Adam's The Irish Library Wednesday 17th April 2019

110 141 A LATE 18TH / EARLY 19TH CENTURY MAHOGANY AND SATINWOOD FORTEPIANO BY JOHN BROADWOOD & SONS, inset with plaque bearing inscription ‘John Broadwood & Sons Makers to his Majesty and the Princes, Great Pulteney Street, Golden Square, London’ the elongated case decorated with brass inlay and cast brass mounts, with lyre shaped peddle support, raised on turned baluster rope twist legs and gilt brass paw feet. 91 high x 245 long € 2,000 - 4,000 “In spite of its present, so much improved form and character, the upright piano, will never be the piano for the artist” (Alfred Dolge Pianos and their Makers: A comprehensive History of the Development of the Piano, Dover Publications 1972, p. 56) 'ROJHȇV GHȴQLWLYH DQG LI VRPHZKDW GDPQLQJ VWDWHPHQW ZDV LQ GHIHQVH RI WKH XQLTXH FKDUDFWHU RI WKH IRUWHSLDQR DV WKH piano of the artist, the piano-players’ piano. John Broadwood & Sons was founded in 1728 by Burkat Shudi and initially the ȴUP SURGXFHG KDUSVLFKRUGV John Broadwood, a Scottish joiner and cabinetmaker came to London in 1761 to work with Shudi. As the popularity of WKH KDUSVLFKRUG GHFOLQHG WKH ȴUP LQFUHDVLQJO\ FRQFHQWUDWHG LWV PDQXIDFWXULQJ LQ SLDQRV DEDQGRQLQJ WKH KDUSVLFKRUG altogether in 1793. The fortepiano provided more variation of tone and greater volume than the harpsichord. The ‘wing’ IRUP ZDV ȴUVW XVHG E\ ΖWDOLDQ PDNHU *HURQLPR LQ DQG KDV HYHU VLQFH EHHQ WKH SUHIHUUHG VKDSH IRU DUWLVWLF PDNHUV RI fortepiano. The large size, the natural horizontal position of the strings, the opportunity of using a forceful action, were all enticing to Broadwood. The perfecting of the fortepiano, depended upon the development of an action capable of produc- ing greater tone out of the longer strings and larger soundboard. Home entertainment in the 19th century often revolved around the piano in the parlour, and Broadwoods thrived on this rapidly expanding home market. They are as much instruments of sound as items of furniture. The shape is highly distinc- tive with its elongated tapering case terminating in an elegant curving arc. It would have functioned as a centerpiece within a large drawing room, where when it was not being played, could be admired for its handsome brass inlay and robustly carved rope twist legs and claw feet. For the 1862 International Exhibition in London, at which the company won a gold medal, they produced a booklet contain- ing the astonishing statement that they had produced 124,048 pianos between 1780 and 1861. Broadwood were one of the twelve largest employers of labour in London, in an industry that remained craft-based, all parts were made in-house. They also exported overseas, mainly to ‘Empire’ destinations such as Australia, India, New Zealand and South Africa. In the earlier part of the 19th century, North and South America were also important markets for pianos. Broadwood pianos even reached such remote outposts as the Falkland Islands and St Helena.