{"id":31707,"date":"2026-03-13T18:19:54","date_gmt":"2026-03-13T17:19:54","guid":{"rendered":"https:\/\/vichy-encheres.com\/?p=31707"},"modified":"2026-04-16T11:26:57","modified_gmt":"2026-04-16T09:26:57","slug":"epinette","status":"publish","type":"post","link":"https:\/\/vichy-encheres.com\/en\/2026\/03\/13\/epinette\/","title":{"rendered":"L\u2019unique \u00e9pinette connue d\u2019Armand-Joseph Lion, facteur d\u2019orgues \u00e0 Mons"},"content":{"rendered":"\n
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Pr\u00e9sent\u00e9e \u00e0 la vente le 2 mai 2026, cette \u00e9pinette en aile d\u2019oiseau sign\u00e9e et dat\u00e9e de 1786 par Armand-Joseph Lion s\u2019offre \u00e0 nous comme un t\u00e9moignage rare de la facture instrumentale provinciale \u00e0 la fin du XVIII\u00e8me si\u00e8cle. Exclusivement connu jusque-l\u00e0 pour ses orgues r\u00e9alis\u00e9s dans le Hainaut, Armand-Joseph Lion appara\u00eet ici sous un jour plus intimiste – celui d\u2019un artisan capable d\u2019adapter son savoir-faire \u00e0 la sph\u00e8re domestique. Cet instrument \u00e9claire non seulement l\u2019\u0153uvre d\u2019un facteur r\u00e9gional reconnu en son temps, mais aussi la vitalit\u00e9 de foyers artistiques en dehors des grands centres qu\u2019\u00e9taient Londres ou Paris.<\/p>\n<\/blockquote>\n\n\n\n

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Catalogue<\/a><\/div>\n\n\n\n
Catalogue de la collection de guitares Signature<\/a><\/div>\n\n\n\n
Vente du 30 avril 2026<\/a><\/div>\n\n\n\n
Vente du 2 mai 2026<\/a><\/div>\n\n\n\n
Etude d\u00e9taill\u00e9e de notre expert, Christopher Clarke sur l’\u00e9pinette d’Armand-Joseph Lion FR\/EN<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
English version<\/a><\/div>\n<\/div>\n\n\n\n
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Armand-Joseph Lion (1720-1805)<\/h1>\n\n\n\n
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\"Ciply,<\/a><\/figure>\n\n\n\n
\"Ciply,<\/a><\/figure>\n
Ciply, pr\u00e8s de Mons<\/figcaption><\/figure>\n\n\n\n
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Armand-Joseph Lion est n\u00e9 en 1720 \u00e0 Ciply, pr\u00e8s de Mons. Il est principalement connu en tant que facteur d\u2019orgues, actif dans le Hainaut<\/a> et son activit\u00e9 t\u00e9moigne de la vitalit\u00e9 de ce type d\u2019instrument au XVIII\u00e8me si\u00e8cle.<\/p>\n\n\n\n

L\u2019ouvrage le plus ancien, connu de sa main, est la reconstruction de l\u2019orgue de la chapelle de l\u2019h\u00f4pital Sainte-\u00c9lisabeth \u00e0 Brugelette<\/a>, en 1752-1753. Par la suite, Armand-Joseph Lion se vit confier la r\u00e9alisation de plusieurs orgues d\u2019\u00e9glises de la r\u00e9gion, dont celui de Wasmes (vers 1762-1775), celui de Saint-Symphorien en 1763, ainsi que les orgues d\u2019Houtain-le-Val en 1773 et de Frasnes-lez-Buissenal en 1774. En 1767, il participe \u00e9galement \u00e0 la restauration de l\u2019imposant orgue de l\u2019abbaye de Cambron, lui conf\u00e9rant probablement son buffet monumental[1]<\/sup><\/a>.<\/p>\n\n\n\n

Armand-Joseph Lion avait ainsi une notori\u00e9t\u00e9 r\u00e9gionale importante \u00e0 son \u00e9poque. En mai 1797, c\u2019est \u00e0 lui que l\u2019on confiait la mission d\u2019\u201cappr\u00e9ciateur des orgues des \u00e9tablissements supprim\u00e9s<\/a>\u201d pour le d\u00e9partement de Jemappes (Mons). \u00c0 ce titre, il \u00e9tait alors charg\u00e9 d\u2019inspecter et d\u2019expertiser les orgues provenant des couvents et abbayes ferm\u00e9s pendant la R\u00e9volution. <\/p>\n<\/div>\n\n\n\n

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\"Hendrick<\/a><\/figure>\n
Hendrick van Steenwijk, Int\u00e9rieur d’\u00e9glise, MBA, Caen<\/figcaption><\/figure>\n\n\n\n

Cette fonction officielle atteste, une fois encore, de la r\u00e9putation dont il jouissait dans toute la r\u00e9gion.
Armand-Joseph Lion s\u2019est \u00e9teint \u00e0 Mons le 5 juin 1805, au terme d\u2019une longue carri\u00e8re.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Bernard Carlier<\/a>, Benoit Lebeau, Matthias Maudoux et al.<\/em>, Les grandes orgues de la coll\u00e9giale Saint-Waudru de Mons, Association Saint-Waudru, 2018<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Armand-Joseph<\/a>
Armand-Joseph Lion, orgue, 1776, Frasnes-lez-Buissenal, Saint-Martin, cr\u00e9dits KIK-IRPA – Clich\u00e9 M242733<\/figcaption><\/figure>\n\n\n\n
\"Armand-Joseph<\/a>
Armand-Joseph Lion, orgue, 1762-1775, Wasmes, Saint-Francois, cr\u00e9dits KIK-IRPA – Clich\u00e9 M261601<\/figcaption><\/figure>\n\n\n\n
\"Armand-Joseph<\/a>
Armand-Joseph Lion, orgue, 1673, Saint-Symphorien, cr\u00e9dits KIK-IRPA – Clich\u00e9 M266347<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Bien que sp\u00e9cialiste des orgues, Lion a occasionnellement \u00e9tendu son activit\u00e9 \u00e0 d\u2019autres instruments \u00e0 clavier, comme nous l\u2019apprend aujourd\u2019hui la d\u00e9couverte de cette \u00e9pinette. En aile d\u2019oiseau et sign\u00e9e de sa main en 1786, elle en est le t\u00e9moignage direct. Cette r\u00e9alisation, hors du domaine strict de l\u2019orgue, est donc un pr\u00e9cieux document historique attestant de la diversit\u00e9 de son savoir-faire et de sa capacit\u00e9 \u00e0 s\u2019adapter aux besoins des commanditaires de son temps.<\/p>\n<\/div>\n\n\n\n

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Cette \u00e9pinette est donc particuli\u00e8rement importante, puisqu\u2019elle enrichit notre connaissance de l’\u0153uvre d\u2019Armand-Joseph Lion, tout en apportant un nouvel exemple de l\u2019activit\u00e9 et de la diversit\u00e9 du savoir-faire des facteurs d\u2019orgues au XVIIIe<\/sup> si\u00e8cle.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n
\u00c9pinette en aile d\u2019oiseau d’Armand-Joseph LION, 1786 – Instrument mis en vente par Vichy Ench\u00e8res le 2 mai 2026 – \u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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La facture instrumentale en province aux anciens Pays-Bas et en France au XVIIIe<\/sup> si\u00e8cle<\/h1>\n\n\n\n
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\"Carte<\/a><\/figure>\n
Carte des Pays-Bas au XVIII\u00e8me si\u00e8cle <\/figcaption><\/figure>\n\n\n\n
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Dans la seconde moiti\u00e9 du XVIII\u00e8me si\u00e8cle, la production d\u2019instruments \u00e0 clavier conna\u00eet un essor principalement dans les grandes capitales culturelles, \u00e0 l\u2019instar de Paris et Londres. N\u00e9anmoins, en dehors de ces centres, une facture instrumentale provinciale – plus modeste mais significative – se d\u00e9veloppe dans les r\u00e9gions des anciens Pays-Bas (actuelle Belgique) et de France. Les \u00e9pinettes dites \u201cen aile d\u2019oiseau\u201d y occupent une place notable.<\/strong><\/p>\n\n\n\n

L\u2019\u00e9pinette appartient \u00e0 la famille des instruments \u00e0 clavier \u00e0 cordes pinc\u00e9es, au m\u00eame titre que le clavecin et le virginal. Apparue \u00e0 la fin du Moyen \u00c2ge, elle est attest\u00e9e avec certitude \u00e0 partir du XV\u00e8me si\u00e8cle et conna\u00eet un large d\u00e9veloppement aux XVII\u00e8me et XVIII\u00e8me si\u00e8cles[1]<\/sup><\/a>. Par sa taille plus r\u00e9duite et par la disposition oblique de ses cordes, elle constitue une version plus compacte du clavecin, et \u00e9tait ainsi principalement destin\u00e9e \u00e0 un usage domestique[2]<\/sup><\/a>. Moins co\u00fbteuse et moins encombrante que le grand clavecin, elle devient alors un instrument privil\u00e9gi\u00e9 des int\u00e9rieurs bourgeois et aristocratiques. Si le pianoforte commence \u00e0 s\u2019imposer \u00e0 la fin du XVIII\u00e8me si\u00e8cle, les instruments \u00e0 cordes pinc\u00e9es comme l\u2019\u00e9pinette demeurent en usage dans de nombreuses r\u00e9gions jusque dans les premi\u00e8res d\u00e9cennies du XIX\u00e8me si\u00e8cle[3]<\/sup><\/a>.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Frank Hubbard, Three Centuries of Harpsichord Making<\/em>, Cambridge (Mass.), Harvard University Press, 1965<\/p>\n\n\n\n

[2]<\/sup><\/a> Edward L. Kottick, A History of the Harpsichord<\/em>, Bloomington, Indiana University Press, 2003<\/p>\n\n\n\n

[3]<\/sup><\/a> Stewart Pollens, The Early Pianoforte<\/em>, Cambridge University Press, 1995<\/p>\n<\/div>\n\n\n\n

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\"Jean-Benjamin<\/a><\/figure>\n
Jean-Benjamin Laborde, Essai sur la musique ancienne et moderne, Eugene Onfroy, 1780<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Richard<\/a>
Richard Michel II, Epinette en aile d’oiseau, 1690, Paris, Mus\u00e9e de la Musique, Paris, cr\u00e9dits photos Jean-Marc Angl\u00e8s<\/figcaption><\/figure>\n\n\n\n
\"Jean-Claude<\/a>
Jean-Claude Goujon, Epinette en aile d’oiseau, 1753, Paris, Mus\u00e9e de la Musique, Paris, cr\u00e9dits photos Claude Germain<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n
\u00c9pinette en aile d\u2019oiseau d’Armand-Joseph LION, 1786 – Instrument mis en vente par Vichy Ench\u00e8res le 2 mai 2026 – \u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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En France, la plupart des instruments de prestige provenaient des ateliers parisiens, tels que ceux de Blanchet ou Pascal Taskin, \u00e0 l\u2019exemple des mod\u00e8les vendus \u00e0 Vichy Ench\u00e8res en novembre 2024. <\/p>\n\n\n\n

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Trois si\u00e8cles de facture de clavecins illustr\u00e9s par Blanchet, Taskin et Riva<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
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Toutefois, quelques facteurs en province ont \u00e9galement construit des clavecins ou \u00e9pinettes pour la noblesse locale ou les institutions religieuses. A titre d\u2019exemple, on peut citer le travail de Claude Labr\u00e8che, et notamment son magnifique clavecin de 1699 r\u00e9alis\u00e9 \u00e0 Carpentras, qui d\u00e9montre l\u2019existence d\u2019une activit\u00e9 de facture de clavecins en dehors de Paris. <\/p>\n\n\n\n

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Le clavecin de Claude Labr\u00e8che de 1699 : un Monument Historique t\u00e9moin d\u2019une facture m\u00e9connue<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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\"Epinette<\/a><\/figure>\n\n\n\n
\"Epinette<\/a><\/figure>\n
Epinette \u00e0 l’octave sign\u00e9e Pascal TASKIN \u00e0 Paris 1788 – Instrument mis en vente par Vichy Ench\u00e8res le 9 novembre 2024 – \u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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\"Epinette<\/a><\/figure>\n\n\n\n
\"Epinette<\/a><\/figure>\n
Epinette \u00e0 l’octave dans une caisse trap\u00e9zo\u00efdale, \u00e9tendue G-d4 sans G# (55 notes), de Nicolas Blanchet (1660-1731)
Instrument mis en vente par Vichy Ench\u00e8res le 9 novembre 2024 – \u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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\"Clavecin<\/a><\/figure>\n\n\n\n
\"Clavecin<\/a><\/figure>\n
Clavecin de Claude LABRECHE – Instrument mis en vente par Vichy Ench\u00e8res le 4 novembre 2023 – \u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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On peut \u00e9galement penser \u00e0 Vincenti Tibaut actif \u00e0 Toulouse, ou Gilbert Desruisseaux, Louis Bas et Joseph Collesse, tous actifs \u00e0 Lyon (Bas signait des instruments \u00e9galement \u00e0 Marseille et \u00e0 Villeneuve-l\u00e8s-Avignon). De m\u00eame, dans les Pays-Bas autrichiens, Albertus Delin – actif \u00e0 Tournai vers le milieu du XVIII\u00e8me si\u00e8cle – fabriqua plusieurs \u00e9pinettes parvenues jusqu\u2019\u00e0 nous.<\/p>\n\n\n\n

Ces instruments r\u00e9gionaux \u00e9taient parfois r\u00e9alis\u00e9s par des facteurs d\u2019orgues, \u00e0 l\u2019image d\u2019Armand-Joseph Lion, ou par des artisans \u00e9b\u00e9nistes locaux. Ils refl\u00e8tent une pratique propre aux provinces, adapt\u00e9e aux go\u00fbts, aux mat\u00e9riaux et aux pratiques musicales locales.<\/p>\n<\/div>\n\n\n\n

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La facture provinciale participe ainsi pleinement \u00e0 la richesse et \u00e0 la diversit\u00e9 de la construction d\u2019instruments \u00e0 clavier en Europe au XVIII\u00e8me  si\u00e8cle.<\/p>\n\n\n\n

L\u2019\u00e9pinette de 1786 sign\u00e9e Lion s\u2019inscrit pr\u00e9cis\u00e9ment dans ce contexte. Sa r\u00e9alisation \u00e0 Mons – ville alors en marge des grands foyers artistiques – illustre le fait que la pratique du clavecin ne se limitait pas aux grands foyers. L\u2019instrument d\u2019Armand-Joseph Lion, unique en son genre dans la production connue du facteur, est ainsi un pr\u00e9cieux exemple de cette facture instrumentale provinciale de la fin du XVIII\u00e8me si\u00e8cle.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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L\u2019\u00e9pinette d\u2019Armand-Joseph Lion de 1786<\/h1>\n\n\n\n
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\"Johann<\/a>
Johann Heinrich Sch\u00f6nfeld, Exercices musicaux \u00e0 l’\u00e9pinette, c.1640, Staatliche Kunstsammlungen Dresden<\/figcaption><\/figure>\n\n\n\n
\"Vermeer,<\/a>
Vermeer, Le Concert, 1663\u201366, Vol\u00e9 en 1990 au Mus\u00e9e Isabella Stewart Gardner, Boston<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Avec ses quatre octaves et demie, de do \u00e0 fa\u00b3, cette \u00e9pinette d\u2019Armand-Joseph Lion a \u00e9t\u00e9 con\u00e7ue pour couvrir l\u2019essentiel du r\u00e9pertoire de la seconde moiti\u00e9 du XVIII\u00e8me si\u00e8cle. Elle a d\u00fb \u00eatre command\u00e9e pour int\u00e9grer un espace priv\u00e9, pour \u00eatre jou\u00e9e dans des salons ou en musique de chambre. Dans une ville comme Mons, centre administratif et religieux important mais \u00e9loign\u00e9 des grands foyers culturels, une telle \u00e9pinette r\u00e9pondait donc parfaitement aux attentes de la bourgeoisie ou du clerg\u00e9.<\/p>\n\n\n\n

Ses dimensions – environ un m\u00e8tre soixante de longueur – confirment cette destination. La caisse est en peuplier, un bois couramment utilis\u00e9 dans les anciens Pays-Bas pour les instruments et le mobilier peint.<\/p>\n\n\n\n

Le clavier, plaqu\u00e9 d\u2019\u00e9b\u00e8ne pour les touches principales, reprend l\u2019usage fran\u00e7ais qui oppose naturelles sombres et feintes claires, ce qui t\u00e9moigne de la circulation des mod\u00e8les entre Paris et les provinces.<\/p>\n<\/div>\n\n\n\n

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Comme le souligne Christopher Clarke dans son rapport d\u2019expertise, l\u2019\u00e9pinette est dot\u00e9e d\u2019un unique jeu de cordes pinc\u00e9es par des sautereaux qui sont actuellement mont\u00e9s en plume ; mais leurs languettes ont des mortaises, maintenant rebouch\u00e9es, qui \u00e9taient con\u00e7ues \u00e0 l\u2019origine pour des plectres en peau de buffle. Une \u00e9pinette faite par Louis Bas \u00e0 Marseille, en 1786, est toujours mont\u00e9e en buffle ; on voit l\u00e0 une recherche de flexibilit\u00e9 sonore qui est proche de celle du piano-forte.<\/p>\n\n\n\n

Outre son int\u00e9r\u00eat mat\u00e9riel, cette \u00e9pinette pr\u00e9sente un double int\u00e9r\u00eat historique. Il s\u2019agit, d\u2019une part, d\u2019un rare t\u00e9moignage de la facture r\u00e9gionale d\u2019\u00e9pinettes \u00e0 la fin du XVIII\u00e8me si\u00e8cle et de l\u2019activit\u00e9 d\u2019Armand-Joseph Lion au-del\u00e0 de la seule construction d\u2019orgues ; et elle est, d\u2019autre part, le reflet d\u2019une pratique musicale bien implant\u00e9e dans les provinces des anciens Pays-Bas autrichiens, o\u00f9 les instruments \u00e0 clavier \u00e9taient pr\u00e9sents non seulement dans les grands centres, mais aussi dans les villes moyennes et aupr\u00e8s de leurs \u00e9lites.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n
\u00c9pinette en aile d\u2019oiseau d’Armand-Joseph LION, 1786 – Instrument mis en vente par Vichy Ench\u00e8res le 2 mai 2026 – \u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Le d\u00e9cor peint du couvercle<\/h1>\n\n\n\n
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\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n
\u00c9pinette en aile d\u2019oiseau d’Armand-Joseph LION, 1786 – Instrument mis en vente par Vichy Ench\u00e8res le 2 mai 2026 – \u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Le couvercle de l\u2019\u00e9pinette pr\u00e9sente un d\u00e9cor peint post\u00e9rieur \u00e0 la fabrication de 1786. L\u2019analyse mat\u00e9rielle montre que la peinture actuelle a \u00e9t\u00e9 appliqu\u00e9e directement sur un d\u00e9cor plus ancien – gris et rouge indien rehauss\u00e9 de dorures – dont subsistent des traces visibles. L\u2019absence de pr\u00e9paration interm\u00e9diaire et le fort r\u00e9seau de craquelures confirment le caract\u00e8re tardif de cette intervention. Les caract\u00e9ristiques stylistiques, ainsi que les transformations observ\u00e9es sur le clavier et le pi\u00e8tement, conduisent \u00e0 situer cette intervention \u00e0 la fin du XIX\u00e8me ou au tout d\u00e9but du XX\u00e8me si\u00e8cle. Cette datation correspond pr\u00e9cis\u00e9ment \u00e0 la p\u00e9riode d\u2019engouement pour le XVIII\u00e8me si\u00e8cle et pour le style \u201crococo\u201d, particuli\u00e8rement sensible autour de 1880-1910. C\u2019est \u00e9galement le moment o\u00f9 s\u2019affirme la red\u00e9couverte des instruments anciens et o\u00f9 les premiers collectionneurs et facteurs sp\u00e9cialis\u00e9s entreprennent des restaurations. La sc\u00e8ne repr\u00e9sent\u00e9e – musiciens et figures dansant dans un paysage arbor\u00e9 – s\u2019inscrit pleinement dans ce go\u00fbt historiciste. Elle reprend l\u2019imaginaire des f\u00eates galantes et des sc\u00e8nes champ\u00eatres associ\u00e9es au XVIII\u00e8me si\u00e8cle.<\/p>\n<\/div>\n\n\n\n

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On y retrouve l\u2019esprit des compositions de Fragonard, telles que La F\u00eate \u00e0 Saint-Cloud<\/em>, o\u00f9 musique et sc\u00e8nes galantes se combinent dans une atmosph\u00e8re \u00e9l\u00e9gante. De m\u00eame, l\u2019organisation du paysage et l\u2019int\u00e9gration des figures \u00e9voquent, dans une sensibilit\u00e9 plus tardive, des \u0153uvres telles que le Concert champ\u00eatre<\/em> de Corot.<\/p>\n\n\n\n

Ce d\u00e9cor doit ainsi \u00eatre compris comme l\u2019expression d\u2019une seconde vie de l\u2019instrument, investi d\u2019une valeur historique et d\u00e9corative.<\/p>\n\n\n\n

Par ailleurs, l\u2019\u00e9pinette elle-m\u00eame, comme l\u2019a soulign\u00e9 Christopher Clarke, pr\u00e9sente un dispositif \u00e0 peau de buffle, \u00e9l\u00e9ment musicalement important et relativement rare. Ce d\u00e9tail technique renvoie au contexte de la facture montoise \u00e0 la fin du XVIII\u00e8me si\u00e8cle et notamment \u00e0 la famille Er<\/a>m<\/a>el<\/a>, active \u00e0 Mons dont on conna\u00eet \u00e9galement des instruments int\u00e9grant des peaux de buffle. Cette proximit\u00e9 technique est tr\u00e8s int\u00e9ressante car elle sugg\u00e8re l\u2019existence d\u2019un milieu artisanal local et de m\u00eames savoir-faire. Dans cette perspective, l\u2019\u00e9pinette de Lion ne doit pas \u00eatre envisag\u00e9e isol\u00e9ment, mais replac\u00e9e dans un environnement montois o\u00f9 facteurs d\u2019orgues et constructeurs d\u2019instruments \u00e0 clavier partageaient les pratiques et influences.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\"Jean-Honor\u00e9<\/a>
Jean-Honor\u00e9 Fragonard, La F\u00eate \u00e0 Saint-Cloud, vers 1775-1780, Paris, collection Banque de France<\/figcaption><\/figure>\n\n\n\n
\"Anonyme<\/a>
Anonyme fran\u00e7ais, vers 1800, Sc\u00e8ne champ\u00eatre, Petit Palais, Paris<\/figcaption><\/figure>\n\n\n\n
\"Jean<\/a>
Jean Victor Bertin, Paysage, 1804, Mus\u00e9e d’art d’Indianapolis<\/figcaption><\/figure>\n\n\n\n
\"Jean-Baptiste<\/a>
Jean-Baptiste Camille Corot, Le Concert champ\u00eatre, 1857, Mus\u00e9e Cond\u00e9, Chantilly<\/figcaption><\/figure>\n\n\n\n
\"Jean<\/a>
Jean Joseph et Eug\u00e8ne Ermel, orgue, Mons, \u00e9glise Saint-Nicolas-en-Havre <\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n

Marques et t\u00e9moignages de la vie de l\u2019instrument<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\"\u00c9pinette<\/a>
\u00c9pinette en aile d\u2019oiseau d’Armand-Joseph LION, 1786
Instrument mis en vente par Vichy Ench\u00e8res le 2 mai 2026
\u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Les<\/a>
Les signatures de Masson \u00e0 Paris, 1917<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n
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L\u2019\u00e9pinette d\u2019Armand-Joseph Lion pr\u00e9sente plusieurs marques comme autant d\u2019\u00e9l\u00e9ments retra\u00e7ant son histoire. Elle porte en effet plusieurs inscriptions qui permettent d\u2019en suivre le parcours.<\/p>\n\n\n\n

La premi\u00e8re est celle du facteur lui-m\u00eame, qui a peint sur la table d\u2019harmonie, en bleu clair, dans un cartouche, \u201c1786 \/ LION \/ A \/ MONS\u201d. Il s\u2019agit d\u2019un \u00e9l\u00e9ment essentiel pour l\u2019authentification de l\u2019instrument. L\u2019instrument conserve \u00e9galement la trace d\u2019une intervention post\u00e9rieure. Deux inscriptions \u00e0 la mine de plomb mentionnent une r\u00e9paration par les luthiers parisiens, A. & N. Masson, en 1917. La premi\u00e8re se situe en-dessous des touches et indique que l\u2019\u00e9pinette a \u00e9t\u00e9 \u201cr\u00e9par\u00e9[e] par A & N Masson luthiers \u00e0 Paris, 16 rue du Clo\u00ffs XVIIIe\/Anno Dominy 1917 + [croix de Lorraine]\u201d. L\u2019autre inscription se trouve sur une partie du fond d\u00e9coup\u00e9e dans la queue et reprend ces \u00e9l\u00e9ments. <\/p>\n<\/div>\n\n\n\n

\n

Cette mention situe l\u2019\u00e9pinette dans le contexte de la red\u00e9couverte des instruments anciens \u00e0 cette p\u00e9riode et montre qu\u2019elle avait d\u00e9j\u00e0 retenu l\u2019attention de professionnels sp\u00e9cialis\u00e9s.<\/p>\n\n\n\n

Du point de vue de sa conservation, l\u2019\u00e9pinette a conserv\u00e9 son format d\u2019origine, sans transformation structurelle majeure. La pr\u00e9sence d\u2019une large part de ses \u00e9l\u00e9ments constitutifs renforce donc son int\u00e9r\u00eat historique.<\/p>\n\n\n\n

L\u2019ensemble de ces \u00e9l\u00e9ments – signature d\u2019origine et traces d\u2019interventions ult\u00e9rieures – permettent ainsi de suivre l\u2019histoire mat\u00e9rielle de l\u2019instrument depuis sa fabrication en 1786. Cette continuit\u00e9 contribue \u00e0 en faire un t\u00e9moignage significatif de la facture provinciale des instruments \u00e0 clavier \u00e0 la fin du XVIII\u00e8me si\u00e8cle.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
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Unique exemple connu d\u2019\u00e9pinette sign\u00e9e par Armand-Joseph Lion, cet instrument occupe une place singuli\u00e8re dans le paysage de la facture dans les anciens Pays-Bas autrichiens de la fin du XVIII\u00e8me si\u00e8cle. Sa signature et datation, ainsi que les traces de restauration anciennes et la conservation de sa structure d\u2019origine, en font un document rare et pr\u00e9cieux. Propos\u00e9e aux ench\u00e8res le 2 mai 2026 \u00e0 Vichy Ench\u00e8res, cette \u00e9pinette s\u2019inscrit ainsi parmi ces instruments qui, au-del\u00e0 de leur fonction musicale, se font le reflet d\u2019une \u00e9poque. Elle offre aux collectionneurs et institutions l\u2019opportunit\u00e9 d\u2019acqu\u00e9rir un jalon significatif de la facture des anciens Pays-Bas autrichiens, \u00e0 la crois\u00e9e de l\u2019histoire musicale et du patrimoine europ\u00e9en.<\/p>\n<\/blockquote>\n\n\n\n

Nous remercions Christopher Clarke pour son concours \u00e0 la r\u00e9daction de cet article.<\/em><\/h6>\n\n\n\n
<\/div>\n\n\n\n
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<\/div>\n\n\n\n

THE ONLY KNOWN SPINET BY ARMAND-JOSEPH LION, ORGAN BUILDER IN MONS<\/h1>\n\n\n\n
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<\/div>\n\n\n\n

This bird-wing spinet signed by Armand-Joseph Lion and dated 1786, which will be offered at auction on 2 May 2026, constitutes a rare example of provincial instrument making at the end of the 18th century. Armand-Joseph Lion, who was, until now, exclusively known for building organs in Hainaut, is revealed here in a more intimate light \u2013 that of a craftsman capable of applying his craft to the domestic setting. This instrument sheds light not only on the work of a regional organ builder renowned in his time, but also on the vibrancy of artistic centres outside the major hubs that were London and Paris.<\/em><\/p>\n<\/blockquote>\n\n\n\n

<\/div>\n\n\n\n
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Catalog<\/a><\/div>\n\n\n\n
Catalog to the collection of Signature guitars<\/a><\/div>\n\n\n\n
Sale on 30 April 2026<\/a><\/div>\n\n\n\n
Sale on 2 May 2026<\/a><\/div>\n\n\n\n
Christopher Clarke\u2019s detailed study of the spinet by Armand-Joseph Lion FR\/EN<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
Version fran\u00e7aise<\/a><\/div>\n<\/div>\n\n\n\n
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<\/div>\n\n\n\n

Armand-Joseph Lion (1720-1805)<\/h1>\n\n\n\n
<\/div>\n\n\n\n
\n
\"Ciply,<\/a><\/figure>\n\n\n\n
\"Ciply,<\/a><\/figure>\n
Ciply, pr\u00e8s de Mons<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
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Armand-Joseph Lion was born in 1720 in Ciply, near Mons. He is primarily known as an organ builder, active in Hainaut<\/a> and his activity attests to the popularity of this type of instrument in the 18th century.<\/p>\n\n\n\n

The earliest known work attributed to him is the reconstruction of the organ in the chapel of the Sainte-\u00c9lisabeth hospital in Brugelette<\/a>, in 1752 \u2013 1753. Subsequently, Armand-Joseph Lion was commissioned to build several church organs in the region, including those in Wasmes from around 1762 to 1775, Saint-Symphorien in 1763, Houtain-le-Val in 1773 and Frasnes-lez-Buissenal in 1774. In 1767, he also took part in the restoration of the imposing organ at Cambron Abbey, for which he most likely made its monumental case [1]<\/sup><\/a>.<\/p>\n\n\n\n

Armand-Joseph Lion therefore enjoyed considerable renown throughout the region in his lifetime. In May 1797, he was given the position of \u201cappraiser of organs in closed down institutions<\/a>\u201d for the department of Jemappes (Mons). In this capacity, he was then responsible for inspecting and appraising organs from convents and abbeys closed during the Revolution.<\/p>\n<\/div>\n\n\n\n

\n
\n
\"Hendrick<\/a><\/figure>\n
Hendrick van Steenwijk, Int\u00e9rieur d’\u00e9glise, MBA, Caen<\/figcaption><\/figure>\n\n\n\n

This official position attests, once again, to the reputation he enjoyed throughout the region.<\/p>\n\n\n\n

Armand-Joseph Lion died in Mons on 5 June 1805, at the end of a long career.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a> Bernard Carlier<\/a>, Benoit Lebeau, Matthias Maudoux et al.<\/em>, Les grandes orgues de la coll\u00e9giale Saint-Waudru de Mons, Association Saint-Waudru, 2018<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n
\n
\"Armand-Joseph<\/a>
Armand-Joseph Lion, orgue, 1776, Frasnes-lez-Buissenal, Saint-Martin, cr\u00e9dits KIK-IRPA – Clich\u00e9 M242733<\/figcaption><\/figure>\n\n\n\n
\"Armand-Joseph<\/a>
Armand-Joseph Lion, orgue, 1762-1775, Wasmes, Saint-Francois, cr\u00e9dits KIK-IRPA – Clich\u00e9 M261601<\/figcaption><\/figure>\n\n\n\n
\"Armand-Joseph<\/a>
Armand-Joseph Lion, orgue, 1673, Saint-Symphorien, cr\u00e9dits KIK-IRPA – Clich\u00e9 M266347<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n
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Although he specialized in organ building, Lion occasionally produced other keyboard instruments, as evidenced by the discovery of this spinet, a bird-wing example signed by him in 1786. This instrument, which does not strictly fall under to the craft of organ building, is therefore a valuable testament to the diversity of his craftsmanship and his ability to adapt to the needs of the patrons of his time.<\/p>\n<\/div>\n\n\n\n

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As such, this spinet is particularly important, as it deepens our understanding of the output of Armand-Joseph Lion, while also providing a new witness to the activity and the diverse craftsmanship of organ builders in the 18th century.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n
\u00c9pinette en aile d\u2019oiseau d’Armand-Joseph LION, 1786 – Instrument mis en vente par Vichy Ench\u00e8res le 2 mai 2026 – \u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Instrument making in the provinces of the Low Countries and France in the 18th Century<\/h1>\n\n\n\n
<\/div>\n\n\n\n
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\"Carte<\/a><\/figure>\n
Carte des Pays-Bas au XVIII\u00e8me si\u00e8cle <\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
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In the second half of the 18th century, the production of keyboard instruments flourished primarily in major cultural centres, such as Paris and London. However, outside these centres, a provincial instrument-making tradition \u2013 more limited but still significant \u2013 developed in the regions of the Low Countries (present-day Belgium) and France. Keyboard instruments known as “bird-wing” spinets held a prominent place in this tradition.<\/p>\n\n\n\n

The spinet belongs to the family of plucked string keyboard instruments, along with the harpsichord and the virginal. It appeared at the end of the Middle Ages, being clearly documented from the 15th century onwards, and experienced a significant development in the 17th and 18th centuries[1]<\/sup><\/a>. Due to its smaller size and the diagonal arrangement of its strings, it constitutes a more compact version of the harpsichord and was therefore primarily intended for domestic use[2]<\/sup><\/a>. Being less expensive and less cumbersome than the large harpsichord, it became a popular instrument in bourgeois and aristocratic homes. While the pianoforte began to gain prominence at the end of the 18th century, plucked string instruments such as the spinet remained in use in many regions until the early decades of the 19th century [3]<\/sup><\/a>.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Frank Hubbard, Three Centuries of Harpsichord Making<\/em>, Cambridge (Mass.), Harvard University Press, 1965<\/p>\n\n\n\n

[2]<\/sup><\/a> Edward L. Kottick, A History of the Harpsichord<\/em>, Bloomington, Indiana University Press, 2003<\/p>\n\n\n\n

[3]<\/sup><\/a> Stewart Pollens, The Early Pianoforte<\/em>, Cambridge University Press, 1995<\/p>\n<\/div>\n\n\n\n

\n
\n
\"Jean-Benjamin<\/a><\/figure>\n
Jean-Benjamin Laborde, Essai sur la musique ancienne et moderne, Eugene Onfroy, 1780<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n
\"Richard<\/a>
Richard Michel II, Epinette en aile d’oiseau, 1690, Paris, Mus\u00e9e de la Musique, Paris, cr\u00e9dits photos Jean-Marc Angl\u00e8s<\/figcaption><\/figure>\n\n\n\n
\"Jean-Claude<\/a>
Jean-Claude Goujon, Epinette en aile d’oiseau, 1753, Paris, Mus\u00e9e de la Musique, Paris, cr\u00e9dits photos Claude Germain<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
<\/div>\n\n\n\n
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\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n
\u00c9pinette en aile d\u2019oiseau d’Armand-Joseph LION, 1786 – Instrument mis en vente par Vichy Ench\u00e8res le 2 mai 2026 – \u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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In France, most of the prestigious instruments came from Parisian workshops, such as those of Blanchet or Pascal Taskin, as illustrated by the examples sold at Vichy Ench\u00e8res in November 2024.<\/p>\n\n\n\n

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Three centuries of harpsichord making, illustrated by Blanchet, Taskin and Riva<\/a><\/div>\n<\/div>\n<\/div>\n\n\n\n
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However, some makers in the provinces also built harpsichords or spinets for the local nobility or religious institutions. For instance, the work of Claude Labr\u00e8che, and in particular his magnificent harpsichord of 1699 made in Carpentras, demonstrates the existence of harpsichord making outside of Paris.<\/p>\n\n\n\n

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A harpsichord of 1699 by Claude Labr\u00e8che: an artefact of historical interest, bearing witness to a little-known craft<\/a><\/div>\n<\/div>\n<\/div>\n<\/div>\n\n\n\n
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\"Epinette<\/a><\/figure>\n\n\n\n
\"Epinette<\/a><\/figure>\n
Epinette \u00e0 l’octave sign\u00e9e Pascal TASKIN \u00e0 Paris 1788 – Instrument mis en vente par Vichy Ench\u00e8res le 9 novembre 2024 – \u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
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\"Epinette<\/a><\/figure>\n\n\n\n
\"Epinette<\/a><\/figure>\n
Epinette \u00e0 l’octave dans une caisse trap\u00e9zo\u00efdale, \u00e9tendue G-d4 sans G# (55 notes), de Nicolas Blanchet (1660-1731)
Instrument mis en vente par Vichy Ench\u00e8res le 9 novembre 2024 – \u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
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\"Clavecin<\/a><\/figure>\n\n\n\n
\"Clavecin<\/a><\/figure>\n
Clavecin de Claude LABRECHE – Instrument mis en vente par Vichy Ench\u00e8res le 4 novembre 2023 – \u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Other examples of harpsichord makers outside of Paris include Vincenti Tibaut in Toulouse, or Gilbert Desruisseaux, Louis Bas and Joseph Collesse in Lyon (Bas also signed instruments in Marseille and Villeneuve-l\u00e8s-Avignon). Similarly, in the Austrian Netherlands, Albertus Delin \u2013 active in Tournai around the mid-18th century \u2013 produced several spinets that have survived to this day.<\/p>\n\n\n\n

These regional instruments were sometimes made by organ builders, such as Armand-Joseph Lion, or by local cabinetmakers. They reflect a tradition specific to the provinces, influenced by local tastes, materials and musical practices.<\/p>\n<\/div>\n\n\n\n

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Provincial instrument making therefore fully contributed to the richness and diversity of keyboard instrument manufacturing in 18th-century Europe.<\/p>\n\n\n\n

It is precisely within this historical context that the 1786 spinet signed by Lion was created. The fact that it was made in Mons \u2013 a city then on the periphery of the major artistic centres \u2013 illustrates the fact that harpsichord playing was not limited to these major centres. Armand-Joseph Lion’s instrument, the only one of its kind in the maker’s known output, is therefore a valuable example of this provincial instrument making in the late 18th century.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n

The Armand-Joseph Lion spinet of 1786<\/h1>\n\n\n\n
<\/div>\n\n\n\n
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\"Johann<\/a>
Johann Heinrich Sch\u00f6nfeld, Exercices musicaux \u00e0 l’\u00e9pinette, c.1640, Staatliche Kunstsammlungen Dresden<\/figcaption><\/figure>\n\n\n\n
\"Vermeer,<\/a>
Vermeer, Le Concert, 1663\u201366, Vol\u00e9 en 1990 au Mus\u00e9e Isabella Stewart Gardner, Boston<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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With its four and a half octaves, from C to F\u00b3, this spinet by Armand-Joseph Lion was designed to perform most of the repertoire of the second half of the 18th century. It must have been commissioned for a private setting: for use in salons or for chamber music. In a city like Mons, which was an important administrative and religious centre, but was far removed from the major cultural hubs, a spinet such as this one would have met perfectly the needs of the bourgeoisie or the clergy.<\/p>\n\n\n\n

Its dimensions \u2013 it is approximately 1.6 meters long \u2013 are consistent with this theory. The case is made of poplar, a wood commonly used in the Low Countries for painted musical instruments and furniture.<\/p>\n\n\n\n

The keyboard, with ebony-veneered principal keys, follows the French practice of contrasting dark naturals with light sharps, demonstrating that instruments circulated between Paris and the provinces.<\/p>\n<\/div>\n\n\n\n

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As Christopher Clarke points out in his expert report, this spinet has a single set of strings plucked by jacks that are currently fitted with quills; however, their tongues have mortises, now filled in, that were originally designed for buffalo-hide plectra. A spinet made by Louis Bas in Marseille in 1786 is still fitted with buffalo-hide plectra; this is evidence of the desire to give the instrument a dynamic range akin to that of the pianoforte.<\/p>\n\n\n\n

Beyond its interest as an object, this spinet is of historical significance for two reasons. Firstly, it is a rare example of regional spinet making at the end of the 18th century, and of Armand-Joseph Lion’s activity beyond organ building. Secondly, it reflects a well-established musical practice in the provinces of the former Austrian Netherlands, where keyboard instruments were present not only in major urban centres but also in medium-sized towns and among their elites.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n
\u00c9pinette en aile d\u2019oiseau d’Armand-Joseph LION, 1786 – Instrument mis en vente par Vichy Ench\u00e8res le 2 mai 2026 – \u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

The painted decoration of the lid<\/h1>\n\n\n\n
<\/div>\n\n\n\n
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\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n\n\n\n
\"\u00c9pinette<\/a><\/figure>\n
\u00c9pinette en aile d\u2019oiseau d’Armand-Joseph LION, 1786 – Instrument mis en vente par Vichy Ench\u00e8res le 2 mai 2026 – \u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n
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The spinet’s lid features decoration painted long after its manufacture in 1786. The analysis of the materials shows that the current decoration was applied directly over the older original one \u2013 in grey and Indian red enhanced with gilding \u2013 traces of which remain visible, due to the absence of an intermediate ground layer and the large number of cracks. The style of the decoration, as well as the alterations of the keyboard and base, suggest that this later decoration was done at the end of the 19th or the very beginning of the 20th century. This dating corresponds precisely to a period of popularity for 18th-century and Rococo style, which peaked around 1880 \u2013 1910. This period also marks the beginning of the interest in antique instruments, when the first collectors and specialist instrument makers undertook their restoration. The scene depicted \u2013 musicians and figures dancing in a wooded landscape \u2013 perfectly embodies the taste of this period in history. It evokes the imagery of the f\u00eates galantes<\/em> and pastoral scenes associated with the 18th century.<\/p>\n<\/div>\n\n\n\n

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It reflects as well the spirit of Fragonard’s compositions, such as La F\u00eate \u00e0 Saint-Cloud<\/em>, where music and gallant scenes combine in an elegant atmosphere. Similarly, the arrangement of the landscape and the figures recall later works, such as Corot’s Concert Champ\u00eatre<\/em>.<\/p>\n\n\n\n

This decoration should therefore be considered as the expression of a second life for the instrument, imbued with historical and decorative value.<\/p>\n\n\n\n

In addition, and as Christopher Clarke pointed out, this spinet features a buffalo-hide mechanism, which is musically important and relatively rare. This technical detail is representative of instrument making in Mons at the end of the 18th century, and in particular of the Ermel family<\/a>, who were active in Mons and are known to have incorporated buffalo hides in the production of their instruments. This technical similarity is very interesting because it suggests the existence of a local community of craftsmen who shared their trade practices. As a result, the Lion spinet should not be considered in isolation, but rather within the local context of Mons, where organ builders and keyboard instrument makers shared practices and influences.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\"Jean-Honor\u00e9<\/a>
Jean-Honor\u00e9 Fragonard, La F\u00eate \u00e0 Saint-Cloud, vers 1775-1780, Paris, collection Banque de France<\/figcaption><\/figure>\n\n\n\n
\"Anonyme<\/a>
Anonyme fran\u00e7ais, vers 1800, Sc\u00e8ne champ\u00eatre, Petit Palais, Paris<\/figcaption><\/figure>\n\n\n\n
\"Jean<\/a>
Jean Victor Bertin, Paysage, 1804, Mus\u00e9e d’art d’Indianapolis<\/figcaption><\/figure>\n\n\n\n
\"Jean-Baptiste<\/a>
Jean-Baptiste Camille Corot, Le Concert champ\u00eatre, 1857, Mus\u00e9e Cond\u00e9, Chantilly<\/figcaption><\/figure>\n\n\n\n
\"Jean<\/a>
Jean Joseph et Eug\u00e8ne Ermel, orgue, Mons, \u00e9glise Saint-Nicolas-en-Havre <\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Marks and evidence of the instrument’s history<\/h1>\n\n\n\n
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\"\u00c9pinette<\/a>
\u00c9pinette en aile d\u2019oiseau d’Armand-Joseph LION, 1786
Instrument mis en vente par Vichy Ench\u00e8res le 2 mai 2026
\u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
\"Les<\/a>
Les signatures de Masson \u00e0 Paris, 1917<\/figcaption><\/figure>\n<\/figure>\n\n\n\n
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Armand-Joseph Lion’s spinet bears several marks, each one being a piece of evidence of its history. It features several inscriptions that allow us to follow its journey.<\/p>\n\n\n\n

The first is that of the maker himself, who painted in light blue within a frame “1786 \/ LION \/ A \/ MONS” on the soundboard. This is essential for authenticating the instrument. The instrument also bears evidence of a later restoration. Two pencil inscriptions mention a repair by the Parisian makers A. & N. Masson in 1917. The first, situated below the keys, indicates that the spinet was \u201crepar\u00e9[e] par A & N Masson luthiers \u00e0 Paris, 16 rue du Clo\u00ffs XVIIIe\/Anno Dominy 1917 + [cross of Lorraine]\u201d. The second inscription is found on a section of the back cut into the tail and reproduces the information of the first inscription.<\/p>\n<\/div>\n\n\n\n

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These inscriptions, which coincide with the period when early instruments were rediscovered, shows that this spinet had then attracted the attention of specialized professionals.<\/p>\n\n\n\n

From a condition standpoint, the spinet has retained its original dimensions, without any major structural alterations. The presence of a large number of its constituent parts therefore increases its historical significance.<\/p>\n\n\n\n

All of these elements \u2013 the original signature and the evidence of subsequent interventions \u2013 allow us to follow the instrument’s history since its manufacture in 1786. This unbroken lineage makes it a significant example of provincial keyboard instrument making at the end of the 18th century.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Unique exemple connu d\u2019\u00e9pinette sign\u00e9e par Armand-Joseph Lion, cet instrument occupe une place singuli\u00e8re dans le paysage de la facture dans les anciens Pays-Bas autrichiens de la fin du XVIII\u00e8me si\u00e8cle. Sa signature et datation, ainsi que les traces de restauration anciennes et la conservation de sa structure d\u2019origine, en font un document rare et pr\u00e9cieux. Propos\u00e9e aux ench\u00e8res le 2 mai 2026 \u00e0 Vichy Ench\u00e8res, cette \u00e9pinette s\u2019inscrit ainsi parmi ces instruments qui, au-del\u00e0 de leur fonction musicale, se font le reflet d\u2019une \u00e9poque. Elle offre aux collectionneurs et institutions l\u2019opportunit\u00e9 d\u2019acqu\u00e9rir un jalon significatif de la facture des anciens Pays-Bas autrichiens, \u00e0 la crois\u00e9e de l\u2019histoire musicale et du patrimoine europ\u00e9en.<\/p>\n<\/blockquote>\n\n\n\n

Nous remercions Christopher Clarke pour son concours \u00e0 la r\u00e9daction de cet article.<\/em><\/h6>\n\n\n\n
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\ud83d\ude80 Suivez-nous !<\/strong><\/h2>\n\n\n\n