Y† AN ENGLISH SQUARE PIANO CIRCA 1795 Possibly by Clementi, the satinwood and Kingwood crossbanded case inlaid with marquetry banding and brass beading and inset with Wedgwood blue jasperware plaques depicting classical figures, on fluted tapered legs with ormolu mounts, the 4 ½ octaves action with two hand levers controlling dampers and buff stops, with original green silk dust cover 110cm wide, 50cm deep, 80cm high Catalogue Note: This beautiful little piano, only 42 ¾ " by 19 ½" was most likely a special commission or exhibition instrument. The 7 inset Wedgwood plaques are of the highest quality and are set-off the fine case. The Wedgwood pale-blue Jasper plaques sprigged with white ornament: The nation's greatest potter, Josiah Wedgwood's (1730-95) working life coincided with the 18th century's great love of all things 'Antique'. The splendours of Pompeii and Herculaneum were discovered in this century and the great 18th century Scottish architect Robert Adam had the ruins of the Emperor Diocletian's Palace in Split surveyed in the 1760s. In the ancient world, much extravagant ornament, embellishments for furniture and elaborate vessels were made from polished stones or glass so Wedgwood developed a variety of dry stoneware bodies that could be worked and polished in the lapidary manner to resemble jaspers, basalts, marbles etc. of the type that was being excavated all over the Greaco-Roman world. Wedgwood commissioned work from many of the best designers and artists of the day and collaborated with other manufacturers such as Matthew Boulton and architects like Robert Adam. 'Domestic Employment', seen here on the central medallion of the piano, was realized by his modeller William Hackwood after designs by Elizabeth, Lady Templetown from her cut paper patterns. The Potteries Museum and Art Gallery in Stoke on Trent has confirmed such attribution. In addition to Lady Templetown, Wedgwood used the designs of two other talented amateur female artists for designs for the new Jasper body perfected in 1776, namely Lady Diana Beauclerk and Miss Emma Crewe. It may seem unusual for the period for Wedgwood to commission female artists, but for the potter and his business partner Bentley, patronage of fashionable people, be they male or female, made perfect commercial sense. 英式方形鋼琴 約1795 可能是通過克萊門蒂，緞木和黃檀樹交叉頻帶的琴箱，鑲嵌著細工鑲嵌條帶和黃銅 卷邊，嵌入插圖韋奇伍德藍色浮雕玉石匾牌描繪著古典人物，加上鍍金支架槽錐形腿，4½八度擊弦機帶有兩個手杠杆控制減緩器和緩衝停止，加上原來的綠色絲綢防塵罩 寬110cm, 深50cm, 高80cm 目錄注解: 這架漂亮的小鋼琴，只有42又3 / 4英寸長，19½英寸寬，很可能是一個特別委託或展覽樂器。7個鑲嵌的韋奇伍德牌匾擁有最高品質，突出的精細琴箱。 韋奇伍德淡藍色的碧玉牌匾上點綴著白色裝飾: 英國最偉大的陶工喬賽亞·韋奇伍德(1730-1995年)的職業生涯與18世紀對 "古董"的熱愛不期而遇。龐貝和赫庫蘭尼姆的輝煌在本世紀被發現，18世紀偉大的蘇格蘭建築師羅伯特·亞當在18世紀60年代對位於斯普利特的戴克裡先皇帝宮殿的廢墟進行了勘察。在古代，很多奢侈的裝飾品，傢俱和精緻的器皿都是由拋光的石頭或玻璃製成的，所以韋奇伍德開發了各種乾燥的 炻器，可以用寶石的方式加工和拋光，類似碧玉，玄武岩，古希臘羅馬世界各地都在挖掘的大理石等。 韋奇伍德委託當時許多最優秀的設計師和藝術家進行設計，並與其他製造商合作，如馬修博爾頓和羅伯特亞當等建築師。這架鋼琴的中央大獎章上的"Domestic Employment"是由他的模特威廉·哈克伍德根據伊莉莎白·坦普爾頓夫人的剪紙圖案設計出來的。除了鄧普頓夫人之外，韋奇伍德還使用了另外兩位才華橫溢的業餘女性藝術家的設計，他們是戴安娜·博克拉 克夫人和艾瑪·克魯小姐，在1776年為賈斯珀設計了完美的新身體。在那個時期，韋奇伍德委託女性藝術家似乎是不尋常的，但對陶工和他的商業夥伴賓利來說，贊助時尚人士，無論是男性還是女性，都具有完美的商業意義 Y indicates that this lot may be subject to CITES regulations when exported. Relevant CITES Regulations may be found at www.gov.uk/guidance/cites-imports-and-exports. The import of ivory is banned in certain countries. Please check your country's import regulations before bidding. † indicates that VAT is payable by the purchaser at the standard rate of 20% on the hammer price as well as being charged on the buyers' premium. Condition Report: Case has been repolished at some time in the past. Wedgwood plaques restored. Instrument requires minimal musical restoration. Condition Report Disclaimer