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BROADWOOD
in London

1851

Broadwood, Grand pianoforte No. 1. In ebony case; 7 octaves, G to G; inlaid, carved, and gilt. Designed by E. M. Barry, Esq.; inlaid by G. Watson; carved by J. Thomas; and gilt by G. J. Morant. Straight bracing, London Exhibition 1851, Illustrated History of Furniture : From the Earliest to the Present Time, by Litchfield Frederick, 1903 (archive.org)

LONDON - "[...][...] In 1827, Messrs. Broadwood patented a third system of metal bracing for the grand pianoforte. It was a combination of the metal bars already adopted by them, with the metal string-plate which had by them been first applied to the square pianoforte in 1822. The four pianofortes which have been exhibited by this firm, may be described, as to externals, as follows : —

1. A grand pianoforte in the Nave, ebony case richly carved and gilt; the top, ebony inlaid with satin-wood; above each of the three legs is a medallion, carved and gilt, having busts of Handel, Mozart, and Beethoven. The design by E. M. Barry, Esq.

2. A grand pianoforte in Amboyna-wood case, with carving.

3. A grand pianoforte in plain Amboyna-wood.

4. A grand pianoforte in Italian walnut-wood case.

Of these four seven-octaves, C to G, grand pianofortes, two have each three straight tension-bars parallel to and over the strings. Of the other two, one has one parallel bar and one long oblique bar the other has one parallel bar and two oblique bars. The scale of this latter instrument may be considered as a triangle of unequal sides, divided by these three bars into four triangles. This instrument is the most sonorous of the four.

In all the four pianofortes any bending of the wrest-planks is obviated by the application of a metal transverse suspension bar, placed over and nearly in a line with the studs. The peculiar application of this suspension-bar is considered as an essential improvement.

The tension-bars are also new, and entirely peculiar to these instruments, being constructed with flanges on each side to prevent twisting. A section of these bars transversely would present the figure of a cross -f.

The strain of the strings on these instruments is immense, notwithstanding which they stand in tune far better than those constructed with the ordinary bracing. In the four pianofortes exhibited, the following improvements are illustrated, and are claimed by Messrs. Broadwood as bting entirely their own : —

1st. A newly-revised harmonic scale of strings.
2nd. A peculiar method of fixing the sounding-board.
3rd. The transverse metal suspension-bar. (It supports the wrest-plank, enabling the maker to dispense with several direct tension-bars, which are just so many impediments to free vibration.)
4th. The construction of the tension-bars. These are constructed in such a manner as to combine the maximum of strength with the minimum of weight.
5th. The fixing these tension-bars in the string-plate by means of wedges, thus insuring equal tension.
6th. The diagonal tension-bars. These abut against the strongest angle of the wrest-plank and bass side. They meet effectually what is commonly termed the "side-swag" of the string-plate, and they enable the maker to do with a single direct tension-bar.

The whole of the above-named six novelties of invention are dated by Messrs. Broadwood in the year 1847. It is by the combination of most of the improvements just mentioned that this firm has attained, in their pianofortes, not only more sonorous tones, but a greater perfection of the quality of tone.

Again, there can be no doubt but that simplification of bracing, in the construction of pianofortes, will eventually enable the public to obtain first-rate instruments at a comparatively moderate price.

And it is proper to record that, up to this time, the aim of most makers has been to introduce as much iron or other metal bracing as safety to the quality of tone would bear, and that Messrs. Broadwood are now the first to retrace such steps, learning from experience that tension-bars are but make-shifts, and that it is probable that the best mode of constructing a pianoforte would be to strengthen the case by other means, superseding the tension-bars altogether.

It should also be noticed that the action used by Messrs. Broadwood in their pianofortes is of the most simple and effective kind, and that its very simplicity is a guarantee for its durability." Reports by the Juries on the Subjects in the Thirty Classes Into which the ..., 1851, p. 329

Broadwood, Grand pianoforte No. 2., In amboyna case; 7 octaves, G to G. Designed, carved, and gilt by Mr. G. J. Morant Diagonal bracing, London Exhibition 1851,

LONDON - "We notice, first, from the prominent position they occupied, the two magnificery grand pianos in the Nave the one in the English department, by Messrs. Broadwood, is a gorgeous-looking instrument ; the sides are shaped out and are of ebony covered with a running ornament of scroll-work on figures, carved in relief as gilt ; the top and front is elborately inlaid with satinwood, and the legs are ebony carved and gilt altogether presenting a rich and imposing appearance. [...]

Messrs. Broadwood's three grands are beautiful specimens of amboyna and walnut, and of that quiet an elegant style of cabinet-work wich is generally consonant to our English taste; and our manufacturers seem more desirous of availing themselves of the beauties of nature in the rich and varied figure of the diffrent rare woods, than employing the designs of art.

This may perhaps account for the comparative absence of buhl and marqueterie in our pianofortes." The Crystal Palace, and its contents : being an illustrated cyclopaedia of the great exhibition of the industry of all nations, 1851, p. 200-201 (archive.org)

LONDON -"In this department the leading houses take the first rank, while the display by makere of less eminence is exceedingly creditable.

The manufacturers seem as desirous of pleasing the eye as delighting the ear, and, accordingly, we notice some very beautiful instruments, in which the art of the carver, inlayer, ,and gilder is lavishly employed ; but we miss any attempt to give a more elegant and uniform shape to the grand pianoforte, which is so much to be desired.

Messrs. Broadwood exhibit four grand pianofortes (one in a magnificent case designed by Barry), in which the beauty of the wood and the excellence of tlie workmanship are conspicuous." The Crystal Palace, and its contents : being an illustrated cyclopaedia of the great exhibition of the industry of all nations, 1851, p. 42 (archive.org)

LONDON - "The factory of Messrs. Broadwood and Sons contributes four full-sized grands, 7 octaves, G to G. These have the repetition action, and all the latest improvements. They are all alike, except in the external decoration, and in regard to some few differences in the construction of the metallic bracing.

Two of them have three bars parallel with the strings; one has one parallel bar and one placed diagonally; the other has one parallel and two diagonal bars, — the latter lying at different angles. 

They have all the long transverse bar over the wrest-plank. They are excellent specimens of the grand piano-forte, in its most perfect modern state." Newton's London Journal of Arts and Sciences, 1851, p. 30

LONDON - "There, don't kick up a row!" One protest, however, not of an exhibitor but of a jury, has been drawn up and sent to the Royal Commissioners of the Exhibition by six out of ten members forming the musical jury (class 10 A), on learning that their award in favour of Messrs. Broadwood had been annulled by the council of chairmen. Why the council should thus render nugatory the decision of this jury apparently every way qualified to decide upon the subject appears unaccountable. The following is the protest : —

"To His "Royal Highness the Prince Albert, K. G., President; and to the Royal Commissioners of the Great Exhibition of the Works of all Nations, 1851.

"May it please your royal highness, my lords, and gentlemen,—The jury, class 10 A, consisting of the following members, — Sir H. R. Bishop, chairman and reporter, Sir George Smart, M. Thalberg, Mr. Cipriani Potter, Mons Berlioz, Le Chevalier Neukomm, Dr. Schafhautl, Mr. W. Sterndale Bennett, Dr. Black, Dr. Henry Wylde; of whom all were present except Dr. Black and Dr. Henry Wylde, decided unanimously to award the great medal to the house of Broadwood, for its successful improvements in piano-fortes and piano-forte making.

Dr. Black subsequently declared in the jury room his agreement with the award of his colleagues. This decision of the jury was confirmed in the meeting of the group. The council of chairmen, however (as it has been generally reported), rejected tho award thus doubly confirmed, and in seeking for the grounds of this rejection, the jurors of Class 10 A, who transmit these papers, are compelled to state it as their opinion that undue weight must have been attributed to mis-statements made at the meeting of the group, in the presence of many of the chairmen, affecting Messrs. Broadwood's claim as improvers of the piano-forte.

The mis-statements were, upon remonstrance withdrawn; but 4 is a lamentable fact that the injurious effects of such statements, positively put forth, can seldom be completely effaced by a retractation.

Should such a decision of the council of chairmen respecting Messrs. Broadwood be reported to the royal commissioners, the jurors who transmit this memorial beg most respectfully to be allowed to point out to his royal highness and the royal commissioners that, in this case, a decision which was arrived at after due deliberation by the jury, class 10 A, specially qualified and selected in consequence of technical knowledge of the objects to be submitted to its judgment, and which received subsequent information from the group of associated jurors, has been set aside by a body of gentlemen, who, distinguished as they are for their general attainments, may have no special and technical knowledge of piano-fortes and piano-forte making, nor have they in their capacity of chairmen — except the chairman of class 10 A, whose opinions and statements ought to have had due weight —even inspected or been called upon to become acquainted with the instruments upon which the award which they rejected was made.

In spite of this fact, the responsibility of the award will still probably, in tho eyes of the public, rest with the primary jury; and the memorialising jurors, feeling that their professional and scientific reputation would bo compromised by a decision so contrary, in their opinion, to the merits of the case, and which will, they are sure, astonish the whole European musical world, earnestly entreat his royal highness and the royal commissioners to take the case into their consideration, and to apply to it such remedy as may I seem best fitted in their judgment.

With this statement is transmitted an extract from an official document, setting forth the special mechanical improvements on which Messrs. Broadwood's claims are founded.

And the memorialising jurors conclude by expressing their conviction that the house of Messrs. Broad wood has eminently fulfilled every single condition contained in the 'instructions to the juries', combining in their instruments 'novelty of invention (of considerable importance and usefulness), perfection of workmanship, beauty of design, and superior quality of tone.

Henry R. Bishop, Knt. (Chairman), Professor of Music in the University of Oxford.

Dr. Schafhautl, Commissioner from Bavaria and Juror, Member of the Royal Aeademie, and Professor and Head Librarian in the University of Munich.

Le Chevalier Sigismond Neukomm.

William Sterndale Bennett, Professor in the Royal Academy of Music and Queen's College, London.

Cipbiani Potter, Principal of the Royal Academy of Music.

Georqe T. Smart, Organist and Composer to her Majesty's Chapel Royal." The Engineer and Machinist, 11/1851, p. 179-280

1862

LONDON - "Messrs. Broadwood added to the interest of their display by exhibiting a series of models and detached parts of instruments, illustrating the manufacture of their Grand Pianofortes." The International exhibition. The industry, science, & art of the age, 1862, p. 150

LONDON - "3372 Broadwood, J. A Sons, 33, Gt. Pulteney-st.— Grand pianofortes, with parts and models illustrative of construction." International exhibition, 1862 : Official catalogue of the industrial department, 1862, p. 54

LONDON - "Parmi toutes ces nations, nous devons considérer les Anglais comme nos concurrents les plus sérieux. Nous avons trouvé chez MM. Broadwood d'excellents pianos à queue, sons et toucher très-agréables, construction solide, ébénisterie élégante, intérieur bien conditionné; [...]" Rapports des délégués facteurs de pianos des délégués facteurs d'orgues-harmoniums et des délégués facteurs d'instruments en cuivre et en bois... / Délégations ouvrières à l'exposition universelle de Londres en 1862, 1863, p. 5 (Gallica)

LONDON - "Although during the eleven years that have passed since the last Exhibition, we have not to record the introduction of any very important novelty, yet a considerable general advance has taken place in the manufacture.

The best class of instruments, in the hands of the first-rate makers, have improVed both in quality of tone and in perfection of make; while the manufacture of instruments of a more humble description has been more widely extended, and the possession of them brought within more general reach of the public, by the reduction of price, which always follows production on an increased scale.

Thus, to illustrate both these changes, we may state that the first-rate concert grands of Messrs. Broadwood, which in 1851 sold for 175 guineas, are now, by reason of improvements in their construction, increased in value ts 250 guineas,~while small upright instruments may now be obtained in many quarters, of full compass, for loss than twenty pounds each.

The compass of pianofortes generally has increased. In 1851, the usual compass of the grand was a little over six and a half octaves — C to G, or A, more than this being exceptional; while six octaves-F to F, or C—was considered a reasonable compass for smaller instruments.

Now, first-class grands are made universally seven octaves -A to A ; and scarcely a single instrument is constructed in which the bass does not extend down to C.

The stringing has somewhat increased in thickness, which, combined with the increase of compass, and the continued unreasonable rise in pitch of the opera and concert bands (which concert pianofortes have been obliged to follow), has much increased the tension on the framing.

In 1851, the aggregate tension on a full-sized gland was about eleven or twelve tons, now it is above sixteen tons.

Of course extra strength in the framing has become no— cessary to meet this increased strain.

The action remains pretty much as it was. The rage for “repetition" mechanism, a contrivance originally introduced only to meet an almost exceptional refinemnt of first-class playing, has now calmed down, or at least has been transferredto a lower grade in the manufacturing scale. The chief houses have reduced the mechanism for this purpose to the simplest possible addition to the ordinary action; it is on y the inferior makers who now rack their brains to produce complicated and costly contrivanees for this purpose, to be a lied in cases where they can never be of the slightest utility.

In making the awards for pianofortes, the Jury have feltn difficulty arise from the Medals being all of the same value, which compels them to award apparently the same degree of honour to any merit shown by a small maker that they would to the most successful performance of the first manufacturers in Europe.

The rules established by the Commissioners do not warrant any special awards being given ; but the Jury consider they will not be exceeding their powers in placing certain makers at the head of their list, with notices more full and special than those which follow. [...]

Messrs. Broadwood and Sons (United Kingdom, 3372) stand, without controversy, at the head of the pianoforte-makers who exhibit on the present occasion. The Jury award them a Medal for excellence in every kind of piano, power and quality of tone, precision of mechanism, and solidity.

They exhibit four grand concert instruments, exemplifying their latest improvements, and constituting the most perfect specimens of their manufacture.

The most important improvement refers to the arrangement and construction of the metallic braces used to strengthen the general framing of the instrument, and to enable it to resist the enormous tension of the strings; for it will be recollected by those conversant with the history of the pianoforte, that, as the demands for increased power led to the adoption gradually of thicker wire, the increased tension rendered some additional sustaining power necessary to aid the wood work of the frame, and this was supplied by a system of iron bracing, placed above the strings.

Down to about the year 1851 this bracing consisted of several bars placed parallel with the strings, abutting at the front end upon the wrest plank, and at the back end on the metallic string plate.

The number of these bars, however, required for large and powerful instruments, introduced considerable evils into the rnanufacture, to remedy which Messrs. Broadwood introduced a new system, much more simple, and free from the objections to the multiple bars.

The iron string plate at the back, and an iron swcep bar attached to the wrest plank in front, are connected together by a bar at the extreme right and another at the extreme left of the instrument, so as to form a complete iron framing; the number of intermediate bars reduced to one placed parallel to the strings in the middle of the instrument, and one extending obliquely from the bass end of the wrest plank to the junction of the string-plate and intermediate bar.

The wrest plank is strengthened with iron plates, and the whole forms a highly stable, mecha'niml, and effective system of resistance, which has enabled strings to be used of great thickness and powerful tone, without any undue strain to the framing.

A pianoforto on this principle was exhibited in 1851 ; but the plan was new, and required further trial; the result of the eleven years‘ experience gained since that time has justified its advantages, as the makers state that ; two grands, finished by them in 1852, are still, after much hard wear, among the most approved. concert instruments of the present saison.

Messrs. Broadwood have also patented, in the present year, an iron cover plate to the wrest plank, into which the tuning pins are accurately screwed.

This iron plate forms an integral of the general framing, and contributes much to the stability, as it eliminates any inconvenience which might arise lirom the crushing of the wooden fibres of the wrest plank under the heavy strain.

The Jury cannot speak too highly of Messrs. Broadwood’s instruments, either in quality of tone or in perfection of manufacture. The iron work especially deserves commendation, not only for the mechanical excellence of its design, but the accuracy and finish of its workmanship. The instruments are altogether such as well sustain the mecmmioal pro-eminence of our own country.

In addition to their finished pianos, Messrs. Broadwood exhibit a great number of separate parts of pianos, with copious descriptions and elaborato diagrams, calculated to explain, to an one interested in such matters, the entire construction 0 their instruments in the fullest detail; an instance of liberality for which the Jury think they are deserving of special commendation." Reports by the Juries on the subjects in the thirty-six classes into which ..., 1862, p. 146-147 - and - Dwight's Journal of Music: A Paper of Art and Literature, 27/12/1862, p. 309-310

1867

LES PIANOS ANGLAIS.

  PARIS - "On voyage vite dans les galeries du Champ de Mars, et, sans sortir de la classe 10, on a bientôt fait de passer du nouveau monde dans l'ancien. Revenons donc en Europe et arrêtons-nous d'abord en Angleterre.

De tous les exposants entrés ou restés en lice, le célèbre Broadwood doit occuper la première place dans cet examen.

C'est une gloire industrielle et artistique par ses tendances, qui date de loin en Angleterre, ou plutôt dans les deux mondes.

Les chefs de cette grande fabrique instrumentale auraient bien pu se ranger parmi les facteurs émérites de l'époque, parmi ceux qu'on est convenu de mettre hors de concours, bien qu'ils soient tous, mieux que jamais, en état de concourir et de se disputer pied à pied les palmes de l'Exposition.

La maison Broadwood n'a pas moins fait que ses rivales de Franco: Le même honneur négatif lui revenait de droit.

Mais les doyens de la facture anglaise ont tenu à concourir, et je ne puis que les approuver d'avoir persisté dans leur résolution, au point d'obtenir cette faveur qui d'ailleurs me semble bien légitime.

Je dis faveur, et c'en est une apparemment: puisque les facteurs français, rivaux des Broadwood à toutes les expositions précédentes, ont été éloignés du concours, il est évident que les Anglais ont eu une chance heureuse en étant autorisés à exposer leurs produits, qui leur ont valu la première médaille d'or.

Il est regrettable, à plus d'un titre, que, contrairement à ce qui s'est passe, le concours ne soit pas permis ou plutôt imposé à tous les anciens lauréats des expositions tant qu'ils demeurent fabricants actifs et producteurs.

Il y aurait bien des raisons à donner pour prouver l'équité et l'utilité de cette mesure.

En effet, il n'est pas sans exemple que des facteurs, après s'être placés au premier rang, aient perdu leur haute position pour s'être endormis sur leurs succès, pour avoir négligé leur fabrication, ou enfin pour toute autre cause, indépendante ou non de leur volonté.

N'est-il pas utile et juste que dans l?s occasions solennelles où les industriels sont appelés à faire juger leurs produits, ces convocations soient générales et sans exception aucune, afin que les uns aient le beitértco de leurs progris laborieusement ré dises, les autres l'honneur de leur supériorité habilement et consciencieusement maintenue, et tous l'appréciation impartiale, favorable ou, au besoin, sévère de l'exploitation de leur industrie V

Ce serait, il me semble, le moyeu de mettro ou lumière le travail persévérant et le talent réel; du plus, le public, édifié sur la confiance qu'il devrait avoir daus les réputations industrielles, serait en garde contre les déceptions préjudiciables qu'il peut éprouver en s'adressaut à des établissements déchus d'une valeur qui n'avait été que passagère, mais qui leur avait fait un nom auquel on pourrait toujours se laisser tromper.

A l'heure qu'il est je suis en Angleterre et à Londres, dans les ateliers de MM. Broadwood, ou, pour parler un langage plus positif, je suis devant les beaux et bons instruments qui eu sont sortis pour venir représenter la facture anglaise, dans le palais du Champ de Mars.

La maison Broadwood était déjà en prospérité eu 1780, lorsque Sébastien Erard passa en Angleterre pour établir il liondres une fabrique correspondant à celle qu'il avait déjà fondée à Paris.

La facture de Broadwood était basée sur un système qu'il avait inventé et que, pour cela même, on appelait lo système anglais; Sébastien Erard l'adopta en le perfectionnant, et l'employa à sa manière et selon ses idées personnelles daus les premiers pianos à queue qu'il fabriqua à Paris en 1796.

Si Erard perfectionnait en France le système anglais, Broadwood, améliorait toujours sa fabrication, qu'il porta au plus haut degré de fini, sous le double rapport du mécanisme et de la sonorité.

Certes le plus bel éloge qu'on puisse faire de son esprit inventif, c'est de dire qu'il obtenait ces résultats dès l'origine du piano et lorsqu'on sortait à peine de la trop longue routine du clavecin: il y avait tout à créer; grâce à lui le piano, en naissant, apparut avec les principes indiqués et déjà mis en œuvre, des éléments constitutifs de l'instrument qui devait s'emparer du monde musical et y fonder pour toujours l'empire de l'harmonie.

Broadwocxl, dans l'accomplissement de ces améliorations, fut aidé des conseils du grand pianiste Cleinenti, qui devint bientôt son rival et son concurrent, et de ceux de Cramer, qui ne cessa jamais d'être le pianiste affectionné de cette maison, dont il faisait admirablement valoir les instruments par son jeu si lié, si pur et si chantant.

C'est cette faculté chantante, si recherchée et si musicale, que Broadwood sut donner tout d'abord à ses pianos, dont elle a toujours été une des qualités dominantes : plénitude et finesse de vibration dans les basses, sonorité puissante et pour ainsi dire vocale dans le médium; dans les dessus, éclat, et jusque dans la ténuité, rondeur et distinction: voilà ce qui caractérise la partie sonore de ces instruments.

Ces qualités sont développées avec toute la perfection désirable dans les pianos à queue.

Dans les autres formats on les retrouve fidèlement reproduites, mais avec les restrictions imposées par la différence des modèles.

Quant à la partie mécanique, les claviers manquaient un peu de la légèreté ou plutôt de la souplesse élastique que les inventions d'Erard ont si ingénieusement obtenue. Mais ils sont, aujourd'hui, bien plus finement réglés, et leur égalité est complètement en rapport avec celle du son, qui est parfaite.

On peut dire que tels furent les premiers résultats des recherches et des travaux de Broadwood, et que ce sont encore là les précieux avantages qu'on admire dans les pianos fabriqués par ses fils, ses dignes continuateurs.

Ce qu'on doit signaler dans leur exposition, ce n'est pas un progrès, c'est un magnifique statu quo.

A côte de MM. Broadwood on a regretté de ne pas trouver M. Collard, de Londres, le successeur de Clementi : cette maison importante soutient la réputation que lui a léguée celui qui fut l'unique rival de Broadwood; mais elle n'a pas cru devoir exposer. Je connais ses pianos, et je déclare qu'ils auraient dignement tenu kur place à l'Exposition du Champ de Mars." The Musical World, 14/12/1867, p. 846

  PARIS - "Messrs. Broadwood have sent four splendid "concert "grands," cased in oak, rosewood, and other kinds of wood. I consider the instrument in the oaken case to be the finest, and it is impossible to conceive sonority, brilliancy with depth and purity of tone, more admirably combined than in the piano to which I refer.

It is indubitable that there is no finer instrument in the Exhibition, and it is a question whether there be any one so fine. The price of this instrument is 200 guineas; its neighbours, however, cased in more costly woods, are valued at double that sum. Messrs. Broadwood have also sent oblique instruments which may be highly commended." Reports on the Paris Universal Exhibition, 1867, Volume 2, p. 199

  PARIS - "BROADWOOD, John, & SONS, 33 Great Pulteney-street, London, W.

Five Grand Pianofortes with Iron Frame, Patent Screw Pin Piece, and all recent improvements.

Cinq Pianos à Queue, à Charpente en Fer, Plaque brevetée à Chevilles a vis, et munis de tout les Perfectionnements les plus recents.

Fünf Flügel mit eisernem Rahmen, patentirter Schraubenstimmnagelplatte und alien neuesten Verbesserungen.


No. 19,957.
Full Size in ease of Coromandel wood.
Construction—Iron frame ; one straight iron brace, flanged ; one oblique iron brace, flanged; brass suspension bar; patent screw pin piece.
Price, 400 guineas.

No. 19,999.
Full Size, in ebony case with carved mouldings.
Construction—Iron frame; one straight iron brace, flanged; one oblique iron brace, flanged; brass suspension bar; patent screw pin piece.
Price, 400 guinoas.

No. 20,004.
In plain Canadian-oak case.
Construction—Iron frame; one straight iron brace, flanged; one oblique iron brace, flanged; brass suspension bar; patent screw pin piece.
This is a concert instrument.
Price, 200 guineas.

No. 20,009.
In fine Syrian walnut-wood case.
Construction—Iron frame ; two straight iron braces, flanged; patent screw pin piece.
Price, 250 guineas.

No. 5,914.
Medium Size in rosewood case.
Construction—Iron frame ; two straight iron braces, flanged; patent screw pin piece.
Price, 135 guineas.
Various Models, illustrating construction.

-----

No. 20,004.
Caisse en chêne du Canada.
Construction—Charpente en fer; une barre droite en fer, à rebords; une barre oblique en fer, à rebords; barre de suspension en cuivre; plaque brevetée à chevilles à vis. Prix, 5,250 frs.

No. 20,009.
Caisse en beau noyer de Syrie.
Construction—Charpente en fer; deux barres droites en fer, à rebords; plaque brevetée à chevilles à vis. Prix, 6,562 frs.

No. 19,957.
Grand Models; caisse en bois de Coromandel.
Construction—Charpente en fer; une barre droite en fer, a rebords; une barre oblique en fer, a rebords; barre de-suspension en cuivre; plaque brevetee a chevilles a vis. Prix, 10,500 frs.

No. 19,999.
Grand Modele; caisse en ébene avec moulures sculptees.
Construction—Charpente en fer; une barre droite en fer, a rebords; une barre oblique en fer, a rebords; barre de suspension en cuivre; plaque brevetee a chevilles a vis. Prix, 10,500 frs.

No. 20,004.
Caisse en chene du Canada. Construction—Charpente en fer; une barre droite en fer, a rebords; une barre oblique en fer, à rebords; barre de suspension on cuivro; plaque brevetee a chevilles a vis.
Ce piano est un instrument de concert.
Prix, 5,250 frs.
Diverses Modèles illustrant la construction des instruments.

----

No. 19,957.
Erste Grosse, in Hasten von Coromandel Holz.
Construction: Eiserner Rahmen; eine gerade eiserne Spreize, gerandert; eine schiefe eiserne Spreize, gerandert; messingene Tragspreize; patentirte Schraubenstimmnagelplatte.
Preis: 2,800 Thlr.

No. 19,999.
Erste Grosse, in Kasten von Ebenholz, mit Bildhauerarbeit.
Construction : Eiserner Rahmen; eine gerade eiserne Spreize, gerandert; eine schiefe eiserne Spreize, gerandort; messingene Tragspreize; patentirte Schraubenstimmnagelplatte.
Preis: 2,800 Thlr.

No. 20,004.
In einfachem Kasten von Canadischer Eiche. Construction: Eiserner Rahmen ; eine gerado eiserne Spreize, gerandert; eine schiefe eiserne Spreize, gerandert; messingene Tragspreize; patentirte Schraubenstimmnagelplatte. Dieses ist ein Concert-Instrument. Preis: 1,400 Thlr.

No. 20,009.
In schonem Kasten von Syrischem Nussbaumholz.
Construction: Eiserner Rahmen; zwei gorade eiserne Spreizen, gerandert; patentirte Schraubenstimmnagelplatte. Preis: 1,750 Thlr.

No. 6,914.
Mittelere Grösse, in Kasten von Palissanderholz.
Construction: Eiserner Rahmen; zwei gerade eiserno Spreizen, gerandert, patentirte Schraubenstimmnagelplatte. Preis: 945 Thlr.
Verschiedene Modelle, die Construction erlauternd.

Catalogue of the British Section: Paris Universal Exhibition of 1867,
p. 90

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  The Paris exhibition of 1867 - More than 150 years ago, 5 piano makers were awarded a gold medal.

1885

  LONDON - "At the London Loan Exhibition of 1885 there was displayed a grand piano from the state apartments at Windsor Castle, which was obtained by the Queen at the first World's Fair.

It was the piano made by Broadwood, and which also took one of the prize medals already referred to." Muscical Instruments at the World's Columbian Exposition, 1895, p. 22

1900

Look also to a PLEYEL model same period (1905)

  PARIS - "3. Broadwood (John) & sons, à Londres, W., Great Pulteney Street, 33. — Pianos à queue. Construction en acier fondu nouveau système breveté sans barres. Fournisseurs patentés de Sa Gracieuse Majesté la Reine Victoria.

Son Altesse Royale le Prince de Galles. Son Altesse Royale le Duc de Saxe Cobourg Gotha. Maison fondée en 1732. La grande Médaille d’or, Paris 1867." Catalogue général officiel. Tome troisième, Groupe III : instruments et procédés généraux des lettres, des sciences et des arts : classes 11 à 18, 1900, p. 542 (archive.org)

  PARIS - "The house of Broadwood placed a single grand pianoforte in the British Pavilion and demanded judgment on it, which was grudgingly given by the French members of the jury, who did not wish to show so much honor to a house that had treated the Exposition with so little consideration." The Music Trade Review, 31/08/1900, p. 11 (mtr.arcade-museum.com)

BROADWOOD
on this site

EXPOSITIONS
A DAY AT THE PIANOFACTORY, 1842
PIANO CONTROVERSY, 1851
FIRE
ARTICLES

Click on the links above.

For references see page
alfabetic B


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