DDF

This seems like a very reasonable price worth checking out if your'e any where nearby. http://cgi.ebay.co.uk/WHEATSTONE-36-KEY-AN...1QQcmdZViewItem

I thought about buying this the first time round for the reeds,glad I didn't.This is what it looked like when last listed on ebay.

Thanks for that Geoff.I have written those details on a card with everything else I know of its history and placed it in the case.I hope it may be of interest to its owners in the future.When I next have it open I will also make a note inside so there should be no confusion as to its very skilled maker H.T.Crabb.All the best for the new year,David.

Thanks Stephen thats great.I always thought it was from the late twenties so its good to see some expert opinion to that effect.I've owned it for the last 26years and just always thought of it as a wheatstone it wasn't till you were putting up pictures on this thead that I really started to notice the difference in the fretting.This set me thinking maybe it was from a slightly different period,but no, it seem it was a slightly different maker.Thanks again ,David.

No batch numbers inside.Here are a few more low res pictures.Regards, David.

If it's a Wheatstone I can't see how the number can be correct (could it be 29008?) Or is it a Crabb perhaps? Having checked the ledgers and price lists, I'm betting it is 29008. This would make it a model 19 (aeola tenor treble) from late 1921. Seems to fit the photo. The instrument is certainly a bit of a puzzle as several things seem not to be "right" about it, like rosewood (?) ends, the finger plates and the oval badge, not forgetting the serial number... I too wonder if it shouldn't be #29008, which was built as a metal-ended instrument, and it has been modified at a later date. It even has the SV (single valve - windkey) and WS (wrist straps) that 29008 is listed as having. Does it have the batch number 10 stamped inside it by any chance? If so, the original date is 12th November 1921. Thanks Paul and Stephen,I have always assumed it was a Wheatstone but maybe it is a Crabb.The sn is 9008 which always puzzled me.The ends are very figured amboyna.The oval plate isfor A.M Ross,principal 499Maryhill rd Glasgow.A retailer and shool if I remember rightly.All the fitting were Gilt but rather thinly I guess as the condition of everything else is superb.Inside it is like new with Ross's ink stamps on the reed boards.I think it is unlikely to be altered as I bought it from the granddaughter of the original owner.I will take off an end to see if it has a batch number and see if there is any other features I have forgotten about.That picture must be even worse than I thought if it looks like rosewood.Time to take some better ones ,that one was for insurance purposes and not a true representation.David

Stephen whilst your on this subject I wonder whether you would be kind enough to roughly date mine.It has dovetailed reeds and riveted levers and its serial No 9008.Ive owned it many years and have often wondered about its age.Many thanks,David.Sorry the picture is not very good.

They seem to be some kind of ancient concertina runes with mysterious meanings. Lovely photo. Thanks for sharing. I think I know what some of them say"use me to hold up nappies(diapers) not levers".

Hi Michael,When I was buying it I thought it was most probably Bb/F but when I checked with a tuning meter it was tuned around B/F# which was confirmed when I took the reeds out ,by there stampings.Regards,David.

I recently bought a 1890s 30button Jeffries.I have noticed it has this name rather crudely carved into one of the ebony panels,on the instrument underside thankfully.I have included a picture of the amazing collection of springs I removed from it ,they seem to be the only thing that was ever replaced.The action boards and sides are made of mahogany which seems like a good choice being more split resistant and of far less interest to insects.The tuning is strange being B/F#.Does anyone have an idea where this type of tuning would have been used or would it have been chosen originally to go with someone singing pitch?

Hi David, Interesting. It would appear that the move from bone to metal, for the air button, came during 1918. From your photo, it looks like the bone button is of standard size. I had a 40 key Wheatstone (No. 26250 from 1914); this one had a bone air button, but a larger size. I would guess that Wheatstone firstly reduced the size of this button, then decided to replace it with a standard metal one. I'd be keen to know whether other Wheatstone owners, with instruments from this period, can shed any further light. Regards, Peter. Hi Peter,The air button looks like a standard cheap Lachenal button ie 1/4" flat topped bone.It runs without any bushing in a hole similar size to the metal buttons and doesn't seem to wear unduly.I'm surprised they didn't just make all the holes the same size and if using a metal air button,bush that hole.Yours looks like metal to metal I wonder why they did that.Regards David.

Sometimes though Real Junk can show up on eBay. I do wonder what it used to be though, but even for $1 I wouldn't buy it for parts. Someone might thought! I would think at $1 starting price and wwhat seems to be an honest description someone would be very happy to have a go at buying it and rebuilding it.Those german models are not all that technical but are (when restored) still better than a lot of the chinese boxes.Regards, David.

Hi Peter,Just out of curiosity do you have any pictures of your " instrument of torture".I also have a 36 button 1918 Linota (27489).Mine sounds as if it is pretty similar to yours, very loud very fast.It would be interesting to make a visual comparison.Iv'e had mine 26years and still love it as much as the first time I held it. I only noticed the serial number two years ago and was interested to find it should come from such an historic year.Regards David. Hi David, I've just re-discovered this thread! Photo of No.27835 attached. Blue Dipper bellows. Regards, Peter. Hi Peter,Thanks for that.They are almost twins it seems.Mine has a bone air button and stap end fixings.I bought itfrom a chap in the midlands via Cecil Sharp House.It had recently been overhalled by Colin Dipper so It was not to much of a gamble agreeing to buy it unseen.Also the Reverend( sorry forgotten his name,I think he wrote about WIlliam Kimber in the1970s)had recently played it and was very impressed.My dream is to one day own a wooden ended one of the same model/vintage that could be played briskly inside without having to give ear muffs to the family.Regards David.

Well you wait thirty years for one to come along and guess what, along comes another.Been out this afternoon after being contacted by an old dealer friend who had bought a concertina in with some other antique bits and bobs.This time the internet was used for information and by the time I got to see it he was able to tell me it was an anglo,C Jeffries,very desirable etc.Although I had to pay real money this time I was delighted to have been given the chance to buy it fresh to the market,as it were.I think the tuning is a bit unusual as it appears to be B/F#.The bargains may not be out there any more but it is amazing what can turn up.Regards, David.

Hi,Joatmon,Over the last thirty years I have spent many hours searching for concertina "bargains".For twenty of those I ran an antique business,and you would think that would be a good source but I only ever bought a couple of duets cheaply.Oh and on a buying trip to an old fashion cattle come chattel market I bought a nice Jones anglo for a few pounds, around the early 90s.I would say my best buy was just a couple of years ago when I was winding down the the business and was working as a maintenence manager in a nursing home.I had been widening an entrance and preparing it for a new surface when I was rained off.Hoping the weather might improve I took a couple of hours off and visited a local antique shop.Really old school dealers that would sell you the trousers you were wearing if you weren't careful.After chatting for an hour or so I left only to find myself blocked in by another vehicle.Whilst back inside looking for the owner of the car I noticed the table behind the place where I had stood for the whole time I'd been there had amogst bric a brac and china what I could see was definately a Jefferies leather case.Well that must be worth having to keep something in ,I thought.I ventured over and casually picked it up and guess what,it was heavy.When I peeped inside my eyes nearly feel out, a beatiful 30button 1890s anglo.Now as I said these were tricky dealers I had dealt with for many years, and I had been in situations where they had taken items off sale if I was interested and they suspected they may have under priced them.Normally things they were uncertain of they took to Christies orBonhams to get a valuation.But I think this time they had based there asking price on the fact that a few weeks before this they had bought a huge piano accordion with a nickel fretted end which they had difficulty turning a profit on.Anyhow I nonchalantly glanced at the price tag and was in even greater shock it seemed like they must have left off a nought.I didn't even take the concertina out of the case I probably couldn't have my hand were shaking so much.I struggled to hand over the cash with out any signs of excitment,reminded them I was always interested in similar items and left.I drove along the road towards home knowing I was far to high to go back to work and pulled into the first layby.Now it was time to see what I had bought and whether it had two ends or any reeds.Not only did it have everthing it should it also had a sweet set of playable reeds which I would guess had not produced music for probably 75years.I sat playing in my van on the side of the road with tears pouring down my cheeks.To date all I have done is replace the vales,pads and hand straps.Everthing else is original including the old pitch and a few notes that need touch tuning.So my advice is it may take thirty years but it can be worth the search.Regards ,David.

Hi Richard,I would like to say the magpie had great taste but the truth is I think it was lonely and was maybe attracted by either the music,thelarge wild garden,the need for food or just human company.I have mentioned a bit about it a couple of posts back.Regards David.

Hi Peter,They sound like twins.I bought mine via an ad in Cecil Sharp House from a seller in the midlands.Colin Dipper had given it a refurbishment during the mid seventies.But by the new millenium it was time for some more attention.Andrew Norman at this point gave it a lovely new set of (black) bellows and a few other minor tweeks.When I bought mine I was earning £37/ week and it was a big commitment at £300.One that I am always very happy I made.Regards David. Hi David, Looking at the photograph of your instrument, I can confirm that they look identical except that mine does not have a baffle, or magpie attached to the left hand end! How on earth did you manage that? I was in the Cotswolds, and managed to attract a horse with my playing - it seemed to appreciate the music more than the people I was with. I've looked at the Wheatstone ledgers; your instrument is dated 1917. Mine came from a batch of 6, yours from a batch of 4. They are to the same specification. Regards, Peter. Hi Peter,I must have misread the ledgers when I looked at them.I saw the 1917 at the top of the page and then the 1918 in the margin which I assumed was the dispatch date.When I've got time I must try again to interpret what I was looking at. Regards,David. PS The magpie was one of those magical happenings.I was sat in the garden playing to my usual audience(Dorset Wildlife) and the magpie just flew in.After about half an hour it got more confident and ended up where you see it.The next few days it became even more friendly and we had a lot of fun testing out the various magpie cliches.From the start it was pretty obviously hand reared and probably missed.I was fortunate to be able to return it to its home.I found out since that it now says quite a few words maybe some of them are "hey don't peck the buttons","you do anything other than sit on my head". PPS, Sorry this has wondered off topic.

Regards David. Hi Peter,They sound like twins.I bought mine via an ad in Cecil Sharp House from a seller in the midlands.Colin Dipper had given it a refurbishment during the mid seventies.But by the new millenium it was time for some more attention.Andrew Norman at this point gave it a lovely new set of (black) bellows and a few other minor tweeks.When I bought mine I was earning £37/ week and it was a big commitment at £300.One that I am always very happy I made.Regards David.

Hi Peter,Just out of curiosity do you have any pictures of your " instrument of torture".I also have a 36 button 1918 Linota (27489).Mine sounds as if it is pretty similar to yours, very loud very fast.It would be interesting to make a visual comparison.Iv'e had mine 26years and still love it as much as the first time I held it. I only noticed the serial number two years ago and was interested to find it should come from such an historic year.Regards David.

Iwasn't sure how to insert this picture so I think it is attatched.I've found some birds also find the concertina attractive.Although I'm sure someone will have a humourous caption for this picture.I found it difficult to think of one that was PC.

Jim, That was what I was getting at .I was thinking maybe this was a model made for a short period or maybe a special run.I also wondered whether Jones had maybe re furbishedor revamped this concertina.But I can see that is unlikely in light of the similarty of yours and the other one just come on ebay.The button shifting (eh) thing.Well Ive always wondered why Jones seemed to maked a lot of anglos with the right hand accidental row(c#/d#) button in a slightly different position to most other makers. I'll crawl back under my rock now,and peep rather than post.

I agree this is an attractive looking concertina. I was wondering if the ends are the originals as they are not the typical Jones fret.Another thing is that quite a few of the Jones anglos I have seen have the right hand accidental row staggered(one position to the right ) and this one does not.It is not possible to look for alteration to the button positions as the exposed end is the left hand. These are just observations that I would like to hear the experts views on and are in no way meant to be a critisism of what appears to be a nice box.

Just for the record I have an E.Myers,27 Walworth Road, London se.It is arosewood ended 34 metal b anglo broadish reeds and still in its original cg tuning.Very pretty and almost without doubt a rebadged Jones.

I was surprised how little response this thread received so I thought I better get my two fingers into motion. This is from english author Alison Uttley Born 1884, Whilst living at Castle Top Farm Derbyshire. The book is.Country Hoard. Our music making was as simple asother recreations on the farm.We had hymn tunes, and folk songs remembered from long ago, and tunes the servant lad heard at the station andbought back as the latest thing.There wereairs we picked up from brass bands and from merry-go-rounds at the wakes.There were songs of servant girls,and songs the irishmen sang when they were harvesting, and plenty of carols at christmas. My father had a good ear and memory,and he picked out his favourite tunes on the pianoni the parlour,or the ivory keys of his concertina when he sat by himself onthe seat overlooking the orchard and the river valley. There he amused himself,and we crept to listen in delight.He went smoothlyfrom one tune to another for an hour,and we sat entranced by his melodies.When strangers appeared he refused to perform.His untaught music was for us alone,and even we had to stalk him silently,for like a shy bird he stopped his sweet airs when he was aware of too much attention. He would play to the Irishmen,who were not strangers to us.They had worked at the farm every summer for generations,father,son and grandson.Theycame for my grandfather before Victoria came to the throne.Only the Great War broke hte link inthe strong chain that held us together in freindship,inservitude and comradeship.They came with songs in their hearts and merry jigs in their heels. We welcomed them as folk in the Middle Ages must have welcomed the travelling singers and poets of their day. WE hung round the door of the Irishmen's place and listened to their speech,their songs,their whistling and there pipingThey gave a great performance,a star turn on the last night when the harvestwas gathered.It was an ancient custom,and other generations of childeren must have sat listening to the fathers ofour Irishmen in the same cobbled yard. The great door of the cart shed was taken off its hinges,and carried out to the level front of the house.Itwas tested byeach one jigging a few steps and wedged to make it firm.Wesat round,my father and mother,my brother and I and the servant girl and man.We were excited as if we were at the grandest london concert.The Irishmen sang songs and ballads of many verses,each performer standing on the oak door,and the others grouped round squatting on their haunches with their eyes keenly watching the man in the centre.We were seated on the low stone wall,the stalls of many a country theatre.The applauase after each item was uproarious.We clapped and the Irishmen shouted Bravo! During the dances there was a continuous hum of approval from them.They danced intricate country jigs, one at a time taking the floor board,or two facing one another,and the music was supplied by a pipe, and by "diddling". Dominick wsa a splendid "Diddler".His tounge waslike quicksilver as he sang"Diddle, diddle,diddle, diddle,diddle, diddle",and the dancer kept step.Sometimes one had a mouth organ, and always their whistling was clear as a bird's. It was an enchanting scene,out there in the twilight,with the stars just begining to peep and the swallows darting overhead and crying as they wentto the cart shed.The birds were aware there wsa something going on down below,for they made a great twittering and warbling on these harvest nights.Then my father was persuaded to bring out his concertina to play while the men rested We were proud that he could addto the entertainment,and the Irish praised him and encored till his eyes sparkled with pleasure.He had played to the older men when they were young, and they recalled those hard early years. I hope this gives you a flavour of this charming and evocotive chapter in this lovely little book. I certainly had a lot of fun trying to find having last read it twentyfive years ago. DDF