An Italian single manual harpsichord, probably Tuscan, late 16th century

with rare ‘all’Indiana’ lacquer decoration, the cypress-wood harpsichord with a compass of C/E to f3, bass short octave, with two eight-foot registers, the soundboard with inset pierced parchment rose, the keyboard with arcaded boxwood naturals, the ebonized accidentals, unusually, with fine gilt foliate decoration, the frontboard richly decorated with polychrome birds among gilt vine tendrils on a black ground and flanked by carved harpies decorated in conforming lacquer and gilt, those parts of the instrument-case visible from within the outer case, including the mouldings, the upper spine and bentside all finely decorated with lacca all’indiana, the 19^th century outer case decorated on the outside in red lacquer with conforming scrollwork in gilt, but incorporating, on the underside of the lid the 16^th century lacquered surface from the original outer case which it replaced. On a 19th century giltwood stand of French manufacture

As stated in the catalogue, the outer case is 19th century and the stand is also of the same date. It has been reduced in length, namely to the tail. Soundboard has been replaced but the bridges and nut apparently original, a sign that one of the two registers was gut-strung at some point in its history. The keyboard is original and the superb lacquer decoration is in very fine condition for its age with minor losses and areas of retouching and two shrinking cracks. The outer case with losses to paint and scratches.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Like the vast majority of surviving 16^th century harpsichords, this instrument has undergone significant restorations since it was made, but it is of particular interest in having one of the most sophisticated and best preserved lacca all’indiana decorations found on any artefact of the period. It is uncommon, in all but the most luxurious instruments of this typical inner/outer case construction, to find lacquer decoration on the visible part of the harpsichord itself, as this was most frequently left in unadorned cypress-wood. Moreover, the outer case and inner instrument were usually decorated by different groups of artisans and artists. Here, even the accidental keys are decorated by the artisan responsible for the decoration of the entire instrument as it was originally conceived, a well-nigh unique survival given the wear to which such keys have usually been subjected.

This general type of decoration, but most commonly in black and gilt only, is found on a number of keyboard instruments from the late 16^th and early 17^th centuries including a virginal in the Fitzwilliam Museum (M/F.2-1943) and the superb Virginal by Baffo of Venice in the Musée de la Renaissance at Ecouen. Here, the specific style of decoration with birds and insects and snake-like worms on trailing vines allows a precise association with a group of tables supplied to the Medici court by artisans of Venetian origin. The style of this lacquer is clearly influenced by Syrian and Persian artefacts imported into Venice at the period.

Two table-tops (see Hans Huth, Lacquer of the West, Chicago 1971, fig.30 and Enrico Colle, Il Mobile Barocco in Italia, Milan 2000, n.34 p.158-9), apparently from the same workshop have the identical combination of bird-and-vine motifs, hunting scenes based on engravings by Virgil Solis or Antonio Tempesta and decorative borders with scrolling rinceaux. An intriguing description survives of two tables present in the Pitti palace in 1595 made by ‘Samuel Sognana ebreo’, the precision of which leaves little room for doubt that the decoration was identical to that on this instrument, almost to the point of allowing a putative attribution to this artist: ‘vernice nera rabescata d’oro macinato e figurine, fogliame, animali, ucelli e fiori di più colori a moda dell’India’

The harpsichord, once restored to playing condition by a knowledgeable restorer, will be the ideal instrument for the performance of the superb repertoire of baroque music by Frescobaldi, Sweelinck, the English Virginalists and many others.

We are grateful to Professor Enrico Colle for his help with this entry.