Welmar 114

Welmar is the name people reach for when they want to argue that Britain could build a proper piano, and the claim holds up. The firm behind it, Whelpdale, Maxwell and Codd of London, had been the UK agent for Blüthner before it started manufacturing under its own name in the 1930s, and the Blüthner influence shows in the voicing: Welmars are warm, singing instruments rather than bright ones, with a touch that rewards playing quietly.

At 114cm the 114 is the compact model in the range, which makes it one of the more practical ways to own a British-built piano of this quality, since it will go in a room that could not take a tall upright. Production ended in 2003 and no more are being made, which is worth knowing. Priced at £4,295, this example has been assessed and prepared by our team at The Piano Gallery.

Available to purchase online or to try in person at our Oxfordshire showroom. Contact us to arrange a viewing or to discuss delivery and part-exchange options.

Frequently Asked Questions

Who made Welmar pianos?

Whelpdale, Maxwell and Codd, a London firm that had been importing Blüthner pianos before it began building its own in the 1930s, naming them after two of its directors. The company made a point of being British-owned, British-managed and British-staffed, and over seventy years it built a reputation as about the best of the British makers. Production moved from London to Gloucestershire in the later years and ended in 2003.

What does a Welmar sound like?

Warm, round and singing rather than bright and projecting, which is the Blüthner inheritance showing through. Players who find Japanese uprights hard in the treble tend to like Welmars a great deal, and they suit domestic rooms and classical repertoire particularly well. If you want a piano that cuts through a noisy hall, this is not it; if you want one that is pleasant to sit at for two hours, it very much is.

Does it matter that Welmar no longer exists?

Not for maintenance. Welmar used conventional German action parts and standard scalings throughout, so hammers, strings, dampers and felts all come from the usual trade suppliers and any competent technician will be at home inside one. What the closure does mean is that the supply is fixed and slowly shrinking, which has tended to support values on the better examples rather than undermine them.

How does a Welmar 114 compare with a Japanese upright of the same size?

The Japanese piano will be brighter, more consistent from one example to the next, and easier to sell on. The Welmar will be warmer, more individual in character, and to most ears the more musical of the two in a domestic room. There is also the simple fact of it being British-built and hand-finished, which matters to some buyers and not at all to others. Play them next to each other and the difference is immediately obvious.

Is 114cm large enough to be a serious piano?

It is a full 88-note instrument with three pedals and a proper action, so nothing in the repertoire is mechanically out of reach. The limit of a compact piano is bass depth and sustain, where a taller instrument will always have the advantage of longer strings. On a Welmar the tonal quality through the middle is good enough that the compact size is less of a constraint than it would be on a cheaper piano of the same height.