ERARD GRAND PIANO
Piano casework features Egyptian Revival and Neoclassical elements. A plaque on the undeside of the lid reads William Lomax, cabinet maker
An 1861, Erard grand piano with an ornate burr walnut, black and gilt cabinet by cabinet maker William Lomax. Piano casework features Egyptian Revival and Neoclassical elements. Two porcelain rectangular tiles depicting a boy playing a lute and a coy girl with a fan are mounted on the cabinet side. The black decoration on this piano reflects the death of Prince Albert in December 1861. Piano has an eighy-five note keyboard and two pedals.
The music desk in an intricate, openwork arabesque design. The serpentine piano cheek is in black and burr walnut with gilt borders. It features a carved motif of a sun disk surrounded by golden palm leaves. The four sided baluster piano legs are in black, gold and walnut with carved swagged fabric, paterae and lotus embellishment. The pediment features two black paterae with stylised gold hibiscus. The piano lid is in burr walnut with black borders and carved decoration in low relief. At the piano tail, a circular motif bordered with spiralling rope contains four symmetrical anthemions. Above the piano fall, a semi-circular sun motif is bordered with stylised swags and palm leaves. The piano fall repeats smaller versions of the decorative carvings seen on the lid. Two hand-painted porcelain tiles are mounted on the piano side.They are both edged with a black border and have a gold embossed, patterned background . One tile features a coy girl in a black hat with fluttering ribbons holding a fan and purse. The second depicts a young boy in a red hat playing a lute. A plaque beneath the piano lid reads William Lomax, cabinet maker, 79 Oxford Street, Manchester
Click to enlarge
Price As is : £25,000 GBP
Price Rebuilt : £50,000 GBP
Piano Details
- Brand: Erard
- Ref: 3000
- Serial Number: 7578
- Age: 1861
- Wood: Burr Walnut
- Finish: Polished
- Size [cm]: length: 222 width: 141
Egyptian Revival
With the rise of Neoclassicism, architects often mixed the Ancient Greek, Roman and Egyptian styles. They wished to generate new shape and ornament ideas, rather than just faithful mimic those of the past. Egyptian motifs provided an exotic alternative to the more traditional styles of the day. In addition to the more overtly Egyptian-influenced forms, there were also geometric patterns and references to organic and plant forms. As more literal translations of ancient Egyptian art passed out of style, designers began adopting these more artistic motifs. The Egyptian Revival was popular in decorative arts throughout the nineteenth century, continuing into the 1920s. This looser adaptation of the vocabulary of Egyptian antiquities represents a taste for eclecticism at the turn of the century.
Erard
Erard was founded by Sebastien Erard (1752-1831). Trained in Strasbourg, Erard moved to Paris in 1768 and began making pianos for the French nobility. He was later joined by his brother Jean-Baptiste Erard (1749-1826) and the business grew, especially after Royal commissions from Marie-Antoinette, but suffered during the French Revolution. The family opened a London outlet in 1790/1, which concentrated on the production of harps. Sebastien is famous for making a great number of technical improvements and inventions and took out between fifteen adn twenty patents in England alone. After the death of Sebastien Erard, Jean Baptiste's son Pierre (1794-1855) took over the busines in Paris and London, winning a gold medal at the 1824 Paris Exposition and later becoming piano maker to Albert, Prince Consort. Many illustrious pianists played Erard instruments, including Liszt and Mendelssohn.
