Colonial Williamsburg Craftsmen Offer Unique 18th Century Spinet for Sale

A newly crafted spinet harpsichord, inspired by an original 1764 instrument made by renowned London craftsman William Harris, has been added to the collection at Colonial Williamsburg. This remarkable piece, however, is not merely a display item; it is available for purchase at a price of $21,000.

Crafted by master harpsichord maker Edward Wright and journeyman Melanie Belongia from Colonial Williamsburg’s cabinetmakers shop, the reproduction took approximately 700 labor hours over two years to complete. The decision to reproduce the original harpsichord stemmed from a desire to study its construction and history more closely. “We could research the harpsichord by reproducing it,” Wright explained, noting that their investigation also encompassed the family background of the maker, which included several generations of craftsmen.

The spinet’s frame is constructed from white oak and yellow pine, finished with walnut and maple veneer. Wright and Belongia collaborated on both the instrument’s mechanics and its intricate decorative features. Belongia, who handled the inlaid decorations and inscriptions, commented in a promotional video that the duo may be among the few currently practicing this craft in the same manner as 18th-century tradespeople.

The materials used in the instrument have notable histories as well. The oak, sourced from the shop, was aged for a year before construction, while the black walnut came from trees on the Colonial Williamsburg property that were downed by Hurricane Irene in August 2011. The keyboard features maple boarding, with keys adorned with white pine levers plated with bone for the naturals and stained pearwood for the accidentals. Wright emphasized the quality of the craftsmanship, stating, “Hand tools finished it off extremely well with a nice surface.”

In terms of authenticity, the Colonial Williamsburg team did not conduct scientific analysis on the wood of the original spinet. The exact walnut species used in the original’s veneer remains unknown, and due to contemporary restrictions, ivory was not employed for the keys. Instead, the new instrument bears the inscription, “Wright & Belongia Fecit Williamsburg, Virginia 2024,” in place of the original’s “William Harris Fecit London 1764.”

Wright has shared the project’s insights in a paper submitted for peer review to a journal based in Edinburgh, Scotland. He expressed particular pride in the reproduction’s sound quality, noting its “very mellow, powerful tone.” This tone surprised many attendees during a demonstration at the Historical Keyboard Society of North America’s annual conference last year, where the spinet was showcased.

The inspiration for this reproduction was largely driven by the sound of the original Harris instrument, known for its distinctively bright and mellow tone. Research conducted by Wright and Belongia revealed that Harris and his brother Baker, both harpsichord makers, learned the trade from their father, Joseph. The significance of surviving instruments made by Harris lies in their unique sound quality, a hallmark of their craftsmanship.

Throughout his 40-year tenure at Colonial Williamsburg, Wright has constructed 15 to 16 new harpsichords, emphasizing the importance of studying these instruments to gain a clearer understanding of their historical context. The 1764 spinet is described as a typical instrument of its time, characterized by subtle variations that define its uniqueness. Unlike modern pianos, which use felt hammers to strike strings, harpsichords operate through quills that pluck the strings, offering a different auditory experience.

The inclusion of harpsichord-making as a trade at Colonial Williamsburg is rooted in the region’s historical practices. Following the takeover of Anthony Hay’s cabinet shop by Benjamin Bucktrout in the mid-1760s, advertisements from January 15, 1767, in The Virginia Gazette, highlighted the availability of spinets and harpsichords for sale and repair.

Since the spinet was placed on the market earlier this month, interest has been expressed, though no buyers have yet committed to the purchase. Wright noted, “We’re asking $21,000 (plus tax) based upon our labor and the cost of materials. You need the right people at the right time.” Those interested in acquiring this unique instrument can reach out to Colonial Williamsburg for further details.

For an insight into the art of harpsichord making at Colonial Williamsburg, the public can visit their social media channels to view demonstrations and hear the spinet in action.