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The White Lion had been a noted venue for musical entertainments since the early 1800s, but in 1864 the newly built (1862) “Metropolitan Theatre of the Varieties” reopened under new management with the White Lion Passage being incorporated.
The Jeffries location provided an ideal “on-site” location for repair of instruments, as well as a sales outlet.
Appendix 1: Stamping, Etching, and Handwriting in Jeffries Concertinas Appendix 2: Handwritten Key Diagrams and Chord Charts from Jeffries Tutors This article is the companion to our biographical piece, “Charles Jeffries: The Man and His Family.” This second article focuses on the manufacturing and sales activities of Charles Jeffries (born Jacob Charles Jeffries, 1841-1906) and his sons—Charles jnr (1862-1953), William (1866-1954), George Frederick (1879-1965), and Thomas (1883-1966)—and the Anglo, English, and duet concertinas that they produced.On the 1869 birth certificate of daughter Mary Ann, his occupation is “musical instrument maker,” thus indicating that Charles Jeffries went into the concertina trade in earnest in the late 1860s. The timing of the Jeffries family’s move to White Lion Passage appears to have been in 1870, as reflected in birth and census records; whereas daughter Mary Ann was born in 1869 at Devonshire Street, the Jeffries family was recorded at White Lion Passage in the 1871 British census (2 April).(All of these certificates can be seen in our companion article, “Charles Jeffries: The Man and His Family.”) Charles Jeffries, his wife Mary Ann, his sons Charles and William, and his daughters Eliza Ann and Mary Ann moved a short distance from No. White Lion Passage (between Harrow Road and Edgware Road) in Marylebone —the earliest address on Jeffries instruments—possibly was a site from which Charles Jeffries made brushes before he gravitated to concertinas.Serial numbers would be most valuable for approximating the date of manufacture of the individual instruments and for estimating the total production of Jeffries concertinas. However, these consist of one, two, or three digits that are either handwritten (pencil or ink) or stamped on the reed pan, underside of the action board, or upper inside edge of the bellows or that are etched into the underside of the metal fretwork (see Appendix 1).We have been unable to determine if a particular number is a model number, batch number for a production run, or a number that was the handiwork of an owner or repairer of the instrument.