In this view we see that the case is in good condition, and this is a handsome model with veneer cross-banding on the case and brass inlay on the nameboard.
All the notes work, although one is sticking a bit. We see that the piano was carefully restored some time ago, when the hammers were probably re-covered. The strings were probably replaced at the same time, and they seem to be intact and functional, although not entirely authentic. The pedal is not visible in the picture, but it is there.
For a couple of years around 1822, the tuning-pins for the top notes were moved from the usual Broadwood position at the back to the right-hand end. This has the advatage of avoiding overcrowding at the back.
Most Broadwood squares made in the 1820s had the divided bridge, first introduced by Broadwood on grands. This elegant arrangement preserves the scaling on the changeover from brass to iron. Iron is both stronger and lighter, so if the changeover occurs on the same bridge, the first iron strings must necessarily be under-tensioned. The divided bridge avoids this problem, because the first iron strings are longer.
The number appears to be 2679, but the last digit is missing. But the first four are enough to confirm the date.
We are right to be concerned about the possibility of a twist in pianos of this age, but the owner has checked this one wth a straight-edge, and it seems to be remarkably flat.
There are quite a few of these Broadwoods about, but this one appears to be in much better condition than most.