The following analysis of the evolution of Boisselot pianos is based on the instruments I have seen, and it is quite likely that this text will evolve as new instruments come to light. The basic models of Boisselot seem to follow the following chronological evolution : * The oldest grand pianos I know of (n° 502; 702) are short (1.70 m) bi-cord instruments, without agraffes, similar in conception to the « semi-grands » of Broadwood or Collard. Although there is an English influence, it is obvious that Boisselot studied the instruments that he sold before he made his own pianos, and particularly those of Pape. The adjustable pilot and the split mortise with adjusting screw are both Pape inventions, that Boisselot would have seen on the square pianos he sold in the late 1820’s. These early pianos have three metal bars above the soundboard, and a wood hitch plank covered by a brass plate. The bridge is continuous. *A second type of instrument (Hamamatsu; n° 833), slightly longer (1.92 m), shows for the first time the case type characteristic of Boisselot pianos : tulip legs and brass inlay all over. Several archaic features of the previous model disappear : there is now a metal hitchpin plate, and the bar covering the dampers and serving as a stop no longer exists. * A third type of instrument (n° 2394 for example), shows deep structural modifications : it is tri-cord, with agrafes, slightly longer, and the bars are now under the soundboard, probably to avoid cutting into the bridge like on the earlier models, maybe also for aesthetic reasons. This modification was unfortunately not a very good one in retrospect, as a high proportion of these pianos have structural problems : split tuning planks, and/or tuning planks that have rotated and split the sides out. The most common type of case is rosewood with brass inlay. *A fourth type (n° 3460) is structurally identical, the only difference is in the case type : the fallboard profile changes and becomes more angular, and a lot of these instruments only have one type of veneer, set off by intricate mouldings. *At a later date, Boisselot come back to a more sensible structural set-up, with bars above the soundboard. This description of the evolution of Boisselot grand pianos is obviously only valid for the basic models : they also made concert models (2.45m), the earliest known is Liszt’s piano in Lisbon, and continued to make bi-cord « pocket grands » (with bars underneath) through to the 1840’s. Detail evolution : *Pedals : early Boisselot pianos have inverted pedals, which makes things rather difficult for the pianist… I have no idea what was the idea behind this, and Boisselot put the pedals back the right way from c.1840. *Dampers : N° 702 has a wooden bar above the dampers that serves as a stop, but by n° 833 this has disappeared. Original Boisselot damper heads are a very elegant round shape (until 1844 at least), and the dampers themselves are made up of layered strips of woollen cloth rather than felt (n° 2394 is still like this). *Music stands : This is a field where Boisselot was way above any of his rivals. The triple music stand characteristic of Boisselot grands, and so suggestive of playing chamber music, appears in the first known models. The fretwork of the panels is superb, with various patterns being used in the earlier pianos. N° 833 is the first I know with the lyre pattern that then became systematic. Between n° 2394 and n° 2439, this pattern changed over to a rosace reminiscent of that of a gothic cathedral…. *Lid shutters : N° 702 has lid shutters in the shape of garlands of fruit and flowers. N° 833 has horseshoe shaped shutters, decorated with a shell and strap work. This type then alternated with a second type, rose-shaped. *Name plate : Boisselot first of all had orange labels, octagonal in the 1830’s, rectangular in the early 1840’s. In 1844 they used for a short period a gold plaque, that was then replaced by very ornate tin and brass inlay, boasting the 1844 gold medal. |