Flemish double virginal “Mother and Child” after Johannes Ruckers, around 1620, compass C/E – c”’, 8′, 4′, both instruments can be joined together. Case of poplar, inside lined with arabesque wallpaper, outside framed in blue upon a chalk base, stand of oak with turned legs.
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Two-manual Flemish harpsichord after Johannes Ruckers (1624), petit ravalement, compass FF, GG, AA -d”’, 8′, 4′, 8′, lute stop, with Chinoiserie lid painting by Jessica Zappe and sound board painting by Eva Thomas.
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Single-manual harpsichord after Andreas Ruckers (1637), compass C/E–c”’, 8′, 4′, lute stop, pitch 415 Hz, with ”Batzen“ legs. Marbling and decoration painting by Eva Thomas.
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Two-manual Flemish harpsichord after Johannes Ruckers (1624), petit ravalement round 1700, 8′, 4′, 8′, lute stop, compass GG, AA–d”’, e”’, execution in French style, sound board painting by Cornelis Verboom (the Netherlands).
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Two-manual French harpsichord after François-Etienne Blanchet (1765), compass: FF – f”’, transposing 392 Hz, 415 Hz, 440 Hz, 8′, 4′, 8′, lute stop. Case of lime wood, painted upon a chalk base, inside red, outside black with elaborate gilding, natural keys of ebony, key tops of bone on ebony. The instrument has a splendid Rococo stand with carved volutes and acanthus leaves. The sound board is decorated with an egg tempera painting of vines and flowers by Eva Thomas.
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The case of the early instruments is of walnut, otherwise of lime or poplar, dark green or black, inside painted red. Keys of ebony and bone or bone upon pear respectively.
