Devoted to All Automatic Musical Instruments
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
MECHANICAL MUSIC
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 67, No. 6 November/December 2021
MBSI NEWS
5 President’s Message 7 Editor’s Notes 8 MBSI Financial Reports
21 News from Overseas 51 In Memoriam
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 The article will not be published with significant changes without the author’s approval.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 Direc.tory 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 Inter.national, 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.
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Features
11 Nickel Notes by Matt Jaro 23 Deconstructing a collection 25 The Silver Swan 30 Digitizing Discs
Chapter Reports
39 Southern California 42 National Capital 45 Southern California 50 Northwest International
MBSI has replanted 146 trees so far as
part of the Print ReLeaf program.
On the Cover
William Edgerton’s 1876 Dufner barrel orchestrion, for which he has nine barrels. It is one of only three known Dufner instruments remaining in the world. Photo by Lowell Boehland.
November/December 2021 MECHANICAL MUSIC 3
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, Muse.ums, and Dealers.
The only requirements for membership are an interest in automatic music machines and the desire to share infor.mation 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 November/December 2021
By David Corkrum
MBSI President
Greetings from your new president! By the time you read this, the 2021 MBSI Annual Meeting will have already taken place. I would like to extend my gratitude to Mark Yaffe for allowing me to use his orchestrion as a backdrop for my photograph.
As many of you know, I am not new to the Board of Trustees, having served as MBSI’s recording secretary for 14 years and your vice president for the last two years. That experience means I’ve had a view into the inner workings of our society’s governing body for quite some time. As one member said to me when I accepted the position of vice president, “You know where all of the bodies are buried!”
Our society has been through some tough times these past few years, what with the pandemic and the extreme temperatures that we and our nation have experienced, but we are still here and ready to share our collections with our members and the public.
During my time as a member, I have always felt that it was necessary for me to share my collection with those who I felt had no knowledge of it. I always felt satisfied that I was able to share the music and the information. In the past, I have organized many displays of mechanical music and really enjoyed explaining to the visi.tor about how these machines were constructed and how they produce such wonderful music. These expla.nations were mostly for music boxes or other small instruments.
Recently, I had occasion to visit with a former boss who is now living in Santa Maria, CA. We worked together at the FAA Flight Service Station in Oakland, CA, but she had never seen my collection. On this trip, as it so happened, I had picked up two music boxes from Robin Biggins who had restored them. I played both instru.ments for her and was then inundated with questions. She had never seen anything like these machines.
This is the type of response you get when operating a display for the general public and I encourage you to do the same. It can be as simple as inviting friends or neighbors into your home or organizing a larger display at a public park or museum. Many of our members do this and some even display instruments in their offices. Think about it and give it a try. You never know when you will hit a chord in some person’s brain.
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.
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 ÿrst 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.
been members of MBSI or those who have not been members for three years prior to submission of this certiÿcate.
Gift Membership Name
Address, City, State, ZIP Phone Email Sponsor
SPECIAL OFFER: Purchase one or more ÿrst-year MBSI gift memberships at $45 each U.S., $55 Canadian, or $60 other Interna.tional 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.
Editor’s Notes
By Russell Kasselman
MBSI Editor/Publisher
It seems each time I begin putting together an issue of this journal I find myself wondering what I’m
going to fill it with. By the end of the process, I’m consistently amazed at the fantastic content that has made itself available from our members who have such great stories to share. If you haven’t yet shared the story of one of the pieces in your collection, or an experience you had as a member of this society, please consider doing so. Imagine yourself at “Show and Tell” in grammar school and let the rest of us see the joy you have in being part of this hobby.
I owe thanks to Matt Jaro (now MBSI vice president if you hadn’t heard) for his regular Nickel Notes column with great coverage of the Reidy collection and their mechanical music story.
Thanks also go to regular contrib.utor Dr. Robert Penna for his article on the Silver Swan, a masterpiece created more than 200 years ago from 30 pounds of silver and currently on display in England.
Dr. Albert Lötz has contributed another detailed piece of writing, this time covering a method he has used to create digital MP3 audio files from photographs of a disc. You can even listen to the results of his work on the MBSI website.
Mark Singleton, recently retired and finding himself with more time to write, sent in a report on a music box recital held at a church in Germany. It’s another good example of mechan.ical music lovers exposing more of the public to the machines and music we already know and appreciate. I applaud both the efforts of the recital presenter and the author for bringing this event to our attention.
I am also quite excited to note that this issue contains something that’s been missing from this magazine for far too long, chapter reports! We have two reports from the Southern Cali.fornia Chapter, one from the National Capital Chapter and an update from the Northwest International Chapter. Everyone is taking precautions to stay safe while the pandemic continues, but it is absolutely wonderful (in my humble opinion) to see people getting together again to listen and look at music boxes.
Traditionally, the November/Decem.ber issue of this magazine is filled with images from, and an article about, the MBSI Annual Meeting that has just taken place. The timing of the meeting this year, and some circumstances beyond our control, have resulted in a slight delay to that schedule.
Don’t despair, though, as we have received a deluge of wonderful photos from those who were able to attend the convention. We’ll have a great write-up to go along with it as well as the minutes from the annual Board
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of Trustees meeting and the minutes from the annual general membership meeting.
Financial reports for the most recent year are available in this issue for your review, starting on Page 8.
The cover for this issue comes from Lowell Boehland’s set of photos taken during the tour of William Edgerton’s collection. The photo features an 1876 Dufner barrel organ, one of only three known Dufner machines left in the world and a fabulous example. Look for more photos of this machine and others from Lowell in the next issue.
I would like to welcome new photo.graphic contributor Robert Thomas in this issue as well. Two double-page spread photos from Robert’s annual meeting experience can be found on pages 34 and 36 in this issue. Addi.tional shots from Robert and also from Trustee Edward Cooley will be making great impressions on you in the coming year.
In closing, I wish you all the merri.est of holidays and a wonderful start to your new year. I hope to see you all in sunny California next fall for the joint MBSI/AMICA annual meeting in San Mateo, CA.
Welcome new members!
Rich LeVangie & Kathy Dunn August 2021 Nashua, NH Amanda Ho Kim Westphalen North Brunswick, NJ Lakewood Ranch, FL Kathleen & Terry Hillis Dean Bullock & Bryan MaloneNevada City, CA Folsom, CA Robert Howard Kevin Kline Newport News, VA Miami, FL Elizabeth & Thomas Fisher-York Ithaca, NY September 2021Allen Salyer Ryan JonasTroy, MI Elkhorn, WI Mark Mills & Scott Haynes Memphis, TN John & Jan Osborne Stanton, CA Sponsor: Ardis Prescott Brian & Deborah Schmidt Watauga, TX Holly Thiercof Pasadena, CA John Tresch Sacramento, CA Sponsor: Don Caine
November/December 2021 MECHANICAL MUSIC 7 8 MECHANICAL MUSIC November/December 2021 November/December 2021 MECHANICAL MUSIC 9 10 MECHANICAL MUSIC November/December 2021
Nickel Notes
By Matthew Jaro
The Reidy Collection
This edition of Nickel Notes is proud to present the wonderful and unique home of Dianne and David Reidy in Santa Ana, CA.
The Reidys have been longtime members of MBSI, dating back to 1974. They not only have musical instru.ments, but they have a 1900s soda fountain surrounded by ice cream parlor furniture and memorabilia, Hollywood memorabilia (including photos, costumes and many fine wax figures of the stars), post cards from mechanical music museums and soda fountains, stained glass, automata, and so many other things that your eyes can’t take it all in at once. Each succeeding glance around a room yields more objects that you hadn’t seen before. All the objects are of the finest quality. Dianne is very charm.ing and always has a ready smile. David tells stories and histories so interesting that listeners quickly find themselves entirely spellbound.
As always, I ask people how they got started in mechanical music and how they acquired their collections. Here is the interesting response:
Introduction to Mechanical Music
David met Dianne at the hospital where they both worked. They went to an antique show together and found themselves intrigued by the old things, while all around them the people they knew at the time were busy acquiring new things. They felt they needed a theme, and were introduced to the theme of the piano world, then to automated music, then to Hollywood memorabilia. They also collected old post cards related to their other collections.
In 1976, David and Dianne were looking for a piano, not any particular kind, just a piano to play. They saw an ad where somebody had an early square grand piano in Los Angeles, CA, and they made an appointment to see it. They went to the house and saw a square grand piano. The seller took the Reidys into a room where everything was covered with sheets. The seller said he was building a piano room and that’s why everything was covered over. David was asked if he played piano, and David said, “No, I don’t play piano.”
The seller said “Then why would you buy a square grand piano when you could have one of these pianos?” So, he took the sheet off of one of the pianos, put a roll on it, and the piano played itself! David asked, “What is that?” and the seller responded, “That’s a Reproducing Grand Piano.” The highlight of this story is that the seller was Ben and Mary Lilien, long.time MBSI members.
David asked where he could get one, and Ben said there are two people that could help him. One was Q. David Bowers and the other was a fellow
November/December 2021 MECHANICAL MUSIC 11
named Richard Rigg. David turned out not to be available to help at the time, but he did call up Richard who intro.duced the Reidys to George and Susie Coade. David also called the Coades (all this happened within a week) and Susie said they were hosting a get-to.gether at their house the following week. She invited the Reidys to visit, and also mentioned that they had a piano available for possible purchase, a Queen Anne Ampico B.
The music room
The Reidys and Richard Rigg arrived at George and Susie’s house and Susie said, “Go out back, there’s a music room there with our guests.” It turned out the guests were Q. David Bowers, Terry Hathaway, Mike and Marilyn Ames, Dick Carty, Ivor Becklund, the Maxwells and Jerry and Sylvia Cohen. The get-together was to demonstrate to everyone George’s newly acquired Weber Maesto. In fact, you can see George Coade sitting in front of this instrument on Page 242 of “Player Piano Treasury,” a book written by Harvey Roehl and published by Vestal Press.
Almost everything discussed during this get together was new to the Reidys, and they certainly didn’t realize until later that they were meeting with such a group of renowned collectors on that particular day. They quickly agreed to join the next meeting at the Cohens’ home where George and Susie Coade introduced the Reidys to what would eventually become their very own Ampico B piano.
The Knabe Louis XV Ampico A
In the time between the first meet.ing and the second, the Reidys were reading the want ads in the Orange County Register and saw that there was a Louis XV reproducing piano for sale. Richard Rigg accompanied them to Lake Forest, CA, (a near-by community) to look at the piano. The sellers were the original owners and the piano looked new. It was a 1922 Louis XV Knabe Ampico A. It turned out the sellers took a liking to the Reidys and wanted to visit their house twice a year to listen to the piano. The sellers actually made it a stipulation of the purchase. The Reidys borrowed the money for the purchase from the Orange County Credit Union. Diane and David remembered the folks at the credit union couldn’t imagine why someone would be borrowing money to buy a piano instead of a house or a car.
Richard Rigg, who was president of the Southern California chapter of the Automatic Musical Instrument Collectors’ Association (AMICA) at the time, and Dorothy Bromage, a very active AMICA member, recognized the
12 MECHANICAL MUSIC November/December 2021
Reidys as like-minded souls and asked them to join the organization.
Additional Items
During a trip to a local flea mart, David noticed a tag swinging from an umbrella which stated “Ampico Record Cabinet for sale.” David asked the dealer, “How do you know it’s an Ampico Record Cabinet?” The dealer replied, “It says it right on the door.” So after the flea market was over he went to the seller’s house and sure enough, he had a Louis XVI Ampico roll cabinet. The gentleman had no idea what he had and wanted $200. The Reidys bought it and took it home.
The Reidys visited a collector in Los Angeles named Bill Schutz to buy their first music box. As they walked into his living room, they saw a very large instrument. He asked what the instrument was and Bill replied, “Oh, you like that? It’s a Seeburg H and it’s only $10,000.” The Reidys then went into the garage to see approximately 50 clocks and 25 music boxes. David said he was new to the hobby, but he would like to buy something really nice, so he asked Bill to show him one of his favorites. Bill had a 15.-inch Reginaphone music box with a nick.el-plated horn and the Reidys took it home.
Their collection grew with a Swiss Chalet music box, a few nice phono.graphs, a 78-rpm record cabinet, and a Mills Violano acquired from Dr. Rudy Edwards, who became a very good friend over the years.
In 1976, two years after the Reidys joined MBSI, they attended their first convention hosted by their local chap.ter at the Grand Hotel in Anaheim, CA, next to Disneyland. The convention committee asked the Reidys to do several miscellaneous assignments. One of the tasks was to help attendees find local attractions. David remem.bers that while he was standing in the lobby of the hotel, a well-dressed gentleman limped over and asked him for a ride to the McKinnon auction in Santa Fe Springs, CA. David, who was driving a 1971 El Camino at the time, told the man there would be just enough room for the two of them. David learned from his passenger that McKinnon had just purchased Hathaway and Bowers, Inc., and was holding its first auction. On the way to Santa Fe Springs, the pair exchanged casual conversation. Arriving at the auction, the man asked David to be sure not to leave him behind. David said he would be sure not do that. When the man entered the auction he was met with much enthusiasm and escorted right to the front. After the auction, David had more time to talk with his passenger while sitting in heavy Los Angeles traffic.
He explained that he and his wife were new collectors who owned only one music box and one reproducing piano. David politely asked the man if he had any music boxes. The man said he had several. Later in the conver.sation David asked what happened to cause the man to limp. The man replied that he had dropped a music box on his foot! After returning to the hotel the man invited David and his wife to visit him in New York City if they were ever in town.
When David returned to the conven.tion table people asked him if he knew who he had just driven around town. David shrugged and said no. Then they told him, “You just spent the afternoon with Murtogh Guinness!”
Years later, while attending a reception in New York for the Smith mechanical music/coin-op auction at Sotheby’s, the Reidys were reintro.duced to Murtogh Guinness. He asked Dianne and David if they would be his guests the next afternoon. They accepted and the next afternoon was spent walking around a local street fair with their host. That evening he gave the Reidys a tour of his home, which housed his three-block-long collection. Around 9:30 p.m. he told the couple it was his bedtime but asked them to stay to play and enjoy all his instruments. David remembers it was quite an evening.
Building a Music Room
When David and Dianne were relatively new to the hobby, Southern California was a major destination for the collecting world that was interested in Automatic Musical Instruments. The Reidys admired the music rooms of long-time AMICA members, Bill Allen, Rudy Edwards, Jerry Cohen, and George Coade. Then they decided to build a music room in their own home. Many music rooms they had observed were themed as saloons, or carousels, but the Reidys decided to do something different. They went with a soda fountain theme. Traveling around the country in the early 1980s, they bought architectural objects related to soda fountains. They were fortunate enough to obtain a 1900s-era soda fountain manufactured
November/December 2021 MECHANICAL MUSIC 13
The circa 1900 soda fountain that sets the tone for the Reidys’ themed music room.
The room features hundreds of pieces of Hollywood memorabilia in display cases and on every wall.
14 MECHANICAL MUSIC November/December 2021
in Chicago. Today, their soda fountain music room is truly wonderful and unique.
The Wurlitzer PianOrchestra
In December 1990, the Reidys received a call from a friend in the antique business, who said there was someone who would like to see their collection. So, this friend came to the Reidys’ house accompanied by a group of Japanese collectors. The group informed the Reidys they were representing a buyer in Japan who wanted to acquire instruments. David showed them his collection and told them none of the items were currently available. The Japanese group admired the machines, then headed east to continue their search. David took note of their names and contact information in case he heard of something that became available.
As it happened, a few days later David attended a car swap meet and ran into a friend of his, John Ekman, who happened to own a PianOrchestra Style 12. David learned that Rudy Edwards and George Baker also owned PianOrchestras and that George’s instrument was on display at the Evans Car Museum in San Diego, CA, for a wedding. After the wedding George had planned to sell the PianOrchestra.
David went to the museum thinking that the Japanese buyers might be interested. Well, as it turned out David and Dianne sold their entire collection to the Japanese buyers and bought the PianOrchestra to replace it. They learned later that the Japanese collec.tor built a museum to house the Reidy collection.
David and Dianne, who were now the proud owners of a PianOrchestra Style 12, learned that the machine had originally been delivered to Lewiston, ME, in 1915 and then went to New Brunswick, Canada, sometime in the 1920s. There it was used in a skating rink for many years. In 1985 it was discovered by a steam engine collec.tor and then sold to Q. David Bowers. In 1988 George Baker bought it from
Q. David Bowers and restored it.
I find it amazing that out of only 99 PianOrchestras made, three would end up in Southern California within 20 miles of each other.
Instrument Acquisition
Collector and AMICA member Kenneth Vaughn, who had a large house in the Bel Air neighborhood of Los Angeles, maintained a garage for classic cars on the left and a big music room on the right of his house. Kenneth was co-owner of Hill and Vaughn, a world-class antique car restoration business. He employed an old-time instrument restorer, Warren Dale. Warren was one of the first restorers in Southern California and worked out of his shop in Azusa, CA.
Kenneth’s collection of automated musical instruments featured many items formerly owned by Robert Caudill, who was known as Dolby Doc in the 1960s.
November/December 2021 MECHANICAL MUSIC 15
A wider view of the music room showing many of the collected wax figures, glass lampshades and other Hollywood history.
Caudill operated the Last Frontier Village, the first themed attraction on the Las Vegas, NV, strip. He had thousands of pieces of historical significance taken from Elko County, NV, including many automatic musical instruments. After the Last Frontier Village closed, Caudill moved all of his collection to a cluster of warehouses that he owned near the Las Vegas airport.
Most of these instruments were later purchased by Kenneth and sent to Warren to be restored. After retir.ing, Kenneth moved to Coeur d’Alene, ID, and took his collection with him.
In 1999 David Reidy received a call from Warren to let him know that Kenneth’s collection was available for purchase. David and Dianne flew to Coeur d’Alene and purchased a Coinola CO, a Seeburg K with Xylo.phone, and a Knabe Louis XV Ampico A piano.
Thinking back to the 1970s, David remembers visiting the collection
16 MECHANICAL MUSIC November/December 2021
of one of the founding members of MBSI, Gene Ballard, in Los Angeles. He saw a late model Mills Violano with an original band box attached to it. When Gene passed away, David bought the Mills without the orchestra box through Rudy Edwards. Bob Gilson made six reproduction band boxes and David purchased one from Ken Rubin in New York. To this day, the Mills is completely unrestored and still plays wonderfully.
David said he was visiting Mike Argain in Fresno, CA, when he saw a beautiful 1940 Louis XV Ampico B piano that looked new. It had been housed in a museum in Fresno, but it wasn’t playing so the museum sold it to Mike. David and Dianne bought it from him. It’s all original and David was fortunate enough to find a match.ing roll cabinet from Roger Morrison, who worked at the Nethercutt Collec.tion in Sylmar, CA.
The Seeburg Liquor Cabinet
When people visited the Seeburg factory in its heyday no booze was allowed, this being the era of prohi.bition. J.P. Seeburg made a miniature Seeburg L liquor cabinet looking just like a piano. On the back there was a bracket so it could be chained to the wall. When the Seeburg factory closed, there were two items left, the liquor cabinet and a piano. They both went to the caretaker. A collector and restorer, Roger Kisslingbury, sold the cabinet to Don Rand and Ed Open.shaw, who later sold it to David and Dianne.
Sam the Mechanical Man
The first figure David ever bought was Sam the Mechanical Man who sits in front of the Coinola. David first saw Sam in an antique store in Los Angeles called Off the Wall.
He did not buy it at the time. Years later on a convention trip, David was looking at some photos that Mike Gorski had, and lo and behold, there was Sam. He was originally located at Moody’s Musical Museum in McGre.gor, IA. Later, he was moved to the The Toy Box in Burlington, IA. David purchased Sam through Mike and had it shipped out to California. Sam now
sits on a piano bench and plays the automaton made in 1915 for the San Coinola. Francisco Exposition World’s Fair. After the fair she was sent to the Sutro The Lady in the Moon Baths, a large, privately-owned public The Lady in the Moon was an saltwater swimming pool complex in
November/December 2021 MECHANICAL MUSIC 17
San Francisco, CA. In the late 1960s, the piece was bought by Jim Deroin at the auction featuring the Sutro collec.tion. It was later sold to an antique dealer, Neil Rasmussen, who discov.ered the piece in Jim’s chicken-coop in Northern California. Later, it was bought by a collector/dealer in Los Angeles, who had it for years and then sold it to the Reidys. It is the earliest dated wax figure in their collection.
Hollywood Wax Figures
Dianne worked with a nurse, Marga.ret O’Brien, who said to Dianne, “We really need to meet the legendary Margaret O’Brien.”
The legendary Margaret O’Brien was a Hollywood star (after whom Dianne’s co-worker was named). So Margaret O’Brien the nurse contacted the manager of Margaret O’Brien the Hollywood star and arranged to meet her at the Los Angeles Biltmore Hotel. Legendary Margaret O’Brien and her manager, Randal Malone, took a liking to the Reidys and invited them to join The Southern California Motion Picture Council. This organization has many events and gives lifetime achievement awards to legendary Hollywood stars and other motion picture related celebrities. In the last 15 years, as part of the organization, the Reidys met many stars, attended many events, and became increasingly interested in old Hollywood. They collected autographed photographs of the stars, but their next step was really amazing — collecting Hollywood wax figures.
Powell and Loy barroom
I asked David how he got started with this “wax” phase of a remarkable collecting history. David said he saw an article in a newspaper called The Collector in Orange County, CA. It said the Movieland Wax Museum, the third largest attraction in Orange County, was going to close and everything in the building was up for sale.
David said he thought it would be fun to pick up a few of the characters and place them in the house around the instruments. At the 2006 Movieland Wax Museum auction, the Reidys won the bid on 15 figures from the museum. David’s interest was piqued and he began to research other wax figures for sale and met many curators and owners of wax museums around the country. After visiting several wax museums, the Reidys began collecting retired figures from many of the world famous wax museums. Recently the Reidys have opened their own private wax museum, housing many of the old Hollywood legends.
The Western Electric Style X
A very famous collector in Southern California, Bill Allen, began collecting pianos about as early as anyone in
18 MECHANICAL MUSIC November/December 2021
Dianne and David with George Burns in the wax museum they have opened.
Paul Newman guards the rolls in the ice cream parlor music room. Wax figures in vintage Hollywood costumes look like they just stepped off a film set.
November/December 2021 MECHANICAL MUSIC 19
California. He was an early member of MBSI. When you visited his house he had a piano room in the back, but he would pull down a ladder and take you up to where there was a small piano. Allen said that this was the first piano he ever owned and he bought it with Walter Knott (of Knott’s Berry Farm fame). The Western Electric Style X with mandolin and piano was sold to Rudy Edwards, who, in turn, sold it to David, who really wanted to have a piece of history.
Nipper
David and Dianne even have a “Nipper” dog (the RCA Victor mascot). It was in Ken Vaughn’s collection. The dog was originally seated in the Pasadena Music Store in Pasadena, CA. David passed on purchasing the dog at the time, but one day got a call from Wolfgang Schweppe who wanted to swap the dog for an Ampichron Clock mecha.nism. The papier-mâché dog was picked up in Chicago by a mover/collector and delivered to David. The dog was lodged between two pianos on the way from Chicago to California and was squashed in the move. The dog went to the papier-mâché doctor and he is as good as new.
The Reidys really enjoy their collections, but the real
The Western Electric Style X, once owned by Bill Allen and Walter Knott of Knott’s Berry Farm fame.
lifetime achievement award for them has been meeting all the wonderful MBSI members and sharing each other’s treasures.
I hope you enjoyed our little trip to the Reidy household.
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). Orig.inally printed in the March/April 2016 issue of The AMICA Bulletin.
20 MECHANICAL MUSIC November/December 2021
News from overseas
A Musical Box Recital at the church of St. Georg, Kandel, Germany.
By Mark Singleton, European correspondent.
On the afternoon of Sunday, Sept. 26, a small ensemble of musical boxes from the Nicole Family performed a recital in the church of St Georg in the town of Kandel, Southern Germany. The event was organised by the inim.itable Walter Behrent, inspirational collector and friend to many within our community.
The recital was part of an informal musical afternoon at St. Georg, start.ing with an appreciable performance on the church organ by Wolfgang Heilmann, before attentions turned to the musical boxes.
An excited hush pervaded amongst the gathering, where Walter conducted proceedings by giving a brief but inter.esting introduction to the musical box.
The reader may appreciate that the majority of those in attendance would be unaware of the existence of such instruments and did not know quite what to expect.
First on the agenda was a fine Nicole Frères Oratorio box. It delivered a splendid and, given the occasion, a most fitting virtuoso performance of Handel’s “Hallelujah Chorus.” The arrangement on this box is partic.ularly noteworthy, making sublime use of the forte-piano expression. The somewhat ethereal atmosphere within the church was intense, with many eyes wide in amazement. This is a wonderful box to listen to at any time, with the forte-piano overture format, sporting a 13-inch by 3.-inch cylinder. The acoustics in the ecclesi.astical environment, however, caused a visible shiver to run through all in attendance.
The piece, composed in 1741, is a true testament to Christianity, as earnings from the early performances of this oratorio were used to help the poor, needy, orphaned, widowed, and sick.
The second box was another Nicole, of a similar format, but this time we heard a more relaxing performance. It featured variations on “The Last Rose of Summer,” arranged by Thalberg. This is a box that allows the listener to relax and immerse oneself in.
Third, and last, but by no means least, was a quite passionate perfor.mance of the overture to Mozart’s “Don Giovanni,” delivered on a snuff box by the absolute grand master of them all, François Nicole. What a breath-taking finale!
The rapturous applause of appreci.ation from attendees lifted the roof. It must have been a very satisfying moment for Walter, ever the ambassa.dor of our interest, knowing his efforts were appreciated.
November/December 2021 MECHANICAL MUSIC 21
His own words in this quest were, “I’m hoping to spread the enthusiasm to a wider audience.”
The sea of smiling eyes indicated a job well done. For sure a memorable event for all who attended, and no doubt much of the enthusiasm will certainly have rubbed off.
Hopefully some of us can take a leaf from Herr Behrendt’s book and help spread the word.
Editor’s Note: If anyone outside of the U.S. is hosting a mechanical music themed event, please feel free to contact Mark directly at: Mikado54mark@gmail.com so it may be reported within these pages.
The publicity flyer for the event.
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 Iron Dog Media, 130 Coral Court, Pismo Beach, CA 93449
22 MECHANICAL MUSIC November/December 2021
Deconstructing A Collection
Preparing Your Family To Handle Your Investment Down The Road
Thomas H. Ruggie, ChFC®, CFP®, Founder & CEO, Destiny Family Office.
The fire in me to build a sports memorabilia collection was quite liter.ally “in the cards.” Like many children, I loved playing baseball and watching it on television. My buddy’s dad was a newspaper photographer who took us to some Yankees’ spring training games.
I’d wait by the dugout to get players to autograph my baseball and began bringing baseball cards. The collecting bug bit me hard.
I made up my mind to build a complete set of 792 autographed 1989 Topps baseball cards. By the time I finished college, I had completed the set and realized I was investing in something I greatly enjoyed. Over time, I became more discerning as a collector and sold all my cards that didn’t have a prized autograph.
While the 1989 set of cards wasn’t particularly noteworthy, in the decades since, I’ve built a significant sports memorabilia collection. Based on that experience, as well as that of serving as a financial advisor for other collectors, here are some basic consid.erations for making the most of your investment and ensuring your family is prepared to handle your collection when you no longer can yourself.
Investing In Your Passion
With more than 200 million collec.tors worldwide, it’s not surprising that many of my high net worth and ultra high net worth clients are acquiring all kinds of collectibles, such as artwork, fine wine and spirits, jewelry, coins, vintage and classic cars, and arms and armaments as investments.
Right now, if I were to sell some of my memorabilia collection, I would do well financially. But there’s a liquidity risk on that type of investment and a risk I might have to sell in a down
1952 Topps Mickey Mantle autographed card
market. Think 2008, when artwork was devalued significantly on its auction value.
The long-term intent, by and large, is not to buy a collectible as an investment and sell it two or three years later. From a true collector’s vantage point, you want to buy an asset you’ll enjoy that will appreciate in value while you own it. Enjoyment is an important factor in determining what type of collection or collections you’ll build. Diversification can also be important if you are buying collect.ibles as investments. Trends can change, making prices volatile.
Objective Investment View
How do you manage the emotional quotient involved in deciding whether to buy collectibles?
Most people look at them as long.term investments — just like a client who is considering buying a beach house for $10 million knowing they will want to sell it down the road. The beach house market is pretty high right now. If this client wanted to flip
A note about this article
This article was first published on Forbes.com. While it does not specifically address musical box collections, it is included here as a feature of general interest to collectors, some of whom may be able to relate to the situations described and find the advice contained within useful for future planning.
If you have made a plan for the future of your collection and you feel it might benefit others in the Musical Box Society International, please feel free to share it by emailing your story to editor@mbsi.org.
it in a year or two, I’d say, “Don’t do it.” But if instead, they wanted to consider selling it 10 years down the road, that’s a different conversation.
Taking a long-term view alleviates a lot of the pressure, but you still want to have the mindset of “Even if I will enjoy this, I still want to look at it through the lens of its appreciation potential, as well.”
When Collecting Intersects With Your Worst Day
Even with all its complexities and nuances, collecting can be a passion project for the collector who understands and appreciates the intrinsic and extrinsic value of that collection. But what are the ramifica.tions for family members who don’t understand, appreciate or have an interest in a collection, if something were to happen to you? How do you prepare your family and advisors and institutionalize or socialize this for the greatest benefit to those you care about?
I will admit what I should do to protect myself and my family and
November/December 2021 MECHANICAL MUSIC 23
what I’ve done have not always been as closely aligned as they should have been. For example:
•
My collections are categorized and valuated.
•
If there is a fire or other disaster, my collections are insured.
However, there are additional steps I’ve talked about but haven’t fully executed. These are steps I encourage fellow collectors to take, as well. For example, it’s one thing to make comments to your spouse like, “Hey, if I get hit by a bus tomorrow, don’t start selling off my stuff without under.standing what you’re selling.” What you need to have in place is something that says, “I have a list of assets, and this is where it is, who you should discuss this with and what should happen to these assets to ensure you get the greatest benefit from them.”
Also make sure to:
•
Talk with dealers, auctioneers and others you trust ahead of time. If your family wants to sell the assets, document who your trusted resources are for them.
•
Create a detailed plan on how to liquidate a significant number of assets. Even family members who are engaged with your collection could benefit from such a plan.
•
If you’re married, consider what happens if you and your spouse get in a car wreck together; who steps in at that point to ensure the greatest benefit to your remaining family?
The Moral Of The Story
Make sure your heirs understand the value of things they might not have taken an interest in before — you don’t want them giving away a piece of a collection, such as a baseball card, without knowing what that card may be worth.
A few other considerations:
•
It’s important to have a trusted advisor in place to mitigate potential taxable events, includ.ing estate taxes.
•
You should have a well-thought.out plan of what to do with your assets.
•
There should be people, systems and processes in place to ensure your plan will be successfully executed.
Being a collector has informed how I interact with — and coach
— like-minded collectors as a finan.cial advisor. Every collector needs financial planning that reflects their passions and the individuality of their collections and also takes a multi-generational perspective of their collection.
The information provided here is not investment, tax or financial advice. You should consult with a licensed professional for advice concerning your specific situation.
24 MECHANICAL MUSIC November/December 2021
Curiouser
and
Curiouser
The amazing Silver Swan automaton
By Dr. Robert Penna
What if Alice had stumbled upon a cache of mechanical characters in her journey through Wonderland. Just what would she say if she saw a life-sized swan made of precious silver swimming along, preening its feathers and swallowing silver fish? She likely would have been amazed and uttered the famous words, “curiouser and curiouser” at
these automatons.
The term automaton conjures a range of images from futuristic robots to musical and mechanical creations of the
18th and 19th centuries. Basically, autom atons are mechanical objects that follow a prescribed set of movements once they are
manually put into operation. Supposedly these kinetic or moving sculp tures have entertained and
inspired awe in their audiences for thou
sands of years.
November/December 2021 MECHANICAL MUSIC 25
Swiss watchmaker John Joseph Merlin, creator of the Silver Swan automaton.
There are early accounts of autom.atons during the Han Dynasty in China dating to the 3rd century BC. It is recorded that an elaborate auto.mated orchestra was constructed and entertained the emperor. Automatons were also popular in China during the Sui Dynasty (581-615) and during the Tang Dynasty (618-907) where autom.atons served as entertainment at the imperial court. Records describe both animal and human automatons includ.ing flying birds, an otter, a monk and singing women.1
Although Greek and Roman records mention several automated devices activated by steam, water and moving weights, few details remain. Similarly, automatons were not unknown in the royal courts of the Islamic world. The famous water-powered floating orchestra of Al-Jazari entertained the sultan with an orchestra playing tunes while rowers propelled a boat around a lake in the 13th century.2
During the Renaissance, the manu.facture of automatons in Europe rose to new heights. Likely because of increased trade with Asia and the translation of early Greek texts, inter.est in designing and manufacturing these novelties increased. Gold and
Catalogue in which the sale of Silver Swan is included, July 1834
26 MECHANICAL MUSIC November/December 2021
A closeup shot of the detailed and layered feathers along the swan’s body.
silversmiths, as well as clockmakers, became essential in the construction of automatons as they had the skills necessary to construct and install the intricate mechanical parts needed.
Around 1784, Swiss watchmaker Pierre Jaquet-Droz invented the singing bird box which entertained audiences with its ability to mimic bird songs, flap their wings and move their heads, beaks, wings, and tails. Real hummingbird feathers helped the illusion of a real bird. The box upon which the bird sat hid bellows and whistles.3
More amazing is the life-size autom.aton swan made almost entirely of silver which mimics the actions of a live creature. Presently housed in County Durham at the Bowes Museum, Barnard Castle, Teesdale, this clockwork-driven device holds a music box to accompany its realistic actions. The swan sits in a stream made of glass rods which is surrounded by silver leaves. Small fish are visible swimming in the waters. the glass rods rotate giving an illusion After winding three separate clock-of rippling water. After preening itself, work motors, the music box plays, and the mechanical swan looks from side
November/December 2021 MECHANICAL MUSIC 27
The Silver Swan on display during its automated sequence bending its neck to “catch” a fish in its beak.
to side, gracefully bends it long neck, catches and appears to eat one of the fish. After swallowing a fish, the swan returns to its original position and the music stops. The whole episode lasts only 32 seconds, yet it captivates all who witness the action.
In 1773, inventor, watchmaker, and instrument maker John Joseph Merlin built this life-size automaton swan employing 30 pounds of silver. Although there are some references to James Cox as the inventor, research demonstrates that Merlin was the creator and Cox was the entrepre.neur who displayed and marketed it. According to authorities, in the early 1770s Cox “claimed to employ between 800 and 1,000 workmen. Most of them were part of a unique network of independent suppliers and craftsmen that existed in London in the second half of the eighteenth century. These craftsmen rarely signed their work.” Unfortunately, some historians have mistakenly given Cox full credit for the Silver Swan. Yet it would be fair to assume that both men collaborated on its construction.4
Just imagine the sensation the Silver Swan created when it was first exhibited at the Mechanical Museum in London. Reports indicate that it “was first recorded in 1774 as a crowd puller in the Mechanical Museum of James Cox, a London showman and dealer.”5 The privately owned museum, located at Spring Garden, London, was open until 1775 where it received rave reviews. Some authori.ties believe many of the reviews were actually planted by Cox who was discovered to be quite a showman and self-promoter.6
The novelty and beauty of the Silver Swan and the other automata exhib.ited at the Mechanical Museum drew large crowds. Cox’s Museum was among the most expensive exhibitions in London. The price of admission (5 shillings) was high not only to limit audience sizes, but also to draw the literati and upper classes.
The Mechanical Museum closed in May 1775 and its stock was sold by lottery. It is known that the swan was additionally sold several times.7
It next appears in the July 1834 auction catalogue of the firm Messrs
E. Foster & Son who were selling off the “valuable property forming the late Mr. Weeks’ Museum.” The auction was held on the premises of the museum over the course of three days. Dozens of automata are listed. The catalogue reads, “The late Mr. Weeks, after an unusually long and laborious life, devoted to the perfection of the most complicated and difficult principles of Mechanism, formed…the perfect Collection of Mechanical Curiosities extant.”8
On the third day, the Silver Swan was auctioned to the highest bidder. As Lot 273, the Silver Swan creation is described in the catalogue as:
The Silver Swan described above with its “Magnificent Temple’” would be much larger than the model on display at the Bowes Museum today. The original display combined both parts. In 1773, the Silver Swan had become so renowned, it was described in an Act of Parliament as being 3 feet (0.91 m) in diameter and 18 feet
(5.49 m) high. What remains today is no longer that tall. It is said that there was originally a waterfall behind the swan, which was stolen while it was on tour. This possibly could explain the reduced height.9
The Silver Swan appeared at the Exposition Universelle held in Paris in 1867. At that event, the automaton was observed by Mark Twain who recorded his reaction in a chapter of his book “Innocents Abroad,” writing “I watched the Silver Swan, which had a living grace about his movement and a living intelligence in his eyes,
28 MECHANICAL MUSIC November/December 2021
The Bowes Museum where the Silver Swan automaton is currently on display.
watched him swimming about as comfortably and unconcernedly as if he had been born in a morass instead of a jeweller’s shop.”10
It was at this same exhibition that John and Josephine Bowes saw the Silver Swan. Bowes, a wealthy land and mine owner was a serious collector of art. His wife, daughter of a clockmaker, was fascinated by this automaton and five years later in 1872, John Bowes purchased the swan for his wife for $318 (equivalent of $32,000 today) from a Parisian jeweler named Monsieur Briquet. Housed in the Bowes Museum at Barnard Castle, the Silver Swan is now on display.11
Understanding complex 18th century technology is needed to maintain this treasure which has undergone exten.sive restoration at various times in its history. In fact, because of the recent shutdown of the museum due to the COVID emergency, gears have frozen, and another restoration project must be undertaken.
There are many intricate parts in the Silver Swan automaton. The eight-tune musical repertoire is created by steel hammers striking bells under the swan. Utilizing a series of camshafts, rollers and levers to activate twisted glass rods, the appearance of moving water is created in which the swan seems to swim. The most complex machinery is found in the neck which utilizes four springs, five levers and 113 rings. In all there are 50 parts (plus screws), including five chains of vary.ing thicknesses that run over a series of rollers within the neck to link the parts. These chains are the originals made by children and young mothers whose hands were small enough for such fine work.12
There are many videos available that demonstrate the unique beauty of the Silver Swan. Some of the best are to found at: https://www.youtube. com/watch?v=cOGBP-5SxiI or scan the QR code below with your smart phone to watch now.
Sources
1. M.S. Rau Staff. “Automatons and Their Rich History,” M.S. Rau 7. “James Cox – Inventor” Wikipedia. https://en.wikipedia.org/ Ltd. wiki/James_Cox_(inventor)
2. https://rauantiques.com/blogs/canvases-carats-and-curiosi-8. Ibid. ties/automatons-and-their-rich-history
9. Bulletin of the Musical Box Society International, MBSI, Re.
3. Penna, Robert. “The Genius of Al-Jazari: An Automatic Musical minder 1968, Volume 14, Number 6 Instrument from the 13th Century,” Mechanical Music, MBSI,
10. “Silver Swan – Automaton” Wikipedia. https://en.wikipedia.org/
July/August 2020.
wiki/Silver_Swan_(automaton)
4. “Singing Bird Boxes – Valuations, History & Guide,” Mark Littler 11. Kennedy, Maev. “Mechanical Silver Swan That Entranced Mark Ltd., https://www.marklittler.com/singing-bird-box/
Twain Lands at Science Museum,” The Guardian. February
5.
Vincent, Clare & Leopold, J. H. “James Cox (ca. 1723-1800 : 2, 2017. https://www.theguardian.com/artanddesign/2017/ Goldsmith and Entrepreneur,” The Met. https://www.metmuse-feb/02/mechanical-silver-swan-flies-nest-robots-exhibition-sci.um.org/toah/hd/jcox/hd_jcox.htm ence-museum
6.
“The Silver Swan,” The Bowes Museum. https://www.thebow-12. Holledge, Richard. “Magic Wrought by a Merlin,” World Street esmuseum.org.uk/Collection/Explore-The-Collection/The-Sil-Journal, December 21, 2012. ver-Swan
November/December 2021 MECHANICAL MUSIC 29
The Digitization of Music Box Discs from Photographs
By Albert Lötz
the often rich and
these discs. It also
as MIDI files that played with programs and
undistorted image the disc perforations. This can, in principle, be obtained by scan-
that measure up
area are not readily
can analyze the a photograph taken
slightly distorted, which happens almost every time since most photographs are taken without special equipment ensuring the camera’s line of sight is exactly perpendicular to the plane of the disc. Fig. 1 shows a photograph of a Poly.phon 15.-inch disc with typical image distortions, and yet its music can still be obtained accurately by the program. The outer yellow circle is set at an identical distance from the center of the disc everywhere on its circumference. The blue traces indicating the perforations of the disc do not maintain the same identical distance from the center. The disc rim is also not the same distance from the center all the way around. It is obvious that the perforations cannot be assigned to the notes on the comb if these distortions are not taken into account adequately.
Fig. 1: The analysis of a 15.-inch Polyphon disc with the title “An der Weser” (On the Weser, a German river flowing into the North Sea at Bremen). The deviation of the perfect great yellow circle around the disc center from the blue non-circular traces for the notes demonstrates the perspective distortion. In each of the eight sectors (see Fig. 1a), the traces vary lin.early with the angle in their distance from the disc center, and can be calculated simply from the corresponding values on the adjacent sector borders. The values on the sector borders are provisionally extrapolated from traces of smaller diameter with a formula for the perspective distortion, and finally from the actual position of the disc perforations on the trace. The perforations appear as blue rectangles with a bright center. The red dots are the prediction from the extrapolation.
30 MECHANICAL MUSIC November/December 2021
Figure 1a: A single disc sector.
The Method
The disc is divided into any number of equal-sized angled sectors. The program used for this article was tested with between four and 36 sectors. The intersections of the blue traces for notes with the borderlines of each sector have a certain distance from the center of the disc whose best measurement is aimed at in this program, because this is more or less the solution to the problem. The traces between two intersections are an approximation to the true traces by a linear variation of the distance to the disc center with the angle. This is not supported by the theory of the main causes of distortion, but it works well in practice. In any case, should this not work satisfactorily, the number of sectors can be increased with correspondent reduction in the curvature of the arcs replacing the actual traces. As can be seen from Fig. 1, the arcs generally represent the actual perforations (blue rectangles) quite well.
How do we get the trace distances from the center at the
sector boundaries? This
is a two-step procedure.
First, we assume that
the series of intersec.
tions on a boundary
can be represented by
the simple function
R=(a+b*i)/(1+c*i)
(*=multiplication).
Here, R is the distance
from the disc center of
trace number i, with
i=1 for the trace with
smallest distance.
The letters a, b, and
c are numbers that
must take such
values that the series
of intersections on
a sector boundary
is represented as
best as possible.1
This function
for R derives
in a somewhat
simplified manner
from central
projection, very
well known as
the reduction in size of objects with distance, a main cause of distortion. It could be demonstrated to fit the distances on the sector borders very well by manually changing the parameters a, b, and c. However, this function is not used for the final determination of the distances to the center. It just serves for an extrapolation from all intersections with lower trace number to that following next. From its value, the arcs can be calculated, and the perforations lying on these arcs can be assigned to the note represented by the trace.
Only after this assignment for a complete trace, the intersections of that trace are calculated from the actual positions of the assigned perfo.rations by fitting the intersections and thus also the arcs to the positions of
1. On account of the non-linear dependence of R from c, the parameters a, b, and c must be calculated iteratively by the Newton-Raphson method, i.e. by a series of systematic approximations down to the required accuracy.
the perforations.2 This means that the determination of a trace on the disc is based on the actual positions of the perforations on this trace and thus includes any distortion, which is the essential point.
The extrapolation of the function R from already completely determined trace intersections with the sector boundaries requires an answer to how this process is started. It was found that the first three traces could still be approximated by perfect circles, so that the assignment of the projections in that region is simple. Nevertheless, the intersections were calculated afterwards on the basis of the actual positions of the projections as in the case of traces with higher trace number. In order to stabilize the extrapolation step, especially in the case of a succession of empty traces, the disc rim distances to the center are used. The disc rim is well defined by a systematic search procedure of the pixels of the disc image. In the case of the disc in Fig. 1, the rim was originally given by 6000 points from which approximately 70 were chosen (the red points in Fig. 1). Then the distances at the intersections of the sector boundaries with the disc rim and the arcs following from them were fitted (red line). The rim can be assigned a formal trace number from measurements on the real disc. That number, usually non-integer, and the rim distances from the center at the sector boundaries are included in every extrapolation with the function R.
The Transformation to the Music Score
It is best if the disc is photographed by being hung up on a cord in front of a white wall dimly illuminated by lamps in a darkened room. The digital color photograph should then be reduced to black-and-white (no shades of grey) with an appropriately chosen transi.tion limit in an image editing program (Photoshop, or GIMP). This is done in parts, because the illumination is
2. Using the method of Lagrange multipliers. The resulting system of linear equations is solved by Gaussian elimination with pivoting.
November/December 2021 MECHANICAL MUSIC 31
Fig. 2: A part of the score on a disc of a Symphonion 21.-inch with 10 bells showing the first measure of the main theme of the Intermezzo from the opera “Cavalleria Rusticana,” by Pietro Mascagni. The music for the bells appears in the uppermost staff.
usually not uniform. The detection of the perforations by the program proceeds as described in an earlier article of the author on organ rolls.3 The whole assignment process of the perforations to the traces is performed in polar coordinates (distance from the disc center and angle from the beginning of the disc). The process ends with the storage of a text file which has the number of traces in its first line, and in every following line first the number of perforations on the corresponding trace, and then the polar angle (in degrees) of each perforation.
The final part of the program prepares the input file for the music engraving program Lilypond4 that also outputs a MIDI file. This part needs a specification of the music box for which the disc was made. At the moment, three music boxes are incorporated, a Polyphon 15.-inch, a
3. Albert Lz, Zwei Computerprogramme zur Konvertierung von Notenrollen in Musiknoten und MIDI (Two Computer Programs for the Conversion of Music Rolls to Scores and MIDI), Das Mechanische Musikinstrument, No.141 (Resheim, 2021), p. 34.
4. lilypond.org
Symphonion 21.-inch (with 10 bells), and a Polyphon 24.-inch. The scale of each instrument5 is divided into voices (four to six) taking into account the partially diatonic tuning that requires certain keys. A note of a music box (formally a percussion instrument) cannot have a duration in the proper sense. Yet, in order to avoid too many rests in the score, each note is ascribed a duration that results from the difference in angle to the next note within the same voice. Before doing so, all angles of the whole file are multiplied by a factor of order of magnitude 10, so that a measure as required by the melody consists of 128 units (=1) for 4/4 or 96 for 3/4 time, i.e. the smallest unit used is a 128th note.
5. The scales for the two bigger instruments published in Kevin McElhone, The Disc Musical Box (Musical Box Society of Great Britain, 2012) each contain a printing error. The first (=lowest) note on the upper comb of the Symphonion 21.-inch must be F. instead of F (p. 255), and the ninth note on the upper comb of the Polyphon 24.-inch must be F instead of F. (p. 243), because else these notes do not fit harmonically to other ones sounded simultaneously in both cases, a result of this digitization, and corroborated by direct inspection of the real disc. The scales used in this program are lower by a semitone (two semitones) in the case of the Symphonion 21.-inch (Polyphon 24.-inch).
Notes of shorter duration are assigned to chords. On account of small irregu.larities on the disc and other reasons, there may be a very short note at the beginning or end of a measure belong.ing musically to the adjacent measure. This is not music written on a table, but actually played! The discretization of the angle differences to note duration leaves a remainder after the rounding to an integer. This remainder is added to (or subtracted from) the next note before its discretization. Notes whose duration does not have a note symbol,
e.g. five 16ths, are written as two or more notes with ties.
The Polyphon 24.-inch discs require a further treatment, because it was found that the projections in the bass section advance the treble projections on the real disc in order to compensate the much larger trace length in the treble for the same swept angle. Only by this expedient, a treble and a bass note can be plucked simultaneously. Some experimenting on four different discs resulted in the application of a delay to the bass section of 0.038*(94.
i) degrees (i=trace number) up to trace 93.
32 MECHANICAL MUSIC November/December 2021
Fig. 3: The same music as arranged for a Polyphon 24.-inch disc.
The Intermezzo from “Cavalleria Rusticana”
As an example of the application of the program, the Intermezzo from the opera “Cavalleria Rusticana,” by Pietro Mascagni, was chosen. As to the arrangement on the Polyphon 15.-inch, it suffices to say that the arrangement is not of high quality, but that is not the result of the smaller size of the disc. There are many quite excellent arrangements for this instru.ment, some of which have already been digitized with this method.
Fig. 2 shows the arrangement of the first measure of the main theme in the case of the Symphonion 21.-inch. The notes for the 10 bells are on the uppermost staff. They play the melody that begins with a D followed by an F, and then a B
(only the beginning of this note can be seen as the last note on the staff). The melody is also played in a mandolin-like fashion by the voice on the third staff from above that plays the notes B
and D in rapid succession, the first two notes of the triad of B
major. When the bells play F, the third voice changes to the two upper notes A and C of the F major triad which is completed by the F in the second voice from above that plays this note likewise in mandolin fashion. The two voices of the bass accompany the three treble voices by notes from the triad of B
major and later F major, with small parts of their voices in rapid notes for a rhythmic accent. Note the sub-contra B
, the lowest note of the comb, played together with the great F, in the beginning of the fifth voice from above. The result of this arrangement of the Intermezzo is a very clear and pleasant sound in mandolin fashion which can be heard throughout the whole piece.
The corresponding arrangement for the Polyphon 24.-inch can be seen in Fig. 3, likewise in B
major. The theme appears most clearly in the second voice from above that plays a D and later F in mandolin fashion, however with much less rapid repetition than in the Symphonion instrument (16th instead of 32nd or 64th notes). The first voice also plays these notes in mando.lin fashion, alternating between two Ds separated by one octave. The third voice plays the notes of the theme more slowly, but in a rhythmic accen.tuated fashion. The fourth and fifth voices accompany the treble voices with notes of the B
major and F major triad, in the fourth voice rhythmically, while the sixth voice plays the basic notes of the harmonic succession. The sound resulting and continuing in this manner is very beautiful and rich. Also, the introduction to the Inter.mezzo in the style of an arioso is so finely executed that the disc can only be qualified as most excellent.
Scan the QR codes below to listen to MP3s on the MBSI website. The sound files were prepared from the MIDI files of the dig.itization using the Winamp program that contains the Microsoft GS Wavetable with the music box and bell sounds. Conversion to MP3 was performed with Audacity.
“An der Weser’’
Intermezzo from
Intermezzo from
“Cavalleria Rusticana’’
“Cavalleria Rusticana’’
on Symphonion 211/4.
on Polyphon 241/2-inch
inch disc
disc
November/December 2021 MECHANICAL MUSIC 33
Sneak Peak
Missed the 2021 MBSI Annual Meeting in Ft. Myers, FL, this year? We’ll have all the details for you in an upcoming issue of this publication. For now, however, enjoy this image taken by Robert Thomas on a tour of Mark and Christel Yaffe’s collection in Tampa, FL.
November/December 2021 MECHANICAL MUSIC 35
This image of a photoplayer complete with cameras, screen and movie theater seats that was taken by Robert Thomas on a tour of Joel and Pam Jancko’s wonderful collection in Plantation, FL.
Sneak Peak
Interesting Tidbits
By Charles Wilson
In 1987, we attended the meeting in St. Paul, MN. We were relatively new to music boxes at that time, so we really enjoyed all of the activities. I attended several of the informal activities about restoration. I was really impressed with the techniques demonstrated by the premier restorer, Elton Norwood.
We were strolling around the park, taking in the marvelous machines on display. To my surprise, the same Elton Norwood appeared with one of his puppets. I was extremely lucky to be able to take this photo. I just happened to be at the right place at the exact right time. Of all of my hundreds of 35 mm slides I have accumulated over the years, I consider it one of my best. The surprise and delight of the little girl, the love visually expressed by the father, say more than inade.quate words.
Southern California Chapter
Chapter Chair: Robin Biggins Reporter: Robin Biggins Photographer: Lowell Boehland
Aug. 14, 2021 — Dana Point, CA
It has been a long time since we have had a meeting because of the virus pandemic, so on Saturday, Aug. 14, we kicked off with one of the great collections in our area!
We have missed the hospitality of our hosts and the companionship of our chapter friends, all because of COVID-19. Now we had the oppor.tunity to enjoy the wonderful array of mechanical music in the Choate collection. Automatic pianos, Nickel.odeons, band organs, musical boxes, orchestrions and many more instru.ments were played and discussed by our hosts.
Mike Choate demonstrates the Lösche orchestrion for a visitor. An overview of the music room featuring jukeboxes, orchestrions, nickelodeons and more.
Members enjoying the sound of a DeCap dance organ.
Music is everywhere in the Choate home. A Cremona J Orchestrion plays a tune for the crowd.
40 MECHANICAL MUSIC November/December 2021
All members were fully vaccinated and mostly wore masks except when outside enjoying a beautiful day around the swimming pool.
Mike and Kathy Choate provided snacks and beverages while we listened to the musical instruments, many of which were operated by the MIDI system, which added interest and contributed to much discussion. We particularly enjoyed the Wurlitzer harp, DeCap dance organ, DeCap street organ and the Cremona J. There were 35 members in attendance, including two guests and one new member.
We held a brief business meeting and reminded everyone that we will be sending out a dues notice before the year end, since we have had a dues hiatus for two years.
Some members had a three-hour drive each way to attend this meeting but they agreed it was well worth it.
November/December 2021 MECHANICAL MUSIC 41
National Capital Chapter
Chapter Chair: Matthew Jaro Reporter: Paul Senger Photographers: Jan Bender, Knowles & Ginny Little and Paul Senger
Sept. 18, 2021 — Bowie, MD
The National Capital Chapter (NCC) held its first Organ Grind and Music Box Demonstration at the Old Bowie Celebrates Festival. The festival included musicians, arts and crafts vendors, art exhibits, magicians, stilt walkers, food vendors, lots of hands-on activities for kids, a train ride and more. This is a startup event to revive a previous yearly large celebration.
Our group set up by the railroad museum, which includes an interlock tower, railroad library, and passenger shelter. The event organizers provided us with canopies and tables, so it was a great place to be located and play our instruments. The town was origi.nally called Huntington City after the man who financed the railroad. John King who is a National Capital Chap.ter member and also the economic development director of the City of Bowie invited us more than a year ago to participate in this event. It was delayed from May 2021 to September because of the COVID pandemic.
Many visitors stopped by our tables showing lots of enthusiasm after a long year and a half of quarantine. There were lots of smiles. It turned out to be a great event. The chief organizer, Verna Teasdale, stopped by and thanked us for our demonstration as did John King.
Terry and Jan Bender demonstrated their R20/78 custom “Original Raffin,” with six melody stops with tenor and base accompaniment. Lots of kids of all ages tried their hand at cranking Paul Senger’s John Smith 20-note organ, and all left with smiles and Organ Grinder Certificates of Achieve.ment. It’s always fun to watch the
Paul Senger plays a tune for a visiting family.
A young visitor enjoys playing Paul Senger’s John Smith organ. She was rewarded with an Organ Grinder certificate.
Theresa Kraus and John King try their hand organ at grinding.
Jan Bender and Engineer Ernie discuss their unique talents.
Knowles Little at the kids’ table. An attendee tries out the Gem roller organ.
November/December 2021 MECHANICAL MUSIC 43
music go through the organ. Knowles Little manned the music box and organ table. We had a 15.-inch Regina music box from 1906, a Gem roller organ, a circa 1790 Serinette, Mechanical Organette, and Wurlitzer Juke Box music box that played punched paper strips. People were amazed at the instruments from 100 years ago and older that still played. We had some musically inclined people that were fascinated by the music and instru.ments. Young people were wowed at history of mechanical music before electronics.
Ginny Little worked with the younger crowd at the Touch Table as they played a jack-in-the box, mechanical ostrich, paper strip music box, Knowles Little’s first music box, a circa 1945 juke box, big and small music boxes of all kinds and a loud train whistle that was perfect at the train station.
Thanks to everybody who came Saturday to display our hobby.
Last minute update
We were recently notified that “The Old Bowie Steering Committee wants to give the MBSI an honorarium for providing your time, talent, and music boxes” at the festival. “You were all much appreciated and enjoyed. One person stopped me to say you were the best event at the festival!”
44 MECHANICAL MUSIC November/December 2021
Southern California Chapter
Chapter Chair: Robin Biggins Reporter: Robin Biggins Photographer: Lowell Boehland
Oct. 2, 2021 —Fullerton, CA
This is our second chapter meeting since the COVID-19 pandemic started, and while we are still recovering what a recovery this was! It is the first time our members have visited Bob and Judy Burtscher’s fabulous collection of mechanical music in their beautiful home. The Burtschers obtained their first musical box about 30 years ago, but because of other interests did not really get involved with the hobby until they joined MBSI in November 2019. Then, they really got involved! In the last two years they have collected over 200 machines ranging from deli.cate Sur Plateau miniatures to a Mills Violano, a Symphonion Eroica and all sizes of Regina and other disc boxes. Their cylinder box collection is really outstanding, including Nicoles, Pail-lards, Mermods (one with 18 20-inch cylinders!) and many others with different formats. There are singing bird boxes and cages, a Station box, boxes with bells and organs, a box with seven dancing dolls and every piece is in perfect restored condition.
Twenty-eight members attended, and Bob gave an interesting talk and played many of the cylinder and disc machines before the chapter business meeting. Bob and Judy were applauded for their hospitality and the delicious array of food and beverages. It was noted that there were two recipients of the MBSI Trustees Award for 2021 from our chapter. Jody Krav.itz and Robbie Rhodes were honored for contributing greatly to the interest in mechanical music through the website Mechanical Music Digest. It was noted that chapter dues have not been collected for the last two years because of the pandemic although some who did pay dues will be cred.ited for 2022.
The Geo. Baker with seven dancing dolls enhanced by the rear mirror. Bob shows more of his musical boxes.
Bob shows the 20-inch Mermod with some of the 18 cylinders. Bob describes a box in his collection to a guest.
Bob discusses the 20-inch Mermod with a group of onlookers.
46 MECHANICAL MUSIC November/December 2021
An overview of the music room.
The dining room set up with a display.
November/December 2021 MECHANICAL MUSIC 47
Following the business meeting, Bob continued to talk about his collection and, in particular, the smaller snuff boxes. He was assisted by Christian Eric. Members visited around the pool and koi pond, and walked through the fantastic garden described below by Bob.
The Garden of Judy and Bob Burtscher
My wife, Judy, and l have been avid gardeners for most of our 48 years of marriage. In 1972, while I was away, Judy dug out a tree stump and planted a Sago Palm. That act sparked my interest, and the result is what you see today.
This is our second garden on the property. Beginning in 2014 we started specializing in rare palms, especially those from Madagascar and New Caledonia. These palms are mostly tropical so in our area they are difficult to grow and they grow very slowly. We have more than 150 species of palms from dwarf to very large.
After planting the palms, we then added unusual companion plants and rock features. We chose plants with unique shapes and leaf sizes. For contrast, we incorporated different colored plants ranging from silver to burgundy. As you walk through our garden, you will see palms, cycads, succulents, tillandsias, orchids, ferns, bromeliads, pachypodiums, aloes, and agaves just to mention a few. We have also invested a lot of time into having points of interest throughout the garden. We first added a koi pond, a couple waterfalls, a dry riverbed and an underwater garden. In those we used many types of rocks which include Jade, Mexican Onyx, pink quartz, white quartz, various colors of Mexican pebbles, lava rock, turquoise and tumbled rock. Other points of interest like fossils, shells, coral, minerals, crystals, ironwood, petrified wood, burled wood, stalactites and stalagmites have been added during the years.
Our garden has been enjoyed by avid gardeners from all over the world. If you visit, we hope you will take time to notice all the details as that is the true beauty of our garden.
48 MECHANICAL MUSIC November/December 2021
Just a small part of the stunning garden showing flowering stem-succulents and Pachypodium Lameri among other varieties.
The group gathers for a photo on the shaded patio among the wonderful plants and musical boxes.
November/December 2021 MECHANICAL MUSIC 49
Northwest International Chapter
Chapter Chair: Rick Swaney
The Northwest International Chap.ter covers the states of Washington, Oregon, and Idaho, plus British Columbia, Canada. We normally meet four times a year, most frequently near Seattle, but with at least one meeting in Canada each year. Because of the driving distances involved for some members, our meetings are usually two-day events. Three of the meetings include an open house hosted by a member, a dinner in a restaurant, and some interesting place or event to visit. The December meeting is a one-day luncheon and holiday cookie exchange.
We are a relatively small chapter. There are currently 10 family member.ships, corresponding to 17 members. One of the advantages of being small is that all the members are able to host meetings in their homes.
Due to the social gathering restric.tions and the closed Canadian border, we have not held a chapter meeting since 2019. The last meeting we had was a holiday luncheon in December 2019 hosted by Annie Tyvand. This was a joint event between our chapter and the Pacific Can-Am AMICA chapter.
The AMICA chapter experimented with Zoom meetings in 2021. They invited our chapter to join them for their June meeting. Several of our members did join in. The meeting included a couple virtual collection tours.
We are hopeful that our chapter can resume in-person meetings before the end of this year.
A reminder on viewing etiquette when visiting collections
Most of us know what to do, and what not to do when visiting a collection. Although we may own similar pieces, some instruments can be unique in the way they operate. Of course there can be various stages of restoration or operating order so remember these common-sense rules when visiting collections:
•
Always ask the host if photo.graphs or video may be taken. If you intend to publish these photographs/videos, please get the host’s permission to do so and ask whether the host wants the collection identified.
•
Do not smoke inside the home and ask permission to smoke outside the home on the owner’s property.
•
Never bring food or drink near
any of the instruments.
•
Hands Off is the best policy and beware of belt buckles and other objects that could cause damage.
•
Do not play any instrument unless given permission by the host to do so. It is always best if the host turns on the instrument – some of them can be pretty finicky.
•
Never try to adjust or repair an instrument unless asked to do so by the host.
•
Do not ask the host or instrument owner the value of an instrument or how much it would cost to purchase one. Several mechanical music dealers are listed on the MBSI web site and they could be contacted for guidance about a particular instrument.
•
Unless an instrument is marked “For Sale” don’t ask the host if
a particular instrument can be purchased. After attending a meeting, please send a note of appreciation. In the note you could express admiration for a particular instrument and advise the host of your potential interest should it ever become available.
•
Meeting hosts generously open their homes and collections to members. Be sure to introduce yourself to them and sign any guest book. Thank the hosts when you leave and a thank you note would be most welcome.
•
When instruments are being played, please refrain from talking. This is especially true when softly voiced instruments (such as musical boxes, bird boxes, etc.) are being played.
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 Iron Dog Media, 130 Coral Court, Pismo Beach, CA 93449
Marilyn Ames — 1932-2021
By Anne Ames
Mike and Marilyn Ames joined the Musical Box Society in 1969. They enjoyed hosting MBSI functions, attending functions and the camara.derie of the fellow members over the past 50-plus years.
The collection at Solana Instru.ments is not only unique but beautiful and Marilyn played a significant role in ensuring that the building was well laid out, beautiful, and was welcoming for guests. Her personal interest was in glassware and lamps, furniture, and the provenance of the various instruments that they collected over the years.
Marilyn was born in Los Angeles, CA, daughter to Margaret and Carl Weber and older sister to Arthur. She attended La Jolla High School, was valedictorian, and went on to obtain her bachelor’s degree from UC Berk.ley where she graduated summa cum laude. She was truly a brilliant woman whose intellect was equally matched with kindness, compassion, and care for others. In 1958 Marilyn married Michael Ames while working as secre.tary to the director of Oceanographic Instrumentation at Scripps Institute of Oceanography. Later Marilyn was the executive secretary to the head of fusion research at General Atomic.
Her first of two daughters, Anne, was born in 1960 and Alison arrived in 1966. Marilyn was a truly dedicated mother, working as a teaching assis.tant grading AP literature papers at Torrey Pines High School where both of her daughters graduated.
She is survived by her husband of 63 years, Mike and daughters Anne and Alison. Mom was beautiful, had a good sense of humor, loved sports and animals, and was our number one supporter. We miss you so much Mom. Rest in peace.
Herb Mercer — 1932-2021
The Southern California Chapter enthusiastic collectors of mechanical reports that member Herb Mercer music machines. He will be sorely passed away Aug. 15 after a years missed. long battle with cancer. Herb was always so upbeat and positive in every Condolences can be directed to: way. He and Rochelle hosted several Rochelle Mercer Southern California Chapter meet-31940 Foxfield Dr. ings at their home and were always West Lake Village CA 91361
November/December 2021 MECHANICAL MUSIC 51
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
A Lasting Legacy
Throughout its history, MBSI has fostered an interest in and preservation of automatic musical instruments. Your gift to the Endowment Fund will support programs that will help future generations appreciate these achievements of man’s creative genius. Visit www.mbsi.org to learn more.
In order for anything once alive to have meaning, its effect must remain alive in eternity in some way
– Ernest Becker, Philosopher
The Musical Box Society International is a 501(c)(3) non-profit organization. All donations to the Endowment Fund are tax deductible. A gift of any size is welcome.
52 MECHANICAL MUSIC November/December 2021
Missed the Annual Meeting?
Table favors from MBSI’s 71st annual meeting, held in Fort Myers, FL., are now available for purchase. In keeping with the theme “Young at Heart” these playful carousels are reminiscent of younger times. As the horses revolve, the song of the Sunshine State, “You are my Sunshine,” plays.
Favors are $25 each,
or 2 for $45, plus shipping.
$10 for East Coast,
$15 West Coast,
$12 in between.
Instructions for winding,
placing the ˜ag and
the label are in the
mailing box.
Send your check, made payable to “Southeast MBSI” and the number of favors desired to Wayne and Mary Ellen Myers, 2165 Blue Iris Place, Longwood, Fl 32779. Call 407-739-5086 or 407-630-1360 for more info.
58th Annual Meeting of the Automatic Musical Instrument Collectors Association & 72nd Annual Meeting of the Musical Box Society International
Hosted by the AMICA Founding Chapter and the MBSI Golden Gate Chapter
San Mateo Marriott, near the San Franciso Airport in San Mateo, California
Ride the train through the redwoods to the top of the mountain
Stanton’s Auctioneers Upcoming Music Machine Auction Located at 1350 N. M-37 Highway, at the Barry Expo Center, Hastings, Michigan on: Thursday, Friday and Saturday, January 6, 7, and 8, 2022 We have now begun work on our winter music machine auction. The sale already includes the Ron Sitko Estate Collection including machines and related phonographs with a Rare Berliner Tin Can Ratchet Wind example, Berliner JS, 2 Edison Bijou Coin-operated phonographs, Bettini reproducers, cabinets, and more. In addition to the Sitko Estate, we have also received the collections of the Chris Janko Estate and the Koontz Estate both from Northern California. These collections contain disc and cylinder music boxes, clocks, and wood horn phonographs. In addition to these collections, the sale will also include the Leland Fletcher Estate Collection from San Diego that includes an excellent representation of music boxes, Mills Violano with Midi, Reginaphone OAK Lions Head Style 240 combination music box and phonograph, a fantastic collection of clocks and watches, and more. We are currently accepting individual machines and collections of phonographs, music boxes, nickelodeons, and band organs, as well as high end antiques and coin operated items. Call us to discuss your items, collections, and the estates that you may be representing. We also continue to work with museums around North America in the deaccession of items and our efforts to find interested buyers for the items through our catalogs, online promotion, mailers, and phone bidding. Stanton’s can arrange pickup of your collections anywhere around the country.
Stanton’s Auctioneers, Steven E. Stanton Appraisers, & Realtors (517) 331-8150 cellular144 S. Main, P.O. Box 146 ’E-mail – stevenEstanton@gmail.comVermontville, MI 49096 SAUCTIONEERS & REALTORS TANTONS Phone: (517) 726-0181 Michael C. Bleisch Fax: (517) 726-0060 (517) 231-0868 cellular E-mail: stantonsauctions@sbcglobal.net E-mail – mcbleisch@gmail.com Website: www.stantons-auctions.com
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 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 November/December 2021
4-4time.com
“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,
Call / Text: 256-702-7453 Email: four.four_time@yahoo.com
November/December 2021 MECHANICAL MUSIC 59
MECHANICAL MUSIC
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
CIRCULATION
Mechanical Music is mailed to more than 1,500 members of the Musical Box Society International six (6) times per year.
ALL ADS MUST BE PREPAID
The Musical Box Society International
accepts VISA, Mastercard and online
payments via PayPal.
Devoted to All Automatic Musical Instruments
DISPLAY ADVERTISING DIMENSIONS & PER ISSUE COSTS
Dimensions 1 issue 2-3 issues 4-6 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 $247
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
Non-members pay a 10% surcharge on the above rates
Display Discounts shown above are calculated as follows:
3 consecutive ads
10% Discount 6 consecutive ads
15% Discount
EIGHTH CLASSIFIED ADS PAGE
QUARTER
3.5” x 2.125” • 47¢ per word
FULL PAGE PAGE
• ALL CAPS, italicized and
3.5” x 4.5”
bold words: 60¢ each.
8.75” X 11.25”
• Minimum Charge: $11.
(0.5” bleed)
• Limit: One ad in each category
7.25” x 9.75”
• Format: See ads for style
(live area) HALF PAGE
• Restrictions: Ads are strictly
HORIZONTAL
limited to mechanical musi.
7.25” x 4.5”
cal instruments and related items and services
PRODUCTION SCHEDULE
ISSUE NAME ADS DUE DELIVERED ON
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PRINTING & ARTWORK SPECIFICATIONS
Mechanical Music is printed on 70 lb gloss Email fi les to: paper, with a 100 lb gloss cover, sad-mbsi@irondogmedia.com dle-stitched. Trim size is 8.25” x 10.75”.
USPS or Fed Ex to: Artwork is accepted in the following for-Iron Dog Media, LLC mats: PDF, PSD, AI, EPS, TIF. All images 130 Coral Court and colors should be CMYK or Grayscale Pismo Beach, CA 93449 and all fonts should be embedded or converted to outlines. Images should be a minimum of 300 dpi resolution.
Of Special Interest!
I have just acquired the collection of the late Charlie Moore, well-known restorer and collector of Organettes, as well as the only person known to have made reproduction roller organ cobs. Charlie was honest and gentle, quick with a smile and a hug…one of those people who you wish there were more of in the world. He was giving of his knowledge of his ‘hobby’ and enjoyed sharing his passion.
It is now time to find appreciative homes for the things he treasured most. There are over 150 pieces in the collection and it will take time to inventory everything, but all items are for sale now. Call me!
Part of the collection consists of over 40 roller organs playing 6” cobs including Concert Roller Organs, early cob organs, open bellows, enclosed square cased, home models, etc. Because of the number of repetitive pieces, these will be sold by the piece or in quantity at a discount. There are paper roll Organettes; Organettes playing cardboard and zinc discs, and machines playing cardboard book music. There are five GRAND ROLLER ORGANS. There are at least 70 cartons to open that should contain both new and original cobs and maybe some interesting surprises! There are empty cases, parts/project boxes, and cardboard boxes filled with…????
Nancy Fratti Music Boxes
PO Box 400 – Canastota NY 13032 USA 315-684-9977 — musicbox@frontiernet.net
VINTAGE 1972 REUGE 4.50 MUSIC BOX
THE MART
burlwood inlay with butterflies. Mechanism
RESTORED MUSICAL BOXES Offering a serviced professionally 8/2021. Plays four
variety of antique musical boxes, discs, arrangements composed by Strauss. Rich
orphan cylinders, reproducing piano rolls & resonance. $1,200.00. Contact MARY-HOPE
out of print books about mechanical music. MILLIGAN, at (704) 437-0495
BILL WINEBURGH 973-927-0484 Web:
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 busi.ness 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 busi.ness dealings with said advertisers.
antiquemusicbox.us
THE GOLDEN AGE of AUTOMATIC MUSI.CAL 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. MECHANI.CAL MUSIC PRESS-M, 70 Wild Ammonoosuc Rd., Woodsville, NH 03785. (603) 747-2636.
http://www.mechanicalmusicpress.com
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 November/December 2021
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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) 228.1634 with questions.
3………. Renaissance Antiques 52…….. Music Box Restorations 52…….. Miller Organ Clock 53…….. Morphy Auctions 54…….. Southeast Chapter 55…….. Golden Gate Chapter 56…….. Stanton Auctions 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 61…….. Nancy Fratti Music Boxes 66…….. Marty Persky Music Boxes 67…….. Special Auction Services 68…….. Auction Team Breker
Name Phone Email Text of ad
ORDER EXTRA COPIES
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
November/December 2021 MECHANICAL MUSIC 63
OFFICERS, TRUSTEES & COMMITTEES of the MUSICAL BOX SOCIETY INTERNATIONAL®
OFFICERS COMMITTEES Membership Committee Nominating Committee
Chair, TBD Dan Wilson, Chair
President Audit
David Corkrum, President Tom Kuehn, Immediate Past Pres.
David Corkrum Edward Cooley, Chair, Trustee Richard Dutton, Trustee Bob Caletti, Golden Gate, Trustee 5826 Roberts Avenue Dave Calendine, Trustee Mary Ellen Myers, Trustee, Mary Ellen Myers, Trustee, Oakland, CA 94605 Matt Jaro, Vice President
Southeast Southeast musikwerke@att.net
Endowment Committee Robin Biggins, Southern California Jonathan Hoyt, Golden Gate Edward Kozak, Treasurer, Chair Judy Caletti, Golden Gate Robin Biggins, Southern California Vice President Edward Cooley, Trustee Gary Goldsmith, Snowbelt Aaron Muller, Lake Michigan Matthew Jaro Dave Calendine, Trustee Julie Morlock, Southeast
Publications Committee
24219 Clematis Dr B Bronson Rob Pollock, Mid-America Bob Caletti, Chair, Trustee Gaithersburg, MD 20882 Wayne Wolf Paul Senger, National Capital Richard Dutton, Trustee mjaro@verizon.net Dan Wilson, Piedmont
Executive Committee Steve Boehck
Gerald Yorioka, Northwest Int’l
David Corkrum, Chair, President Christian Eric
Recording Secretary TBD, East Coast
Matthew Jaro, Vice President Kathleen Eric
Linda Birkitt TBD, Lake Michigan
Tom Kuehn, Immediate Past Pres.
PO Box 541 TBD, Sunbelt Publications
Dave Calendine, Trustee
Sub-Committee
San Juan Capistrano, CA 92693
Bob Caletti, Trustee Museum Committee
Website Committee
scarletpimpernel28@yahoo.com Sally Craig, Chair
Finance Committee Rick Swaney, Chair
Matt Jaro, Vice President
Treasurer Edward Kozak, Chair, Treasurer B Bronson
Glenn Crater, National Capital
Edward Kozak Wayne Wolf, Vice Chair Don Henry
Ken Envall, Southern California
3615 North Campbell Avenue Edward Cooley, Trustee Knowles Little, Web Secretary
Julian Grace, Sunbelt
Chicago, IL 60618 Peter Both Richard Simpson, East Coast Special Exhibits Committeeekozak1970@gmail.com
Marketing Committee Chair Mary Ellen Myers, Trustee,
Museum Sub-Committees
Bob Smith, Chair Southeast
Ohio Operations
Dave Calendine, Trustee David Corkrum, President,
Rob Pollock, Mid-America
TRUSTEES Judy Caletti Golden Gate Dave Calendine Donald Caine, Southern California
Meetings Committee
Bob Caletti SPECIAL ACTIVITIES Jack Hostetler, Southeast
Matt Jaro, Chair, Vice President
Edward Cooley Knowles Little, National Capital
Judy Caletti Publications Back Issues:
David Corkrum Judy Miller, Piedmont
Tom Chase Jacque Beeman
Richard Dutton Aaron Muller, Lake Michigan
Cotton Morlock
G.Wayne Finger Regina Certificates: Wayne Myers, Southeast
Rich Poppe
Matt Jaro B Bronson Rick Swaney, Northwest Int’l Tom Kuehn
MBSI Pins and Seals: MBSI Editorial Office:
Mary Ellen Myers Jacque Beeman Iron Dog Media 130 Coral Court
Librarian:
Pismo Beach, CA 93449 Jerry Maler editor@mbsi.org
Historian:
Bob Yates
MBSI FUNDS
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 November/December 2021
CALENDAR OF EVENTS
Date Event Location Sponsor
Aug. 31-Sept. 5, 2022 Joint MBSI / AMICA Annual Meeting San Mateo, CA Golden Gate Chapter/ AMICA Founding Chapter
When will your chapter meet next? Holding a “virtual meeting?” Let us know! Send in your information by Dec. 1, 2021, for the January/February 2022 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 $10 to Diane Caudill 4585 Felder Road Washington, TX 77880
Copyright 2021 the Musical Box Society International, all rights reserved. Permission to reproduce by any means, in whole or in part, must be obtained in writing from the MBSI Executive Committee and the Editor. Mechanical Music is published in the even months. ISSN 1045-795X
November/December 2021 MECHANICAL MUSIC 65
7
Mechanical Music at its Best -Visit www.Mechmusic.com
Instrument Brokering & Locating / Appraisals / Inspections / Free Consultation
Welte 4 Concert Violina Orchestra Wurlitzer CX with Bells Hupfeld Helios II/25 Welte Brisgovia C Luxus
Weber Unika Weber Maesto Weber Otero Seeburg KT Special Bowfront Violano
Regina 35 w Clock Nelson Wiggen Style 8 Symphonion 25st
Call Marty Persky 847-675-6144 or email: Marty@Mechmusic.com for further information on these and other fine instruments.
MECHANICAL MUSIC
November 30th 2021
To include musical boxes from the estate of the late Graham Webb
A ‘Rigid Notation’ musical box by F. Nicole, playing one overture in two rotations and one other air, all by Rossini; and (above) one of several musical snuff boxes
Enquiries: Hugo Marsh Hugo@specialauctionservices.com
Special Auction Services Telephone: +44 1635 580595
Plenty Close
Off Hambridge Road Email: mail@specialauctionservices.com
NEWBURY RG14 5RL
UNITED KINGDOM www.specialauctionservices.com
»SG-38« School Glider, 1942
Edmund Schneider factory in Grunau, Silesia. The most prolific aircraft for solo flight training in the German Reich.
L.M. Ericsson Skeleton-Telephone No. 370
(1. Model), 1884 onwards Estimate: 7.000 – 8.000 ˜ /
Estimate: 16.000 – 25.000 ˜ / 8,500 – 10,000 US$ 19,000 – 30,000 US$
Laboratory Test Model of »Sputnik 1 EMC/EMI«, 1957
English Fairground Carousel, c. 1960
Full-Scale model of the »Sputnik-1«
Fully functioning children’s carousel.
satellite. An historically important
Ø approx. 8 m/315 in., electric drive,
artefact from the dawn of the space age,
can be demounted for transport.
Early Telephone made by one of very few surviving examples.
Estimate: 15.000 – 20.000 ˜ / 18,000 – 24,000 US$
L.M. Ericsson, 1878 Estimate: 200.000 – 250.000 ˜ / One of the first Ericsson
240,000 – 280,000 US$ telephones from 1878–79 Estimate: 9,000 – 12.000 ˜ /10,800 – 14,500 US$
Summicron 2/35 with M3 Spectacle World’s Leading Specialty Auctions Viewfinder, 1963 Estimate: 2.200 – 2.800 ˜ /
»Science & Technology« · »Aerospace«
2,600 – 3,300 US$
»Telephone & Office Icons«
»Lavochkin V-751« Supersonic Flying Laboratory, 1957
»Mechanical Music« Two-stage rocket, length 10,8 m/425 in.. Estimate: 15.000 – 25.000 ˜ /
»Fairground Attractions«
18,000 – 30,000 US$
»Photographica & Film«
6 November 2021
CIAM-NASA Hypersonic Flying Laboratory »Kholod«, 1991
Developed by the Central Institute of Aviation Motors
(CIAM) USSR. Fastest series-produced flying object from Ericsson Telephone from the 1991 to 1998. Only 3 more known worldwide. Royal Castle in Oslo, c. 1880 Estimate: 40.000 – 70.000 ˜ / 48,000 – 84,000 US$ Estimate: 18.000 – 25.000 ˜ /
Tellurium and Lunarium by
22,000 – 30,000 US$
Svanstr & Rylander, c. 1890 Estimate: 1.200 – 2.000 ˜ /1,450 – 2,400 US$
French Box Microscope, c. 1760 Estimate:
9.000 – 12.000 ˜ /Gebrer Bruder Universum Fairground Organ, c. 1925 10,800 – 14,400 US$ Original front, excellent playing condition, on trailer. Estimate: 30.000 – 35.000 ˜ / 35,000 – 42,000 US$ English Ellis-Type Aquatic Brass Microscope with Box Base, c. 1770
Estimate: 3.000 – 5.000 ˜ /3,500 – 6,000 US$
Märklin Wonder Wheel, c. 1956
Nuremberg Cuff-Type Compound The First Complete
Total height 128 cm/51 in.
Microscope, 1750 onwards Wall Telephone Set by
Estimate: 3.000 – 5.000 ˜ /
An early and very rare microscope L.M. Ericsson, 1880
3,500 – 6,000 US$
of Nuremberg production! Extraordinarily rare, Estimate: 5.000 – 7.000 ˜ / produced for one year 6,000 – 8,500 US$ only!
Estimate:
10.000 – 12.000 ˜ /12,000 – 15,000 US$
Waldkirch Automaton Organ by Bruder, c. 1860 »Ruth / Voigt« Fairground Organ 8 melodies,14 carved and Ruth organ, c. 1890, rebuilt by Heinrich Voigt 1938. Curta Type I Calculator, 1959 painted moving figures Excellent playing condition. The smallest miniature stepped.
(Napoleon on horse etc).
Estimate: 50.000 – 60.000 ˜ / 60,000 – 72,000 US$ drum machine and a true Estimate: 25.000 – 40.000 ˜ / milestone in calculating history!
30,000 – 50,000 US$
Estimate: 500 – 800 ˜ /
…and many more !
600 – 1,000 US$
For more information and large colour photographs of some more of the upcoming Highlights please visit our website at: www.Breker.com / New Highlights and youtube.com/auctionteambreker Fully-illustrated bilingual (Engl.-German) COLOUR Catalogue available against prepayment only: Euro 28.– (Europe) or elsewhere Euro 37.– (approx. US$ 44.– / Overseas)
. Consignments are welcome at any time!
Small Children’s Carousel, c. 1990
6 animals, Ø 2,20 m/79 in., height approx. 3,20 m/126 in. Summicron 2/35, 1974 Estimate: 12.000 – 15.000 ˜ /
Estimate: 2.000 – 2.500 ˜ / – The Specialists in »Technical Antiques« – 14,500 – 18,000 US$ 2,400 – 3,000 US$ P. O. Box 50 11 19, 50971 Koeln/Germany · Tel.: +49 / 2236 / 38 43 40 · Fax: +49 / 2236 / 38 43 430 Otto-Hahn-Str. 10, 50997 Koeln (Godorf)/Germany e-mail: Auction@Breker.com · www.breker.com · Business Hours: Tue – Fri 9 am – 5 pm
PLEASE FEEL FREE TO CONTACT OUR INTERNATIONAL REPRESENTATIVES: Japan: Murakami Taizou, Tel./Fax (06) 68 45 86 28 * murakami@ops.dti.ne.jp · China: Jiang Feng, Tel. 138 620 620 75 * jiangfengde@gmail.com Hong Kong, Taiwan, Singapore: Alex Shih-Chieh Lin, (HK), Tel. (+852) 94 90 41 13 * alexsclin@gmail.com England: Tel. +49 (0) 176 991 40593 * AuctionTeamBrekerUK@outlook.de · France: Pierre J. Bickart, Tel. (01) 43 33 86 71 * AuctionTeamKoln@aol.com Russia: Maksim Suravegin, Tel. +7 903 558 02 50 * Maksim-ATB.ru@gmx.net · U.S.A.: Andrew Truman, Tel. (207) 485 8343 * AndrewAuctionTeamBreker@gmail.com
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