Cranking Up A Classic Marque

A little over a year ago, I recounted discovering--along with other novice American cyclists in the 1970s--bicycle and component marques known to generations of riders in other parts of the world.  

What I didn't realize was that some actually were, or would soon be, on the brink of extinction or being changed beyond recognition.  I am thinking of bikes like Falcon, Gitane and  Legnano, who made all sorts of machines from Tour de France winners to urban delivery conveyances--and companies like Nervar, Weinmann, Huret, Stronglight Simplex, Mafac and SunTour, who made the components for those bikes, and others.

Those manufacturers are gone now. (Weinmann-branded rims are made in China and the SunTour name lives on in SR-SunTour forks, which bear no relation, other than the name, to the revered maker of derailleurs and freewheels.)  So was Chater-Lea, a British company that made bicycles and even, for a couple of decades, cars and motorcycles.  But C-L is best known for what the English call "fittings":  parts like pedals, headsets and bottom brackets. They even made frame tubing and lugs.

Chater-Lea's quality was, in its heyday, second to none.  Custom frame builders specified C-L's parts; so did larger manufacturers for their best models.  I never owned or used any of their stuff, but I encountered some when I first worked in a bike shop.  A couple of my early riding companions--who pedaled through the "Dark Ages" when few American adults cycled--rode bikes equipped with C-L.

Those bikes were older than I was.  They sported those pencil-thin steel cottered cranksets (which may have been made by Chater-Lea) you see on old-time racing bikes and that fell out of favor once good-quality mid-priced cotterless cranks became available.  To my knowledge, C-L made bottom brackets only for cottered cranksets, and their pedals were of the traditional "rat trap" variety.  

So, while the stuff was of high quality, its designs were dated or even obsolete. (Clipless pedals all but killed the market for high-quality traditional pedals.)  That is why I was, if unknowingly, witnessing the "last gasp" of a once-revered name in the cycling world:  In 1987, they would cease after nearly a century of making bike parts.

Last year, Andy Richman, a British cycling enthusiast who lives in the US, decided to revive the brand with a ne plus ultra pedal that echoes the company's old designs but employs the highest-grade materials and finished flawlessly.  He said, at the time, that "if jobs are going to come back to the UK, it's got to be for making this kind of stuff."  In other words, "high end, beautiful, artisanal" items.

Now he is introducing a second Chater-Lea item.  Appropriately enough, it's a crankset.  But it's as much a departure from C-L's cottered sets as the pedals are a refinement of a traditional design:  The Grand Tour is a "sub-compact" crankset with 46/30 chainrings (a classic Randonneur/Gran Fondo configuration) designed to fit on JIS square taper axles and work with up to 11 speeds.

If you want to equip your bike with these items, save up your pounds:  You'll need 595 of them (about $775 at current exchange rates) to buy the cranks, and 250 ($325) for the pedals.  

Does Richman plan a complete Chater-Lea bike?

Pedals Worthy Of His Bike: He's Making Them

I first became serious about cycling as a teenager in the mid-1970s.  It seemed that every minute, I was learning about some brand of bicycle that wasn't Schwinn, Raleigh or Peugeot, and components--yes, I learned that most bicycles are made from components manufactured by other companies!  So, of course, I encountered all of the traditional European names like Weinmann, Mafac, Huret, Simplex--and, of course, Campagnolo.  Hey, Campy even made parts for high-performance race cars and NASA space vehicles!

Not long after, I would find out about Japanese makers of high-quality equipment like Sugino, Nitto and SunTour, whose derailleurs became my "go-to".  Nitto, Sugino and Campagnolo, of course, survive:  All except one of my Mercians is equipped with Nitto bars and/or stems, and Sugino cranksets.  Negrosa, my black 1973 Mercian Olympic, sports the same-year Campagnolo Nuovo Record gruppo (and Cinelli bars and stem) that came with it.

Sadly, the SunTour name lives only in mostly low-end suspension forks under the SR-SunTour brand.  Weinmann is a marque for mostly heavy and low-end rims made in China or Taiwan, and Mafac, Huret and other classic names are gone altogether.

Another name I encountered in my early cycling days is Chater-Lea.   By the time I learned about them, four decades ago, they were on the brink of extinction.  They would file for bankruptcy in 1987, and seemed to live on only in the memories of those of us old enough (in my case, just barely) to know about classic British bike parts.

Now, I have only seen a few Chater-Lea parts:  sturdy bottom brackets for those pencil-thin cottered cranks that found their way onto beautiful old English (and other) frames before cotterless chainsets (yes, that's what the English call them) took over the peloton and market--and, some beautifully-made pedals.  Their "rattrap" design was something like Lyotard's, but better, in materials, workmanship and aesthetics.

It seems, though, that Chater-Lea suffered the fate of Lyotard and other old-line bicycle component makers in the 1980s:  designs and market preferences changed, but companies like C-L and Lyotard didn't.  With the advent of mid-priced cotterless cranks and clipless pedals, the market for high-quality cottered bottom brackets and traditional cage or platform pedals all but disappeared.  In the meantime, companies that changed their designs and product lines, as often as not, shifted their production to low-wage countries. That is how nearly all of the British bicycle component (and a good part of the country's bicycle) industry, along with many of its counterparts in France and the rest of Europe, disappeared in the 1980s. 

Well, it seems that us old folks (OK! OK!) aren't the only ones who remember Chater-Lea.  Andy Richman, a Brit who lived and worked in Washington, DC, for a number of years, has returned to his native country to  resurrect the Chater-Lea name and oversee the design, manufacture and launch of its first product in more than three decades--and its first new product in more than half a century.  

Appropriately enough, it's a pedal.  But it's not any old crank appendage.  Even someone who's not a cycle enthusiast can see that it's made with better materials and more care--and purely and simply looks better--than your typical "rat trap", with all due respect to MKS (whose pedals I use).  The new Chater-Lea "Grand Tour" pedal is made from marine grade 316 and hardened 17-4PH stainless steel studded with polished brass rivets.  

Oh, and it's made in the UK--in Bristol, to be exact.  "This stuff needs to be made in the UK," says Richman.  It's "high-end, beautiful, artisanal," he explains.  "If jobs are going to come back to the UK, it's got to be for making this kind of stuff."

The new Chater-Lea Grand Tour pedal

Chater-Lea made "this kind of stuff" that was the class (along with BSA) of the bicycle component world.  Begun in 1890, it would branch out into motorcycle and car parts, and complete motorcycles and cars.  During World War II, it made parts for the Mosquito Fighter Bomber.  After the war, Chater-Lea returned to its bicycle roots and enjoyed prosperity during the 1950s but started to falter, along with many other companies in the British cycle industry, during the 1960s.  (Little did we know that all of those Raleigh and Dawes bikes we saw during the 1970s Bike Book were the shadows of companies that would "give up the ghost" a decade or two later!)  

Richman is himself a bike enthusiast who knew of the brand before his quest to revive it.  What motivated him, though, was a shopping trip in Brighton that took him to Condor, one of the premier bicycle shops in Britain.  There, he eyed a 1948 Condor frame and persuaded the shop's owner to sell it to him.  As Richman left the store, the owner remarked, "You do know there's really only one set of components worthy of going on this bike?  Chater-Lea."

Someone, I forget who, once said, "If I want to read a good book, I write one."  It seems that Richman knew that if he couldn't find "worthy" components, he'd have to make them.  And he's begun, with his Grand Tour pedal.

A Twist In The Mixte

Most Americans never saw a twin-tube mixte frame before the 1970s Bike Boom.  That, of course, is also the first time most Americans saw a bicycle with a derailleur.  So, perhaps, it's no surprise that bike manufacturers like Peugeot, Motobecane, Raleigh and Fuji sold boatloads of ten-speed mixtes--though, to be accurate, many more diamond-frame (men's) bikes were purchased.

Nearly all of the mixtes available then, and now, have more or less the same design:  a pair of narrow parallel tubes that slope from nearly the top of the head tube to the rear dropout, or some point near it.  The twin tubes usually crossed the seat tube about halfway down, or maybe a bit lower.  The result was a frame that wasn't quite as "open" as the traditional women's frame, with a single curved top tube, but easier to mount than the traditional diamond frame.

What's not commonly known is that mixte frames with twin top tubes mixte frames, or at least frames that resemble them, have been made almost since the first "safety" bicycle (ones with two wheels of equal, or more-or-less equal, size) was introduced in the late 19th Century.  And they have taken on a variety of configurations, such as this example from Geoffrey Butler:

The South London builder made it to the specifications of a then-young woman who owned it until recently.  Its  eBay listing doesn't specify the tubing used to build the bike, but my guess is that it's some variation of Reynolds.  All of the parts are what one might expect to find on a touring or club bike from its era (1962):  all British, except for the Michelin tyres. (Yes, I had to spell it the British way!)  And, I must say, it is lovely.

I was struck in particular by two things.  One is, of course, the configuration of those top tubes:  They don't slope down as far as those on the more familiar kind of mixtes.  In fact, they don't seem much less horizontal (Is that a real phrase?) than the top tubes of most diamond-frame bikes.  Moreover, they end at the seat tube in a sort of semi-lug, which I find to be an interesting touch.

(Don't you just love seeing that pump between the parallel tubes?)

The other thing I immediately noticed is its size. I can't recall seeing a mixte that was too big for me:  For that matter, I haven't seen many mixte frames as tall as Vera, my Miss Mercian.  If the measurements listed are accurate (and, from what I see in the photos, I believe they are), it's indeed larger than my Miss Mercian, or almost any other mixte.  In fact, at 58 cm (for the seat tube) it's even larger than all but one diamond-frame bike I've ever owned. 

With all due respect to Vera, it is a rather uniquely (Is that a real phrase?) lovely bike.  If I were about three inches taller--or had the money and space have a collection--I probably would buy it.

More--Or Mores?

If you mention English three-speed bikes, the first brand that comes to most people's minds is Raleigh.

That makes sense when you realize that not only did Raleigh make more such machines-- and make them for longer-- than any other bike maker, they  had also, by the late 1950s, acquired BSA, Sunbeam and other manufacturers of such machines.  If you aren't a three-speed enthusiast or haven't worked in a bike shop, you probably aren't aware of those brands.  Most people have seen bikes from those marqes but didn't notice because they don't know or care about such things, or because those bikes looked so much like Raleighs that they didn't notice the brands.

So it's not such a surprise that English bicycle saddles have a similar history to the bikes I've mentioned, especially when you realize that most English bikes (as well as machines from many other countries), until the 1970s, came with British leather saddles.

Now, a cyclist who isn't of a certain age can be forgiven for thinking that Brooks is the only British company to have made those iconic perches from hide stretched across rails.  Turns out, up to about the 1970s, a number of firms in Albion were making saddles similar to the ones Brooks offered.

You may have ridden one of their wares, perhaps without realizing it.  Among those saddle makers were Lycett, Wrights and one I re-discovered recently.   They all have remarkably parallel histories:  They started as makers of horse saddles or other leather goods, and they all were based--as was much of the British cycling industry--in and around Birmingham.  

(The name of that city is pronounced "burr-mean-gum" with an accent on the first syllable.  Folks in Alabama will tell you their largest city is "Burr-ming-ham", with the last syllable accented.)

Recently, I saw an old Holdsworth parked in my neighborhood.  I wish I had taken photos of it:  The frame was obviously from the 1960s or earlier, but it was kitted out with a combination of modern, mostly Japanese, components.  The bike, however, sported one item that was very distinctively of its place and time:

I rather liked the nameplate, with the Middlemore name bookended by an enlarged "M" and "E" at the beginning and end, respectively.  What puzzled me, though, is this:

So the rear plate says "Middlemore" but the side emblems read "Middlemores".  It would make more sense if the latter contained an apostrophe, as in "Middlemore's saddles".  Instead,it looks as if someone couldn't decide on the singular or plural.

The makers of that saddle can be forgiven.  The B89, which I believe was the model I saw on the Holdsworth, looks like a cross between a Brooks Professional and B17.  At least, the width seems to be somewhere between the two.  And the leather on it was as thick as I've seen on any, and appeared to be of very good quality.  Whoever's been riding that saddle seems to have taken care of it.

In doing some research, I found an entire blog devoted, not only to Middlemore(s) saddles, but to other items--some not related to bikes--made by the company.  Apparently, the firm was known as Middlemore & Lamplugh after the two firms bearing those names merged in 1896, and continued to make saddles under both names until 1920, when the firm was dissolved and one of its factories was sold.  Middlemore once again became a separate company, known as Middlemores Coventry, that continued to make bicycle saddles.

As Raleigh was acquiring many of the old British bicycle marques, a rival company, the Tube Investments Group, was buying up the bike makers Raleigh hadn't collected.  By that time, Raleigh also owned a number of component manufacturers, including Sturmey Archer---and Brooks.  In 1960, TI bought Raleigh, which meant that, in essence, they controlled the British bicycle industry.

TI would then "retire" some of the old bike and parts brands that had previously competed with Raleigh and its affiliates.  Somehow, though, Middlemore(s) managed to remain independent.  During that time, the B89 came out; later, a cutaway version (like the Brooks Swallow), the B89N, was offered.  And their tri-sprung saddle, the B3, found a following among some more leisurely cyclists.  According to one former employee, Middlemore(s) even made a saddle for Princess Margaret.

By the 1970's, however, much of their dwindling income came from rebadged saddles they made for a few bike manufacturers, including Lambert/Viscount and Moulton.  But as companies like Lambert/Viscount died out, were acquired or moved production overseas, Middlemore(s) dwindled and seems to have stopped making saddles altogether in the 1980s, although it existed on paper until 21 May 1991.

At that time, Middlemore(s) was one of the most longevous manufacturing firms of any kind in Britain or the world.  It had, in fact, existed for even longer than Brooks or Raleigh. 

Across the Channel, a number of French firms made leather saddles similar to the ones made by their counterparts in Blighty.  Some were of decidedly inferior quality, like the Adga Model 28s that came with Peugeot UO8s and other similar French bikes.  (The Adga 28, as Sheldon Brown wryly notes, probably did more than anything else to turn people off suspended leather saddles.)  Then there was Norex, a "second line" of saddles from Ideale, the best-known French maker.  

Ideale seems to have gone out of business in the mid-1980s or thereabouts.  From the next two decades or so, Brooks was just about the only brand of leather saddles available (and then only sporadically) in the US and much of the world.  A Dutch company continued to make similar products, which seemed to be of decent quality.  One possible reason why they weren't imported to America, or to most of the English-speaking world, might have been its name:  Lepper.

Note:  The images in this post came from "VeloBase".

A Bike Spanner That Isn't Raleigh

If you bought a Raleigh bicycle before the 1970s, it might have come with this:

Even if you have never owned a Raleigh, there's a good chance that you've come across the Raleigh spanner (or what Yanks call "wrench").  You might even have one.  I did, for a long time.  I don't know whether I loaned it and never got it back, or simply lost it.

Anyway, Raleigh wasn't the only British bike maker to offer a spanner.  Check out this, from Claud Butler:

Like Raleigh's tool, the Claud Butler spanner has a hooked end for a bottom bracket lock ring.  I am guessing that the
hex side of the wrench fit the bottom bracket cup--or, possibly, the headset.  In the 1960s--when, it seems, the tool in the photo was made--if a customer bought a frame, it was as often as not supplied with those components.

Claud Butler is long gone, and bikes under his name, and Holdsworth, have been made by other British bicycle manufacturers for some time.  CB also offers a line of tools similar to those of other bike manufacturers, but when Claud was still alive, they had their own discrete line, which were probably made by Cyclo or some other Birmingham bike parts company.