— 1. A grand pianoforte, in a case of British mottled oak, with carved and gilt ornaments, in the style of Louis XV.; seven octaves, A to A.

—2. A grand pianoforte in rosewood case, with carved cabriole truss supporters; seven octaves, A to A.

—3. A square semi-grand pianoforte, in walnutwood; six and three-quarters octaves.

— 4. A grand cabinet pianoforte, in a case of British oak, of novel design; six and three-quarters octaves.

—5. Two microchordons, or semi-cottage pianofortes, in pine and rosewood cases; six and three-quarters octaves. Exhibited as specimens of superior instruments of their class, at very low prices.

In the above-named instruments the following patented improvements are illustrated : —

1. In the mode of stringing pianofortes, by passing the wire round a single pin, in all classes of pianofortes, this superseding the use of the noose or eye, before in general use. Patent of 1827. This mode of stringing has become almost universal since the expiration of the patent.

2. Applying a check to the under-hammer, to prevent the rebound of the hammer against the string. Patent of 1829.

3. A new construction of the action in horizontal grand and square pianofortes, the escapement being placed upon the key, and coming into contact with a lever or crank, and thus regulating the rise and fall of the hammer. Patent of 1835.

4. The introduction of a new class of square pianoforte, entitled "the square semi-grand pianoforte;" in which a closer approximation to the peculiarities of the horizontal grand pianoforte was attained. Patent of 1838.

5. The introduction of the traversing escapement fixed upon the hainmer-rail, thereby admitting of a firmer blow and greater resistance, as also the introduction of a repetition movement. Patent of 1841.

6. The application of the repetition movement to square and to vertical, or upright pianofortes. Patent of 1843.

7. A new design for the shape of a square pianoforte, entitled "the Symmetrical Grand Square," by which greater beauty of form was secured, the key-board being placed in the centre of the instrument. Registered in 1847." Reports by the Juries on the Subjects in the Thirty Classes Into which the ..., 1851, p. 329

LONDON - "Messrs. Collard and Collard contribute one grand, 7 octaves, A to A, with all the latest improvements, and one grand Square, 6 ½ Octaves, C to G, of a peculiar kind, called by the makers, for distinction, the “Square semi-grand.”

Its peculiarity is, that it has precisely the same action as that used for semi-grands ; whereas the ordinary grand Square has only an adaptation of the peculiarities of the grand action to that of the common Square.

A cabinet and two microchordons, or small uprights, 6 ½ Octaves, C to G, are also exhibited. One of the latter is the cheap kind of instrument already alluded to 3 it has a case of varnished Swiss pine.

The whole of these instruments are first class of their respective kinds, and afford favorable examples of the most improved English manufacture." Newton's London Journal of Arts and Sciences, 1851, p. 30

LONDON - "One of the most elegant instruments in the Exhibition is the grand by llessrs. Collard, in pollard oak, carved and gilt in the style of Louis XV. The design is well carried out, and in admirable keeping.

The square in walnut, with shaped sides, is very massive and handsome. There is also a carved cabinet piano by the same firm, which we do not, however, much admire." Crystal Palace, and its contents : being an illustrated cyclopaedia of the great exhibition of the industry of all nations, 1851, p. 202 (archive.org)