Geoffrey Crabb

Thank you both. Geoff.

New Years Greetings to all. The attachment may be of interest, it's a bit 'busy' I'm afraid. 40 & 41 Button CG Anglo Crabb Typical.doc Geioff

Please, please remember to detach the bellows from the end frames before the immersion process if the latter are to be re-used. 😉 Geoff

Absolutely brilliant. Thank you Alan & Will. Geoff.

Thanks Mark. Update to ICA picture. From a report in ICA Newsletter 176, the gathering was the 1953 Coronation Festival. The guy third from the left front row (between Harry Haseldene and Jim Harvey) was Charles Henry Blatchford.(1899-1965) Geoff

Thanks Alan, unfortunately there are many familiar faces that I, now, can’t put names to but as I complete my 80th year (next week) I hope I will be excused. My posted picture was ‘take’ two. In the previous ‘take’ one, Len Jones, who was known to be a bit naughty, is shown holding his concertina displaying a ‘two finger’ salute, his ring and little finger of that hand being missing. For ‘take two’, it was ‘suggested’ he modified this, as is evident. An observation. Picture 3 (Oct 6). Although the postcard is signed and dated 1957, the image (photo) appears to predate this, probably to the twenties. The instrument appears to be a 56 Treble or Tenor-treble English and this, with the style of dress, suggests a ‘professional’ player. As both London based, Arthur Austin’s, who incidentally were cousins, that I knew, were non- professional performers with full time occupations, I believe, it is doubtful if the image is one of either. Jim Harvey was known to have visited many north country members of the ICA so, perhaps, this is an Arthur from oop north. Geoff

Probably 1955, so a little hard to remember back 70 years but here goes with a few names.

A few more names Mark. The lady with the gold tina was Doris Butler, wife of Frank. Griff was a guitarist who played regularly with George. He was also a professional photographer and took many of the ICA pictures remotely.

Life long friends, Fred Jeffery & Harry Crabb circa 1955.

I am somewhat hesitant to suggest the instrument was made in the Crabb workshop. Adding to Stephen’s, valid comments, the differences present i.e. The uprights (pivot posts) are not Crabb. The crimped edge to the tops is wider than that of pre 1900 Crabbs. See note. The fretwork, whilst to the established Crabb design, if of finer cut could point to Shakespeare, or, of outside specialist ‘pierces’ of the time, who were often used by various makers, even Crabbs. I have never come across the piercing of the wooden instrument endbox sides on a Crabb instrument. This has to be done before the endbox is assembled and may be possible for a small maker with minimal orders. Looks good initially but weakens the integrity of the endbox and becomes shabby eventually. The printed bellows papers were readily available from some printers. Three screws to secure the bushing woods on a 30 key was not a Crabb feature. Note. The narrower crimp on early Crabb Anglos tops could not allow the endbolt heads to lie flat. To allow this, an area of the raised portion, adjacent to the end bolt hole, was machined flat. Removing metal could cause weak spots at these points, so, solder was built up on the underside of the tops, carefully, to not encroach on the edges of the endbox and preventing the tops lying flat.

Correct.

Another picture featuring a young Maurice. A bit fuzzy I'm afraid.

Those I remember, left to right 1.? 2, Maurice Harvey 3. Arthur Austin 4. Correction Charlie Jeffries 5. Alf Edwards 6. Len Jones 7. ? 8. Charles Parsley (not Tom Jukes,sorry Alan) Geoff The other two may be as Mark says. Memory not that good and other things contending with.

It would be impossible without ‘help’ in some form or other. Please read the attachment first, which will part help with an explanation as to how the 1947 output was achieved. Crabb Budget Concertinas.doc Of the 134 Crabb concertinas produced in 1947, 124 were mostly as the budget Anglo models referred to. Of those 124, 58 were 20 button, 44 were 30 button and 22 were 32 button, all wood ended The remainder 10 instruments were as follows: 2 Metal topped 32b Anglos, 3 Metal topped 39b Anglos, 2 Wood topped 48b English, 1 Wood topped 53b Crane Duet, 1 Metal topped 58b Crane Duet and 1 Metal topped 67b Crane Duet. For a some years following WW2, my father employed two men: Carlo ??, an ex-POW accordion technician to handle accordion repairs and Fred Stanton, a very capable general factotum, to help with part making, basic concertina construction and, of course, repairs. In 1947 our family were still living above the Liverpool Road shop/workshop and it was not unusual for dad to work 18 hours a day, 6 days a week, mainly on reed work, to meet demands. So, I suppose, the answer was: Dedication, forethought, amenable assistants and a lot of ‘blood,sweat and tears’ Geoff

After a good lie down, another attempt, fingers crossed Crabb Dating Doc 09.09.2025.docx Geoff