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Los 2144
A George III giltwood and gesso concert harp, Sebastian & Pierre Erard`s patent 5954, 18 Great Marlborough Street, London, fluted column with Gothic capital moulded with tracery, herald angels and saints, shaped base, scroll feet, 175cm high, c.1800 (distressed) Sebastian Erard was born in Strasbourg on 5th April 1752, and his name was originally spelled Erhard. He moved to Paris in 1768 and worked for an unknown harpsichord maker. Erard wanted to explore the fundamentals of instrument making, and it soon became apparent that he was a genius at finding ways around mechanical problems, a skill which came to the attention of the Abbe Roussier. His success as an instrument maker caused envy among his rivals who accused him of working outside the corporation without a licence. Louis XVI protected him and granted him a licence on his own authority. In 1777 Erard made his first square piano; it was probably a copy of an English Zumpe piano. A portrait of Erard was shown at the International Inventions Exhibition of 1885. Once his reputation was established, Erard persuaded his brother-in-law to join him in Paris. Their first pianos were squares with bichords throughout, and a five-octave compass. Erard made a combination of piano and organ with two keyboards for Marie Antoinette. The revolution of 1789 destroyed his business in Paris and in 1792 he opened a factory in Great Marlborough Street, London. Apparently he left his brother Jean-Baptiste to carry on the French branch. According to the London Post Office Directory, he opened an English branch as early as 1786, at 18 Great Marlborough Street, London. However, this may have been just for selling instruments at first. In 1902 they moved to 189 Regent Street, and then in 1904 to 158a New Bond Street, London. According to popular belief, Sebastian returned to Paris in 1796, leaving his nephew Pierre to carry on the London firm. This cannot be correct, however, as Pierre was not born until 1796. He died in 1855. Sebastian appears to have come back to London in 1801, as he took out a patent in England (number 2502) on 16th May 1801, for an improvement on the piano action. However, the bulk of this patent submission is taken up mainly with the harp. This represented some of the groundwork for his double-action harp. The harp seemed to be more important to him than the piano. If you look at most of the patent registrations from Sebastian, the harp comes first and the piano is just added on in the patent submission. There are exceptions to this in the cases when he took out patents for musical instruments only. On the covers of the submissions it says pianoforte and harp. Yet, when one reads the contents of any of these the harp is given preference over the piano. Perhaps this should not be so suprising, since Sebastian sold £25,000.00 worth of harps in the first year of the release of the new double-action harp. Finally, in June 1810, after eight years of working on it, Sebastian Erard patented the double-action harp with seven pedals (number 3332). This is regarded by most people as the date of the invention of the concert harp. The instrument had one pedal for each note. Each pedal had three positions or two notches, which raised the pitch of the note by a semitone for one notch, or a tone for both notches, by moving the top bridges to shorten the speaking length of the strings. This harp could be considered more versatile than the piano, since with the use of the pedals a player could get 21 pitches to the octave, while with the piano 12 was the limit. It is reported that Erard did not undress for three months before his harp was finished, snatching meals with pencil in hand and sleeping for an hour now and again. The concert harp of today basically maintains his design, as does the roller action for grands. He also had an eighth pedal for opening the back of the sound box, to work as a swell. At this time the harp was almost as popular in the home as the piano, and Erard made large numbers of both. He was also regarded as a master organ repairer.
Los 387
TEN CRICKET INTEREST BOOKS, Fred - Portrait of a Fast Bowler by John Arlott, A Cricket Pro`s Lot by Fred Root, End of an Innings by Denis Compton, Maurice Tate by John Arlott. I Say, I Say, I Say by Brian Johnston, Cricket by Trevor Bailey, Ted Dexter Deckares an Autobiography, Diary of a Cricket Season by Bob Willis, Cricket Typhoon by Keith Miller & R.S. Whitington, Test Diary 1964 by Denis Compton. (10)
Los 412
FOUR 19TH CENTURY PORTRAIT MINIATURES, a hand coloured print of a young maiden in an oval brass slip and rectangular ebonised frame under glass. 7cm; a pencil and watercolour on card of a young gentleman in a rectangular slip and ebonised frame under glass. 9cm; a portrait in profile of an elderly man, pencil and watercolour, in an oval slip and ebonised frame under glass. 9cm; a portrait of a large gentleman in pencil and watercolour, loose with associated frame. 11.5cm (4)
Los 623
Russell Cruix: An early 20c. portrait miniature of a child on probably ivory, she seated quarter profile in a christening dress. The modern frame centred by a hook with the following verso "Roberts Antiques, specialists in early English ceramics, textiles and fine arts" The image 2.25 cms. by 7.75 cms.
Los 631
Five various glass plate photographs of late Victorian people to include lady and two children, another single lady, the same lady (later) and a seated gentleman in cased and "William child, Wellington Street, Leeds" and another framed photographic portrait of a gentleman. (various dimensions, 5)
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283284 Los(e)/Seite