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"Various Instruments for Sale"

 
12-10-2013, 13:41

AN ENGLISH NEO-GOTHIC PARCEL-GILT OAK GRAND PIANO 
THE MOVEMENT BY JOHN BROADWOOD & SONS, LONDON, SERIAL NO. 21,647,

THE CASE AFTER A DESIGN BY JOHN MOYR SMITH, THIRD QUARTER 19TH CENTURY

( 豪华艺术外壳钢琴  )

 

Broadwood Grand Piano serial number 21647 - Year 1882


The top with three large brass hinge straps, above trefoil-arched sides terminating in relief-carved panels depicting courtly recitals, on octagonal legs with acanthus-carved capitals, the keyboard cover carved in relief John Broadwood & Sons/London, stamped 21647/W&G to the underside of the lid.

38¾ in. (98.5 cm.) high; 58¼ in. (148 cm.) wide; 97 in. (246 cm.) long (2)

 

Broadwood Grand Piano serial number 21647 - Year 1882

 

 

Broadwood Grand Piano serial number 21647 - Year 1882



FROM THE PROPERTY OF WILLIAM ABBOT

Provenance : William Abbot, at The Abbey, Kensington, 1882. 


The records of John Broadwood & Sons Ltd. detail that this piano was built at their Horseferry Road workshops, Westminster, London, and finished on 22 December 1881. On 20 January 1882 it was sold to William B. Fordham, a wholesale piano dealer, for the considerable sum of £440. However it is clear that Number 21,647 was a special order from a certain William Abbot who subsequently paid a retail price of £500. William Abbot, a wealthy stockbroker, had ordered the piano for his new house The Abbey which occupied a sizeable 1½ acre plot on Campden Hill Road, Kensington. It is clear that this grand piano was ordered to compliment the interior decorations of the The Abbey, which was completed in 1879-1880 by architect Henry Winnock Haywood in the decorated gothic style.



Broadwood Grand Piano serial number 21647 - Year 1882



Broadwood Grand Piano serial number 21647 - Year 1882



This piano is a 'model number 14a grand pianoforte made to order in oak case, gothic design according to drawings'. Further research shows that the designer of the case work was John Moyr Smith (1839-1929) who is principally remembered for his pseudo-medieval designs adapted to tiles by Minton & Hollins. Designs by Moyr Smith also feature to a pair of Mintons pale-blue and gold ground vases which were made for the Paris 1878 Exposition Universelle . He also engraved the plates for Christopher Dresser's book, Modern Ornamentation, to which he is also thought to have contributed his own designs. Stylistically the case to this piano is in the elaborate revivalist gothic style pioneered by Bruce Talbert (1838-1881). His 'Gothic Forms' strongly influenced the designs featured in the 1871 catalogue for the cabinetmakers Collison & Lock which was also illustrated by Moyr Smith.

John Broadwood & Sons Ltd. 'Pianoforte makers' was founded in London by the Swiss born Burkat Shudi in 1728 but owes its name to his son-in-law who assumed control of the business in 1773. Continued by his decedents the business prospered throughout the 19th century. Beethoven's piano by Broadwood is now preserved in the National Museum of Hungary, Budapest, and Chopin used Broadwood grands for his British tour. Royal patrons included King George IV, who ordered a grand piano for the Brighton Pavilion in 1821, and Queen Victoria and Prince Albert, who received delivery of one at Buckingham Palace in 1840.

 

Piano serial number 21647 by John Broadwood and Sons is in total complete original condition.

 

Broadwood Grand Piano serial number 21647 - Year 1882



Broadwood Grand Piano serial number 21647 - Year 1882



Architect of piano case
Name: John Moyr Smith
Designation: Architect, Designer
Born: 12 March 1839
Died: 1 December 1912
Bio Notes: John Moyr Smith was born in Glasgow as John Smith on 12 March 1839, the son of David Smith, wine and spirit merchant, and his wife Margaret Moire. Some sources state that the family came from northern England but his mother came from Kirkaldy (not traced), Doune, Perthshire. He appears to have been articled to James Salmon c.1855-59, thereafter working as an assistant for James Smith on Overtoun House, Dumbarton, along with William Scott Morton. During those years he adopted the middle name of Moir, later spelled Moyr, attended Glasgow School of Art from November 1857 and became president of the Glasgow Architectural (Assistants) Association of which Robert Grieve Melvin was treasurer. By his own account he was wholly responsible for Smith's Stirling's Library until December 1863 when Smith died and Melvin and his partner William Leiper took over the project.

During his time on the Overtoun and Stirling's Library projects Moyr Smith became a member of Alexander Thomson's circle - which at that date included Leiper, Bruce Talbert, and Daniel Cottier - and began developing an interest in painting and the decorative arts: he was presumably the J M Smith at 295 Hope Street who exhibited 'Vivien tempting King Arthur' at the Glasgow Institute in 1862. The catalogue records that it had been acquired by Robert Dalglish MP.

Moyr Smith probably remained with Melvin until the Stirling's Library project was nearly complete, but sometime before 1864 he moved to Manchester as assistant to the gothicist Alfred Darbyshire with whom he remained for three years. It was probably during this period that Smith first became acquainted with the artist and designer Henry Stacey Marks. In 1866 Moyr Smith moved to London as assistant to George Gilbert Scott, but by that date he had already established a reputation as an illustrator in Tom Hood's 'Fun' magazine and by about 1867 he had commenced 'temporary service' for Christopher Dresser and begun supplying designs to the Arthur Silver Studio. Moyr Smith's first book, 'Studies for Pictures: A Medley' (1868), was dedicated to Dresser, and in the following year, 1869, he visited Gustave Doré in Paris, probably with a view to furthering his career as an illustrator.

In 1868 Moyr Smith was commissioned to make designs for furniture and fittings for the Building News and by about 1872 he established a career as a chromo-lithograph illustrator, some of his biblical scenes having markedly Thomsonesque detail. He also made designs for Bruce Talbert's studio although the relationship between their practices has not been precisely established. From 1880 he was editor of the magazine 'Decoration in painting, sculpture, architecture and art manufactures' published by Sampson Low.

From about 1870 Moyr Smith had an extensive commercial practice in the decorative arts, his main clients being the cabinetmakers Collinson & Lock and Cox & Son, the piano-maker Broadwood & Son and the tile and ceramic manufacturers Minton & Co (later Minton Hollins & Co), W B Simpson & Sons, and Maw & Co. He also undertook decorative schemes, not merely in Britain but also in the USA, the most ambitious of these being the Holloway Sanatorium, Virginia Water, in 1877-78. Some of these were undertaken in association with John Gregory Crace and John Dibblee Crace. It is probable that some of his clients for such work were Scottish, but no work in Scotland has as yet been traced.

In person Moyr Smith was tall, bearded and red-haired, and according to D S McColl 'fiery in temperament'. He appears to have worked alone without staff. He never married, and in his earlier London years his household was managed by his mother and unmarried sister Christina. Initially they lived at Walham Grove, Putney, but in 1873-74 Moyr Smith designed and built a large studio house, Doune Lodge, in Oxford Road, Putney, which had notable interiorwork. By 1891 he was living alone and in 1894 he moved to a smaller house, Bloomfield in Queen's Road, Richmond. In these later years he renewed his links with the Ferguson family in Lenzie and bought Oakbank Cottage, Kilcreggan where he died on 1 December 1912.

Moyr Smith published four important books: 'Studies for Pictures: A Medley' (1868); 'Album of Decorative Figures' (1882); 'Ancient Greek Female Costume' (1882); and 'Ornamental Interiors, Ancient and Modern' (1888). He also illustrated a great many others: a comprehensive list is given in Stapleton.

 

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