List of Keyboards
Harpsichord by Pertici, Giovanni de
The name-plate is probably a forgery. The case is certainly 18th-century or earlier and presumably Italian. The instrument's fundamental design is clearly non-Italian, however, following the model of northern instruments (two manuals; 8', 8', and 4' registers; robust walls resting on the bottom board; and a bentside that is largely straight, curving only in the treble). Based on the case width, ornamentation, and probable string scaling, it is most likely German (Saxon), dating from the second half of the 17th century to the early 18th century at the latest. The signature was presumably added—in keeping with the practice of Italian forgers—only shortly before the instrument was sold to Alessandro Kraus.
Credit: Uni Leipzig
Square Piano by Perry, R
This square piano was made by Richard Perry in New York, New York around 1809-1811. Piano makers named Perry are known in Dublin and Belfast in the early 19th century. Richard Perry, possibly and immigrant from Ireland, was recorded in New York only from 1809-1811. This piano has a compass of FF-c4, an English double action, double-strings throughout, tuning pins on right, wood frame, and a mahogany case
Credit: Smithsonian
Virginal by Perius, V
Alongside the signature on the same key lever (G) appears the inscription "Core d'amore che mi ai robato tu" ("Heart full of love, which you have stolen from me"). The instrument is housed in a case painted with floral garlands and fitted with a double lid. A pincushion is attached to the outer lid; the inner side, lined with red silk, features a mirror framed by elegant gilded wood carvings, bearing the telling inscription "MENTISCE" ("he lies"). On the opposite side—the outer face of the second lid—a miniature portrait of a lady, painted on parchment and signed "NAT" (Natalia?), is displayed under glass, flanked by two gilded, carved putti. Above the lady's portrait is the inscription: "NON BENE DA VN SOLO" ("No happiness from one alone"). The inner side of the lid is adorned with a charming allegorical painting that alludes to the box's dual purpose: set within a forest landscape, it depicts Apollo playing the violin alongside a girl engaged in embroidery, upon whom the goddess Athena is placing a wreath.
Credit: Uni Leipzig
Harpsichord by Patavinus
The term "Patavinus" is Latin for "from Padua," which reflects the origins of its maker, Franciscus Patavinus (Francesco of Padua). The instrument is widely recognized by music historians as a rare, surviving example of its era's craftsmanship and has even been used in modern historical recordings
Photo Credit: Janot Wikicommons
Square Piano by Pape J-H
Square piano. Compass FF-f4 (73 notes, 6 octaves). Naturals covered in ivory; sharps ebony. Action of the English grand-piano type, with checks. Probably four pedals (three survive and one more would complete their symmetry; four pedal rods also survive). The mahogany lid indicates that the front corners were rounded. Three folding music racks survive, originally on the lid flap for use with the main lid closed, on the nameboard for use with the main lid open, and at the front edge of the soundboard to the right of the keywell for another musician. Two turned legs in the form of plain columns with ball feet survive as does one decorative meatal collar; also the column to hold the pedals.
That various details of NMM 14651 (such as the three music racks and the extraordinarily large number of eight hinges between the main lid and the flap) correspond with a square piano by Jean-Henri Pape dated 1823, serial no. 516 (in the Musée de la Musique, Paris; inv. no. E. 662; see photos below), confirms that, despite the questionable inscription on the soundboard, the instrument was indeed made by Pape around the same time. The 1823 Pape (erroneously reported as 1817 in some sources, including Franz Josef Hirt, Stringed Keyboard Instruments 1440-1880 [Boston, 1968], p. 56) is inscribed on the same area of the soundboard and with nearly the same wording as NMM 14651 but with much more elegant script. Presumably the present inscription on NMM 14651 was copied from the original inscription when the soundboard was refinished or replaced. With its early date and low serial number, NMM 14651 is a very early example (possibly the earliest surviving) of Pape’s work.
