Wanda Landowska's Pleyel "Grand Modèle de Concert" is the exemplar instrument of the piano-frame harpsichord-revival paradigm

Pleyel et Cie, the French piano manufacturer, built harpsichords in collaboration with harpsichordist Wanda Landowska incorporating "a solid steel frame similar to the modern grand pianos of the time." The model was introduced at the German Bach Festival in Breslau in June 1912, and — per the jack-rail inscription on a surviving 1928 example — a 16′ register was added to Pleyel harpsichords from 1912 "upon Landowska's request and suggestions." This instrument is widely credited with shaping modern harpsichord construction: per the same collection page, makers such as Maendler-Schramm, Neupert and Dolmetsch "began to design instruments based on Pleyel's harpsichords or were significantly inspired by them," a Pleyel-derived design lineage that held until the "fundamental paradigm shift" in harpsichord construction that arrived "with the onset of the 1970s."

The uncontested biographical fact — that this specific Landowska/Pleyel instrument became the reference point for piano-derived revival construction generally — clears the historical-claim sourcing floor even at Tier 3-4. It is the specific dates and technical particulars tied to this exact model that carry [unverified-quant — needs primary]: see the watch_flag above.

Landowska's model stands as the instrument Hubbard and Dowd's 1949 Boston workshop was implicitly built in opposition to — a review of their work describes the Pleyel-style instruments, by mid-century, as "turgid tinkling dinosaurs" no serious harpsichordist would play.