BARE!

The Erard is now stripped bare, ready for a complete refinishing of the soundboard, plate, and interior of the case.

Destringing now, starting from the bass strings and moving up--it's a pain.

The interior of the piano is a mess, and was not refinished the last time the outer case was refinished. There is staining here and there and the finish is blotchy and very amber. So, this is the first test of finish removal. With a simple cabinet scraper, the old finish flaked off easily.

And here is the first test section I did with scrapers and a bit of sanding. This is too dusty to go further with in the living room, so I'll finish destringing and then move the piano into the garage for refinishing.

Miniaturization

This photo shows a broken jack; the jack allows the hammer to "escape" from the piano key. Well, it's complicated, but without a jack when you press a key, the hammer just wacks against the string and stays there--"THUD"! I have two broken jacks--one came broken when I got it, and I broke one when I roughly removed the keys for refinishing.

Shown here is my Lie-Nelson dowel press, along with a jack component that I made with the dowel press. The dimension of the tiny dowel that stick off of the end of the dowel jack is 1/8 of an inch. Very tiny, very hard to see and very hard to work with.

Here is the other half of the jack into which the dowelled portion is glued and inserted.

And here is the dry-fit jack reassembled next to an original jack.

Glued and drying...

The reassembled Whippen, with the repaired jack installed.

Lyre Restoration

As you can see, these pictures show some stages of the restoration of the Lyre. Some interesting points: in the first picture, note the 3 brass bars. The one one the left I polished as a test. The two brass bars on the right were painted with a very poor brass paint. Why someone would paint brass with a poor imitation brass paint is lost on me. Perhaps they were so blackened with tarnish that they looked like steel--as I thought they were at first. In the 2nd and 3rd photos, you can see that I had to replace some decorative wood pieces that were lost to time. I did these with hand tools--a miter box, jigsaw, and hand drill. Man, do I need some better shop tools. Anyway, I am pleased with the results, all the brass is completely restored and polished, and lacquered, so it will not tarnish. Look at that brass shine, baby!

More Veneer Repairs

Before and after...

Three Legs!!!

Finally, all three legs are complete: the veneering, finishing, and metalwork. When I spray the case I'll give the legs one more coat of finish...

Damper Restoration

Lunch for Bugs!!! The moths got to these old dampers. The numbers are my notations before disassembly. The darker dampers appear to be from the 1957 restoration. The '57 restoration was obviously quality work, but too much time has passed. The white dampers are obviously more recent--the craftsmanship on the more recent repairs is dismal.

More filth here...that red felt on the bottom rail is almost entirely gone from moth damage.




The damper frame completely stripped bare, with my beer in the corner.





New dampers going back in...



Making repairs to the sostenuto tabs where they meet the damper levers. There is no pin at the juncture, just a piece of buckskin glued on both pieces. This was a very time-consuming part of the operation.



Here is the completed assembly, ready to be reinstalled.

Veneer Repairs on Legs

Here is one of the legs--the metalwork is all done, so I moved on to the veneer repairs. If you recall, these were BAD, so I just sanded the old veneer to removed the high and low points, filled the gaps with wood filler and then veneered over the old wood. This wood is walnut, while the rest of the piano is rosewood. The grain is a good match, though, and I have pre-tested the color.


Here it is finished, with the new caster, and the ferrule polished like glass. The finish is minwax red mohogany and Jacobean colors layered until very dark, and 6 coats of polyurethane.

Voila!

Finally, I have finished with the key tops. This got REALLY boring by the last one. A very tim-consuming job, but the results were spectacular.

Piano Leg Restoration

Look at this caster--this is wrong on so many levels. First, look at it bend--physics is winning the battle against this caster, and the only thing holding the caster and ferrule on to the leg are four very overworked screws. Next, look at the color of the lower part--the ferulle is brass, and polishes nicely, but the arm on the caster is steel with brass paint. These were totally homemade by some amateur in a machine shop.

Here you can see the caster assembly. The assembley is very heavy and the ferrule (which I want to use) is welded to the caster. I had to cut the ferrule away with an angle grinder.




Here is the ferrule detached from the caster, and the new caster that will go into the leg. The bummer of this job is that it's noisy, messy, and I have to do it two more times for the two other legs.

I sprayed the sharps today. Here they are all laid out, lightly sanded, cleaned and ready for a fresh coat of paint. I used spray from a can and the paint, while nice and glossy, wrinkled. Perhaps it's the Texas summer heat. I'll wait a few months and do it again.

Message from 1957

I found this message written in pen on one of the keys. I am not sure if you can read it but it has the date 22-1-1957 (49 years ago!), and the words "Barclona", and _____ Roca.




Later, when working up the dampers and damper assembly, I came across the following stamp. It says "Luis Roca" across the center, and at the bottom is says "Barcelona". These clues point clearly to a complete restoration in 1957, in Barcelona, Spain. How this thing got to Texas I have no idea.

Erard Piano Key Replacement

Ahh...finally the keys come to life with brand new plastic keytops from International Piano Supply. The old ivories I'll sell on Ebay. I broke a jack (part of the action) removing one of the keys. That's two broken jacks now. I'll have to fix that later, but it's something I need to learn how to do anyway.

Ivory removal Kit

Here it is--the ivory removal kit, household iron and a good quality (Hyde) paint scraper with a stiff blade and a decently sharp edge. TIP: heat the ivory on the "Cotton" setting for about 15 seconds. Let the heat soften the glue. If the ivory does not peel off easily, then either the glue did not get hot enough, or there was a recent repair with epoxy or some other type of adhesive. This part of the operation went very well.


Then, I sanded the glue (which hardens back up when it cools) with a 150-grit sandpaper laid perfectly flat on a *very* level surface. The books insist that sandpaper adhered to a piece of glass (because it is so level) is the way to go, but I cut this corner, and it worked out fine.

Well, let's start with the keys. These are original ivory, and they are chipped up, yellow, and some of the fronts are missing--a fairly typical condition for a piano of this age. As you can see here, I have removed a few of the ivories.

Well, here it is, the 1859 Erard Grand Piano, Serial number 31173, manufactured in Paris. It's 96 inches long, a full grand. As you can see, the keys are a mess, the casters are obviously not original, and the brass is dull. It sounds terrible too. I got it on Ebay for $1180, and $600 to deliver it from Houston to Austin. It has a nice rosewood case, definitely bumped around the edges.

Well, I started this blog to document the restoration of an 1859 Erard Grand Piano--and oh yeah, I'll get to that in a minute. But anything is likely to happen. Other restorers, please feel free to contact me at thundercow @ yahoo . c o m.