Details
Image(s)
TitleBook Operated Reed Organ
Creator Jérôme Thibouville-Lamy
PlaceParis (France)
Year ca. 1890
Object number0916
Object categorymechanical resounding reed instruments
DescriptionThe reed organ is powered by a crank that can be turned by hand. In a reed organ, the sound is produced by a thin and resilient metal plate that fits precisely into an opening, called a reed, instead of a metal or wooden organ pipe. Air is blown through the opening, causing the reed to vibrate and generating a tone. The length of the reed determines the frequency of vibration and therefore the pitch of the note.
Accompanying textsBecause the instrument plays (more easily reproducible) books, the repertoire is very extensive. The repertoire is indicative of what was popular during this period. The instrument plays songs including:
1. Ouis, oui, oui
2. l'eau vive
3. nooit op zondag
4. dich werd'ich nie vergessen (niet aanwezig)
5. Anneliese
6. boerinnekensdans
Reed organs such as these were popular instruments in the late 19th century. Because these relatively smaller and cheaper barrel organs catered to a much larger clientele (for domestic use) than barrel organs and rotary pianos, the demand for an extensive repertoire of varied musical numbers (more than could be programmed onto cylinders) also emerged early on.
This particular instrument was owned by the artist Jaap Nanninga (1904-1962). He was one of the postwar abstract Dutch artists from The Hague. They exhibited their abstract art in The Hague's bodega the Posthoorn on Lange Voorhout. In the period after WWII, this was a well-known meeting place for actors, writers and painters. Nanninga spent a lot of time here and often brought his barrel organ with him. And by playing it, the next round could be paid for. In the café, the foundations were laid for the later Posthoorn group, an artist group considered part of the New Hague School. Nanninga was not discovered until later in life by the then director of the Stedelijk Museum W. Sandberg, who devoted an exhibition to his work in 1957. Later, his work was also shown at the Kunstmuseum in The Hague.
1. Ouis, oui, oui
2. l'eau vive
3. nooit op zondag
4. dich werd'ich nie vergessen (niet aanwezig)
5. Anneliese
6. boerinnekensdans
Reed organs such as these were popular instruments in the late 19th century. Because these relatively smaller and cheaper barrel organs catered to a much larger clientele (for domestic use) than barrel organs and rotary pianos, the demand for an extensive repertoire of varied musical numbers (more than could be programmed onto cylinders) also emerged early on.
This particular instrument was owned by the artist Jaap Nanninga (1904-1962). He was one of the postwar abstract Dutch artists from The Hague. They exhibited their abstract art in The Hague's bodega the Posthoorn on Lange Voorhout. In the period after WWII, this was a well-known meeting place for actors, writers and painters. Nanninga spent a lot of time here and often brought his barrel organ with him. And by playing it, the next round could be paid for. In the café, the foundations were laid for the later Posthoorn group, an artist group considered part of the New Hague School. Nanninga was not discovered until later in life by the then director of the Stedelijk Museum W. Sandberg, who devoted an exhibition to his work in 1957. Later, his work was also shown at the Kunstmuseum in The Hague.
Dimensions
geheel height: 30 cm
geheel width: 52 cm
depth: 32.5 cm
geheel width: 52 cm
depth: 32.5 cm