1 20 14 Instrument Place of Origin Morioka, Japan Maker Unknown Dimensions Length 93.2 cm, Depth 8.6 cm, Diameter of body 19.4 cm Classification Lute, plucked string Instrument Materials Vellum drum (dog- or catskin), twisted silk strings, wood, lacquer, ebony itomaki (pegs), ivory bachi (plectrum). Coated brass disc set in wood of tenjin (head). Inscriptions The Nanbu crest appears in a gold-painted brass circle on the tenjin (head) of the instrument--it depicts two cranes facing each other with a floral design on each of their chests. On the back of the tenjin below the itomaki there is a drawing of a crane. Condition The sao looks to have been cracked at the base of the hatomune and repaired with a peg or nail. There is also a crack through the drawing on the back of the tenjin as well as a chip in the wood at the top of the tenjin. The ivory plectrum has a chip at the top edge. Restoration/Conservation The bridge has most likely been replaced. The vellum was probably repaired, as it was reported cracked at the time of arrival. General Notes The shamisen came with a note from Kano, “the last of the line of hereditary artist of the Lord Nanbu of Morioka,” in which the provenance of the instrument is stated. The note has been translated to English and is dated May 13, 1909. There exists a note signed Christina Carst Ruigh, which gives more information on the historical context of the instrument and notes that the vellum was cracked in transport from Japan. Carst Ruigh was perhaps a missionary to Japan in 1905 but not much is known about her. Biography Unknown Instrument Location Vassar Treasure Room/display case in Skinner Hall stairwell Photographer Karl Rabe Cataloger SR Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Shamisen Date A point or period of time associated with an event in the lifecycle of the resource Mid-19th century Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. The shamisen belonged to Nanbu Kenmotsu, the chief vassal of the daimyō of Morioka. Due to the Meiji restoration and therefore the end of Nanbu rule, he left the castle of Nanbu in Morioka in 1867. Later, the Kenmotsu family auctioned off some belongings, including this instrument in 1909. The shamisen was likely a gift from the feudal lord, Nanbu, to the Kenmotsu family. It was common for feudal lords to give gifts to their retainer family in exchange for their loyalty. Description An account of the resource The shamisen is a three-stringed, plucked instrument usually used to accompany a singer. It is derived from the Chinese instrument, the sanxien, which was brought to Japan in the 16th century. Since then, the shamisen has been an important instrument in the cultural traditions of Japan and is associated with kabuki theatre and various forms of puppet theatre, as well as folk and dance music. Different types and sizes of shamisens are used for different purposes--the three main categories are hosozao (thin-neck), chuzao (medium), and futozao (thick). Within those categories, there are slight differences in construction used for different genres of playing. This shamisen is most likely a nagauta style shamisen due to the sloped shape of the hatomune (base of the sao). This is a member of the hosozao (thin-neck) type of shamisens and would be used to accompany kabuki theatre and for traditional folk singing and dancing (nagauta). However, due to this shamisen’s intricate ornamental decoration, it was probably made as a decorative gift. The condition of this instrument also does not suggest heavy use. The hollow dō (body) is covered with a thin layer of cat- or dogskin and creates the drum of the instrument for greater resonance. The outside of the dō is decorated with intricate lacquer artwork depicting dragons in gold, blue, and red. The sao (neck) is made of wood and does not feature ornamentation. Many shamisens are constructed in three detachable parts for easier transportation, but this one is not, further suggesting that this shamisen was mainly used for decorative purposes. The strings are wrapped around the itomaki (pegs) and would be tuned differently depending on the song, singer, or genre of playing. The most common tuning is honchoshi, where the first and third strings are tuned an octave apart while the middle string is a fourth above the bottom. The koma (bridge) rests on the skin and can be made of various materials, such as ivory or wood, but the present wooden one is likely not original to the instrument. The bridge is removable and the height of the koma can change the dynamic of the sound. Normally, the upper two strings would pass over the kamikoma (upper bridge) while the lowest string passes over a small indent in the sao. The lowest string vibrates against the ridge in the divet and creates the shamisen’s signature buzzing sound. On this instrument, the kamikoma is not present, but there does exist an indent where one might have been. This shamisen’s bachi (plectrum) is made of ivory and is 21cm long. This would have been used by the player to pluck the strings and also strike the drum, producing a resonant, percussive sound. The bachi has a faded carved floral design on the bottom of the base. The Nanbu crest of the feudal lord of Morioka appears on the tenjin (head) of the instrument--it depicts two cranes facing each other with a floral design on their chests. It is engraved in a gold-painted brass circle, which is glued into the wood of the tenjin. On the back of the tenjin below the itomaki also appears another image of a crane painted on the wood. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Abbot, Kyle. “Styles of Shamisen.” Bachido, 2019. https://bachido.com/store/shamisen-styles. Bowring, Richard John and Peter Kornicki. The Cambridge Encyclopedia of Japan. New York: Cambridge University Press, 1993. Corwin, Charles Edward. A Manual of the Reformed Church in America. New York: Board of Publication and Bible-School Work of the Reformed Church in America, 1922. Ferranti, Hugh de, Shigeo Kishibe, David W. Hughes, W. Adriaansz, Robin Thompson, Charles Rowe, Donald P. Berger, W. Malm, W.P. Malm, David Waterhouse, Allan Marett, Richard Emmert, Fumio Koizumi, Kazuyuki Tanimoto, Masakata Kanazawa, Linda Fujie, and Elizabeth Falconer. "Japan." Grove Music Online. 2001; Accessed 15 Dec. 2019. https://www.oxfordmusiconline.com/grovemusic/view/10.1093/gmo/9781561592630.001.0001/omo-9781561592630-e-0000043335. “Retainer.” Nakasendo Way. Walk Japan, 2018. https://www.nakasendoway.com/glossary/retainer/. “Shamisen.” The Met. The Metropolitan Museum of Art, 2019. https://www.metmuseum.org/art/collection/search/503054. Instrument Place of Origin Calais (Vermont) Maker Marsh & Chase Dimensions Length 5 cm across the butt section of the barrel, 14.5 cm across the diameter of the bell; Width 4 cm across the butt section of the barrel; Height 82.5 cm Classification Single-reed Aerophone Instrument Materials The bass clarinet body is maple wood with a copper bell and crook, brass saddle-mounted keys (some with leather padding to cover the holes), and ivory/brass ferrules. There are seven total keys; two spatula keys and five square key heads. Inscriptions "Marsh and Chase" is stamped on the front of the mouthpiece, as well as the outline of an eagle. Below the bird figure is the place of origin, which reads, "Calais, Vermont." There are two identical inscriptions stamped elsewhere on the instrument: one just below the middle brass ferrule, and the other below the left thumb hole of the barrel. Condition Minor bumps and scratches along the body, and dents along the bell of the instrument. Remnants of red paint can be found on the inside of the bell piece, and green residue can be found inside the two bores of the base section. The reed and ligature are missing from the mouthpiece. Ivory ferrule on the butt of the instrument has been cracked and glued back in place. As previously mentioned, Rice notes there is a connecting tenon missing between the bell and butt section of the instrument. Otherwise, the instrument is in good condition and would be playable with the addition of its missing parts. Restoration/Conservation Unknown General Notes George Catlin (1778-1852) of Hartford Connecticut was the first American maker of bass clarinets. He is noted with coining the term "clarion" to refer to the instrument. It should also be noted that this particular bassoon-shaped clarinet follows Catlin’s design, with the bell placement being over the player’s left shoulder rather than their right. It can be assumed that this instrument would have been played in a wind or military marching band, as Rice notes that their popularity continued through the 1830s, ‘documented by illustrations showing them in marching bands in three lithographed sheet music covers published in Boston: “The Berry Street Rangers Quick Step” (Henry Prentiss, 1837); Captn, E.G. Austin’s Quick Step” (Parker and Ditson, 1837); and “Whig Gathering, Song and Chorus Respectfully Dedicated to the Whigs of the United States” (Henry Prentiss, 1840).’ Known Notations found in a quote from Rice: “...[has] a short key for C# / G# (for R1), long key for A♭ / E♭ (L4), thumb hole for low C, and thumb keys for E, D, and Bb♭.” Though at this moment it cannot be confirmed, this bass clarinet may have been made by Graves & Company rather than Marsh & Chase. A quote from Eliason: ‘It is entirely possible that Marsh & Chase stamped their name on instruments made by Graves. One clarinet in the collection of Avraham Galper, Toronto, Ontario, is inscribed “Marsh & Chase Calais VT.”, but has what appears to be a Graves eagle above this inscription. This eagle appears also on a number of flutes and clarinets marked “J. Ashton Boston.” John Ashton listed his firm in the city directories from 1820 to 1843 as umbrella makers and music store, but never as musical instrument makers. If this practice was widespread, Graves’ influence may have been even greater than has already been established.’ Comparison photos in Eliason’s article show a near-identical eagle stamp as the ones that appear on the bass clarinet. Biography Marsh & Chase were musical instrument makers and dealers who began their business together around 1819 in the small town of Calais, Vermont. Clinkscale notes that, “the firm was established by Perry Marsh (b Calais, VT 7 Aug. 1796-d Northfield, VT, 2 Feb. 1882) and Nelson Ainsworth Chase, who may have been Marsh’s cousin. Marsh’s father, Jason Marsh, went to Calais with his family in 1800. Young Perry came to be called ‘the boy fifer of 1812’, a reference to the War of 1812, in which Jason served as a soldier and both his sons, Perry and Dwight, were fifers.” Marsh and Chase moved their business to Montpelier in 1836, and for a time became the greatest suppliers of musical instruments in north central Vermont. Chase eventually left the partnership to return to his farm, and Marsh continued the business independently. Instrument Location Vassar Treasure Room Photographer Karl Rabe Cataloger JW Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Bass Clarinet Date A point or period of time associated with an event in the lifecycle of the resource c. 1825 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Unknown Description An account of the resource This is one of the earliest examples of an American-made bassoon-shaped bass clarinet. Starting from the bottom, the ivory ferrule is secured to the butt via two metal screws. This segment is attached to the butt section (henceforth base/body) of the instrument with a large brass ferrule; three square-headed thumb keys and a thumb hole line the back of the body, with two keys (one spatula and one square-head) and three finger holes lining the front. Another ferrule wrapped around the top of the base contains a brass ring on the back, presumably for attaching a neck strap. The crescent, droplet-shaped barrel of the instrument’s upper section is attached to the left (i.e. player’s left) bore of the base. The barrel’s own bore extends beyond its wooden shape and is inserted into the base; thin twine is wrapped around this area to ensure the barrel and base remain securely joined. Rice notes there is a connecting tenon missing that would run in between the base’s right bore and the long copper bell, most likely using the same technique of thin twine to keep all parts in place. Returning the barrel piece for a moment, it is a noticeably darker stain of maple wood. Moving from lower half to the upper half of the barrel, the crescent/droplet form thins out into a more symmetrical, cylindrical shape. The back has one thumb hole and a brass thumb key (spatula); the front has three finger holes placed towards the lower half of the barrel and an intricately bent square-headed brass key along the transitional curve right above the top-most finger hole. Another brass ferrule lines the top of the barrel’s borehole. Finally, an L-shaped copper crook adjoins the wooden mouthpiece (with ferrule) to the upper end of the barrel. The mouthpiece has nine grooves with wood stained a darker shade, which wrap around it. They end at the flattened section of the mouthpiece where the reed would lay on top. It is safe to assume that these grooves would assist the ligature in keeping the reed flush with the mouthpiece. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Rice, Albert R. “From the Clarinet D'Amour to the Contra Bass: A History of Large Size Clarinets” (1740-1860): 264-268. Rice, Albert R. “The Clarinet in the Classical Period.” Clinkscale, Martha Novak. “Makers of the Piano, Vol. 2” (1820-1860): 246. Bliss, Lou Whitney, “A Glimpse of Calais”, Vermont History (Jan. 1954). Eliason, Robert E. “Letters to Marsh & Chase from Graves & Company, Musical Instrument Makers,” JAMIS 4 (1978): 43-53. Lithographed Sheet Music Cover Published in Boston: “The Berry Street Rangers Quick Step” (Henry Prentiss, 1837); Captn, E.G. Austin’s Quick Step” (Parker and Ditson, 1837); and “Whig Gathering, Song and Chorus Respectfully Dedicated to the Whigs of the United States” (Henry Prentiss, 1840). Instrument Place of Origin Paris Maker Possibly Georges Cousineau Dimensions Length 162 cm; Width 86 cm; Depth 35 cm Compass Five octaves and a fourth; F1-b3; 39 strings Classification Chordophone-Harp Instrument Materials Various parts of the harp are made of walnut, while the foot is made from pine. The pedals and feet are most likely iron. See Walter Burr report. Inscriptions The mechanic’s name “Lambert” is engraved on the metal plate behind the action mechanism in the neck. Condition The instrument is in a fair/poor state of preservation. In its current state, the instrument is not playable. Strings need to be replaced or are missing along with some hitchpins. The pedal and crochet mechanisms appear to be functioning to some degree, but need repairs to work smoothly. Numerous small holes at the foot of the harp indicate worm-damage. Restoration/Conservation Walter Burr performed the cleaning and restoration of the harp in 1991. Surfaces were re-gessoed and leafed with water gilding, and modern bronze pain was removed from the soundboard edges. Biography Taken directly from Adelson et al. 2010: “Georges Cousineau was the son of a poor weaver in the village of Mouchamps in Western France. His mother, however, came from a family of instrument makers who would raise young Georges after his move to Paris, including his uncle Jean Ouvrard (d.1768) and his step-brother Salomon (Jean-Baptiste Dehaye, 1713-1767). By the age of seventeen, Cousineau was an apprentice at the harp workshop of François Lejeune (c.1722-1785), and would soon be supported by other important instrument makers in Paris, including Salomon and François Feury. Cousineau became a master artisan in 1758, and established his own workshop on the rue Bourg de Brie in the parish of Saint Séverin. In 1759, he married Madeleine-Victoire Regnault, daughter of a painter. Cousineau was an active freemason, member of the lodge Les amis de la liberté. By 1767 Cousineau was making single-action harps with the system of crochets. In 1773, he moved his workshop to the rue des Poulies in St. Germain d'Auxerrois where, according to a label inside a surviving instrument, he made 'harps, lyras, violins, 'cellos, double basses, violas, guitars, violas d'amore, mandolins, and citterns.' Several of these nonharp instruments by Cousineau survive, including a cittern, a guitar (both in the collection of the Musée de la Musique, Paris), and a violin. Cousineau also imported English pianos, and engraved and sold musical scores, with the help of his wife. During the course of his career, Cousineau earned numerous prestigious titles: 'luthier de la Reine' (1774); official instrument maker for the Countess d'Artois (1777); 'marchand-luthier de la Reine' (1781); and 'luthier ordinaire' (1783). Around 1780, Cousineau developed his trademark system of béquilles ('crutches') for shortening the strings of the harp. The béquilles were pairs of small metal levers, one on each side of the string, which pinched the string from opposite sides when the pedal was depressed. This system was designed to avoid the principal problem with the popular crochets; namely, that the shortened strings were pulled out of their vertical alignment. He was the sole harp maker to use béquilles, while his contemporaries used either the crochets or the fourchettes invented by Erard in 1794. Cousineau experimented incessantly with harp construction. In addition to his invention of the béquillles, he developed a system of adjustable nuts to improve the instrument's intonation and a harp with an echo effect. His harpe à chevilles tournantes (rotating tuning pins) can be counted among the most technologically advanced instruments of his time. This system consisted of tuning pegs that were directly linked to the pedals, so that each depression of the pedal would wind the string around the peg so as to raise the pitch by a semitone. He even experimented with innovative designs for the harp's soundboard and soundbox, replacing the traditional trapezoidal form with a lute shape analogous to various South American harps. Georges' son Jacques-Georges (1760-1836) became known as an accomplished harpist, member of the orchestras of the Opéra (from 1776 to 1811) and the Concert Spirituel (from around 1780). He began assisting his father in making harps around 1783. Jacques-Georges Cousineau was also an important pedagogue, serving as harp teacher to the Empress Joséphine from 1804 to 1809. His Méthode de harpe suivie d'un recueil de petits airs de différents auteurs & d'une instruction touchant la mécanique des harpes anciennes et nouvelles par Cousineau fils, OEuvre IV was published in 1784, and his Méthode de harpe contenant les leçons graduées pour les deux mains avec quinze préludes, dont six composés par M. Ragué et un recueil d'airs nouveaux arrangés pour la harpe was published in 1803. When the Revolution broke out, the successful father and son firm moved to the rue de Thionville, where they continued their business making and selling instruments, and expanded their music publishing activities. Georges Cousineau died on 3 September 1800, leaving his workshop to his son, who had great difficulties with crippling debts due to his father's real estate speculations. Jacques-Georges Cousineau gradually withdrew from public musical life, leaving the orchestra of the Opéra in 1811. He retired in 1822 and died in 1836.” Instrument Location Vassar Treasure Room Photographer Karl Rabe Cataloger KH Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Pedal Harp Date A point or period of time associated with an event in the lifecycle of the resource c. 1780 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Unknown Description An account of the resource This is a single-action Louis XVI style pedal harp with 39 strings and crochette (hook) action. The soundboard is decorated with chinoiserie including three pairs of figures: from the top, an archer and falconer, a pipa (Chinese lute) player and dizi (Chinese flute) player, and a fisherwoman with a blue fish and netter. The archer has a dog at her feet, while the falconer is sitting next to a thin golden tree with red flowers and fruit. In the background, behind the dizi player and netter are small golden houses. On the edges of both sides are delicately hand-painted pink flowers and vines. In addition, a partially illegible inscription of the address for the harp appears in a blue banner at the apex of the soundboard. The back of the soundboard is made of seven tapering staves with no opening, painted black. There are six sound holes, three on each side of the string plate: at the top are singles, while at the middle and bottom each consist of six holes in a circle formation. The top ones are decorated with two leaves on each side of the hole with a column of golden flowers extending from the top of the hole. The middle and bottom ones are decorated with floral wreaths. The sound holes in the middle have red flowers on the right side blue flowers on the left side–this structure is reversed on the floral wreaths for the sound holes located at the bottom of the soundboard. The access panel has a blue floral wreath that follows the curvature of the neck, a figure smoking a pipe, and another figure with a harvest basket. The other side of the neck features two more figures that are partially visible with more floral decorations. There are seven folding pedals (corresponding to the notes of the diatonic scale), operating 39 crochettes or right-angled hooks. Pressing on a pedal results in producing a pitch that is a semitone higher for a particular note throughout the compass as the hooks pulled the string. There are drilled tuning-pins with tapered square heads and shoulders; crochets mounted on threaded rods for height adjustment. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Adelson, Robert, et al. “Rediscovering Cousineau's Fourteen-Pedal Harp.” Galpin Society Journal, vol. 63, 2010, pp. 159–273., https://search.proquest.com/docview/504083521/fulltextPDF/E7F5A7BA046A48D6PQ/1?accountid=14824. Cleary, Maria Christina. "The Invention of the 18th Century: the Harpe Organisee and Pedals." American Harp Journal, 2018, p. 22+. Gale Academic Onefile, https://link.gale.com/apps/doc/A524433517/AONE?u=nysl_se_vassar&sid=AONE&xid=5fcfa234. Accessed 1 Dec. 2019. Burr, Walter. “Cleaning and Restoration of a French Seven-Pedal Harp.” April 8, 1991. Rensch, Roslyn. “Harps and Harpists”. Bloomington: Indiana Univ. Press, 2007. Wolf, Beat. “THE LOUIS XVI – HARP”. 2009, https://www.beatwolf.ch/Portals/14/pdf/The_Louis_XVI-harp_2009.pdf?ver=2013-08-17-102903-380. Wolf, Beat. “Timeline - The development of the single-action harp”. 2014, http://beatwolf.ch/Portals/14/pdf/Timeline_pedalharps_2012.pdf?ver=2014-09-12-140457-193 Instrument Place of Origin Possibly Prato Maker Vincentius Pratensis (Vincenti of Prato) Dimensions Length 192 cm; Width 75 cm; Height 25 cm; Height (with stand) 77 cm Compass Three octaves and a sixth; E-c2; 45 keys Classification Keyboard Collection Darlington Collection Instrument Materials Cypress (inner case), Spruce (soundboard), Fir (bottom board), Poplar (soundboard liner, corner blocks, and keyframe), Lime (key levers), Walnut (balance rail, and one of the original jacks), Boxwood (key covers and arcades), Fruitwood (accidentals), Service wood (all original jacks but one), Brass (strings provided by Malcolm Rose). Inscriptions “Vincentius Pratensis 1610” is scratched into the back of the name board. A deceptive ink inscription above it reads “Fatto dal Padre stoppaccio del Carmine nell’ Anno 1554”. Condition The instrument is kept detuned, but by Walter Burr’s account it is playable and has an agreeable timbre. Restoration/Conservation Walter Burr leaves an exhaustive report of his restoration and conservation of the instrument. Among the important projects there are the following. Restoring the instrument to its single strung specification, regluing key covers, repairing the cracked spine, replacing the case ends, repairs to the soundboard, regluing soundboard rose, replacing all of the original jacks, removed thin brown glaze from outer case. General Notes Burr remarks at Vincentius’ superior animal hide glue several times. He also made efforts in his restorations to match the colors of replaced surfaces to their surroundings. The instrument catalogs of Leopoldo Franciolini reveal that a harpsichord of a similar description and same maker was in his hands at one point. This harpsichord appears in his sixth catalog which Ripin argues was created in either late 1908 or early 1909 (Ripin, 1974). On page 7 of Catalog 6 Series A, Franciolini lists a cimbalo (Italian term for harpsichord) for 300 lire with the following description: "pitturato rappresentente un paesaggio con figure ed altro cassa tinta di celeste scuro conpiedi torniti con tasti di legno bossolo e neri. Firmato: Vincentius Pratensis faciebat anno domini MDCXIII, Lungo m. 2 largo m. 0,80" This roughly translates into the following description: "Painting representing a landscape with figures and other case painted in pale blue with turned feet, wooden casing and black contrasts. Signed: Vincentius Pratensis faciebat anno domini MDCXIII". Biography Little is known of Vincentius Pratensis aside from that he worked in Prato (outside of Florence) and that he flourished in the time of 1610-1612. His known surviving instruments all date from this time. Leopoldo Franciolini at the time was not as well-known as he is now for his musical instrument dealer. Similarly to Vincentius, relatively little biographical information remains of Franciolini. He was born in 1844 on March 1st in Florence. Later, he married and had the first of his six children in 1879. The earliest record that demonstrates the existence of his firm is of a leaflet dated 1890, but Ripin (1974) speculates that it may have existed eleven years prior to this date. In addition, his six catalogs and two lists of instruments along with photographs and drawings of instruments that went through his shop remain. It is important to remember that he not only sold forgeries, but also genuine antique instruments. The difficulty in identifying the latter comes from the fact that Franciolini often "worked over the real pieces in his stock until they tended to look very much like his forgeries –equipping them with new painted decor, clumsily lettered inscriptions, bogus labels and signatures, and wholly out-of-style stands" (pg. ix, Ripin, 1974). Ultimately, Franciolini was brought to trial in 1910 for a swindle (See Appendix I of Ripin, 1974). In 1920, Franciolini died of bronchial pneumonia, but many instrument scholars speculated whether he truly died as he had created a rumor that he had died to "legitimate his existing stock of counterfeits and altered originals" (pg. xiv, Ripin, 1974). Instrument Location Vassar Treasure Room Cataloger MC Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Vincentius Harpsichord Date A point or period of time associated with an event in the lifecycle of the resource c. 1610 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. There is compelling evidence that this instrument was at one point possessed by the convicted swindler Leopoldo Franciolini. It later fell into the hands of Bishop Darlington of Harrisburg PA before being donated to Vassar College. Description An account of the resource This harpsichord was originally listed as Spanish in the Darlington Collection. This might have been a mistake in entering information, or perhaps it was sold to Darlington as such an instrument. Consistent with the carved inscription, John Koster and Walter Burr surmised that this instrument is the work of “Vincent of Prato”. The instrument features an additional curved row of jacks close to the nut that give a more nasal tone when in place. This is quite uncommon and Kottick, in his "A History of the Harpsichord" claims that this very instrument might be the only one in existence with this mechanism. Notable about the instrument are both the peculiar treatments that it has endured–many at the hands of Franciolini–and the extensive restoration efforts given by Walter Burr to keep it in such good condition as we find it today. The false ink inscription matches inscriptions on violins that Franciolini had in his possession, leading Burr and others to suspect him as the main cause of alterations to the instrument. The entire outer case has been painted over, much to the dismay of historian Dr. Julius Held who scoffed when asked for his opinion on the decoration. There is evidence of past attempts to remove the over-painting. Franciolini also substituted the original soundboard rose with one of his own. This is evidenced by the water-soluble glue that held it in place as well as references to known Franciolini rose designs. Lastly, due to crowding of the keyboard when the bottom board shrank, it was deemed necessary by Franciolini to remove the case ends. This was done so quite crudely and, by what remains, it seems the original case ends resembled cornucopias consistent with several other existing harpsichords of Vincentius. The current case ends were fashioned from cypress by Burr after the style of Florentine maker Baptista Bertarinus. The instrument was also at one point altered to be double-strung. It is difficult to know when this happened, but Burr points out that the second set of hitch pins are misaligned, suggesting they were added later. The jack mechanisms and some alterations to the key levers are all modern thanks to Burr and greatly contributes to the playability of the harpsichord. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Boalch, Donald H. 1956. Makers of the harpsichord and clavichord, 1440 to 1840. Kottick, Edward L. 2003. A history of the harpsichord. Bloomington: Indiana University Press. Ripin, Edwin M. 1974. The Instrument Catalogs of Leopoldo Franciolini. Joseph Boonin, Inc. Conservation Report by Walter Burr Instrument Place of Origin 79 Cornhill St, London Maker Astor & Horwood Dimensions Length 172.5 cm; Width 64 cm; Height 87 cm Compass Six octaves; FF-f4; 73 keys Classification Keyboard Collection Darlington Collection Instrument Materials Mahogany and rosewood body; ivory naturals, ebony sharps; brass and steel strings; gilt metal decorations Inscriptions Front side of the nameboard: New Patent / Astor. / & Horwood / 79, Cornhill / LONDON; keys: numbers have been stamped into the top of each key neck; serial number "5860" is stamped into the wood left of the keyboard; "H. Nutting" stamped into the plank that suspends the dampers Condition Poor: many strings are missing and several hammers are loose or detached. The action is still movable but has not been maintained for playability. The wooden latticework decorations above the soundboard are broken. Restoration/Conservation No evidence of restoration or servicing Biography In 1770, George Astor (originally Georg Astor) went to London, where his uncle was working for piano manufacturers Shudi and Broadwood. He invited his youngest brother, John Jacob Astor (originally Johann Jakob Astor), to leave Germany and join him. Together, two of them founded and ran their woodwind-making business, George & John Astor, until John Astor immigrated to the United States in 1783 to become businessman and trader. George Astor continued to run the business alone, expanding his woodwind manufacturing to include pianos and organs as well. In 1796, he relocated from 26 Wych Street to 79 Cornhill. Shortly after, he occupied 27 Tottenham Street as well. His wife, Elizabeth Wright Astor, took over the business after his death in 1813. In 1815, she began a business partnership with a man only known as Mr. Horwood, and the business' location at 79 Cornhill became known as Astor & Horwood until Mr. Horwood's departure in 1819. Instrument Location Vassar Treasure Room Photographer Karl Rabe Cataloger GK Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Astor & Horwood Square Piano Date Modified Date on which the resource was changed. 12/6/19 13:04 Date A point or period of time associated with an event in the lifecycle of the resource c. 1815–1819 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Given to Vassar College in 1939 by Rev. James Henry Darlington's children Description An account of the resource This piano has an English double action with peacock dampers on the 58 lowest keys. The dampers are connected directly to the far end of the keys with a sturdy piece of wire. Pressing a key lifts the damper off the string, allowing the string to resonate, and releasing the key returns the damper to its original position. Because these dampers are connected to the keys with glued felt, it is impossible to remove the keys on this piano as is often doable with English square pianos. The strings are made of brass and steel. The piano's outside is richly decorated with gilt metal ornaments and horizontal moldings that encircle the piano's main body. On the front of the piano are three small storage drawers. The nameboard is painted with lattice decorations. This piano has six reeded legs with a matching pedal column. The original painted green dust cover is intact with its hinges in place. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Clinkscale, Martha N. Makers of the Piano: 1820-1860. Oxford: Oxford University Press, 1999. Kidson, Frank and Niall O'Loughlin. “Astor.” The Grove Dictionary of Musical Instruments. Edited by Laurence Libin. New York: Oxford University Press, 2014. i: 136–7. Letter from Darlington's son to George Dickinson, referencing that his instruments are kept in his unheated Long Island home. Instrument Place of Origin Possibly New York Maker Presumably not FHS. Could be Alexander Coger, but not enough evidence. Would make sense as Duncan Phyfe was in (35 Partition–now Fulton–St.) NY, while Alexander Coger was in (3 Spruce, in 1821) NY too. Those two places are within walking distance from each other :O Dimensions Length 73.5 cm; Width 65 cm; Height 18.5 cm; Height (with stand) 88 cm Compass Two octaves, but unable to determine starting and ending notes. Classification Idiophone-Friction Collection Darlington Collection Instrument Materials Mahogany case. Blown glass. Inscriptions A small letter is delicately engraved in script at the bottom of the stem. In addition, there is a message written in ink inside the drawer, which needs further inspection (semi-illegible). Condition Five glasses are missing from the set. The knob for the drawer is missing. The glasses are in good condition with no visible cracks. Large crack across top quarter and base of case. Restoration/Conservation Unknown Biography Unknown Instrument Location Vassar Treasure Room Photographer Karl Rabe Cataloger MC, KH, JW Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Glass Harmonica with 25 glasses Date Modified Date on which the resource was changed. 11/13/19 12:51 Date A point or period of time associated with an event in the lifecycle of the resource Unknown Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Left to Bishop James Henry Darlington by will of a woman aged 92 in Williamsport, about 1908. (Most likely Elizabeth Irvine Hepburn [b. 1816 - d. 1908]) Description An account of the resource This set of glasses is found within a square-shaped case veneered with mahogany. The top quarter of the case raises to reveal 20 out of the original 25 blown glasses in a 5 by 5 layout. The glasses are blown to pitch indicated by the letter engraved at the bottom of the stem. Each one is in the form of footless goblet and is set in a hole in the sounding board. The base has one drawer in the front. The Duncan Phyfe-style pedestal base with sabre legs and brass animal paw castors. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Wilson, Kenneth. Musical glasses. Antiques Magazine, May 1961. Instrument Place of Origin Rue du Mail, Paris Maker Erard Frères Dimensions Length 164 cm; Width 60.8 cm; Height 83.1 cm Compass Five octaves and a fifth; FF-c4; 68 keys Classification Keyboard Instrument Materials Body is mahogany. Brass mounts. Ivory naturals, ebony sharps; brass and steel strings Inscriptions Front of nameboard: "Erard Freres / Rue du Mail Nº. 21 & 23 à Paris 1810"; Back of nameboard: “Johannas C(osioly?), 1972”; keys are numbered in pencil; tuning pins have ink labels beside them Condition Heavy sun damage, playable. Missing several decorative brass pieces General Notes Piano features a working key for the lock mechanism (possibly original) Biography Sébastien Érard (1752-1831) originally from Germany, moved to France, and was apprenticed to a Parisian harpsichord maker in 1768. He operated shop in rue de Bourbon then moved to rue du Mail in 1781 where his brother, Jean-Baptiste (1750-1826), joined him. They formed an official partnership in 1788 and opened a London branch of the Erard Brothers in 1792. In 1808 Sebastien invented two new design aspects: the repetition action (double escapement) and the agraffe (guide at tuning pin end of string with holes where the strings pass through--limits how much the strings can vibrate). Instrument Location Vassar Treasure Room Cataloger GK, MC, SR Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Erard Square Piano Date Modified Date on which the resource was changed. 11/13/19 12:49 Date A point or period of time associated with an event in the lifecycle of the resource 1809–1810 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Gift of Edward and Cathy Skorynko in 1994 Description An account of the resource There are 2 strings per pitch, 92 steel strings, 44 brass. Of the brass strings, 20 are wound. The leftmost pedal presses a rail up against the dampers, lifting them off of the strings. The middle pedal is a moderator. The right pedal controls a mechanism that places a soft, thin material between the hammers and the strings to soften the attack of notes. Erard's double escapement/repetition action. All key levers have weights at the front (under exposed key area) except the top 7, which are in the middle of the key lever. The top 7 keys also have no damper mechanisms Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Clinkscale, Martha. Makers of the Piano 1700–1820. Clinkscale Online, 1995. http://db2.earlypianos.org/dbport2/MakerBioSearch12.aspx https://musictreasures.vclibrary.vassarspaces.net/files/original/f4c141e75d1129802082816de6ad4054.tif fb5dacda4c8c62ccecb45fcd6a12f648 Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource This is a test to see what appears. https://musictreasures.vclibrary.vassarspaces.net/files/original/14e1a88e346688c95c56ab014ce6739d.tif 1d5958aca8c168b85ad9f7421dec336c https://musictreasures.vclibrary.vassarspaces.net/files/original/b22845811527d82bbfb28f1ac44ac490.tif d223b2f296da21d84d305ac7f2e0aca8 https://musictreasures.vclibrary.vassarspaces.net/files/original/0d83d2732324b79f3d97612a10888cac.tif 3c82813583a372b5a15576fa78b26d4f https://musictreasures.vclibrary.vassarspaces.net/files/original/2f7e5300ebba80b175085aff94deff73.tif 892cfee47b648d6fa2bec87a6d80b28d Instrument Place of Origin Possibly Italy Maker Unknown Dimensions Length 68.5 cm; Width 35.2 cm; Height 14 cm Compass Two octaves Classification Zither Collection Darlington Collection Instrument Materials Probably steel strings, wooden case and body with metal hitch pins and tuning pins, parchment rosettes over sound holes. Wooden bridges. Inscriptions A “D” written in pencil on the right side of the outside of the rightmost drawer. A small sticker inside the middle drawer with “2,000” written in pencil. Condition Presumably the hammers are missing--this would have been a hammered instrument. There is a large crack across the lid, as well as a crack on the left side of the case. There is also a chunk missing from the bottom front of the case One tuning pin is missing. Restoration/Conservation The instrument was cleaned in 1990 by Walter Burr, whose wife also restored the painting on the case lid. Schlessinger also worked on this instrument in 1941. General Notes This probably would have been tuned to a major scale, as most European dulcimers from this period were. Biography Unknown Instrument Location Vassar Treasure Room Cataloger SR, GK Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Hammer Dulcimer Date Modified Date on which the resource was changed. 11/13/19 12:44 Date A point or period of time associated with an event in the lifecycle of the resource 18th century Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Darlington probably bought the dulcimer from the Jordan Collection in West Virginia in 1929. Jordan acquired it from a man in Ashland, Ohio. Description An account of the resource The box is trapezoidal and opens from a hinge on the back to reveal the instrument. The outside is painted in blue with darker blue brushstroke designs. The inside of the case lid contains a provincial painting of children dancing and playing instruments in the hills with a castle in the background. The body of the dulcimer and the case are both entirely painted with decorations, with the exception of the bottom, which would not have been seen. This implies that this dulcimer was intended to be played as it rested on a table, rather than slung around the player’s neck, as was sometimes popular. The case contains three drawers below the instrument to store the hammers, which the instrument would have been played with. On the instrument, the tuning pins are on the right, laid out in 24 rows of 4. There would have been four strings per note, for a range stretching 2 octaves. The strings stretch across to hitch pins on the left side. The soundboard has a raised gold border and the wood underneath the strings is painted with floral and gold ornaments. There would have been a treble bridge on the left and a bass bridge on the right which are now in the drawers. There are two sound holes ornamented with gold parchment in an intricate design. Instrument Place of Origin Baltimore Maker Possibly Francis Hopkinson Smith Dimensions Length 90.5 cm; Width 53.5 cm; Height 21.5 cm; Height (with stand) 94.5 cm Compass Marked D# to D (two octaves). Notes from Carl Parrish–the chair of the Music Department–note that the “actual” pitch is (high) C to (middle) D. Classification Idiophone-Friction Collection Darlington Collection Instrument Materials Mahogany case. Blown glass. Inscriptions A small letter is delicately engraved in script where the stem joins the bowl. This letter matches the pitch indicated by the decal on the side of the glass. This letter is in gold in black, gold-ringed oval on each glass. Condition There is one missing glass (presumably a G). The glasses are in good condition with no visible cracks. As a side note: In their current placement, the glasses may not be placed in the order intended by the creator. Restoration/Conservation Unknown General Notes In Darlington’s notes this set was indicated to have 28 musical glasses in a mahogany case without a stand. Other names: Glasspiel (or glaspiel), Glassy-chord, Harmonicon, Harmonica, Armonica, Hydrodaktylopsychicharmonica. A similar instrument by FHS is located at the Chrysler Museum of Art, along with a catalogue of miscellaneous musical glasses. https://chrysler.emuseum.com/objects/1162/grand-harmonicon https://chrysler.emuseum.com/objects/1162/grand-harmonicon/related/5/images?page=1 A similar instrument by FHS is located at the MFA in Boston, MA. https://collections.mfa.org/objects/51508 A similar instrument by FHS is located at the MIM in Phoenix, AZ. https://commons.wikimedia.org/wiki/File:MIM_PHX_2011-04-26_0182_edited.jpg A similar instrument by FHS is located at the MET in New York, NY. https://www.metmuseum.org/art/collection/search/503377 A similar instrument (presumably by FHS) is located at the Corning Museum. https://www.cmog.org/artwork/glass-harmonica-25-glasses-wooden-case Biography Francis Hopkinson Smith (b. Baltimore, Md., 1797; d. Eastville, Va., 1872) patented his version of the “Grand Harmonicon” on April 7, 1825. During this time, he was a prominent musical glass maker who also wrote an instructional book on the instrument called, Preceptor for the Grand Harmonicon. He made most of his instruments between 1825 and 1833 (Kenneth, 1961). From Libin (1985): “Smith’s Preceptor for the Grand Harmonicon, or Musical Glasses contains instructions for playing the glasses, a selection of sacred and secular tunes ,and an advertisement for instruments with sixteen or twenty-five glasses, sold with or without a mahogany case” (pg. 52). “Smith was called a “professor of music” in 1829, when he maintained a manufactory and warehouse on South Frederick Street. By 1833 he was a teller for the Bank of Maryland, and between 1835 and 1853 he was an agent for the Franklin Fire Insurance Company. By 1854 he had become merely a brickmaker and salesman, and his son F. H. Smith, Jr., faced with family’s financial hardship, gave up college to work as a clerk” (pg. 56). The following is provided by the Chrysler Museum of Art: “Francis Hopkinson Smith (1792-1872), of Eastville, Northampton County, Virginia, patented his version of musical glass, which he called the "Glass Harmonicon" on April 7, 1785. Smith's glasses were blown to pitch. They are played by rubbing their rims with moistened fingers. Most, if not all, of Smith's Glass Harmonicons were manufactured in Baltimore where he later lived.” Instrument Location Vassar Treasure Room Cataloger MC, KH, JW Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Glass Harmonica with 24 glasses Date Modified Date on which the resource was changed. 11/13/19 12:41 Date A point or period of time associated with an event in the lifecycle of the resource c. 1830 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Unknown Description An account of the resource This set of glasses is found within a rectangular shaped case veneered with mahogany. The inside cover is veneered with stain wood. The top quarter of the case raises to reveal 24 blown glasses in a 6 by 4 layout. The glasses are blown to pitch indicated by the applied decal on the side of the cup. There are no lines indicating the proper level of water on the side of the bowl. Each glass is in the form of footless goblet and is set in a hole in the sounding board. The stand is a rather plain one with no ornate design or decoration added at a later date. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Libin, Laurence. American Musical Instruments in the Metropolitan Museum of Art. The Museum, 1985. Smith, Francis. Preceptor for the Grand Harmonicon. John D. Toy, 1831. Wilson, Kenneth. Musical glasses. Antiques Magazine, May 1961. Instrument Place of Origin Possibly Vienna Maker Most notable giraffe piano makers at the time were André Stein and Joseph Wachtl in Vienna (Clinkscale, 1999). Dimensions Length 125 cm; Width 60 cm; Height 240 cm Compass Six octaves; FF-f4; 73 keys Classification Keyboard Collection Darlington Collection Instrument Materials The strings all appear to be made of the same material (brass/iron?). The case is mahogany, and frame is wood (unknown?). The name board is made of some type of metal. The decoration on the name board, legs, and lower panel are made of some metal (copper, brass, bronze?). The naturals seem to be made with thin layers of bone glued to a wooden foundation. The accidentals are made of black stained wood with ebony on top. Silk front panel and lower decorated panel replaced by red fabric (?). Inscriptions There is a number, “1475”, written in pencil by the tuning pins for f#1 and g1. The meaning behind this number is unknown. The notes are indicated by a small circular piece of paper glued onto the wood near each triad cluster of tuning pins (“B” notes are noted as “H”). Inscription indicating maker missing on its nameplate, and replaced by a thin rectangular piece of paper with decorations similar to those on the name board. Serial number is 1016 stamped onto a 3cm by 1cm piece of wood (appears similar to the wood used for the tuning board) inserted into the wooden frame of the keyboard. Condition The instrument is overall in a poor state of preservation. In its current state, the instrument is not playable. There are strings that need to be replaced or restrung, missing hammer heads, dampers do not function properly, warped nameboard, large cracks in the soundboard. In addition, all six pedals do not function and parts for the pedal mechanism are either missing or broken. The veneer has chipped off of many locations on the instrument. Decoration is missing on the case covering the keys. The decoration on the lower panel has detached. Restoration/Conservation There is evidence of restoration as the original silk covering for the front panel and lower panel has been replaced with a red fabric type covering. In addition, one of the pedals has been replaced with a plank of wood effectively filling in the hole for the pedal. General Notes A similar Giraffe Piano is kept at the Metropolitan Museum of Art, Austrian c, 1810. Biography Unknown Instrument Location Vassar Treasure Room Photographer Karl Rabe Cataloger KH, JW Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Giraffe Piano Date Modified Date on which the resource was changed. 11/13/19 12:40 Date A point or period of time associated with an event in the lifecycle of the resource c. 1820-1830 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Unknown Description An account of the resource The stringing of the piano is tricord for the entirety of its compass. The tuning pins are located below the keyboard for the lowest 22 keys (FF-C#), and the tuning pins for the remaining 51 keys (D-f4) are located by the tallest part of the case. The backside of both the upper and lower panels have pieces of wood held in place by small pieces of wood screwed into the frame in mechanism similar to what we now commonly see on the back of a picture frame. It has a hanging Viennese (or hanging German) action type–a modified version of the Viennese action for the upright “giraffe” piano. The hammers are leathered. There are six pedals (one is missing, and the other is filled in with a piece of wood [intentional? unsure]). If it were to follow Stein’s pedal formation, these pedals function in the following order (left to right): bassoon, raising dampers, moderator (3rd and 4th pedals), janissary (bells), and “una corda” (keyboard shift) (“Stein Upright Piano”). Speculation in Vassar documents indicate that the pedals may work in the following (left to right): N/A, raising dampers, “una corda” (keyboard shift), bassoon, janissary (bells), and drum. The piano is made in Biedermeier style which was an influential furniture and decorative style in Germany and Austria during the second quarter of the 19th century (Raizman, 2003). As a result of this style, pianos created in this period exhibit “more variety in size, shape, number of keys, and especially ornament” (Raizman 37). Other popular styles in Germany and Austria at the time included the Pyramidenflügel and Lyraflügel in which the case above the keyboard was in the shape of a pyramid or lyra, respectively (James, 1930). The scroll at the top of the piano along with the silhouette of the case elicits the imagery of a giraffe, hence its name–the “giraffe” piano. The piano is in essence an upright, or vertical, grand piano as the case and strings are perpendicular to the ground. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Clinkscale, Martha. Makers of the Piano: 1820-1860. Oxford University Press, 1999. James, Philip. Early Keyboard Instruments. Holland Press, 1930. “Stein Upright Piano.” National Museum of American History, https://americanhistory.si.edu/collections/search/object/nmah_605946. Raizman, David Seth. History of Modern Design: Graphics and Products Since the Industrial Revolution. Laurence King Publishing, 2003. “Upright (Giraffe) Piano” The Metropolitan Museum of Art, https://www.metmuseum.org/art/collection/search/504288. Instrument Place of Origin Possibly Vine St, Philadelphia Maker Charles Albrecht Dimensions Length 169 cm; Width 55.5 cm; Height 85 cm Compass Five octaves; FF-f3; 61 keys Classification Keyboard Instrument Materials Mahogany Case & venetian swell & stand, walnut/boxwood inlay in color, Ivory topped naturals, Ebony sharps, Iron and brass strings, fringe (harp stop), Chamois and deerskin (hammers). Inscriptions Serial Number 20 written under keys. Albrecht’s signature on the back of name plate with ornamental swirls on either side (obscured by mounted stand). Flower decorations on name plate, inlay, “Chas, Albrecht - Maker - Philadelphia”, Stamps numbering each key lever, stamps labelling pitch of tuning pins (in English notation (no H)). Condition Piano remains in playable condition, most likely due to the immaculate care of the Atkinson family. Restoration/Conservation Information as per the report left by William Burr: Significant crack in soundboard, some replaced knee levers, 29 hammers repaired, 38 total strings were replaced. 2 broken strings have been looped around themselves so they can still function as a single string. General Notes Another Albrecht piano was sold at auction on 1994 for $2,900. The tuning hammer, tuning pins, and many of the strings may be the original set made with the instrument as per the Burr report. The sides of the instrument feature "craquelure" in the finish, which is prized by collectors. Biography Charles Albrecht (1759 - 28 June 1848) came to the United States in the 1780s, where he made musical instruments based in Philadelphia until 1824. Instrument Location Vassar Treasure Room Cataloger MC, JW Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Albrecht Square Piano Date Modified Date on which the resource was changed. 10/29/19 17:45 Date A point or period of time associated with an event in the lifecycle of the resource 1795-1798 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Gift of Ruth Lamb Atkinson (Vassar Class of 1918). Received in 1978 as a gift from Ruth Lamb Atkinson (Vassar Class of 1918), an important donor to the school who wrote in a letter that the music department might value such an early American instrument. Description An account of the resource This Square Piano is a curious mixture of German and English piano making. Albrecht was, himself, German so it is no surprise that we see attributes like a German action, knee levers, and a German style Harp Stop. However, there are many English influences. For instance, the “Peacock” under-dampers are a John Broadwood patented design and the Venetian Swell is borrowed from the English harpsichords of the time. Notable about the piano is the presence of three knee levers on the base. The left-most lever controls a rail of fringe that is brought down to slightly mute the strings, giving a harp-like quality (hence harp stop). The middle lever releases the dampers for a loud effect and the right lever opens a Venetian Swell over the right-hand side of the soundboard (called an “underdamper”). This last lever is especially interesting as the Venetian swell does nothing for a piano capable of dynamics. Even more perplexing is that the swell cannot be activated unless the lid of the piano is open, further undermining its purpose. The inclusion of the swell is likely a gimmick to evoke aesthetics of its contemporary keyboards and little more. There are 122 total strings and only one string from the set of brass has yet to be put on. 76 iron strings above and 46 brass strings below. Six of the brass strings are wound with iron rather than more brass. It is likely that this was the work of William Burr, who claimed to wind that exact number of brass strings himself during restoration. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Closson, Ernest. History of the Piano. https://vaslib.vassar.edu:443/record=b1302301~S1, Libin, Lawrence. American musical instruments in the Metropolitan Museum of Art. https://vaslib.vassar.edu:443/record=b1011441~S1, Clinkscale, Martha N. Makers of the Piano. https://vaslib.vassar.edu:443/record=b1442025~S1 Instrument Place of Origin Great Pulteney Street Golden Square, London Maker John Broadwood & Son Dimensions Length 163 cm; Width 57 cm; Height 83.5 cm Compass Five octaves and a fifth; FF-c4; 68 keys Classification Keyboard Instrument Materials Body is mahogany and satinwood; ivory naturals, ebony sharps; brass and steel strings; iron wrest pins in the back; cast iron hitch pin plate Inscriptions Front of the nameboard reads "John Broadwood & Son London 1796 Patent/Great Pulteney Street Golden Square"; label on the back inner casing to the left with English and French instructions for maintenance; back of the nameboard has the original serial number on it, 3379; natural keys are each numbered the back in pencil; front of the wrestplank has small numberings, most likely measurements for the placement of the guiding pins at the front of the pinboard; hammers have been numbered in pencil Condition Conserved in a playable state; many original parts were replaced in a restoration. Restoration/Conservation The tuning pins, hitch pin plate, felt strips along the bridge, strings, and cases hinges have all been replaced General Notes The Broadwood Archive Services can offer more information on each particular piano based on serial number, including: the exact date when the piano was completed, the name of the buyer, the price, the dispatch address and method of delivery, and more specifications on the instrument itself. It is highly likely that most of these data points are available for Vassar's square piano, as it was constructed during a time period where Broadwood & Sons maintained detailed workshop records in order to keep up with increasing output and business. This option costs £60.00 Sterling. Biography John Broadwood began working for London harpsichord maker Burkat Shudi in 1761. His work was of such high quality that Burkat Shudi elected to pass his business to John Broadwood upon his death, rather than give it to his own son or nephew. Broadwood continued to make harpsichords for some time under the company name 'Shudi & Broadwood'. In 1783, he patented several elements of piano design, including brass under-dampers, the placing of the wrest pins at the back of the piano, and the pedal. He continued to work in the piano-making business with his two sons, to whom the business was passed upon his death. Instrument Location Vassar Treasure Room Cataloger GK, JW Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Broadwood Square Piano Date Modified Date on which the resource was changed. 10/15/19 23:26 Date A point or period of time associated with an event in the lifecycle of the resource 1796 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. This square piano came to America through the trader and businessman John Jacob Astor, who bulk ordered Broadwood pianos in the 1790s. In 1799, Astor sold this piano to the Livingston family in New York City, and in 1837 it was given to Mr. Louis Wiethan, who started his own business as a piano maker in Poughkeepsie. A Mr. L Wiethan then lent this piano to Vassar for a lecture on early English music in December 1898, although "Mr L. Wiethan" likely refers to Louis Wiethan Jr., as his father passed away in 1878. Description An account of the resource This piano has an English action with a single escapement. Each key has two leather blocks and a weight. The upper block strikes the underside of the hammer, all of which are all attached to a single plank of wood. These hammer heads are topped with animal skin, and there are no guide pins between them (Broadwood abandoned the use of guide pins in 1796). Meanwhile, the lower leather block strikes the tail of the under-damper, causing it to lower; releasing the key dampens the string. All of the keys except for the ten rightmost ones have peacock dampers. The lowest 44 strings are strung using brass, and the rest are steel. As these strings have been replaced, the original string gauges are unknown. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Cole, Michael. Broadwood Square Pianos. Cheltenham: Tatchley Books, 2005. Hipkins, A. J. A Description and History of the Pianoforte and of the Older Keyboard Stringed Instruments. New York: Novello Ewer and Co, 1896. Wainwright, David. Broadwood By Appointment: A History. London: Quiller Press, 1982. Instrument Place of Origin Possibly Vienna Maker Unknown Dimensions Length 77.5 cm; Width 47 cm; Height 79.5 cm; Depth 29 cm Compass Four octaves; F-f3; 49 keys Classification Keyboard Collection Darlington Collection Instrument Materials Mahogany (hammers & kapsel support blocks), spruce veneered with Brazilian rosewood (case and stand), lime (keyboard), spruce (keyframe), oak (balance rail), ferrous metal (pins), ivory (naturals), rosewood veneered with ebony (sharps), boxwood (keyfronts), brass & steel (strings). [See Burr Conservation report for more details] Inscriptions Inside central box of sewing compartment: “Imported & Sold by S. HART & SON // Wholesale and Retail // PORTABLE DESK & DRESSING CASE // Warehouse Fancy Stationery, Imported Perfumery & FANCY STORE // No 120 Chestnut St. below 4th // PHILADELPHIA”. Right behind each tuning pin: Stamped into tuning board are all the pitches. “X”s written next to accidentals, and "H"s for B. Condition The wood is warped and expanded, not allowing the nameboard to be slid out. Some cracks on some of the ivory key fronts. Large crack in wood on inside of lid and outside of lid. Restoration/Conservation Walter Burr received the instrument in 1989 to repair the stand, accessories, bridge, damaged lid corner, nameboard, and case veneer. There may have been a restoration prior to Burr's. There are inconsistent hammer coverings and the instrument lacks most of its original hand-made screws. In addition, there has been a replacement of felts, refinishing of the stand, fallboard, and the compartment's rosewood lids. Biography Unknown Instrument Location Vassar Treasure Room Photographer Karl Rabe Cataloger MC, KH, SR Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Sewing Box Piano Date Modified Date on which the resource was changed. 10/26/19 11:45 Date A point or period of time associated with an event in the lifecycle of the resource 1830 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Purchased by Bishop James Henry Darlington around 1890 from William Emko of Thos Matthews & Co., Auctioneers University Place & 10th Street. Was imported to the U.S. and sold in Philadelphia at S. Hart & Son Fancy Store. Description An account of the resource Lid expertly inlaid with boxwood depictions of musical instruments, birds, flowers, fruit, and leaves. Hitch pins to the left attached to a brass cut. Tuning pins located right behind keys. One string to each note, with the 12 top notes bi-chord. Strings all steel, except for bottom two notes (brass?). No double winding, single winding strings. Action conforms with Viennese style. Dampers attached to its own cut, above the strings covering all keys except 14 top notes. The keys are small and short (naturals: 8.3cm x 2cm; flats: 4.5cm x 0.6cm). Total keyboard width is 60cm. Large iron brace connecting metal hitch pin board to tuning pin board right between where the dampers end and the bi-chord strings begin. There is a genouillere (knee lever) located beneath the left end of the box for operating the damper system. A shallow tray above the diagonal strings holds spools for thread and compartments for sewing materials and is lined with purple velvet; another removable tray rests above the keys, and a mirror hinges inside the lid. The instrument also has an unusual pedestal design, which evokes bamboo imagery. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. --"Square 'Work Box' Piano." The Metropolitan Museum of Art. 2019. https://www.metmuseum.org/art/collection/search/501775 --M'Elroy, A. Philadelphia Directory. Philadelphia: Isaac Ashmead & Co., Dec 31, 1839. https://musictreasures.vclibrary.vassarspaces.net/files/original/b66ba4d5b8078776c1011219646c85a2.jpg a455c41f8387bfde95586ca1fc68e746 https://musictreasures.vclibrary.vassarspaces.net/files/original/a50abb698ddf840ed391c6fca1db43b5.jpg 484c9f4b638bd438a9495b0b4662b0f9 https://musictreasures.vclibrary.vassarspaces.net/files/original/5123196cd2d05e77f6150e027fb1f00e.jpg df37195f2659db71c520769ea777d9fe https://musictreasures.vclibrary.vassarspaces.net/files/original/3fcabd8d1e4f179ee70f45639be296be.jpg 2a7c695dc76273c7eb0e73ff5069ff68 https://musictreasures.vclibrary.vassarspaces.net/files/original/97bd61bc286e240f1c4e63203ff04712.jpg f462dabc916a456726f34a410d4770c4 Instrument Place of Origin 26 Wardour Street, Soho, London Maker Charles Trute (alternative spellings Truitt, Trutt and Truit) Dimensions Length 108 cm; Width 48.5 cm; Height (with stand) 80.5 cm Compass Four and a half octaves; C-f3; 54 keys Classification Keyboard Instrument Materials Ivory (naturals), ebony (sharps), most likely mahogany and satinwood Inscriptions Front side of the nameboard: Carolus Trute, Londini fecit 1781 (written in ink); Back side of the nameboard: Carolus Trute (written in pencil); Keys: Numbers corresponding to key order. Ranging 1 to 52, last two keys 01 & 02 (written in ink) Condition The instrument is overall in a good state of preservation, while some parts have been replaced during some sort of restoration. Details on this will be noted in the restoration section. The dust-cover and top damper for f3 is missing, some dampers do not function properly. Formerly had a diagonal brace across the bottom that has since been removed. It is unknown when this was removed. Restoration/Conservation The music stand is a modern replacement, while there is speculation that the dampers and soundboard are as well. Some of the weights in the keys have been replaced. Key denoted 02 appears to be a new key (unsure). Red felt on strings by hitchpins to dampen strings is also a replacement. Biography Charles Trute was one of several piano-makers in London during the mid-18th century, along with Zumpe, Broadwood, Pohlman, Ganer, Southwell, and others. He stayed in London from 1780 to 1789, but as competition among makers heightened he emigrated to America among several other makers such as Charles Taws and Thomas Dodds. Trute created a harpsichord and pianoforte shop in Philadelphia working in partnership with his cousin (?) Trute Weidberg (or Wiedberg) at some point between 1790 and 1794. Soon after, the two of them bought land north of Wilmington, Delaware and relocated there. After successfully applying for a tavern license, Trute managed the Swan Inn, located on the Philadelphia Pike, as a way to supplement his income. It has been noted that records and workmanship of his pianos demonstrate his dedication to piano-making during his innkeeping. While Trute Weidberg died in 1803, Trute continued the business with his wife and daughter until his own death in 1807. Instrument Location Vassar Treasure Room Photographer Karl Rabe Cataloger KH, GK, SR Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource Trute Square Piano Date Modified Date on which the resource was changed. 10/26/19 11:47 Date A point or period of time associated with an event in the lifecycle of the resource 1781 Provenance A statement of any changes in ownership and custody of the resource since its creation that are significant for its authenticity, integrity, and interpretation. The statement may include a description of any changes successive custodians made to the resource. Gift of Claudia Lyon (Vassar Alumna 1924) in 1988. Description An account of the resource This has a basic Zumpe action with single escapement and lever overdampers. The wrest plank with tuning pins sits at the back of the instrument, and the hitch pins at the right side of the case attached to brass hitchpin plate. The strings extend from the back of the instrument to the right of the case. The stringing is bichord throughout its compass. The dampers rest between the strings. There is one hand lever for the buff stop on the left side. Detachable stand with original wheels. The stand has square, tapered legs which is typical of the style found in the 1790s. Has a scalloped skirt with contrasting woods and inlays on its frame. The original tuning hammer is located inside the keyboard. There is a music stand (not original) attached to the nameboard. Keys are small; naturals (length 11.4 cm, width 2.1 cm), sharps (length 7.2 cm, width 0.7 cm). While Broadwood patented his design for placing the tuning pins at the back of the piano in 1783, this piano is proof that Trute had already been using that design for at least two years before the patent. Bibliographic Citation A bibliographic reference for the resource. Recommended practice is to include sufficient bibliographic detail to identify the resource as unambiguously as possible. Cole, Michael. Broadwood Square Pianos. Cheltenham: Tatchley Books, 2005.