A Franco-Flemish double-manual harpsichord, originally a transposing harpsichord made in Antwerp in 1617, and then ravalé in Paris in 1750 by François Étienne Blanchet, and then by Jacques Barberini and Nicolas Hoffmann in 1786.



A view from the bentside of the instrument



          This photograph gives a good idea of the splendour of this harpsichord.  The inside and the outside of the case are decorated on a ground of thick gold leaf with oil paintings on top of the gold, a process known in the eighteenth century as ‘vernis martin’.  The inside of the lid is painted with a sylvan landscape with groups of figures engaged in rural activities. The author of this landscape painting has yet to be determined, but it exhibits may of the features of the best mid-eighteenth-century Parisian artists.  The author of the paintings on the cheek, bentside and tail with putti engaged in a 'Triumph of love' is not yet known, but it may also be François Boucher.  The outside of the case and the inside of the lid have now been cleaned and, once restored, should look particularly brilliant and beautiful.

         The stand is very fine and beautifully carved and gilded.  Like the case of the instrument it has been widened on the cheek side to accommodate the compass extension of 1786 so that the curve of the actual instrument's bentside no longer matches the curve of the stand.  This strongly suggests that the stand, in a high roccoco French style, is contemporary with the outer-case decorations and paintings of 1750.  The height of the stand is greater than normal and raises the instrument into a slightly higher playing position than normal.


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Important Features of this harpsichord


A brief history of the musical and decorative states of the Franco-Flemish harpsichord


Details of the original state of the instrument


Details of the eighteenth-century states of this harpsichord


 Details of the modern history of this harpsichord


 A problem encountered in the ethical restoration of this harpsichord


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