Willard Martin, 1989, after Mersenne

This instrument arrived in my workshop in tough shape. Many strings had been replaced, and the voicing and damping was uneven. After a complete restringing, new voicing in white Delrin, and thorough action regulation, it has been transformed into an instrument which I will be sad to have to part with. This instrument belongs to the Curtis Institute of Music, Philadelphia, PA.

(Click on images to enlarge.)

Viennese fortepiano

This instrument was made by John R. Bennett and Jake Kaeser in Stonington, CT., 1979.

It has been restrung in Malcolm Rose English iron and brass, and the hammers have been re-leathered.

Additionally, the escapement lever cushions were removed and replaced, substantially reducing the sound of the lever's return to rest position. The damper system also required a complete overhaul, and the action has been meticulously restored and regulated.

Dowd French double manual harpsichord

This instrument was restored by me for the Massachusetts Institute of Technology.
William Dowd, FF-fff, 415/440 transposing, instrument number 279, 1973.
Restrung, plastic jacks/registers replaced by wooden jacks/registers furnished by Jake Kaeser.

Broadwood square piano

Pictured are before and after photos of the restored John Broadwood & Sons square piano, circa 1819.

William Post Ross English Double

This instrument arrived in my workshop in unplayable condition. The lead weights in the rear of the key levers had expanded to the point where the keys were binding together. Not a single key was functioning. Additionally, the old style Hubbard jacks were badly warped, and the strings were badly rusted.
It has been restrung, and the jacks and registers have been replaced with wooden jacks furnished by Jake Kaeser.
Originally an FF-g''' non-transposing instrument, it has been converted to an FF-f''' 415/440 transposing instrument.
Pictured are the keyboards prior to restoration, and a view of the restored instrument.

David Jacques Way Flemish double, 1988

This is one of the most beautiful instruments I have ever restored. The bridge & nut pins are perfectly spaced, the jacks function flawlessly, and the keyboards are perfectly cut and balanced. A perfectly made instrument.  Restrung, voiced in white Delrin, for a private party. (Click on images to enlarge.)

1819 Broadwood & Sons square piano: Excerpt from Clementi Sonatina in C major, op. 36, no. 3; Dale Munschy

The 1819 Broadwood & Sons square piano restoration is coming along nicely. Stay tuned.

Broadwood square piano hammers

Pictured is an 1840 repair of one of the hammers, with a newly fabricated replacement. The hammer head, hammer leather, and hinge plate are the originals. (Click on images to enlarge.)

Hubbard/Stein fortepiano, wood to metal kapsel conversion

Pictured is the action of a Hubbard fortepiano, after Stein, 1784, built by Mary Sadovnikoff, 1976. The wooden kapsels, being loose, wobbly, and completely unreliable, have been replaced with nickel plated brass kapsels. (Click on images to enlarge)

Sutherland Italian

Pictured is a large Italian made by David Sutherland, 1976, Ann Arbor, MI., in my workshop for a "check up."

(Click on image to enlarge.)

John Shortridge Flemish Double

Pictured is a Flemish double by John Shortridge [undated, circa 1975] which recently underwent a complete restoration in my workshop. Originally a non-transposing instrument, it has been converted to a 415/440 transposing instrument. Voiced in white Delrin, it features a full soundboard painting by the well known Sheridan Germann.

 

(Click on images to enlarge.)

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.