n°1- The regional
museum of Wurtemberg (Stuttgart) bought the Ruckers Virginal on
an auction by Sotheybys in New York in 1976. In the Sotheby-sales
catalogue the provenance information actually is " Formely
in the Collection of M-* Mme. Salomon, Paris. " Unfortunately,
the instrument is not playable. Several restorers evaluated it, but
advised against such an extensive restoration / reconstruction.
triple-manual harpsichord signed by Stefano Bolcioni, Florence, 1627 now
inEdinburgh : The
Raymond Russell Collection of Early Keyboard Instruments
n°3 - The harpsichord signed "Jacobus
Rodolphus de Zentis 1650", appears in Boalch, Makers of the Harpsichord
and Clavichord, 3rd edition, p. 541 under the name "Ridolfi",
but is an anonymous 16th century Italian instrument, almost certainly
dating from before 1585. It was sold to my grandfather by Franciolini
- it appears in one of his catalogues in 1909 - and was brought to
the United States before 1959, when it was acquired by the previous
owner Joel Newman. It was restored in the Frank Hubbard workshop in
that same year.- Private collection.
n°4 The 17th C French instrument
is depicted in plate 42 of Russell's _The Harpsicord and Clavichord
(1959) _, 2nd ed. As another contributor reported, it is said
to have been destroyed in the bombing of Rotterdam in 1940. Interestingly,
this harpsichord is said to have had a chromatic compass of FF-c3.
Isn't it a little unusual to see 17th C instruments chromatic down
by Benoist Stehlin of Paris in the mid-1700s : in
National Museum of american history (Washington, D.C. ) : - more
photos here -
n°6 - The Hass instrument is now
by Rafael Puyana, who is seen here performing a Sonata by Scarlatti.
Built in 1740, it has three manuals with couplers, five choirs of strings
(1x16', 2x8', 1x4', 1x2') with a separate soundboard for the 16' choir,
six rows of jacks, a lute stop and harp stop for the 16'. This fine
instrument well represents the culmination of the German school. It
has since been copied by Robert Goble & Son, Oxford. This instrument, probably the most important and most valuable harpsichord in existence,will be auctioned in Paris on 25 March, 2014.
"It is the largest surviving harpsichord of the 17/18th centuries: 3 manuals with 16', 2x8', 4', and 2' up to middle C (because at that point, there is no more room for the strings) and a lute stop (cut through the wrestplank). Both the state of conservation and the mechanical reliability of the instrument are remarkable. Most antique harpsichords, especially those in museum collections, do not work as well as this Hass! And, the sound is unparalleled. When all the registers are on and everything is coupled, it is as light as a Taskin. And it is in amazing condition" (said Skip Sempe)
n°7 - Folding
harpsichord by Jean Marius circa 1700
(E.979.2.2) Cité de
la Musique, Paris
n°8 - the history of a Johannes
Ruckers (?) harpsichord that my grandfather sold M de la Raudière
in 1927. M de la Raudière had aquired the Chateau de Villebon
France) that had once been the home of the Duke of Sully. It was understood
in 1927 that the harpsichord had originally belonged to the chateau but had
been sold in 1904. So M de la Raudiére apparently believed that he
was restoring the harpsichord to its original home. There are doubts about
whether this was true, doubts which were mentioned recently, when the harpsichord
was sold again. We do not know who bought it, unless it is the same harpichord
that was recently restored by John Philipps in California(?)
n°9 - Gilbert
Desruisseaux harpsichord 1678-1679
(E.979.2.3) Cité de
la Musique, Paris
by Jacques Germain, Paris, 1785. Rawlins fund, 1983.in National
Music Museum - The University of South Dakota : NMM 3327.
n°13 - Michael
Günther owns a harpsichord attributed to Giacomo
Ridolfi in his museum in Triefenstein-Homburg am
n°14 - The Museon
Arlaten, in Arles (France) owns a read-organ bought in november
1990 from Yannick Guillou. Labelled :
Restauré dans les Ateliers / du BERCEAU ROYAL / Instruments
de Musique Anciens / M. & A. SALOMON / 14, Rue Boissy d'Anglas
/ à Paris, le Mai 1927.
n°15 - Spinet
Claude Goujon, Paris, 1753 (E.971.5.1) Cité de
la Musique, Paris
n°16 -The Harpsichord by Andreas Rückers, Antwerpen
1628, from the Prof. Beurmann collection, was sold on eBay in october 2014
Rousset owns a spinet
by Nicolò Fontana,
Regio Lepido 1573 (Reggio Emilia near Bologna)
n°18 - Harpsichord
Château de Montaigu (musée lorrain)
n°19 - Jorge González Vendrell (Buenos
Aires) owns a virginal
n°20 - Harpsichord by Gosset - 1770-75 - Château
de Champ-sur-Marne, France.
n°21 - Einmanualiges
Cembalo - um 1720 - Inventar-Nr.: 5570 - Musikinstrumenten-Museum des
Staatlichen Instituts für Musikforschung, Preußischer
Kulturbesitz - Berlin
n°22 - Clavecin de Antoine Vater
- 1737 - Private, England (Dean
Anderson) - This instrument was sold at Sotheby's in 1993.
It went through my grandfather's workshop in 1923. A few years ago
was being worked on by David Leigh.: "The Vater, after 1923,
spent several decades at a large country house (Woolton House, Woolton
Hill) in Berkshire, south of Newbury. We have spent a very long time
restoring this instrument which is now sitting in my music room while
my painting restorer works on the small lid flap, lock board and music
desk. Woolton House was taken over by the Ministry of Defense on behalf
of the American Air Force during the Second World War. The harpsichord
apparently was placed in one of the outbuildings (a stable or barn)
until the house was handed back to its owners after the war. Raymond
Russell photographed the soundboard in the 1950s when it was still
in very good condition. Unfortunately, the harpsichord seems to have
been left permanently open so that when I purchased the instrument
for its current owner in the early 1990s, the sound was virtually black.
Also, rain coming through an open window had damaged part of the soundboard
decoration and the rim of the spine, according to Gustav Leonhardt,
who saw the instrument in the 1960s. The soundboard decoration as well
as the external decoration has now been restored, but the soundboard
does not look as pristine as it did on your grandfather's photograph.
It has a very remarkable sound. The external decoration of the Vater,
by the way, dates from circa 1770 when the instrument also underwent
a petit ravalement. The harpsichord was originally black with gold
bands on the exterior, the keywell and the underside of the lid being
n°23 - Harpsichord by P.M. Cordelier - Avignon
(1768) : Mme. Cuzin, Paris ( Dean
n°24 - Spinet : SMS-MM:M2098 - Musik & Teatermuseet
n°25 - Italian harpsichord, 17C- Private
(France, photos in 2008)
n°26 - Harpsichord by I. Ruckers ( 1627 ravalé en
1759 )- Private, England : The Ruckers had been purchased in the 1970s
by Rudolph Nureyev (the ballet dancer) after it had been rather poorly
restored by Claude Mercier-Ythier. David Leigh purchased it for its
current owner at the sale of Nureyev's effects at Christie's in London.
The owner has not yet decided to have the instrument restored. The
external decoration, by the way, is 19th century.
n°27 - French harpsichord , anon 18C .
2 restorations in England. Playable Private
collection, Paris.(source R
n°28 - Italian Virginal by Leopoldo Franciolini
(1844-1920) sold in Sotheby's
auction in october 2012 - ancient André Meyer Collection.
n°29 - Positive Organ Antonio Pilucchi (4 feet),
Florence, ca 1790 : collection Elly Lammers & Gerrit van der Veer,
n°30 - Secretaire Organ : Johannes Stephanus Strümphler - Amsterdam 1792, sold by Elìa Mauro Bezza in Piacenza (Italy)
n°31 -Spinett Louis XVI style - Musée des Arts décoratifs, Bordeaux
n°32-Clavicytherium (upright harpsichord) - Metropolitan Museum of Art - New York
n°33 - Positiv organ-Germany 17C - Metropolitan Museum of Art - New York
n°34 - a mahogany piano forte, directoire "Johannes Rikannus Merken, Parisiis, fecit 1797/ rue Saint Honoré près celle du Roule n° 276" sold by Sotheby's (2009, the 10th november)
n°35 - Piano organisé / Erard Frères (firme) Paris / 1791 / Il s'agit vraisemblablement de l'instrument qui a appartenu jusqu'en 1991 au Fine Arts Museum de San Francisco et qui est actuellement en mains privées.
n°36 - Clavicorde lié anonyme Autriche Fin du XVIIIe siècle - Musée instrumental de Paris E.976.5.1(ancienne collection du Berceau Royal puis collection Geneviève Thibaut de Chambure) - présenté dans le Musée est en état d’être joué et a fait l’objet de plusieurs enregistrements.
n°37 - Orgue E.01613 Musée instrumental de Paris (ancienne collection du Berceau Royal puis collection Geneviève Thibaut de Chambure).
n°38 - Petit piano forte anonyme en restauration chez Dominique Chalmin
n°39 - Italien harpsichord ca 1630 - 1660 in a french case ca 1730 - Pooya Radbon Fortepiano Collection
n°40 -Positive organ - Nicolaus Manderscheidt, Nürnberg, 1625 Belle Skinner collection - in Yale University (n°3193)
n°41 - Clavecin anonyme 18ème s ? - Musée instrumental de Paris E.980.2.648 (ancienne collection du Berceau Royal puis collection Geneviève Thibaut de Chambure)
n°42 - Spinet 16thc from the Belle Skinner collection - Yale collection of musical instruments (n°4873)
n°43 - Grande épinette du XVIIème siècle - Italie
- En placage d'écaille de tortue franche, ivoire et bois noirci, le dessus découvrant un panneau peint figurant trois anges dans des cartouches et une inscription MEO SALTATUR SONO et une inscription gravée 1537, le clavier de quarante-cinq touches, sur six pieds octogonaux réunis par une barre d'entretoise, portant une étiquette "restauré dans les Ateliers / du BERCEAU ROYAL / Instruments de Musique Anciens / M. & M. SALOMON / 14, Rue Boissy d'Anglas / à Paris, le 4 janvier 1926" ; accidents et manques au placage -
Hauteur: 83 cm. (32 ½ in.) ; Largeur: 131 cm. (51 ½ in.) ; Profondeur: 47,5 cm. (18 ½ in.) - vendue chez Christie's le 3 mai 2016 à Paris
n°44 - Virginal de Vincentius de Taeggiis, 1629 - Instrument trouvé à Bruxelles par Alan Rubin et vendu en 1985 au Powerhouse Museum à Sidney en Australie.
Virginal, wood / bone / tempera, attributed to Vincentius de Taeggiis, Bologna, 1629 -
Virginal, long rectangular wooden box with false inner/outer construction. The outer case of pine painted green, the instrument and mouldings of cypress decorated with bone studs. The compass is four (4) octaves E/CC to f3 with a short octave in the base. The inside lid is decorated with figures in a landscape, painted in tempera by a follower of Paul Bril (1554-1626), depicting hunting and fishing scenes and figures playing musical instruments - bass viol, cornett, hurdy-gurdy and harp. The inside of keyboard lid is inscibed in Renaissance Roman capitals 'F. VINCENTIUS de TAEGGIIS BONON ORDINs SERVOR B.M.V. ANNO MDCXXIX' (further information and reports on the blue file with x rays from conservation in the oversize blue file area)
n°45 - Polygonal italian virginal ca 1630 (attr. Joseph Salodiensis) - Pooya Radbon Fortepiano Collection
Le Musée instrumental de Paris possède également
de plaques de verre et négatifs (E.976.4.1 à 111)
correspondant aux clichés de ces pages
More information, thanks HPSCHD-L , Dean
Anderson, facebook ....
book by Raymond Russell , The Harpsicord and Clavichord (1959) ...