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Dear friends and colleagues, I am delighted to announce the publication of my new book, Erard: Empire of the Harp . This is the second of my two monographs on the history of the Erard firm; a companion volume to my book on the Erard piano released last year. This new book on the harp is differen

Dear colleagues, I am pleased to announce the publication of my book La famiglia Érard. Un percorso storico fra documenti e strumenti musicali , n. 31 of the book series "Personaggi della musica", by Zecchini editore. Thanks to an extensive cross-data reference between documents and instruments,

Although a little late having been postponed before Christmas, I will be holding an online launch for my book, Harp Making in Late-Georgian London , on Saturday 20 February from 18:00-19:30 GMT. Tickets are free and can be booked here. All are welcome

Does anyone know the whereabout of Erard single-action, no. 357, bought by the Princess of Wales on 11 November 1800? A site member is revising the late Sir Oliver Millar's work on British pictures in the Royal Collection and has enquired about the instrument that appears in the portrait by Thoma

Dear colleagues and friends, thanks for the possibility of further communication through this discussion forum. I would like to point out to all people who are interested a new article about Erard Harps in the Collection of the Czech Museum of Music Prague https://content.sciendo.com/view/journal

Dear colleagues and friends, a report of the harp workshop in Munich, written by Elise Kolle, a harpist and currently a harp researcher at Stiftelsen Musikkulturens Främjande in Stockholm, has been published in the latest Newsletter of the American Musical Instrument Society: https://docs.wixstat

Whilst working through the journals of the J. G. Morley harp company, the following entry (20 July 1892) grabbed my attention. It refers to a Grecian harp (no. 11) by Head of Dublin. I've not encountered this maker before. That the harp is described as 'Grecian' suggests that it was made before c

Over the time I’ve been researching harp makers (some twenty-five years), I’ve held to the belief that it is best to keep my unpublished research close, to not share newly discovered sources or realisations, fearing that someone will ‘steal my work.’ I’ve sat on more or less all of it. I have a da