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Re: Henri Chedeville mouthpiece question

Author: clancy
Date: 2010-12-21 23:11

From my understanding Henri imported his blanks from Charles who I believe was his cousin, not brother, perhaps I am mistaken but I think that is what Henri's grandson told me.

From my experience (have worked on dozens of them this year) the old Henri Ched period blanks were not always stamped France - most all were stamped 'Steel Ebonite' on the back, along with either Bte SGDG Depose and a serial number 41**** to the right of the table. The later ones were stamped 'Artistic Facing' next to the table. All H Cheds had the well known H CHEDEVILLE stamping below the bottom ligature line. Very occasionally I have seen one with a hand etched signature. Most of these early Charles Ched blank pieces came with all of those markings already stamped on them. So it is common to see some Meliphones from the period that look almost identical to a Henri Ched, markings and all, only with different internal workings and MELIPHONE where the H Ched name would be.

Its possible there could be a small 'France' stamped to the left of the table on some but I have not paid enough attention...was too busy working on them. But definitely the France next to the table would not be a factor in appraising a potential H Ched period piece as many French made pieces used the France up through the 1970s.

I have heard mixed stories about Henri distributing blanks to manufacturers - could be though as I was told he would get huge buckets of them from Charles - maybe he was Charles's middleman in America, but that is pure speculation. Perhaps some of the older gents on the board might know.

The key to identify an H Ched period piece is the markings, but more so the internal chamber and contours - also the beak and overall shape of the piece - very distinct design. The Henri Ched mps were incredibly varied internally, while the other makers at the time who used the same blanks were not so much - again from my experience. I personally think Henri was more of a custom maker who made pieces to fit his customers which is why there were so varied.

As for the Penzel Mueller question, I have heard that as well but have not seen any made from that period of blank, have worked on some old ones which used 1930s Ched blanks but not the old ones. Some of the makers who imported the older Henri Ched period blank were Meliphone and Bettoney for sure.

Also we have to keep in mind that when we say Henri Ched we are talking 1920s - early 30s, Henri died in 1932 I believe. The blanks that came in the 1930s were a bit different.

On a side note: I think a lot of people wil diasgree with me, but I believe it to be true: Henri Chedeville was a good craftsman but overrated and surrounded by the hype which came from the legend of Mclane and Wright. His pieces IN ORIGINAL CONDITION are not playable by modern standards; the ones I have seen in that condition have not been that great from a TECHNICAL standpoint, even when taking into consideration the period that they were made. However with refurbishing they can be absolutely terrific. What makes them so great? The real genius was Charles Chedeville, the man who made the blanks from great material and obviously a brilliant mind - wonderful craftsman. Possibly the greatest genius in mouthpiece making history. Shame that many people associate his work with the later 1960s made Charles Chedeville signature pieces that were made after he was no more, and by a different company - a completely different kettle of fish...

Hope that helps to answer some of your question

Any others have more info?

R Wodkowski

www.ramonwodkowski.com

Post Edited (2010-12-21 23:46)

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