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Manuscript now in the collection of the Horniman Museum, London (Item CM C1080).The notebook is at present contained in an envelope along with a letter from Thomas Jeffries dated 1959 which may or may not be related.Jeffries but, among the concertina makers, lists “Chas.

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The later Jeffries firm names have been found only in London classified trade directories.

Unlike the early Jeffries Maccann manuscript tutor (c.

1910) written with a split pen and very finished, this document is written with a biro (ballpoint pen) indicating a much later date, and is very rough.

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.

As in our earlier article, we use “Charles jnr” to distinguish him from his father, while recognizing that the son may never have used “junior.” As far as we know, Charles Jeffries had no technical training and was never employed by any of the previously established concertina makers; Concertina Book: Final Edit (unpublished typescript, 1986), 46-71; “Recollections of the English Concertina, from 1844, by George Jones, born February 29th 1832, Part I,” Concertina Magazine, 13 (Winter 1985): 4–5; Part II: 14 (Spring 1986): 4–7; Frank Butler, “Concertinas in the Commercial Road: The Story of George Jones,” Concertina & Squeezebox 20 (Summer 1989): 5–14; and Stephen Chambers, “Some Notes on Lachenal Concertina Production and Serial Numbers,” Papers of the International Concertina Association (PICA).

This Charles Jeffries never knew a thing, never been taught anything— most extraordinary, as he turned out an instrument that no other maker could equal.

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