I guess that Robbie is right that the Aeolian/Steinway deal only
affected Webers made in the States. After 1909 Aeolian's new factory
at Hayes (Middlesex) near London (UK) had a large section specifically
for the manufacture of Weber instruments, which may thus not be
coincidental.  They were not of American design, however, but by
Samuel Wolfenden, the highly esteemed author of the notable treatise
on piano design. The grands do have one classic Weber feature, though,
the excellent graphited hardwood (rather than cloth-covered) cushions
between the tuning pins and agraffes or capo d'astro, and do say
London and New York on the frames.

They are all stunningly good pianos, solidly constructed, beautifully
proportioned and finished (some in art cases) with even scaling and a
marvellously full, rounded but clear tone throughout which can be made
to 'speak' very easily. All have especially what is here called 'the
Weber treble' (was this so in the States?), powerful but sweet with
very good duration, and frankly they easily surpass any Steinway. How
much, I wonder, did Wolfenden adopt from American Webers, or try to
replicate their signature tone?

They were only made until the start of WW1, during which Wolfenden
retired. UK Aeolian Co. Webers made after the war are by an entirely
different designer. They have graphited cushions, and often the Weber
treble, but while they are very solidly made and well finished and can
be very good, they are simply not in the same league tonally as
Wolfenden's. We don't know yet why Aeolian abandoned his wonderful
designs. The new ones were no cheaper in construction. Was the new man
trying to make his mark? Or perhaps, the war over, Steinway insisted...

Paddy Handscombe
Wivenhoe, Essex, UK