Wheatstone Anglo Scrolling Vine End Patterns

[red]

I broached the topic of designing and making my own ends a few weeks ago, and received some very useful replies, thanks. I would like very much to know if anyone has patterns for a Wheatstone Anglo in "scrolling vine leaves", and if they would be so kind as to send me a copy. If not, can anyone suggest how to get hold of one? Am I asking for something that exists? I have seen this theme on both English and Duet, but not Anglo.

As an adjunct to the above can any of the historians tell us whether a choice of patterns was offered by manufacturers, or did specific models have their own pattern.

Edited November 20, 2004 by red

[Richard Morse]

I'm not sure what you mean by "scrolling vine leaves".... Perhaps you're referring to the typical anthus leaf design? Virtually all Wheatstone concertinas used various acathus designs (the Mayfair was one of the rare exceptions). Is there any particular one you wanted? This link shows many of them (note that all are'nt Wheatstones... this is just a quick search method to narrow down a hunt). Digging deeper in to those choices will unearth more Wheatstone anglos.

 

The most simple and honest way to get a great quality copy of whatever Wheatstone fretwork design you want is to contact Steve Dickinson (the owner of Wheatstone Concertinas about it. He has ALL the patterns.

[red]

Many thanks Richard, of course you are right, the design is obviously inspired by acanthus leaves - a popular ornament in classical architecture, of which I am not totally ignorant. So stupid of me not to recognise them, when I have them in the garden as well. See them on Corinthian capitals; and by tradition the Ancient Greeks planted them on the graves of virgins! I also followed the link you suggested, but the problem there is that all those shiney metal ends are difficult to interpret. And so I will follow your suggestion and crave the goodwill of Steve Dickinson. Thanks again.

[Richard Morse]

You are so fortunate! It had originally taken me ages to come up with some reasonably good-looking original acanthus design for our fretwork for want of some leaf to examine and "understand". The closest thing we have are chrysanthemums.

[Stephen Chambers]

As an adjunct to the above can any of the historians tell us whether a choice of patterns was offered by manufacturers, or did specific models have their own pattern.

red,

 

Generally speaking specific models had their own pattern (which may change over the years), though with mid-nineteenth century concertinas the pattern sometimes has more to do with the identity of the fretcutter than the "maker" whose name the instrument bears. However "one-off" designs have been made to special order, and I understand that Colin Dipper likes to use different designs on each of the instruments he builds.

[red]

Thank you for the reply Stephen. There is an implication in your answer that you can identify the work of specific fret-cutters and perhaps name them, is this the case ? Forgive me for responding to your most useful reply with another question

[Stephen Chambers]

Thank you for the reply Stephen. There is an implication in your answer that you can identify the work of specific fret-cutters and perhaps name them, is this the case ?

red,

 

It may yet get to that stage, but at the moment I can only say that the ends of certain instruments appear to have been fretcut by the same person.

 

Identifying some of the individual craftsmen who made the components of a particular "makers" instrument could be possible with very in-depth study, and George Jones left us some very useful clues in his memoir. For example I recently bought a Keith Prowse concertina, off eBay, because it so closely resembled an instrument I already had by Thomas Parrish (does anybody know of another one by him ?) and Jones mentioned that "Keith Prowse ... produced good instruments by the employment of Bankham, Card, Potter, and Parrish".

[red]

I look forward to hearing more on this . It is remarkable how one can develop an "Eye" for the work of particular craftsmen, whereas to the non-specialist all such things look pretty much the same . For myself I was, at one time, an avid student of 18th and 19th century moulding planes, as used by joiners and cabinet makers, and could spot the work of certain makers across the room.

 

My assumption is that these 19th century fret-cutters used a "Donkey", very similar to that once used by marquetry cutters. Perhaps it would be of interest if I were to post a photograph, as a close associate still uses one.

[JimLucas]

My assumption is that these 19th century fret-cutters used a "Donkey", very similar to that once used by marquetry cutters. Perhaps it would be of interest if I were to post a photograph, as a close associate still uses one.

Even if that's not what they used, I'd be interested in the photo. I might learn something.

[red]

Even if that's not what they used, I'd be interested in the photo. I might learn something

 

I'll have one taken specially, of me cutting a concertina end.

 

Or should I say "top", having read the excellent George Jones document that Stephen directed me to. This really gives a leap through time, to be able to almost hear the voice of an historically important figure and leading tradesman who worked in Victorian London, in the heart of the concertina trade. Thanks for that one, Stephen.

 

So, is it "ends" or "tops"?

[JimLucas]

So, is it "ends" or "tops"?

Well, the fretworked piece sort of "caps" the end, so maybe it's both.

[Richard Morse]

My assumption is that these 19th century fret-cutters used a "Donkey", very similar to that once used by marquetry cutters.

I don't know what a marquetry donkey is, but Steve Dickinson told me that they transfered the fretwork design by some sort of template which left lines (like carbon paper) on the end which was then hand-cut using a powered fretsaw.

 

Here's a still from a film clip showing a woman doing just that (Wheatstone factory in Islington around 1950?). You can download the entire "tour" of the factory as small-res "watermarked" sample for free from the British Pathe site. The lady really hauls!

 

[red]

I don't know what a marquetry donkey is

 

While basically doing the same job as the machine illustrated by you, Richard. It differs in being hand-operated and with the sawblade being horizontal rather than vertical, as follows;

 

It is large wooden framed device upon which the operator sits astride with the work-piece in front of him, held vertically just below head height. Its working part is a hand-powered frame saw, which is fixed so that the blade is always horizontal and perpendicular (at a 90 degree angle) to the work-piece; which is itself held against the back board by a foot-operated clamp. By releasing the clamp the work can be turned by hand as needed to follow the pattern. The saw is slid backwards and forwards by the left hand while the work is turned by the right. While this is an accurate description, to many it is useless without an illustration - so watch this space.

[red]

http://www.concertina.net/images_rd/crabb_02.jpg

 

I am afraid I don't know how to do the link thing! but if you check out the above you will see a "donkey" in use at Crabb's in the mid-1970s. Unfortunately it doesn't show the full machine, but I have no doubt that is what it is. Perhaps Geoff Crabb will comment on its use?