Music Trade Review
Issue: 1907 Vol. 45 N. 14 - Page 11
Music Trade Review -- © mbsi.org, arcade-museum.com -- digitized with support from namm.org
THE: MUSIC TRADE
REVIEW
11
FINE ARTS AS APPLIED TO PIANO CASE DECORATION
tendrils of airiness and grace in inlay and carv-
ing; no leaf of our Titan forest that does not
lend its form and design; no curving spray of
An Historical Sketch Tracing the Decorative Art Periods and Their Varying Influence on Piano
wild rose or briar that does not live forever in
Construction and Elaboration—How American Art Secured Stimulation.
carven arch or window, making more precious
[FROM TIIK STEINWAY HUI.I-KTIN.]
the preciousness of simple adornment, because
In tracing the Decorative Art Periods and
It is better to belong to a nation destined to
flowers are the most perfect models of design and
their historical influence during varying tem-
achieve greatness, than to one whose ancient
peraments and political conditions we are now the most naturally adapted for decorative art.
civilization mocks you with the ruins of a beau-
During the time of George II. in England and
entering upon the second half of the Eighteenth
ty, the secret of whose creation you have lost.
Louis XVI. in France, the entire decorative idea
This very absence of tradition, which the old Century, near the time of our independence.
The subject of the
world writers thought would rob us of inspira-
Adams period in Eng-
tion and artistic genius, has been rather the
land, and its American
source of our freedom and strength.
There is something Hellenic in our air and reflection in the delicate
purity and chaste beauty
world—something that brings a quicker and
of Colonial interiors, can-
deeper breath of joy and power than any ancient
not fail to be of interest.
civilization could give us.
This is the only genuine
The chosen miric 1 of our liberty is not only
American Art, and is des-
tined to become the Art
of America's future.
It is not to be sup-
posed for a moment that
I wish to deprive our
early designers of their
laurels by tracing their
inspiration to an English
source. Their discovery
and adaptation of the
style to meet original
conditions is not less
worthy of praise than
the creation of a new de-
sign would be.
As France turned to
Italy to generate artistic
thought and feeling, so
England
turned to
France for the basis in
STKKWVAY .JKAND I IA .<>
matters decorative, and executed her own way
on the new lines.
Our interest most lies with Robert Adams
A M IK I.I ("A K A C I ' T M A N N ,
and to learn the source of his education and
the voices that dwell in sea and mountain. Theo
ideas which are so closely associated with our
dore Steinway listened to other messages than
Colonial Art.
these—messages which he has caused to yield
Robert was the second son of a master mason,
us the splendor of a new imagination, the mar- and was born in Scotland in 1728. At about the
vel of a new liberty and whose creative genius
a~e of thirty we learn of his making a fruitful
has led in the progress
of a new and greater
civilization the world
has yet known.
As we proudly survey
our triumphs of govern-
ment, art, science and
industrial
invention,
among them is certainly
"Our Own Art of Piano
Making," in which we
have outstripped all
o t h e r n a t i o n s and
formed a school for the
world.
This achieve-
ment can justly be de-
fined " O u r
flawless
triumph in Art."
Then why all this
study of an artistic and
historical problem? you
will ask. I think the
study gives us a knowl-
edge of the real strength
in Art. Not that we
must or do imitate the
works of great men, but
HIT O P SIIKItATON
D K K I C N ( ) ! • ' lilOL) M A H O G A N Y
INI.AID
W I T H
SATIN WOOD LINKS.
rather
their
artistic
spirit. It is an increased
universal sensibility to 'beauty that we need most
visit to Italy and to become saturated with the
of all—a common culture which should be the wonderous beauty of floral design. There is no
joyful possession of the many and not the few.
flower of our meadows that does not wreathe its
THE
ERNEST A.
TONK
PIANO
Oh' ADAMS LKSKi.V
IN WlIl'lK
MAHOGANY
DKCOItATKD.
reverts to the most refined classic. A change
in monarch brought about this radical change
from eccentric curves to rigid straight lines, as
the artists and craftsmen of the day saw in each
new accession a chance to introduce their latest
creations.
To none other than Madame de Pompadour,
who sent artists to Pompeii for study and in-
spiration, can we ascribe the purity of taste, the
Roman influence and Pompeian refinement of the
Adams, Sheraton and Chippendale creations.
As mahogany was to Chippendale so was sat-
inwood to Adams. It was a new wood in his
time and especially adapted to his style of work.
His method of decoration differed materially
from that of nis predecessors, for in place of
carving his new work his embellishment was
painting and delicate lines of inlay and effects
of old ivory. The effect of these classic de-
signs, with all the subtleties of lovely flowers,
love knots, little baskets and ribbon garlands
of excessive daintiness executed in soft colors
on the golden glow of satinwood, has a charm
which none can resist.
Prior to this time English musicians sent to
foreign makers for their instruments, but this
decade is memorable in the annals of English
musical instruments.
In 1773 Tschudi and
Broadwood executed a harpsichord for Frederick
the Great, who presented it to the Empress
Maria Theresa of Austria. In this the old
models for the supports were departed from, and
it stands on legs, which, if they were not de-
signed by Robert Adams had every appearance
of being so, while in addition to being inlaid it is
also cross banded and otherwise richly decorat-
ed. Another of the same makers was also pre-
sented by Frederick to Empress Elizabeth of
Russia, and is in all probability the one de-
signed for her by Robert Adams in 1774. And
E XTRAORDINARY
DURABILITY
A RTISTICDE S I G N
Correspondence with active
dealers solicited.
LIGHT AND
T OUCH
RESPONSIVE
INCORPORATED
William Tonk ft Bro.
452466 Ttnth Avi., lUw Ytrk
THE: MUSIC TRADE
REVIEW
11
FINE ARTS AS APPLIED TO PIANO CASE DECORATION
tendrils of airiness and grace in inlay and carv-
ing; no leaf of our Titan forest that does not
lend its form and design; no curving spray of
An Historical Sketch Tracing the Decorative Art Periods and Their Varying Influence on Piano
wild rose or briar that does not live forever in
Construction and Elaboration—How American Art Secured Stimulation.
carven arch or window, making more precious
[FROM TIIK STEINWAY HUI.I-KTIN.]
the preciousness of simple adornment, because
In tracing the Decorative Art Periods and
It is better to belong to a nation destined to
flowers are the most perfect models of design and
their historical influence during varying tem-
achieve greatness, than to one whose ancient
peraments and political conditions we are now the most naturally adapted for decorative art.
civilization mocks you with the ruins of a beau-
During the time of George II. in England and
entering upon the second half of the Eighteenth
ty, the secret of whose creation you have lost.
Louis XVI. in France, the entire decorative idea
This very absence of tradition, which the old Century, near the time of our independence.
The subject of the
world writers thought would rob us of inspira-
Adams period in Eng-
tion and artistic genius, has been rather the
land, and its American
source of our freedom and strength.
There is something Hellenic in our air and reflection in the delicate
purity and chaste beauty
world—something that brings a quicker and
of Colonial interiors, can-
deeper breath of joy and power than any ancient
not fail to be of interest.
civilization could give us.
This is the only genuine
The chosen miric 1 of our liberty is not only
American Art, and is des-
tined to become the Art
of America's future.
It is not to be sup-
posed for a moment that
I wish to deprive our
early designers of their
laurels by tracing their
inspiration to an English
source. Their discovery
and adaptation of the
style to meet original
conditions is not less
worthy of praise than
the creation of a new de-
sign would be.
As France turned to
Italy to generate artistic
thought and feeling, so
England
turned to
France for the basis in
STKKWVAY .JKAND I IA .<>
matters decorative, and executed her own way
on the new lines.
Our interest most lies with Robert Adams
A M IK I.I ("A K A C I ' T M A N N ,
and to learn the source of his education and
the voices that dwell in sea and mountain. Theo
ideas which are so closely associated with our
dore Steinway listened to other messages than
Colonial Art.
these—messages which he has caused to yield
Robert was the second son of a master mason,
us the splendor of a new imagination, the mar- and was born in Scotland in 1728. At about the
vel of a new liberty and whose creative genius
a~e of thirty we learn of his making a fruitful
has led in the progress
of a new and greater
civilization the world
has yet known.
As we proudly survey
our triumphs of govern-
ment, art, science and
industrial
invention,
among them is certainly
"Our Own Art of Piano
Making," in which we
have outstripped all
o t h e r n a t i o n s and
formed a school for the
world.
This achieve-
ment can justly be de-
fined " O u r
flawless
triumph in Art."
Then why all this
study of an artistic and
historical problem? you
will ask. I think the
study gives us a knowl-
edge of the real strength
in Art. Not that we
must or do imitate the
works of great men, but
HIT O P SIIKItATON
D K K I C N ( ) ! • ' lilOL) M A H O G A N Y
INI.AID
W I T H
SATIN WOOD LINKS.
rather
their
artistic
spirit. It is an increased
universal sensibility to 'beauty that we need most
visit to Italy and to become saturated with the
of all—a common culture which should be the wonderous beauty of floral design. There is no
joyful possession of the many and not the few.
flower of our meadows that does not wreathe its
THE
ERNEST A.
TONK
PIANO
Oh' ADAMS LKSKi.V
IN WlIl'lK
MAHOGANY
DKCOItATKD.
reverts to the most refined classic. A change
in monarch brought about this radical change
from eccentric curves to rigid straight lines, as
the artists and craftsmen of the day saw in each
new accession a chance to introduce their latest
creations.
To none other than Madame de Pompadour,
who sent artists to Pompeii for study and in-
spiration, can we ascribe the purity of taste, the
Roman influence and Pompeian refinement of the
Adams, Sheraton and Chippendale creations.
As mahogany was to Chippendale so was sat-
inwood to Adams. It was a new wood in his
time and especially adapted to his style of work.
His method of decoration differed materially
from that of nis predecessors, for in place of
carving his new work his embellishment was
painting and delicate lines of inlay and effects
of old ivory. The effect of these classic de-
signs, with all the subtleties of lovely flowers,
love knots, little baskets and ribbon garlands
of excessive daintiness executed in soft colors
on the golden glow of satinwood, has a charm
which none can resist.
Prior to this time English musicians sent to
foreign makers for their instruments, but this
decade is memorable in the annals of English
musical instruments.
In 1773 Tschudi and
Broadwood executed a harpsichord for Frederick
the Great, who presented it to the Empress
Maria Theresa of Austria. In this the old
models for the supports were departed from, and
it stands on legs, which, if they were not de-
signed by Robert Adams had every appearance
of being so, while in addition to being inlaid it is
also cross banded and otherwise richly decorat-
ed. Another of the same makers was also pre-
sented by Frederick to Empress Elizabeth of
Russia, and is in all probability the one de-
signed for her by Robert Adams in 1774. And
E XTRAORDINARY
DURABILITY
A RTISTICDE S I G N
Correspondence with active
dealers solicited.
LIGHT AND
T OUCH
RESPONSIVE
INCORPORATED
William Tonk ft Bro.
452466 Ttnth Avi., lUw Ytrk
Future scanning projects are planned by the International Arcade Museum Library (IAML).