This harpsichord has undergone several restorations in its history, which are documented 0n the drawing. While the original action is absent, the drawing shows that of another Hemsch harpsichord of 1754, data supplied by William Dowd in Paris, shown in cross section. In addition, an orthographic, contoured drawing of the fine gilt rococo stand of this harpsichord is produced, as well as various instrumental details such as soundboard thickness and barring, interior framing and layout of the soundboard paintings. Internal data was supplied by Frank Hubbard who restored the instrument in 1968. High quality color photographs of the soundboard paintings are available in addition to the drawing data.

According to Donald Boalch, “Makers of the Harpsichord and Clavichord, 1440—1840”, second edition, Hemsch was tuner to M. de la Popiniere, whose protégé was Jean Phillipe Rameau, thus establishing a possible connection between Hemsch and that composer in the later years. Hemsch (baptized in 1700, in Castenholz near Cologne), like other 18th century harpsichord makers, Kirkman, Shudi, and Bull, who emigrated to other countries, took with them characteristics of German joinery like the use of complex dovetail joints and sturdy heavy construction approaches; he arrived in Paris around 1720. He became a master of the guild in 1746, and his will dated 1767, marks the end of his career in the harpsichord business which was carried on by his nephew, Moers, until 1791. Five Henry Hemsch harpsichords survive, and all have the same disposition of unison on the upper manual, coupler, and octave—rear unison on the lower manual with a compass of 60 notes, FF-e’” (W.R. Dowd).

E.F. Searles, the American collector acquired this instrument in the 1890’s after its restoration by L. Danti, a Parisian piano maker in1888-9. Mr. Searles loaned the instrument to the New England Conservatory of Music, in the year 1964, the loan was transferred to the Boston Museum of Fine Arts. The instrument carries the arms of the Wittlesbach family on its case and stand. In 1742, the Elector Karl Theodor (of the Salzbach branch) gained family seniority, and in 1777 inherited Bavaria; which the original provenance of this instrument is yet to be established, Karl Theodore belongs to the correct era to have been a possible owner.