Music Trade Review
Issue: 1895 Vol. 21 N. 14 - Page 9
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THE MUSIC TRADE REVIEW.
The Piano Industry.
t
;, y many began to seek these shores. They Hall between 1831 and 1851, when they were
,'. . . . .'. Continued from page Five. « :.'J.'-
from the saline quality of the seas. One
great advantage to the purchaser is that
Messrs. Dodds & Claus make it an invari-
able rule to repair every instrument that
may prove defective in the workmanship if
applied to within two years after delivery."
Both Dodds and Claus came from London
in 1788; the latter was, however, a native
of Stuttgart.
The frequent announcements in the New
York papers around the close of the last
century, announcing the arrival of "patent
pianofortes from London," and the vast
number consumed throaghout the country
— population considered — furnishes the
strongest proof of the growing demand for
musical instruments.
The large shipments of instruments from
London to the United States must have
opened the eyes of wide-awake men over
there, and English piano makers realized
that there was a great undeveloped com-
mercial continent to conquer. In 1799 we
find Morgan Davis and Thomas Gibson
landing on these shores, and two years later
read of them in business as legitimate
pianoforte makers, at 63 Barclay street,
where they cut a prominent figure for
thirty }ears afterward.
RENEWAL OF TRADE RELATIONS WITH
GREAT BRITAIN.
Speaking of the renewal of trade relations
with Great Britain after the Revolution,
Daniel Spillane, in his "History of the
American Pianoforte," says: "In 1791
Mr. Hammond, the first official representa-
tive ever sent from Great Britain to the
United States, arrived. This was several
years before the consummation of Jay's
famous treaty. . . Hammond's appointment
was the result of action taken by London
tradespeople and merchants, evidently, for
I find that a large body of merehants
and representatives of London houses
waited upon the Foreign Secretary, in
1790, and vehemently urged him to see
that the American trade did not slip through
their fingers through the prejudice of the
king and others. In this year Spain com-
menced shipping goods of all kinds in
large quantities to Havana, for the purpose
of meeting the wants of American mer-
chants, and other European countries on
good terms with Spain were taking advan-
tage of the fact by shipping goods to this
port, which was fast becoming a supply
center f^r the Southern American States,
through Baltimore, Charleston, and other
convenient centers. This alarmed and
stirred up the British Government, and the
treaty with Jay was the culminating point.
"In this deputation several of the promi-
nent English pianoforte houses were repre-
sented, among them being Broadwood,
Stodart and Southwell. The appointment
of a British representative, and later the
consummation of a regular treaty between
the two countries, had, however, an unde-
sirable and unlooked for effect in a few
years for European makers, because men
who were successful in England and Ger*
founded a rival trade within the States sub-
sequently, and, assisted partly by the oper-
ation of a tariff in later years, built up the
basis of the American pianoforte art busi-
ness of the future. London piano makers
in particular came over on the first appear-
ance of peaceful relations between Great
Britain and the United States, beginning
with Hammond's appointment. Davis and
Gibson were among these men. The Geibs
and John Montgomery were also among the
more recent arrivals after this event.
"The Germans began to come over as
early as 1818. About 1840 they had secured
a firm foothold in New York, while they
predominated in Baltimore and were very
strong in Philadelphia."
THE GEIBS AND KEARSINGS.
The brothers Geib—John and Adam—
made their appearance as pianoforte makers
in Mt. Vernon in 1805, having arrived in
this country a few years previously. John
Geib, Sr., inventor of the "grasshopper
action," which was patented in London in
1786, was the father of John and Adam
Geib. He was one of the ''twelve apostles''
who came from Germany in 1760 and
founded the piano business there. In 1807
John and Adam Geib removed from Mt.
Vernon to Leonard street, near Broadway.
Two years later the senior member of the
firm died. John Geib, Jr., started in busi-
ness in 1815, and on October 3d, 1817, se-
cured the second patent ever granted to a
resident of New York for improvements in
the "shape and structure of the upright
piano." This inventor was in business on
the Bowery, near Bedford street, in 1821,
while Adam Geib and William Geib, a neph-
ew of the former, appeared at 23 Maiden
Lane. They were succeeded by Geib &
Walker, and subsequently William Geib
carried on the business.
Among other piano makers that came
over from London about the opening of the
century, were the Kearsing family, who en-
gaged in piano jnanufacturing at "Bowery
corner of Nurth," in 1802, under the firm
name of John Kearsing & Sons.
In 1804 George Chartres and Joseph
Waites were in evidence as manufacturers,
and a noteworthy item in connection with
this firm was that George Chartres was
granted the first patent issued to a New
Yorker "for a pianoforte improvement."
The Kearsings were also improvers, for
we find a patent was issued for an "im-
provement in square actions." Some of
the Kearsing family were known in connec-
tion with the piano business up to and past
the "sixties."
Firth & Hall, composed of John Firth and
William Hall, opened up an extensive busi-
ness in 1824 at 358 Pearl street. In later
years, around 1840, this firm became known
as Firth, Hall & Pond. In 1847 Hall
dropped out, and a new concern, known as
Firth, Pond & Co., was organized. From
this firm the present house of Wm. A. Pond
& Co., of this city, has descended. James
A. Gray, founder of the house of Boardman
& Gray, Albany, learned tuning and prac-
tical piano making in the shop of Firth &
manufacturing pianos.
....-...;
STODART, DUBOIS—THE NUNNS FAMILY.
In 1819 Robt. Stodart arrived in New
York, and two years later joined forces
with William Dubois, and around the thir-
ties began manufacturing on Crosby street.
During the panic and hard times of 1827,
Mr. Stodart withdrew, and Mr. Chambers,
who, by the way, died during the past year,
and George Bacon, father of Francis Bacon,
the well-known manufacturer of this city,
became partners under the title of Dubois,
Bacon & Chambers. In later years the firm
became known as Raven & Bacon, and sub-
sequently Francis Bacon, who is upholding
the traditions of this house to-day.
Among the piano makers taking part in
the first exhibition held in New York in
1830, in the building now occupied as an
Aquarium, but better known as "Castle
Garden," were William Geib, who secured
first premium for an upright pianoforte,
and R. & W. Nunns, who were honored
with first premium for the best square.
Other exhibitors were Chas. Sackmeister
and Dubois & Stodart.
Robt. and William Nunns, who played no
small part in the evolution of the piano
trade in this city and country, arrived from
London in 1821, and after working for
some years in the shop of Kearsing & Sons,
just referred to, started in business in 1824,
and introduced many patented improve-
ments in their instruments, relating partic-
ularly to the action principle and acoustics.
The Nunns scale was admitted to be one of
the best seen in New York up to the forties.
In 1833 they had their warerooms at 137
Broadway, and when John Clark came over
from England, he was taken into partner-
ship, the firm becoming Nunns, Clark &
Co.
In the newspapers of that day
they advertised extensively "that they
have always on hand at their warerooms,
137 Broadway, two doors from the City
Hotel, an assortment of cabinet, square and
horizontal pianofortes from their manufac-
tory. ''
In subsequent years William Nunns with-
drew from the business and began manu-
facturing for himself, and later became as-
sociated with J. & C. Fischer, giving birth
to the firm of Nunns & Fischer, which be-
came known as J. & C. Fischer after 1840,
a house so active a factor in the music trade
of to-day that no further reference or eulogy
is needed to explain their position.
The house of Nunns, Clark & Co., later
Nunns & Clark, continued to occupy a
prominent place until '58, when they
dropped out of business.
OSBORN—JARDINE—OVERSTRINGING .
Another prominent figure around the
"thirties" was John Osborn, who was
known in Boston and Albany as a manu-
facturer previous to opening in business at
184 Chambers street. An idea of the stand-
ing of his instruments can be gleaned from
the fact that at the Mechanics' Institute
Annual Exhibition in 1833, he took the
gold medal for the best grand and square
pianos, and in the year following secured a
THE MUSIC TRADE REVIEW.
The Piano Industry.
t
;, y many began to seek these shores. They Hall between 1831 and 1851, when they were
,'. . . . .'. Continued from page Five. « :.'J.'-
from the saline quality of the seas. One
great advantage to the purchaser is that
Messrs. Dodds & Claus make it an invari-
able rule to repair every instrument that
may prove defective in the workmanship if
applied to within two years after delivery."
Both Dodds and Claus came from London
in 1788; the latter was, however, a native
of Stuttgart.
The frequent announcements in the New
York papers around the close of the last
century, announcing the arrival of "patent
pianofortes from London," and the vast
number consumed throaghout the country
— population considered — furnishes the
strongest proof of the growing demand for
musical instruments.
The large shipments of instruments from
London to the United States must have
opened the eyes of wide-awake men over
there, and English piano makers realized
that there was a great undeveloped com-
mercial continent to conquer. In 1799 we
find Morgan Davis and Thomas Gibson
landing on these shores, and two years later
read of them in business as legitimate
pianoforte makers, at 63 Barclay street,
where they cut a prominent figure for
thirty }ears afterward.
RENEWAL OF TRADE RELATIONS WITH
GREAT BRITAIN.
Speaking of the renewal of trade relations
with Great Britain after the Revolution,
Daniel Spillane, in his "History of the
American Pianoforte," says: "In 1791
Mr. Hammond, the first official representa-
tive ever sent from Great Britain to the
United States, arrived. This was several
years before the consummation of Jay's
famous treaty. . . Hammond's appointment
was the result of action taken by London
tradespeople and merchants, evidently, for
I find that a large body of merehants
and representatives of London houses
waited upon the Foreign Secretary, in
1790, and vehemently urged him to see
that the American trade did not slip through
their fingers through the prejudice of the
king and others. In this year Spain com-
menced shipping goods of all kinds in
large quantities to Havana, for the purpose
of meeting the wants of American mer-
chants, and other European countries on
good terms with Spain were taking advan-
tage of the fact by shipping goods to this
port, which was fast becoming a supply
center f^r the Southern American States,
through Baltimore, Charleston, and other
convenient centers. This alarmed and
stirred up the British Government, and the
treaty with Jay was the culminating point.
"In this deputation several of the promi-
nent English pianoforte houses were repre-
sented, among them being Broadwood,
Stodart and Southwell. The appointment
of a British representative, and later the
consummation of a regular treaty between
the two countries, had, however, an unde-
sirable and unlooked for effect in a few
years for European makers, because men
who were successful in England and Ger*
founded a rival trade within the States sub-
sequently, and, assisted partly by the oper-
ation of a tariff in later years, built up the
basis of the American pianoforte art busi-
ness of the future. London piano makers
in particular came over on the first appear-
ance of peaceful relations between Great
Britain and the United States, beginning
with Hammond's appointment. Davis and
Gibson were among these men. The Geibs
and John Montgomery were also among the
more recent arrivals after this event.
"The Germans began to come over as
early as 1818. About 1840 they had secured
a firm foothold in New York, while they
predominated in Baltimore and were very
strong in Philadelphia."
THE GEIBS AND KEARSINGS.
The brothers Geib—John and Adam—
made their appearance as pianoforte makers
in Mt. Vernon in 1805, having arrived in
this country a few years previously. John
Geib, Sr., inventor of the "grasshopper
action," which was patented in London in
1786, was the father of John and Adam
Geib. He was one of the ''twelve apostles''
who came from Germany in 1760 and
founded the piano business there. In 1807
John and Adam Geib removed from Mt.
Vernon to Leonard street, near Broadway.
Two years later the senior member of the
firm died. John Geib, Jr., started in busi-
ness in 1815, and on October 3d, 1817, se-
cured the second patent ever granted to a
resident of New York for improvements in
the "shape and structure of the upright
piano." This inventor was in business on
the Bowery, near Bedford street, in 1821,
while Adam Geib and William Geib, a neph-
ew of the former, appeared at 23 Maiden
Lane. They were succeeded by Geib &
Walker, and subsequently William Geib
carried on the business.
Among other piano makers that came
over from London about the opening of the
century, were the Kearsing family, who en-
gaged in piano jnanufacturing at "Bowery
corner of Nurth," in 1802, under the firm
name of John Kearsing & Sons.
In 1804 George Chartres and Joseph
Waites were in evidence as manufacturers,
and a noteworthy item in connection with
this firm was that George Chartres was
granted the first patent issued to a New
Yorker "for a pianoforte improvement."
The Kearsings were also improvers, for
we find a patent was issued for an "im-
provement in square actions." Some of
the Kearsing family were known in connec-
tion with the piano business up to and past
the "sixties."
Firth & Hall, composed of John Firth and
William Hall, opened up an extensive busi-
ness in 1824 at 358 Pearl street. In later
years, around 1840, this firm became known
as Firth, Hall & Pond. In 1847 Hall
dropped out, and a new concern, known as
Firth, Pond & Co., was organized. From
this firm the present house of Wm. A. Pond
& Co., of this city, has descended. James
A. Gray, founder of the house of Boardman
& Gray, Albany, learned tuning and prac-
tical piano making in the shop of Firth &
manufacturing pianos.
....-...;
STODART, DUBOIS—THE NUNNS FAMILY.
In 1819 Robt. Stodart arrived in New
York, and two years later joined forces
with William Dubois, and around the thir-
ties began manufacturing on Crosby street.
During the panic and hard times of 1827,
Mr. Stodart withdrew, and Mr. Chambers,
who, by the way, died during the past year,
and George Bacon, father of Francis Bacon,
the well-known manufacturer of this city,
became partners under the title of Dubois,
Bacon & Chambers. In later years the firm
became known as Raven & Bacon, and sub-
sequently Francis Bacon, who is upholding
the traditions of this house to-day.
Among the piano makers taking part in
the first exhibition held in New York in
1830, in the building now occupied as an
Aquarium, but better known as "Castle
Garden," were William Geib, who secured
first premium for an upright pianoforte,
and R. & W. Nunns, who were honored
with first premium for the best square.
Other exhibitors were Chas. Sackmeister
and Dubois & Stodart.
Robt. and William Nunns, who played no
small part in the evolution of the piano
trade in this city and country, arrived from
London in 1821, and after working for
some years in the shop of Kearsing & Sons,
just referred to, started in business in 1824,
and introduced many patented improve-
ments in their instruments, relating partic-
ularly to the action principle and acoustics.
The Nunns scale was admitted to be one of
the best seen in New York up to the forties.
In 1833 they had their warerooms at 137
Broadway, and when John Clark came over
from England, he was taken into partner-
ship, the firm becoming Nunns, Clark &
Co.
In the newspapers of that day
they advertised extensively "that they
have always on hand at their warerooms,
137 Broadway, two doors from the City
Hotel, an assortment of cabinet, square and
horizontal pianofortes from their manufac-
tory. ''
In subsequent years William Nunns with-
drew from the business and began manu-
facturing for himself, and later became as-
sociated with J. & C. Fischer, giving birth
to the firm of Nunns & Fischer, which be-
came known as J. & C. Fischer after 1840,
a house so active a factor in the music trade
of to-day that no further reference or eulogy
is needed to explain their position.
The house of Nunns, Clark & Co., later
Nunns & Clark, continued to occupy a
prominent place until '58, when they
dropped out of business.
OSBORN—JARDINE—OVERSTRINGING .
Another prominent figure around the
"thirties" was John Osborn, who was
known in Boston and Albany as a manu-
facturer previous to opening in business at
184 Chambers street. An idea of the stand-
ing of his instruments can be gleaned from
the fact that at the Mechanics' Institute
Annual Exhibition in 1833, he took the
gold medal for the best grand and square
pianos, and in the year following secured a
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