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Stephen Chambers

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Everything posted by Stephen Chambers

  1. I'd reckon Lachenal too, and what a pity they don't show the right-hand fretwork to see if H Boyd is fret-cut into it - the instrument is also a bit unusual in being only a 48-key, when Boyds are more-usually 56-key trebles, but I've had one like it in the past that had an H. Boyd label in the lid of the case.
  2. In fact you could buy a 26-key, mahogany-ended, Lachenal, with steel reeds (not the brass-reeded version) for LESS than the price of a new 30-key Swan. The 26-key ones have more than enough buttons for most players, and sell for a lot less than the price of a 30-key. Here's an example for sale by Barleycorn Concertinas: https://concertina.co.uk/stock-selection/anglo-concertinas/lachenal-26-key-anglo-in-c-g-with-steel-reeds/
  3. Yes, if you tell us if it is English or Anglo system? (There are different numbering sequences for each.)
  4. The Edeophone was Lachenal's top-of-the-range model. The ends are ebonised pearwood and it was made about 1912.
  5. They look raised to me, but the raise is less-pronounced on early examples like that one (#24204), or my 1910 No. 6 "Special" (#25100).
  6. Like I often say "a picture tells a thousand words" - and answers a lot of questions! And, now that you've provided a picture of one the same as yours, I can confirm that 1936 is indeed "about right". These were made by Harry Crabb after the closure of Lachenal's, and when (to quote from my paper Louis Lachenal: “Engineer and Concertina Manufacturer”) "... according to [Neil] Wayne, "on the closure of Lachenals, their last manager, Mr. Sanders, work[ed] for Crabb," while Tommy Williams recalled that the other partner, Ballinger, "turned over all the Salvation Army orders to Harry Crabb, whose father was dead then, rather than let Wheatstone's have it." So basically, these were initially made by Harry Crabb to fulfil Lachenal orders after the firm closed down, at the behest of Ballinger and with the assistance of Sanders, but without the benefit of Lachenal's machinery and tooling (which Wheatstone's had bought at auction) - so that (for example) the fretwork was cut by hand with a fretsaw, rather than by a pattern-following rotary spindle cutter, and hence the more "pointy" design you mention.
  7. Greg, knowing about #33301, I did wonder if you might have come across a New Model too, but you're probably "the exception that proves the rule"... It seems there were four of them that Wheatstone's delivered to Cincinatti, so there's only #33305 to find now! Whilst the "hook action" goes to confirm that they were, indeed, originally made by Lachenal's.
  8. New Model anglos are extremely rare (I've only ever had one of them in more than 50 years), whilst Edeophone ones are as rare as hen's teeth (I've never seen one)! I doubt if there's anybody who has seen examples of both, let alone had the good fortune to play examples of them. But, normally speaking (in terms of English concertinas) the ebony-finished New Models are of the same sort of quality as Edeophones.
  9. I wouldn't altogether agree with that conclusion though Ken. It may be true for the large 1938 duet #35074 that is the main subject of that 2001 paper (A Wheatstone Twelve-Sided ‘Edeophone’ Concertina with Pre-MacCann Chromatic Duet Fingering) which assumed that Lachenal's was taken over by Wheatstone's in 1935, but in my 2004 paper (Some Notes on Lachenal Concertina Production and Serial Numbers) I pointed out compelling evidence (from the Wheatstone Ledgers) that Wheatstone's were already re-badging (and/or finishing off?) Lachenal instruments, and using their innovative plastic button material (Erinoid) too, as early as September 1933 - so at least some of the "Wheatstone Edeophones" (and especially the 1934 Edeophone anglos in question) could have started off as being unfinished instruments from the Lachenal factory. Wheatstone's certainly did do that because I've seen, and even owned, some of them - including a Lachenal amboyna-wood piccolo anglo, with Wheatstone reeds and badges, that my late friend Paul Davies found at the Chor Bazaar in Mumbai, India.
  10. In more than 50 years of experience with concertinas I've never come across, nor heard of, a Crabb instrument with any external paper label.
  11. Going on previous dates, 133330 would probably date from late in 1893 or early in 1894. A photograph would help in answering your question about the value because there were several different models of 20-key, with brass reeds or steel reeds, and mahogany or rosewood ends, but prices are relatively low for them all because everybody wants the 30-key ones.
  12. The note layouts were on older versions of the Suttner website, but not on the latest incarnation it seems. So here's a link to the Suttner Jeffries-model 38/39-key layout on the Wayback Machine for you:
  13. #12582 would have been made about 1866-67. "Ordinary Metal Vibrators" would have been brass, "Silver Vibrators" would have been "German silver" = nickel silver, whilst all steel reeds are tempered...
  14. It's a couple of years before Dowright's estimated date for 92189, but there's nothing absolute about that and I'd take it seriously. In fact it may be the only example we know of that we have a clear date of manufacture for, because otherwise we only have dates of sale for a relatively small number of instruments - which could have been in stock for a while between manufacture and being sold.
  15. I never bothered to tune my 1928 tortoiseshell aeola up by 1Hz Alex, though it's probably better to be sharp by 1Hz than flat...
  16. Actually, it's entirely possible for a 1927 instrument to have been tuned to A-439 New Philharmonic Pitch when it was made. http://www.concertina.com/pricelists/wheatstone-english/Wh-Pricelist-Eng-c1925.pdf
  17. Lachenal's best reeds were the Crabb-style ones (probably made by Charles Crabb's family) in the Special Anglo Model, and the long-scale ones in the New Model and Edeophone.
  18. Actually, over the years, there were other models/variations made that aren't in any Price List, either for sale by dealers or as special orders, and even some of the catalogue models could do with some explanation: Mahogany ends, simple spindle-cut frets, steel end-bolts, brass reeds. Mahogany ends, simple spindle-cut frets, steel end-bolts, steel reeds. Mahogany ends, full spindle-cut frets, brass end-bolts, steel reeds, usually made for dealers. Rosewood veneered ends, simple spindle-cut frets, steel bolts, steel reeds. Same as #2 but with to-the-edge metal ends. Same as #3 but with to-the-edge metal ends. Newly Improved, rosewood veneered ends, hand-cut full fretwork, brass end-bolts, steel reeds. (Also available in 5 1/8" "miniature" format.) Same as #7 but with to-the-edge metal ends. Same as #7 but with ebonised ends, nickel bolts. Same as #9 but with metal buttons. Same as #9 but with inset metal ends. Same as #11 but with metal buttons. Special Anglo Model, Lachenal's Jeffries/Crabb style model, with parallel reed chambers. New Model, same as #12 but with raised ends and long-scale reeds. Edeophone.
  19. All the regular models were listed in the 1930 Price List, though a tiny handful of 12-sided Edeophone Anglos were also made (but only to special order). http://www.concertina.com/pricelists/lachenal/Lachenal-Pricelist-All-c1930.pdf
  20. Lachenal & Co. applied for their trademark, No. 15,222, on 31st August 1878, and it was published in the Trade Marks Journal on 8th January 1879. http://www.concertina.com/chambers/lachenal-production/
  21. The entry isn't at all easy to find because the family name is almost illegible on the 1861 Census, but I found Joseph T. Tidder, 45, "Gun Stocker" [someone who makes/fits the wooden stocks for guns], Sarah Tidder, 40, and William Tidder, 14, at 1, Hawkins Street, Mile End Old Town. The address is highly significant because it is a turning off Jubilee Street and only 5 streets (500 yards) due-north of George Jones' (pre-fire) premises at Crombies Row (on the north side of Commercial Road), and his (post-fire) premises at Lucas Place (diagonally opposite on the south side of Commercial Road, on the corner with Sutton Street). Though still no better than (good) circumstantial evidence, this makes it seem even more likely that Tidder was one of Jones' 15 apprentices. Living in such an extremely convenient location (as well as being the right age for starting an apprenticeship) in 1861, combined with the similarity in the careers that they followed, would seem a very remarkable coincidence otherwise. I've highlighted the relevant streets/addresses on the scan (below) from Stanford's 1862 Library Map of London and its Suburbs.
  22. For the benefit of people trying to advise you, I'd better point out that the instrument in question is a very old 20-key German one, because your mention of a reed pan greatly confuses the issue and makes it sound like your enquiry is about a concertina of (much more expensive) traditional English construction. (A reed pan is a wooden assembly into which the bevelled, tapered, individual reed frames of English-style reeds slide.) Presumably what you've got inside it are traditional German-style long-plate reeds, similar to those in your Scholer? A picture speaks a thousand words!
  23. If only it was so easy with antique German 20-key concertinas - and this one may be in the region of 150 years old! They only very rarely identify their makers, and even then it's with a cryptic monogram, or trademark, stamped on one of the ends, and it can take a lot of work to establish whose it was. Any internal pencil markings were to guide factory workers/future repairers when it came to initial assembly/later reassembly of the instrument. They're usually marked D (for Diskant = treble) in the right-hand side, and B (for Bass) in the left-hand side, whilst yours has a batch number, in German script, of 17. So I can't tell you who made it, but they were very likely at Klingenthal, where the trade was centered.
  24. Though a Cajun accordion CAN be made as a Québecois accordion - I got one made for me by Marc Savoy, after he'd decided (from our conversations) that what I needed was a box in "strong Québecois" tuning. It's tuned in Equal Temperament, with 15 cents of tremolo between the middle reeds, and it barks! The sound of it caused quite a stir at the Saturday morning music session in Mark's shop, when I went to collect it.
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