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Everything posted by chris

  1. There is a Scates baritone with similar fret work (especially the little cut outs in the angles,also similar bellows papers) in the concertina museum cat. Number C-154 The baritone and the one on ebay are the only ones I remember having this particular design so - may well be Scates may be a rebadge (not uncommon!!)
  2. Hi By the serial number I'm guessing it has/had a label with either 32 New Bond Street or the name Case, Boosey & Sons Holles Street. The first address was used from 1849 to Dec 1854 and the second address from 1854 to 1864. Probably the second address as they were a bit careless with numbering.I'll try to send you a copy of my research into George Case
  3. Refitting the original pine baffles in my Wheatstone Baritone didn't seem to make a lot of difference to the volume, but it did improve the tone of a couple of reeds that were a bit harsh, seemed to balance the tone Forgot to say that they are brass reeds
  4. Have a look at www.Swan Flight.com They built me one for a baritone (brick s**those comes to mind) or buy bits and make your own
  5. Joseph Scates 1850. Can't see fretwork clearly but it looks like a George Case rebadged as Scates (Scates sold out to Case in 1849)
  6. I found my ec in an antique/junk shop and didn't find out what system I was buying 'til I called in the local library and looked it up - I found out it was an Amboyna brass reeded Joseph Scates (subsequent research determined that it was in fact a Rock Chidley that Scates rebadged - not uncommon!) Since then I have tried both McCann duet and Anglo - totally beyond me!!
  7. It does assume that customs staff can tell the difference between various woods and between bone and ivory, my guess is that they are more likely to play safe! The question with passports comes down to - who is competent to assess an instrument for a passport and do customs accept their competence! Chris (whose Scates Amboyna with ivory buttons isn't going anywhere again!)
  8. Have you looked at w Wheatstone's 1861 patent drawings?
  9. First was a brass reeded amboyna Joseph Scates. Second was a steel reed Lachenal Inimitable - for a brighter sound. Third was a brass reeded Wheatstone Baritone - for....'Cos I wanted it!!!! I can, sort of, justify my purchases. My problem is justifying 3 recurve bows
  10. Maybe its size works against it - something so small couldn't possibly have a useful range, or be taken seriously! It's all perception
  11. Neil Wayne's Concertina Museum is specifically for concertinas and free reeds. http://www.concertinamuseum.com./cmindex.htm Couldn't get onto the MIMO site from your clicky Terry. Do they show 'internal' pics of the instruments?
  12. Er, is this thread in English? Chris (active member of the Luddite Party of Great Britain)
  13. As far as I'm aware, Rock Chidley only used one type of action - this may be an indicator?
  14. George Case was, probably, one of the most travelled English players - could it have been his concertina??
  15. I used it for masking some ceiling lights prior to painting - real pain to get it to stick!!
  16. http://www.concertinamuseum.com./CM00191.htm I can't scroll down the pictures on my tablet, but from the description, this one has the teardrop baffles
  17. Stephen tried to copy the entry - stupid microsoft machine and windows 8!!!!!!!!!!!!!!!!!!!!!!! quote from 1998 second edition: TIDDER, WH; 228 Mile End Rd.,London 1895, 1897, 1906; later W H Tidder & Sons. Seraphine, Harmonium and concertina makers. In 1906 located at 144 Jamaica Street, London making steel reeds. In 1900 also shown at White Horse Court, White Horse Lane.......... The above quote from Google books - ran out of free preview!! From Ancestry.co.uk: London, England Electoral Register 1832 - 1965: 1890 - entry 5708 553, Commercial Road 1892 - entry 5050 553 Commercial Road maybe his home address? maybe two W H Tidders in the same locale?? I agree his wife's maiden name is Hickey - we, initially looked only at 'her' name and it looked like Hieney - looked at the K in Hackney realised it looked the same as the letter in her name! I wish all census takers had to prove they could write legibly!! I remember the hassle I had when chasing Joseph Scates through the census records - I only found the entry for 1871 by looking up Catherine Dickens and going back a page, even then, if you didn't know what you were looking at it wouldn't have read as 'Scates'. It was only when I noticed 'pianist' next to what just about looked like 'Linda' that I worked it out.
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