographical notes of Guarracino)
Previous history: The instrument belonged earlier to C. M. refers to it as a ‘virginale’, and O’BrienPC calls it a
Holdich of Islington, who showed it at the South ‘virginal’.
Kensington Museum in 1872. Crosby Brown collection References: Misch-1979 II, (p. 222) refers to the instrument
1889. (with no details), and Tag, p. 162, also refers to it, calling
References: Wustrated in Wint 1961, and in Rueger, plate it the earliest instrument by Guarracino.
21, See also: Emanuel Winternitz, ‘The evolution of the Information supplied by: Tag|Misch-1979 I/O” BrienPC.
Baroque orchestra’ in MMA Bulletin, No. 12 (1954): Boalch 3 number: GUARRACINO, H. 1652.
270 (Illustrated). See a/so: ‘Keyboard Instruments in the Boalch 2 number: None.
Metropolitan Museum of Art: a picture book’, New York:
MMA, 1961, p. 17. John Koster, ‘The mother and child
virginal and its place in the keyboard instrument culture ‘Type: Rectangular virginal.
of the sixteenth and seventeenth centuries’, Colloquium: Date: 1661 or 1667.
Rackers klavicymbelsen copien. Antwerp, Ruckers Genoot- Ownership: MUSIKINSTRUMENTEN MUSEUM,
schap, 1977, pp. 76-96. MMACL. Van der Meer, John BERLIN, GERMANY.
Henry, ‘Beitrige zum Cembalobau der Familie Ruckers’. Number: 5241.
Jabrbuch des Instituts fir Musikforschung Prenssischer Kul- Inscriptions: According to BerlinCat. p. 229, inscribed on
tarbesitz, Berlin, 1971, 100-53. Photos (negative numbers the top key: [-Jo/rio Guarracino [Onofrio Guarracino}. Bz
129909, 130432, 132746, 215860) available from the adds to this a date which is either 1667, or 1667. On the
Museum. There are a number of other useful references ci" key: Orlando Costanza (probably a restorer). On a
quoted in the above works. label: [.,r?]occo da Venecialriparo|in Romajli 17-/18/1962/
Information supplied by: Bz|Rueger| MMACL/O' BrienPC. [pour?| M"™ Boyer||M™).
Boalch3 number: GROUWELS, L. 1600. Specification: 1x8".
Boalch 2 number: 1. Compass: C/E-c’, short octave.
Keyboard: White naturals, black sharps.
GRUNEBERG, JOHANN WILHELM. Number of roses: 1.
‘Type: Fret-free clavichord. Style of rose: Though there is a hole for the rose, the rose
Date: 1780{A). itself is missing.
Ownership: MANCHESTER COLLEGE OF MUSIC, Exterior of case: Painted.
MANCHESTER, ENGLAND. Accession number not Scale: 273 mm.
known. Length: 1480 mm.
Inscriptions: Inscribed Fabriert von Johann Wilbelm Griineberg Width: 423 mm.
in Alt-Brandenberg 17.0 (Thought to be 1780). Depth: 175 mm.
Compass: FF-g’. Remarks: Shown in Bz as instrument number o1 and o2,
Keyboard: Black naturals, white sharps. which according to Thoene are the same instrument.
Remarks: Date is unclear in the third digit, but is thought Wraight suggests, on his reading of the inscription on the
to be 1780. Naturals, ebony, sharps of ivory-capped key that the date is 1667. Outer case, dating from the
black-stained wood. The soundboard has a rose hole, but nineteenth century, painted mid-green with light brown
the rose is missing. moulding. Three ‘flower’ trophies painted inside lid of
Previous history: Formerly part of the Henry Watson the outer case. Originally on a stand which is now
Collection. missing.
Information supplied by: Bz. Previous history: In private ownership sometime since
Boalch3 number: GRUNEBERG, J. W. 1780(A). World War II, also owned by M. Pierre Boyer who
Boalch 2 number: 1. bought it in Rome in 1963. Acquired by the Museum in
1975.
GUARRACINO, HONOFRIO. References: BerlinCat, pp. 229-32.
Type: Rectangular virginal(A). Information supplied by: Ba|Thoene|Droysen-Reber|
Elste]
Date: 1652. BerlinCat.

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 344 GUARRACINO
Boalch 3 number: GUARRACINO, H. 1661/1667. Width: 405 mm.
Boalch 2 number: 01/02. Depth: 183 mm.
Remarks: Ivory naturals with ivory arcades. Sharps of
Type: Rectangular virginal. walnut topped with ebony. Keyboard is half recessed into
Date: 1663. case. Rose of incised and layered parchment to give three
Ownership: PROFESSOR LUIGI FERDINANDO dimensional effect. Case sides of about 5 mm. thickness
TAGLIAVINI, BOLOGNA, ITALY. are joined at the comers with beautifully made dove-tail
Number: 12. joints. The stand is probably original.
Inscriptions: On the lowest keylever Onofrio Guarracino fecit References: Vittadini194o, p. 29, and plate on p. 32. Pellini,
1663. Original nameboard missing. In ink, probably by No. 911, p. 309. Tintori, p. 29, and plate on p. 30. Tag,
a restorer or dealer on the front support of the keyframe PP. 156-63. O’Brien Scala.
mario genovese. Information supplied by: B*/O’ BrienPC.
Specification: 1x8’. Boalch 3 number: GUARRACINO, H. 1667.
Compass: C/E-c’, short octave. Boalch 2 number: 03.
Keyboard: White naturals, black sharps.
Number of roses: 1. Type: Virginal.
Style of rose: Parchment. Date: 1668.
Exterior of case: Plain wood. Ownership: FINCHCOCKS COLLECTION,
Case construction: Italian style, inner/outer.
GOUDHURST, KENT, ENGLAND.
Scale: 293 mm. Number: 15.
Length: 1470 mm.
Width: 405 mm.
Inscriptions: Inscription on top key in ink: [illegible]
Depth: 184 mm.
Guarracino fecit 1668.
Specification: 1x8'(A).
Remarks: Outer case missing. Ivory naturals, ivory
Compass: C/E-c'(A), short octave.
arcaded. Sharps of ebony. Keyboard half cantilevered
Keyboard: White naturals, black sharps.
from body of instrument. The B? number is to be found
Number of roses: 1.
in the Addenda.
Previous history: Instrument came from Salerno and was
Exterior of case: Painted.
Case construction: Italian style, inner/outer.
acquired by Tagliavini in 1974 at Ferrara from an antique
dealer and restored in 1977 by Ennio De Matteis.
Scale: 295 mm.
References: VdM-197¢-II, p. 133. Misch-1979 II, p. 222. Length: 1490 mm.
Tag, pp. 156-63 (illust). Width: 462 mm.
Information supplied by: B?/Tag. Depth: 182 mm.
Boalch 3 number: GUARRACINO, H. 1663. Remarks: The Finchcocks catalogue describes the instru-
Boalch 2 number: None. ment as a ‘Spinetta Tavola’. Exterior of case painted in
imitation of hard stone inlay work. Lid interior has a
Type: Virginal. picture of fantasy architecture against an unfinished
landscape background. It seems very probabie that this
Date: 1667.
is the instrument appearing in B’ as belonging to Lord
Ownership: MUSEO TEATRALE ALLA SCALA,
Hylton, in which case the following additional details
MILAN, ITALY. Accession number not known.
Inscriptions: Inscription above keys; Indocta manus non{noli?) apply: ‘Cypress, in a painted outer case... . Keys of
beech, the naturals faced with ivory [probably modern]
me tangere. Bottom key signed in pen and ink -frio
and the sharps with ebony. The cypress soundboard, with
Guarracino fecit 1667, the first part of the signature being
its very fine rose, is original. Stand modern.’
now covered with a piece of non-original cloth used as
a jack pad. On the top of the box-slide register near the Previous history: Formerly the property of Miss Wilmot of
bottom C/E jackslot is written a 2, and a similar 2 near Warley Place, and thereafter Lord Hylton. Restored by
the bottom of most of the original jacks. One Alec Hodsdon in 1935.
of the
jacks, and the underside of the lid of the small toolbox References: Finchcocks.
on the bass side of the keywell is inscribed Carlo Information supplied by: B?|Dow|Finchcocks.
Bisiont/Riparo 1912. Boalch 3 number: GUARRACINO, H. 1668.
Specification: 1x8". Boalch 2 number: 1.
Compass: C/E-c}, short octave.
Keyboard: White naturals, black sharps. Type: Rectangular virginal.
Number of roses: 1. Date: 1677.
Style of rose: Parchment. Ownership: MUSEO DEGLI ANTICHI STRUMENTI
Scale: 301 mm. MUSICALI, ROME.
Length: 1477 mm. Number: 1912.

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 GUARRACINO(A) 345
Inscriptions: According to Cerv.MASM: Honofrius Guar- Case construction: Italian style, inner/outer.
racino fecit 1677. Length: 1460 mm.
Specification: 1x8". Width: 406 mm.
Compass: C/E-c’, short octave. Remarks: Richard Boston owned this instrument in 1957,
Keyboard: White naturals, black sharps. but it has probably changed hands since then. Cypress
Number of roses: 1. case.
Style of rose: Geometrical pattern. Previous history: Formerly John G. Boston. Formerly Noel
Scale: 04 mm. Dilkes, Nottingham.
Remarks: Naturals of ivory, sharps of ebony. Rose of Information supplied by: B?.
wood and parchment. Instrument was an inner/outer, but Boalch 3 number: GUARRACINO, H. 1683.
the outer case has been lost. Instrument mainly of cypress. Boalch 2 number: 3.
Previous history: Formerly the property of Evan Gorga.
References: Cerv.MASM, p. 330. Type: Rectangular virginal.
Information supplied by: Cerv.MASM|VdM. Date: 1692.
Boal 3 number: GUARRACINO, H. 1677. Ownership: MUSEO DEGLI ANTICHI STRUMENTI
Boalch 2 number: None. MUSICALI, ROME,
Number: 824.
Type: Rectangular virginal. Inscriptions: Honofrius Guarracino fecit 1692.
Date: 1678. Specification: 1x8".
Ownership: DR. R. MIRREY, LONDON, ENGLAND. Compass: C/E-c’, short octave.
Number: 14. Keyboard: White naturals, black sharps.
Inscriptions: On the top key shaft: Honofrio Guarracino fecit Number of roses: 1.
1678, 17 Maggio. Style of rose: Geometrical pattern.
Specification: 1x8’. Exterior of case: Painted.
Compass: C/E-c', short octave. Case construction: Italian style, inner/outer.
Keyboard: White naturals, black sharps. Scale: 287 mm.
Number of roses: 1. Remarks: Instrument appeared in B? as number 4 and
Exterior of case: Plain wood. number 5, but with the possibility that they were the
Length: 1486 mm. same instrument. This has been confirmed by GL and
Width: 430 mm. VdM. Naturals of box without fronts (lost), sharps of
Depth: 190 mm. stained walnut. (VdM notes that it is unusual for
Remarks: Case of cypress with finely cut mouldings. Guarracino to use box for the naturals, and though they
Spruce soundboard with later inset rose. Partly recessed are old, they may not be original.) Outer case painted
keyboard having arcaded ivory naturals and ebony sharps. green, with a beautiful still life painted inside the lid,
Ebony end blocks. Only one bridge on the soundboard signed by Nicola Casissa, who worked in Naples and died
instead of the more usual two, the nut being on the in 1730. Inner case of cypress.
wrestplank. Raised on four spirally turned legs with cross Previous bistory: Formerly the property of Evan Gorga.
stretchers en suite. Restored in 1953. Exhibited at the Collegio Romana,
Previous bistory: Owned by Hugh Gough in 1954. Exhibited December 1965—January 1966.
at the Galpin Society exhibition ‘Made for Music’ (see: References: Cerv.MASM, pp. 331-3. Cerv.ColRom, no. 81.
MFM). Information supplied by: B?|ChamP|GL|Cerv.MASM|VdM.
References: Mlustrated and described at item No. 179 in Boalch 3 number: GUARRACINO, H. 1692.
MPM. See also: Mirrey. Boalch 2 number: 4 and 5.
Information supplied by: B?|MFM|Mirrey.
Boalch3 number: GUARRACINO, H. 1678. GUARRACINO(A), HONOFRIO.
Boalch 2 number: 2. Type: Wing spinet.
Date: 1668.
Type: Virginal. Ownership: MUSEO DEGLI ANTICHI STRUMENTI
Date: 1683. MUSICALI, ROME.
Ovwnersbip: RICHARD T. BOSTON, KING’S Namber: 815.
WORTHY, ENGLAND. Inscriptions: Signature on bottom key which is difficult to
Inscriptions: On the top key: [H]onofrio Guarracino Fecit read: Onofrio Gu{arracino fecit] 1668. On the topmost jack
1683. g/0.G..
Specification: 1x8'(A). Specification: 1x8’.
Compass: C/E-c(A), short octave. Compass: C/E-c’, short octave.
Keyboard: White naturals, black sharps. Keyboard: White naturals, black sharps.
Exterior of case: Plain wood. Number of roses: 1.

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346 GUARRACINO(A)
Exterior of case: Painted. of the whole instrument with caution. Naturals of ivory
Case construction: Italian style, inner/outer. with arcaded fronts. Sharps of stained black wood.
Scale: 297 mm. External case marbled. Internal case with chinoiserie on
Remarks: Described more correctly as a ‘Spinetta Traver- a red ground. Paper gilded rose.
sa’, Though it is possible that Guarracino could have Previous history: Formerly the property of Evan Gorga.
made the instrument, since Zenti had made a similar References: Cerv.M ASM, pp. 329-30.
spinet thirty years before, and the keyboard is undoubtedly Information supplied by: Cero. MASM|VdM.
by him, there are several pointers, such as the inner case Boalch 3 number. GUARRACINO(A), H. 1668.
of spruce, which make it necessary to treat the attribution Boalch 2 number: None.

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 H
H., A.W. HL
‘Type: Ottavino. Type: Wing spinet.
Date: 1619. Date: 1771.
Ownership. FORMERLY IN THE BERLIN Ovnership: Not known.
COLLECTION, BERLIN, GERMANY. Inscriptions: I H 1771.
Number: 331. Specification: 1x8".
Inscriptions: Sic transit gloria mundi. A.W.H. Anno 1619. Remarks: It is not clear who the maker was, but John
Specification: 1x4’. Harris, Joseph Harris and John Harrison are all possible
Compass: F,G,A-F. contenders. Has original name-batten, which is blank, but
Keyboard: White naturals, black sharps. the inscription is roughly painted on the inside of the
Number of roses: 1. bottom of the spinet, which has its bent side ending in
Style of rose: Paper. a straight tail.
Length: 480 mm. Previous history: Formerly belonged to E. M. Ripin. Present
Width: 260 mm. whereabouts unknown. (It appears not to have gone to
Remarks: Bz records this Flemish style instrument as being the Museum of Fine Arts, Boston, as did most of the rest
in the Berlin Collection, but Ber/inCat confirms that it has of his collection.)
been lost since the Second World War. Ivory naturals, Information supplied by: Bz.
ebony sharps. Boalch
3 number: H., 1. 1771.
Information supplied by: Bz2|BerlinCat. Boalch 2 number: 1.
Boalch3 number: H., A. W. 1619.
Boalch 2 number: 1. H., J. B.
Type: Fretted clavichord.
Type: Ottavino. Date: 1750(A).
Date: 1623. Ownership. MUSIKMUSEET, COPENHAGEN,
Ownership: ACCADEMIA S. CECILIA, ROME. DENMARK.
Accession number not known. Number: X2.
Inscriptions: Inscription round the soundboard; Omnia dat Inscriptions: Initials J B H built into lid decoration.
dominus, non habet ergo minus, 1623, and on the nameboard; Compass: C/E-c’, short octave.
Sic transit gloria mundi. AW.H. Keyboard: Black naturals, white sharps.
Specification: 1x4’(A). Exterior of case: Plain wood.
Compass: F-a*(A). Scale: 262 mm.
Length: 1234 mm.
Length: 550 mm.
Width: 270 mm. Width: 330 mm.
Information supplied by: Bz. Depth: 117 mm.
Boalch3 number: H., A. W. 1623. Remarks: Dated by Weldon at ¢. 1750. Keyboard has split
Boalch 2 number: 2. F sharp and G sharp. Sides of keylevers mitred. Guide
slips brass. Naturals of ebony with two grooves, and
carved fronts. Sharps of bone-capped pine. Soundboard
H., D. of pine with floral decoration. Bridge of beech. Casework
Type: Polygonal virginal. of pine with internal structures stained black which may
Date: Not known. also be pine.
Ownership: BRUSSELS MUSEUM, BRUSSELS, Information supplied by: B2|Weldon.
BELGIUM. Boalch3 number: H., J. B. 1750(A).
Number: 2924. Boalch 2 number: 1.
Specification: 1x8".
Remarks: Little is known of this instrument other than HAASE, GEORG.
that it bears the initials D. H. Type: Fretted clavichord.
Information supplied by: Bz. Date: 1692.
Boalch 3 number: H., D. n.d. Ownership. LEIPZIG UNIVERSITY, LEIPZIG,
Boalch 2 number: 1. GERMANY.

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348 HAASE(A)
Number: 9. Boalch 3 number. HAASE(A), J(A). E. 1728(A).
Inscriptions: Paper label inside of the tool box Georg Haase Boalch 2 number: 1.
Orgel-|Maber [Macher] in Bidisin 1692. On the nameboard
and c key Bernarda M[W]wlinerin 1697—presumably an HADRIANUS.
early owner. The names of the notes are written on the Type: Single-manual harpsichord.
keys in an early hand. Date: 1753.
Compass: C/E-c', broken octave. Ownership: Not known.
Keyboard: Black naturals, white sharps. Inscriptions: Bears on jackrail the inscription: Hadrianus
Number of roses: None. Roma 1753. The possibility that the instrument suffered
Exterior of case: Plain wood. at the hands of cannot be discounted.
Scale: 229 mm. Specification: 2x8".
Length: 1041 mm. Exterior of case: Painted.
Width: 286 mm. Remarks: Outer case painted black with panels outlined
Depth: 84 mm. in gold and with gilded figures apparently dancing. Inside
Remarks: Keys of pine, roof-carved with horn guide slips of lid mottled red yellow green, etc. Raised on elaborate
(some now wood). Naturals with jacaranda heads. the stand.
fronts replaced in 1910 with embossed paper. Sharps, Previous history: According to Bz, Alec Hodsdon added a
skunk-tail covers (ebony & ivory) on blackened oak. 4’ stop which was removed by Michael Thomas when he
Soundboard, laminated of two pieces of jacaranda. Bridge repaired it in 1971 for expogt to Africa. The instrument
and nut, black laquered maple. Base of pine, the rest of reappeared in 1985 when reported by Roth to be in a
the case of alder, wrestplank beech, balance rail poplar, collection in Spain which he was beginning to document.
remainder black laquered pear. The soundboard shows Information supplied by: Bz|Roth.
no signs of having been worked on and could therefore Boalch3 number: HADRIANUS. 1753.
be original, but since much work has been done to the Boalch 2 number: 1
keyboard and backtouch the soundboard must be suspect.
Previous bistory: 1910 in the Heyer Collection, Cologne. HAGAERTS, CORNELIUS.
For a discussion of the identity of Bernard Miillnerin see Type: Rectangular virginal.
Henkel2. Date: 1636.
References: Henkelz (see p. 35 for other references and Ownership. ROCKOXHUIS MUSEUM, ANTWERP,
illustrated at plates 10, 11, and 46). BELGIUM. Accession number not known.
Information supplied by: B2|Weldon|Henkel2. Inscriptions: Inscribed with cipher 5/14 indicating a 5-voet
Boalch3 number: HAASE, G. 1692. instrument which was the fourteenth built by Hagaerts. On
Boalch 2 number: 1. name-batten: CORNELIUS HAGAERTS ME FECIT
ANTWERPIAE. Paint traces of note names near wrest
pins.
HAASE(A), JOHANN(A) ERNST. Specification: 1x8".
Type: Clavichord. Compass: C/E-c, short octave.
Date: 1728(A). Keyboard: White naturals, black sharps.
Ownership: MUSEU DE LA MUSICA, BARCELONA, Number of roses: 1.
SPAIN. Style of rose: Seated harping figure.
Number. MDMB466. Exterior of case: Painted.
Inscriptions: Inscribed, according to Bz, who says it is Scale: 319 mm.
indistinct: Jovann Ernst Haase|Orgelmacher und erbalter| Length: 1428 mm.
Organist zu Sti. Petrijin Budissin]1728. KdP has re-examined Width: 477 mm.
the label and has suggested that the first part of the name Depth: 204 mm.
is Johann, possibly followed by Ernst, but the last part is Remarks: An important 5-voet spinett virginal in that it
no longer clear. Although the reading Haase is not was made contemporaneously with Ruckers instruments,
impossible, it is not obvious to the naked eye. BarcelonaCat but no 5-voet spinett virginal by the Ruckers family
(p. 193) gives the inscription simply as . . . (7)in BudiBw survives. According to the illustration in O’Brien (p. 286)
(sic) 1728. the keyboard is missing, but it may have been removed
Compass: C/E-c’, broken octave. to show the structure, for O’BrienPC says the naturals are
Keyboard: Black naturals, white sharps. of bone with sharps of bog oak. Interior of keywell
Remarks: Since the inscription, including the date, is papered. Decorated soundboard. Probably tuned at R +2.
somewhat indistinct, the date and attribution must be Previous history: The possibility that this is the instrument
slightly suspect. Naturals red/brown; sharps grey/brown. number (z) by Cornelius Hagerts in Bz (see below) has yet
Reference: BarcelonaCat, instrament number 386, p. 193. to be verified.
Information supplied by: B2|KdP|BarcelonaCat. References: O’Brien pp. 36, 286-7 (illustrated). C.A.Bom.

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 HAKE 349
‘Restauratie en beschrijving van het Hagaerts virginaal, Ownership: BRUSSELS MUSEUM, BRUSSELS,
Antwerpen, 1636’, Mededelingen van bet Ruckers-Genootschap. BELGIUM.
Il. (Antwerp, 1982), 29-49. Number: 2931.
Information supplied by: O’ Brien{O’ BrienPC. Inscriptions: Has maker’s serial number S¢/4, i.e. the fourth
Boalch3 number: HAGAERTS, C. 1636. Staertstuk.
Boalch 2 number: None or (2). Specification: 2x8".
Additional features: Harp stop, hand stop.
Type: Rectangular virginal. Compass: C/E-c’, short octave.
Date: 1641. Keyboard: White naturals, black sharps.
Ownership: Y ANNICK GUILLOU, PARIS, FRANCE. Number of roses: 1.
Inscriptions: Cornelius Haquaerts [?| me fecit Antverpiae 1641. Exterior of case: Painted.
Specification: 1x8'(A). Scale: 380 mm.
Previous history: Sold in the Claes sale in 1933. M. Henri Length: 1825 mm.
Magne, Cherbourg until 1990 when he died in his tooth Width: 725 mm.
year and the instrument passed to M. Guillou. Depth: 240 mm.
References: Claes sale catalogue of 1933, no. 1479, from Remarks: O’ BrienPC gives a date of ¢. 1660. There is some
which the inscription is quoted. confusion about the number in the collection, different
Information supplied by: B2|Guillon. observers giving 2931, or 818. Naturals of bone with
Boalch 3 number: HAGAERTS, C. 1641. painted paper fronts, and sharps of bog oak. O’BrienPC
Boalch 2 number: 1. reports that although there is no 4’, the soundboard is
barred with a cut-off bar, and 4’ hitch pin rail as if a 4’
Type: Rectangular virginal. were present. Has Ruckers-style papers.
Date: Not known. Previous history: Formerly part of the Snoeck Collection.
Ownership: Not known. Information supplied by: Bz|O’ BrienPC.
Inscriptions: Cornelius Hagaerts me fecit Antwerpiae. Boalch 3 number: HAGAERTS, S. n.d.
Specification: 1x8’. Boalch 2 number: 3.
Compass: C/E-c(A), short octave. See also: RUCKERS(A), I(A). 1632(A)(2).
Keyboard: White naturals, black sharps.
Number of roses: 1. HAGERUF, JOHANN CHRISTIAN.
Exterior of case: Painted. ‘Type: Fret-free clavichord.
Length: 1430 mm. Date: 1795.
Width: 475 mm. Ownership: GERMANISCHES NATIONALMUSEUM,
Remarks. At the sale at Sotheby’s on 22 May 1980 the NUREMBERG, GERMANY.
catalogue gave the following description: ‘. . . the case Number. MIR 1059.
painted brown, the interior of the lid inscribed Sic Transit Inscriptions: Inscribed Job. Christian Hageruf|Orgel und Clav-
Gloria Mxndi on a simulated wood ground, within a jer Instru|mentmacher in Tubingen.|1795.
border of scrolling foliage, the fascia board also decorated Compass: FF-P.
with stylised scrolling foliage, the soundboard painted in Scale: 256 mm.
tempera with arabesques and flowers and foliage inhabited Remarks: Shown in Hwber as on exchange, but it is not
by birds and insects, the three and a half octave keyboard known with whom. Octave stringing in bass. Triple
E-c}, with ivory naturals and stained fruitwood acci- strung from c’ to f,
dentals . . . second quarter of the seventeenth century, Previous bistory: Formerly in the Rick Collection, then
on later trestle stand with turned legs and stretcher.’ owned by Reinhardt Menger, Abtei Arnsburg, near
Previous history: Formerly the property of M. R. Drappel, Giessen.
Brussels, until 1980 when sold at Sotheby’s, and before References: Huber, p. 125.
that in the Regibo Collection—see sale catalogue of 1897 Information supplied by: Bz|Weldon| Huber.
in which it is most probably number 15. Boalch3 number: HAGERUF, J. C. 1795.
References: Presumably = No. 15 in the Regibo sale Boalch 2 number: 1.
catalogue [1897]. S#, p. 57. Sotheby’s sale catalogue, 22
May 1980. HAKE, HENNING.
Information supplied by: B2|Sotheby’s. Type: Single-manual clavicytherium.
Boalch 3 number: HAGAERTS, C. n.d. Date: 1657.
Boalch 2 number: 2. Ownership: MUSIKHISTORISK MUSEET,
STOCKHOLM, SWEDEN.
HAGAERTS, SIMON. Number: 1774.
Type: Single-manual harpsichord. Inscriptions: Signed HENNING. HAKE. IN RIGA.|ME
Date: Not known. FECIE ANNO. 1.6.5.7.

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350 HANCOCK
Specification: 1x8"(A). Exterior of case: Plain wood.
Compass: C/E-c'(A), short octave. Scale: 245 mm.
Number of roses: 3. Length: 2098 mm.
Style of rose: Geometrical pattern. Width: 930 mm.
Exterior of case: Painted. Depth: 203 mm.
Remarks: Though Riga is no longer in Sweden, it belonged Remarks: The Catalogue states: ‘A very rare example of
to that country at the time the instrument was made. The an early eighteenth century English harpsichord showing
instrument is effectively an open framed harp, and at one certain Italian characteristics—scaling, diagonal jack
stage the keyboard and action were removed in an attempt slides, double unison strings. . . . The case has veneered
to make it into a proper harp. There are forty-five tuning walnut sides and a solid walnut lid, the interior banded
pins, which VdM suggests indicates a compass of C/E-c’. with a double line in black. Mahogany front board and
References. Van Der Meer J. H. ‘A contribution to the jackrail not original. The stand with five square tapered
history of the clavicytherium’ in EM Vol. VI, No. 2, legs is from a later date. Natural keys of ebony stripes
April 1978, pp. 247-61 (illustrated). between ivory sides.’ The naturals have modern red
Information supplied by: B?| VdM/EM. fronts.
Boalch3 number: HAKE, H. 1657. Previous bistory: Earl of Darnley, Cobham Hall, near
Boalch 2 number: 1. Rochester sold it at Sotheby’s on 23 July 1957. Bought
by Raymond Russell, 1957. Given to Edinburgh Uni-
HANCOCK, JOHN. versity by Mrs. Russell in 1964.
Type: Wing spinet. References: Illustrated and described in RassColl.
Date: Not known. Information supplied by: B?|RussColl/RussColl1986|Raymond.
Ownership: BENTON FLETCHER COLLECTION, Boalch 3 number: HANCOCK, T. 1720.
FENTON HOUSE, LONDON. Accession number not Boalch 2 number: 1.
known.
Inscriptions: Jobann Hancock Fecit London. Type: Wing spinet.
Specification: 1x8’. Date: 1723(A).
Compass: GG-g'. Ownership: Not known.
Keyboard: White naturals, black sharps. Inscriptions: On the nameboard: Thomas Hancock, London.
Number of roses: None. Specification: 1x8'(A).
Exterior of case: Crossbanded. Compass: GG-g?.
Scale: 324 mm. Keyboard: White naturals, black sharps.
Length: 1981 mm. Exterior of case: Plain wood.
Remarks: Instrument must have been made before Length: 1892 mm.
Hancock’s death in 1792. Ivory naturals with boxwood Remarks: All details come from the Sotheby’s catalogue
moulded fronts. Case crossbanded mahogany with maple of the sale on 8 May 1975 which states: ‘A rare George
panels over the keys. I spinet by Thomas Hancock, the fascia with shaped
Previous history: Repaired by Alec Hodsdon, 1948. cheek pieces and inlaid with panels of root walnut, the
References: BFCat p.18. nameboard signed Thomas Hancock, London, the keyboard
Information supplied by: B*|BFCat. with moulded arcaded ivory faces and skunktail accident-
Boaleh 3 number, HANCOCK, J. n.d. als, the action with compass GG-g’, the pollarded elm
Boalch 2 number: 1. case with original engraved hinges . . . later trestle
stand . . ..’ David Murdoch in a private letter to DHB
HANCOCK, THOMAS. in 1975 reported that the instrument had had a hard life
Type: Single-manual harpsichord. with much worm in the case and probably a replaced
Date: 1720. soundboard and lid.
Ownership: RUSSELL COLLECTION, EDINBURGH Previous history. According to Sotheby’s catalogue ‘Prov-
UNIVERSITY, SCOTLAND. enance, Spye Park, Cheshire’, and ‘The property of the
Number: 12. Trustees of Lady Margaret Spicer’s deed of settlement’.
Inscriptions: On nameboard signed in ink: Thomas Hancock Sold on 8 May 1975 by Sotheby’s to Christopher Hogwood
Londini fecit 1720. On the wrestplank in front of the for £1,785. It is almost certainly this instrument which
wrest-pins for the longer 8’: a C and the number 6 in was subsequently sold again at Sotheby’s on 13 November
ink. 1987. EM, Vol. XVI, No. 2, May 1988 reports: ‘. . . but
Specification: 2x8’. a spinet that started life as a Thomas Hancock but had
Additional features: 2 hand stops. subsequently a new lid, a new soundboard, new jacks, a
Compass: GG-e'. new jackrail, and a new stand actually sold for £3,520,
Keyboard: Black naturals, white sharps. which seems a high price for what little was left.’
Number of roses: None. References: Sotheby's catalogue of 8 May 1975 and 13

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 HARRIS 351
November 1987. bought by Paul de Wit, and thence came to the Museum
Information supplied by: Sotbeby’s| Luckett. in 1890.
Boalch 3 number. HANCOCK, T. 1723(A). References: Berlin Cat, pp. 98-103.
Boalch 2 number: None. Information supplied by: B?|Droysen-Reber|Elste|Champ|
BerlinCat.
HANSEN, CHRISTIAN. Boaleh 3 number: HARRASS(A), J. H. 1700(A).
Type: Fret-free clavichord. Boalch 2 number: None.
Date: 1799.
Ownership: HAENDEL-HAUS, HALLE, GERMANY. ‘Type: Two-manual harpsichord.
Number: MS-83. Date: 1710(A).
Inscriptions: Inscribed Chr. Hansen—Satrap a. 1799. Ownership: STAATLICHEN HEIMAT-UND
Compass: C-e’. SCHLOSSMUSEUM IN SONDERHAUSEN,
Keyboard: White naturals, black sharps. GERMANY.
Scale: 255 mm. Number: 11 834 Mu 16.
Length: 1245 mm. Inscriptions: Allegedly at one time signed by Harrass.
Width: 520 mm. Specification: 2x8’, 1x4’.
Depth: 160 mm. Compass: FF-P.
Remarks: The instrument does not appear in HeydeHH. Keyboard: Black naturals, white sharps.
Naturals, bone. Sharps, ebony. Soundboard, spruce. Exterior of case: Plain wood.
Information supplied by: B?|Weldon. Seale: 333 mm.
Boaleh 3 number: HANSEN, C. 1799. Remarks: It seems most likely that this is the instrument
Boalch 2 number: 1. recorded in B? as being in the Library of the Hofkapelle
at Sonderhausen in 1924. O’BrienPC and BerlinCat record
HARRASS(A), JOHANN HEINRICH. the instrument as being now at the Schloss Museum,
‘Type: Two-manual harpsichord. Sonderhausen. The Museum checklist shows the name as
Date: 1700(A). Harras. Ebony naturals with paper fronts, and ivory
Ovnersbip: MUSIKINSTRUMENTEN MUSEUM, topped sharps. Double curved bent side with external
BERLIN, GERMANY.. case of varnished beech. No rose.
Number: 316. References: G. Kinsky, Zur Echtheit des Berliner Bach-F ligels,
Inscriptions. Not signed. Bach-Jabrbuch, 1924. See also: Sa. Plan available from Jirgen
Specification: 2x8’, 1x4". Ammer.
Compass: FF-P. : Information supplied by: B?|Droysen-Reber|Elste|Champ/
Keyboard: Black naturals, white sharps. O’BrienPC.
Number of roses: None. Boalch 3 number: HARRASS(A), J. H. 1710(A).
Exterior of case: Plain wood. Boalch 2 number: 1.
Scale: 330 mm.
Length: 2470 mm. HARRIS, BAKER.
Width: 958 mm. Type: Wing spinet.
Depth: 305 mm. Date: 1740.
Remarks: BerlinCat states that this instrument has many Ownership: Not known.
similarities with the surviving signed instrument by Specification: 1x8".
Harrass, in Sonderhausen, and from a comparison of the Remarks: According to B’, lent by T. L. Southgate to
two it is possible to attribute the instrument to the the Loan Exhibition, 1904, London.
workshop of Harrass, and to assign a date of ¢. 1700. Information supplied by: B?.
Ebony naturals at the front of the keyplates with stained Boalch 3 number. HARRIS, B. 1740.
hardwood at the rear. Keyfronts of parchment. Sharps of Boalch 2 number: 1.
stained red beech with ivory tops. Double curved bent
side. The exterior case has passed through a number of Type: Wing spinet.
changes, having originally been painted light grey, but Date: 1760(A).
changed to black before 1800. It was repainted grey Ownership: GEORGE VOLLMER, WICHITA,
sometime between 1889 and 1900, and returned to black KANSAS, USA.
around 1900. This was removed in 1959 to give a Inscriptions: Baker Harris Londini fecit 1760.
plainwood exterior. Raised on three square tapered legs. Specification: 1x8’.
Previous history: Thought to have belonged to J. S. Bach, Compass: FF-f (probably less FF¥).
and possibly given by him to Wilhelm Friedemann Bach. Remarks: Offered for sale by J. G. Morley in 1949.
After passing through the hands of the house of the Brockman believes that the date may be a little early since
Grafes Voss zu Buch, and Friedrich Wilhelm Rust, it was the instrument at present in Dundee has the serial number

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352. HARRIS
1, and is dated 1761—albeit this is rather indistinct (but Boalch 3 number: HARRIS, B. 1763(2).
see suggestions by Barnes in part I). Boalch 2 number: 6.
Information supplied by: B2|Broekman.
Boalch 3 number. HARRIS, B. 1760(A) Type: Wing spinet.
Boalch 2 number: 3. Date: 1763(A).
Ownership: MORAVIAN COLLEGE, BETHLEHEM,
Type: Wing spinet. PENNSYLVANIA, USA.
Date: 1761(A). Inscriptions: Baker Harris Londini Fecit 17(6)3. Marked with
Ownership: METHVEN SIMPSON COLLECTION, figure in two places. Pencilled inscription: Mr. Eshleman
DUNDEE MUSEUM, SCOTLAND. got it sent from England|Major Bent was the next owmer|Mr
Number: 9999 317- Duebling was the next owner| All of York CO. (PA)|Felix B.
Inscriptions: Inscribed Baker Harris London fecit 1761 (?). Scbraedly Middletown Pa got it 1867. This is the first instrument
Also marked N 1 NB (in pencil). of the Piano order in York, York co. Pa. Origanal (sic) cost
Specification: 1x8". $800.00/Harpsichord.
Compass. FF,GG-P. Specification: 1x8’.
Scale: 275 mm. Scale: 260 mm.
Length: 1895 mm. Length: 1873 mm.
Remarks: The date is indistinct. Remarks: The third figure of the date is suspect, but since
Information supplied by: B2|Broekman| Barnes. the instrument is marked in two places with the number
Boalch 3 number: HARRIS, B. 1761(A). J, and spinet number ¢ is dated 1763, it seems possible
Boalch 2 number: 4. that the date of 1763 for this instrument is correct (but
see remarks by Barnes in part 1).
Previous history: According to inscription the following
Type: Wing spinet.
previously owned the instrument: Mr. Eshleman, Major
Date: 1763.
Bent, Mr. Duehling, Felix B. Schraedly. Restored by
Ownership: Not known. Hubbard Harpsichords Incorporated in 1987.
Specification: 1x8’. References: Restoration report available from Hubbard
Previous history: Shown at International Inventions Exhib-
Harpsichords Inc.
ition, 1885, by James Russell.
Information supplied by: B2| Brockman.
Information supplied by: Bz. Boalch 3 number: HARRIS, B. 1763(A).
Boalch 3 number. HARRIS, B. 1763(1). Boalch 2 number: (6a).
Boalch 2 number: 5.
Type: Wing spinet.
Type: Wing spinet. Date: 1765.
Date: 1763. Ownership: ROBERT L. HOLMES, ROCHESTER,
Ownership: KERRY DICKE, NEW BREMEN, OHIO, NEW YORK, USA.
USA. Inscriptions: Baker Harris Londini Fecit 176s. Also carries
Inscriptions: Baker Harris Londini fecit 1763. Matked on the the figure ro stamped on a jack and the workman’s name
back of the name-batten, under the jackrail felt, and under Cross on the top jack.
the tail of the soundboard: No 4. The numeral 4 appears Specification: 1x8’.
at the rear of each endblock and is stamped on the jacks. Scale: 259 mm.
A sticker is affixed to the bottom indicating it was once Previous history: Supplied in 1765 by Baker Harris to
the property of L. R. Samuels. John Collins of Newport, Rhode Island, USA. Collins
Specification: 1x8". subsequently became governor of the new State of Rhode
Scale: 259 mm. Island. Papers accompanying the instrument show that it
Length: 1876 mm. was exhibited at a fair in June 1858. Broekwan has kindly
Previous bistory: Leonard Partridge was the owner in 1947. supplied the text of a notice which states: ‘ENGLISH
Possibly the same instrument as that dated 1760, previously SPINET/Belonging to Mrs. John A. Baldwin, of Nashua;
owned by George Vollmer of Wichita. Owned in 1953 /N. H., imported from London, by her Grand/Father,
by L. R. Samuels, New York. Leonard Partridge, London. Governor Collins, of Newport, R. 1. in/1765.//The
Also formerly owned by Imelda Marcos—wife of Pres- Spinet was the first Key Instrument im-/ported into this
ident Marcos of the Phillipines. Obtained in 1986 by Mr. country.//The instrament has been repaired and put
Dicke from the confiscated estate of Imelda Marcos. in/tune, and contributed to the Fair, by William/Chandler,
Restored by Hubbard Harpsichords Incorporated in 1987. Jr., of this city’. Restored by Hubbard Harpsichords
References. Restoration report available from Hubbard Incoporated in 1975 and used by them as the model for
Harpsichords Inc. their bent side spinet kit.
Information supplied by: B2|Broekman. References: No restoration report available though the

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 HARRIS 353
Present owner can supply further details of previous Specification: 1x8".
history, and Hubbard Harpsichords Inc. have Xeroxes of Compass: FF-.
pertinent information given in the instructions for the Keyboard: White naturals, black sharps.
kit. Number of roses: None.
Information supplied by: B2| Brockman. Scale: 266 mm.
Boalch 3 number: HARRIS, B. 1765. Length: 1890 mm.
Boalch 2 number: (6b). Width: 780 mm.
Depth: 210 mm.
Type: Wing spinet. Remarks: Ivory naturals with moulded boxwood fronts.
Date: 1766. Ebony sharps. Case of mahogany with boxwood lines.
Ownership: PRIVATE COLLECTION, USA. Brass strap-hinges. Walnut veneered in keywell. Unusual
Inscriptions: Baker Harris Londini fecit 1766 on nameboard. stand with upright balusters and baluster cross stretchers.
Uncertain numerals stamped on top key: 33, 60, and 33. Supported on cabriole legs with pad feet.
Inscription on bottom key: 33. Information supplied by: B2|Owner.
Specification: 1x8". Boalch 3 number: HARRIS, B. 1769.
Compass: FF-f (probably less FF#). Boalch 2 number: 7b.
Keyboard: White naturals, black sharps.
Exterior of case: Crossbanded. ‘Type: Single-manual harpsichord(?).
Length: 1892 mm. Date: 1770.
Wideb: 813 mm. Ownership: Not known.
Remarks: Original stand with unusual cabriole legs. Remarks: Compass given by Bz as five octaves, but limits
Previous bistory: Bought by Roger Warner of Burford for not known. Barnes suggests that the instrument may be
£1,150 at an auction held in November 1969 by Knight, a spinet and not a harpsichord since, in 1939, auctioneers
Frank, and Rutley at Fairway Close, Wildwood Road, were by no means as accurate in their descriptions of
Hampstead, the property of a Mr. Kidner (erroneously instruments as they are today.
described as a harpsichord). Bz states that it is not the Previous bistory: Sold at Puttick and Simpson’s, London
same instrument as that dated 1766(A) belonging at one for £26 on 22 June 1939 to Messrs. Morley.
time to Norman Anderson [HARRIS, B. 1776(2) below]. Information supplied by: Bz.
Offered by Messrs. Mallett (auctioneers) in Country Life, Boalch3 number: HARRIS, B. 1770(1).
January 1973 at £4,000, and again sold by Messrs. Clutton Boalch 2 number: 8.
(auctioneers) 12 May 1986 for £12,000. Passed through
the hands of Pelham Galleries in 1988. Type: Wing spinet.
References: Illustrated in Country Life of4 January 1973 in Date: 1770.
Mallett’s advertisement. Ownership: VICTORIA AND ALBERT MUSEUM,
Information supplied by: B2|Luckett| Brockman. LONDON, ENGLAND.
Boalch3 number: HARRIS, B. 1766. Number: W. 14-1943.
Boaleh 2 number: 7a. Inscriptions. Above keyboard: Baker Harris Londini 1770.
On wrestplank: Restored by Charles Hersant, 49 Lennox Rd,
Type: Wing spinet. Stroud Green Road, N. London, April 1914.
Date: 1768. Specification: 1x8".
Ownership: MUSEUM OF AMERICAN LIFE, Compass: FF,GG-P.
HERSHEY, PENNSYLVANIA, USA. Accession Keyboard: White naturals, black sharps.
number not known. Number of roses: None.
Inscriptions: Baker Harris Londini Fecit 1768 Marked in Exterior of case: Crossbanded.
several places with number 77 in pencil and stamped 77 Scale: 260 mm.
on bottom and top keys and jacks. Length: 1890 mm.
Specification: 1x8". Width: 780 mm.
References: Preliminary report from Hubbard Harpsichords Depth: 205 mm.
was in course of preparation for the owner (1989). Remarks: Naturals of ivory with boxwood moulded fronts.
Information supplied by: Bz|Broekman. Sharps of ebony. Case and lid of mahogany. Case is
Boalch 3 number: HARRIS, B. 1768. crossbanded with stringing of sycamore and ebony.
Boalch 2 number: None. Above keys the foreboard is veneered in walnut with
crossbanding of tulip and stringing of sycamore and
Type: Wing spinet. ebony. No stand survives.
Date: 1769. Previous history: Restored by Charles Hersant 1914. Given
Ownership: PRIVATE COLLECTION. to the Museum by Mr. Charles Hey Laycock.
Inscriptions: On nameboard Baker Harris Londini fecit 1769. References: V&A Cat p. 86.

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354 HARRIS
Information supplied by: B?| VeA Cat. Width. 1207 mm.
Boalch 3 number. HARRIS, B. 1770(2). Depth: 213 mm.
Boalch 2 number: 9. Remarks. Museum accession card says: Ivory naturals,
ebony sharps. Case with veneer of walnut and mahogany
Type: Wing spinct. and maple inlay. Leather plectra. Traces at right of
Date: 1771. keyboard of a candlestand. Collapsible music stand (almost
Ownership. VANCORTLAND HOUSE, NEW YORK certainly modern).
CITY, USA. Previous bistory: From the R. S. Williams collection.
Inscriptions: Baker Harris 1771. Number 93 appears on the References: Illustrated in ROM p. 62.
instrument [Brockman]. Information supplied by: B?/ROM.
Specification: 1x8’. Boalch3 number. HARRIS, B. 1773(1).
Previous history. Being restored by Stuart Pollens at the Boalch 2 number: 11.
Metropolitan Museum of Art, New York, in 1989.
Information supplied by: Brockman. Type: Wing spinet.
Boalch 3 number: HARRIS, B. 1771(1). Date: 1773.
Boalch 2 number: None. Ownership: Not known.
Specification: 1x8".
Type: Wing spinet. Remarks: This instrument is listed in B* as belonging to
Date: 1771. the Essex Institute, Salem, Massachusetts, but the Curator
Ownership: LORIMER BROOKS, CLEVELAND, of Exhibitions, Dr. Robert K. Weis, says that there is no
OHIO, USA. trace of it, though they do have the spinet by ‘Samuel
Inscriptions. Baker Harris London 1771. Blyth. The misinformation may have arisen since both
Specification: 1x8’. instruments were exhibited at the Chickering Exhibition,
Compass. FF,GG-P. Boston in 1902. This may therefore be a ‘ghost’ instru-
Exterior of case: Plain wood. ment, or if it is not, its whereabouts are currently not
Remarks: Mahogany case, ivory naturals. This may pos- known.
sibly be the same instrument as HARRIS, B. 1771(1). Previous history: Shown at Chickering Exhibition, Boston,
Information supplied by: B’. Massachusetts in 1902.
Boalch 3 number. HARRIS, B. 1771(2). Information supplied by: B?|Weis.
Boalch 2 number: 10. Boalch 3 number. HARRIS, B. 1773(2).
Boalch 2 number: 12.
Type: Wing spinet.
Date: 1772.
Type: Wing spinet.
Ownership: D. W. AYRES.
Date: 1773.
Inscriptions: Baker Harris Londini fecit 1772. Ownership: MRS. ASHER LANS, NEW YORK CITY,
Specification: 1x8".
USA.
Compass: FF,GG-P.
Inscriptions: Baker Harris Londini fecit 1773. 129 stamped
Keyboard: White naturals, black sharps.
on the keys [Brockman].
Exterior of case: Crossbanded.
Remarks: Square legged trestle stand. Specification: 1x8’.
Scale: 260 mm.
Previous history: Bought by D. W. Ayres at Sotheby’s on
12 March 1972 from Edgar Hunt. Previous history: Restored by Dolmetsch in 1909. Formerly
owned by Henry Burrows, New York, USA.
Information supplied by: B*.
Boalch3 number: HARRIS, B. 1772. Information supplied by: B?|Brockman.
Boalch 2 number: 10a. Boalch 3 number. HARRIS, B. 1773(3)-
Boalch 2 number: 12a.
Type: Wing spinet.
Date: 1773. Type: Wing spinet.
Ownership: ROY AL ONTARIO MUSEUM, Date: 1774.
TORONTO, CANADA. Accession number not known. Ownership. ROY AL SCOTTISH ACADEMY OF
Inscriptions: Baker Harris Londini fecit 1773. MUSIC & DRAMA, GLASGOW, SCOTLAND.
Specification: 1x8". Accession number not known.
Compass: FF,GG-f. Inscriptions: Baker Harris Londini fecit 1774. Numbered 148
Keyboard: White naturals, black sharps. on top jack and key and inside soundboard.
Number of roses; None. Specification: 1x8".
Exterior of case: Crossbanded. Compass: FF,GG-P.
Length: 1867 mm. Information supplied by: B*| Brockman.

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 HARRIS 355
Boalch 3 number: HARRIS, B. 1774. Information supplied by: Mould Note|O’ BrienPC|Owner.
Boalch 2 number: 12b. Boalch 3 number: HARRIS, B. 1774(A).
Boalch 2 number: None.
Type: Two-manual harpsichord.
Date: 1774(A). Type: Wing spinet.
Ownership: MRS. K. THOMPSON, MOSELEY, Date: 1776.
BIRMINGHAM, ENGLAND. Ownership: RUSSELL COLLECTION, EDINBURGH
Inscriptions: On nameboard Baker Harris, London. Behind UNIVERSITY, SCOTLAND.
nameboard: New jacks fitted and keys bushed, March 1951— Number: 17.
Alec Hodsdon, Lavenham, Suffolk. Regulated Oct 51, Sept 32, Inscriptions: Nameboard inscribed: Baker Harris Londini
Feb 34, Feb 1961 AH. On lowest key of lower manual: Fecit 1776.
Restored, Trevor Beckerleg 1967. New Tongmes quill in place Specification: 1x8".
of leather. Compass: FF,GG-P.
Specification: 1: 2x8’, 1x4’; Ul: 1x8’, lute. Number of roses: None.
Additional features. Harp stop, hand stops. Exterior of case: Crossbanded.
Compass: FF,GG-P. Scale: 264 mm.
Keyboard: Black naturals, white sharps. Length: 1854 mm.
Number of roses: 1. Width: 765 mm.
Style of rose: Seated harping figure. Depth: 207 mm.
Exterior of case: Crossbanded. Remarks: Naturals of ivory with moulded boxwood fronts,
Scale: 349 mm. and sharps of stained walnut. Case of mahogany banded
Length: 2369 mm. in fine lines of light wood. According to RussCollrg86 it
Width: 943 mm. has an unusually rich tone.
Depth: 305 mm. Previous history: Probably owned by General Reid. Has
Remarks: The date of the instrument is given in the been in the possession of the Faculty of Music (formerly
catalogue cited below as 1774/5, and the ownership is not the Reid School of Music) University of Edinburgh since
stated there other than Private Ownership, Birmingham. The at least the middle of the nineteenth century. Perhaps the
instrument is however most probably the harpsichord 1776 spinet shown at South Kensington in 1872. Restored
owned in the 1970s by Mrs. Thompson. It was carefully by W. R. Thomas and J. J. K. Rhodes in 1952. Lent to
inspected by CMM in 1972, and the following details the Brussels Museum 1973-84 as part of an exchange.
come from that inspection. There are many signs that the References: RussColl, including illustration. RussColl1986,
instrument has been converted on several occasions. There P- 15.
was an original machine stop, but the position of the Information supplied by: _—_‘B?|RussColl|RussColli986]
mortice in the cheek makes it appear that if ever it was Raymond| Barnes.
in position, it could not have been pushed forward Boalch 3 number: HARRIS, B. 1776(1).
without fouling the upper manual. There is now a modern Boalch 2 number: 13.
machine fitted with unique two pedal operation. Stand
with turned legs which could be original. Naturals of
ebony with boxwood arcades. Sharps of ebony topped Type: Wing spinet.
with ivory slips. The walnut veneer where it can be seen Date: 1776.
in section is generally not thick enough for eighteenth- Ownership: BATE COLLECTION, FACULTY OF
century saw-cut veneer. MUSIC, OXFORD, ENGLAND.
Previous bistory: The authenticity of the instrument is Number: X988.
suspect, for it is undoubtedly a rebuild by Henry Tull. Inscriptions: Baker Harris Londini fecit 1776, No 21(0?) NB
It was shown at the New Institute Gallery, Birmingham, [Brockman].
at an exhibition of Old Musical Instruments, 16-27 Specification: 1x8".
September (year not stated). The catalogue vouches for Compass: FF,GG-f.
Tull’s connection with the instrument. According to Mrs. Keyboard: White naturals, black sharps.
Thompson, it was bought from Henry Tull in 1934, and Number of roses: None.
Tull said he had made it. When restored by Hodsdon in Exterior of case: Crossbanded.
1951, he stated that it was a genuine Baker Harris, and Seale: 265 mm.
undoubtedly there are some old pieces of wood and Length: 1890 mm.
apparently eighteenth-century workmanship in it. The Width: 775 mm.
instrument was again restored in 1967 by Trevor Becker- Depth: 220 mm.
leg, Cambridge. Remarks: Because the third digit of the date shows signs
References: Catalogue of the Exhibition quoted above, and of having been altered it was previously shown as having
Mould Note. a date of 1766, but BateCat is quite clear that the date is

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356 HARRIS(A)
1776. Despite the recorded inscription, Sotheby’s cata- GERMANY.
logue of 22 November 1990 gives the date as ¢. 1765. Number: H102T.
Clearly there must still be some confusion about the date, Inscriptions: Baker Harris Londini fecit 1780.
for instrument HARRIS, B. 1765 is numbered 10 by the Specification: 1: 2x8’, 1x4’; HU: 1x8’, lute.
maker and instrument HARRIS, B. 1766 carries the Number of roses: 1.
numbers 33 and S6o. Ivory naturals, ebony sharps. Remarks: ColtCC, p. 7 lists the instrament under Tull,
Mahogany nameboard with boxwood plaque carrying the and states: ‘This instrument could be a conversion from
inscription. Mahogany fascia board and checks with a ruined single-manual to an excellent double manual,
boxwood stringing and kingwood crossbanding. Mahog- with a soundboard by Baker Harris, 1780. . . . Elaborately
any case with boxwood stringing and mahogany painted by Archer in the style of Rex Whistler. This was
crossbanding. supposed to be Tull’s masterpiece. Bought from his
Previous bistory: Bought by Messrs. Naylor at Sotheby’s, daughter.’ According to B’, the daughter was Mrs.
June 1932, then in the possession of Norman Anderson, Stubbs. The new nameboard is undoubtedly by Tull,
Haslemere. Sold at Sotheby’s on 22 November 1990 to while the keyboards are new and the lute stop, originally
Michael Thomas. Acquired from him for the Bate Col- controlled by a hand stop is now worked by a pedal.
lection with funds from the Arthur and Hope Pilkington There is a remote possibility that this instrument could
Trust. Extensively restored by Jean Maurer at the request be the same as the two-manual Baker Harris shown as
and expense of Michael Thomas. HARRIS, B. 1774(A), the connections with Tull giving
References: Sotheby's catalogue of 22 November 1990. the most cause for suspicion, but the fact that it was in
BateCat, p. 17. the Colt Collection until 1978 seems to militate against
Information supplied by: B*|Sothebys|Broekman| Montagu. this. When bought by Herr Hoffman, he wrote to say
Boalch 3 number. HARRIS, B. 1776(2). that he conceded that it had been changed but believed
Boalch 2 number: 7. it was original. He suggested that Baker Harris had
converted a single by another maker into a double.
Type: Wing spinet. Previous bistory: Was in the Colt Clavier Collection until
Date: 1777. 1978 when Herr Hoffman wrote to DHB to tell him that
Ownership: DR. PHILIP AYRES, VICTORIA, he now owned it. Its number in the Colt Collection was
AUSTRALIA. HroaT.
Inscriptions: Baker Harris Londini Fecit 1777. On back of References: ColtCC, p. 7.
nameboard in pencil No 222 and Restored by Arnold Information supplied by. B?|ColtCC|Hoffman.
Dolmetsch 1896, and J S Morley 1939. Boalch 3 number: HARRIS, B. 1780.
Specification: 1x8’. Boalch 2 number: 15.
Compass: FF,GG-P.
Keyboard: White naturals, black sharps. HARRIS(A), BAKER.
Number of roses: None. ‘Type: Wing spinet.
Exterior of case: Crossbanded. Date: 1730-50.
Scale: 269 mm. Ownership. MUSEUM OF FINE ARTS, BOSTON,
Length: 1890 mm. USA.
Width: 770 mm. Number: 17.1793.
Depth: 217 mm. Inscriptions, On mameboard in ink BAKER HARRIS
Remarks: Owned by Dr. Ayres since 1979. In superb ‘fecit—almost certainly faked.
condition. Naturals of ivory with boxwood fronts. Sharps Specification: 1x8’.
of ebony. Case veneered in mahogany, crossbanded and Compass: C/E-g', short octave.
with boxwood stringing. Keyboard: White naturals, black sharps.
Previous history: Restored by Arnold Dolmetsch in 1896. Number of roses: None.
Owned by J. S. Morley in 1939 and advertised for sale Excterior of case: Crossbanded.
in The Times of February 1939. Sold to one of Morley’s Scale: 232 mm.
customers who resold it to Robert Morley in the 1970s. Length: 1110 mm.
Morley offered it for sale at £6,500 in 1976. Acquired by Depth: 136 mm.
Dr. Ayres in 1977. Remarks: For many years this instrument was accepted as
Information supplied by: B?|Dr. Ayres| Luckett. a genuine Baker Harris spinet, but recent research by
Boalch 3 number. HARRIS, B. 1777. John Koster (1989) at the Museum has shown that it is
Boalch 2 number: 14. almost certainly a fake. It is not in the style of other
Baker Harris instruments, and the inscription was prob-
Type: Two-manual harpsichord. ably added around 1900. Case has panels of walnut with
Date: 1780. mahogany crossbanding and single stringing. Naturals of
Ownership. HELMUT A. T. HOFFMAN, WILDBAD, ivory with arcaded ivory fronts. Sharps of ebony. Original

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 HARRIS 357
compass GG/BB-d’. Stichmass 473 mm. Complex triple Remarks: Laurence Libin, writing to DHB in 1976,
curved bent side. Lid of solid mahogany. Interior of case announced that the MMA, New York had acquired the
of pine. Obscure reference to restoration in MFA’s files spinet made by John Harris after he emigrated to Boston
mentions felt on bottom of instrument case, but no traces in 1768 which is shown in Bz as numbers 3, 5, and 6.
now remain. The instrument may have been designed to According to Koftick, however, Bz number 6 is in
rest on a table or in a drawer rather than on a stand. The the collection of Marlowe A. Sigal, Newton Center,
date of 1730-50 is assigned by the Museum. Massachusetts, and the date is 1768. The date of the
Previous bistory: Earliest known owner—Canon Galpin, MMA instrument of ¢. 1769 is ascribed by the Museum.
then Museum of Fine Arts, Boston. Instrument designed Since it is signed as having been made in Boston, it must
at 4’ pitch, with compass of GG/BB-d’. The bridge has be after 1768. Ivory naturals and arcades. Sharps of
been moved back to give the present scale of 232 mm. dark-stained wood. Case has figured mahogany panels
Before the move it would have been ¢. 222 mm. With crossbanded by borders of diagonal inlay and banding.
this original compass of GG/BB-d? the scale would have Trestle stand of four balluster-turned supports terminating
been 161 mm. with present bridge position, or 154 mm. in plain cabriole legs with pad feet.
with the former position. Thus the pitch was almost Previous history: According to MMA, the spinet was
certainly originally 4’. delivered to the Malbone family of Newport, Rhode
References: Data sheet by John Koster available at Museum Island shortly after its manufacture. It was given to Mary
of Fine Arts. BostonCat. Malbone when she married William Crooke in 1795. On
Information supplied by. MF A. her death it went to her sister, Elizabeth Malbone
Boalch 3 number. HARRIS(A), B. 1730-50. Breese, in Newport. Later owners included: Mrs. Gilbert
Boalch 2 number: 2. Mcllvaine; Blanche Irving (in the 1940s); David Stockwell;
Israel Sack; Jess Pavey; Mr. and Mrs. Walter B. Robb,
HARRIS, JOHN. of Buffalo. Purchased by the Museum in 1976, using
Type: Wing spinet. funds from a number of donors (See MMACL).
Date: 1740. References: Ulustrated Antiques vol. 93 (1966) p. 189. See
Ownership: MRS. PEGGY HERIOT, LEWES, also: Libin, Laurence. American musical instruments in the
SUSSEX, ENGLAND. Metropolitan Museum of Art. New York: MMA, 1985, pp.
Specification: 1x8". 158-Go. LibinKI, p. 27 (Illustrated), MMA. MMACL.
Keyboard: Black naturals, white sharps. Photos (negative numbers 212950, 235383) available from
Remarks: Naturals of ebony; sharps of ivory. Compass of the Museum.
five octaves. Information supplied by: Bz|Libin|MM.A|Kottick|LibinKI/
Previous bistory: Formerly (1974) in the possession of the MMACL.
Horace Jackson Collection, and before that E. J. Wheeler. Boalch 3 number: HARRIS, John. 1769(A).
Information supplied by: B2/Panl{Clinkscale. Boalch 2 number: 3,5, and possibly 6.
Boalch 3 number: HARRIS, John. 1740.
Boalch 2 number: 4. Type: Wing spinet.
Date: 1796(A).
Type: Wing spinet. Ownership: Not known.
Date: 1769(A). Inscriptions: Inscribed on nameboard; Joannes Harris London
Ownership: METROPOLITAN MUSEUM OF ART, Wall 1796. Numbered 1796 [if authentic]—the question
NEW YORK, USA. is whether this is a serial number or the date. The former
Number: 1976.229. seems more likely.
Inscriptions. According to Bz, his instrument number 5 is Specification: 1x8’.
inscribed Joannes Harris fecit Londini while the instrument Compass: G-gi(A).
number 6 is inscribed Joannes Harris, Boston, New England. Keyboard: White naturals, black sharps.
Thus while Libin says that the two instruments are the Exterior of case: Plain wood.
same, some care must be exercised in accepting this Width: 1856 mm.
assertion. Remarks: Since Harris appears to have emigrated to
Specification: 1x8". Boston, Massachusetts, USA in 1768, the number on the
Compass: FF,GG-P. nameboard (1796) is more likely to be a serial number
Keyboard: White naturals, black sharps. (despite the suggestion of a prodigous output). Walnut
Number of roses: None. case. Arcaded ivory naturals, skunktail sharps.
Exterior of case: Crossbanded. Previous history: Sold at Puttick & Simpson’s, 31 October
Scale: 275 mm. 1929. It then belonged to the Cadbury family, and
Length; 2016 mm. thereafter passed through the hands of Edmund C. Legg
Width: 800 mm. and Co., Cirencester.
Depth: 220 mm. Information supplied by: Bz.

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358 HARRIS(A)
Boalcb 3 number: HARRIS, John. 1796(A). Boalch 3 number. HARRIS, John. n.d.(3).
Boalch 2 number: 1. Boalch 2 number: None.

Type: Wing spinet. HARRIS(A), JOHN.

Date: Not known. Type: Wing spinet.
Ownership: MR. NEVILLE. Date: 1771(A).
Inscriptions: Joannes Harris fecit. Ownership: MUSEUM OF FINE ARTS, BOSTON,
Specification: 1x8". USA.
Keyboard: Black naturals, white sharps. Number: 1977.58.
Length: 690 mm. Inscriptions: A photograph taken in 1960 shows I H 1777
Width: 460 mm. painted roughly on the bottom, otherwise the cartouche
Previous history: Bought by Mr. Neville at Sotheby’s on of maple on the nameboard is blank. The part of the
22 March 1934 (owner anon.). bottom with this inscription was lost before the instrument
References: Sotheby's catalogue of 22 March 1934. came to the Museum.
Information supplied by: B*. Specification: 1x8".
Boalch 3 number: HARRIS, John. n.d.(1). Compass: FF,GG-P.
Boalch 2 number: 2. Keyboard: White naturals, black sharps.
Number of roses: None.
Type: Wing spinet.
Exterior of case: Veneered.
Scale: 254 mm.
Date: Not known.
Length: 1986 mm.
Ownership: Not known.
Depth: 222 mm.
Specification; 1x8". Remarks: John Koster attributes the instrument to John
Previous history: The instrument was in Birmingham, Harris in Boston on account of the above inscription, the
Michigan, in 1952. use of apparently American woods, and a number of
Information supplied by: B?.
Boalch 3 number: HARRIS, John. n.d.(2).
similarities with the 1769 Harris spinet in the Metropolitan
Museum of Art, New York. Naturals—Ivory with fronts
Boalch 2 number: 3.
of stained brown maple and a small ogee moulding.
Sharps of ebony. Stichmass of 488 mm. Keyboard in poor
Type: Wing spinet. condition. Many keylevers have been replaced. Case of
Date: Not known. birch, originally veneered with mahogany. Spine, bottom
Ownership: MESSRS. MICHAEL FOSTER, LONDON, and interior of white pine. Jackrail holder of black walnut.
ENGLAND. All the original veneer on case, except that around the
Inscriptions: IOHANNES HARRIS on jackrail in same keyboard, has been lost, but from an old photo it appears
style as the instruments of Stephen Keene. to have been veneered with mahogany, crossbanded with
Specification: 1x8’. mahogany and plain light stringing, in similar style to
Compass: GG-g'. nameboard which has a blank hornbeam cartouche. There
Keyboard: White naturals, special sharps. is no stand.
Number of roses: None. Previous history: Earliest known owner—Frank Hubbard,
Exterior of case: Plain wood. who sold it in 1960 to E. M. Ripin, from whom it was
Remarks: It is not known which John Harris was the acquired by the Museum of Fine Arts.
maker, though in view of the similarity between the way References: Data sheet by John Koster available from
in which the maker signed the spinet with the way Museum of Fine Arts. BostonCat.
Stephen Keene signed some of his spinets it is likely that Information supplied by: Koster|MF
A.
the maker was the elder John Harris who had been Boalch 3 number: HARRIS(A), John. 1771(A).
apprenticed to Keene. In fine original condition with Boalch 2 number: None.
plain walnut external case, and internal case decorated in
chinoiserie of gilded birds, flowers, snails etc., including HARRIS, JOSEPH.
on the foreboard over the keys, and on the jackrail. Type: Wing spinet.
Naturals of ivory with arcaded fronts. Sharps—a sandwich Date: 1743.
of ebony/ivory/ebony. Raised on original trestle stand. Ownership: DAVID LEIGH, OXFORD, ENGLAND.
Previous bistory. Shown at Grosvenor House in 1988 and Inscriptions: Joseph Harris Londini Fecit 1743.
1990, on the stand of the firm of Michael Foster. In 1990 Specification: 1x8".
the instrument was being offered at a price of £75,000. Compass: GG-g’.
References: See: Grosvenor House Antiques Fair, Catalogue Keyboard: White naturals, black sharps.
1988 and 1990 (illustrated p. 116). Exterior of case: Plain wood.
Information supplied by: Susands. Scale: 260 mm.

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 HARRIS 359
Length: 1740 mm. Compass: GG-g'.
Remarks: Plain mahogany case with S-bend tail. Interior Keyboard: White naturals, black sharps.
and keyboard well veneered with sycamore and strung Exterior of case: Crossbanded.
with ebony. Original stand. Skunktail sharps. Remarks. There is a divided harp stop operated by two
Previous bistory: Bought Sotheby’s on 25 November 1983 hand stops on either side, the one for the left of each
by David Leigh (£4,800) and restored by him in 1985. pair of strings and the other for the right. They must
Advertised for sale in EM Vol. XIV, No. 3, August both be operated together. Case of figured walnut inlaid
1986, p. 402. with lines of sycamore. Raised on mahogany stand with
References: Illustrated in Sotheby’s Catalogue of 25 Novem- turned balusters and cabriole legs with claw and ball feet.
ber 1983, and in EM. Previous history: Exhibited at Burlington Fine Arts Club,
Information supplied by: David Leigh|EM. Winter Exhibition, 1927-28. Mr. Prichard had the instru-
Boalch 3 number: HARRIS, Joseph. 1743. ment in 1930—its present whereabouts are not certain.
Boalch 2 number: None. References: Mlustrated in J, plate 31.
Information supplied by: B?|J.
Type: Wing spinet. Boalch 3 number: HARRIS, Joseph. 1757.
Date: 1750. Boalch 2 number: 3.
Ownership: BODDINGTON FAMILY, ABERDEEN,
SCOTLAND. Type: Wing spinet.
Inscriptions: Josephus Harris Londini fecit 1750. Date: Not known.
Specification: 1x8’. Ownership: Not known.
Compass. GG-g'(A). Inscriptions: Josephus Harris Londini fecit.
Remarks: Mahogany case. Specification: 1x8".
Previous history: Shown by Kendrick Pyne at the Inter- Compass: GG-g'(A).
national Inventions Exhibition in 1885. Bought by H. Remarks: Morleys are the last known owners in 1953.
Boddington, and (reported in B?) still owned by his Previous history: Messrs. Moss Harris, London in 1937.
descendants living near Aberdeen. Thereafter Morleys in 1953.
Information supplied by: B*. References: Illustrated in the Antique Collector, London,
Boalch 3 number. HARRIS, Joseph. 1750. 1937, p. 16. This seems to be the same instrument as that
Boalch 2 number: 1. pictured in the Connoisseur, October 1937, p. 25, in a
Frank Partridge advertisement.
Type: Wing spinet. Information supplied by: B?.
Date: 1751. Boalch 3 number: HARRIS, Joseph. n.d.(1).
Ownership. FORMERLY IN THE BODDINGTON Boalch 2 number: 4.
COLLECTION, MANCHESTER, ENGLAND.
Inscriptions: Josephus Harris Londini fecit 1751. Type: Wing spinet.
Specification: 1x8". Date: Not known.
Compass: GG-g'(A). Ownership: J. J. TUFNELL, GREAT WALTHAM,
Excterior of case: Crossbanded. ESSEX, ENGLAND.
Remarks: Walnut case with satinwood stringing. Unless Inscriptions. Josephus Harris Londini fecit. Numbered 1716
the Boddington family had a particular penchant for inside the case and on some of the keys.
collecting Joseph Harris spinets, there must be some Specification: 1x8’.
suspicion that this instrument is the same as the one Remarks: Mr. Tufnell had the instrument in 1964.
recorded above. Previous history. Owned by the Tufnell family since the
Information supplied by: B?. eighteenth century, and shown in a family conversation
Boalch3 number: HARRIS, Joseph. 1751. piece dated 1737.
Boalch 2 number: 2. Information supplied by: B?.
Boalch 3 number: HARRIS, Joseph. n.d.(2).
Type: Wing spinet. Boalch 2 number: 5.
Date: 1757.
Ownership: B. COPPINGER PRICHARD. Type: Wing spinet.
Inscriptions. Front of nameboard is inscribed in gold Date: Not known.
JOSEPH HARRIS, LONDON, MDCCLVII. Maker's Ownership: MRS. JOHN NICOLL, USA.
note on back of nameboard; This is not one of my Comon Inscriptions: Josephus Harris Londini fecit.
instruments But the Best Ton’d I ever made, Joseph Harris. Specification: 1x8".
London 1756. Compass: GG-g'(A).
Specification: 1x8". Keyboard: White naturals, black sharps.
Additional features: Harp stop. Remarks: Mrs. Nicoll owned this instrument in 1954, but

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360 HARRIS(A)
its present whereabouts are not known. Ivory natural, Specification: 1x8".
skunktail sharps. Compass: GG-g’.
Information supplied by: Bz. Keyboard: White naturals, special sharps.
Boalch 3 number: HARRIS, Joseph. n.d.(3). Number of roses: None.
Boalch 2 number: 6. Exterior of case: Crossbanded.
Scale: 262 mm.
Type: Wing spinet. Length: 1790 mm.
Date: Not known. Remarks: This is undoubtedly an English bent side spinet,
Ownership: MARLOWE A. SIGAL COLLECTION, most probably of the second quarter of the eighteenth
MASSACHUSETTS, USA. century. The maker’s surname is missing, however, and
Inscriptions: Inscribed on a paper label, cut out to look only the first name (Joseph) is known. Koster, who has
like an inlaid boxwood cartouche: Josephus Harris Londini examined it, says that the paper label, with the remains
Fecit. Top and bottom keys initialled JJ, presumably by of an inscription is very similar to that on the Joseph
a workman. Harris spinet in the Marlowe A. Sigal Collection
Specification: 1x8". (HARRIS, Joseph. n.d.(4)), and thus it seems most likely
Compass: GG-g’. that Harris was the maker. Naturals of ivory, with ivory
Keyboard: White naturals, special sharps. arcades and skunktail sharps which are a sandwich
Number of roses: None. of ebony/ivory/ebony. Keys are backracked. Stichmass
Exterior of case: Veneered. (three-octave) 500 mm. Double curved bent side with
Scale: 282 mm. core of oak. External case has walnut panels with maple
Length: 1822 mm. (sycamore) stringing, crossbanded with walnut. Fascia
Width: 712 mm. board and name-batten removable.
Depth: 200 mm. Previous bistory: Abandoned about 1970, with the case in
Remarks: Naturals of ivory, skunktail sharps. Case of a furniture restorer’s workshop and the action in a piano
plain walnut (veneered). Double curved bent side. Chased tuner’s shop.
brass strap hinges. Original stand with turned legs. In Information supplied by: Koster.
playing condition. Boalch 3 number: HARRIS(A), Joseph. n.d.(1).
Previous history: Bayard Rustin (New York, NY); Unknown Boalch 2 number: None.
owner (Marblehead, Massachusetts); Unknown owner
(California); Frank Rockette (Concord, Massachusetts). HARRIS, WILLIAM.
Information supplied by: B2|Sigal. Type: Wing spinet.
Boalch 3 number: HARRIS, Joseph. n.d.(4). Date: 1765.
Boalch 2 number: 7. Ownership: CHARLES ANGELL ANTIQUES, BATH,
ENGLAND.
Type: Wing spinet. Inscriptions. Gulielmus Harris London fecit 1765, on the
Date: Not known. nameboard. The bottom key also signed with the maker’s
Ownership: Not known. name and date.
Specification: 1x8’. Specification: 1x8".
Remarks: Ascribed to Joseph Harris by Christie’s catalogue Previous history. Owned in 1966 by Charles Angell
of 21 March 1980. The instrument could be any one of (Antiques) Bath. Earlier in private ownership in Swansea.
those previously recorded in Bz but whose owners are Information supplied by: Bz.
unknown. Boalch 3 number. HARRIS, W. 1765.
Previous history: Sold at Christie’s on 21 March 1980, for Boalch 2 number: o1.
£4,800.
References: Christie’s catalogue of 21 March 1980. Type: Wing spinet.
Information supplied by: Christie’s| Luckett. Date: 1766.
Boalch3 number: HARRIS, Joseph. n.d.(5). Ownership: ST. LOUIS MUSEUM, ST. LOUIS,
Boalch 2 number: None. MISSOURI, USA.
Specification: 1x8".
HARRIS(A), JOSEPH. Previous history: Presented to the Museum by L. Isaacson
Type: Wing spinet. of New York.
Date: Not known. Information supplied by: Bz.
Ownership: PRIVATE COLLECTION, RHODE Boalch 3 number: HARRIS, W. 1766. Boalch 2 number: 1.
ISLAND, USA.
Inscriptions: The inscription Joseph . . .[Lon]dini, is on a Type: Wing spinet.
paper label pasted to the fascia board in the normal style Date: 1773.
of an English builder. Ownership: Not known.

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 HARRIS 361
Specification: 1x8’. Essex at Sotheby’s on 5 April 1935 to Messrs. Oliver.
Compass. GG-g’ or FF-P. References: Sotheby’s catalogue of 9 October 1981—
Keyboard: White naturals, black sharps. illustrated there. See also record of sale in EM vol. X,
Exterior of case: Plain wood. No. 2, April 1982, p. 233, where it is stated that it is not
Remarks: Compass of five octaves. Mahogany case. Ivory previously recorded in Bz. It thus seems unlikely to be
naturals. Bz, number 2.
Previous bistory: A spinet of this date was sold by Miss E. Information supplied by: Sotheby's|EM.
A. Wilmott of Warley Place, Essex, at Sotheby’s on 5 Boalch3 number: HARRIS, W. 1773(3)-
April 1935 to Messrs. Oliver. Since it seems likely that Boalch 2 number: None.
the latter were dealers, the present owners are not known.
References: Sotheby’s Catalogue of 5 April 1935. Type: Wing spinet.
Information supplied by: Bz. Date: 1776.
Boalch3 number: HARRIS, W. 1773(1). Ownership: MRS. K. THOMPSON, MOSELEY,
Boalch 2 number: 2. BIRMINGHAM, ENGLAND.
Inscriptions: Signed on nameboard; Gulielmus Harris Londini
Type: Wing spinet. Jecit 1776. Behind the nameboard are a number of
Date: 1773. interesting inscriptions: In ink: NB .A very pretty place to
Ownersbip. ROY AL NORTHERN COLLEGE OF record Mr and Mrs Coles’s naughty tricks. (According to
MUSIC, MANCHESTER, ENGLAND. Accession Mrs. Thompson this records a prank by Mr. Coles when
number not known. at Cambridge he dressed as the Sultan of Zanzibar and
Inscriptions: Signed on nameboard; Gulielmus Harris Londini deceived the Senate, who entertained him.) 18 Jany 1837
Secit 1773. from Mr Laney's by Mr Gibbon’s order. In pencil Action oxt
Specification: 1x8". ‘and tuned Oct 23/86. In ink Robert Arnold Leamington 1950.
Compass: FF,GG-P(A). Very faint ink: Tuned April 18th 1827 by J R . . (rest not
Exterior of case: Plain wood. legible). Tuned Dec 27tb/8s Gibbon.
Remarks: Mahogany case. Specification: 1x8".
Previous history: Part of the Henry Watson Collection. Compass: GG-g’.
Information supplied by: Bz. Keyboard: White naturals, black sharps.
Boalch3 number. HARRIS, W. 1773(2).
Number of roses: None.
Boalch 2 number: 3. Exterior of case: Plain wood.
Scale: 264 mm.
Type: Wing spinet. Remarks: Ivory naturals with pear fronts, and ebony
Date: 1773. sharps. Mahogany veneered case.
Ownership: Not known. Previous bistory: Restored in the late 1960s by Trevor
Inscriptions: On nameboard Gulielmus Harris, Londini fecit
Beckerleg of Cambridge.
173. Information supplied by: B2|Monld Note[O’ BrienPC.
Specification: 1x8". Boalch 3 number. HARRIS, W. 1776.
Compass: AA-g’. Boalch 2 number: 4.
Keyboard: White naturals, black sharps.
Exterior of case: Crossbanded.
Remarks: This instrument could be Bz number z. It is Type: Wing spinet.
unlikely to be number 3 because of the difference in the Date: 1777(A).
stated compass. According to the Sotheby’s catalogue of Ownership: REV. P. HANCOCK, NORTHWOOD,
sale on 9 October 1981: ‘An English spinet by William MIDDLESEX, ENGLAND.
Harris, London 1773, the nameboard and cheeks of Inscriptions: Gulielmus Harris London fecit 17(99)77.
mahogany with walnut panels and fruitwood and holly Specification: 1x8’.
stringing, inscribed on a boxwood plaque Gwlie/mus Harris, Compass: G-c’ but see below.
Londini fecit 1773, the case veneered with panels of Cuban Keyboard: White naturals, black sharps.
mahogany with stained fruitwood and holly stringing and Number of roses: None.
Tabasco mahogany cross-banding, the lid of solid Cuban Exterior of case: Crossbanded.
mahogany, with shaped brass strap-hinges, the five octave Remarks: Dr. Hugh Stradling, Haddenham, Bucks, reports
keyboard AA to g’, with ivory naturals and ebony that the instrument bears the date 1777, but this could
accidentals, length 5 ft 5 inches (664 cm) on later trestle be 1799. Since 1799 is 25 years later than any other
stand.” instrument by William Harris, the date of 1777 seems
Previous bistory. Sold at Sotheby’s on 9 October 1981 for more likely. Dr. Stradling says: ‘On careful inspection,
£5,500. May be Bz number 2, in the which case it was the 99 has been added later and what looks as if it might
previously sold by Miss E. A. Wilmott of Warley Place, have been 77 scraped away, as there are depressions in

piatized ty Google
362 HARRISON
the wood.’ Naturals of ivory, sharps of ebony, keyfronts no longer exists, and it is likely that the instrument now
of box. The reported compass of G-c’ seems very strange belongs to someone else. Because of the nameboard
and is more probably GG-g’. Case of walnut panels, inscription it is listed as being dated 1749, though it was
crossbanded mahogany, including lid. Compass is reported probably finished in the following year.
by Dr. Stradling, but seems very short. Information supplied by: B?.
Previous history: Apparently bought by the present owner’s Boalch 3 number: HARRISON, J. 1749(2)-
grandfather from an antique dealer. Restored in 1911 Boalch 2 number: 1a.
by a piano technician (unknown) who pencilled an
indecipherable name and the address Kentish Town on the Type: Wing spinet.
underside of a soundboard from a piano which he inserted Date: 1757.
without removing the hitchpin rail. Restored by Dr. Ownership: RUSSELL COLLECTION, EDINBURGH
Stradling who was able to find the original soundboard UNIVERSITY, SCOTLAND.
thickness and grain direction from that portion of the Number: 13.
soundboard under the hitchpin rail. The bridge is a Inscriptions: On nameboard: Joannes Harrison Londini fecit
replacement by Martin Robertson of Oxford. 1757. Top and bottom jacks stamped A.P.. Bottom key:
References: Photos and further information from Dr. Hugh Archibald Pringle 1757, and top key signed similarly but
Stradling, Haddenham, Bucks. without the date.
Information supplied by: Dr. Hugh Stradling. Specification: 1x8",
Boalch 3 number: HARRIS, W. 1777(A). Compass: GG-g'.
Boalch 2 number: None. Keyboard: White naturals, black sharps.
Number of roses: None.
HARRISON, JOHN. Exterior of case: Crossbanded.
Type: Wing spinet. Scale: 260 mm.
Date: 1749. Length: 1815 mm.
Ownership: BATE COLLECTION (LOAN), MUSIC Width: 743 mm.
FACULTY, OXFORD, ENGLAND. Depth: 201 mm.
Number: X 90. Remarks: Naturals ivory with moulded ebony fronts,
Inscriptions: Johannes Harrison Londini fecit 1749. sharps of ebony. Mahogany crossbanded case. Lid has
Specification: 1x8". modern walnut veneer with strengthening inside. Original
Compass: GG-g'. stand with turned legs.
Keyboard: White naturals, black sharps. Previous bistory: Repaired by E. C. Legg and Son of
Exterior of case: Crossbanded. Cirencester in 1954. Bought by Raymond Russell in
Scale: 337 mm. 1955. Restored by Trevor Beckerleg in 1956. Given to
Length: 1880 mm. Edinburgh University by Mrs. Russell in 1964.
Width: 725 mm. References: RussColl. No. 13, p. 29 (Illustrated). Rasse/lr9
59.
Depth: 214 mm. plates 69 and 70. RassColli9&6. p. 14. GDN-EKI, illus-
Remarks: Naturals ivory, sharps ebony. Case of cross- trated p. 132.
banded mahogany—simple box stringing. Stand with 4 Information supplied by: B?|RussColl]Russelligs9|Raymond.
turned legs. Boalch 3 number: HARRISON, J. 1757(1).
Previous history: On loan from the Taphouse Collection. Boalch 2 number: 2.
It is probable that work was done by Dolmetsch (Leslie
Ward) pre-war. Restored subsequently by Andrew Type: Wing spinet.
Douglas. Date: 1757.
References: BateCat, p. 17. Ownership: DR. WALTER HAACKE, COLOGNE,
Information supplied by: B?| Montagu. GERMANY.
Boalch number: HARRISON, J. 1749(1). Inscriptions: According to the Christie’s Catalogue (and also
Boalch 2 number: 1. ClinkscalePC): Johannes Harrison Londini 1757. According to
present owner: Joannes Harrison Londini 1757.
Type: Wing spinet. Specification: 1x8".
Date: 1749. Compass: GG-g'.
Ownership: Not known. Keyboard: White naturals, black sharps.
Inscriptions: On nameboard Johannes Harrison Londini fecit Length: 1950 mm.
1749. Also, under the soundboard; John Harrison London Remarks: Ivory naturals, ebony sharps. Case probably
January 18th 1749-50. crossbanded.
Specification: 1x8". Previous history: \t seems likely that this instrument is the
Previous history: Messrs. C. A. Legg of Cirencester had it same as that sold at Christie’s on 12 June 1979 for £4,180.
in 1956, but since at the time of writing (1992) the firm It was formerly in the possession of 1st Earl Beatty. It

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 HARRISON 363
has belonged to the present owner since 1981. Acquired Boalch 3 number: HARRISON, J. 1761.
by Dr. Haacke from Bernard Hithnerbein GmbH., antique Boalch 2 number: None.
dealer, Cologne in 1981.
References: Christie’s catalogue of 12 June 1979. Further Type: Wing spinet.
details from Dr. Haacke. Date: 1764.
Information supplied by: Luckett|Haacke. Ownership: GLASGOW MUSEUM AND ART
Boalch3 number: HARRISON, J. 1757(2). GALLERY, GLASGOW, SCOTLAND. Accession
Boalch 2 number: None. number not known.
Inscriptions: Joannes Harrison Londini fecit 1764. Also catries
Type: Wing spinet. a silver plate stating Manufactured by John Harrison 1764.
Date: 1760. Presented by Swan and Pentland, Music sellers, Glasgow.
Ovnership: [AN PLEETH, ENGLAND. Specification: 1x8".
Inscriptions: On name-batten: Johannes Harrison Londini Fecit Compass: GG-g’.
1760. Under the soundboard is pencilled John Harrison|Octr Keyboard: White naturals, black sharps.
18th 1760|London (inscription visible with the aid of a Remarks: Has mitred corner and single curved bent side.
mirror). Previous history: In 1990 it was on display at Pollock
Specification: 1x8". House, Glasgow (Stirling-Maxwell Collection).
Compass: GG-g'. Information supplied by: B2|Sturgis.
Keyboard: White naturals, black sharps. Boalch 3 number: HARRISON, J. 1764.
Number of roses: None. Boalch 2 number: 3.
Exterior of case: Crossbanded.
Length: 1956 mm. Type: Wing spinet.
Width: 645 mm. Date: 1765.
Depth: 225 mm. Ownership: HOWARD SERWER, COLLEGE PARK,
Remarks: Ivory naturals with moulded keyfronts. Ebony MARYLAND, USA.
sharps. Case of mahogany vencered panels, holly or box Inscriptions: Joannes Harrison Londini fecit 176s. When Mr.
stringing, crossbanded mahogany. Fascia and nameboard Serwer (with Scott Odell acting as his consultant) restored
of walnut panels holly or box stringing and dark red the instrument and had to dismantle and re-glue the
wood (padouk?) crossbanding. Instrument all original structural joints, several inscriptions came to light: (a) on
except the jacks and wrestpins. Original stand of stained the lowest key: 176s; (b) on the keyboard: 7558 (possibly
beech. modern); (c) on the underside of the soundboard, in ink:
Previous history: Previously in the collection of Michael Arch.d Pringle|March 29th: 1763|London; (d) on the inside
Thomas. It seems most likely that this was the instrument of the bottom, in chalk, mostly indecipherable: . . . factor
offered for sale at Sotheby’s on 25 November 1988, but PP?) . . 1796.
according to Graham Wells, writing in EM Vol. XVIII, Specification: 1x8".
No. 2, of May 1989, p. 231: ‘A Harrison spinet of 1760 Remarks: The jackrail is modern and crude. Upper and
obviously looked too messy for an over-hopeful lower lower jack guides (not box guide).
estimate of £12,000, with broken bridges and other faults, Previous history: Howard Serwer acquired it in February
and bidding stopped at £8,000, far below the reserve.” 1971 from Mrs. Ruth Rollins Stieff whose family had
References: Sotheby's catalogue of 25 November 1988, and owned it for about forty-five years. Restored by Howard
EM. Serwer and Scott Odell.
Information supplied by: Maurer|Sotheby's|EM. Information supplied by: B2.
Boalch 3 number: HARRISON, J. 1760. Boalch 3 number: HARRISON, J. 1765.
Boalch 2 number: None. Boalch 2 number: 4.

Type: Wing spinet. Type: Wing spinet.

Date: 1761. Date: 1781.
Ownership: Not known. Ownership: Not known.
Inscriptions: On nameboard: Johannes Harrison Londini Fecit Inscriptions: Johannes Harrison Londini fecit 1781 No & Bull
1761. On bottom key in ink: Burr 1761. Head Court, Newgate Street.
Specification: 1x8". Specification: 1x8’.
Compass: GG-g’. Compass: GG-g’.
Remarks: Present owner not known. Keyboard: White naturals, black sharps.
Previous history: Restored in 1971 by Michael Heale on Exterior of case: Crossbanded.
behalf of the then owners, Heath-Bullock, 8 Meadrow, Length: 1865 mm. .
Godalming, Surrey. Remarks: According to the Sotheby’s sale catalogue of 21
Information supplied by: Heale. June 1984: ‘Case of mahogany with holly stringing, the

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364 HARTMANN
lid with shaped brass hinges, the five octave keyboard, an interesting letter from de Wit to G. Bornemann in
GG to g’ . . . on later trestle stand.” 1911 explaining about the instrument’s former use as an
Previous history: Formerly in the collection of Dr. C. accompaniment to a church choir. The instrument has
Conyers Morrell of Mudeford House, Christchurch, undergone restorations by Hermann Seyffarth (1900), and
Hants. Sold at Christie’s on 19 December 1974 (for 2,200 Heinz Jurich (1956).
gns) to Luther Antiques, Bond Street, and again at References: Bach-baus catalogue, 1939 (attributed there to
Sotheby’s on 21 June 1984. Gottfried Silbermann). The 1964 catalogue, and Heyde
References: Christie's and Sotheby's catalogues (illustrated). give the maker correctly, and point out the influence on
Information supplied by: B2|Murdoch|Sotbeby’s. him of J. H. Gribner. Thoene, p. 98 n.
Boalch 3 number: HARRISON, J. 1781. Information supplied by: Bz|Heyde.
Boalch 2 number: 5. Boalch 3 number: HARTMANN, J. 1765.
Boalch 2 number: 1 and [3] under Silbermann.
Type: Wing spinet.
Date: 1787.
HASARD, JOHN.
Ownersbip: Not known. Type: Single-manual harpsichord.
Specifice 1x8’,
Date: 1622.
Remarks: This appears to be the latest recorded John
Ownership: LORD SACKVILLE, KNOLE, KENT,
Harrison instrument.
ENGLAND.
Previous history: Sold at Christie’s in 1979 for £4,400. by
Inscriptions: The inscription has been reconstructed
References: Christie's catalogue, and EM Vol. VIII, No. 1,
of January 1980, p. 91. Ann and Peter MacTaggart as: JOHANNES HASARD
Information supplied by: Christie’s|EM. FECIT LONDINI MDCXXII though the H and S of
J. 1787. HASARD are missing. Inside round the area where
Boalch 3 number: HARRISON,
Boalch 2 number: None. the soundboard was is the inscription: LAVDATE
DOMINVM IN CORDIS LAVDATE INSTRV-
MENTIS BENE SONANTIBVS E CAELO
HARTMANN, JACOB. MVSICA.
Type: Two-manual harpsichord.
Exterior of case: Plain wood.
Date: 1765.
GERMANY.
Length: 2502 mm.
Ownership: BACH-HAUS, EISENACH,
Width: 844 mm.
Number; 1 78. Depth: 238 mm.
Inscriptions. According to Heyde: Jacob Hartmann|176s
Remarks: The speculation about the name of the maker
Dresden, though according to Bz [Thoene, p. 98n.] the
is given in part I under Hasard. The action, soundboard,
town is written as Dresden. The signature is in pencil on
lid, and internal structure of the instrument are missing.
the underside of the soundboard. There is also the
It originally had a fifty-three-note compass, and there
signature of an owner Eigenthum des Musikbistorischen|
were three choirs of strings. The discussion on the pitch
Museums von|Herrn Paul de Witlin Leipzig, also in pencil.
Specification: 1: 1x8’, 1x4’; Il: 1x8’. of these choirs is best followed by reference to Hubb1963,
Additional features: Shove coupler. Russellrg39, Mould Th, McGeary, and Koster EEH, the
Compass: FF-f*. latter producing the most convincing argument that the
Keyboard: Black naturals, white sharps. instrument had one set of strings substantially below
Number of roses: 1. normal 8’ pitch, and two octave stops substantially below
Style of rose: Geometrical pattern. normal 4’ pitch. Case of oak with panels, raised on an
Exterior of case: Painted. arcaded stand. Scribe lines on the bottom boards indicate
Remarks: In the 1939 Bach-haus catalogue the instrument that there was at least one geometrical rose. The scale is
was shown as by Gottfried Sibermann with the disposition suggested by various writers as having ranged from 254
1x4’, 1x8’, 1x16’. It would appear that by 1964 when the mm. to 305 mm., but in view of Koster’s postulations
next catalogue was published the maker’s identity had this is relatively meaningless. MacTag-Knole reports that
been established correctly while the disposition had been the inscription round the inside rim is painted in lamp
restored to that shown above. Ebony naturals, bone black on orpiment. The instrument appears in Bz under
sharps. Exterior of case in light blue with painted Jobn Haward, but this is clearly incorrect.
brown framed panels, and a decorative pattern springing Previous bistory: Has been at Knole for many years.
downwards from the upper case moulding, which is References: See the references under Hasard in part 1, and
gilded. Case was probably originally painted brown, the works cited above.
similar to the style of Grabner. Mounted on a stand of Information supplied by: B2|Monld Th/GSJ|Russellr9s9/
six cabriole legs, dating from 1975. Hybb1965|McGeary| Koster, EEH|MacTagKnole.
Previous history: Discovered in the possession of a priest Boalch3 number: HASARD, J. 1622.
in Zwickau by Paul de Wit in 1899-1900. Heyde quotes Boalch 2 number: None.

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 HASS 365
HASS(A), DIETRICH CHRISTOPHER(A). removed. Most of the tuning pins, nuts, 4’ hitch pins and
‘Type: Fret-free clavichord with octave strings in the bass. bridge pins are missing. Keyboard with tortoiseshell
Date: 1796. naturals and black painted fronts (original arcades miss-
Ownership. MUSEUM FUR KUNST UND GEWERBE, ing); sharps with ivory tops on unstained lime. Spine
HAMBURG, GERMANY. painted vermillion (as possibly was the rest of the case
Number: 1904.709. originally); rest of the case sides and outside of lid in
Inscriptions: Inscribed Dietrich Chr. Hass. Hamburg 1796. brown wood-grained design. Chinoiserie on a red ground
Compass: FF-f. on the lid interior. Since the 8’ nut is missing the scale
Keyboard: White naturals, special sharps. cannot be measured.
Number of roses: None. Information supplied by: B?|Wbitebead.
Exterior of case: Painted. Boalch3 number: HASS, H. A. 1721.
Scale: 290 mm. Boalch 2 number: 2.
Length: 1730 mm.
Width: 535 mm. Type: Two-manual harpsichord.
Depth: 137 mm. Date: 1723.
Remarks: Octave strings FF-d. Though the instrument Ownership: MUSIKHISTORISK MUSEUM,
carries the signature of Dietrich Christopher Hass and COPENHAGEN, DENMARK.
the date 1796, according to Schroder’s Catalogue, p. 19, Number: Ags.
D. C. Hass was probably a restorer and the instrument Inscriptions: Hieronymus Albrecht Hasch (sic according to B?,
may date from 1760. This is borne out by the Museum Whitebead, and MMCC) in Hambg| Anno 1723.
which states that the painting on the soundboard of this Specification: x8’, 1x4’.
instrument bears many stylistic similarities to that of the Additional features: Shove coupler, harp stop, dogleg.
clavichord of 1732 (number 1903.754 in the Museum’s Compass: FF-c?.
collection) by H. A. Hass. The Museum suggests that Keyboard: Special naturals, white sharps.
D. C. Hass may have restored an earlier instrument by Exterior of case: Painted.
his famous forebear, and signed and dated it himself. Scale: 350 mm.
Original stand from the end of the eighteenth century. Length: 2360 mm.
The Museum gives the scale as 850 mm., but this probably Width: 950 mm.
refers to the c below pitch c. Depth: 270 mm.
Previous bistory: Acquired in 1904 from the legacy of Remarks: Exterior of case painted green with panels of
the Hamburg piano-maker Adolph Heinrich Emil Kohl gold, green, brown and red in chinoiserie style. Keywell
(1847-1902) and his wife (1851-1904). surrounds are also in similar style but on a light
References: Brinck-Ber, p. 16. Brinck-Flug, No. 3, p. 3- background. Inside of lid has a more classical style pastoral
Exhibition Catalogue, Die Musik Hamburgs 1921, No. 718. scene of an instrumental group playing in an orangery.
Ronde, Dentsches Kunstgewerbe, 1924, p. 39. Schroeder-3o, p. Naturals of tortoiseshell with arcades of incised paper on
19. Hirt p. 445. Pilipezwk-83, pp. 46, 48, and illustration. a red ground. Sharps of unstained lime with ivory tops.
Pilipezuk-88. Whitebead Th. Raised on a heavy trestle stand with turned legs (probably
Information supplied by: B*|Pilipczuk|W bitebead. not original). The disposition is: lower manual 2x8’, 1x4’,
Boalch 3 number: HASS(A), D. C.(A). 1796. the latter being a dogleg which is playable from the upper
Boalch 2 number: [23]. manual (which has a single 8’) by means of a shove coupler.
A printed description of the instrument accompanying a
1983 recording of the instrument by Eyvind Rafn, says
HASS, HIERONYMUS ALBRECHT. that it has a lute stop, but this most probably means a
Type: Two-manual harpsichord. harp stop.
Date: 1721. Previous history: Deposited at the Museum by Count
Ownership: GOTEBORGS MUSEUM, GOTEBORG, Raben-Levetzau in 1898, having formerly been at the
SWEDEN. family estate at Aalholm Castle. Bought by the Museum
Number. 1456. in 1931, and restored in 1981 when it was requilled with
Inscriptions: H A Hass fecit in Hamburg 1721. raven.
Compass: FF-d?. References: See 1931 catalogue of the Museum. Illustrated
Keyboard: Special naturals, white sharps. in monochrome in Rweger plate 83. Measured and doc-
Exterior of case: Painted. umented by David Rubio ¢. 1983.
Length: 2582 mm. Information supplied by: B?|Raeger| MMCC|Ruxbio| Wbitebead.
Width: 977 mm. Boalch3 number: HASS, H. A. 1723.
Depth: 255 mm. Boalch 2 number: 3.
Remarks: The instrument, which originally had two
manuals, and a disposition of 3x8’, 2x4’, has at some time Type: Fretted clavichord with octave strings in the bass.
been converted into a piano, and one of the keyboards Date: 1725(A).

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366 HASS
Ownership: KOPINGS MUSEUM. KOPING, Boalch3 number: HASS, H. A. 1726(A).
SWEDEN. Accession number not known. Boalch 2 number: None.
Inscriptions: The inscription is illegible.
Compass: C-d’. Type: Fretted clavichord with octave strings in the bass.
Keyboard: White naturals, black sharps. Date: 1728.
Exterior of case: Painted. Ownership: MUSIKINSTRUMENTEN MUSEUM,
Scale: 288 mm. BERLIN, GERMANY.
Length: 1516 mm. Number: 344.
Width: 423 mm. Inscriptions: Inscribed H. A. Hass fecit Hamb. 1728.
Depth: 94 mm. Compass: C-f.
Remarks: Keys of lime with naturals roof-carved, and Keyboard: Special naturals and sharps.
sharps of waveform. Ivory natural keyplates, and sharps Exterior of case: Painted (may not be original).
of black-stained beech capped with ebony. The lid, Remarks: Keys of lime with roof-carved naturals and
keywell flap and seven keys are missing. The instrument waveform sharps. Natural keyplates of tortoiseshell, and
has suffered severe water damage at some time in its sharps of black-stained lime capped with chevron pattern
history. As a result the soundboard painting, signature, of ivory and tortoiseshell. Original compass C-d’ sub-
and string gauge numbers written on the soundboard are sequently extended by three notes. Interior of the lid is
all badly damaged and illegible. Both bridges are beech. decorated with a complicated geometrical design and a
Unfretted from C to d and then pairwise fretted apart central painting of a lyre-playing musician riding a
from a, d', a', and d* which are free. The top 6 notes are dolphin. Both bridges are beech. Octave strings C-d.
fretted as a’-a*, b’-c’, and c#?-d’. 15 octave strings in Unfretted from C to d and then fretted pairwise apart
the bass, C-d. Present outer case dark green paintwork is from all the d’s and a’s which are free.
an overpainting of a lighter green pigment. The dating References; Sa who gives the date incorrectly as 1778.
and ascription are from Whitehead Th. Whitehead Th.
Reference: Whitebead Th. Information supplied by: B2|Droysen-Reber| Elste|Wbitebead.
Information supplied by: Whitebead. Boalch3 number: HASS, H. A. 1728.
Boalch3 number: HASS, H. A. 1725(A). Boalch 2 number: 3a.
Boalch 2 number: None.
Type: Single-manual harpsichord.
Type: Single-manual harpsichord. Date: 1732.
Date: 1726(A). Ownership: KUNSTINDUSTRIEMUSEET, OSLO,
Ownership: LEUFSTA BRUK MANOR, LEUFSTA, NORWAY.
SWEDEN. Accession number not known. Number; 10780.
Inscriptions: Signed: H A Hass fecit|17 in Hamburg (2)6. Inscriptions: Hieronymus Albrecht Hass fecit.| Hamburg. Anno.
Specification: 1x8’, 1x4’. 1732, inscribed on the soundboard.
Compass: FF-P. Specification: 2x8’, 1x4’.
Keyboard: White naturals, black sharps. Compass: C-d?.
Exterior of case: Painted. Keyboard: White naturals, black sharps.
Scale: 364 mm. Exterior of case: Painted.
Length: 2258 mm. Scale: 361 mm.
Width: 877 mm. Length: 2096 mm.
Depth: 200 mm. Width: 835 mm.
Remarks: Barrell gives the location as Leufsta Fidei- Depth: 235 mm.
kommiss, Leufsta. The third digit of the date is difficult Remarks: Ivory naturals with arcades of incised paper on
to read, and the date 1726 is ascribed by Whitehead. Ivory a red ground; sharps of black stained lime with ebony
naturals with arcades of embossed paper (the latter by tops. The case decoration is breathtaking, being painted
Lindholm); sharps of black-stained lime with ebony tops. vermillion with panels of chinoiserie in gold and black,
The original compass was FF-d’, but the bridges, nuts, while the inner lid is of pale green with a single panel of
and rack were all extended by three notes and the chinoiserie in green, gold, red, and black. Mounted on
keylevers all remade, probably by Lindholm in the second original stand with six legs, and heavy stretcher at floor
half of the eighteenth century. Lindholm re-used almost level. Whitehead says that the jacks are not original, though
all of the Hass touchplates apart from d’. The instrument the article in Harpd says they are.
is in remarkably good condition, with original stand, References: Described and pictured by H. Glahn in the
jacks (which have their original dampers), and music Arbok of the Museum for 1950/8, and by N. Lunde in
desk. Exterior of case and lid all painted plain vermillion. Harpd vol. 4. No. 4, November/January 1971/2.
Information supplied by: Barrell| Whitehead. Information supplied by: B2|/Harpd|W’bitebead.

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 HASS 367
Boalch3 number: HASS, H. A. 1732(1). original since there are traces of vermillion underneath).
Boalch 2 number: 4. Naturals of ivory with ebony arcaded fronts. Sharps of
inlaid mother of pearl and tortoiseshell on black-stained
Type: Fret-free clavichord with octave strings in the bass. lime. Vencered inside keywell. Allegorical scene of the
Date: 1732. Trojan horse inside lid. Original stand with eight turned
Ownership. MUSEUM FUR KUNST UND GEWERBE, pine legs with upper and lower stretcher. The 16’ stop is
HAMBURG, GERMANY. original. The shove coupler is later.
Number: 1903.754. Previous history: Restored by Fleury of Paris in 1858, and
Inscriptions: Hieronymus Albrecht Hass fecit.|Hamburg Anno by Kaufmann in 1959. Shown at the London, International
1732. Inventions Exhibition, 1885.
Compass: FF-P. References: Mlustrated in Pag, plate 16, and Ruassellrgs9,
Keyboard: White naturals, black sharps. plates 85 and 86.
Number of roses: None. Information supplied by: B2|Russell19 s9|Pag|W bitebead.
Exterior of case: Plain wood. Boalch3 number. HASS, H. A. 1734.
Scale: 285 mm. Boalch 2 number: 5.
Length: 1735 mm.
Width: 505 mm. ‘Type: Three manual harpsichord.
Depth: 168 mm. Date: 1740.
Remarks: Keys of lime with naturals roof-carved and Ownership: RAFAEL PUYANA, PARIS, FRANCE.
sharps waveform. Instrument has no original stand. Inscriptions: In ink on soundboard: Hieronymus Albr. Hass
Keyboard has been widened from original compass of in. Hamb. Anno 1740.
FF-d’. Both bridges are of beech. Octave strings FF-d. Specification: 1: 1x16’, 1x2"; Ul: 2x8’, 1x4’; II: 1x8’, lute.
Scale is given by the Museum as 842 mm., but this Additional features; Harp stop, coupler.
probably refers to the c below pitch c. Compass: FF,GG-P.
Previous history: Bought in 1903 from the Widow Schweit- Keyboard: Black naturals, special sharps.
zer aus Neuengamme in den Vierlanden, Hamburg. Exterior of case: Painted.
References: Aysst.—Kat. Die Musik Hamburg, 1921, Nt. 716. Scale: 343 mm.
Ronde, Deutsches Kunstgewerbe, 1924, p. 39. Pilipezuk-88. Length: 2819 mm.
Whitehead Th. Width: 997 mm.
Information supplied by: Pilipezuk|W hitebead. Depth: 356 mm.
Boalch 3 number: HASS, H. A. 1732(2). Remarks: Russelligs9 says (plate 87): ‘This instrument
Boalch 2 number: None. seems to be old Hass’s magnum opus, and it is the most
elaborate harpsichord known to the writer.’ Case painted
Type: Two-manual harpsichord. in imitation of tortoiseshell with Chinese scenes in gold
Date: 1734. superimposed. Picture inside lid shows the instrument
Ownership: BRUSSELS MUSEUM, BRUSSELS, being presented to a lady (identity unknown). Keyboard
BELGIUM. surrounds inlaid with ivory and tortoiseshell. Naturals of
Number: 630. tortoiseshell with arcaded ivory fronts. Sharps of ivory
Inscriptions: According to Russellrgs9, inscribed on the inlaid with tortoiseshell. The lowest manual may be
soundboard: Hieronymus Albrecht Hass fecit Hamb. Anno pushed into the instrument like a drawer, but if pulled
1734. This is repeated on a plate on the right hand upper out can be used independently. Complex coupling arrange-
keyblock. On the left upper keyblock another plate with ments. Original 16’ and 2’ stops.
Restanré par Fleury facteur de pianos @ Paris en 1858, and Previous history: Formerly Mme. de Jouvenel. 1900
‘on the soundboard in ink: Restauré et perfectionné par Fleury belonged to E. Costil. Exhibited Paris 1900, Exposition
facteur de pianos d Paris en 1856. Universelle Internationale class 17.
Specification: 1: 1x16’, 2x8’, 1x4’; I: 1x8’, lute. References: Illustrated in Exposition Universelle Internationale
Additional features: Harp stop. catalogue, Paris, 1900. Illustrated at Rasse/lrgs9 (plates 87
Compass: GG-d'. and 88).
Keyboard: White naturals, special sharps. Information supplied by: B2/Russelli9
59.
Namber of roses: None. Boalch 3 number: HASS, H. A. 1740(1).
Exterior of case: Painted. Boalch 2 number: 6.
Scale: 359 mm.
Length: 2672 mm. ‘Type: Fretted clavichord with octave strings in the bass.
Width: 926 mm. Date: 1740.
Depth: 270 mm. Ownership: STIFTELSEN MUSIKKULTURENS
Remarks: Double curved bent side. Outer case painted FRAMJANDE, STOCKHOLM, SWEDEN.
cream with brown and gold mouldings (probably not Number: KL 47.

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368 HASS
Inscriptions: Inscribed Heironymus Alor Hass in Hamb. 1740. GESCHICHTE, HAMBURG, GERMANY.
Compass: C-?. Number: 1899.95.
Keyboard: Special naturals and sharps. Inscriptions: Hieronym. Albr. Hasslin Hambg. Anno 1742.
Exterior of case: Painted. Compass: FF-f.
Scale: 286 mm. Keyboard: White naturals, special sharps.
Length: 1540 mm. Exterior of case: Painted.
Width: 435 mm. Scale 248 mm.
Depth: 148 mm. Length: 1698 mm.
Remarks: Instrument is part of the Nydahl Collection. Width: 524 mm.
Keys of lime with naturals roof-carved, sharps waveform. Depth: 138 mm.
Key slips of brass. Naturals, tortoiseshell with two pairs Remarks: Keylevers of lime with naturals roof-carved and
of grooves and arcaded bone or ivory fronts—some waveform. Ivory naturals, sharps of black-stained lime
missing. Sharps are a solid block of horn inlaid with a capped with tortoiseshell. Both bridges are of beech.
thin strip of engraved mother of pearl. Soundboard, of Octave strings FF-d. Inside of lid painted with a musical
pine highly decorated, with grain parallel to spine. scene on a landscape background. Framing includes
Bridges, both dark-stained timber. Unfretted from C to original diagonal brace.
d and then fretted pairwise except d’s and a’s. Fifteen Previous history: Presented by D. Joh. Nic. Barthels in
octave strings (C-d) in the bass. Casework of pine, painted 1899.
in the typical Hass style, in light blue with painted References. Pilipczuk-88. Whitebead Th.
chinoiserie and gold girlandes. Whitebead says that though Information supplied by: B?|Pilipezuk|W bitebead.
the painting appears old, it certainly is not original, but Boalch 3 number: HASS, H. A. 1742(1).
the internal painting is original with chinoiserie of black Boalch 2 number: 7.
and gold on a vermillion background. Keywell and
keybox lid decorated in tortoiseshell, ivory and rare ‘Type: Fret-free clavichord with octave strings in the bass.
woods. Date: 1742.
References: SMF (appendix by Weldon). Whitehead Th. Ownership: MUSEUM FUR BERGEDORF UND DIE
Information supplied by: B?|Weldon|SMF|Barrell{O’ BrienPC/ VIERLANDE, HAMBURG, GERMANY.
Whitebead. Number, B1954.2.
Boalch 3 number: HASS, H. A. 1740(2). Inscriptions: Hieronym: Albr: Hasslin Hambg, Anno 1742.
Boalch 2 number: 6a. Compass: FF-P.
Keyboard: White naturals, black sharps.
‘Type: Fretted clavichord with octave strings in the bass. Remarks: Keylevers of lime with roof-carved naturals and
Date: 1740. waveform sharps. Both bridges are of beech. Though
Ownership: PRIVATE COLLECTION, DENMARK. some obervers report that the compass was originally
Inscriptions: Hieronym Albr Hass|in Hambg Anno 1740. FF-d?, Whitebead states that it has always been as now,
Compass: C-d’. FF-f. Octave strings FF-d.
Keyboard: White naturals, black sharps. Previous history: From the collection of the Museum fir
Exterior of case: Painted. Hamburgische Geschichte. Obtained from a private owner
Scale: 288 mm. in 1893.
Length: 1534 mm. References: Pilipezuk-88. Whitebead Tb.
Width: 434 mm. Information supplied by: Pilipcyuk|W bitebead.
Depth: 140 mm. Boalch3 number: HASS, H. A. 1742(2).
Remarks: Ivory naturals with arcades missing, but were Boalch 2 number: None.
probably of incised paper on red ground. Sharps of
black-stained lime with ebony tops. Keys of lime with Type: Fret-free clavichord with octave strings in the bass.
wavy cresting on levers of the sharps. Present gloss light Date: 1743.
green paint on case sides is not original. Inside of lid has Ownersbip: BATE COLLECTION, MUSIC FACULTY,
painting of a horseman, with two swans and a weary OXFORD, ENGLAND.
traveller. C to d is unfretted then in pairs except the d’s Number: 9.
and a’s. Octave strings from C to d in the bass. Inscriptions: Inscribed on the soundboard: Hieronym Alor:
Information supplied by: Whitebead. Hass/In Hambg. Anno. 1743.
Boalch3 number: HASS, H. A. 1740(3). Compass: FF-f.
Boalch 2 number: None. Keyboard: White naturals, special sharps.
Exterior of case: Painted.
Type: Fret-free clavichord with octave strings in the bass. Scale: 286 mm.
Date: 1742. Length: 1755 mm.
Ownership: MUSEUM FUR HAMBURGISCHE Width: 530 mm.

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 HASS 369
Depth: 168 mm. including a flautist, lute-player, and viol-player exactly
Remarks: Keys of lime, naturals roof-carved, sharps like that on the 1744 Hass clavichord in the Stiftelsens
waveform. Guide slips iron. Naturals, bone (or ivory) Musikkulturens Framjinde, Stockholm (HASS, J. A.
with two pairs of grooves and arcaded ebony fronts. 1744, below). Keywell and keybox lid veneered in olive,
Sharps, ebony and ivory chevron capping on black-stained ebony, and ivory. Internal members beech, stained black
lime. Soundboard of pine. Bridges, both beech, cut very for the hitch pin rail. Grant O’Brien believes that some
close to strings at bass end. Unfretted, except d# to ¢’, of the bass strings may be original.
and with twenty-two octave strings, FF to d, in the bass. References: MMCC. Whitebead Tb.
Casework of pine, painted black. Inside of lid has painting Information supplied by: _—_Bz|Weldon|O’
Brien| MMCC/
of Orpheus (or Apollo) surrounded by the muses. Keywell Whitebead.
veneered in walnut, keybox lid veneered in walnut (or Boalch 3 number: HASS, H. A. 1743(2).
olive), bone (or ivory), and tortoiseshell. Extra (original) Boalch 2 number: 9.
bracer in line with the strings from corner to corner.
Previous bistory: Formerly in the Taphouse Collection from ‘Type: Fret-free clavichord with octave strings in the bass.
which it was on loan to the Bate Collection until 1993 Date: 1744.
when it was purchased with the help of the Government’s Ownership: STIFTELSEN MUSIKKULTURENS
tax incentive scheme for works of art, the National FRAMJANDE, STOCKHOLM, SWEDEN.
Heritage Memorial Fund, the Friends of the Bate Col- Number: KL 48.
lection and many well-wishers. Probably shown by J. B. Inscriptions: Inscribed Hieronym Alor Hass|Hamburg Anno
Cramer and Co. at the International Inventions Exhibition, 1744 between the bridges and the wrestpins.
1885. Dolmetsch (allegedly his son-in-law, Leslie Ward) Compass: FF-P.
pre-war had cut a large hole in the bottom board to shim Keyboard: White naturals, special sharps.
the soundboard, and screwed a thick plywood plate over Exterior of case: Painted.
the hole. The bottom board was reconstructed by Lewis Scale: 287 mm.
Jones and students of the London College of Furniture, Length: 1739 mm.
and they repaired the soundboard, restrung the instrument Width: 554 mm.
in ‘Malcolm Rose’ brass, and generally refurbished it. Depth: 170 mm.
References: Bate Cat, p. 5. Whitebead Th. Remarks: Instrument is part of the Nydahl Collection.
Information supplied by: B2|Weldon|Montagu|O’ BrienPC|W bite- Keys of lime, naturals roof-carved, sharps waveform.
head. Swedish rack. Naturals of ivory, two pairs of grooves,
Boalch 3 number: HASS, H. A. 1743(1). with arcaded ebony fronts. Sharps, tortoiseshell caps on
Boalch 2 number: 8. black-stained lime. Soundboard, pine, much decorated.
Bridges, both of beech. Twenty-two octave strings in the
‘Type: Fret-free clavichord with octave strings in the bass. bass. Case and internal structure of pine. Exterior of case
Date: 1743. painted in wood-grained brown (probably not original).
Ownership: MUSIKHISTORISK MUSEUM, Keywell and keybox lid veneered in olive, mother-of-pearl
COPENHAGEN, DENMARK. and tortoiseshell. Interior of lid has a painting of six of
Number: 49. the Muses, exactly the same as the 1743 Hass clavichord
Inscriptions: Inscribed Hieronym Albr Hass|in Hambg Anno in the Musikhistoriska Museet, Copenhagen (HASS,
1743 between the treble end of the bridge and the J. A. 1743(2), above). Key guide system was originally
wrestpins. by guide slips, but was changed by a Swedish maker.
Compass: FF-P. Wire gauges on soundboard.
Keyboard: White naturals, black sharps. Previous history: Restored around 1790 probably by
Exterior of case: Painted. Lindholm.
Scale: 282 mm. References: SMF (appendix by Weldon). Whitehead Tb.
Length: 1727 mm. Information supplied by: Bz|SMF|Weldon|O’ BrienPC|Wbite-
Width: 546 mm. bead.
Depth: 168 mm. Boalch 3 number: HASS, H. A. 1744(1).
Remarks: Keys of lime, naturals roof-carved, sharps Boalch 2 number: 10a.
waveform. Key slips horn. Naturals, bone (or ivory) with
two pairs of engraved lines with fronts of arcaded ebony. ‘Type: Fret-free clavichord with octave strings in the bass.
Sharps, dark-stained wood with ebony tops. Soundboard Date: 1744.
of spruce. Note names and gauges by wrestpins largely Ownership: BRUSSELS MUSEUM, BRUSSELS,
illegible. Both bridges of beech. Unfretted, with twenty- BELGIUM.
two octave strings from FF to d in the bass. Casework Number: 2518.
of pine, painted in cream with red stripes on sides Inscriptions: Hieronymus Albr Hass|Hambg Anno 1744.
(probably not original). Inside the lid is a painting Compass. FF-P.

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370 HASS
Keyboard: White naturals, black sharps. the painted lid is some original chinoiserie, and a crown
Exterior of case: Painted. with monogram EMJ underneath (probably the original
Scale: 288 mm. owner). Unfretted from C to e, then pairwise except the
Length: 1737 mm. d’s and a’s. Octave strings from C to d in the bass.
Width: 538 mm. References: Muller. Nord. DAM.
Depth: 164 mm. Information supplied by: B2|Wbitebead.
Remarks: Lime keys with wavy crested tops to sharps. Boalch3 number: HASS, J. A. 1746.
Ivory naturals with arcades of ebony; black-stained sharps Boalch 2 number: 10b.
topped with tortoiseshell. Exterior case painted black
with gilded mouldings. The inside of the lid is decorated Type: Fret-free clavichord with octave strings in the bass.
with contemporary, but not original engravings. Port Date: 1747.
scene of Altona, entitled ‘Prospekt Der Daenischen Ownership: NORSK FOLKEMUSEET, OSLO,
Handels-stadt Altona, von Siiden Gesehen 1746’, and NORWAY.
signed by Philip Oeding (1697-1781). A copy is preserved Number: 950-97.
in the Altona Museum, Hamburg, inventory number AB Inscriptions: Inscribed J. A. Hass|Hambg 1747 between the
2689/1. Keywell veneered in olive, and toolbox lid wrestpins and the bridge.
veneered with ivory, tortoiseshell and olive. Raised on Compass: FF-f.
typical stand with drawer to the right, and cabriole legs. Keyboard: White naturals, black sharps.
References: Mlustrated at Pag, plate 26. Whitehead Tb. Scale: 290 mm.
Information supplied by: Bz|Pag|Wbitehead. Length: 1725 mm.
Width: 531 mm.
Boalch3 number: HASS, H. A. 1744(2).
Boalch 2 number: 10. Depth: 137 mm. (without baseboard).
Remarks: Keylevers of lime with roof-carved naturals and
HASS, JOHANN ADOLPH.
waveform sharps. Naturals of ivory with four grooves
with arcaded ebony fronts. Sharps of ebony-capped,
Type: Clavichord. black-stained wood. Twenty-two octave strings in the
Date: 1736(A). bass, FF-d. String gauges marked. Interior of lid decorated
Ownership. FORMERLY IN THE SAMMLUNG
with painting of the nine muses?
HAMBURGISCHER ALTERTHUMER, HAMBURG,
Reference: Whitebead Tb.
GERMANY. Accession number not known. Information supplied by: Bz|W’eldon| VdM|O BrienPC|
Inscriptions: J. A. Hass, Hamburg 1736(?). Whitehead.
Remarks: The signature and date are indistinct. Boalch3 number: HASS, J. A. 1747.
Previous history: Formerly in the Museum fiir Ham- Boalch 2 number: 11.
burgische Geschichte. The instrument is now lost
[Whitebead). Type: Fret-free clavichord with octave strings in the bass.
References: See Mittheilungen des Vereins fir Hamburgische Date: 1748.
Geschichte, Vol. 12 (1889), Hamburg 1890, p. 474. Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
Pilipezuk-88. GERMANY.
Information supplied by: Pilipezuk. Number: 26.
Boalch3 number. HASS, J. A. 1736(A). Inscriptions. Inscribed in ink on the soundboard J. A.
Boalch 2 number. None. Hass|Hamb. 1748.
Compass: GG-d.
Type: Fretted clavichord with octave strings in the bass. Keyboard: White naturals, special sharps.
Date: 1746. Number of roses: None.
Ownership: KOLDINGHUS MUSEUM, DENMARK. Exterior of case: Painted.
Number: 292. Scale: 288 mm.
Inscriptions: ] A Hass|Hamb 1746 on soundboard. Length: 1670 mm.
Compass: C-d’. Width: 512 mm.
Keyboard: Black naturals, special sharps. Depth: 132 mm. (without baseboard).
Exterior of case: Painted. Remarks: Bz lists the instrument twice as numbers 11a
Scale: 290 mm. and 20. Keylevers of lime, naturals roof-carved, sharps
Length: 1594 mm. waveform. Key slips whalebone. Naturals of ivory with
Width: 458 mm. two pairs of grooves with arcaded ebony fronts. Sharps
Depth: 146 mm. of tortoiseshell capped, black-laquered wood. Soundboard
Remarks: Lime keys with wavy crested sharps. Naturals of spuce, two bars parallel to bridge, one is the 4’ hitch
of ivory with ebony arcades, and sharps of chevron pin rail. 8° bridge, 4’ bridge of walnut. Twenty octave
pattern ebony and ivory on black-stained lime. Case strings in the bass. Incomplete set of string gauges. Case
painted in red-brown wood grain finish. On the inside of painted brown. Lock and front flap hinges are original.

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 HASS 371
Previous history: Repaired by H. Seyfferth, Leipzig, Novem- Previous bistory: Restored by Horning & Miiller in 1901.
ber 1887. During thorough restoration in 1966 the maker’s References: MMCC. Whitebead Th. Ulustrated in Rueger.
name and date were found underneath grime on the Information supplied by. Bz|Weldon| MMCC|Ruweger|Wbite-
soundboard [Ernst]. From 1893 but not later than 1903 bead.
in the de Wit collection. For further details see Hemkelz Boalch3 number: HASS, J. A. 1755.
p. 60. Boalch 2 number: 12.
References: Henkelz, pp. 59-61, and illustrations plates 32,
33, 61. Number 26 in Kinsky who thought it was Type: Fretted clavichord with octave strings in the bass.
anonymous. Reference: Whitehead Th. Date: 1756.
Information supplied by: Bz|Henkel2|Weldon|O’ BrienPC| Ownership: SMITHSONIAN INSTITUTION,
Whitebead. WASHINGTON, USA.
Boalch 3 number: HASS, J. A. 1748. Number: 1980.0020.
Boalch 2 number: 11a and 20. Inscriptions: Inscribed J.A. Hass Hamb. Anno 1736 on the
soundboard between the treble end of the bridge and the
wrestpins.
Type: Fret-free clavichord with octave strings in the bass.
Date: 1754.
Compass: C-d.
Ownership: NATIONAL MUSEUM, POZNAN,
Keyboard: White naturals, black sharps.
POLAND.
Exterior of case: Plain wood.
Seale: 286 mm.
Inscriptions: Signed on the soundboard: J. A. Hass Hamb. Length: 1567 mm.
Anno. 1754. Width: 450 mm.
Compass: FF-P. Depth: 145 mm.
Remarks: A typical Hass unfretted clavichord with octave
strings in the bass.
Remarks: Keys of pine, roof-carved. Keys slips of whale-
Information supplied by: Koster. bone. Naturals of ivory. Sharps of ebony-capped, black-
stained wood. Soundboard of spruce. Bar parallel to 4’
Boalch 3 number: HASS, J. A. 1754. bridge. Bridges, both of beech. Fifteen octave strings in
Boalch 2 number: None.
the bass. Case of red pine, internal members of beech.
Keybox lid veneered with ebony and ivory.
Type: Fret-free clavichord with octave strings in the bass. Previous history: According to Bz ‘Known to Ernst, 1934-
Date: 1755. 6 but has now disappeared.’ It is, of course, extant, and
Ownership: MUSIKHISTORISK MUSEUM, before belonging to the Smithsonian was the property of
COPENHAGEN, DENMARK. the Peabody Conservatory, Baltimore until 1980.
Number: A1g. References: Smithcheck&g. See also Museum photos, numbers
Inscriptions: Inscribed J A Hass/Hambg Anno 1755 on the 80-1706, 80-1707, 80-1708, and after restoration 83—
soundboard between the treble end of the bridge and the 4230, 83 4229. Technical drawings available from the
wrestpins. Museum. Whitebead Th.
Compass: FF-f. Information supplied by. Bz|Weldon|S mithcheck8g|O" BrienPC|
Keyboard: White naturals, special sharps. Whitehead.
Exterior of case: Painted. Boalch 3 number: HASS, J. A. 1756.
Scale: 283 mm. Boalch 2 number: 12a.
Length: 1732 mm.
Width: 555 mm. Type: Two-manual harpsichord.
Depth: 173 mm. Date: 1760.
Remarks: Keys of lime, roof-carved, key slips of brass. Ownership: YALE UNIVERSITY COLLECTION OF
Naturals of ivory with two pairs of grooves with arcaded MUSICAL INSTRUMENTS, USA.
ebony fronts. Sharps of black-stained lime, capped with Number: 4879.60.
tortoiseshell and ivory. Soundboard of pine. Note names Inscriptions: J. A, HASSJHAMB. Anno 1760.
and wire gauges by wrestpins illegible. Bridges, both Specification: 1x16", 2x8’, 1x4’, 1x2".
dark-stained wood (beech). Unfretted. Twenty-two octave Additional features: Harp to 16’ and second 8’.
strings in the bass from FF to d. Casework all pine, Compass: F-f.
painted (though probably not original) a bright red with Keyboard: Special naturals and sharps.
coloured chinoiserie inside lid. Keywell and hitch pin rail Number of roses: None.
veneered in olive, keybox lid with walnut, ebony, and Exterior of case: Painted.
bone. Soundboard painting recent, possibly by Horning Scale: 340 mm.
& Miiller when they restored it in 1901 [Whitehead]. Many Length: 2737 mm.
big screws in the base from that time, and the tray stand Width: 1000 mm.
with cabriole legs was made then. Depth: 284 mm.

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372, HASS
Remarks: Appeared in Bz with date of 1710. Subsequent Information supplied by: Huber.
research at Yale has established date as 1760 (Kottick Boalch3 number: HASS, J. A. 1760(3).
suggests 1750) using photography and infra-red techniques Boalch 2 number. None.
etc. Naturals of tortoiseshell with ivory fronts; sharps of
wood capped with ivory. Type: Fretted clavichord with octave strings in the bass.
Previous history: Formerly in Morris Steinert Collection. It Date: 1761.
was owned by Salomon, Paris, in the 1920s [MarcP]. Ownership. MUSIKHISTORISK MUSEUM,
Restored 1984 by Frank Rutkowski and Robert Robinette. COPENHAGEN, DENMARK.
References: Mlustrated and described in the Belle Skinner Number: Ago.
Catalogue. Inscriptions: Inscribed J A Hass|Hambg Anno 1761.
Information supplied by: B2|Rephann|Kottick. Compass. FF-P.
Boalch 3 number: HASS, J. A. 1760(1). Keyboard: White naturals, black sharps.
Boalch 2 number: 1. Exterior of case: Painted.
Scale: 284 mm.
Type: Fret-free clavichord with octave strings in the bass. Length: 1748 mm.
Date: 1760. Width: 527 mm.
Ownership. MUSEUM FUR KUNST UND GEWERBE, Depth: 137 mm. (without baseboard).
HAMBURG, GERMANY. Remarks: Lime keylevers, roof-carved. Naturals of bone
Number: 1904.708. (or ivory) with arcaded ebony fronts. Sharps of black-
Inscriptions: J: A: Hass|Hamb: Anno 1760. stained lime with ebony tops. Double strung 8’, with 4’
Compass: FF-P. from FF to B in the bass, thereafter triple strung 8’ c to
Keyboard: White naturals, black sharps. d¥', and e’ to f double strung. Unfretted FF to e then
Number of roses: None. pairwise fretted except d’s and a’s. Whitehead reports that
Exterior of case: Painted. the instrument’s fretting has been altered from its original
Scale: 285 mm. state by adding one extra tuning pin, hitch pin, and bridge
Length: 1719 mm. (without baseboard mouldings). in the treble. It was originally triple strung in the 8’ from
Width: 527 mm. (without baseboard mouldings). ¢ to f. External case of pine, painted (recently) dark
Depth: 141 mm. (without baseboard). green outside and dark red inside with gold mouldings.
Remarks: Listed in Bz as probably having been destroyed Original soundboard with later painting of flowers.
in the 1939-45 war. This is clearly not the case, and Previous history: Belonged to the Danish composer C. F.
according to Martin (quoting Pilipezwk) it had been in Weyse (1774-1842), and later owned by the Danish singer
the Museum basement since the turn of the century. On Albert Meyer (1839-1921), whose heirs gave it to the
a stand from the end of the eighteenth century. The scale Museum.
is given by the Museum as 845 mm., but this probably References: MMCC. Whitehead Th.
refers to the keyboard. Has an oval cartouche inside the Information supplied by: Bz|Weldon| MMCC|Whitebead.
lid with a woman and child standing near a classical urn. Boalch3 number: HASS, J. A. 1761(1).
Some of the strings may be original. Boalch 2 number: 13a.
Previous history: Acquired by the Museum in 1904 from
the legacy of the Hamburg piano-maker Adolph Heinrich Type: Fretted clavichord with octave strings in the bass.
Emil Kohl (1847-1902), and his wife Maria (1851-1904). Date: 1761.
References: Brinck-Ber, 1904, p. 16. Brinck-Fiug, No. 3, p- Ownership. MUSIKHISTORISK MUSEUM,
3. Exhibition Catalogue—Die Musik Hamburgs, 1921, No. COPENHAGEN, DENMARK.
717. Ronde, Deutsches Kunstgewerbe, 1924, p. 39. Hirt, p. Number: Cl.so.
445. Henkelrg81, p. 91. Pilipezwk-83, p. 5 with illustration. Inscriptions: ] A Hass|Hambg Anno 1761.
Pilipeguk-88, pp. 42, 46, and 48. Whitebead Tb. Compass: C-d?.
Information supplied by: B2/Pilipczuk|Whitebead. Keyboard: White naturals, special sharps.
Boalch 3 number: HASS, J. A. 1760(2). Exterior of case: Painted.
Boalch 2 number: 13. Scale: 285 mm.
Length: 1585 mm.
Type: Clavichord. Width: 448 mm.
Date: 1760. Depth: 144 mm.
Ownership: FORMERLY IN THE GERMANISCHES Remarks: According to the Museum, this is the instrument
NATIONALMUSEUM, NUREMBERG. shown in Bz as number 14. Naturals of bone with arcaded
Number: MI 268. ebony fronts, and sharps of ivory/ebony chevrons on
Compass: C-c’. dark stained wood. Lime keylevers, roof-carved. Unfretted
Remarks: Lost in World War Il. C to ¢, then pairwise except d’s and a’s. Fifteen octave
References: Huber, p. 126. strings, C to d in the bass. External case painted in brown

Diatizes ty GOOgle
 HASS 373
wood-grain (possibly not original). Inside of lid decorated ‘Type: Fret-free clavichord with octave strings in the bass.
with six ‘coloured-in’ engravings of hunting scenes and Date: 1762.
eight royal portraits. Soundboard painted with flowers. Ownership: FORSYTH COLLECTION,
Previous history: Part of the Carl Claudius Collection. MANCHESTER, ENGLAND. Accession number not
References. MMCC. known.
Information supplied by: Bz2|Weldon| MMCC/Wbitebead. Inscriptions: Bz says J. A. Hass; {on lid-painting: 1762),
Boalch3 number. HASS, J. A. 1761(2). but Whitehead, who examined the instrument in 1991
Boalch 2 number: 14. reported that the inscriptions, including the 1762 are no
longer visible, and it would seem very unlikely that the
Type: Clavichord. date was ever on the lid.
Date: 1761. Compass. FF-P.
Ownership: PRIVATE COLLECTION, HAMBURG, Keyboard: White naturals, black sharps.
GERMANY. Scale: 288 mm.
Remarks: Very little is known about this instrument. Length: 1758 mm.
Information supplied by: Weldon. Widtb: 548 mm.
Boalch3 number: HASS, J. A. 1761(3). Depth: 168 mm.
Boalch 2 number: None. Remarks. Keylevers of lime. Ivory naturals with ebony
arcades and black-stained lime sharps with ebony tops.
Type: Fret-free clavichord with octave strings in the bass. Soundboard decorated with flowers. Case painted red (but
Date: 1761. not original) Inside lid lacquered with red chinoiserie,
Ownership: CHRISTOPHER HOGWOOD, and dated 1762. Nameboard and inner keywell veneered
CAMBRIDGE, ENGLAND. in olive wood. Unfretted with octave strings from FF to
Inscriptions. Inscribed J A Hass|Hamb/ Anno 1761. B in the bass.
Compass. FF-P. Reference: Whitehead Tb.
Keyboard: White naturals, black sharps. Information supplied by: Bz/Witebead.
Exterior of case: Painted. Boalch3 number: HASS, J. A. 1762.
Scale: 287 mm. Boalch 2 number: 14b.
Length: 1749 mm.
Width: 534 mm.
Depth: 168 mm.
‘Type: Fret-free clavichord with octave strings in the bass.
Date: 1763.
Remarks. This instrument appears in Bz as number 17
Ownership: RUSSELL COLLECTION, EDINBURGH
with the date 1763, but according to Luckett, the date is
UNIVERSITY, SCOTLAND.
1761, and this was confirmed by Christopher Clarke who
Number: 22.
in 1978 restored the instrument. Keylevers of lime.
Ivory naturals with ebony arcaded fronts, and sharps of Inscriptions: Soundboard inscribed J. A. HASS HAMBG
ANNO 1763.
black-stained lime with ebony tops. Exterior of case in
tortoiseshell effect of lamp black on vermillion ground. Compass: FF-P.
Keyboard: Special naturals and sharps.
Interior of lid with chinoiserie on a vermillion ground.
Unfretted. 4’ strings from FF to c in the bass. Exterior of case: Painted.
Scale: 285 mm.
Previous bistory: Bought by Christopher Hogwood in 1976
from the family of Sir Humphrey Noble Bt. in whose Length: 1730 mm.
possession it had been for many years. Christopher Width: 535 mm.
Hogwood has a number of letters to do with the Depth: 170 mm.
instrument including those from Arnold Dolmetsch who Remarks: Natural keys of tortoiseshell with arcaded ivory
restored it in 1918. According to an article in a Sunday fronts. Sharps of ebony plated with mother-of-pearl.
Supplement A Room of My Own in which Christopher Nineteen octave strings FF-B in the bass. External
Hogwood is interviewed, the instrument belonged at one decoration of red, black, and gold with chinoiserie.
time to the family of Isambard Kingdom Brunel, the Interior with olive-wood veneer, mother-of-pearl and
engineer. When bought by Hogwood it was being used soundboard painted with flowers. Inside the lid is an oil
as a bookcase. painting of a river scene. Modern stand.
Reference: Whitebead Th. Technical drawing by Clarke and Previous history: Formerly owned by Lord Dartmouth, and
Barnes available from John Barnes, 3 East Castle Rd., Captain Lane, Wanstead. Bought by Raymond Russell in
Edinburgh, EH1o 5AP. 1956.
Information supplied by: Bz|Luckett|Hogwood|MacTaggart/ References: RussColl, p. 49 (illustrated). Russe/l1939, pp.
Whitebead. 100, 103, and plates 93, 94. RassCollrg86, p. 17. Full scale
Boalch 3 number: HASS, J. A. 1761(4). drawing by Richard Loucks, and record, available from
Boalch 2 number: 17. Russell Collection.

'y Google
374 HASS
Information supplied by: Bz2|RussColl|Weldon|RussColl1986] originals (and have undergone some reshaping and scoring
Raymond. in ¢. 1978 so as to make them resemble the keys of HASS,
Boalch3 number: HASS, J. A. 1763(1). J. A. 1763(1)), with ebony arcaded fronts, and sharps of
Boalch 2 number: 15. ebony capping on stained fruitwood. Entire lid, legs, and
rosewood veneer (set in a herringbone pattern with
‘Type: Fret-free clavichord with octave strings in the bass. stringing of light fruitwood) on outside of case are
Date: 1763. modern (probably dating from a restoration by Erard of
Ownership: PRIVATE COLLECTION. Paris in 1935). Rosewood veneer on keyblocks and most
Inscriptions: Signed J A Hass|Hambg Anno 1763. of the interior is original. Soundboard painting in very
Compass: FF-f. good order. Case sides and mouldings above soundboard
Keyboard: White naturals, black sharps. painted vermillion. The three stop levers on the wrestplank
Exterior of case: Painted. do not protrude through the nameboard.
Scale: 285 mm. Previous history: According to RussColl p. 51: ‘From a
Length: 1760 mm. letter of C. J. Rheinhold (Amsterdam 1867), whose
Width: 544 mm. grandfather had owned it, the instrument appears to have
Depth: 168 mm. belonged to Mozart and to have been carefully restored
Remarks: Keylevers of lime. Ivory naturals with arcades about 1840. From 1867 to 1937 it was owned by members
of ebony, and sharps of black-stained lime and ebony of the Six family of Amsterdam. After extensive renovation
tops. Case of pine painted in simulation of tortoiseshell, by Erard in 1935 it was bought in 1937 by Miss Mary
with brass ribbon hinges. Fascia board and cheeks Dunne of California who loaned it to various museums
veneered with olive wood. Interior of lid with gilt and was purchased from her by Raymond Russell in
decoration of chinoiserie on red lacquer ground. Sound- 1955.’ Given to Edinburgh University in 1964 by Mrs.
board painted with flowers. Later stand with four square Russell.
tapered legs by Dolmetsch. Unfretted, with octave strings References: RussColl, p. 31. Friends of St Cecilia’s Hall,
from FF to B in the bass. Brief Guide. . ., 1981, 86, p. 4.
Previous history: Formerly Vere Pilkington, Portugal. For- Information supplied by: B2/RussColl;
Kottick{ RussColli9&6/
merly Michael Thomas (1954). Formerly Captain Lane, Raymond] Barnes.
Wanstead. Hugh Gough (1945 7), and earlier bought by Boalch 3 number: HASS, J. A. 1764.
Messrs. Legg of Cirencester at Sotheby’s (13 December Boalch 2 number: 18.
1935). Offered at Sotheby’s on 12 December 1985.
References: Sotheby’s Catalogue of 12 December 1985 Type: Fret-free clavichord.
(illustrated there). Illustrated in HiMI before the Dol- Date: 1767.
metsch restoration. Ownership: PRIVATE COLLECTION, ENGLAND.
Information supplied by: Bz) Sotheby’s|Wbitehead. Inscriptions: Inscribed J. A. Hass Hambg. Anno. 1767, in
Boalch; number: HASS, J. A. 1763(2). red ink on the soundboard.
Boalch 2 number: 16. Compass: FF-P.
Keyboard: Special naturals and sharps.
Type: Single-manual harpsichord. Exterior of case: Painted.
Date: 1764. Scale: 288 mm.
Ownership: RUSSELL COLLECTION, EDINBURGH Length: 1733 mm.
UNIVERSITY, SCOTLAND. Width: 540 mm.
Number: 14. Depth: 177 mm.
Inscriptions: Signature in ink on front edge of soundboard: Remarks: Naturals of tortoiseshell with arcaded ivory
J-A. Hass Hambg Anno 1764. fronts. Sharps of tortoiseshell and mother-of-pearl chev-
Specification: 2x8", 1x4. rons. Nineteen octave strings in the bass. Case and internal
Additional features: Harp stop, 3 hand stops. members pine. Outside painted in simulated mahogany.
Compass: FF-f. Moulded stand on cabriole legs with shell carved knees,
Keyboard: White naturals, black sharps. and pad feet. Keywell, inner face of the case, and hitch
Number of roses: None. pin rail vencered in olive wood. Tool-box lid with
Exterior of case: Crossbanded. engraved ivory and tortoiscshell. String gauges marked
Scale: 363 mm. by wrestpins. Inside lid painted with a landscape with
Length: 2302 mm. figures and animals in varnished tempera.
Width: 976 mm. Previous bistory: Sir Gervas Glyn who owned it when it
Depth: 247 mm. was shown in London in 1904 at the Musical Loan
Remarks: Naturals of ivory with original tails, which have Exhibition, Fishmongers’ Hall- Catalogue No. 15. Then
been ‘thinned’ to match the replacement heads (which are Miss Margaret Glyn. Bought by Raymond Russell in
probably by Erard, 1935) which are thinner than the 1952. Then to Mrs Maud Russell. Sold at Sotheby’s on

ity Google
 HASS(A) 375
Ltd. as executors of the late Mrs. M. J. A. Russell (decd). not by Hass. Bz says it is trichord in the bass. Whitebead
References: Ulustrated in Rassellrgsg plates 93 and 94. reports octave strings in the bass FF-c.
Sotheby's catalogue of 7 April 1983. References: MMCC. Whitebead Tb.
Information supplied by: B2|Owner. Information supplied by: Bz|Weldon| MMCC|W hitebead.
Boalch 3 number: HASS, J. A. 1767. Boalch3 number: HASS(A). 1761.
Boalch 2 number: 19. Boalch 2 number: 14a.

Type: Clavichord.
HASS(A), JOHANN ADOLPH(A). Date: 1786.
‘Type: Fret-free clavichord Ownership: Not known.
Date: 1750(A). Remarks: Signed by Hass, but which member of the family
Ownership. DEN GAMLE BY, KOBSTADMUSEUM, is not known.
ARHUS DENMARK. Accession number not known. Previous bistory: Shown by H. Kohl of Hamburg at the
Inscriptions: Instrument inscribed Job. Christ. Feigenser| Allgemeine Musik-Ausstellung, Berlin, 1898.
Reparirt 1778 und in|Cammerton gebracht.|Ligeledes repareret Information supplied by: Bz.
i 1909 af Pianorte|Instrumentmager s. Quade| Nielsen. Boalch 3 number: HASS(A). 1786.
Compass: FF-P. Boalch 2 number: 22.
Keyboard: Special naturals and sharps.
Exterior of case: Painted. Type: Clavichord.
Length: 1735 mm. Date: Not known.
Width: 510 mm. Ownership: SNOECK FAMILY, GHENT, BELGIUM.
Depth: 170 mm. Remarks: It is not known which member of the Hass
Remarks: The attribution to J. A. Hass and the date are family made the instrument or the date. The Snoeck
by the Museum. Naturals of hardwood plated with family owned the instrument in 1953.
tortoiseshell; sharps of ivory inlaid with tortoiseshell. Information supplied by: Bz.
Outer case of pine, painted pale green. Inner side of lid Boalch 3 number: HASS(A). n.d.(1).
painted ‘cinnabar’. Lid has brass hinges. Bottom two Boalch 2 number: 24.
octaves are trichord (no 4’ strings) rest is double strung.
Type: Clavichord.
Scale at middle c—610 mm.
Date: Not known.
Previous bistory: Bought at an auction in 1885 by Rasmus Ownership: PRIVATE COLLECTION,
Pedersen, Jelling. Donated by his son, Jens Olsgard, to PORT-OF-SPAIN, TRINIDAD.
the museum in 1908. Repaired 1778 by Johannes Christian Remarks: The date and the member of the Hass family
Feigenser, and in 1909 by S Quade Nielsen, of Arhus. who made the instrument are not known.
Information supplied by: Henrik Nyrop-Christensen|Martha Information supplied by: B2.
Borgsmidt. Boalch 3 number: HASS(A). n.d.(2)
Boalch3 number: HASS(A), J. A.(A). 1750(A). Boalch 2 number: 26.
Boalch 2 namber: None.
Type: Clavichord.
Date: Not known.
HASS(A). Member of family unknown.
Type: Fretted clavichord with octave strings in the bass. Ownership: ST. ANNENSMUSEUM, LUBECK,
Date: 1761. GERMANY. Accession number not known.
Remarks: It is reported that a Hass clavichord, which is
Ownership: MUSIKHISTORISK MUSEET,
in a very decrepit state, is in this museum, but no other
COPENHAGEN, DENMARK.
details are known.
Number: Cl.51.
Information supplied by: Bemmann.
Compass. FF-P(A). Boalch 3 number: HASS(A). n.d.(3).
Seale: 276 mm.
Boalch 2 number: None.
Length: 1687 mm.
Width: 509 mm. Type: Fret-free clavichord.
Depth: 143 mm. Date: Not known.
Remarks: The clavichord registered in Bz as by Hass, and Ownership: HAENDEL-HAUS, HALLE, GERMANY.
numbered 14a is the Museum’s number Cl.51. Though Number: 81.
this instrument has many North-German characteristics Compass: C-d"(A).
including a painted soundboard, the Museum’s Director Number of roses: 1.
believes it is not by a member of the Hass family. Remarks: Which member of the Hass family made the
The soundboard grain laid obliquely might point to a instrument, and the date are unknown. The rose with a
Scandinavian maker. Whitehead equally believes that it is letter H lead Sasse (p. 21) to suggest it might be by a Hass.

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376 HATLEY
Probably dated in the second half of the eighteenth and secured with wire hinges.
century. Friedrich Ernst reviewing Sasse in Die Musikfor- Previous history: Bought by Major Fletcher at Puttick &
schang, vol. 21 (1968) regarded the stichmass of 475 mm. Simpson’s 2 November 1933. It seems almost beyond
as making this attribution impossible since the Hamburg doubt that this instrument is the same as that recorded
makers used a stichmass of at least 490 mm. The Catalogue by B? as number 2. If this is the case, then at one time,
of the instruments in the Haendel-Haus, Halle, [HeydeHH] probably in 1906, when it was seen by Arthur Hill, it
does not even suggest an attribution to Hass, and wisely passed through the hands of Mr. Parkyn, a dealer, of
gives the instrument as ‘wahrscheinlich Baden Ende 18. Cromer Street, Grays Inn Road, London.
Jahrhundert’, and suggests that the H in the rose may References: BFCat. GD (1940), 5, 545-
have been the monogram of an owner. Information supplied by: B?/BFCat|Martin.
References: Sasse, Die Musikforschung, and HeydeHH, p. 20. Boalch 3 number. HATLEY, R. 1664.
Information supplied by: B?|HeydeHH. Boalch 2 number: 1 and 2.
Boalch 3 number. HASS(A). n.d.(4).
Boaleb 2 number: (27). HATLEY(A), ROBERT.
Type: Rectangular virginal.
Type: Clavichord. Date: Not known.
Date: Not known. Ownership: PRIVATE COLLECTION, BUSHEY,
Ownership: DR. HARRO SCHMIDT, HAMBURG, ENGLAND.
GERMANY. Specification: 1x8".
Inscriptions. J.A. Hass Hamb. Reparirt 1761 and another Remarks: Seen by A. Hill, ¢. 1915. The property of a
inscription dating a repair in 1934. lady. Probably the same instrument as that in the
Remarks: No original signature, though it is reported that Benton-Fletcher Collection. B? suggests that the instru-
the style of the instrument suggests that it was made by ment might possibly be by Robert Tolley, though under
a Hass. Tolley B? suggests that this might be a misreading of
Information supplied by: B?. Hatley.
Boalch 3 number: HASS(A). n.d(s). Information supplied by: B?.
Boalch 2 number: 28. Boalch 3 number. HATLEY(A), R. n.d.
Boalch 2 number: 3.
HATLEY, ROBERT.
Type: Rectangular virginal. HAUSER, JOHANN HERMANN.
Manuals: 1. Type: Fretted clavichord.
Date: 1664. Date: 1761.
Ownership: BENTON FLETCHER COLLECTION, Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
FENTON HOUSE, LONDON. Accession number not GERMANY.
known. Number: 17.
Inscriptions. Signed on jackrail: ROBERTUS HATLEY Inscriptions: Inscribed around the inner side of the bridge.
LONDINI FECIT 1664, and on belly rail: RH.1.6.6.4 1761 IAANNES. HERMANNUS. HAUSER. IN.
and also TC 1732. GIMB in black characters on a red ground. For details
Specification: 1x8’. see: Henkelz, plate 60.
Compass: FF,GG-c’. Compass: C-c'.
Keyboard: Black naturals, white sharps. Keyboard: White naturals, black sharps.
Number of roses: 2. Number of roses: None.
Style of roses: Geometric pattern. Exterior of case: Plain wood.
Exterior of case: Plain wood. Scale: 320 mm.
Scale: 266 mm. Length: 1294 mm.
Length: 1673 mm. Width: 369 mm.
Width: 520 mm. Depth: 126 mm.
Depth: 222 mm. Remarks: Inset keyboard. Keys of lime, angled roof-
Remarks: A typical English virginal. Modern keyboard carved. Key slips of wood. Naturals of boxwood with
by Dolmetsch has ebony naturals and solid bone sharps. the fronts lost, two pairs of grooves. Soundboard, spruce.
A photograph exists showing that the original was similar Second soundboard under the keys with rose. Bridges of
with embossed paper arcades on the naturals. Soundboard walnut. Base of pine, and case of walnut. Internal members
painted with flowers and fruit. Two small roses one of an unidentified timber. Thirty-two courses of strings.
original in wood and a replacement in cardboard. Inside String gauges marked between wrestpins.
of case and keyboard surround in embossed gilt paper. Previous history: 1910 Heyer Collection, Cologne, and
Casework of oak. Lid and drop front contain paintings before that for several generations in Wupperfeld.
of figures in a country setting. Lid was originally coffered References: Henkel2z, pp. 43—5 and illustrations at plates 22,

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 HAWARD 377
23, 60, and 79. Remarks: The main gap is at an angle to the spine, and
Information supplied by: B2|Weldon|Henkel2. there are traces of an original lute stop (now removed.
Boalch 3 number: HAUSER, J. H. 1761. Woolley says that there were two ranks in the lute gap).
Boaleh 2 number: 1. Four elaborate roses in the soundboard. Naturals of ebony
with fronts having slips of gold-blocked paper. Sharps of
HAUSLAIB, LORENZ. ivory. Double curved bent side. Italian style bridge and
Type: Ottavino. nut. Original scale 260 mm. but reduced subsequently to
Date: 1598. 241 mm. Complex soundboard barring. Instrument has
Ownership: METROPOLITAN MUSEUM OF ART, undergone several restorations, including one in the early
NEW YORK, USA. 1960s when a number of jacks were renewed. Dennis
Number: 89.4.1191. Woolley carried out a further restoration in 1980-81,
Inscriptions: On the jackrail: D.G. guid posibile (sic) apud replacing a rank of modern jacks to match the existing
Laurentium Hauslaib Noribergensem 1598. originals in the other row.
Specification: 1x4". Previous history: As far as is known the instrument has
Compass: C/E-g*,a’, short octave. always been in the possession of the Worsley family at
Keyboard: White naturals, black sharps. Hovingham. Restored by Hugh Gough ¢. 1960. Restored
Number of roses: 1. again by Dennis Woolley 1980-1.
Style of rose(s): Parchment. References: Russellrgy9, plate 61. Hubbr96s, plate XIX.
Exterior of case: Plain wood. Mould Note 1964. EHM vol. 3, No. 1, 1981.
Seale: 161 mm. Information supplied by: Bz2|Russell| Hubb| Woolley.
Length: 661 mm. Boalch 3 number. HAWARD, C. 1683(1).
Width: 281 mm. Boalch 2 number: 1.
Depth: 95 mm.
Remarks: The instrument is a rectangular octave virginal, Type: Wing spinet.
being the upper manual of a claviorganum. Bz states that Date: 1683.
the date should be 1596, but LibinP confirms that it is Ownership: THE EARL OF HADDINGTON,
1598. MMACL also gives 1598. The ottavino fits into a BERWICKSHIRE, SCOTLAND.
drawer-like space above the organ manual. No exterior Inscriptions: Carolus Haward Fecit. 1683. Soundboard signed
mouldings on case. Bone naturals with keyfronts of wood underneath; King 1886. (2workman to Taphouse who
and parchment in trefoil design. Dark-stained sharps with owned it then).
ebony tops. There appears to have been a coupling Specification: 1x8".
mechanism to the lower manual but it is no longer Keyboard: Black naturals, white sharps.
present. The organ has four stops. Number of roses: 1.
Previous history: Crosby-Brown Collection, 1889. Exterior of case: Plain wood.
References: MMACL. Photographs (negative numbers Remarks: Ebony naturals, ivory sharps. Plain walnut case
146764, 196288, 196420) are available from the Museum. with brass strap-hinges. Decorated soundboard. On late
Information supplied by: Bz| MMACL. eighteenth-century oak stand with barley-sugar twist legs
Boalch 3 number: HAUSLAIB, L. 1598. and plain stretcher.
Boalch 2 number: 1. Previous bistory: Part of the Taphouse Collection in the
nineteenth century. On loan to the Victoria and Albert
HAWARD, CHARLES. Museum until about 1974. Now housed at Mellerstain
Type: Single-manual harpsichord. House, Berwickshire, home of the Earl and Countess of
Date: 1683. Haddington.
Ownership: SIR MARCUS WORSLEY, HOVINGHAM Information supplied by: B2/Sturgis.
HALL, YORKS, ENGLAND. Boaleh 3 number: HAWARD, C. 1683(2).
Inscriptions: Carolus Haward 1683. This is executed rather Boalch 2 number: 2.
crudely on the soundboard about 40 mm. from the distal
edge of the main gap. Type: Wing spinet.
Specification: 2x8’. Date: 1684.
Additional features: 2 hand stops. Ownership: METROPOLITAN MUSEUM OF ART,
Compass: FF,GG-d?. NEW YORK, USA.
Keyboard: Black naturals, white sharps. Number: 89.2.163 (formerly number 89.4.1223).
Number of roses: 4. Inscriptions: On nameboard: CAROLUS HAWARD
Style of rose(s): Geometrical pattern. 1684.
Exterior of case: Plain wood. Specification: 1x8",
Scale: 241 mm. Compass: GG/BB-d’, short octave.
Length: 2254 mm. Keyboard: Black naturals, white sharps.

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378 HAWARD
Number of roses: 1. Ownership: FORMERLY IN THE BODDINGTON
Style of rose: Parchment. COLLECTION, MANCHESTER, ENGLAND.
Exterior of case: Plain wood. Accession number not known.
Scale: 287 mm. Inscriptions: Carolus Haward Fecit 1687.
Length: 1391 mm. Specification: 1x8’.
Width. 570 mm. Compass: GG/BB-d?(A), short octave.
Depth: 191 mm. Keyboard: Black naturals, white sharps.
Remarks: Ebony naturals with dark-stained keyfronts and Remarks: It seems almost certain that this instrument
sharps of solid ivory. Case of solid walnut except for given a separate entry in B? is the instrument listed below
spine which is deal veneered with walnut. Case walls as HAWARD, C. 1687(z). Black naturals, skunktail
surround the bottom boards. Stand of three turned legs. sharps.
Previous bistory: From the Joseph W. Drexel Collection, Previous history: The Connoisseur of 1901 states: ‘A collection
1889. of Henry Boddington of Pownell Hall, Wilmslow, fetched
References: Wint1g61, p. 24, number 11. MMACL, photos good prices at Messrs. Puttick and Simpson’s. . . an
(negative numbers 82859, 82860, and others) available English spinet by Charles Haward, 1687, £8 55.’
from the Museum. Information supplied by: B?|Connoisseur.
Information supplied by: B?|MMACL. Boalch 3 number: HAWARD, C. 1687(1).
Boalch3 number: HAWARD, C. 1684. Boalch 2 number: 4.
Boalch 2 number: 3.
Type: Wing spinet.
Type: Wing spinet. Date: 1687.
Date: 1685(A). Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
Ownership: CUMMER GALLERY OF ART, GERMANY.
JACKSONVILLE, FLORIDA, USA. Accession Number: 1094.
number not known. Inscriptions. Inscribed in ink on the proximal side of the
Inscriptions: Signed on jackrail Caro/us Haward. jackrail Carolus :: Haward :: Fecit :: 1687.
Specification: 1x8". Specification: 1x8’.
Compass: GG/BB-d?, with divided C¥. Compass. GG/BB-d’, broken octave.
Number of roses: 1. Keyboard: Black naturals, white sharps.
Style of rose(s): Geometrical pattern. Number of roses: 1.
Exterior of case: Plain wood. Style of rose: Geometrical pattern.
Scale: 299 mm. Exterior of case: Plain wood.
Length: 1589 mm. Scale: 299 mm.
Width: 530 mm. Length: 1457 mm.
Depth: 182 mm. Width: 514 mm.
Remarks: The date is ascribed in EKJ vol. 2, p. 66. Depth: 182 mm.
Naturals not specified—skunktail sharps of bone and Remarks: It scems almost certain that this instrument is
ebony. Plain wood case of solid walnut with pine spine, the same as that given above as HAWARD, C. 1687(1).
and double-curved bent side. Veneered around inside rim Naturals of ebony with fronts of pear(?). Skunktail sharps
with rosewood and boxwood stringing. Trestle stand
of ivory with an strip of ebony. Double curved bent side.
with turned and cabriole legs. Nameboard decorated with
typical bird and floral marquetry. Lowest sharp split to
Outer case of walnut(?). An inlaid panel over the keyboard
with marquetry of flowers and foliage. Original stand
give a partial broken octave. Wire crested bridge, leather
missing.
jack-guides. Old jacks but not original. String gauge
Previous history: At one time the property of J. Kendrick
markings on wrestplank.
Pyne, thereafter in the Boddington Collection, and then
Previous history: Messrs. Partridge, New York, had a spinet sold to an unknown purchaser at Puttick and Simpson
by him in 1951 (presumably this one). Restored in 1979 on 24 July 1901. From 1901/2 in the Heyer Collection,
by John Watson.
Cologne.
References: EKJ, 1, catalogue number H-68. Illustrated,
References: Ks [2,672] lists ‘Spinett von Haworth [Chas.
figs. 3 and 4. See also: John Watson, ‘Three examples of
Haward, London] 1687’. Henkelr, pp. 110-11 and plate
early keyboard restoration in the Southeast’, EKJ, 1,
(1982-3), pp. 16-24. 63.
Information supplied by: B?/EKJ|Watson. Information supplied by: B?/Henkelt.
Boalch 3 number: HAWARD, C. 1685(A). Boalch3 number: HAWARD, C. 1687(2).
Boalch 2 number: 11. Boalch 2 number: 5.
Type: Wing spinet. Type: Wing spinet.
Date: 1687. Date: 1689.

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 HAWARD(A) 379
Ownership: TONY BINGHAM, LONDON, paper. Naturals of ebony; sharps of ivory. The bridge
ENGLAND. and nut have brass wire along the crown. The jacks are
Inscriptions: CAROLUS HAWARD FECIT 1689. not original but date from the eighteenth century. Case
Specification: 1x8". of walnut, and the stand (probably original) of oak.
Compass: GG/BB-c’, broken octave. Compass of fifty keys.
Keyboard: Black naturals, white sharps. Previous history: The instrument was lent to the Victoria
Number of roses: 1. and Albert Museum for some years about 1932; after
Style of rose: Geometrical pattern. which it was sold, and was later bought by Dr. W. H.
Exterior of case: Plain wood. Brazil. After his death it was sold at Johnson, Dymond’s
Scale: 290 mm. on 24 September 1947, and was bought by C. A. Legg
Length: 1270 mm. of Cirencester, to whose father, Edmund Legg, it had
Width: 570 mm. once belonged. C. A. Legg sold it to Howard Phillips,
Depth: 190 mm. London, about 1965.
Remarks: Ebony naturals with embossed paper fronts. References: The instrument is illustrated in the Antique
Ivory sharps. Walnut case. Collector, London, 1937, p. 15-
Information supplied by: Bingham|Luckett. Information supplied by: B.
Boalch 3 number. HAWARD, C. 1689. Boalch 3 number: HAWARD, C. n.d.(3).
Boalch 2 number: None. Boalch 2 number: 10.

Type: Wing spinet. Type: Wing spinet.

Date: Not known. Date: Not known.
Ownership: Not known. Ownership: Not known.
Specification: 1x8’. Specification: 1x8’.
Previous bistory: In Coventry in 1946. Previous history: Formerly the property of William Dale.
References: Figured in GD (1940), s.v. Spinet. References: Depicted in DEF, II.
Information supplied by: Bz. Information supplied by: Bz.
Boalch 3 number: HAWARD, C. n.d.(1). Boalch 3 number. HAW ARD, C. n.d.(4).
Boalch 2 number: 6. Boalch 2 number: 13.
Type: Wing spinet. HAWARD(A), CHARLES.
Date: Not known. Type: Wing spinet.
Ovnersbip: Not known. Date: 1685(A).
Specification: 1x8". Ownership: PRIVATE COLLECTION, LONDON,
Previous history: Shown at International Inventions Exhib- ENGLAND.
ition 1885 by the Revd. L. K. Hilton. Also shown in Inscriptions: According to Bz inscribed C.H., but according
Vienna 1892. to Mrs. Margaret Susands the C is reversed.
Information supplied by: Bz. Specification: 1x8".
Boalch 3 number: HAWARD, C. n.d.(2). Compass: BB-d?.
Boalch 2 number: 8. Keyboard: Black naturals, white sharps.
Exterior of case: Plain wood.
Type: Wing spinet. Length: 1485 mm.
Date: Not known. Remarks: According the Christie’s catalogue ‘. . . in a
Ownership: HOWARD PHILLIPS, LONDON, walnut case, the interior with oyster parquetry and a floral
ENGLAND. marquetry panel, mounted with brass strap hinges, the
Inscriptions: Carolus Haward Fecit, on nameboard. On the naturals of ebony and accidentals of ivory, on a stand
wrestplank is an inscription which might be read as 7757. with turned supports . . . circa 168; . . . Compass B-d’
Specification: 1x8’. (sic), formerly short octave to GG.’
Compass: GG/BB-c(A). Previous history: Formerly Sir Robert Cooke, Athel-
Keyboard: Black naturals, white sharps. hampton. Sold at Christie’s on 26 June 1987. Jeremy
Number of roses: 1. Montagu writing in EM vol. XV, No. 4, November
Exterior of case: Plain wood. 1987, p. 526 states: ‘The name [Charles Haward] was
Length: 1346 mm. given in full in the catalogue, and thus, in normal
Width: 555 mm. auctioneer’s practice is warranted to be by him, but
Depth: 184 mm. although Boalch, assigning the instrument to Charles
Remarks: Soundboard, embellished with handsome dec- Haward and listing it as no. 14, noted the initials C.H.,
orations in ink. Rose of wood and vellum. The keyboard no initials or any other mark could be discerned anywhere
is of pine, and the keys have fronts of embossed white on it, nor did it look as early as the 1680s, Haward’s

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380 HAWKINS
working period. It was in very poor condition, as though Previous history: Seen in an antique dealer’s shop in
it had lived in a stable with a leaking roof; it was covered Derbyshire in June 1974.
in damp and mould, the rose was missing, the soundboard Information supplied by: MouldNote.
was badly warped and cracked and the lid was cracked, Boalch 3 number. HAWKINS, F. n.d.
yet it had what appeared to be a new jackrail and a Boalch 2 number: None.
further puzzle is that the tuning pins were of brass, surely
an unusual material for this purpose at any period. Despite HAXBY, THOMAS.
this catalogue of woes, it fetched £14,000.’ Sold again at Type: Wing spinet.
the Grosvenor House Antiques Fair, 9~18 June 1988, by Date: 1763.
Michael Foster. Ownership: PRIVATE COLLECTION, LONDON,
References: EM. Illustrated and described in Christie’s ENGLAND.
catalogue of 26 June 1987. Illustrated again in the Inscriptions: Thomas Haxby York 176; in ink on boxwood
handbook of the Grosvenor House Antiques Fair 1988, plaque on nameboard. Similar inscription in pencil on
Pp. 63, after some restoration. reverse of nameboard.
Information supplied by: B*|Christie’s|Susands|EM. Specification: 1x8".
Boalch 3 number. HAWARD(A), C. 1685(A). Compass. GG-P.
Boalch 2 number: 14. Keyboard: Black naturals, white sharps.
Number of roses: None.
Type: Wing spinet. Exterior of case: Plain wood.
Date: Not known. Scale: 270 mm.
Ownership: ROYAL NORTHERN COLLEGE OF Length: 1845 mm.
MUSIC, MANCHESTER, ENGLAND. Accession Width: 660 mm.
number not known. Depth: 215 mm.
Inscriptions: Not known. Remarks: The earliest known Haxby spinet. Naturals of
Specification: 1x8". ebony with plain fruitwood fronts. Sharps of ivory caps
Compass: GG/BB-P. on ebony. Case of plain walnut veneer with fruitwood
Scale: 537 mm. lines.
Remarks: It seems most likely that B? numbers 9 and 12 Information supplied by: S. Morris.
are the same, and this is corroborated by Bevan and Martin, Boalch 3 number: HAXBY, T. 1763.
who reported in 1992 after a short examination of the Boalch 2 number: None.
RNC instrument that any attribution to Haward was
highly suspect, and that it more closely resembled a Type: Wing spinet.
Player spinet, though not sufficiently so to make this an Date: 1764.
authoritative statement. The case design is totally unlike Ownership: MUSEUM OF FINE ARTS, BOSTON,
any other Haward and is probably of walnut (not USA.
mahogany as stated by B? for number 12). There is no Number: 1978.199.
sign of a split C# key (as was reported in B? for number Inscriptions: On name-batten in ink Thomas Haxby York
12z) and though the compass is as shown above (and 1764.
agrees with B? number 12), there are no endblocks, and Specification: 1x8’.
the keyboard may have come from another instrument. Compass: GG-F.
There is a ‘capping piece’ over the wrestplank and jack Keyboard: Black naturals, special sharps.
guides which probably hides alterations, though the Exterior of case: Veneered.
bridge position is original. Elaborate marquetry around Scale: 273 mm.
the keywell, inner rim, and on the jackrail. Length: 1850 mm.
Previous history. Formerly part of the Henry Watson Depth: 209 mm.
Collection. Remarks: Naturals of ebony with plain maple fronts;
Information supplied by: B?|Bevan| Martin. sharps ivory topped. Stichmass—483 mm. Case exterior
Boalch 3 number. HAW ARD(A), C. n.d. is plain mahogany with maple stringing. Case construction
Boalch 2 number: 9 and 12. of mahogany, with spine and bottom boards of pine.
Small brass strap-hinges on lid. Plain trestle stand.
HAWKINS, FURLEY. Name-batten with holly cartouche.
Type: Wing spinet. Previous history: Mrs. Steinert, Beverly, Massachusetts.
Date: Not known. Mrs. Samuel J. Newman, Beverly, Massachusetts, who
Ownership: Not known. gave it to Museum of Fine Arts in 1978 in memory of
Specification: 1x8'(A). Lena Leviseur Steinert.
Remarks: The existence of this instrument was reported References, Data sheet by John Koster available from
to CMM in June 1974. MFA. MF A(Lambert). BostonCat.

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 HAXBY 381
Information supplied by: B?|MF A(Koster)/MF A(Lambert). Boalch 3 number: HAXBY, T. 1766.
Boalch 3 number: HAXBY, T. 1764(1). Boalch 2 number: 2.
Boalch 2 number: 7.
Type: Wing spinet.
Type: Wing spinet. Date: 1768(A).
Date: 1764. Ownership: PRIVATE COLLECTION, LONDON,
Ownership: DAVID DREY, LONDON, ENGLAND. ENGLAND.
Inscriptions: Thomas Haxby York 1764. Specification: 1x8".
Specification: 1x8’. Remarks: Allegedly a very fine instrument.
Keyboard: Black naturals, white sharps. Previous history: Sold by a dealer in London ¢. 1982.
Number of roses: None. Information supplied by: Not disclosed.
Exterior of case: Plain wood. Boalch 3 number: HAXBY, T. 1768(A).
Length: 1850 mm. Boalch 2 number: None.
Remarks: Case of walnut (a thick mahogany varnish was
removed in 1950). GL reports a compass of four octaves. Type: Wing spinet.
Previous history: Formerly owned by Raymond Barnett. Date: 1772.
Shown by Wm. Dale at International Inventions Exhib- Ownership: FORMERLY IN THE BODDINGTON
ition 1885. Sold at Sotheby’s, 4 July 1947 (possibly to COLLECTION, MANCHESTER, ENGLAND.
John Morley). Owned at some time by Miss Joan Hassall. Inscriptions: Thomas Haxby York 1772:
Ownership by David Drey confirmed in 1985 by GL and Specification: 1x8".
Margaret Cranmer. Compass: GG,AA-P.
Information supplied by: B?|GL| Cranmer. Exterior of case: Plain wood.
Boalch 3 number: HAXBY, T. 1764(2). Remarks: Present location unknown. Shown in B? as a
Boalch 2 number: 1. harpsichord, but according to Koster, it is a spinet. Walnut
case. Stand with square legs.
Type: Wing spinet. Previous history: Formerly Boddington Collection,
Date: 1766. Manchester.
Ownership: M. V. RUNKLES III, PARKTON, Information supplied by: B?.
MARYLAND, USA. Boalch3 number: HAXBY, T. 1772(1).
Inscriptions: Thomas Haxby York 1766. In a letter to DHB, Boalch 2 number: 3.
Thomas R. Byrd reported: ‘Case is Virginia (or red)
Walnut. In an envelope on the underside is the following Type: Wing spinet.
note: May 3, 1855. Instrument number 23. Parlor harp- Date: 1772.
sichord with stand. Maker Thomas Haxby, York, 1766. Ownership: NATIONAL MUSEUM OF IRELAND,
Formerly belonged to Dr. Thomas Arne. Presented to DUBLIN, IRELAND.
me by Horatio Arne Reynolds, Esq, aged 81, a great Namber: 390-1913.
nephew. (signed) Thomas Gore Ouseley’. Inscriptions: Thomas Haxby York.
Specification: 1x8". Specification: 1x8’.
Compass: GG-g'. Compass: GG,AA-P.
Keyboard: White naturals, black sharps. Keyboard: White naturals, black sharps.
Length: 1981 mm. Exterior of case: Crossbanded.
Remarks: Naturals of ivory, sharps of ebonised walnut. Length: 2000 mm.
Case of American walnut with string inlay. Remarks: Trestle stand with square section legs and
Previous history: Thomas Arne. Horatio Arne Reynolds castors.
presented it on 3 May 1855 (at age 81) to Sir Frederick References: The Museum has photos of the instrument.
Gore Ouseley who bequeathed it to St. Michael’s College, Information supplied by: B?|CMM|GL.
Tenbury. Repaired by Alec Hodsdon, Lavenham, in Boalch 3 number. HAXBY, T. 1772(2).
March 1947. Sold at Sotheby’s 18 April 1968 to I. N. Boalch 2 number: 4.
Williams for £850. Restored by P. J. Hooper of Robert
Morley, Bromley, Kent in May 1969. Requilled by Mark Type: Single-manual harpsichord.
Alder, Washington DC, Jan 1977. Sometime acquired by Date: 1775.
Thomas R. Byrd of Baltimore, and purchased by present Ownership: MISS M. CLEVELAND, JAMAICA
owner in 1988 from the estate of Charles Miller of PLAIN, MASSACHUSETTS, USA.
Baltimore. Restrung with soft steel and bronze, and Inscriptions. Thomas Haxby York 1775.
requilled in 1988 by R. J. Regier, Freeport, Maine. Specification: 2x8".
References: Referred to by Hipkins in GD, 1928, art. Spinet. Additional feature® Harp stop, 3 hand stops.
Information supplied by: B*|Runkles|GL. Compass: FF,GG-P.

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382, HEDLUND
Previous History: Harp stop added by R. Goble, Oxford, Information supplied by: Weldon| Barrell] H-O.
who repaired it in 1956, until when it had belonged to Boaleh 3 number: HEDLUND, O. 1745(A).
Dr. J. Cameron Gibson, Monmouth. Thereafter it passed Boalch 2 number: None.
to Theodore Cleveland, and thence to Miss Cleveland.
Information supplied by: Ba. HEINEMANN, JOHANN J.
Boalch 3 number: HAXBY, T. 1775. Type: Single-manual harpsichord.
Boalch 2 number: 5. Date: 1793.
Type: Single-manual harpsichord. Ownership: BRUSSELS MUSEUM, BRUSSELS,
Date: 1777. BELGIUM.
Ownership: CASTLE MUSEUM, YORK, ENGLAND. Number: 2932.
Accession number not known. Inscriptions: Joannes Heinemann me fecit Ao 1793, Antverpiae.
Inscriptions. Thomas Haxby York 1777. Specification: 2x8".
Specification: 2x8’, 1x4]. Number of roses: 1.
Additional features: Harp stop, 4 hand stops, 1 pedal, Length: 1800 mm.
machine. Width: 730 mm.
Compass: FF,GG-P. Remarks: Bz suggests it is the latest surviving Flemish
Keyboard: White naturals, black sharps. harpsichord. Four octaves and two notes with short
Number of roses: 1. octave. Compass not known.
Style of rose: Seated harping figure. Previous history: Formerly part of the Snoeck Collection.
Exterior of case: Crossbanded. Information supplied by: B2.
Length: 2210 mm. Boalch3 number: HEINEMANN, J. 1793.
Width: 959 mm. Boalch 2 number: 1.
Depth: 311 mm.
Remarks: Naturals of ivory, sharps of ebony. Case cross- HELLEN(A), JOHANN LUDWIG.
banded panels of mahogany with box stringing. A special Type: Combined single-manual harpsichord and
form of machine is operated by the pedal. For details see: pianoforte.
Mould Note. There are three stopknobs in the left keycheek Date: 1779(A).
operating respectively (from proximal end) 4’, first 8’, Ownership: MUSIKINSTRUMENTEN MUSEUM,
and harp (to second 8’). In the right keycheek is .a BERLIN, GERMANY.
stopknob operating the second 8’. Rose exactly like a Number: 2167.
Kirkman harping figure except that the initials are T H Inscriptions: None. For details of the ascription to Hellen,
not I K. see: BerlinCat, p. 233.
Previous history. Not known except that Morleys repaired Specification: 1x8".
it in 1962. Compass: FF-f.
References: Refer to Castle Museum, York, and Moxld Keyboard: Black naturals, white sharps.
Note. Number of roses: 1.
Information supplied by: B2|Mould Note. Style of rose: Geometrical pattern.
Boalch3 number: HAXBY, T. 1777. Exterior of case: Veneered.
Boalch 2 number: 6. Scale: 308 mm.
Length: 2000 mm.
HEDLUND, OLOF. Width: 895 mm.
Type: Fret-free clavichord with octave strings in the bass. Depth: 240 mm.
Date: 1745(A). Remarks: Combined harpsichord and pianoforte, attributed
Ownership: SKARABORGS LANSMUSEUM. SKARA, to Hellen, or Heblen. The Museum gives the date as ‘before
SWEDEN. Accession number not known. 1779’. Double strung throughout, the harpsichord jacks
Compass: C-g. plucking to the right. Naturals of ebony with black fronts.
Keyboard: White naturals, black sharps. Sharps of stained pear with ivory tops. Outer case
Length: 1560 mm. veneered with panels of walnut. The main lid has an
Width: 460 mm. interior painting of bagpipers in a landscape which is
Remarks: The ascription to Hedlund is based on the thought to be from the seventeenth century, and on the
embossed keyfronts. Keys of pine, roof-carved. Naturals, rectangular lid flap is a knight, of the same period, but
fruitwood with embossed gilded paper fronts. Sharps of by another artist.
ebony-capped, black-stained wood. Soundboard of pine, Previous history: Restored in 1779, 1940, and 1961. Formerly
very badly damaged. Bridges of beech. Eighteen octave in the Snoeck collection. Acquired by the Muscum in
strings in the bass. 1902.
References: H-O No. S 16 VM w. nr, Illustrated at figs. References: BerlinCat, pp. 233-7, including a colour
122A, 122B on p. 141. illustration.

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 HEMSCH 383
Information supplied by: Droysen-Reber| Elste|BerlinCat. Inscriptions. Round the rose HENRY (sic) HEMSCH,
Boalch 3 number: HELLEN(A), J. L. 1779(A). though MFA (Lambert) says simply: HEMSCH. Painted
Boalch 2 number: None. on the soundboard near 8’ bridge in the bass 1706. The
date seems to have been overpainted (probably in the
HEMSCH, GUILLAUME. nineteenth century). The third digit was thought to be
Type: Two-manual harpsichord. ‘s? by Hubbard, but this now seems unlikely in view of
Date: 1763. the fact that the original owner died in 1747. Coat of
Ownership: CLAUDE MERCIER-YTHIER, PARIS. arms carved on the stand and painted on the nameboard
Specification: 2x8’, 1x4’. indicate original ownership by the Wittelsbach family.
Remarks: Compass of five octaves. Specification: 1: 2x8’, 1x4’; I: 1x8’.
Previous history: M. Henri Magne who died in his tooth Additional features: Coupler.
year in 1990. Thence to Claude Mercier-Ythier, Paris. Compass: FF-c'.
Information supplied by: Bz|Guillow. Number of roses: 1.
Boalch 3 number. HEMSCH, G. 1763. Style of rose: Seated harping figure.
Boalch 2 number: 2. Exterior of case: Painted.
Scale: 378 mm.
Type: Two-manual harpsichord. Length: 2378 mm.
Date: 1766(A). Width: 891 mm.
Ownership: RAYMOND TOUYERE, GENEVA, Depth: 280 mm.
SWITZERLAND. Remarks: Date is uncertain, but 1756 (see MF A(Lambert))
Inscriptions: Date 1636 on soundboard. Date 1766 on was until 1990 generally agreed as most likely. Since then,
bottom and top keys. research by Koster, who has examined all the surviving
Specification: 2x8’, 1x4’. instruments by Hemsch, makes it seem more likely that
Additional features: Genouillére, shove coupler. the date is 1736 or possibly 1746, and that this is the
Compass: FF-P. earliest surviving Hemsch harpsichord. An original harp
Number of roses: 1. stop is now missing. Keyboards are a nineteenth-century
Style of rose: Seated harping figure. replacement, originally with compass DD-d’ but
Remarks: A French double by Guillaume Hemsch. O’Brien rearranged to likely original FF-e’ by Frank Hubbard in
confirms that it is an unauthentic Ruckers—his number the 1960s. Stichmass 468 mm. Holes in bottom board
‘1636b IR’, and suggests the date of 1766 found on the
under keys indicate instrument was once part of a
keys is the date of manufacture (by Hemsch). Though
claviorganum. Case elaborately painted and gilded inside
French, it has an IR rose, but a French shove coupler
and out, under which are traces of an original vermillion
and action.
colour. Carved and gilded elaborate stand in Louis XV
Previous history: Made by Guillaume Hemsch. Owned by
style with the Wittelsbach coat of arms in the same style
C. Snoeck, Ghent; Mme. Planchard, Paris, who sold it c.
1925 to Mile. Berthe Vaucher, Geneva. 1970 Mme. Isabella as the same arms on the soundboard. Following a
Nef, Geneva. re-examination by Koster in 1990 the stand has been
References: VdMCemRuck, p. 110. O’Brien, pp. 186, 195, described as authentic eighteenth-century work, though
281. See also: RUCKERS(A), I(A). 1636(A)(2). both the stand and the arms appear to be a second state
Information supplied by: Bz/O" Brien|O’ BrienPC. of decoration (there are traces of painted arabesques in
Boalch 3 number: HEMSCH, G. 1766(A). imitation of Ruckers papers as the lowest layer of
Boalch 2 number: (Ruckers) [55]. decoration around the keyboards). This second state of
decoration was almost certainly executed before 1747
Type: Two-manual harpsichord. when Maximillian-Emanuel-Francois-Joseph Wittelsbach
Date: Not known. (to whom the arms refer) died.
Ownership: PRIVATE COLLECTION, VERSAILLES, Previous history: Probably originally the property of the
FRANCE. Wittelsbach family of Bavaria, many of whom lived in
Information supplied by: Bz. Paris in the eighteenth century. Bought in Paris in 1880
Boalch 3 number: HEMSCH, G. n.d. by the Boston collector, John Searles. A descendant of
Boalch 2 number: 1. his lent it to the New England Conservatory of Music,
Boston, and in 1981 it was given to the Muscum of Fine
HEMSCH, HENRI. Arts by B. Allen Rowland, a nephew of Edward F. Searles
Type: Two-manual harpsichord. who had brought it to the USA.
Date: 1736(A). References. Technical drawing by R. K. Lee, 343 x 107
Ownership: MUSEUM OF FINE ARTS, BOSTON, cm., and data sheet by John Koster available from the
USA. Museum of Fine Arts. Acoustic tests carried out by E.
Number: 1981.747. L. Kottick in 1985, see: Kottick-response. BostonCat.

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384 HENNEFUS
Information supplied by: Bz2|MF A(Koster)|Kottick|MF
A- Type: Two-manual harpsichord.
(Lambert). Date: 1761.
Boalch 3 number: HEMSCH, H. 1736(A). Ownership: MUSEE INSTRUMENTAL, PARIS,
Boalch 2 number: 4. FRANCE.
Number: 974.3.1-
Type: Two-manual harpsichord. Remarks: Little information is available about this
Date: 1751. instrument.
Ownership: MME. F. MOULINIE, TOULOUSE, Information supplied by: MICL.
FRANCE. Boalch3 number: HEMSCH, H. 1761.
Inscriptions: Henri Hemsch Fait @ Paris 1751 on the Boalch 2 number: None.
nameboard, and Henri Hemsch round the rose.
Compass: FF-e}(A). HENNEFUS, J. L.
Number of roses: 1. Type: Fret-free clavichord.
Remarks: Bz stated that the instrument was in Paris, but
Date: 1802.
GL informed CMM in 1985 that it was at Toulouse.
Ownership: FORMERLY IN THE BERLIN
Sixty notes.
COLLECTION, BERLIN, GERMANY. Accession
Previous bistory: Still in its original state, this instrument
number not known.
may have been played by Rameau, as Hemsch was tuner
Inscriptions: Inscribed on the nameboard J. L. Hennefus
to M. de la Popliniére, whose protégé Rameau was.
References: ClavHist (where it is illustrated).
junior|a Berlin 1802.
Information supplied by: B2|GL. Compass: FF-g'(A).
Remarks: Described according to the nameboard as J. L.
Boalch 3 number. HEMSCH, H. 1751.
Hennefus junior. Bz records it as being in the Berlin
Boalch 2 number: 1.
Collection, but the checklist of the Musikinstrumenten
Museum does not record it, and thus its present where-
‘Type: Harpsichord (number of manuals not known). abouts are unknown.
Date: 1754. Information supplied by: Bz.
Ovnersbip: PRIVATE COLLECTION(A). Boalch3 number: HENNEFUS, J. L. 1802.
Inscriptions: Henri Hemsch, round the rose. Dated 1754 on
Boalch 2 number: 1.
the soundboard.
Number of roses: 1.
Remarks: Bz gave the location as Paris, but GL in 1985 HENRICHINI, AUGUSTIN.
notified CMM that it was in Caen. GL also doubted the Type: Single-manual harpsichord.
authenticity of the instrument. Five-octave compass. Date: 1706.
Previous bistory: According to Bz, owner was Claude Ownership: PRIVATE COLLECTION, FRANCE.
Mercier-Ythier, Paris. Inscriptions Augustinns Henrichini, Silesiensis, organifex et
Information supplied by: B2|GL. instrumentalis magister fecit mense Augusti anno MDCCVI.
Boalch3 number: HEMSCH, H. 1754. Specification: 2x8".
Boalch 2 number: 2. Compass: C/E-c’, short octave.
Number of roses: 1.
Type: Two-manual harpsichord. Style of rose: Parchment.
Date: 1756. Case construction: Italian style, inner/outer.
Ownership. PRIVATE COLLECTION, CAEN, Remarks: A thin cased inner instrument.
FRANCE. Previous history: It was probably this instrument which
Inscriptions: Henri Hemsch, round the rose. Dated 1735 on was exhibited in Bologna in 1888. Va in his schedule, in
the soundboard, and 1776 on the bottom jack. There is another part of the work, gives the date incorrectly in
a stamp on the wrestplank stating that it was restored by Arabic numerals as 1606. According to Bz it was in the
Tomasini in 1885. Musée Historique de Vandreuil, Quebec [the name should
Number of roses: 1. be Vaudreuil], but Koster (1989) reports that the Museum
Remarks: From information supplied by Koster it would has never heard of the instrument, and that though it
appear that Bz instruments 3 and 5 are the same. was owned by some Canadians, it was sent to France ¢.
Previous history: According to Bz the owner was C. Noisette 1985 for restoration, and apparently it is still there
de Crauzat, Paris. dismantled.
References: ClavHist. References. Va.
Information supplied by: B2| Koster. Informacion supplied by: Bz| Koster.
Boalch3 number. HEMSCH, H. 1756. Boalch 3 number. HENRICHINI, A. 1706.
Boalch 2 number: 3/5. Boalch 2 number: 1.

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 HIERONYMUS 385
HESSE, TOMAS. Scale: 245 mm.
‘Type: Clavichord. Length: 1235 mm.
Date: 1832(A). Width: 354 mm.
Ownership: MONASTERIO DE SAN LUIS OBISPO, Depth: 100 mm.
BURGOS, SPAIN. Remarks. The authenticity of this instrument has always
Inscriptions: TOMAS HESSE/Plaza Mayor Num. been in doubt. It appears to be the only clavichord which
3|BURGOS. might have been made in England in the classical period,
Compass: C-P. though so many questions surround its construction,
Keyboard: Black naturals, white sharps. decoration layout and workmanship, that it must be
Exterior of case: Plain wood. treated with the greatest caution. For a discussion see the
Length: 1285 mm. reference quoted. It is known from ShBa, p. 19, that a
Width: 425 mm. “Peter Hicks’ received payment from Broadwood for
Depth: 170 mm. tuning a harpsichord, and this must have been written
Remarks: Naturals of rosewood, sharps of bone. Keyguides between 1769 and 1772, hence the date ascribed here.
are formed with a piece of wood between the ends of the Keys of lime. Naturals, ebony with arcaded boxwood
keylevers. fronts. Sharps of ivory-capped ebony. Soundboard of
Previous bistory: Shown at the exhibition ‘Las Edades del spruce, crudely made. Bridge of beech, fitted the wrong
Hombre’, Leon 1991. way round. Case of mahogany, with mouldings which
References: See Catalogue of the exhibition: ‘Las Edades appear to be of a later date. Twenty-five pairs of strings
del Hombre’. Leon, 1991. serving fifty-one notes.
Information supplied by: KdP. Previous history: Programme of a military ball in 1880
Boalch 3 number: HESSE, T. 1832(A). found inside. In that year it was owned by John Gillis
Boalch 2 number: None. of Cardiff. In 1892 it was sold to Dr. Thomas Lea
Southgate, Upper Norwood, Surrey who bequeathed it
HEUSE, JOHANN HERMANN. to the Museum.
‘Type: Fretted clavichord. References. VerA Cat, pp. 94-5, including illustration.
Date: 1656. Information supplied by: B?|VerA Cat.
Ovwnersbip: PRIVATE COLLECTION. Boalch 3 number. HICKS(A), P. 1770(A).
Inscriptions: Inscribed Johannes Hermannus Hexse in Gimborn Boalch 2 number: 1.
on the soundboard. The top key is inscribed J: P: Korte
1658. HIERONYMUS, BONONIENSIS.
Compass: C-c'(A). ‘Type: Single-manual harpsichord.
Length: 1292 mm. Date: 1521.
Width: 370 mm. Ownership: VICTORIA AND ALBERT MUSEUM,
Depth: 126 mm. LONDON, ENGLAND.
Remarks: There is a possibility that Johann Hermann Number: 226-1879.
Heuse may be the same maker, or a relative of Johann Inscriptions: Inscribed on nameboard; Hieronymus Bononiensis
Hetmann Hauser. Second soundboard under keys. faciebat Romas MDXXI under the clegaic couplet: Aspicite
Previous bistory: Badly restored by J. Bernard, Liége, in at trabitur suavi modulamine vocis|Quicguid babent aer sidere
1957. It seems likely that this is the instrament which terra fretum.
was sold at Christie’s for £4,620 on 16 March 1988 (see: Specification: 2x8".
EM, August 1988, p. 413). Compass: C/E-d’, short octave.
Information supplied by: B?|EM. Keyboard: White naturals, black sharps.
Boalch3 number: HEUSE, J. H. 1656. Number of roses: 1.
Boalch 2 number: 1. Style of rose: Geometrical pattern.
Exterior of case: Leather.
HICKS(A), PETER. Case construction: Italian style, inner/outer.
‘Type: Fretted clavichord. Scale: 269 mm.
Date: 1770(A). Length: 1860 mm.
Ownership: VICTORIA AND ALBERT MUSEUM, Width: 730 mm.
LONDON, ENGLAND. Depth: 221 mm.
Number: W.7-1917. Remarks: The maker is known as Hieronymus Bononiensis
Inscriptions: Nameboard somewhat clumsily painted Peter (from the inscription) or by the anglicised form, Jerome
Hicks fecit. of Bologna. Outer case covered with finely tooled leather,
Compass: C-. and lined with apple green velvet. Boxwood naturals
Keyboard: Black naturals, white sharps. arcaded. Sharps dark stained hardwood. Originally 1x8’,
Exterior of case: Plain wood. with keyboard compass of C/E-P. At one time had pedal

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386 HILDEBRAND
pull-downs for the lowest fourteen notes. Subsequently Esq. Listed in B’ as being at the Geffrye Museum,
other changes made including addition of second eight Kingsland Road, London.
foot with another row of jacks and compass reduced to References: V&A Cat, pp. 76-7 (illustrated).
present C/E-d’ with a new keyboard. The sequence of Information supplied by: B?| V&A Cat.
events is outlined in VeA Cat. The jack slides are from Boalch 3 number: HILL, H. 1750.
another instrument, having a more angled jack-line than Boalch 2 number: 1.
this instrument, and the jacks are not original.
Previous history: Purchased by the Museum in 1879 for HITCHCOCK, THOMAS.
£120. Restored in 1963-4 by Andrew Douglas. Examined Type: Wing spinet.
in 1964 by John Barnes and in 1975 by William Debenham Date: 1660(A).
and in 1980-1 by Denzil Wraight. Hwbb 1963, p. 5. Ownership: Not known.
Illustrated at J, p. 114. RassellV & A. Wint 1966. VerA Specification: 1x8".
Cat, p. 15 (Illustrated there). Remarks. Though B? shows 1660 as the date, it could
Information supplied by: B*|V&A Cat. well be the case number, and should be treated with
Boalch 3 number: HIERONYMUS, B. 1521. caution.
Boalch 2 number: 1. Previous history: Formerly owned by Captain Beaumont,
and shown by him at the Loan Exhibition, London, 1900.
HILDEBRAND, ZACHARIAS. Information supplied by: B?.
‘Type: Single-manual harpsichord. Boalch 3 number: HITCHCOCK, T. 1660(A).
Date: Not known. Boalch 2 number: 1.
Ownership: Not known.
Compass: GG-e(A). Type: Wing spinet.
Length: 2750 mm. Date: 1664.
Remarks: This harpsichord is reported by Marc Champ- Ovnership: Not known.
ollion to be in Poland. Inscriptions: Signed on the first key; Thos. Hitchcock his
References: Knud Kaufmann of Brussels is reported to make in 1664.
have made a copy, and has further details. Specification: 1x8".
Information supplied by: Champ. Previous history: Referred to by J, p. 65, as ostensibly by
Boalch 3 number: HILDEBRAND, Z. n.d. Blunt, but the inscription on the key makes it appear that
Boalch 2 number: None. this is the earliest authenticated instrument by Thomas
Hitchcock the elder. The form of the inscription seems
HILL, HENRY. to make it clear that 1664 is not the case serial number.
Type: Ottavina. Barnes, ColeM, and others have suggested that despite the
Date: 1750. reading of the inscription given by B?, 1664 does seem
Ownership: VICTORIA AND ALBERT MUSEUM, early for a wing spinet in London, and the date may have
LONDON, ENGLAND. been misread. If it were possible to locate and re-examine
Number. 145-1878. with care this, and the other early Hitchcock instruments,
Inscriptions: The bottom key is signed: H Hill 170 Fricker it would be possible to be more precise about the identity
27 [the latter presumably being the workman’s name and and dates of the members of the Hitchcock family in the
instrument number]. On the top key: B(y) H Hill 1750. early years of their workshops.
Specification: 1x4’. References: J.
Compass: GG/BB-d’, short octave. Information supplied by: B?/Barnes|ColeM.
Keyboard: White naturals, black sharps. Boalch 3 number. HITCHCOCK, T. 1664.
Number of roses: None. Boalch 2 number: 2.
Exterior of case: Plain wood.
Scale: 166 mm. Type: Wing spinet.
Length: 981 mm. Date: 1700(A).
Width: 558 mm. Ownership: Not known.
Depth: 166 mm. Specification: 1x8".
Remarks: Pine keyboard, with ivory naturals with arcaded Remarks. B* observes that ‘This instrument must have
fronts, and ebony sharps. Case veneered in mahogany. been finished in January 1700, as Thomas I was dead by
Keywell surround veneered in walnut with sycamore February [Join]’. Though B? records the date as 1700, the
stringing. Wrestplank veneered in mahogany. Trestle possibility that this refers to the serial number of the case
stand with turned legs. The H.H. on the bottom and top cannot be discounted. As with the instrument above,
keys of a spinet by Joseph Mahoon [g.v.] dated 1748 the possibility of re-examining the inscription and the
(MAHOON, J. 1748) may be the initials of this maker. instrument itself are greatly to be desired.
Previous bistory: Presented to the Museum by H. Sandham, Previous bistory: Formerly owned by Howard Head, and

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 HITCHCOCK 387
shown by him at the Loan Exhibition, London, 1900. Specification: 1x8".
Information supplied by: B?. Previous bistory: In private ownership since 1955.
Boalch 3 number: HITCHCOCK, T. 1700(A). Information supplied by: B*.
Boalch 2 number: 3. Boalch3 number: HITCHCOCK, T. 511 n.d.(2).
Boalch 2 number: 4a?
Type: Wing spinet.
Date: 1703. Type: Wing spinet.
Ownersbip: Not known. Date: Not known.
Inscriptions: Ostensibly by Blunt, but the first jack is Ownership: PETER DAVIS, NEWBURY, ENGLAND.
signed: Thos. Hitchcock no 54—1703. Inscriptions: On nameboard: Thomas Hitchcock Londini fecit
Specification: 1x8’. No 1007. Though this is recorded, with illustration in
Remarks: Shown in B? as previously ‘Oxford, Taphouse MFM, item number 181, B’ says that ‘. . . the maker’s
Collection’. Though most of the Taphouse Collection name (if any) on nameboard has been covered by ¢. 1800
went to the Music Faculty, Oxford, this one did not, and paintwork. The number 1007 on back of nameboard is
its whereabouts are unknown. The inscription is most probably within the last 100 years.’ The inscription must
useful in linking both date and case serial number. therefore be treated with caution.
Information supplied by: B?| Montagu. Specification: 1x8".
Boalch 3 number: HITCHCOCK, T. 54 1703. Compass: GG-g'.
Boalch 2 number: 4. Keyboard: White naturals, special sharps.
Number of roses. None.
Type: Wing spinet. Exterior of case: Plain wood.
Date: Not known. Length: 1784 mm.
Ownership: BOTETOURT COUNTY HISTORICAL Remarks: Date of 1722 ascribed in MFM, but without
SOCIETY, FINCASTLE, VIRGINIA, USA. Accession reasons. Satinwood nameboard with fruitwood stringing.
number not known. Case of walnut with shaped brass hinges. Arcaded ivory
Inscriptions: Thomas Hitchcock Londini Fecit. Marked with naturals, skunktail sharps of ebony/ivory/ebony. Double
the case serial number 477 in four places, but not on the curved bent side.
nameboard. References: Illustrated and described in MFM at item
Specification: 1x8’. number 181.
Compass: GG-e’. Boalch 3 number: HITCHCOCK, T. 1007(A) n.d.(3).
Keyboard: White naturals, special sharps. Boalch 2 number: 33.
Number of roses: None.
Exterior of case: Plain wood. Type: Wing spinet.
Scale: 245 mm. Date: Not known.
Length: 1818 mm. Ownership: NORMAN BENZ, EASTBOURNE,
Width: 656 mm. ENGLAND.
Depth: 163 mm. Inscriptions: James is 2, on front edge of wrestplank. Thomas
Remarks: The instrument must be dated somewhere Hitchcock Londini fecit No. 1060, inscribed on nameboard.
between 1703 (the date of number 54) and 1729 (the date Specification: 1x8".
of the next instrument to have a number—rz79). John Compass: GG-g'(A).
Watson in EK] vol. 9, p. 76 suggests 1715-20, and this Length: 1778 mm.
could be quite valid. Ivory naturals, with moulded fronts Width: 673 mm.
and skunktail sharps of ebony/ivory/ebony. Only one jack Remarks: Modern stand. Case number 1060.
remains, and the instrument is not in playing condition. Previous bistory: Known to have been owned by Mr. Benz
Case of solid walnut. Wire gauge numbers marked on in 1966, but may, by now, be elsewhere. Restored by
the nut. Wrestpins of brass. Stand and lid are of Kent.
eighteenth-century Virginian make. Information supplied by: B*.
References: EK], vol. 9, 1991, pp. 76-80. Boalch 3 number: HITCHCOCK, T. 1060 n.d.(4).
Information supplied by: Watson. Boalch 2 number. 5a.
Boalch 3 number. HITCHCOCK, T. 471 n.d.(1).
Boalch 2 number: None. Type: Wing spinet.
Date: Not known.
Type: Wing spinet. Ownership: Not known.
Date: Not known. Inscriptions: Inscribed on nameboard Thomas Hitchcock
Ownership: PRIVATE COLLECTION, ENGLAND. Londini fecit No. 1073. Also inscribed on the shaft of the
Inscriptions: J.J. on lowest key. Thomas Hitchcock Londini lowest key: James is 9.
fecit, inscribed on nameboard. Case number 577. Specification: 1x8".

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388. HITCHCOCK
Compass. GG-g’. Ownership: TYRON PALACE RESTORATION
Keyboard: White naturals, special sharps. COMPLEX, NORTH CAROLINA, USA.
Number of roses. None. Inscriptions. Thomas Hitchcock Londini fecit No.1143.
Exterior of case: Plain wood. Specification: 1x8".
Length: 1867 mm. Compass. GG-g.
Remarks: Date of ¢. 1715 ascribed by Sotheby’s catalogue. Keyboard: White naturals, black sharps.
This is possible, but ¢. 1720 might be more likely. Exterior of case: Plain wood.
Ivory naturals with ivory arcades, and ebony/ivory/ebony Length: 1770 mm.
skunktail sharps. Plain walnut case with single curved Width: 550 mm.
bent side. Sycamore veneered nameboard. Raised on Depth: 165 mm.
trestle stand with turned legs. Pierced and shaped hinges. Remarks: The date is ascribed by Watson as ¢. 1725/7,
Previous history: Formerly the property of Sir Eldred which is quite feasible. According to EKJ: Ivory naturals
Hitchcock who was possibly a descendent of the maker. with ivory arcades, and skunktail sharps. Case of solid
Sold at Sotheby’s on 20 December 1957, 11 March 1960, walnut with engraved hinges. Turned trestle stand.
and again on 12 December 1985. Double curved bent side. Original soundboard, but badly
References: Sotheby’s catalogue of 12 December 1985 cracked and poorly repaired. Old jacks, but altered to
(illustrated in colour). take leather plectra. Not playable.
Information supplied by. B?|Sotheby’s. Previous history: Formerly at French and Co. New York,
Boalch 3 number. HITCHCOCK, T. 1075 n.d.(5). at least until 1955. Now owned (1983) by the State of
Boalch 2 number. sb. North Carolina.
References: EK], 1, Catalogue number H-7o.
Type: Wing spinet. Information supplied by: B?|Kottick| EK].
Date: Not known. Boalch 3 number: HITCHCOCK, T. 1143 n.d.(8).
Ownership: SIR FITZROY AND LADY MACLEAN, Boalch 2 number: 6a.
STRACHUR, SCOTLAND.
Inscriptions. Thomas Hitchcock Londini fecit No. 1093.
Type: Wing spinet.
Date: Not known.
Specification: 1x8".
Ownership: PACKWOOD HOUSE, WARWICKSHIRE,
Exterior of case: Plain wood.
Remarks: The instrument is in poor condition with the ENGLAND.
Inscriptions. Thomas Hitchcock Londini fecit No 1193. On
keyboard missing.
the top key and the balance rail Haris’s.
Information supplied by: Sturgis.
Specification: 1x8".
Boalch 3 number: HITCHCOCK, T. 1093 n.d.(6). Keyboard: White naturals, special sharps.
Boalch 2 number. None.
Length: 1862 mm.
Remarks: \vory naturals with arcaded ivory fronts. Skunk-
Type: Wing spinet.
Date: Not known.
tail sharps.
Previous bistory: Repaired by Henry Tull in 1926. Bought
Ownership: PRIVATE COLLECTION, USA. by Graham Baron Ash at Christie’s in 1926. Mr. Baron
Inscriptions. Case No: 1102. Ash gave Packwood House and its furniture to the
Specification: 1x8". National Trust 1941.
Compass: GG-g’.
Information supplied by: B?|Garrett.
Keyboard: White naturals, black sharps.
Exterior of case: Plain wood.
Boalcb 3 number: HITCHCOCK, T. 1193 n.d.(9).
Boalch 2 number: 7.
Remarks: Dated between ¢. 1703 and 1729. Jeremy
Montagu, reporting on the sale of the instrument on 18 Type: Wing spinet.
June 1985 at Christie’s in EM Vol. 14, No. 1, February Date: Not known.
1986, p. 83 gives the date as 1725, but it would appear Ownership: SMITHSONIAN INSTITUTION,
that the instrument itself does not carry the date, but WASHINGTON, USA.
only the case number given above. Ivory naturals, with Number: 303,532.
arcaded fronts. Skunktail sharps. Walnut case. Inscriptions. Acti labores sucundi (sic) inscribed on the
Previous history: Formerly the Earl of Clanwilliam. Sold jackrail. Case No: 1228.
by a dealer to the USA in 1989. Specification: 1x8".
Information supplied by: EM|Not disclosed. Compass: GG-g?.
Boaleh 3 number: HITCHCOCK, T. 1102 n.d.(7). Remarks: Date of 1710 ascribed by Smithcheck, but this is
Boalch 2 number: None. probably a little early, and a date of 1720 might be more
likely.
Type: Wing spinet. References: Smithcheck89, and Smithcheck. Smithsonian
Date: Not known. photo-negatives 56,307; 56,3074; 56,307B; 56,307C.

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 HITCHCOCK 389
Information supplied by: B2|Smitbchech8g|Smithcheck. Information supplied by: B2.
Boalch 3 number. HITCHCOCK, T. 1228 n.d.(10). Boalch 3 number. HITCHCOCK, T. 1243 n.d.(12).
Boalch 2 number: 8. Boalch 2 number: 9.
Type: Wing spinet. Type: Wing spinet.
Date: Not known. Date: 1729.
Ownership: RUSSELL COLLECTION, EDINBURGH Ownersbip: DR. ANDREAS BEURMANN,
UNIVERSITY, SCOTLAND. HAMBURG, GERMANY.
Number: 10. Number. 52.
Inscriptions. On nameboard: Thomas Hitchcock Londini Fecit Inscriptions: Inscribed on nameboard: Thomas Hitchcock
Nzzqt. Behind nameboard is scratched 1241T(7). On the Londini fecit No. 1279. On back of nameboard: No 1279
lowest key is Will Hilliar Harris No 7. On the top key is and 20, [both in pencil]. On the keybed: A D 1729 (sic),
Spinet (?) 7 Hilliar. On bottom jack is stamped Hy which applied in black with a brush. On top key: Tho no 20.
also appears on the wrestplank. On header is scratched On bottom key; Jo J fecit.
34. Lowest key bears pencil inscription HW 6&8 on Specification: 1x8",
underside (nineteenth-century repairer ?). Compass: G-g’.
Specification: 1x8’. Keyboard: White naturals, black sharps.
Compass: GG-g’. Number of roses: None.
Keyboard: White naturals, special sharps. Exterior of case: Veneered.
Number of roses: None. Scale: 270 mm.
Exterior of case: Plain wood. Length: 1770 mm.
Seale: 273 mm. Width: 1200 mm.
Length: 1783 mm. Depth: 165 mm.
Width: 666 mm. Remarks: The Sotheby sale catalogue of 5 November 1981
Depth: 170 mm. states: ‘42 A fine English Spinet by Thomas Hitchcock the
Remarks: Date of 1703 ascribed in RassColl (changed to
Younger, London, the walnut nameboard with chevron
¢. 1730 in RussCollig86). Further research and comparison
stringing inscribed on a boxwood plaque Thomas Hitchcock
with the instrument at Haddon Hall (Hitchcock number
Londini fecit No 1279 the mahogany case with double bent
1289) suggests that 1729/30 is the most likely date, though
side and engraved brass strap hinges, the jack rail with
Raymond gives a date of ¢. 1728. Naturals of ivory with
chevron stringing, the five octave keyboard GG-g’ with
arcaded fronts. Skunktail sharps are a sandwich of ebony,
arcaded ivory naturals and ebony and ivory skunktail
ivory and ebony. Double curved bent side. Plain solid
accidentals. Length 5 ft 11 in (180.3 cm), early 18th
walnut case. Keyboard surround, jackrail and lining in
Century on later trestle stand.’ Jacks not original (perhaps
figured walnut with herring-bone banding. by Dolmetsch).
Previous history: Reported variously as formerly H. C. Previous history: 1890-1900 Arnold Dolmetsch. 1900-70
Moffat, and J. L. Trafford of Goodrich Court, Ross-
Mr. and Mrs. Louis Davis. 1970-81 Graham Wilton,
on-Wye. Bought by Raymond Russell at Sotheby’s on 25
Watford. Sold at Sotheby’s on 5 November 1981. Bz
November 1955. Restored by Robert Goble and Son in
1967, and John Raymond in 1989. suggests that the date 1729 is odd seeing that the number
References: Mlustrated in RussColl, and in Russelligs9, pl. is 1279. He suggests that Hitchcock may have had the
65. RassColl, p. 23. RassCollr9&6. Full scale technical instrument back for overhaul in 1729 and then applied
the date. Because of this it might be unwise to relate,
drawing by John Raymond (1989) available from the
incontrovertibly, the serial number and date, but the
Russell Collection, St. Cecilia’s Hall, Edinburgh.
Information supplied by: B2|RussColl/Raymond|RussColl1986. similarity of the style of dating of this instrument (by
Boalch 3 number: HITCHCOCK, T. 1241 n.d.(11). black brushwork) with that of HITCHCOCK, T. 1289
Boalch 2 number: 8a. 1730, below seems to confirm the dates of both
instruments.
Type: Wing spinet. References: Beurmann|Marx, p. 218. Sotheby’s Catalogue of
Date: Not known. 5 November 1981.
Ownership: J. BARNETT, THE GROTTO, Information supplied by: Bz|Bexrmann|Sotbeby’s.
TETTENHALL, STAFFS, ENGLAND. Boalch 3 number: HITCHCOCK, T. 1279 1729.
Inscriptions. Thomas Hitchcock, Londini fecit no 1243. Boalch 2 number: 92.
Specification: 1x8".
Previous history: J. Barnett has owned this instrument since Type: Wing spinet.
1961 when he acquired it in Harrogate. Formerly owned Date: Not known.
by Mrs. G. H. Potter; sold [by auction] in Edinburgh, Ownership: SMITHSONIAN INSTITUTION,
winter 1954/5. WASHINGTON, USA.

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390 HITCHCOCK
Number: 62.382. Compass: GG-g).
Inscriptions: Full inscription not known, but the instrument Keyboard: White naturals, special sharps.
is numbered 1247. Number of roses: None.
Specification: 1x8". Exterior of case: Plain wood.
Compass: GG-g?. Seale: 355 mm.
Remarks: The date of 1710 is ascribed by the Smithsonian, Length: 1780 mm.
but in view of the ascription of a date of 1729 to the Wideb: 585 mm.
instrument with case number 1279, and a date of 1730 to Depth: 169 mm.
case number 1289, it would seem that a date of about Remarks: Case of plain English walnut with double curved
1730 is more likely. bent side. Ivory naturals with ivory arcaded fronts.
Previous bistory: Restored to playing order since it has been Skunktail sharps are sandwich of ebony/ivory/ebony.
at the Smithsonian. Keyboard is back-racked. Trestle stand with turned legs.
References: Illustrated in Wash 1969. Smithcheck89. Smiths- In good condition.
onian photo-negatives 56,332; 56,332A; 56,332B. Previous history: Purchased from the collection of Arthur
Information supplied by: Bz|Smithcheck8g. Hill FSA in 1932. Thence to Sulgrave Manor near
Boalch 3 number: HITCHCOCK, T. 1287 n.d.(13). Banbury where it is placed in the Oak Parlour and is
Boalch 2 number: gb. number 22 in the Sulgrave inventory.
References: Br, plate XXIX. A full report was made by
Type: Wing spinet. CMM to the Curator at Sulgrave in 1990.
Date: 1730. Information supplied by: Bz/Mould Note.
Ownership. HADDON HALL, DERBYSHIRE, Boalch 3 number: HITCHCOCK, T. 1335 n.d.(14).
ENGLAND. Boalch 2 number: 10.
Inscriptions: On nameboard Thomas Hitchcock Londini Fecit
No 1289. Under the keyframe in brushwork the date 1730 and Type: Wing spinet.
the words Keys made. On key nos. 1 and 61: Tho/zi. Date: Not known.
Specification: 1x8". Ownership: DR. ANDREAS BEURMANN,
Compass: GG-g’. HAMBURG, GERMANY.
Keyboard: Black naturals, special sharps. Number: 54.
Number of roses: None. Inscriptions: According to Sotheby's: Thomas Hitchcock,
Exterior of case: Plain wood. Londini fecit No 1379. Tho. 6s according to Bz. The
Scale: 269 mm. inscription Tho. on keylever g’ is reported by Dr.
Length: 1860 mm. Beurmann.
Width: 583 mm. Specification: 1x8".
Depth: 165 mm. Compass: GG-g).
Remarks: The date which appears to be 1730 in black Keyboard: White naturals, black sharps.
brushwork was discovered in 1987 by John Raymond on Number of roses: None.
the baseboard beneath the keyframe. If this is to be relied Exterior of case: Vencered.
on, it is a useful marker for relating case serial numbers Scale: 270 mm.
with dates of manufacture, see also remarks at HITCH- Length: 1770 mm.
COCK, T. 1279 1729 above. Case of plain English walnut, Width: 1200 mm.
on turned stand of the same wood. Ebony naturals and Depth: 165 mm.
skunktail sharps of ivory/ebony/ivory. Lid of solid walnut. Remarks. According to Bz this belonged to Messrs.
Single curve bent side. Broadwood, but their instruments have been dispersed.
References: Further full notes available from John N. R. Since the last previous mention of the instrument is in
Raymond at the Russell Collection. 1904, its present whereabouts were unknown until it was
Information supplied by: Raymond|O’ Brien. offered for sale at Sotheby’s on 12 May 1977. It was there
Boalch 3 number: HITCHCOCK, T. 1289 1730. ascribed to Thomas Hitchcock the Younger. It was again
Boalch 2 number: None. offered for sale at Sotheby’s on 20 March 1980 (purchased
by Jérg Demus). In 1988, Dr. Beurmann reported it was
Type: Wing spinet. in his collection giving the date as 1730 which, though
Date: Not known. he does not give the reason for this date, is quite feasible.
Ownership: SULGRAVE MANOR, NEAR BANBURY, The Sotheby’s catalogue of 12 May 1977 gives the
ENGLAND. following description: ‘381 A fine English Spinet by
Number: 22. Thomas Hitchcock the Younger, London, the walnut
Inscriptions: Thomas Hitchcock Londini fecit 1335. Workman’s nameboard with hollywood stringing and boxwood plaque
name: Tho. 8. inscribed Thomas Hitchcock, Londini, fecit No 1379, the
Specification: 1x8". mahogany case with shaped and engraved brass strap

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 HITCHCOCK 391
hinges and lock plates, the five octave keyboard G’-g’, Boalch3 number. HITCHCOCK, T. 1425 1733.
with arcaded ivory naturals and skunktail accidentals, Boalch 2 number: 12.
length 5 ft 10.5 inches. Exhibited by Broadwood and
Sons 1884 and 1904. The present soundboard is a modern Type: Wing spinet.
replacement but the original is sold with the instrument.” Date: Not known.
Previous bistory: Exhibited 1885, 1904. Property of Broad- Ownership: LEIGH VALLEY HISTORICAL
woods. Sold at Sotheby’s 12 May 1977 (bought in for SOCIETY, CATASAQUA, USA. Accession number
£3,000). Sold again at Sotheby’s 20 March 1980 (bought not known.
by Jorg Demus). Inscriptions: Thomas Hitchcock Londini Fecit No 1442.
Information supplied by: B?|Bexrmann| Sotheby's. Maker’s mark: James is (sic) 9.
Boalch 3 number: HITCHCOCK, T. 1379 n.d.(15). Specification: 1x8",
Boalch 2 number: 11. Remarks: Has been poorly restored, with much unoriginal
material.
Type: Wing spinet. References: Copy of preliminary report furnished to owners
Date: Not known. is available.
Ownership: Not known. Information supplied by: Brockman.
Inscriptions: Number: 1390. Boalch3 number: HITCHCOCK, T. 1442 n.d.(18).
Specification: 1x8’. Boalch 2 number: None.
Previous history: Last evidence for the existence of this
spinet comes from FarxOT where it was said to be in Type: Wing spinet.
Maine. It was owned in 1766 (hence it may well have Date: Not known.
been by John Hitchcock) by Elisabeth Hunt Weddell of Ownership: F. R. RUBENS.
Boston. She was married later to Revd. Thomas Smith Inscriptions: James's No. 10, appears in several places inside
of Portland (known as Parson Smith of Portland). It was the instrument. Case numbered 1444.
in the possession of her granddaughter in Maine in 1902. Specification: 1x8".
Information supplied by: FurnOT. Previous history: J. Southall [the Pre-Raphaelite painter].
Boalch 3 number: HITCHCOCK, T. 1390 n.d.(16). Repaired by Amold Dolmetsch. R. Newton sold it at
Boalch 2 number: None. Sotheby’s on 27 November 1969 for £1,400 to Mr.
Rubens.
‘Type: Wing spinet.
Information supplied by: B?.
Boalch3 number: HITCHCOCK, T. 1444 n.d.(19).
Date: Not known.
Boalch 2 number: 13.
Ownership: KING’S LYNN MUSEUM, NORFOLK,
ENGLAND. Accession number not known.
Type: Wing spinet.
Inscriptions: Thomas Hitchcock Londini fecit No. 1396. Date: Not known.
Specification: 1x8’. ANTIQUARIAN MUSEUM,
Ownership: CONCORD
Previous history: Sir Somerville Gurney. Given by him to CONCORD, MASSACHUSETTS, USA.
the King’s Lynn Museum. Inscriptions: Thomas Hitchcock Londini Fecit No 1455.
Information supplied by: B’. Maker’s mark inside on wrestplank, and on bottom key:
Boalch 3 number: HITCHCOCK, T. 1396 n.d.(17). James 16. Inside nameboard: 1540.
Boalch 2 number: 11a. Specification: 1x8’.
Remarks: The two apparent case numbers are difficult to
Type: Wing spinet. reconcile, though the number 1s4o may refer to something
Date: 1733. other than the case. If they don’t, the first would make
Ownersbip: AMBASSADOR MIDDENDORF. it seem that the instrument is by Thomas, and the second
Inscriptions: Dated 1733 on top key. Tho. 9. Wm. Hilliar, would indicate that John had a hand in it, probably its
signed on top key. Case numbered: 142). restoration at a later date.
Specification: 1x8". Previous bistory: Seen by Frank Hubbard, and by Koster.
Remarks. The combination of date and serial number in References: Transcription of Frank Hubbard’s notes is
the one instrument is a useful marker in establishing the available. Also mentioned in FwrsOT, p. 283.
relation between the two. Straight tail. Skunk tail sharps. Information supplied by: Brockman|Koster|Furn0T.
Previous history: Formerly owned by Wm. Barrow, Llan- Boalch 3 number. HITCHCOCK, T. 1455/1540 n.d.(20).
dudno. Offered for sale at Sotheby’s, 21 December 1972, Boalch 2 number. None.
when it was bought by US Ambassador Middendorf, The
Hague, for £1,450. It is unlikely that the Ambassador is Type: Wing spinet.
still at the Hague. Date: Not known.
Information supplied by: B*. Ownership: Not known.

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392. HITCHCOCK
Inscriptions: Case numbered 1460. Keyboard: Black naturals, special sharps.
Specification: 1x8". Number of roses: None.
Previous bistory: Exhibited 1885. Probably the spinet Exterior of case: Plain wood.
owned in 1956 by T. G. Odling. Formerly owned by Scale: 276 mm.
Sterndale-Bennett, and later by T. Case. Length: 1861 mm.
Information supplied by: B’. Width: 679 mm.
Boalch 3 number. HITCHCOCK, T. 1460 n.d.(21). Depth: 185 mm.
Boalch 2 number: 14. Remarks: The instrument is not dated, but the date of ¢.
1740 ascribed by the Museum would seem reasonable.
Type: Wing spinet. Ebony naturals with ivory arcades. Skunktail sharps of
Date: Not known. ivory/ebony/ivory. Case interior veneered with satinwood.
Ownership: VICTORIA AND ALBERT MUSEUM, Case walls surround bottom boards. Stand of four turned
LONDON, ENGLAND.
legs with stretchers.
Number, W. 43-1922. Previous history: Formerly in the Joseph W. Drexel col-
Inscriptions. Above keyboard: Thomas Hitchcock Londini lection 1889.
fecit No. 1484. Behind nameboard, and on top and bottom References: MMACL. Photographs (negative numbers
keylevers 1484 James No. 4, though possibly this is jeans 82862, 82863 and others) available from the Museum.
No 4on the topmost key. On the upper face of wrestplank: Information supplied by: B?|MMACL/|Koster.
James is No 4. Boalch 3 number: HITCHCOCK, T. 1518 n.d.(23).
Specification: 1x8". Boalch 2 number: 16.
Compass: GG-g’.
Keyboard: White naturals, special sharps.
Number of roses: None. ‘Type: Two-manual harpsichord.
Exterior of case: Plain wood. Date: Not known.
Scale: 274 mm. [raymond]. Ownership: VICTORIA AND ALBERT MUSEUM,
Length: 1810 mm. LONDON, ENGLAND.
Width: 710 mm. Number. 126-1890.
Depth: 185 mm. Inscriptions: Inscribed above keys: Thomas Hitchcock, Lond-
ini, Fecit. James D. Harpsichord, on bottom key of lower
Remarks: Instrument is not dated but is accorded a date
manual.
of ¢. 1740 by the Museum, and this seems feasible.
Specification: 1: 2x8’, 1x4’; I: 1x8’, lute.
Naturals of ivory. Skunktail sharps of ebony/ivory/ebony.
Case of walnut with double curved bent side. Jackrail, Additional features: Dogleg, 4 hand stops.
nameboard and inner surfaces inlaid with harewood. Compass. GG-g'.
Keyboard: White naturals, special sharps.
Wrestplank veneered in walnut. Bottom boards are full
of knots. Currently strung with modern steel, but not Number of roses: None.
under tension. Modern stand. Exterior of case: Plain wood.
Previous bistory: Originally purchased for the Educational Scale: 330 mm.
Division of the South Kensington Museum in 1866 for Length: 2317 mm.
£10, it was transferred subsequently from the Science Width: 938 mm.
Depth: 267 mm.
Museum. According to B?, in 1974 it was on loan to the
Aberdeen Art Gallery. Remarks: Instrument is not dated, but is generally thought
References: V&A Cat, p. 75.
to be of the first quarter of the eighteenth century, and
Information supplied by: B*|Ver.A Cat. the presence of white naturals would suggest the end of
Boalch 3 number: HITCHCOCK, T. 1484 n.d.(22). this period, say around 1725, which is the date assigned
Boalch 2 number: 15. by the Museum. Naturals of ivory with carved fronts.
Skunktail sharps of ebony/ivory/ebony. Soundboard laid
Type: Wing spinet. at 45 degree angle to long side. Wrestplank of oak with
Date: Not known. later piece of beech added. No manual coupler now. It
Ownership: METROPOLITAN MUSEUM OF ART, is thought that when first built it had a shove coupler,
NEW YORK, USA. but later underwent a change to bring it into line with
Number: 89.2.164. later English eighteenth-century practice by fixing the
Inscriptions. On nameboard: Thomas Hitchcock Londini Fecit upper manual, introducing the dogleg and also the lute
No. 1518. On front surface of wrestplank and top key: stop. At this time the present jacks and registers were
Emanuel No.2. On the lowest key: Eza{?|/o/orz. (Koster introduced. Jacks are of service wood with holly tongues.
says this is E:a/No 2). On back of nameboard Emanuel Plain walnut case with double curved bent side, and
Nz Nouyré. veneered keywell of walnut with pale walnut stringing of
Specification: 1x8’. chevron design. Stopknobs are missing. Stand of beech
Compass: GG-g'. stained to match case.

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 HITCHCOCK(A) 393
Previous history: Exhibited 1885. Formerly owned by Mrs. Remarks: It is possible that this instrument is the same as
Luard-Selby who presented it to the Museum in 1890. one of the other undated Hitchcock spinets. Ivory arcaded
For many years at Ightham Mote, Kent. naturals and skunktail sharps of ebony/ivory/ebony. Plain
References: Illustrated in J p. 124. Hubb 196), pp. 154-5. walnut case with pierced and engraved strap-hinges.
MouldTb. Russellrgsg (illustrated). Ver.A Cat pp. 69-70 Raised on trestle stand with tapered square legs.
(illustrated). Previous bistory: Sold at Sotheby’s on 26 November 1992
Information supplied by: B?|VeA Cat/Et al. for £11,500.
Boalch 3 number: HITCHCOCK, T. n.d.(24). References: Sotheby’s catalogue of 26 November 1992, p.
Boalch 2 number: 6. 252 (illustrated).
Information supplied by: Sotheby's.
Type: Wing spinet. Boalch 3 number. HITCHCOCK, T. n.d.(z7).
Boalch 2 number: None.
Date: Not known.
Ownership: Not known.
Inscriptions: Thomas Hitchcock Londini fecit. Type: Wing spinet.
Remarks: This instrument is shown by B? as a separate Date: Not known.
instrument, but with very few identifiable details. Ownership: TONY BINGHAM, LONDON,
Previous history: Sold at Christie’s 14 May 1936, to Permain, ENGLAND.
perhaps acting for W. R. Hearst. Formerly owned by Sir Inscriptions: Thomas Hitchcock Londini fecit.
Charles Lawes-Wittewronge, Bt., Rothamsted. Specification: 1x8’.
Information supplied by: B?. Compass: FF-P.
Boalch3 number: HITCHCOCK, T. n.d.(25). Keyboard: White naturals, black sharps.
Boalch 2 number: 19. Scale: 230 mm.
Length: 1855 mm.
Width: 685 mm.
Type: Wing spinet. Depth: 180 mm.
Date: Not known. Remarks. This instrument could be the same instrument
Ownership: BATE COLLECTION (LOAN), MUSIC as a number of Thomas Hitchcock spinets for which
FACULTY, OXFORD, ENGLAND. incomplete details are recorded previously in B*. Naturals
Number: X 94. ivory arcaded, sharps ebony. The compass has been
Inscriptions: Thomas Hitchcock Londini fecit. Pencilled changed from GG-g? to the present FF-f'. Mahogany
restorer’s inscription on front edge of wrestplank: Rep. case.
V K Dentsch Bern Marz 1954. Previous history: Bought at auction by Tony Bingham.
Specification: 1x8". Information supplied by: Bingham.
Compass: GG-g’. Boalch 3 number: HITCHCOCK, T. n.d.(28).
Keyboard: White naturals, special sharps. Boalch 2 number: None.
Remarks: Arcaded naturals, skunktail sharps, sixty-one
pinewood keys. Modern jacks; original stand. Type: Wing spinet.
Previous history: Previously in private ownership in Swit- Date: Not known.
zerland. Messrs. Williamson, antique dealers, Guildford. Ownership: Not known.
Miss Evelyn Roberts ¢. 1948, thence to Roger Warner, Remarks. This instrument is shown by B? as a separate
Burford, from whom it is on loan to the Bate Collection. instrument once belonging to the Steinert Collection.
References: BateCat, p. 16. Present location not known.
Information supplied by: B*|Warner|Montags. Previous bistory: Steinert Collection.
Boalch 3 number: HITCHCOCK, T. n.d.(26). Information supplied by: B?.
Boalch 2 number: 20a. Boalch 3 number. HITCHCOCK, T. n.d.(29).
Boalch 2 number: 18.
Type: Wing spinet.
Date: Not known. HITCHCOCK(A), THOMAS(A).
Ovnership: Not known. Type: Wing spinet.
Inscriptions: On the nameboard Thomas Hitchcock Londini Date: 1742(A).
Sect. Ownership: RICHARD JAFFE, CORAL GABLES,
Specification: 1x8". FLORIDA, USA.
Compass: GG-g’. Inscriptions. On the jackrail, the name of a former owner:
Keyboard: White naturals, special sharps. Jane Wagstaffe 1742.
Number of roses: None. Specification: 1x8".
Exterior of case: Plain wood Compass: GG-g'.
Length: 1803 mm. Keyboard: White naturals, black sharps.

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394. HITCHCOCK
Exterior of case: Plain wood. Inscriptions: Jobannes Hitchcock fecit Londini 1520.
Length: 2543 mm. Specification: 1x8".
Width: 762 mm. Remarks. This appears to be the earliest instrument by
Remarks: This instrument is thought by Morleys to be John which has a case number. It was probably made
by Hitchcock. It is registered in B? under Wagstaffe. Since sometime after 1750 when he was made free of the
the date of the inscription is 1742, the instrument, if by Haberdasher’s Company.
a Hitchcock, must have been made in or before this year Previous history: Restored 1960 by Pro Musica of Annapolis
and, accordingly, most probably by Thomas Hitchcock. who found inside a label showing it to have been repaired
Mahogany case. Raised on later turned baluster trestle in 1892 by R H Breitenstein and Son, 80 Richmond Street,
stand in oak. Ivory naturals, with ivory arcades. Ebony Providence, R. I.
sharps. Interior of lid has three marquetry cartouches of Information supplied by: B?.
horses and a cockerel. Over the keys on a walnut Boalch 3 number: HITCHCOCK, J. 1520 n.d.(1).
nameboard in the place normally reserved for the maker’s Boalch 2 number: 22.
mame is the motto Musica Laborem Dulce Levamen—it
should be noted however that this inscription was used Type: Wing spinet.
in the same place in spinets by John Crang (See: Date: Not known.
Instruments CRANG, J. 1753, and CRANG, J. 1758), Ownership: DR. BLACK, BIRMINGHAM, ENGLAND.
and does not appear in other spinets by the Hitchcocks. Inscriptions: Case No. 1547.
Previous history: Sold by Mrs. Joyce Wilson at Sotheby’s Specification: 1x8".
on 22 October 1970, and bought by J. S. Morley for Remarks: This instrument was ascribed in B? to Thomas,
£600. Offered in a sale catalogue of February 1972 for but since the instrument with case number 1520 is by
£2,300. Restored by Hubbard Harpsichords (Inc) in 1982. John, it seems more likely that this instrument is also by
References: See: Morley’s sale catalogue—includes an illus- him.
tration. Restoration report available from Hubbard Harp- Information supplied by: B?.
sichords Inc. Boalch 3 number: HITCHCOCK, J. 1547 n.d.(2).
Information supplied by: B?|Morleys|Luckett|Brockman. Boalch 2 number: 17.
Boalch 3 number: HITCHCOCK(A), T(A). 1742(A)-
Boalch 2 number: Wagstaffe, No. 1. Type: Wing spinet.
Date: Not known.
HITCHCOCK, THOMAS or JOHN. Ownership: ROBT. E. LEE MEMORIAL
Type: Wing spinet. FOUNDATION, WESTMORELAND CO.,
Date: Not known. VIRGINIA, USA. Accession number not known.
Ovnersbip: Not known, but see below. Inscriptions: Jobannes Hitchcock me fecit Londini 1570. Sam's
Inscriptions: Number: 1519. No. 12, on back of nameboard. Case number 1570. The
Specification: 1x8". date of 1756(?) is given in B? but without reasons.
Compass: GG-g’. Specification: 1x8".
Remarks: Evidence of the survival of this spinet comes Previous history: Seen by Pro Musica Inst. Co., Annapolis,
from FwrxOT, 1902, where it was said to be in Worcester, Maryland, December 1968.
though it may well be the spinet currently in the possession Information supplied by: B?.
of Mr. and Mrs. E. Wulstan Atkins, of Woldingham, Boalch 3 number: HITCHCOCK, J. 1570 n.d.(3).
England [Odom in 1985], since this instrument was almost Boalch 2 number: 22a.
certainly in Worcester when owned by Sir Ivor Atkins—
organist of Worcester Cathedral. The ascription of this Type: Wing spinet.
instrument to Thomas or John Hitchcock is a matter of Date: Not known.
some interest since the spinet with serial number 778 is Ownership: PRIVATE COLLECTION, TOKYO,
signed by Thomas, while that numbered 1720 is signed by JAPAN.
Jobn. Inscriptions: Jobannes Hitchcock fecit Londini 1623, on the
Previous history: Restored by John Horniblow about 1982. nameboard. No.3, on bottom and top keys. Case number
Information supplied by: FurnOT |Odom. 1625.
Boalch3 number: HITCHCOCK. T. or J. 1519. n.d.(1). Specification: 1x8’.
Boalch 2 number: None. Compass: GG-g'.
Keyboard: White naturals, black sharps.
HITCHCOCK, JOHN. Number of roses: None.
Type: Wing spinet. Exterior of case: Plain wood.
Date: Not known. Length: 1815 mm.
Ownership: WINTERTHUR MUSEUM, DELAWARE, Remarks: A date of 1760 is ascribed by Yokota, and the
USA. Accession number not known. Sotheby’s catalogue. Ivory naturals with arcades, skunktail

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 HITCHCOCK 395
sharps with ebony/ivory/ebony sandwich. Walnut case to A. G. Leahmon [Lemon]. A. J. Hipkins. Exhibited in
with double curved bent side. Walnut nameboard with 1904.
ash stringing and boxwood plaque. Shaped and chased References: Illustrated in Hi.
brass hinges. Instrument has contemporary tuning ham- Information supplied by: B2|Kottick|O’ BrienPC.
mer and later music stand. Boalch 3 number: HITCHCOCK, J. 1676 n.d.(6).
Previous history: O. V. Watney, Cornbury Park, Charlbury. Boalch 2 number: 25.
Sold on the disposal of the Watney estate at Christie’s in
May 1967 for £800 [Heale]. Owned in 1974 by Harold Type: Wing spinet.
Cox, Great Missenden. It is thought that the present Date: Not known.
Japanese owner acquired it at Sotheby's, on 30 April 1987 Ownership: FORD MUSEUM, DEARBORN,
for £15,000. MICHIGAN, USA. Accession number not known.
References. Mentioned by J, p. 124. Sotheby’s Catalogue Inscriptions: Wrestplank stamped: 29. Sam 28. . . [illegible].
of 30 April 1987. See also EM Vol. XV, No. 4, November Inscribed; Johannes Hitchcock fecit 1677.
1987, p. 527 for report of sale. From information received Specification: 1x8".
from other observers, it is just possible that there are two Remarks: Case number 1677.
Hitchcock spinets in private ownership in Japan, though Information supplied by: Bz.
it seems most likely that the other reports refer to this Boalch 3 number: HITCHCOCK, J. 1677 n.d.(7).
instrument. Boalch 2 number: 26.
Information supplied by: B2|Yokota|Sotheby's.
Boalch 3 number: HITCHCOCK, J. 1625 n.d.(4). Type: Wing spinet.
Boalch 2 number: 23. Date: Not known.
Ownership: ELIZABETH ELDER, AMHERST,
Type: Wing spinet. MASSACHUSETTS, USA.
Date: Not known. Inscriptions: Backus No. & [Backus may well be Americus
Ownership: Not known. Backers, g.v.]. Case numbered 2072.
Inscriptions: Sam’s No. 21. Case No. 1630. Specification: 1x8".
Specification: 1x8". Keyboard: Black naturals, white sharps.
Previous bistory: Exhibited 1885. Formerly owned by W. Remarks: Ebony naturals with ivory arcades. Bone covered
Dale. sharps. Walnut case, fine stand with Braganza feet.
References: Mlustrated in the Connoisseur, July-December Previous bistory: Shown at the Antique Dealers’ Fair, 1961.
1939, P- 93. Belonged [1962] to Messrs. M. Harris, 44 New Oxford
Information supplied by: Bz. Street, London. Repaired by Robert Morley, 1962. At
Boakch3 number: HITCHCOCK, J. 1630 n.d.(5). one time at Chipping Campden. Sold in London 1985.
Boalch 2 number: 24. References: J, p. 124 stated that it was the ‘Highest number
yet discovered’, but this has now been negated by the
Type: Wing spinet. discovery of an instrument with case number 2078.
Date: Not known. Information supplied by: Bz/Broekman.
Ownership: ROY AL COLLEGE OF MUSIC, Boalch 3 number: HITCHCOCK, J. 2012 n.d.(8).
LONDON, ENGLAND. Boalch 2 number: 27.
Number: RCM181.
Inscriptions: Jobannes Hitchcock Londini fecit J676, on the Type: Wing spinet.
nameboard. Case number 1676. Date: Not known.
Specification: 1x8’. Ownership: J. R. REDMAN, LONDON, ENGLAND.
Compass: G-g’. Inscriptions. Inscribed: JOHANNES HITCHCOCK
Keyboard: White naturals, black sharps. LONDINI FECIT No: 2018.
Namber of roses: None. Specification: 1x8’.
Exterior of case: Plain wood. Remarks. This appears to be the highest numbered case
Scale: 270 mm. of any Hitchcock spinet.
Length: 1808 mm. Information supplied by: Redman.
Depth: 182 mm. Boalch 3 number: HITCHCOCK, J. 2018 n.d.(9).
Remarks: Date of ¢. 1750 is ascribed by the College. Boaleh 2 number: None.
O’BrienPC gives a date of ¢. 1744, but since John was
made free of the Haberdashers in 1750, a post-1750 date Type: Two-manual harpsichord.
seems more likely. Ivory naturals arcaded, skunktail sharps Date: Not known.
of ebony/ivory/ebony. Double curved bent side. Ownership: LYME PARK, CHESHIRE.
Previous bistery: Given to Royal College by Edith Hipkins Inscriptions: Johannes Hitchcock Londini Fecit. Sam’s No. 3.
in 1903. Formerly owned by G. F. Handel who gave it Sam may be Samuel Blumer (4.».).

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396 HITCHCOCK
Specification: 2x8’, 1x4". Boalch 3 number: HITCHCOCK, J. n.d.(13).
Additional features. Harp stop. Boalch 2 mumber: 51.
Compass: FF-P.
Previous bistory: Lyme Park Cheshire. Henry Ford Museum, HITCHCOCK, JOHN(A).
Dearborn, Michigan. Repaired by Hugh Gough 1954. B? Type: Wing spinet.
states: ‘Lost in 1972’, but Garreft finds this puzzling since Date: Not known.
there is no record of the instrument having left Lyme Ownership: YALE UNIVERSITY COLLECTION OF
Park, a National Trust property, between the publication MUSICAL INSTRUMENTS, USA.
of Br and the present date. It would therefore seem Number: 4860.00.
likely that the B? information concerning its presence at Inscriptions. Culliford No. 10.
Dearborn is in error, and there has been confusion with Specification: 1x8".
HITCHCOCK, J. 1677 n.d.(7), above. Repaired by Compass. GG-g'.
Clayson and Garrett in 1980. Keyboard: White naturals, black sharps.
Information supplied by: B?|Garrett. Number of roses: None.
Boalch 3 number. HITCHCOCK, J. n.d.(10). Scale: 265 mm.
Boalch 2 number: 21. Length: 1943 mm.
Width: 750 mm.
Type: Wing spinet. Depth: 200 mm.
Date: Not known. Remarks. The date of ¢. 1770 is attributed by Yale, in the
Ownership. MUSIKHISTORISK MUSEUM, which case the instrument would be by John Hitchcock.
COPENHAGEN, DENMARK. Mahogany case.
Number: Aiz. Previous history. Formerly owned by Morris Steinert.
Inscriptions. Jobannes Hitchcock Londini Fecit. Restored by Lotta van Buren in 1928.
Specification: 1x8". References: Uustrated in Steinert.
Compass: GG-g’. Information supplied by: B?|Repbann.
Scale: 270 mm. Boalch 3 number: HITCHCOCK, J(A). n.d.(1).
Length: 1930 mm. Boalch 2 number: 29.
Width: 740 mm.
Depth: 205 mm. HITCHCOCK.
Previous bistory: From the Carl Claudius Collection. Member of the family not known.
References: Illustrated in the catalogue of 1931. Further Type: Wing spinet.
details from MMCC. Date: Not known.
Information supplied by: B?|MMCC. Ownership: Not known.
Boalch 3 number: HITCHCOCK, J. n.d.(11). Specification: 1x8".
Boalch 2 number: 28. Previous history: About 1948 belonged to Albert Schu-
macher of Jackson Heights, New York.
Type: Wing spinet. Information supplied by: B?.
Date: Not known. Boalch 3 number: HITCHCOCK. n.d.(1).
Ownership: Not known. Boalch 2 number: 32.
Specification: 1x8’.
Remarks: Quite probably the same as one of the other Type: Wing spinet.
Hitchcock instruments. B? gives no indication of why it Date: Not known.
is listed as by John Hitchcock. Ownership: WORCESTER ART MUSEUM,
Previous history: C. T. Crewes of London in 1905. WORCESTER, MASSACHUSETTS, USA. Accession
Information supplied by: B?. number not known.
Boalch 3 number: HITCHCOCK, J. n.d.(12). Specification: 1x8".
Boalch 2 number: 30. Previous bistory: Seen by Koster in the mid 1970s, but not
there in 1989. Thought to be by Thomas, but could be
Type: Wing spinet. John. Could well be one of the other recorded instruments
Date: Not known. by Hitchcock.
Ownership: D. ROWLAND, N. ANDOVER, USA. Information supplied by: Koster.
Inscriptions: Inscribed on nameboard: Johannes Hitchcock Boalch 3 number. HITCHCOCK. n.d.(2).
Londini fecit. Culliford No. 12. Boalch 2 number: None.
Specification: 1x8’.
Compass: GG-g'(A). HOFFMAN, CHRISTIAN GOTTHELF.
Previous history: Searles, Methuen, Massachusetts, USA. Type: Fretted clavichord.
Information supplied by: B?. Date: 1785.

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 HORN 397
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, Length: 1736 mm.
GERMANY. Width: 490 mm.
Number: 18. Depth: 154 mm.
Inscriptions: .. . Hoffmann]. . . [Instru|ment|[macher in Schwa) Remarks: Ebony naturals, ivory-capped sharps. Recta-
reburg{?)|. . . [Anno] 1763 (this transcription according to ngular case, mounted on trestle stand.
Kinsky (1910)). B? gives a different transcription with the Previous history: Formerly in the collection of Michael
town as Ronneburg. Thomas.
Compass: C,D-c’. References: Iustrated in ThomasKI, plate 12. CFCI, p. 8
Keyboard: White naturals, black sharps. (illustrated).
Number of roses: None. Information supplied by: Barrell|Cobbe|ThomasKI/CFCI.
Length: 1000 mm. Boalch 3 number: HOFFMANN, C. G. 1784(2).
Width: 300 mm. Boalch 2 number: None.
Depth: 100 mm.
Remarks: Formerly shown in B? as dated 1763. Naturals HOFMANN, FERDINAND.
of box. Sharps of stained wood. Painting inside the lid ‘Type: Fret-free clavichord.
of a musical manuscript notebook with an inkwell, Date: Not known.
goosequill and sand caster. Ownership: KUNSTHISTORISCHES MUSEUM,
Previous history: 1895-6 de Wit collection, Leipzig. VIENNA, AUSTRIA. Accession number not known.
References: Henkelz, pp. 45-6, and illustration plate 15. Inscriptions. On a hand-written label inside the case, to the
Information supplied by: B?|Henkel2. left: Ferdinand Hoffmann|birgl: Orgel-und Instru-|
ment macher,
Boalch3 number: HOFFMANN, C. G. 1783. wobnt bei 3/Hxfeisen ndchst dem Getreid-|markte No. 28. The
Boalch 2 number: 1. initials JE on an oval plaque on the nameboard are
probably those of an owner.
Type: Fret-free clavichord. Compass: FF-g’.
Date: 1784. Previous bistory: Said to have been played on by Haydn.
Ownership: YALE UNIVERSITY COLLECTION OF Given by J. V. Widmann to Brahms, who kept it in his
MUSICAL INSTRUMENTS, USA. house in Vienna (Karlgasse 4). It passed to the Museum
Namber: 4945.60. in 1914 with the greater part of Brahms’s estate [Walsher,
Inscriptions: Inscribed S. D. G./Christian Gotthelf Hoffman|in Pp. 286; see also Ks, p. 232).
Ronneburg. Nom: 28/1784, in ink on reverse of nameboard. Information supplied by: B?.
Compass: FF-f. Boalch 3 number. HOFMANN, F. n.d.(1).
Keyboard: Black naturals, white sharps. Boalch 2 number: 1.
Number of roses: 2.
Style of roses: Parchment. HOLMES, JAMES.
Scale: 262 mm. Type: Wing spinet.
Length: 1730 mm. Date: 1776.
Width: 510 mm. Ownership: SIR HUMPHREY WAKEFIELD.
Depth: 168 mm. Inscriptions: Jacobus Holmes, 1776.
Remarks: Naturals of ebony with arcaded fronts. Sharps Specification: 1x8".
ivory capped. Roses of gilt parchment. Previous history: Reported to be in the possession of Sir
Previous history: The Todhunter Collection. Arnold Dol- Humphrey Wakefield since 1982 [Luckett].
metsch. Belle Skinner Collection. Information supplied by: Luckett.
References: Catalogue of the Belle Skinner Collection. Boalch 3 number, HOLMES, J. 1776.
Information supplied by: B?|Repbann. Boakch 2 number: None.
Boal 3 number: HOFFMANN, C. G. 1784(1).
Boalch 2 number: 2. HORN, GOTTFRIED JOSEPH.
‘Type: Fret-free clavichord.
Type: Fret-free clavichord. Date: 1785.
Date: 1784. Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
Ownersbip: COBBE COLLECTION, HATCHLANDS GERMANY.
PARK, GUILDFORD, ENGLAND. Number: 27.
Number: 6. Inscriptions: Inscribed Gefertiget|Gottfried Joseph Horn senior!
Inscriptions: S.D.G.|Christian Gotthelf Hoffmann. in Nickern b. Dresden 1785/Das ryote, on an ivory plaque
Compass: FF-. which has been lost since 1945.
Keyboard: Black naturals, white sharps. Compass: FF-g'.
Exterior of case: Plain wood. Keyboard: Black naturals, white sharps.
Scale: 254 mm. Number of roses: 2.

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398 HORN
Exterior of case: Plain wood. Exterior of case: Vencered.
Scale: 256 mm. Scale: 267 mm.
Length: 1724 mm. Length: 1745 mm.
Width: 510 mm. Width: 510 mm.
Depth: 186 mm. Depth: 187 mm.
Remarks: Keys are of lime, roof-carved. Key slips of horn Remarks: Bz and Weldon give the date as 1790, while VdM
(some replaced with wood). Naturals of ebony with gives it as 1796 (though Bz says that it had also been
three grooves and fronts of arcaded ebony. Sharps of reported to him as having this date). Keys of pine,
bone-capped, black-stained pear. Soundboard, deal or roof-carved with horn key slips. Naturals of ebony with
spruce. Two roses and five bars. Bridges of maple. Wire fronts of flat ebony plates. Sharps of bone-capped,
gauges marked. Two gauges in the bass indicate wound black-stained wood. Soundboard of spruce, renewed, the
strings. Base of pine, case of oak with yew veneer inside. two original roses having been refitted. Bridges of
Internal decoration of beech & maple. fruitwood. Pine case veneered with yew inside. Balance
Previous bistory: Previously number 22 in the old Heyer rail and wrestplank of beech; hitch pin rail of pine. Pitch
collection. 1910—Heyer collection, Cologne. is said to have been a= 387 Hz. Both roses are 77 mm.
References: Henkel2, pp. 61-2, and illustrated at plates 34, in diameter.
35, §7 and 62. Inscription reproduced in Ks. Previous history: In 1944 in the Neupert Collection.
Information supplied by: B2|Henkel2|Weldon. References: Glar, Heft 1, 41, Jahrgang 1992.
Boalch3 number: HORN, G. J. 1785. Information supplied by: B2|Weldon| VdM|Glar.
Boalch 2 number: 1. Boalch3 number: HORN, G. J. 1790(A).
Boalch 2 number: 2.
Type: Fret-free clavichord.
Date: 1788. Type: Clavichord.
Ownership: DR. ANDREAS BEURMANN, Date: Not known.
HAMBURG, GERMANY. Ownership: DR. WALTER THOENE, BERLIN,
Number: 82. GERMANY.
Inscriptions: On mnameboard plaque: No 249/Josepb Compass. FF-g’(A).
Horn|z.N./1788. Inside on soundboard in pencil: Jos G. Number of roses: 2.
Horn Nickern bey Dresden No.249 Ao. 1788. Length: 1700 mm.
Compass: FF-g’. Width: 530 mm.
Keyboard: Black naturals, white sharps. Remarks: The owner ascribes it without doubt to Gottfried
Number of roses: 2. Joseph Horn. The roses are said to be identical with
Style of roses: Parchment. those of a clavichord by Johann Gottlob Horn dated
Exterior of case: Plain wood. 1793, also belonging (1974) to Dr. Thoene.
Scale: 265 mm. Information supplied by: Bz.
Length: 1719 mm. Boalch3 number: HORN, G. J. n.d.
Width: 480 mm. Boalch 2 number: 2a.
Depth: 178 mm.
Remarks: Roses are geometrical—the owner says: ‘The HORN, JOHANN GOTTLOB.
characteristic roses of Saxony: radiant arrays out of the ‘Type: Fret-free clavichord.
centre point’. The case is of oak. Date: 1789.
References: Beurmann| Marx, p. 229-30. Ownership: MUSIKHISTORISK MUSEUM,
Information supplied by: Beurmann. COPENHAGEN, DENMARK.
Boalch3 number: HORN, G. J. 1788. Number: A46.
Boalch 2 number: None. Inscriptions. Inscribed on the nameboard on an ivory
plaque: No. 292 Johan Gottlob Horn Instrumentmacher in
Type: Fret-free clavichord. Dresden d. 10 Febr. 1789.
Date: 1790(A). Compass: FF-g).
Ownership: DEUTSCHES MUSEUM, MUNICH, Keyboard: Black naturals, white sharps.
GERMANY. Number of roses: 2.
Number. $393. Exterior of case: Plain wood.
Inscriptions: Was inscribed on the soundboard (which has Scale: 260 mm.
been replaced): Gottfried Joseph Horn, Nick[ern] 1790. The Length: 1698 mm.
Museum gives the date as between 1772 and 1797. Width: 495 mm.
Compass: FF-g° (Glar gives FF-P). Depth: 183 mm.
Keyboard: Black naturals, white sharps. Remarks: Keys of lime, slightly roof-carved. Key slips of
Number of roses: 2. horn. Naturals have ebony heads and tails of black-stained

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 HORN AND MACK 399
wood with fronts of arcaded ebony. Sharps of bone- Compass: FF-P.
capped, black-stained wood. Soundboard of spruce, badly Keyboard: Black naturals, white sharps.
split, which overhangs the top two notes. Bridges of Number of roses: 2.
fruitwood. Case of pine, veneered inside and out with Exterior of case: Plain wood.
mahogany and yew. All internal structures of pine. Major Scale: 231 mm.
repairs have been made to the soundboard through a Length: 1677 mm.
(now filled) hole in the base. Width: 490 mm.
Previous history: Belonged to the Danish singer Mrs. Ina Depth: 173 mm.
Lange (1846-1930). Given to the Museum in 1930. Remarks: This instrument has been ascribed to a member
Reference: MMCC. of the Horn family and dated as 1770-90 by Weldon on
Information supplied by: B?|Weldon| MMCC. the basis of its style and the roses. B’ also ascribes one
Boalch 3 number: HORN, J. G. 1789. of the unsigned clavichords in the Sammlung Neuner,
Boalch 2 number: ya. Munich to Johann Gottlob Horn, and it is probably this
one, Keys of lime, roof-carved. Key slips of horn.
‘Type: Fret-free clavichord. Naturals, black-stained wood with four grooves and
Date: 1791. fronts of black stained arcades. Sharps of bone-capped,
Ownership: Not known. black-stained wood. Soundboard of spruce with two 71
Inscriptions: Inscribed: No 380 Joban Gottlob Horn Instru- mm. roses. The soundboard overhangs top two keys.
mentmacher in Dresden 1791. Bridge of beech. Case of pine, with the exterior darkly
Compass: FF-g?. varnished. Interior veneered with yew. Nameboard miss-
Length: 1700 mm. ing. Balance rail of beech. Hitch pin rails of pine veneered
Width: 500 mm. with yew.
Depth: 195 mm. Information supplied by: B?|Weldon.
Remarks: Present whereabouts not known, though accord- Boalch 3 number: HORN, J. G.(A). n.d.
ing to B’, in 1974, it had been formerly in Lucerne, and Boalch 2 number: 6(?).
was probably the same instrument as a Horn clavichord
which in 1968 was owned by Louis Sauteur of Fribourg, HORN(A), GOTTFRIED JOSEPH.
who received it from his teacher Professor Leo Kathriner, Type: Two-manual harpsichord.
who died in 1964 [Réndl]. Weldon also notes an instrument Date: Not known.
in a private collection in Fribourg which is almost Ownership: MUSEUM FUR KUNSTHANDWERK,
certainly this clavichord. DRESDEN, GERMANY.
Information supplied by: B?|Weldon. Number: 37413.
Boalch3 number: HORN, J. G. 1791. Specification: 1: 1x8’, 1x4"; I: 1x8’.
Boalch 2 number: 4. Compass: FF-f.
Keyboard: Black naturals, white sharps.
Type: Clavichord. Number of roses: 1.
Date: 1793. Style of rose: Paper.
Ovnersbip: DR. WALTER THOENE, BERLIN, Exterior of case: Veneered.
GERMANY. Scale: 350 mm.
Inscriptions: No. 482|Jobann Gottlob Horn|Instrumentmacher|in Length: 2610 mm.
Dresden 1793. Width: 970 mm.
Compass. FF-a'(A). Depth: 280 mm.
Number of roses: 2. Remarks: The Museum dates the instrument as ‘mid
Length: 1700 mm. eighteenth century’, and ascribes it to Horn though it is not
Width: 513 mm. signed by him. According to O’BrienPC, the instrument is
Remarks: It is on the basis of this instrument that at Schloss Pilnitz, Dresden, and was ascribed to Horn by
Dr. Thoene ascribed another clavichord (shown under Dr. Thoene, who has two Horn clavichords in his own
Gottfried Joseph Horn) to this maker. collection. Naturals of ebony with ebony fronts and sharps
Information supplied by: B’. topped with ivory or possibly bone. Case of oak veneered
Boalch3 number: HORN, J. G. 1793. in walnut. Bridges of stained pear.
Boalch 2 number: 5. References: Data sheet available from the Museum.
Information supplied by: Reinbeckel{O’ BrienPC.
HORN, J. G.(A). Boalch 3 number. HORN(A), G. J. n.d.
Type: Fret-free clavichord. Boalch 2 number: None.
Date: Not known,
Ownership: STADTSMUSEUM, MUNICH, HORN and MACK (the successors to).
GERMANY. Accession number not known. ‘Type: Fret-free clavichord.

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400 HOTZEL
Date: 1800. Instrumenten macher|in Bayrexth fecit. Ao:1756, on a label in
Ownership: MUSEUM OF FINE ARTS, BOSTON, the keybox. String gauges marked on label, also inside
USA. the keybox: C-B spun, c-cf/2z d-di/3 e-gi/4 a-c/5 fi-f2/6
Number. 17.1797. g2-f3/7, with the explanation: ‘Das ist die ordentliche
Inscriptions: Much faded in ink on the front of the Beiehung des claviers nach der ordnung der No: von dem
soundboard: Horns Erben/und Mack|Dresden 1800. (Bz gives Meister Selbst angegeben 1761.
the date as 1775.) At the back of the nameboard in ink: Compass: C-P.
No &40. Horns Erben und Mack. Keyboard: Black naturals, white sharps.
Compass: FF-g’. Scale: 282 mm.
Keyboard: Black naturals, white sharps. Length: 1340 mm.
Exterior of case: Plain wood. Width: 538 mm.
Scale: 253 mm. Depth: 122 mm.
Length: 1703 mm. Remarks: Pairwise fretting with d and a free. Thirty-eight
Width: 508 mm. courses. Lid painting not original. Case and lid of spruce.
Depth: 190 mm. Previous history: Previously (1979 [Strack]) Neuwied, pri-
Remarks: According to Koster made by the successors to vate collection, Giesbert. Sold by von Hithnerbein,
Johann Gottlob Horn (1748-1796) and Heinrich Rudolph Cologne, 1984 [GL].
Mack (active from 1792—died 1807). Key levers uncarved. References: Vermeij Hub, Strack, pp. 49-50, and pl. VIII.
Naturals have heads of ebony and tails of black stained Information supplied by: Weldon| Vermeij|GL|Strack.
pear. Sharps covered with bone. Case of spruce veneered Boalch 3 number: HUBERT, C. G. 1756(1).
in alder, pear and cherry. Soundboard of quarter-sawn Boalch 2 number: o1.
fir. Bottom of frame and panel construction. The lid and
soundboard are modern construction though the original
soundboard has been preserved. Type: Fretted clavichord.
Previous history: Formerly Canon F. W. Galpin. Shown at Date: 1756.
the Music Loan Exhibition in London in 1904. Ovnersbip: MUSEE DES ARTS DECORATIFS,
References: The instrument is recorded in the Bessaraboff STRASBOURG, FRANCE.
catalogue and Bz (number 3 under Johann Gottlob Horn) Number: 2800.
with a number of errors, particularly in the date. Data Inscriptions: Christian Gottlob Hubert Orgel und Instru-
sheet by John Koster available from the Museum. Boston- mentenmacher in Bayreuth . fecit Ao: 1756.
Cat. Compass: C-P.
Information supplied by: Bz|Koster|MF
A. Keyboard: Black naturals, white sharps.
Boalch 3 number: HORN and MACK. 1800. Number of roses: None.
Boalch 2 number: (Horn, J. G.) 3. Exterior of case: Painted.
Scale: 282 mm.
HOTZEL, PETER. Length: 1343 mm.
‘Type: Fretted clavichord. Width: 538 mm.
Date: 1804. Depth: 129 mm.
Ownership: FORMERLY IN THE BERLIN Remarks: 38 courses. Raised on a stand. The existence of
COLLECTION, BERLIN, GERMANY. Accession this instrument was reported simultaneously by Vermeij
number not known. and Bemmann as this volume was going to press.
Inscriptions: Inscribed: Verfertigt
von Peter Hotxelburgl. Orgel. Information supplied by: Vermeij|Bemmann.
und Instrument|bebaust|zu|Steyer Gersten{?)|1804 Marz. Boalch 3 number: HUBERT, C. G. 1756(2).
Compass. C-P(A). Boalch 2 number: None.
Remarks: According to Bz the instrument was in the
‘Berlin Collection’. It is not now in the Musikinstrumenten ‘Type: Fretted clavichord.
Museum checklist, and thus its whereabouts are not Date: 1763.
known. Bz says ‘zigzag bridge’. Ownership: GERMANISCHES NATIONALMUSEUM,
Information supplied by: B2. NUREMBERG, GERMANY.
Boalch 3 number: HOTZEL, P. 1804. Number: MIR 1054.
Boalch 2 number: 1. Inscriptions: Label on the hitch pin rail Christian Gottlob
Hybert Orgel und Instrumentenmacher in Bayrenth fecit: 401763.
HUBERT, CHRISTIAN GOTTLOB. Compass: C-P.
Type: Fretted clavichord. Keyboard: Black naturals, white sharps.
Date: 1756. Scale: 279 mm.
Ownership: STADTMUSEUM, BAYREUTH, Length: 1340 mm.
GERMANY. Accession number not known. Width: 341 mm.
Inscriptions: Inscribed Christian Gottlob Hubert.|Orgel: & Depth: 118 mm.

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 HUBERT 401
Remarks: Pairwise fretting with d and a free. Thirty-eight chisches Hof Orgel w Instrumentenbauer in Bayreuth Anno 1772,
courses. Erroneously stated by Bz to be unfretted. on a label.
Previous history: Formerly in the Klinkerfuss collection, Compass: FF-f.
Stuttgart, and subsequently the Riick Collection. Keyboard: Black naturals, white sharps.
References: VdM and Ks vol. 2, p. 664. Strack, p. 50, and Exterior of case: Veneered.
pl. IX. Vermeij Hub. Huber, p. 124. Scale: 260 mm.
Information supplied by: B2|Weldon| VdM|Vermeij|Huber| Length: 1651 mm.
Strack. Width: 461 mm.
Boalch 3 number. HUBERT, C. G. 1763. Depth: 136 mm.
Boalch 2 number: 02. Remarks: Casework of pine, veneered in walnut. Sound-
board not original with a rose (also not original). Original
‘Type: Fretted clavichord. stand.
Date: 1765. Previous history: According to Bz: ‘Formerly Paul de Wit,
Ownership: FORMERLY IN THE GERMANISCHES Leipzig, 1892’, and this is confirmed by Strack, p. 51,
NATIONALMUSEUM, NUREMBERG. who also mentions the University of Feiburg/Breisgau,
Number: MI 87. formerly the Pfeiffer Collection Stuttgart as former
Compass: FF-P. owners, but Koster counsels caution, and says this is not
Remarks: Destroyed in the 1939-45 war. the same instrument. There is therefore some slight doubt
References: Huber, p. 126. about this entry.
Information supplied by: Bz|Hxber. References: Mustrated in Perlen aus der Instrumentensammlung
Boalch3 number: HUBERT, C. G. 1765. von Panl de Wit, 1892. Vermeij Hub. Strack, p. 51 and pl.
Boalch 2 number: 03. IX.
Information supplied by: Bz|Weldon| Vermeij{Koster|Kroz-
Type: Fret-free clavichord with octave strings in the bass. ingen|Strack.
Date: 1771(A). Boalch3 number: HUBERT, C. G. 1772.
Ownership: GERMANISCHES NATIONALMUSEUM, Boalch 2 number: 1.
NUREMBERG, GERMANY.
Number: MIR 1058A. Type: Fretted clavichord.
Inscriptions: Paper label, now lost, details from the notes Date: 175(A).
of Dr. Ulrich Riick. Ownership. LEIPZIG UNIVERSITY, LEIPZIG,
Compass: FF-P. GERMANY.
Exterior of case: Venecred. Number: 24.
Scale: 270 mm. Inscriptions: Christian Gottlob Hubert|Hochfierstl: Anspachisch:
Length: 1627 mm. bayrenthischer Hoff-Orgel und Instrumenten bauer fecit Ao 177
Width: 447 mm. «+» x Anspach.
Depth: 149 mm. Compass. FF-a’.
Remarks: Date is missing so exact year of manufacture is Keyboard: Special naturals, white sharps.
not known. Accordingly, the place of manufacture is also Number of roses: None.
in slight doubt. Twenty octave strings in the bass. Case Exterior of case: Painted.
of pine, veneered with oak on the outside and with maple Scale: 312 mm.
inside. Keybox lid and damper rail inlaid with walnut Length: 1583 mm.
and rosewood. In very poor condition. Haber gives the Width: 422 mm.
scale as 275 mm. Depth: 141 mm.
Previous history: Formerly in the Riick Collection. Remarks. From the inscription the instrument must date
References: VdM. Vermeij Hub. Huber, p. 126. Strack, pp. from the 1770s and is probably dated ¢. 1775. This is
51, and plate 1X. probably the same instrument as Bz number 15? and
Information supplied by. Bz|Weldon| VdM|Vermeij/Huber| number 5. It is fretted at c#’-d’ and f-ff?. Keys of alder
Strack. diagonal roof-carved. Naturals of ebony and ivory with
Boalch 3 number: HUBERT, C. G. 1771(A). mother-of-pearl insets, not original. Fronts, arcaded.
Boalch 2 number: 04. Sharps with ivory tops. Soundboard of spruce. Three
bars crossing the bridge but not cut away. Bridges of
‘Type: Fret-free clavichord. maple. Casework of pine, wrestplank and hitch pin rail
Date: 1772. of maple. Balance rail oak-capped pine. Three extra
Ownership: NEUMEYER COLLECTION, BAD bracers, probably not original, run the length of the
KROZINGEN, GERMANY. instrument. External case and stand (replacement of
Number: [17]. original lost in World War Il) painted en suite with
Inscriptions: von Christian Gottlob bubert hochfitrstl. Anspa- internal lid painting. In generally poor condition.

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 402 HUBERT
Previous history. 1892—Heyer/de Wit Collection, Leipzig. Type: Fretted clavichord.
References: Henkel2, pp. 55~7 and illustrated there. Vermeij Date: 1782.
Hub. Strack, p. $2 (number 8), and pl. X. Ownership: METROPOLITAN MUSEUM OF ART,
Information supplied by. B2|Henkel2|Weldon|V ermeij|S track. NEW YORK, USA.
Boalch 3 number: HUBERT, C. G. 1775(A). Namber: X253.6.
Boaleh 2 number. 5/15. Inscriptions. On a label: Christian Gottlob Hxbert/
Hosbfirsthich| Ansbachischer Hof-|Instrumentenmasher fecit
Type: Fretted clavichord. Ae: 1782.
Date: 1776. Compass: C-g’.
Ownership: FORMERLY STAATLICHEN Keyboard: Black naturals, white sharps.
HOCHSCHULE FUR MUSIK, BERLIN, GERMANY. Nusber of roses: None.
Number: 528. Exterior of case: Vencered.
Inscriptions. Curt Sachs catalogue reports label Chr. Gottl. Scale: 259 mm.
Huber |fecit Ao.: 1776 on the soundboard. Length: 1411 mm.
Compass: C-P. Width: 566 mm.
Depth: 125 mm.
Keyboard: Black naturals, white sharps.
Length: 920 mm. Remarks. Naturals of ebony with three grooves and
Width: 275 mm.
keyfronts with pear arcades. Sharps of ivory-capped,
black-stained pear. Soundboard of spruce, not original.
Depth: 95 mm.
Pine case veneered with oak and walnut, with some inlaid
Remarks: A portable instrument at a fourth or fifth above
stringing. Printed paper around the inside of the case.
normal pitch. A reconstruction has been made by Koen Lowest seventeen notes (C-e) unfretted. Remainder fretted
Vermeij from a photograph of 1922 -—See: Vermeij Recon. in chromatic pairs except a’s and d’s which are single.
Keys of pine, diagonal roof-carved. Keys move between
References: Strack, Wolfgang. ‘Der grosse unbekannte’, in
rear guide pins. Naturals of ebony with ebony arcaded Reise
und Erbolung, 17 January 1976 (illustrated). ‘Christian
fronts. Sharps of ivory. Gottlob Hubert’, in Das Musikinstrument, 26, (1977), 1554-
Previous history: According to Elste, destroyed in World 1557. Strack, p. 53, and pl. XI. LibinKI, p. 12 (illustrated).
War Il. Photos (negative numbers 202272 and 215896) may be
References: Curt Sachs 1922 catalogue. Vermeij Hub. Vermeij ordered from the Museum. Vermeij Hub.
Recon. Strack, p. 52. Information supplied by: Bz|Strack|Weldon|V ermei)|MMA|
Information supplied by: Bz|Weldon|Strack|Sachs|\ermeij] LibinKI.
Elste| Barnes. Boalch 3 number: HUBERT, C. G. 1782(2).
Boalch 3 number: HUBERT, C. G. 1776. Boalch 2 number: 5.
Boalch 2 number: 2.
‘Type: Fretted clavichord.
Type: Fretted clavichord. Date: 1782.
Date: 1782. Ownership. HISTORISCHES MUSEUM, BASEL,
Ownership: FORMERLY STAATLICHEN SWITZERLAND.
HOCHSCHULE FUR MUSIK, BERLIN, GERMANY. Number: 1905.86.
Number: 1272. Inscriptions: Label Christian Gottlob Hubert Hochfirstlicher
Inscriptions: Christian Gottlob Hybert Hochfirstlicher Hof Hof Instrumentenmacher Fecit Ao. 1782.
Instramentmacher Fecit Ao. 1782 {Sa}. Compass: C-g’.
Compass: C-P. Keyboard: Black naturals, white sharps.
Exterior of case: Painted. Exterior of case: Veneered.
Length: 1450 mm. Scale: 264 mm.
Width: 460 mm. Length: 1403 mm.
Depth: 81 mm. Width: 549 mm.
Remarks: Thought by Vermeij not to be by Hubert. Depth: 130 mm.
Destroyed in World War Il. Keys of pine, diagonal Remarks: Pairwise fretting with d and a free. Forty courses
roof-carved [Sa]. Casework pine, painted white with for fifty-six keys. Naturals of ebony with fruitwood
yellow decoration in rococo style. arcades. Sharps of bone-capped, black-stained wood.
Previous history: According to Vermeij and Elste destroyed Soundboard renewed with spruce. Case and internal
in World War Il. members of pine, the former veneered with oak. Over-
References: Sachs. Strack, p. 53, number 10. damping rail is original and also of oak. Original stand.
Information supplied by: B2|W/eldon|V ermeij| Elste| Barnes. Reference: Vermeij Hub. Strack, p. 4, number 12, and pl.
Boalch 3 number: HUBERT, C. G. 1782(1). xl.
Boalch 2 number: 4. Information supplied by: B2|Weldon|V ermeij|Strack.

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 HUBERT 403
Boalch3 number. HUBERT, C. G. 1782(3). 34-5, and pl. XII.
Boalch 2 number: 6. Information supplied by: B2|Weldon|Strack| Vermeij] Rushton.
Boalch 3 number: HUBERT, C. G. 1783.
Type: Fretted clavichord. Boalch 2 number: 8.
Date: 1782.
Ownership: DEUTSCHES MUSEUM, MUNICH, ‘Type: Fretted clavichord.
GERMANY. Date: 1784.
Number: 5 385a. Ownership: HAENDEL-HAUS, HALLE, GERMANY.
Inscriptions: On a label: Christian Gottlob Hubert Hoch- Number: 82.
Sirstlicher Instrumentenbaner fecit Ao. 1782 (according to Inscriptions: On a label: Christian Gottlob Hubert, Anspach
Weldon), but according to Bz and Vermeij: Christian, bayrenthischer Hoff-Instrumenten-baner fecit Ao: 1784 (Bz).
Gottlob, Hubert Hochfiirstlich — Anspachischer — Hof- Compass: C-g’.
Instrumenten-Baner fecit Ao. 1782. Exterior of case: Veneered.
Compass: C-g’. Scale: 252 mm.
Keyboard: Black naturals, white sharps. Length: 1411 mm.
Exterior of case: Veneered. Width: 368 mm.
Scale: 260 mm. Depth: 128 mm.
Length: 1407 mm. Remarks: Pairwise fretting with d and a free. Forty
Width: 367 mm. courses. Current disposition of the fretting, with the note
Depth: 128 mm. gf'-a'-a#' as the only triple fretted notes is unlikely. Case
Remarks: Pairwise fretted with d and a free. Forty courses. of pine veneered with oak and walnut. Original stand.
Keys of pine, with weights in the treble, diagonal Previous bistory: Formerly in the Neupert Collection.
roof-carved. Rear guide pins. Naturals of ebony with References: HeydeHH, p. 18. Vermeij Hyb. Strack, p. 55,
three grooves and arcades of black-stained wood. Sharps number 15, and pl. XII.
of bone-capped, black-stained wood. Soundboard of Information supplied by: B2|Strack|Weldon| V ermeij|HeydeHH.
spruce. Bridges of darkened wood, beech or maple. Case Boalch3 aumber. HUBERT, C. G. 1784(1).
of oak, veneered with oak and walnut. Hitch pin rails of Boalch 2 number: 10.
oak. The oaken stand with three drawers is original, as Type: Fretted clavichord.
is the overdamping rail. Date: 1784.
Reference: Vermeij Hub. Strack, p. 54, number 13, and pl.
Ownership: MUSIKINSTRUMENTEN MUSEUM,
Xi.
BERLIN, GERMANY.
Previous bistory: Restored in 1958. Namber: 4651.
Information supplied by: B2|Weldon|Strack| VdM| Vermeij. Inscriptions: On a handwritten label on the inner side at
Boalch 3 number. HUBERT, C. G. 1782(4).
the left: Christian Gottlob, Hubert. Hoff-Orgel
und Instrumenten
Boalch 2 number: 7.
Baner, in Anspach. Fect. Anno. 1784.
Compass: C-g’.
Type: Fretted clavichord. Scale: 255 mm.
Date: 1783. Length: 1411 mm.
Ownership: LIVERPOOL MUSEUM, LIVERPOOL, Width: 368 mm.
ENGLAND. Depth: 128 mm.
Number: 1967.161.11. Remarks: The existence of this instrument is now not
Inscriptions: On a label: Christian Gottlob Hubert, Hoff. certain. According to Vermeij this instrament (Bz number
Instrumenten Bauer fecit Andzbach{?| Ao: 1783. toa) is the same as Bz number 11a. Fretted from f in
Compass: C-g?. pairs, but all the notes a and d in each octave are fret-free.
Keyboard: Black naturals, white sharps. Original stand.
Scale: 260 mm. References: It is probably this instrument which is illustrated
Length: 1406 mm. at plate VI of GSJ XXIII, August 1970 in the article ‘A
Wideb: 367 mm. Teassessment of the fretted clavichord’, by Edwin M.
Depth: 128 mm. Ripin. Vermeij Hub. Strack, p. 56, number 18, and pl.
Remarks: Pairwise fretted with d and a free. Forty courses XI.
and fifty-six keys. Naturals of ebony with boxwood Information supplied by: Bz/Strack|Weldon|GS]| Vermeij]
keyfronts and sharps of ivory. Case and stand both of Elste.
oak, with two drawers. Soundboard not original. Bealch3 number: HUBERT, C. G. 1784(2).
Previous history: Formerly in the Rushworth and Dreaper Boalch 2 number: 10a/112.
Collection, Liverpool, and the de Wit collection, Leipzig.
References: Mlustrated at J, p. 96. See also reference sheet Type: Fretted clavichord.
from the Liverpoool Museum. Vermeij Hub. Strack, pp. Date: 1784.

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404 HUBERT
Ownership: ROMERMUSEUM WEISSENBURG, Information supplied by: B2|Strack|Barnes|Weldon|Vermeij|
BAVARIA, GERMANY. Raymond.
Inscriptions, On a label: Christian Gottlob Hubert|Hochfiirstl. Boalch 3 number. HUBERT, C. G. 1784(4).
AnnspachischerHof-|Instrumentenbauer fecit A. 1784. Boalch 2 number: 11.
Compass: C-g'.
Keyboard: Black naturals, white sharps. Type: Fretted clavichord.
Exterior of case: Veneered. Date: 1787.
Seale: 254 mm. Ownership. LEIPZIG UNIVERSITY, LEIPZIG,
Length: 1411 mm. GERMANY.
Width: 368 mm. Number: 22.
Depth: 128 mm. Inscriptions. On a label: Christian Gottlob Hubert,|Hoff-Orge!
Remarks. According to Vermeij, in 1986, the Heimat- snd Instrumenten Baner|in Anspach fecit Ao: 1767. On the
museum der Stadt Weissenburg ceased to exist and the bottom boards .4.G.C./Ibach]. . .
Hubert clavichord was put into storage. Pairwise fretted Compass: AA-P.
with d and a free. Forty courses. Case veneered with oak Keyboard: Black naturals, white sharps.
and walnut, papered around the inside. Number of roses: None.
Previous history: Restored 1969-71. Stored since 1986. Exterior of case: Vencered.
References: Vermeij Hub. Strack, p. 55, number 16, and pl. Scale: 249 mm.
12. Length: 1365 mm.
Information supplied by: B2|Strack|Weldon| Vermeij. Width: 385 mm.
Boalch 3 number. HUBERT, C. G. 1784(3). Depth: 116 mm.
Boalch 2 number: 10b. Remarks: Pairwise fretted except d and a. Forty-two
courses. Keys of alder; key slips of leather. Naturals of
ebony with two grooves and arcaded fronts. Sharps of
‘Type: Fretted clavichord. ivory-capped, black-stained maple. Soundboard of spruce,
Date: 1784. one bar parallel to bridge plus five shorter ones. Bridges
Ownership: RUSSELL COLLECTION, EDINBURGH
of maple. Casework of pine, walnut veneer outside, maple
UNIVERSITY, SCOTLAND.
inside. Lid of oak. Wrestplank maple. Hitch pin rail and
Number: 38. balance rail both capped pine. External case veneered
Inscriptions: Handwritten label glued to the bass hitch pin with walnut. No original stand.
rail: Christian Gottlob Huber| Anspachischer u. Bayresthischer] Previous history: 1910, Heyer Collection, Cologne.
Hof-Orgel u Instrumenten|baser fecit: Ao: 1784. References: Henkelz, pp. 51—2. and illustrations, plates 24,
Compass: C-P. 25, 61. Vermeij Hub. Strack, p. 57, and pl. XIV.
Keyboard: Black naturals, white sharps. Information supplied by: B2|Strack|Henkel2|Weldon| Vermeij.
Exterior of case: Plain wood. Boalch 3 number. HUBERT, C. G. 1787(1).
Scale: 255 mm. Boalch 2 number: 12.
Length: 1279 mm.
Width: 349 mm. ‘Type: Fretted clavichord.
Depth: 110 mm. Date: 1787.
Remarks: Unfretted C-e, and pairwise fretted above e, Ownership: GERMANISCHES NATIONALMUSEUM,
with d and a free. Thirty-nine courses. Keys of lime. NUREMBERG, GERMANY.
Naturals of ebony with cherry arcades. Sharps of stained Number: MINe 66.
cherry with ivory tops. Case is cherry, but the end walls
Inscriptions: On a label: Christian Gottlob Hubert|Hochfiirst!:
have been replaced with walnut. Panelled lid in cherry.
In very good condition. Thicker tangents for lowest
Anspachisch: bayrentbischer|Hof-Instrumentenbaner fecit 1787.
eleven notes indicate the use of covered strings. Compass: AA-P.
Previous bistory: Given to Sir Donald Francis Tovey before Keyboard: Black naturals, white sharps.
about 1890 by Mrs. Sophie Weisse who had adopted him, Exterior of case: Plain wood.
and who had probably bought the instrument in Germany Scale: 251 mm.
in the 1880s. Thence to Dr. J. D. Dickson, Edinburgh, Length: 1375 mm.
to whom it was bequeathed by Sir Donald Tovey. Width: 383 mm.
Presented to the University of Edinburgh in 1980 by Mrs. Depth: 125 mm.
Dickson. Restored by J. J. K. Rhodes and W. R. Thomas Remarks: Pairwise fretted except d and a. Forty-two
in 1956 and again by John Barnes in 1980. courses. Soundboard not original. Case of oak, lid missing.
References: Strack, pp. 55-6, number 17, and pl. XIII. Previous bistory: Formerly in the Neupert Collection.
Vermeij Hub. RussCollig86, p. 25. Full-size technical References: Vermeij Hub. Huber, p. 125. Strack, p. 57, and
drawing by Richard Louks (1977) available from John 1. XV.
Barnes, 3 East Castle Road, Edinburgh, EH1o 5AP. Information supplied by: B2|Strack|Weldon| Vermeij] Huber.

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 HUFFEL(A) 405
Boalch 3 number: HUBERT, C. G. 1787(2). Depth: 145 mm.
Boalch 2 number: 12a. Remarks. Friedrich Emst, reviewing Lwith in ‘Die
Musikforschung’, vol. 21, (1968) thinks that there are
Type: Fretted clavichord. insufficient grounds for attributing the instrument to
Date: 1789. Hubert. Vermeij reports that on the grounds of the poor
Ownership: GERMANISCHES NATIONALMUSEUM, craftsmanship, he believes that the instrument is not by
NUREMBERG, GERMANY. Hubert, and Stradner (1991) confirms this also. Stradner
Number: MIR 1058. gives the compass as D-g’. Pine casework, painted red.
Inscriptions: On a label: Christian Gottlob Hubert Hochfirstl. Previous history: Property of the Gesellschaft der
Ansbach-Baireuth (sic according to Weldon and Vermeij] Hof Musikfreunde until it passed to the Sammlung A. Pfeiffer,
Instrumentenbauer fecit 1789. Stuttgart.
Compass: C-g’. References: Vermeij Hub.
Keyboard: White naturals, black sharps. Information supplied by: B2|Weldon| Vermeij|StradnerPC.
Exterior of case: Veneered. Boalch 3 number: HUBERT(A), C. G. 1783.
Seale: 264 mm. Boalch 2 number: 9(?).
Length: 1406 mm.
Width: 366 mm. Type: Clavichord.
Depth: 128 mm. Date: Not known.
Remarks: Pairwise fretted except d and a. Forty courses. Ownership: GOETHEHAUS, FRANKFURT AM
Case of oak, veneered with oak and walnut. Lid of oak, MAIN, GERMANY. Accession number not known.
stand (not original) of pine. Vermeij says—inscription not Compass: C-c(A).
autograph. Number of roses: 1.
Previous history: Formerly in the Rick Collection. Exterior of case: Painted.
References: Vermeij Hub. Huber, p. 125. Strack, p. $8, and Remarks: Listed by Bz under Hubert, though ascribed by
pl. XV Paul de Wit to Hass. The instrument is thought by others,
Information supplied by: Bz|Weldon|Vermeij|Strack| Huber. including Vermeij not to be by Hubert. Case and stand
Boalch 3 number: HUBERT, C. G. 1789. lacquered red and gold in rococo style. Uninitialled rose.
Boalch 2 number: 13. Previous history: Formerly Paul de Wit’s from whom it
passed to the Goethehaus in 1903.
HUBERT(A), CHRISTIAN GOTTLOB.
References: Bz. Vermeij Hub.
Information supplied by: B2| Vermeij.
Type: Fretted clavichord. Boalch 3 number: HUBERT(A), C. G. n.d.
Date: 1780(A). Boalch 2 number: 16?
Ownership: PROFESSOR ULRICH FELGNER,
TUBINGEN, GERMANY. HUFFEL(A), FRANS VAN.
Compass: C-P. Type: Single-manual harpsichord.
Scale: 259 mm. Date: 1620.
Length: 1362 mm. Ownership: FORMERLY IN THE BERLIN
Depth: 341 mm. COLLECTION, BERLIN, GERMANY.
Remarks: Though the instrument is not signed, Professor Number: 2225.
Felgner believes that it is either by Hubert or one of his Inscriptions. Ascribed to Frans van Huffel by Smoeck, and
apprentices, and is dated around 1780. Case of fir painted endorsed by Sa on the basis of the initials FH in the
light grey-green colour. Thirty-eight courses of strings. rose.
Information supplied by: Felgner. Specification: 2x8’, 1x4’.
Boalch 3 number. HUBERT(A), C. G. 1780(A). Compass: C-d’.
Boalch 2 number: None. Number of roses: 1.
Length: 1860 mm.
Type: Fretted clavichord. Width: 760 mm.
Date: 1783. Remarks: Bz records this harpsichord as being in the
Ownership: GESELLSCHAFT DER MUSIKFREUNDE, Berlin Collection, but BerlinCat confirms that it has been
VIENNA, AUSTRIA. lost since the Second World War. Stand missing.
Number. GdM 3. References: Snoeck. Sa. BerlinCat, p. 374 quotes the entry
Compass: C-g?. in Sa.
Exterior of case: Painted. Information supplied by: B2|BerlinCat.
Length: 1440 mm. Boalch 3 number: HUFFEL(A), F. V. 1620.
Width: 400 mm. Boalch 2 number: 1.

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ILSAAS, B. stops, and there appears to have been a possibility of
Type: Fret-free clavichord. stops on the clavichord.
Date: 1790(A). References: Weldon and VdM and possibly further inform-
Ownership. FOLKEMUSEET, OSLO, NORWAY. ation from the Museum.
Number: 37-04. Information supplied by: B2|Weldon| dM.
Compass. C-c’. Boakb 3 number: ILSAAS, B. 1790(A).
Remarks: Instrument is a barrel-organ combined with a Boalch 2 number: 1.
clavichord. VdM reports that the organ has four

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JACOT and LION. Information supplied by: B*|Hubb196s/EKJ.
‘Type: Two-manual harpsichord. Boaleh 3 number: JACQUET, C. 1652.
Date: 1721. Boaleh 2 number: 1.
Ownership: PRIVATE COLLECTION, FRANCE.
Specification: 2x8’, 1x4’. JADRA, MARCO.
Additional features: Dogleg, harp stop. Type: Polygonal virginal.
Number of roses: 1(A). Date: 1552.
Remarks: B? mentions a two-manual instrument dated Ownership: PITT RIVERS MUSEUM, OXFORD,
1723, and it seems almost certain that this is the same ENGLAND. Accession number not known.
instrument, though Professor Christiane Jacottet reports Inscriptions: Marci Jadra MDLII.
that her husband restored the instrument recorded here Specification: 1x8".
and is certain of the date as 1721 (name and date are on Compass. C/E-P, short octave.
the soundboard around the rose). Naturals of ebony; Remarks: Plain cypress case.
sharps not known. Reference: ChamP. Previous history: Formerly owned by Valdrighi, then by
Information supplied by: B?|Jacottet. Canon F. W. Galpin. Also Alec Hodsdon [Puttick and
Boalch3 number: JACOT and LION. 1721. Simpson’s, August 1946]. Restored by Robert Goble.
Boalch 2 number: 1 or None. Information supplied by: BP.
Boalch3 number: JADRA, M. 1552.
JACQUET, CLAUDE. Boalch 2 number: 1.
Type: Two-manual harpsichord.
Date: 1652. Type: Polygonal virginal.
Ownership: JOHN & MABLE RINGLING MUSEUM, Date: 1565.
SARASOTA, FLORIDA, USA. Accession number not Ownership: GLINKA MUSEUM, MOSCOW
known. CONSERVATOIRE, RUSSIA. Accession number not
Inscriptions: Inscribed on nameboard Jacquet fecit 162. known.
This is more likely to be Claude Jacquet than his father Inscriptions: Marci Jadrae fecit MDLXV.
Jean. Specification: 1x8’.
Specification: 1: 1x8’, 1x4; Il: 1x8’. Compass: C/E-P, short octave.
Additional features: 2 hand stops, shove coupler. Number of roses: 1.
Compass: GG/BB-c’, short octave. Style of rose: Geometrical pattern.
Exterior of case: Painted. Remarks: Three Medicis are portrayed on its case.
Scale: 303 mm. Previous history: At one time the property of the Medicis.
Length: 2210 mm. References: Presumably the instrument advertised in Tbe
Width: 775 mm. Times, 8 July 1858, as: ‘Magnificent and historical harp-
Depth: 242 mm. sichord (sic) . . . the great work of Marco Sadre (sic)’. Ri,
Remarks: No jacks or keys remain, though the original P. 399-
keyframes are present. Lid flap and outside of case Information supplied by: B?.
decorated with oval medallions and conforming scroll- Boalch 3 number: JADRA, M. 1565.
work, Landscape scene on underside of main lid. No harp Boalch 2 number: 2.
stop. Manuals couple by pulling out lower manual. Hand
stops pass under the wrestplank veneer. Soundboard ribs Type: Pentagonal virginal.
radiate from either side of the 4’ hitchpin rail, passing Date: 1568.
under both bridges. Raised on nineteenth-century Louis Onnership. VICTORIA AND ALBERT MUSEUM,
XV stand. LONDON, ENGLAND.
Previous history: Formerly in the Oustinhoff Collection. Number. 155-1869.
Acquired by John Ringling at the Fifth Avenue Auction Inscriptions: Inscribed on jackrail: Marci Jadra MDLXVIII,
Rooms, April 1928. but, under the soundboard, A /amde e gloria sia dela
References: Hubb 1965, p. 101. Harpd, Vol. 4 [1971], p. 22. santissima trinita ¢ dela gloriosa e sempre vergine maria francisci
EK], No. H-65.2, Vol. 3, 1984-5, p. 64. (Illustrated, figs. brixiensis fecit 1369.
1 and 2). Specification: 1x8".

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408 JADRA(A)
Compass. C/E-f, short octave. finely-turned box arcades have survived with internal
Keyboard: White naturals, black sharps. arches on a black ground). Sharps of stained dense
Number of roses: 1. wood—possibly pear. Nameboard missing. Plain cypress
Style of rose: Geometrical pattern. inner case with outer case painted in plain brick-red.
Exterior of case: Painted. Geometrical rose of parchment. The instrument was given
Case construction: Italian style, inner/outer. a pedal by Stefano Cavaletti during a restoration in 1821.
Scale: 311 mm. . Previous bistory: Given to the young Verdi, aged about 7
Length: 1485 mm. or 8, at the time when it was repaired by Stefano Cavaletti
Depth: 174 mm. in 1821.
Remarks. May have been made by Francesco of Brescia References. Vittadini, p. 183 and pl. N. 28. Wechsberg,
(who may have been the same maker as Francesco George. Verdi, London, 1974. Plate, p. 10, though this
Antegnato). Ivory naturals with arcaded fronts. Ebony shows the Antegnati virginal belonging to the Museum,
sharps. Rose of vellum. Case walls and soundboard of not the Verdi ‘spinetta’. Pellini, p. 319. Timtori, p. 57.
cypress. Outer front of case and inner parts of case visible O’Brien Scala.
from the front are decorated with arabesques and animals Information supplied by: O° BrienPC|WraightPC.
and birds in gold on a black ground. This indicates that Boalch 3 number: JADRA(A), M. 1570(A).
the original outer case (now lost) opened the length of Boalch 2 number: None.
the front. Keyboard projects from case.
Previous bistory: Bought by the Museum from Rawson JANO (or JANOC), W.
Brown in 1869 for £150. Put into exhibition order by Type: Polygonal virginal.
John Barnes in 1963, when he found the inscription Date: Not known.
under the soundboard. Restored by the Adlam-Burnett Ownership: RUSSELL-COTES ART GALLERY &
workshop in 1977. MUSEUM, BOURNEMOUTH, ENGLAND.
References: V&A Cat p. 24 (illustrated and plan drawing Accession number not known.
with dimensions). Inscriptions. On bottom boards W. JANO or W. JANOC
Information supplied by: B2|VeA Cat. followed by 1490 and other indecipherable letters which
Boalch 3 number. JADRA, M. 1568. appear to be 100WCHE. It is not thought that 1490 is a
Boalch 2 number: 3. date. On the two topmost jacks the names mi and fa are
written as well as the numbers.
JADRA(A), MARCO. Specification: 1x8".
Type: Polygonal virginal. Compass. C/E-P, short octave.
Date: 1570(A). Case construction: Italian style, inner/outer.
Ownership. MUSEO TEATRALE ALLA SCALA, Remarks. Nothing further is known of JANO or JANOC.
MILAN, ITALY. Accession number not known. Previous history: The late John Paul was asked to restore
Inscriptions. Lower surface of the f key signed Di me the instrument in 1986.
Stefano Cavaletti fu fatto (di nuovo questi saltarelli e impennati Information supplied by: Paul.
a corame e vi adatti la pedaliera che ci bo regulato||come anche Boalch3 number: JANO, W. n.d.
gratuitamente (ci bo fatto di nuovo li detti saltarelli, vedendo la Boalch 2 number: None.
buona disposizione che ha il giovanetto Ginseppe||Verdi di
imparare a swonare questo instrumento, (che questo mi basta per JANSEN, H.
essere del tutto soddisfatto. Anno Domini\ 18212] (the part Type: Fretted clavichord.
of the script in brackets is no longer visible). String gauge Date: 1754.
numbers and materials of the strings are marked near the Ownership: BORGARSYSSELMUSEUM,
jackslots on the soundboard. SARPSBORG, NORWAY.
Specification: 1x8". Number: BSM 1068.
Compass: C/E-P, short octave. Inscriptions: Inscribed H. Jansen|me fecit Moss.|1754.
Keyboard: White naturals, black sharps. Compass: C-c’.
Number of roses: 1. Keyboard: Black naturals, white sharps.
Style of rose: Geometrical pattern. Exterior of case: Painted.
Exterior of case: Painted. Scale: 260 mm.
Case construction: Italian style, inner/outer. Length: 1520 mm.
Scale: 337 mm. Width: 435 mm.
Length: 1618 mm. Depth: 133 mm.
Depth: 171 mm. Remarks. Naturals of ebony with keyfronts having two
Remarks. Attributed to Marco Jadra by Grant O’Brien carved arcades. Sharps of light wood with ivory tops.
on the basis of the case mouldings and workmanship. External case originally painted green but now dark
Listed in Bz under Cavaletti. Naturals of box (a few brown with red painted interior. Forty-nine keys and

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 JARAS 409
thirty-four courses. Originally had thirteen octave strings Boalch3 number: JANSEN, H. 1763.
in the bass, but the 4’ bridge is now missing. VdM states Boalch 2 number: None.
double fretted apart from C-d, a, d', a', d’, a* and c’.
Note names written on each key in a straight line just JANSEN(A), H.
behind the balance pins, and on the wrestplank to the Type: Clavichord.
left of each pin. Aanstad explains how he discovered Date: 1800(A).
sympathetic strings on a frame below the soundboard. Ownership. GERMANISCHES NATIONALMUSEUM,
These could not have been retuned once the instrument NUREMBERG, GERMANY.
‘was assembled. Number: MINe 77.
References: Odd Aanstad, ‘Two unusual clavichords’ in Compass: CC-F.
GSJ, XLII, March 1990, p. 147. Remarks: The museum describes the case as being wing-
Information supplied by: Bz|Weldon| VdM|Aanstad. shaped (fligelférmigen).
Boaleh 3 number: JANSEN, H. 1754. References: Dr. Otmar Seeman writing to DHB in 1975,
Boalch 2 number: 1. and Huber, p. 125.
Information supplied by: Seeman| Huber.
‘Type: Fret-free clavichord with octave strings in the bass. Boalch3 number: JANSEN(A), H. 1800(A).
Date: 1757. Boalch 2 number: None.
Ownership. FYLKESMUSEET FOR TELEMARK OG
GRENLAND, SKIEN, NORWAY. JARAS.
Number: FTG. ... Type: Fret-free clavichord.
Inscriptions: Signature painted on soundboard H: Jansen/ Date: 1809.
Hoc. Fecit. Moss|1737. UAB (according to Bz) URB Ownership: GERHARD DODERER, GERMANY.
(according to VdM) painted close to wrestpins (probably Inscriptions. Inscribed Jaras me hizo, Ano 1809, Belorado.
a former owner). Compass: A-c*.
Compass: FF-P. Keyboard: Black naturals, white sharps.
Keyboard: Black naturals, white sharps. Remarks: Single strung A-ai*, double strung from b’—
Exterior of case: Painted. ct. Plain case.
Scale: 292 mm. Previous bistory: Was in the possession of Professor Santiago
Length: 1765 mm. Kastner in 1972, and thereafter in a private collection in
Width: $10 mm. Lisbon.
Depth: 140 mm. References: Doderer. Bery| Kenyon de Pascual. “Two features
Remarks: VdM reports plumwood naturals and sharps of of early Spanish keyboard instruments’, in GSJ, XLIV,
bone. Aanstad says naturals of walnut, with green paper (1991), Pp. 94-102.
fronts; sharps of light wood with ivory on top. Thirteen Information supplied by: B2/KdP|Doderer|Bemmann.
octave strings in the bass, FF-F. Tangents are extra- Boalch 3 number: JARAS. 1809.
ordinarily wide. There may once have been what VdM Boalch 2 number: 1.
calls a lute stop. Exterior and interior of case painted
green (possibly not original).
Type: Fretted clavichord.
Information supplied by: B2|VdM| Aanstad. Date: 1819.
Boalch3 number: JANSEN, H. 1757.
Ownership: ANTONIO AND CAROLA DE LA
Boalch 2 number: 2. HERRAN, JEREZ, SPAIN.
Inscriptions: Label missing.
‘Type: Fret-free clavichord with octave strings in the bass. Compass: C-f.
Date: 1763. Length: 1240 mm.
Ownership. NORSK FOLKEMUSEUM, BYGDOY, Width: 555 mm.
OSLO, NORWAY. Depth: 170 mm.
Number: NF 145 05. Remarks: The information was supplied by an informant
Inscriptions: Inscribed in manuscript on the area of sound- whose identity is unknown since the form on which the
board between the wrest pins and the case: H. Jansen/Hoc. particulars were recorded was not signed. Fretted from
Fecit./1763. d#/e to . Pine case with landscape paintings on the lid.
Compass: C-d. References: Beryl Kenyon de Pascual. ‘Two Features of
Keyboard: Black naturals, white sharps. Early Spanish Keyboard Instruments’, in GSJ, XLIV,
Length: 1570 mm. (1991), Pp. 94-102.
Width: 505 mm. Information supplied by: Not known|KdP.
Remarks: Thirteen octave strings in the bass, C-c. Boalch 3 number: JARAS. 1819.
Information supplied by: Weldon| VdM|Aanstad/O' BrienPC. Boalch 2 number: None.

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410 JESSE
JESSE, JOHANN CHRISTOPH. Keyboard: Black naturals, white sharps.
‘Type: Fret-free clavichord. Number of roses: 3.
Date: 1765. Style of roses: Geometrical pattern.
Ownership: METROPOLITAN MUSEUM OF ART, Exterior of case: Plain wood.
NEW YORK, USA. Scale: 328 mm.
Number: 89.4.1207. Length: 1744 mm.
Inscriptions. Inscribed on the soundboard Job. Christoph. Width: 560 mm.
Jesselorgani ad St. Martinilfecit Halberstadt|ano 176. Depth: 222 mm.
Compass: FF-P. Remarks: Typical English virginal. Naturals of snakewood
Keyboard: Black naturals, white sharps. with embossed gilded paper fronts, and sharps of ivory.
Number of roses: None. Case of plain oak. Lid painting original watercolour on
Exterior of case: Painted. gesso. Embossed paper on rim and jackrail. Gilded roses.
Scale: 296 mm. Previous bistory: \t is thought that it has always been at
Length: 1513 mm. Tabley, though following its possession by Lord de
Width: 591 mm. Tabley in 1885 it was subsequently in the possession of
Depth: 171 mm. Lt. Col. Leicester Warren, Knutsford, Cheshire.
Remarks: Keys of pine, with naturals of ebony with four References: Depicted in a painting by J. Fulleylove, 1878,
grooves. Sharps of dark stained wood with bone tops. A 17th century virginal, (now in the possession of Richard
Soundboard, spruce. Bridges, double pinned. Pine case, Luckett) and shown at the International Inventions
exterior painted in imitation tortoise-shell. Lid black with Exhibition in 1885.
tortoise-shell panels, interior red. Keys have been replaced, Information supplied by: B?|Luckett|Martin|MacTageart.
some keys have been added to increase the compass. Boalch 3 number: JONES, P. 1671.
Raised on carved stand with four cabriole legs. The names Boalch 2 number: 1.
of the notes are written faintly on the keys.
Previous bistory: From the Crosby Brown Collection 1889. JORGENSEN, JOHAN JESPER.
References: LibinKI, p. 13, (illustrated). Photos (negatives ‘Type: Fret-free clavichord with octave strings in the bass.
128256, 137077, 172212) may be ordered from the Date: 1777.
Museum. MMACL. Ovwnersbip: MUSIKHISTORISK MUSEUM,
Information supplied by: B*|Weldon| MMACL/LibinKI. COPENHAGEN, DENMARK.
Boalch 3 number: JESSE, J. C. 1765. Number: X3.
Boalch 2 number: 1. Inscriptions. Johan Jesper Jorgensen. Odense 1777.
Compass. FF-P.
Keyboard: White naturals, black sharps.
JOHNSTON, JOHN.
Exterior of case: Plain wood.
Type: Wing spinet.
Seale: 275 mm.
Date: 1800(A). Length: 1706 mm.
Ovwnersbip: RHODE ISLAND SCHOOL OF DESIGN,
PROVIDENCE, R.I., USA. Accession number not
Width: $16 mm.
Depth: 180 mm.
known.
Remarks: Keys of pine. Naturals, roof-carved, sharps
Inscriptions: Signed: Jobannes Jobnston, Edinburgh. waveform. Key slips of horn. Naturals, ivory with
Specification: 1x8". three grooves. Sharps, ebony-capped, black-stained wood.
Exterior of case: Veneered.
Fronts, fruitwood cut with grooves parallel to the
Remarks. Case of mahogany veneer with double curved key tops. Soundboard of pine. Bridges of beech().
bent side.
Twenty-four octave strings in the bass. Case and internal
Information supplied by: B’.
members of pine. Lid has modern birds and flowers cut
Boalch 3 number. JOHNSTON, J. 1800(A). out and stuck on.
Boalch 2 number: 1.
Previous history: Acquired for the Folksmuseet in 1898.
References: MMCC.
JONES, PHILIP. Information supplied by: B?|Weldon| MMCC.
Type: Rectangular virginal. Boalch3 number: }ORGENSEN, J. J. 1777.
Date: 1671. Boalch 2 number: 1.
Ownership. MANCHESTER UNIVERSITY, (TABLEY
HOUSE), MANCHESTER, ENGLAND. Accession JUNGCURTH, HEINRICH WILHELM.
number not known. Type: Clavichord.
Inscriptions: Inscribed on jackrail Philip Jones Londini fecit Date: 1760.
1671. Ownership: Not known.
Specification: 1x8". Remarks: Last heard of in 1885 at the International
Compass: GG/BB-f, short octave. Inventions Exhibition.

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 JUNGKLAUS 411
Previous bistory: Exhibited at the International Inventions this was not the case when the instrument was built, and
Exhibition by R. M. Rogers in 1885. typical Hamburg styles such as the wavy cresting on the
Information supplied by: B?. keyshafts are not found here.
Boalch 3 number: JUNGCURTH, H. W. 1760. Previous bistory. Came to the Museum from Rokenes,
Boalch 2 number: 1. Harstad.
Information supplied by: Weldon| VVdM| Aanstad.
JUNGELAUS, FRIEDERICH.
Boalch 3 number: JUNGKLAUS, F. 1751(1).
‘Type: Fretted clavichord with octave strings in the bass. Boalch 2 number: None.
Date: 1751. ‘Type: Fretted clavichord.
Ownership: TROMSO MUSEUM, TROMSO, Date: 1751.
NORWAY. Ownership. ROMSDALSMUSEET, MOLDE,
Number. TM. . .. NORWAY.
Inscriptions. According to Weldon, inscribed on the area of Number: R 442.
soundboard between the wrest pins and the case: Friedrich Inscriptions. According to Aanstad inscribed on the area
Jungklaus|Altona 1731 in manuscript. According to a of soundboard between the wrest pins and the case: F.
photograph supplied by Aanstad the inscription is Frie- JungKlaus Alltona 1731 (sic).
dereich JungKlaxs Alltona 1751. Compass: C-d.
Compass: C-d. Keyboard: Black naturals, white sharps.
Keyboard: Black naturals, white sharps. Number of roses: None.
Exterior of case: Painted. Scale: 297 mm.
Scale: 297 mm. Length: 1495 mm.
Length: 1495 mm. Wideb: 425 mm.
Width: 425 mm. Depth: 144 mm.
Depth: 144 mm. Remarks: Naturals of ebony with paper arcaded fronts in
Remarks: In view of the inscription, the name should red and white. Sharps of light wood with bone or ivory
more probably be Friedereich JungKlaus. Octave strings for tops. Case has been stained brown though originally had
bottom thirteen notes. Pairwise fretting except for C-c, been painted seven times. Traces of red paint inside.
a, d', a', d’, a', and d’. Naturals of ebony with arcades Instrument is in very bad condition.
of paper in red and white. Sharps of light wood with Information supplied by: Aanstad.
bone tops. Case is painted green externally. VdM points Boalch3 number: JUNGKLAUS, F. 1751(2).
out that though Altona is now effectively part of Hamburg, Boalch 2 number: None.

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 K
K,, V. Number of roses: 2.
Type: Rectangular virginal. Style of roses: Geometrical pattern.
Date: 1588. Exterior of case: Plain wood.
Ovnersbip: HEIMATHAUS, WASSERBURG AM INN, Scale: 292 mm.
BAVARIA, GERMANY. Accession number not Length: 1470 mm.
known. Width: 480 mm.
Inscriptions: Signed on the keys: V.K. 1y88. It is reported Depth: t90 mm.
that the date 1788 is repeated on the lower soundboard, Remarks: Naturals of a figured brown wood, with naively
though quite what this means is not clear. painted poplar fronts, and sharps of bog oak. Both roses
Specification: 1x8'(A). have chequered geometrical patterns, but while the main
Compass: C/E-c', short octave. rose is circular the other is shield-shaped. The case,
Exterior of case: Painted. of thin brown wood, has elaborate and rather heavy
Scale: 320 mm. mouldings. It is six sided and has a Latin motto running
Remarks: The identity of the maker and place of man- round it. The scale given here is that quoted in KipKB.
ufacture are not known. Bottom boards of spruce and O’Brien, p. 25, gives a table of string lengths corrected
remainder of poplar. There is a lower soundboard which for the fact that the strings being in pairs have had to be
acts as jack guide. moved apart from a ‘central position’. He suggests that
Information supplied by: B2|VdM. the instrument would have been tuned about a minor or
Boalch 3 number: K., V. 1588. major third above R (see article on Ruckers in Part 1 for
Boalch 2 number: 1. definition of this). There is a lower ‘soundboard’ below
the normal one on which the bridges stand, which has
KAISER, MARTIN. no musical function, but acts as the lower jack guide.
Type: Single-manual Clavicytherium. References: E. M. Ripin in RipKd, pp. 65-73. O’Brien, pp.
Date: 1675(A). 23-6, 151, 145, 220.
Ownership: KUNSTHISTORISCHES MUSEUM, Information supplied by: Bz/RipKb|O’ Brien|O’ BrienPC.
VIENNA, AUSTRIA. Boalch 3 number: KAREST, IOES. 1548.
Number: 377. Boalch 2 number: 1.
Inscriptions: Martinus Kaiser Ser. Electoris Palatini. Instru-
mentorum Opifex Et Huiusmodi Inventor. Type: Polygonal virginal.
Specification: 2x8". Date: 1550.
Compass: GG,AA-c?. Ownership: MUSEO DEGLI ANTICHI STRUMENTI
Previous bistory: At one time the property of the Emperor MUSICALI, ROME.
Leopold I, 1658-1705. Number: 812.
Information supplied by: B2|StradnerPC. Inscriptions: On the batten above the keys: Joonnes Karest
Boalch 3 number: KAISER, M. 1675(A). + Decolonia + Fecit ... 1550, and Omnis Spiritus Loudate
Boalch 2 number: 1. Dominum in Cereis (Cordis?|] Et Organo. On the inner
tim of the case above the soundboard: LAVDATE
KAREST, IOES. DOMINVM IN CORDIS
ET ORGANO, LAVDATE
Type: Pentagonal virginal. EVM... BENE SONANTIBVS...
Date: 1548. Specification: 1x8".
Ownership: BRUSSELS MUSEUM, BRUSSELS, Compass: C,D-P.
BELGIUM. Keyboard: White naturals, black sharps.
Number. 1587. Number of roses: 2.
Inscriptions: Ioes Karest de Colonia 1548. Round the sound- Style of roses: Geometrical pattern.
board: Omnis spiritus landet Dominum in cordis et organo. On Exterior of case: Painted.
the case exterior: Landate Dominum in cordis et organo, Scale: 347 mm.
Jaudate Exum in symbalis bene sonantibus. Depth: 226 mm.
Specification: 1x8". Remarks. The authenticity of the instrument has been
Compass: C/E-c’, short octave. questioned, largely because it passed through the hands
Keyboard: White naturals, black sharps. of Franciolini, but O’Brien, pp. 23-5, believes it is an

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 KEENE 413
important instrument by Karest. Naturals of a dense white Number of roses: 4.
wood (possibly briar or maple root), sharps of bog oak, Style of roses: Geometrical pattern.
with four scribe lines. Soundboard, probably of spruce, Exterior of case: Plain wood.
has two circular roses of leather and parchment, and Scale: 287 mm.
is the earliest known surviving example with original Length: 1830 mm.
soundboard decoration. The outer case is hexagonal but Width: 552 mm.
has an unusual curved right-hand side, following the line Depth: 249 mm.
of the bridge. Decorated externally with renaissance hand Remarks: A fine example of the late rectangular English
painted decoration in dark blue and black with scrolling virginal. Fifty-seven keys. Naturals of snakewood with
foliage and human and griffin heads. O’Brien suggests it gilt embossed fronts and sharps of solid ivory. Three
was originally tuned to reference pitch R (see article on parchment roses in main soundboard, which is painted,
Ruckers in Part 1 for definition of this). An important and one behind the wrestpins. Inside the lid a park or
instrument in the study of the development of the lakeside scene in tempera with figures in the foreground.
harpsichord. Inside the fall board a similar scene partly obliterated.
Previous history: Almost certainly the same instrument as Embossed gilt leather on front panels (some modern
that described in FranclI as a ‘spinetta ¢ forma d’arpa’, replacements) and lining the inside; studding of ivory or
inscribed as shown above, and almost certainly the bone. External coffer shaped case has oak mouldings, and
instrument purchased by Evan Gorga from Franciolini. iron strap-hinges. Oak stand is modern.
References: FranclI. O’ Brien (illustrated) pp. 24, 23-6, 131, Previous bistory: Formerly H. C. Moffat of Goodrich Court,
145, 200. Cerr.MASM, pp. 314-7. Hxbbr96s, pp. 45, Ross-on-Wye. Bought by Raymond Russell in 1949.
48-9. Repaired by Leslie Ward in 1950 with more recent
Information supplied by: B2|O’ Brien|Cerv.MASM|O’ BrienPC. restoration work by John Barnes.
Boalch 3 number: KAREST, IOES. 1550. References: Mlustrated in RuwssColl, p. 19. See also:
Boalch 2 number: (2?). Russelligs9, plates 57 and 58. Unpublished restoration
report by John Barnes (1979). Full scale technical drawing
KASTNER. by Edward Turner (1976, 1983) available from the Russell
Type: Fret-free clavichord with octave strings in the bass. Collection, together with coloured postcard. Cassette
Date: 1748. recording also available.
Ownership: HAENDEL-HAUS, HALLE, GERMANY. Information supplied by: B2|RussColl{Martin|RussColl1986]
Number: 79. Raymond.
Inscriptions: Inscribed Kastner me fecit Ao 1748. Boalch3 number: KEENE, S. 1668.
Compass: FF-g). Boalch 2 number: 1.
Keyboard: Black naturals, white sharps.
Number of roses: 1. Type: Rectangular virginal.
Scale: 312 mm. Date: 1675.
Length: 1700 mm. Ownership: PRIVATE COLLECTION, CHESHIRE,
Width: 505 mm. ENGLAND.
Depth: 190 mm. Inscriptions: Stephanus Keene Fecit 1675.
Remarks: Naturals of ebony. Sharps bone-capped. The Specification: 1x8".
soundboard is a replacement, a single paper rose. Twenty Compass: GG/BB-P, short octave.
octave strings in the bass. Keyboard: Black naturals, white sharps.
Information supplied by: Bz{Weldon. Number of roses: 3.
Boalch 3 number: KASTNER. 1748. Style of roses: Geometrical pattern.
Boalch 2 number: 1. Exterior of case: Plain wood.
Scale: 308 mm.
KEENE, STEPHEN. Length: 1772 mm.
Type: Rectangular virginal. Width: $15 mm.
Date: 1668. Depth: 225 mm.
Ownership: RUSSELL COLLECTION, EDINBURGH Remarks: Martin reports that there is an extra jackslot and
UNIVERSITY, SCOTLAND. string for the note C. Naturals of snakewood with gilded
Number: 8. embossed paper fronts and sharps of ivory. Gilded roses.
Inscriptions: On jackrail in ink: Stephanus Keene Londini fecit Plain oak external case.
1668. On header behind nameboard: REPAIRED BY Previous history: Believed to have always been in the same
LESLIE WARD, HASLEMERE 1930. family’s ownership.
Specification: 1x8". Information supplied by: B2|Clutton| Martin.
Compass: FF,GG-d'. Boalch3 number: KEENE, S. 1675.
Keyboard: Black naturals, white sharps. Boalch 2 number: 1a.

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 414. KEENE
Type: Wing spinet. Exterior of case: Plain wood.
Date: 1685. Scale: 265 mm.
Ownership: E. R. HAWKINGS. Length: 1627 mm.
Inscriptions: Stephanus Keene fecit Londini 168s. Inscribed Depth: 174 mm.
behind jackrail: Repaired by H. Greening 1841. Dated on Remarks: Naturals of ebony with embossed black paper
jackrail. fronts; sharps of ivory. Broken octave has split keys at
Specification: 1x8’. C sharp and E flat. Modern replacement soundboard and
Compass: GG/BB-d?(A), short octave. bridge. Case of walnut with plain exterior. Interior of
Length: 1549 mm. case, spine, and bottom boards of pine. Nameboard
Remarks: Floral design with bird inlaid on nameboard. veneered in cedar (or possibly cypress) with stringing and
Stand of three pairs of turned legs. @ marquetried cartouche with a cat and flowers. Ascribed
Previous history: 1941 Messrs. Legg of Cirencester. E. R. in B? to Edward Blunt and numbered 2. Now ascribed
Hawkings bought it in ¢. 1958 from a Mr. Gerhold of by the Museum of Fine Arts, Boston to Stephen Keene
Bexhill-on-Sea who moved to the USA at that time, in view of more careful examination of nameboard
having owned the spinet for only a short while. inscription.
Information supplied by: B?. Previous bistory: History not known before acquisition by
Boalch 3 number: KEENE, S. 1685(1). the Museum.
Boalch 2 number: 2. References: Data sheet by John Koster available from
MFA. BostonCat (illustrated).
Type: Wing spinet. Information supplied by: MFA.
Date: 1685. Boalch 3 number. KEENE, S. 1700(1).
Ownership: PRIVATE COLLECTION, LONDON, Boalch 2 number: 2 (under Blunt).
ENGLAND.
Specification: 1x8’.
Remarks: Seen in private ownership near London by John Type: Wing spinet.
Boston, in 1954. In very fine condition, on original stand. Date: 1700.
Nameboard has marquetry of foliage and a bird. Ownership: COLONIAL WILLIAMSBURG
Information supplied by: B. FOUNDATION, WILLIAMSBURG, VIRGINIA,
Boalch3 number: KEENE, S. 1685(2). USA.
Boalch 2 number: 3. Number: 195 3-876.
Inscriptions: Inscribed on nameboard: Stephanus Keene/-
Type: Wing spinet. Londini Fecit. On the back of the nameboard is, in ink,
Date: 1690. J. S. Morley repaired this instrument 1923 A.D. London
Owner: Not known. S.W.7. In another hand, below is Date of instrument appears
Previous history: Was the property of Messrs. Legg of on last treble key. On the topmost key is $ s4 and the
Cirencester in 1936 [GL], but since the firm has been out letters E.B. [for Edward Blunt] and the date 1700.
of business for some years it is unlikely that it is still in Specification: 1x8’.
their possession. Compass: GG/BB-d’, broken octave.
Information supplied by: B*. Keyboard: Black naturals, white sharps.
Boalch 3 number: KEENE, S. 1690. Exterior of case: Plain wood.
Boaleh 2 number: 32. Length: 1630 mm.
Width: 516 mm.
Type: Wing spinet. Depth: 270 mm.
Date: 1700. Remarks: It seems likely that the instrument was made by
Ownership: MUSEUM OF FINE ARTS, BOSTON, Blunt. Naturals of ebony. Skunktail sharps of ivory. Both
USA. bottom sharps split to give a broken octave. Pine
Number: 32.252. case veneered externally with walnut and with cypress
Inscriptions: In ink on the nameboard is an almost (according to EKJ, though Barnes suggests that cedar is
completely illegible inscription, but the remaining letters more likely) on the inner rim and nameboard which has
are consistent with STEPHANUS KEENE LONDINI floral marquetry, identical with that to be found on several
FECIT. In ink on the top key is EB (Edward Blunt?) other Keene spinets. Raised on stand with turned legs.
[or possibly CB (Charles Brackley?—but unlikely in view Previous history: Was previously in the possession of
of the date)]/1700. Morleys (1953). Restored 1962 by Hugh Gough.
Specification: 1x8". References: A full data sheet is available from the Found-
Compass: GG/BB-d’, broken octave. ation, together with photographs. See also EK] vol. 2,
Keyboard: Black naturals, white sharps. p. 68 and plate 5. .
Number of roses; None. Information supplied by: B*|Watson| Williamsburg] EK].

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 KEENE 415
Boalch 3 number: KEENE, S. 1700(2). Exterior of case: Plain wood.
Boalch 2 number: 4. Scale: 261 mm.
Length: 1635 mm.
Type: Wing spinet. Depth: 164 mm.
Date: 1700(A). Remarks: Ebony naturals with embossed paper fronts and
Ownership: ROYAL COLLEGE OF MUSIC, solid ivory sharps. Broken octave with split keys. Plain
LONDON, ENGLAND. solid walnut case. Gauge marks written on nut. Fascia
Number, RCM179. board has intarsia of flowers etc.
Inscriptions: STEPHANVS KEENE LONDINI Previous history. Bought by the present owners in an
FECIT, inscribed on jackrail. Very obscure inscription antiques shop in Broadway, Worcestershire, probably ¢.
on top key which could be: 5 [?K then a numeral], or 1950. Shown on the Antiques Roadshow (BBC) in January
Barnes suggests it could simply be 54, the number of the 1991.
top key. Information supplied by: Owner|Martin|O’ BrienPC.
Specification: 1x8". Boaleh 3 number: KEENE, S. 1704.
Compass: GG/BB-d’, short octave. Boalch 2 number: None.
Number of roses: 1. Type: Wing spinet.
Scale: 288 mm. Date: 1705.
Length: 1551 mm. Ownership: PRIVATE COLLECTION.
Depth: 174 mm. Inscriptions: Stephanus Keene Londini fecit. The bottom key,
Remarks: The dating varies from observer to observer, inscribed TB/I/170s, probably shows it to be the work
and is between 1680 and 1700. Ebony naturals with of Thomas Barton an apprentice of Keene.
embossed paper fronts, and skunktail sharps of ivory/ Specification: 1x8’.
ebony/ivory. Uninitialed rose of wood and parchment. Compass: GG/BB-d’, broken octave.
Plain walnut case with curved tail. Keyboard: Black naturals, white sharps.
Previous bistory: Formerly Sir George Grove, who showed Namber of roses: None.
it in 1885. Exterior of case: Plain wood.
Information supplied by: B2|O’ BrienPC. Scale: 255 mm.
Boalch 3 number: KEENE, S. 1700(A). Length: 1660 mm.
Boalch 2 number: 5. Width: 600 mm.
Depth: 170 mm.
Type: Wing spinet. Remarks: Ebony naturals with embossed vellum (or more
Date: 1701(A). probably paper) fronts. Sharps of bone (or more probably
Ownership: R. MICKLEBURGH, BRISTOL, ivory). Lowest C sharp and D sharp keys split to
ENGLAND.
give broken octave. Walnut case exterior with pierced
Inscriptions: Inscribed on nameboard: Stephanus Keene Lon- strap-hinges and lock hasp in brass. Inside veneered with
dini fecit. On back of nameboard: Jobn Knowles 1701 and cedar with a sycamore and pearwood marquetry panel
R. Clark his spinet 1750. with two jays. Turned beech stand.
Specification: 1x8’. Previous bistory: Bought by Messrs. Legg, Cirencester, at
Remarks: The date is ascribed as a result of the inscription
a country sale about 1965. Entered the possession of
concerning John Knowles—certainly the instrument must
Messrs. Barling, Mount Street, London in November
have been made by 1701 at the latest.
1968.
Previous history: Formerly R. R. Henshaw of Turleigh,
Bradford-on-Avon, about 1948. Information supplied by: Bzlowner.
Information supplied by: Bz. Boalch3 number: KEENE, S. 1705.
Boalch 3 number: KEENE, S. 1701(A). Boalch 2 number: 5a.
Boalch 2 number: 13a. Type: Wing spinet.
Date: 1706.
Type: Wing spinet. Ownership: DR. ANDREAS BEURMANN,
Date: 1704. HAMBURG, GERMANY.
Ownership: DR. PERCIVAL AGNEW, AYR, Number: 50.
SCOTLAND. Inscriptions: Stephanus Keene Londini fecit. On top key and
Inscriptions: Stephanus Keene Londini fecit. Dated 1704 on jack: s4/CB/170s/6. CB is Keene’s apprentice Charles
top key. Brackley.
Specification: 1x8". Specification: 1x8’.
Compass: GG/BB-d', broken octave. Compass: GG,AA,BB-d"(A) [Bearmann).
Keyboard: Black naturals, white sharps. Keyboard: Black naturals, white sharps.
Number of roses: None. Number of roses: None.

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416 KEENE
Exterior of case: Veneered. Remarks: Black naturals with embossed fronts, ivory
Scale: 250 mm. skunktail sharps. B? reports a short octave, but Luckett
Length: 1655 mm. reports the two lowest sharps are split, so it would appear
Width: 885 mm. to be a broken octave. Original stand.
Depth: 163 mm. Previous bistory: Formerly the property of Mrs. Nathaniel
Previous history: Repaired by Alec Hodsdon 1934. Bought Lloyd, Northiam, Sussex.
by Mr. Harding of Steventon on 12 October 1965 from Information supplied by: B?| Luckett.
Phillips Son & Neale, when the catalogue described it as Boalh 3 number: KEENE, S. n.d.(1).
‘from the Geo. Parker Collection’. According to B’, Mr. Boalch 2 number: 9.
Harding still had it in 1966. It was bought by Dr.
Beurmann in 1985. Type: Wing spinet.
References: Sotheby's Catalogue of 19 June 1959, when it Date: Not known.
wrongly gave the inscription as 54 J.H. 1703. Phillips Ownership. HUGH GOUGH, NEW YORK, USA.
Son & Neale Catalogue 12 October 1965. Inscriptions: Stephanus Keene Londini fecit, on nameboard.
Information supplied by: B?|Bexrmann. On the back of the nameboard: Gilbert Dawson, and WG
Boalch 3 number: KEENE, S. 1706(1). Steed.
Boalch 2 number: sb. Specification: 1x8".
Compass. GG/BB-d’(A), short octave.
Type: Wing spinet. Keyboard: Black naturals, white sharps.
Date: 1706. Exterior of case: Plain wood.
Ownership: Not known. Length: 1575 mm.
Specification: 1x8". Remarks: Case of walnut with straight tail. On nameboard
Previous history: Shown at International Inventions Exhib- (besides the above quoted inscription) floral marquetry
ition, 1885, by E. R. Hughes. It is most probably this with a bird.
instrument which was sold at Sotheby’s on 3 April 1985 Previous bistory: Hugh Gough bought it at Sotheby’s
for £10,000. EM, November 1985, reports that it was in 21 December 1972 for £1,850. Formerly W. Barrow,
excellent condition. It is almost certainly the same as the Llandudno, and Lord Lovat.
instrument (KEENE, S. 1706(1) shown above). Information supplied by: B’.
Information supplied by: B?/EM. Boalch 3 number: KEENE, S. n.d.(2).
Boalch 3 number: KEENE, S. 1706(2). Boalch 2 number: 10.
Boalch 2 number: 6.
Type: Wing spinet.
Type: Wing spinet.
Date: Not known.
Date: 1711.
Ownership: DEERFIELD (OWNER UNKNOWN),
Ownership. WESTWOOD MANOR (THE NATIONAL
MASSACHUSETTS, USA.
TRUST), WILTSHIRE, ENGLAND. Inscriptions. Stephanvs Keene Londini fecit [VdM 1976}.
Inscriptions. Stephanus Keene Londini fecit. On the top
key is inscribed in ink: s6/CB/1711/(?)13/2m [Garrett], Specification: 1x8".
indicating the date, and suggesting it to be the thirteenth Compass: GG/BB-g*(A), broken octave.
spinet made by Brackley in Keene’s employ. Remarks: Much restored. According to B? it originally
Specification: 1x8’. had split keys with a compass after restoration of
Keyboard: Black naturals, white sharps. GG/BB-d’. VdM wrote to DHB in 1976 to say that
Remarks: Marquetried nameboard. Ebony naturals with compass was GG/BB-g’ with split C sharp and D sharp.
embossed paper fronts and ivory sharps. Information supplied by: B?| VdM.
Previous bistory: B’ gives Edgar Lister as the owner. Boalch 3 number: KEENE, S. n.d.(3).
Information supplied by: B?/Garrett. Boalch 2 number: 11.
Boalch3 number: KEENE, S. 1711.
Boalch 2 number: 8. Type: Wing spinet.
Date: Not known.
‘Type: Wing spinet. Ownership: CONNELL COLLECTION, NATIONAL
Date: Not known. GALLERY OF VICTORIA, MELBOURNE,
Ownership: CHRISTOPHER LLOYD, GREAT AUSTRALIA. Accession number not known.
DIXTER, ENGLAND. Inscriptions: Stephanus Keene Londini fecit.
Inscriptions: Stephanus Keene Londini fecit. Specification: 1x8".
Specification: 1x8". Information supplied by: B’.
Compass. GG/BB-d’(A), broken octave. Boalch 3 number: KEENE, S. n.d.(4).
Keyboard: Black naturals, white sharps. Boalch 2 number: 12.

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 KEENE 417
Type: Wing spinet. Specification. 1x8".
Date: Not known. Keyboard: Black naturals, white sharps.
Ovnersbip: On long loan to the KENNETH G. FISKE Remarks. Arcaded ebony naturals; ivory sharps. Marque-
MUSEUM, CLAREMOUNT, CALIFORNIA, USA, tried foreboard with typical bird and leaf motifs.
from the owner, Mr Edgardo: Sodero. Accession Previous bistory: Previously Messrs. Morley, and before
number not known. that in private ownership in London. Thereafter in the
Inscriptions. Stephanus Keene Londini Fecit. Rosenbaum Collection, Scarsdale, New York, USA. The
Specification: 1x8’. acquisition of the Rosenbaum collection by the City of
Keyboard: Black naturals, white sharps. Hamamatsu was announced in AMIS-NEWS XX, No.
Remarks: Original stand, spirally turned. Nameboard, 3, October 1991.
besides inscription, has elaborate marquetry of arabesque Information supplied by. B?| AMIS-NEWS.
pattern. Boalch 3 number. KEENE, S. n.d.(7).
Previous history: The late Harry Simmonds, London, (d. Boalch 2 number: 130.
by 1954), bought it from Messrs. F. E. Anderson of
Welshpool, who bought it back from Messrs. E. C. Legg Type: Wing spinet.
of Cirencester. It was probably this spinet on which E. Date: Not known.
M. Ripin did some work in 1956, and which was sold to Ownersbip: Not known.
a private collector in the USA by J. J. Wolff Antiques Inscriptions. Stephanus Keene Londini fecit.
Ltd., 825 Madison Avenue, New York. The Curator of Specification: 1x8".
the Kenneth G. Fiske Museum reports that it was Keyboard: Black naturals, white sharps.
previously owned by someone who resided in Mexico. It Length: 1676 mm.
is the instrument shown in B? as numbers 13 and 19. Remarks: Besides the inscription, the nameboard bears a
Information supplied by: B?|Dr. Albert Rice (Museum Curator). marquetry pattern which includes two birds. Straight tail.
Boalch 3 number: KEENE, S. n.d.(4). Previous bistory: In 1888 belonged to H. J. Dale of
Boalch 2 number: 13/19. Cheltenham.
References: Wustrated in HiMi, p. 51.
Type: Wing spinet. Information supplied by: B’.
Date: Not known. Boalch 3 number: KEENE, S. n.d.(8).
Ownership: RED LODGE, BRISTOL MUSEUM, Boalch 2 number: 14.
BRISTOL, ENGLAND. Accession number not known.
Information supplied by: B?. Type: Wing spinet.
Boalch 3 number. KEENE, S. n.d.(5). Date: Not known.
Boalch 2 number. 13b. Ownership: Not known.
Specification: 1x8".
Type: Wing spinet. Previous bistory. Shown by Frere at the 1900 Exhibition,
Date: Not known. London.
Ownership: GRIMSTHORPE CASTLE, SCOTLAND. Information supplied by: B’.
Inscriptions. On nameboard: Stephanus Keene Londini facit. Boalch 3 number: KEENE, S. n.d.(9).
On the top key: 54/CB/1707. On the top jack: 1707/s4/[?] Boaleh 2 number: 15.
D.
Specification: 1x8". Type: Wing spinet.
Compass: GG/BB-d’, broken octave. Date: Not known.
Remarks: The lowest two sharps are divided. Information Ovnership: Not known.
of the existence of this spinet came originally from William Inscriptions. Stephanus Keene Londini fecit.
Thomas. Specification: 1x8’.
Previous history: The Earl of Ancaster, Drummond Castle, Compass: GG/BB-d’(A), broken octave.
Crieff, Scotland. Remarks: Two lowest sharps divided.
Information supplied by: B?|Garrett. Previous bistory: Formerly in the Boddington Collection.
Boalch 3 number: KEENE, S. n.d.(6). Information supplied by: B’.
Boalch 2 number: 13¢. Boakh 3 number: KEENE, S. n.d.(10).
Boalch 2 number: 16.
Type: Wing spinet.
Date: Not known. Type: Wing spinet.
Ownership: CITY OF HAMAMATSU, JAPAN. Date: Not known.
Accession number not known. Ownership: HALL-I-THE-WOOD MUSEUM,
Inscriptions: Inscription on front of jackrail: Stephanus Keene BOLTON, ENGLAND. Accession number not known.
Londini fecit. On top key: S*K. Inscriptions. Stephanus Keene fecit Londini.

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 418 KEENE(A)
Specification: 1x8’. known.
Compass: GG/BB-d'(A), broken octave. Inscriptions: Top key inscribed: 1708.
Number of roses: 1. Specification: 1x8’.
Style of rose: Geometrical pattern. Compass: GG/BB-d?, broken octave.
Remarks: Two lowest sharps divided. Number of roses: None.
Information supplied by: B’. Length: 1676 mm.
Boalch 3 number: KEENE, S. n.d.(11). Remarks: Perhaps by Keene, though Barnes, who restored
Boalch 2 number: 17. the instrument, saw no reason for thinking it was by him.
Nameboard bears marquetry including two birds, but no
Type: Wing spinet. inscription. Straight tail. Lowest two sharps divided.
Date: Not known. Information supplied by. B?.
Ownership: Not known. Boalch 3 number: KEENE(A), S. 1708.
Inscriptions. Stephanus Keene Londini fecit. Boalch 2 number: [?7] (Keene).
Specification: 1x8’.
Length: 1499 mm. KEENE, STEPHEN and BLUNT, EDWARD.
Remarks: Nameboard has spray of flowers inlaid on an Type: Wing spinet.
ebony ground. Date: 1702.
Previous bistory: Christie’s, 15 November 1956. Ownership: LORD BUTE, DUMFRIES HOUSE,
Information supplied by: B’. CUMNOCK, AYR, SCOTLAND.
Boalch 3 number: KEENE, S. n.d.(12). Inscriptions: Stephanus Keene|Edwardus Blunt|Londini Fecerunt
Boalch 2 number: 18. on nameboard. E. B./r702 on top key.
Specification: 1x8’.
Type: Wing spinet. Compass: GG/BB-d’, broken octave.
Date: Not known. Keyboard: Black naturals, white sharps.
Ovnership: Not known. Number of roses: None.
Specification: 1x8’. Scale: 254 mm.
Compass: GG/BB-d’(A), broken octave. Length: 1644 mm.
Remarks: Lowest C sharp and D sharp are split. Depth: 171 mm.
Previous bistory: Messrs. Luther, Antique Dealers, 56 Remarks: Lowest two sharps divided. Black naturals and
George Street, London, W.1., owned this instrument in solid ivory sharps. Original jacks and keyboard cloths.
about 1962, but had sold it by 1965. Repaired by Robert Information supplied by: B?|O’ BrienPC.
Morley about 1962. Boalch3 number. KEENE, S. & BLUNT, E. 1702.
Information supplied by: B*. Boalch 2 number. 13d (Keene).
Boalch 3 number: KEENE, S. n.d.(13).
Boalch 2 number: 20. Type: Wing spinet.
Date: Not known.
Type: Wing spinet. Ownership: DENIS McCALDIN, LANCASTER,
Date: Not known. ENGLAND.
Ovnersbip: DR. B. E. JUEL-JENSEN, OXFORD, Inscriptions: Stephanus Keene—Edwardvs Blunt Londini
ENGLAND. Fecerunt.
Inscriptions: Stephanus Keene Londini fecit. Specification: 1x8".
Specification: 1x8’. Compass: GG/BB-d?, broken octave.
Remarks: Inscription on nameboard, divided by marquetry Keyboard: Black naturals, white sharps.
of flowers and foliage. Keyboard not original. No initials Scale: 267 mm.
‘on jacks. Length: 1676 mm.
Previous history: Charles Thornton. Then Roger Warner, Remarks: Inscribed Stepbanvs Keene—-Edwardvs Blunt on
Burford 1937, who sold it to Dr. Juel-Jensen. Repaired either side of a marquetried panel with flowers and two
some time by Michael Thomas. birds in nameboard with Londini Fecerunt above the
Information supplied by: B?. marquetry. Ebony naturals, with embossed paper fronts—
Boalch 3 number. KEENE, S. n.d.(14). solid bone (or more probably ivory) sharps. Lowest two
Boalch 2 number: 21. sharps split.
Previous history: From 1920 Mary Foster, Nottingham until
KEENE(A), STEPHEN. acquired by present owner some time before 1985.
Type: Wing spinet. Restored by Dennis Woolley in 1975.
Date: 1708. Information supplied by: Woolley.
Ownership: ROY AL COLLEGE OF MUSIC, Boalch 3 number: KEENE, S. & BLUNT, E. n.d.(1)
LONDON, ENGLAND. Accession number not Boalch 2 number: None.

itizea y Google
 KEMYS 419
KEENE, STEPHEN and BRACKLEY, CHARLES. Type: Spinet.
Type: Wing spinet. Date: Not known.
Date: 1715(A). Ownership: MESSRS. MALLETT.
Ownership: JOHN BARNES, EDINBURGH, Specification: 1x8".
SCOTLAND. Length: 1295 mm.
Inscriptions: Stephanus Keene Carolus Brackley Londini fecerunt. Remarks: The possibility that John Kemp, Kemys, or
Specification: 1x8". Kemps were one and the same person cannot be ruled
Compass: GG,AA-d’,e’. out. Reports of this spinet, and similar instruments by
Keyboard: Black naturals, white sharps. John Kemys, and John Kemps indicate that they may all
Number of roses: None. be the same instrument or at least by the same maker.
Exterior of case: Plain wood. Previous history: Lady Kathleen Pilkington sold it at
Scale: 267 mm. Sotheby’s, 5 July 1934. The possibility that it is still with
Length: 1778 mm. Messrs. Mallett is remote.
Width: 625 mm. Information supplied by: Bz.
Depth: 192 mm. Boalch 3 number: KEMP. J. n.d.
Remarks: Date of 1715 ascribed by John Barnes who says: Boalch 2 number: 1.
‘The marquetry would have been old-fashioned by this
date, but it would have been cut out somewhat earlier KEMPS, JOHN.
and been in stock.’ Ebony naturals with paper embossed John Kemps may be the same maker as John Kemys
fronts painted black. Solid ivory sharps. Case of plain (below).
walnut. Type: Wing spinet.
Previous history: First known owner: Sir Ilay Campbell, Date: 1730-40.
Coldstream, Berwickshire. Bought by John Barnes 1976. Ownership: CAPTAIN N. C. GUNN, CAITHNESS,
References: It is this instrament which has been used as SCOTLAND.
the model for the book by John Barnes, Making a Spinet Inscriptions. Inscribed on nameboard JOHN KEMPS [or
by Traditional Methods, Welwyn 1985, 1987. Book, full size KEMYS] Gloucs.
drawing, and photographs available from John Barnes, 3 Specification: 1x8".
East Castle Hill, Edinburgh, Scotland. Keyboard: White naturals, special sharps.
Information supplied by: B2|Barnes. Number of roses; None.
Boalch 3 number. KEENE, S. & BRACKLEY, C. 1715(A). Exterior of case: Veneered.
Boalch 2 number: 22 (Keene). Scale: 262 mm.
Length: 1889 mm.
KEEYS. Depth: 218 mm.
Type: Wing spinet. Remarks. See remarks on KEMP, above. From the history
Date: Late eighteenth century.
of this instrument it is clear that it is not the same as the
Ownership: JOHN PAUL (THE LATE), WALDRON,
above spinct. Naturals of ivory with pear fronts, and
HEATHFIELD, SUSSEX, ENGLAND.
Inscriptions: On the baseboard, underneath the keyboard
skunktail sharps of ebony/ivory/ebony. The owner reports
a walnut case on a frame with cabriole legs, and marquetry
is the signature: Keeys no. 17. [It is clear, and could not
on the nameboard.
be Keene or Kemys.] Jack 41 is inscribed Edward Peel.
Specification: 1x8". Previous history: From early 1920s until 1980, belonged to
Mr Gunn’s grandfather at 19 Talbot Avenue, Bourne-
Compass: GG-g'.
Keyboard: White naturals, black sharps. mouth. Since 1980, on long loan to Aberdeen University.
Captain Gunn has carried out considerable research on
Exterior of case: Painted.
Length: 1930 mm. the maker, with no positive conclusion after consulting
Remarks: The style dates the spinet as from the late Messrs. Mickleburgh, City of Bristol Record Office, and
eighteenth century. Its finely painted satinwood case the Central Library, Bristol.
makes it unique, and probably custom-built. Information supplied by: Captain Gunn|O’ BrienPC.
Previous history: John Paul bought it at a Sussex auction Boalch 3 number: KEMPS, J. 1730-40.
sale in 1966 held by the executors of Miss Coke Richards, Boalch 2 number: None.
of Westmeston, Sussex.
Information supplied by: Bz|Paul. KEMYS, JOHN.
Boalch3 number: KEEYS. n.d. John Kemys may be the same maker as John Kemps
Boalch 2 number: 1. (above).
Type: Wing spinet.
KEMP, J. Date: 1755(A) [Bz].
J. Kemp may be the same person as John Kemp, or John Ownership: THE HON. MRS. IONIDES,
Kemys (below). TWICKENHAM, ENGLAND.

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420 KETTENHOVEN
Inscriptions: Inscription on nameboard; John Kemys, Bristol. Specification: 1x8".
Specification: 1x8". Compass: FF-P.
Compass: FF,GG-P. Keyboard: Black naturals, white sharps.
Keyboard: White naturals, black sharps. Number of roses: One, painted on soundboard.
Number of roses: 1: Exterior of case: Painted.
Style of rose: Seated harping figure. Seale: 354 mm.
Exterior of case: Plain wood. Length: 1048 mm.
Length: 2085 mm. Width: 560 mm.
Remarks: See remarks on KEMP above. This spinet Depth: 228 mm.
appears, however not to be confused with either of the Remarks: Appears to be the only surviving instrument by
above two instruments. Pine keyboard. Ivory naturals this maker. Outer case painted in plain colour (the colour
with arcaded fronts of ebony; ebony sharps. Lowest is not known from the only available illustration which
thirty-one notes have double bridge-pins. Gilt rose with is in black and white). Painted swags of flowers over
harping King David with initials BH (most probably keyboard. Painted scenes and flowers inside lid. Raised
Baker Harris though how a rose by this maker came to on three cabriole legs. A paper rose is glued onto the
be in this instrument is a matter for some speculation). soundboard, but there is no soundhole. Flemish style
Bz suggests that Kemys acted as an agent for Baker paintings around the rose, on the soundboard, and on
Harris. Mahogany case with rectangular walnut inlays the wrestplank. Dr. Beurmann reports: ‘Mid-18th century
surrounded by holly stringing. Modern wrestpins. tapestry at the inside of the walls, the lid, and keyboard
Information supplied by: Bz. flanks.’ Material of naturals is not known. Probably
Boalch 3 number: KEMYS, J. 1755(A)(1). bone-topped blackwood sharps. Jacks have their original
Boalch 2 number: 1. brass plectra throughout—probably the only extant instru-
ment to have them. It should be noted that in 1992
Type: Wing spinet. Pussiau reported that Kettenhoven’s only surviving instru-
Date: 1755(A). ment was reported to him as ‘Epinette “en aile d’oiseau”,
Ownership: Not known. Lyon, 1777’ and adds ‘Mentionée dans Kie/klaviere, p. 45:
Inscriptions: Inscribed on the nameboard: Jobn Kemys Ein Querspinett von Pierre Kettenboven, Lyon, 1777, mit
Glouer.. FF-g’ und Disposition 8’ 4’ befindet sich ebenfalls in
Specification: 1x8’. Privatbesitz, wie Marc Champollion aus Siegen freund-
Compass: GG-g?. licherweise migeteilt hat.’ The difference in the compass
Keyboard: White naturals, special sharps. and specification in this report should be noted.
Number of roses: None. Previous bistory: Sold at Drouét-Richelieu—Salle 5 on
Exterior of case: Plain wood. Thursday 2 June 1989.
Length: 1890 mm. References: See sale catalogue. Bewrmann-Cal, (May).
Remarks: Naturals of ivory with ivory arcades, and Information supplied by: Roth|Drowot|Bexrmann|Pussia.
skunktail sharps of ebony/ivory/ebony. Plain walnut case Boalch 3 number: KETTENHOVEN, P. 1777.
with similar nameboard with geometric stringing and a Boalch 2 number: None.
boxwood name-plaque. Double curved bent side. The
stand is later with turned upper legs and cabriole lower KIEDOLPS, F.
half. It is just possible that this may be the same instrument ‘Type: Fretted clavichord.
as KEMPS, J. 1730-40 (above). Date: 1751.
Previous history: Sold at Sotheby’s on 30 April 1987 for Ovnersbip: SMITHSONIAN INSTITUTION,
£8,500. WASHINGTON, USA.
References: Sotheby’s catalogue of 30 April 1987 Number: 303,540.
(illustrated). Inscriptions: Inscribed F. Kiedolps, Orgelmacher, Schweinfurth,
Information supplied by: Sotheby's. 17st.
Boalch 3 number: KEMYS, J. 1755(A)(2). Compass. C,D-c’.
Boalch 2 number: None. Keyboard: White naturals, black sharps.
Scale: 280 mm.
KETTENHOVEN, PIERRE. Length: 1280 mm.
Type: Wing spinet. Width: 428 mm.
Date: 1777. Depth: 110 mm.
Ownership: DR. ANDREAS BEURMANN, Remarks. Keys are roof-carved. Naturals of ivory with
HAMBURG, GERMANY. three grooves and embossed paper fronts; sharps of dark
Number: 46. wood either poor ebony or bog-oak. According to
Inscriptions: Inscribed: PIERRE KETTENHOVEN A Smithcbeckéo it is triple strung, and Barmes who has a
LYON 1777. full-size rubbing and research report by Richard Loucks

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 KINSTROM 421
on this instrument confirms that it has three unison strings Remarks: Soundboard of pine. Formerly had twenty-two
per note throughout the whole compass. pedal notes, but the pedal board is now missing.
References: Smithcheck&g. Photos available from the Smiths- References: H-O, No. S 23 JLM 17656. Illustrated at figs.
onian: numbers 56,336, 56,336A, 56,336B. 110A, 110B, and 110C on p. 126.
Information supplied by: B?|Weldon|Smithcheck&9. Information supplied by: Weldon|Barrell|H-O.
Boalch 3 number: KIEDOLPS, F. 1751. Boalch 3 number: KINSTROM, L. 1748.
Boalch 2 number: 1. Boalch 2 number: None.

‘Type: Fretted clavichord.

KILIAN, LUCAS. Date: 1750(A).
‘Type: Ottavino. Ownership: SKELLEFTEA MUSEUM, SKELLEFTEA,
Date: 1617. SWEDEN.
Ownership: HUNGARIAN NATIONAL MUSEUM, Number: 838.
BUDAPEST, HUNGARY. Compass: C-d?.
Number: App. Jank. V.243. Scale: 283 mm.
Inscriptions: Inscribed 1617 L:K:F: and lower down 1:K: Length: 1511 mm.
F:. B* reports that this has been deciphered as Lucas Width: 433 mm.
Kilian Invenit and I. Kilian [his son] Fecit (but then surely Remarks: Soundboard, pine. Formerly had twenty-two
the first inscription should be L:K:1:). B? goes on to add pedal notes but pedal board is now missing.
that the above possibility of ascription was accepted by References: H-O, No. S 24 SM 838. Illustrated at fig. 127A
M. Rosenberg (Der Goldschmiede Merkzeichen vol. 1, 3rd and 127B on p. 147.
edition, Frankfurt am Main, 1922), though Gdbryrgs9 Information supplied by. H-O|Weldon| Barrell.
considered it likelier that it was made by Johann Klebiller Boaleh3 number: KINSTROM, L. 1750(A).
of Augsburg, and brought by Catherine of Brandenburg Boalch 2 number: None.
with her from Germany.
Specification: 1x4’. Type: Fretted clavichord.
Compass: F-g*. Date: 1752.
Keyboard: White naturals, black sharps. Ownership: STATENS MUSIKSAMLINGAR,
Exterior of case: In a unique style. MUSIKMUSEET, STOCKHOLM, SWEDEN.
Length: 430 mm. Number. 2448.
Width: 235 mm. Inscriptions. Inscribed © STOCKHOLM/HOS/LARS
Depth: 250 mm. KINSTROM]Ao. 1752 on a label on the area of the
Remarks: Naturals appear to be of ivory with special soundboard between the wrestpins and the case.
arcades, and sharps topped with ebony. Case highly Compass: C-d’.
decorated with inlay. Keyboard: White naturals, black sharps.
Previous history: Said to have belonged to Catherine of Exterior of case: Painted.
Brandenburg, the wife of Gabor Bethlen, Prince of Scale: 282 mm.
Transylvania. Length: 1509 mm.
References: See M. Rosenberg (cited above), and Gabry1969, Width: 423 mm.
P- 33, and illustration. Depth: 135 mm.
Information supplied by: B?|Gabry1969. Remarks: Keys of pine, roof-carved with key slips of
Boalch3 number: KILIAN, L. 1617. wood. Replacement naturals of yew with painted fronts.
Boalch 2 number: 1. Sharps, painted black. Instrument is fretted except C-d,
a, d', a', and d*. The rest are pairwise fretted. No octave
strings. Soundboard of pine. Bridge of beech. Case is
KINSTROM, LARS. pine which was painted 1875-1900. Inner structures are
‘Type: Fretted clavichord. also pine. String gauges marked. The disposition of the
Date: 1748. tangents has been radically altered more than once. Two
Ownership: JAMTLANDS LANS MUSEUM, large bolts hold the side hitch pin rail in place. Internal
OSTERSUND, SWEDEN. pastoral lid painting.
Number: 17656. References: H-O No. S o1 SMS/MM 2448. Illustrated at
Inscriptions: Inscribed on the area of soundboard between fig. 111. on p. 127.
the wrestpins and the case: Kinstrom fecit Ao. 1748. Information supplied by: Weldon|Barrell|B2|H-O/VdM.
Compass: C-d'. Boalch3 number. KINSTROM, L. 1752.
Keyboard: Black naturals, white sharps. Boalch 2 number: 1.
Scale: 285 mm.
Length: 1512 mm. Type: Harpsichord (number of manuals not known).
Width: 442 mm. Date: 1753.

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422. KINSTROM(A)
Ownership: BORAS MUSEUM, BORAS, SWEDEN. Scale: 262 mm.
Accession number not known. Length: 1404 mm.
Additional features: Now rebuilt as a fortepiano. Width: 473 mm.
Compass: C-c'. Depth: 101 mm.
Remarks: \t is not certain whether this is the same Remarks: This seems almost certainly to be the instrument
instrument as that referred to by H-O on p. 63 where the recorded in Bz as belonging to H. G. Salloch, Sea Cliff,
lid of a harpsichord almost certainly by Lars Kinstrom is New York, USA. There is some controversy about the
shown. The decorative painting on this lid is signed Jacob date, which dM gives as 1762, while Bz, LibinKI, and
Liljedabl Stockholm 1748. Since the photo credit is Kalmar MMACL, all give it as 1763. Michel, who illustrates it
County Museum, this is shown as a separate instrument on p. 152, gives the date as 1734. Ebony naturals and
below under KINSTROM(A), L. 1748. arcades. Black stained sharps with bone tops. Has a
Information supplied by: Kilstrom|H-O. pantaleon stop, in which a separate row of tangents
Boalch 3 number: KINSTROM, L. 1753. mounted on a hinged rail beneath the keys is raised by
Boalch 2 number: None. knobs flanking the keyboard. These tangents remain
against the strings and so prolong the sound after the
KINSTROM(A), LARS. key tangents fall away. Painted soundboard and pastoral
Type: Harpsichord (number of manuals not known). scene painted inside lid.
Date: 1748(A). Previous bistory: If it is the instrument recorded in Bz it
Ownership: KALMAR LANS MUSEUM, KALMAR, was at one time owned by H. G. Salloch, Sea Cliff, New
SWEDEN. York. Acquired by the Metropolitan Museum of Art in
Number: 1.293. 1986 by purchase using funds recorded in full in MMACL.
Inscriptions: Only by the artist who painted the lid. References: LibinKI, pp. 12-13, (illustrated). MMACL.
Remarks: This is shown here as a separate instrument, Photos (negative numbers 240827, 240855) available from
but see also instrument number KINSTROM, L. 1753. the Museum.
Has handsomely decorated lid, signed Jacob Liljedabl Information supplied by: B2|VdM|LibinKI|MMACL.
Stockbolm 1748. H-O attributes the instrument to Boalch 3 number: KINTZING, C. 1763.
Kinstrém. Boalch 2 number: 1(A).
References: H-O, No. S 08 KLM 1.293. Lid illustrated on
p. 63. KIRKMAN, ABRAHAM and JOSEPH.
Information supplied by: H-O. Type: Two-manual harpsichord.
Boalch 3 number: KINSTROM(A), L. 1748. Date: 1789.
Boalch 2 number: None. Ownership: DAVID MCKENNA (A).
Specification: 2x8’, 1x4’, lute.
‘Type: Single-manual harpsichord. Additional features: Harp stop, machine.
Date: Not known. Number of roses: 1.
Ownership: DROTTNINGHOLM THEATRE Style of rose: Seated harping figure.
MUSEUM, DROTTNINGHOLM, SWEDEN. Remarks. At one time had a lid swell.
Accession number not known. Previous history: Said to have been made for Dr. Philips
Remarks: Attributed to Kinstrém by H-O. Has handsome Hayes, Organist of Magdalen College, Oxford. Miss
lid painting which H-O suggests shows court musicians Nellie Chaplin (until 1932]. Was used in Nigel Playfair’s
carrying out their duties. production of The Beggars’ Opera at the Lyric Theatre,
References: H-O, No. S 01 DTM u. nr. Hammersmith in 1920 22. Bought by David McKenna
Information supplied by: H-O. in 1932, and was still owned by him in 1965. It is thought
Boalch 3 number. KINSTROM(A), L. n.d. that it is unlikely that it is still in the family now (1992).
Boalch 2 number: None. Information supplied by: Bz.
Boalch 3 number: KIRKMAN, A. & Jo. 1789(1).
KINTZING, CHRISTIAN. Boalch 2 number: 85.
Type: Fret-free clavichord.
Date: 1763. Type: Two-manual harpsichord.
Ownership: METROPOLITAN MUSEUM OF ART, Date: 1789.
NEW YORK, USA. Ownership. TATTON PARK (THE NATIONAL
Number: 1986.239. TRUST), CHESHIRE, ENGLAND.
Inscriptions: Signed: C. Kintzing in Newwied 1763. Specification: 1: 2x8’, 1x4’; Il: 1x8’, lute.
Compass: C-e'. Additional features: Harp stop, machine, venctian swell.
Keyboard: Black naturals, white sharps. Compass: FF-P.
Number of roses: None. Previous history: Repaired by Clayson and Garrett in 1982.
Exterior of case: Painted. Information supplied by: Garrett.

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 KIRKMAN 423
Information supplied by: Garrett. Ownership: MUSIKINSTRUMENTENSAMMLUNG
Boalch3 number: KIRKMAN, A. & Jo. 1789(2). DES MUSIKWISSENSCHAFTLICHEN SEMINARS
Boalch 2 number: None DER GEORG-AUGUST-UNIVERSITY,
GOTTINGEN, GERMANY.
Type: Single-manual harpsichord. Number: 948.
Date: 1790. Inscriptions. On nameboard Abrabam et Josephus Kirckman
Ownership: SAMMLUNG CHRYSANDER, Londini Fecerunt 1790. Printed on a label on the music
HAMBURG, GERMANY. Accession number not desk: Restored by J. George Morley, Harp Maker (from
known. Erard’s), 6 Sussex Place, South Kensington, London. On the
Remarks: According to B’, the owner is Chrysander, reverse of the nameboard in various hands: J. Goode/ Nov’
Hamburg (Hamburg-Bergedorfer Handel-Archiv). 24th 1848; Anna Goode, Esther Davenfort|Holy Cross,
References: See Quick, Miinchen, vol. 9, no. 36, September Clent,|March 20th 1888; June and 1880.
1956, pp. 3-4. Specification: 2x8’, 1x4’.
Information supplied by: B’. Additional features. Harp stop, 2 pedals, 5 hand stops,
Boaleh3 number. KIRKMAN, A. & Jo. 1790(1). venetian swell, machine, music desk.
Boalch 2 number: 852. Compass: FF-P.
Keyboard: White naturals, black sharps.
Type: Single-manual harpsichord. Number of roses: 1.
Date: 1790. Style of rose: Seated harping figure.
Ownership. TAUNTON CASTLE MUSEUM, Exterior of case: Crossbanded.
TAUNTON, ENGLAND. Accession number not Length: 2220 mm.
known. Width: 995 mm.
Inscriptions: On the nameboard Abraham et Josephus Kirck- Depth: 310 mm.
man Londini Fecerunt 1790. On the bent side of the Remarks. Naturals of ivory, sharps of ebony. Left pedal
instrument is a panel painted in white letters directly onto operates machine, right pedal operates venetian swell.
the case veneer: Purchased through the kind instrumentality of Previous bistory: Formerly owned by Hermann Moeck
Mr. H. A. JEBOULT by the following The Lady Theodor senior, Celle, Germany.
Guest, The Revs W. T. Reeder and W. Lucas; Mr Martin References: Klaus-Peter Brenner. Erlesene Musikinstrumente
Gibbs, Mr. R. F. Somerville, Sir H. C. Maxwell Lyte, KCB, aus der Sammlung des Musikwissenschaftlichen Seminars der
Dr. E. Liddon . . . J. B. Paynter, Dr. A. R. and Miss Georg-August-Universitat Géttingen, hierausgegeben von
Grabam, Mr. E. J. Fry, Mr. F. Lawrence, Dr. H. Downes, Martin Stachelin und Rudolf M. Brandl, Gottingen, 1989.
Mr. H. W. P. Hoskyns, Mr. W. S. Clark, Mr. A. Luttrell, Information supplied by: Klaus-Peter Brenner.
Mr. H. A. Jeboult, Dr. H. T. S. Aveline, Mr. W. F. Blake, Boalch 3 number: KIRKMAN, A. & Jo. 1790(3)-
and Archdeacon W. E. Farrer. Boalch 2 number: None.
Specification: 2x8’, 1x4’.
Additional features: Venetian swell, machine, harp stop, 2 Type: Two-manual harpsichord.
pedals, 4 hand stops. Date: 1791.
Compass. FF-P. Ownership: CHARLES WEST WILSON,
Keyboard: White naturals, black sharps. MECHANICSBURG, PENNSYLVANIA, USA.
Number of roses: 1. Inscriptions. Jacobus et Abrabam Kirckman Londini Fecerunt
Style of rose: Seated harping figure. 1791.
Exterior of case: Crossbanded. Specification: 1: 2x8’, 1x4’; U1: 1x8’, lute.
Length: 2229 mm. Additional features. Harp stop, machine, lid swell, music
Width: 952 mm. desk.
Depth: 298 mm. Compass: FF-f.
Remarks: The instrument has been allowed to deteriorate Keyboard: White naturals, black sharps.
seriously. For some time it stood over a radiator and has Number of roses: 1.
dried out to the extent that several case joints have opened Exterior of case: Crossbanded.
up. The machine is inoperative, the stop in the left Length: 2388 mm.
keycheek having been removed and only part of the pedal Remarks. Naturals of ivory, sharps of ebony. New
linkage remains. The stand is probably original. soundboard by Henry Tull inserted in 1935, though
Information supplied by: B?/CMM. bridges, soundbars, wrestplank and nuts are original.
Boalch3 number: KIRKMAN A. & Jo. 1790(2). Almost all jacks are original. The case had twisted in the
Boalch 2 number: 87. normal fashion, and was like this for many years until
Charles Wilson finished his restoration in 1987. Externally,
‘Type: Single-manual harpsichord. the case is crossbanded with panels of crotch mahogany
Date: 1790. and herringbone stringing. The lid has ‘vestigial hinges’,

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424 KIRKMAN
and panels with inlaid stringing. Though only the length
was given by the owner he reports that it is identical in
every way to the 1786 instrument currently owned by
John Barnes (KIRKMAN, J. and A. 1786(1)).
Previous history: Swell removed some time before
Given by Miss Ellen Willmott to Lady Jekyll, grand-
mother of David McKenna who acquired it from her in
1935, in which year it was restored by Henry Tull.
Acquired by Charles West Wilson 1979 and restored to
superb condition by 1987.
Information supplied by: B?|Wilson.
Boalch3 number. KIRKMAN, A. & Jo. 1791(1).
Boalch 2 number: 88.
Type: Single-manual harpsichord.
Date: 1791.
Ownership. CITY OF HAMAMATSU, JAPAN.
Accession number not known.
Specification: 2x8’, 1x4".
Additional features: Harp stop, machine, lid swell.
Number of roses: 1.
Previous history: Revd. F. N. Davey, Hampstead. Restored
by Rushworth and Dreaper. Bought by Dr. and Mrs.
Rosenbaum at Sotheby’s 8 June 1971. The acquisition of
the Rosenbaum collection by the City of Hamamatsu was
announced in AMIS-NEWS, XX, No. 5, October 1991.
Information supplied by: B?| AMIS-NEWS.
Boalch3 number: KIRKMAN, A. & Jo. 1791(2).
Boalch 2 number: 89.
KIRKMAN, JACOB.
Type: Two-manual harpsichord.
Date: 1744.
Ownership: PRIVATE COLLECTION.
Inscriptions: Jacobus Kirckman Londini fecit 1744.
Number of roses: 1.
Style of rose: Seated harping figure.
Exterior of case: Crossbanded(A).
Remarks: Keywell marquetried(A). The earliest recorded
Kirkman harpsichord.
Previous bistory. Repaired by Hugh Gough in 1961. He
sees no reason why the date should not be genuine.
According to the Musical Times, 1890, p. 719, formerly
belonged to A. J. Hipkins.
References: Hubb 1963, p. 159.
Information supplied by: B.
Boalch 3 number: KIRKMAN, J. 1744.
Boalch 2 number: 01.
Type: Two-manual claviorganum.
Date: 1745(A).
Ownersbip: THE EARL OF WEMYSS, GOSFORD
HOUSE, EAST LOTHIAN, SCOTLAND.
Inscriptions: Inscription on harpsichord nameboard: Jacobus
Kirchman fecit Londini, above which is a monogram, IK,
which is repeated in the rose. Signature on the organ;
Joban Snetzler fecit Londini 1745.
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Specification: 1: 2x8’, 1x4’; I: 1x8’, lute.
Additional features: 5 hand stops, no machine, 3 pedals.
Compass. FF,GG-P.
Keyboard: White naturals, black sharps.
1935. Number of roses: 1.
Style of rose: Monogram of initials.
Exterior of case: Crossbanded.
Scale: 337 mm.
Length: 2527 mm.
Width: 997 mm.
Depth: 283 mm.
Remarks: Only the harpsichord is by Kirkman, while the
organ is by Snetzler. The lower manual can be coupled
to the organ. Of the three pedals, the centre is for the
organ bellows, the right for the organ swell, and the left
seems to be inoperative. The harpsichord stands on top
of the organ, and was clearly built as one instrument.
The organ has: stopped wood diapason 8’; open wood
diapason from c'; stopped wood flute 4’; open metal
fifteenth 2’; open metal mixture II.
Previous bistory: Restored in 1915.
References: Williams, Peter. ‘The Earl of Wemyss’ Cla-
viorgan and its Context in Eighteenth-century England’.
in RipKb, p. 75. Mould Note.
Information supplied by: B*|/RipKb|Mould Note.
Boalch 3 number. KIRKMAN, J. 1745(A).
Boalch 2 number: 109.
Type: Wing spinet.
Date: 1748.
Ownership: MR. AND MRS. E. ROBERT
KURSINSKI, PASADENA, USA.
Inscriptions. On nameboard Jacobus Kirkman Fecit Londini
1748. (The spelling of ‘Kirkman’ is as reported by Mr.
Owen.)
Specification. 1x8".
Compass: FF,GG-P.
Keyboard: White naturals, black sharps.
Number of roses: None.
Exterior of case: Crossbanded.
Length: 2007 mm.
Width: 724 mm.
Depth: 232 mm.
Remarks: Stand of turned American cherry of the period
1690-1700, and is important in itself, (for it was probably
built in the USA). Lid apparently warped so it has been
secured and braced on the inside. Instrument was in
playing condition in 1965.
Previous history: Owned by David Brainard, missionary to
the Indians in Connecticut. Bought in Old Haddam, and
was in the possession of Mr. Wallace Nutting until his
death. Mr. Joe Kindig Jr. bought it at auction, and
owned it for about twenty years. In the possession of
Mr. Kursinski in 1965.
References: Mustrated in Wallace Nutting, Furniture Treas-
ary vol. 1, plate 1578, Macmillan, 1948.
Information supplied by: B?|Frank Owen|CMM.
 KIRKMAN 425
Boalch 3 number: KIRKMAN, J. 1748. by Miss N. Feldman in New York, in October 1952.
Boalch 2 number: 104. Information supplied by: B’.
Boalch 3 number: KIRKMAN, J. 1750(2).
‘Type: Single-manual harpsichord. Boalch 2 number: 105.
Date: 1749.
Ownership: Not known. ‘Type: Single-manual harpsichord.
Inscriptions: On nameboard: Jacobus Kirckman Londini Fecit Date: 1750.
1749. Ownership: COLT CLAVIER COLLECTION,
Specification: 2x8". BETHERSDEN, KENT, ENGLAND.
Compass: FF,GG-P. Namber: H104K.
Keyboard: White naturals, black sharps. Specification: 2x8’.
Number of roses: 1. Additional features: Harp stop (modern).
Exterior of case: Crossbanded. Compass. FF,GG-P.
Remarks: The last ten inches of the tail have been sawn Keyboard: White naturals, black sharps.
off at one time, and subsequently replaced (very cleverly) Number of roses: 1.
by Morleys. Both rows of jacks are replacements and are Exterior of case: Crossbanded.
leathered. According to the Sotheby’s Catalogue of 21 Seale: 347 mm.
November 1974, the rose is of later date, carved and Remarks. According to Haber, on loan to the Germanisches
gilded. On trestle stand with turned legs. Nationalmuseum, number MI 451. Currently on display
Previous history: In 1968 it was the property of Mr. N. L. in the Stadtmuseum, Munich. Harp stop added by Robert
Wright of William House, Bedern, Goodmangate, York. Goble in the 1950s, worked by knee pedal. Original
It is almost certainly this instrument which was sold at walnut stand with ‘spoon’ feet.
Sotheby’s on 21 November 1974 to Dr. André P. Larson, Previous history: Hon. Mrs. Lucas, daughter of Baroness
Director of the Shrine to Music Museum, Vermillion, Zouche (not Ponche as in B*), to whose family it had
University of South Dakota for £4,200. Subsequently always belonged.
reported by Douglas Brown to have been offered for sale References: ColtCC, p. 7. Glar, Heft 1, 41, Jahrgang 1992.
by Jackson’s Piano and Organ Store, Rockford, Illinois, Heber, p. 135.
in May 1975—purchaser unknown. Information supplied by: B?|ColtCC|Hxber.
References: Mould Note. EM Vol. 3, No. 2, April 1975, p. Boalch 3 number: KIRKMAN, J. 1750(3).
140 for report of sale in November 1974. Boalch 2 number: 1a.
Information supplied by: B?|Moxld Note/EM|Brown.
Boalch 3 number: KIRKMAN, J. 1749. Type: Single-manual harpsichord.
Boalch 2 number: 02. Date: 1750(A).
Ownership: Not known.
Type: Two-manual harpsichord. Inscriptions. An unoriginal nameboard bears the inscription
Date: 1750. Jacobus Kirkman Fecit c. 1750 (see below for explanation).
Ownership. MICHAEL M. KOERNER, TORONTO, Specification: According to B* the unusual specification of
CANADA. 2x8’, lute, with ‘buff added later.
Specification: 2x8’, 1x4’, lute. Additional features: Harp stop.
Additional features; Harp stop, machine, no swell. Remarks: In August 1988, Mr. Antony Powys-Lybbe
Compass. FF,GG-f. wrote to CMM to ask if he could shed light on the
Exterior of case: Crossbanded. present whereabouts of this instrument which he had sold
Remarks: B’ says: ‘Burr walnut with boxwood squares; in 1948, but, at the age of 80, he wished to recover. He
marquetry round keyboards. Stand not original.’ reported that he had found from bound volumes of music
Previous history: Owned since about 1956 by Michael belonging to Julie Bavington, an heiress who married a
Koerner. Previously in private ownership in England Powys in 1817, that she had most probably inherited
until 1954 when it was acquired by Charles Fisher, the instrument. He confirmed the specification, and its
Framingham, Massachusetts. purchase by Dolmetsch and that nothing further was
Information supplied by: B’. known of its history thereafter. Mr. Powys Lybbe reported
Boalch3 number: KIRKMAN, J. 1750(1)- that the nameboard was missing though the rose was
Boalch 2 number: 1. present, and that Lambert restored the harpsichord in the
mid-1930s. Though Lambert could only guess at the date,
Type: Wing spinet. he was sure of the maker and Mr. Powys-Lybbe got him
Date: 1750. (Lambert) to write a new nameboard Jacobus Kirkman
Ovnersbip: MISS N. FELDMAN. Fecit c. 1750 (not 1758 as might have been thought, in
Specification: 1x8". the light of the B? entry where this date is tentatively
Previous bistory: Mrs. Harrison Williams, [USA]. Acquired assigned). Both ranks were originally quill, but Lambert

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426 KIRKMAN
changed one to leather. The harp stop was added later, possible that they are stained beech. Music desk not
and the original machine-stop removed. If the specification original. :
is as given, i.e. a lute stop with 2x8’, this is a very unusual Previous history: Sold in 1934, when catalogue misprinted
instrument, but in the light of the possible confusion date as 1725. Shown at International Inventions Exhibition
over such names as lute, harp, and buff caution should 1885. Past owners, Kirkman & Son; T G Dyson (repairer).
be exercised. Sold at Puttick & Simpson’s, 27 June 1929, the buyer
Previous history. R. Powys Lybbe. Messrs. Arnold Dol- being ‘Bolton’.
metsch Ltd. References: BFCat, p. 17.
Information supplied by: B2|Powys Lybbe. Information supplied by: B2|Moxld Note|BFCat.
Boalch3 number: KIRKMAN, J. 1750(A). Boalch 3 number: KIRKMAN, J. 1752.
Boalch 2 number: 96. Boalch 2 number: 2.
Type: Wing spinet.
Date: 1751(A). Type: Two-manual harpsichord.
Ownership. MESSRS. SCOTNEY, STAMFORD, Date: 1754.
LINCOLNSHIRE, ENGLAND. Ownership: YALE UNIVERSITY COLLECTION OF
Specification: 1x8’. MUSICAL INSTRUMENTS, NEW HAVEN,
Remarks: Said to be dated 1721, but the date has been CONNECTICUT, USA. Accession number: Not known.
altered. Inscriptions. Nameboard bears silver plaque set in tor-
Previous history: Lord Cholmondeley. Acquired by Messrs. toiseshell and engraved with a trophy of instruments and
Scotney in 1953. It would seem very likely that the (above): O decus Phaebi (Horace, Odes 1.32.13), and (below):
instrument is by now in other hands. Jacobus Kirckman fecit 1754. There is a brass plaque inside
References: Illustrated in an advertisement in Collector's the right hand side above the wrestplank Restored and
Guide, September 1953. restrung by T. R. C. Goff and J. C. Cobby in 1947. The
Information supplied by: Bz. stringing is in accordance with eighteenth century gauges marked
Boalch 3 number: KIRKMAN, J. 1751(A). on the bridge. Tune to Concert pitch C y22. Under the FF
Boalch 2 number: 106. key of manual 1—Laok over by W. Walstow 10/5/12.
Specification: 1: 2x8’, 1x4"; I: 1x8’, lute.
‘Type: Single-manual harpsichord. Additional features: Machine, lid swell, venetian swell, 1
Date: 1752. pedal.
Ownership: BENTON FLETCHER COLLECTION, Compass: FF,GG-P.
FENTON HOUSE, LONDON. Accession number not Keyboard: White naturals, black sharps.
known. Number of roses: 1.
Inscriptions: On nameboard: Jacobus Kirckman Fecit Londini Style of rose: Seated harping figure.
1752. Above the maker’s name on the front board is a Exterior of case: Crossbanded.
small panel stating Restored by DYSON and SONS|London Scale: 343 mm.
and WINDSOR. String gauges on nut. Length: 2415 mm.
Specification: 2x8’. Width: 920 mm.
Compass: FF,GG-P. Remarks: Originally had lid swell, which was unique in
Keyboard: White naturals, black sharps. shape and size, but is now glued up to make a solid lid;
Number of roses: 1. the hinge line is visible on the outside of the case,
Style of rose: Monogram of initials. but internally, the whole panel appears to have been
Exterior of case: Crossbanded. reveneered. The lid swell was superseded by a venetian
Secale: 543 mm. swell, which had been removed by 1969, but which
Length: 2286 mm. necessitated the addition of about 1.5 inches to the case
Width: 914 mm. sides. Veneered in burr walnut; case, lid and cheek-pieces
Depth: 279 mm. inlaid with boxwood squares. Stand with talon and ball
Remarks: Case veneered in satinwood, with box and feet. Left pedal operates machine--no right pedal. Long
blackwood stringing, probably in modern times. The side is veneered.
finish is unique for a Kirkman, and certainly lends weight Previous history: Repaired by Messrs. Broadwood (1897),
to the argument, propounded in Bz (and repeated in and T. R. C. Goff (1947). Charles Staal, Brompton Road,
BFCaf) that it is not an original case decoration. Stand London, SW3 (1947, who bought it at Christie's). Mr.
is a crude imitation (in stained pine) of the normal Van Zwannenberg (died about 1951). Messrs. Jetley,
Kirkman stand, and it is likely that the original stand, Bruton Street, W1 (1954). Bought by Mr. Warburg at
like many others in the Benton Fletcher Collection, was Sotheby’s 11 March 1960. Mr. and Mrs. Warburg lived
lost in World War II. Rose with intertwined initials IK. for some years in Hampstead before moving to the USA.
Naturals of ivory with reeded fronts; sharps could be The instrument is on long-term loan to the University
ebony, but since some of them are going white, it is from an anonymous collector.

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 KIRKMAN 427
References: A full description is available from Mos/d Note. Ownership: THE FORD MANSION, MORRISTOWN,
Information supplied by: B*|Mould Note|Deegan|Rephann. NEW JERSEY, USA. Accession number not known.
Boalch 3 number: KIRKMAN, J. 1754. Inscriptions: Jacobus Kirchman Fecit Londini 1753.
Boalch 2 number: 3. Specification: 1x8",
Compass: FF,GG-P.
Type: Two-manual harpsichord. Keyboard: White naturals, black sharps.
Date: 1755. Exterior of case: Crossbanded.
Ownership: RUSSELL COLLECTION, EDINBURGH Scale: 549 mm.
UNIVERSITY, SCOTLAND. Length: 1960 mm.
Number: 30. Width: 730 mm.
Inscriptions: Jacobus Kirckman Londini fecit J7sy on the Remarks: Naturals ivory with typical Kirkman moulded
nameboard. fronts; blackwood sharps. Case of mahogany panels with
Specification: 1: 2x8’, 1x4’; U1: 1x8’, lute. boxwood and sycamore stringing. Burr walnut panel over
Additional features: 4 hand stops, no machine, no swell. keyboard. Solid lid. Raised on original stand. Instrument
Compass: FF,GG-P. is displayed in a glass case, and is, according to several
Keyboard: White naturals, black sharps. observers, being ‘baked out’. No rose in soundboard.
Number of roses: 1. String gauges on nut, in ink, partly obliterated.
Style of rose: Seated harping figure. Previous history: If this is the same instrument as that
Exterior of case: Crossbanded. recorded as B? number 107 (dated 1755) it was shown by
Scale: 343 mm. the firm of Kirkman & Sons at the International Inven-
Length: 2400 mm. tions Exhibition, London, 1885. Notified to CMM by
Width: 925 mm. Mimi Waitzmann who found it at the Ford Mansion
Depth: 305 mm. (George Washington’s Headquarters) Morristown, New
Remarks: Naturals of ivory with moulded boxwood fronts, Jersey, where, until her visit, the staff thought they had
and ebony sharps. Case of burr walnut panels crossbanded a clavichord. Subsequently notified by several other
with elm. Richly marquetried in the keywell with IK observers, including Watson.
monogram. There is also marquetry on the jackrail and References: Further details also available from John
inside the case above the soundboard. Barnes observes Raymond, St Cecilia’s Hall, Edinburgh.
that the marquetry was executed by two craftsmen with Information supplied by: B?|Waitzman|W atson| Raymond.
slightly different interpretations of the same pattern. Long Boalch 3 number: KIRKMAN, J. 1755(3)-
side crossbanded. Stand with cabriole claw and ball feet. Boalch 2 number: Possibly 107.
Previous bistory: Padworth House, O. J. S. Moore. London,
Raymond Russell. It was not amongst the instruments Type: Two-manual harpsichord.
given by Mrs. Gilbert Russell to the University on her Date: 1756.
son’s death, but Mrs. Russell sold it at Sotheby’s on 22 Ownership. FINCHCOCKS COLLECTION,
October 1970 and it was acquired then by Edinburgh GOUDHURST, KENT, ENGLAND.
University for the Russell Collection. Number: 16.
References: Rasselligs9, illustrated at plate 66. Also see Inscriptions: On nameboatd: Jacobus Kirchman Fecit Londini
DEF (11.375), and RassColl1986, p. 22. 1756.
Information supplied by: B*/RussCollrg86|CMM|Raymond| Specification: 1: 2x8’, 1x4’; Il: 1x8’, lute.
Barnes. Compass: FF,GG-P.
Boaleh3 number: KIRKMAN, J. 1755(1). Keyboard: White naturals, black sharps.
Boalch 2 number: 4. Number of roses: 1.
Exterior of case: Crossbanded.
Type: Single-manual harpsichord. Scale: 545 mm.
Date: 17535. Length: 2440 mm.
Ownership: MRS. RAYMOND JENNINGS, Width: 940 mm.
DORKING, SURREY, ENGLAND. Depth: 312 mm.
Additional features: 2 hand stops. Remarks: Case richly marquetried in the keywell. Outer
Previous history: Dr. Edward Hill (1781~1830), a professor case of root walnut, kingwood stringing and elm cross-
at Dublin University. banding. Stand with cabriole claw and ball feet and
Information supplied by: B*. acanthus leaves on the knees.
Boalch3 number: KIRKMAN, J. 1755(2). Previous history: Formerly owned by G. C. Busby. The
Boalch 2 number: 5a. instrument was sold for £7,000 at Sotheby’s on 8 May
1975. (See p. 368 of EM Vol. 3, No. 4, October 1975 for
Type: Wing spinet. report of sale and illustration.)
Date: 1755. References: Sotheby’s catalogue of 8 May 1973 (illustrated).

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428 KIRKMAN
Fincheocks. Ownership: MISS PERUGINA ADLER, NEW YORK,
Information supplied by: Bz{Dow|Sotbeby's|
EMS |Finchcocks. USA.
Boalch3 number. KIRKMAN, J. 1756. Specification: 2x8", 1x4’.
Boalch 2 number: 6. Aadditional features: 2 pedals.
Information supplied by: Bz.
Type: Two-manual harpsichord. Boalch3 aumber: KIRKMAN, J. 1758(2)-
Date: 1757. Boalch 2 number: 9.
Ownership: PRIVATE COLLECTION.
Inscriptions. On nameboard: Jacobus Kirckman fecit Londini ‘Type: Two-manual harpsichord.
1737. Inscription in pencil on back of nameboard: J B Date: 1758.
R(estawravit) 1789 (? John Broadwood). On key number Ownership. COLONIAL WILLIAMSBURG
$4 of lower manual the name Hartz. FOUNDATION, WILLIAMSBURG, VIRGINIA,
Specification: 1: 2x8’, 1x4’; Il: 1x8’, lute. USA.
Additional features: Machine, no swell, 5 hand stops, 2 Number: G1983-236.
pedals. Inscriptions. Jacobus Kirckman Fecit Londini 1758.
Compass. FF,GG-P. Specification: 2x8", 1x4’.
Keyboard: White naturals, black sharps. Additional features: 2 pedals.
Number of roses: 1. Compass: FF,GG-f(A).
Exterior of case: Crossbanded. Keyboard: White naturals, black sharps.
Scale: 345 mm. Number of roses: 1.
Length: 2426 mm. Style of rose: Seated harping figure.
Width: 933 mm. Exterior of case: Crossbanded.
Depth: 318 mm. Scale: 330 mm.
Remarks: Highly figured walnut case with chevron walnut Length: 2325 mm.
and laburnum stringings. Spine not veneered. Elaborate Width: 927 mm.
marquetry in keywell, including a trophy of instruments Depth: 298 mm.
in middle of fascia board above the keys. Naturals of Remarks. According to EK], oak case with figured walnut
ivory with moulded boxwood fronts. Sharps of ebony. veneer, walnut crossbanding and boxwood stringing.
Pedal for machine stop, probably added later by Broad- Ivory naturals with fronts painted red; ebony sharps.
wood. Cabriole stand with claw and ball feet. Stand not original. Not in playing order. The Foundation
Previous history: Formerly on loan to the Bristol Museum reported in 1987 that the instrument was being restored,
and on display at the Georgian House, from the Trustees and John Watson, the Foundation’s conservator, reported
of Lady Burdett Fisher and before that at Ramsbury in 1992 that he was still restoring it.
Manor. Previous history: Paper fragment on back batten between
Information supplied by: B2|Mould Note|Owner. the keyboard bears the date 149é—presumably date of a
Boalch3 number: KIRKMAN, J. 1757. restoration. Restored by Lotta van Buren in 1930. Accord-
Boalch 2 number: 7. ing to the Foundation this is instrament Bz number 10,
though Bz lists this with a date of 1759, and so it is
Type: Two-manual harpsichord.
shown separately below. If in due course it becomes clear
Date: 1758.
that this instrument and Bz number 10 are definitely the
Ownership: P. TOLSTOY, NEW YORK, USA.
same the two entries will need to be revised.
Specification: 2x8’, 1x4’, lute.
Exterior of case: Crossbanded. References: Photos probably now available from the Found-
ation. EK], Part 1, 1982-3, p. 69, No. H-75.8.
Remarks. Case of burr walnut with laburnum banding.
Information supplied by: Bz|W illiamsburg|EKJWatson.
Fascia board inlaid with trophies of trumpeting angels
Boalch3 number: KIRKMAN, J. 1758(3)-
and eagles.
Boalch 2 number: Possibly number 10.
Previous history: Sit John J. Smith of Epping (formerly of
Havering-at-Bower), who sold it by auction in London,
30 January 1959. Sold at Sotheby’s in 1960 to Frank Type: Single-manual harpsichord combined with piano
Partridge, who sold it to a US buyer. Ownership by P. action.
Tolstoy dates from 1965. It may not belong to him now Date: 1758.
Ovnersbip: MUSEUM OF FINE ARTS, BOSTON,
(1993). USA.
Information supplied by: Bz.
Number: 1977-56.
Boalch 3 number: KIRKMAN, J. 1758(1).
Boalch 2 number: 8. Inscriptions: In ink on name-batten Jacobus Kirckman Fecit
Londini 1758. In ink on piano action rail Josephus Merlin
Type: Single-manual harpsichord. Privilegarius Novi Forte Piano N° 89 Londini/1779.
Date: 1758. Specification: 2x8’, 1x4".

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 KIRKMAN 429
Additional features: 2 pedals, harp stop, piano action. Specification: \: 2x8", 1x4’; I: 1x8".
Compass: FF,GG-P Additional features: 4 band stops, no pedals, no harp stop.
Keyboard: White naturals, black sharps. Apparently no lute, but this is not confirmed.
Number of roses: 1. Compass. FF,GG-P.
Style of rose: Seated harping figure. Keyboard: White naturals, black sharps.
Exterior of case: Crossbanded. Remarks: Naturals of ivory; sharps of ebony.
Seale: 331 mm. Previous bistory: History before present owners is unknown.
Length: 2162 mm. Information supplied by: Jacottet.
Width: 915 mm. Boalch3 number: KIRKMAN, J. 1759(2).
Depth: 270 mm. Boalch 2 xumber: None.
Remarks: Instrument built as a harpsichord by Jacob
Kirkman, in 1758, and converted by Merlin, in 1779, to Type: Wing spinet.
combined harpsichord and piano. Naturals of ivory with Date: 1759.
moulded sycamore fronts and sharps of ebony. Stichmass Ovnersbip: Not known.
485 mm. Left pedal operates Merlin’s crescendo action, Inscriptions: Jacobus Kirckman fecit Londini 1739 on name-
bringing on full harpsichord when depressed. Right pedal board. Gauge numbers stamped on wrestplank.
operates down-striking piano action. The hammers strike Specification: 1x8".
adjacent pairs of 8’ strings. Merlin made changes in the Compass: FF,GG-P.
way the jacks were operated from the keys so that adjacent Number of roses: None.
pairs of strings could be tuned to the same note. Case, Scale: 344 mm.
of oak, has walnut panels crossbanded with walnut and Length: 1918 mm.
plain fruitwood stringing. Nameboard veneered in burr Previous history: Formerly in the van Raalte Collection,
walnut with ash() stringing. Name-batten with holly then to Lord Howard de Walden, and thence to his
cartouche. Trestle stand with four turned legs. Spine not daughter. Present whereabouts unknown.
veneered. Information supplied by: O’ BrienPC.
Previous bistory: First known in 1924, thence in 1965 to Boalch3 number: KIRKMAN, J. 1759(3)-
Mrs. C. Cabot, thence to E. M. Ripin, Forest Hills, New Boalch 2 number: None.
York, USA, in 1977. Acquired by Museum of Fine Arts,
Boston, from the estate of E. M. Ripin through the ‘Type: Single-manual harpsichord.
Friends of the Collection Fund. Date: 1760.
References: Data sheet by John Koster available from Ownership: DR. JOHN MONTGOMERY, NEWTON,
Museum of Fine Arts. MF A(Lambert). BostonCat (illus- MASSACHUSETTS, USA.
trated). Merlin, pp. 100-2. Specification: 2x8", 1x4".
Information supplied by: Bz] MF A(Koster)|MF A(Lambert). Additional features: No pedals.
Boalch 3 number: KIRKMAN, J. 1758(4). Previous history. B. Rainbow. Hugh Gough. Messrs.
Boalch 2 number: 92. Hubbard & Dowd, Boston. Restored by A. Dolmetsch
about 1897.
Type: Two-manual harpsichord. Information supplied by: Bz.
Date: 1759. Boalch3 number: KIRKMAN, J. 1760(1).
Ownership: ALEXANDER M. SMITH, WHITE POST, Boalch 2 number: 11.
VANCOUVER, CANADA.
Remarks: No rose. There is some confusion here since Type: Single-manual harpsichord.
the Colonial Williamsburg Foundation suggests that their Date: 1760.
harpsichord, KIRKMAN, J. 1758(2), (above), is also Bz Ownership: UNIVERSITY OF WESTERN
number 10. AUSTRALIA, NEDLANDS, WESTERN
Previoxs history: Used by BBC about 1930. AUSTRALIA. Accession number not known.
Information supplied by: Bz. Inscriptions: On nameboard Kirckman Londini fecit 1760.
Boalch 3 number: KIRKMAN, J. 1759(1). This is a unique inscription in that the Christian name is
Boalch 2 number: Possibly number 10. missing—but nevertheless it appears to be genuine.
Specification: 2x8’, 1x4".
‘Type: Two-manual harpsichord. Additional features: 3 hand stops, lid swell.
Date: 1759. Compass: FF,GG-P.
Ownership: PROFESSOR CHRISTIANE JACOTTET, Number of roses: None.
RIVAZ, SWITZERLAND. Exterior of case: Crossbanded.
Inscriptions. On nameboard Jacobus Kirckman Londini Fecit Remarks: Remains of machine. The missing rose may
1759. Inside is a paper label restawred by Messrs Paterson suggest a replacement soundboard. Bz numbers 11a and
& Sons 27 George Str. Edin. 1912. 13 are the same instrument.

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430 KIRKMAN
Previous history: Cusworth Hall, Doncaster. Roger Warner, Arthur Hill; Major Cecil Wills (1946); Dr. R. V. Cooke,
Burford. Thought to have been acquired from Michael and Sir Robert Cooke, Athelhampton Hall, Dorset (1965).
Thomas in the 1950s. In 1984, Robert Deegan repaired Sold at Christie’s on 26 June 1987, when it was purchased
the keyboard, replaced some strings and requilled and by Mr. Sigal. The Daily Telegraph of 3 November 1992
revoiced the instrument in Delrin. carried a report of a disastrous fire at Athelhampton Hall,
Information supplied by: Bz|Deegan| Martin. the then home of Sir Edward and Lady du Cann, on 2
Boalch 3 number: KIRKMAN, J. 1760(2). November, when amongst the items destroyed was listed
Boaleh 2 number: 11a/13. ‘Queen Charlotte’s harpsichord’. Happily, Mr. Sigal was
able to confirm subsequently that this was a piece of
Type: Two-manual harpsichord. misguided reportage, for the instrument was still ‘safe
Date: 1760. and well’ in his charge.
Ownership: PRIVATE COLLECTION, NEW YORK, References: Mlustrated at Christie’s catalogue and also in J
USA. p. 130. See also EM Vol. XV, No. 4, November 1987,
Specification: 2x8’, 1x4’; lute. Pp. 527 for record of sale.
Additional features: Hand stops only. Information supplied by: Bz|Sigal/ EM.
Exterior of case: Crossbanded. Boalch3 number: KIRKMAN, J. 1761(1).
Remarks: Richly marquetried in the keywell. Boalch 2 number: 15.
Previous history. Former owners include Mrs. Arthur
Tritton, Denford Mill, Hungerford. Bought at Sotheby’s, Type: Single-manual harpsichord.
12 June 1931, for £110 by Professor G. Oldroyd. Sold Date: 1761.
there by Mrs. Oldroyd, of Croydon, 18 April 1968, to Ownership: MUSIKINSTRUMENTEN MUSEUM,
M. Ekstein for £2,600. Subsequently passed through the BERLIN, GERMANY.
hands of Pelham Galleries, London. Number: 6.
References: Sotheby’s Catalogue, 18 April 1968, including Inscriptions: On the nameboard: Jacobus Kirckman Londini
photograph. Fecit 1761.
Information supplied by: Bz/Rubin. Specification: 2x8’, 1x4’.
Boalch3 number: KIRKMAN, J. 1760(3). Additional features: 1 pedal, harp stop, machine, 4 hand
Boalch 2 number: 12. stops.
Compass: FF,GG-P.
Type: Two-manual harpsichord. Keyboard: White naturals, black sharps...
Date: 1761. Namber of roses: 1.
Ownership: THE MARLOWE A. SIGAL Style of rose: Seated harping figure.
COLLECTION, MASSACHUSETTS, USA. Accession Exterior of case: Crossbanded.
number not known. Scale: 342 mm.
Inscriptions: Jacobus Kirchman Londini Fecit 1761. Length: 2190 mm.
Specification: 1: 2x8’, 1x4'; Ul: 1x8’, lute. Width: 920 mm.
Additional features. No harp stop, 4 hand stops, no swell. Depth: 270 mm.
Compass: FF,GG-P. Remarks: Naturals of ivory with reeded fronts, sharps of
Keyboard: White naturals, black sharps. ebony. Outer case has panels of walnut with fine curl,
Number of roses: 1. surrounded by a single stringing of fruitwood and
Style of rose: Seated harping figure. crossbanded with straight-grained walnut. Raised on
Exterior of case: Crossbanded. trestle stand with four turned legs, having castors. Rose
Scale: 531 mm. with harping King David flanked by initials I. K.
Length: 2330 mm. Previous history: Received by the Museum in 1888, from
Width: 931 mm. the first Paul de Wit Collection.
Depth: 302 mm. References: BerlinCat, pp. 144-9, plus illustrations, includ-
Remarks: lvory naturals with reeded fronts; ebony sharps. ing one colour photo.
Richly marquetried in the keywell, the interior, and on Information supplied by: B2|Droysen-Reber| Elste|BerlinCat.
the jackrail with scrolling foliage, birds, figures, and a Boalch3 number. KIRKMAN, J. 1761(2).
trophy of instruments on the fascia board. Exterior Boalch 2 number: 16.
veneered with figured burr walnut panels, Crossbanded
with walnut, including the spine. Raised on a solid walnut Type: Single-manual harpsichord.
stand with acanthus leaf knees, and cabriole claw and ball Date: 1761 or 1762.
feet. Quilled throughout and in good playing order. Ownership: FRANS BRUGGEN(A), AMSTERDAM,
Previous history: This harpsichord is one of the contenders NETHERLANDS.
for the title of Queen Charlotte’s (Queen of George II!) Specification: 2x8’, 1x4".
harpsichord [Mos/d Té.]. Formerly in the possession of Compass: FF-P.

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 KIRKMAN 431
Number of roses: 1. Specification: 2x8’, 1x4’, lute.
Style of rose: Seated harping figure. Additional features: 4 hand stops, 1 pedal, no swell.
Remarks: Pedal working the 4’. In B? all four instruments, Compass: FF,GG-P.
16a, 17b, 17¢, and 20a are recorded separately, but Koster Keyboard: White naturals, black sharps.
produces convincing evidence to show that they are all Number of roses: 1.
the same instrument, though whether the date is 1761 or Style of rose: Seated harping figure.
1762 is not clear. Exterior of case: Crossbanded.
Previous history: John Morley, London. Robert Johnston, Length: 2337 mm.
Los Angeles. C. Sterne (or Stone), Pittsburgh (1962). Width: 927 mm.
Angus Whyte, Boston, Massachusetts. In 1988/89 Depth: 293 mm.
Bernhard von Hiinerbein sold an instrument which was Remarks: B? says there is a machine, but the Foundation’s
probably this one, and so the present ownership by photograph shows no evidence of a stop in the left cheek,
Briiggen may be in question. though there is a pedal, the original purpose of which is
Information supplied by: B?| Koster. not clear since there is no lid swell, and from the photos
Boalch3 number: KIRKMAN, J. 1761/2. it cannot be determined if there is a venetian swell. The
Boalch 2 number: 16a/17b]/17¢/20. shape of the pedal support is unusual, and EKJ reports
that it operates the 4’ only. Oak case veneered with panels
‘Type: Single-manual harpsichord. of burr walnut, crossbanded with walnut, and with
Date: 1762. boxwood stringing. EK] gives the length as 321.2 cm.,
Ownership: MRS. RAMSAY. but this seems improbably long.
Specification: 2x8’, 1x4’, lute. Previous history: Restored in 1934 by Lotta van Buren, and
Additional features: Machine, lid swell, harp stop. in 1960 by Hugh Gough. Action repairs by John Challis
Previous history: Weald Hall, Brentwood, Essex. in 1939, and by William Dowd in 1969. Now on display
Information supplied by: B. at Colonial Williamsburg in the Palace Ballroom.
Boalch 3 number: KIRKMAN, J. 1762(1). References: The Foundation has photographs and a short
Boalch 2 number: 17. Curator’s description. EKJ vol. 2, 1982-3, p. 70, No.
H-76.2 (illustrated Fig. 6).
Type: Two-manual harpsichord. Information supplied by: B?|Williamsburg| EK].
Date: 1762. Boalch 3 number: KIRKMAN, J. 1762(3).
Ownership: BENTON FLETCHER COLLECTION, Boalch 2 number: 19.
FENTON HOUSE, LONDON. Accession number not
known.
Type: Two-manual harpsichord.
Inscriptions: On nameboard: Jacobus Kirckman Londini Fecit
Date: 1762.
1762.
Ownership: MESSRS. MORLEY, LONDON,
Specification: 2x8’, 1x4’, lute.
Additional features: Machine, 6 hand stops, 2 pedals. ENGLAND(A).
Specification: 2x8’, 1x4’, lute.
Compass: FF,GG-P. Additional features: Machine, harp stop.
Keyboard: White naturals, black sharps.
Number of roses: 1. Number of roses: 1.
Exterior of case: Crossbanded. Length: 2362 mm.
Scale: 349 mm.
Previous history: Bought by Messrs. Morley, London, at
Length: 2337 mm. Sotheby’s, 6 July 1934, where it was sold by Norman
Width: 927 mm. Wilkinson, the previous owner. It would seem very
Depth: 298 mm. unlikely that the instrument still belongs to Morleys.
Remarks: \vory naturals, ebony sharps. Information supplied by: B*.
References: BFCat, p. 13. Boalch 3 number. KIRKMAN, J. 1762(4)-
Information supplied by: B?/BFCat. Boalch 2 number: 20.
Boalch 3 number: KIRKMAN, J. 1762(2).
Boalch 2 number: 18. Type: Single-manual harpsichord.
Date: 1762.
‘Type: Two-manual harpsichord. Ownership: PRIVATE COLLECTION, BELGIUM.
Date: 1762. Specification: 2x8’, 1x4'(A).
Ownership: COLONIAL WILLIAMSBURG Additional features: Machine.
FOUNDATION, WILLIAMSBURG, VIRGINIA, Remarks: Described as ‘a standard single’ with a simple
USA. machine stop, so probably has 2x8’, and 1x4’. Walnut
Number: 1934-38. case.
Inscriptions: Jacobus Kirchman Londini Fecit 1762. Information supplied by: Not disclosed.

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432 KIRKMAN
Boalch3 number: KIRKMAN, J. 1762(5). Boalch3 number: KIRKMAN, J. 1763(1).
Boalch 2 number: None. Boalch 2 number: 21.

‘Type: Single-manual harpsichord. Type: Single-manual harpsichord.

Date: 1762. Date: 1763.
Ownership: CONVERSE COLLEGE, Ownership: PRIVATE COLLECTION, USA.
SPARTANBURG, SOUTH CAROLINA, USA. Inscriptions: Jacobus Kirckman Londini Fecit 1763.
Inscriptions: Actual inscription not given, but it is reported Specification: 2x8’.
in EK] that the initials of Johann Pohlmann were found Additional features: 2 hand stops.
inside the instrument during a restoration. Compass: FF,GG-P.
Specification: 2x8’. Keyboard: White naturals, black sharps.
Additional features: 2 hand stops. Number of roses: 1.
Compass: FF,GG-P. Style of rose: Seated harping figure.
Keyboard: White naturals, black sharps. Exterior of case: Crossbanded.
Number of roses: 1. Length: 2429 mm.
Style of rose: Seated harping figure. Width: 934 mm.
Exterior of case: Crossbanded. Depth: 273 mm.
Scale: 348 mm. Remarks: Naturals ivory, with reeded fronts, sharps ebony.
Length: 2248 mm. Some keyfronts are probably restorations. Original trestle
Wideb: 915 mm. stand with turned legs. Case of burr walnut crossbanded
Depth: 271 mm. with box stringing—very restrained. Keywell similar, but
Remarks. External case with figured walnut panels, rose- crossbanding in darker wood.
wood crossbanding and light stringing. Turned stand Previous history: Mr. Philpot, Stockport. Messrs Robert
with original wooden casters. Morley (1960). Mrs. D. Graesser, Gresford, North Wales.
Previous history: Formerly owned by Lotta van Buren in Pelham Galleries, London.
the early 1930s, then Gertrude Bagwell, who gave it in Information supplied by: B?|CMM|Ruxbin.
1978 to the College. Boalch 3 number: KIRKMAN, J. 1763(2)-
References. EK] vol. 3, 1984-5, p. 66, No. H-76.2~a. Boalch 2 number: 21a.
Information supplied by: EK].
Boalch 3 number: KIRKMAN, J. 1762(6). Type: Two-manual harpsichord.
Boalch 2 number: None. Date: 1763.
Ownership: MUSIKHISTORISKA MUSEET, STOCK-
HOLM, SWEDEN. Accession number not known.
Type: Two-manual harpsichord. Specification: 2x8’, 1x4".
Date: 1762(A). Additional features: Harp stop.
Ownership: CLAYDON HOUSE,
Previous bistory: Exhibited at the Norsk Folkemuseet 1904.
BUCKINGHAMSHIRE, ENGLAND. Information supplied by: B*.
Specification: 1: 2x8’, 1x4’; Ul: 1x8’, lute(A). Boalch 3 number: KIRKMAN, J. 1763(3)-
Keyboard: White naturals, black sharps. Boalch 2 number: 23.
Previous bistory: It is not clear whether the instrument is
still at Claydon, though it was certainly at one time the Type: Two-manual harpsichord.
property of Lady Mary Verney. Date: 1763.
Information supplied by: B?|CMM. Ownership: NEW SOUTH WALES MUSEUM OF
Boaleh 3 number: KIRKMAN, J. 1762(A). APPLIED ARTS & SCIENCES, SYDNEY,
Boalch 2 number: 7a. AUSTRALIA. Accession number not known.
Inscriptions: Jacobus Kirckman Londini fecit 1763.
Type: Single-manual harpsichord. Specification: 2x8’, 1x4’.
Date: 1763. Additional features: Machine.
Ownership: Not known. Previous history: J. S. Shedlock. Miss Eleanor Wilkinson.
Specification: 2x8’. Miss M. Foster Evans. Lady Jordan, Sydney. New South
Remarks: B? lists the instrument as belonging to C. F. Wales Museum of Arts and Sciences since 1964.
Colt, Bethersden. Whether this instrument formed part Information supplied by: B’.
of the Colt Clavier Collection is not clear, though it is Boalch 3 number: KIRKMAN, J. 1763(4)-
certainly not listed in Co/tCC. Its present whereabouts Boalch 2 number: 24.
are not known,
Previous history: Sit L. T. Davies. Type: Single-manual harpsichord.
Information supplied by: B#/ColtCC. Date: 1763.

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 KIRKMAN 433
Ovnersbip: TIMOTHY C. YATES, WAHROONGA, Boalch 3 number: KIRKMAN, J. 1764(1).
NEW SOUTH WALES, AUSTRALIA. Boalch 2 number: 26.
Information supplied by: Bz.
Boalch 3 number: KIRKMAN, J. 1763(5). Type: Single-manual harpsichord.
Boalch 2 number: 242. Date: 1764.
Ownership: RANDOLPH MICHAELSON.
Type: Two-manual harpsichord. Specification: 2x8’, 1x4’.
Date: 1763. Previous bistory: Bz gives two ‘present or recent owners’:
Ownership: T. G. ODLING. Messrs. J. G. Morley, 1964. Randolph Michaelson, 1971.
Specification. 2x8’, 1x4’, lute. Whether either is now appropriate is not known (but see
Number of roses: 1. below).
Remarks: Rose not original. Information supplied by: Bz.
Previous bistory: T. G. Odling bought the instrument in Boaleh 3 number: KIRKMAN, J. 1764(2)-
Boalch 2 number: 27.
1953-
Information supplied by: Bz.
Boalch 3 number: KIRKMAN, J. 1763(6)- ‘Type: Single-manual harpsichord.
Boalch 2 number: 25. Date: 1764.
Ownership: Not known.
Remarks: Bz says: ‘Possibly same instrument as no. 27.”
Type: Wing spinet. Previous bistory: Sit Charles Lawes-Wittewronge, Bart., of
Date: 1763(A). Rothamstead, Hertfordshire. Sold at Christie’s, 14 May
Ownership: DR. HUNTSMAN, STIBBINGTON, 1936, to Messrs. J. G. Morley. It is possibly this instrument
ENGLAND. which appears in an illustrated advertisement by Tony
Inscriptions: On front of nameboard Jacobus Kirckman
Bingham on page 438 of EM Vol. 4, No. 4, October
Londini fecit .. .. The date, which followed the inscription, 1976. The instrument which has 2x8’, 1x4’, is advertised
has been smudged and was probably 1763. On reverse of by Bingham with the slightly odd and atypical description
the nameboard (in pine) on a black oval label A.
JACOBUS KIRKMAN LONDINIUM FECIT 1764 as
RICHARDSON, SUCCESSOR TO BOUCHER & CO. if this were the inscription on it. It could however be
GENERAL WAREHOUSE 4; BR .. .. Cut inexpertly, any one of the other single-manual instruments of 1764
probably with a pen knife AY. In ink G Webster 1923 by Kirkman whose ownership is not known.
1924 1925 1926 1927 1928. Information supplied by: B2/EM.
Specification: 1x8’. Boalch3 number: KIRKMAN, J. 1764(3).
Compass: FF,GG-P. Boalch 2 number: 28 or possibly number 27.
Keyboard: White naturals, black sharps.
Number of roses: None. Type: Single-manual harpsichord.
Exterior of case: Crossbanded. Date: 1764.
Scale: 330 mm. Ownership: Not known.
Length: 1943 mm. Remarks: Reported by Robert Robinette as in the USA
Remarks: Outer case has crossbanded panels of mahogany. 1967. (Not the same instrument as the KIRKMAN, J.
Lid of solid mahogany, probably taken from another 1764(3), above.) No stand. Case reported in Bz as walnut.
instrument. A motley selection of jacks—four are probably Information supplied by: Bz.
Kirkman harpsichord lute jacks, the rest are similar but Boalch 3 number. KIRKMAN, J. 1764(4)
do not have the top staple. Stand has simple turned legs. Boalch 2 number: 28a.
Previous history: Mrs. Christie, Stibbington, near Peter-
borough (1958) the former occupant of the house which Type: Single-manual harpsichord.
in 1969 was owned by Dr. Huntsman. Restored by Morley Date: 1764.
1958. Ownership: Not known.
Information supplied by: B2|CMM. Specification: 2x8’.
Boalch3 number: KIRKMAN, J. 1763(A). Remarks. Bz reports: seen by Raymond Russell in 1957
Boalch 2 number: 1072. at Morley’s (South Kensington), who had not seen the
instrument before.
‘Type: Single-manual harpsichord. Information supplied by: B2.
Date: 1764. Boalch 3 number: KIRKMAN, J. 1764(5).
Ownership: HUMPHREY EVANS. Boalch 2 number: 292.
Previous history: David Kent, Tunbridge Wells. Raymond
Russell, London. Type: Single-manual harpsichord.
Information supplied by: Bz. Date: 1764.

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434 KIRKMAN
Ownership: Not known. satinwood stringing. Stand not original, having come
Specification: 2x8", 1x4’. from a square piano. No pedals, and no harp stop. Back
Additional features: Machine. 8’ converted to leather in the eighteenth century. Not
Compass: FF,GG-P. now playable.
Number of roses: 1. Previous history: Came from Mrs. F. R. Hammond,
Remarks: Machine (later, but eighteenth-century, Holyoke, Massachusetts. Restored by Hugh Gough in
addition). 1962. Not on display.
Previous bistory: Bought by Messrs. Adlam and Burnett, References: EK] vol. 2, 1982-3, p. 70.
Finchcocks, Goudhurst, Kent, at Sotheby’s in 1971. Information supplied by: B?|Williamsburg|EK].
Information supplied by: B*. Boalch 3 number: KIRKMAN, J. 1765(1).
Boalch 3 number: KIRKMAN, J. 1764(6). Boalch 2 number: 30.
Boalch 2 number: 29b.
Type: Single-manual harpsichord.
Type: Two-manual harpsichord. Date: 1765.
Date: 1764. Ownership: Not known.
Ownership: FRANK COOPER, CORAL GABLES, Inscriptions: Jacobus Kirckman Londini fecit 1763. Behind the
FLORIDA, USA. nameboard: Tun’d Decr 16th 1808 by C Simms Organist of
Inscriptions: On nameboard: Jacobus Kirckman Fecit Londini Okeover and Ashbourn. Inside the cheek, in chisel marks is
1764. IIIV upside down.
Specification: 2x8’, 1x4’, lute. Specification: 2x8".
Additional features. Harp stop, machine, 2 pedals. Additional features: 2 hand stops, 1 pedal.
Compass: FF,GG-P. Compass: FF,GG-P.
Keyboard: White naturals, black sharps. Keyboard: White naturals, black sharps.
Length: 2337 mm. Number of roses: 1.
Width: 940 mm. Style of rose: Seated harping figure.
Remarks: Exterior case of mahogany panels with cross- Exterior of case: Crossbanded.
banding. Original soundboard, jacks and wrestpins. Length: 2210 mm.
Nameboard may be a replacement. Width: 927 mm.
Previous history: Instrument came to the USA in unrestored Depth: 260 mm.
condition from George Morley, London. Restored in Remarks: Ivory naturals with reeded fronts and ebony
1965 by Frank Hubbard who replaced the bottom, and sharps. ‘Acorn’ stop-knobs in brass. Exterior case of
added a brace. In 1973 it was owned by Professor Roslyn mahogany with box stringing. Fascia board, and cheeks
Henning, Tufts University, Boston. Offered for sale by of burr walnut with boxwood stringing and kingwood
Jackson’s Piano and Organ Store, Rockford, Illinois in crossbanding. Lid has two ‘pull-out’ stands for candles
May 1975. on either side of a modern music desk. Stand with plain
References: EKJ vol. 2, 1982- 3, p. 70, No. H-76.4. straight legs and one pedal for operating the proximal 8’
Information supplied by: Brown|GL|EK]. register. Solid mahogany lid.
Boaleh 3 number: KIRKMAN, J. 1764(7). Previous history: From Michael Thomas about 1954 to Mrs.
Boalch 2 number: None. Alys Luttrell, Dunster Castle, England. Sold at Sotheby's
on 26 November 1992 for £25,000.
‘Type: Single-manual harpsichord. References: Sotheby's Catalogue, 26 November 1992, pp. 232-
Date: 1765. 3, (illustrated).
Ownership: COLONIAL WILLIAMSBURG Information supplied by: B?|CMM|Mrs. Luttrell|Sotheby’s.
FOUNDATION, WILLIAMSBURG, VIRGINIA, Boalch3 number: KIRKMAN, J. 1765(2).
USA. Boalch 2 number: 30a.
Number: 1942-44.
Inscriptions: On nameboard Jacobus Kirckman Londini Fecit Type: Single-manual harpsichord.
1767. (EK] gives the name as Kirchman, but this seems Date: 1766.
very unlikely.) Ownership: JOSEPH AND GLENDA RAWLEY,
Specification: 2x8". HIGH POINT, NORTH CAROLINA, USA.
Compass: FF,GG-P. Inscriptions: Inscribed on nameboard Jacobus Kirckman
Seale: 332 mm. Londini Fecit 1766.
Length: 2174 mm. Specification: 2x8’, 1x4".
Width: 917 mm. Additional features: 3 hand stops, 1 pedal.
Depth: 268 mm. Number of roses: 1.
Remarks: No. H-76.5 in the EK] catalogue. Oak case Exterior of case: Crossbanded.
with mahogany veneer, rosewood(?) crossbanding and Seale: 534 mm.

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 KIRKMAN 435
Length: 2175 mm. the stand has only one pedal. Exterior case in typical
Width: 918 mm. Kirkman crossbanding. Kirkman’s original bill is pre-
Depth: 271 mm. served at Nostell and reads: ‘Sir Rowland Winn, Bart.
Remarks: Number H-76.6 in the EKJ catalogue. External Dr to Jacob Kirkman September ye 1st 1767; An Inlaid
case of burr walnut panels with walnut crossbanding and Double Keyed Harpsichord Cover Veneerd Desk inside
boxwood stringing. Rosewood veneer around inside rim with machine pedals [mote the use of the plural despite the
with single boxwood stringing. EK] says ‘Kirckman’s fact that there is only one surviving pedal| 85 guineas {89.
second style rose’. Pedal for disengaging the 4’. String 5./Leather cover for D®. £1.10. Packing case for D*. £-.
gauges stamped on nut. Trestle stand with untapered 15. -./[Total] £91. 10. For the use & Tuning ofa Double
‘Chippendale’ legs with wooden casters. In an unusually Key’d Harpsichord from March roth to June 18th 1767
good state of preservation, though not currently playable. £2. 14./Recd July the sth 1768 the contents in full of all
Previous history: Mrs. R. Sherry of Cecil House, Bentley, demand for Uncle Jacob Kirkman: £94. 4. -.’. For further
Essex. Messrs. Ratcliff, Kelvedon, Essex. Pro Musica comment see KIRKMAN, J. 1766(5) below.
Instrument Co., Annapolis, Maryland. Bought by present Reference: Nostell Priory is now a National Trust property.
owners in 1967. When seen by CMM in 1968, further information was
References: EK] vol. 3, 1984-5, p- 66. available from Lord St. Oswald, or Major Tom Ingram,
Information supplied by: B2|EK]. Archivist, Barings Bank.
Boalch 3 number: KIRKMAN, J. 1766(1). Previous history: Sir Rowland Winn, Bt. Thence to Lord
Boalch 2 number: 30b. St. Oswald.
Information supplied by: Bz|CMM.
Type: Two-manual harpsichord. Boalch 3 number: KIRKMAN, J. 1766(3).
Date: 1766. Boalch 2 number: 32.
Ownership: DR. G. A. GRAAF BENTINCK,
AMERONGEN. Type: Single-manual harpsichord.
Additional features: 2 pedals, 5 hand stops. Date: 1766.
Number of roses: 1. Ownership. CHRISTOPHER HOGWOOD,
Remarks: Rose has initials IK. CAMBRIDGE, ENGLAND.
Information supplied by: Bz. Specification: 2x8’, 1x4’.
Boalch 3 number: KIRKMAN, J. 1766(2). Additional featres: Harp stop.
Boalch 2 number: 31. Number of roses: 1.
Previous bistory: Restored at some time by Alec Hodsdon.
Type: Two-manual harpsichord. Bought by Christopher Hogwood at Puttick and
Date: 1766. Simpson’s in 1972 for £2,000.
Ownership: LORD ST. OSWALD, NOSTELL Information supplied by: B2|Puttick and Simpson's.
PRIORY, ENGLAND. Boalch 3 number. KIRKMAN, J. 1766(4)-
Inscriptions: Jacobus Kirchman Londini Fecit 1766. Boalch 2 number: 32a.
Specification: 2x8’, 1x4’, lute.
Additional features: Machine, lid swell, harp stop, 1 pedal. Type: Two-manual harpsichord.
Compass: FF,GG-P. Date: 1766.
Keyboard: White naturals, black sharps. Ownership: MAJOR ROBERT BERKELEY,
Number of roses: 1. SPETCHLEY, WORCS., ENGLAND.
Style of rose: Seated harping figure. Inscriptions. Jacobus Kirckman Londini Fecit 1766.
Exterior of case: Crossbanded. Specification: 1: 2x8’, 1x4’; Il: 1x8", lute.
Scale: 346 mm. Additional features: 5 hand stops, machine, lid swell, harp
Length: 2350 mm. stop, 1 pedal.
Width: 943 mm. Compass: FF,GG-P.
Depth: 318 mm. Keyboard: White naturals, black sharps.
Remarks: The instrument is a superb example of a Number of roses: 1.
surviving Kirkman and parallels the harpsichord at Style of rose: Seated harping figure.
Spetchley Park (KIRKMAN, J. 1766(5)). The keywell Exterior of case: Crossbanded.
marquetry is particularly attractive, having coloured inlaid Scale: 340 mm.
woods. Naturals of ivory with boxwood reeded fronts Length: 2353 mm.
and sharps of ebony. The stand has cabriole legs with Widsh: 946 mm.
claw and ball feet, and one pedal operating the lid swell. Depth: 318 mm.
The machine linkage is present, but has no pedal. This Remarks: According to the Burlington Magazine, vol. 37
makes the stand slightly suspect for it seems strange that (1920), p. 263, a possible contender for the title of Queen
the instrument should have lid swell and machine, but Charlotte’s harpsichord. But see Moxdd Tb. Naturals ivory,

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436 KIRKMAN
with reeded fronts and sharps of ebony. The straight side Information supplied by: B2| Henkel.
is veneered with burr walnut panels, similar to the rest Boalch 3 number: KIRKMAN, J. 1767(1).
of the case. This instrument and KIRKMAN, J. 1766(3) Boalch 2 number: 54.
(above), are unlike others in that they have lid swells and
machine stops but their stands have only one pedal. These ‘Type: Two-manual harpsichord.
are the two earliest Kirkman harpsichords to have a lid Date: 1767.
swell of the form that is to be found on a number of Ownership: L'VERPOOL MUSEUM, LIVERPOOL,
later instruments. Instrument number KIRKMAN, J. ENGLAND.
1754 bears traces of an earlier form of lid swell which Number: 1967.161.7.
may perhaps represent an experiment with a type of lid Inscriptions: Jacobus Kirckman Londini Fecit 1767.
swell which proved too cumbersome. The marquetry on Specification: 2x8’, 1x4’.
this instrument is particularly fine having a range of Additional features: 4 hand stops, 1 genouillére, music
coloured woods on the fascia board, and a brass inlay. desk.
Stand with cabriole legs and claw and ball feet. Compass: FF-P.
Previous bistory. According to Bz: Charlotte, Queen of Keyboard: White naturals, black sharps.
George I11@). Warley Place, Essex. Miss E. A. Wilmot Number of roses: 1.
who sold it at Sotheby’s, 5 April 1935. When CMM Style of rose: Seated harping figure.
interviewed the then owner, Captain Berkeley, at Spetchley Exterior of case: Crossbanded.
in 1960, he reported that previously it was at Warley Length: 2345 mm.
Place, where it was probably the property of his aunt, Width: 945 mm.
Miss E. A. Wilmot. He believed that Queen Victoria had Depth: 315 mm.
given it to her, and that originally it had belonged Remarks: Naturals of ivory with boxwood moulded fronts
to Marie Antoinette. Captain Berkeley bought it from and sharps of ebony. Case veneered in mahogany with
Miss Wilmot at Sotheby’s in 1935. Pilkington (Vere box/sycamore stringing. Mahogany lid. The genouillére
Pilkington ?) said at the time that he could sell it privately operates a machine mechanism. Keywell veneered with
for £2,000. At Spetchley since 1935. Some restoration by panels of burr walnut, crossbanded tulipwood and
CMM in 1969. sycamore/box stringing. Wrestplank veneered. Original
Information supplied by: B2|CMM. stand.
Boalch 3 number. KIRKMAN, J. 1766(5). Previous history: According to the Museum, originally one
Boalch 2 number: 33. of a pair, (the other made in 1755). Bought by Dr.
Edward Hill, Regius Professor of Physics at Dublin
Type: Single-manual harpsichord. University (1781-1830) for his two daughters. Purchased
Date: 1767. by Rushworth and Dreaper in 1927 from Dr. Hill’s
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, gteat-granddaughter, Mrs. Spencer (Annie) Curwen.
GERMANY. Acquired by the Museum in 1967.
Number: 371. Information supplied by: B2/Rushton.
Inscriptions: On the nameboard Jacobus Kirckman Londini Boalch3 number: KIRKMAN, J. 1767(2).
Fecit 1767. Boalch 2 number: 35.
Specification: 2x8, 1x4’.
Additional features: 1 pedal, 3 hand stops. Type: Two-manual harpsichord.
Compass. FF,GG-P. Date: 1767.
Keyboard: White naturals, black sharps. Ownership. RINGVE MUSEUM, TRONDHEIM,
Namber of roses: 1. NORWAY.
Style of rose: Seated harping figure. Number. RMT 79/12.
Exterior of case: Crossbanded. Inscriptions. According to Sotheby’s catalogue of 21
Scale: 342 mm. December 1972, inscribed Jacob Kirkman (sic) Londini Fecit
Length: 2197 mm. 1767, which would be very unusual, but the illustration
Width: 934 mm. on p. 23 of Ringverg88 clearly shows the name as Kirckman
Depth: 290 mm. in the usual way, and this is corroborated by Kyeldsberg.
Remarks: Pedal for disengaging 4’. Naturals of ivory, Specification. 2x8’, 1x4’, lute.
sharps of ebony. Outer case crossbanded in traditional Additional features. No harp stop, no swell, 4 hand stops,
style, with three panels on the bent side. Raised on trestle no pedals.
stand with square legs and castors. Compass: FF,GG-f.
Previous history: Obtained in London for the Heyer Keyboard: White naturals, black sharps.
Collection, Cologne in 1910. Number of roses: 1.
References: Henkelr, pp. 106-8, and plates 60-1. Rose Style of rose: Seated harping figure.
depicted at Ks vol. 2, p. 662. Exterior of case: Crossbanded.

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 KIRKMAN 437
Scale: 319 mm. Boaleh 3 number: KIRKMAN, J. 1768(2).
Length: 2290 mm. Boaleb 2 number: 38.
Width: 933 mm.
Depth: 301 mm. Type: Single-manua! harpsichord.
Remarks: Ivory naturals with reeded fronts; ebony sharps. Date: 1768.
Mahogany case with fruitwood stringing. On trestle stand Ownership: PRIVATE COLLECTION, TOKYO,
with cabriole legs which have scallop shells on the knees. JAPAN.
Scale of ‘319’ reported by the Museum, though O’Brien Inscriptions: Jacobus Kirckman Londini Fecit 1768.
gives it as ‘343’ (which appears to be more consistent Specification: 2x8’.
with other Kirkman harpsichords). Additional features: 1 pedal.
Previous history. W. Barrow, Llandudno. Sold from the Compass: FF,GG-P.
Barrow Collection at Sotheby’s on 21 December 1972 to Keyboard: White naturals, black sharps.
US Ambassador Middendorf for £6,000. Peter Andreas Number of roses: 1.
Kjeldsberg wrote to DHB on 31 August 1979 to say that Style of rose: Seated harping figure.
the Ringve Museum had acquired it. According to Exterior of case: Crossbanded.
Graham Wells in EM vol. 7, No. 4, October 1979, p. Length: 2210 mm.
525, it was sold in June 1979 at Sotheby’s in New York Width: 940 mm.
for $55,000 (£25,281) which at that time was a record for Remarks: Ivory naturals, ebony sharps. Mahogany case.
an English harpsichord. One pedal on the left.
References: Sotheby’s catalogue of 21 December 1972 Previous history: Formerly Messrs. Forty, Birmingham.
(illustrated). There was also a short catalogue of the Sold at Christie’s on 29 April 1987 (lot no. 16) for
Barrow Collection published, but a copy cannot now be £14,000. Jeremy Montagu writing in EM Vol. XV, No.
traced. See also The Listener, 12 January 1937, pp. 100-1. 4, November 1987, p. 527 describing the instrument in
Information supplied by: ~— Bz2/CMM/EM|Kjeldsberg/ the saleroom states: ‘It too was in a very poor state, with
Ringverg88. not only a bad crack in the treble side of the soundboard,
Boalch 3 number: KIRKMAN, J. 1767(3). but a row of a dozen or so large wood-screws on the
Boalch 2 number: 36. bass side. Heaven knows what they were holding the
soundboard on to’.
References. Christie’s Catalogue of 29 April 1987 (Illus-
‘Type: Single-manual harpsichord. trated). EM.
Date: 1768. Information supplied by: Bz] Yokota/Christies|
EM.
Ownership: Not known. Boalch 3 number: KIRKMAN, J. 1768(3).
Previous bistory: Sold anonymously at Puttick & Simpson’s, Boalch 2 number: 39.
18 October 1934. Bought by Mr. Weather().
Information supplied by: Bz. Type: Single-manual harpsichord.
Boalch3 number: KIRKMAN, J. 1768(1).
Date: 1768.
Boalch 2 number: 37.
Ovnersbip: Not known.
Previous history: Sold anonymously at Puttick & Simpson’s,
‘Type: Two-manual harpsichord. 27 June 1935. Bought by ‘Wertheim’.
Date: 1768. Information supplied by: Bz.
Ovnersbip. PRIVATE COLLECTION, Boalch 3 number: KIRKMAN, J. 1768(4).
PETERSFIELD, HAMPSHIRE, ENGLAND. Boalch 2 number: 40.
Specification: 2x8’, 1x4’, lute.
Additional features: Machine, venetian swell, harp stop. Type: Two-manual harpsichord.
Compass: FF,GG-P. Date: 1768(A).
Keyboard: White naturals, black sharps. Ownership: MICHAEL THOMAS, SAUSSINES,
Number of roses: 1. FRANCE.
Exterior of case: Crossbanded. Inscriptions: On nameboard, which is probably a replace-
Remarks: Ivory naturals with reeded fronts and ebony ment: Jacobus Kirckman Londini Fecit 1768. The owner
sharps. reports that this should read 7778.
Previous history: C. K. Salaman. Malcolm Salaman (1937). Specification: 1: 2x8’, 1x4’; Il: 1x8’, lute.
F. Walker who offered it for sale at Sotheby’s on 6 May Additional features: Machine, lid swell, 3 pedals.
1955. This instrument was selected by Dr. Burney in 1768 Compass: FF,GG-P.
for the tuition of Malcolm Salaman’s great grandmother. Keyboard: White naturals, black sharps.
Exhibited in 1872. Number of roses: 1.
References. Antique Collector, 1937. Exterior of case: Crossbanded.
Information supplied by: B2|CMM. Scale: 348 mm.

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438 KIRKMAN
Length: 2375 mm. Style of rose: Seated harping figure.
Width: 935 mm. Exterior of case: Crossbanded.
Depth: 320 mm. Scale: 349 mm.
Remarks: The instrument is probably the same harpsichord Length: 2210 mm.
which is described in CK] as belonging to the Fitzwilliam Width: 927 mm.
Museum, Cambridge. The three pedals are: right—swell; Depth: 273 mm.
left machine; middle (later addition)— harp. Remarks. Naturals of ivory, sharps of ebony. Machine
Previous bistory: Bought from Paris from an owner who operated by pedal appears original, and when depressed
had inherited it from a Russian uncle. Shown at the takes off the distal 8’ register (which is leathered). Long
exhibition at the Fitzwilliam Museum in 1983. See CKI. side not veneered.
Formerly in the Cobbe Collection. Previous history: Mrs. Trafford, Goodrich Court. Alan
References: CKI. Legg. Hugh Gough. Albert Honey. Noel Dilkes. R.
Information supplied by. CMM|Cobbe|CK1/ThomasM. Bibby (bought 1 June 1961 at Christic’s). Mr. Gracbe
Boalch 3 number: KIRKMAN, J. 1768(A). acquired it in 1967.
Boalch 2 number: None. Information supplied by: B2|CMM|Owner.
Boalch3 number: KIRKMAN, J. 1769(2)-
Type: Two-manual harpsichord. Boalch 2 number: 42.
Date: 1769.
Ownership: YALE UNIVERSITY COLLECTION OF Type: Single-manual harpsichord.
MUSICAL INSTRUMENTS, USA. Date: 1770.
Number: 4861.00. Ownership: Not known.
Inscriptions: On nameboard: Jacobus Kirckman Londini fecit Inscriptions. None.
1769. On lowest key of lower manual in pencil a name Specification: 2x8.
which is difficult to decipher but looks like NSaacb. Remarks: Nameboard missing- -date comes from former
Specification: 2x8’, 1x4’, lute. owners’ catalogue.
Additional features: Harp stop, machine, lid swell, 2 pedals. Previous history: Formerly in the Rushworth and Dreaper
Compass: FF,GG-P. Collection, Liverpool.
Keyboard: White naturals, black sharps. Information supplied by: Bz.
Number of roses: 1. Boalch 3 number: KIRKMAN, J. 1770(1)-
Exterior of case: Crossbanded. Boalch 2 number: 43.
Length: 2324 mm.
Width: 930 mm. Type: Single-manual harpsichord.
Remarks: Naturals of ivory; sharps of ebony. Main case
Date: 1770.
veneer is mahogany. Yale gives the scale at c' as 664 mm.
Ownership: Not known.
but this cannot be correct, and probably refers to midde
Specification: 2x8’.
c. Previous bistory: Mrs. Hughes-Martin. Messrs. J. G. Morley.
Previous history: Restored by Lotta van Buren, 1928.
Information supplied by: Bz.
References: Steinert, p. 224. Acoustic tests carried out by
E. L. Kottick in 1985 (see Kottick-response).
Boalch 3 number. KIRKMAN, J. 1770(2)-
Boalch 2 number: 44.
Information supplied by: B2|Rephann.
Boalch 3 number: KIRKMAN, J. 1769(1).
Boalch 2 number: 41. Type: Single-manual harpsichord.
Date: 1772.
Type: Single-manual harpsichord. Ownership. JOHN FESPERMANN, WASHINGTON
Date: 1769. DC, USA.
Ownership: D. GRAEBE, EASTBOURNE, Specification: 2x8".
ENGLAND. Previous history: Hugo Worch, Washington DC. Charles
Inscriptions: On nameboard: Jacobus Kirckman Londini Fecit Fisher, Framingham, Massachusetts. Was in an antique
1769. Under largest strap-hinge- -Jobn Vale Hereford June shop in Baltimore in 1931, and in the possession of Mr.
28 1888-- thought to be the signature of a french polisher. Fespermann in 1965.
Workman's signature Cross on back of nameboard and Information supplied by: B2.
on key 60. Boalch3 number. KIRKMAN, J. 1772(1)-
Specification: 2x8". Boalch 2 number: 442.
‘Additional features: No harp stop, machine, 1 pedal.
Compass: FF,GG-P. ‘Type: Two-manual harpsichord.
Keyboard: White naturals, black sharps. Date: 1771.
Number of roses: 1. Ownership: Not known.

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 KIRKMAN 439
Inscriptions: Name-batten inscribed: Jacobus Kirckman Lon- probably the initials are IK. Spine not veneered. Lid swell
dini fecit 1771. Pencilled inscription on the wrestplank— pedal missing. Jeremy Montagu, writing in EM Vol. XV,
Restored by Charles Hersant, Lennox Road, Finsbury Park, No. 4, November 1987, p. 527, following the sale of the
N. instrument says ‘This one again was in suspect condition
Specification: 1: 2x8’, 1x4"; Il: 1x8’, lute. with quite a lot of new wood at the tail-end of the
Additional features. Machine. soundboard and a new stand, and in addition it was badly
Compass: FF,GG-P. twisted’.
Keyboard: White naturals, black sharps. Previous history: Acquired through Sotheby’s at a sale on
Number of roses: 1. 30 April 1987 for £27,000.
Exterior of case: Crossbanded. References: Sotheby's catalogue of 30 April 1987
Scale: 345 mm. (illustrated).
Length: 2340 mm. Information supplied by: Fritz Thomas|Sothebys|EM.
Width: 939 mm. Boalch 3 number. KIRKMAN, J. 1771(3)-
Depth: 317 mm. Boalch 2 number: None.
Remarks: Naturals of ivory with moulded boxwood fronts
and sharps of ebony. Case of figured mahogany panels, Type: Two-manual harpsichord.
with crossbanded borders. Keywell veneered in burr Date: 1771.
walnut with crossbanded tulipwood borders and ebony/ Ownership: ABERDEEN UNIVERSITY, ABERDEEN,
box stringing. No swell. SCOTLAND. Accession number not known.
Previous history: On loan, in the period 1986-February Inscriptions: None.
1987, to the Russell Collection (number 48) from the Specification: 1: 2x8’, 1x4’; I: 1x8", lute.
family of the late Dr. Tom McCourt, formerly Head of Additional features: Harp stop, lid swell, machine, 5 hand
Music at Moray House College, Edinburgh. Thereafter stops, 2 pedals.
sold at Sotheby’s in February 1987, and the present owner Compass: FF-P.
is not known. If it is B? number 45, it belonged formerly Keyboard: White naturals, black sharps.
to J. E. Minns, Taunton, 1904, and was advertised in the Exterior of case: Crossbanded.
Musical Times, August 1904. Length: 2337 mm.
References: Probably number 45 in B’. RussColl1986, p. Width: 927 mm.
29. Data sheet by John Raymond, Assistant Curator, Remarks: Little of the original instrument remains.
available from the Russell Collection with notes and Keybeds obviously new, and keys probably new. Rose
photographs. was not present when restored by Mould in 1969, but a
Information supplied by: B?|/RussColl1986/Raymond. new one was made in fibreglass by Rhodes and Thomas
Boalch3 number: KIRKMAN, J. 1771(2)- from the unfettled castings of an IK rose which they had
Boalch 2 number: 45. received from Charles Hersant. New soundboard and
bridges added by Mould.
Reference: Mould Note.
Typ: Two-manual harpsichord. Previous bistory: Not known before it was restored by Alec
Date: 1771. Hodsdon in 1950. Restored again by Charles Mould in
Ownership: DEUTSCHES MUSEUM, MUNICH, 1969. Restored again by Adlam-Burnett ¢. 1974.
GERMANY. Information supplied by: B?|CMM|Barnes.
Number: 87/409. Boalch 3 number: KIRKMAN, J. 1771(4)-
Inscriptions: Jacobus Kirckman Londini Fecit 1771. Restored Boalch 2 number: 46.
by Charles Hersant Lennox Road Finsbury Park. 3048.6 on
the left side of the 4’ wrestpins. Type: Single-manual harpsichord.
Specification: 1: 2x8’, 1x4’; 11: 1x8’, lute. Date: 1771.
Additional features: Harp stop, lid swell, machine. Ownership: METHVEN SIMPSON COLLECTION,
Compass: FF,GG-P. DUNDEE MUSEUM, SCOTLAND. Accession
Keyboard: White naturals, black sharps. number not known.
Number of roses: 1. Inscriptions: On nameboard Jacobus Kirchman Londini fecit
Style of rose: Seated harping figure. 1771. String gauges stamped on 8° nut.
Exterior of case: Crossbanded. Specification: 2x8".
Scale: 333 mm. Additional features: 2 hand stops.
Length: 2340 mm. Compass: FF,GG-P.
Width: 935 mm. Keyboard: White naturals, black sharps.
Depth: 320 mm. Number of roses: 1.
Remarks: Dr. Fritz Thomas, former director of the Style of rose: Seated harping figure.
Museum says that the rose has initials JK, but more Exterior of case: Crossbanded.

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440 KIRKMAN
Scale: 349 mm. Inscriptions. On back of nameboard: Restrang, reguilled,
Length: 2200 mm. regulated, tuned and repaired by Jobn Denbam 1888—organist
Width: 935 mm. to Lord Bute (reported by W. R. Thomas).
Deptt: 300 mm. Specification: 2x8’, 1x4’, lute.
Remarks: Naturals of ivory; sharps of ebony. Case walnut Additional features: Hand stops.
crossbanded. Rose has initials [K. On trestle stand. Not Compass: FF,GG-f.
(1989) in playing order. On permanent display in the Number of roses: 1.
McManus Galleries. Style of rose: Seated harping figure.
Previous history: Previous owner was Wm. Alexander Scale: 349 mm.
Simpson, (d. 1918) of Messrs Methven Simpson, music Remarks: O’BrienPC says that the style of the rose is
sellers of Reform Street, Dundee. The Museum has had similar to those in the two Faulkener instruments, though
the instrument since 1918. nothing else is reported which might lead to the attribution
Information supplied by: Bz/Dundee Museum|O’ BrienPC. of the instrument to Faulkener rather than Kirkman.
Boalch3 number: KIRKMAN, J. 1771(5)- Information supplied by: B2|O’ BrienPC.
Boalch 2 number: 47. Boalch 3 number: KIRKMAN, J. 1772(2).
Boalch 2 number: 48a.
Type: Two-manual harpsichord.
Date: 1772.
Type: Two-manual harpsichord.
Ownership: AAHMOLEAN MUSEUM, OXFORD,
Date: 1772.
ENGLAND.
Ownership: HORNIMAN MUSEUM AND LIBRARY,
Number: 44(D.0.1).
LONDON, ENGLAND.
Inscriptions. Jacobus Kirckman Londini fecit 1772. On the Number: 1972.211.
back of the strip separating upper and lower manuals:
Repaired 1870 by G W Goss. Inscriptions: On nameboard: Jacobus Kirckman Londini Fecit
Specification: 1: 2x8’, 1x4’; Il: 1x8’, lute. 1772. Behind nameboard is an inscription to the effect
that Irvin Hinchcliffe purchased it in September 1946
Additional features: Harp stop, machine, venetian swell, 5
hand stops, 2 pedals. from Lady Graye of Stanford Park.
Compass: FF,GG-P. Specification: 1: 2x8", 1x4’; I: 1x8’, lute.
Additional features: 5 hand stops, lid swell, harp stop,
Keyboard: White naturals, black sharps.
Number of roses: 1. machine.
Style of rose: Seated harping figure. Compass: FF-f.
Exterior of case: Crossbanded. Keyboard: White naturals, black sharps.
Length: 2375 mm. Number of roses: 1.
Width: 946 mm. Exterior of case: Crossbanded.
Depth: 311 mm. Scale: 346 mm.
Remarks: Case of burr walnut inlaid with tulip wood. Length: 2366 mm.
Cheek-pieces and nameboards uniquely marquetried, with Width: 930 mm.
trophy of musical instruments on the nameboard. Stand Depth: 317 mm.
with cabriole legs and claw-and-ball feet. Straight side Remarks: Case of root walnut panels with boxwood
not veneered. stringing and walnut or mahogany crossbanding. Solid
Previous history: John Bacon, R.A., sculptor (1740-99). mahogany lid with boxwood stringing and brass strap-
Dr. Slatter, priest-vicar of Exeter Cathedral. Carl Engel. hinges. Fascia board and cheeks veneered with burr
Mrs. P. E. Bowman. Restored 1870 by G. W. Goss, and walnut with double chevron stringing and mahogany
by by Robert Goble 1965. Further restoration by CMM crossbanding. Modern music desk, but case has cut-out
in 1969, and subsequently a much more extensive res- provision for original music desk. Modern stand has six
toration by Derek Adlam ¢. 1982. cabriole legs with claw and ball feet, with one pedal for
References: Catalogue of the Hill collection by David machine, but no pedal for controlling the swell (though
Boyden. Museum accession book. Mosld Note. Recorded it is illustrated in ECMIFB with a stand with turned legs.
by Martin Souter, 1991. Previous history: Lady Graye (not Bray as in Bz), Stanford
Information supplied by: B2|CMM. House, Swinford. Irvin Hinchcliffe (1946), at Polesden
Boalch3 number: KIRKMAN, J. 1772(1)- Lacey, Surrey until about 1952. Glyndebourne (bought
Boalch 2 number: 48. at Sotheby’s, 1 August 1958). Restored by Robin Bagot,
Kendal, 1959. Sold at Sotheby’s on 29 June 1972 to the
Type: Two-manual harpsichord. Horniman Museum and Library. Exhibited at the Museum
Date: 1772. in 1973.
Ownership: LORD BUTE, DUMFRIES HOUSE, References: ECMIFB, No. 5, pp. 12 and 13 (illustrated).
CUMNOCK, AYR, SCOTLAND. Information supplied by: Bz|Sothebys|Birley| ECMIFB.

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 KIRKMAN 441
Boalch number: KIRKMAN, J. 1772(3)- Specification: 2x8’.
Boalch 2 number: 50. Remarks, Bought 1968. Nameboard missing.
Previous bistory: Lotta van Buren. In private ownership in
‘Type: Two-manual harpsichord. Forest Hills in 1968.
Date: Not known. Information supplied by: Bz.
Ownership: Not known. Boalch 3 number. KIRKMAN, J. n.d.(4).
Specification: 2x8", 1x4’, lute. Boalch 2 number: 1014.
Additional features: Harp stop, machine, lid swell.
Number of roses: 1. ‘Type: Two-manual harpsichord.
Remarks: Last heard of in 1949 when it was sold in a Date: Not known.
wrecked state. Ownership: Not known.
Previous history: In wrecked condition when offered for Specification: 2x8’, 1x4’, lute.
sale on 6 December 1949 at 245 East 23rd Street, New Additional features: Harp stop, machine, lid swell.
York. Exterior of case: Crossbanded.
Information supplied by: Bz. Length: 2337 mm.
Boalch3 number: KIRKMAN, J. n.d.(1). Remarks: Bz says ‘Oak case with line inlay. Lot 96 at
Boalch 2 number: 98. Sotheby’s, 6 July 1934. The catalogue states: by J.
Kirckman, ¢. 1780, in poor condition’. 92 inches long.
Type: Two-manual harpsichord. Perhaps the same instrument as number KIRKMAN, J.
Date: Not known. n.d.(1).
Ownership. ALEC HODSDON (THE LATE), Previous history: Sold at Sotheby's 6 July 1934.
LAVENHAM, SUFFOLK, ENGLAND. References: Sotheby’s catalogue of 6 July 1934.
Specification: 2x8’, 1x4’, lute(A). Information supplied by : Bz|Sotheby’s.
Additional features: Hand stops, lid swell. Boalch 3 number: KIRKMAN, J. n.d.(5)-
Length: 2388 mm. Boalch 2 number: 103.
Remarks: In bad condition in 1934 when acquired by Alec
Hodsdon. Type: Wing spinet.
Previous bistory: Lady Kathleen Pilkington [until 1934], Date: Not known.
then acquired by Alec Hodsdon at Sotheby’s on 6 July Ownership. PECKFORTON CASTLE, CHESHIRE,
1934. The catalogue dates it ¢. 1780. ENGLAND.
References: Sotheby’s catalogue of 6 July 1934. Inscriptions: Jacobus Kirckman Londini fecit.
Information supplied by: Bz. Specification: 1x8".
Boalch 3 number: KIRKMAN, J. n.d.(2). Remarks: Bz says ‘Walnut case’.
Boalch 2 number: 100. Previous bistory: According to Bz: ‘From Peckforton Castle,
Cheshire. Sold at Christie’s, 14 May 1953, by the Trustees
Type: Single-manual harpsichord. of the Tollemache Estates. Bought by an agent.’
Date: Not known. Information supplied by: B2.
Ownership: FORMERLY THE FORD MUSEUM, Boalch 3 number: KIRKMAN, J. n.d.(6).
DEARBORN, MICHIGAN, USA. Boalch 2 number: 108.
Specification: 2x8", 1x4’.
Compass. FF-e(A). KIRKMAN, JACOB(A).
Number of roses: 1. Type: Two-manual harpsichord.
Remarks: Unsigned. Much restored, with new keyboard Date: 1766(A).
and soundboard. Reported compass according to Bz is Ovnersbip: DR. ANDREAS BEURMANN,
“F-E nearly 6 octaves’, which is probably FF-e*—but this HAMBURG, GERMANY.
seems most unlikely. Even FF-c’ would also seem unlikely. Number: 60.
The form of the rose is not reported. Inscriptions: No nameboard.
Previous history: Boston Antique Shop, Massachusetts, and Specification: 2x8’, 1x4’, lute.
then to the Ford Museum which owned it until 1972, Additional features: 2 pedals, lid swell, 5 hand stops,
when it was lost. machine.
Information supplied by: Bz. Compass: FF,GG-P.
Boalch 3 number: KIRKMAN, J. n.d.(3). Keyboard: White naturals, black sharps.
Boalch 2 number: 101. Number of roses: 1.
Style of rose: Seated harping figure.
Type: Single-manual harpsichord. Exterior of case: Crossbanded.
Date: Not known. Scale: 348 mm.
Ownership: PRIVATE COLLECTION, FOREST Length: 2340 mm.
HILLS, NEW YORK, USA. Width: 935 mm.

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442 KIRKMAN(A)
Depth: 310 mm. Specification: 2x8", 1x4.
Remarks. The owner suggests that this is the same Additional features: Venetian swell, 3 hand stops.
instrument as that shown in Bz as number s03a, belonging Compass: FF,GG-P.
to Charles Fisher of Framingham, Massachusetts (see Keyboard: White naturals, black sharps.
below: KIRKMAN. n.d.(3)). This possibility has still to Number of roses: 1.
be confirmed. Ivory naturals with reeded fronts, sharps Style of rose: Seated harping figure.
of ebony. Case of exceptional quality with fascia board Exterior of case: Crossbanded.
having marquetried trophies of instruments and a music Length: 2210 mm.
book though the nameboard is missing (it is not known Width: 921 mm.
how the date of 1766 was decided). Stand with claw and Depth: 277 mm.
ball feet. Remarks: Most probably Jacob Kirkman, pre-1766, since
Information supplied by: Bz|Bexrmann. there is no provision for music desk. Atypical stand with
Boalch 3 number: KIRKMAN, J(A). 1766(A). five legs. Interior of keywell has panels of satin wood.
Boalch 2 number: 103a(A). Previous history: From the R. S. Williams Collection.
References: Hirt, p. 266. Ulustrated in A/b. Illustrated in
Type: Harpsichord (Number of manuals not known). ROM, pp. 58-9. Photographs from the Royal Ontario
Date: 1772. Museum, numbers 69EUR.115, 69EUR.115b, and 69
Ownership: Not known. EUR.112.
Remarks: There may be some confusion between this Information supplied by: Bz/ROM.
instrument and the 1772 double, currently shown as Boalch 3 number: KIRKMAN, J(A). n.d.(1).
belonging to the Horniman Museum (KIRKMAN, J. Boalch 2 number: 104.
1772(3)). According to Bz, sold at Sotheby’s (like number
Bz 50, i.e. the Horniman Museum double) on 1 August KIRKMAN(A), JACOB(A).
1958. The catalogue gave the near impossible date 1733. Type: Two-manual harpsichord.
Previous history. According to Bz, belonged to Irvin Date: 1750(A).
Hinchcliffe. Ownership: Not known.
Information supplied by: Bz. Inscriptions: According to Jorg Demus, inscribed Kirchmann
Boalch3 number: KIRKMAN, J(A). 1772(1)- Me Fecit 1750, Restored by Dolmetsch. . .. This is a unique
Boalch 2 number: 51/50. inscription, and possibly by Dolmetsch.
Remarks: The existence of this instrument is known from
Type: Single-manual harpsichord. a letter from Jorg Demus to DHB dated 16 July 1980,
Date: 1772. in which he says that in about 1970 he owned it, having
Ownership: MESSRS. GEORGE LEUCHARS. acquired it from Wayland Dobson of Aix en Provence.
Inscriptions: Has the name Kirckman on the nameboard The style of inscription makes it seem unlikely that it is
with the date 7772. a genuine Kirkman.
Specification: 2x8’, 1x4’. Previous history: Bought by Jérg Demus from Wayland
Compass: FF-P(A). Dobson, Aix en Provence. Restored sometime by Dol-
Keyboard: White naturals, black sharps. metsch. Acquired by Jorg Demus ¢. 1970. Present owner
Remarks: Maurer reports all jacks seem original with quill unknown.
except the rear 8’, which is original leather (though Barnes References: Further information and photos from Jorg
is sceptical about this). Demus.
Previous history: Acquired by Messrs. George Leuchars of Information supplied by: Jorg Dems.
London at the September 1988 sale of the contents of Boalch 3 number: KIRKMAN(A), J(A). 1750(A).
Harewood House. It most probably no longer belongs Boalch 2 number: 105.
to this owner.
References: Could possibly be the instrument number 51 Type: Single-manual harpsichord.
in Bz (KIRKMAN, J. 1772(3) or KIRKMAN, J(A). Date: 1755.
1772, above) which formerly belonged to Irvin Hinchcliffe Ownership: YALE UNIVERSITY COLLECTION OF
and was sold at Sotheby’s on 1 August 1958. MUSICAL INSTRUMENTS, USA.
Information supplied by: Maurer| Barnes. Number: 4862.00.
Boalch3 number: KIRKMAN, J(A). 1772(2). Inscriptions: Jacobus Kirchman fecit Londini 1753.
Boalch 2 number: None or 50/51? Specification: 2x8", lute.
Compass: FF,GG-P.
Type: Single-manual harpsichord. Keyboard: White naturals, black sharps.
Date: Not known. Number of roses: 1.
Ownership: ROY AL ONTARIO MUSEUM, Excterior of case: Crossbanded.
TORONTO, CANADA. Accession number not known. Length: 2264 mm.
Inscriptions: None. Width: 902 mm.

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 KIRKMAN 443
Depth: 276 mm. Type: Single-manual harpsichord.
Remarks: May possibly not be a Kirkman because of the Date: Not known.
unique specification of 2x8’ plus lute, and may be by Ownership: Not known.
Ferdinand Weber (9.v.). This possibility, noted in Bz is Inscriptions: No nameboard.
confirmed by Yale University. Main wood of case finish Specification: 2x8’, 1x4’.
is walnut. The scale at c' is given by Yale as 670 mm. Compass: FF-P.
(but this must surely be the length of the middle c string). Exterior of case: Crossbanded.
Previous history: Past owners include Napoleon Bonaparte Remarks: Ascribed to Kirkman by several people including
@); Simon Bates; Mrs. Wharff. Restored by Lotta van Colt, Mould, and Beckerleg. \t has no rose or nameboard.
Buren in 1928. Ex Morris Steinert. Probably dating from about 1760. Much restored, but has
References: Steinert. the basis ofa genuine Kirkman.
Information supplied by: B2|Repbann. Previous history: Probably from the Broadwood family,
Boalch3 number: KIRKMAN(A), J(A). 1755. thence to C. F. Colt ¢. 1970 when it came to light at Lyne
Boalch 2 number: 5? Park, Capel, Surrey. Restored under auspices of Mr. Colt
in 1977. Acquired by Alec Cobbe in 1979. Restored in
Type: Two-manual harpsichord. 1979 by Trevor Beckerleg. Present owner not known.
Date: 1761(A). Information supplied by: Cobbe|Luckett|Mould Note.
Ownership: ALEX ANDER SKEAPING, Boalch 3 number: KIRKMAN(A), J(A). 1.d.(1).
KINGSWOOD, SURREY, ENGLAND. Boalch 2 number: None.
Inscriptions: On a nameboard (which has by now (1993)
been placed inside the case, and replaced by a matching KIRKMAN, JACOB and ABRAHAM.
board with no inscription) and which may be modern is Type: Two-manual harpsichord.
Jacobus Kirckman Londini fecit 1761. Behind the nameboard Date: 1772.
are the following inscriptions: Andrew Douglas, Ewell 1951; Ownership: UNIVERSITY OF WESTERN
Arnold Dolmetsch Ltd., 1949 Haslemere; Restored by J. S. ONTARIO(A), CANADA. Accession number not
Skelton, Lewisham, London, 1947-49; Repaired by Alec known.
Hodsdon, Lavenham, Suffolk, 1948. In Br it was given the Inscriptions: On nameboard Jacobus et Abraham Kirckman
date 1763 in error and numbered 22. Londini Fecerunt 1772. Behind nameboard Restored by
Specification: 2x8’, 1x4’, lute. Arnold Dolmetsch Ltd 1956, C LC Ward FRSA FSIA.
Additional features: Harp stop, machine, 5 hand stops. Specification: 1: 2x8’, 1x4’; 1: 1x8’, lute.
Keyboard: White naturals, black sharps. Additional features: Harp stop, machine, dogleg.
Number of roses: 1. Compass: FF,GG-c'.
Style of rose: Geometrical pattern. Keyboard: Special naturals and sharps.
Exterior of case: Crossbanded. Number of roses: 1.
Remarks: Not a Kirkman, despite the former nameboard. Style of rose: Seated harping figure.
The features which make it unlike any other Kirkman Exterior of case: Crossbanded.
are: the sharps which are lower at the distal end than at Scale: 342 mm.
the proximal (like an early English spinet); the rose which Length: 2032 mm.
is quite unlike any other Kirkman rose; the case is Width: 1022 mm.
crossbanded, but there is marquetry in the keywell like Depth: 318 mm.
that on several genuine Kirkman instruments, but instead Remarks: The previous known owner was Mr. Gordon
of the marquetry extending to the edges of the fascia D. Jeffrey who is thought to have left it to the University
board, it is framed by a stringing of box/ebony/box; the of Western Ontario on his death in 1987. Keyboards are
8’ nut is straight sided on the proximal side; the 4’ unique in that the keys have ivory naturals and ebony
wrestpins are equally divided between proximal and distal sharps for the normal five octave compass plus one note
of the lute slide; the former name batten (now inside the (FF-g’), but the topmost five keys extending the compass
case) is of hardwood, and was secured by two screws (quite uniquely) to c’ are reversed with ebony naturals
eight inches from the ends, rather than centrally as is and ivory sharps. Long side not veneered. Lid of solid
usual. When seen by CMM in John Barnes’s workshop mahogany. Original music desk. 4’ breaks back an octave
in 1969, some of the crossbanding was removed and it for the top five notes. No swell. One pedal for machine.
could be seen that the case joints were not dovetailed. According to Sotheby’s Catalogue of 5 April 1984: Fascia
Previous history: Mrs. Hutton, Sevenoaks. Messrs. J. G. boards, cheeks and sideboards veneered burr walnut with
Morley (1946). J. S. Shelton (1947-52). Arnold Dolmetsch chequered stringing and kingwood crossbanding. Case of
Ltd. (1952). Kenneth Skeaping. mahogany with fruitwood stringing. Has been fitted with
Information supplied by: Bz|Mould Note|Barnes. shove coupler. Dogleg jacks changed so that front 8’
Boalch 3 number: KIRKMAN(A). J(A). 1761(A). operates on upper manual only.
Boalch 2 number: 14. Previous bistory: Previous owners include: Cecilia, Countess

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444 KIRKMAN
of Strathmore, Countess of Granville, Raymond Russell, Aidditional feateres: Harp stop, machine.
Mrs. Maud Russell. Sold at Sotheby’s on 5 June 1953. Exterior of case: Crossbanded.
On loan to Geraint Jones in 1972. Bought at Sotheby’s Remarks: Bz does not decide whether the maker was
on 5 April 1984 by David Leigh, for £15,000 on behalf Jacob or Jacob and Abrabam but various observers have
of Mr. Gordon D. Jeffrey, London, Ontario, Canada. At subsequently suggested (without firm evidence) that the
that time the instrument was in poor condition, with the latter is correct. Case of walnut.
wood of the bent side breaking up under the veneer. Previous history: Acquired by Chas. Willis Jr. in 1967.
Restored by David Leigh, of Oxford, in 1986. In June Information supplied by: B2|Mould Note.
1988, David Leigh reported that Mr. Jeffrey had died Boalch3 number. KIRKMAN, J. and A. 1772(3).
shortly after acquiring the instrument, and that it was Boalch 2 number: 51.
expected that it would be left to the University of Western
Ontario. Type: Two-manual harpsichord.
References: Mlustrated Russell 1973 plates 71, 72, 73 and Date: 1772.
74. See also Sotheby’s catalogues of 5 June 1953 and 5 Ownership: WORTTEMBERGISCHES
April 1984. LANDESMUSEUM, STUTTGART, GERMANY.
Information supplied by: Bz|Russellrg s9|Lzigh|Sotheby’s. Accession number not known.
Boalch 3 number: KIRKMAN, J. and A. 1772(1) Inscriptions. Jacobus et Abrabam Kirckman Londini Fecerunt
Boalch 2 number: 49. 172.
Previous bistory: Acquired in November 1984 from Bernard
Type: Two-manual harpsichord. von Hiihnerbein, Cologne.
Date: 1772. Information supplied by: Fritz Thomas.
Ownership: Not known. The possibility that this is the Boalch 3 number: KIRKMAN, J. and A. 1772(4)-
same instrument as KIRKMAN, J. and A. 1772(4) Boalch 2 number: None.
cannot be discounted.
Inscriptions: On the nameboard; Jacobus et Abraham Kirck- Type: Two-manual harpsichord.
man fecerunt Londini 1772. Date: 1772-5.
Specification: 1: 2x8’, 1x4’; Ul: 1x8’, lute. Ownership: RODRIGO DE ZAYAS, SEVILLE,
Additional features: Harp stop, machine, lid swell, 5 SPAIN.
hand-stops and stop for machine. Inscriptions: Jacobus et Abraham Kirckman fecerunt . . .. Full
Compass: FF.GG-P. details not given. KdP quotes Anthony Sidey as saying
Keyboard: White naturals, black sharps. that the soundboard has Broadwood’s mark.
Number of roses: 1. Specification: 2x8’, 1x4’.
Style of rose: Seated harping figure. Additional features: 2 pedals, machine(A), harp stop(A),
Initials im rose: I. K. venetian swell.
Exterior of case: Crossbanded. Compass: FF-f.
Length: 2375. Keyboard: White naturals, black sharps.
Width: 955. Number of roses: 1.
Remarks: Ivory naturals with reeded fronts, ebony sharps. Exterior of case: Crossbanded.
Fascia board, nameboard, cheeks and cheek blocks ven- Remarks: The owner is unsure of the date, which is placed
eered with burr walnut with decorative stringing and by him at 1770 or 1775 [KdP]. The instrument, if it is
tulipwood crossbanding. Exterior case of mahogany with signed as quoted above, is very unlikely to be earlier than
boxwood stringing and shaped brass strap-hinges. Raised 1772, the earliest date of any other harpsichord bearing
on trestle stand which has no pedals for either the machine Abraham’s signature. The possibility that this instrument
or the lid swell, and appears not to be original. is one of those previously recorded and dated 1770 or
Previous bistory: Sold at Sotheby's on 26 November 1992 1775, but unassigned to an owner cannot be discounted.
for £16,000. Information supplied by: KdP.
References: Sotheby's Catalogue of 26 November 1992, pp. Boalch3 number. KIRKMAN, J. and A. 1772-5.
240-1 (illustrated). Boalch 2 number: None.
Information supplied by: Sotheby's.
Boalch 3 number: KIRKMAN, J. and A. 1772(2). Type: Single-manual harpsichord.
Boalch 2 number: None. Date: 1773.
Ownership: R. MCEWEN, GREENLAW,
Type: Single-manual harpsichord. BERWICKSHIRE, SCOTLAND.
Date: 1772. Specification: 2x8’, 1x4’.
Ownership: MRS. CHAS. F. WILLIS JR., Additional features: Harp stop.
WASHINGTON DC, USA. Compass: FF-P(A).
Specification: 2x8’, 1x4’. Number of roses: 1.

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 KIRKMAN 445
Previous history: Sir Chas. V. Stanford, who gave it to the Dr. André P. Larson, Director of the Shrine to Music
present owner’s grandfather. Acquired by the present Museum, Vermillion, S. Dakota, who informed CMM on
owner in 1970. Restored by Dennis Woolley in 1972, 4 April 1988 that he had seen it at the Huntington
including flattening of buckled soundboard, replacing Library, Art Gallery and Botanical Gardens, San Marino,
portions of 8 hitchpin rail, repairs to case and pedal California, USA. (Subsequently seen by CMM in 1993.)
mechanism, and restringing and revoicing. Crossbanded case finish of severely bleached mahogany.
Information supplied by: B2|Woolley. Previous bistory: Bought in 1788 for £27. 25. [Country Life,
Boalch 3 number: KIRKMAN, J. and A. 1773(1). 24 June 1954, p. 2092]. Subsequently owned by Captain
Boalch 2 number: 52. R. E. Huddleston, RN., Sawston Hall Cambridge (d.
January 1970). Passed at some time through the hands of
Type: Two-manual harpsichord. Pelham Galleries, London.
Date: 1773. Information supplied by: B2|Larson Mould Note.
Ownership: ROY AL COLLEGE OF MUSIC, Boalch3 number: KIRKMAN, J. and A. 1773(4).
LONDON, ENGLAND. Boalch 2 number: 55.
Number: RCM 180.
Inscriptions: Jacobus et Abrabam Kirckman Londini Fecerunt Type: Single-manual harpsichord.
173- Date: 1774.
Specification: 1: 2x8, 1x4'; Il: 1x8’, lute. Ownersbip: Not known.
Additional features: Lid swell, 5 hand stops. Inscriptions: Jacobus et Abraham Kirckman Londini Fecerunt
Compass: FF,GG-f.
Keyboard: White naturals, black sharps. "774-
Specification: 2x8", 1x4’.
Number of roses: 1. Additional features: Harp stop, machine, 2 pedals, 3 hand
Exterior of case: Crossbanded. stops.
Scale: 346 mm. Compass. FF,GG-P.
Length: 2353 mm. Keyboard: White naturals, black sharps.
Width: 934 mm.
Number of roses: 1.
Depth: 312 mm.
Style of rose: Seated harping figure.
Remarks: Naturals of ivory, with sycamore fronts, and Exterior of case: Crossbanded.
sharps of ebony. Mahogany panelled case with
Length: 2230 mm.
crossbanding.
Remarks: . Walnut case crossbanded with fruitwood
Previous bistory: Carl Engel; A. J. Hipkins. Presented to
stringing. Sideboards, cheeks and fascia board veneered
the RCM by Edith Hipkins in 1903.
with burr walnut and boxwood stringing. Original trestle
References: CMM has a photocopy of Hipkins playing the
stand.
instrument, though the source is not known.
Previous bistory: Countess of Dysart, at Stobo Castle. Sold
Information supplied by: Bz|Monld Note|O’BrienPC.
by the Countess to an anonymous buyer at Sotheby’s, 13
Boalch 3 number. KIRKMAN, J. and A. 1773(2).
March 1972.
Boalch 2 number: 53.
References. Sotheby’s Catalogue of 13 March 1972
(illustrated).
Type: Two-manual harpsichord.
Date: 1773.
Information supplied by: Bz|Sotheby’s.
Ownership: Not known. Boalch3 number: KIRKMAN, J. and A. 1774(1).
Specification: 2x8’, 1x4’. Boalch 2 number: 56(a).
Additional features Harp stop, lid swell, machine.
Previous history: Exhibited in 1885. J. K. Pyne. Type: Single-manual harpsichord.
Information supplied by: Bz. Date: 1774.
Boalch3 number: KIRKMAN, J. and A. 1773(3). Ownership: Not known.
Boalch 2 number: 54. Inscriptions. On nameboard: Jacobus et Abraham Kirckman
Londini Fecerunt 1774.
Type: Single-manual harpsichord. Specification: 2x8’, 1x4’.
Date: 1773. Additional features: Harp stop.
Ownership. THE HUNTINGTON LIBRARY, SAN Compass: FF,GG-P.
MARINO, CALIFORNIA, USA. Keyboard: White naturals, black sharps.
Inscriptions: Jacobus et Abrabam Kirckman Londini fecerunt Number of roses: 1.
173. Style of rose: Seated harping figure.
Additional features: 3 hand stops, 1 pedal. Exterior of case: Crossbanded.
Compass: FF-P. Length: 2210 mm.
Remarks: Information on present whereabouts given by Width: 955 mm.

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446 KIRKMAN
Remarks: Originally had Kirkman machine-stop. External Boaleh 3 number: KIRKMAN, J. and A. 1776(1).
case of mahogany panels, crossbanded with mahogany Boalch 2 number: 58.
and a single boxwood stringing. Walnut veneered interior
with double boxwood stringing in rim. Provision for ‘Type: Single-manual harpsichord.
music desk, which is present. Raised on modern straight Date: 1776.
legged trestle stand. Ownership: SMITHSONIAN INSTITUTION,
Previous history: E. Croft-Murray. Hugh Gough. Herbert WASHINGTON, USA.
Lambert, Bath. Restored by Dolmetsch 1948. E. F. Taylor, Number: 303,528.
Newport, Isle of Wight (1968). Sold at Christie’s, 11 Inscriptions: Jacobus et Abrabam Kirckman Londini fecerunt
November 1987, purchaser not known. 1776.
References: Christie’s catalogue of 11 November 1987 (lot Specification: 2x8’, 1x4’.
12) (illustrated). Additional features: 5 hand stops.
Information supplied by: B?|Christie’s. Compass: FF,GG-P.
Boalch 3 number: KIRKMAN, J. and A. 1774(2). Keyboard: White naturals, black sharps.
Boalch 2 number: 57. Number of roses: 1.
Exterior of case: Crossbanded.
Type: Two-manual harpsichord. Remarks: Instrument has suffered extreme case damage,
Date: 1775. and has twisted severely. Smithsonian photos number
Ownership: THE HON. WAYLAND H. YOUNG. 56,308 shows this clearly.
Previous history: Bought by Wayland Young at Sotheby’s, Previous bistory: Steinert Collection (see: Chicago version
27 April 1956. of catalogue). Presented by Hugo Worch in 1892 to The
References: Sotheby’s catalogue of 27 April 1956. Smithsonian Institution, Washington.
Information supplied by: B?. References: Smithsonian photo negatives 56,308; 56,308A;
Boalch 3 number: KIRKMAN, J. and A. 1775(1). 56,308B; 56,309-56,312. Numbers 56,309 and 56,310 show
Boalch 2 number: 7a very clearly the internal construction of a Kirkman
harpsichord. Saithchecké9.
Information supplied by: B?|Smithcheck89.
Type: Two-manual harpsichord.
Boalch 3 number: KIRKMAN, J. and A. 1776(2).
Date: 1775.
Boalch 2 number: 59.
Ownership: MARTIN SKOWRONECK, BREMEN,
GERMANY.
Type: Single-manual harpsichord.
Specification: 2x8’, 1x4’, lute.
Date: 1776.
Additional features: Harp stop, machine, lid swell.
Ownership: DR. R. MIRREY, LONDON, ENGLAND.
Previous history: Raymond Russell, (bought 1956). Bought Number: 12.
by Gustav Leonhardt 1957. Inscriptions: Inscribed: Jacobus et Abrabam Kirckman Londini
Information supplied by: B?.
Boalch 3 number: KIRKMAN, J. and A. 1775(2). Fecerunt 1776.
Specification: 2x8’, 1x4’.
Boalch 2 number: 57b.
Additional features. Machine.
Compass: FF-P.
Type: Two-manual harpsichord. Keyboard: White naturals, black sharps.
Date: 1775. Exterior of case: Crossbanded.
Ownership: J. MORANT, BROCKENHURST PARK, Length: 2190 mm.
ENGLAND. Width: 920 mm.
Specification: 2x8’, 1x4’, lute. Depth: 290 mm.
Additional features: Harp stop. Previous bistory: London, Trinity College of Music and,
References: Antique Collector, August 1954, p. 140. according to B’, the Victoria and Albert Museum, but
Information supplied by: B. this seems unlikely and the present owner cannot confirm
Boalch 3 number: KIRKMAN, J. and A. 1775(3)- this. Bought by Dr. Mirrey in 1969.
Boalch 2 number: 570. Information supplied by: B?|Mowld Note|Mirrey| Barnes.
Boalch3 number: KIRKMAN, J. and A. 1776(3).
Type: Single-manual harpsichord. Boalch 2 number: 60.
Date: 1776.
Ownership: NICHOLAS JACKSON, LONDON, Type: Two-manual harpsichord.
ENGLAND. Date: 1776.
Specification: 2x8’, 1x4’. Previous history: Messrs. J. G. Ovmersbip: VICTORIA AND ALBERT MUSEUM,
Morley, (1946). LONDON, ENGLAND.
Information supplied by: B?. Number: W. 43-1927.

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 KIRKMAN 447
Inscriptions: On nameboard: Jacobus et Abraham Kirckman machine hand stop, 1 pedal, music desk.
Londini fecerunt 1776. String gauge numbers on 8’ nut. Compass: FF,GG-P.
Specification: 1: 2x8’, 1x4’; Il: 1x8’, lute. Number of roses: 1.
Additional features: Machine, ; hand stops plus 1 for the Type of rose: Harping figure.
machine, lid swell, 2 pedals, music desk. Rose initials: I. K.
Compass: FF,GG-P. Exterior of case: Crossbanded.
Keyboard: White naturals, black sharps. Length: 2340 mm.
Number of roses: 1. Width: 945 mm.
Style of rose(s): Trophy of instruments. Remarks: lvory naturals with reeded fronts, ebony sharps.
Exterior of case: Crossbanded. Interior of keywell including fascia board, and cheeks
Scale: 355 mm. tichly marquetried with a central trophy of musical
Length: 2360 mm. instruments, flanked by angel trumpeters and parrots
Width: 940 mm. (dark wood inlay on light background). Outer case
Depth: 317 mm. veneered with panels of burr walnut, with box stringing
Remarks: Listed in Bz under the Bethnal Green Museum. and crossbanded with burr elm. Spine not veneered.
Ivory naturals with boxwood moulded keyfronts. Ebony Mahogany music desk. Raised on trestle stand with
sharps. Harp stop is (unusually) on the upper manual 8 cabriole legs having claw and ball feet.
(ie. the dogleg). Normal Kirkman machine arrangement, Previous history: Formerly the property of the Hon. James
operated by left pedal. Nag’s head swell operated by right Bruce, Balmanno Castle, Scotland. Sold at Sotheby’s on
pedal. Wrestplank oak veneered spruce. Case veneered 26 November 1992 for £60,000.
mahogany and crossbanded similarly with sycamore References: Sotheby's catalogue, 26 November 1992, pp. 228-
stringing. Lid of mahogany. Keywell panels of burr 8, (illustrated).
walnut crossbanded tulip wood, and sycamore stringing. Information supplied by: B2|Sotbeby’s.
Rose has trophy of instruments and initials IK. Adjustable Boalch 3 number: KIRKMAN, J. and A. 1776(6).
music desk. Trestle stand with two pedals. Boalch 2 number: 61
Previous history: Given to the Museum by Mr. F. S.
Dayman in 1927. Exhibited at the Horniman Museum,
1973, and still there (1991). Restored in the Adlam Burnett Type: Two-manual harpsichord.
workshop in 1974. Date: 1776.
References: Antique Collector, August 1954, p. 154. Rassell Ownership: TRINITY COLLEGE, DUBLIN,
Vera. V&A Cat, pp. 91-3. ECMIFB, pp. 14-15, IRELAND. Accession number not known.
(illustrated). Specification: 2x8’, 1x4’, lute.
Information supplied by. Bz| V&A Cat/ECMIFB. Additional features: Harp stop, lid swell.
Boalch 3 number: KIRKMAN, J. and A. 1776(4). Number of roses: 1.
Boalch 2 number: 60a. Previous history: Found in a farm building, repaired by
Robert Morley in 1962.
Information supplied by: Bz.
‘Type: Single-manual harpsichord. Boalch 3 number: KIRKMAN, J. and A. 1776(7)-
Date: 1776. Boalch 2 number: 61a.
Ownership. THE HON. ALLAN FRASER,
ARBROATH, SCOTLAND.
Remarks: The instrument has been at Hospitalfield House Type: Two-manual harpsichord.
since 1800 when it went there from Hawkesbury Hall, Date: 1777.
Warwicks, residence of the then Mrs. Fraser’s father, Ownership: WESTDEUTSCHES RUNDFUNK,
Francis Parrott, M.D., for which it was probably originally COLOGNE, GERMANY.
bought. Inscriptions: Inscribed below the lower manual: T. R. C.
Information supplied by: Bz. G. et J.C. C. refecerunt MCMXXXIX.
Boalch 3 number: KIRKMAN, J. and A. 1776(5). Specification: 2x8’, 1x4’, lute (A).
Boalch 2 number: Gob. Additional features: Harp stop, machine, pedals, hand stops.
Number of roses: 1.
Exterior of case: Crossbanded.
Type: Two-manual harpsichord. Remarks. Crossbanded mahogany case with burr walnut
Date: 1776. cheek-pieces. Converted by T. R. C. Goff and J. C. Cobby
Ownership: Not known. in 1939 to pedal action (though the brass hand. stops
Inscriptions: On the nameboard Jacobus et Abraham Kirckman remain in situ). When last seen by CMM in the early
Secerunt Londini 1776. 1970s the instrument more resembled a Goff harpsichord
Additional features: Machine, dogleg, 5 hand stops plus than a Kirkman.

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448 KIRKMAN
Previous history: After Goff had worked on the instrument Length: 2362 mm.
it was owned by Anthony Sharp, organist of the University Width: 933 mm.
Church of St. Mary the Virgin, Oxford, and was bought Depth: 318 mm.
from him by Michael Thomas at Sotheby’s 14 March Remarks: Original music desk according to Bz. External
1970. Subsequently resold, but the present owner is case has panels of walnut with herring-bone stringing.
unknown. Like almost all the Benton Fletcher instruments the stand
References: Illustrated in Apollo, September/October 1943, is not original, having been destroyed in the 1939-45
p. 99, Mould Note. war.
Information supplied by: B2|CMM|Clinkscale. References: BFCat, p. 10.
Boalch 3 number. KIRKMAN, J. and A. 1777(1). Information supplied by: Bz|Mould Note|BFCat.
Boalch 2 number: 62. Boalch3 number: KIRKMAN, J. and A. 1777(3).
Boalch 2 number: 63.

Type: Two-manual harpsichord.

Date: 1777. Type: Single-manual harpsichord.
Ownership: YALE UNIVERSITY COLLECTION OF Date: 1777.
MUSICAL INSTRUMENTS, USA. Ownership: DR. ANDREAS BEURMANN,
Namber. 4863.55. HAMBURG, GERMANY.
Inscriptions: Jacobus et Abrabam Kirckman Londini fecerunt Number: 62.
1777. Inscriptions: On nameboard Jacobus et Abraham Kirckman
Specification: 2x8’, 1x4’. Londini fecerunt 1777.
Additional features. 1 genouillére. Specification: 2x8’, 1x4’, lute(A).
Compass: FF,GG-P. Additional features: Harp stop(A), machine.
Keyboard: White naturals, black sharps. Compass. FF,GG-P.
Number of roses: 1. Keyboard: White naturals, black sharps.
Exterior of case: Crossbanded. Number of roses: 1.
Scale: 346 mm. Style of rose: Trophy of instruments.
Length: 2193 mm. Exterior of case: Crossbanded.
Width: 921 mm. Scale: 354 mm.
Depth: 285 mm. Length: 2185 mm.
Remarks: The knee lever operates the dogleg 8’ jacks and Width: 920 mm.
the 4’. Yale stat i$ a two-manual instrument, but does Depth: 290 mm.
not give specification, though Bz gives 2x8’, 1x4’. It Remarks: Original stand.
would be unusual for there to be no lute. Previous bistory: Colonel Jones who inherited it from a
Previous bistory: ex Alan Steinert. Cromwellian house in Shropshire. Mrs. Farquhar of
Information supplied by: B2|Rephann. Heswall, Cheshire. Adrian Doran. Restored in 1972 by
Boalch 3 number. KIRKMAN, J. and A. 1777(2). Dennis Woolley.
Boalch 2 number: 620. References: Bexrmann| Marx, p. 226.
Information supplied by: Bz|Bexrmann|Woolley.
Boalch 3 number: KIRKMAN, J. and A. 1777(4).
‘Type: Two-manual harpsichord. Boalch 2 number: 64a.
Date: 1777.
Ownership: BENTON FLETCHER COLLECTION,
FENTON HOUSE, LONDON. Accession number not ‘Type: Single-manual harpsichord.
known. Date: 1778.
Inscriptions: On nameboard: Jacobus et Abrabam Kirckman Ovmnersbip: SIR CHARLES MACKERRAS, LONDON,
Londini Fecerunt 1777. On wrestplank is stamped L Ward ENGLAND.
(senior member of the Dolmetsch firm). Specification: 2x8’, 1x4’.
Specification: 1: 2x8’, 1x4’; Ul: 1x8’, lute. Additional features: Harp stop, machine, lid swell.
Additional features: Harp stop, lid swell, 5 hand stops, 2 Compass: FF-P.
pedals. Remarks: Has simple machine stop
Compass: FF,GG-P. Previous bistory: Miss Joyce Riddle. Bought by Sir Charles
Keyboard: White naturals, black sharps. Mackerras in 1961. Instrument restored in 1980 by Robert
Number of roses: 1. Deegan.
Style of rose: Seated harping figure. Information supplied by: Bz|Deegan.
Exterior of case: Crossbanded. Boalh3 number: KIRKMAN, J. and A. 1778(1).
Scale: 343 mm. Boalch 2 number: 6.

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 KIRKMAN 449
Type: Single-manual harpsichord. Length: 2414 mm.
Date: 1778. Width: 982 mm.
Ownership. PETER HOLMAN, COLCHESTER, Remarks: Present ownership reported by Luckett. Accord-
ESSEX, ENGLAND. ing to Sotheby's: Fascia boards, sideboards and checks
Inscriptions: Nameboard: Jacobus et Abraham Kirckman veneered burr elm with chequered stringing and tulip-
Londini Fecerunt 1778. wood crossbanding. Mahogany case with boxwood string-
Specification: 2x8’, 1x4). ing. On original stand.
Additional features: 4 hand stops, harp stop, machine, lid Previous history. Miss Rosemary Howard. Raymond
swell. Barnett, London. Bought at Sotheby’s on 23 June 1961
Compass: FF,GG-P. by J. G. Morley for a client. Acquired by the Revd. John
Keyboard: White naturals, black sharps. Simpson in 1965. Offered at Sotheby’s on 25 November
Number of roses: 1. 1983-—lot 157 and sold for £22,000.
Exterior of case: Crossbanded. References: Sotheby’s catalogue of 5 November 1983.
Scale: 349 mm. Information supplied by: Bz|Sotheby’s| Luckett.
Length: 2210 mm. Boalch 3 number: KIRKMAN, J. and A. 1779(1).
Width: 927 mm. Boalch 2 number: 66.
Depth: 289 mm.
Remarks: Ivory naturals with moulded maple fronts,
ebony sharps. Case exterior mahogany, cross banded with Type: Single-manual harpsichord.
boxwood stringing. Three panels on bent side. Despite Date: 1779.
the notes in Bz, the instrument has no lid swell or Ownership: PRIVATE COLLECTION, ST. ALBAN’S,
machine, though there are vestiges of a simple machine ENGLAND.
which was probably removed at an carly stage. Has Specification: 2x8’, 1x4’.
nineteenth-century music desk. Additional features. Machine.
Previous history: Cliftonville, Mr. Kennard. 1964 R. B. Compass: FF-f.
Bibby, Seale, Farnham. 1964 David Simpson, Thorpe le Previous history: Mr. Burt, Dower House, Woodbridge.
Soken, Essex. 1982 Peter Holman, Colchester, Essex. Repaired by Morley, 1964.
1983-—restrung and requilled by Clayson and Garrett. Information supplied by: Owner|B2.
Information supplied by: B2|Peter Holman. Boalch 3 number: KIRKMAN, J. and A. 1779(2).
Boalh 3 number: KIRKMAN, J. and A. 1778(2). Boalch 2 number: 66a.
Boalch 2 number: 65a.

‘Type: Single-manual harpsichord. Type: Single-manual harpsichord.

Date: 1778. Date: 1779.
Ownership: MISS ZENA TIBBENHAM, LOWER Ownership: DR. A. ROBERTS.
UFFORD, SUFFOLK. Inscriptions: On nameboard: Jacobus et Abrabam Kirckman
Specification: 2x8", 1x4’. Londini Fecerunt 1779.
Additional features. Harp stop. Specification: 2x8".
Previous history: Mts. Emans, Colchester. Bought by Miss Additional features: 2 hand stops.
Tibbenham in 1972. Compass: FF-f'.
Information supplied by: Bz. Keyboard: White naturals, black sharps.
Boalch3 number: KIRKMAN, J. and A. 1778(3). Number of roses: 1.
Boalch 2 number: 65b.
Exterior of case: Crossbanded.
Type: Two-manual harpsichord. Length: 2222 mm.
Date: 1779. Remarks: It is possible that Bz numbers 66a and 66b are
Ownership: TRELOWARREN HOUSE, HELSTON, the same instrument. According to Sotheby’s catalogue
ENGLAND. of 7 April 1983, case of mahogany. Fascia board and
Inscriptions. On nameboard: Jacobus et Abrabam Kirkman cheeks veneered burr walnut with boxwood stringing.
[sie according to Sotheby’s, but probably a misspelling} Later trestle stand with turned legs. Later music desk.
Londini Fecerunt 1779. Previous history: Queen’s College, Cambridge, 1967.
Specification: 2x8’, 1x4’, lute. Restored by Trevor Beckerleg, Cambridge, 1969. Mrs. S.
Additional features: Lid swell, harp stop, music desk, 5 Stevens, Maxey, Peterborough. Offered for sale at
hand stops. Sotheby’s on 7 April 1983. Dr. A. Roberts from ¢. 1986.
Compass: FF,GG-P. References: Sotheby’s Catalogue of 7 April 1983.
Keyboard: White naturals, black sharps. Information supplied by: B2/Peter Holman.
Number of roses: 1. Boalch 3 number: KIRKMAN, J. and A. 1779(3).
Exterior of case: Crossbanded. Boalch 2 number: 66b.

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450 KIRKMAN
‘Type: Two-manual harpsichord. Type: Harpsichord (Number of manuals not known).
Date: 1780. Date: 1781.
Ownership: PRIVATE COLLECTION, BOSTON, Ownership: CASTLE COLLECTION, WELLINGTON,
MASSACHUSETTS, USA. NEW ZEALAND. Accession number not known.
Remarks: Originally a single-manual instrument. Specification: 2x8’, 1x4’.
Information supplied by: Bz. Additional features: Lid swell.
Boalch 3 number. KIRKMAN, J. and A. 1780(1). Previous history: Bought by Ronald Castle from J. G.
Boalch 2 number: G6c. Morley in 1939. Ronald Castle died 1984, and the
harpsichord plus a large collection of instruments now
Type: Single-manual harpsichord. belongs to his widow, Mrs. Zilla Castle.
Date: 1780. Information supplied by: B2|M. McDonald.
Ownership: DR. ANDREAS BEURMANN, HAMBURG, Boalch3 number: KIRKMAN, J. and A. 1781(2).
GERMANY. Boalch 2 number: 68a.
Number: 64.
Inscriptions: On nameboard: Jacobus et Abraham Kirckman Type: Single-manual harpsichord.
Londini fecerunt 1780. Date: 1781.
Specification: 2x8’, 1x4’, lute(A). Ownership: COLT CLAVIER COLLECTION,
Additional features: Machine. BETHERSDEN, KENT, ENGLAND.
Compass: FF-P. Namber; H109K.
Keyboard: White naturals, black sharps. Specification: 2x8’, 1x4).
Number of roses: 1. Additional features: Harp stop, machine.
Style of rose: Seated harping figure. Compass: FF,GG-P.
Exterior of case: Crossbanded. Keyboard: White naturals, black sharps.
Scale: 354 mm. Number of roses: 1.
Length: 2355 mm. Exterior of case: Crossbanded.
Length: 2197 mm.
Width: 930 mm. Widsb: 918 mm.
Depth: 290 mm.
Depth: 298 mm.
Remarks: It is just possible that this is the same instrument
Remarks: ColtCC states: ‘It has a somewhat unusual
as KIRKMAN, J. and A. 1780(1), above.
Information supplied by: Beurmann.
machine stop which by careful adjustment removes the
4° register and later one of the 8’ registers. It is further
Boalch 3 number: KIRKMAN, J. and A. 1780(2). unusual in that it has a row of drawers underneath
Boalch 2 number: None.
combined with the trestle stand, which, also unusually
for such a high quality instrument is of stained beech.
‘Type: Two-manual harpsichord. No doubt the drawers and legs were “bought in” from
Date: 1781. a small joiner who did not stock large scantlings of
Ownership: THE NATIONAL TRUST, OSTERLEY mahogany.” Original music desk. Barely changed since
PARK HOUSE, ISLEWORTH, MIDDLESEX, leaving Kirkman’s workshop, except the strings and quills
LONDON. (which are now of delrin). Keywell surrounds of walnut,
Inscriptions: Jacobus et Abraham Kirckman Londini Fecerunt but outer case of mahogany.
1781. Previous bistory: Bz states ‘Had been in the Smarden area
Specification: 2x8’, 1x4’, lute. of Kent for some time’ and gives the owner as David
Additional features, Harp stop. lid swell, machine. Kent, Tunbridge Wells in 1971. This is confirmed by
Compass: FF-P. ColtCC.
Keyboard: White naturals, black sharps. References: Colt, C. F. The Early Piano, pp. 26-7, (illustrated
Number of roses: One. Initials in rose: IK. there in colour). ColtCC, p. 7
Exterior of case: Crossbanded. Information supplied by: B2|ColtCC.
Scale: 350 mm. Boalch3 number: KIRKMAN, J. and A. 1781(3).
Length: 2395 mm. Boalch 2 number: 68b.
Width: 945 mm.
Depth: 316 mm. Type: Single-manual harpsichord.
Remarks: The instrument was removed to Jersey by the Date: 1781.
Farl of Jersey, in 1949, but it is now (1993) reinstated at Ovnership. METROPOLITAN MUSEUM OF ART,
Osterley Park. NEW YORK, USA.
Information supplied by: B2|Garrett. Number: 89.4.1678.
Boalch 3 number. KIRKMAN, J. and A. 1781(1). Inscriptions: On nameboard: Jacobus et Abraham Kirckman
Boalch 2 number: 68. Londini Fecerunt 1781.

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Specification: 2x8’, 1x4’.
Additional features: Harp stop, machine, 1 pedal.
Compass: FF,GG-P.
Keyboard: White naturals, black sharps.
Number of roses: 1.
Style of rose: Seated harping figure.
Exterior of case: Crossbanded.
Scale: 347 mm.
Length: 2198 mm.
Width: 925 mm.
Depth: 290 mm.
Remarks: Case exterior veneered with mahogany panels,
crossbanded with straight grain mahogany. Light string-
ing. Interior veneered in figured sycamore with dark
stringing. Keywell veneered in burr walnut with cross
grained walnut banding and dark and light stringing.
Stand with four square legs with stretchers. Pedal for
machine. No swell.
Previous history: Crosby Brown collection 1889.
References: MMA. MMACL. Photos (negative numbers
132744, 212817, 212818, etc.) available from the Museum.
LibinKI, p. 28 (illustrated). Acoustic tests carried out in
1985 by BE. L. Kottick, see: Kottick-response.
Information supplied by: B?| MMA|LibinKI|MMACL.
Boalch 3 number. KIRKMAN, J. and A. 1781(4).
Boalch 2 number: 69.
‘Type: Single-manual harpsichord.
Date: 1781.
Ownership. FORSYTH COLLECTION,
MANCHESTER, ENGLAND. Accession number not
known.
Inscriptions: On nameboard: Jacobus et Abraham Kirckman
Londini Fecerunt 1781. On the left hand side of the
sycamore veneered wrestplank is the number 6676.
Specification: 2x8’, 1x4".
Additional features: Harp stop, machine, 4 hand stops, 1
pedal.
Compass: FF,GG-f.
Keyboard: White naturals, black sharps.
Number of roses: 1.
Style of rose: Seated harping figure.
Exterior of case: Crossbanded.
Scale: 343 mm.
Length: 2228 mm.
Width: 937 mm.
Depth: 298 mm.
Remarks: No swell. Special machine which when pedal is
up gives front 8’, plus 4’, and leaves second 8’ free to be
put on or off as required. When pedal is depressed the 4’
is removed first followed by front 8’ (see also instrument
KIRKMAN, J. and A. 1781(2) above). There are pins
which can be used to wedge registers on or off, probably
for tuning purposes, thus nullifying the effects of the
machine. Trestle stand with large castors. Original music
stand has been replaced by a modern replacement.
Information supplied by: B?|Monld note.
Google
KIRKMAN 451
Boalch3 number: KIRKMAN, J. and A. 1781(;).
Boalch 2 number: 70.
Type: Harpsichord (number of manuals not known).
Date: 1782.
Ownership: C. PINKEY, LADYHOLT, CHICHESTER,
SUSSEX, ENGLAND.
Remarks: A shell, converted into a bureau. Little is known
about the instrument.
Information supplied by: BP.
Boalch3 number: KIRKMAN, J. and A. 1782.
Boalch 2 number: 70a.
Type: Two-manual harpsichord.
Date: 1783.
Ownership: DR. ANDREAS BEURMANN,
HAMBURG, GERMANY.
Number: 66.
Inscriptions: On nameboard: Jacobus e¢ Abrabam Kirckman
Fecerunt Londini 1783.
Specification: 1: 2x8’, 1x4’; U1: 1x8’, lute.
Additional features: Harp stop, machine, lid swell, dogleg.
Compass. FF-P.
Keyboard: White naturals, black sharps.
Number of roses: 1.
Style of rose: Seated harping figure.
Exterior of case: Crossbanded.
Scale: 352 mm.
Length: 2375 mm.
Width: 947 mm.
Depth: 317 mm.
Remarks: On original trestle stand but with a reproduction
modern stand as well, commissioned by John Ticehurst
for use on an Australian concert tour. (The present owner
mentions only the modern stand.) The Sotheby’s catalogue
states: ‘Fascia boards, cheeks and sideboards of satinwood
with tulipwood crossbanding. Mahogany case with chev-
ron stringing.”
Previous history: Van Raalte College, Brownsea Island.
When that collection was sold in 1927 the harpsichord
realised £135. John Ticehurst, who used it for a concert
tour of Australia, owned it until 6 May 1976 when it was
sold at Sotheby’s to Dr. Otmar Seeman for £8,000.
Offered for sale again at Sotheby’s on 7 April 1983 but
it failed to reach its reserve. Sold again at Sotheby’s on
21 June 1984—for £13,000. Jeremy Montagu writing in
EM, November 1984, p. 533 reported: ‘This [harpsichord]
had been in the Van Raalte Collection on Brownsea Island
and the soundboard looked much like a rough sea in
Poole Harbour while the cheek was about as far from
the bent side as Brownsea Island is from the mainland.’
References: G-D, No. 50. Sotheby’s Catalogue of 6 May
1976. (See also EM vol. 4, No. 3, July 1976, p. 305 for
report of sale). Sotheby’s Catalogue of 7 April 1983
(Illustrated in colour). Sotheby’s Catalogue of 21 June
1984.
Information supplied by: B?|Sotheby’s| EM|Beurmann.
452 KIRKMAN
Boalch3 number: KIRKMAN, J. and A. 1783. Specification: 1: 2x8’, 1x4’; I: 1x8’, lute.
Boalch 2 number: Not numbered but apparently 7ob. Additional features: Harp stop, machine, lid swell, 5 hand
stops plus 1 in the cheek of the machine, 2 pedals.
Type: Single-manual harpsichord. Compass: FF-P.
Date: 1784. Keyboard: White naturals, black sharps.
Ownership: Not known. Number of roses: 1.
Specification: 2x8’, 1x4’. Style of rose: Seated harping figure.
Additional features: Harp stop. Exterior of case: Crossbanded.
Previous bistory: Belonged to Robert Hawkings in 1966. Scale: 340 mm.
Sold at Phillips on 26 March 1987 for £9,000. Jeremy Length: 2380 mm.
Montagu writing in EM vol. XV, No. 4 of November Width: 946 mm.
1987, p. $27 states: ‘this was in much better condition Depth: 317 mm.
than the previous instrument [a Kirkman single of 1768]. Remarks: Fascia board, and cheeks veneered with sat-
Although it had obviously been where the sun could fall inwood with holly and stained fruitwood stringing and
on it, unimpeded by any anti-UV screening so that the tulipwood crossbanding. Mahogany case with chevron
case was badly faded and also had a few knocks, the stringing. Harping King David rose with initials I.K.
insides were in excellent condition, the jacks certainly old Ivory naturals, ebony sharps. Instrument was said by
and probably original and so forth. Yet it only reached Sotheby’s in 1990 to be in a good state of preservation.
£9,000, $0 someone got a bargain.” Previous history: Formerly the property of C. H. Brack-
References: Phillips’ Catalogue of 26 March 1987. enbury, of Berwick on Tweed. According to RussColli9&6,
Information supplied by: B2/EM. P. 26 it was received into the Russell Collection in June
Boalch3 number: KIRKMAN, J. and A. 1784(1). 1981, while still the property of Mrs. Brackenbury. Sold
Boalch 2 number: 712. at Sotheby’s on 22 November 1990 to Dr. Beurmann for
£50,600 (see EM, May 1991, p. 279).
Type: Single-manual harpsichord. References. RussCollrg86, p. 26. Sotheby’s catalogue of 22
Date: 1784. November 1990.
Ownership: Not known. Information supplied by: Bz|Sotbeby's|Beurmann|RussColli 9&6.
Previous history: Believed to have been sold in Israel in Boaleh3 number. KIRKMAN, J. and A. 1785(2).
1965. Boalch 2 number: 72.
Information supplied by: Bz.
Boalch3 number. KIRKMAN, J. and A. 1784(2). ‘Type: Two-manual harpsichord.
Boalch 2 number: 71b. Date: 1785.
Ownership. THE BOWES MUSEUM, BARNARD
Type: Single-manual harpsichord. CASTLE, CO. DURHAM, ENGLAND.
Date: 1785. Number: 1976.10.M.1.
Ownership. AUGUSTINE FORD, LONDON, Inscriptions: Jacobus et Abraham Kirckman Londini Fecerunt
ENGLAND. 178s. On the underside of the case is a label: From the
Specification: 2x8’, 1x4’. Salsbury (sic) Collection, Ottley Place, Hitchin. Behind
Additional features: Harp stop, machine. nameboard, an inscription: Restored by B. S. Raguski|Harrow
Compass: FF-P. 1971.
Keyboard: White naturals, black sharps. Specification: 1: 2x8’, 1x4’; II: 1x8’, lute.
Number of roses: 1. Additional features: Harp stop, machine, lid swell, 5 pedals,
Exterior of case: Crossbanded. 5 hand stops, dogleg.
Previous history. Mrs. J. Tomlin, Gerrards Cross, who Compass: FF-.
acquired it from Michael Thomas. Sold at Christie’s, 15 Keyboard: White naturals, black sharps.
December 1955. Number of roses: 1.
Information supplied by: Bz. Style of rose: Seated harping figure.
Boalch3 number. KIRKMAN, J. and A. 1785(1). Exterior of case: Crossbanded.
Boalch 2 number: 71¢. Length: 2407 mm.
Width: 902 mm.
Type: Two-manual harpsichord. Depth: 321 mm.
Date: 1785. Remarks: When he owned it R. Henshaw stated: ‘The
Ownership: DR. ANDREAS BEURMANN, case is of inlaid mahogany, the top and sides crossbanded
HAMBURG, GERMANY. with a chevron stringing of box, the bent side divided
Number: 67. into four panels of finely figured mahogany veneers, the
Inscriptions: Jacobus et Abraham Kirckman Londini fecerunt keyboards and cheeks superbly marquetried with scrolling
1785. foliage, trophies of musical instruments etc. in various

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 KIRKMAN 453
woods on a stained yellow background with tulip wood Type: Two-manual harpsichord.
banding in the neo-classic manner of the 1780s. The hand Date: 1786.
stops have the original Battersea enamel knobs. . . .’ Ownership: JOHN BARNES, EDINBURGH,
Original music desk. Stand with cabriole legs and claw SCOTLAND.
and ball feet, with two original pedals for machine and Inscriptions. Jacobus et Abrabam Kirckman Londini fecerunt
lid swell. The third pedal fitted by B. S. Raguski, a Polish 1786. On wrestplank immediately in front of 8’ nut:
workman, who worked at one time for Dolmetsch. The Restored 1913. by Charles Hersant—gg Lennox Road, Finsbury
Bowes Museum say that the stand is new, and so the Park, London, N.
original may have been lost. Specification: 1: 2x8’, 1x4’; I: 1x8’, lute.
Previous bistory: G. S. Hughes, Hitchin. R. R. Henshaw, Additional features: Lid swell, machine, harp stop, dogleg.
Bradford-on-Avon. Bought from him by Mr. N. L. Compass: FF-F.
Wright, York, and acquired from him by the Museum in Keyboard: White naturals, black sharps.
1976. Number of roses: 1.
Information supplied by: B2|Mould Note|Henshaw|Tbe Bowes Style of rose: Seated harping figure.
Museum. Exterior of case: Crossbanded.
Boalch 3 number: KIRKMAN, J. and A. 1785(3). Scale: 349 mm.
Boalch 2 number: 73. Length: 2400 mm.
Width: 1008 mm.
Type: Single-manual harpsichord. Depth: 335 mm.
Date: 1785. Remarks: A curious feature is that the top 584 mm of the
Ownership: DR. MYRON C. SMITH, MALIBU, wrestplank between the front board and the 8’ nut is
CALIFORNIA, USA. recessed by about 5 mm. Left pedal works the machine,
Specification: 2x8’, 1x4". while the right operates the swell. Naturals of ivory
Previous bistory: Robert Johnson, Solana Beach, California, with moulded fronts; sharps of ebony. Case has flamed
who bought it through John Morley ¢. 1956. Dr. Smith mahogany panels with chevron stringing and crossbanded
acquired it in 1969. with straight-grained mahogany.
Information supplied by: B2. Previous bistory: Bz gives as a former owner ‘at Robert-
Boalch3 number: KIRKMAN, J. and A. 1785(4). sbridge’. Bought by John Barnes from C. F. Colt in 1953,
Boalch 2 number: 73a. as an agent for an unknown friend. Restored in 1915 by
Charles Hersant, Finsbury Park.
References: Further information from Mould Note. Recorded
‘Type: Two-manual harpsichord. on ORYX 1718, June 1966—‘Handel at Adlington Hall’.
Date: 1785. Used by Paramount films, October 1991, for ‘Wuthering
Ownership: Not known. Heights’ (though the sound-track uses an electronic
Specification: 2x8’, 1x4’. harpsichord!). Full-size drawings available from John
Additional features: Harp stop, machine. Barnes.
Number of roses: 1. Information supplied by: B2|Barnes|Mould Note.
Remarks: Bz reports ‘[1971 owner not ascertained)’ and Boalch 3 number. KIRKMAN, J. and A. 1786(1).
adds ‘IK rose [Falc]’, which may mean that the rose is like Boalch 2 number: 74.
those in the two instruments which purport to be by
Kirkman, but are by Falconer or Falkener, see below
Type: Two-manual harpsichord.
instruments KIRKMAN(A), J./FALKENER, R. 1770
Date: 1786.
and KIRKMAN(A), J./FALKENER, R. 1773. Ownership: JUDGE JAMES MILLER, ST. LOUIS,
Previous history: David Drey [bought at Christie’s}. MISSOURI, USA.
Information supplied by: Bz. Specification: 2x8’, 1x4".
Boalch3 number: KIRKMAN, J. and A. 1785(5). Remarks. Originally a single—second manual and lute
Boalch 2 number: 73b. stop added recently. It may be this instrument which was
the subject of a letter from Nicholas Braakenburg, who
Type: Single-manual harpsichord. wrote to DHB on 8 September 1976 from Lincoln College,
Date: 1785. Oxford, on behalf of a friend who had recently acquired
Ownership: Not known. a Kirkman without a nameboard, and which he thought
Previous history. Formerly belonged to Lady Ilford. Sold was a single converted to a double, perhaps by Dolmetsch,
at Phillips 14 September 1978 for £9,000. plus the addition of a lute stop. Certainly a second manual
References: Phillips’ catalogue of 14 September 1978. and lute stop were added at one time, but these were
Information supplied by: Phillips| Luckett. removed by Hubbard Harpsichords Inc. in 1983, and
Boakb3 number: KIRKMAN, J. and A. 1785(6). according to Broeckman, the wrestplank was repaired, the
Boalch 2 number. None. upper manual which was the original was ‘pieced out to

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454 KIRKMAN
its original size’ (i.e. the tails of the keys were extended), Ownership: Not known.
the cheek extensions were removed, a new machine stop Specification: 2x8’, 1x4’, lute.
was made and fitted, and the jacks were replaced and the Additional features. Harp stop, machine, lid swell.
whole instrument returned to quill. Previous history: H. B. Noble, who sold it at Sotheby’s, 13
Previous history: Major Benton Fletcher, 1934. In 1974 December 1935 to E. C. Legg, Cirencester. Roger Yates.
it belonged to Eric Johnson. Restored by Hubbard Sir Geraint Jones, who sold it, most probably in the early
Harpsichords Inc. in 1983. 1980s. Present owner not known.
References: In 1989 a restoration report was in course of Information supplied by: B*| Deegan.
preparation by Hubbard Harpsichords Inc. Dimensions Boalch 3 number. KIRKMAN, J. and A. 1787(4).
and preliminary report available from same source. Boalch 2 number: 79.
Information supplied by: B?|Broeckman.
Boalch3 number: KIRKMAN, J. and A. 1786(2). Type: Two-manual harpsichord.
Boalch 2 number: 75. Date: 1787.
Ownership. MUSIKINSTRUMENTEN MUSEUM,
Type: Single-manual harpsichord. BERLIN, GERMANY.
Date: 1787. Number: 5254.
Ownership: BERRINGTON HALL (ON LOAN TO Inscriptions: Jacobus et Abrabam Kirckman Londini Fecerunt
THE NATIONAL TRUST), HEREFORDSHIRE, 1787.
ENGLAND. Specification: 1: 2x8’, 1x4’; II: 1x8’, lute.
Specification: 2x8’, 1x4’. Additional features: 2 pedals, 5 hand stops plus 1 for the
Additional features: Harp stop, pedal, simple mchine. machine, machine, venetian swell.
Compass: FF-P. Compass: FF-P.
Remarks: Pedal to disengage second unison. Keyboard: White naturals, black sharps..
Previous history: H. J. Dale. Mrs. Trafford, Goodrich Number of roses: 1.
Court. Exhibited 1885. Subsequently owned by John Style of rose: Seated harping figure.
Ticehurst. B gives the owner as Mrs. B. Waight. Repaired Exterior of case: Crossbanded.
by Clatson and Garrett, 1963. Seale: $50 mm.
Information supplied by: B*/Garrett. Length: 2385 mm.
Boalch3 number: KIRKMAN, J. and A. 1787(1). Width: 945 mm.
Boalch 2 number: 76. Depth: 315 mm.
Remarks: The possibility that this is the same instrument
Type: Single-manual harpsichord. as KIRKMAN, J. and A. 1787(4), above, cannot be
Date: 1787. discounted. Naturals of ivory with reeded fronts. Sharps
Ownership: ROYAL SCOTTISH ACADEMY OF of ebony. The keyboards are in poor condition with a
MUSIC & DRAMA, GLASGOW, SCOTLAND. number of keyplates missing. Stopknobs with white
Accession number not known. porcelain fronts. There is a unique intarsia of instruments,
Specification: 2x8’. flowers, and music on the foreboard over the upper
Number of roses: 1. manual. Exterior case of mahogany curl panels surrounded
Previous bistory: Norman Wilkinson. with chevron stringing and crossbanded with palisander.
Information supplied by: B?. Rose with harping King David and initials .K. Raised
Boalch3 number: KIRKMAN, J. and A. 1787(2). on trestle stand with tapered square legs and castors.
Boalch 2 number: 77a. Previous history: Acquired by the Museum in 1976 from
Gerhard Doderer. Remlingen.
Type: Single-manual harpsichord. References: BerlinCat, pp. 150-4, plus illustrations, one in
Date: 1787. colour.
Ownership: PRIVATE COLLECTION, USA. Information supplied by: Droysen-Reber|Elste|BerlinCat.
Specification: 2x8’, 1x4’. Boalch3 number: KIRKMAN, J. & A. 1787(5).
Additional features: No harp stop. Boalch 2 number: None.
Previous history. Duke of Rutland. Purchased by G. M.
Grocott in 1936. Subsequently, at some time, passed Type: Two-manual harpsichord.
through the hands of Pelham Galleries. Date: 1787.
Information supplied by: B?/Rubin. Ownership: PAUL BADURA-SKODA.
Boalch 3 number: KIRKMAN, J. and A. 1787(3)- Inscriptions: On back of nameboard After years of silence I
Boalch 2 number: 78. was made to speak by John Sebastian Morley AD 1922,
followed by an inscription by Morley’s foreman My speach
Type: Two-manual harpsichord. (sic) failed again. Restored 1964 K. S. Rolfe.
Date: 1787. Specification: 1: 2x8’, 1x4’; I: 1x8’, lute.

vigtized ty Google
 KIRKMAN 455
Additional features: Lid swell, venetian swell, machine, Boalch3 number: KIRKMAN, J. and A. 1788(2).
harp stop, dogleg, 2 pedals. Boalch 2 number: 81.
Compass: FF-f'.
Keyboard: White naturals, black sharps. ‘Type: Single-manual harpsichord.
Number of roses: 1. Date: 1788.
Style of rose: Seated harping figure. Ownership: FORSYTH COLLECTION,
Exterior of case: Crossbanded. MANCHESTER, ENGLAND. Accession number not
Length: 2400 mm. known.
Width: 921 mm. Inscriptions: On nameboard: Jacobus et Abraham Kirckman
Depth: 318 mm. Fecerunt 1788. Behind nameboard Repaired by Alec Hodsdon
Remarks: The date of the instrument is slightly in question Lavenham Suffolk. anno 1949.
since it is shown in a photograph of Paul Badura-Skoda Specification: 2x8’, 1x4’.
in his studio, together with a number of pianos in EM Additional features: Harp stop, machine, venetian swell, 4
Vol. 12, No. 4, November 1984, p. 478. The caption to hand stops.
this photograph gives the date as 1780. Venetian swell Compass: FF-P.
added by Morley in 1965. Keyboard: White naturals, black sharps.
Previous history: L. Larholt, St. Albans. Paul Badura-Skoda. Number of roses: 1.
Extensively restored ¢. 1970 by Kurt Wittmayer [Barnes], Style of rose: Seated harping figure.
and by Morley (possibly in 1965 and 1975?). Exterior of case: Crossbanded.
References: Mould Note. Length: 2216 mm.
Information supplied by: B2|Mould Note. Width: 946 mm.
Boalch 3 number: KIRKMAN, J. and A. 1787(6). Depth: 292 mm.
Boalch 2 number: 79a. Remarks: Instrument was in poor condition when seen
by CMM in 1973. Movement of the case prevented
Type: Two-manual harpsichord. removal of the jackrail.
Date: 1788. Previous history: Previous history apart from restoration
Ownership: Not known. by Hodsdon in 1949 is unknown.
Previous history: Shown at the International Inventions References: Mould Note.
Exhibition 1885. Present whereabouts not known. Information supplied by: Bz|CMM.
Information supplied by: Bz. Boalch 3 number: KIRKMAN, J. and A. 1788(3).
Boalch 3 number. KIRKMAN, J. and A. 1788(1). Boalch 2 number: 82.
Boalch 2 number: 80.
Type: Two-manual harpsichord.
Type: Two-manual harpsichord. Date: 1789.
Date: 1788. Ownership: Not known.
Ownership. THE LATE EDWARD CROFT-MURRAY, Specification: 2x8’, 1x4’, lute.
LONDON, ENGLAND. Additional features: Venetian swell, harp stop, machine.
Specification: 1: 2x8’, 1x4’; Il: 1x8’, lute. Remarks: Now has venetian swell, but originally had lid
Additional features: Harp stop, machine, venetian swell. swell.
Compass: FF-P. Previous history. Owned at one time by J. K. Pyne.
Keyboard: White naturals, black sharps. Exhibited in 1885.
Exterior of case: Crossbanded. Information supplied by: Bz.
Remarks: Ivory naturals with reeded fronts, sharps of Boalch3 number: KIRKMAN, J. and A. 1789(1).
ebony. Marquetried in the keywell in the neo-classic Boalch 2 number: 83.
manner with scrolling foliage and trophies. A superb
instrument. Type: Two-manual harpsichord.
Previous history: Dr. Charles Burney. Mr. Wilson. Edward Date: 1789.
Croft-Murray, 1939. Robin Langley writing Edward Ownership: Not known.
Croft-Murray’s obituary in EM Vol. 9, No. 2, April 1981, Specification: 1: 2x8’, 1x4’; I: 1x8’, lute(A).
states: ‘. . . his chief musical influence was Arthur Hind, Aldditional features: 5 hand stops(A), machine, lid swell.
who included him in his string quartet as viola player. It Number of roses: 1.
was through Hind that he heard of the superb 1788 Length: 2134 mm.
double-manual Kirckman harpsichord, with Venetian Previous history. Norman Wilkinson. Alec Hodsdon
swell and clegant casework, reputed to have belonged to [Sotheby’s, 6 July 1934].
Burney. He bought it for £300, and it remained a treasured Information supplied by: Bz.
possession all his life.’ The present owner is not known. Boalch3 number: KIRKMAN, J. and A. 1789(2).
Information supplied by. B2|CMM|EM. Boalch 2 number: 84.

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456 KIRKMAN
Type: Single-manual harpsichord. ‘Type: Two-manual harpsichord.
Date: 1790. Date: 1780(A).
Ownership: MISS PHILIPPA SAUNDERS, CHELSEA, Ownership. DAVID GALBRAITH WOODS, LEIGH
ENGLAND. ON SEA, ENGLAND.
Specification: 2x8’, 1x4’. Inscriptions: No nameboard present. L. Ward (foreman at
Additional features: No harp stop, no pedals, 3 hand stops. Dolmetsch’s) stamped on wrestplank. Gofto (not Alan
Compass: FF-P. Gotto) pencilled inside carcase.
Keyboard: White naturals, black sharps. Specification: 2x8’, 1x4’, lute.
Number of roses: 1. Aidditional features: Lid swell.
Style of rose: Seated harping figure. Compass: FF,GG-P.
Exterior of case: Crossbanded. Keyboard: Black naturals, white sharps.
Length: 2230 mm. Number of roses: 1.
Width: 870 mm. Style of rose: Seated harping figure.
Remarks: There are traces of a Kirkman machine pedal. Exterior of case: Crossbanded.
It is interesting to note that the illustration of the Scale: 349 mm.
instrument in the Christie’s catalogue shows an instrument Length: 2343 mm.
with no provision for a music desk. The fascia board has Width: 930 mm.
no cut-out, and there is no indication of any such Depth: 295 mm.
provision. This is unusual for an instrument of such a Remarks: Date and maker ascribed by owner. Instrument
late date, and might well indicate that the nameboard is
is clearly a Kirkman (from the style of the I.K. rose),
but date, can only be inferred from various other
not original, though the AK rose is well in keeping for characteristics. Instrument probably had only one manual
1790.
originally, but has almost certainly had second manual
Previous bistory: F. Pickett. Mrs. E. M. Jones, Tunbridge
added later with new French-style keyboards, though on
Wells. Hugh Gough (1951). Miss Phillipa Saunders,
English keyframes. Keys have blackwood arcaded naturals
Chelsea. It seems likely that this is the harpsichord sold and ivory topped sharps. Case has mahogany panels,
at Christie’s on 14 June 1989, lot 15, for £18,700. If so crossbanded with rosewood, and ivory/ebony stringing.
this latter instrument is reported to have been signed on According to the owner, the extension work looks very
the nameboard: Jacobus et Abraham Kirckman Londini old (not twentieth century). String gauges stamped on
Fecerunt 1790. nut. Some mystery about the lute, which would possibly
References: Christie’s catalogue of 14 June 1989 (illustrated). not have been present on a single, but (according to Mr.
Information supplied by: Bz|Christie’s. Woods) cutting of wrestplank looks original (and this is
Boalch3 number: KIRKMAN, J. and A. 1790. corroborated by Garrett and Clayson). It is therefore
Boalch 2 number: 86. possible that the original single-manual had a lute stop.
When acquired by present owner keys were jammed.
KIRKMAN, JACOB(A) and ABRAHAM(A). Restored to excellent condition, but not to original
‘Type: Single-manual harpsichord. specification.
Date: 1777. Previous bistory: Miss Dulzicl, Dorking. Carl and Rudolph
Ownership. H. TAYLOR & SON, WALSALL, Dolmetsch. By oral tradition only the instrument came
originally from Hyett family of Painswick House, Glou-
STAFFORDSHIRE, ENGLAND.
cestershire, (though research into this has proved fruitless).
Specification: 2x8’, 1x4’.
Bought by present owner at Phillips in 1980.
Remarks. Bz does not assign this instrument to ‘Jacob
Information supplied by: Galbraith Woods|Garrett.
and Abraham’, though there seems no reason why, if the
date is correct this should not be the case.
Boalch 3 number. KIRKMAN, J.(A) and A.(A) 1780(A).
Boalch 2 number: None.
Information supplied by: Bz.
Boalch 3 number: KIRKMAN, J.(A) and A.(A) 1777. Type: Single-manual harpsichord.
Boalch 2 number: 64.
Date: 1787.
Ovnersbip: Not known.
Type: Single-manual harpsichord. Previous history. Known to have been in Birmingham in
Date: 178-(A). 1946.
Ownership: MRS. HUTCHINSON, HAMPSTEAD, Information supplied by: Bz.
LONDON, ENGLAND. Boalch3 number: KIRKMAN, J.(A) and A.(A) 1787.
Previous bistory: Mrs. A. E. Southall. Boalch 2 number: 77.
Information supplied by: Bz.
Boalch 3 number: KIRKMAN, J.(A) and A.(A) 178-(A). KIRKMAN, JOSEPH.
Boalch 2 number: 67. ‘Type: Two-manual harpsichord.

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 KIRKMAN 457
Date: 1798. Ownership: MUSEUM OF FINE ARTS, BOSTON,
Ovnersbip: SHRINE TO MUSIC MUSEUM, USA.
VERMILLION, SOUTH DAKOTA, USA. Number: 17.1794.
Number: 3328. Inscriptions: On nameboard: Josephus Kirckman Londini Fecit
Inscriptions: On nameboard: Josephus Kirckman Londini fecit 1798|No 19 Broad Street Sobo.
1798 No 19, Broad Street, Sobo. Specification: 1: 2x8", 1x4’; Il: 1x8’, lute.
Specification: 1: 2x8’, 1x4’; II: 1x8’, lute. Additional features: Lid swell, machine, 2 pedals, harp stop,
Additional features: 5 hand stops plus 1 for the machine, dogleg.
2 pedals, lid swell, machine, harp stop. Compass: FF-f.
Compass: FF-f. Keyboard: White naturals, black sharps.
Keyboard: White naturals, black sharps. Number of roses: 1.
Number of roses: 1. Style of rose: Seated harping figure.
Style of rose: Trophy of instruments. Exterior of case: Crossbanded.
Exterior of case: Crossbanded. Scale: 345 mm.
Seale: 352 mm. Length: 2508 mm.
Length: 2505 mm. Width: 946 mm.
Width: 942 mm. Depth: 322 mm.
Depth: 320 mm. Remarks: Naturals of ivory with moulded sycamore fronts
Remarks: According to Shrine to Music: Naturals of ivory and sharps of ebony. Keywell with satinwood veneer and
with boxwood fronts and sharps of ebony. Stopknobs of rosewood crossbanding and black/blond stringing. Case in
ivory. Exterior case veneered in crotch mahogany with mahogany panels crossbanded mahogany and geometrical
wide marquetry stringing in double diamond pattern, and design stringing. Cartouche in name-batten. Plain lid
crossbanded in mahogany. Solid mahogany lid of curly hinges. Trestle stand with tapered legs. Rose with IK
fiddleback grain. Keywell veneered in satinwood and flanking harping King David—diameter 76 mm. Oak case
crossbanded with tulip. Original square taper leg trestle construction. Bottom boards not original.
stand and fully adjustable music rest. According to Previous bistory: First known owner—Canon F. W. Galpin,
Sotheby’s catalogue: ‘Fascia boards and cheeks veneered thence to MFA, Boston.
with satinwood and fruitwood stringing and tulipwood References. Data sheet by John Koster available from the
crossbanding. Casesides including spine veneered with Museum. BostonCat.
Cuban mahogany with geometrical stringing in various Information supplied by: B2|MF A.
woods. Lid of fiddleback mahogany of handsome small Boalch 3 number: KIRKMAN, JOSEPH. 1798(2).
figure with similar stringing. Rose of trophies of musical Boalch 2 number: 93.
instruments with IK initials. Six ivory knobbed hand
levers.’ Sotheby’s dimensions are different from those
given by the Shrine to Music, being length 2527 mm.
and width 1003 mm. Type: Two-manual harpsichord.
Previous history. Former owners: A. Fuller-Maitland. Esther Date: 1800.
Darlington. Miss Margaret Field-Hyde. Mrs. Katherine Ownership. COLT CLAVIER COLLECTION,
Thirkell. Offered at Sotheby’s on 22 May 1980, when it BETHERSDEN, KENT, ENGLAND.
fetched £17,500. ¢. July 1980 Hugh Gough Inc., New Number: Hio1K.
York. 17 October 1983 sold by Hugh Gough to the Specification: 1: 2x8’, 1x4’; Ul: 1x8’, lute.
Shrine to Music Museum Foundation Inc., University of Additional features. Harp stop, machine, venetian swell, 2
South Dakota, who acquired it through the Rawlins pedals, 5 hand stops.
Fund. Compass: FF-P.
References: Shrine to Music Museum has reference sheets Keyboard: White naturals, black sharps.
with further detailed description by Hugh Gough. Exterior of case: Crossbanded.
Sotheby's Catalogue of 22 May 1980 (Illustrated in colour). Scale: 343 mm.
‘Important Acquisitions of 1983 await New Galleries’, Remarks: According to Huber, on loan to the Germanisches
Shrine to Music Museum Newsletter vol. X1, No. 2 (January Nationalmuseum, Nuremberg, No: MI 452, and currently
1984), pp. 1-3. STMPS, p. 44. EM vol. 8, No. 4, October on display at the Stadtmuseum, Munich. Stops have ivory
1980, p. 517. handles.
Information supplied by. B2|STMCL|STMDS|STMPS/EM. Previous history: Capt. J. R. Lane, Wanstead.
Boalch3 number: KIRKMAN, JOSEPH. 1798(1). References: ColtCC, p. 7. Glar, Heft 1, 41, Jaqhtgang 1992.
Boalch 2 number: 94. Huber, p. 136.
Information supplied by: Bz2|CMM|ColtCC|Hxber.
‘Type: Two-manual harpsichord. Boalch 3 number: KIRKMAN, JOSEPH. 1800.
Date: 1798. Boalch 2 number: 95.

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458 KIRKMAN
KIRKMAN. (Member of family unknown). Compass. FF-f.
Type: Harpsichord (number of manuals not known). Keyboard: White naturals, black sharps (A).
Date: 1791. Namber of roses: 1.
Ovnersbip: Not known. Style of rose: Seated harping figure.
Previous history: Owned at one time by Alec Hodsdon. Exterior of case: Crossbanded.
Information supplied by: Bz. Remarks: Instrument has no provision for music desk and
Boalch 3 number: KIRKMAN. 1791. is thus likely to be pre-1766 when desks were first
Boalch 2 number: go. introduced. Though the putative keycovering is given
above, the plates of all keys have been removed and a
Type: Single-manual harpsichord. number of the natural key levers are replacements, while
Date: 1793. all the sharp keylevers are missing. There is no nameboard
Ownership: PRIVATE. COLLECTION, HAMPSTEAD, and no inscriptions. Atypical trestle stand with five legs
LONDON, ENGLAND. and no stretchers. Action is in very poor state and there
Specification: 2x8", 1x4’. is no jackrail.
Additional features: Harp stop. Information supplied by: Bz/Garrett|CMM.
Previous history: Known to be in private ownership in Boalch3 number. KIRKMAN. n.d.(2).
Hampstead in 1950. Present whereabouts not known. Boalch 2 number: 99.
Information supplied by: Bz.
Boalch 3 number: KIRKMAN. 1793. ‘Type: Two-manual harpsichord.
Boalch 2 number: 91. Date: Not known.
Ownership: CHARLES P. FISHER, FRAMINGHAM,
Type: Single-manual harpsichord. MASSACHUSETTS, USA.
Date: 1796.
Ownership: PRIVATE COLLECTION, BELGIUM.
Inscriptions: An inscription inside records repairs by W’m.
Knabe, March 1917.
Specification: 2x8’, 1x4’.
Additional features: Lid swell. Specification: 2x8’, 1x4’, lute.
Additional features: Harp stop, machine, lid swell.
Compass: FF-P(A). Exterior of case: Crossbanded.
Keyboard: White naturals, black sharps.
Remarks: This instrument is possibly the same as that
Exterior of case: Crossbanded. shown as number 6o in the collection of Dr. Andreas
Remarks: \t is believed that this instrument went to Beurmann of Hamburg (see: KIRKMAN, J.(A). 1766(A)).
Belmont Hall, Yorks, in the late 1960s. Satinwood
Nameboard missing. Case and lid in burr walnut veneer.
nameboard and chevron stringing.
Trophy of instruments on fascia board.
Previous history: Alec Hodsdon. Messrs. Arnold Dolmetsch. Previous history: Found in a Bronx warchouse. Repaired
Subsequently with John Baines in London (1965), and by Willam Knabe, March 1917.
probably later at Belmont Hall, Yorkshire. Passed though
Information supplied by: Bz.
the hands of Pelham Galleries, London.
Boalch 3 number: KIRKMAN. n.d.(3).
Information supplied by: Bz|CMM|Rubin. Boalch 2 number: 1032.
Boalch 3 number: KIRKMAN. 1796.
Boalch 2 number: 92. Type: Single-manual harpsichord.
Type: Two-manual harpsichord. Date: Not known.
Date: Not known. Ownership. CAPTAIN HUMPHREY DRUMMOND,
Ownership: MESSRS. FISHER-PIERCE, BOSTON, MEGGINCH CASTLE, PERTHSHIRE, SCOTLAND.
MASSACHUSETTS, USA. Specification: 2x8’.
Specification: 2x8’, 1x4’, lute. Remarks: This instrument was reported to DHB in 1974
Additional features, Harp stop, machine, venetian swell. by Douglas Brown. There were no more details than are
Previous history: Miss Lane Poole, Oxford. Messrs. Arnold given here.
Dolmetsch Ltd. Was with Fisher-Pierce in 1953. Information supplied by: Brown.
Information supplied by: Bz. Boalch 3 number. KIRKMAN. n.d.(4).
Boalch 3 number. KIRKMAN. n.d.(1). Boalch 2 number: Nonc.
Boalch 2 number: 97.
Type: Single-manual harpsichord.
Type: Single-manual harpsichord. Date: Not known.
Date: Not known. Ownership. PRIVATE COLLECTION, TOKYO,
Ownership: LORD SACKVIL! Hi, KNOLE, KENT, JAPAN.
ENGLAND. Specification: 2x8".
Inscriptions: None. Remarks: Nothing more is known than that a single-
Specification: 2x8". manual Kirkman harpsichord with 2x8’ was in a private

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 KIRKMAN(A) 459
collection in Tokyo in 1990. It may be one of those noted a paper on the instrument for the music department at
in Bz with sparse details. Glasgow University. Rhodes and Thomas had this and
Information supplied by: Yokota. the other Falkener from Edinburgh (1773) through their
Boalch 3 number. KIRKMAN. n.d.(5). hands in the 1960s, and were able to compare them.
Boalch 2 number: ?/None. CMM also saw both instruments on consecutive days
in August 1969, and was able to write about them
Type: Single-manual harpsichord. comparatively in Mould Th.
Date: Not known. Information supplied by: Bz|Mould Th|W. R. Thomas.
Ownership: VICTORIA UNIVERSITY, Boalch 3 number; KIRKMAN(A), J./FALKENER, R.
WELLINGTON, NEW ZEALAND. Accession 1770.
number not known. Boalch 2 number: (Kirkman) 42a.
Remarks: Though apparently not in Bz, it seems likely
that the instrument is one of those which is unascribed, Type: Two-manual harpsichord.
and is not necessarily a new discovery. Date: 1773.
Previous history: Restored by James Silver and Son, Reading Ownership: RUSSELL COLLECTION, EDINBURGH
in 1908, and subsequently by Dolmetsch in 1947, and UNIVERSITY, SCOTLAND.
then again (according to MacDonald) by ‘John Ferguson’ Number: 16.
who worked with John Mirams, Wellington. This was Inscriptions; Nameboard inscribed: Jacobus Kirkman (sic)
almost certainly a case of mistaken identity, and should Londini fecit, no date being given. Behind nameboard in
have been Fergus Hoey. pencil XVIII Jacobus Kirkman in a hand not unlike that
Information supplied by: MacDonald. appearing as the signature on Jacob Kirkman’s will.
Boalch 3 number: KIRKMAN. n.d.(6). Pencilled inscription on underside of soundboard: Robert
Boalch 2 number: None. Falkener London fecit 1773 September.
Specification: 1: 2x8’, 1x4’; LU: 1x8’, lute.
KIRKMAN(A), JACOB/FALKENER, ROBERT. Additional features: Harp stop, 5 hand stops.
Type: Two-manual harpsichord. Compass: FF,GG-P.
Date: 1770. Keyboard: White naturals, black sharps.
Ownership: GLASGOW UNIVERSITY, SCOTLAND. Number of roses: 1.
Accession number not known. Style of rose: Seated harping figure.
Inscriptions: Inscription on nameboard: Jacobus Kirckman Exterior of case: Crossbanded.
Londini fecit 1748, probably genuine, but from another Seale: 350 mm.
instrument. Inscribed under the soundboard: Robt. Falk- Length: 2404 mm.
ener London fecit 1770. On the front board is scratched Width: 963 mm.
1768 over the nameboard, and above it another date Depth: 290 mm.
which could be sés7. Remarks: Not by Kirkman, but almost certainly by Robert
Specification: 1: 2x8’, 1x4’; Il: 1x8’, lute. Falkener, but recorded here under Kirkman since his
Additional features: Dogleg, no machine or swell. name appears on it. A similar instrument is in the
Compass: FF,GG-f. possession of Glasgow University (see above). The
Keyboard: White naturals, black sharps. following features illustrate the departure from normal
Number of roses: 1. Kirkman practice: The rose, though showing a harping
Style of rose: Seated harping figure. figure with IK is unlike any other Kirkman rose. The
Exterior of case: Crossbanded. left-hand two stops are dummies (though these are not
Remarks: The instrument is almost certainly by Robert original, being the result of alterations when the unusual
Falkener, but since it bears Kirkman’s name it is listed machine stop was fitted ¢. 1780 or 1790), and there is a
here under him. A similar instrument is in the Russell centre-placed harp stop. As is normal Kirkman practice,
Collection (see below). Features which are different from the right-hand stops control the two 8's. All stops except
standard Kirkman include the rose, which though having the harp are worked by a unique two-pedal machine
a harping figure, is unlike any other Kirkman (see: Mould dating from ¢. 1790. The keyboards, like the Glasgow
Th, p. 271]. The soundboard which is of poor quality instrument have the ‘wide D’ layout, and the naturals
knotty pine has entirely diagonal barring parallel to the have arcaded ivory fronts. The keycheek layout is different
cut-off bar. The keyboards are of the ‘wide D’ style. from standard Kirkman practice. The soundboard is
There is a lot of doodling on the underside of the upper barred with bars parallel to the cut-off bar. The layout of
keybed, including a sum in £ 5 d, or possibly feet inches panels over the keyboards is different, with box stringing
and eighths, and a picture of a red indian. round panels. Original stand with four turned legs.
Previous history: S. Gabriel, Glasgow. Restored by W. R. Previous history: General Reid (not Sir Donald Tovey),
Thomas and J. J. K. Rhodes, 1959-60. who bequeathed it with all his other instruments to
References: W. R. Thomas of ‘Rhodes and Thomas’ wrote Edinburgh University from 1839. Restored by W. R.

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460 KIRSHAW
Thomas and J. J. K. Rhodes in 1955. More recent work Remarks: It may be this, or any of the following
by John Barnes. instruments, or, for that matter, none of them, which was
References: RussColl, p. 37. RussCollig86, p. 15. Mould Th. displayed at the 1993 BADA Fair at Grosvenor House
John Barnes, Unpublished Report. on Messrs. Mallett’s stand with the description ‘a mid
Information supplied by: B2|Moxld Tb|Barnes|RussColl] 18th century . . . spinet’. The instrument was illustrated
RussColl1986/Raymond. in the catalogue and shows that it was in a burr-walnut
Boalch 3 number. KIRKMAN(A), J./FALKENER, R. case on a stand with spoon feet. The catalogue reported
1773+ it as ¢. 1740. Inscribed Jobn Kirshaw Manchester.
Boalch 2 number: (Kirkman) [56]. References: BADA Catalogue, 1993, p. 20 (illustrated).
Previous history: Formerly at Goodrich Court, Ross-
KIRSHAW, JOHN. on-Wye, and thereafter the property of John Ticehurst,
The possibility that there is some duplication between Tenterden, Kent.
the instruments listed below cannot be excluded. Information supplied by: B2|BADA Catalogue.
Boalch 3 number: KIRSHAW, J. n.d.(1).
Type: Wing spinet. Boalch 2 number: 1.
Date: 1760(A).
Ownership: FAIRFAX HOUSE, YORK, ENGLAND. ‘Type: Single-manual harpsichord.
Specification: 1x8’. Date: Not known.
Compass: FF,GG-f. Ownership: Not known.
Keyboard: White naturals, black sharps. Keyboard: White naturals, black sharps.
Exterior of case: Crossbanded. Exterior of case: Plain wood.
Remarks: Now part of the Terruy Collection of Furniture. Remarks: According to Bz: ‘Transverse harpsichord, . . .
Naturals of ivory with arcaded ivory fronts. Sharps of having 2 strings to each note’ (presumably 2x8’). Walnut
ebony. case.
Information supplied by: Nicholas Keen. Previous bistory: Formerly Messrs. Morley.
Boalch 3 number. KIRSHAW, J. 1760(A). Information supplied by: Bz.
Boalch 2 number: 1, 6, oF 7. Boalch 3 number: KIRSHAW, J. n.d.(z).
Boalch 2 number: 2.
‘Type: Single-manual harpsichord.
Date: 1769.
Type: Wing spinet.
Ownersbip: NORMAN PAULU, MADISON,
Date: Not known.
WISCONSIN, USA.
Inscriptions. Inscribed on lowest jack: Joba Kirshaw, April Ovnersbip: Not known.
Specification: 1x8’.
19th, 1769. Harpsichord signed: Joba Kirshaw Manchester
Compess: FF-£(A).
1769.
Previous bistory: Formerly in the Rushworth and Dreaper
Specification: 2x8", 1x4’.
Collection, Liverpool. Present whereabouts not known.
Additional features: Harp stop.
Compass: FF-P.
Information supplied by: B2.
Keyboard: White naturals, black sharps. Boalch 3 number: KIRSHAW, J. .d.(3).
Boalch 2 number: 3.
Number of roses: 1.
Exterior of case: Crossbanded.
Remarks. Rose similar to that of a Kirkman. The general ‘Type: Wing spinet.
layout is equally similar. Date: Not known.
Previous history: Michael Thomas bought it from Alan Ownership: PRIVATE COLLECTION, PARIS,
Legg of Cirencester in 1961, and it was restored by Alfred FRANCE.
Reeve, Maidenhead, in 1962. From a tin containing the Specification: 1x8".
jacks (on which was written ‘the soul of the harpsichord’), Previons bistory: 1n private ownership in 1953.
in 1962, it appears to have belonged to the vicar of Information supplied by: Bz.
Snodland, Kent, early in this century. Boalch 3 number: KIRSHAW, J. n.d.(4).
References: Illustrated in The Guardian, 3 April 1962. Boalch 2 number: 4.
Information supplied by: B2|Moxld Note.
Boalch 3 number: KIRSHAW, J. 1769. Type: Wing spinet.
Boalch 2 number: 5. Date: Not known.
Ownership: D. GREENWOOD, HALIFAX,
Type: Wing spinet. YORKSHIRE, ENGLAND.
Date: Not known. Inscriptions: Signed on nameboard: Jobn Kirshaw Manchester.
Ownership: Not known. Specification: 1x8’.
Specification: 1x8". Compass. FF-P(A), or GG-g’.

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 KONIG 461
Exterior of case: Venecred. 1783 IK.
Remarks: Sixty-one notes. Walnut-veneered case. Compass. C/E-f(A).
Previons history. Mr. D. Greenwood’s family have owned Number of roses: 1.
it at least from the time of his great-grandfather, and it Length: 1230 mm.
was last reported as being in Mr. Greenwood’s collection Width: 370 mm.
in 1966. Depth: 160 mm.
Information supplied by: Bz. Remarks: The ascription to Klein is from Bz. White
Boalch 3 number: KIRSHAW, J. n.d.(5). naturals. Thirty-three pairs of strings. String gauges from
Boalch 2 number: 6. 1 to 9 on some of the keys. Early (original?) tuning
hammer.
Type: Wing spinet. Previous bistory: Restored in 1968 by Peter Kukelka.
Date: Not known. Information supplied by: Bz.
Ownership: PRIVATE COLLECTION, Boalch 3 number: KLEIN(A), J. 1783.
HERTFORDSHIRE, EMGLAND. Boalch 2 number: 2.
Compass: Five octaves, either FF-P or GG-g’.
Remarks: Described as a large instrument, though having KLOCKNER, GEORG.
a standard five-octave compass. Has an unusual stand Type: Clavichord.
with a drawer in the front. Possibly dated as early as Date: 1800(A).
1740. Ownership: MARKUSOVCE MUSEUM, SUMMER
Information supplied by: Rubin. PALACE, DARDANELLES, YUGOSLAVIA.
Boalch 3 number. KIRSHAW, J. n.d.(6). Inscriptions. Reported as signed by the maker.
Boalch 2 number: None. Remarks: Nothing further is known of the instrument.
Information supplied by: Bemmann.
Type: Wing spinet. Boalch 3 number. KLOCKNER, G. 1800(A).
Date: Not known. Boalch 2 number: None.
Ownership: MISS M. WHITEHURST, EDGWORTH,
LANCASHIRE, ENGLAND.
Inscriptions. The very faint inscription on the nameboard KOCH, MATHIAS.
reads something like: Jobannes Kirshaw Mancunii fecit. Type: Wing spinet.
Specification: 1x8". Date: 1757.
Previous history: Miss Whitehurst bought it from a local Ownership: NATIONALMUSEUM, MUNICH,
antique dealer about 1962. GERMANY.
Information supplied by: Bz. Specification: 1x8'(A).
Boalch 3 number. KIRSHAW, J. n.d.(7). References: Ks, 428.
Boalch 2 number: 7. Information supplied by: Bz.
Boalch3 number. KOCH, M. 1757.
KLEIN, JOSEPH. Boalch 2 number: 1.
Type: Wing spinet.
Date: 1800(A). KONIG, FRANZ.
Ownership: NY MPHENBURG PALACE, MUNICH, Type: Fretted clavichord.
GERMANY. Accession number not known. Date: 1739.
Inscriptions: Joseph Klein Wien. Ownership: DEUTSCHES MUSEUM, MUNICH,
Specification: 1x8". GERMANY.
Compass: FF-f(A). Number: 16816.
Remarks: Bz gives the compass as ‘4 octaves F-F’. For an Inscriptions: Signed and dated underneath the soundboard:
instrument as late as 1800, this would be unusual, and Franciscus Konig Orgl. . ./Ingolstatt den 30 Nov./ano 1739.
five octaves seems more likely. Compass: C/E-c’.
Information supplied by: Bz. Keyboard: White naturals, black sharps.
Boalch 3 number: KLEIN, J. 1800(A). Exterior of case: Plain wood.
Boalch 2 number: 1. Scale: 235 mm.
Length: 1023 mm.
KLEIN(A), JOSEPH. Width: 318 mm.
Type: Fretted clavichord. Depth: 104 mm.
Date: 1783. Remarks: Keys of roof-carved beech. Key slips of horn.
Ovnersbip: PRIVATE COLLECTION, VIENNA, Naturals of yew with two grooves with bare wood fronts.
AUSTRIA. Sharps of black-stained wood. The soundboard is a
Inscriptions: Inscription inside the bottom, under the keys: replacement. Bridges of walnut. A tangent rail has been

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462 KRAFT
added. Casework and internal members except for the Length: 1053 mm.
beech wrestplank are of pine. Width: 375 mm.
Information supplied by: Weldon. Depth: 111 mm.
Boalch 3 number: KONIG, F. 1739. Remarks: A high-pitched instrument. Could be dated
Boalch 2 number: None., anytime between 1790 and 1810. Keys are pine, roof-
carved. Swedish style key rack. Naturals of ebony,
Type: Clavichord. with gilded paper fronts with initials MPK. Sharps of
Date: 1759. bone-capped, black-stained wood. Soundboard of spruce,
Ownership: BRUSSELS MUSEUM, BRUSSELS, which overhangs the top notes. Bridges, possibly pine.
BELGIUM. All the woodwork is pine finished with an orange varnish.
Number: 1618. References: H-O, No. S or NordM 47.862.
Remarks: Instrument appears to be signed Franciscus Konig, Information supplied by: Weldon|/H-O.
but in the only checklist available, showing the Brussels Boalch 3 number: KRAFT, M. 1790(A).
instruments, it is listed as by H. J. Kénig. Boalch 2 number: None.
Information supplied by: Weldon.
Boalch 3 number: KONIG, F. 1759. Type: Fret-free clavichord.
Boalch 2 number: None. Date: 1792.
Ownership: STATENS MUSIKSAMLINGAR,
KRAFT, MATHIAS PETTER. MUSIKMUSEET, STOCKHOLM, SWEDEN.
Type: Clavichord. Number: 3494.
Date: 1772. Inscriptions: Paper label on soundboard. Instrument No.
Ownership: Not known. 433.
Remarks: Reported as ‘very fine, decorated, five octaves’. Compass: FF-c'.
Previous bistory: Seen in a Stockholm dealers ¢. 1979. Keyboard: White naturals, black sharps.
Information supplied by: Not disclosed. Scale: 320 mm.
Boalch 3 number: KRAFT, M. 1772. Length: 2011 mm.
Boalch 2 number: None. Width: 586 mm.
Remarks: Keys of pine, roof-carved. Swedish style key
Type: Fret-free clavichord. rack. Naturals of bone with embossed gilded paper fronts.
Date: 1782(A). Sharps of black-stained wood. Soundboard of pine. Has
Ownership: L. S}OBERG, STOCKHOLM, SWEDEN. a piano hammer mechanism which can be brought into
Inscriptions. Paper label on soundboard: Instrument No 101. action by a knee lever.
Compass: AA-P. References: H-O, No. S or SMS/MM 3494.
Keyboard: Black naturals, white sharps. Information supplied by: Weldon|H-O.
Scale: 287 mm. Boalch 3 number: KRAFT, M. 1792.
Length: 1885 mm. Boalch 2 number: None.
Width: 507 mm.
Remarks: Naturals of ebony, sharps of bone. Swedish Type: Fret-free clavichord with octave strings in the bass.
style key rack. Internal lid painting. Stand has drawer in Date: 1797.
right hand side. Cabinet work seems to be largely a copy Ownership: SK ARABORGS LANSMUSEUM, SKARA,
of Lundborg’s instruments. SWEDEN.
References: H-O, No. S. L. Sjéberg, Stockholm. Illustrated Number: 9192.
at figs. 148A, 148B on p. 173. Inscriptions: Paper label on area of soundboard between
Information supplied by: Barrell|Weldon|H-O. the wrestpins and the case: Instrument No. 611.
Boalch 3 number: KRAFT, M. 1782(A). Compass: CC-c'.
Boalch 2 number: None. Keyboard: White naturals, black sharps.
Exterior of case: Painted.
Type: Fret-free clavichord. Scale: 317 mm.
Date: 1790(A). Length: 2203 mm.
Ownersbip: NORDISKA MUSEET, STOCKHOLM, Width: 638 mm.
SWEDEN. Depth: 208 mm.
Number: 37.862. Remarks: Keys of roof-carved pine. Swedish style key
Inscriptions: Initialled key fronts. rack. Naturals of bone with gilded embossed paper fronts.
Compass: AA-P. Sharps of ebony-capped, black-stained wood. Soundboard
Keyboard: Black naturals, white sharps. of pine. Twenty-five octave strings in the bass.
Exterior of case: Plain wood. References. H-O, No. S 16 VM u. nr. Illustrated at fig.
Scale: 345 mm. 149, P- 174.

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 KRAMER 463
Information supplied by: Weldon|Barrell|H-O. Compass: FF-2.
Boalch 3 number. KRAFT, M. 1797. Keyboard: Black naturals, white sharps.
Boalch 2 number: None. Number of roses: None.
Exterior of case: Plain wood.
‘Type: Fret-free clavichord with octave strings in the bass. Scale: 260 mm.
Date: 1806. Length: 1712 mm.
Ownership: NORDISKA MUSEET, STOCKHOLM, Width: 540 mm.
SWEDEN. Depth: 198 mm.
Number: 89.496. Remarks. Date is actually sometime after 1806. Black
Inscriptions: Paper label on the area of soundboard between keyfronts. Stichmass 470 mm. Octave stringing FF-F.
the wrestpins and the case: Instrument No. 374. Previous history: Previous owners: Joh. Friedrich Blu-
Compass. FF-c'. menbach (1752-1840) Gottingen. Dr. Friedrich Bonhoff,
Keyboard: White naturals, black sharps. Géttingen. Mrs. Irmgard-Ulrike Bonhoff, Gottingen. Mrs.
Exterior of case: Veneered. Anne Bonhoff, Reutlingen. (According to Bz, the instru-
Scale; 315 mm. ment was in the Bonhoff family since the eighteenth
Length: 2042 mm. century [Schulze 1957].) Restored by Walther Ebeloe,
Width: 600 mm. Hamburg between 1935 and 1942. Restored by Rainer
Depth: 208 mm. Schutze, Heidelberg ¢. 1967 and again in 1986.
Remarks: Keys are roof-carved pine. Swedish style key Information supplied by: Bemmann|Bz.
rack. Naturals of bone with four grooves and boxwood Boalch 3 number: KRAMER, GEBRUDER. 1806(A)(1).
fronts. Sharps of ebony-capped, black-stained wood. Boalch 2 number: 10.
Soundboard of pine. Bridges, both of beech. Seventeen
octave strings in the bass. String gauges marked. Casework Type: Fret-free clavichord.
of pine veneered with mahogany. The internal structures Date: 1806(A).
are also of pine, the hitch pin rail being veneered in Ownership: STADTISCHES MUSEUM, GOTTINGEN,
mahogany. The lid is of solid mahogany. GERMANY.
References: H-O, No. S 01 NordM 89.496. Illustrated at Number: 652.
Inscriptions: On a label on the soundboard: Gebriider Kramer
fig. 150, p. 174.
Information supplied by: Weldon|Barrell/
H-O/ Bz. Gottingen.
Boalch 3 number: KRAFT, M. 1806. Compass: FF-a’.
Boalch 2 number: 1. Keyboard: Black naturals, white sharps.
Number of roses: None.
Exterior of case: Plain wood.
KRAMER, GEBRUDER.
Type: Fret-free clavichord. Scale: 258 mm.
Length: 1710 mm.
Date: 1806.
Width: 540 mm.
Ownership: MUSIKINSTRUMENTE-MUSEUM,
GOSLAR, GERMANY. Accession number not known. Depth: 195 mm.
Inscriptions: On a label: Gebriider Kramer Géttingen. Remarks: The instrument is probably dated sometime after
Compass: FF-a?. 1806. Ebony naturals with black fronts, bone sharps.
Keyboard: Black naturals, white sharps. Octave stringing FF-E.
Number of roses: None. Previous history: Restored by Immanuel Troster, Gottingen.
Exterior of case: Plain wood. Information supplied by: Bemmann.
Length: 1710 mm. Boalch 3 number. KRAMER, GEBRUDER. 1806(A)(2).
Width: 556 mm. Boalch 2 number: None.
Depth: 187 mm. Type: Clavichord.
Previous history: Found on a refuse dump in Goslar ¢. 1977. Date: Not known.
Restored by Christian Krautner, Berlin, ¢. 1978. Ownership: GOTTINGEN MUSEUM, GOTTINGEN,
Information supplied by: Bemmann. GERMANY. Accession number not known.
Boalch 3 number: KRAMER, GEBRUDER. 1806. Inscriptions: Signed: Briider Kramer Gottingen.
Boalch 2 number: None. Remarks: Possibly the same instrument as KRAMER,
GEBRUDER. 1806(A)(2).
Type: Clavichord. Information supplied by: Bz.
Date: 1806(A). Boalch 3 number. KRAMER, GEBRUDER. n.d.(1).
Ownership: DEUTSCHES MUSEUM, MUNICH, Boalch 2 number: 9.
GERMANY. Accession number not known.
Inscriptions: Label on soundboard: Gebriider Kramer, Type: Fret-free clavichord.
Gottingen. Date: Not known.

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464 KRAMER
Ownership: W ALTER ERDMANN, GOSLAR, Gottingen 1797.
GERMANY. Compass: FF-a'.
Inscriptions: Inscribed on a plate: Gebriider Krémer Gottingen. Remarks: The checklist of the collection gives the date as
Compass: FF-a’. 1757, but this must be a misprint, for Kraemer would
Information supplied by: Erdmann. have been only fourteen at this time. Thirteen octave
Boalch 3 number: KRAMER, GEBRUDER. n.d.(2). strings in the bass.
Boalch 2 number: None. Information supplied by: Bz/Weldon|Droysen-Reber|Elste.
Boalch 3 number: KRAMER, J. P. and Sons. 1797.
KRAMER, JOHANN PAUL and SON(S). Boalch 2 number: 2.
Type: Fret-free clavichord.
Date: 1787. ‘Type: Fret-free clavichord with octave strings in the bass.
Ownership: FORMERLY IN THE GERMANISCHES Date: 1798.
NATIONALMUSEUM, NUREMBERG. Ownership: GERMANISCHES NATIONALMUSEUM,
Number. MIR 266. NUREMBERG, GERMANY.
Inscriptions: Sorte 3, Nr. 297|Jobann Paul Kraemer und Sobn, Number. MINe 72.
Gottingen. Inscriptions: Inscribed: Sorte 4, Nr 398/Jobann Paul Kraemer
Compass: F-f. & Scbne, Gottingen|Oktober 1798.
Remarks: Destroyed in World War II. Compass: FF-a.
References: Huber, p. 128. Scale: 255 mm.
Information supplied by: B2/ Huber. Remarks: The date is given in Bz as 1796, but was
Boalch3 number. KRAMER, J. P. and Son. 1787. corrected by dM in 1974 to 1798, and this is corroborated
Boalch 2 number: 1. by Hwber. Thirteen octave strings in the bass. String
gauges marked on keys.
‘Type: Fret-free clavichord. References: Huber, p. 128.
Date: 1791. Information supplied by: B2|Weldon| VdM|Huber.
Ownership: CHRISTINE KUCHEMANN, OXFORD, Boalch 3 number. KRAMER, J. P. and Sons. 1798.
ENGLAND. Accession number not known. Boalch 2 number: 1a.
Inscriptions: On label on soundboard: Sorte 12 N. 304/
Verfertiget|von|Job: Paul Kraemer = und_— Sohn] Type: Clavichord.
Instrumentenmacher|in Gottingen|in Dezembr. 1791. Date: 1800.
Compass: FF-a). Ownership. FORMERLY IN THE GERMANISCHES
Keyboard: White naturals, black sharps. NATIONALMUSEUM, NUREMBERG.
Number of roses: None.
Number: MI 270.
Exterior of case: Veneered.
Scale: 250 mm.
Inscriptions: Inscribed: Sorte No. 1, Nr. 478[Job. Paul
Kraemer und Sibne Gottingen] August 1800.
Length: 1750 mm. Remarks. The instrument, which had a pedal board, was
Width: 564 mm.
destroyed in World War II. The compass of the pedals
Depth: 172 mm.
was C-d.
Remarks: Naturals ivory with ebony arcaded fronts.
References: Huber, p. 128.
Sharps—ebony topped. External case veneered in walnut.
Complete set of string gauge numbers on keys. Lid Information supplied by: B2|Huber.
replaced in 1920/30s. Nameboard replaced. Legs missing. Boalch 3 number: KRAMER, J. P. and Sons. 1800.
Otherwise in fine playing condition. Boalch 2 number: 3.
Previous history: Discovered in Germany by the parents of
the present owner in the 1920s or 1930s. Restored in ‘Type: Fret-free clavichord.
1960s by Michael Thomas and restored again by David Date: 1801.
Leigh (Oxford) in 1989. Ownership: STADTISCHES MUSEUM, BRUNSWICK,
Information supplied by: Leigh. GERMANY. Accession number not known.
Boaleh 3 number: KRAMER, J. P. and Son. 1791. Inscriptions. Inscribed: Sorte 7, Nr sog/Verfertiget|von|
Job.
Boalch 2 number: None. Paul Kraemer und Sibnen|Instrumentenmacher|in|Gottingen|im
Oktober 1801.
Type: Fret-free clavichord with octave strings in the bass. Compass: FF-a’.
Date: 1797. Length: 1710 mm.
Ownership: MUSIKINSTRUMENTEN MUSEUM, Width: 550 mm.
BERLIN, GERMANY. Information supplied by: Bz.
Number: 4169. Boalch 3 number: KRAMER, J. P. and Sons. 1801.
Inscriptions: Inscribed: Jobann Paul Kraemer & Sabne, Boalch 2 number: 4.

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 KRAMER 465
‘Type: Fret-free clavichord. Information supplied by: B2|Weldon|Clutton|O’ BrienPC.
Date: 1803. Boalch 3 number: KRAMER, J. P. and Sons. 1803(3).
Ownership: FORMERLY IN THE GERMANISCHES Boalch 2 number: 6.
NATIONALMUSEUM, NUREMBERG.
Number: MI 264. Type: Fret-free clavichord with octave strings in the bass.
Inscriptions: Inscribed: Sorte 7, Nr s80/Johann Paul Kraemer Date: 1804.
snd Sibne, Géttingen|Dezember 1803. Ownership: SHRINE TO MUSIC MUSEUM,
Compass: FF-a’. VERMILLION, SOUTH DAKOTA, USA.
Remarks: Destroyed in World War II.
Number: 3335.
References: Huber, p. 128. Inscriptions: Inscribed: Sorte 1. N.364|Verfertiget/von|
Job:
Information supplied by: Bz|Hxber|Weldon. Paul Kraemer und Sibne|Instrumentenmacher|in|Gottingen|im
Boalch3 number: KRAMER, J. P. and Sons. 1803(1). July 1804.
Boalch 2 number: 5.
Compass: FF-a’.
Keyboard: Black naturals, white sharps.
Type: Fret-free clavichord. Exterior of case: Painted.
Date: 1803. Scale: 257 mm.
Ownership: HAENDEL-HAUS, HALLE, GERMANY. Length: 1707 mm.
Number: MS-84. Width: 545 mm.
Inscriptions: Inscribed Sorte 8, N.s78/Verfertiget von Job. Depth: 185 mm.
Pan! Kraemer und Sibnen, Instrumentenmacher in Gottingen in
Remarks. Naturals of ebony with fronts of embossed
Decemb:1803. paper. Sharps of ivory-capped black-stained wood. Sev-
Compass: FF-a’.
enteen octave strings in the bass (FF-A). Exterior painted
Exterior of case: Veneered.
mottled brown. Interior of brick-red paint except lid
Scale: 249 mm.
which has an allegorical painting. Raised on four turned
Length: 1700 mm.
Width: 555 mm. legs.
Peoions history: In the nineteenth century—part of the
Depth: 180 mm.
collection of Karl Haake, pianomaker of Hannover.
Remarks: Casework of pine, veneered in mahogany.
Previous history: Formerly in the Neupert Collection. Before 1910 owned by Professor C. Matschoss (later
director of the Deutsches Museum, Munich), who
References: HeydeHH, p. 21.
Information supplied by: Bz|Weldon|HeydeHH. acquired it through marriage. By 1910 it was purchased
Boalch number: KRAMER, J. P. and Sons. 1803(2). for the Museum’s collection with inventory number 25901.
Boalch 2 number: 52. On 24 October 1924, deaccessioned by the Deutsches
Museum, and presented to ‘the deserving industrialist’
Dr. Ing. Paul Reusch (1871-1957) as a mark of gratitude
‘Type: Fret-free clavichord.
Date: 1803. for his rebuilding of the Museum. Subsequently given by
Dr. Reusch to Schlossgutes Katherinenhof, Oppenweiler/
Ownership: THE LATE CECIL CLUTTON, ISLE OF
Wurttemberg. Given in 1953 to Dr. Reusch’s niece, Mrs.
MAN, ENGLAND.
Inscriptions. Inscribed: Sorte 4, Nr 571|Verfertiget von Job. Dagmar Bruch, church musician of Gottingen. Restored
Paul Kraemer und Sébnen Instrumentenmacher in Gottingen im ¢. 1965/6 by Dall, Hannover. 1980-¢. 1983 on loan to the
Ang. 1803. Musikwissenschaftliches Seminar der Universitat Got-
Compass: FF-a’. tingen. Mrs. Bruch sold it in 1983 to the dealer Bernhard
Keyboard: Black naturals, white sharps. von Hiinerbein, Cologne. Acquired by the Shrine to
Exterior of case: Painted. Music Museum in 1983.
Scale: 250 mm. References: STMCL. A coloured postcard is available from
Length: 1710 mm. the Shrine to Music Museum. See also AMIS-NEWS
Widtb: $45 mm. vol. XVII, no. 2, (June 1988), in which there is a picture
Depth: 174 mm. of Bernard Brauchli practising on the instrument during
Remarks: The compass is given by O’BrienPC as FF-P. the April 1988 meeting of the Midwestern Historical
Pine, uncarved, keys with slips of iron. Naturals of ebony Keyboard Society at Vermillion. ‘Important Acquisitions
with two grooves and flat ebony plates on the fronts. of 1983 Await New Galleries’, Shrine to Music Museum
Sharps of bone-capped, black-stained, wood. Soundboard Newsletter vol. XI, no. 2, (January 1984), pp. 1-2. ‘1983
of pine. Casework also of pine, now painted. String Acquisitions at USD Music Museum’, AMIS-NEWS vol.
gauges marked on keys. XIII, no. 2, (June 1984), p. 5. STMPS, p. 44.
Previous history: Formerly Captain J. Lane, Wanstead, Information supplied by: Weldon|Henning|Kottick|STMCL.
earlier T. W. Taphouse, who showed it at the International Boalch 3 number. KRAMER, J. P. and Sons. 1804.
Inventions Exhibition, 1885; earlier Carl Engel. Boalch 2 number: None.

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466 KRAMER
KRAMER, SIEGMUND THEODOR. Brandenbourg sous les voeux de Mr Carrier pour sa petite demoiselle
Type: Fret-free clavichord. gee 8 ans MDCCLXX.
Date: 1800(A). Specification: 1: 1x8’, 1x4’; 1: 1x8’.
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, Compass: EE-f'.
GERMANY. Remarks: The specification is reported as having ‘jeu de
Number: 32. luth’ on the upper manual. Whether this means a harp stop,
Inscriptions. Anscribed: Siegmund Theodor Krémer|in or a lute is not clear. Case of pine. Decorated soundboard
Géttingen|verfertigt Claviere u. Fortepiano’s, on label on the without rose, typical of the Lyons school. The owner is
soundboard. On another label H M/rq (Heyer Museum?). given by Pussiaw as ‘Coll. part. de La M.’.
On the inside of the case on the right a label with No. Information from: Pussian.
1326. Boalch 3 number: KROLL, C. 1770.
Compass: FF-a’. Boalch 2 number: None.
Keyboard: Black naturals, white sharps.
Number of roses: None. ‘Type: Two-manual harpsichord.
Exterior of case: Plain wood. Date: 1770(A).
Scale: 236 mm. Ownership: MME DEVIE.
Length: 1720 mm. Inscriptions: No signature, and no date.
Width: 554 mm. Specification: 1: 1x8’, 1x4’; Ul: 1x8’.
Depth: 172 mm. Compass: EE-P.
Remarks: Keys of alder, roof-carved. Naturals of ebony, Remarks: The specification is reported as having ‘jeu de
with one groove and fronts of brown-stained pear. Sharps luth’ on the upper manual. Whether this means a harp stop,
of bone-capped, brown stained pear. Soundboard of pine ora lute is not clear. Despite the absence of inscriptions, it
with four bars crossing the bridge, and parchment at each is attributed to Kroll on the grounds of its similarity with
end. Bridges of maple, both ends scrolled. Base boards of other surviving Kroll harpsichords.
pine and walls and hitch pin rail of maple. Wrestplank pine Previous history: Pussiau suggests that it was this instrument
with a maple cap, balance rail of pine with a beech cap. which was restored by Reinhardt von Nagel, and shown
Casework stained golden-brown. by him at Musicora, Paris, in 1992.
Previous history: 1910 Heyer Collection, Cologne. Information supplied by: Pussiau.
References: Henkelz, pp. 68-9, and illustrated at plates 38, Boalch 3 number: KROLL, C. 1770(A).
39, and 63. Boalch 2 number: None.
Information supplied by: Bz/Henkel2|Weldon.
Boalch 3 number. KRAMER, S. T. 1800(A). Type: Two-manual harpsichord.
Boalch 2 number: 8. Date: 1774.
Ownership: P. LACROIX, BELBEZF, FRANC
KRICKHOF, FREDERICK. Compass: EE-P.
Type: Wing spinet. Remarks: Shown in Bz with the date 1770, but this has been
Date: 1731. corrected by GL. There may be two Kroll harpsichords of
Ownership: PRIVATE. OWNERSHIP, RICHMOND, 1774, of possibly they are the same instrument. In view of
VIRGINIA, USA. the uncertainty, only one is recorded here.
Inscriptions: Friderick Krickbof Londini Fecit 1731. Previous history: Formerly in the possession of Claude
Specification: 1x8'(A). Mercier-Ythier. Possibly the same instrument allegedly
Compass: GG-e(A). dated 1774 acquired in Lyons in 1973 by Michael Thomas
Exterior of case: Plain wood. [Bz Addenda].
Remarks: Skunktail sharps. Walnut case. Information supplied by: B2|GL.
Previous history: Repaired by Alec Hodsdon in 1948. For- Boalch 3 number: KROLL, C. 1774.
merly owned by Mrs Cecil Burns, Tunbridge Wells, Boalch 2 number: 1.
England.
Information supplied by: B2|Watson. Type: Two-manual harpsichord.
Boaleh 3 number: KRICKHOF, F. 1731. Date: 1779.
Boalch 2 number: 1. Ownership: MUSEB GREVIN, PARIS, FRANCE.
Accession number not known.
KROLL, CHRISTIAN. Specification: 2x8", 1x4).
Type: Two-manual harpsichord. Compass: EFA).
Date: 1770. Remarks: Five octaves and one note.
Ownership: PRIVATE COLLECTION. Previous history: This instrument was formerly incorrectly
Inscriptions: Cht. (sie) Krollja.c./1770 on the keyboard, and attributed to Christian Koch (9.1.).
on the belly rail Christian Kroll de Soldine dans 0 Vilectorat de Information supplied by: B2.

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 KUNZ 467
Boalch3 number: KROLL, C. 1779. Compass: FF-a’(A).
Boalch 2 number: 2. Keyboard: Black naturals, white sharps.
Length: 1600 mm.
KUNZ, IGNAZ. Width: 480 mm.
Type: Fret-free clavichord. Remarks: Bohemia is now Czechoslovakia and Jaromer is
Date: 1821. Josephstadt. Black naturals, ivory sharps.
Ownership. NATIONAL MUSEUM, PRAGUE, Information supplied by: Bz.
CZECHOSLAVAKIA. Accession number not known. Boalch3 number: KUNZ, I. 1821.
Inscriptions: Ignaz Kunz Jaromer, 1821. Boalch 2 number: 1.

ratizes ty GOOle
 L
L., H. V. Keyboard: Black naturals, white sharps.
‘Type: Two-manual harpsichord. Number of roses: 1.
Date: 1762. Remarks: Twin instrument to that in the Museum (Vae-
Ownership: BRUSSELS MUSEUM, BRUSSELS, terlein), Stuttgart (see below). The maker’s name is almost
BELGIUM. certainly Labréche. It is also almost certainly the instru-
Number: 1599. ment shown under CLAUDE in Bz. Naturals appear to
Inscriptions: Landate Deum in Cymbalis et Organo. Dated be of blackwood and skunktail sharps of ivory or bone.
1762 on soundboard. Fascia board in front of wrestplank is cut away like those
Number of roses: 1. of the instruments of Vaudry and Garnier. The scale is
Style of rose: Seated harping figure. reported to be ¢. 13 inches (330 mm.) and length ¢. 8”
Remarks: Hubbi96s, pp. 77 and 156 reports the date as (2438 mm.). According to Bz, the instrument given under
1702. CLAUDE has a 4’ dogleg.
Previous history: Formerly in the private collection of V. Information supplied by: Champ.
and J. Mahillon. Boalch 3 number: LABRECHE(A), C. 1699.
References: Catalogue descriptif et analytiqne du Musée Instru- Boalch 2 number: Probably number 1 under CLAUDE.
mental . . . % édition. Gand, 1892~1922, in which the
Netherlands is given as the instrument’s place of origin. Type: Two-manual harpsichord.
Information supplied by: Bz|Koster. Date: 1700(A).
Boalch3 number: L., H. V. 1762. Ownership. MUSEUM (VAETERLEIN),
Boalch 2 number: 1. STUTTGART, GERMANY. Accession number not
known.
LAAG, HEINRICH. Inscriptions: None. Original name-batten lost.
Type: Clavichord. Specification: 2x8’, 1x4’.
Date: 1756. Compass. GG,AA-c’.
Ownership. GERMANISCHES NATIONAL- Keyboard: Black naturals, white sharps.
MUSEUM(A), NUREMBERG, GERMANY. Number of roses: 1.
Accession number not known. Remarks; Maker’s name not entirely certain. It could be
Inscriptions: Heinrich Laag Osnabruck 1756. either abréche or Lebréche. The harpsichord is reported to
Remarks: Bz shows this instrument as having been in the be displayed in the museum as by an anonymous Alsatian,
Neupert Collection, but it does not appear in Huber as German, or even Swiss maker. Its attribution to Labréche
being in the Germanisches Nationalmuseum Collection as rests on its similarity to the harpsichord shown above as
might be expected. It has hand stops, but what they LABRECHE{A), C. 1699.
control is not known. Previous bistory: According to Champ, about 1979 in Paris,
Previous bistory: Formerly in the Neupert Collection. then passed through the hands of Pelham Galleries,
References: Not in Huber. London. Restored by Christopher Nobbs.
Information supplied by: Bz. References: Mlustrated in the HFM.
Boalch3 number: LAAG, H. 1716. Information supplied by: Champ.
Boalch 2 number: 1. Boalch 3 number. LABRECHE(A), C. 1700(A).
Boalch 2 number: None.
LABRECHE(A), CLAUDE.
Type: Two-manual harpsichord. LADYMAN, JOHN.
Date: 1699. Type. Wing spinet.
Ovnersbip: PRIVATE COLLECTION, BEAULIEU, Date: 1694(A).
NICE, FRANCE. Accession number not known. Ownership: Not known.
Inscriptions: According to Champ inscribed fait ¢ Carpentras, Inscriptions. Jobannes Ladyman Londini Fecit 1694.
Clande Labréche, 1699, but according to Bz Claude... a Specification: 1x8".
Carpentras, 1699. Compass: AA-g’.
Specification: 2x8’, 1x4’. Keyboard: White naturals, black sharps.
Additional features: 5 hand stops. Exterior of case: Crossbanded.
Compass: GG,AA-c?. Length: 1840 mm.

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 LALANDE 469
Remarks: According to Bz, the date is falsified. Ivory Additional features: Harp stop.
naturals, with arcaded fronts; sharps of ebony. Case sides Compass: C-P.
of walnut with sycamore stringing. Lid of mahogany of Keyboard: White naturals, black sharps.
same style. Stand and lid not original. According to Bz, Namber of roses: 1.
this instrument would appear to have been made thirty Style of rose: Seated harping figure.
or forty years later than the date which it bears, and Exterior of case: Painted.
certainly the style of the external casework, and the Scale: 358 mm.
compass would confirm this. The catalogue of the sale at Length: 1983 mm.
Sotheby’s on 7 November 1968 notes that the provenance Width: 841 mm.
of the other surviving Ladyman Spinet, dated 1741 (see Depth: 229 mm.
below), has become muddled with this one. The Sotheby’s Remarks: This is the only known instrument by this
catalogue of the sale of this spinet on 5 April 1984 states: maker, though he did enlarge instruments by Ruckers
“The sides of the case are all that is left of the original and Couchet. Variant spellings of the name include:
spinet. The keyboard is old but from another instrument, Carl, Carel; Fredrick, Friedrich, Laeske or Laescke. The
probably not even a spinet, and to fit it into this one, the instrument is currently (1991) on loan from Dr. Libin to
compass has had to be reduced by one note. All other the Museum. The front 8’ and 4’ are quilled and the back
parts are modern reproductions’. Since the compass of 8’ leathered. The beech registers extend through the right
this spinet is one note shorter than the 1741 instrument, cheek-piece, where they are drilled for tassels. Ivory-faced
the above description would appear to be correct. naturals inscribed with 2 pairs of lines which have been
Previous history: Restored by Trevor Beckerleg in 1967 painted red in the grooves, and have arcaded fronts;
when he moved the bridge. Bought by Mrs. I. Enthaven ebony sharps. Jackrail missing. Soundboard, having CFL
at Sotheby’s, 7 November 1968, from Mrs. Titania Hill, rose with harping figure, painted with flowers and berries.
for £410. Sold again on 5 April 1984 for £5,500. Exterior of instrument is gilt over gesso, painted over
References. Sotheby’s Catalogue of sale on 5 April 1984. with arabesques and garlands of leaves and flowers, putti
Information supplied by: Bz|Sothebys| Luckett. with instruments, musical instruments and manuscripts.
Boalch 3 number. LADYMAN, J. 1694(A). Interior lid with Wattean style fete galant and pastoral
Boalch 2 number: 1. scenes. Queen Anne-style stand with six cabriole legs and
drawer.
Type: Wing spinet. Previous bistory: The instrument was brought from Paris
Date: 1741. to the USA around the turn of the century by P. A.
Ownership. WILLIAM GOEDDE, NEW YORK, USA. Starck, a Chicago piano maker, and lay in a piano dealer’s
Inscriptions. Jobannes Ladyman London 1741. The name W shop for several more years until it was discovered there
Wilkinson appears in ink on the wrestplank, back of by the present owner.
nameboard, and on the top and bottom keys, with the References: See: Libin in GSJ XXVIII, April 1975, pp. 43-
date 1741 on them. 9, and MMACL.
Specification: 1x8". Information supplied by: Bz/Libin|MMACL.
Compass: GG-g). Boaleb 3 number. LAESCKE, C. F. 1768.
Remarks: Skunktail sharps. Boalch 2 number: 1.
Previous history: Lady Bland. Repaired by Sybil Marcuse,
New York, 1953. C. F. Colt, 1956. Miss Lucile Hook, New
York. Mr. Goedde was known to have the instrument in LALANDE, DE.
1972. Type: Two-manual harpsichord.
References. Sotheby’s sale catalogue of 7 November 1968. Date: 1746.
Information supplied by: B2|Sotheby’s. Ownership: RHODE ISLAND SCHOOL OF DESIGN,
Boalch3 number: LADYMAN, J. 1741. PROVIDENCE, RHODE ISLAND, USA. Accession
Boalch 2 number: 2. number not known.
Inscriptions: Inscribed on the front face of the wrestplank:
LAESCKE, CARL FRIEDERICH. Fait par Mr. de Lalande a Caen 1746.
‘Type: Single-manual harpsichord. Specification: 2x8’, 1x4’.
Date: 1768. Additional features: Shove coupler.
Ownership: LAURENCE LIBIN/METROPOLITAN Compass: FF-f(A).
MUSEUM OF ART, NEW YORK, USA. Number of roses: 1.
Naaber: L.1975.49. Style of rose: Italian style, of parchment.
Inscriptions: Inscribed on nameboard; C./ F.4 LAESCKE Length: 2019 mm.
FECIT AMSTERDAM AN2o. 1768. The number 6 is Width: 876 mm.
pencilled clearly on the belly rail. Remarks: The 4’ is on the upper manual.
Specification: 2x8’, 1x4’. Information supplied by: Bz.

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470 LAN
Boalch3 number: LALANDE, de. 1746. Remarks: GL believes that this instrument was destroyed
Boalch 2 number: 1. in the bombing of Rotterdam in World War II.
Previous history: Was in the Savoye Collection.
LAN. References: Recorded and illustrated in Savoye Collection
Type: Wing spinet. III sale catalogue (see above).
Date: 1700. Information supplied by: B2/GL.
Ownership: Not known. Boalch 3 number: LE. ROY, M. 1685.
Inscriptions: Inscribed: Lan dé Paris 1700. Boalch 2 number: 1.
Specification: 1x8.
Remarks: Seen in an attic in Brussells by Hugh Gough LEENHOUWER, ABRAHAM.
in 1976. Flowers on upper surface of jackrail. Type: Two-manual harpsichord.
Information supplied by: Hugh Gough. Date: 1787.
Boalch 3 number: LAN. 1700. Ownership: GEMEENTEMUSEUM, THE HAGUE,
Boalch 2 number: None. NETHERLANDS.
Number: Ec632-1933.
Inscriptions. LEENHOUWER FECIT LEYDEN Ao
LANDI, GIOVANNI.
1767 on the nameboard.
‘Type: Virginal.
Date: 1670. Specification: 2x8", 1x4).
Compass: FF-P.
Ownership: LISBON CONSERVATOIRE, LISBON,
Keyboard: White naturals, black sharps.
PORTUGAL. Accession number not known. Number of roses: 1.
Inscriptions: Joannes Landi fecit Sienna Anno Domini 1670.
Specification: 1x8(A). Style of rose: Trophy of instruments.
Compass: C/E-P. Scale: 341 mm.
Length: 2370 mm.
Number of roses: 1. Width: 930 mm.
Style of rose: Geometrical pattern.
Depth: 270 mm.
Length: 1630 mm.
Width: 550 mm. Remarks. Jack-slides protrude through cheek-piece for
changes of registration. Jackrail modern. Ivory naturals.
Remarks: Marine landscape painting on lid. The Clementini Raised on original stand with drawer in cheekside.
family arms are painted on the instrument.
Previous history: Formerly in the Régibo Collection, Renaix,
Previous history: Formerly belonged to Clementini family.
and the collection of D. F. Scheurleer.
References: Illustrated in the Lisbon Conservatoire
catalogue.
References: A Régibo: Catalogue d’sne bibliothéque musicale et
d'une collection d'antiquities. Renaix 1897. Cwrtis p. 53.
Information supplied by: B. Rasselligs9 p. 50.
Boalch 3 number. LANDI, G. 1670.
Information supplied by: B?|/HaagCL.
Boalch 2 number: 1.
Boalch3 number: LEENHOUWER, A. 1787.
Boalch 2 number: 1.
LANGE, JOHANN FRIEDRICH.
‘Type: Fret-free clavichord with octave strings in the bass. LEFEBVRE, NICHOLAS(II).
Date: 1797. ‘Type: Two-manual harpsichord.
Ownership. PRIVATE COLLECTION, GERMANY. Date: 1755.
Inscriptions: Job. Friedr. Lange Schleswig den 1 Mai 1797. Ownership: GUSTAV LEONHARDT.
Compass: FF-f. Inscriptions. Nicholas Lefebvre Ronen 1755. The date is also
Remarks: A large unfretted clavichord with octave strings on the soundboard near the spine.
in the bass. Specification: 2x8’, 1x4’.
Information supplied by: Koster. Additional features: Shove coupler.
Boalch 3 number: LANGE, J. F. 1797. Compass: FF-c'.
Boalch 2 number: None. Keyboard: Black naturals, white sharps.
Exterior of case: Painted.
LE ROY, MARTIN. Remarks: External decoration, red and gold bands. Ori-
Type: Two-manual harpsichord. ginal stand missing.
Date: 1685. Information supplied by: GL.
Ownership: FORMERLY IN ROTTERDAM, Boalch 3 number: LEFEBVRE, N. 1755.
POSSIBLY DESTROYED. Boaleh 2 number: None.
Inscriptions: Inscription given in the Savoye Collection III
sale catalogue (Paris, 13 June 1924) is: Le Roy pingebat LEHNER, GOTTLIEB.
[sie? or fingebat] 1685. Type: Clavichord.

ized ty GOOgle
 LENNING 471
Date: 1816. ‘Type: Fret-free clavichord with octave strings in the bass.
Ownership: INSTITUTE FOR SCIENTIFIC Date: 1787.
RESEARCH ON THE THEATRE AND MUSIC, ST. Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
PETERSBURG, RUSSIA. Accession number not GERMANY.
known. . Number: 28.
Inscriptions: Signed Gottlieb Lebmer, biirgerlicher Instru- Inscriptions: Carl Lemme Organist|in Brasnschweig| Anno 1787.
mentenmacher wobnhaft in Pressburg auf der Hochstrasse den 19 Nro 802 Sorte 14 on the soundboard with the coat of
Januari An. 1816. arms of Brunswick above. On the FF and FF¥ keys the
Compass: FF-g'(A). inscription N. i. Magonen, the meaning of which is
Remarks: Bz gives compass as F-G, four octaves plus two unknown. On the bottom boards Konig, Sachsische Staat-
notes, 51 keys, but this seems unlikely since it would give seisenbabn von Dresden-Nexstadt and the stamp 21 Febr.
either FF-g*, or F-g’. 1906, and nach Leipzig.
Previous bistory: Formerly in the Hermitage. Compass. FF-a.
References: \ustrated in Muzyka » muxee by S. L. Ginzburg, Keyboard: Special naturals and sharps.
Leningrad, 1927. Number of roses; None.
Information supplied by: B2. Exterior of case: Vencered.
Boalch 3 number: LEHNER, G. 1816. Scale: 266 mm.
Boalch 2 number: 1. Length: 1800 mm.
Width: 559 mm.
LEMME, FRIEDRICH CARL WILHELM. Depth: 201 mm.
‘Type: Fretted clavichord with octave strings in the bass. Remarks. An unusual shape—rectangular but with roun-
Date: 1766. ded D-shaped ends. Keys of alder. Naturals, tortoise-shell,
Ownership: DEUTSCHES MUSEUM, MUNICH, with similar fronts, and sharps of black-stained pear capped
GERMANY. Accession number not known. with mother-of-pearl (but not original). Soundboard of
Inscriptions: Inscribed C.W. Lemme, Brawnschweig 1766 on spruce, originally unbarred, but now with one bar crossing
the soundboard in a single line between the wrest-pins the bridge. Bridges of an unidentified timber. Seventeen
and the case. octave strings in the bass. Two series of string gauges
Compass: C-P. marked on the keys, probably for octave strings FF-A
Keyboard: Black naturals, white sharps. and unison F-a’. The lack of numbers in the unison series
Exterior of case: Plain wood. for FF-E probably indicates covered strings. Fritz (q.v.)
Scale: 292 mm. 1751, also of Braunschweig, follows the same practice
Length: 1509 mm. [Barnes]. Case of spruce veneered with oak, as is the
Width: 426 mm. hitch-pin rail. Wrestplank of beech. A copy of this
Depth: 160 mm. instrument is owned by the Braunschweigisches Landes
Remarks: Fifty-four keys and thirty-nine courses. Thirteen museum, Brunswick.
octave strings in the bass. Keys probably of pine, Previous history: The instrument was in Dresden in 1906
roof-carved. Key slips of iron. Naturals, ebony with and by 1910 was in the Heyer collection, Cologne.
four grooves and embossed paper fronts. Sharps of References: Henkelz, pp. 62-4 and illustrated at pls. 34, 35,
bone-capped, black-stained wood. Soundboard of pine. and 62.
Bridges of beech. The 4’ bridge has fourteen pin holes, Information supplied by: B2|Henkel2|Weldon| Abrens.
though the top one is not used. Casework all pine with Boalch 3 number: LEMME, C. F. W. 1787.
internal members of beech. Boalch 2 number: 2.
References: Bz.
Information supplied by: B2|Weldon.
Boalch 3 number: LEMME, C. F. W. 1766. LENNING, CARL PETTER.
Boalch 2 number: 1. ‘Type: Fretted clavichord.
Date: 1765.
‘Type: Fret-free clavichord. Ownership: FINLANDS NATIONAL MUSEUM,
Date: 1782. HELSINGFORS, FINLAND.
Ownership: KLAUS & TILL HARLAN, EXTERTAL, Number: 4470.
GERMANY. Inscriptions: Label on the area of soundboard between the
Inscriptions. Handwritten inscription: Car/ Lemme Organist wrest-pins and the case: Férfardigat af Carl Pet. Lenning,
in Braunschweig fecit Anno 1782, Nro: 606 Sorte 7. Musicaes Directeur, den forsta, Vid Longl: Acadi:i Abo. 1765.
Compass: FF-a. Compass. C-P.
Information supplied by: Bemmann. Exterior of case: Painted.
Boalch 3 number: LEMME, C. F. W. 1782. Length: 1581 mm.
Boalch 2 number: None. Width: 486 mm.

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472 LEO
Remarks. Fifty-four keys and thirty-seven courses. Sound- LEONI, GIOVANNI PAOLO.
board decorated with flowers. Internal lid painting. Type: Single-manual harpsichord.
Painted externally. Date: 1773.
Previous history: Restored 1890 & 1936. Ownership: METROPOLITAN MUSEUM OF ART,
References: H-O No. SF NM 4470. Illustrated and described NEW YORK, USA.
at fig 116A and 116B on p. 133. Number: 89.4.1226.
Information supplied by: Weldon|H-O. Inscriptions: Inlaid on nameboard JO. PAULUS CIV.
Boalch 3 number: LENNING, C. P. 1765. [coat of arms] RH. F. AN. D. MDCCLXXIII. While
Boalch 2 number: None. Hirt assigns this maker to Rome, B* suggests that CIV.
RH. be interpreted as CIVITATIS RHEGINAE, i.e.
Reggio di Calabria. MMA suggests that the coat of arms
LEO, JOHANN CHRISTOPH (1).
is that of the Bonhold family (Counts of the Holy Roman
Type: Spinet.
Empire).
Date: Not known.
Ownership: PRIVATE COLLECTION, MELROSE,
Specification: 2x8".
Compass: C/E-c’, short octave.
SCOTLAND.
Keyboard: White naturals, black sharps.
Information supplied by: B?.
Number of roses: .
Boalch3 number: LEO, J. C. n.d.
Style of rose: Parchment.
Boaleh 2 number: 1
Exterior of case: Plain wood.
Scale: 233 mm.
LEO(A), MANUEL ANJOS Length: 1519 mm.
Type: Single-manual octave harpsichord. Width: 712 mm.
Date: Not known. Depth: 167 mm.
Ownership: MUSIKINSTRUMENTEN MUSEUM, Remarks: Boxwood naturals and arcades. Sharps of
BERLIN, GERMANY. laburnum with ivory studs at distal end. Separate outer
Number: 4. case is painted. Interior keywell veneered with walnut
Inscriptions. Partially illegible inscription on the top key: with inlaid inscriptions and coat of arms.
M(I/ Anjo fiil[tbo de|Mig.'| Anjo|s1/Fecit]. . .J.. . 3. Previous history: Possibly the Bonhold family (Counts of
Specification: 2x4". the Holy Roman Empire). Crosby Brown Collection 1889.
Compass: C-d. References: MMA. MMACL. Photos (negative numbers
Keyboard: White naturals, black sharps. 129172, 130410, etc.) available from the Museum.
Number of roses. None. Information supplied by: B?|MMA|MMACL.
Exterior of case: Painted. Boalch 3 number: LEONI, G. P. 1773.
Case construction: Italian style—false inner/outer. Boalch 2 number: 1.
Scale: 130 mm.
Length: 1377 mm. LEVERSIDGE, ADAM.
Width: 780 mm. Type: English rectangular virginal.
Depth: 180 mm. Date: 1666.
Remarks: The Museum dates the instrument as beginning Ownersbip: YALE UNIVERSITY COLLECTION OF
of the eighteenth century, and Ber/inCat, p. 155, gives the MUSICAL INSTRUMENTS, USA.
background to a number of attempts to assign the Number: 4871.60.
instrument to dates (1703 having been quoted by some Inscriptions. On jackrail: Adamus Lenersidge Londini fecit
authorities), and also sifts the evidence for the name of 1666. On the back of the nameboard: Restored by Chickering
the maker, which now seems likely to have been Manuel and Sons under the direction of Arnold Dolmetsch. Boston
Anjo(s), the ‘Leo’ being questionable. Box naturals, sharps U.S.A. 1909.
of palisander. Three carved rosettes on the foreboard. Specification: 1x8".
The outer case has three layers of paint, brown, green, Compass: GG/BB-P, short octave.
and brown. BerlinCat, pp. 157-8, gives details of the Keyboard: White naturals, black sharps.
changes undergone by the instrument. Number of roses: 1.
Previous history: Formerly the property of Professor E. V. Style of rose: Parchment.
Wagner, Lisbon, thence to the Paul de Wit Collection, Length: 1683 mm.
Leipzig, and acquired by the Berlin Museum in 1888. Width: 508 mm.
References: BerlinCat, pp. 155~9, plus illustrations and a Remarks: A typical English virginal. The rose is of carved
monochrome photograph. wood and parchment. Naturals of boxwood, sharps of
Information supplied by: B?|Droysen-Reber|Elste|BerlinCat. oak. Outer case of plain wood. Inside domed lid is
Boalch 3 number. LEO(A), M. A. n.d. painting of nobles and gentry in a pastoral landscape
Boalch 2 number: 1. (usually thought to be the Mall in St. James’s Park with

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 LINDHOLM 473
a distant view of Arlington House). Drop board with Number; KGW 04.052.
figures in a pastoral landscape. Front of instrument in Inscriptions. On the reverse of the fascia board Jobann
panels of gilded parchment, or more probably—paper. Leydecker K: K: Hofforgelmacher fecit Vienna 175).
On a stand with turned barleysugar-twist legs, and Specification: 2x8’.
stretchers of similar design. Keyboard: Black naturals, white sharps.
Previous bistory: Formerly owned by Messrs Chappell, who Number of roses: None.
described it as having once belonged to Nell Gwynn, and Exterior of case: Plain wood.
showed it at the International Inventions Exhibition, Scale: 268 mm.
1885. Subsequently owned by T. Mackinlay, E. F. Length: 2160 mm.
Rimbault, Arthur F. Hill, Belle Skinner, and Morris Width: 826 mm.
Steinert. Depth: 220 mm.
References: Wustrated in Belle Skinner Collection catalogue Remarks. Naturals of ebony, sharps with ivory tops.
pp. 35-8. Hirt pp. 180-1. Fifty-seven keys. It is not clear from the catalogue what
Information supplied by: B*|Repbann|Hirt/Martin. the compass is, and how the octaves are broken, however,
Boalch3 number: LEVERSIDGE, A. 1666. it is believed that the arrangement is similar to that found
Boalch 2 number: 1. in instruments BONI, G. B. 1619(A) and ZENTI, G.
165 3(A). It appears, however, that the sounding compass
Type: English rectangular virginal.
Date: 1670. is FF-f. Outer case of walnut.
Previous bistory: Shown in B? as being at Schloss Eggen-
Ownership: ASHMOLEAN MUSEUM, OXFORD,
burg, Graz.
ENGLAND.
Number: Boyden, No. 43.
References: The Museum catalogue quotes references:
Inscriptions. Adamus Lemersidge Londini fecit 1670. Walter (1972) 240 ff.; Stradner (1973) Nr. 3; Stradmer (1985)
Specification: 1x8’. 14.
Compass. GG/BB-f, short octave. Information supplied by: B?|Stradner.
Keyboard: White naturals, black sharps. Boalch3 number: LEYDECKER, J. 1755.
Number of roses: 1. Boalch 2 number: 1.
Style of rose: Geometrical pattern.
Exterior of case: Plain wood. LINDHOLM, PEHR.
Scale: 290 mm. Type: Fret-free clavichord with octave strings in the bass.
Length: 1704 mm. Date: 1776.
Width: 547 mm. Ownership: LANSMUSEET I GAVLEBORGS LAN,
Depth: 222 mm. GAVLE, SWEDEN.
Remarks. Naturals of box, with gilt embossed paper Number: 11000.
fronts, sharps of bog-oak. Fifty-five key levers of pine. Inscriptions. Keyfronts have initials PLH.
Spine and bottom boards of pine, remainder of case in Compass. FF-a’.
oak. Cedar mouldings. Appliqué stamped gilt paper in Scale: 314 mm.
keywell, on front of inner case, around rim, and on Length: 1995 mm.
jackrail. Soundboard and inside of domed lid painted, the Width: $70 mm.
latter representing St. James’s Park. Fall board also Remarks: Twenty-two octave strings in the bass. The
with similar scene. Raised on non-original stand with fourteen lowest 8’ strings and five lowest 4’ strings are
barley-twist legs and matching stretchers. wound. Keyboard has Swedish rack.
Previous bistory: Formerly the property of the late Arthur References: H-O No. S 21 GM 11000.
F. Hill, London, whose family gave it to the Ashmolean Information supplied by: H-O|Weldon| Barrell.
Museum in 1939. Boalch 3 number: LINDHOLM, P. 1776(1).
References: Ilustrated in colour in DEF III.4. See also D. Boalch 2 number: None.
Boyden’s Catalogue of Instruments in the Hill Collection
at the Ashmolean Museum, Oxford.
Information supplied by: B?|Martin. Type: Fret-free clavichord.
Boalch3 number: LEVERSIDGE, A. 1670. Date: 1776.
Boalch 2 number: 2. Ovnership: ABO STADS HISTORISKA MUSEET,
ABO, FINLAND.
LEYDECKER, JOHANN. Number: 3765.
Type: Single-manual harpsichord. Inscriptions: On a label: Férfardigadt af Instrumentmakeren
Date: 1755. Pebr Lindbolm Stockholm 1776 No. 1.
Ownership: STEIERMARKISCHES Compass: FF-a’.
LANDESMUSEUM, JOANNEUM, GRAZ, Scale: 320 mm.
AUSTRIA. Length: 1869 mm.

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474 LINDHOLM
Width: 569 mm. Compass. FF-a’.
Remarks: Keyboard has Swedish rack. Scale: 320 mm.
References: H-O No. SF ASHM 3765. Label illustrated at Length: 1997 mm.
H-O p. 254. Width: 584 mm.
Information supplied by. B*|Weldon| Barrell] H-O. Remarks: Twenty-two octave strings in the bass. Sound-
Boalch 3 number. LINDHOLM, P. 1776(2). board of pine.
Boalch 2 number: 1. References: H-O No. S 12 HM 198-12. See also: Glarll, 3
(1953).
‘Type: Fret-free clavichord with octave strings in the bass. Information supplied by: B?|Weldon, Barrell, H-O.
Date: 1780. Boalch 3 number: LINDHOLM, P. 1782.
Ownership: JOAN BENSON, EUGENE, OREGON, Boalch 2 number: 3.
USA.
Inscriptions: On a paper label on the soundboard: Fér- ‘Type: Fret-free clavichord with octave strings in the bass.
Sardigadt af Pebr Lindbolm, Instrumentmakare, Stockholm, Ao Date: 1783(A).
1780. Ownership: KULTURHISTORISKA MUSEET FOR
Compass: FF-a). SODRA SVERIGE (KULTUREN), LUND,
Keyboard: Black naturals, white sharps. SWEDEN.
Number of roses: None. Number. 16.055.
Exterior of case: Painted. Inscriptions: Keyfronts have initials PLH.
Scale: 254 mm. Compass: FF-c'.
Length: 1994 mm. Exterior of case: Painted.
Width: 578 mm. Scale: 320 mm.
Depth: 178 mm. Length: 2019 mm.
Remarks: Naturals of ebony with embossed fronts with Width: 584 mm.
Lindholm’s initials; sharps bone or ivory topped. Octave Depth: 198 mm.
strings for the lowest twenty-two notes. Outer case is Remarks: Date is questioned by H-O. Keys of pine,
painted (modern) over what might be a plain wood finish, roof-carved. Keyboard has Swedish rack. Soundboard of
or might have been painted originally. B? says this may pine, overhangs top keys. Bridges of birch. Twenty-two
well be the same as the instrument recorded by him as octave strings in the bass. Casework all pine, veneered
number 2. with oak, but subsequently painted brown. Internal
Previous history: Purchased by Miss Benson from Jérg members oak. The lid and key-flap are missing.
Demus in the early 1970s. The latter had bought it from References: H-O No. S 12 KM 16.055.
the Musikhistorisk Museum, Stockholm. Earlier history Information supplied by: Barrell|Weldon|H-O.
not known. Boalch 3 number: LINDHOLM, P. 1783(A).
References: Drawing and further information available Boalch 2 number: None.
from Bjarne Dahl.
Information supplied by: B?|/Dabl. ‘Type: Fret-free clavichord with octave strings in the bass.
Boalch 3 number. LINDHOLM, P. 1780(1). Date: 1785.
Boalch 2 number: 2a. Ownership: NORDISKA MUSEET, STOCKHOLM,
SWEDEN.
Type: Clavichord. Number: 53.988.
Date: 1780. Inscriptions: Keyfronts have initials PLH.
Ownership: STOCKHOLM, SWEDEN. Compass. FF-c'.
Remarks: This could well be any one of a number of Scale: 322 mm.
instruments in Stockholm, or could be that registered as Length: 2027 mm.
belonging to Miss Joan Benson (see above). Width: 590 mm.
References: Hirt. Remarks: Twenty-two octave strings in the bass. Sound-
Information supplied by: B’. board of pine.
Boalch 3 number: LINDHOLM, P. 1780(2). References: H-O No. S 01 NordM 53.988.
Boalch 2 number: 2. Information supplied by: B?/Barrell|Weldon]H-O.
Boalch 3 number: LINDHOLM, P. 1785(1).
Type: Fret-free clavichord with octave strings in the bass. Boalch 2 number: 4.
Date: 1782.
Ownership: HELSINGBORGS MUSEET, Type: Fret-free clavichord with octave strings in the bass.
HELSINGBORG, SWEDEN. Date: 1785.
Number: 198-12. Ownership: KALMAR LANS MUSEUM, KALMAR,
Inscriptions: Keyfronts have initials PLH. SWEDEN.

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 LINDHOLM 475
Number: 7330. Remarks. There appears to be some controversy about
Inscriptions: Keyfronts have initials PLH. the date for it is reported that the data sheet supplied by
Compass: FF-c'. the Museum gives it as 1797?. Twenty octave strings in
Scale: 330 mm. the bass. Keys of pine, roof-carved with a Swedish rack.
Length: 2023 mm. Soundboard of pine. Casework pine with juniper veneer
Width: 597 mm. on the inside. Hitch-pin rail of oak, balance-rail of birch.
Remarks: Twenty-two octave strings in the bass. Keyboard Keywell veneered in mahogany, birch, and kingwood.
has Swedish rack. Soundboard of pine. References: H-O No. S 12 KM 4.222.
References. H-O No. S 08 KLM 7330. Information supplied by: Barrell|Weldon|H-O.
Information supplied by: Barrell|Weldon|H-O. Boalch 3 number: LINDHOLM, P. 1786(A).
Boalch 3 number: LINDHOLM, P. 1785(2)- Boalch 2 number: None.
Boalch 2 number: None.
‘Type: Fret-free clavichord with octave strings in the bass.
‘Type: Fret-free clavichord with octave strings in the bass. Date: 1787.
Date: 1785. Ownership: STATENS MUSIKSAMLINGAR,
Ownership: S. R. BARRELL, USA. MUSIKMUSEET, STOCKHOLM, SWEDEN.
Inscriptions. Keyfronts have initials PLH. Inscribed: Fér- Number: 28.
fardigt af Pebr Lindholm, instrumentmakare, Stockholm, er Inscriptions: Keyfronts have initials PLH.
178. Compass: FF-2,
Compass: FF-a. Scale: 311 mm.
Keyboard: Black naturals, white sharps. Length: 2023 mm.
Number of roses: None. Width: 588 mm.
Exterior of case: Painted. Remarks: Twenty-two octave strings in the bass. Keyboard
Scale: 325 mm. with Swedish rack. Soundboard of pine.
Length: 2070 mm. References: H-O No. S 01 SMS/MM 28.
Width: 590 mm. Information supplied by: Bz|/Weldon|Barrell|H-O.
Depth: 250 mm. Boalch3 number: LINDHOLM, P. 1787.
Remarks: Octave strings for the lowest twenty-one notes. Boalch 2 number: 5.
Naturals ebony, sharps bone.
References: H-O No. NL. S. Barrell. Type: Clavichord.
Information supplied by: Barrell H-O. Date: 1788.
Boalch 3 number: LINDHOLM, P. 1785(3). Ownership: CITY OF HAMAMATSU, JAPAN.
Boalch 2 number: None. Accession number not known.
Inscriptions. Forfardigadt af Pebr Lindbolm, Instrumentmakare
Type: Clavichord. Stockbolm or 1788.
Date: 1786. Compass: FF-c}(A).
Ownership: OSTERGOTLANDS MUSEUM, Previous bistory: Bought at Sotheby’s 8 March 1973 by Dr.
LINKOPING, SWEDEN. Accession number not and Mrs. R. M. Rosenbaum.
known. References: The acquisition of the Rosenbaum Collection by
References: Nord (1966). the city of Hamamatsu was announced in ASMIS-NEWS,
Information supplied by: Bz. XX, No. 3, October 1991.
Boalch 3 number: LINDHOLM, P. 1786. Information supplied by: Bz.
Boalch 2 number: 4a. Boalch 3 number: LINDHOLM, P. 1788.
Boalch 2 number: 52.
‘Type: Fret-free clavichord with octave strings in the bass.
Date: 1786(A). ‘Type: Fret-free clavichord with octave strings in the bass.
Ownership. KULTURHISTORISKA MUSEET FOR Date: 1789.
SODRA SVERIGE (KULTUREN), LUND, Ownership: STIFTELSEN MUSIKKULTURENS
SWEDEN. FRAMJANDE, STOCKHOLM, SWEDEN.
Number: 4.222. Number: KL 50.
Inscriptions: Keyfronts have initials PLH. Inscriptions: P. Lindholm, 1789.
Compass: FF-c*. Compass: FF-c*.
Exterior of case: Veneered. Stale: 305 mm.
Scale: 332 mm. Length: 2049 mm.
Length: 2030 mm. Width: 594 mm.
Width: 592 mm. Depth: 238 mm.
Depth: 202 mm. Remarks. Eighteen octave strings in the bass. Keyboard

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476 LINDHOLM
with Swedish rack. Soundboard of pine. Exterior and Type: Fret-free clavichord.
interior painted in wood imitation. In a poor state of Date: 1792.
Preservation. Ownership: Not known.
Previous bistory. Acquired as part of the Nydahl Collection. Inscriptions: Labelled on the soundboard Férfardigadt af
References: H-O No. S o1 SMF KI 50. See also: SMF Pebr Lindbolm, Instrumentmakare Stockholm or 1792.
(appendix by Weldon). Compass: AA-d.
Information supplied by: Barrell|Weldon|H-O/SMF. Keyboard: Black naturals, white sharps.
Boaleh 3 number: LINDHOLM, P. 1789. Number of roses: None.
Boalch 2 number: None. Exterior of case: Plain wood.
Length: 1632 mm.
Type: Fret-free clavichord. Width: 565 mm.
Remarks: Two other clavichords of this date by Lindholm
Date: 1791. are known. Neither is likely to be this one. Ebony naturals,
Ownership: P. O. LISS-LARSEN, FALUN, SWEDEN.
Compass: FF-a’. sharps of ebony topped with bone. Plain mahogany case.
Fascia board of mahogany with boxwood stringing.
Length: 1782 mm.
Raised on frame stand with tapered square legs and
Width: 590 mm.
castors.
Depth: 162 mm. Previous history: Sold at Sotheby’s on 22 November 1990.
Remarks: Described by H-O as ‘Modell hammarklaver’.
References: Sotheby’s catalogue of 22 November 1990.
References: H-O No. S P.-O. Liss-Larsson.
Information supplied by: Sotheby's.
Information supplied by: Barrell|H-O.
Boalch 3 number: LINDHOLM, P. 1792(3)-
Boalch 3 number. LINDHOLM, P. 1791.
Boalch 2 number: None.
Boalch 2 number: None.

Type: Fret-free clavichord with octave strings in the bass.

‘Type: Fret-free clavichord. Date: 1792.
Date: 1792. Ownership: PRIVATE COLLECTION.
Ownership: KUNGL. SVENSKA AKADEMIEN, Compass: FF-a’.
STOCKHOLM, SWEDEN. Accession number not Keyboard: Black naturals, white sharps.
known. Exterior of case: Plain wood.
Compass: AA-?. Remarks: Octave strings from FF-A. Michael Thomas
Length: 1611 mm. says in ThomasKI that it has its original strings.
Width: 547 mm. Previous History: Formerly Michael Thomas, France, who
Remarks: Described by H-O as ‘Modell hammarklaver’. reports that it passed to Adlam-Burnett.
References: H-O No. S KSA. References: Illustrated in ThomasKI, pl. 10.
Information supplied by: Barrell|H-O|Weldon. Information supplied by: Weldon|ThomasK1|ThomasM.
Boalch 3 number. LINDHOLM, P. 1792(1). Boalch 3 number: LINDHOLM, P. 1792(4).
Boalch 2 number: None. Boalch 2 number: None.

‘Type: Fret-free clavichord with octave strings in the bass. Type: Fret-free clavichord with octave strings in the bass.
Date: 1792. Date: 1793.
Ownership: SIBELIUS MUSEUM, ABO, FINLAND. Ownership: SVERIGES RIKSRADIO/PRIVATE
Number: 105. COLLECTION, STOCKHOLM, SWEDEN. Accession
Inscriptions. On a label Foérfardigadt af|Pebr Lindbolm| number not known.
Instrumentenmakare Stockbolm ar 1792. Inscriptions. On a label on the area of soundboard
Compass: FF-c*. between the wrest-pins and the case: Férfardigadt af[Pebr
Scale: 338 mm. Lindbolm|Instrumentenmakare Stockbolm ar 1793.
Length: 2025 mm. Compass. FF-c'.
Width: 590 mm. Keyboard: Black naturals, white sharps.
Remarks: Twenty-two octave strings in the bass. Keyboard Exterior of case: Painted.
has Swedish rack. Soundboard of pine. Scale: 325 mm.
Previous bistory: Formerly belonged to the Mannerheim Length: 2027 mm.
family. Width: 586 mm.
References: H-O No. SF SM 105. Depth: 198 mm.
Information supplied by: B?|Weldon|Barrell|H-O. Remarks: Twenty-two octave strings in the bass. Keys of
Boalch 3 number: LINDHOLM, P. 1792(2). pine, roof-carved. Keyboard has Swedish rack. Naturals
Boalch 2 number: 6. of ebony with embossed initialled fronts of gilded leather;

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 LINDHOLM 477
sharps of bone-capped black-stained wood. The sound- ‘Type: Fret-free clavichord with octave strings in the bass.
board of pine is a replacement and overhangs the top Date: 1795.
keys. Replacement bridges of beech. When the soundboard Ownership: STIFTELSEN HALLANDS
was replaced in 1975, the original area of soundboard LANSMUSEET, MUSEET I VARBBERG,
between the wrest-pins and the case was left in place. SWEDEN.
Casework of pine, painted brown outside veneered with Number: 4831.
mahogany inside. A private collector is reported to have Inscriptions: Keyfronts have initials PLH.
been able to secure the soundboard of this instrument Compass: FF-c*.
which was removed from the main body of the instrument Scale: 322 mm.
in 1975. Length: 2025 mm.
Previous history: Restored 1975. Width; 587 mm.
References: H-O No. SF ot Srr. Remarks: Twenty octave strings in the bass. Keyboard
Information supplied by: Barrell|Weldon|H-O. has Swedish rack. Soundboard of pine. String gauges
Boalch 3 number: LINDHOLM, P. 1793. marked for 4’ only.
Boalch 2 number: None. References: H-O No. S 13 VM 4831.
Information supplied by: Barrell|Weldon|H-O.
‘Type: Fret-free clavichord with octave strings in the bass. Boalch 3 number: LINDHOLM, P. 1795(1).
Date: 1794. Boalch 2 number: None.
Ownership. STIFTELSEN MUSIKKULTURENS
FRAMJANDE, STOCKHOLM, SWEDEN. Type: Fret-free clavichord with octave strings in the bass.
Namber. KL 51.
Inscriptions: Signed Férfardigadt af PEHR LINDHOLM
Date: 1795.
Ovnersbip: S. L. GRAVE-MULLER, MOLNDAL,
Instrumentmakare Stockholm er 1794.
SWEDEN.
Compass: FF-c*.
Keyboard: Black naturals, white sharps. Inscriptions: Keyfronts have initials PLH.
Compass. FF-c'.
Exterior of case: Painted.
Scale: 310 mm. Seale: 320 mm.
Length: 2026 mm.
Length: 2022 mm.
Width: 588 mm.
Width: 586 mm.
Remarks: Twenty octave strings in the bass. Keyboard
Depth: 200 mm.
Remarks: Twenty octave strings in the bass. Keyboard has Swedish rack. Soundboard of pine. Case decorated
has Swedish rack. Naturals of ebony with appliqué paper with paintings inspired by Louis Masreliez.
with initials PLH; sharps of stained wood, ivory covered. References: H-O No. S. L. Grave-Miiller. The external case
Soundboard of pine with grain diagonal to the spine. All is shown at fig. 50 on p. 64.
original decoration removed in the twentieth century. Information supplied by: Barrel]Weldon|/H-O.
Now painted with modern lacquer—light green inside Boalch 3 number: LINDHOLM, P. 1795(2).
with orange inside lid. Inlay work around the keywell. Boalch 2 number: None.
Previous history: Acquired as part of the Nydahl Collection.
Fairly recent restoration, but not now in playing order. Type: Fret-free clavichord.
References: H-O No. S 01 SMF KI 51. See also: SMF Date: 1796.
(appendix by Weldon). Ownership: WILLEM RETZE TALSMA.
Information supplied by: Barrell| Weldon|H-O|/SMF. Inscriptions: Pebr Lindbolm Stockholm 1796. Keyfronts have
Boalch 3 number: LINDHOLM, P. 1794(1). maker’s initials.
Boalch 2 number: None. Compass. FF-c*.
Keyboard: Black naturals, white sharps.
‘Type: Fret-free clavichord with octave strings in the bass. Namber of roses: None.
Date: 1794. Exterior of case: Painted.
Ownership: L. S}OBERG, STOCKHOLM, SWEDEN. Scale: 320 mm.
Compass. CC-c*. Length: 2050 mm.
Length: 2200 mm. Width: 600 mm.
Width: 606 mm. Depth: 205 mm.
Remarks: Twenty-six octave strings in the bass. Keyboard Remarks: Naturals of ebony, with initialled fronts, sharps
has Swedish rack. Soundboard of pine. of ivory. Inside of lid has painting of figures in a
Information supplied by: Barrell|Weldon. landscape.
Boalch 3 number. LINDHOLM, P. 1794(2). Previous bistory: Previous owners not known, though
Boalch 2 number: None. probably from Sweden. Michael Thomas reports that it

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478 LINDHOLM
was at one time in his collection. In good playing order References: H-O No. S 04 Tb 739.
though never restored. Information supplied by: Barrel|Weldon|H-O.
Information supplied by: Roth. Boake 3 number: LINDHOLM, P. 1798(2).
Boalch 3 number: LINDHOLM, P. 1796. Boalch 2 number: None.
Boalch 2 number: None.
Type: Fret-free clavichord with octave strings in the bass.
Type: Fret-free clavichord. Date: 1798.
Date: 1797. Ownership: KRISTIANSTADS LANSMUSEUM,
Ownership: MARSTRANDS SWEDEN.
HEMBYGDSFORENINGEN, SWEDEN. Accession Number: 4470.
number not known. Inscriptions: Label on area of soundboard between the
Keyboard: Black naturals, white sharps. wrest-pins and the case. Férfardigadt af Pebr Lindbolm,
Remarks: Naturals of ebony, sharps of bone. Stockholm 1798.
Information supplied by: Barrell|Weldon. Compass: CC-c'.
Boalch 3 number: LINDHOLM, P. 1797(1). Scale: 325 mm.
Boalch 2 number: None. Length: 2202 mm.
Width: 640 mm.
Type: Clavichord.
Remarks: Twenty-five octave strings in the bass. Keyboard
Date: 1797. has Swedish rack. Soundboard of pine.
Ownership. MUSIKHISTORISKA MUSEET,
References. H-O No. S 11 KrM 4470.
STOCKHOLM, SWEDEN. Accession number not
Information supplied by: Barrell| Weldon|H-O.
known.
Remarks: Reported by B? without any details—could be Boakcb 3 number: LINDHOLM, P. 1798(3).
Boalch 2 number: None.
one of several instruments.
References: B?.
Information supplied by: B. Type: Fret-free clavichord with octave strings in the bass.
Boalch 3 number: LINDHOLM, P. 1797(2). Date: 1798.
Boalch 2 number: 7.
Ownership: MUSIKMUSEET, COPENHAGEN,
DENMARK. Accession number not known.
Type: Fret-free clavichord. Inscriptions: Label on area of soundboard between the
Date: 1798. wrest-pins and the case: Férfardigadt af|Pebr Lindbolm|
Ownership: MUSIKHISTORISK MUSEUM, Instrumenten-makare| (unreadable) Ao 1798.
COPENHAGEN, DENMARK. Compass: FF-c*.
Number: Cl.52. Keyboard: Black naturals, white sharps.
Inscriptions. Labelled Férfardigadt af Pebr Lindbolm Stock- Exterior of case: Painted.
holm 1798. Scale: 320 mm.
Compass. FF-c'. Length: 2024 mm.
Keyboard: Black naturals, white sharps. Width: 589 mm.
Exterior of case: Painted. Depth: 201 mm.
Remarks: Naturals of ebony, sharps of bone. Remarks: Twenty octave strings in the bass. Keyboard
Previous history: Formerly in the Carl Claudius Collection. has Swedish rack. Keys are roof-carved. Naturals of ebony
References: MMCC. with two pairs of grooves and embossed gilded paper
Information supplied by: B?/Barrell| MMCC. with initials; sharps of bone-capped, black-stained wood.
Boalch 3 number: LINDHOLM, P. 1798(1). Soundboard of pine. Bridges of beech, broken in treble
Boalch 2 number: 8. with broken soundboard at each end. Casework and
internal members of pine, recently painted outside. Inside
Type: Fret-free clavichord with octave strings in the bass. veneered with mahogany. Keywell veneered in mahogany
Date: 1798. and fruitwood.
Ownership. TOREKALLBERGETS MUSEUM, Information supplied by: Weldon.
SODERTALJE, SWEDEN. Boalch 3 number: LINDHOLM, P. 1798(4)-
Number: 739. Boalch 2 number: None.
Inscriptions: Keyfronts have initials PLH.
Compass: FF-c*. Type: Fret-free clavichord with octave strings in the bass.
Seale: 321 mm. Date: 1799.
Length: 2022 mm. Ownership: \NGER GRUDIN-BRANDT,
Width: 588 mm. STOCKHOLM, SWEDEN.
Remarks: Twenty octave strings in the bass. Keyboard Inscriptions: Keyfronts have initials PLH.
has Swedish rack. Soundboard of pine. Compass, FF-c*.

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 LINDHOLM 479
Exterior of case: Venecred. Remarks: Probably the same instrument as that reported
Scale: 326 mm. by Weldon dated 1811 (below).
Length: 2030 mm. Information supplied by: Barrell.
Width: 593 mm. Boalch 3 number. LINDHOLM, P. 1810.
Remarks: Twenty octave strings in the bass. Keyboard Boalch 2 number: None.
has Swedish rack. Soundboard of pine.
Previous bistory: Restored in 1982-3. Type: Clavichord.
References: H-O No. S 1 Grudin, Stockholm. Date: 1811.
Information supplied by: Barrell|Weldon|H-O, Ownership: OREBRO LANSMUSEUM,
Boalch 3 number: LINDHOLM, P. 1799. SIGGEBOHYTTAN, OREBRO, SWEDEN. Accession
Boalch 2 number: None. number not known.
Remarks: Probably the same instrument as that of 1810
‘Type: Fret-free clavichord with octave strings in the bass. reported by Barre// (above).
Date: 1799(A). Information supplied by: Weldon.
Ownership: OSTERBOTTENS MUSEUM, VASA, Boalch3 number: LINDHOLM, P. 1811(1).
FINLAND. Accession number not known. Boalch 2 number: None.
Inscriptions: Keyfronts have initials PLH.
Compass: FF-c*. Type: Fret-free clavichord with octave strings in the bass.
Seale: 550 mm. Date: 1811.
Length: 2023 mm. Ownership: STATENS MUSIKSAMLINGAR,
Width: 590 mm. MUSIKMUSEET, STOCKHOLM, SWEDEN.
Remarks: Twenty-two octave strings in the bass. Keyboard Accession number not known,
has Swedish rack. Soundboard of pine. Compass: FF-ct.
References: H-O No. SF OM u. nr. Scale: 305 mm.
Information supplied by: Weldon|Barrell|H-O. Length: 2044 mm.
Boalch 3 number: LINDHOLM, P. 1799(A). Width: 605 mm.
Boalch 2 number: None. Remarks: Seventeen octave strings in the bass. Keyboard
has Swedish rack. Soundboard of pine.
Type: Fret-free clavichord. References: H-O No. S 01 SMS/MM u. ne.
Date: 1800. Information supplied by: Barrell|Weldon|H-O.
Ownership. OREBRO LANSMUSEUM, Boalch 3 number: LINDHOLM, P. 1811(2).
SIGGEBOHYTTAN, OREBRO, SWEDEN. Accession Boalch 2 number: None.
number not known.
Keyboard: Black naturals, white sharps. ‘Type: Clavichord.
Remarks: Naturals of ebony, sharps of bone. Date: 1812.
Information supplied by: Barrell. Ownership: PRIVATE COLLECTION, SWEDEN.
Boalch 3 number: LINDHOLM, P. 1800. Keyboard: Black naturals, white sharps.
Boalch 2 number: None. Information supplied by: Weldon|Barrell.
Boalch 3 number. LINDHOLM, P. 1812.
‘Type: Clavichord. Boalch 2 number: None.
Date: 1803.
Ownership. STOCKHOLM, SWEDEN. Accession Type: Fret-free clavichord.
number not known. Date: Not known.
Remarks: Few details of this instrument are given by B?, Ownership: SIBELIUS MUSEUM, ABO, FINLAND.
and it could be identified with several other extant Number: 144.
instruments. Compass: FF-a’.
References: Hirt. Scale: 520 mm.
Information supplied by: B?. Length: 2001 mm.
Boalch 3 number: LINDHOLM, P. 1803. Width: 618 mm.
Boalch 2 number: 10. Remarks: H-O records Olof Schwan as the owner.
References: H-O No. SF SM 144.
Type: Fret-free clavichord. Information supplied by: Barrell|H-O.
Date: 1810. Boalch 3 number: LINDHOLM, P. n.d.(1)
Ovmnersbip: OREBRO LANSMUSEUM, Boalch 2 number: None.
SIGGEBOHYTTAN, OREBRO, SWEDEN. Accession
number not known. ‘Type: Fret-free clavichord with octave strings in the bass.
Keyboard: Black naturals, white sharps. Date: Not known.

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480 LINDHOLM
Ownership. LUDVIKA GAMMELGARD, LUDVIKA, References: Though not numbered in B2 it is recorded
SWEDEN. under Lindholm.
Number: 9. Information supplied by: Bz|BarrellWeldon.
Compass: FF-c'. Boalch 3 number: LINDHOLM, P. (REPAIRER) 1797.
Scale: 310 mm. Boalch 2 number: Recorded but not numbered.
Length: 2041 mm.
Width: 606 mm.
LINDHOLM, PEHR and SODERSTROM,
Remarks: Date of ¢. 1780 ascribed by Weldon. Seventeen
HENRIC JOHAN.
octave strings in the bass. Keyboard has Swedish rack.
The soundboard is a replacement.
Type: Clavichord.
Date: 1802.
References: H-O No. *S 20 LG 9.
Ownership: HEMBYGDSFORENINGEN GAMLA
Information supplied by: Barrell|Weldon|H-O.
URSHULT, URSHULT, SWEDEN. Accession number
Boalch 3 number: LINDHOLM, P. n.d.(2).
Boalch 2 mumber: None. not known.
Information supplied by: Barrell|Weldon.
‘Type: Fret-free clavichord with octave strings in the bass. Boalch 3 number: LINDHOLM & SODERSTROM. 1802
Date: Not known. (1).
Ownership: ALINGSAS MUSEUM, ALINGSAS, Boalch 2 number: None.
SWEDEN.
Number: 508. ‘Type: Fret-free clavichord.
Inscriptions: Initials PLH on keyfronts. Date: 1802.
Compass: FF-a’. Ownership: BLEKINGE MUSEUM, KARLSKRONA,
Seale: 320 mm. SWEDEN. Accession number not known.
Length: 1998 mm. Keyboard: Black naturals, white sharps.
Width: 587 mm. Information supplied by: Barrell|Weldon.
Remarks: Twenty-two octave strings in the bass. Keyboard Boalch3 number: LINDHOLM & SODERSTROM. 1802
has Swedish rack. Soundboard of pine. (2).
References: H-O No. S 14 AM 508. Boalch 2 number: None.
Information supplied by: Weldon|Barrell{H-O.
Boalch 3 number. LINDHOLM, P. n.d.(3). Type: Clavichord.
Boalch 2 number: None.
Date: 1802.
Type: Clavichord. Ovnership. PRIVATE COLLECTION, SWEDEN.
Date: Not known.
Information supplied by: Barrell|Weldon.
Ownership: STOCKHOLM, SWEDEN. Accession
Boalch 3 number: LINDHOLM & SODERSTROM. 1802
number not known. G).
Boalch 2 number: None.
Remarks: This undated clavichord was listed in Bz, but
could well be the same as several other clavichords extant
in Stockholm. ‘Type: Fret-free clavichord with octave strings in the bass.
Information supplied by: Bz. Date: 1802.
Boalch 3 number. LINDHOLM, P. n.d.(4). Ovnersbip: SKARABORGS LANSMUSEUM, SKARA,
Boalch 2 number: 11. SWEDEN.
Number. 17237.
LINDHOLM, PEHR. (REPAIRER) Inscriptions: Keyfronts have initials PLH.
Type: Fret-free clavichord with octave strings in the bass. Compass: FF-c*.
Date: 1797. Exterior of case: Vencered.
Ownership: SIBELIUS MUSEUM, ABO, FINLAND. Scale: 310 mm.
Number: 144. Length: 2037 mm.
Inscriptions: Label Renoveradt ett Claver af Pebr Lindbolm er Width: 607 mm.
1797. Remarks: Twenty octave strings in the bass. Keys of pine,
Compass. FF-a. roof-carved, with Swedish rack. Naturals of ebony with
Scale: 320 mm. fronts of embossed paper with initials, and bone-capped,
Length: 2001 mm. dark-stained wood sharps. Soundboard of pine. Case of
Width: 618 mm. pine covered with a dark-brown varnish. Side hitch-pin
Remarks: Twenty octave strings in the bass. The original rail pulled away from the side wall. A wreck.
maker is not certain. Lindholm only repaired it. Swedish References: H-O No. S 16 VM u. nr.
rack. Soundboard of pine. Bridges missing. Information supplied by: Weldon|H-O.

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 LINDHOLM 481
Boalch3 number: LINDHOLM & SODERSTROM. 1802 Inscriptions. According to Bz inscribed Forfardigadt af Pebr
(4). Lindholm: & Soderstrom Instrumentmakare Stockholm dr 1803.
Boalch 2 number: None. Compass: FF-c*.
Scale: 318 mm.
Type: Fret-free clavichord with octave strings in the bass. Length: 2038 mm.
Date: 1802. Width: 595 mm.
Ovnersbip: S. R. BARRELL, USA. Remarks: Twenty octave strings in the bass. Keyboard
Compass: CC-c*. has Swedish rack. Soundboard of pine.
Keyboard: Black naturals, white sharps. References: H-O No. S 14 GM 3436.
Exterior of case: Veneered. Information supplied by: Bz|Weldon|Barrell/H-O.
Remarks: Barrell reports that the details are much the Boalch3 number: LINDHOLM & SODERSTROM. 1803
same as for other clavichords by these makers. Ivory G).
sharps. Boalch 2 number: 9.
Information supplied by: Barrell.
Boalch3 number: LINDHOLM & SODERSTROM. 1802 Type: Fret-free clavichord with octave strings in the bass.
(5). Date: 1803.
Boalch 2 number: None. Ownership: STATENS MUSIKSAMLINGAR,
MUSIKMUSEET, STOCKHOLM, SWEDEN.
Type: Fret-free clavichord with octave strings in the bass. Number: 3440.
Date: 1803. Compass: CC-c*.
Ownership: TAVASTLANDS MUSEUM, Scale: 317 mm.
TAMMERFORS, FRANCE. Length: 2207 mm.
Number: 719. Width: 650 mm.
Inscriptions: Keyfronts have initials PLH. Remarks: Twenty-five octave strings in the bass. Keyboard
Compass: FF-c*. has Swedish rack. Soundboard of pine.
Scale: 312 mm. References: H-O No. S 01 SMS/MM 3440.
Length: 2037 mm. Information supplied by: Barrell|Weldon|H-O.
Width: 602 mm. Boalch 3 number: LINDHOLM & SODERSTROM. 1803
Remarks. Twenty octave strings in the bass. Soundboard (4).
of pine with the bridges missing. Boalch 2 number: None.
References: H-O No. SF TM 719.
Information supplied by: Barrell|Weldon|H-O. ‘Type: Fret-free clavichord.
Boalch 3 number: LINDHOLM & SODERSTROM. 1803 Date: 1803(A).
(1). Ownership. ROLAND SANDBERG, STOCKHOLM,
Boalch 2 number: None. SWEDEN.
Compass: FF-c*.
‘Type: Fret-free clavichord with octave strings in the bass. Exterior of case: Veneered.
Date: 1803. Remarks: This clavichord was discovered about February
Ownership: STATENS MUSIKSAMLINGAR, 1989, in an attic in Sweden. The right-hand end has been
MUSIKMUSEET, STOCKHOLM, SWEDEN. cut off by about a foot, and thus lacks the end of the
Namber: 756. bridge and tuning pins.
Compass: FF-c*. Information supplied by: Barrell.
Scale: $55 mm. Boalch 3 number: LINDHOLM & SODERSTROM. 1803
Length: 2040 mm. (A).
Width: 600 mm. Boalch 2 number: None.
Remarks: Seventeen octave strings in the bass. Keyboard
has Swedish rack. Soundboard of pine. ‘Type: Fret-free clavichord with octave strings in the bass.
References: H-O No. S 01 SMS/MM 756. Date: 1804.
Information supplied by: Barrell|Weldon|H-O. Ownership: FALBYGEDNS MUSEUM, FALKOPING,
Boalsh 3 number: LINDHOLM & SODERSTROM. 1803 SWEDEN.
(2). Number: 2201.
Boalch 2 number: None. Inscriptions. Keyfronts have initials PLH.
Compass: FF-c*.
‘Type: Fret-free clavichord with octave strings in the bass. Scale: 310 mm.
Date: 1803. Length: 2038 mm.
Ovnersbip: GOTEBORGS HISTORISKA MUSEUM, Width: $97 mm.
GOTEBORG, SWEDEN. Remarks. Seventeen octave strings in the bass. Keyboard
Number. 3436. has Swedish rack. Soundboard of pine.

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482 LINDHOLM
References: H-O No. S 16 FM 2201. Scale: 318 mm.
Information supplied by: Weldon| Barrell H-O. Length: 2043 mm.
Boalch 3 number: LINDHOLM & SODERSTROM. 1804. Width: 600 mm.
Boalch 2 number: None. Depth: 205 mm.
Remarks: Seventeen octave strings in the bass. Keys of
Type: Fret-free clavichord with octave strings in the bass. pine, roof-carved, with Swedish rack. Naturals of bone
Date: 1806. with two pairs of grooves, and fronts of boxwood
Ownership: KOPINGS MUSEUM, KOPING, with grooves parallel to the tops of the keys. Sharps,
SWEDEN. black-stained wood. Soundboard of pine with bridges of
Number: 00.539. beech. Casework and internal members of pine, the
Compass: FF-c'. exterior veneered in mahogany with fruitwood banding.
Scale: 321 mm. References: H-O No. S 01 NordM 191.984.
Length: 2041 mm. Information supplied by: Barrell|Weldon|H-O.
Width: 599 mm. Boalch 3 number: LINDHOLM & SODERSTROM. 1807
Remarks: Seventeen octave strings in the bass. Keyboard «).
has Swedish rack. Soundboard of pine. Boalch 2 number: None.
References: H-O No. S 19 KM 00.539. Illustrated at figs.
157A, 157B on p. 180, ‘Type: Fret-free clavichord with octave strings in the bass.
Information supplied by: Barrell| Weldon] H-O. Date: 1807.
Boalch 3 number: LINDHOLM & SODERSTROM. 1806 Ownership: SKARABORGS LANSMUSEUM, SKARA,
(1). SWEDEN.
Boalch 2 number: None. Number: 17238(A).
Compass. CC-c*.
‘Type: Fret-free clavichord with octave strings in the bass. Length: 2220 mm.
Date: 1806. Width: 647 mm.
Ownership: FINCHCOCKS COLLECTION, Remarks: Twenty-two octave strings in the bass. Keyboard
GOUDHURST, KENT, ENGLAND. Accession has Swedish rack. Soundboard of pine.
number not known. References: H-O No. S 16 VM u. nr.
Inscriptions: Forfardigadt af PEHR LINDHOLM & SOD- Information supplied by: Barrell|Weldon{H-O.
ERSTROM Instrumentmakare STOCKHOLM ér 1806 Boalch 3 number: LINDHOLM & SODERSTROM. 1807
(printed on a paper label with 06 added by hand). (2).
Compass: FF-c*. Boalch 2 number: None.
Keyboard: Black naturals, white sharps.
Scale: 332 mm. ‘Type: Fret-free clavichord with octave strings in the bass.
Length: 2060 mm. Date: 1808.
Width: 605 mm. Ownership: STIFTELSEN MUSIKKULTURENS
Depth: 213 mm. FRAMJANDE, STOCKHOLM, SWEDEN.
Remarks: Seventeen octave strings in the bass. Outer case Number: KL 52.
painted green (modern). Naturals of ebony with moulded Inscriptions: Label on area of soundboard between the
birch fronts. Sharps of bone on stained pine. wrest-pins and the case. Férfardigadt af|Pebr Lindbolm|or
References: Finchcocks. Séderstrim|Instrumentenmakare|Stockbolm 1808.
Information supplied by: Finchcocks|Dow. Compass: FF-c',
Boalch3 number: LINDHOLM & SODERSTROM. 1806 Keyboard: Black naturals, white sharps.
(2). Exterior of case: Painted.
Boalch 2 number: None. Seale: 315 mm.
Length: 2041 mm.
Type: Fret-free clavichord with octave strings in the bass. Width: 600 mm.
Date: 1807. Depth: 226 mm.
Ownership: NORDISKA MUSEET, STOCKHOLM, Remarks: Seventeen octave strings in the bass. Keys of
SWEDEN. pine, roof-carved, with Swedish rack. Naturals of ebony
Number: 191.984. with two pairs of grooves and boxwood fronts with
Inscriptions: Label on the area of soundboard between the grooves parallel to the key tops. Sharps of bone-capped,
wrest-pins and the case: Férfadigadt af|Pebr Lindbolm|& black-stained wood. Soundboard of pine. Bridges of
Séderstrém|Instrumentenmakare|Stockbolm er 1807. beech. Casework and internal members of pine, with the
Compass: FF-c*. exterior painted dark brown in wood imitation. The
Keyboard: White naturals, black sharps. interior is veneered in mahogany. SMF says it is very
Exterior of case: Veneered. well preserved and keeps in tune for a year at a time.

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 LONGMAN AND BRODERIP 483
Previous bistory: Instrument is part of the Nydahl Collection. Compass: C-d?.
Restored in 1979—in good condition with mostly original Keyboard: White naturals, black sharps.
strings and cloth. Exterior of case: Painted.
References: H-O No. S ot SMF KI 52. See also: SMF Scale: 265 mm.
(appendix by Weldon). Length: 1429 mm.
Information supplied by: Barrell] Weldon|H-O|SMF. Width: 405 mm.
Boalch 3 number: LINDHOLM & SODERSTROM. 1808 Remarks: Soundboard of pine. Lid painting of two figures
(1). in a country scene. Painted externally with arabesques.
Boalch 2 number: None. References: H-O No. S. Angso Slott. Illustrated at figs.
112A, 112B, 112C, on p. 128.
Type: Clavichord. Information supplied by: Barrell] Weldon|H-O.
Date: 1808. Boalch 3 number: LOFBERG, E. 1753.
Ownership: PRIVATE COLLECTION. Boalch 2 number: None.
Keyboard: Black naturals, white sharps.
Remarks: Little is known of this instrument except that LOGAN, JAMES.
it is probably in a private collection in Great Britain. Type: Wing spinet.
Naturals of ebony, sharps of bone. Date: 1775.
Information supplied by: Barrell|Weldon. Ownership: Not known.
Boalch 3 number: LINDHOLM & SODERSTROM. 1808 Inscriptions: On the baseboard in ink Jas Logan Edinr. fecit
(2). No. 113—[1775for Neil Stewart 22.
Boalch 2 number: None. Specification: 1x8".
Remarks: Made for Neil Stewart.
Type: Clavichord. Previous history: Repaired about 1977 by John Raymond.
Date: 1809. Information supplied by: Raymond|Cranmer].
Ownership: PRIVATE COLLECTION, SWEDEN. Boalch3 number: LOGAN, J. 1775.
Remarks: Little is known of this instrument. Boalch 2 number: None.
Information supplied by: Barrell|Weldon.
Boalch3 number. LINDHOLM & SODERSTROM. 1809. LONGMAN and BRODERIP.
Boalch 2 number: None. Type: Single-manual harpsichord.
Date: 1775.
‘Type: Fret-free clavichord. Ownership: MUSEE INSTRUMENTAL, PARIS,
Date: Not known. FRANCE.
Ownership: KAPPELSALEN, LUND, SWEDEN. Number: 952/333.
Accession number not known. Inscriptions. Signed by Baker Harris.
Keyboard: Black naturals, white sharps. Specification: 2x8’, 1x4’, lute.
Remarks: Naturals of ebony, sharps of bone. Additional features. Harp, 6 hand stops.
Information supplied by: Barrell|Weldon. Compass: FF-P(A).
Boalch 3 number. LINDHOLM & SODERSTROM. n.d. Remarks: Hand stops labelled |. to r.: Harp, Lute, 1st
@). Unison, Silent, 2nd Unison, Octave.
Boalch 2 number: None. Previous history: From the Léon Savoye Collection.
Restored by Tomasini 1883 and P. Brunold 1944.
LION, JACOUST(A). Information supplied by: B2|Musée Instrumental.
Type: Two-manual harpsichord. Boalch 3 number: LONGMAN and BRODERIP. 1775.
Date: Not known. Boalch 2 number: 1.
Ownership: ALAIN VIAN, PARIS.
Inscriptions: Almost illegible inscription. Type: Wing spinet.
Previous bistory: M. Vian had the instrument in 1956. Date: 1779.
Information supplied by: Bz. Ovnersbip: Not known.
Boalch 3 number: LION, J(A). n.d. Inscriptions: An auction sale of the property of the late C.
Boalch 2 number: 1. N. Fahrney held at State Armory, Pa., on 6-7 May
1966(?) includes a ‘rare Harpsichord Spinet’ (sic) by
LOFBERG, ERIC. Longman and Broderick (sic) with inscription: Cw/liford,
Type: Fretted clavichord. London 1779. \t bears Culliford’s number 70, and is a
Date: 1753. spinet.
Ownership. ANGSO SLOTT (ANGSO CASTLE), Specification: 1x8’.
SWEDEN. Accession number not known. Previous bistory: Sold at auction 6-7 May 1966. Rebuilt by
Inscriptions: Signed ferfardigadt af E.L. sti W. Frank Rutkowski in 1957 [MarcP].

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 484. LONGMAN AND BRODERIP
Information supplied by: Bz. Previous history: In the possession of the National Trust,
Boalch 3 number: LONGMAN and BRODERIP. 1779. Knighthayes, Tiverton, Devon, since 1976.
Boalch 2 number: 2. Information supplied by: Zuck.
Boalch 3 number: LONGMAN and BRODERIP. 1782(A).
Type: Wing spinet. Boalch 2 number: None.
Date: 1780(A).
Ownership: M. & MME. F. MAURER, STRASBOURG, Type: Wing spinet.
FRANCE. Date: 1780(A).
Inscriptions: Original inscription: Longman and Broderip Ownership: ROY AL COLLEGE OF MUSIC,
Musical Instrument Makers|No 26 Cheapside. Keybed has in LONDON, ENGLAND.
ink No 11. Number: 285.
Specification: 1x8’. Inscriptions: Longman ¢ Broderip Musical Instrument Makers,
Compass: FF-P. No.26 Cheapside, London.
Number of roses, None. Specification: 1x8",
Exterior of case: Crossbanded. Compass: FF-P(A).
Length: 1898 mm. Remarks: The date is ascribed by the owners, and is
Width: 788 mm. reasonable in view of the omission from the inscription
Depth: 233 mm. of the Haymarket address which the firm acquired in
Remarks: Case has mahogany veneer with sycamore lines 1782. In a good state of preservation.
crossbanded mahogany. Stand with square legs and Previous history: Formerly owned by Sir Walter Parrat.
boxwood castors. All action, and soundboard, etc. is new, Shown at International Inventions Exhibition, 1885.
by Jean Maurer, Shimpling Street, Suffolk. In the same Information supplied by: B2|Kottick.
style as the instrument in the possession of the Royal Boakh 3 number: LONGMAN and BRODERIP.
College of Music, London. 1780(A)(2).
Previous history: Bought by Mr. Jean Maurer at auction in Boalch 2 number: 21.
Suffolk. Had been previously converted into a sort of
writing desk. Only the case, fascia board, nameboard, Type: Single-manual harpsichord.
most of the lid, and the stand are original. Date: 1782-98.
References: Further information from Mr. Jean Maurer. Ownership: W ARNER HOUSE ASSOCIATION,
Information supplied by: Maxrer. PORTSMOUTH, NEW HAMPSHIRE, USA.
Boalch 3 number. LONGMAN and BRODERIP. 1780 Accession number not known.
(A)(1). Inscriptions: On an oval porcelain cartouche: Longman and
Boalch 2 number: None. Broderip|Musical instrument makers|No 26 Cheapside and No
13 Haymarket|London. The same inscription is on the rose.
‘Type: Single-manual harpsichord. Inscribed on back of name-batten, and on top key lever
Date: 1780. Harris No 4. Number 637 stamped on the wrestplank
Ownership: ROY AL NORTHERN COLLEGE OF [Brown, Brockman].
MUSIC, MANCHESTER, ENGLAND. Accession Specification: 2x8’, 1x4".
number not known. Additional features: 1 Pedal.
Inscriptions: Inscribed on underside of soundboard; Thomas Compass: FF-f.
Culliford, Maker, April 1780 No.12. Number of roses: 1.
Previous history: Formerly part of the Henry Watson Remarks: A date of ¢. 1782-98 is ascribed by Brown on
Collection. the basis of the makers’ signature. The rose is in the form
References: J, p. 66 n. of a ribbon with the same wording as that found on the
Information supplied by: Bz. oval cartouche on the nameboard. The left pedal works
Boalch 3 number: LONGMAN and BRODERIP. 1780. the 4’ stop. There was a music desk but that has been
Boalch 2 number: 3. lost.
Previous history: Formerly owned by the daughter of
Type: Wing spinet. Benning Wentworth, Governor of New Hampshire, 1767—
Date: 1782(A). 75. On loan to Warner House Association (1970) from
Ownership: NATIONAL TRUST, TIVERTON. Mrs. J. Templeman Coolidge. Partially restored by Hub-
ENGLAND. Accession number not known. bard Harpsichords Inc. in 1984.
Inscriptions. Numbered 157 on wrestplank. References: Reports available from Hubbard Harpsichords
Specification: 1x8’. Inc.
Compass. FF,GG-P. Information supplied by: B2|Brown|Broeckman.
Remarks: In view of the number, a date of 1782 seems Boal 3 number: LONGMAN and BRODERIP. 1782-98.
likely. Boalch 2 number: 4.

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 LONGMAN AND BRODERIP 485
Type: Wing spinet. The hand stops are labelled. Inner lid raised by pedal as
Date: 1782. swell (a form of nag’s head swell?).
Ownership: MRS. ALFRED KOCH, SAN Previous history: Shown by J. K. Pyne at the International
FRANCISCO, USA. Inventions Exhibition 1885.
Inscriptions: Longman and Broderip Musical Instrument Makers Information supplied by: Bz.
Kings Arms No.26 Cheapside London, on the nameboard. Boalch3 number. LONGMAN and BRODERIP. 1782(A).
Culliford Maker London 1782. under the original sound- Boalch 2 number: 5.
board towards the tail.
Specification: 1x8".
Type: Single-manual harpsichord.
Date: 1783.
Compass. FF,GG-P(A). Ownership: ALFRED REEVE, MAIDENHEAD,
Previous history: Mrs. Koch bought it at the dispersal of ENGLAND.
the Cline Collection, San Francisco, 1970. Inscriptions. On name-batten: Longman & Broderip Musical
Information supplied by: B2. Instrument Makers|N° 26 Cheapside and N° 13 Haymarket
Boalch 3 number. LONGMAN and BRODERIP. 1782(1). London. On back of name-batten: Thos. Culliford Maker|
Boalch 2 number: 4a. Fountain Court, Cheapside|N°. 54/1783. In the key-well: J.
Hanson N°. 5, (pencilled signature of Culliford’s
Type: Single-manual harpsichord. workman). N°. 277, stamped on wrestplank. Circum-
Date: 1782. ferential band of upper-case lettering included in the
Ownersbip: CHRISTOPHER HOGWOOD, rose casting: LONGMAN & BRODERIP CHEAP-
CAMBRIDGE, ENGLAND. SIDE, (N° 26 appears faintly in the casting below the
Inscriptions: On the name-batten: Longman and Broderip figure). On a paper label under the soundboard in
Musical Instrument Makers|Kings Arms No. 26 Cheapside Culliford’s hand are the words: Best Octave. Wrestplank
London. On back of name-batten: Thos Culliford Maker| covered by a board on which are pasted Longman
Fountain Court Cheapside|February 1782. Gilded cast brass and Broderip’s Directions to be observed by Purchasers of
LONGMAN and BRODERIP’S two Unison and Octave
rose including encircling lettering: Longman and Broderip
HARPSICHORDS with a Swell, being a warning against
Cheapside. attempting to operate the swell with the outer lid closed.
Specification: 2x8’, 1x4’, lute.
Specification: 2x8’, 1x4’.
Additional features: Harp, machine, inner lid swell (not of
Additional features: 5 hand stops, 2 pedals, machine, lid
original pattern, and pedal linkage a complete replace- swell.
ment), 7 hand stops in brass with engraved ivory insets Compass: FF,GG-P.
(1. to £.): Pedal, Harp, Lute, Octave, Mute (sham), 2nd Number of roses: 1.
Unison, 1st Unison (according to the register levers these Style of rose: Seated harping figure against a leafy
latter two knobs should be interchanged). background.
Compass: FF,GG-P. Length: 2184 mm.
Number of roses: 1. Width: 965 mm.
Remarks: Marquetry above name-batten: central urn Remarks: Naturals of ivory with moulded boxwood fronts
flanked by two medallions and acanthus scroll work. On and sharps of ebony. The five ivory stop knobs are
original stand with original wooden castors. engraved [I. to r.]: Machine, harp, octave, 1st unison, 2nd
Previous history: Formerly belonged to Miss Grace Gurteen, smison. Left pedal operates the machine, and the right the
Haverhill, who bought it from Alec Hodsdon in 1926. swell which takes the form of an inner lid which opens
Repaired by Alec Hodsdon 1926 and Derek Adlam 1972, as the pedal is depressed. Casework of cross banded
and by Clayson and Garrett in 1977. mahogany panels, with solid mahogany lid similarly
Information supplied by: Bz|Mobbs. decorated. Fascia board marquetried with a central urn
Boalch 3 number: LONGMAN and BRODERIP. 1782(2). flanked by scrollwork which extends to and encircles, and
Boalch 2 number: 4b. links, the stop knobs. Three brass lid-securing hooks. On
original stand with wooden castors.
Previous bistory: Sold at Sotheby’s 20 December 1957 by
‘Type: Single-manual harpsichord. Mrs. Le Hunte Cooper, who had bought it at Margate ¢.
Date: 1782(A). 1900 for 10 shillings. It may be that the instrument no
Ownership: Not known. longer belongs to Mr. Reeve (1992).
Inscriptions: Longman & Broderip, Musical Instrument Makers, References: Sotheby’s catalogue of 20 December 1957.
Cheapside. Information supplied by: B2|Reeve| Mackenzie.
Specification: 2x8’, 1x4’, lute. Boalch 3 number: LONGMAN and BRODERIP. 1783(1).
Additional features: Harp, machine, lid swell. Boalch 2 number: 6.
Compass: FF-P(A).
Number of roses: 1. ‘Type: Single-manual harpsichord.
Remarks: Bz says that it was made not later than 1782. Date: 1783.

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486 LONGMAN AND BRODERIP
Ownership: BENTON FLETCHER COLLECTION, Type: Wing spinet.
FENTON HOUSE, LONDON. Accession number not Date: 1785(A).
known. Ownership: CHARLES J. HARRINGTON, BANGOR,
Inscriptions: Inscribed on nameboard: Longman and Broderip MAINE, USA.
Musical Instument (sic) Makers No 26, Cheapside and No 13 Inscriptions: Longman & Broderip, Musical Instrument Makers
Haymarket London, Restorer’s mark L. Ward (of Dol- No. 26 Cheapside and No. 13 Haymarket, London 1785.
metsch) stamped on wrestplank. Signed behind name- Maker’s number 742.
board: Thos. Culliford 1783. According to Bz: Dated under Specification: 1x8".
soundboard 1784. Remarks. Bz suggests the date may have been somewhat
Specification: 2x8’. before 1785, though the following instrument, numbered
Additional features: Harp stop, 1 pedal, 2 hand stops. 143 and dated 1785 suggests that this instrument is very
Compass: FF,GG-P. probably correctly dated at 1785.
Keyboard: White naturals, black sharps. Previous history: Mr. Harrington owned the instrument in
Number of roses: None. 1965—it may well be elsewhere by now (1994).
Exterior of case: Crossbanded. Information supplied by: Bz. .
Scale: 343 mm. Boalch 3 number: LONGMAN and BRODERIP. 1785(A).
Length: 2159 mm. Boalch 2 number: 10.
Width: 921 mm.
Depth: 279 mm. Type: Wing spinet.
Remarks: Instrument made by Culliford in 1783. Ivory Date: 1785.
naturals with boxwood moulded fronts. Ebony sharps. Ownership: TUDOR HOUSE MUSEUM,
Pedal of later date brings on the harp at the same time SOUTHAMPTON, ENGLAND. Accession number
taking off the second eight foot stop. Mahogany case not known,
lined with maple. Inscriptions: On nameboard: Longman & Broderip Musical
References: BFCat, p. 18. Instrument Makers No 26, Cheapside and No 13 Haymarket
Information supplied by: Bz2/BFCat. London. The back of the nameboard has the inscription:
Boalch 3 number: LONGMAN and BRODERIP. 1783(2). Tho Culliford Maker Fountains Court Cheapside London—No
Boalch 2 number: 9/sa. 143 No. 4. Under the soundboard Culliford Maker, London
178).
Specification: 1x8".
Type: Wing spinet. Previous history: Formerly owned by Charles Dibdin, 1745 -
Date: 1784. 1814. Restored in 1975 by Clayson and Garrett.
Ownership: ANTHONY ANTOLINI, PALO ALTO,
Information supplied by: Bz] Luckett.
CALIFORNIA, USA. Boalch 3 number: LONGMAN and BRODERIP. 1785(1)
Inscriptions: Signed on the underside of the soundboard Boalch 2 number: 26.
by Culliford with the date 1782. Inscribed on the
mameboard Longman and Broderip, Musical Instrument Type: Single-manual harpsichord (but see below).
Makers, Kings Arms No 26 Cheapside, London. Maker’s
Date: 1785.
number 723. Ownership: A. C. N. MACKENZIE OF ORD,
Specification: 1x8". BRISTOL, ENGLAND.
Compass: FF,GG-P. Inscriptions: According to the Times Literary Supplement of
Keyboard: White naturals, black sharps. 21 December 1956, p. 766, it bears Longman and
Number of roses; None. Broderip’s label, but this is not true, for all outwardly
Scale: 254 mm. visible original inscriptions were removed by Dolmetsch.
Length: 1880 mm. Though listed as a single-manual harpsichord, at the time
Width: 762 mm. of writing (1992) it is still a double, having been converted
Depth: 229 mm. to its present form by Dolmetsch in 1899, though the
Remarks. Naturals of ivory, with boxwood moulded owner is planning to restore it to its original single-manual
fronts, sharps of ebony. condition. Below the upper manual is inscribed on an
Previous history: Formerly owned by J. K. Pyne. Shown ebony-veneered batten: Made in London by THOMAS
at International Inventions Exhibition 1885. Inherited by CULLIFORD MDCCLXXXV, Remade by ARNOLD
Mr. Antolini from Ruth Koch, ¢. 1980. Instrument has DOLMETSCH LONDON IN MDCCCXCIX. Under
been restored and has a new soundboard. the lower manual on a boxwood vencered batten:
References: Number 9 in the Boddington-Pyne catalogue. VIOLET.GORDON.WOODHOVSE. On the wrest-
Information supplied by: Bz|Dabl. plank, which is veneered in sycamore, is No 387 (Longman
Boalch 3 number: LONGMAN and BRODERIP. 1784. and Broderip’s serial number).
Boalch 2 number: 7. Specification: 2x8", 1x4’, lute.

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 LONGMAN AND BRODERIP 487
Additional features: Harp stop, machine, venetian swell, 7 bears inscription: Thos Culliford Maker Fountain Court
hand stops, 3 pedals. Cheapside London, June 178s. Maker’s number 430.
Compass: FF,GG-P. Specification: 2x8’, 1x4".
Keyboards: See below. Additional features: Harp, machine, venetian swell.
Exterior of case: Crossbanded. Compass: FF-P(A).
Length: 2337 mm. Information supplied by: B?.
Width: 953 mm. Boalch 3 number. LONGMAN and BRODERIP. 1785(3).
Depth: 318 mm. Boalch 2 number: 11.
Remarks: The Dolmetsch keyboards are as follows: Upper
has boxwood naturals and arcades and ebony sharps, and ‘Type: Single-manual harpsichord.
the lower has reversed pattern. Stops with ivory insets Date: 1785.
are engraved (I. to r.): Machine, Harp, Lute, Octave, Silent Ownership. MOBBS KEYBOARD COLLECTION,
(dummy), 1st Unison, 2nd Unison (with catch to keep it on BRISTOL, ENGLAND.
if required). Pedals: left—machine; centre—harp (added Number: H3. 1982.
by Dolmetsch); right—swell. Case of large irregular Inscriptions: On name-batten: Longman And (sie) Broderip
birds-eye figure panels, banded with Indian laurel and Musical Instrument Makers|No 26 Cheapside and No 13
boxwood stringing. Fascia board and cheeks of burr- Haymarket London. On gilded rose with ribbon motif:
walnut panels framed by diagonal crossbanding of tulip Longman|e> Broderip|No 26 Cheapside|e No 13 Haymarket]
wood and ebony stringing. Marquetry on fascia board of London. Branded on wrestplank with two different sizes
central oval in green wood with inlaid trophy of musical of stamps 444 (part of the wrestplank is not original). On
instruments in coloured woods, flanked by rinceau scroll- side of top key Thos Culliford Maker| Fountain Cowrt|London
work extending to the hand stops which are incorporated July 1783|No 444.
in the design being encircled by boxwood stringing and Specification: 2x8’, 1x4’, lute.
linked horizontally by sandwich-stringing bands tying Additional features: 7 hand stops, machine, harp stop.
acanthus sprays (identical to No. 444). Internal veneer of Compass: FF-P.
sycamore with double stringing of ebony. Lid of solid Keyboard: White naturals, black sharps.
mahogany crossbanded en suite with the case. In 1991 Number of roses: 1.
the owner reported that work had been put in hand to Exterior of case: Crossbanded.
restore the instrument to its original condition as a Scale: 343 mm.
single-manual harpsichord. It was intended to retain the Length: 2019 mm.
Dolmetsch keyboards. Wids ¥
Previous history: Restored by Dolmetsch in 1899 for Violet Depth: 302 mm.
Gordon Woodhouse. Formerly owned (1946) by Lady Remarks: Date from inscription on key. Seven hand stops
Headlam. Acquired by the present owner by private treaty in brass with engraved ivory insets (I to 1): Machine, Harp
in January 1965. (replacement), Lute, Octave, Silent (sham), 1st Unison
References: See: references in Dolmetsch, Mabel. Recollections (replacement), 2nd Unison (replacement). Naturals ivory
of Arnold Dolmetsch: ‘In 1897 Dolmetsch moved to 7 with moulded boxwood fronts. Sharps of ebony. Case of
Bayley Street. . .. Many other thrilling developments mahogany panels, crossbanded in mahogany cut on
occurred during the ensuing 5 years both as to restorations diagonal with triple stringing of box ebony box. Mar-
and constructions. The former included Violet Gordon quetry above name-batten: acanthus scrolls flanking cent-
Woodhouse’s fine harpsichord, ingeniously evolved ral oval trophy of instruments on green background
through the adaptation of an ancient single-manual (virtually identical with number 381). Three brass hooks
instrument into one with two keyboards, and manifold on side. Originally had venetian swell, but removed prior
tonal effects.’ Arnold’s name: ‘only at the urgent request to 1982. When acquired by present owner, the machine
of a few privileged customers such as Violet Gordon pedal was a replacement from a square piano ¢. 1805;
Woodhouse was inscribed in his handwriting upon a copy of the pedal on number 381 has now been substituted.
corner of the wrestplank’. Stand probably by Dolmetsch.
Information supplied by: B?|MouldNote|MacKenzie|
Nobbs. Previous history: Formerly belonged to Dolmetsch until ¢.
Boalch 3 number. LONGMAN and BRODERIP. 1785(2). 1900, and the actress Mrs. Julia Neilson-Terry, in whose
Boalch 2 aumber: 11a. possession it was probably used as property in the
Neilson-Terry Company [See: Harald Melvill: Theatrecraft,
Type: Two-manual harpsichord. Rockliff, 1954]. Mrs. K. Bradshaw bought it at Sotheby’s
Date: 1785. 18 February 1952. For sale at Aldridge’s in Bath in 1982.
Ownership: LISBON CONSERVATOIRE, LISBON, Bought by Kenneth Mobbs September 1982. Restored by
PORTUGAL. Martin Robertson, Oxford 1985. Leathered probably by
Inscriptions: Longman & Broderip Musical Instrument Makers, Dolmetsch and again by Martin Robertson.
No. 26 Cheapside and No. 13 Hay Market, London. Also Information supplied by: B?|Mobbs.

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 488 LONGMAN AND BRODERIP
Boake 3 number: LONGMAN and BRODERIP. 1785(4). Specification. 1x8".
Boalch 2 number: 12. Compass: FF-P.
Keyboard: Black naturals, white sharps.
Type: Single-manual harpsichord. Exterior of case: Crossbanded.
Date: 1785. Length: 1917 mm.
Ownership: LEONARD INGRAMS, GARSINGTON Remarks: The Sotheby’s Catalogue of 23 June 1983 says
MANOR, OXFORD, ENGLAND. the compass is FF-P, while B’ implies GG-g’. The
Inscriptions: Inscription on top key: Cxlliford and Co., Sotheby’s catalogue also says: ‘Satinwood fascia board
Makers, Fountain Court, Cheapside, London, July 1785 No: with mahogany crossbanding, the mahogany case with
7: holly stringing and shaped brass strap-hinges . . . ebony
Specification: 2x8’, 1x4’. naturals and ivory overlaid accidentals . . . on trestle
Exterior of case: Crossbanded. stand.’ Skowroneck reports (1984) that most of the jacks
Remarks: Original gauges marked on the nut. Mahogany are original, and were originally leather.
case. Previous bistory: Was in the possession of Messrs. Gordon
Previous bistory: Jorg Demus of Vienna bought it in 1963 Smith, antique dealers in 1967, in which year it was
from Robert Morley who repaired it in 1959. It appears repaired by Robery Morley. Sold to Marc Champollion
to have been through Morley’s hands again before being at Sotheby’s on 23 June 1983 (lot 99). It is possibly this
acquired from them in 1976 or 1977 by Mr. Ingrams. instrument which was offered at Sotheby’s on 22 May
Information supplied by: B’. 1986, but was not sold, there being no bid. [See EM vol
Boalch 3 number. LONGMAN and BRODERIP. 1785(5). 14, No. 4, p. §71-]
Boalch 2 number: 13. References: Sotheby’s Catalogue of 23 June 1983.
Information supplied by: B*|Sothebys|Champ|EM.
‘Type: Single-manual harpsichord. Boalch 3 number: LONGMAN and BRODERIP. 1786.
Date: 1785. Boalch 2 number: 142.
Ownership: CONSERVATORIO DI MUSICA,
FLORENCE, ITALY. Type: Single-manual harpsichord.
Number: 99. Date: 1787.
Inscriptions. The top key is inscribed; Cwlliford & Co., Ownership: HORNIMAN MUSEUM AND LIBRARY,
Makers. Fountain Court Cheapside London Sept. 1785, No.463. LONDON, ENGLAND.
On nameboard: Longman and Broderip Musical Instrument Number: M6o-1981.
Makers No 26 Cheapside and No 13 Haymarket London. Inscriptions: Signed on bottom key by Jobn Spielspegger [i.c.
According to Heale, Culliford’s name is also on the back Spielsberger]. This key also bears the inscription Gies and
of the soundboard. the top key has Grey written on it. Nameboard missing.
Specification: 2x8’, 1x4’, lute(A). Specification: 1x16’, 1x8’, 1x4’, lute.
Additional features: Machine, venetian swell, 6 hand stops, Additional features: Harp stop, 5 pedals.
2 5 Compass. FF-P.
Compass: FF-f. Keyboard: White naturals, black sharps.
Keyboard: White naturals, black sharps. Number of roses: 1.
Number of roses: 1. Style of rose(s): Seated harping figure.
Exterior of case: Crossbanded. Exterior of case: Crossbanded.
Remarks: Handstops (Battersea enamel(A)) labelled: Harp, Scale: 341 mm.
Lute, Octave, Silent, 1 Unison, 2 Unison. Machine stop Length: 2198 mm.
in left cheek. Intarsia trophy of instruments over the Width: 967 mm.
nameboard. Depth: 311 mm.
Previous bistory: From the L. Casamorta bequest. Remarks: Naturals of ivory with boxwood fronts. Sharps
References: AS-Firenze, p. 93, and Ilus. go-1. of ebony. Restored in the Dolmetsch workshops when
Information supplied by: B|Heale| AS-Firenze. one of the 8’ stops was restrung as a 16’ and pedals, were
Boalch 3 number: LONGMAN and BRODERIP. 1785(6). added, and wrestpins, jacks, jackrail, fascia board, and
Boalch 2 number: 14. stand were replaced. Case has satinwood veneer panels
with geometric stringing and mahogany crossbanding.
Type: Wing spinet. Fascia board (new) veneered in satinwood with marquetry
Date: 1786. inlay of a musical trophy with an oval surrounded
Ownership: MARC CHAMPOLLION, SIEGEN, by roses. Gilt rose with harping figure surrounded by
GERMANY. musical trophies.
Inscriptions. On the nameboard: Longman and Broderip, Previous history: Bought by the Museum from the Dol-
Londini fecit 1786, 26 Cheapside &* 13 Haymarket. Inscribed metsch collection in 1981.
under the soundboard Cudliford Maker London 1786. References. Exhibition catalogue: The Dolmetsch Collection

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 LONGMAN AND BRODERIP 489
of Musical Instruments, Frances Palmer (Horniman Museum, an enamelled plaque on the nameboard. 727 on wrest-
1981) No. Il: 3, p. 22. plank.
Information supplied by: B?|Birley. Specification: 2x8’, 1x4’, lute.
Boalch 3 number: LONGMAN and BRODERIP. 1787(1). Additional features: Harp, machine, venetian swell.
Boaleh 2 number: 15. Compass. FF-f.
Keyboard: White naturals, black sharps.
Type: Single-manual harpsichord. Exterior of case: Crossbanded.
Date: 1787. Scale: 346 mm.
Ownership. MINOR MYERS JR., BLOOMINGTON, Length: 2327 mm.
ILLINOIS, USA. Width: 914 mm.
Inscriptions: Longman and Broderip No 600. On the back of Depth: 350 mm.
the nameboard Méfarlane No 3 and Aprile 6th Kaisor for Remarks: A date of ¢. 1780 is ascribed by Yale, but since
Mcfarling No 3. On key no 1: Mar 13 1872 cleaned and this instrument is numbered 721, and instrument no.
repaired|original owner Eleanor Stockbridge, Scituate, Mass LONGMAN and BRODERIP. 1787. is numbered 600,
purchased in England in 1787. Also inscribed: March 20 1799 the date of this instrument must be 1787 or later. Looking
Thorogbly Cleand, May 2 1816 Thouroghly (sic) cleaned; March at the likely output of instruments from the Longman
21, 1818 cleaned, May 15, 1826 cleaned, March 13 1872 and Broderip workshops, a date of ¢. 1788 might seem
cleaned, repaired and tuned; Aug 15 1874 tuned partly. more appropriate. Naturals of ivory, sharps of ebony.
Case of mahogany panels crossbanded with rosewood and
Specification: 2x8’, 1x4’.
maple stringing.
Compass: FF-P. Previous bistory: Ex. Belle Skinner Collection.
Keyboard: White naturals, black sharps.
References: Ilustrated in the Belle Skinner Collection
Number of roses: 1.
catalogue.
Style of rose: Trophy of instruments. Information supplied by: B*|Repbann.
Exterior of case: Crossbanded. Boalch3 number: LONGMAN and BRODERIP. 1788(A).
Length: 2159 mm.
Boalch 2 number: 17.
Width: 953 mm.
Remarks: Naturals of ivory with box-reeded fronts and Type: Two-manual harpsichord.
sharps of ebony. Machine mechanism is still present, Date: 1793(A).
though the pedal is now missing. Bronze rose with Ownership. THE MOUNT VERNON LADIES’
hunting horns between inscriptions and within a beaded ASSOCIATION OF THE UNION, MOUNT
border. VERNON, VIRGINIA, USA.
Previous history: Appears to have been bought in England Inscriptions. On a porcelain plaque on the nameboard:
in the year of its manufacture (1787) by Eleanor Stock- Longman and Broderip|Musical Instrument makers|No 26
bridge of Scituate, Massachusetts. Subsequently, according Cheapside and No 13 Haymarket. The serial number 737 is
to B’, in the possession of New London, Conn., Con- stamped on the wrestplank.
necticut College, on loan from Mrs. M. J. Shaw. In fact, Specification: 1: 2x8’, 1x4’; U: 1x8’, lute.
though it was for a time on loan to the Lyman Allen Additional features: 6 hand stops (one a dummy), machine,
Museum in New London, Connecticut, which was then venetian swell, music desk, dogleg, z pedals.
under the administration of Connecticut College, the Compass: FF-f(A).
Museum was never part of the College, and to this extent Keyboard: White naturals, black sharps.
the statement in B’ is incorrect. The present owner Scale: 325 mm.
bought it from a family to which it had been willed by Length: 2343 mm.
a descendant of the first owner. It is interesting to note Width: 955 mm.
from the inscriptions how the instrument was being cared Depth: 345 mm.
for in the nineteenth century, at a time when the Remarks. A date of 1793 seems likely since it was ordered
harpsichord was generally very much out of fashion. by George Washington in that year. The two battens
Information supplied by: B?|Minor Myers Jr. over the keys are decorated with painted leaves and
Boalch 3 number: LONGMAN and BRODERIP. 1787(2). trailing vines. The left pedal operates a machine stop
Boalch 2 number: 16. which is preset by one of the handstops. The right pedal
operates the venetian swell. Case veneered in ribbon
Type: Two-manual harpsichord. figured mahogany panels with stringing and crossbanding.
Date: 1788(A). The instrument was unplayable for many years, and
Ownership: YALE UNIVERSITY COLLECTION OF according to EK is still in the same condition.
MUSICAL INSTRUMENTS, USA. Previous bistory: Ordered by George Washington for Nellie
Number: 4881.60. Custis in 1793. It is the final piece of original furniture
Inscriptions: Longman Broderip|Musical Instrument to be restored to Mount Vernon.
Makers|No.26 Cheapside and No. 13 Haymarket|London on References: See a booklet (exact title not known) on the

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490 LONGMAN AND BRODERIP
Mount Vernon furniture published by the Mount Vernon Inscriptions: Longman & Broderip Musical Instrument Makers,
Ladies’ Association of the Union, 1966. EK] Ill, p. 55, No 26 Cheapside & No 13 Haymarket, London.
No H-79.3. Specification: 2x8’, 1x4'(A).
Information supplied by: Bz|Brown|EK]. Additional features: 3 hand stops, 2 pedals.
Boalch 3 number. LONGMAN and BRODERIP. 1793(A). Compass: FF-P.
Boalch 2 number: 18. Previous history: Most probably this instrument is that
which was sold by Lady Dulverton in 1962. Offered by
Type: Wing spinet. Morleys in June 1976 and sold for £8,500.
Date: Not known. Information supplied by: Be.
Ownership: MESSRS ROBERT MORLEY, LONDON, Boalch 3 number: LONGMAN and BRODERIP n.d.(3).
ENGLAND. Boalch 2 number: 20.
Inscriptions. Longman & Broderip Musical Instrument Makers,
No. 26 Cheapside and No. 13 Haymarket London. Numbered Type: Two-manual harpsichord.
129 on wrestplank. Date: Not known.
Specification: 1x8". Ownership: FACULTY OF MUSIC, UNIVERSITY OF
Remarks: Originally had a swell whereby a pedal raised CAMBRIDGE, ENGLAND. Accession number not
part of the lid (it is not clear whether this survives). known,
Previous history: Mr. Morley bought it (1966) from Geoffrey Inscriptions. LONGMAN & BRODERIP/MUSICAL
Harding, Steventon, who had bought it at Puttick and INSTRUMENT MAKERS|/No. 26 CHEAPSIDE &
Simpson’s, February 1965, from C. F. Colt, Bethersden, No. 13 HAYMARKET/LONDON on an enamelled
Kent. It is more than likely that the instrument no longer
plaque on the nameboard.
(1992) belongs to Morleys. Specification: 2x8’, 1x4’, lute.
Information supplied by: Bz.
Additional features. Harp stop, 1 pedal, 5 hand stops, lid
Boalch3 number: LONGMAN and BRODERIP. n.d.(1).
swell, music desk.
Boalch 2 number: 8.
Compass: FF-P.
Keyboard: White naturals, black sharps.
Type: Single-manual harpsichord. Number of roses: None.
Date: Not known. Exterior of case: Crossbanded.
Ownership: ALEC HODSDON (THE LATE),
Remarks: Naturals of ivory with box-reeded fronts and
LAVENHAM, SUFFOLK, ENGLAND.
sharps of ebony. The instrument is mounted on a trestle
Specification: 2x8’, 1x4’, lute.
Additional features: Harp, machine, swell. stand, with castors, which clearly originally had two
pedals, of which only the left survives. There is no sign
Number of roses: 1.
of a machine having existed, and the surviving lid swell
Length: 2184 mm.
Remarks: Alec Hodsdon had the instrument in 1933, but
linkage was obviously operated from the right pedal, so
it seems as if the stand is not original. The cheeks have
it is now likely to be elsewhere. The description of the
been cut away so that they slope (like many instruments
swell in Bz-—‘single cover without slats’ suggests a form
of nag’s head swell similar to that fitted to other since the revival), though on the right and left cheeks
instruments by Longman and Broderip. Bz records Alec the remains of the original cross banded cheeks indicate
that they were square. A more recent mahogany (possibly
Hodsdon as owning a second Longman and Broderip
single-manual harpsichord (Bz number 23), with the same paduk) lid has been made to cover the sloping front. The
specification as this one. There seems little reason to 8’ bridge is massive and is double-pinned throughout.
suppose that these are different instruments, though the The wrestpins are modern.
possibility should not be discounted until positive proof Information supplied by: B2|Mould Note.
can be shown. The only additional information about this Boalch 3 number: LONGMAN and BRODERIP. n.d.(4).
second instrument is the description of the marking on Boalch 2 number: 22.
the handstops: Left to right——Harp, Lute, Octave, Silent,
2nd unison, 1st unison, and on the left cheek-piece: Machine. ‘Type: Single-manual harpsichord.
Previous history: Sold by Mrs. Alston at Sotheby’s 10 Date: Not known.
March 1933 to Alec Hodsdon. Ovnership: Not known.
Information supplied by: Bz. Remarks: This fine instrument was seen by CMM in the
Boalch 3 number: LONGMAN and BRODERIP. n.d.(z). 1960s, but its present whereabouts are not known.
Boalch 2 number: 19/23. Previous history: Formerly R. R. Henshaw, Turleigh,
Bradford on Avon.
‘Type: Single-manual harpsichord. Information supplied by: Bz|Mould Note.
Date: Not known. Boalch 3 number. LONGMAN and BRODRRIP. n.d.(5).
Ounership: Not known. Boalch 2 number: 24.

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 LONGSHALL 491
Type: Wing spinet. Type: Wing spinet.
Date: Not known. Date: Not known,
Ownership: Not known. Ownership: KNIGHTSHAYES COURT (THE
Specification: 1x8". NATIONAL TRUST), ENGLAND.
Remarks. The possibility that this spinet is the same as Inscriptions: Longman and Broderip Musical Instrument
one of the above (dated) instruments should not be Makers|No 26 Cheapside and No 13 Hay Market London.
discounted. Gray? N° 1 on top key. Wallace? N? on bottom key.
Previous history: Sold at auction at Berkhamstead 1942. Specification: 1x8".
Information supplied by: Bz. Compass: FF,GG-P.
Boalch 3 number. LONGMAN and BRODERIP. n.d.(6). Information supplied by: Garrett.
Boalch 2 number: 25. Boalch 3 number: LONGMAN and BRODERIP. n.d.(9).
Boalch 2 number: None.
‘Type: Wing spinet.
Date: Not known. LONGMAN, LUKEY & CO.
Ownership: ROGER WARNER, BURFORD, Type: Wing spinet.
ENGLAND. Date: Not known.
Inscriptions: Longman & Broderip Musical Instrument Makers, Ownership: Not known.
Kings Arms, No. 26 Cheapside, London. No other inscrip- Inscriptions: Longman, Lukey and Co. Instrument makers,
tions on keys or jacks. inscribed on nameboard.
Specification: 1x8’. Specification: 1x8".
Compass: FF,GG-P. Compass: GG-g'(A).
Keyboard: White naturals, black sharps. Keyboard: White naturals, black sharps.
Number of roses: None. Remarks: Probably dated before 1775 when the firm
Exterior of case: Crossbanded. became Longman, Lukey, and Broderip. May possibly
Remarks: Ivory naturals, ebony sharps. Mahogany case. be the same instrument as the instrument number—
Has at some time had new, large, square (piano style) ‘LONGMAN, LUKEY & CO. 1771.’
wrestpins added. Solid mahogany lid has many internal Previous history: Formerly the property of Edmund C.
bracers. Soundboard split in several places. A mixture of Legg of Cirencester.
jacks, some having had leather, but now fitted with quill, Information supplied by: B2.
others which have only been pierced for quill. Original Boalch 3 number: LONGMAN, LUKEY & CO. n.d.(1)
trestle stand. Generally in poor condition, but capable of Boalch 2 number: 1.
restoration. The omission of the Haymarket address from
the inscription suggests a date of pre-1782. Type: Wing spinet.
Previous history: Bought by Roger Warner at the sale of Date: 1771.
the effects of Miss Olga Mothersole, in Devon, ¢.1952. Ownership: TONY BINGHAM, LONDON,
Information supplied by: B2|Warner. ENGLAND.
Boalch 3 number: LONGMAN and BRODERIP. n.d.(7). Inscriptions: Longman Lukey & Co Instrument makers No 26
Boalch 2 number: 27. Cheapside London 1771.
Specification: 1x8’.
Type: Single-manual harpsichord. Compass: GG-g?.
Date: not known. Keyboard: White naturals, black sharps.
Ownership: A SCHOOL IN HAMPSTEAD(A), Scale: 270 mm.
LONDON, ENGLAND. Length: 1930 mm.
Inscriptions: On nameboard: Longman & Broderip Musical Width: 790 mm.
Instrument Makers No.26 Cheapside & No.13 Haymarket Depth: 210 mm.
London. \n pencil inside a jackslot: Dore. The mention of Remarks: See also: Instrument number ‘LONGMAN,
the Haymarket address suggests a date of post-1782. LUKEY & CO. n.d.(1).’ Ivory naturals with boxwood
Specification: 2x8". fronts. Ebony sharps. Mahogany case.
Additional features: 2 hand stops. Previous history: Bought by Tony Bingham at a Phillips
Compass: FF-P(A). auction.
Remarks: Thought by Bz to be at a Hampstead School, Information supplied by: Bingham.
£1970. Boalch3 number: LONGMAN, LUKEY & CO. 1771.
Previous history: Michael Thomas had the instrument in Boalch 2 number: None.
about 1961. Restrung by A. Reeve, Maidenhead.
Information supplied by: Bz. LONGSHALL, JOHN(A).
Boatch 3 number: LONGMAN and BRODERIP. n.d.(8). Type: Wing spinet.
Boalch 2 number: 28. Date: 1760(A).

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490 LONGMAN AND BRODERIP
Mount Vernon furniture published by the Mount Vernon Inscriptions: Longman & Broderip Musical Instrument Makers,
Ladies’ Association of the Union, 1966. EK] Ill, p. 55, No 26 Cheapside & No 13 Haymarket, London.
No H-79.3. Specification: 2x8’, 1x4'(A).
Information supplied by: Bz|Brown|EK]. Additional features: 3 hand stops, 2 pedals.
Boalch 3 number. LONGMAN and BRODERIP. 1793(A). Compass: FF-P.
Boalch 2 number: 18. Previous history: Most probably this instrument is that
which was sold by Lady Dulverton in 1962. Offered by
Type: Wing spinet. Morleys in June 1976 and sold for £8,500.
Date: Not known. Information supplied by: Be.
Ownership: MESSRS ROBERT MORLEY, LONDON, Boalch 3 number: LONGMAN and BRODERIP n.d.(3).
ENGLAND. Boalch 2 number: 20.
Inscriptions. Longman & Broderip Musical Instrument Makers,
No. 26 Cheapside and No. 13 Haymarket London. Numbered Type: Two-manual harpsichord.
129 on wrestplank. Date: Not known.
Specification: 1x8". Ownership: FACULTY OF MUSIC, UNIVERSITY OF
Remarks: Originally had a swell whereby a pedal raised CAMBRIDGE, ENGLAND. Accession number not
part of the lid (it is not clear whether this survives). known,
Previous history: Mr. Morley bought it (1966) from Geoffrey Inscriptions. LONGMAN & BRODERIP/MUSICAL
Harding, Steventon, who had bought it at Puttick and INSTRUMENT MAKERS|/No. 26 CHEAPSIDE &
Simpson’s, February 1965, from C. F. Colt, Bethersden, No. 13 HAYMARKET/LONDON on an enamelled
Kent. It is more than likely that the instrument no longer
plaque on the nameboard.
(1992) belongs to Morleys. Specification: 2x8’, 1x4’, lute.
Information supplied by: Bz.
Additional features. Harp stop, 1 pedal, 5 hand stops, lid
Boalch3 number: LONGMAN and BRODERIP. n.d.(1).
swell, music desk.
Boalch 2 number: 8.
Compass: FF-P.
Keyboard: White naturals, black sharps.
Type: Single-manual harpsichord. Number of roses: None.
Date: Not known. Exterior of case: Crossbanded.
Ownership: ALEC HODSDON (THE LATE),
Remarks: Naturals of ivory with box-reeded fronts and
LAVENHAM, SUFFOLK, ENGLAND.
sharps of ebony. The instrument is mounted on a trestle
Specification: 2x8’, 1x4’, lute.
Additional features: Harp, machine, swell. stand, with castors, which clearly originally had two
pedals, of which only the left survives. There is no sign
Number of roses: 1.
of a machine having existed, and the surviving lid swell
Length: 2184 mm.
Remarks: Alec Hodsdon had the instrument in 1933, but
linkage was obviously operated from the right pedal, so
it seems as if the stand is not original. The cheeks have
it is now likely to be elsewhere. The description of the
been cut away so that they slope (like many instruments
swell in Bz-—‘single cover without slats’ suggests a form
of nag’s head swell similar to that fitted to other since the revival), though on the right and left cheeks
instruments by Longman and Broderip. Bz records Alec the remains of the original cross banded cheeks indicate
that they were square. A more recent mahogany (possibly
Hodsdon as owning a second Longman and Broderip
single-manual harpsichord (Bz number 23), with the same paduk) lid has been made to cover the sloping front. The
specification as this one. There seems little reason to 8’ bridge is massive and is double-pinned throughout.
suppose that these are different instruments, though the The wrestpins are modern.
possibility should not be discounted until positive proof Information supplied by: B2|Mould Note.
can be shown. The only additional information about this Boalch 3 number: LONGMAN and BRODERIP. n.d.(4).
second instrument is the description of the marking on Boalch 2 number: 22.
the handstops: Left to right——Harp, Lute, Octave, Silent,
2nd unison, 1st unison, and on the left cheek-piece: Machine. ‘Type: Single-manual harpsichord.
Previous history: Sold by Mrs. Alston at Sotheby’s 10 Date: Not known.
March 1933 to Alec Hodsdon. Ovnership: Not known.
Information supplied by: Bz. Remarks: This fine instrument was seen by CMM in the
Boalch 3 number: LONGMAN and BRODERIP. n.d.(z). 1960s, but its present whereabouts are not known.
Boalch 2 number: 19/23. Previous history: Formerly R. R. Henshaw, Turleigh,
Bradford on Avon.
‘Type: Single-manual harpsichord. Information supplied by: Bz|Mould Note.
Date: Not known. Boalch 3 number. LONGMAN and BRODRRIP. n.d.(5).
Ounership: Not known. Boalch 2 number: 24.

«iby Google
 LONGSHALL 491
Type: Wing spinet. Type: Wing spinet.
Date: Not known. Date: Not known,
Ownership: Not known. Ownership: KNIGHTSHAYES COURT (THE
Specification: 1x8". NATIONAL TRUST), ENGLAND.
Remarks. The possibility that this spinet is the same as Inscriptions: Longman and Broderip Musical Instrument
one of the above (dated) instruments should not be Makers|No 26 Cheapside and No 13 Hay Market London.
discounted. Gray? N° 1 on top key. Wallace? N? on bottom key.
Previous history: Sold at auction at Berkhamstead 1942. Specification: 1x8".
Information supplied by: Bz. Compass: FF,GG-P.
Boalch 3 number. LONGMAN and BRODERIP. n.d.(6). Information supplied by: Garrett.
Boalch 2 number: 25. Boalch 3 number: LONGMAN and BRODERIP. n.d.(9).
Boalch 2 number: None.
‘Type: Wing spinet.
Date: Not known. LONGMAN, LUKEY & CO.
Ownership: ROGER WARNER, BURFORD, Type: Wing spinet.
ENGLAND. Date: Not known.
Inscriptions: Longman & Broderip Musical Instrument Makers, Ownership: Not known.
Kings Arms, No. 26 Cheapside, London. No other inscrip- Inscriptions: Longman, Lukey and Co. Instrument makers,
tions on keys or jacks. inscribed on nameboard.
Specification: 1x8’. Specification: 1x8".
Compass: FF,GG-P. Compass: GG-g'(A).
Keyboard: White naturals, black sharps. Keyboard: White naturals, black sharps.
Number of roses: None. Remarks: Probably dated before 1775 when the firm
Exterior of case: Crossbanded. became Longman, Lukey, and Broderip. May possibly
Remarks: Ivory naturals, ebony sharps. Mahogany case. be the same instrument as the instrument number—
Has at some time had new, large, square (piano style) ‘LONGMAN, LUKEY & CO. 1771.’
wrestpins added. Solid mahogany lid has many internal Previous history: Formerly the property of Edmund C.
bracers. Soundboard split in several places. A mixture of Legg of Cirencester.
jacks, some having had leather, but now fitted with quill, Information supplied by: B2.
others which have only been pierced for quill. Original Boalch 3 number: LONGMAN, LUKEY & CO. n.d.(1)
trestle stand. Generally in poor condition, but capable of Boalch 2 number: 1.
restoration. The omission of the Haymarket address from
the inscription suggests a date of pre-1782. Type: Wing spinet.
Previous history: Bought by Roger Warner at the sale of Date: 1771.
the effects of Miss Olga Mothersole, in Devon, ¢.1952. Ownership: TONY BINGHAM, LONDON,
Information supplied by: B2|Warner. ENGLAND.
Boalch 3 number: LONGMAN and BRODERIP. n.d.(7). Inscriptions: Longman Lukey & Co Instrument makers No 26
Boalch 2 number: 27. Cheapside London 1771.
Specification: 1x8’.
Type: Single-manual harpsichord. Compass: GG-g?.
Date: not known. Keyboard: White naturals, black sharps.
Ownership: A SCHOOL IN HAMPSTEAD(A), Scale: 270 mm.
LONDON, ENGLAND. Length: 1930 mm.
Inscriptions: On nameboard: Longman & Broderip Musical Width: 790 mm.
Instrument Makers No.26 Cheapside & No.13 Haymarket Depth: 210 mm.
London. \n pencil inside a jackslot: Dore. The mention of Remarks: See also: Instrument number ‘LONGMAN,
the Haymarket address suggests a date of post-1782. LUKEY & CO. n.d.(1).’ Ivory naturals with boxwood
Specification: 2x8". fronts. Ebony sharps. Mahogany case.
Additional features: 2 hand stops. Previous history: Bought by Tony Bingham at a Phillips
Compass: FF-P(A). auction.
Remarks: Thought by Bz to be at a Hampstead School, Information supplied by: Bingham.
£1970. Boalch3 number: LONGMAN, LUKEY & CO. 1771.
Previous history: Michael Thomas had the instrument in Boalch 2 number: None.
about 1961. Restrung by A. Reeve, Maidenhead.
Information supplied by: Bz. LONGSHALL, JOHN(A).
Boatch 3 number: LONGMAN and BRODERIP. n.d.(8). Type: Wing spinet.
Boalch 2 number: 28. Date: 1760(A).

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492 LOOSEMORE
Ownership: Not known. hunt, Adam and Eve, birds, etc. in a rural setting. Front
Inscriptions: J. Longshall Wigan. of instrument and soundboard surrounds in embossed
Specification: 1x8’. papier-maché in the Flemish manner. Soundboard dec-
Exterior of case: Plain wood. orated in gouache with two roses of gilded carved wood.
Remarks. The case is reported to be of plain walnut, and No stand.
to have a five-octave compass. The date of ¢. 1760 comes Previous bistory: Formerly belonged to Charles K. Salaman.
from Bz. There is considerable speculation about this Exhibited South Kensington 1872. Acquired by the
instrument, since it seems likely that the maker’s name Museum for £52. 10s. in 1873.
may have on occasions been spelled as Langshall, or References: Ilustrated in GD [1928] art. Virginal. VerA
Langsbaw. Since lan Pleeth records an instrument by Cat, p. 61 (Illustrated).
Langshaw which had a set of jacks and register by Hugh Information supplied by: Bz] VeA Cat|Martin.
Gough in 1949, and Bz says that the instrument by Boalch 3 number. LOOSEMORE, J. 1655.
Longshall was repaired in 1949 by Hugh Gough, it seems Boalch 2 number: 1.
likely that they are one and the same. Mrs. Margaret
Susands, of Michael Foster, ¢. 1988 reported that a spinet LOPEZ DE DUENAS, ANTONIO.
by Langshall, of 1700-10 with a cabriole legged stand and ‘Type: Fretted clavichord.
drawers, was said to look like the work of Mahoon, and Date: 1829.
was about to go abroad. Again, it seems likely that this Ownership: MARCELINO LOPEZ NIETO, MADRID,
is the same instrument. A further complication is raised SPAIN.
by a quotation from p. 7 of the Sunday Times of 16 June Inscriptions. + Me izo Antonio Lopez de/Dnenas en Toledo
1985: ‘. . . this handsome walnut spinet which Mrs. Pat ato de|1829. Mes de Abril, orga/nero +.
Read of Michael Foster is showing us. It was crafted by Compass: C-d?.
John Longshaw of Wigan ... circa 1720...’ Keyboard: Black naturals, white sharps.
Previous history: Belonged at one time to Mrs. Bronwen Exterior of case: Painted.
Lloyd-Williams, Oswestry. In 1989 probably sold abroad Scale: 260 mm.
following the 1988 Grosvenor House antiques fair. Length: 1026 mm.
Information supplied by: B2/Susands|Pleeth. Width: 363 mm.
Boalch 3 number: LONGSHALL, J. 1760(A). Depth: 128 mm.
Boalch 2 number: 1. Remarks: Naturals of ebony and bone fronts. Sharps with
black-stained sides, and bone tops and fronts. Keys have
LOOSEMORE, JOHN. straight levers. Pairwise fretted from c'-d?; the scheme is
Type: English rectangular virginal. given by Beryl Kenyon de Pascual (see reference, p. 99).
Date: 1653. External case originally painted ochre, now green.
Ownership: VICTORIA AND ALBERT MUSEUM, References: Beryl Kenyon de Pascual. ‘Two Features of
LONDON, ENGLAND. Early Spanish Keyboard Instruments’, GSJ, XLIV, (1991),
Number. 813-1873. PP. 94-102.
Inscriptions. Inscribed on jackrail; Jobn Loosemore Fecit Information supplied by: KdP|and another unknown informant.
1655. Boalch 3 number: LOPEZ DE DUENAS, A. 1829.
Specification: 1x8". Boalch 2 number: None.
Compass: C-d.
Keyboard: White naturals, black sharps. LOTH, J.
Number of roses: 2. ‘Type: Single-manual harpsichord.
Style of roses: Geometrical pattern. Date: Not known.
Exterior of case: Plain wood. Ownership: Not known.
Scale: 304.5 mm. Remarks: Possibly made by Johann Loth (g.v.), but not
Length: 1730-1733 mm. necessarily so.
Width: 514-521 mm. References: Reported by GL.
Depth: 225-226 mm. Information supplied by: Bz.
Remarks: Apparent compass C-d? but the lowest key can Boalch 3 number. LOTH, J. n.d.
be used to play either of two notes depending on which Boalch 2 number: 1.
of the two lowest mortices holds a jack. Boxwood
naturals; with arcades of embossed paper (though varying LOTH, JOHANN.
considerably in style) and sharps of stained hardwood. Type: Harpsichord (number of manuals not known).
Drop front, coffered lid, case front, sides, wrestplank, Date: 1647.
and hitchpin rail of oak. Spine and bottom boards of soft Ovmersbip: Not known.
wood. Exterior case undecorated. Inner surfaces of lid Inscriptions: Inscription round rose, on soundboard; Johann
and drop front painted with naive decoration of a stag Loth Coloniae me fecit Anno Dmi. MDCXXXXVII.

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 LUNDBORG 493
Specification: 2x8". ‘Type: Single-manual harpsichord.
Number of roses: 1. Date: 1770(A).
Previous history. Formerly in de Wit’s collection. The Ownership: VESTFOLD FYLKESMUSEUM,
instrument appeared in an antique-dealer’s shop in Vence TONSBERG, NORWAY. Accession number not
[Alpes Maritimes] about 1959 but has disappeared again known.
since. Inscriptions. Apart from the initials DVL in the rose, the
References: VdMBei, p. 104. lower belly rail has inscription in old Dutch No J de Alyne
Information supplied by: Bz. onderboom, and in modern Dutch de Alijne onderbodem. On
Boalch 3 number: LOTH, JOHANN. 1647. the C jacks of the front 8’: J-a de Alyne, and on the 4’: J-b
Boalch 2 number: 2. octaaf4 p midel. On the back 8’ J-¢ anaar 8 p agter.
Specification: 2x8’, 1x4’.
Type: Harpsichord (number of manuals not known). Compass: C-P.
Date: 1648. Number of roses: 1.
Ownership: Not known. Style of rose: Seated harping figure.
Inscriptions. Dated Cologne 1648. Exterior of case: Painted.
Specification: 1x8’, 1x4". Remarks: Date is ascribed by VdM on the basis of
Previous history: Sold at Saint Paul en Vence in 1957 or the similarity to the instrument formerly in the Berlin
1958. Restored in Leipzig in 1900 and later again in 1956 Collection. The D of the initials in the rose, which has a
according to Nord. harping, kneeling, angel, has been damaged. The 4’
References: Nord. compass is C-d’ only. Back 8’ and 4’ pluck towards the
Information supplied by: Bz. bass. Outer case painted light green, with blue inside.
Boalch 3 number: LOTH, JOHANN. 1648. References: See Curtis and Gierveld.
Boalch 2 number: 1. Information supplied by: VAM.
Boalch3 number: LUGT, D. VAN DER. 1770(A).
Boalch 2 number: None.
LOWE, CHRISTOPHER.
Type: Polygonal spinet. LUNDBOM, MATTHIAS.
Date: 1632. Type: Fret-free clavichord with octave strings in the bass.
Ownership: MUSEE INSTRUMENTAL, PARIS, Date: 1772.
FRANCE.
Ownership: T. RISKA, HELSINGFORS, FINLAND.
Number: 986.1.3.
Inscriptions: Label on area of soundboard between the
Compass. C/E-c'(A), short octave.
wrest-pins and the case: Stockholm bos Organisten Matth:
Previous history: Formerly in the collection of André Meyer. Lundbo: Anno 1772 No.34.
References: Illustrated in Hin, pl. 33. Compass: C-P.
Information supplied by: Bz|MICL. Keyboard: Black naturals, white sharps.
Boalch3 number. LOWE, C. 1632. Number of roses: None.
Boalch 2 number: 1. Exterior of case: Painted.
Length: 1509 mm.
LUGT, DIRK VAN DER. Width: 457 mm.
‘Type: Single-manual harpsichord. Remarks: Fifteen octave strings in the bass. Soundboard
Date: 1770. of pine.
Ownership: FORMERLY IN THE BERLIN References: H-O No. SF T. Riska, Helsingfors. Illustrated
COLLECTION, BERLIN, GERMANY. at figs. 117A, and 117B on p. 134.
Number: 2226. Information supplied by: Barrell|Weldon|H-O.
Inscriptions: Inscription on soundboard: Dirk van der Lugt Boalch3 number. LUNDBOM, M. 1772.
Sfecit Amsterdam 1770. Boalch 2 number: None.
Specification: 2x8’, 1x4’.
Number of roses: 1. LUNDBORG, PEHR.
Style of rose: Seated harping figure. Type: Fret-free clavichord with octave strings in the bass.
Length: 1810 mm. Date: 1770(A).
Width: 790 mm. Ownership: STIFTELSEN MUSIKKULTURENS
Remarks: Bz says instrument probably lost in World War FRAMJANDE, STOCKHOLM, SWEDEN.
II, and this is confirmed by BerlinCat. Number: KL 49.
References: BerlinCat, p. 375 quotes the entry in Sa. Inscriptions: Keyfronts have initials PL and a crown.
Information supplied by: B2|BerlinCat. Compass: AA-f.
Boalch 3 number: LUGT, D. VAN DER. 1770. Keyboard: Black naturals, white sharps.
Boalch 2 number: 1. Exterior of case: Painted.

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494. LUNDBORG
Seale: 313 mm. Type: Clavichord.
Length: 1668 mm. Date: 1774.
Width: 505 mm. Ownership: VIMMERBY HEMBYGDSGARD,
Depth: 165 mm. VIMMERBY, SWEDEN. Accession number not
Remarks: Keys of pine, roof-carved with Swedish rack. known.
Soundboard of pine. Sixteen octave strings in the bass. Information supplied by: Barrell|Weldon.
Naturals of ebony with paper fronts carrying a crown Boalch 3 number: LUNDBORG, P. 1774.
and the initials PL; sharps of stained black wood with Boalch 2 number: None.
bone/ivory tops. Exterior of case painted in imitation of
brown wood (light blue traces underneath). Interior ‘Type: Fret-free clavichord with octave strings in the bass.
painted in red lacquer with gold flowers and ornaments. Date: 1775.
Keyframe glued to case. Ownership. UPPLANDS MUSEET, UPPSALA,
Previous history: Part of the Nydahl Collection. SWEDEN. Accession number not known.
References: H-O No. *S o1 SMF KI 4g. Illustrated on p. Inscriptions: Label on area of soundboard between the
64, fig. 49. See also SMF’ (appendix by Weldon). wrest-pins and the case Pebr Lundborg|Kéngl. Hof Instrument
Information supplied by: Bz|Barrell|Weldon|H-O|S
MF. Makare|Stockbolm|Ao 1775 No.102. Keyfronts have initials
Boalch 3 number: LUNDBORG, P. 1770(A). PL and a crown.
Boalch 2 number: 5. Compass: AA-P.
Scale: 300 mm.
Length: 1771 mm.
Type: Frét-free ‘organised’ clavichord with octave strings
Width: 505 mm.
in the bass.
Remarks: Not numbered by the Museum. Soundboard of
Date: 1772.
pine. Eighteen octave strings in the bass. Balance pins
Ownership: STATENS MUSIKSAMLINGAR, are placed in a single row.
MUSIKMUSEET, STOCKHOLM, SWEDEN. References: H-O No. S 03 UM u. nr.
Number: 1440. Information supplied by: Barrell|Weldon|H-O.
Inscriptions: Label on area of soundboard between the Boalch 3 number: LUNDBORG, P. 1775(1)-
wrest-pins and the case Pehr Lundborg|Kéngl. Hof Instrument Boalch 2 number: None.
Makare|stockbolm|Ao 1772 Nr 37. Keyfronts have initials
PL stamped on them with three crowns.
Type: Fret-free clavichord with octave strings in the bass.
Compass: C-P. Date: 1775.
Keyboard: Black naturals, white sharps.
Ownership: PRIVATE COLLECTION, SWEDEN.
Exterior of case: Painted. Inscriptions: Label on area of soundboard between the
Scale: 273 mm. wrest-pins and the case: Pebr Lundborg|Kéngl. Hof Instrument
Length: 1771 mm.
Makeare|Stockholm|Ao 1775 No.g8. Keyfronts have initials
Width: 501 mm. PL and a crown.
Remarks: Keys of pine, roof-carved. Key slips of wood. Compass. FF-P.
Naturals, ebony with embossed gilded paper fronts, Scale: 313 mm.
sharps, bone-capped, black-stained wood. The keydip is Length: 1788 mm.
considerable at about 6 mm. Soundboard of pine. Bridge, Width: 510 mm.
has ‘mini’ bridges of bone for the bass strings (in the Remarks: Keyboard has Swedish rack. Soundboard of
style of those suggested by Brelin [g.»]). Thirteen octave pine. Eighteen octave strings in the bass.
strings in the bass. Casework all pine, veneered on the References: H-O No. S Privat ago.
inside. The stand has been greatly changed to make it Information supplied by: Barrell| Weldon|H-O.
the carrier for a rank of 4’ gedackt organ pipes which Boalch3 number: LUNDBORG, P. 1775(2).
are operated directly from the keyboard. There is a Boalch 2 number: None.
coupler lever (organ to keyboard)While the pipes are
clearly not original, We/don believes that the changes were Type: Fret-free clavichord with octave strings in the bass.
made by Lundborg soon after the instrument was made. Date: 1775.
The stand also incorporates two pedals to operate the Ownership: PRIVATE COLLECTION.
blower. Inscriptions: Signature in pencil (not very legible) under
References: H-O No. S or SMS/MM 1440. Illustrated at the soundboard and across the bottom beam. Label
fig. 143, p. 170. See also: Forthcoming article on the inscribed Pebr Lwndborg Kéngl. Hof Instrument Makare i
organised clavichord by Wilson Barry in EKI. Stockbolm, Ao 17 (printed, and in ink] 75 No. 98. On the
Information supplied by: B2|Barrell|Weldon|H-O|Wilson Barry. back of the frame: EXP and 3 crowns (two on top and
Boalch 3 number: LUNDBORG, P. 1772. one below).
Boalch 2 number: 1. Compass: AA-P.

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 LUNDBORG 495
Keyboard: Black naturals, white sharps. Type: Fret-free clavichord with octave strings in the bass.
Exterior of case: Painted. Date: 1780.
Seale: 312 mm. Ownership: FORENINGEN STIGBERGET,
Length: 1788 mm. STOCKHOLM, SWEDEN. Accession number not
Width: 509 mm. known.
Depth: 171 mm. Inscriptions: Label on area of soundboard between the
Remarks: Naturals of ebony with embossed arcades wrest pins and the case Pebr Lundborg|Kéngl. Hof Instrument
showing a crown with P to left, and L to right of it. Makare|Stockbolm|Ao 1780 No. 213. Keyfronts have initials
Sharps of stained fruitwood with bone plate on top. Tails PL with a crown.
of black-stained fruitwood. Case of crimson lacquer with Compass: C-P.
gilt chinoiserie ornament on pine. Veneered inside with Scale: 318 mm.
walnut and with musical trophy inlaid and painted on Length: 1768 mm.
nameboard. Eighteen octave strings in the bass (AA-d). Width: 490 mm.
Previous history: Formerly in a private collection in Remarks: Not numbered by the Museum. Keyboard has
Denmark. Swedish rack. Soundboard of pine. Fifteen octave strings
Information supplied by: not disclosed. in the bass.
Boalch 3 number: LUNDBORG, P. 1775(3). References: H-O No. S o1 FS u. nr.
Boalch 2 number: None. Information supplied by: Barrell|Weldon|H-O.
Boalch 3 number: LUNDBORG, P. 1780(1).
Type: Fret-free clavichord. Boalch 2 number: None.
Date: 1778.
Ovnership: MALMO MUSEUM, SLOTTSHOLMEN, ‘Type: Fret-free clavichord with octave strings in the bass.
SWEDEN. Date: 1780.
Number: 4330. Ownership: STIFTELSENS HALLANDS
Inscriptions. Keyfronts have initials PL and a crown. LANSMUSEER MUSEET I VARBERG,
Compass: C-P. HALMSTAD, SWEDEN.
Scale: 245 mm. Number: 9888.
Length: 1773 mm. Inscriptions: Label on area of soundboard between the
Width: 493 mm. wrest-pins and the case Pebr Lwndborg/Kungl.bof Instrument|
References: H-O No. S 12 MMk 4330. Instrument No. 160. makare|Stockbolm A.o 1780 No. 264. Keyfronts have initials
Information supplied by: Barrell|Weldon|H-O. PL with a crown.
Boalch 3 number. LUNDBORG, P. 1778(1). Compass: FF-a’.
Boalch 2 number: None. Keyboard: Black naturals, white sharps.
Exterior of case: Painted.
‘Type: Fret-free clavichord with octave strings in the bass. Scale: 317 mm.
Date: 1778. Length: 2073 mm.
Ownership: TULLVERKETS MUSEUM, DALARO, Width: 587 mm.
SWEDEN. Depth: 260 mm.
Number. 207. Remarks: Naturals of ebony with fronts of embossed paper.
Inscriptions. Label on area of soundboard between the Sharps, bone-capped, black-stained wood. Soundboard of
wrest-pins and the case Pebr Lundborg|Kéngl. Hof Instrument spruce. Twenty-two octave strings in the bass. Case pine,
Makare|Stockbolm|Ao 1778 No. 167. Keyfronts embossed painted grey outside, veneered with apple inside. Keywell
PL with a crown. and keybox veneered with walnut and lime. Hitch-pin
Compass: AM-P. rail is of apple. Panel over keys has intricate marquetry
Keyboard: Black naturals, white sharps. of music.
Exterior of case: Painted. References: H-O No. S 13 HM 9888. Marquetry over keys
Scale: 303 mm. is illustrated at fig. 176B on p. 214.
Length: 1857 mm. Information supplied by. Weldon|Barrell|H-O.
Width: 505 mm. Boalch3 number: LUNDBORG, P. 1780(2).
Remarks: Casework is identical to that of the 1770s Boalch 2 number: None.
instruments of Rangstrém. Keyboard has Swedish rack.
Soundboard of pine. Eighteen octave strings in the bass. ‘Type: Fret-free clavichord with octave strings in the bass.
References: H-O No. $ 02 TM 207. Illustrated at fig. 144, Date: 1787.
Pp. 171. Ownership: STATENS MUSIKSAMLINGAR,
Information supplied by: Barrell| Weldon|H-O. MUSIKMUSEET, STOCKHOLM, SWEDEN.
Boalch 3 number: LUNDBORG, P. 1778(2). Number: 1.
Boalch 2 number: None. Inscriptions. Label on area of soundboard between the

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496 LUNDBORG
wrest-pins and the case Pebr Lundborg|Kéngl.bof Instrument wrest-pins and the case: Pebr Lundborg|Kéngl.Hof Instrument
Makare|Stockbolm.|Ao 1787 No. 340. Makare|Stockbolm|Ao 1794 No.4s1. Keyfronts have initials
Compass: FF-a’. PL and a crown.
Keyboard: Black naturals, white sharps. Compass: FF-a'.
Number of roses: 1. Scale: 330 mm.
Style of rose: Paper. Length: 1935 mm.
Exterior of case: Plain wood. Width: 591 mm.
Scale: 322 mm. Remarks: Keyboard has Swedish rack. Soundboard of
Length: 1914 mm. pine. Seventeen octave strings in the bass.
Width: 589 mm. References. H-O No. S 01 NordM $7.100.
Depth: 198 mm. Information supplied by: B*/Barrell|Weldon|H-O.
Remarks: Keys of pine, roof-carved, tapered from front Boalch 3 number. LUNDBORG, P. 1794.
to rear. Naturals of ebony, with two pairs of grooves and Boalch 2 number: 3.
gilded fronts of embossed paper. Sharps of bone-capped,
black-stained wood. Soundboard of pine. Multi-layered ‘Type: Fret-free clavichord with octave strings in the bass.
paper rose. Twenty octave strings in the bass. Casework Date: 1797.
and internal members of pine, veneered with yew inside. Ownership: BOHUSLANS MUSEUM, UDDEVALLA,
Stand with six legs. SWEDEN.
References: H-O No. S 01 SMS/MM 1. Illustrated at fig. Number: 4275.
14§, Pp. 171. Compass: FF-c*.
Information supplied by: B?|Weldon|Barrell|H-O. Scale: 322 mm.
Boalch 3 number: LUNDBORG, P. 1787. Length: 2015 mm.
Boalch 2 number: 1. Width: 600 mm.
Remarks: Keyboard has Swedish rack. Soundboard of
‘Type: Fret-free clavichord with octave strings in the bass. pine. Seventeen octave strings in the bass. Panel over the
Date: 1790. keys has intricate marquetry of music.
Ownership: NORDISKA MUSEET, STOCKHOLM, References H-O No. S 14 UM 4275. Illustrated at fig. 146,
SWEDEN. p. 172. Marquetry over the keys is shown at fig. 176A
Number: 80.943. on p. 214.
Inscriptions: Label on area of soundboard between the Information supplied by: Barrell|Weldon|H-O.
wrest-pins and the case: Pebr Lundborg|Kéongl.bof Instrument Boalch 3 number: LUNDBORG, P. 1797.
Makare|Stockbolm|Ao 1790 Nr.375. Keyfronts have initials Boalch 2 number: None.
PL with a crown.
Compass: FF-2. Type: Fret-free clavichord with octave strings in the bass.
Keyboard: Black naturals, white sharps. Date: 1800(A).
Exterior of case: Plain wood. Ownership: STATENS MUSIKSAMLINGAR,
Scale: 315 mm. MUSIKMUSEET, STOCKHOLM, SWEDEN.
Length: 1940 mm. Accession number not known.
Width; 589 mm. Compass: FF-c*.
Depth: 198 mm. Length: 2055 mm.
Remarks: Keys of pine, tapered from front to rear. Width: 584 mm.
Keyboard has Swedish rack. Naturals of ebony, with two Remarks. Keyboard has Swedish rack. Original sound-
pairs of grooves and fronts of embossed and gilded paper. board and bridges missing. Twenty-two octave strings in
Sharps, bone-capped, black-stained wood. Soundboard of the bass. A wreck.
spruce. Twenty octave strings in the bass. Case and Information supplied by: Weldon.
internal members pine. Inside veneered with yew. Boalch 3 number: LUNDBORG, P. 1800(A).
References: H-O No. S 01 NordM 80.932. Boalch 2 number: None.
Information supplied by: Barrell|Weldon{/H-O.
Boalch 3 number. LUNDBORG, P. 1790. Type: Fret-free clavichord with octave strings in the bass.
Boalch 2 number: None. Date: 1803.
Ownership: NORDISKA MUSEET, STOCKHOLM,
Type: Fret-free clavichord with octave strings in the bass. SWEDEN.
Date: 1794. Number: 150.453.
Ownership. NORDISKA MUSEET, STOCKHOLM, Inscriptions. Label on area of soundboard between the
SWEDEN. wrest pins and the case Pebr Lundborg|Kéngl.Hof Instrument
Number: 57.100. Makare|Stockbolm|Ao. 1803 No.374. Keyfronts embossed
Inscriptions: Label on area of soundboard between the with initials PL and a crown.

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 LUSSER 497
Compass: FF-c'. Inscriptions. Keyfronts stamped with PL and a crown.
Keyboard: Black naturals, white sharps. Compass: C-e.
Exterior of case: Painted. Scale: 278 mm.
Scale: 328 mm. Length: 1486 mm.
Length: 2015 mm. Width: 442 mm.
Width: 602 mm. References: H-O No. *S o1 SMS/MM 1812.
Depth: 208 mm. Information supplied by: Barrell|H-O.
Remarks: Keys of pine, roof-carved. Keyboard has Swed- Boalch 3 number: LUNDBORG, P. n.d.(1).
ish rack. Naturals of ebony, with fronts of embosssed Boalch 2 number: None.
gilded paper. Sharps, bone-capped, black-stained wood.
Soundboard of pine overhangs top notes. Bridges of ‘Type: Fret-free clavichord with octave strings in the bass.
beech, very badly broken. Stringing reconstructed from Date: Not known.
bridgemarks. Seventeen octave strings in the bass. Con- Ownership: STATENS MUSIKSAMLINGAR,
structed from pine, externally painted to look like wood. MUSIKMUSEET, STOCKHOLM, SWEDEN.
Inside veneered. Accession number not known.
References: H-O No. S 01 NordM 150.453. Compass: FF-c'.
Information supplied by: Barrell|Weldon/H-O. Length: 2055 mm.
Boalch 3 number: LUNDBORG, P. 1803. Width: 584 mm.
Boalch 2 number: None. Depth: 160 mm.
Remarks: Not numbered by the museum. Twenty-two
‘Type: Clavichord. octave strings in the bass.
Date: 1806. References. H-O No. *S 01 SMS/MM u. ne.
Ownership: OSTERGOTLANDS MUSEUM, Information supplied by: Barrell|H-O.
LINKOPING, SWEDEN, Accession number not Boalch 3 number: LUNDBORG, P. n.d.(2).
known. Boalch 2 number: None.
Information supplied by: Weldon| Barrell.
Boalch 3 number. LUNDBORG, P. 1806(1). LUSSER, JOSEPH.
Boalch 2 number: None. Type: Fret-free clavichord.
Date: 1810(A).
Type: Clavichord. Ownership: GERMANISCHES NATIONALMUSEUM,
Date: 1806. NUREMBERG, GERMANY.
Ownership. PRIVATE COLLECTION, SWEDEN. Number: MIR 1064.
Information supplied by: Barrell] Weldon. Inscriptions: Signed Joseph Lusser, Orgel-macher zu Brixen.
Boalch 3 number: LUNDBORG, P. 1806(2). Compass: FF-P.
Boalch 2 number: None. Seale: 278 mm.
Remarks: Date ascribed by VdM.
Type: Fret-free clavichord. Previous history: Was in the Rick Collection.
Date: Not known. References: Weldon. Huber, p. 130.
Ovnership: STATENS MUSIKSAMLINGAR, Information supplied by: B2|Huber|Weldon| VdM.
MUSIKMUSEET, STOCKHOLM, SWEDEN. Boalch 3 number: LUSSER, J. 1810(A).
Number: 1812. Boalch 2 number: 1.

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 M
M...(orN...),J.-- dancing fauns playing instruments and a Venus, similar
Type: Fretted clavichord. to instrument No. GIUSTI, G. B. 1676.
Date: Not known. Previous bistory: In the Heyer Collection, Cologne, by 1910.
Ownership: MUSIKINSTRUMENTEN MUSEUM, References: Illustrated in Ks, p. 92 (inscription illustrated
BERLIN, GERMANY. at p. 241). Henkelr, p. 75.
Number: 2161. Information supplied by: Bz|Henkelr.
Inscriptions: Dn. J... M. . {rest illegible]/Madrid ano. . . Boalch 3 number: MAGNIAI, L. 1689.
(the M is uncertain and may be N). Boalch 2 number: 1.
Remarks: Ascribed by Sa to the end of the eighteenth
century, and though very indistinct, he gave the name as MAHIEU, JEROME.
above. I. Otto in the 1965 catalogue of the Berlin
‘Type: Single-manual harpsichord.
collection gave it simply as Dn Josef N. ... Beryl Kenyon Date: 1732.
de Pascual in KdP-RMA-RC rehearses discussions with Ownership: Not known.
Dr. Krickeberg of the Musikinstrumenten Museum, from
Inscriptions: It is probably this instrument which is reported
which it appears that the first name cannot be Josef, since
it ends in g, and the second is thought to be possibly
as having been for sale in 1952, and bearing the inscription:
Hieronymus Mahieu me fecit Bruxellis A. 1732.
Mido, or less likely Miao.
Compass: D-d°(A).
References: Sa. KdP-RMA-RC. Remarks: There is some confusion over the surviving
Information supplied by: Bz|Droysen-Reber| Elste|KdP. instruments by this maker. Bz records effectively three,
Boalch3 number: M. or N., J. n.d. but they all have the same date of 1732, and it seems
Boalch 2 number: 1.
most likely that at least the first two, both having one
manual, are one and the same. The details are therefore
MAGNELLI, GIOVANNI BATTISTA. combined here. Bz also makes reference to a two-manual
Type: Harpsichord (number of manuals not known). instrument of 1732 sold at Christie’s on 7 February 1791
Date: 1690.
(Vendor, the Revd. Mr. Fountain; buyer, Higgins; price
Ownership: JEAN-PIERRE DECAVELE, TOULOUSE,
£6. 5s. Gd.), but there is no evidence of its survival to
FRANCE. the present day. It was quoted in the catalogue as ‘double
Remarks: Nothing further is known of this instrument.
key’d harpsichord by Maihu of Brussels’, and later in the
Information supplied by: Michael Thomas. possession of Joseph Kelway Esq. The compass is given
Boalch 3 number: MAGNELLI, G. B. 1690.
as five octaves D-D (an unusual range and most probably
Boalch 2 number: None.
D-d’), chromatic.
Previous bistory: One of the single-manual instruments was
MAGNIAI, LORENZO.
sold by Legouix of Paris in 1948. Most probably the same
‘Type: Single-manual harpsichord. instrument was also sold again early in 1952 at Jacob, 19
Date: 1689. rue Cambon, Paris. According to GL, sold again at the
Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
Galerie Koller, Zurich, 1982.
GERMANY.
Number: 76.
Information supplied by: B2/GL.
Boalch 3 number. MAHIEU, J. 1732.
Inscriptions: Lorenzo Magniai 1689.|A Firenze, on back of Boalch 2 number: 1, 2 and 3.
nameboard.
Specification: 2x8".
See also: RUCKERS(A), A(A). 1617(A).
Compass: C/E-c', short octave.
Keyboard: Black naturals, white sharps. MAHOON, JOSEPH.
Exterior of case: Painted. Type: Wing spinet.
Case construction: Italian style, inner/outer. Date: 1734(A).
Length: 1960 mm. Ownership: WENDY WEAVER, NEW YORK CITY,
Width: 780 mm. USA.
Remarks: Naturals cbony; sharps ivory. Outer case painted Inscriptions: Maboon Londini Fecit. On top and bottom
with instruments in the form of a lyre, and garlands of keys, maker’s mark: G.C./1734 in ink.
flowers on a red ground. On the inner lid a painting of Specification: 1x8".

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 MAHOON 499
Remarks: The date is assumed from the maker’s mark on BETHERSDEN, KENT, ENGLAND Accession
the keys, but this could be a serial number. number not known.
Previous history: Restored by Hubbard Harpsichords Inc. Inscriptions: Joseph Maboon, London. Workman's signature:
References: Restoration report by Hubbard Harpsichords J. Burr, on bottom and top keys.
Inc. is available. Specification: 1x8’.
Information supplied by: Brockman. Compass: GG-g.
Boaleh number. MAHOON, J. 1734(A). Keyboard: White naturals, black sharps.
Boaleh 2 number: None. Scale: 256 mm.
Length: 1880 mm.
Type: Two-manual harpsichord. Remarks: According to Hxber, on loan to the Germanisches
Date: 1738. Nationalmuseum, No: MI 454, and, since 1984 on display
Ownership: COLT CLAVIER COLLECTION, in the Stadtmuseum, Munich. Skunktail sharps, arcaded
BETHERSDEN, KENT, ENGLAND. ivory naturals.
Number: H103M. Previous history: Sold anonymously at Sotheby’s on 28 May
Inscriptions: Dated 1738 on the upper keyboard; on the 1970, and bought by C. F. Colt.
lower: 1742, in which year some alteration was probably References: Huber, p. 140. Glar, Heft 1, Jahrgang 1992.
carried out. One of the keys is signed: Broom Smith 1738. Appears not to be mentioned in Co/tCC.
Signed: Joseph Maboon, London on the nameboard. Information supplied by: B*|Huber|Glar.
Specification: 1: 2x8’, 1x4’; II: 1x8’, lute. Boalch3 number: MAHOON, J. 1742(2).
Additional features: 4 hand stops, dogleg. Boalch 2 number: 2a.
Compass: FF,GG-P.
Keyboard: White naturals, special sharps. Type: Wing spinet.
Exterior of case: Crossbanded. Date: 1742.
Scale: 344 mm. Ownership: FINCHCOCKS COLLECTION,
Remarks: According to Huber, on loan to the Germanisches GOUDHURST, KENT, ENGLAND.
Nationalmuseum, No: MI 450, and since 1984 on display Number: 17.
at the Stadtmuseum, Munich (No. H 103 M). Burr walnut Inscriptions. In ink on holly plaque over keys: Joseph
case.crossbanded. Skunktail sharps of ebony/ivory/ebony. Maboon London. Dated 1742 on bottom key.
References: Hubb 1963, p. 158 n., and ColtCC, p. 7 Specification: 1x8".
(illustrated p. 5). Huber, p. 135. Glar, Heft 1, 41, Jahrgang Compass: GG-g’.
1992. Exterior of case: Veneered.
Information supplied by: B?|CMM|ColtCC|Huber. Scale: 259 mm.
Boalch3 number: MAHOON, J. 1738. Length: 1885 mm.
Boalch 2 number: 1. Width: 635 mm.
Depth: 210 mm.
‘Type: Single-manual harpsichord. Remarks: It is possible that this is the same instrument
Date: 1742. as that ascribed above to the Colt Clavier Collection
Ownership: Not known. (MAHOON, J. 1742(2)). Kottick reports the date as 1750.
Specification: 2x8’. Case of walnut veneer. Naturals of ivory; sharps of ebony
Keyboard: Black naturals, white sharps. with central ivory stripe.
Length: 1829 mm. References: Finchcocks.
Remarks: Rounded tail. Ivory sharps. Information supplied by: Dow|Finchcocks|Kottick.
Previous bistory: Seen by Canon G. A. Luckett during the Boalch 3 number: MAHOON, J. 1742(3).
1939-45 war; he reported that it was so worm-eaten as Boalch 2 number: None.
to be unrestorable. Put up for sale at Sotheby’s on 13
July 1963 by A. S. Beazley of Bethersden, Kent. May be Type: Wing spinet.
the instrument seen by GL in a Paris dealer’s shop in Date: 1745.
1963. Ownership: MESSRS. HOOPER.
References: Illustrated in Country Life, 13 October 1950, p. Specification: 1x8’.
1205. Exterior of case: Plain wood.
Information supplied by: B?. Length: 1880 mm.
Boatch 3 number: MAHOON, J. 1742(1). Remarks: Walnut case.
Boalch 2 number: 2. Previous history: Sold by H. Lambert at Sotheby’s on 4
March 1932, and bought by Messrs. Hooper. It would
Type: Wing spinet. seem extremely unlikely that the instrument is still in
Date: 1742. their possession.
Ownership: COLT CLAVIER COLLECTION, Information supplied by: B.

jtized by Google
500 MAHOON
Boalch 3 number: MAHOON, J. 1745. Ownership: VICTORIA AND ALBERT MUSEUM,
Boalch 2 number: 3. LONDON, ENGLAND.
Number: 383-1907.
Type: Wing spinet. Inscriptions: On nameboard: Joseph Maboon, London. VerA
Date: 1748. Cat says: “The bottom key bears an inscription: 1777 No
Ownership: MESSRS. MORLEY, LONDON, 4) together with what appear to be initials. The top is
ENGLAND. inscribed with the same date and what look like the same
Inscriptions: On the bottom key: HH 1748 no. 12. . . [HH initials.”
perhaps = H. Hill, (g.v.)]. On the nameboard: Joseph Specification: 1x8".
Maboon, London. Compass: GG-g'.
Specification: 1x8. Keyboard: White naturals, special sharps.
Remarks: It would seem unlikely that Morleys now have Number of roses: None.
this instrument which they were known to possess in Exterior of case: Crossbanded.
1956. Scale: 282 mm.
Information supplied by: Bz. Length: 1525 mm.
Boalch
3 number: MAHOON, J. 1748. Width: 780 mm.
Boalch 2 number: 4a. Depth: 214 mm.
Remarks: Ivory naturals with arcades, ebony skunktail
Type: Wing spinet. sharps with ivory fillet. Mahogany (ECMIFB says walnut)
Date: 1753. case crossbanded with sycamore stringing. Above keys is
Ownersbip: SMITHSONIAN INSTITUTION, a walnut panel with sycamore stringing and similar
WASHINGTON, USA. decoration over the soundboard which has grain laid
Number: 96,636. parallel to the keyboard—an unusual feature.
Specification: 1x8". Previous bistory: On loan to the Horniman Museum from
Compass: GG-g'. 1970. Exhibited at the Museum in 1973 (See: ECMIFB).
Remarks: Of unusual polygonal shape but with bent side. References: VerA Cat, pp. 87-8. ECMIFB, p. 6
Previous bistory: This instrument may be the one which (illustrated).
Hipkins knew as belonging to W. H. Cumming. In Bz Information supplied by. B2|VerA Cat|ECMIFB.
the instrument was also mentioned as [4]. Boalch 3 number: MAHOON, J. 1771.
References: Smithcheck89. Smithsonian photo-negatives Boalch 2 number: 5.
numbers 56,303 and 56,303A.
Information supplied by: B2|Smitbcheck8g. Type: Wing spinet.
Boalch3 number: MAHOON, J. 1753. Date: 1771(A).
Boalch 2 number: 4 and 4b. Ownership: Not known.
Inscriptions: On nameboard Joseph Maboon London. On the
Type: Wing spinet. keybed in pencil 30M, and on the wrestplank and
Date: 1768. name-batten also in pencil jo.
Ownership: MUSEE D'INSTRUMENTS ANCIENS DE Specification: 1x8".
MUSIQUE, GENEVA, SWITZERLAND. Compass: GG-g'(A).
Number. 1M 312. Keyboard: White naturals, black sharps.
Inscriptions: JOSEPH MAHOON, LONDON, 1768. Remarks. The date of 1771 can only be approximate, and
Specification: 1x8". is based on the description by M. Jean Maurer that the
Keyboard: White naturals, black sharps. instrument, though having keyboard, jacks, bridges,
Exterior of case: Plain wood. stand, etc. missing, is identical to the Mahoon spinet in
Length: 1820 mm. the Victoria and Albert Museum which is dated 1771.
Width: 670 mm. Replacement keyboard of arcaded ivory naturals and
Depth: 220 mm. ebony/ivory/ebony skunktail sharps. Case of walnut
Remarks: Naturals of ivory, sharps ebony. Compass of panels, holly stringing, crossbanded with walnut.
five octaves, but limits not known. Case of walnut. In Previous bistory: Restored by J. Maurer in 1988. Sold by
good playing order. Messrs. Georg Leuchars in 1988. Present owner not
References: MILAM. known.
Information supplied by: Clerc. Information supplied by: Maxrer.
Boalch3 number: MAHOON, J. 1768. Boalch3 sumber: MAHOON, J. 1771(A).
Boalch 2 number: None. Boalch 2 number: None.

Type: Wing spinet. Type: Wing spinet.

Date: 1771. Date: Not known.

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 MARCHIONUS 501
Ownership: PARHAM PARK, SUSSEX, ENGLAND. MALER(A), SIGISMONDO.
Inscriptions: First key bears illegible date, and last key an ‘Type: Single-manual octave clavicytherium.
illegible signature (conceivably Buntebart). On nameboard: Date: 1525(A).
Joseph Maboon, London. Ownership: SMITHSONIAN INSTITUTION,
Specification: 1x8". WASHINGTON, USA.
Compass: GG-g'(A). Number: 60,1415.
Keyboard: White naturals, special sharps. Inscriptions. Sicismondo Maler faciebat Anno Domini
Exterior of case: Plain wood. MDXXV Venetiae, however the nameboard bearing the
Length: 1854 mm. signature does not belong to the instrument.
Width: 1448 mm. Specification: 2x4".
Remarks: Beech and walnut case. Arcaded ivory naturals Compass: G/B-e*, short octave.
and ebony sharps inlaid with ivory. Keyboard: White naturals, black sharps.
Previous history: Formerly belonged to Mrs. Sigismund Number of roses: 3.
Goetze; bought at Sotheby’s, 25 May 1951 by Messrs. Remarks: Smithcheck8g gives the date as late sixteenth—
Gooden and Fox, London. early seventeenth century. White naturals, black inlaid
Information supplied by: B*. sharps. Smithcheck&g also says ‘Compass G/B-e’ (assuming
Boalch 3 number: MAHOON, J. n.d.(1). bass short octave) originally G/B-c”.
Boalch 2 number: 6. Previous bistery: Originally a harpsichord; converted in the
nineteenth century most probably by Franciolini.
Type: Wing spinet. References: Smithsonian photo-negatives 56,330; 56,330A.
Date: Not known. Smithebeck&9.
Ownership: Not known. Information supplied by: B?|SmithcheckSg.
Specification: 1x8". Boalch 3 number: MALER(A), S. 1525(A)-
Compass: GG-g'(A). Boalch 2 number: 1.
Exterior of case: Plain wood.
Remarks: Skunktail sharps. Walnut case. MARBACH, CONRAD.
Previous bistory: On sale at Partridge, New York, June Type: Fretted clavichord.
1951. Date: 1781.
Information supplied by: B*. Ownership: PRIVATE COLLECTION, ERLANGEN,
Boalch 3 number: MAHOON, J. n.d.(z). GERMANY.
Boalch 2 number: 7. Remarks. Nothing further is known of the instrument.
Information supplied by: B?]VdM.
Boalch 3 number: MARBACH, C. 1781.
Type: Wing spinet. Boalch 2 number: 1.
Date: Not known.
Ownership: MRS. P. HARDING, BIRLING MANOR,
MARCHIONUS, FRANCISCUS.
EASTBOURNE, ENGLAND. ‘Type: Single-manual harpsichord.
Inscriptions. On nameboard: Joseph Maboon, London.
Date: 1666.
Specification: 1x8".
Ownership: YALE UNIVERSITY COLLECTION OF
Compass: GG-g’(A).
MUSICAL INSTRUMENTS, USA.
Exterior of case: Plain wood.
Number: 4882.61.
Length: 1905 mm.
Inscriptions: Franciscus Marchionus Florentinus Fecit Romae
Remarks: Inlaid walnut.
1666. On the wrestplank the carved legend:
Information supplied by: B’. F.M.F.F.R./1666.
Boalch 3 number: MAHOON, J. n.d.(3). Specification: 2x8’.
Boalch 2 number: 8.
Compass: C/E-c’, broken octave.
Exterior of case: Painted.
Type: Wing spinet. Case construction: \talian style, inner/outer.
Date: Not known. Length: 1822 mm.
Ownership. MR. TUFNELL, LANGLEYS, GREAT Width: 716 mm.
WALTHAM, ENGLAND. Depth: 191 mm.
Inscriptions: Joseph Maboon, London. Remarks. Originally all the accidentals were split, now
Specification: 1x8". F¥, G¥ split, and in each octave above this cach d#, g#,
References: The original bill of sale is with the instrument. a are split though not the topmost three sharps. Scale
Information supplied by: B’. of 533 mm. given by Yale must almost certainly refer to
Boalch 3 number: MAHOON, J. n.d.(4). c', not c’.
Boalch 2 number: 9. Previous bistory: Given by Arthur Kohlenburg to Yale

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502 MARCKERT
University Collection in 1961. Repaired by Hubbard and Number: 288.
Dowd in Boston in 1949. Inscriptions: Branded on the soundboard: EXCLUSIF
References: Acoustic tests carried out in 1985 by E. L. PRIVILEGE DU ROY, and below it a branded stamp:
Kottick, see: Kottick-response. MARIUS. There is also a shield with the crown and
Information supplied by: Bz/Rephann. cagles.
Boalch 3 number: MARCHIONUS, F. 1666. Specification: 2x8’, 1x4".
Boalch 2 number: 1. Compass: GG/BB-c’, broken octave.
Keyboard: Black naturals, white sharps.
MARCKERT, JOHANN GEORG. Number of roses: None.
‘Type: Fret-free clavichord with octave strings in the bass. Exterior of case: Painted.
Date: 1806-15. Scale: 351 mm.
Ownership: BACHHAUS, EISENACH, GERMANY. Length: 1400 mm.
Number: 82. Width: 893 mm.
Compass: FF-f. Depth: 85 mm.
Remarks: Attributed to this maker by the Museum. Remarks: The date is given by BerlinCat as between 1700
Thirteen octave strings in the bass. and 1704. The instrument is of three separate sections,
Information supplied by: Weldon. joined by hinges, so that it may be folded into a rectangular
Boalch 3 number: MARCKERT, J. G. 1806-15. box section. The compass of each section is Bass: BB-d',
Boalch 2 number: None. Middle: d'-d?, Treble: d*-c'. Broken octave with split
E flat. Ebony naturals and fronts, with stained black
MARIUS, JEAN. sharps topped with ivory slips. On the long side is a
Type: Folding harpsichord. tuning device for meantone temperament. Soundboard
Date: 1700(A). decorated. On the underside is a painted shield with the
Ownership: MUSEE INSTRUMENTAL, PARIS, Prussian crown (this is extensively damaged), and on
FRANCE. either side is an eagle resembling that in the state coat of
Number: 5/331. arms, and beneath it an oval of scrolling foliage similar
Remarks: Date ascribed by the Museum, which appears to that appearing on the book binding in the King’s
to have two Marius folding harpsichords dated ¢. 1700. collection. The dimensions given are for the complete
It seems very likely that one or other is the instrument instrument when folded out.
formerly owned by the Comtesse de Chambure dated Previous history: Belonged to Frederick the Great. BerlinCat
1715 which was shown in London in 1973, see: ECMIFB gives an interesting history up until the time when it was
for description, and numbered 5 in Bz. shown at the International Inventions Exhibition 1885.
References: Mlustrated in Jur, pp. 60, 63. ECMIFB, p. 8. Shown at the exhibition ‘Meine Herren, der Alte Bach
MICL. LibinFold. ist gekommen’ as part of the Bachfest 1976 in Berlin.
Information supplied by: B2]MICL|ECMIFB. References: MHD ABIG, catalogue number 79. Illustrated
Boalch 3 number: MARIUS, J. 1700(A)(1). in colour as pl. 26. LibinFold. BerlinCat, pp. 138-44 gives
Boalch 2 number: None, 1 or 5. a full list of references, and includes illustrations, one in
colour.
Type: Folding harpsichord. Information supplied by: Bz/MHDABIG|Droysen-Reber|
Date: 1700(A). Elste|BerlinCat.
Ownership: MUSEE INSTRUMENTAL, PARIS, Boalch 3 number: MARIUS, J. 1700/1704.
FRANCE. Boalch 2 number: 6.
Number: 979.2.2. Type: Folding harpsichord.
Remarks: See the remarks above concerning the other
Date: 1709.
Marius folding harpsichord owned by the Museum. There Ownership: BRUSSELS MUSEUM, BRUSSELS,
seems to be some confusion concerning these instruments. BELGIUM.
Since the two instruments in the Museum have different Number: 555.
accession numbers they must almost certainly be different. Inscriptions: Marius 1709.
References: LibinFold. MICL. ECMIFB. Previous history: Formerly in the Tolbeque Collection,
Information supplied by: B2|MICL|ECMIFB. Paris.
Boalch 3 number: MARIUS, J. 1700(A)(2). References: LibinFold.
Boalch 2 number: None, 1 or 5. Information supplied by: B2|Libinfold.
Boalch3 number: MARIUS, J. 1709(1).
Type: Folding harpsichord. Boalch 2 number: 2.
Date: 1700-4.
Ownership: MUSIKINSTRUMENTEN MUSEUM, Type: Folding harpsichord.
BERLIN, GERMANY. Date: 1709.

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 MEERBACH 503
Ownership: Not known. Information from: B?|ECMIFB.
Previous history: Auctioned in London, July 1901. The Boalch3 number: MARIUS, J. 1715.
Connoisseur of 1901 states ‘A selection of interesting old Boalch 2 number. None, 1 or 5.
instruments from the collection of Henry Boddington of
Pownall Hall, Wilmslow, fetched good prices at Messrs. MAYER, JOHANN.
Puttick and Simpson’s. . . a clavecin brisé or French Type: Single-manual harpsichord.
Virginal by Marius, 1709, £15 10s.’ [Heale]. Date: 1619.
References: ZIM II. 409. LibinFold. Ownersbip. CAROLINO-AUGUSTEUM MUSEUM,
Information supplied by: B*/Heale. SALZBURG, AUSTRIA. Accession number not
Boalch 3 number: MARIUS, J. 1709(2). known.
Boalch 2 number: 3. Inscriptions: Jobann|Mayer Orgel|Und Instrum{en\t|macher In
Sibg|1619 gmacht (sic).
Type: Folding harpsichord. Specification: 2x8", lute (three rows of jacks).
Date: 1713. Additional features: Harp stop.
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, Number of roses: 1.
GERMANY. Style of rose: Geometrical pattern.
Number: 83. Remarks. B* says compass is B flat to C, four octaves and
Inscriptions. Stamped on the wrestplank MARIUS, and one note. This is presumably BB flat to c’.
dated 1773 in black on a white ground on the soundboard References: Described in detail and illustrated in VdMSalzb.
of the bass section. On each section, branded EXCLUSIF Information supplied by: B?.
PRIVILEGE DU ROY. Boalch3 number: MAYER, J. 1619.
Specification: 2x8’, 1x4’. Boalch 2 number: 1.
Compass: GG/BB-e’, broken octave.
MAYWALDT, JOHANN CHRISTOF.
Keyboard: Black naturals, white sharps. ‘Type: Fretted clavichord.
Number of roses: 2.
Style of rose(s): Geometrical pattern.
Date: 1729.
Ownership: MUZEUM WIELKOPOLSKIE, POZNAN,
Exterior of case: Plain wood.
POLAND. Accession number not known.
Scale: 347 mm.
Inscriptions: On the side of the bass hitch-pin rail, to the
Length: 1335 mm.
Width: 754 mm. left: Johann Christof Maywaldt (‘Maij Wald’ according to
Depth: 138 mm. Koster|[in Weigendsthal/Anno 1729.
Remarks: Like other Marius clavecin brisés, the instrument Compass: C/E-c'(A), short octave.
is divided into three separate sections which fold to
Previous history: Formerly in the Muzeum Narodowe, and
also in Breslau, Schlesisches Museum.
give a rectangular box, which is intended to facilitate
References: Catalogue by Epstein and Scheyer, 1932; Szuic.
transportation. The bottom Df is split to give a broken
octave. Blackwood naturals and sharps of pear with ivory Information supplied by: B#|Koster.
tops. Elaborately painted soundboard with rose in the
Boalch 3 number. MAYWALDT, J. C. 1729.
Boalch 2 number: 1.
bass and middle sections. Exterior of plain wood.
Previous bistory: Formerly in Kraus Collection, Florence, MEERBACH, J. C.
since 1878. Type: Fret-free clavichord.
References: Mlustrated in Ks, p. 98; inscription in Ks, p. Date: 1799.
242. Illustrated plan view in Raeger, pl. 88. See: Henkel Ownership: MORAVIAN COLLEGE, BETHLEHEM,
for full details, pp. 85-6 and plates 42 and 43. LébinFold. USA. Accession number not known.
Information supplied by: B?|Henkelr|LibinFold. Compass: FF-P(A).
Boalch3 number: MARIUS, J. 1713. Remarks: The compass is reported by Koster as FF-P or
Boalch 2 number: 4. possibly with two more notes in the treble.
Previous history: Restored by Stewart Pollens ¢. 1990.
Type: Folding harpsichord. Information supplied by: Koster.
Date: 1715. Boalch3 number: MEERBACH, J. C. 1799.
Ownership: See above at instruments numbers MARIUS, Boalch 2 number: None.
J. 1700(A)(1), and MARIUS, J. 1700(A)(2).
FORMERLY COMTESS DE CHAMBURE. Type: Clavichord.
Previous history: Formerly the property of M. and A. Date: 1821.
Salomon. Exhibited in 1973 in London. Ownership: MUSEUM FUR
References: J. illustrated on p. 126. ECMIFB, p. 8, (plus REGIONALGESCHICHTE UND VOLKSKUNDE,
illustration of a clavecin brisé, though not necessarily this SCHLOSS FRIEDENSTEIN, GOTHA, GERMANY.
one). Accession number not known.

viatizes ty Google
504 MEERENS
Remarks: No further information is known. instruments of 1715 shown in B* under the name
Information supplied by: Bemmann. Menegoni are this one instrument, and this seems most
Boalch 3 number: MEERBACH, J. C. 1821. likely. Boxwood arcaded naturals, ebony sharps.
Boalch 2 number: None. Previous history. Owned by M. and Mme. Roesgen-
Champion in 1927. Shown at the Exposition Internationale
MEERENS, C. de Musique by Sautier et Jaeger of Geneva. Owned in
Type: Clavichord. 1969 by Mile, Laurence Boulay, Paris (Clav Hist]. An old
Date: Not known. photo of the instrument existed in the files of the late
Ownership: BRUSSELS MUSEUM, BRUSSELS, Marcel Salomon.
BELGIUM. References: ClavHist. The instrument has been used for
Number: 2949. recordings by Laurence Boulay, who plays Pasquini and
Remarks. Nothing further is known about the instrument. Dandrieu on Erato STU 70313.
Information supplied by: Weldon. Information supplied by: B?|/Guillon.
Boalch 3 number. MEERENS, C. n.d. Boalch3 number: MENEGONI, F. 1715.
Boalch 2 number: None. Boalch 2 number: (Menegoni, G. A.) 3 & 4.

MEIDTING, ANTON. MENEGONI, GIOVANNI ANDREA.

Type: Spinet-regal. Type: Polygonal virginal.
Date: 1587. Date: 1692.
Ownersbip: KUNSTHISTORISCHES MUSEUM, Ownership: MUSEO CIVICO, MILAN, ITALY.
VIENNA, AUSTRIA. Accession number not known.
Namber. 119. Inscriptions: Andreae Menegoni Veneti MDCLXXXXII.
Inscriptions: Anthonins Meidting Augustanus fecit anno dom. Specification: 1x8"(A).
1587 mensae (sic) Decembrij. Length: 730 mm.
Specification: 1x4’. Width: 440 mm.
Compass: F,G,A-g’,a’. Remarks: B? reports forty-five keys.
Keyboard: White naturals, black sharps. References: Illustrated in Gall, plate 128.
Exterior of case: Painted. Information supplied by: B?.
Remarks: Spinet-regal, in the form of a chessboard or Boalch 3 number: MENEGONI, G. A. 1692.
backgammon board. Spinet on the right, regal on the Boalch 2 number: 1a.
left, both with separate keyboards and bellows above the
regal, hinged at the front above the keys.
Previous history: Came from the castle of Archduke Fer- Type: Single-manual harpsichord.
dinand of Tyrol at Ambras. Date: 1696.
References: Illustrated in Schlosser’s catalogue, and in
Ownership: HISTORISCHES MUSEUM, BASEL,
Rassellrgs9, at plate 81 A. See also Lwith, pl. 11. SWITZERLAND. Accession number not known.
Information supplied by: B?/StradnerPC. Specification: 2x8".
Boalch 3 number: MEIDTING, A. 1587. Compass: C/E-c}(A), short octave.
Boalch 2 number: 1.
Number of roses: 1.
Information supplied by: B?|WraightPC.
Boalch 3 number. MENEGONI, G. A. 1696.
MENEGONI, FRANCISCI.
Boalch 2 number: 2.
Type: Ottavino.
Date: 1715.
Ownersbip: YANNICK GUILLOU, PARIS, FRANCE. MENEGONI(A), GIOVANNI ANDREA.
Inscriptions: Francisci Menegoni Veneti Opus Anno Type: Single-manual harpsichord.
MDCCXV. Date: 1690(A).
Specification: 1x4. Ownership: SMITHSONIAN INSTITUTION,
Compass: C/E-c+, short octave. WASHINGTON, USA.
Keyboard: White naturals, black sharps. Number: 332,174.
Seale: 313 mm. Inscriptions: Giovanni Andrea Menegoni Venetus fecit 1690.
Length: 463 mm. Specification: 1x8’.
Width: o9 mm. Compass: C/E-c', short octave.
Depth: 130 mm. Keyboard: White naturals, black sharps.
Remarks: B? gave this instrument under the name of Number of roses: 1.
Giovanni Andrea Menegoni, and called it a Polygonal Remarks: Smithcheck89 lists this as a spurious instrument,
Virginal. From photos supplied by the present owner, it probably Italian of the nineteenth century. Boxwood
is clearly an ottavino, The owner believes that the two naturals. Very large rose. Nameboard spurious.

Google
 MIETKE 505
References: Smithcbeckég. Smithsonian photo negatives Information supplied by: Rubin/KaP.
56,324; 36,324A; 56,324B. Boalh 3 number: MERLIN, J. J. n.d.
Information supplied by: B2|Smithcbeckdg. Boalch 2 number: None.
Boalch 3 number: MENEGONI(A), G. A. 1690(A).
Boalch 2 number: 1. MESCHITA, JOSEPH.
‘Type: Two-manual clavicytherium.
MERLIN, JOHN JOSEPH. Date: 1730.
‘Type: Single-manual harpsichord. Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
Date: 1780. GERMANY.
Ownership. DEUTSCHES MUSEUM, MUNICH, Number: 66.
GERMANY. Accession number not known. Inscriptions: On the lower dulcimer the following inscrip-
Inscriptions: Josephus Merlin, Privilegiarius Novi Fortepiano ion i: le through either of the two roses: Fr. Joseph
Nr. 80, Londini, 1780.
Specification: 1x16’, 2x8’, 1x4’.
jita|Carmelita fecit die|23. Junij Anno 1730]Ad
Maiorem Dei Gloria] +.
Additional features: 4 hand stops, harp stop, 3 pedals. Specification: 1x8".
Compass: FF-f. Compass: C/E-c’ short octave.
Keyboard: White naturals, black sharps. Keyboard: White naturals, black sharps.
Number of roses: None.
Exterior of case: Crossbanded. Number of roses: 4.
Style of roses: Geometrical pattern.
Scale: 330 mm.
Exterior of case: Painted.
Remarks. Combined harpsichord and pianoforte. Three
Scale: 314 mm.
rows of jacks operate the 16’, one 8’, and the 4’
Length: 1035 mm.
harpsichord strings while the piano uses a second set of Depth: 935 mm.
8’ strings as well as those of the harpsichord. Four Remarks: The place of origin of this instrument is still in
hand-stops labelled; [on the left] Nr. : OCTAVE, ar.z question. Bz suggested it was Spanish, but since it was
VNISON, [on the right] Nr. : CELESTIAL HARPE, discovered in a monastery in Perugia the possibility that
nr.2 WELSH HARP. The ‘Celestial Harpe’ stop lifts one
it is from Italy has also been suggested. Henkel: believes
set of 8’ jacks off the strings, which are then free to
that it could also come from other countries north of the
vibrate sympathetically. The Welsh harp is a normal harp
Alps, and that a firm authentication is not possible. The
stop. The Merlin patent downstriking pianoforte action instrument consists of an outer frame into which are
is brought on by one pedal which curves outward from placed two dulcimers with the stringing running hori-
a central pillar on the stand, and the 16’ is operated by
zontally. The action is operated by stickers which run
another similar pedal. A third pedal is probably a
vertically from the ends of the keys to the two rows of
later addition. A notating-machine was attached to the
jacks which run from the bottom left-hand of the
instrument, but was damaged when the instrument entered
instrument to the top right-hand side. Naturals of box,
the collection in Munich, and was later reconstructed by
sharps of stained hardwood. The compass was originally
Seifert of Leipzig. Case exterior has panels of mahogany,
as now, but at one time was C-c’ without the short
cross banded with exotic woods. Stand e# ssife in
octave. Each dulcimer has two roses. Outer case of poplar
neo-classical style. now painted grey-blue. On the inside of the keyboard
Previous bistory: The instrument is thought to have come
cover are pastoral paintings, though one section is missing.
from Russia and may have been the English harpsichord
These are thought to date from ¢. 1730. Raised on a
of Catherine the Great. Formerly in the Bayerisches
modern stand.
Nationalmuseum, Munich. Previous bistory: From the Kraus collection, Florenz, 1901,
References: Merlin, p. 97 (illustrated). Hsbbi96;, pp. 163- after having been found in a monastery in Perugia.
4. Rassell1939, pp. 85-6, and plate 79. Mould, Charles.
References: Henkelt, pp. 53-6, and plate 21.
“Merlin the Ingenious Mechanician’, The Antique Collector,
Information supplied by: B2/Henkelr.
June 1973, pp. 165-9.
Boalch3 number. MESCHITA, J. 1730.
Information supplied by: B2|Merlin Mould Note. Boalch 2 number: 1.
Boalch 3 number. MERLIN, J. J. 1780.
Boalch 2 number: 1.
MIETKE, MICHAEL.
Type: Harpsichord (number of manuals not known). Type: Single-manual harpsichord.
Date: Not known. Date: 1710.
Ownership: Not known. Ownership. HALSINGLANDS MUSEUM,
Remarks: Compound harpsichord and _ pianoforte. HUDIKSVALL, SWEDEN. Accession number not
Allegedly in very poor condition, to be found somewhere known.
in Spain, though it may be this instrument which was Inscriptions: Inscribed on the top key: Michael Mietke
reported in 1990 to be on sale in Geneva. Instrumentmacher in berlin (sie) Anno 1710.

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506 MIETKE(A)
Specification: 2x8’. Remarks: Date ascribed to this instrument (known usually
Compass: GG,AA-C’. as ‘the white harpsichord’) by Sheridan Germann. Though
Keyboard: Black naturals, white sharps. almost certainly by Mietke, it is just possible that it is by
Exterior of case: Painted. Johan Rost (g.). Germigés says that it is located
Scale: 275 mm. at Schloss Charlottenburg. Original compass probably
Length: 2160 mm. GG,AA-c’ (fifty-three notes). Dowd suggests originally
Width: 826 mm. strung in brass at pitch of A = 415 Hz. Extended later
Depth: 245 mm. in the eighteenth century to FF,GG-e’ (fifty-nine notes).
Remarks: This instrument is of some importance since its O’BrienPC suggests the original scale was 267 mm. (now
attribution to Mietke is established by the signature on 280 mm.) which is at variance with the measurements
the top key, and, it has not undergone the changes given by Germrg8s quoted here. Naturals ebony with
that the other two Mierke harpsichords have suffered. arcaded fronts. Sharps of stained hardwood with thin
Comparison of the latter with the Hudiksvall instrument ivory tops. Soundboard (undecorated) and bottom boards
has enabled scholars to establish with greater certainty of pine, sides of lime [Dowd in Germrgés] or maple
that they are genuine Mietke harpsichords. Naturals of [MHDABIG]. No rose. The outer case with double
ebony and sharps with ivory tops. Keylevers of lime. curved bent side is beautifully decorated in chinoiserie
Main gap is angled, the oak wrestplank being 200 mm. style on a white ground, the lacquer by Gerard Dagly
wide at the spine and 177 mm. at the cheek. Exterior and [Germigés has further details]. Raised on a seven-legged
keywell painted in a greenish blue with matt finish. Inside stand with balluster legs and shaped stretcher at floor
of the lid painted similarly with a gilded decoration level.
described by Kélstrom as ‘alla turca’. Inside of rim veneered Previous history: Sheridan Germann [Germrg8s] dem-
in sycamore. Raised on stand of eight turned legs with onstrates an intriguing series of relationships linking this
an upper and lower frame. The instrument is not strung, instrument with Schloss Charlottenburg, Queen Sophie
but remains of wire are to be found on the wrestpins. At Charlotte, and J. S. Bach, who quite probably played
one time it had pedal pull-downs, and the holes for these upon it. Exhibited at an exhibition at Charlottenburg,
exist in the bottom of the case. There is also a sharp key Berlin entitled ‘China and Europe’, 16 September-11
glued on back to front on the AA key— the purpose of November 1973, and subsequently at the exhibition ‘Meine
which is not clear. Herren, der alte Bach ist gekommen’, at the Bachfest 1976
Previous history: Allegedly arrived in Hudiksvall from in Berlin.
Germany and was probably imported by an organist at References: MHDABIG, catalogue, No. 52, and colour
Rogsta, a neighbouring parish north-east of Hudiksvall. illustration. Germrg8s. Krick-SC. Krick-Mietke. Fest-VdM.
The identity of this organist is still to be established Henkel 1977.
though it certainly belonged to Anders Odendal in 1818. Information supplied by: | MHDABIG/Germ|Dowd]
References: Andreas Kilstrém. ‘A signed Mietke Harp- O'BrienPC.
sichord’, in FOMRHI Quarterly, No. 64, July 1991, Boalch3 number: MIETKE(A), M. 1702-4.
P- 59- Boalch 2 number: None.
Information supplied by. FOMRHI.
Boalch 3 number: MIETKE, M. 1710. Type: Two-manual harpsichord.
Boalch 2 number: None. Date: 1703-13.
Ownership: STAATLICHE SCHLOESSER UND
MIETKE(A), MICHAEL. MUSEEN, BERLIN, GERMANY. Accession number
Type: Single-manual harpsichord. not known,
Date: 1702-4. Inscriptions: No inscription, as was the usual practice for
Ownership: STAATLICHE SCHLOESSER UND instruments made for royalty.
MUSEEN, BERLIN, GERMANY. Accession number Specification: 2x8’, 1x4’.
not known. Compass: FF,GG-e’.
Inscriptions: No inscriptions—this was a usual practice in Keyboard: Black naturals, white sharps.
the case of instruments made for royalty. Number of roses; None.
Specification: 2x8’. Exterior of case: Painted.
Compass: FF,GG-e’. Scale: 335 mm.
Keyboard: Black naturals, white sharps. Length: 2350 mm.
Number of roses: None. Width: 860 mm.
Exterior of case: Painted. Depth: 245 mm.
Scale: 268 mm. Remarks: Date of 1703~13 ascribed by Sheridan Germann
Length: 2185 mm. [Germs] on the basis that it must have been japanned
Width: 870 mm. before 1713, and of its original compass which is thought
Depth: 240 mm. to be later than 1703. Could just possibly be by Johann

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 MIGLIAI 507
Rost (q.v.). Known often as ‘the black harpsichord’, ‘Type: Single-manual harpsichord.
Germig8s locates it at Schloss Charlottenburg. Compass Date: 1695.
orginally FF,GG,AA-c’ (fifty-four notes). Dowd suggests Ownership: HAENDEL-HAUS, HALLE, GERMANY.
originally strung in brass with pitch of A = 395-400 Hz. Number: MS-68.
Later in the eighteenth century the compass was extended Remarks. Was previously only dated, but has now been
to FF,GG-e’ (fifty-nine notes). At this time the keyboards identified as being by Migliai.
were moved two courses of strings towards the bass References: For further information see WraightHH,
thereby increasing the scale from c' = 295 mm. toc’ = HeydeHH.
335 mm. (O’BrienPC suggests 316 mm.). Naturals of Information supplied by: WraightPC.
ebony with arcaded fronts, stained hardwood sharps with Boalch 3 number: MIGLIAI, A. 1695.
ivory slips on top. Octave span 156 mm. No rose in the Boalch 2 number: None.
soundboard which is undecorated. Box slides for registers.
Double curved bent side. Raised on stand with balluster Type: Two-manual harpsichord.
legs and stretcher at floor level. Outer case (probably Date: 1696.
executed by Gerard Dagly) has attractive japanned figures Ownership: FORMERLY IN THE BERLIN
on a black ground. COLLECTION, BERLIN, GERMANY.
Previous bistory: Possibly made for Queen Sophia Dorothea Number: 318.
of Hanover, mother of Frederick the Great, and placed Inscriptions: Antonius de Migliais Florentinus fecit anno
in her private palace of Monbijou, and worked on by MDCLXXXXVI.
Johann Rost in 1720. Brought to Schloss Charlottenburg Specification: 5x8".
in modern times (certainly later than the mid- Compass: FF-c’.
eighteenth-century) where it is still situated. Length: 2600 mm.
References: Germig8s. Krick-SC. Krick-Mietke. Fest-VdM. Width: 940 mm.
Henkel 1977. Remarks: B’ says it is in the Berlin Collection, but
Information supplied by: Germ1g8s|Dowd/O’ BrienPC. BerlinCat confirms that it has been lost since the Second
Boalch3 number: MIETKE(A), M. 1703-13. World War.
Boalch 2 number: None. References: BerlinCat, p. 375 quotes the entry in Sa.
Information supplied by: B?|BerlinCat.
Boalch 3 number: MIGILAI, A. 1696.
MIGLIAL, ANTONIO.
Boalch 2 number: 2.
‘Type: Harpsichord (number of manuals not known).
Date: 1682. ‘Type: Single-manual harpsichord.
Ownership: FORMERLY SAVOYE COLLECTION, Date: 1702.
PARIS, FRANCE. Accession number not known. Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
Remarks: Nothing further is known of the instrument GERMANY.
since 1882. Number: 82.
Previous history: Auctioned in 1882. Inscriptions: In gold letters on the fascia board
Information supplied by: B?. ANTONIVS DE MIGLIAIS FLORENTINVS F. A.
Boalch3 number: MIGLIAI, A. 1682. MDCCII. The keylevers for c’ carry the date 1702, while
Boalch 2 number: 1. the two c? jacks are dated 1707.
Specification: 2x8’.
Type: Rectangular virginal. Compass: FF,GG,AA-c’, broken octave.
Date: 1693(A). Keyboard: White naturals, black sharps.
Ownership: MUSIKHISTORISKA MUSEET(A), Number of roses: None.
STOCKHOLM, SWEDEN. Accession number not Exterior of case: Painted.
known. Case construction: Italian style, inner/outer.
Inscriptions. Luckett believes it to have been signed on a Scale: 275 mm.
small stamp on the back of the nameboard Antonius de Length: 2527 mm.
igliais. .. MDCLXXXXIII. Width: 891 mm.
2 1x8'(A). Depth: 254 mm.
Compass: C/E-P(A), short octave. Remarks: Naturals of box with arcaded fronts. Sharps of
Case construction: Italian style—false inner/outer. pear with ebony tops. Split naturals at FF, GG.
Previous history: 1971 Michael Thomas. 1973 disposed of Previous bistory: Formerly in the Kraus collection, Florence,
it to the Musikhistoriska Museet as part of an exchange. 1878.
Information supplied by: Luckett. References: Inscription reproduced at Ks, p. 247. See:
Boalch 3 number: MIGLIAI, A. 1693(A). Henkelr for full details.
Boalch 2 number: None. Information supplied by: B?/Henkelr.

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508 MIGLIAI(A)
Boalch 3 number: MIGLIAI, A. 1702. Ownership: STELERMARKISCHES
Boalch 2 number: 3. LANDESMUSEUM, JOANNEUM, GRAZ,
AUSTRIA.
MIGLIAI(A), ANGIOLUS(A). Number: KGW 3.057.
‘Type: Single-manual clavicytherium. Inscriptions. On the underside of the tangent rail in pencil:
Date: 1590(A). Georg Mitterreiter, Orgelmacher in Gratz 1727.
Ownership: MUSIKHISTORISK MUSEUM, Compass: C/E-c’, broken octave.
COPENHAGEN, DENMARK. Keyboard: White naturals, black sharps.
Number: A31. Exterior of case: Painted.
Inscriptions: Angiolus Migliai Florentinus fecit anno 1590, Scale: 260 mm.
which is almost certainly spurious, particularly in view Length: 1110 mm.
of the strange firstname. Width: 310 mm.
Specification: 1x4". Depth: 110 mm.
Compass: C/E-a’, short octave. Remarks: Naturals of box, sharps of black-stained pear.
Number of roses: 2. Case painted green and brown. Forty-seven keys and
Scale: 179 mm. twenty-nine courses. Keys F# and G# are split to give a
Length: 800 mm. broken octave.
Width: 620 mm. Previous history: Formerly Professor Emil Moser, Graz.
Remarks: Clavicytherium, at 4’ pitch, of very doubtful References: The museum catalogue gives further references
provenance. Almost certainly the instrument has passed (Suppan, and Federfofer).
through the hands of Franciolini. Two uninitialled parch- Information supplied by: StradnerPC|Felgner.
ment roses. Jacks and parts of the case are nineteenth- Boalch 3 number: MITTERREITER, G. 1727.
and twentieth-century replacements. Boalch 2 number: None.
Previous bistory: Bought by the Museum in 1912 from
Rodolfo Subert, Milan. MITTERREITER(A), GEORG.
References: MMCC. Type: Fretted clavichord.
Information supplied by: B2|MMCC. Date: Not known.
Boalch 3 number: MIGLIAI(A), A(A). 1590(A). Ownership. STEIERMARKISCHES
Boalch 2 number: 4. LANDESMUSEUM, JOANNEUM, GRAZ,
AUSTRIA.
MIKLIS, JOHANNES. Number: KGW 7.831.
Type: Single-manual harpsichord. Inscriptions: No signature.
Date: 1671. Compass: C/E-c', broken octave.
Ownership: DR. ANDREAS BEURMANN, Number of roses: None.
HAMBURG, GERMANY. Length: 1140 mm.
Number: 49. Width: 275 mm.
Inscriptions: On wrestplank: Johannes Miklis, Pragae 1671. Depth: 100 mm.
Specification: 1x8’, 1x4". Remarks: The date is given simply, by the Museum, as
Additional features: 1 hand stop. eighteenth century, and the ascription to Mitterreiter is
Compass: C-c. due to the similarity between this unsigned instrument
Keyboard: White naturals, black sharps. and instrument MITTERREITER, G. 1727 above,
Number of roses: None. including the stringing layout. The major difference is
Exterior of case: Painted. that this instrument is cut away at the right-hand far
Scale: 296 mm. corner so that the case is not entirely rectangular. Naturals
Length: 2075 mm. of brown wood, sharps of black stained pear. Forty-seven
Width: 744 mm. keys and twenty-nine courses. F$ and G¥ are split so as
Depth: 254 mm. to give a broken octave.
Remarks: Naturals of fruitwood, sharps of dark brown Previous bistory: Bought in Graz in 1900.
stained wood. One hand stop for the 4’ register. Painted References: The museum catalogue gives further references
case with stand having eight legs painted em suite. (Sappan, and Federfofer).
Information supplied by: Bearmann. Information supplied by: StradnerPC.
Boalch3 number: MIKLIS, J. 1671. Boalch ; number. MITTERREITER(A), G. n.d.
Boalch 2 number: None. Boalch 2 number: None.

MITTERREITER, GEORG. MOERMANS, HANS.

Type: Fretted clavichord. Type: Single-manual harpsichord.
Date: 1727. Date: 1584.

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 MONDINI 509
Ownership: MRS. DIANE HUBBARD, WALTHAM, Previous history: Formerly in the Régibo Collection.
MASSACHUSETTS, USA. MOERMANS, H. n.d.(z) and n.d(3) may possibly be the
Inscriptions: Hans Moermans Antwerpiae 1584. same instrument.
Specification: 1x8’, 1x4’. Information supplied by: B?.
Compass: GG/BB-F(A), short octave. Boalch3 number. MOERMANS, H. n.d.(2).
Number of roses: 1. Boalch 2 number: 3.
Previous history: Formerly belonged to Alphonse von
Neste, and subsequently Frank Hubbard. Type: Single-manual harpsichord.
Information supplied by: B. Date: Not known.
Boalch 3 number. MOERMANS, H. 1584. Ownership: Not known.
Boalch 2 number: o1. Length: 2150 mm.
Remarks: Three registers.
Type: Two-manual harpsichord. Previous bistory: Formerly in the Régibo Collection.
Date: 1642. MOERMANS, H. n.d.(2) and n.d(3) may possibly be the
Ownership: DR. R. MIRREY, LONDON, ENGLAND. same instrument.
Number: 7. Information supplied by: B?.
Inscriptions. Hans Moermans me fecit Antwerpiae 1642, on Boalch 3 number: MOERMANS, H. n.d.(3).
the jackrail. HM on rose. Boalch 2 number: 4.
Specification: 2x8’, 1x4".
Additional features: Dogleg. MONDINI, GIUSEPPE.
Compass: GG-e’. (formerly shown in B? as Mendini)
Keyboard: Black naturals, white sharps. Type: Polygonal virginal.
Number of roses: 1. Date: 1631.
Scale: 359 mm. Ownership: PRIVATE COLLECTION, VIENNA,
Length: 2360 mm. AUSTRIA.
Width: 940 mm. Inscriptions: Date on the jackrail.
Depth: 250 mm. Specification: 1x8’.
Remarks: Koster suggests that the instrument may be by Previous bistory. Shown by J. A. Fuller-Maitland at the
Hieronymus Mahieu (9..). Black naturals (though not Music Loan Exhibition, London 1904. Owned by Alec
ebony) and solid bone sharps. Cast lead rose. Never Hodsdon in 1943.
altered in range or disposition, though there is evidence References: Music Loan Exhibition Catalogue 1904, p. 170.
of a manual coupler having been removed. Information supplied by: B?|WraightPC.
Previous history: Dr. Mirrey bought it at Sotheby’s on Boalch 3 number: MONDINI, G. 1631.
13 March 1972 from William Post Ross of Boston, Boalch 2 number: 1.
Massachusetts, who had bought it from Pastor H. Lippens
of Ghent, who had acquired it in 1922. It was formerly Type: Rectangular virginal.
in the Régibo Collection, sold in 1897. Date: 1660.
References: Mirrey. O’Brien, pp. 186, 277, 280-1. Ownership: MUSIKMUSEET, STOCKHOLM,
Information supplied by: B?|Mirrey|O’ BrienPC. SWEDEN(A). Accession number not known.
Boalch 3 number: MOERMANS, H. 1642. Inscriptions: Joseph Mondini 1660.
Boalch 2 number: 1. Specification: 1x8".
Remarks: The location of this instrument in Sweden has
Type: Two-manual harpsichord. been suggested by WraightPC.
Date: Not known. References: Francl lists this ‘spinetta’.
Ownership: Not known. Information supplied by: B*|Misch-1979 II{WraightPC.
Length: 2450 mm. Boalch 3 number: MONDINI, G. 1660.
Remarks. Five octaves, three registers. Boalch 2 number: 5?
Previous history: Formerly in Régibo Collection. Could
possibly be the instrument MOERMANS, H. 1642 above. Type: Single-manual harpsichord.
Information supplied by: B?. Date: 1696.
Boalch 3 number: MOERMANS, H. n.d.(1). Ownership: UNIVERSITY OF ROCHESTER, NEW
Boalch 2 number: 2. YORK, USA. Accession number not known.
Compass: FF,GG-P.
‘Type: Single-manual harpsichord. Remarks: Koster reports that the date of this instrument
Date: Not known. (as a result of an error on the part of Hubbard) is 1696,
Ownership: Not known. not 1646 as shown in B* under Mendini (confirmed by
Length: 2230 mm. WraightPO). Original compass GG-c’.

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510 MONSUTTO
Information supplied by: B2|Koster|Wraight. Ownership: BRUSSELS MUSEUM(A), BRUSSELS,
Boalch 3 number: MONDINI, G. 1696. BELGIUM. Accession number not known.
Boalch 2 number: 2. Inscriptions: Montazeau’s name is on the jackrail.
Specification: 1x8’.
Type: Single-manual harpsichord. Remarks: Though recorded in Bz as having been in the
Date: 1701(A). Tolbecque Collection, there is no positive evidence that
Ownership: Not known. it is now in the Brussels Collection.
Specification: 5x8’. Previous bistory: Was in the Tolbecque collection in 1922.
Compass: FF-c'(A). References: MarcP.
Keyboard: Black naturals, white sharps. Information supplied by: B2.
Case construction: Italian style, inner/outer. Boalch 3 number: MONTAZEAU, J. 1632.
Length: 2700 mm. Boalch 2 number: 1.
Width: 830 mm.
Remarks: The evidence for this instrument comes from a
MONTECUCCHI, VINCENZO.
sale catalogue of the Drouét-Richelieu—Salles 5 et 6, in
‘Type: Single-manual harpsichord.
which the instrument was to be sold on 14 December 1988.
Date: 1768.
It states: ‘Grand clavecin italien de Joseph MONDINI Ownership. PRIVATE COLLECTION,
(Mendini) date de 1701.’ There is some doubt as to the
ENGLEWOOD, FLORIDA, USA.
maker’s name, but it seems almost certainly that the Inscriptions. Partially legible inscription on nameboard:
instrument is by Giuseppe Mondini. The catalogue of the Vincenzo Montecnechi fecit [?| Ancone . . . 1768.
14 December 1988 sale states further: ‘. . . simple clavier, Specification: 2x8".
garni en corne, dieses en ivoire, du fa au do, 4 octaves Compass: C/E-c’, short octave.
et demie, 3 jeux de 8 pieds, a registres, instrument en
Remarks: Bz says that its general appearance, and the
cypres dans sa caisse d’origine richement decorée aux inscription, call Franciolini to mind as having handled it,
armes cardinalices et ducales, ainsi que d’un soleil illu-
though this maker does not appear to figure in any of
minant le milieu de l’instrument, partie mécanique restau-
the Franciolini catalogues.
rée au XIX‘, une reflection de l’instrument s’impose pour Information supplied by: Bz.
lui rendre une qualité de son exceptionelle . . . (un
Boalch 3 number: MONTECUCCHI, V. 1768.
instrument voisin, du méme auteur, aurait été fait pour
Boalch 2 number: 1.
Cardinal Ottoboni devenu par la suite le Pape Alexandre
VIII (1601 1696).”
References: Catalogue of the sale at Hotel Drouét, Paris, MORLISONI, FRANCESCO.
14 December 1988. ‘Type: Single-manual harpsichord.
Information supplied by: Roth. Date: 1646.
Boalch3 number. MONDINI, G. 1701(A). Ownership: Not known.
Boalch 2 number: None. Inscriptions: Allegedly inscribed: Francesco Morlisoni Fior-
entinus, 1646.
MONSUTTO, ANTONINO. Specification: 2x8'(A).
Type: Virginal. Compass: C/E-c’, short octave.
Date: 1674. Keyboard: White naturals, black sharps.
Ownership: GERMANISCHES NATIONALMUSEUM, Number of roses: 1.
NUREMBERG, GERMANY. Style of rose: Geometrical pattern.
Number: MIR 1088. Exterior of case: Painted.
Inscriptions: Antonino Monsutto Vdiniae 1674. Case construction: Italian style, inner/outer.
Specification: 1x8". Remarks: At the time of compilation of this work, the
Compass: C/E-c’, short octave. instrument was possibly to be sold by Michael Thomas
Remarks: Quint virginal. [Is there some mistake, as Bz to the Bate Collection, Oxford. From photographs the
gives his fl. as 1574, and yet it is signed 1674?] instrument appeared to have boxwood naturals and ebony
Previous history: Formerly in the Riick Collection. sharps. The inner case appeared to have a traditional plain
References: Huber, p. 141. cypress case within a painted outer, and raised on a very
Information supplied by: Bz|Huber. heavy set of ‘front and rear’ legs.
Boalch 3 number: MONSUTTO, A. 1674. Information supplied by: Montagu.
Boalch 2 number: 1. Boalch 3 number: MORLISONI, F. 1646.
Boalch 2 number: None.
MONTAZEAU, JEAN.
Type: Spinet. MOSHACK, MORITZ GEORG.
Date: 1632. ‘Type: Fret-free clavichord with octave strings in the bass.

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 MUCCIARDI(A) 511
Date: 1768. References: MMCC.
Ownership: NORSK FOLKEMUSEUM, BYGDOY, Information supplied by: B2|Weldon|MMCC.
OSLO, NORWAY. Boalch 3 number: MOSCHACK, M. G. 1770(2).
Number: 212.04. Boalch 2 number: 2.
Inscriptions: Signed in ink on the soundboard: Moritz Georg
Moschack in Copenbagen Ao 1768. MOYSE, JOHANN.
Compass: FF-f. Type: Fretted clavichord.
Length: 1734 mm. Date: 1765.
Width: 509 mm. Ownership: KUNSTHISTORISCHES MUSEUM,
Remarks: Octave strings for lowest twenty-two notes. VIENNA, AUSTRIA.
The tangents for the notes FF-GG are very wide. VdM Number: LGR.
thinks this might indicate overspun strings. Inscriptions: Signed on the soundboard: Joannes Moyse 17.
Information supplied by: B2|Weldon| VdM|O’ BrienPC. Vienna. 63 (barely legible).
Boalch3 number. MOSCHACK, M. G. 1768. Compass: c'-P.
Boalch 2 number: 1. Length: 431 mm.
Type: Single-manual harpsichord.
Width: 263 mm.
Depth: 61 mm.
Date: 1770.
Remarks: Described by Bz as an ottavino clavichord in
Ownership: FALSTERS MINDER MUSEUM, the form of a book with the title Ditionario armonico.
NYK@BING FALSTER, DENMARK. Accession
number not known.
Thirty keys and seventeen courses.
Inscriptions. Moritz Georg Moshack Copenhagen Ao. 1770, on
References: Luith, p. 5.
Information supplied by: B2|Weldon|StradnerPC.
soundboard. Boalch3 number. MOYSE, J. 1765.
Specification: 2x8’. Boalch 2 number: 1.
Additional features: Harp stop.
Compass: FF-P.
Length: 2345 mm. MUCCIARDI, IGNAZIO.
Type: Single-manual harpsichord.
Width: 970 mm.
Date: 1780.
Depth: 250 mm.
Ownership: MUSEO DEGLI ANTICHI STRUMENTI
Information supplied by: B.
MUSICALI, ROME, ITALY.
Boalch3 number: MOSCHACK, M. G. 1770(1).
Boalch 2 number: 3. Number. 1380.
Inscriptions: On top and bottom keylevers: Ignazio Mucciardi
‘Type: Fret-free clavichord. June 12, 1780, and signature and date June 11, 1780 on
Date: 1770. the underside of the soundboard.
Ownership: MUSIKHISTORISK MUSEUM, Specification: 2x8’.
COPENHAGEN, DENMARK. Compass: FF-P.
Number: A36. Keyboard: Black naturals, special sharps.
Inscriptions: Signed between the treble end of the bridge Number of roses: None.
and the wrestpins Moritz Georg Moshack|in Copenhagen Ao Exterior of case: Painted.
170. Case construction: Italian style false inner/outer.
Compass: FF-P. Scale: 282 mm.
Keyboard: White naturals, black sharps. Length: 2565 mm.
Exterior of case: Painted. Width: 981 mm.
Scale: 276 mm. Depth: 216 mm.
Length: 1691 mm. Remarks: O’ BrienPC identifies Mucciardi as possibly hav-
Width: 511 mm. ing worked in Florence. Ebony naturals with ebony
Depth: 177 mm. fronts, and sharps of ebony and bone.
Remarks: Keys of lime, roof-carved. Key slips of brass. Information supplied by: O? BrienPC|WraightPC.
Naturals of bone with two pairs of grooves and arcaded Boalch3 number: MUCCIARDI, I. 1780.
ebony fronts. Sharps of black-stained wood. Soundboard Boalch 2 number: None.
of pine, decorated with flowers. Bridges of beech. Case-
work and internal structure of pine. Repainted carly MUCCIARDI(A), IGNAZIO.
in this century. Legs and stand are original, but the Type: Single-manual harpsichord.
corner-blocks are missing therefore the instrument stands Date: 1780(A).
too low. Ownership: DR. R. MIRREY, LONDON, ENGLAND.
Previous bistory: Bought by the Museum in 1922 from A. Number:
Madsen, Copenhagen. Specification: 2x8’.

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512 MUNOZ
Compass: GG,AA-P. Date: 1684(A).
Case construction: Italian style false inner/outer. Ovnersbip: PRIVATE COLLECTION, NEW HAVEN,
Length: 2310 mm. CONNECTICUT, USA. Accession number not known.
Width: 990 mm. Inscriptions: The signature on a printed label, is genuine,
Depth: 200 mm. but does not belong to the instrument.
Remarks. The harpsichord, which is unsigned, is ascribed Remarks: Ottavino or spinet. The authenticity is dubious.
to Mucciardi by Dr. Mirrey on the basis of information References: MarcP.
from O’BrienPC concerning the above instrument by this Information supplied by: Bz.
maker in the Museo Degli Antichi Strumenti Musicali, Boalch 3 number: MUSCH, J. 1684(A).
Rome (MUCCIARDI, L. 1780). Boalch 2 number: 1.
References: Mirrey. WraightIKI.
Information supplied by: Mirrey|O’ BrienPC. MULLER, HANS.
Boalch 3 number: MUCCIARDI(A), 1. 1780(A). Type: Single-manual harpsichord.
Boalch 2 number. None. Date: 1537.
Ownership: MUSEO DEGLI ANTICHI STRUMENTI
‘Type: Harpsichord (number of manuals not known). MUSICALI, ROME.
Date: Not known. Number: 1840.
Ownership: SMITHSONIAN INSTITUTION, Inscriptions: Inscription stamped on gilded paper on
WASHINGTON, USA. Accession number not known. the nameboard: GOTTES WORT BLEIBT EWICK
Information supplied by: O’ BrienPC|WraightPC. BEISTAN DEN ARMEN ALS DEN REICHEN
Boalch 3 number. MUCCIARDI(A), I. n.d. DURCH HANS MVLLER CV LEIPCIK IM 1537.
Boalch 2 number: None. Specification: 2x4’, lute.
Compass: C,D-g’,a*.
Keyboard: White naturals, black sharps.
MUNOZ, LUDOVICUS. Number of roses: 1.
Type: Single-manual harpsichord. Style of rose: Geometrical pattern.
Date: 1644. Exterior of case: Plain wood.
Ownership: DR. ANDREAS BEURMANN, Scale: 218 mm.
HAMBURG, GERMANY. Length: 1494 mm.
Number: 30. Width: 729 mm.
Inscriptions. On nameboard: + LUDOVICUS MUNOZ Depth: 187 mm.
DE TOLEDO + FECIT 1644 +. Remarks: A very rare and important instrument in the
Specification: 2x8". history of the harpsichord and the oldest surviving
Compass: C/E-c’, short octave. German harpsichord. Two rows of jacks in an angled
Keyboard: White naturals, black sharps. main gap, with a third row at a slight angle to give the
Number of roses: 1. equivalent of a lute stop. O’Brien suggests original pitches
Style of rose: Parchment. for the two registers of R+8 and R+9. The bridge was
Excterior of case: Painted. moved from its original position, probably in Italy in the
Case construction: Italian style—false inner/outer. eighteenth century, towards the bent side. The keyboard
Scale: 298 mm. originally could be shifted sideways for transposing by a
Length: 1980 mm. whole tone (and this device is known to have been still
Width: 760 mm. operative in 1978 [Barnes]). The intermediate pitch would
Depth: 188 mm. not be playable with meantone tuning, and so it is not
Remarks: Dr. Beurmann reports: ‘Stand of three spiral- provided for. Deep bent side curve, thin scantlings. Case
twist legs, giltwood, the two fronts connected by bars, sides, of figured ‘Hungarian’ ash, overlap the bottom.
the third on cross stand. Case and lid with punched Nut on free soundboard which is of cypress with a large
patterns on leaf gold and lapislazuli colours. The instru- rose carved in the soundboard itself. Has many affinities
ment has a fine tone and stands best at a pitch of 349 with the thin-walled Italian instruments. One of the
Hz.’ The latter pitch seems unusually low, and may be a few surviving examples from any period of an octave
typographic mistake for 394 Hz. harpsichord. For details of original scalings see O’Brien,
Information supplied by: Bexrmann. . 22.
Praniate history: Formerly in the Evan Gorga Collection.
Boalch 3 number. MUNOZ, L. 1644.
References: Cerv.MASM pp. 310-12. Cervelli, L. and Van
Boalch 2 number: None.
der Meer J. H. ‘Conservato a Roma il pia antico cembalo
tedesco’, Palatino: Rivista Romana di Cultura, X, 3-4. Rome
MUSCH, JOHANN. 1967. VdMDen. Illustrated and described in GDN-EKI,
Type: Ottavino. Pp. 25-8. O’Brien, pp. 20-3, 26, 27.

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 MULLER 513
Information supplied by: B2|VdM|GDN-EKI/O’ Brien|Cerv. Number: 5.
MASM|Barnes|O’ BrienPC. Inscriptions: Several inscriptions of restorers (See: Henke/2).
Boalch 3 number: MULLER, HANS. 1537. It is also inscribed AD, though this probably refers to
Boaleb 2 number: 1. Anno Domini.
Compass: C/E-c’.
MULLER(A), HANS. Keyboard: White naturals, black sharps.
Type: Fretted clavichord. Number of roses: 1.
Date: 1540(A). Style of rose: Parchment.
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, Exterior of case: Plain wood.
GERMANY. Scale: 205 mm.
Number: 2. Length: 1249 mm.
Inscriptions: On the underside of key c’: D: Timo. 1690, Widtb: 311 mm.
thought to be the mark of an early owner or a repairer. Depth: 151 mm.
Inscribed on the floor of the case under the keyboard Remarks: The ascription to Miiller is from Henke/z though
(much faded): AD/1s62 (Kraus gives it as 1502). The it could be by an unknown Nuremberg builder, or
name A/fo[n]so Caavella probably records the name of the possibly from Naples. More recently, WraigbtHH, pp
first owner. On a label (not original) on the foreboard 137-43, has attributed it, on the basis of the case
two inscriptions, one in French and one in Italian mouldings, to the anonymous Italian maker of harpsichord
announcing that Louis Landi of Sienna makes a range of $79, probably dated 1537, in the Milan collection. Recta-
instruments and restores them, and another inscription: ngular case with cantilevered keyboard. Naturals with
Restauro 1856. See: Henkel2 for an exact transcriptions of restored covers of cypress. Black lacquered sharps. The
these. whole instrument is very similar in design and execution
Compass: C/E-c'. to MULLER(A), HANS. 1540(A)(1) above. There are
Keyboard: White naturals, black sharps. two struts running at right angles to the long side over
Number of roses: 1. the soundboard. Two bridges. Nineteen courses of strings.
Style of rose: Parchment. Previous history: 1892 de Wit collection, Leipzig.
Exterior of case: Plain wood. References: Henkelz. WraigbtHH. A cross-reference under
Scale: 176 mm. D., A. is preserved.
Length: 984 mm. Information supplied by: Henkel2|WraightPC|
Barnes.
Width: 312 mm. Boalch 3 number: MOLLER(A), H. 1540(A)(2).
Depth: 212 mm. Boalch 2 number: None.
Remarks: The possible ascription of the instrument to
Miiller, or an unknown Nuremberg builder, is from
MULLER, HARTWICH.
Henkel2, though WraightHH, pp. 137-43, postulates an ‘Type: Fretted clavichord with octave strings in the bass.
Italian origin, and his arguments seem to be gaining
Date: 1769.
favour with other scholars. The instrument appears in Bz
Ownership. MUSIKHISTORISK MUSEUM,
under D. A. Rectangular case with cantilevered keyboard. COPENHAGEN, DENMARK.
Naturals box, sharps stained oak. Two struts run across
the instrument over the soundboard, and the soundboard
Number: A64.
Inscriptions. Signed Hartwich Miiller in Copenbagen 1769.
has two bridges perpendicular to the spine. Case of lime.
Nineteen courses of strings.
Compass: C-P.
Keyboard: Black naturals, white sharps.
Previous bistory: Heyer Collection (number 2), and 1878
Scale: 288 mm.
Kraus collection, Florence, (number 529).
Length: 1580 mm.
References: Henkel2 pp. 23-26 and illustrations, plate 2. Width: 452 mm.
WraightHH who says ‘The maker has not been identified
Depth: 152 mm.
and as Bz surmises, correctly, that the AD refers to Anno
Remarks: Keys are pine, roof-carved, with a mixture of
Domini, nevertheless the reference is worth keeping since
different key slips. Naturals of ebony with four grooves
three other instruments can be identified as belonging to
and arcaded box fronts. Sharps of bone-capped pine(?).
this maker.’ There is therefore a cross-reference under
Soundboard of pine, badly split, with modern painting.
D., A.
Bridges of beech. Twelve octave strings in the bass. The
Information supplied by: Henkelz|WraightPC| Barnes.
case is new, originally there were four corner blocks. The
Boalch 3 number: MOLLER(A), H. 1540(A)(1).
casework and internal structure is pine.
Boalch 2 number: None.
Previous bistory: Bought by the Museum in 1950. Bz says:
Type: Fretted clavichord. “Brutally rebuilt by the piano maker Soren Jensen in
Date: 1540(A). 1917, the case being a copy of the Hubert instrument
Ovnersbip: LEIPZIG UNIVERSITY, LEIPZIG, [Bz] No 1.”
GERMANY. Information supplied by: Bz|Weldon| MMCC.

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514 MULLER(A)
Boalch 3 number: MOLLER, HARTWICH. 1769. Remarks: Ivory naturals with moulded fronts. Material of
Boalch 2 number: 1. sharps is not known. Exterior of case is painted in royal
blue, and inside the lid is a landscape painting thought
to be of Steinvikholm, an islet on the Trondheim fjord.
MULLER(A), HARTWICH. Raised on stand with cabriole legs and a drawer to the
Type: Fret-free clavichord.
right and below the keyboard. Interior in brick-red paint.
Date: 1775.
At the rear of the bottom boards are twenty-seven holes
Ownership. RINGVE MUSEUM, TRONDHEIM,
which look as if they were placed there to accommodate
NORWAY.
pedal pull-downs.
Number: RMT 383.
Previous history: On permanent loan to the Ringve Museum
Inscriptions: Signature reported as almost illegible, but from the Nordenfjeldske Kunstindustrimuseum, Trond-
probably (according to Jens Thiis) Hartwich Miiller, Cop- heim. Previously in the possession of O. A. Lindeman
enbagen 1775, though in Ringverg8& the name is given as (1769-1857) (see also instrument by Tieffenbrun in the
Hartvig Miiller. possession of the Museum) organist, who settled in
Compass: FF-P. Trondheim in 1799. The instrument belonged to the
Keyboard: White naturals, black sharps. Lindeman family until ¢. 1900.
Number of roses: None. References: Jens Thiis: Ferer gjennen samlingerne Kun-
Exterior of case: Painted. stindustrimuseet, (Trondheim, 1908). Ringvergé8, p. 92
Scale: 278 mm. (illustrated).
Length: 1756 mm. Information supplied by: Weldon| VdM|K,eldsberg|O’ BrienPC.
Width: 516 mm. Boalch 3 number: MULLER(A), HARTWICH. 1775.
Depth: 165 mm. Boalch 2 number: None.

'y Google
 N
N., H. O. Specification: 1x8'(A).
Type: Ottavino. Remarks: Apparently made in 1564 [Bz], and shown in
Date: not known. Bz under the fictitious maker Antonio Irena, a misreading
Ownership: CAROLINO-AUGUSTEUM MUSEUM, of Brena. It is not clear whether this Antonio Nobili was
SALZBURG, AUSTRIA. Accession number not a relative of Antonio Francesco Nobili (see below, and
known. in Part I), or even, possibly, the same person, though in
Inscriptions: Letters H O N on the fifth key lever. view of the dates of the two instruments, this seems
Specification: 1x4'(A). unlikely.
Remarks: It is regarded as German but showing strong Previous bistory: Was given in 1581 by Henri III to
Italian influence. Beaujoyeux.
References: VdMSalzb for detailed description. References: MICL.
Information supplied by: Bz. Information supplied by: B2|MICL|WraightPC.
Boalch3 number: N., H. O. n.d. Boalch 3 number: NOBILI, A. 1564(A).
Boalch 2 number: 1. Boalch 2 number: None under Nobili and 1 under Irena.

NERI, FRANCESCO. NOBILI, ANTONIO FRANCESCO.

Type: Single-manual harpsichord. Type: Single-manual harpsichord.
Date: 1695. Date: 1695.
Ownership: MUSEUM CAROLINO-AUGUSTEUM,
Ownership: NEUMEYER COLLECTION, BAD
SALZBURG, AUSTRIA. Accession number not
KROZINGEN, GERMANY.
known.
Number: (4).
Inscriptions: Inscribed on the back of the nameboard; D. Inscriptions: Francesco Nobili in Roma fec. 1695.
Francisci Nerii Ariminensis MDCVC.
Specification: 2x8".
Specification: 2x8’. Additional features: Harp stop.
Compass: C/E-c}(A), short octave. Compass: GG-F.
Number of roses: 1. Length: 1460 mm.
Remarks: According to VdM, this instrument was des-
Width: 1020 mm.
troyed in World War Il. Remarks: Baroque stand.
References: Ulustrated in Museum catalogue. Previous history: Formerly lent to the Museum fiir Ham-
Information supplied by: Bz. burgische Geschichte. Restored by Walter Ebeloe,
Boalch 3 number: NERI, F. 1695.
Hamburg.
Boalch 2 number: 1. Information supplied by: B2|Krozingen.
Type: Harpsichord (number of manuals not known). Boaleh 3 number: NOBILI, A. F. 1695.
Boalch 2 number: 1.
Date: not known.
Ownership: CITY MUSEUM, PRAGUE,
CZECHOSLOVAKIA. Accession number not known. NONNEMACKER, CHRISTIAN.
References: Illustrated in Buchner 1956. ‘Type: Folding octave-harpsichord.
Information supplied by: Bz. Date: 1757.
Boalch 3 number: NERI, F. n.d. Ownership: METROPOLITAN MUSEUM OF ART,
Boalch 2 number: 2. NEW YORK, USA.
Number: 89.4.3509.
NOBILI, ANTONIO. Inscriptions. On front of wrestplank CHRISTIANUS
Type: Polygonal virginal. NONNEMACKER ANNO 1737.
Date: 1564(A). Specification: 2x4".
Ovnership: MUSEE INSTRUMENTAL, PARIS, Compass: C/E-c', short octave.
FRANCE. Keyboard: Special naturals and sharps.
Number: 704/314. Number of roses: None.
Inscriptions: According to Wraight: _ANTONIUS Exterior of case: Plain wood.
NOBILIS Cfillegible] da BREN A. Scale: 140 mm.

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516 NORDQVIST
Length: 773 mm. Remarks: Instrument is part of the Nydah! Collection.
Width: 615 mm. Naturals of ebony, sharps of stained wood topped with
Depth: 71 mm. ivory. Keyboard has Swedish rack. Soundboard of pine.
Remarks: B* gives Nonnemacker as a German maker, and Twenty-two octave strings in the bass. Case painted white,
there seems little reason to doubt this, though it cannot but traces of earlier wood-style painting underneath.
be confirmed. MMA and LibinKI give the place of Veneered on the inside. Inlay work around the keywell.
manufacture of this folding harpsichord as Genoa, but References: H-O No. S 01 SMF KI 53. SMF (appendix by
with a question mark—but see the entry under this maker Weldon).
in Part I. Rosewood naturals with ivory arcades, sharps Information supplied by: B?|Weldon|Barrell[H-O/SMF.
veneered on sides with rosewood and plated on top with Boakch 3 number. NORDQVIST, C. J. 1818(2).
ivory. Boalch 2 number: 2.
Previous history: Crosby Brown Collection 1889.
References: Illustrated in Wint 1961, p. 29. LibinFold ‘Type: Fret-free clavichord with octave strings in the bass.
(illustrated). LibinKI, p. 30 (Illustrated). MMA. Date: Not known.
MMACL. Photos (negative numbers 172204, 215877, Ownership: SCTA RAGNHILDS GILLES MUSEUM,
etc.) available from the Museum. SODERKOPING, SWEDEN. Accession number not
Information supplied by: B*|MMA|LibinKI[MMACL]| known.
LibinFold. Compass: FE-f.
Boalch 3 number: NONNEMACKER, C. 1757. Scale: 312 mm.
Boalch 2 number: 1. Length: 2044 mm.
Width: 652 mm.
NORDOQVIST, CARL JACOB. Remarks: Keyboard has Swedish rack. Soundboard of
Type: Fret-free clavichord with octave strings in the bass. pine. Seventeen octave strings in the bass.
Date: 1818. References: H-O No. S 05 SRGM u. nr.
Ownership: STADS HISTORISKA MUSEUM, ABO, Information supplied by: Barrell{Weldon{H-O.
FINLAND. Boalch 3 number: NORDQVIST, C. J. n.d.
Number: 3607. Boalch 2 number: None.
Inscriptions. Signed Carl Jac. Nordguist Stockholm 1818.
Compass: FF-c*. NOSSLER, JOHANN GEORG KASPAR.
Keyboard: Black naturals, white sharps. Type: Clavichord.
Scale: 312 mm. Date: 1785.
Length: 2043 mm. Ownership: DR. REINHARDT MENGER, ABTEI
Width: 60s mm. ARNSBURG, NR. GIESSEN, GERMANY.
Remarks: Keyboard has Swedish rack. Soundboard, pine. Inscriptions: Originally the instrament had a label which
Seventeen octave strings. was lost during a restoration, ascribing it to Johann Georg
References: H-O No. SF ASHM 3607. Illustrated at fig. Nossler, Rothenburg ob der Tauber, 1785.
160, p. 183. Compass: C-P.
Information supplied by: B?|Barrell|Weldon|H-O. Keyboard: Black naturals, white sharps.
Boalch
3 number: NORDQVIST, C. J. 1818(1). Exterior of case: Painted.
Boalch 2 number: 1. Remarks: It would appear that this instrument is part of
the collection of the Germanisches Nationalmuseum, No.
Type: Fret-free clavichord with octave strings in the bass. MIR 1056, but is shown in Huber as Im Taxsch abgegeben,
Date: 1818. ice. on exchange. Similar in style to the instruments of
Ownership: STIFTELSEN MUSIKKULTURENS Gessinger.
FRAMJANDE, STOCKHOLM, SWEDEN. Previous history: Formely in the Riick Collection.
Number: KL 53. References: See Riick’s notes for information on the lost
Inscriptions: C. J. Nordgvist, Stockbolm 1818. label. A photograph is available from Henning. Huber,
Compass: CC-c'. Pp. 125.
Scale: 315 mm. Information supplied by: B?|Henning| Huber.
Length: 2219 mm. Boalch 3 number: NOSSLER, J. G. K. 1785.
Width: 658 mm. Boalch 2 number: 1.

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 O
OBICI, BARTOLOMEO. Ownership. GEMEENTEMUSEUM, THE HAGUE,
Type: Polygonal virginal. NETHERLANDS.
Date: 1683. Number: Ec.495-1933.
Ownership. BARBARA AND RODNEY Inscriptions. According to HaagCL: Adam Gottfried Ochme,
MYRVAAGNES, NEW YORK, USA. Orgel-nnd instrumentm. in Freyberg. (According to Schexrl
Inscriptions. According to Sotheby’s there is a printed label the inscription is no longer present.)
inside: Bartolomeo Obici in Verona 1683. According to the Compass: C-d’.
owners there are two paper labels on the interior structure. Keyboard: Black naturals, white sharps.
Specification: 1x8". Number of roses: 2.
Compass: C/E-c’, short octave. Exterior of case: Plain wood.
Keyboard: White naturals, black sharps. Scale: 242 mm.
Number of roses: 1. Length: 1400 mm.
Style of rose: Parchment. Wideb: 385 mm.
Exterior of case: Painted. Depth: 198 mm.
Case construction: Italian style, inner/outer. Remarks: Walnut case. Two rose holes, though the roses
Scale: 203 mm. are missing. Raised on four tapered legs. According to
Length: 925 mm. HaagCL—‘The keys are fretted except C-B, d, a, d', a',
Width: 422 mm. d’. Champ suggests that this is the upper half of a double
Depth: 141 mm. clavichord.
Remarks: Present owners give the name of the maker as Previous history: Formerly in the collection of D. F.
BORTOLAMIO OBICI. Described in the sale catalogue Scheurleer. Acquired in 1884 from Paul de Wit, Leipzig.
as: ‘. . .the case of cypress with pierced parchment rose, References: Hirt. Catalogue of the Scheurleer Collection, 1885,
the jackrail inlaid with ebony stringing, the three and a P- 258. von Gieich p. 15.
half octave keyboard, E-c’ with arcaded boxwood naturals Information supplied by: B2|HaagCL|Champ.
and ebonised accidentals, with later outer case painted Boalch 3 number: OEHME, A. G. 1760(A).
red with gilt bands, the interior of the lid with 2 Boalch 2 number: 1.
seventeenth century style interior; raised on a modern Type: Clavichord.
oak stand with drawers.’ The present owners add the Date: 1776.
following: Soundboard of cypress. Keyboard partly inset Ownership. MUSEUM FUR KUNSTHANDWERK,
into case. Bottom of the inner case has been replaced. DRESDEN, GERMANY.
There are traces of pedal pull-downs on the outer case, Number: 47020.
(but not on the inner). The position of the holes in the Inscriptions: Adam Gottfried Ochme, Orgel-und Instru-
outer case corresponds to pieces of wire which remain mentenmacher in Freiberg, den 13 Mai 1776.
embedded in the beech levers of the keys of the bottom Compass. C-P(A).
octave. Key levers have ‘flat rack tabs’. Three octave span Number of roses: 2.
of 461mm. References: Data sheet available from the Museum.
Previous history. Was presumably the 1683 polygonal Information supplied by: Reinbeckel.
virginal owned by de Bricqueville in 1895. Owned by the Boalch 3 number. OEHME, A. G. 1776.
George F. Harding Museum until 29 October 1976 when Boalch 2 number: None.
it was sold at Sotheby Parke Bernet of New York for
OESTERLEIN, JOHANN CHRISTOPH.
$3,600.
‘Type: Two-manual harpsichord.
References: Sotheby’s Catalogue of 29 October 1976.
Date: 1792.
Information supplied by: Bz|Sothebys|Myrvaagnes.
Ownersbip: SING-AKADEMIE, BERLIN, GERMANY
Boalch 3 number. OBICI, B. 1683.
(MUSIKINSTRUMENTEN MUSEUM). Accession
Boalch 2 number: 1. number not known.
Inscriptions: On the proximal edge of the soundboard J C
OEHME, ADAM GOTTFRIED. Ocsterlein|Berlin 1792.
‘Type: Fretted clavichord. Specification: 1: 1x8’, 1x4’; U1: 1x8".
Date: 1760(A). Additional features: Shove coupler.

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518 OHANN
Compass: FF-P. References: EM.
Keyboard: Black naturals, white sharps. Information supplied by: Luckett/EM.
Scale: 341 mm. Boalch 3 number: OLEA, J. F. D. n.d.
Length: 2490 mm. Boalch 2 number: None.
Width: 938 mm.
Depth: 255 mm. OREIBLA(A), GIUSEPPE(A).
Remarks: Described as ‘Leihgabe der Sing-Akademie zu ‘Type: Single-manual harpsichord.
Berlin’, the instrument is displayed at the Musi- Date: 1774(A).
kinstrumenten Museum, Berlin, and is described in Ber- Ownership: SHRINE TO MUSIC MUSEUM,
JinCat. \t was severely damaged in the Second World VERMILLION, SOUTH DAKOTA, USA.
War, but was restored in 1967. Naturals of ebony; sharps Number: 3870.
of black-stained pear with ivory tops. The case has a Inscriptions: On nameboard Giuseppe Oreibla Fece in Sinigalia
double-curved bent side, with plain veneered exterior. nel? anno 1774. STMCL says this is a spurious signature
Mounted on four square tapered legs. on a later name board, while, after a visit to the Museum
Previous history: Restored first between 1930 and 1935, by in 1986, dM observed ‘the signature is as false as a wolf
Martin Scholz, and then, after the Second World War fifth’.
restored by Horst Rase in 1967. Exhibited at the exhibition Specification: 5x8’.
‘Meine Herren, der alte Bach ist gekommen, Berlin, 51st Compass: E-c’.
Bachfest der Neuen Bachgesellschaft, 1976. Keyboard: White naturals, black sharps.
References: MHDABIG, Entry No 80 in catalogue. Berlin- Exterior of case: Painted.
Cat, pp. 93-7, plus illustrations, one in colour. Case construction: Italian style— false inner/outer.
Information supplied by. MHD ABIG|BerlinCat. Scale: 286 mm.
Boal 3 number: OESTERLEIN, J. C. 1792. Length: 1925 mm.
Boalch 2 number: None. Width: 718 mm.
Depth: 190 mm.
OHANN, WOLFGANG. Remarks: The instrument is almost certainly that described
Type: Harpsichord (Number of manuals not known). in B p. 122 under PREIBLAN. V4dM thinks it is of
Date: 1643. the second half of the seventeenth century, and was
Ownership: ALFONSO FIERRO, SPAIN. probably originally 2x8’, 1x4’, though a subsequent
Inscriptions: Inscribed Obann Wolfgang. cleaning of the soundboard has removed all traces of a
Remarks: All that is known of this instrument is a reference four-foot bridge. He says the appliqués and stand are
to it in the catalogue of the exhibition La Musica en les nineteenth century. In 1989 Banks reported that ‘we have
artes plazsticas, Madrid, 1967, where it is described as a always suspected that the Oreib/a signature was spurious,
‘clavicémbalo’, and said to be Dutch, and dated 1643. Lid but that the instrument’s vital parts (soundboard, range,
painting shows an organ, and a bass and tenor viola da inner case structure) were originally built during the
gamba. seventeenth century. The outer case decoration was
Information supplied by: KdP. definitely applied later than the inner workings of the
Boaleh3 number: OHANN, W. 1643. harpsichord. I would also point out that the date painted
Boalch 2 number: None. in the inscription bears two 7’s with cross bars; this
suggests that the date was inscribed during or after the
OLEA, JUAN FELIPHE DE. nineteenth century. Our suspicions about this instrument
Type: Fretted clavichord. and its spurious signature have subsequently been cor-
Date: Not known. roborated by other keyboard scholars, including John
Ownership: MUSEO NACIONAL DE HISTORIA, Henry van der Meer and John Koster.” STMCL now
CHAPULTEPEC CASTLE, MEXICO. Accession gives the date as 1665-1700. Naturals of boxwood, sharps
number not known. of black hardwood. Case of red lacquer with pale
Compass: C-c’. blue/green cartouches appliqued. All registers are now
Remarks: Luckett reports San Augustin (Ciudad de Mexico) quill. There is a striking similarity between this instrument
and Chapultepec (Castillo). The instrument appears to and one in the Belle Skinner Collection catalogue of 1933,
date from the eighteenth century. It is also reported by signed Toma Rossi.
José Antonio Guzman-Bravo, ‘Mexico, home of the first Previous bistory: Formerly in private ownership in Califor-
musical instrument workshops in America’, in EM vol. nia. Acquired by the Museum in 1985 from the Rawlins
6, No. 3, July 1978, pp. 351-3, (including an illustration). Fund.
Guzman-Bravo reports ‘an extremely lightly fretted mech- References: John Challis had a photograph of the instrument
anism’. From the illustration the naturals appear to be of in 1953. Data sheets available from Shrine to Music. The
boxwood and the sharps of dark-stained wood. Inside the meaning of the inscription has been discussed in a
lid is an oval label with painted figures on either side. paper by Sheridan Germann dated 1 August 1972, who

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 ORLANDUS 519
concluded that the word Pwe was the family name. Sce ‘Type: Ottavino.
also STMPS, pp. 19 and 45. Date: 1710.
Information supplied by: STMCL|STMDS|Banks|VdM| Ownership: RUSSELL COLLECTION, EDINBURGH
Germann. UNIVERSITY, SCOTLAND.
Boaleh 3 number. OREIBLA(A), G(A). 1774(A). Number: 11.
Boalch 2 number: None. But see Preiblan. Inscriptions: The nameboard bears on the front an ink
inscription in an early hand; DV VIXI TACVI
ORLANDUS, PETRUS MICHAEL.
MORTVA DVLCE CANO [Whilst living I was silent.
Type: Polygonal virginal. Now dead I sweetly sing]. On the back of it Arnold (or
Date: 1702.
more probably Mabel) Dolmetsch, who restored the
Ownership: HORNIMAN MUSEUM AND LIBRARY,
LONDON, ENGLAND. instrument, has written Petrus Michael Orlandus anno 1710
Number. M59 1981. copied, no doubt, from some other part, possibly the
Inscriptions: Petrus Michael Orlando| Nunc emil Hystrumentum jackrail.
anno 1702/i certa scudi n. Specification: 1x4’.
Specification: 1x8’. Compass: C/E-c’, short octave.
Compass: C-P. Keyboard: White naturals, black sharps.
Keyboard: White naturals, black sharps. Number of roses: 1.
Number of roses: 1. Style of rose: Parchment.
Style of rose: Geometrical pattern. Exterior of case: Painted.
Exterior of case: Painted. Case construction: Italian style false inner/outer.
Case construction: Italian style, inner/outer. Scale: 168 mm.
Scale: 340 mm. Length: 832 mm.
Length: 1557 mm. Width: 797 mm.
Width: 516 mm. Depth: 140 mm.
Depth: 216 mm. Remarks: Projecting keyboard with naturals of box with
Remarks: Naturals aracaded boxwood. Sharps of stained cypress arcades and the name. letters written on them in
fruitwood. Recessed and pierced parchment geometrical ink. Sharps of stained wood or possibly walnut. Case
rose. In outer case probably by Dolmetsch. Inner case of painted dark green, lined with cypress. Soundboard of
cypress decorated with rinceau in black probably added pine with exceptionally intricate parchment rose in three
by Dolmetsch. Decorated soundboard. Bir/ey reports that colours, natural, red, and gold. Wire loops fitted to the
following an examination by Denzil Wraight in 1993, he case were probably for the attachment of a carrying strap.
suggested that the compass was originally C/E-P, short
Modern stand.
octave, and that the additional C and D keys were added
by Dolmetsch. An additional section of bridge was also
Previous history: Restored by Dolmetsch who replaced the
added, and a new moulding added to the keywell. jackrail. J. G. Morley, South Kensington. Raymond
Previous bistory: Bought by the Horniman Museum and Russell, who bought it from Morleys in 1956. Restored
Library from the Dolmetsch Collection in 1981. by John Barnes in 1967. :
References: Exhibition Catalogue: The Dolmetsch Collection References: Illustrated in RassColl. See also RussColls986,
of Musical Instruments, Frances Palmer, Horniman Museum, p. 13. Colour postcard of rose available from the Russell
1981, No. Ilz2, p. 22. Collection.
Information supplied by: Bz|Birley. Information supplied by: B2/RussColl{RussColl1986]Raymond.
Boalch 3 number: ORLANDUS, P. M. 1702. Boalch 3 number: ORLANDUS, P. M. 1710.
Boalch 2 number: 1. Boalch 2 number: 2.

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 P
PALAZZI, NICOLA. Length: 890 mm.
Type: Clavichord. Width: 395 mm.
Date: 1776. Depth: 180 mm.
Ownership: ROYAL ACADEMY OF MUSIC, Remarks: Dr. Beurmann reports that the instrument is of
LONDON, ENGLAND. Accession number not special shape. The extraordinarily fine craftmanship and
known. the masterly intarsia, with many musical instruments on
Inscriptions, Nicola Palazzi Romano fece 1776. the lid, flap, and sides make it seem likely that it was a
Compass: C-d’(A). presentation instrument to a noble person (possibly a
Keyboard: Black naturals, white sharps. child). It is also possible that the maker was Pascal Taskin.
Excterior of case: Plain wood. Described in Christie’s catalogue of 21 June 1988 as a
Remarks: Keylevers of pine, with ebony naturals, having French spinet, but appears in shape (ie. roughly pen-
ivory arcaded fronts, and ivory sharps. Case of cypress, tagonal) to be more like an ottavino. The catalogue says:
now housed in an outer case of walnut. ‘. . in a serpentine case of Louis XV style, veneered
Information supplied by: Bz. with kingwood and shaped marquetry panels of instru-
Boalch 3 number: PALAZZI, N. 1776. ments and flowers on burr-walnut ground, raised on
Boalch 2 number: 1. cabriole legs with gilt-bronze mounts . . . ebony naturals
and ivory sharps.’
PANTZNER, JOHANN CHRISTOPH. Scale: 345 mm.
Type: Single-manual harpsichord. Length: 900 mm.
Date: 1747. Width: 400 mm.
Ownership: KUNSTHISTORISCHES MUSEUM, References: Christie’s Catalogue of 21 June 1988. Illustrated
VIENNA, AUSTRIA. there.
Number: 848. Information supplied by: Christie's Bexrmann.
Specification: 2x8". Boalch3 number: PASCAL. 1784.
Compass: FF,GG,AA,C,D,E-P. Boalch 2 number: None.
Length: 1870.
Width: 846. PASI, ALESSANDRO.
Remarks: Strader reports that the keyboard is of ebony ‘Type: Polygonal virginal.
(presumably the naturals) and ivory, and that the compass Manuals: 1.
is like that of the surviving harpsichord by J. Leydecker Date: 1493.
(q.v.). The case is of walnut and the instrument is raised Ownership: Not known.
on a stand in the form of a commode with drawers. Inscriptions. ALEXANDRI/PASII MUTIN/ENSIS
Previous bistory: Formerly in a private collection in Vienna. OPUS M/CCCCL/XXXX|III.
Acquired by the Museum in 1991. Specification: 1x8'(A).
Information supplied by: StradnerPC. Remarks: Bz says that Pasi is ‘the maker of what purports
Boalch 3 number: PANTZNER, J. C. 1747. to be the earliest known Italian virginal, dated 1493,’ but
Boalch 2 number. None. goes on to report that ‘The genuineness of this instrament
is widely doubted.’
PASCAL. But see Addenda. Previous bistory: Formerly in the Museum at Perugia.
Type: Spinet. References: Va p. 254 quotes a letter of 1513: ‘
Manuals: 1. Alessandro de Modena esibitore presente viene a Ferrara
Date: 1784. dove dee fare un organo ¢ un clavicembalo d . . ..’ See
Ownership: DR. ANDREAS BEURMANN, also GD [1910] s.v. ‘spinet’.
HAMBURG, GERMANY. Information supplied by: B2.
Inscriptions: Pascal Paris 1784|Au Lath d' Argent|Quay des Boalch3 number: PASI, A. 1493.
Augustins. Boalch 2 number: 1.
Specification: 1x8'(A).
Compass: FF-P. PENTORISI.
Keyboard: Black naturals, white sharps. Type: Wing spinet.
Exterior of case: Veneered. Manuals: 1.

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 PERES 521
Date: 1690. anno Jubilei MDCXXV, but Yale gives it simply as
Ownership: GALLINI COLLECTION, MILAN, Valerius Peres Faciebat.
ITALY. Accession number not known. Specification: 1x8".
Inscriptions. Signed on the bottom key by Pentorisi, giving Compass: C/E-c’, short octave.
the place and date as ‘Murano, 1690’ [or possibly 1590]. Keyboard: White naturals, black sharps.
Specification: 1x8'(A). Number of roses: 1.
Remarks. WraightPC suggests the later date of ‘1690’ Style of rose: Parchment.
though in Bz it was dated ‘1590’. The instrument has a Exterior of case: Plain wood.
bent side, but is without stand. Case construction: \talian style, inner/outer.
References: Gall, p. 236; pl. 119. Seale: 270 mm.
Information supplied by: B2|WraightPC. Length: 1918 mm.
Boalch 3 number: PENTORISI. 1690. Width: 695 mm.
Boalch 2 number: 1. Depth: 235 mm.
Remarks: Naturals of bone; sharps of ebony. Inner case
PENTOTIUS, D. BARTHOLOMAEUS. of cypress. Outer case covered with leather and painted.
Type: Wing spinet. Though specification is 2x8’, only one 8’ is currently
Manuals: 1. (1992) strung.
Date: 1694. Previous history: Ex. Belle Skinner Collection.
Ownership: THE HON. MRS. HELEN MARIE References: Belle Skinner collection catalogue.
TAYLOR, ORANGE, VIRGINIA, USA. Information supplied by: B2|Repbann.
Inscriptions: According to Bz, inscribed on lowest key; D. Boalch3 number: Peres, V. 1625.
Bartholom. Pentotij Murane Neap. 1694, but according to Boalch 2 number: 1.
Bjarne Dahl (1989) marked on lowest key D. Pentotius in
ink with a cross. According to EKJ: D. Bartholom. Pentotii Type: Ottavino.
Murane.|Neap. 1694. Date: 1631.
Specification: 1x8’. Ownership: FORMERLY KARL-MARX-
Compass: C/E-c’, short octave. UNIVERSITAT, LEIPZIG, GERMANY.
Keyboard: White naturals, black sharps. Number: 37.
Number of roses: None. Inscriptions: VALERIVS PERIVS ROMANVS/
Exterior of case: Plain Wood. FECIT ANNO DOMINUI M.D.C.XXXI on the rear
Scale: 292 mm. of the bottom key, followed by Core damore che mi ai
Length: 1511 mm. robato tw, (‘Heart full of love, which you have stolen from
Depth: 162 mm. me’], with a heart pierced by two arrows.
Remarks: Given in Bz as an ottavino, it is actually a wing Specification: 1x2".
spinet at 8’ pitch. Naturals of ivory with two scribed Compass. G,A-d',e*.
lines and ivory arcades; sharps of blackwood with ebony Keyboard: White naturals, black sharps.
tops. The keyboard is cantilevered from a pentagonal Number of roses: 1.
case. The inner lid and inner rim show evidence of Exterior of case: Painted.
twentieth-century decoration. Restored in 1971 by Bjarne Length: 380 mm.
Dahl of Sunnyvale, California, who does not consider it Width: 200 mm.
spurious, although he reports that work has been done Depth: 130 mm.
on it since it was first made. Remarks: Naturals of ivory with pressed fronts, and sharps
Previous history: Formerly in the collection of William P. of ebony. The outer case painted with garlands of flowers,
Firth, Oswego, Illinois, USA, and then in a private and in the form of a sewingbox with a double lid. On
museum ‘The Greens’, Virginia. the outer lid a needle case, and on the inside a framed
Reference: EK] vol. 9, 1991, pp. 73-6 (illustrated). mirror with the signature MENTISCE. On the other
Information supplied by: Bz/Dabl|EK]|Watson. side of the second lid is a painted parchment under glass
Boalch 3 number. PENTOTIUS, D. B. 1694. with the letters NAT (Natalia?), and a miniature portrait
Boalch 2 number: 1. of a girl with above it the words NON BENE DA VN
SOLO. On the inside of the lid is a woodland scene with
PERES (or possibly PERIUS), VALERIUS. Apollo and a girl, who is being crowned by the goddess
Type: Single-manual harpsichord. Athene.
Date: 1625. Previous history: In the de Wit Collection, Cologne in 1910.
Ownership: YALE UNIVERSITY COLLECTION OF Lost in World War Il.
MUSICAL INSTRUMENTS, USA. References: Both the instrument and the first inscription
Number: 4877.60. are pictured in Ks. See also Henkelr, pp. 16-17. Appears
Inscriptions: Bz gives inscription as: }alerius Peres faciebat in Bz under PERES, Valerius.

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522 PEREZ MIRABAL
Information supplied by: B2|Henkelt. Ownership: MUSEUM OF FINE ARTS, BOSTON,
Boaleh 3 number: PERES, V. 1631. USA. Accession number not known.
Boalch 2 number: 2. Inscriptions: Nameboard, now missing, is reported to have
been signed Joannes de Perticis Florentinus Faciebat Anno
PEREZ MIRABAL (or MIRAVAL), FRANCISCO. MDCLXXXI.
Type: Two-manual harpsichord. Specification: 2x8".
Date: 1745. Compass: C/E-P, short octave.
Ownership: MADRID(A), SPAIN. Accession number not Keyboard: White naturals, black sharps.
known. Number of roses: 1.
Inscriptions: Me fecit Francisco Perez Mirabal en Sevilla 1745. Exterior of case: Painted.
Specification: 2x8’, 1x4’, 1x2'(A). Case construction: Italian style, inner/outer.
Exterior of case: Lacquered. Scale: 278 mm.
Remarks: The possibility that this instrument is somewhere Length: 1861 mm.
in Madrid was postulated by R. Robinette [Bz]. An Width: 782 mm.
illustration of the harpsichord in Spanish Interiors and Depth: 173 mm.
Furniture by Arthur Byne and Mildred Stapely, shows an Remarks: Bz records an instrument (number ,2) by this
instrument very like a large Hass harpsichord with the builder dated 1681, and in the Addenda a further instrument
case elaborately lacquered ‘a la chinoise’. It is, however, of 1680, which is almost certainly the same harpsichord.
just possible that the photograph shows a piano. This instrument was reported by E. M. Ripin to have an
Previous history: Belonged to Gonzalo Bilbao, who left his original nameboard inscribed Ioannes de Perticis Florentinus
collection to the state. Faciebat Anno MDCLXXXI. This nameboard was lost
References: Byne, Arthur and Stapely, Mildred. Spanish before it came into the possession of Barbara Lambert
Interiors and Furniture, New York, Helburn, 1922, pl. 192. (Wayland, Massachusetts, USA), who was given as the
See also: Beryl Kenyon de Pascual. ‘Francisco Pérez owner of the 1680 instrument in the Bz Addenda, and
Mirabal’s harpsichords and the early Spanish piano’, in who has placed it on loan to the Museum of Fine Arts.
EM, November 1987, pp. 503~12. The Museum, not having the name board, now records
Information supplied by: B2|KdP. it as by an anonymous maker, and gives the date as ¢.
Boalch 3 number: PEREZ MIRABAL, F. 1745. 1650.
Boalch 2 number: 1. See also: comparative table available from R. K. Lee,
‘Watertown, Massachusetts, USA, and also in Part I under
‘Type: Two-manual harpsichord. Pertici. Naturals of boxwood with boxwood arcades.
Date: 1754. Sharps of ebony. Case and soundboard of cypress. Bottom
Ownership: Not known. boards of fir. Exterior mouldings only extend a short
Inscriptions: Reported to be inscribed Francescus Perez way towards the rear. Keycheeks carved in form of
Mirabal me fecit in Civitate Hispalensi [Seville] in Anno cornucopias. Parchment (modern replacement) rose, prob-
Domini-1754. ably by Franciolini. Outer edges of soundboard have
Remarks: The possible existence of this harpsichord was painted border of flowers and leaves—possibly original.
first reported by KdP in 1985. The evidence comes from Stand and decoration of outer case are modern. Koster
a photograph of an instrument very like the other Pérez says that despite the problems over the attribution to a
Mirabal instrument recorded above. specific maker, it is unquestionably antique Italian work,
Previous history: Once belonged to the Count of Morphy, and is probably dated ¢. 1650.
personal secretary to King Alfonso XII. On his death in Previous history: According to RipICOLF, photo number
1899, his widow wished to sell the instrument to the 40, the instrument passed through Franciolini’s hands. In
National Archeological Museum in Madrid, but this was
the photo the stand and decoration differ from those now
not carried out, and it seems likely that it was lost in the
Present.
Spanish Civil War.
References: The picture of the instrument, and further
References: Data sheet by John Koster available from the
Museum. BostonCat.
commentary is in Beryl Kenyon de Pascual. ‘Francisco
Pérez Mirabal’s harpsichords and the early Spanish piano’, Information supplied by: B2|MF A|Koster|R K Lee.
in EM, November 1987, pp. 503~12. Boalch 3 number: PERTICI(A), G. 1650(A).
Information supplied by: KaP. Boalch 2 number: 2.
Boalch 3 number: PEREZ MIRABAL, F. 1754.
Boalch 2 number: None. Type: Single-manual harpsichord.
Date: 1672.
PERTICI(A), GIOVANNI DA. Ownership: GEMEENTEMUSEUM, THE HAGUE,
Type: Single-manual harpsichord. NETHERLANDS.
Date: 1650(A). Number: Ec23-1939-

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 PESON 523
Inscriptions: Joannes de Particis (sic) Florentinns Fecit Anno compass was until about 1908/10 C-e’. Before this it was
Domini 1672. On the reverse of the front panel—Don Gio. a single-manual with 2x8’. The instrument has thus been
Sayvestrini compre nell; anno 1790. much changed and since it is unlikely to be by Pertici,
Specification: 2x8’. further details are not given here, and the reader is
Compass: C/E-P, short octave. referred to Henke/r, where full details are given.
Keyboard: White naturals, black sharps. Previous history: From the Kraus collection, Florence, 1878.
Number of roses: 1. References: See comparative table available from R. K.
Exterior of case: Painted. Lee. See also: Henkelr, pp. 69-72 and plates 30-1.
Scale: 280 mm. Information supplied by: B2|R K Lee/Henkels|WraightPC.
Length: 2030 mm. Boalch 3 number: PERTICI(A), G. 1683.
Width: 740 mm. Boalch 2 number: 3.
Depth: 195 mm.
Remarks: R. K. Lee, Watertown, Massachusetts, USA, Type: Pentagonal virginal.
who has examined the four surviving instruments by Mannals: 1.
Pertici, and has produced a comparative table, states that Date: 1684.
they share no common constructional features, and Ownership: R. K. LEE COLLECTION,
believes that they could all be Franciolini fakes. Rose WATERTOWN, MASSACHUSETTS, USA. Accession
missing. Case elaborately painted both internally and number not known.
externally. Raised on four-legged stand with ornate legs. Inscriptions. Toannes de Perticis Florentinvs Faciebat Anno
Appears from photograph in HaagCL to be of false inner MDCLXXXIV.
outer construction. Specification: 1x8".
Previous history: Acquired by the Museum in 1939, and Compass: C/E-c!, short octave.
restored by it in 1958 (No. 373). Number of roses: 1.
References: HaagCL, p. 31, and Pag colour photo number Case construction: Italian style, inner/outer.
15. Scale: 230 mm.
See also: comparative table available from R. K. Lee, Length: 1417 mm.
‘Watertown, Massachusetts, USA., and also in Part 1 under Width: 460 mm.
Pertici. Depth: 184 mm.
Information supplied by: B2|HaagCL|R K Lee.Pag. Remarks: Instrument is on loan to the collection from
Boalch 3 number: PERTICI(A), G. 1672. Ralph Richey. Keyboard is missing and only the keybed
Boalch 2 number: 1. remains. Attachments for pedal pull-downs C/E-c. Case
finish of Cupressus sempervirens (identified by Dr. Martin
Type: Two-manual harpsichord. Zimmerman of Harvard University Forestry Dept). Inter-
Date: 1683. ior lavishly lined with ivory studs. Leather and parchment
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, rose, identified by E. M. Ripin as by Franciolini—leather
GERMANY. border in saw-tooth pattern—parchment simplistic rose
Number: 74. of hexagonal/six spoke pattern. Outer-case covered in calf
Inscriptions: On the fascia board—IOANNES DE PER- skin with brass nails by R. K. Lee after restoration.
TICIS FLORENTINVS FECIT ANNO Previous history: Acquired by Ralph Richey from an
MDCLXXXIII, though this is clearly from another American who in turn purchased it in London in the
instrument. 19508.
Specification: 1: 1x8’, 1x4’; Ul: 1x8’, lute. References: R. K. Lee presented a slide lecture to the AMIS
Compass: GG.A-c’. meeting in 1976 in which all the surviving Pertici
Keyboard: Black naturals, white sharps. instruments were compared. See further in part 1 under
Scale: 335 mm. Pertici.
Length: 2200 mm. Information supplied by: B2/R. K. Lee.
Width: 795 mm. Boalch 3 number: PERTICI(A), G. 1684.
Depth: 276 mm. Boalch 2 number: 4.
Remarks: See above: Comparative table available from R.
K. Lee, Watertown, Massachusetts, USA, and also in Part PESON, NICHOLAS. (But see Addenda).
I under Pertici. According to Henke/r this instrument Type: Two-manual harpsichord.
carries a nameboard which has been taken from another Date: 1771.
instrument, and cannot therefore be by Pertici. It is Ownership: M. & MME. DUPLAT, UCCLE,
suggested in the catalogue that the instrument is of BRUSSELS, BELGIUM.
German origin. Naturals of ebony. Sharps of ebony with Inscriptions: Initials NP appear in the rose, either side of
ivory tops—neither original. The present disposition of a harping figure.
2x8’, 1x4’ was until about 1955 1x16’, 1x8’, 1x4’, and the Specification: 2x8’, 1x4’.

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524 PETHER
Additional features: Shove coupler. Date: 1775.
Compass. FF-P. Ownership: DR. RAY T. DUFFORD, EVANSVILLE,
Keyboard: Black naturals, white sharps. INDIANA, USA.
Number of roses: 1. Inscriptions: Inscribed on nameboard; Guglielmus Pether
Scale: 361 mm. Londini Fecit 1775.
Length: 2300 mm. Specification: 2x8".
Width: 913 mm. Additional features: Harp stop.
Depth: 260 mm. Compass: FF-P(A).
Remarks: The instrument has many characteristics of the Previous history: Restored by Michael Thomas in 1961-2,
traditional French style. Naturals of ebony, with ebony and sold by him to Norman Paulu of Madison, Wisconsin,
fronts. Sharps with bone tops. Painted soundboard. USA.
References: See: KALOS, Arte in Sicilia, Note sul cla- Information supplied by: Bz.
vicembalo, pp. 38-9. Boalch3 number: PETHER, W. 1775.
Information supplied by: O° Brien. Boalch 2 number: 2.
Boalch3 number: PESON, N. 1771.
Boalch 2 number: None. Type: Wing spinet.
Manuals: 1.
Type: Single-manual harpsichord. Date: Not known.
Date: Not known. Ownership. STEINERT COLLECTION, NEW
Ownership. FONDAZIONE WHITAKER, VILLA HAVEN, CONNECTICUT, USA. Accession number
MALFITANO, PALERMO, ITALY. Accession not known.
number not known. Inscriptions: Sollicitae jucunda oblivio vitae.
Inscriptions: The initials NP appear in the rose either side Specification: 1x8’.
of a harping figure. The letters F. P. N. P. (presumably Remarks: Probably eighteenth century. Five octaves
“Fait par Nicholas Peson’) are in small letters near the tail compass.
end of the soundboard. Information supplied by: Bz.
Specification: 2x8". Boalch 3 number: PETHER, W. n.d.
Compass: GG/BB-d’, short octave with split D¥. Boalch 2 number: 1.
Keyboard: Black naturals, white sharps.
Number of roses: 1. PICCHI, GAETANO.
Style of rose: Harping figure.
Type: Single-manual harpsichord.
Scale: 298 mm. Date: 1667(A).
Length: 1805 mm.
Width: 785 mm.
Ownership: Not known.
Inscriptions. On keyshaft of the note c’: Fee Gio Pich-ri
Depth: 220 mm.
Stron-ri_A.D./67.
Remarks: The instrument shows many characteristics of
the French school. The illustration in Kalés shows a Compass: C-d’.
Keyboard: White naturals, black sharps.
French style instrument with one manual, with painted
exterior, and interior lid painting of a landscape, with Exterior of case: Painted.
figures. There is a fall board which drops below the keys, Length: 1981 mm.
and it is raised on a typical French apron stand with seven Remarks: The attribution to Picchi is somewhat dubious.
cabriole legs. One 8’ bridge with painted soundboard. The The attribution of the place of manufacture as Florence
present rose is a cardboard copy of the rose appearing in is from the information recorded by Va. The description
from the Sotheby’s catalogue of 8 May 1975 states: ‘;6—
the 1771 instrument (above). Barnes reports that the most
likely explanation is that an Italian harpsichord maker An Italian single-manual harpsichord inscribed Fee Gio
removed the metal rose and replaced it with a copy in Stron-ri A.D./67 on a keyshaft, the fascia board absent,
the kind of material he considered fitting for a soundboard the case and soundboard of cypress, the four-octave
(cf. RUCKERS, I. 1638(2) which also has a rose replaced keyboard, C to d3, with arcaded boxwood naturals and
in Italy). The attribution to Peson rests on the similarity stained fruitwood accidentals, contained in an outer case
of the copy rose to that of the 1771 harpsichord. extensively decorated with panels depicting classical scenes
References: KALOS, Note sul clavicembalo, pp. 38 9 within arabesques inhabited by exotic birds and flowers,
(illustrated). with gilded edge moulding, the interior of the lid
Information supplied by: O° Brien| Barnes. decorated in gilt with a caryatid, arabesques and coat of
Boalch3 number: PESON, N. n.d. arms, on a dark turquoise ground, length 7ft . . . early
Boalch 2 number: None. 18th century, raised on a later frame stand with wide
frieze, the front section containing a drawer, the five
PETHER, WILLIAM. columnar legs carved with gilded acanthus leaves, the
‘Type: Single-manual harpsichord. whole decorated en suite with the main case.’ The action

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of this instrument is missing one key and some of the
jacks. The inscription on the keyshaft is to the note c’.
The maker could perhaps be the Gaetano Picchi who was
working in Florence ¢. 1716.
Previous bistory: Sold at Sotheby’s on 8 May 1975.
Information supplied by: Sotheby's.
Boalch 3 number: PICCHI, G. 1667(A).
Boalch 2 number: None.
PICINANI, FRANCESCA DI.
‘Type: Single-manual harpsichord.
Date: Not known.
Ownership: CHRISTOPHER HOGWOOD,
CAMBRIDGE, ENGLAND.
Inscriptions: Francesca di Picinani, painted on
board;—Almost certainly an owner of the instrument.
Specification: 2x8’.
Compass: GG-d'.
Keyboard: White naturals, black sharps.
Number of roses: None.
Exterior of case: Painted.
Scale: 263 mm.
Length: 2400 mm.
Width: 830 mm.
Remarks: Picinani is an early owner not a maker. Instru-
ment dates from the sixteenth or seventeenth century,
and probably started life as single-strung with 1x8’.
Subsequently altered to 2x8” in the late seventeenth
century, and crudely truncated in the late eighteenth
century. Naturals of box with box arcades. Ebony sharps.
Outer case marbled in blue and orange.
Previous history: Christopher Hogwood acquired it in 1972
from Colin Tilney, who had bought it about 1962 from
Michael Thomas. The instrument which at some time
had been cut down in size was restored by Christopher
Nobbs in 1984 and returned to what is probably its
original length.
Information supplied by: B2|Luckett| Nobbs.
Boalch 3 number: PICINANI, F. D. n.d.(1).
Boalch 2 number: 1.
PLAYER, JOHN.
Type: Rectangular virginal.
Date: 1664.
Ownership: COBBE COLLECTION, HATCHLANDS
PARK, GUILDFORD, ENGLAND.
Number: 3.
Inscriptions: Jobannis Player Londini Me Fecit 1664, on
nameplate on front of jackrail. Branded with the letters
WP on the upper border of the panel to the left of the
keyboard. These are thought to indicate that the instru-
ment belonged to Charles II at Whitehall Palace.
Specification: 1x8’.
Compass: GG-d.
Keyboard: White naturals, black sharps.
Number of roses: 2.
Style of roses: Geometrical pattern.
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PLAYER 525
Exterior of case: Plain wood.
Scale: 301 mm.
Length: 1786 mm.
Width: 526 mm.
Depth: 215 mm.
Remarks: A typical English virginal. The keyboard is in
a particularly fine state of preservation. Boxwood naturals
with gilt embossed paper fronts. Black stained walnut
sharps. The compass has been reported variously as
GG-d', GG/BB-d’ or G-d’, but is in fact GG-d’, chromatic
with fifty-six keys. Soundboard decorated with flowers
and with two gilt geometric roses. The domed lid and
front fall board and part of the sides were replaced in the
nineteenth century, while the stand, with barley-sugar
the front twist legs, is of recent date, and it may be because of this
that the instrument was de-accessioned by the Gemeente
Museum before its acquisition by Alec Cobbe in 1991.
Keywell, and soundwell, with modern gilt embossed
paper by Darryl Martin. Martin reports that the sound-
board painter also decorated the soundboard of the two
surviving Keene virginals, and the Jones virginal. Polished
oak exterior case. Raised on unoriginal trestle stand.
Previous history: Formerly Captain J. Lane, Wanstead, who
sold it at Sotheby’s 2; November 1955 to Raymond
Russell. Acquired by the Gemeentemuseum in 1957
(instrument number Ec 10-1957) and restored in the same
year (number 346, 373). Acquired by Alec Cobbe in 1991,
and restored by Christopher Nobbs and Darryl Martin.
Exhibited 28 February-28 April 1992 in the King’s Library
at the British Museum.
References: HaagCL, p. 27 (illustrated). Technical drawing
available. Alec Cobbe ‘Charles II’s Virginals ?’, Country
Life, 27 February 1992. CFCI, p. 6. (illustrated).
Information supplied by: B2|/HaagCL|Martin|Cobbe/CFCI.
Boalch 3 number: PLAYER, J. 1664.
Boalch 2 number: 1.
Type: Wing spinet.
Manuals: 1.
Date: 1680.
Ovnersbip. PRIVATE COLLECTION, WILTSHIRE,
ENGLAND.
Inscriptions: Jobn Player Fecit on jackrail.
Specification: 2x8’.
Compass: GG/BB-c’, broken octave.
Keyboard: Black naturals, white sharps.
Number of roses: None.
Exterior of case: Plain wood.
Remarks: Naturals of ebony with embossed paper fronts.
Sharps of bone. Described as having unique double
stringing. Very fine walnut case with cedarwood inside.
Bottom two sharps split to give broken octave. Floral
marquetry on nameboard. Barley-sugar twist stand.
References: See unpublished dissertation by Stephen Morris,
London College of Furniture, 1986.
Information supplied by: Not disclosed.
526 PLAYER
Boalch 3 number: PLAYER, J. 1680. Keyboard: Black naturals, white sharps.
Boalch 2 number: None. Exterior of case: Plain wood.
Remarks: Four and a half octave compass having the
Type: Wing spinet. bottom two sharps split. Ebony naturals, solid ivory
Manuals: 1. sharps. Walnut case.
Date: Not dated. Previous history. Formerly in Barrow Collection,
Ownership: VICTORIA AND ALBERT MUSEUM, Llandudno. Bought by Dr. Fenyre at Sotheby’s on 21
LONDON, ENGLAND. December 1972. Possibly the spinet exhibited by Messrs.
Number. 466-1882. Kirkman at the 1872 and 1885 Exhibitions in London.
Inscriptions: Inscription on nameboard: Johannes Player fecit. Information supplied by: B2| Luckett.
Specification: 1x8’. Boaleh 3 number: PLAYER, J. n.d.(3).
Compass: GG/BB-c’, broken octave. Boalch 2 number: 4.
Keyboard: Black naturals, white sharps.
Number of roses: None. Type: Wing spinet.
Exterior of case: Plain wood. Manuals: 1.
Scale: 249 mm. Date: Not dated.
Length: 1302 mm. Ownership: SMITHSONIAN INSTITUTION,
Width: 577 mm. WASHINGTON, USA.
Depth: 162 mm. Number: 299,848.
Remarks: There is no date on the instrument. Bottom C Inscriptions: Jobannes Player fecit.
sharp and D sharp keys split to give broken octave. Specification: 1x8’.
Naturals of ebony, formerly decorated with gesso, fronts Compass: GG/BB-d’, broken octave.
with relief pattern gilded; sharps of wood topped with Keyboard: Black naturals, white sharps.
ivory. Jacks and jackrail and key c* are missing. Box slide Remarks: Smithcheck says instrument is late seventeenth
attached to wrestplank. Case of oak undecorated. Stand century. Bottom C sharp and D sharp split.
with four turned legs and turned stretchers of oak—most References. Smithsonian photo negatives 56,305; 56,305A.
probably original. See also Swmithcheck&9.
Previous bistory: Purchased for the Museum for £20 in Information supplied by: B2|Smithcheck&g.
1882. Boalch 3 number. PLAYER, J. n.d.(4).
References: Details and picture at J, p. 109. V&A Cat, Boalch 2 number: 5.
pp. 66-7.
Information supplied by: B2|VerA Cat. Type: Wing spinet.
Boalch 3 number: PLAYER, J. n.d.(1). Manuals: 1.
Boalch 2 number: 2. Date: Not dated.
Ownership: LORD TOLLEMACHE, HELMINGHAM
Type: Wing spinet. HALL, SUFFOLK, ENGLAND.
Manuals: 1. Specification: 1x8".
Date: Not dated. References: Country Life, 4 October 1956, p. 714.
Ownership: CASTLE MUSEUM, YORK, ENGLAND. Information supplied by: Bz.
Accession number not known. Boakch 3 number: PLAYER, J. n.d.(5).
Inscriptions: Johannes Player fecit. Boalch 2 number: 6.
Specification: 1x8".
Compass: GG/BB-d’. Type: Wing spinet.
Remarks: Martin confirms the compass but says the top Manuals: 1.
two notes are not original. Date: Not dated.
Information supplied by: B2|Martin. Ownership: MRS. PRISTON, RYDE HOUSE, RIPLEY,
Boalch 3 number: PLAYER, J. n.d.(2). ENGLAND.
Boalch 2 number: 3. Inscriptions: Jobannes Player fecit.
Specification: 1x8’.
Type: Wing spinet. Compass. GG/BB-c’(A).
Manuals: 1. Keyboard: Black naturals, white sharps.
Date: Not dated. Remarks: Bz reports—‘four octaves and one note’.
Ownership: DR. FENYRE. Previous history: It is known that Mrs. Priston had the
Inscriptions: Jobannes Player Londini fecit, inscribed on instrument in October 1957, but this may be the same
nameboard. spinet as that listed under Lord Tollemache at Helm-
Specification: 1x8". ingham Hall (see above).
Compass: AA-d’(A) Broken octave. Information supplied by: Bz.

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 POGGIO 527
Boalch 3 number: PLAYER, J. n.d.(6). PLENIUS, JOHN.
Boalch 2 number: 7. Type: Wing spinet.
Manuals: 1.
Type: Wing spinet. Date: 1765.
Manuals: 1. Ownership: Not known.
Date: Not dated. Specification: 1x8’.
Ownership: T. ORD. Previous history: Shown by Rosamond Horsley at the
International Inventions Exhibition, 1885.
Inscriptions: Signed on jackrail: Johannes Player fecit.
Information supplied by: B2.
Specification: 1x8". Boalch 3 number: PLENIUS, J. 1765.
Compass. GG,AA,BB-P(A)
Boalch 2 number: 1.
Exterior of case: Plain wood.
Length: 1511 mm. Type: Wing spinet.
Remarks: Nameboard inlaid with tulips and carnations Manuals: 1.
issuing from foliate cornucopias. Compass is lacking GG$ Date: 1768.
and AA#, but having split C# and D# in octave above. Ownership: METHVEN SIMPSON COLLECTION,
Arcaded naturals. Walnut case. DUNDEE MUSEUM, SCOTLAND. Accession
Previous history: Sold at Sotheby's 4 July 1966 by Miss E. number not known.
Stone to T. Ord. Inscriptions: Johannes Plenius Londini fecit, 1768.
Information supplied by: B2. Specification: 1x8".
Boalch 3 number. PLAYER, J. n.d.(7) Previous history: Formerly the property of W. A. Simpson
Boalch 2 number: 8. [d.1918].
Information supplied by: Bz.
Type: Wing spinet. Boalch 3 number: PLENIUS, J. 1768.
Boalch 2 number: 2.
Manuals: 1.
Date: Not dated. POCK, JOSUA.
Ownership: MISS FENNICK-OWEN, EASTBOURNF, Type: Claviorganum. Number of manuals: 1.
SUSSEX, ENGLAND. Date: 1591.
Specification: 1x8’. Ownership: DOMMUSEUM, SALZBURG, AUSTRIA.
Previous history: Formerly at the Dorchester, Dorset, Accession number not known.
Museum. Inscriptions: On the rear of the nameboard IOS POCK
Information supplied by: Paul. ORGELMACHER ZU INNSBRUG. On the jackrail is
Boalch 3 number: PLAYER, J. n.d.(8). the date MDLXXXXI.
Boalch 2 number: None. Specification: 1x8".
Compass: C/E-P, short octave.
Type: Wing spinet. Remarks: Instrument is in the form of a beautifully
Manuals: 1. sculpted chest, and includes an 8’ virginal which was
Date: Not dated. changed into a pianoforte sometime ¢. 1800, but has now
Ownership: SIZERGH CASTLE (THE NATIONAL. been reconverted to its original form. The organ consists
TRUST), WESTMORLAND, ENGLAND. of a 4’ stopped pipe register and an 8’ regal. The organ
Inscriptions: IOHANNES PLAYER FECIT. Repairers’ stops are divided at d'/d'#, and the regal compass goes
up to a’ only.
marks RPD/1970 and WP/1956.
Specification: 1x8". References: Croll, Gerhard. ‘Das Claviorganum des Josua
Pock (1591). Ein bemerkenswerter Fund aus der Salz-
Compass: GG/BB-c’, short octave.
burger “Kunst-und Wunderkammer”.’ In: Alte und Mod-
Keyboard: Black naturals, white sharps.
Length: 1412 mm.
erne Kunst, X1X (1974), pp. 13-18.
Information supplied by. VdM|Barry.
Remarks: This may be the same instrument as one of the
Boalch 3 number: POCK, J. 1591.
other Player spinets recorded above. Ebony naturals with Boalch 2 number: None.
embossed paper fronts. Sharps of bone or ivory. The
jacks pass through the soundboard rather than in a box POGGIO, FRANCESCO.
slide. Type: Polygonal virginal.
Previous history: Martin says that it appears to be quite an Manuals: 1.
early instrument. Repaired by Robert Davies in 1970. Date: 1586.
Information supplied by. Martin|Garrett. Ownership: WORTTEMBERGISCHES
Boalch 3 number: PLAYER, J. n.d.(9)- LANDESMUSEUM, STUTTGART, GERMANY.
Boalch 2 number: None. Accession number not known.

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528 POGGIO
Inscriptions. Franciscus Poggio Crinetus 1386. In view of References. Misch-1979 II, p. 22 under Francesco Poggi.
remarks by V/dM concerning the Poggio instrument Va, p. 72. Tag pp. 130-5. Illustration p. 130.
belonging to Professor Tagliavini, the word Crinetus may Information supplied by: Tag.
be a misreading for Venetus. See also remarks under Boalch3 number: POGGIO, F. 1588.
instrument POGGIO, F. 1603. Boalch 2 number: None.
Specification: 1x8’.
Compass: C/E-c'(A), short octave. ‘Type: Pentagonal virginal.
Remarks: On the inside of the lid are painted three Manuals: 1.
medallions, the central one containing a ship. Date: 1603.
Previous history: Presented by Georg Steingraber. Ownership: MRS. SHERIDAN GERMANN/ERIC
References: Illustrated on p. 13 of Josten’s catalogue. HERZ, BOSTON, USA.
Information supplied by: B. Inscriptions: franco poggio venetus f 1603. Koster originally
Boalch 3 number. POGGIO, F. 1586. reported that the third word was crinetus, but on further
Boalch 2 number: 1. examination believed it was venetus.
Specification: 1x8".
Type: Pentagonal virginal. Compass. C/E-c’, short octave.
Manuals: 1. Keyboard: White naturals, black sharps.
Date: 1588. Number of roses: 1.
Ownership: PROFESSOR LUIGI FERDINANDO Exterior of case: Painted.
TAGLIAVINI, BOLOGNA, ITALY. Case construction: \talian style—false inner/outer.
Number: 8. Scale: 317 mm.
Inscriptions: On the front board: FRANCISCVS POG- Length: 1545 mm.
GIVS VENETVS FECIT ANNO D MDLXXXVIII. Width: 470 mm.
On the back of the board on the left: Fra bennardine Masseti Depth: 195 mm.
da bondo|Compro 1775 € principio a sonare a 15|Febbraro, in Remarks: Jointly bought by Sheridan Germann and Eric
the centre: HOC JANV ARIVS PROVEDI INCIPIT| Herz in 1988. Naturals of box with box arcades. Sharps
SONARE/ANNO MDCCXXXVII. Another older but of walnut(?) stained black. Pentagonal case of poplar,
less legible inscription on the back rail of the key frame: with exterior painted in pale grey-green with gold bands
RICORDO COME AD 10 Givgno MDLXXXXII spolvero in French style, and almost certainly executed by Salomon.
questo senza fa{r| Danno p. fulgentio di fanciullino in messa di Four Louis XVI legs. Most of the lid has landscape
Sratina To Dondi. painting though to quote Mrs. Germann ‘there are traces
Specification: 1x8". of what may be an original seventeenth-century painting
Compass: C/E-P, short octave. peeping through the brown molasses varnish. If so, it is
Keyboard: White naturals, black sharps. in such rotten condition that it is unrescuable. . . . But
Number of roses: 1. the spinet itself is quite solid.’ Registers, soundboard and
Style of rose: Wood|Parchment. liners of cypress.
Exterior of case: Painted. Previous history: Belonged to the stepmother of Mrs. Betts
Case construction: Italian style, inner/outer.
Loucheim’s husband, and bought from the stepmother in
Scale: 298 mm.
1988, by Mrs. Germann and Eric Herz, jointly for $700.
Length: 1673 mm.
Formerly in the possession of Salomon.
Width: 405 mm.
References: There was a photograph in the Salomon
Depth: 215 mm.
collection. Extensive notes by John Koster are available.
Remarks: Though shown here under POGGIO, Tag, p.
131 gives the maker as POGGI, and also discusses the Information supplied by: Germann| Koster.
Boalch3 number: POGGIO, F. 1603.
possibility of misattribution as a result of the difficulty of
Boalch 2 number: None.
reading the word Venetus, which on some instruments
appears to be Crinetus. Naturals of box, with box arcades,
with names of the notes written on them in pencil (Do, Type: Polygonal virginal.
Fa, Sol etc). Sharps of stained walnut. External case in Manuals: 1.
painted brick red outside and white inside. Cypress Date: 1620.
soundboard. According to Tag, rose is of wood on Ownership: YALE UNIVERSITY COLLECTION OF
parchment. MUSICAL INSTRUMENTS, USA.
Previous bistory: Previous history uncertain except that the Number: 4892.72.
inscription suggests it changed hands in 1592 to a certain Inscriptions: . . . {forename illegible; ? Franc.] Poggio 1620.
‘Dondi’—probably in a convent, again in 1737 and again Specification: 1x8’.
in 1775. Acquired by Professor Tagliavini in 1973 at Compass: C/E-P, short octave.
Ferrara from an antique dealer. Keyboard: White naturals, black sharps.

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 PONCINI 529
Number of roses: 1. Boalch 3 number: POGGIO(A), F. n.d.(r).
Style of rose: Parchment. Boalch 2 number: 15(Dominicus).
Case construction: \talian style, inner/outer.
Scale: 343 mm. ‘Type: Rectangular virginal.
Length: 1565 mm. Manuals: 1.
Width: 397 mm. Date: Not known.
Depth: 200 mm. Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
Remarks: On loan to Yale from Rhode Island School of GERMANY.
Design. Boxwood arcaded naturals, ebony sharps. In fine Number: 45.
condition with original plush-covered outer case. Inscriptions. No maker’s signature, but there are two
Previous history: Albert Steinert; Rhode Island School of mottoes, probably dating from the last quarter of the
Design. nineteenth century: Virtute, Poswere Dii Sudore Parandam
References: Hubb. and Ab Jove Principium.
Information supplied by: Bz|Rephann. Specification: 1x8".
Boalch 3 number. POGGIO, F. 1620. Compass: C/E-f', short octave.
Boalch 2 number: 2. Keyboard: White naturals, black sharps.
Number of roses: 1.
Style of rose: Geometrical pattern.
POGGIO(A), FRANCESCO. Exterior of case: Painted.
‘Type: Rectangular virginal. Case construction: Italian style—false inner/outer.
Manuals: 1. Seale: 521 mm.
Date: Not known. Length: 1505 mm.
Ownership: MUSEUM OF FINE ARTS, BOSTON, Width: 410 mm.
USA. Depth: 196 mm.
Number: 17.1791. Remarks: The catalogue shows this instrument as anonym-
Inscriptions: On the crude, presumably nineteenth-century ous. Its ascription to Poggio is due to Koster who has
(Franciolini?) decoration on the lid flap exterior Gio, compared it with other instruments by Poggio and sees
Domeni (rest of the word illegible) Lenti (?, or Lenzi)’. many similarities. The date is given in the catalogue as
Specification: 1x8". ‘first half of the seventeenth century’. Naturals of box,
Compass: C/E-P, short octave. sharps of cypress with walnut tops. Outer case painted
Keyboard: White naturals, black sharps. dark brown.
Number of roses: 1. Previous bistory: Formerly (1901) in the Kraus Collection,
Style of rose: Parchment. Florence.
Exterior of case: Painted. References: Henkelr, pp. 27-8, and illus. plate 7.
Case construction: Italian style—false inner/outer. Information supplied by: Henkel|Koster|WraightPC.
Scale: 332 mm. Boalch 3 number: POGGIO(A), F. n.d.(2).
Length: 1530 mm. Boalch 2 number: None.
Width: 52 mm.
Depth: 195 mm. PONCINI, GIOVANNI ANTONIO.
Remarks: This instrument was attributed to Dominicus Type: Single-manual harpsichord.
by Bessaraboff on the basis of the somewhat illegible Date: 1723.
inscription. Koster states that this attribution is entirely Ownership: MUSIKHISTORISK MUSEUM,
incorrect, and the crude (Franciolini?) decoration makes COPENHAGEN, DENMARK. Accession number not
it likely that the instrument is somewhat dubious. Koster known.
believes it is by the same maker as the instrument Inscriptions: Inscription on the underside of the sound-
numbered 4s in the University of Leipzig collection. board: Sia come il nome di Dio e della Madona e tutti i Santi
Comparison of this (Boston) instrument by Wraight with del Paradis. Jo Antonio R. . . cini 1723. Parma.
the virginal by Poggio belonging to Sheridan Germann Specification: 2x8".
makes it seem very likely that all three (number 45 of the Compass: C/E-c’, short octave.
Leipzig collection, the Boston ‘Dominicus’, and the Number of roses: 1.
‘Germann’ Poggio) are all by Poggio. Naturals of box- Length: 1080 mm.
wood with boxwood arcades. Sharps of cypress (?) painted Width: 725 mm.
black. Case of poplar, painted crudely externally probably Depth: 180 mm.
by Franciolini. Fine ‘wedding cake’ rose. Remarks: The instrument is almost certainly a fake by
References: Data sheet by John Koster available from the Franciolini. Despite the form of the inscription, Misch-1979
Museum. BostonCat. II has identified the maker with the famous Parma organ
Information supplied by: B2|MF A/Koster|WraightPC. family.

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530 PORTALUPI
Previous history: Bought from Franciolini in 1908. Repaired Keyboard: White naturals, black sharps.
by Hornung and Moeller in 1908-9. Scale: 252 mm.
References: Misch-1979 Il, p. 222. MMCC. Length: 1970 mm.
Information supplied by: B2z|Misch-1979 I1|MMCC. Width: 800 mm.
Boalch3 number: PONCINI, G. A. 1723. Depth: 230 mm.
Boalch 2 number: 1 (R. . . cini). Remarks: Naturals of ivory with wood keyfronts.
Previous history: \n 1953 it was owned by Messrs. Morley,
London, who sold it in 1954 to Professor Harry John
PORTALUPI, FRANCESCO DE. Brown of the Music Department, State University of New
‘Type: Polygonal virginal. York at Fredonia. Thereafter acquired by the Pro Musica
Manuals: 1. Instrument Company, Anapolis, Maryland who are known
Date: 1523. to have had it in 1971. Acquired by the Schubert Club
Ownership: MUSEE INSTRUMENTAL, PARIS, in 1980.
FRANCE. Information supplied by: B2|Schubert Club.
Number: E3C313. Boalch 3 number: PRINGLE, A. 1765.
Inscriptions. Francisci de Portalupis Veronen. opxs MDXXIII. Boalch 2 number: 1.
Specification: 1x8'(A).
Previous history: Formerly in the Clapisson Collection. PROSPERI, PIETRO.
References: WraightSO. MICL. ‘Type: Spinet.
Information supplied by: Bz|MICL|WraightSO. Manuals: 1.
Boalch 3 number: PORTALUPI, F. D. 1523. Date: 1716.
Boalch 2 number: 1. Ownership: FORMERLY KRAUS COLLECTION,
FLORENCE, ITALY.
Specification: 1x8".
PRENO. Remarks: Formerly in the Kraus Collection, but appears
Type: Harpsichord (number of manuals not known). not to have gone to the Karl-Marx-University collection,
Date: Not known. and currently its whereabouts are not known. Not in
Ownership. FORMERLY IN THE RENE SAVOYE Henkel.
COLLECTION, PARIS, FRANCE. Accession number References: Kraus, A., in SIM Vol. 13 (1911).
not known, Information supplied by: Bz.
Inscriptions: Inscribed on back of nameboard; Vincentius Boalch 3 number: PROSPER], P. 1716.
Pratensis 1610 restauro. Also inscribed Fra Preno nelli angli. Boalch 2 number: 1.
Remarks: This instrument is reported as being by Preno,
a priest who lived in Italy in the sixteenth century. In PUCHERT, JOHANN SAMUEL.
1910 the collection had this harpsichord which was Type: Fretted clavichord.
restored by Vincentius of Prato in 1610. See also Stoppacio, Date: 1783.
a harpsichord by whom may likewise have been restored Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
by Vincentius in 1610. GERMANY.
References: Ks, p. 278. Number: 20.
Information supplied by: Bz. Inscriptions. Signed on the side of c key: Job. Samuel
Boalch 3 number: PRENO. n.d. Puchert, orgel|u. Instrumentmacher in Rudelstadt|1783. On the
Boalch 2 number: 1. bottom boards: Repariert von Gustav Herbach (Herberg?)
aus Leignitz.
Compass: C-F.
PRINGLE, ARCHIBALD. Keyboard: White naturals, black sharps.
Type: Wing spinet. Number of roses: None.
Manuals: 1. Exterior of case: Plain wood.
Date: 1765. Scale: 247 mm.
Ownership: THE SCHUBERT CLUB, ST. PAUL, Length: 1240 mm.
MINNESOTA, USA. Width: 378 mm.
Number: A80.6. Depth: 120 mm.
Inscriptions: Inscribed on nameboatd Archibald Pringle Remarks: Henkelz gives Rudelstadt as ‘Ciechanowice, Kreis
Londini fecit 1765, the same legend being scribbled in ink Jelenia Gora, VR Polen’. Keys of alder, roof-carved and
on the back. Top and bottom keys have workman’s having very wide backs. Key slips wood. Naturals of box
signature Jon Bondbough. Bottom jack stamped A-P. with two grooves and fronts with two grooves separated
Specification: 1x8". by a triangle carved into the key lever. Sharps, black-
Compass: GG-g?. stained box(?). Soundboard of spruce. Bridges of maple.

Disitzes by GOOgle
 PUCHERT 531
Casework pine. A stabilising bar (probably not original) References: Henkelz, pp. 49, 50, and illustrated at plates 22,
runs in line with the strings. Wrestplank and balance rail 23, and 61.
of oak, hitch pin rail maple. Information supplied by: B2|Henkel2/Weldon.
Previous history: Repaired by Gustav Herback (Herberg) ¢. Boalch3 number: PUCHERT, J. S. 1783.
1825-75. 1910 Heyer Collection, Cologne. Boalch 2 number: 1.

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 Q
QUERCI, PASQUINO. Specification: 2x8’.
Type: Polygonal virginal. Compass: C/E-c’, short octave.
Date: 1610. Number of roses: 1.
Ownership: Not known. Length: 1900 mm.
Inscriptions: Pasguinus Quercius Florentinus fecit AD. MDCX. Width: 840 mm.
Specification: 1x8". Remarks: B? records it as in the Berlin Collection but says
Compass: C/E-P(A), short octave. ‘lost in World War II’, and this is confirmed by BerlimCat.
Number of roses: 1. References: BerlinCat, p. 375 quotes Sa.
Style of rose: Parchment. Information supplied by: B|BerlinCat.
Case construction: Italian style, inner/outer. Boalch 3 number. QUERCI, P. 1614.
Remarks: Naturals of boxwood with arcades, sharps of Boalch 2 number: 3.
ebony. Instrument case of cypress. Soundboard with
pierced parchment rose. In a later outer case. Interior of Type: Polygonal virginal.
lid painted with a port scene. Raised on oak stand in Date: 1624.
renaissance style. Ownership: MUSEE D’INSTRUMENTS ANCIENS DE
Previous bistory: Restored by Berceau Royal, 1927. George MUSIQUE, GENEVA, SWITZERLAND.
F. Harding Museum, Chicago until 29 October 1976 Number: IM 305.
when it was sold at Sotheby Parke Bernet, New York. Inscriptions. According to B’—Pasgxino Querci Fiorentino
References. Sotheby’s Catalogue of 29 October 1976 Sece 1624. La sua presenza, la sua abilita. According to the
(Illustrated). Museum, the surname is given as QUERCY.
Information supplied by: B|Sotbeby's. Specification: 1x8".
Boalch 3 number: QUERCI, P. 1610. Keyboard: White naturals, black sharps.
Boalch 2 number: 1. Exterior of case: Painted.
‘Type: Single-manual harpsichord. Case construction: Italian style, inner/outer.
Date: 1613. Length: yoo mm.
Ownership: SMITHSONIAN INSTITUTION, Width: 410 mm.
WASHINGTON, USA. Depth: 145 mm.
Number: 326,902. Remarks: The compass is given by the Museum as three
Inscriptions, Pasquino Querci Florentino fecit 1613 In Cijmbalis octaves plus short octave. Naturals of box, sharps stained
(sic) Bene Sonantibus Laudate Domine (sic) Ac Semper Amen. black. Instrument of cypress, placed in outer box of pine.
The inscription seems to be by two different hands, and External case painted mainly in blue with arabesques,
the second line at least, suggests Franciolini. people, muses, flowers, demons. It is in good playing
Specification: 2x8’. order.
Additional features: 2 hand stops. Previous history. Formerly Mr. William Dobson, Aix-
Compass: C/E-f, short octave. en-Provence [GL]. Acquired by the Museum as the gift
Case construction: Italian style, inner/outer. of the family Cingria-Zanello.
References: Smithsonian photo negatives 56,319; 56,319A; References: GL. MILAM.
56,319B. Smithcheckég. Information supplied by: B*|Clerc.
Information supplied by: B*|Smithcheck&9. Boalch 3 number: QUERCL, P. 1624.
Boaleh 3 number: QUERCI, P. 1613. Boalch 2 number: 5.
Boalch 2 number: 2.
‘Type: Single-manual harpsichord. Type: Ottavino.
Date: 1614. Date: 1625.
Ownership. FORMERLY IN THE BERLIN Ownership: METROPOLITAN MUSEUM OF ART,
COLLECTION, BERLIN, GERMANY. NEW YORK, USA.
Number: 321. Number: 89.4.1230.
Inscriptions: Pasquinus Quercius Florentinus F. ad. Inscriptions: Signed on back of nameboard; pasguino querci
MDCXIV./E/ Napoleo Dominicus Borrius Castroflorentini frorentino f 1623, and below, the incomplete and almost
emit A.S. MDCCCXXVIII. illegible phrase; . . .saa presenza ¢ la sua abilita, The outer

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 QUOCO 533
case bears, inside the lid, a painting illustrating events Inscriptions: Paspuino (sic) Querci fiorentino fece 1613|La sua
from the Book of Tobit in the Apocrypha, below which presenza ¢ la sua abilita|Bona estortio cum ieivnio et elemosina,
appears the motto; Bona est oratio cum ieivnio et eleemosina,— inscribed on nameboard. The Latin phrase is corrupt;
also from the Book of Tobit [12.8]. and the preceding Italian one obviously incomplete.
Specification: 1x4’. Franciolini’s work is apparent throughout.
Compass: C/E-c’,d’, short octave. Specification: 1x4’.
Keyboard: White naturals, black sharps. Compass: C/E-a', short octave.
Number of roses: 1. Keyboard: White naturals, black sharps.
Style of rose(s): Parchment. Scale: 142 mm.
Exterior of case: Plain wood. Length: 651 mm.
Case construction: Italian style, inner/outer. Width: 271 mm.
Scale: 171 mm. Depth: 97 mm.
Length: 820 mm. Remarks: Formerly number 89.4.3647. in the Museum’s
Width: 337 mm. collection. A sixteenth- or early seventeenth-century Ger-
Depth: 121 mm. man rectangular ottavino, with the left rear corner angled,
Remarks: The instrument is a triangular-shaped octave and clearly not by Querci despite the inscription. Naturals
spinet. Boxwood naturals and arcades with dark-stained of ivory with wood and parchment trefoil design
sharps. Separate outer case covered with gilt embossed keyfronts. Sharps of dark-stained wood.
leather. Previous bistory: Given to the Museum in 1911 by B.
Previous bistory: Crosby Brown Collection 1889. Boekelman.
References: See RipQ for an excellent illustrated discussion References: See: RipQ, where an ultra-violet photo shows
of this instrament and the spurious Querci instrument a first attempt at the spurious inscription, the other way
dated 1615 in the Museum’s collection. Photos (negative up, underneath the one at present visible. MMACL.
numbers MUS 1680, 196423) available from the Museum. Photographs (negative numbers MUS 1681, 196426,
See also MMACL. 216346, etc.) available from the Museum.
Information supplied by: B2| MMA|MMACL. Information supplied by: B2|/RipQ|MMACL.
Boaleh 3 number: QUERCI, P. 1625. Boalch3 number: QUERCI(A), P. 1615.
Boalch 2 number: 6. Boalch 2 number: 4.

Type: Ottavino.
Date: Not known. QUOCO, NICOLAUS DE.
Ownership: Not known. ‘Type: Single-manual harpsichord.
Inscriptions: Inscribed Pasguino Qnerci. Date: 1612.
Specification: 1x4". Ownership: MUSIKHISTORISK MUSEUM,
Remarks: Graham Wells, writing in EM, Vol. 10, No. 4, COPENHAGEN, DENMARK.
October 1982, reporting on the sale of this instrument at Number: Aso.
Sotheby’s on 4 June 1982 says ‘This particular instrument Inscriptions: Signed on nameboard; Nicolans de Quoco Fecit
was not recorded by Boalch, but nearly all the instruments Anno. Domini 1612.
ascribed to this maker that are still in existence have Specification: 2x8".
connections with the Italian faker Franciolini. Certainly Additional features: Harp stop.
there was every indication that the outer case of this Compass: C/E-c’, short octave.
ottavino emanated from his workshops though the instru- Number of roses: 1.
ment itself was well made and in a rather surprisingly Scale: 276 mm.
crisp state, except for areas of worm damage. It made Length: 1981 mm.
£1,650.’ Width: 715 mm.
Previous bistory: Sold at Sotheby’s on 4 June 1982. Remarks: According to the Museum the harp stop was
References: Sotheby’s Catalogue of 4 June 1982. EM. added later, and registers projecting at the side were
Information supplied by: Sothebys|EM. replaced by hand stops. However, according to Kottick,
Boalch 3 number. QUERCI, P. n.d. the new addition was a mechanism by which one of the
Boalch 2 number: NONE. 8’ strings could be made to sound at 4’ pitch. The
instrument is genuine, but there are suspicions that the
QUERCI(A), PASQUINO. inscription is by Franciolini. WraightPC describes the rose
Type: Ottavino. as a ‘turned wooden ring’.
Date: 1615. Previous history: Previously owned by J. G. Steingraeber,
Ownership: METROPOLITAN MUSEUM OF ART, from whom the Museum bought it in 1932.
NEW YORK, USA. References: Wraight. MMCC.
Number: 11.176.3. Information supplied by: B2|WraightPC|MMCC|Kottick.

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534 QUOCO(A)
Boalch 3 number: QUOCO, N DE. 1612. Number: 1602.
Boalch 2 number: 01. Inscriptions: Nicolaus de Quoco fecit anno 1694. Another
signature inside, Giuseppe Solfanelli fece 1730 Pisa, pre-
Type: Single-manual harpsichord. sumably refers to its restorer.
Date: 1615. Compass: FF-c’(A).
Ownership: MUSIKHISTORISK MUSEUM, Length: 2600 mm.
COPENHAGEN, DENMARK. Width: 930 mm.
Number: Cl.61. Information supplied by: B?|WraightPC.
Inscriptions: According to B?: Nicolaus de Quoco Fecit. Ao Boalch 3 number: QUOCO, N DE. 1694(1).
1615. According to WraightPC: Nicolaus de Quoco—1615. Boalch 2 number: 3.
Specification: 2x8".
Compass: C/E-c', short octave. ‘Type: Single-manual harpsichord.
Number of roses: 1. Date: 1694.
Style of rose: Parchment. Ownership: SMITHSONIAN INSTITUTION,
Length: 1865 mm. WASHINGTON, USA.
Width: 715 mm. Number: 95,234.
Remarks: Bridge has two levels with holes running Inscriptions: Inscription [on front of the wrestplank, hidden
through which make it appear that at one time there by a removable nameboard]: Nicolaus de Quoco fecit anno
might have been a 4’ hitched on the 8’ hitchpin rail. It MDCLXXXXIIII.
seems that the layout of the instrument has been changed Specification: 2x8’, 1x4".
over the years for there are traces of another nut (now Additional features. 3 hand stops.
missing) on the wrestplank. Full details are given by Compass: C,D-c'.
Wraight in a data sheet obtainable from the Museum. Keyboard: White naturals, black sharps.
Previous history: Formerly in the Carl Claudius Collection. Case construction: Italian style, inner/outer.
References: Illustrated in the 1931 catalogue. MMCC. Data Remarks: Boxwood naturals, black sharps inlaid with
sheet by Wraight (instrument No. W 211). boxwood.
Information supplied by: B?| MMCC|WraightPC. References: Smithcheck8g. Smithsonian photo negatives
Boalch 3 number: QUOCO, N DE. 1615. 56,301; 56,301A; $6,301B; 56,301C. Acoustic tests carried
Boalch 2 number: 1. out by E. L. Kottick in 1985, See: Kottick-response.
Information supplied by: B?|Smithcheck&g|Kottick.
‘Type: Two-manual harpsichord. Boalch 3 number: QUOCO, N DE. 1694(2).
Date: 1690. Boalch 2 number: 4.
Ownership: LISBON CONSERVATOIRE, LISBON,
PORTUGAL. Accession number not known. QUOCO(A), NICOLAUS DE.
Inscriptions. Nicolaus de Quoco Fecit Anno MDCLXXXX. ‘Type: Single-manual harpsichord.
Compass: GG/BB-a'(A), short octave. Date: 1697.
Number of roses: 1. Ownership: CLARA DELLAQUA, MILAN, ITALY.
Length: 2120 mm. Inscriptions. NICOLAU CVO—1697—.
Remarks: According to B*, ‘apparent compass (B-A) Specification: 2x8’.
just under 4 octaves’—this seems a curious compass, Additional features: Hand stops.
particularly in view of the compass of the other surviving Compass. C/E-c’, short octave.
instruments by this maker. Lid painted with landscape Number of roses: None.
including a castle and huntsmen. Case construction: Italian style-—false inner/outer.
Information supplied by: B?. Scale: 264 mm.
Boalch 3 number: QUOCO, N DE. 1690. Length: 1980 mm.
Boalch 2 number: 2. Width: 775 mm.
Depth: 280 mm.
Type: Single-manual harpsichord. Previous history: Seen by Dowd in June 1978.
Date: 1694. Information supplied by: Dowd.
Ownership: BRUSSELS MUSEUM, BRUSSELS, Boalch 3 number: QUOCO(A), N DE. 1697.
BELGIUM. Boalch 2 number: None.

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 R
R., C. Ownership: MUSEE DE CROIX, NAMUR, BELGIUM.
Type: Rectangular virginal. Accession number not known.
Date: 1650(A). Inscriptions: Rose has initials C.R.
Ownership: METROPOLITAN MUSEUM OF ART, Specification: 1x8'(A).
NEW YORK, USA. Compass: C-d?.
Number: 89.4.2344. Number of roses: 1.
Inscriptions: CR in rose. On lid interior ACTA VIRUM Length: 1289 mm.
PROBANT. Width: 470 mm.
Specification: 1x8’ (at quint pitch). Remarks: The possibility that this instrument is by
Compass. C/E-e’ short octave. Christoffel Ruckers is examined by O’Brien, (p. 12), where
Keyboard: White naturals, black sharps. he concludes that though built at the end of the period
Number of roses: 1. of activity of the Ruckers (in the second half of the
Style of rose: Seated harping figure. seventeenth century), it is not by any member of that
Exterior of case: Painted. family. Bz says: ‘Sea-horse paper still of the style which
Scale: 292 mm. seems to have gone out of use about 1645’. The keyboard
Length: 1124 mm. is to the right, and therefore it is a muselar.
Width: 475 mm. Previous bistory: Formerly in the Chateau de Rieudotte.
Depth: 202 mm. References: The instrument appears as number 2 in Bz
Remarks: According to MMA, probably dated mid- under R, C. and also as number 136 under Christoffel
seventeenth century, and from the Low Countries Ruckers.
(MMACL says ¢. 1650 or later). The possibility that the See also: O’ Brien, p. 12.
maker is Christoffel Ruckers is examined by O’Brien, (p. Information supplied by: B2|O’ Brien.
12) who believes that it was not made by any of the Boalch 3 number: R., C. n.d.
Ruckers family, though it was made in the second half Boalch 2 number: 2 under R., C.
of the seventeenth century when the Ruckers family was R., J. W.
still active. Much altered, probably in the nineteenth ‘Type: Virginal.
century. Case, soundboard, balance rail and some keylevers Date: Not known.
are probably original. Jacks, guide, and keybed have been Ownership: NORSK FOLKEMUSEUM, BYGDOY,
heavily reworked or replaced. Interior decorated with OSLO, NORWAY. Accession number not known.
standard handblocked papers. O’Brien says that the work- Inscriptions: (nitials JW/R written on the soundboard.
manship is of poor quality. Keyboard to the right, and Painted on the nameboard the elegiac couplet: Ignis fatalem
thus a muselar. Bone naturals with parchment keyfronts papientur cuncta ruinam:|In coclum verbum et musica diva volat.
and dark-stained sharps (probably replacements). Accord- Specification: 1x8'(A).
ing to Bz compass is now C/E-E lacking highest D sharp Compass: C-c(A).
(presumably meaning C/E-d’,e’ i.e. with short octave) and Width: 1335 mm.
this is confirmed by O’Brien. MMA says the compass was Remarks: Brown naturals fronted with white ‘putti’ heads
originally C,D-c’ which is confirmed by O’Brien. The and black sharps.
instrument is shown in Bz as number 1 under R. C., and Information supplied by: Bz.
number 135 under Christoffel Ruckers. Boalch 3 number: R., J. W. n.d.
Previous bistory: Former owners A. Régibo, Renaix; A. Boalch 2 number: 1.
Pley, Brussels. Crosby Brown collection 1889.
References: MMA. MMACL. Photos (negative numbers
R(A)., L.
Type: Fretted clavichord.
MUS 900, MUS 1687, etc.) available from the Museum.
Date: Not known.
Information supplied by: Bz] MMA|O’
Brien| MMACL. Ownership: METROPOLITAN MUSEUM OF ART,
Boalch 3 number: R., C. 1650(A). NEW YORK, USA.
Boalch 2 number: 1 under R., C.
Number: 89.4.3137-
Inscriptions: IR{?] on top and bottom keys. The identity
Type: Virginal. of the maker cannot be further established.
Date: Not known. Compass: C-c'.

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536 RACCERIS
Keyboard: White naturals, black sharps. pine, painted externally dark green, veneered inside with
Scale: 268 mm. mahogany and figured sycamore panels in the keywell.
Length: 1147 mm. Soundboard badly cracked and the bridge is lifting. Raised
Width: 335 mm. on four screwed-in, tapered and reeded legs of square
Depth: 780 mm. section.
Remarks: Thought to be mid-eighteenth century. Brown Previous bistory: In the collection of Canon Galpin, at Kew,
hardwood naturals (not box) with paper fronts, and from 1953 (or earlier). Repaired by Hugh Gough in 1953,
dark-stained sharps. C-B unfretted, the remainder fretted and C. L. C. Ward (Dolmetsch’s) in 1957. Housed
in pairs except d’s and a’s which are single. String gauge formerly at Fenton House, Hampstead, while it was the
numbers on nut (see: MMACL). property of the Galpin Society, then in the Music Faculty,
Previous history: From the Crosby Brown Collection, 1889. Oxford, and thence to the Russell Collection.
References: MMACL. Photos (negative numbers MUS References: Illustrated at plates 97 and 98 of Rassellrgs9.
896, 215876, and others) may be had from the Museum. H-O, No. -GB GS. See also RassCollg86, p. 23, and
Information supplied by. MMACL. data sheets prepared by Lance Whitehead, University of
Boalch 3 number: R(A)., 1. n.d. Edinburgh, 1991.
Boalch 2 number: None. Information supplied by: Bz|Russell1g39/Weldon|RussColl
1986|W bitebead| Raymond.
RACCERIS, FILIPPUS. Boalch3 number: RACKWITZ, G. C. 1796(1).
Type: Ottavino. Boalch 2 number: 1.
Date: 1535.
Ownership. LORD HOWARD DE WALDEN, DEAN ‘Type: Fret-free clavichord with octave strings in the bass.
CASTLE, KILMARNOCK, SCOTLAND. Date: 1796.
Inscriptions: Filippus Racceris Fecit Mantuae 1535. Ownership: STORGARDEN (IN DARLARNA),
Specification: 1x4’. SWEDEN. Accession number not known.
Compass: C/E-f'(A), short octave. Inscriptions. Label: No. 15/af]G.C.Rackwitz]i|Stockbolm|1796.
Keyboard: White naturals, black sharps. Compass: FF-c'.
Remarks: An ottavino in the form of a book. Jacks Keyboard: Black naturals, white sharps.
about one inch long. Boxwood naturals, ebony sharps. Number of roses: None.
Oil-painting inside lid. Exterior of case: Painted.
Information supplied by: Bz. Scale: 320 mm.
Boalch 3 number. RACCERIS, F. 1535. Length: 2019 mm.
Boalch 2 number: 1. Width: 593 mm.
Remarks: Swedish rack. Soundboard of spruce. Twenty
RACKWITZ, GEORG CHRISTOFFER. octave strings in the bass.
Type: Fret-free clavichord with octave strings in the bass. References: H-O, No. S Storgarden (Dal). Illustrated at fig.
Date: 1796. 151, p. 175.
Ownership: RUSSELL COLLECTION, EDINBURGH Information supplied by: Weldon|Barrell|H-O.
UNIVERSITY, SCOTLAND. Boalch 3 number: RACKWITZ, G. C. 1796(2).
Number: 32. Boalch 2 number: None.
Inscriptions: Octagonal label on soundboard to the rear of
the treble wrestpins, enclosing within a circle: No
RAFA, ANTONIO.
22[af[G.C. Rackwitz/i|Stockbolm|1796. On reverse of the Type: Spinet.
nameboard: Repaired by Hugh Gough, London, June, 1953,
Date: 1580.
and Repaired
by C. L. C. WARD FRSA, FSA, OF A.
DOLMETSCH LTD HASLEMERE 1937.
Ownership: Not known.
Remarks: Rafa may be a misreading of Baffo, and the
Compass: FF-c'.
instrument though described as a ‘spinet’ could be the
Keyboard: Black naturals, white sharps.
Exterior of case: Painted. harpsichord of 1580 in the Leipzig University Collection
(BAFFO(A), G. A. 1580).
Scale: 327 mm.
Previous history. Was owned by Marcel Salomom, Paris.
Length: 2018 mm.
Information supplied by: Bz.
Width: $73 mm.
Boalch3 number: RAFA, A. 1580.
Depth: 157 mm.
Boalch 2 number: 1.
Remarks: Keys of pine, roof-carved. Guide system is
Swedish rack. Naturals, ebony with two pairs of grooves
with sycamore fronts. Sharps of bone-capped, black- RAFRUT(A).
stained fruitwood. Soundboard of pine. Twenty octave Type: Fret-free clavichord.
strings in the bass, FF-c. Casework and internal members Date: Not known.

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 RANGSTROM 537
Ownership: DR. R. MIRREY, LONDON, ENGLAND. Type: Fret-free clavichord with octave strings in the bass.
Number: 18. Date: 1783.
Inscriptions: Very faint and partially rubbed-out inscription Ownership: PRIVATE COLLECTION, SWEDEN.
appears to read: Verferfigt von (?)Rafrat (?)Zoille. Compass: FF-2.
Compass: FF-a’. Length: 1932 mm.
Length: 1760 mm. Width: 595 mm.
Width: 570 mm. Remarks: Swedish rack. Soundboard of pine. Twenty
Depth: 200 mm. octave strings in the bass.
References. H-O, No. S Privat ago.
Information supplied by: Mirrey. Information supplied by: Barrell|Weldon|H-O.
Boalch 3 number: RAFRUT(A). n.d. Boalch3 number: RANGSTROM, A. 1783.
Boalch 2 number: None. Boalch 2 number: None.

RANGSTROM, ANDERS. Type: Fret-free clavichord with octave strings in the bass.
‘Type: Fret-free clavichord with octave strings in the bass. Date: 1784.
Date: 1775. Ownership: VADSBO HEMBYGDS-OCH
Ownership. LEUFSTA FIDEIKOMMISS, SWEDEN. FORNMINNESFORENING, MARIESTAD,
Accession number not known. SWEDEN.
Compass. FF-a’. Number: 1482.
Keyboard: White naturals, black sharps. Compass: FF-a’.
Length: 2083 mm. Scale: 320 mm.
Width: 593 mm. Length: 1929 mm.
Remarks: Swedish rack. Soundboard of pine. Twenty Width: 592 mm.
octave strings in the bass. The 8’ bridge has been moved. Remarks: Soundboard of pine. Twenty octave strings in
References. H-O, No. S Leufsta fideikommis. Illustrated at the bass.
figs. 119A, 119B on p. 136. References: H-O, No. S 16 VHF 1482.
Information supplied by: Barrell|Weldon|H-O. Information supplied by: Barrell|Weldon|/H-O.
Boalch 3 number: RANGSTROM, A. 1775. Boaleh3 number. RANGSTROM, A. 1784(1).
Boalch 2 number: None. Boalch 2 number: None.

‘Type: Fret-free clavichord with octave strings in the bass. Type: Fret-free clavichord with octave strings in the bass.
Date: 1778. Date: 1784.
Ownership: NORDISKA MUSEET, STOCKHOLM, Ovnership: ALVKARLEBY
SWEDEN. HEMBYGDSFORENNING, ALVKARLEBY,
Number: 83.576. SWEDEN.
Inscriptions: Label on the soundboard area between the Number: 1272.
wrestpins and the case: Férfardigadt/af/ ANDERS Compass: GG-P.
RANGSTROM|Stockbolm 1778. Seale: 300 mm.
Compass. FF-a'. Length: 1891 mm.
Keyboard: Black naturals, white sharps. Width: 559 mm.
Scale: 320 mm. Remarks: Soundboard of pine. Eighteen octave strings in
Length: 2005 mm. the bass.
Widtb: 588 mm. References: H-O, No. S 03 AH 1272. Llustrated at figs.
Depth: 190 mm. 120A, and 120B on p. 137.
Remarks: Keys of pine, roof-carved. Guided in a Swedish Information supplied by: Barrell|Weldon/H-O.
rack. Naturals of ebony, two pairs of grooves and Boalch 3 number: RANGSTROM, A. 1784(2).
fronts of embossed gilded paper. Sharps of bone-capped Boalch 2 number: None.
black-stained wood. Soundboard of pine. Twenty octave
strings in the bass, FF-c. The whole instrument was ‘Type: Fret-free clavichord with octave strings in the bass.
changed in the early nineteenth century to a sort of square Date: 1785.
piano. Casework and internal members pine, the top of Ownership: ANDREAS KILSTROM, SWEDEN.
the walls being tapered. Varnish on the outside of the Compass: FF-c*.
case, burr veneer inside. Length: 2000 mm.
References. H-O, No. S 01 NordM 83.576. Width: 600 mm.
Information supplied by: B*|Barrell|Weldon|H-O| VdM. Depth: 200 mm.
Boaleh 3 number: RANGSTROM, A. 1778. Remarks: Twenty octave strings in the bass. Case painted
Boalch 2 number: 1. grey outside, with black interior, and veneer around

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538 RASTOIN
keywell and hitch pin rail. Keyboard with back-rack Information supplied by: Henning] VdM.
guide, and wood guide slips between the keys. Soundboard Boalch3 number: REINHART, A. n.d.
grain diagonal to spine. Boalch 2 number: None.
References: Apparently not listed by H-O.
Information supplied by: Weldon|Barrell|Kilstrim. RELFE, JOHN.
Boalch 3 number: RANGSTROM, A. 1785. Type: Wing spinet.
Boalch 2 number: None.
Date: 1740(A).
Ownership: MUSIKINSTRUMENTEN MUSEUM,
‘Type: Fret-free clavichord with octave strings in the bass. BERLIN, GERMANY.
Date: 1786.
Number: 5219.
Ownership: HOLAVEDENS HEMBYGDS-OCH Inscriptions: Joannes Relfe Fecit Londini.
FORNMINNESFORENING, SWEDEN. Accession Specification: 1x8".
number not known.
Compass: GG-g’.
Compass: FF-a'. Keyboard: White naturals, black sharps.
Scale: 320 mm. Number of roses: None.
Length: 1956 mm. Exterior of case: Plain wood.
Width: 601 mm.
Scale: 253 mm.
Remarks: Soundboard of pine. Twenty octave strings in Length: 1850 mm.
the bass. Width: 845 mm.
References: H-O, No. S 06 HHF u. nr. Depth: 205 mm.
Information supplied by: Barrell|Weldon|H-O. Remarks: Ivory naturals with ivory arcades, skunktail
Boalch 3 number: RANGSTROM, A. 1786. sharps of ebony/ivory/ebony. Double curve bent side.
Boalch 2 number: None. Outer case of walnut. On trestle stand of walnut with
turned legs. Particularly fine brass strap-hinges (illustrated
Type: Clavichord. at BerlinCat, p. 183). Closely resembles Hitchcock spinets
Date: 1775 -85.
with double curved bent sides.
Ownership: PRIVATE COLLECTION, SWEDEN.
Previous history: Bz shows two instruments by Relfe, the
Remarks: Both Barrell and Weldon reported this instrument,
but little is known of it, and it may be the same as
first having belonged to ‘Nugent Monck’ of Norwich,
while the second is shown as having been offered for sale
RANGSTROM, A. 1785 above. at Phillips on 10 May 1983 (a surprising ascription since
Information supplied by: Barrell|Weldon. Bz was published in 1974). It seems likely that both are
Boalch 3 number: RANGSTROM, A. 1775-85.
the same instrument as this one which was acquired by
Boalch 2 number: None.
Morleys in 1973 at a Phillips auction. The Museum
acquired it from Morleys in 1974.
RASTOIN, HONORE.
References: BerlinCat, pp. 180-4, including colour
Type: Spinet.
illustration.
Date: 1689.
Information supplied by: B2|Thoene|Droysen-Reber|Elste/
Ownership: Not known. BerlinCat.
Inscriptions. H. Rastoin d Paris 1689. Boalch 3 number: RELFE, J. 1740(A).
Compass: C-c'(A).
Boalch 2 number: 1/2.
Keyboard: Black naturals, white sharps.
Remarks: Evidence of the existence of this instrument
comes from a photograph formerly in the possession of REMOTI(A), SIMONE.
Raymond Russell. Four octave compass. Type: Three-manual harpsichord.
Information supplied by: Bz. Date: 1602.
Boalch 3 number: RASTOIN, H. 1689. Ownership: WORTTEMBERGISCHES
Boalch 2 number: 1. LANDESMUSEUM, STUTTGART, GERMANY.
Accession number not known.
REINHART, ANDREAS. Inscriptions: Simone Remoti fecit Ao 1602. Cimbalis bene
Type: Harpsichord (number of manuals not known). sonantibus.
Date: Not known. Previous history: Presented by Georg Steingraber.
Ownership: BAYERISCHES NATIONAL MUSEUM, References: Josten in his catalogue of the collection suspects
MUNICH, GERMANY. Accession number not known. this signature, a suspicion echoed by Nor, p. 131,
Remarks: References still to be checked. and almost certainly justified by the appearance of the
References: J. H. van der Meer: ‘Ein wenig bekanntes instrument in a sale catalogue of Franciolini. Illustrated
deutsches cembalo’, in Das Musikinstrument, 37, (1988), in Josten, p. 23.
H. 7, pp. 6 10. Information supplied by: Bz.

biatized ty GOOgle
 RICHARD 539
Boalc 3 number: REMOTI(A), S. 1602. Compass: GG/BB-d’, short octave.
Boalch 2 number: 1. Keyboard: White naturals, black sharps.
Number of roses: 2.
RESPINI, ZACCARIA. Style of roses: Geometrical pattern.
Type: Virginal. Seale: 311.5 mm.
Date: 1818. Length: 1656 mm.
Ownership: Not known. Width: 528 mm.
Inscriptions: Zaccaria Respini e figlio Brescia 1818. Depth: 219 mm.
Specification: 1x8'(A). Remarks: A typical English virginal. Naturals of box with
Exterior of case: Plain wood. keyfronts of gilded embossed paper. Sharps of black
Remarks: Closely resembles a square piano in shape, and painted oak. A report on the instrument by Clayson and
may be a later conversion to a plucked-string keyboard Garrett dated 18 January 1986 is available from the
instrument, though near contemporary surviving virginals Museum. This discusses in some detail the interesting
by Riva (g.».) also resemble square pianos. Walnut case. layout of the short octave arrangement whereby alternative
Previous history: Formerly in the possession of Messrs. jacks may be operated to give different notes by the
Gaal and Walker, New York (November 1954). lowest four keys. The report also gives details of some
Information supplied by: Bz. restoration and repair work and notes the instrument’s
Boalch 3 number: RESPINI, Z. 1818. condition. The left-hand bridge, which is not very
Boalch 2 number: 1. effectively glued to the soundboard has the same profile
as that of the instrument above, and is considered by
REWALLIN, CHARLES. Martin to be original.
Type: Rectangular virginal. Previous history: Bequeathed to the Museum in 1953 by Mrs.
Date: 1675. Edith Ponsford of Puddicombe House, Drewsteignton,
Ownership: CASTLE MUSEUM, TAUNTON, Devon, where it had been for several generations.
ENGLAND. Accession number not known. References: Further information from the Clayson/Garrett
Inscriptions: Anscription on jackrail: CHARLES report from the Museum.
REWALLIN MADE IT [E]XON: 73. Information supplied by: Bz|Owners|Martin{Clayson and
Specification: 1x8". Garrett.
Compass: GG/BB-d’, short octave. Boalch 3 number: REWALLIN, C. 1679.
Keyboard: White naturals, black sharps. Boalch 2 number: 2.
Number of roses: 2.
Exterior of case: Painted. RICHARD, JEAN.
Scale: 295 mm.
Type: Two-manual harpsichord.
Length: 1627 mm. Date: Not known.
Width: 526 mm.
Ownership: MUSEE GREVIN, PARIS, FRANCE.
Depth: 215 mm.
Accession number not known.
Remarks: A typical English virginal. Case, with coffered Information supplied by: Bz.
lid, painted in imitation of wood graining—it is not clear
Boalch 3 number: RICHARD, J. n.d.
whether this is original. Boxwood naturals with embossed
Boalch 2 number: 6.
paper fronts; walnut[?] sharps.
References: See The Conoisseur, London, October 1916, for
an illustrated article by H. S. G. Gray. RICHARD, MICHEL.
Information supplied by: B2|Martin. Type: Two-manual harpsichord.
Boalch 3 number: REWALLIN, C. 1675. Date: 1688.
Boalch 2 number: 1. Ownership. YALE UNIVERSITY COLLECTION OF
MUSICAL INSTRUMENTS, USA.
Type: Rectangular virginal. Number: 4886.72.
Date: 1679. Inscriptions: Faict par Michel Richard 1688 (Repbann; Faict
Ownership: ROYAL ALBERT MEMORIAL MUSEUM, par Michel Richard4 Parice Rue du Paon 1688 (Bz).
EXETER, ENGLAND. Specification: 2x8’, 1x4’.
Number: 22/1955. Compass: GG/BB-c', broken octave.
Inscriptions: Inscription on jackrail: CHARLES Keyboard: Black naturals, white sharps.
REWALLIN MADE IT IN [E]XON 1679. On a label Number of roses: 1.
glued to the front framing, behind the fascia, Alec Seale: $70 mm.
Hodsdon records his finding in 1972 a replacement Length: 2240 mm.
left-hand (nut) bridge already in position. Width: 826 mm.
Specification: 1x8". Depth: 254 mm.

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540 RICHARD
Remarks: The instrument appears to be by lIoannes Information supplied by: Bz| Luckett] MICL.
Ruckers (with an HR rose, though this is not genuine) Boalch 3 number: RICHARD, M(A). 1690.
and is dated 1613 on the soundboard but signed under the Boalch 2 number: 4.
soundboard with the inscription given above. Professor
Rephann of Yale says: ‘This is unquestionably a genuine Type: Wing spinet.
17th-century French instrument by Richard. The Flemish Date: 1693(A).
association is of a later date and executed for the customary Ownership. MUSEE INSTRUMENTAL, PARIS,
monetary reasons. The long scale suggests an instrument FRANCE.
tuned to A= 396 Hz. The pitch is correct for the 1688 Number: 638/320.
date.’ Naturals of ebony with arcades; sharps of boxwood Inscriptions. According to Bz: Fait par Richard, a Paris, rue
with ivory tops. Bottom E flat is split.
du Paon, prés Saint-Nicolas-du-Chardonnet, 1693.
Previous bistory: Formerly owned by Planchet, Paris. Albert
Specification: 1x8".
Steinert, Providence, Rhode Island. Rhode Island School
Remarks: This is almost certainly the instrument given in
of Design. On loan to Yale.
Bz as dated 1693 (his number 4a, and most probably also
Information supplied by: Bz|/Repbann.
number 1) and tentatively ascribed by him to Michel
Boalch 3 number: RICHARD, M. 1688.
Richard. Since, however, the inscription does not give
Boalch 2 number: 3a.
the first name of the maker it is not certain that it was
RICHARD, MICHEL(A). built by him. MICL reports that the date has probably
Type: Ottavino. been ‘falsified’ and it is suggested that the date is really
Date: 1672. 1690.
Ownership: FORMERLY IN THE BERLIN References. MICL.
COLLECTION, BERLIN, GERMANY. Information supplied by: B2|MICL.
Number: 2214. Boalch 3 number: RICHARD, M(A). 1693(A).
Inscriptions, Richard me fecit 1672, in ink on the jackrail. Boalch 2 number: 1 and 4a.
Specification: 1x4’.
Compass: GG/BB-c’, short octave.
RICHARD (member of the family not known).
Length: 670 mm.
‘Type: Two-manual harpsichord.
Width: 540 mm.
Date: 1752.
Remarks: It is thought that the maker was Michel Richard,
but the inscription does not make this clear. Bz ascribes Ownership: CONSERVATOIRE DES ARTS ET
it to the Berlin Collection, but Ber/inCat confirms that it METIERS, PARIS, FRANCE. Accession number not
has been lost since the Second World War. known.
References: BerlinCat, p. 373 quotes the original entry in Inscriptions. M.R. on rose.
Sa. Specification: 2x8", 1x4’.
Information supplied by: Bz2|BerlinCat. Number of roses: 1.
Boalch 3 number. RICHARD, M(A). 1672. Remarks: It is not clear which member of the Richard
Boalch 2 number: 3. family built this instrument. Habb gives a detailed account
of the instrument but says that there is no authority for
Type: Wing spinet. attributing it to a ‘Marius Richard’. Four rows of jacks;
Date: 1690. pedals. The date of 1752 is from Bz.
Ovnership: MUSEE. INSTRUMENTAL, PARIS, Information supplied by: Bz.
FRANCE. Boaleh 3 number: RICHARD. 1752.
Number: 978.3.1. Boalch 2 number: 5.
Inscriptions: Faict a Paris par Richard, rue du Pan praes St.
Nicolas du Chardonnet 1690, on jackrail.
Specification: 1x8". Type: Single-manual harpsichord.
Keyboard: Black naturals, white sharps. Date: Not known.
Exterior of case: Plain wood. Ownership: Not known.
Remarks: Since the inscription does not state the first Inscriptions: R in rose.
name of the maker, it is not entirely certain that it was Number of roses: 1.
built by Michel Richard. Almost certainly the same Remarks: The R in the rose probably stands for Richard.
istrument as shown in Bz as being (1974) in private Previous history: Was in the Musée des Arts Decoratifs,
ownership in Montreal. Paris, in 1948, but by 1954 it was no longer there. Present
Previous bistory: Sold at Christie’s 14 March 1978 for whereabouts unknown.
£6,000. Has clearly undergone some restoration. Only Information supplied by: Bz.
one leg of the stand is original. Boalch 3 number: RICHARD. n.d.
References: Illustrated in Russell 1959. MICL. Boalch 2 number: ?2.

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 RIGUNINI 541
RIDOLFI, GIACOMO. Inscriptions. JACOBUS. RIDOLFI. FECIT. ANNO.
Type: Harpsichord (Number of manuals not known). DOMINI/MDCLXXXII. This appears to be a modern
Date: 1650. ‘reinking’ of a faded old, presumably original, inscription
Ownership: JOEL NEWMAN, NEW YORK, USA. with letters spaced somewhat differently. The original
Inscriptions: Jacobus Rodolpbus de Zentis Fecit Anno Domini inscription is now almost completely illegible, though
1630. both Rephann and Koster report that RIDOLFI is just
Previous history: Formerly owned by Salomon, Paris. legible so it is fairly safe to ascribe it to this maker,
Information supplied by: Bz. though it is difficult to be entirely certain about the date.
Boalch 3 number: RIDOLFI, G. 1650. Specification: 2x8".
Boalch 2 number: 1. Compass: C/E-c’, short octave.
Keyboard: White naturals, black sharps.
‘Type: Single-manual harpsichord. Exterior of case: Painted.
Date: 1662. Case construction: Italian style, inner/outer.
Ownership: GERMANISCHES NATIONALMUSEUM, Length: 1910 mm.
NUREMBERG, GERMANY. Width: 681 mm.
Number: MIR 1076. Depth: 200 mm.
Inscriptions. Jacobus Redolfi (sic) fecit anno 1662. Two of the Remarks: Boxwood arcaded naturals; stained sharps with
keys are signed Jacomo Ridolfi (sic), one of them with the ebony tops. In painted outer case. Fine workmanship well
date 1662 added [VdM]. preserved. Scale of 537 mm. given by Yale, must almost
Specification: 2x8". certainly relate to c', not c’.
Compass: C-P. Previous history: Albert Steinert. Rhode Island School of
Remarks: Original compass (according to Hwber) GG-c’. Design. On loan to Yale.
Previous history: Part of the Riick Collection. References: Acoustic tests carried out by E. L. Kottick in
References: Mouldings shown in Hellwig. Huber, p. 133. 1985, see: Kottich-response.
Information supplied by: Bz2|Hellwig|Huber| VdM. Information supplied by: B2|Rephann| Koster.
Boalch 3 number: RIDOLFI, G. 1662. Boalch 3 number. RIDOLFI, G. 1682.
Boalch 2 number: 1a. Boalch 2 number: 3.

Type: Single-manual harpsichord. RIDOLFI(A), GIACOMO.

Date: 1665. Type: Single-manual harpsichord.
Ownership: SMITHSONIAN INSTITUTION, Date: 1662-82.
WASHINGTON, USA. Ownership: SHRINE TO MUSIC MUSEUM,
Number: 95,235. VERMILLION, SOUTH DAKOTA, USA.
Inscriptions: Jacobus Rodolphus Hieronymi de Zentis discipulus Number: 4657.
MDCLXV facieba{?}. Specification: 2x8".
Specification: 2x8’. Compass: C/E-c’, short octave.
Compass: C/E-c’, short octave. Case construction: Italian style, inner/outer.
Exterior of case: Painted. Remarks. The ascription to Ridolfi of this unsigned
Case construction: Italian style, inner/outer. harpsichord is due to Koster who sees in it many similarities
Remarks: Painted case supported by three gilt kneeling with the Ridolfi harpsichord at Yale (RIDOLFI, G. 1682)
putti. and also other instruments by Ridolfi. A typical thin-cased
Previous bistory: Originally purchased for the Smithsonian Italian instrument of cypress with cypress soundboard, in
in 1892 (catalogue number 95,235). Re-catalogued in the an outer case, which is probably original but with
Worch collection in 1920s by mistake as catalogue number twentieth-century decoration. Converted in the eighteenth
332,173, accession number 93,944. According to Bz: century to a piano with primitive ‘stop mechanik’, hence
ex-Franciolini. the loss of the original registers and jacks.
References: Smithcheck89. Smithsonian photo negatives Previous history: Acquired by the Shrine to Music from
$6,323; 56,323A; 56,323B. the Allen Memorial Art Museum with funds given by
Information supplied by: B2|Smithcheck8g. Margaret Ann and Hubert H. Everist, Sioux City, lowa,
Boalch 3 number: RIDOLFI, G. 1665. 1989.
Boalch 2 number: 2. Information supplied by: Koster|STMCL.
Boalch 3 number: RIDOLFI(A), G. 1662-82.
Type: Single-manual harpsichord. Boalch 2 number: None.
Date: 1682.
Ownership: YALE UNIVERSITY COLLECTION OF RIGUNINI, CRISTOFORO.
MUSICAL INSTRUMENTS, USA. Type: Single-manual harpsichord.
Number: 4891.72. Date: 1602.

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542 RIJKERS
Ownership: MICHIGAN UNIVERSITY, MICHIGAN, The basic wood of the case is oak. The keywell has
USA. Accession number not known. intarsia of flowers and leaves in various woods on a black
Inscriptions: Cristoforus Rigunini. Firenze, A.D. 1602. background, while the wrestplank, and soundboard are
Compass: C/E-c'(A), short octave. richly painted. The rose is an intricate geometrical pattern
Length: 1780 mm. with the inscription round it. Naturals of ebony with
Width: 720 mm. birch fronts, and sharps of ivory with stained pear sides.
Information supplied by: B?. Raised on an apron stand with six cabriole legs of walnut.
Boalch 3 number: RIGUNINI, C. 1602. The instrument is now in splendid playing order and is
Boalch 2 number: 1. used regularly. Dale in the 1885 catalogue of the Inter-
national Inventions Exhibition (and others) mention the
RIJKERS. presence of sympathetic 4’ strings alongside the normal
Type: Ottavino. 4° strings, but this must surely be a mistake.
Date: 1630(A). Previous history: Was shown by Klinkerfuss of Stuttgart at
Ownership. HERZOG-ANTON-ULRICH-MUSEUM, the International Inventions Exhibition 1885, and kept in
BRUNSWICK, GERMANY. Accession number not this family, who used it regularly, including for concerts
known. on which several important artists performed. Restored
Specification: 1x4’. by Martin Scholz in 1975-6.
Remarks: Though retained here as in B? as having been References: Catalogue p. 50. [International Inventions
made by a separate maker, the weight of evidence points Exhibition 1885]. Hi (original edition, 1896, footnote on
to Ruckers as the maker, and it would seem likely that p. 86. Russell 1959, p. 99. Hxmmel, full description
this is the ‘child’ of a mother and child combination. B* including illustrations; particularly fine colour pictures
gives the compass as two and a half octaves. are on the dust-jacket.
Previous history. The instrument is unsigned, but was See also: 300 Jabre Jobann Sebastian Bach. Sein Werk in
presented by Th. Steinweg in 1876, attributing it to Handschriften u. Dokumenten . . . Eine Austellung d. Inter-
Rijkers ‘having seen at the Paris Exhibition instruments national Bachakademie in d. Staatsgalerie Stuttgart, 14. 9.—
by this maker which were exactly the same style’. 27. 10. 1985. Tutzing, 1985, Nr. 227.
Information supplied by: B*. Information supplied by: B*|Hummel.
Boalch3 number: RIJKERS. 1630(A). Boalch 3 number: RING, F. 1700.
Boalch 2 number: 1. Boalch 2 number: 1.

RING, FRIDERICH. RIVA, ALESSANDRO.

Type: Two-manual harpsichord. ‘Type: Rectangular virginal.
Date: 1700. Date: 1836.
Ovnership: DR. J}ORG-DIETER HUMMEL, Ownership: GALLINI COLLECTION, MILAN,
STUTTGART, GERMANY. ITALY. Accession number not known.
Inscriptions: Round the rose: FRIDERICUS RING Compass: C/E-a’, short octave.
ARGENTINENSIS ANNO 1700. There is also a plate Inscriptions: Alessandro Riva in Bergamo—A.1836, on the
with the instrument which has been used to accompany nameboard.
it at exhibitions: CLAVICYMBALUM verfertigt von Specification: 1x8'(A).
FRIED. RING IN STRASSBURG, ANNO 1700. Remarks: Four and a half octave compass.
Restaurirt ». ansgestellt von B. KLINCKERFUSS, STUTT- Information supplied by: B?.
GART, HOFPIANOFORTELIEFERANT J. Boalch3 number: RIVA, A. 1836.
MAJESTAT DEN KONIGIN. Boalch 2 number: 01.
Specification: 1: 2x8’, 1x4"; Il: 1x8’.
Additional features: 5 hand stops, harp stop. Type: Rectangular virginal.
Compass: FF-d’. Date: 1839.
Keyboard: Black naturals, special sharps. Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
Number of roses: 1. GERMANY.
Style of rose: Geometrical pattern. Number: 65.
Exterior of case: Veneered. Inscriptions: Alessandro Riva|in Bergamo 1839, on a label
Scale: 307 mm. covered with glass let into the nameboard. The keyboard
Length: 2380 mm. is also dated 1839.
Width: 921 mm. Specification: 1x8".
Depth: 258 mm. Compass: C-a’.
Remarks: A very full description of the whole instrument Keyboard: White naturals, black sharps.
is given in Hummel, fcom which, the following is a short Number of roses: None.
summary. Case veneered in birch with attractive burr. Exterior of case: Plain wood.

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 ROMER 543
Scale: 278 mm. Keyboard: White naturals, black sharps.
Length: 1277 mm. Number of roses: None.
Width: 540 mm. Exterior of case: Crossbanded.
Depth: 180 mm. Scale: 248 mm.
Remarks: Naturals of ivory, with ivory fronts; sharps of Length: 1854 mm.
pear with ebony tops. Rectangular case with rounded Width: 787 mm.
corners, the whole giving the impression of a square Depth: 210 mm.
piano of the same date. Remarks: Date assigned on the basis of similarity between
Previous history: The names of two former owners are on the inscription, and the maker’s address (see RassColl, p.
the soundboard and dated 1858 and 1869. In the Heyer 68, where several forms are quoted from early editions
Collection, Cologne in 1910. of the Edinburgh Post Office Directory). This may be the
References. Inscription reproduced at Ks, p. 255. For latest surviving ‘English’ wing spinet. Ivory naturals,
further details see: Henke/r. ebony sharps. Keyboard layout is that known as ‘the wide
Information supplied by: B?|Henkelt. Ds’. Now has leather plectra but these are probably not
Boalch 3 number: RIVA, A. 1839. original. External case with mahogany panels, holly
Boalch 2 number: 1. stringing and crossbanded with mahogany. String gauges
marked on nut.
Type: Rectangular virginal. Previous history: Formerly owned by Mrs. Hubbard,
Date: Not known. Albany, New York, who died in the early 1970s.
Ownership: DR. TED WILLIAMS, PARIS, FRANCE. References: Further details available from present owner.
Inscriptions: Inscribed: Alessandro Riva on a piece of paper Information supplied by: B?|Wilson.
professionally calligraphed, mounted in a recess on the Boalch 3 number: ROCHEAD, A. 1795(A)-
front of the fascia board and covered with a slip of glass. Boalch 2 number: 1.
Specification: 1x8’.
Compass: C/E-a', short octave. ROCK, BENJAMIN.
Keyboard: Black naturals, white sharps. Type: Wing spinet.
Number of roses: None. Date: Not known.
Exterior of case: Plain wood. Ownership: PAUL KENYON.
Scale: 305 mm. Inscriptions: Name on soundboard, but details not known.
Length: 1205 mm. Specification: 1x8’.
Width: 496 mm. Compass: FF,GG-F.
Depth: 182 mm. Exterior of case: Plain wood.
Remarks: Dr. Williams reports that there is no date, but Remarks: There may be some confusion with William
in view of the dates of the other two surviving Riva Rock of Parliament Street, Westminster, see below.
instruments, it is likely to be ¢. 1839. Naturals of ebony Previous history: Given by Lady de Grimston (North
with ebony fronts; sharps of ebony with bone tops. About Yorkshire) to Paul Kenyon of Whitby in late 1970s.
half the original jacks (which have no dampers) are Subsequently restored by Nicholas Keen.
missing. Instrument is in plain rectangular walnut case Information supplied by: Nicholas Keen.
with the keyboard recessed into it centrally. Raised on a Boalch 3 number. ROCK, B. n.d.
four legged stand with tapered square legs. In good Boalch 2 number: None.
condition.
Previous history: Acquired from an antique dealer in Nice ROCK, WILLIAM.
in 1988. Previous history unknown. Type: Wing spinet.
Information supplied by: Williams. Date: Not known.
Boalch3 number: RIVA, A. n.d. Ownership: Not known.
Boalch 2 number: None. Specification: 1x8’.
Remarks: There may be some confusion over this instru-
ROCHEAD, ANDREW. ment, which may be by Benjamin Rock (see above).
Type: Wing spinet. Previous bistory: Sold at Sotheby’s on 25 November 1983
Date: 1795(A). for £2,100.
Ownership: CHARLES WEST WILSON, Information supplied by: Sotbeby’s| Luckett.
MECHANICSBURG, PENNSYLVANIA, USA. Boalch 3 number: ROCK, W. n.d.
Inscriptions: On the front of the fascia board: Andrew Boalch 2 number: None.
Rochead Edinburgh fecit, in traditional style. Also signed
with the same words on the reverse of the fascia board. ROMER, ANTON.
Specification: 1x8". ‘Type: Clavichord.
Compass: FF-P. Date: 1774.

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544 ROOS
Ownership: HERR SCHUSTER, GRAZ, AUSTRIA. Number: 00.538.
Remarks: Nothing further is known of the clavichord, Compass: C-d’.
though it is possible that it is the same as the instrument Scale: 290 mm.
below in the Kunsthistorisches Museum, Vienna. Length: 1515 mm.
Previous bistory: Owned by Herr Schuster, the violin maker Wideb: 422 mm.
in Graz, in 1971 [GL]. Remarks: Soundboard of pine. Fifteen octave strings in
Information supplied by: Bz. the bass.
Boalch 3 number. ROMER, A. 1774(1). References: H-O, No. S 19 KM 00.538.
Boalch 2 number: 1. Information supplied by. Barrell|Weldon|H-O.
Boalch3 number: ROOS, J. P. 1730(A).
Type: Fret-free clavichord. Boalch 2 number: None.
Date: 1774.
Ownership: KUNSTHISTORISCHES MUSEUM, Type: Fretted clavichord.
VIENNA, AUSTRIA. Date: 1731.
Number: 740. Ownership: MALMO MUSEUM, SLOTTSHOLMEN,
Inscriptions: The inscription has been taken from a data SWEDEN.
sheet written in longhand, and appears to read: Antonius Number: 3929.
Rémer|/Orge! and Instrumentenmacher|in Gratz aff den Inscriptions: Signed on the area of soundboard between
Griesrs|wenbaffi|1774. the wrestpins and the case: Johann Petter Roos fecit Holmia
Compass: C/E-d?. 1731.
Length: 1025 mm. Compass: C-d.
Width: 322 mm. Scale: 280 mm.
Depth: 100 mm. Length: 1511 mm.
Remarks: Kept in the Sammlung alter Musikinstrumente. Width: 414 mm.
Case of fir. Remarks: Natural keyfronts embossed. Soundboard of
References: Data sheet available from the Museum. pine, painted with flowers. Balance pins in a single row.
Information supplied by: StradnerPC. References: H-O, S 12 MMk 3929. Illustrated at fig. 106
Boalch 3 number. ROMER, A. 1774(2). on p. 119.
Boalch 2 number: None. Information supplied by: Barrell|Weldon|H-O.
Boalch3 number: ROOS, J. P. 1731.
ROOS, JOHAN PETTER. Boalch 2 number. None.
‘Type: Fret-free clavichord with octave strings in the bass.
Date: 1726. ROSENAU, GOTTLIEB.
Ownership: }ACOBSTADS MUSEUM, JACOBSTAD, Type: Fret-free clavichord with octave strings in the bass.
FINLAND. Date: 1760(A).
Number: 384. Ownership. ODESHOGS HEMBYGDSFORENING,
Inscriptions: Signed on the area of soundboard between ODESHOG, SWEDEN. Accession number not known.
the wrestpins and the case: Johann Petter Roos Stockbolm Inscriptions. Barrell reports that the instrument bears a
1726. label of which about one third has been torn off, and this
Compass: GG-c’. " gives rise to doubt about the date and possibly the maker.
Exterior of case: Painted. He states that the inscription appears as: Forfardigt af
Scale: 280 mm. Gottlieb Ros|sob Instrument-Malkare i Stockbolm, 17/60,
Length: 1524 mm. where everything to the right of the slashes has been torn
Width: 445 mm. away.
Remarks: Looks fretted, but is not. Soundboard of pine Compass: C-e’.
painted with birds and flowers. Twenty octave strings in Scale: 275 mm.
the bass. Case painted red inside, brown outside. Length: 1547 mm.
References: H-O, No. SF JM 384. Illustrated at figs. 105A, Width: 468 mm.
and 105B, on p. 118. Remarks: Soundboard of pine. Fifteen octave strings in
Information supplied by: Barrell|Weldon|H-O. the bass.
Boalch 3 number: ROOS, J. P. 1726. References: H-O, No. S os OH u. nr.
Boalch 2 number: None. Information supplied by: Barrell|Weldon|H-O.
Boalch 3 number: ROSENAU, G. 1760(A).
Type: Fretted clavichord with octave strings in the bass. Boalch 2 number: None.
Date: 1730(A).
Ownership: KOPINGS MUSEUM, KOPING, Type: Fret-free clavichord.
SWEDEN. Date: 1772.

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 ROSENAU 545
Ovnersbip: L. EDLUND, FARILA, SWEDEN. Compass: FF-a’.
Accession number not known. Keyboard: Black naturals, white sharps.
Compass: C-e’. Scale: 300 mm.
Length: 1190 mm. Length: 1906 mm.
Width: 358 mm. Width: 585 mm.
Remarks: Soundboard of pine. Remarks: Not numbered by the Museum. Soundboard of
References: H-O, No. S L. Edlund, Farila. pine. Twenty octave strings in the bass.
Information supplied by: Weldon|Barrell|H-O. References. H-O No. S 03 UM u. nr. Illustrated at fig. 142,
Boaleh 3 number: ROSENAU, G. 1772. P. 169.
Boalch 2 number: None. Information supplied by: Barrell|Weldon|H-O.
Boalch 3 number. ROSENAU, G. 1780(A)(2).
Type: Fret-free clavichord. Boalch 2 number. None.
Date: 1775(A)-
Ownersbip: PRIVATE COLLECTION, USA.
‘Type: Fret-free clavichord with octave strings in the bass.
Inscriptions. Label missing. Maker identified by the present
Date: 1783.
owner by comparison of the paper keyfronts with those
Ownership: TOREKALLBERGETS MUSEUM,
of a Rosenau instrument of 1760. SODERTALJE, SWEDEN.
Compass: C-P.
Remarks: The date is suggested by the owner. In need of
Number. 11.772.
Compass: FF-P.
much restoration. The sides, which were not dovetailed
Scale: 288 mm.
had collapsed into the instrument when acquired by the
Length: 1727 mm.
Present owner.
Information supplied by: Barrell.
Width: 498 mm.
Remarks: Soundboard of pine. Twenty octave strings in
Boalch 3 number: ROSENAU, G. 1775(A)- the bass.
Boalch 2 number: None.
References: H-O, No. S 04 Tb 11.772.
Type: Fret-free clavichord with octave strings in the bass. Information supplied by: Barrell{Weldon|H-O.
Date: 1778. Boalch 3 number: ROSENAU, G. 1783(1).
Ovnersbip: J. ZANTON, SWEDEN. Boalch 2 number: None.
Compass: FF-P.
Scale: 320 mm. Type: Fret-free clavichord with octave strings in the bass.
Length: 1870 mm. Date: 1783.
Width: 580 mm. Ownership: LANSMUSEET MURBERGET,
Remarks: Soundboard of pine. Bridges, lost. Twenty-two HARNOSAND, SWEDEN.
octave strings in the bass. Number: 4609.
References. H-O, No. S J. Zanton, Malmo. Compass: FF-a’.
Information supplied by. Weldon|Barrell|H-O. Scale: 312 mm.
Boalch 3 number. ROSENAU, G. 1778. Length: 1791 mm.
Boalch 2 number: None. Width: 540 mm.
Remarks. Soundboard of pine. Twenty octave strings in
‘Type: Fret-free clavichord with octave strings in the bass. the bass. Balance pins in a single straight row.
Date: 1780(A). References, H-O, No. S 22 M 4609.
Ovnersbip: 1. MARTENSSON, MALMO, SWEDEN. Information supplied by: Barrell|Weldon|H-O.
Compass: C-P. Boalch 3 number. ROSENAU, G. 1783(2).
Scale: 322 mm. Boalch 2 number: None.
Length: 1641 mm.
Width: 425 mm.
Remarks. Soundboard of pine. Bridges, missing. Fifteen Type: Two-manual harpsichord.
octave strings in the bass. Date: 1786.
References. H-O, No. S 1 Martensson, Malmo. Ownership: MUSIKHISTORISK MUSEUM,
Information supplied by: Barrell Weldon|H-O. COPENHAGEN, DENMARK.
Boaleh 3 number, ROSENAU, G. 1780(A)(1). Number: C1.64.
Boalch 2 number: None. Inscriptions: Forfardigat af Gottlieb Rosenaw, Instrumentmakare
i Stockholm. 1786.
‘Type: Fret-free clavichord with octave strings in the bass. Specification: 2x8’, 1x4’; lute.
Date: 1780(A). Additional features: Shove coupler.
Ownership: UPPLANDS MUSEET, UPPSALA, Compass: FF-P.
SWEDEN. Accession number not known. Keyboard: Black naturals, white sharps.

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546 ROSENKRANTZ
Exterior of case: Painted. original position. Outer case is from the seventeenth
Length: 2760 mm. century.
Width: 1055 mm. Previous bistory: Formerly Laurence and Cora Witten 1968-
Remarks. From the illustration in Rassellrgsg, the keywell 82. Before 1900, belonged to the family of Andrea Brisiach
appears to be richly marquetried. The case exterior is in (Senior) in Milan.
red paint, and a chinoiserie internal lid painting of gold Information supplied by: B*| VVdM|Scbubert Club.
on a blue ground. Double-curved bent side similar to Boalch 3 number: ROSSI, A. D. 1542.
German harpsichords of the same period. Mounted on Boalch 2 number: 01.
stand with eight cabriole legs.
Previous history: Formerly in the Carl Claudius Collection. Type: Polygonal virginal.
References: Mlustrated in Russell 1939. Hubb 196, p. 176, Date: 1555.
gives 1785 as the date. MMCC. Ownership: VICTORIA AND ALBERT MUSEUM,
Information supplied by. B?|Russellrgs9|Hxbb196s|MMCC. LONDON, ENGLAND.
Number: 156-1869.
Boalch 3 number: ROSENAU, G. 1786.
Boalch 2 number: 1. Inscriptions. Opus Anibalis Mediolanensis MDLV.
Specification: 1x8".
Compass: C/E-P, short octave.
ROSENKRANTZ, ERNST PHILIPP.
Keyboard: White naturals, black sharps.
Type: Fret-free clavichord.
Date: 1802.
Number of roses: 1.
Style of rose: Geometrical pattern.
Ownership. MUSIKWISSENSCHAFTLICHES
Exterior of case: Painted.
SEMINAR DER GEORG-AUGUST UNIVERSITAT,
Case construction: Italian style, inner/outer.
GOTTINGEN, GERMANY. Scale: 310 mm.
Number: 954. Length: 1553 mm.
Inscriptions; On a label on the nameboard: Ernst Philipp Depth: 198 mm.
Rosenkrantz in Dresden 1802. Remarks: Naturals of ivory with decorated and arcaded
Compass: FF-g’.
fronts. Bevelled sharps of ebony faced with hom and
Keyboard: Black naturals, white sharps.
inlaid with ivory and ebony stringing. Keyboard partially
Number of roses: None.
inset into the instrument. Elaborate carving around the
Exterior of case: Plain wood.
keywell including figures in the round on the keycheeks.
Scale: 248 mm.
This indicates that the instrument was not intended to be
Length: 1705 mm. removed from its outer case which now is missing.
Width: 501 mm. Instrument has undergone many changes—see V&A
Depth: 185 mm. Cat, p. 21, including outer case dimensions.
Information supplied by: Bemmann.
Boalch3 number: ROSENKRANTZ, E. P. 1802.
Previous history: Acquired by the Muscum in 1869 by
purchase from Rawson Brown. Restored to playing order
Boalch 2 number: None.
by John Barnes in 1964.
References: VerA Cat, p. 23 (illustrated).
ROSSI, ANNIBALE DEI. Information supplied by: B?|VerA Cat.
Type: Pentagonal virginal. Boalch3 number: ROSSI, A. D. 1555.
Date: 1542.
Boalch 2 number: 2.
Ownership: THE SCHUBERT CLUB, ST. PAUL,
MINNESOTA, USA. Type: Polygonal virginal.
Number: A81.10. Date: 1569.
Inscriptions. Opus|Hannibalis Mediola|nensis 1542. Onnersbip: JUILLARD SCHOOL OF MUSIC, NEW
Specification: 1x8’. YORK, USA. Accession number not known.
Compass: C/E-c', short octave. Inscriptions. Opus Annibalis Mediolanensis MDLXVIIII.
Keyboard: White naturals, black sharps. Specification: 1x8’.
Number of roses: 1. Compass: C/E-P, short octave.
Style of rose: Geometrical pattern. Keyboard: White naturals, black sharps.
Case construction: \talian style, inner/outer. Number of roses: 1.
Scale: 331 mm. Remarks: Though belonging to the Juillard School of
Length: 1355 mm. Music, the instrument is on display at the Yale Collection
Width: 470 mm. [WraightPC]. Boxwood naturals. Gothic rose. Covered in
Depth: 180 mm. red velvet; no outer case.
Remarks: Naturals and keyfronts of box. Sharps of dark Previous history. Shown at the Allgemeine Musik-
wood. Carved wooden rose. Case and soundboard of Ausstellung, Berlin, 1898. Formerly owned by Sam
cypress. The Schubert Club reports bridges of willow in Grimson, New York.

vigtized ty Google
 ROSSI 547
References: Mentioned by Hi. Exterior of case: Special style.
Information supplied by: Bz. Seale: 335 mm.
Boalch 3 number: ROSSI, A. D. 1569(1). Length: 1450 mm.
Boalch 2 number: 3. Width: 510 mm.
Depth: 250 mm.
Type: Polygonal virginal. Remarks: Instrument in fine condition. Very similar to
Date: 1569. the jewelled instrument (ROSSI, A. D. 1577) by the same
Ownership: MUSEUM FUR KUNST UND GEWERBE, builder in the V and A Collection. Keyboard probably
HAMBURG, GERMANY. late seventeenth century. Ivory naturals with arcaded
Number: 1904.710. fronts. Sharps of ebony with bone inlay. Case of cypress
Inscriptions: OPVS ANNIBALIS MEDIOLANENSIS with very finely carved jackrail support. Ebony and
MDLXVIIII, on nameboard. mother of pearl inlay with grotesque decoration. The
Specification: 2x8". name-batten pierced and carved with trophies—pre-
Compass: C/E-P, short octave. sumably original with outer case. The single rose is of
Keyboard: White naturals, special sharps. flamboyant gothic style in wood.
Number of roses: 1. Information supplied by: Not disclosed.
Style of rose: Parchment. Boalch 3 number: ROSSI, A. D. 1571.
Exterior of case: Painted. Boalch 2 number: None.
Case construction: Italian style, inner/outer.
Length: 1450 mm. Type: Polygonal virginal.
Width: 490 mm. Date: 1577.
Depth: 250 mm. Ownership: VICTORIA AND ALBERT MUSEUM,
Remarks: Keyboard half projects from the case. The LONDON, ENGLAND.
naturals are arcaded. The keywell and the surrounds Number: 809-1869.
above the soundboard are decorated with scrolling foliage Inscriptions. ANNIBALLIS DE ROXIS MEDI-
and geometric patterns, but the front of the case is plain OLANSIS MDLXXVII.
indicating that the instrument was probably intended to Specification: 1x8".
have an outer case, though this appears to be missing. Compass: C/E-P, short octave.
Raised on a five-legged stand which is probably modern. Keyboard: Special naturals and sharps.
According to Pilipeguk, the specification is 2x8’, and there Number of roses: 1.
is a double soundboard with two open soundholes. The Style of rose: Geometrical pattern.
scale is given as 670 mm., but this must almost certainly Exterior of case: Special style.
refer to middle c. Scale: 342 mm.
Previous history: Received in 1904 by the bequest of the Length: 1477 mm.
Pianoforte maker Adolph Heinrich Emil Kohl (1847-
Remarks: Heptagonal case heavily bejewelled with 1,928
1902) and his wife (1851-1904). According to Bz—sent precious or semi-precious stones. The most sumptuous
away, during World War II, to a part of Germany which in the Museum’s collection. Keyboard partly recessed into
in 1974 was in the German Democratic Republic, and in
the case-front. Both naturals and sharps of ivory inlaid
1970 housed in the Museum fiir Kunsthandwerk, Dresden.
with semi-precious stones. The jacks are probably original,
It now (1990) appears to be back in Hamburg. and certainly of great age. They have double dampers
References: Brinck-Ber, 1904, p. 15. Brinck-Flug, No. 4, p. and the tongues are fitted with brass springs secured with
2. Gottschewski, No. 17, p. 6. Samer, p. 26. Gennrich V, sealing wax to the body of the jack. No stand.
1916, p. 3.
Previous history: Almost certainly the instrument described
Information supplied by: B2|Pilipezuk.
in Mirigi’s La Nobilita di Milano. Part of the collection
Boalch 3 number: ROSSI, A. D. 1569(2)-
of Antoine Louis Clapisson (1808-66). Exhibited at the
Boalch 2 number: 4.
Paris Exposition 1867. Acquired for the Museum in 1869
for £1,200.
Type: Polygonal virginal. References: Mlustrated in J, 100, also in Rueger, plate 44.
Date: 1571.
V&A Cat, pp. 36-9 (illustrated).
Ownership: PRIVATE COLLECTION.
Inscriptions: Inscribed in gilt Roman letters on ebony Information supplied by: Bz|Rueger|VexA Cat.
Boalch3 number: ROSSI, A. D. 1577.
name-batten: OPUS ANNIBALIS MEDI-
OLANENSIS MDLXXI.
Boalch 2 number: 5.
Specification: 1x8".
Compass. C/E-P(A), short octave. ROSSI, FERRANTE DEI.
Keyboard: White naturals, black sharps. Type: Polygonal virginal.
Number of roses: 1. Date: 1580.

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548 ROSSI
Ownership: MICHIGAN UNIVERSITY, MICHIGAN, Length: 2007 mm.
USA. Accession number not known. Width: 787 mm.
Inscriptions: Ferandi de Rosis, Mediolanensis, M.D.LXXX. Remarks: Bz says: ‘Compass apparently 4 octaves minus
Specification: 1x8". 2 semitones, D-C, but presumably the bottom octave is
Remarks: It is reported (1991), though not verified, that short, making the full 4 octaves. 2x8’ stops, one of
the instrument has been stolen. them fixed . Probably a spurious instrument.’ The
Information supplied by: B2z|WraightPC. harpsichord was in storage in 1989, when details of all
Boalch 3 number: ROSSI, F. D. 1580. other Yale instruments were received, and the University
Boalch 2 number: 6. was unable to give a full description.
Previous history: Restored by W. Ruhenbeck, Arlington,
Type: Polygonal virginal. New Jersey.
Date: 1582. References: Illustrated in Belle Skinner catalogue.
Ownership: PALAZZO MADAMA, TURIN, ITALY. Information supplied by: B2|Rephann.
Accession number not known. Boalch 3 number. ROSSI, T. 1759.
Inscriptions: Ferdinandi de Rosis Mediolanensis MDLXXXII. Boalch 2 number: 1.
Specification: 1x8’.
Compass: C/E-P, short octave. ROSSI(A), ANNIBALE DEI.
Case construction: \talian style, inner/outer. ‘Type: Polygonal virginal.
Remarks: In outer case with painted lid apparently Date: 1550.
depicting the finding of Ulysses by Nausicaa and her Ownership: Not known.
handmaidens. Seven-sided case. Stand modern. Luckett Remarks: Hipkins (GD, 1910, s.». Spinet] refers to a Rossi
reports ‘Roses in nameboard’. spinet, belonging to Miss Marie Decca. Bz says: ‘I suspect
References: Ilustrated in the museum catalogue. that this is the instrument referred to by Ks [p. 56] under
Information supplied by: Bz| Luckett. the mistaken date 1520.’
Boalch 3 number: ROSSI, F. D. 1582. References: GD, 1910. Ks, p. 56.
Boalch 2 number: 7. Information supplied by: Bz.
Boalch 3 number: ROSSI(A), A. D. 1550.
Type: Polygonal virginal. Boalch 2 number: 1.
Date: 1597.
Ownership: R. K. LEE, BOSTON, USA. Type: Polygonal virginal.
Inscriptions: Ferandi de Rossis Mediolanensis MDXCV'II. Date: Not known.
Specification: 1x8". Ownership: CASTELLO SFORZESCO, MILAN,
Compass: C/F-f, short octave. ITALY. Accession number not known.
Keyboard: White naturals, black sharps. Inscriptions: Fecit Betus Floriani MDLXII.
Number of roses: 1. Specification: 1x8'(A).
Length: 1480 mm. Compass: C/E-P(A), short octave.
Width: 520 mm. Keyboard: Special naturals and sharps.
Remarks; No outer case. Arcaded naturals [box]. Ebonized Number of roses: 1.
accidentals. Style of rose(s): Geometrical pattern.
Previous history: Sold by L. Witten to the Rosenbaum Exterior of case: Plain wood.
Collection. Remarks: Though listed as by Rossi, it is signed by
Information supplied by: B2|Lee|Koster|WraightPC. Bendetto Floriani, and dated 1562. Elaborately inlaid
Boalch3 number: ROSSI, F. D. 1597. wooden naturals with arcaded fronts, and blackwood
Boalch 2 number: 6a. inlaid sharps. Hexagonal case of plain wood with partly
cantilevered, partly recessed, keyboard. Inlaid squares
ROSSI, TOMA. over the keyboard on the fascia board either side of a
Type: Single-manual harpsichord. cartouche. Raised on a heavy Italianate stand with three
Date: 1759. legs.
Ownership: YALE UNIVERSITY COLLECTION OF References: Mlustrated in Gall, and in Pag, plates 20 and
MUSICAL INSTRUMENTS, USA. 21. The reasons for its attribution to Rossi are given in
Number: 4880.60. WraightIKI.
Inscriptions: Toma Rossi Viterbese fece anno 1759. Information supplied by: B2/Pag/WraightPC.
Specification: 2x8". Boalch 3 number: ROSSI(A), A. D. n.d.
Compass: D-d?. Boalch 2 number: $a and ot (Floriani).
Keyboard: White naturals, black sharps.
Exterior of case: Painted. ROTHER, HENRY.
Case construction: Italian style, inner/outer. ‘Type: Single-manual clavicytherium.

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 RUCKERS 549
Date: 1774. on the key shafts . . .’. It seems unlikely that it has any
Ownership: NATIONAL MUSEUM OF IRELAND, Spanish connection.
DUBLIN, IRELAND. Accession number not known. Information supplied by: Bz.
Specification: 2x8’, 1x4’. Boalch 3 number: RUBINO, D. 1743.
Compass: FF,GG-g’. Boalch 2 number: 1.
Remarks: Russell 1939 gives the date as ¢. 1775. Mahogany
case. RUCKERS, ANDREAS.
References, Russell 1939, pl. 77- Type: Single-manual harpsichord.
Information supplied by: Bz|Russell 1959. Date: 1605(A).
Boalch 3 number: ROTHER, H. 1774. Ownership: VLEESHUIS MUSEUM, ANTWERP,
Boalch 2 number: 1. BELGIUM.
Number: VH 2136.
ROZET. Inscriptions. Ruckers number: S¢/2.
Type: Wing spinet. Specification: 1x8", 1x4’.
Date: 1680. Number of roses: 1.
Ownership: MUSEE DES BEAUX-ARTS ET Style of rose: Seated harping figure.
D’ARCHEOLOGIE, BESANCON, FRANCE. Length: 1826 mm.
Accession number not known. Width: 723 mm.
Inscriptions: On the jackrail ROZET 1680. Depth: 240 mm.
Specification: 1x8". Remarks: An undated single-manual harpsichord. Authen-
Compass. GG/BB-c'(A), short octave. ticated by O’Brien who ascribes a date of ¢. 1605—his
Keyboard: Black naturals, white sharps. number (¢. 1605) AR. Lambr-D rgé1 says ‘first half of
Number of roses: 1. the 17th century’. The keyboard is missing, but the
Exterior of case: Plain wood. indications are that originally the compass was the usual
Scale: 443 mm. C/E-c’ with a scale of 356 mm. This has subsequently
Remarks: Naturals of ebony with ‘three-lobed’ arcades; been altered (see O’Brien for speculation on the likely
sharps of stained wood with ivory tops. Case is now plain changes both in compass and specification) probably to
but shows traces of having been painted. The compass is C,D-c’. Exterior in red/brown marbling. Paintings inside
given by the Museum as fifty notes extending to c’, and lid and lid flap—mostly unoriginal. O’Brien dates the
thus it seems that it extends to BB in the bass. The rose instrument at ¢. 1605 on the basis of the style of the rose,
is in trompe-l’oeil painted on the decorated soundboard. and the Ruckers number.
Sheridan Germann has pointed out in Germigéy the Previous bistory: Formerly exhibited at the Musée du Steen
possibility that the maker might be identified with Johann in Antwerp from between 1885 and 1892. At the Vleeshuis
Rost (q.v.). since 1952.
References. ChamP, Germig&5. References: VdMCemRuck, p. 113. O'Brien, pp. $2, 209,
Information supplied by: B2|Museum. 255. Lambr-D 1981, p. 153.
Boalch 3 number: ROZET. 1680. Information supplied by. B2|O’ Brien| Lambr-D 1981/O? BrienPC.
Boalch 2 number: 1. Boalch 3 number: RUCKERS, A. 1605(A).
Boalch 2 number: 130.
RUBINO, DOMENICO. ‘Type: Single-manual harpsichord.
‘Type: Single-manual harpsichord. Date: 1607(A).
Date: 1743. Ownership: PRIVATE COLLECTION.
Ovnership: S. E. TOWERS. Specification: 2x8’, 1x4’.
Inscriptions. On the key shafts: Dominicus Rubino fecit 1743 Compass: C/E-c’, short octave.
& Castro nit. . 2 Keyboard: White naturals, black sharps.
Specification: 2x8". Length: 1829 mm.
Remarks: Although Rubino does not figure in any of the Width: 711 mm.
Franciolini catalogues, the instrument is dubious or, to Remarks: Not recorded by O'Brien. Original keyboard
say the least, much altered. The lid bears a painting in with naturals of bone. Originally 1x8’, 1x4’, now 2x8’,
the Spanish style but is not native to the instrument, 1x4’. Appears to be an early example of an Andreas
which is of Italian origin. Ruckers harpsichord, though the means of authenticating
Previous history: Formerly owned by Robin Langdon, who the date and maker are not known.
sold it at Sotheby’s on 16 March 1971. In Michael Previous history: Sold in Paris in March 1990. It seems
‘Thomas’s workshop, November 1971. likely that this is the instrument which was to be sold by
References. Described in Sotheby’s sale catalogue of 16 Jean-Pierre Decavele in 1991, the asking price being FF
March 1971 as ‘a rare Spanish . . . harpsichord inscribed 1,000,000,

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550 RUCKERS
Information supplied by: Anselm|Champ|Michael Thomas. Boalch3 number. RUCKERS, A. 1608.
Boalch 3 number: RUCKERS, A. 1607(A). Boalch 2 number: 72.
Boalch 2 number: None. ‘Type: Single-manual harpsichord.
Date: 1609.
Type: Two-manual harpsichord. Ownership. PROFESSOR PETER WILLIAMS,
Date: 1608. CHAPEL HILL, NORTH CAROLINA, USA.
Ownership. RUSSELL COLLECTION, EDINBURGH Inscriptions: Date 1609 on soundboard.
UNIVERSITY, SCOTLAND. Specification: 2x8", 1x4’.
Number: 3. Additional features: 3 hand stops.
Inscriptions: Unoriginal name-batten inscribed: AND- Compass: C-d'.
REAS RUCKERS ME FECIT ANTVERPIA4E 1608. Keyboard: Black naturals, white sharps.
Ruckers number S¢/79. On baseboard, perhaps a note for Number of roses: 1.
proposed original lid flap inscription in ink beneath Style of rose: Seated harping figure.
keyframe ACTA VIRVM PROBANT. Excterior of case: Veneered.
Specification: 2x8’, 1x4’. Scale: 347 mm.
Additional features: Peau de buffie, shove coupler. Length: 1834 mm.
Compass: GG/BB-c’,d’. Width: 787 mm.
Keyboard: Black naturals, white sharps. Depth: 243 mm.
Number of roses: 1. Remarks: Ravalé single-manual harpsichord. Authen-
Style of rose: Seated harping figure. ticated by O’Brien—his number 1609 AR. Original com-
Excterior of case: Painted. pass C/E-c’, with scale about 352 mm. The case, which
Scale: 379 mm. was originally marbled, was extended and veneered in
Length: 2229 mm. England in the eighteenth century. Soundboard painting
Width: 799 mm. in good condition, though the 8’ bridge is an cighteenth-
Depth: 262 mm. century replacement. The present wrestplank, bottom,
Remarks: Aligned normal double-manual harpsichord. jack-slides, and jacks are by Dolmetsch, who carried out
Authenticated by O’Brien—his number 1608 AR. The a further restoration, changing the keyboard, compass,
instrument has undergone a number of changes. Having scalings and plucking points. Dolmetsch’s keyboard has
started life as a non-aligned double with upper compass been replaced by Clayson and Garrett using ivory naturals
of C/E-c! and lower of C/E-P, the first alignment gave a and ebony sharps. The registers are operated by stop
compass of C-d’, but the disposition at this stage is knobs on the foreboard replacing three pedals formerly
not known. Converted into a grand pianoforte in the added by Lambert. Decorative paper round the inside of
eighteenth century with the same C-d’ compass. Converted the case above the soundboard, patched by Lambert but
back in 1928 (by Hodsdon, who added a new upper probably mostly original.
manual) into a two-manual harpsichord with compass Previous history: Arnold Dolmetsch. Herbert Lambert and
C-d’. In 1953 again restored, with new keyboards of then Mrs. Lambert, Bath. Bought by Dr. Williams in
compass GG/BB-c},d’ and disposition of 1x8’, peau de 1967. Restored by Clayson and Garrett, who attributed the
buffle, 1x4’ on lower manual, and 1x8’ on upper manual early English work to Kirkman. Shown in RassColl1986 as
with shove coupler. Raymond reported in March 1991: being on loan to the Russell Collection.
“Presently awaiting restoration to second historical state References: Illustrated in Apollo, September/October 1943,
as aligned double’, and ‘A more authentic restoration to p. 99. VdMCemRuck, p. 106. O'Brien, pp. 210, 255-6.
its [original] state has been proposed by Grant O’Brien.’ Information supplied by: B2/O" Brien|MacTaggart|RassColl
Exterior in green lacquer with gold and black vine-work 1986|O’ BrienPC.
borders. Splendid paintings inside lid and flap, probably Boalch 3 number: RUCKERS, A. 1609.
by Pieter Codde (1619-66). Boalch 2 number: 73.
Previous history: C. van Raalte. Sir A. Wheeler, Brownsea
Island; 1927. Miss D. L. Smith, Wickhambrook, Suffolk. Type: Rectangular virginal.
Raymond Russell (1952). Two new keyboards and com- Date: 1610.
plete action made by Andrew Douglas and Robert Goble Ownership: MUSEUM OF FINE ARTS, BOSTON,
in 1952/3. 1964 given to Edinburgh University by Mrs. USA.
Russell. The original lower manual was preserved, but Number: 17.1792.
the upper has been lost. Inscriptions: On modern jackrail: ANDREAS RUCKERS
References: Mlustrated in Russell r9s9 and RussColl, p. 7. ME FECIT ANTWERPIAE, and 1610 in paint on
John Barnes in RG.I, p. 38. O’Brien, pp. 52, 98, 107, 127, soundboard. Ruckers number: 4x/3s in ink on highest
161, 165, 179, 214, 255. RassColl1986, p. 10. and lowest keys, on the keyframe, and on the bottom under
Information supplied by: —B2/RussColl|O”
Brien| Raymond] the keyframe. Motto (not original) OMNIS SPIRITUS
O'BrienPC. LAUDET DOMINUM.

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 RUCKERS 551
Specification: 1x8". ticated by O’Brien—his number (¢. 1610)a AR. The
Compass: C/E-c’, short octave. instrument is not part of a mother and child combination,
Keyboard: White naturals, black sharps. but stands in its own right. Because of its unique position
Number of roses: 1. in the range of Ruckers instruments, it is the subject of
Style of rose: Seated harping figure. considerable investigation and comparison by O’Brien [p.
Exterior of case: Painted. 256 and appendix 3, p. 287] with a similar instrument by
Scale: 276 mm. Georgius (or Joris) Britsen dated 1686 (see: BRITSEN,
Length: 1307 mm. J. 1686). The outer case is shaped like a small writing
Width: 454 mm. desk, and is painted in the standard Ruckers green
Depth: 204 mm. marbling. An internal lid painting shows courtiers in a
Remarks: A 4}-voet muselar virginal at pitch R+4. landscape with a castle. The date of ¢. 1610 is ascribed
Authenticated by O’Brien—his number 1610b AR. The ‘on the basis of the rose and soundboard decoration.
only surviving 44-voet Ruckers muselar virginal, and the Previous history: Formerly Hans Adler, Johannesburg,
only Ruckers muselar in which the left-hand jackrail South Africa.
support, instead of being attached to the soundboard, is References: O’Brien, pp. 35, 38 40, 57, 58, 236, 256, 258,
attached to the side of the left-hand keywell brace, and (illustrated p. 288).
flies up over the soundboard. Naturals of bone with Information supplied by: O’ Brien|O’ BrienPC.
embossed parchment? fronts (some have remnants of the Boalch3 number. RUCKERS, A. 1610(A)
original arcades). Sharps of bog oak. The non-original Boalch 2 number: None.
rose is not the usual AR style, though similar to it. The
jackrail, nameboard, toolbox flap, front flap and lid
are all not original. There is, however, the original
Type: Rectangular virginal.
arpichordium (C/E-f) with its finger stop, and in reas-
Date: 1613.
Ownership: BRUSSELS MUSEUM, BRUSSELS,
onably good condition. The soundboard painting is of
BELGIUM.
the correct style with painted flowers and arabesques.
Number: 274.
Exterior painted (the present paint not original). The
Inscriptions: Date 1613 on soundboard. Ruckers number:
interior covered with decorative papers (some modern
grt.
replacements). Although the rose and jack rail are not
Specification. One quint register.
original, it is accepted as a genuine Andreas Ruckers by
Compass. C/E-c'(A), short octave.
Grant O’Brien and Sheridan Germann, and as a four and
a half voet instrument. Lid and stand are modern. Keyboard: White naturals, black sharps.
Previous history: Earliest known owner: Canon F. W. Number of roses: 1.
Galpin, and thence to the MFA.
Style of rose: Seated harping figure.
Scale: 244 mm.
References: Data sheets by John Koster from the Museum.
Illustrated in the 1941 Museum Catalogue. VdMCemRack, Length: 1139 mm.
Width: 444 mm.
P. 134, 135. Rassell 1959, pp. 45-6. O’Brien, pp. 37, 52, Depth: 189 mm.
69, 86, 256, 285. BostonCat.
Information supplied by: B2|MFA|O’ Brien|O’ BrienPC. Remarks: A 4-voet spinett virginal at pitch of R+5.
Boalch3 number: RUCKERS, A. 1610. Authenticated by O’Brien—his number 1613a AR. Ori-
Boalch 2 number: 74. ginal scalings and compass, confirming original quint
pitch. Case repainted and papers replaced. Soundboard
has no trace of original decoration. Jacks and register
Type: Rectangular virginal.
Date: 1610(A). guides are replacements. Crudely repaired in 1930.
Previous history: Matthias van den Gheyn, 1740 (celebrated
Ownership: PRIVATE COLLECTION, AUSTRALIA.
organist and composer of Louvain, b. 1721). Chevalier
Inscriptions: Ruckers number [?)/s7.
Specification: 1x4). Xavier van Elewyck, Louvain (van den Gheyn’s bio-
gtapher). Loaned to the Russell Collection for a few years
Compass: C/E-c’, short octave.
and returned in 1985.
Keyboard: White naturals, black sharps.
References: Russell 1959, p. 47. VdMCemRuck, p. 131.
Number of roses: 1.
O’Brien, p. 256-7, 291.
Style of rose: Seated harping figure.
Exterior of case: Painted. Information supplied by: Bz|Kottick|O" Brien|RussColl
Scale: 147 mm. 1986|O” BrienPC.
Length: 711 mm. Boalch 3 number: RUCKERS, A. 1613(1).
Width: 380 mm. Boalch 2 number: 76.
Depth: 185 mm.
Remarks: The only surviving Ruckers 2}-voet virginal at Type: Rectangular virginal.
pitch R+9--a unique, but undated, instrument authen- Date: 1613.

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552 RUCKERS
Ownership: BRUSSELS MUSEUM, BRUSSELS, Previous bistory. Formerly William Howard Doane,
BELGIUM. Cincinnati.
Number: 2928. References: VdMCemRuck, p. 139. O’Brien, p. 257.
Inscriptions: Date 1613 on soundboard. Ruckers number: Information supplied by: B/O’ Brien|O’ BrienPC.
(4/40. Boalch3 number: RUCKERS, A. 1613(3).
Specification: 1x8". Boalch 2 number: 133.
Compass: C/E-c, short octave.
Keyboard: White naturals, black sharps. ‘Type: Two-manual harpsichord.
Number of roses: 1. Date: 1614.
Style of rose: Seated harping figure. Ownership: THE LATE LEONARD ELMHIRST,
Exterior of case: Painted. DARTINGTON HALL, DEVON, ENGLAND.
Scale: 243 mm. Inscriptions: Not known.
Length: 1138 mm. Specification: 2x8’, 1x4’, lute.
Width: 440 mm. Compass: AA-e’.
Depth: 190 mm. Keyboard: White naturals, black sharps.
Remarks: A 4-voet spinett virginal at pitch of R+5. Number of roses: 1.
Authenticated by O’Brien—his number 1613b AR. Nat- Style of rose: Seated harping figure.
urals of bone, sharps of bog oak—the two top natural Exterior of case: Veneered.
keys have traces of the original arcades. Instrument retains Length: 2245 mm.
original scalings but has lost its papers and soundboard Width: 791 mm.
decoration. Case repainted, but original green (or possibly Depth: 262 mm.
red) porphyry marble decoration visible through cracks Remarks: A typical cighteenth-century English ravalement
in the paint. Jacks, though original are now leathered. of a normal double-manual harpsichord. Authenticated
Previous history: M. Haveaux, Rebecq-Rognon. C. Snoeck. by O’Brien—his number 1614 AR. Original compass of
References: Russell 1939, p. 47. VdMCemRuck, p. 131. C/E-c’ on the upper manual at pitch R, and C/E-P on
O'Brien, pp. 35, 57, 58, 69, 164, 236, 257, 260, 285, the lower at pitch R-4. The case has been widened, and
(including list of string lengths). the octave span narrowed in order to accommodate an
Information supplied by: B*/O’ Brien|O’ BrienPC. extended compass. The keyboards (with ivory naturals
Boalch3 number. RUCKERS, A. 1613(2). and ebony sharps), jacks, and slides are eighteenth-century
Boalch 2 number: 77. work and the bridges and nuts have been repinned while
the case has been veneered, and a lute stop added.
Type: Rectangular virginal. Nevertheless the soundboard painting remains in relatively
Date: 1613. good condition. Inside the lid is a painting of Avila in
Ownership: CINCINNATI MUSEUM OF ART, Spain, attributed to van der Meulen (1632-90) with the
CINCINNATI, OHIO, USA. Cathedral and battlements (Avila being a particularly fine
Number: 1914.30. example of a Spanish walled city). O’Brien says it is ‘much
Inscriptions: Signature on jackrail: Andreas Rackers fecit over-restored’ and reports many ‘stifle bars’ under the 8’
Antwerpiae. bridge.
Specification: 1x4". Previous history: Dr. Blow, Bath. Revd. J. Bower, Bath.
Compass: C/E-d’, short octave. General Hopkinson. J. K. Pyne. Boddington College,
Keyboard: White naturals, black sharps. Manchester. Howard Head, London. W. C. Priestley, and
Number of roses: 1. Messrs. Angell, Bath. Restored in 1940 by Scholze of
Style of rose: Seated harping figure. Basle.
Exterior of case: Painted. References: Wustrated in the Boddington Catalogue [no.
Scale: 178 mm. 12]. VdMCemRuck, p. 110. O’Brien, pp. 165, 216, 257-8.
Length: 835 mm. Information supplied by: B?|O’ Brien[O’ BrienPC.
Width: 330 mm. Boalch 3 number: RUCKERS, A. 1614.
Depth: 140 mm. Boalch 2 number: 78.
Remarks: A child virginal, at pitch R+8, from a mother
and child combination. Authenticated by O’Brier—his Type: Two-manual harpsichord.
number 1613¢ AR, who calls it a typical ‘motherless Date: 1615.
child’. In reasonably good condition though with the Ownership: VLEESHUIS MUSEUM, ANTWERP,
original compass (C/E-c’) extended by two notes in the BELGIUM.
treble by narrowing the octave span and repiercing the Number. VH 2113.
jack slots through original jack slides. Replacement action Inscriptions. Date 1615 on soundboard. Mottoes; on main
including new keylevers, jacks etc. Naturals are now of lid: CONCORDIA RES PARVAE CRESCVNT DIS-
bone and sharps of ebony. CORDIA MAXIMAE DILABVNTVR, on lid flap:

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 RUCKERS 553
OMNIS SPIRITVS LAVDET DOMINVM. Ruckers Depth: 241 mm.
number: S¢/4. Remarks: A 6-voet spinett virginal. Authenticated by
Specification: 1x8’, 1x4’. O’Brien—his number 1617 AR. Non-original naturals of
Additional features: Harp stop. ebony, sharps with bone tops. The compass has been
Compass: GG/BB-c’, short octave. extended but without changing the scaling by moving
Keyboard: Black naturals, white sharps. both keywell braces. O’Brien gives details of the changes
Exterior of case: Painted. made. Lid has papers printed in French and Flemish with
Scale: 351 mm. chronograms indicating that the changes occurred at the
Length: 2244 mm. earliest in 1720. The rose, which is not original, is of the
Width: 789 mm. same casting as that in the 1633 Andreas Ruckers
Depth: 265 mm. instrument in Brussels, and suggests that both instruments
Remarks: Simple alignment of a normal double-manual at one time passed through the same hands. The sound-
harpsichord. Thought to be by Andreas Ruckers, but board painting is recent.
since there is no rose or inscription, the authenticity has Previous history: Bought from the stringed instrument
to be decided on the basis of workmanship and decoration. restorer at the Brussels Museum, C. Houtshout, in 1913.
O’Brien authenticates it on these grounds in some detail References: VdMCemRuck, plates 8 and 9, pp. 105, 150.
(see p. 258)—his number 761; AR. Original compass O’Brien, pp. 46, 69, 258-9, 285.
was upper C/E-c’ at pitch R, lower C/E-f at pitch R-4. Information supplied by: Bz|O’ Brien{O’ BrienPC.
Originally with bone naturals and bog oak sharps, though Boalch 3 number: RUCKERS, A. 1617.
only one of the original keys remains. Rose missing and Boalch 2 number: 82.
no maker’s inscription. Balance pins for lower keyboard
rearranged, showing that compass was altered from C/E-P ‘Type: Single-manual harpsichord.
to GG/BB-c’. When the alignment was carried out no Date: 1618.
extra set of strings was added. Retains the brass trans- Ownership. MUSIKINSTRUMENTEN MUSEUM,
posing plates for the extra strings on the nuts. Many of BERLIN, GERMANY.
the original cloths are preserved giving indications of Number: 2224.
original keydip etc. Except for the soundboard the Inscriptions. On the 4’ jack number 37 is the signature A.
decoration is in good order. The exterior is marbled with Rwackers 1618, and on jack number 22 is A.R. 1618. The
(as O’Brien reports) a ‘unique fan white scumble on the date 678 also appears on the lid interior, the soundboard,
usual reddish-brown background’. and on the front rail of the keyframe. Ruckers number:
Previous history: St. Jacobskerk, Antwerp. Formerly exhib- St/r. Motto on lid 1618/SOLI/DEO GLORIA.
ited at the Musée du Steen, Antwerp. At the Vieeshuis Specification: 1x8’, 1x4".
since 1952. Compass. C/E-c’, short octave.
References: VdMCemRuck, pp. 177, 144, and plate 3. Keyboard: White naturals, black sharps.
Lambr-D 1981, p. 154. O’Brien, pp. 108, 115, 172, 192, Number of roses: 1.
213, 215, 258. Style of rose: Seated harping figure.
Information supplied by: B2|O’Brien[Lambr-D 1981] Exterior of case: Painted.
O’BrienPC. Scale: 352 mm.
Boalch 3 number: RUCKERS, A. 1615. Length: 1827 mm.
Boalch 2 number: 79/[80]. Width: 730 mm.
Depth: 243 mm.
Type: Rectangular virginal. Remarks: Authenticated by O’Brien—his number 1678
Date: 1617. AR. A grand ravalement in the eighteenth century
Ownership: DEUTSCHES MUSEUM, MUNICH, included an extension of compass to C-f. O’Brien reports
GERMANY. that the disposition was both 1x8’, 1x4’, and 2x8’ with
Number: 37588. this compass. Subsequently it was returned to its original
Inscriptions: Andreas Ruckers inscribed on jackrail and compass and width and with original scalings, keyboard
above keys. Ruckers number: 6/23. (the bone natural coverings are missing but the bog
Specification: 1x8’. oak sharps are present) and other features. The outer
Compass: C-P. decoration (which is of small rosettes, forming framings
Keyboard: Black naturals, white sharps. of the panels on a white ground) and tuning pins are not
Namber of roses: 1. original. Inside the lid is a paper decoration which is not
Style of rose: Seated harping figure. unlike a normal Ruckers decoration, but has no
Exterior of case: Painted. arabesques, and has scrolling vegetation, between the
Scale: 367 mm. letters of the inscription 1678 SOLI DEO GLORIA.
Length: 1658 mm. Originally there was a split harp stop. The baseboard has
Width: 458 mm. the plan of the instrument scribed on it. Raised on a

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554 RUCKERS
gtey-painted stand with balustrades— restored by Hans Smithsonian. VdMCemRuck, p. 131. O’Brien, pp. 38, 259,
Zimbal in 1950. 285.
Previous bistory: Formerly César Snoeck, Ronse (Renaix). Information supplied by: Bz|Smithcheck8g|O’
Brien|O’ BrienPC.
Acquired by the Museum in 1902. Boalch 3 number. RUCKERS, A. 1620(1).
References: Friedrich Ernst in GSJ vol. 20 [1967]. A Berner Boalch 2 number: 85.
in RG.I, pp. 53-6. VdMCemRuack, 111, 115, 144. O’Brien,
PP. 52, 126, 208, 210, 259. O’BrienPC. BerlinCat, pp. 116- Type: Rectangular virginal.
20. Date: 1620.
Information supplied by: B2|O’ BrienPC|DroysenReber|Elste| Ownership: BRUSSELS MUSEUM, BRUSSELS,
BerlinCat. BELGIUM.
Boalch 3 number: RUCKERS, A. 1618. Number: 1597-
Boalch 2 number: 83. Inscriptions. Date 1620 on soundboard. Ruckers number:
6|27.
Type: Nameboard only. Specification: 1x8’.
Date: 1619. Compass: C-c’.
Ownership. BRUSSELS MUSEUM, BRUSSELS, Keyboard: White naturals, black sharps.
BELGIUM. Accession number not known. Number of roses: 1.
Inscriptions: Nameboard only, inscribed: Andreas Ruckers Style of rose: Seated harping figure.
me fecit Antwerpiae 1619. Exterior of case: Painted.
Remarks: Authenticated by O’Brien his number 1619 AR. Scale: 360 mm.
Information supplied by: B2|O’ Brien. Length: 1712 mm.
Boalch 3 number: RUCKERS, A. 1619. Width: 492 mm.
Boalch 2 number: [83b]. Depth: 241 mm.
Remarks: 6-voet muselar vitginal. Authenticated by
Type: Rectangular virginal. O'Brien—his number 1620b AR. Naturals of bone, sharps
Date: 1620. of bog oak. Keywell widened from original compass
Ownership: SMITHSONIAN INSTITUTION, C/E-c’ to give chromatic bass by adding four new keys.
WASHINGTON, USA. Treble keys unaltered and thus scalings from E to c’ are
Number: 303,543. original. Very little original decoration remains. All
Inscriptions: Ruckers number: 4/69. Motto on lid: SIC printed papers are modern, and are probably those printed
TRANSIT GLORIA MVNDI. by Closson for other instruments in the museum. Some
Specification: One quint register. original soundboard painting survives, but in poor
Compass: C/E-c’, short octave. condition.
Keyboard: White naturals, black sharps. Previous bistory: Victor-Charles and Joseph Mahillon,
Number of roses: 1. Brussels.
Style of rose: Seated harping figure. References: Mlustrated at J, plate 25. VdMCemRuck, pp.
Exterior of case: Painted. 133, 136. O’Brien, pp. 46, 259.
Scale: 243 mm. Information supplied by: B2|O? Brien[O’ BrienPC.
Length: 1143 mm. Boalch 3 number: RUCKERS, A. 1620(2).
Width: 450 mm. Boalch 2 number: 86.
Depth: 190 mm.
Remarks: A 4-voet spinett virginal at pitch R+ 5. Authen- Type: Two-manual harpsichord.
ticated by O’Brien his number 1620a AR. According to Date: 1620.
Smithcheck&g—at quint pitch, and this is corroborated by Ownership: MUSIKINSTRUMENTEN MUSEUM,
Kottick, and O’Brien. The instrament has many original BERLIN, GERMANY.
features including keys, touchplates (bone naturals, bog Number: 2230.
oak sharps), arcades, cloth, internal papers, and twelve Inscriptions. Date 1620 on soundboard. Ruckers number:
jacks. Exterior case in more recent red-brown paint shows 54/68.
traces of original green and off-white porphyry marbling. Specification: 2x8’, 1x4".
More recent soundboard painting follows lines of the Compass: GG/BB-f, short octave.
original. Keyboard: White naturals, black sharps.
Previous history: Mortis Steinert, New Haven, Connecticut. Number of roses: 1.
Hugo Worch, Washington. Style of rose: Seated harping figure.
References: Illustrated in Steinert Collection catalogue Exterior of case: Painted.
[1893], and in Wash 1969. Smithcheck89. Smithsonian Scale: 360 mm.
photo-negatives 56,309; 56,309 A, B and C; 49,606; Length: 2245 mm.
49,606 A and B. Technical drawing available from the Width: 875 mm.

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 RUCKERS 555
Depth: 268 mm. References: O’ Brien, pp. 69, 260, 285.
Remarks: A ravalé aligned normal double-manual harp- Information supplied by: B2|O’ Brien|O’ BrienPC.
sichord. Authenticated by O’Brier—his number 1620¢ Boalch 3 number: RUCKERS, A. 1620(4).
AR. Original unaligned compass; upper C/E-c’ at pitch Boalch 2 number: 88.
R, lower C/E-f at pitch R-4. In the ravalement the
original string spacing and keyboards were retained but Type: Rectangular virginal.
a second set of 8’ strings was added to give 2x8’, 1x4’, Date: 1620.
but with four registers so that two 8’ rows of jacks pluck Ownersbip: Not known.
the same 8’ strings. Case extended to give treble compass Compass: C/E-c'(A).
to P. Outer case and lid painted in grisaille, with putti-like Keyboard: White naturals, black sharps.
figures displaying heraldic achievements, probably of later Remarks: Little is known about this instrument. Appar-
date. The inside lid has a painting of buildings in a grove ently not mentioned by O’Brien. Though Bz suggests it
of trees. Inner papers may date from the time when the is possibly the same as his number 88, this seems unlikely
instrument was in the Snoeck collection. Original turned since this instrument (O’Brien’s number 162z0d AR) is
and carved oak stand, now painted en suite with case. described above, and the small amount of further inform-
Previous history: Formerly César Snoeck, Ronse (Renaix). ation from Bz given below does not indicate coincidence.
Acquired by the Museum in 1902. Four octaves, bass short octave.
References. Friedrich Ernst in GSJ vol. 20 [1967]. A. Previous history: Formerly Campo, Brussels. Exhibited
Berner in RG.I, pp. 56-60. Sa, no. 2230. VdMCemRuck, Brussels 1880.
Pp. 120, 141. O’Brien, pp. 52, 127, 129, 155, 216, 260. Information supplied by: Bz.
BerlinCat, pp. 121-6. Boalch3 number: RUCKERS, A. 1620(5).
Information supplied by: Bz|O? BrienPC|Droysen-Reber|Elste| Boalch 2 number: 87.
BerlinCat.
Boalch 3 number. RUCKERS, A. 1620(3). ‘Type: Two-manual harpsichord.
Boalch 2 number: 84. Date: 1621.
Ovnersbip: PRIVATE COLLECTION, ST. ETIENNE,
Type: Rectangular virginal. FRANCE.
Date: 1620. Compass: FF-P.
Ownership: MME. F. LABEYRIE, GIF-SUR-Y VETTE, Keyboard: White naturals, black sharps.
FRANCE. Exterior of case: Painted.
Inscriptions: Inscribed on jackrail: Andreas Ruckers me fecit Remarks: A complete grand ravalement ofa small single-
Antverpiae. Date 1620 on soundboard. manual Ruckers into a large French double. Authenticated
Specification: 1x8". by O’Brien his number 1621 AR. The soundboard is a
Compass: C-g’. mixture of original Andreas Ruckers wood with painting
Keyboard: White naturals, black sharps. indicating a date of 1621 with additional new areas of
Number of roses: 1. wood more in the style of the painter working after 1626.
Style of rose: Seated harping figure. References: Dowd, William R. ‘A classification system for
Exterior of case: Painted. Ruckers and Couchet double harpsichords’, in AMIS-J,
Scale: 367 mm. IV (1978), 106-13. OBrien, pp. 181, 211, 260.
Length: 1706 mm. Information supplied by: O’ Brien.
Width: 492 mm. Boalch 3 number: RUCKERS, A. 1621.
Depth: 244 mm. Boalch 2 number: None.
Remarks: 6-voet muselar virginal. Authenticated by
O’Brien—his number 16z0d AR. Original compass of ‘Type: Two-manual harpsichord.
C/E-c’. Naturals of bone, sharps of bog oak. Additions Date: 1623.
have been made at both treble and bass ends of the Ownersbip: PRIVATE COLLECTION, ENGLAND.
keyboard without changing the octave span to give the Compass. FF,GG-P.
new compass. The soundboard painting is in good order, Keyboard: White naturals, black sharps.
though retouched. There seems to have been some doubt Number of roses: 1.
about the date for Bz says: “The present owner has found Style of rose: Seated harping figure.
no date visible on the instrument.’ She suggests that C. Exterior of case: Veneered.
Mercier-Ythier, who restored it, may have found the Scale: 328 mm.
date inside, whereas O’Brien reports: ‘The date on the Length: 2348 mm.
soundboard has the usual red arabesque flourishes on Width: 926 mm.
either side of it.” Depth: 297 mm.
Previous bistory: Henri Pruniéres, who bought it in Belgium Remarks: Ravalé normal double-manual harpsichord.
¢. 1920. (Mme. Labeyrie is his daughter.) Authenticated by O’Brien--his number 1623 AR. Ori-

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556 RUCKERS
ginally non-aligned with upper manual compass C/E-c’ have been painted over. The stand, originally from a
at pitch R, and lower C/E-P at pitch R-4. The instrument virginal has been cut down and has lost its pillars in the
was rebuilt and made to look externally like an English process. Dimensions given are the present sizes.
instrument in the eighteenth century. The operation was Previous bistory: Formerly in the collection of the Oudheid-
so successful that B? was constrained to report ‘in fact kundig Genootschap te Brugge. Gift of Dr. D'Hoop, 1
perhaps English’. Keyboards (naturals of ivory and sharps June 1874.
of ebony), registers, jacks, all of English style and the References. E. M. Ripin in GSJ vol. 21 [1968], footnote 5,
outer case and keywell veneered and with ornate brass and p. 38. Brages, p. 95. VdMCemRuck, pp. 121, 123, 125,
strap-hinges. The soundboard and painting are dark, but 141, 145. O’Brien, pp. 120, 127, 216, 261.
in good condition, and O’Brien reports that about a third Information supplied by: B#|Bruges|GDN-EKI|O’
Brien]
of the eighteenth-century strings survive and are in regular O’BrienPC,
use, while the instrument is tuned to a' = 440Hz. The Boalch 3 number: RUCKERS, A. 1624.
jacks are leathered. Boalch 2 number: 92.
Previous istry: John Hillah, [O’Brien says Hullah],
London. Captain J. Lane, Wanstead. Messrs. Morley,
London. Mrs. J. Cyriax, London. E. W. Clark. Mrs. Type: Rectangular virginal.
Grace Clark, Rickmansworth. Date: 1626.
References: VdMCemRuck, p. 110. O’Brien, pp. 147, 216, Ownership: Not known.
260-1. Remarks: Little is known about this instrument—not seen
Information supplied by: B?|/O’ Brien|O’ BrienPC. by O’Brien—his number 1626 AR. B? says three and a
Boalch 3 number: RUCKERS, A. 1623. half octaves plus two notes; compass extended in the
Boalch 2 number: 91. eighteenth century.
Previous bistory: E. van der Straeten.
Type: Single-manual harpsichord. Information supplied by: B*|O’ Brien.
Date: 1624. Boalch 3 number: RUCKERS, A. 1626.
Ownersbip: MUSEUM GRUUTHUUSE, BRUGES, Boalch 2 number: 93.
BELGIUM.
Number: M.93. Type: Rectangular virginal.
Inscriptions. Inscription on inside of lid: 1624/MVSICA Date: 1626(A).
LAETITIAE/COMES MEDICINA DOLORVM. Ownership. STERCKSHOF MUSEUM, DEURNE,
Date also on soundboard. BELGIUM.
Specification: 2x8’, 1x4’. Number: S2623.
Additional features. Harp stop, genouillére. Inscriptions: Ruckers number &/36.
Compass: F-f. Specification: 1x4’.
Keyboard: White naturals, black sharps.
Compass: C,D-c’.
Number of roses: 1.
Style of rose: Seated harping figure. Keyboard: White naturals, black sharps.
Number of roses: 1.
Exterior of case: Painted.
Style of rose: Seated harping figure.
Scale: 261 mm.
Exterior of case: Painted.
Length: 2136 mm. Scale: 178 mm.
Width: 941 mm.
Depth: 269 mm.
Length: 814 mm.
Remarks. Authenticated by O’Brien—his number 1624 Width: 301 mm.
AR. He gives the Bruges catalogue number as 2297. Depth: 136 mm.
Originally a standard non-aligned double, as the depth of Remarks: A typical motherless child virginal at pitch
the case and other features indicate. Ravalé to five octaves R+8. Authenticated by O’Brien—his number (1626) AR.
with one manual in the eighteenth century. The right The original compass of C/E-c’ has been extended by
cheek-piece [presumably the original one cut off at the widening the keywell on the bass side by one natural’s
back] shows where the space for a fourth jack slide was width, and reducing the octave span. The natural keys
filled in. The original lower manual compass would have are not original though the original bog oak sharps have
been C/E-f. The extension of the compass was carried been retained. The style of soundboard painting, and the
out without widening the bass side of the case, and the arabesques, plus the Ruckers number indicate the date of
notes from B to c’ were moved upwards towards the ¢. 1626.
treble using shorter strings to give scalings suitable for References: O’Brien, pp. 52, 69, 261.
brass stringing and with an extension of the case at the Information supplied by: O’ Brien|O’ BrienPC.
treble side. The harp stop, in the style of J. P. Bull, is Boalch 3 number. RUCKERS, A. 1626(A).
operated by a genouillére. Internal papers which still exist Boalch 2 number: None.

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 RUCKERS 557
Type: Single-manual harpsichord. Number: 54.
Date: 1627. Inscriptions. On nameboard: JOANNES RUCKERS
Ownership. GEMEENTEMUSEUM, THE HAGUE, FECIT ANTWERPIAE 1628. On the soundboard
NETHERLANDS. between the rose and spine, the date 1728. The 7 is clearly
Number. Ec345-1933- overpainted on a 6 and probably indicates the date of a
Inscriptions: On the nameboard: ANDREAS RVCKERS petit ravalement.
ME FECIT ANTWERPIAE. On the lid: SIC/ Specification: 2x8’, 1x4.
TRANSIT/GLORIA MVNDI. Dated 1627 on the Additional features: Shove coupler, harp stop.
soundboard. Ruckers number 45¢. Compass: AA-d?.
Specification: One unison and one octave, both at quint Keyboard: Black naturals, white sharps.
pitch. Number of roses: 1.
Compass: C/E-c', short octave. Style of rose: Seated harping figure.
Keyboard: White naturals, black sharps. Exterior of case: Painted.
Number of roses: 1. Scale: 362 mm.
Style of rose: Seated harping figure. Length: 2257 mm.
Exterior of case: Painted. Width: 801 mm.
Scale: 238 mm. Depth: 267 mm.
Length: 1232 mm. Remarks: When sold at Sotheby’s on 12 December 1985,
Width: 694 mm. the catalogue entry recorded the attribution in Bz to Hans
Depth: 190 mm. Ruckers the Younger, in accordance with the inscription
Remarks: Single-manual harpsichord at pitch of R+5 given above, but corrected this in accordance with GDN
(quint pitch). Authenticated by O°Brien—his number 1627 vol. 16, p. 369 to Andreas Ruckers, and a date of ¢. 1625.
AR. The only surviving Ruckers harpsichord at quint O’Brien who records it as a 1628 alignment and petit
pitch. Probably in the eighteenth century the compass ravalement of a normal double-manual harpsichord,
was changed to A-f, and the disposition changed to 2x8’, authenticates it and gives it the number 1628 AR. The
leaving the 4’ bridge and nut unused. Naturals of bone,
Sotheby’s Catalogue states: ‘. . . the fasciaboard and
sharps of bog oak. In 1964 it was returned to its original
cheeks with later [later than 1628] painted decoration of
pitch, disposition, and compass. Soundboard painting,
seahorse paper in keywell, and traditional papers inside
scrolling foliage over the original printed papers, the
French mid-18th century casework painted with flowers
the lid all in good condition. Belly rail used as backing
on a black lacquer ground with gilt edging, the interior
piece during the cutting of the lower guide and reveals
of the lid with a Franco-Flemish painting contemporary
many clues about the method of cutting the leather and
to the casework of a rural scene with a thatched building
wood of Ruckers lower registers. Upper registers project
beside a river, the original soundboard painted with
through the cheek. Raised on fine turned oak balluster
stand. flowers and birds and a later inset rose pierced and carved
Previous history: Formerly belonged to D. F. Scheurleer, with an angel harpist flanked by the initials J.R.. . . ebony
The Hague. Restored by the museum in 1954 (number naturals with gilded archading (sic) and bone overlaid
78) and 1964. accidentals. . ..” The owner records that according to the
References: For a detailed and illustrated account see Van Russell Collection drawings, the instrument is identical
der Meer in GSJ vol. 18 [1965], with a post-script in GSJ to the 1638 Ruckers in that collection. O’Brien reports
vol. 21 [1968], p. 209. See also: D. F. L. Scheurleer, that the JR rose referred to above was installed by
‘Over het ornament en de aucenticiteit van bedrukte Raymond Russell who was probably responsible for the
papierstroken in twee clavierinstrumenten’, in Med- ‘atypical Ioannes Ruckers signature on the nameboard’,
edeelingen Dienst voor Kunsten en Wetenschappen. . ., 's-Gra- and gives other evidence for attributing it to Andreas
venhage, 6 (1939-40), p. 45. HaagCL p. 19 (illustrated). Ruckers. He also suggests that the ravalement was carried
Russellrgs9, p. 45. GDN, XVI, p. 309. VdMCemRuck, out in France, when new aligned keyboards were made
Pp. 114-15. O’Brien, pp. 41, 43, 52, 58, 60, 98, 114, 127, with a compass of AA-c’. The stand may also date from
133, 175, 208, 261-2 (illustrated), 269. this period. The two topmost keys are modern additions,
Information supplied by: B2| VdM|HaagCL/O’
Brien] executed by Vere Pilkington. The instrument was restored
O’BrienPC, by Dolmetsch in 1954 when five internal ribs were added
Boalch 3 number: RUCKERS, A. 1627. which have subsequently been removed. Probably the
Boalch 2 number: 94. same instrument as Bz number 46.
Previous bistory: Sold at Christie’s in 1953, by an anonymous
Type: Two-manual harpsichord. vendor, to Raymond Russell. Thereafter in the collection
Date: 1628. of C. Vere-Pilkington, Colares, Portugal. Sold at Sotheby’s
Ownership: DR. ANDREAS BEURMANN, on 12 December 1985.
HAMBURG, GERMANY. References: Sotheby's catalogue of 12 December 1985—

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558 RUCKERS
illustrated in colour. VdMCemRuck, p. 109. O’Brien, pp. Style of rose: Seated harping figure.
165, 215, 262-3. Exterior of case: Painted.
Information supplied by: B2|Bexrmann|Sotheby|O’
Brien] Scale: 358 mm.
O’BrienPC. Length: 1706 mm.
Boalch 3 number: RUCKERS, A. 1628. Width: 495 mm.
Boalch 2 number: 46/47a. Depth: 245 mm.
Remarks: A 6-voet muselar virginal. Authenticated by
Type: Rectangular virginal. O’Brien—-his number 16332 AR. Compass extended from
Date: 1632. the original compass of C/E-c! by adding keys from
Ownership: BRUSSELS MUSEUM, BRUSSELS, another Ruckers virginal number 6/36 together with some
BELGIUM. jacks from this instrument. It still has an original
Number: 1593. arpichordium stop. The rose is a crude replacement of
Inscriptions. Scratched on the wrestplank is: A 1632. the original. Exterior decoration of red wood-grain,
Ruckers number: 4/38. covering original green porphyry marbling. Internal.lid
Specification: One quint register. decoration and soundboard painting in good condition
Compass: C-P. and are clearly in the style of Andreas Ruckers. Though
Keyboard: White naturals, black sharps. Bz says that the date is almost illegible and records it as
Number of roses: 1. 1632(?), O’Brien finds no difficulty in reading 1633, and
Style of rose: Seated harping figure. suggests that possibly B2 number 97 also equals 99. There
Exterior of case: Painted. are however some discrepancies between the Bz entries
Scale: 361 mm. for these two instruments which make it likely that 97
Length: 1136 mm. and 99 are separate instruments. Notably (according to
Width: 448 mm. Bz) 97 has its keyboard to the right whereas 99 has it to
Depth: 203 mm. the left. In addition, 99 seems to be of much smaller
Remarks: A 4-voet virginal with altered scalings originally dimensions than 97. The matter deserves further study.
at a pitch of R+5. Authenticated by O’ Brien—his number Previous history Abel Régibo, Ronse (Renaix); Wanda
132 AR. Original compass of C/E-c'. There are traces Landowska (Paris).
of the keyboard having been lengthened at both ends, References: O’Brien, pp. 46, 166, 258, 263, 285.
and the keys being squeezed into the available space to Information supplied by: B2/O’ Brien|O’ BrienPC.
provide the new extended compass of C-f’. The bridges Boalch 3 number: RUCKERS, A. 1633(1).
also have been moved so as to give scalings which are Boalch 2 number: 97 and possibly 99.
no longer Pythagorean in the treble. The soundboard
decoration is completely lost, though some original papers
survive, and there are traces of the original green porphyry Type: Single-manual harpsichord.
marbling. Naturals of bone, sharps of bog oak. The Date: 1633.
Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
keylevers are marked with cighteenth-century gauge
numbers. GERMANY.
Number: 71.
References: VdMCemRuck, p. 132. O’Brien, pp. 231, 263,
Inscriptions. The original signatures which were on the
285.
Information supplied by: B2|O’ Brien|O’ BrienPC. nameboard and probably the jackrail have been lost. The
authentication comes from the rose, and the Ruckers
Boalch 3 number: RUCKERS, A. 1632.
number St/gr found twice.
Boalch 2 number: 98.
Specification: 1x8’, 1x4’.
Type: Rectangular virginal. Keyboard: White naturals, black sharps.
Date: 1633. Number of roses: 1.
Ownership: BRUSSELS MUSEUM, BRUSSELS, Style of rose: Seated harping figure.
BELGIUM. Exterior of case: Painted.
Number: 4600. Scale: 446 mm.
Inscriptions; Handwritten on back of nameboard: F. D. Length: 2112 mm.
Graeve. . .orgenist [2]. . . in... seghem. Wonartig (?) bij Width; 788 mm.
den... digen pastoor and Dit is mijn, in the eighteenth or Depth: 762 mm.
early nineteenth century. Ruckers number: 6/70. Motto Remarks: Originally a normal transposing double-manual
in the lid) MVSICA MAGNORVM SOLAMEN harpsichord. Unusually, it was converted to a single-
DVLCE LABORVM. manual with two unison stops and the case shortened,
Specification: 1x8". bur this was probably done in Italy, which makes the
Compass: C,D-P. change more understandable. Authenticated by O’Brien—
Keyboard: White naturals, black sharps. his number 16336 AR. The compass at this stage was
Number of roses: 1. C,D-d’. In about 1912 it was changed to the present

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 RUCKERS 559
C/E-f at a pitch of R-4. According to Henkelr and from and date is not original. Motto inside the lid: SIC
plates in this reference, the present specification is one TRANSIT GLORIA MVNDI.
unison and one octave. Naturals of bone, sharps of bog Specification: 2x8’, 1x4’.
oak. Some keys show evidence that at one time there Additional features: 2 hand stops.
were pedal pull-downs. Outer case of light blue with Compass: C,D-c'.
painted panels on cheek, tail, and bent side. Internal Keyboard: Black naturals, white sharps.
decoration of papers. Soundboard painting in good Exterior of case: Plain wood.
condition with scenes of courting couples, with flowers, Scale: 328 mm.
birds, insects, etc. Length: 1814 mm.
Previous bistory: According to an inscription on a key lever Width: 720 mm.
at some time in the past, it was sold by Luigi Grilli, Depth: 248 mm.
seminarist of Verni to Antonio Cesori, also a seminarist. Remarks: A normal single-manual harpsichord. Authen-
Thereafter in 1892 in the Paul de Wit collection, Leipzig. ticated by O’Brien—-his number 1635 AR. Much of the
References: Illustrated in P. de Wit’s Perlen . . ., [1892]. original soundboard is missing and has been replaced.
VdMCemRuck, p. 120. Henkelr, pp. 61-5, and plates 26— Much internal framing has also been replaced, but in such
7. OBrien, pp. 52, 148, 157, 213, 251, 263. a way as to replicate the original. Original compass C/E-c’.
Information supplied by: B2|O’ Brien] Henkelr|O’ BrienPC. The 4’ bridge is present, but not strung. The two hand
Boalch 3 number: RUCKERS, A. 1633(2). stops are in the right cheek. The soundboard painting
Boalch 2 number: 100. shows unusual characters in the form of a peacock, a
group of monkeys smoking pipes, a dwarf holding a
Type: Rectangular virginal. hoop through which a dog is jumping, and another dwarf
Date: 1634. playing the bagpipes. The the rose is missing, but O’Brien
Ownership: MUSEE INSTRUMENTAL, PARIS, reports that there is nothing to suggest that the instrument
FRANCE. is not by Andreas Ruckers or that the date 1635 is not
Number: 980.2.X. correct.
Inscriptions: Not known. Previous history: Inside the front flap is inscribed: From
Specification: 1x4’. Madame la Comtesse E de Pas, Chateau de Ramitz to Campbell
Compass: C-a. MacKellar of Lerags. Belonged to Lady Kaye, and Michael
Keyboard: White naturals, black sharps. Thomas (who acquired it from a semi-religious institution
Number of roses: 1. in Kensington) and from whom the present owner
Style of rose: Seated harping figure. acquired it.
Exterior of case: Painted. References: Mentioned by Thomas in ThomasKI, (1976) as
Scale: 164 mm. awaiting restoration. O’Brien, pp. 209, 264.
Length: 812 mm. Information supplied by: Beurmann|O’ Brien|ThomasK1|
Width: 327 mm. O’BrienPC.
Depth: 136 mm. Boalch3 number: RUCKERS, A. 1635.
Remarks: A motherless child virginal originally at pitch Boalch 2 number: None.
of R+8 and with original compass of C/E-c’. Authen-
ticated by O’Brien—his number 1634 AR, though he Type: Two-manual harpsichord.
gives the Museum number as E.980.2.502. Ravalé in 1763 Date: 1636.
when a new extended compass keyboard was added, and Ownership: COBBE COLLECTION, HATCHLANDS
because of the way in which this was carried out the PARK, GUILDFORD, ENGLAND.
pitch was raised effectively by a major third. Number: 2.
Previous history: Formerly the property of the Comtesse de Inscriptions: On the nameboard ANDREAS RVCKERS
la Chambure. ME FECIT ANTVERPIAE 1636. The instrument also
References: OBrien, p. 263. carries the arms of the Savoy family.
Information supplied by: B2|MICL|O’ Brien|O’ BrienPC. Specification: 2x8", 1x4’.
Boalch 3 number: RUCKERS, A. 1634. Additional features: 5 hand stops, shove coupler, harp stop.
Boalch 2 number: 02a. Compass: FF-P.
Keyboard: Black naturals, white sharps.
Type: Single-manual harpsichord. Number of roses: 1.
Date: 1635. Style of rose: Seated harping figure.
Ownership: DR. ANDREAS BEURMANN, Exterior of case: Painted.
HAMBURG, GERMANY. Scale: 364 mm.
Number: 36. Length: 2142 mm.
Inscriptions: Inside is the date 1635, which seems to be Width: 821 mm.
quite acceptable though the namebatten with signature Depth: 265 mm.

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560 RUCKERS
Remarks: An ‘English’ single-manual harpsichord ravalé St/23, but the registers and case slot under the left-hand
into a double-manual harpsichord. Authenticated by end of the jackrail have S¢/24.
O’Brien—his number 1636 AR. The style of workmanship Specification: 1x8’, 1x4’.
in the ravalement indicates that it was worked on by Compass: C/E-c', short octave.
Hemsch, and Michael Thomas gives the date as 1763, and Keyboard: White naturals, black sharps.
this is corroborated CFCI. One school of thought suggests Number of roses: 1.
that the instrument started life as a transposing double, Style of rose: Seated harping figure.
and was later, ¢. 1700 converted to a single before Hemsch Exterior of case: Painted.
(g.v.) carried out a ravalement. This theory is unlikely in Scale: 348 mm.
view of O'Brien’s report that the scribe lines on the bottom Length: 1829 mm.
boards confirm a disposition of 1x8’, 1x4’, with only two Width: 715 mm.
registers. Nevertheless the instrument in its original state Depth: 242 mm.
was unlike the usual late singles from the Andreas Ruckers Remarks: A normal single-manual harpsichord, authen-
workshop, having a compass of C-c’ and a deeper case ticated by O’Brien—his number 1637 AR. In almost
than usual. It is now generally agreed that the ravalement original condition except that the key cheeks have been
is by Hemsch (confirmed by Phillippe Fritsch), and the cut diagonally in the style of the eighteenth-century
instrument has for some time been known colloquially as fortepiano. Naturals of bone, sharps of bog oak. The rose
‘the Ruckers-Hemsch’. The ravalement included new is a modern facsimile, and the jacks are replacements.
keyboards with extended compass having ebony naturals Exterior of case painted in imitation strapwork with
and bone-capped sharps, changes in the framing, move- simulated jewels.
ment of spine and cheek, etc, and though the soundboard Previous history: Formerly in the Collection of Dr. Ulrich
and its barring, apart from some extension appears to Riick, Nuremberg.
be original its painting probably dates from the late References: Mlustrated in Schott and in Hellwig, where the
seventeenth century (CFCI). The exterior has panels with mouldings are given. VdMCemRuck, pp. 111, 115, 142-
mythical scenes (reported by CfCI as dating from the 6. O’Brien, pp. 52, 92, 99, 104, 112, 113, 121, 157-8, 168,
1763 ravalement), while the interior of the lid has a 208, 237, 264-5 (where the string length list is given).
pastoral scene (reported by CFCI to be original). Huber, p. 132.
Previous history: The Savoy family owned the harpsichord Information supplied by: Bz|Hellwig/Schott|O’
Brien| Huber/
until about 1900, when it was acquired by Dr. Stefanovitch O’BrienPC.
of Menton. In 1970, the French Government, anxious Boalch 3 number: RUCKERS, A. 1637.
to acquire from Michael Thomas his Sebastien Erard Boalch 2 number: 105.
harpsichord of 1779, agreed to purchase the latter from
him and in return purchased the ‘Ruckers-Hemsch’ from Type: Rectangular virginal.
Dr Stefanovitch for Michael Thomas, in whose collection Date: 1639.
it was listed in 1976. Ownership: GEMEENTEMUSEUM, THE HAGUE,
References: Illustrated and described at ThomasCetC, p. 27, NETHERLANDS.
and in ThomasKI, plate 3. Also described with several full Number: Ec149~1950.
colour photographs in Country Life, 15 March 1990, pp. Inscriptions: On the jackrail: ANDREAS RVCKERS
62-3, and on the front cover. O’Brien, pp. 90, 104, 165, ME FECIT ANTWERPIAE. Dated 1639 on the
181, 211, 229, 264. O’BrienPC. CFCI, pp. 4-5 (illustrated). soundboard. Ruckers number: 4/59.
This may be the instrument which is listed in Bz as Specification: 1x4’.
number 103, though the latter is shown as having Compass: C/E-c', short octave.
belonged to ‘M. Girard, Paris(2)’. Keyboard: White naturals, black sharps.
Information supplied by: Thomas|Cobbe|O’
Brien|O’ BrienPC| Number of roses: 1.
CFCI. Style of rose: Seated harping figure.
Boalch 3 number: RUCKERS, A. 1636. Exterior of case: Plain wood.
Boalch 2 number: None/10}. Scale: 173 mm.
Length: 796 mm.
Type: Single-manual harpsichord. Width: 432 mm.
Date: 1637. Depth: 141 mm.
Ownership. GERMANISCHES NATIONALMUSEUM, Remarks: The motherless child from a mother and
NUREMBERG, GERMANY. child virginal which has been altered. Authenticated by
Number, MIR 1073. O’Brien—his number 16394 AR. The original compass of
Inscriptions: The instrument is unique in having two C/E-c’ was at some time changed to C,D-c’, with a pitch
Ruckers numbers. It would appear that parts of the of R+9, and subsequently restored to the original, but
instrument were interchanged when in the workshop retaining the smaller three-octave keyboard span (492
since the keyframe and keys have the Ruckers number mm. instead of 500 mm.). Naturals of bone, sharps of

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 RUCKERS 561
bog oak. The exterior decoration of red-brown imitation OK in English and Dutch, with illustrations. HaagCL, p.
wood, the cut-away sloping cheeks, the lid and hinges, 21. VdMCemRuck, pp. 111, 115. O'Brien, pp. 211, 265-6.
and the leather upper registers are not original. The slot Information supplied by: Bz|OK/HaagCL|Kottick|O’
Brien|
on the underside of the case is still present to allow the O’BrienPC.
instrument to be played from the keyboard of the mother. Boalch 3 number. RUCKERS, A. 1639(2).
Previous history: Abel Régibo. Acquired from the collection Boalch 2 number: 108.
of J. A. Alsbach.
References: HaagCL, p. 23. VdMCemRuck, p. 139. O’Brien, ‘Type: Single-manual harpsichord.
Pp. 46, 265.
Date: 1640.
Information supplied by: Bz|HaagCL|O’
Brien|O’ BrienPC. Ownership: YALE UNIVERSITY COLLECTION OF
Boalch 3 number, RUCKERS, A. 1639(1). MUSICAL INSTRUMENTS, USA.
Boalch 2 number: 107. Number: 4878.60.
Inscriptions: The present foreboard with Andreas Ruckers
Type: Single-manual harpsichord. 1640 in Gothic lettering is nineteenth-century, but the
Date: 1639. original small nameboard, though somewhat lengthened,
Ownership. GEMEENTEMUSEUM, THE HAGUE, with Andreas Ruckers me fecit Antverpiae remains. Mot-
NETHERLANDS. toes—main lid 1640/MVSICA LETITIAE/COMES
Number: E.c544-1933. MEDICINA DOLORVM; lid flay CONCORDIA
Inscriptions: Date 1639 on soundboard. On the nameboard, MVSIS AMICA.
which is a copy: ANDREAS RVCKERS ME FECIT Specification: 1x8’, 1x4’.
ANTWERPIAE. Compass: C-d’.
Specification: 1x8’, 1x4’. Keyboard: White naturals, black sharps.
Compass. C/E-c’, short octave.
Number of roses: 1.
Keyboard: White naturals, black sharps. Style of rose: Seated harping figure.
Number of roses: 1. Exterior of case: Painted.
Style of rose: Seated harping figure. Scale: 332 mm.
Exterior of case: Painted. Length: 1813 mm.
Scale: 364 mm.
Width: 708 mm.
Length: 1812 mm.
Depth: 245 mm.
Width: 718 mm.
Depth: 250 mm.
Remarks: A normal single-manual harpsichord. Authen-
ticated by O’Brien—his number 1640a AR. The instrument
Remarks: A much-altered normal single-manual harp-
has undergone a ravalement probably in England ¢. 1700.
sichord. Authenticated by O’Brien—his number 1639b
AR. Originally a single manual harpsichord with compass The original compass of C/E-c’ was extended at this time
to the present C-d’. The 8’ wrestpins have been moved
C/E-c’ at pitch of R, it was converted into a two-manual
back and the original ones, numbering 45, stopped up.
instrument in the late eighteenth century, probably in
England, with compass GG-d’. Converted back to a Both bridges have been somewhat lengthened, concealing
single, with 2x8’, 1x4’ under the direction of Dr. J. H. some of the painted decoration. Apart from these changes,
van der Meer in 1962, and again restored in 1984 to give the instrument is decoratively a good example of a
disposition of 1x8’, 1x4’, and with compass of C/E-c’. Ruckers single with marbled exterior and papered interior,
O’Brien reports however that as it stands, ‘it represents and soundboard in good condition apart from small
no historical state’, the compass being seventeenth century, amount of retouching. The Flemish stand does not belong
but the scalings not appropriate either to the original, or to this instrument, but formerly belonged to instrument
the eighteenth-century conversion. None of the decoration RUCKERS, A. 1648 in Copenhagen.
except the soundboard is original. The space for the Previous history: Given by Charles Burney to the Revd.
discarded eighteenth-century upper manual has been Thomas Twining, Colchester, d. 1804. Miss Twining,
crudely filled in with a wide name-batten. It now has Twickenham, who bequeathed it to her niece, Mrs. A. B.
ivory naturals and ebony sharps. Donaldson of Hampstead in 1889. Sir Algernon Oliphant.
Previous history: J. K. Pyne (organist of Manchester Miss Belle Skinner, Holyoke, Massachusetts. Restored by
Cathedral and Town Hall). Henry Boddington. Howard Rutkowski and Robinette in 1988.
Head. E. Dodd Cramp, Byfield. J. Morley. D. F. References: Mlustrated in the Belle-Skinner Catalogue.
Scheurleer, The Hague. Restored by the Museum in 1963 Acoustic tests carried out in 1985 by E. L. Kottick, see
(number 657) and again in 1984, technical drawing Kottick-response. VdMCemRuck, pp. 112, 115, 144. O’Brien,
available. PP. 127, 148, 156, 266. Technical drawing by R. K. Lee.
References: J. H. van der Meer describes his conversion Information supplied by: B2|Repbann|O’ Brien|O’ BrienPC.
in 1962 of this instrament in detail in GSJ vol. 17 [1964], Boalch 3 number: RUCKERS, A. 1640(1).
pp. 5-15. Further details of this restoration are given in Boalch 2 number: 109.

igitized by (Google
562 RUCKERS
Type: Two-manual harpsichord. the keywell on the bass side and adding additional keys
Date: 1640. to an extension of the keyframe. The scalings from E
Ownership: HOTEL DE CROIX, NAMUR, BELGIUM. upwards are original. Naturals of bone, sharps of bog
Accession number not known. oak. The rose is missing though the hole is present.
Inscriptions. Date 1640 on soundboard. Ruckers number Papers in keywell and front of case. Lid (probably of the
St/2. eighteenth century) has painting with motto on a drape
Specification: 1x8’, 1x4’. with a trophy of instruments. Has arpichordium stop.
Compass: GG/BB-c’, short octave. Stand not original, though old. One of the few Flemish
Number of roses: 1. instruments to retain its original front flap lock.
Style of rose: Seated harping figure. Previous bistory: Bequeathed by the painter Nicolaas Piene-
Exterior of case: Painted. man (1809-1860) in 1860. Restored by the Museum
Scale: 352 mm. in 1957 (number 340). Formerly in the Rijksmuseum,
Length: 2236 mm. Amsterdam. On loan to the Gemeentemuseum from the
Width: 802 mm. Koninklijk Oudheidkundig Genootschap.
Depth: 271 mm. References: HaagCL, p. 25; VdM 1972, p. 134. VdMCem-
Remarks: A normal double-manual harpsichord. Authen- Ruck, pp. 134-5. HaagCL, p. 25. Technical drawing
ticated by O’Brien—his number 1640b AR. Although available from the Museum (1988). O’Brien, pp. 72, 73,
much changed externally, musically the instrument is in 74, 83, 267, 285.
near original state as a transposing double. The nameboard Information supplied by: B2/HaagCL|O’ Brien|O’ BrienPC.
and keyboards have disappeared, but the original 1x8’, Boalch 3 number. RUCKERS, A. 1643(1).
and 1xq’ disposition on upper and lower manual remains Boalch 2 number: 111.
with four registers. Upper keyframe shows the original
C/E-c’ compass, but the lower has been re-pinned to align Type: Two-manual harpsichord.
it with the upper manual. Externally the case has been Date: 1643.
gessoed and painted blue with gilt leaf-and-vine work. Ownership: MRS. SHERIDAN GERMANN, BOSTON,
There are traces of seahorse paper in the keywell. USA.
Soundboard in good condition. The stand, with four Specification: 2x8’, 1x4’.
heavy caryatid figures is not original and the lid is missing. Compass. GG-e’.
Previous history: Came from the Chateau de Francwaret Keyboard: Black naturals, white sharps.
and was given to the Namur Museum by Comte Vizard Exterior of case: Painted.
de Bocarmé. Length: 2265 mm.
References: O’Brien, pp. 85, 101, 112, 120, 123, 125, 213, Width: 845 mm.
215, 258, 266-7. Depth: 265 mm.
Information supplied by: B2|O’ Brien|O” BrienPC. Remarks. A grand ravalement of a normal double-manual
Boaleh 3 number. RUCKERS, A. 1640(2). harpsichord. Authenticated by O’Brien—his number 1643b
Boalch 2 number: 109. AR. Was orginally a transposing instrument with upper
manual C/EF-c! at pitch R, and lower C/E-P at pitch R-4,
Type: Rectangular virginal. later enlarged in France, probably in the eighteenth
Date: 1643. century, to the present compass with new keyboards
Ownership: GEMEENTEMUSEUM, THE HAGUE, (ebony naturals and bone-topped sharps). Though there
NETHERLANDS. is no signature, and the rose is missing, O’Brien reports
Number, F.c176x1952. many indications, including the construction marks on
Inscriptions: Dated: 1643 on soundboard. Inside the lid is the baseboard, and the soundboard, that it is by Andreas
the motto: OMNIS SPRITVS/LAVDET DOMINVM. Ruckers. The present jacks and registers are modern, and
Ruckers number 4/37. thus the eighteenth-century disposition is uncertain.
Specification: 1x8". Previous history: Sold in 1936 by the owners of the Chateau
Compass: C-c?. de Chenonceaux.
Keyboard: White naturals, black sharps. References: O' Brien, p. 267.
Exterior of case: Plain wood. Information supplied by: Germann|Koster|O'
Brien.
Scale: 324 mm. Boalch 3 number: RUCKERS, A. 1643(2).
Length: 1500 mm. Boalch 2 number: None.
Width: 477 mm.
Depth: 217 mm. ‘Type: Single-manual harpsichord.
Remarks: A 5-voet muselar virginal at a pitch of R+2. Date: 1644.
Authenticated by O’Brien -his number 1643a AR. The Ownership: VLEESHUIS MUSEUM, ANTWERP,
bass octave was extended, probably in the eighteenth BELGIUM.
century to make the instrument chromatic by widening Number. VH 2137.

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 RUCKERS 563
Inscriptions: Date 1644 on soundboard. Inscription on Keyboard: White naturals, black sharps.
nameboard: ANDREAS RVCKERS DEN OVDEN Number of roses: 1.
ME FECIT ANTVERPIAE, which makes it appear Style of rose: Seated harping figure.
to be one of the few late Andreas Ruckers instruments Exterior of case: Painted.
which can with certainty be attributed to Andreas the Scale: 364 mm.
Elder. Ruckers number: S¢/16. Length: 1734 mm.
Specification: 2x8". Width: 515 mm.
Compass: C-c’. Depth: 285 mm.
Keyboard: White naturals, black sharps. Remarks: Authenticated by O’Brien,—his number 16446
Number of roses: 1. AR. There have been changes to the original mother (a
Style of rose: Seated harping figure. 6-voet muselar), including an extension of compass. This
Exterior of case: Painted. was effected by moving the left keywell brace to the left,
Scale: 337 mm. thereby not allowing the original child to fit into the
Length: 1814 mm. available space. As a result the child was either discarded
Width: 723 mm. or lost. The present replacement child dates from about
Depth: 231 mm. 1910 (O’Brien suggests B? number 113=114). The fol-
Remarks: A normal single-manual harpsichord. Authen- lowing details relate to the mother: Naturals of bone,
ticated by O’Brien—his number 1644a AR. Originally sharps of bog oak. Outer case painted black (not original).
C/E-c! compass, with 1x8’, 1x4’ disposition, the compass Most of the soundboard painting has disappeared. Jacks
has been extended by adding two notes in the treble and renewed, new internal papers added, and bridges renewed
two in the bass, and the disposition altered by substituting probably in the Heyer workshops in 1910. Much additional
a second 8’ string for the 4’, and the keyboard altered by bracing under the soundboard. It is possible that B?
moving it towards the treble by the width of one natural. numbers 26a and 26b have been confused with this
Shifting the keyboard to the right has shortened the instrument, and the problem is compounded by the
scalings by about two semitones, and adding the extra existence in the Leipzig University Collection of a copy
set of 8’ strings has lengthened the scalings by one of the 1644 Andreas Ruckers mother and child by Otto
semitone, thus the new scalings are about one semitone Marx, Cologne, or Leipzig, sometime after 1913, and
shorter than originally. Lambr-D 1981 says there is a numbered 1093a in Henkelr, p. 110.
‘luitregister’ (i.e. harp stop) split between d$' and e'. The Previous history: Prince de Caraman de Chimay, and
outer case and inner papers are in good order, but the thereafter from 1912 in the Heyer Collection, Cologne.
soundboard painting is almost completely lost. References: Wlustrated in Po. Henkelr, pp. 108-10, and plate
Previous bistory: Formerly exhibited at the Musée du Steen, 62. VdMCemRuck, p. 138. O’Brien, pp. 52, 268.
Antwerp. Restored by Bernhard, Frieherr von Ticher, Information supplied by: B?|Henkelr|O’ Brien|O’ BrienPC.
Markt Kaisheim, 1985. Boalch 3 number: RUCKERS, A. 1644(2).
References. VdMCemRuck, pp. 104, 112, 115. See note on Boalch 2 number: 113/114, and possibly 26a/26b.
the restoration by von Tiicher in the Cologne journal
Concerto, April/May 1985, II, vol. 3. Lambr-D 1981, p. Type: Single-manual harpsichord.
152. O'Brien, pp. 9, 52, 58-60, 62-6, 89, 91, 123, 124, Date: 1646.
157-8, 164, 172, 209, 266, 267-8. Ownership: VLEESHUIS MUSEUM, ANTWERP,
Information supplied by: B*|O’ Brien|Berger|Lambr-D BELGIUM.
1981|O” BrienPC. Number. VH 76.4.
Boalch 3 number: RUCKERS, A. 1644(1). Inscriptions: Inscribed: AANDREAS RWVCKERS—
Boalch 2 number: 112. ANTVERPIAE 1646 on the jackrail.
Specification: 2x8’, 1x4’.
Type: Mother and child virginal. Additional features: Harp stop.
Date: 1644. Compass: C-P.
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, Keyboard: White naturals, black sharps.
GERMANY. Number of roses: 1.
Number: 1093. Style of rose: Seated harping figure.
Inscriptions: Motto on lid (not original): OMNIS Exterior of case: Painted.
SPRITVS LAVDET DOMINVM. On the jackrail Scale: 363 mm.
ANDREAS RVCKERS ME FECIT ANTVER- Length: 2007 mm.
PIAE. Dated in red on the soundboard 1644. Ruckers Width: 882 mm.
number M/28 on the bottom boards and key c’, and on Depth: 225 mm.
the left behind the end of the keyframe. Remarks: A ravalé normal single-manual harpsichord.
Specification: 1x8’ (mother) and 1x4’ (child). Authenticated by O’Brier—his number 1646a AR. Ori-
Compass: C,D-c’. ginally 1x8’, 1x4’, C/E-c’, short octave. Extended in

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564 RUCKERS
Flanders in the eighteenth century by widening the case must have been made some years before it was used in
at the bass and treble ends to give present compass of this instrument. DowdHH gives further evidence of
C-f, and with a second 8’ stop being added. Bridges also Blanchet’s connection with the instrument, including
replaced at this time. Internal framing is of the same style considerable detail about the keyboards.
as that shown in Hwbb 196s, plate XXXV. The full Previous bistory: At the Paul Eudel sale of 1898 bought by
drawing of the enlargement was found on the inside of Mme. Adrien Allez, from whose daughters’ heirs it was
the bottom, with notes in Flemish. Lid has a painted acquired in 1962 by the Comtesse de Chambure. Restored
engraving of a concert by C. van Loo, glued to the inside. by Bédard.
Block printed papers and exterior paint are modern, but References: Genouillére action illustrated in RipExpr.
much of the soundboard painting is original. DowdHH. pp. 70-1. VdMCemRuck, p. 120. O’Brien, pp.
Previous history: Alphonse Van Neste, Brussels. William 44, 112, 147, 165, 180, 197, 202-4, 216, 217, 230, 232,
Post Ross, Boston, Massachusetts. At the Vleeshuis since 269, 272.
1976. Information supplied by: B2|MICL{O’Brien| DowdHH|
References: Lambr-D 1981, p. 153, and plate 424. O’Brien, O’BrienPC.
p. 268. Boalch 3 number. RUCKERS, A. 1646(2).
Information supplied by: B2|O’Brien[Lambr-D _1981/ Boaleh 2 number: 115.
O’BrienPC.
Boalch3 number: RUCKERS, A. 1646(1).
Boalch 2 number: 1152.
Type: Single-manual harpsichord.
Date: 1648.
Ownership. MUSIKHISTORISK MUSEUM,
Type: Two-manual harpsichord. COPENHAGEN, DENMARK.
Date: 1646. Number: 1968-54.
Ownership. MUSEE INSTRUMENTAL, PARIS,
Inscriptions: Inscribed: ANDREAS RVCKERS ME
FRANCE.
FECIT ANTVERPIAE. Dated: 1648. Case carries
Number: E.979.2.1. mottoes SOLI DEO GLORIA, and on the lid ACTA
Inscriptions: Inscribed on wrestplank [Bz]: Refait par Pascal
VIRVM PROBANT, and SIC TRANSIT GLORIA
Taskin, Paris 1780, but according to DowdHH: FAIT
MVNDDI. Ruckers number: S¢/69.
PAR PASCAL TASKIN A PARIS 1780. Printed label
Specification: 2x8’, 1x4’.
inside the bent side: remis a ravalement .. ..
Additional features: Harp stop.
Specification: 2x8’, 1x4’.
Compass: C/E-c’, short octave.
Additional features: Peau de buffle, genouillére.
Keyboard: White naturals, black sharps.
Compass: FF-f.
Keyboard: Black naturals, white sharps.
Number of roses: 1.
Style of rose: Seated harping figure.
Number of roses: 1.
Exterior of case: Painted.
Style of rose: Seated harping figure.
Exterior of case: Painted. Length: 1826 mm.
Width: 711 mm.
Scale: 362 mm.
Length: 2250 mm.
Depth: 241 mm.
Width: 904 mm. Remarks: A normal single-manual harpsichord. Authen-
Depth: 255 mm. ticated by O’Brien—his number 1648 AR. Altered in the
Remarks: Grand ravalement of an extended compass eighteenth century to give a chromatic compass of C-d’,
‘French’ double-manual harpsichord. Authenticated by and a second set of 8’ strings. The instrument was restored
O’Brien—his number 1646b AR. Also listed in DowdHH by Frank Hubbard in 196; with a number of major
under ‘Blanchet’ who carried out a ravalement in 1756. alterations. (See: O’Brien, p. 269 for a full list of the
Originally a non-aligned double with upper manual changes.) While bringing the compass back to the original,
compass F-f' at pitch of R-4, and lower compass of GG-c’ the instrument is by no means in its entire original state,
at pitch of R. The ravalement was carried out in the and O’Brien reports that it is ‘in a state of musical and
eighteenth century. The keyboards, dated 1756, are organological purgatory’, being neither in its original
probably Blanchet’s work, and it was probably at this state nor the state it was in after its eighteenth-century
time that the instrument was widened, new registers were ravalement. It still has its original external decoration of
made and the bridges repinned to give 2x8’, 1x4’. In strapwork holding large semi-precious stones against a
1780, Taskin thickened the case sides, added the peau de marbled background. Most of the interior is in original
buffle and the genouillére. The instrument was decorated state and in reasonably good condition.
in vernis-martin, and a new en-suite stand added. Inside the Previous bistory: ¢. 1923 purchased in Holland by the cellist
lid and flap are mythological scenes, probably by Artus Otto van Koppenhagen, New York. 1965 sold to Gustav
Wolfort (1581~1641), who had died five years before the Leonhardt, Amsterdam. 1965 restored by Frank Hubbard.
instrument was made—it seems therefore that the lid Sold by Leonhardt to the Museum in 1968. Rose made

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 RUCKERS 565
by Frank Hubbard. Exhibited at the 19th Art Exhibition Ownership: VICTORIA AND ALBERT MUSEUM,
of the Council of Europe, Denmark, 1988. LONDON, ENGLAND.
References: MMCC. GDN-EKI, p. 56. Catalogue of the Number: 1079-1868.
19th Art Exhibition of the Council of Europe, Denmark, Inscriptions: Above the keys: ANDREAS RVCKERS
1988. Recorded on Telefunken ‘Das Alte Werk’, with ME FECIT ANTVERPIAE 1637 and on the sound-
Gustav Leonhardt (SAWT
9 512-B). VdMCemRuck, plate board the date 76y7 is written on a white scroll between
I, pp. 112, 115, 142. O’Briew, pp. 52, 157-8, 166, 266, the rose and the spine. On the lid internally: SIC
269. TRANSIT GLORIA MVNDI, and on the lid flap:
Information supplied by: B2| MMCC/O’ Brien|O’ BrienPC. MVSICA DONVM DEI. On the keywell flap (now
Boalch 3 number: RUCKERS, A. 1648. lost): ACTA VIRVM PROBANT.
Boalch 2 number: 117. Specification: 1: 2x8’, 1x4’; I: 1x8’.
Type: Single-manual harpsichord.
Additional features: Dogleg, 3 hand stops.
Date: 1651. Compass: GG,AA-P.
Ownership: MRS. PETER MAXWELL STUART, Keyboard: White naturals, black sharps.
TRAQUAIR HOUSE, INNERLEITHEN, Number of roses: 1.
SCOTLAND. Style of rose: Seated harping figure.
Inscriptions. Inscribed: ANDREAS RVCKERS Exterior of case: Painted.
ANDREAS] F.[ILIVS] FECIT ANTVERPIAE. Scale: 330 mm.
Date on soundboard, but there is doubt as to whether Length: 2020 mm.
the figure » of 76s7 is correct or whether it is a 4 which Width: 915 mm.
has been retouched. Mottoes on main lid: SIC TRANSIT Depth: 262 mm.
GLORIA MVNDI; on the lid flap: SOLI DEO Remarks: This instrument was attributed in Bz to Andreas
GLORIA; and on the keywell flap (not original): LAVS the Younger with a date of 1651, but the Museum (see:
DEO. Ruckers number: S#/2. Ve&A Cat, pp. 53-6) attributes it to Andreas the Elder
Specification: 2x8’, 1x4’. and assigns the date 1631. Nevertheless, O’Brien, who
Compass: C-d. describes it (p. 270) as an English ravalement, in the early
Keyboard: White naturals, black sharps. to mid-eighteenth century, of a small single-manual
Number of roses: 1. harpsichord to a double-manual, numbers it as his 16575
Style of rose: Seated harping figure. AR. The keyboards with ivory naturals having moulded
Exterior of case: Painted. boxwood fronts and ebony sharps are characteristically
Length: 1864 mm. English, while it appears that a new wrestplank, a second
Width: 732 mm. manual, new jacks (including the dogleg), and registers,
Remarks: A normal single-manual harpsichord. Authen- were fitted at the same time as the keyboards were made.
ticated by O’Brien—his number (16s1)a AR. The instru- The case, originally marbled in white on dark red (still
ment is the only one which can safely be ascribed to visible on spine), is now overpainted in black. The
Andreas the Younger. The instrument has undergone Museum suggests that though the date 1657 appears on
two stages of ravalement, the first to give a compass of the soundboard, the style of the inscription indicates that
C/E-d? with disposition 2x8’, 1x4’, and secondly to give it is a later restoration, probably carried out when the
C-d’ with the same disposition. At the latter time original date had faded to near illegibility. In addition
the bridges were repinned, new jacks fitted, and the (according to V&A Cat) the style of the soundboard
three-octave span was reduced in order to fit in the painting, and its similarity with other known genuine
additional keys. Keywell lined with sea-horse paper. Ruckers of the period together with the rose style make
Naturals of bone and sharps of bog oak. The external it almost completely certain that the instrument is a
case has its original marbling. Soundboard painting, genuine (though much-altered) Ruckers of 1631. O’Brien,
though excessively retouched, gives a good impression however, still maintains it as being of the apparent date
of how a Ruckers harpsichord must have looked originally. of 1651.
The keywell flap and stand are modern.
Previous history: Most probably brought directly from
Previous history: Christopher Smith. Lady Rivers. Mr.
Wickham. Canon Hawtrey. Dr. Chard. Mr. Hooper.
Antwerp to Scotland for the Stuart family, and has always
Messrs. Broadwood who presented it to the Museum in
been at Traquair House, Innerleithen, Scotland.
References: VdMCemRuck, p. 113. O’Brien, pp. 52, 104,
1868. Allegedly at one time owned by Handel.
References: Russelligs9, p. 165 ef seq for evidence of
147, 161, 164, 269-70.
Information supplied by: B2|O’ Brien|O’ BrienPC. ownership by Handel. GSJ, 1968, p. 38. Russell V & A.
Boalch3 number: RUCKERS, A. 1651(1). VeeA Cat, pp. 53-6, and (for details of soundboard
Boalch 2 number: 118a. painting) Sheridan Germann, in The Historical Harpsichord.
Monographs in honour of Frank Hubbard. Edited by Howard
Type: Two-manual harpsichord. Schott, New York. Vol I, 1984 ef seg. VdMCemRuck, pp.
Date: 1651. 105, 112, 115. O’Brien, pp. 9, 92, 123, 181, 211, 270.

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566 RUCKERS(A)
Information supplied by: B2|V&A Cat|O’ Brien|O’ BrienPC. Exterior of case: Painted.
Boalch 3 number: RUCKERS, A. 1651(2). Scale: 360 mm.
Boalch 2 number: 118. Remarks: An unauthentic Ruckers according to O’Brien
(his number ‘1617 AR’). According to Hellwig, Hxber,
Type: Two-manual harpsichord. and also Elfrid Gleim, the instrument is probably by
Date: 1654. Hieronymus Mahieu, ¢. 1730. dM regards it as probably
Ownership: GERMANISCHES NATIONALMUSEUM, a southern French instrument of the eighteenth century.
NUREMBERG, GERMANY. A large double, heavily decorated probably in modern
Number: MINE 85. times. It has an Andreas Ruckers signature on the jackrail,
Inscriptions: Inscribed on jackrail, which, however, is not and an HR (sic) rose. The soundboard is reported to be
original but probably eighteenth-century: ANDREAS of cypress, and the compass unoriginal.
RVCKERS ME FECIT ANTVERPIAE ANNO Previous history: Formerly in the Neupert Collection.
1634. Mottoes on lid: SIC TRANSIT GLORIA References: VdM. Mouldings shown in Hellwig. O'Brien, p.
MVNDI, and on keywell flap (not original): ACTA 282. Huber, p. 134.
VIRVM PROBANT. Information supplied by: Bz|Hellwig{O’ Brien] VdM|Huber|
Specification: 2x8", 1x4’. O’BrienPC.
Compass: GG/BB-f, short octave. Boalch 3 number: RUCKERS(A), A(A). 1617(A).
Keyboard: White naturals, black sharps. Boalch 2 number: 81.
Number of roses: 1.
Style of rose: Seated harping figure. Type: Two-manual harpsichord.
Exterior of case: Painted. Date: 1619.
Scale: 330 mm. Ownership: Not known.
Remarks: A ravalé double-manual harpsichord of a single- Number of roses: 1.
manual harpsichord with compass C/E-c’. Authenticated Remarks: Little known about the instrument--untraced
by O’Brien- -his number 1654 AR. Second manual added, by O’Brien—his number ‘r619 AR’. Bz says: ‘Sculptured
probably in the Low Countries (indicated by Flemish rose. Attributed to Andreas’.
writing on the jacks and keylevers) in the eighteenth Previous bistory: Régibo.
century and compass extended to C-e’ by moving out the Information supplied by: Bz|O" Brien.
cheek to extend the treble compass. At this time new Boalch 3 number: RUCKERS(A), A(A). 1619.
keyboards, jacks, registers, jackrail, bridges, nuts, and Boalch 2 number: [83a].
wrestplank were made. A third extension produced the
present compass of GG/BB-P. The rose is not original,
and though the case has been repainted, it is in imitation Type: Two-manual harpsichord.
of the original marble decoration. Date: 1621(A).
Previous history: Formerly in the Neupert Collection. Ownership. PALACE MUSEUM, SINAIA, ROMANIA.
References: Mouldings shown, and illustrated in Hellwig. Accession number not known.
VdMCemRuck, pp. 112, 115. Huwber, p. 133. O’Brien, 165, Inscriptions. Signed ANDERIAS (sic) RVCKERS.
181, 211, 270-1. Specification: 2x8’, 1x4’.
Information supplied by: B2|Hellwig/O’ Brien|Huber|O’ Brien Number of roses: 1.
PC. Style of rose: Seated harping figure.
Boalch 3 number. RUCKERS, A. 1654. Remarks: An unauthentic instrument according to
Boalch 2 number: 119. O’Brien —his number ‘1621 AR’. It is a French
eighteenth-century double, and has the usual French
RUCKERS(A), ANDREAS(A). disposition, compass and decoration [O’Brien]. Four rows
of jacks. Lid painted by L. J. Vernet.
Type: Two-manual harpsichord.
Date: 1617(A). Previous history: The Sinaia palace was the former palace
Ownership: GERMANISCHES NATIONALMUSEUM, of the Hohenzollern King Carol I.
NUREMBERG, GERMANY. References: O'Brien, p. 282.
Number. MINe 86. Information supplied by: B2|O" Brien|O” BrienPC.
Inscriptions. According to Hyxber, there is an inscription: Boalch 3 number. RUCKERS(A), A(A). 1621(A).
ANDREAS RVCKERS ME FECIT ANTVERPIAE Boalch 2 number: 88a.
ANNO 1617.
Specification: 2x8°, 1x4’. Type: Two-manual harpsichord.
Additional features: Pedal, hand stops, swell, machine. Date: 1622(A).
Compass: GG-e'. Ownership: HOCHSCHULE FUR MUSIK,
Number of roses: 1. FRANKFURT AM MAIN, GERMANY. Accession
Style of rose: Scated harping figure. number not known.

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 RUCKERS(A) 567
Inscriptions: There is an AR rose, and on the soundboard, Information supplied by: B?.
the date 1629, which has been misread as 1622. On the Boaleh 3 number. RUCKERS(A), A(A). 1623(A).
nameboard is the inscription ANDREAS RVCKERS Boalch 2 number: 90.
FECIT ANTVERPIAE, while on the reverse is the
inscription in neat ink script: Blanchet boc Clavicymbalum Type: Two-manual harpsichord.
Complété Reparavit Parisis Pontneuf Anno Domini 1725. Date: 1628(A).
Underneath is another repair notice: Ce clavecin a été reparé Ownership: DR. R. MIRREY, LONDON, ENGLAND.
completement par Marius—Roxband—le 10 Fevriex—1876. Accession number not known.
A Paris. Inscriptions. Inscribed: Andreas Ruckers me fecit Antverpiae
Specification: 2x8’, 1x4’. 1628.
Compass: GG-d’. Specification: 2x8’, 1x4’.
Keyboard: Black naturals, white sharps. Additional features: Hand stops, coupler.
Compass: FF-f.
Number of roses: 1.
Number of roses: 1.
Style of rose: Seated harping figure.
Style of rose: Seated harping figure.
Exterior of case: Painted.
Scale: 340 mm.
Exterior of case: Painted.
Length: 2311 mm.
Length: 2240 mm.
Width: 914 mm.
Width: 812 mm.
Depth: 290 mm.
Depth: 259 mm.
Remarks: According to O’ Brien, an unauthentic instrument
Remarks: According to O’Brien an unauthentic Ruckers
(his number ‘1628 AR’), which is a large French double
instrument (his number ‘1622 AR’). Listed in DowdHH
with very elaborate decoration. Mirrey says: ‘The instru-
as having been worked on by Blanchet in 1725. There is ment is an anonymous 18th century French harpsichord,
some confusion in B? where it is listed as Ruckers number incorporating an Andreas Ruckers rose and large virginal
[89] with the date 1622, but he also ascribes it to Blanchet soundboard.’ Converted into a grand pianoforte by
as his number 1, but this cannot be the case since it is in Zeitter; converted back again to a harpsichord by Hugh
fact number 04 in the list of B? Blanchet instruments. Gough. O’Brien reports that the soundboard is made up
DowdHH says: ‘. . . the weight of evidence is against of pieces of old virginal soundboards, probably Flemish
Andreas Ruckers having made this instrument. It was and possibly Ruckers and that the rose is a bad casting
most likely made as a deliberate fake later in the century of an Andreas Ruckers rose. Manual coupler. Four rows
in Antwerp.’ The arguments concerning its history are, of Jacks. The action is modern.
however, complex, and all references should be consulted Previous bistory: Balbastre, Paris. James Goding. Earl of
for a complete picture. The instrument now has the usual Lonsdale [sold 1887]. W. H. Burns and Captain Hall.
French disposition, but plugged holes in the wrestplank, Viscountess Harcourt. Raymond Russell, who sold it at
bridges and 4’ hitch pin rail indicate an original disposition Sotheby’s 9 May 1958 to the present owner.
of 1x8’, 1xq’ and compass of GG/BB-c', and probably References: Ulustrated in Old furniture, September 1927.
original scaling of about 362 mm. The soundboard is VdMCemRuck, p. 108. Mirrey. O'Brien, p. 282 and illus-
from an earlier instrument which may have been Flemish. tration plate F.3. _
O’Brien says that all the usual authentic Ruckers marks Information supplied by: B?|Mirrey[O’ Brien|O’ BrienPC.
are missing. Keyboards, probably by Blanchet with Boalch 3 number: RUCKERS(A), A(A). 1628(A).
modern natural keyslips, but original alisier arcades and Boalch 2 number: 95.
sharps of stained fruitwood with bone tops.
Previous bistory: The history of the instrument is explored Type: Virginal.
in some detail by DowdHH, pp. 42-5. Date: 1630.
References. O’Brien, pp. 186, 282. DowdHH, pp. 42-5. Ownership: Not known.
VdMCemRuck, p. 10. Remarks: All that is known about the instrument comes
Information supplied by. B?|V’dM|Dowd HHO’ Brien] from B?. Listed by O’Brien as untraced and unseen. Has
O’BrienPC. AR rose.
Boalch3 number: RUCKERS(A), A(A). 1622(A). Previous bistory: Prince de Caraman de Chimay. Sold at
Boalch 2 number: (89). Puttick and Simpson’s 14 December, 1910.
Information supplied by: B*/O’ Brien.
Boalch 3 number: RUCKERS(A), A(A). 1630.
Type: Virginal. Boalch 2 number: 96.
Date: 1623(A).
Ovnership: Not known. Type: Virginal.
Remarks: All that is known about the instrument comes Date: 1634.
from B?. Listed by O’Brien as untraced and unscen. Ownership: Not known.
Previous bistory: Mahillon. Number of roses: 1.

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568 RUCKERS(A)
Remarks: All that is known about the instrument comes by Pascal Taskin in 1782. The soundboard consists almost
from B?. Listed by O’Brien as untraced and unseen. entirely of pieces taken from Flemish virginals. The AR
Compass of four octaves. rose was probably already in one of these pieces when
Previous bistory: E. de Bricqueville. the soundboard was constructed.
Information supplied by: B*. Previous history: Former owners include: Queen Marie-
Boalch 3 number: RUCKERS(A), A(A). 1634. Clotilde of France, wife of King Emmanuel IV of
Boalch 2 number: 102. Sardinia. Museo Civico, Turin. Restored by the late Vere
Pilkington.
Type: Two-manual harpsichord. References: VdMCemRuck, p. 108, O’Brien, p. 282.
Date: 1636. Information supplied by: B?|O’ Brien[O’ BrienPC.
Ownership: CONSERVATORY OF SAN PIETRO A Boalch 3 number: RUCKERS(A), A(A). 1636(A)(1).
MAJELLA, NAPLES, ITALY. Accession number not Boalch 2 number: (104]Ruckers, 3b Taskin.
known.
Inscriptions: Inscribed: ANDREAS RVCKERS ME Type: Single-manual harpsichord.
FECIT. Date on soundboard. Dated 1ésr on the keys Date: 1639(A).
which O’Brien suggests was the date in which the Ownership. BRUSSELS MUSEUM, BRUSSELS,
attribution to Ruckers was made. BELGIUM.
Specification: 2x8’, 1x4’. Number: 3908.
Compass: C-b’* (sic). Inscriptions. On jackrail inscribed: ANDREA (sic)
Keyboard: Black naturals, white sharps. RVCKERS ME FECIT ANTVERPIAE (probably a
Number of roses: 1. replacement). Date 1639 on soundboard.
Style of rose: Seated harping figure. Specification: 2x8’, 1x4".
Length: 2400 mm. Compass: C-b*.
Width: 950 mm. Keyboard: White naturals, black sharps.
Remarks: According to O’Brien an unauthentic instrument, Number of roses: 1.
probably of Italian construction. It is his number ‘1636 Style of rose: Seated harping figure.
AR’, though it is understood that this will be changed Exterior of case: Painted.
to ‘1636a AR’ in the next edition. The date 1633 is Scale: 361 mm.
suggested by B?. The instrument has been much restored, Length: 1840 mm.
and little is original. Width: 714 mm.
Previous history: Duca Ernesto del Balzo. Depth: 228 mm.
References. VdMCemRuck, p. 108. O'Brien, p. 282. Remarks: According to O’ Brien an unauthentic instrument,
O’BrienPC. though Flemish (his number ‘7639 AR’). It has many
Information supplied by: B?|O’ Brien|O’ BrienPC. features similar to Ruckers practice, but the internal
Boalch 3 number: RUCKERS(A), A(A). 1636(1). construction, the case joints, and the soundboard painting
Boalch 2 number: (101). are unlike those of a genuine Andreas Ruckers instrument,
and the rose casting is a crude imitation. Naturals or hone
Type: Two-manual harpsichord. with embossed and incised paper fronts. Sharps of bog
Date: 1636(A). oak. Compass originally C/E-c’ and with disposition 1x8’,
Ownership: MARCHESA DA CADAVAL, COLARES, 1x4’. Jackrail with typical Andreas Ruckers inscription
PORTUGAL. probably a replacement.
Inscriptions: Above the keys according to B?: André (sic) Previous history: Musée Charlier, Brussels.
Rukers (sic) année 1636, and near the wrestplank: Fait par References: VaMCemRuck, p. 111. O’Brien, pp. 189, 193,
Pascal Taskin a Paris, 1782. 282. O’BrienPC.
Specification: 2x8’, 1x4’. Information supplied by: B?|O’ Brien|O’ BrienPC.
Additional features: Peau de buffle, shove coupler, Boalch 3 number: RUCKERS(A), A(A). 1639(A).
genouillére. Boalch 2 number: 106.
Compass: EE-P.
Number of roses: 1. Type: Single-manual harpsichord.
Style of rose: Seated harping figure. Date: 1646(A).
Exterior of case: Painted. Ownership: LORD TOLLEMACHE, HELMINGHAM
Length: 2337 mm. HALL, SUFFOLK, ENGLAND.
Width: 940 mm. Specification: 2x8’, 1x4’.
Remarks: According to O’ Brien not an authentic instrument Additional features: Hand stops.
(his number ‘1636 AR’, though it is understood that this Compass: FF,GG-e.
will be changed to ‘16366 AR’ in the next edition) but Keyboard: White naturals, black sharps.
a French double which is reported to have been rebuilt Number of roses: 1.

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 RUCKERS(A) 569
Style of rose: Seated harping figure. Compass. C/E-c’(A).
Exterior of case: Painted. Keyboard: White naturals, black sharps.
Scale: 542 mm. Number of roses: 1.
Length: 2097 mm. Length: 1778 mm.
Width: 887 mm. Wideb: 711 mm.
Depth: 257 mm. Remarks: All that is known about the instrument comes
Remarks: According to O’Brien (his number ‘1646 AR’) from B?. Listed by O’Brien as untraced and unseen. Has
and others, almost certainly an unauthentic instrument an AR rose, and compass given by B? as C-C, four
built in England by the same person who made the ‘Ham octaves.
House Ruckers’ (RUCKERS(A), I(A). 1634(A)). Naturals Previous history: Régibo.
of ivory and sharps of ebony. The rose appears to be a Information supplied by: B’.
genuine AR rose, and the original from which the 1634 Boalch 3 number. RUCKERS(A), A(A). 1659.
IR rose in the Ham House Ruckers was made. Spine, Boalch 2 number: 122.
and spine liner from a Flemish instrument (possibly
Ruckers), but otherwise the instrument bears only a ‘Type: Harpsichord (Number of manuals not known).
superficial resemblance to a Ruckers and was almost Date: 1667.
certainly built as a deliberate attempt to defraud the Ownership: Not known.
purchaser into thinking it was a genuine Ruckers instru- Remarks: All that is known about the instrument comes
ment. It has a pedal mechanism which brings on the from B?. Listed by O’Brien as untraced and unseen. It
registers successively to form a crescendo. was described by Fétis in 1865 as ‘Un beau clavessin’.
Previous history: Probably in the same family since its Information supplied by: B’.
purchase in the eighteenth century. Boalch 3 number: RUCKERS(A), A(A). 1667.
References: VdMCemRuck, p. 109. O’Brien, pp. 193, 283. Boalch 2 number: 123.
Information supplied by: B2|O’ Brien|O’ BrienPC. Type: Two-manual harpsichord.
Boalch 3 number: RUCKERS(A), A(A). 1646(A). Date: Not known.
Boalch 2 number: 116? Ownership: KNUD KAUFMANN, BRUSSELS,
BELGIUM.
Type: Single-manual harpsichord. Inscriptions: Jackrail {not original] reads: Andrea Rackers
Date: 1655. me fecit Antwerpiae.
Ownership: Not known. Specification: 2x8’, 1x4’.
Remarks: All that is known about the instrument comes Additional features: Dogleg.
from B?. Listed by O’Brien as untraced and unseen. Compass: FF-d?.
Previous bistory: M. Lavigné (from the Chateau de Perceau, Keyboard: Black naturals, white sharps.
near Cosne, France). Number of roses: 1.
Information supplied by: B’. Style of rose: Seated harping figure.
Boalch 3 number: RUCKERS(A), A(A). 1655. Exterior of case: Painted.
Boalch 2 number: 120. Length: 1960 mm.
Remarks: Instrument much reworked and recorded as
‘Type: Single-manual harpsichord. unauthentic by O’Brien—his number ‘n.d.a AR’. B? says
Date: 1656. probably early eighteenth-century French. Originally 1x8’,
Ownership: Not known. 1x4’. Front row of jacks doglegged; black naturals, sloping
Compass: C-d(A). ivory sharps; projecting slides. Lid in one piece (i.e. does
Keyboard: White naturals, black sharps. not fold back). Inside lid a painting of Flemish village
Namber of roses: 1. dancing. Originally a single-manual instrument. No traces
Length: 1638 mm. of ravalement.
Wide: 673 mm. Previous history: Galerie Giroux, Brussels [July 1954].
Remarks: All that is known about the instrument comes References: GSJ, 1968, p. 38. VdMCemRuck, p. 108.
from B?. Listed by O’Brien as untraced and unseen. Has Illustrated in MGG vol. II [1963], pl. 58. O’Brien, p. 282.
an AR rose. Compass of four octaves plus one note. Information supplied by: B?/O’ Brien|O’ BrienPC.
Previous history: Régibo. Boalch 3 number: RUCKERS(A), A(A). n.d.(1).
Information supplied by: B’. Boalch 2 number: [134].
Boalch 3 number: RUCKERS(A), A(A). 1656.
Boalch 2 number: 121. Type: Two-manual harpsichord.
Date: Not known.
Type: Single-manual harpsichord. Ownership. RHODE ISLAND SCHOOL OF DESIGN,
Date: 1659. PROVIDENCE, RHODE ISLAND, USA. Accession
Ownership: Not known. number not known.

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570 RUCKERS(A)
Specification: 2x8", 1x4’. Remarks: All that is known about the instrument comes
Compass: EE-P. from Bz. Listed by O’Brien as untraced and unseen.
Keyboard: Black naturals, white sharps. Reported by Bz to have the keyboard to the left, and
Number of roses: 1. thus probably a spinett virginal. The compass (given as
Style of rose: Seated harping figure. four octaves plus one note) seems uncharacteristic. Has
Exterior of case: Painted. an AR rose.
Remarks: According to O’Brien, an unauthentic Ruckers Previous history: Régibo.
(his number ‘n.d.b AR’) and a typical late eighteenth- Information supplied by: Bz.
century French double, having the compass typical of Boalch 3 number: RUCKERS(A), A(A). n.d.(4).
French instruments of this period. Crude AR rose glued Boaleh 2 number: 124.
on top of soundboard. Jacks and wrestplank modern.
External case with gold bands, and raised on a cabriole Type: Two-manual harpsichord.
leg stand in Louis XV style. Date: Not known.
Previous history: Albert Steinert, Providence, Rhode Island. Ownership: Not known.
References: ViMCemRuck, p. 108. O’Brien, p. 282. Compass. FF-P(A).
Information supplied by: B2|O’ Brien{O’ BrienPC. Keyboard: Black naturals, white sharps.
Boalch 3 number: RUCKERS(A), A(A). n.d.(2). Length: 2210 mm.
Boalch 2 number: (131). Width: 889 mm.
Remarks: All that is known about the instrument comes
Type: Two-manual harpsichord. from Bz. Listed by O’Brien as untraced and unseen—his
Date: Not known. number #.d. AR. Extended in 1758 [date on a jack].
Ownership: MUSEO DEL CASTELLO SFORZESCO, Exhibited Brussels 1880.
MILAN, ITALY. Previous history: Baron de Goer, Chateau de Velu, Pas de
Number: 604. Calais [in 1883].
Inscriptions: Inscribed on the wrestplank: FAIT PAR Information supplied by: Bz.
PASCAL TASKIN A PARIS 174{8}. French gauge Boalch 3 number. RUCKERS(A), A(A). n.d.(5).
numbers on the wrestplank. Boalch 2 number: 125.
Specification: 2x8", 1x4’.
Additional features: Genouillére.
‘Type: Two-manual harpsichord.
Compass: EE-P.
Date: Not known.
Number of roses: 1.
Style of rose: Seated harping figure.
Ovnersbip: Not known.
Exterior of case: Painted. Compass: GG/BB-P(A), short octave.
Keyboard: White naturals, black sharps.
Remarks: According to O’Brien (his number ‘n.d.c AR’)
Length: 1981 mm.
an unauthentic Ruckers, made almost entirely by Pascal
Taskin in 1788 (though note that the stamp on the Width: 815 mm.
wrestplank gives a date of 1780). For further details, Remarks: All that is known about the instrument comes
including dimensions, see this instrument under Taskin. from Bz. Listed by O’Brien as untraced and unseen.
Keyboards are modern, though original keyframes Number of roses: None.
survive. O’Brien reports: Except for a vaguely ‘Flemish’ Previous history: Snocck.
soundboard painting and an Andreas Ruckers rose in the Information supplied by: Bz.
soundboard, no other attempt was made to counterfeit Boalch 3 number: RUCKERS(A), A(A). n.d.(6).
the appearance of an Andreas Ruckers harpsichord. Boalch 2 number: 126.
Scalings and gauge markings imply it sounded at a pitch
a semitone above normal French pitch. External case Type: Rectangular virginal.
painted with gold bands. Date: Not known.
References: Gall, number 604, p. 247. O’Brien, p. 282. Ovnersbip: Not known.
Information supplied by: B2|O’ Brien|O’ BrienPC. Compass. C/E-c}(A).
Boalch 3 number: RUCKERS(A), A(A). n.d.(3). Number of roses: 1.
Boalch 2 number: {1 30a}. Length: 1118 mm.
Width: 406 mm.
Type: Rectangular virginal. Remarks: All that is known about the instrument comes
Date: Not known. from Bz. Listed by O’Brien as untraced and unseen.
Ownership: Not known. Previous bistory: Snoeck.
Compass: D-(A). Information supplied by: Bz.
Keyboard: White naturals, black sharps. Boalch 3 number: RUCKERS(A), A(A). n.d.(7).
Number of roses: 1. Boaleb 2 number: 127.

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 RUCKERS 571
Type: Single-manual harpsichord. Boalch 3 number: RUCKERS(A), A(A). n.d.(10).
Date: Not known. Boalch 2 number: 132.
Ownership: Not known.
Compass: C,D-c}(A). RUCKERS, CHRISTOFFEL.
Keyboard: White naturals, black sharps. See: Two instruments given under R., C.
Number of roses: 1.
Length: 1854 mm. RUCKERS, HANS.
Width: 864 mm. ‘Type: Mother and child virginal.
Remarks: All that is known about the instrument comes Date: 1581.
from Bz. Listed by O’Brien as untraced and unseen. Ownership: METROPOLITAN MUSEUM OF ART,
Hunting scene on lid. NEW YORK, USA.
Previous bistory: Gérard de Prins, Louvain. Number: 29.90.
Information supplied by: Bz. Inscriptions: Inscription on front of child jackrail: HANS
Boalch 3 number: RUCKERS(A), A(A). n.d.(8). RVEKERS (sic) ME FECIT 1381 (O’Brien does not
Boalch 2 number: 128. quote the date). The spelling of RV EKERS is confirmed
by LibinP. On inside of fall board: MVSICA DVLCE
Type: Rectangular virginal. LABORVM LEV AMEN. HR monogram in cipher on
Date: Not known. tool-box lid. Some Hebrew characters visible on the
Ovnersbip: Not known. (originally red) parchment backing of the key arcades.
Compass: C/E-d?(A). Specification: 1x8’ (mother), 1x4’ (child).
Number of roses: 1. Compass: C/E-c’, short octave.
Exterior of case: Plain wood. Keyboard: White naturals, black sharps.
Length: 813 mm. Number of roses: 3.
Width: 318 mm. Style of roses: Parchment.
Remarks: All that is known about the instrument comes Exterior of case: Painted.
from Bz. Listed by O’Brien as untraced and unseen. It is Scale: 368 mm.
described by Bz as an ottavino—thus possibly a small Length: 1786 mm.
spinett or muselar virginal or more likely the child from Width: 492 mm.
a mother and child combination. The keyboard projects Depth: 250 mm.
Remarks: The earliest surviving Ruckers instrument, with
four inches. Compass four octaves plus two notes,
most of its original parts and decoration. The child, which
bass short octave. Patterned paper; eighteenth-century
is removable, is to the left. Authenticated by O’Brien—
mahogany case.
his number 7381 HR. Both keyboards have naturals of
Previous history, W. H. Hammond Jones, Witley,
bone with parchment backed arcades and sharps of bog
Godalming.
oak. The mother has two geometrical parchment roses,
Information supplied by: Bz. the child has one. Exterior painted black, but this (only
Boalch 3 number: RUCKERS(A), A(A). n.d.(9).
Boalch 2 number: 129. partially) conceals original green and off-white imitation
porphyry marble. Interior decorated with hand-painted
scroll work, not papers. Above the keyboards are two
Type: Two-manual harpsichord. medallions of Philip II of Spain and his fourth wife, Anne
Date: Not known. of Austria. The mother has an arpichordium stop, which
Ownership: Not known. is split between e' and f', and can operate on either treble
Inscriptions: Date illegible. or bass.
Compass: GG/BB-P(A), short octave. Previous history: Said to have been presented by Philip Il
Keyboard: White naturals, black sharps. of Spain to the Marquis of Oropeza, Cuzco, Peru (usually
Number of roses: 1. called the daughter of the Incas). It was found in Peru.
Length: 1676 mm. B. H. Homan gave it in 1929 to the Metropolitan Museum
Width: 914 mm. of Art.
Remarks: Little is known of this instrument which is References: Illustrated in Connoisseur, 1916, and Wint 1966.
untraced by O’Brien, and though allegedly at one time Also illustrated in colour in Rueger, p. 17 and in LibinKI,
in the possession of Mrs. Alex Steinert of Boston, pp. 14-15. MMA. MMACL. Photos (negative numbers
Massachusetts, and Beverly, Massachusetts, the Steinert 73883, 130430, 19$471, 195472) available from the
family had no knowledge of the instrument in 1954. Museum. O’Brien, p. 237.
According to Bz the compass is ‘nearly 4 octaves’. Information supplied by: B2|MMA|O'Brien|MM ACL]
Previous history. Mrs. Alex Steinert of Boston Massa- O’BrienPC.
chusetts, and Beverly, Massachusetts. Boalch3 number. RUCKERS, H. 1581.
Information supplied by: B2|O’ Brien. Boalch 2 number: 2.

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572 RUCKERS
Type: Rectangular virginal. on front of instrument, fall board and in keywell. Bridge
Date: 1583. and jackrail and front flap and its decoration are not
Ownership: MUSEE INSTRUMENTAL, PARIS, original. Scalings are therefore also not original. Most of
FRANCE. the action is original as is the external decoration which
Number. E.986.1.2. is of green and off-white imitation porphyry marble. The
Inscriptions: Date 1583 on soundboard. rose has been regilded. Raised on stand with four
Specification: One register at quint pitch. barleysugar twist legs.
Compass: C/E-a", short octave. Previous history: Formerly ‘Verzameling Oudheidkundig
Keyboard: White naturals, black sharps. Genootschap te Brugge’ and Thodore Joseph Cannel,
Number of roses: 1. Ghent, 1908—a painter and former director of the
Style of rose: Seated harping figure. Academie Royale, Ghent. Restored in 1959 by Henri
Scale: 238 mm. Maillefer, Renens, Switzerland.
Length: 1143 mm. References: Illustrated in Russell 1939. Grant O’Brien, ‘The
Width: 431 mm. numbering system of Ruckers Instruments’, in British
Depth: 194 mm. Museum of Musical Instruments, Bulletin, No. 4, pp. 75~89-
Remarks: A 4-voet spinett virginal at R + 5. Authenticated Lambr-D 1982. Lambr-D 1983. O’Brien, pp. 40, 53, 132,
by O’Brien—his number 1563 HR. The second oldest 135, 149, 171, 238 (Illustrated), 285.
surviving Ruckers instrument and the only Hans Ruckers Information supplied by: B2|O’ Brien|O’ BrienPC.
clavecimbel at quint pitch. A number of similarities with Boalch number: RUCKERS, H. 1591.
instruments before Hans Ruckers. Keyboard to left, thus Boalch 2 number: 5.
making it a spinett virginal. Naturals of wood (probably
box), with many remaining arcades using parchment from Type: Mother and child virginal.
old Hebrew documents. Internal decoration is painted Date: 1591(A).
not papers. Nameboard decorated with medallions rep- Ownership: YALE UNIVERSITY COLLECTION OF
resenting Catherine de Medici and Diane de Poitier. Lid MUSICAL INSTRUMENTS, USA.
painting represents a Flemish hunting scene. Number: 4870.60.
Previous history: Collection Strauss, Paris. Thence to André Inscriptions. Date 1j91 of 1590 is in painting on lid.
and then Frangois and Denis Meyer, Paris. Inscribed on both instruments: Ioannes Ruguers (sic) me
References: Mlustrated in Hin, pl. 32. MICL. O'Brien, p. (fecit. Ruckers number: M/24.
238. Specification: 1x8’ (mother), 1x4’ (child).
Information supplied by: Bz|MICL|O’ Brien/O’ BrienPC. Compass: C-c'.
Boalch3 number: RUCKERS, H. 1583. Keyboard: White naturals, black sharps.
Boalch 2 number: 2a. Number of roses: 2.
Style of roses: Seated harping figure.
Type: Polygonal virginal. Scale: 310 mm.
Date: 1591. Length: 1707 mm.
Ownership: MUSEUM GRUUTHUUSE, BRUGES, Width: 495 mm.
BELGIUM. Depth: 266 mm.
Number: 2296. Remarks: Muselar mother and child virginal. The dating
Inscriptions: Inscribed on jackrail: Hans Ruckers me fecit of the instrument is based on the figure 7591, or possibly
Antverpiae. Inside lid: SCIENTLA NON HABET INIM- 1590, which is to be found on the trunk of a tree in the
ICVM NISI IGNORANTEM and dated: 1591. Ruckers lid painting on the left-hand side. Authenticated by
number [?]/s0. Signed: Restauré en 1959 par Henri Maillefer O’Brien, his number (7791) HR, and although he notes
@ Renens (Suisse). that the soundboard is in the style of Hans Ruckers it
Specification: 1x8". has many affinities with a spinett double virginal dated c.
Compass: C/E-c’, short octave. 1600 at Castello Sforzesco, Milan (O’Brien’s number
Keyboard: White naturals, black sharps. (c.1600) HR). The present chromatic compass has been
Number of roses: 1. produced by making a new keyboard and register with
Style of rose: Seated harping figure. narrower octave span than originally. The ivory naturals
Exterior of case: Painted. and ebony sharps of both instruments are not original.
Length: 1711 mm. Both bridges have also been repinned and the straight
Width: 467 mm. section of the right-hand bridge, the mother’s nameboard
Depth: 236 mm. and front flap are all later replacements, as are the tuning
Remarks: The only extant Ruckers polygonal virginal (6- pins and jacks, though the stand may be original. The
sided). The instrument is authenticated by O’Brien—his lid has a painting of the contest between Apollo and
number 1597a HR, and described as a 6-voet polygonal Marsyas. The exterior of the child has a painting of
spinett virginal. Inset keyboard to left. Seahorse papers children playing and the fascia board of the mother is

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 RUCKERS(A) 573
treated similarly with figures making music and dancing. Specification: 2x8’, 1x4’.
Previous history: Messrs. Chappell, London. Sir George Compass: C,D-c’.
Donaldson. Morris Steinert, New Haven. Belle Skinner. Keyboard: Black naturals, white sharps.
References: Hi, plate XX, 47-8. MarcY, No. 4. VdMCem- Number of roses: 1.
Ruck. O'Brien, pp. 50, 75, 159, 238-9, 285. Style of rose: Seated harping figure.
Information supplied by: B|Repbann|O’ Brien. Exterior of case: Painted.
Boalch 3 number: RUCKERS, H. 1591(A). Scale: 393 mm.
Boalch 2 number: 6. Length: 1766 mm.
Type: Single-manual harpsichord with octave virginal. Width: 756 mm.
Date: 1594. Depth: 222 mm.
Ownership: KUNSTGEWERBE MUSEUM, SCHLOSS Remarks: The instrument was suspected by B? as being
KOPENICK, BERLIN, GERMANY. Accession spurious, and this is confirmed by O’Briex, who numbers
number not known. it ‘1373 HR’, and says that it is probably dated in
Inscriptions: Hans Ruckers me fecit Antverpiat 1394. the nineteenth century, but gives no likely place of
Specification. 1x8’, 1x4’ (harpsichord); 1x4’ (octave manufacture. The compass is quoted by BY as four octaves,
virginal). which O’Brien says is spurious as is the scaling and
Compass. C-c’. disposition. The rose was probably a genuine Andreas
Keyboards: White naturals, black sharps. Ruckers rose with the upper members of the A cut and
Number of roses: 2. spread apart to make it appear like an H. Painting on
Scale: 348 mm. canvass stuck to inside of lid with a group of singers and
Length: 1804 mm. musicians performing. Keywell in light green. Outer case
Width: 7o9 mm. elaborately carved with four cabriole legs as an integral
Depth: 224 mm. part in cream and gold. Naturals probably ebony and
Remarks: The harpsichord (only surviving harpsichord by ebony sharps with ivory slips atop.
Hans Ruckers) has the octave virginal in the bent Previous bistory: Instrument has been reworked and restored
side. Authenticated by O’Bries—his number 1j94¢ HR. many times.
Harpsichord compass probably originally C/E-c’, with References: Ulustrated in colour in Rweger, plate 3. O’Brien,
disposition of 1x8’, 1x4’. The compass of the octave pp. 186 and 277-8.
virginal is probably unaltered from the original C/E-g’,a’. Information supplied by: B?|Rueger|O’ Brien|O’ BrienPC.
Much of the layout of the original instrument is inscribed Boalch 3 number: RUCKERS(A), H(A). 1573(A).
on the baseboard, including some structural details, and Boalch 2 number: (1).
the length and position of each 8’ and 4’ string for each
¢ and f. The harpsichord part has a usual Hans Ruckers
rose, but the virginal has a geometric rose of beech veneer Type: Two-manual harpsichord.
with three layers of parchment. The outer case is now Date: 1590(A).
covered with thick gesso and black lacquer which hides the Ownership: M. HANLET, BRUSSELS, BELGIUM.
original painting. Lid painting by Hieronymus Jannsens of Inscriptions. Date of 1593 on soundboard.
a similar instrument with courtiers is later as is the Specification: 2x8’, 1x4".
soundboard painting. The slides, keys and keyframe are Additional features: Shove coupler.
not original. Compass: GG-e’.
Previous bistory: Belonged to the Kings of Prussia. Number of roses: 1.
References: Russell 1959, p. 149. VdMCemRuck, p. 128. Length: 2235 mm.
O’Brien, pp. 31, 76, 79, 90, 107, 149, 159, 171, 178, 224, Width: 838 mm.
239. Remarks. The instrument, which is possibly of Flemish
Information supplied by: B*/O’ Brien|O’ BrienPC. origin has been reworked a number of times and has
Boalch3 number: RUCKERS, H. 1594. suffered a grand ravalement. O’Brien (his number ‘1j90a
Boalch 2 number: 7. HR’) says that the usual Ruckers marks are missing from
RUCKERS(A), HANS(A). it, and that though it may have been Flemish, and made
‘Type: Single-manual harpsichord. possibly in Antwerp, it is not by a member of the Ruckers
Date: 1373(A). family. The 4’ is on the upper manual. No dogleg.
Ownership: DEUTSCHES MUSEUM, MUNICH, Widened during the ravalement.
GERMANY. Previous bistory: Renaix, Abel Régibo in 1897. Restored
Number: 57,587. by Kurt Wittmayer (date unknown).
Inscriptions: Inscription on jackrail: HANS RUCKERS References: VdMCemRuck, p. 106. O'Brien, pp. 211, 278.
ME FECIT ANTWERPIAE. Anno 1373, flanking the O’BrienPC.
rose. Information supplied by: B?|O’ Brien|O’ BrienPC.

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574 RUCKERS(A)
Boaleh 3 number: RUCKERS(A), H(A). 1590(A)(1). Fecit Antwerpiae Anno 1610. Inside the lid: DVLCI
Boaleh 2 number: {3}. SONVM REFECIT TRISTA CORDA MEJOS (sic).
Specification: 1x8’.
Type: Two-manual harpsichord. Compass: C/E-P, short octave.
Date: 1590(A). Keyboard: Black naturals, white sharps.
Ownership. MUSEE INSTRUMENTAL, PARIS, Number of roses: 1.
FRANCE. Exterior of case: Painted.
Number: 233 326. Scale: 545 mm.
Inscriptions: Inscribed: Hans Ruckers me fecit Antverpiae, Length: 1339 mm.
and the date 1590 on the soundboard. Pencilled signature Width: 481 mm.
of Goujon inside. According to MICL marked Hans Rackers Depth: 191 mm.
ravalé. Also marked in pencil on the bottom key: FB Remarks. A medium sized (possibly 4}-voet?) spinett
(Francois Blanchet) under the jack pad which is tacked virginal, according to O’Brien, (his number ‘1670 HR’)
on. who says also that it has many Flemish characteristics
Specification: 2x8’, 1x4’. which appear to date it from the early part of the
Additional features: 1 genouillére. seventeenth century. It was probably designed originally
Compass: FF-f'. like a Ruckers 4}-voet instrument to sound at R+4, but
Keyboard: Black naturals, white sharps. it has undergone a number of changes. The instrument
Number of roses: 1. is recorded in the Haendel-Haus catalogue (number 61),
Style of rose: Seated harping figure. but the attribution to Hans Ruckers is not pursued.
Exterior of case: Painted. Ebony naturals with blue and red paper keyfronts and
Length: 2362 mm. ebony(?) sharps with bone tops. Has keywell/fascia board
Width: 864 mm. papers which appear original. Carved and turned baluster
Remarks: Bz records a ‘harpsichord purporting to be by stand.
Hans Ruckers (number 4) was found when opened up Previous history: Neupert Collection, Nuremberg.
for repair to have the pencilled signature of Goujon References: O’ Brien, p. 278. HeydeHH, p. 14.
inside’. It is debatable whether it should be recorded, as Information supplied by: Bz/O’ Brien|HeydeHH|O' BrienPC.
here, as an unauthentic Hans Ruckers instrument, or as Boalch 3 number: RUCKERS(A), H(A). 1610(A).
an authentic harpsichord by Goujon. MICL states Boalch 2 number: 14.
‘Marque Hans Ruckers ravale’. The instrument is also
recorded by DowdHH, who says ‘It is a deliberate fake Type: Two-manual harpsichord.
and was meant to deceive when made in 1749.’ O’Brien Date: 1612(A).
records it as his number ‘1s90b HR’, and confirms it is Ownership: BRUSSELS MUSEUM, BRUSSELS,
by Goujon. Goujon made the three rows of jacks dated BELGIUM.
1749, and it would appear that Blanchet made the keys, Number: 3848.
for they are marked with his initials. The instrument was Inscriptions: Mis a ravalement par Pascal Taskin a Paris
reworked by Joachim Swanen in 1784, when he signed 1774, and Restauré par Tomasini a Paris 1905. Date on
the lower 8” jacks. The original compass of GG-d’ was soundboard: 1612.
enlarged to FF-e’ by Goujon in 1749, and by Swanen, in Specification: 2x8’, 1x4’.
1784, to the present compass. Ebony naturals and bone Additional features: Shove coupler, genouillére.
topped sharps. Case decorated with fake Ruckers papers Compass: FF-f.
and soundboard painting, probably by the ‘Blanchet Keyboard: Black naturals, white sharps.
painter’ in the style of the later Andreas Ruckers instru- Number of roses: 1.
ments. The Hans Ruckers rose is false. Exterior of case: Painted.
Previous history: Formerly at the Chateau de Pau. Scale: 357 mm.
References: RG.1, p. 81. MICL. O’Brien, p. 278. DowdHH, Length: 2265 mm.
PP. 69 70. Width: 857 mm.
Information supplied by: Bz|MICL|O’
Brien| DowdHH|O’ Brien Depth: 272 mm.
PC. Remarks: O’Brien (his number ‘1612 HR’), calling it a
Boalch 3 number: RUCKERS(A), H(A). 1590(A)(2)- large French double, believes the instrument is French in
Boalch 2 number: Goujon 1/Ruckers [4]. origin, but may possibly be a reworking of parts of a
Flemish virginal by Taskin who made the whole instru-
Type: Rectangular virginal. ment in 1774. Naturals of ebony with gilt box arcaded
Date: 1610(A). fronts and sharps of fruitwood topped with bone. HR
Ownership: HAENDEL-HAUS, HALLE, GERMANY. rose but almost certainly a French eighteenth-century
Number: 61. instrument. Seems to have been built round a composite
Inscriptions: Inscribed on the jackrail: Hans Ruckers me soundboard having parts of a Flemish virginal. Outer

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 RUCKERS(A) 575
case and inside lid have pastoral (probably hunting) Remarks: According to B? lost in World War II, and this
scenesfrom the career of Louis XIV by van der Meulen. is confirmed by Ber/inCat. Compass not original.
Raised on elaborate tray stand. Previous history: C. Snoeck, Ghent, thence to the Berlin
Previous history: M. de la Chevardiére, Paris [1777]. Torlini, Collection.
Rome [1842]. Viscount Powerscourt. Edgar Speyer, New References: O’Brien, p. 283. BerlinCat, p. 374 quotes the Sa
York. Major Bowes. Sibyl Marcuse, New York. Acquired entry.
by the Brussells Conservatoire in 1960. Information supplied by: B?|O’ Brien| Elste|BerlinCat.
References: Illustrated in Pag, p. 37 and in monochrome Boalch 3 number: RUCKERS(A), H(A). 1614.
by Rueger, plate 11. O’Brien, pp. 211, 303. Boalch 2 number: 20.
Information supplied by: B*|Rueger|Pag/O’ BrienPC.
‘Type: Two-manual harpsichord.
Boalch 3 number: RUCKERS(A), H(A). 1612(A).
Boalch 2 aumber: 17.
Date: 1615(A).
Ownership: PRIVATE COLLECTION, MARSEILLES,
Type: Two-manual harpsichord. FRANCE.
Date: 1613(A). Inscriptions. Lowest upper-manual jack has inscription:
Ovnership: YALE UNIVERSITY COLLECTION OF 1732 which may well be the date of manufacture, and the
MUSICAL INSTRUMENTS, USA. initials IG, presumably those of Jean Goujon, who
Namber: 4886.72. SInscriptions: Signed under the sound- probably carried out work on the instrument.
board: Faict par Michel Richard Rue de...) Paris 1688. Specification: 1x8’, 1x4" [B?].
Specification: 2x8’, 1x4’. Additional features: Peau de buffie, shove coupler.
Compass. GG/BB-c’, broken octave. Compass: FF,GG-P.
Keyboard: Black naturals, white sharps. Number of roses: 1.
Namber of roses: 1. Exterior of case: Painted.
Exterior of case: Painted. Scale: 378 mm.
Scale: 370 mm. Length: 2296 mm.
Length: 2240 mm. Width: 670 mm.
Width: 826 mm. Depth: 254 mm. Depth: 281 mm.
Remarks, Ostensibly by Hans Ruckers but actually by Remarks: A large French double case incorporating a
Richard, who signed it under the soundboard. Further Flemish soundboard, though the latter is not by Ruckers.
O'Brien declares it an unauthentic instrument (his number
details are to be found under the entry for the harpsichord
‘1615 HR’) and believes it may be by Jean Goujon.
by Richard dated 1688 which is on loan to Yale University
Modern keyboards (probably from ¢. 1860). Rose of the
from Rhode Island School of Design. O’Brien states that
it is a very important French harpsichord. It is his number style of those used by Hans Ruckers before 1598.
Soundboard shows signs of pinning for doubled ¢ flat/g
‘1613 HR’. Naturals of ebony with fruitwood fronts
sharp strings, but no other marks which would indicate
and sharps of bone topped fruitwood. Case painted in genuine Ruckers construction. Soundboard painting is a
chinoiserie. The apparent HR rose has been made by
confection of neo-Ruckers styles, with date painted on an
splitting an AR rose at the top and spreading out the 4
Andreas Ruckers-style ribbon.
to form an H. The bottom E flat is split to give a broken Previous history: Vogue family, Chateau de Peseau. Mme.
octave. de Bousquet, great-grandmother of Maurice le Roux of
Previous bistory: Formerly Planchet, Paris. Albert Steinert, Paris who also owned it.
Providence, Rhode Island.
References: VdMCemRuck, p. 109. O’Brien, p. 278.
References: Hubb196s, p. 39. O’Brien, p. 278. Information supplied by: B?|O’ Brien|O’ BrienPC.
Information supplied by: B?|Rephann|O” Brien|O’ BrienPC. Boalch 3 number: RUCKERS(A), H(A). 1615(A).
Boalch 3 number: RUCKERS(A), H(A). 1613(A). Boalch 2 number: 21.
Boalch 2 number: (18).
Type: Virginal.
Type: Two-manual harpsichord. Date: 1617.
Date: 1614. Ownership: MUSEE INSTRUMENTAL, PARIS,
Ownership: FORMERLY IN THE BERLIN FRANCE.
COLLECTION, BERLIN, GERMANY. Number: 1033/1080.
Number: 2229. Specification: 1x8".
Inscriptions: HR rose and date 1614. Remarks: Ascribed in B? to Ruckers, but certainly not a
Compass: FF-g’. genuine instrument and thought to be German work-
Keyboard: White naturals, black sharps. manship. The Museum lists it as ‘Boite 4 ouvrage’ and
Number of roses: 1. gives its place of origin as ‘Augsburg?’. O’Brien lists it
Lengeh: 2248 mm. amongst his group of ‘Small virginals falsely attributed’.
Width: 991 mm. References. MICL.

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576 RUCKERS(A)
Information supplied by: B?/MICL|O’ Brien. lies in the rose which is of the same form as that of
Boalch 3 number. RUCKERS(A), H(A). 1617. O’Brien’s numbers ‘n.d.a HR’, ‘1636a IR’, and ‘1658 HR’,
Boaleh 2 number: [22a]. all of which appear to be by the hand of the same faker.
Previous history: C. Snoeck. Mme. Pereira, Ghent.
Type: Rectangular virginal. References. VdMCemRuck, p. 106. O’Brien, p. 32, 186.
Date: 1620. Information supplied by: B*|O' Brien.
Ownership: INSTRUMENT MUSEUM, NATIONAL Boalch 3 number: RUCKERS(A), H(A). 1637(A).
CONSERVATORY, LISBON, PORTUGAL. Boalch 2 number: (29).
Accession number not known.
Inscriptions: Inscribed on jackrail: HANS RVCKERS Type: Two-manual harpsichord.
ME FECIT ANTWERPIAE 1620. On the front flap: Date: 1644(A).
GHEEN TVT SONDER NVT. Ownership: PROFESSOR CHRISTIANE JACOTTET,
Specification: 1x8’. RIVAZ, SWITZERLAND.
Compass: C/E-c', short octave. Inscriptions: On the name-batten: HANS RVKERS (sic)
Keyboard: White naturals, black sharps. ME FECT ANTVERPIAE 1642. Dated 1644 on the
Number of roses: 1. soundboard.
Exterior of case: Painted. Specification: 2x8’, 1x4’.
Scale: 367 mm. Additional features: Peau de buffle, genouillére, machine.
Length: 1840 mm. Compass: FF-f.
Width: 490 mm. Keyboard: Black naturals, white sharps.
Depth: 270 mm. Number of roses: 1.
Remarks: The mother part of a 6-voet muselar virginal Style of rose: Seated harping figure.
mother and child combination. The child is missing, the Exterior of case: Painted.
space for it being on the left. One of the few surviving Scale: 376 mm.
non-Ruckers Flemish virginals. Listed by O’Brien as an Length: 2244 mm.
unauthentic Ruckers—his number ‘1620 HR’. Keywell Width: 892 mm.
nameboard not removable, and has a harpsichord-style Depth: 263 mm.
name-batten above the keys. Scalings similar to those Remarks: A French double of the late eighteenth century.
found on comparable Ruckers virginals. Painted keywell The present owner affirms the date of 1644, (though it is
and soundwell decoration and lid painting which suggest difficult to read, and is clearly not the correct date of the
a date as early as 1570-90. The rose may be genuine Hans instrument). O’Brien confirms that it is unauthentic—his
Ruckers. number ‘1644a HR’. Registration changed by a machine
References. VdMCemRuck, pp. 103, 138, 143. O’Brien, pp. stop operated by a genouillére. Casting of an Andreas
23, 193 and 280. Ruckers rose has had the top cut and the members splayed
Information supplied by: B?/O’ Brien|O’ BrienPC. to form an H. Soundboard with a mixture of styles,
Boalch 3 number: RUCKERS(A), H(A). 1620. mostly based on decoration of early Ioannes Ruckers
Boalch 2 number: 23. instruments. A small piece of wood incorporated into the
stand has some original Flemish block-printed paper
Type: Single-manual harpsichord. adhering to it. O’Brien says it is one of the finest sounding
Date: 1637(A). instruments he has heard.
Ownership: BRUSSELS MUSEUM, BRUSSELS, Previous bistory: 1974 Lausanne, Private Ownership. 1986
BELGIUM. Professor Christiane, Jacottet.
Number: 4276. References: O’ Brien, pp. 186, 195, 280.
Inscriptions. Inscribed on jackrail: Hans Rackers me fecit Information supplied by: B?|Jacottet|O’ Brien|O’ BrienPC.
Antwerpiae 1637, and over the keys: Hans Ruckers me fecit Boalch 3 number: RUCKERS(A), H(A). 1644(A)(1).
1637. Boalch 2 number: 25b.
Specification: 2x8", 1x4’.
Compass. GG-e’. Type: Two-manual harpsichord.
Keyboard: Black naturals, white sharps. Date: 1644(A).
Number of roses: 1. Ownership: STIFTELSEN MUSIKKULTURENS
Remarks: According to O’Brien, a large single manual FRAMJANDE, STOCKHOLM, SWEDEN.
harpsichord, probably of late seventeenth-century Flemish Number: KL 60.
origin, much reworked and much of it not original. Listed Inscriptions. On nameboard: HANS RVCKERS ME
by him as unauthentic and numbered ‘7637 HR’. Naturals FECIT ANTVERPIAE, and dated on soundboard
of ebony with arcades cut into the front of the keylevers. 1644.
Sharps of bone-topped wood. External case of heavy Specification: 2x8’, 1x4’.
carved oak decoration. The main interest in the instrument Compass: GG-c’.

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 RUCKERS(A) 577
Keyboard: Black naturals, white sharps. Remarks: O’Brien records this as an unauthentic Ruckers
Number of roses: 1. (his number ‘7638 HR’) suggesting an anonymous Dutch
Style of rose: Paper. or Flemish builder, while Koster suggests it was made in
Exterior of case: Painted. the northern Netherlands. The instrument was originally
Scale: 377 mm. a double with two sets of strings, 1x8’, 1x4’. The
Length: 2184 mm. disposition was 2x8’ and 1x4’ on the lower manual and
Width: 864 mm. lute on the upper and no means of coupling (all three 8’
Depth: 272 mm. registers plucked the same 8’ string). It was rebuilt in the
Remarks: A number of features suggest that the instrument eighteenth century, but all the original parts are Flemish
may not be a genuine Ruckers, and it is certainly not in style. The original compass was C/E-c’, but is now
authenticated by O’Brien, who, seeing the Italianate scrolls chromatic C-c’. The style of construction suggests Low
in the keywell as being similar to those in some German Countries, and it has many features in common with the
instruments of the Saxon school, believes that it may Gheerdinck virginal in the same collection, and it may
come from that area. It is his number ‘16446 HR’. SMF be by him. The rose is of the same style as O’Brien’s
also says the case could be from a South German numbers ‘n.d.a HR’, ‘1636a IR’, and ‘1637 HR’, and is
instrument. Beautifully decorated with a French style lid probably a recasting of a Hans Moermans rose. The
painting and on the outside with girlandes and putti. likelihood is that all four instrument are by the same
Currently has only one manual, the space for the upper faker.
manual being filled with a board. Naturals (modern) of Previous bistory: From the Neupert Collection.
ebony with ebony arcades, and sharps (also modern) of References: VdMCemRuck. RG.I, p. 67. Huber, p. 133.
ivory-topped wood. Around the keywell, made like a Mouldings shown in Hellwig. O’Brien, pp. 32, 186, 193,
false inner/outer. The nameboard can be lifted out. 280. See also a paper read by John Koster at the American
Keyboards, jacks and wrest-pins are later, as is the Musical Instrument Society meeting in 1978.
soundboard which fits badly with the case shape. The Information supplied by: Bz2|HellwigiO” Brien|Koster| Huber]
case is lacquered with gilt angels, flowers etc., and lid O’BrienPC.
painting of Moses in the Bullrushes in cighteenth-century Boalch 3 number: RUCKERS(A), H(A). 1658(A).
style. Soundboard has painting which looks Flemish. 8’ Boalch 2 number: 24.
bridge does not follow the curve of the case. Lower guide
for front row of jacks is separate.
Previous history: Part of the Nydahl Collection. Type: Two-manual harpsichord.
References. SMF, and photos available from the Museum. Date: Not known.
O’Brien, p. 186. Ownership: BRUSSELS MUSEUM, BRUSSELS,
Information supplied by: Bz2|Kilstrim|O’ Brien|SMF/O’ Brien BELGIUM.
PC. Number: 2510.
Boalch 3 number: RUCKERS(A), H(A). 1644(A)(2). Specification: 1x16’, 1x8’, 1x4’, lute.
Boalch 2 number: 30b. Compass: C/E-a’, short octave.
Keyboard: White naturals, black sharps.
Type: Two-manual harpsichord. Number of roses: 1.
Date: 1658(A). Length: 2845 mm.
Ownership: GERMANISCHES NATIONALMUSEUM, Width: 851 mm.
NUREMBERG, GERMANY. Remarks: O’Brien (his number ‘x.d.a HR’) suggests that
Number: MINE 84. this is a genuine Flemish instrument, originally of a type
Inscriptions: Jackrail signed: HANS RUCKERS ME not encountered anywhere else in the Flemish tradition.
FECIT ANTWERPIAE 16[??), and date 16;8 painted It is, however, not a genuine Ruckers, and is by an
on soundboard. Koster reports that it bears a monogram anonymous faker. Was almost certainly a transposing
of a downward pointing arrow with the letter C super- double, but has undergone many changes all of which
imposed (could this possibly be a G for Gheerdinck?). are discussed by John Koster in ‘A remarkable Early
Specification: 2x8’, 1x4’, lute. Flemish Transposing Harpsichord’, in GSJ, XXXV,
Additional features: Hand stops. (1982), pp. 45-53 (illustrated). The most interesting
Compass: C-c’. feature of this instrument is the rose, which is of the
Keyboard: White naturals, black sharps. same form as that in the 1636 Ioannes Ruckers at
Number of roses: 1. Holyrood Palace, Edinburgh, a 1637 Hans Ruckers also
Exterior of case: Painted. at the Brussels Museum of Musical Instruments, (number
Scale: 335 mm. 4276), and a 1658 Hans Ruckers at the National Museum,
Length: 1989 mm. Nuremberg—all of which instruments appear to have
Width: 717 mm. passed through the hands of the same faker who used a
Depth: 273 mm. recast Hans Moermans rose, substituting the M for an

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578 RUCKERS(A)
H. It is quite certain that the instrument is not by any Seale: 133 mm.
member of the Ruckers family. Length: 460 mm.
Previous history: Has almost certainly undergone a number Width: 245 mm.
of changes of which the restoration by Charles de Depth: 103 mm.
Vestibule, Brussels, 1899 was probably the most far- Remarks: A small, undated instrument, which was ascribed
reaching, and is the only one recorded. by Bz to Ruckers, but is described by Henkel: as
References: VdM CemRuck. Koster (op. cit.). RipKb, p. 49. anonymous and of South German origin in the first half
Lambr-D 1970, p. 170. Hxbbi96s, pp. 65-6. Marc, pp. of the seventeenth century. O’Brien lists it as one of his
414-25. O’Brien in Lambr-D 1977. MeeusCouch, pp. 15—- unauthenticated Ruckers instruments (number #.d.c HR).
29. DowdClas. Ber1gso. O’Brien pp. 32 and 277 and plate It is a small rectangular spinett virginal possibly at a pitch
F.2. of R+9 (with brass stringing), in the shape of a sewing
Information supplied by: B2|Koster|O’ Brien. box with drawers in the padded lid. Though certainly
Boalch 3 number: RUCKERS(A), H(A). n.d.(1). not by Hans Ruckers, it is an early instrument probably
Boalch 2 number: 25. from the period 1570-90.
Previous bistory: Attributed to Hans Ruckers by Kinsky.
Type: Two-manual harpsichord. 1910 Heyer Collection, Cologne.
Date: Not known. References: Henkel, p. 15. O’Brien, p. 283.
Ownership: BRUSSELS MUSEUM, BRUSSELS, Information supplied by: B2|O’ Brien|Henkelr.
BELGIUM. Boalch 3 number: RUCKERS(A), H(A). n.d.(3).
Number: 2934. Boalch 2 number: [26a].
Specification: 1x8’, 1x4".
Compass. GG/BB-c’, short octave. ‘Type: Two-manual harpsichord.
Keyboard: White naturals, black sharps. Date: 1760(A).
Number of roses: None. Ownership: Not known.
Exterior of case: Painted. Inscriptions: Bz reports an HR rose, the dimensions, and
Scale: 346 mm. 5 hand-stops.
Length: 2242 mm. Compass. FF-f.
Width: 798 mm. Number of roses: 1.
Depth: 259 mm. Length: 2388 mm.
Remarks: Unauthenticated by O’Brien, his number ‘n.d.b Wideh: 1143 mm.
HR’. It is, sadly, very dilapidated, and bears neither Remarks: A large double-manual instrument, which
signature nor date, though O’Brien assigns a rough date according to photographs in the Russell Collection is
of ¢. 1580. It is certainly not by Hans Ruckers, and is beautifully decorated, and is probably of French origin.
described in detail at O’Brien, pp. 29-32 and 193. Original O’Brien lists it as unauthentic and numbers it as his ‘a.d.d
compass: upper—C/E-a* (at reference pitch R), lower— HR’. The width of the tail is too great for it to have
C/E-d? (at pitch R-4). The instrument had originally only been a Ruckers instrument. External paintings in the style
one set of 8’ and 4’ strings, but there have been a number of Boucher with gilt stand in the style of Louis XV.
of changes which are set out at O’Brien, p. 32. Naturals Previous history: Bz reports: Pilette, Brussels [1878]. Later
of bone, sharps of bog oak. No rose. Outer case shows bought by A. Dolmetsch at the Hotel Drouot. Mrs. H.
signs of the original green porphyry marbling underneath E. Crawley, London. Sold in 1951 in the W. R. Hearst
a later painted decoration. estate.
Previous history: Formerly A. Régibo. C. Snoeck. References: VdMCemRuck, p. 109. O’Brien. p. 277.
References: Russell 1959, p. 45. O’Brien, pp. 29-32, plate Information supplied by: B2|O’ Brien.
2.3. ON p. 30, and p. 277. Boaleb 3 number: RUCKERS(A), H(A). n.d.(4).
Information supplied by: B2|O’ Brien|O” BrienPC. Boalch 2 number: 28/{32}.
Boalch 3 number: RUCKERS(A), H(A). n.d.(2).
Boalch 2 number: 26. ‘Type: Single-manual harpsichord.
Date: Not known.
‘Type: Ottavino. Ownership: SMITHSONIAN INSTITUTION,
Date: Not known. WASHINGTON, USA.
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, Number: 60.1393.
GERMANY. Inscriptions. Inscribed on nameboard: TERRAE REDDO
Number: 36. QUOD A COELI ACCEPI.
Specification: 1x2". Specification: 1x8’, 1x4’.
Compass: C/E-g’,a*, short octave. Compass. C/E-F, short octave.
Number of roses: 1. Number of roses: 1.
Style of rose: Parchment. Exterior of case: Painted.

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 RUCKERS 579
Scale: 267 mm. Compass. C-d.
Length: 1810 mm. Keyboard: White naturals, black sharps.
Width: 789 mm. Number of roses: 1.
Depth: 203 mm. Style of rose: Seated harping figure.
Remarks: Certainly not a genuine Ruckers, and probably Exterior of case: Painted.
late nineteenth, or early twentieth-century, made in the Length: 813 mm.
USA. In O'Brien's list of unauthenticated instruments it Width: 318 mm.
is his number #.d.e HR. HR false rose—modern, and AR Depth: 140 mm.
in design. Two knobs for moving slides which protrude Remarks. There is speculation about the authenticity of
through the cheekpiece. O’Brien says ‘A modern pastiche the instrument, which is the child of a mother and child
instrument of no particular style.’ combination, at pitch R+8. O’Brien records it as by
Previous bistory: Cooper Union, New York [formerly on Ioannes Ruckers but with a Hans Ruckers rose of the
loan to Yale University]. type used by loannes in his early instruments, and
References: MarcY, p. 12, No. 108. Smithchecké9, Smiths- describes much which is altered or not original, including
onian photo-negatives 56,327; 56,327A; 56,327B. O’Brien, the inscription, but nevertheless authenticates it—his
P. 277. number 739s HR. Koster also records it as authentic.
Information supplied by: B2|Smithcheck89|O’
Brien. O’Brien describes how the original case sides were cut
Boalch 3 number: RUCKERS(A), H(A). n.d.(5). down level with the soundboard and a new outer case
Boalch 2 number: [30]. added. Thus the case, lid, keyblocks, and jackrail are not
original, though the keys of the original compass (C/E-c’)
Type: Ottavino. are original to which have been added extra keys for C,
Date: Not known. C¥, D, D#, cH’, and d? at the sides of the keyboard.
Ownership: FORMERLY KARL-MARX- Naturals of bone, sharps of bog oak. Original soundboard
UNIVERSITAT, LEIPZIG, GERMANY. painting replaced.
Number: 35. Previous history: William Howard Doane, Cincinnati.
Specification: 1x2". References. O’Brien, pp. 239-40.
Compass. G,A-d*,c*. Information supplied by: Bz/O’ Brien|O’ BrienPC.
Number of roses: 1. Boalch 3 number: RUCKERS, 1.(HR). 1595.
Length: 375 mm. Boalch 2 number: (7a).
Width: 205 mm.
Depth: 120 mm. Type: Rectangular virginal.
Remarks: Attributed by Kinsky to Hans Ruckers, but quite Date: 1598.
clearly spurious. Henke/r says probably South German, Ovnership. MUSEE INSTRUMENTAL, PARIS,
dated in the first half of the seventeenth century. Listed FRANCE.
by O’Brien as a falsely attributed Ruckers. Bz says that Number: E.979.2.6.
cither his number [26a] or [26b] was lost in World War Inscriptions: _IOHANNES RVCKERS FECIT
I, and from Henke/r it is clear that it is this one. ANTVERPIAE, with motto on the lid: DVLCI-
Previous history: 1901, Kraus Collection, Florence. SONVM REFICIT TRISTIA CORDA MELOS 1398.
References: Henkelr, p. 14. O’Brien, p. 283. On the nameboard: Frangois Chapelle a refait cette spinette
Information supplied by: B2|Henkel1|O’ Brien. et uy a donné de Parmonie 1739. Ruckers number: 6/61.
Boalch 3 number. RUCKERS(A), H(A). n.d.(6). Specification: 1x8".
Boalch 2 number: [26b]. Compass: GG/BB-c’, short octave.
Keyboard: White naturals, black sharps.
RUCKERS, IOANNES. Number of roses: 1.
Instruments with HR (Hans Ruckers) roses. Since these Style of rose: Seated harping figure.
instruments are by Ioannes, the Boalch 3 number rep- Scale: 310 mm.
resents this in the form (for example) RUCKERS, 1.(HR). Length: 1660 mm.
1595. Width: 479 mm.
Type: Rectangular virginal. Depth: 234 mm.
Date: 1595. Remarks: Authenticated by O’Brien, his number 1398 HR,
Ownership: CINCINNATI] MUSEUM OF ART, as by loannes Ruckers, but with a Hans Ruckers rose.
CINCINATTI, OHIO, USA. Since however 1598 is the likely year of Hans Rucker’s
Number: 1914.299. death, it could be by either maker. The evidence carefully
Inscriptions: Inscribed (but not original): IOHANNES weighed by O’Brien [p. 240]. A 6-voet spinett virginal.
RVQVERS A? 1595. It seems however to follow the Compass altered, probably in 1739 by Chapelle (of
form of an earlier signature. Soissons) from C/E-c’ to the present arrangement which
Specification: 1x4’. gives a very narrow octave span. At the same time, the

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580 RUCKERS
bridges were repinned and new jack slots cut in the ‘Type: Mother and child virginal.
soundboard. The original pitch of R is probably now Date: Not known.
about R+2. Papier maché rose of the type used by Ownership. CASTELLO SFORZESCO, MILAN,
Joannes Ruckers in his later instruments with an HR rose. ITALY.
Exterior lid, flap and sides have very old vine-work Number: 595.
painting, but the spine, which is plain, shows evidence Inscriptions. Inscribed on jackrail: IOANNES
of original green and off-white porphyry marbling. RVQVERS (sic) FECIT. On the back of the nameboard
Previous history: Jeanne Lyon, Paris. Marcel Salomon, is written: Grimaldi Antonio Genova li (sic) 2/6/93 in a
Paris. Comtesse de la Chambure. nineteenth-century hand. Ruckers numbers: M/rs and
References. MICL. VdMCemRuck, pp. 130, 135, 142, 145- Airy.
O’Brien, pp. 50, 132-3, 135, 149, 231, 240, 285. Specification: 1x8’ (mother), 1x4’ (child).
Information supplied by: B?|MICL|O’ Brien|O’ BrienPC. Compass: C/E-c’, short octave.
Boalch 3 number: RUCKERS, L(HR). 1598. Keyboard: White naturals, black sharps.
Boalch 2 number: 8. Number of roses: 2 (one in each instrument).
Style of rose: Seated harping figure(A).
Type: Two-manual harpsichord. Exterior of case: Painted.
Date: 1599. Scale: 367 mm.
Ownership: HAENDEL-HAUS, HALLE, GERMANY. Length: 1708 mm.
Accession number not known. Width: 493 mm.
Inscriptions. Date of 1y99 painted, and also scratched on Depth: 266 mm.
the soundboard. The jackrail (not original) bears the Remarks: The only surviving double spinett mother and
name: Hans Ruckers and the date: 199. Lid flap (not child virginal, almost entirely in original state, particularly
original) has motto: MVSICA MAGNORVM SOLA- in respect of the scalings. Authenticated by O’Brien as by
MEN DVLCE LABORVM. loannes Ruckers but with a Hans Ruckers rose—his
Specification: 1: 1x8’, 1x4’; U: 1x8’. number (¢. 1600) HR. Naturals of bone, sharps of bog
Compass: FF-P. oak. External decoration lost in all places except the spine
Keyboard: White naturals, black sharps. which has the original imitation green and off-white
Number of roses: 1. porphyry marble. Particularly fine lid painting, but sparse
Style of rose: Seated harping figure. soundboard painting.
Scale: 270 mm. Previous history: In 1929 the instrument was in the
Length: 2244 mm. possession of the Ciurlo family (sce in Part I under
Width: 927 mm. Roccatagliata). By the 1960s it belonged to the Venetian
Depth: 262 mm. antiquarian Antonio Barozzi. It then passed to the Gallini
Remarks: A ravalé normal double-manual harpsichord of Collection, Milan.
a small compass normal transposing harpsichord. The References: Ulustrated in Gall, plate 123. VdMCemRack,
earliest surviving Ruckers double-manual harpsichord. Pp. 134, 141. O'Brien, pp. 35, 36, 39, 57, 58) 75, 128, 159,
Authenticated by O’Brien as by loannes Ruckers but with 165, 236, 238, 241, 285, 291 and plate 3.9. O’Brien also
a Hans Ruckers rose. His number 1399 HR. There is gives list of scalings for both mother and child. Dr.
ample evidence that the instrument was originally a Maurizio Tarrini, Savona, Italy.
transposing harpsichord with compass of C/E-d’ on the Information supplied by: B?|O’Brien[Masrizio Tarrini/
lower manual at pitch of R-4, and C/E-a* on the upper O’BrienPC.
at pitch of R. O’Brien reports that the ravalement was Boalch 3 number. RUCKERS, 1.(HR). 1600(A).
carried out by fitting in the extra bass notes (to give a Boalch 2 number: Joa.
compass of F-f) without widening the case or decreasing
the octave span. This has shortened the scaling to the Type: Rectangular virginal.
point where brass is a more appropriate stringing material Date: 1604.
than iron for a pitch of R. Externally the cheeks have Ownership. BRUSSELS MUSEUM, BRUSSELS,
been cut away, and the stand and case are encrusted with BELGIUM.
gilded neo-baroque stucco work of the late nineteenth or Number: 2927.
early twentieth century. Inscriptions: Inscribed on jackrail [which, B? described as
Previous history: Formerly in the Neupert Collection, ‘though authentic, does not belong to the instrument’,
Bamberg. and which O’Brien says ‘undoubtedly belongs to it’):
References: VdMCemRuck, pp. 126-7. O’Brien, pp. 33, 177- IOANNES ET ANDREAS RVCKERS
9, 216, 240-1. FECERVNT. No date now visible though Ma gave
Information supplied by: B*|O’ Brien|O’ BrienPC. 1604. Ruckers number: 5/34.
Boalch3 number: RUCKERS. 1.(HR). 1599. Specification: 1x8".
Boalch 2 number: 9. Compass: C/E-c’, short octave.

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 RUCKERS 581
Keyboard: White naturals, black sharps. present the ottavino stands on top of the main virginal
Number of roses: 1. to which it is coupled’. The exterior has been repainted
Style of rose: Seated harping figure. (O’Brien records at least six layers on the outside of the
Scale: 330 mm. mother, while the child appears to have undergone a
Length: 1424 mm. different series of changes). There is much original cloth
Width: 479 mm. in the action, including pieces of playing card used to
Depth: 215 mm. raise the sharps (O’Brien speculates ‘was Ioannes Ruckers
Remarks: A 5-voet muselar virginal at pitch of R+2. a gambler?’). Outer case and keywell of both instruments
Authenticated by O’Brien, his number 1604 HR, as by painted in a reddish-brown wood-graining.
Toannes and Andreas Ruckers, but with a papier maché Previous bistory: Formerly Francois- Joseph Fétis, Brussels.
Hans Ruckers rose of the type used by loannes before References: Wustrated in Rassellrgs9, plates 29 and 30, p.
1616. The keyboard is to the right thus making it a 149. VdMCemRuck, p. 137. O’Brien, pp. 50, 160, 208, 236,
muselar. The instrument retains almost the original depth 242, 258.
of touch, and the original arpichordium batten is preserved Information supplied by: B*/O’ Brien|O’ BrienPC.
with it. Much of the exterior has been covered with green Boalch 3 number: RUCKERS, 1.(HR). 1610(1).
eighteenth-century decoration. Nevertheless this is the Boalch 2 number: 12.
only example of a 5-voet muselar virginal which has not
been altered musically. Type: Rectangular virginal.
Previous bistory: Abel Régibo, Ronse (Renaix). César Date: 1610.
Snoeck, Ghent.
References. VdMCemRuck, p. 104, 134-5, 145. O’Brien, pp.
Ownership: COLLECTION HEL, MUSEE DE
L’HOSPICE COMTESSE, LILLE, FRANCE.
6, 35, 37, 51, 57-8, 69, 77, 241 (including list of string Accession number not known.
lengths), 285, 291.
Information supplied by: B?|O’ Brien|O’ BrienPC. Inscriptions: Signature on the jackrail, but not original.
Ruckers number M/so.
Boalch 3 number: RUCKERS, 1.(HR). 1604.
Boalch 2 number: 11. Specification: 1x8’,
Compass. C/E-c', short octave.
Keyboard: White naturals, black sharps.
Type: Mother and child virginal.
Number of roses: 1.
Date: 1610.
Style of rose: Seated harping figure.
Ownership: BRUSSELS MUSEUM, BRUSSELS, Exterior of case: Painted.
BELGIUM. Scale: 330 mm.
Number: 275.
Length: 1718 mm.
Inscriptions. According to B?: Signature of Hans Ruckers
Width: 492 mm.
and HR roses in both instruments though the signature
above the nameboard in the main instrument is not
Depth: 269 mm.
Remarks: This instrument has been traced by Grant
original. Ruckers numbers: M/23 and &/23.
Specification: 1x8’ (mother); 1x4’ (child). O’Brien since 1990, and is now numbered 1610b HR by
him, and is authenticated as a genuine Ioannes Ruckers
Compass: C-P.
Keyboard: White naturals, black sharps. instrument. It is the mother part of a muselar mother and
Number of roses: 2. child virginal. The child appears to be missing. Naturals
Style of rose: Seated harping figure. of bone, sharps of bog oak. The outer case decoration in
Exterior of case: Painted. imitation green porphyry marble appears to be original.
Scale: 366 mm. The signature on the jackrail is not original, but O’BrienPC
Length: 1709 mm. reports there is no reason to doubt the attribition to
Width: 481 mm. Joannes Ruckers. The Ruckers serial number 50 appears
Depth: 269 mm. to belong to the same Series 1 (see O’Brien, p. 47) as
Remarks: Double muselar mother and child virginal. the surviving (7j9z)}6 HR mother and child virginal
Though much changed, there is clear evidence of the (RUCKERS, H. 1591(A)).
original scalings which are given by O’Brien [p. 242], who Previous history: A. Sol, Tournai. J. Hel, Lille, (1927).
authenticates it—his number 1610a HR as by loannes References: Shown in O’Brien as an untraced and unseen
Ruckers though with a Hans Ruckers lead rose. Original instrument (p. 283). A. Cordonnier and J-E. Grislain. La
compass of both mother and child was C/E-c’, with Collection Hel. Instruments de musique anciens réunis par deux
pitches of R and R+8 respectively. Naturals of bone, Inthiers lilois, Lille, 1990, number 17, pp. 49-50, plate p.
sharps of bog oak. Both instruments have been extended 28.
in compass, the mother keyboard being extended into the Information supplied by: B?|O’ BrienPC.
space formerly occupied by the child so that the latter Boalch 3 number: RUCKERS, 1.(HR). 1610(2).
cannot now be accommodated, and according to B? ‘at Boalch 2 number: 13.

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582 RUCKERS
Type: Rectangular virginal. Exterior of case: Painted.
Date: 1611. Scale: 352 mm.
Ownership: VLEESHUIS MUSEUM, ANTWERP, Length: 2296 mm.
BELGIUM. Width: 881 mm.
Number. VH 2112. Depth: 270 mm.
Inscriptions: Jackrail signed: IOANNES RVCKERS Remarks: A ravalement of a double-manual harpsichord
FECIT ANTVERPIAE. Ruckers number 6/16. Dated: which originally had one manual C/E-d? at a pitch of R-5
1611 above the rose, on the soundboard. Underneath the and the other probably C/E-c’ at R-4. Authenticated by
keyboard in the treble comer of the keywell is written: O’Brien, his number 16r2a HR as by loannes Ruckers,
mieww Aecken gemaeckt von P.L.Cl. 1769 meert (new ‘hooks’ though with an HR rose. Originally there were three
made by P.L.Cl. in March 1769), which O’BrienPC registers instead of the more normal four, and only 1x8’,
suggests refers to the renewal of the jacks. 1xq’, the 8’ being shared between the manuals by means
Specification: 1x8". of a dogleg. The outside was painted in red/brown faux
Compass: C/E-c', short octave. marbre between grey bands, with printed papers on inside.
Keyboard: White naturals, black sharps. Six inches were added to case in eighteenth century
Number of roses: 1. ravalement, and it was then painted brown and grained
Style of rose: Seated harping figure. to resemble mahogany. Later in eighteenth century a
Exterior of case: Painted. second 8’ was added, involving structural changes, and
Scale: 367 mm. the case was painted in black, vermillion and gold leaf,
Length: 1712 mm. and one note was added to give present compass. Keys
Width: 493 mm. recovered in preparation for the International Inventions
Depth: 241 mm. exhibition of 1885, and outside painted olive green, while
Remarks: A 6-voet muselar virginal. Authenticated by a modified square piano stand was supplied. By 1951, the
O’Brien, his number 1611 HR, as by Ioannes Ruckers but outside was again painted black. Between 1977 and 1981
with an Andreas Ruckers rose, which, however, despite extensive investigation accompanied the structural and
being genuine, does not fit the hole in the soundboard, decorative restoration which included reinstatement of
and is not glued in correctly. O’Brien also reports that the the keywell papers. The specification is now effectively
soundboard painting does not accord with Andreas that of the standard eighteenth century English ravalement
Ruckers but with Ioannes. Naturals of bone, sharps of instrument.
bog oak. The jacks appear to have been renewed. The Previous history: On long loan to the Benton Fletcher
lid (exhibited with the instrument) is too small to have Collection by H.M. the Queen. Restored in 1950 and
belonged to it, though the fine stand is most probably again by Messrs Garrett and Clayson in 1980.
original. The exterior decoration, and the front flap, is References: Anne and Peter MacTaggart. ‘A Royal Ruckers:
not original, and is in reddish brown marbling. Decorative and Documentary History’, in Organ Yb, XIV,
Previous history: Formerly A. Jacob-Wens, Antwerp. Steen 1983, pp. 78-95. Raymond Russell, Catalogue of the Benton
Museum, Antwerp. Fletcher Collection of Early Keyboard Instruments. 1957.
References: VdMCemRuck, pp. 133, 141, 143. Lambr-D BFCat, p. 8. VdMCemRack, pp. 113, 115. O’Brien, pp.
1981, p. 148, plate 418. O’Brien, pp. 73, 74, 87, 242-3, 45, $0, 112, 152, 160, 178-81, 216, 223-5, 229, 241, 243.
261, 285. Information supplied by: B*|BFCat|O’
Brien| Mac Taggart]
Information supplied by: B?/O’Brien/Lambr-D 1981] O’BrienPC.
O’BrienPC. Boalch 3 number: RUCKERS, 1.(HR). 1612(1).
Boalch 3 number: RUCKERS, I.(HR). 1611. Boalch 2 number: 16.
Boalch 2 number: {15] and 75 (under Andreas Ruckers).
Type: Two-manual harpsichord.
Type: Two-manual harpsichord. Date: 1612.
Date: 1612. Ownership: MUSEE D’HISTOIRE LOCALE, AMIENS,
Ownership: BENTON FLETCHER COLLECTION, FRANCE. Accession number not known.
FENTON HOUSE, LONDON. Accession number not Inscriptions: Ruckers number S¢/34.
known. Specification: 1x8", 1x4’.
Inscriptions: Over the keyboard: IOANNES RUCKERS Compass: GG/BB-d’, broken octave.
ME FECIT ANTVERPIAE 1612. Keyboard: White naturals, black sharps.
Specification: 1: 2x8’, 1x4’; I: 1x8’. Number of roses: 1.
Additional features: 3 hand stops. Style of rose: Seated harping figure.
Compass: GG,AA-P. Scale: 356 mm.
Keyboard: White naturals, black sharps. Length: 2232 mm.
Number of roses: 1. Width: 789 mm.
Style of rose: Seated harping figure. Depth: 254 mm.

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 RUCKERS 583
Remarks: Aligned and petit-ravalement of a normal Inscriptions: Date on wrestplank and jackrail. Ruckers
double-manual harpsichord. Authenticated by O’Brien, his number S¢/77.
number 1672b HR, as by loannes Ruckers, but with an Specification: 1: 1x8’, 1x4"; Us 1x8’, 1x4".
HR rose. The instrument has undergone a modest change Compass: GG-c?.
‘so as to align the keyboards. The upper manual compass Keyboard: Black naturals, white sharps.
was extended down to GG/BB, and two notes added to Number of roses: 1.
the treble and one to the bass so as to extend the compass Style of rose: Seated harping figure.
to d? and to allow the BB/E flat key to be split. There Exterior of case: Painted.
are still only two sets of strings one at 8’, and one at 4’, Scale: 356 mm.
but with one unison and one octave register available Length: 2251 mm.
from each manual. The alignment was probably carried Width: 830 mm.
out in 1730, when the builder who carried out the work Depth: 267 mm.
labelled the bridges with the cighteenth-century gauges Remarks: An aligned double-manual harpsichord which
to be used to re-string the instrument. Soundboard in was originally a chromatic-bass-octave ‘French’ double.
good decorative order though there has been some Authenticated by O’Brien, his number 1676 HR ascribed
repainting. by him to Ioannes Ruckers, but with a Hans Ruckers
References: ViMCemRuck, p. 118. O’Brien, p. 243. rose. Original compass of upper manual: F-f at pitch of
Information supplied by: Bz|O’ Brien|O’ BrienPC. R-4; lower manual compass of GG-c’ at pitch of R.
Boalch 3 number: RUCKERS, 1.(HR). 1612(2). Non-original keys of blackwood with hollowed out
Boalch 2 number: 17a] 300. arcades, and white sharps—both in the style of a number
of seventeenth-century French harpsichords. The upper
Type: Rectangular virginal. keyframe, however, is original and from it the original
Date: 1614(A). compass may be deduced. The retention of transposer
Ownership: BRUSSELS MUSEUM, BRUSSELS, plates and four sets of doubled strings for the e flat/g
BELGIUM. sharp notes in each choir help to establish the compass
Number. 2930. of the lower manual, and serve to show that this is the
Inscriptions: Ruckers number 6/20. earliest surviving Ruckers which had a chromatic compass
Specification: 1x8’. down to GG. The external decoration of painted panels
Compass: C/E-c’. is probably eighteenth-century French work. Interior of
Keyboard: White naturals, black sharps. lid, which is not original, keywell and front flap have
Number of roses: 1. paintings of mythological scenes. Soundboard decoration
Style of rose: Seated harping figure. in good order. Original stand. It still retains four rows
Scale: 261 mm. of jacks, 1x8’ and 1x4’ for each manual, controlled by
Length: 1668 mm. extensions of the slides passing through the case at the
Width: 491 mm. side.
Depth: 239 mm. Previous history: Formerly Edgar Castil, Paris. Casadesus
Remarks. A 6-voet muselar virginal. Authenticated by family. Rasselligs9 and Bz give the present owner’s name
O’Brien, his number (1614) HR, as by loannes Ruckers as Mirouet, but O’Brien gives it as Nirouet.
but with a Hans Ruckers rose. Naturals of bone, sharps References: Russelligs9, plate 36. VdMCemRuck, pp. 118,
of bog oak. Exterior decoration now has geometrical 141, 145. O’Brien, pp. 112, 127, 180, 197, 201, 213, 215,
pattern of brown and yellow ochre, but traces of the 230, 237, 244 (where a list of string lengths is given),
original green and off-white porphyry marble can be seen. 290-1.
Papier maché HR rose. Soundboard badly repainted in Information supplied by: Bz|O” Brien{O” BrienPC.
imitation Ruckers style. No indication of date, which was Boalch3 number. RUCKERS, 1.(HR). 1616.
assigned by Mahillon or Snoeck. Some soundbars missing Boalch 2 number: 22.
and non-original bars under both bridges. O’Brien com-
ments: ‘This instrument is a good example of Type: Virginal.
over-restoration.” Date: Not known.
Previous history: C. Snoeck, Ghent. Ownership: Not known.
References: ViMCemRuck, p. 132. O’Brien, p.243. Number of roses: 1.
Information supplied by: B2|O? Brien{O’ BrienPC. Remarks: Little is known about the instrument other than
Boalch 3 number: RUCKERS, I.(HR). 1614(A). the vestigial report in Bz. Not seen by O’Brien. Ascribed
Boalch 2 number: 19/304. by Bz to loannes, despite the HR rose. Five-octave
compass according to Po, p. 44.
Type: Two-manual harpsichord. Previous history: Formerly in the possession of Hans
Date: 1616. Neupert.
Ownership: M. NIROUET, PARIS, FRANCE. References: Po, p. 44-

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584 RUCKERS
Information supplied by: B*. Inscriptions. JOHANNES RUCKERS FECIT 1617.
Boalch 3 number: RUCKERS, I.(HR)(A). n.d. Specification: 2x8’, 1x4".
Boalch 2 number: 27. Compass: GG,AA-P.
Keyboard: White naturals, black sharps.
RUCKERS, IOANNES. Number of roses: 1.
Instruments with JR (loannes Ruckers) roses. Style of rose: Seated harping figure.
‘Type: Two-manual harpsichord. Exterior of case: Painted.
Date: 1612(A). Scale: 337 mm.
Ownership. MUSEE INSTRUMENTAL, PARIS, Length: 2235 mm.
FRANCE. Width: 917 mm.
Number: 1/327. Depth: 270 mm.
Inscriptions: Date on soundboard. Remarks: A normal double-manual which has undergone
Specification: 2x8", 1x4’. an ‘English’ grand ravalement. Dr. Johnson says that it
Compass. FF-f. shows signs of Kirkman’s work. Authenticated by
Keyboard: Black naturals, white sharps. O’Brien—his number 1617 IR. Original compass of upper
Number of roses: 1. manual C/E-c’, lower manual compass C/E-f. Externally
Style of rose: Seated harping figure. lacquered in black with red inside the lid. Despite
Exterior of case: Painted. enlargement the soundwell is covered with Ruckers
Length: 2401 mm. papers, but these must have come from an instrument of
Width: 906 mm. later than 1642. IR rose of the type usually found in a
Depth: 266 mm. virginal. Soundboard paintings typical of loannes Ruckers
Remarks: A normal double-manual harpsichord which has «. 1617. English eighteenth-century casework and jacks.
undergone a grand ravalement. Authenticated by O’Brien, Raised on English carved trestle stand.
his number (7612) IR. There is some doubt about the Previous bistory. According to Dr. Johnson, the Steinway
date since it occurs on a part of the soundboard which family (owners of the American Steinway Company) of
is not original. The style of the rose, otherwise found in Boston brought the instrument to the USA in 1900, and
loannes Ruckers double-manual harpsichords no earlier gave it to their piano technicians to restore. They put the
than 1618, together with the style of soundboard painting thinnest piano strings on it, which were, of course, too
suggests a date later than 1612. O’Brien suggests that heavy, and this crushed the case. When Dr. Johnson
perhaps it was originally 1617 which has been misread received it every glued joint was broken, but fortunately
and copied as 161Z, which has been interpreted as 1612. repairable. Also, before Dr. Johnson in the possession of
Original compass of upper manual C/E-c’; lower manual Alexander Steinert, Providence, Rhode Island, (formerly
compass C/E-P. Ravalé in the eighteenth century and at his wife’s house at Beverly, Massachusetts). Morris
greatly altered, but with great technical skill. Nevertheless, Steinert, Boston. Robert Haas, Los Angeles, from whom
a beautiful instrument with pastoral scenes on the exterior Dr. Johnson bought it.
of the case and inside the lid (the contest between Appolo References: ViMCemRuck, p. 109. O’Brien, pp. 216, 245.
and Marsyas by Jan Brueghel the Elder and Hendrik van Information supplied by: B*|Jobnson|O’ Brien|O’ BrienPC.
Balen). Front flap with Orpheus taming the animals, by Boalch 3 number: RUCKERS, I. 1617.
Paul Bril. Perhaps the earliest harpsichord to use the Boalch 2 number: 33.
loannes Ruckers double-manual rose. Raised on elaborate
French style stand with six gilded cabriole legs. Naturals Type: Rectangular virginal.
probably ebony and sharps of the same with white slips Date: 1618.
atop. Ownersbip: MUSEE INSTRUMENTAL, PARIS,
Preious history: Said to have belonged to Elizabeth, Queen FRANCE.
of Philip IV of Spain, given her by Maria de Medici and Number: E.653/c.317.
kept first in the Escorial and later in Mme. de Maintenon’s Inscriptions. Date on soundboard. Inscribed on jackrail:
rooms at Versailles. L. Clapisson, Paris. IOANNES RUCKERS ME FECIT. Ruckers number:
References: Mlustrated in Raseger, plate 71. MICL. VdMCem- 26.
Rack, p. 127. O’Brien, pp. 165, 179, 217, 245- Specification: 1x4".
Information supplied by: B?|O’ Brien| MICL|O’ BrienPC. Compass. C/E-c’, short octave.
Boalch 3 number: RUCKERS, lL. 1612(A). Keyboard: White naturals, black sharps.
Boalch 2 number: 31. Nuamber of roses: 1.
Style of rose: Seated harping figure.
Type: Two-manual harpsichord. Scale: 182 mm.
Date: 1617. Length: 809 mm.
Ovnersbip: DR. ROBERT A. JOHNSON, Width: 305 mm.
ENCINITAS, CALIFORNIA, USA. Depth: 134 mm.

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 RUCKERS 585
Remarks: The motherless child of a mother-and-child Boalch 3 number: RUCKERS, I. 1618(2).
double virginal, at pitch R + 8. In fine, unaltered condition. Boalch 2 number: 35.
Authenticated by O’Brien—his number 16142 IR. Naturals
of bone, sharps of bog oak. Patterned paper on inside Type: Two-manual harpsichord.
and outside of case, all in good state. The earliest extant Date: 1618.
Ioannes Ruckers virginal to contain the form of IR rose Ownership: LUND UNIVERSITY,
in use from 1618 onwards. KULTURHISTORISKA MUSEET, LUND.
Previous bistory: A. Colin, Paris. SWEDEN.
References. VdMCemRuck, p. 139. MICL. O’Brien, pp. Number. KM4417.
245-6. Inscriptions: Signed on nameboard [B*] or on the sound-
Information supplied by: B?|MICL|O’ Brien{O’ BrienPC. board [O’Brien]: lobannes (sic) Ruckers me fecit Antwerpiae
Boalch3 number: RUCKERS, I. 1618(1). (sic) Anno 1618. Also signed on the soundboard: Johan
Boalch 2 number: 34. Christoph Fleischer auxit et restituit Hamburgi (sic) Anno
1724.
‘Type: Two-manual harpsichord. Compass: C-d’.
Keyboard: White naturals, special sharps.
Date: 1618.
Number of roses: 1.
Ownership: SCHLOSS CAPPENBERG, WESTPHALIA,
Style of rose: Seated harping figure.
GERMANY.
Number: C.3370.
Exterior of case: Painted.
Inscriptions: Signed on nameboard: IOANNES RUCK-
Scale: 382 mm.
Length: 2235 mm.
ERS FECIT 1618. Ruckers number: S¢/z2.
Width: 790 mm.
Specification: 2x8’, 1x4’.
Compass: GG/BB-d’, short octave.
Depth: 260 mm.
Remarks: An aligned normal double-manual harpsichord.
Keyboard: White naturals, black sharps.
B* suggests that the date could be 1619 (he says the last
Number of roses: 1. digit is not clear) but O’Briez, who authenticates the
Style of rose: Seated harping figure. instrument, his number 167é¢ IR, gives the date unequi-
Exterior of case: Plain wood. vocally as 1618. Instrument much altered by Johan
Scale: 343 mm.
Christoph Fleischer in 1724 in Hamburg. According to
Length: 2210 mm. O'Brien, soundboard, bridges, nuts, soundboard mould-
Width: 784 mm. ings, barring, 4’ hitch pin rail, wrestplank veneer, tuning
Depth: 268 mm. pins, registers, keys (naturals of ivory, and sharps of
Remarks: An aligned and extended double manual harp- tortoiseshell) and keyframes, lid, stand, and cheekpieces
sichord. Authenticated by O’Brien—his number 16185 IR are all non-original. Fleischer altered the original compass
though reported in B? as dated 1618[?] and VdM in of C/E-c for the upper afd C/E-P for the lower to an
VdMCemRuck could find no date. Naturals of bone, aligned GG/BB-c’, but this was changed later to the
sharps of bog oak. Original compass of upper manual present compass. Inside painted vermillion, and outside
C/E-c’, lower manual compass C/E-f. The instrument painted in imitation tortoiseshell.
has many original features. The plan of the instrument Previous history: Queen Louisa Ulrica of Sweden [1720-
has been scribed on the baseboard. The original 1x8’, 82], daughter of King Freidrich Wilhelm of Prussia.
1x4’, has been converted to 2x8’, 1x4’ by adding a second References: O’ Brien, pp. 214, 246.
8’ string to the left of the original, and the scaling adjusted Information supplied by: B?|O’ Brien|O’ BrienPC.
by moving the 8’ nut forward towards the main gap. The Boalch 3 number: RUCKERS, I. 1618(;).
upper manual has had two keys marked St/j7 added to Boalch 2 number: 352.
the treble. These probably came from a late Andreas
Ruckers single manual harpsichord. Paint removed from Type: Two-manual harpsichord and virginal combination.
outer case to show plain wood which has been varnished. Date: 1619.
Soundboard painting in reasonably good condition. Some Ownership: BRUSSELS MUSEUM, BRUSSELS,
jacks carry a restoration-date 1854. BELGIUM.
Previous history: Formerly the Loeb family, Haus Kald- Number: 2935.
enhoff, Nr. Hamm, Westphalia. On loan to Schloss Inscriptions: Ioannes Ruckers me fecit Antverpiae 1619. Ruck-
Cappenberg from the Museum fiir Kunst-und Kul- ers number Sf on the harpsichord keys.
turgeschichte, Dortmund. Specification: 2x8’, 1x4".
References. VdMCemRuck, pp. 122-3. O'Brien, pp. 63~6, Compass: GG/BB-c', short octave (harpsichord); C/E-c’
85, 91, 114, 115, 120, 122-4, 126, 151, 162, 172, 214-15, short octave (virginal).
246. Keyboard: White naturals, black sharps.
Information supplied by: B?|O’ Brien|O’ BrienPC. Number of roses: 2 (one in cach instrument).

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 586 RUCKERS
Style of roses: Seated harping figure. Specification: 1x8’.
Scale: 347 mm. Compass: C-P.
Length: 2188 mm. Keyboard: White naturals, black sharps.
Width: 817 mm. Number of roses: 1.
Depth: 254 mm. Style of rose: Seated harping figure.
Remarks: An aligned normal double-manual harpsichord/ Exterior of case: Painted.
virginal combination. Authenticated by O’ Brien—his num- Scale: 368 mm.
ber 1619 IR. The virginal at a pitch of R+5 is built into Length: 1707 mm.
the bent side of the harpsichord. Original compass of Width: 495 mm.
harpsichord: upper C/E-c’; lower C/E-P. Original virginal Depth: 243 mm.
compass C/E-c’ as at present. O’Brien reports ‘an example Remarks: 6-voet muselar virginal (keyboard to the right).
of disastrous over-restoration’. It appears that very little Authenticated by O’Brien—-his number 1620 IR. Original
of the instrument is original, though the scalings are near compass probably C/E-c’. Extension of compass caused
to Ruckers normal practice, and from them it is clear that the second figure of the Ruckers number to be cut away.
the virginal was at quint pitch, an octave above the Naturals of bone with keyfronts of gilt unembossed paper
original lower manual (its present scale is 244 mm.). or parchment with painted leaves (eighteenth century or
Naturals of bone, sharps of bog oak. The main jackrail earlier). Sharps of bog oak. Marks on soundboard indicate
is old (confirmed by O’Brien) but its inscription was there was originally an arpichordium stop in the bass.
suspected by Ruasselligyg. Most of the decoration is Large brass strap-hinges in English style are modern.
unoriginal. Modern internal lid painting of Apollo and Case of poplar. Exterior of case in modern paint. Interior
the Muses. covered with typical Flemish papers probably dating from
Previous history: Abel Régibo, Ronse (Renaix). César an eighteenth-century ravalement, though they might date
Snoeck. Much ‘restoration’ appears to have been carried from Dolmetsch’s time. Soundboard has heavily retouched
out by Charles de Vestibule under the direction of Closson birds and flowers. Stand is probably cighteenth-century,
who was Curator of the Museum in the period 1924-36. and is of the same style as that on the Dulcken harpsichord
References: VdMCemRuck, p. 103. O’Brien, pp. $2, 90, in the Smithsonian Institution, Washington.
246-7. Previoxs history: On extended loan to the Museum of Fine
Information supplied by: Bz/O” Brien|O’ BrienPC. Art from the New England Conservatory of Music,
Boalch 3 number: RUCKERS, I. 1619(1). Boston. Extensively restored in 1906 by Chickering/
Boalch 2 number: (36] and 37. Dolmetsch who are responsible for much of the decor-
ation, jacks (just possibly the stand) etc. Instrument
Type: Virginal. enlarged to present compass in the Low Countries in mid
Date: 1619. eighteenth century.
Ownership: Not known. References: Data sheet by John Koster available from
Specification: 1x8'(A). Museum of Fine Arts. VdMCemRuck, p. 134. O’Brien, pp.
Compass: C/E-c'(A). 247, 285. MF A(Lambert) BostonCat.
Keyboard: White naturals, black sharps. Information supplied by: Bz|MFA(Koster)|O’
Brien| MFA
Number of roses: 1. (Lambert)|O’ BrienPC.
Remarks: Listed by O’Brien under instruments untraced Boalch3 number: RUCKERS, I. 1620.
and unseen. Bz reports a short octave, hence the ascribed Boalch 2 number: 39.
compass, and an JR rose.
Previous history: A. Régibo. Type: Rectangular virginal.
References: Frankf. 1927. Date: 1622.
Information supplied by: B2|O’ Brien. Ownership. METROPOLITAN MUSEUM OF ART,
Boalch 3 number: RUCKERS, I. 1619(2). NEW YORK, USA.
Boalch 2 number: 38. Number: 11.176.1.
Inscriptions: On jackrail: IOANNES RVCKERS FECIT
Type: Rectangular virginal. ANTVERPIAE. Lid motto OMNIS SPIRITVS
Date: 1620. LAVDET DOMINVM. On soundboard in two loc-
Ownership: MUSEUM OF FINE ARTS, BOSTON, ations anno 1622, and on the soundboard right front:
USA. VAN LIPPEN. Ruckers number: Given as 6/35 by
Number: 10.1974. MMA, and 6/38 by O’Brien.
Inscriptions: In paint and gold on non-original jackrail: Specification: 1x8".
IOHANNES RUCKERS ME FECIT ANT- Compass: C-P.
WERPIAE 1620. Date of 1620 painted on soundboard. Keyboard: White naturals, black sharps.
Ruckers number 6/3[?]. OMNIS SPIRITS LAVDET Number of roses: 1.
DOMENVM (sic) across inside of lid. Style of rose: Seated harping figure.

'y Google
 RUCKERS 587
Exterior of case: Painted. be 1628, but gives no reason. O’Brien records it as an
Scale: 392 mm. instrument giving a remarkably good idea of the original
Length: 1708 mm. appearance of a Ruckers mother and child virginal. The
Width: 488 mm. outer case painting though not original is a good
Depth: 240 mm. copy of the green and white porphyry marble, and the
Remarks: Formerly MMA instrument number 89.4.3646. soundboard painting is rather heavily retouched. The
A 6-voet muselar virginal. Authenticated by O’ Brien—his papers are original, intact and in good condition.
number 1622 IR. Original compass C/E-c’, but extended Previous bistory: Salomon, Paris. George Harding (brother
on both the treble and bass sides. Bone naturals with of U.S. President Harding), Chicago. Harding Museum,
parchment fronts and sharps of bog oak. Bridges extended Chicago. Sold at Sotheby Parke Bernet on 29 October
during enlargement of compass. Scaling not original. 1976 for $65,000 to the present owners. For details of
Exterior now overpainted black, but traces of original legal wrangles surrounding the sale see: AMIS. XIV, 1,
marbling show through. Stand, though not like other February 1985.
Ruckers stands, is very old and shows traces of wear References: Mlustrated in Russell 1959. Sotheby Parke Bernet
from the feet of players. Catalogue of 29 October 1976. VdMCemRuck, plate 11,
Previous bistory: V. Mahillon, Brussels. Collection of p. 138. OBrien, pp. 247-8, 285.
Bernard Boekelman who gave it to the Museum in 1911. Information supplied by: Bz2[Sotheby|R Berger|O’ Brien|O’ Brien
References: Phillip T. Young. The Look of Music. Exhibition PC.
Catalogue, 1 November 1980-5 April 1981, Vancouver Boalch3 number: RUCKERS, 1. 1623.
Centennial Museum, Seattle, University of Washington Boalch 2 number: 41.
Press, 1980, p. 130 (illustrated). VdMCemRuck, p. 132.
MMA. MMACL. Photos (negative numbers MUS 1125,
136811, etc.) available from the Museum. O’Brien, pp. 53, Type: Two-manual harpsichord.
86, 247, 251, 285. Date: 1624.
Information supplied by. B2|MMAJ|O’
Brien) MM ACL|O' Brien Ownership: LE MUSEE DES UNTERLINDEN,
PC. COLMAR, FRANCE. Accession number not known.
Boaleh3 number: RUCKERS, I. 1622. Inscriptions. Dated 1624 on the soundboard between the
Boalch 2 number: 40. rose and the spine, and authenticated by O’Brien as being
by Ioannes Ruckers.
Compass: GG,AA-d’,
Type: Mother and child virginal. Keyboard: White naturals, black sharps.
Date: 1623.
Number of roses: 1.
Ownership: WORTTEMBERGISCHES
Style of rose: Seated harping figure.
LANDESMUSEUM, STUTTGART, GERMANY.
Accession number not known. Exterior of case: Painted.
Length: 2237 mm.
Inscriptions: Inscribed: Joannes Ruckers me fecit on both
instruments on the jackrail. Date 7623 on the soundboard. Width: 789 mm.
The interior of the lid inscribed: AVDI VIDE ET Depth: 267 mm.
TACE SI VIS VIVERE IN PACE. The keywell flap Remarks: Ascribed by some previous reporters to Andreas
inscribed OMNIS SPIRITVS LAVDET DOMINUM. Ruckers, but authenticated by O’Brien—-his number 1624
Ruckers number M/33 and £/33. IR as by Ioannes. The rose was made by Grant O’Brien.
Specification: 1x8’ (mother); 1x4’ (child). An aligned petit ravalement of a normal double-manual
Compass: C/E-c’, short octave. harpsichord. Original compass C/E-c’ for the upper
Keyboard: White naturals, black sharps. manual and C/E-f for the lower. The instrument has
Number of roses: 2 (one in the mother, and one in the gone through two stages of change of compass, initially,
child). an alignment, to give GG/BB-c’, and subsequently to the
Style of roses: Seated harping figure. present compass. The nuts and keyboards are
Exterior of case: Painted. replacements.
Scale: 567 mm. Previous history: Formerly at the Chateau Condé en Brie
Length: 1708 mm. (Comte Xavier de Sade). It appears that, from the records
Width: 501 mm. of the de Sade family, there has been a Ruckers harpsichord
Depth: 264 mm. in the family’s possession since the eighteenth century.
Remarks: Double muselar mother and child virginal, with Subsequently in the possession of Alan Rubin, London.
mother at pitch R, and child (scale 178 mm) at pitch References: Not in Bz or in any other standard references.
R+8. Authenticated by O’Brien—his number 1623 IR. But see O’Brien, pp. 150, 152, 186, 214-15, 248.
The Sotheby Parke Beret catalogue of the sale on 29 Information supplied by: Rubin|O’ Brien{O BrienPC.
October 1976 gives a full description of the instruments Boalch 3 number: RUCKERS, I. 1624.
and despite the inscription suggests that the date should Boalch 2 number: None.

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588 RUCKERS
Type: Virginal. Information supplied by: B?/O’ Brien|O’ BrienPC|Droysen-
Date: 1626. Reber|Elste|BerlinCat.
Ownership: Not known. Boalch3 number: RUCKERS, I. 1627(1).
Inscriptions: Joannes Ruckers fecit Antverpiae 1626. Boalch 2 number: 43.
Specification: 1x8"(A).
Length: 1295 mm. Type: Two-manual harpsichord.
Width: 483 mm. Date: 1627.
Remarks: Listed by O’Brien as an untraced and unseen Ovnership: P. DE LA RAUDIERE, CHATEAU DE
instrument. All that is known of the instrument comes VILLEBON, EURE ET LOIRE, FRANCE.
from B?. Compass: GG/BB-c’, short octave.
Previous history: Pley Collection, Brussels, (dispersed in Keyboard: White naturals, black sharps.
1906). Number of roses: 1.
Information supplied by: B’. Style of rose: Seated harping figure.
Boalch3 number: RUCKERS, I. 1626. Exterior of case: Painted.
Boaleh 2 number: 42. Remarks: Aligned normal double-manual harpsichord.
Authenticated by O’Briep—his number 1627b IR. A
conservative ravalement, in 1701. The problem of the
Type: Single-manual harpsichord. change of scalings without altering the position of the
Date: 1627. nuts has been accomplished by cranking the ends of the
Ownership: MUSIKINSTRUMENTEN MUSEUM, keys above d towards the treble by a semitone. External
BERLIN, GERMANY. case lacquered in dark green with French-style gold bands.
Number: 2227. The stand is old though probably not original. Lid not
Inscriptions. Originally, according to Snoeck (Cat. No. 227), original.
and Sa, the nameboard carried the inscription JOANNES Previous bistory: Bought by Sully [1559-1641], minister of
RVCKERS FECIT ANTVERPIAE, but this was lost Henri IV, for the Chateau de Villebon. Sold in 1904, and
in the Second World War. Date on soundboard. Ruckers again ¢. 1920 to Salomon, Paris. Restored by G. Simer
number: S¢/s4. On the lid interior is the motto MUSICA in 1924. Bought in 1927 by the present owner for the
DONUM DEI. Chateau.
Specification: 2x8". References: O’ Brien, pp. 214, 249.
Compass: C-e'. Information supplied by: B*|O’ Brien|O’ BrienPC.
Keyboard: White naturals, black sharps. Boalch 3 number: RUCKERS, I. 1627(2).
Number of roses: 1. Boalch 2 number: 44b.
Style of rose: Seated harping figure.
Exterior of case: Painted. Type: Two-manual harpsichord.
Scale: 320 mm. Date: 1627.
Length: 1815 mm. Ownership: Not known.
Width: 809 mm. Inscriptions. Date on soundboard. The extra keys added
Depth: 250 mm. in the second compass extension are signed FA.
Remarks. Grand ravalement of a single manual harpsi- Specification: 2x8’, 1x4'(A).
chord, authenticated by O’Briep—his number 16274 IR. Compass: FF-P.
Original compass C/E-c’, and disposition 1x8’, 1x4’. It is Keyboard: White naturals, black sharps.
not known when the keyframe and case were widened, Number of roses: 1.
by adding extra notes in the treble and bass. Naturals of Style of rose: Seated harping figure.
bone, with gilded wooden arcades. Sharps of bog oak. Exterior of case. Painted.
Soundboard, bridges, wrestplank, and veneer not original, Remarks: Grand ravalement of an extended-bass compass
though many jacks are original, and it is from these that ‘French’ double-manual harpsichord. Authenticated by
the original disposition may be deduced. Painted externally O’Brien—his number 1627¢ IR. Original compass of upper
with large round medallions. Coastal scene painted inside manual: F-f at pitch of R-4; lower manual: GG-c’ at
lid which has particularly fine hinges and lock. Raised on pitch of R. The instrument was aligned probably by Jean
trestle stand with four black-painted baluster-turned legs. Goujon in 1753 to give a compass of GG-d’. The case
Previous history: Previously owned by Edmond van der was subsequently altered so as to give the present compass.
Straeten, and César Snoeck, Ronse (Renaix). Acquired by The full and interesting history of the changes is given
the Museum in 1902. by O’Brien [p. 250].
References: Friedrich Ernst in GSJ vol. XX [1967]. A. Previous bistory: Salomon, Paris. Mme. Bailly, Paris, [1967].
Berner in RG.I, p. 60. Sa, plate 6. VdMCemRack, pp. Claude Mercier-Ythier, Paris.
11t, 115. O’Brien, pp. 172, 181, 210, 217, 248-9. Berlin References: O’Brien, pp. 112, 180, 195, 201, 217, 230, 250.
Cat, pp. 127-32. Information supplied by: B*/O’ Brien|O’ BrienPC.

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 RUCKERS 589
Bealch3 number: RUCKERS, I. 1627(3). Width: 835 mm.
Boalch 2 number: 442. Depth: 254 mm.
Remarks: Aligned, French petit-ravalement of a Ruckers
‘Type: Rectangular virginal. extended-compass double-manual harpsichord. Authen-
Date: 1628. ticated by O’Brien—his number 1628b IR. Also listed by
Ownership: BRUSSELS MUSEUM, BRUSSELS, Dowd in DowdHH as having been worked on by Blanchet.
BELGIUM. He says: ‘a classic example of the first step in transforming
Number: 2926. a Ruckers transposing double into a French harpsichord’.
Inscriptions: B* says that the date 1628 on the soundboard Original compass of upper manual F-f at pitch of R-4;
is not old. Ruckers number: M/34. lower manual compass GG-c’ at pitch of R. Exterior
Specification: 1x8". decoration in Louis XIV style, attributed to Claude III
Compass: C,D-P. Audran (1658-1734); interior lid painting of a pastoral
Keyboard: White naturals, black sharps. scene. The spine retains its original Ruckers marbling.
Number of roses: 1. Keyboards dated 1706, most probably by Blanchet (for
Style of rose: Seated harping figure. further information on this aspect see: DowdHH, pp. 33-
Exterior of case: Vencered. 4: P. 35).
Scale: 386 mm. Previous bistory: Formerly Musée de Cluny, Paris.
Length: 1708 mm. References: Ulustrated in HMP. DowdHH, pp. 33-4.
Width: 472 mm. VdMCemRuck, p. 109. O’Brien, pp. 112, 165, 180, 201,
Depth: 266 mm. 215, 230, 250.
Remarks: The Ruckers number M/34, visible only in Information supplied by: B*/O’ Brien| DowdHH|O’ BrienPC.
ultraviolet light, indicates that the instrument was built Boalch 3 number: RUCKERS, I. 1628(2).
as the mother of a mother and child combination. It Boalch 2 number: 47.
has now been converted to a 6-voet muselar virginal.
Authenticated by O’Brien who, despite the slight doubt Type: Rectangular virginal.
cast on the date by B’, gives it the number 16264 IR. Date: 1629.
Naturals of bone and sharps of bog oak. Original compass Ownership: BRUSSELS MUSEUM, BRUSSELS,
C/E-c’. The space originally intended for the child has BELGIUM.
been filled in, and the whole of the case and lid have Number: 2511.
been veneered with, as O’BrienPC puts it, ‘naive inlay’. Inscriptions: Date: 1629 on jackrail which is not original,
Though the soundboard, wrestplank, and rose are original, but also on soundboard (visible under ultraviolet light).
the bridges are not, and the scalings are therefore not Ruckers number: 44/11. Motto on lid: OMNIS SPIR-
original. A pedal arrangement (B’ says ‘a genouillére’) ITVS LAVDET DOMINVM.
has been fitted at some time to operate either a harp or Specification: One register at a fourth higher than normal
arpichordium stop. 8’ pitch.
Previous history: Exhibited at the Brussels Exhibition, 1850. Compass. C/E-d’, short octave.
L Jouret, Brussels. César Snoeck, Ronse (Renaix). Keyboard: White naturals, black sharps.
References: VdMCemRuck, p. 132. O’Brien, pp. $3, 250, Number of roses: 1.
285. Style of rose: Seated harping figure.
Information supplied by: B?|O’ Brien|O’ BrienPC. Scale: 274 mm.
Boalch3 number: RUCKERS, I. 1628(1). Length: 1282 mm.
Boalch 2 number: 45. Wideb: 478 mm.
Depth: 220 mm.
Remarks: 4}-voet spinett virginal at pitch of R+4,
‘Type: Two-manual harpsichord.
authenticated by O’Brien—his number 1629 IR. One of
Date: 1628.
only two surviving Ruckers 4}-voet virginals. Mostly in
Ownership: PALACE OF VERSAILLES, FRANCE. original condition. O’Brien gives the string-length list.
Accession number not known. Previous history: Was on loan to the Russell Collection
Inscriptions: Date 1628 on soundboard. Keys dated 1706.
until 1985. Listed as their instrument number 39.
Specification: 2x8", 1x4’. References: RussColli986, p. 26. VdMCemRuck, p. 131.
Additional features. Shove coupler.
Compass: GG-d?. O’Brien, pp. 35-7, 57-8, 69, 81, 162, 178, 224-5, 236,
250-1, 285.
Keyboard: Black naturals, white sharps.
Information supplied by: B?/O’ Brien|RussColl1986/O" BrienPC.
Number of roses: 1.
Boalch 3 number: RUCKERS, I. 1629(1).
Style of rose: Seated harping figure. Boalch 2 number: 49.
Exterior of case: Painted.
Scale: 355 mm. Type: Two-manual harpsichord.
Length: 2274 mm. Date: 1629.

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590 RUCKERS
Ownership: Not known. Depth: 279 mm.
Remarks: Listed by O’Brien as an untraced and unseen Remarks: A normal single-manual harpsichord converted
instrument, and quoting the B? number as ¢2—it should into a ravalé double-manual harpsichord. Authenticated by
be 48. Almost nothing is known about the instrument. O’Brien—his number 1632 IR. The original single-manual
Previous history: G. de Prins, Louvain. instrument had two registers with compass C/E-c’. The
Information supplied by: B?. monogram on the keylevers suggests that the ravalement
Boalch 3 number: RUCKERS, I. 1629(2). dates from 1745 and was the work of Jean Goujon. Outer
Boalch 2 number: 48. case in chinoiserie on a predominantly dark yellow
ground. Landscape painting inside lid. Raised on apron
Type: Two-manual harpsichord. stand with seven cabriole legs, all finished in gold. All in
Date: 1630. the style of Louis XV.
Ownership: Not known. Previous bistory: Said to have been Marie Antoinette’s
Length: 1486 mm. harpsichord and was taken to Switzerland by refugees
Width: 864 mm. from the French revolution.
Remarks: Listed by O’Brien as an untraced and unseen References: Ulustrated in colour in Rwseger, plate 15.
instrument. All that is known about the instrument comes VdMCemRuck, p. 110. O’Brien, pp. 165, 181, 195, 211-
from B?. 12, 250, 251.
Previous history: F. Pigeory, Paris. Baroness J. de Roths- Information supplied by: B*|Rueger|O’ Brien|O’ BrienPC.
child, Paris. Boalch 3 number: RUCKERS, I. 1632(2).
References: Illustrated in Po. Boalch 2 number: 53.
Information supplied by: B’.
Boalch 3 number. RUCKERS, I. 1630. Type: Rectangular virginal.
Boalch 2 number: 51. Date: 1636.
Ownership: HARVARD UNIVERSITY, CAMBRIDGE,
Type: Two-manual harpsichord. MASSACHUSETTS, USA. Accession number not
Date: 1632. known.
Ownership: Not known. Inscriptions: Inscribed: Ioannes Ruckers fecit Antverpiae, 1636.
Compass: FF-g’. The date is painted on non-original papers inside the lid,
Number of roses: 1. and also between the left-hand bridge and the spine, an
Length: 2489 mm. unusual position. Ruckers number: 6/70. Motto inside lid
Width: 991 mm. (not original): DVLCISONVM REFICIT (sic) TRI-
Remarks: Listed by O’Brien as an untraced and unseen STIA CORDA MEJOS (sic).
instrument. All that is known about the instrument comes Specification: 1x8'(A).
from B?. Compass: NS
Previous history: Snoeck. Keyboard: White naturals, black sharps.
Information supplied by: B. Number of roses: 1.
Boalch 3 number: RUCKERS, I. 1632(1). Style of rose: Seated harping figure.
Boalch 2 number: 52. Scale: 384 mm.
Length: 1708 mm.
Type: Two-manual harpsichord. Width: 497 mm.
Date: 1632. Depth: 240 mm.
Ovnership: MUSEE D’ART ET D’HISTOIRE, Remarks. A 6-voet muselar virginal. Authenticated by
NEUCHATEL, SWITZERLAND. Accession number O’Brien—his number 1636 IR, though he does suggest
not known. that it may originally have been dated 1639. B? shows
Inscriptions: Johannes Ruckers me fecit Antwerpiae. According two similar virginals, numbers 55a and 56 with the same
to MarcP there is no visible date. Monogram of Goujon date, which O’Brien—suggests are the same instrument,
on the keylevers. and this seems most likely. Keys are non-original with
Specification: 2x8’, 1x4’. bone naturals and ebony sharps. The instrument is much
Additional features: Shove coupler. altered in compass, bridges, soundboard, and outer case,
Compass: GG’. which has heavy carved oak sides glued to the original
Keyboard: Black naturals, white sharps. Ruckers case. Stand of oak, which could be original.
Number of roses: 1. Eighteenth-century(?) string gauges marked on the keys.
Style of rose: Seated harping figure. Previous bistory: Possibly formerly in the Pley Collection,
Exterior of case: Painted. Brussels.
Seale: 365 mm. References: MGG, vol. Il [1963], s.v. Rackers. VdMCem-
Length: 2254 mm. Ruck, p. 132. O’Brien, pp. 251, 283.
Width: 873 mm. Information supplied by: B?|O’ Brien|O’ BrienPC.

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 RUCKERS 591
Boalch 3 number: RUCKERS, 1. 1636. Ownership. MUSEO DEGLI ANTICHI STRUMENTI
Boalcb 2 number: 552/56. MUSICALI, ROME.
Number. 817.
Type: Single-manual harpsichord. Inscriptions. On name-batten: Ioannes Ruckers fecit Antver-
Date: 1637. piae. Date 1637 on soundboard. Motto on keywell flap
Ovnersbip: RUSSELL COLLECTION, EDINBURGH ACTA VIRVM PROBANT. Ruckers number S¢/74.
UNIVERSITY, SCOTLAND. Specification: 1x8", 1x4".
Number: 5. Keyboard: White naturals, black sharps.
Inscriptions. On name-batten: JOANNES RUCKERS Number of roses: 1.
ME FECIT ANTVERPIAE 1637. Date 1637 painted Style of rose: Seated harping figure.
on soundboard. Exterior of case: Painted.
Specification: 2x8’, 1x4". Scale: 354 mm.
Compass: AA-P. Length: 2239 mm.
Keyboard: White naturals, black sharps. Width: 784 mm.
Number of roses: 1. Depth: 265 mm.
Style of rose: Seated harping figure. Remarks: Normal Ruckers double-manual harpsichord
Exterior of case: Painted. restored to its original state with non-aligned keyboards.
Scale: 347 mm. Authenticated by O’Brien—his number 16376 IR. Shown
Length: 1830 mm. in Bz under numbers 59a and 71. Naturals of bone, sharps
Width: 840 mm. of bog oak. Originally a transposing instrument with
Depth: 243 mm. 1x8’, 1x4’ and in 1969-70 restored to its original trans-
Remarks: A grand ravalement of a chromatic-bass-octave posing form, with manual pitches separated by a fourth
‘English’ single-manual harpsichord. Authenticated by in pitch, by John Barnes, thus being at present the
O’Brien—his number 1637a IR. Originally one of the few only restored transposing Ruckers (though according
‘English’ Ruckers with chromatic bass compass C-c’. It to O’Brien, it has deteriorated markedly since 1970).
has undergone a number of changes, the last of which Soundboard paintings and paper decorations are damaged,
was in England ¢. 1780 when new keys with ivory naturals but the exterior shows the original Ruckers marbling.
and ebony sharps were added (O’Brien says probably not Previous bistory: Commendatore Evan Gorga, Rome.
in the Kirkman or Shudi workshops). There was a pedal References: Cerv.MASM, p. 322-4. VdMCemRuck, p. 119.
¢. 1780 which disappeared ¢. 1952 but was reconstructed O’Brien, pp. 167, 186, 208, 214, 229, 237, 252.
in 1968. This operated the 4’ register. Two stop-levers c. Information supplied by: B2|O’ Brien|Cere.MASM|VdM/
1780 operated the 8’ registers. The exterior case, which O’BrienPC.
is now in vermillion in varnish decorated with acanthus Boalch 3 number: RUCKERS, I. 1637(2).
bands in gold leaf, has been partly redecorated four times. Boalch 2 number: 59/71.
Stage three probably dates from the ravalement when the
gold bands were added three states of which are visible Type: Rectangular virginal.
on the instrument today. Soundboard decoration in good
Date: 1638.
condition. The inside of the lid flap has a painting of a
Ownership: BRUSSELS MUSEUM, BRUSSELS,
woman, possibly St. Cecilia, seated at the organ.
Previous history: Depicted in an oil painting by William BELGIUM.
Powell Frith, R.A., 1852, showing an cighteenth-century
Number: 2933.
Inscriptions: Date is written on (non-original) soundboard.
group. Painting sold at Sotheby's in 1946. In 1885
exhibited at International Inventions Exhibition. 1817~ Motto in lid: MVSICA MAGNORVM EST SOLA-
1903, J. C. Horsley, R.A. (1856). Hugh Gough (restored MEN DVLCE LABORVM. Ruckers number: 6/68.
it in 1952). Raymond Russell (1952/3). 1964 given to Specification: 1x8".
Edinburgh University by Mrs. Russell. Restored by John Compass: C-d?.
Barnes in 1968. Keyboard: White naturals, black sharps.
References: RG.I, p. 36, article by John Barnes. RussColl, Number of roses: 1.
p. 11 (illustrated). VdMCemRuck, pp. 113-15. OBrien, Style of rose: Seated harping figure.
PP- 43, 154, 162, 176-7, 210, 251-2. Recording on cassette Exterior of case: Painted.
available from the Russell Collection. Seale: 332 mm.
Information supplied by: Bz|RussColl|O’ Brien|MacTaggart| Length: 1709 mm.
Raymond] Barnes. Width: 494 mm.
Boalch 3 number: RUCKERS, I. 1637(1). Remarks: 6-voet muselar virginal. Authenticated by
Boalch 2 number: 59. O'Brien—-his number 1638a IR. Naturals of bone and
sharps of bog oak. Much non-original material including
Type: Two-manual harpsichord. soundboard, bridges, scaling, and soundboard barring.
Date: 1637. External decoration shows traces of original marbling,

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592 RUCKERS
and internal lid papers in reasonable condition. Much 252-3. Full-size drawing by Edward Turner (1983) avail-
wear on keys showing that it has been played considerably. able from the Russell Collection.
Previous bistory: César Snoeck, Ronse (Renaix). Information supplied by: Bz|RussColl|O’ Brien|RussColl1986]
References: VdMCemRuck, p. 133. O’Brien, pp. 87, 252, Raymond|O’ Brien.
285. Boalch 3 number: RUCKERS, I. 1638(2).
Information supplied by: B2|O? Brien{O’ BrienPC. Boalch 2 number: 61.
Boalch 3 number: RUCKERS, I. 1638(1).
Boalch 2 number: Go. Type: Single-manual harpsichord.
Date: 1639.
Type: Two-manual harpsichord. Ownership: VICTORIA AND ALBERT MUSEUM,
Date: 1638. LONDON, ENGLAND.
Ownership: RUSSELL COLLECTION, EDINBURGH Number: 1739-1869.
UNIVERSITY, SCOTLAND. Inscriptions: Date 1639 painted on soundboard at the base
Number: 6. of the 4’ bridge.
Inscriptions: On name-batten: IOANNES RVCKERS Specification: 2x8’, 1x4’.
FECIT ANTVERPIAE. Date 1637 [RassColl] painted Compass: GG,AA-d?.
on the soundboard. Ruckers number S#/47 on reverse of Keyboard: White naturals, black sharps.
name-batten. Note names written on the wrestplank. Also Number of roses: 1.
signed: Pietro Talanti. Style of rose: Seated harping figure.
Specification: 1x8’, 1x4’ (on both manuals). Exterior of case: Painted.
Additional features: Harp stop. Seale: 339 mm.
Compass. C/E-c’ (upper); C/E-F (lower), short octave. Length: 1733 mm.
Keyboard: White naturals, black sharps. Width: 785 mm.
Number of roses: 1. Depth: 212 mm.
Style of rose: Geometrical pattern (unoriginal). Remarks: Petit ravalement of an extended-compass
Exterior of case: Painted. ‘English’ single-manual harpsichord. Authenticated by
Scale: 354 mm. O’Brien—his number 1639 IR. Instrument is not now
Length: 2243 mm. strung. It started life as a 6-voet single with compass C-d’
Width: 786 mm. chromatic, probably for the English market with 1x8’,
Depth: 269 mm. 1x4’, probably a divided harp stop, and a scaling probably
Remarks: Normal double-manual harpsichord with of 357 mm. It subsequently suffered a ravalement in which
unaltered keyboards. Authenticated by O’Brier—his num- a second 8’ was added and the compass extended.
ber 1638b IR. The only surviving example of a transposing The keyboard of this ravalement, which was probably
harpsichord which is substantially unaltered except for GG,AA-d, together with the stand were destroyed in a
the rose and some minor details: the jack slides (whose fire at Kirkman’s piano factory in 1853. For full details
ends have been cut flush with the cheek-piece), and the see VerA Cat, p. 58, and O’Brien, p. 253. Outer case
removal of the six metal plates carrying the extra strings, painted black with borders of gilded flowers and leaves.
also patching up of the relevant wrestplank bridges. It Interior of lid painted green with rococo scrollwork and
appears to have been used for some time with only one putti—all probably dating from third quarter of the
8’ on the upper manual and one 4’ on the lower, the two eighteenth century. Interior and keyboard surrounds
middle registers having been stored inside the case. painted crudely in imitation of Antwerp hand blocked
Naturals of bone, sharps of bog oak. Rose, probably papers. Soundboard of spruce decorated in gouache with
Italian, not original. The harp stop has survived almost flowers, fruit, birds and arabesques.
intact. The exterior, which has been redecorated at least Previous history: King George I1l—disposed of when
twice, is now in black lacquer with vine-work. Keywell Queen Charlotte received a new Kirkman in 1766. Given
interior with papers. Pastoral scenes, which are probably by Messrs. Kirkman and Sons to the Museum in 1869.
original, inside lid. Keywell and rim papers probably References: Mlustrated in Russell V & A. V&A Cat, p.
original. Stand is not original. 57. VdMCemRuck, pp. 111, 115. O'Brien, pp. 43, 176-7,
Previous history: E. Spence, Florence [before 1896]. Sir 209-10, 225, 229, 253, 290-1.
Bernhard Samuelson, sold 1915. Mrs. Lotta van Buren Information supplied by: Bz] VA Cat/O’ Brien|O’ BrienPC.
Bizallion, who lent it to Yale University. Bought by Boalch 3 number: RUCKERS, I. 1639.
Raymond Russell before 1956. In 1964 given by Mrs. Boalch 2 number: 62.
Russell to Edinburgh University.
References: Ilustrated in Russell 1939, pls. 33-3 [showing Type: Rectangular virginal.
the crossing-over of the keys]. RussColl, pp. 13-15. Date: 1640.
VdMCemRuck, pp. 117, 121. O’Brien, pp. 42, 58-60, 95, Ovnership: GEMEENTEMUSEUM, THE HAGUE,
100, I1I-12, 117, 119, 126, 165, 176, 180, 185-6, 208, NETHERLANDS.

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 RUCKERS 593
Number: Ec34-x-1976. from an Andreas Ruckers instrument. A second set of 8’
Inscriptions: On the lid: MVSICA LABORVM/DVLCE strings was added, but no adjustment of the bridges made.
LEV AMEN. On the soundboard: 1640. Ruckers num- Case exterior of red chinoiserie. Inside of lid has painting
ber: 5/46. of the contest between Apollo and Pan, and on the lid
Specification: 1x8’. flap, Apollo and the muses, both probably by Artus
Compass: C-c. Wolfort (1581-1641). Soundboard painting in good
Keyboard: White naturals, black sharps. condition.
Number of roses: 1. Previous history: Acquired from the maker in 1640 by
Style of rose: Geometrical pattern. Alexander, Reichsgraf von Velen, Freiherr von Raesfeld,
Exterior of case: Painted. in whose family’s possession it remained for many years.
Scale: 332 mm. Restored in 1954 by Otto Marx, and again in 1973 by
Length: 1470 mm. Wittmayer.
Width: 483 mm. References: VdMCemRuck, plates 4-5, pp. 118, 143. O’Brien,
Depth: 218 mm. PP- 93, 131, 165, 214, 254.
Remarks: 5-voet muselar virginal, originally at pitch Information supplied by: B2|GL|O’ Brien|O’ BrienPC.
R+z. Authenticated by O’Brien—his number 16400 IR. Boalch 3 number: RUCKERS, I. 1640(2).
Originally had compass of C/E-c’, which was extended Boalch 2 number: 63.
by adding extra keys at the bass end of the keyboard.
Bridges also replaced at the same time. Geometrical, Type: Rectangular virginal.
non-original rose of pierced vellum or leather. Original Date: 1642.
jackrail missing. Keywell and front of case with seahorse Ownership: MUSIKMUSEET, STOCKHOLM,
patterned paper. Lid interior with paper and motto. SWEDEN. Accession number not known.
Soundboard and lid decoration are all in the style of the Inscriptions: Signed on jackrail: Ioanes Ruckers fecit Antwerp-
late instruments of Ioannes Ruckers. Raised on balluster jae. Ruckers number: 5/78. Motto in lid: MVSICA
stand, LABORVM DVLCE LEV AMEN.
Previous history: Formerly in the Rijksmuseum, Amsterdam. Specification: 1x8".
On loan from the Koninklijk Oudheidkundig Compass: C/E-c’, short octave.
Genootschap. Keyboard: White naturals, black sharps.
References: HaagCL, p. 25 (illustrated). O’Brien, pp. 68, Number of roses: 1.
161, 253-4, 285. Style of rose: Seated harping figure.
Information supplied by: Bz2/HaagCL|O’ Brien|O’ BrienPC. Exterior of case: Painted.
Boalch 3 number: RUCKERS, I. 1640(1). Seale: 304 mm.
Boalch 2 number: 109b. Length: 1474 mm.
Width: 486 mm.
Type: Two-manual harpsichord. Depth: 216 mm.
Date: 1640. Remarks: A s-voet muselar virginal at pitch of R+2.
Ownership: GRAF LANDSBERG-VELEN, SCHLOSS Authenticated by O’Brien—his number 1642a IR. Naturals
AHAUS, WESTPHALIA, GERMANY. of bone, sharps of bog oak. Original keyboard compass
Inscriptions: Date on soundboard. Ruckers number S¢/74. of C/E-c) was extended in the eighteenth-century to C-c’
Specification: 2x8", 1x4’. chromatic, but in a recent restoration has been brought
Additional features: Harp stop. back to C/E-c’. The scalings are not exactly as in the
Compass: GG/BB-c', short octave. original format, but are very close. O’Brien should be
Keyboard: White naturals, black sharps. consulted for the interesting details concerning the rose,
Number of roses: 1. which is not the same as earlier IR roses. There was once
Style of rose: Seated harping figure. an arpichordium stop. Outer case now painted vermillion,
Exterior of case: Painted. but showing through are traces of the original green
Scale: 372 mm. marbling.
Length: 2254 mm. References: MGG vol. II [1963] s.v. Ruckers. VdMCem-
Width: 784 mm. Rack, pp. 133-5. O’Brien, pp. 161-2, 254, 285.
Depth: 268 mm. Information supplied by: B2|O’ Brien|O’ BrienPC.
Remarks: Aligned normal double-manual harpsichord. Boalch 3 number: RUCKERS, 1. 1642(1).
Authenticated by O’Brien—his number 164ob IR. Naturals Boalch 2 number: 63a.
of bone, many retaining original arcades, sharps of bog
oak. The change from the normal transposing compass ‘Type: Two-manual harpsichord.
(upper manual C/E-c’; lower C/E-P, with a scale of 351 Date: 1642.
mm.) was effected by reordering the lower manual keys, Ownership. HUGH GOUGH/METROPOLITAN
and adding additional keys to the upper manual, possibly MUSEUM OF ART, NEW YORK, USA.

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594 RUCKERS
Number: L.1986.67. Exterior of case: Painted.
Inscriptions: Ruckers number: St/24. Scale: 362 mm.
Specification: 1: 2x8’, 1x4’; Ul: 1x8’, 1x4’. Length: 1810 mm.
Additional features: 4 hand stops, dogleg. Width: 710 mm.
Compass: GG/BB-d, short octave. Depth: 240 mm.
Keyboard: White naturals, black sharps. Remarks: A rectangular instrument, authenticated by
Number of roses: 1. O’Brien—his number a.d. IR. Dated by the Museum as
Style of rose: Seated harping figure. first quarter of the seventeenth century, while O’Brien, on
Exterior of case: Painted. the basis of the style of the soundboard painting suggests
Scale: 376 mm. a date about 1628 or slightly thereafter. He also reports
Length: 2248 mm. that only the keyframe of the virginal is original, thus
Width: 813 mm. the keyboards, while preserving the original compasses,
Remarks: Aligned petit ravalement of a normal double- are new, and have different octave spans. The bridges are
manual harpsichord. Authenticated by O’Brien—his num- also not all original, and thus the scalings are not
ber 1642b IR. There are indications that the unaligned necessarily authentic. The soundboard of the harpsichord,
compass was C/E-c' on the upper manual and C/E-P on though original, has been doubled in thickness with new
the lower, and this has been enlarged by reducing the barring. The tuning pins, belly rail and lower guide of
octave span of the keyboards and adding additional notes. the virginal are not original. Different IR roses in the
The bridges and nuts have been extended in the treble. two instruments (see illustration in BerlinCat. p. 110). The
The disposition is now 1x8’ and 1x4’ on lower manual, bent side appears to have been scorched during bending.
dogleg 8° available on both manuals, and 1x4’ on the The wrestplank painting indicates that there was probably
upper manual. The keyboards have ebony naturals with originally a harp stop. Externally decorated in semi-
flat keyfronts, and solid ivory sharps. The present scale precious stones on grey background (probably not ori-
is not original. Case exterior with Italianate vine-work ginal). Canvas glued to the inside of the lid with painting
decoration. The interior has very fine paintings from showing the conversion of St. Paul. Further information
classical mythology. Raised on gilded stand. is given in BerlinCat, pp. 110-15. The dimensions given
Previous history: Cornelius Winkelaar, Zaandam (1832). F. refer to the main instrument. The octave virginal has a
R. Leyland (Speke Hall and South Kensington). The scale of 180 mm.
Countess of Dudley. Richard Newton, Henly on Avon, Previous history: Formerly César Snoeck, Ronse (Renaix).
who sold it at Sotheby’s, 27 November 1969, to the Acquired by the Museum in 1902.
present owner. The instrument is now on loan to the References: Friedrich Ernst in GSJ vol. 20 [1967]. A.
Metropolitan Museum of Art, New York. Berner in RG.I, pp. 61-2. Sa, no. 2232. O’Brien, pp. 45,
References: Mlustrated in Musical Times, July 1904. 90, 120, 209, 244-15. BerlinCat, pp. 110-15, including
MMACL. VdMCemRuck, plate 6, pp. 119, 143. O’Brien, illustrations (one in colour) with an enlarged photograph
PP. 165, 214-5, 254-5. of the lid interior on the front cover.
Information supplied by: B2/O” Brien|MMACL|O’ BrienPC. Information supplied by: B2|O" BrienPC|Droysen-Reber|
Boalch 3 number: RUCKERS, I. 1642(2). Elste|BerlinCat.
Boalch 2 number: 64. Boalch 3 number: RUCKERS, I. n.d.(1).
Boalch 2 number: 70.
Type: Single-manual harpsichord with inbuilt octave
virginal. Type: Single-manual harpsichord.
Date: Not known. Date: Not known.
Ownership: MUSIKINSTRUMENTEN MUSEUM, Ownership: Not known.
BERLIN, GERMANY. Compass: C-P(A).
Number: 2232. Length: 1803 mm.
Inscriptions: On the long side of the combined rectangular Width: 800 mm.
instrument keywell flap: OMNIS SPIRITVS LAVDET Remarks: Listed by O’Brien as an untraced and unseen
DOMINV‘M, and on the short side of the harpsichord instrument. All that is known about the instrument comes
keywell flap--GLORIA DEO. Neither is original. On the from Bz. Four and a half octave compass.
jackrail of the octave virginal: JOANNES RVCKERS Previous bistory: Snoeck.
FECIT ANTVERPIAE. Information supplied by: Bz.
Specification: 1x8’, 1x4’ (harpsichord); 1x4’ (octave Boalch 3 number: RUCKERS, 1. n.d.(2).
virginal). Boalch 2 number: 66.
Compass: C/E-c} (both instruments), short octave.
Keyboard: White naturals, black sharps.. Type: Single-manual harpsichord.
Number of roses: One in each instrament. Date: Not known.
Style of roses: Seated harping figure with the initials IR. Ownership: Not known.

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 RUCKERS(A) 595
Number of roses: 1. Scale: 352 mm.
Length: 1829 mm. Length: 2313 mm.
Width: 787 mm. Width: 908 mm.
Remarks. Listed by O’Brien as an untraced and unseen Depth: 267 mm.
instrument. All that is known about the instrument comes Remarks: Given with attributed date of 1627 in Bz,
from Bz. IR rose, three stops, presumably 2x8’, 1x4’. (confirmed by O’Brien—his number ‘1627 IR’) revised by
Previous history: Régibo. Yale to 1625, but the fourth figure of the date is indistinct.
Information supplied by: Bz. Further research at Yale has shown that the instrument
Boalch 3 number. RUCKERS, I. n.d.(3). is most unlikely to be a Ruckers and that a seventeenth-
Boaleh 2 number: 67. century French instrument (possibly a Blanchet) was most
probably the basis for a ravalement. This is also confirmed
Type: Single-manual harpsichord. by O’Brien. Modern keyboards, probably by Dolmetsch
Date: Not known. in 1908. Original compass most probably GG/BB-d’,
Ownership: Not known. widened during ravalement. Printed papers hidden in the
Remarks: Listed by O’Brien as an untraced and unseen keywell and other indications that the spine may have
instrument. All that is known about the instrument comes come from a Ruckers. Soundboard painting is a mixture
from Bz. IR rose cut in hardwood. of styles from early loannes and late Andreas Ruckers’
Previous bistory: Régibo. instruments.
Information supplied by: Bz. Previous history: Restored by Blanchet in 1756. Owned by
Boalch 3 number: RUCKERS, I. n.d.(4). a French family since Louis XIV. Miss Belle Skinner.
Boalch 2 number: 68. Restored by Dolmetsch while at Chickerings in 1908,
when new keyboards and jacks were made.
Type: Soundboard fragment only. References. Belle Skinner Catalogue, 1933. VdMCemRuck,
Date: Not known. pp. 114-15. Acoustic tests carried out by E. L. Kottick
Ownership: MUSEE INSTRUMENTAL, PARIS, in 1985, see Kottick-response. O’Brien, p. 280.
FRANCE. Information supplied by: B2/Rephann|O’ Brien|O’ BrienPC.
Number: 980.2.x. (provisional in 1989). Boalch 3 number: RUCKERS(A), I(A). 1627(A).
Number of roses: 1. Boalch 2 number: 44.
Style of rose: Seated harping figure.
Remarks: Not a complete instrument—only a fragment of
the soundboard, with Ioannes Ruckers ‘double-manual’ ‘Type: Single-manual harpsichord.
rose. Listed by O’Brien. Date: 1629.
References: O’Brien, p. 283. Ownership: VLEESHUIS MUSEUM, ANTWERP,
Information supplied by: Bz|Musée Instrumental|O’ Brien. BELGIUM.
Boalch 3 number. RUCKERS, I n.d.(5). Number. VH 2138.
Boalch 2 number: (71). Inscriptions: Date 1629 on soundboard.
Specification: 2x8".
RUCKERS(A), IOANNES(A). Compass: GG-P.
Type: Two-manual harpsichord. Number of roses: 1.
Date: 1627(A). Exterior of case: Painted.
Scale: 345 mm.
Ownership: YALE UNIVERSITY COLLECTION OF
MUSICAL INSTRUMENTS, USA. Length: 2200 mm.
Number: 4876.60. Width: 887 mm.
Inscriptions. According to O° Brien—inscribed on jackrail; Depth: 229 mm.
JOHANNES RVCKERS ME FECIT ANTVER- Remarks: According to O’Brien (his number ‘1629 IR’), a
PIAE 162(7), the last digit mutilated possibly s or 7. large single-manual Flemish harpsichord, probably from
Above the keys: H. RVKHER ANTWERPIAE. (Other the late seventeenth century. Because of its large compass,
observers give slightly different versions of these inscrip- it is a very interesting harpsichord of a type not otherwise
tions, for example, Bz gives the latter as H. Rukkers (sic) found in the production of the Flemish workshops. Barnes
Antverpiae.) Below: Refait par Blanchet Facteur du Roi 4 also agrees that it is not a Ruckers instrument. Keyboards
Paris 175(6). missing. Original compass probably GG-e’, probably with
Specification: 2x8’, 1x4’. scaling of 345 mm., but later extended to f. Originally
Additional features: Hand stops. 1x8’, 1x4’, but later altered to 2x8’. Has a genuine loannes
Compass: FF-c’. Ruckers rose, but not original to this instrument. Lid
Keyboard: Black naturals, white sharps. missing. Date of 1629 painted on the soundboard.
Number of roses: 1. Previous history: Musée du Steen, Antwerp, from between
1885-92. Probably brought to the Vleeshuis in 1952.

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596 RUCKERS(A)
References. O'Brien, pp. 127, 186, 193 and 281. Lambr-D Remarks: According to MICL ravalé in 1632 though this
1981, p. 1§2. does seem an early date for a ravalement. The instrument
Information supplied by: Bz|Barnes|O’Brien|Lambr-D 1981/ is listed in Bz under Ruckers as number 52c, and under
O’BrienPC. Hagaerts as number 4, and by O’Brien as an unauthentic
Boalch 3 number: RUCKERS(A), I(A). 1629. Ruckers (number ‘1632b IR’) by Hagaerts, and it can
Boalch 2 number: (50). therefore be safely ascribed to him. The SH rose, which
is damaged, and was probably mistaken for a Ruckers
‘Type: Two-manual harpsichord. rose, from which error springs the nameboard legend
Date: 1632(A). attributing the instrument to Ruckers. Bz reports that the
Ownership: PRIVATE COLLECTION, PARIS, date 1612 appears on the soundboard, but it was probably
FRANCE. placed there during the later eighteenth-century rava-
Inscriptions. Signed under the soundboard with Goujon’s lement. The specification was 1x8’, 1x4’.
full name, and his initials (IG) and the date 1757 on the
Previous history: Formerly the property of the Comtesse de
GG key of the lower manual, which at that time was the Chambure, and before that ‘de Breyne’, Ypres.
lowest key before the later extension downwards to FF. References: lustrated in Jur, p. 48. MICL. O’Brien, p. 281.
Inscribed on nameboard: Jean Ruckers fecit Antwerpiae Information supplied by: Bz/MICL|O’Brien|O’ BrienPC/
1632. Dated also on the soundboard. Barnes.
Specification: 2x8’, 1x4’. Boalch 3 number. RUCKERS(A), I(A). 1632(A)(2).
Additional features: Hand stops, genouillére. Boalch 2 number: 4 (Hagaerts), [52c] (Ruckers).
Compass: FF-f.
Number of roses: 1.
‘Type: Two-manual harpsichord.
Style of rose: Seated harping figure.
Date: 1632(A).
Exterior of case: Painted. Ownership: PRIVATE COLLECTION, GHENT,
Scale: 362 mm.
NETHERLANDS.
Length: 1854 mm.
Width: 813 mm. Number of roses: 1.
Remarks: All that is known about the instrument comes
Remarks. A large French double by Jean Goujon, using from Bz—apparently not listed by O’Brien. Bz says ‘It
pieces of Flemish soundboards. O’Brien confirms that it
was in Ghent in 1972’. He adds a reference—EM R, and
is unauthentic—his number ‘1632a IR’. Soundboard
says that the instrument has an JR rose.
composed of ten to twenty pieces, some from a virginal,
Information supplied by: B2.
all joined together and with a loannes Ruckers rose of
the type found in use after 1618. O’Brien suggests that
Boaleh 3 number: RUCKERS(A), I(A). 1632(A)(3)-
Boalch 2 number: 52b.
1632 may have been the date of the virginal from which
the parts were taken. Original compass GG-e’, extended,
probably in the eighteenth century to the present FF-f. Type: Two-manual harpsichord.
Previous bistory: Marquis de Boisgelin, Paris, and his family Date: 1634(A).
during the twentieth century. The instrument’s history Ownership: VICTORIA AND ALBERT MUSEUM
before 1900 is not known. Formerly recorded in Bz as (HAM HOUSE), LONDON, ENGLAND.
belonging to J. Martinod, Paris. Number. HH. 109.
References: O’ Brien, pp. 195, 281. Inscriptions. On nameboard: JOANNES RVCKERS ME
Information supplied by: B2|O’ Brien|O’ BrienPC. FECIT ANTVERPIAE. On lid: ACTA VIRVM
Boalch3 number: RUCKERS(A), I(A). 1632(A)(1). PROBANT 1634, and on section over keyboard: SOLI
Boalch 2 number: 52a. DEO GLORIA, while the date 1634 is painted in red on
the soundboard between the bass end of the two bridges.
Type: Two-manual harpsichord. Specification: 1: 2x8, 1x4’; Il: 1x8’.
Date: 1632(A). Additional features: 3 hand stops, dogleg, 2 pedals.
Ownership. MUSEE INSTRUMENTAL, PARIS, Compass. GG-e’.
FRANCE. Keyboard: White naturals, black sharps.
Number: E.980.2.x. Nusmber of roses: 1.
Inscriptions: Jackrail signed: IOANNES RUCKERS ME Style of rose: Seated harping figure.
FECIT ANTVERPIAE 1632, probably executed at the Exterior of case: Painted.
time of the ravalement. Scale: 334 mm.
Specification: 2x8", 14". Length: 2185 mm.
Compass: FF-P. Width: 949 mm.
Number of roses: 1. Depth: 265 mm.
Style of rose: Seated harping figure. Remarks. Though apparently a Ruckers instrument of
Length: 2362 mm. 1634, and accepted as such for many years, being known
Width: 610 mm. as the ‘Ham House Ruckers’ from the fact that it has

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 RUCKERS(A) 597
spent all its life in Ham House, it is in reality a fake, Additional features: Hand stops.
most probably by an English maker around 1730. O’Brien Compass: FF-P.
also confirms its unauthenticity—his number ‘7634 IR’. Keyboard: Black naturals, white sharps.
Ivory naturals with carved ebony fronts. Sharps of Namber of roses: 1.
hardwood stained to resemble ebony. Soundboard of Style of rose: Seated harping figure.
spruce painted in gouache with fruit, leaves, and flowers, Exterior of case: Painted.
and with rose in style of Ioannes Ruckers but of smaller Length: 2438 mm.
size than used by him in harpsichords. Painted case with Width: 965 mm.
marbling on panels of red with yellow veining surrounded Remarks: O’Brien notes this as an unauthentic Ruckers,
by black and yellow lines and surrounded by broad bands and it is his number ‘1636a IR’. He records it as a French
of dark green with blue veining. Long side not decorated. double-manual harpsichord, originally with a bass compass
Inner surfaces of lid soundboard surrounds and keywell down to EE, but now with compass FF-f. The rose is
with Ruckers-style papers, which MacTaggart reports are faked from a Hans Moermans rose, with appropriate
printed by intaglio process, and not block printed. Trestle changes, and is the same as in three other unauthentic
stand of typical English design with cabriole legs and Ruckers (see O’Brien for details), all of which were
spoon feet. See V&A Cat, pp. 72-4 for descriptions of probably made by the same faker. Compass originally
the way in which the instrument departs from standard EE-f, shown by plugged tuning-pin holes staggered as
Ruckers’ practice, and is thereby thought to be of English naturals and sharps in the French manner. The present
manufacture. keyboard, jacks and slides are eighteenth-century English.
Previous history: Probably installed at Ham House, Peter- Previous bistory: Sir Douglas Seton-Stewart, Bt., Stirling.
sham, near Richmond Surrey amongst the furnishing References: VdMCemRuck, p. 107. Treasures from Scottish
acquired following the fourth Earl of Dysart’s succession Houses, Edinburgh, 1978?, No. 100, and illustration.
to the title in 1728. Sir Lyonel Tollemache, Bt. Restored O’Brien, pp. 32, 186, 281.
by Arnold Dolmetsch in 1894 (when he left part of a Information supplied by: Bz|O’ Brien|O’ BrienPC.
visiting card as packing under a keyboard, and added Boalch 3 number. RUCKERS(A), I(A). 1636(A)(1).
two pedals, a harp stop and manual coupler). Restored Boalch 2 number: $7.
by John Barnes in 1969 when he removed the Dolmetsch
additions, including non-original soundbars across the ‘Type: Two-manual harpsichord.
underside of the bridge. Restored by Garrett and Clayson Date: 1636(A).
6. 1983. Ownership: RAYMOND TOUYERE, GENEVA,
References. MIWA. VdMCemRuck, pp. 125, 145 plate 7. SWITZERLAND.
Russelligs9, No. 12. V&A Cat, pp. 71-4, (illustrated). Inscriptions: Date: 1636 on soundboard. Date: 1766 on
O’Brien, pp. 143, 186, 193-5, 281. bottom and top keys.
Information supplied by: B2|VeA Cat|Barnes|O' Brien] Specification: 2x8’, 1x4".
MacTag|O’ BrienPC. Additional features: Genouillére, shove coupler.
Boalch 3 number: RUCKERS(A), 1(A). 1634(A)(1)- Compass: FF-P.
Boalch 2 number: [54]. Number of roses: 1.
Style of rose: Seated harping figure.
Type: Soundboard only. Remarks: A French double by Guillaume Hemsch. O’Brien
Date: 1634. confirms that it is unauthentic—his number ‘16366 IR’,
Ownership: PRIVATE COLLECTION, PARIS, and suggests the date of 1766 found on the keys is the
FRANCE. date of manufacture. It has an IR virginal rose [O’Brien,
Number of roses: . p- 186] and French action.
Style of rose: Seated harping figure. Previous history: Made by Guillaume Hemsch. C. Snoeck,
Remarks: O’Brien (p. 283) reports this as an eighteenth- Ghent. Mme. Planchard, Paris, who sold it ¢. 1925 to
century soundboard with a genuine Ioannes Ruckers Mile. Berthe Vaucher, Geneva. 1970 Mme. Isabella Nef,
single-manual rose, and numbers it ‘7634 IR’. Geneva.
References. O’ Brien, p. 283. References. VaMCemRuck, p. 110. O’Brien, pp. 186, 195,
Information supplied by: O’ Brien. 281.
Boalch 3 number: RUCKERS(A), I(A). 1634(A)(2). Information supplied by: Bz|O’ Brien|O’ BrienPC.
Boalch 2 number: None. Boalch 3 number. RUCKERS(A), I(A). 1636(A)(2)-
Boalch 2 number: [55].
Type: Two-manual harpsichord.
Date: 1636(A). Type: Virginal.
Ovnersbip: PALACE OF HOLYROODHOUSE, Date: 1637.
EDINBURGH, SCOTLAND. Ovmersbip: FORMERLY IN THE BERLIN
Specification: 2x8’, 1x4’. COLLECTION, BERLIN, GERMANY.

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598 RUCKERS(A)
Number: 2236. 1642. 1766 is extremely late for the later Blanchet
Inscriptions: None. painter. The case dimensions are wrong for a chromatic
Specification: 1x8’. transposing Ruckers. Its length of 215 cm. is about 12
Compass. C/E-c’, short octave. cm. too short, and its interior width of 834 mm. is 25
Number of roses: 1. mm. too wide. The bridges must date from 1766, for
Length: 1702 mm. they were pinned then for the first time to the narrow
Width: 508 mm. string spacing (159 mm. octave span).’ Dowd gives some
Remarks: B? ascribes this muselar to the Berlin Collection, details of the instrument but not a complete description.
but also says ‘Destroyed in World War II’, and BerlinCat The signing 1766 Blanchet on the lowest keys is in a hand
confirms this. Shown by O’Brien as lost or destroyed. similar to the signature on the 1758 keyboards of the
Previous history: Formerly in the collection of C. Snoeck. 1680 Couchet. The rose has initials IR. The soundboard
References: Ilustrated in Snoeck’s Catalogue, 1894. O’ Brien, painting is one of the Blanchet painter's Flemish
p. 283. Sa. BerlinCat, p. 373, which quotes the Sa entry. imitations.
Information supplied by: B?|O’ Brien|Elste|BerlinCat. Previous history. Not known.
Boalch 3 number: RUCKERS(A), I(A). 1637. References: DowdHH, pp. 76-7.
Boalch 2 number: 58. Information supplied by: DowdHH.
Boalch 3 number: RUCKERS(A), I(A). 1644(A)-
Type: Single-manual harpsichord. Boalch 2 number: None.
Date: 1642(A).
Type: Two-manual harpsichord.
Ownership: Not known.
Date: Not known.
Specification: 2x8’, 1x4’.
Ownership: YANNICK LE GAILLARD, PARIS,
Remarks: According to O’Brien, (his number ‘1642 IR’)
FRANCE.
an unauthentic instrument, most probably by a late
Inscriptions: Inscribed on the underside of soundboard
nineteenth- or early twentieth-century faker. It is thought
(according to O’Brien): Refait par Pierre Dubois a Paris
to be located somewhere in Belgium. Slides project to
Anno 1780. B? gives a slighlty different version, with the
the right. Lid does not fold back and has an applied
inscription extended by the words: rue St. honoré vis a vis
painting in one piece. Stand with cabriole legs of
Les ecury du roy.
exaggerated curvature. Case with applied stucco dec-
Specification: 2x8’, 1x4’.
orations in neo-classical style.
Previous history: Belonged at one time to Wanda Landow-
Compass: EE-P.
Number of roses: 1.
ska. Restored by Claude Mercier-Y thier.
References: O’ Brien, p. 281.
Exterior of case: Painted.
Scale: 373 mm.
Information supplied by: B*/O’ Brien.
Length: 2367 mm.
Boalch 3 number. RUCKERS(A), I(A). 1642(A). Width: 918 mm.
Boalch 2 number: 65.
Depth: 265 mm.
Remarks: Listed in B? under number 138 as a single, but
‘Type: Two-manual harpsichord. by O’Brien as a large French double (his number ‘n.d. IR’)
Date: 1644(A). the compass being typical of French instruments of the
Ownership: PRIVATE COLLECTION, FRANCE. period around 1780. B? says that the rose resembles a
Inscriptions: IOANNES RVCKERS ME _ FECIT crude JR rose lacking the I, while O’Brien says it is a
ANTVERPIAE. Dated 1644 on the soundboard. The normal Ioannes Ruckers double-manual rose with some
keyboards are signed 1766 Blanchet, and the lowest 8” jack damage to the letter I, and adds that the soundboard
is also similarly dated. painting suggests that the soundboard came from a
Specification: 2x8’, 1x4’. seventeenth-century French harpsichord. O’Brien also sug-
Compass: FF-P. gests that B? 136a=138.
Keyboard: White naturals, black sharps.
Previous history: According to B’: Badly damaged by
Number of roses: 1. fire before its latest restoration in 1971 by Claude
Style of rose: Seated harping figure. Mercier-Ythier, who believed it was a genuine Ruckers.
Length: 2150 mm.
References: O'Brien, pp. 211, 280.
Width: 834 mm.
Information supplied by: B?|O’ Brien|O’ BrienPC.
Remarks: Appears not to be listed by O’Brien, and given Boalch 3 number: RUCKERS(A), I(A). n.d.(1).
in DowdHH under Blanchet as a grand ravalement by
Boalch 2 wumber. 136a/138?
him. Dowd says (p. 76) that he has not examined it,
but that Philippe Humeau ‘managed to examine and ‘Type: Single-manual harpsichord.
photograph it while it was temporarily exhibited’. He Date: Not known.
continues ‘There is much conflicting evidence here. 1644 Ovnersbip. HOTEL DE CLUNY, PARIS, FRANCE.
is an impossible date for loannes Ruckers; he died in Accession number not known.

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 RUCKERS(A) 599
Length: 2134 mm. or whereabouts of the instrument are uncertain. It appears
Width: 787 mm. not to be mentioned by O’Brien. Bz says “Thomas had it
Remarks: Listed by O’Brien as an untraced and unseen in November 1971’ and reports further: ‘Patterned rose.
instrument. All that is known about the instrument comes Not inscribed. Extended in bass ¢. 1700, making the
from Bz which says that it is Italian work and not by length 3 (sic) metres . . . Michael Thomas considers it a
Ruckers. Ruckers instrument.’
Information supplied by: Bz. Information supplied by: Bz.
Boalch 3 number: RUCKERS(A), I(A). n.d.(2). Boalch 3 number: RUCKERS(A). n.d.(1).
Boalch 2 number: 65a. Boalch 2 number: 139?
‘Type: Virginal. Type: Ottavino.
Date: Not known. Date: 1620(A).
Ownership: FORMERLY IN THE BERLIN Ownership: MUSEE D’INSTRUMENTS ANCIENS DE
COLLECTION, BERLIN, GERMANY. MUSIQUE, GENEVA, SWITZERLAND.
Number: 2222. Number: 1M 294.
Specification: 1x8". Inscriptions; None.
Compass: FF-g'(A).. Specification: 1x4’.
Number of roses: 1. Keyboard: White naturals, black sharps.
Length: 1321 mm. Exterior of case: Veneered.
Width: 419 mm. Length: 480 mm.
Remarks: According to Bz formerly Berlin Collection; lost Width: 255 mm.
in 1945. O’Brien says it is lost or destroyed. BerlinCat, p. Depth: 137 mm.
373 confirms that it has been lost since the Second World Remarks: The instrument is thought by the Museum to
War. Keyboard to the right and thus a muselar, but be possibly by a member of the Ruckers family. Further
almost certainly spurious, and regarded by Sachs as such investigation is required to verify this. Naturals of ivory,
in the 1922 catalogue. sharps ebony. The Museum says of the compass ‘2 octaves,
Previous history: Formerly in the Snoeck collection. plus octave courte’. Case veneered with ebony and inlaid
References: Sa. GSJ, 1967, p.75. O’Brien, p. 283. BerlinCat, with various motifs in ivory. Interior of lid has pastoral
P. 373- painting with flemish nobles in costume of ¢.1620.
Information supplied by: B2|O’ Brien] BerlinCat. References: MLAM.
Boalch 3 number. RUCKERS(A), I(A). n.d.(3). Information supplied by: Clerc.
Boalch 2 number: [69]. Boalch3 number: RUCKERS(A). n.d.(z).
Boalch 2 number: None.
RUCKERS(A) (member of the family not known).
Type: Rectangular virginal.
Type: Single-manual harpsichord.
Date: 1620.
Date: Not known.
Ownership: MUSEE INSTRUMENTAL, PARIS,
Ownership: BENTON FLETCHER COLLECTION,
FRANCE.
FENTON HOUSE, LONDON. Accession number not
Number. 276/316.
known.
Specification: 1x4".
Remarks: Almost certainly not by Ruckers, but by a Previous bistory: Further information is required on this
German maker. O’Brien notes the instrument under instrument which is not in the catalogue, and according
‘small virginals falsely attributed’, and confirms that it is to Roger Warner of Burford, was acquired by him for
spurious. MICL calls the instrument ‘boite a ouvrage’ £4 in June 1952 at the sale of the effects of Miss Olga
and gives its place of manufacture as ‘Augsburg’. Mothersole, a Victorian music-hall artiste.
Previous history: Jules Audeoud. Information supplied by: Warner.
References: MICL. Boalch 3 number: RUCKERS(A). n.d.(3).
Information supplied by: B2|MICL|O’ Brien. Boalch 2 number: None.
Boalch 3 number. RUCKERS(A). 1620.
Boalch 2 number: {23a]/[12a]. Type: Single-manual harpsichord.
Date: Not known.
Type: Two-manual harpsichord. Ownership: SEGOVIA CATHEDRAL, SPAIN.
Date: Not known. Inscriptions: KdP reports that, according to a Spanish
Ovnersbip: Not known. observer, it is inscribed round the rose hole: JAN
Number of roses: 1. RUCKERS ANTVERPIAE 601 (sic). The figures 607
Remarks: Listed as the last Ruckers instrument in Bz, and pose a problem since, if the date was intended to be 1601,
as resembling the 1612 instrument in Amiens, the identity this would make a reading of the first name as IOANNES

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600 RUDOLF
improbable. On the lid interior: SIC TRANSIT/ Length: 1375 mm.
GLORIA MVNDI, and LAVDE/DO. . . M. Width: 453 mm.
Compass: C/E-c', short octave. Depth: 130 mm.
Exterior of case: Painted. Remarks: The only recorded instrument by this maker.
Scale: 330 mm. Naturals possibly of pear stained dark brown with papered
Length: 1815 mm. keyfronts. Sharps of black stained oak. Case of rustic
Width: 720 mm. brown lacquer, with diamond patterned paper inside the
Remarks: The instrument, which is in very poor condition area surrounding the strings.
is reported to be from the Ruckers workshop, and may Previous history: From the Steinert Collection. Sold at an
be by Andreas (though the reasons are not known). antiques trade fair in Miami.
Original specification of 1x8’, 1x4’, but converted later Information supplied by: Not disclosed.
to 2x8’. Keyboard missing. There is a hole for the rose, Boalch 3 number: RUDOLF, G. 1790.
but that too is missing. Outer case painted black. Beryl Boalch 2 number: None.
Kenyon de Pascual and Anne MacTaggart have examined
the remaining papers on the instrument and they appear RUNGELL, MATTHEUS.
to be genuine (full details from either informant). They Type: Single-manual claviorganum.
also agree that the original case colour was brown. Date: Not known.
Previous history: Has been in the cathedral for many years. Ownersbip. MATHEMATISCH-PHYSIK ALISCHER
Information supplied by: VdM|KdP|MacTaggart. SALON, DRESDEN. Accession number not known.
Boalch 3 number: RUCKERS(A). n.d.(4). Inscriptions. Signed on a metal plate: Mattheas Rangel,
Boalch 2 number: None. Augsburg.
Remarks: Automatic claviorganum [organ plus spinet].
RUDOLF, GEORG. Instrument belongs to the Museum fir Kunsthandwerk,
Type: Fret-free clavichord. Dresden.
Date: 1790. Previous history: According to the Museum, in 1989, it was
Ownership: PRIVATE COLLECTION. being restored.
Inscriptions: Maker’s label on inside left of case frame. References: VdMBei, pp. 125-6.
Compass: C-P. Information supplied by: B*|Rbeinbeckel.
Exterior of case: Painted. Boalch 3 number: RUNGELL, M. n.d.
Scale: 328 mm. Boalch 2 number: 1.

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S., G. Specification: 1x8’.
‘Type: Single-manual harpsichord. Remarks: A photograph of the topmost key taken by
Date: 1722. Andrew Garrett shows an inscription which appears to
Ownership: YALE UNIVERSITY COLLECTION OF be 4/J5/1700. The identity of JS is not known, but might
MUSICAL INSTRUMENTS, USA. be John Smith of Bristol (g..), John Smith of Edinburgh
Number: 477. (q.».), of, less likely, Joseph Smith of London (4.».).
Remarks: Cited in Hubb 196s but with no further details, Information supplied by: Garrett.
and according to Koster, at Yale, though not mentioned Boalch 3 number: S., J. 1700.
by Rephann. It is possible that the initials refer to Giuseppe Boalch 2 number: None.
Solfanelli.
Information supplied by: B*/Hubb 1963/Koster|Wraight. S., N. V.
Boalch3 number: S., G. 1722. Type: Ottavino.
Boalch 2 number: 2. Date: 1757.
Ownership: FORMERLY IN THE BERLIN
Type: Single-manual harpsichord. COLLECTION, BERLIN, GERMANY.
Date: 1729. Number: 326.
Ownership: DEUTSCHES MUSEUM, MUNICH, Inscriptions: Viva fui in silvis; sum dura occisa securildum vixi
GERMANY. Accession number not known. tacui: Mortua dulce cano.|N.V.S. A. 1757.
Inscriptions: On top and bottom keys: G.S. a.D. 1729, Specification: 1x4".
which suggests perhaps Giuseppe Solfanelli as the maker. Remarks: Sa regarded the authenticity of this instrument
Specification. 2x8’, 1x4’. as open to question. BerlinCat confirms that it has been
Additional features. Harp stop. lost since the Second World War.
Remarks. Compass of four and a half octaves. References: Sa p. 62. BerlinCat, p. 374 which quotes Sa.
Information supplied by: B?. Information supplied by: B?|BerlinCat.
Boalch 3 number: S., G. 1729. Boalch3 number: S., N. V. 1757.
Boalch 2 number: 1. Boalch 2 number: 1.

S., LH. SABERINO, P. GASPARRO.

‘Type: Harpsichord (Number of manuals not known). Type: Single-manual harpsichord.
Date: Eighteenth century. Date: 1612(A).
_ Ownership: Not known. Ownership: Not known.
Inscriptions: IHS with a cross on top key. The inscription Specification: 2x8’.
presumably stands for Iesas bominum salvator, not for the Compass: C-c'(A).
maker’s name, but is included here in case the letters do Case construction: \talian style, inner/outer.
denote an otherwise unknown maker. Remarks: B’ shows Saberino as fi: 1612, and in the absence
Compass: C-P(A). of any other information it would seem likely that this
Length: 2273 mm. was ascribed on the basis of the date of the instrument.
Previous history: H. C. Robbins Landon offered it for sale B also notes that GL considered the instrument to be
at Sotheby’s on 21 December 1972. genuine.
References: Sotheby's Catalogue of 21 December 1972. Previous bistory: Was offered for sale in 1971 by the Parisian
Information supplied by: B’. dealer René Denis.
Boalch3 number: S., 1. H. n.d. Information supplied by: B.
Boalch 2 number: 1. Boalch 3 number: SABERINO, P. G. 1612(A).
Boalch 2 number: 1.
S., J.
Type: Wing spinet. SALODIENSIS, ALBERTO.
Date: 1700. Type: Virginal.
Ownership: NATIONAL TRUST, UPTON HOUSE, Date: 1573.
ENGLAND. Accession number not known. Ovnersbip: Not known.

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602 SALODIENSIS
Inscriptions: Is said to be inscribed: Alberti Salodiensis [?0] Boalch3 number: SALODIENSIS, J. 1559.
PVS 1573. Boalch 2 number: 3.
Specification: 1x8".
Previous bistory. Was on sale anonymously in France in Type: Pentagonal virginal.
1953. Date: 1563.
Information supplied by: B. Ownership: FONDAZIONE LEVI, VENICE, ITALY.
Boalch 3 number. SALODIENIS, A. 1573. Accession number not known.
Boalch 2 number: 1. Specification: 1x8".
Information supplied by: WraightPC.
SALODIENSIS, BAPTISTA CARENONUS. Boalh 3 number. SALODIENSIS, J. 1563.
Type: Harpsichord (number of manuals not known). Boalch 2 number: None.
Date: 1689.
Ownership: Not known. Type: Polygonal virginal.
Inscriptions: Apparently inscribed: Baptista Carenonus Date: 1574.
Salilo?\diensis MDCLXXXIX, around the rose. Ownership: MUSEUM OF FINE ARTS, BOSTON,
Number of roses: 1. USA.
Remarks: Decorated in black and gold chinoiserie. Number. 1981.287.
Previous bistory: Sold anonymously in France in 1953 (part Inscriptions: On nameboard in ink: JOSEPH SAL-
of the same collection as the instrument above). ODIENSIS. F. M.D.LXXIIII [verified from a pho-
Information supplied by: B*. tograph by Wraight]. In pencil on key lever: Restored
Boalch 3 number: SALODIENSIS, B. C. 1689. throughout by W. L. Klitz.|R. Klitz and Son Elmer Court
Boalch 2 number: 2. Lymington Hants Sept 1913||For Hugh Whitaker Esq| Elmer
Court Lymington. Inscribed in pencil on interior of spine:
RESTAURATA-IN-FIRENZE.
SALODIENSIS, JOSEPH. Specification: 1x8".
Type: Single-manual harpsichord. Compass: C/E-P, short octave.
Date: 1559. Keyboard: White naturals, special sharps.
Ownership: KUNSTHISTORISCHES MUSEUM, Number of roses: 1.
VIENNA, AUSTRIA. Style of rose: Parchment.
Number: 630. Exterior of case: Plain wood.
Inscriptions: Joseph Salodiensis fecit Anno Dai MCLIX. Case construction: Italian style, inner/outer.
Specification: 2x8. Scale: 340 mm.
Compass: C/E-c’, short octave. Length: 1584 mm.
Keyboard: White naturals, black sharps. Depth: 179 mm.
Number of roses: 1. Remarks: B? gave the inscription incorrectly with the date
Style of rose: Geometrical pattern. MDLXIIII. Naturals of boxwood; sharps of ebony
Exterior of case: Painted. covered with ivory. Case is plain cypress with dark
Case construction: Italian style, inner/outer. stringing atop the case mouldings and jackrail. Small
Length: 1800 mm. turned ivory knob near the front of each keycheek. Rose
Width: 725 mm. is of parchment backed with green silk. Outer case with
Depth: 184 mm. rather good (nineteenth-century ?) decoration in paint
Remarks: Originally single strung, a second 8’ being added and gold. Inner case is constructed of cypress but outer
in 1687. Atypical barring of the soundboard added is of spruce. Instrument of highest quality workmanship.
probably in 1882 was removed during a restoration Previous history: Said to have belonged to Eleanora |Duse.
in 1990. Elaborate oil-paintings inside the lid of the Bought by Mr. MacArthur in mid 1950s, and thence to
enslavement of the Marsyas with country scenes of music his daughter Ada MacArthur, Brookline, Massachusetts,
and dance. The flap over the keys carries a painting in who loaned it to the Museum of Fine Arts. Purchased
the style of Tintoretto with women playing instruments by the Museum in 1981 from the Frank B. Bemis Fund.
in front of Palladio-style buildings. On the rear is Pegasus References: Data sheet by John Koster available from
with a figure at a fountain. Museum of Fine Arts. BostonCat.
Previous history: Belonged formerly to the Vienna piano Information supplied by: B?|MF A(Koster)|MF A(Lambert)]
maker Eduard Nemetschke, and before that to the painter WraightPC.
Friedrich Amerling, who acquired it in Venice in 1882. Boalch3 number: SALODIENSIS, J. 1574.
Reputedly repaired at some time by Eugen Casparini. Boalch 2 number: 4.
References: Gerhard Stradner, in Newes Museum, Ocs-
terreichische Museum, 1991, pp. 90-1. Luith, pp. 12-13. SANTINI, A.
Information supplied by: B2/StradnerPC|W/raight|Rotb. Type: Polygonal virginal.

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 SAUER 603
Date: 1622(A). the sleeping Ariadne—according to the catalogue this is
Ownership: BRUSSELS MUSEUM, BRUSSELS, of the eighteenth century. Raised on three cabriole legs.
BELGIUM. There is a coat of arms on the panel above the keyboard
Number: 1588. with ‘three bends’. Dr. Beurmann reports: ‘The natural
Inscriptions: O’ BrienPC reports: ‘The present inscription keys are in their first two-thirds with ebony, the last third
appears to be written over an earlier signature which was being black horn. The sharps in the opposite way.”
written in the usual Roman capitals with the date at the Previous bistory: The instrument may have suffered at the
right-hand end in Roman numerals. It seems impossible hands of Franciolini, or may be a fake. Sold at Le
to decipher anything of the original signature but the Dominique Boudu on 16 May 1989.
original date, which is not covered by the later Santini References: See sale catalogue for description and
inscription [which] appears to be MD[C]XLII, or 1542 illustration.
or 1642. However what remains is very difficult to Information supplied by: Le Dominique Boudu|Beurmann.
interpret, and the original date may have been, for Boalch 3 number: SARI(A), C. D. 1618.
example, MD[C]XXII, or 1622.’ B* gave the inscription Boalch 2 number: None.
as: A. Santinius in Arezzo, 1570.
Specification: 1x8". SAUER, CARL GOTTLOB.
Compass: C/E-f, short octave. Type: Two-manual harpsichord and tangentenfligel.
Keyboard: White naturals, black sharps. Date: 1786.
Number of roses: 1. Ownership. DRAMMENS MUSEUM, DRAMMEN,
Style of rose: Parchment. NORWAY. Accession number not known.
Exterior of case: Plain wood. Inscriptions: The nameboard is now glued in place on top
Scale: 347 mm. of an inscription of which a photo is in the possession
Length: 1760 mm. of Peter Andreas Kjeldsberg. It runs: Auf Ersuchen diesen
Width: 60 mm. Tischler|Hauchen wird bier|mit attestiert, dass selbiger bey mir
Depth: 184 mm. Endes|benant ein balbes Jabr in Arbeit ge-|standen und sich in
Remarks: Naturals of box with box arcades, and sharps dieser Zeit Ebrlich|und wobl verbalten, welches ich zur|bestatigung
of black-stained walnut. Exterior case of oiled cypress. der Wabrbeit unterschrie-|ben, nd mit meiner Petscbier|
Gothic rose of parchment. sntersiegelt. Dresden, den 12ten| Juni 1786.|Carl Gottlob Sauer]
References: Henkel1, p. 27, 126. ICOLF, Catalogue 2, No. Instrumentenmacher. Thus it was made in the workshop of
109, p. 11, and Catalogue 6, Series A, No. 25, p. 69. Sauer, however not by him, but by the cabinet maker
Information supplied by: B?|O’ BrienPC|WraightPC. Haucken (no Christian name given) probably in order to
Boalch 3 number: SANTINI, A. 1622(A). get his master’s title, for which he worked at Sauer’s for
Boalch 2 number: 1. over half a year.
Specification: 3x8’, 1x4’.
SARI(A), CESAR DOMENICO. Additional features: 4 genouilléres, tangentenfligel.
Type: Wing spinet. Compass: FF-f.
Date: 1618. Scale: 278 mm.
Ownership: DR. ANDREAS BEURMANN, Remarks: Case mainly of oak, with cheekpieces veneered
HAMBURG, GERMANY. in maple and rosewood. VdM explains the action as
Number: 10. follows: ‘Compass FF-f (five octaves), two-manuals, but
Inscriptions: The sale catalogue (see below) gives the inscrip- lower manual works a tangentenfliigel, with tangents in
tion as: D. Cesar Domini Sari qum Petri Sibi boc fecit A.D. front of the jacks. The upper manual is a harpsichord
1618 Venetia. Given that such inscriptions are notoriously with jacks behind the tangents . . . every key corresponded
misquoted, and that typographical mistakes abound in to three 8’ strings and one 4’ string. Two of each set of
such sources, it is very difficult to deduce anything of 8’ strings were struck by the tangents, the third string of
substance from this. Maker’s name and date on the every set was plucked by the jacks. The front row of
keylevers inside, on each key, one letter or digit. jacks worked the 4’, plucking towards the bass, the back
Specification: 1x8". tow, the 8” plucking in the same direction. Of course the
Compass: C/E-c’, short octave. tangents strike the middle and the left string of every set,
Keyboard: Special naturals and sharps. the 8’ jacks pluck the right string of the set. There are
Exterior of case: Painted. four knee levers. The starting point is that 8’ and 4’ of
Scale: 307 mm. the harpsichord are working. Function of the knee levers
Length: 1665 mm. from left to right: (1) eliminates 4’ jacks; (2) eliminates
Width: 560 mm. 8’ jacks; (3) una corda for the tangents; (4) lifts the
Depth: 205 mm. dampers from the tangents. Scale of longest 8’ for tangents
Remarks: Outer case appears to be marquetried with a is 27.8 (cm.), scale of 8’ in harpsichord is 27.2 (cm.), and
geometrical pattern. Inside the lid is a painting said to be for 4’ is 14.9 (cm.).’

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604 SAVERIO
Previous bistory Made by Haucken whilst at Sauer’s Date: 1770(A).
workshop. It is now located at Austad Gard. Ownership: Not known.
Information supplied by: VdM. Previous history: Formerly the property of the Schiedmayer
Boalch 3 number: SAUER, C. G. 1786. firm, but destroyed in World War II.
Boalch 2 number: None. References: See description and illustration in Eisenmann
Information supplied by: B2.
SAVERIO, CESARE. Boalch 3 number: SCHIEDMAYER, J. C. G. 1770(A).
‘Type: Harpsichord (number of manuals not known). Boalch 2 nnmber: 2.
Date: 1752.
Ownership. PRIVATE COLLECTION, RASTATT,
Type: Fret-free clavichord.
GERMANY.
Date: 1776.
Information supplied by: WraightPC.
Ownership: MRS. CARL PARRISH, USA.
Boalch 3 number: SAVERIO, C. 1752. Inscriptions. Inscribed inside (visible through the rose
Boalch 2 number: None.
hole): Jean Ether [?] G. Schiedmayer 1776.
SCHAUTZ, MATHIEU. Compass: FF-a’.
Type: Fret-free clavichord. Number of roses: 1.
Date: 1793. Remarks: Compass of five octaves and four notes (sixty-five
Ovnership: GERMANISCHES NATIONALMUSEUM, notes and courses).
NUREMBERG, GERMANY. Information supplied by: Bz.
Number: MINe 67. Boalch 3 number. SCHIEDMAYER, J. C. G. 1776.
Inscriptions: Signed: Mathiew Schautz, faisseur de clavecin et Boalch 2 number: 3.
de Fortepiano a Augsbourg on a label on the area of the
soundboard between the wrestpins and the case. ‘Type: Fret-free clavichord.
Compass: FF-P. Date: 1782.
Keyboard: Black naturals, white sharps. Ownership. WORTTEMBURGISCHES
Exterior of case: Painted. LANDESMUSEUM, STUTTGART, GERMANY.
Scale: 336 mm. Accession number not known.
Length: 1377 mm. Inscriptions: Inscribed: . . . mayer, Neustadt an der Aisch.
Widtb: 466 mm. Compass: C-a’.
Depth: 132 mm. Remarks: The date is ascribed by the Museum catalogue.
Remarks: Keys of roof-carved pine, lead weights on top Previous history: Josten’s catalogue (1928) gives no date. Ks,
of the keys. Horn guide slips. Naturals of ebony, vol. 2 (1912), refers to a bundfrei clavichord in the
two grooves with flat black-stained wood. Sharps of Stuttgart Museum dated 1728, which is presumably this
bone-capped, black-stained, wood. Soundboard of spruce one. Rapp, p. 102, says that no date appears on the
which sags badly. Bridge of beech, double-pinned for instrument, but the Museum catalogue gives the date as
twenty-seven bass notes. Case of pine painted to look like 1782.
wood. Music stand original. Heavy extra internal bracing Information supplied by: Bz.
is original. Boalch 3 number: SCHIEDMAYER, J. C. G. 1782.
Previous history: From the Neupert Collection. Boalch 2 number: 4.
References: Huber, p. 128.
Information supplied by: B2|Weldon| Huber. Type: Clavichord.
Boalch 3 number: SCHAUTZ, M. 1793. Date: 1787.
Boalch 2 number: 1. Ownership: Not known.
Remarks: Could be the same instrument as that shown as
SCHIEDMAYER, BALTHASAR.
Type: Clavichord. SCHIEDMAYER. 1787, or SCHIEDMAYER, J. C. G.
1787(2).
Date: 1735.
Previous history: Formerly in the Neupert Collection. Sold
Ownership: Not known.
to Professor Becking at Erlangen in 1930. Present location
Remarks: Shown in an early catalogue of the firm of
unknown,
Schiedmayer, but now lost.
Information supplied by: B2. Information supplied by: Bz.
Boalch3 number: SCHIEDMAYER, B. 1735. Boalch3 number: SCHIEDMAYER, J. C. G. 1787(1).
Boalch 2 number: 5.
Boalch 2 number: 1.

SCHIEDMAYER, JOHANN CHRISTOPH Type: Clavichord.

GEORG. Date: 1787.
Type: Clavichord. Ownership: Not known.

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 SCHIEDMAYER 605
Inscriptions: Inscribed: Verfertigt von Jobann Christoph Georg Type: Fret-free clavichord.
Schiedmayer in Neustadt an der Aisch 1787. Date: 1792.
Compass: FF-P. Ovnersbip: Not known.
Previous history: Formerly in the Neupert Collection. Inscriptions: Inscribed: Johann. . . Schiedmayer. Orgel und
Destroyed in World War II. Instrumentenmacher in Neustadt an der Aisch 1792.
Information supplied by: B2. Compass: C-P.
Boalch3 number: SCHIEDMAYER, J. C. G. 1787(2). Keyboard: Black naturals, white sharps.
Boaleh 2 number: 7. Previous bistory: Formerly the firm of Schiedmayer in
Stuttgart. Destroyed in World War II.
‘Type: Frert-free clavichord. References: Illustrated in Rupp.
Date: 1787. Information supplied by: Bz.
Ownership: PETER HAPKA, PRAGUE, Boalch3 number: SCHIEDMAYER, J. C. G. 1792.
CZECHOSLOVAKIA. Boalch 2 number: 10.
Inscriptions: There is a label at the left-hand side (not
readable) and it is signed on the underside of the Type: Clavichord.
soundboard, but the details of the inscription are not Date: 1793.
known. Ownership: PRIVATE COLLECTION, WURZBURG,
Compass: FF-f'. GERMANY.
Keyboard: Black naturals, white sharps. Previous history: In 1971 belonged to E. Miiller-
Number of roses: None. Schiedmayer [dM].
Scale: 257 mm. Information supplied by: B2| VdM|Weldon.
Length: 1525 mm. Boakh 3 number: SCHIEDMAYER, J. C. G. 1793.
Width: 457 mm. Boalch 2 number: 11.
Depth: 135 mm. (the dimensions are taken from a
reproduction of the original instrument). Type: Fret-free clavichord.
Remarks: News of this instrument comes just as this Date: 1796.
volume is going to press. The name of the maker was Ownership: MUSEUM OF FINE ARTS, BOSTON,
given simply as ‘Schiedmayer’, and from the date it is USA.
assumed that it refers to Johann Christoph Georg. The Number: 1977.60.
possibility that this may be the same instrument as one Inscriptions: Signed Jobann Christoph [Bz spells it Christoff]
or other of the above instruments of 1787 should not be Georg|Schiedmayer|in Neustadt an der Aisch. 1796. Signed
overlooked. under the soundboard: Schiedmayer|in Neustadt an der
Previous history: Restored or owned by Neupert (label on Aisch|1795 [or 1796 the exact date is unclear because of
the bottom boards). Restored in 1993 by Frantisek a crack in the soundboard which runs through the last
Vyhnalek, Hovorcovice, Czechoslovakia. figure].
Information supplied by: Bemmann. Compass: FF-g).
Boalch 3 number. SCHIEDMAYER, J. C. G. 1787(3). Keyboard: Black naturals, white sharps.
Boalch 2 number: None. Exterior of case: Plain wood.
Scale: 262 mm.
Type: Clavichord. Length: 1534 mm.
Date: 1789. Width: 479 mm.
Ownership: PRIVATE COLLECTION(A), BOSTON, Depth: 135 mm.
USA. Remarks: At one time the date was erroneously reported
Inscriptions: On a paper label: Verfertiget/Schiedmayer|in as 1790. Naturals covered with ebony. The natural fronts
Neustadt an der Aisch|1789. are the ends of the keylevers stained black. Sharps covered
Compass: FF-g’. with bone. Case and lid of oak stained dark brown.
Previous history: Formerly in the Steinert Collection. Not Bottom and interior of fir. Soundboard spruce. Four
at Yale University in 1954. Bz says: ‘Probably the modern ‘screw-on’ legs.
clavichord by J. C. G. Schiedmayer owned by Eric Herz, Previous history: Formerly belonged to E. M. Ripin, before
Boston, Massachusetts, 1966, which is signed on the that to Arthur Mendel (1954) and before that, Mrs.
underside of the soundboard; inscription on paper label.’ Steinert.
References: Steinert Collection catalogues of 1892 (illus- References: Partial technical drawing showing layout of
trated) and 1912. soundboard including ribbing, wrestplank, belly rail and
Information supplied by: Bz. bridge (105x47 cm.) and data sheet by John Koster
Boalch 3 number. SCHIEDMAYER, J. C. G. 1789. available from the Museum of Fine Arts. BostonCat.
Boalch 2 number: 8. Information supplied by: B2|MF A.

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606 SCHIEDMAYER
Boalch 3 number, SCHIEDMAYER, J. C. G. 1796. Ownership: STATENS MUSIKSAMLINGAR,
Boalch 2 number: 12. MUSIKMUSEET, STOCKHOLM, SWEDEN.
Number. 2912.
Type: Clavichord. Compass: C-P.
Date: 1800-10. Keyboard: White naturals, black sharps.
Ownership. PRIVATE COLLECTION, RATISBON, Exterior of case: Painted.
GERMANY. Scale: 274 mm.
Remarks: The existence of this instrument comes from a Length: 1323 mm.
verbal report given to David Weldon. Width: 374 mm.
Information supplied by: Weldon. Remarks: Dated somewhere around 1780. Soundboard of
Boalch 3 number: SCHIEDMAYER, J. C. G. 1800-10. pine. Stand and pedal board missing, but twenty-five bass
Boalch 2 number: None. notes have staples to link to the pedal board.
References: H-O, No. S 01 SMS/MM 2912. Illustrated at
Type: Fret-free clavichord. figs. 124A & B, p. 143.
Date: 1800(A). Information supplied by: Barrell|Weldon|H-O.
Ownership: STADT MUSEUM, REGENSBURG, Boalch 3 number: SCHIORLIN, P. 1780(A)-
GERMANY. Boalch 2 number: None.
Number: K 1972/35. Type: Fretted clavichord.
Compass: F-c(A). Date: 1784(A).
Keyboard: Black naturals, white sharps. Ownership. OSTERGOTLANDS MUSEUM,
References: Photo available from Uta Henning, LINKOPING, SWEDEN.
Ludwigsburg. Number: 17.779.
Information supplied by: Henning. Compass: C-P.
Boalch3 anmber: SCHIEDMAYER, J. C. G. 1800(A). Keyboard: White naturals, black sharps.
Boalch 2 number: None. Number of roses: None.
Exterior of case: Painted.
SCHIEDMAYER, JOHANN DAVID. Scale: 260 mm.
Type: Fret-free clavichord. Length: 1357 mm.
Date: 1791. Width: 394 mm.
Ownership. FORMERLY SCHIEDMAYER (FIRM OF), Remarks: Soundboard of pine.
SCLOSSPLATZ, STUTTGART, GERMANY. References: H-O, No. S 05 LM 17.779. Illustrated at figs.
Accession number not known. 123A, 125B on p. 142.
Inscriptions: Inscribed: Johann David Schiedmayer Hochfiirstlich Information supplied by: Barrell|Weldon|H-O.
Asnspachischer Instrumentenmacher in Erlangen 1791. Boalch 3 number. SCHIORLIN, P. 1784(A).
Compass: FF-g’. Boalch 2 number: None.
Keyboard: Black naturals, white sharps.
Previous history: Formerly belonged to the firm of Sch- Type: Fretted clavichord.
iedmayer in Stuttgart. Destroyed in World War II. Date: 1780-90.
References: Mlustrated in Rupp. Ownership: BORAS MUSEUM, BORAS, SWEDEN.
Information supplied by: B?. Number: 10392.
Boalch 3 number: SCHIEDMAYER, J. D. 1791. Compass: C-P.
Boalch 2 number: 9. Keyboard: White naturals, black sharps.
Scale: 260 mm.
Length: 1360 mm.
SCHIEDMAYER (member of the family not known).
‘Type: Clavichord.
Width: 390 mm.
Date: 1787.
Remarks: Keys of pine, roof-carved. Swedish rack guide
system. Naturals of oak. Sharps of black-stained oak.
Ownership: Not known.
Remarks: The first name of the maker is not known.
Soundboard of pine.
Previous history: Belonged to Hubbard and Dowd in 1953. References: H-O, No. S 15 BM 10392.
Information supplied by: Barrell|Weldon|H-O.
Information supplied by: B?|Weldon. Boalch 3 number: SCHIORLIN, P. 1780- 90(1).
Boalch 3 number: SCHIEDMAYER. 1787.
Boalch 2 number: None.
Boalch 2 number: 6.
Type: Fret-free clavichord with octave strings in the bass.
SCHIORLIN, PEHR. Date: 1780-90.
Type: Fretted clavichord. Ownership: VARDSBERGS GARD, VARDSBERG,
Date: 1780(A). SWEDEN. Accession number not known.

'y Google
 SCHMAHL 607
Compass: AA-P. Boalch 3 number: SCHMAHL, CARL F. 1790.
Length: 1816 mm. Boalch 2 number: 1b.
Width: 528 mm.
Remarks. Sixteen octave strings in the bass. ‘Type: Fretted clavichord.
References: H-O, No. Vardsberg gard (Ogi). Date: 1790-6.
Information supplied by: Barrell] Weldon|H-O. Ownership: STADTMUSEUM, MUNICH, GERMANY.
Boalch 3 number: SCHIORLIN, P. 1780-90(2z). Accession number not known.
Boalch 2 number: None. Inscriptions: Signed: C. Friedr. Schmabl in Regensburg Ao.
1790[6] on the soundboard area between the wrestpins
and the case.
SCHLETT, ADAM.
‘Type: Fretted clavichord.
Compass: FF-P.
Scale: 257 mm.
Date: 1769.
Length: 1382 mm.
Ownership: STAATISCHES HEIMATMUSEUM, Width: 400 mm.
WASSERBURG AM INN, GERMANY. Accession Depth: 114 mm.
number not known.
Remarks: Sixty-one notes, forty-five courses. Keys are
Compass: C/E-c’.
diagonal roof-carved pine. German rack guide system.
Keyboard: Black naturals, white sharps.
Naturals of dark-stained pine(?) with similar fronts. Sharps
Number of roses: None.
of black-stained pine wood. Soundboard of spruce.
Exterior of case: Plain wood.
Bridges of beech.
Information supplied by: Weldon| VdM|Bemmann.
Boalch 3 number. SCHLETT, A. 1769. Reference: Glar, Heft 1, 41, Jahrgang 1992.
Information supplied by: B2|Weldon|Glar.
Boalch 2 number: None.
Boalch 3 number: SCHMAHL, CARL F. 1790-6.
Boalch 2 number: 1a.
SCHMAHL(A), CARL CHRISTIAN.
Type: Fret-free clavichord. SCHMAHL, CHRISTOPH FRIEDRICH.
Date: 1805-15. Type: Fret-free clavichord.
Ownership: NEUMEYER COLLECTION, BAD Date: 1790(A).
KROZINGEN, GERMANY. Ownership: STADTISCHES MUSEUM, MUNICH,
Number: [18]. GERMANY. Accession number not known.
Inscriptions: Carl Schmabl, Regensburg. This inscription was Compass: FF-P.
said to have been found under the soundboard by the Keyboard: Black naturals, white sharps.
late Adolf Hartmann (restorer of the Berlin Collection), Scale: 265 mm.
but a Basel restorer in 1970 reported that it was not Length: 1508 mm.
signed and was not by Schmahl. Width: 435 mm.
Keyboard: Black naturals, white sharps.
Depth: 129 mm.
Compass: FF-g’. Remarks: The instrument which has no inscriptions is
Remarks: This instrument is ascribed to Schmahl in both attributed to Schmahl by the Museum, with date of 1790~
Bz and Krozingen though it is not signed. No rose. Case 1800. Bz, without stating why, attributes it to Christoph
of oak, inlaid.
Friedrich. Keys of diagonal roof-carved pine. Wooden
Previous history: Restored by Martin Scholz.
guide slips. Naturals of ebony with two grooves and
Information supplied by: Bz|Krozingen.
fronts of arcaded black-stained fruitwood. Sharps of
Boalch 3 number. SCHMAHL(A), C. C. 1805-15. bone-capped fruitwood. Soundboard of spruce. Bridges
Boalch 2 number: 6(?). of beech.
Information supplied by: Weldon.
SCHMAHL, CARL FRIEDRICH. Boalch 3 number: SCHMAHL, CHRISTOPH F. 1790(A).
‘Type: Clavichord. Boalch 2 number: 8.
Date: 1790.
Ownership: REGENSBURG MUSEUM, Type: Fretted clavichord.
REGENSBURG, GERMANY. Accession number not Date: 1794.
known. Ownership: MUSEUM CAROLINO-AUGUSTEUM,
Inscriptions: Inscribed: C. Fr. Schmabl, Regensburg 1790 on SALZBURG, AUSTRIA.
the soundboard. Number: 47.
Previous bistory: Previously owned by Adolf Boehm, Inscriptions: Signed: C. Friedr. Schmal, Regensburg 1794 on
Munich. the area of soundboard between the wrestpins and the
Information supplied by: Bz. case.

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608 SCHMAHL
Compass: FE-P. pine. Bridges of beech. The instrument forms a drawer
Information supplied by: B2. of a chest-of-drawers. Some of the top keys have front
Boalch 3 number. SCHMAHL, CRISTOPH F. 1794(1). guide pins. The case is of oak and the internal structures
Boalch 2 number: 2. are pine capped with oak. There are two original extra
bracers running from front to back in the keywell.
References: Illustrated at Herrm, p. 80.
Type: Clavichord.
Information supplied by: B2|Weldon.
Date: 1794.
Boalch 3 number: SCHMAHL, GEBRUDER. 1812-15.
Ownership. STADTISCHES MUSEUM, RATISBON,
Boalch 2 number: 5.
GERMANY. Accession number not known.
Information supplied by: Weldon.
Boalch 3 number: SCHMAHL, CHRISTOPH F. 1794(2z). SCHMAHL, GEORG FRIEDRICH THE
Boalch 2 number: None. YOUNGER.
‘Type: Fretted clavichord with octave strings in the bass.
Date: 1807.
SCHMAHL, CHRISTOPH FRIEDRICH and
Ownership: FINCHCOCKS COLLECTION,
SON(S). GOUDHURST, KENT, ENGLAND. Accession
Type: Fretted clavichord.
number not known.
Date: 1812. Inscriptions: Inscribed on soundboard: Georg Friedrich
Ownership: FORMERLY IN THE BERLIN Schmabl|Orgel-snd Instrumentenmacber|in Ulm Ao 1807 No.
COLLECTION, BERLIN, GERMANY. Accession 43- Printed on a paper label: 07 and 53 added by hand.
number not known.
Compass: C-P.
Inscriptions: Signed: C. Friedr. Schmabl und Sobme in Regens-
Exterior of case: Painted.
burg 1812. Scale: 303 mm.
Compass: FF-a.
Length: 1350 mm.
Remarks. According to Bz, the instrument was in the
Width: 381 mm.
Berlin Collection, however it does not appear in the
Depth: 136 mm.
checklist of the Musikinstramenten Museum, and thus its
Remarks: Naturals of plum with plum veneer fronts.
present whereabouts are not known. Compass of five and
Sharps of stained fruitwood. Double strung. Nineteen
a half octaves.
octave strings in the bass. The lowest nineteen notes are
Information supplied by: Bz.
unfretted; thence they are fretted in pairs except for every
Boalch 3 number: SCHMAHL, CHRISTOPH F. and
D and A which are unfretted: e’ and f are fretted.
SON(S). 1812.
References. Finchcocks.
Boalch 2 number: 4.
Information supplied by: Dow|Finchcocks|O’ BrienPC.
Boalch 3 number: SCHMAHL, G. F. 1807.
SCHMAHL, GEBRUDER. Boalch 2 number: None.
‘Type: Fret-free clavichord.
Date: 1812-15. Type: Fretted clavichord.
Ownership: DEUTSCHES MUSEUM, MUNICH, Date: 1807(A). *
GERMANY. Ownership: DR. C. CONYERS MORRELL,
Number: 17214. MUDEFORD HOUSE, ENGLAND.
Inscriptions. Label on the side of the hitch pin rail: Gebruder Inscriptions: Engraved label on soundboard: Georg Friedrich
Schmabl]in Regensburg. Schmabl Orgel und Instrumentenmacher im Ulm Ao 1807 No.
Compass: FF-c*. 44. The second numeral of the date on the label, which
Keyboard: Black naturals, white sharps. is not earlier than the eighteenth century, has been
Exterior of case: Plain wood. tampered with.
Scale: 258 mm. Compass: C-P.
Length: 1306 mm. Exterior of case: Plain wood.
Width: 522 mm. Length: 1370 mm.
Depth: 178 mm. Width: 410 mm.
Remarks: The identity of the brothers who made this Remarks: Keys of lime. Naturals of stained beech. Sharps
instrument is probably Jakob Friedrich (1777-1819) and of stained pear. Case of coarse pine, unpainted. The top
Christian Carl (1782-1815). Keys of diagonal roof-carved three octaves are fretted.
lime. German guide rack. The naturals have ebony heads Information supplied by: Bz.
and black-stained tails with flat ebony fronts. The sharps Boalch3 number: SCHMAHL, G. F. 1807(A).
are of bone-capped, black-stained wood. Soundboard of Boalch 2 number: 3.

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 SCHMUZ 609
Type: Spinet. 1794. Naturals of ebony. An instrument by Schmahl at
Date: Not known. this Museum, and almost certainly this one is also reported
Ownership: MUSASHINO ACADEMIE MUSICAE, by Henning.
TOKYO, JAPAN. Previous history: Repaired in 1980 by Wolfgang Strohmayer,
Compass: C,D-e'(A). Vienna.
Number of roses: None. References: Data sheet from the Museum. Dr. Gerfried
Exterior of case: Plainwood. Leute. ‘Musikalien’, in Das Landesmusenm fir Karnten und
Remarks: The only information on this instrument comes seine Sammlungen, Klagenfurt, 1976.
from Henning who has kindly supplied a Museum pho- Information supplied by. Dr. Bernard Trebuch| Henning.
tograph with captions in Japanese, and the information Boalch3 number: SCHMAHL. 1794.
that it is in the above collection. From the photo, the Boalch 2 number: None.
compass appears to be as above. The case is rectangular
except for the right cheek which has a double curve. It
Type: Clavichord.
is not clear whether it is a spinet or an ottavino, while
Barnes suggests that it might be a piano, since a similar
Date: 1800(A).
Ownership: PRIVATE COLLECTION, GERMANY.
instrument by Spath and Schmahl was in the Colt Clavier
Remarks. Which Schmahl made the instrument is not
Collection in 1981. The naturals are black and the sharps known, and indeed it may the same instrument as
topped with what is probably ivory. The case is of
plainwood, and there appears to be no stand.
SCHMAHL(A), C. C. 1805-15.
Information supplied by: Henning Barnes. Information supplied by: B2/Weldon.
Boalch 3 number: SCHMAHL, G. F. n.d. Boalch 3 number: SCHMAHL. 1800(A).
Boalch 2 number: None. Boalch 2 number: 7.

SCHMAHL (member of the family not known). SCHMIDT, JOHANN.

Type: Clavichord. ‘Type: Fret-free clavichord with octave strings in the bass.
Date: 1692(A). Date: 1790.
Ownership: Not known. Ownership: RICHARD WAGNER MUSEUM,
Remarks: This instrument, the earliest by any member of LUCERNE, SWITZERLAND.
the Schmahl family has, according to Bz, disappeared. Number: 53.
Said by Bierdimpfl to have a compass of five octaves and Inscriptions. Label on the side of the hitch pin rail: Johann
to be shaped like a harpsichord. Hans Neupert considered Schmidt Hof-|Orgel und Instrumen-|tenmacher in Salzburg] Ao
that it was a small clavichord in a wing-shaped case. 1790.
Previous history: Was in the Bayerisches National Museum, Compass: FF-f.
Munich. Keyboard: Black naturals, white sharps.
References: Was recorded by Bierdimpfi in the catalogue of Exterior of case: Veneered.
the instruments in the Museum. Scale: 295 mm.
Information supplied by: B2. Length: 1514 mm.
Boalch 3 number: SCHMAHL. 1692(A). Width: 466 mm.
Boalch 2 number: 1. Depth: 140 mm.
Remarks: Keys of pine, uncarved, and very heavily leaded.
‘Type: Fret-free clavichord. Naturals of black-stained wood without fronts. Sharps of
Date: 1794. bone-capped, black-stained wood. Soundboard of spruce.
Ownership: LANDESMUSEUM FUR KARNTEN, Bridges of beech. Case of pine, veneered in mahogany
KLAGENFURT, AUSTRIA. with internal structure of beech. The bass twelve courses
Number: M.65. are 1x8’, 1x4’, one of the 8’ courses having been converted
Inscriptions: According to the Museum: S. Friedrich Schmabl, after the instrument was made, probably by Schmidt. The
Regensburg 1794. 4° strings rest on top of the 14 mm. high, 2.3 mm.
Compass. FF-P. diameter bridge pins. As Weldon says: ‘Not pretty, but
Keyboard: Black naturals, white sharps. effective.’
Scale: 268 mm. Information supplied by: Weldon.
Length: 1720 mm. Boalch 3 number. SCHMIDT, J. 1790.
Width: 500 mm.
Boalch 2 number: None.
Depth: 155 mm.
Remarks: The maker of the instrument is not clear. No
such maker as S. Friedrich Schmahl is known. S is a SCHMUZ, CONRAD.
misreading of C or G, of which probably the more likely ‘Type: Harpsichord (number of manuals not known).
is C, for another instrument of his also survives dated Date: 1761.

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 610 SCHMUZ
Ownersbip: HISTORISCHES MUSEUM, PRESTEGG, Date: 1748.
ALTSATTEN, SWITZERLAND. Accession number Ownership. STAATSBIBLIOTHEK, UNTER DEN
not known. LINDEN, BERLIN, GERMANY. Accession number
Inscriptions. Conrad Schmuz, fecit Ao 1761. not known.
Specification: 2x8". Compass: FF-P.
Information supplied by: Bz. Length: 1550 mm.
Boalch 3 number: SCHMUZ, C. 1761. Width: 470 mm.
Boalch 2 number: 1. Depth: 160 mm.
Information supplied by: Champ who received the inform-
SCHMUZ, LEONHARD. ation from Dr. Gertrud Schenk of the Restoration
Type: Ottavino. Department of the Staatsbibliothek.
Date: 1733. Boalch 3 number: SCHON, J. E. 1748(1).
Ovwnersbip: Not known. Boalch 2 number: None.
Inscriptions. Leonbard Schmutz (sic) fecit anno 1733.
Specification: 1x4’. ‘Type: Fret-free clavichord.
Remarks: Compass of four octaves plus one note [Bz]. Date: 1748.
Previous bistory: Was auctioned in Paris as part of Savoye Ownership: BEZIRKSMUSEUM VIADRINA,
Collection III, on 13 June 1924. FRANKFURT/ODER, GERMANY. Accession
References: Illustrated in Savoye Collection III catalogue. number not known.
Information supplied by: Bz. Inscriptions: On the lid, a symbolised shield with initials
Boalch 3 number: SCHMUZ, L. 1733. and the date 1748.
Boalch 2 number: 1. Compass: FF-f.
Keyboard: Black naturals, white sharps.
SCHON, ANTON.
Type: Fretted clavichord. Number of roses: 2.
Style of roses: Parchment.
Date: 1835(A).
Exterior of case: Veneered.
Ownership: GERMANISCHES NATIONALMUSEUM,
Remarks: Naturals of ebony. Sharps ivory topped. Two
NUREMBERG, GERMANY.
parchment roses in the soundboard. Outer case of vencer
Number. MIR 1057.
and marquetry. Interior of lid with painting of rows of
Inscriptions: Dieses hab ich dir zu Lieb gemacht|den 8ten costumed figures. Raised on stand on eight legs.
Dezenber| Anton Schon 1833 [VdM].
Previous bistory: Found in the attic of a farmhouse in
Compass: C-. Saxony in 1969.
Keyboard: Black naturals, white sharps.
References: Raritaten und Kuriositaten der Staatlichen REKA-
Exterior of case: Painted.
Scale: 245 mm. Sammlung bistorischer Musikinstrumente im Bezirksmuseum
Viadrina, Frankfurt|Oder, pp. 11-13, (illustrated).
Length: 1371 mm.
Widtb: 367 mm.
Information supplied by: Bemmann.
Depth: 100 mm.
Boalch3 number: SCHON, J. E. 1748(2).
Boalch 2 number: None.
Remarks: The builder of the instrument, could have been
Anton Sch6n or Schéne according to the inscription, but
the style of the instrument (according to Weldon) is of the SCHONE, GEORG DANIEL.
third quarter of the eighteenth century while the inscrip- Type: Fret-free clavichord with octave strings in the bass.
tion gives the date as 1835. The keys are diagonally Date: 1805(A).
roof-carved pine with wooden guide slips. Naturals of Ownership: NORSK FOLKEMUSEUM, BYGDOY,
ebony with two grooves and fronts of paper painted OSLO, NORWAY.
with flowers. Sharps, bone-capped, black-stained wood. Number: 33.04.
Soundboard of pine. Bridges of beech. Case of pine, Inscriptions: Signed on the area of the soundboard between
painted green outside, red inside, with internal structures the wrestpins and the case: Af G.D. Schine:Christiania.
also of pine. Badly fire damaged, lid missing, some broken Compass: FF-P.
keys. Length: 1674 mm.
Previous history: Repaired in 1835. Width: 500 mm.
References: Huber, p. 125. Remarks: Dated ¢. 1805 by VdM. Twenty octave strings
Information supplied by: VdM|Weldon| Huber. in the bass, FF-c. Instrument is built in the style of an
Boalch 3 number: SCHON, A. 1835(A). English square piano. Keyboard has front guide pins for
Boalch 2 number: None. the keys.
Information supplied by: Weldon|O’ BrienPC/VdM.
SCHON, JOHANN EMANUEL. Boaleh 3 number. SCHONE, G. D. 1805(A).
Type: Fret-free clavichord. Boalch 2 number: None.

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 SCOTTI 611
SCHONNAT, JOHANN WOLFGANG. thirty-eight courses. Fret free from C to d, thereafter
Type: Rectangular virginal. pairwise fretted except a, d', a', d’, a’, d’, P. Case painted
Date: 1645. green.
Ownership: GEMEENTEMUSEUM(A), THE HAGUE, Previous bistory: Shown in Bz as at Schloss Eggenburg,
NETHERLANDS. Accession number not known. Graz. According to the catalogue, formerly property of
Specification: 1x8". A. Strempfl, Riegersburg.
Remarks: This instrument appeared in Bz, but does not References: See articles quoted in the catalogue: Suppan
appear in HaagCL. Its authenticity must therefore be in (1966) 526, Art. Schwandtner Carl; and Federhofer (1951)
question. Even in 1974, Bz said that Hugh Gough 46.
strongly suspected the authenticity of this instrument Information supplied by: B2/Stradner.
though it may incoporate some remains of an old one. Boalch 3 number: SCHWANDTNER, C. M. 1782.
Information supplied by: Bz. Boalch 2 number: 1.
Boalch3 number: SCHONNAT, J. W. 1645.
Boalch 2 number: 1. SCHWARZ, FRANZ XAVER.
Type: Fretted clavichord.
SCHUTTE, HANS. Date: 1796.
Type: Fretted Clavichord. Ownership: STEIERMARKISCHES
Date: 1734. LANDESMUSEUM, JOANNEUM, GRAZ,
Ownership: Skaraborgs Lansmuseum, Sweden. AUSTRIA.
Number: Accession number not known. Number: KGW 22.644.
Inscriptions: Hans Schutte[fecit|Hamburg Ao. 1734. On the Inscriptions: On the soundboard: Franz Schwarz in Gratz
interior of the lid on a painted band: Chantant et psalmodiant 1796, geborig Gottlieb. . ..
du fond de vos Coemrs alagloire du Seigneur. Compass: C/E-P, broken octave.
Compass: C-d?. Keyboard: Black naturals, white sharps.
Keyboard: White naturals, black sharps. Number of roses: None.
Number of roses: None. Exterior of case: Plain wood.
Exterior of case: Painted. Length: 1130 mm.
Remarks. Mounted on a stand with turned legs and floor Width: 360 mm.
level stretchers. Depth: 105 mm.
References: Helenius Oberg, Eva. Klavikord, in Vi dro Remarks: Naturals of ebony, sharps of ivory. F# and G$
musikanter alltifran Skaraborg-studier i vashgotsh keys split to give a broken octave. Walnut case. Lid
musikbistoria-, Skaraborg ldnsmuseum. 1983 (with one illus- missing. Fifty-two keys and thirty-four courses. C-d
fret-free (except F-F# and G-G#) then pairwise fretted
tration). Colour postcard available from the Museum.
Information supplied by: Bemman|H-O Henning. except a, d', a', d', at, d.
Boalch 3 number: SCHUTTE, H. 1734. Previous history: Formerly Professor Mitteregger, Graz.
References: See references given in Stradner as Federhofer
Boalch 2 number: None.
(1951) 23, 41; Eberstaller (1955) 101, Art. Frany Schwarz;
Suppan (1966) 526, Art. Schwarz Andreas.
SCHWANDTNER, CARL MATTHIAS. Information supplied by: StradnerPC.
Type: Fretted clavichord. Boalch 3 number: SCHWARZ, F. X. 1796.
Date: 1782. Boalch 2 number: None.
Ownership. STEIERMARKISCHES,
LANDESMUSEUM, JOANNEUM, GRAZ, SCOTTI, ANTONIO.
AUSTRIA. Type: Single-manual harpsichord.
Number: KGW 1.339. Date: 1753.
Inscriptions: Carl Schwandtner, Orgel-und Instrumentmacher in Ownership: GALLINI COLLECTION, MILAN,
Gratz, auf den Griess Wobnbafft 1782. ITALY. Accession number not known.
Compass: C-P. Inscriptions: Inscribed on jackrail: Antonio Scotti in Milano
Keyboard: Black naturals, white sharps. 1733 (though the illustration in Pag shows the jackrail as
Number of roses: None. missing).
Exterior of case: Painted. Compass: C-P.
Scale: 250 mm. Keyboard: Special naturals and sharps.
Length: 1130 mm. Number of roses: 1.
Width: 350 mm. Exterior of case: Veneered.
Depth: 115 mm. Remarks: According to Pag, housed at Castello Sforzesco,
Remarks: Black stained wooden naturals, sharps with Milan. Both naturals and sharps appear from the picture
ivory tops. Chromatic compass with fifty-four keys and in Pag to be ofa blackwood inlaid with patterns, probably

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612 SCOULER
in ivory, or bone. The natural fronts are plain white, and likely that there is another similar instrument also in
the distal ends of the naturals have the names of the notes private ownership. EM Vol. VII, No. 1, January 1979,
written on them. The case appears to be veneered and P- 117 suggests the date is ¢. 1765. Panelled walnut case,
inlaid, and there are three inlaid cartouches on the fascia crossbanded with walnut, box stringing. Original stand.
board. Instrument and stand in good condition.
Previous history. Was given to Mozart by Count Firmian, Previous bistory: Bought by David Leigh on 21 July 1978
Governor of Lombardy, on the occasion of Mozart’s first at Christie’s for £3,930, and sold to present owner on 28
visit to Milan. July. Restored by David Leigh in 1978. If this is in fact
References: 1s described and illustrated in Gall, and also in the instrument numbered 2 in Bz, it was sold by Messrs.
Pag, plate 17. Moss Harris to a member of the Lyons family in 1954.
Information supplied by: B2| Pag. It is believed that at one time it belonged to Scottish
Boalch 3 number: SCOTTI, A. 1753. Opera.
Boalch 2 number: 1. Information supplied by: Bz|David Leigh|Owner.
Boalch 3 number: SCOULER, J. 1770(A).
SCOULER, JAMES. Boalch 2 number: 2?
Type: Wing spinet.
Date: 1763. Type: Wing spinet.
Date: Not known.
Ownership: PROFESSOR LITTMAN, HONOLULU,
Ownership: Not known.
HAWAI.
Inscriptions: Jacobus Scouler Londini Fecit 1763. Inscriptions: Jacobus Scouler Londini fecit.
Specification: 1x8". Specification: 1x8".
Keyboard: White naturals, black sharps.
Compass. FF,GG-F.
Exterior of case: Plain wood.
Exterior of case: Crossbanded.
Scale: 270 mm. Length: 1880 mm.
Remarks: Case is panelled and crossbanded walnut with Remarks: Walnut case. Soundboard modern.
Previous history: Sold at Sotheby’s 21 June 1946. It may
box stringing. Stand replaced.
well be this instrument which was sold at Christie’s on
Previous history: According to Bz, sold by Messrs. Legg
of Cirencester in 1964 to Mrs. W. Talbot of Cirencester. 22 November 1979 for £1,800.
Bought by David Leigh from Alan Rubin, 14 March References: Sotheby’s and Christie’s catalogue.
1978. Restored 1978 by David Leigh, and sold to Mr. Information supplied by: Ba| Luckett.
Jones, Isle of Man, on 21 April 1982. Said to have come Boalch 3 number: SCOULER, J. n.d.(1).
Boalch 2 number: 1.
from Charlecote Park, Warwickshire. Subsequently passed
(through the agency of Laurie Leigh of Oxford) ¢. 1987 Type: Wing spinet.
to the present owner. Date: Not known.
Information supplied by: Bz|David Leigh. Ownership: MESSRS. H. M. LUTHER, LONDON,
Boalch 3 number: SCOULER, J. 1763. ENGLAND.
Boalch 2 number: 3. Inscriptions: Jacobus Scouler Londini Fecit. On back of
nameboard: No.2.
Type: Wing spinet. Specification: 1x8’.
Date: 1770(A). Remarks: Messrs. Luther had it in 1972. It would seem
Ownership: PRIVATE COLLECTION, LONDON, likely that it has been sold since that date.
ENGLAND. Information supplied by: Bz.
Inscriptions: On nameboard: Jacobus Scouler Londini Fecit. Boalch 3 number: SCOULER, J. n.d.(2).
On back of nameboard: Restored by B. S. Roguski, Harrow, Boalch 2 number: 4.
1972, and Restored by David Leigh, 36 High Street, Oxford,
1978. SHEAN, CHRISTIAN.
Specification: 1x8". Type: Wing spinet.
Compass: GG-g’. Date: 1769.
Keyboard: White naturals, black sharps. Ownership: Not known.
Number of roses: None. Inscriptions: Christian Shean from London. Date on a key.
Exterior of case: Crossbanded. Specification: 1x8’.
Scale: 270 mm. Compass: GG-g’(A).
Length: 1880 mm. Length: 1880 mm.
Width: 510 mm. Width: 1219 mm.
Depth: 190 mm. Previous bistory: Formerly Dr. J. M. Bryan; before that
Remarks: There is some confusion as to whether this is Miss A. Liddell Grainger. Last known owner was Legg
the instrument recorded as number 2 in Bz. It seems of Cirencester (1953).

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 SHUDI 613
Information supplied by: Ba. Boalch 3 number: SHEAN, C. 1783.
Boalch 3 number: SHEAN, C. 1769. Boalch 2 number: 3.
Boalch 2 number: 1.
Type: Wing spinet.
Type: Wing spinet. Date: Not known.
Date: 1779. Ownership: A. B. CROSS, LONDON, ENGLAND.
Ownership: Not known. Specification: 1x8".
Specification: 1x8". Information supplied by: Bz.
Previous history: Formerly owned by R. R. Henshaw, Boalch 3 number: SHEAN, C. n.d.
Bradford on Avon. Rebuilt by Hugh Gough in 1950. Boalch 2 number: 4.
Information supplied by: Bz.
Boalch 3 number: SHEAN, C. 1779. SHUDI, BERNARD.
Boalch 2 number: 2. Type: Two-manual harpsichord.
Date: 1769.
Type: Wing spinet. Ownership: EDGAR LISTER (THE LATE),
Date: 1782. WESTWOOD, WILTSHIRE, ENGLAND.
Ownership: RUSSELL COLLECTION, EDINBURGH Inscriptions. On nameboard: Bernardus Shudi Londini fecit
UNIVERSITY, SCOTLAND. 1769. On the back is the signature Bernardus Shudi 1769.
Number: 34. Apparently not numbered by Shudi.
Inscriptions. On name batten above the keys: Christian Specification: 2x8’, 1x4’, lute.
Shean from London. The date 1782 is stamped on the lowest Additional features: Machine, 1 pedal.
key, and a signature (twice in pencil): Georg Schone. Compass: FF,GG-P.
Specification: 1x8". Keyboard: White naturals, black sharps.
Compass: FF,GG-P. Number of roses: 1.
Keyboard: White naturals, black sharps. Style of rose: Seated harping figure.
Exterior of case: Crossbanded. Exterior of case: Crossbanded.
Scale: 245 mm. Length: 2438 mm.
Length: 1870 mm. Remarks: This harpsichord is the only evidence for the
Width: 750 mm. existence of the maker Bernard Shudi. Inlaid mahogany
Depth: 206 mm. case. No music rest, and no accommodation for one.
Remarks: Naturals of ivory with moulded boxwood fronts Naturals of ivory with arcades of the same. Ebony sharps.
and sharps of stained oak capped with ebony. Exterior of Gilt rose in the soundboard harping angel and the initials
case of figured mahogany panels crossbanded. Nameboard BS. The stand is modern except for the cross strut. The
with figured walnut panel. Stand not original. Unrestored hitch pin rail is new, and the excessive side-draught
and is thus in original condition. between the bridge and hitch pins is obviously not
Previous history: In the possession of the Royal Museum original.
of Scotland since 1908. On loan to the Russell Collection Previous bistory: Restored by Dove of Pimlico.
(1992). References: Da. Shudi’s Will. RB.
References: RussCollrg86, p. 23. Unpublished report by Previous History: \t is not clear whether the instrument is
John Raymond, Assistant Curator, the Russell Collection. still at Westwood following the death of Mr. Lister.
Information supplied by: Bz|RussColl1986|Raymond. Information supplied by: Bz.
Boalch 3 number: SHEAN, C. 1782. Boalch 3 number. SHUDI, BERNARD. 1769.
Boalch 2 number: 5. Boalch 2 number: 19.

Type: Wing spinet. SHUDI, BURKAT.

Date: 1783. Shudi’s serial number is given immediately after the name
Ownership: SPANISH EMBASSY, LONDON, in the Boalch 3 number. The Boalch 2 number may be
ENGLAND. obtained by counting sequentially in the table on pp.
Inscriptions: Bz reports the inscription as Christian Shean 158-63 of Bz.
from London R.C., but the two final letters may be a Type: Two-manual harpsichord.
misprint. Date: 1729.
Specification: 1x8". Ownership: UENO GAKUEN COLLEGE, TOKYO,
Previous bistory. Bought by the Spanish Embassy at JAPAN.
Sotheby’s sale of 25 May 1951. Number: 54.
References: Sotheby’s catalogue of 25 May 1951. Inscriptions: Lettering in upper-case Roman, after the
Information supplied by: Bz. Flemish style on the nameboard: Barckat Tschudi Londini

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614 SHUDI
fecit 1729. On the back of the nameboard (as quoted by to CMM that a claviorganum by Shudi and Snetzler was
Da: Questo cimbalo é de? Sig'a Anna Strada 1731, London. still in existence at Moresby Hall, near Whitehaven,
Both inscriptions are shown in Da and also the Ueno Cumbria. The evidence came in the first place from an
Gakuen catalogue. Not numbered by Shudi. article in The Organ, No. 213, p. 45, and this was to be
Specification: 1: 2x8", 1x4’; I: 1x8’, lute. quoted in a book soon to be published by Alan Barnes
Additional features: 4 hand stops(A), 2 pedals. on Snetzler, quoting also Buckingham’s Travels in which it
Compass: FF,GG-P. was alleged that the instrument was seen in 1838. Moresby
Keyboard: Black naturals, white sharps. Hall which is now owned by Alcan High Duty Alloys,
Exterior of case: Crossbanded. and used as a conference centre has no instrument, neither
Scale: 327 mm. does Rose Hill nor the Rose Hill Theatre the only other
Length: 2400 mm. large houses in the area.
Width: Information supplied by: Rensbaw| Barnes.
Depth: 270 mm. Boalch3 number: SHUDI, B. 1731(A).
Remarks: The earliest surviving Shudi. Very similar to Boalch 2 number: None.
the only surviving Tabel harpsichord. The illustration in
Da shows the case to be crossbanded and the keys as Type: Two-manual harpsichord.
having black naturals and white sharps, but B? says: ‘The Date: 1740.
instrument has been re-veneered; keys and action new.” Ownership. HM. THE QUEEN, KEW PALACE,
Trestle stand with two pedals, but what they operate is LONDON, ENGLAND. Accession number not
not clear. This is borne out by the description in the known,
Ueno Gakuen catalogue which says “Two-manuals with Inscriptions: Shudi’s No. 94.
sliding hand-coupler. Four brass handles for sliding hand Specification: 2x8’, 1x4’, lute.
couplers on the key-blocks one on each side (right and Compass: FF,GG-P.
left) of each manual. (The upper set of these handles are Keyboard: White naturals, black sharps.
mere ornaments.) . . . At some date a fairly extensive Exterior of case: Crossbanded.
remodelling was made. Outer surface, inside of the lid, Remarks: Keyboards faced with bone instead of ivory,
upper and lower manuals, soundboard (of pine), jack and not original. Case in burr walnut crossbanded with plain
brass plate below jack, are considered not original. Hitch walnut.
pins on the soundboard and hitch pin rails are reinforced Previous history: Frederick Prince of Wales, son of George
with brass. Tuning pins and strings have been made Il. Formerly kept at Windsor Castle.
thicker. Quantity of lead inserted in jacks has been Information supplied by: B*.
increased. The bridge is too high.’ This remodelling Boalch 3 number: SHUDI, B. 94. 1740(1)-
appears to have taken place before 1913 when Da was Boalch 2 number: 2.
published, for the photograph there shows the brass
handles for the manual coupler. It would appear, sadly,
that there is now very little of the instrument which is Type: Harpsichord (Number of manuals not known).
original.
Date: 1740.
Previous history: The instrument was presumably given by Ownership: Not known.
Handel to Anna Strada, one of the singers he chose in Inscriptions: Shudi’s number 103.
Italy in 1729 to perform in his operas. Its subsequent Previous history: B’ gives the present or recent owner
history is unknown until about 1905 when it was bought simply as ‘Mrs. Delany’.
by Paul de Wit in Rome from whom it was purchased Information supplied by: B?.
by Carl J. Michaelson. Its presence in Japan was first Boalch 3 number: SHUDI, B. 103. 1740(2).
notified by Seizo Yokota in 1989. Boalch 2 number: 3.
References: Da, pp. 32 ff., (illustrated) See also the catalogue
of the Institute for the Study of Musical Instruments, Type: Single-manual harpsichord.
Ueno Gakuen College, Tokyo, and Tokyo. Date: 1741.
Information supplied by: B*|Dale| Yokota. Ownership: CALKE ABBEY (THE NATIONAL
Boalch 3 number: SHUDI, B. 1729. TRUST), DERBYSHIRE, ENGLAND. Accession
Boalch 2 number: 1. number not known.
Inscriptions: Burkat Sbudi N° 116 Fecit Londini 1741. Below
Type: Two-manual claviorganum. signature under the soundboard: N° roq St{uck} 1740.
Date: 1731(A). Specification: 2x8".
Ownership: Not known. Additional features: No handstops, unusual ‘diminuendo’
Remarks: The existence of this instrument is not certain (?) stop.
and is based on research by Martin Renshaw. Compass: FF,GG-P.
Previous history: In April 1988, Martin Renshaw suggested Exterior of case: Crossbanded.

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 SHUDI 615
Remarks: Marquetry around the keywell. Simple marque- (see below at SHUDI, B. 199. 1747, for further details of
tried panels alternate with plain mahogany panels around this instrument). According to Smithcheckég the 1743(A)
the rim. instrument was once the upper section of a claviorganum.
Previous history: Found in a granary above the stables at The bass and treble keyblocks each contain three plugged
Calke Abbey in 1984. Former owners include the Harpur, holes for the stop knobs, and the lower manual front rail
the Crewe, and the Harpur-Crewe families at Calke Abbey. is altered to accommodate the stickers and coupler (now
Repaired, but not to playing order by Andrew Garrett missing) to the organ action.
in 1984. Previous history: According to B*, number 144 came from
References: Further information from a report at Calke the Steinert Collection, and thence via Yale to the
Abbey by Andrew Garrett, and an illustration and short Smithsonian.
report in the official National Trust guidebook to Calke References: Mlustrated in Nash 1969. Smithchecké9. Smith-
Abbey (where the illustration of the nameboard is sonian photo negatives 56,312; 56,312A; 56,312B;
incorrect). 39.577A. Acoustic tests carried out in 1985 by E. L.
Information supplied by: Luckett] NT|Garrett|Usber. Kottick, see: Kottick-response.
Boalch 3 number. SHUDI, B. 116. 1741. Information supplied by: B?|Smithcheck89|Dowd.
Boalch 2 number: None. Boalch3 number: SHUDI, B. 144. 1743(A)-
Boalch 2 number: 5.
Type: Single-manual harpsichord.
Date: 1742. Type: Single-manual harpsichord.
Ownership: LT. COL. MYDDELTON, CHIRK Date: 1744.
CASTLE, DENBIGH. Ownership: WALTER VERMEULEN, UTRECHT,
Inscriptions: Burkat Shudi N° 120 Fecit Londini 1742. Under NETHERLANDS.
the soundboard below signature: N° 118 Stuck 1741. Inscriptions: On the nameboard: Burkat Shudi No 160 Fecit
Specification: 2x8’, 1x4’. Londini 1744. Numered 160 on the top and bottom keys
Additional features: Harp stop, simple machine. and the top and bottom jacks of the second 8’.
Exterior of case: Crossbanded. Specification: 2x8’.
Remarks: Marquetry in the keywell, jackrail, keyblocks, Compass: FF,GG-P.
keyslips, and around the rim in a style similar to the Keyboard: White naturals, black sharps.
Kirkman marquetried instruments. Turned trestle stand. Number of roses: None.
Case of veneered walnut. Exterior of case: Crossbanded.
Previous history: The instrument was reported in 1976 to Scale: 347 mm.
be a wreck. Repaired by Clayson and Garrett in 1984. Length: 2250 mm.
Information supplied by: B?|Garrett. Width: 925 mm.
Boalch3 number: SHUDI, B. 120. 1742. Depth: 272 mm.
Boalch 2 number: 4. Remarks: Naturals of ivory with reeded boxwood fronts,
sharps of ebony. Two hand stops controlling the two 8’
Type: Two-manual harpsichord. registers. Case with burr walnut panels, sycamore stringing
Date: 1743(A). and crossbanded with mahogany. All parts are original
Ownership: SMITHSONIAN INSTITUTION, except part of the bottom boards. Raised on copy stand
WASHINGTON, USA. with castors.
Number: 314,524. Previous history: Formerly in the collection of D. F.
Inscriptions: On the upper nameboard: Burkat Shudi Fecit Scheurleer at the Gemeentemuseum, The Hague, and
Londini. Shudi’s number 144, which appears on the subsequently number Ec633-19333 in the Museum’s col-
lower manual [Dowd]. On lower nameboard (between the lection, until 1991 when it was de-accessioned and bought
keyboards): Burkat Shudi No 190 (2199) Fecit Londini 1747. by Walter Vermeulen.
Specification: 1: 2x8’, 1x4’; Ul: 1x8’, lute. References: HaagCL, p. 39.
Additional features: 5 hand stops, harp stop. Information supplied by: B*|HaagCl| Vermeulen.
Compass. FF,GG-P. Boalch3 number. SHUDI, B. 160. 1744.
Keyboard: White naturals, black sharps. Boalch 2 number: 6.
Number of roses: None.
Exterior of case: Crossbanded. Type: Name-batten for a single-manual harpsichord.
Remarks: Smithcheck&9 shows that it has only one Shudi Date: 1747.
harpsichord, though B? erroneously shows that it has Ownership: SMITHSONIAN INSTITUTION,
two. This has arisen because this instrument has two WASHINGTON, USA.
nameboards, of which the upper over the upper manual Number: 314.524.
is probably the original, while the lower between the Remarks: The name-batten of this instrument is all that
keys, and dated 1747 is from a single-manual harpsichord exists of a single-manual harpsichord, and is now used as

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616 SHUDI
a slip between the keyboards of the two-manual instrument Previous bistory: F. Fairley, Newcastle. Myles Archibald,
belonging to the Smithsonian Institution (see above at Ulverston. Purchased from Messrs. Legg, Cirencester,
instrament SHUDI, B. 144. 1743(A)). Dowd writing in 1930. Bequeathed to Robin Orr by M. Archibald.
1990 says: ‘Shudi No. 190 (actually 199) 1747. This Information supplied by: B*.
instrument does not exist. The information is from a Boalch3 number: SHUDI, B. 260/264. 1751.
name batten ofa single which was cut down in a dreadful Boalch 2 number: 9.
early restoration to fit No. 144 (¢. 1743). The original ¢.
1744 mame batten was cut down to form the key slip Type: Two-manual harpsichord.
between the manuals and it has no date or number. The Date: 1760.
number 144 appears on the original lower keyboard. God Ownership: ANTHONY SIDEY.
knows whatever happened to that poor Shudi single of Inscriptions: The underside of the soundboard is signed
1747! by Shudi as gos (1760). The instrument is, however,
Previous bistory: According to B? number 190 belonged to numbered 407.
Hugo Worch and was presented to the Smithsonian in Specification: 2x8’, 1x4’, lute.
1920. Additional features: Venetian swell, harp stop, music desk.
Information supplied by: Dowd]/B2|/Smithcheck. Compass: FF-f.
Boalch3 number: SHUDI, B. 199. 1747. Keyboard: White naturals, black sharps.
Boalch 2 number: 7. Exterior of case: Crossbanded.
Remarks: Venetian swell, music desk, and FF# added at
‘Type: Two-manual harpsichord. a later date, probably all at the same time. The bridges
Date: 1749(A). have been extended in the bass for the extra note. Case
Ovnersbip: GERALD GIFFORD, CAMBRIDGE, veneered in mahogany.
ENGLAND. Previous history. H. J. Dale. Thence to Broadwoods. At
Inscriptions: On non-original nameboard it is numbered some time subsequently (¢. 1976) it appears to have passed
229 and dated 1749. Music desk numbered 97. Possibly through the hands of Michael Thomas.
Shudi’s number 229. References: It is probably this instrument which is listed
Specification: 1: 2x8’, 1x4’; Il: 1x8’, lute. as instrument number 8 in ThomasKI.
Additional features: Harp stop, dogleg, venetian swell, Information supplied by: B*|Wainwright|ThomasKI.
machine. Boalch3 number: SHUDI, B. 405/407. 1760.
Compass: CC-P. Boalch 2 number: 10.
Keyboard: White naturals, black sharps.
Number of roses: None. Type: Single-manual harpsichord.
Exterior of case: Crossbanded. Date: 1761.
Remarks: It is generally thought that because of the Ownership: BENTON FLETCHER COLLECTION,
extended compass and venetian swell, the instrument is FENTON HOUSE, LONDON. Accession number not
later than 1749. Trevor Beckerleg, Mrs. Potts and the known.
present owner all favour a date of ¢. 1775. Naturals of Inscriptions: On nameboard: Barkat Shudi No. 423 fecit
ivory and sharps of ebony. Londini 1761.
Previous history. Owners: Mr Warre (? William Ware, Specification: 2x8’, 1x4’.
Shudi’s agent in Belfast—cf. SbJ/, 15 August 1785). Additional features: 5 hand stops, machine, 1 pedal, harp
Arnold Dolmetsch, 1929. Mrs. Mary Potts, Cambridge stop.
(bought from Dolmetsch for £600). Bought by Gerald Compass. FF,GG-P.
Gifford, Cambridge in 1982 (for £5,000). Keyboard: White naturals, black sharps.
References: Russelligs9, p. 163. Number of roses: None.
Information supplied by: B*|Gifford. Exterior of case: Crossbanded.
Boalch 3 number: SHUDI, B. 229(A). 1749(A). Scale: 349 mm.
Boalch 2 number: 8. Length: 2311 mm.
Width: 935 mm.
Type: Single-manual harpsichord. Depth: 273 mm.
D 751. Remarks. Ivory naturals with maple moulded fronts;
Ownership: ROBIN ORR, CAMBRIDGE, ENGLAND. ebony sharps. Case veneered in burr elm, crossbanded
Inscriptions: Underside of soundboard has signature, date with mahogany and maple stringing. Lid of mahogany.
1751, and number 264 (sic). Instrument is, however, Parts of both the 8’ and 4’ nuts are modern.
numbered 260. Previous history: Miss Fanny Davies, pupil of Clara Schu-
Specification: 2x8’. mann. Sold at Puttick and Simpson’s, 25 June 1932.
Compass: FF-P. References: Illustrated in Apollo September/October 1943.
Keyboard: White naturals, black sharps. p. 98. BFCat, p. 9.

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 SHUDI 617
Information supplied by: Bz|BFCat. TORI ED ACCORDATORI/DI PIANO-FORTE/
Boalch3 number: SHUDI, B. 423. 1761(1). DOGNI QUALITA/MILANO|Vicolo del Fieno,
Boalch 2 number: 11. Civico, No. 4136 2 rosso.
Specification: 1: 2x8’, 1x4’; I: 1x8’, lute.
Type: Single-manual harpsichord. Additional features: 5 hand stops.
Date: 1761. Compass: FF,GG-F.
Ownership: Not known. Keyboard: White naturals, black sharps.
Inscriptions. Shudi’s autograph under soundboard: Barckat Exterior of case: Crossbanded.
T/Sudi (sic) No. 427 Stuck 1761 London. Scale: 349 mm.
Remarks: Present whereabouts not known. Instrument Length: 2179 mm.
known only from the reference in Da, p. 40. Width: 930 mm.
References: Autograph reproduced at Da, p. 40 from which Depth: 291 mm.
the above inscription has been transliterated. Remarks: Ivory naturals with reeded sycamore fronts.
Information supplied by: Bz/Dale. Ebony sharps. The instrument originally had the standard
Boalch 3 number: SHUDI, B. 427. 1761(2). English disposition, but has lost the machine stop and
Boalch 2 number: 12. the hole for the machine lever in the cheek has been filled
in, while the pedals and trapwork have disappeared. The
Type: Harpsichord (number of manuals not known). original stand has also disappeared and has been replaced
Date: 1761. by a stand of three Empire-style turned legs, which
Ownership: Not known. O’BrienPC suggests have come from a Viennese piano of
Inscriptions: Shudi’s number 428. the early nineteenth century. Lid and flaps of solid
Remarks: Bz records this instrument, but it is not clear mahogany. The string gauge numbers are stamped into
why, or whether it still survives. the top edge of the nuts, and beside each one are markings
Information supplied by: Bz. in ink of the approximate equivalents in a continental
Boalch 3 number: SHUDI, B. 428. 1761(3). string-gauge system. Full details are available from Grant
Boalch 2 number: 13. O’Brien. There is no swell.
Previous bistory: Previously in the collection of Giuseppe
‘Type: Two-manual harpsichord. Monandrini da Casigno, and the Milan Conservatoire.
Date: 1765. References: Tintori, p. 68. O’Brien Scala.
Ownership: SCHLOSSMUSEUM(A), BRESLAU, Information supplied by: B2|O’ BrienPC.
GERMANY. Accession number not known. Boalch 3 number. SHUDI, B. 499. 1765(2).
Inscriptions. Shudi’s number 496. Boalch 2 number: 15.
Specification: 2x8", 1x4’, lute.
Additional features: Harp stop, machine. Type: Two-manual harpsichord.
Compass: CC-P. Date: 1766.
Remarks: In the Schlossmuseum until World War II when Ownership. POTSDAM(A), GERMANY. Accession
it disappeared. No swell. number not known.
Previous history: Frederick the Great. Schloss Breslau. The Inscriptions: Shudi’s number yr1. The instrument bears
nine-year-old Mozart played it in London, 15 May 1765, Shudi’s explanation of the stop mechanism in manuscript,
before its despatch to the Emperor. in German, see: Da, p. 48.
References: Russell 1959, p. 163. Specification: 1: 2x8’, 1x4’; Il: 1x8’, lute.
Information supplied by: Bz. Alditional features, Harp stop, machine.
Boalch3 number: SHUDI, B. 496. 1765(1). Compass. CC-P.
Boalch 2 number: 14. Keyboard: White naturals, special sharps.
Number of roses: None.
Type: Two-manual harpsichord. Exterior of case: Crossbanded.
Date: 1765. Remarks: One of the two instruments numbered 511 and
Ownership: MUSEO TEATRALE ALLA SCALA, 512 made by Shudi for Frederick the Great. Keyboards
MILAN, ITALY. Accession number not known. have ivory naturals, and skunktail sharps of ebony/
Inscriptions: Signed on the nameboard: Burkat Shudi No ivory/ebony in Hitchcock style. Special chased lid hinges,
499 fecit Londini 1763. The back of the nameboard is and special stand described by Burney as having oxidised
stamped BS NO 499. Above the name-batten is a modern silver legs. The machine appears to be a special mechanism
brass plate inscribed: Clavicembalo Di Burkat Shudi (Londra contained in one large pedal on the left (with special
1763)|Dono di|GIUSEPPE MONANDRINI DA CAS- mounting) which according to Da, quoting the Allgemeine
NIGO. On a paper card glued to the soundboard in the Augsburger Zeitung of 1765, “Tschudi has placed all the
corner between the spine and main gap is the inscription registers in one pedal, so that they can be taken off one
GIUSEPPE GIANDONI E FIGLIO/AGGIUSTA- after the other, and the decreasing and increasing of the

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618 SHUDI
tone can be produced at will . . .’. (Quite what the Keyboard: White naturals, black sharps.
difference is between this mechanism and the normal Number of roses: None.
machine stop is not clear.) Exterior of case: Crossbanded.
Previous bistory: Owned by Frederick the Great. Da Scale: 345 mm.
mentions that he was supplied information on the instru- Length: 2470 mm.
ment by Dr. Seidel of the Hohenzollern Museum, Berlin, Width: 933 mm.
and so the instrument was there (with number 512) when Depth: 312 mm.
Dale was writing in 1913. This instrument is shown by Remarks: Naturals of ivory with ivory arcades and sharps
Bz as being at Potsdam, but it is not clear if this is the of ebony. Venetian swell possibly fitted later (according
case. Hirt writing in 1955 (see p. 23) says that it is at the to Hipkins). Lid of solid mahogany. Long side veneered.
Neues Palais, Musiksalon, Potsdam (but the instrument External case panels of curl mahogany surrounded by
he shows looks rather slim for a Shudi). fruitwood stringing. Internal key surrounds of burr
References: MS. in German, illustrated at Da, p. 48. Hirt, walnut. Left pedal operates the machine; the right pedal
p. 21 (illustration). operates the swell. String gauges on nut.
Information supplied by: Bz|Dale| Hirt. Previous bistory: Harty Hodge, Edinburgh, then to Mr. W.
Boalch 3 number: SHUDI, B. 511. 1766(1). R. Thomas. On the death of Mr. Thomas the instrument
Boalch 2 number: 16a. was inherited by his nephew Mr. Robert Thomas. Given
Type: Two-manual harpsichord. in lieu of tax through the Museums and Galleries
Date: 1766. Commission to the Russell Collection in 1991.
Ownersbip: MIKHAIL GLINKA MUSEUM, MOSCOW References: Mould Note. Hi, a footnote on p. 88 refers to
CONSERVATOIRE, RUSSIA. Accession number not a Shudi harpsichord of 1766, with venetian swell belonging
known. to H. Vivian Hamilton—this could be the same
Inscriptions: Shudi’s number 512. instrument.
Specification: 1: 2x8’, 1x4’; Il: 1x8’, lute. Information supplied by: B2|Mould Note|Raymond.
Additional features: Harp stop, machine. Boalch 3 number: SHUDI, B. 529. 1766(3).
Compass: CC-P. Boalch 2 number: 17.
Keyboard: White naturals, special sharps.
Number of roses: None. ‘Type: Single-manual harpsichord.
Exterior of case: Crossbanded. Date: 1767.
Remarks: The second of the two instruments made for Ownership: MARLOWE A. SIGAL COLLECTION,
Frederick the Great. It is allegedly exactly similar to MASSACHUSETTS, USA.
number 511 (above). Inscriptions: Burkat Sbudi No y4o Fecit Londini 1767.
Previous history: Made in 1766 for Frederick the Great, Specification: 2x8’, 1x4’.
and subsequently in the Hohenzollern Museum, Berlin Additional features: 3 hand stops.
before the First World War. After the allied capture of Compass: FF,GG-P.
Berlin in 1945, this instrument disappeared and sub- Keyboard: White naturals, black sharps.
sequently turned up in Moscow (1972). Number of roses: None.
References: See instrument number 511 above. Exterior of case: Crossbanded.
Information supplied by: Bz/Dale|Hirt. Scale: 330 mm.
Boalch 3 number: SHUDI, B. 512. 1766(2). Length: 2300 mm.
Boalch 2 number: 16b. Width: 933 mm.
‘Type: Two-manual harpsichord. Depth: 270 mm.
Date: 1766. Remarks. Naturals of ivory with reeded boxwood fronts,
Ownership: RUSSELL COLLECTION, EDINBURGH and sharps of ebony. Case veneered with walnut, with
UNIVERSITY, SCOTLAND. Accession number not stringing of a lighter wood and crossbanded (except on
known. spine). On original stand with turned legs and wooden
Inscriptions: On front of the nameboard: Burkat Shudi No wheel castors. Keywell with finely figured matched burr
529 Fecit Londini 1766. On the back of the nameboard is walnut. Quill throughout, and in good playing order.
stamped: BS NO s29 and written in ink: Restored by Previous history: Sold by Col. Dove, The Old Manse,
Arnold Dolmetsch London 1896. According to Bz it also Stansted in 1967 at an auction conducted by Edward
bears J. Longman’s, Joshua Shudi’s, and Arnold Dolmet- Watson and Sons at Bishops Stortford, Essex, in Novem-
sch’s autographs under the soundboard. ber 1967. Bought by Messrs. Wearn, dealers. of Wendens
Specification: 1: 2x8’, 1x4’; Il: 1x8’, lute. Ambo near Saffron Walden, and sold by them almost at
Additional features: Venetian swell, machine, harp stop, once to Messrs. Ratcliff of Kelvedon. By December 1969
music desk, dogleg, 5 hand stops. it was owned by Marlowe A. Sigal.
Compass: FF,GG-f. Information supplied by: Bz/Sigal.

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 SHUDI and BROADWOOD 619
Boalch 3 number: SHUDI, B. 540. 1767. Date: 1770.
Boalch 2 number: 18. Ownership: PRIVATE COLLECTION, NEW YORK,
USA.
Type: Two-manual harpsichord. Inscriptions: Joshua Shudi Londini fecit 1770. Not numbered
Date: 1771. by Shudi.
Ownership: FOLK MUSEUM, NAFELS, Remarks: An empty case only. Bought 1968.
SWITZERLAND. Accession number not known. Information supplied by: Bz.
Inscriptions: Shudi’s number 639. Boalch 3 number: SHUDI, J. 1770.
Specification: 2x8’, 1x4’, lute. Boalch 2 number: 21.
Additional features: Harp stop.
Compass: CC-P. Type: Two-manual harpsichord.
Keyboard: White naturals, black sharps. Date: 1773.
Exterior of case: Crossbanded. Ownership: H. BAGOT, LEVENS HALL, KENDAL,
Previous bistory: Played on by Ernst Pauer, Moscheles and ENGLAND.
Hipkins in their historical performances. Belonged at one Inscriptions: On the name board: Joshua Shudi Fecit Londini
time to the Broadwood family, but is thought to have 1773. Not numbered by Shudi.
passed subsequently through the hands of Michael Specification: 1: 2x8’, 1x4’; Ll: 1x8’, lute.
Thomas, and through him to the Folk Museum at Nafels, Additional features: 5 hand stops, 2 pedals, machine,
Switzerland, in the canton of Glarus from which Shudi venetian swell.
came to make his fortune in London. David Wainwright Compass: FF-P.
(author of Wain) reporting the transfer of the instrument Keyboard: White naturals, black sharps.
to Nafels describes amusingly how in July 1990 he took Exterior of case: Crossbanded.
the train to Glarus and thence to Shudi’s birthplace at Length: 2413 mm.
Schwanden. On alighting from the train he was delighted Remarks: No provision for music-desk.
to be confronted by a Volkswagen van labelled Previous history: Mrs. E. B. Wimbush, Triscombe House,
Tschudi-Mobel West Bagborough, Taunton, who sold it by auction
References: Listed in ThomasKI, as instrument number 9, through Messrs. Greenslade, Taunton, 1~4 November
‘on loan’. 1954, to Robin Bagot. Restored by A. Dolmetsch 1895,
Information supplied by: B2|Wainwright|ThomasKI. and J. C. Cobby 1954/5.
Boalch 3 number: SHUDI, B. 639. 1771. Information supplied by: Bz|MonldNote.
Boalch 2 number: 22. Boalch3 number: SHUDI, J. 1773.
Boalch 2 number: 27.
SHUDI(A), BURKAT. Type: Harpsichord (Number of manuals not known).
Type: Two-manual harpsichord. Date: 1776.
Date: Not known. Ownership: Not known.
Ownership: KEDLESTON HALL (THE NATIONAL Inscriptions: Not numbered by Shudi.
TRUST), ENGLAND. References: Da, p. 57 refers to a harpsichord by Joshua
Inscriptions: None visible. Shudi of 1776 as the only instrument by him known. It
Specification: 2x8’, 1x4’, lute. has since disappeared. It is, however, clear that there are
Additional features: Harp stop, machine, lid swell. at least two more Joshua Shudi instruments extant (see
Compass: CC-P. above).
Remarks: Garrett reports as follows: ‘Shows much evidence Information supplied by: Bz|Da.
of modification and repair; compass and casework invite Boalch3 number: SHUDI, J. 1776.
association with Shudi, but since the original nameboard Boalch 2 number: 34.
is lost, only his soundboard signature is now likely to
confirm the correctness of such an ascription. In 1770, SHUDI, BURKAT and BROADWOOD, JOHN.
Shudi was charging 35 guineas for a 2x8’ single and the ‘Type: Two-manual harpsichord.
Kedleston instrument seems unlikely to have been the Date: 1770.
harpsichord for which Sir Nathaniel Scarsdale paid him Ownership: BENTON FLETCHER COLLECTION,
only £33 in 1761.” FENTON HOUSE, LONDON. Accession number not
Previous history: Formerly belonged to Lord Scarsdale. known.
Information supplied by: Garrett. Inscriptions: On nameboard: Burkat Shudi et Jobannes Broad-
Boalch3 number: SHUDI(A), B. n.d. wood No 625, Londini fecerunt 1770. Under the soundboard:
Boalch 2 number: None. Burkat Shudi et Joh. Broadwood Londini facit (sic) 1769. On
the lower jack guide is the number 74. BFCat suggests
SHUDI, JOSHUA. that this may refer to the number of Shudi instruments
‘Type: Single-manual harpsichord. with extended compass down to CC.

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620 SHUDI and BROADWOOD
Specification: 1: 2x8’, 1x4’; Il: 1x8’, lute. 1771.
Additional features: Harp stop, machine, venetian swell, 3 Boalch 2 number: 25.
pedals, music desk.
Compass: CC-P. Type: Two-manual harpsichord.
Keyboard: White naturals, black sharps. Date: 1772.
Number of roses: None. Ownership: MUSEUM OF FINE ARTS, BOSTON,
Exterior of case: Crossbanded. USA.
Scale: 343 mm. Number: 1977.57-
Length: 2667 mm. Inscriptions: In ink on nameboard: Burkat Shadi et Jobannes
Width: 1022 mm. Broadwood|Patent|No 671 Londini Fecerunt 1772.
Depth: 318 mm. Specification: 1: 2x8’, 1x4’; Il: 1x8’, lute.
Remarks: Case finish has three panels on bent side. Inside Additional features: Harp stop, dogleg, machine, venetian
of lid is similarly veneered in three panels. Panels are of swell, 2 pedals.
burr-walnut, crossbanded with mahogany and stringing Compass: FF-P.
of box and ebony. Long side is also crossbanded. Keyboard: White naturals, black sharps.
Mahogany music desk. Stand also veneered em suite with Number of roses: None.
case. The centre pedal which operates the harp stop is Exterior of case: Crossbanded.
modern. Scale: 344 mm.
Previous bistory: Dr. David Hartley. William Dale. Gerald Length: 2458 mm.
Cooper. Major Benton-Fletcher bought it from Gerald Width: 941 mm.
Cooper at Puttick and Simpson’s on 20 February 1936. Depth: 318 mm.
Maintained in splendid playing order by Mimi Waitzman. Remarks: Naturals of ivory with moulded sycamore fronts;
References: BFCat, pp. 6-7. National Trust postcards may sharps of ebony. Case of mahogany panels, plain stringing,
be bought at Fenton House. and mahogany crossbanded. All veneered on solid oak.
Information supplied by: B2|Mould Note/BFCat. Keywell in figured maple with rosewood crossbanding
Boalch3 number. SHUDI, B. and BROADWOOD, J. 625. and geometrical stringing. Name-batten with plain
1770. holly(?) cartouche. Bottom boards of pine (John Koster
Boalch 2 number: 20. observes that the species is pinus strobus which is American,
though the boards are undoubtedly original).
Type: Single-manual harpsichord. Previous bistory: First owner—sold to Mr. Atkinson of
Date: 1771. Newcastle, 24 November 1772 [SdJ/. Later owners:
Ownersbip: Not known. Margaret Glyn; Alec Hodsdon; Raymond Russell; 1939
Inscriptions: Shudi’s number 748 [Luckett]. Durham University (Professor of Music) Arthur Hutch-
Specification: 2x8’, 1x4’. ing, who moved to Exeter in 1968; 1968 Michael Thomas;
Additional features: 4 hand stops, venetian swell, 2 pedals. 1968 E. M. Ripin; 1977 Museum of Fine Arts, Boston,
Compass: FF-f. from the estate of E. M. Ripin.
Length: 2337 mm. References: Data sheets by John Koster from the Museum
Remarks: There would appear to be a mistake in either of Fine Arts. BostonCat.
the Shudi serial number or the date. A serial number of Information supplied by: B2|MF A.
648 would appear to be more likely. Boalch3 number: SHUDI, B. and BROADWOOD, J. 671.
Previous history: Sold by Morleys in 1976 for £14,500. 1772.
Information supplied by: Luckett. Boalch 2 number: 24.
Boalch 3 number: SHUDI, B. and BROADWOOD, J.
648(A). 1771(A). Type: Two-manual harpsichord.
Boalch 2 number: None. Date: 1773.
Ownership: PRIVATE COLLECTION.
Type: Two-manual harpsichord. Inscriptions. Shudi’s number 686. At one time it had a
Date: 1771. plaque recording that it was a gift to St. Michael’s College,
Ownership. CONNELL COLLECTION, NATIONAL Tenbury, from Henry Fowler Broadwood.
GALLERY OF VICTORIA, AUSTRALIA. Accession Additional features: 5 hand stops, 2 pedals.
number not known. Compass: CC-P.
Inscriptions: Shudi’s number 652. Keyboard: White naturals, black sharps.
Specification: 2x8’, 1x4’, lute. Exterior of case: Crossbanded.
Additional features: Harp stop, machine, venetian swell. Remarks: From an illustration in EM (see below), it
Previous history: J. Connell, Melbourne, Victoria. appears to be a standard extended-compass Shudi, with
Information supplied by: Bz. three crossbanded panels on the bent side and also inside
Boalch 3 number: SHUDI, B. and BROADWOOD, J. 652. the lid.

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 SHUDI and BROADWOOD 621
Previous bistory: T. W. Taphouse; Messrs. Broadwood Broadwood No 736, Londini fecerunt 1774.
(probably Henry Fowler Broadwood) who gave it to St. Specification: 2x8".
Michael’s College, Tenbury. Sold at Phillips on 9 March Additional features: Harp stop.
1978—bought for around £20,000 by P. Woolf (dealer) Compass: FF-f.
for an anonymous client. Keyboard: White naturals, black sharps.
References: Note of sale at Phillips in March 1978 in EM Number of roses: None.
vol. V1, No. 3, July 1978, p. 443, including illustration. Exterior of case: Crossbanded.
Information supplied by: B2|/EM. Length: 2340 mm.
Boalch 3 number: SHUDI, B. and BROADWOOD, J. 686. Width: 955 mm.
1773(1)- Depth: 305 mm.
Boalch 2 number: 25. Remarks: Naturals of ivory; sharps of ebony. Case with
panels of mahogany, crossbanded with satinwood. Key-
Type: Two-manual harpsichord. board surrounds crossbanded with sycamore/boxwood
Date: 1773. stringing. Adjustable music desk, and trestle stand with
Ovnersbip: BRUSSELS MUSEUM, BRUSSELS, four legs.
BELGIUM. Previous bistory: According to ShJi, it was made for
Number: 1604. Charles Avison. Formerly in the Rushworth and Dreaper
Inscriptions: On nameboard: Burkat Shudi et Johannes Broad- Collection. Bought by the Museum in 1967.
wood, Londini, fecerunt. No 691. References: ShJl.
Specification: 1: 2x8’, 1x4’; Il: 1x8’, lute. Information supplied by: B2|Rushton.
Additional features: 5 hand stops, venetian swell, 2 pedals, Boalch 5 number: SHUDI, B. and BROADWOOD, J. 736.
machine, dogleg. 1774(2).
Compass: CC-P. Boalch 2 number: 29.
Keyboard: White naturals, black sharps.
Exterior of case: Crossbanded. ‘Type: Single-manual harpsichord.
Length: 2692 mm. Date: 1775.
Width: 1016 mm. Ovnersbip: Not known.
Remarks: Neo-classical stand with square legs and castors. Inscriptions: According to Christie’s, on nameboard: Berkat
Previous history: Empress Maria Theresa; V. Mahillon. Shudi et Jobannes Broadwood No 742 Londini Fecerunt 1775
References: Mlustrated by J, p. 132, and described on Patent. On the reverse is repairer’s label: Restored by G W
previous page. Goss, Music dealer, 62 Brecknock Road, N. May 1901.
Information supplied by: B2|J. Specification: 2x8’, 1x4’.
Boalch3 number: SHUDI, B. and BROADWOOD, J. 691. Additional features. Machine, venetian swell.
1773(2). Compass. FF,GG-P.
Boalch 2 number: 26. Keyboard: White naturals, black sharps.
Number of roses: None.
Type: Harpsichord (number of manuals not known). Exterior of case: Crossbanded.
Date: 1774. Remarks: Christie’s catalogue of 19 December 1974 states:
Ownership: Not known. (The instrument may no longer ‘Mahogany case, satinwood stringing’.
exist.) Previous history: According to Christie’s: ‘This instrument,
Inscriptions: Shudi’s number 708. long in the Curzon family is thought probably to have
Previous bistory: First owner, Thomas Gainsborough. descended from Elizabeth Jennens, sister of Charles
References: Mentioned by Da, pp. 67-8. ShJ/: The entry Jennens the younger, friend and librettist of Handel.
under 5 March 1774 reads ‘Mr. Dashwood and Gardine The Jennens estates passed through Elizabeth Jennens’s
ie. the violinist Felice de Giardini] bought a harpd, no. grandson Penn Ashton Curzon to his wife Sophia,
708, for Mr. Gainsborough, painter in the Circle, Bath.” Baroness Howe, eldest daughter of the Admiral, whose
Information supplied by: Ba. son, Richard William Penn Curzon, was created Earl
Boalch3 number: SHUDI, B. and BROADWOOD, J. 708. Howe in 1821.’ The instrument was sold at Christie’s on
1774(1). 19 December 1974 for £4,500.
Boalch 2 number: 28. References: Christie’s Catalogue of 19 December 1974 and
letters to DHB from David Murdoch in 1974. See also
Type: Single-manual harpsichord. EM vol. Ill, No. 2, April 1975, p. 140 for report of sale
Date: 1774. of the instrument.
Ownership: LIVERPOOL MUSEUM, LIVERPOOL, Information supplied by: Christie’s| Murdoch| EM.
ENGLAND. Boalch 3 number. SHUDI, B. and BROADWOOD, J. 742.
Number: 1967.161.6. 1775(1).
Inscriptions: On the nameboard: Burkat Shudi et Jobannes Boalch 2 number: None. -

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622 SHUDI and BROADWOOD
Type: Two-manual harpsichord. On permanent loan to the Kunsthistorisches Museum,
Date: 1775. Vienna.
Ownership: MRS. LENI VAN MAANEN-VAN DER References: Mlustrated in Hin, plate 41. and also in Hirt,
LEE, UTRECHT, HOLLAND. P- 29.
Inscriptions: Inscribed on nameboard: Burkat Shudi et Information supplied by: B2|StradnerPC.
Jobannes Broadwood patent. No 750 Londini Fecerunt. When Boalch 3 number: SHUDI, B. and BROADWOOD, J. 762.
restored in 1990 the words John Broadwood fecit 1774 were 1775(3)-
found under the soundboard. Boalch 2 number: 31.
Specification: 1: 2x8’, 1x4’; Ul: 1x8’, lute.
Additional features. Machine, venetian swell, harp stop, 2 Type: Harpsichord (Number of manuals not known).
pedals, 5 hand stops. Date: 1776. (Instrument may no longer exist.)
Compass: FF-P. Ownership: Not known.
Keyboard: White naturals, black sharps. Inscriptions: Shudi’s number 747.
Number of roses: None. Remarks: Only date and manufacturer’s number 747
Exterior of case: Crossbanded. known.
Scale: 349 mm. Information supplied by: B2.
Length: 2468 mm. Boalch 3 number: SHUDI, B. and BROADWOOD, J. 787.
Width: 944 mm. 1776(1).
Depth: 321 mm. Boalch 2 number: 32.
Remarks: Beautifully preserved, with original leather, Type: Harpsichord (number of manuals not known).
wool-lined cover. Naturals of ivory with fronts of Date: 1776.
boxwood, sharps ebony. Case of mahogany with sycamore Ownership: Not known.
stringing. Inscriptions: Shudi’s number 789.
Previous history: Made for Lady Stavordale, of Redlynch, Previous history: J. Kendrick Pyne. Shown at the Inter-
Bruton. Messrs. Price & Sons, Craven, Somersbury national Inventions Exhibition, 1885.
Manor. George Malcolm. Purchased by present owners Information supplied by: Bz.
in 1958. Restored by Thomas Goff between 1956 and Boalch3 number: SHUDI, B. and BROADWOOD, J. 789.
1958, when the jacks were releathered and requilled. It 1776(2).
seems likely that one 8’ and the 4’ were originally Boalch 2 number: 53.
leathered. Restored again by Walter Vermeulen in 1990.
All registers are now quilled. Type: Two-manual harpsichord.
References: ShJl, 10 August 1775: ‘Lady Stovorddales (sic) Date: 1778(A).
Harpsichord was Packed and sent to Redlinch near Bruton Ownership: NORSK FOLKEMUSEUM, BYGDOY,
Sommerset (sic) No. 750.’ See also report of the International OSLO, NORWAY. Accession number not known.
Harpsichord Symposium, of August 1990, in which the 1990 Inscriptions. Lowest key of cach manual stamped 437.
restoration is described. Martin Skowroneck reported to DHB in 1974 that on
Information supplied by: B2|Owner. restoring the instrument he found under the soundboard
Boalch 3 number: SHUDI, B. and BROADWOOD, J. 750. in the cutoff corner between the first and second rib in
1775(2). pencil: Jobn Broadwood fecit Londoni (sic) 1778, and in the
Boalch 2 number: 30. same corner the spine bears Jos(eph) Hopkins 1778 (some
unreadable word), followed by a sign which may be 2.
Type: Two-manual harpsichord. The same sign appears on the belly rail on the proximal
side.
Date: 1775.
Compass. FF-f.
Ownership: GESELLSCHAFT DER
Length: 2500 mm.
MUSIKFREUNDE, VIENNA, AUSTRIA.
Width: 832 mm.
Number: GdM 1.
Inscriptions: Shudi’s number 762.
Remarks: Nameboatd missing.
Information supplied by: B2|Skowroneck|O’ BrienPC.
Specification: 2x8’, 1x4’, lute.
Boalch3 number: SHUDI, B. and BROADWOOD, J. 837.
Additional features: Harp stop, machine, venetian swell. 1778(A).
Compass: CC-F. Boalch 2 number: 45.
Keyboard: White naturals, black sharps.
Exterior of case: Crossbanded. Type: Single-manual harpsichord.
Width: 1040 mm. Date: 1778.
Depth: 271 mm. Ownership: MRS. R. LA COSSE, GLENCOE,
Remarks: Neo-classical stand with square legs. ILLINOIS, USA.
Previous history: Joseph Haydn, until 1809. J. Herbeck. Inscriptions: Shudi’s number £42.

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 SHUDI and BROADWOOD 623
Specification: 2x8’, 1x4’. Information supplied by: Bz|Sigal.
Additional features: Venetian swell. Boalch3 number: SHUDI, B. and BROADWOOD, J. 899.
Remarks: Originally 2x8’, 1x4’. Restored by John Challis, 1781(1).
who substituted a 16’ stop for one of the 8's. Boalch 2 number: 38.
Previous history: Harry C. Johnson.
Information supplied by: Bz. ‘Type: Two-manual harpsichord.
Boalch3 number: SHUDI, B. and BROADWOOD, J. 842. Date: 1781.
1778. Ownership: BATE COLLECTION (LOAN), MUSIC
Boalch 2 number: 36. FACULTY, OXFORD, ENGLAND.
Number: X 91.
Type: Single-manual harpsichord. Inscriptions: On nameboard: Burkat Shudi et Johannes Broad-
Date: 1779. wood No 902 Londini Fecerunt 1781, Great Pulteney Street,
Ownership: A. B. CROSS, LONDON, ENGLAND. Golden Square, Patent. On the reverse of the nameboard
Inscriptions. Shudi’s number 862. (which is of pine), 902 in pencil, and Patent.
Specification: 2x8’, 1x4’. Specification: 1: 2x8’, 1x4’; I: 1x8’, lute.
Additional features: Harp stop, machine, venetian swell. Additional features: 5 hand stops, harp stop, 2 pedals,
Previous history: John Francis; A. W. Sodon, Hampstead; venetian swell, machine.
D. H. Crompton, Thriplow. Mr. Cross acquired it in Compass: FF-P.
1953. Keyboard: White naturals, black sharps.
References: Advertised by Mr. Crompton in The Times, 18 Number of roses: None.
February 1953, the date being wrongly given as 1770. Excterior of case: Crossbanded.
Sold by Mr. Crompton at Sotheby’s, 5 June 1953. Scale: 355 mm.
Information supplied by: Bz. Length: 2485 mm.
Boalch 3 number: SHUDI, B. and BROADWOOD, J. 862. Width: 967 mm.
1779- Depth: 346 mm.
Boalch 2 number: 37. Remarks: Ivory naturals, ebony sharps. Mahogany case
with plain fruitwood stringing. Keywell in burr walnut
Type: Two-manual harpsichord. with boxwood stringing. Original music desk. Neo-
Date: 1781. classical stand with square legs. The lute stop is currently
Ownership: MARLOWE A. SIGAL COLLECTION, ‘frozen’.
MASSACHUSETTS, USA. Previous history: Sir Hubert Parry who gave it to Dr.
Inscriptions: Burkat Shadi et Jobannes Broadwood No. &99, C. H. Lloyd, Gloucester (Organist of Christchurch). To
Londini fecerunt 1781. Great Pultney (sic) Street Golden Square. Mr. C. M. Taphouse, then to Mr. J. M. Taphouse,
Patent. Oxford. Loaned from the Taphouse Collection to the
Specification: 1: 2x8’, 1x4’; Ul: 1x8’, lute. Bate Collection. Requilled by Michael Cole. Bz suggests
Additional features: Harp stop, machine, venetian swell, 2 it was destroyed in a fire in 1970 but this is quite untrue.
pedals, 6 hand stops. Shown at the International Inventions Exhibition, 1885.
Compass: FF-P. References: BateCat, p. 12. Mould Note.
Keyboard: White naturals, black sharps. Information supplied by: Bz2|Mould Note/Montagu.
Number of roses: None. Boalch 3 number: SHUDI, B. and BROADWOOD, J. 902.
Exterior of case: Crossbanded. 1781(2).
Scale: 330 mm. Boalch 2 number: 39.
Length: 2457 mm.
Width: 953 mm. Type: Two-manual harpsichord.
Depth: 326 mm. Date: 1782.
Remarks: Naturals of ivory with reeded boxwood fronts; Ownership: VICTORIA AND ALBERT MUSEUM,
sharps of ebony. Case of mahogany panels, stringing of LONDON, ENGLAND.
a lighter wood and crossbanded (except spine). Brass butt Number: Wl. 13-1943.
hinges for lid which is secured with three S hooks. Inscriptions: On nameboard: Burkat Shudi et Johannes Broad-
Original stand with square tapered legs terminating in wood No 919 Londini Fecerunt 1782. Great Pulteney Street.
brass castors. Original mahogany music desk. All quilled Golden Square.
except back 8’ which is leather. Good playing order. Specification: 1: 2x8’, 1x4’; Ul: 1x8’, lute.
Previous history: Miss Anson, Sudbury, Derby; T. W. Additional features: Harp stop, machine, venetian swell, 2
Taphouse. Shown at the International Inventions Exhib- pedals, music desk.
ition 1885. Mrs. K. F. Hammitt, New York; Emile Buzaid, Compass: CC-P.
Danbury, Connecticut; Frank and Eve Dillingham, West Keyboard: White naturals, black sharps.
Redding, Connecticut, USA. Number of roses: None.

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624 SHUDI and BROADWOOD
Exterior of case: Crossbanded. Boalch 3 number: SHUDI, B. and BROADWOOD, J.
Scale: 347 mm. 1015. 1785.
Length: 2678 mm. Boalch 2 number: 44.
Width: 1450 mm.
Depth: 332 mm. Type: Two-manual harpsichord.
Remarks: Ivory naturals with boxwood moulded fronts. Date: 1787.
Ebony sharps. Wrestplank of oak with spruce veneer. Ownership: COBBE COLLECTION, HATCHLANDS,
Particularly attractive case with panels of mahogany ENGLAND.
crossbanded with satinwood, and stringing of ebony. Number: 8.
Long side veneered. Raised on a matching neo-classical Inscriptions: According to Bz, Shudi’s number 1070, but
stand with square legs, and unique pedals. Adjustable CFCI reports an inscription Burkat Shudi et Jonannes
music desk. Broadwood. Patent N° 1076, Londini Fecerunt 1787. Great
Previous history: The Wrottesley family, S. Stratton, Bir- Pulteney Street, Golden Square. (There is some doubt as to
mingham. Exhibited 1885. Given by Mr. Charles Hey whether the number is 7076 or 1070, but the former
Laycock to the Museum in 1943. seems more likely since, as Barnes observes, it is easy to
References: Mlustrated in Russell VerA, and Russell 1959. mis-read a 6 as a o by not noticing the thin upright
V&A Cat, pp. 97-9. less easy to misread a o as a 6.)
Information supplied by: B2|VerA Cat. Specification: 2x8’, 1x4’, lute.
Boalch 3 number: SHUDI, B. and BROADWOOD, J. 919. Additional features: Venetian swell, dogleg, 5 hand stops,
1782(1). machine, harp stop.
Boalch 2 number: 40. Compass: FF-P.
Scale: 345 mm.
‘Type: Two-manual harpsichord. Length: 2449 mm.
Date: 1782. Width: 958 mm.
Ownership: THE DUKE OF DEVONSHIRE, Depth: 320 mm.
CHATSWORTH HOUSE, ENGLAND. Remarks: \vory naturals, ebony sharps. Crossbanded outer
Inscriptions. On nameboard: Bwrkat Shudi et Jobannes case. Mounted on trestle stand.
Broadwood|No. 938 Londini Fecerunt 1782|/Great Pulteney Previous history: Bought by Captain Evelyn Broadwood at
Street, Golden Square. String gauges stamped on nuts. Puttick and Simpson on 27 October 1938, and kept at
Specification: 2x8’, 1x4’, lute. his house at Lyne until 1975. Previous history not known.
Additional features: Harp stop, Machine, Venetian swell. Given by the Broadwood Trust to the Royal Academy
Compass: CC-P. of Music in 1989. Restored by Anthony Chappell. Sub-
Keyboard: White naturals, black sharps. sequently acquired by the Cobbe Collection.
Number of roses: None. References: Puttick and Simpson’s catalogue of 27 October
Exterior of case: Crossbanded. 1938 does not record the vendor.
Scale: 346 mm. Information supplied by: B2|Wainwright|CFCI/Barnes.
Length: 2668 mm. Boalch 3 number: SHUDI, B. and BROADWOOD, J.
Width: 1028 mm. 1076. 1787.
Remarks: Now has half-shift on the lower-manual 8’. Had Boalch 2 number: 45.
original strings when repaired by Hugh Gough in 1947.
Previous history: Repaired by Hugh Gough in 1947. Type: Harpsichord (Number of manuals not known).
References: Illustrated in DEF, [II. 375]. Date: 1789.
Information supplied by: B2|O' BrienPC. Ownership. GROTON SCHOOL, GROTON,
Boalch 3 number: SHUDI, B. and BROADWOOD, J. 938. MASSACHUSETTS, USA. Accession number not
1782(2). known.
Boalch 2 number: 41. Inscriptions: According to Douglas Brown, the underside
of the soundboard has Jobs Broadwood Fecit 1788. The
Type: Two-manual harpsichord. instrument at one time had an inlaid porcelain plaque
Date: 1785. with the coat of arms of Charles Carroll (a signee of the
Ownership. MISS MARY PHIPPS. original Declaration of Independence). This was lost when
Inscriptions. Shudi’s number 1015. the instrument was sent for exhibition on loan to the
Specification: 2x8’, 1x4’, lute. Baltimore Museum of Art, for a Bicentennial Exhibition
Additional features: Harp stop, machine, venetian swell. celebrating Charles Carroll, but the plaque was replaced
Previous history: Repaired by Arnold Dolmetsch in the with a reproduction. The date of 1789 and Shudi’s number
1890s. Sir Edward Burne-Jones, Bt., Mrs. J. W. Mackail. 955 come from Da, p. 75.
On long loan to Christopher Wood [1954]. Specification: 2x8’, 1x4’, lute.
Information supplied by: Bz. Additional features: Venetian swell, harp stop.

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 SHUDI and BROADWOOD 625
Compass: FF-P. Boalch 3 number: SHUDI, B. and BROADWOOD, J.
Keyboard: White naturals, black sharps. 1124. 1789.
Exterior of case: Crossbanded. Boalch 2 number: 46.
Remarks: In Bz there are two instruments dated 1789. In
1974, E. M. Ripin wrote to DHB to say that they were Type: Two-manual harpsichord.
Date: 1790.
both the same instrument, and this is thought now to be
Ownership: COLT CLAVIER COLLECTION,
the case. Further information was provided by Douglas
BETHERSDEN, KENT, ENGLAND.
Brown in letters to DHB in 1974. Case of mahogany with
Number: H110SB.
maple stringing. All registers of leather except lute.
Inscriptions: Shudi’s number 7137.
Plywood bottom boards and 4’ hitch pin rail secured to
Specification: 1: 2x8’, 1x4’; Il: 1x8’, lute.
inner members.
Additional features: Harp stop.
Previous bistory: Charles Carroll of Carrollton, USA, for Compass: FF-P.
whom it was made. Restored in 1909 at Chickerings’ Keyboard: White naturals, black sharps.
workshop under the direction of Arnold Dolmetsch. Exterior of case: Crossbanded.
Messrs Knabe & Co., Baltimore; Mrs. Fanny Reed Remarks: It is probably this instrument which is listed in
Hammond, who gave it to the Groton School, Groton, Bz as belonging to Messrs. Broadwood, and numbered
Massachusetts, USA. Restored by Douglas Brown in 1137. Harp stop works on lower 8’ only. Lower 8’ leather,
1975- other registers quill.
References: FurnOT, pp. 286-7, and plate 283. Da, p. 75. Previous history: Formerly in the possession of Leo A. T.
Information supplied by: Bz|Donglas Brown|Koster|FurnOT. Broadwood who sold it to C. F. Colt.
Boalch3 number. SHUDI, B. and BROADWOOD, J. 955. References: ColtCC, p. 7.
1789. Information supplied by: Bz|ColtCC|Wainwright.
Boalch 2 number: 42/3. Boalch 3 number: SHUDI, B. and BROADWOOD, J.
1137. 1790(1).
Type: Single-manual harpsichord. Boalch 2 number: 47.
Date: 1789. Type: Single-manual harpsichord.
Ovnersbip: J. S. BRAITHWAITE, FERNHURST, Date: 1790.
HASLEMERE, SURREY, ENGLAND. Ownership: FORSYTH COLLECTION,
Inscriptions: On the nameboard: Burkat Shudi et Johannes MANCHESTER, ENGLAND. Accession number not
Broadwood Patent No 1124 Londini Fecerunt 1769|(Great known.
Pulteney Street Golden Square. On the back of the nameboard Inscriptions: On nameboard: Burkat Shudi et Jobannes Broad-
in ink: Action restored by Andrew Doglas with Robert Goble wood No 1145 Londini Fecerunt Great Pulteney Street Golden
Oxford 1952. Also on the back of the nameboard in pencil: Square, Patent.
Harry Greenwood Tuner 1937. Specification: 2x8’, 1x4’, lute.
Specification: 2x8", 1x4’. Additional features: Harp stop, machine, venetian swell, 5
Additional features: Harp stop, venetian swell, machine, z hand stops, 2 pedals.
pedals. Compass: FF-f.
Compass: FF-P. Keyboard: White naturals, black sharps.
Keyboard: White naturals, black sharps. Number of roses: None.
Number of roses: None. Exterior of case: Crossbanded.
Exterior of case: Crossbanded. Scale: 349 mm.
Scale: 343 mm. Length: 2334 mm.
Length: 2337 mm. Width: 965 mm.
Width: 962 mm. Depth: 286 mm.
Depth: 292 mm. Remarks: Trestle Stand.
Remarks: Stop levers look new and are blackened. Has a References. Mould Note.
music desk, but this is not original. Naturals of ivory and
Information supplied by: B2|Mould Note.
Boalch 3 number: SHUDI, B. and BROADWOOD, J.
sharps of ebony.
1145. 1790(2).
Previous bistory: Belonged at one time to Mrs. Maud
Boalch 2 number: 48.
Osborne, then to Miss Elizabeth Needham, from whom
it was bought by George Braithwaite, father of the present Type: Single-manual harpsichord.
owner. Restored by Irvin Hinchcliffe in 1949, Andrew Date: 1791.
Douglas and Robert Goble in 1952, and in the late 1960s Ownership: MANCHESTER CENTRAL LIBRARY,
by John Barnes. MANCHESTER, ENGLAND. Accession number not
Information supplied by: Bz|Braithwaite|Mould Note. known.

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626 SICULO
Inscriptions: Shudi’s number 1148. agree that the inscriptions on both instruments are
Specification: 2x8’, 1x4’, lute. unreliable. B’ suggests that the date is more probably
Additional features: Harp stop, venetian swell. 1570.
Compass: FF-P. Previous bistory: Exhibited at the Crystal Palace, 1900,
Keyboard: White naturals, black sharps. number 50. Sold by Alfred du Cros at Sotheby’s to
Exterior of case: Crossbanded. Messrs. Morley, 11 February 1938.
Remarks: Seen by CMM in 1973 in Manchester Cathedral— References: Referred to in passing in BFCet under Siculus.
it most probably now belongs to the Royal Northern Information supplied by: B*|BFCat.
College of Music. Boaleh 3 number: SICULO, M. 1570(A).
Previous history: Dr. Henry Watson, Manchester. Boalch 2 number: 2.
Information supplied by: B*|Mould Note.
Boalch 3 number. SHUDI, B. and BROADWOOD, J.
1148. 1791. Type: Polygonal virginal.
Boalch 2 number: 49. Date: Not known.
Ownership: THE J. E. & R. W. ABEL COLLECTION,
FRANKLIN, PENNSYLVANIA, USA.
SICULO, MARCO. Specification: 1x8".
Type: Polygonal virginal.
Compass. GG/BB-c’, short octave.
Date: 1540.
Ownership: BENTON FLETCHER COLLECTION,
Keyboard: White naturals, black sharps.
FENTON HOUSE, LONDON. Accession number not Number of roses: 1.
known. Remarks. B? records this instrument as having been in
Inscriptions: Inscription on jackrail: MARCUS SICULUS Morley’s possession in February 1954 saying that they
FACIEBAT MDXXXxX. had ‘an unsigned polygonal virginal whose decoration
Specification. 1x8’. and rose are so similar [to those of the instrument in the
Compass: C/E-P, short octave. Benton Fletcher Collection by Marcus Siculo] that it
Keyboard: White naturals, black sharps. seems likely that the instrument came from the same
Number of roses: 1. workshops.’ Naturals of box with three different types of
Style of rose: Geometrical pattern. arcaded fronts. Black sharps with an ivory button at the
Exterior of case: Painted. rear.
Scale: 305 mm. Previous history: Previously owned by Morleys in 1954,
Length: 1302 mm. and thence to Dr. Robert Johnson, and Colin Sterne.
Width: 356 mm. Acquired by the Abel Collection in 1986. Examined by
Depth: 178 mm. Hubbard Harpsichords Incorporated and their report
Remarks: Naturals of boxwood with arcades and sharps concerning restoration has been accepted by the present
of ebony. Case of cypress with floral decorations stencilled owners (1986).
on the case in black, and decorated with ivory-headed Information supplied by: B?| Abel/ Hubbard's report.
studs. Elaborate geometric rose in two tiers. BFCat agrees Boalch3 number: SICULO, M. n.d.
that the inscription is unreliable. Boalch 2 number: 3?.
Previous history: Sit Charles Lawes-Wittewronge, Second
Baronet of Rothamsted, Hertfordshire. Repaired by Hugh
Gough in 1936. SILBERMANN(A), GOTTFRIED(A).
References: BFCat, p. 10. Type: Wing spinet.
Information supplied by: B*/BFCat/O' BrienPC. Date: 1723.
Boalch 3 number: SICULO, M. 1540. Ownership: GOTEBORGS MUSEUM, GOTEBORG,
Boalch 2 number: 1. SWEDEN. Accession number not known.
Inscriptions: G. Silbermann 1723—but probably unauthentic.
Type: Polygonal virginal. Specification: 1x8’.
Date: 1570(A). Compass: GG-P(A).
Ownership: W. A. MARSHALL, CUXTON, KENT, Exterior of case: Plain wood.
ENGLAND. Length: 1750 mm.
Inscriptions: Inscription above the keyboard: Marcus Siculo Width: 670 mm.
faciebat Anns (sic) 1670 (sic). Remarks: The instrument is thought by Ernst not to be
Specification: 1x8’. by Silbermann. Compass reported by B? as four octaves
Compass: C/E-F(A). and a seventh. Walnut case.
Remarks: According to BFCat commenting on this instru- Information supplied by: B?.
ment in relation to the Siculo instrument in the Benton Boalch 3 number: SILBERMANN(A), G(A). 1723-
Fletcher Collection, states that the date is 7670 but it does Boalch 2 number: (1).

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 SILBERMANN 627
‘Type: Two-manual harpsichord. the label. Hubert Henkel, in a letter of 5 March 1992 to
Date: 1740(A). David Ledbetter, which the latter has kindly made
Ownership: MUSIKINSTRUMENTEN MUSEUM, available, reports: ‘Das angebliche Clavichord von
BERLIN, GERMANY. Gottfried Silbermann 1723 stammt definitiv nicht von
Number: 5. Silberman.’ He goes on to describe how the label, which
Inscriptions: Not signed, but the date 1776 appears on the was affixed around 1900, comes from an organ, and
underside of the upper manual key ‘d’, and the word believes that the earliest date (in confirmation of the
Silbermann is inscribed on the underside of the FF key of information from the Museum) is ¢. 1750. Reported by
the lower manual. These inscriptions are, however, Weldon as having keys of lime, roof-carved, naturals of
thought to be not original. ebony with arcaded ebony fronts and sharps of ivory-
Specification: 2x8’, 1x4’. capped lime. Soundboard of pine with two roses. Bridge
Additional features: Shove coupler. of oak? Case of pine, painted; internal structures of oak.
Compass: F-P. Much of this is corroborated by the Museum. No stand.
Keyboard: Black naturals, white sharps. Previous history: According to the Museum: Property of
Number of roses: 1. the Museum since 1934. Formerly property of the violinist
Exterior of case: Plain wood. C. W. Holf in Bad Elster. Repaired in 1935 and 1975—
Seale: 331 mm. one of these by Merzdorf.
Length: 2640 mm. References: Wo, p. 21. See also Fubrer durch das Instrumenten-
Width: 960 mm. Museum = Marknenkirchen, Musikinstrumenten-Museum
Depth: 262 mm. Markneukirchen, 1986, pp. 26 and 62 (illustration of the
Remarks: Attributed by Sa to ‘Gottfried? Silbermann’. keyboard).
The date is given by the Museum as ¢. 1740, and by B? Information supplied by: Weldon|B2|Mxseum(T. Kunze).
as 1776, on the basis of the inscripton on the key (see Boalch 3 number: SILBERMANN(A), G(A). 1750(A).
above). BerlinCat gives the place of manufacture as simply Boalch 2 number: 2.
‘Saxony’. Naturals of ebony with black-stained pear fronts.
Sharps of black-stained pear with ivory tops. Paper rose Type: Pret-free clavichord.
with the initial 5. Case sides of plain wood. Heavily built Date: Not known.
lid of framed oak. Raised on four square tapered legs. Ownership: Not known.
Previous history: Bought by the Museum from the first de Compass: C-P.
Wit collection in January 1888. Remarks: Two stops, one silencing one set of strings, the
References: BerlinCat, pp. 105-9, including illustrations, other damping.
one in colour. Previous history: Formerly in the Boddington Collection,
Information supplied by: B?|Droysen-Reber| Elste|BerlinCat. Manchester.
Boalch 3 number: SILBERMANN(A), G(A). 1740(A). Information supplied by: B?.
Boalch 2 number: 4. Boalch 3 number: SILBERMANN(A), G(A). n.d.(1).
Boalch 2 number: 5.
‘Type: Fret-free clavichord.
Date: 1750(A). Type: Clavichord.
Ownership: MUSIKINSTRUMENTEN MUSEUM, Date: Not known.
MARKNEUKIRCHEN, GERMANY. Accession Ownership: Not known.
number not known. Remarks: Compass reported as five and a half octaves.
Inscriptions: Label on balance rail: Gottfried Silbermann Hoff Previous history: Formerly in the Steinert Collection.
und... er (Weldon). Gebaut v. Gottfried Silbermann 1723 (on Information supplied by: B*.
vellum attached to the balance-rail) [B?). Boalch 3 number: SILBERMANN(A), G(A). n.d.(2).
Compass: C-e’. Boalch 2 number: 6.
Keyboard: Black naturals, white sharps. Note that Boalch 2 number: [3] is to be found under Jacob
Number of roses: 2. Hartmann.
Exterior of case: Painted.
Scale: 278 mm. SILBERMANN, JOHANN HEINRICH.
Length: 1395 mm. Type: Wing spinet.
Width: 430 mm. Date: 1765(A).
Depth: 148 mm. Ownership: BACH-HAUS, EISENACH, GERMANY.
Remarks: The instrument appeared in B? as belonging to Number: 1 75.
the Markneukirchen Stadtisches Gewerbemuseum, and Inscriptions: Jean Henry Silbermann|Faiseur de Forté-Piano
with the date 1723. The date of 1750 is reported by the &|de Clavecins|a Strasbourg on a label.
Musikinstrumenten Museum. It seems likely that it is the Specification: 1x8’.
same instrument, though there are reported differences in Compass: FF-f.

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628 SILBERMANN
Number of roses: 1. given by the Museum, and by Bz on the basis of a
Style of rose: Parchment. marked similarity (compass, dimensions, and legs) to the
Exterior of case: Plain wood. Silbermann spinets in the Bach-Haus. The rose, combining
Length: 1935 mm. three Js in a triangle, is the same as that in the spinet in
Width: 1155 mm. the Germanisches National Museum (SILBERMANN, J.
Remarks: Ebony naturals, sharps topped with bone. H. 1767. below). Original stand with cabriole legs.
Walnut case with framed lid in typical Silbermann style. Previous history: Formerly in the collection of D. F.
Geometrical rose. Raised on original stand with three Scheurleer. Acquired in 1884 from Paul de Wit, Leipzig.
cabriole legs. The date of 1765 is ascribed by Heyde. Restored by the Museum in 1952 (number 72) and in
Previous bistory: Restored in 1973. 1958 (number 378).
References: Heyde, p. 126 (dimensioned diagram), p. 127 References: Catalogue. D. F. Scheurleer, 1885, p. 258.
(description), and p. 133 (photograph). Ruasselligs9, p. 105. GleichT, p. 15. HaagCL, pp. 42-3
Information supplied by: B2|Keen|Heyde. (illustrated).
Boalch 3 number: SILBERMANN, J. H. 1765(A)(1)- Information supplied by: B2|HaagCl|Kottick.
Boalch 2 number: 11. Boalch 3 number. SILBERMANN, J. H. 1765-70.
Boalch 2 number: 13?
Type: Wing spinet.
Date: 1765(A). Type: Wing spinet.
Ownership: BACH-HAUS, EISENACH, GERMANY. Date: 1767.
Number: 1 76. Ownership: GERMANISCHES NATIONALMUSEUM,
Inscriptions: No inscription is recorded by Heyde, but the NUREMBERG, GERMANY.
instrument is so like instrument 1 75 in the Bach-Haus Number: MINe go.
that its similar date and attribution cannot be doubted. Inscriptions: Jean Henry Silbermann|Faiseur de Fortépiano & |de
Specification: 1x8". Clavecins 1767|a Strasbourg.
Compass: FF-P. Specification: 1x8".
Number of roses: 1. Compass: F-f.
Style of rose: Parchment. Keyboard: Black naturals, white sharps.
Exterior of case: Plain wood. Number of roses: 1.
Length: 1935 mm. Exterior of case: Plain wood.
Width: 1155 mm. Scale: 352 mm.
Remarks: Ebony naturals, sharps topped with bone. Length: 1915 mm.
Walnut case with framed lid in typical Silbermann style. Width: 645 mm.
Geometrical rose. Raised on original stand with three Depth: 214 mm.
cabriole legs. Thirty-nine original strings and thirty-two Remarks: Silbermann rose of intertwined Ss. Raised on
original jacks survive. stand of four cabriole legs.
Previous history: Restored in 1981. Previous history: From the Neupert Collection.
References: Heyde, p. 127 (illustrated). References: Mlustrated in Hanns Neupert, Das Cembalo,
Information supplied by: B2|Keen|Heyde. (Kassel, 1933), p. 23, (2nd edition, 1951, p. 24). Russell
Boalch
3 number: SILBERMANN, J. H. 1765(A)(2). 1959. Huber, p. 140.
Boalch 2 number: 12. Information supplied by: Bz| Russell] Huber.
Boalch 3 number: SILBERMANN, J. H. 1767.
Type: Wing spinet. Boalch 2 number: 7.
Date: 1765~70.
Ownership: GEMEENTEMUSEUM, THE HAGUE, Type: Wing spinet.
NETHERLANDS. Date: 1767(A).
Number: Ecs87-1933. Ownership: UNIVERSITY OF ERLANGEN,
Specification: 1x8’. GERMANY.
Compass: FF-P. Number: Nq.
Keyboard: Black naturals, white sharps. Specification: 1x8".
Number of roses: 1. Compass: FF-P.
Exterior of case: Plain wood. Scale: 552 mm.
Scale: 549 mm. Length: 1915 mm.
Length: 1905 mm. Width: 645 mm.
Width: 1140 mm. Depth: 214 mm.
Depth: 115 mm. Remarks: Date not visible; given by Brun.
Remarks: The date is given by the Museum, though 1740 Previous history: Presented in 1923 by Dr. Reinhold Neupert
is attributed by Kottick. The attribution to Silbermann is [VdM] and was number 4 in the Neupert collection.

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 SILBERMANN 629
References: Eschler, p. 122. The University publishes a Number: 914.
colour postcard on which the date is given as ¢. 1770. Number of roses: 1.
Information supplied by: Bz|Brun|Esschler. Style of rose: Parchment.
Boalch 3 number: SILBERMANN, J. H. 1767(A). Remarks: Probably similar to the other Silbermann clavi-
Boalch 2 number: 8. chord in the Musikinstrumenten Museum collection. Rose
is illustrated on back cover of MHDABIG.
‘Type: Fret-free clavichord. References: Numbered 914 by Sa. See also reference in
Date: 1775(A). MHDABIG (under the other instrument of 1775(A) listed
Ownership: GERMANISCHES NATIONALMUSEUM, above), p. 20, number 82.
NUREMBERG, GERMANY. Information supplied by: Bz}; MHD ABIG|Droysen-Reber|Elste.
Number: MIR 1061. Boalch 3 number. SILBERMANN, J. H. 1775(A)(3).
Compass: FF-P. Boalch 2 number: 15.
Keyboard: Black naturals, white sharps.
Number of roses: 1. Type: Fret-free clavichord
Style of rose: Geometrical pattern. Date: 1775(A).
Exterior of case: Plain wood. Ownersbip. GESELLSCHAFT DER
Scale: 275 mm. MUSIKFREUNDE, VIENNA, AUSTRIA.
Length: 1351 mm. Number. GdM 521.
Widtb: 474 mm. Compass: FF-f.
Depth: 146 mm. Number of roses: 1.
Remarks: Naturals of ebony. Sharps of whalebone-capped Style of rose: Parchment.
with black-stained pear. Soundboard of spruce, rose in Exterior of case: Plain wood.
the soundboard area between the wrestpins and the case. Length: 1363 mm.
Case of walnut, internal structures of oak. Width: 486 mm.
References: Huber, p. 127. Depth: 162 mm.
Information supplied by: B2|Weldon| Huber. Remarks: Date and attribution to Johann Heinrich Sil-
Boalch 3 number. SILBERMANN, J. H. 1775(A)(1)- bermann by StradnerPC. Soundboard of spruce with
Boalch 2 number: 1b. parchment (or paper) rose in the soundboard area between
the wrestpins and the case. Bridges sawn to shape. Case
Type: Fret-free clavichord. of walnut.
Date: 1775(A). Previous bistory: Restored in Berlin by Friedrich Ernst.
Ownership: MUSIKINSTRUMENTEN MUSEUM, References: Gesellschaft der Musikfreunde, number 521. Lith
BERLIN, GERMANY. P- 7-
Number: $98. Information supplied by: B2|Weldon|StradnerPC.
Compass: FF-P. Boalch 3 number. SILBERMANN, J. H. 1775(A)(4)-
Number of roses: 1. Boalch 2 number: 18a?
Style of rose: Parchment. Type: Fret-free clavichord.
Length: 1380 mm. Date: 1775(A)-
Width: 505 mm. Ownership: MUSEE INSTRUMENTAL, PARIS,
Remarks: Date ascribed by the Museum. Soundboard, FRANCE.
parchment rose in the soundboard area between the Number: 980.2.X.
wrestpins and the case (illustrated on the back cover of Compass: FF-f'.
MHDABIG). Authenticated as by Silbermann by Sa (Sa, Length: 1360 mm.
number 913) and Zé. Width: 475 mm.
Previous history: Exhibited at the exhibition Meine Herren Depth: 145 mm.
der alte Bach ist gekommen (see: MHDABIG), Potsdam, Remarks: MICL says ‘attributed to Johannes Heinrich
1976.
Silbermann’, and gives the date as ‘18th-Century’. The
References: Sa. Zé. MHDABIG, p. 20, number 82. date of ¢. 1775 is attributed by Weldon.
Information supplied by: ‘Bz|Weldon| MHD ABIG/ References: MICL.
Droysen-Reber| Elste. Information supplied by: B2|Weldon|MICL.
Boalch 3 number: SILBERMANN, J. H. 1775(A)(2)- Boalch 3 number: SILBERMANN, J. H. 1775(A)(5)-
Boalch 2 number: 14? Boalch 2 number: 18b?
‘Type: Fret-free clavichord. Type: Fret-free clavichord.
Date: 1775(A)- Date: 1780(A).
Ownership. MUSIKINSTRUMENTEN MUSEUM, Ownership: GEMEENTEMUSEUM, THE HAGUE,
BERLIN, GERMANY. NETHERLANDS

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628 SILBERMANN
Number of roses: 1. given by the Museum, and by Bz on the basis of a
Style of rose: Parchment. marked similarity (compass, dimensions, and legs) to the
Exterior of case: Plain wood. Silbermann spinets in the Bach-Haus. The rose, combining
Length: 1935 mm. three Js in a triangle, is the same as that in the spinet in
Width: 1155 mm. the Germanisches National Museum (SILBERMANN, J.
Remarks: Ebony naturals, sharps topped with bone. H. 1767. below). Original stand with cabriole legs.
Walnut case with framed lid in typical Silbermann style. Previous history: Formerly in the collection of D. F.
Geometrical rose. Raised on original stand with three Scheurleer. Acquired in 1884 from Paul de Wit, Leipzig.
cabriole legs. The date of 1765 is ascribed by Heyde. Restored by the Museum in 1952 (number 72) and in
Previous bistory: Restored in 1973. 1958 (number 378).
References: Heyde, p. 126 (dimensioned diagram), p. 127 References: Catalogue. D. F. Scheurleer, 1885, p. 258.
(description), and p. 133 (photograph). Ruasselligs9, p. 105. GleichT, p. 15. HaagCL, pp. 42-3
Information supplied by: B2|Keen|Heyde. (illustrated).
Boalch 3 number: SILBERMANN, J. H. 1765(A)(1)- Information supplied by: B2|HaagCl|Kottick.
Boalch 2 number: 11. Boalch 3 number. SILBERMANN, J. H. 1765-70.
Boalch 2 number: 13?
Type: Wing spinet.
Date: 1765(A). Type: Wing spinet.
Ownership: BACH-HAUS, EISENACH, GERMANY. Date: 1767.
Number: 1 76. Ownership: GERMANISCHES NATIONALMUSEUM,
Inscriptions: No inscription is recorded by Heyde, but the NUREMBERG, GERMANY.
instrument is so like instrument 1 75 in the Bach-Haus Number: MINe go.
that its similar date and attribution cannot be doubted. Inscriptions: Jean Henry Silbermann|Faiseur de Fortépiano & |de
Specification: 1x8". Clavecins 1767|a Strasbourg.
Compass: FF-P. Specification: 1x8".
Number of roses: 1. Compass: F-f.
Style of rose: Parchment. Keyboard: Black naturals, white sharps.
Exterior of case: Plain wood. Number of roses: 1.
Length: 1935 mm. Exterior of case: Plain wood.
Width: 1155 mm. Scale: 352 mm.
Remarks: Ebony naturals, sharps topped with bone. Length: 1915 mm.
Walnut case with framed lid in typical Silbermann style. Width: 645 mm.
Geometrical rose. Raised on original stand with three Depth: 214 mm.
cabriole legs. Thirty-nine original strings and thirty-two Remarks: Silbermann rose of intertwined Ss. Raised on
original jacks survive. stand of four cabriole legs.
Previous history: Restored in 1981. Previous history: From the Neupert Collection.
References: Heyde, p. 127 (illustrated). References: Mlustrated in Hanns Neupert, Das Cembalo,
Information supplied by: B2|Keen|Heyde. (Kassel, 1933), p. 23, (2nd edition, 1951, p. 24). Russell
Boalch
3 number: SILBERMANN, J. H. 1765(A)(2). 1959. Huber, p. 140.
Boalch 2 number: 12. Information supplied by: Bz| Russell] Huber.
Boalch 3 number: SILBERMANN, J. H. 1767.
Type: Wing spinet. Boalch 2 number: 7.
Date: 1765~70.
Ownership: GEMEENTEMUSEUM, THE HAGUE, Type: Wing spinet.
NETHERLANDS. Date: 1767(A).
Number: Ecs87-1933. Ownership: UNIVERSITY OF ERLANGEN,
Specification: 1x8’. GERMANY.
Compass: FF-P. Number: Nq.
Keyboard: Black naturals, white sharps. Specification: 1x8".
Number of roses: 1. Compass: FF-P.
Exterior of case: Plain wood. Scale: 552 mm.
Scale: 549 mm. Length: 1915 mm.
Length: 1905 mm. Width: 645 mm.
Width: 1140 mm. Depth: 214 mm.
Depth: 115 mm. Remarks: Date not visible; given by Brun.
Remarks: The date is given by the Museum, though 1740 Previous history: Presented in 1923 by Dr. Reinhold Neupert
is attributed by Kottick. The attribution to Silbermann is [VdM] and was number 4 in the Neupert collection.

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 SILBERMANN 629
References: Eschler, p. 122. The University publishes a Number: 914.
colour postcard on which the date is given as ¢. 1770. Number of roses: 1.
Information supplied by: Bz|Brun|Esschler. Style of rose: Parchment.
Boalch 3 number: SILBERMANN, J. H. 1767(A). Remarks: Probably similar to the other Silbermann clavi-
Boalch 2 number: 8. chord in the Musikinstrumenten Museum collection. Rose
is illustrated on back cover of MHDABIG.
‘Type: Fret-free clavichord. References: Numbered 914 by Sa. See also reference in
Date: 1775(A). MHDABIG (under the other instrument of 1775(A) listed
Ownership: GERMANISCHES NATIONALMUSEUM, above), p. 20, number 82.
NUREMBERG, GERMANY. Information supplied by: Bz}; MHD ABIG|Droysen-Reber|Elste.
Number: MIR 1061. Boalch 3 number. SILBERMANN, J. H. 1775(A)(3).
Compass: FF-P. Boalch 2 number: 15.
Keyboard: Black naturals, white sharps.
Number of roses: 1. Type: Fret-free clavichord
Style of rose: Geometrical pattern. Date: 1775(A).
Exterior of case: Plain wood. Ownersbip. GESELLSCHAFT DER
Scale: 275 mm. MUSIKFREUNDE, VIENNA, AUSTRIA.
Length: 1351 mm. Number. GdM 521.
Widtb: 474 mm. Compass: FF-f.
Depth: 146 mm. Number of roses: 1.
Remarks: Naturals of ebony. Sharps of whalebone-capped Style of rose: Parchment.
with black-stained pear. Soundboard of spruce, rose in Exterior of case: Plain wood.
the soundboard area between the wrestpins and the case. Length: 1363 mm.
Case of walnut, internal structures of oak. Width: 486 mm.
References: Huber, p. 127. Depth: 162 mm.
Information supplied by: B2|Weldon| Huber. Remarks: Date and attribution to Johann Heinrich Sil-
Boalch 3 number. SILBERMANN, J. H. 1775(A)(1)- bermann by StradnerPC. Soundboard of spruce with
Boalch 2 number: 1b. parchment (or paper) rose in the soundboard area between
the wrestpins and the case. Bridges sawn to shape. Case
Type: Fret-free clavichord. of walnut.
Date: 1775(A). Previous bistory: Restored in Berlin by Friedrich Ernst.
Ownership: MUSIKINSTRUMENTEN MUSEUM, References: Gesellschaft der Musikfreunde, number 521. Lith
BERLIN, GERMANY. P- 7-
Number: $98. Information supplied by: B2|Weldon|StradnerPC.
Compass: FF-P. Boalch 3 number. SILBERMANN, J. H. 1775(A)(4)-
Number of roses: 1. Boalch 2 number: 18a?
Style of rose: Parchment. Type: Fret-free clavichord.
Length: 1380 mm. Date: 1775(A)-
Width: 505 mm. Ownership: MUSEE INSTRUMENTAL, PARIS,
Remarks: Date ascribed by the Museum. Soundboard, FRANCE.
parchment rose in the soundboard area between the Number: 980.2.X.
wrestpins and the case (illustrated on the back cover of Compass: FF-f'.
MHDABIG). Authenticated as by Silbermann by Sa (Sa, Length: 1360 mm.
number 913) and Zé. Width: 475 mm.
Previous history: Exhibited at the exhibition Meine Herren Depth: 145 mm.
der alte Bach ist gekommen (see: MHDABIG), Potsdam, Remarks: MICL says ‘attributed to Johannes Heinrich
1976.
Silbermann’, and gives the date as ‘18th-Century’. The
References: Sa. Zé. MHDABIG, p. 20, number 82. date of ¢. 1775 is attributed by Weldon.
Information supplied by: ‘Bz|Weldon| MHD ABIG/ References: MICL.
Droysen-Reber| Elste. Information supplied by: B2|Weldon|MICL.
Boalch 3 number: SILBERMANN, J. H. 1775(A)(2)- Boalch 3 number: SILBERMANN, J. H. 1775(A)(5)-
Boalch 2 number: 14? Boalch 2 number: 18b?
‘Type: Fret-free clavichord. Type: Fret-free clavichord.
Date: 1775(A)- Date: 1780(A).
Ownership. MUSIKINSTRUMENTEN MUSEUM, Ownership: GEMEENTEMUSEUM, THE HAGUE,
BERLIN, GERMANY. NETHERLANDS

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630 SILBERMANN
Number: Ec 13-1953. Remarks: A form returned to CMM in 1989 gives further
Compass: FF-P. information on this instrument, but it is described
Keyboard: Black naturals, white sharps. variously as ‘harpsichord’, ‘spinet form’, and with ‘jack
Number of roses: None. action’. It is situated at the Haus zum Kirschgarten. Case
Exterior of case: Plain wood. of walnut veneer, on four curved legs. Black naturals and
Scale: 265 mm. bone sharps.
Length: 1625 mm. Previous history: Formerly owned by Friedrich Hagenbach,
Width: 500 mm. Merian.
Depth: 160 mm. Information supplied by: B2|Owners via dinkscale.
Remarks: Date and attribution to Silbermann given by Boalch 3 number: SILBERMANN, J. H. n.d.(2).
the Museum. Boalch 2 number: 10.
Previous history: Restored in 1956 (number 195) and
October 1973.
Reference: HaagCL. Type: Wing spinet.
Information supplied by: HaagCL|Weldon. Date: Not known.
Boalch 3 number: SILBERMANN, J. H. 1780(A). Ownership: JEAN-MARC PITTET, ST. MARTIN,
Boalch 2 number: None. SWITZERLAND.
Inscriptions. Repariert von Hermann Seyfarth, Leipzig-Goblis,
Type: Wing spinet. Gothaerstr-12; 1922. Not signed by Silbermann, but the
Date: Not known. owner reports that from inspection of the other known
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, spinets by J. H. Silbermann, there can be little doubt of
GERMANY. its authenticity.
Number: 61. Specification: 1x8".
Inscriptions: Jean Henry Silbermann|Faisear de Forté-piano Compass: FF-P.
&|Clavecins|a Strasbourg. Signed on the left side of the Keyboard: Black naturals, white sharps.
wrestplank. Number of roses: 1.
Specification: 1x8". Style of rose: Geometrical pattern.
Compass. FF-P. Exterior of case: Plain wood.
Keyboard: Black naturals, white sharps. Scale: 350 mm.
Number of roses: 1. Length: 1912 mm.
Style of rose: Geometrical pattern. Depth: 214 mm.
Exterior of case: Plain wood. Remarks: Natuals of ebony with stained pear fronts; sharps
Scale: 350 mm. topped with ivory or bone. Framed lid. Stand with three
Length: 1900 mm. cabriole legs. In good condition, though the jacks are not
Depth: 214 mm. original.
Remarks: Naturals of ebony, sharps of stained pear with Previous history: Inherited by the present owner from an
ivory tops. Case mostly of walnut. The rose has three aunt who bought it from an antique dealer in Strasbourg
interlaced letters S. Raised on stand of three carved before the 1939-45 war.
cabriole legs. References: Futher information, including photos from the
Previous history: Formerly in the de Wit Collection, Leipzig owner.
in 1893. Information supplied by: Pittet.
References: Illustrated at Ks, p. 78. For further details see: Boalch 3 number: SILBERMANN, J. H. n.d.(3)
Henkelr, pp. 48-9, and plate 18. Boalch 2 number: None.
Information supplied by: B2|Henkelr.
Boalch 3 number: SILBERMANN, J. H. n.d.(1).
Boalch 2 number: 9. Type: Wing spinet.
Date: Not known.
Type: Wing spinet. Ownership: LANDES MUSEUM, ZURICH,
Date: Not known. SWITZERLAND. Accession number not known.
Ownership: HISTORISCHES MUSEUM, BASEL, Specification: 1x8".
SWITZERLAND. Accession number not known. Compass: FF-P(A).
Inscriptions: Signed: Jean Henry Silbermann|Faiseur de Forté Exterior of case: Plain wood.
Piano &|Clavecin/a Strasbourg. Remarks: Attributed to Silbermann by Rind. Walnut case.
Specification: 1x8". Previous history: Restored in 1968 by Rind.
Compass: FF-P. Information supplied by: Bz.
Number of roses: 1. Boalch 3 number: SILBERMANN, J. H. n.d.(4).
Style of rose: Paper. Boalch 2 number: 13a?

Digitized by (GOOgle
 SISON 631
‘Type: Clavichord. Ovmnersbip: F. A. SEIBERLING, AKRON, OHIO,
Date: Not known. USA.
Ovnersbip: Not known. Additional features: hand stops.
Remarks: Evidence for the existence of this instrument Compass: FF,GG-P.
comes from Sa, p. 53. Remarks: Instrument probably dates from last quarter of
Previous bistory: Formerly belonged to J. Joachim. the eighteenth century. It is reported that there are four
References: Sap. 55. rows of jacks, which would indicate a specification of
Information supplied by: Bz. 2x8’, 1x4’, lute. No pedals.
Boalch3 number: SILBERMANN, J. H. n.d.(5). Previous history: Formerly the property of Sir Edward
Boalch 2 number: 16. Barry, Ockwells Manor, Bray, Berkshire. Said to have
belonged to Handel. Restored by William Dowd in 1979.
Type: Clavichord. References: Ladies Field, 6 March 1909.
Date: Not known. Information supplied by: Bz.
Ownership: PRIVATE COLLECTION, BERLIN, Boalch 3 number: SIMPSON, J. & J. n.d.
GERMANY. Boalch 2 number: 1.
Previous history: Formerly belonged to Zelter, then to Karl
Lutge in Berlin. SISON, BENJAMIN.
Type: Wing spinet.
References: Sa, p. 53.
Information supplied by: Bz. Date: 1680(A).
Boalch3 number. SILBERMANN, J. H. n.d.(6). Ownership: PROFESSOR ULRICH FELGNER,
Boalch 2 number: 17. TUBINGEN, GERMANY.
Inscriptions: On nameboard: Bejamin Sison, Birchin Lane,
London, Fecit. On the wrestplank edge: W.H. s(?) 7.
Type: Clavichord. Specification: 1x8".
Date: Not known. Compass: GG/BB-d’, broken octave.
Ownership: Not known. Keyboard: Black naturals, white sharps.
Remarks: According to Bz the instrument went to Russia Exterior of case: Plain wood.
in 1920. Scale: 260 mm.
Information supplied by: Bz. Length: 1553 mm.
Boalch3 number: SILBERMANN, J. H. n.d.(7). Width: 510 mm.
Boalch 2 number: 18. Remarks: The date is given in the Sotheby’s catalogue of
4 November 1982 as ‘circa 1680’ (though probably based
SILBERMANN(A) member of the family not known. on the biographical notes in Bz) and the instrument is
‘Type: Two-manual harpsichord. described as follows: ‘. . . the nameboard veneered with
Date: Not known. cherrywood with boxwood and ebony stringing, the
Ownership: MUSEU DE LA MUSICA, BARCELONA, central marquetry panel decorated with scrolling foliage
SPAIN. inhabited by birds inscribed Benjamin Sison, Birchin Lane,
Number. MDMB34. London, Fecit, the edge of the wrestplank inscribed
Remarks. The existence of a two-manual harpsichord by W.H.y(?)7, the walnut case with pierced and shaped brass
Silbermann in Barcelona was noted by Jan Kalsbeek in strap-hinges, the four and a half octave keyboard G'-d’
letter to CMM on 26 June 1989. There is no mention of with broken octave, ebony naturals faced with embossed
a harpsichord by this maker in BarcelonaCat, though it is paper and ivory accidentals . . . on later stand with barley
possible that Kalsbeek was referring to instrument number twist legs’. The keys C# and D are split.
MDMB34, which carries the inscription Reconstrait per Previous history: Formerly the property of Miss Margaret
Francesc Soler a Barcelona (recording a reconstruction in Hornby until sold at Sotheby’s on 4 November 1982, when
1936) which might originally have been by Silbermann. it was acquired by Professor Felgner. Some restoration
It has undergone a number of changes, some account of (Professor Felgner says ‘on the cover(sic)") was carried
which, together with details of the instrument as it now out by Jonny Stadler, in Heidleberg in April 1987, and
appears, are given in BarcelonaCat, number 391, p. 199 further restoration carried out by William Jiirgensen in
(illustrated). Lauffen/Neckar.
Information supplied by: Kalsbeek. References: Sotheby’s catalogue of4 November 1982. The
Boalch 3 number. SSLBERMANN(A) n.d. restoration report by William Jirgensen is available.
Boalch 2 number: None. Information supplied by: Bz|Sothebys|Felgner.
Boalch 3 number. SISON, B. 1680(A).
Boalch 2 number: 2.
SIMPSON, JAMES and JOHN.
Type: Two-manual harpsichord. Type: Wing spinet.
Date: Not known. Date: Not known.

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632 SLADE
Ownership: LADY LEVER ART GALLERY, PORT Type: Wing spinet.
SUNLIGHT, CHESHIRE, ENGLAND. Accession Date: 1710-15.
number not known. Ownership: BATE COLLECTION, MUSIC FACULTY,
Inscriptions: Inscription on jackrail: Benjamin Sison Birchin OXFORD, ENGLAND.
Lane London Fecit. Number: X 987.
Specification: 1x8’. Inscriptions: On the walnut fascia, on an indented panel:
Compass: AA-d?. Benjamin Slade Londini fecit. On the back of the nameboard:
Remarks: Fifty-four note compass. J Morley repaired [. . .] 1924//Alee Hodsdon/
Information supplied by: B?. Lavenham|Suffolk|Repaired Dec 1949||Bought from Alec
Boalch 3 number: SISON, B. n.d.(1) Hodsdon by NORMAN KENNETH SUNTER Dec
Boalch 2 number: 1. 1949| MANCHESTER.
Specification: 1x8".
Type: Wing spinet. Compass. GG,AA-d',¢’.
Date: Not known. Keyboard: Black naturals, white sharps.
Ownership: WILLIAM MIDDLETON, SHEFFIELD, Number of roses: None.
ENGLAND. Exterior of case: Plain wood.
Specification: 1x8". Seale: 271 mm.
Compass: GG/BB-d’, short octave. Length: 1640 mm.
Keyboard: Black naturals, white sharps. Width: 660 mm.
Exterior of case: Plain wood. Depth: 178 mm.
Remarks: Naturals of ebony; sharps of ivory. Case of plain Remarks: Date ascribed by Sotheby’s catalogue of 22
walnut. November 1989 and also 22 November 1990. Walnut
Previous history: Restored by Nicholas Keen. Inherited and case. Ivory sharps, ebony naturals with pressed leather
owned by William Middleton, Sheffield. fronts. Pierced and shaped strap-hinges. Modern replace-
Information supplied by: Keen. ment jacks. Trestle stand with turned legs.
Boalch 3 number: SISON, B. n.d.(z). Previous history: Restored by Morleys in 1924, and by Alec
Boalch 2 number: None. Hodsdon in 1948. Seen by C. F. Colt in 1949. Sold at
Sotheby’s on 22 November 1989—vendor and purchaser
SLADE, BENJAMIN. not known. Offered for sale again at Sotheby’s on 27
Type: Wing spinet. March 1990, at which time it was thought to belong to
Date: 1690. an American owner. Though listed in the catalogue it did
Ownership: Not known. not appear in the sale room, allegedly because of some
Specification: 1x8". problem over export of the instrument from the USA. It
Previous history: Formerly in possession of Leslie Spacie, was offered for sale again at Sotheby’s on 22 November
Yatton, Somerset, and according to B? in Dolmetsch’s 1990 when it was bought by Michael Thomas and
Possession in 1974. subsequently acquired from him by the Bate Collection
Information supplied by: B?. with funds provided by the Arthur and Hope Pilkington
Boalch 3 number. SLADE, B. 1690. Trust. Extensively restored by Jean Maurer, at the request
Boalch 2 number: 01. and expense of Michael Thomas.
References: Sotheby’s catalogues of 22 November 1989, 27
‘Type: Wing spinet. March 1990, and 22 November 1990 (illustrated). BateCat,
Date: 1700. p. 16. EM, May 1991, Salerooms.
Ownership: Not known. Information supplied by: B*|Sotheby’s.
Inscriptions: Benjamin Slade faciebat 1700, on jackrail. Boalch3 number: SLADE, B. 1710-15.
Specification: 1x8". Boalch 2 number: 3.
Compass: GG/BB-d’(A), broken octave.
Keyboard: Black naturals, special sharps.
Exterior of case: Plain wood. Type: Wing spinet.
Remarks: Compass four octaves and a fifth. Two lowest Date: 1716.
sharps split to give broken octave. Blackwood naturals Ownership: PRIVATE COLLECTION.
with blackwood fronts. Skunktail sharps of ivory/ Specification: 1x8".
ebony/ivory. Richly marquetried in the keywell and inside Information supplied by: Owner.
the rim with scrolling foliage and birds. Boalch3 number: SLADE, B. 1716.
References: Illustrated at J, p. 110. Boalch 2 number: None.
Information supplied by: B*/J.
Boalch 3 number: SLADE, B. 1700. Type: Wing spinet.
Boalch 2 number: 1. Date: Not known.

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 SLAG MEULEN 633
Ownership: RED LODGE, BRISTOL MUSEUM, Type: Wing spinet.
BRISTOL, ENGLAND. Accession number not known. Date: Not known.
Inscriptions: Benjamin Slade Londini fecit, on marquetried Ownership: PRIVATE COLLECTION, ZUG,
nameboard. SWITZERLAND.
Specification: 1x8". Inscriptions: Benjamin Slade Londini fecit.
Compass. GG/BB-d’(A), broken octave. Specification: 1x8".
Exterior of case: Plain wood. Remarks: Owned, 1968, by an English lady living in Zug.
Remarks: Plain walnut case. Bottom C# and D# divided. Information supplied by: Bz.
Information supplied by: Bz. Boalch 3 number: SLADE, B. n.d.(5).
Boalch 3 number: SLADE, B. n.d.(1). Boalch 2 number: 7.
Boalch 2 number: 2.
SLADE, CHARLES.
Type: Single-manual harpsichord. Type: Wing spinet.
Date: Not known. Date: 1734.
Ownership: DR. R. MIRREY, LONDON, ENGLAND. Ownersbip: CHARLES WEST WILSON,
Inscriptions: In ink on boxwood inlay Beajamin Slade, MECHANICSBURG, PENNSYLVANIA, USA.
Londini, Fecit. Inscriptions: Inscribed on nameboard: Carolus Slade Londini
Specification: 2x8". Secit 1734. The bottom key is marked C.S. 1734.
Compass: GG-g' Specification: 1x8".
Number of roses: 1. Compass: GG-g’.
Style of rose: Seated harping figure. Keyboard: White naturals, black sharps.
Exterior of case: Plain wood. Number of roses: None.
Scale: 273 mm. Exterior of case: Plain wood.
Length: 1910 mm. Scale: 278 mm.
Width: 930 mm. Length: 1892 mm.
Depth: 210 mm. Width: 737 mm.
Remarks: Plain walnut case with double curved bent Depth: 190 mm.
side. A beautiful example of an early eighteenth-century Remarks: Naturals of ivory, ebony sharps. Plain walnut
case.
harpsichord though not in playing order. The strap-hinges
Previous history: Some early (eighteenth or nineteenth
of the lid are identical to those of the Tisseran harpsichord century?) restoration carried out in America. Sold by a
of 1700.
private collector, Baron Cassel van Doom, Javington
Previous bistory: Bought at auction at Braboeuf Manor,
Manor, Englewood, New Jersey on 8 March 1952 at
Guildford, 10 June 1963. Parke-Bernet, ‘New York. It was sold again by Parke-
References: Mould Note. Mirrey. Bernet in September 1968 (from Talmey, Inc., New York,
Information supplied by: B2|Mould Note|Mirrey. according to the catalogue), when it was bought by
Boalch 3 number: SLADE, B. n.d.(z). E. M. Ripin. Some small amount of restoration work was
Boalch 2 number: 4. carried out by John Challis before it was acquired by the
present owner in 1972, who has carried out a meticulous
Type: Wing spinet. examination of it including a full analysis of all the woods
Date: Not known. used in its construction.
Ovnersbip: Not known. References: Further information from the owner.
Specification: 1x8". Information supplied by: B2|Wilson.
Remarks: Said to be four octaves (but this is unlikely). Boalch3 number. SLADE, C. 1734.
Previous bistory: Sold at Salem, Massachusetts, in 1951. Boalch 2 number: 1.
Information supplied by: Bz.
Boalch 3 number: SLADE, B. n.d.(3). SLAG MEULEN, PIETER VAN DER.
Boalch 2 number: 5. Type: Ottavino.
Date: 1660.
Type: Wing spinet. Ownersbip: MUSEO DEGLI ANTICHI STRUMENTI
Date: Not known. MUSICALI, ROME.
Ownersbip: NORDISKA MUSEET, STOCKHOLM, Number: 1145.
SWEDEN. Accession number not known. Inscriptions: Ink signature on nameboard; Pieter van der
Specification: 1x8’. Slagh|Meulen tot Antwerpen 1600.
Information supplied by: Bz. Specification: 1x2".
Boalch 3 number: SLADE, B. n.d.(4). Compass: g-e’.
Boalch 2 number: 6. Keyboard: White naturals, black sharps.

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634 SMITH
Number of roses: 1. sycamore, with blackwood stringing. Ivory naturals with
Style of rose: Geometrical pattern. black fronts, skunktail sharps of ebony/ivory/ebony.
Remarks: The authenticity of the instrument is very Soundboard, without rose, laid diagonally. On stand
doubtful, partly because of the appearance of the name which appears to have been made up from parts of a
Slagh in the Franciolini catalogues. VdM says that the spinet stand. Instrument has been examined by X ray and
instrument belongs to the large category of South German has virtually no internal structure to take strain of strings.
(usually Augsburg) 2’ virginals. Naturals of bone. Sharps Previous bistory: From Morleys in the 1920s to Mrs. Hilda
of black-stained wood with ebony tops. Case in the form Seligman, and thence to her daughter, Mrs. Audrey
of a work-box in ebony and ivory, with padding in red Blackman, of Boars Hill, Oxford. Bequeathed by Mrs.
damask in the lid. Blackman to the Bate collection on her death in 1990, in
Previous bistory: Formerly in the collection of Evan Gorga. memory of her mother, Mrs. Seligman. Small amount of
References. VdMBei, p. 121. Cerv.MASM, pp. 319-20. restoration work carried out by Charles Mould in 1981.
RipICOLF. Further restoration including restringing and revoicing
Information supplied by: B*|Randall|Cerv.MASM. carried out by Michael Cole in 1990. In the same year
Boalch 3 number: SLAG MEULEN, P. van D. 1660. Michael Cole suggested that there was some similarity
Boalch 2 number: 1. between this instrament and the single-manual harp-
sichord shown in the portrait of Handel by Mercier, and
SMITH, JOSEPH. dated ¢. 1720 (see Da, p. 30. (monochrome), or Hogwood,
‘Type: Two-manual harpsichord. Christopher. Handel, Thames and Hudson, London, 1988,
Date: Not known. plate VILI (colour), and The Independent, 16 June 1991,
Ownership: Not known. s.v. Early Music). That there are similarities in the fascia
Inscriptions: Josephus Smith Londini fecit. board and keyboard of the two instruments is undisputed,
Specification: 2x8", 1x4'(A). though whether they are the same harpsichords, and
Additional features: 3 hand stops. whether the William Smith belonged to Handel are still
Compass. FF-P(A). matters for discussion.
Exterior of case: Plain wood. References: Mould Note. BateCat, p. 11. Recorded by Martin
Length: 1524 mm. Souter (Four Handel Suites) on ISIS, 1992.
Remarks: Oak case with brass fittings. Information supplied by: B*|Mould Note|Montagu|Cole.
Previous bistory: Formerly in Boddington Collection, Boalch 3 number: SMITH, W. n.d.
Manchester. Boalch 2 number: 1.
Information supplied by: B.
Boalch 3 number: SMITH, J. n.d. SODERBERG, JOHAN.
Boalch 2 number: 1. Type: Fret-free clavichord with octave strings in the bass.
Date: 1818.
SMITH, WILLIAM. Ovnership: B. HULPHERS, HARNOSAND,
Type: Single-manual harpsichord. SWEDEN.
Date: Not known. Compass: FF-c'.
Ownership: BATE COLLECTION, MUSIC FACULTY, Scale: 18 mm.
OXFORD, ENGLAND. Length: 2009 mm.
Number: 974. Width: 606 mm.
Inscriptions. Inscription on nameboard: Gulielmus Smith Remarks: Keyboard has Swedish rack. Soundboard of
Londini Fecit. There are inscriptions on the two lowest pine. Twenty octave strings in the bass.
(bass) jacks: first/stop[treble/r/1 and Soeo (second?)/ References: H-O, No. S. B. Hulphers, Harnésand.
stop|bass|1|2. Information supplied by: Barrell|Weldon|H-O.
Specification: 2x8’. Boalch 3 number: SODERBERG, J. 1818.
Additional features: 2 hand stops. Boalch 2 number: None.
Compass: GG-g’.
Keyboard: White naturals, special sharps. SODERSTROM, HENRIC JOHAN.
Number of roses: None. ‘Type: Fret-free clavichord with octave strings in the bass.
Exterior of case: Plain wood. Date: 1815.
Scale: 261 mm. Ownership: S. R. BARRELL, NORTH CAROLINA,
Length: 2013 mm. USA.
Width: 955 mm. Inscriptions: On a label: Af|Hem. Job. Séderstrém|
Depth: 238 mm. STOCKHOLM.|Ar 1815.
Remarks: Instrument clearly dates from the first quarter Compass: FF-ct.
of the eighteenth century, probably ¢. 1720. Plain walnut Keyboard: Black naturals, white sharps.
case with shaped brass strap-hinges. Keywell veneered Number of roses: None.

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 SODI 635
Exterior of case: Vencered. References: H-O, No. S 01 NordM 107.054.
Scale: 312 mm. Information supplied by: B2|Barrell|Weldon|H-O.
Length: 2035 mm. Boalch3 number: SODERSTROM, H. J. 1816.
Width: 600(A) mm. Boalch 2 number: 2.
Depth: 222 mm.
Remarks: Seventeen octave strings in the bass. Naturals SODI, VINCENZO.
of ebony; sharps of bone. Type: Single-manual harpsichord.
Information supplied by: Barrell|Diebl. Date: 1750(A).
Boalch 3 number: SODERSTROM, H. J. 1815. Ovnersbip: Not known.
Boalch 2 number: None. Inscriptions: Gauge numbers on wrestplank.
Specification: 2x8’.
Type: Fret-free clavichord with octave strings in the bass. Compass: FF-P.
Date: 1810. Keyboard: White naturals, black sharps.
Ownership: SK ARABORGS LANSMUSEUM, SKARA, Number of roses: 1.
SWEDEN. Exterior of case: Painted.
Number: 43205. Length: 2800 mm.
Inscriptions: Label on the area of soundboard between the Remarks: Dr. Andrew Roth, who in 1985 was documenting
wrestpins and the case. a Hispanic collection in which this instrument is to be
Compass: FF-c*. found, says: ‘attributed to Sodi, ¢. 1750’. Hodsdon (1927)
Keyboard: Black naturals, white sharps. also dated it ¢. 1750, and Michael Thomas also agreed
Exterior of case: Veneered. with this date. If this is true, it is the earliest Sodi
Scale: 320 mm. instrument by 28 years. Naturals of box; sharps of
Length: 2050 mm. blackwood. Outer case of blue veined marble. Interior of
Width: 610 mm. lid painted red.
Depth: 230 mm. Previous history: Restored by Alec Hodsdon in 1927.
Remarks: Keys of roof-carved pine with Swedish rack. References: Article by Michael Thomas on string gauges
Naturals of ebony with fronts of box grooved parallel to in GSJ XXIV, pp. 69-77.
keytops. Sharps of bone-capped, black-stained wood. Information supplied by: Roth.
Soundboard of pine. Bridges of beech. Seventeen octave Boalch 3 number: SODI, V. 1750(A).
strings in the bass. Case of pine with orange varnish. Boalch 2 number: None.
Keywell vencered with mahogany and banding.
References: H-O, No. S 16 VM u. nr. Illustrated at fig. Type: Single-manual harpsichord.
158 on p. 181. Date: 1778.
Information supplied by: Weldon|H-O. Ownership. DR. ANDREAS BEURMANN,
Boalch3 number: SODERSTROM, H. J. 1810. HAMBURG, GERMANY.
Boalch 2 number: None. Number: 20.
Inscriptions. According to Bz, the inscription is Vicentins
Type: Fret-free clavichord with octave strings in the bass. (sic) Sodi Florentinus fecit Anno Domini 1778. According to
Date: 1816. the advertisement of the sale at Hotel Drouét on 12
Ownership: NORDISKA MUSEET, STOCKHOLM, October 1988, the inscription is Vincentins Sadi (sic)
SWEDEN. Herenumis (sic) Fecit Anno Domini 1778.
Number: 107.054. Specification: 2x8".
Inscriptions: Label on area of soundboard between the Additional features. 2 hand stops.
wrestpins and the case. Compass: FF-g’.
Compass: FF-c’. Keyboard: Black naturals, white sharps.
Keyboard: Black naturals, white sharps. Number of roses: None.
Exterior of case: Painted. Exterior of case: Painted.
Scale: 310 mm. Scale: 253 mm.
Length: 2045 mm. Length: 2220 mm.
Width: 604 mm. Width: 930 mm.
Depth: 230 mm. Depth: 230 mm.
Remarks: Keyboard has Swedish rack. Naturals of ebony Remarks: Bz lists this instrument as appearing in Francl.
in two parts with fronts of box, grooved parallel to the In a Gazette published in Paris, the name of which is not
keytops. Sharps of bone-capped black-stained wood. known (simply because the information was supplied to
Soundboard of pine. Bridges of beech. Seventeen octave CMM on a photocopy with the name missing), dated
strings in the bass. Pine case painted in imitation wood 23 September 1988, a harpsichord was illustrated and
outside and veneered with mahogany inside. announced as being for sale at the Hotel Drousét, Paris,

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636 SODI
on 12 October 1988 with the following description: Specification: 2x8".
‘Succession de Monsieur M. Clavecin en bois peint rouge Compass: GG-g’.
et or a decor de reserves peintes de scenes de genre ou Remarks: Garrett reports: ‘Original compass GG-f (the
de paysage. Interieur 4 decor d’une vue d’une ville present fi’ and g’ keylevers each now raising one of the
Italienne. Une inscription: [see above], Italie, fin du XVIII. two jacks originally sounding f, and f playing one of
Pietement rapporte, H. 92, L. 226, P. 96 cm.’ The those originally sounding ¢’; i.e. top four notes each now
illustration given there shows it to be in a highly decorated sounding on one string only. Couldn’t say when altered.)’
case (Chinoiserie?) and raised on a trestle stand of Previous history: Repaired by Clayson and Garrett, 1975.
appropriately decorative style with four legs, elaborately Information supplied by: B*|Garrett.
carved. A photograph of the instrument kindly sent by Boalch3 number: SODI, V. 1782.
Dr. Beurmann to CMM corroborates this. Dr. Beurmann Boalch 2 number: 4.
reports further: ‘Naturals of palisander, coloured dark
brown, and sharps of boxwood. Stand with four carved ‘Type: Three manual harpsichord.
legs. Archbrace at bottom with sculptured angel. On both Date: 1784(A).
sides the jacks Gz: Vo Sodi 177-.’ On the FF keylever: Ownership: JOHN KOSTER, VERMILLION, SOUTH
+ 58 (Dr. Beurmann says the 5 is difficult to read but DAKOTA, USA.
the 8 is certain). Inscriptions. Vincenzo Sodi Fece pier] Firenze 1784 A 4
References: Listed in Franc]. Listed in the Gazette mentioned otto[bre.] A essere stato scelto dd tre, speriamvo ance essere un
above dated 23 September 1988 (illustrated). ré. This inscription is inside the instrument.
Information supplied by: B*|Roth|Bexrmann. Specification: 2x8’, 1x4’.
Boalch 3 number: SODI, V. 1778. Remarks: There are a number of datings for the instrument.
Boalch 2 number: 01? B’ gives 1779, while the inscription suggests 1784, and
Koster says: ‘It is really by Sodi, but made in 1789 as a
Type: Single-manual harpsichord. piano, more or less in the style of Stein.’ VdM agrees
Date: 1779(A). that there are elements of Sodi in it, but is in no way an
Ownership: ALBERT AUGUSTINE, NEW YORK. original three-manual instrument.
Inscriptions: Vincenzo Sodi me fecit 1739 (21779) Firenze. Previous bistory: Instrument was formerly the property of
[Signature also on G# above middle C]. the Metropolitan Museum of Art, New York, who
Specification: 2x8’. believing it to be a fake sold it to John Koster, who
Compass: C-P(A). opened it and found the inscription on one of the bars
Information supplied by: B?. which is given above, following deciphering by Dr. Van
Boalch 3 number: SODI, V. 1779(A). der Meer, Professor Tagliavini, and Dr. Mischiati. It is
Boalch 2 number: 1. in beautiful eighteenth-century handwriting.
References: See former catalogue of the Metropolitan
Type: Single-manual harpsichord. Museum of Art, and further details from John Koster.
Date: 1780. Information supplied by: VdM|Koster.
Ownership. DETROIT INSTITUTE OF ARTS, Boalch 3 number: SODI, V. 1784(A).
DETROIT, USA. Accession number not known. Boalch 2 number: (2).
Inscriptions: Vincentius Sodi Florentinus Fecit Anno Domini
1780. ‘Type: Single-manua! harpsichord.
Specification: 2x8". Date: 1791-92.
Remarks: Two rows of jacks, each jack having two Ownership: PROFESSOR LUIGI FERDINANDO
tongues, one facing each way. This type of jack is depicted TAGLIAVINI, BOLOGNA, ITALY.
in Cemb. Ang. (1775), plates 4 and 5. Number: 6.
Previous history. Homer Wickline, Pittsburgh. Robert Inscriptions. On the front board: No 93. VINCENTIUS
Johnson, Los Angeles. Craig Ely, Westtown, SODI FLORENTINUS FECIT ANNO 1792. On the
Pennsylvania. first keylever: Firenze/v.s./1791 Vincenzo Sodi|Face azn S.
Information supplied by: B?. is 1792. On the first jack of each row: 1797 +, and on
Boalch 3 number: SODI, V. 1780. the last jack above the number s¢ appears 1’.Sdi.
Boalch 2 number: 3. Specification: 2x8’.
Compass: C-P.
‘Type: Single-manual harpsichord. Keyboard: White naturals, special sharps.
Date: 1782. Number of roses: None.
Ownership: ROYAL ALBERT MEMORIAL MUSEUM, Exterior of case: Painted.
EXETER, ENGLAND. Accession number not known. Case construction: Italian style—false inner/outer.
Inscriptions: Vincentius Sodi Florentinus Fecit anno Domini Scale: 254 mm.
1782. Length: 2140 mm.

'y Google
 SOFFENELLI(A) 637
Width: 860 mm. Ownership. HELEN HEWITT, NORTH TEXAS
Depth: 215 mm. STATE COLLEGE, USA.
Remarks: Boxwood naturals. The sharps are a sandwich Inscriptions. V.S. on one of the jacks.
of box with a dark wood either side. Typical Italianate Remarks: The ascription to Sodi as the maker rests on
stand with a trestle at the proximal end and single leg at the inscription given above.
tail, all painted to match the case which is of light blue Information supplied by: Bz.
with swags of flowers surrounded by garlands of delicate Boalch 3 number: SODI(A), V. n.d.
herbs. Interior lid has painting of landscape with ruined Boaleh 2 number: 7?
castle. Case has double curved bent side and sloping
keyboard cover. SOFFENELLI(A), GIOVANNI or SOLFANELLI(A),
Previous history: Acquired by Professor Tagliavini at
Castellare di Pescia on 25 September 1972 at auction.
GIUSEPPE.
Restoration of the case decoration carried out in 1976 Type: Single-manual harpsichord.
under Marisa Caprara.
Date: 1729.
Ownership. GEMEENTEMUSEUM, THE HAGUE,
References: A full list of references is given at Tag, pp.
114-21 (Illustration plus X-ray photograph). NETHERLANDS.
Information supplied by: Bz/Tag. Number: Ec 53-1979.
Inscriptions: On the lowest and highest keyshafts: G.S.
Boalch 3 number: SODI, V. 1791-92.
Boalch 2 number: 6. 17ag. On the lid: GLORIA IN ALTISSIMIS DEO.
Label on rear of front panel: M. P. 1807. Label on the
underside of the soundboard: Leipzig-Goblis 1904/Repariert
Type: Single-manual harpsichord. von|Hermann Seyffarth|Instrumentenmacher. Label on key-
Date: 1792. frame: Colt Clavier Collection restored 1977, Betbersden.
Ownership. FORMERLY KARL-MARX- Specification: 2x8".
UNIVERSITAT, LEIPZIG, GERMANY. Compass: C/E-c’, short octave.
Number: 94. Keyboard: White naturals, black sharps.
Inscriptions. No.9. Vincenzio Sodi Fece/ Firenze 1792, written Number of roses: None.
on the rear of the f key. Exterior of case: Painted.
Specification: 2x8". Case construction: Italian style—false inner/outer.
Additional features: 2 genouilléres, harp stop. Scale: 284 mm.
Compass: F-P. Length: 2025 mm.
Keyboard: White naturals, black sharps. Width: 845 mm.
Exterior of case: Painted. Depth: 230 mm.
Length: 2260 mm. Remarks: The following description comes from the
Width: 965 mm. Sotheby’s catalogue: ‘125. An Italian single-manual harp-
Depth: 255 mm. sichord by Giovanni Soffenelli, Pisa, 1726, inscribed I.S.
Remarks: One knee-lever works the ‘Fagott-Zug’ (paper 1726 on the top and bottom keyshafts, the fascia board
pressed against strings), the other operates the harp stop. of cypress wood with stained central panel, the jackrail
Boxwood naturals. Sharps of dark stained hardwood with ensuite, the inner case of cypress, with edge mouldings
box inlay. Jacks with leather plectra. External case of inlaid with stained fruitwood stringing, the four octave
light yellow with garlands of flowers. Lid to match except keyboard C-c! with short octave, with arcaded boxwood
that on that part over the keyboard there is a lute and a naturals and dark walnut accidentals, pine soundboard,
schalmei and an open notebook on which is written the ebonised wrestplank, two handlevers controlling each of
opening words of the aria ‘Amore é amara/e la Fortuna/é the two 8ft stops, . . . in leather bound outer case with
ingrata’. On the fascia board further paintings in the style wooden mouldings painted dark green, the interior of
of Annibale Caracci (160-1609) examples of whose work the lid with a nativity scene within an extensive landscape,
are in the National Gallery in London. on trestle legs. Another more elaborate harpsichord by
Previous history: In the Kraus collection, Florence, in 1878. this maker exists in the Deutsches Museum, Munich . . ..’
Lost in World War II. HaagCL reports that the inner lid painting is from the
References: Henkel1, pp. 103-4. early seventeenth century. Raised on typical Italian stand.
Information supplied by: B2|Henkelt. Note how there are differences between the reports from
Boalch3 number: SODI, V. 1792. Sotheby’s and the Museum on the form of the inscription
Boalch 2 number: 5. on the keyshafts. There is also no way of confirming
whether the maker was Giovanni Soffenelli or Giuseppe
SODI(A), VINCENZO. Solfanelli, but since it was ascribed to the former by
‘Type: Single-manual harpsichord. Sotheby’s and the Museum, it is shown under his name
Date: Not known. here.

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638 SOLFANELLI(A)
Previous bistory: Formerly in the Colt Clavier Collection, Specification: 1x8’, 1x4’.
and restored there in 1977. Bought at auction at Sotheby’s Compass: FF,GG,AA-c’.
on 3 May 1979. Restored by the Museum in 1988. Remarks: According to Smithcbeck8g—a transverse single-
References: Sotheby’s catalogue of 3 May 1979. HaagCl, manual instrument. Unknown maker, but said by the
Pp. 34-5 (illustrated). Museum to be similar to the work of Cristofori. In
Information supplied by: Colt|HaagCL. November 1992, Denzil Wraight [EM vol. XX, No. 4,
Boalch 3 number. SOFFENELLI(A), G. 1729. Pp. 701] was able to demonstrate that it was the work of
Boalch 2 number: None. Giuseppe Solfanelli. Almost certainly a spinetone or
cembalo traverso. Compare with instrument number
Type: Single-manual harpsichord. SOLFANELLI(A), G. 1721, above.
Date: Not known. References: SmithcheckS9, and see: Denzil Wraight in EM
Ownership: DEUTSCHES MUSEUM, MUNICH, vol. XX, No. 4, p. 701.
GERMANY. Accession number not known. Information supplied by: Smithcbeck89|Wraight.
Remarks: The existence of this instrument is known of Boalch 3 number: SOLFANELLI(A), G. n.d.
from an entry in the Sotheby’s sale catalogue of 5 May Boalch 2 number: None.
1979, in which this instrument is mentioned in the
description of a single-manual harpsichord allegedly by SONDERMANN, MARCUS GABRIEL.
Giovanni Soffenelli (SOFFENELLI(A), G. 1729). ‘Type: Fret-free clavichord.
References: Sotheby’s catalogue of 3 May 1979. Date: 1796.
Information supplied by: Sotheby’s|WraightPC. Ownership: MUSIKHISTORISK MUSEUM,
Boalch 3 number. SOFFENELLI(A), G. n.d.
COPENHAGEN, DENMARK.
Boalch 2 number: None. Number: At.
SOLFANELLI(A), GIUSEPPE or SOFFENELLI(A), Inscriptions. Inscribed on soundboard: Marcus Gabriel
GIOVANNI. Sondermann|Rendsburg Ao 1796.
Type: Fretted clavichord. Compass: FF-f.
Date: 1721. Keyboard: White naturals, black sharps.
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, Exterior of case: Veneered.
GERMANY. Scale: 280 mm.
Inscriptions: On the top key: 1721/Ge Si and on the bottom Length: 1690 mm.
key. (not numbered) the word Pisa. The attribution to Width: 528 mm.
Solfanelli is discussed in Henkel2 pp. 37-8. Depth: 180 mm.
Compass: C/E-c’. Remarks: Keys of pine, roof-carved. Horn guide slips.
Keyboard: White naturals, black sharps. Naturals of bone with four grooves and arcaded ebony
Number of roses: None. fronts. Sharps of ebony. Soundboard of pine. Bridge and
Exterior of case: Painted. nut of beech. Casework of pine, veneered in walnut.
Scale: 234 mm. Internal structures of pine. Keybox lid veneered in ivory
Length: 1418 mm. ebony and tortoise shell.
Width: 456 mm. Previous history. Given to the Kunstindustriemusect in
Depth: 205 mm. 1898. Restored in 1908 by Hornung & Moeller.
Remarks: The ascription to Solfanelli is by the Museum References: MMCC.
on the basis of the date, place and inscription given Information supplied by: B?|Weldon| MMCC.
above. Forty-five keys, twenty-eight courses. Cantilevered Boalch 3 number. SONDERMANN, M. G. 1796.
keyboard. Keys of uncarved alder. Key slips of wood. Boalch 2 number: 1.
Naturals of cypress with arcaded fronts. Sharps of walnut.
Alder casework. Soundboard spruce. SPATH, FRANZ JACOB and SCHMAHL,
Previous bistory: 1910, Heyer Collection, Cologne. CRISTOPH FRIEDRICH.
References: Henkel2, pp. 37-8 and illustrations plates 12, ‘Type: Fretted clavichord.
13, and 60. Date: 1787.
Information supplied by: B*|Henkel2|Weldon. Ownership: NEUMEYER COLLECTION, BAD
Boalch 3 number. SOLFANELLK(A), G. 1721. KROZINGEN, GERMANY.
Boalch 2 number: None. Number: [14].
Compass: AA-P.
Type: Single-manual harpsichord. Keyboard: Black naturals, white sharps.
Date: Not known. Remarks: The catalogue gives little information about the
Ownership: SMITHSONIAN INSTITUTION, instrument.
WASHINGTON, USA. Previous history: Restored by Rudolf Dobernecker,
Namber: 60.1395. Freiburg, 1976.

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 SPECKEN 639
References: Krozingen. Naturals of ebony with four grooves and keyfronts of
Information supplied by: Krozingen. embossed gilded paper. Sharps of bone-capped, black-
Boalch3 number: SPATH, F. J. & SCHMAHL, C. F. 1787. stained wood. The soundboard is original between the
Boalch 2 number: None. wrest plank and the back right-hand comer, but the
sounding area is a replacement. Bridges missing; original
SPECKEN, PHILIP JACOB. placement not known. Twenty-two octave strings in the
Type: Two-manual harpsichord. bass. Much crude repair work has been done. All the
Date: 1737. internal members and the case are pine, the latter being
Ownership: NORDISKA MUSEET, STOCKHOLM. veneered in olive.
Inscriptions: Philip Jac. Specken, Stockbolm, 1737. References: H-O, No. S os LM A 1.846. Illustrated at fig.
Remarks: It is possible (though the dates do not cor- 140, p. 168.
respond) that this may be the same instrument as that Information supplied by: B?|Barrell|Weldon|H-O.
recorded by Kilstrém dated 1748 (see below) at the Nordiska Boalch 3 number: SPECKEN, P. J. 1740-60.
Museet, Stockholm. B? reports simply: five octave Boalch 2 number: 3.
compass.
Information supplied by: B?. Type: Fretted clavichord.
Boaleh3 number: SPECKEN, P. J. 1737. Date: 1741.
Boalch 2 number: 1. Ownership: NORDISKA MUSEET, STOCKHOLM,
SWEDEN.
Type: Single-manual harpsichord. Number: 33.932.
Date: 1740(A). Inscriptions: Signed inside keybox lid: 1741/Philip Jacob]
Ownership: NORRBOTTEN MUSEUM, LULEA, Specken|Instrument|Macher|in Stockholm.
SWEDEN. Compass: C-d’.
Number: 4259. Keyboard: Black naturals, white sharps.
Remarks: Details of the instrument are inferred from the Exterior of case: Painted.
entry in H-O on p. 210, fig. 170, and from a photograph Scale: 292 mm.
in the article by Eva Nordenfelt-Aberg, ‘The harpsichord Length: 1427 mm.
in 18th-century Sweden’, in EM Vol. 1X, No. 1, January Width: 404 mm.
1981, p. 47. Lid painting of woman singing, three people Depth: 137 mm.
playing violins, a man playing the flute, one playing the Remarks: Keys of pine, roof-carved. Guide slips of brass
oboe, and two playing continuo. Double curved bent pins. Naturals of ebony with three grooves and fronts of
side. Exterior appears to have panels surrounded with gilded embossed paper. Sharps of bone-capped, black-
inlaid stringing. Raised on stand with five legs and stained wood. Soundboard of pine. Bridge of beech. Built
floor-level stretcher. entirely of pine. Painted red outside, blue inside, with a
References. H-O, fig. 170, p. 210. Instrument number S 25 lid painting of five people in the country.
Nbm 4259. EM. References. H-O, No. S or NordM 33.932. Illustrated at
Information supplied by: H-O|EM. fig. 138 on p. 166.
Boalch 3 number. SPECKEN, P. J. 1740(A). Information supplied by: Barrell|Weldon|H-O.
Boalch 2 number: None. Boalch3 number: SPECKEN, P. J. 1741.
Boalch 2 number: None.
Type: Fret-free clavichord with octave strings in the bass.
Date: 1740-60. Type: Fret-free clavichord.
Ownership. OSTERGOTLANDS MUSEUM, Date: 1742.
LINKOPING, SWEDEN. Ownership: Not known.
Number: 1.846. Inscriptions: Inscribed: Jacob Specken, Stockholm 1742.
Inscriptions: Label on the area of soundboard between the Compass: C-d’.
wrest pins and the case: PHILIP JACOB SPECKEN/ Remarks: Recorded by Weldon but with little detail other
INSTRUMENTMAKARE|I STOCKHOLM 17.. (last than the inscription. Almost certainly the same instrument
two figures missing). as that shown below at the Nordiska Museet.
Compass: FF-f. Information supplied by: Weldon.
Keyboard: Black naturals, white sharps. Boalch 3 number: SPECKEN, P. J. 1742(1).
Exterior of case: Veneered. Boalch 2 number: None, or almost certainly 2.
Scale: 273 mm.
Length: 1805 mm. Type: Clavichord.
Width: 569 mm. Date: 1742.
Depth: 168 mm. Ownership: NORDISKA MUSEET, STOCKHOLM,
Remarks: Keys of pine, roof-carved. Renewed guide slips. SWEDEN. Accession number not known.

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640 SPECKEN
Inscriptions: According to Bz: Jacob Specken, Stockbolm 1742. Compass: C-e'.
Compass: C-d(A). Length: 1457 mm.
Remarks: This instrument is not recorded by H-O, and it Width: 418 mm.
may be that Bz has the inscription incorrect, and the date Remarks: Soundboard of pine. Bridge sadly broken.
should be 1741. References: H-O, No. S L. E:son Eherenlood, Stocksund.
Information supplied by: B2. Information supplied by: Barrell] Weldon|H-O.
Boalch 3 number. SPECKEN, P. J. 1742(2). Boalch 3 number: SPECKEN, P. J. 1749.
Boalch 2 number: 2. Boalch 2 number: None.

Type: Fret-free clavichord.

‘Type: Fret-free clavichord with octave strings in the bass.
Date: 1743.
Ownership: STATENS MUSIKSAMLINGAR,
Date: 1750(A).
Ownership: NORDISKA MUSEET, STOCKHOLM,
MUSIKMUSEET, STOCKHOLM, SWEDEN.
SWEDEN.
Number: 2526.
Number: 39.525.
Inscriptions: Signed on a manuscript label: Philip Jacob
Compass: C-d’.
Specken|Instrumentmacher|in Stockbolm|1743.
Keyboard: Black naturals, white sharps.
Compass. C-d’.
Exterior of case: Painted.
Scale: 274 mm. Scale: 286 mm.
Length: 1454 mm.
Length: 1466 mm.
Width: 441 mm.
Width: 444 mm.
References: H-O, No. S 01 SMS/MM 2526.
Depth: 140 mm.
Information supplied by: Barrell Weldon|H-O] VdM.
Remarks: Keys of pine, roof-carved. Horn guide slips.
Boalch 3 number: SPECKEN, P. J. 1743-
Naturals of ebony, three grooves and fronts of embossed
Boalch 2 number: None.
gilded paper. Sharps of bone-capped, black-stained wood.
Type: Harpsichord (number of manuals not known). Soundboard of pine, painted with birds and flowers.
Date: 1748. Bridges of beech, broken in the treble. Case of pine,
Ownership. NORDISKA MUSEET, STOCKHOLM, painted green outside, red inside. Internal members of
SWEDEN. Accession number not known. pine. Fifteen octave strings in the bass.
Specification: 2x8’, 1x4’. References: H-O, No. S 01 NordM 39.525.
Additional features: Harp stop. Information supplied by: Barrell|Weldon|H-O.
Compass: FF-P. Boalch 3 number: SPECKEN, P. J. 1750(A).
Length: 2300 mm. Boalch 2 number: None.
Width: 1010 mm.
Remarks: Deposition from the Musik Museet. Type: Fretted clavichord.
Information supplied by: Kilstrm. Date: 1750-75.
Boalch3 number: SPECKEN, P. J. 1748(1). Ownership: LIDKOPINGS HANTVERKS-OCH
Boalch 2 number: None. SJOFARTSMUSEUM, SWEDEN.
Number: F.1758.
‘Type: Fret-free clavichord. Inscriptions:.Label on the area of the soundboard between
Date: 1748. the wrestpins and the case: PHILIP JACOB SPECKEN/
Ownersbip: S:'TA RAGNHILDS GILLES MUSEUM, INSTRUMENTMAKARE I STOCKHOLM 17... (last
SODERKOPING, SWEDEN. two figures missing).
Number: 2290. Compass. C-d?.
Compass: C-d?. Scale: 280 mm.
Scale: 280 mm. Length: 1428 mm.
Length: 1456 mm. Width: 405 mm.
Width: 441 mm.
Remarks: Soundboard of pine.
Remarks: Soundboard of pine. References: H-O, No. S 16 LHS F. 1758.
References: H-O, No. S 05 SRGM 2290.
Information supplied by: Barrell|Weldon|H-O. Information supplied by: Barrell|Weldon|H-O.
Boalch3 number: SPECKEN, P. J. 1750--75(1)-
Boalch 3 number: SPECKEN, P. J. 1748(2).
Boalch 2 number: None.
Boalch 2 number: None.

Type: Fretted clavichord. Type: Fret-free clavichord with octave strings in the bass.
Date: 1749. Date: 1750-75.
Ownersbip: L. ERICSSON EHERENLOOD, Ownership: GOTLANDS FORNSAL, VISBY,
STOCKSUND, SWEDEN. SWEDEN.

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 SPECKEN(A) 641
Number: A. 104. Inscriptions: Label on the area of the soundboard between
Compass: C-e’. the wrestpins and the case.
Scale: 270 mm. Compass: C-d’.
Length: 1521 mm. Scale: 275 mm.
Width: 462 mm. Length: 1472 mm.
Remarks: Soundboard of pine. Both bridges detached Width: 447 mm.
from soundboard. Fifteen octave strings in the bass. Remarks: Soundboard of pine. Bridges missing. Internal
References: H-O, No. S 09 GF A. 104. Illustrated at fig. lid painting showing similarities to those in instruments
139, p. 167. by Kinstrém and Broman.
Information supplied by: Barrell|Weldon|H-O. References: H-O, No. SF BM 3116. Illustrated fig. 48 on
Boalch3 number: SPECKEN, P. J. 1750-75(2). p- 63.
Boalch 2 number: None. Information supplied by: Barrell|Weldon|H-O.
Boalch 3 number: SPECKEN, P. J. 1760.
Type: Fretted clavichord. Boalch 2 number: None.
Date: 1755.
Ovnersbip: SMALANDS MUSEUM, VAXJO, Type: Fret-free clavichord.
SWEDEN. Date: Not known.
Number: 5 258. Ownership: BJARNE B. DAHL, SUNNYVALE,
Inscriptions: Label on the area of the soundboard between CALIFORNIA, USA.
the wrestpins and the case: PHILIP J ACOB SPECKEN/ Inscriptions: There is no inscription, the original label
INSTRUMENTMAKARE|I STOCKHOLM 1753. having been lost or destroyed. The instrument is authen-
Compass: C-d’. ticated as by Specken from the embossed keyfronts. There
Keyboard: Black naturals, white sharps. is a vandalised date of 1812 scratched on the lid, but it
Exterior of case: Painted. is thought that the painting of the case dates from before
Scale: 275 mm. this time.
Length: 1450 mm. Compass: C-d?.
Width: 415 mm. Keyboard: Black naturals, white sharps.
Depth: 133 mm. Number of roses: None.
Remarks: Keys of pine, roof-carved. Naturals of ebony Exterior of case: Painted.
with fronts of embossed gilded paper. Sharps of bone- Length: 1448 mm.
capped black-stained wood. Soundboard of pine. Bridges Width: 438 mm.
of beech, detached from the soundboard. All parts pine. Depth: 140 mm.
Case painted. Remarks: Barrell reports a Specken clavichord in private
References: H-O, No. S 07 M 5 258. ownership in the USA which is almost certainly this
Information supplied by: Weldon|Barrell|H-O. instrument. Naturals ebony with embossed paper fronts.
Boalch 3 number: SPECKEN, P. J. 1755. Sharps of ebony topped with ivory. Case of painted pine,
Boalch 2 number: None. yellow over original pink.
‘Type: Fret-free clavichord with octave strings in the bass. Previous history: Purchased by present owner from an
antique dealer in Copenhagen in 1967. According to the
Date: 1758.
owner it has a sticker on it saying Fraktcops, Sonosuill.
Ownership: LANSMUSEET MURBERGET,
HARNOSAND, SWEDEN.
Information supplied by: Dabl| Barrell.
Boalch 3 number: SPECKEN, P. J. n.d.(1).
Number: 4462.
Boalch 2 number: None.
Compass: C-e’.
Scale: 273 mm.
‘Type: Fretted clavichord.
Length: 1522 mm.
Width: 468 mm. Date: Not known.
Remarks. Soundboard of pine. Fifteen octave strings in Ownership: PRIVATE COLLECTION,
GAMMALGARDEN, BORLANGE, SWEDEN.
the bass.
References: H-O, No. S 22 M 4462. Information supplied by: Barrell.
Information supplied by: Weldon| Barrell|H-O. Boalch 3 number. SPECKEN, P. J. n.d.(z).
Boalch 2 number: None.
Boalch 3 number: SPECKEN, P. J. 1758.
Boalch 2 number: None.
SPECKEN(A), PHILIP JACOB.
Type: Fret-free clavichord. Type: Fret-free clavichord with octave strings in the bass.
Date: 1760. Date: 1740-60.
Ownership: BORGA MUSEUM, BORGA, FINLAND. Ownership: NORDISKA MUSEET, STOCKHOLM,
Number: 3116. SWEDEN.

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642 SPECKEN
Number: 121.222. Length: 1865 mm.
Inscriptions: None— suggested by museum to be by Width: 580 mm.
Specken on stylistic grounds. Remarks: Soundboard of pine. Twenty-two octave strings
Compass: GG-P. in the bass.
Scale: 280 mm. References: H-O, No. S A. Unnerback, Stockholm.
Length: 1604 mm. Information supplied by: Barrell|Weldon{H-O.
Width: 476 mm. Boalch 3 number: SPECKEN, P. J. & ROSENAU, G.
Depth: 169 mm. 1758(1).
Remarks: Keys of pine, roof-carved. Iron guide pins. Boalch 2 number: None.
Naturals of bone with two pairs of grooves and keyfronts
of embossed gilded paper. Sharps of bone and tortoise- Type: Fretted clavichord.
shell chevron veneer. Soundboard of pine. Bridges of Date: 1758.
pine, badly broken. Sixteen octave strings in the bass. Ownership: HALSINGLANDS MUSEUM,
Case and internal structures of pine, originally painted HUDIKSVALL, SWEDEN.
red on the outside, now painted in imitation of wood. Number: 5137.
Keywell and keybox lid veneered in tortoise-shell and Compass: C-d.
pine. Keyboard: Black naturals, white sharps.
References: H-O, No. S 01 NordM 121.222. Scale: 261 mm.
Information supplied by: Weldon|BarrellH-O. Length: 1440 mm.
Boalch 3 number: SPECKEN(A), P. J. 1740-Go. Width: 414 mm.
Boalch 2 number: None. Remarks: Made (according to H-O) in the Rosenau
workshop in 1758. Soundboard of pine. Naturals of
Type: Clavichord. ebony, sharps of bone. Internal pastoral lid painting.
Date: Not known. References: H-O, No. S o1 HM 5137. Illustrated at fig.
Ownership: RAMSJO KYRKA, SWEDEN. 141, p. 168.
Compass: C-d?. Information supplied by: Barrell] Weldon|H-O.
References: Barrell attributes the instrument to Specken, Boalch 3 number: SPECKEN, P. J. & ROSENAU, G.
reporting that its characteristics are purely Swedish and 1758(2).
that the maker was probably apprenticed with the Swedish Boalch 2 number: None.
organbuilder, Cahman, and made several (at least) other
clavichords while in Sweden. This latter statement would Type: Fret-free clavichord with octave strings in the bass.
not necessarily indicate Specken, who did not work for Date: 1760.
Cahman, though he did work for Gustaf Berg, and the Ownership: VALLBY FRILUFTSMUSEUM,
widow of Johan Petter Roos (g.».). VASTERAS, SWEDEN.
Information supplied by:Barrell. Number: 7777.
Boalch3 number: SPECKEN(A), P. J. n.d.(1). Inscriptions: Label on the area of the soundboard between
Boalch 2 number: None. the wrestpins and the case: FORFERDIGAT HOS
SPECKEN/AF GOTTLIEB ROSEN AU/
Type: Clavichord. INSTRUMENTMAKARE|I STOCKHOLM 1760.
Date: Not known. Compass: C-d?.
Ownership: PRIVATE COLLECTION, SWEDEN. Scale: 245 mm.
Compass: C-d?. Length: 1519 mm.
References: Assigned by Barrell to Specken though he Width: 467 mm.
reports a label on the inside: I/id Kongl: Acad: i Abo. Remarks. Soundboard of pine, painted with flowers.
1763. Bridges of beech. Fourteen octave strings in the bass.
Information supplied by: Barrell. Basically all the pieces are there, but not joined together.
Boalch 3 number. SPECKEN(A), P. J. n.d.(2). References: H-O, No. S 19 VE 7777-
Boalch 2 number: None. Information supplied by: Barrell|Weldon|H-O.
Boalch 3 number: SPECKEN, P. J. & ROSENAU, G.
SPECKEN, PHILIP JACOB, and ROSENAU, 1760.
GOTTLIEB. Boalch 2 number: None.
Type: Fret-free clavichord with octave strings in the bass.
Date: 1758. SPEER, CHRISTIAN FERDINAND.
Ownership: A. UNNERBACK, STOCKHOLM, Type: Virginal.
SWEDEN. Date: 1762.
Compass: FE-P. Ownership: ROSENBORG CASTLE MUSEUM,
Seale: 315 mm. DENMARK.

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 STEIN 643
Inscriptions: Inscribed on soundboard: Christian Ferdinand Exterior of case: Painted.
Speer in Coppenbagen 1762. Length: 1724 mm.
Specification: 1x8'(A). Width: 532 mm.
Compass: C-c'(A). Depth: 173 mm.
Number of roses: 1. Remarks: Instrument is on loan to the Musikwis-
Length: 877 mm. senschaftliches Seminar der Georg-August Universitat,
Width: 405 mm. Géttingen. Bemmann reports that the case is newly painted.
Previous bistory: The instrument is said to have been in The place of manufacture is not known.
Gottorp Castle, where Princess Louise, daughter of King Information supplied by: Bemmann.
Frederik V of Denmark and wife of Prince Karl of Boalch 3 number: SPRINGSGUT, C. G. 1794.
Hessen, lived from 1768 to 1836. Given to Rosenborg in Boalch 2 number: None.
1875/6 by F. S. Bang, who had bought it in Flensborg.
Information supplied by: B’. STEHLIN, BENOIST.
Boalch 3 number: SPEER, C. F. 1762.
Type: Two-manual harpsichord.
Boalch 2 number: 1. Date: 1750.
Ownership: MUSEE ANTOINE LECUYER, ST.
SPEISEGGER, JOHANN CONRAD. QUENTIN, FRANCE. Accession number not known.
‘Type: Fretted clavichord. Specification: 2x8’, 1x4’.
Date: 1725. Additional features: Harp stop, Coupler.
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, Compass: FF-P.
GERMANY. Previous history: Given to the Museum by Bernard Jument-
Number. 3072. ier (1749-1829), composer and maitre de chapelle at St.
Inscriptions: Label under the keys: Job. Conrad Speisegger| Quentin Cathedral. Restored in 1913.
Orgelmacher in Shaffhausen| 1725. Information supplied by: B’.
Compass: C-c}. Boalch 3 number: STEHLIN, B. 1750.
Keyboard: White naturals, black sharps. Boalch 2 number: 1.
Number of roses: 1.
Exterior of case: Plain wood.
Scale: 248 mm.
Type: Two-manual harpsichord.
Length: 1180 mm. Date: 1760.
Width: 374 mm. Ownership: SMITHSONIAN INSTITUTION,
Depth: 112 mm. WASHINGTON, USA.
Number: 66,521.
Remarks: Keys of roof-carved alder. Iron guide slips.
Naturals of boxwood with two pairs of grooves and Inscriptions: Inscribed on bottom 4’ jack: Benoist Stelle, and
fronts of pressed paper. Sharps of black-stained walnut. dated 1760 on the soundboard. Initials BS in the rose.
Soundboard of spruce with replacement rose to the left Specification: 2x8’, 1x4’.
of the bridge. Bridge (timber unidentified) slightly curved. Additional features: Harp stop, shove coupler, 2 hand
Case of pine with internal structures of oak. stops.
Previous history. Not known before 1933 when it was in Compass: FF-f.
the possession of an unknown owner. Number of roses: 1.
References: Henkel2z, pp. 71 and 72 (illustrated at plates 40, Previous history: The instrument was previously in Florida,
and a packer’s label on the stand below the keyboard
41 and 64).
Information supplied by: Henkel2|Weldon. shows that at one time it passed through Salomon’s hands.
Boalch 3 number: SPEISEGGER, J. C. 1725. Restored by J. Scott Odell, Smithsonian Institution, 1968-
Boalch 2 number: None. Jo.
References: Ulustrated in Smithsonian Journal of History, vol.
SPRINGSGUT, C. G. I, no. 3 [1966].
See also: Smithcheck89 and Smithsonian photo negatives
Type: Fret-free clavichord. 61,272; 61,272A and B; 77-9063. Technical drawing also
Date: 1794. available from the Smithsonian. Acoustic tests carried out
Ownership: MUSIKWISSENSCHAFTLICHES in 1985 by E. L. Kottick (Kottick-response).
SEMINAR, GOTTINGEN, GERMANY.
Information supplied by: B?|Smithcheck&9.
Number. L-1.
Boalch 3 number: STEHLIN, B. 1760.
Inscriptions: On label on the soundboard: C G Springsgut
Boalch 2 number: 2.
Ao:1794/No 17.
Compass: FF-a’.
Keyboard: Black naturals, white sharps. STEIN, JOHANN ANDREAS.
Number of roses: None. Type: Fretted clavichord.

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644 STEIN(A)
Date: 1762. Inscriptions: Jean André Stein, faiseur d?Orgues, des Clavicins
Ownership: HUNGARIAN NATIONAL MUSEUM, et Organiste a I’ Exglise des Minorittes a Augsbourg 1783.
BUDAPEST, HUNGARY. Specification: 2x8", 1x4’.
Inscriptions: Job. Andr. Stein Orgel u. Claviermacber in Additional features: 2 genouilleres.
Augsburg, 1762. Compass: FF-P(A).
Compass. C-P. Keyboard: Black naturals, white sharps.
Keyboard: Black naturals, white sharps. Remarks: A combined grand pianoforte and two-manual
Length: 990 mm. harpsichord, with two keyboards at one end and one for
Width: 350 mm. the pianoforte at the other. The harpsichord has three
Depth: 110 mm. registers, most probably 2x8’, 1x4’. Ebony naturals and
Remarks: Has label inside the lid with the words W A ivory sharps.
MOZART/REISE-SPINETT (CLAVIER). Previous history: Bz reports that the instrument was
Previous history: Formerly belonged to Mozart (see article presented in 1784 by the Emperor Joseph II of Austria
on Stein in Part 1, and Richard Maunder, ‘Mozart’s after he was entertained at Naples by King Ferdinand
keyboard instruments’, in EM, Vol. XX, No. 2, May (1751-1825). It formerly belonged to the Duke Ernesto
1992, p. 211 (illustrated)) and later Hummel. Shown at del Balzo.
the Vienna Weltausstellung 1873, and the Internationale Information supplied by: Bz.
Ausstellung fiir Musik-und Theaterwesen, Vienna, 1892. Boalch
3 number: STEIN, J. A. 1783.
Bought by the Museum in 1965. Boalch 2 number: 5.
References: G. Gabry’s illustrated article ‘Das Reise-
clavichord W. A. Mozarts’ in Studia Musicologica, Budapest, Type: Fret-free clavichord.
vol. 10 (1968), pp. 153-62. See also Gabry 1963, illustration Date: 1787.
at plate 5. Ownership: GEMEENTEMUSEUM, THE HAGUE,
Information supplied by: Bz|Gabry. NETHERLANDS.
Boalch 3 number: STEIN, J. A. 1762. Number. Ec 712-1933.
Boalch 2 number: 1. Inscriptions: On the underside of the soundboard: Jean
André. Stein] Augsburg] 1787.
Type: Four-manual vis a vis. Compass: C-P.
Date: 1777. Keyboard: Black naturals, white sharps.
Ownership: MUSEO CIVICO, VERONA, ITALY. Number of roses: None.
Accession number not known. Exterior of case: Plain wood.
Specification: 1x16’; 2x8", 1x4’: (harpsichord). Scale: 291 mm.
Additional features: 5 hand stops, harp stop. Length: 982 mm.
Compass: FF-f. Width: 293 mm.
Keyboard: Black naturals, white sharps. Depth: 100 mm.
Number of roses: None. Remarks: Almost unique in being single-strung.
Length: 2870 mm. Previous bistory: From the collection of D. F. Scheurleer.
Width: 1016 mm. Restored by the Museum in 1954 (number 22) and again
Remarks. A rectangular-shaped instrument combining a in 1976.
grand pianoforte with a two-manual harpsichord. The Reference: HaagCL, pp. 54-5 (illustrated).
keyboards are at each end of the rectangle—at one end Information supplied by: HaagCL|Weldon.
the two-manuals for the harpsichord plus a third which Boalch3 number: STEIN, J. A. 1787.
controls the piano by stickers, and at the other the Boalch 2 number: None.
piano alone. The harpsichord has 1x16’, 2x8’, and 1x4’.
Plainwood case raised on six turned legs. STEIN(A), JOHANN, ANDREAS.
Previous history: Formerly, according to Hertz belonged Type: Clavichord.
to the Societa Filarmonica, Verona, though according Date: 1770(A).
Rassellr939 it does still belong to the Society. Ownership: FORMERLY IN THE BERLIN
References: Mlustrated in Russellrg
59, plate 95. COLLECTION, BERLIN, GERMANY.
Information supplied by: B2/Russelli9s9. Number: 1279.
Boalch 3 number: STEIN, J. A. 1777. Inscriptions: Inscription on a damaged label... 0... a
Boalch 2 number: 4. Augsburg.
Remarks: Attributed to Stein by W. Despite the presence
Type: Two-manual/single-manual vis a vis. of a catalogue number, the checklist of the Musi-
Date: 1783. kinstrumenten Museum, Berlin, does not include this
Ownership: NAPLES CONSERVATOIRE, NAPLES, instrament, and its present whereabouts are not known.
ITALY. Accession number not known. It was probably lost in World War I.

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 STEWART 645
Information supplied by: B?. Compass. GG,AA-d?.
Boalch 3 number: STEIN(A), J. A. 1770(A). Keyboard: White naturals, black sharps.
Boalch 2 number: (?)3. Length: 2450 mm.
Width: 1000 mm.
STEINICHT, PAUL. Remarks: Boxwood naturals, ebony [?] sharps. B? says
Type: Ottavino. ‘Side-stops’, presumably indicating that the registers
Date: 1657. project through the cheek.
Ownership: FORMERLY IN THE BERLIN References: Francl lists a harpsichord signed: Bartolomeo
COLLECTION, BERLIN, GERMANY. Stephanini 1646.
Number: 2212. Information supplied by: B?| VdM|WraightPC.
Inscriptions: Paulus Steinicht me fecit anno MDCLVII. Boalch 3 number: STEPHANINI, B. 1694.
Specification: 1x4". Boalch 2 number: 1.
Compass. C/E-c’, short octave.
Number of roses: 1. STEPHANUS MUTINENSIS.
Length: 650 mm. Type: Ottavino.
Width: 390 mm. Date: 1537.
Remarks: Though recorded in B*, VdM reported in 1985 Ownership: WESTWOOD MANOR (THE NATIONAL
that the instrument had been lost in the Second World TRUST), WILTSHIRE, ENGLAND. Accession
War, and this is confirmed by BerlinCat. number not known.
Previous bistory: Formerly belonged to M. Snoeck, Belgium. Inscriptions. STEPHANVS MVTINENSIS * M * D *
Shown at the Special Exhibition of Ancient Musical XXXVII, on nameboard.
Instruments, South Kensington Museum, 1872. Specification: 1x4'(A).
References: Sa. BerlinCat, p. 374 gives text of Sa. Number of roses: 1.
Information supplied by: B?| VdM|BerlinCat. Compass. Garrett reports that the compass is three octaves
Boalch 3 number: STEINICHT, P. 1657. and an unchromatic sixth (no g#*) (forty-one notes)
Boalch 2 number: 1. C/E-a*, short octave.
Remarks: Polygonal in shape. Case inlaid with ivory, and
Type: Ottavino. the cypress soundboard has a fine rose. Instrument is
Date: 1661. beautifully preserved.
Ownership: KOPENICK CASTLE, BERLIN,
Previous bistory: Formerly the property of Edgar Lister.
GERMANY. Accession number not known. Repaired by Ian Harwood in 1959. Repaired again in
Inscriptions: Inscribed on jackrail in ivory: Panlus Steinicht] 1983 and 1987 by Clayson and Garrett.
me fecit Gedani| Anno 1661. Information supplied by: B?|Garrett.
Specification: 1x4’. Boalch 3 number: STEPHANUS MUTINENSIS. 1537.
Compass: C/E-c’, broken octave.
Boalch 2 number: 1.
Number of roses: 1.
Langth: 650 mm.
Width: 380 mm. STEWART, NEIL.
Remarks: Though shown in B? as being in the Berlin (See also under Logan, James)
Collection, according to VdM, it is the property of the Type: Wing spinet.
Kunstgewerbemuseum, and is at Kopenick Castle in what Date: 1774.
was East Berlin. Since the instrument does not appear in Ownership: Not known.
the checklist of the Musikinstrumenten Museum, this Inscriptions: Nameboard signed: Neil Stewart Edinburgh fecit
seems very likely. Case is trapezoidal in shape and of MDCCLXXIV. During repairs Mr. Legg found an ink
cypress. inscription on the inside surface of the bottom: James
Information supplied by: B*| VdM|BerlinCat. Logan Edinburgh fecit no. 104, for N. Stewart No. 12. The
Boalch 3 number: STEINICHT, P. 1661. date 1774 is stamped on the lowest key.
Boalch 2 number: 2. Specification: 1x8".
Compass: FF,GG-P(A).
STEPHANINI, BARTOLOMEO. Keyboard: White naturals, black sharps.
Type: Single-manual harpsichord.Date: 1694. Remarks: Ebony sharps.
Ownersbip: HISTORISCHES MUSEUM, Previous bistory: Formerly in the possession of C. A. Legg,
FRANKFURT-AM-MAIN, GERMANY. Accession Cirencester (1954). Present whereabouts unknown.
number not known. References: Cranmer].
Inscriptions. Anno MDCXCIV |Bartholomaens| Information supplied by: B?|Cranmer].
Stephaninilfaciebat. Boalch 3 number. STEWART, N. 1774.
Specification: 2x8’. Boalch 2 nursber- 1.

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 646 STEWART
Type: Wing spinet. Date: 1777.
Date: 1784. Ownership: LA GRANDE MENESTRANDISE,
Ownership: RUSSELL COLLECTION, EDINBURGH GENEVA, SWITZERLAND.
UNIVERSITY, SCOTLAND. Inscriptions: Reported by Bz as Jacob Stirnimann (sic), Lyon,
Number: 18. 1777, but confirmed by Roth and Pussian as Jacob Stirnemann
Inscriptions: On name-batten: Neil Stewart Edinburgh fecit. fecit 1777, with no mention of the place of manufacture.
On the back of the nameboard: A.R. for N.S./21 [? Similarly inscribed around the rose.
Andrew Rochead for Neil Stewart]. Bottom key stamped Specification: 2x8’, 1x4’.
1784. Keys and jacks stamped 3. Compass: FF-P.
Specification: 1x8’. Number of roses: 1.
Compass: FF-f. Remarks: Rose painted on soundboard (not pierced),
Keyboard: White naturals, black sharps. having a sailing ship, and bridge with two arches and a
Number of roses: None. tower. Soundboard decorated with floral motifs, birds,
Exterior of case: Crossbanded. and insects, and a garland of flowers around the rose.
Scale: 249 mm. Interior lid painting on the theme of a young girl
Length: 1872 mm. preparing for her marriage. Exterior of case painted ‘au
Width: 763 mm. vernis Martin’ gilded, with allegorical motifs. The keywell,
Depth: 213 mm. jackrail and borders over the soundboard have geometric
Remarks: Naturals of ivory with moulded fronts. Sharps pattern on a green background. Passiaw notes ‘Long radis
of ebony. Case of figured mahogany panels, crossbanded sur le sommier, identiquement au clavecin Collesse-
with straight grain mahogany. Fascia board with garlands Francky, Lyon, 1774-77 (Musée instr. du C. N. S. M. de
of foliage. Lid of solid mahogany. Trestle stand. Paris) et clavecin anonyme, attribué 4 Collesse (coll. part.
Previous history: Formerly J. L. Trafford, Goodrich Court, Reinhardt Van Nagel).’ Mortises and tenons of the case
Ross-on-Wye. Bought by Raymond Russell on 25 Novem- construction visible under the exterior decoration. The
ber 1955. Restored by Trevor Beckerleg in 1967, including original jacks have been lost. Some indications of string
new nut and jackrail. gauges on the keys. Gilded Regency style stand with six
References: RussColl, p. 41 (illustrated). shaped and carved legs.
Information supplied by: B2|RussColl]RussColl1986/Raymond. Previous history: According to Bz, was in private ownership
Boalch 3 number: STEWART, N. 1784. in 1968.
Boalch 2 number: 2. References: Rindl.
Information supplied by: Bz/Roth/Pussiax.
STEWART, NEIL and LOGAN, JAMES. Boalch 3 number: STIRNEMANN, J. 1777.
Type: Wing spinet. Boalch 2 number: 1.
Date: Not known.
Ownership: PROFESSOR JOHN POYNTER,
MELBOURNE, AUSTRALIA. STODART(A), ROBERT.
* Inscriptions. None. Type: Two-manual harpsichord and fortepiano.
Specification: 2x8’. Date: 1777(A).
Remarks: Uninscribed name panel, but closely resembling Ownership: SMITHSONIAN INSTITUTION,
STEWART, N. 1774 above, except that it has 2x8’. It is WASHINGTON, USA.
most probably Bz, number 3. The double stringing is Number: 315,759.
accomplished by bridge and nut of double height. The Inscriptions. On the upper nameboard: Combined barpsichord
lower strings pass through holes in the bridge and nut. and grand piano. Upper bank Piano; lower, harpsichord. On
A pedal engages the proximal 8’ jacks. the lower board: Robertus Stodart. Londini fecit 1777.
Previous history: Owned in 1958 by Michael Thomas who Specification: 1: 2x8’; 11: piano action.
had found it in Scotland. Restored by Alfred Reeves. Additional features. 2 pedals, 2 hand stops.
Purchased in 1973 by Mars Macmillan (Melbourne), it Compass: FF-P.
suffered damage in transit to Australia. Since purchased Keyboard: White naturals, black sharps.
by present owner (1975) and restored by Alastair McAl- Exterior of case: Crossbanded.
lister in 1976. Remarks: Instrument is a combined harpsichord and piano
References: Cranmer]. with piano action on the upper manual and harpsichord
Information supplied by: B2|Mc Allister|Cranmer]. on the lower. The nameboards are very questionable. The
Boalch 3 number. STEWART, N. & LOGAN, J. n.d. instrument is similar to one patented by James Davies
Boalch 2 number: 3? (q.v.) in 1792.
References. Smithcheck89 and Smithsonian photo negatives
STIRNEMANN, JACOB. 3/4:56,315, F:56,315A, 56315B.
Type: Two-manual harpsichord. Information supplied by: Bz|Smithcheck89.

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 STRAUBE 647
Boalch 3 number: STODART(A), R. 1777(A). cut as if fretted, very similar to one by Fleischer. Much
Boalch 2 number: 1. restored.
References: H-O, No. S o1 NordM 145.765. Illustrated at
STOY, GEORG CHRISTOP. figs. 109A, 109B, and 109C on pp. 123 and 124.
Type: Two-manual harpsichord. Information supplied by: B2|Weldon| Barrell.
Date: Not known. Boalch 3 number. STRAHLE, D. 1738.
Ownership. MME. DEMANGEL, CASTRES, FRANCE. Boalch 2 number: 1.
Inscriptions. The notice of the sale in Connaissance des Arts,
No. 158, October 1964 gives the inscription as Georg Type: Fret-free clavichord.
Christop Stey C. P. S.C. M. Augus p Bev. Date: 1740(A).
Compass: FF-P. Ownership: VALLBY FRILUFTSMUSEUM,
Length: 2200 mm. VASTERAS, SWEDEN.
Remarks: According to the notice of the sale of this Number: 7270.
instrument at the Galerie Galliera on 14 March 1964: Compass: C-d?.
‘C'est le type parfait du XVIII‘me siécle dit ‘a Grand Keyboard: Black naturals, white sharps.
Ravalement’. Il est hélas anonyme, nous trouvons heur- Exterior of case: Painted.
eusement une indication sur les papiers de décoration Length: 1410 mm.
intérieurs, cette inscription: GEORG. CHRISTOP. Width: 438 mm.
STOY. C.P.S.C.M. AUGSP BEV.’ Case in green and Remarks: Owner is given by Barrell as Stiftelsens Hallands
gold. Interior decoration includes two scenes from the Lansmuseet, Varberg and there is some confusion over
life of Orpheus. Soundboard decorated with coloured H-O’s numbering since she shows it as her number S 19
bouquets of flowers. Raised on a stand with cight legs in VM 7270, and S 19 VM does not appear as any of her
Louis XV style. given locations, though S 13 is the ‘Stiftelsens Hallands
Previous history: Restored by Masson in 1911 and again by linsmuseer, museet i Varberg’. The text of H-O, on p.
Claude Mercier-Ythier. At one time in the collection of 144 shows that the instrument is in fact at the Vallby
Jacques Vollant de Grignau. Sold in 1964 to Mme. Friluftsmuseum. Was a clavichord, now converted into a
Demangel, and recorded by Scott Ross and Lionel Rogg. square piano with a very simple mechanism added to the
References: See notes accompanying the Harmonia Mundi tops of the keys. Similar to one in Stockholm.
recording of Lionel Rogg’s performance on HMO 30 390 References: H-O, No. S 19 VM 7270. Illustrated at figs.
Artistique. See also the two references given above in the 125A, 125B on p. 145.
text. Information supplied by: Barrell|Weldon|H-O.
Information supplied by: Guillow. Boalch 3 number: STRAHLE, D. 1740(A)(1).
Boalch 3 number: STOY, G. C. n.d. Boalch 2 number: None.
Boalch 2 number: None.
Type: Fret-free clavichord.
STRAHLE, DANIEL. Date: 1740(A).
Type: Fret-free clavichord with octave strings in the bass. Ownership. CHURCH OF NORMLOSA,
Date: 1738. OSTERGOTALAND, SWEDEN.
Ownership: NORDISKA MUSEET, STOCKHOLM, Compass: C-d.
SWEDEN. Keyboard: Black naturals, white sharps.
Number. 145.765. Exterior of case: Painted.
Inscriptions. Signed between bridge and wrest pins: Daniel Scale: 240 mm.
Strable|fecit Anno 1738. Length: 1400 mm.
Compass: C-d?. Width: 438 mm.
Keyboard: White naturals, black sharps. Remarks: Soundboard of pine.
Excterior of case: Painted. References: H-O, No. Normlésa k:a (Ogl.). Illustrated at
Scale: 536 mm. fig. 126 on p. 146.
Length: 1591 mm. Information supplied by: H-O|Weldon| Barrell.
Width: 518 mm. Boalch 3 number: STRAHLE, D. 1740(A)(2).
Depth: 145 mm. Boalch 2 number: None.
Remarks: Keys of roof-carved pine. Horn guide slips.
Naturals, replacement of jacaranda with embossed and STRAUBE, JOHANN AUGUSTIN.
gilded paper fronts. Sharps of ebony-capped, black-stained Type: Fret-free clavichord.
wood. Soundboard of pine, painted with flowers. Bridges Date: 1783.
of pine. Fifteen octave strings in the bass. Casework and Ownership: GEMEENTEMUSEUM, THE HAGUE,
internal structures of pine. Outside painted in imitation NETHERLANDS.
wood, inside red. Idealised scenic lid painting. Keyboard Number: Ec $42-1933-

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648 STROLGER
Inscriptions: On a printed label: Johann Augustin Straube/ keylevers with holes cut through for tangents. Bridges of
Musicalischer Instrumentenmacher|Fecit a Berlin, Anno 1783. maple, bent to shape with scrolled ends. Base of pine;
Compass: FF-P. walls and lid of oak. Possibly orginally overdamped.
Keyboard: Black naturals, white sharps. Hitch pin rail of beech capped with black laquered pear.
Number of roses: 1. Previous history: 1910 in the Heyer Collection, Cologne.
Exterior of case: Plain wood. Slight restoration in 1968.
Scale: 273 mm. References: Henkel2, pp. 64 and 65. Illustrations plates 36,
Length: 1760 mm. 37, 56, 62, 76.
Width: 530 mm. Information supplied by: B*|Henkel2|/Weldon.
Depth: 205 mm. Boalch 3 number. STRAUBE, J. A. 1787.
Remarks: Soundboard extends over keyboard with tan- Boalch 2 number: 2.
gents coming up through holes. Type: Fret-free clavichord.
Previous history: Formerly in the collection of D. F.
Date: Not known.
Scheurleer. Restored by the Museum in 1960 (number Ownership: MARKISCHES MUSEUM, BERLIN,
496). GERMANY. Accession number not known.
References: HaagCL, pp. 52-3 (illustrated).
Compass: FF-F.
Information supplied by: B?/HaagCL.
Information supplied by: B?|Thoene.
Boalch 3 number: STRAUBE, J. A. 1783.
Boalch 3 number. STRAUBE, J. A. n.d.
Boalch 2 number: 01.
Boalch 2 number: 3.
‘Type: Fret-free clavichord. STROLGER.
Date: 1786. Type: Wing spinet.
Ownership: FORMERLY IN THE BERLIN Date: 1700(A).
COLLECTION, BERLIN, GERMANY. Ownership: MESSRS. MICHAEL FOSTER, LONDON,
Number: 977. ENGLAND.
Inscriptions. Signed: Johann Augustin Straube, Musikalisher Inscriptions. Inscribed with the name Strolger in a very
Instrumentenmacher|Fecit a Berlin Anno 1786. inexpert way on the nameboard.
Compass: FF-P. Specification: 1x8’.
Remarks: The instrument was lost in 1945, and its present Previous history: The existence of the instrument was
whereabouts are not known. reported in 1985 by Mrs. Margaret Susands, when it was
Information supplied by: B*. in the possession of Messrs. Michael Foster in London,
Boalch 3 number: STRAUBE, J. A. 1786. who expected to sell it shortly thereafter.
Boalch 2 number: 1. Information supplied by: Susands.
Boalch 3 number. STROLGER. n.d.
Type: Fret-free clavichord. Boalch 2 number: None.
Date: 1787.
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, STRUMPHLER, JOHANNES STEPHANUS.
GERMANY. Type: Two-manual harpsichord.
Number: 29. Date: Not known.
Inscriptions: Label inside toolbox: JOHANN AUG- Ownersbip: VILLA MIARI, SANTA ELENA,
USTIN STRAUBE,/MUSICALISCHER INSTRU- ROVIGO, ITALY.
MENTENMACHER, A BERLIN, ANNO 1747. On Inscriptions: Rose has initials ].5.
the soundboard ».B. and B.B., probably initials of previous Specification: 1: 2x8’, 1x4’; LU: 1x8’.
owners. Additional features: Shove coupler.
Compass. FF-P. Compass: C-P.
Keyboard: Black naturals, white sharps. Keyboard: White naturals, black sharps.
Number of roses: 1. Number of roses: 1.
Style of rose: Geometrical pattern. Style of rose: Seated harping figure.
Exterior of case: Plain wood. Exterior of case: Painted.
Scale: 270 mm. Remarks: Noticed by Gustav Leonhardt in a manor house
Length: 1785 mm. called ‘Miari’, Santa Elena, between Padua and Rovigo,
Width: 540 mm. Italy, and reported to Gierveld. Naturals of ivory with
Depth: 218 mm. two black curves (sic, according to Gierveld); GL says
Remarks: Keys of roof-carved alder with wooden key naturals are bone. The material of the sharps is not
slips. Naturals of ebony with two pairs of grooves and known, but they are black in colour. Keyfronts arcaded.
arcaded ebony fronts. Sharps of ivory-capped, black- Case painted in imitation of brown wood—green inside.
stained wood. Soundboard of spruce extending over Information supplied by: Gierveld|GL|VdM.

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 SWANEN 649
Boalch3 number: STRUMPHLER, J. S. n.d. Boalch 3 number: STUPAN(A), J. n.d.
Boalch 2 number: None. Boalch 2 number: 1.

SVEDE, FREDRIC.
STUMPFF, J. G.
‘Type: Fret-free clavichord with octave strings in the bass.
‘Type: Fret-free clavichord.
Date: 1816.
Date: 1823.
Ownership: PRIVATE COLLECTION, SWEDEN.
Ownership: MUSIKINSTRUMENTEN MUSEUM,
Compass. CC-c*.
BERLIN, GERMANY.
Scale: 325 mm.
Number: 5006. Length: 2213 mm.
Compass: FF-c’.
Width: 645 mm.
References: Berry sz.
Remarks: Seventy-three keys and courses. Twenty-two
Information supplied by: B*|Droysen-Reber|Elste.
octave strings in the bass. Soundboard of pine with grain
Boalch 3 number: STUMPFF, J. G. 1816.
at twenty-five degrees. String gauges marked.
Boalch 2 number: 1.
References: H-O, No. S Privat ago.
Information supplied by: H-O|Weldon| Barrell.
STUPAN(A), JAKOB. Boalch 3 number: SVEDE, F. 1823.
Type: Ottavino. Boalch 2 number: None.
Date: Not known.
Ownership: LANDES MUSEUM, ZURICH, SWANEN, JACQUES JOACHIM.
SWITZERLAND. Type: Two-manual harpsichord.
Number, LM 1254. Date: 1786.
Inscriptions: Around the internal rim is painted: LACOBUS Ownership: CONSERVATOIRE DES ARTS ET
STUPANUS PHILOSOPHUS CHYMICUS MEDICI- METIERS, PARIS, FRANCE. Accession number not
NAE DOCTOR ARDEZIENSIS ANNO MDCCXXII known.
DII 27 LANUARII. Inscriptions: Joachim Swanen Facteur a Paris 1786 rue des
Specification: 1x4'(A). Fossés Mr. le Prince au no. 106. Initials JS in the rose.
Compass. C/E-c', short octave. Specification: 2x8’, 1x4’, 1x16’.
Keyboard: White naturals, black sharps. Additional features: 5 pedals (possibly original).
Number of roses: 1. Compass: EE-a’ (harpsichord compass).
Exterior of case: Painted. Number of roses: 1.
Remarks: Stupan was probably the early owner [1772] of Remarks: Instrument has two manuals, and a pedal board
this seventeenth-century ottavino, and not the maker. (EE-e(A)) two octaves with piano action. The harpsichord
Highly decorated rectangular case with internal lid paint- has 2x8’, 1x4’, with 16’ worked by the pedals (besides
ing on which are the arms of a family given in the the piano action).
Museum’s data sheet as Stoppani, or Stupan, or Stupanus. Previous history: Restored by Tomasini in 1883.
Previous history: Formerly Louis Brunner, Ziirich. References: GS], p. 13 [1960], p. 58, note 15.
References: RindlKlav, p. 224, and data sheet from the Information supplied by: B*|GSJ.
Museum. Boalch3 number: SWANEN, J. J. 1786.
Information supplied by: B?|RindKlav|Museum. Boalch 2 number: 1.

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 T
TABEL, HERMANN. Ownership. POWER HOUSE MUSEUM, SIDNEY,
Type: Two-manual harpsichord. AUSTRALIA. Accession number not known.
Date: 1721. Inscriptions: Signed F. VINCENTIUS DE TAEGGIIS
Ownership: COUNTY MUSEUM, WARWICK, BONON. ORDINS SERVOR. B.M.V.ANNO D.
ENGLAND. MDCXXIX.
Number: Msg. Specification: 1x8".
Inscriptions. On nameboard: HERMANUS TABEL, Compass. C/E-P(A), short octave.
FECIT LONDINI J7Z1. On top key of lower manual: Keyboard: White naturals, black sharps.
No 43/Herm|Tabel|Fecit/Londil-nilJ721. On a piece of Number of roses: 1.
paper on the right hand side of the wrestplank: Double Exterior of case: Painted.
harpsichord by Tabellrestored by Jobn Broadwood and sons|May Case construction: Italian style —false inner/outer.
1900|Tune: semitone below French. Length: 1500 mm.
Specification: 1: 2x8’, 1x4’; U: 1x8’, lute. Width: 480 mm.
Additional features: 4 hand stops, dogleg. No pedals, Depth: 200 mm.
machine, venetian swell, or lid swell. Remarks: This is almost certainly the same instrument
Compass: FF,GG-f. which was in the Savoye Collection, Paris. The sale
Keyboard: Black naturals, white sharps. catalogue of the Savoye Collection, III (13 June 1924)
Number of roses: 1. assigns it to the seventeenth century, giving the name as
Style of rose: Monogram. Vincentinsde Taegis. Boxwood naturals with arcaded fronts.
Exterior of case: Crossbanded. Sharps of ebony. External case of dark green tempera
Scale: 343 mm. with fine Italo-Flemish picture in the lid. Gothic style
Length: 2470 mm. rose made of boxwood veneers.
Width: 943 mm. Previous history: Most probably sold with the Savoye HI
Depth: 286 mm. Collection on 13 June 1924. Passed through the hands of
Remarks: Naturals of blackwood, sharps with ivory slips the Pelham Galleries, London. Formerly in a private
on top of stained pine, but the keyboards have undergone collection in Belgium.
some changes. String gauges marked in ink on nuts. References: Exhibition, The Adjectives of History, Colnaghi
Instrument has undergone a number of changes which Ltd., London, 1983. Cat. No. 50. Savoye Collection II
are reported in RipKb, pp. 57-64. Rose has intertwined but sale catalogue.
indistinguishable monogram surmounted by a viscount’s Information supplied by: Bz/not disclosed.
coronet (which also appears in Tabel’s will). Case finish Boalch 3 number: TAEGIS, V. D. 1629.
is light walnut with crossbanding of similar wood and Boalch 2 number: 1.
no stringing. Trestle stand with turned legs.
TANNENBERG, DAVID.
Previous history: 1913: Helen, Countess of Radnor. Thence
‘Type: Harpsichord (number of manuals not known).
to Mrs. Pleydell-Bouverie, Godalming. Then to Captain
James Lane, Wanstead. Post 1945 it was sold to Raymond
Date: 18C(A).
Ownership: SINGLE SISTERS’ HOUSE, SALEM,
Russell. Sold at Sotheby’s on 25 May 1951 to Miss
NORTH CAROLINA, USA. Accession number not
Baldwin (Mrs. Edmonds). Sold at Sotheby’s in July 1965 known.
to the County Museum, Warwick.
References: The importance of this instrument in the Information supplied by: Bz.
Boalch 3 number: TANNENBERG, D. n.d.
history of English harpsichord building is outlined in the
Boalch 2 number: 1.
following references: Broad, p. 4; Hubb 196s, p. 158;
Russelli959, p. 79; RipKb, pp. 57 64. TASKIN, PASCAL.
Information supplied by: B2/|Mould Note. Type: Two-manual harpsichord.
Boalch 3 number: TABEL, H. 1721. Date: 1767.
Boalch 2 number: \. Ownersbip: NATIONAL MUSEUM OF ART,
BUCHAREST, ROMANIA.
TAEGGIS, VINCENTIUS DE. Number: 21663] 100. ;
Type: Rectangular virginal. Inscriptions: PASCAL. TASKIN ELEWE DE
Date: 1629. BLANCHET 1767 on the fascia board.

Disitized by GOOgle
 TASKIN 651
Specification: 2x8’, 1x4’. and reads: Pascal Taskin Facteur de clavessins du Roi, eléve
Compass: EE-P. et successeur de M. Blanchet, demeure méme maison Rue de le
Keyboard: Black naturals, white sharps. Verrerie vis-a-vis la petite porte de St Merry a Paris. There
Number of roses: 1. is a PT rose and round it the inscription: PASCAL
Exterior of case: Painted. TASKIN ELEVE DE BLANCHET. Dated 1769 on
Length: 2400 mm. the soundboard. ASSEMAN, the name of a twentieth-
Width: 970 mm. century Parisian restorer is stamped on the wrestplank.
Remarks: DowdHH speaks of the two 1769, and one 1770 Specification: 2x8’, 1x4’.
Taskin harpsichords as the continuation of the Blanchet Compass: FF-f.
tradition. At the time when Dowd was writing little (if Keyboard: Black naturals, white sharps.
anything) was known of this 1767 instrument, and it Number of roses: 1.
would be interesting to have Dowd’s views on it as an Exterior of case: Painted.
even earlier successor to the Blanchet tradition. There Remarks: Listed in DowdHH since it was made in the
are, however so many questions hanging over the authen- Blanchet workshop (as were TASKIN, P. 1769(z), and
ticity of this instrument that until it has been closely TASKIN, P 1770). He gives a short description saying
examined, it is not possible to state with certainty its that the case proportions and bent side shape are very
provenance. The instrument was reported to DHB in similar in appearance to the Edinburgh instrument.
1984 by H. Bergstram-Nielsen, Vanlose, Denmark, and Soundboard decorated by the same artist as the latter.
his description is quoted verbatim: ‘The instrument is The keyboards are modern. Painted and varnished dark
shorter than the harpsichord from 1769 [TASKIN, P. olive on the exterior with vermillion interior. Outside
1769(2)}, I am sure. On the nameboard was painted of the case decorated with gold floral borders and
PASCAL TASKIN ELEVE DE BLANCHET 1767 grotesqueries. Louis XV style stand with six cabriole legs.
[this has subsequently been confirmed from Museum Previous history. Restored in the twentieth century by
photographs], it was richly decorated on the lid and sides Asseman in Paris.
with paintings. The soundboard was decorated with References: DowdHH, pp. 84-5.
flowers and animals. There was a rose but no name. It Information supplied by: B?| DowdHH.
had two-manuals and three registers (8’ 8’ 4’), no Boalch 3 number: TASKIN, P. 1769(1).
buff stop. The couplers were short and ended on the Boalch 2 number: 2.
wrestplank. The 4’-bridge was bent towards the spine,
almost at a right angle (at the bass-end). The instrument Type: Two-manual harpsichord.
was intact with modern jacks, but the bone plates on Date: 1769.
some of the upper keys were missing. The decorations Ownership: RUSSELL COLLECTION, EDINBURGH
of the soundboard were not so sophisticated as on the UNIVERSITY, SCOTLAND.
instrument from 1769.’ Museum photos and additional Number: 15.
information kindly supplied to CMM by Mihaela Pupeza Inscriptions. PASCAL TASKIN ELEVE DE
and Cristina Dan, Information Centre of the National Art BLANCHET (round the rose). Date 1769 painted on
Museum, Bucharest, indicate that all the above is true, the soundboard. PT in ink on the upper FF key, and on
and that the instrument is sumptuously decorated with the FF jacks. In red crayon on underside of the batten
vignettes on the case sides, and an allegorical painting behind the lower manual sharps Pascal. Stamped on
inside the lid (it appears to be an angel crowning a seated wrestplank in front of 4’ nut: REFAIT PAR LOUIS
figure with a laurel wreath in a pastoral setting). The TOMASINI EN 1862. Stamped near 8’ E and F tuning
upper manual naturals have ‘toothed arcades’, but the pins ASSEMAN.
lower manual naturals appear to be fronted in a plain Specification: 1: 2x8", 1x4"; 1: 1x8".
light wood. The instrument is raised on a carved, gilded Additional features: Shove coupler, harp stop to one 8’, 3
apron stand with eight cabriole legs. hand stops.
Previous history: Elena Moruzzi Collection, Romania, thence Compass: FF-f.
to the Joma Stelian Collection, and since 1964 in the Keyboard: Black naturals, white sharps.
National Art Museum Collection. Number of roses: 1.
References: Photos are available from the Museum. Style of rose: Seated harping figure.
Information supplied by: Bergstrem Nielsen|Pupexa|
Dan. Exterior of case: Painted.
Boalch3 number. TASKIN, P. 1767. Scale: 357 mm.
Boalch 2 number. None. Length: 2319 mm.
Width: 933 mm.
Type: Two-manual harpsichord. Depth: 285 mm.
Date: 1769. Remarks: The catalogue states: ‘An exceptionally fine and
Ownersbip: MLLE. GUERVILLE, PARIS, FRANCE. important instrument of the fully-developed French type.”
Inscriptions, Taskin’s card is stuck onto the instrument Listed in DowdHH since it was made in the Blanchet

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652 TASKIN
workshop (as were TASKIN, P. 1769(1), and TASKIN, 64. DowdHH, pp. 81-4. Full scale drawing by Grant
P. 1770)). DowdHH shows how this instrument is very O’Brien (1976), and postcard available from the Russell
similar to the 176s Blanchet harpsichord, and gives Collection. Record also available.
considerable detail. Naturals of ebony with pale wood Information supplied by: B?/RussColl/MacTaggart|DowdHH|
(box/pear?) arcaded fronts; sharps of blackwood, ivory mond|Barnes.
(bone?) topped. Jacks, slides, and guides are impeccably Boalch 3 number: TASKIN, P. 1769(2).
made. Lower 8’ jacks punched for peau de bouffle, though Boalch 2 number: 1.
originally punched for quill. At one time there were two
harp battens, one operated by a brass lever, and the other Type: Two-manual harpsichord.
by an iron lever. Barnes reports that the two battens were Date: 1770.
so wide that they encroached on the blue pattern on the Ownership: YALE UNIVERSITY COLLECTION OF
wrestplank. This he took to indicate that originally there MUSICAL INSTRUMENTS, USA.
was a harp stop for only one 8’ register, and he removed Number: 4866.57.
the iron lever and its batten thus giving a harp stop for Inscriptions: Signed round rose: PASCAL TASKIN
only one register. External case of pale green lacquer ELEVE DE BLANCHET (According to Yale, the
with chocolate coloured inner surfaces, all with gold second ‘e’ of ‘Eleve’ has an acute accent. Date on
bandings. The painting is not original, but according to soundboard; 1770. PT is incised into the surface of the
MacTaggart, the original colour scheme was probably very wrestplank in the treble, while the date appears on the
similar, though Dowd thinks the inner lid may have bottom 4’ jack, and on the lower FF key together with
been vermillion. Original framed, Louis XV, stand with Pascal Taskin. Nameboard (irremovable) inscribed: Refait
cabriole legs en suite with the case. Soundboard and par Pascal Taskin 1770, but this is stated by Yale to be
wrestplank in tempera with flower sprays. not original, and is probably contemporary with the lid.
Previous history: Raymond has kindly supplied the following DowdHH suggests that a restorer may have been misled
brief history which is slightly different from that given and put Refait because he knew of Taskin only as a
in RassColl1g86 and which comes mainly from private rebuilder of Flemish instruments. According to B*, Sibyl
correspondence between Mme. Arlette Taskin-Vierne and Marcuse thinks this inscription was put on by a dealer.
Dr. Walther Thoene. Sometime before 1882, Emile- PT initials interlaced decorate each cheek-piece. Bottom
Alexandre Taskin, a professional musician with the Opera inscribed Restawre par moi T. Gatti, Paris gbre 1899, and
Comique, instructed Adolphe Chouquet, curator of the Restored 1926 by S.B.Grimson Paris-New York. Taskin’s
Musical Instrument Museum of the Paris Conservatoire, business cards are glued to the bottom and bent side.
to seek out an antique harpsichord, if possible by his The hand stop for the operation of the harp stop,
famous ancestor. The present instrument was found in protruding through the centre of the fascia board is
the shop of a provincial furniture dealer. It was restored stamped Tomasini.
by Louis Tomasini in 1882. During the 80s and gos it Specification: 2x8", 1x4’.
was periodically loaned to the pianist Louis Diémer (1843- Additional features: Harp stop, shove coupler.
1919) who gave recitals on it. It was exhibited at the Compass. FF-f.
Paris Exhibition of 1889 (and perhaps Vienna in 1892). Keyboard: Black naturals, white sharps.
It was also loaned to the firm of Erard, who were Number of roses: 1.
interested in making reproductions of it (and Russellrgs9 Exterior of case: Painted.
reports that it was with this event that modern harpsichord Scale: 343 mm.
making began). In 1897, on the death of Emile-Alexandre Length: 2311 mm.
Taskin it was sold to Mme. Alphonse Le Duc, and there Width: 941 mm.
is some doubt about its subsequent ownership, though it Depth: 292 mm.
may have belonged to Louis Diémer. At some time in Remarks: The instrument is recorded in B? under Taskin
the 1920s it passed through the hands of Martin Asseman, (number 2a) and also under Ruckers as number 10 and
who apparently restrung the complete instrument in steel 137, the attribution being due to J (p. 127), who illustrates
wire, and reversed the plucking directions of the 8’ it, but does not give his reasons for ascribing it to
registers. In 1940 it apparently belonged to the music- Ruckers. Listed in DowdHH since it was made in the
dealer M. Labrousse. During the German occupation of Blanchet workshop (as were TASKIN, P. 1769(1), and
Paris in the Second World War it was temporarily moved TASKIN, P. 1769(2)). Dowd gives a very full description
to Vienna to be stored under the care of Victor Luithlen. of this instrument. Elaborate decorations dating from the
It was returned to Paris after the war, and Raymond twentieth century. The lid is new and contains an
Russell bought it in 1952. It was subsequently given by eighteenth-century painting set into it. Left panel inside
Mrs. Russell to Edinburgh University in 1964. lid shows the Chateau de Cirey, residence of Marquise
References: See RussColl, illustrated. pp. 32-5. RussCollr986, du Chatelet (Voltaire’s mistress). External decoration
p- 14. Hywbbi96s, pp. 118-22, 130 and plate XII. very similar to the 1765 surviving Blanchet. Very fine
Russell1959, pp. 59, 60, and plates 47, 48. Russel/19s6, p. keyboards.

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 TASKIN 653
Previous history: Restored by Louis Tomasin in Paris in Compass: EE-f.
1900, and by S. B. Grimson, Paris-New York in 1926. Keyboard: Black naturals, white sharps.
Given to present owners (1957) by Mrs. Samuel Grimson, Number of roses: 1.
widow of former owner. Restored again by Frank Exterior of case: Painted.
Rutkowski in 1957 and 1974. Scale: 173 mm.
References: Mlustrated in The Consort, No. 20, July 1963, Length: 1056 mm.
p. 174. J, p. 127. DowdHH, pp. 85-8. Acoustic tests Width: 613 mm.
carried out by E. L. Kottick in 1985, see Kottick-response. Depth: 213 mm.
Information supplied by: B|/Repbann|DowdHH. Remarks: Dr. Williams reports that the instrument is
Boalch 3 number. TASKIN, P. 1770. identical in all measurements to the ottavino at Yale, and
Boalch 2 number: 2a (Ruckers 10/137). believes they were probably both made at the same time.
Ebony naturals with box arcades; sharps with ivory tops.
‘Type: Two-manual harpsichord. Rose painted on soundboard in trompe Poeil—a round
Date: 1774. garland of flowers with initials P.T. and date 1778 in the
Ownership: Not known. centre. Case is trapezoidal in shape, exterior painted
Previous history: Formerly owned by the Marquis de pale blue, and interior of same colour but with lavish
Laborde, now untraceable. decoration of scrolling foliage and flowers, and an
Information supplied by: B*. allegorical painting of a man and woman inside the lid.
Boalch3 number: TASKIN, P. 1774. Previous history: Formerly in private hands, and before this
Boalch 2 number: 2b. there is no verifiable history.
Type: Ottavino. Information supplied by: Williams|Rephann.
Date: 1778. Boalch 3 number: TASKIN, P. 1778(2).
Ownership: YALE UNIVERSITY COLLECTION OF Boalch 2 number: None.
MUSICAL INSTRUMENTS, USA..
Number: 4875.60. Type: Single-manual harpsichord.
Inscriptions: Fait par Pascal Taskin a Paris 1778. Date: 1786.
Specification: 1x4’. Ownership: VICTORIA AND ALBERT MUSEUM,
Compass: EE-f. LONDON, ENGLAND.
Keyboard: Black naturals, white sharps. Number: 1121-1869.
Number of roses: 1. Inscriptions: Inscribed in ink on back of nameboard: Refait
Style of rose: Carved. par Charles Fleury facteur de pianos a Paris an 1856 fleury.
Exterior of case: Painted. On nameboard: FAIT PAR PASCAL TASKIN A
Scale: 173 mm. PARIS 1786. Round the rose: PASCAL TASKIN 1786.
Length: 1056 mm. On the lowest key branded PASCAL TASKIN and in
Width: 613 mm. ink 1786/1. Inside the case, John Barnes, in 1971, found
Depth: 213 mm. Taskin’s trade card. Behind nameboard is written a cabinet
Remarks: Data sheet from Yale gives specification as 1x4’, maker’s note in red pencil Tringue a Comteaux du petite
and scale at c' as 173 mm., and thus, though previously clavecine (sic). According to V&A Cat, a similar hand in
recorded as a spinet, it is shown here as an ottavino. the same red pencil appears behind the nameboard of
Naturals—ebony; sharps—pear with ivory tops. instrument TASKIN, P. 1769(2) (above), where the word
Previous bistory: Ex. Belle Skinner Collection. Pascal appears. It seems likely that Taskin wrote both
References: Mlustrated in Belle Skinner Catalogue. notes.
Information supplied by: B?|Rephann. Specification: 2x8’.
Boalch 3 number: TASKIN, P. 1778(1). Additional features: Harp stop, 3 hand stops.
Boalch 2 number: 3. Compass: EE-f.
Keyboard: Black naturals, white sharps.
Type: Ottavino. Number of roses: 1.
Date: 1778. Style of rose: Geometrical pattern.
Ownership: DR. TED WILLIAMS, PARIS, FRANCE. Exterior of case: Painted.
Inscriptions. On the nameboard: FAIT PAR PASCAL Scale: 345 mm.
TASKIN A PARIS 1778. Branded with a hot iron on Length: 1815 mm.
the lowest key: PASCAL TASKIN A PARIS, and Width: 735 mm.
dated in ink 1778. On the reverse of the nameboard in Depth: 200 mm.
ink remplumer et redressé par Pascal Taskin a Versailles @ 12 Remarks: Keyboard is unusually small with what is called
Aout 1795. This must refer to Pascal Joseph Taskin, in V&A Cat a ‘standard measurement’ (meaning a
nephew of Pascal Taskin, since the latter died in 1793. three-octave span) of 359 mm. as opposed to that usually
Specification: 1x4’. employed by Taskin of 475 mm. It is therefore normally

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654 TERMANINI
assumed that the instrument was made for a child. The TERMANINI, PIETRO.
naturals are ebony with arcaded boxwood fronts, and Type: Single-manual harpsichord.
sharps of ebony topped with ivory. Soundboard painted Date: 1741.
with flowers. Rose with a Maltese cross. For details of Ownership. MUSEO CIVICO, MODENA, ITALY.
soundboard painting see Sheridan Germann, ‘Monsieur Number: 68-1981.
Doublet and his confréres: the harpsichord decorators of Inscriptions: Inscribed on nameboard; Opus Petri Termanins
Paris’ in EM vol. VIII, No. 4, 1980, p. 435, and vol. IX, Mutinensis De Anno MDCCXLI. A partially obscured
No. 2, 1981, p. 192. Case japanned on outside in black inscription inside the case ‘reads; Petrus Termanini anno
with inside lid and inner surfaces of coral pink. Both 1737 1562. String gauges marked on wrestplank. The
inside and outside have gilt chinoiserie of small figures Museum catalogue surmises that 1737 is the year when
in a fantastic landscape. Stand with five fluted legs, carved the instrument was started, while 1582 is probably an
and gilt. For discussion of the instrument, the changes inventory number relating to the time when the instrument
to it, and its background see 2A Cat, p. 102. O”BrienPC was part of the furniture of the court at Modena. There
states that the scalings and string gauge marks on the are other inscriptions on the reverse of the nameboard,
wrestplank suggest it sounded a semi-tone above normal probably representing students of music or dealers:
French pitch. Boschetti Angelo|Di|Mogogno—1839; Frederico Boschetti, frate-
Previous bistory: Restored by Charles Fleury, Paris, in 1856. Mo di Angelo, 1859.
Purchased for the Museum for £80 in 1869. Restored by Specification: 2x8’.
John Barnes in 1971. Compass: C/E-c’, short octave.
References: Illustrated in J p. 134, and in V & A, MIWA, Keyboard: White naturals, black sharps.
also in Russell V & A and Russell rgs9. Llustrated in Number of roses: 1.
Ruger plate 79. V&A Cat, pp. 100-3 (illustrated). Style of rose: Geometrical pattern.
Information supplied by: B?| V&A Cat/O’BrienPC. Exterior of case: Plain wood.
Boalch 3 number: TASKIN, P. 1786. Case construction: Italian style—false inner/outer.
Boalch 2 number: 4. Scale: 258 mm.
Length: 1720 mm.
‘Type: Two-manual harpsichord. Width: 725 mm.
Date: 1788(A). Remarks: Naturals of box with arcaded fronts; sharps of
Ownership: MUSEO DEL CASTELLO SFORZESCO, ebony. Exterior of case carries mouldings painted dark
MILAN, ITALY. green. Raised on three legs which are not original. A
Number 604. small pedal-board operates on the lowest 8 notes by means
Inscriptions: According to B?: Fait par Pascal Taskin é of pull-downs. Soundboard of cypress with a rose of
Paris 1780, stamped on the wrestplank (but see below). parchment in geometric pattern.
Compass: EE-f'. Previous history: In an inventory of the Camera Ducale
Number of roses: 1. Estense, Amministrazione della Casa Guadaroba, the
Length: 2310 mm. instrument is mentioned as ‘un cembalo da camera con
Width: 940 mm. tastiera di bussolo ¢ d’ebano con filetti gialli opera del
Depth: 272 mm. Signor Pietro Termanini modenese, 1741, in controcassa
Remarks: The instrument appears to be a fake Ruckers di pielle . . ..” Acquired by the Museum in 1902.
and is recorded by O’Brien as his unauthentic Andreas References: ASM under instrument number 68 (illustrated,
Ruckers—n.d.cAR (Boalch3 number: RUCKERS(A), A(A). monochrome and colour).
n.d.(2)). He gives the date as 1788 despite the report in Information supplied by: B?/ ASM|O’ Brien.
B? that it is stamped 1780. This confusion over the dating Boalch 3 number. TERMANINI, P. 1741.
(Gall gives it as 1780) has arisen because the second 8 Boalch 2 number: 1.
has been stamped on its side, and has been misread
because of its orientation. There is an ‘AR’ rose [Andreas THEEUWES OR THEEWES, LODEWIJK.
Ruckers] of gilded wood in the soundboard. This was ‘Type: Single-manual claviorganum.
probably inserted by Taskin, but apart from some vaguely Date: 1579.
‘Flemish’ soundboard painting it appears not to have Ownership: VICTORIA AND ALBERT MUSEUM,
been made with deliberate attempt to produce a counterfeit LONDON, ENGLAND.
Ruckers. Number: 125-1890.
References: O’Brien, p. 282. Gall, p. 247. Inscriptions: Ludowicus Theewes me fesit (sic) 1379. The arms
Information supplied by: B?|O” Brien| Barnes. of the houses of Hoby and Carey were painted on the
Boalch 3 number: TASKIN, P. 1788(A). case until 1947, when these arms were cleaned off,
Boalch 2 number: 3a. revealing those ofa branch of the Roper family, repeated
See also: Instrument number RUCKERS(A), A(A). four times in different places on the case.
1636(2). Specification: 2x8’, 1x4'(A).

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 TIBAUT 655
Compass: C-c’. Exterior of case: Plain wood.
Number of roses: Though there is a hole for the rose, the Remarks: The name is thought to refer to the owner
rose itself is missing. rather than the maker. The instrument is thought to date
Exterior of case: Painted. from the seventeenth century.
Seale: 350 mm. References: Kinsky-Kat. 1., pp. 51 f; Sa, pp. 55 f., Wiener
Length: 2128 mm. Kat, pp. 12 £; Gabry196s, (illustrated, plate 2).
Width: 898 mm. Information supplied by: Gabry1969.
Depth: 230 mm. Boakch 3 number: THOKOLI, S. n.d.
Remarks: The maker’s name is also variously spelled as Boalch 2 number: None.
Lodenyke Tyves, or Teens, etc. The harpsichord part of this
instrument is especially interesting since it is the earliest TIBAUT, VINCENT.
surviving English harpsichord, and also has a 4’ register Type: Two-manual harpsichord.
as well as 2x8’ registers. (Though the specification of the Date: 1679.
instrument has been thrown into doubt on more than
Ownership: BRUSSELS MUSEUM, BRUSSELS,
one occasion, the above arrangement seems now to have BELGIUM.
become accepted.) Changes of registration were effected Number. 553.
by means of movable lower jack-guides (whereas in most Inscriptions: Inscribed in marquetty; Fait par moy Vincent
harpsichords it is the upper jack-guide or slide which is Tibaut & Tolose, 1679.
moved). The keyboard though missing was forty-nine
notes chromatic C-c’, whereas the organ compass, though
Specification: 2x8’, 1x4.
Compass: GG/BB-c’, broken octave.
the same, lacked the lower C sharp. The harpsichord has
Keyboard: Black naturals, white sharps.
curious L shaped hooks on the 8’ bridge which may have
Number of roses: 1.
been some form of arpichordium stop, though their true
purpose is still in doubt. For a more complete description
Exterior of case: Marquetried.
Length: 2082 mm.
see V&A Cat, p. 40, and also Wilson Barry (See references
below) where the organ part is also carefully analysed. Width: 762 mm.
Depth: 229 mm.
Previous history: By deduction from the painting on the
organ case, the instrument originally belonged to the
Remarks: According to the photograph in Bz it appears
that the bottom two sharps are split to give a broken
Roper family, and later to the Hoby family of Bisham. It
stood for many years at Ightham Mote in Kent and was
octave.
given to the Museum by Mrs. Luard-Selby in 1890. Previous history: Formerly belonged to A. Tolbecque of
References: For detailed descriptions and discussion of the Paris.
References: Mlustrated in Rassellrgs9.
instrument see: Russellrg rank Hubbard, ‘Two Early
English Harpsichords’, in GSJ, UI, 1950, pp. 2-115;
Information supplied by: Bz.
Wilson Barry, ‘Analysing the Theewes Claviorganum’ in Boalch 3 number: TIBAUT, V. 1679.
Org Yb, xiv, 1983; John Koster, ‘The importance of the Boalch 2 number: 1.
Early English harpsichord’ in GSJ, XX XIII, 1980, p. 453
V&A Cat, p. 40; O’Brien, pp. 26-8; Wilson Barry, ‘The Type: Two-manual harpsichord.
Lodewyk Theewes Claviorganum and its Position in the Date: 1681.
History of Keyboard Instruments’ in AMIS-J, XVI, 1990, Ownership: YANNICK GUILLOU, PARIS, FRANCE.
Ppp. 5-41. There are a number of other references, but Inscriptions: Fait par Vincent Tibaut & Tolose 1681.
the above are the most important, and in them the other Specification: 2x8’, 1x4’.
references will be found. Compass: GG/BB-c’, broken octave.
Information supplied by: B2|VexA Cat|O’Brien|et al. Keyboard: Black naturals, white sharps.
Boalch 3 number: THEEUWES, L. 1579. Exterior of case: Crossbanded and possibly marquetried.
Boalch 2 number: 1. Scale: 322 mm.
Length: 2070 mm.
THOKOLI, STEPHAN. Width: 770 mm.
Type: Single-manual harpsichord. Depth: 220 mm.
Date: Not known. Remarks: A further instrument by Tibaut dated 1681 was
Ownership: NATIONAL MUSEUM, BUDAPEST, recorded in Bz, but it is clear that it was the same as this
HUNGARY. Accession number not known. one. Ebony arcaded naturals, bone sharps. The bottom
Inscriptions: Inscribed on nameboard Comes Stephanus Tho- two sharps are split to give broken octave. Raised on
Aili de Resmarck apron style stand with eight barley twist legs and floor
Specification: 2x8". level stretcher.
Compass: C/E-c’, short octave. Previous history: Claude Mercier-Ythier worked on it in
Keyboard: White naturals, black sharps. 1970.

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656 TIEFENBRUNN
References: Recorded by Laurence Boulay (d’Anglebert) slips. Naturals of bone with two pairs of red-stained
on ERA 9074 G.U., ERATO STU 70640, Coffret 3xC grooves and fronts with gilded beading running parallel
ERA 9075 a 77 Erato, and by Colin Tilney on EMI to key tops. Sharps of rosewood. Soundboard of pine
Electrois. 063-30945. with rose to the left of the bridge. Bridges of beech.
Information supplied by: B*|Guillou. Casework of pine, inside red, outside painted in imitation
Boalch 3 number: TIBAUT, V. 1681. wood with mouldings of gold.
Boalch 2 number: 2 and 3. Previous history: Belonged to the Danish priest H. C. W-
Find (1784-1872) and remained in his family until 1963
Type: Harpsichord (number of manuals not known). when Ole Find sold it to the Museum in Copenhagen.
Date: 1689(A). References: MMCC.
Ownership: Not known. Information supplied by: B?|Weldon| MMCC.
Remarks: The existence of this istrument, but no further Boalch 3 number: TIEFENBRUNN, O. J. 1793.
details, is reported by Champ. Boalch 2 number: 1.
Information supplied by: Champ.
Boalch 3 number: TIBAUT, V. 1689(A). Type: Fret-free clavichord.
Boalch 2 number: None. Date: 1807.
Ownership: RINGVE MUSEUM, TRONDHEIM,
Type: Two-manual harpsichord.
NORWAY.
Date: 1691.
Number: RMT 82/4.
Ownership: MUSEE INSTRUMENTAL, PARIS,
Inscriptions: Otto Joachim Tiefenbrunn. Kitbenbavn Ao 1807
FRANCE. in a painted frame on the soundboard between bridge
Number: 977.11.1.
and wrestpins.
References: MICL.
Compass: FF-g?.
Information supplied by: Guillou|Champ|MICL. Keyboard: White naturals, special sharps.
Boalch 3 number: TIBAUT, V. 1691.
Number of roses: 1.
Boalch 2 number: None.
Style of rose: Parchment.
TIEFENBRUNN, OTTO JOACHIM. Exterior of case: Painted.
Type: Fretted clavichord. Scale: 284 mm.
Date: 1786. Length: 1743 mm.
Ownership: MUSEE INSTRUMENTAL, PARIS, Width: 518 mm.
FRANCE. Depth: 172 mm.
Number: 264/335. Remarks. Naturals of ivory with moulded wood fronts;
Compass: C-F. sharps of tortoiseshell. Lid with later painting by the
Length: 910 mm. former owner, Wilhelm Swensen.
Width: 295 mm. Previous history: First owned by the Norwegian composer
O. A. Lindeman, who in 1802 went to live in Trondheim,
Depth: 100 mm.
Remarks: Described by MICL as ‘Clavicorde . . . de after 10 years study in Copenhagen. In 1970 it was
voyage’. still in his family, but owned by Wilhelm Swensen,
References: MICL. great-grandson of O. A. Lindeman, and architect of the
Information supplied by: Weldon|MICL. rebuilt Trondheim cathedral. His widow subsequently
Boalch3 number: TIEFENBRUNN, O. J. 1786. placed it on permanent loan with the Ringve Museum.
Boalch 2 number: None. In 1990 it became the property of the Museum as a gift
from the beneficiaries of the late Mr. and Mrs. Swensen.
Type: Fret-free clavichord. Information supplied by: B?|VdM|Kijeldsberg.
Date: 1793. Boalch 3 number: TIEFENBRUNN, O. J. 1807.
Ownership: MUSIKHISTORISK MUSEUM, Boalch 2 number: 2.
COPENHAGEN, DENMARK.
Number: A67. TISSERAN, JOSEPH.
Inscriptions: Signed between bridge and wrestpins. Otto Type: Two-manual harpsichord.
Joachim Tiefenbrunn|Kiobenhaven 1793. Compass: FF-g'. Date: 1700.
Number of roses: 1. Ownership: BATE COLLECTION, MUSIC FACULTY,
Exterior of case: Painted. OXFORD, ENGLAND.
Scale: 266 mm. Number: 982.
Length: 1702 mm. Inscriptions: On nameboard: Josephus Tisseran Faciebat
Width: 500 mm. Londini, and under the keys (not visible until the keyboards
Depth: 167 mm. are taken out): Opus Josephi Tisseran Londini 1710 (the date
Remarks. Keys of pine, slightly roof-carved. Horn guide 1700 has been erased and changed). In gold paint in the

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 TITI 657
front of the wrestplank: Joseph Tissern[sic] Londini. There TISSERAN, JOSEPH and SLADE, BENJAMIN.
have also been some inscription on the jacks, but these Type: Wing spinet.
have been obliterated by the passage of time. Date: 1700(A).
Specification: 1: 1x8’, 1x4; I: 1x8’. Ownership: RICHARD LUCKETT, CAMBRIDGE,
Additional features: Dogleg, 3 hand stops. ENGLAND.
Compass: GG/BB-d’, broken octave. Inscriptions. On reverse of nameboard Josephus Tisserant et
Keyboard: Black naturals, white sharps. Benjamin Slade faciebant Londini.
Number of roses: None. Specification: 1x8".
Exterior of case: Painted. Compass: GG/BB-d’, broken octave.
Scale: 320 mm. Keyboard: Black naturals, white sharps.
Length: 2265 mm. Exterior of case: Plain wood.
Width: 852 mm. Seale: 254 mm.
Depth: 262 mm. Length: 1600 mm.
Remarks: The earliest surviving dated English two-manual Width: 546 mm.
harpsichord. Naturals of ebony with fronts of blocked Depth: 152 mm.
gilt paper. Sharps of solid ivory—some badly discoloured. Remarks: The instrument is signed by both makers, and
Key cheeks very similar to those of Hitchcock in burr the name of the first is given, unusually, as TISSERANT,
walnut with central stringing of box/ebony/box. Broken with the terminal T. The date could be anywhere between
octave with split sharp at D sharp, so that the rear half 1690 and 1710. Ebony naturals with stamped parchment
gives note AA. C sharp is not split. External case fronts. Ivory skunktail sharps. Two lowest keys (C sharp
varnished and spangled in two-colour gold with painted and D sharp) split to give broken octave to GG. In
stringing of black and gilt so as to form panels. Spine superb condition and playing order with beautiful tone.
not painted. Lid has internal painting of dark green. Over Plain Walnut case. Stretchers and headers of the stand
the upper keyboard is a cartouche of characteristic English original, but legs are modern replacement by Trevor
shape (the same as that appearing on the surviving
Beckerleg.
Previous history: Offered for sale at Christie’s on 22
harpsichord by William Smith (g.v.) also in the Bate
November 1977 and withdrawn at £3,700; the owner
Collection) with a surround of box/ebony/box enclosing
apparently being resident in Australia. Subsequently
a painting of an angel waking a sleeping man. Soundboard
bought by Richard Luckett for £3,200. Restored by
decorated (Grant O’Brien suggests that the painting is by Trevor Beckerleg.
the artist who decorated the soundboard of the Coston References. Christie’s catalogue of 22 November 1977 and
harpsichord in the Russell Collection) and laid at an angle EM vol. 6, No. 2, April 1978, p. 277 for report of sale.
of about twenty-three degrees to the spine. An imitation Information supplied by: Luckett.
rose is painted on the soundboard. The lid strap-hinges Boalch 3 number. TISSERAN, J. & SLADE, B. 1700(A).
are identical with those of the surviving Benjamin Boalch 2 number: None.
Slade harpsichord (g.v.). The wrestpins are staggered in
continental fashion in imitation of the placing of naturals
TITI, G. C. A.
and sharps. Raised on trestle stand with decoration to
Type: Spinet.
match the case, but probably of later date. Date: 1707.
Previous history: From 1712~1949 at Woollas Hall, Pershore. Ownership. MUSEO TEATRALE ALLA SCALA,
On 16 December 1949 sold to T. Burns, Rous Lench, MILAN, ITALY. Accession number not known.
Worcestershire, together with two letters relating to its Inscriptions. The front of the wrestplank behind the
history. These are quoted in Hwbb:96s, and transcribed nameboard is signed Can‘us G C A Titi (Can‘us is thought
in Mou/dTh (they are now at the Bate Collection). Sold to be an abbreviation for Canonicus). Bass end of the
again at Sotheby’s 1986 to Pleeth for £38,000, but appears jackrail signed Can‘o Andr{ea] Titi, the end of the word
to have returned to Michael Thomas. Exhibited at the Andrea having virtually disappeared. The treble end of
MFM exhibition 1986. Acquired by the Bate Collection the jackrail has a sign with initials AT [Andrea Titi?].
from Michael Thomas in January 1991 through the Arthur Top key (c’) dated clearly 1707. Glued to the baseboard
and Hope Pilkington Trust. of the outer case is a paper label with hand-written
References: Illustrated and described at MFM as item inscription: Sig’r/Cav. Achille Can{---]/Milano. There is
number 182. See also Mosld Th. See also B? for a full also a printed transport ticket which reads: ---Grande
account by Alfred Reeve of Maidenhead, who restored it Velocil ta) /da| Bologna]
472/a.
in 1960. BateCat, p. 10. Specification: 2x4’.
Information supplied by: B*/MFM|MonldTb/Mac Taggart] Compass: C/E-c’, short octave.
Montagu. Keyboard: White naturals, black sharps.
Boalch 3 number: TISSERAN, J. 1700. Number of roses: 1.
Boalch 2 number: 1. Style of rose: Parchment.

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658 TODINI
Exterior of case: Painted. Specification: 2x8".
Case construction: Italian style, inner/outer. Compass: FF,GG-P.
Scale: 159 mm. Keyboard: White naturals, black sharps.
Length: 921 mm. Number of roses: 1.
Width: 843 mm. Style of rose: Parchment.
Depth: 166 mm. Exterior of case: Plain wood.
Remarks: It is by no means certain whether Titi was the Scale: 276 mm.
owner of the instrument or its maker. Naturals of Length: 2690 mm.
bone and sharps of black-stained fruitwood topped with Width: 872 mm.
palisander. The instrument appears to have been built to Depth: 190 mm.
sound at a pitch which in O’Brien’s system would be called Remarks: Todini once owned, and perhaps made this
R+o, ie. a ninth above normal pitch. The inner, finely unsigned ‘Golden Harpsichord’. According to MMACL
made instrument with plain cypress finish is contained in he commissioned it. Elaborately carved and gilded outer
a cruder outer carrying case which is painted. case and stand depicting Polyphemus and Galatea. Key-
References: O’ Brien Scala. board was altered from original compass GG.AA-d’
Information supplied by: O° BrienPC. probably in the eighteenth century. Both nut and bridges
Boalch 3 number: TITI, G. C. A. 1707. have been moved. Estimated original scaling for ct =
Boalch 2 number: None. 280 mm. The above dimensions refer to inner instrument.
The outer case is 2689 mm. long. It may have been
TODINI, PIETRO. intended originally as part of a claviorganum.
Type: Two-manual harpsichord. Previous history: Instrument was once part of Todini’s
Date: 1675. Galleria Armonica. It was later in the collection of
Ownership: CASTELLO SFORZESCO, MILAN, Viscount Sartiges (¢. 1864). Crosby Brown Collection
ITALY. 1889.
Number: 603. References: Todini, M. Dichiaratione della Galleria Armonica
Inscriptions: Petrus Todinus fecit Anno Domini 1675|Roma. eretta in Roma de M. Todini Piemontese di Saluzzo, nella sua
Specification: 1: 2x8’, I: 1x4’. habitazione, posta alf Arco della Ciambella. Rome, 1676,
Aadditional features: No coupler. chapter 3. Facsimile reprint, Rome Libreria Musicale
Compass: FF-g’. Italiana Editrice, 1988. Emanuel Winternitz. “The evol-
Keyboard: Black naturals, white sharps. ution of the Baroque Orchestra’ in MM ABaull, 12, (1954):
Exterior of case: Painted. Pp. 274 (Illustrated). Wint 1956 (Illustrated). Wint66.
Case construction: Italian style, inner/outer. LibinK1, pp. 20-1 (Illustrated). MMA. MMACL. Photos
Scale: 367 mm. (negative numbers 134166, 134167, etc.) available from
Length: 2052 mm. the Museum.
Width: 760 mm. Information supplied by: B?|MMA|MMACL.
Depth: 135 mm. Boalch 3 number. TODINI(A), M. 1675(A).
Remarks: Naturals of blackwood and black sharps bone Boalch 2 number: 1.
topped. According to O’BrienPC, the registers cannot be
‘turned off. Outer case painted with predominantly red
panels having scrolling foliage in their centres. Seascape TOLLENARI, JOANNES.
with ships and a port inside the lid. Raised on a heavy ‘Type: Single-manual harpsichord.
stand with five turned and painted legs. It is not clear Date: 1670.
whether the instrument is a true inner/outer, but the inner Ownership: STUTTGART COLLECTION,
appears to be of plain cypress with ivory studs at intervals GERMANY. Accession number not known.
round the top moulding. Scale of the 4’ is 181 mm. Inscriptions. Joannes Tollenari Fiammengo Nell Aquila 1670.
Previous history: Part of the Gallini Collection. Specification: 2x8’.
References: Gall, p. 246 and plate 120. Pag, plate 18. Compass: C-c'(A).
Information supplied by: B?|Pag|O’ BrienPC. Remarks. The owner is given by B? as ‘Stuttgart Collec-
Boalch 3 number: TODINI, P. 1675. tion’, but it is not clear whether this is the Wirt-
Boalch 2 number: 1. tembergische Landesmuseum. Tollenari set up his
workshop in a city whose name is not known ‘at the sign
TODINI(A), MICHELE. of the Eagle’ {‘nell’Aquila’.
Type: Single-manual harpsichord. Previous history: It was presented by Carl A. Pfeiffer of
Date: 1675(A). Stuttgart.
Ownership: METROPOLITAN MUSEUM OF ART, Information supplied by: B?.
NEW YORK, USA. Boalch3 number: TOLLENARI, J. 1670.
Number: 89.4.2929. Boalch 2 number: 1.

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 TOSI(A) 659
TOMASO, DE LUCA. Inscriptions: On the case and the topmost key A di primo
Type: Single-manual harpsichord. Aprile 1704, CARIANAT TORRIGLIO, fecit Mestre.
Date: 1687. Specification: 2x8".
Ownership: Not known. Compass: C-c’.
Case construction: Italian style—false inner/outer. Keyboard: White naturals, black sharps.
Remarks: The existence of this instrument and the details Exterior of case: Painted.
are reported by Koftick. It appears not to be listed by Remarks: It is not clear whether the surname is Torriglio
Huber, and thus its authenticity is a little suspect. It was or if this refers to a place where a maker called Carianat
also thought to be in the Germanisches National Museum, worked. The instrument is thought by the Museum to
Nuremberg, but WraightPC reports that this is not the be typically Venetian, and to date from an earlier period
case. than 1704. Naturals of ivory; sharps ebony. Case of blue
Information supplied by: Kottick|WraightPC. marbling with gold leaf. The Museum says: ‘Une liste en
Boalch 3 number: TOMASO, DE L. 1687. bois de cypres se trouve entre la Caisse et |’instrument
Boalch 2 number: None. meme. Mecanisme des Clavecins italiens anciens, de
pouvoir actionner les Tirettes depuis le céte extérieur
TORNEL, TADEUS. gauche, cela encore visible mais modifié.” Raised on a
Type: Single-manual Claviorganum. straight-legged apron stand with claw and ball feet.
Date: 177(A)- Previous history: Previously in the collection of Michael
Ownership: MUSEO ARQUEOLOGICO, MURCIA, Thomas (1976).
SPAIN. Accession number not known. References: ThomasKI, illustrated at plate 8. MIAM.
Inscriptions: D TADEUS TORNEL me Fecit in Civitate Information supplied by: Clerc|ThomasKI.
Murciense Ano—1777 [illegible] seulp 20. The 1777 could Boalch 3 number: TORRIGLIO, C. 1704.
be 1777. Boalch 2 number: None.
Specification: 2x8'(A).
Additional features: Genouillére, harp stop (A), shove TOSI(A), ONESTO.
coupler. ‘Type: Fretted clavichord.
Compass: GG-g'. Date: 1568(A).
Keyboard: Black naturals, white sharps. Ownership: MUSEUM OF FINE ARTS, BOSTON,
Number of roses: None. USA.
Exterior of case: Plain wood. Number: 17.1796.
Case construction: \talian style—-false inner/outer. Inscriptions: B* says that the signature is extremely indistinct
Scale: 303 mm. and was presumably little better fifty years ago [Boalch
Length: 2447 mm. was writing ¢. 1972] when the Catalogue of the Music Loan
Width: 972 mm. Exhibition (Worshipful Company of Musicians) recorded
Depth: 295 mm. it on p. 170 as Onesto Tosi di Genova fece, 1605 (Koster says
Remarks: The instrument contains both a harpsichord and 1601). Canon Galpin (Ga, 1910] did not transcribe the
piano mechanism as well as the organ. According to Beryl signature, but gave the date as 1568. The clavichord is
Kenyon de Pascual, the genouilléres are of a bellows type, very little altered from its original condition; but according
and the organ is connected by a shove coupler. There is to a letter of 12 July 196; to DHB from HG (B? does
no sign of a 4’ bridge in its present state, and it has four not state who this is, but presumably it is Hugh Gough)
pedals plus one duplicated. Keys are rosewood and bone, the inscription is not genuine, and Koster corroborates
and the case has a double curved bent side. Framed stand this, and believes it is the work of Franciolini.
with seven turned legs and stretchers. Stringing is for Specification: 1x8".
piano with three strings per note. Compass. C/E-c’.
References: Kenyon de Pascual, Beryl. ‘The five-octave Keyboard: White naturals, black sharps.
compass in 18th-century Spanish harpsichords’ in EM Exterior of case: Plain wood.
vol. XV, No. 1, February 1987, p. 74. Scale: 219 mm.
Information supplied by: KDP. Length: 1168 mm.
Boalch 3 number. TORNEL, T. 1777(A). Width: 393 mm.
Boalch 2 number: None. Depth: 148 mm.
Remarks. Though the authenticity of the instrument as a
TORRIGLIO, CARIANAT. clavichord of the sixteenth or seventeenth century is not
Type: Single-manual harpsichord. in doubt, the attribution to the otherwise unknown Tosi
Date: 1704. seems most likely to have been the work of Franciolini.
Ownership: MUSEE D’INSTRUMENTS ANCIENS DE Naturals boxwood with boxwood arcades; sharps of
MUSIQUE, GENEVA, SWITZERLAND. brown fruitwood. Projecting keyboard. Exterior paint,
Number: 1M. 507. both old and new stripped off in the 1960s. Painting

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660 TOWNSEND
inside lid includes Orpheus and Eurydice, probably also Ownership: GALLINI COLLECTION, MILAN,
by Franciolini. Modern stand. Fretting system is identical ITALY.
to that of a Domenicus Pisaurensis clavichord of 1543, Number: 605.
though false inner/outer case construction, indicates a Inscriptions: Domenico Traeri detto il Bresciano fece in Bologna
later date. ?anno MDCC.
Previous history: Formerly in Canon F. W. Galpin’s Compass. GG/BB-c’, short octave.
collection. Keyboard: White naturals, special sharps.
References: Bessaraboff’s catalogue. Ga. MF A(Lambert). Tech- Length: 2200 mm.
nical drawing by Edward Turner (171 x 91 cm.) and data Width: 790 mm.
sheet by John Koster available from the Museum of Fine Remarks: Naturals of box, sharps of ebony with ivory
Arts. BostonCat. ornamentation.
Information supplied by: B2|MF A(Koster)|
MF A(Lambert). Reference: Gall, p. 248.
Boalch 3 number: TOSI(A), O. 1568(A). Information supplied by: B2/Barnes.
Boalch 2 number: 1. Boalch 3 number: TRAERI, D. 1700.
Boalch 2 number: 1.
TOWNSEND, GABRIELL.
Type: Rectangular virginal. TRAERI, UGO ANNIBALE.
Date: 1641. Type: Fretted clavichord.
Ownership: BRUSSELS MUSEUM, BRUSSELS, Date: 1726.
BELGIUM. Ownership: MAIDSTONE MUSEUM, MAIDSTONE,
Number: 1591. ENGLAND. Accession number not known.
Inscriptions: Gabriell Townsend fecit 1641 on side of the Inscriptions: VGO ANNIBALE TRAERI VULGO
jackrail. BRIXIANVS BONONIENSIS/FECIT MVTINAE
Specification: 1x8". AANNO MDCCXXV/I (according to VdM and Weldon).
Compass: C-e’. Bz gives it as Wgo Annibale Traeri, Vaulgo Brixianus
Keyboard: White naturals, black sharps. Bononienses (sic)|Fecit Mutinae anno MDCCXXVI. A manu-
Number of roses: 1. script label inside the lid reads: This Clavichord belonged to
Style of rose: Geometrical pattern. Handel, who used it in composition, when travelling; it subsequently
Stale: 329 mm. came into the possession of my Father, George James Cholmondeley
Length: 1747 mm. Esqre, who died in 1830 .. . Frances Sophia Buchanan Riddell,
Width: 540 mm. Harrietsham Rectory, Maidstone.
Depth: 220 mm. Compass: C/E-c’, broken octave.
Remarks: A traditional English rectangular virginal. Box- Keyboard: White naturals, black sharps.
wood naturals with embossed paper fronts; black sharps Exterior of case: Plain wood.
of a stained reddish-hardwood. Parchment incised rose. Scale: 180 mm.
Bears the Plantagenet royal arms. According to the Length: 806 mm.
illustrations in Rweger, the inside is heavily decorated Width: 260 mm.
though the outside is not visible. Inside the lid is a picture Depth: 76 mm.
which must almost certainly be Orpheus with his lyre Case construction: Italian style, false inner-outer.
charming the beasts. Orpheus, in fact, bears a striking Remarks: A rare eighteenth-century Italian clavichord.
resemblance to Charles 1. The beasts are quite delightful. Split sharps at D/F# and E/G#. Keys of beech, roof-
English gauge numbers, in an eighteenth-century hand carved, wooden guide slips. Naturals of boxwood with
and numbering system, written near tuning pins. two grooves and arcaded boxwood fronts. Sharps of
Previous history: Formerly belonged to Elizabeth Stuart, rosewood on black-stained walnut. Rectangular case of
Queen of Bohemia, daughter of James I, and sister of spruce, with the keyboard recessed towards the left and
Charles 1. workbox to the right of it. Veneered internally with
References: Mlustrated in DEF, II, 374. Rueger, plate 28/29, cypress. Soundboard of cypress, but with non-original
and Pag, plate 23. See also Alec Cobbe, ‘Charles II's bridge. Original string gauge numbers written on the key
Virginals ?’ in Country Life, 27 February 1992. levers. dM states: ‘Obviously, when strung with brass,
Information supplied by: B2/Rweger|Martin|Pag|O’ BrienPC| the instrument would have to be tuned a fifth up at c.
Cobbe. 630 Hz; and when strung mainly in iron, it would have
Boalch 3 number: TOWNSEND, G. 1641. to be tuned an octave up at c. 810 Hz.’
Boalch 2 number: 1. References: A further more detailed report has been made
by VdM.
TRAERI, DOMENICO. Information supplied by: B2|VdM.
Type: Harpsichord (number of manuals not known). Boalch3 number: TRAERI, U. A. 1726.
Date: 1700. Boalch 2 number: 1.

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 TRASUNTINO 661
Type: Single-manual harpsichord. Additional features: Harp stop.
Date: 1729. Compass: GG/BB-c’, short octave.
Ownership: MUSEO DAVIA BARGELLINI, Keyboard: White naturals, black sharps.
BOLOGNA, ITALY. Accession number not known. Number of roses: 3.
Inscriptions. According to Misch-1979 II: Ugo Annibale Style of roses: Parchment.
Traeri deto il Bresiano Bolognese fece Jano 1729 termin{n}ato p. Exterior of case: Painted.
Ottobre. Case construction: Italian style, inner/outer.
Compass: GG/BB-c’, broken octave. Scale: 276 mm.
Remarks: Previously thought to be by Domenico Traeri, Length: 2227 mm.
Mischiati’s record of the inscription clearly indicates that Width: 767 mm.
it is by Ugo Annibale Traeri. The two bottom sharps are Depth: 194 mm.
split to give a broken octave (A/C#, and B/D). Remarks: Compass probably originally C/E-P, and spe-
Previous history: Instrument belongs to the Museo Civico, cification probably originally 1x8’, 1x4’ with a scale of
Bologna. 356 mm. The keyboard is a replacement but old. Pedals
References: Bentini. controlling a harp stop were added in the eighteenth
Information supplied by: B*|VdM|Misch-1979 II. century, but do not appear to be present in the post card
Boalch3 number. TRAERI, U. A. 1729. sold by the College (1988). This shows the instrument
Boalch 2 number: 2 (under Domenico Traeri). raised on a turned trestle at the proximal end and a single
turned leg at the distal end. The interior of the lid has a
TRASUNTINO(A). painting of a voluptuous nude woman. The exterior case
Type: Ottavino. is attractively painted and the interior has intarsia over
Date: 1742. the keyboard and soundboard.
Ownership: MUSEE INSTRUMENTAL, PARIS, References: Coloured postcard sold by the Royal College
FRANCE. of Music. John Barnes, ‘The specious uniformity of Italian
Number: 980.2.X. harpsichords’ in RibKb.
Specification: 1x4’. Information supplied by: B*|RCM|O’ BrienPC.
Remarks: The date, which is well beyond the life-span of Boalch 3 number: TRASUNTINO, A. 1531.
any of the known makers with the surname Trasuntino Boalch 2 number: 1.
must cast suspicion on the identity of the maker. It seems
more than likely that this is a Franciolini fake.
Type: Single-manual harpsichord.
References: MICL.
Date: 1538.
Information supplied by: MICL.
Ownership: BRUSSELS MUSEUM, BRUSSELS,
Boalch 3 number. TRASUNTINO(A). 1742. BELGIUM.
Boalch 2 number: None.
Number. 1607.
Inscriptions: Intonuit nunguam melius quod Tartara flexit|Quod
TRASUNTINO, ALESSANDRO.
delphin grato pondere vexit opus.|Alexandri Trasontini opus
Type: Single-manual harpsichord.
MDXXXVIII.
Date: 1530.
Ownership: PRIVATE COLLECTION, ITALY.
Specification: 1x8", 1x4’.
Compass: D-d',e'.
Remarks: The earliest recorded surviving Venetian harp-
Length: 2220 mm.
sichord by Trasuntino. According to Denzil Wraight (see
Width: 810 mm.
reference below), it is remarkably well preserved.
Remarks: Originally the instrument had a specification of
References: Denzil Wraight, ‘Vincentius and the earliest
1x8’, 1x4’, the most likely compass being C/E-f, short
harpsichords’, in EM vol. 14, No. 4, November 1986, p.
octave. This was altered to 2x8’, probably in 1669, since
538, note 26. GDN-EKI, p. 266. WraightSO, p. 20.
this date appears on the keyboard, and more recently it
Information supplied by: EM|WraightPC.
was returned to 1x8’, 1x4’. These changes are described
Boalch 3 number. TRASUNTINO, A. 1530.
in detail in John Barnes, ‘The Specious Uniformity of
Boalch 2 number: None.
Italian Harpsichords’, in RipKb, pp. 5-6.
‘Type: Single-manual harpsichord. Information supplied by: B?|WraightPC| Barnes.
Date: 1531. Boalch 3 number: TRASUNTINO, A. 1538.
Ownership: ROY AL COLLEGE OF MUSIC, Boalch 2 number: 4.
LONDON, ENGLAND.
Number: RCM 2. Type: Polygonal virginal.
Inscriptions: OPVS|/ALEXANDRI|TRUSVNTINI/ Date: 1604.
M.D.XXXI. Ownership: HAENDEL-HAUS, HALLE, GERMANY.
Specification: 2x8’. Number: 60.

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662 TRASUNTINO(A)
Inscriptions: Painted inscription: Alessandro Trasuntini 1604 leather-covered case are stamped the arms of a count of
on the frame. Later inscription (according to Sasse, p. 29) the family Gattola of Gaeta.
branded on nameboard: Alessandro Trasontini MDCIIII. Previous bistory: Formerly in the Metropolitan Museum of
Specification: 1x8". Art, New York, until 14 May 1987 when it was sold by
Compass: C/E-P(A), short octave. auction at Phillips.
Keyboard: White naturals, special sharps. References: Dolmetsch. Week-end Review, London, 12 July
Number of roses: 1. 1930, p. 57. J, Pp. 93-
Remarks: Cantilevered keyboard. Information supplied by: B?|MMACL]]/Libin.
References: Sasse, p. 29. HeydeHH, p. 15 (for a more Boalch3 number. TRASUNTINO(A), A(A). 1537(1).
descriptive account of the instrument). Boalch 2 number: 2.
Information supplied by: B*/HeydeHH.
Boalch 3 number: TRASUNTINO, A. 1604(1). ‘Type: Fretted clavichord.
Boalch 2 number: 5. Date: 1537.
Ownership: MUSIKHISTORISK MUSEUM,
Type: Polygonal virginal. COPENHAGEN, DENMARK.
Date: 1604. Number: Cl.45.
Ownership: Not known. Inscriptions: From B? and Ruweger it appears that the
Inscriptions: Allesandro Trasantini (sic) fecit an. 1604, Milese inscription is exactly the same as that on the above
restauro 1820. instrument (TRASUNTNO(A), A(A). 1537(1))—on the
Remarks: The existence of this instrument may be inferred inside rim in large black Roman capitals on a white
only from Franciolini’s catalogues. ground: rear of the inside case in large capitals: ALEX.
Previous history: Possibly from the Neupert Collection. TRASVNTINI VT ROSA FLOS FLORVM ITA
References: Franc] lists this as number 13 [a ‘spinetta’]. HOE CLAVLE CLAVILVIM (sic) HOC OPVS 1537.
Information supplied by: B2|WraightPC. Compass: F-e’.
Boalch3 number: TRASUNTINO, A. 1604(2). Keyboard: White naturals, special sharps.
Boalch 2 number: 26. Exterior of case: Painted.
Type: Polygonal virginal. Remarks: A fake, probably made in Florence in the late
Date: 1604. nineteenth century. The instrument is so like the above
Ownership: Not known. instrument that it too must almost certainly have been
Inscriptions: On a label Alessandro Trasontini fecit anno 1604. made by Franciolini. Naturals of ivory; sharps of black-
The label is slightly suspect. wood but with thin central inlaid white strip. Outer case
Specification: 1x8". painted in neo-classical design. Inner lid with painting
Previous history: Possibly from the Neupert Collection. (Leda and the swan?) with surrounding neo-classical
Information supplied by: VdM|WraightPC. motifs.
Boalch 3 number: TRASUNTINO, A. 1604(3)- Previous history: Formerly in the Carl Claudius Collection.
Boalch 2 number: None. References: Dolmetsch. Week-end Review, London, 12 July
1930, p. 57. Ruaeger, plate 32. MMCC.
TRASUNTINO(A), ALESSANDRO(A). Information supplied by: B*|Rueger| MMCC.
Type: Clavichord. Boalch 3 number: TRASUNTINO(A), A(A). 1537(2)-
Date: 1537. Boalch 2 number: 3.
Ownership: Not known.
Inscriptions: Painted around the inside of the lid in TRASUNTINO, BERNARDINUS DE.
black Roman capitals on a white ground: ALEX. Type: Single-manual harpsichord.
TRASVNTINI VT ROSA FLOS FLORVM ITA Date: 1574.
HOE CLAVLE CLAVILVIM (sic) HOC OPVS 1337. Ownership: DR. R. MIRREY, LONDON, ENGLAND.
Remarks: According to B*, a forgery made in Florence in Number: 1.
the late nineteenth century. This is confirmed by Dol- Inscriptions: On jackrail: Bernardinus de Trasuntinis fecit
metsch in the reference, where he infers that it was made MDLXXIIII.
by Franciolini, whom he had met in 1897 and 1898. He Specification: 2x8".
says: ‘From these (pieces of old wood) he concocted these Compass: GG/BB-c’, short octave.
forgeries which abound in American collections including Keyboard: White naturals, black sharps.
the Metropolitan museum of Art in New York.’ Ja, p. Number of roses: 1.
93 gives a description of the instrument which, in the Style of rose: Parchment.
illustration, can be seen to have a keyboard with black Exterior of case: Plain wood.
naturals and white topped sharps, and a compass which Case construction: Italian style, inner/outer.
is somewhat arbitrary, having two successive groups of Length: 2160 mm.
three sharps in the treble. On the inside of the lid of the Width: 820 mm.

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 TRASUNTINO 663
Depth: 180 mm. von Adolf Hartmann 221 Stunden, April 1913. Alle Rippen
Remarks: The only instrument known by this member of men.
the Trasuntino family. Instrument is a simple Italian inner Specification: 1x8".
with a modern outer case. Sides and soundboard of Compass: C/E-P, short octave.
cypress, pierced parchment rose. Naturals of boxwood Keyboard: White naturals, special sharps.
with arcaded fronts, and sharps of ebony. On trestle Number of roses: 1.
stand. From marks on the left of the soundboard it is Style of rose: Geometrical pattern.
apparent that the original disposition was 1x8’, 1x4’. Exterior of case: Painted.
Probably altered to 2x8’ at an early date. Holes in bottom Scale: 280 mm.
boards indicate that probably at one time there were Length: 1824 mm.
pull-down pedals for the bottom octav Width: 792 mm.
Previous history: Exhibited at the exhibition ‘Made for Depth: 205 mm.
Music’-—Galpin Society, 11-22 August 1986. Remarks: The date (MDLX) comes from the inscription
References: Mlustrated and described at MFM. See also on the foreboard, in which the last letter has been restored,
Mirrey. and may not be original. Naturals of ivory—the fronts
Information supplied by. MFM|Mirrey. are missing. Sharps of ebony with narrow strips of silver
Boalch3 number: TRASUNTINO, B. DE. 1574. inlaid lengthwise on either side. The instrument originally
Boalch 2 number: None. had 2x8’, but at a later date it was changed to 1x8’, 1x4’,
and since 1965 has been strung so that only the rear 8’
TRASUNTINO, GIOVANNI FRANCESCO. is playable. Exterior case, foreboard, and jackrail are
‘Type: Polygonal virginal. ticately painted with geometrical carpet-like patterns
Date: 1532. in gold, black, and green, on a red ground. The instrument
Ownership: INSTITUTE FOR SCIENTIFIC was fitted with a lid, with a pastoral scene painted inside,
RESEARCH ETC., ST. PETERSBURG, RUSSIA. and turned legs, in the nineteenth century. It would
Accession number not known. originally have been placed on a table for playing.
Inscriptions: Several inscriptions as follows: (i) near the Previous history: See: BerlinCat, p. 66.
rose; Gio Francesco Januar Trazentinus all insegna dell due References: BerlinCat, pp. 62-7, including colour
Rose Napoli; (ii) on the soundboard: Tibi nome di Dio ¢ de illustration.
San Josepo questo ¢ ante... per un Spilnet|to del Fogiolo che Information supplied by: B?|Droysen-Reber| Elste|BerlinCat.
con un poco letizia ed anche per... gr... fara um pocho Boalch 3 number: TRASUNTINO, G. 1560(A).
cantare alcun . . . sara mezo al mese di Ottubrio de anno 133... Boalch 2 number: 1.
To Brunetto maistro su dita opera ff. In Dei nomine speravi;
(iii) on the jack slide: Adi 7 novembrio 132 fato in Brunetto Type: Single-manual harpsichord.
[Pd]a[?i Organi in . .. [? Vero|nese. The last two inscriptions Date: 1571(A).
suggest an association with Bruneto dalli Organi (4.».). Ovnership: CASTELLO SFORZFSCO, MILAN,
Specification: 1x8". ITALY.
Compass: C/E-P(A), short octave. Number: 600.
Number of roses: 1. Inscriptions: VIDVS TRASVUNTINVS — F.
Style of rose: Geometrical pattern. MDLXX . -CONCENTV LAETANTVR. EO
Remarks: Fifty keys. SVPER ASTRO LOCO....
Information supplied by: B*. Specification: 1x8’, or 2x8".
Boalch 3 number: TRASUNTINO, G. F. 1532. Compass: C-c',d?.
Boalch 2 number: 1. Case construction: \talian style, inner/outer.
Length: 2350 mm.
TRASUNTINO, GUIDO or VIDO (Viti de Width: 914 mm.
Trasuntinis). Remarks: The date is not entirely clear from the inscription,
Type: Single-manual harpsichord. and is given by B? and Gall, p. 244, as 1571. Barnes points
Date: 1560(A). out that from Gall, plate CX XIX, it is clear that there is
Ownership: MUSIKINSTRUMENTEN MUSEUM, no 4’ bridge, and thus deduces the above specification.
BERLIN, GERMANY. According to Misch-r979 I] —‘alla quarta bassa’ and this
Number: 806. is thought to be likely in view of the length of the strings
Inscriptions. VITI DE TRANSVNTINIS MDLX on relative to normal standard pitch. The fascia board is
the foreboard. On the jackrail: VT FRENVM EQVIS. tichly carved and decorated while the external case is
By the keyboard: RENDO LIETI IN VN TEMPO GLI covered with red leather and gold tooled decoration.
OCCHI EL CORE. On the bottom boards: Repariert(?) Previous history: From the Gallini collection.
Mai 1894 von W. Hirl, Instrumentenmacher der Kénigl. References: Misch-1979 II p. 223. Illustrated Pag, p. 35.
Sammlung alter Musik-Instrumente in Berlin, and Repariert Gall, pp. 244-5 and plate CXXIX.

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664 TRASUNTINO
Information supplied by: B?|Misch-1979 11|Pag|WraightPC. Ovnersbip: Not known.
Boalch 3 number: TRASUNTINO, G. 1571(A). Inscriptions: Viti de Trasuntinis MDXCV1.
Boalch 2 number: 12. Specification: 2x8'(A).
Length: 1829 mm.
Type: Single-manual harpsichord. Width: 838 mm.
Date: 1572. Previous history: Sold by Alfred du Cros at Sotheby’s, 11
Ownership: PRIVATE COLLECTION. February 1938. Restored by Messrs. Morley. It was shown
Inscriptions. According to catalogue of sale, though not at the Crystal Palace in 1900.
recorded as an inscription: 1572—Trasuatini (Viti de Information supplied by: B*.
Trasuntinis). According to another report, inscribed on Boalch 3 number: TRASUNTINO, G. 1596.
reverse of nameboard VITI DE TRASVNITINIS. Boalch 2 number: 2.
MDLXxXI.
Specification: 2x8". ‘Type: Harpsichord (number of manuals not known).
Additional features: Hand stops. Date: 1600(A).
Compass: GG/BB-c', short octave. Ovnersbip: PRIVATE COLLECTION, ENGLAND.
Keyboard: White naturals, black sharps. Inscriptions: Viti de Trasuntinis MDLII, but last 3 letters
Number of roses: 1. of the date have been tampered with.
Exterior of case: Painted. Compass: C-c}(A)
Case construction: Italian style, inner/outer. Remarks: Compass now four octaves, chromatic—for-
Length: 2370 mm. merly GG/BB-c’, but originally C/E-f as is proved by
Width: 940 mm. alterations to keys and keybed.
Remarks: The attribution is entirely from the catalogue Previous history: Formerly Michael Thomas, and Mrs. Eva
of the sale on 21 June 1989. It is thought that the Rosenfelt, London.
instrument is now in Venice (1992). Ivory naturals with References: WraightHH.
ivory arcaded fronts. Sharps of ebony. Cypress inner case Information supplied by: B?|Wraight/Barnes|Mirrey.
with painted bacchanale on front board. Carved gesso Boalch 3 number: TRASUNTINO, G. 1600(A).
outer case with fine lid painting of Parnassus, and Boalch 2 number: 5.
elaborately painted in geometrical patterns. Raised on
three ‘barley twist’ legs each footed with a beast— Type: Virginal.
probably a lion, painted in white and gold. According to Date: 1601.
the catalogue the paintings are of the second half of the Ownership: MUSEE INSTRUMENTAL, PARIS,
seventeenth century. Claude Mercier-Ythier who had FRANCE.
charge of the instrument at one time says it has been Number; 980.2.X.
heavily reworked. Inscriptions. Viti (sic) de Trasuntinus (sic) fecit anno Domini
Previous history: Sold at the Hotel George V, 31 Avenue 1601.
George V, 75008 Paris on Thursday 21 June 1989, ‘par Specification: 1x8'(A).
le ministére de Mes Ader, Picard, Tajan, commisaires Remarks: Francl records a ‘spinetta’, which may be this
priseurs associes, 12 rue Favart, 75002 Paris (expert : M. one.
Dillee)’. Previous history: Formerly the property of the Comtesse de
References: Sale catalogue—including colour illustration. Chambure since 1972 until acquired by the Museum.
Information supplied by: Rot|Catalogue|undisclosed| Williams. References: Francl.
Boalch 3 number: TRASUNTINO, G. 1572. Information supplied by: B?/MICL.
Boalch 2 number: None. Boalch 3 number: TRASUNTINO, G. 1601.
Boalch 2 number: 24.
Type: Harpsichord (number of manuals not known).
Date: 1591. Type: Single-manual archicembalo.
Ownership: Not known. Date: 1606.
Inscriptions: Viti de Trasuntinis MDXCI. Ovnersbip: MUSEO CIVICO, BOLOGNA, ITALY.
Remarks: The reference to this instrument in the Franc- Accession number not known.
iolini catalogues must cause it to be regarded with caution. Inscriptions: Solus|Camillus Gonzaga Novellariae comes)
References: Francll. Clavemusicum omnitonum|Modulis diatonicis, chromaticis et
Information supplied by: B*. enbarmonicis||A docta manu tactum|Insigne| Vito de Trasuntinis
Boalch 3 number: TRASUNTINO, G. 1591. veneto anctore/MDCVI.
Boalch 2 number: ?1b. Specification: 1x8’.
Compass: C-c?.
Type: Harpsichord (number of manuals not known). Keyboard: White naturals, black sharps.
Date: 1596. Number of roses: 5.

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 TRUTE 665
Style of roses: Geometrical pattern. References: Cerv.MASM, pp. 336-8.
Exterior of case: Plain wood. Information supplied by: Cerv.MASM|VdM.
Remarks: The instrument is an archicembalo, known as Boalch 3 number: TRENCIJ, N. A. n.d.
the ‘Clavemusicum Omnitonum’. Built to the prescription Boalch 2 number: None.
of the inventor Nicola Vicentino, and designed to achieve
purity of intonation, it is capable of diatonic, chromatic TRONCO, GIOVANNI FRANCESCO.
and enharmonic tuning. Each accidental key is divided Type: Harpsichord (number of manuals not known).
into four keys and between each b and c, and each e and Date: 1757.
f is inserted an extra accidental divided into two keys. Ownership: Not known.
Thus the four-octave keyboard contains thirty-two keys Length: 1750 mm.
to each octave making a total of 125 keys. With the Width: 850 mm.
instrument is a tetrachord or quadruple monochord with Remarks: Formerly in the de Wit collection. May not now
intervals marked on it to assist in tuning. exist. Said to have four and a half octave compass, three
Previous history: Made for Camillo Gonzaga, Count of sets of strings, and dimensions 1750 x 850 mm.
Novellara. It was later in the possession of the papal Previous history. Formerly in the de Wit Collection.
maestro di cappella, Baini, and is now in the Museo References: Go.
Civico at Bologna. Restored in the workshops of the Information supplied by: B?.
Germanisches Nationalmuseum, and a copy also made. A Boalch3 number: TRONCO, G. F. 1757.
symposium was held in Nuremberg when the work was Boalch 2 number: 1.
complete, and it is believed that a report of the symposium
has been published. TRUTE, CHARLES and WIEDBERG.
References: L’antica musica . . - 155J, [Nicola Vicentino]. Type: Two-manual harpsichord.
Russell 1959. Date: 1794(A).
Information supplied by: B?/Russell19s9. Ownership: EDWARD MCELWEE(A),
Boalch 3 number. TRASUNTINO, G. 1606. HAGERSTOWN, MARYLAND, USA.
Boalch 2 number: ?3. Inscriptions: Faded inscription; Trute & Weidberg Makers,
Filbert Street, Philadelphia. The date is thought to be «.
TRENCIJ, NICOLA ANGELO. 1794
Type: Single-manual harpsichord. Specification: 2x8’, 1x4’.
Date: Not known. Compass: FF-P.
Ownership: MUSEO DEGLI ANTICHI STRUMENTI Keyboard: White naturals, black sharps.
MUSICALI, ROME. Number of roses: None.
Number: 819. Exterior of case: Crossbanded.
Inscriptions. Apart from the inscriptions NAT and Nicola Length: 2350 mm.
Angelo Trencij f under the keyframe, the twenty-third key Width: 984 mm.
carries the words I/ med. fa comprato dalla|casa Angeloni.|P. Remarks: This instrument has undergone a number of
Sante Sorini di Chiaravelle de? Ord. della Penitenza 1816. transformations and restorations. It was originally a
Specification: 2x8’. two-manual harpsichord, which had been turned into a
Compass: C/E-c’, broken octave. pianoforte in ¢. 1840-50, the front being cut off and the
Keyboard: White naturals, black sharps. lower keyboard destroyed, while the 4’ bridge was
Exterior of case: Painted. removed, leaving its mark on the soundboard. A square
Scale: 289 mm. piano action of c. 1835 was fitted. The case and framing
Remarks: The instrument is described in the catalogue as are of Honduras mahogany veneered with Santo Domingo
‘Cembaletto Italiano decorato a trompe Foeil. It is, in fact, mahogany. The keywell has a unique chequerboard
simply a normal harpsichord which has been marquetry name panel. The instrument was turned back
foreshortened. Despite the inscription under the keyboard, into a single, and later a double, harpsichord by John
the identity of the maker is by no means certain, and the Challis.
authenticity of the instrument is dubious. dM dates it Previous history: Brought to the notice of John Challis by
at around 1700. Naturals of box, and sharps of stained Mrs. Fay G. Buck, Sylvania, Ohio, in the early 1940s.
chestnut with ebony tops. There are indications that the Subsequently in the possession of Mr. Herman, antique
original compass was longer with forty-eight keys— dealer at his death ¢. 1952. Bought by Professor Ray
possibly C,D-c’. There are split keys for D/F¥, and E/G¥. McIntyre in 1952, when its nameboard was illegible, and
The outer case is richly decorated including a trompe Poeil its provenance unknown. Professor McIntyre did research
representation of sheet music with an aria for two voices. on the instrument, and was able, through the medium of
There are traces that at one time the bottom octave had a photographer at the Detroit Institute of Arts, using
pedal pull-downs. special photographic techniques, to decipher the incription
Previous history: Formerly Evan Gorga. on the nameboard (see above). There was no date.

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666 TUNONI
Restored by John Challis in 1952. Professor McIntyre Ownership: Not known.
sold the instrument back to John Challis in 1969 who Inscriptions: Joseph Tunonus fecit Bononia in Platea Pavaglionis
restored it to its most likely original disposition of anno Domini 1637.
two-manuals with 2x8’, 1x4’. Used by Professor McIntyre Specification: 2x8".
in the 1950s and 6os for concert tours on the eastern Remarks: This instrument is most probably the harp-
seaboard, when he advertised it as ‘the oldest known sichord recorded in FrancI with the above inscription.
extant American made harpsichord’. Sold at Sotheby Previous history. Was offered for sale in London in 1925.
Parke Bernet, New York on 29 October 1976 for $15,500 References: Francl.
(see also report of sale on p. 135 of EM vol 5, No. 1, Information supplied by: B*.
January 1977). Boaleb3 number. TUNONI, G. 1637.
References: Mlustrated in Bs, plate XXX and XXXI. The Boalch 2 number: 1.
American Harpsichord Magazine, Vol. VII, No. 4. The
harpsichord in America. Further information from Professor TURIG, JOHANN LUDWIG.
Ray McIntyre, San José, USA. Type: Clavichord.
Information supplied by: B?/Br|Dabl|Mclntyre. Date: 1680.
Ownership: Not known.
Boalch 3 number: TRUTE & WIEDBERG. 1794(A).
Boalch 2 number: 1.
Previous bistory: In 1910, a clavichord by Turig was in the
collection of Heinrich Schumacher of Lucerne.
References: Go p. 123; Hirt, p. 481.
TUNONI, GIUSEPPE. Information supplied by: B*.
‘Type: Single-manual harpsichord. Boalch 3 number: TURIG, J. L. 1680.
Date: 1637. Boalch 2 number: 1.

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 U
UNDEUS, DONATUS. Inscriptions. DONATVS VNDEVS BERGOMENSIS
Type: Rectangular virginal. MDXCIV, and Gaspare Spontini|Maiolati 1768.
Date: 1590. Specification: 1x8".
Ownership. GERMANISCHES NATIONALMUSEUM, Compass: C/E-P, short octave.
NUREMBERG, GERMANY. Case construction: Italian style, Inner/Outer, though the
Number. MIR 1087. outer is now missing.
Inscriptions: Donatus de Undeis Bergomensis MDXC. There Previous history: Appears to have passed through the hands
is also a stamped inscription (according to WraigbtPC), of the young Spontini, and those of Pietro Mascagni.
1B. Information supplied by: VdM.
Specification: 1x8". Boalch3 number. UNDEUS, D. 1594.
Compass. C/E-P. Boalch 2 number: None.
Number of roses: 1.
Scale: 324 mm. Type: Polygonal virginal.
Case construction: Italian style false inner/outer. Date: 1597.
Remarks: VdM reports that the instrument is the oldest Ownership: PRIVATE COLLECTION, ZURICH,
SWITZERLAND.
false inner/outer instrament known to him. The outer
case is rectangular but rear corners at left and right of Specification: 1x8'(A).
Remarks: Little is known of this instrument.
the inner are cut off obliquely so as to make the inner
Information supplied by: B2|WraightPC.
hexagonal in shape. Boalch3 number. UNDEUS, D. 1597.
Previous history: Part of the Riick Collection.
Boalch 2 number: 1a.
References: Mouldings shown in Hellwig. Hwber, p. 138.
Information supplied by: B2|Hellwig/Huber|WraightPC. Type: Rectangular virginal.
Boalch 3 number: UNDEUS, D. 1590. Date: 1623.
Boalch 2 number: o1. Ownership: BRUSSELS MUSEUM, BRUSSELS,
BELGIUM.
Type: Single-manual harpsichord. Number: 2034.
Date: 1592. Inscriptions: Donatus Undeus, Bergomensis, MDCXXIII.
Ownership: MUSIKHISTORISK MUSEUM, Specification: 2x8'(A).
COPENHAGEN, DENMARK. Compass: C/E-P, short octave.
Number: A17. Keyboard: White naturals, black sharps.
Inscriptions: Donatus de Vndeis Bergomensis MDXCII. Number of roses: 1.
Specification: 2x8’. Style of rose: Geometrical pattern.
Compass: C/E-c', short octave. Exterior of case: Painted.
Number of roses: 1. Case construction: Italian style- false inner/outer.
Style of rose: Parchment. Remarks: An arci-spineta, i.e. a virginal with elongated
Scale: 292 mm. soundboard. Naturals probably ivory, and sharps of
Length: 2100 mm. ebony. Instrument appears to have the means of engaging
Width: 770 mm. one or both 8’ registers by moving the keyboard. External
Remarks: Keyboard not original. case with painted panels surrounded by borders.
References: WraightPC (Instrument No. 275), MMCC. Information supplied by: B2|Juritz.
Information supplied by: B2|MMCC|WraightPC. Boalch 3 number: UNDEUS, D. 1625.
Boalch3 number. UNDEUS, D. 1592. Boalch 2 number: 2.
Boalch 2 number: 1.
UNDEUS(A), DONATUS.
Type: Polygonal virginal.
Type: Pentagonal virginal. Date: not known.
Date: 1594. Ownership: STIFTELSEN MUSIKKULTURENS
Ownership: MUSEO MASCAGNANO, LEGHORN, FRAMJANDE, STOCKHOLM, SWEDEN.
ITALY. Number. KL 56.
Number: Not known. Inscriptions: I B on Jackrail.

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668 UNDEUS
Specification: 1x8". CAPETOWN, SOUTH AFRICA. Accession number
Compass: C/E-c', short octave. not known.
Keyboard: White naturals, black sharps. Inscriptions: On front of nameboard: SPINETA ET
Number of roses: 1. ARCHISPINETA PRIVILIGIATA INVENTOR
Style of rose: Parchment. HIER®™ VNDEVS DONATI FILIVS 1632. The same
Exterior of case: Plain wood. words in upper and lower case letters are written on the
Scale: 306 mm. back of the nameboard in ink. On a piece of paper stuck
Remarks: Identification of the maker as Donatus Undeus to the bottom of the case: Sig Tino Barbetti/Fermo
is due to Denzil Wraight, who in 1988 contributed a stazione|Porto al Prado| Firenze.
short paper to the NEMA conference on keyboard Specification: 2x8’.
instruments (obtainable from the Nydahl Collection, Additional features: Moving keyboard.
Stockholm). This attribution is due to a stamp appearing Compass: C/E-P, short octave.
on the jackrail of this instrument and that of the 1590 Keyboard: White naturals, black sharps.
Donatus Undeus virginal in Nuremberg (UNDEUS, D. Number of roses: 1.
1590) both of which have the letters J B in a circle. Style of rose: Parchment.
Wraight points out that Donatus Undeus had a son Exterior of case: Leather.
Hieronymus (see below) and that this could be translated Case construction: \talian style —false inner/outer.
into Latin as Jeronimo and that the J could in Italian Scale: 367 mm.
become I, while the B is most likely to be ‘Bergomensis’. Length: 1710 mm.
There are common, though not identical, features in the Width: 750 mm.
mouldings of the two instruments, and Wraight ascribes Depth: 230 mm.
a post 1590 date to the Stockholm instrument. This Remarks: The instrument is a polygonal virginal in a
instrument is part of the Nydahl Collection. Case and rectangular case from which it is not removable. There
soundboard of cypress. Rose of parchment and cypress. is a moving keyboard operated by two ivory knobs to
Keycovers, boxwood and ebony with gothic arcades. disengage one 8° register. Keybed a later replacement
Stamped on both ends of the jackrail with I B. with balance pins moved towards the back of the keys.
References: SMF (see appendix by Wraight). Naturals with ivory arcades. Sharps ebony. Later weights
Information supplied by: SMF|WraightPC. added to keys. What appears to be an arpichordum stop
Boalch 3 number: UNDEUS(A), D. n.d. added later probably ¢. 1930, activated by a steel knob.
Boalch 2 number: None. Lowest eleven keys have slots for pull-downs and case
has corresponding slot in the underside, but now blocked
UNDEUS, HIERONYMUS. up. The scale given here may not be original since the
Type: Single-manual harpsichord. bridge may well have been moved. External case is of
Date: 1632. embossed leather with brass headed nails. Stand with
Ownership: INSTRUMENTENKAMMER, barleytwist legs and stretcher. Large rose with pierced
INNSBRUCK, AUSTRIA. Accession number not geometrical pattern.
known. Previous history: Passed through the hands of Alec Hodsdon
Inscriptions: Hieronymus Undeus, Donati Filius, Anno 1623. in the 1930s. Subsequently acquired by John Hunt, farmer,
References: Senn, p. 340. of Vereeniging, Transvaal.
Information supplied by: Bz. References: Further details from Professor John W. F.
Boalch 3 number: UNDEUS, H. 1632. Juritz, Cape Town, South Africa. See also possibly:
Boalch 2 number: 1. Walter Senn. Musik und Theater am Hof zu Innsbruck,
Osterreichische Verlagsanstalt, Innsbruck, 1954, p. 340.
Type: Polygonal virginal. Information supplied by: Juritz.
Date: 1633. Boalch 3 number: UNDEUS, H. 1633.
Ownership: PERCIVAL R. KIRBY COLLECTION, Boalch 2 number: None.

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 Vv
VAN KAMP, HUBERT. with the compass shown above. Wrestplank on right-hand
Type: Wing spinet. side.
Date: 1762. Length: 575 mm.
Ownership. GEFFRYE MUSEUM, SHOREDITCH, Width: 210 mm.
LONDON, ENGLAND. Accession number not Depth: 90 mm.
known. Previous history: Acquired by Laurence Witten in 1968
Inscriptions: Hubert Van Kamp Londini fecit 1762. from the estate of E. M. W. Paul. Purchased by the
Specification: 1x8’. Shrine to Music Museum Foundatiom from Laurence
Compass: FF,GG-P. Witten family, 5 February 1984, and now part of the
Keyboard: White naturals, black sharps. Witten-Rawlins collection. Restored to working order by
Exterior of case: Plain wood. Edwin M. Ripin, before 1974.
Remarks. Ivory naturals, ebony sharps. Keys of pine. References: Data sheet available from the Museum.
Mahogany case. Stand of oak, apparently not original. STMCL, STMPS, p. 41.
Interior workmanship poor, but tone quite good. Information supplied by: STMCL|STMDS|Banks| dM.
Information supplied by: B?. Boalch 3 number: VANINI(A), F. 1600(A).
Boalch 3 number: VAN KAMP, H. 1762. Boalch 2 number: None.
Boalch 2 number: 1.
VATER, ANTOINE.
Type: Two-manual harpsichord.
VANINI(A), FRANCISCO. Date: 1732.
Type: Spinet. Ownership: PRIVATE COLLECTION, SOUTH OF
Date: 1600(A). FRANCE.
Ownership: SHRINE TO MUSIC MUSEUM, Inscriptions: Signed: Antoine Vater, round the rose, and
VERMILLION, SOUTH DAKOTA, USA. dated 1732.
Number: 3449. Specification: 2x8’, 1x4’.
Inscriptions: Franciscus Vaninus|Bononiensis faciebat|anno Dom- Compass. F-c'(A).
ini MDCLXXII, on bottom of inner case in pencil. Number of roses: 1.
Specification: 1x2'(A). Remarks: Was in private ownership in 1970. GL believes
Compass: C/E-F. this instrument = B? no. 3.
Keyboard: White naturals, special sharps. Information supplied by: B?/GL.
Number of roses: 1. Boalch3 number: VATER, A. 1732.
Style of rose: Pierced. Boalch 2 number: 01/3(A).
Exterior of case: Painted.
Case construction: Italian style, innerjouter. Type: Two-manual harpsichord.
Scale: 82 mm. Date: 1737.
Ownership: MRS. HUE-WILLIAMS, NEWBURY,
Length: 350 mm.
Width: 127 mm. ENGLAND.
Depth: 7o mm. Inscriptions: Inscription painted on soundboard round rose:
Remarks:
Antoine Vater. The instrument bears a label; Restawré dans
Instrument is a miniature Spinet. Originally
thought to be anonymous until discovery of an inscription Jes ateliers|de Bercean Royal d |Instruments de musique anciens|M
in 1986. At that time it was thought
& A. Salomon|14 rue Boissy d Anglas|a Paris le Octobre
that Vanini might 1923.
be a genuine maker. Van der Meer agrees
that it is
certainly Italian. In 1989 Banks reported that the Museum
Specification: 2x8’, 1x4’, lute.
now thought that the signature Franciscus Vaninus on the
Additional features: Shove coupler, 3 hand stops.
underside, was
Compass: EE-P(A).
not the maker’s Signature, and
instrument dated from ¢. 1600, despite the date 1672 on
that the Number of roses: 1.
the inscription. Naturals of box, sharps are a sandwich
Length: 2375 mm.
of ebony-box-ebony. Outer case painted in imitation of
Width: 887 mm.
wood with geometric design painted inside lid.
Depth: 950 mm.
Finely Remarks: There has been some discussion about the date
pierced rose. VdM records the instrument as at 1’ pitch,
for in B? it is stated ‘Russell was mistaken in giving

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670 VATER(A)
1737’. Bz also says ‘It is, of course, possible, though is genuinely by Vater. Kjeldsberg reports: Naturals of
unlikely, that the date 1737 disappeared during this ebony with leather fronts, sharps of ivory. Case painted
restoration [refers to a restoration in 1923] but it can in black with ‘golden ornamental frames’. Lid beautifully
never have followed the maker’s name round the rose.” decorated with painted landscape. Soundboard decorated
GL, however, writing in 1985, confirmed that the date with flowers and birds in French style. The rose is
1737 is correct. Three handstops through fascia board patterned [sun with rays] and is clumsily fixed in place
controlling the 4’, the lute stop, and one of the 8’ stops. by means of a block of wood attached to the underside
Arcading on keyfronts, perhaps modern. This harpsichord of the soundboard. Bz states: ‘This feature and various
was carefully examined in 1971 by Peter A. Kjeldsberg. others incline one not to attribute this instrument to
Previous history. Mrs. Hue-Williams was formerly Mrs. Vater; other features are the completely different profile
Lilley. of the 8’ hitch-pin rail, the different curve to the 4”
Information supplied by: B2/GL. hitch-pin rail, the curving of the bass end of the 8’ bridge,
Boalch 3 number. VATER, A. 1737(1)- and the different scaling.’
Boalch 2 number: 1. Previous history: The Ringve Museum bought it in 195 3
from Mme. Matho Bruneau-Brunold, widow of Paul
Type: Harpsichord (Number of manuals not known). Brunold [1875-1948]. Restored by Fissot—176z, by Fer-
Date: 1737. ney-~-1909, and by Felix Wolff in 1970.
Ownership: PRIVATE COLLECTION, FRANCE. References: Kjeldsberg, P. A.: Attribuering av fransk cembalo
Remarks: This instrument is recorded separately in Bz, ved Ringve Museum, 1974. Unpublished essay for Uppsala
but GL believes that it is the same instrument as Bz No. University. See also: Ringverg8r, p. 8.
ol. Information supplied by: B2|Kjeldsberg|Ringverg8r.
References: GL, Verlet. Boalch 3 number: VATER(A), A(A). 1737(A)-
Information supplied by: B2/GL. Boalch 2 number: 2.
Boalch 3 number. VATER, A. 1737(2). ‘Type: Two-manual harpsichord.
Boalch 2 number: 3/01(A). Date: 1738(A).
Ownership. MICHAEL THOMAS, SAUSSINES,
VATER(A), ANTOINE(A). FRANCE.
Type: Two-manual harpsichord. Remarks: The information that Mr. Thomas owned a
Date: 1737(A). Vater harpsichord dated 1738 was communicated by Mr.
Ownership: RINGVE MUSEUM, TRONDHEIM, Thomas in 1991, though it was not clear which Vater
NORWAY. was the maker. It was missing its stand.
Number. RMT 372. Previous history: Bought by Mr. Thomas from Jean-Pierre
Inscriptions: On the nameboard are 2 handwritten rec- Decavele, Toulouse, France.
tangular plates; on the first only the name Fissot [? Information supplied by: ThomasM.
Tissot] can be read. On the second is inscribed; Albert Boalch3 number: VATER(A), A(A). 1738(A)-
Ferney|restituit anno MDCCCCIX. The jackrail bears a Boalch 2 number: None.
piece of vellum on which is written, presumably by
Brunold; Clavecin a grand ravalement|facture d’ Ante Watters VATER, CHRISTIAN.
[1737] /reparé par Fissot [1762]/provient du Chatean &O. ‘Type: Single-manual harpsichord.
[Oron}/{Collection Paul Brunold|. Bz states: ‘Did Brunold Date: 1738.
get this information from evidence inside the instrument Ownership: FAMILIE DES FREIHERRN
laid bare by Ferney in 1909? If so, the evidence must LANGWERTH VON SIMMERN. On loan to the
have been removed by 1970, for when the Uppsala Germanisches National Museum, Nuremberg.
restorer Felix Wolff opened the instrument up in that Number: M1 449.
year he found only one inscription which told of its repair Inscriptions: Rose has inscription round it MARTINVS
by Ferney in 1909’. VATER. . .ORGEL VND INSTRVM. MACHER.
Specification: 2x8’, 1x4’. M.F. HANNOVER. Under the soundboard is hand-
Additional features: Harp, shove coupler. written Christian Vater|Hannover 1738]im December|Nr 193
Compass: FF-P. Specification: 2x8".
Keyboard: Black naturals, white sharps. Compass: GG/BB-e’, short octave.
Number of roses: 1. Keyboard: Black naturals, white sharps.
Exterior of case: Painted. Number of roses: 1.
Scale: 349 mm. Style of rose: Unique (see below for further details).
Length: 2325 mm. Exterior of case: Painted.
Width: 920 mm. Scale: 265 mm.
Depth: 273 mm. Remarks: Though the rose carries a representation of an
Remarks: There is some doubt as to whether the instrument organ case with an inscription round bearing the name

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 VENTURA(A) 671
Martin Vater, he was dead long before 1738, and the Previous history: Ve»A Cat states: ‘The tradition that this
imstrument must have been made by his son, Christian. harpsichord once belonged to the Duchesse de Maine,
‘The instrument has double curve bent side, painted black daughter-in-law of Louis XIV, is strengthened by the fact
with gold scrolling trophies. Spine of pine, other sides of Vaudry’s royal patent. The Duchesse was renowned
of birch. Raised on trestle stand with stretcher at floor as a patron of music because of the concerts that she
level and six barley twist legs. Krick gives the compass sponsored at the Chateau de Sceaux outside Paris. After
as GG/BB-c’, not as above. the failure of the Cellamare conspiracy against the Regence
Previous history: Nothing is known of the history before in 1718, the Duchesse was banished from the Court
acquisition by present owners. to the Chateau de Savigny-les-Beaunes in Burgundy.
References. A technical drawing is available from the According to tradition she brought this harpsichord with
Museum. Mouldings shown in Hellwig. Huber, p. 134. her at the time and placed it in a room that was then
Information supplied by: Krick| Hummel] MAS/GL| decorated in red and gold, the inside of the lid being
Hellwig|Huber|VdM. painted to match—rather badly. It apparently remained
Boalch 3 number: VATER, C. 1738. at Savigny until the early 1970s.’ The harpsichord was
Boalch 2 number: None. purchased in London for £18,500 in 1974 with a con-
tribution from Mr. Ronald Lee. Restored in the Adlam-
Burnett workshops in 1974-5.
VAUDRY.
References: VerA Cat pp. 63-5. Derek Adlam. Restoring
Type: Two-manual harpsichord. the Vaudry, in EM, vol. 4, No. 3, July 1976, p. 255.
Date: 1681. Information supplied by: V&A Cat.
Ownership: VICTORIA AND ALBERT MUSEUM, Boalch 3 number: VAUDRY. 1681.
LONDON, ENGLAND.
Boalch 2 number: None.
Number: 2-1974.
Inscriptions Signed underneath the soundboard in red wax
Vaudry 4 Paris 1681. The maker’s mark, the letter V/ in VENTURA(A), ALOYSIUS.
red crayon appears on many concealed parts of the Type: Ottavino.
instrument. Date: 1533(A).
Specification: 1: 1x8", 1xq’; Us 1x8". Ownership: GEMEENTEMUSEUM, THE HAGUE,
Additional features: Shove coupler, 2 hand stops. NETHERLANDS.
Compass: GG/BB-c’, short octave. Number: Ec13-1937.
Keyboard: Black naturals, white sharps. Inscriptions. OPUS HOC FECIT/ALOYSIUS VEN-
Number of roses: 1. TURA VENETIA QUI NOV ATUR IN/LOCO
Style of rose(s): Geometrical pattern. NUNCUPATO 1533 (written round the inside of the
Exterior of case: Painted. instrument over the soundboard). On the highest key~-
Scale: 552 mm. Questo Ottavino e rinovato da me Luigi Cavalletti nel Febrajo
Length: 2176 mm. 1825 Faenza.
Width: 768 mm. Specification: 1x4’.
Depth: 242 mm. Compass. GG/BB-c’, short octave.
Remarks. There is no way of attributing the instrument Keyboard: White naturals, black sharps.
to any specific member of the Vaudry family, which Number of roses: \.
carried on a Parisian harpsichord business for several Scale: 341 mm.
generations. Naturals of ebony, with gilded-trefoil arcades; Length: 835 mm.
solid-bone sharps. Keylevers of softwood (poplar or Width: 390 mm.
lime). Soundboard of spruce. Gilded three-dimensional Depth: 110 mm.
cut-parchment rose. Soundboard painted in gouache with Remarks: Described in catalogue as an ‘Octave Spinct-
has
roses and anemones and bordered with a running scroll Almost certainly a fake. Internal lid painting. Case
o
(rinceau) pattern in blue. Oak i of white
external decoration ‘ round buttons at TMOst
wrestplank veneered to
match the soundboard. Cheek, bent side, and tail of the right-angle positions.
walnut. Spine and bottom boards of softwood. Exterior Previous history: Restored by the Museum in 1954
of case and framed stand of seven spiral turned legs are 64).
finely japanned with vaguely chinoiserie scenes in gold, References: Hirt p. 186. Russellrgsg p. 31-
silver, and bronze tones on a black background Information supplied by: B2|HaagCL|Wraight.
based on engravings by Jacques Stella. Crudely executed Boalch 3 number: NENTURA(A), A. 1533(A)-
ornamentation in red and gold on inside of the lid. At Boalch 2 number: 2.
one time the harpsichord was fitted with an organ to
make ita claviorganum. It has undergone several structural ‘Type: Fret-free clavichord.
changes for details of which, see: V&A Cat pp. 64-5. Date: 1733.

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672 VENZKY
Ownership: SNOWSHILL MANOR, Inscriptions: Inscribed on nameboard: Richardus Vesey Ebor.
WORCESTERSHIRE, ENGLAND. Accession number Fecit.
not known. Specification: 1x8’.
Inscriptions: Inscription of bone set into wood around the Remarks: Single curve in bent side and straight tail-end.
inside of the case walls: Aloysius Ventura Venetia qui novatur Broken octave in bass. Barres has noted that a broken
[moratur?) in loco nuncupato MDCCXXXIII. (According to octave would suggest a much earlier date than 1800—
B the date is given as 1533, which would tie up with but there is no firm evidence to suggest another dating.
the preceding instrument.) Information supplied by: B*|Barnes.
Length: 820 mm. Boalch 3 number: VESEY, R. 1800(A).
Width: 370 mm. Boalch 2 number: 1.
Depth: 111 mm.
Remarks: Almost certainly a Franciolini fake of about VI... TES.
1890. B* gives the date as 1533, but according to the Type: Pentagonal virginal.
inscription recorded by Weldon, the date is definitely 1735. Date: 1540.
It has the same diamond shaped gap in the central keys Ownership: METROPOLITAN MUSEUM OF ART,
as the Assalone of 1732, and the Ferrini of 1751. Ebony NEW YORK, USA.
naturals, ivory sharps. In a leather-covered case. Number: 53.6 a,b.
Previous history: Formerly the property of Miss Margaret Inscriptions: On name-batten above keyboard VENETIS
Glyn, and the Van Raalte Collection, Brownsea Island, [space] RICCHO SON DORO * ET RICCHO SON DI
which was sold by auction in 1927. SVONO [space] NON MI SONAR SI TV NON HA
References: B’ and Weldon. DEL BVONO [space] M*D*XL. Above carved keycheek
Information supplied by: B?/Weldon. at left of keyboard: VI, and at right of keyboard ] E S.
Boalch 3 number: VENTURA(A), A. 1733(A)- On reverse of name-batten: Ordinato ¢ fatto per Sma
Boalch 2 number: 1. Eccelenza la Sigra Duchessa D’ Urbino L’anno di Nostra Salute
1540 e pagato 250 Scudi Romano no so.
VENZKY, CARL RUDOLF AUGUST.
Type: Clavichord. Specification: 1x8".
Compass: C/E-P, short octave.
Date: 1805.
Ownership. ERLANGEN UNIVERSITY, ERLANGEN, Keyboard: White naturals, black sharps.
GERMANY. Number of roses: 1.
Style of rose: Parchment.
Number: 104/105.
Inscriptions, Signed: C. R. A. Venzky/Hof Orgelbaner Exterior of case: Unique style.
Case construction: Italian style, inner/outer.
und|Instrumentenmacher|in Dresden 1803.
Compass: FF-a’. Scale: 320 mm.
Keyboard: Black naturals, white sharps. Length: 1402 mm.
Exterior of case: Plain wood. Wideb: 361 mm.
Scale: 260 mm. Depth: 166 mm.
Remarks: The name of the maker is unknown, and the
Length: 1704 mm.
Width: $35 mm. attribution is due to the inscription on the front of the
instrument above the scrolled cheeks at either end of the
Depth: 186 mm.
Remarks: B? gives the date incorrectly as 1804. Keys of keyboard where V I, and I E S are found. These may,
lime—roof carved. Naturals of ebony with three grooves. or may not be abbreviations of the maker’s name. Ivory
naturals and arcades, sharps of ebony. Inner instrument
Sharps of ivory, capped with pear. Soundboard of spruce
with bridges of pear sawn to shape. Casework of pear elaborately decorated with marquetry, inlaid geometric
except back wall which is of oak with a pear capping. designs, ivory and ebony studs, cut-parchment designs
and carving.
Keywell veneered with maple and ebony. Eschler gives
the string gauge numbers, and lists the instrument with Previous history: Evidently ordered by and made for
the Neupert Collection number Ny.
Eleonora, wife of Francesco Maria [I] Della Rovere, Duke
References: Brun. p. 21. Eschler, p. 122. of Urbino, and daughter of Isabella d’Este. Purchased by
Information supplied by: B*|Weldon| VdM|Brun|Eschler. the Museum in 1953, using the Pulitzer Bequest Fund.
Boalch 3 number: VENZKY, C. R. A. 1805. References: Sheridan Germann, ‘La decoration des clavecins
Italiens et Flamands’ in Musique et Loisirs, 5, (1978): 16,
Boalch 2 number: 1.
22. Wint 1961 pp. 12~13. Emanuel Winternitz, ‘A spinetta
VESEY, RICHARD. for the Duchess of Urbino’, MMA Jonrnal, 2, (1968).
Type: Wing spinet. Emanuel Winternitz, Musical Instruments of the Western
Date: 1800(A). World, New York, McGraw-Hill, 1967, pp. 80-3. Emanuel
Ownership: PRO MUSICA CO., ANNAPOLIS, MD., Winternitz, ‘Pleasing eye and ear alike’, MMABULL, 30
USA. Accession number not known. (October-November 1971): Back cover and frontispiece.

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 VINCENTIUS 673
MMA. MMACL. Photos (negative numbers 154631, Independent evidence suggests that C/E-f was the original
154641, 211959) available from the Museum. compass of this harpsichord, which also seems to have
Information supplied by; MMA|MMACL/|Wraight. had originally a single 8’ register. Made as an inner/outer
Boalch
3 number: V1. . . IES. 1540. instrument the tail has been shortened by an indeterminate
Boalch 2 number: None. amount. Holes in the baseboard indicate that pedal
pull-downs were later added after a change of compass.
VIERERIGEL, JOHANNES. The nameboard reported by B? had been cut away along
Type: Fretted clavichord. its bottom edge (for the present cartouche lacked one
Date: 1744. side) evidently because the present keyboard is in a higher
Ownership: INSTITUTE FOR SCIENTIFIC position than the original. The painted outer case bears
RESEARCH ON THE THEATRE AND MUSIC, a coat-of-arms—most probably of the Tenmpi family of
LENINGRAD, RUSSIA. Accession number not Florence. The dimensions given here are for the outer
known. case, and come from B’. Wraight gives the length of the
Inscriptions: On abel: Jobannes Viererigel. Presburg, (sic) inner instrument as 2100 mm. He also gives the present
1744. The form of the surname seems dubious. scale (quoted above) as for the instrument assuming that
Compass: C-c?. it had a compass of C/E-P.
Information supplied by: B*. Previous history: According to B*, from information given
Boalch 3 number: VIERERIGEL, J. 1744. by the then owner, Count Ghigi Saracini of Sienna, the
Boalch 2 number: 1. instrument came from the Palazzo Tempi (formerly
Bargagli) in the Piazza S. Maria sopr’Amo, Florence. If
VINCENTIUS, LIVIGIMENO. the information on the missing nameboard was correct,
Type: Single-manual harpsichord. it may well be that the instrument was actually made for
Date: 1515. Pope Leo X, but this must be treated with caution.
Ownership: ACCADEMIA CHIGIANA, SIENA, References: The likely history of the instrument is examined
ITALY. Accession number not known. in detail in the references. Hubb 196, p. 3 n. 8; based on
Inscriptions. Denzil Wraight in 1986 reported that the Gough. Denzil Wraight, ‘Vincentius and the carliest
nameboard described in B’ was by then missing. The harpsichords’, in EM, vol. 14, No. 4, November 1986, pp.
latter had an inscription: Leo Papa X/Vincenti boc opus est 534-8, (Illustrated). Also shown in B? under Vincentius
ex se rude. Deme Leonis| Nomen{,] erit mutum|;} nominis omnis (probably of Florence).
bonos.|
MV CXVI.XF. This was translated by B? as: ‘This Information supplied by: B?|/EM|Wraight.
is the work of Vincentius, rude in itself. Take away the Boaleh3 number. VINCENTIUS, L. 1515.
name of Leo [and] it will be dumb; all [its] honour is in Boalch 2 number: 1(Vicentius).
[his] name.’ The date is translated as 10 February 1516.
B noted the apparent genuineness of the lettering which
he described as ‘handsome Renaissance Roman’. Wraight, VINCENTIUS, PRATENSIS.
after a careful examination of the instrument which by Type: Ottavino.
then had lost the above nameboard, found an inscription Date: 1610.
on the underside of the soundboard: 115 a di 18 de sett/b Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
Su fondato Vinceio livigmeno faciebat. He interpreted this to GERMANY.
mean that the harpsichord was started by Vincentius on Number: 34.
18 September 1515. The word /iigweno is taken to be the Inscriptions. Inscribed in handwriting on back of name-
hamlet of Livignano, now attached to the Piazza al board (which has been lost since 1945): Vincentins Pratesis
Serchio, Lucca. (sie) 1610.
Specification: 2x8". Specification: 1x4".
Compass: C,D-d?. Compass: C/E-c', short octave.
Keyboard: White naturals, black sharps. Keyboard: White naturals, black sharps.
Number of roses: 3. Number of roses: 1.
Style of roses: Geometrical pattern. Style of rose: Parchment.
Exterior of case: Painted. Exterior of case: Plain wood.
Case construction: Italian style, inner/outer. Case construction: Italian style, inner/outer.
Seale: 289 mm. Scale: 179 mm.
Length: 2180 mm. Length: 795 mm.
Width: 830 mm. Width: 403 mm.
Remarks: The maker is not to be confused with Vincentius Depth: 133 mm.
Pratensis. This appears to be the earliest surviving Remarks: Ivory naturals, ebony sharps. Cantilevered key-
harpsichord. The present keyboard is non-original, and board. A number of the keylevers have been lost since
has been altered from C/E-F to give the present compass. 1945, as has the outer case.

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674. VINCENTIUS(A)
Previous history: First known of in the Kraus collection, VINCENTIUS(A), PRATENSIS.
Florence in 1878. Some restoration took place at the end Type: Single-manual harpsichord.
of the nineteenth or beginning of the twentieth century. Date: 1610(A).
Formerly in the Heyer Collection. Accepted as genuine Ownership: VASSAR COLLEGE, POUGHKEEPSIE,
by WraightPC on the basis of mouldings [WraigbtHH, NEW YORK, USA. Accession number not known.
pp. 128-31] Inscriptions. Inscribed on back of the nameboard; Fetto
References: Inscription reproduced at Ks, p. 275. For full dal Padre Stoppacio del carmine nel? Anno 1554. Vincentius
details see Henkelr, pp. 13-14. WraightHH. Pratensis 1610, scratched on the back of the nameboard.
Information supplied by: Bz|Henkel1|WraightPC. Koster says that the former is a typical Franciolini fake
Boalch 3 number: VINCENTIUS, P. 1610. inscription though the latter ascription to Vincentius
Boalch 2 number: 1. Pratensis is probably genuine. Wraight accepts that Vin-
centius was the maker on the basis of the case mouldings.
‘Type: Single-manual harpsichord. Specification: 2x8.
Date: 1612. Compass: C/E-e'(A), short octave.
Ownership: LEIPZIG UNIVERSITY, LEIPZIG, Remarks: Shown in Bz under Stoppacio with the date 1554,
GERMANY. but, as remarked above, most probably this is a Franciolini
Namber: 69. name and date and the instrument is almost certainly by
Inscriptions: Inscribed on back of nameboard; Vincenzius Vincentius Pratensis. Almost certainly originally single
Pratensis 1612. strung but with two rows of jacks, one of which plucks
Specification: 2x8’. very close to the nut. The general style of the instrument
Compass: C/E-c', short octave. and the mouldings are very similar to those of the
Keyboard: White naturals, black sharps. Vincentius Pratensis of 1612 in Leipzig.
Number of roses: 1. Previous history: Was being restored in 1990 by Walter
Style of rose: Geometrical pattern. Burr.
Exterior of case: Plain wood. References: WraightHH, pp. 128-30.
Case construction: Italian style, inner/outer. Information supplied by: Bz|Koster|WraightPC.
Scale: 245 mm. Boalch 3 number. VICENTIUS(A), P. 1610(A)(1).
Length: 1869 mm. Boalch 2 number: 1 (Under Stoppacio).
Width: yoo mm.
Depth: 196 mm.
Type: Single-manual harpsichord.
Remarks: Was originally single strung. Naturals of pear,
sharps of stained pear. The geometrical rose is not
Date: 1610(A).
Ownership: GERMANISCHES NATIONALMUSEUM,
original. Pear jacks not original. Elaborately carved and
NUREMBERG, GERMANY.
ornamented key cheeks. Inner walls over the soundboard
Number. MIR 1074.
and on the fascia board painted with scrolling foliage,
Specification: 2x8".
birds, etc. In the centre a shield supported by lions. The
Compass: C/E-P, short octave.
painting is thought to date from the early seventeenth
Scale: 283 mm.
century, and may be original. Outer case missing. Accepted
Remarks: Attributed by Dr. Riick to Vincentius Pratensis.
as genuine by Wraight, on the basis of mouldings, see:
It resembles the instrument of 1610 (Leipzig) by Vin-
WraightHH, pp. 128-31.
centius in many respects and may well be by this maker,
Previous history: In 1878 in the Kraus collection, Florence,
though Huber describes it as simply ‘Italian, 16th century’
then in the Heyer Collection. and adds ‘Friher: Vincentius Pratensis, um 1610’, while
References: Ilustrated in Ks, p. 86. Hemkelr, pp. 59-61, and
WraightHH rejects a Vincentius attribution on the basis
plates 24, 25. WraightHH, pp. 128-31.
of the case mouldings.
Information supplied by: B2|Henkel1|WraightPC. References: VdM. Mouldings given in Hellwig. Huber, p.
Boalch 3 number: VINCENTIUS, P. 1612.
131. WraightHH, pp. 128-30. WraightIKI.
Boalch 2 number: 2.
Information supplied by: B2| VdM| Hellwig] Huber|Wraight PC.
Type: Harpsichord (Number of manuals not known). Boalch 3 number: VINCENTIUS(A), P. 1610(A)(z).
Date: 1613. Boalch 2 number: ?5.
Ownership: Not known.
Inscriptions. Vincentins Pratensis 1613. Type: Harpsichord (Number of manuals not known).
Remarks: The instrument appears only in a catalogue of Date: not known.
Fraciolini. Ownership: Not known.
References: Listed in Franc. Inscriptions: On nameboard: Lasdate Dominum in cymbalis
Information supplied by: Bz. bene sonantibus.
Boalch 3 number: VINCENTIUS, P. 1613. Specification: 2x8".
Boalch 2 number: ?2a. Compass. C/E-c'(A), short octave.

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 VOLTERIN 675
Length: 1900 mm. Compass: FF-a’.
Width: 790 mm. Keyboard: Black naturals, white sharps.
Remarks: Ebony naturals and sharps (ornamented). Scale: 252 mm.
Information supplied by: B*. Length: 1717 mm.
Boalch 3 number: VINCENTIUS(A), P. n.d. Wideb: 571 mm.
Boalch 2 number: >}. Remarks: Naturals of ebony. Soundboard overhangs the
See also: Instrument number BAFFO(A), G. A. 1791(A). top keys. The bottom fourteen courses are double pinned
on the bridge. The nineteen bass courses each have one
VOIT, JOHANN MICHAEL. wound and one unwound string.
‘Type: Fret-free clavichord. References: Smithcheck8g Photos available from the
Date: 1811. Museum, nos. 56,338; 56,336A; 56,336B.
Ownership: YALE UNIVERSITY COLLECTION OF Information supplied by: B*|Smithcback8g.
MUSICAL INSTRUMENTS, USA. Boalch3 number: VOIT, J. M. 1812.
Number: 4942.00. Boalch 2 number: 2.
Inscriptions: Signed on a paper label in the box to the left
VOLTERIN, FRANCESCO.
of the keyboard in ink: Verfertigetivon Job. Michael Voit Type: Wing spinet.
sund|Sobn, Orgelmacher|in Schweinfurt.|No. 399 Anno 1811. Date: Not known.
Compass: FF-a’.
Ownership: MUSASHINO ACADEMIA MUSICAE,
Keyboard: Black naturals, white sharps.
TOKYO, JAPAN,
Exterior of case: Plain wood. Namber: A961.
Scale: 244 mm. Inscriptions: Francesco Volterin|alRoma.
Length: 1716 mm.
Specification: 1x8".
Width: 570 mm. Compass. D-a’.
Depth: 203 mm. Keyboard: White naturals, black sharps.
Remarks. Naturals of ebony with fronts of plain wood
Number of roses: 1.
slips. Sharps capped with ivory. Case of pine, dark stained Exterior of case: Painted.
and varnished. Scale: 245 mm.
Previous history: Belonged to Morris Steinert. Shown at Remarks. No date is recorded on the instrument and the
the Vienna Music Exhibition 1892. owners make no suggestions. A photograph kindly
Information supplied by: B*/Repbann. supplied by Yokota shows a somewhat clumsy form of
Boalch3 number: VOIT, J. M. 1811. wing spinet with a heavy exterior case. The fascia board
Boalch 2 number: 1. has a gilded central trophy flanked by reclining figures
and winged angels on a black ground. The keyboard with
Type: Fret-free clavichord. ivory naturals and ebony sharps looks superficially to be
Date: 1812. more like that of an English instrument. The rose is
Ownership: SMITHSONIAN INSTITUTION, reported to be of the same style as that of a Baffo
WASHINGTON, USA. instrument in the Victoria and Albert Museum.
Number: 303,542. References. Catalogue of the Musashino Academia Musicae,
Inscriptions: Signed Verfertiget von Job. Michael Voit & Tokyo, Japan.
Sobn. Orgelmacher in Schweinfurth No. 420, Anno 1812. Information supplied by: Yokota.
(There is some controversy about the exact inscription Boalch 3 number: VOLTERIN, F. n.d.
between various reporters.) Boalch 2 number: None.

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 Ww
W., P. Remarks: On loan to Schloss Moritzburg. The Museum
Type: Spinet. has no description of the Instrument.
Date: Not known. Information supplied by. Reinbeckel.
Ownership: FORMERLY IN THE GERMANISCHES Boalch 3 number. WAGNER, J. G. 1787.
NATIONALMUSEUM, NUREMBERG. Boalch 2 number: None.
Number. MIR 209.
Compass: C/E-P. WAGSTAFFE [FORMER OWNER], JANE.
Remarks: There is little evidence on which to base any See: HITCHCOCK(A), T. 1742(A).
attribution. The only known maker with these initials is
Peter Wiedtman. Since the instrument was lost in the
WATSON, JOHN.
Second World War, it seems unlikely that anything further
Type: Wing spinet.
can be established. According to Hsber—seventeenth
Date: 1762.
century. Split keys D/F#, E/G#, dif/eflat, dif'/eflat', di*/ Ownership: PRIVATE COLLECTION, NEAR
eflat’. LONDON, ENGLAND.
References: Huber, p. 138. Inscriptions: Jobannes Watson Eboraci fecit 1762.
Information supplied by: Huber. Specification: 1x8".
Boalch 3 number. W., P. n.d.(1). Keyboard: Black naturals, white sharps.
Boalch 2 number: 1. Length: 1930 mm.
Remarks: Bought at Sotheby’s 2 February 1956.
Type: Two-manual harpsichord.
Information supplied by: Bz.
Date: Not known.
Boalch3 number: WATSON, J. 1762.
Ownership: R. BIBBY.
Boalch 2 number: 1.
Additional features: 3 hand stops.
Compass: FF-f(A).
Keyboard: Black naturals, white sharps. WAHLSTROM, ANDERS.
Number of roses: 1. Type: Fretted clavichord.
Remarks. Though it seems unlikely that they are by the Date: 1732.
same maker, a spinet with the initials P. W. was formerly Ownership: HALLNAS HEMBYGDSFORENING,
in the Germanisches Nationalmuseum, Nuremberg, but HALLNAS, SWEDEN.
was lost in World War II (see above). Gilt rose includes Number. 968.
the initials P. W. [P above, W below]. Soundboard Inscriptions. Signed on soundboard Anders Wablstrom
painted somewhat in Flemish style. Three brass hand faciebat Anno 1732.
stops, not in an English style either in casting or in Compass: C-c’.
their arrangement. The upper manual has two knobs, Exterior of case: Plain wood.
presumably for a shove coupler. Ebony naturals, ivory- Scale: 228 mm.
topped sharps. The ornamentally gilded stand with cab- Length: 1143 mm.
riole legs looks French. General impression: French Width: 542 mm.
eighteenth century. Depth: 116 mm.
Previous history: Sold anonymously at Sotheby’s on 5 Remarks: Keys of lime with horn guide slips. Naturals
December 1966 to R. Bibby. of boxwood. Sharps, ebony-capped black-stained wood.
Information supplied by: Bz. Soundboard, pine. Bridge of beech. Internal members of
Boaleh 3 number: W., P. n.d.(2). oak.
Boalch 2 number: 2. References: H-O No. S 03 Hs 968. Illustrated at fig. 107,
P. 120.
WAGNER, JOHANN GOTTLOB Information supplied by: Barrell| Weldon|H-O.
Type: Clavichord. Boalch 3 number. WAHLSTROM, A. 1738.
Date: 1787. Boalch 2 number: None.
Ownership. MUSEUM FUR KUNSTHANDWERK,
DRESDEN, GERMANY. WAHLSTROM, CARL.
Number: 37 620. Type: Fret-free clavichord with octave strings in the bass.

y Google
 WEBER 677
Date: 1780(A). Type: Single-manual clavicytherium.
Ownership: S. FJALLBACK, LJUNGARN, SWEDEN. Date: 1764.
Inscriptions. Attributed to Wahlstrém by H-O. Ownership: NATIONAL MUSEUM OF IRELAND,
Compass. AA-P. DUBLIN, IRELAND. Accession number not known.
Scale: 330 mm. Inscriptions. Date 1764 pencilled on back of soundboard.
Length: 1793 mm. Specification: 2x8, 1x4’.
Width: 505 mm. Additional features: Harp stop, 2 pedals.
Depth: 161 mm. Compass: GG-g’.
Remarks: Sixteen octave strings in the bass. Soundboard Keyboard: White naturals, black sharps.
of pine at thirty degrees to the spine. Number of roses: None.
References: H-O No. *S S. Fjallback, Ljugarn (Gtl.) Exterior of case: Plain wood.
Information supplied by: Weldon| Barrel] FLO. Remarks: A symmetrical case with upper and lower doors
Boalch 3 number: W AHLSTROM, C. 1780(A). which open over the soundboard. The upper doors are
Boalch 2 number: None. decorated externally with intricate fret-work—the lower
doors are plain except for a banding and a decorative
metal applique escutcheon. The 4’ has a separate nut, but
Type: Two-manual harpsichord. shares the eight foot bridge.
Date: Not known. Previous bistory: Sold at Sothebys on 29 June 1956. Restored
Ownership. MUZEUM NARODOWE, POZNAN, in the early 1960s.
POLAND. Accession number not known. References: Russell 1959 pl. 77 and 78.
Remarks: Originally an early eighteenth-century harp- Information supplied by: Bz|Russell 1959.
sichord, but converted later into a piano of very simple Boalch 3 number. WEBER, F. 1764.
action. It bears an almost illegible label, on which the Boalch 2 number: 5.
last word, perhaps the maker’s surname, appears to begin
We... ‘Type: Single-manual harpsichord.
Information supplied by: Bz. Date: 1768(A).
Boalch3 number: WE. . . n.d. Ownership: NATIONAL MUSEUM OF IRELAND,
Boalch 2 number: 1. DUBLIN, IRELAND. Accession number not known.
Specification: 2x8’, 1x4’, lute.
WEBER, FERDINAND. Additional features: 2 genouilléres, venetian swell, harp
Type: Single-manual harpsichord. stop, machine.
Date: 1746. Keyboard: White naturals, black sharps.
Ownership: P. J. WATTS, MAIDENHEAD, Remarks: Bz gives the date as 71768 or 1769. Weber-type
ENGLAND. venetian swell.
Inscriptions: Ferdinandus Weber 2 fecit Londini 1746. This References: Ulustrated in F/d.
inscription is taken from Bz—the presence of the figure Information supplied by: Bz.
2 Seems suspect, and may have been intended to be a Boalch 3 number: WEBER, F. 1768(A).
question mark. Boalch 2 number: 2.
Specification: 2x8’, lute.
Additional features. Harp stop, 3 pedals. Type: Single-manual harpsichord.
Previous history: Sotheby’s, 16 March 1956. 1970 P. J. Date: 1775(A).
‘Watts. Ownership: ROY AL COLLEGE OF MUSIC,
Information supplied by: Bz. LONDON, ENGLAND.
Boalch 3 number. WEBER, F. 1742. Number: RCM319.
Boalch 2 number: 1. Inscriptions: Ferdinandus Weber Fecit.
Specification: 2x8", lute.
Type: Single-manual harpsichord. Additional features: Harp stop, machine, venetian swell, 4
Date: 1751. hand stops, 2 genouilléres.
Ownership: BRUSSELS MUSEUM, BRUSSELS, Compass: FF,GG-g’.
BELGIUM. Keyboard: White naturals, black sharps.
Number: 1610. Number of roses: 1.
Inscriptions. Ferdinandus [?] Weber fecit Dublin 1751. Style of rose: Geometrical pattern.
Specification: 2x8’. Exterior of case: Crossbanded.
Compass. FF,GG-P(A). Scale: 347 mm.
Information supplied by: B2. Length: 2329 mm.
Boalch3 number: WEBER, F. 1751. Width: 964 mm.
Boalch 2 number: 1a. Depth: 315 mm.

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678 WEGNER
Remarks. Naturals of ivory with sycamore fronts, and References. MICL.
sharps of ebony. Geometrical rose reported by one Information supplied by. MICL.
observer as being of ivory, and by another as being of Boalch 3 number: WEGNER, I. 1619.
pierced paper. It is, in fact, either parchment or thick Boalch 2 number: None
paper [Barnes]. Mahogany case with satinwood stringing
and crossbanding. Though Bz says that this instrument WEIDNER, DAVID JACOB.
is similar to the instrument in the Dublin National Type: Fretted clavichord.
Museum, (dated 1768 or 1769), this one does not have Date: 1697.
a 4), but it does have a lute, which is unusual. Ownership. SCHWEIZERISCHES LANDESMUSEUM,
Previous bistory. Bz gives conflicting evidence about the ZURICH, SWITZERLAND.
instrument’s history, stating in one place that it was Number: 17498.
formerly at Limavady, Co. Derry; 1956-67, Margaret Inscriptions. Signed David Jacob Weidner, Orgelmacher in
Lyle, Newcastle upon Tyne, who bequeathed it to the Angspurg 1697.
Royal College of Music. But in the text of the entry for Compass C/E-c’.
Weber he reports that the instrument has remained in the Number of roses: 1.
possession of the same family since it was made, the Exterior of case: Plain wood.
present owner, Miss Margaret Hanna, being a descendant Scale: 251 mm.
of Miss Elizabeth Orr who was the first person to possess Length: 1130 mm.
it. Restored in 1971 by John Barnes who found that the Width: 380 mm.
machine, venetian swell, and the two genouilléres were
Depth: 120 mm.
not original, though they were probably added early in Remarks: Keys are of lime, roof-carved. Naturals, walnut
its history.
with three grooves. Sharps, black-stained walnut. Sound-
Information supplied by. B2]O’BrienPC| Barnes. board, pine with rose. Bridge of walnut. Pine baseboard,
Boalch 3 number: WEBER, F. 1775(A)(1).
otherwise all walnut. In the lowest octave F# and G# are
Boalch 2 number: 3.
split to give a broken octave, while in all other octaves
Type. Wing spinet. d¢ is split to give enharmonic tuning for d sharp and ¢
Date: 1775(A). flat. The fretting arrangement is given in the Museum
Ownership: NATIONAL MUSEUM OF IRELAND, data sheet.
DUBLIN, IRELAND. Accession number not known. Previous bistory. Formerly at the nunnery of St. Anna,
Compass. GG-g'(A). Lucerne, and then in the Schumacher Collection.
Information supplied by: Bz. References: Data sheet from the Museum.
Boalch 3 number: WEBER, F. 1775(A)(2)- Information supplied by: Bz] Weldon]
Roth] Musenm| Barnes.
Boalch 2 number: 4. Boalch 3 number: WEIDNER, D. J. 1697.
Boalch 2 number: 1.
Type: Single-manual clavicytherium.
Date: Not known. WEIDTMAN, PETER.
Ownership: GARECH BROWNE, LUGGALA LODGE, Type: Fretted clavichord.
CO. WICKLOW, IRELAND. Date: 1724.
Specification: 2x8', 1x4'(A). Ownership: FRAU KATHARINA KARHAUSEN,
Remarks. Pyramidal shape of same style as the similar AACHEN, GERMANY.
instrument in the National Museum, Dublin. Has carved Inscriptions. Signed in red pencil on the underside of the
and gilded doors. soundboard: Peter Weidt/man Rating|1o gbris|1724.
References: Illustrated in Pfeiffer, Walter, and Henn, Mar- Compass. C,D-c?.
ianne: The Howses of Ireland, Stewart Tabry and Chary, Number of roses: 1.
New York, 1988, p. 191. Remarks. The original soundboard has been removed and
Information supplied by: Mould Note. is preserved.
Boalch 3 number: WEBER, F. n.d. Previous history. Restored in 1965 by Martin Scholz, who
Boaleh 2 number: None. removed the original soundboard (with rose) which is
preserved by Frau Karhausen.
WEGNER, IOANNES.
Type: Virginal. References. Described in detail and illustrated at Tboene.
Date: 1619. Information supplied by. Bz.
Ovnership: MUSEE INSTRUMENTAL, PARIS, Boalch 3 number: WEIDTMAN, P. 1724.
FRANCE. Boalch 2 number: 1.
Number: 2413.
Remarks. Described in MICL as ‘Virginale a cylindre’, WEISS, JOHANN.
but the exact meaning of this is not known. Type: Fretted clavichord

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 WESSBERG 679
Date: 1702. Length: 2038 mm.
Ownership: DEUTSCHES MUSEUM, MUNICH, Width: 605 mm.
GERMANY. Accession number not known. Remarks: Soundboard pine. Seventeen octave strings in
Inscriptions. According to Weldon, signed Ano 1702 Jobann the bass.
Weiss under the © key. According to VdM, signed Ano References. H-O No. S H. Goransson, Lidingo.
1702 Jobann Weiss|Hof orgel-und Instrumentenmacher Stuttgart. Information supplied by: Barrell|Weldon|H-O.
Compass: C,D-c’. Boalch 3 number. WESSBERG, E. 1815(1).
Keyboard: White naturals, black sharps. Boalch 2 number: None.
Scale: 227 mm.
Length: 1044 mm. Type: Fret-free clavichord with octave strings in the bass.
Width: 302 mm. Date: 1815.
Depth: 83 mm. Ownersbip: A. UNNERBACK, STOCKHOLM,
Remarks: Keys of lime, roof-carved. Naturals, bone with SWEDEN.
three grooves and fronts of paper (now mostly missing) Compass: CC-c*.
cut so as to show the red painting of the keyplate beneath. Scale: 308 mm.
Sharps, black-stained wood. Soundboard, bridge, and nut Length: 2214 mm.
renewed. Width: 666 mm.
Previous history: Restored 1959 when overdamping was Remarks: Twenty-two octave strings in the bass. Sound-
added. board of pine.
Information supplied by: Bz/Weldon| VdM|Thoene. References. H-O No. S A. Unnerback, Stockholm.
Boalch 3 number: WEISS, J. 1702. Information supplied by: Barrell|Weldon|H-O.
Boalch 2 number: 1. Boalch 3 number: WESSBERG, E. 1815(2).
Boalch 2 number: None.
WELMAN|S], STEPHEN.
Type: Wing spinet. ‘Type: Fret-free clavichord with octave strings in the bass.
Date: 1680(A). Date: 1817.
Ownership: Not known. Ownership: NORDISKA MUSEET, STOCKHOLM,
Inscriptions. Step{ba\nus We[/mans) [Flecit. SWEDEN.
Specification: 1x8’. Number: H.332.
Compass: GG/BB-c’, short octave. Compass: CC-c*.
Keyboard: Black naturals, white sharps. Scale: 350 mm.
Exterior of case: Plain wood. Length: 2219 mm.
Length: 1422 mm. Wideb: 653 mm.
Width: 483 mm. Remarks: Twenty-two octave strings in the bass. Sound-
Depth: 127 mm. board of pine.
Remarks: According to the Sotheby’s catalogue of 12 June References: H-O No. S 01 NordM H 352.
1974 the name is WELMANS. But the only source for Information supplied by: Weldon| Barrell] H-O.
this is the inscription, much of which, as can be seen Boalch 3 number: WESSBERG, E. 1817.
appears to be missing. It is also said to be ‘probably Boalch 2 number: None.
South German, circa 1700’. Walnut case. Ebony naturals
and bone sharps. Externally similar to a spinet of John Type: Fret-free clavichord with octave strings in the bass.
Player (PLAYER, J. n.d.(1)). Date: 1821.
Previous history: Sold at Sotheby’s on 12 June 1974. Ownership: NORDISKA MUSEET, STOCKHOLM,
Formerly in the possession of Messrs Robert Morley SWEDEN.
(1964). Number: 83.583.
References: See Sotheby’s Catalogue of 12 June 1974 Inscriptions: Label on deadboard: ERIC WESSBERG/
including illustration. Instrument Fabriquer|STOCKHOLM|r821.
Information supplied by: Bz. Compass: FF-c'.
Boalch 3 number: WELMAN|S], S. 1680(A). Scale: 314 mm.
Boalch 2 number: 1. Length: 2043 mm.
Width: 605 mm.
WESSBERG, ERIC. Depth: 225 mm.
Type: Fret-free clavichord with octave strings in the bass. Remarks: Stated by Bz to be the latest clavichord from
Date: 1815. the classical period, but this is now not true for instruments
Ownership. H. GORANSSON, LIDINGO, SWEDEN. by Svede (1823), Lopez de Dueiias (1829), and Bergstedt
Compass: FF-c*. (1832) are later. Keys of pine, roof-carved. Swedish rack
Scale: 516 mm. system. Ebony naturals with one groove and keyfronts

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680 WHITE
of box with grooves parallel to the keytops. Sharps of and black-stained sharps. Oak case. Inside lid painted
bone capped, black-stained wood. Case of pine painted with Orpheus in a landscape.
black with gold trim outside and mahogany veneer inside. Previous bistory: Sold at Christie’s 24 January 1946.
Internal structure of pine. Hitchpin rail has mahogany References. Christie’s catalogue of 24 January 1946.
veneer. Seventeen octave strings in the bass. Information supplied by: B2|Martin{O’ BrienPC.
References, H-O No. S 01 NordM 83.583. Illustrated at Boaleh3 number: WHITE, J. 1661.
fig. 159, p. 182. Boalch 2 number: 2.
Information supplied by: Bz|Weldon|Barrell/H-O.
Boalch 3 number: WESSBERG, E. 1821. WHITE, THOMAS.
Boalch 2 number: 1. Type: Ottavino.
Date: 1638.
WHITE, JAMES. Ownership: PRIVATE COLLECTION.
Type: Rectangular virginal. Inscriptions: On jackrail— Thomas White fecit 1638 in char-
Date: 1656. acteristic style in white paint. Scratched onto the front of
Ownership: MUSEUM OF LONDON, KENSINGTON the belly rail behind the nameboard is T.W. 1638.
PALACE, LONDON, ENGLAND. Specification: 1x4’.
Number: 59.45. Compass: C-c’.
Inscriptions: On jackrail: Jacobus White fecit 1656. Keyboard: White naturals, black sharps.
Specification: 1x8". Number of roses: 1.
Compass: GG/BB-c’, short octave. Style of rose: Parchment.
Keyboard: White naturals, special sharps. Scale: 187 mm.
Number of roses: 1. Length: 927 mm.
Style of rose: Geometrical pattern. Width: 454 mm.
Stale: 274 mm. Depth: 140 mm.
Length: 1672 mm. Remarks: MFM states ‘This virginals is clearly the octave
Width: 517 mm. instrument from a double or so-called mother and child
Depth: 213 mm. virginals. . .. The baseboard of the instrument has a slot
Remarks: A typical English virginal. Ascribed in Bz to cut away for this purpose. The particularly fine state of
Major A. T. Bourne-Arton, but reported by Margaret preservation of this instrument would suggest that it was
Cranmer in 1985 to be at Kensington Palace. Boxwood in fact little used.’ This evidence is corroborated by the
naturals with embossed paper fronts. Inlaid sharps. Case present owner, who adds that the instrument has a
has gilt embossed paper showing the Plantagenet royal detachable lid dating from about 1790, which indicates
arms. that it was separated from the mother no later than that
Previous history. Former owner: The Revd. W. Temple period. Naturals of boxwood with punched ornament and
Bourne; subsequently in the care of Major A. T. Bourne- fronts of embossed gilded and painted vellum. Cedarwood
Arton. Shown at the International Inventions Exhibition, sharps with chequer stringing. Exterior of case decorated
London 1885. with running scrollwork and overlaid with gilded pressed
Information supplied by: B2|Cranmer|Martin. paper bearing a classical motif highlighted in red and
Boalch 3 number: WHITE, J. 1656. black, the soundboard surround and jackrail decorated en
Boalch 2 number: 1. suite, the soundboard painted with flowers and a bird in
tempera and with a gilt pierced wood and parchment rose
‘Type: Rectangular virginal. with strapwork surround.
Date: 1661. Previous bistory: Reported in Bz as formerly being in Paris
Ownership. BUNRATTY CASTLE, COUNTY CLARE, in private ownership.
IRELAND. References: Mlustrated and described at item number 177
Inscriptions: Jacobus White Londini me fecit 1661. in MFM.
Specification: 1x8". Information supplied by: MF M/B2/owner.
Compass: GG/BB-f, short octave. Boaleh 3 number: WHITE, T. 1638.
Keyboard: White naturals, black sharps. Boalch 2 number: 2a.
Number of roses: 2.
Style of roses: Geometrical pattern. ‘Type: Rectangular virginal.
Exterior of case: Plain wood. Date: 1642.
Scale: 282 mm. Ownership. VICTORIA AND ALBERT MUSEUM,
Length: 1698 mm. LONDON, ENGLAND.
Width: 535 mm. Number: W. 11-1933.
Depth: 228 mm. Inscriptions. On jackrail; Thomas White Fecit 1642. Jack
Remarks: A typical English virginal. Boxwood naturals, No 9. bears the mark CL and No. 45 the mark AB.

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 WHITE 681
Specification: 1x8". Boalch3 number. WHITE, T. 1651.
Compass: C-c'. Boalch 2 number: 4.
Keyboard: White naturals, black sharps.
Number of roses: 1. ‘Type: Rectangular virginal.
Style of rose: Geometrical pattern. Date: 1653.
Exterior of case: Plain wood. Ownership: THE DUKE OF DEVONSHIRE,
Seale: 297 mm. HARDWICK HALL, ENGLAND. Accession number
Length: 1654 mm. not known.
Width: 523 mm. Inscriptions: On the jackrail: Thomas White fecit 1653. The
Depth: 290 mm. nameboard bears the name of a former owner, ‘Mary
Remarks: A typical English virginal and the second oldest Byard’. On the soundboard support behind the nameboard
surviving instrument of its type. Had not undergone any are scratched the letters T[?homas] W[Phite], and MM,
major modification or restoration (until 1977) since 1642. the latter perhaps the initials of a workman.
Apparent compass C-c’ chromatic, but the lowest key can Specification: 1x8".
be used to play either of two notes depending on which Compass: C-c.
of the two lower mortises holds a jack (an extra jack for Number of roses: 1.
this purpose is kept in a tool compartment to the left of Style of rose: Parchment.
the keywell). Boxwood naturals; stained hardwood sharps. Exterior of case: Plain wood.
Drop front, domed lid, casefront, sides, hitchpin rail, and Length: 1676 mm.
wrestplank of oak. Bottom boards and back of pine. Width: 521 mm.
Soundboard of spruce. Rose of gilded wood and parch- Remarks: A typical English virginal. Case of oak, except
ment. Case undecorated on exterior. Inside the lid and the bottom, which is pine. An oaken front-board, extend-
drop front there are naive paintings of gentry promenading ing the whole length of the instrument, comes away. The
and peasants hay-making. Soundboard in gouache with lid is decorated inside with a contemporary painting,
flowers fruits and birds. Front of instrument contains six depicting inter alia Orpheus charming the beasts with his
panels and borders of naively painted scrollwork. lyre. The interior is fitted with pear-wood mouldings,
Previous history: Given to the Museum by Mrs. Ada and is painted and faced in parts with embossed gilded
Deacon, 1933. Restored by the Adlam-Burnett workshop paper. The keyboard is of lime, with boxwood naturals,
in 1977. and walnut sharps inlaid with ivory, ebony, and boxwood.
References: V&A Cat, p. $9 (illustrated). Keyfronts are of embossed paper, gilded, some of them
Information supplied by: B?/VeéxA Cat|Martin. being modern additions. Some of the keys bear traces of
Boalch 3 number: WHITE, T. 1642. their names in manuscript. Soundboard decorated with
Boalch 2 number: 3. paintings of birds and flowers. Rose of parchment and
fretted wood.
Previous bistory: Mary Byard. Shown at South Kensington
Type: Rectangular virginal. in 1872 by S. H. Gill of Nottingham.
Date: 1651. Information supplied by: B?|Martin|Garrett.
Ownership: CASTLE MUSEUM, YORK, ENGLAND. Boalch 3 number: WHITE, T. 1653.
Accession number not known. Boalch 2 number: 5.
Inscriptions: THOMAS WHITE ME FECIT 163: on
jackrail. :T : W : 1.6.3.1 : M on belly rail. ‘Type: Rectangular virginal.
Specification: 1x8’. Date: 1684(A).
Compass: GG/BB-d’, short octave. Ownership: WELSH FOLK-MUSEUM, ST. FAGAN’S,
Keyboard: White naturals, black sharps. CARDIFF, WALES.
Number of roses: 1. Number: 49-64.
Style of rose: Geometrical pattern. Inscriptions: Thomas White fecit 164 (The third digit of
Scale: 301 mm. the date has been altered several times, but is reported
Length: 1657 mm. most recently by Martin as an 4).
Width: 519 mm. Specification: 1x8’.
Depth: 223 mm. Compass: GG/BB-f, short octave.
Remarks: A typical English virginal. Boxwood naturals Keyboards: White naturals, black sharps.
with embossed paper fronts and stained fruitwood sharps. Number of roses: 2.
Lid painted with scenes from the life of Christ. Style of roses: Geometrical pattern.
Previous history: Exhibited at International Inventions Scale: 302 mm.
Exhibition of 1885. Length: 1693 mm.
References: Ulustrated in Ga. Width: 549 mm.
Information supplied by: B?|Martin. Depth: 225 mm.

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682 WILBROOK
Remarks: There has been some speculation about the date. Width: 950 mm.
It is reported variously as 1654, 1664, and 1684. Bz says Depth: 290 mm.
that the present date of 1664 is altered from the original Remarks: Fascia board and cheeks in burr walnut with
1654. Michael Heale reports that The Connoisseur of 1901 chevron stringing and mahogany cross banding. Walnut
carried the following announcement: ‘A selection of veneered case with chevron stringing and mahogany
interesting old musical instruments from the colln of crossbanding. Shaped and chased brass strap hinges.
Henry Boddington of Pownell Hall, Wilmslow, fetched Rosehole but rose (which was probably of parchment)
good prices at Messrs. Puttick and Simpson’s. One of the absent. Naturals of ebony; sharps skunktail, ivory/
rarest and most interesting was an English Virginal by ebony/ivory. Raised on later trestle stand.
Thomas White, 1664, the soundboard painted with flowers Previous history: Lady Margaret Fortescue, Castle Hill,
and arabesques and containing a picture of Orpheus and Filleigh, North Devon. Bought by present owner at
his lute in the interior lid. This fetched £31.’ Martin Christie’s sale 21 May 1970. Exhibited at the MFM
reports that he believes the date could be 1654, but exhibition August 1986.
confirms Montagy’s observation (made in 1989 when he References: Ulustrated and described as item no 183 in
carried out a full survey of the instrument) that the date MFM. See also: Mirrey.
on the instrument itself is 1684. Montagu reports further: Information supplied by: —Bz|MF-M|Mirrey|MoxldNote/
‘Bichord in the bass to A, then single from B flat. The O'Brien.
only reasonable explanation for this arrangement is that Boalch 3 number: WILBROOK, J. 1730.
there were 4’ strings, providing octaves in the bass to Boalch 2 number: 2.
brighten the tone as was later done on big German
dlavichords.’ Coffered lid. Two uninitialled roses in the Type: Wing spinet.
soundboard. Soundboard painted with flowers. One bad Date: Not known.
crack in the soundboard at the bass, otherwise in excellent Ownership. PARHAM PARK, SUSSEX, ENGLAND.
condition, with the exception of the stand which needs Accession number not known.
some conservation. Fifty-five keys. Naturals of box with Inscriptions: Johannes Wilbrook of London.
gold embossed paper arcades. Sharps of black-stained Specification: 1x8’.
walnut. Exterior of case: Plain wood.
Previous history: Originally in the possession of the Mus- Length: 1956 mm.
grave family of Cumberland. Thence to J. Kendrick Width: 1092 mm.
Pyne, and thereafter Henry Boddington of Pownell Hall, Remarks: Oak Case, nameboard in walnut with boxwood
Wilmslow. Bought in 1901 by the Hon. F. G. Wynn of inlay. The compass is given by Bz as ‘just under five
Llanwnda, grandfather of Colonel Vaughn Wynn of octaves’.
Rhug, Corwen, Merioneth. Spotted in an attic at Bodvan Previous bistory: Sold by Mrs. John Micklem at Sotheby’s,
Hall, near Pwhelli, and purchased by the National Museum 25 May 1951; bought by Messrs Gooden and Fox,
of Wales early in 1949 from Colonel Vaughn Wynn. London.
References: Boddington Catalogue of 1888. Information supplied by: Bz.
Information supplied by: B2|Martin| Montagu. Boalch 3 number: WILBROOK, J. n.d.
Boalch 3 number: WHITE, T. 1684(A). Boalch 2 number: 1.
Boalch 2 number: 6.
WILLENBROCK, HERMANN.
WILBROOK, JOHN. Type: Two-manual harpsichord.
Type: Two-manual harpsichord. Date: 1712.
Date: 1730. Ownership: METROPOLITAN MUSEUM OF ART,
Ownership: DR. R. MIRREY, LONDON, ENGLAND. NEW YORK, USA.
Number: 11. Number: 89.4.2741.
Inscriptions: On nameboard: Johannes Wilbrook Londini Fecit Inscriptions: Inscribed on the front of the batten berween
1730. On underside of soundboard Johannes Wilbrook the keyboards; HERMANSWILLENBROCK ORGEL
Londini Fecit, Tabel’s man. VND INSTRVMEND MACHER ZU HANNOVER
Specification: 1: 2x8’, 1x4’; Ul: 1x8’, lute. Ao 1712, Though the inscription is all in upper case
Additional features: Dogleg, 4 hand stops. No pedals or letters and the first name and surname are all joined
machine or swell. together as shown, the H of the first name is in higher
Compass: FF,GG-P. capitals, as are the letters W and B of the surname, giving
Keyboard: Black naturals, special sharps. rise to the possibility that the correct form of the name
Number of roses: 1. should be Herman Willen Brock.
Exterior of case: Crossbanded. Specification: 2x8’, 1x4’.
Scale: 343 mm. Additional features; Coupler.
Length: 2473 mm. Compass: C,D-c’.

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 WOFFINGTON 683
Keyboard: Special naturals and sharps. Date: 1700(A).
Number of roses: 1. Ownership: NORDISKA MUSEET, STOCKHOLM,
Style of rose: Parchment. SWEDEN.
Exterior of case: Painted. Number: 15.424.
Seale: 322 mm. Inscriptions: Attributed to Wittig by H-O on the basis of
Length: 2270 mm. the key fronts. In 1985, dM attributed it to Specken.
Width: 802 mm. Compass: C/E-c’.
Depth: 235 mm. Exterior of case: Plain wood.
Remarks: The harpsichord is part of a claviorganum. Scale: 265 mm.
Black-stained naturals. Vermillion-coloured sharps Length: 1189 mm.
covered with ivory. Natural plates, keyfronts, and name- Width: 553 mm.
batten are decorated with inlaid dots, circles, and strips Depth: 115 mm.
of brass. Case exterior is decorated with chinoiserie. Remarks. Forty-five keys, twenty-six courses. Keys are
Painting of Schulenburg castle on lid interior. Keywell pine, roof-carved with brass guide slips. Naturals, fruit-
veneered with inlaid geometric designs in ebony and wood with three grooves and fronts of embossed gilded
ivory. The harpsichord part of the instrument has been paper. Sharps, pine. Soundboard spruce. Bridge of beech.
so heavily reworked that little of the original remains. Woodwork all pine, originally papered inside, dark stain
The wrestplank, nuts, pins, guides, jacks, soundboard ribs, outside, with red mouldings. A wreck.
and bottom were all replaced in 1939. The harpsichord was References: H-O No. *S ot NordM 15.424. Illustrated at
converted to a piano at some point. This mechanism was fig. 121A, p. 139 and 121B, p. 140.
removed and the present harpsichord action inserted in Information supplied by. Weldon|Barrell|
H-O| VdM.
1939. Soundboard also appears not to be original, so the Boalch 3 number. WITTIG, E. 1700(A).
original scaling cannot be determined. Boalch 2 number: None.
Previous history: Instrument is said to have been made for
the Crown-prince Georg, afterwards King George I of WJLANDER, J. S.
England. It was formerly in the Collection of Carl Engel, Type: Fret-free clavichord.
then J. Kendrick Pyne of Manchester. Crosby Brown Date: 1800(A).
Collection 1902. References: MatNo, p. 263. LibinKI, p. 31 Ownership: BORAS MUSEUM, BORAS, SWEDEN.
(Illustrated). MMA. MMACL. Photos (negative numbers Number: 4592.
MUS 986, MUS 2040, 213964, etc.) available from the Inscriptions: Attributed to Wilander by the Museum.
Museum. Compass: FF-c*.
Information supplied by: B?|MMA|LibinKI|MMACL. Exterior of case: Plain wood.
Boalch 3 number: WILLENBROCK, H. 1712. Scale: 375 mm.
Boalch 2 number: 1. Length: 2027 mm.
Width: 655 mm.
WINTHER and MEYER. Remarks. Soundboard pine. Bridges oak. Casework pine,
Type: Fret-free clavichord. dummy keybox to front of keyboard, tops of both
Date: 1781. veneered in burr birch.
Ownership: MUSIKHISTORISK MUSEUM, References: H-O No. S 15 BM 4592.
COPENHAGEN, DENMARK. Information supplied by: Weldon|Barrell|H-O.
Number: 1972-19. Boalch 3 number. WJLANDER, J. S. 1800(A).
Inscriptions: On soundboard, Winther und Meyer in Liibeck Boalch 2 number: None.
Fecerunt 1781.
Compass: FF-a’. WOFFINGTON, ROBERT.
Keyboard: White naturals, black sharps. Type: Single-manual upright claviorganum.
Exterior of case: Plain wood. Date: 1780(A).
Length: 1730 mm. Ownership: NATIONAL MUSEUM OF IRELAND,
Width: 535 mm. DUBLIN, IRELAND. Accession number not known.
Depth: 175 mm. Inscriptions: Robertus Woffington fecit, on nameboard.
Remarks: Soundhole without rose. No stand. Compass: FF,GG-P
References: MMCC. Remarks: The specification of the harpsichord part is not
Information supplied by: B?|MMCC. known, but the organ part has two stops—a diapason
Boalch 3 number. WINTHER and MEYER. 1781. and a flute.
Boalch 2 number: 1. Previous history: Restored by Michael Thomas.
Information supplied by: B?.
WITTIG, ELIAS. Boalch 3 number: WOFFINGTON, R. 1780(A).
Type: Fretted clavichord. Boalch 2 number: 2.

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684 WOLTHERSSON
Type: Single-manual harpsichord. FOUNDATION, WILLIAMSBURG, VIRGINIA,
Date: Not known. USA.
Ownership: UNKNOWN COLLECTION, JAPAN. Number. 1937-260.
Inscriptions: On nameboard: Robertus Woffington Fect. On Inscriptions: On nameboard in unique large italic characters:
back of nameboard: Restored by John Sebastian Morley, 56 Jobn Woolfinden Fecit.
Old Brompton Rd., S.W.7. A.D. 1945, and, Fully restored Specification: 1x8".
by Alan McKirdy October 1954, 10 Balmore St. London N.19. Compass: GG-g?.
Specification: 2x8", 1x4". Keyboard: White naturals, black sharps.
Additional features. Harp stop, machine, venetian swell, 2 Exterior of case: Plain wood.
genouilléres. Scale: 307 mm.
Remarks: The two genouilléres work the machine stop Length: 1854 mm.
and venetian swell. Width: 625 mm.
Previous bistory: Acquired by Colin Tilney in 1954 while Depth: 172 mm.
he was living in London, and before moving to Canada. Remarks: The date 1725 is ascribed by J. Naturals of
The instrument has subsequently gone to Japan. This ivory, and sharps of ebony. Case of walnut with double
may well be the same instrument that was sold by curved bent side. Inside the lid is a large eight pointed
Sotheby’s on 4 December 1991. The latter was illustrated star inlaid in alternating light and dark woods. Maker’s
in the Irish Times of 23 November 1991. If this is not name on boxwood panel with omamental fruitwood
the case, there would appear to be another surviving stringing on either side, in panels which are reminiscent
Woffington harpsichord. in shape of several other early English instruments such
Information supplied by: B?|Butler| Barnes. as the Tisseran and Smith. Raised on simple trestle stand.
Boalch 3 number: WOFFINGTON, R. n.d. Modern jacks.
Boalch 2 number: 1. References: Reference sheet and photographs available from
the Foundation. EK] Vol. 2, 1983-4, p. 69.
WOLTHERSSON, GUSTAV GABRIEL Information supplied by: B?|Williamsburg|/EKJ.
Type: Fretted clavichord. Boalch 3 number. WOOLFINDEN, J. 1725(A).
Date: 1759. Boalch 2 number: 1.
Ownership: GOTEBORGS HISTORISKA MUSEUM,
GOTEBORG, SWEDEN. WOYTZIG, GEORGE.
Number: 4772. Type: Fretted clavichord.
Inscriptions: Gust. Gab. Woltherson Fecit anno 1759 written Date: 1688.
in ink on the soundboard at the treble end of the bridge. Ownership: STATENS HISTORISKA MUSEUM,
(B gives the name as Woltkerson but this is now not STOCKHOLM, SWEDEN.
thought to be correct.) Number: 2875.
Compass: C-d. Inscriptions. Pencilled under the soundboard: Georg Woytzig
Keyboard: White naturals, black sharps. me fecit 1688. VdM in 1985 reported the spelling as
Length: 1460 mm. Woijrzig.
Width: 455 mm. Compass: C/E-c’, broken octave.
Remarks: Fifty-one and thirty-five courses according to Scale: 262 mm.
VdM, which probably means double fretting except for Length: 1183 mm.
C-d, a, d', a', d’. Soundboard pine with grain at thirty Width: 340 mm.
degrees to the spine. Holes in the base and hooks on the Depth: 112 mm.
bottoms of the keys show that there was at one time a Remarks: Forty-seven notes and twenty-five courses, and
pedal board of twenty-two keys. It also has a piano stop. two split sharps in the bass. Keys of lime?, roof-carved
References: H-O No. S 14 GM 4772. Illustrated at figs. with brass key slips and heavily weighted. Naturals of
114A, 114B, 114C, on p. 130 and 114D on p. 131. pear with carved key fronts. Sharps, bone-capped beech?
Information supplied by: B?|/Weldon| VdM|H-O. Soundboard pine, painted with flowers. Bridge of beech.
Boalch 3 number: WOLTHERSSON, G. G. 1759. Casework pine, ornately carved and gilded, the lid having
Boalch 2 number: 1. an idealised landscape painting.
References: H-O, S 01 SHM 2875, (illustrated at fig. 104,
WOOLFINDEN, JOHN. 117).
Type: Wing spinet. Tafor mation supplied by: B?|Weldon|H-O|Barrella| VdM.
Date: 1725(A). Boalch 3 number: WOYTZIG, G. 1688.
Ownership: COLONIAL WILLIAMSBURG Boalch 2 number: 1.

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 ZL,
ZABEL, JOHANN GOTTFRIED. Inscriptions. On wrestplank; Vil Eber Wirth Einem sein
Type: Clavichord. Kunst Veracht|Als Nach Oder Besser gemacht.|Valentin Zeiss
Date: 1808. Kays, Orgelmacher, Lintz 1646.
Ownership: PROFESSOR LAJOS ROVATKAY, Specification: 1x8", lute.
HANNOVER, GERMANY. Remarks: Instrument has no pedalboard.
Inscriptions: On nameboard: Jobann Gottfried Zabel senior Information supplied by: Bz.
Orgel und Instrumentenmacher 7 Tangermiinde d. 26n Marz Boalch 3 number: ZEISS, V. 1646.
1808. Boalch 2 number: 2.
Compass: FF-a?.
Keyboard: Black naturals, white sharps. ZELL, CHRISTIAN.
Number of roses: 2. ‘Type: Two-manual harpsichord.
Style of rose(s): Parchment. Date: 1728.
Exterior of case: Plain wood. Ownership: MUSEUM FUR KUNST UND GEWERBE,
Scale: 267 mm. HAMBURG, GERMANY.
Length: 1710 mm. Number: 1962.115.
Width: 501 mm. Inscriptions: Inscribed on a label stuck to the back of the
Depth: 172 mm. nameboard; Christian Zell fecit||Ao. 1728 a Hamburg.
Remarks: Stichmass—478 mm. Specification: 1: 2x8’, 1x4’; Il: 1x8’.
Previous history: Bernhardt Quantz, Speele, near Kassel, Additional features: Harp stop, shove coupler.
great-grandfather of Ursula Quantz, Hannover. Restored Compass: FF-d?.
in 1937 by Adolf Quantz, Rotenburg/Wumme and in Keyboard: White naturals, black sharps.
1985 by Jenderko, Grossostheim nr. Aschaffenburg. Number of roses: None.
Information supplied by: Bemmann| Barrell. Exterior of case: Painted.
Boalch 3 number: ZABEL, J. G. 1808. Scale: 346 mm.
Boalch 2 number: None. Length: 2458 mm.
Width: 932 mm.
ZEISS, VALENTIN. Depth: 220 mm.
Type: Single-manual claviorganum. Remarks: Ivory naturals, tortoiseshell sharps. The sharps
Date: 1639. project through cut-out recesses in the fascia board. Case
Ownership. MUSEUM CAROLINO-AUGUSTEUM, elaborately painted—exterior of chinoiserie on a green
SALZBURG, AUSTRIA. Accession number not ground. Interior of lid with allegorical paintings. Keywell
known. marquetried with characteristic star patterns. Decorated
Inscriptions. On soundboard; Valentinuss (sic) Zeiss|Orgelb: soundboard. Raised on stand with eight turned and carved
In Lante/1639. painted legs with elaborate stretcher at floor level. Scale
Specification: 2x8". given by Museum as 775 mm. but this must refer to
Compass: C/E-c’(A), short octave. middle c.
Number of roses: 1. Previous bistory: Shown at the Paris Exhibition in 1900,
Style of rose: Geometrical pattern. when Amedée Thibout was the owner. Bought by the
Remarks: The pedalboard (compass C/E-g') is coupled to Hamburg Museum in 1962 from Kunsthandel Jacques
the keyboard. Kugel, 20 rue Amelie, Paris VII, by the Stiftung zur
Previous history: Was earlier in the Leprosenhauskirche at Forderung der Hamburgischen Kunstsammlungen fur das
Miilln near Salzburg. Museum fiir Kunst und Gewerbe, Hamburg.
Information supplied by: B2. References: Conr, pp. 42-7 (illustrated). Par. 1900, p. 52;
Boalch 3 number: ZEISS, V. 1639. illustrated fig. 32. MKG-J/B Vol. 9, 1964 pp. 29-48
Boalch 2 number: 1. (illustrated), and p. 241 ef seg. Bild 3 p. 210 ef seq.
No. 109 (illustrated). Skowroneck. Russelli939 p. 104.
Type: Single-manual claviorganum. MKG-H/B(new) p. 125, No. 256 (colour illustrations).
Date: 1646. GDN Vol. 2, p. 188 ef seq (illustrated) and p. 133, No.
Ownership: PRIVATE COLLECTION, SCHLOSS 1. Colour postcard sold by the Museum.
AISTERSHEIM, UPPER AUSTRIA. Information supplied by: Bz|Pilipeguk|GL|O’ BrienPC.

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686 ZENTI
Boalch 3 number: ZELL, C. 1728. Information supplied by: B2| Berger.
Boalch 2 number: 1. Boalch3 number: ZELL, C. 1741.
Boalch 2 number: 3.
Type: Single-manual harpsichord.
Date: 1737.
Ownership. MUSEU DE LA MUSICA, BARCELONA, ZENTI, GIROLAMO.
SPAIN. Type: Wing spinet.
Number: MDMBq18. Date: 1631(A).
Inscriptions: On back of nameboard; CHRISTIAN Ownership: BRUSSELS MUSEUM, BRUSSELS,
ZELL/HAMBURG 1737, and REPARAT PER BELGIUM.
FRANCESC SOLER 1934. Number: 1583.
Specification: 2x8’, 1x4’. Inscriptions: Hieronymus de Zentis Viterbiensis faciebat 1631.
Additional features: 3 hand stops. The date is from Hwbb:96s. According to Bz it is dated
Compass: C-d’. 1637 on the keyboard.
Keyboard: White naturals, black sharps. Specification: 1x8".
Number of roses: None. Compass. C/E-c', short octave.
Scale: 344 mm. Keyboard: White naturals, black sharps.
Length: 2052 mm. Number of roses: None.
Width: 801 mm. Exterior of case: Plain wood.
Depth: 238 mm. Length: 1230 mm.
Remarks: Naturals of box with box fronts, sharps of Width: 440 mm.
stained pear—not original. The case has a batten under Remarks: Probably the earliest surviving bent side spinet.
the bottom boards which increases the depth from 215 References: Illustrated at plate 35 in GDN-EKI.
mm. without the batten to 238 mm. with it. External case
Information supplied by. Bz]GDN-EKI.
painted. Internal lid has Chinese style floral decoration. Boalch 3 number: ZENTI, G. 1631(A).
Raised on a stand with seven thin turned legs. Further
Boalch 2 number: 2.
information is contained in BarcelonaCat.
References: Rip. BarcelonaCat, instrument number 392,
P. 200. Type: Single-manual harpsichord.
Information supplied by: B2|Goble|Kalsbeek|BarcelonaCat. Date: 1653(A).
Boalch3 number. ZELL, C. 1737. Ownership: LEIPZIG UNIVERSITY, LEIPZIG,
Boalch 2 number: 2. GERMANY.
Number: 75.
Type: Single-manual harpsichord. Inscriptions. On the rear of the fascia board + GIROLAMO
Date: 1741.
ZENTI DI OLMIA+/A: 1683.
Ownership. OSTFRIESISCHE LANDSCHAFT,
Specification: 2x8’.
AURICH, GERMANY. Accession number not known.
Compass: See under Remarks.
Inscriptions: Christian Zell in Hamburg 1741 on wrestplank.
Keyboards: White naturals, black sharps.
Inscribed P. v. Colomb 17[?}6 on the case.
Specification: 2x8’, 1x4’. Number of roses: 1.
Compass: C-d’. Style of rose: Geometrical pattern.
Keyboard: White naturals, black sharps. Exterior of case: Plain wood.
Exterior of case: Painted. Case construction: Italian style, inner/outer.
Remarks: Known to have been exhibited at the Steinhaus, Scale: 268 mm.
Bunderhee, in 1986. Naturals of ivory, sharps of ebony. Length: 1959 mm.
Original stand with six legs and stretcher at floor level, Wideh: 737 mm.
at height so as to allow player to stand. Depth: 213 mm.
Previous history: The inscription P.».Colomb indicates own- Remarks: The ascription to Zenti is doubtful according
ership by Peter von Colomb (1719-97), War Minister and to RipZ, and 1683 is after his death. Henke/r suggests
afterwards President of the Royal Prussian Kriegs—snd that it was probably made in 1653 when Zenti was in
Domdnen Kammer at Aurich. His heirs sold it in 1810, and Sweden, but that it could have been made as late as 1901.
it was later owned by the Pottere family whose last The arguments for and against the authenticity (of maker,
member Johann de Pottere left it to the Ostfriesische date, and place of manufacture) are explored in some
Landschaft in 1950. detail in Henkelr, p. 72. Box naturals, sharps of black
References: Description of restoration by Klaus Ahrend painted pear. The compass begins with a natural key
given in OSTFRIESLAND, Zeitscbrift fir Kultur Wirt- divided into a front and back section playing separate
schaft und Verkebr, Verlag Gerhard Rautenberg 1978/2 notes which may have been GG and AA or AA and BB.
article by Harald Vogel, p. 27. These are also found in instruments BONI, G. B. 1619(A)

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 ZENTI(A) 687
and LEYDECKER, J. 1755. The next keys form a Boalch 3 number: ZENTI, G. 1658(A).
C/E broken octave, followed by a compass to c’ with Boalch 2 number: 2 (under Cristofori).
enharmonic split sharps at di, gi, d't, g'f. Case of
poplar or lime. Rose with a geometrical shape. Gilded ‘Type: Single-manual harpsichord.
geometrical pattern on the fascia board over the keys. Date: 1666.
Outer case of poplar or lime painted black with gilded Ownership: METROPOLITAN MUSEUM OF ART,
patterns similar to that over the keys. On a low stand NEW YORK, USA.
with five feet. Number: 89.4.1220.
Previous history: Probably in the Kraus collection, Florence, Inscriptions: On nameboard HIERONYMVS ZENTI
since 1884, and certainly from 1901. FECIT ROMAE A.S. MDCLXVI/JOANNES FER-
References: See: Ks, p. 282. RipZ. Henkel1, pp. 72-5 and RINI FLORENTINVS RESTAVRAVIT
plates 32-3. MDCCLV.
Information supplied by: B2|Henkels|Wraight. Specification: 2x8’.
Boalch 3 number: ZENTI, G. 1653(A). Compass: AA-P.
Boalch 2 number: (6). Keyboard: White naturals, black sharps.
Number of roses: 1.
Style of rose(s): Parchment.
‘Type: Three-manual harpsichord.
Exterior of case: Painted.
Date: 1658(A).
Ownership. DEUTSCHES MUSEUM, MUNICH,
Case construction: Italian style, inner/outer.
Scale: 289 mm.
GERMANY. Length: 2363 mm.
Number: 9232. Width: 845 mm.
Inscriptions: BARTOLOMEO CRISTOFARI (sic) FECIT
Depth: 196 mm.
FIRENZE A D MDCCII, (on nameboard, which does not
Remarks: The importance of the instrument lies not only
belong to the instrument). Repariert 1906/G. Steingracber, in its original ascription to Zenti, but also the way in
Hofpianofortefabrikant|Mimchen also Alle Steingraeber|Gretl which it was restored by Ferrini in 1755. Naturals of box
Steingraeber|y. Nov. 1906 (on the underside of the with box arcades, sharps of stained walnut with ebony
soundboard). veneer. Register knobs protrude through cheek, but it is
Specification: 1x16’, 1x8’, 1x4’. not known if this is an original feature. Original compass
Compass: C-P. of GG,AA-c’ altered in the eighteenth century, possibly
Keyboard: White naturals, special sharps. by Ferrini, to give AA-P, though Pollens adduces that the
Number of roses: 3. extension was not his work. Bridge and nut have been
Style of roses: Geometrical pattern. moved, the latter perhaps more than once. Present
Exterior of case: Painted. keyboard (has date 1659 on top key) but this may not be
Scale: 307 mm. original. Inner case is of plain wood. Painted outer case
Remarks: The instrument purports to be by Cristofori, and massive stand of three legs which may not be original.
and was formerly recorded in Bz under this name, but Previous bistory: Restored by Ferrini in 1755. Crosby Brown
the researches of Denzil Wraight ef a/., have shown it to collection 1889.
have originally been a single-manual harpsichord, by References: Wint61, pp. 26-7 (Illustrated). MMA Bulletin,
Zenti. The instrument has suffered a number of changes, Winter 1977/78, p. 10. (Illustrated). RipZ, pp. 71-87
principally at the hands of Franciolini. H. Henkel, (Illustrated). LibimKI, p. 18 (Illustrated). MMA photos
“Sechszehnfuss-Register im italienischen Cembalobau’, in (negative numbers 196289, 211895, 218008), available
Das Musikinstrument, XXX1X (1990), pp. 6-10 suggests from the Museum. MMACL. Acoustic tests carried out
that it was originally a two-manual harpsichord with three in 1985 by E. L. Kottick, See: Kottick-response. Pollens pp.
registers, which had always been at 16’ pitch, while Denzil 86-8.
Wraight, in WraightZenti, adduces that it was originally a Information supplied by: Bz] MMACL]Pollens|LibinK1.
single-manual harpsichord, with two registers at 16’ pitch, Boalch 3 number: ZENTI, G. 1666.
and that at least 500 mm. must have been cut from the Boalch 2 number: 4.
tail end, so that the original length was over 3 m. The
putative date of 1658 is based on the possibility that this ZENTI(A), GIROLAMO.
is the same instrument as that described in a Medici Type: Single-manual harpsichord.
inventory [see: Gai pp. 6-7]. The scale is given as that at Date: 1622(A).
°. Ownership: COBBE COLLECTION, HATCHLANDS
Previous history: Given to the Museum in 1907 by Georg PARK, GUILDFORD, ENGLAND.
Steingraeber. Number: 1.
References: The inscription is illustrated in WraightZenti. Inscriptions: On the bottom key and jack is an inscription
Information supplied by: B2|WraightPC. which superficially appears to read G.Z. 1672. Recent

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688 ZENTI(A)
careful examination by ultra-violet light has shown that Information supplied by: B*.
it is G.Z. 1622. It has been suggested by David Hunt, Boalch 3 number: ZENTI(A), G. 1633.
who is cataloguing the National Trust instruments, that Boalch 2 number: (1?}.
the inscription might be G.Z. IGZz, while CFCI suggests
iGZz but this seems unlikely. Type: Single-manual harpsichord.
Specification: 2x8’. Date: 1656(A).
Compass: C/E-c’, short octave. Ownership: BRUSSELS MUSEUM, BRUSSELS,
Keyboard: White naturals, black sharps. BELGIUM.
Number of roses: None. Number: 1600.
Exterior of inner case: Plain wood. Specification: 2x8".
Scale: 288 mm. Compass: C-e(A).
Length: 1923 mm. Remarks: Attributed by Mab [vol. 3, 1600] to Jeromimus de
Width: 704. Tenbe, a Rome, [vers 1656], on no ground which is now
Depth: 170 mm. apparent.
Case construction: Italian style, inner/outer. References: Mab, vol. 3, 1600.
Remarks. There must be some question of the authenticity Information supplied by: B?|WraightPC.
of this instrument, though outwardly it appears quite Boalch 3 number: ZENTI(A), G. 1656(A).
possible that it was the work of Zenti. The date seems Boalch 2 number: [7].
to have been established as 1622, but if Barbieri is correct
in ascribing Zenti’s earliest possible date of birth to the Type: Single-manual harpsichord.
year 1609, the instrument must have been made by Zenti Date: 1658(A).
when he was only 13. This seems most unlikely. Further Ownership: METROPOLITAN MUSEUM OF ART,
doubt has been cast on the authenticity of the instrument NEW YORK, USA.
by the reading of the inscription, by Hunt and CFCI, Number: 86.20.
the middle characters being the initials of Girolamo Zenti, Inscriptions: Hieronymus de Zentis Viterbiensis F. Romae
though what the outer intials signify is still a matter for Anno. Dom. MDCLVIII. This is almost certainly spurious.
speculation unless it is simply the date. The inner Specification: 2x8’.
instrument is in plain cypress, with an external case, Compass: C/E-P, short octave.
elaborately painted with flowers and scrolling foliage Keyboard: White naturals, black sharps.
probably dating from ¢. 1740. The inside of the lid carries Number of roses: 1.
an allegorical painting of angels, according to CFCI, Seale: 284 mm.
probably dating from 1680. Raised on a unique painted Length: 1961 mm.
stand with lyre shaped front and rear members (Spanish Widtb: 829 mm.
influence ?). Depth: 228 mm.
Previous bistory: At the beginning of the twentieth century, Remarks: Formerly number 89.4.1221. MMACL gives
in a collection in the south of England, then acquired by the maker as anonymous, and the date as sixteenth or
the College of Instrument Technology, and bought from seventeenth century and later. It seems very likely that
it by Michael Thomas in 1960. Acquired by the Cobbe its attribution to Zenti is spurious. Naturals of ivory with
Collection in 1989. ivory arcades, and dark-stained sharps. The instrument
References: Short decription in CetC. Soundboard barring has been much altered over the years, and the present
illustrated on p. 31, photo 3, of the above. See also full scale is not original.
illustration in ThomasKI, plate 7. CFCI, p. 4. Previous history: Purchased by the Museum in 1886.
Information supplied by: ThomasM|Cobbe|Hunt|CFCI. References: Ulustrated in catalogue and in Wint 1966. See
Boalch 3 number: ZENTI(A), G. 1622(A). also: RipZ. MMACL. Photographs (negative numbers
Boalch 2 number: None. 130411, 130412, etc.) available from the Museum.
Information supplied by: B?|/MMACL.
Type: Harpsichord (number of manuals not known). Boalch 3 number: ZENTI(A), G. 1658(A).
Date: 1633. Boalch 2 number: [3].
Ownership: Not known.
Inscriptions: Hieronimus de Zentis Viterbiensis faciebat 1633. Type: Two-manual harpsichord.
Remarks: This instrument, according to B? is most Date: 1668.
probably FrancI’s no. 32, and as such must be regarded Ownership: MUSEE INSTRUMENTAL, PARIS,
as suspect. FRANCE.
Previous history: Shown by Alexandre Mottu at the Expos- Number: 986.15.1.
ition Internationale de Musique, Geneva, 1927. Its present Inscriptions: On nameboard HIERONIMVS DE/Z-
whereabouts are not known. ENTIS ROMANVS|/FACIEBAT PARISIIS 1668.
References: Francl, no. 32. Specification: 2x8’, 1x4".

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 ZOPFE 689
Compass: GG-e’. date of 1676 in the inscription, since Zenti almost certainly
Keyboard: Black naturals, white sharps. died in 1667.
Number of roses: 1. Previous history: Luigi Miniati.
Style of rose: Geometrical pattern. References: Recorded in Francll.
Exterior of case: Painted. Information supplied by: Bz.
Scale: 312 mm. Boalch 3 number. ZENTI(A), G. 1676(A).
Length: 2131 mm. Boalch 2 number: {5}.
Width: 810 mm. Type: Ottavino.
Depth: 235 mm. Date: Not dated.
Remarks: A typical seventeenth-century Parisian double Ownership: METROPOLITAN MUSEUM OF ART,
manual harpsichord possibly made by this much-travelled NEW YORK, USA.
maker, though since Barbieri shows fairly conclusively Number: 89.4.1227.
that Zenti died in 1667 at the latest, there must be some Inscriptions Go Z on key number 1, and Go Zi on key
doubt over the authenticity of this instrument. Original number 30.
compass B/C-c’ with split E flat (fifty-one notes) extended Specification: 1x4".
in the eighteenth century to GG-e’. Ebony naturals with Compass: g-c’.
ebony arcades, sharps of stained wood with bone tops. Keyboard: White naturals, black sharps.
External case of black with gold chinoiserie. Italianate Number of roses: None.
gothic rose. Interior of lid with a pastoral scene. Dr. Ted Exterior of case: Plain wood.
Williams of Paris observes, with respect to the instrument Scale: 168 mm.
in general that ‘the workmanship is terrible’, and with Length: 451 mm.
respect to the lid painting that ‘the pastoral scene under Width: 251 mm.
the lid has a warship floating in the background flying a Depth: 66 mm.
large Dutch flag. 1668 was at the very height of Louis Remarks: The instrument, which is triangular octave
XIV’s war with the Dutch. Highly unlikely that Zenti, spinet, is not dated, but is thought to be before 1668 by the
the Factewr du Rot would have made an instrument in Museum. Attributed to Zenti by RépZ, citing similarities to
Paris displaying the flag of the enemy.’ The argument as Bz Zenti instruments numbers 2 and 4, and to one of the
to the authenticity of the instrument is thus still open. instruments by Zenti in the Medici inventory of 1700.
Raised on a stand of seven cabriole legs. Ivory naturals, dark-stained sharps with ebony plates.
Previous history: First knowledge of the instrument comes Entire case of ebony. No exterior case mouldings. Exterior
from a plan photograph in a catalogue of an exposition case painted and gilded. It is described in a 1700 court
by Michael Thomas at the Palais Lascaris, Nice, 1979. inventory of Ferdinand de Medici as being housed in an
Appeared again at an auction in Paris in 1986, when it outer case with a concave bottom that fits comfortably
was bought by the present owners, and according to La over the body as the player reclined in bed. The tiny keys
Gazette the price was 800,000 French francs. suit a child’s hand.
References: Further information from Reinhard von Previous history: Crosby Brown collection 1889.
Nagel, William Dowd, and Sheridan Germann, who References: RipZ. pp. 71-87 (Illustrated). Illustrated in
have all studied, measured, and photographed it. Illus- LibinKI, p. 16. MMA. MMACL. Photos (negative
trations are to be found in La ette, numbers 37 of 24 numbers MUS 958, 196421, 198483, 215863) available
October 1986, and 40 of 14 November 1986. See also from the Museum.
WraightIKI. Information supplied by: Bz; MMA|LibinKI;/MMACL.
Information supplied by: Dowd|La Gaxette|Barbieril Boalch 3 number: ZENTI(A), G. n.d.
Williams|WraightPC. Boalch 2 number: 6a.
Boalch 3 number: ZENTI(A), G. 1668.
ZOPFE, JOHN BELTHAZAR
Boalch 2 number: None.
Type: Wing spinet.
Date: Not known.
Type: Ottavino. Ownership. COLONIAL WILLIAMSBURG
Date: 1676(A). FOUNDATION, WILLIAMSBURG, VIRGINIA,
Ownership: Not known. USA.
Inscriptions: Girolano Zenti 1676. Number; Gi976-421.
Specification: 1x4'(A). Inscriptions: Johannes Balthasar Zopfe Londini Fecit.
Remarks: Recorded in FranclI, where it is said to have Specification: 1x8".
been restored by Iacopo Anichini of Cortona in 1849, Compass: GG,AA-g’.
and was owned by Luigi Miniati in 1852. Its association Keyboard: White naturals, black sharps.
with Franciolini must mean that its ascription to Zenti Exterior of case: Venecred.
should be taken with caution, particularly in view of the Scale: 314 mm.

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690 ZOPFE
Length: 1830 mm. the Foundation shows the keyboard to be in very poor
Width: $70 mm. condition with a number of keys missing.
Depth: 198 mm. Previous history: Was in private ownership in 1960. For-
Remarks: Not dated, but clearly eighteenth century. merly owned by Joanna Tyler Bouldin, an aunt of
Though Zopfe died in 1750, some aspects of the instru- President Tyler of the USA.
ment suggest a later date. Ivory naturals, ebony sharps. References. Photographs from the Foundation. EKJ vol.
Outer case with panels of mahogany veneer, with inlaid 2, 1983-4, p. 69.
light fruitwood. Two similar panels on the fascia board, Information supplied by: B?|GL|Williamsburg|/EK].
and boxwood plaque on the name-batten. Raised on Boalch 3 number: ZOPFE, J. B. n.d.
trestle stand with turned legs. A photograph supplied by Boalch 2 number: 1.

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GEOGRAPHICAL AND CHRONOLOGICAL
CONSPECTUS OF MAKERS

This section is based on the similar conspectus which appeared on page 194 of Bz, and
follows much the same conventions. The date shown is normally the year in which the maker
set up his own workshop if this is known. Where this is not known, the date on which he
attained the age of 30 is given; while in some cases, if neither date can be ascertained, the
date recorded is the nearest to these events which can be deduced from the information
available in Part I. It follows, therefore, that this conspectus can be used only as a rough
guide.
Where a date is preceded by a question mark, there may be doubt about its accuracy; while
a question mark following a name indicates either doubt about the form of the name or its
inclusion under a specific town.

AMERICA 1743 Hesselius, G.

‘TowN UNKNOWN 1760 Feyring, P.
1777 Catlin, G. 1794 Trute, C.
Wiedberg
BETHLEHEM, Pa.
1760 Antes, J. SALEM, Mass.
1774 Blyth, S.
Boston, Mass.
1768 Harris, John (formerly of London) WILLIAMSBURG, VA.
Juhan, J. (later of Charleston, 1767 Bucktrout, B.
Haiti, Philadelphia, and Virginia) Wiimincton, Det.
Lititz, Pa. 1795 Trute, C.
1746 Hartaffel, R. Wiedberg
1765 Tannenberg, D. (formerly of
Bethlehem, Pa.) AUSTRIA
MrxTon, Mass. See also. Bohemia, Moravia
6. 1819 Crehore, B.
Town UNKNOWN
New York 1761 Schiller, F.
1745 Clemm, J. G.
1759 Tremaine Bozen (BoLzANno)
Walhaupter, D. 1683 Baumgartner, J.
1773 Heyer, F. BrixeN
1785 Dobbs, T. 6 1810 Lusser,
J.
Nortuampton, Pa. Graz
1807 Huber, J.
1727 Mitterreiter, G.
PHILADELPHIA 1754 Romer, A.
1739 Clemm, J. G. 1782 Schwandtner, C.

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 692 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS
1796 Schwarz, F. X. 1804 Bock, C.
& 1800 Gries
Wiener Neustapt
INNSBRUCK ; 1761 Zirengast, J.
a fot FE «. 1800 Zeusisch

1653 Herz, D.
1781 Fuchs, J. A. BELGIUM
Krems Ser L Countries

6 1800 Gatto

Linz BOHEMIA
1639 Zeiss, V. a
Mi
6 1800 Rommel See also. Moravia

SatzpuRG Town UNKNOWN

1619 Mayer, J. 6. 1800 Erlich (Mergentheim?)
1747 Eggedacher B
1785 Schmidt, J. RATISLAVA
& 1800 Schwarz Date unknown Lehner, G.
1808 Klockner, G.
STEYR
1587 Hacker, J. BrONN
£. 1800 Staudingen
ViENNA Wimula
1747 Pantzner, J. C.
1755 Leydecker, J. EGER
1765 Moyse, J. 1782 Foglar, I.
1780 Schanwz, J. 6. 1800 Kessler
1782 Walter, A. Maller
1785 Bohak, J.
os poe FE ELBOGEN Sunil
To , M.
te
HB :
6. 1800 midt

Brodman
- JAROMER
Daniel
Deal 1821 Kunz, I.
Jackisch
, KuTTENBERG
ey ¢. 1800 Horack
Kober le
Marschal ITMERITZ
Maller 6. 1800 Rausch
oe e
chnek ILSEN :
Seidel 1790 Leicht
Seuffert ¢. 1800 Noli
Streicher
Teutschmann PRAGUE
Wacht 1671 Miklis, J.
Wist 17— Zelenka, J.

» Google renee anc

 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS 693
6. T
ae ao S.J. Strolll]ger, W.
; 6 1725 Woolfinden, J.
Reuss 1734 Hawkins, F.
Rott 6 1740 Relfe, J. -
Sauer 1741 Wilkinson, W.
TacHau 34 Gonan, BR
& 1800 Gartner Wakefield, R.
‘TSCHISDAN 1772 fapaniest)
6. 1800 Guth berg
1775 Gerber, W.
Ske
cae one Donner
ING Bg Fairn, , A. A.
17 Pedrini, T. 61795 Keeys

CZECHOSLOVAKIA Bars
See Bo . 1746 Underwood, T.
" BrisToL
1620 Bryne, I.
DENMARK 17— Kemp, or Kemps, or Kemys, J.
'TowN UNKNOWN 1752 Miller, H.
i E720: Claudius(), C. 1753 Seede, B.
1778 Feigenser, J. C. 1775 Smith, J.
1785 Chew
oemacen Méller, H. P. aries Maddey
1706 Hoornbee(c)k, C. CAMBRIDGE
1759 Christensen, M. 1508 Browne, T.
1761 Moshack, M. G. 17 Turner, B.
Speer, C. F. 6 1720 Longfellow (more probably Long)
1784 Tieffenbrunn, O. J. 1783 Sydee, N.
Fue 1789 Argent, H.
— J.H CHESTER
Angel, J. H.
ma17se Jansen, H. «4. 1560 Goodman, W.
EXETER
ODENSE
: 1643 Loosemore, J.
1777 Jorgensen, J. J. 1657 Rewallin, C.

Sarrup GvoucesTE! R
1199 Hansen, C "740 Warn, T.
ENGLAND HERTrOAD
1742
Ge n. reen, T.
See also. Scotland Leeps
TOWN UNKNOWN 1776 Hinte, C. F.
1571 james, J.
16— Camm J. TtcasTen M: larsam, A.
1664 Blunt, Ke 1579/80
1680 Welman, S. LiverPooL
1700 SJ.) ?17— Ruive
6 1700 Deeley, W. Lonpon
Fenton 1466 Ede, J.

oetizay Google en
694 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS

1521 Treasorer, W. 1697 Heming, S.

1526 Estamproy, G. 1698 Slade, B.
John, J. de 17— Bailey, J. (or R.)
1529 Mercator Sir M. Bailey, W.
1530 Lewes, W. Bates & Co.
& 1530 Cowtes Dawson, G.
1538 Betton, W. 1700 Blunt, E.
1566 Blanckart, J. Hancock, T.
1568 Defield Tisseran, J.
1579 Theeuwes, L. (II) ¢. 1700 Pinchbeck
1587 Farnaby, N., (father and son) 1701 Wilson, J.
Schetz, E. 1706 Barton, T.
1589 Hartwell, T. 1709 Aston, C.
1594 Blunte, T. 1711 Brackley, C.
Norton, W. 1712 Bradshaw, A.
1604/5 Marsh, G. 1715 Hitchcock, T., the Younger
1610 Hassorde 1716 Tabel, H.
1611 Luxton, R. 6. 1720 Smith, W.
é 1621 Mussard, H. 1723 Baudin, J.
1622 Hasard, J 1725 Ladyman, J.
1623 Cloys, B. 6.1727 Shudi, Burkat, the Elder
1624/5 Townsend, G. 1728 Coston, F.
1628 Walker, H. 1729 Mahoon, J.
1629 Norgate, E. 1730 Barton, W.
1638 Vernam, T. Harris, John
1641 Gill, G. Wilbrook, J.
Leversidge, W. 1731 Krickhof, F.
1649 Haward, J. 1733
1649/50 Leversidge, A. 1736 Wilson, J.
1656 Body, T. 1738/9 Kirkman, Jacob
Cooly, J. 1739 Lockton, H.
Haward, T. 1740 Snetzler, J.
Makeham, T. 1741 Plenius, R. (formerly of
White, Jas. Amsterdam)
1658 Player, J. Beck
Haward, C. 1742 Blumer, S.
Hitchcock, T., the Elder 1743 Harrison, J.
Zenti, G. 1744 Blasser, T.
1662 Keene, S. 1745 Crang, J.
1663 Rand, J. 1747 Zopfe,J. B.
1664 Everatt, J. 1749 Child, F.
Hatley, R. 1750 Culliford, T.
Player, J. Hitchcock, John
Testa, A. 1750 Harris, Joseph
1667 Jones, P. Hill, H.
1670 Hill, T. Sells
Hingston, J. 1753 Bridge, R.
1671 Richardson, A. 1754 ?Metzener, J.
1684 Bolton, T. 1756 Mahoon, H.
1685 Harris, John 1757 Pringle, A.
Sison, B. 1758 Clark, A.
1689 Purcell, H. 1760 Falkener, R.

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 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS 695
Griffin, T. 6. 1800 Clementi, M.
1761 Broadwood, J. Melly
Hallengreen, B.
Harris, Baker MANCHESTER
Zumpe, J. C. 1746 Kirshaw, John
1762 Kamp, H. van 1773 Kirshaw, Joseph
Scouler, J. Norwicu
1763 Backers, A. 1706 Holmes, J.
Burr, H.
Downing, G. OxrorD
England, G. 1785 Bunce, F.
Neubauer, F. PETERBOROUGH
Pether, W. 1648 Thamer
1764 Thompson, C., etc.
1765 Nixon, T. SALIsBuRY
Plenius, J. 1768 Banks, B.
1766 Harris, W. WeLLs
1766/7 Shudi, Joshua 1719 Swarsbrick
1767 Longmaz, J. 1720 Hill
Pohlmann, J.
1769 Cross ‘WESTMINSTER
Gillespy, S. 1551 Gundet, R.
Shudi, Bernard 1749 Glanville, G.
6. 1770 Hancock, John
Hicks, P. WIGAN
1770 Garbutt, T. 6. 1710 Langshall,J.
1772 Burckard, C. WorcEsTER
Hancock, James 1769 Chew
Kirkman, A.
Simpson, Jas. and John Yorx
Walker, A. D. & J. 14- Gyse, J.
1773 Newbane 6 1710 Vesey, R.
Shudi, Burkat, she Younger 1756 Haxby, T.
1774 Ganer, C. 1762 Watson, J.
1775 Longman, Lukey, & Broderip
Pether, G. FINLAND
Stodart, R. Aso (Turku)
61775 Geib, J. 1765 Lenning, C. P.
1776 Longman & Broderip
77 Hancock, John Crang FLANDERS
1778 Celson, E.
1782 Trute, C. See. Low Countries
1783, Schone, G. D.
1787 McFarling FRANCE
1789 Kirkman, Joseph ‘TOWN UNKNOWN
Christoph(?) Date unknown Baillon
1790 Elwick, J. Jaquet-Droz, P.
Houston & Co. Lenoir
1793 Gray, R. & W. Poncelet
Lincoln, J.
Viry
1794 Evans, D. 1360 Perrot, J.
1799 “Smith, Joseph 1535 Bugnon, A.

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696 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS

?16— Rigault 1523 Deloeuvre, H.

16— Dastenet 15st Deloeuvre, P.
1626 Ferchur 1654 Du Four, C.
1632 Montazeau, J. 1658 Desruisseaux, L.
1677 Faby 1670 Saraissac, F.
La Rousseliére, J. B. de 1678 Desruisseaux, G.
1679 Regnault, J. 1683 Du Four, N.
1680 Rozet 1691 Donzelague, P.
17— Nadreau 6. 1700 Blanches, F.
Wittmann d. 1709 Gondard
1708 Cuisinier 1715 Le Tourneur, E.
1723 Jacot et Lion 1723 Grou, D.
1742 Levoir 1730 Le Tourneur, J. B.
1745 Goujon, J. C. 1739 Collesse, I. H.
1759 Weltman 1746 Collesse, Jacques
1762 Fissot 1763 Collesse, /Ainé
1780 Nesle, J. J. 1769 Charron, Sieur
1770 Kroll, C.
AIx-EN-PROVENCE 1772 Bontan, P.
1668 Donzelague, P.
Kettenhoven,
P.
AMIENS Tournan, B.
1784 Dallery, T. C. A. 1775 Franky, J.
1779 Lefaure, J.
AVIGNON Stirnemann, J.
1503 Ludovic 1786 Bas
1665 Bonnort, J.
1768 Cordelier MARSEILLES
1737 Bas, J.
Borpeaux
1778 Bas, L.
6 1640 Trichet, P.
1791 Basse
1727 Thévenard
BouLoGNne METz
1753 Obert 1506 ‘Fra Giovanni’
1521 Humbert
CAEN 1686 Moucherelle, C.
1746 Lalande, de Legros, P.
1713
CARPENTRAS 1714 Legros, C.
1699 LaBréche, C.
Nancy
CyTEux 1511 Rodilly, L.
1755 Baillon, L. 1726 Marchal, N.
Dijon NANTES
6. 1440 Henri Arnault of Zwolle 1737 Gairaud
GRENOBLE NARBONNE
1749 Berger, J. A. 1661 Celini, N.
1770 Barberini, J.
1779 Deterpigny, J. Parts
Date unknown Richard, J.
Lorraine
15— Dugué
1708 Renault, J.
1530 Denis, R. (1)
Lyons Lemaire, M.
1506 Bontemps,
N. 1532 Follon, N.

sty Google
 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS 697
1548 Potin, A. 1675 Bellot, R. (1)
& 1550 Dazrgilléres, A. 1678 Bourdet, J. ()
Daulphin, J. () La Couture, P. de
Patry 1680 Dumont, N.
Potin, R. 1681 Le Roy, M.
15$3 Daulphin, J. (1) 1686 Blanchet, N. (II)
d. 1556 Mesnager, Y. 1686 Richard, M. (11)
1561 Potin, J. 1687 Rastoin, H.
1563 Dargillieres, J. 6 1690 Rastoin, J.
Lemaire, C. 6. 1700 Leclair
1570 Leviel, A. ?17— Munier
6 1570 Daulphin, M. Wy Dumont, J.
Potin, P. Hoffmann
Ig7t Belamy, P. Machy, P. de
1573 Despont, R. Prudent
1374 Denis, C. Rozé or Rozet
Lemaire, J.
© 1575 Schneller
1578 Bissart, J. 1700 Lan
Héarr, J. Marius
Leviel, A. 1702 Denis, L.
1579 Denis, J. () 1705 Denis, P. (I)
Lorillart, M. 1706 Bossu, J.
6. 1580 Denis, R. (11) 6 1710 Vaudry, J. A.
Gai 1717 Bellot, L. C.
1594 Lescuier, G. 1719 Vater, A.
b. 1598 Blanchet, N. () 1720 Galland, J. M.
1600 Jacquet, J. 1722 Blanchet, F. E. (1)
1601 Denis J. (11) 1723 Delavigne, P.
1603 Despont, A. 6 1725 Baudin, F.
Le Breton, J. Vater, A.
1615 Denis, T. 1728 Chiquelier, C. (1)
6 1615 Sellier, J. 1729 Bellot, L.
@. 1622 Lorillart, P. Ferschir, J.
1627 Bouton, J. 1730 Goermans, Jean
1630 Jacquet, C. Levoir
1632 Denis, P. (1) 6 1730 Jacquart, J.
Lemoyne, C. 1734 Ducastel, A. H.
1636 Denis, J. (11) (later at Nancy) 1736 Bourdet, J. G.
1637 Denis, Ph. Keiser, J. B.
6 1648 La Barre, P. C. de 1740 Blanchet, F. E. (11)
1650 Fiteler, J. Leclerc, N.
1658 Regnault 1744 Galland, J.
1659 Richard, M. (1) 1745 Chiquelier, C. (11)
Denis, J. (Il) Renaud
1661 Douvé, M. 1746 Hemsch, J. H.
1665 Sellier, L. 1747 Bellot, P. (I)
1666 Denis, L. Garnier, S.
Sellier, N. 1748 Hemsch, G.
1671 Dubuc, N. 1750
Pampes
1674 Meunier, J. 1753

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 698 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS
Richard, Robert 1789 Freudenthaler, W.
Ruelle, P. 1793 Blanchet, A. F. N.
Stehlin, B. Taskin, L.
1755 Ruelle, J. Taskin(??), H-J.
1756 Treyer, Joseph
1757 Treyer, J. B. RHEIMs
1760 Péronard, F. B. 1776 Gosset
1761 Hemsch, G. Rouen
6 1700 Lefebvre, C. & J. B.
1733 Lefebvre, N.
Sotssons
1768 1739 Chapelle, F.

1769 SrRAsBoURG
1699 Ring, F.
1757 Koch, M.
Silbermann, J. H.
1782 Erhart, A. F.
1783 Edelmann, G. L.
1770 Tou.ouse
1771 1679 Thibaut, V.
1772
1773 TRoyes
1661 Raisin
1774 VaL D’AjoL
1775 y— Fleurot
VERSAILLES
Simonneau, P. C. ¢. 1780 Saumet, N. J.
1776 Benard
Morel
777 Leclair, J. P. GERMANY
Leclerc,J. P. ‘TOWN UNKNOWN
Naulot, J. Date unknown Leo, J. C. I & I
Schnell, J. J. P15s— Gansen, W.
1778 Dubois, P. Saletz, N.
Grenot, P. ?¢. 1600 Heller, A.
1779 Monguet, F. 1602 Heussler, U.
6. 1780 Secret, J. de 1636 Worcken, G.
1781 Godelart, P. J. 1645 Schonat, J. W.
Hoffmann, N. 1680 Dressel, C.
Lauterbon, J. G. 1681 Kurvz, J.
Vernier, Pére 1684 Musch, J.
1783 Barberini, J. (possibly formerly at i} Gottheimer, C. G.
Grenoble and Lyons) Reinecke
Gateaux, P. Wahl
Swanen, J. RI.
1785 Schmidt, T. 1748 Kastner
1786 Zimmerman Schén, J. E.
1787 Pleyel, I. J. 1761 Hauser (or Heuse), J. H.
1788 Volber, J. 1763 Le Gray

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 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS 699

1773 Preuss, J. B. 1792 Augustin, J. G.

1778 Feigenser, J. C. BayreuTH
1783 Mercia
1790 Friedrich, J. C. ¢. 1800 Wigleb or Wiclef
1797 Lange, J. F. BERLIN
1799 Knoebel, J. C. 17— Conrad
1804 Hotzel, P. Oesterlein, C., the Elder
1820 Welcker Schramm, T.
1731
1835 Schén€), A. 1741 Hohlfeld, J.
1755 Straube, J. A.
At-BRANDENBURG
1758 Oesterlein, J. C.
1776 Grineberg, J. W. 1768 Bauer
Schramm, J. C.
ALTENBURG
¢. 1786 Kalix
1730 Schlegel, E. (1)
1793 Luckstadt
1794 Schlegel, E. (1) Siegmuller, H. A.
ALTONA 1797 Steibelt, C. L.
1798 Bode, J. F.
1751 Jungklaus, F.
1802 Hennefus, J. L.
ANSBACH BrrKENFELD
1724 Wiclef, J. C. 6 1790 Venzky, E. C. G.
1769 Hubert, C. G. (formerly at
Bayreuth) Bonn
1794 Hoffmann, J. W. 1782 Riedlen, G. F.
¢. 1800 Noser
Wimula BREITENBACH
See under, Germany, Gross-Breitenbach.
ARNSTADT
BRESLAU
£ 1800 Hanert
1713 Gebel, G.
1786 Theidel
AUGSBURG
1570 Bidermann, S. (1) Briec
1587 Meidling, A. 1740 Sassadias, J. S.
1608 Hainhofer, P.
6 1610 Bidermann, S. (11) BrUHEIM, NR. GOTHA
Bidermann, D. £. 1800 Kliem
1685 Leo,J. C., the Elder
Brunswick
1697 Weidner, D. J.
1635 Dohmsen, C.
7 Senft, I. J.
1662 Niebuhr, H.
1721 Leo,J. C., the Younger
1727 Fritz, B.
1751 Stein, J. A.
1755 Tdlleke, K.
1793 Schautz, M.
1777 Lemme, F. C. W. or K. FW.
£ 1800 Wirth
1780 Schorse
BAMBERG
Schurrig, J. A. C.
1795 Rudloff, R. FL.
¢. 1800 Ehrlich
Hansin 1804 Blume
Schott CHARLOTTENBURG
171 Rost (formerly of Célln)
BauTzen
1680 Haase, G. C6LLN
1728 Haase(),J. E. 1697 Mietke, M.

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700 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS

COLOGNE ERLANGEN
1647 Loth, J. 6. 1800 Schimeier
1797 Bartels, J. H.
Bruck, M. FRANKFURT AM MaIN
Sonneman, A. & P. 1639 Gellinger, I.
FRAUENAURACH
CRAILSHEIM 1741 Schiedmayer, B.
1725 Faber, D.
FrerpurG (Saxony)
DarmsTapt 1710 Silbermann, G.
6. 1800 Schweins, J. 7 Klein, J.
1795 Ochme, A. G.
DOxteN, Nr. DrResDEN
6 1760 Tamitius, A. FRIEDBERG
Date unknown Glock
DrespEN
FRIEDRICHSTADT, NR. DRESDEN
1565 Kretschmar, G.
1740 Martini
1653 Casparini, E. (later (1656-9) at
Venice) Fussen
1692 Gribner, J. C. 1698 Kaiser, M.
i Tamitius, A.
1713 Bohr, C. H. GEHREN
1730 Schroeter, C. G. 1678 Bach, J. M.
1748 Schwarze
GERA
1765 Schubert, D.
Date unknown Friederici, J. C.
1766 Grabner, J. G.
1739 Friederici, C. E.
1767 Grabner, J. W.
1744 Friederici, C. Gortfr.
1769 Horn, G. J.
1780 Friederici, C. Gortl.
1774 Gribner, K. A.
1803 Friederici, C. E. W.
1784
1836 Friederici, E. L.
1786 GERINGSWALDE
1746 Gerstenberg, J. D.
1787
1790 Goetz
1794 17— Mayer
1797 GoTHa
1799 1779 Hofmann
¢ 1799
6. 1800
1799 Meerbach, J. C.
?¢. 1800 Paul
1802
GOTTINGEN
EtsENACH
1575 Meyer, D.
1709 1773 Kramer, J. P.
1780 Kramer, (J.) S. T.
ELBERFELD 1798 Ritmuller, G. W.
1628 Gijsen, C. 1806 Kriimer, Gebrider

Errurt Gross-BREITENBACH
1729 Adlung, J. 1693 Harrass, J. H.
6 1800 Heilmann 7— Harrass, J. N.
1701 Harrass, J. M.

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 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS 701

1737 Harrass, J. H. 1752 Riesch, G. M.

1760 Langguth, H. W.
1802 Deckert, J. N. INGOLSTADT
1739 Konig, F.
GonzBurG
6 1800 Schibele JENA
b. 1699 Bach,J. N.
HALBERSTADT 6. 1800 Puppe
1765 Jesse, J. C.
JuGENHEIM
HALLE 1782 Obendérfer
7— Weikhart
1785 Joachim Kasset
6. 1800 Kurz 1570 Heyer, D.
1784 Wilhelmi
HAMBURG
1668 Fleischer, H. C. KitzincEN
1692 Middelburg, S. C. ¢. 1800 Zwedler
17— Oppelmann
1706 Kroster HEILBRUN
Fleischer, J. C.
1710
6. 1800 Eichmiller
Driel, A. von
Fleischer, C. C.
KONIGSBERG
1714 Hass, Hieron. Albr.
4. 1580 Gabrecht
[1716 Toussaint, J.?]
1722 Zell, C.
LaNDsHUT
1734 Schutte, H. 6. 1800 Schweinacher
1740 Hass, Johann Adolf
1744 Gerlach,J. C. Lerpzic
1782 Jungcurth, H. W. 1535 Frey, M.
1784 Krogmann, J. C. 1537 Miller, H.
6 1793 Voigt 1555 Hahn, K.
1796 Hass, D. C.) 1619 Wegner(?), J.
Hinrichs, J. P. 17— Steinert, M.
Wolf, C. H.
HANOVER 1700 Donat, J. J.
1712 Willenbrock, H. 1731 Schweinfleisch, J. C. (1)
1799 Baethmann, W. H. 1740 Scheibe,J.
6. 1800 Hofmeister
HEUTINGSHEIM Klemm
& 1799 Schwingstein,J. M.
LinpING, NR. KAHLA
HILpBuRGHAUSEN ¢. 1800 Gehrhard
6. 1800 Henne
Loseck
Hor 1647 Schaar, T.
& 1800 Heidenreich 1712 Siercks, M.
1724 Franck, L.
HOHENHEIM 1781 Winther & Meyer
6. 1800 Schadlich 1799 Nolck, J. F.
ILMENAU Marnz
17 Gleichmann, J. G. 1780 Quernbach, I.

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 702 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS
¢. 1800 Riebele 1797 Kohlmann, G.
MARBURG OCcHSENHAUSEN
1788 Muller, M. 6 1800 Hesse
MEININGEN
OsnaBrick
6 1800 Krech
1746 Laag, H.
Moss
OsTHEI™ Vv. D. RHON
MEISSEN
6. 1730
1806 Marckert, J. G.
Hahnel,
J. E.
MEMEL OrToBEUREN
61757 ¢. 1800 Holzheu
Bertin, D.

MERSEBURG PALATINATE
6 1780 Scherzer 17— Kaiser, M.

Municn PEISSENBERG
6 1560 Faber, W. 1433 Smid, B.
1753 Glonner, J.
1781
RasTaDT
Dulcken, J. L., the Younger
1798 ¢. 1800 Stiefeld
Milchmeyer, P. J.
MONSTERBERG REGENSBURG
1718 Hildebrand, Z.
1692 Schmahl, Fr.
1751 Spith, F. J. the Younger
NaBBURG 1769 Schmahl, Christoph F.
6 1800 Weisse 1790 Schmahl, Carl F.
6. 1810 Schmahl, Jakob, F.
NauMBURG Schmahl, Christian Carl
£, 1800 Vogel
RENDSBURG
Neustapt/AIscu 1796 Sondermann, M. G.
1770 Schiedmayer, J. C. G.
RONNEBURG
Neustapt/HALDE 1763 Hoffmann, C. G.
6 1800 Hofmann
ROTHENBURG
Neuwiep 1747 Gessinger, G. M.
1763 Kintzinger, ?F.
1793 Weil, J. W. Rupo.stapt
6. 1765 Lenker, C. M.
NorbHAUSEN
1771 Puchert,J. S.
7— Kellermann, C. F. A.
RUHLE BEI EIsENACH
NorbHorN
1756
1816 Stumpf,J. G.
Lankhorst, H.

NurEMBERG Satrup
1568 Nottle, B. 1799 Hansen, C.
6 1580 Vogel, H.
ScHLEswiG
1619 Wissmayer, P.
17— Bodechtel, J. J.
1780 Jungersen, J. C.
1737 Gliss, J. SCHMIEDEFELD, NR. SUHL
1789 Kuppler, J. G. 1764 ‘Wagner, M. & J.

ized ty GOOgle
 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS 703

6. 1800 Holland 1729 Schmahl, G. F., the Elder

1764 Schmahl, J. M.
SCHNEEBERG
1778 Schmahl, G. F., the Younger
1604 Reinhart, A.
UNTERTURKHEIM
ScHWARZENBERG
17— Warth, P. J.
?¢. 1770 Rentsch, S.
ScHWEINFURT VAIHINGEN/ENZ
1751 Kiedolps, F. 6 1780 Buhler, J. M.
1804 Voit, J. M. WASSERBURG AM INN
SEEHEIM 1769 Schlett, A.
£ 1800 Oberdorfer
‘WEIGANDSTAL
Stesta 1729 Maywaldt, J. C.
1706 Henrichini, A.
WEIMAR
SoNDERHAUSEN 1688 Ziegler, J. A.
1728 Gerber, H. N. 1731 Eylenstein, J. F.
1782 Schirmer, J. G. 1788 Schenk, J. G.

SONNBORN, NR. DOssELDORF ‘WERDEN

1768 Hageman, J. E. 1437 Johann, Meister
?SONNENBURG WETZLAR
17— Berchthold, J. von 1783 Greiner, J. K.
SoNTHOFEN WIEsBADEN
1742 Socher, J. 1788 Mahr,J. A.
?SPEYER WorzBurG
1788 Schenk, J. G.
1778 Joneck, M.
STELZEN, NR. HILDBURGHAUSEN 1800 Joneck, J.
1715 Gleichmann, J. G. Seiffert
STRASSBURG ZirTau
See, France, Strasbourg 1754 Tamitius, J. G. (1) (il).
STRAUBINGEN
6. 1800 Blersch HOLLAND

SrurrcartT See. Low Countries

1702 Weiss, J.
1791 Haug, F. HUNGARY
TANGERMUNDE ‘TowN UNKNOWN
1792 Zabel, G. W. 16— Thodkdli, S.

TOBINGEN EDINBURG
1795 Hagerif, J. C. £1800 Kleblatt

UEFFELN Ginz
1776 Késter, H. R. B. 6. 1800 Klagel

UHLsTApT, NR. KAHLA Pécs

6. 1800 Voigt 1793 Otvarsa, J. L.
Utm PRESSBURG
1540 Haffenreffer, S. 1744 Viererigel, J.

tized ty GOOle
704 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS
1816 Lehner, G. Zaffermi, S. & O.
Bonomen, J. B.
Sopron Remot, S. (fictitious?)
¢. 1800 Szarka, M Giannini, G.
Fabbiano, L.
IRELAND Fani(?)
Ridolfo, G.
Dus.in
Giovacino, priest
1639 Strong, A.
Guarracino, H.
7 Hollister, P.
Salodiensis, B. C.
1728 Hollister, R. T.
Weber, F.
Stephanini, B.
1739 B,C.
1761 Hollister, F.
1762 Hollister, W. C.
Rasori, L.
Bonomius, D. S.
Rother, H.
Bordegatus, A.
1764 Gibson, W.
1770 Rother, H. W.
Titi, G.C. A.
Woffington, Robt.
Orlandus, P. M.
?1773 Franciscus
1777/8 Webber, R.
Costa, J.
1782 Southwell, W.
Fermanni, P.
179° M’Donnell
Saverio, C.
Pemberton
S., N. V.
Rice, J.
Tronco, G. F.
& 1790 Lee, J. & E.
Morland
Barbi, M.
179- Marsciani
& 1795 MacDonell, Jas. & Alex.
Bonomo, G.
1804 MacDonell, Daniel
Brunelli, A.
1816 Woffington, J.
Argano, P.

ITALY
Montecucchi, V.
‘Town UNKNOWN
Date unknown Colombo, V.
Macerata Bati, A.
Trencij, N. A.
Tunoni, G.
15— Bertraccino, G. Scheri, F. M.
Giovanni, G.
Preno, priest Undeus, D.
Siculo@), M. Riva, G.
Zucchero, F. Riva, A.
1522(?) Giuseppe d’Organe
1§3t Bonetti, P.
1540 Siculus, M. Albertus, I.
1344 Brisciani, G. F. Brenzi, A.
1952 Jadra, M. loannes, Baptista
1554 Stoppaccio(?) Taegiis, V. de
1559 Salodiensis, J. Colonna, A.
1570 Danis, J. Coninus, J. M.
1573 Salodiensis, A. Faby (or Fabius), P.
1585 Bonafinis, J. Vanini, F.
Bortolus Ossa, S.
Magnelli, G. B. Goccini, G. M.

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 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS 705
1772 Bressano, C. Santini, A.
¢ 1620 Farini
Brescia 1623 Albani, A.
1533 Antegnati, G. F. 1627 Bolcioni, S.
1610 Benti, M. Querci, V.
1634
18—
1818
Tonoli
Respini, Z.
d. 1634 Poggifo), F.
1646 Morlisoni, F.
1844 Borghetti, G. B. 1650 Ricevuti, A.
Campo Marzo 1653 Mondini, G.
1631 Saacut, C. 1660 Buonfigliuoli, P.
¢. 1660 Nigetti, F.
Castro 1663 Bolcioni, A.
1743 Rubino, D. 1664 Pini, B.
Como
1665 Pertici, G. da
1737 Somigliana, C. A. 1669 Cigulasi, A.
1675 Casini, G.
Cortona 1680 Feroci, M.
1617 Boni, Giovanni Battista, da Cortona 1682 Migliai, A.
1648 Boni, Giuseppe, da Cortona 1688 Cristofori, B.
Carcassi, G.
CREMONA 1689 Falconi, G.
d. 1636 Sirena, G. Magniai, L.
Empout Zolfanelli, G.
1686 Dotti, L. Landi, A.
Bassilichi, L.
FazzaNo Berti, N.
17— Asioli, Q. Puccini
Feroci, A.
FERRARA Picchi, G.
Date unknown Pollastris, C. de Ferrini, G.
1494 Magona, P. de Falconi
1522 Giovan-Marco di Ferrara Sodi, V.
1549 Aldigerio Mucciardi, I.
1572
1591
Romito, G.
Cricca, A. Spighi, F.
1598 Cricca, H.
£1600 Gherla ‘Il Genovese’
Pietro Jacopo Tosi, O.
Nonnemacker, V.
FLORENCE
Date unknown
Tollenari, J.

149° Cresci, R. & I.

1513 Vincentius
1586 Poggio, F. Rocatagliata
1602 Rigunini, C.
1608 Bolcioni, V.
1610 Querci, P. Bagninius, J.
1615 Quoco, N. de Giusti, G. B. (later in Rome)
1616 Medaro, A. Mani, S.
1620 Rigoli 1711 Tommaso de Luca(?)

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 706 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS
1781 Crudeli, G. 1680 Boccalari, G. N.
MANTUA Papua
1535 Racceris, F. Isso Antonius Patavinus
1540 Alessandro dagli Organi 1595 Alsise, G.
1545 Capiluto, G. 1798 Trentin, G.
6 1674 Pessetti, G. B.
Parma
Messina 1723 Poncini, G. A.
1697 Grimaldi, C. 1823 Gherardi, A.
2 Gherardi, Giamb.
MILAN ? Gherardi, C.
1472 Argiropoulos, I. > Gherardi, Gius.
& 1550 Rossi, A. dei
4. 1580 Rossi, F. dei Pavia
1638 Valvassori, E. 1494 Gusnascho, L.
1735 RBE 1522 Belisonius, P.
1746 Birger, G. D. PeRuGia
1753 Scotti, A. 1627 Parrini, S.
MopENA PESARO
1419 Tantini, C. 1554 Bertarini, G.
1461 Tantini, S. 6. 1690 Sabbatini, G.
1475 Tantini, G.
1485 Bonissimo, G. PIEDMONT
1493 Pasi, A. 1786 Caretti, G. D.
1494 Jacobus of Modena Pisa
1537 Stephanus Mutinensis 1730 Solfanelli, G.
1571 Gessa 1756 Cresci, A.
16— Martinelli 1766 Federigi, A.
1686 Bombini
1723 Piazoli, A. Pisrora
1726 Traeri, U. A. 17— Pagnini
1733 Trasori, A.
Prato
1755 Termanini, P. & G. 1610 Vincentius Pratensis
18— Barbieri
1802 B., PB. REGGIO NELL’EMILIA
1571 Fontana, N.
Monte Carorro 1655 Cagnolati, F.
1762 Garparini, F. A. 1676 Vasti, P.
Monte GrorpANo Rimint
1642 Urbani, A. 1695 Neri
Murano Rome
1690 Pentorisi Date unknown Volterin, F.
1521 Hieronymus Bononiensis
Nap.es 1543 Vicentino, N.
1532 Trasontino, G. F. 1564 Irena, A.
1591 Fabri, A. 1584 Fabri, F.
6 1610 Colonna, F. 5. 1589 Di Pandolfo, C.
1612 Buca, I. 160— Cortona(?), G.
71644 Pentotius, D. B. 1609 Zoccolone, F.
1652 Guarracino, H. or O. 1610 Gigli, G.

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 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS 707

Nova, F. della 1731 Cancellieri, V.

1615 Piccini, B. 1732 Assalone, G.
1617 Albana, S. 1737 Cremisi, S.
Guglielmus, C. 1752 Cremisi, G. (II)
1620 Orsi, G. B. 1753 Hadrianus
«6 1620 Colonna, F. 1761 Palazzi, N.
1621 Fabbri, F. 1769 Cremisi, F.
1622 Piccini, V. 1773 Leoni, G. P. or J. P.
1624 Buscorni, N. 1776 Palazzi, N.
Florano, G. 1786 Pomardi, C.
1625 Peres, V. 1790 Petrelli, D.
1626 Bottisango, G. C. 1794 Schumeyer, M.
Nardetti, A. 1795 Arnoldi, B.
1628 Albano, O. Arnoldi, C.
1631 Acciari, G. Bosi, C.
1638 Leutis?), G. de 1807 Palazzi, V.
Zenti, G. bc. 1831 Petrelli, G.
1640 Acciari, F.
6 1640 Pollizino, G. P. Sato
1642 Ortosi, G. 1741 Giuseppe da Salo
Marione, M. SantT’EPIDIo
1645 Buscaini, A. 17— Gregori(?), N.
Vitale, G. Gregori), P.
1650 Ramerini,J. (from Florence)
1651 Ragonese, L. SENIGALLIA
1654 Forasassi, C. 1670 Faber, Fr.
1655 Annibale, of Rome 1770 Preiblan(?), G.
Girolamo, of Rome
SrENA
Jacomino, of Rome 1670 Landi, G.
Todini, M. 1700 Prosperi, G.
1660 De Grandis, G. 170§ Danco, A. D. del
1663 Mombriani, G. B.
1665 Garzini, G. SorRENTO
Marchionus, F. 1704 Castelletti, D. M.
1674 Ramerini, P.
1675 Fabbri, F.
Berneri, G.
1676 Perelli, C. 1594
1678 Debonnis, F. 1745 Berera, J. A.
1680 Lagardi, A. C. ‘TREVISO
1682 Cremisi, G. (1) 1570 Danis, J.
1683 Nobili, T.
1693 Nobili, A. F. ‘Turin
Roviero, V. de 1657 Adam, Abel
y— Alari, G. 1757 Franco, G. F.
1701 Cicerone, G.
Upine
1703 Matthias of Ghent Giovanni da Udine
1473
1705 Acciari, B.
1721 Berti, P. VENICE
1722 Cremisi, P. Date unknown Ondeo()
1723 Castelli, G. B. 6 1445 Bernardo d’Allemagna
1728 Alari, Giuseppe 1473 Pier Francesco da Udine
1730 Palazzi, P. P. Pier Giovanni da Udine

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708 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS

1503 Spinetti, G. 1720 Zelau

1506 Stefano di Giovanni 1737 Kreyns, R.
1513 Bonissimo, S. Pigalle, N.
6 1527 Franciscus Patavinus (‘Il Hongaro’) 1740 Ch., M.
1530 Trasuntino, A. 1775 Hempenius, A. S.
1533 Dominicus Pisaurensis 1782 Le Maitre, C-H.
Ventura, A.
AERSCHOT
1556 Domenico, G.
1770 Matheus, J. F.
1560 Trasuntino, Guido or Vito et.
1568 Floriani, B. ALKMAAR
1570 Baffo, G. A. 1780 Deitenbach, J. C.
1574 Trasuntino, B.
1579 Albani(?), N. AMSTERDAM
1583 Celestini, G. 1599 Oort, D. van der
1585 Bertolotti, A. 1605 Geerdinghs, A.
16— Giannantonio, called ‘Il Veneto’ 1610 Swart, W.
1638 Buonpetri(?), D. C. B. 1616 Hoven, L. van
1640 Butij, G. C. 1620 Carpel, N. van
1674 Monsuto, A. 1625 Mensen or Mensz, H.
1690 Menegoni, G. A. 1636 Huffel, L. van
P1704 Torriglio, C. 6 1650 inghs, H.
17 Centamin, P. 1652 Schonnat, H. W.
1715 Menegoni, F. 1682 Ferdenant, Z.
1724 Albani, M. 1686 Bongaerts, W.
1748 Barbi, M. 1694 Dort, C. van
1766 Chianei, G. 1704 Soenius, G.
1716 Maller, C.
VERONA 1730 Kehrman, P.
6 1500 Bastiano 1735 Fricx, J
1523 Portalupi, F. de” 1737 Scheydeman, D.
1556 Bruneto dalli Organi 1745 Lassen, H.
1683 Obici, F. 1748 Nederhorst
VICENZA 1754 Paradijs, A. J.
1695 Clarelli, G.
1756 Dulcken, J. L., the Elder
Laurens, N.
?e. 1760 Morellati, P.
1759 Onderhorst, D.
VITERBO 1760 Starck, J.
1759 Rossi, T. Verwe}, J
1761 Hilgers
LATVIA Schaffer, G.
Rica 1764 Pott, P.
1757 Hake, H. 1765 Strumphler, J.
Vorstius, L. H.
LOW COUNTRIES 1768 Laescke, C. F.
Maller, P.
‘TowN UNKNOWN 1770 Lugt, D. van der
Date unknown Croon, A.
1773 Swillen, R.
16— GG
1610 Huysen, J. 1775 Vool, J. J.
1782 Axsen, A. G.
1619 H., A. W.
1629 Meeuwsz 1785 Haar, A. J. van der
1643 Ohann(), W. ANTWERP
1706 Paukens, J. 15— Lenaert

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 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS 709

Ty09 Hans van Cuelen 1641 Hagaerts, S.

1514 Moors, A. 1642 Couchet, Ioannes (1)
1519 Matthys, P. 1643 Verheyden, P.
1523 Karest, loes 1655 Britsen, Joris (II)
1529 Karest, G. Couchet, Peter E. Jan
1533 Thielen, J. 1655/6 Couchet, Ioannes (II)
Theeuwes, J. Everbroek, G. van
1535 Blomsteen, M. 1658 Britsen, Joris (111)
1542 Aelbrechts, J. Pelle, C.
Meer, A. van 1659 Couchet, P. I.
Vorenberch, P. Watson, T.
1343 Bos, H. 1666 Couchet, Abraham
Lyen, P. de Couchet, Ioseph Ioannes
1550 Blomsteen, C. 1710 Elsche, J. van den
1552 Moyns, S. 1yI7 Britsen, A.
1557 Biest, M. van der 1741 Dulcken, J. D. (later in Brussels)
Bogaerde, G. van den 1752 Bull, J. P.
Dierckx, J. @. 1763 Dulcken, A.
Herremans, W. 1790 Heinemann, J. J.
Peborgh 1793 Bul, N.
Theeuwes, L. (1)
Diepenrijck, L. van BrusseEs
Gompaerts, W. 1692 Weyenberg, J. van
Hevilez, J. de 6 1730 Dulcken, A.
Leest, W. 1732 Mahieu, J.
Moermans, H. 1763 Dulcken, J. van

Jaspers, J. 1769 Casteel, H-J. van (formerly at

Elst, A. van der Lisbon)
Grouwels, J. 1785 Bremers, M.
Ruckers, Hans, the Elder 1786 Winand, J-B.
Verbiest, M. 1811 Winand, J-B-J.
Eesbroeck, J. van Epam
Muelevoets, J.
1732 Kirchmann, J. F.
Aelbrechts, L.
Wolfaert, E. GoriNcHEIM
Néve, G. de 1625/9 Deckers, H.
Bader, P. D.
Slagh Meulen, P. van der (fictitious?) Goupa
Ruckers, Ioannes 1708 Blankenberg, Q. G.
Ruckers, Andreas (1) 1755 Hess, H. H.
Uffel, F. van 1769 Arkel, R. van (later at Leiden)
Immenraet, M.
GRONINGEN
Leunis, R.
& IVTS§ Molenbeek, J.
Britsen, Joris (1)
Léonard HaAaRLem
Hagaerts, C. 6. 1637 Ban, J. A.
Joannes, A.
?1775 Giesen@), van
Vries, D. de
Bader, A. THe HaGue
Bader, T. 6. 1630 Rijkers ? probably Ruckers)
Colyns, M. 1684 Dort, C. van (by 1693 at
Ruckers, Andreas (II) Amsterdam)

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710 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS
1698 Worms, L. 1693 Cool(s), J.
1733 Maller, J. C. 1718 Moreau, J.
1742 Bruydegom, J. 1764 Moreau, J. F.
1743 Scheffer, J.
1750 Steevens, G. (formerly at Leiden) TourNar
1764 Morkramer, H. F. 1385 de Rouais, G.
1750 Delin, A.
s’HERTOGENBOSCH
1700 Heydenreych, S. (1706 at The Hague) Tzum
1765 Eysdonck, L. van 1667 Douwes, K.
Koupum UTRECHT
1777 Campen, A. 1602 Hartung, C.
LEEUWARDEN 1627 Deacons or Deakens, W. (later at
1727 Schwartsburgh, J. M.
and Dordrecht)
LEIDEN 1739 Batz, J. H. H.
1623 Martinus, F. (formerly at 1767 Marand, T.
Groningen) 1780 Batz, G. T.
1734 Assendelft, P.
1785 Batz, C.
1750 Kool, A.
1766 Kool, J. ZuTPHEN
1787 Leenhouwer, A. 1639 Bader, H. H. (later Westphalia)
Litce 1737 Dieren, W. van (later at Amsterdam)
1508 Moors, M.
1661 Naxhe, H. MORAVIA
LIERRE See also. Bohemia
15— Mors, H.
ZnoyMo (ZNAIM)
MALINES 1726 Diviss, P.
1s5— Vriese, F. de
1773 Dagoneau NETHERLANDS
MIDDELBURG
1593 Grouwels, L. See. Low Countries
6 1770 Manshart, J.
1770 P...,RW. NORWAY
1777 Weele, F. van der KrisT1ANA (OsLo)
1780 Hooghuis, G. S. 1793 Schoene, G. D.
Mons
1780 Ermel, J. J. Moss
1782 Enrmel, F-J-E.
1757 Jansen, H.
1791 Enmel, S-J.
1793 Enmel, J-P-J. MEXICO
NAARDEN Mexico City
1764 Kruyff, J. P. 7— Olea, J. F. de

Namur
1789 Terby, T-J.
POLAND
Cracow
RoERMOND 14— Pilzna, M. de
1735 Coenen,
J. J.
16— Hauk, K.
RoTTeRDAM 1609 Martin
1654 Bosch, A. d. 1620 Przeworski, B.

Google
 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS 711

¢. 1700 Kiejcher, K. 1782 Livingstone, R.

1784 Rochead, A. & Son
Danzic
1657 Steinicht, P.
1746 Woga, W.
Delitz SICILY
1765
GAGLIANO
Poznan 1739 Mela, D. del
1805 Mazlowski

Warsaw
Date unknown Buchholz(), F. J. SPAIN
17— Korycki, S. TowN UNKNOWN
1614 Quijano, D.
Wino 1625 Truchado, R.
16— Lochmann, A. 1664 Risvefio, Fra B. A.
1684 Carballeda, D. de
PORTUGAL 1745 Panata, Y.
1755 Bux, A.
‘Town UNKNOWN
1740 Oliveres, A.
1758 Antunes, J. J. ANDALUCEA
1780 Causto, J. ‘Town UNKNOWN
1530 Bermuda, F. J.
Lispon
1650 Bocaro, J. AvILA
1757 Casteel, H-J. van (later at Brussels) 1728 Mufioz, A.
1766 Bostem, M.
1783 Ferreira, J.
BARCELONA
Oporto 1780 Alsinas, J.
1796 Carmo, M. de S.
BELorADo
RUSSIA 1809 Jaras
St. PETERSBURG
1777 Habner, J. C. Burcos
1785 1832 Hesse, T.
Kirschnigk
6 1787
6 1790 Batov, I. A. CApiz
1774 Valle, J. F. du
SCOTLAND
TOWN UNKNOWN Maprip
1652 Davidson, J. 1f— Quebon@), J. B.
1659 Adam, Alex. 1567 Brebos, J. or H.
1793 Gilchrist, D. 1571 Martin, F.
1634 Jobernardi, B.
EpinsurGH 1688 Palomino, A.
. 1760 Johnston¢€), J. 17— M...,J.
Smith, J. 1722 Fernandez, D.
1760 Shean, C. (formerly of London) 1739 Liborna, de E.
1761 Stewart, N. before 1759 Velazquez, P.
1774 Logan, J. 1775 Fernandez, J.
1780 Horsborough, R. 1784 Florez, F.

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712: GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS

1785 Mora RoNNEBY

1788 Nieva, G. S. de 6 1740 Broman, O.
1791 Primo, M.
StockHoLm
MEssInNa 1726 Roos, J. P.
1697 Grimaldi, C. 1727 German, E.
1734 Hedlund, O.
Murcia 1738 Strahle, D.
1770 Tornel, T. 1740 Specken, P. J.
1742 Kinstrém, L.
SEVILLE
1750 Gren, J., & Strihle, P.
1470 Enrique, Maestre
Rosenau, G.
1575 Juan, A@). 1756 Broman, J.
1762 Pérez, Mirabal, F.
Perichon, A.
1767 Marmol, J. del
1763 Kinstrém, Christina
‘TARAZONA Lundbom, M.
1y7— Grabalos, J. 177° Rangstrim, A.
1772 Landborg, P.
ToLepo 1776 Lindholm, P.
1644 Mufioz, L. 1780 Gronberg, A.
1715 Garcia, F. Kraft, M. P.
1785 Lépez de D. 1793/4 Rackwitz, G. C.
1800 Séderstrém, H. J.
VALLADOLID 1802 Grénbom, E.
1728 Fernandez Santos, A. 1803 Séderberg, J.
1807 Garman, G., & Mollenberg, L.
ZARAGOZA
1810/11 Groénbom, E., & Applegren,J.
1483 Mofferiz, M. (subsequently J.)
1505 Bayle, P. 1811 Applegren, J.
1814 Wessberg, E.
1st Mofferiz, B. 1816 Nordquist, C. J.

SWEDEN STROMSHOLM
‘Town UNKNOWN 1739 Léfberg, E.
1688 Woytzig, G.
VotstapT
1732 Wahlstrom, A. 1720 Brelin, N.
1742 Cahman, J. N.
1759 Wolthersson, G. G.
1778 Schidriin, P. SWITZERLAND
1783 Svede, F. BAseL
1809 Mollenberg, L. 1490 Soumlin, A.
1815 Olsson, L. & Daug, J. H. 1745 Brbsy, P. F.
ByOrxd 1775 Brosy, J. J.
1832 Bergstedt, A. 1794 Schlegel, J.
GOTHENBURG
BERNE
6 1740 Hellen, J.L.
1695 Wittig, E.
1755 Bossart, E.
KARLSTADT 1756 Ba A.
1803 Wessman, K. 1777 Howard, Joh.
1779 Howard, Joseph
OsTERLOVSTA 1810 Gleniger, T. G.
1779 Wahlstrém, C. Wyss, C.

Google
 GEOGRAPHICAL AND CHRONOLOGICAL CONSPECTUS OF MAKERS 713

EnnsteDELN SCHAFFHAUSEN
6. 1660 Kreuel, P. Date unknown Speissegger, J. C.
FrrBourG Wm. (St. Gat)
1761 Moser, J. A. 6 1680 Tarig, J. L.
1800 Moser, J. P. J. A.
ZuRIcH
Immentuat (St. GALL) 1711 Schmuz, L.
1369 Gerle, G. 1751 Schmuz, C.
NeucHATEL
1760 Speissegger, A.

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 SURVIVING ENGLISH VIRGINALS

A list of surviving English virginals was provided in Bz. The following is an update of that
list. The term English virginal encompasses that form of rectangular-cased plucked-string
keyboard instrument, probably made in large numbers in England in the period from about
1640 until about 1680.

No. in this volume No. in Bz Maker Date Owner

TOWNSEND, G. 1641 1 Gabriel Townsend 1641 Brussels Museum, Belgium

WHITE, T. 1642 2 Thomas White 1642 Victoria and Albert Museum London
WHITE, T. 1651 3 Thomas White 1651 Castle Museum, York
WHITE, T. 1653 4 Thomas White 1653 Duke of Devonshire, Hardwick Hall
LOOSEMORE,J. 1655 6 Jobn Loosemore 1655 Victoria and Albert Museum, London
WHITE,J. 1656 7 James White 1656 Museum of London, Kensington Palace,
London
WHITE, J. 1661 8 James White 1661 Bunratty Castle, County Clare, Ireland
BODY, T. 1662 8a Thomas Body 1662 Private collection
HATLEY, R. 1664 9 Robert Hatley 1664 Benton Fletcher Collection, Fenton House,
London
PLAYER, J. 1664 10 Jobn Player 1664 Cobbe Collection, Hatchlands Park, East
Clandon, Surrey
LEVERSIDGE, A. 1666 WW Adam Leversidge 1666 Yale University Collection of Musical
Instruments, New Haven, Connecticut
KEENE, S. 1668 12 Stephen Keene 1668 Russell Collection, Edinburgh
LEVERSIDGE, A. 1670 13 Adam Leversidge 1670 Ashmolean Museum, Oxford
JONES, P. 1671 14 Pbikip Jones 1671 Manchester University, Tabley House, England
REWALLIN, C. 1675 15 Charles Rewallin 1675 Castle Museum, Taunton, England
KEENE, S. 1675 16 Stephen Keene 1675 Private collection, Cheshire, England
REWALLIN, C. 1679 17 Charles Rewallin 1679 Royal Albert Memorial Museum, Exeter,
England
BOLTON, T. 1684 18 Thomas Bolton 1684 Warrington Museum, Cheshire
WHITE, T. 1684 (A) 5 Thomas White 1684 wor Folk Museum, St. Fagan’s, Cardiff,
les

Google
SOME LONDON APPRENTICES 1622-1758

This list gives the names of a number of apprentices to London harpsichord makers between
the years 1622 and 1758, as preserved in the records of the Joiners’ Company, London. Just
under half of the apprentices became freemen of the Company, and it may well be that
instruments from many of their workshops still exist and will eventually come to light. The
greater part of the information embodied in this list was kindly given to me by the late John
L. Boston.

Apprentice Year of Year of admission Master

binding as freeman

Avery, Henry 1652 1672" John Haward"

Bancks, John 1709 Edward Blunt
Barfoot, William 1651 1659 John Haward
Barres, Corney 1658 1667 ‘John Haward the Elder’
Bate, J 1641/2 John Haward
Becher, Edward 1638/9 Thomas White’
Brome, Hugh 1650 Thomas Haward
Collet, John 1712 Albion Bradshaw
Cooke, John 1624/5 John Haward
Cooly, John 1647 1656 Gabriel Townsend
Crosse, John 1656 1663 ‘Thomas Makeham; turned
over to Thomas
Howard (Haward)
Dawson, Benjamin 1627 1634/5 John Haward
Dermore, John 1629 1637/8 Thomas White
Draper, Zachariah 171 1718 ‘Thomas Barton
Dutton, Leonard 1682 Stephen Keene
Dutton, William 1623/4 John Haward
Edwardes, Orlando 1622 John Haward
Elliot, Peter 1653 1660 Thomas Haward
Forcer, Thomas 1628/9 John Haward
Frawlins, Benjamin 1661 John Haward
Green, Thomas 1648 1655 John Haward
Greetham, Daniel 1645 Gabriel Townsend
Harris, John 1675 1685 Stephan Keene
Haslupp, John 1626/72 Nicholas Farnaby
Hawkins, Furley 1714 1725 Thomas Barton
Hedger, John 1645 Gabriel Townsend
Higgins, Thomas 1705 171 John Player, and later C. Aston
Hill, Henry 1731 1745 John Ladyman
Hill, Robert 1658 1668 Adam Leversidge
Hill, Thomas 1662 1670 John Player
Hudson, John 1631 John Haward
Leigh, Roger 1655 1663 John Haward
Mitchell, Nicholas 1704 Edward Blunt
Moore, Jarvis 1669 John Player
Moseley, Richard 1751 1758 Joseph Harris
Norton, Arthur 1630 1639/40 John Haward
Osborne, John 1721 1735 Thomas Barton
 SURVIVING ENGLISH VIRGINALS

A list of surviving English virginals was provided in Bz. The following is an update of that
list. The term English virginal encompasses that form of rectangular-cased plucked-string
keyboard instrument, probably made in large numbers in England in the period from about
1640 until about 1680.

No. in this volume No. in Bz Maker Date Owner

TOWNSEND, G. 1641 1 Gabriel Townsend 1641 Brussels Museum, Belgium

WHITE, T. 1642 2 Thomas White 1642 Victoria and Albert Museum London
WHITE, T. 1651 3 Thomas White 1651 Castle Museum, York
WHITE, T. 1653 4 Thomas White 1653 Duke of Devonshire, Hardwick Hall
LOOSEMORE,J. 1655 6 Jobn Loosemore 1655 Victoria and Albert Museum, London
WHITE,J. 1656 7 James White 1656 Museum of London, Kensington Palace,
London
WHITE, J. 1661 8 James White 1661 Bunratty Castle, County Clare, Ireland
BODY, T. 1662 8a Thomas Body 1662 Private collection
HATLEY, R. 1664 9 Robert Hatley 1664 Benton Fletcher Collection, Fenton House,
London
PLAYER, J. 1664 10 Jobn Player 1664 Cobbe Collection, Hatchlands Park, East
Clandon, Surrey
LEVERSIDGE, A. 1666 WW Adam Leversidge 1666 Yale University Collection of Musical
Instruments, New Haven, Connecticut
KEENE, S. 1668 12 Stephen Keene 1668 Russell Collection, Edinburgh
LEVERSIDGE, A. 1670 13 Adam Leversidge 1670 Ashmolean Museum, Oxford
JONES, P. 1671 14 Pbikip Jones 1671 Manchester University, Tabley House, England
REWALLIN, C. 1675 15 Charles Rewallin 1675 Castle Museum, Taunton, England
KEENE, S. 1675 16 Stephen Keene 1675 Private collection, Cheshire, England
REWALLIN, C. 1679 17 Charles Rewallin 1679 Royal Albert Memorial Museum, Exeter,
England
BOLTON, T. 1684 18 Thomas Bolton 1684 Warrington Museum, Cheshire
WHITE, T. 1684 (A) 5 Thomas White 1684 wor Folk Museum, St. Fagan’s, Cardiff,
les

Google
SOME LONDON APPRENTICES 1622-1758

This list gives the names of a number of apprentices to London harpsichord makers between
the years 1622 and 1758, as preserved in the records of the Joiners’ Company, London. Just
under half of the apprentices became freemen of the Company, and it may well be that
instruments from many of their workshops still exist and will eventually come to light. The
greater part of the information embodied in this list was kindly given to me by the late John
L. Boston.

Apprentice Year of Year of admission Master

binding as freeman

Avery, Henry 1652 1672" John Haward"

Bancks, John 1709 Edward Blunt
Barfoot, William 1651 1659 John Haward
Barres, Corney 1658 1667 ‘John Haward the Elder’
Bate, J 1641/2 John Haward
Becher, Edward 1638/9 Thomas White’
Brome, Hugh 1650 Thomas Haward
Collet, John 1712 Albion Bradshaw
Cooke, John 1624/5 John Haward
Cooly, John 1647 1656 Gabriel Townsend
Crosse, John 1656 1663 ‘Thomas Makeham; turned
over to Thomas
Howard (Haward)
Dawson, Benjamin 1627 1634/5 John Haward
Dermore, John 1629 1637/8 Thomas White
Draper, Zachariah 171 1718 ‘Thomas Barton
Dutton, Leonard 1682 Stephen Keene
Dutton, William 1623/4 John Haward
Edwardes, Orlando 1622 John Haward
Elliot, Peter 1653 1660 Thomas Haward
Forcer, Thomas 1628/9 John Haward
Frawlins, Benjamin 1661 John Haward
Green, Thomas 1648 1655 John Haward
Greetham, Daniel 1645 Gabriel Townsend
Harris, John 1675 1685 Stephan Keene
Haslupp, John 1626/72 Nicholas Farnaby
Hawkins, Furley 1714 1725 Thomas Barton
Hedger, John 1645 Gabriel Townsend
Higgins, Thomas 1705 171 John Player, and later C. Aston
Hill, Henry 1731 1745 John Ladyman
Hill, Robert 1658 1668 Adam Leversidge
Hill, Thomas 1662 1670 John Player
Hudson, John 1631 John Haward
Leigh, Roger 1655 1663 John Haward
Mitchell, Nicholas 1704 Edward Blunt
Moore, Jarvis 1669 John Player
Moseley, Richard 1751 1758 Joseph Harris
Norton, Arthur 1630 1639/40 John Haward
Osborne, John 1721 1735 Thomas Barton
 716 SOME LONDON APPRENTICES 1622-1758

Apprentice Year of Year of admission Master

binding as freeman

Pelly, Gabriel 1702 John Player

1708 Cawton Aston
Poole, Edward 1632 1641/2 John Haward
Purchas, Thomas 1640/1 Gabriel Townsend
Rial, John 1692 John Player
Richardson, Abraham 1664 1671 Stephen Keene
Robinson, John 1670 Charles Haward
Rogers, Josiah 1677 John Player
Rowley, Henry 1637 Gabriel Townsend
Russell, Thomas 1629 Gabriel Townsend
Saintcleer, Abraham 1707 Edward Blunt
Sandles, Joseph 1680 1689 Thomas Hill, and later Charles Haward
Sison, John (son of Benjamin S.) John Harris, son of James Harris
Small, Thomas 1671 Philip Jones
Smith, Robert 1670 Stephen Keene
Smith, William 1709 Benjamin Slade
Sowley, John 1642/5 Thomas White
Standly, Robert 1645 Thomas White
Stanley, Thomas (brother of above) 1643 Thomas White
Stephens, Henry 1633 Gabriel Townsend
Stevens, Henry 1635? Gabriel Townsend
Stevenson, Thomas 1628/9 Thomas White
Thome, Thomas 1652 John Haward
Trippett, Samuel 1635 Thomas White
Vernam, Thomas 1630 1637/8 Gabriel Townsend
Vesey, Richard 1687 Stephen Keene
‘Welman, Richard 1651 Thomas White
Welsbome, James 1684 John Player
Wilson, John 1693 1701 John Player

“This interval of 20 years between binding and admission is exceptional; the usual period was 7 years.
* At least 5 John Hawards (Hayward, Howard) are mentioned in the records. It is rarely possible to say which apprentices were bound
to which.
* Thomas White (1), master of Gabriel Townsend, was the father of Thomas White (II), who was the father of Thomas White (III).
Most of their apprentices cannot be assigned definitely to father, son, or grandson.

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INDEX AND TRANSLATIONS OF
TECHNICAL TERMS
Andreas H. Roth

This index is intended for international use. Since the text of the main sections of the book
is in English, this language is the starting-point for the translations, and the technical terms
are listed and numbered in English alphabetical order. It is recognised, however, that for
many people using the index, English will be a foreign language. Accordingly, there are two
parts to the index: first, a table listing all the terms in English, with their equivalents in Dutch,
French, German, Italian, Spanish, and Swedish (though actually in the order of the name of
the language as used in its own country); and second, indexes alphabetically arranged in each
of the languages other than English with numbers referring the reader back to the main table.
Thus each word in any language can easily be identified in English or any of the other
languages by the number against it. For example, the Spanish word cenda in the list of words
in the Spanish table has the number 24. By reference to the main table, its equivalent in any
other language may be found.
In some languages there is virtually no technical literature available. Great care has been
taken, therefore, to use the expressions used by instrument makers and those in the trade.
There are also a number of terms drawn from different languages which are now of such
universal applicability that there seems little point in translating them. For example, the
English word dogleg now seems to have been adopted in all languages, while, similarly, there
is no valid translation into the other languages of the French term ravalement or the German
term Stichmass.
Because of the lack of agreement between English-speaking scholars on certain terms, it
has proved particularly difficult to translate them. A typical example of confusion concerns
the terms ‘harp stop’, ‘buff stop’, and ‘lute stop’. So far as this book is concerned, the terms
‘buff stop’ and ‘harp stop’ are synonymous, referring to the effect produced when a batten
carrying small pads of buff leather or felt are brought into contact with the strings of a
harpsichord at a point very close to the nut. (Throughout Parts I and II the term ‘harp stop’
is always used. The term ‘buff stop’ occurs only when it appears in a quotation.) The term
‘lute stop’ refers to the register, found mainly in English harpsichords, which employs a row
of jacks plucking closer to the nut than the standard register.
The fact that even this rudimentary matter has had to be explained illustrates the problem.
Although Raymond Russell [Rwssell 1959] did not produce a glossary, much that is found in
his monumental work has dictated the way in which scholars have used terms; he was, for
example, probably the first to use the words proximal and distal. Hubbard [Hubb 1963, pp.

Google
 718 INDEX OF TECHNICAL TERMS

347-59] produced the first attempt at a comprehensive glossary, while Appendix I of GDN-EKT
(pp. 225-47) gives a further, and possibly more up-to-date, useful glossary. These attempts
demonstrate the need for an English glossary of terms which can be accepted without question
by all English-speaking (including American) workers in the field of early keyboard instruments.
It is to be hoped that such a project might be undertaken under the auspices of one or other
of the internationally recognised bodies such as CIMCIM, the Galpin Society, FoMRHI,
AMIS, or possibly the British Academy.
Having made this point, it needs to be emphasised what is presented here is not a glossary,
since it does not give any explanation of the terms listed. As mentioned at the beginning, it
is meant to enhance accessibility to the information contained in Part II for the non-multilingual
reader, who will be a craftsman, musician, or musicologist, not, in any case, needing an
explanation.
Why these languages, and not others, have been chosen is that they are the languages
spoken in the centres of harpsichord and clavichord building during the period under review.
The quest for 4 mot juste, as the French would say, is an addition in the true sense, meaning
that one is never satisfied, never stops, and remains very conscious of imperfections. This
Index has grown out of the Glossary in the second edition (Bz), and most valuable help and
advice have been received from the editor, Charles Mould, over the long years of gestation.
A large number of other people have also helped, most of them already acknowledged by
the editor in the preface.
However, a few have to be mentioned specifically, since without their help the project
would not have been possible. Ms. Birgit Kjellstrém and some of her colleagues at the Statens
musiksamlingar, Musikmuseet, Stockholm, made sure that the translations were correct and
according to Swedish usage; and Professor Renato Meucci, Milan, certainly put my Italian
straight. Last, but not least, my friend Willem Retze Talsma has given freely of advice on
matters organological, and was instrumental in finalising the Dutch and Spanish sections.
To all of them go my thanks; yet the responsibility for the present index is entirely mine.
A.HLR.
Bowe Bel Air
March 1994

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 Index of Technical Terms

Google
720 INDEX OF TECHNICAL TERMS

English Deutsch Espafiol

1. accidentals = sharps Obertasten sostenidos

2. action Mechanik mecanismo
3. arcade Halbbégen auf Tasten arcada
4. archicembalo Arcicembalo archicémbalo
5. arpichordium Arpichordium arpicordio
6. backrail hintere Klaviaturrahmenteiste gufa posterior traverse, arriére du chassis
7. balance point Waagebalkenpunkt punto de equilibrio point
de balance
8. balance rail Waagebalken, Stifteiste guia basculante balancier
9. barring Resonanzbodenstreben barras barrage de la table d’harmonie
10. bass Bass bajo basse
11. batten Leiste barra, listén latte, liteau
12. beech (wood) Buchenholz haya hétre
13, belly rail Damm guia anterior boudin

14. bentside Hohlseitenwand lada curvo éclisse courbée

15. bentside spinet Querspinett espineta a lado curvo épinettea éclisse courbée

16. birch (wood) Birke abedul

17. bottom Unterboden fondo
18. box (wood) Buchsbaum madera de boj
19. box-slide Blockregister, Blockrechen guia de caja registre
a casier
20. bracing Streben ligaz6n
21. brass Messing latén
22. bridge Resonanzbodensteg puente
23. bridge-pin Stegstift pivote
24. bristle Feder aus Schweinborste cerda,
25. broken octave gebrochene Oktave octava corta con teclas
partidas
26. buff stop Lautenzug, Laute registro de arpa
27. bundfrei = fret-free bundfrei no ligado

29. cap moulding Firsdeiste moldura

30. cartouche Zierleiste cartucho
31. case Gehiuse caja
32. case-sides Gehiusewinde paredes
33. cedar Zeder cedro
34. cheek, cheek piece Wange laterales
35. chinoiserie Chinoiserie chinoiserie
36. clavichord Clavichord clavicordio, monocordio
37. clavicytherium = upright = Clavicytherium claviciterio
harpsichord

39, claw and ball (foot) Krallenfiisse pie de garra

40. comb joint verzahnte Fuge

Google
 INDEX OF TECHNICAL TERMS 721

Traliano Nederlands Svensk

accidenti (see also no. 129) boventoetsen

mecanica mechaniek
arcatura arcade
arcicembalo archicembalo

lista posteriore del telaio della tastiera achterlijst

punto di bilanciamento balanspunt
bilanciere, traversa balansbalk
catenatura beribbing
basso bas
assicella di legno lat, plank
faggio beukenhout
lista anteriore d’appoggio della dam
tavolo armonica

clavicembalo con parete curva, spinet met gebogene zijwand

spinetta traverso
betulla berkenhout
fondo bodem, basisplank
bosso bukshout
lista-guida a blocco registerblok
distanziatore stutwerk
ottone messing
ponticello sulla tavola armonica kam
punto dei ponticello kamstift
setola borstel, varkenhaar
Ottava spezzata gebroken octaaf

sordino, liuto, pizzicato sourdine

libero, non legato ongebonden,
vrij
zampa di captiolo bokkepoot
modanatura kroonlijst profiel
ficcio cartouche
cassa, corpo dello strumento kast
parte lati della cassa kastwanden
cedro cederhout
fascie corte wang, wangstukken, korte kant

clavicordo klavichord
claviciterio, cembalo verticale klavecitherium

. khavi
piede a zampa di leone bal en klauwvoet
giunzione a coda di rondine kamverbinding

, Google
722 INDEX OF TECHNICAL TERMS

Deutsch Espafiol Frangais

41. compass Tonumfang compés étendue, ambitus

42. copper Kupfer cobre cuivre
43. coupler Koppel acoplador accouplement
44. covered string Umsponnene Saiten cuerdas recubiertas cordes filées
45. crossbanded querstreifig bandas decorativas frise a fil de travers, placage carré
46. cut-off bar Diagonalrippe morcilla grand barre diagonal de la table
47. cypress (wood) Zypresse ciprés cypres
48. damper Dimpfer apagador étouffoir
49. date Datum fecha date
50. disposition Disposition disposicién disposition
51. distal gegeniiberliegend puesto position opposée
52. dogleg (jack) dogleg, abgesetzte Docken —dogleg, saltador con media _—_dogleg, sautereau 4 marche
pierna
53. double-curved bentside S-formig ausgebogene lado de doble curva double courbe
Riickseite
54. dovetail joint Schwalbenschwanzfuge ensembladura a cola de milano assemblage 4 queue d’aronde
55. drawstop Zugregister registro de tirador registre, tirette
56. ebony (wood) Ebenholz ébano ébéne
57. eight-foot pitch 8-Fusston diapasén de 8' son de 8"
58. eight-foot stop 8-Fussregister registro de 8' registre 2 8'
59. ensemble Ensemble conjunto de registros ensemble
60. false inner/outer Cembalo mit vorgetiuschtem falsa caja interior exterior caisse en trompe l'oeil (false
Kasten (false inner/outer) _(false inner/outer) inner/outet)
61. four-foot pitch 4-Fusston diapasén de 4' son de 4'
62. four-foot stop 4-Fussregister registro de 4" registre a 4'
63. frame Rahmen bastidor caisse, cadre, chassis
64. fret-free = bundfrei bundfrei no ligado non lié
65. fretted = gebunden gebunden ligado lié
66. gebunden = fretted gebunden ligado lié
67. Geigenwer(c)k Geigenwerk Geigenwerk Geigenwerk
68. genouillére = knee-lever Knichebel, Genouillére genouillére genouillére
69. guide blade Fahrungsstift hoja de guia point d’enfoncement
70. hand stop Handregisterzug registro de mano registre 4 main, manette
71. harpsichord Cembalo clavé, clavecin, clavicémbalo _clavecin
72. harp stop Harfenzug, Lautenzug registro de arpa jeu de luth, sourdine
73. hitchpin Anhingestift enganche, punta pointe d’accroche cordier

74, hitchpin rail Anhingesteg regla de enganche tringle, barre d’;

75. holly (wood) Stechpalme acebo houx
76. initials Initialen iniciales initiales
77. inner-route Cembalo mit ausserem Kasten caja interior y exterior caisse extérieur distincte
78. inscription Inschrift inscripcién inscription
79. iron Eisen hierro fer
80. ivory Elfenbein marfil ivoire
81. jack Docke, Springer saltador, martinete sautereau
 INDEX OF TECHNICAL TERMS 723

Italiano Nederlands Svensk

ambito toonomvang tonomfang

rame koper koppar
tirante d’accopiamento, unione koppel koppel
corda filata/coperta omsponnen snaren omspunnen string
con venatura trasversale overhoekse inleg cross-banded (no Swedish equivalent)
catena di risonanza afsluitende rib, lange spreits diagonalribba
cipresso cypressehout cypress
smorzatore, sordino demper daimmare
data datum datum
disposizione dispositie disposition
distale tegenoverliggend yttre
dogleg, saltarello a gradino dogleg, dok mit cen ‘half been’ dogleg, engelsdocka
fascia a doppia curva dubbel gebogen zijwand dubbel svingd sarg

incastro a coda di rondine zwaluwstaartverbinding sinkad fog

tirante trekregister dragregister
ebano ebbenhout ebenholts
diapason di 8' 8' toonhoogte 8' tonhéjd
registro di 8' 8' register 8' register
complesso ensemble ensemble
falso levatoio (false inner/outer) gefingeerde binnen-buitenkast fals inre-yttre (false inner/outer)
(false inner/outer)
diapason de 4' 4' toonhoogte 4' tonhéjd
registro di 4’ 4 register 4 register
telaio, fusto gestel, ramwerk ram
libero, non legato ongebonden, vrij obunden, obundet
legato, non libero gebonden bundet
legato, non libero gebonden bundet

leva a ginocchiera kniehevel, genouillére kniipedal

lametta, guida del tasto geleideblad styrfena
registro a mano handregister handregisterandrag
clavicembalo Klavicimbel cembalo
liuto, pizzicato harpregister lutregister
pirolo d’arresto, punta d’attacco delle aanhangstift anhingnisstift
corde
lista per le punte d’attacco aanhangstift-lijst anhiingnissteg
agrifoglio
iniziali
hulst
initial
jamnek
initial
levatoio (inner-outer) binnen en buitenkast inre-yttre, inner-outer

ferro ijzer jan

avorio ivoor elfenben
saltarello
724 INDEX OF TECHNICAL TERMS

Deutsch Espafiol Frangais

82. jackrail Dockenleiste regla de saltadores chapiteau

83. jack slide = slide Rechen guia de saltadores guide coulissant
84. key Taste tecla touche
85. keyboard Klaviatur teclado clavier
86. key frame Klaviaturrahmen cama del teclado chassis de clavier
87. key front Stirnkante frontén de la tecla fronton
88. keytop ‘Tastenbelag cubierta de la tecla palette
89. kingwood Palisander palisandro palissandre
90. knee-lever = genouillére Kniehebe! registro de rodillera genouillére
91. leather (plectra) Lederzungen plectra de cuero plectra en cuir
92. lid Deckel tapa couvercle
93. lid swell = nags-head swell Deckelschweller tapa de persianilla jalousie
94. lime (wood) Lindenholz tilo tilleul
95. lock board Schliisselleiste tablero de frente barre de serrure, portillon
96. lute stop Kornettzug, Lautenregister, registro de laud jeu de luth, sourdine
Nasalregister, Oboenzug
97. machine (stop) Machine registro mecanico machine
98. mahogany (wood) Mahogani caoba acajou
99. manual Manual teclado clavier
100. music desk Notenstinder atril pupitre 4 musique
101. nags-head swell = lid swell Deckelschweller tapa de persianilla jalousie, persienne
102. name board Vorsatzbrett tablero frente del teclado écriteau
103. naturals Untertasten naturales touches diatoniques
104. note Note tone note
105. nut (wrestplank bridge) — Stimmstocksteg sillin sillet
106. oak (wood) Eiche roble chéne
107. octave Oktave octava octave
108. octave span Octavenspanne amplitud de octava intervalle d’octave, mesure d’octave
109. ottavino Spinettino octavino ottavino
110. outer case ausserer Kasten caja exterior caisse extérieur
111. overspun string Umsponnene Saiten cuerda entorchada cordes filées
112. pear (wood) Birnbaumholz madera de peral poirier
113. peau de buffle Biffelleder, Peau de buffle —_ registro con piel de bufalo _plectre peau de buffle, jeu de buffle
114. pedal Pedal pedal pedale
115. pedal board Pedalklaviatur pedalero pédalier
116. pine (wood) Tannenholz pino pin
117. pitch Tonhéhe diapasén hauteur de son
118. plectrum Plektrum plectro plectre
119. plein jeu volles Werk tutti plein jeu
120. plucking point Anreisspunkt punto de ataque point de pincement
121. proximal proximal proximal proximal
122. quill Kiel, Federkiel plume de ave, cafion de ave plume
123. rack Rechen guia guide arriére, peigne

Google
 INDEX OF TECHNICAL TERMS 725

Italiano Nederlands Svensk

barra sopra i saltarelli dokkenlijst

lista-guida
tasto
manuale, tastiera
Piastro, telaio della tastiera
frontalino del tasto voorkant van de toets
ricopertura dei tasti bovenkant van de toets
palissandro palissander
leva a ginocchiera knichevel
linguette/plettri di pelle leren plectra
coperchio deksel, klep
persiana, gelosia zwelklep
tiglio linde lind
lista del serratura, pannello di chiusura voorklep, sleutelklep Klaviaturlock
registro di oboe, liuto, nasale luitregister lutregister

registro, (machine) kombinationregister

mogano mahogany
tastiera, manuale manuaal, klaviatuur manual, klaviatur
leggio lessenaar notstillare
persianas, gelosia zwelklep locksvallare
targa, listello frontale naambord namnbrida
tasti naturali, diatonici ondertoetsen undertangenter
nota Noot, toon not
ponticello anteriore sul somiere stemblok-kam stémstocksteg
querca elkenhout ek
ottava octaaf oktav
intervallo d’ottava octaaf-spanwijdte oktavavstind
ottavino octaaf-spinet ottavino
cassa esterna, contra cassa buitenkast yttre ada
corda filata/coperta omsponnen snaren ompspunnenstring
pero perehout
peau de buffle register met buffelleren plectra
pedale pedaal
pedaliera pedaalklaviatuur
pino grenchout, vurenhout
altezza del suono stemtoonhoogte
plettro plectrum
tutti volle werk
punto di pizzico aantokkelpunt
proximal proximal
penna vogelpen
rastelliera lijst met geleidesleuven

digitized ty GOOgle
726 INDEX OF TECHNICAL TERMS

Deutsch Espafiol Frangais

124. ravalement Ravalement tavalement, ampliacién ravalement

125. register Register registro registre

126. rib Rippe barra arménica barrage
127. rose Rosette rosetén, rosace
128. scale Mensur escala gamme
129. sharps = accidentals Obertasten sostenidos touches chromatiques
130. short octave kurze Oktave octava corta octave courte
131. side Wand lado joue
132. signature Signatur firma signature
133. sixteen-foot stop 16-Fussregister registro de 16' son de 16'
134. skunktail sharps eingelegte Obertasten skunktail diéses au décor de queue de sconse
135. slide = jack slide Register guia guide coulissant
136. soundboard Resonanzboden tabla arménica table d’harmonie
137. soundhole Schalloch roseta, ofdo ouie
138. spine gerade Wand lado estrecho éclisse droite, échine
139. spinet Spinett espineta épinette
140. split key gebrochene Tasten teclas partidas touche brisée

141. spruce (wood) Fichtenholz abeto sapin

142. stand Gestell soporte pied, piétement
143. steel Stahl acero acier
144. Stichmass Stichmass Stichmass Stichmass
145. stop Rechen, Register registro registre, manette
146. stop lever Registerzug palanca de registro tirette
147. string Saite cuerda corde
148. string guage Saitendurchmesser calibre de la cuerda diamétre des cordes
149. string tension Saitenspannung tensién de la cuerda tension des cordes
150. tail Riickwand, Hinterwand cola queue, pan coupé
151. tangent Tangente tangente tangent
152. temperament Temperament temperamento tempérament
153. theorbo stop Theorbenzug registro de tiorba (theorba) _registre de théorbe
154. tongue Zunge lenguecilla languette
155. touch Anschlag toque toucher
156. transposing keyboard Transpositionsmanual teclado transpositor clavier transpositeur
157. treble Diskant tiple soprano
158. tulip wood Magnolienholz madera de tulipa bois de tulipier
159. tuning hammer Stimmhammer martillo o lave de afinacién —_accordoir
160. tuning pin = wrestpin Stimmwirbel clavija cheville d’accord
161. unison Unison unisono unisson
162. upright harpsichord = —aufrechtes Cembalo clavecin vertical, claviciterio _clavecin vertical
Suthetem
163. veneered fourniert enchapado placage

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 INDEX OF TECHNICAL TERMS 727

Italiano Nederlands Svensk

ravalement ravalement, uitbreiding van de ravalement

toonomvang

catena della tavola rib, spreits ribba

rosetta roset rosett
scala, misura toonladder mensurer
cartoccio, diesis, tasti cromatici boventoetsen halvtoner
Ottava corta kort oktaaf kort octav
Parete, fascia zijwand sarg
firma signatuur signatur
registro di 16' 16' register 16' register
tasti cromatici intarsiati boventoetsen met inleg Svertangenter med intarsia
lista, guida sleep sleijf
tavolo armonica zangbodem fesonansbotten
foro di risonanza klankgat Jjudhal
scirolata, fascia lunga rechte wand langsida
spinetta spinet spinett
rasti spezzati gebroken toetsen, gesplitste delade tangenter
toetsen
abete s out gran
sostengo, supporto onderstel underrede
acciaio staal steel
stichmass Stichmass stichmass
registro register register
leva del registri registertrekker fregisterandrag
corda snaar strangar
misura delle corde snaardikte stringdimension, tridnummer
tensione della corda snaarspanning stringspanning
coda staart, achterwand svans
tangente tangent tangent
temperamento temperatuur temperatur
registro di tiorba theorbe-register teorbregister
linguetta del saltarello tongetje, tong, dok-lip tunga
tocco aanslag anslag
tastiera transpositrice transpositieklavier transponerande klaviatur
discanto, soprano diskant diskant
tulipifera tulpehout tulpantrid
marteletto per arccordatura stemhamer stimnyckel
caviglia, bischero stempen stimnagel
unisono unisono unison
cembalo verticale, claviciterio klavecitherium upprittstiende cembalo, clavicitherium

impiallacciatura gefineerd fanerad

Google
726 INDEX OF TECHNICAL TERMS

Deutsch Espafiol Frangais

124. ravalement Ravalement tavalement, ampliacién ravalement

125. register Register registro registre

126. rib Rippe barra arménica barrage
127. rose Rosette rosetén, rosace
128. scale Mensur escala gamme
129. sharps = accidentals Obertasten sostenidos touches chromatiques
130. short octave kurze Oktave octava corta octave courte
131. side Wand lado joue
132. signature Signatur firma signature
133. sixteen-foot stop 16-Fussregister registro de 16' son de 16'
134. skunktail sharps eingelegte Obertasten skunktail diéses au décor de queue de sconse
135. slide = jack slide Register guia guide coulissant
136. soundboard Resonanzboden tabla arménica table d’harmonie
137. soundhole Schalloch roseta, ofdo ouie
138. spine gerade Wand lado estrecho éclisse droite, échine
139. spinet Spinett espineta épinette
140. split key gebrochene Tasten teclas partidas touche brisée

141. spruce (wood) Fichtenholz abeto sapin

142. stand Gestell soporte pied, piétement
143. steel Stahl acero acier
144. Stichmass Stichmass Stichmass Stichmass
145. stop Rechen, Register registro registre, manette
146. stop lever Registerzug palanca de registro tirette
147. string Saite cuerda corde
148. string guage Saitendurchmesser calibre de la cuerda diamétre des cordes
149. string tension Saitenspannung tensién de la cuerda tension des cordes
150. tail Riickwand, Hinterwand cola queue, pan coupé
151. tangent Tangente tangente tangent
152. temperament Temperament temperamento tempérament
153. theorbo stop Theorbenzug registro de tiorba (theorba) _registre de théorbe
154. tongue Zunge lenguecilla languette
155. touch Anschlag toque toucher
156. transposing keyboard Transpositionsmanual teclado transpositor clavier transpositeur
157. treble Diskant tiple soprano
158. tulip wood Magnolienholz madera de tulipa bois de tulipier
159. tuning hammer Stimmhammer martillo o lave de afinacién —_accordoir
160. tuning pin = wrestpin Stimmwirbel clavija cheville d’accord
161. unison Unison unisono unisson
162. upright harpsichord = —aufrechtes Cembalo clavecin vertical, claviciterio _clavecin vertical
Suthetem
163. veneered fourniert enchapado placage

Google
 INDEX OF TECHNICAL TERMS 727

Italiano Nederlands Svensk

ravalement ravalement, uitbreiding van de ravalement

toonomvang

catena della tavola rib, spreits ribba

rosetta roset rosett
scala, misura toonladder mensurer
cartoccio, diesis, tasti cromatici boventoetsen halvtoner
Ottava corta kort oktaaf kort octav
Parete, fascia zijwand sarg
firma signatuur signatur
registro di 16' 16' register 16' register
tasti cromatici intarsiati boventoetsen met inleg Svertangenter med intarsia
lista, guida sleep sleijf
tavolo armonica zangbodem fesonansbotten
foro di risonanza klankgat Jjudhal
scirolata, fascia lunga rechte wand langsida
spinetta spinet spinett
rasti spezzati gebroken toetsen, gesplitste delade tangenter
toetsen
abete s out gran
sostengo, supporto onderstel underrede
acciaio staal steel
stichmass Stichmass stichmass
registro register register
leva del registri registertrekker fregisterandrag
corda snaar strangar
misura delle corde snaardikte stringdimension, tridnummer
tensione della corda snaarspanning stringspanning
coda staart, achterwand svans
tangente tangent tangent
temperamento temperatuur temperatur
registro di tiorba theorbe-register teorbregister
linguetta del saltarello tongetje, tong, dok-lip tunga
tocco aanslag anslag
tastiera transpositrice transpositieklavier transponerande klaviatur
discanto, soprano diskant diskant
tulipifera tulpehout tulpantrid
marteletto per arccordatura stemhamer stimnyckel
caviglia, bischero stempen stimnagel
unisono unisono unison
cembalo verticale, claviciterio klavecitherium upprittstiende cembalo, clavicitherium

impiallacciatura gefineerd fanerad

Google
728 INDEX OF TECHNICAL TERMS

Deutsch Espafiol Frangais

164. venetian swell Venetianischer Schweller, persianas venecianos jalousie

Jalousieschweller
165. virginal Virginal vieginal vieginale
166. walnut (wood) Walnussholz nogal noyer
167. wrestpin = tuning pin Wirbel clavija cheville d’accord
168. wrestplank = pinblock — Stimmstock clavijero sommier
(sa)

Google
 INDEX OF TECHNICAL TERMS 729

Italiano Nederlands Svensk

persianas, gelosia jalousie-sweller jalusisvallare

(venetian swell)
inpinal irginaal 5
noce notehout valnét
caviglia, bischero stempen stimnagel
somiere stemblok stimstock
730 INDEX OF TECHNICAL TERMS

Alphabetical list of terms—Deutsch

abgesetzte Docken 52 Firstleiste 29 Nasalregister 96

Anhingesteg 74 fourniert 163 Note 104
Anhingestift 73 Fohrungsstift 69 Notenstinder 100
Anreisspunkt 120
Anschlag 155 gebrochene Oktave 25 Obertasten 1, 129
Arcicembalo 4 gebrochene Tasten 140 Oboenzug 96
Aspichordium 5 gebunden 65, 66 Oktave 107
aufrechtes Cembalo 162 gegendberliegend 51 Oktavenspanne 108
dusserer Kasten 110 Gehiuse 31
Gehausewinde 32 Palisander 89
Bass 10 Geigenwerk 67 Peau de buffle 113
Birke 16 Genouillére 68 Pedal 114
Birbaumholz 112 gerade Wand 138 Pedalklaviatur 115
Blockrechen 19 Gestell 142
Blockregister 19
Buchenholz 12
Halbbigen auf Tasten 5
Buchsbaum 18
Boffelleder 113 Handregisterzug 70
bundfrei 27, 64 Harfenzug 72
hintere Klaviaturrahmenteiste 6 Rahmen 63
Hinterwand 150
Cabriolfuss 28 Ravalement 124
Hohlseitenwand 14
Cembalo 71 Rechen 83, 123, 145
Cembalo mit ausserem Kasten 77 Register 125, 135, 145
Cembalo mit vorgetiuschtem Initialen 76 Registerzug 146
Kasten 60 Inschrift 78 Resonanzboden 136
Resonanzbodensteg 22
Jalousieschweller 164 Resonanzbodenstreben 9
Rippe 126
Rosette 127
Kiel 122
Rickwand 150
Klaviatur 85
Klaviaturrahmen 86
S-formig ausgebogene Rickseite 55
Kniehebel 68, 90
Saite 147
Koppel 45 Saitendurchmesser 148
Korettzug 96
Krallenfusse 39 Saitenspannung 149
Schalloch 137
Kupfer 42
kurze Oktave 130 Schlusselleiste 95
Schwalbenschwanzfuge 54
Signatur 132
Laute 26
Spinett 139
Lautenregister 96 Spinettino 109
Lautenzug 26
Lederzungen 91
Springer 81
Ebenholz 56 Stahl 143
Eiche 106 Leiste 11 Stechpalme 75
cingelegte Obertasten 134 Lindenholz 94 Stegstift 25
Eisen 79 Stichmass 144
Elfenbein 80 Machine 97 Stifdeiste 8
Ensemble 59 Magnolienholz 158 Stimmhammer 159
Mahogani 98 Stimmstock 168
false inner/outer 60 Manual 99 Stimmstocksteg 105
Feder aus Schweinsborste 24 Mechanik 2 Stimmwirbel 160
Federkiel 122 Mensur 128 Stirnkante 87
Fichtenholz 141 Messing 21 Streben 20

Go gle IN
 INDEX OF TECHNICAL TERMS 731
‘Tangente 151 Untertasten 103 Wirbel 167
‘Tannenholz 116
‘Taste 84 verzahnte Fuge 40 Zeder 33
Tastenbelag 88 Venetianischer Schweller 164 Zierleiste 30
‘Temperament 152 Virginal 165 Zugregister 55
‘Theorbenzug 153 volles Werk 119 Zunge 154
Tonhohe 117 Vorsatzbrett 102 Zypresse 47
‘Tonumfang 41
‘Transpositionsmanual 156 Waagebalkenleiste 8 4-Fussregister 62
Waagebalkenpunkt 7 4-Fusston 61
Umsponnene Saiten 44, 111 Walnussholz 166 8-Fussregister 58
Unison 161 Wand 131 8-Fusston 57
Unterboden 17 Wange 34 16-Fussregister 133

Alphabetical list of terms—Espaifiol

abedul 16 clavicordio 36 guia de caja 19

abeto 141 clavija 160, 167 guia de saltadores 85
acebo 75 clavijero 168 guia posterior 6
acero 143 claviérgano 38
acoplador 43 cobre 42
ampliaci6n 124 cola 150 heya:
amplitud de octava 108 comp4s 41 bees 79
apagador 48 conjunto de registros 59 hoja de guia 69
arcada 3 cubierta de la tecla 88
archicémbalo 4 cuerda 147 iniciales 76
arpicordio 5 cuerda entorchada 111 inscripcién 78
atril 100 cuerdas recubiertas 44
iepas6a ii junta de 4ngulo formada por lengietas
bajo 10
bandas decorativas 45 diapasén aa 61 multiples 40
barra 11 diapasén de 8” 57
barra arménica 126 disposicién 50 lado 131
barras 9 lado curvo 14
bastidor 63 ébano 56 lado de doble curva 55
enchapado 163 lado estrecho 138
enganche 73 laterales 34
caja 31 ensembladura a cola de milano 54 latén 21
caja exterior 110 escala 128 lenguecilla 154
caja interior y exterior 77
espineta 139 ligado 65, 66
calibre de la cuerda 148 espineta a lado curvo 15 ligaz6n 20
cama del teclado 86
cafién de ave 122 falsa caja interior-exterior 60 fexba't
caoba 98 falsa inner/outer 60
cartucho 30 fecha 49 madera de boj 18
cedro 33 firma 132 madera de peral 112
cerda 24 fondo 17 madera de tulipa 158
chinoiserie 35 front6n de la tecla 87 marfil 80
ciprés 47 martillo o Ilave de afinacién 159
clavé 71 Geigenwerk 67 martinete 81
clavecin 71 genouillére 68 mecanismo 2
clavecin vertical 162 guia 123, 135 moldura 29
clavicémbalo 71 guia anterior 13 monocordio 36
claviciterio 37 guia basculante 8 morcilla 46

ized ty GOOgle
 732: INDEX OF TECHNICAL TERMS
naturales 103 punta 73 skunktail 134
nogal 166 punto de ataque 120 soporte 142
no ligado 27, 64 punto de equilibrio 7 sostenidos 1, 129
Stichmass 144
octava 107 ravalement 124
Octava corta 130 registro 125, 145 tabla arménica 136
octava corta con teclas partidas 25 fegistro con piel de bafalo 113 tablerode frente 95
octavino 109 registro de arpa 26, 72 tablero frente del teclado 102
oido 137 registro de laud 96 tangente 151
Opuesto 51 fegistro de mano 70 tapa 92
registro de tiorba (theorba) 153 tapa de persianilla 93, 101
palanca de registro 146 registro de rodillera 90 tecla 84
palisandro 89 registro de tirador 55 teclado 85, 99
paredes 32 registro de 4’ 62 teclado transpositor 156
pedal 114 registro de 8’ 58 teclas partidas 140
pedalero 115 registro de 16’ 133 tO 152
persianas venecianos 164 registro mecanico 97 tensiénde la cuerda 149
pie de garra 39 regla de enganche 74 tilo 94
pie Luis XV 28 regla de saltadores 82 tiple 157
pino 116 roble 106 tone 104
pivote 23 roseta 137 toque 155
plectra de cuero91 roset6n 127 tutti 119
plectro 118
plume de ave 122 saltador 81 unisono 161
proximal 121 saltador con media pierna 52
puente 22 sillin 105 virginal 165

Alphabetical list of terms—Frangais

acajou 98 cadre 31, 63 cuivre 42

accordoir 159 caisse 31, 63 cypres 47
accouplement 43 caisse en trompe l’ocil 60
acier 143 caisse extérieur 110 date 49
ambitus 41 caisse extérieur distincte 77 diamétre
des cordes 148
arcature 3 cartouche 30 diéses au décor de queue de sconse 134
archicembalo 4 cédre 55 disposition 50
arpichordium 5 chapiteau 82 dogleg 52
arri¢re du chassis 6 chassis 31, 63 double courbe 53
assemblage 4 queue d’aronde 54 chassis de clavier 86
chéne 106 ébéne 56
chevalet 22 échine 138
cheville d’accord 160, 167 éclisse courbée 14
balancier8 chinoiserie 35 éclisse droite, échine 158
barrage 126 clavecin 71 éclisses 52
barragede caisse 20 clavecin vertical 162 écriteau 102
barrage de la table d’harmonie9 clavichorde 36 ensemble 59
barre d’accroche 74 clavicytherium 37 épinerte 139
barre
de serrure 95 clavier 85, 99 épinette
a éclisse courbée 15
basse 10 Clavier transpositeur 156 étendue 41
bois de tulipier
158 claviorganum 38 étouffoir
48
boudin 13 corde 147
bouleau 16 cordes filées 44, 111 fer 79
buis 18 couvercle 92 fond 17

Go gle
 INDEX OF TECHNICAL TERMS 733

frise a fil de travers

45 octave 107 registre
a casier 19
fronton 87 octave brisée 25 registre
4 main 70
Octave courte 130 registre
a 4’ 62
Ottavino 109 registre
a 8’ 58
oule 137 registre
de théorbe 153
genouillére 68, 90 fosace 127
grand barre diagonal de la table 46 palette 88
guide arridre 123 palissandre89
sapin 141
guide coulissant
83, 135 pan coupé 150
sautereau 81
pedale 114
sautereau 4 marche 52
hauteur de son 117 pédalier 115
signature 132
hétre 12 Peigne 125 sillet 105
persienne 93, 101
houx 75 soie de porc 24
pied 142
sommier 168
initiales 76 pied cabriolet 28
son de 4’ 61
inscription 78 pied-de-biche 28
intervalle d’octave 108 piedde griffon 39 son de 8° 57
son de 16’ 133
pietement 142
ivoire 80
pin 116 soprano 157
sourdine 26, 72, 96
jalousie 93, 101, 164 Placage 163 Stichmass 144
jeu de buffle 113 placage carré 45 systéme de percussion 2
plectre 118
jeu de luth 26, 72, 96
plectreen cuir 91
joue 131
plectre
peau de buffle 113 table d’harmonie 136
joues 34
plein jew 119 tangent 151
tempérament 152
plume 122
laiton 21 point
de balance 7 tension des cordes 149
languette 154
point d’enfoncement69 tilleul 94
latte 11 point de pincement 120 tirette 55, 146
lié 65, 66 pointe d’accroche cordier 75 touche 84
liteau 11 touche brisée 140
pointe de chevalet 23
poirier 112 toucher 155
machine 97
manette 70, 145
portillion 95 touches chromatiques 1, 129
position opposée 51 touches diatoniques 103
mesure d’octave 108 proximal 121 traverse6
mortaise 40
moulure en couronne 29
pupitre 4 musique 100 tringle 74
queue 150
unisson 161
non lié 27, 64
note 104 ravalement 124
noyer 166 registre 55, 125, 145 virginale 165

Alphabetical list of terms—lItaliano

abete 141 barra soprai saltarelli 82

acciaio 143 basso 10
accidenti 1 betulla 16
agrifoglio 75 bilanciere 8
altezza
del suono 117 bischero 160, 167
ambito 41 bosso 18
arcatura 3
arcicembalo 4 cartoccio 129
arpicordo 5 cassa 51
assicella di legno 11 cassa esterna 110
avotio 80 catena della tavola 126

Google
734. INDEX OF TECHNICAL TERMS
claviorgano 38 lista-guida 83, 135 fegistro
a mano 70
coda 150 lista-guida a blocco 19 registrodi oboe 96
complesso $9 lista per le punte d’attacco 74 registrodi tiorba 153
contra cassa 110 lista posteriore del telaio della registrodi 4’ 62
con venatura trasversale 45 tastiera 6 registro di 8” 58
coperchio 92 listello frontale 102 registro di 16’ 133
corda 147 liuto 26, 72, 96 ficcio 30
corda filata/coperta 44, 111 ticopertura
dei tasti 88
corpo dello strumento 31 manuale 85, 99 rosetta 127
marteletto per arccordatura 159
mecanica 2
misura 128 saltarello 81
misura delle corde 148 saltarello a gradino 52
modanatura 29 scala 128
mogano 98 scirolata 138
scritta 78
nasale 96 setola 24
noce 166 smorzatore 48
non legato 27, 64 somiere 168
non libero 65, 66 soprano 157
nota 104 sordino 26, 48
sostengo 142
ottava 107 spinetta 139
Ottava corta 130 spinetta traverso 15
ottava spezzata 25 Stichmass 144
Ottavino 109 supporto 142
ottone 21
palissandro 89 tangente 151
pannello di chiusura 95 targa 102
parete 1531 tasti cromatici 129
parte lati della cassa 52 tasti cromatici intarsiati 134
foro di risonanza 137 peau de buffle 113 tasti diatonici 103
frontalino del tasto 87 pedale 114 tasti naturali 103
fusto 63 pedaliera 115 tasti spezzati 140
penna 122 tastiera 85, 99
Geigenwerk
67 pero 112 tastiera transpositrice 156
93, 101, 164
gelosia persiana 93, 101, 164 tasto 84
giunzione
a coda di rondine 40 piastro 86 tavolo armonico 136
guida
del tasto 69 piede a zampa di leone 39 telaio 63
pino 116 telaio della tastiera 86
impiallacciatura 163 pirolo d’arresto 73 temperamento 152
incastro a coda di rondine 54 pizzicato 26, 72 tensione della corda 149
jnisiali 96
intervallo d’ottava 108
plettro 118
plettri di pelle 91
Silio 94
tirante 55
iscrizione 78 ponticello anteriore sul somiere 105 tirante d’accopiamento 43
ponticello sulla tavola armonica 22 tocco 155
lametta 69
proximal 121 traversa 8
legato 65, 66 punta d’attacco delle corde 73 tulipifera 158
leggio 100
punto dei ponticello 23 tutti 119
leva a ginocchiera 68, 90
punto di bilanciamento 7
leva del registri 146
punto di pizzico 120
levatoio 77 unione 43
libero 27, 64 querca 106 unisono 161
linguetta del saltarello 154
linguette di pelle 91 rame 42
lista anteriore d’appoggio della tavolo rastelliera 123
virginale 165
armonica 13 ravalement 124
lista del serratura 95 registro 125, 145 zampa di capriolo 28

Google
 INDEX OF TECHNICAL TERMS 735

Alphabetical list of terms—Nederlands

aanhangstift 73 mechaniek 2
aanhangstift-lijst 74 mechanische registerbediening 97
aanslag 155 messing 21
aantokkelpunt 120
achterlijst 6 naambord 102
achterwand 150 gefingeerde binnen-buitenkast 6o Noot 104
afsluitende rib 46 Geigenwerk 67 notehout 166
arcade 3 geleideblad 69
archicembalo 4 genouillére 68 octaaf 107
arpichordium 5 gesplitste toetsen 140 octaaf-spanwijdte 108
gestel 65 octaaf-spinet 109
balansbalk 8 grenehout 116 omsponnen snaren 44, 111
balanspunt 7 onderstel 142
bal en klauwvoet 39 handregister 70 ondertoetsen 103
bas 10 harpregister 72 ongebonden 27, 64
basisplank 17 hulst 75 ovethoekse inleg 45
beribbing 9
berkenhout 16 ijzer 79 palissander 89
beukenhout 12 initialen 76 pedaal 114
binnen en buitenkast 77
inactiptle' 48
pedaalklaviatuur 115
bodem 17 ivoor 80 perehout 112
bokkepoot 28 plank 11
borstel 24 jalousie-sweller 164 plectrum 118
bovenkant van de toets 88 profiel 29
boventoetsen 1, 129 proxim nal 121
boventoetsen met inleg 134
buitenkast 110 ramwerk 63
bukshout 18 ravalement 124
rechte wand 138
register 125, 145
register met buffelleren plectra 113
klavichord 36 registerblok 19
Klavicimbel 71 registertrekker 146
klavier-raam 86 rib 126
Kklaviorganum 38 roset 127
klep 92
kniehevel 68, 90 signatuur 132
koper 42
koppel 43
korte kant 34
kort oktaaf 130
kroonlijst 29
dokkenlijst 82
dokkenrooster 83 lange spreits 46 sparrehout 141
dok-lip 154 lat 11 spinet 139
dok mit een ‘half been’ 52 leren plectra 91 spinet met gebogene zijwand 15
dubbel gebogen zijwand 53 lessenaar 100 spreits 126
lijst met geleidesleuven 123 staal 143
ebbenhout 56 linde 94 Staart 150
elkenhout 106 luitregister 96 stemblok 168
ensemble 59 stemblok-kam 105
mahonie hout 98 stemhamer 159
false inner/outer 60 manuaal, klaviatuur 99 stempen 160, 167

Google
 736 INDEX OF TECHNICAL TERMS
stemtoonhoogte 117 transpositieklavier 156
Stichmass 144 trekregister 55
stutwerk 20 tulpehout 158
tangent 151 uitbreiding van de toonomvang 124
tegenoverliggend 51 unisono 161
temperatuur 152 zwelklep 93, 101
theorbe-register 153 varkenhaar 24
virginaal 165 4’ register 62
vogelpen 122
volle werk 119 8" register 58
voorkant van de toets 87 16" register 133
voorklep 95
vrij 27, 64 4 toonhoogte 61
vurenhout 116 8’ toonhoogte 57

Alphabetical list of terms—Svensk

anhingrisieg 74
anhingnisstift 73
ebenholts 56
ck 106
kn&ppunkt 120
kombinationregister 97
anslag 155 elfenben 80 koppar 42
archicembalo4 engelsdocka 52 koppel 43
arkad5 ensemble 59 kort octav 130
arpichordium5
fals inre-yttre 60 lida 31
bakre stopplist 6 fanerad 163 lider 91
balanspunkt7 ffiiderpenna 122 Hingsida 138
bas 10 fOrtecken1 lejonfoot 39
full verk 119 lind 94
fundamentbotten 17 list 11
furu 116 Hudhal 157
lock 92
Geigenwerk
67 locksvalllare 93, 101
gran 141 lutregister 26, 72, 96
halvtoner 129 mahogny
93
handregisterandrag 70 manual 85, 99
hogra sargen 34 missing 21
mekanik2
initialer 76
inre-yttre 77
inskrift 78

jalusisvillare 164
jam 79
jamek 75 obunden 27, 64
obundet 27, 64
kartusch 30 oktav 107
kineseri 35 oktavavstind 108
klaviatur 85, 99 omspunnenstring 111
klaviaturlock 95 omspunnen string 44
klaviaturram 86 orgelklavier 38
klavikord 36 ottavino 109
knapedal 68, go Overtangenter
med intarsia 134

gle
 INDEX OF TECHNICAL TERMS 737

palisander
89 tonhéjd 117
tonomfing 41
pe buffle 113
deau tridnummer 147
pedal 114 transponerande klaviatur 156
pedalklaviatur 115 tulpantrid 158
plektrum 118 tunga 154
profillist 29
proximal 121

ram 63
ravalement 124 upprattstiende cembalo 37, 162
register 125, 145
registerandrag 146 vigbalk
8
registersleif 83
valndt 166
resonansbotten 136
virginal 165
ribba 126
rosett 127
yttre51
yttre ida 110
Sarg 32, 151
signatur 132
sinkad fog 40, 54 4 register 62
sleijf 155 8" register 58
spinett 139 16’ register 133
s pi nsvi
med tt
engd sarg 15 4 tonhdj61 d
8” tonhdjd 57

Google
 736 INDEX OF TECHNICAL TERMS
stemtoonhoogte 117 transpositieklavier 156
Stichmass 144 trekregister 55
stutwerk 20 tulpehout 158
tangent 151 uitbreiding van de toonomvang 124
tegenoverliggend 51 unisono 161
temperatuur 152 zwelklep 93, 101
theorbe-register 153 varkenhaar 24
virginaal 165 4’ register 62
vogelpen 122
volle werk 119 8" register 58
voorkant van de toets 87 16" register 133
voorklep 95
vrij 27, 64 4 toonhoogte 61
vurenhout 116 8’ toonhoogte 57

Alphabetical list of terms—Svensk

anhingrisieg 74
anhingnisstift 73
ebenholts 56
ck 106
kn&ppunkt 120
kombinationregister 97
anslag 155 elfenben 80 koppar 42
archicembalo4 engelsdocka 52 koppel 43
arkad5 ensemble 59 kort octav 130
arpichordium5
fals inre-yttre 60 lida 31
bakre stopplist 6 fanerad 163 lider 91
balanspunkt7 ffiiderpenna 122 Hingsida 138
bas 10 fOrtecken1 lejonfoot 39
full verk 119 lind 94
fundamentbotten 17 list 11
furu 116 Hudhal 157
lock 92
Geigenwerk
67 locksvalllare 93, 101
gran 141 lutregister 26, 72, 96
halvtoner 129 mahogny
93
handregisterandrag 70 manual 85, 99
hogra sargen 34 missing 21
mekanik2
initialer 76
inre-yttre 77
inskrift 78

jalusisvillare 164
jam 79
jamek 75 obunden 27, 64
obundet 27, 64
kartusch 30 oktav 107
kineseri 35 oktavavstind 108
klaviatur 85, 99 omspunnenstring 111
klaviaturlock 95 omspunnen string 44
klaviaturram 86 orgelklavier 38
klavikord 36 ottavino 109
knapedal 68, go Overtangenter
med intarsia 134

gle
 INDEX OF TECHNICAL TERMS 737

palisander
89 tonhéjd 117
tonomfing 41
pe buffle 113
deau tridnummer 147
pedal 114 transponerande klaviatur 156
pedalklaviatur 115 tulpantrid 158
plektrum 118 tunga 154
profillist 29
proximal 121

ram 63
ravalement 124 upprattstiende cembalo 37, 162
register 125, 145
registerandrag 146 vigbalk
8
registersleif 83
valndt 166
resonansbotten 136
virginal 165
ribba 126
rosett 127
yttre51
yttre ida 110
Sarg 32, 151
signatur 132
sinkad fog 40, 54 4 register 62
sleijf 155 8" register 58
spinett 139 16’ register 133
s pi nsvi
med tt
engd sarg 15 4 tonhdj61 d
8” tonhdjd 57

Google
Digitized by GOOgle
GENEALOGIES

TREE OF THE ANTEGNATI FAMILY

Giovanni (f. 1436)

(lawyersod academic)

Bartolomeo (fl. 1481-96)

(organ builder)

=_——+_{_—__+——
Giambattista (b. 1 500) Gian Francesco (f. 15 33-83) Gian Giacomo (6. 1 501~after 1558)
(organist) (virginal builder) (organ builder)

Graziado
I (b 1525-after 1584) Benedetto
(f 1559-80)
(organ builder of greatest (organ builder)
repute in " family)

Costanzo (1549-1624)
(organ builder, organist
composer, theoretician)
|
Gio Francesco
(b. 1587~after 1615)
Graziado III (b. 1609-«. 1657)
(organ builder)

Taken from Giuseppe Pagani, La gencalogia antegnatiana

bigitized by GOOgle
Origi
RSITY OF
 740 GENEALOGIES

TREE OF BLANCHET AND TASKIN

(Harpsichord makers are in bold type)

Nicholas Blanchet
(1598-2)
'
Nicholas Blanchet = Marthe Bacquet d.1721
1660-1731 (m. 11686)

Nicholas Blanchet @ Antoinette Catherine = Frangois Etienne = (ii) Elizabeth Gobin Jean = Jeanne Rivier
(6 1690-1762) Rameau (m. 1722; Blanchet (1) (m. 1727;& 1737) Taskin
(a priest) (6 1695-1761)

= (i) Pascal [abrother] = ?

Goveph)
TaskinI
(1723-935
m. 1766)

Armand Frangois Nicholas = Maric Louise Adelaide Félicité Marie Francoise Pascal Joseph Taskin II
Blanchet (1763-1818) Desiau Blanchet i

Nicholas Blanchet Hensi Joseph Taskin [Another son] _ [Two daughters]

(maker of pianofortes) (1779-1852)
Condensed Tree of the Denis Family of Organ Builders and Harpsichord Makers
(Only the makers of instruments are recorded in this tree)
Robert (I)
(1520-89)

Claude Jean 2) Robert (11)

(1544-87) (1549-after 1634) (After 1 50-89)

Thomas Jean (1) Pierre (1)

(1585-1634) (1600-72) (©. 1600~after 1664)
[Author of the
Traité de accord. . J

Jean (I) Louis Philippe

(€ 1630-85) (1635-21710) a. 1705)
|
Pierre (11)
(1675~after 1705)

Google WERSIIY'OF MICHIG

 GENEALOGIES 741
THE FLEISCHER FAMILY
Instrument
Makers at Hamburg

Christoffer Fleisct

> 4h
? TobiasF, Joachim Tielke = CatherinaF (1) Hans Christoph Fleischer = Sophia Margaretha = (2) Johann
(1683) (lute maker) (h 1638, m. 1675, still alive Zaego Middelburgh
1688; lute maker, also (m. by 1694)
made other instruments) (organ builder and

Johann Christoph Fleischer = Carl Conrad Fleischer = ? 7 more children

(& 1676, still alive 1724) (& 1680, still alive 1721)
(maker of instruments, (organ builder and
incl. harpsichords) harpsichord maker)

at least 3 children at least 5 children

TREE OF THE FRIEDERICI FAMILY

Johann Friederici = Eva Maria Salzbrenner

(Deputy-Mayor
of Meerane)

Christian Ernst Christian Gottfried = Christiane Dorothee Steinbeeck (1717-70)

(1709-80) (1714-77) |

Christian Gottlob = Christiane W. Fibringer (1756-1840)

(1750-1805)

Christian Ernst Wilhelm 6 other children

(1782-1872)

Ernst Ludwig
(1806-83)
(presumably son of C.E.W,)

On the Friederici familysee further Z/, Vols. 24, 25, 1903-5, articles by Emil Fischer based on source material; also Christian Gottlob’s
autobiography, which appeared in the LobensteinischerGemeinniitriger Intellgenzblat, 16 January 1802.

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742 GENEALOGIES
TREE OF THE GOERMANS FAMILY

Jean GOERMANS, the Elder = Jeanne Lucie Delbourse

(1703-77) I (m. 1730;d. 1783)
[ T T 1
Jean, the Younger Jacques (d. 1789) Marie-Thérése-Victoire (4 1749; 3 other daughters, 1 of whom,
(be. 17353 1795) | (maker of harpsichords, _m. 173, J-L Hermes, harpsichord _Jeanne-Thérése, became a friend
(harpsichordist) etc) maker, foreman to her father) of La Poupliniere, 175 3-66
iL, [Gad.
ason a daughter

(a Bernadine monk)

SUMMARY TREE OF THE KIRKMAN FAMILY

(2) Margareta Prévot > Abraham Kirchmann 7 = Suzanna M. Burckhard (3)

(m. 1700, 2 1706) (1673-1754, of Bischweiler, (m. 1706)
Lower Alsatia)

Frederic Neubauer Abraham = Suzanna [3 other Jacob Kirkman = Susanna Tabel, [6 other
(@ 1774) (1704-92, of | Saucourt, children] (& Bischweiler, née Virgoe children}
(of London, Bischweiler) vid. 4 March 1710; (m. 1738;
harpsichord maker) Omphalius @. Greenwich, @. 1739 oF 1740)
May 1792)
(harpsichord
maker)

T 1
Catherine Charlotte Abraham Jacob [Numerous
(. Philip Burkinyoung) (4 Bischweiler, (& 3 March 1746; issue]
2 June 1737, 29 April 1812)
d. London, (organist of St. George's,
April 1794) Hanover Sq.)
(harpsichord maker)

Joseph [Numerous issue] [3 natural children]

(harpsichord maker)

Joseph
(1790-1877)

Henry

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 GENEALOGIES 743
TREE OF THE RUCKERS FAMILY

Arnold Ruckers of Seligenstadt

|
Frans Ruckers
(2 Malines)

Hans Ruckers = Adriana (Naenken) Cnaeps (or Knaeps)

(B 6 1550; (m. 25 June 1675)
dc. 1598)

Hubert Waelrant

Raymundus Waelrant

Maria Waelrant = Ioannes Ruckers

(4.1615) 15 Jan. 1578;
| (baptised
m. 4 Nov. 1604;
d. 29 Sept. 1642)

Francisca Andreas I Catharina de Vries

(@ March 1607) (baptised 30 Aug, 1579; (m. 25 Jan. 1605)
d_ between June 1651
and 24 Mar. 1653)

Joanna Hechts (Hex) = Andreas II

(d.« July 1653) (baptised 51 Mar. 1607;
m. 12 June 1636;
d between 28 Apr. 1654
and 8 Feb. 1655)

(1) Catharina = CarelCouchet = (2) Catharina Wortelmans

(d 1625) (m. 1611) (m. ¢. 1625)
Joanna
(baptised 6 Feb. 1642)
Ioannes
1 Couchet = Angela
van den Brand
(& 2 Feb. 1615; (m. 26 Dec. 1643)
d 4 Apr. 1655)

Toannes II Petrus Ioannes Toseph Ioannes Abraham

(@ Oct. 1706)

Google wiver sane

 744 GENEALOGIES
TREE OF SCHIEDMAYER

Johann Schiedmayer
(m. 1710)
aes

Balthasar
(& Erlangen, 1711;
d. there, 1781)

Johann Christoph Georg Adam Achatius Johann David [2 daughters}

( Erlangen, 1740; (4 Eclangen, 1745; (6. Erlangen, 1753;
@. Neustadt
a.d. Aisch, 1820) @ there, 1817) @ Nuremberg, 1805).
married twice; a son by
his 1st wife was:

Johann Erhardt Johann Lorenz

(& Erlangen, 1787; (& Erlangen, 1786;
@ there, 1821) d Sruttgart, 1860)
(his partnership with Cas
Dieudonné was the origin
of the modern:
[2 daughters] Johann Lorenz Georg 7
(& Eslangen 1814; (6. Erlangen 1817 '
d there 1895) d. there, 1884) y

House of Scheidmayer, Stuttgart)

‘Note: All the members in this tree (except the original Johann S.) made pianofortes. Those in bold type made clavicords also.
(Although no clavichord by Adam Achatius has survived, it may be taken as certain that he made a few clavichords in his early years.)

Google sIVERSI
 GENEALOGIES 745
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£ be
a 7
3 ae
=

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2 i

3 i 3 z
a zh : =
I-— 8 4
re q g
iy
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is oe = g
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re) i 5 * =
ES< YEEge =
a Ss
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zk i a2
Q go
zi < 4 zx
rs ui a
Fe e\|a 3
of ‘ S B I
a =

a Ue fo
via
= 5 3
lHS& me2g 5
S E ay - g
~ 4 $3 5
oe da 3
PO] et |
z
Johann Matthius
(1734-93)

Google
748 GENEALOGIES

pal,
3 a3 27
“g} og
bl | 38g
ees | - Be
lite .f ,i , ih
ilj
“4

z
3

3
Bi, 28 (8 kip
Ze
5
: c2 | Ga é be
ESPgz 3 bu SS
wes
aed =3
aze 3a 4
Goal day
2s a
mp : 3
3 a
= g
2/3
is
“4 Ue
i ae ee
i R) Ess
f
#| ity ;
ti e a]
a

8
aH id

TE
acd

&~ Bees gee

az "4
(Nanette, 1768-183 3)
Anna Maria Stein

i g x

Go gle
 SELECTIVE BIBLIOGRAPHY AND
SOURCES OF INFORMATION

Abondance Abondance, Florence. Restasration des Instruments de Musique. Fribourg, Office du Livre,
1981.
ActaMus Acta Musicologica (Internationale Gesellschaft fir Musikwissenschaft). Leipzig, 1928— .
Ad Adlung, Jakob. Musica mechanica omanoedi ... 2 vols. Berlin, F. W. Birnstiel, 1768.
Facsimile reprint, Kassel, Barenreiter-Verlag, 1931.
AdlG Adlung, Jakob. Anleitung zur musikalischen Gelabrtheit ... Erfurt, Jungnicol, 1758; 2nd
edn. 1783. Reprint edited by Hans J. Mooser, Kassel, Barenreiter-Verlag, 1958.
AdIP Adlam, Derek. Private communication.
AHN Archivo Histérico Nacional. Madrid.
AAHPM Archivo Histérico de Protocolos de Madrid. Madrid.
Alb Albarda, Jan H. Wood, Wire and Quill: an introduction to the harpsichord. Toronto, Coach
House Press, 1968.
AlmDauph Almanach Dauphin, on Tablettes royales du vrai mérite des artistes célébres et d'indication générale
des principaux marchands, banquiers, négocians, artistes et fabricans des six-corps, arts et métiers
de la ville... de Paris & autres villes commer;antes du royaume ... Presenté & dédié a Monseignexr
Je Dauphin, pour la premitre fois, en 1772. Paris, 1777.
AM Annuario Musical. Madrid.
AM Jabrouch — Altonaer Museum in Hamburg, Jabrouch. Gerhard Wietek, ed. Gerhard Kaufmann, Vols.
1-18/19, Hamburg, 1963-83.
AMIS-J Journal of the American Musical Instrument Society. Published “annually, 1974- .
AMIS-NEWS Newsletter of the American Musical Instrument Society. Occasional publication.
AMS Archivo Municipal de Sevilla, Seville.
Antegnati Antegnati, Costanzo. L’arte Organica. Venice, 1608. Reprint Mainz, 1938, 2nd edn.,
1958.
AntegnatiEnc — Lunelli, Renato. ‘Antegnati’. In Enciclopedia della Musica, Rizzoli, Milan, Ricordi, 1972,
Vol. 1, p. 102.
AntVle Antwerp, Oudheidkundige Musea Vleeshuis, Catalogus, V and V bis: Muziekinstrumenten.
Antwerp, 1956, 1967.
AP Archivo del Palacio Real (Madrid). Madrid.
Arh{M Archiv fir Musikforschung. Berlin, 1936-43. (Continuation of Z/M.)
Armstr Armstrong, William H. Omgans for America: the life and work of David Tannenbeg.
Philadelphia, University of Pennsylvania Press, 1967.

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750 SELECTIVE BIBLIOGRAPHY AND SOURCES OF INFORMATION

AS-Firenze Antichi Strumenti dalla raccolta dei Medici e dei Lorena alla formazjone del Museo del Conservatorio
di Firenze, 3rd edn. Florence, Conservatorio di Musica Luigi Cherubini, Palazzo
Vecchio, 1981.
Antichi Strumenti Musical. Catalogo del fondo musicale del Museo Civico di Storia e Arte
Medievale e Moderna di Modena. Modena, Mucchi Editore, 1982.
Ausst.Kat Die Musik Hamburgs im Zeitalter Johann Sebastian Bachs. Ausstellung anlisslich des 9. deutschen
Bachfestes xu Hamburg 3-7 Juni 1921 ... Hamburg, 1921.
Br Boalch, Donald H. Makers of the Harpsichord and Clavichord 1440-1840, London, George
Ronald, 1956.
Bz Boalch, Donald H. Makers of the Harpsichord and Clavichord 1440-1840. Oxford, Clarendon
Press, 1974.
Banks Banks, Margaret Downie. Private communication.
Barbieri Barbieri, Patrizio. ‘Cembalaro, organaro, chittararo e fabbricatore di corde armoniche
nella Pohanthea technica di Pinaroli (1718-32)’, in Recercare, Vol. 1, Libreria Musicale
Italiana Editrice, 1989, pp. 123-210 (with summary in English).
BarcelonaCat Museu de la Miisica 1 / Cataleg d’instraments. Ajuntament de Barcelona, 1991. (Catalogue
(in Catalan) of the instruments in the Museu de la Musica, Barcelona.)
Barnes Barnes, John. Private communication.
BateCat Demi-Catalogue No. 1. A list of the keyboard instruments in the Bate Collection, Faculty
of Music, University of Oxford.
Bavington Bavington, Peter. Private communication.
Bed Bedbrook, Gerald S. Keyboard music from the Middle Ages to the Beginnings of the Baroque.
London, Macmillan, 1949.
Bédard Bédard, M. Hubert. Private communication.
Bem Bemetzrieder, Anton. Legons de clavecin, et principes d’harmonie. Paris, 1771. (Page 13 gives
a summary account of the gradual increase in range of Ruckers harpsichords.)
Bemmann Bemmann, Lothar. Private communication.
Benker-1984 Benker, Gertrud. Biimgertiches Wohnen. Stadtisches Wohnkultur in Mittelenropa von der Gotik
bis zum Jugendstil. Munich, 1984.
Benoit Benoit, Marcelle. ‘L-Apprentissage chez les facteurs d’instruments de musique 4 Paris,
1600-1661, 1715-1774’. In Recherches sur la musique frangaise classique, Vol. 24, Paris,
Editions A. et J. Picard, 1986.
Bentini Liarte del Settecento in Emilia e in Romagna. L’arredo sac e profano a Bologna e nelle Legazioni
pontificie, catalogo critica @ cura di Jadranka Bentini. Bologna & settembre-2 novembre 1979.
Bologna, Edizioni Alfa. (Contiene alle pp. 181-3 le schede dei cembali Giusti 1679
e Coccini 1725 di proprieta privata e del cembalo Traeri 1729 del Museo Davia
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records of some of the instruments in the collections of Dr. Andreas Beurmann,
Hamburg, Germany. The sumptuous colour photographs are in most cases ac-
companied by short descriptions. The instruments illustrated are (January) harpsichord
by Ludovicus Mufioz, 1644; (February) anonymous harpsichord, Lyon(?), 1630; (March)
spinet by Domenico C. B. Buonpetri, 1638; (April) harpsichord by Giuseppe Mendini,
1701; (May) spinets by Pierre Kettenhoven, 1777; anonymous, 1700; Pascal Taskin,
1784; (June) anonymous French harpsichord, 1730; (July) harpsichord by Jacob
Kirkman, 1766; (August) harpsichord by Johannes Miklig, 1671; (September) virginal by
Ioannis Celestini, 1587; (October) harpsichord by Jeronimo Bocaro, 1650; (November)
harpsichord by Andreas Ruckers, 1628; and (December) harpsichord by Johann Daniel
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foundation in 1786. Not a reliable source.)
Br Bruni, A. Un Inventaire sous la Terrenr ... Paris, Chamerot, 1890.
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& Rockliff, 1968. (Translation of Les Instruments de musique dans Tart et Phistoire.
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Romano from December 1965 to January 1966.)
CenIM Cervelli, L. ‘Italienische Musikinstrumente in der Praxis des Generalbassspiels: Das
Arpicord’. In Report of the International Musicological Society Congress, Vol. 7, Cologne,
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A Century of Keyboard Instruments 1760-1860. Catalogue of the exhibition at the Fitzwilliam
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ERRATA AND ADDENDA
Additional information received up to 31 March 1994.
Part I: New or revised entries
*BOCARO, Jeronimo. Harpsichord maker of Lis-
bon. Fi. 1650. The existence of this maker is known
only from a surviving single-manual harpsichord in
the collection of Dr Andreas Beurmann, inscribed
IERONYMO BOCARO ME FEZ. LISBOA. For details
Of the surviving instrument see below
*BORSARI. See below under SARI.
*BUONPETRI. See below under SARI.
e@ DELOEUVRE, Pierre, of Lyons. Pussiaw reports
that whereas he formerly thought that Honoré and
Pierre might be the same person, he has discovered
further evidence in the archives of the city of Lyons
to suggest that Pierre was a ‘Faiseur d’espinettes’,
1551.
*FABRI, Filippo. Despite the dates given for this
maker in Part I, above, the existence of a single-manual
harpsichord inscribed Fikppo Fabri Fece in Roma 154
indicates either that there were two such makers, or
that the dates of the above Filippo are incorrect, or
that the inscription on the harpsichord is dubious
[Sotheby’s Catalogue of 18 November 1993]. For details
of the surviving harpsichord, see below
@GIUSTI, Giovanni Battista. FoMRHI-Q, No. 74,
January 1994, pp. 64-72, contains a ‘Restoration
Report, Seventeenth-Century Italian Harpsichord at
MusicSources (si) 1993’, with a full description of
the instrument. The harpsichord, though unsigned, is
thought to be by Giusti, and the article contains a useful
comparative table of the majority of the surviving
instruments by this maker. MusicSources is recorded
as being a foundation in Berkeley, California, for the
performance and study of early music. The report is
by Robert Greenberg.
*GISOFARI. A spinet in the collection of Dr. Andreas
Beurmann (no. 15) carries on the edges of two key
levers an inscription which was formerly thought to
ty Google
be ‘Gisofari’ or ‘Gisoffari’. However, the identity of
this supposed Italian maker was seriously undermined
when Dr. van der Meer examined the instrument and
realised that the inscription was ‘Ci sol fa (ut)’. The
instrument is thus by an anonymous maker, but from
its carvings has been identified as the product of a
workshop in Prato, near Florence [Bewrmann].
@GRIMALDI, Carlo. On 22 April 1993 Denzil
Wraight and Klaus Martius made a careful examination
of the harpsichord GRIMALDI, C. 1697 at the Ger-
manisches Nationalmuseum, Nuremberg. Denzil
Wraight kindly supplied a copy of his report, which
gives much further detail on the instrument, including
the fact that the keyboard rack fitted to the back of
the keyframe carries part of a drawing of an organ
prospect showing the central section with pipe dia-
meters and note numbers. Wraight concludes that
since the script is consistent with that of Grimaldi,
and also that, since it was unlikely that an instrument
maker would have acquired second-hand timber from
an organ builder, Grimaldi must have been an organ
builder too [WraightPC).
*HUBER, John. Maker of pianos, spinets, and harp-
sichords ¢. 1790-1809, first in Northampton, Penn-
sylvania, and subsequently in Harrisburg. LibinP has
kindly drawn to attention two advertisements in the
Oracle of Dauphin and Harrisburgh Advertiser, one of 23
April 1807, the other of 9 January 1808, in which John
Huber of ‘Locust Street, next door to George Boyer’s
Tavern, Harrisburgh’, describes himself as a maker of
the above instruments, and in the later of the two
adds that as from the third Monday of January 1808
he intends to start a school for the teaching of music.
Libin reports that two square pianos survive from the
earlier period in Northampton, and one from the
Harrisburg workshop [LibinP]. He is also mentioned
as a piano maker by Clink, who gives his dates as
1765?—d. Lititz, 1798?.
782 ERRATA AND ADDENDA

e@MERLIN, John Joseph. A further example of therefore, from the similarity reported in Part II,
Merlin’s inventive ingenuity is displayed in a square above, between the two instruments ascribed to Nich-
piano which is illustrated as item no. 39 in Haine/ olas Peson, that they are both by Nicholas Pigalle,
Meeis-Ex, being the property of Luc Schrobiligen. The who worked in Belgium between 1737 and 1771.
instrument appears to be similar to a normal square
piano, though the part of the instrument containing *PIGALLE, Nicholas. Harpsichord maker who
the string band is set up at right angles to the horizontal worked in Belgium between 1737 and 1771 [Ugo
plane containing the keyboard. Thus the instrument Casiglig.
requires an action not unlike that of a clavicytherium.
The case is accordingly L-shaped. The advantages of *RISVENO, FRA. BARTOMEU ANCEL. Spanish
this arrangement are not apparent, and the fact that harpsichord maker whose existence is known only
no other instrument is known with this shape would from his one surviving harpsichord dated 1664 (see
suggest that it was not immediately superior to the below).
standard square.
@SARI. In Part I there is an entry for this maker.
*OLIVERES, Antonio. Portuguese harpsichord The surviving instrument mentioned has now been
maker, fZ 1740, whose existence is known only from acquired by Dr. Andreas Beurmann, who (in a report
one surviving instrument. For details of surviving instrument to the editor dated 25 January 1994) gives the maker’s
see belom name as BORSARI?) DEL BUONPETRI(), and first
names as Cesare Domenico. The date has also been
@ PASCAL. It seems more than likely that the maker revised to 1643. BexrmannCal, however, under the
with this name recorded in Part I, above, was indeed photograph for March ascribes the instrument to
Pascal Taskin. For further evidence see below in the ‘Domenico C. B. Buonpetri, Venedig, 1638’. For details
instrument section, Part II, under PASCAL. of surviving instrument see below under BUONPETRI.

@ PESON, Nicholas. In December 1993 Ugo Casiglia
wrote to John Barnes (to whom I am indebted for
passing on the information) to report that he had been
able to look under the soundboard of the instrument
in Palermo (PESON, N. n.d. in Part II, above) and
had seen the inscription F4/T PAR NICHOLAS
PIGALLE A DUON [sid 1737. It would appear,
@ZUMPE, Johann Christoph. Further revised in-
formation on the life and work of Zumpe was given
by Michael Cole in a paper entitled The Twelve
Apostles’ on 11 June 1994 at a joint Galpin Society/
Historic Brass Society symposium in Edinburgh. It is
hoped that this and other papers from the symposium
will be published in due course.

Part II: New or revised entries for instruments

BAFFO(A), GIOVANNI ANTONIO. Number. 32.

Additional information. Inscriptions. On the nameboard in large capital letters:
An extended description of instrument BAFFO(A), IERONIMO BOCARO ME FEZ. LISBOA.
G. A. 1620(A) with some revisions of the entry in Specification. 2x8".
Part II, above, will be found in the new catalogue of Additional features. 2 hand stops at the right through
the instruments in the National Galleries and Museums the cheek.
on Merseyside, Liverpool. Compass. GG/BB-<?.
Keyboard. White naturals, special sharps.
BOCARO, JERONIMO. Number of roses. 1.
New entry. Style of rose. Parchment.
Type. Single-manual harpsichord. Exterior of case. Carved and painted.
Date. 1650(A). Scale. 267 mm.
Ovnersbip. DR. ANDREAS BEURMANN, HAM- Length. 1999 mm.
BURG, GERMANY. Width. 854 mm.

»y Google
 ERRATA AND ADDENDA 7783

Depth. 220 mm. Dore in the Corcoran Gallery of Art, Washington, DC,
Remarks. The sharps are of a special form of skunktail, and stating that the Gallery plans to repossess
having three stripes of ebony and two of bone. Stand the Dedeban harpsichord (DEDEBAN, J. M. 1770),
with enormous turned legs and stretchers. and place it in the Salon after having it ‘restored
References. BeurmannCal, no. 10 (October). mechanically, a process that will take the better part
Information supplied by. Beurmann. of a year after a two-year wait’.
Boalch3 number. BOCARO, J. 1650(A).
Boalch 2 number. None.
DOMINICUS, PISAURENSIS.
New entry.
BUONPETRI(A), DOMENICO CESARE BOR-
Type. Rectangular virginal.
SARI(A), DEL. Date. 1562.
Revised entry for that shown in Part II under SARI.
Ownership. DR. ANDREAS BEURMANN, HAM-
Type. Wing spinet.
BURG, GERMANY.
Date. 1643(A).
Number. 04.
Ovnersbi. DR. ANDREAS BEURMANN, HAM-
BURG, GERMANY.
Specification. 1 x 8".
Compass. C/E-f?, short octave.
Number. 14.
Keyboard: White naturals and black sharps.
References. BeurmannCal photograph for March.
Number of roses: 2.
Information supplied by. Bexrmann.
Style of roses. Parchment.
Boalch3 number. BUONPETRI(A), D. C. B. 1643(A).
Boalch 2 number. None.
Exterior of case. Painted.
Case construction. Italian style inner/outer.
Seale. 339 mm.
CLEMENTI, MUZIO. Length. 1494 mm.
New entry. Width. 450 mm.
Type. Single-manual harpsichord. Depth, 178 mm.
Date. 1800(A). Information supplied by. Beurmann.
Ovmership. PRIVATE COLLECTION, NEW JERSEY, Boalch3 number. DOMINICUS, P. 1562.
USA. Accession number not known.
Boakch 2 number. None.
Keyboard. White naturals, black sharps.
Remarks. Marlowe Sigal reports that he saw the in-
strument at an auction in New Hampshire in 1991. FABRI, FILIPPO.
He says (1993) that he believed at first that it was a New entry.
piany converted to a harpsichord about 20-30 years Type. Single-manual harpsichord.
ago—plastic jacks, two-pedal lyre operating the reg- Date, 1584.
isters, new buff stops operated by new hand stop, Onnership. Not known.
and blocks about two inches thick which raised it on Inscriptions. Filippo Fabri Fece in Roma 1584.
its stand. Subsequently it proved to be an original Specification. 2 x 8".
Clementi harpsichord, probably from ¢. 1800, raised Compass. Ec’.
on blocks so that the new pedals could operate the Keyboard. White naturals, black sharps.
registers, the buff stop, jacks, and pedals added in a Number of roses: None.
restoration in the 1950s. The instrument is typical of Exterior of case. Painted.
the period with ivory naturals, ebony sharps, and 2 x 8” Length. 1995 mm.
specification. Name on a porcelain oval plaque over Width. 762 mm.
the keys. Remarks. Described in the Sotheby’s catalogue as fol-
Information supplied by. Marlowe Sigal. lows: ‘Of inner-outer case construction, the inner case
Boakh 3 number. CLEMENTI, M. 1800(A). of cypress, the later soundboard painted with flowers
Boakh 2 number. None. and foliage, the three and a half octave keyboard, E
to c’”, with arcaded boxwood naturals and ebony
DEDEBAN, JEAN MARIE. overlaid accidentals, two 8 ft. registers, the outer case
Additional information. decorated in gilt with running scrolling foliage and
The Washington Post of 11 November 1993 carried an strapwork on a black painted ground. Signed on the
article by Heidi L. Berry on the restoration of the Salon shaft of the top key Fikppo Fabri Fece in Roma 1384.’

Google
784 ERRATA AND ADDENDA

Previous history. Offered for sale at Sotheby’s on 18 Inscriptions. On the nameboard Thomas Hitchcock Londins
November 1993, with an expected sale price of Fecit. On the rear of the nameboard the number 7&.
£25,000-{35,000, and bought in at £8,000. The in- On the GG key J. L. 1s 18, and on the g’ key J. Z-
strument’s history before this is not known. Stob 1 18.
References. Sotheby’s Catalogue of 18 November 1993 Specification. 1 x 8’.
(colour illustration including the key with inscription). Compass. GG-g’.
Information supplied by. Sotheby's. Keyboard. White naturals, black sharps.
Boalch3 number. FABRI, P. 1584. Number of roses: None.
Boalch 2 number. None. Exterior of case. Plain wood.
Scale. 270 mm.
HARRIS, WILLIAM. Width. 884 mm.
New entry. Depth. 167 mm.
Type. Wing spinet. Remarks. Since the number 18 appears on the rear of
Date. 1768. the fascia board, it may be that this is the case number.
Ownership. MARC CHAMPOLLION, SIEGEN, If this is so, then the date of the instrument, according,
GERMANY. to the table in Part I, is possibly before 1703. The
Inscriptions. Marc Champollion reports that by photo- date of 1718 ascribed above comes from Dr. Beur-
graphic techniques the inscription on the apparently mann. The identity of J. L. is not known. Though
blank nameboard was enhanced, and the words Gu- several makers with these initials appear in Part I,
lelmus Harris |London?| were distinguishable; while on none of them would seem to be likely candidates, and
the lowest key was found 20 July 1768 No. 1, anda the meaning of the figures ry 78 is equally puzzling.
name Thos. B [rest illegible}. Information supplied by. Beurmann.
Specification. 1 X 8". Boalch 3 number. HITCHCOCK, T. 1718(A).
Compass. GG-g’. Boalch 2 number. None.
Keyboard. White naturals, black sharps.
Number of roses. None.
Exterior of case. Crossbanded. HUBERT, CHRISTIAN GOTTLOB.
Scale. 341 mm. Additional information.
Length, 2000 mm. An extended description of instrument HUBERT, C.
Remarks. Described in the Sotheby’s catalogue as ‘The G. 1783 with some revisions of the entry in part II,
case of mahogany with holly and stained fruitwood above, will be found in the new catalogue of the
stringing on the sides, the five octave keyboard, instruments in the National Galleries and Museums
GG-f’” [Champ reports GG-g'], with ivory naturals on Merseyside, Liverpool.
and stained fruitwood accidentals, on later trestle
stand’. It is not clear why Sotheby's ascribed the
instrument to Culliford, though this is not an un- KIRKMAN, JACOB.
reasonable assumption. New entry.
Previous history. Offered for sale at Sotheby’s on 18 Type. Single-manual harpsichord.
November 1993, and sold for £11,000 to the present Date, 1762.
owner. Ownership. PRIVATE COLLECTION, GREAT BRIT-
References. Sotheby’s Catalogue of 18 November 1993. AIN.
Information supplied by. Sotheby’s/ Champ. Specification. 2 8'.
Boakh3 number. HARRIS, W. 1768. Stale. 346 mm.
Boakch 2 number. None. Remarks. This instrument, which does not appear to
be any of the other Jacob Kirkman harpsichords of
HITCHCOCK, THOMAS. 1762, is listed in RoseLaw, p. 105, with no details other
New entry. than the length of the strings and the gauge numbers,
Type. Wing spinet. which are stamped on the nut.
Date. 1718(A). References. RoseLaw, p. 105.
Ovmershiy. DR. ANDREAS BEURMANN, HAM- Information supplied by. RoseLam
BURG. Boalch3 number. KIRKMAN,J. 1762(7).
Number. 53. Boalch 2 number. None.

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 ERRATA AND ADDENDA 785

Revised entry.
Instrument number KIRKMAN,J. 1765(2) is now no.
59 in the collection of DR. ANDREAS BEURMANN,
HAMBURG. All other details are as recorded in Part
II, above, except that the rose has the initials /. K
Additional information.
An extended description of instrument KIRKMAN,
J. 1767(2) with some revisions of the entry in Part II,
above, will be found in the new catalogue of the
instruments in the National Galleries and Museums
on Merseyside, Liverpool.
New entry.
Type. Two-manual harpsichord.
Date. 1768.
Ovmership. DR. ANDREAS BEURMANN, HAM-
BURG, GERMANY.
Number. 61.
Specification. 2 x 8’, 1 x 4’, lute.
Additional features. Harp stop, lid swell, machine.
urmann says ‘peau de buffle’.
Compass. FF,GG-?.
Keyboard. White naturals, black sharps.
Number of roses: 1.
Siyle of ruse: Harping figure.
Initials in rose. I. K
Scale. 347 mm.
Length. 2340 mm.
Width. 930 mm.
Depth. 310 mm.
Remarks. Beurmann reports that it has a rare bowing
mechanism which is similar to that of the Celestina
stop patented by Walker in 1772. Whether this is an
original, similar invention by Kirkman or whether it
is a Celestina fitted by Kirkman, or someone else at
a date after 1772 is not known.
Information supplied by. Beurmann.
Boalch 3 number. KIRKMAN, J. 1768(5).
Boalch 2 number. 38, according to Beurmanm, but this
seems unlikely, since the editor saw number 38 in 1979
and saw no trace of a bowing mechanism.
Additional information.
Instrument KIRKMAN, J. 1770(1) was offered for
sale at Sotheby’s on 18 November 1993 and sold for
£22,000. The catalogue records the following de-
scription: The case of walnut with boxwood stringing,
the lid with shaped and pierced brass strap hinges, the
fasciaboard veneered with burr walnut with kingwood
crossbanding and boxwood stringing, the soundboard
with inset gilded rose pierced and carved with King
David playing the harp flanked by the maker’s initials
I. K, two brass-knobbed hand levers controlling the
two 8ft. stops, on trestle stand with turned legs.
Inscribed on the later nameboard Jacobus Kirkman
Londini fecit 1770. The catalogue goes on to state
that, apparently because the original nameboard had
suffered worm damage, it was not retained by Rush-
worth and Dreaper; however, they did record the
instrument, noting its date, in one of their catalogues.
The style of the lettering on the nameboard, which
can be seen in the colour illustration on p. 71 of the
catalogue suggests that Dolmetsch may have worked
on the instrument, which is raised on a trestle stand
with turned legs and castors, and is in good playing
order.
KIRSHAW, JOHN.
Additional information.
An extended description of instrument KIRSHAW, J.
Be-
n.d.(3) with some revisions of the entry in Part II,
above, will be found in the new catalogue of the
instruments in the National Galleries and Museums
on Merseyside, Liverpool. Since, when Part II was
compiled, the owner was not known, a resumé of the
description by the present owners is given below.
Type. Wing spinet.
Date. Not known.
Ownership. LIVERPOOL MUSEUM, LIVERPOOL,
ENGLAND.
Number. 1967.161.8.
Inscriptions. On the nameboard, John Kirshaw Manchester.
Stamped on the top lip of the spine, R & D 30000.
Specification. 1 8’.
Compass. FF,GG-£'.
Keyboard, White naturals, black sharps.
Exterior of case. Crossbanded.
Scale: 359 mm.
Length. 1902 mm.
Depth. 244mm.
Remarks. Ivory naturals, with dark-stained walnut
reeded fronts; sharps of ebony. Case of oak, veneered
with panels of burr walnut, crossbanded with walnut
and stringing of a light and dark wood. Solid walnut
lid. Brass shaped strap-hinges and lock on key flap.
Raised on (probably) original beech stand with baluster
turned cabriole legs. Soundboard of spruce.
Previous history. Purchased in 1932 from an unnamed
source by J. Morris of Rushworth and Dreaper’s piano
department for £10 for the Rushworth and Dreaper
Collection, Liverpool.

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786 ERRATA AND ADDENDA

References. Reported in greater detail in the forthcoming Information supplied by. B2/Beurmann.
(1993) Catalogue of the Collection of the Liverpool Boalch3 number. MIGLIAI, A. 1682.
Museum. Boalch 2 number. 1.
Information supplied by. B2/Hunt/ Rushton.
Boalch 3 number. KIRSHAW, J. n.d.(3). MONDINI, GIUSEPPE
Boalch 2 number: 3. Revised entry.
Instrument MONDINI, G. 1701(A) is now no. 20 in
LADYMAN, JOHN. the collection of Dr. Andreas Beurmann, Hamburg,
New entry. who has supplied the following information which
Type. Wing spinet. supplements that in Part II, above. One of the three
Date. 1793(A). 8’ registers is a separate ‘nasard’. There are small
Ownership. PRIVATE COLLECTION, LONDON. vertical levers attached to the jack slides.
Inscriptions. Johannes Ladyman Londini Fecit, 1793. Compass. FF/GG,AA-c’, broken octave.
Specification. 1 x 8’. Remarks. The instrument has an inner and outer case,
Compass. GG-g?. of which the latter is richly carved with episcopal
Scale, 320 mm.(A). arms. The inside of the case has eighteenth-century
Remarks. RoseLaw, p. 103, suspects the date of the silk. The stand is also finely carved.
inscription, and suggests that the instrument dates Previous history. Formerly in the possession of the
from the second quarter of the eighteenth century. Renault family in Paris, Madame Cornu-Gomez, Paris.
Previous histor. When the instrument came to light Reference. BexrmannCal, photograph for April.
in 1988, the soundboard, bridge, hitchpin rail, and
mouldings had been lost. OLIVERES, ANTONIO.
References. RoseLaw, p. 103. New entry.
Information supplied by. Roselaw. Type. Single-manual harpsichord.
Boalch3 number. LADYMAN,J. 1793(A)- Date: 1740(A).
Boalch 2 number. None. Ownership. DR. ANDREAS BEURMANN, HAM-
BURG, GERMANY.
MIGLIAI, ANTONIO Number. 33.
Revised entry. Inscriptions. On the nameboard, ANTONIO OLI-
Type. Single-manual harpsichord. VERES FACIEBAD.
Date: 1682. Specification. 2 x 8’.
Ownership. DR. ANDREAS BEURMANN, HAM- Compass. C/E-d’, short octave.
BURG, GERMANY. Keyboard. Black naturals, skunktail sharps of black-
Number. 16. white-black.
Inscriptions. On the inner side of the nameboard, FECE Number of roses: 1.
ANTONIO MIGLIAI Fiorentino L'Anno 1682. Style of rose. Parchment.
Specification. 2 x 8’. Exterior of case. Painted.
Compass. C/E-f', short octave. Case construction. False inner/outer.
Keyboard. White naturals, black sharps. Scale. 277 mm.
Number of roses: 1. Length. 1945 mm.
Style of rose. Parchment and wood. Width. 785 mm.
Exterior of case. Painted. Depth. 190 mm.
Case construction. Italian style inner/outer. Information supplied by. Beurmann.
Scale. 274mm. Boalch 3 number. OLIVERES, A. 1740(A).
The following dimensions show outer case first and Boakch 2 number. None.
then the instrument:
Length. 1960/1864 mm. PASCAL
Width. 900/786 mm. Revised entry.
Depth. 268/182 mm. Instrument numbered in Part II above PASCAL 1784,
Previous history. Formerly in the Savoye Collection, is no. 48 in the collection of Dr. Andreas Beurmann,
Paris. Auctioned in 1882. Restored by Louis Tomasini Hamburg, Germany. It is illustrated in BearmannCal for
in Paris, 1883. May 1994, where it is ascribed to ‘Pascal Tasquin’ {sq.

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The illustration would certainly seem to confirm that
it was Taskin who made the instrument, and it is
therefore renumbered as Boalch 3 number. TASKIN, P.
1784. Boalch 2 number. None.
PESON, NICHOLAS.
Revised entry.
Revised entry following the information given above
at PESON, Nicholas. The two harpsichords shown
in Part II under Nicholas Peson belong under Nicholas
Pigalle, and should be renumbered as follows: PESON,
N. nd. becomes PIGALLE, N. 1737; PESON, N.
1771 becomes PIGALLE, N. 1771.
RISVENO, Fra. Bartomeu Ancel
New entry.
Type. Two-manual harpsichord.
Date. 1664.
Oxmership. DR. ANDREAS BEURMANN,
BURG, GERMANY.
Number. 31.
Inscriptions. On the fascia board, F BARTOMEU AN-
CEL RISVENO ME FESIT—SOLI DEO GLORIA.
On the inner soundboard [Beurmann’s description],
EF B.A. RISVENO me a faza A. D. 1664 IHS.
Specification. 1 X 8’, 1X 4’.
Compass: 1: C/E-d’; I: C/E-c’; short octave on both
manuals.
Keyboard: White naturals, black sharps.
Number of roses: 1.
Style of rose. Parchment.
Excterior of case. Painted.
Seale, 299 mm.
Length. 2257 mm.
Width. 758 mm.
Depth. 256 mm.
Case construction. Italian style, false inner/outer.
Remarks. A transposing harpsichord in the ‘Ruckers’
manner, but with the two manuals separated by an
interval of a tone.
Information supplied by. Beurmann.
Boakh3 number. RISVENO, F. B. A. 1664.
Boalch 2 number. None.
SHUDI, BURKAT, and BROADWOOD, JOHN.
Additional information.
An extended description of instrument SHUDI, B.
and BROADWOOD, J. 736. 1774(2) with some re-
visions of the entry in Part II, above, will be found
in the new catalogue of the instruments in the National
Galleries and Museums on Merseyside, Liverpool.
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ERRATA AND ADDENDA 787
SILBERMANN, GOTTFRIED.
Additional information.
Additional information ‘on clavichord SILBER-
MANN(A), G(A). 1750(A) was supplied by Theodor
Kunze, via the Direktor of the Musikinstrumenten-
Museum, Markneukirchen, E. Gewinner, in March
1994. This supplements and in some cases corrects
the information given in the entry in Part II above.
Revised entry.
Type. Clavichord.
Date. 1750.
Ownership. Musikinstrumenten-Museum, Markneu-
kirchen.
Number. 1355.
Inscriptions. There are two labels: on the left, Wieder-
ergestellt b./ Walter Merzdor{/Markneukirchen a.D. 1937,
and on the right, Gottfried Silbermann/ Hoff und land ...
[label not complete].
Compass, C-e?.
HAM- The other details are as previously reported except for
minor differences in the case dimensions and as noted
below.
Remarks. ‘Remarkable are on the inner side of the
case-cover the drapery of an early German emperor,
Frans I, and his wife, Maria Theresa, married in 1736.’
Previous bistory. The Museum acquired it from Miss
Maria Hilf in 1934. Her father was an orchestral
conductor and a well-known Schumann investigator.
References. As in Part II.
Information supplied by. Theodor Kunze.
Boakh 3 number. SILBERMANN(A), G(A). 1750(A).
Boalch 2 number. 5.
TISSERAN, JOSEPH.
Additional information.
The dating of harpsichord TISSERAN, J. 1700 has
been confirmed by photographs of the inscription
taken by David Law and now available for inspection
at the Bate Collection, Oxford.
VATER, ANTOINE.
Additional information.
VATER, A. 1737(1) was offered for sale at Sotheby’s
on 18 November 1993 and sold for £60,000. The
catalogue, which records the date simply as ‘second
quarter of the 18th Century’ gives the following de-
scription: The case painted green with later chinoiserie
decorations comprising panels depicting musicians and
acrobats within floral borders on a pale green ground,
the surround of the soundboard with gilded rose
pierced and carved with a figure seated at a keyboard
 788 ERRATA AND ADDENDA
flanked by the maker’s initials 4. V/ and painted with fasciaboard controlling two 8ft. stops, one 4ft. stop
flowers and a bird on a bough, the wrest plank painted and 8ft. buff stops with push-pull coupler between
en suite, the keyboard surround painted red, the the manuals, on frame stand with six cabriole legs
keyboard compass five octaves and one note, EE to decorated en suite with the case. Inscribed round the
f? with ivory naturals with boxwood arcading and tose Antoine Vater’ The length is given as 2400 mm.,
bone overlaid accidentals, three hand stops in the the width as 1207 mm. There is a colour illustration.

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