Hurdy-gurdy, made by Varquain, 1742, Paris

'Guitar-shaped body with mahogany belly edged with a barber's pole inlay of ebony and ivory, as is the lid of the keyboard, the wheel-guard and the tailpace. The last two of these also have small formal patterns inlaid with mother-of-pearl. Two C-holes in the belly. The sides and top of the peg box, which continues on the line of the key box, are stamped with stars and have carved scallop ornaments as well. The fineal is in the form of a woman's head wearing a cap (the crescent over the forehead, a fashionable feature of such caps at the time, has been broken off). Vertical pegs for six strings'. Anthony Baines: Catalogue of Musical Instruments in the Victoria and Albert Museum - Part II: Non-keyboard instruments. (London, 1998), pp. 25 - 26.

This instrument was bought for £12 in 1872 from A.Pickert of Nuremberg. Sir Matthew Digby Wyatt, the art referee who recommended its purchased described it as "pretty".

From Harvard:
Vielle: Marie Leszcynska played one, see pp. 234 of Fetes et Divertissements de la Cour: in 1745 Luynes notes that, on leaving the table, the queen frequently played the hurdy-gurdy with the musicians for a while, except on Friday, a day of devotion. (Luynes, 1860-1865, t. VII, p.31-2)
Dufort de Cheverny (Mem.Vol I. p.18) says that he did too, 'Car ces instruments etoient a la mode.' (1747)

The hurdy-gurdy was long regarded as a peasant's instrument, associated with pastoral music. The melody would be played on keys, and a rotating wheel would supply a background drone, by rubbing the strings like a violin bow. But during the 18th century a hankering after the simple life amongst certain French aristocrats and richer members of the bourgeoisie helped make this instrument more fashionable. This elaborately decorated example was made by the Paris-based luthier Varquain. He was famous for making guitar-shaped hurdy-gurdies, known as vielles en guitare, no doubt having such customers in mind.

577-1872