The History of Welmar Pianos

Macauley Sykes
May 18
13 min read

Updated: May 24

The Welmar name first appeared in 1919, marking the beginning of a legacy that would grow to become one of Britain's most famous and highly respected piano brands.

Over the decades, the brand became synonymous with excellence, attracting both amateur musicians and professional pianists alike who sought instruments that could deliver superior performance.

Whelpdale, Maxwell & Codd Ltd and Blüthner

Blüthner & Co Ltd (later known as Whelpdale, Maxwell & Codd Ltd) was founded in 1876 by William Maxwell, who was joined later by William Whelpdale in 1889.

The firm's primary objective was to import and distribute the renowned Blüthner pianos, which were celebrated for their exceptional craftsmanship and superior sound quality, and were manufactured in Leipzig, Germany.

Founded in Germany in 1853 by Julius Blüthner, Blüthner pianos had gained a reputation for their meticulous attention to detail and the use of high-quality materials in the construction of their pianos.

Whelpdale, Maxwell & Codd Ltd cultivated a strong relationship with the Blüthner brand and played a vital role in bringing these exquisite instruments to the British market, ensuring that music enthusiasts, professional musicians, and concert venues had access to these high-quality pianos.

World War I

As the ominous clouds of World War I began to gather on the horizon, Whelpdale and Maxwell's company found itself in a precarious position, facing many challenges that threatened its very existence. The onset of the war brought with it the spectre of conflict and a significant upheaval in the economic landscape. Logistical difficulties began to mount as the usual channels of trade that had once facilitated the smooth importation of goods were now fraught with obstacles, and the market for German-made pianos in Britain dwindled as consumers turned away from items associated with Germany, including German-made pianos.

Moreover, the British Government's introduction of the Trading with the Enemy Act in 1914 effectively sealed the fate of many businesses that relied on German imports. This legislation was put into place soon after the United Kingdom joined World War I. The act aimed to sever economic ties with Germany during wartime, preventing the flow of any goods and finances which could support the German war effort.

The Beginning of Welmar

When Whelpdale and Maxwell's import of Blüthner came to a sudden end, the company was left at a crossroads, where decisions made could either lead to the complete collapse of the firm or pave the way for a new future. With the import of German pianos prohibited, Whelpdale and Maxwell faced the challenge of sustaining their business and keeping the firm afloat.

In 1919, after careful consideration of their options, Whelpdale and Maxwell made the strategic decision to commission Cremona Ltd, a manufacturer of high-quality 'trade' pianos, to create a new line of instruments tailored to their specifications. To create a distinctive identity for their new line of pianos, William and William amalgamated their surnames to create the name 'Welmar'.

Cremona Ltd

Cremona Ltd was founded in 1914 by Clarence Edward Lyon (1883-1960). Clarence was a third-generation piano maker; his father, who owned a piano factory in London, trained him, as did his grandfather.

Clarence named his firm Cremona due to his deep admiration for the exquisite violins that have been meticulously crafted in the northern Italian town of Cremona, a place renowned for its rich history in string instrument making. This town, nestled in the Lombardy region, has been the birthplace of many legendary luthiers, such as Antonio Stradivari and Giuseppe Guarneri, whose instruments are celebrated for their unparalleled craftsmanship and exceptional sound quality. Clarence's choice of the name Cremona for his firm not only reflected his appreciation for the artistry involved in violin making but also signified his aspiration to embody the same level of excellence and tradition that these master craftsmen established centuries ago.

Clarence operated from a factory on Medlar Street, London, manufacturing pianos under several brand names, including Squire & Longson, Paul Newman, and Ronson.

Clarence was more than just a figurehead or remote manager of the Cremona company, overseeing operations from an office; instead, he was deeply engaged in piano production on the factory floor, utilising his remarkable skills as a piano technician, designer, and classical musician.

In the first year contracted with Whelpdale and Maxwell, Cremona Ltd produced 150 pianos under the new Welmar name.

Whelpdale and Maxwell's firm was still named Blüthner & Co at this point, so a small plaque clarifying the nature of the production was placed inside many Welmar pianos produced at this time.

Research & Development at Cremona Ltd

In the year 1923, a significant development occurred at Cremona when Clarence named Alfred Knight as a junior director. This appointment initiated an eight-year period during which Knight significantly impacted the design and production of pianos at the Cremona works. Knight's influence was particularly evident in the upright pianos that emerged from the Cremona factory during this time, featuring angular, girder-like iron frame designs which enhanced the structural integrity of the instruments. These features would later become closely associated with Knight's brand pianos when he eventually ventured out to establish his own company.

In the late 1920s, a new method of soundboard construction also began to emerge at Cremona Ltd.

Besides shrinking the boards in a 'hot box' for several days before attaching the ribs, a device was developed to clamp the boards and exert a lateral clamping force which compressed the very fibres of the timber. This method was intended to 'lock' the fibres of the soundboard in a permanent state of compression. This method reportedly produced boards that we better able to withstand harsh climatic conditions and produced a very attractive intensity of colour in the instrument's tone.

The research and development at Cremona Ltd also included new methods of applying the finished polish to the firm's instruments. The traditional method of French polishing, which utilises an alcohol-based shellac lacquer, is renowned for its ability to produce a deep, lustrous finish that enhances the natural beauty of the wood, but it is both time and labour-intensive, requiring many thin coats that are applied by hand to build up the desired shine.

As part of their commitment to innovation and efficiency, Cremona Ltd sought to explore alternative methods that could streamline this process without compromising the quality of the finish. This included experimenting with and later adopting modern spraying techniques that could deliver a consistent layer of cellulose lacquer that could mimic the aesthetic qualities of traditional shellac but in a fraction of the time.

Cremona Ltd Closure

In 1929, a catastrophic fire ravaged the Cremona factory, probably intensified by the explosive ignition of the highly flammable cellulose lacquer. Cremona relocated to temporary facilities until its factory was fully reconstructed at the original location. The rebuild was finished in 1931, allowing piano production to resume on Medlar Street. However, despite the reopening of the factory and the resumption of operations, the company struggled to regain its previous financial stability and was forced to close in 1934.

The closure of Cremona Ltd threatened the very existence of the Welmar brand. In response, Whelpdale and Maxwell took immediate steps to safeguard the essential designs, jigs, patterns, and templates that were necessary for the ongoing production of Welmar pianos.

In their quest to ensure the continuation of their brand, Whelpdale and Maxwell made a significant financial commitment to move the equipment to a new location a couple of miles away on Clapham Park Road and rehired many of the existing Cremona staff to continue production.

The new premises on Clapham Park Road not only allowed for the continuation of production but also offered opportunities for expansion and in-house innovation.

With the relocation, Whelpdale and Maxwell could implement modern manufacturing techniques and explore new design possibilities that could enhance the Welmar brand further.

Piano Production

Whelpdale and Maxwell, through their extensive and collaborative working relationship with Blüthner, gained invaluable insights and knowledge that significantly influenced the craftsmanship and design philosophy of their pianos. This partnership allowed them to observe firsthand the intricate techniques and innovative approaches that Blüthner employed in the creation of their pianos.

As a result, Whelpdale and Maxwell were able to incorporate a variety of characteristics and design elements that were otherwise unique to Blüthner's esteemed instruments into their pianos, thereby enriching the quality and appeal of their own products. The Welmar pianos were meticulously designed to emulate the aesthetic and acoustic qualities of the instruments produced by Blüthner as closely as possible.

Whelpdale and Maxwell paid careful attention to the materials used, the construction methods, and the overall tonal characteristics that made Blüthner pianos so highly regarded in the musical community. The frames inside the Welmar grand pianos were superficially designed and then bronzed to match those produced in Leipzig, and Welmar chose to use a specific shade of Royal Blue for their felt work, a colour affectionately known in the trade as 'Blüthner Blue'.

In addition to the visual similarities that can be observed between Welmar pianos and those produced by Blüthner, the Welmar brand actively sought to replicate the rich, resonant sound that had long been regarded as a hallmark of Blüthner's celebrated creations. By closely examining the design of the soundboard, bridges, and the intricate arrangement of the strings, the craftspeople at Welmar were able to create pianos that not only bore a striking resemblance to Blüthner’s instruments in appearance but also delivered an exceptional auditory experience intended to substitute for the original.

The lightly ribbed soundboards of Welmar pianos were specifically modelled on those found in Blüthner's renowned pianos, reflecting a deep understanding of how such structural features influence tonal quality. The ribs of the soundboard play a crucial role in enhancing the resonance and projection of sound, allowing the piano to produce a fuller and more vibrant tone.

Furthermore, the bass bridges of Welmar pianos were also identical copies of those used in Blüthner's instruments. The bass bridge is a critical component that supports the lower strings and significantly contributes to the sound quality in the bass register. By replicating Blüthner's bass bridges, Welmar was able to enhance the depth and warmth of the lower notes, creating a balanced and harmonious sound across the entire keyboard.

During the Second World War

The directors felt compelled to clarify their position due to the declaration of war, which marked a significant turning point in the nation's history, the implementation of the Trading with the Enemy Act of 1939, and the increasingly palpable anti-German sentiment that was sweeping across the United Kingdom. This atmosphere of tension and suspicion necessitated a proactive approach from businesses that had any historical ties to Germany, regardless of their current operational status. In light of these factors, the directors of Blüthner & Co recognised the urgent need to clarify their position and reassure the public about the company's allegiance and commitment to the British war effort.

In 1939, in a decisive move to distance themselves from any negative associations, Blüthner & Co formally changed its name to Whelpdale, Maxwell, and Codd Ltd. This rebranding was a strategic effort to underscore their British identity and to reaffirm their dedication to the nation amidst the turmoil of war. The directors took special care to emphasise that the company's capital was "entirely British," a statement intended to quell any lingering doubts about their financial integrity and national loyalty. They pointed out that not only was the capital British, but so were the directors and employees who formed the backbone of the company.

Furthermore, the directors highlighted the patriotic contributions of their leadership to reinforce their commitment to the national cause. Mr. Codd was actively engaged in full-time national service, showcasing his dedication to serving the country during a time of crisis. This involvement was a clear indication of the company's alignment with national interests and its readiness to support the war effort in any capacity necessary. Additionally, Mr. A.W. Whelpdale's distinguished service as a captain in the Royal Artillery during the previous war lent further credibility to their claims. His recognition in dispatches was a testament to his bravery and leadership, reinforcing the message that the company was not only British in name but also in spirit and action.

By taking these steps, Whelpdale, Maxwell, and Codd Ltd aimed to navigate the complexities of public perception in an era when companies with foreign connections were often viewed with suspicion and hostility. They sought to cultivate trust and confidence among their customers and partners, ensuring that their operations would continue to thrive despite the backdrop of war. The directors understood that in times of conflict, a company's reputation could be its most valuable asset, and they were determined to protect and promote theirs at all costs.

Ministry of Supply

The United Kingdom's war effort and the accompanying restrictions and laws imposed by the British Government during the Second World War greatly affected the British piano industry.

When the war began, the Ministry of Supply implemented extensive control over a variety of materials crucial to the war effort. The Ministry was tasked with ensuring that these materials were distributed efficiently and effectively to manufacturers in different sectors, prioritising war production. This shift required industries that once concentrated on consumer goods, like pianos, to pivot towards fulfilling urgent military needs. The Ministry of Supply's approach was essential in ensuring the armed forces were properly equipped, resulting in materials previously used for piano production being redirected to military applications. These materials encompassed wool, leather, and wood, as well as several non-ferrous metals like copper and zinc, all vital for piano manufacturing. The valuable woods for cabinets, the copper for their strings, the iron for the frames, and the high-quality leather and wool for action components became crucial for producing uniforms, equipment, and other military essentials.

The Concentration of Industry Scheme

The Concentration of Industry Scheme was introduced in March 1941. The scheme required non-essential industries, such as piano companies, that did not have war contracts, to consolidate with their competitors. By placing several companies under one roof, the scheme aimed to free up valuable resources, particularly factories and skilled workers, that could be redirected towards essential war work, such as the production of munitions, vehicles, and other military equipment, which was essential for Britain's war effort.

If a company met the requirements, it could apply to be considered a "nucleus firm", which was a designation given to the company that would become the leading company, and retain its premises while hosting others, during consolidation.

Manufacturing at the Clapham factory was greatly reduced, but the manufacturing facility was allowed to remain open during wartime.

Whelpdale, Maxwell & Codd Ltd easily met the criteria and was granted the status of nucleus firm in 1941. The business had an overall turnover of almost £27,000.00 during the latter half of 1939, which was more than the minimum requirement. Whelpdale, Maxwell & Codd Ltd consolidated with John Broadwood & Sons, George Rogers & Son, Sir Herbert Marshall & Sons (makers of Marshall & Rose), and Vincent Manufacturing Co., and together they were permitted to produce a limited number of pianos.

According to the Federation of British Industries, the Concentration of Industry Scheme released 255,900 workers and made 61.2 million square feet available to the production of munitions and other related industries.

After the Second World War

After the war, Whelpdale continued to manufacture Broadwood pianos until Broadwood was able to return to its factory in 1946.

Whelpdale, Maxwell & Codd was able to recover from the war and maintained strong production numbers. The post-war pianos were much better than those produced prior.

The acquisition of Marshall & Rose

Sir Herbert Marshall and Sons was established in 1907 by Joseph Herbert Marshall (1851-1918), a Leicester-based piano dealer. Marshall went into business with George Rose, a former director and factory manager at John Broadwood and Sons, in 1908. Marshall & Rose pianos manufactured 6 models of piano in small quantities at the firm's factory on Price of Wales Road, London. Although they were a relatively latecomer to the piano industry, they soon developed a reputation for high quality and were among the most expensive British-made pianos on the market.

Marshall and Sons Ltd decided not to restart production after the Second World War and sold the business to Whelpdale, Maxwell & Codd.

The acquisition of the Marshall & Rose trademark enabled Whelpdale, Maxwell & Codd to increase the number of retailers who carried their products and therefore capture a larger share of the market while ensuring that each retailer could maintain a unique selling proposition, even if those retailers were situated close to each other. One store could stock Welmar pianos, and another could stock what were essentially the same pianos but bearing the Marshall & Rose name.

This dual-brand strategy allowed retailers to leverage the distinct identities of the brands without directly competing against each other, fostering a more harmonious retail environment. By doing so, they were able to avoid the pitfalls of oversaturating the market with a singular brand, which could lead to diminished brand value, and mitigate the risk of creating competitive tension between local piano shops, which could have detrimental effects on sales which wouldn't benefit either the retailers or WMC.

Marshall & Rose pianos formed approximately 20% of WMC's output

Factory Closure

Whelpdale, Maxwell & Codd acquired the Bentley Piano Company in 1993.

In 2000, Whelpdale, Maxwell & Codd merged with Woodchester Pianos to form The British Manufacturing Company Ltd. This firm was liquidated in 2003.

Welmar's Revival

Nick Rustling, a dedicated restorer and passionate enthusiast of fine musical instruments, is also the visionary founder of Coach House Pianos, which stands out as one of Europe's premier piano showrooms. His journey in the world of music began at a young age, where he cultivated a profound appreciation for the artistry and craftsmanship of Welmar Pianos. These instruments, known for their exquisite sound and elegant design, left a lasting impression on him, igniting a desire to breathe new life into the brand for contemporary music lovers and performers alike.

Recognising the rich heritage and historical significance of Welmar Pianos, Nick set out on a mission to revive and reinvent the brand, ensuring it resonates with a new generation of pianists who seek both quality and authenticity in their instruments. To achieve this ambitious goal, Nick placed a strong emphasis on revitalising the robust Anglo-European partnership that had originally underpinned the Welmar brand.

This strategic focus not only honoured the brand's storied past but also laid the groundwork for a future where the new Welmar models would be crafted with the utmost care and precision.

By forging strong relationships with skilled artisans and experts in the field, Nick ensured that the new Welmar pianos would be handcrafted in one of the world's most renowned piano factories, a place celebrated for its commitment to excellence and innovation in piano manufacturing. This factory, equipped with state-of-the-art technology and a deep respect for traditional craftsmanship, allowed Nick to maintain the highest standards in quality. Each piano produced would incorporate only the finest European components, sourced from trusted suppliers known for their exceptional materials and craftsmanship. This meticulous attention to detail guarantees that every Welmar piano not only meets but exceeds the expectations of discerning musicians.

Through his efforts, Nick Rustling has not only revived a classic brand but has also created a bridge between the rich history of Welmar Pianos and the modern demands of today’s pianists, ensuring that the legacy of these remarkable instruments continues to inspire and delight for generations to come.

Welmar Pianos at Sykes & Sons

Welmar has consistently been among the top-selling piano brands at Sykes & Sons, and the demand for our reconditioned Welmar pianos has been increasing annually. As Welmar is one of our specialities, we have developed a considerable in-depth understanding of the brand that sets us apart in the market.

Our extensive experience with this brand equips us with the knowledge to identify the key aspects contributing to their exceptional quality and performance. This understanding is not merely superficial; it stems from years of hands-on experience and a deep appreciation for the craftsmanship that goes into each instrument.

We are well-versed in the unique tonal characteristics, the materials used in construction, and the intricate design elements that define Welmar pianos. It is this expertise that not only allows us to know exactly what to look for when evaluating these instruments but also allows us to recondition our pianos in a way that honours the original creators, ensuring that the integrity and character of each instrument remains intact.

Moreover, we pride ourselves on our ability to provide personalised recommendations based on each customer's unique preferences and requirements. Whether a customer is a beginner looking for a reliable instrument or a seasoned pianist seeking a high-end model, we are committed to guiding them through the selection process. Our deep-rooted knowledge of Welmar pianos enables us to highlight the specific features that make each model stand out, ensuring that our clients make informed decisions.

Ultimately, our dedication to Welmar pianos goes beyond mere transactions; it is about building lasting relationships with our customers based on trust and knowledge. We are passionate about sharing our insights and expertise, ensuring that each piano we sell not only meets the highest standards of quality but also serves as a source of joy and inspiration for musicians of all levels.