Rock Chidley English

[danersen]

Hello All,

 

In a previous post I asked for assistance with dating a Rock Chidley English that I stumbled across, and Wes Williams replied to address that matter.

 

My initial interest in the subject concertina was to acquire it and use it as a floorboard instrument to keep handy whenever and wherever I was out and about.

 

After inspecting (and purchasing) it, I'm astonished at its condition. Apart from the valve pads which are literally dried out and curled up on the ends, the instrument is in extraordinary condition. The reed pans look as if they were made yesterday and the workmanship is superb. There's not a speck of rust on any reed. The pans and the reeds fit snugly. The bellows are "as new" and air-tight. I'm stunned, actually. Everything appears original, beautiful, and apart from the soft fungible parts that have simply dried-up, it's in remarkable condition inside and out - with the exception of a one-inch slice of veneer missing at the palm on the right hand side and deteriorating (though still functional) thumbstraps. The label is even in beautiful condition. It's very stable, and there's not a structural crack anywhere. Though missing its handle and the key, the usual wooden case has nary a scratch or nick on it - though the inside material has faded in color and the glue is drying out and the fabric is subsiding in a few places. It's also interesting to note that the case has been properly routed to accommodate the large and ornate thumbstrap buttons.

 

It seems improbable given its age, but I can't help but wonder if this might actually be all original.

 

It's difficult to know what it may actually be with the proper attention (which I intend to ask Wim Wakker to do) because of all of the uncontrolled air flowing due to the dried-up pads and valves.

 

So, I'm now wondering if this one ought to be regarded as more than a "floorboard" specimen - or if romance has overcome reason. Knowing NOTHING about the Chidley concertinas, I am seeking opinions, perspective, knowledge, advice - even speculation - about the character and prevalence of Chidley's instruments in general and if, perhaps, my regard for this concertina ought to be more than my initial "floorbaord" mentality. In any case, I will play it after Wim has tended to it. But if it is an atypical or unusual specimen, I will need to be more thoughtful about it and find a more "common" instrument to ride around on my floorboard.

 

All comments are welcome.

 

Be Well,

Dan

Edited August 23, 2009 by danersen

[wes williams]

Hi again Dan.

I don't think its so unusual to find an instrument of this age looking almost new. See my wife's Wheatstone 1701 here, and its totally unrestored, apart from a minor tuning tweak on one reed. We think that it may be even older than the number suggests, as the inners suggest an earlier instrument that has been updated with Lachenal made fret ends. I suspect some of these old instruments were stored away in their cases, and never saw the light of day until recently. At this date reeds were usually not steel, so rust isn't a factor. If yours look like steel, they might be nickel.

 

Instruments like these have a much softer tone, so they tend to get overpowered easily, and so aren't good for session playing. So depending on your use, it might be better to pick up a later steel reed Lachenal for out-and-about use. But if you are into classical playing, and are seeking the genuine sound of a concertina from that 'golden classical' period, then your Chidley should satisfy that well. Wim is very experienced in instruments of this period, so seek his opinion and advice when you contact him.

best wishes ..wes