Mechanical Music
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 67, No. 4 July/August 2021
PuRchAse • sAles • consignment
of Quality Cylinder & Disc Music Boxes, Musical Clocks & Automata
For over forty years we’ve placed fine antiques in collections around the world.
Our reputation has been built upon appreciative buyers and satisfied sellers.
Pictured are a few of the musical antiques in our current and recent inventories.
496 First Street, California 93463 • Ron & Julie Palladino
Open Seven Days a Week 10-6 • 805-452-5700
www.renantiques.com
Visit the charming Danish Village of Solvang, half an hour above Santa Barbara in the beautiful Central Coast Wine Country
RENAISSANCE ANTIQUE S
Renaissance Antiques of solvang
Editor/Publisher
Russell Kasselman
(253) 228-1634
editor@mbsi.org
MBSI Editorial Office:
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
editor@mbsi.org
Publications Chair
Bob Caletti
All manuscripts will be subject to editorial
review. Articles submitted for publication may
be edited or rejected at the discretion of the
Publications Committee and the Editorial
Staff. The article will not be published with
significant changes without the author’s
approval. All articles are considered to be the
author’s personal opinion. The author may be
asked to substantiate his/her statements.
Mechanical Music (ISSN 1045-795X) is published by
the Musical Box Society International, 130 Coral Court,
Pismo Beach, CA 93449 six times per year. A Directory
of Members, Museums and Dealers is published
biennially. Domestic subscription rate, $60. Periodicals
postage paid at San Luis Obispo, CA and additional
mailing offices.
Copyright 2021. The Musical Box Society International,
all rights reserved. Mechanical Music
cannot be copied, reproduced or transmitted in
whole or in part in any form whatsoever without
written consent of the Editor and the Executive
Committee.
MEMBERS: SEND ADDRESS CORRECTIONS TO:
MBSI, PO Box 10196,
Springfield, MO 65808-0196
Or, make corrections on the website at www.mbsi.org.
POSTMASTER: SEND ADDRESS CHANGES TO
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Mechanical Music
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 67, No. 4 July/August 2021
MBSI NEWS
5 President’s Message
7 Outreach Corner
51 In Memoriam
Features
10 Nickel Notes
by Matt Jaro
16 The Braamcamp Clock
29 History of the
Steinkjerpositives
35 Building a Bird Box
39 An Unforgettable Buying
Trip
43 Treasured Memories
48 Bob’s Symphonion
On the Cover
The Braamcamp Clock, restored
and displayed in Museum
Speelklok. Read the story of the
restoration starting on Page 16.
Steinkjerpositives
Strange name, interesting history.
Page 29.
MBSI has replanted
146 trees so far as
part of the Print
ReLeaf program.
Bob’s Symphonion
Sometimes you find “The One” and
simply marvel that it makes its way
to your collection. Page 48.
July/August 2021 MECHANICAL MUSIC 3
MEMBERSHIP APPLICATION MEMBERSHIP APPLICATION
M
M
echanical music is a fascinating hobby! It
appeals to the artist, historian, craftsman, and
musician all at the same time. Play an automatic
musical instrument in a room full of people and all else
will stop as the machine enraptures the audience with the
sparkling melodies of yesteryear!
Mechanical music instruments are any sort of auto
matically-played machine that produces melodic sound
including discs and cylinder music boxes that pluck a steel
comb; orchestrions and organs that engage many instru
ments at once using vacuum and air pressure; player and
reproducing pianos that use variable vacuum to strike piano
wires; phonographs; and self-playing stringed, wind, and
percussion instruments of any kind.
The Musical Box Society International, chartered by the
New York State Board of Regents, is a nonprofit society
dedicated to the enjoyment, study, and preservation of
automatic musical instruments. Founded in 1949, it now
has members around the world, and supports various
educational projects.
Regional chapters and an Annual Meeting held each year
in different cities within the United States enable members
to visit collections, exchange ideas, and attend educational
workshops. Members receive six issues of the journal,
Mechanical Music, which also contains advertising space
for members who wish to buy, sell, and restore mechanical
musical instruments and related items. Members also
receive the biennial MBSI Directory of Members, Museums,
and Dealers.
The only requirements for membership are an interest in
automatic music machines and the desire to share information
about them. And you’ll take pride in knowing you
are contributing to the preservation of these marvelous
examples of bygone craftsmanship.
More Information online at www.MBSI.org, or
Call: (417) 886-8839, or
Email: jbeeman.mbsi@att.net
Copy this page, and give it to a potential new member. Spread the word about MBSI.
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4 MECHANICAL MUSIC July/August 2021
By Tom Kuehn
MBSI President
The President’s desk has been
relatively quiet the past two months,
a welcome respite from all the additional
activity necessitated by the
pandemic during the past year and a
half. So, I will be brief.
My family has made arrangements
to attend the 2021 MBSI Annual Meeting
in Ft. Myers, FL. Members of the
Southeast Chapter have been working
diligently over the past several years
to make this year’s meeting really
special. Those of you who have never
attended an annual meeting should
know you may be missing one of the
best benefits of membership in this
society. The meetings are fun, informative,
part holiday and part reunion
with an opportunity to make and
renew friendships. If you have not
had an occasion to smile for a while,
plan to attend the meeting. I assure
you, it will not disappoint.
Those of us in the U.S. are experiencing
what should be the end of the
COVID pandemic in our country. I
realize this is not the case everywhere.
Travel restrictions and other impediments
may prevent many of our
international members who routinely
attend our meetings from participating
this year. Hopefully this will be the
last year those hurdles exist.
I hope all of you are having a look forward to seeing many of you in
relaxed and enjoyable summer and I person in Ft. Myers.
Welcome new members!
Steve & Diane EpsteinApril 2021
Columbia, MO
James & Angela Mayer Dennis Tynes
St Louis, MO San Diego, CA
May 2021 Dave Menna
Scarsdale, NY
Lynn Meyer Sponsor: Joe Moffitt
Macomb, MI
Matthew Bjork & Lisa Voth
Davis, CA
Richard & Kaye Moyer
Anaheim, CA
Richard Parker
Walla Walla, WA
Andrew Warner
Harvard, MA
MBSI MEMBERSHIP DRIVE
EACH ONE/REACH ONE NEW MEMBER
MBSI is always interested in increasing its membership and is pleased to offer new members a $15
discount off their rst year’s membership. You are considered a new member if you have not been a
member in the past three years. This discount is also available on our website, www.mbsi.org.
Current MBSI members who sponsor a new member will receive a $5 discount off their next year’s
MBSI membership renewal for each sponsorship. Attach a copy of the discount voucher below to a
copy of the membership application form on Page 4 of this issue of Mechanical Music. Place your
name as “sponsor” on the application form.
Please make copies of these forms as needed and send the completed forms with checks to the MBSI
administrator at the address listed below.
★
★
★★
®
(INTERNATIONAL)
ORGANIZED IN 1949
DEVOTED TO ALL MECHANICAL MUSICAL INSTRUMENTS
★
★
★★
®
(INTERNATIONAL)
ORGANIZED IN 1949
DEVOTED TO ALL MECHANICAL MUSICAL INSTRUMENTS
Musical Box Society International
P.O. Box 10196
Spring eld, MO 65808-0196
Phone/Fax: (417) 886-8839
Musical Box Society International
P.O. Box 10196
Spring eld, MO 65808-0196
Phone/Fax: (417) 886-8839
Dues Voucher – $15
New U.S. members may join MBSI for one year at $45 (instead
of $60); Canadians $55 (instead of $70; and, other International
members at $60 (instead of $75). This certi cate must accom-
pany payment and a copy of the completed membership
application from page 4 of this issue of Mechanical Music.
New Member Name(s):
Authorized by MBSI Administrator
NEW MEMBER
GIFT CERTIFICATE
New members are those who have never been members of MBSI
or those who have not been members for three years prior to
submission of this voucher.
New members are those who have never
been members of MBSI or those who have
not been members for three years prior to
submission of this certi cate.
Gift Membership Name
Address, City, State, ZIP
Phone Email
Sponsor
SPECIAL OFFER: Purchase one or more rst-year MBSI gift
memberships at $45 each U.S., $55 Canadian, or $60 other International
and you will receive $5 off your next year’s MBSI membership
renewal for each “New Member” gift.
Please mail this form together with your check made payable to “MBSI” to the MBSI Administrator at the address listed
above. Memberships are $45 for U.S. residents, $55 for Canadian residents, and $60 for other International residents.
Outreach Corner Outreach Corner
A Special Exhibit . . . during COVID
If you can’t go to the show, bring it to you!
By Mary Ellen Myers
Special Exhibits Committee Chair
Year 2020 dragged on at a snail’s
pace. Folks (especially those sharing
our condo address) were desirous
of interesting, enjoyable yet safe,
live entertainment during this time
of social isolation. Neighbors and
friends talked of interests and hobbies
and how they missed the normalcy of
engaging in these. Could this be an
opportune time to introduce folks to
mechanical music?
As a background, our second home
(hopefully to eventually become our
primary home), in Sarasota, FL, is
center stage to many professional
artistic venues, including productions
of the Ringling School of Art,
the Sarasota Ballet Company, the
Sarasota Orchestra, the Sarasota
Opera Company, many museums,
live theater arts, and, of course, the
Circus. Area colleges also focus on
the arts and provide student entertainment.
Many retirees, especially those
from the north, have chosen this area
for continued enrichment. The onset
and intensity of the COVID Pandemic
canceled all public performances and
proclaimed an indefinite furlough
pending the status of the pandemic. As
a result, area residents became hungry
for entertainment of an artistic nature,
while being extremely cautious in
all health and safety matters. Some
programs were privately streamed
over the internet but it was just not
the same as being there amongst a live
audience. What was needed was live,
in-person programs.
Creativity was needed to provide
social yet safe activities in our 69-unit
condo community. We all seemed to
be craving something stimulating,
interesting yet free of concern. As a
A promotional table set up in the condo common area to advertise the show.
A cylinder music box from Wayne and Mary Ellen Myers’ collection demonstrated
during the show.
Condo Social Committee planner, I pandemic imposed social restrictions.
had considered a mechanical music I floated the idea around a bit, without
exhibit in our newly-renovated condo much interest. (The community is an
common-area in compliance with over-fifty group, very conscious of
July/August 2021 MECHANICAL MUSIC 7
Advertising is important. A simple sign in the condo lobby Flyers were made available to residents of the condo to gauge
attracted attention when it was clear seating would be limited. interest and control the number of attendees.
everything and anything safety.) Being
a retired healthcare professional, safety
was my primary objective as well.
I sent out flyers of introduction and
questionnaires regarding interests,
specifying that events would only
happen if we could guarantee compliance
with COVID mandates. Still, I
received mediocre interest in return.
Lastly, I sent out specifics about
exactly how an event like this would
be accomplished, displaying sign-ups
and charts for limited seating. Something
about the word limited proved
enticing to those reading my advertisements.
A few days later, every spot
was filled! I set the show date close to
St. Paddy’s Day, so green refreshments
were also offered in a safe manner.
Food does draw interest!
On Mar. 14, 2021, the show did go on.
The history and science of
mechanical music and instrument
demonstrations were presented five
times during the day, each session
lasting about one hour. We coined
the phrase “Home Entertainment of
bygone years — from Inside to Out.”
Instruments demonstrated included
a cylinder box, and two kinds of disc
players for the in-home part. A roller
organ (aka preacher’s organ) and a
Taylor street organ brought mechanical
music out of the home. A table of
other curiosities, including past MBSI
table favors, was also on display.
Wayne Myers, Sally Craig and I
were the presenters explaining and
demonstrating each instrument.
Audience members were invited to
be organ grinders for a few minutes.
MBSI brochures were made available.
Two prizes (orphan music boxes from
a bygone convention) were awarded
at the end of the day.
This was a fun and satisfying experience
for the presenters and audience.
Hopefully there will never be a need
to take such rigid safety precautions
again. I do apologize that no photos of
the actual presentation are available.
We were all too busy conducting the
show that day! The best news to come
out of all of this? No one got COVID!
Music is nothing unless it is shared
8 MECHANICAL MUSIC July/August 2021
Participants were invited to become organ crankers on this
Taylor street organ. A roller organ demonstrated during the show.
A Molinari monkey organ that became part of the show. Visitors saw and heard this disc box during the presentation.
July/August 2021 MECHANICAL MUSIC 9
Nickel Notes
By Matthew Jaro
The restoration of Seeburg K #57046
It was a little over six years ago
when I thought I could squeeze one
more nickelodeon into my music
room. The question was, what should
I get? I already had a Seeburg K
with xylophone, a Nelson-Wiggen
4X restored by David Ramey, Jr.
(see Mechanical Music, November/
December 2019, or Vol. 50, No. 5 of
the AMICA Bulletin), a Seeburg G, a
Seeburg H (see Mechanical Music,
July/August 2016, or Vol. 47, No. 3 of
the AMICA Bulletin), a Wurlitzer 153
Band Organ and a Chickering Ampico
A piano.
Remember, I really like the music,
so a plentiful supply of rolls was
important to me. The Link machines
have wonderful arrangements, but
changing rolls is difficult and I change
rolls all the time. Cremona machines
are wonderful, but M rolls are relatively
hard to obtain.
I’ve always loved the Wurlitzer
CX which uses five-tune APP rolls. I
thought seriously about this machine,
but then I realized that I would have
to get all available rolls, since I’m a
real roll addict. My house is already
overflowing with rolls, and I really
don’t have room for another large set
of rolls. I think there are thousands of
APP rolls. For the same reason an O
machine, like the Coinola SO, would
be impractical.
Then I hit upon the idea of getting
a Seeburg K machine with pipes. I
already have a large A roll collection,
so I wouldn’t have to buy a bunch of
rolls, and it would be a completely
different sound from my K with
xylophone.
As luck would have it, Dave Ramey,
Jr.’s mother had such a machine. It
originally belonged to Dave Ramey,
Sr. who bought it years ago for his
personal collection. It had a set of
flute pipes, but Dave, Sr. had a set of
violin pipes made by Bruce Newman.
So here I am presented with the idea
of owning a machine with two sets of
interchangeable pipes. I could choose
the sound I liked!! Unfortunately for
us all, Dave, Sr. died before he could
restore this machine.
I bought the machine from Dave,
Jr.’s mother and since it was already
in Dave, Jr.’s shop, I got on his list
of projects to do. Dave, Jr.’s work on
my Nelson-Wiggen 4-X machine was
so incredibly great, that I was more
than happy to have him restore this
machine, too.
So here I am, embarking on another
adventure!
Again, there was a lot to do in
order to restore a machine. I like my
machines to look like they just came
out of the Seeburg factory. The case
should look new, and the parts should
be shiny. The machine should sound
like it was brand new.
This machine dates from 1914 and
has the rare Dancing Girl art glass and
the old gate-post coin accumulator.
The stained glass did not have the
Decals used to restore the faces of the dancing girls in the art glass.
10 MECHANICAL MUSIC July/August 2021
July/August 2021 MECHANICAL MUSIC 11
The piano action before restoration. The piano action after restoration.
The gatepost coin accumulator before restoration.
The gatepost coin accumulator after restoration.
faces on the dancing girls (they were Restore Cabinet • Replace plating or clean and age
just blank) and several pieces were • Patch veneer on sides and lid hardware
the wrong color. Decals had to be • Replace veneer on toes and • Restore art glass with decals
made in order to restore the faces. In bottom stringer
addition, work needed to be done on • Fabricate new bottom to replace Restore Piano
the trim. splintered/warped original • Patch and refinish soundboard
The following is a list of the tasks • Supply lock and key • Install new tuning pins
performed (other than the stained • Install new casters • Install new strings
glass): • Refinish cabinet • Refinish piano plate
12 MECHANICAL MUSIC July/August 2021
• Replace plating on hardware
• Clean and rebuild action wippens
• Install new butts and hammers
• Install new damper felts
• Fabricate and install original style
mandolin rail and mechanism
Restore Electric Components
• Restore coin mechanism
• Fabricate coin collection box and
housing
• Replace plating on hardware
• Install relay and cover (lessens
wear on coin mech contacts)
• Fabricate spring motor base
• Replace wiring of hanging socket
Restore Pipe chest
• Replace all gaskets
• Replace all coverings
• Fabricate new pneumatic boards
• Refinish components
• Clean pipes
Restore Piano Stack
• Replace all valve pouches and
valve face leathers
• Replace all gaskets
• Fabricate new pneumatic boards
• Replace all coverings
• Refinish components
Restore Vacuum/Pressure Pump
• Replace outer coverings with
laminated leather
• Make and install new inner and
outer flap valves
• Refinish pump body
• Replace plating of hardware
• Install new friction drive tire
• Change how pump mounts to
channel deck for easy removal
Restore Music Roll Frame
• Clean mechanism
• Clean and polish tracker bar
• Restore rewind/play unit
• Replace rubber tubing
• Make and install missing tubing
cover
Restore other Pneumatic
Components
• Replace all valve pouches and
valve face leathers
• Replace all gaskets
• Replace all coverings
• Make and install missing pedal
The interior of the machine before restoration.
The interior after restoration.
hardware collection at Svoboda’s Nickelodeon
• Supply original coin slide entry Tavern and Museum. Around 1970,
• Replace rubber tubing Dave, Sr. began a full-time restoration
business. Dave trained a number of
Dave Ramey, Sr. started receiving skilled craftsmen. He introduced the
his automatic music education in 1955 Banjo-Orchestra in 1994 and the D.C.
while maintaining the nickelodeon Ramey Piano Company has since sold
July/August 2021 MECHANICAL MUSIC 13
The pump before restoration.
The template for new pump leather with stiffeners.
many units. Dave Ramey, Sr. passed away in July 2006. His
son started in the family business full time in 1986 after
years of working after school and summers alongside his
father. Dustin Hott worked with Dave and he did much of
the piano work for the restoration project.
One fine day, Dave, Jr. pulled up to my house with
my brand-new (old) Seeburg K. If I ordered one from
Seeburg, it couldn’t have looked better. Can you imagine
taking a wreck of a machine and creating something truly
wonderful?
It’s been several years now, and I can’t stop playing it. I’m
sticking to the violin pipes for now since I like the sound
better than that of the flute, but I can always change.
Dave Ramey, Jr. can be reached at dcramey@dcramey.
com and his phone is (708) 602-3961. Visit his website
dcramey.com.
The spool frame before (top photo) and restored to a like-new
condition (bottom photo).
Email Matt Jaro at mjaro@verizon.net if you would like any
information about style “A”, “G”, “4X”, “H” or “O” rolls. Also,
comments and suggestions for this column will be appreciated.
Reprinted with permission of the author and The Automatic
Musical Instrument Collectors’ Association (AMICA). Originally
printed in the November-December 2015 issue of The
AMICA Bulletin.
14 MECHANICAL MUSIC July/August 2021
Many, many valves were cleaned and
restored during the process of renewing
the Seeburg K.
WE WANT YOUR
STORY!
Every mechanical musical
instrument has a tale to tell.
Share the history of people
who owned your instrument
before you, or the story of its
restoration, or just what makes
it an interesting piece. Send
stories via email to
editor@mbsi.org, or
mail your story to:
130 Coral Court,
Pismo Beach, CA 93449
New strings help make the piano sound like it just came off the factory floor.
More of the valve work in progress.
July/August 2021 MECHANICAL MUSIC 15
The
16 MECHANICAL MUSIC July/August 2021
Braamcamp Clock
In September 2016, a long-
cherished wish came true for
the Dutch Museum Speelklok
in Utrecht, Netherlands. With
the help of some donations and
foundations, the director of
Speelklok, Marian van Dijk, and
the head of the collection, Anne-
Sophie van Leeuwen, were able to
acquire the so-called “Braamcamp
clock” at a Sotheby’s auction in
Paris, France. The purchase of this
prestigious flute clock also marked
its return to Holland, where it
had once been part of the rich
collection of fine and applied arts
of the merchant Gerrit Braamcamp
(1699–1771) in the late 18th century.
Reprinted with permission of Das Mechanische
Musikinstrument and the Gesellschaft für Selbstspielende
Musikinstrumente e.V. (German Society for Self-Playing
Musical Instruments)
Editor’s note from Das Mechanische Musikinstrument:
In the newsletter of Museum Speelklok
I read the account of an employee of
the Rijksmuseum, in Amsterdam, which
concerned the restoration of the so-called
“Braamcamp Clock.” The article was available
in English, but it was so exciting that I asked
the author, Tirza Mol, if I could translate it into
German and publish it in Das Mechanische
Musikinstrument. Tirza emailed me back that
she wanted to discuss it first with her boss, the
head of the furniture restoration department at
the Rijksmuseum. I then received the following
report on the restoration, which I have
transcribed from English in consultation with
those involved. First, a word about Charles
Clay and the clock, whose purchase was by no
means as unspectacular as our authors’ text
suggests. The clock was sold at auction on
Sept. 28, 2016, at the Sotheby’s auction house
in Paris, France, and came from the collection
of a well-known French collector, Robert de
Balkany. It was bought by Museum Speelklok
for the remarkable price of 867,000 euros. This
set a world record for the price of a clock made
by Charles Clay. At the time the clock was
made, England, and London in particular, was
the center of the clockmaking world. Clay was
a purveyor to the court of the English crown
and a contemporary of Thomas Tompion and
George Graham, the absolute grand masters of
English clockmaking.
Thanks to the Authors’ collective which
consisted of Tirza Mol, Paul van Duin, Duncan
Bull from Rijksmuseum Amsterdam and
Anne-Sophie van Leeuwen, Marieke Lefeber-
Morsman, Erwin Roubal and Tristan Budel
from Museum Speelklok, Utrecht.
All photographs are courtesy of Museum
Speelklok, Utrecht, Netherlands.
— Uwe Gernert
July/August 2021 MECHANICAL MUSIC 17
The clock was probably made in the
late 1730s by Charles Clay, a London
master clockmaker who was at the
time a member of His Majesty’s Board
of Works as a court clockmaker. He
held that position until a few years
before his death in 1740. Because of
its sophisticated musical mechanism,
the acquisition of the Braamcamp
clock had always been a heartfelt wish
of Jan Jaap Haspels during his time as
director of Museum Speelklok from
1970 to 2006. When the museum celebrated
its 50th anniversary in 2006, the
monumental clock was the highlight
of the anniversary exhibition titled
Royal Music Machines.
Made of oak, the overman-high
furniture of the Braamcamp clock is
veneered with mahogany in the lower
part and ebony in the upper part. The
case houses a clockwork, a weight-
driven organ movement, and a large
musical cylinder 340 millimeters in
diameter. When the clock and organ
movement were originally assembled
into the case, it must have been
discovered that the two parts did not
really fit together. At different places
in the clock and organ movement,
it’s obvious that interventions took
place to remedy this situation. These
interventions do not all seem to have
been really optimal and significantly
affected the clock’s construction.
The ornaments consist of fire-gilded
bronze decorations and cast brass
elements. The side and the rear arched
windows of the upper part are also
filled with “ajour” work made of fire-
gilded bronze, the openings of which
are covered with red fabric from the
back.
The movement
The first thing restorers noticed
were two small, closed openings on
the clock dial. These were probably
intended as holes for winding the
clock, but when the clock came into the
possession of Museum Speelklok, the
movement was being wound through
openings in the side parts of the case.
It was surmised that the reason the
openings in the dial were closed had
to do with the enormous effort necessary
to wind the clock through the
dial. In order to do this, it would have
A drawing of Gerrit Braamcamp.
required the entire, huge upper part
of the case to be pushed completely
upwards and held there while the
clock was wound. Someone may once
have considered putting a door in the
upper part of the case to assist with
the winding, but had such a door been
installed, it would have hidden part
of the magnificent ornamentation
from view, and that would have been
highly undesirable. Putting smaller
openings on the sides of the upper
part of the case and employing angular
gears attached to the shafts of the
movement so that the clock could be
wound without removing the case was
clearly a better solution for the person
responsible for the modification. The
angular winding gears, however, put
a different load on the movement’s
bearings than the original mechanism
could tolerate and ended up causing
some corresponding damage. After a
thorough examination, it was decided
that the movement and its winding
method should be restored to the
original condition. For this purpose,
the original winding holes on the dial
were reopened, the added parts of the
winding system were removed, and
thus the complete winding system
was restored to its original form.
Also, of course, the damage
caused to the movement itself had
to be repaired. The forces applied
by the angular gears in the winding
The two padded wooden blocks used to
hold the clock casing high enough to be
able to wind the mechanism.
mechanism had caused a crack in one
of the axles. This crack was milled
out and refilled with iron. Holes
were drilled in the front plate of the
movement and in the corresponding
shafts to be able to attach the earlier
modification. All of these holes were
also resealed. The worn, out-of-round
bearing bores were replaced, the
shafts were re-turned to size, and the
cones were polished. The contact
patterns of the gears were no longer
suitable due to the changed positions
of the winding mechanism, and the
meshing of the gears was thus no
longer guaranteed. This was remedied
by concavely re-milling the teeth of
the corresponding gears, thus restoring
a suitable contact pattern.
The sliding case/cover was also
restored to its original state. Now, to
wind the movement, the entire upper
part of the case has to be pushed up
about 30 centimeters. The original
owner likely had servants and therefore
could marshal enough manpower
to do this regularly, but today it is
much harder to find people willing
to assist with this, not only for the
18 MECHANICAL MUSIC July/August 2021
The drawing for the restoration
of the drive mechanism
July/August 2021 MECHANICAL MUSIC 19
physical labor involved but also they
fear dropping the case, or otherwise
damaging anything in the clock. There
is no fixture in the case that holds the
top in this position, so we now make
use of two padded wooden blocks,
which are slid under the top to hold
it in place while the clock is wound.
In the base cabinet under the clock,
there is enough storage space to hold
these blocks and the winding keys.
The dial is housed in the front round
arch but is relatively small with a
diameter of 15 centimeters. This dial
is embedded in a large copper plate,
artfully decorated with sculptural
elements in front of an oil painting
of Apollo and the Muses on Mount
Parnassus with Minerva. The painting
can almost certainly be attributed to
the Venetian painter Jacopo Amigoni
(ca. 1685–1752). The front of the clock
is framed by a bas-relief of fire-gilded
bronze, intended to create the impression
of three-dimensional architecture
and consisting of two obelisks, each
crowned with a vase, and two other
ornate vases. In high relief are the
figures of Apollo and Diana in cast
silver. These were made by John
Michael Rysbrack (1694–1770).
Rysbrack is also responsible for the
vividly depicted group representing
the “Four Arts” below the figures,
which are also cast in silver as high
reliefs.
We encounter Rysbrack’s reliefs on a
whole series of Clay’s musical clocks,
while Amigoni is also responsible for
painting all four sides of Clay’s probably
most accomplished clock on the
theme of “The Four Great Monarchies
of the World,” now part of the British
Royal Collection and on display at
Kensington Palace. Rysbrack and
Amigoni, as leading artistic figures
of the time, were naturally at home
in London’s musical world, so Clay’s
choice to commission them to design
it to complement Handel’s music is
not surprising.
Repertoire
The music automaton consists of
an organ that plays 10 different melodies,
probably all by George Frideric
Handel (1685–1759). Handel (from
Halle), Amigoni (from Naples) and
Detail of the dial face of the
Braamcamp Clock showing the
bronze sculptures on either corner,
cast-silver figures inset and finally
an oil painting of Apollo and the
Muses on Mount Parnassus with
Minerva in the background that
creates a three-dimensional artwork
effect.
At right and facing page: Details of
the bellows section and the flute
ranks with pinned cylinder featuring
10 tunes.
20 MECHANICAL MUSIC July/August 2021
July/August 2021 MECHANICAL MUSIC 21
Rysbrack (from Antwerp) were the
three main figures of London’s cultural
life in the first half of the 18th century
and as such were familiar with the
most popular and fashionable art form
of the time, Italian opera. As the most
famous musician of the time, Handel
was naturally the first choice to create
the music for such an extravagant
and expensive piece as Clay’s clock,
and it could be possible that he was
responsible for arranging his melodies
specifically for this work, but equally
for Clay’s other organ clocks.
The range of the flute organ is quite
extensive:
c’-d-e-f-fis-g-a-bes-b-c”-cis-d-dis-ef-
fis-g-gis-a-bes-b-c’’’
Every three hours the organ plays a
melody. The first piece on the cylinder
is the “Minuet from the Overture to
Arianna.” The opera “Arianna” was
first performed in 1734. In order to
make this minuet playable for the
organ work of the clock, the arranger
shortened it and omitted the middle
register. Five of the other melodies
in the repertoire have not (yet)
been identified. There is a distinct
possibility that one or the other of
these melodies may have originally
belonged to another organ clock
repertoire. Three of these five pieces
are also found on another clock by
Charles Clay, which is preserved in
Windsor Castle and dated to a year of
construction around 1739.
To make minor adjustments to the
keys of the organ movement means
simply removing a smaller part of
the upper section. To tune the organ
movement, however, the upper case
must be removed completely.
This is a time-consuming operation.
In order to get the case to a reasonable
working height, formwork panels
must be set up on scaffolding around
the clock and even then, lifting the
case is difficult because the lower
cabinet is still quite wide and anyone
recruited for the work would have to
lean their upper bodies over the clock
as they lifted. To solve this problem, a
supporting frame of four additionally
clad and interconnected wooden
beams was constructed. Probably
These photos show the scale of the clock plus the scaffolding and padded crossbar
mechanism that are used to remove the case when the instrument must be tuned.
22 MECHANICAL MUSIC July/August 2021
The top photo shows a cast silver figurine
before restoration and the photo
below is after. The third photo shows
the silver cast image of Diana with her
quiver that had been missing when the
museum took possession of the clock.
The quiver was reconstructed using old
photos of the Braamcamp clock. The
bottom photo shows the scale of the
quiver compared to a human hand. The
attention to detail during the restoration
was a high priority.
The organ work undergoing restoration at Museum Speelklok.
July/August 2021 MECHANICAL MUSIC 23
a similar construction was used in
earlier times.
In front of and behind the organ
movement, there are two solid brass
arches that serve as guides for the
upper part and ensure that it remains
in position and does not collide with
the organ movement. Additionally,
these arches support the dial and give
the movement some rigidity. Similar
construction has not yet been found
on other Clay movements, so it seems
to be a design specifically done for
this clock.
The first owner of the clock is
unknown, it probably came into the
possession of Gerrit Braamcamp in
Amsterdam in 1759. After his death,
the clock was sold at auction and
acquired by members of a branch of
the Braamcamp family that had settled
in Portugal. The clock was passed
through several collections there,
including that of the Infanta Maria
Isabel, and remained in Portugal until
the 20th century. Around 1972, the
clock was purchased by the Parisian
collector Robert de Balkany and then
it passed into the hands of Museum
Speelklok in 2016.
The restoration of the case and
its base, as well as the ornamental
elements, was supervised by
the restoration workshops of the
Rijksmuseum shortly after it was
purchased. Rijksmuseum employees
possessed the necessary experience
and restoration expertise not only in
the field of woodwork, but also for the
metalwork and oil painting. Although
at first glance the furniture appeared
to be in quite good condition, a closer
look revealed some major challenges.
Closer inspection revealed that not
only was the mahogany veneer loose
and standing out from the wooden
base, but there were also cracks
and dents in both the veneer and the
carved mahogany elements. The solid
wood of both the side panels and the
base had cracks, and in these cracked
areas the veneer had also cracked and
was blistering. Color changes were
also discovered in the veneer along
these cracks.
The fire-gilded bronzes and silver
and brass decorations were dirty and
partially corroded. Diana’s quiver cast
A detail shot of the base showing the veneer pulling away from the wood.
in silver, a characteristic attribute
of the goddess of the hunt, had been
lost, and the red fabric behind the
openwork of the upper part was loose,
faded and damaged. The surface of the
painting was dirty and also showed
damage caused by the peeling of oil
paint from the copper background.
Although the lacquer coating on
the base was in reasonably good
condition, the high gloss and reddish
tint were both found to be distracting.
Light reflections caused by the high-
gloss finish prevented the enjoyment
of seeing the subtle nuances of the
mahogany veneer’s grain. Due to
the thick application of the varnish,
the carvings also suffered, their
edges looking far too soft as a result.
Examination with ultraviolet light in
conjunction with pyrolysis gas chromatography
analysis revealed that the
high gloss varnish was a shellac that
had been applied after the original
finish which was a mixture of different
resins such as pine, limb cypress, shellac
and larch dissolved in turpentine
had been removed. In the areas of
the corpus that are more difficult to
reach, there were still remnants of this
mixture first used, which fluoresced
greenish under ultraviolet irradiation.
Scrape marks on the veneer proved
that the turpentine resins had been
mechanically removed.
Museum Speelklok wanted to have
the case restored to a condition that
matched the original, so that the original
condition would be visible again
and the high quality of the materials
and craftsmanship would be evident.
The high-gloss varnish on the base
was thus completely removed with
solvents. Several layers of beeswax
were then applied. The silky patina
of the beeswax, the use of which was
common practice in the first half of the
18th century, now allows one to experience
the three-dimensional effects
of the grain of the mahogany. Cracks
and depressions in the veneer and the
solid wood body were filled and loose
parts were glued back in place.
After consultations with the
Rijksmuseum’s metal conservation
department, it was decided to clean
all metal decorations and polish the
pieces to a soft shine. The fire-gilded
bronzes were cleaned and given a
transparent varnish to protect them
from corrosion in the future.
A replacement was created in silver
casting for Diana’s lost quiver, using
old photographs of the Braamcamp
clock as a pattern.
The painting restoration workshop
of the Rijksmuseum examined the
painted dial with infrared and ultraviolet
light. The surface of the painting
was cleaned and damaged areas were
repaired.
The fabric, which the textile
conservation conservators at the
Rijksmuseum identified as a modern
synthetic fabric, was removed and
replaced with a silk fabric dyed to the
appropriate red hue.
The restoration of the Braamcamp
clock is an outstanding example of
interdisciplinary collaboration. On
behalf of the case, Paul van Duin,
head of furniture restoration at the
Rijksmuseum, coordinated the work
and supervised the project. Furniture
restorer Tirza Mol was commissioned
to carry out the necessary restoration
24 MECHANICAL MUSIC July/August 2021
Restorers replace synthetic fabric with dyed silk.
Photos showing various pieces of
the wind chest during the restoration
The channels of the wind chest, some of which had to be delicately repaired. process.
July/August 2021 MECHANICAL MUSIC 25
work. A freelance textile restorer,
Anja Semts, dyed and mounted the
silk fabric. The painting was worked
on by painting conservator Giulia De
Vivo, while metal conservator Arie
Pappot worked with Tirza Mol on the
reconstruction of Diana’s quiver. The
high level of art historical expertise of
the Rijksmuseum curator Duncan Bull
and Anne-Sophie van Leeuwen helped
to provide a better understanding of
the context in which the clock was
created in London in the 18th century.
The organ work
On the sides of the organ work it is
easy to see that the original plan for
installation was changed. There are
holes in the wood, which are unusable
because the pumping mechanism for
the bellows is now placed there. In
the lowest part of the organ work is
the bellows system. This part was in
an extremely bad condition. After the
entire bellows system was incorporated
into the sides of the wood, it had
become very thin and compromised
in structure. Since this part was actually
impossible to restore, Museum
Speelklok restoration experts copied
and refinished this piece. The part of
the air supply to the windchest and
the fastening of the bolts, on the other
hand, was preserved.
The scoops on the bellows clearly
show that the intake valves were
probably mounted close to the hinge
point of the bellows in the past. These
wooden valves are glued onto a frame
and thus lie somewhat elevated above
the respective scoop bellows. The
result was that they hit the upper
bearing of the bellows and thus could
only function poorly. The cracks have
been eliminated and the bellows have
also been restored. Paper was glued
to the outer and inner sides to ensure
optimal tightness of the scoops. Bone
glue was used for bonding so that
the joints can be separated again if
necessary.
In the middle part of the organ
movement is the wind chest. The
board on which the wind chest is
fixed, and where the air supply of the
magazine bellows is also located, was
broken in two places. This board was
restored and sealed. It was noticeable
A side view of the clock showing the base that houses the pumping mechanism and
gears that drive the cylinder.
that the air supply was not accomplished
through a large opening, as
was common and usual, but through
a grating with several slits that could
be interrupted by a pull. Museum
staff wondered what could have been
the function of this draught. Might
it have been to interrupt the music?
After all, this could be done in other,
simpler ways, such as shutting off
all the stops or blocking the impeller
on the centrifugal governor. Another
idea for the arrangement was that
the intended effect of this pull was to
cause a tremolo in the tone, although
a tremulant for a mechanical organ
of that time is highly unlikely. In any
case, this pull never worked, mainly
because of the lack of space when the
organ was made.
The windchest itself was in good
condition and was glued out with bone
glue on the inside as a precaution to
prevent it from blowing through into
other channels or chambers in each
case. The old leather of the valves
was renewed and the valves were
readjusted in their old place.
The top part houses the organ pipes
and the gear train for the organ and
26 MECHANICAL MUSIC July/August 2021
An unusual brass strip found
on the cylinder to ensure all
keys are briefly lifted before the
mechanism is set in motion. It
is thought that this allows air
to fill the pipes of the organ
and helps to ensure that the
wind-pressure is correct before
play starts.
At far right is another view of
the cylinder with all keys in
place and ready to play.
Smartphone users can scan the QR code to watch a video
about the restoration on YouTube.
clockwork. The arrangement of the
pipes was changed at the time of origin
to make room for the clockwork. This
can be clearly seen in the channels in
the board on which the organ pipes
are placed; this was actually longer.
The board itself was in quite good
condition, but the channels had to be
worked on. Because some of the ducts
cross each other, they were sealed
against each other with leather in an
earlier restoration. This leather had
disintegrated over the years, allowing
air to cross between these channels.
With steam and a lot of patience, we
replaced this leather. The holes were
again sealed with bone glue. By using
the bone glue, this intervention in the
original substance can also be easily
reversed.
This was also true for the thin and
long channels that supply the pipes of
the 4-inch reed stop with air. The wood
between these channels is extremely
thin and probably wood has already
broken out of these channels during
manufacturing. In addition, due to
the aforementioned lack of space in
the organ, these pipes were placed
in a different position than originally
intended. Therefore, the channels
were lengthened, and in the process,
more parts of the wood broke away.
The missing parts were replaced, and
thin leather was inserted over the
cracks with bone glue.
The organ clock has four pipe
registers whose state of preservation
varied greatly. The small pipes in the
4-inch reed flute stop were almost
all clogged with dirt, and many of
the glue joints in the pipework were
no longer tight. The 8-inch reed flute
stop was in reasonably good condition,
only the stoppers needed to be
re-leathered, and the pipes needed
tuning. The formerly open 8-inch
pipe stop had been dacked and was
in exceedingly poor condition. In a
previous restoration, the pipes of this
stop were sawed off to make a dacked
stop. We removed the stoppers and
made extensions for each of the pipes.
Then the pipes were sawed to the
correct length at the extensions and
tuned. Now this stop is again a stop
with open pipes. The fourth register
again consisted of a row of 8-inch
dacked pipes. It was noticeable that
these were made of a different wood
than the rest of the pipes. The pipes
were restored, and all the stoppers
were re-leathered.
The barrel/cylinder, keys,
and stickers
The large brass barrel is located
above the movement. In the course
of its life, it was probably polished
several times with brass polish. Thus,
quite a lot of polish got left between
the large number of pins and bridges.
Unfortunately, polish has an abrasive
effect because it consists largely of
chalk. This chalk, accumulated over
the centuries, caused abrasion on the
keys as well as the pins and bridges.
Now and then, the chalk then also fell
July/August 2021 MECHANICAL MUSIC 27
into the movement to cause further
damage. Restorers used benzine,
paintbrushes and brushes to remove
the remains of the cleaning agent.
One unusual feature found during
the restoration was a brass strip in
the lane of the barrel. This brass strip
ensures that, shortly before the entire
playing mechanism is set in motion,
all keys are briefly lifted. This makes
it possible to adjust all keys at the
same time. This could be intended to
ensure that the music won’t play too
legato, but also not too staccato. The
fine-tuning doesn’t have to be done on
the basis of the pins and bridges on
the barrel anymore.
Another, additional explanation for
this device could be that it helped
the flywheel and thus the rest of the
mechanics to come up to the necessary
circulation speed. When the flywheel
starts to rotate, the bellows coupled to
it are also set in motion, thus building
up the necessary wind in the organ. So,
in order to get the flywheel going from
a standstill, it makes perfect sense to
let the air supply to the valves of the
pipework “run into the void.” After
all the keys are opened by the lifting,
the air flows through all the pipes
without resistance, without reaching
a wind pressure that makes the pipes
respond. This, in turn, ensures that
the action can start moving without
further stress from the buildup of
wind for the pipes.
Four “protrusions” had appeared
on the brass strip. This meant that
keys could get caught on these raised
areas when the pin roller was moved
sideways. Restorers compensated
for these flaws in the brass strip
with appropriate dovetail joints.
Originally, the stickers were made of
steel, but these stickers were later
replaced with wooden stickers in an
earlier restoration. The stickers were
The Braamcamp Clock is now on permanent display in Museum Speelklok.
returned to an original state. The which helped with establishing their
order of the keys, which had been orientation.
changed at some point, was restored The Braamcamp clock is on display
to the best condition possible. Some in the permanent exhibition of
of the keys were still marked with Museum Speelklok from December
the corresponding inscriptions, 2019.
28 MECHANICAL MUSIC July/August 2021
The history of the Steinkjerpositive
By Dr. Robert Penna
In the mid to late 19th century, the
small Norwegian town of Steinkjer
became known for the manufacture of
quality barrel organs. It is surprising
that one small town and its environs
produced more than 500 hand-cranked
instruments. Certainly, this was
many more than organ enthusiasts
locally would ever need. So, why did
this location become such a hub of
production? Who were these Norse
craftsmen? How could there be such
a demand? How did these instruments
spread throughout the region? How
did it all start and why are these barrel
organs known as “positives”?
A barrel organ is known by many
names. In different locations, one can
hear the term street organ, monkey
organ, grinder organ, roll organ, crank
organ, hand organ, cylinder organ and
even incorrectly, hurdy gurdy.1 Yet, in
one location, they are called positives.
Throughout Norway, the Steinkjerpositive
was a well-known local brand
of barrel organ. Other European barrel
organs from the same period were
usually more lightweight and easier to
carry. The ones produced in Steinkjer,
especially the two larger versions,
were more like portable organs by
comparison. Though heavier and
harder to move from place to place,
the machines were well built and the
sound quality excellent. Further, what
set them apart was the fact that the
music was taken from the traditional
local tunes used by fiddlers throughout
the district. Because of these
reasons, you could be “positive” they
were from Steinkjer.
Some 40 kilometers south of Steinkjer,
the town of Levanger hosted a
market each December and March.
Begun in 1829, farmers, tradespeople
and families visited to sell their goods,
shop, catch up on the news and find
entertainment for the children. The
market also attracted visitors from
foreign lands including barrel organ
grinders. One can imagine the novelty
of the instrument caught many a
person’s attention.
Among those fascinated by the
barrel organ was Thomas Fosnaes
(1813–1870), an instrument maker,
clockmaker and musician from
Steinkjer. Fosnaes began building
barrel organs before 1849 as several
of his instruments have been found
which precede this date. It is likely
Photograph of a Norwegian organ grinder. Photo from the Nordlandsmuseet’s
collection
that he earned some business from
itinerant grinders who sought his
assistance to repair or retune their
instruments as they passed through
his area. Then, an incident in about
1850 ignited Fosnaes’s passion and he
began manufacturing barrel organs
on a larger scale. The catalyst for this
change was the reported death of an
Italian barrel organ player who had
lived in the town of Beitstad some 16
July/August 2021 MECHANICAL MUSIC 29
kilometers northwest of Steinkjer. It
is thought that because of Fosnaes’s
reputation as a violinist, the Italian’s
unclaimed mechanical device was
given to him.
After taking the instrument apart,
Fosnaes decided he would continue to
make his own instruments and improve
on their construction based on what he
learned from the Italian’s instrument.
One of his early decisions was to
contact two brothers who were well
known locally for casting fine quality
brass objects. Christian (1839–1922)
and Torris Tharaldsen (born 1848) not
only excelled in brass work but were
also talented carpenters. At first, they
cast parts for the organs built by Fosnaes,
but as the need for more positives
grew, the Tharaldsen brothers began to
build their own barrel organs. Christian
made the internal parts and some of
the decoration, while Torris made the
cases.
The ability to pin the music to the
barrels is a difficult task, far beyond
the ability of most carpenters or metal
workers. Fosnaes was a celebrated
local violinist, well known for playing
at concerts and weddings. He also
gave lessons to aspiring violinists.
One of his most talented students
was Jacob Schjefte (born 1841). The
increasing demand for positives and
the public desire for more and varied
tunes inspired Fosnaes to recruit and
train Schjefte to prepare barrels for
the positives as regular employment.
Although by trade a shoemaker, Jacob
became known as a master at pinning
barrels for these instruments. He is
known to have pinned the barrels for
the organs made by Christian Tharaldsen
as well as for those made by Ola
Fjeldhaug (born 1829) and others.
Over a period of 50 years, others from
the area joined the group constructing
positives, either making important
parts or building an entire instrument.
Among them were Ola Fjeldhaug,
Theodor Bentzen, Ole Ramstad, Paul
Landsem, Mathias Klaebo, brothers
Peter and Odin Tveras, Nils Opdahl
and Jacob Bredesmo.
Ola Fjeldhaug spent his free time
making furniture and violins. In the
summer, Fjeldhaug worked in the local
brick factory and in the winter at his
A Steinkjerpositive barrel cylinder.
Christian (Kristian) Tharaldsen, maker of the majority of the Steinkjerpositives. He
was an excellent brazier (maker of brass objects), a trade he learned from his father.
Photo courtesy Digital Museum For The Steinkjerpositives.
local croft in the forest. Any free time
was spent assisting Schjefte building
positives or pinning the music into
the barrels of the positives he made.
Another individual who assisted in
pinning the barrels was Theodor
Bentzen (born 1843), a local violin
maker and brick layer who became
involved in the effort. Although the
majority of the instruments made in
Steinkjer bear the name of Christian
Tharaldsen, he often had others make
parts and his workshop assembled
them into the positives.
30 MECHANICAL MUSIC July/August 2021
A restored Tharaldsen positive from 1893.
This group of local craftsmen often
worked in small workshops at their
homes. Residents of the town built
more than 500 barrel organs in a span
of slightly more than 50 years. Most of
the Steinkjerpositives (400-plus) carry
Christian Tharaldsen’s name. Those
signed by Jacob Schjefte or Thomas
Fosnaes are not significantly different
from those sporting the name of
Christian. No instruments have been
located which carry the name of
Teodor Bentzen, but it is understood
he manufactured several and a large
number of the barrels.
At least 13 men contributed to the
manufacture of these barrel organs in
the Steinkjer area. The manufacture of
the Steinkjerpositive was of significant
importance to the community. The
money made from the sale of these
instruments had a profound impact on
their lives. Several of these men were
Photo of the south side of Steinkjer. Photo courtesy Digital Museum For The
Steinkjerpositives.
July/August 2021 MECHANICAL MUSIC 31
poor tenant farmers who worked
long hours for little pay. In making
positives, they found a life changing
opportunity. The barrel organ manufacturing
business provided enough
income for them to leave some of
their financial woes behind. Several
used their money to leave their tenant
farmer status behind and purchase
land of their own. In an area that had
had limited manufacture of goods, this
was a significant boost to the local
economy.2
Considering that more than 500
positives were built in Steinkjer
and neighboring villages, one has
to wonder where they were used.
Obviously, the local market would
have been saturated many times
over. The production of these instruments,
however, coincided with the
growth of trade throughout Norway.
Innhrredjekt, or jekts, were being
produced at this time. The jekts, a
type of windjammer sailing boat,
sailed the coastal waters and opened
a market for the large-scale export of
the Steinkjerpositives. The merchants
aboard the jekts first sailed north with
timber and farmers’ produce which
was exchanged for fish and then south
to trade the fish for other goods and
back to their home ports. This triangular
trade route gave the barrel organ
makers a relatively large market in
which to operate.
It is reported that when a jekt was
launched, it was necessary to play
celebratory music from a Steinkjerpositive.
The belief was “if not, then
things at sea could go wrong.”3
Whether a foolish superstition or
a brilliant marketing ploy, tradition
dictated that there would be three
parties before a jekt could be placed
in the water. Positives were often used
for the music at the prelaunch parties.
In addition, in order to maintain a
good atmosphere during the maiden
voyage, the instrument continued to
be played on board. Positives were
also played when entering a harbor or
to greet one as it returned, ensuring
a party on the docks. In this manner,
the Steinkjerpositive spread along the
Norwegian coast and to other ports as
well. As these well-respected instruments
spread, the need for increased
A view along Kongens gate in the north side of Steinkjer. Photo courtesy Digital
Museum For The Steinkjerpositives.
A restored Tharaldsen positive from 1871.
production was met by the crafts-it not uncommon to find these barrel
men of Steinkjer. Also, it should be organs in unexpected places.
mentioned that as some Norwegians Known for their colorful tunes, the
emigrated to new lands, they took Steinkjerpositives played the local
their instruments with them, making music used by the fiddlers throughout
32 MECHANICAL MUSIC July/August 2021
the district. At first, waltzes, polkas,
reinlenders, galops, marches and
mazurkas were the initial tunes placed
on the barrel. It is fascinating to note
that this is the only source of the
music of the region during this time
period. The music of the fiddlers was
merely passed down and memorized
by the musicians; none was ever
written down to be preserved. Without
the barrels, these tunes would
have been lost forever. It is because
of these barrel organs that the music
that reflects the culture and musical
history of the region at this time has
been preserved. Sadly, the titles of
many of the tunes have been lost as
the builders did not list the tunes on
the barrels nor in the boxes.
As the Steinkjerpositives became
ever more popular and spread to new
areas, a demand arose for a greater
repertoire of tunes. To meet that
need, more music was borrowed from
German dance tunes. To date, around
1,200 tunes have been recorded from
the surviving positives. To hear many
of the tunes that have been recorded
from surviving Steinkjerpositives,
visit steinkjerpositiv.com/music.html.
The tunes are listed according to
type and year of issue. To date, only
one barrel has been discovered with
religious hymns used in the churches
of that era.
The three sizes most commonly
found in these barrel organs are 22
keys (known as the little), 25 keys
(known as the middle) and 28 keys
(known as the large). Because there
were several builders of these instruments
over a long period of time,
variations exist. So, it is not uncommon
to find Steinkjerpositives with
23 and 24 keys. They were, however,
all built in the same pattern and are
relatively similar in design.4
The earliest machines were built
entirely of pine. But craftsmen like
Christian Tharaldsen built his in the
finest quality using mahogany and
decorative moldings. Goat hide was
used for bellows. The pipes and many
internal parts were still made from
pine, but parts of the pipes that needed
a harder wood used material from fruit
and nut trees. Some Steinkjerpositives
have mechanical parts made of iron,
A restored Schjefte positive from 1891.
A jekt or typical windjammer from Steinkjer, Norway. Tradition stated that it was
an absolute necessity to play music from a Steinkjerpositive before launching.
Otherwise, “if not, things at sea could go wrong.” Pictured is one of the last remain-
ing Steinkjer jekts, the Pauline from the 1800s. Photo courtesy Digital Museum For
The Steinkjerpositives.
July/August 2021 MECHANICAL MUSIC 33
but those made by Christian Tharaldsen
were made almost entirely of
brass. Barrels were made of wooden
staves glued together to form a tube.
End caps were then placed on the
tube so that the interior of the barrel
was hollow. This reduced the weight
and eliminated cracking. Often a light
brown or green paper was glued on to
the barrel to make it smooth and even.
The pins and bridges were made of
brass.
After many decades of service, one
by one these magnificent machines fell
silent. Some were forgotten in attics
or barns, others simply destroyed.
Finally, in the 1970s, Otto Nielsen, an
employee of the Norwegian Broadcasting
Company and a local historian
named Charles Karlsen investigated
the history of the Steinkjerpositives.
Others soon joined the effort, and
the background of these historic
machines was rediscovered.5
Additional details on the manufacture
of the Steinkjerpositives, their
makers, music and internal workings
can be found on websites developed
by Harald Sakshaug, referred to in
the footnotes of this article. Much of
the materials and photographs were
supplied with his gracious consent.
Examples of music and traditional
dancing can be found at: www.
nostalgeek.no/barrel.htm. Additional
examples of Steinkjerpositive music
can be found at /www.steinkjerpositiv.
no/en/music.html.
Theodor Nilsen Bentzen likely made some instruments but was well known for the
pegging of barrels. Photo courtesy Digital Museum For The Steinkjerpositives.
In this resource, the music is
organized by different types: waltz,
reinlender, galop, march, mazurka,
pol (Nowegian folk dance), polka, and
hymns.
Footnotes
1. “Barrel Organ,” Wikipedia. en.wikipedia.
org/wiki/Barrel_organ
2. “The Instrument Makers,” Steinkjerpositives.
http://www.steinkjerpositiv.
com/makers.html
3. “The Story of a Barrel Organ”
Busker Organ Forum. www.
tapatalk.com/groups/buskerorgan/
the-story-and-journey-of-a-barrel-organ-
which-was–t774.html
4. “The Positives,” Steinkjerpositives.
www.steinkjerpositiv.no/en/instruments.
html
5. Steinkjerpositiv. www.nostalgeek.no/
barrel.htm
Two photos of an unrestored Steinkjerpositive. Positives were
made from approximately 1848 to 1900. They often spent long
hours entertaining on land and sea, so heavy wear and use
have taken their toll. This one is ready for restoration.
34 MECHANICAL MUSIC July/August 2021
A Singing Bird Box
How modern technology helped recreate an ‘old’ Objet d’Art
By Mike Chalifoux
My previous life was in flight
testing in the U.S. Air Force. After
I retired, I did some woodworking
and made some puzzle boxes. These
required some precision work which
led to outfitting my workshop with
CNC (Computer Numerical Control)
mills and the building of a CNC Rose
engine lathe. I have built my own CNC
version of a Rose engine. While a
CNC machine is run by a computer, an
often-overlooked fact is that a person
first has to tell the computer what to
do. That is where the artist can come
into play.
The need for precision also attracted
me to the clock/watch making world.
I crossed paths with Brittany Cox,
who works on restoration of various
mechanical devices and that led me to
singing bird boxes.
The construction of these devices
can encompass a lifetime’s worth
of work. Just making the parts has
taken me years (pretty much self-
taught). I had to learn about metal
working in jewelry classes, and take
classes in enameling and painting so
I could decorate the containers for
the works. I also studied the history
of Fabergé works, which have decorations
applied.
Singing bird boxes first came to
my attention in 2014. Brittany, an
July/August 2021 MECHANICAL MUSIC 35
antiquarian horologist, was doing a
restoration on one of the amazing
devices. I thought, how could these
devices operate in such a small space?
How could the craftsmen of the 1780s
have made them? Many YouTube
videos exist showing the inner workings,
which only increased my interest.
A bit of research turned up two
works, one by Geoffrey T. Mayson,
“Mechanical Singing-Bird Tabatières”
printed in 2000 and one by Sharon
and Christian Bailly, “Flights of Fancy
-Mechanical Singing Birds” printed in
2001.
The work by the Baillys seemed
to be more about the artistry of the
boxes. For technical information
Mayson’s book is recommended.
My local library was able to secure
me a copy of Mayson’s book for me
via an interlibrary loan. The text is
fascinating, with chapters on the inner
workings such as the air cams, the
bellows and the miniature bird itself.
I wondered: would it be possible to
make a miniature bird? I knew it would
definitely stretch my capabilities. The
small size of the bird, the whistle, the
bellows, the mechanism, the box that
it would ultimately reside in, would all
be new to me and serve to grow my
skills.
A reference would be needed as
a guide, and it was quickly obvious
that the work of Mayson was the best
to begin with. This book is relatively
rare and rather expensive. There were
approximately 30 libraries around the
world that had copies and about as
many book sellers had them for sale.
“Flights of Fancy – Mechanical Singing
Birds” was even more difficult to find
with only five copies in libraries and
one bookseller offering it for sale.
It seemed that this work was slowly
disappearing, so I set out to see how
it could be preserved. I learned that
individuals wanting to duplicate an
out-of-print book must contact the
authors to ask permission. Unfortunately
for me, Mayson had passed
on in 1996 and attempts to contact
his widow were unsuccessful. His
publisher has also passed on and the
publishing house was acquired by
another publisher. That publisher did
not acquire the rights to the book and
An image from Geoffrey Mayson’s book showing a complete bellows and whistle for
a singing bird box.
Another image from Geoffrey Mayson’s book showing the movement with bird and
bellows attached. Below is the cover of Mayson’s book.
could not provide any information
about the Maysons.
I then set about a lengthy and
convoluted process to get an Orphan
Works license (N. 127). It took about
six months of work and following
due diligence checklists. This license
is for non-commercial use only. Any
commercial use would require a
further application to be made. The
British Library, as the national library
of the United Kingdom, has this work
and could provide a digital copy. They
reviewed the license and provided a
high-definition copy in PDF format.
They also provided the images in .tif
format (which means that there is no
data loss due to file compression).
Once I had successfully obtained
36 MECHANICAL MUSIC July/August 2021
A drawing of bird whistle workings that was printed in Mechanical Music, Vol. 54, No. 6, November/December 2008.
the necessary license, I was ready
to release copies of the book to the
public. My original plans were to travel
to Britain and attend an annual general
meeting of the Society of Ornamental
Turners to announce the availability
of the book, but the COVID Pandemic
prevented travel.
What I discovered while working
on this musical item is that there are
areas that would-be potential challenges.
Among these are:
• Bellows
• Whistle
• Feathering a bird
• Working on small parts
Each of these points presents difficulties.
The type of glue used in the
bellows was said to be rubber cement
and a specific type of thinner was
noted. I did run into a bit of a language
issue here as the item Mayson called
rubber cement would be known to me
The tail lever. A computer-aided model of a frame.
as contact cement. These are quite
different materials. Also, Zephyr skin
(a very thin leather made from animal
intestines) is not readily available
in the U.S., so other materials were
tried. Thin rubber is quite airtight, but
I knew it could deteriorate over time.
Polyethylene film is difficult to glue,
but with the appropriate primers it
could make a good seal. I thought a
replacement material used in cuckoo
clock bellows might be acceptable.
It is a nonwoven synthetic material
known in the U.S. as Tyvek and is
about .005 inches thick. It needs to be
softened but seems to work well with
regular hide glue.
The whistle was a major problem.
Examining the pictures in the book
as carefully as possible led to experiments
with several whistles, none of
which were satisfactory. They did not
have the range needed, or the amplitude
and did not seem to “start quickly
enough.” The pictures provided some
information, but I was still having
July/August 2021 MECHANICAL MUSIC 37
problems. Fortunately, I came across an article published
by the Music Box Society International about Karl Griesbaum.
One of the pictures in the article contained detailed
drawings of a whistle! A satisfactory whistle was made
very shortly thereafter.
The original birds were feathered with hummingbird
feathers. The Migratory Bird Protection Act of 1918 made
that illegal but there are acceptable alternatives. There is
an artist, Kerri Pajutee, who is able to feather small birds
quite nicely, with two tutorials on dyeing the feathers and
feathering a bird.
Learning how to work on a small scale has its challenges.
Trying to lay out, mark, and drill parts and then fit them
to work together was almost impossible. The components
of a bird have been modeled and a small CNC system is
used to scribe the lines on small brass stock. The parts are
cut out using a jeweler’s saw under a stereo microscope.
A high-speed dental drill and fine, No. 6 files were used to
finish a part.
Future plans
A repository of information regarding singing birds
would be useful. This repository could also store additional
information that may be useful to other creators of these
little jewels.
Sources & Acknowledgments
I have graciously been given permission from several
sources to reprint their works:
• “Singing Birds” Chapter XVIII, Vol. II, from the book
Le Monde des Automates (The World of Automata),
written by Alfred Chapuis and Edouard Gelis, translated
by Wade Jenkins Mechanical Music, Vol. 42, No.
2, Autumn 1996,
• “The Karl Griesbaum Singing Bird Workshop in
Triberg,” translated by George Coade, Mechanical
Music, Vol. 54 No. 6, November/December 2008
• Die Karl-Griesbaum-Singvogelwerkstätten in Triberg’
by Siegfried Wendel, Das Mechanische Musikinstrument,
No. 87, August 2003
From Kerri Pajutee (www.kerripajutee.com):
• Tutorial for feathering a small bird
• Tutorial for dyeing the feathers
I do hope that this article will encourage others to work
on such devices and share the results of their efforts.
Finally, please visit the Facebook group “Mechanical
Singing Birds” at facebook.com/groups/712717722847011
Editor’s Note: This site has the copies of the works mentioned above,
Geoffrey T. Mayson’s work, and author Mike Chalifoux CAD files of a
bird.
The files are also available on Dropbox at: https://www.dropbox.com/
sh/0tjunm7kdqitw8g/AADxPeI19UBj25Nv26RiPH1La?dl=0
This photo gives a sense of the scale of the parts used in lay-
ing out the frame on the previous page.
Mike Chalifoux, from Massachusetts, became fascinated by singing
bird boxes, which set him off on a mission to produce his own. He
shares with us here a brief account of how he achieved his aim after
many years. So enthused, he has set up a Facebook page where he shares
the various resources he drew on.
As virtually self-taught, this project presented a number of challenges,
including the ‘common language which divides us’ – terms in common
use in one country are not necessarily the same in another Anglophone
country.
Portions of this article were previously published by the Musical Box
Society of Great Britain in The Music Box, Vol. 29 No 8.
Anyone with further advice to offer, is welcome to contact the editor
of this publication who will pass along the information.
38 MECHANICAL MUSIC July/August 2021
The gleaming cylinder from a David Langdorff overture music box purchased during the author’s memorable trip to California.
A buying trip I will never forget
By James Kracht
It was a Saturday morning in early
January 2019. I’m an early riser
and went to my PDA to look for the
night’s email. There was one from my
friend and restorer Reg Smith which
always starts my day off with a good
beginning. This one was no exception.
It alerted me to a huge liquidation of
mechanical musical instruments in
Southern California, with a website
address and phone number. But
for this email, I never would have
learned of this extraordinary buying
opportunity.
The website, albeit extremely
well done, was not accessible to me
as a blind music box collector, so I
had to wait until the hour was more
reasonable and I could call the seller
to discuss his collection. It didn’t take
me more than five minutes on that call
to know that I wanted to hear more.
For the next hour or so, Howie
Schack, the son of the late Ralph
Schack (MBSI President 2004-2005),
and Ralph’s wife, Gloria, were liquidating
what I was soon to learn was
an expansive, all-inclusive collection
of more than a hundred mechanical
musical instruments of all types and
ages, some very large. Howie’s descriptions
were very detailed, and that,
coupled with some time that I later
spent with Reg looking at the website
led me to understand that I needed to
have a serious conversation with my
wife, Pat. Rather than put that off, we
sat down by 1 p.m. and I informed her
that I very much wanted to go out to
California to look at this collection. I
wanted to buy some prized pieces to
add to our collection, and because
some of my prior buying experiences
were less than favorable, I wanted to
take Reg with me to examine prospective
purchases. After much back and
July/August 2021 MECHANICAL MUSIC 39
The lid of the David Langdorff four-overture music box.
The lid, case front and cylinder of the B.A. Bremond overture
box from the Schack collection.
forth, Pat was on board, but she did tell me that if I was
going to go to California, I had to agree to first visit my two
sisters in Western Washington state. For a Florida boy that
particular condition turned out to be a very cold endeavor,
but I was glad to start this trip visiting my siblings.
The wheels were in motion and the trip plans began to
unfold. Reg agreed to meet me in Los Angeles, CA, and a
very good friend agreed to meet us at the airport and host
us for a few days. Little did I know then that I would also
be making a huge dent in his champagne stash, just to get
through the whole experience. We had a great four days
together which made the trip to Los Angeles even more
memorable.
We were set to meet Howie Schack at his parents’
beautiful home in Rancho Palos Verdes, CA, at 10 a.m. on
40 MECHANICAL MUSIC July/August 2021
The cylinder from the Rzebitschek music box.
a Friday morning. I don’t remember
getting much sleep the night before.
Reg and I had spent many hours on
the phone reviewing the website and
I had narrowed it down to 16 to 18
music boxes that I wanted to look at
and listen to.
We arrived at the Schack home on
schedule, and I immediately stopped
to look at a large piece in the entry hall
and got better acquainted with Howie
Schack. He was every bit as kind and
thoughtful as I had expected him
to be and is a wonderful individual.
The Schack home is quite lovely. The
tasks of examination, selection and
acquisition was underway, all to be
completed before 3 p.m.
Having passed on a beautiful overture
box at a recent auction, one of my
first tasks, after looking at a beautiful
little Rzebitschek sample not unlike
one that I had unsuccessfully bid on at
a Breker auction the prior November,
was to audition any overture boxes in
Schack collection. There were several.
I quickly narrowed it down to two that
I was seriously interested in. My first
choice was a fantastic David Langdorff
overture box, and the second was a
B.A. Bremond overture box. We went
through the rest of the collection and
Reg and I decided what we wanted to
try for and determine how far I could
stretch my available funds.
Howie and I quickly came to terms
on the Langdorff and the Rzebitschek.
Then we completed examination,
discussion and deals on four other
music boxes. These included a Frères
Nicole, a Metert, a Lawater, and an
1827 Lecoultre. That gave me six
priceless additions to my collection.
Howie had pushed to the end our
negotiations on his parents’ beautiful
Polyphon Emerald, a machine which
I desperately wanted to have. So, with
deals concluded on six machines we
started to trade ideas about it. Thanks
to Howie’s persuasive ways and my
determination, I ended up with the
16-bell Polyphon Emerald. I truly love
this music box.
Needless to say, the day was an
overwhelming success in my opinion.
I came back to our friend’s home on a
total high and to celebrate, our host,
Reg and I enjoyed an incredible steak
dinner at Mastriani’s Steakhouse in
Beverly Hills, CA.
My friend, Tom, kindly arranged to
pick up the music boxes after Howie
and his son and lady friend packed
them. Tom would store them until I
figured out shipping. As many of you
know, that can be a real challenge. I
finally settled on shipping them with
Metropolitan White Glove Services,
also known as Metropolitan Warehouse.
Although expensive, seven
music boxes arrived at our Miami, FL,
home without damage and they were
quickly absorbed into our collection
to play on for many years to come.
Fast forward to early December.
Howie was arranging to send the bulk
of his remaining unsold collection
to auction. I asked him about two
machines. One was a Ducommun-Girod
box that had already gone to
the auction house, but I was not a
July/August 2021 MECHANICAL MUSIC 41
The two snuff boxes that became part of the author’s collection after an interest was sparked from another auction.
successful bidder thereon. The other
coincidently was the B.A. Bremond
overture box which I had starred on
my list as really wanting, but I had
stopped at seven purchases during
my February visit. Howie still had the
B.A. Bremond box, and it was one of
two remaining boxes he offered me,
as he wanted to keep the other one for
himself. I thought, how unbelievable,
and then based on our prior dealings
he was willing to let it go for a very
reasonable price. Hence, I now have
eight music boxes from the Schack
collection in mine.
But the story does not end there.
At the music box convention in
Rockville, MD, in September 2019, I
almost looked at two snuff boxes for
sale. Not wanting to be tempted by the
excitement of the Mart, however, I left
the hotel. Then I had another opportunity
to see both of the snuff boxes at
an upcoming chapter meeting. Alas, I
never knew I wanted a snuff box, but
I was totally infatuated. I came home
and was writing Howie Schack again
as part of my now established relationship
with him. It so happened that
he had two snuff boxes he didn’t want,
but the auction house would not take
them. Yes, they are now mine, as is a
third 1810 sectional comb miniature
that I bought from Reg.
So ends the story of a wonderful
buying trip to Southern California. I
greatly cherish and totally love all of
these boxes. They are all in impeccable
condition. Such is no surprise, as the
Schacks bought and kept only the very
best.
As with other music boxes that I
have written about, I cannot let this
story end without commenting about
my friendship with Howie. He is a
truly great person, with the utmost
integrity, and he did his parents proud
in liquidating their vast collection.
None of this would have been possible
had it not been for that early Saturday
morning email from my good friend
and restorer Reg Smith. Thank you
Howie and Reg.
I think of you both every time I
play one of the 11 music boxes which
are now such a central part of my
collection.
42 MECHANICAL MUSIC July/August 2021
Treasured Memories
By Jamie Brewer
Murray Savauge was an early music box
collector. He and his family were great friends
with Barclay Holmes, who was a high-end
antique dealer in Vineland, Ontario, Canada.
Barclay and Murtogh Guinness were very
close friends back in the day.
I first met Barclay in the early 1980s. How
I wish I had kept a journal
back then. It drives me crazy
to not have the resources
to fact check. I was still
driving my 1975 Duster
when I would make those
early trips crossing the
Canadian border to visit
Vineland. Barclay was
only some 40 miles from
my house in Lockport,
NY. Many Sunday
afternoons were spent
making spur-of-themoment
trips to his shop.
July/August 2021 MECHANICAL MUSIC 43
One visit to Barclay’s I hold particularly
close was when I was living with
my best friend, Joe, in 1998 waiting
for a job transfer to Tuscaloosa, AL. It
was a warm sunny day in spring and
I just wanted to get away for a while.
I decided to drive to Barclay’s on the
back way over country roads to the
Lewiston Bridge. On the way I found
my friend John Cornelius walking on
the side of the road not far from where
his parents lived. I pulled over and told
John to get in the truck, we are going
to Canada. To better understand this,
you really have to have known John:
he was very quiet and soft spoken. He
was truly one of the kindest people
I have ever met. He tried to put up a
fight but I just told him to “Hush up
and get in this truck!” We ended up
at Barclay’s having the best time. We
came home the long way through
Buffalo and caught “Happy Hour” at
Buddies. John always related how he
had never done anything so spur of the
moment and how much fun he had.
John succumbed to throat cancer. It
is bittersweet to remember but I’m so
glad we had that afternoon together.
Back when I had my Plymouth
Duster, I was a “mule” bringing
treasures over the border to deliver
to Murtogh from Barclay. I made
frequent trips to New York City in
those days. My Duster had a lockable
trunk that was never inspected at the
border. That old car was totaled out in
December 1981. My next vehicle was
a hatchback so the luxury of having
things totally out of view was gone.
The things you do when you are young
and dumb! Today I would be petrified
to sneak items over the border, given
the way the inspection checks have
evolved and intensified.
Barclay had a beautiful historic
brick farmhouse furnished with
period antiques. One big room at the
end served as his shop. Barclay loved
his coffee as much as I do. We always
shared a few cups in his kitchen. He
was “old school” so the coffee was
always served in a china cup on a
saucer.
Barclay was born and raised in
Lexington, KY. He taught me a lot
on what to expect when I moved
south. How he laughed when I said
innocently one visit, “I don’t understand
it. All the people I’ve met in the
south say they have never met anyone
like me before!” Talk about a loaded
statement! We were sitting on the
porch to his shop in the evening when
I told him that. The porch is small with
a bench along the side of each railing.
We sat watching the red sun descend
in the west over the fields and vineyards
of the Niagara Peninsula. It was
one of those times to be treasured, you
just knew when it was happening that
it was a once-in-a-lifetime experience.
The stories Barclay regaled me
with. He and Murtogh did quite a bit of
traveling overseas together. Murtogh
always booked first class on sailings
and hotels. They were very involved
with the “old school” of the Musical
Box Society International. How I treasure
the time we spent trading stories.
When Murray died, Barclay worked
with Murray’s daughter Judy to sell
off his collection. This was done over
an extended period of time. The last
music box remaining in Judy’s possession
was the Mermod Frères Sublime
Harmony Piccolo box. I have a letter
going back to Oct. 6, 1960, linking this
music box to the Savauge family. Judy
loved this music box as did Barclay.
Over the years I was able to do some
minor basic repairs for Judy to keep
this beautiful box running.
Barclay was able to buy this music
box from Judy in 2001. Barclay had
a legal paper signed whereby if he
predeceased Judy the music box
would revert back to her. Barclay was
so thrilled to finally possess this music
box. I have correspondence covering
the purchase and minute details of the
box Barclay sent me over the years.
It was Nov. 30, 2005, when Judy sent
me an email informing me of Barclay’s
death. Barclay lived alone and was
pretty much estranged from his immediate
family. Judy told me he was so
afraid of dying and not being found for
days. Unfortunately, that is just what
occurred. The family arranged a short
memorial service figuring that nobody
would attend. This family was shocked
when people from all over the region
showed up. Those in attendance were
asked to say a few words about their
relationship with Barclay. Judy gave
a short speech and then read this
portion of an email I had sent her:
“I just think of the happy hours
spent at the long table in the kitchen
enjoying coffee and cookies. His
clocks were always on time and ticking.
Barclay always saved a fruitcake
made by a special friend for me. I
will treasure the remains of the last
fruitcake I have in the freezer that he
gave me in September.”
Barclay’s family descended upon
his estate like a plague of locusts.
They had no intentions of honoring
his requests of bequests to his friends
and extended family. Judy, however, is
a fighter and she took off the gloves
to regain possession of the music box.
The end result was it was returned to
her.
It was in June 2010, Judy sent me an
email which contained the following:
The initial reason I contacted you
is because I’m updating my will, and
if you’re around when I’m not, I’d
like you to have the ‘Mermod Freres
Ideal Sublime’ as well as a very odd
painting connected with it (about
which more at another time). To that
end, I need your full name, address,
phone #, email. I wasn’t going to tell
you any of this, but when Facebook
indicated you lived in Birmingham,
I got nervous, and emailed.
OK. Why you? Many reasons.
You’ve had an association with the
box over the years. You’ve repaired
bits & pieces of it a couple of times.
The box is important to me, was
important to Barclay. And Barclay
was very fond of you. (Me too). I also
believe that you were ‘fond’ of the box!
But I suppose the main reason is that
you certainly appreciate the box, and
frankly, I don’t know anyone else
who does, in the same way. It would
make me feel good to know that it has
another good home: first my father,
then me, then Barclay, me again, and
then you.
Five years later, in February 2015,
Judy contacted me via Facebook to
tell me I could pick up the music box
from her home in Canada, but I had
44 MECHANICAL MUSIC July/August 2021
The Mermod Frères Sublime Harmony Piccolo music box and the painting connected to it, in the author’s home.
July/August 2021 MECHANICAL MUSIC 45
to come as soon as I possibly could.
This meant renewing my passport for
starters.
It took a great deal of preparation
to build a crate to hold the box as it
would have to travel in the bed of my
truck and also be easily accessible in
case customs needed to do an inspection.
I departed Tuscaloosa, AL, on
May 10 and arrived in Lockport, NY,
on the 11th.
Tuesday, May 12, 2015, I slept in till
7:30 a.m. Then I took a hot shower and
did a last-minute double check of the
moving and packing supplies. Joe was
up at 8:30 a.m. and made coffee.
I took a to-go cup and tried my old
“autopilot” to get to the Lewiston
Bridge to Canada. My GPS does not
work in Canada. I had a detailed
Google map.
It had been many years since I
crossed the Canadian border. Lucky
for me, the border guard crossing into
Canada was laid back. There was no
traffic on the bridge. I had timed it just
right. I can’t lie to save my life so I had
my story all worked out.
These border guards must hear
every story in the book. When he questioned
me as to the reason for my trip
to Canada and then wondered further
why anyone not related to me would
gift me such a valuable music box, I
replied, “It’s a long-involved story.” He
smiled and said, “I’ve got lots of time!”
I explained the entire story of how
my good friend Barclay was a prestigious
antique dealer in Vineland,
Ontario, who was good friends with
Judy’s family. I went on how Barclay
brokered sales of music boxes from
Judy’s family over the years and how
he coveted this particular music box.
Judy sold Barclay the music box under
the condition, if he predeceased her,
she would get it back. Sadly, Barclay
died some six years ago. Barclay was
ostracized from his family, but they
sure scooped in to “pick the bones
clean.” Things got really ugly and this
family was not going to honor the
paperwork returning this box to Judy.
By the time I finished up my story
this guard was leaning back in his
chair and I had my arms folded on
the truck window sill. I had the guard
shaking his head at all this! I asked if
he needed to check over any of the
packing supplies I was bringing in. He
said I was fine and to just go on.
I got the music box and cabinet all
packed up. This was not the final packing
as there was a chance of a border
inspection and then I had to unload
the thing at Joe’s house. I was amazed
how I was just waved on through U.S.
customs on my return trip.
Once I got the music box set up
here in Tuscaloosa, AL, I contacted
Dave and Carol Beck about doing a
restoration. There was some comb
work that needed to be done to make
it right. They agreed to take on the job.
In early June the box was again
packed up and this time I transported
it to Atlanta, GA. It is only about a
four-hour drive but due to the traffic
and congestion it is a drive I detest.
Dave and Carol were very impressed
with the music box. They said there
should not be any surprises as it was
in good condition overall.
It only took a month for Dave and
Carol to do the restoration work on
the music box and cylinders. They did
a road trip to Tuscaloosa to drop it off
and sightsee a bit. I am thrilled at the
work that was done on it.
This music box has such a special
place in my life. I play this pretty
much daily. When I listen to this, it is
much more than just hearing beautiful
music. In my mind I can travel to so
many places and situations associated
with this instrument. On warm, quiet
summer nights I can hear this while in
my front porch swing. To daydream to
the sweet tones of this box watching
the sunset in a brilliant orange and
Tiffany blue sky is magic.
I can never thank Judy enough for
her gift of this to me. My life has been
so enriched.
Judy was a teacher before her
illness. One student she had such an
impact upon, gifted her the painting
that hangs just above the music box in
my home. It is fitting these two pieces
stay together.
On a sad note. I got a mail from Judy
on Facebook on Oct. 18, 2019.
Jamie – things happen at an unexpected
pace. Federal Govt. passed
the MAiD option in 2015 (Medical
Assistance in Dying). I qualify with
Terminal cancer & a bunch of other
things. I wanted to wait until the
U.S. election but in the last few days
things have happened and I am using
the option on Sunday. There’s no good
way to say it all. I’ve enjoyed you from
a far – so much, and wish we
had more time. Enjoy all things -and
cats! I will miss my polydactyl big
boy Jack who is a treat; however my
friend Joan is adopting him. Enjoy
all things.
After reading this the pieces fell into
place as to why Judy wanted me to do
the pick-up in 2015. She had suffered
so. Her quality of life had been pretty
grim.
I was able to get this written history
to her. She replied:
What a thrill to read this wonderful
piece, Jamie. I always thought you
should be a famous writer: your
writing is magnificent. Thank you for
all this. You have made the few days
I have left so special & meaningful.
As I said, I love the piece, the history,
the photos – all. And I will forward
this to my friend & former student,
Norm Edwards, now living in British
Columbia on his tiny boat, who
gave me the painting to go with the
box. I actually am ‘doing the deed’
on Tuesday rather than tomorrow. I
needed more time. I don’t know what
to expect, if anything, but for the most
part it’s been a good ride. Oops. Put
the emoji in the wrong place. I still
can’t do Facebook. Actually – is it
possible to send your wonderful piece
to my email so it is easier to print
out? Or is there something I don’t
know re how to do that.
I answered her back. Judy was
never one to navigate the world of
computers or the internet. This was
my final communication with Judy.
I’ve been in contact with Norm
Edwards who was so close to Judy
as a student and who gifted her the
painting.
Norm related via email the story
how he found this painting to gift to
Judy.
46 MECHANICAL MUSIC July/August 2021
“The painting I found in the Thirroul
Antique Centre in New South
Wales. Owned by Mark Rose, who’s
family were amongst the first “free
settlers” to arrive in Oz – a fact the
family were quick to inform me of.
“Not convicts”!
Mark carried on as if he were an
English gentleman who had just
stepped off the ship. The shop was his
cocoon full of fine furniture, clocks,
scientific instruments and a couple of
the music boxes, the style with the big
metal discs.
This “odd” painting was in the
shop, tucked in a corner, it wasn’t one
of his better paintings, but it spoke
to me as it was around the time that
Judy was having to battle the family
to have her father’s box returned and
there was Judy in the painting with
a music box!
The link you include is wonderful
thank you! I hadn’t seen the family
music box when I found the painting
and to now see what sort of box
“inspired” the painting completes the
picture. It seems perfect to have over
the box! Thanks for hanging it in
your home.
We will have to go antiquing
together one day! I pop into the
secondhand shops daily here in
Sidney BC – you never know what you
might find! Living on the boat limits
my collection size, most “finds” I give
to friends who I hope will appreciate
them.”
I had explained to Norm how the
music box in the painting is a repre
sentation of a “Station Box” with the
dancing dolls.
To have this kind of documentation
makes any piece special in my book.
The upside of keeping a journal is
it is not hard to research. Here is my
journal entry in regards to this music
box from Oct. 18, 2019:
Talk about “ying” and “yang” in
your life. After the drama I had
concerning the death of my friend
Bill’s dad last weekend I opened this
E-mail first thing this a.m. from my
friend Judy S who lives in St. Catherines,
Ontario.
“Quick info – Fed Govt 2015 passed
MAiD option (Medical Assistance in
Dying). I qualify but was waiting
til after US election. Sudden change,
decision yesterday – I will be dying
this Sunday. I very much treasure
you and all you are. Thank you
for taking the Mermod Freres!. Too
rushed & ill to say anything profound.
Enjoy all things.”
Judy has an autoimmune disease
which has left her in declining health
for too many years. Her quality of life
has been so horrible as of late.
I sent Judy the following reply:
Good morning Judy,
I understand your decision and
back you 100%. Have been thinking
so much of you and Barclay as of
late. Next weekend I will be acquiring
two more cylinders for the music
box which I believe were used in the
factory where they were produced. I
have coveted those cylinders since I
first heard them play over 30 years
ago. One has excerpts of Beethoven’s
7th Symphony and the other has runs
and trills of no tunes in particular. I
believe it was used as a “test cylinder”
for calibrating in the factory.
I plan to write up a detailed history
of the music box and wanted to get
permission to use you and your
family’s name in it. The Musical Box
Society has a feature in their publication
where they solicit submissions
for how you discovered different
instruments in your collection. I’ve
done up a couple of submissions. The
story of your family and friendship
with Barclay should be shared. There
are few members of the society left
who had associations with Barclay.
At 67 I’m one of the “old timers” now.
I play that box pretty much daily.
On quiet nights you can clearly hear
it on my front porch. It is such a part
of my life now. I have shared the story
behind it to many people.
I am going to get to work on that
writing today and hopefully will have
a rough draft to send off to you by this
afternoon.
You are a brave woman Judy… you
deserve peace…
One of the most profound statements
of life I’ve ever read was said
by an elderly woman in an interview
for the book, “Let Us Build Us A City,
11 Lost Towns of Arkansas.” This
woman simply said, “I like to think
in later years you will think of me.”
In the long haul that is all we can hope
for is to be remembered. You, your
family, and Barclay are remembered
whenever I play the music box. It is
one of my most treasured possessions.
I can’t thank you enough for gifting
it to me.
Know you are loved and remembered
for as long as I’m on this earth…
Love… Jamie
On a happy note the clock has been
running like gangbusters and is right
on time. Holly gave me another scare.
If I don’t see her every few hours, I
like to do a check up on her. I had not
seen her all afternoon. She was not in
any of her “usual spots.” This is when
I do a closet check. My little girl was
on the closet shelf sacked out on my
ancient rag wool sweater!
Going to get started on the Music
Box history. I’d like Judy to be able to
read at least a rough draft before she
passes on…my day has been decided
for me… so glad I have this kind of
latitude in my life to live each day as
it comes…
When I play this music box my
mind takes me to so many places to
interact with so many memories. It
is so much more than just hearing
musical sounds.
I like to think sharing the back
story of this music box it will be
appreciated more as time goes on….
July/August 2021 MECHANICAL MUSIC 47
Bob’s Symphonion
By Mark Singleton
Back in the early days of my
collecting, by a pure mix of chance
and circumstance, I was introduced to
mechanical music enthusiast and true
master of disc box restoration, Bob
Minney.
Little did I know that for the next 25
years I would be a regular visitor to
his home, which entailed a four to five
hours drive in each direction.
Bob was recently retired from
his profession as a design engineer
at Vauxhall (GM) motors in Luton,
Bedfordshire, a career which obviously
stood him in good stead for what was
one of his great pleasures: mechanical
music. He had a brusque, no nonsense
demeanor, which commanded immediate
respect. So, you knew from the
off exactly where you stood, and woe
betide anyone who didn’t play to these
old school rules.
It didn’t take long for me to realize
that behind this hard man’s exterior,
lay an extremely helpful and willing
soul, a man who would strive hard to
help, with expert restoration, knowledgeable
advice, interspersed with
relevant tales from past encounters
with both man and machine. Bob was
a recognized authority/guru/genius on
all matters relating to disc boxes, and
I lived and breathed for them (still do).
He had a great collection, and I was
trying to build one (still am): so I’m
sure you get the picture.
In the corner of Bob’s lounge/
workshop sat a big impressive-looking
Symphonion. I was so nervous on my
first visit, I hardly dared to look at it.
On my return home I quickly consulted
the Q. David Bowers “Encyclopedia of
Automatic Musical Instruments” and
looked it up. It was a Grand Monster
Automat 192. The number referred
to the number of teeth on the combs,
set in duplex fashion. It plays discs of
25¼-inch in diameter.
Upon my return to Bob’s shop some
three months later to collect a small
job he had agreed to help me with, I
plucked up my courage, cleared my
throat and said, “Excuse me, but I
couldn’t help notice that wonderful
looking machine last time I called and
wondered if I may hear it play?”
Bob gestured towards the instrument,
and I literally tripped over my
own feet as I made my way to this
machine. Looking feverishly around
for a penny, he pointed out it had a
push/pull start behind the winding
handle. With bated breath, mouth agog,
and a huge adrenalin rush, I started it,
not knowing what to actually expect.
I stood back and was blown away
by its ethereal performance. It was
soft, mellow, sonorous, with a deep
fully rounded, yet gentle bass, liquid
mid-range and a silver bells treble.
Wow! I looked over at Bob, who
gave a gentle, all knowing “What about
that then!“ type nod. I inquired if this
was the same machine credited to him
in Graham Webb’s “The Disc Musical
Box Handbook”?
“Good gracious, no!” was his swift
reply. “That was a dreadful machine.
Actually, this machine came from up
North where you live!”
“Oh?” I said encouragingly and he
proceeded to tell me the following
story.
Back in 1958, two young lads,
the Moss bothers, traveled by train
to Blackpool for a weekend trip.
Blackpool is a somewhat frothy and
often bracing seaside resort, home
to England’s answer to New York’s
Coney Island.
On alighting from the train, the
brothers set off to find accommodation
and within minutes they heard a
music box playing in a guest house.
They knocked on the door and upon
it being answered by the landlady of
the establishment, one brother simply
stated, “Excuse me, but you have a
music box playing.”
She answered that yes, she did.
“May we come in and listen?” asked
the brothers.
Again, the answer was yes. It
was rather normal in days gone by
to knock on a boarding house and
inspect the premises to be sure they
were to your suiting before handing
over any money.
After listening, and obviously
impressed, the brothers asked if it
might be for sale. It was, and after a
little haggle they agreed on the then
princely sum of 11 pounds.
At this point the Moss brothers
returned to the train station, armed
themselves with a sack truck apiece,
and forwent their planned weekend of
wine, women and song. They split the
machine in two and returned home
carrying the Symphonion a couple of
hundred miles South.
Some 5 years later, in 1963, a young
Bob Minney had to part with 40
pounds to acquire this same piece. It
was a considerable sum, I guess, back
then.
So began my quest to find a
Symphonion for myself. Along the
way, I asked just about everyone I
met within the Musical Box Society of
Great Britain. Back then it was a very
friendly society, full of old boys, happy
and willing to share their knowledge.
Many knew this type of machine and
referred to it as “The One.” It soon
became apparent to me that not only
was this case style rare, but this
particular machine was held in high
regard by all that knew her.
Many years passed before one
surfaced. It was an incredible survivor,
having sat in a small house in
the midlands where it was sent for
repair in 1926. The mainspring was
broken, as was the endless screw. It
was repaired alright, by myself, about
75 years later, and fortunately due to
its early commercial retirement all
was shipshape on the bedplate, and
it played beautifully. What was not to
like? So, I acquired it. Well, I found out
after some time that it just could not
compare to “The One!”
Upon my next visit to Bob, collecting
a job for myself, and leaving a
Polyphon bedplate for an acquaintance,
I told him of my eventual good
48 MECHANICAL MUSIC July/August 2021
Bob’s Symphonion in the author’s home where he always wanted to see it.
July/August 2021 MECHANICAL MUSIC 49
fortune in finding a Symphonion, but
explained how it just didn’t compare
to his. “Well, what did you expect?”
was his very matter of fact response.
Right then I was inspired to throw
caution to the wind, not knowing if
I would be thrown out on my ear, or
what, for that sort of thing had been
known to happen in Bob’s shop.
“It’s like this Bob, I have never
coveted anything belonging to any
man in my life, but barely a week
passes without me thinking of that
machine! I was wondering if you were
to ever consider parting with it, would
you please consider me as the next
keeper?”
He looked at me and quick on
the uptake, he cut to the quick and
replied, “Sorry. You are out of luck;
when anything happens to me, the
Moss brothers want it back. OK?”
Well, that was that!
Sometime later, out of the blue, Bob
rang me, seething, spitting feathers
and raised merry Hell with me! “What’s
this you told that chap who came to
collect the bedplate that the Symph is
yours one day! I told you . . . Etc. Etc.”
came spilling out over the phone line.
Naturally, I was shocked. I felt physically
sick, for I had said no such thing,
and told him I had merely advised this
chap to listen if the opportunity arose,
adding that I would have loved the
chance one day, but it was not to be.
A five-second eternal silence ensued.
Then he said, “OK, as long as we are
clear, I suppose that’s that then!”
I said, “Crystal, Bob, you suppose
right, and that is that!” We both hung
up with one thing evident, emotions
were running high.
Sometime later in the mid 2000s, I
called in to Bob on a social visit while
passing by, for he lived no more than
two minutes from an arterial freeway
serving London. After a little chit chat,
and quite out of the blue, his tone
changed to something more serious.
“Had the Moss brothers ’round
yesterday,” he said, nodding in the
direction of the Symphonion. “Gave
her a good thrashing, we had a most
pleasurable afternoon.”
“Oh wow, that’s great” I started to
reply, but was cut off mid-sentence.
“No, listen!” Bob said. “We had a
good chat. We are all getting old, and
they agreed they had their enjoyment
of the machine. I’ve had mine, so it’s
your machine!”
With my forehead sweating, throat
dry and mind trying to take it in,
Bob added, with a genuinely humble
request, “But do you mind if it stays
there for now.?
Well, obviously I did not mind at
all. After all he was keeper of this
machine, and I felt truly honored to be
next in line.
Later that year, I was visiting a
collection in Germany, accompanied
by a friend, John Harold, who
happened to know Bob as well. Both
of us were intrigued to hear the same
Symphonion model, that we were
assured by the owner, speaking with
great pride, was something special.
Indeed, it was a fine box, but John
took the words out of my mind when
he later turned to me with a wry smile
and said, “Obviously they never heard
Bob’s then!”
Around 2010, a couple of days before
a long-planned family trip to the U.S.,
Bob’s daughter, Marilyn, rang to inform
me of his passing. After offering my
condolences, I apologized in advance
for my inevitable non-attendance at
his memorial. She understood fully,
of course, but before hanging up she
added that the agreement I had with
her father about the Symphonion still
stood.
Of course, I would have preferred
Bob had remained on this earth longer,
but I was happy that the Symphonion
was headed back to the Blackpool
area after a 50-plus year hiatus.
Once home, out went my Symphonion
and in went Bob’s Symphonion
to much shaking of heads by family
members who thought I had lost the
plot.
Now, this machine had sat on a
carpet in Bob’s home, with a curtain
to one side, and a fabric sofa with soft
cushions immediately to the front. I
had seriously underestimated how
this altered its acoustic properties.
In my home, it sat on a traditional
suspended bare hardwood floor, quite
spartan in comparison, that acted
like a soundboard. Out went the
super smooth, mellow machine that
we all knew and loved and in came a
powerful voice akin to Pavarotti in his
heyday.
It was different again, but retained
its unique colors, tonal qualities, musical
ability and true soul.
A German collector/dealer friend
called to see me at my then place of
business to collect a large Polyphon
disc player one day and after loading
he asked, ‘“Mark, is it true you have
this machine they called The One?”
He must have spoken to a really Old
Boy along the line, because most still
alive now, know it by its current name,
Bob’s Symphonion.
After a brief discussion, he followed
me to my home and cast his “disc box
man” eye over it. Ten seconds into the
performance, with finger in the air, he
declared “Now I do understand!”
Of course, we all have our own
favorites, and one man’s meat and all
that, but at youtu.be/OmFFwT4VhYY,
you may hear Bob’s Symphonion play,
or just search for Silvertone Music
Boxes in your web browser to find this
article.
Note that the video only gives a
fair representation of the real thing
as the microphone struggles with
the complex frequencies and creates
much distortion, even from outside
the room. Anyone reading this,
however, is more than welcome to
listen to Bob’s Symphonion in person
should they find themselves in the
Blackpool area.
This article originally appeared on the
author’s website, silvertonemusicboxes.co.uk/
Please visit the website to see more content
from this author.
50 MECHANICAL MUSIC July/August 2021
In Memoriam In Memoriam
Herbert Singe, Sr. — 1926-2020
Compiled from internet sources
The family of Herbert J. “Herb”
Singe, collector, restorer, mechanic
and driver of antique cars has
announced his passing after a brief
illness in December 2020.
Herb was interested in most
anything mechanical, electrical or
the combination of the two as long as
it was more than 100 years old. This
included mechanical musical devices,
flashlights and other battery operated
lighted items, model airplane motors
and the miniature race cars that they
powered. He was a lifelong resident
of Hillside, NJ. He served in the U.S.
Navy from 1944-46.
Herb was a 70-year member of the
Horseless Carriage Club of America
(HCCA), the Antique Automobile Club
of America (AACA), and the Vintage
Motor Car Club of America. He was
a 50-year Rotarian, a Mason and
belonged to the Early Ford V-8 Club.
He was an MBSI member for many
years. Herb loved attending antique car
shows, tours and flea markets throughout
the U.S., England and France. He
participated in more than 70 AACA
Eastern Fall National Meets, beginning
with Devon, PA, in 1949 through
Gettysburg, PA, in 2020. Herb visited
all 66 Hershey Fall Car Meets. He
was eminently proud of this accomplishment.
He loved walking and later
“scootering” around old car swap
meets where he purchased mechanical
and electrical treasures from the
past 125 years.
Herb and his late wife, Margaret,
traveled extensively around America,
the Caribbean and Europe. They spent
time at their summer home at the
Jersey Shore. Herb loved to cruise
Herb Singe with his Wurlitzer 150 Band Organ in 2010.
with his family in Barnegat Bay in his
Chris Craft convertible cruiser, the
Wiki Wiki. They enjoyed meeting and
talking to their many friends over the
years. Herb was especially at home
working with his hands and tools in
his garage and driving 110-year-old
automobiles.
Herb and Margaret (and later,
their son, Herb) built the Addressing
Machine & Supply Co., which began
with Herb carrying a tool bag. They
built it into one of the most successful
companies that sold, serviced,
and rebuilt mailing machinery and
equipment. Herb’s family and his
friends were most important to
him. Herb was predeceased by his
mother, Lottie Mae; father, Herb,
a true craftsman who taught him
much about metal and woodworking
and who also made it to age 94; his
younger sister, Marilyn, and his
beloved wife and partner of 61 years,
Margaret.
Herb is survived by his loving children,
daughter Peggysue and son Herb
R. (note: subsequent to the writing of
this obituary Herb R. sadly passed
away); Herb R.’s wife, Belinda, and
Herb R. and Belinda’s children, Herb
William and Heidi, as well as many
friends and colleagues too numerous
to mention.
Herb hoped you would take to heart
what he believed: Life is for the living.
Most importantly, make the most of
your time here on Earth.
July/August 2021 MECHANICAL MUSIC 51
In Memoriam In Memoriam
Bill Harris — 1932-2021
The story of a collector and lover of mechanical music
By Kathleen and Christian Eric
William “Bill” Harris was born in
Des Lacs, ND, the oldest son of Max
and Sophie Harris. Bill was of Norwegian
descent and proud of it. He did
not have a typical carefree childhood,
but it is unlikely that he looked at it
as anything but idyllic. He lived with
his grandparents from a young age
and attended school in Des Lacs. Bill
moved with his grandparents from
Des Lacs to Baudette, MN, in the Fall
of 1941 after the crops were harvested
(which was an important consideration
in a rural community). He loved
living with his grandparents, and he
loved living in Minnesota. His grandparents
had purchased a streetcar
from the city of Duluth, MN, and made
it into their home. They placed this
home on the banks of the Rainy River.
His Grandpa, Fred, passed away when
Bill was 11 years old. A little over a
year later his Grandma died too and
Bill moved in with his father and
stepmother. This didn’t last long and
he struck out on his own. He headed
to Minnesota where he cut pulp wood
and kept up with the seasoned adult
lumber workers. This is no small
thing, as anyone connected with the
lumber industry will tell you. As a
former Oregonian, myself, I’m familiar
with the “old time” lumber trade skills
and I know that you counted yourself
lucky if you had all of your fingers at
the end of any given day.
Bill was 16 when he earned his pilot’s
license. He was a natural fit for the
Air Force, joining in 1950. Stationed
at Hamilton Air Force Base in San
Francisco, CA, he enjoyed a few warm
Bill Harris Bill and Rosanna Harris
California winters away from the frigid
temperatures of North Dakota. He kept
his pilot’s license for 72 years.
Bill was a man of many occupations.
After his military service, he returned
to North Dakota and worked for 11
years as a telegrapher for the Great
Northern Railroad. He bought and
sold agricultural steam tractors. Next,
he published a daily sheet called the
“Noon News” which was delivered
daily to a variety of restaurants in
Minot, ND. He also published a collector’s
magazine and various books,
one focused on the details of early
Winchester rifles. The printing press
for this publication was in the basement
of his family home. His young
pre-teen son, Fred, ran the press.
Bill was a collector of top-of-theline
Winchester rifles. He eventually
sold his collection to finance another
venture, a gun shop called Dakota
Firearms.
A major flood, and the additional
sadness of a divorce, prompted a
move to Denver, CO. He had intended
to make his way to Phoenix, AZ, but
his traveling money ran low before
he could get all the way to his destination.
Since he enjoyed skiing, hiking
and fishing, and Colorado had all of
these amenities, he felt like it wasn’t
a bad rest stop. While “resting” in
Denver, Bill also found himself the
fortunate winner of the Lotto. Well,
the “marital Lotto” that is. He met his
future wife, Rosanna, and as they say,
the rest is history. Those who knew
Bill know Rosanna was the love of his
life. While remaining absolute individuals,
Bill and Rosanna complimented
and supported one another in every
way. They married in 1979 and in the
ensuing years they were seldom apart.
Hollywood could not have cast a more
perfect script than when “Bill met
Rosanna.”
52 MECHANICAL MUSIC July/August 2021
Bill’s many interests led him to
finding new occupations in Colorado.
He published several magazines and a
variety of books. He bought and sold
vintage slot machines and restored
them for use in collectors’ homes. He
and his able crew of carvers produced
“slot statues” in the shape/form of a
full-size man. These statues held a
working slot machine as part of the
body form.
In addition to rifles and slot
machines, Bill had a growing collection
of nickelodeons, pianos, and
orchestrions. There came a point,
however, when, in order to grow his
burgeoning vintage slot machine
business, he and Rosanna found it
necessary to sell the piano collection.
Their Seeburg G was the prize of the
collection. Once sold, Bill thought he
would never see the machine again. In
this way, Bill and Rosanna found out
that collecting can sometimes be a
hellish pursuit, but a little of the sting
of having to sell his Seeburg G was
taken out of this transaction when the
machine was purchased by premier
restorer and collector Art Reblitz. It
always makes a collector happy to see
a cherished piece go to the right home.
Later in life, as fate would have it, while
trading one thing for another, Bill was
able to acquire another Seeburg G. His
new Seeburg was a top-notch machine
that he bought from an original owner
through a broker. Of the five pianos
in Bill’s collection this one was his
favorite.
In the late 1970s Bill began enjoying
trips to a large event in England, the
Great Dorset Steam Fair, founded in
1969. There, Bill met a 100-key Mortier
dance organ. It was 17-feet-6-inches
tall and needed a bit of open space to
perform. In 1981, while Rosanna and
Bill were attending this event together,
Bill told Rosanna he would like to own
an organ just like that Mortier. They
both knew it wouldn’t happen overnight
as they were still in the process
of growing their slot machine and
publishing businesses. As previously
mentioned, collectors always face a
choice, sometimes painful, especially
for passionate lovers of mechanical
music: do you make a living, or do you
collect yourselves into oblivion?
In 1996, Bill and Rosanna moved to
the hills of South Dakota where Bill
designed a log home, drawing from
his past experience in the multiple
trades and skills he had acquired since
living, surviving and thriving with his
beloved grandparents. He still had
the dream of owning a Mortier and
he was no spring chicken, but that
made no impact on his decisions.
He contracted with a young man
named Mark Hartman to build Bill
and Rosanna’s dream log home, one
that would also become home to their
expanding collection of European
dance organs, fairground organs, cafe
organs and orchestrions. A 90-footby-
40-foot building was constructed
with an inside ceiling height of 18
feet. It was just tall enough to fit the
Mortier dance organ with the facade
fully assembled. Bill and Rosanna
then went on a serious search to find
a Mortier. Bill, ever the overachiever,
found two and bought both of them.
To own even one of these physically
massive and musically monumental
machines would have been more than
enough for almost anyone, but as
many of the collectors in our society
know, that isn’t how collecting works.
For those of you who knew Bill, or
have enjoyed the Harris hospitality, as
well as their stunning collection, the
idea that this is the end of an era will
likely come to mind.
As Rosanna put it, “Bill was a writer,
a publisher, a salesman, a carpenter,
Rosanna and Bill Harris riding the Parker Carousel in Abilene, KS, in 2013.
a railroad man, a talker (oh yeah), a
font of knowledge and information,
restorer, collector and a seeker. He
was always interested in learning
more.”
Bill Harris passed away while
Rosanna played his favorite organs,
talking to him and recounting the
adventures they enjoyed acquiring
each of their treasures. He passed on
while listening to this music and we
assume, he now has a Mortier cranked
up playing his own particular favorites
while enjoying some beer and brats.
He’s probably wishing he had a bit
more time with his Rose.
Rest in peace you hard-headed
Norwegian.
Thank you to Rosanna Harris for
allowing me to crib from her formal
memorial, and as we both know, there
are so many more tales to tell. Perhaps
one day we will get the chance to do so.
Bill joined MBSI in 1968 when
Harvey Roehl was president of the
society so that he could attend the
convention in Binghamton, NY, that
year. Just as I was completing this
article, I heard from Rosanna who
assured us that, just as Bill would
have wanted it, she will continue to
invite interested people to see, hear
and appreciate the collection she
and Bill acquired. In fact, she said, if
one of the instruments still on their
want list comes on the market, she’ll
most likely acquire it and add to their
collection!
July/August 2021 MECHANICAL MUSIC 53
In Memoriam In Memoriam
Emery Prior — 1936-2021
By Carl and Joyce Mueller
It is with deep sadness that I
announce the passing of my friend
Emery “Driz” Prior on Apr. 9, 2021, at
home surrounded by his family. Emery
was born in Chagrin Falls, OH, in 1936
and spent his entire life in Northeast
Ohio. As a longtime member of MBSI
and the Automatic Musical Instrument
Collectors’ Association (AMICA),
Emery was an avid collector and
supporter of mechanical music,
amassing a sizable and unique collection
of outstanding pieces over the
years. He chaired various MBSI events
in Ohio and was in charge of the MBSI
Museum Committee Ohio Operation
in Northeast Ohio. He was a recipient
of numerous awards for his support
and dedication to many cultural and
civic organizations, including MBSI.
Emery spoke on numerous occasions
to these organizations about
mechanical music. He especially
enjoyed talking to school children
about mechanical music. He would
say he felt it was important to engage
young people in this hobby. His
friends from around the world. They
enjoyed leisurely days of swimming,
boating, and fishing.
One of our fondest memories was
at a picnic hosted by Emery and Tara
for some of his collector friends. This
turned into a hilarious event. After
lunch, he fired up his 1920 La France
Fire Truck, with everyone piled on the
running boards and back perch. Emery
then proceeded to drive us all through
collection was always open for fundraisers,
historical societies, and other
cultural groups. He traveled far and
wide, both here and in Europe, attending
numerous music conventions and
touring various musical collections
and events.
Emery was also an antique car
enthusiast, owning many rare and
unique examples of gas, electric
and steam automobiles. We traveled
together many miles attending car
shows and participated in numerous
car tours (runs) across the country.
One highlight was the Fall antique car
meet in Hershey, PA.
I also treasure our weekly lunch get
togethers that usually lasted well into
the afternoon.
Emery spent most of his working
career in the die cast industry. He
began as a salesman and ended up as
the owner of a company.
A highlight Emery often shared
about his family was a months-long
vacation on their Georgian Bay island
called “Ishpiming,” meaning “Heaven”
in the native Ojibway language, where
he reconnected with family and
In order for anything
A Lasting Legacy
once alive to have
meaning, its effect
must remain alive in
eternity in some way
– Ernest Becker, Philosopher
The Musical Box Society International
Throughout its history, MBSI has fostered an interest in and preservation of is a 501(c)(3) non-profit organization.
automatic musical instruments. Your gift to the Endowment Fund will All donations to the Endowment
support programs that will help future generations appreciate these Fund are tax deductible.
achievements of man’s creative genius. Visit www.mbsi.org to learn more. A gift of any size is welcome.
54 MECHANICAL MUSIC July/August 2021
his hometown with sirens blaring
and riders screaming and laughing.
I am certain the townspeople who
observed this event thought that there
had been a breech in security from a
local senior citizen facility.
Later in life Emery spent many
pleasant hours researching the Prior
ancestry and genealogy. The Prior
family was among some of the earliest
settlers in Northeast Ohio, arriving in
about 1800 from New England.
Emery was truly an exceptional
American and special friend, never
complaining, always happy and positive.
He is survived by wife Tara, son
Chris (Wendi), daughter Ginny, and
grandchildren Cyrus and Dean.
Condolences
MBSI would like to offer
sincere condolences to the family
of Eugene “Gene” Saboda and his
wife, Maureen, as they mourn his
passing.
Advertise in The Mart
Have some spare parts or extra rolls taking up the space
where you should be installing your next acquisition?
Ready to trade up, but need to sell one of your current
pieces first? Get the word out to other collectors by
advertising in The Mart, an effective advertising tool at an
inexpensive price.
Go online to place your advertisement at www.mbsi.org,
fill out the form in the Mart section, or contact Russell
Kasselman at (253) 228-1634 to get started. You may also
email advertisements to editor@mbsi.org
July/August 2021 MECHANICAL MUSIC 55
Writer’s guidelines for Mechanical Music
The MBSI Publications Committee
wants to maintain and improve the
quality of its magazines. The following
guidelines are designed to help you in
preparing your articles for publication.
Title
Please include words that allow
your article to be categorized and
filed in an index of articles. You may
include a subtitle which may further
clarify the title.
Outline
Please organize your article in a
chronological, logical format. Avoid
lengthy paragraphs and sentences.
Punctuation
In most instances, quotation marks
are typed after periods and commas.
“This example has the proper format.”
Be consistent with capitalization,
numerals, names, etc. The Associated
Press Stylebook is used as a
basic reference tool for questions of
consistency. Decimal points should
be preceded by a 0 if they are only
fractional. Example: 0.25 is correct.
The editor and members of the Publications
Committee will proof read
articles for accuracy and consistency.
Footnotes and Bibliography
Provide footnotes and a bibliography
where appropriate. Provide
reference websites and a list of further
reading suggestions if available. When
quoting materials, note the numeric
footnote in the text.
Photographs
Provide digital photos whenever
possible. Try to eliminate background
clutter when taking pictures. Be sure
there is enough light or a good flash.
Take care to avoid the flash reflection
on the instruments. Shut off the date
and time recorder on your camera.
Set the camera to take photos with
the highest resolution possible. Send
in the high-resolution photos. Do not
reduce the size for the purposes of
email, instead send several emails
with a few photos in each email.
Printed photos are acceptable but not
recommended.
If photos correspond to the text to
illustrate a procedure or particular
piece of a music box, please note this
in the photograph’s file name. For
example, if you refer to Figure 1 in the
text please title the photo Figure1.jpg
to ensure the correct image appears in
the correct position on the page. If you
are not able to alter the photograph’s
title, please provide captions for
photos that clearly identify them and
where they should be positioned in
the article if that is important to the
presentation of the material.
Article Text
If possible, please submit the article
in either Microsoft Word format as a
.doc attachment or include it as text
in an email. As a last resort, a typed
document can be accepted via mail.
Do not type in all caps.
Review Process
All articles are reviewed by the
editor and the Publications Committee
chair and can be referred to one
or more members of the Publications
Committee or a recognized expert to
be checked for technical and historical
accuracy. Even though the article
is assumed to be the author’s opinion,
and thoughtful opinions are encouraged
to stimulate discussion and more
research, the author may be asked to
substantiate his/her statements.
If describing the restoration of
an antique instrument and using
materials not originally used in the
manufacture of that instrument, the
author should explain why he/she
chose to use alternative materials.
No article should be written in such
a way that it can be construed as
commercial advertising for one’s own
products, goods, or services or those
of any other individual or company.
The panel may make suggestions
which will be noted and the article
returned to the author for his/her
response. This is standard procedure
for any technical and professional
publication. The goal of the review
process is to help make every article
as good as it can possibly be and to
contain as few errors as possible. In
no manner should this process be
construed as censorship. The author
will receive a proof of the typeset and
formatted article. It should be read
carefully. After the second proof, no
changes can be made. It is understood
that the author can withdraw the
article at any time prior to publication.
Mechanical Music is published six
times per year. Materials intended
for publication should be submitted
approximately 60 days prior to the
publication date for any issue. For
example, materials to be published in
the March/April issue of Mechanical
Music (March 1 delivery date) should
be submitted on or about January 1.
The article publishing schedule is
dependent on the review process and
other obligations that are time sensitive.
Although every effort is made to
publish articles within a few months
of submission, the date of publication
is dependent on the number of articles
in process, their length, and the review
process. The editor will make every
effort to keep the author informed
about the probable publication date.
Authors may contact the editor at any
time for an update.
Thank you for your contribution(s)
to Mechanical Music. Your efforts
are of great value to this generation
and future generations of mechanical
music enthusiasts.
Send articles to:
MBSI Editor
130 Coral Court
Pismo Beach, CA 93449
Email: editor@mbsi.org
Phone: (253) 228-1634
Copy this page and keep it handy,
then look at your collection. There
certainly must be a musical piece that
you found after either searching for
it for many years or through unusual
circumstances. It could be a subject
for our popular, “The Hunt” series.
We look forward to receiving many
stories in the coming months.
56 MECHANICAL MUSIC July/August 2021
(802) 728-9694 (802) 728-9694
Music Box Company, Inc.
We restore Swiss cylinder and disc music boxes.
• Cylinders are repinned if necessary and all worn
parts are rebuilt to original specifications or better.
• Combs are repaired and tuned. Nickel plated parts
are replated as needed.
Trust your prized music box to the finest quality
restoration available. We have been accused of over
restoring! Better over than under I say!
We will pick up your music box anywhere east of the
Mississippi River, and transport it to our shop in
Randolph, Vermont, where it will be stored in a
climate-controlled area until it’s finished and returned.
We have a complete machine shop where we build Porter
Music Boxes, more than 3,000 so far. We are unique in
the industry in that we are capable of manufacturing any
part needed to restore any music box.
See our website, www.PorterMusicBox.com, to read
letters of recommendation and browse a selection of the
finest disc boxes currently being manufactured anywhere
in the world. We have twin disc models, single disc
models with 121/4” or15 1/ “ discs, and table models with
beautiful cabinets created for us in Italy. Also we can
occasions.
P.O Box 424
Randolph, VT 05060
support.
Call (802) 728-9694 or
email maryP@portermusicbox.com
The Organette Book
ISBN 978-0-9557869-5-2
colour throughout;Additional Illustrations of Models; Additions to Lists of The Organette Book
ISBN 978-0-9557869-5-2
colour throughout;Additional Illustrations of Models; Additions to Lists of
The Musical Box Society of Great Britain announces the publication of two new books
Published in September 2018
100pp Hard Back ISO A4 format [8.27” × 11.70”; Profusely illustrated in
Supplement to
colour throughout with Additional Illustrations of Models, 89 Additional Lid
The Disc Musical Box Pictures Additions to Lists of Models, Patents, Tune Lists & Serial Numbers;
Combined Index of Images in the original book and its Supplement.
Compiled and Edited by
Kevin McElhone
Originally published in 2012 and still available The Disc Musical Box
ISBN 978-0-9557869-6-9
is a compendium of information about Disc Musical Boxes, their Makers and
their Music; profusely illustrated in colour throughout with Illustrations of
each Disk Musical Box Model, and with Catalogue Scans, Lists of Models,
Patents & Tune Lists.
Supplement to
Compiled and Edited by
Kevin McElhone
100pp Hard Back ISO A4 format [8.27” × 11.70”; Profusely illustrated in
Patents, Tune Lists & Tuning Scales; A New Section on Trade Cards;
Combined Index of Images in the original book and its Supplement.
The Organette Book is a compendium of information about Organettes,
their Makers and their Music. Originally published in 2000 but now out of
print although second-hand copies are occasionally available in online
auctions.
************************************************************************************************************************
For all MBSGB Publications, please refer to the Musical Box Society of Great Britain website for further details including latest
availability, discounted prices and information on how to order. -www.mbsgb.org.uk
58 MECHANICAL MUSIC July/August 2021
Ben’s Player Piano Service
Repair and restoration of air powered mechanical music
devices of all description.
Player pianos
Reproduing pianos
Dance organs
Fairground organs
Nickelodeon pianos
Original historically
Correct techniques
And materials used
Throughout in the
Rebuilding process.
Benjamin R Gottfried
464 Dugan Road, Richfield Springs NY 13439
Bensplayerservice.com 315-858-2164
WWW.REEDERPIANOS.COM • 517-886-9447
Specializing in the Restora on and Retail of Fine Pianos
Available Reproducing Pianos:
Chickering •Marshall & Wendall •George Steck
Mason & Hamlin •Knabe •Aeolian
»QRS & AMPICO MUSIC ROLLS«
“Where Fine Pianos
Are Reborn”
Fine Art & Antique Consignments
The highest level of customer service plus private,
professional and confidential transactions.
120 Court Street, Geneseo, NY 14454 cottoneauctions.com
Call / Text: 256-702-7453
Email: four.four_time@yahoo.com
Purchasing single pieces or entire collections.
“I am still
delighted with
the machines
I bought from
you. Your prices
were fair, everything
was just as you
described it.”
– Joe… Baraboo, WI, April 2020
Browse our selection of music boxes,
music box disc, phonographs, cylinder
records and more on: 4-4time.com
4-4time.com
Ben’s Player Piano Service
Repair and restoration of air powered mechanical music
devices of all description.
Player pianos
Reproduing pianos
Dance organs
Fairground organs
Nickelodeon pianos
Original historically
Correct techniques
And materials used
Throughout in the
Rebuilding process.
Benjamin R Gottfried
464 Dugan Road, Richfield Springs NY 13439
Bensplayerservice.com 315-858-2164
WWW.REEDERPIANOS.COM • 517-886-9447
Specializing in the Restora on and Retail of Fine Pianos
Available Reproducing Pianos:
Chickering •Marshall & Wendall •George Steck
Mason & Hamlin •Knabe •Aeolian
»QRS & AMPICO MUSIC ROLLS«
“Where Fine Pianos
Are Reborn”
Fine Art & Antique Consignments
The highest level of customer service plus private,
professional and confidential transactions.
120 Court Street, Geneseo, NY 14454 cottoneauctions.com
Call / Text: 256-702-7453
Email: four.four_time@yahoo.com
Purchasing single pieces or entire collections.
“I am still
delighted with
the machines
I bought from
you. Your prices
were fair, everything
was just as you
described it.”
– Joe… Baraboo, WI, April 2020
Browse our selection of music boxes,
music box disc, phonographs, cylinder
records and more on: 4-4time.com
4-4time.com
July/August 2021 MECHANICAL MUSIC 59
A FANTASTIC AUCTION
Antique Music Boxes, Phonographs & Related ItemsAndrew & Harriet Ellis Collection
A FANTASTIC AUCTION
Antique Music Boxes, Phonographs & Related ItemsAndrew & Harriet Ellis Collection
To be held in the Barry Expo Center, on the Barry County Fairgrounds at 1350 N. M-37 Highway,
Hastings, Michigan – 4-1/2 miles northwest of Hastings on M-37 or approx. 20 miles southeast of
Grand Rapids on Beltline/M-37 to the auction location on:
Thursday, Friday & Saturday, September 2, 3 & 4, 2021Thursday starts at 1:00 P.M. following the luncheonFriday and Saturday begin at 9:00 A.M. each dayThis collection is phenomenal and the content is
staggering. Hundreds of machines, rarity afterrarity, and multiples of desirable and sought after
examples about. As found examples acquired and
accumulated by Mr. and Mrs. Ellis over the course
of five decades, makes this an offering that any
collector, museum and investor will not want to
miss.
Regretfully, Mr. Ellis passed away on February 27at the age of 87. This collection is a tribute to his
efforts to acquire and accumulate wonderful and
desirable machines in this field, along with his wife
Harriet during their 68 year marriage.
Plan on attending this terrific event. Call for your
copy of a complete catalog with over 1,000 pictures.
Rare Edison
Class M with
5” mandrel
Rare Multiphone Banjo Model
coin operated 24 cylinder
phonograph
Symphonion Eroica triple disc music
box in the Haydn Model, an extremely
hard to find example.
Steven E. Stanton
144 South Main St., P.O. Box 146 • Vermontville, MI 49096
(517) 331-8150
Phone 517-726-0181 • Fax 517-726-0060
e-mail: stantonsauctions@sbcglobal.net Michael C. Bleisch
website: www.stantons-auctions.com (517) 231-0868
Stanton’s Auctioneers & Realtors conducting auctions throughout Michigan and across the United States since 1954.
Over 7500 sales conducted and 4,000 parcels of real estate sold at auction. Call us to discuss your sale with a firm has the
experience to properly handle the job right for you. Steven E. Stanton, (517) 331-8150, Email – stevenEstanton@gmail.com
Sing a Different Tune!
Expand your library of discs! With over 9,500 discs
in stock, I’m sure to have something for your machine!
Here’s a small sampling of sizes/brands on hand:
Ariston – organette – 13” Mira – 9”, 12”, 15”, 18”
Celesta – 15” Monopol – 13”
Criterion/Olympia – 15”, 20” Polyphon – 6”, 8”, 9”, 11”, 15”, 19”, 24”
Edelweiss – 8”,12” Regina – 11”, 12”, 15”, 20”, 27”
Gem Roller Organ – 6” Stella – 9”, 14”, 15”, 17”
Grand Roller Organ – 13” Symphonion – 8” through 20”
Harmonia – 9” Thorens – 4.5”, 11”
Imperial Symphonion – 10”, 13”,14”, 15”
Kalliope – 5”, 7”, 9”, 13”, 14”,17”
Email/call me with what you’re looking for. I can provide lists with
title/cond./price for most of what’s in stock!
While listening to ‘new’ music…sit back and read a new book!
Cylinder Music Box Repair – new from the AMBC, UK – very
limited edition, only 8 in stock – no more available. -$65 + pstg.
The Music Box Makers of Switzerland – from theAMBC, UK –
tracing the history of Swiss music box makers. -$65 + pstg.
The Disc Musical Box, by K. McElhone – a fabulous reference book
with background histories, comb tuning scales, list of makers &
models, $60 + pstg. Supplement to the book with even more info!
$30. Both: $80 + pstg.
Nancy Fratti Music Boxes 315-684-9977
PO Box 400 Canastota NY 13032 USA
musicbox@frontiernet.net
FOR SALE
REGINA 151/2 MUSIC BOX. Mechanism was
THE MART
professionally restored. Bought new combs
RESTORED MUSICAL BOXES Offering a from Porter and they have been tuned and
Display Advertising Dimensions and Costs
Dimensions 1 issue 3 issues* 6 issues*
Back Cover 8.75” x 11.25” $600 $540 $510
Inside Covers 8.75” x 11.25” $450 $405 $383
Full Page 7.25” x 9.75” $290 $261 $246
Half Page 7.25” x 4.5” $160 $144 $136
Quarter Page 3.5” x 4.5” $90 $81 $77
Eighth Page 3.5” x 2.125” $50 $45 $43
Add a 10% surcharge to the prices shown above if you are not a member of MBSI.
*Display Discounts shown above are calculated as follows:
3 consecutive ads 10% Discount
6 consecutive ads 15% Discount
ALL ADS MUST BE PREPAID
We accept VISA/MC and Paypal.
ADVERTISING DEADLINES:
The 1st day of each even month: Feb., Apr., Jun, Aug., Oct. and Dec.
Display ads may be submitted camera-ready, as PDF files, or with text and
instructions. File submission guidelines available on request.
Errors attributable to Mechanical Music, and of a significant nature, will be
corrected in the following issue without charge, upon notification.
CLASSIFIED ADS
• 47¢ per word
• ALL CAPS, italicized and bold
words: 60¢ each.
• Minimum Charge: $11 per ad.
• Limit: One ad in each category
• Format: See ads for style
• Restrictions: Ads are strictly
limited to mechanical musical
instruments and related items and
services
• MBSI member’s name must
appear in ad
• Non-members may advertise at the
rates listed plus a 10% surcharge
PLEASE NOTE:
The first two words (or more
at your choice) and the member’s
name will be printed in all caps/bold
and charged at 60¢ per word.
Mechanical Music
Mechanical Music is mailed to all
members at the beginning of every
odd month — January, March, May,
July, September and November.
MBSI Advertising Statement
It is to be hereby understood
that the placing of advertisements
by members of the Society in this
publication does not constitute nor
shall be deemed to constitute any
endorsement or approval of the business
practices of advertisers. The
Musical Box Society International
accepts no liability in connection
with any business dealings between
members and such advertisers.
It is to be further understood that
members are to rely on their own
investigation and opinion regarding
the reputation and integrity of
advertisers in conducting such business
dealings with said advertisers.
variety of antique musical boxes, discs,
orphan cylinders, reproducing piano rolls &
out of print books about mechanical music.
BILL WINEBURGH 973-927-0484 Web:
antiquemusicbox.us
THE GOLDEN AGE of AUTOMATIC MUSICAL
INSTRUMENTS By ART REBLITZ.
Award-winning classic that brings historical,
musical, and technical information to life
with hundreds of large, vivid color photos.
We guarantee you’ll find it to be one of the
most interesting, inspiring, informative books
you have in your library–or your money back.
Everyone has been delighted, and some
readers have ordered several copies. Get
your copy today for $99 plus S/H. MECHANICAL
MUSIC PRESS-M, 70 Wild Ammonoosuc
Rd., Woodsville, NH 03785. (603) 747-2636.
http://www.mechanicalmusicpress.com
Each One
Reach One
New Member
installed. Plays as it should. New top reproduced.
Have receipts for work and parts.
$2,100.00. Call JON GULBRANDSON, at
(763) 923 5748
MARVELS OF MECHANICAL MUSIC -MBSI
Video. Fascinating and beautifully-made
film which explains the origins of automatic
musical instruments, how they are collected
and preserved today, and their historic
importance, MBSI members and collections
are featured. $20 USD. Free shipping in the
continental U.S. Additional postage charges
apply for other locations. Purchase now at
www.mbsi.org
SUBMIT ADS TO:
MBSI Ads
130 Coral Court
Pismo Beach, CA 93449
(253) 228-1634
Email: editor@mbsi.org
62 MECHANICAL MUSIC July/August 2021
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LOWREY OR HAMMOND ORGAN that plays
piano rolls or the player part, working or not.
These were made in the early 1980s. Contact
LES BEEBE, at (609) 654-2789.
SEEKING PLANS or measurement for a
Polyphon lower cabinet for 19.5 size disc.
Contact ROD MOORE, rodcrna4u@gmail.
com or (336) 337-1165 North Carolina
BOOK OR ROLL ORGAN in working condition.
Contact DAN ALBRECHT at danalbreht@
frontiernet.net or (763) 972-6202
SERVICES
REPRODUCTION POLYPHON discs; Catalogs
available for 19 5/8”, 22 1/8”, and 24
1/2”. DAVID CORKRUM 5826 Roberts Ave,
Oakland, CA 94605-1156, 510-569-3110,
www.polyphonmusic.com
Add a photo to your ad!
You know the old saying, “A photo
is worth 1,000 words!” For $30 you
can add a photo to your ad in the
Mart.
A photo makes your ad stand out
on the page and quickly draws a
reader’s interest in the item.
Email your advertisement with
photo to editor@mbsi.org or call
(253) 228-1634 for more details.
SAVE $’s on REUGE & THORENS MUSIC
BOX REPAIR & RESTORATION – MBSI
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musical figurines, et al. All work guaranteed.
We’re the only REUGE FACTORY AUTHORIZED
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(310) 534-1557 Email: MBRCU@AOL.COM.
On the Web: www.musicboxrepaircenter.com
Advertise in The Mart
Have some spare parts or extra
rolls taking up the space where
you should be installing your next
acquisition? Ready to trade up,
but need to sell one of your current
pieces first? Get the word out to
other collectors by advertising in
The Mart, an effective advertising
tool at an inexpensive price.
Fill out the form below and mail to
MBSI at 130 Coral Court, Pismo
Beach, CA 93449. Call (253) 2281634
with questions.
3………. Renaissance Antiques
55…….. Music Box Restorations
55…….. Miller Organ Clock
57…….. Porter Music Box Company
58…….. MBSGB
58…….. American Treasure Tour
59…….. Reeder Pianos
59…….. Cottone Auctions
59…….. Ben’s Player Piano Service
59…….. 4-4Time.com
60…….. Stanton Auctions
61…….. Nancy Fratti Music Boxes
67…….. Southeast Chapter
68…….. Marty Persky Music Boxes
Name
Phone
Email
Text of ad
Mechanical
Music
Directory
MeMbers,
MuseuMs,
& Dealers
2020 2021
ORDER EXTRA COPIES
The 2020-2021 Directory of Members,
Museums and Dealers is only $10 for
members. (International shipping is extra)
Call MBSI Administrator Jacque Beeman at
(417) 886-8839 or send a check to:
Musical Box Society International
P.O. Box 10196
Springfield, MO 65808-0196
July/August 2021 MECHANICAL MUSIC 63
OFFICERS, TRUSTEES & COMMITTEES of the
MUSICAL BOX SOCIETY INTERNATIONAL®
OFFICERS
President
Tom Kuehn
4 Williams Woods
Mahtomedi, MN 55115
kuehn001@umn.edu
Vice President
David Corkrum
5826 Roberts Avenue
Oakland, CA 94605
musikwerke@att.net
Recording Secretary
Linda Birkitt
PO Box 541
San Juan Capistrano, CA 92693
scarletpimpernel28@yahoo.com
Treasurer
Edward Kozak
3615 North Campbell Avenue
Chicago, IL 60618
ekozak1970@gmail.com
TRUSTEES
Dave Calendine
Bob Caletti
Ed Cooley
Dave Corkrum
G.Wayne Finger
Matt Jaro
Tom Kuehn
Mary Ellen Myers
MBSI FUNDS
COMMITTEES
Audit
Edward Cooley, Chair, Trustee
Dave Calendine, Trustee
Matt Jaro, Trustee
Endowment Committee
Edward Kozak, Treasurer, Chair
Edward Cooley, Trustee
Dave Calendine, Trustee
B Bronson
Wayne Wolf
Executive Committee
Tom Kuehn, Chair, President
David Corkrum, Vice President
Clay Witt, Immediate Past Pres.
G.Wayne Finger, Trustee
Mary Ellen Myers, Trustee
Finance Committee
Edward Kozak, Chair, Treasurer
Wayne Wolf, Vice Chair
David Corkrum, Vice President
Edward Cooley, Trustee
Peter Both
Marketing Committee
Bob Smith, Chair
Dave Calendine, Trustee
G.Wayne Finger, Trustee
Judy Caletti
Meetings Committee
Matt Jaro, Chair, Trustee
Judy Caletti
Tom Chase
Cotton Morlock
Rich Poppe
Membership Committee
Chair, TBD
Mary Ellen Myers, Trustee,
Southeast
Linda Birkitt, Southern California
Gary Goldsmith, Snowbelt
Christine Hopwood, Golden Gate
Julie Morlock, Southeast
Rob Pollock, Mid-America
Dan Wilson, Piedmont
Gerald Yorioka, Northwest Int’l
TBD, East Coast
TBD, Great Lakes
TBD, National Capital
TBD, Sunbelt
Museum Committee
Sally Craig, Chair
Clay Witt, Immediate Past Pres.
Glenn Crater, National Capital
Ken Envall, Southern California
Julian Grace, Sunbelt
Matt Jaro, National Capital
Rob Pollock, Mid-America
Richard Simpson, East Coast
Museum Sub-Committees
Ohio Operations
Rob Pollock
SPECIAL ACTIVITIES
Publications Back Issues:
Jacque Beeman
Regina Certificates:
B Bronson
MBSI Pins and Seals:
Jacque Beeman
Librarian:
Jerry Maler
Historian:
Bob Yates
Nominating Committee
Dan Wilson, Chair
Clay Witt, Immediate Past Pres.
Bob Caletti, Golden Gate, Trustee
Mary Ellen Myers, Trustee,
Southeast
Jonathan Hoyt, Golden Gate
Robin Biggins, Southern California
Aaron Muller, Lake Michigan
Publications Committee
Bob Caletti, Chair, Trustee
Steve Boehck
Dave Corkrum, Vice President
Christian Eric
Kathleen Eric
Terry Smythe
Publications
Sub-Committee
Website Committee
Rick Swaney, Chair
B Bronson
Don Henry
Knowles Little, Web Secretary
Special Exhibits Committee
Chair Mary Ellen Myers, Trustee,
Southeast
David Corkrum, Vice President,
Golden Gate
Donald Caine, Southern California
Jack Hostetler, Southeast
Knowles Little, National Capital
Judy Miller, Piedmont
Aaron Muller, Lake Michigan
Wayne Myers, Southeast
Rick Swaney, Northwest Int’l
MBSI Editorial Office:
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
editor@mbsi.org
Members can donate to these funds at any time.
Send donations to: General Fund (unrestricted)
MBSI Administrator, Endowment Fund (promotes the purposes of MBSI, restricted)
PO Box 10196, Ralph Heintz Publications Fund (special literary projects)
Springfield, MO 65808-0196. Museum Fund (supports museum operations)
All manuscripts will be subject to editorial review. Committee and the Editorial Staff. are considered to be the author’s personal opinion.
Articles submitted for publication may be edited The article will not be published with significant The author may be asked to substantiate his/her
or rejected at the discretion of the Publications changes without the author’s approval. All articles statements.
64 MECHANICAL MUSIC July/August 2021
CALENDAR OF EVENTS
Date Event Location Sponsor
Aug. 30-Sept. 4, 2021 MBSI Annual Meeting Ft. Myers, FL Southeast Chapter
When will your chapter meet next? Holding a “virtual meeting?” Let us know!
Send in your information by Aug. 1, 2021, for the September/October issue.
Don’t hold your questions until the next chapter meeting. Ask them today on our Facebook discussion group
-the Music Box Society Forum.
Please send dates for the Calendar of Events to Russell Kasselman (editor@mbsi.org)
CONTACTS
Administrator Jacque Beeman handles back issues (if available) $6;
damaged or issues not received, address changes, MBSI Directory
listing changes, credit card charge questions, book orders, status of your
membership, membership renewal, membership application, and MBSI
Membership Brochures.
P.O. Box 10196
Springfield, MO 65808-0196
Phone/Fax (417) 886-8839
jbeeman.mbsi@att.net
Traveling MBSI Display
Bill Endlein
21547 NW 154th Pl.
High Springs, FL 32643-4519
Phone (386) 454-8359
sembsi@yahoo.com
Regina Certificates: Cost $5.
B Bronson
Box 154
Dundee, MI 48131
Phone (734) 529-2087
art@d-pcomm.net
Advertising for Mechanical Music
Russell Kasselman
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
Phone (253) 228-1634
editor@mbsi.org
CHAPTERS
Snowbelt
Chair: Tracy Tolzmann
(651) 674-5149
Dues $10 to Gary Goldsmith
17160 – 245th Avenue
Big Lake, MN 55309
Southeast
Chair: Jack Hostetler
(352) 633-1942
Dues $5 to Clay Witt
820 Del Rio Way Unit 203
Merritt Island, FL 32953
Museum Donations
Sally Craig,
2720 Old Orchard Road
Lancaster, PA 17601
Phone (717) 295-9188
rosebud441@juno.com
MBSI website
Rick Swaney,
4302 209th Avenue NE
Sammamish, WA 98074
Phone (425) 836-3586
r_swaney@msn.com
Web Secretary
Knowles Little
9109 Scott Dr.
Rockville, MD 20850
Phone (301) 762-6253
kglittle@verizon.net
CHAPTERS
East Coast
Chair: Elise Low
(203) 457-9888
Dues $5 to Roger Wiegand
281 Concord Road
Wayland, MA 01778
or pay via PayPal, send to
treasurereccmbsi@gmail.com
Golden Gate
Chair: Jonathan Hoyt
jenjenhoyt@yahoo.com
Dues $5 to Dave Corkrum
5826 Roberts Ave.
Oakland, CA 94605
Japan
Chair: Naoki Shibata
81-72986-1169
naotabibito396amb@salsa.ocn.ne.jp
Treasurer: Makiko Watanabe
makikomakiko62@yahoo.co.jp
Lake Michigan
Chair: Aaron Muller
(847) 962-2330
Dues $5 to James Huffer
7930 N. Kildare
Skokie, Illinois 60076
Mid-America
Chair: Rob Pollock
(937) 508-4984
Dues $10 to Harold Wade
4616 Boneta Road
Medina, OH 44256
National Capital
Chair: Matthew Jaro
(301) 482-2008
Dues $5 to Florie Hirsch
8917 Wooden Bridge Road
Potomac, MD 20854
Northwest International
Chair: Rick Swaney
(425) 836-3586
Dues $7.50/person to Kathy Baer
8210 Comox Road
Blaine, WA 98230
Piedmont
Temp Chair: Dan Wilson
(919) 740-6579
musicboxmac@mac.com
Dues $10 to Dan Wilson
4804 Latimer Road
Raleigh, NC. 276099
Southern California
Chair: Robin Biggins
(310) 377-1472
Dues $10 to Diane Lloyd
1201 Edgeview Drive
Cowan Hgts, CA 92705
Sunbelt
Chair: Ray Dickey
(713) 467-0349
Dues $10 to Diane Caudill
4585 Felder Road
Washington, TX 77880
Copyright 2021 the Musical Box Society International, all rights reserved. Permission to reproduce by any means, in whole or in part, must be obtained in writing
from the MBSI Executive Committee and the Editor. Mechanical Music is published in the even months. ISSN 1045-795X
July/August 2021 MECHANICAL MUSIC 65
HALF PAGE
HORIZONTAL
7.25” x 4.5”
QUARTER
PAGE
3.5” x 4.5”
EIGHTH
PAGE
3.5” x 2.125”
Mechanical Music
Devoted to All Automatic Musical Instruments
Journal of the Musical Box Society International
Mechanical Music
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 63, No. 3 May/June 2017
Mechanical Music
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 63, No. 1 January/February 2017
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We’re getting our vaccine shots.
We’ve made our plans.
It’s time to make yours!
Fantastic
Collection
Tours
Don’t miss an opportunity to see the Southeast’s premier
collections of mechanical music. This is a once-in-a-lifetime
chance to see and hear these marvelous instruments, live and
in person. These are each “must see” collections.
Amazing instruments! Workshops! The Mart!
Entertainment! Ice Cream Social!
International experts! Local “open houses”
This is going to be a
GREAT convention!
Aug. 30 Sept.
4, 2021
pianos ever made), and the 1876 Dufner Barrel orchestrion with
nine barrels that is one of only three known Dufner instruments.
Also see and hear his replica Seeburg KT Special nickelodeon,
one of about 60 he manufactured in the 1980s! Tour his work-
shop and a display of mechanical music, automata and opera
Registration forms for this meeting will be
in the May/June issue of Mechanical Music.
Fort Myers, Florida
We’re getting our vaccine shots.
We’ve made our plans.
It’s time to make yours!
Fantastic
Collection
Tours
Don’t miss an opportunity to see the Southeast’s premier
collections of mechanical music. This is a once-in-a-lifetime
chance to see and hear these marvelous instruments, live and
in person. These are each “must see” collections.
Amazing instruments! Workshops! The Mart!
Entertainment! Ice Cream Social!
International experts! Local “open houses”
This is going to be a
GREAT convention!
Aug. 30 Sept.
4, 2021
pianos ever made), and the 1876 Dufner Barrel orchestrion with
nine barrels that is one of only three known Dufner instruments.
Also see and hear his replica Seeburg KT Special nickelodeon,
one of about 60 he manufactured in the 1980s! Tour his work-
shop and a display of mechanical music, automata and opera
Registration forms for this meeting will be
in the May/June issue of Mechanical Music.
Fort Myers, Florida
The JANCKO Collections
Joel and Pam Jancko’s “Backyard Museum” features a group
of buildings each with a magical display of Americana from
the Civil War through WWI. The Barn is where you will see
and hear a wide variety of automatic musical instruments,
including an Imhof & Mukle, Seeburg H, Wurlitzer CX, Double
Mills Violano, Cremona K, Weber Unica, Encore Banjo, Model
B Harp, Bruder band organ, Limonaire band organ, Bruder
monkey organ, American Photo Player and classic Mortier, as
well as a variety of cylinder and disc music boxes, organettes
and phonographs. Also walk through a service station, fire
station, bicycle shop, and cinema. In the Annex you will see
rare military artifacts (including a working Gatling gun) and
an authentic log cabin, general store, 1910 soda fountain,
game room and saloon. Outside, explore the fort. Listen to a
performance on the crown jewel of the collection – the OPUS
1616, a 3/23 Wurlitzer Theater Organ, installed in the newly
constructed dance hall.
The EDGERTON Collection
Bill Edgerton’s collection has it all -big and small. It includes
four fairground organs (Gavioli, Bruder, Limonaire and
Gasparini), a large Decap, an Ampico A piano with some
unusual music choices, several special cylinder and disc
boxes, barrel pianos and barrel organs, an Orpheus disc-playing
piano, a Piano Melodico (one of the most ornate 65-note
posters. You must see his framed artwork that smiles at you….
then it doesn’t!
The YAFFE Collection
Find a comfortable couch and enjoy Mark and Christel Ya§e’s
beautifully-appointed venue while listening to their large and
varied group of instruments, including the earliest known
Francois Nicole overture music box plus Falcone, Reymond
Nicole, F Nicole and Nicole grand format overture boxes.
Single overture boxes by Ducommon Girod, Mertert, and
Nicole and a Captains table interchangeable overture cylinder
box with 12 cylinders are on the menu. See rare and unique
automata – a drunk on the bench, a Cambodian dancer (one of
two known), a life size flute player, a Japanese mask seller and
an acrobat. Don’t forget the organs, an 84-key Mortier cafe,
112-key Mortier dance organ, 121-key DeCap dance organ plus
European orchestrions (Marenghi orchestrion, Welte style 3 in
custom case, Weber Otero, Weber violano, Weber Unika,
Popper Roland, Hupfeld universe with moving scene, Hupfeld
Helios 1/31, Phillips Paganini 3 Orchestrion), custom art case
pianos (Kanabe, Mason Hamlin and Chickering); the latest
known Hupfeld Phonolizt Violina; American nickelodeons
(Mills double violano in custom Gothic case, Encore original
(not repo) banjo, Wurlitzer, Violano, Seeburg J with bird pipes,
Nelson Wiggins 6x and 8x, Cremona J and G, Link with endless
roll). And much more!
7
Mechanical Music at its Best
Instrument Brokering & Locating / Appraisals / Inspections / Free Consultation
Mechmusic.com
11’ tall
Welte 4 Concert Violina Orchestra Wurlitzer CX with Bells Welte Brisgovia C Luxus
Four Weber Orchestrions with Animated Scenes!
Unika Maesto Otero Grandezza
Jaeger Brommer
42’er Violinopan 20’er Automaton
Seeburg KT Special
Visit: Mechmusic.com Mills Bowfront Violano
Call Marty Persky at 847-675-6144 or Email: Marty@Mechmusic.com
for further information on these and other fine instruments.