Music Trade Review

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rtistry in
Piano Casings
Some Recent Steck Grand Period Creations of Unusual Character
1. Tuscan Design, Late Eighteenth Century English.
OIANO manufacturers who have given earn-
est attention to the development of period
cases along lines that have held to the dis-
tinctive characteristics of the periods repre-
sented, and have thereby produced really ar-
tistic creations, have found that not only did
these artistic case designs serve to break down
the sales resistance offered by the new buyer
but have proven strong letters in digging up
substantial replacement business. In this re-
spect, the period case really serves a double
purpose from a commercial standpoint as well
as providing an artistic covering for an ar-
tistic instrument.
The success that has been achieved by the
Aeolian Co. with the Steck grand, for instance,
has been due not only to sound salesmanship
but to the attractiveness of the line itself,
which possesses an eye value that represents
a distinct asset. The Steck grand pianos in
period styles have been developed with par-
ticular care in the modern factory in Neponset
and both artists and artisans of standing and
2. The Effect of the Harpsichord. 3. The Hepplewhite Influence. 4. After the Style of Louis XV.
ability have been engaged in the carrying out
of the design.
We have the privilege to present herewith
four of the new Steck period models which
give some idea of the variations that can be
made in piano case design to get away from
the severe and the commonplace. No. 1, known
as Style NA, is termed the Tuscan, and is
designed after the late 18th century English
school. The inlays on the music rack and leg-
heads give a particularly pleasing touch to the
model. The grand itself is five feet, one inch
long.
No. 2, known as the style VE, is particularly
interesting because it represents a clever mod-
ern adaptation of the Harpsichord. This model,
which is four feet, ten inches in length, is
finished in mahogany. The legs are turned
and reeded, the leghead and desk have fine
mahogany frets laid on maple burr grounds,
and attractiveness is added to the case by the
vertical grain of the desk rim.
No. 3, known as style VD, is only four feet,
six inches in length, and particularly well suited
for the small home or apartment. The design
is Hepplewhite, and the spirit of the original
designers of the style is shown in a clever use
of mahogany in conjunction with other rare
woods, providing a wonderful play of color,
light and shade.
No. 4, the style VC, offers an interesting ex-
ample of what can be done in the adaptation
of the characteristics of the Louis XV school
of design in a modern piano case, without ob-
taining simply an effect of flamboyancy. In
this instrument the carving is rich but not over-
done, and an outstanding feature is the per-
fectly proportioned legs. A slight variation of
color emphasizes all moldings and carved mem-
bers.
Instruments such as those designed in the
Steck factories will go far to give the public
a new conception of the piano as a decorative
as well as musical addition to the home fur-
nishings. That they have appeal has been
proven by sales.