Sohmer patent, Hallet, Davis & Co. action.
There have accumulated a huge number of old pianos in my shop, a few of them are interesting but condition reflects the scrap prices paid for them. (see some of these, but also many more interesting pianos at Stefan Schafft's website http://www.hammerfluegel.net)
Inline strung grand with "Brown action". Edwin Brown1 patented a straight forward repetition action adding a crank escapement to the hopper and a spring coupling the key or jack with the underhammer to prevent the friction inherent to the double action preferred in squares by earlier Boston makers, as well as in the modern arrangement. Subsequent patents by F. St. Amant and Henry Ketten improved fixing the rest position for jacks on the underhammers, and the action of the duplex spring (see H. F. Miller, below). Chickerings used this principle in grands till about 1890, this instrument was very neatly refitted with a version seen in late 1880s instruments (the modification included new balance pin mortises; see Boston Museum of Fine Arts, "Cocked Hat" piano, 1979.122 which has a more appropriate action, and even worse replacement legs).
Inline strung grand with "Repeating Grand Action." The mechanism is a crank escapement single action augmented by repetition hooks extending from hammer butts to check against jack flys, escapement rotation coupled through tenders with pivoting backcheck levers furnished with spring formed head wires. The wood frame is mitered and the iron frame is built in under a 3-ply laminated upper inner rim glued to the sawed walnut outer bentside. 18 note bass and three treble sections terminate with screw agraffes (rather than patented suspension bridges, ie. capo bars; see "The Hallet and Davis Company", http://www.geocities.com/threesixesinarow/handd.htm).
Overstrung two-bridge grand piano with Frank St. Amant's improvements of the "Brown action." Brown's principle compresses the repetition or duplex spring acting upon the hammer through the underhammer lever by the motion of the key and escapement of the jack so that its action strengthens as the key is pressed down. St. Amant's first improvement (showing the spring pressing against suspended cords instead of bushed grooves seen in earlier verions) raised the center of the spring closer to the underhammer and shortened its upper arm. The second improvement introduced a screw button for setting the height of the hammer above the rest rail, formerly accomplished by adding or removing material from wedge shaped plates glued near to the hammer center on the undersides of the shanks. These actions, though common in Chickerings, are unusual in other pianos.
Sohmer patent, Hallet, Davis & Co. action.
Overstrung three bridge grand piano claimed as "the smallest grand piano ever made." Cheeks to either side of keyboard are square, the remainder of the case is formed roughly symmetrical with mitered inner, bent laminated outer rims. Swiss action with thin iron brackets and crow feets. Full perimeter plate with non cantilever bridges and four sections in two levels, highest 34 notes (trichord) pass through a pierced plate clamped by a pressure bar, remainder terminate with screw agraffes. Legs reproduced from pattern in Michel's book.
Overstrung piano with composite metal frame and downstriking action. The special repetition action fits below the cantilever keys directly above the wrest plank and strings, (functioning similar to "Mr. Zeiter's new Grand Action." Penny Cyclopedia C. Knight & Co, London. 1843), with adjustable brass hammer flanges using special compound thread screws. The case is roughly hexagonal set on a central pedestal with three supporting legs and two pedals. Its ribs are fanned but the strings are parallel in contrast to famous designs making advantage of higher tensile strength wire but also requiring them to be fanned out.4
Many writers on the development of the modern piano emphasise the fixity of the strings, for some striking them toward their bearing points (only Dolge dismisses the practice, because it "throws the tone into the piano with no chance to escape", p.56 Pianos and their Makers, Dover Publications. 1911), and others arranging the longest possible scale with bridges closer to the middle of the soundboard. Both apply to this obsolete design where strings are longer than if they were perpendicular to the keyboard and more centrally placed than if they were at angles, (in particular where the soundboard is partially or entirely divided, the "petit table d'harmonie"), but the continuous and somewhat symmetrical frame also efficiently distributes the tension in the strings (one author mistakes the advantage of placing the strings closer to the strong bottom for putting them closer to the floor!).
Reseach from a 1836 inverse strung "pocket grand" at Royal Northern College of Music, Manchester.
Overstrung three bridge upright piano with full perimeter plate and window block wrest plank. Iron frame extends along both sides which bolt to it directly and independently, as do most structural pieces. Soundboard panel with liner distinct from sides and set in below treble bridge, with 5cm tall bridges and horizontal fanned ribs.
Overstrung upright with special stringing devices. Square headed screws operate upon tubular sleeves formed with grooved extensions to adjust downward pressure upon individual strings between ordinary tuning pins and screw agraffe counterbearings, intended as fine tuners. Bass strings pass over a pinned nut cast with the frame, the tenor notes pass over a metal rod set into a wood nut, and the treble notes pass over a separate sharp triangular bar. Screw agraffes are applied to the soundboard bridges to clamp the strings against wood bearings. Long jacks are coupled to the hammer butts with springs and ties, and extensions from the hammer butt carry buttons meant to check against pieces glued to the jacks. Case parts stamped "655", and this number is conspicuously stamped on the soundboard. The removable panels are also stamped with "C. C. N. & Co.", probably Cowdery, Cobb, Nichols & Co., successors to Church & Lane's case-making business at Winchester, Mass (Knight, Ellen. "Music History" Town of Winchester Official Website, 2005 http://www.winchester.us/communityconnection/music.html). The wide panel above the fallboard functions as a music rack and uses swivelling hardware holding it at different angles.
Gramer patent, Rogers action and tuning pin
Small overstrung welded steel frame upright with significant case damage and parts missing, probably built by C. E. Rogers & Co. in Boston around 1885.8 Round head key screws fit into cloth padded holes in the lower ends of stickers, and the upper ends of the stickers are pinned to small cross pieces which are pinned to the escapement pieces. The opposite ends of cross pieces are pinned to the lower extension of the hammer butts, the hammer butts are slotted making a driving nose and escapement recess for the padded free ends of the jack pieces that are joined to the stickers with coil springs. The hammer butts are pinned above the nose to the main flange which also holds the letoff screws and damper levers. Cloth lined hook shaped blocks on the string side of the stickers push bent wires pivoting from the lower end of the damper levers. Wrest pins are carried on separate plates screwed in the usual area to the frame. The square drive pins are recessed to press fit on short cylindrical studs projecting from the steel plates, and are furnished with lengthwise slots capturing the bent becket ends of strings, and enabling string tension to act compressively upon the studs. The x pedal acts upon the hinged back rail of the key frame to raise the keys in order to shorten the distance of the hammers from the strings.
Inline strung miniature upright piano with double stringing probably made prior to 1877 patented by Stefan Brambach, with double-flange, tape-less action and French-style underdampers. Hammers are returned by weighted back check catcher moldings.
Continuous bridge wood frame square with extra keys with missing pieces patterned after an 1827 square.
Inline strung iron frame squares with "Low's American action." The hammer shank passes through a knuckle block forming a gap with the butt, to admit the top end of the hopper during escapement. The post is padded as well as the setting off button, the whole arrangement intended to reduce the noise of the hopper when it returns to its resting position (although there is considerably more rubbing friction than the double action as the hammer is raised).
Broadwood, Martin, and Hews legs
Continuous bridge wood frame square piano with old fashioned English action (Hipkins called the action "old man's head" and dampers "Irish"- "Pianoforte", G. Grove, ed. A Dictionary of Music and Musicians. MacMillan & Co., London, 1880). The missing pedal is meant to act upon the hinged back rail of the key frame raising the keys in order to simultaneously lift the dampers from the strings and shorten the distance of the hammers from the strings.
Wood frame inline strung square piano with string plate and French action. These instruments feature an earlier version of the familiar American square action derived from Petzold's c.1806 design, with short jacks returned by torsion springs inserted though a slotted hole at the base of the crank. The crank is padded and acts upon the rounded end of a set screw. The adjustable hammer flanges are formed of two pieces, with the bottom piece slotted with a vee groove for the center bushing, and cut partways through to permit the necessary bending, regulated by a small flathead screw between the flange screw and hammer butt.
Informal researches about designs from important Paris piano maker Henri Pape. English language literature confuses his contributions to the instrument, variously depicting ingenious but inconsistent inventions (Dolge, Loesser) up to outrageously useless ones (Atwood, William G. The Parisian Worlds of Frédéric Chopin. Yale University Press, 1999), in general without reference to either instruments or patents, showing perhaps the most powerful technology used developing the modern piano was the press. (Stanhope's rather than Lindeman's; here is a little review about the book Touches à Touches I bought that I think is printed on demand). This checklist might become more informative if it grows.
Tiny viol shaped fiddle with sympathetic strings like Battista Genova example from the Donaldson Collection except it has ribs. The plates are more or less translucent
Like unlabelled instrument in the Caldwell Collection.
Nylon strung arch back guitar with new finger board for playing microtones and sounding board with rib design controlling frequency response.
10-string solid body guitar similar to Bullet made by Fender that fits a case I found.
Short keys switch solenoids striking ends of vertically suspended rods in small cabinet unit.
Short compass monophonic electronic organ keyboard mounts under a piano keybed and is portable in original wooden cases.
Additive synthesizer with tuning tables and tunable partials with MIDI interfaces and Apple II software.
Five octave single manual flat top pump organ with keyboard emphazing intervals.
Three octave and a fourth spinet virginal with rectangular case approximately Ruckers size with split keys.
A reeded tripart stool combines features of piano legs with a stool I saw at a consignment store. A little elm pee pot inspires a bench with lots of storage.
Not limited to celebrated tone woods each material used in musical instruments possesses a unique combination of properties.
Measured computer drawings offer a more portable method for recording as well as reproducing features observed in music instruments and probably other artifacts, compared with old fashioned full size plans.
1 Edwin Good wrote "Like most makers of the time, Chickering used an action that was peculiar to that company's pianos. There was no established specialist company making actions in the United States at that time [there were, at least, established specialist companies - a hardware and screw manufacturer began in Philadelphia 1822, and in Mass., Tristram Libby made actions (for Timothy Gilbert) at Westboro, 1833-1840, Vose began as a keyboard manufacturer in Boston, 1838 and J. C. Lane piano cases, legs and keys in Leominster, 1845], and besides, the leading manufacturers felt it important to be able to claim complete control over both manufacture and assembly of their instruments. Chickerings's action was one patented in 1843 by Edwin Brown, who vacillated between working for Chickering and trying vainly for independent success[!]. Brown's action was a staple on Chickering grands for about sixty years...It was a modification of the English grand action. [it is obviously based on the English square action, though Chickering used the "grand action" in at least squares and cocked hat grands in early 1860s; New York makers preferred the "French action" similar to the "grand action" but with crank shaped jacks] I have seen a Brown action on only one piano other than Chickerings: [see entry for Miller 14752 above] a monstrous pedal Grand... made by J. W. Brackett in the 1870s.[Garlick coll., Cantos Music Foundation]"
Edwin Brown was born June 19, 1805 in Fitchburg, oldest son of Ellery Brown and Emma Harris (The Descendants of Richard Hutchinson). He departed for Boston about 1821, though he later kept a home in Leominster. In 1830 joined the Mass. Voluntary Militia as ensign, and was promoted to lieutenant in 1831; he was recruited into the Honorable Artillery Company 1833, and was discharged March 31, 1835, listed as piano maker in Brown & Hallett (corner of Essex and Washington Street; Oliver Ayer Roberts, History of the Military Company of the Massachusetts, 1898. p103), and joined Mass. Charitable Mechanics Association as piano maker in 1836. By 1845, he listed Chickerings adress, where he worked as foreman for ten years, and where he developed his action, and by 1854 he is listed partners with Henry Allen and George A. Allen in Brown & Allen, also 1860, probably continuing through 1869 (although George Allen became partners with Wade H. Jewett 1861, Brown & Allen - possibly only G. A. Allen - is mentioned in a guide to Boston published 1869). After 1870 he worked under his brother John P. Brown (Sep 14, 1814-) at Woodward & Brown. He patented a string muting attachement and his action for pianos, and attachments for farm vehicles (US US 48,513, and US 50,682). He was married to Sarah Brown (ca.1811-), and died September 1902.
John W. Brackett (c.1830-) is listed partners in Brackett & Robinson with M. T. Robinson at 18 Avery in 1860, and without Robinson at 18 Avery street from 1861 through 1870, then at 409 Washington in 1872, 581 Washington 1875,122 Eliot in 1884 and 123 Blue Hill av. in 1890. He advertised "pianinos," small square pianos costing about $150, and "pedalies" for organ practise as early as 1861.
Further information about these actions is at http://www.geocities.com/threesixesinarow/browna.htm
2 Pierce Piano Atlas account of this company is confusing: "Hallet & Davis. Est. 1835, as Brown & Hallet, at 293 Washington St., Boston, MA. Brown retired in 1843 and he was replaced by George H. Davis. Hallet became part of Hallet, Cumston & Allen, in 1847, when Mr. Davis retired. Allen resigned from Hallet, Allen & Cumston to formed [sic] Brown & Allen about 1850. Hallet & Cumston was formed when Allen withdrew and they made pianos for many years thereafter. Adress in 1851 & 1852 was 409 Washington, Boston, which appears on iron plate of square piano #9932. In 1879 the business was incorporated as Hallet, Davis & Co..."
"Allen Henry, Boston 1862 to 1873 later Allen & Co."
"Brown & Allen, 1835, see Henry Allen."
"Brown & Hallet, est. 1833, in Boston at the corner of Washington Ave.,and Washington St. Name was changed to Hallet & Allen, then Cumston joined the company."
"Hallet & Cumston, est. 1849, by William Hallet in Boston, MA..."
"About 1851 Henry Hallet & Russel Hallet withdrew from Hallet & Cumston and formed Russell Hallet & Co., about 1870 in Boston."
"Lord Geo., Goston [sic] 1837 to 1850."
"Lord, Gilbert & Cumston, Boston MA. in 1838." (entry for Timothy Gilbert contradicts earlier correct statement this was Lemuel Gilbert)
"Woodward & Brown, est. 1842, at 293 Washington, Boston. In 1860 at 377 Washington. Located at 175 A Washington in 1885. Moved to 200 Tremont St., in 1895."
Russell Hallet, piano forte maker, is listed at 74, Boylston street in 1829 and 1830, and joined the Massachusetts Charitable Mechanics' Association 1837, the same year as Edwin Brown.
In 1839, Lemuel Gilbert left Lord, Gilbert and Cumston, located at the corner of Washington street and Hayward place.
Hallet, Davis & Co. advertised they began business 1843, following a partnership of Hallet, Davis, & Cumston, after which "the firm name has remained practically unchanged" (Hallet, Cumston & Allen won a silver medal 1845, and are listed in an 1847 advertisement ). Woodward & Brown advertised they were established the same year.
In 1845, Hallet (Russell 1807-), Davis (George H. 1811-1879) & Co. (H. Allen 1793-1871) are listed 293 Washington; Brown (John P. 1814-), Hallet (R.) & Woodward (I. c.1811-) are listed at the same adress but separately. Lord (Geo.) & Cumston (Wm. 1813-1870) are at 339 Washington, and Isaac Woodward & Co. at 352 Washington. Edwin Brown (1805-1902), piano maker is listed at 334 Washington (J. Chickering).
About 1850 Hallet, Davis & Co. employed 50 workers, Hallett & Ladd, water power, 25 workers, Hallet, Cumston & Allen, 20 workers, Woodward & Brown, steam and water power, 20 workers.
Hallet, Davis & Co., 409 Washington street exhibited at the 1853 New York Exhibition.
A receipt from Hallet (Russell) & Allen (Henry), 339 Washington street, "successors to Brown & Hallet" dated Feb. 15, 1851 for "1 Rd. Cor. Rosewood 7 Oct. Piano Forte | Carved Legs & Rd. No. 4621 $350." uses stationary printed for Hallet, Cumston & Allen with William Cumston crossed out.
In 1854, Hallet, Davis & Co. are listed at 409 Washington, Hallet & Cumston, 339 Washington, Woodward & Brown, 337 Wash., Brown & Allen, 354 Wash., Reuben F. Gray & Co. 364 Wash.
In 1855 Hallet, Davis & Co. established a factory on the site of Chickering's old warerooms at Franklin square.
In 1855, Hallett (Benjamin F. 1811-1882), Davis (G. H.), & Co., 409 Washington, Hallet (Russell) & Cumston (Wm.), 339 Washington, Woodward (Isaac) & Brown (J. P.), 387 Washington, Brown (Edwin) & Allen (H. & G. A. 1822-1874), 354 Washington, Brown, (Geo.) & Munro (John), 569 Washington, Gray (Reuben F.) & Woodward (Lorenzo D. c.1823-), 364 Washington. George Lord is listed at 339 Washington (H. & C.).
In 1857 Hallet, Davis & Co. advertised 409 Washington street as the adress of their warerooms.
In 1860, Hallet (B. F.), Davis (G. H. & C. S.), & Co., 409 Washington, Hallett (Russell) & Cumston (Wm.), 339 Washington, Woodward (Isaac) & Brown (J. P.), 387 Washington, Brown (Edwin) & Allen, 356 Washington. Henry Allen is listed at 395 Washington (W. P. Emerson), George Lord, 339 Wash. (H. & C.), and L. D. Woodward, 364 Washington.
In 1865 Henry Allen became partners with Wade H. Jewett in Allen & Jewett.
In 1861, Hallet (B. F.), Davis (G. H. & C. S.) & Co. 409 Washington, Hallett & Cumston, 339 Washington, Woodward & Brown, 387 Washington, L. D. Woodward, 364 Washington.
Hallet, Davis & Co.'s factory at Franklin square burned 1864, and a new six story factory was completed 1866 on Harrison Avenue, between Canton and Brookline street (The James Hotel built on the site of the burned factory was later purchased by New England Conservatory). Allen & Jewett's factory in Leominster also burned in 1864.
In 1864, Hallet (T?) & Davis, 272 Washington, Hallett & Cumston, 339 Wash., Woodward & Brown, 387 Wash., Hallet & McNeil, 283 Wash.
In 1865 James S. Cumston joined Mass. Char. Mech. Assoc.
In 1865, Hallet (B. F.), Davis (G. H. and C. S.) & Co., 272 Washington, Hallett (Russell) & Cumston (Wm.), 339 Washington, Woodward (Isaac) & Brown (J. P.), 387 Washington. Henry Allen is listed at 344 Washington, George H. Brown at 387 Washington (W. & B.), and Lorenzo D. Woodward is listed without adress.
Allen & Jewett dissolved partnership in 1869.
William Cumston died 1870 and was succeeded by his son James S. Cumston.
In 1870, Hallet (B. F.), Davis (George H. and C. S.), & Co., Harrison ave, corner of East Brookline and offices at 272 Washington, Hallett & Cumston (James S. Cumston, 1842?-), 339 Washington, Woodward (Isaac) & Brown (John P.), 387 Washington. Henry Allen (piano warerooms) and George A. Allen (manufacturer, Allen & Co.) are listed at 170 Tremont, Edwin Brown and George H. Brown at 387 Washington (W. & B.), Lorenzo D. Woodward is listed without adress.
Henry Allen died 1871.
Hallet, Davis & Co. advertised by 1872 they had manufactured more than 16,000 pianos, and offered new instruments priced between $340 and $1,400.
In 1872, Hallet (B. F.), Davis (George H.) & Co., Harrison avenue corner of East Brookline, and offices at 272 Washington, Hallet & Cumston (Jas. S.), 339 Washington, John P. Brown (Woodward & Brown), 387 Washington, Isaac Woodward (Woodward & Brown), 514 Washington. Russell Hallett is listed at 143 Tremont, Edwin Brown at 514 Washington (W. & B.), Lorenzo D. Woodward is listed without adress.
George A. Allen died 1874.
In 1875, Hallett (B. F.), Davis (George H.), & Co, Harrison avenue, corner of East Brookline, and offices at 484 Washington, Hallett & Cumston (James S.), 517 Washington, Woodward (Isaac) & Brown (John P.), 514 Wash. and 690 Wash. Edwin Brown is listed at 690 Washington (W. & B.) and Lorenzo D. Woodward is listed without adress.
In 1878, Hallett, Davis, & Co. 436 Washington, Hallett & Cumston, 1287 Washington street, Woodward (Isaac) & Brown (J. P.), 690 Wash. Edwin Brown is listed at 690 Washington (W. & B.).
George H. Davis died 1879. Russell Hallett retired by 1880.
In 1879, Hallet & Davis Co., warerooms at 436 Washington, Hallett & Cumston, 459 Washington street, Woodward & Brown, 592 Washington.
Hallet & Davis Co. had manufactured nearly 25,000 pianos by 1881. They listed offices and warerooms at 436 Washington Street.
Russell Hallett died in 1881 or 1882, and B. F. Hallet died 1882.
In 1882, Hallet & Davis Co., 700 Harrison av and 436 Washington, Hallett & Cumston (mnfrs.), 459 Washington and rear, 1287 Washington, Woodward & Brown, 592 Washington. Brown Edwin is listed at 592 Washington (W. & B.).
In 1883, Hallet & Davis Co., 436 Washington and 700 Harrison avenue, Hallett & Cumston, 459 Washington, Woodward & Brown, 592 Wash. Edwin Brown is listed at 592 Washington (W. & B.).
In 1884, Hallet & Davis Co. 700 Harrison avenue and 167 Tremont, Hallett & Cumston, 157 Tremont, Woodward & Brown, 175 A, Tremont.
In 1885, Hallet & Davis Piano Mfg. Co., 700 Harrison avenue corner of East Brookline, and salesroom at 167 Tremont, Hallett & Cumston (James S.), 1287 Washington office 157 Tremont, Woodward (A. S.) & Brown (J. P), 175A Tremont. Edwin Brown and Lorenzo D. Woodward are listed without adress.
In 1889, Hallet & Davis Piano Co. 700 Harrison av., salesroom 179 Tremont, Hallett & Cumston (James S.), 157 Tremont, factory rear 1287 Washington, Woodward & Brown (John P.) Edwin Brown, and Lorenzo D. Woodward are listed without address.
In 1890, Hallet & Davis Piano Manufacturing Co., 700 Harrison avenue, salesroom 179 Tremont, Hallett & Cumston, 1293 Wash., and 157 Tremont. Edwin Brown and Lorenzo D. Woodward are listed without adress.
The earliest numbers given in Pierce Piano Atlas are "1850-9800, 1855-11400" but an overstrung square with 9070 stamped on the soundboard bears the label "Patent Suspension Bridge. Patented Sept. 23d 1851. Manufactured by Hallet, Davis & Co. N° 409 Washington Street, Boston Mass." on the corresponding part. This is a pinned capo bar for notes above the treble strut cast integral with the iron frame, part of Louis H. Browne's patent showing a grand piano with double iron frames, attached to the soundboard with screws and which is strained like a drum head. The action has a spring tying the hammer shank and jack, as well as the backcheck on a lever acting separately from the key, is shown with the hammer toward the front of the key to allow a shorter instrument (US 8383), some of the features were adopted for the repeating grand action shown above. A piano case Browne showed at the 1845 Mass. Charitable Mechanics' Association Exhibition "merited encouragement, in 1855 gave his adress as 20 Essex, building pianos by hand with about 8 workmen. The two bottom keys are stamped "207" and the top key is stamped "A. Nichols" - possibly Albert Nichols, listed as a pianomaker from 1855 to 1885 and at 409 Washington in 1860 and 511 Washington in 1865. (The checklist of pianos in the Kenneth G. Fiske Museum at Claremont Colleges, California, includes a square piano number 11272 by Hallet, Davis & Co. (K19: http://www.cuc.claremont.edu/fiske/pianos.htm) with the back of the nameboard signed "Wm. J. Gould Polisher, Boston, Mass. Nove. 26 1864." Gould is listed as a polisher in the 1855 City Directory, and at Hallet, Davis, & Co. in 1860, and 272 Washington 1865)
3 Dolge wrote "Among the firms who have done much to keep Boston to the front is the Henry F. Miller & Sons Piano Company. Henry F. Miller, born at Providence, R. I., on September 25, 1825, was educated as a musician and acquired a reputation especially as an organist. His commercial inclination prompted him, however, to accept an offer of the Boston piano makers, Brown & Allen, to join their forces in 1850. After studying with this concern for seven years, he accepted a more promising position with enterprising Emerson, and in 1863 started, in connection with J. H. Gibson, who was an expert scale draughtsman and constructor, to make the 'Miller' piano. Success followed his efforts, and in course of time he admitted his five sons to partnership, incorporating finally under the name of Henry F. Miller & Sons Piano Company. He died on August 4, 1884, at Wakefield."
Miller was son of Edward F. and Charlotte H. Miller, and worked for his father in Providence as watchmaker before joining Brown & Allen whose adress he gave in 1855, listed as a clerk; he also worked as clerk for W. P. Emerson.
Miller & Gibson (Joseph H. c.1831-) is listed at 344 Washington in 1864, as H. F. Miller in 1865, and H. F. Miller & Sons Piano Co. by 1870, adding an adress at 395 Boylston, and 86 Lenox and 611 Wash. in 1875, with Gibson listed as foreman, and superintendent by 1878. By 1882 a factory was established in Wakefield, on Smith behind the Town Hall, with warerooms at 611 Wash and at 156 Tremont in 1885. The company was incorporated in 1884, after Miller's death, under the direction of Miller's sons, with $150,000 paid-in capital, and by 1890 produced more than 1000 pianos a year (History of Middlesex County, Massachusetts, 1890. p735).
4 Henry Steinway acknowledged precedent for overstringing in squares and uprights but claimed, "though some attempts may have been made in that direction I have after much research failed to find that an overstrung grand piano has, prior to the date of my present invention, ever been constructed," (US 26,532, 20.12.1859; an early English patent didn't only claim its application in uprights and wasn't required to be embodied in order to remain legal unlike for French brevets at the time - Godwin, EN 70211836.03.08) and this was echoed in advertisement by musical celebrities ("now residing in this country"; Scientific American. Sept 8, 1860. p. 174). Hipkins credited him the invention, but mentioned overstrung grand pianos displayed by Herman Lichtenthal at the 1851 London Exhibition ("not so much for tone as for symmetry of the case"; Hipkins, A. J. The History of the Pianoforte. Scientific American Supplement, No. 385, May 19, 1883; as for the tonal advantage of the arrangement, Hipkins had already written they had "hitherto been impaired by inequality in the scale" - Groves, 1880). This precedent had been asserted by Chickering & Sons on behalf of their Russian co-exhibitors (Parton, James. The Piano in the United States. The Atlantic monthly. July 1867 p. 84), and ten years later in the New American Cyclopaedia (Appleton & Co., New York. 1861: "[the overstrung base] is found in a Russian piano now in New York made at least 15 years since."); however, Oscar Paul provided remarkable counterarguments disputing the priority of any competing claim (Reports of the commissioners of the United States to the International exhibition held at Vienna, 1873; although commendable for conveying his admiration of the instruments of his countrymen, perhaps they would have been better served if they, as well as other exhibitors, were mentioned by name - but perhaps Paul himself, like Steinways and their chief rivals, wasn't in attendance).
Steinway emigrated to the United States in 1851 (Dolge, Alfred. Pianos & Their Makers. Dover, NY. 1972. p.301) and though from then on American patents would have been more accessible than European patents, a patent for overstringing had been issued to Lichtenthal in Belgium ten years earlier (1838: Belg. No. 1050. Order No. 144 - Harding, p.362). Furthermore, Steinways had worked for other New York makers before starting in their own name, including at least one company which had displayed instruments at the 1851 exhibition (Henry, sr. - Laucht; Henry, jr., Charles, Albert - Bacon & Raven; William - Nunns & Clark. Crombie, David. Piano. GPI Books, San Francisco, 1995. p.102; Henry jr. is also supposed to have worked for Pirsson, another exhibitor; Lenehan, Michael. K 2571 -The Making of a Steinway Grand. 2003).
Originally from Bielitz, Austria, Lichtenthal emigrated to Brussels 1827, and petitioned for citizenship October 1829 before emigrating to St. Petersburg (Cilli Kasper-Holtkotte. Deutsche Juden Als Pioniere Judischen Lebens in Belgien, 18./19. Jahrhundert. Brill, Leiden, Boston, 2003. p348). Stolpyanskiy wrote his workshops were destroyed in 1830, but Felix Jastrebski is supposed to have worked in them after 1831, (ÊËÀÂÅÑÈÍ. ÊËÀÂÈÊÎÐÄ. ÔÎÐÒÅÏÈÀÍÎ : ÌÓÇÛÊÀ  ÑÒÎËÈ×ÍÎÌ ÑÀÍÊÒ-ÏÅÒÅÐÁÓÐÃÅ 1926; Schils, Marie-Christine Piano droit (milieu XIXe siècle) (2002); Closson, Ernest. l'Histoire du Piano), it is possible he emigrated about 1836 ("La manufacture de pianos est fondée par le banquier Berden à Bruxelles en 1836 sur les cendres de l'atelier d'Herman Lichtenthal"; adding he arrived in Brussels from Silesia in 1823 - Pianos Esther. François Berden, Manufacture royale de pianos) but this date has been given illogically as late as 1851 (Colt). Credited establishing the manufacture of grand pianos in Belgium, he introduced a piano-viole in 1830 (Natalis Briavoinne. De L'Industrie en Belgique. Eug. Dubois, Bruxelles, 1839), and obtained a patent for the action used in most current uprights that is usually credited to Robert Wornum (1832, Bel. No. 538, Order No. 113 - Harding, p.319 ). Writer Peter Lichtenthal was his brother. (Vermeersch, Peter. Sounds to Cherish.. Andante, 2003).
A small Lichtenthal 'dog-kennel' upright from 1840 is shown in Colt's book (Colt, C. F. The Early Piano. Stainer & Bell. London. 1981. p.120).
Mary Volkonskoy's Ëèõòåíòàëü (Lichtenthal) grand piano (äîìå-ìóçåå äåêàáðèñòîâ, Irkutsk), http://www.piano.sitecity.ru/ltext_2901132415.phtml?p_ident=ltext_2901132415.p_0202235900
Ivan Sergeyevich Turgenev's Lichtenthal square piano http://www.piano.sitecity.ru/ltext_2901132415.phtml?p_ident=ltext_2901132415.p_0902165044
5Most of the patented features from these pianos were issued to George W. Neill. Born 1832, Neill had manufactured pianos at Baltimore in partnership with Mark Duross (b.ca.1826, in Ireland, listed at Philadelphia in 1850, 1860 and 1880). Neill & Duross were listed at 77 West Baltimore in 1852 and 1853, and 77 Baltimore Street, second floor and Neill, Duross & Co. as piano makers at 66 West Fayette in 1857. By 1870, Neill was listed as foreman at the Chickering factory in Boston, where he remained until moving to New York about 1885.
Neill held patents for metal frames (US 79591, 1868.07.07; US 88729, 1869.04.06), upright actions (US 100550, 1870.03.08; US 197526, 1877.11.27; US 204752, 1878.06.11; US 208328, 1878.09.24; US 214836, 1879.04.29; US 223060, 1879.12.30), and music desks (83773, 1876.10.31).
The action in Chickering 59419, with moving parts primarily made of metal bar, is illustrated in La Grande Encyclopédie about 1882, labelled "Mécanisme moderne." This action includes details patented by Ignazio Fuso.
6Dolge wrote "William P. Emerson, who started in Boston in 1849, had perhaps more business acumen than mechanical talent and artistic inclinations. He started to make a low-priced instrument and built up a very large and profitable busness within a few years. In 1854 he engaged C. C. Briggs, an expert piano maker of standing, to improve the piano, which as accomplished with such success that a reputation for superior quality was soon established and the name of Emerson became a valuable trademaker. Emerson died in 1871, and the business came into possession of William Moore, who sold his interest in 1879 to P. H. Powers, O. A. Kimball and J. Gramer. They organized the Emerson Piano Company, with Patrick H. Powers as president. Under his able management the business grew to commanding proportions. The product was continually improved to maintain its position as a high-class instrument, and the company enjoyed an enviable reputation for integrity and reliability."
William P. Emerson was born October 22, 1820 in Boston. He joined the Mass. Charitable Mechanic's Association 1856. His company built about 1000 pianos yearly mid-1860s, and was considered the fourth largest manufacturer in the country, with more than $230,000 sales in 1869. He died April 19, 1871.
W. P. Emerson Piano Co. is listed as a partnership of Joseph W. Ellingwood and William Moore 1872, afterwards Moore as sole proprietor through 1878. By 1882 it is listed as a partnership of G. W. Carter, P. H. Powers, O. A. Kimball and Joseph Gramer, and without Carter the following year. Patrick H. Powers had become Moore's confidentional assistant 1878 (The Journal of the American-Irish Historical Society). Carter's individual entries continue the association through 1885, and a foreman named George W. Carter was listed in 1878 at the same adress in given 1882. Joseph Gramer (b.Wurtemburg c.1835) is listed partners in Gustavus A. Miller & Co. at 702 Washington about 1861 to 1870, alone in 1872 (with Miller partners with Alexander Pfaff at 708 Washington), and in 1875 he was foreman at W. P. Emerson & Co. Kimball is listed 1872 and 1875 as a pianomaker, and was half assignee of Gramer's two patents above.
Emerson's factory at 395 Washington, occupied since before 1855, burned in 1878, and subsequently the partners established a factory at 9 and 11 Randolph, warerooms 595 Wash., and in 1883 at 520 and 522 Harrison, with warerooms at 159 Tremont. In 1891 a new factory was built at 560 Harrison, with warerooms at 116 Boylston (A. M. Sammarco, Boston's South End. Arcadia Publishing, Chicago. 1998. p.109); in 1895 the company advertised having built more than 65,000 pianos, and 75,000 by 1902.
Charles C. Briggs (c.1822-), listed as a pianomaker in 1855, was a partner in George M. Guild & Co. after 1861, and in 1870 is he listed as foreman at the corner of Albany and Wareham, the adress given for W. P. Emerson. By 1875 he is listed as foreman at Guild, Church & Co. at 1125 Washington. C. C. Briggs jr. (1856) apprenticed to G. M. Guild & Co starting 1876, and became partner in C. C. Briggs & Co 1878. About 1885 C. C. Briggs & Co. moved to a 5 story factory at 5 Appleton, and incorporated 1893 as Briggs Piano Co.
The bottom key of Emerson 31896 is signed "Merchant" and stamped "R.L.P." possibly Renssalaer L. Palmer, piano key maker listed in 1860, Franklin square, and 1875. The same initials are stamped on a key in Hallet, Davis & Co. 26480.
7Spillane wrote "In 1861 Mr. Briggs entered into partnership with George M. Guild, whereupon the firm of George M. Guild & Company was formed.
"After a long stay in connection with Guild the partnership was dissolved. Mr. Briggs now entered into business with his son, C. C. Briggs, Jr., at 1125 Washington Street. After several years of steady application to the commercial and musical phases of their business, Briggs & Company had to move to the more commodious building, at 5 and 7 Appleton Street, specially erected for their use.
"The George M. Guild piano, first made in 1861, as pointed out, is another instrument well known throughout the sphere of the American music trade.
"Numerous patents have been taken out up to date for improvements of a mechanical nature, some of which possess utility... Among the inventions worth mention, which have been the product of Mr. George M. Guild's faculties, are his stringing and tuning scheme, and his sounding-board and back arrangement, which is avowedly an adaptation of an old theory to more modern conditions. Other firms, moreover, use special modifications of this method of sounding-board placement.
"But aside from particular inventions of this sort, the Guild piano is for its price and grade up to the times in most respects, being constructed by competent workmen and of good material."
George M. Guild is listed as a piano maker as early as 1855, and at 484 Washington in 1860, the adress for Timothy Gilbert & Co. George M. Guild & Co. was established 1861, in partnership with C. C. Briggs at 556 Washington in 1864, and 544 Washington and 881 Washington in 1865.
In 1870, the Guild, Church & Co. is listed as a partnership of Guild with George Hews and Cephas Church, at 881 Washington - Church had formerly manufactured piano cases at Winchester, Mass. with Joshua Lane. Briggs is listed as foreman at W. P. Emerson & Co.'s address.
In 1872 Guild, Church & Co. is listed without Church at 881 Washington (though his entry lists the company). Hews died 1873.
In 1875 Guild, Church & Co. is listed at 1125 Washington, under Guild and Horace M. Bearce, and with C. C. Briggs as a foreman.
Guild joined Mass. Charitable Mechanics' Association 1881. In 1882 Guild, Church & Co. is listed at 682 Washington, in 1883 also at the Rhoades building, State street, Cambridge, and in 1884 with factory and warerooms at 175 B Tremont (with Woodward & Brown at 175A Tremont, and 1125 Wash. listed for C. C. Briggs & Co.). In 1890, Guild is listed at 101 Bristol.
In 1871 Guild, Church & Co. advertised having built more than 7,000 pianos, and nearly 20,000 in 1885.
8Pierce Piano Atlas states "Rodgers Piano Co., Boston Mass. 1880 makers of B. F. Baker Pianos," and "Baker H. F. Made by Rogers Piano Co., 486 Harrison Ave."
Benjamin F. Baker (1811?-1889) was a well known composer and music teacher, who organized the Boston Music School, incorporated in 1857, and helped build a music curriculum used in public schools. Charles E. Rogers is listed at 344 Washington street in 1870, probably working for Henry F. Miller.
Charles E. Rogers Co. was established 1870. By 1872 C. E. Rogers & Co. is listed as a piano agency at 20 Eliot street in 1872, in partnership with Leighton Baker (Baker worked as a clerk at 290 Washington in 1870) and their advertisement in the same directory also lists 18 Eliot ; B. F. Baker is listed as a music teacher at 22 Eliot street, the adress for the Boston Music School, and also listed by Francis G. Hill, music teacher, James B. Berry, piano manufacturer, John L. Hill, piano tuner, Sumner Hill, tuner, William C. Hill, pianos, and John A. Lamson (a clerk at 465 Washington, as well as these Hills and W. H. Jewett & Co. in 1875), and L. B. Emmons, a watchmaker at 90 Washington street gives it for his home adress.
In 1874 C. E. Rogers assigned rights to Baker for an iron frame upright with the bass strings crossing through slots in the vertical braces and with tuning pins set vertically in the pinblock on the top of the instrument, in order to prevent them making noise against any metal part of the frame and to be more convenient for tuning. (US 147285, 1874.02.10)
In the 1875 Directory Rogers Upright Piano Co. is at 3 Bedford, managed by Charles E. (b.1848) and Alfred F. Rogers (b.1851) who are both listed as piano manufacturers, along with piano makers Leopold Maurer, Henry Spike, James A. Spike, and Robert Spike, as well as Barnabee & Winch, agents for Weber pianos, George A. Jones' music, lecture and concert agency (with 20 Eliot street occupied by Hugh M. Grieve's dining saloon). B. F. Baker was a music teacher at 22 School street, apparently an office building
By 1878 Charles Rogers formed a partnership with Frank G. Bacon, building pianos at 122 Eliot as Rogers & Bacon with Charles Rogers as treasurer and Alfred Rogers superintendent, also listed by Robert Spike (Henry and James Spike are listed as Spike Brothers, piano makers at 43 Bristol). Benjamin F. Baker is listed as music teacher as well as treasurer of Rogers Upright Piano Co. at 486 Harrison, with Charles H. Bacon as president. The uprights C. E. Rogers Co. exhibited at the 1878 Mass. Charitable Mechanic Fair were well received.
In 1879 Rogers & Bacon is listed at 122 Eliot, B. F. Baker Upright Piano and Rogers Upright Piano both are listed 486 Harrison avenue, indicated as B. F. Baker's factory; O. A. Gamage was general Eastern agent for B. F. Baker, listed at 567 Washington (piano manufacturer Amory Gamage lists 5 Hampden from 1872 till his death in 1882, O. A. Gamage lists 5 Hampden only in 1875).
In 1882 Rogers & Bacon added an adress at 616 Washington (listed by Ivers & Pond in 1879). B. F. Baker Upright Piano, Charles H. Bacon president with Elliot's patents, advertised their factory was at 486 to 500 Harrison and continued listing O. A. Gamage as general agent at 567 Washington.
In 1883, Rogers & Bacon are listed at 122 Eliot and 616 Washington, with A. F. Rogers is listed at 616 Wash. as a piano dealer. Henry Spike lists 122 Eliot (with Spike Brothers former adress at 43 Bristol listed for piano case makers Wehde & Sautter). B. F. Baker Upright Piano lists offices and a factory at 486 to 500 Harrison avenue, and Olonzo A. Gamage, piano manufacturer, is listed at 307 Washington.
In 1884 Rogers & Bacon, and C. E. Rogers Piano Co. list offices at 616 Washington (122 Eliot listed for piano manufacturer John W. Brackett). B. F. Baker Upright Piano, Benjamin F. Baker treasurer, and Rogers Upright Piano Co. are listed at 486 Harrison avenue.
In 1885 Charles E. Rogers Piano Co. is listed at 616 Washington, managed by C. E. Rogers, while the Rogers Upright Piano Co., B. F. Baker Upright Piano Co. (Frank O. Baker, secretary, and B. F. Baker, of Chicago, treasurer) and Charles H. Bacon (as a lawyer) list premises at 486 Washington street. An advertisement published that year indicates a stock company had been organized briefly a few years before, with Oliver Ames president (a director in American capital co., 53 Congress, "authorized to act as trustee for corporations, municipalities, individuals, etc.", with $1,000,000 capital, and at that time lieutenant governor of Mass.), and G. H. Campbell treasurer (listed secretary to the governor, 1878).
B. F. Baker died March 26, 1889; Charles E. Rogers is listed as manager at C. E. Rogers Piano Co. at 225 Tremont, and Charles H. Bacon a lawyer at 486 Harrison, also given as the address of A. M. McPhail & Co.'s factory.
Pierce Piano Atlas also states "patents on this ["H. F." Baker's] piano taken out by O. A. Gamage in 1877," although that year no patents seem to have been issued to Olonzo A. Gamage, one was issued 1874 for a related invention (US 156,663): "[t]he B. F. Baker piano and the Mason & Hamlin piano are strung upon a different principle, the tuning pin being what is called a 'set screw,' passing through a nut or collar, on the steel plate above where the 'wrest plank' would be..." (Howe, Granville L. and W. S. B. Mathews. A Hundred Years of Music in America. W. B. Conkey, Chicago. 1889). Although they continue, "[t]he Mason & Hamlin method has certain advantages over the other", "the popular Baker upright piano... never gets out of repair or tune, having the Elliot patent tuning slide." (Reno Evening Gazette, 1882) This probably refers to Joseph D. Elliot's 1876 patent "tension devices for piano-forte strings," (US 179,903) which was reissued 1877 (reissue no. 7933). In both cases the patent was assigned to Rogers Upright Piano Company, and B. F. Baker signed as witness. Elliot received patents for piano actions in 1877 (US 193495, assigned to Rogers Upright Piano Company) and 1881 (US 244,201 with J. A. Spike but assigned to Elliot).
Charles E. Rogers received patents for piano actions (US 124289, 1872.03.05; US 160281, 1875.03.02; US 171046, 1875.12.14; US 199314 with A. F. Rogers, 1878.01.15; US 326335, 1885.09.15) and tuning devices (US 15667, with A. E. Manning, 1874.11.10; US 171047, 1875.12.14; US 197407 with A. F. Rogers, 1877.11.20; US 293088, 1884.02.05; US 331825, 1885.12.08), most assigned to Rogers Upright Piano Company or C. E. and A. F. Rogers, but the 1885 tuning pin is assigned to George M. Guild. The Rogers upright exhibited at the 1876 Exhibition in Philadelphia is described in the catalog: "The mechanical principles employed secure claims for this instrument of the greatest utility and practical importance to musicians and amateurs." (exhibiting next to Mason & Hamlin, see Free Library of Philadelphia, Centennial Exhibition Digital Collection c062191). In 1884, a Rogers upright cost $850, $200 more than a Steinway ("Billings & Richmond", New York's Great Industries, Historical Publishing Co., NY, 1884. p101)
9 Pierce Piano Atlas says "Arion Piano Co., See Simpson and Model Pianos, John B. Simpson took control of the Arion Piano Co., about 1869 made pianos up to about 1885, name changed to Estey 1885...
"Simpson Co., Maker of the Model Piano affiliated with Arion Piano Co This name was later changed to Estey. Simpson was established about 1875.
"Simpson & Co., Took control of Arion Piano Co., 1869. Arion changed to Estey Piano Co., in 1885. See also Arion Piano Co... Simpson & Co. sole manufacturers of Arion pianoforte at 5 east 150th St., New York, factory at 150th St. 1876 to 1885..."
In 1857 Charles G. Manner is listed at 78 Third av., and in 1859 G. C. Manner & E. Gabler are listed at 311 Rivington (and Gabler and Chas. Manner, piano maker, as neighbors in that year's federal census). In 1860, Manner is listed at 311 and 315 Rivington.
In 1869, the Arion Piano-forte, constructed according to "Manner's patent" could be seen at Covell & Co.'s warerooms at 554 Broadway and 92 Crosby (as well as Covell's patent gas-lamps, and French china, cut glass, clocks, bronzes and fancy goods), where Simpson was listed as an importer. George C. Manner listed that adress as well as 187 Bowery, and in 1870 Manner & Co. lists only 187 Bowery; Arion Piano Co. is listed at 5 East 14th Street and the same adress is given as their warerooms in an 1874 advertisement, with their factory at Mott Haven, apparently at 149th Street and Third Avenue, established in 1872 and two years later expanded to include an adress at East 150th Street and St. Ann’s Avenue ("Pianos In the Bronx" Bronx Historical Society). The company's officers are listed as Charles H. Covell, president, with John B. Simpson as secretary and treasurer and George C. Manner as superintendent. Simpson's position advanced 1875, and in 1876 Simpson & Co., "Sole Patentees and Manufacturers" of Arion pianos, advertised building as many as 75 pianos a week, their newest models priced $450 and $550, and in 1877 were assignees of Stephan Brambach's "model piano" patent. The company occupied the entire north side of 149th street between Brook avenue and St. Ann's avenue by 1879 (Michael D. Caratzas Landmarks Preservation Commission,May 16, 2006, Designation List 374, LP-2195), but by 1880 sold it to William E. Wheelock & Co. (formerly of Billings & Wheelock, reed organ manufacturers listed at 14 East 14th Street in 1876), indicated at 149th Street near Third Avenue (though McDonald's Arion Piano Warerooms advertised 1880, at 143 Fourth Street, near South Third Street, Brooklyn - A. R. Black, Brooklyn Life, Walzes. John V. Meldowny, 1880; C. B. McDonald is listed 1870 at 144 Fourth Street). Simpson & Co. continued listing an adress at 6 East 14th Street through 1885, as well as 127 East 129th Street and 232 East 40th Street, next door to Brambach from 1881 to 1883, and in the same building in 1884 (Caratzas).
In 1885 Simpson became partners with the Estey Organ Company of Brattleboro, Vermont, organizing the Estey Piano Co. with Simpson as vice-president, and Brambach as superintendent (Phil Stimmel "Estey Piano Company", Estey Virtual Museum). A new factory was completed 1886 at the corner of Southern Boulevard and East 134th Street, and extended further on Southern Boulevard 1890. Spillane indicates Brambach (who he calls a tuner) continued direct Estey's development, although he had started his own company 1885; Simpson later became president, and was in charge of the company through 1917. (Simpson also was also active in the Episcopalian Church serving as warden of the St. Sacrament Church in Bolton [and donated an Estey organ to it 1868], was president and principal stockholder of the Green Island Improvement Company, building the Sagamore Hotel and resort there in 1883; Gale J. Halm and Mary H. Sharp, Lake George, Arcadia Publishing, Charleston SC, 2004. p49 - and a trustee and a vice president of the New York State Historical Association, 1919)
George C. Manner patented improvements in the construction of square and grand piano frames (US 59619, 1866.11.13; re3004, 1868.06.23; US 141152, 1873.06.22), upright pianos (US 97943, 1869.12.14; re5470, 1873.07.01), and upright actions (US 137377, 1873.04.01)
Brambach's patent for the miniature upright claims a hinged lid set in from the front panel including a fretted vertical panel, with an extended top as seen on reed organs. Brambach patented another design for upright cases (US D25198, 1896.02.25), as well as backchecks in upright actions used in early Esteys (US 322089, 1885.07.04 and US 363947 1887.05.31), music racks (US 170619, 1875.11.30), and upright piano construction (US 1210593, 1917.01.02). He signed as a witness for Aloys Brambach's original patent for a tuning standard device for pianos (US 718691, 1904.10.25)
10
Hipkins wrote "It was John Broadwood, in 1788, who first endeavoured to equalize the scale in tension and striking place. Assisted by Signor Cavallo and the then Dr. Gray [M.D.] of the British Museum, he produced the divided belly-bridge which enabled him to reduce the length of the bass strings, and hence gained a uniform striking place. He adopted 1/8 the vibrating length, allowing much latitude in the treble." (Proceedings of the Royal Society, 1884) David Wainwright adds, "It was Dr. Gray who, with Cavallo's advice and Broadwood's encouragement, experimented with the striking point of each string to establish the vibrating length that would give the best tone."
Tiberius Cavallo's paper "Of the Temperament of Those Musical Instruments, in Which the Tones, Keys, or Frets, are Fixed, as in the Harpsichord, Organ, Guitar, &c" was read to the Royal Society April 3, 1788 and published in the society's "Philosophical Transactions" that year (Wainwright points out that pianos are omitted from the title's list). In 1803 he wrote "the great object in adjusting the sizes and lengths of [pianoforte] strings, is to contrive that each string be stretched by a force proportionate to its thickness and length ; otherwise the instrument will not have a uniform voice. - Few makers of such instruments pay sufficient attention to this particular." (The Elements of natural or Experimental Philosophy, T. Cadell & W. Davies, London, 1803. p.389-90; seven years later James Broadwood wrote his firm's tuners used the equal temperament Cavallo predicted "would not be pleasant" p388).
Edward Whitaker Gray had presented the Royal Society with accounts of a 1795 earthquake, static electricity in 1788 (a more likely connection with Cavallo than botany), and "African serpents" in 1789. In 1799 Thomas Young sent "Outlines of Experiments and Inquiries Respecting Sound and Light" to Gray, who served as secretary of the Royal Society from 1797 to 1806, besides being the Keeper of Natural Curiosities at the British Museum. Young's survey of current theories was read to the society in January 10, 1800 and published in that year's "Philosophical Transactions." Young wrote that the subject of the motion of vibrating strings "...hitherto, excepting some slight observations of BUSSE and CHLADNI, principally on the motion of rods, nothing has been attempted on the subject." His own observations of different points along a string agreed with Euler's and Lagrange's theories on harmonics, and he found that if "a chord be inflected at one-half, one-third, or any other aliquot part of its length, and then suddenly left at liberty, the harmonic note which would be produced by dividing the chord at that point is intirely lost, and is not to be distinguished during any part of the continuance of the sound," long held as the main determination for striking points in pianos. He also mentioned false strings due to imperfections in the wire, and before closing presented his now well-known tuning.
Broadwood square 25416 has a continuous bridge but 33133 has a divided one; Broadwood cottage 37390 and Broadwood grand 44616 have continuous bridges.
11 Jonas Chickering's partnership with John Mackay is well known, but less notice is directed toward the plural indicated in nameboard labels of the instruments above. Pierce Piano Atlas states "Mackay John. In business with Babcock, Boston 1822, a sea captain, later joined with Jonas Chickering"
"John MacKay took out a patent for a new method of boring the shankholes of the hammer heads,"
"McKay received a patent for fitting hammer head of Pianoforte in 1828."
"In 1830 Jonas Chickering entered into a partnership with Captain John Mackay, master of a fine seagoing clipper ship, which was frequently loaded with sweet toned Chickerings, that were sold in various ports of call. Homeward bound, the hold was filled with fragrant Rosewood, and richly grained mahogany, for Chickering cases. In 1841 Captain Mackay perished in a tropical storm that destroyed his ship."
Teele wrote "Capt. John Mackey, of Weston, Mass., a master mariner, on a return voyage from Marseilles, was induced to bring to this country a Frenchman, who had been a piano-manufacturer ; and, becoming deeply interested in the man for his benefit took up the suspended business att he old stand on Milk street, employing Joshua Stephens as foreman, who had been in the employ of Hayt, Babcock & Appleton. On the death of Stevens, Alpheus Babcock returned from Philadelphia, and entered upon the charge of the business for Capt. Mackey. In 1829 Mackey removed to the upper story of Parkman's Market, on Cambridge street, while Babcock was still foreman...Capt. Mackey moved to Washington street, when Chickering & Mackey joined in the manufacture and sale of pianos."
Edwin Ripin adds "Mackay. American mercantile family. John Mackay, (d 1841) financed such Boston makers as Babcock and Chickering, entering into partnership with the latter from 1830; he also imported woods and other materials. His nephew George D. Mackay (d 1824) set up a factory by 1823 with Babcock as superintendent. John's mother, Ruth (1743-1833), also supported Babcock." (The Piano, 1988. p166; he also mentions "a certain Hayts")
Mungo Mackay, a ship's captain and prominent citizen in Boston, died 1811 and his will appointed his wife Ruth Mackay, Captain John Mackay, and Samuel Parkman, a merchant, as his executors. Ruth became owner of the mansion house on Cambridge street as well as M. Mackay & Co.'s store at 30 and 70 Long Wharf, and her daughter Fanny, who had married Capt. John Mackay in 1807, inherited a house and land at Hancock street. Ruth died in 1820, leaving her estate to her children (as well as to the wife and daughter of Samuel Wells Hunt (1763-1817), who Mungo had adopted; Mary L. Holman, Ancestors and Descendants of John Coney, N. E. Hist. Gen. Soc., 1928; Ruth is not listed in directories later than 1820).
In 1815 Mackay & Co. (in partnership with organ builder William Goodrich) took over the large organ and piano factory at Milk street established by Alpheus Babcock, "two messrs. Hayts" (umbrella makers Charles and Elna Hayt - Darcy Kuronen "Alpheus Babcock, Piano Maker", 2002) and Thomas Appleton (Biographical Memoir of William M. Goodrich, Organ Builder. The New England Magazine, 1834). Some of Babcock's instruments built afterwards are inscribed "Made by A. Babcock for G. D. Mackay," (1971.1130, Boston Museum of Fine Arts; a piano "built by Jonas Chickering and G. D. Mackay" is supposed to have been, in 1824, the first piano in Littleton, NH - James R. Jackson, History of Littleton, NH, 1905. p281) and others are labelled "Made by A. Babcock for R. Mackay, Boston" (42.412, Boston Museum of Fine Arts).
George D. Mackay, piano forte maker gave the same address as Babcock in 1823, and John Mackay, piano forte maker did the same in 1825 (other makers listing the same adress as Babcock are William Colston, piano forte tuner, 1825-9 and Joshua Stone, piano forte maker, 1828, and Thomas Appleton lists P. Market, Cambridge Street, 1830). In 1826 John Mackay joined the Mass. Charitable Mechanics' Association as an organ builder (three years before Jonas Chickering; John Weeks Moore wrote that John Mackay was "an organ-builder, Boston, Mass, from 1810 to 1812, with Thomas Appleton." Dictionary of Musical Information, 1876), in 1828 he is listed simply as an agent at Parkman's Market, and in 1829 as a financial agent at the piano factory at Parkman's place, giving his home address at Oliver street, listed in separate entries as merchant as early as 1822. He is listed deceased in the Mass. Char. Mech. Assoc. register for 1841, and records from Mount Auburn record his death at February, 1841 "aged 66 years, 11 months; 'Lost at Sea'".
William H. Mackay joined the Mechanics Association 1839 as a piano manufacturer, and is listed as assignee of Babcock's 1839 patent for piano action, along with Jonas Chickering and John Mackay. In 1845 he listed his home at 14 Pemberton square (the same address given for John's widow Fanny Mackay as late as 1870). Records from Mt. Auburn Cemetary indicate he died 32 years old on March 13, 1850. In 1888 Caroline Mackay Richardson, (b.1810?, widow of Joseph Richardson, 1803-1869 - Waters, Henry. The N. E. Historical and Genealogical Register, 1874. p.479), presented portraits of her father John Mackay and brother William H. Mackay to the Mass. Charitable Mechanics Association, both of them having been members, and left in her will five thousand dollars to be invested in her name into the association's charity fund.
The 1828 patent intended "to produce by its blow upon the strings a much stronger, fuller, and louder tone" by inlaying metal into a groove formed in the hammer molding before being covered (x5189, 1828.08.14; reissued rx8, 1839.04.23). The weights used in Chickering 17201 are more than 1 gram heavier than those from much lighter framed and strung Chickering 3858.
The numbers used dating Chickerings on this page are based on production figures given by the company in 1880: 1823 - 15, 1823 to 1833 - 684, 1833 to 1843 - 4,170, 1843 to 1853 - 7,546, 1853 to 1863 - 11,393, 1863 to 1873 - 17,166, 1873 to 1883, projected, 21,928.
(The name and title are not unusual - in 1796 Captain John Mackay (who in 1792 had trouble as captain of Charlotte - The Papers of Alexander Hamilton Vol 12, 1967. p591) died when Margaret went ashore in Salem harbor during a snowstorm (Historical Sketch of Salem p.194); in 1816 another Captain John Mackay, of the English ship General Brock, died in Boston (D.M.R. Bentley, Quebec Hill, by J. MacKay), about 1825 Captain John Mackay from Boston introduced a prize-winning breed of pigs (Lawrence, John. Moubray on Breeding, 1837. p161), and in 1845 Captain John Mackay is listed a member in the Mass. Humane Society (History of the Humane Society of Masachusetts, 1845. p.92 ; another John Mackay was captain in the Army Topographical Engineers - Beers, Henry, A History of The U. S. Topographical Engineers, and other notable John Mackays include a mine, and later telegraph network owner, the discoverer of the Pioneer Valley in Queensland, the discoverer of Zig-zag meadow-grass, and the discoverer of the Loch Ness monster).)
12 Pierce Piano Atlas says "Hews & Co., Washington St., Boston, Mass. 1840. Exhibited iron plate in pianos in 1852.
"Hews George, Est. 1843 see Hews & Co., this company was known as Hews-Richard C. Marsh and N. W. Fileston[sic] discontinued in 1883. Square pianos sold in about 1843 for $180 new."
George Hews was born about 1806 in Cambridge, Mass., son of John Hews, a furniture dealer. Educated as a musician, he worked in piano manufacturing at latest 1831, indicated in an advertisement published 1871 ("established in 1831"; though possibly he worked for Ebenezer Currier, whose patent for downstriking squares that year Hews signed as witness). Hews joined the Mass. Charitable Mechanics' association in 1842, as a piano-forte maker, and in 1845 is listed at 365 Washington street ("Melodeon Building"), where he continued through 1854. From 1855 to 1860 he is listed at 379 Washington, and at 324 Washington in 1861, that year also listed as a partner of Oren J. Faxon & Co., manufacturing piano hardware. In 1861 he is listed 324 Washington, 395 Washington in 1863, and in 1865listed at 544 Washington, the adress given for George M. Guild & Co. In 1870 George Hews & Co., with Marcus Morton is listed at 379 Washington (along with piano and melodeon manufacturers Bruce & Chard; Morton listed this adress in 1860), and Hews is listed as partner in Guild, Church & Co. at 881 Washington.
Hews showed pianos at Exhibitions of the Mass. Charitable Mechanics' Association, advertising in 1850 he received "numerous medals and diplomas" for squares "last fall" (repeated verbatim in subsequent years' ads). He also delivered well-received pianos to the 1851 London Exhibition, advertising Thalberg had pronounced one of them among "the sweetest as well as most perfect toned instruments" shown (Marie Escudier describes a third pedal, raising only the bass dampers, as being simple but useful, and acheiving a roundness of sound unavailable in regular instruments), and at the 1853 New York Exhibition.
Hews, with Richard C. Marsh and Nathaniel W. Tileston (listed in 1850 partners with T. Tileston on Turnpike road, Neponset) patented a square piano with a second sounding board arranged below the level of the keys, with a "French action" augmented with a hammer helper spring and a repetition spring acting against the key (US3045, 1843.04.10).
George Hews was a singer (counter-tenor), organist, a composer of songs (some of his hymns are still in use), and served as vice president of the Boston Handel and Haydn Society between 1854 and 1858. He died July 6, 1873 (T. Brown, and H. Butterworth, The Story of the Hymns and Tunes, 1906), and George Hews & Co. continued at least through 1878 under Morton's control, listed at 569 Washington in 1875 and 595 Washington in 1878.
Nathaniel M. Lowe & Co., pianomakers are listed at 57 Haverhill and 344 Washington in 1860 and 1861. Lowe also developed an improved iron frame cast to resist string tension more centrally than the normal form.
13
Dolge states "Robert Stodart of London started in New York in 1820. In 1821 Dubois joined him and the firm was Dubois & Stodart until 1836, when Stodart retired and George Bacon and Chambers joined..."
Michel continues "Stodart Square Piano No. 7485 reported to have been made by Robert Stodart in London, England before this gentleman came to America in 1821 when he joined DuBois and was known as DuBois & Stodart. The piano is 7 octave..." [Russell Sanjeck interprets Robert Stodart to be the grandson of Broadwood's famous pupil - American Popular Music and Its Business, Oxford University Press, 1988 ]
"John Dunham started in business 1827 at 63 Herring St.; Edward Dunham 1858 to 1870; David H. Dunham 1861 to 1875; Edgar A. Dunham 1859 to 1870"
J. Scherer identifies William Dubois' partner as John Stodart (Square Piano c.1825 - R. & W. Nunns, Furniture at the N.Y. State Museum, 1984). Clinkscale identifies him as Adam Stodart: "From 1822 to 1834 he managed a dealership and factory with William Dubois as 'Dubois & Stodart'... From 1836 to 1844 he was a partner in a new firm along with John Dunham and Horatio Worcester as 'Stodart, Worcester & Dunham', which continued as 'Stodart & Dunham' until 1849...'Stodart & Company', organized and headed by Stodart himself, was in operation from 1850 to 1855... 'Stodart & Morris' [with Charles M. Morris] came into existence in 1856 and lasted until about 1870 when Stodart seems to have retired." She states he emigrated before 1818 and but finds no evidence for the relation claimed with the London pianomakers (Makers of the Piano 1720-1820, Oxford University Press. 1993).
Pierce Piano Atlas adds "Stoddart, Adam. was part of Stodart, Worcester & Dunham, New York in 1836. Stodart & Worcester withdrew leaving Dunham alone. Then J. B. Dunham made pianos under his own name until 1867, when his son joined him, hence the name became Dunham & Son. Stodart's name continued to be used until about 1870. Worcester continued making pianos under his own name...
"Stodart, Adam, 683 Broadway 1866.
"Stodart, Adam, 1 Wall, 1835.
"Stodart, Adam & Co., 343 Broadway, New York, 1850.
"Stodart & Co., Pianofortes 684 Broadway, New York Disc. about 1872.
"Stodart, Dubois & Dubois. See Bacon Francis.
"Stodart-Dubois & Dubois Bacon & Chambers, After 1842 the name was changed to Raven and Bacon 1860. See Bacon, Francis.
"Stodart & Dunham & J. B. Dunham, 361 Broadway, New York.
"Stodart & Morris, Est 1856, at 501 Broadway, New York. Morris was the nephew of Robert Stodart. Located at 524 Broadway in 1864.
"Stodart, Robert, Came from London in 1819, he was the uncle of Morris Stodart. Started to manufacture in 1820, in 1821 he joined William DuBois on Broadway and became Dubois & Stodart. In 1836 Stodart retired and George Bacon and Chambers joined the firm. The name changed to Dubois, Bacon & Chambers, Bacon and Chambers withdrew in 1842 and Raven joined changing the name to Bacon & Raven. In 1856 George Bacon died and the name became Raven & Bacon. See Bacon, Francis.
"Stodart, William, 306 Pearl, NY 1819 last address 167 Broadway in 1834. [One writer has this as the same William Stodart in London]
"Stodart, Worcester & Dunham, 375 Broadway 1836. [listed as William E. Millet's music store 1836-8]
"Worcester, Henry, 137 E. 14th St., NY 1853 to 127 Third Ave., in 1875.
"Worcester, Horatio, Est. 1834, 139 Ave. 3, New York. Up to 1844 at 361 Broadway, also 8 Warren, New York. Joined with the firm of William Stodart about 1849, also with Stodart & Morris for a while. Horatio was also a partner in Worcester & Dunham.
"Chambers H. Thomas, 31 Crosby, New York, 1835, advertised in Watsons Musical Times in 1848 with DuBois & Stodart."
Lindemann's biographer elaborates, "The New York firm [Dubois and Stodart], wherein a Frenchman was principle sotckholder, was the leading [of only two pianomaking firms in the country, the second being Chickering] [footnote: The firm of Dubois and Stodart later became Stodart and DUNHAM, when Herr Dubois left the firm and came to Cincinnati, where he founded a piano and billiard factory on Sycamore Street. His firm was unprofitable, but he carried on the business until the beginning of the 1850s in Cincinnati.]" ("Der aelteste deutsche Pianofabrikant in Amerika" Der Deutsche Pioniere, Deutsche Pionier-Verein, Cincinnati, vol. 7, p132, reproduced in Clifford N. Smith, Early 19th C. German Settlers, German-Am Gen. Research Monograph nr. 20, 1984)
Bob Furst quotes an unnamed source "The first Stodart piano was built in 1832." (Bluebook of Pianos)
Adam Stodart, born October 24, 1783 was son of James Stodart, who was nephew of famous London piano maker Robert Stodart, and brothers with Matthew and William Stodart, Robert Stodart's successors after he retired about 1792 (Jan Squire, Squire Family History).
Stodart arrived in New York 1832 (naturalized as a citizen in 1836). He is identified as partners with lithographer Nathaniel Currier ("Currier & Ives: A Catalogue Raisonné" Gale Research Company, Detroit. 1984, cited by Library of Congress, "Dartmouth Coll." c.1834-5, LC-USZ62-3924; earlier works suggested this was William Stodart - Proceedings of the American Antiquarian
Society, 1923; Currier & Ives, Antiques Digest, 1951) at 137 Broadway in 1832 (69x197 Col. 114, J. Downs Coll., Winterthur Lib.; between 1830 and 1835, the same adress was listed as by Stodart & Currier's, and later N. Currier's, and formerly Pendleton's customers, music publishers and sellers James L. Hewitt & Co. - LOC card nr.2002699749;) and 1 Wall Street (PPS-002, American Historical Print Collectors Society).
Adam Stodart became partners with John B. Dunham (c.1812) manufacturing pianos as early as 1834. In 1839 Stodart, Dunham, and Horatio Worcester each listed adresses at 361 Broadway, and given for Adam Stodart in 1843 (although the adress is listed for Charles T. Geslain's music store in 1841, and Scharfenberg & Luis's music store after 1844). In 1846 Stodart and Dunham each joined the General Society of Mechanics and Tradesmen of N.Y. City. On June 10 the same year, Stodart & Dunham's piano factory at the corner of Thirteenth street and Irving place burned, the losses for the company were estimated at $60,000, and workmen left uncompensated for work that had been destroyed. The factory was rebuilt and their salesrooms removed to 343 Broadway.
In 1848 Archibald Prentice reported to English readers that Adam Stodart was celebrated a piano manufacturer as his uncle in London had been, and that his Broadway warerooms were in a more luxurious neighborhood than ever seen in London (A Tour in the United States, C. Gilpin London 1848 p17; uncle Matthew had died 1845; Burnett, Company of Pianos, Finchcock's Press, Kent, 2004. p.104), and the following year his factory was described as the largest in the country, occupying four lots on Tenth street near Sixth avenue, and producing more than a dozen pianos a week, still with showrooms at 343 Broadway (the number may be closer to half a dozen; for comparison, Chickering built about 15 a week during that period).
Agents advertised Stodart & Dunham pianos in 1851, and by 1852 advertised Adam Stodart & Co., listed at 343 Broadway, 15 and 21 Tenth street and W. 35 st. near 8th av. Tax receipts for A. Stodart & Co., Adam Stodart and Stodart & Dunham are listed separately in 1856-7 (Stodart A. & Co, $14,000; Stodart Adam $18,000, $5,000 per; Stoddart, William, $3,900; Stodart & Dunham $6,500; Dunham John B $28,400; Boyd's New York City Tax Book); in the federal census three years later Stodart's assets are listed $14,000 real estate and $50,000 personal (Charles A. Morris listed $2,500 and $1,000,Dunham $15,000 and $5,000, and Worcester $10,000 and $15,000; in comparison, Henry Steinway listed $100,00 and $50,000, and George H. and Charles F. Chickering $80,000, $55,000 combined)
By 1857 Stodart & Morris is listed at 501 Broadway, with a factory at 194-204 West 35th street, advertising grand, square and upright pianos, the proprietors listed as Adam Stodart and C. A. Morris, and selling the "'Stodart' pianos." Early 1860 they removed their warerooms to 506 Broadway, opposite the St. Nicholas Hotel (also listed by publisher M. W. Dodd starting 1856). In 1864 they were advertised having supplied pianos to over 11,000 families over the past thirty years, and by 1866 are listed at 684 Broadway offering "new scale, overstrung, full iron frame" pianos of each type, and advertised that over 35,000 families had used them. Stodart & Morris added an adress at 479 First avenue by 1869 (though Adam Stodart lists only 684 Broadway), and in 1870, C. A. Morris is listed without partners at 684 Broadway and 322 W. 35th.
Stodart died July 27, 1872 in New York and a commemorative funeral was held at Covington Churchyard, Lanark Scotland.
John B. Dunham is listed at 79 East Thirteenth street in 1852, and exhibited his own pianos at the 1853 New York Exposition. J. K. Philips, A. Mixsell, and H. S. Mecke are listed partners in Dunham & Co. at 75-87 E. 13th st in 1857; the company is listed at 73-85 E. 13th by 1859, 76 to 86 E. 13th in 1860, and as Dunham & Sons at 831 Broadway in 1869, and 17 Union Square in 1870. Dunham advertised he started as a manufacturer in 1834, and had employed piano innovators Frederick Mathushek and Jacob Greener between 1849 and about 1854, during this time he is reported to have "constructed the first overstrung piano made in this country." (New York Times, 11 Nov. 1891, History of Tioga, Chemung, Tompkins & Schuyler Counties, New York; the Mathushek Piano Mfg. Co. organized 1866, patents show Mathushek was associated with David Dunham), and let space to melodeon manufacturers Carhart & Needham (Reed Organ Society).
Horatio Worcester (09.07.1804-29.07.1872) was from Tewksbury, Mass. (The Worcester Family), and lived in Albany after 1830 before removing to New York City by 1835. In 1851 Worcester's factory was at the corner of 14th street and Third avenue, employing about 60 workmen, and also 117 Third Avenue by 1859. By 1870 Worcester no longer manufactured pianos.
In 1822 William Stodart became partners in William Dubois' (c1790-1854) music store and publishing company selling imported pianos at 126 Broadway (according to Francis Bacon, founded 1815 and succeeding Astor's successors John and Michael Paff at 127 Broadway 14, though Michael advertised imported pianos for sale in 1816), moving to 149 Broadway in 1827, and 167 Broadway from 1828 to 1834 (there had been a music seller at Richmond, VA named William Stodart who appears to have been Dubois' customer - Albert Stoutamire, Music of the South, Associated University Presses, Cranbury NJ 1974; Gale - Primary Source Microfilm, "Louis Panormo," Wolfe 2175). In 1835 Stodart is listed as a music seller. William Stodart published books at a bookstore and circulating library at 6 Courtland st. by 1832, in 1836 Trevall, Stodart & Co. advertised imported hatter's plush and trimmings at 6 Cortland, and 1839, William Stodart, plush hats, is listed at 333 Broadway, (later Horace Waters' adress; W. H. Stodart, a Scottish immigrant, is identified as a dealer in hat supplies; Gen. and Fam. Hist S. New York, Lewis Hist. Pub. Co., 1913)
Dubois formed a brief partnership with George Bacon (c1791-c.1856) and Thomas H. Chambers (c.1809-) through 1840 (Chambers advertised in 1849 he was "former conductor for Dubois & Stodart", and in 1860, "formerly Dubois & Stodart and Dubois, Bacon & Chambers"), concentrating on pianos after 1842, joining with Warriner at 300 Broadway and 13 Crosby between 1850 and 1852.
Michel reproduces the nameboard from a square numbered 537, labelled "Manufactured by Robert & William Nunns for Dubois & Stodart, New York." (also indicated for the N.Y. State museum instrument)
Pierce Piano Atlas gives dates for Stodart & Dunham, 1836 2000, 1837 - 2300, 1840 - 2800, 1845 - 4630, 1850 - 5200, 1855 - 5600 ... In Stodart 7535 Key nr.1 is signed "Jas. W. Palmer Sept 19, 1853" (Palmer was a pianomaker born about 1829 who is listed in 1850 and 1857) and "Maleoln[...]" faintly (possibly Thomas B. Malcolm, a pianomaker born in Scotland about 1790, listed in 1850, and as a piano tuner 1852), and key 82, "Zettler" (probably John Zettler, a pianomaker born in Germany about 1825 listed 1857 and 1870 and possibly "Joh. Zetter," or "Zetler," arriving in New York in 1853), and "Muhs" (probably Frederick W. Muhs, listed as a pianomaker in 1857). The nameboard is signed "Roos."
If the 11,000 figure advertised in 1864 reflects sales of new instruments, and presuming more or less steady output Stodart & Co. and Stodart & Morris may have continued serial numbers from Stodart, Worcester & Dunham, possibly starting at 1,000 in 1834, and 7535 in 1853 plots on the line between the two points.