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London Erard Concert Grand , 1867, in Brazilian Rosewood

This Victorian-period piano is a fine antique in superb condition inside and out. This piano is a decorator and antique lover's dream, as well as being a distinguished musical instrument at a great price.

The instrument received a partial restoration and consistent and frequent service from distinguished piano restorer Marinus van Prattenburg (www.earlypianos.com). The intial work included new correctly-sized, English custom-made hammer heads, new stringing and re-finishing in the early 1990's, when we acquired it.

It's perfect for a player who wants the vintage sound, feel and appearance without the need for repairs and adjustments--they have scrupulously been made already over the 15 years we have owned the piano.

The sound is typical of Erard, with a long-singing bass, due to the great length of the bass strings, and with the sweet and transparent treble typical of the marque.

The original Erard action is all original and the real heart of the piano. It is a rare example of the historically important double-escapement action pioneered by Erard. A light and responsive action, made from ultra-stable and durable hornbeam and pearwood, it is luxuriously wrapped in kid leather for ultra-quiet operation. The key-dip and touch weight is slightly less than modern grands, making for a different feel.

The instrument is especially well-suited to late 19th century French repertoire and the "jeu perlé" style of music by Debussy or Ravel. It also gives earlier music, such as Schubert or Chopin, a  sweeter, less 20th century sound.

The piano is straight-strung, with a cast iron plate mortised into the rim. The interior of the case is decorated with figured maple, and there are carvings on the spine and cheek (where the legs attach). The legs are turned from rosewood and it has original polished brass casters. The nameboard is elaborately inlaid brass in the Boulle tradition (see photo). The fretwork is perfect, and the rosewood veneer is excellent.

The instrument appears to have been played relatively little and the ivory keyboard is perfect. The pins are original, have excellent torque and the heavily-built instrument holds tune very well. There are no cracks in pinblock or soundboard.

Why buy a poorly regulated and tinny-sounding Asian clone, or a poorly restored clunker when you could enjoy this superb full-sized, properly restored and maintained antique?

Shipment by truck to most Canadian locations may be easily arranged. For shipment to the US, a Canadian CITES permit will be required for the ivory keyboard. Antique instruments entering the US require only the export permit and an affadavit from the seller.  The Canadian permit usually takes six weeks, but is not difficult to obtain. Shipping would normally be by truck. Depending on the distance, a crate is advised.

We are offering it for sale at $18,000 CAD. The studio seems to have shrunk, with two new/old antiques added in the last five years; we are in need of the space.

Call us directly at 250 769 2884 to discuss the sale.

Baroque Guitar after an anonymous Spanish model, c. 1690's by Clive Titmuss, made in 1998.

total length: 96 cm
upper bout: 23.5 cm
lower bout: 27 cm
string length: 67.5 cm
nut width: 50 mm
bridge spacing 12.5 on centre

This instrument has five-rib pear and macassar ebony sides, yew and macassar ebony back, Orford cedar top, heraldic inlays in rosewood, Spanish cedar slipper foot neck and block, plum pegs and very tall spruce bars. Comes with a mahogany plywood lined and fitted case.

The guitar's model dates from the later period of five-course instruments, having a large and deep body and minimal barring. It's ideally suited to the music of the Sanz and Guerau guitar books.

Currently strung in gut in Italian tuning (e', b/b, g/g',d/d, a/a, it could easily be used in almost any tuning. The bass is particularly good when the fourth and fifth courses are strung in the lower octave, great for some of what Sanz referred to as "noisy music". (He was a sensitive soul.)

Price is 2300 CAD

Baroque Guitar after Cocho in Vermeer decor by Clive Titmuss, made in 1995

SOLD!

total length: 93 cm
upper bout: 20 cm
lower bout: 24.5 cm
string length: 65 cm
nut width: 50 mm
bridge spacing 12.5 on centre

This instrument has Brazilian rosewood sides, shaded yew back, Orford cedar top, pear and parchment rose, leather moustaches, rosewood veneered neck, ivory and ebony chevron binding, rosewood bridge. It comes with a very substantial fitted, lined and finished birch plywood case with good hardware.

The guitar is one of the most beautiful designs of the early Baroque, well-suited to Italian and Spanish repertoire in the Italian tuning. It is easy to play, very bright and resonant.

Price is 3200 CAD

Terz guitar (G, C, f, a#, d', g') after a German model of the mid-19th century

String length: 540 mm
Total length: 820 mm
Lower bout: 265 mm
Upper bout: 230 mm
Body depth: 176 mm

This figured-maple instrument was made in 1997 as a prototype. There are several unique features including German jointed peghead (walnut with maple veneer), rosewood pegs, rosewood pin bridge with carved-leaf finials, and brass bar frets, which are very low profile.

It's a period guitar which is bright and easy to play. It comes with a stained, fitted and lined mahogany case. Currently strung with gut and copper overspun strings.

The price is 1800 CAD

Bass Lute in D after mid-16th century models

String length: 768 mm
Body width: 345 mm
Body depth: 140 mm

This lute was made in 1991. There are 21 shaded yew ribs symmetrically laid out around the centre rib. Boxwood pegs, ebony veneered neck, pegbox and fingerboard. Venetian filligree rose. Comes with a heavy-duty Baltic birch stained, fitted and lined case.

Ideal for continuo use with singing or choral performance, it is amazingly resonant and easy to play despite the size and string length. It enables a baritone to sing Elizabethan lute songs and is wonderful for those groaning pavans.

The price is 3200 CAD

11-course baroque lute after Pietro Raillich, 164?

String length: 618 mm
Body width: 341mm
Body depth: 130 mm
String spacing at bridge: 14.5 mm on centre

Pietro Raillich was a German craftsman working in Venice. This instrument is modelled on one of the finest preserved from the 17th century, currently housed in Nuremberg. The characteristic shape is a manifestation of the the movement known as Mannerism, in which the rectilinear geometry of the previous era was convoluted into oval and curvilinear shapes.

The back is extremely flattened, while the profile is extremely broad for the string length. The original instrument was made from rosewood, but my copy is shaded yew with ebony fillets. I added a floral marquetry pegbox veneer, and gilded the rose in honor of Ennemond Gaultier's "Loss of the Golden Rose Lute" and "Le Roze d' Or." This characteristic shape can be seen in instruments depicted in Denis Gaultier's "Rhetorique des Dieux".

It's intended to be a vehicle for the music of Dufaut, Mesangeau, Pinel, and the transitional tunings of the mid-17th century. The wide string spacing of the bridge facilitates the hopping motion of the thumb in the bass courses which is featured in the early French style. The lute is also excellent for later German composers such as Reusner, Bittner, Logy--even Weiss and Bach.

The neck is veneered with stunning quartered Brazilian rosewood, and the pegbox is triple laminated with rosewood and holly. The pegs are boxwood; the bridge is pear with an ebony veneer; two turned ivory buttons complete the decor. The stringing is all-gut with pistoy and gimped basses by Dan Larson. The fitted and lined case in included. Only the best materials were used to make the instrument.

This lute was made in 1998 and I recorded Reusner suites in C and F minor found on this site with it. A substantial essay and photos, as well as a sound sample are found elsewhere on this site at http://earlymusicstudio.com/photo_desc_lute_24.asp. The price is $5500.