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Stephen Chambers

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  1. I think the answer is in footnote number 20 of my article Wes: "Joseph Astley’s younger son, Cecil Arthur Astley, born Oldham, 3Q 1890 ... later emigrated to Australia, where the family concertina connection seems to have been maintained as there is a mention, in ‘The Concertina’ section of World Accordion Review (8/4 [1953], 31), that ‘Rosa Loader has arrived safely in Australia and has already contacted the Astleys’."
  2. A 12a is a 64-key tenor-treble, a 22 is a 48-key treble.
  3. They look like they're probably Erinoid (casein plastic) buttons Theo, is that correct? It could be significant for somebody who might need them...
  4. It's gone now, but took more than long enough...
  5. The number of items listed has gone down, from 722 to 651, but eBay still has the Jeffries and Wheatstone concertinas listed - so I've also reported the Wheatstone, AND the Scandalli Super VI piano accordion that has a bid of €5,000 on it.
  6. And 720-more, assorted, expensive items - it should be an obvious scam, using a hacked account that has a feedback score (as a buyer only, not as a seller) of 15.
  7. It's still listed at the moment, but I find the best policy is to report the item telling eBay that the seller is trying to cheat THEM... Report category: Listing practices Reason for report: Avoiding eBay fees Detailed reason: Contact info in listings That usually gets a reaction!
  8. It's from the latter-part of 1891, so roughly halfway through Lachenal's production (1858-1933).
  9. Heavily-rusted reed tongues are only fit for the bin, most of them are going to be badly weakened and extremely out of tune. But also the steel frames themselves are seriously compromised, already being corroded and highly likely to rust again in the future. Then you have the tiny steel screws on the reed clamps/nuts, which are going to be rusted-in and will break off flush if you try to turn them... To my mind, re-reeding the reed frames would be fraught and more trouble than it's worth. That's why I'm looking for a scrap-condition 20-key mahogany-ended "donor" Lachenal, with steel reeds and brass reed frames, to replace the ones in my 22-key #189633.
  10. Even if (with all that rust!) you don't have a hope of getting the reeds to successfully play that note again... 🙄
  11. No, by "full" I'm meaning fretwork that extends all-across the end, like on the (laminated) rosewood-ended #189633 on the right, as opposed to the more-typical "simple" fretwork of the (solid) mahogany-ended #149688 on the left:
  12. Thanks David, I've added it to the sequence in my initial post. So that now makes three of them with what I'd describe as "spindle-cut "full" fretwork" - I wonder if they were ALL like that, but nobody has thought it worth mentioning?
  13. I've had a 22-key one of these for many years, and heard of the odd one like it, but it was only when the thread Rusted steel reeds frames and tongues was started that I started to realise that all of them seem to have been cheaper grades (with deal wood pad boards) of Lachenal Anglos made in the year 1915. This set me thinking "why?" and I started to wonder if brass had become scarce and/or expensive around then because it was needed for WW1 munitions - and indeed it had, in fact that year's shortage of brass, for artillery shell casings, even forced a change of Government in Britain! "World War I required brass for ammunition, artillery shell cases, and condenser tubes for boilers on ships. By early 1915, brass production had increased by 50%. By the end of 1915, brass production was double the highest it had ever been. In the summer of 1918 it was two and a half times the highest it had ever been prior to January 1915" So I started conferring with Wes Williams and Chris Algar about known serial numbers, and came up with the following list (as described by my informants): 188736 - 30-key; WE; BB; SR; 5-fold bellows; "steel reeds with steel shoes" 188961 - 30-key, light wood/dark wood, bone buttons ,steel reeds and frames, 5-fold 189005 - 30-key WE; BB; SR in Aluminum [more likely steel?] reed shoes; 5-fold 189476 - 26-key, bone buttons, mahogany ends, spindle-cut "full" fretwork, bellows missing 189581 - 32-key, cheap metal ends bb, steel reeds and frames, 6-fold. 189633 - 22-key, bone buttons, rosewood ends, spindle-cut "full" fretwork, 5-fold 189665 - 30-key, mahogany ends, spindle-cut "full" fretwork, 5-fold 189667 - 30-key Wood Ends, Bone Buttons, with 'iron frames' 189937 - 20-key; WE; BB; SR; (with steel frames); 5-fold; scrapped It looks like we're dealing with a range of something over 1,200 Anglo serial numbers from around the year 1915, but it would be helpful to get a larger sampling than just these nine instruments, so if you've got/know of any of them I'd be greatly obliged if you could add it to this thread, likewise I'd be interested to hear of Anglos of better quality from the period that (presumably?) don't have the steel reed frames. Or does anybody have a Lachenal English concertina with steel frames? (At the present time we don't think there were any, but you never know... )
  14. It's a very early instrument. #122, but Neil Wayne doesn't claim that they're original to the instrument.
  15. It's a Windsor "Popular" No.5 zither banjo and, though nevertheless described as "a very good professional instrument", it was their cheapest model with the rounded shoulders where the neck meets the body. I have one of their catalogues, from c.1931, in which the price is given as £8 8 0 - which is slightly less than the price of Lachenal's most-basic 48-key "Popular" English concertina, or their 36-key rosewood-ended Anglo, at the time. Like I said, "I don't know of any sound recordings of Leonard Hussey"...
  16. Lachenal Price Lists reveal that the Special Anglo Model was available "Tuned in C, Bb or Ab as ordered." (Meaning C/G, Bb/F or Ab/Eb - which are the only keys that I've had them in.) Both 199776 and 199797 would have been made in 1927, but components (especially in a band situation) sometimes get switched between instruments. Otherwise, the buyer might have ordered spare reed-pans to play in other keys.
  17. I don't know of any sound recordings of Leonard Hussey, but there is a 15 second film clip of him playing his banjo (at 0.44 to 0.59) here:
  18. Fortunately they didn't make a lot of instruments with steel reed frames, but the ones they did make were all disastrous (and I have one myself 😕). Why did they make them? Well the date seems to have been 1915, and there was a World War 1 artillery shell crisis going on at the time (that produced a change in government in Britain) - and brass was the material needed for making shell casings... "World War I required brass for ammunition, artillery shell cases, and condenser tubes for boilers on ships. By early 1915, brass production had increased by 50%. By the end of 1915, brass production was double the highest it had ever been. In the summer of 1918 it was two and a half times the highest it had ever been prior to January 1915" I've decided with mine (a 22-key rosewood-ended model, in otherwise good condition) that the steel-framed reeds are not worth saving - probably half of the steel tongues are so rotten that they'll break off if you give them a preliminary twang, whilst many more will be so out of tune that they can't be brought to pitch, and the steel screws will be so rusted in, and weakened, that they'll break off if you try to undo them. Anyway, the mild-steel frames are only going to rust again if you re-use them... I'm looking for a scrap-condition 20-key mahogany-ended "donor" concertina, with brass reed frames, to fix mine.
  19. The one in that video is the Basic Model and, as such, it has a more-limited range of 62 keys, whilst the Professional Model has a larger one of 78 keys down to the bottom A# of the piano.
  20. There have been other models with C-system fingering though, and with the buttons in a more normal position on the ends of the instruments. The so-called Chromatic Bandoneon designed by Charles Péguri in 1925/6 (when Tango was all the rage) was made by Arnold in the bodies of his 142-note ("Tango") Bandoneons, whilst more-recently Uwe Hartenhauer in Klingenthal was involved in making these ones there: There's an interesting discussion in this thread from 2015: Hybrid Bandoneon Review Anyone?
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