Jean Marie Dedeban (fl Paris, 1770-1791) A two-manual harpsichord Paris, 1770

the case exterior and the interior of the lid decorated with groups of cherubs disporting themselves with floral wreaths, music and musical instruments on a blue ground, the facia board, cheeks, jack rail and soundboard painted with flowers and scrolling foliage and an exotic bird, the wrest plank painted en suite, the soundboard also with an inset rose pierced and carved with an angel musician flanked by the maker's initials I.D., the five octave keyboard, FF to f^{3, with ebony naturals with arcaded boxwood facings and bone-overlaid accidentals, five later knee levers (genouillères), original disposition 2 x 8ft. and 1 x 4ft. and 8ft. harp stops on the lower manual and 1 x 8ft. stop on the upper manual with a sliding coupler, on frame stand with seven cabriole legs painted with flowers and foliage en suite with the case and with gilded mouldings}

The harpsichord was acquired by William Andrews Clark (b.1856, d.1925) in Paris in 1901. Clark, one of the the richest Americans of all time, is perhaps particularly remembered for the bribery scandal associated with his attempt to obtain the Senetorial seat for Montana in 1899. He actually served as Senator for that state from 1901 to 1907. On his death his art collection, including this instrument, was bequeathed to the Corcoran Gallery.

Recorded in Makers of the Harpsichord and Clavichord, 1440-1840 by Donald Boalch, 3rd Edition (Ed. Charles Mould), pp. 44 & 286-287. Described and illustrated by Heridan Germann and Scott Odell in the catalogue The William A. Clark Collection, An exhibition marking the 50th Anniversary of the installation of the Clark Collection at the Corcoran Gallery of Art, Washington DC, April 26th - July 16th, 1978, pp. 96 - 104

This harpsichord is the only known surviving example of Dedeban's work. Most of what is known about this maker, and this instrument in particular, is recorded in the article by Germann and Odell. They record that he lived and worked in the rue de l'Eperon, Paris from 1778 to 1791 (Boalch 3, 1995). They document several periods of alteration and restoration to the harpsichord, the earliest being in the 1780s, when the genouillères were added. In 1870-71 the instrument was rebuilt in Paris by Charles Muller whose trade card is pasted inside the instrument. The most recent restoration work was carried out by Scott Odell in 1970. The article also examines in great detail the successive alterations to the decoration of the casework although it makes no attempt to date the present decoration but remarks that it is "in the manner of the school of Boucher". The origins of the soundboard decoration, which is original to the construction of the instrument, is also analysed.