Myrtle's cook
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Posts posted by Myrtle's cook
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They look a very neat set of bellows and overall solution - really informative Blog to, most interesting - thank you!
There was an interesting article in the June ICA Concertina World on Bill Crossland and his work and workshop. He has developed a similar solution mounted on a fairly tall bench so that he could operate the bellows via a strap attached to his leg/knee. The only flaw I could think of was being distracted whilst attached and moving away from the bench suddenly and so potentially tearing the bellows. Then again, no doubt Bill (and others) have much greater powers of concentration that I.
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Hi Josqueeze
Welcome to Cnet.
It sounds as if you potentially have a very nice instrument.
Received wisdom seems to be that the likes of Rushworth & Dreaper rebadged the instruments of others - and as you suggest, were not the makers.
Others on this forum with far greater knowledge will be able to expand on this, but (as someone who lives in Liverpool and keeps an eye out for such things) I recall seeing both a Jones anglo and a German 'Anglo' with this dealer's label.
If you are able to post some photographs on the forum then that would greatly aid identification.
In terms of appraisal and next steps, I see you are based in Yorkshire - so you are probably reasonably close to both Dave Elliot and Theo Gibb (both have easily googled websites). They are both restorers who are regular (and generous) contributors to this forum. There are, of course, many other good restorers (I think Bill Crossland is also Yorkshire based), but Dave and Theo have both undertaken work for me and I have been pleased with the results.
So, in answer to the first part of your question, photos would probably bring a result from the Cnet community. They might also help inform an answer as to why the reeds are not readily speaking as expected.
[EDIT: Cross posted with Theo - we must have been typing at the same time, but me slower!]
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Hi Jake
They are a Hobgoblin franchisee - although Johny Roadhouse has been established for a very long time - it's a shop within a shop.
They had a very nice 55b Lachenal Crane duet when I visited a few weeks ago, so the website may be a little out of date.
The folk instruments are in an upstairs room which is quite quiet - ideal for a good squeeze!
Simon
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Thanks for this Steve, appreciated.
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Steve
Tried to PM you but was greeted with a message saying you cannot receive any more messages (?full in box?)
How would you describe the tone of this instrument?
Loud and strong - potentially for band work
Soft and mellow - good for singing accompaniment?
I realise there is a degree of subjectivity in this.
I am guessing, hat this model may be more 'band era' than 'parlour era' if it has a Vickers label.
Many thanks, in advance
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A lovely collector's piece.
The range is likely to be that of a 'treble' of its day (without some of the more familiar higher and lower notes we are accustomed to seeing). The first of the 48 key treble models, that we are familiar with these days, seem to date a few years later e.g. http://www.concertinamuseum.com/CM00009.htm
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Hi Scoopet
There are a good range of source images for the approach Vin suggests to be found amongst the Concertina Museum's photos of George Case instruments at http://www.concertinamuseum.com/CM00183.htm
Incidentally there is an excellent paper on George Case and the English Concertina in the latest Proceedings of the International Concertina Association, available either by subscription (which is good value) or online at: http://www.concertina.org/wordpress/wp-content/uploads/2015/10/PICA-10-Final.pdf
Good luck
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Hi Lincoln
You might find this paper by Robert Gaskins on the use of baffles helpful/thought provoking. http://www.concertina.com/gaskins/baffles/
Alternatively, here's a solution from Danny Chapman with some external baffles that can be removed as required. http://www.rowlhouse.co.uk/concertina/pictures/
Another option, if you have even a mild case of Concertina Acquisition Syndrome, you might consider a brass/silver nickel reeded instrument. The better ones are very playable and have a much softer ('more mellow'), less penetrating tone and volume than those with steel reeds.
Good luck!
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Might this have been his practice instrument - for use where an aeola or similar post-parlour period concertina might have been too noisy (e.g. whilst staying hotel rooms)? I have a Scates concertina from the same sort of period that I use for just this purpose.
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This is a bit of an aside, but I am doing some work in Manchester at the moment and have walked past this address several times this week. It is now occupied by what looks like a 1930s building/facaded building, home to the Big Issue in the North (a paper sold by homeless people - for those outside the UK). Peering through the shop front I can't see any signs of the original layout etc.).
The little badge is certainly in a higher league than the usual paper dealer's labels that appear on Lachenals. If time permits I'll have a look in the library to see if they have any old street directories that might shed light on this operation. Is there a number on the concertina that might help with dating?
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A recent purchase from Ebay. Hope this will raise a smile on a Monday, particularly amongst those of us who use the concertina to accompany maritime songs...
Published: Ralph Tuck & Sons 'Oilette' [Regd] Postcard 6414 'Sailor Laddie'.
Used and postmarked for October 20th 1904
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I have previously purchased a concertina from Dean, aka Defra, and it all went very smoothly. A very pleasant transaction - and for me a very nice concertina.
I just mention this in case anyone is looking at this thread and has some reservations about buying through a peer-to-peer forum.
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Thank you Jake. Looks like someone got a 'good buy' with this one (a well known dealer perhaps?).
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Thank you Jim, that's made my morning!
(Anglos I note!)
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I have one of these in which my large Edeophone lives. I don't generally take this box out of the house, so it works fine for this 'need'.
I purchased another such case last year on line, when it arrived some of the plastic external covering was peeling away and on closer inspection some of the lining panels were rather loose. I sent it back and got a refund, but it does suggest the quality assurance processes at the Stagi factory aren't too hot, or perhaps some of the glues/materials they are using aren't the best.
One other thing that bothers me a little about these cases is the red furry lining. I was looking at an unnamed case in a music shop fairly recently and gave the lining a little 'pluck', I was surprised how easily the fibres came away. It struck me that these might find their way into the concertina and ultimately come to rest between reed tongue and frame necessitating some fettling. I'm sure this problem is avoided when sourcing a case from the likes of Greg Jowaisis or Frank Edgley who know concertinas and their needs inside out.
Frustrating that Peli Storm cases don't come in the right sort of sizes for larger concertinas as they made the best 'off the shelf' case I could find for my treble EC..
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I wonder if there is any internal damage relating to the accident that has befallen this box.
I have an edeophone that had at some time had a similar unscheduled meeting with the floor. This had weakened/opened several of the side panel joints. It had also caused a crack in the action board - presumably because the force of the impact had been communicated directly down one of the little wooden pillars. All were successfully restored, but at additional cost.
As Ceemonster says, [with good restoration] it might be wonderful...
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Excuse an EC player straying into Anglo territory, but do folks think those ends are original to the rest of the box? To me they resemble copies of Crabb type patterns but look a little heavy handed and are completely flat. Replacements for damaged wooden ends or an attempt in the past to 'enhance' the box?
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In a recent ICA magazine there is a full page of photos taken at a recent workshop which illustrate the variety of finger positions used to hold an EC - which supports the hypothesis that different approaches work for different people and their hands.
I have small-medium [male] hands with relatively long fingers. I tend to have my thumbs inserted into the thumb straps so that there is some grip/tightness around the first joint (perhaps a relic of initial learning the instrument and being terrified of dropping it). A couple of people have pointed out to me that my pinkie often only just sits at the end of the rest (similar to Bullethead's picture above) - this has never really caused me a problem and I hadn't previously been aware of it. As this post has made me think about it, I do find my Scates box with leather covered pinkie rest more comfortable to play than some heavier concertinas with bare metal rests which cut in a little after prolonged playing whilst standing.
The modification above is interesting (and thought provoking) - does it make the concertina harder to hold when played standing? I have a sense it might 'droop' without the full ability to brace against the original line of the pinkie rest?
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Some additional mentions located from the British Newspaper Archive - by no means exhaustive, but adds a little colour:
27 September 1909, Palace Theatre, Aberdeen, appearing in a supporting slot and billed as 'Francini Olloms Europe's most brilliant concertinist' (perhaps this is the European branding - as Johnyace shows above he was 'Europe's Finest...' on US playbills!)
31 December 1918, Hulme Hippodrome, Francini and Elsie Olloms appearing in a supporting slot
9 February 1929, Burnley Empire, Francini Olloms, a supporting slot in a comedy based review
7 November 1936, Portsmouth Coliseum, Francini Olloms as a support act to an acrobatic novelty acts 'Seven Romas'
Last mention seems to be in 'The Era' and a listing for the Byker 'Grand' for 16 February 1939
During 1917/18 there are also listings for 'Gaestano Olloms and his concertina'. A son, brother or alternative 'branding for Francini?
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For anyone else reading the thread and considering a purchase they can be ordered direct from the author (who is a regular and generous contributor to this site):
http://www.concertina-repair.org.uk/page11.html
Like others above, I would strongly recommend it, good for helping me decide when it's a job that I can manage and when its time to pass the task over a proper restorer/fettler.
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More photos now posted by auction house:
Looks like this concertina has had quite a hard life, and from the verdigris and white deposits on the leather, not all of that life has been spent in the dry. The state of the reeds would be an area of risk for anyone buying this without seeing/trying it first.
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As rose wood was used fairly regularly in Victorian and Edwardian furniture making I would expect that better models do indeed have rosewood ends.
In the few examples I've seen of rosewood furniture (though I don't know from what period), it has been rosewood veneer over some more common structural wood, just as I've described for concertina ends. Was that the exception rather than the rule?
Probably the rule I would think.
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As rose wood was used fairly regularly in Victorian and Edwardian furniture making I would expect that better models do indeed have rosewood ends. However, as Blue Eyed Sailor notes, finishes can be deceptive. There are certainly instances of veneers and laminates of several thin layers of wood being used.
In terms of foxing, it may be that a good quality cotton based paper (or similar) was being used (?). My understanding is that foxing is either an oxidation of impurities within the paper or caused by fungal growth (which may be more likely in wood pulp based papers)- high humidity/damp being a catalyst to both. I think there are modern 'archival' standards for paper which include a resistance to changes such as foxing.
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I would second Jim Lucas's tutor recommendations above. Both good fun and Alistair Anderson's is, in particular, well paced for a beginner giving a good sense of achievement as one goes. I am guessing an interest in folk music from Bald Raynard's name - in which case Anderson's content should be very much to your liking.
Good luck - and most importantly - ENJOY!
Strange Wheatstone
in General Concertina Discussion
Posted
The auctioneer has posted a whole series of new photos:
http://www.the-saleroom.com/en-gb/auction-catalogues/adampartridge/catalogue-id-adam-p10092/lot-489f1d74-1489-453b-861a-a62c00f75d61
The ones of the bellows show a sort of dovetailing join - which would seem to confirm the conclusion that the bellows can be detached.
The final photo shows the case containing some rather intriguing templates/plates that might have something to do with this arrangement. The Horniman [Concertina Museum] photos cited above show something broadly similar within the bellows.