Ennistraveler's Concertina

[JimLucas]

I'm betting a Wheatstone, from 1876.

Here's the basis for my "guess":

 

In an email to me Suzanne said the little serial number label appeared to read 19801, but that the "80" was faded and could be incorrect. So I took a chance and checked the recently-available pre-1900 Wheatstone ledgers on line. #19801 has polished rosewood ends (and steel reeds), but it's 48 buttons, while hers has 56. Not a match.

 

But could what she thought was a faded "8" actually be a faded "3"? Wheatstone #19301 is "56 Rosewood Steel Plain". Aha! And the production ledger gives that instrument an 1876 date.

 

Now that I've seen the pictures, that makes even more sense, since this analysis of Lachenal dates indicates that Lachenal #19xxx would seem to be from 1869-70. Assuming that Lachenal models and production were fairly similar to Wheatstone's in that period, I examined the Wheatstone production ledgers for 1869, 1870, and 1876 to see if they could give me any other clues.

 

First of all, 48-button trebles were by far the most plentiful in each year: 111 (91% of total production) in 1869, 81 (73%) in 1870, and 73 (60%) in 1876. So it seems statistically unlikely that either #19801 or #19301 from Lachenal would exactly match the description of a non-48-treble Wheatstone with a matching serial number.

 

But far more indicative is the fact that Wheatstone made only one 56-button treble in 1869 and none in 1870. Instead, they made respectively 8 and 14 55-button trebles in those years. But in 1876 they made no 55's and twenty-one 56's. So it seems that in the years Lachenal might have made an instrument with that serial number (whether 19801 or 19301) the standard for extended trebles was 55 buttons, but by the time Wheatstone was using those serial numbers the standard was 56 buttons, and we have a match in the Wheatstone ledger.

 

If it is Wheatstone #19301, though, there's a puzzle. The Wheatstone ledger entry for #19301 has had a line drawn through it, and the notation "x19424" penned into the margin. And the entry for #19424 is *not* crossed out, but has "x19301" in the margin. That might suggest that for some reason some major work was done on #19301 and it was assigned a new serial number of #19424. For this reason I wonder whether some internal parts might show the latter serial number. If it doesn't, that might not be significant, but if it does, that would be real "proof".

 

I also wish we knew how and when the instrument travelled to Sweden.

[Mark Evans]

This is fine detective work Jim. Time to open er' up Ennistraveler. A set of jeweler's screwdrivers can readily be had.

[Henrik Müller]

This is fine detective work Jim. Time to open er' up Ennistraveler. A set of jeweler's screwdrivers can readily be had.

Hear, hear! Let's see the insides. I am a'gitting curious - I have a 56-button thing that looks very much like this. Can't find a serial number, though. It has a (Wheatstone, Charing Cross Road adress) paper label glued on the inside of one end, but no other Wheatstone markings anywhere. The reeds are rivetted to the brass plates. I have it marked up for restoration and sale, when I have nothing better to do, he, he.

 

Yes, I can make some photographs.

 

/Henrik

 

Edited to add "Charing Cross Road adress -

Edited December 15, 2005 by Henrik Müller

[JimLucas]

This is fine detective work Jim.

More luck than skill.

I would have been unsuccessful if:

... It didn't have a (mostly?) readable serial number.

... It weren't a Wheatstone.

... It were a Wheatstone from the period of missing ledgers.

... The ledgers weren't available. (Thanks to R. Gaskins, N. Wayne, the Horniman Museum, et al.)

And the identity might still be unclear if it were a 48-button treble, since they were common enough that matching serial numbers from Wheatstone and Lachenal could well be similar instruments, at least to the degree of the descriptions in the Wheatstone ledgers.

[wes williams]

This is fine detective work Jim. Time to open er' up Ennistraveler. A set of jeweler's screwdrivers can readily be had.

Hear, hear! Let's see the insides. I am a'gitting curious - I have a 56-button thing that looks very much like this. Can't find a serial number, though. It has a (Wheatstone, Charing Cross Road adress) paper label glued on the inside of one end, but no other Wheatstone markings anywhere. The reeds are rivetted to the brass plates. I have it marked up for restoration and sale, when I have nothing better to do, he, he.

 

Yes, I can make some photographs.

 

/Henrik

 

Edited to add "Charing Cross Road adress -

 

One thing to clear up - instruments starting from 18000 upward were made under Edward Chidley, who took

over Wheatstone in the mid 1860s. These instruments have a new type of rivetted reed, as opposed to the older screwed plate type that Lachenal continued with. This style of instrument lasts until Edward's sons take over the business around 1890/1900.

 

Edit to add: Wheatstone moved to West Street,Charing Cross Road in 1905, so Henrik's instrument probably must have returned to Wheatstone and had the label replaced.

Edited December 15, 2005 by wes williams

[Henrik Müller]

...

...

...

One thing to clear up - instruments starting from 18000 upward were made under Edward Chidley, who took

over Wheatstone in the mid 1860s. These instruments have a new type of rivetted reed, as opposed to the older screwed plate type that Lachenal continued with. This style of instrument lasts until Edward's sons take over the business around 1890/1900.

 

Edit to add: Wheatstone moved to West Street,Charing Cross Road in 1905, so Henrik's instrument probably must have returned to Wheatstone and had the label replaced.

I am listening - it's getting interesting!

/Henrik

[wes williams]

I am listening - it's getting interesting!

/Henrik

Well, not much more to add. Unfortunately the ledgers are missing between 1891 and 1910, so we can't be more precise on when things changed. But we did find that various c.net members with Wheatstones from this period had different reed types. See this thread.

 

Edward Chidley was also a harmonium maker (as were Wheatstone) and this style of reed is frequently used in harmoniums. He died in 1899, so the C1054 ledger may represent his involvement in Wheatstone from start to finish. It was only after his sons took over that Wheatstone started to produce Anglos and Duets again, and the 8 sided aeola.

[Susanne]

I now have better pictures of my new baby and I've opened it too. I didn't find any serial number inside, unfortunately but have a look and see if there's something you can identify.

 

Ennistraveler's concertina

[Paul Read]

If you open up the end again and remove the reed pan from the bellows, you may find a number around the edge of the bellows frame and possibly a lablel with the maker's name on the other side of the reed pan.

[Mark Evans]

Love those funky bellows papers and the Victorian Green leather is still stunning after all these years.

 

The old gal had some rough treatment over the years. It's good she's found a home where there will be some loving treatment and care lavished on her.

[JimLucas]

I now have better pictures of my new baby and I've opened it too. I didn't find any serial number inside, unfortunately but have a look and see if there's something you can identify.

Ennistraveler's concertina

[Wheatstone] instruments starting from 18000 upward were made under Edward Chidley, who took over Wheatstone in the mid 1860s. These instruments have a new type of rivetted reed, as opposed to the older screwed plate type that Lachenal continued with. This style of instrument lasts until Edward's sons take over the business around 1890/1900.

Riveted reeds. And I think that serial no. label could answer to 19301. Yep, I'm convinced that's Wheatstone #19301.

 

A lovely instrument, and special in more ways than one. When you can afford it, have it fully restored (by the best, not by your local accordion shop). Since it's already playable, enjoy it in the meantime, but once it's restored you'll love it even more.

[Mark Evans]

A lovely instrument, and special in more ways than one. When you can afford it, have it fully restored (by the best, not by your local accordion shop). Since it's already playable, enjoy it in the meantime, but once it's restored you'll love it even more.

 

Yes, please do and it will go on to others to be cherished and played after you've spent a life with it.

Edited December 18, 2005 by Mark Evans