Two Day Musical Instruments Sale on
Thursday 12th & Friday 13th March 2015
Tuesday 10th March - 9.00am - 5.30pm
Wednesday 11th March - 9.00am - 5.30pm
Morning of each sale from 8.30am
Lots: 1-73 of 1419
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Lot Description and Estimate Images Sold For
1

A dummy keyboard by Chappell & Co., London, late 19th century, the case of mahogany, the two octave keyboard, with ivory naturals and ebony accidentals, each key sprung.

Inscribed on an oval plaque in the interior of the fall board Chappell & Co., London.
Also stamped internally on the highest key shaft J. Murray

Length 1ft 4⅝?in, 42.2cm; width 1ft 1¾in, 34.9cm
Estimate: 100-200

400
2

A cabinet piano by John Broadwood & Sons, London, circa 1823, the case of mahogany with beaded mouldings, the panel above the keyboard of pleated fabric, the fascia board veneered with rosewood and with floral brass inlay, with two turned legs to the front, the six octave keyboard, FF to f4, with ivory naturals faced with boxwood mouldings and ebony accidentals, recessed mahogany candle supports, English sticker action, two pedals controlling una corda and damper lift.

Inscribed on a boxwood plaque John Broadwood & Sons Makers to His Majesty and the Princesses Great Pulteney Street Golden Square London, bearing on the wrestplank and inside the lid the serial number JH 2513.

Height 6ft, 183cm; width 3ft 9½in, 115.5cm

In the Broadwood books this piano appears as a 60 CPFF (six octave cabinet pianoforte) and left the workshops on 1st September 1823. It started life as a hire instrument and the first hiring was to J.B. Cramer (this is probably Johann Baptist Cramer 1771-1858, composer, pianist and publisher). The instructions were to deliver it to Captain Cramer of His Majesty's 30th Regiment, stationed at Portsmouth. It was taken in Mr. Prescott's wagon from the King's Head public house in Borough, Southwark, to Portsmouth at a cost of 1 shilling. A second hiring took place on 8th April 1824 when it was sent out to Lady Rycroft at 14 Curzon Street, Mayfair, then on the 20th August 1824 it was hired to a Mr Woodford of the Falkland Tavern, Gravesend. On the 24th November 1824 the piano was sent to a firm named Hartwell & Sons of Paradise Row, Chelsea, but Hartwell returned the piano to Broadwood. It was finally sold second-hand for £52.10s. to a Mr. Barnes of Canterbury. It was taken on the 4th February 1825 by Broadwood's porter, Mr. Gravatt, to London docks where it was loaded onto the sailing ship Endeavour, under Captain Robert Laraman, along with three new square pianos, at a total cost of 14s.6d. After 4th February 1825 the piano disappears from the records.

Current pitch
A=430Hz
Estimate: 350-500

1250
3

A square piano by Johannes Pohlmann, London, 1773, the mahogany case with holly stringing, the keyboard, compass four octaves and ten notes, GG to f3, with ivory naturals faced with boxwood mouldings and ebony accidentals, single Zumpe action with overdampers, bichord stringing on a single bridge, three brass-knobbed hand levers controlling the damper lift in treble and bass and the buff stop, on trestle stand with slightly tapered legs.

Inscribed on a boxwood plaque on name batten Johannes Pohlman Londini Fecit 1773.

Length 4ft 8 7/8in, 144.5cm; width 1ft 7¼in, 48.9cm

Literature
Clinkscale, p. 220, No. 17

Discography
1996 J.S. Bach, W.F. Bach, C.P.E. Bach, J.C. Bach: Concertos and Duets, with Christophe Rousset, Decca L'Oiseau-Lyre 440 649-2OH

Restoration history
2014 Lucy Coad

Current pitch
A=430Hz
Estimate: 2000-3000

4400
4

An upright piano or schrankklavier by Franz Martin Seuffert, Vienna, circa 1820, the case of cherry with two doors above the keyboard with wide ebonised fretwork backed by green silk panels, further fretwork below the keyboard flanking a large cherry-veneered lozenge, the six octave keyboard, FF to f4, with bone naturals and ebony accidentals, 'hanging' Viennese action, spring-assisted hammer return, trichord and bichord stringing, on single bridge with tuning-pins, the wrestplank formed from the bent side, four pedals controlling shift, moderator (two pedals) and damper lift.

Inscribed on an internal printed label Privileg Instrumenten Fabrick des Martin Seuffert, Miterfinder der aufrecht stehenden Forte-Piano's wohnt auf der Wieden in der Alleegasse im Schmöllerischen Hause No.75 u.76 in Wien, and on ceramic panel on name batten above the keys Martin Säiffert Wien.

Height 6ft 7in, 207.7cm; width 3ft 10½in, 118.3cm

Restoration history
1999 Christopher Nobbs

Current pitch
A=430Hz
Estimate: 4000-6000

6500
5

A grand piano after Anton Walter, Vienna, circa 1795, by Derek Adlam, Welbeck, 1987, the case veneered in yew, the keyboard, compass five octaves and two notes, FF to g3, with ebony naturals and bone overlaid accidentals, Viennese action, two knee levers controlling moderator and the damper lift, strung in brass from FF to F then iron throughout, bichord up to a1 and trichord from b1 to g3, with music desk, on five square tapered legs, with padded travelling cover.

Inscribed on the label on the soundboard Derek Adlam Musical Instrument Maker Welbeck Nottinghamshire.

Length 7ft 3in, 221cm; width 3ft 3¾.in, 101cm.

The instrument from which this piano is copied is preserved in the Germanisches Nationalmuseum, Nuremberg, No. MINe 109 (see Clinkscale, p. 312, No. 9, and Meer, p. 261).

Discography
1988 Beethoven: The Five Piano Concertos. with Steven Lubin and the Academy of Ancient Music, Decca L'Oiseau-Lyre 421 408-1OH3

Current pitch
A=430Hz
Estimate: 8000-12000

16500
6

A grand piano after Matthaus Heilmann, Mainz, circa 1785, in the Stein tradition, by Adlam Burnett, Goudhurst, 1976, the case of walnut, the lid of solid walnut with panel and frame construction, the fascia board veneered in walnut with boxwood stringing and tulipwood crossbanding, the five octave keyboard, FF to f3, with ebony naturals and ivory overlaid accidentals, Viennese action, brass kapsels in place of wooden kapsels used by Heilmann, single bridge and bichord stringing, with e2 to f3 trichord, three knee levers operating the damper lift, moderator and bassoon, on four square tapered legs.

Inscribed within a gilt-metal frame Mathaeus Heilmann Fortepiano Adlam Burnett Goudhurst 1976.

Length 7ft, 213.3cm; width 3ft 2¼in, 97.1cm

The instrument from which this piano is copied is preserved in the Colt Clavier Collection, Bethersden, Kent (see Clinkscale, p. 142, No. 1).

Literature
Colt & Miall, pp. 16 & 17, No. 1

Discography
1976 J. C. Bach: Four Sonatas and Two Duets Op. 18, with Nicholas McGegan and Colin Tilney, Decca L'Oiseau-Lyre DSLO516
1978 Music at Court, with the Academy of Ancient Music, Folio Society FS1001/2
1979-83 Mozart: Symphonies, Vols. 6-7, with Jaap Schröder and the Academy of Ancient Music, Decca L'Oiseau-Lyre D172D4, D173D3
1980 Haydn's Music for England, with the Academy of Ancient Music, The Folio Society FS1005/6
1983 Dr Haydn and Mr Salomon, with the Salomon String Quartet and the Academy of Ancient Music, Folio Society FS1013/14
1984 Haydn: Symphonies 100 'Military' and 104 'London', with the Academy of Ancient Music, Decca L'Oiseau-Lyre 411 833-1OH
1985 Haydn: Symphonies Nos 94 'Surprise' and 96 'Miracle', with the Academy of Ancient Music, Decca L'Oiseau-Lyre 414 330-1OH
1986 Beethoven: Symphonies Nos 1 & 2, with the Academy of Ancient Music, Decca L'Oiseau-Lyre 414 338-1 OH
1986 Beethoven: Symphony No. 3 'Eroica', with the Academy of Ancient Music, Decca L'Oiseau-Lyre 417 235-1OH
1986 Mozart: Clarinet Concerto and Oboe Concerto, with Antony Pay, Michel Piguet and the Academy of Ancient Music, Decca L'Oiseau-Lyre 414 339-1OH

Restoration history
1986 MacKinnon & Waitzman

Current pitch
A=430Hz
Estimate: 8000-12000

15500
7

A grand piano, circa 1815, the case veneered in walnut and with bevelled front corners, the six octave keyboard, compass, FF to f4, with bone naturals and ebony accidentals, Viennese action, trichord stringing in brass from FF to F and iron thereafter, the two front legs linked by a stretcher carrying four pedals and an ebonised lyre, the four pedals controlling una corda, bassoon, moderator and the damper lift, with music desk, on four square tapered legs.

Length 7ft 1¾in, 218cm; width 3ft 8¾in, 113.8cm

Restoration history
1994 Christopher Nobbs

Current pitch
A=430Hz
Estimate: 10000-15000

12000
8

A grand piano by Joseph Johann Brodmann, Vienna, circa 1815, the case veneered in walnut and stained red in imitation of mahogany, with bevelled front corners, the six octave keyboard, FF to f4, with bone naturals and ebony accidentals, Viennese action, trichord stringing throughout on a single bridge, the front legs linked by a stretcher carrying four pedals and an ebonised lyre, the pedals controlling una corda, bassoon, moderator and the damper lift, the moderator also controlled by a knee lever, with music desk, on four later square tapered legs.

Inscribed on a ceramic plaque within a gilt-metal frame Brodmann in Wien Josephstadt No 40.

Length 7ft 5 7/8in, 227.7cm; width 3ft 11in, 119.4cm

Provenance
There is an undocumented tradition that this piano once belonged to Carl Maria von Weber who owned another piano by Brodmann now in the Musikinstrumenten-Museum, Berlin (Clinkscale, No. 10). The instrument once formed part of the collection of the Czech soprano Ema Destinnová (Emmy Destinn, 1878-1930).

Literature
Clinkscale, p. 58, No. 9

Discography
2013 Weber: Variations on an Original Theme Op. 2, Six Pieces for Piano Duet Op. 10 and Piano Sonata No. 1 in C Op. 24., with Duncan J. Cumming, Centaur Records CRC 3231

Restoration history
1981 Christopher Nobbs (legs, pedals and lyre copied from the Brodmann mentioned above)

Current pitch
A=430Hz
Estimate: 22000-28000

29000
9

A muselar virginal after Joannes Couchet, Antwerp, 1650, by Adlam Burnett, Goudhurst, Kent, 1972, the exterior of the case painted in two shades of green, the interior decorated with 'Ruckers' papers, the interior of the lid inscribed DVM VIXI TACVI MORTVA DVLCE CANO and the interior of the front flap inscribed AVRES ANIMI FORES, one 8ft. stop strung in iron and brass with an arpicordum stop on the straight section of the right hand bridge, the four octave keyboard, C to c3, with short and broken octave, with simulated ivory naturals and ebony accidentals, on high trestle oak stand with turned legs and matching stool, with padded canvas carrying case.

Inscribed on the jackrail Derek Adlam Fecit and on the rear of the front board Derek Adlam Opus 3, 1972, Adlam Burnett, Finchcocks, Goudhurst, Kent and Malcolm Fisk No. 1, 29-3-72.

Length 5ft 7/8in, 174.8cm; width 1ft 8in, 50.7cm

The instrument from which this virginal is copied is preserved in the Vleeshuis Museum, Antwerp, No. VH67.6 (see Boalch3, p. 274, and O'Brien, p. 272, No. 1650a IC).

Restoration history
1984 MacKinnon & Waitzman

Current pitch
A=415Hz
Estimate: 8000-12000

8000
10

A bentside spinet by Thomas Hancock, London, 1732, the casework veneered in walnut, the lid solid walnut with shaped and engraved brass strap hinges, mitred tail, the soundboard surround and jackrail veneered with walnut with ebony and holly stringing and ash crossbanding, the key well similarly veneered, the five octave keyboard, GG to g3, with arcaded ivory naturals and ebony and ivory skunk-tailed accidentals, with brass stringing, on later trestle stand with turned legs.

Inscribed on the name batten Thomas Hancock London and on the GG key shaft 1732.

Length 6ft 3⅝?in, 192cm.

Provenance
The Trustees of the Lady Margaret Spicer's Deed of Settlement. Purchased by Christopher Hogwood at the Christie's sale on 8th May 1975 (lot 84). The Boalch3 entry erroneously states that the sale was at Sotheby's and places the date at 1723. It also confuses this instrument with another spinet by Thomas Hancock which was indeed sold by Sotheby's on 13th November 1987.

Literature
Boalch3, p. 350

Discography
1983 Purcell: Songs and Airs, with Emma Kirkby, Anthony Rooley, Richard Campbell and Catherine Mackintosh, Decca L'Oiseau-Lyre DSDL 713

Restoration history
1978 Christopher Nobbs
1983 Christopher Nobbs

Current pitch
A=415Hz
Estimate: 8000-12000

7500
11

A single-manual harpsichord by Thomas Culliford for Longman & Broderip, London, 1782, the case of mahogany with boxwood stringing, the lid with brass strap hinges, the key well veneered with panels of burr walnut with boxwood stringing and kingwood crossbanding, the fascia board extensively inlaid with scrolling foliage and a central urn, the soundboard with inset gilt-metal rose pierced and carved with King David playing the harp and with the pierced inscription Longman & Broderip Cheapside, the five octave keyboard, FF to f3 omitting FF sharp, with ivory naturals with boxwood mouldings and ebony accidentals, seven brass-knobbed hand stops with ivory caps inscribed with their function, six controlling the harp stop, 8ft lute stop, two 8ft stops, a 4ft stop and a 'mute' (dummy) stop, the seventh in the left cheek controlling the machine stop together with the left-hand pedal, the right-hand pedal controlling a swell mechanism operating on a secondary internal lid, with music desk, on trestle stand, with canvas cover.

Inscribed on a boxwood plaque on the name batten Longman and Broderip, Musical Instrument Makers 26 Cheapside London and on the reverse of the name batten Thos. Culliford, Maker, 3 Fountain Court, Cheapside, London, February 1782.

Length 7ft 2⅜?in, 219.3cm; width 3ft 3¾in, 100.9cm

This instrument is one of only three known to have been made by Culliford with both a machine stop and a lid swell, one of the others being in The Mobbs Keyboard Collection, Golden Bay, New Zealand. The current location of the other one is not recorded. Culliford was the great-grandfather of the author Charles Dickens.

Provenance
Formerly the property of Miss Grace Gurteau (given as Gurteen in Boalch2 & 3) of Haverhill who purchased it from Alec Hodsdon in 1926.

Literature
Boalch3, p. 485
Boalch2, p. 104, No. 4b
Boalch1, p. 74, No. 17
Mobbs & Mackenzie, pp. 45-46

Discography
1979-83 Mozart: Symphonies, Vols. 1-7, with Jaap Schröder and the Academy of Ancient Music, Decca L'Oiseau-Lyre D167D3, D168D3, D169D3, D170D3, D171D4, D172D4, D173D3
1983 Haydn: Cello Concertos, with Christophe Coin and the Academy of Ancient Music, Decca L'Oiseau-Lyre DSDL711
1985 Mozart: Serenade in D K185 and March K189, with Jaap Schröder and the Academy of Ancient Music, Decca L'Oiseau-Lyre 411 936-1OH
1986 Mozart: Clarinet Concerto and Oboe Concerto, with Antony Pay, Michel Piguet and the Academy of Ancient Music, Decca L'Oiseau-Lyre 414 339-1OH
1987 Haydn: Trumpet Concerto, Horn Concerto No. 1 and Organ Concerto No. 1, with Friedemann Immer, Timothy Brown and the Academy of Ancient Music, Decca L'Oiseau-Lyre 417 610-1OH
1988 Mozart: Flute and Harp Concerto, Flute Concerto No. 1, Andante in C and Bassoon Concerto, with Lisa Beznosiuk, Frances Kelly, Danny Bond and the Academy of Ancient Music, Decca L'Oiseau-Lyre 417 622-1OH

Restoration history
1884 S. Denton, Neetwood, Manchester
1926 Alec Hodsdon
1978 Clayson & Garrett

Last pitch (currently de-tensioned)
A=430Hz
Estimate: 20000-30000

    
12

A single-manual harpsichord by Jacob Kirckman, London, 1766, the mahogany case with boxwood stringing, the lid with shaped brass strap hinges, the key well veneered with root walnut with boxwood stringing and mahogany crossbanding, the soundboard with inset gilt rose pierced and carved with King David playing the harp and the maker's initials IK, the five octave keyboard, FF to f3, with ivory naturals faced with boxwood mouldings and ebony accidentals, four brass-knobbed draw stops controlling two 8ft stops, a 4ft stop and an 8ft buff stop, with foot pedal controlling a simple machine-stop mechanism disconnecting the front 8ft and 4ft stops, on trestle stand, later music desk.
Inscribed on a boxwood plaque on the name batten Jacobus Kirckman Londini Fecit 1766.
Length 7ft 2½in, 219.8cm; width 3ft ⅝?in, 93cm.

The conversion of the stop levers which would have originally moved sideways to the present 'draw' stops is probably an early modification.

Provenance
Purchased by Christopher Hogwood at Puttick & Simpson's in 1972.

Literature
Boalch3, p. 435
Boalch2, p.89, No. 32a

Discography
1974 The Amorous Flute, with David Munrow, Oliver Brookes and Robert Spencer, Decca Argo ZRG 746
1974 Arne: Eight Overtures, with the Academy of Ancient Music, Decca L'Oiseau-Lyre DSLO503
1974 Arne: Eight Harpsichord Sonatas, Decca L'Oiseau-Lyre DSLO502
1976 Geminiani: Cello Sonatas Io, 5, with Anthony Pleeth and Richard Webb, Decca L'Oiseau-Lyre DSLO513
1977 Geminiani: Concerti Grossi Op. 3, with Jaap Schroder, Catherine Mackintosh, Trevor Jones, Anthony Pleeth and the Academy of Ancient Music, Decca L'Oiseau-Lyre DSLO526
1978 Music at Court, with the Academy of Ancient Music, Folio Society FS1001/2
1978 J. C. Bath: Six Favourite Overtures, with the Academy of Ancient Music, Decca L'Oiseau-Lyre DSLO525
1978 Handel: Ode for the Birthday of Queen Anne and Anthem for the Foundling Hospital, with Simon Preston and the Academy of Ancient Music, Decca L'Oiseau-Lyre DSLO541
1978 Handel: Water Music, with the Academy of Ancient Music, Decca L'Oiseau-Lyre DSLO543
1979-83 Mozart: Symphonies, Vols 1 and 7, with Jaap Schroder and the Academy of Ancient Music, Decca L'Oiseau-Lyre D167D3 and D173D3
1981 Handel: Cantatas, with Emma Kirkby, Judith Nelson, David Thomas and Susan Sheppard, Decca L'Oiseau-Lyre DSLO580
1981 Handel: Musick for the Royal Fireworks and Wind Music, with the Academy of Ancient Music, Decca L'Oiseau-Lyre DSLO548
1982 Handel: Theatre Music, Vol. 2, with Patrizia Kwella, Margaret Cable, David Thomas and the Academy of Ancient Music, Decca L'Oiseau-Lyre DSLO598
1987 J. S. Bath: Coffee and Peasant Cantatas, with Emma Kirkby, Rogers Covey-Crump, David Thomas and the Academy of Ancient Music, Decca L'Oiseau-Lyre 417 621-1OH
1988 J. S. Bath: Orchestral Suites, with the Academy of Ancient Music, Decca L'Oiseau-Lyre 417 834-1OH2
1993 Handel, Arne: Arias, with Emma Kirkby and the Academy of Ancient Music, Decca L'Oiseau-Lyre 436 132-2OH

Restoration history
1950 Alec Hodsdon
Estimate: 30000-40000

28000
13

A single-manual harpsichord, Florence, 2nd half of 17th century, of inner-outer case construction, the inner case of cypress, the outer case of poplar, the exterior painted in a marbled finish with orange panels with a dark green surround, the lid interior painted dark red, the later four and a half octave keyboard, GG to d3, with arcaded boxwood naturals and ebony overlaid accidentals, the soundboard of cypress, brass strung with two 8ft stops, the registers operated by handles protruding through the spine of both inner and outer cases, on turned stands painted en suite with the case exterior, later music desk in rosewood and boxwood.

Inscribed in ink on the front flap of the lid Francesca da Picinani (the surname overwritten
and possibly therefore reads Picinana, Picinina or Picinini)

Length 8ft 1⅛?in, 246.6cm; width 2ft 11⅞?in, 90.3cm

The entry in Boalch3 is under 'Picinani' who is taken to be an owner rather than the maker.

Provenance
Christopher Hogwood acquired this instrument in 1972 from Colin Tilney who had purchased it in 1962 from Michael Thomas.

Literature
Boalch3, p. 525
Boalch2, p. 120, No. 1

Discography
1985 Handel: Italian Cantatas, with Emma Kirkby and the Academy of Ancient Music, Decca L'Oiseau-Lyre 414 473-1OH

Restoration history
1984 Christopher Nobbs (the instrument having been shortened, the restoration included returning it to what was probably its original length)
1988 Christopher Nobbs (music desk)

Current pitch
A=415Hz
Estimate: 20000-30000

    
14

A bureau organ, north German, mid-18th century, the case of mahogany, the fall front opening to reveal some of the pipework, with four false single drawers beneath, the topmost removable to reveal the retractable keyboard, the keyboard, compass four octaves and two notes, C to d3, with ivory naturals with decorative facings and ebony accidentals, with four stop levers, two on each side of the keyboard controlling 8ft Gedackt and 4ft Flöte, divided between treble and bass at a/b flat, with treadle and electric blower.

Height 3ft 7 7/8in, 110.8cm; width 3ft 6¼in, 107.3cm

Provenance
This organ was in the possession of the composer Paul Hindemith while he was resident in the USA between 1940 and 1953. He became an American citizen in 1946. It is accompanied by copies of various documents relating to it before it was shipped to the USA and one from Paul Hindemith reporting on it after its arrival. The originals of these documents are held in the Hogwood Archive.

July 1936 Hermann Reinsch
24th August 1937 R. von Beckerath to Helmut Sieverts
27th January 1938 Helmut Walcha to Helmut Sieverts
Post December 1941 Paul Hindemith to Frau Sieverts

Restoration history
1929 E. F. Walcker & Cie
1936 Rudolf von Beckerath
1996 Dominic Gwynn and Marcus Stahl

Current pitch
A=460Hz
Estimate: 8000-12000

12000
15

**THIS LOT IS TO BE SOLD IN SITU - SEE VIEWING ARRANGEMENTS BELOW**
A five-stop chamber organ, Dutch, circa 1760 and later, the case painted cream, the upper section with a trellised panel behind the keyboard with three towers of display pipes above interspersed with two tiers of further display pipes, 5.10.5.10.5, the central tower surmounted by a lyre and musical trophies, the flanking towers surmounted by urns, the lower section with three panels to the front each painted en grisaille with musicians flanked by marbled pillars, the base with a frieze of grey marbling, the keyboard, compass four octaves and two notes, C to d3, with ebony naturals and ivory-overlaid accidentals, seven wooden cream-painted hand stops controlling Holpijp 8vt. bas/diskant, Prestant 8vt. diskant, Fluit bas, Prestant 4vt. diskant and Octaaf 2vt. bas/diskant, divided at b/c1, the Holpijp and Fluit pipes made of oak, the other pipes of unusually thick and soft metal with a high lead content, the feeder and foot pedal now removed and replaced by an electric blower.

Height 8ft 10¼in, 270cm; width 4ft 6¼in, 137.5cm; depth 2ft 5⅛?in, 74cm.

Gardiner Houlgate are grateful to Dominic Gwynn of Goetze & Gwynn, who carried out the most recent restoration of the organ, for providing the following notes: "The case, soundboard, bellows and pipework were made circa 1760 in the Netherlands, perhaps by Hendrik Hermanus Hess (1735-1794) in Gouda. Circa 1899 a new pipe front was added to the case, perhaps in Dordrecht. The dummy metal pipes are very similar in make to the inside pipes which suggests a successor's workshop, perhaps Pieter Johannes Geerkens (1757-1833). In the mid-19th century the organ was restored using letters from the Dordrecht tax office to seal the bar frame. In the early 20th century the organ came to England. It was found by Thurston Dart in a cottage just north of Cambridge in 1956 and restored by N. P. Mander. In 1971 Thurston Dart left the organ to the Oxford University Faculty of Music. It was kept in the Holywell Music Room until 1985. In 2004 it was moved from storage to New College Chapel and repaired. In 2009 the organ was sold to Christopher Hogwood and restored by Dominic Gwynn".

Viewing arrangements
This organ is currently located on the premises of Messrs Goetze & Gwynn, near Worksop in Nottinghamshire, and will be sold in situ. Prospective purchasers wishing to view it are requested to contact either Jamie South or Luke Hobbs at Gardiner Houlgate (01225 812912) to arrange a viewing appointment.

Restoration history
1956 N. P. Mander
2009 Dominic Gwynn

Current pitch
A=440Hz
Estimate: 10000-15000

12000
16

A fretted clavichord after Georg Friedrich Schmahl, Ulm, 1807, by Adlam Burnett, Goudhurst, 1979, the case of unpainted pine, the four and a half octave keyboard, C to f3, with hardwood naturals and ebony accidentals, bichord iron and brass stringing in the bass from C to c, one string of each pair at the octave, the other an open-wound unison string, fretted in equal temperament from g, with the notes a and d unfretted in each octave, e3 and f3 a fretted pair.

Inscribed on a printed label, a replica of an engraved Schmahl label, near the wrestpins Adlam Burnett, Musical Instrument Makers, Goudhurst, Ao 1979 No 58.

Length 4ft 6¼in, 137.8cm; width 1ft 3⅞?in, 40.3cm

The instrument from which this clavichord is copied is preserved in the Collection of Richard Burnett, Finchcocks, Gouldhurst, Kent (see Boalch3, p. 608) and is illustrated in Burnett, p. 108.

Discography
2004 The Secret Bach, Metronome MET CD 1056

Current pitch
A=415Hz
Estimate: 2000-3000

4200
17

A small unfretted clavichord by Thomas Goff and Joseph Cobby, London, 1952, the case of burr walnut with kingwood crossbanding, the lid with two shaped and pierced brass strap hinges, bichord and strung in brass with close-wound bass strings, the keyboard, compass four octaves and two notes, C to d3, with arcaded ebony naturals and ivory accidentals, on trestle stand.

Inscribed on the name batten T.R.C.G. et J.C.C. Fecerunt MCMLII.

Length 3ft 11¼in, 130cm; width 1ft 3¼in, 38.7cm

Provenance
Built for the harpsichordist Charles Thornton Lofthouse (1895-1974). Also with his initials pierced in a gilt metal rose at the left hand end of the tangent cover. Christopher Hogwood purchased this clavichord from Lofthouse's daughter, Hermione Lockyer, in 2007.

Current pitch
A=440Hz
Estimate: 2500-3000

4200
18

A small unfretted clavichord by Arnold Dolmetsch, Haslemere, 1929, the case of walnut with gilded mouldings and shaped brass strap hinges, the lid interior inscribed in gilt PLVS FAIT DOVCEVR QVE VIOLENCE, the keyboard, compass four octaves and two notes, C to d3, with ebony naturals with gilded arcading and ivory overlaid accidentals, the soundboard painted around the edge and the bridge with blue tempera scalloping, bichord stringing in brass with close-wound stringing in the bass, on trestle stand.

Inscribed on the name batten Arnold Dolmetsch Anno M CM XXIX, also in ink on the wrestplank Arnold Dolmetsch Haslemere 1930 (sic).

Length 3ft 8½in, 113.3cm; width 1ft 3in, 38.1cm

Restoration history
2014 Christopher Nobbs and Ben Marks

Current pitch
A=440Hz
Estimate: 2000-3000

3600
19

A small unfretted clavichord by Arnold Dolmetsch, Haslemere, 1922, the case of dark walnut with gilded mouldings, the lid with two shaped brass strap hinges, the interior of the lid painted in gilt with the motto PLVS FAIT DOVCEVR QVE VIOLENCE, the soundboard extensively decorated with flowers and foliage by Mabel Dolmetsch, the keyboard with four octaves and two notes, C to d3, with ebony naturals with gilt arcading and ivory overlaid accidentals, bichord and strung in brass with close-wound bass strings, on trestle stand.

Inscribed on the name batten Arnold Dolmetsch Anno M.CM.XXII.

Length 3ft 8¼in, 112.4cm; width 1ft 27/8in, 37.9cm

Provenance
Built for the renowned harpsichordist and clavichordist Violet Gordon Woodhouse (1872-1948). Christopher Hogwood purchased this clavichord at Phillips in 1994. Sold with a copy of a letter from Arnold Dolmetsch to Violet Gordon Woodhouse dated 31st December 1911. The original of this document is held in the Hogwood Archive.

Current pitch
A=440Hz
Estimate: 3000-5000

4000
20

An unfretted clavichord after an instrument by Christian Gotthelf Hoffmann, Ronneburg, 1784, by Arnold Dolmetsch for Chickering & Sons, Boston, 1909, the case exterior painted dark green with gilded mouldings and with shaped brass strap hinges, the case interior painted vermillion, the lid bearing the motto PLVS FAIT DOVCEVR QVE VIOLENCE, the five octave keyboard, FF to f3, with ebony naturals with gilded arcading and ivory overlaid accidentals, the soundboard with two gilt metal roses carved and pierced with the maker's initials AD, brass strung with covered strings in the bass, on trestle stand with turned legs.

Inscribed on the name batten Chickering & Sons, Boston VSA MCMIX No 51. Also inscribed on the hitch plank Made by Chickering & Sons under the direction of Arnold Dolmetsch Boston USA MCMIX No 51.

Length 5ft 9in, 175.2cm; width 1ft 8½in, 52.2cm

The instrument from which this clavichord is freely copied is preserved in the Yale University Collection of Musical Instruments, No. 4945.60 (see Boalch3 p. 397).

Provenance
Purchased by Christopher Hogwood from William Dowd in 1990.

Literature
Troeger

Current pitch
A=440Hz
Estimate: 3000-5000

8500
21

An unfretted clavichord by Pehr Lindholm, Stockholm, 1794, the exterior of the case painted grey, the edges of the case interior veneered in mahogany, the key well veneered in panels of walnut with boxwood stringing and mahogany crossbanding, the five and a half octave keyboard, FF to c4, with ebony naturals with embossed paper facings with the maker's initials and bone overlaid accidentals, bichord iron and brass stringing, with octave stringing from FF to c, modern music desk, with a propstick allowing the lid to open leaning forwards toward the player, on framed stand with square tapered legs.

Inscribed on a paper label beside the wrestpins Förfärdigadt af Pehr Lindholm Instrumentmakare Stockholm år 179*.

Length 6ft 8½in, 204.5cm; width 1ft 11½in, 59.7cm

Provenance
This instrument is recorded in Boalch3 with the date 1796 and the owner as Willem Retze Talsma. Michael Thomas reported that he once owned it. Christopher Hogwood purchased it from Andreas Roth in 1994.

Literature
Boalch3, p. 479

Restoration history
2001 Peter Bavington (restoration), Alan & Ann Smith (decoration)
2002 Huw Saunders (music desk in Cuban mahogany)

A restoration report by Peter Bavington is available for this instrument.

Current pitch
A=430Hz
Estimate: 15000-20000

22000
22

An unfretted clavichord by Johann David Schiedmayer, Erlangen, 1791, the case of oak with frame and panel lid, the area beyond the hitchpins veneered with walnut, the keyboard, compass five octaves and two notes, FF to g3, with ebony naturals and bone overlaid accidentals, bichord iron and brass stringing on a divided bridge with open wound strings in the bass, on four turned tapering reeded legs, later music desk.

Inscribed on a printed paper label on the bass hitchpin rail Johann David Schiedmayer Hochfürstlich-Anspachischer Hof-Instrumentenmacher in Erlangen 1791.

Length 5ft 2⅞?in, 159.8cm; width 1ft. 6⅞?in, 48cm.

Not recorded in Boalch3. The only instrument by this member of the Schiedmayer family that is recorded belonged to the Schiedmayer company in Stuttgart and was destroyed in World War II.

A restoration report by Peter Bavington is available for this instrument.

Provenance
Purchased by Christopher Hogwood from Bernhard von Hünerbein in 1993.

Discography
2006 The Secret Mozart, with Derek Adlam, Deutsche Harmonia Mundi 82876 83288 2

Restoration history
1999-2000 Peter Bavington

Current pitch
A=430Hz
Estimate: 15000-20000

52000
23

A fretted clavichord by Johann Jacob Bodechtel, Nuremberg, circa 1790, the pine case painted light green, the interior of the main section of the lid overlaid with paper decorated with flowers and foliage on a matt gold ground, the four and a half octave keyboard, C to f3, with ebony naturals and bone overlaid accidentals, bichord brass stringing with open-wound strings in the bass, the fretting commencing at d sharp/e and with unfretted d's and a's except for f3/d3 sharp.

Inscribed in ink on a paper label on the bass hitchpin rail Johann Jacob Bodechtel, Orgel- und Instrumentenmacher, in Nürnberg.

Length 4ft 4¾in, 134cm; width 1ft 2⅞?in, 37.7cm

Provenance
Purchased by Christopher Hogwood in 1998 from Colin Tilney who had purchased it at Christie's on 12th June 1974, the vendor then being Miss Margaret Stevenson. Boalch2 records just one instrument by Bodechtel, most probably this one. The owner then was recorded as Alexander Helman. Boalch also suggests that it was probably the same instrument that was purchased by Messrs Morley at Puttick & Simpson's on 18th June 1931.

Literature
Boalch3, p. 247
Boalch2, p. 16, No. 1

Discography
2004 The Secret Bach, Metronome MET CD 1056
2005 The Secret Handel, with Derek Adlam, Metronome MET CD 1060

Restoration history
1975 Christopher Nobbs

Current pitch
A=415Hz
Estimate: 15000-20000

34000
24

An unfretted clavichord by Johann Gottlob Horn, Dresden, 1789. the oak case veneered with mahogany panels with holly stringing and mahogany crossbanding, the interior edged with vertically-grained yew veneer, the panel above the hitchpins with bird's-eye and boxwood veneers, with boxwood stringing and tulipwood crossbanding. the lid of the accessory compartment and the name batten with similar veneers, the keyboard, compass five octaves and two notes, FF to g3, with arcaded ebony naturals and ivory overlaid accidentals, bichord stringing in brass, FF to A open wound, on frame stand with later square tapered legs.

Inscribed on a bone plaque on the name batten Nom 321. Johann Gottlob Horn, Instrumentmacher. in Dresden 1789.

Length 5ft 7 5/8in, 171.1cm; width 1ft 8¼in, 51.4cm

Full technical drawings of this instrument are available from Christopher Nobbs. This instrument is sold with four earlier replacement legs and a later silked inner cover of cherrywood incorporating a music desk..

Literature
For the work of the brothers Horn see Boalch3, (pp. 94 & 397-399) and Joris Potvlieghe, 'The Clavichordbuilders Horn and Contemporaries', in Het Clavichord, Vol. 9, 1996, No. 1 (pp.11-14) , No. 2 (pp. 24-29) and No. 3 (pp. 45-49). See also John Koster, Keyboard Musical Instruments in the Museum of Fine Arts, Boston, Boston, 1994 (pp.186-190) and Andreas Beurmann, Harpsichords and More, Hildesheim, 2012 (pp. 265-269).

Restoration history
1968 Robert Morley & Co. Ltd.
2014 Christopher Nobbs and Ben Marks

Current pitch
A=430Hz
Estimate: 22000-28000

32000
25

A small fretted travelling clavichord by Johann Heinrich Gräbner the younger, Dresden, 1761, the case of oak with a full-width drawer below the bottom boards, interior case edged with decorative papers, the keyboard, compass four octaves and four notes, C to e3, with arcaded ebony naturals and bone overlaid accidentals, formerly strung as a quint instrument in bichord brass stringing with open-wound strings in the bass, recently restrung in iron and brass as an octave instrument, fretted from c, with d and a unfretted in each octave, original brass wrestpins, brass tuning key probably original with ring handle of clock key form.

Inscribed on the underside of the soundboard Johann Heinrich Gräbner Dresden 1761 Num 100.

Length 3ft 1⅞?in, 96.2cm; width 1ft ⅞?in, 32.8cm.

This is the only known surviving clavichord by Johann Heinrich Gräbner the younger.

Provenance
Purchased by Christopher Hogwood in Hampstead in the 1970s.

Literature
Boalch3, pp. 338-9

Discography
2005 The Secret Handel, with Derek Adlam, Metronome MET CD 1060

Restoration history
1982 Christopher Nobbs

Current pitch
A=415Hz
Estimate: 10000-15000

30000
26

An unfretted clavichord by Johann Adolph Hass, Hamburg, 1761, the case exterior painted with simulated tortoiseshell, the lid with a floral and trellis band, the lid interior with chinoiserie decoration comprising buildings on a lake and figures including a group of musicians, all on a red ground and within a floral and trellis border en suite with the exterior, the soundboard painted with flowers including tulips, cornflowers and an iris, the accessory compartment with ivory and ebony overlaid lid, the five octave keyboard, FF to f3, with arcaded ivory naturals and ebony accidentals, bichord brass stringing with octave stringing FF to c, later music desk, on later trestle stand with square tapered legs by Dolmetsch.

Inscribed on the soundboard J. A. Hass, Hambr. Anno 1761.

Length 5ft 10¼in, 178.3cm; width 1ft 9½in, 54.3cm.

Provenance
This instrument was acquired by Christopher Hogwood in 1976 from the family of Sir Humphrey Noble Bt. There is an undocumented tradition that it was once in the possession of the family of the engineer Isambard Kingdom Brunel who was an ancestor of the Noble family.

Literature
Boalch3, p. 373
Boalch2, p. 64, No. 17
Boalch1, p. 45, No. 17
Boalch1 & 2 record the instrument as dated 1763 but this has been corrected to 1761 by Christopher Clarke and Richard Luckett (private correspondence with Charles Mould).

Technical drawings by Clarke and Barnes.

Discography
1981 C. P. E. Bach: Sonatas and Sonatinas from 'Essay on the true art of playing
keyboard instruments', 1753, Wq. 63/1-12, Decca L'Oiseau-Lyre DSLO589
1996 J. S. Bach, W. F. Bach, C. P. E. Bach, J. C. Bach: Concertos and Duets
with Christophe Rousset, Decca L'Oiseau-Lyre 440 649-2OH
2004 The Secret Bach, Metronome MET CD 1056
2005 The Secret Handel, with Derek Adlam, Metronome MET 1060
2006 The Secret Mozart, with Derek Adlam, Deutsche Harmonia Mundi 82876 83288 2

Restoration history
1918 Arnold Dolmetsch
1980-81 Christopher Clarke (full restoration), Mac & Me (decoration)
1999 Miles Hellon (new strings and listing)

Current pitch
A=392Hz
Estimate: 30000-40000

82000
50

Chappell & Co patent keyboard, the ivory and ebony keys enclosed by a satinwood gallery with fret carved sound holes and central name plate inscribed 'Patent Chappell & Co, no. 124 New Bond Street, London', within a mahogany box with hinged lid enclosing beaters on glass chimes upon a square base with turned and fluted tapered legs terminating in brass caps and castors, 32" high x 23" wide
Estimate: 2000-3000

    
51

Grand piano by Muzio Clementi & Co, London, 1804, stamped with maker's number 504, the case of mahogany with holly stringing, the main board and cheeks veneered with satinwood with purple heart crossbanding, the main board painted with two groups of roses and convolvuli upon a trestle stand, the FF to C4 five and a half octave keyboard with ivory naturals and ebony accidentals, English grand action with two pedals for dampener lift and una corda, the music desk with sliding candle shelves
Estimate: 8000-12000

8500
52

Pinfolds patent metronome, the adjustable slide inscribed 'Pinfolds, Rd no. 12445, Brevete, S.C.D.G', 11" high; together with a J.T.L Maelzel metronome within a wooden pyramid shaped case, 9" high (2)
Estimate: 100-200

340
53

French walnut box metronome, labelled Metronome Paquet, Coffret, Brevet S.G.D.G
Estimate: 100-150

140
54

19th century adjustable wooden music stand
Estimate: 100-150

200
55

19th century brass music stand, the lyre backed ledge upon an adjustable tripod stand
Estimate: 300-500

    
56

Antique hammer dulcimer, with a fitted wooden case, 32" wide
Estimate: 600-800

    
57

Edwardian inlaid rosewood music cabinet, the glazed door enclosing four felt covered shelves upon bracket feet, surmounted by a pierced brass gallery top, 36" high
Estimate: 80-120

110
58

19th century walnut duet music stand, the bevelled ledges with pierced lyre backs upon adjustable turned column and carved swept tripod legs
Estimate: 150-250

220
59

Interesting English antique iron tuning hammer, 4.75" long
Estimate: 50-80

170
60

Walnut music cabinet, with five hinged drawers upon square legs united by an undertier, 21" wide
Estimate: 200-300

200
61

Wooden pyramid cased Maelzel metronome (a.f)
Estimate: 60-100

60
62

Two piano accordions, one branded Soprani Paolo Castelfidardo Italia, the other branded Verdi (2)
Estimate: 60-100

60
63

Boosey & Hawkes silver plated four valve E flat tuba, no. 119562
Estimate: 350-450

    
64

Early ebonised piano accordion inscribed Busson, Paris within a fitted wooden box; together with a forty-eight button piano accordion branded Frontalini, Italia with a blue pearloid finish (a.f) (2)
Estimate: 40-80

40
65

Sebastian Buckley gold lacquered pocket cornet, the bell bearing a logo of a wild bearded gentleman, case
Estimate: 40-80

45
66

Rare French walnut Georges Jenny Ondioline
Estimate: 700-1000

1350
67

York & Sons silver plated cornet, hard case (a.f)
Estimate: 70-100

    
68

Boston Musical Instrument Manufacturers silver plated cornet (a.f), within a leather Gladstone bag
Estimate: 50-80

    
69

Brown Bakelite electric organ with three octave keyboard and twelve major/minor buttons, 27.5" wide
Estimate: 50-80

30
70

Elkhart 100BFH gold lacquered French horn in F, case
Estimate: 50-80

55
71

Silver plated trombone inscribed 'Maker to H.M. Forces, A. Hall Gisborne, Factory Vere Street, Birmingham, England, no. 17059', with foliate engraved decoration to the bell; together with an early 20th century concertina in need of restoration (2)
Estimate: 30-50

20
72

Interesting Viennese valve trumpet, with extra tuning slide, case; together with a brass cornet stamped W Brown & Sons..., within a fitted wooden case (2)
Estimate: 50-100

90
73

Interesting four octave dummy keyboard; together with a twenty-nine button melodeon (2)
Estimate: 20-40

40
 
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