Broadwood square piano

Plain view of the instrument with the keyboard, action, dampers and strings removed, and a closeup up the unrestored soundboard.
(click on images to enlarge)

Broadwood square piano

Slated for restoration, John Broadwood & Sons, 1819.

(Click on images to enlarge.)

Sutherland Italian

Pictured is an Italian by David Sutherland, in my workshop for a "checkup." (Click on images to enlarge.)

Flemish Single, Thomas Pixton

Pictured is a beautiful Flemish Single by Thomas Pixton, maker's number 13, 1981, Boston, GG-e''', 415/440. Restored January, 2013, in my workshop. (Click on images to enlarge.)

Herz French Double

Every now and then, I come across an instrument that I want to keep for myself.
This French double, made by Eric Herz in 1976, instrument number 251, tops my list.
I've just completed a restoration of this perfectly made, beautiful sounding instrument.

Albrecht square piano

Every now and then then, I come across an instrument bearing the signature of its maker.

I could barely contain my excitement when I uncovered this note, hidden deep inside the case of a square piano made in 1813 by Charles Albrecht, written by Charles Deal, Philadelphia, 1813.
It reads:  
The Person who first casts his eye on this may know that this Piano was made in the year 1813 about the time Bonaparte was defeated by the Russians.
Charles Deal
(click on image to enlarge)

Square Piano, Charles Albrecht, 1813

Charles Albrecht, Phildelphia, 1813

Colmar Ruckers

This instrument, which recently underwent a complete restoration in my workshop, was built by the late, great Earl Russell, one of his last instruments. It is one of the most beautiful sounding harpsichords on which I have ever had the privilege to work.
R.I.P., Earl.
Wish I could have known you.

Broadwood Square

Pictured is a Broadwood square grand, maker's number 36022, built circa 1826.

The instrument was restored a few years ago, and the quality of the work was quite good.

Unfortunately, the right side of the case could no longer withstand the enormous tension of the hitchpin rail, and has failed spectacularly.

Stay tuned.

 (Click on images to enlarge.)

Clementi Square Piano

Pictured is a Clementi & Co. square grand, makers number 14537, circa 1818, which will eventually undergo a complete restoration.

Unfortunately, it appears that a well intentioned but rather incompetent "restorer" did some work on the instrument at some point in its life, having replaced the original overspun bichord bass strings with single, overly heavy wound strings, along with a few other inappropriate additions and "improvements."

Fortunately, the instrument is complete.  The ivories are all present, and in remarkably good condition, as are the original hammers.

Stay tuned.

 

 

Hubbard bentside spinet

Before and after restoration.

My workshop

French Double Manual Harpsichord

Pictured is a French double manual built by David Jacques Way, 1988, belonging to the Curtis Institute of Music in Philadelphia, PA.
Unfortunately, this instrument had undergone a previous "restoration" of very poor quality.

French Double Manual Harpsichord

Here are a view views of the stringing, before and after my restoration.

John Broadwood & Son

With a bit of research, I've discovered that the Broadwood grand #3448 is pictured on page 87 of the English version of Ernest Closson's The History of the Piano, after finding a reference to it in an article by Kenneth Mobbs, "Stops and other special effects on the early piano." (Early Music, Volume 12, No. 4, November, 1984; footnote #6, page 476.)

John Broadwood & Son fortepiano

The finished product.

 

 

Broadwood piano action

The action, before and after restoration.

Broadwood fortepiano action

Another view of the action, before and after restoration.

 

Broadwood fortepiano action

The unrestored action, with the signatures of Cochran and Bishop, two of the many craftsmen who worked in the Broadwood factory.

John Broadwood & Son

Fortunately, the previous caretakers of this instrument appreciated the importance of preserving any component that had become separated, such as these veneer chips and hammers. (Click on images to enlarge.)

John Broadwood & Son Fortepiano, Maker's Number 3448

It was customary for the Broadwood firm to mark the maker's number on the belly rail, wrestplank, stand, and music desk. Pictured below is the maker's number, 3448, inscribed in pencil on the lower belly rail, stamped on the top of the front section of the stand, and in ink on the bass section of the wrest plank. (Click on images to enlarge.)

 

The desk for this instrument, however, is stamped with the maker's number 1622.

Unfortunately, instrument number 1622, built in 1799, does not appear to have survived.

Broadwood Fortepiano

A view of a section of the newly installed strings.

Broadwood fortepiano restoration

Here is a view of the interior, from the underside, showing the newly repaired and reinstalled soundboard, treble brace, and secondary liner along the spine.

A view of the top, showing the new and original sections of the hitchpin rails, as well as the newly shimmed and shellacked soundboard.

Another view of the top.

Broadwood/square nails

Before there were Home Depot, Ace or True Value Hardware stores, builders and craftsmen relied upon their local blacksmith for their supply of hand made nails, such as the ones pictured here.

They will be carefully straightened and reused in the installation of the keybed and case bottom.

Broadwood piano soundboard

Here is a view of the underside of the soundboard, with linen cloth applied on the cracks, and of the soundboard re-installation.

Broadwood Restoration

A view of the interior of the instrument with the soundboard removed.