Unloved and Unwanted

[Lizzie]

I was recently rummaging in the depths of our local thrift store and there, in a dark corner, a glint of something caught my eye. Being of a very curious nature, I got closer and saw this eight-sided, black leatherbound, ebony former beauty, twenty-four eyes darkly gleaming from one side of her face, in what very little light there was.

 

Upon further inspection, these eyes beckoned to me and she fairly squeaked "please take me home. I want to be so pretty and beautiful as I once was, and I want to sing so exquisitely again." And that's exactly what I did.

 

This lovely lady turned out to be a Wheatstone English Aeola, 48 buttons, treble, I think, and in need of some loving care. Her fretwork on one side has some damage which my husband is attempting to repair with ebony veneers. Some of her reeds have some rust and may need to be replaced as well as her valves and some springs. Her bellows seem to be intact but her thumb straps need replacing. My husband is going to repair her as best as he can.

 

Her serial number, stamped inside, indicates she was born in 1913, according to the ledgers. I was listening to a 2007 BBC special on concertinas and the commentator noted many concertinas went off to war with the soldiers and I think, maybe, this is how she became damaged but it's hard to tell.

 

Could anyone tell me, please, if she is a fairly rare lady and and some idea of her value in case we decide to find her a new home, one where she will shine in her former glory.. Thank you.

[Alex West]

Lizzie

 

It'll help people to give you an estimate of value if you can let us know what the number is - that should identify the model number within Wheatstone's catalogue as even having said it's a Wheatstone, there could be special features which would increase the value - and also if you can let us have or post some photographs showing the damage and the condition of the reeds.

 

I'm sure your husband knows what he's competent to do, but beware that some very amateur repairs may not be reversible and may decrease the value of the instrument considerably.

 

Whereabouts are you? Maybe there's a specialist or knowledgeable contributor to the forum within easy reach who can give you some first hand advice?

 

Congratulations on your purchase - perhaps you might take up playing it, rather than trying to move it on?

 

Alex West

[David Levine]

... be aware that some amateur repairs may not be reversible and will probably decrease the value of the instrument considerably.

[Lizzie]

The serial number is: 25945. I'd like to post some pictures but am not having any success. Can anyone tell me how to attach multiple pictures. Thank you.

[PeterT]

The serial number is: 25945. I'd like to post some pictures but am not having any success. Can anyone tell me how to attach multiple pictures.

Here's the link to the Wheatstone Ledgers:

 

http://www.horniman.info/DKNSARC/SD01/PAGES/D1P0380S.HTM

 

Whilst your instrument does not appear to be rare, it does date from the period immediately prior to WWI, when the very best quality materials were available. Properly restored, you should finish up with a top quality instrument. I'm guessing that the reeds, although rusted, will not need to be replaced; however, the restorers on this forum will be better placed to comment, having seen some photos.

 

On the subject of adding photos, the size for attachments is limited. It's best to considerably reduce the size before trying to upload. If you still have a problem, I'm sure that someone will be on hand to talk you through the process. If you scroll down (when posting), notes are available regarding attaching files.

 

Regards,

Peter.

[Lizzie]

Since I cannot seem to attach the pictures to this forum, I've uploaded them to Picassa Web Albums and hopefully, the link below will work. If not, I'll wait for precise instructions on how to do this, step by step (you'll have gathered I'm not too computer savy). As to the question on where I reside, it's in Kelowna, British Columbia, Canada.

 

http://picasaweb.google.com/102800908324133305845/WheatstoneConcertina2?feat=directlink

 

My husband has ordered Dave Elliott's concertina repair manual and will not proceed with restoration, large or small, until it is carefully read. He only wants to get it to a playable condition at this point.

 

On the issue of value, I only wanted to get a general idea of value, perhaps some previous sale prices. If we get it to a playable point, I may give it a try and learn to play it although I'm not, as yet, musically gifted.

 

Any assistance in this direction would be greatly appreciated. Thank you.

[Lizzie]

Sorry, it's me again. The photos may show some missing parts but the instrument is intact with all the original pieces. Some have been removed, ie. thumb straps, waiting for new ones. All the original pieces will be kept and not discarded.

[Greg Jowaisas]

Hi Lizzie,

As a person who repairs concertinas for a living let me second and clarify everyone's concerns about restoration.

 

You have found a very nice and valuable instrument. The Aeola was the flagship of the Wheatstone line and Aeolas are genrally made with superior materials and special attention. Restoration is acceptable for instruments that are to be played rather than preserved in a museum. But the quality of an Aeola really deserves careful and some would say, professional restoration.

 

Presently your instrument in an unrestored state might be worth between $2000-$3000. USD depending on how it is tuned and repairs/reconditioning needed to put it in top playing condition. If the repairs are not done properly and with care the value of the instrument might actually decrease as a perspective owner may consider the cost to undo improper repairs in addition to having the instrument reconditioned.

 

Of utmost importance will be to let any reed work or tuning be done by a professional concertina repair person. The reeds and how they perform are the soul of a concertina and probably half of the instrument's value is in the condition of the reeds. Tuning and some reed work can be irreversable!! So it is important not to attempt this kind of reconditioning yourself. Concertinas before 1940 were often tuned according to conventions different than today's standard pitch. Your instrument might be as close as 12 cents from A=440 or as much as 50-60 cents off. The rust, although probably superficial will effect the tuning of individual notes. Tuning is time and labor intensive and a perspective buyer will factor the $350-$500. probable tuning expense (along with valve and pad replacement) in their buy price.

 

Good for you to realize this was a special instrument and deserved rescuing! We are all rooting for you to carefully find a way to restore the instrument properly to its former glory and then either learn to play it or find it a good home.

 

Greg

[spindizzy]

Sorry, it's me again. The photos may show some missing parts but the instrument is intact with all the original pieces. Some have been removed, ie. thumb straps, waiting for new ones. All the original pieces will be kept and not discarded.

 

ps That's a lovely concertina - wish I was that lucky !

[Chris Timson]

Good for you to realize this was a special instrument and deserved rescuing! We are all rooting for you to carefully find a way to restore the instrument properly to its former glory and then either learn to play it or find it a good home.

 

I don't repair concertinas for a living but I've been knocking around them for a while and I know Greg's reputation. I would earnestly counsel you to heed his words - they are wise.

 

Dave Elliott's book on concertina repair is excellent, but I've met Dave and I am sure he would echo Greg's comments too. I have a section on concertina repair in my FAQ, and at its head I put these words from Dave's book:-

 

Once a job is started, it will never complete itself. You have no business in starting a job unless you intend to complete it both well and promptly. Concertinas are rare and valuable. We have a responsibility to care for them properly, for ourselves and for the players of the future. Please be realistic, and work within your own bounds and skills.

Sorry if we seem like killjoys, truth is most of us are envious of the chance that has put this fine instrument your way!

 

If we get it to a playable point, I may give it a try and learn to play it although I'm not, as yet, musically gifted.

And that's a great ambition. I didn't regard myself as musically gifted (actually, I still don't - stop sniggering at the back there!) but that didn't stop me taking up the anglo concertina and getting a lot of pleasure. You have a laudable, and probably achieveable, ambition.

 

Cheers,

 

Chris

Edited September 7, 2010 by Chris Timson

[david robertson]

Just to add my two-penn'orth to the discussion, please, please try to persuade your husband to leave well alone - especially the reeds. Everyone has to start somewhere, it's true, but this is not the place. Trust me, even with Dave Eliot's excellent book to hand, it takes a year or two to become competent in all the disciplines of restoration (as some of my early attempts illustrate all too well!)

If he really wants to learn, buy him a 20-button Lachenal Anglo or a cheap tutor-model English on which to practise. Look at it this way: If you had just bought a Rolls-Royce at auction, would you entrust its restoration to a school-leaver with a Haynes manual and his Dad's spanners?

[Chris Timson]

If you had just bought a Rolls-Royce at auction, would you entrust its restoration to a school-leaver with a Haynes manual and his Dad's spanners?

Ooh, unkind! I'm sure she has a much higher opinion of her husband than that, and anyway in a comparison between an Aeola and a Roller the Aeola wins every time!

 

Chris

[Lizzie]

Thanks Chris for your encouragement.

 

I think very highly of my husband's skills. He never does anything out of the norm without carefully researching the subject. His concerns , for now, are the valves and the small area of damaged fretwork. The reeds will be left to professionals. He is taking it one step at a time. When he receives Dave Elliott's book, he will replace the valves, thumb straps, a couple of springs, and one end screw. Then, depending on how the lady sings, will take it to the next step. Please be reassured that having rescued her from a thrift store, we will not destroy this lovely instrument. Please give us more credit than that.

 

When the lady does sing, I will treat you all to a resounding rendition of "On Top of Old Smokey." Mmmm, maybe not - it only has four notes in the whole song. Perhaps a ten-note song to start. Then you can all critique away, if desired, the lady's voice (and not my playing skills of course). You'll also be extremely relieved when I don't sing along, it would be hard to tell who's more out of key. Hopefully, I can do better than ten notes but it won't be easy for this retired school secretary.

[Alex West]

Lizzie

 

We're really not trying to put you and your husband off, it's just that a few of us - myself included - have learnt through bitter, painful and costly experience that there's more to concertina repair and restoration than meets the eye. Even if one's woodworking, leather and metalwork skills are at a high craft level (and remember the immortal description of concertina making being the art of taking a sycamore tree, a goat and a steel ingot and turning them into a musical instrument), there's a level beyond the "mechanical" where the musician and the artist combine to produce the best out of an instrument. That's what the best restoreers are capable of and what the best instruments deserve.

 

To focus on just one practical issue which you (or your husband) have, the wood of a Wheatstone of that vintage is not usually ebony but an ebonised wood, typically pear. The result of the ebonising process is that over time and if not looked after, the wood de-laminates and pieces break off - and it looks as though that has happened to yours. The wood can be stabilised with the right glue and pieces can be matched in either with ebony, another ebonised wood or even darkened resin, but it's not a process to be rushed.

 

Once again, good luck - again, my advice would be to contact someone as local as you can to get some good first hand advice. The people on this forum are extremely unlikely to give such advice expecting to make a fortune out of "winning" the repair work.

 

Best of Luck

 

Alex West

 

And as a PS, after seeing your note, from the photos you've posted, I wouldn't say that the valves are the biggest concern. They don't look in bad condition and they can probably be coaxed back into life - at least temporarily - while the rest of the instrument, action etc is rebuilt. If you do decide to replace them, the valve materal is quite critical; any old leather won't do - it's recommended to use only the leather from a "hair sheep" (look it up!) - best to get them from a supplier or from one of the makers you'll find on the forum.

 

Wim Wakker's not too far from you I would have thought?

Edited September 7, 2010 by Alex West

[TomB-R]

Once again, good luck - again, my advice would be to contact someone as local as you can to get some good first hand advice. The people on this forum are extremely unlikely to give such advice expecting to make a fortune out of "winning" the repair work.

 

Best of Luck

 

Alex West

 

That's a pretty unacceptable slur on members here, as well as somewhat illogical.

 

Someone thousands of miles away and/or in a different country is surely more likely to give an unbiased opinion than someone who has been brought the instrument with the potential of doing the work, which is not to say that most repairers are not wholly honourable and professional in their work and their charging.

Fie Sir!!!

[Alex West]

Tom

 

What I meant was that, regardless of distance away from the owner, no-one here would be talking up the difficulty of the job or of the scale of work necessary, trying to persuade someone to part with hard earned cash to do work which was within the competence of the owner to do themselves. Of course, I haven't got expereience of all the posters, but all of the ones I've dealt with have been absolutely straight and honest. (By the way, I've no personal experience of Wim Wakkers' work, but I've not heard anything which would correct my sweeping generalisation either)

 

But it seems fairly logical to me that however good the photographs are, a first hand visual inspection is always going to reveal more about what work needs doing than simply a good look at 2 D pictures.

 

Sorry if I gave the wrong impression and I apologise to those who took offence - I thought I was passing compliments on our collective good behaviour!

 

Alex West

[Theo]

 

The wood can be stabilised with the right glue and pieces can be matched in either with ebony, another ebonised wood or even darkened resin, but it's not a process to be rushed.

 

 

Hi Lizzie,

 

Use of the wrong glue can make it very difficult to do the job properly at a later date. If your husband is capable of restoring fine antique furniture then he should be able to make a good job of it, but that is the level of skill required.

 

Theo

[TomB-R]

Tom

 

What I meant was that, regardless of distance away from the owner, no-one here would be talking up the difficulty of the job or of the scale of work necessary, trying to persuade someone to part with hard earned cash to do work which was within the competence of the owner to do themselves. Of course, I haven't got expereience of all the posters, but all of the ones I've dealt with have been absolutely straight and honest. (By the way, I've no personal experience of Wim Wakkers' work, but I've not heard anything which would correct my sweeping generalisation either)

 

But it seems fairly logical to me that however good the photographs are, a first hand visual inspection is always going to reveal more about what work needs doing than simply a good look at 2 D pictures.

 

Sorry if I gave the wrong impression and I apologise to those who took offence - I thought I was passing compliments on our collective good behaviour!

 

Alex West

Thanks for clarifying Alex, I know how easy it is for comments one makes to be misunderstood, sorry if I just got the wrong end of the stick!

Cheers

Tom