CBH Marbling the harpsichord — Time-lapse

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Time-lapse of Carey Beebe marbling the spine of a Ruckers Double Harpsichord.

The faux marbre effect found on the surviving Flemish harpsichords does not attempt to imitate the actual cut and polished stone: Rather, it's more a splash of color. What takes about thirty minutes in real life is shown here by time-lapse in less than two and a half minutes.

The harpsichord case has been primed and sanded, and the area for the marble bands masked with 18mm Scotch® Fine Line Tape 218. The various oil paint colors have been prepared, and the harpsichord is rested spine up in the cradle. The Brownstone base color is applied by brush, and while still wet, the three marble colors (British Red, Old Gold and a darker Brownstone) are dabbed on with a scrunched paper towel in turn. The thin colors bleed into the base coat. After a little drying time, the two colors of veins can be added using a feather. The effect can be better appreciated when the masking tape is removed, giving a sharp edge. After drying overnight, the harpsichord can be flipped in the cradle and the tail, bentside and cheek marbled in the same manner.

Ruckers Double Harpsichord, Carey Beebe, Sydney 2011
commission for Royal Opera House, Muscat, Sultanate of Oman.

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