1900s

“Upright Pianos”

Having played the piano for the past 20 years, I still have my old original upright Whitney piano.  However, given that I’m moving abroad, I am heartbroken by the news that I now have to sell it.  That piano lasted me through the banging “Freres Jacques” song of a five year old, the angsty operatic period of a teenager, and the Broadway musical era of my twenties.  Built from sturdy wood, it has lasted through three moves and decades of love and crooning.  It’s just killing me to have to let it go.  

In the course of research the estimated value of my treasure, I ran across this fascinating article discussing the history and development of the 20th century piano.  It includes all sorts of pictures and informative details, a great read if you are into music.  Based on the photos, I was able to estimate that my Whitney is from circa early 1920s.  It looks exactly like the photo!  I didn’t realize that I got one of the last styles to have the really high backs.  I don’t like the waist-high piano’s nearly as well.  Of course, to be honest, I’ve yet to meet a piano that sounded as beautiful as my own ~ even the expensive grand pianos.  Sadness, I’ll miss you baby!

If you’re interested, here is a brief portion of the article:

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Identify Instrument

via “Antique Piano Shop

UPRIGHT PIANOS

Upright Piano, Circa 1870

Upright Piano, Circa 1870
Upright Piano, Circa 1880

Upright Piano, Circa 1880
Upright Piano, Circa 1890

Upright Piano, Circa 1890
Upright Piano, Circa 1900

Upright Piano, Circa 1900
Upright Piano, Circa 1910

Upright Piano, Circa 1910
Arts & Crafts Upright, Circa 1912

Arts & Crafts Upright, Circa 1912
Upright Piano, Circa 1920

Upright Piano, Circa 1920
Upright Piano, Circa 1930

Upright Piano, Circa 1930
Spinet Piano, Circa 1940

Spinet Piano, Circa 1940

The upright piano didn’t become popular in American culture until the last quarter of the 19th century. Prior to that time, the square grand piano was the preferred choice that dominated the American piano market. Most of our vintage ephemera collection doesn’t show upright pianos until the 1870s, although upright pianos were built on a limited scale all through the early and middle 19th century. It is exceedingly rare that we see an upright piano dating prior to 1870 come through our restoration shop, indicating that the extant models of mid-19th century upright pianos are very scarce today.

As the 20th century approached, makers began shifting their production from the square grand piano to the upright piano, as the public’s tastes were beginning to change and homes were becoming smaller and less suited for large square grand pianos. In the 1880s and 1890s, upright piano production increased substantially and by the last decade of the 19th century, the square grand piano that had dominated the market for the past century had all but vanished. Since this was the height of the Victorian era, manufacturers were building their upright pianos with exotic woods and lavish carvings, often producing incredibly ornate and lavish models to suit the décor of the era. The last decade of the 19th century saw some of the finest craftsmanship and quality ever to be put into piano manufacturing.

After the turn-of-the-century, tastes began to change and piano design began to become a bit more streamlined. The ostentatious styles of the late 19th century gave way for more classic and simple design. The first decade of the 20th century saw a calmer, less radical movement in interior design than the previous decades, and this change was immediately seen in the evolving styles offer by the major piano manufacturers.

From about 1900-1916, the Arts & Crafts Movement was a major force in American design. Although the Arts & Crafts design was very popular during the early 20th century, piano makers were slow to adapt to the Mission/Arts & Crafts design. Furniture manufactures were quick to jump on the new trend of the Craftsman style, but piano makers were slow to recognize just how important the Arts & Crafts Movement really was. A handful of manufactures attempted to build pianos in the Craftsman/Mission style, but because the Movement was so short-lived, most of them didn’t see the significance of the Arts & Crafts Movement until it was too late; the Arts & Crafts Movement was over before 1920. Sadly, very few manufacturers ever offered Craftsman style pianos, and as a result, original specimens are exceedingly rare today.

The 1920s era was considered the “Golden Age” of piano building. By this time makers had streamlined operations and the piano had evolved into a perfect machine. The upright piano had evolved into a very simple basic design, becoming more utilitarian in appearance than ever before. With the exception of period furniture styles like Louis XV and French Provincial, most upright pianos were without ornamentation or frills. Instead, plain square pillars and streamlined moldings resulted in a very “modern” looking upright piano which was considered “uncluttered” and “beautifully simplistic.” These simple-looking upright pianos were generally of excellent quality.

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Coming Exhibition: Leang Seckon ~ Hell on Earth

“Leang Seckon ~ Hell on Earth “

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Who:  Rossi Rossi ~ London Gallery

When: June 27, 2014 – July 25, 2014 (Mon-Sat. 10 a.m. – 6 p.m.)

Where: 

ASIA HOUSE
63 NEW CAVENDISH STREET
LONDON W1G 7LP

How Much:  Reservations recommended with information on their website.

More Information: Here

Rossi & Rossi is pleased to announce Hell on Earth, contemporary Cambodian artist Leang Seckon’s second solo show with the gallery. The exhibition, held at Asia House, London, features a body of recent paintings, collages and video works by the artist.

Seckon grew up during the devastating period of Khmer Rouge rule, witnessing firsthand the government-enforced policies that led to famine and disease, as well as state executions. He describes this period as “hell on earth”, when the haunting prophecies found in a set of popular nineteenth-century Buddhist texts, the Buddh Damnay, were realized: “war will break out on all sides…blood will flow up to the bellies of elephants; there will be houses with no people in them, roads upon which no-one travels; there will be rice but nothing to eat”. The prophecies provided Cambodians with an explanation for the violence and destruction of the Khmer Rouge, placing the period within the cyclical pattern of Buddhist history.

The artist’s collages and paintings are intimate narratives of his memories from the period and the civil war that followed. The process of creating artworks simultaneously allows him to experience and express the freedom that was denied to him as a youth. However, Seckon’s work also acts as a warning: like the Buddh Damnay, it cautions against corruption and the destruction of the environment, drawing parallels between Cambodia’s present and its past.

A fully illustrated catalogue with an essay by renowned curator Jens Hoffmann accompanies the exhibition.

On 28 June, Leang Seckon will be joined by Dr. Peter Sharrock (SOAS) to discuss the artist’s approaches to his work and the impact of Cambodia’s turbulent and complex history on his practice. The talk is free to attend, however seat reservations are recommended. To reserve a seat please visit: leangseckon.eventbrite.co.uk.”

 

Culture and Carpets: Discovering Turkmenistan Through Its Art

“Culture and Carpets: Discovering  Turkmenistan Through Its Art “

by Jessica P Hayden via “GoNOMAD

As we drove down the tree lined streets, we passed rows of tiny, one-floor houses that sat just yards away from the road side.  I watched through the window as children scurried from one side of the road to the other, playing what appeared to be a game of tag.  Women, dressed in brightly colored textiles, were gathered at the corner of one street, watching their children, gossiping.

We were headed to meet Gurban, a local carpet dealer, at his house in Ashgabat.  My husband and I had flown to Turkmenistan for a long weekend.

While many regions along the Silk Road produce unique carpets, Turkmen rugs have become well known in the West, due to their high quality and beauty. The art of carpet weaving has been handed down from generation to generation and is central to the Turkmen culture.  Each tribe has its own specific patterns and symbols which represent aspects of life which hold great importance.Since moving to Central Asia, our friends had repeatedly advised us, “You must visit Ashgabat if you have the chance – it is like nothing you’ve ever experienced or are likely to experience again.”  Part of this fascination with Turkmenistan comes from the unique political system and president who posts his portrait on every available wall space in the city.  But the bigger allure for us was the chance to explore a land with ancient cultures and traditions that was once part of the Silk Road.

The Silk Road runs through Central Asia and was a major trading route connecting the West to the East for hundreds of years.  In fact, it was the famed traveler, Marco Polo who was the first to mention Turkmen carpets in the 13th century. 
Gurban and his family have been selling Turkmen carpets for years from their house and in the Tolkuchka bazaar (the Sunday market). As we entered a Spartan yet beautiful courtyard, a sea of carpets covered the concrete floor. The deep red and orange rugs gave such an aura of warmth it was hard to not feel immediately welcomed into their home.

Gurban invited us into his house for lunch and offered us a feast of chicken, plov (traditional Central Asian rice dish) fruit, fresh juices and tea. We sat on the floor, chatting with our new friends.  The smaller children played hide and seek with us, peeking their heads in the door, smiling and flirting.  In the corner of the room a black and white television played a video-tape of a recent family wedding.  The new bride now sat beside us, holding her new born child and pregnant with her second. 

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Royal Remains Burial Site to Be Entered on Russia’s Cultural Heritage List

“Royal Remains Burial Site to Be Entered on Russia’s Cultural Heritage List “

by “Russia Behind the Times

A resolution passed on Tuesday by the Sverdlovsk regional government, enters the place outside Yekaterinburg, where the remains of the family of Russia’s last tsar Nicholas II were found, on the national cultural heritage list, the regional government’s press service reported.

“The resolution enters the place on Staraya Koptyakovskaya Road, where the royal remains were found, on the national register of cultural heritage sites, where it will be defined and saved for future generations,” the press service said in a statement. Spokesperson for the regional property ministry Galina Utkina told Interfax that a letter requesting that this site be entered on the national register of state protected cultural monuments, will be sent to the Culture Ministry. After the site is entered on the register, all actions at the place where the royal remains were found will be banned unless approved by the regional property ministry, she said. “But further research will be allowed, if a plan is negotiated with us, so we will know who is doing what at the site,” Utkina said. The remains of Emperor Nicholas II, Empress Alexandra Fyodorovna, the grand duchesses Tatiana, Olga and Anastasia, and their servants were found on Staraya Koptyakovskaya Road near Yekaterinburg in the late 1970s. In July 1998, the remains were buried in the Peter and Paul Cathedral in St. Petersburg. The remains of Grand Duchess Maria and Crown Prince Alexei were found at the same site in 2007.

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Chinese Artist: Chang Dai-Chien

“Splashed Color Landscape” by Daiqien (1965)

Artists

Chang Dai-Chien (Zhang Daqian) was an outrageously popular and eclectic 20th Century Chinese artist and forger.  Born in the Sichuan province, he initially studied art under his mother.  In those early days, he began with outline drawings of animals and flowers ~ subjects he would perfect through the years.  As a young man, he studied painting, weaving, and textile dying and design in Japan.  Upon returning to China, he began studying and replication several 17th century Chinese calligraphers and painters.  He earned his money selling these and his own works for some time.  Although he would eventually travel around quite a bit, watching and learning from artists around the world, his style was eminently Chinese.   That said, he earned a reputation for incorporating Brazilian and American techniques into his work, thus introducing new concepts of “Chinese” art. (more…)