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Part I:


Part II:


Catalogue of


Part I: Keyboard Instruments by H o w a r d Schott Part II: Non-Keyboard Instruments by A n t h o n y Baines New catalogue entries, supplementary notes and bibliography by James Yorke


Catalogue of Musical Instruments, Volume I: Keyboard Instruments Originally published by HMSO, 1968, second edition 1985 Catalogue of Musical Instruments, Volume II: Non-Keyboard Instruments Originally published by HMSO, 1968, second edition 1978 First published as a single volume by V&A Publications, 1998 V&A Publications 160 Brompton Road London SW3 1HW T h e Board of Trustees of the Victoria and Albert Museum, 1998 Keyboard Instruments Crown copyright 1968,1985 Non-Keyboard Instruments Crown copyright 1968,1978 Howard Schott and Anthony Baines assert their moral right to be identified as authors of this book ISBN 185177 250 2 A catalogue record for this book is available from the British Library All rights reserved. N o part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior written permission of the Publishers. Printed in Hong Kong by Imago Front cover: Theorbo by Cristoforo Choc, about 1620. Ivory and ebony neck with rosewood ribbing. 7756-1862. Back cover: Jewelled spinet by Annibale Rossi, 1577. Covered with lapis lazuli, and other precious and semi-precious stones. 809-1869. Publishers' Note: This new single volume edition has been compiled from two volumes previously published separately. The pagination for each volume remains unchanged. A new Foreword, plus supplementary bibliography and endnotes to both volumes, have been added.


Howard Schott and Anthony Baines' definitive catalogues of the musical instruments in the Victoria and Albert Museum, reissued as a single volume in 1998, have proved their worth by selling out. This 2002/3 edition is a reprint of the 1998 edition, which leaves the text and illustrations virtually unchanged. It has been made possible through generous donations from the John Radcliffe Trust and the Parnassus Foundation, courtesy of Jane and Raphael Bernstein. The V&A would like to thank Alec Cobbe, Esq., the Cobbe Collection Trust, the Marc Fitch Fund, the Leche Trust, the Harley Foundation, the John Radcliffe Trust and the Worshipful Company of Musicians for generously supplying the funding that made the 1998 edition possible. Renewed thanks to Edward and Antony Gobel, Professor Lawther and Alastair Laurence and Peter Thornton for their various generous contributions to this project. CHRISTOPHER WILK JAMES YORKE Victoria and Albert Museum, 2002


FIG. 115. N o . 20/1. Bass recorder. 16th or first half of the 17th century. This is a very large instrument.

F I G . 116. N o . 20/3. Bass recorder by P. I. Bressan. London; about 1700.

F I G . 117. Left to right. N o . 20/4. Treble recorder by J. Schuchart. London; first half of the 18th century. The main joint has been cut down. N o . 20/5. Treble recorder by J. M. Anciuti. Milan; 1740. This instrument is very prettily carved in ivory. N o . 20/7. Treble recorder. English; 18th century. N o . 20/6. Treble recorder. Italian; early or mid18th century. This is veneered with tortoiseshell with gold pique and mother-of-pearl inlay.

F I G . 118 .Left. No. 20/9. Tenor recorder by Goulding & Co. London; about 1800. Right. No. 20/8. Treble recorder. Probably English; late 18th century.

F I G . 119. Left. N o . 21/3. French flageolet by T. Prowse. London; before 1836. Centre. N o . 21/2. French flageolet by Holtzapffel. Paris; first half of the 19th century. Right. N o . 21/1. Bird flageolet. English; early 19th century.

F I G . 120. Left. N o . 21/4. Double flageolet by W. Bainbridge. London; early 19th century. Right. No. 21/6. Triple flageolet by Hastrick. London; about 1835-55.

F I G . 121. No. 21/7. Pipe and tabor. London; 19th century. One normally associates such one-man ensembles with peasant musicians; it is therefore curious to note that this set was made in fashionable Pall Mall. For whom ?

122. N o . 22/1. Flute by P. J. Bressan. London; about 1710. A fine instrument made of ebony with silver pique ornament.

FIG. 123. Left. No. 22/3. Flute. English; late 18th century. Centre. No. 22/2. Flute by R. Potter. London; late 18th century. Right. No. 22/4. Tenor flute by Cahusac. London;
about 1800.

FIG. 124. Left to right. No. 22/9. Flute by Rudall Carte, London; about 1892. No. 22/8. Flute by Rudall Carte. London 1871. No. 22/7. Flute by Rudall & Rose. London; before 1850. No. 22/6. Flute by T. Prowse. London; before 1836.

F I G . 125 and A. N o . 23/1. Oboe. Dutch; late 17th century. Carved on the bell of this handsome early oboe are scenes of dancers and musicians wearing contemporary costume.

F I G . 126 to c. N o . 23/2. Oboe by Anciuti. Milan; first half of the 18th century. The detail photographs show very clearly how fine is the quality of the carved decoration on this pretty instrument which once belonged to Rossini.

F I G . 127. Left. No. 23/4. Oboe by W. Milhouse. London; early 19th century. Right. N o . 23/3. Oboe by R. Potter. London; late 18th century.

F I G . 128. Left. No. 23/6. Tenor oboe by Cahusac. London; late 18th century. Centre. No. 23/7. Musette. French; second half of the 19th century. Right. N o . 23/5. Tenor oboe by T. Stanesby, junior. London; first half of the 18th century.

FIG. 129. Left. N o . 23/8. Tenoroon by R. de Rosa. Naples; about 1830. Centre. N o . 23/9. Bassoon by Goulding. London; early 19th century. Right. N o . 23/10. Bassoon by T. Key. London; early 19th century.

FIG. 130. T w o alto fagottos by Wood & Ivy. London; about 1830. An oblique view: they are in fact the same size. Left. No. 23/12. Right. No. 23/11.

F I G . 131. No. 24/1. Clarinet by R. J. Bilton. London; after 1826. A piece of boxwood with a particularly attractive figure has been chosen for this instrument.

FIG. 132. N o . 24/2. Basset-horn. Possibly English; first quarter of the 19th century.

FIG. 133. Top left. No. 25/2. Bagpipes (cornemuse). French; mid-18th century. Top right. No. 25/1. Bagpipes (musette). French; mid-18th century. Bottom. The bellows and instrument comprising No. 25/3. Bagpipes.

FIG. 134. Top. No. 26/3. Serpent by Gerock & Wolf. London; about 1831. Centre. No. 26/1. Cornett. Probably Italian; late 16th century. Bottom. No. 26/2. Cornett. Italian or German; late 16th or early 17th century.

FIG. 135 and A (opposite). No. 27/1. French horn by M. A. Raoux. Paris; about 1826. This has a design in green lacquer inside the bell.

FIG. 136. Top. No. 27/2. Slide trumpet. English; second quarter of the 19th century. Bottom. No. 27/6. Soprano trombone by Allen & Pace. Birmingham; about 1870.

FIG. 137. No. 27/5. Cornet by Charles Pace. London; second quarter of the 19th century.

FIG. 138. Top. No. 27/3. Bugle horn. Bottom. No. 27/4. Key bugle. English; first half of the 19th century.



1 (p 15/No 1) Denzil Wraight 'Vincentius and the earliest harpsichords'. Early Music, vol 14, no. 4, Oct. 1986 pp 534-538. 2. (p.24/No.4) Grant O ' Brien 'Marco Iadra - A Venetian Virginal and Harpsichord Builder', Historical Keyboard and Early Piano Studies (Oxford, 1996). 3. (p 29/No.6) David Starkie (ed ): Henry VIII A European Court in England (London, 1991), p.105. 4 (p 3 2 / N o . 7 ) Stefano Toffolo: Anticbi Strumenti Veneziani. '500-1800 Quattro secoli di luiteria c cembalaria (Venice, 1987). op 155-157. 5 (p. 43/No.11) Simon Jervis: 'Glass reliefs at Schloss Ambrass and the Victoria & Albert Museum', Burlington Magazine, Vol. CXXXII, No 1046, May 1990, pp.350-353. 6. (p.53/No.l5) Grant O ' Brien: Ruckers A harpsichord and virginal building tradition (Cambridge, 1990), pp.9-10, 270. 7. (p.71/No 23).tbid.p.281. 8. (p.84/No.29) Virginia Pleasants. 'The Early Piano in Britain', Eaily Music, vol 13, no.1, Feb. 1985, pp 39-44 9. (p 109/No 42) Cristina Bordas. 'Dos Constructores de Pianos en Madrid: Fransisco Flonez y Fransisco Fernandez', Revista de Musicologia Vol XI, no 3, Sept-Dec. 1988, pp.807-851 10. (p.138/No 57) Linda Parry (ed.): William Morris (London, 1996), pp 178-179 11. (p 142/No.60) I I am most grateful to Alastair Laurence for supplying me with this information ii Information supplied by W J. Austin, Messrs Collard & Collard, Ltd., 15 May 1959 (V&A Registry, Nominal File). in. Aslin (1962), p.64. 12 (p 144/No.61) i. I am most grateful to Alastair Laurence for this information. ii Wilson (B.A. Thesis, Leeds) iii. 'Last Words on the Paris Exhibition', The Builder, Vol. LXXX, 1901, p 458, note 8. iv. Hugh B. Philpott. 'The Piano aesthetically considered'. The Artist, vol XXXII, 1901, p. 185 v. I am most grateful to David B. Robinson, M.A , Ph.D., County Archivist of the Surrey Record Office, for supplying me with this information. I am also most grateful to Ruth Harman, Senior Archivist of Sheffield Archives, for her information on the Leng family. 13. (p.146/No.62) I. Elizabeth Goble: 'Keyboard Lessons with Arnold Dolmetsch', Early Music, vol. 5, no. l, Jan. 1977, pp 89-91. ii. Information kindly supplied by E.A. Goble, son of Richard Goble.

14 (p 3/No.l/l) John Pringle. 'John Rose, the founder of English Viol Making', Early Music, vol. 6, no 4, Oct. 1978, pp.501-511 15. (p.6/No.l/10) John R. Catch: 'Prince Albert's Early Music', Galpin Society Journal, XLII. 1989, pp.3-9. 16. (p 12/No 2/6) Gunther Hellwig. Joachim Ticlke Ein Hamburger Lauten - und Violenmacher der Barockzeit ( H a m b u r g , 1980), pp.186-189 17 (p.16/No.3/2) John Dilworth: 'Early English sophistication', The Strad, vol. 110, no. 1307, March 1999, pp.264-271. 18 (p.30/No.7/3) S. Toffolo op. cit,, pp 97-98. 19 (p 31/No.7/4) ibid pp.79-84. 20 (p 31/No 7/5) ibid, p.53 21. (p. 34/No 7/13) Robin Headlam Wells. 'Number Symbolism in the Renaissance lute rose', Early Music, vol. 9, no 1, Jan. 1981, pp 22-31 22. (p.35/No 7/14) ibid. 23. (p.35/No.7/15) S.Toffolo: op cit. p.97. 24 (p.38/No.8/2) Stephen Morey: The Mandolin in the 16th and 17th century ( C r e m o n a , 1993), pp 2 0 - 2 3 . James Tyler: ' T h e Italian Mandolin and Mandola, 1589-1900', Early Music, vol. 9, no. 4, Oct. 1981, pp 438-446. 25. (p.38/No 8/3) S. Toffolo: op. cit pp. 130-132. 26. (p.39/No 8/5) J Tyler, op. cit. 27. (p.40/No.8/7) S. Morev op. cit. pp 86-96 28 (p.40/No.8/8) ibid. p 103. 29. (p.44/No 10/1) Robert Hadaway. 'The Cittern', Early Music, vol 3, no 2, April 1973, pp 77-81. 30. (p 45/No.10/3) G. Hellwig. op. cit, pp.156-158. 31. (p.52/No 11/9) Beryl Kenyon de Pascual. 'The one-man band in 18th century Spain and Instrument N o . 1039 in the Metropolitan Museum of Art', Journal of the American Musical Instrument Society, XX, 1994, pp.75-72 32. (p.56/No.l2/1) G. Hellwig. op. cit.. pp.296-299. 33. (p.57/ N o 12/2) S. Toffolo: op cit., pp.76-86. 34. (p.85/No.20/3) Maurice Byrne: 'Pierre Jaillard, Peter Bressan', Galpin Society Journal, XXXVI, 1983 pp 2-28. Maurice Byrne' 'More on Bressan', Galpin Society Journal, XXXVII, 1984, pp 102-111. 35. (p.92/No.22/l) ibid 36. (p 95/No.23/l) Rob Van Acht: 'Dutch Wind-instrument Makers from 1670 to 1820', Galpin Society Journal, XLI, 1988. pp.83-101. 37. ( p . l 0 4 / N o . 2 6 / l ) E s z t e r F o n t a n a ' T h e Manufacture of I v o r y C o r n e t t i ' , Galpin Society Journal, XXXVI, 1983, pp.29-36


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