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Harpsichords built by the Ruckers-Couchet Family

Harpsichord Builders
The Ruckers-Couchet family dominated the Antwerp production of keyboard instruments from the end of the 16th until the middle of the 17th century. Their harpsichords found their way into all European countries and some even travelled as far as South America.

The instruments built by Hans, Joannes and Andreas Ruckers (first half of the 17th century) are exhibited on a platform on the ground floor. They are flanked by some harpsichords from Antwerp builders, active during the second half of the 18th century (Jacobus van den Elsche and Joannes Petrus Bull).

In the centre of the hall on the ground floor, a number of Antwerp harpsichord from the 17th century are displayed on a platform. Most instruments are built by members of the Ruckers-Couchet family. This family of harpsichord builders dominated the production in Antwerp at the end of the 16th century and during the first half of the 17th century.

The sound boxes of the Ruckers harpsichords are often painted with imitation marble designs. Inside flowers and insects are drawn on the soundboard. Around the upright boards above the soundboard, above and along the keys and on the inside of the lid decorative paper is glued with arabesques and dolphin motives in black against a white background.The lid often has moralising inscriptions. The inside of the lid is often decorated with a charming scene.

Hans Ruckers' contemporaries had nothing but the highest praise for his instruments. With time that appreciation only increased. And the harpsichords built by those who continued the family tradition were widely acclaimed. They were exported to the whole of Europe and even to Latin America.

In France Ruckers and Couchet instruments became popular from the 17th century onwards. In the 18th century a number of imitations are sold to amateurs for exorbitant amounts of money! After 1700 quite a few other Ruckers harpsichords in France and England were adapted to suit the reigning musical fashions. This does not in any way diminish the prestige of their Antwerp builder, though.

The founder of the French harpsichord school, Jacques Champion de Chambonnière, owned a Couchet. Jean-Henry Danglebert (1628-1691), «ordinaire de la musique de la chambre du Roy pour le clavessin», owned a Ruckers.

Furthermore, composer Elisabeth Jacquet de la Guerre (ca. 1665-1729) played on a 'Flemish' instrument. In his musical diary, the famous English musicologist Dr. Charles Burney mentioned the Ruckers instrument owned by Claude Bénigne Balbastre (1727-1799).

The rise of the Antwerp harpsichord construction had everything to do with Antwerp's economic prosperity in the 16th century. Initially the city only traded in harpsichord imported from Germany.

The first builders of keyboard instruments that settled in Antwerp came from Germany. We know of a Hans Süss or 'van Cuelen' (from Cologne), who settled in Antwerp in 1519. Joost Kareest, active in Antwerp around 1550, was also born in Cologne.

Not only did Antwerp count many potential rich buyers among its citizens it also offered brilliant export possibilities. In 1557 ten harpsichord builders, among whom Joost Kareest and his brother, requested membership of the Guild of Saint Luke, which not only represented painters and sculptors but also other artistic professions.

The first generation: Hans Ruckers (+ 1598)
The founding father of the family, Hans Ruckers, moved from Malines to the City on the river Scheldt. He is first mentioned in an Antwerp archive document from 1570. Hans had probably been born in Germany and worked at the court of governess Margaret of Austria for a while.

Hans Ruckers settled in Jodenstraat (Jews' Street), which connected Huidevettersstraat (Tanners' Street) with the Wapper. At first he rented a house; later on he bought the 'De Cleyn Clavesimbele'. One of its adjoining buildings belonged to the heirs of harpsichord builder Goossen Kareest.

Hans Ruckers died in 1598. His widow asked Willem Gompaerts, godfather of her eldest daughter Catharina, for help. He led the workshop until her eldest son Joannes I came of age.

The second generation: Joannes I en Andreas Ruckers I (+1651/1653)
In 1604 Joannes I Ruckers married Maria Waelrant, the granddaughter of composer and music publisher Hubertus Waelrant. In 1608 he buys De Cleyn Clavecimbele (The Small harpsichord) to end the discord with his brothers and sisters. The majority of his instruments date from the period 1598-1611.

One of those brothers is the one and a half years younger Andreas I Ruckers. In the beginning Andreas collaborated with Joannes. The Musical Instrument Museum in Brussels preserves an instrument from 1604 with the inscription 'Joannes et Andreas Ruckers fecerunt' (Made by Joannes and Andreas Ruckers).

In 1616 his workshop was situated on the nearby Schoenmarkt (Shoe Market) and in 1640 he was working in Huidevettersstraat (Tanners' Street). Andreas was married to Catharina De Vriese, who came from a family with means. Just like his brother Joannes, Andreas not only built harpsichords, he also repaired organs. Andreas I Ruckers died between 1651 and 1653.

The third generation: Joannes II (+1642) and Andreas II Ruckers (+1654 of 1655) and Joannes Couchet (+1655)
Joannes I Ruckers was succeeded at the head of the workshop by his son Joannes II. The latter died in 1642.

Catharina Ruckers, Hans Ruckers' eldest daughter, married the surgeon Carolus Couchet. After his mother's death in 1625 their ten-year-old son, Joannes Couchet, was apprenticed to his uncle, Joannes I Ruckers.

It was only after the latter's death that Joannes Couchet became a master in the Guild of Saint Luke in 1642-1643. Amongst other things Joannes Couchet was responsible for the tuning of the organs of the Cathedral and of the Church of Saint Jacob. He died on 4th April 1655. His widow Angela van den Brant continued the workshop while at the same time raising her children who were still under age.

Andreas I Ruckers' son was also called Andreas. Andreas II became a master in the Guild of Saint Luke in 1637-1638. He moved to the Everdijstraat. He died in 1654 or 1655.

The fourth generation: Petrus Joannes Couchet
Of the children of Joannes Couchet and Angela van den Brant only Petrus continued building harpsichords. His earliest dated instrument is from 1671-1673.

Joannes Josephus is known to have been active as a harpsichord tuner in 1681. He went insane in 1694 and died in 1703.