MECHANICAL MUSIC
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 71, No. 1 January/February 2025

Editor/Publisher
Russell Kasselman
(253) 228-1634
editor@mbsi.org
MBSI Editorial Office:
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
editor@mbsi.org
Publications Chair
Bob Caletti
All manuscripts will be subject to editorial review. Articles submitted for publication may be edited or rejected at the discretion of the Publications Committee and the Editorial Staff. The article will not be published with significant changes without the authorÕs approval. All articles are considered to be the authorÕs 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 offi ces.
Copyright 2025. 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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MBSI, PO Box 10196, Springfield, MO 65808-0196

MBSI News
5 PresidentÕs Message
7 EditorÕs Notes
50 In Memoriam

Features
8 Lewis Carroll, musical
gadgeteer
16 Nickel Notes
23 My Mira Colonial
28 Restoring a Ruth 36X

Chapter Reports
42 Southeast 44 National Capital 47 Snowbelt

MEMBERSHIP APPLICATION

Mechanical music appeals to artists, historians, craftworkers, and musicians. Automatic musical instruments often enrapture their audiences through the mechanical nature of their performances along with the joyful sounds.
Mechanical music instruments include disc and cylinder music boxes that pluck a steel comb; orchestrions and organs that engage many instruments 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 nonproØt society dedicated to the enjoyment, study, and preservation of automatic musical instruments. Founded in 1949, it has members around the world, and supports various educational projects.
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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.
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By Matthew Jaro
MBSI President
The MBSI/AMICA annual meeting for 2025 will be held in Chicago, IL. Since MBSIÕs first convention was held in 1950 and the 2020 meeting was canceled due to COVID, that makes this our 75th annual convention, our Diamond Jubilee!
MBSI was founded in 1949 and it is still going strong! We published beau.tiful souvenir books for the 25th and 50th anniversaries, but we have yet to identify a volunteer willing help spear.head a publication for the 75th. If you are interested, please let me know.
The societyÕs founding meeting was held Oct. 14Ð15, 1949, at the home of Dr. Byron Merrick in Berlin Heights, OH. The society was then named the Musical Box Hobbyists. Dr. Merrick was elected to be its first president. The last founding member, Chet Ramsey, died in 2022 at the age of 85. In the first year the society grew to 49 members.
Perry Ghere hosted the first annual meeting in 1950 at his home in India.napolis, IN. In 1951 the first single-page bulletin was published. Interestingly, bulletins printed before 1954 are not in the archive. I wonder if anyone has one or more of these issues that we might scan and return.
By 1951 MBSI membership grew to 64. In 1953 the name of the society was changed to the Musical Box Soci.ety International. The membership at that point was 91. In 1954 the first pins and seals using the MBSI insignia were commissioned. The membership count was 108 for the fifth annual meeting in 1954. In 1957 the date for the annual meetings was changed from fall to late summer so that fami.lies could attend.
By the ninth annual meeting, there were 211 members of MBSI and nearly 100 members and guests attended. The meeting was held at the Ford Museum in Dearborn, MI. It was decided then that a Board of Governors should be set up to keep the society organized. This is now known as the MBSI Board of Trustees.
The cost of printing the bulletin was $110 per issue (without postage) as opposed to mimeographing it for $125 for all six issues including postage.
In 1959 the Board of Governors became an official advisory board composed of four charter members elected yearly, the president and the immediate past president. For the first time the society had to consider rent.ing space to hold its annual meetings, since there were too many attendees to fit in peopleÕs houses.
Before 1961 all meetings were held east of the Mississippi River. In 1962 the first chapter, in Southern California, was formed. Shortly afterward, an East, Midwest and West rotation system was approved for annual meetings.

The first MBSI PresidentÕs Award was presented in 1963. In 1965 the society decided to incorporate. Then, beginning with the December 1966 issue, a decision was made that the Mechanical Music journal would be professionally printed and assembled. Also in 1965-66, the society worked on achieving a nonprofit, tax-exempt status. By 1968 the advisory board became the Board of Trustees. All the elements of our current society were now in place, including the committee structure. By 1970 there were 1,022 members on the rolls.
From the above, you can see that a tremendous effort was put into this society over the years. I think it would be great to not forget it. I say, how about a book for the 75th anniversary?
You can contact me at mjaro@veri.zon.net

Welcome new members!

October 2024 Sonja Sutter John Busin St Paul, MN Pittsburgh, PA Kyle Wanous Sponsor: Bayernhof Museum Glencoe, MN Bruce Burck Joseph Knight Bridgewater, NJ Escondido, CA Victor Cole Fort Lauderdale, FL November 2024 Chris & Courtney Sammis Lenexa, KS Judith Sedlack Trout Valley, IL William Sodemann Sr. Bartlett, IL Jane Macaraeg Hoffman Estates, IL Danielle & George Nelson Chattanooga, TN Van Walls High Point, NC Joel & Deborah Shprentz Reston, VA

By Russell Kasselman
MBSI Editor/Publisher
Welcome to the New Year everyone! I hope your holiday celebrations were full of family, friends and some of the greatest music on earth played by your own automatic musical instruments.
It may seem too far away to be talking about it yet, but the 2025 MBSI Annual Meeting is only eight short months from taking place. ItÕs time to start planning your trip and booking flights to one of the most desirable mechanical music destinations in the country, Chicago, IL. This meeting will again be jointly held with the Auto.matic Musical Instrument CollectorsÕ Association (AMICA), but this time with MBSIÕs Lake Michigan Chapter in the lead planning role.
You need only ask those who attended the joint national convention in Los Angeles, CA, this past July what fun it was to share some MBSI-style tours and social gatherings with AMICA members while also experi.encing some AMICA-type fun like the player piano Pumper Contest. Many AMICAns had never experienced collections like the ones we saw in Southern California and I know I am excited for all of us to share in the joy of touring the legendary Sanfilippo collection during this upcoming convention. Check out more details on the mbsi.org website. A few preview images from Sanfilippo and the other collections to be visited are shown on Page 40Ð41 and Page 54 of this issue.

For those who have never attended an annual meeting, let me encourage you to consider trying it for the first time this year. One of the coolest things that can happen at a gathering like this is connecting over a shared interest and discussing new ideas that might not have ever crossed your mind before. For example, while in Los Angeles, MBSI member Gene Borrelli stopped me in the lobby of the hotel and we sat to down to talk about how we might use this journal to find solutions to problems that plague us all. Here is what Gene said to me.
ÒI have a Nicole Frres cylinder music box, circa 1864, that does not have a tune sheet. I have been trying to identify the tunes on it for years with only partial success. My ques.tion is whether any MBSI members know of software that would be able to take as input an mp3 or wav file recording of the tune and based on that identify the tune. Shazam does something similar for more modern music but it doesnÕt seem to work for older tunes.Ó
After listening to GeneÕs dilemma, I wondered if posting a recording of the tunes to the society website or its YouTube channel might be an alternative. Gene was receptive to this, but wanted to see if we could find a software option that could benefit everyone instead of just him. His desire to work for the greater good of mechanical music inspired me to make him part of my column. Once his tunes are identified, Gene said he would be more than happy to share the story of his music box acquisition, restoration and any tips on tune iden.tification with us all via an article here.
So, I ask anyone who might have knowledge of a piece of software like Gene is looking for to please contact me so we can make the answer avail.able to all who might seek to identify unknown tunes on their music boxes in this manner.
Enjoy the rest of this issue!

Correction

In Ugo CasigliaÕs article on flute clocks in Mechanical Photogrammarchiv from 2012Ð2018, but he is no longer Music Vol. 70, No. 4, July/August 2024, Helmut Kowar in that role or employed by the Austrian Academy of was mistakenly identified as the director of the Phono-Sciences. Helmut is listed as one of several contributors grammarchiv in Vienna and as a curator of a section on a project involving automata undertaken at the Kuns.of automata at the Kunsthistorisches Museum, also thistorisches Museum but he was not employed there. in Vienna. In fact, Helmut did serve as director of the MBSI regrets these mistakes.
ADVERTISING DEADLINES
Advertisements for the March/April 2025 issue of Mechanical Music to be submitted by Feb. 1, 2025. Advertisements for the May/June 2025 issue of Mechan.ical Music to be submitted by Apr. 1, 2025.
EDITORIAL DEADLINES
Articles for the March/April 2025 issue of Mechanical Music should be submitted by Jan. 25, 2025.
Articles for the May/June 2025 issue of Mechanical Music should be submitted by Mar. 25, 2025.
Lewis Carroll, musical gadgeteer
By Linda Gray-Moin
As mechanical music enthusiasts, many of us have the regular privilege of enjoying a wide array of collections of musical gadgetry. Allow me to intro.duce you to my own small collection, which though quite modest in size, is completely unique in its thematic focus.
My musical collectionÕs theme centers on musical instruments and automata that were owned and used by the beloved author of ÒAliceÕs Adventures in Wonderland,Ó Charles Lutwidge Dodgson, aka Lewis Carroll. During the Victorian era in his rooms at Christ Church, Oxford, England, Carroll frequently entertained visitors young and old with gadgetry of all varieties Ñ musical, scientific and artistic. He was famous for his affinity with young people and was ingenious in devising ways to educate and amuse them.
In my own time, as a practicing visual artist and long-time member of the Lewis Carroll Society of North America, I have managed to combine my interests by developing a project in my art studio in Palo Alto, CA, that involves the recreation of the hearthside and ambiance of CarrollÕs sitting room at Christ Church. I began by constructing the cabinetry of the fireplace itself and copying its William De Morgan tiles. I painted these ceramic tiles with their original fanciful animal designs in a rich red color. Next, I painted copies of the five portraits in oil which hung over his fireplace mantle.
As I executed this project, it occurred to me that to complete the ambiance of the room, I needed to replicate objects that were present in the room, especially some of the gadgetry he used. (Carroll was always keen to try out the latest technologies of his day.)
I enlisted my Carrollian colleagues in the U.K. to aid me in the hunt for identical or nearly identical items to represent his key possessions. I also consulted a copy of the auction catalogue from the sale of his estate after his death (in 1898) to determine details (such as make/model) of his belongings.
His child friends have written in their memories and other articles of the myriad toys and entertainments that he had on hand for their amusement.
A favorite child friend (and actress of the London stage), Isa Bowman, remarked that he must have had one of the largest collections of music boxes to be found Òanywhere in the world.Ó She claimed that he had 20Ð30 of just the smaller models on hand (perhaps just a bit of an exaggeration).

LetÕs begin our discussion with the two music boxes in my collec.tion. Edward Wakeling, a primary biographer of CarrollÕs, kindly gave me photos he had taken years back of the two music boxes which have remained in the Dodgson family (and the only known remnants of CarrollÕs collection). One photo displays a large Swiss cylinder box with drum and bells and an ÒIsle de RousseauÓ style tune sheet and the other photo a small tabatire-style box with a blue and white design tune sheet. My hunt was on!
With time and patience, I was finally able to locate good representative boxes for them both on the U.K. eBay

The authorÕs recreated mantel and paintings representing Lewis CarrollÕs rooms at Christ Church, Oxford, England.
website.
My first Carroll ÒreplicaÓ is a large Swiss cylinder box with four bells and a drum. This piece, Paul Bellamy of the U.K. has told me, is likely a Brmond box (see photo on Page 10). It measures 19 inches by 11 inches with a 7-inch-long brass cylinder (Serial No. # 9913). My box is slightly shorter than CarrollÕs and with one less bell than his, but it is a close match otherwise. It was restored by MBSI member and expert restorer Bob Caletti. I was able to restore the Isle de Rousseau tune sheet with the aid of Photoshop soft.ware to its original colorful fidelity. This box plays eight melodious airs and boasts a deep full tone.
The Brmond music box company was founded by Baptiste Antoine Brmond in Geneva, Switzerland, and my music box has been estimated to be from the 1880s, though Paul Bellamy quipped that determining a sure maker and date for it was Òa bit like DodgsonÕs (quixotic) quest in the ÔHunting of the SnarkÕ!Ó
The second, smaller box is a Tabatire of unknown manufac.ture (see photo on Page 10). Mine measures 5 inches by 3.5 inches. The teeth seem to be in a repeating mando.lin arrangement. For this one, I simply had a slightly out-of-focus photo to go on, but was pleased to find a tabatire with the same blue and white design tune sheet as the box in EdwardÕs photo. I added the bone trim to the on/off button at the front to match CarrollÕs. This box plays three airs and has surprisingly good tone for such a little box. MBSI member Robbin Biggins helped me to dampen the ÒtrillÓ on this box so that the primary melody could be appreciated more fully.

Now, on to the orguinette in my collection. Carroll included his own American Orguinette in a little story he wrote out for his actress friend, Isa Bowman, entitled ÒIsaÕs Visit To Oxford, 1888.Ó This was a recounting of all their activities during a visit she had with him at Oxford that year.
One charming vignette in the trip diary reads: ÒOn Saturday, Isa had a Music Lesson, and learned to play the American Orguinette. It is not a very difficult instrument to play, as you have only to turn a handle round and round: so she did it nicely. You put a long piece of paper in and it goes through the machine, and the holes in the paper make different notes play. They put one in the wrong end first. Then they had a tune backward and soon found themselves in the day before yesterday! So they dared not go on, for fear of making Isa so young she would not be able to talk! The Ôauld auld manÕ (Carroll) does not like visi.tors who only howl and get red in the face from morning to night!Ó He was known to tell child friends that the orguinette had to be ÒfedÓ on paper tunes, sometimes as many as a dozen a day Ñ a voracious beast!
Given CarrollÕs description, I believe the model of American Orguinette that he owned was the 14-note Style G orguinette. He ordered it Sept. 9, 1880, while taking his holiday at the Victorian seaside resort of Eastbourne on the southeastern coast of England, (which he did each year during the last couple decades of his life).
This is the model that I chanced upon in a local California antique store, much to my delight! The style G has a lid hinged on one end which allows the owner to raise and lower a portion of it to alter the volume of the music. Carroll was said to particularly relish this feature.
The orguinette is essentially a small tabletop reed organ invented in 1876 by an Englishman named Mason J. Matthews. He joined forces with the Munroe Organ Reed Company of Worcester, MA. By 1887, the output of

Top, side and front views of the authorÕs American Orguinette.
this company was 50,000 instruments annually. Though this orguinette sported the name ÒAmerican Orguinette,Ó it was mostly sold on the English market.
Over the years I became curious about another musical instrument CarrollÕs child friend Beatrice Hatch referred to in her personal memoir. In speaking of entertainment typical during a visit to CarrollÕs rooms, she remembers, ÒYou may have music if you wish it, and Mr. Dodgson himself will perform. You look round for the piano, there is none. But a large square box is brought forward, and it contains an organette. Another box holds the tunes Ñ round perforated cardboard discs, all neatly catalogued by their owner. One of the greatest favorites is ÔSanta Lucia,Õ and this will open the concert!Ó
I wondered what type, make and model of organette could it be that Beatrice referred to? Questions like this drew me to MBSI and resulted in my becoming a member. My research revealed several disc-playing orga.nettes, the German Ariston being one such candidate.
I own a complete nine-volume set of CarrollÕs existing diaries, and occa.sionally IÕll dip into them for a bit of amusement Òof an evening.Ó One night, I opened up to his diary entry for Aug. 24, 1894, written in Eastbourne. It reads, ÒJudge and Mrs. Denman came to tea about 4., and I walked back with them to the Grand Hotel a little before 7, having shown them many photos, and played some airs on the ÔAriston.ÕÓ I had my answer, and was probably the first in the community of Carroll scholars to realize exactly what this ÒAristonÓ was!
Luckily, I was able to purchase a 24-note Ariston (the most popu.lar size) from MBSI member and renowned musical box dealer Nancy Fratti. Harold Draper of Roller Organ Restorations then refurbished it. It has a wonderfully robust tone. I also had some discs custom punched, including CarrollÕs favorite, ÒSanta LuciaÓ purchased from an Austrian craftsman, Christian Wittmann.
The Ariston organette was invented by Ernst Paul Ehrlich of Leipzig, Germany, for which he received a patent (No. 277766) in 1882. An earlier version he devised was known as an Orchestrionette which used punched tape to play. It turned out that perforated cardboard discs of the Ariston proved more convenient for the consumer. These instruments used compressed air from bellows to vibrate steel reeds (like those in a harmonica). Levers operated by the holes in the discs divert air to the appropriate reeds. The drive was made by a hand crank which operated the bellows and rotated the disc. This instrument was easy to use and the available tunes were numerous and could be readily changed.

Now, on to the toys that his child friends delighted in. My collection contains two automata which feature in the memories of the children who were close to Carroll. A special favor.ite was a furry, brown mechanical bear which, when wound up, would scurry across the floor. One should keep in mind that the late Victorian period was a pre-electrical era, so these animated mechanical toys appeared completely magical to the little ones!
I was able to find a French Roullet et Decamps mechanical bear automaton on eBay. He is quite charming with his sharp, white wooden teeth, bright red gums, beady black eyes, and his circus muzzle and chain. He is 8. inches long and covered in dark brown rabbit fur. Once youÕve wound up his mechanism with a key, he runs across the floor, turning his head from side to side, while ferociously opening and closing his mouth.
Luckily his muzzle prevents him from nipping at his handlers! I had his mechanism restored by conservator Jere Ryder of the Guiness Collection of Mechanical Music and Automata at the Morris Museum of Morristown, NJ. The famous Roullet et Decamps company was established in 1866 in Paris, France and was a premier maker of automata for over 120 years. My circus bear dates from around 1905.
The final item in this portion of my gadget collection is ÒGiselle,Ó a French dancing automaton made by the firm of Marenghi et Cie of Paris around 1890Ð1900.
When marveling at the embar.rassment of riches which Carroll (or Mr. Dodgson) had, little visitors often mention their fascination with the Òdancing dolls.Ó So, my hunt for Giselle began and was satisfied when I discovered her through the antiques website, Ruby Lane. Giselle is a small doll dressed in ivory silk and lace and perched on a small steel rod that moves up and down when the music box on which she is placed is wound up with its key. Her little wooden feet tap on the surface of the box as the music plays on and her body prances, with an occasional twirl accenting her dance.

Carroll was a famously doting host, and his aim was to share his enthusi.asm for all his cutting-edge gadgetry.

Beatrice Hatch summed up his mutual Recreating the surroundings and enjoyment of these musical items, ambiance of CarrollÕs Oxford rooms writing, ÒThe picture of the author of has been a joy and includes items Alice keenly enjoying every note as he of a scientific nature as well. But solemnly turns the handle (of one of the magic of mechanical music has his organettes) is more worthy of your played a central role in this most delight than the music itself. Never absorbing project, which allows one was there a more delightful host for I hope a brief respite from the 21st a dinner party or one who took such century via a bit of Òtime travelÓ back pains for your entertainment, fresh to Victorian England courtesy of and interesting to the last.Ó Lewis Carroll.

More online

Smartphone users can scan the QR code at left to view a video tour of LindaÕs larger hearthside project in her art studio, or visit the link below directly.
https://bit.ly/mbsi-lewis-carroll

Organ Grinder Women
By Dr. Robert Penna, Ph.D.
Through the years, a number of informative articles regarding the state of the often-misunderstood organ grinder have appeared on these pages. Many grinders, as we have learned, were unfortunate individuals working long hours while earning little, but bringing the joy of music to many. In an era where there were no phonographs, radios or other forms of electronically-powered music, an automatic musical instrument could be a vital source of entertainment.
From past articles, we know of the misfortunes and difficulties these purveyors of music faced.1 Some were little more than slaves, rented out by patrones that dominated the industry.2
In an article entitled, ÒOur Street MusiciansÓ in a July 1891 issue of The Music Trade Review, we find that those whose occupation was to provide entertainment to the people of New York City numbered nearly 2,000 men and women. This number included both wind organ grinders and piano organ grinders as well as all those who played their own musical instruments or who merely sang in the streets. Faced with a curfew of 7:30 p.m., Òall vendors of the strains sweet and harmonious must cease their labor for the day, or else be arrested for violating a city ordinance.Ó3
The article reads, ÒEverybody knows the organ grinder. He is an old Italian, very round-shouldered, and always has the same patient look on his face, and never seems to get angry or become discontented, no matter how few and far between are the pennies he receives.Ó The article estimates that most of the street musicians played wind organs but approximately 150 of the 2,000 registered entertainers were piano organ grinders trolling the sidewalks of New York City.
The article goes on to note one significant exception to this rather generalized description: at least one piano organ was operated regularly by females. ÒOne of these mechanical pianos is operated by two Italian women, dressed in native costume, even to the slightly abbreviated skirts, and they resemble peasants just off the Casino stage. They are both good-look.ing, too. While one of them turns the crank, the other beats an accompani.ment on a fancy tambourine, and as she handles the instrument skillfully, the combination is very effective and far from unpleasant. They can be seen any afternoon on the downtown streets, where they never fail to draw a paying crowd and bring many heads to the windows from which a view of them can be obtained.Ó4

Additional research on women grinders can be found in photographs and literature. In 2021, a presentation was made at the Third International Conference on WomenÕs Work in Music by Claire McGinn from Utrecht University. She described the pres.ence in urban areas of groups of organ grinders who lived in deplorable conditions during the 19th century. Many of these were women who worked beside their husbands, often accompanying the organ playing some other musical instrument while at the same time trying to make a home and raise children. McGinn stressed the belief that young women who were forced to be active participants in these communities were not free to choose this lifestyle and were little more than chattel.5
Although we love the sound of grinder organs and pianos and under.stand the happiness they brought to many, it is wise to also acknowledge the reality of the harsh and brutal conditions suffered by the men and women who worked in this field as that is assuredly a part of their history.

Footnotes:
1 ÒJoy and Suffering: The Organ Grinders of London and ManchesterÓ Mechanical Music, Musical Box Society International, July/ August 2022.
2 ÒThe Italian Organ Grinder: His Life Revealed,Ó Mechanical Music, Music Box Soci.ety International, September/October 2021.
3 ÒOur Street Musicians,Ó The Music Trade Review, July 5-20, 1891, Volume 14, Number 23, page 468.
4 ibid
5 Claire McGinn, ÒThis Simply Means That They Require to Be Saved from themselves: Women Organ Grinders and Agency in Nine.teenth-Century London,Ó
Presentation, Third International Confer.ence on WomenÕs Work in Music, Sept. 2, 2021, Bangor University, Wales.

Nickel Notes
By Matthew Jaro

The obscure, strange, and unsuccessful

For this exciting episode of Nickel Notes, I searched through the trade press looking for obscure, unsuccess.ful and strange machines that never made it to the big leagues. I owe a debt of gratitude to Art Reblitz for providing some fodder for this article. Art and
Q. David Bowers recently released their monumental book entitled ÒThe Reblitz-Bowers Encyclopedia of American Coin Operated Pianos and Orchestrions.Ó
The Melodette Automatic Piano
The first reference to the term ÒAutomatic PianoÓ in the trade press is the Dec. 20, 1880, edition of The Music Critic and Trade Review. A machine called the Melodette (or Automatic Piano) is a device using perforated strips to cause hammers to strike bell bars. The cost was $5 including a selection of popular tunes. The advertisement said they have 1,000 testimonials. The advertisers claimed even a child could play music on the device. There was only one advertisement for this product, and then nothing.
Throughout the 1880s and 1890s, several automatic pianos were patented. Most of these consisted of a ÒvorsetzerÓ type of arrangement where the attachment plays the keys with felt Òfingers.Ó This system would require no special piano for playing rolls. The Pianola manufactured by Aeolian was the big seller in this category. An integrated piano (not an attachment) was introduced in the late 1890s and was called the Aeriol, also manufac.tured by Aeolian. The attachments were usually called Automatic Piano Players (instead of Automatic Player Pianos).

In 1903, the Peerless Player Piano Company introduced an attachment called the Roth and Engelhardt New Harmonist style N. It had an electric motor, an optional coin slot and an endless roll. It was a pneumatic instrument. By mid-1903 there were so many types of player piano mech.anisms that a list of all the companies required an entire column in the Music Trade Review.
The Midget Orchestra
In 1913, The Niagara Musical Instru.ment Manufacturing Co. announced The Midget Orchestra which had mandolin rail and violin pipes. They

After that first notice, there are no follow-on advertisements or editorial content about the machine. The U.S. Music Company listed the Niagara Midget Orchestra as working with its rolls. I believe this machine must have been an A-roll piano. One problem was that the name Midget Orchestra also referred to Seeburg Style K machines and to an Operators Piano Company machine. This confusion probably did not help sales.
The Niagara Musical Instrument Manufacturing Company had been incorporated in 1905 in North Tonawanda, NY. At the time of incor.poration, the company turned out 50 organs. Presto magazine stated that the Òtown where DeKleist Started an Organ Industry now has another.Ó Niagara employees were mainly former employees of DeKleist. In 1906, many employees left Niagara to join the new North Tonawanda Musi.cal Instrument Works. Its products were almost exclusively band organs.
In 1911, it appears that Niagara Musical Instrument Manufacturing Co. was incorporated again. In 1914, it declared a stock dividend of 10 percent (the first in two years). The stockholders report that business grew rapidly in a few months. In addition to The Midget Orchestra, the company produced other great hits, such as the Pianiagara, the Violiphone and the En Symphonie. In October 1917, the manufacturing plant was purchased by the Foster Specialty Company. This was the end of the Niagara Musical Instrument Manufacturing Co.
The CotŽ Orchestrelle
Everyone has heard of the Aeolian Orchestrelle, but have you heard of the CotŽ Orchestrelle?

The CotŽ Piano Manufacturing Company first placed small ads to attract salesmen in January 1915. The company evidently sold many standard pianos and continued to place quarter page advertisements for the trade. In January 1919 the company was sold to the International Piano Manufacturing Company (a new concern) and Edmond CotŽ retired. Their factory covered 11 acres! It could produce 20,000 pianos per year.
The Rand Automatic Musical Instruments (1921)
The Rand Company purchased the North Tonawanda Musical Instrument Works in mid-1918. The Rand Company eventually became Remington Rand. North Tonawanda had suffered because of the war and Rand was able to buy the company at a good price. The advertisement pictured shows several of the models.
This was their only advertisement in the Music Trade Review. A similar ad was taken out in The Music Trades. James Rand was mainly interested in manufacturing bank supplies and fixtures and he needed the extra floor space for this purpose. Floor space was his main reason for acquiring North Tonawanda. He did, however, continue the manufacture of musical instruments. Notice that the styles advertised (G and L) had counterparts in the J.P. Seeburg line.

North Tonawanda Musical Instru.ment Works wasnÕt much more successful in the coin piano field than The Niagara Musical instrument Manufacturing Co. was. In 1920, a subsidiary, The Capitol Piano and Organ Company was formed. They renamed their Pianolin the Midget Orchestra and the Sextrola became the Bluebird Orchestra. Sales under Capitol were better, although exam.ples of these instruments in working condition are rare today.
The Pianora Piano
The Pianora Company was orga.nized in 1904 with the purpose of manufacturing self-playing pianos, piano players and perforated music rolls. In 1905 it introduced the Hunter coin-operated piano. The Hunter would play rolls with 10 to 15 selections which were made by the company. In 1905, Pianora also announced the Ackotist coin-operated piano. The advertisements were changed in this year, instead of mentioning Hunter they now promoted Ackotist.
I wonder if any Hunter pianos were even completed, since the switch was so rapid and complete. Note that the name Ackotist was a not so humble nod to honor the company president named Ackerman. In 1906 Pianora moved into a 5,000 square foot factory with a capacity to produce six or seven instruments weekly. This was a pretty small operation for the time. Eventu.ally, the company changed the name of its player piano to the Ackerman Player Piano (instead of Pianora).

Later in 1906, the Pianora company was partially sold to (guess who?) another winner in the coin-op field, The CotŽ Piano Company. The company was reorganized to make way for new officers. Ackerman, however, remained president.
In 1907, the Perforated Roll Company stated that it would be making five tune rolls for the Pianora, the Regal and the Autoelectra play.ers. I wonder if the formats were compatible or if each machine needed a different coding scheme? ItÕs still a little early for the A roll format.
Further on into 1906 Pianora ran into some bad luck. The company was enjoined from using the name Pianora by the Aeolian Company (which used the name Pianola). Pianora promptly agreed to change the name of its corporation to the Ackotist Player-Piano Company. The company had a factory in Fall River, MA, with the capacity to produce 18 pianos per week. The company stated that the reason for its name change was that the name Pianora caused endless confusion when receiving mail, etc. The company never mentioned an injunction. It simply pretended that the Pianora Company did not want to confuse its products with the incred.ibly well-known Aeolian Pianola. Aeolian quickly shifted focus from Pianora to the R.K. Maynard Piano Company seeking to prevent the use of the name Playola.
In 1912 the secretary of the now defunct Ackotist Player-Piano Company, S.A. Lichtenstein, told the trade press publications that Òsome capitalist of Fall River, Mass. purchased this concern and retained me as general manager and traveling representative. The number of instru.ments we sold, considering the merit of the player, was surprising. We were so busy hiding the bad defects, that we could spare no time to demonstrate the good points. I joined the Peerless Piano Player Company in January 1910. It was such a relief to sell an instrument that was all merit and no defects ÉÓ
As for Ackerman, he seems to have left the Ackerman Piano Company in 1909 to become president of the Cambridge Piano Company. In 1911 Ackerman resigned from the Cambridge Company. Shortly afterward it was announced that his Ackerman pianos would be made by DeRivas and Harris. It seems a lot of job juggling went on and no one really ever found out what happened to the CotŽ Piano Manufac.turing employees. Ackerman went on to be a vice president of Ricca and then DeRivas and Harris.
The Regal Piano Company
In 1903, the Regal Piano Company announced what was hailed as the smallest piano-player on the market projecting only 5. inches from the front of the piano and only 3 inches above the keyboard. It was an attachment to be placed in front of a standard piano.
Regal placed many full-page ads in the Music Trade Review. In 1904, it introduced the Regal Nickel-in-the-Slot Automatic Piano. This was a 44-key piano. A curious thing was that the Regal offices were next door to the Ricca Piano Company and it seems that in 1905, Ricca started handling some of the business deals with Regal. Ricca even cut their own rolls for the machine. Each month Ricca issued six rolls of five songs each. In 1905, the company introduced a 65-note automatic piano.
In 1906, the Music Trade Review finally acknowledged that Regal pianos were built by Ricca by way of an incidental comment about Ricca moving to new headquarters. In May 1910, Regal lost a patent infringement suit brought by Bush and Lane Pianos.
Back on the scene in 1912 is Ackerman, the former president of Pianora, Ackotist, Cambridge Piano, etc. He would join Ricca as a vice president. That meant Ricca, the Cambridge Piano Company and Regal were all under one roof. Personally, I wonder what happened to AckermanÕs machines? There is no mention of them or of any of the old CotŽ piano investments. I think Ackerman must have been some smooth operator! In 1921, Regal and Ricca were still listed in the directories of companies by the trade press, but the companies did not advertise or generate any news until 1924 when Ricca placed a full-page ad for Ricca, Regal and Cambridge Pianos. The company was still going strong in 1930!

Playola
In 1905, the Playola Piano Co. of Chicago, IL, was established. The companyÕs players were integrated with pianos (not attachments). In 1906 Playola moved to a larger factory and in 1907 it was consolidated with the
R.K. Maynard Piano Company. R.K. Maynard bought all of PlayolaÕs stock.
Aeolian sued Playola for infringe.ment of the Pianola name. Maynard said his company would protect the Playola name and acknowledged only receiving warning letters from Aeolian. In 1909, a court decided that Aeolian owned the terminal ÒOLAÓ in connection with player pianos. This affected not only the Playola but the George P. Bent CompanyÕs Combinola, the Ahlstom Piano CompanyÕs Gran.dola, the J. & C. FischerÕs Fischerola and several others. Other ÒolasÓ include Toneola, Kingola, Ackola and Autola.
In 1912, the R.K. Maynard Piano Co. failed and a receiver was appointed. It is interesting to note that the R.K. Maynard Company was still placing advertisements through 1912. Its assets were auctioned off in July. In 1913 an announcement was made that Pflueger Piano Company would start making Playola pianos. In 1914 Pflueger went bankrupt.
R.K. Maynard then joined the Schulz Company. In 1917, he was employed by the Haddorff Piano Company. In 1918, R.K. Maynard worked for Werner Industries. In 1922 he rejoined the Schulz Company. R.K. Maynard died in 1928 after working with Schulz for 10 years.
Ariston
The Ariston Piano Player Company was incorporated in Chicago, IL, in 1909. The Ariston action was put on the market three years earlier. In 1911, the company issued a new catalogue of electric coin-operated pianos. By 1912, it was turning out eight to 10 Aristons a day. In 1913 the company went bankrupt after rumors of a merger with the Wm. A. Johnson Piano Company. Johnson, however, claimed it wasnÕt a merger of the two companies but instead Ariston had simply gone bankrupt and Johnson bought up what was left of AristonÕs assets for $9,500. There was a scandal asserting financial misdeeds concern.ing AristonÕs debt. AristonÕs creditors got only 6 percent of their claims.
The Ariston was mentioned in the list of machines compatible with A rolls until about 1930. The company used 3-inch cores instead of the stan.dard 3.-inch cores used by Seeburg and others. I could find no pictures or advertisements for this piano.

The Tammany Organet Company
The Tammany Organet Company was incorporated in 1903. John McTammany was instrumental in many player piano designs and a 1905 article describes his latest product. The companyÕs advertisements used the name The Tammany Organet Company. I imagine that is the correct spelling, and not Òorganette.Ó The Tammany Organet Company was placed in receivership in October 1908. In 1910, it declared bankruptcy.
The Price and Teeple Carlton Line
In 1915 the Price and Teeple Piano Company announced the availability of the Carlton Style X electric piano with mandolin attachment and flute or violin pipes (at extra cost) or with golden chime bells. It was coin-op.erated and had three illuminated art glass panels. The Carleton Style X used standard A rolls. The style X stands at 4 feet 10 inches high. After 1918 there is no further word about this machine or even the Carleton line. Some of you may notice that this machine looks quite a bit like the Seeburg Style E. The art glass and torch motif also look a lot like the Seeburg design.
This is a very handsome machine. I donÕt think they sold many because I have never heard of it in all my travels through the nickelodeon world. I wonder if anyone has an example.

The Geneva Organ Company
In 1924, the Smith Unit Organ Company changed its name to the successful this was or what kind of a market there was, but it is interesting. They had advertisements for about a year in 1928 and then, nothing.

The Waltham Piano Company
The Waltham Piano Company of Milwaukee, WI, was founded in 1885. In 1912, it decided to make coin-operated electric pianos after many years of only producing stan.dard and player pianos. The line of products was called the Electratone. The companyÕs motto was Òbuilt to endure.Ó Waltham wanted it noted that the company made the complete instrument including the mechanism, the pneumatic player action, rewind apparatus and even the attachments for gaining various instrumental effects, in its own factory. The factory had a capacity of 10,000 pianos per year. In 1916, Waltham had a serious fire but resolved to rebuild as soon as possible. Most of the damage was from the sprinkler system. The company had fire insurance. In an ad in 1923 it did not advertise any coin-oper.ated pianos, but it did manufacture two-tone wood radio cabinets.
In 1925 the Standard Player Action Company printed a multi-page advertisement that featured many player-pianos including the Waltham. It seems clear that Waltham gave up on the idea of building its own action. Also, in that year, Waltham was listed as a Welte-Mignon licensee.
There was no further mention of the Waltham coin-operated pianos after 1920. In fact, there were only one or two references to Electratone from 1914 on. The piano used standard A rolls. There are very few surviving examples, but you can hear one on YouTube. Just search for Electratone and avoid the guitar references.
IÕm sure more digging in the trade press would turn up more obscurities, but the process is slow, and I donÕt want to tire the reader with too many weird products, so if anyone has additional information, or even better, owns one of these machines, please let me know.

Email Matt Jaro at mjaro@verizon.net if you would like any information about style ÒAÓ, ÒGÓ, Ò4XÓ, ÒHÓ or ÒOÓ rolls. Also, comments and suggestions for this column will be appreciated.
Reprinted with permission of the author and The Automatic Musical Instrument CollectorsÕ Association (AMICA). Originally printed in the January/February 2019 issue of The AMICA Bulletin.

Seeking your stories for ….
Did you once spend time finding the perfect musical antique to round out your collection? What was it? How did you find it? Was it in ruins, or in perfect condition?
Was there a time you randomly ran across a unique instrument then found a way to acquire it and restore it so that you might display it and tell the story to all who visit your home?
Answer these questions and you will have the perfect story for ÒThe HuntÓ column in Mechanical Music.
Every mechanical music instrument has a story behind it and the readers of Mechanical Music love to read them all.
Editing help is available if you have a story but you are not sure how to organize it or present it. The important thing is to get it down and pass it on for the enjoyment of others.
We look forward to hearing from you.
The Hunt

Email your story to editor Russell Kasselman at editor@mbsi.org or mail a copy to:
MBSI Editorial Offices 130 Coral Court Pismo Beach, CA 93449
My Mira ÒColonialÓ
By Jamie Brewer
I first met Bill Endlein when I attended an East Coast Chapter meeting of the MBSI in Spring 1974. The meeting was held at Summit, NJ, and Bill gave a talk titled, ÒThere is a bit of Thomas Edison in each of us.Ó Little did I realize at the time how our friendship would grow over the decades not to mention the influence Bill would exert upon my life.
My first time attending a Union Phonograph Show was with Bill in the early 1980s. My presence there amounted to basically being BillÕs sidekick, which meant I would stay in his booth to talk to customers as he did wheeling and dealing. It wasnÕt a bad gig, however, since it got me on the inside edge of many deals while I was expanding and fine-tuning my own collection. Over the ensuing years, Bill exposed me to a wide variety of eclec.tic people and bizarre situations at any number of venues. Looking back on that time, it feels like I could write a book about all the experiences I had at these shows.
At one show, I witnessed a Regina Style 45 change hands. This rare model was a 27-inch instrument in the large Empire-style case. The boxy Empire furniture style has always been a favorite of mine. This style Regina was originally manufactured in very small numbers and examples seldom show up for sale. Bill, who lived and breathed automatic music instruments, knew of my fascination with that Empire-case music box and it seemed to always hold a place in the back of his brain.
An excerpt from my Apr. 1, 2008, journal reads:
ÒThings have been so crazy these past few days. I do not know where to start. Billy had contacted me Satur.day to let me know of a Mira music box that just came onto the market. It is right up my alley, he tells me.

Just what I donÕt need. That is the fun of collecting this stuffÉ you are always looking to get the rarest and finest condition you can get. There were pictures on this dealerÕs web site of this rare box. In all the years collecting, I have never seen this brand of a disc musical box in this case style. I am very afraid this might be a made-up piece. I have seen this happen and am very wary of what I cannot examine in person.
That Tuesday morning, I needed to act in regards to the music box. This dealer, Marty Roenigk, was also my friend for more than 30 years. We went back and forth on price and I spent two days studying the pictures until my Òeyes were nearly bleeding!Ó I had to let him know where I stood. So, Tuesday morning I sent him an email saying I was going to have to decline his offer. He countered that if I had any questions on this piece to contact Steve Boehck and Alan Bies, friends of his in Houston, TX, who had done restoration work on it. These guys are long-time acquaintances of mine, as well, so out came the phone card and a long-distance call ensued to Houston.

It is crazy but I still cringe whenever I make a long-distance telephone call in the daytime. It must be from grow.ing up in the time frame I did where you never called long distance before 7 p.m. When you did place the call through the operator, the egg timer got turned over so you did not go over the three-minute limit!Ó
Anyway, I got the history and details on this music box. It was legitimate. The case is real and not botched up. Steve has it pictured in a period catalogue. It seems this model was produced very late in the marketing of disc music boxes as the market was very small at the time. Steve told me it is the finest sounding box of this size he had ever heard. I trusted his judgment and reversed my decision. Just as I was typing out my email to Marty, I got an email from Steve. It was a scan of a late Mira catalogue he owns with the exact model of music box I was going to buy listed for sale from the manufacturer.
The deal was done. I sent out the check for half the purchase price, with the balance due on pickup. Ah, yes, I still had to pick it up in what Oklahoma CityÕs Sally Kern refers to as ArkansasÕs ÔSodom and Gomorrah,Õ Eureka Springs, AR, a beautiful little city located some 530 miles from my house.
My mental wheels started spinning. It looked like my trip home from a phonograph show in Wayne, NJ, would take a detour through Eureka Springs. I started working on Google Maps trying to find the shortest route. It looked to be two days of heavy driv.ing with an overnight at the midway point around Dayton, OH. Dayton. All I could think of are the famous lines of Joan Collins when she played Alexis on ÒDynastyÓ to Crystal. ÒOhioÕs a lovely state, IÕve driven through it several times,Ó and, ÒYou can take the girl out of Dayton, but you canÕt take the Dayton out of the girl.Ó My friend Joe and I used to recite these lines to our friend Gary and he would get incensed as Ohio is his home state!
My bare bones 2002 Dakota pickup truck is not the most comfortable vehicle to travel long distances in. The road trip adventures I have lived give such rich backstories to my collection. Leaving Wayne, NJ, I made good time and drove to Cloverdale, IN, which was some 775 miles. Continuing west the next day, it was another 500 miles to Eureka Springs where I arrived in the early afternoon.
Marty and I met up and I followed him to his warehouse. It was the first time I was going to hear the music box in person. The sound was, and still is, phenomenal. I knew then that I had made a good purchase. I gave him the balance of the amount due and got to work to pack the beast. First, I laid out my old green tarp in the bed of the pickup. Then I put a sheet of plastic on top of canvas since my old tarp had about 50 years on it and was not that waterproof anymore. Marty helped me to strong arm the instrument onto the back of the truck.
Before wrapping the plastic, canvas and tarp around the instrument, I layered it up with packing blankets. I have a specific method for folding my tarp over the load so that there are no flaps or overhangs to catch the wind while driving. Once the tarp was fastened, the load had to be strapped into place. A piece of carpet padding was installed over the back of the truck bed and pieces of cardboard put into place where the cabinet was in contact with the truck bed.

Wherever the straps might contact the corners of the load, I added more padding with cardboard. Doing this would prevent the straps from rubbing off the finish as the load jiggles. When it comes to packing, Billy taught me well.
Marty had other work to do so I was left alone. Just the way I like to pack.
It was only two right turns from the warehouse to get onto Route 62. At this point, I just wanted to get home.
I was thankful that traffic was light. It took a while to get used to not having a back window to look out of. The road was Òtwisty and turneyÓ for too many miles in my opinion. It made me realize that there is something lovely about the boredom of driving straight for miles and miles on interstate roads. Route 62, in direct contrast, made it hard for me to appreciate the

The 151/2-inch mechanism is odd for this style of Mira and may have been a late addition to the lineup as the company attempted
to sell off its remaining stock amid declining demand for music boxes.
surrounding hilly scenery since the road seemed to be constantly chang.ing directions. Route 62 merges into Route 65. I drove another 108 miles until I connected to Interstate 40.
It was late spring and the days were getting longer, allowing me to really rack up the road miles, but the closer I got to the interstate the more delirious I became. I checked my Motel 6 guide.book and there was a Motel 6 right at the Conway, AR, interchange. The dayÕs drive worked out to be some 650 miles. It wasnÕt as bad as the previous dayÕs drive but the stress of navigating the hilly two-lane roads in and out of Eureka Springs had done me in.
When I entered the motel lobby I could barely speak. My mind was numb. I got registered and set up a wakeup call for 4 a.m. The one thing I worried about was leaving the music box on the back of the truck. There was no way I could unload it myself without damaging it. I surveyed the area and saw there were several construction workers staying at the motel and they left their trucks filled with tools in the parking lot, plus the motel was surrounded by a chain link fence. Also, the lot was brightly lit so that put my mind at ease. I figured most people could not imagine what might be under my ancient green tarp.
Now for some supper. I was too beat to even think of driving anywhere. A hole in the chain-link fence surround.ing the parking lot allowed me easy access to the Walmart next door.
I walked over to check out the deli. At 7 p.m. the pickings were slim. The chicken fingers looked decent. The lady behind the counter realized I was a mess and told me they had a special on two chicken fingers and two potato wedges. ÒGive that to me and a small macaroni salad,Ó I said. I apologized to her for being so spaced out. I explained how I had been on the road all day and just crashed at the Motel 6. ÒIÕve got a couple cans of beer on ice waiting for me when I get back, this is going to be one good supper,Ó I said. She got a big grin on her face. ÒYou musta had that beer with you, you canÕt buy any here, this here is a dry county!!!Ó she laughed. I had to laugh with her. I explained that whenever I traveled on road trips, I carried my own beer. I have been stranded too many times, especially in Kentucky!
Supper was edible, the beer was icy cold and when I turned into bed, I was asleep in no time.

I enjoyed my new music box Òas isÓ for many years. Alan told me he had given the outside of the case a quick lacquer spray to give the worn finish a bit of shine. Then came the COVID isolation of 2020Ð2021. That gave me lots of incentive to research and maintain several instruments in my collection. After a nightmare during the refinishing job on my Regina dragon-front changer, I thought the flat surfaces of the Mira looked like they should be an easy Òno brainerÓ refinishing job.
The interior case finish was good, so I taped it all off to protect it from any stray stripper. The outside refinishing was pretty cut and dry. I took the case completely apart to allow a detailed inspection.
This case was originally designed for an 18.-inch mechanism. There is no mention of this case style ever housing a 15.-inch mechanism in the catalogue information Steve sent to me, but that is what I found inside. The serial number of the bedplate is 8582 and the plate under the one-off lever had patents listed. Earlier boxes of this same variety have a plate stamped with ÒPatent applied for.Ó I could not find this style case listed in any of the music box reference books. I think it is a safe assumption to say that my instrument was a late style model that was thrown together in the waning days of the industry to move out existing stock and generate some income.
During my inspection, I found the case has an extension to support the smaller 15.-inch mechanism. I am no expert on acoustics, but I theorize that by not having the bedplate secured directly to the side of the case, more vibrations from the comb are trans.ferred to the soundboard contributing to its great sound.
The disc storage in the lower cabi.net has a grooved bottom board to guide the bottom edge of the discs with thin metal rods to keep them in place. With no wooden disc dividers in the bottom portion of the cabinet, the sound board is totally exposed allowing the disc storage space to amplify the sound waves much like the horn on a phonograph. This setup must have saved a bit of money when constructing the cabinet.
I have an earlier model 18.-inch Mira, so I took its mechanism and temporarily installed it in this later style case to see if there would be a difference in sound between the wooden disc-holding dividers and this later Òboxed upÓ sound board. It was like night and day. The improve.ment became the inspiration for me to remove half of the upper divider support on my earlier Mira disc music box. I found that it greatly increased the volume and tone on the earlier music box.
COVID isolation also afforded me far too much spare time to do research on the internet. The website at liveauctioneers.com proved to be an invaluable resource to help me track instruments through past auctions. While searching the site, I discovered another Colonial model music box with an 18.-inch movement. It was sold in Lambertville, NJ, back in 2012. It appeared that this same box was again sold at a New Orleans auction house in April 2019. The music box serial number for the New Orleans auction was listed as 8453.
I know of no reference to the serial numbers of the Mermod units that were cased up here in the United States. Were they stamped when manufactured in Switzerland or did the bedplates get numbered when the works were cased up here in the USA? There is a gap of 129 between these two Colonial instruments. One mechanism is the 15.-inch variety and the other is the 18.-inch type. The number imprints are not too deep so I tend to think the numbers would have been stamped onto the bedplates as they were cased up.

I found myself regretting that I missed out on the auctions where the other Mira disc boxes were offered for sale, and I recalled BillÕs famous line about acquiring duplicate collectibles. He used to say, ÒLook, you need that other to Ôfill in the blank.Õ You can have bookends!!!Ó
I may have been collecting for too long. I hate to sound jaded, but it seems to me that sometimes the journey and the experiences in this business that lead to the actual acquisition of a piece can give more lasting enjoyment than the actual ownership. It is like taking any trip where the traveling is so enjoyable you find that reaching your destination is anticlimactic.
I think the character Mr. Carson from the television series ÒDownton AbbeyÓ nailed it with this quote, ÒThe business of life is the making of memories. In the end, that is all you have.Ó

Photo by Mike Mills

Ruth 36X Organ No. 4351
Its history and description of the restoration
By Gavin McDonough
This story begins with Mr. William
E. Meissner, born at Magdeburg, Germany, in 1849. While a youth, he learned the trade of cabinet maker. At the age of 30, in 1879, he emigrated to the U.S. landing in New York City, NY. He later relocated to Mauch Chunk, PA, today known as ÒJim ThorpeÓ (named after an athletic personality). There, he set up a cabinet making business. He was regarded as an excellent cabinet maker in that area (Northwest of Allentown, PA). In 1887 Meissner lost an arm in a sanding machine accident. This limited his work as a cabinet maker.
That same year he moved to Rock.away Beach, NY. He leased a lot and put up a hotel named MeissnerÕs Hotel and installed a carousel. This location was in Seaside, an area of Rockaway Beach at the junction of Rockaway Beach Boulevard and Seaside Avenue (today Beach and 103rd Street). Meissner managed the enterprise until the end of the 1892 season. Then, in September 1892, a fire burned six blocks, from the ocean to the bay, and Meissner lost everything.
After the fire, he purchased the site and rebuilt the hotel, keeping the name MeissnerÕs Hotel. It featured a bar, restaurant, four bowling alleys, a shooting gallery and a new carousel. This carousel was made in Germany and had the word ÒHAMBURGÓ lettered on the chariot. There is no mention of an organ on this carousel. Meissner had two partners in this new hotel, a Mrs. Flieg and a Mr. Schildt. Business was brisk in the busy summer beach season.
In addition to this enterprise, Meis.sner was also interested in automata. In 1898 he had invented and received a U.S. patent on a mechanism driven from the carouselÕs gearing which rotated hanging figures (cherubs, soldiers, birds and dancers) above the carouselÕs horses.
About 1907 or 1908 Meissner visited the North Beach Amusement Area (present day site of La Guardia Airport) where George W. Kremer owned and operated a very large carousel that Kremer had built himself. It was known as the Silver Spring Carousel, named after an artificial lake at the amusement area. On KremerÕs carousel was a large organ (possibly a Gavioli) and a smaller, secondary organ. The larger organ had statues mounted on turntables that went around as the organ played. Seeing these Òdancing figuresÓ on KremerÕs organ, Meissner decided that he wanted a similar but grander carousel organ of his own for his hotel, and so began a search for a new, spectacular carousel organ.

In his search, he likely visited the organ importing houses located at the time in Manhattan, NY. Seeing nothing that impressed him he contacted the firm of A. Ruth and Son in Waldkirch, Germany. ItÕs uncertain if this was done through correspondence alone or possibly in conjunction with a personal visit to the Ruth factory. ItÕs also not clear if Meissner or Ruth suggested an animated orchestra. In any event, an order was placed with the Ruth firm circa 1908Ð1909.
We know all this because much later in the 1980s during an inspection of the instrument, inside the snare drum wing (cabinet) of the Ruth 36X, the penciled date August 1910 was found. Next to that was also inscribed the organÕs serial number which is 4351. All of this evidence corresponds with an assumed initial contact date of 1908Ð1909.
The actual shipping date of the organ is not known but we do have a one liner in the local newspaper Wave of Long Island, that states Meissner began his 1911 season Òwith a new organ.Ó
Interestingly, as the Ruth was being installed at Rockaway, just a few miles to the west in Coney Island, NY, there was a devastating fire that destroyed Dreamland, the Disneyland of the time. Fire was always the great enemy of amusement parks.
Meissner got to enjoy his new Ruth organ for only one year. He passed away on Mar. 23, 1912, at age 63. He left behind his wife, Catharina, and one daughter, Louise. His estate, of $100,000 Ñ a tidy sum for 1912 Ñ was left to his wife. Soon afterwards she sold the hotel, amusements, restau.rant, carousel and organ to George Greipenkerl, along with brothers Frank and William Brunner, all local Rockaway businessmen. Catharina later married George Greipenkerl. She passed away in 1926 and was buried next to her first husband. The graves are in Evergreen Cemetery, Brooklyn, NY.

The contract for the sale of Meis.snerÕs hotel included Òall property and buildings thereon, all fixtures and appurtenances, right title and interest.Ó Various quit claim deeds were signed and the total amount was $60,000. There is no specific mention of any equipment and no organ was mentioned.
MeissnerÕs Hotel, under the new name the Central Hotel, continued to be operated by Greipenkerl and the Brunner brothers through the 1920s. The prohibition act of 1920, however, greatly affected the business and other similar establishments.
Eventually, in the 1930s the Central Hotel became known as Innisfails Palace Dance Hall Ñ times were changing.
ItÕs not clear when or how the Ruth 36X ownership passed to William (Bill) Nunley, but it was believed to have happened sometime in the 1930s. At the time it was likely located in the seaside community of the Rockaways, believed to be in use at one of the NunleyÕs carousels located in the area.
The Nunley Family
The Nunley family had more than 100 years of history in the amusement business, centered mainly in the New York City area and suburbs. This was a large family with many brothers,

MeissnerÕs Patent No. 473177 for animated fi gures on a carousel.
An advertisement for the Meissner Central Hotel. All photos on these pages are courtesy Gavin McDonough.
sons, aunts, uncles and cousins. Many members of the family contributed to or were engaged in the design of amusement devices such as roller coasters and carousels, and the family amusement operations grew and spread out over many cities and towns. For the purposes of the history of the Ruth 36X organ, we will consider only those family members involved with this instrument.
The Nunley family had its origin with one William T. Nunley who came from Northampton, England. He married Caroline Hall in England. They had two children, Thomas W. and Sarah. They voyaged to the U.S. in 1871 when Thomas was 3 years old, settling in Newark, NJ, where the children were educated in the Newark Public School system. William was an expert tanner.
Eventually the family relocated to South Beach, Staten Island, NY, and opened a saloon. In 1894 William opened the Atlantic Hotel and later a bathing pavilion. Both were huge successes, but a few years later a fire consumed the hotel. In 1898 William opened a playhouse called NunleyÕs Casino for vaudeville acts.
The Nunleys, seeing the popularity of nearby Luna Park in Coney Island, decided to establish their own amuse.ment park business. In 1906, William and his sons along with business part.ners Oscar Kruger, Charles Horrihan, Edward Thompson, W.S. Van Clief, a Mr. Schaefer and Scott Hazelrigg, opened Happyland Amusement Park in South Beach near the sea with an adjoining boardwalk. It operated from 1906 to 1917 when a fire consumed it all.
After that fire, Thomas and William Nunley Sr. opened the William Nunley Pavilion in 1918, also at South Beach. The pavilion consisted of a carousel, snack bar, rowboats, beer garden and a bath house. This operation was successful.
In 1928 Thomas retired from the amusement business and entered real estate. He passed away in 1930. William Sr. had died in the late 1920s. Grandson William (Bill) Nunley was born at South Beach on Sept. 3, 1889.
Again, it is unclear just when or how the Ruth 36X organ came into Bill NunleyÕs hands but in any event, he is known to have owned and operated the Ruth 36X in the Rockaways on one or more of his carousels during the 1930s and into the early 1940s.

During the 1930s, the depression came about and many amusement operators lost their businesses. Bill Nunley, however, was in a good finan.cial position and purchased a large number of these amusement rides, other amusement devices, mechanical pinball games, ski-ball, mutoscope, associated equipment and carousels along with many carousel organs. This equipment was stored in a large barn in Broad Channel, Queens, NY (south of todayÕs JFK airport). Old time Nunley employees told stories about how in the 1930s Nunley had acquired many, many carousel organs in that barn.
Bill Nunley met his future wife, Mirriam Quinn, while she was a cashier at one of the carousels in Seaside. They were married in 1916 and had no children. In 1914 Bill Nunley partnered with Timothy Murphy in the Murley Amusement Company (a combina.tion of both names). Timothy was a carpenter and mechanic who was associated with William Sr. and Bill Nunley back in South Beach. Timothy Murphy learned his trade working for Charles Looff, a carousel craftsman.
Murley Amusement Company owned and operated carousels in Rockaway Beach in 1915 and Savin Rock, West Haven, CT, in 1917. Other carousels owned and operated by the company were at Pleasure Beach, Bridgeport, CT, in 1929; Yonkers, Ithaca, Broad Channel, NY, 1929; and Golden City Amusement Park, Canar.sie, Brooklyn, NY. Two carousels were operated in Golden City Park.
In 1937Ð1938, the City of New York condemned the property occupied by Golden City Park to construct the Belt Parkway around the perimeter of Brooklyn and Queens. Murley Amuse.ment Co. sued the City of New York over the condemnation. As part of the settlement, the city offered them surplus property in Baldwin, NY, that they accepted.
One of the carousels from the Golden City Park was moved to the Baldwin lot. Along with it, some kiddie rides were added. It opened in 1940 under ownership and management of Bill Nunley and wife Mirriam (itÕs not clear what happened to the Murley Amuse.ment business, or Timothy Murphy). At this time the Ruth 36X was still located in the Seaside Community of Rockaway and was in use on another Nunley carousel located there.
After WWII the Ruth organ was moved to the Baldwin carousel pavil.ion. Unfortunately, due to its very loud voicing (fairground organ for outdoor use), it was seldom played. Eventually, in the early 1950s due to expiration of property leases, Nunley business operations elsewhere closed and only the Baldwin location remained.
One story related to the Ruth 36X organ came about in the mid 1940s when Guy Lombardo, a bandleader with a famous orchestra, saw the Ruth and made an offer to purchase it. Lombardo lived in Freeport, NY, one town east of Baldwin. The offer was refused by the Nunleys as they had plans for a future Happyland on Long Island, NY, where the Ruth 36X would eventually remain for 27 years.
Conversion of Ruth 36X to paper music rolls
At the end of WWII cardboard book music was difficult to obtain in America. So, a practical and financial decision was made to convert the Ruth 36X to paper roll music on a duplex roll system. This method of converting and keeping old organs in serviceable condition involved removing the appa.ratus for playing books and installing mechanical components of recent manufacture as used by newer organs. In the case of the Ruth 36X, the key frame and relays valve chest and puff board were removed. In their place was installed the Wurlitzer 165 scale Duplex mechanism, a vacuum valve action from an old player piano and a coin piano vacuum pump to supply vacuum to operate the new system. Tubing was installed to small pneu.matics which operated the RuthÕs keys in a rather contorted arrangement, much more complex than the original parts employed to play books.

The duplex mechanism was manu.factured by the Wurlitzer Company, and these were made available and sold to itinerant organ jobbers to enable them to do their own conver.sions. This was done by Wurlitzer in the hope that the company could sell more music rolls.
Bill Nunley chose The Nowickis of Bridgeport, CT, a well-known organ maintenance and repair company, to make the conversion and the organ was sent there in 1948. Max M. Nowicki, Sr., was born in Poland in the 19th century where he learned the organ trade. He came to America in the first decade of the 1900s. His work involved traveling around the eastern
U.S. from Maine to the Carolinas doing repairs and tuning. He worked with his wife who traveled along and assisted in the trade. The Nowicki family grew and there were many sons and cous.ins. One notable son, Max B. Nowicki was born in Richmond, VA, in 1920. He studied under his father, learning the trade and continuing to service and repair organs until his passing in 2012 at age 92. The Ruth 36X was the last organ that father and son worked on together. The senior Max Nowicki passed away in 1950.
Part of the process of converting the playing systems of organs was the rearrangement of the original makerÕs pipework. This was done to suit the imaginations of what the organ man doing the conversion thought would sound best on the new Wurlitzer 165 scale. The Wurlitzer 165 scale was smaller than the Ruth 36, so when the organ was converted to 165 scale it lost about one-third of its musical capacity from the original book music scale. By some miracle or fate, the pipes not used in the conversion were left undisturbed inside the cabinet.
This was the fate of most, if not all organs that had the music playing system changed. It was a financial decision and a practical necessity because after the depression no new organs were being made and it was essential to keep the older organs in service.
The musical arrangements on Wurlitzer rolls are mostly taken right from original sheet music. There are hardly any musical embellishments in these arrangements, compared with European organ arrangements as found on the original Ruth 36 book music. European arrangers were schooled in counter melody and coun.terpoint and applied those musical skills to the organ arrangements.
After the conversion, the Ruth 36X was returned to the Nunleys and would eventually become part of the new Happyland on Long Island.

NunleyÕs Happyland
After WW II new homes and commu.nities were being established on Long Island. Returning soldiers with new wives were starting families and the move from urban to suburban areas began. Many children were born in the years 1945 to 1960, the so called Baby Boomers.
Bill Nunley had insight and saw a business opportunity in these newly developing communities. In 1947, he purchased a 6-acre lot at the junction of two main roads near Levittown Long Island (Hicksville Rd, R107, and Hempstead Turnpike, RT24). Nunley and new business partner Norman Russel proceeded to erect a new Happyland location on land owned (not leased) and large new building of fireproof construction would be built.
There were construction delays caused by the Korean conflict of 1950, causing a shortage of some building materials. Eventually secondhand steel beams became available as well as secondhand wiring and the construc.tion was able to move forward. The front of the building featured glass

Pulling the ring at Happyland on Oct. 12, 1951. The Ruth organ is behind on the left side of the photo.
panels and doors obtained from the Belgian Pavilion as salvage after the New York WorldÕs Fair closed in 1940. The building would be 50,000 square feet and was heated. It was to be open seven days a week, 12 months a year.
The Nunleys acquired a Dentzel carousel purchased in 1947 from Ocean City, NJ. It was said to be Bill NunleyÕs favorite carousel. Other rides and furnishings included arcade equipment that was already owned and in storage in the Broad Channel barn. When the new building was complete it contained the carousel and kiddie rides and a large amount of arcade equipment, all operating indoors. Later, additional kiddie rides were placed outdoors on the grounds for a total of 10 rides indoors and out. Inclement weather did not shut down the entire operation and this was one of the largest Nunley operations since the old South Beach days.
Happyland opened on Columbus day, Oct. 12, 1951, and was greatly patronized from the beginning. Sadly, Bill Nunley did not live to see his final projectÕs success, passing away in April 1951. His widow, Mirriam, continued ownership and manage.ment of the premises.
The Ruth 36X organ was placed outside the carousel wheel and it filled the whole building with music on the busy days at peak hours when crowds were greatest. Since this building was much larger than the Nunley pavilion, the loud voicing of the Ruth was not an issue. During less busier times a smaller organ played. That organ was located inside the carousel wheel. It was a Wilhelm Bruder that was converted to play Wurlitzer 150 rolls.

The AuthorÕs Introduction to and Purchase of the Ruth 36X
As a child growing up in the 1950s in the Long Island suburbs, I made many visits to NunleyÕs Happyland. Seen through the eyes of a child, it was a magical adventure and a well-remem.bered experience.
One standout for me was the music machine and the animated statues playing in time with the music. A crowd of people was always standing in front of the organ and admiring it. We could go outside the building and peer through a window at the back of the organ. All that could be seen was a big wheel rotating and flapping belts and a big electric motor driving the whole thing. I tried to figure out how it worked and what exactly it was doing. My dad explained that it was an old German organ. It was 1953.

Years passed and when I was in my 20s, I stopped by Happyland again to see if that old German organ was still there. It was! I entered and found it was not playing since it was a slow business day. I asked if it could be turned on, and happily for me, they agreed. The whole magic feeling came back to me in an instant! A moment later I realized that I wanted it.
Many social changes came about during the 1960s and 1970s. People became more prosperous. There were other things to do to occupy week.ends and vacations. A big blow came in the late 1960s when New York State abolished the so-called Blue Laws which meant that any business that wanted to could open on Sundays. This meant extra competition for NunleyÕs business which, up until this time, had been exempt from the Blue Laws. Over a short span of time, the Baby Boomers started moving on to other entertainments and Happyland became an anachronism past its time. Its glory days had faded.
Mirriam Nunley passed in 1964, leaving the whole operation to a niece and her husband. They decided that they didnÕt want to own or operate Happyland and the business was put up for sale. It was quickly purchased by a group of New York City business.men who had no prior experience in amusement operation. They placed a manager in charge and at least for the first few years everything went along as in the past.
In the early 1970s, the owners decided that the place needed a facelift and modernization to improve the business and attract new patrons. Larger rides were purchased in an attempt to attract teenagers. The exte.rior of the building was painted in a 1960s psychedelic theme with bright, intertwining colors reflective of the social change that came about in that era. Interior Mother Goose and fairy tale themes were replaced with more descriptive themes of the day. But these changes and updates did little to improve the overall patronage. Over.head costs continued to rise including taxes, insurance, maintenance, sala.ries, cost of new arcade machines and rides and more.

Around 1969Ð1970, I was still enamored with acquiring the organ. I worked up some courage and approached the manager and asked if I could buy the organ. He must have laughed, if not aloud, certainly to himself, and the answer was a firm no. Time continued to pass but I remained hopeful and saved my pennies.
The park saw declining revenue as the 1970s progressed. By 1977, the value and development potential of the land far exceeded the value of the Happyland business and fixtures. During the summer of 1978, as a last ditch effort to salvage the business, the park was contracted out to carni.val operators who brought in some of their own rides and equipment to additionally attract a younger crowd. But this operating season turned out to be its last. Management decided to cease operation, and the land was quickly sold to a developer for a strip mall shopping center.
An auction was scheduled for November 1978 to liquidate everything in the park. The Ruth 36X had been enclosed in a plywood box to preserve it from damage until the auction. Just prior to the auction, I decided that now was the time to make another offer to purchase it. I knew the owner of the park who had an office in New York City near the Empire State Building and made a personal visit to the office with my offer in hand. Many months of waiting and saving came down to this final moment. I made my spiel and presented the offer. After just a few minutes of consideration, much to my surprise and delight, the offer was accepted! I was now the owner of the Ruth 36X organ of my childhood days!
The auction still took place, and the rides and equipment found new homes in distant locations. In April 1979 a demolition crew arrived on the prop.erty, and in just two or three days the building was rubble. Today, nothing at all remains of NunleyÕs Happyland except in the fond memories of local childhood dreams.
Restoration of the Ruth 36X to its former glory
After the purchase and the challenge of having the organ moved to my home in Vermont, many years were spent doing the restoration of the faade and organÕs pneumatic components. From the outset of the restoration project there were no time or funding limitations. The work would progress as time allowed and funds permitted. Nothing was going to be rushed.
For the faade, the many layers of paint were stripped away and the figures and the original colors were documented. Chemical paint stripper was applied in many coats removing layer after layer of paint that had accu.mulated over the years. This whole project took about 14 months.
The carving and style used on the organ was Rococo, a refinement of the Baroque. Rococo was a popular style in Europe from 1700 to 1720, consisting of lighter pastel colors blended together to create its appeal. The statues were painted in a bolder color scheme to highlight them and immediately draw oneÕs attention. They were considered the main feature of the organÕs faade.

In restoring the colors, much corre.spondence was exchanged with the manufacturers in Germany to help validate the original color palette. The topic was also researched in many reference art libraries in New York. Ultimately, a refinishing plan was developed, and a professional artist was called in to redecorate it and also apply the 23-carat gold leaf to the scroll work on the faade. Finally, the organ faade was refinished. The results are beautiful and impressive.
Concerning the pneumatic resto.ration, that was also a slow and thorough process. The pipe cabinet was entirely stripped of components. Each part was carefully inspected, resealed to make it airtight and the use of correct leathers was employed. The windchest, pipe risers, toe boards, ventil mechanism, all pallets, springs, leather facings and gaskets were renewed. The trombone shallots have leather facings that the reed

The Ruth 36XÕs animated figures in vibrant colors after the restoration. Photo by Mike Mills.
tongue beats against. These also were renewed giving the trombones a Òthroaty, gutturalÓ voice instead of a buzzing sound typical with old, hard.ened leather. Trumpet components were cleaned and reinstalled during the assembly.
Ruth organs produced prior to WWI had pipes made in-house from spruce, apple, pear and cherry lumber. They are very stable and resistant to wear and abrasion. Later Ruth instruments used pipes purchased from an outside pipe maker.
The mechanisms that animate the figures were inspected and new parts made where necessary, and the wire linkages that operate the arms were refurbished. The original species of lumber used in action components of the organ was European Beech. This species of lumber was eventually

found in the United States and used to of the organ were in place, missing restore the figures. was the ÒrealisÓ chest action. After While most of the components some additional investigation and

The restored Ruth 36X in its temperature-controlled space at Gavin McDonoughÕs home.
correspondence, the original ÒrealisÓ chest action that was removed from the Ruth 36 during the 1948 conver.sion to paper rolls was found! It had been modified and placed in another organ by the Nowickis. Unfortunately for me, over time it had been damaged by water and so it required copying and manufacturing a new component from European Beech, including all new valve parts.
Likewise, the ÒpuffÓ board was missing and a new one had to be fabricated based on the original design. Careful attention was paid to any parts re-manufactured for the instrument. Old parts were copied to the same specifications, using the same materials as the original, when available. This article cannot possibly thoroughly explain the many steps and processes necessary to properly restore the organ. A lot of patience and many hours of labor were consumed with seemingly minor details.
By Spring 2016 the organ was ready for tuning and regulation and to make any minor adjustments to get it to play correctly, including tweaking the note repetition rate Ñ the action Ñ for musical responsiveness. First, the tuning of the pipes was undertaken using a frequency strobe tuner for accuracy Ñ note ÒAÓ on this instru.ment is tuned to standard 440Hz.
After tuning, another important step in the restoration was to play the organ and Òrun inÓ to seat the valves and other components. Careful listening during this run in revealed a few matters that required additional attention. This is called regulating the instrument and is vital to instrument restoration. For example, some valve clearances were adjusted and the glockenspiel required adjustment of springs and valves to have it repeat short notes rapidly. Also, much tweaking was done to the pneumatic components that operated the animated figures to give them lifelike movement and the ability to repeat quickly. After all of this, the organ was finally completed.

Much credit for this beautiful sounding organ is due the Ruth firm in developing a good musical scale for their instruments. It enables playing of complex arrangements of popular, classical and march music. Addition.ally, the German organ builders have about 300 years experience in the development of pipe design, voicing and tonal blending. This Ruth organ has an especially clear and bright sound. It is much more musical sound.ing in comparison to other makes of organs, both European and American, and this was accomplished with a minimal number of pipes.
As for any fine musical instrument, the Ruth 36X organ is kept in a suit.able climate-controlled environment with a proper amount of humidity (about 45Ð50 percent typically). Naturally, and from time to time, additional adjustments are necessary to the organÕs components, but this is normal ongoing maintenance typically required for such an instrument. In addition, a large music library of tunes, both German and American, was compiled. This is an ongoing process.
Note about the 36X designation
The designation X in 36X represents a special order which for this instrument included the animated figures. The music scale of the instru.ment is Ruth 36.
Addendum
A little insight is in order about the playing system conversion from the Ruth scale to Wurlitzer 165 scale. The original Ruth 36B music books contained 78 slots in the tracker bar; seven slots were percussion or controls (registers). This left 71 musical notes, all chromatic from the accompaniment through the melody. For the Wurlitzer 165 scale there are 75 slots or positions in the tracker bar. Only 52 slots are musical notes; the remainder are percussion, registers and roll controls. When the instrument scale was converted, it was quite a reduction from the RuthÕs original musical scale.
WurlitzerÕs concept of band organ music was to mark and perforate an arrangement full-on using registers to control sound volume and pipe voices, giving variation to a musical arrangement. This was a totally different method and style of working than what the European builders accomplished. When the Wurlitzer 165 scale was designed (about 1915) it was intended for larger organs that were on the drawing board. This larger scale enabled additional percussion and musical effects to be incorporated in the intended larger organs. The musical scale, however, was still just 52 notes, compared with the Ruth scale which is 71 musical notes!
The original Ruth 36 played book music with a key-frame book mech.anism. When it was modified to play Wurlitzer 165 rolls, Nowicki installed a Wurlitzer duplex roll mechanism. Since Nowicki retained the original Ruth 36 pipework, however, the organ also plays Ruth 36 scale music with a midi system that was added a few years ago.
Author biography
Gavin McDonough was born and raised in Long Island, NY, in a typi.cal blue-collar neighborhood and background. Work experience taught him skills in plumbing, pneumatics, hydraulics and some electrical, work.ing in an electric motor shop. He has woodworking skills from time spent in a cabinet shop. He worked at NunleyÕs for 15 years and Happyland for five years as their electrician. Combined, these skills made him uniquely quali.fied to physically restore the Ruth 36X, and his childhood fascination with the instrument provided the incentive.

EditorÕs note: A similar/overlapping article previously appeared in the Automatic Musical Instrument CollectorsÕ Association Bulletin Vol. 54, No. 3, July/August 2017 entitled, ÒThe Magnificent Ruth Model 36-X.Ó The author of that article is indicated as Mikey Mills, but Gavin McDonough said he contributed to it. Gavin is also quoted at the end of the article, in Section IV, Conclusions and Epilogue.
Michael Falco should also be recognized as having assisted in the digitization of photos and conversion of text from typed pages to digital form for this article.

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

2025 MBSI/AMICA Joint Annual Meeting
esmery Collection San Fillipo Collection

Time & Glass Museum

ODE FOR FULL MEETING DETAILS .MBSI.ORG

Southeast Chapter
Chapter Chair: Jim Kracht Reporter: Jamie Brewer Photographer: Jamie Brewer
Nov. 8-10, 2024 Ñ Orange Park, FL
The Hilton Garden Inn at Orange Park, FL, played host hotel for the Fall meeting of the Southeast Chapter Nov. 8Ð10. Cotton and Julie Morlock put together a relaxed meeting enjoyed by some 30 members.
As the membership ages, it gets to be harder to pinpoint locations for meetings. The hospitality industry has changed so since my first East Coast Chapter meeting at Harrisburg, PA, in the fall of 1972. The Southeast Chapter can no longer hope to have meeting and workshop spaces included as an incentive for blocking out hotel rooms. The internet through eBay, Liveauctioneers, and other market.place sites have pretty much killed sponsoring marts at the meetings.
Our chapter is evolving to our meet.ings being like a reunion of Òextended familyÓ members who share an interest with automatic musical instru.ments. Frantic Òwheeling and dealingÓ and acquiring instruments between members at meetings is pretty much a memory.
Friday evening supper was at J.L. TrentÕs Seafood and Grill in Jackson.ville, FL. This was a very laid back ÒcountryÓ restaurant. A colony of feral cats kept us company as we waited for our tables to clear. I was happy to see many of these cats had their left ear clipped which indicates a feral female cat that has been spayed.
Seafood is the specialty here and the efficient staff took care of us ordering directly off the menu.
Saturday morning and afternoon were open with recommendations given to visit the Riverside Arts Market and the Cummer Museum of Art and Gardens.
Cotton and Julie sponsored the business meeting and dinner at their home in Orange Park. Cotton and JulieÕs collection covered pretty much all the bases for automatic music. We heard music from the Welte upright, disc music boxes which included a 19-inch upright Polyphon, 15.-inch Stella, 18-inch Empress, and 15.-inch Reginaphone.
Jukeboxes included a Wurlitzer 1050, Seeburg B, and a Rockola No. 30 Luxury Lightup countertop jukebox.
Talking machines were represented by a Victor Schoolhouse VV-25, Victor Orthophonic ÒGranada,Ó and a seldom found PathŽ Actuelle with the huge cone diaphragm.
The business meeting pretty much centered on trying to line up future meeting locations. The membership has downsized so there are not the large collections that were viewed in the past. It seems that future meetings may be centered around locations with attractions outside of the auto.matic music field.

Cotton and Julie provided an extraordinary smorgasbord of food for us.
There was an open house planned in St. Augustine, FL, hosted by Jay Dutton and Paul Schilling. JayÕs main interest is clocks with complicated escapements. Also in his house is a restored 1913 Steinway O and a collec.tion of fine artwork.
Sadly, there had been a death in the family and the open house was canceled. The membership extends sympathy to Jay and John.

Stephen Brittan with Marilou and Martin Stephen Brittan provided our group with after dinner music, ÒLive at the Welte.Ó Van Zanzanten.

Julie Morlock, seated on the floor, kept the chapter business meeting on track.
National Capital Chapter
Chapter Chair: Cheryl Hack Reporters: Donna and Gene Borrelli Photographers: Gene Borrelli and Paul Senger
Sept. 22, 2024 Ñ Gaithersburg, MD
The National Capital Chapter held its fall meeting at the home of Beni and Matt Jaro in Gaithersburg MD, on Sept. 22, 2024. Thirty-two members attended along with four guests.
Chapter president Cheryl Hack thanked Matt and Beni for hosting the meeting. She announced our next meeting will be Dec. 8, 2024, at Cheryl and Dick HackÕs home in Annapolis MD. The menu will be the same as last year and the cost will be $17 per person. Cheryl said she is trying to set up another meeting in 2025 at Joel and Nancy ShaperÕs home to see his phonograph collection. Robert Barnett will be having a meeting at his home again in the spring at date to be determined later.
Paul Senger mentioned that Rory Lehman had written a memorial for Tim TragerÕs passing which was published in Mechanical Music Vol. 70, No. 4, July/August 2024.
Matt Jaro provided a recap of the annual meeting held most recently in Los Angeles, CA. The joint meeting with the Automatic Musical Instru.ment CollectorsÕ Association drew about 100 attendees. Matt posted a YouTube video of the bus tour and magic show. Next yearÕs convention will be in Chicago with Marty Persky chairing and the Lake Michigan Chap.ter hosting.
Terry Bender briefed us on a Ragtime and Early American Festival held in Central Pennsylvania in September. Those who attended the annual meeting in Los Angeles recalled that three of the best ragtime pianists played several times for appreciative audiences.
Matt and BeniÕs collection of mechanical music is extensive, includ.ing a Seeburg K (with xylophone), a Seeburg G and a Seeburg H (with MIDI), a Nelson-Wiggen 4x, a restored Seeburg K (with pipes), a Western Electric nickelodeon, a Wurlitzer 153 band organ and a 1926 Chickering AMPICO piano.
The JarosÕ home features a modern film movie theater, specially designed to enhance Technicolor movies. They also maintain an extensive film, roll, and 78 rpm record collection. Matt played various nickelodeons in his music room, with particular emphasis on the Seeburg H that he converted to MIDI. He also treated the attendees to selections from his movie collection.

Bob Goldsmith learns more about the CA1905 Daniel C. Muller carousel horse from host Beni Jaro. Bob Goldsmith and Matt Jaro discus chapter plans.

Brian Little and Ken Gordon catching up. Marcus H. Illion horse

Chapter members and guests enjoying the wonderful potluck Matt Jaro briefs chapter members on the 2024 annual meeting luncheon. and discusses future annual gatherings.

The whole group paused for a photo before heading off to listen to instruments.

Connie Ramsay, Richard Simpson, Rory Lehman, Kevin Holley, Robert Barnett, Bob Goldsmith and Terry Bender listen to the Matt Jaro and Robert Goldsmith are gathered around the Gem Seeburg H (not pictured). A Western Electric Mascot C nickel-Roller organ with the Wurlitzer 153 in the background. odeon is in the background.
CHAPTER REPORTS

Snowbelt Chapter
Chair: Tracy Tolzmann Reporter: Tracy Tolzmann Photographers: Merrie and Tracy Tolzmann
Sept. 28, 2024 Ñ Robbinsdale, MN
The Sept. 28 meeting of the Snow.belt Chapter of the MBSI was a joint gathering with the Northern Lights Chapter of Automatic Musical Instru.ment CollectorsÕ Association (AMICA) at the Robbinsdale home of AMICAn Ron Olsen. The wonderful Fall weather was perfect for a day of music and camaraderie. There were plenty of appetizers and refreshments to enjoy as acquaintances were renewed while listening to RonÕs fine collection of beautifully restored pianos.
RonÕs historic 1922 Spanish Mission-Style home was the perfect setting for the instruments. It retains all of its original charm and character, housing RonÕs large collection of vintage lamps and light fixtures, which were lit and on display throughout the home. RonÕs large collection of rolls was available for playing on the pianos, and members took great advantage of the opportunity.
Ron served a delicious dinner of hot turkey, au gratin potatoes, and vegetables, which were augmented by attendee-provided appetizers, salads, and desserts. Needless to say, there was plenty of choices for all.Ê
There was no new business to discuss during our short meeting session, except to update members on Lawrence CrawfordÕs declining health (Lawrence passed away Oct. 9, 2024.) and to remind everyone of our holiday gathering set for Dec. 8 at Stacy and the late Bill NunnÕs Skyrock Farm.
The meeting adjourned with thanks to Ron for a wonderful afternoon of musical entertainment and compan.ionship as members enjoyed a few more tunes before heading home.

Barbara Kearn, Tom Kuehn and Gary Goldsmith observe and listen as Terry Goepel plays the Cable player piano.

Dan Crawford studies the 1927 Seeburg K Coin Piano in RonÕs sunroom.

RonÕs dining room was a hub of activity as appetizers and then dinner filled the table. Around the room, left to right, are Tom Kuehn, Holly Windle, Steve Muscato, Jeff Ingebrigtson, MBSI Trustee Rich Poppe, Nate Otto, Dan Crawford and J.S. Futcher.

Carol Schultz, J.S. Futcher, Nate Otto, Merrie Tolzmann, Alex Stolitza and Steve Klosinski enjoy the Mason & Hamlin Ampico piano.

Steve & Kirsten Klosinski with newborn son Leon enjoy lis-RonÕs large collection of antique lamps graced virtually every tening to the 1917 Steinway OR 6-foot 6-inch Duo-Art Grand flat surface in his inviting home, along with many AMICA con-Piano. The 1926 Mason & Hamlin Ampico is in the background. vention table favors and historic musical advertising pieces.

Steve Boehck
By Russell Kasselman
With sadness I report that Steve Boehck of Houston, TX, passed away in November. Steve and his partner Alan Bies are widely known in musical box circles as experts on many historical subjects and their collections of music boxes, literature about music boxes, art glass, Christmas decorations and even electric fans provided countless hours of conversation for those lucky enough to visit their Houston Heights home. Steve and Alan were justifiably proud of the home they spent many years restoring together. Once known as the Milroy House, located at the corner of Eleventh Street and Heights Boulevard in Houston, it was built in the 1890s and had fallen into disrepair in the late 1970s after the last of the Houston Milroys passed away. An interview with Steve and Alan about the restoration was published in Hous.ton History Magazine in the Fall 1983 issue. The article details how Steve and Alan had to sell several of their music boxes at an auction and borrow money from family and friends to buy the property. Many of the antiques in the house are original to the Milroy family and the house is now listed on the National Register of Historic Places. Listen to an oral history featur.ing Steve and AlanÕs restoration story at https://bit.ly/boehck-bies.
Matt Jaro wrote about Steve and AlanÕs collection in his Nickel Notes column that appeared in Mechanical Music Vol. 64 No. 4, July/August 2019 (originally printed in the May/June 2013 issue of the AMICA Bulletin). Steve and Alan met in 1966 when an antiques dealer introduced them because they both frequented the shop that sold mechanical music, among many other things. Both men came from a history of antiques collectors and had received their first antiques from grandparents or parents. They spent some time together touring antique shops in Germany while Steve served a stint in the Army. Returning to Houston, Steve and Alan worked with several auctioneers preparing large and valuable collections for sale. Among the notable instruments in Steve and AlanÕs collection are a Wurlitzer 180 band organ that was once a fixture in the Houston Astro.dome. They also have a Cremona K, a Phonoliszt Violina and a Welte Style IV orchestrion.

SteveÕs name first appears in Mechanical Music as a new member in late 1972. After that, his name crops up often in the journal. Writers thank Steve for providing photographic reference materials for many different

types of mechanical music machines. His first published article appears in 1979 in which he writes about the Sterling disc music box. The article is detailed and well documented. Steve even provides a 10-page list of all the tunes available to play on the box. This type of detailed and comprehensive work is representative of how Steve was in life, according to those who knew him well.
In 1983, Steve joined the MBSI Programs Committee and subse.quently served in many other roles, including chairing the Publications Committee for several years. Steve was generous and patient with those new to the hobby as I experienced first-hand when I had occasion to start work for the society in 2014. During my transition into the role of editor/ publisher of Mechanical Music, Steve temporarily agreed to act as publica.tions chair to assist me. He answered many questions about the society and about music boxes in general, often gently correcting me when I tried to spell Seeburg with an extra ÒhÓ on the end or when I happened to think Nelson Wiggen was a person and not a brand of orchestrion. I met Steve and Alan for the first time in 2015 in Torrance, CA, at the annual conven.tion. They were both welcoming and enjoyable company as they introduced me to many of the members I have come to know over the past 11 years. I only wish that I could have made it to one of the famous Christmas parties at Steve and AlanÕs home.
Please feel free to share your memo.ries of Steve with us for our next issue of Mechanical Music.
By Nancy Fratti
Our hobby and some of our lives are affected by the loss of a good friend. Steve BoehckÕs love of mechanical instruments, their history and work.ings, was infectious!
Many only knew him through his in-depth research into the back.grounds and workings of disc and cylinder boxes and articles ranging from the humble Christmas tree stand to huge orchestrions. Enter SteveÕs name in the search engine of Mechanical Music journal articles to read his work. He also did a video for the National Association of Watch and Clock Collectors on the origins of mechanical music.
Others knew Steve through his association with the different posi.tions he held in MBSI from Honorary Vice-President to Trustee, Publications Committee Chair, Sunbelt Chapter Chair, National Meetings Coordinator and more!
So many of us were happy to call him a good friend for more than 50 years! I considered him part of my family and smile when I recall the many times I flew to Houston, TX, to drive to the West Coast Nationals together and the scenic side-trips on the way back! Good times!
We will miss him in our own ways, but we can always hear him by watching his video presentations and reading his articles.
By Diane Caudill
Sunbelt Chapter members will

remember Steve Boehck as an excel.lent cook who paid attention to the smallest details when setting up the table. Whenever I would go over early to help out, he always had the bowls in place on the table with a note in each, explaining what to put in each bowl. He made everything to perfection and his rum cake, deviled eggs and cucum.ber sandwiches – along with anything else he might have prepared – always disappeared first.
Steve loved making German dinners. His schnitzel, red cabbage (RotKraut) and spaetzle, were better than anything I ever ate in a restaurant.
By Kathy and Bill Maurer
We loved Steve Boehck the first time we met him. He loved showing us their Houston Heights home and the beautiful decor. Steve and AlanÕs Christmas parties were so lovely.
Alan and Steve came to see us one time here in Austin, TX. We took them to one of our favorite restaurants. I told the waitress that they were my boys. We had a great laugh. Steve will be missed by all who knew him.

Lawrence Crawford Ñ 1952Ð2024
By Tracy Tolzmann
Sadly, I report that Snowbelt Chap.ter member Lawrence Crawford of Arlington, MN, passed away Oct. 9, 2024, just three weeks before his 72nd birthday.
Many of you were able to enjoy LawrenceÕs collection of rare musi.cal boxes during the four times the Snowbelt Chapter hosted MBSIÕs annual meeting (1987, 2007, 2016 and 2023). The collection was amassed by his late father, F. Richard Crawford. LawrenceÕs dad and mother, Esther, were Founding Members of the Musi.cal Box Society in 1949.
The wonderful music room addition on the CrawfordsÕ beautiful farm home featured LawrenceÕs pride and joy, the three-manual, 24-rank Wurlitzer Theater Pipe Organ, Opus 916, an outstanding featured attraction. The musical instruments werenÕt the only attraction on a visit to the CrawfordsÕ
Ñ Lawrence raised Pea Fowl for many years and the proud and majestic Peacocks were often strutting around the farm.
With his health failing, Lawrence made the difficult decision to sell his precious collection at auction, an event that happened in late August.
After graduating from college with an accounting degree, Lawrence spent several years as an accountant for a collection agency. He married Phyllis
A. Kube Aug. 18, 2001, and they did some traveling early in their marriage.
Lawrence was preceded in death by his parents and brother, David. He is survived by his wife, Phyllis.
The Snowbelt Chapter will be making a donation to an MBSI-related charity in his memory.

The Lake Michigan MBSI & Chicago AMICA Chapters invite you to a
Joint MBSI & AMICA

Sweet Home Chicago 2025
Mark your calendars for August 20-24, 2025
Returning to the
Discounted Room Rate $129 + tax

Wednesday & Thursday Day Tours

Sweet Home Chicago Evening Programs including Thursday Foot Pumper Contest Friday -Workshops & Awards Luncheon -Evening Mart Saturday -Breakfast &
s -Gala at the SanÞlippo Estate

Visits Ð Bisberg/VanMetre, Hu.er, Kresmery. Persky and Weyna

e upcoming 2nd auction of the Gfell Collection will prove to be as important and interesting as the recent.ly concluded August event. e scope and size of the collection continues to illustrate the determination and desire that Don and his wife, Bobbie had as they collected, studied and supported all aspects of the hobby for nearly 50 years. e items sold in the rst auction barely scratched the surface of what will be o ered in our upcoming April 3-day event. Even though we have viewed, handled, photographed and worked with this collection many times throughout the course of the last few months, we know that we have not seen but a portion of what there is yet to be sold. We know that there are over 7,000 cylinder records which will be
o ered in this sale alone. Continue to watch our website for photographs, information and ideas showing what will be o
ered.
Please note, the photographs shown were taken at random prior to the previous o ering and some of the pieces pictured may have been sold at that time. ey are only being used to show the scope of the collection to allow you to see how much there is yet to be o ered.

Stanton’s Auctioneers,
144 S. Main, P.O. Box 146

E-mail – stevenEstanton@gmail.com
Vermontville, MI 49096 Phone: (517) 726-01B1
Michael C. Bleisch
Fax: (517) 726-0060
(517) 231-0868 cellular

E-mail: stantonsauctions@sbcglobal.net Website: www.stantons-auctions.com E-mail – mcbleisch@gmail.com
!”#”$%”&'()(* !”#$%&'()*#$+”,&,-./0″ !”

Selling? Buying?

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 in The Mart, an effective advertising tool at an inexpensive price. Copy or cut out the form below and mail it in to get started. All ads are published in Mechanical Music and on the MBSI website at www.mbsi.org
Name Phone
Email
Text of ad

Bob Caletti

JOHAN GOYVAERTS

Mu s i c a l B o x e s Ð S in g i ng B i r d s Specializing in Antique Music Box Restorations ¥ Buy ¥ Sell 605 Wallea Dr. Menlo Park, CA 94025 (650) 325-3898
www.musicboxrestorations.com info@musicboxrestorations.com

Add a photo to your ad!

You know the old saying, ÒA photo is worth 1,000 words!Ó For $30 you can add a photo to your ad in the Mart. A photo makes your ad stand out on the page and quickly draws a readerÕs interest in the item.
Email your advertisement with photo to editor@mbsi.org or call (253) 228-1634.

Music Box Company, Inc.
We restore Swiss cylinder and Disc music boxes.
¥
Cylinders that need to be re-pinned will be sent to Switzerland. ¥

¥
Combs are repaired and tuned.

¥
Nickel plated parts can be replated. –

able. We have been accused of over restoring! Better over than under we say! We can arrange pick-up and transportation of your music boxes, but
feel free to transport or ship it to us in beautiful Randolph, Vermont. We will store your treasure in a climate-controlled area until itÕs
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 all the parts needed to restore any music box.
See our website, www.PorterMusicBox..com, to read letters of recommendation
currently being manufactured anywhere in the world. We have twin disc models, single disc models with 12 .Ó discs, and table models with beautiful cabinets created in Italy. We also sell CDÕs, variety of small music boxes, Disc sleeves and a large list of discs both 15 .Ó and 12 .Ó.
Movie stars like Wayne Newton, Myron Florin, Tom T. Hall, Charles Osgood and a Sultan from Malaysia are amongst the list of Porter Music Box owners, not to mention the more than 1,000 owners in Japan. Author of Encyclopedia of Auto.matic Musical Instruments Q. David Bowers wrote a letter of recommendation. ÒWhen Dwight and his crew of music box restorers work on an antique music box, cylinder, or disc type, no mechanical detail is ignored. Every part regardless of its purpose is inspected for wear and all steps necessary to make it like, or better than new are taken.Ó
Call (802) 728-9694 or
P.O Box 424 email ronc@portermusicbox.com Randolph, VT 05060

The Musical Box Society of Great Britain announces the publication of two new books

Published in September 2018

100pp Hard Back ISO A4 format [8.27Ó . 11.70Ó; 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 100pp Hard Back ISO A4 format [8.27Ó . 11.70Ó; Profusely illustrated in

colour throughout;Additional Illustrations of Models; Additions to Lists of
The Organette Book

Patents, Tune Lists & Tuning Scales; A New Section on Trade Cards;Compiled and Edited by Combined Index of Images in the original book and its Supplement.

Kevin McElhone

ISBN 978-0-9557869-5-2 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

Nicole Freres Grand Format Overture Box 16Ó x 4Ó cylinder; Serial #27801; 4 tunes; elaborate brass/enamel inlays. Restored
Girl with Singing Bird in Cage Automaton Ð pull drawer open to activate.
Ducummon-Girod Grand Format Overture 16.5Ó x 4Ó cylinder; Piano Forte; 4 tunes; elaborate brass/enamel inlays. Restored movement.

RESTORED MUSICAL BOXES Offering a variety of antique musical boxes, discs, orphan cylinders, reproducing piano rolls & out of print books about mechanical music. BILL WINEBURGH 973-927-0484 Web: antiquemusicbox.us
THE GOLDEN AGE of AUTOMATIC 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 youÕll find it to be one of the most interesting, inspiring, informative books you have in your libraryÐor 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

PLAYER PIANO ROLLS 110 player piano rolls. All in good condition. ORS, Playwright, and other types. Some extra long playing. Sell as a lot only, with or without display cabinet. No reasonable offer refused. Located in Brookeville MD, genetaylor@mac.com, MYRON TAYLOR 3015242686
GO TO Youtube.com, Insert in SEARCH bar ÒWurlitzer Band Organ 104 with DrumsÓ. BOB STANOSZEK Cell 216-217-2860
GO TO Youtube.com. Insert in SEARCH bar ÒCircus Wagon with Brass CalliopeÓ BOB STANOSZEK Cell 216-217-2860
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 in The Mart, an effec.tive advertising tool at an inexpensive price. Copy or cut out the form below and mail it in to get started. All ads are published in Mechanical Music and on the MBSI website at www.mbsi.org
Name Phone
Email
Text of ad

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

WENDEL HUPFELD PHONOLISZT Model B. Contact TIM JOHNSON at tjnknox@proton. me

Display Advertising Dimensions and Costs
Dimensions 1 issue 3 issues* 6 issues*
Back Cover 8.75Ó x 11.25Ó $600 $540 $510
Inside Covers 8.75Ó x 11.25Ó $450 $405 $382.50
Full Page 7.25Ó x 9.75Ó $290 $261 $246.50
Half Page 7.25Ó x 4.5Ó $160 $144 $136
Quarter Page 3.5Ó x 4.5Ó $90 $81 $76.50
Eighth Page 3.5Ó x 2.125Ó $50 $45 $42.50
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

Add a photo to your ad!
REPRODUCTION POLYPHON discs; Cata-A photo makes your ad stand out on logs available for 19 5/8Ó, 22 1/8Ó, and 24 the page and quickly draws a readerÕs 1/2Ó. DAVID CORKRUM 5826 Roberts Ave, interest in the item. Email your adver-Oakland, CA 94605-1156, 510-569-3110, tisement with photo to editor@mbsi.org www.polyphonmusic.com or call (253) 228-1634 for more details.
SAVE $Õs on REUGE & THORENS MUSIC BOX REPAIR & RESTORATION Ð MBSI ALL ADS MUST BE PREPAID MEMBERS RECEIVE WHOLESALE PRICING. We accept VISA/MC and PayPal.
40 + Years experience servicing all makes & models of cylinder and disc music boxes, ADVERTISING SPECS: bird boxes, bird cages, musical watches, Anri Display ads may be submitted musical figurines, et al. All work guaranteed. camera-ready, as PDF files, or with WeÕre the only REUGE FACTORY AUTHORIZED text and instructions. File submission Parts & Repair Service Center for all of North guidelines available on request. America. Contact: DON CAINE -The Music Errors attributable to Mechanical Box Repair Center Unlimited, 24703 Pennsyl-Music, and of a significant nature, will vania Ave., Lomita, CA 90717-1516. Phone: be corrected in the following issue
(310) 534-1557 Email: MBRCU@AOL.COM. without charge, upon notification. 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? Get the word out to other collectors by advertising in The Mart, an effective advertising tool at an inexpensive price.
Email your ad to editor@mbsi.org or call (253) 228-1634 to place your ad for the January/February 2025 issue.
Add a photo to your ad!
Photos are only $30 extra per issue.
Email editor@mbsi.org or call (253) 228-1634 for more details.
Display Advertisers in this issue
2………. Renaissance Antiques 57…….. American Treasure Tour 60…….. John J. Miller Mechanical
54…….. MBSI Annual Meeting Promo 58…….. J. Verbeeck Organ Manufacturer Organ and Clock Works
Lake Michigan Chapter 58…….. National Association of Watch 61…….. Nancy Fratti Music Boxes
55…….. StantonÕs Auctioneers and Clock Collectors 67…….. Marty Persky
57…….. Music Box Restorations 58 ……. Automata Magazine 68…….. Breker Auctions
57…….. Johan Goyvaerts Musical Boxes 59…….. Porter Music Box Company
and Singing Birds 60…….. MBSGB

OFFICERS, TRUSTEES & COMMITTEES of the MUSICAL BOX SOCIETY INTERNATIONAL¨
OFFICERS President
Matthew Jaro 24219 Clematis Dr Gaithersburg, MD 20882 mjaro@verizon.net
Vice President
Bob Caletti, 605 Wallea Drive Menlo Park, CA 94025 bcaletti@pacbell.net
Recording Secretary
Linda Birkitt PO Box 145, Kuna, ID 83634 scarletpimpernel28@yahoo.com
Treasurer
Edward Kozak 3615 North Campbell Avenue Chicago, IL 60618 ekozak1970@gmail.com
TRUSTEES
Dave Calendine Bob Caletti Edward Cooley David Corkrum Richard Dutton Rich Poppe Matt Jaro Mary Ellen Myers Rick Swaney

COMMITTEES Audit
Edward Cooley, Chair, Trustee Bob Caletti, Vice President Dave Calendine, Trustee
Endowment Committee
Edward Kozak, Treasurer, Chair Edward Cooley, Trustee Dave Calendine, Trustee B Bronson
Executive Committee
Matthew Jaro, Chair, President Bob Caletti, Vice President David Corkrum, Immediate
Past President Edward Cooley, Trustee Rich Poppe, Trustee
Finance Committee
Edward Kozak, Chair, Treasurer Edward Cooley, Trustee Peter Both
Marketing Committee
Bob Smith, Chair Edward Cooley, Trustee Richard Dutton, Trustee Judy Caletti Don Caine John Miller
Meetings Committee
Rich Poppe, Chair, Trustee Judy Caletti Tom Chase Cotton Morlock Tom Kuehn
MBSI FUNDS

Members can donate to these funds at any time. Send donations to: MBSI Administrator, PO Box 10196, Springfield, MO 65808-0196.
General Fund (unrestricted) Endowment Fund (promotes the purposes of MBSI, restricted) Ralph Heintz Publications Fund (special literary projects) Museum Fund (supports museum operations)
Membership Committee
Chair, Vacant Richard Dutton, Trustee Mary Ellen Myers, Trustee,
Southeast Robin Biggins, Southern California Judy Caletti, Golden Gate Gary Goldsmith, Snowbelt Florie Hirsch, National Capital Judy Miller, Southeast Rob Pollock, Mid-America Dan Wilson, Southeast Gerald Yorioka, Northwest IntÕl TBD, East Coast TBD, Lake Michigan TBD, Sunbelt
Museum Committee
Sally Craig, Chair Dave Calendine, Trustee Glenn Crater, National Capital Ken Envall, Southern California Julian Grace, Sunbelt Richard Simpson, East Coast
Museum Sub-Committees
Ohio Operations Rob Pollock, Mid-America
Nominating Committee
Judy Caletti, Chair David Corkrum, Immediate Past President Bob Caletti, Golden Gate, Vice President Mary Ellen Myers, Trustee,
Southeast Tracy Tolzmann, Snowbelt Rob Pollock, Mid-America Marc Pichla, Lake Michigan
MBSI Editorial Office:
Iron Dog Media 130 Coral Court Pismo Beach, CA 93449 editor@mbsi.org
SUBMIT ADS TO:
MBSI Ads 130 Coral Court Pismo Beach, CA 93449 (253) 228-1634 Email: editor@mbsi.org
Publications Committee
Bob Caletti, Chair,
Vice President Richard Dutton, Trustee Paul Bellamy Alan Bies Christian Eric Kathleen Eric
Publications Sub-Committee
Website Committee Rick Swaney, Chair B Bronson Knowles Little, Web Secretary
Special Exhibits Committee
Mary Ellen Myers, Chair, Trustee, Southeast David Corkrum, Immediate Past
President, Golden Gate Donald Caine, Southern California Richard Dutton, Trustee, East Coast Jack Hostetler, Southeast Knowles Little, National Capital Judy Miller, Southeast Aaron Muller, Lake Michigan Wayne Myers, Southeast Rick Swaney, Trustee,
Northwest International
SPECIAL ACTIVITIES Publications Back Issues:
Jacque Beeman
Regina Certificates:
B Bronson
MBSI Pins and Seals:
Jacque Beeman
Librarian:
Jerry Maler
Historian:
Bob Yates
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 authorÕs approval. All articles are considered to be the authorÕs personal opinion. The author may be asked to substantiate his/her statements.

CALENDAR OF EVENTS
Date Event Location Sponsor
May 2Ð3, 2025 COAA Band Organ Rally – Iris Festival Mountain View, AR Doug/Danell Mauldin
Aug. 20Ð24, 2025 MBSI Annual Meeting Chicago, IL Lake Michigan Chapter

Email event details to editor@mbsi.org by Feb. 1, 2025, for the March/April 2025 issue. Ask your questions on our Facebook discussion group Ñ search for the Music Box Society Forum.
Please send dates for the Calendar of Events to 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 (417) 576-4280 jbeeman.mbsi@att.net
CHAPTERS
East Coast Chair: Barry Kasindorf barry@barrykasindorf.com No Dues in 2025 Roger Wiegand 281 Concord Road Wayland, MA 01778 treasurer.eccmbsi@gmail.com
Golden Gate Chair: Judy Caletti jeeperjudy@gmail.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: Mark Pichla (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: Cheryl Hack (410) 757-2164 cahack@aacc.edu 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
Regina Certificates: Cost $10. 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
Museum Donations Sally Craig 2720 Old Orchard Road Lancaster, PA 17601 Phone (717) 295-9188 rosebud441@juno.com
CHAPTERS
Snowbelt
Chair: Tracy Tolzmann (651) 674-5149 No Dues in 2024
Southeast

Chair: Jim Kracht 305-251-6983 Dues $5 to Bob Yates 1973 Crestview Way Unit 147 Naples, FL 34119
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
Southern California
Chair: Robin Biggins (310) 377-1472 Dues $10 to Franne Einberg 10524 Blythe Ave Los Angeles CA 90064
Sunbelt
Chair: Marty Nevel currency33@AOL.COM No Dues in 2024

Copyright 2025 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
QUARTER PAGE 3.5Ó x 4.5Ó EIGHTH PAGE 3.5Ó x 2.125Ó

HALF PAGE HORIZONTAL 7.25Ó x 4.5Ó

MECHANICAL MUSIC
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments

DISPLAY ADVERTISING DIMENSIONS & PER ISSUE COSTS
Dimensions 1 issue 2-3 issues 4-6 issues
Back Cover 8.75Ó x 11.25Ó $600 $540 $510
Inside Covers 8.75Ó x 11.25Ó $450 $405 $383
Full Page 7.25Ó x 9.75Ó $290 $261 $247
Half Page 7.25Ó x 4.5Ó $160 $144 $136
Quarter Page 3.5Ó x 4.5Ó $90 $81 $77
Eighth Page 3.5Ó x 2.125Ó $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

CLASSIFIED ADS
¥
47¢ per word

¥
ALL CAPS, italicized and bold words: 60¢ each.

¥
Minimum Charge: $11.

¥
Limit: One ad in each category

¥
Format: See ads for style

¥
Restrictions: Ads are strictly limited to mechanical musi.cal instruments and related items and services

PRODUCTION SCHEDULE
CIRCULATION PRINTING & ARTWORK SPECIFICATIONS
Mechanical Music is mailed to more
than 1,500 members of the Musical Mechanical Music is printed on 70 lb gloss Email files to: Box Society International six (6) times paper, with a 100 lb gloss cover, sad-mbsi@irondogmedia.com per year. dle-stitched. Trim size is 8.25Ó x 10.75Ó.
USPS or Fed Ex to: Artwork is accepted in the following for-Iron Dog Media, LLC
ALL ADS MUST

mats: PDF, PSD, AI, EPS, TIF. All images 130 Coral Court
BE PREPAID

and colors should be CMYK or Grayscale Pismo Beach, CA 93449
The Musical Box Society International

and all fonts should be embedded or
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converted to outlines. Images should be a
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minimum of 300 dpi resolution.
ISSUE NAME ADS DUE DELIVERED ON
January/February December 1 January 1
March/April February 1 March 1
May/June April 1 May 1
July/August June 1 July 1
September/October August 1 September 1
November/December October 1 November 1

Contact MBSI Publisher Russell Kasselman at (253) 228-1634 or editor@mbsi.org
Mechanical Music at its Best -www.Mechmusic.com
Instrument Brokering & Locating / Appraisals / Inspections / Free Consultation

Welte Style 4 Monster Paganini Orchestrion Weber Maesto with Concert Orchestrion 45Õer Niemuth Bacigalupo & Marty Automaton Diorama

Seeburg G Orchestrion Regina 27Ó Changer Regina Chime Steinway OR 6Õ6Ó Art Case Polyphon 24.5Ó Mel Septon Restoration Walnut Dragon Front Style 82 Leedy/Septon Restoration Mikado

20Ó Chordephon Welte Briscovia Violina Orchestra by Wendel Regina Style 35 Mechanical Zither Luxus Clock & Art Glass
Contact Marty Persky for further information on these and other fine instruments. tel: 1-847-675-6144 cell: 1-847-208-9912 email: Marty@Mechmusic.com
ThomasÕArithmomtre,
c. 1870 Sold: 7.050 ÷ /$ 7,760

Leica I (C ) ÒLuxusÓ Camera, 1931 Working Replica of the Six-Digit Sold: 188.910 ÷ / $ 207,800
ÒPascaline CalculatorÓ
Sold: 25.190 ÷ / $ 27,710 WorldÕs Leading Specialty Auctions ÈScience&TechnologyÇ áÈRare Tin ToysÇ ÈOfficeAntiquesÇ á ÈMechanical MusicÇ Rare Ormolu Singing Bird Automaton Clock by Blaise Bontems, c. 1885 Sold: 9.450 ÷ / $ 10,390
ÈPhotographica&FilmÇ
Spring 2025
Jackson Typewriter, 1898 Sold: 28.230 ÷/ $ 31,050 Replica of ThompsonÕs Revolver Camera of 1862
Live-Steam 1:16 Scale Sold: 4.410 ÷ / $ 4,850
Locomotive ÒVirginiaÓ, c. 1975
Sold: 2.900 ÷ / $ 3,190
Rare Contax II Rifle Stock 543/75,Sonnar 2,8/18 cm Lens, and Fernobjektiv 8/50 cm, 1936 onwards
Sold: 62.970 ÷ / $ 69,270

Enigma Model K Ciphering Machine Kanzler Mod. 1b Lunar Hasselblad 500 EL, c. 1968/69with Additional Lamp Panel, c. 1939 Typewriter, 1904 Sold: 23.100 ÷ / $ 25,410

Sold: 81.860 ÷ / $ 90,050 Sold: 2.110 ÷ / $ 2,320

Trumpet Barrel Organ by Bacigalupo, c. 1920 Sold: 7.050 ÷ / $ 7,760

Hughes Printing Telegraph, c. 1875 Sold: 9.450 ÷ / $ 10,400
Telefunken Rolling Ball RKS 100-86 Mouse, 1968 onwards
Sold: 5.800 ÷ / $ 6,380

Einfalt Hydro Scooter
ÒKosmopolitÓ Typewriter, 1888 Toy, c. 1930
Sold: 23.100 ÷ / $ 25,410 Sold: 2.900 ÷ / $ 3,190
Consignments are invited for our Spring Auctions 2025
All prices shown are from our sales in 2024!
For more highlights and videos, visit www.Breker.com/New Highlights or youtube.com/auctionteambreker Fully-illustrated bilingual (Engl.-German) COLOUR Catalogue available against prepayment only: Euro 28.Ð (Europe) or elsewhere Euro 37.Ð (approx. US$ 44.Ð / Overseas)
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MECHANICAL MUSIC
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 70, No. 6 November/December 2024

Renaissance Antiques of solvang
Ron & Julie Palladino ¥ 805-452-5700 www.renantiques.com ¥ info@renantiques.com

Editor/Publisher
Russell Kasselman
(253) 228-1634
editor@mbsi.org
MBSI Editorial Office:
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
editor@mbsi.org
Publications Chair
Bob Caletti
All manuscripts will be subject to editorial review. Articles submitted for publication may be edited or rejected at the discretion of the Publications Committee and the Editorial Staff. The article will not be published with significant changes without the authorÕs approval. All articles are considered to be the authorÕs 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 offi ces.
Copyright 2024. 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.
POSTMASTER: SEND ADDRESS CHANGES TO
MBSI, PO Box 10196, Springfield, MO 65808-0196

MBSI News
5 PresidentÕs Message
7 EditorÕs Notes
19 Annual MBSI Financial
Statements
48 In Memoriam

Features
8 A new Lšesch Factory
12 Le Petit Songbird
14 A musical box enigma
18 Interesting Tidbits
22 2024 Annual Meeting

Chapter Reports
42 Southern California 46 Golden Gate

MEMBERSHIP APPLICATION

Mechanical music appeals to artists, historians, craftworkers, and musicians. Automatic musical instruments often enrapture their audiences through the mechanical nature of their performances along with the joyful sounds.
Mechanical music instruments include disc and cylinder music boxes that pluck a steel comb; orchestrions and organs that engage many instruments 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 nonproØt society dedicated to the enjoyment, study, and preservation of automatic musical instruments. Founded in 1949, it 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.
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By Matthew Jaro
MBSI President
Now that the summer is over, and the last annual meeting is just a memory, itÕs time to think of the future.
Our societyÕs 2025 national gathering looks like it will be fabulous because it will be held in Chicago, IL, home of the (in my opinion) best collection of them all, the Sanfilippo collection.
This got me to thinking about meet.ings farther into the future. It seems to me that we generally hold meetings in areas where there are local chapters to support them. These days, however, the number of local chapters strong enough to organize and host a national convention seems to be constantly diminishing. For example, in my own National Capital Chapter Jack and Mildred Hardman, who maintained a fantastic collection for years in Great Falls, VA, recently downsized and moved to Oregon meaning one of our chapterÕs great tour venues was eliminated.
In Chicago, Jim and Sherrie Krughoff had a collection that would normally have been part of a tour, but Jim has now passed on and much of the collec.tion is distributed elsewhere. Marty Nevel also moved out of the Chicago area and is resettling and rebuilding in the Sunbelt Chapter. Every chapter has experienced these types of losses and this makes it ever more chal.lenging to put together an engaging meeting with multiple collections of mechanical music to view.
Then I started thinking about how our society has been making visits to the same well-known collections every few years and that these meet.ings might be at risk of becoming stale. What, I wondered, if we tried to have annual meetings in places where there are no host chapters? One requirement would be that there must be locations with mechanical musical interest. Past attempts where we devi.ated from this most basic rule proved disastrous. For example, a number of years ago we held a convention in Las Vegas, NV. There were no mechanical music collections there to attract our members and the society lost a great deal of money.
Meetings in countries other than the United States have similarly experi.enced poor attendance. For example, MBSI held a joint meeting in England with the Musical Box Society of Great Britain a number of years ago. Travel expenses turned out to be so high that most MBSI members couldnÕt afford to attend.
I think it would be great to one day have a meeting in Japan. We have a chapter there. There are a number of wonderful mechanical music exhibits to see, so a convention could be really exciting. The one big drawback is the fact the travel and hotel expenses would, likely, be quite high there and this could cause attendance to be too low to make the meeting financially practical for the society.
A place we could consider going to would be Phoenix, AZ. They have both the Musical Instrument Museum and the Organ Stop Pizza restaurant plus proximity to the Grand Canyon and other national parks. The heat in the summer could be a negative but we would try to always be in air condi.tioning. We would need volunteers to help organize this. Are there any other collections there with owners who are willing to host a tour group like ours?
Columbus, OH, could be another potential meeting site. I am aware of a number of collections within reasonable driving distance of the city. If someoneÕs house is too small to accommodate groups that fit into tour buses, we could use smaller 25 person buses and make more stops.

The Boston, MA, area has one wonderful large collection and a number of smaller collections around the city plus there is an AMICA chap.ter that covers the area.
I would like to ask the membership for annual meeting proposals. Please send in everything from a one sentence glimmer of an idea to a full-blown proposal. All ideas would be welcome.
Our meetings can be joint meetings with AMICA. This gives us coverage of geographical areas as well as collections that MBSI doesnÕt have on its own. Joint meetings are also advantageous since a greater number of attendees can provide us better terms on the hotel contracts.
You can contact me at mjaro@veri.zon.net

By Russell Kasselman
MBSI Editor/Publisher
To all of our society members who open your homes to visitors and share your collections, I wish to say a huge thank you. Whether it be allowing large crowds to wander through your space during an annual meeting tour, or hosting a chapter meeting, or even simply inviting some friends over for coffee and dessert, the act of sharing your home and your collection is one that should be recognized with public accolades.
This past July, I traveled from California to Washington where my parents live to help build a deck on their home. Prior to making the trip, I had the occasion to talk with Rick Swaney who lives in Sammamish, WA. Normally, Rick and I are separated by about 1,018 miles, but in the month of July, we would only be a mere 18 miles apart. So, I arranged to take an afternoon to visit RickÕs home and see his collection. I had an absolutely wonderful time.
Rick shared not only his cylinder and disc musical boxes, but his repro.ducing piano, Mills Violano, miniature phonographs, jukeboxes and an experimental chess-playing autom.aton he is constructing. Rick is an amateur magician (quite a good one, in fact), and he was also able to show me two of Harry HoudiniÕs letters that feature original signatures plus a variety of posters promoting famous magical acts that he has hanging in his home. I took many photos and enjoyed hearing about how Rick came to be in possession of such treasures. I hope to share these photos with you in a future issue.

This brings me to the fact that all of us who read this magazine are blessed to be able to see so many photos of the insides of the homes of those members who welcome us and share their collecting passions so openly. The most recent annual meeting in Los Angeles, CA, opened up two homes to our MBSI and AMICA members who attended. The upcoming 2025 annual meeting already has five home tours on the schedule. If you attend, I strongly encourage you not to miss out on visiting these homes and collections because it is a great way to get a feel for the true sound and scale of the instruments the owners have collected. Not only that, but you often get to learn about what else a person collects or is interested in and those on the tour might be inspired to share their own stories with you about something they saw standing in the same room with you. This can lead to greater connections between members and that, in my opinion, is always a good thing.
So, to conclude, I wish to say once again thank you to all who open your homes and take the risks that come with sharing your collections with outsiders. You are a critical piece of keeping this society energized and we should all be grateful for it.

Welcome new members!
August 2024 September 2024 Patrick Kenny Warren Shifferd Barrington, IL Saugatuck, MI William Nichols James Morgan Atlanta, IN Maineville, OH Robert Amon Aaron Lucas Mooresville, NC Summerville, SC Cliff & Melody Van Treese Marianne Choy Boca Raton, Fl Farmington, AR Robert & Diane Arnold Portage, MI Robert Murphy Brockton, MA David & Lori Weber Saint Louis, MO GP & Lynn Howard Colleyville, TX

ADVERTISING DEADLINES
Advertisements for the January/February 2025 issue of Mechanical Music to be submitted by Dec. 1, 2024. Advertisements for the March/April 2025 issue of Mechanical Music to be submitted by Feb. 1, 2025.
EDITORIAL DEADLINES
Articles for the January/February 2025 issue of Mechan.ical Music should be submitted by Nov. 25, 2024. Articles for the March/April 2025 issue of Mechanical Music should be submitted by Jan. 25, 2025.

New Lche Factory
Introduction
The following article was printed 101 years ago in the Dec. 1, 1923, issue of Zeitschrift fŸr Instrumenten.bau (ZfI), the journal for musical instrument construction, published by Paul de Wit in Leipzig, Germany. The author, Robbi, was a roving reporter for ZfI who also provided commentary on the Spring and Autumn fairs or trade shows held annually in Leipzig. He describes in great detail a factory recently built by Paul Lche in a suburb of Leipzig for manufacturing the companyÕs hand-played pianos, coin pianos and orchestrions.
MBSI past-president Tom Kuehn, who has himself restored a Lche orchestrion, worked on the transla.tion for this article and supplied the images.
Das Hohelied der Arbeit (The Hymn of Work)
By Robbi
It was the Autumn fair of this year. I came from the Ruhr area and was glad to finally be in my beloved Leipzig. I stood expectantly in the corridor of the rail car and looked out at the first houses of Leipzig scurrying past to the left of the direction of travel. We passed the suburb of Mockau, where suddenly two brand-new factory buildings appeared, which interested me greatly in that they did not have a factory character at all, but rather the character in enormous dimensions of domestic homes built with many floors. But I particularly noticed the second building, because it carried in simple black letters the widely visible, well-known name Paul Lšsche. But this also awakened my curiosity, because I had not heard of Paul Lšsche building a new factory in Leipzig. Therefore, I at first wondered whether the new building in Mockau belonged to the Orchestrionwerke friend Paul de Wit and I traveled out Lšsche, which was soon confirmed to Mockau in the private car of Mr. to me. I was pleased to know in the Lšsche to Immelmannstra§e to see editorial office that Mr. Paul Lšsche the new miracle. It is indeed a mira.had invited us to visit his new build-cle, because no one had heard before ing. On one of the next days, my dear that Paul Lšsche secretly, quietly and quickly left the city center, where he had previously had his factory in Dessauer and Blumenstra§e, and settled on the outskirts of the city in an area that was available. One day, just before the fair, the building was there, constructed, finished and occupied. You canÕt say elfs no longer exist. Paul Lšsche certainly had them at his disposal. Perhaps he will betray the magic word to those interested in summoning the small, hard-working group. Beginning in March 1922, on land that had to be prepared for this, and among the well-known difficulties of the past and the current year, the beautiful, mighty building with its ground floor and five upper floors was completed in not quite 11/2 years of construction. But the point is that the entire Leipzig community knew almost nothing about it. It was not even necessary to establish a public limited company to raise funding, Paul Lšsche funded it from his own resources and can boast that today, among the newer companies, he probably owns the only building that is private property. Respectfully, this is in view of the continuing monetary inflation, which makes the implemen.tation of such projects so terribly difficult in our time.

So, we both went to see this new Leipzig miracle. My friend Paul enjoyed the ride to the fullest, but he thought back to the time when he himself owned two cars, which had long since been eaten up by the increased costs of the newspaper, because, as an incorrigible idealist, in fairness he did not want to pass off to his advertisers and subscribers what they would have had to pay according to their contracts. But this is only incidental. In a short time, we stood in front of the gate to this sandstone-col.ored plastered building, which is much more impressive nearby than from the railway, where a counterpart to it can be seen right next to it. The whole building, in its closeness, the windows that cheerfully peek into the world and the apartment-like shape with the red and gold trim and the blunt or pointed gables makes a friendly impression. Mr. Lšsche received us in a comfort.ably furnished private office, where we, but especially old friends with the inclusion of the long-time authorized representative of the company, Mr. Eugen Schultz, reminisced about past times and the current conditions of all kinds of things. That is, for the moment the present situation was to be endured, especially since a good cigar made the uncertain present easily forgotten. Under the leadership of Mr. LšscheÕs son, Mr. Walter Lšsche, who himself, is a trained piano builder under Adolf Geyer Nachf in Eisenberg and Ršmhildt A.-G. in Weimar, knows the fabrication in detail and will go abroad for further training in the spring of next year, we then began the hike through the extensive building.

It was just closing time, and the workers came from their halls into the washrooms, which are very prac.tically set up. In addition to a plentiful number of sinks, these rooms, which are separate for men and women workers, have a lockable wardrobe for each person. And since I am talking about the provisions for workers, I would also like to say straight away that the same is well catered for from a sanitary point of view. Light and air everywhere is in abundance and for the work breaks large lunchrooms, in which all workers can take their freshly warmed food and their warm coffee. Even for the workers council, a special room is set up which is located between the offices and the working rooms. Each master has his own room and obtains his own material, which he takes from the large central ware.house. The office rooms, which are located at the entrance of the building, are large and airy. A special section for typewriters banishes the nerve-rack.ing typing sound away from the peace of inventory, sales management and general management, which is concen.trated in a particularly empty private office with the subsequent authorized space. It goes without saying that the draftsmen, designers and arrangers have their own rooms. The halls are real pleasure areas of work. Large, bright, airy, each 1050 sqm in size, they offer enough space for multiples of the current number of workers. Two exits lead into two stairwells, and a large elevator, which has room for large orchestrions and has space to transport six pianos at once, connects the individual work floors down to the loading ramp, where the instruments can be loaded smoothly into a cart. On the other side of the building is a railroad track of the Reichsbahn, from which connections to the lumber warehouse and the coal shed branch off.
The lumber warehouse is very full. From the railway car delivery, it is first stacked, and remains exposed to the air for a long time to dry and comes from there to a saw, is cut here to lengths and again stacked in a large shed. Only the wood that is to be processed goes through the usual drying process in large drying chambers, which are provided with the necessary hot air by four boilers, System Strebel in Mannheim, for lignite firing. In accor.dance with modern plants, it does not have its own power generation, but is connected to the 10,000 volt overhead power line. A transformer provides electricity for the machines, each of which has its own motor. If, on the one hand, any smoke or dust is generated, on the other hand, an exhaust system ensures that chips accumulating in the machine rooms during wood working and all dust are immediately fed into the heating system boilers.
The lower rooms are used for wood.working for the cases and interior components of the orchestrions and pianos, which are manufactured in large numbers by the company. On the upper floors, the work for these instruments is divided into a few rooms, which are again separated into special sections by partitions. For example, the case polishers have a self-contained, dust-free room, the pipe tuning and voicing have special small rooms, and especially large rooms are provided for the orches.trion voicing. This is how you get from one department to another. Here the planks are cut and planed, there the holes and edging are added. In another department, they are moved, glued and assembled. Another depart.ment is used for the construction of playing apparatus and the assembly of electric pianos, and from another hall the music of the complicated and simple orchestrions is heard, in which one initially only looks at the function of the individual parts. The artistic idiosyncrasy and completion of each individual instrument is provided by a special department, which, as they say, puts the finishing touches to the instrument. At the very top are hard-working girlsÕ hands at work in order to produce in their own music-punching shop the necessary music rolls, for which their own arrangements are available in large numbers.

All metal parts and electric compo.nents belonging to the orchestrions and electric pianos are manufactured in the mechanical workshop and machine shop. A number of well-trained electricians are available, which guarantee the faultless func.tioning of the instruments on that side. Mr. Lšsche, as an experienced musician, also places a very special emphasis on arranging the music, because the arrangement is the soul

An advertisement printed in ZfI on Dec. 15, 1923, p 248, the next issue following the article.
of the instrument and allows it to bring to full effect the whole feeling of the sound and the characteristics of the registers. A number of trained specialists are constantly employed in this field at the factory.
A special machine shop provides the maintenance of the machines and tools. So, an instrument moves from one department, from one hand to the other, and finally ends up at the bottom of the packing room as a home piano, commercial piano or orchestrion and from there makes its way into the world, because the exiting instruments actually go all over the world and proclaim the artistry of their producer everywhere.
The company is very busy, but thanks to the large space available and the excellently integrated staff, it is at its fi nest.
That is how it stands, the work to which the former organ builder, Paul Lšsche, laid the corner stone in 1902, and I can vividly think of the feelings that come over him as he passes through his new building, he, the self-made man. Ha, it must be a nice feeling if you can say: ÒI did this with GodÕs help alone!Ó And if his father, who was an organ builder in Rudolstadt (Thuringia), had not died in 1920, who had witnessed his growth and maturing, his worries and efforts from the beginning, then his joy would be perfect. But thatÕs the way it is in life, something is always missing in order to be able to fully enjoy happiness, so complete happiness will always be elusive on earth. For the time being, the management of this great company is only in the hands of the owner, Mr. Paul Lšsche, and his long-time friend and manager, Mr. Eugen Schultz, until his son steps up later.
With feelings of respect, we again said goodbye to Mr. Lšsche, and I immediately said to myself, what I have seen here is the work of a self-made man, I must not deprive my readers of this. Perhaps one of the results will be to strengthen their will.

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
Le Petit Songbird

By Robert F. Penna, Ph.D.

On display at the Louvre in Paris, France, is a true marvel of 18th century craftsmanship. A miniature music box with an animated songbird offers both sound and visual plea.sure. Made in gold and fitted with diamonds, this delightful item was far beyond the reach of most average citi.zens when its maker pronounced it finished.
On the cover, spelled out in diamonds, are the
stylized romantic scenes. In this particular visual a young man holds the hand of a draped young woman sitting in front of a table laden with fruit.
The scenic medallion, activated by a spring, lifts to reveal a colorfully-feathered songbird that rises, flaps its wings and whistles. The mechanism is hidden inside the box but can be reached through a hinged lid on the bottom of the piece. Inside one can see the initials GRC below a miniature crown which signifies the manufacturer of the box, Georges Remond et Cie.1
This animated bird box was originally made in Geneva by the firms of Georges Remond et Cie (goldsmith) and Les frres Rochat (watchmakers). This music box is described by the Louvre as being Òglazed in a translucent royal blue on a chevron guilloche background.Ó The guilloche are the decorative repetitive edgings that surround parts of the box. Guilloche is a decorative technique in which very precise, intricate and repetitive patterns are engraved into the underlying material. Before new technology was intro.duced, it was a time-consuming technique requiring skilled craftsmen and precision work.2
The piece was acquired by the Louvre in 1914. It was donated by Baron Basile de Schlichting (1852-1914), a well-known French art collector. So extensive was his collection of art and artifacts, that paintings were done of his home in which these objects are shown. Most were donated to the Louvre upon his death.3

According to records at the Louvre, the overall measure.ments of the music box are: height: 3.4 centimeters / 1.3 inches; length: 9.8 centimeters / 3.8 inches; and depth: 6
Top of box showing a neoclassical design
centimeters / 2.3 inches.

Footnotes
1 Boite a Musique de Forme Ovale. Louvre Museum Collection, Paris. https://collections.louvre.fr/en/ark:/53355/cl010099369
2 Lang Antique Jewelry University, San Francisco https://www. langantiques.com/university/guilloche/
3 op.cit. Louvre Museum Collection

Figure 1: An unusual mechanism (maker unknown) donated for research by Walter Behrendt of Germany.
An early musical box design enigma
By Mark Singleton
Many opinions bandied round over the last 50 years about musical box design highlight the good, the bad and the some downright bizarre.
One theory that makes the least sense to my logic is the oft-claimed fallacy that single tooth combs and the subsequent development of 2x teeth combs and then 4x teeth combs were delayed because musical box makers could not find pieces of steel long enough to make a one-piece comb. Tell that to Richard Trevithick.1 He was the British engineer who built the first steam powered locomotive in 1804 that ran on long tracks of steel.
Before anyone can put forth an argument regarding impurities within the steel used for these rails, I wish to emphasize that I understand the signif.icance of the slightly later Bessemer process, whereby air is forced through molten pig iron to remove impurities. This process enabled mass production of a consistent high-grade steel.
My belief is that sufficient quantities of high quality steel with consistent carbon content and crystalline spread was available long before musical boxes were even dreamt of. I point to the early clockmaking and arms industries as I think they will bear testament to this fact.
High carbon tool steel has been recorded to have been in use by Indian sword makers during megalithic times (around 1000 BCE).2 The steel in the few surviving examples of the swords from this period display a fairly even carbide microstructure.
Why, then, could multi-tooth combs not have evolved at the same time? I think the answer comes down to the fact that much of the early musical box component production was accomplished via cottage industry as opposed to taking place in large manufacturing facilities. The musical box makers, in my opinion, got into an early and economical habit of employ.ing many hands to make smaller, sectional combs in small workshops. This would have allowed the musical box makers to take advantage of econ.omies of scale without adding the cost of a large, centralized factory full of expensive equipment and employees.

When the single-comb snuff box market exploded in 1815, I believe it would have quickly become apparent that there was a market for high qual.ity music that could be played on the boxes. The founding fathers of musi.cal box making like Franois Nicole, Henri Capt and Franois Lecoultre were all at the forefront of this tech.nological push for more refined music from a single piece comb.

Examining the serial numbers of larger early cylinder music boxes, examples of a Frres Nicole overture box with a one-piece comb can be found dating to circa 1820. I believe that the manufacture of this type of comb most certainly was not an overnight development. In fact, I have a single-comb Frres Nicole overture snuff box in my collection dating to Figure 2: The unassuming base unit.

Figure 4: The governor seen in a side view. Scan the QR code in the lower right of this image to listen to what the author calls
ÒGoat Bells.Ó
1815 that has 83 teeth. The comb and resonators were all milled from one piece of steel. It may be one of the earliest of such construction.
Now, letÕs take a step backward to look at the earliest self-playing instru.ments that used steel teeth to make sound. We find these were diminutive affairs, usually high-quality status symbols owned by the wealthiest in society. Jewelers and goldsmiths were experimenting by making musical seals, brooches, watches, snuff boxes all richly adorned in gold and enamels.
Musical clock bases, which were available before the introduction of the first cartel style music boxes, typically featured slightly larger mech.anisms (as compared to snuff boxes) and these instruments could be found with zigzag- or chevron-style sectional combs. I believe the makers of these clock bases used zigzags and chevrons in their construction in order to mini.mize sympathetic resonation in bass teeth, which can cause undesirable cancellation of the sounding note.
This brings me to the true subject of this article, a most unusual mech.anism that sits in an early clock base. Kindly donated for academic research by Walter Behrendt of Germany, this mechanism gives us good reason to ponder again the idea of canceling sympathetic resonation that was raised earlier.
As the photos show, the comb is pre-zigzag with teeth laid out in a fore and aft sequence. All the low notes are interspersed with a high note. Therefore, I think it is possible that this comb layout was an attempt to suppress such cancellation of the notes by other closely-tuned teeth. The complexity of laying out the pinning would have been ÒdifficultÓ to say the least. Tentatively, I estimate the date of the pieceÕs manufacture to circa 1808 or 1810 at the latest. Other clock bases constructed after this date are usually more technologically advanced and contain certain degrees of uniform similarity.
Focus your attention on the deli.cate gearing of the governor train, in particular, the adjustable vane on the fly. Each measures just 5 millimeters long by 2.5 millimeters wide. The small cylinder measures 27 millime.ters in diameter by 143 millimeters in length with the spring barrel measur.ing just 40 millimeters in diameter by 17 millimeters wide. Yet, the spring barrel still has sufficient torque and power to complete at least 12 cylinder revolutions on one winding. This is testament in itself to the build quality of this deliciously delicate clock work instrument. With regard to the music, we can hear three (tunes currently unknown) airs playing on a total of 39 teeth.

Every musical box from the true golden age has its own unique individ.ual character and spirit. Simple pieces are often dismissed by many, who are sadly blinkered by preconceived ideas of what represents a good music box.
I ask only that you listen to the sound of this mechanism, then close your eyes and listen again. Can you hear little goat bells? Can you see those goats dancing in your minds eye?
If you do, you will appreciate what a special little piece this musical box is.
Sources

1.
wikipedia.org/wiki/Richard_Trevithick

2.
wikipedia.org/wiki/Wootz_steel

Figure 5: The small spring barrel.

Seeking your stories for ….
Did you once spend time finding the perfect musical antique to round out your collection? What was it? How did you find it? Was it in ruins, or in perfect condition?
Was there a time you randomly ran across a unique instrument then found a way to acquire it and restore it so that you might display it and tell the story to all who visit your home?
Answer these questions and you will have the perfect story for ÒThe HuntÓ column in Mechanical Music.
Every mechanical music instrument has a story behind it and the readers of Mechanical Music love to read them all.
Editing help is available if you have a story, but you are not sure how to organize it or present it. The important thing is to get it down and pass it on for the enjoyment of others.
We look forward to hearing from you.
The Hunt

Email your story to editor Russell Kasselman at editor@mbsi.org or mail a copy to:
MBSI Editorial Offices 130 Coral Court Pismo Beach, CA 93449

Interesting Tidbits
The golden age of piano playing and its self-playing marvels Ð rediscovered
The Museum f Musikautomaten in Seewen, Sweden, will be holding a special exhibition from Sept. 19, 2024 through Nov. 30, 2025 featuring reproducing pianos and the devices used to record rolls for these instruments. Following is the text of the museumÕs announcement regarding the event.
If you wanted to enjoy music 150 years ago, you had two choices: attend a performance or play it yourself. The year 1878 marked a turning point: The advent of the phonograph and gramophone allowed for the reproduction of music. These devices began spreading like wildfire, becoming a form of mass media.
It still took several decades, however, until the sound quality could compete with a live performance. The piano in particular was difficult to record before the invention of the microphone, due to its wide range and subtle differ.ences in volume. Brilliant entrepreneurs and engineers addressed this challenge with a bold invention Ð the repro.ducing piano. Instead of coming out of an amplifying horn, the playing of famous pianists came out of a real piano. In the autumn of 1904, the Freiburg-based company M. Welte & Sšhne caused a stir with their latest innovation: Called the Welte-Mignon, it played the most difficult piano compositions almost exactly like the great virtuosos in a concert hall. There was nothing mechanical about it Ð the Welte-Mignon sounded completely natural. Other compa.nies followed suit, and the market for this type of device boomed. Thousands of recordings were made over the next three decades Ð a relic from the golden era of piano playing that we can still enjoy today.
The catalogs of such companies as Welte, Hupfeld, Philipps, Aeolian and the American Piano Company read like a WhoÕs Who of pianists, composers and conductors from the late 19th and early 20th centuries. A generation of well-known artists played music through a special record.ing process. However, many names Ð including those of pianists Ð have faded from memory and are waiting to be rediscovered in the museum collection.
The ÒMagic PianoÓ special exhibition at the Museum of Music Automatons (MMA) is a celebration of these self-playing pianos Ð and the museumÕs two-decade research collaboration with the Bern Academy of the Arts (HKB).
For information, you may contact Julia MŸller by phone at 1+ 058 466 78 80 or email at julia.mueller@bak.admin.ch
The Museum fŸr MusikautomatenÕs address is BollhŸbel 1, CH-4206, Seewen, SO. Learn more at www.musikauto.maten.ch

Musical Box Society International Statement of Financial Position June 30,
June 30, 2024

ASSETS 2024 2023
Cash and Cash Equivalents $ 40,065 $ 99,769
Accounts and Other Receivables 6,208 2,646
Accrued Interest Receivable 3,076 2,141
Prepaid Exenses 13,963 20,684
Operating Investments 364,942 317,072
Restricted Investments 328,063 322,760
TOTAL ASSETS $ 756,317 $ 765,072
LIABILITIES AND NET ASSETS
LIABILITIES
Accounts Payable and Accrued Expenses $ 8,520 $ 538
Deferred Dues Revenue 31,254 32,761
Deferred Publishing Revenue 168 1,626
Total Liabilities 39,942 34,925
NET ASSETS
Without Donor Restrictions 388,312 406,274
With Donor Restrictions 328,063 323,873
Total Net Assets 716,375 730,147
TOTAL LIABILITIES AND NET ASSETS $ 756,317 $ 765,072

This financial report is provided in accordance with New York Not-For-Profit Law Section 519 and is true and correct to the best of my knowledge and belief. Edward Kozak, Treasurer
Musical Box Society International Changes in Net Assets For the Twelve Months Ended June 30, 2024
Beginning Ending
Balance Balance
6/30/2023 Change 6/30/2024
Without Donor Restrictions $ 406,274 $ (17,962) $ 388,312
With Donor Restrictions
Museum Fund 33,839 (2,299) 31,540
Heintz Publications Fund 5,528 130 5,658
Literary Award 152 – 152
Trustee Award (84) – (84)
Darlene Mirijanian Award 373 – 373
Roehl Award 74 – 74
Acquisitions, Maintenance & Restoration 63,908 – 63,908
Simon & Mabel Zivin Digital Archival Fund 11,177 150 11,327
Video Project 60 (30) 30
Endowment Interest Earned Fund 46,006 5,344 51,350
Endowment Fund 162,840 895 163,735
Total $ 730,147 $ (13,772) $ 716,375

This financial report is provided in accordance with New York Not-For-Profit Law Section 519 and is true and correct to the best of my knowledge and belief. Edward Kozak, Treasurer
Musical Box Society International Statement of Activities For the Twelve Months Ended June 30, 2024
Without Donor With Donor
Restrictions Restrictions Total
Operating Revenues and Other Support
Members’ Dues $ 63,019 $ – $ 63,019
Convention Income 38,237 – 38,237
Advertising Revenue 15,336 – 15,336
Donations 2,831 2,070 4,901
Investment Interest 13,355 7,160 20,515
Miscellaneous 1,154 350 1,504
Net Assets Released from Restrictions 3,751 (3,751) –
Total Revenue and Other Support $ 137,683 $ 5,829 $ 143,512
Operating Expenses
Program Sevices:
Convention $ 39,346 $ – $ 39,346
Publications 77,285 – 77,285
Supporting Sevices:
General and Administrative 40,653 – 40,653
Total Operating Expenses $ 157,284 $ – $ 157,284
Other Revenues (Expenses)
Board Designated Transfers $ – $ – $ –
Change in Net Assets $ (19,601) $ 5,829 $ (13,772)
Membership
Membership count 6-30-23 991
Membership count 6-30-24 930
Membership list is maintained on the website.

This financial report is provided in accordance with New York Not-For-Profit Law Section 519 and is true and correct to the best of my knowledge and belief. Edward Kozak, Treasurer
2024 MBSI Annual Meeting
By Russell Kasselman
The 2024 MBSI Annual Meeting, held jointly with (and organized by) the Automatic Musical Instrument CollectorsÕ Association (AMICA) held many a fascination for those who spent the week of Jun. 30ÐJul. 6 in and around Los Angeles, CA.
As mentioned in the EditorÕs Notes column of Mechanical Music, Vol. 70 No. 5, September/October 2024, early arriving guests had an option to visit Old Town Music Hall in El Segundo, CA. Originally built in 1921 to entertain oil refinery workers after their shifts, it closed for many years but reopened in 1968 with its current moniker. It features a Mighty Wurlitzer Theatre Pipe Organ that was relocated from the Fox West Theater in Long Beach, CA.
Day one of the convention was filled mostly with official meetings, but tour buses were available to ferry guests to the home of Chuck Levy and his fabulous collection of automata and mechanical music instruments. ChuckÕs home on the Pacific Coast Highway is not far from the Santa Monica Pier and is only steps from the sandy beaches where vacationing sunbathers were out in force on a hot California day. MBSI Southern Califor.nia Chapter Chair Robin Biggins was on hand to assist with demonstrations of a variety of automata from ChuckÕs collection.
The second day started early with a welcome breakfast, then everyone hopped aboard two air-conditioned tour buses for a drive down the famed Hollywood Boulevard past hundreds of movie star hand prints embedded into the sidewalk. The first stop was the Pickford Center for Motion Picture Study. It is the home of the Academy of Motion Picture Arts and Sciences film archive containing more than 230,000 items including all the Best Picture-winning films and

2024 MBSI Annual Meeting

A selection of some the phenomenal automata in Chuck LevyÕs collection that were shared with convention attendees. Photos by Geoff Ward.
documentaries. fantastic preview of what they would this particular photoplayer and then
A larger-than-life Oscar statuette soon experience. Joe Rinaudo and his donated it to the museum so that all greeted the stream of mechanical Style 41 Special Fotoplayer were on visitors could marvel at the mechani.music enthusiasts who entered the hand to provide live musical accom-cal ingenuity of the instrument as well lobby and made their way toward paniment to the historical films soon as the skill it takes to produce music the David Geffen Theater. Prior to to be shown. Joe explained to the and sound accompaniment for silent being seated, guests were treated to a group that he had personally restored films. The top of the photoplayer

Joe Rinaudo and his Style 41 Special Fotoplayer at the Pickford Center for Motion Picture Study. Photo by Lowell Boehland.
was stacked with rolls in preparation for the film screenings to come. Joe explained that the photoplayer is equipped with two roll mechanisms so that while one is playing another can be loaded. While each roll is playing, the operator can produce all types of sounds from barking dogs to fire engines to breaking glass and comedic horn sounds at just the right time to make silent films come alive.
Herding more than a hundred guests past this musical wonder proved difficult for the ushers, but they finally managed to get everyone seated for the showing of several historical films that have been preserved by the Academy. Each film was explained by Joe and then accompanied by him on the photoplayer. Of note was the fact that the projectors showing the films all had to be adjusted for the different speeds at which the original films were produced and that meant Joe had to adjust his playing speed for each film as well. A black and white television screen near the front of the theater provided a view of Joe manip.ulating the photoplayer as the film was shown. It was hard to tell whether JoeÕs performance or the film was the greater attraction for the group.
Upon concluding the film screen.ings Joe played several more rolls and then posed for photos and answered questions until convention organizers once again shepherded everyone back onto the buses for the next stop.
The Getty Museum sits high on a hill overlooking downtown Los Angeles. Not only is it filled with artifacts and artworks from antiquity, but the buildings and grounds themselves are works of art creating vistas for eyes to feast upon. Five separate buildings grouped around a central courtyard were available to tour, each containing a different type of art or artifact.
Showcased in the North Pavilion were paintings, sculpture, coins and other artifacts from before the year 1700, some from hundreds or even thousands of years BCE (Before Common Era). In the East and South pavilions were paintings and sculpture works created between 1600 and 1800. Also included were examples of furni.ture and other decorative artworks, each featuring detailed explanations about the artist, the significance of the work and sometimes information about the time period when the work was produced. Among the pieces were paintings by Van Gogh, Manet and Rembrandt
Various tours were offered by docents who could provide even more context and detail about the artworks on display. Hours could be spent read.ing each of the informational plaques on the walls and marveling at the vari.ety of techniques used during various time periods. Some found themselves overwhelmed and headed outside to the sculptured gardens featuring multitudes of colorful plants and trees plus a stream ending in a waterfall that fed a pool with a maze-like display of

An example of intricate marble carv.ing seen in the Getty Center. Note the curls in the hair, pearls, and delicate lace shawl all created with a chisel. Photo by Doreen Kasselman.

flowers, shrubs and trees. Gazing up toward the sky from the garden were the gleaming glass and stone buildings cutting into the bright blue California sky.
Too soon, it seemed, the call to return to the buses was issued and many could be heard making plans to return to the Getty Museum for extended visits as there was so much to see, it was almost impossible to get around to see it all. The museum only requires an appointment and admis.sion is free, so that makes it quite an attractive venue for future trips. Learn more at www.getty.edu.
The eveningÕs entertainment was provided by Marty Persky, perhaps one of the best-known mechanical music dealers of the current age.

Marty has worked with some of the largest collectors and collections in the world and he shared stories of the machines he has helped transfer from owner to owner. MartyÕs knowledge of mechanical music is extensive and will be on full display at the 2025 convention set to be held in Chicago, IL, and featuring the grand Sanfilippo collection.

Wednesday opened with work.shops from 8 a.m. to noon followed by a lunch buffet and a small mart. The most popular event of the day, however, started at 6 p.m. when the pumper contest, a perennial AMICA tradition, kicked off in one of the hotelÕs conference rooms. Phillip Dayson shows off his invention during a workshop. Photo by Lowell Boehland.

The Ruth & Sohn fairground organ that is now prominently displayed in Frank NixÕs Music Haus. Photo by Lowell Boehland.

Frank Nix cranks out a tune on one of his hand-crank Òmonkey organs.Ó Photo by A pair of Wurlitzer orchestrions in Frank NixÕs collection. Photo by Geoff Ward. Geoff Ward.
A standing-room-only crowd was treated to player piano performances by Bishop Kevin Vann, Diane De Tar, Bruce Newman, Joel Clusky, John Ulrich, Flavio Pedrazzini, Gary Rassumsen, Blue Lolan, Vincent John.son, and Andrew Barrett. Participants were judged on their choice of song, presentation and control of tempo and volume. Diane DeTar was chosen by the three-judge panel to receive the Golden Footsie trophy. See all the performances on YouTube at this link https://bit.ly/pumper-contest
Thursday was another packed-full adventure with a first stop at Frank NixÕs collection just down the road from the convention hotel. Frank showed off his newest acquisition, a Ruth & Sohn fairground organ that once belonged to Jim Krughoff. The faade was in pristine shape and the organ sound could likely be heard for blocks around as it washed over those in FrankÕs Music Haus building. Visitors were regaled with music from many of FrankÕs other instruments which he has hooked up to a MIDI system so he can play tunes on any machine with the click of a few buttons on his computer. Guests heard from a pair of Mills Violanos that perform a duet, as well as a number of massive orches.trions arranged around the room. For those brave enough to withstand the heat (temperatures were near 100 degrees that day), a venture to FrankÕs upstairs cylinder and disc box display area rewarded them with views of a wide range of musical boxes. The walls were lined with upright disc boxes, while the center section of the room was filled with cylinder boxes and disc boxes representing a dizzying array of makers and musicians.

From FrankÕs house, convention guests traveled in lovely air-condi.tioned tour buses to John GaughanÕs workshop that is located in a nonde.script warehouse next to a suburban Los Angeles neighborhood. From the outside, it is nearly impossible to tell what magic awaits within. John is a constructor of mesmerizing illusions that are used by magicians through.out the world. John will tell you his specialty is hiding people in furniture, but a gander at the tools and materials around his workspace along with the works in progress tell an altogether different story of a visionary who might make any idea come alive at a momentÕs notice. One of the most prominent displays in the room is a 7-foot-tall metal robot called Q the Automaton that is a reproduction of a prop used to play opposite Harry Houdini in a 1920 movie called ÒThe Master Mystery.Ó
Venturing further inside JohnÕs workshop, visitors were welcomed

A reproduction of Q the Automaton, a prop in a 1920 Harry Houdini film. Photo by Russell Kasselman.

into a smaller room where many of JohnÕs creations and collected items are on display. Among them are a life-size reproduction of the famous Chess-Playing Turk automaton, and a 6-foot-tall automaton made by Dutch artist Cornelis Jacobus van Oeckelen that plays a clarinet. All about the room are automata from various parts of the world, and John can tell you the detailed story of how he obtained each one as well as how it was orig.inally used. There are many smaller items from card tricks to a talking

John Gaughan explains how his clarinet-playing automatonÕs fingers work. Photo by Russell Kasselman.

Mark Weber examines one of the automata in John GaughanÕs workshop. Photo by Russell Kasselman.
Shelves crammed with hundreds of magicianÕs props. Photo by Russell Kasselman.

A reproduction of a talking skull automaton. Photo by Geoff Firearm illusions and intricate locking boxes on display. Photo Ward. by Russell Kasselman.

A diorama of Harry Houdini in his New York City office. Photo A reproduction safe and handcuffs like those Houdini might
by Doreen Kasselman.

skull in a glass case. One corner of the area is dedicated to the great magician Houdini.
John and his team even went so far as to conduct a magic show for the crowd. A table was rolled out before the group and folding panels were
have used in his acts. Photo by Doreen Kasselman.

unfolded to make a box into which climbed JohnÕs assistant Brandi. Then the box was closed and John pierced the box from several angles with giant swords. When he pulled the swords from the box and opened the lid, out popped Brandi unharmed. The illusion had people talking all the way back to the hotel.
Tour buses were back and ready on Friday morning to take the group to more eye-popping places. First up was a trip to San Sylmar, CA, and the Nethercutt Collection. Spread

Antique automobiles next to a bow-front Mills Violano made a feast for the eyes at the Nethercutt Collection. Photo by Lowell Boehland.

Rolls, discs, pipes and even a banjo could be heard in just one corner of the music room at the Nethercutt Collection. Photo by Lowell Boehland.
across two buildings, the collection includes incredibly rare classic auto.mobiles and other vehicles restored to perfection along with decorative hood ornaments and other automotive memorabilia. Artfully arranged among the vehicles in the self-guided tour building are several large orchestri.ons, but those were only a preview of the main collection of musical boxes in the second building. Crossing the street, guests entered on the ground floor to be greeted with sights of not only more autos, but this time a stun.ning set of cylinder and disc music boxes along with several examples of roller organs. Tour guides made sure to emphasize that everything in the collection from the cars to the music boxes is kept working all the time. Full-time mechanics and machinists are employed to ensure that each car can be driven and each music box played at a momentÕs notice.
As the tour moved up to the main floor of the second building, guests were greeted by shiny chrome on all sides as they wandered through a display of rare and exotic sports cars and touring cars that at one time likely carried the wealthiest and most famous in society. Even more impressive were the 12-foot-tall orchestrions along the walls that were nearly dwarfed in the ball-room sized display space.
Up again another floor were displays of smaller bits and pieces from cars along with rare examples of disc and cylinder music boxes. Then a spiral staircase led the group to the fourth floor where mechanical music is king. The collection of musical instruments, all in perfectly restored and working condition, is composed of some of the most rare examples of large orchestrions in the world. Names like Popper and Mortier and Hupfeld and Wurlitzer pop out to grab attention to the point it becomes hard to know where to look. In the center of the huge room is a console that controls a Mighty Wurlitzer Theatre Pipe Organ with 5,000 pipes that are built into the walls. Organist Mark Herman played several pieces that filled the room with rich sound and joy.
Friday afternoon brought a visit to

A Hupfeld Excelsior Pan Orchestra dominated one wall of the music room. Photo by Lowell Boehland.

A group of rare orchestrions in the music room. Photo by Lowell Boehland.

A Regina Sublima Piano and Mandolin Orchestra on the base.ment level. Photo by Geoff Ward.

Emperor Franz JosefÕs concert grand piano. Photo by Geoff A 1933 Duesenberg next to a 1934 Packard convertible in the Ward. ballroom. Photo by Geoff Ward.

An overview of the music room on an upper floor of the Nethercutt Collection. Photo by Lowell Boehland.

Two cafe organs stand ready to fill the room with music if called upon to do so. Photo by Lowell Boehland.
Malibu Beach, CA, and the Getty Villa Museum. Built to resemble a Roman noblemanÕs villa, the venue featured walkways with tall columns, a central pool, several types of functional and decorative gardens and statues collected from Italy. Inside the villa were two floors of Roman, Greek and Etruscan artworks as well as a temple dedicated to Hercules that featured an intricately patterned marble floor made of stones from North Africa, Turkey, the Peloponnesos and Greece.

The main pools and walking area as seen from the upper balcony at the Getty Villa. Photo by Doreen Kasselman.

The Harry Selvin Orchestra and vocalist entertain at the ban-Keith Fuller, Bob Gonzales, Rob Thomas and Blanche quet. Photo by Lowell Boehland. Korfmacher before the banquet. Photo by Lowell Boehland.

Let the dancing commence! Photo by B Bronson.

Peggy and Chuck Schoppe, James Neuman, Bill Chapman, Flavio Pedrazzini and Manuela Caesna enjoy beverages at Tracy and Merrie Tolzmann, Rich Poppe and Tom Kuehn at the happy hour before the banquet. Photo by Lowell Boehland. banquet. Photo by B Bronson.

Bruce Newman, Chris Roth and Bruce Levitt are enjoying David Corkrum with Donna and Gene Borrelli before the ban-themselves before dinner. Photo by B Bronson. quet. Photo by B Bronson.

Geoff Ward, Gracie Tuzynski, Craig Robson, Matt Bjork and AMICA President Mike Walter and MBSI President Matt Jaro Gary Rasmussen chat over drinks. Photo by Lowell Boehland. meet during the banquet. Photo by B Bronson.

Matteo deMauro with his collection of pianos, automobiles and other curiosities during a tour of his home. Photo by Lowell Boehland.

Jared DiBartolomeo and Bob Gonzales enjoy a tune from A stuffed lion on a player piano at Matteo deMauroÕs home. Matteo deMauroÕs Mason & Hamlin Ampico A. Photo by Photo by Geoff Ward. Lowell Boehland.

Jack Conway with his calliope in the back of an antique Ford pickup truck. Photo by Geoff Ward.

Jared DiBartolomeo enjoys a tune from an Aeolian Orchestrelle at Jack ConwayÕs home. Photo by Geoff Ward.

Jack plays a tune on his 44-note Wurlitzer Pianino. Photo by Jack loads a roll into his Marshall & Wendell Ampico B for Geoff Ward. guests to enjoy. Photo by Geoff Ward.

Friday night, as if the dayÕs adven.tures were not enough, the annual banquet was held. It featured an 18-piece swing orchestra, dancing and the distribution of the traditional table favors. This year it was a laser cut miniature replica of the Ruth 38 fairground organ seen at Frank NixÕs home. The table favor was produced by internationally-known pyrotech.nics artist Thaine Morris.
Saturday was the final day of the convention. It started with breakfast and the official business meetings of both AMICA and MBSI. Then guests were free to board buses for tours of collections in the homes of Matteo deMauro and Jack Conway.
MatteoÕs eclectic mix includes pianos, gramophones, motorcycles, cars, stuffed lions, harps and antique furniture along with a few ornate-ly-cased disc music boxes.
JackÕs collection features a calliope, Regina Hexaphone, several nickelode.ons and player pianos as well as an antique Ford truck. Jack showed off his collection of musical toys, crank organs and disc music boxes for all to enjoy before guests finally departed for home.
Look for details about the 2025 MBSI Annual meeting on Page 56 of this issue.

Tom Kuehn and Toshihide Atsumi in the hospitality room enjoying a nickelodeon on display. Photo by Lowell Boehland.

Southern California Chapter
Chapter Chair: Robin Biggins Reporter: Robin Biggins Photographer: Lowell Boehland
Aug. 31, 2024 Ñ Carlsbad, CA
Our chapter had a wonderful, as well as quite interesting and educa.tional, meeting of members (dare I say friends!) from both MBSI and AMICA chapters in a relatively small town in Southern California.
Not everyone is familiar with NAMM, the National Association of Music Merchants, so to briefly describe the group: it is a hub for people who want to seek out the newest innovations in musical products, recording tech.nology, sound, lighting and programs designed to promote music making to people of all ages. NAMM supports a sister company called the Museum of Making Music, which opened to the public in 2000.
We visited back then, and WOW! What a change in 24 years. Now the museum is an expanded facility with a huge variety of instruments, and it has knowledgeable docents to explain and demonstrate how each of them work. They even have an example of a piano that was parachuted to the U.S. forces in Europe during World War II. They have only two musical boxes from the late 1800s. You can find out more about NAMM and the museum by going to museumofmakingmusic.org
After this extravaganza, we traveled a few miles away to the Miniature Engineering Craftsmanship Museum (MECM) also in Carlsbad, CA. It is housed in a large building in an industrial area and it was absolutely fascinating. There are hundreds of small replicas of items that talented people have made, many of which are operating in view. We saw many outboard motors that work even though they are only less than 2 inches long. There are cars, planes,

Our group split into two for tours around the building. Each stop had something new to see and hear.

One of the two antique cylinder music boxes in the building. The tune sheet from the box titled Flute Voix Celeste.

Our tour guides were knowledgeable about the history of the instruments attractively displayed in the museum.
machines, and even a small pipe organ. The most spectacular item was an absolutely accurate copy of a 1932 Duesenberg that took the maker 20,000 hours to complete. Even the motor and transmission work and the upholstery is hand stitched. It was, frankly, unbelievable!
We all had a wonderful day. To learn more about the MECM, you can go to craftsmanshipmuseum.com

A one-sixth-scale 1932 Duesenberg SJ Dual Cowl Phaeton model featuring a work.ing engine and transmission was made by Lou Chenot. It took him more than 20,000 hours to build it. The 32-valve, straight-8 engine and three-speed transmission are completely functional.

Members of the MBSI and AMICA Southern California chapters gathered for a photo before the day was over.

Toys, doll houses and even a Harley Davidson carousel could be found in the museum. Chapter members watch a demonstration of a radial engine.

Models of farm and construction machinery along with aircraft and ships each had their place.
Golden Gate chapter
Chapter Chair: Judy Caletti Reporter: Linda Gray-Moin Photographer: Linda Gray-Moin
Sept. 14, 2024 Ñ Palo Alto, CA
The Golden Gate chapter spent its Sept. 14 meeting happily ÒDown the Rabbit HoleÓ at the art studio of member Linda Gray-Moin in Palo Alto, CA.
Linda is a fine art oil painter who specializes in figurative and narra.tive-inspired art. She has also been an active member of the Lewis Carroll Society of North America (LCSNA) for 40 years. As part of a larger art proj.ect, Linda has recreated the Oxford University sitting room of Lewis Carroll (aka Charles Lutwidge Dodg.son), including a highly decorative fireplace and oil portraits that hung above his mantel.
Her work also includes restoring mechanical music boxes and autom.ata as well as diverse gadgets such as a Hammond No. 1 typewriter, magic lantern, traveling chess set, an early Ottewill wet plate camera, Smith & Beck microscopes and an F.L. West telescope along with a variety of other gadgets.
Over tea and pastries, Golden Gate members learned about the Renaissance man who was Lewis Carroll. We started the afternoon with a video Linda produced for the LCSNA entitled ÒA Visit to Uncle DodgsonÕs Fireside,Ó that tells the story of LindaÕs construction of the fireplace, the painting of the copies of the William De Morgan tiles that decorate the faade, and the painting of the portraits above the mantel. The video explained CarrollÕs interests in the arts and his relationships with the painters of the portraits he purchased. In the voices of his childhood friends at Oxford reminiscing about their time with him, we learned about his gener.ous nature, and the ways in which he would entertain them on their visits to his sitting room. small snuff box. Automatons were

He often played them tunes from also popular with the children. He one of his many mechanical musical owned a furry mechanical bear which instruments which included an Amer-scurried across the floor, opening and ican Orguinette, Ariston organette, closing its jaws (LindaÕs is a Roullet et Bremond cylinder music box, and a Decamps model), and a dancing doll automaton. Members were treated to entertainment from restored versions of all these items.

Following our art studio tea party we adjourned to recon.vene at LindaÕs home on the Stanford University campus where she has created a magical ÒAlice in WonderlandÓ garden, complete with flowers from the story and statuary of Wonderland characters purchased in Britain and else.where. We finished the day with a delicious potluck, and reluctantly departed from Wonderland as we were obliged to return to reality.
Look for a longer, more detailed article about LindaÕs musical items which are the same make and model as what Carroll enjoyed in an upcoming issue of Mechanical Music.

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

Diane Victoria Lloyd Ñ 1937Ð2024
By Robin Biggins
Diane Lloyd was the most enthusi.astic officer of the Southern California Chapter of MBSI and was our secre.tary and treasurer for almost 40 years.
She recorded all the members who attended our national annual meetings and other events and computed the expenses and profits for the meetings in 1993, 2003 and 2015.
She will be sorely missed. Diane looked after her ailing husband, Bob, for about two years before he died. Their remarkable life was the subject of an article in Mechanical Music, Vol. 68 No. 2, March/April 2022.
Diane and Bob were married in Buena Park, CA, on Mar. 27, 1954. Bob was the love of DianeÕs life. She and Bob did everything together and she took care of him at the end of his life and never complained.
Bob and Diane hosted numerous chapter meetings in their home and attended many meetings across the country. They loved their mechanical music collection and loved to show it off.
Diane is survived by Rick (son) and Sheryl (daughter), four grandchildren and five great grandchildren.

Francy Reitz Ñ1936Ð2024
By Tracy Tolzmann
Long-time CafesjianÕs Carousel volunteer and member of the Snow.belt Chapter of the Musical Box Society International (MBSI), Francy Reitz, passed away peacefully on Sept. 22 surrounded by her family. Francy was 88.
Francy and her late husband of 55 years, Richard (Dick), who passed away Apr. 5, 2019, were the proud adoptive ÒownersÓ of horse 11-A on the outside row of CafesjianÕs Carou.sel. Their $25,000 donation for the honor is part of a special fund for the future preservation and repair of PTC 33 above and beyond the rideÕs routine maintenance.
Frances ÒFrancyÓ (Niles) Reitz, was born in Saint Paul, MN, and attended Horace Mann Elementary. She grad.uated from Central High School and went on to earn a degree in psychol.ogy from the University of Minnesota. Francy enjoyed working at Glacier National Park for two summers while in college. She was employed as a case worker at the Ramsey County Welfare Department.
Francy loved attending the Minne.sota State Fair and worked in its information booths. Her joyful atti.tude and wonderful sense of humor helped build lasting friendships while having fun volunteering at CafesjianÕs Carousel and participating as an active member of the Snowbelt Chapter. She liked taking trips to see pipe and band organs, and enjoyed other traveling, including taking a special motorcycle trip out west with her husband.
Francy was a dedicated and loving mother and friend to her son, Martin and daughter, Christine (McDaniel), and a proud gramma to Mattison ÒMattiÓ McDaniel. A private family memorial service has been held and Francy is interred at Roselawn Ceme.tery in Roseville, MN.

Stephanie Ryder Ñ 1943Ð2024
By Stephen H. Ryder
Stephanie Ryder of Westfield, NJ, passed away on Aug. 30 following an illness. Born in Kingston, NY, she lived there and in New Haven, CT, until her family settled in the river town of Cranford, NJ. The first of three chil.dren, her early recreational pursuits were ice-skating, canoeing, bowling and dancing. A lover of animals of all sorts, she once lured ducks from the river by slowly laying a trail of bread.crumbs into her childhood home. On a later occasion, when our visiting aunt excused herself to wash her hands, a horrifying shriek was heard, as we all had neglected to inform her that Stephanie was keeping her baby alligator in the bathtub!
Her parents, Hughes and Frances Ryder, owned and ran restaurants, where Stephanie worked part time. Hughes and Frances bought their first antique musical box in 1948 and were soon adorning their home and, seasonally, two of their restaurants with the instruments. Stephanie was taken to small but growing social gath.erings of collectors, as well as helping to host such events at their home and business properties. As a teenager, she was the youngest attendee present at MBSIÕs 10th Anniversary meeting in Pennsylvania in 1959.
She graduated from Cranford High School in 1961 and then married her high school sweetheart, Robert Freese. As each of them were art fanatics, they moved to Brooklyn and took art courses at the Pratt Institute. Rob became an illustrator and graphics designer for several prominent publishers, so they raised
RYDER | See Page 51

RYDER | From Page 50
their sons in several east coast towns before returning to New Jersey. In West Orange, NJ, Stephanie garnered praise as the Set Designer for Incan.descent Theater. Over time, her varied business activities were as a home decoration consultant, as a real estate agent, and in the health insurance industry. In her off-time, she could seldom be found far from her loving dogs or her pet rabbits (who slept under the kitchen table!). Overall, her greatest joy besides family and friends came from traveling to exotic locations and enjoying art and music.
In the late 1980s Stephanie re-im.mersed herself in MBSI. She helped organize some of the East Coast Chap.ter meetings and made it a weekend adventure to scout out and size up suitable hotel and meal locations with longtime friends who would share their views on the same. She chaired the East Coast Chapter in 1990-91, served on the MBSI Board of Trustees from 1993-97 and chaired the host committee for MBSIÕs 50th anniver.sary convention that attracted no less than 505 members from 12 nations to Philadelphia in 1999.
Stephanie was a constant, loving support to her family. She is prede.ceased by her parents and her former husband. She is survived by her two sons, Bob and Bill Freese, as well as her two brothers, Stephen and Jere.mie Ryder. The family suggest that a donation could be made in Stepha.nieÕs memory to the Morris Museum of Morristown, NJ, in support of its

mechanical music library.

By Carla Wiemer
I met Stephanie and her brothers at my first MBSI meeting 38 years ago. I arrived in Sarasota without knowing a soul and left with so many new friends because the Ryders intro.duced me to everyone! That meeting in Florida was the beginning of our cherished friendship. Steph became my trusted roommate and partner in crime through many years of MBSI and Automata meetings. We had so much fun! She did not hold back when it came to laughter. That was always the easiest way to find her in a large hotel setting. She also knew how to make others laugh, and oh, my gosh, that eye roll of hers!
One of the things that I admired most about Stephanie was her sense of loyalty. If her friends or family needed help with anything, she was there for them, no questions asked. Even during times when she was going through her own struggles, she would put her family and friends first.
Strength was another one of her outstanding qualities. She was not only strong, but strong willed, which, IÕm certain, many of you can attest to! Things that would have sent me over the edge, she took with a grain of salt. She would simply take command and get the job done. If someone, or some event broke her heart, rather than sulking or whining about it, she pulled up her big girl pants and moved forward with gusto. The woman could truly handle anything!

We had so many fun adventures over the years. Besides all of the MBSI meetings and visits to each otherÕs homes, we managed to meet up for a few real vacations. Living in different parts of the country, it was always great to get together, catch up, relax, and laugh…the things that make friendships the best!
Sadly, I did not meet her father before his passing, but I do know how much she was loved by her mother, her Uncle Roger, her brothers, her sons, her friends, and her dogs. What a full and amazing life she lived…and we all miss her. ÒHow lucky I am to have something that makes saying goodbye so hard.Ó A. A. Milne.

David Reidy Ñ1942Ð2024
By Don Henry
Long time member and advocate of MBSI David Reidy passed away in September, after a long and coura.geous battle with stomach cancer.
David was not only an avid collec.tor and wonderful storyteller, but also a great friend to all those who knew him. His infectious charm and demeanor would always bring a smile to everyone he knew or met.
David and his wife, Dianne, built an amazing collection of music machines, wax figures, soda fountain memorabilia and much more that they loved to share as often as they could.
Far more important than any accumulation of physical objects, however, David will be missed for his generosity, enthusiasm and the joy he brought to his family and friends. He will be sorely missed by our MBSI community and all those whose lives he touched.
A memorial service was held at the Saddleback Chapel Funeral Home in Tustin, CA, on Sept 21, followed by a celebration of DavidÕs life and legacy at the Reidy home.

Our Condolences
MBSI has learned that Lawrence Crawford, age 71, passed away on Oct. 9, 2024. A detailed In-Memoriam article will be included with a future issue of Mechanical Music. We send our sincere condo.lences to Lawrence’s wife, Phyllis, their family and friends.

John Wells
By Paul Senger
I am sad to report the death of longtime National Capital Chapter (NCC) member John Wells on Jul. 16, 2024. He limited his meeting atten.dance after COVID-19 due to multiple illnesses. John lived in Springfield, VA, for more than 30 years.
John was born Sept. 9, 1949. He ran an office equipment shop in Alexan.deria, VA, where he sold and repaired equipment. John started collecting in 1990 and loved musical boxes. He loved to go to the theater organ concerts at Jack and Mildred Hard.manÕs. John was a longtime member of MBSI and the NCC. He had a large collection of musical boxes and was an expert on the subject.
He also assisted in preparation and organization of the MBSI annual meeting in Rockville, MD, in 2011. For about 10 years John, along with David Burke, did the printing, assembly and mailing of the NCC bulletin. They produced nearly 90 bulletins per mail.ing, four times a year.
John was also a lover of Broadway shows and finding new restaurants. He was an animal lover and owned a cat. John always told great stories and was great to visit with at meetings. He will be greatly missed.
A celebration of life was held for John on Aug. 29, 2024, at St. ChristopherÕs Episcopal Church, in Springfield, VA, where he was a regu.lar attendee.
Our condolences go out to his friends and family.

More memories of Arthur W.J.G. Ord-Hume
By Bill Edgerton
I was friendly with Arthur W.J.G. Ord-Hume for about 50 years and I would suggest that he knew more about mechanical music than anyone else, alive or dead. His many books seem to cover all aspects of mechan.ical instruments except perhaps reproducing pianos.
Several years ago I researched resale opportunities of his books and I believe there were about 500 separate offerings of his titles on the internet ranging in price from $1 to more than $500. Many enthusiasts may not know that Arthur was very interested in subjects other than mechanical instru.ments. He wrote about perpetual motion and aeronautics and airplanes. He built the body of an airplane in his garden in London, England, and had to make a hole in the dining room wall to allow the tail of the plane to stick outside.
His library of books on mechanical music and horology was (is?) the largest in the world. I will miss his substantial knowledge of any subject at hand, his smile, and his friendship.
By Marian van Dijk and Claire McGinn of Museum Speelklok in Utrecht, the Netherlands:
The archive of Museum Speelklok bears the traces of the intensive correspondence between former director Jan Jaap Haspels and Arthur Ord-Hume. There are comments in the margins of letters and articles, sometimes with exclamation marks
ORD-HUME | See Page 55

or underlining to make it clear that what was written was really incorrect. Occasionally a disagreement could become rather lively, but this did not stand in the way of a lifelong friend.ship. The museum owes a lot to Arthur Ord-Hume who so generously shared his vast knowledge of mechanical music with the world.
Ñ Marian van Dijk, director, on behalf of the employees of Museum Speelklok
I had the privilege, with my restorer colleague Martin Paris, of meeting Arthur and Ruth at their home and marveling at the sheer abundance of books, stories, knowledge, and memories to be found there. It was a wonderful experience to speak to the man responsible for so many import.ant works on mechanical music. As a delightful bonus, Arthur treated us to a serenade on the Aeolian Orchestrelle!
Ñ Claire Mc Ginn, curator of Museum Speelklok
By Angelo Rulli
Arthur attended the 1987 MBSI Annual Meeting held in St. Paul, MN, an honor IÕll always remember. He welcomed me to his memorable collection when I visited in 2002.
He was the icon who first brought my attention to our wonderful hobby and IÕll remember him always for so many good reasons.
Ciao, my wise and wonderful friend.

The Lake Michigan MBSI & Chicago AMICA Chapters invite you to a
Joint MBSI & AMICA

Sweet Home Chicago 2025
Mark your calendars for August 20-24, 2025
Returning to the
Discounted Room Rate $129 + tax

Wednesday & Thursday Day Tours

Sweet Home Chicago Evening Programs including Thursday Foot Pumper Contest Friday -Workshops & Awards Luncheon -Evening Mart Saturday -Breakfast &
s -Gala at the SanÞlippo Estate

Visits Ð Bisberg/VanMetre, Hu.er, Kresmery. Persky and Weyna

Bob Caletti

Specializing in Antique Music Box Restorations ¥ Buy ¥ Sell

605 Wallea Dr. Menlo Park, CA 94025 (650) 325-3898
www.musicboxrestorations.com info@musicboxrestorations.com

Add a photo to your ad!

You know the old saying, ÒA photo is worth 1,000 words!Ó For $30 you can add a photo to your ad in the Mart. A photo makes your ad stand out on the page and quickly draws a readerÕs interest in the item.
Email your advertisement with photo to editor@mbsi.org or call (253) 228-1634.

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We restore Swiss cylinder and Disc music boxes.
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able. We have been accused of over restoring! Better over than under we say! We can arrange pick-up and transportation of your music boxes, but
feel free to transport or ship it to us in beautiful Randolph, Vermont. We will store your treasure in a climate-controlled area until itÕs
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 all the parts needed to restore any music box.
See our website, www.PorterMusicBox..com, to read letters of recommendation
currently being manufactured anywhere in the world. We have twin disc models, single disc models with 12 .Ó discs, and table models with beautiful cabinets created in Italy. We also sell CDÕs, variety of small music boxes, Disc sleeves and a large list of discs both 15 .Ó and 12 .Ó.
Movie stars like Wayne Newton, Myron Florin, Tom T. Hall, Charles Osgood and a Sultan from Malaysia are amongst the list of Porter Music Box owners, not to mention the more than 1,000 owners in Japan. Author of Encyclopedia of Auto.matic Musical Instruments Q. David Bowers wrote a letter of recommendation. ÒWhen Dwight and his crew of music box restorers work on an antique music box, cylinder, or disc type, no mechanical detail is ignored. Every part regardless of its purpose is inspected for wear and all steps necessary to make it like, or better than new are taken.Ó
Call (802) 728-9694 or
P.O Box 424 email ronc@portermusicbox.com Randolph, VT 05060

The Musical Box Society of Great Britain announces the publication of two new books

Published in September 2018

100pp Hard Back ISO A4 format [8.27Ó . 11.70Ó; 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 100pp Hard Back ISO A4 format [8.27Ó . 11.70Ó; Profusely illustrated in

colour throughout;Additional Illustrations of Models; Additions to Lists of

The Organette Book

Patents, Tune Lists & Tuning Scales; A New Section on Trade Cards;Compiled and Edited by Combined Index of Images in the original book and its Supplement.

Kevin McElhone

ISBN 978-0-9557869-5-2 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

>> Three Grand Format Overture Boxes, with brass & enamel inlays >> Two fat cylinder Overture boxes, 6 & 8 tunes >> Nicole Fat cylinder 2/turn >> Keywinds, both exposed control & covered >> Sec
onal Comb boxes, with exposed controls >> Mermod Fat Cylinder Soprano, 4 cylinders, on table (above from the Amos & Ruth Fowler Collec
on!) >> 20Ó Regina Upright; 20Ó Regina on base >> 15Ó Regina curved front changer >> Organe
es, two Monkey organs >> Reginaphone, style 240 >> over 10,000 discs; 100s of cobs >> and LOTS more!
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ancy
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rat
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RESTORED MUSICAL BOXES Offering a variety of antique musical boxes, discs, orphan cylinders, reproducing piano rolls & out of print books about mechanical music. BILL WINEBURGH 973-927-0484 Web: antiquemusicbox.us
THE GOLDEN AGE of AUTOMATIC 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 youÕll find it to be one of the most interesting, inspiring, informative books you have in your libraryÐor 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.
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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

REPRODUCTION POLYPHON discs; Cata.logs available for 19 5/8Ó, 22 1/8Ó, and 24 1/2Ó. DAVID CORKRUM 5826 Roberts Ave, Oakland, CA 94605-1156, 510-569-3110, www.polyphonmusic.com
SAVE $Õs on REUGE & THORENS MUSIC BOX REPAIR & RESTORATION Ð MBSI MEMBERS RECEIVE WHOLESALE PRICING.
40 + Years experience servicing all makes & models of cylinder and disc music boxes, bird boxes, bird cages, musical watches, Anri musical figurines, et al. All work guaranteed. WeÕre the only REUGE FACTORY AUTHORIZED Parts & Repair Service Center for all of North America. Contact: DON CAINE -The Music Box Repair Center Unlimited, 24703 Pennsyl.vania Ave., Lomita, CA 90717-1516. Phone:
(310) 534-1557 Email: MBRCU@AOL.COM. On the Web: www.musicboxrepaircenter.com
Add a photo to your ad!
A photo makes your ad stand out on the page and quickly draws a readerÕs interest in the item. Email your adver.tisement with photo to editor@mbsi.org or call (253) 228-1634 for more details.

Display Advertising Dimensions and Costs
Dimensions 1 issue 3 issues* 6 issues*
Back Cover 8.75Ó x 11.25Ó $600 $540 $510
Inside Covers 8.75Ó x 11.25Ó $450 $405 $382.50
Full Page 7.25Ó x 9.75Ó $290 $261 $246.50
Half Page 7.25Ó x 4.5Ó $160 $144 $136
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Eighth Page 3.5Ó x 2.125Ó $50 $45 $42.50
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

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 in The Mart, an effective advertising tool at an inexpensive price. Copy or cut out the form below and mail it in to get started. All ads are published in Mechanical Music and on the MBSI website at www.mbsi.org
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Advertise in The Mart
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Email your ad to editor@mbsi.org or call (253) 228-1634 to place your ad for the November/ December 2024 issue.
Add a photo to your ad!
Photos are only $30 extra per issue.
Email editor@mbsi.org or call (253) 228-1634 for more details.

Display Advertisers in this issue
2………. Renaissance Antiques 58…….. Verbeeck Organs
56…….. Lake Michigan Chapter 58…….. NAWCC
57…….. American Treasure Tour 59…….. Porter Music Box Company
57…….. Music Box Restorations 60…….. MBSGB
57…….. Cottone Auctions 60…….. Mechanical Organ and Clock Works
58 ……. Automata Magazine 61…….. Nancy Fratti Music Boxes
67…….. Marty Persky

OFFICERS, TRUSTEES & COMMITTEES of the MUSICAL BOX SOCIETY INTERNATIONAL¨
OFFICERS President
Matthew Jaro 24219 Clematis Dr Gaithersburg, MD 20882 mjaro@verizon.net
Vice President
Bob Caletti, 605 Wallea Drive Menlo Park, CA 94025 bcaletti@pacbell.net
Recording Secretary
Linda Birkitt PO Box 145, Kuna, ID 83634 scarletpimpernel28@yahoo.com
Treasurer
Edward Kozak 3615 North Campbell Avenue Chicago, IL 60618 ekozak1970@gmail.com
TRUSTEES
Dave Calendine Bob Caletti Edward Cooley David Corkrum Richard Dutton Rich Poppe Matt Jaro Mary Ellen Myers Rick Swaney

COMMITTEES Audit
Edward Cooley, Chair, Trustee Bob Caletti, Vice President Dave Calendine, Trustee
Endowment Committee
Edward Kozak, Treasurer, Chair Edward Cooley, Trustee Dave Calendine, Trustee B Bronson
Executive Committee
Matthew Jaro, Chair, President Bob Caletti, Vice President David Corkrum, Immediate
Past President Edward Cooley, Trustee Rich Poppe, Trustee
Finance Committee
Edward Kozak, Chair, Treasurer Edward Cooley, Trustee Peter Both
Marketing Committee
Bob Smith, Chair Edward Cooley, Trustee Richard Dutton, Trustee Judy Caletti Don Caine John Miller
Meetings Committee
Rich Poppe, Chair, Trustee Judy Caletti Tom Chase Cotton Morlock Tom Kuehn
MBSI FUNDS

Members can donate to these funds at any time. Send donations to: MBSI Administrator, PO Box 10196, Springfield, MO 65808-0196.
General Fund (unrestricted) Endowment Fund (promotes the purposes of MBSI, restricted) Ralph Heintz Publications Fund (special literary projects) Museum Fund (supports museum operations)
Membership Committee
Chair, Vacant Richard Dutton, Trustee Mary Ellen Myers, Trustee,
Southeast Robin Biggins, Southern California Judy Caletti, Golden Gate Gary Goldsmith, Snowbelt Florie Hirsch, National Capital Judy Miller, Southeast Rob Pollock, Mid-America Dan Wilson, Southeast Gerald Yorioka, Northwest IntÕl TBD, East Coast TBD, Lake Michigan TBD, Sunbelt
Museum Committee
Sally Craig, Chair Dave Calendine, Trustee Glenn Crater, National Capital Ken Envall, Southern California Julian Grace, Sunbelt Richard Simpson, East Coast
Museum Sub-Committees
Ohio Operations Rob Pollock, Mid-America
Nominating Committee
Judy Caletti, Chair David Corkrum, Immediate Past President Bob Caletti, Golden Gate, Vice President Mary Ellen Myers, Trustee,
Southeast Tracy Tolzmann, Snowbelt Rob Pollock, Mid-America Marc Pichla, Lake Michigan
MBSI Editorial Office:
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SUBMIT ADS TO:
MBSI Ads 130 Coral Court Pismo Beach, CA 93449 (253) 228-1634 Email: editor@mbsi.org
Publications Committee
Bob Caletti, Chair,
Vice President Richard Dutton, Trustee Paul Bellamy Steve Boehck Christian Eric Kathleen Eric
Publications Sub-Committee
Website Committee Rick Swaney, Chair B Bronson Knowles Little, Web Secretary
Special Exhibits Committee
Mary Ellen Myers, Chair, Trustee, Southeast David Corkrum, Immediate Past
President, Golden Gate Donald Caine, Southern California Richard Dutton, Trustee, East Coast Jack Hostetler, Southeast Knowles Little, National Capital Judy Miller, Southeast Aaron Muller, Lake Michigan Wayne Myers, Southeast Rick Swaney, Trustee,
Northwest International
SPECIAL ACTIVITIES Publications Back Issues:
Jacque Beeman
Regina Certificates:
B Bronson
MBSI Pins and Seals:
Jacque Beeman
Librarian:
Jerry Maler
Historian:
Bob Yates
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 authorÕs approval. All articles are considered to be the authorÕs personal opinion. The author may be asked to substantiate his/her statements.

CALENDAR OF EVENTS
Date Event Location Sponsor
Dec. 2, 2024 Wonders of Mechanical Music Zoom Call https://thewonders.org/ The Carousel Museum
Dec. 8, 2024 National Capital Chapter Holiday Meeting, Annapolis MD Richard and Cheryl Hack
Dec. 8, 2024 MBSI Snowbelt Holiday Meeting with AMICA Hamel, MN Stacy Nunn
Dec. 14, 2024 MBSI Lake Michigan Chapter holiday meeting with AMICA/ATOS/COAA Sanfilippo Estate Barrington Hills, IL Marty Persky
Aug. 20-24, 2025 2025 MBSI Annual Meeting Chicago, IL Lake Michigan Chapter

Email event details to editor@mbsi.org by Dec. 1, 2024, for the January/February 2025 issue. Ask your questions on our Facebook discussion group Ñ search for the Music Box Society Forum.
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 (417) 576-4280 jbeeman.mbsi@att.net
CHAPTERS
East Coast
Chair: Elise Low (203) 457-9888 No Dues in 2024 Roger Wiegand 281 Concord Road Wayland, MA 01778 treasurer.eccmbsi@gmail.com
Golden Gate
Chair: Judy Caletti jeeperjudy@gmail.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: Mark Pichla (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: Cheryl Hack (410) 757-2164 cahack@aacc.edu 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
Regina Certificates: Cost $10. 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
Museum Donations Sally Craig 2720 Old Orchard Road Lancaster, PA 17601 Phone (717) 295-9188 rosebud441@juno.com
CHAPTERS
Snowbelt
Chair: Tracy Tolzmann (651) 674-5149 No Dues in 2024
Southeast
Chair: Jim Kracht 305-251-6983 Dues $5 to Bob Yates 1973 Crestview Way Unit 147 Naples, FL 34119
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
Southern California
Chair: Robin Biggins (310) 377-1472 Dues $10 to Franne Einberg 10524 Blythe Ave Los Angeles CA 90064
Sunbelt
Chair: Marty Nevel currency33@AOL.COM No Dues in 2024

Copyright 2024 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
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 1,000 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 8.75Ó x 11.25Ó $600 $540 $510
Inside Covers 8.75Ó x 11.25Ó $450 $405 $383
Full Page 7.25Ó x 9.75Ó $290 $261 $247
Half Page 7.25Ó x 4.5Ó $160 $144 $136
Quarter Page 3.5Ó x 4.5Ó $90 $81 $77
Eighth Page 3.5Ó x 2.125Ó $50 $45 $43

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Mechanical Music at its Best -www.Mechmusic.com
Instrument Brokering & Locating / Appraisals / Inspections / Free Consultation

Welte Style 4 Monster Paganini Orchestrion Weber Maesto with Concert Orchestrion 45Õer Niemuth Bacigalupo & Marty Automaton Diorama

Seeburg G Orchestrion Regina 27Ó Changer Regina Chime Steinway OR 6Õ6Ó Art Case Polyphon 24.5Ó Mel Septon Restoration Walnut Dragon Front Style 82 Leedy/Septon Restoration Mikado

20Ó Chordephon Welte Briscovia Violina Orchestra by Wendel Regina Style 35 Mechanical Zither Luxus Clock & Art Glass
Contact Marty Persky for further information on these and other fine instruments. tel: 1-847-675-6144 cell: 1-847-208-9912 email: Marty@Mechmusic.com

Volume 70, No. 5 September/October 2024

Devoted to All Automatic Musical Instruments

Journal of the Musical Box Society International

Volume 70, No. 5 September/October 2024

5 PresidentÕs Message
7 EditorÕs Notes
8 Annual TrusteesÕ
Meeting Minutes
13 Annual MBSI Business Meeting Minutes
51 In Memoriam

MBSI News

On the Cover
A Mandoline Zither Tabatire from Bernard NovellÕs UK collection. Read more on Page 18.

By Matthew Jaro
MBSI President
The annual meeting is now over. I started work editing a video I took of the proceedings. It should be ready by the time you receive this message. To play it, get onto YouTube.com, search @MattJaro. The capitalization must be as shown. Look for an ÒMÓ inside a circle in the search results. Click on this and you will see thumbnails of the video entitled ÒAMICA MBSI 2024 Annual Meeting.Ó ItÕs in ultra-high definition (4K), so expand the image to full screen.
Before leaving for the meeting, I thought, ÒIÕve seen most of these places before, this will be boring.Ó When I got to the meeting, however, it turned out to be anything but boring. Seeing people I havenÕt seen for a whole year was really exciting and there were many places to visit that were entirely new to me. There were a number of good restaurants in the area so eating dinner out together with old friends was certainly memorable.
Sharing a meeting with the Auto.matic Musical Instrument CollectorsÕ Association (AMICA) membership provided an opportunity to meet new friends with approximately the same interests.
ItÕs true that there were a few glitches, but if you didnÕt let them bother you, everything turned out well.
A highlight of the meeting was a visit to the Pickford Center for Motion Picture Study which is the home of the Academy of Motion Picture Arts and Sciences Film Archive. It holds more than 230,000 items. In addition to seeing several short historical movies, we were treated to an accompanying musical rendition by Joe Rinaudo on his restored Photoplayer. I wish we could have spent more time at the Academy.
Another great highlight was a visit to John GaughanÕs workshop. John is a famous illusion designer. He builds the apparatus for classic magic tricks. During our visit, he performed a number of the tricks, including one where a woman steps into a box, which is then closed, and swords are shoved through the box in a number of slots. Then, the swords are removed and then the woman exits the box without being hurt. I was only a foot away from this trick and it sure looked like magic to me.
The Getty Museum and Getty Villa trips did not involve mechanical music but both the collections and the sites were extremely interesting. It was something that I had never done before and was well worth the time spent there.
We visited Jack ConwayÕs house which was an important event. It was a visit to a collection where a whole busload of people could not fit in the house. As some of the big collections are disappearing, it is more important to try to see the smaller collections. This is accomplished by using 25-person buses and making more stops. JackÕs house was served by a big bus (56 person capacity), but the bus wasnÕt filled so everyone fit. Jack has quite an interesting array of musi.cal instruments and a good time was had by all.
AMICA traditionally has a Òpumper contestÓ where contestants play a piano roll on a foot-pumped player piano. They try to interject expression into the performance by manipulating bass and treble loudness and other parameters. The performances are judged, and the winner gets the ÒGolden FootsieÓ award. This is always a lot of fun, and this time MBSI members got to enjoy a new form of entertainment.
There were a lot of other interesting things to do, such as the mart, where you could buy music-related items like piano rolls and music boxes. The workshops are always fascinating, as well. Even the business meetings were fun.
So, to conclude, the annual meetings are great fun, and I guarantee that you wonÕt be bored. They always provide experiences that you couldnÕt arrange on your own. See you next year in Chicago!!

Mechanical Music

43 Snowbelt
47 Southern California

Annual Meeting
A few selected photos from the 2024 MBSI Annual Meeting.
Page 15.

MECHANICAL MUSIC

Journal of the Musical Box Society International

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
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 authorÕs approval. All articles are considered to be the authorÕs 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 2024. 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.
POSTMASTER: SEND ADDRESS CHANGES TO
MBSI, PO Box 10196,
Springfield, MO 65808-0196

Features

15 Selected Photos from the 2024 Annual Meeting
18 Switching Gears
28 Nickel Notes

Chapter Reports

MBSI has replanted 277 trees so far as part of the Print ReLeaf program.

ADVERTISING DEADLINES
Advertisements for the November/December 2024 issue of Mechanical Music to be submitted by Oct. 1, 2024.
Advertisements for the January/February 2025 issue of Mechanical Music to be submitted by Dec. 1, 2024.

EDITORIAL DEADLINES
Articles for the November/December 2024 issue of Mechanical Music should be submitted by Sept. 25, 2024.
Articles for the January/February 2025 issue of Mechan.ical Music should be submitted by Nov. 25, 2024.

EditorÕs Notes

MAILING ADDRESS
MBSI Editorial / Advertising
130 Coral Court
Pismo Beach, CA 93449
EMAIL ADDRESS
editor@mbsi.org

By Russell Kasselman
MBSI Editor/Publisher
It turns out you donÕt have to go to Disneyland to have a magical time in Southern California. The 2024 MBSI Annual Meeting, held jointly with (and organized by) the Automatic Musical Instrument CollectorsÕ Association (AMICA) held many a fascination for those in attendance.
Early arrivals to the Agoura Hills, CA, Sheraton hotel had an option to attend a screening of ÒThe Sting,Ó starring Paul Newman and Robert Redford at the Old Town Music Hall in El Segundo, CA. The quaint El Segundo State Theater, originally built in 1921 to entertain oil refinery workers after their shifts, was closed for many years but reopened in 1968 with its current moniker. It features a Mighty Wurlitzer Theatre Pipe Organ that was relocated from the Fox West Theater in Long Beach, CA. The organ employs more than 2,600 pipes to fill the theater with sound. The organ console has four keyboards, 260 switches, and an array of controls and pedals. The organist can use a xylophone, marimba, piano, drums and cymbals to supplement the pipes. The entire system is air-powered from a 10-horsepower Spencer Turbine Orgoblo. In addition, the stage features a 9-foot concert grand piano. The 92-note Bšsendorfer was hand made in Vienna for Old Town Music Hall in 1974.
Prior to the movie, guests were treated to a ragtime musical perfor.mance on the piano by Vincent Johnson, who would make additional appearances during the rest of the convention to the benefit of all members who attended. VincentÕs performance was followed by an organ concert played by Stirling Year.ing. As the music swelled, the stage curtains parted to reveal a dazzling display of neon lights that added an entirely new element to the scene. The crystal chandeliers on the ceiling reflected dancing dots of light onto the bronze-colored ceiling and the art-deco walls. Two sing-a-long songs later, the audience was really in the mood to watch the main feature film.
Official meetings of the MBSI Board of Trustees and the AMICA Board of Directors dominated much of the next day, but tour buses were available to ferry guests to the home of Chuck Levy and his fabulous collection of automata and mechanical music instruments. ChuckÕs home on the Pacific Coast Highway is not far from the Santa Monica Pier and is only steps from the sandy beaches where vacationing sunbathers were out in force on a hot California day. MBSI Southern California Chapter Chair Robin Biggins was on hand to assist with demonstrations of a variety of automata from ChuckÕs collection.
Stay tuned for Part 2 of this report and many more photos in the Novem.ber/December issue of Mechanical Music.

Welcome new members!

June 2024
Michael & Olivia Jones
Schaumburg, IL
Michael Dohn
Liberty Twp, OH
Blue LoLan
West Hollywood, CA
Peter Goyer
Whitehouse Station, NJ
Sponsor: Charles Hildebrant
Bradley Kemp
Fair Lawn, NJ
Gray Lymans & Rick Moore
Houston, TX
Sponsor: Alan Bies
Craig & Doreen Bierman
Houston, TX
Sponsor: Alan Bies
Wayne Holton
Houston, TX
Sponsor: Alan Bies
Jeff Vincent & Deb Bower
Rochester, NY
July 2024
Robert Williamson
Columbus, NC
David Volansky
San Francisco, CA
Brian Smith
Burlington, ON
Amy Baker & Ernest McDonald
Columbus, OH
Millie Ring
Beverly Hills, CA
Sponsor: Don Caine
Drew Barnhart
Philadelphia, PA
Tom & Cindi Noble
Ballwin, MO

MBSI 2024 Annual TrusteesÕ
Meeting Minutes

Attending the 2024 Annual Meeting in person were (left to right): Trustee David Corkrum, Trustee Rick Swaney, Trustee Rich Poppe, President Matt Jaro and Trustee Richard Dutton.

Attending the 2024 Annual Meeting virtually via Zoom are (top left to right): Recording Secretary Linda Birkitt, Trustee Dave Calendine, Trustee Mary Ellen Myers, (bottom left to right) Trustee Bob Caletti and Trustee Edward Cooley.

On Jul. 1, 2024, MBSI President Matt Jaro called the Annual TrusteesÕ Meeting to order at 9:01 a.m. Pacific Daylight Time, at the Agoura Hills, CA, Sheraton Hotel. Those Trustees who were attending in person included: Matt Jaro, Dave Corkrum, Richard Dutton, Rich Poppe, and Rick Swaney. Those attending via Zoom were Dave Calendine, Bob Caletti, Ed Cooley, and Mary Ellen Myers. Nine of nine in attendance made up a quorum. Addi.tionally, committee chairs including Judy Caletti and Sally Craig were pres.ent as were Treasurer Ed Kozak and Recording Secretary Linda Birkitt.
President Jaro asked the recording secretary to read the minutes of the March 2024 Mid-Year TrusteesÕ Meet.ing. As all those present had read the minutes previously, so the recording secretary asked if there were any addi.tions, deletions, or corrections. There being none, President Jaro asked for a motion to approve the minutes as published. Trustee Corkrum moved, and President Jaro seconded the motion to approve the minutes as published. Motion carried.
President Jaro then requested that the recording secretary review the board actions. Board action X., refer.ring to an audit, was completed and was, therefore, deleted. Board action XV. Section B will be continued (Trust.eesÕ 07/01/2024) (ongoing). The vice president will check the reference in the Policies and Procedures to ascer.tain if the document indicates that ÒÉ disposal of assets by the Museum Committee will be used for general purposes.Ó
Vice PresidentÕs Report
The vice president is responsible for coordinating the annual awards process which was voted on by the trustees at the mid-year meeting, as well as notifying the recipients. Award plaques were completed and will be awarded at the annual meeting banquet.
The vice president is also respon.sible for gathering information and completing/filing the annual report from the society to the Board of Regents of the University of New York no later than the Jul. 1 filing deadline, which has been completed.
The vice president provides guid.ance for and advice to the chapters of the society, keeps informed of committee activities, and reviews and recommends revisions of the Bylaws and Policies and Procedures. Report received.
TreasurerÕs Report Ñ Endowment
Treasurer Ed Kozak reported that the Endowment Fund balance is $163,605 as of Dec. 31, 2023. This fund was increased by donations of $1,145 made in 2023.
As of May 31, 2024, the investment portfolio is made up of two certifi.cates of deposit totaling $101,000 that mature in 2024, and one certificate of deposit totaling $60,000 that matures in 2025. Interest rates average 4 percent and are expected to increase.
A Vanguard cash reserves balance of $2,605 currently earns 5.38 percent.
The Endowment Interest Earned Fund is $46,847 as of Dec. 31, 2023. Of this amount, two-thirds, or $31,231, is available, currently, for projects or programs which benefit the society.
No grants were made and no requests for grants were received in 2023, nor through the date of this report.
A listing of members by last name of both AMICA and MBSI would be helpful in making future economic decisions about the organization. Vice President Caletti indicated that he would charge the editor with this task. President Jaro stated that there would be a savings of some $2,000 per issue, if MBSI reduced publications from six to five per year. Further discussion regarding frequency of publication is warranted. President Jaro noted that the report was received.
TreasurerÕs Report Ñ Financial
The societyÕs accounting firm final.ized the financial statements for the year ending Dec. 31, 2023, and opined that no material modifications need be made to the financial statements. Key information from the statements follows:
¥
Membership dues revenue was $59,653 ($63,909 in 2022);

¥
Annual convention contributed a gain of $151 to the society;

¥
Publishing revenue of $14,113 ($17,902 in 2022) and publishing expense of $70,794 ($80,378 in 2022);

¥
Accounting, tax preparation and administrative expense totaled $34,218 ($36,699 in 2022).

Non-endowment certificates of deposit totaled $476,000 on May 31, 2024, with an average rate of return of 3.3 percent.
As of Dec. 31, 2023, temporarily restricted assets totaled $160,511.
Trustee Myers noted that if we combined the two groups, (MBSI and AMICA), we would lose some two-thirds of the members if the jour.nal is joined. Report received.
Administrator Report
President Jaro presented the admin.istratorÕs report. MBSI memberships as of Jun. 30, 2023, were 991, and as of Jun. 15, 2024, there were 951 member.ships. Vice President Caletti will contact the administrator regarding corrections to the report.
Orders processed from Jan. 1, 2024, to Jun. 15, 2024, tallied 52 orders totaling 67 items. Of these 52 orders, 43 were website orders (83 percent).
Trustee Calendine indicated that the American Theater Organ Society retains members by using the website to its fullest extent, keeps the website well organized, engages people to want to stay with the organization via active chapter programs, and empha.sizes less expensive collectibles.
Trustee Poppe commented that chapter chairs need to collaborate to enhance member interest. The report was received.
Audit Committee Report
In 2014 the MBSI Audit Committee was first established in accordance with the Board of Regents of the University of New York Statutes and Regulations that govern the society. Current Audit Committee members include Trustee Calendine, Vice Pres.ident Caletti and Trustee Cooley. Each member will serve for one additional year, after which they may retire from the committee.
New York statutes and regulations governing MBSI require that the annual financial statements must be reviewed by an independent CPA. The Dec. 31, 2023, financial statements were reviewed by Jerry Mitchell, CPA of Nixa, MO.
The membership revenue estimate compared to revenue for 2023 was then discussed. Database records show that for the 2023 year, the average membership decreased by 50. There.fore, the society lost 124 members (74 plus 50) who were paying at the old rate which in many cases was higher than that of the Ònew first year rate.Ó The report was received.
Marketing Committee Report
Member Judy Caletti indicated that the members of the Marketing Committee include Chair Bob Smith, Judy Caletti, Don Caine and Trustee Cooley. One hundred new brochures were printed for hospitality, and more will be distributed by the adminis.trator. The Marketing Committee suggested that another video be made, however, President Jaro indicated that it would be too expensive.
The Marketing Committee contin.ues to post the half-price offer for new members on the Facebook pages of: MBSI Forum, disc musical box group, cylinder musical box group, and mechanical music chat group.
Mechanical Music Radio donated an announcement which will run daily for the half-price membership.
The promotional program devel.oped for mechanical music restorers/dealers and antique dealers to acquire new members was sent out by the editor.
Trustee Swaney agreed to post on the MBSI Facebook page announce.ments of the half-price offering as well as the announcement of the July Annual Meeting. Additionally, he will post photos and information regard.ing various kinds of mechanical music machines.
Chair Smith of the Marketing Committee wants Trustee Dutton to join the Marketing Committee.
Marketing Committee member Judy Caletti will send a copy of Trustee DuttonÕs Membership Committee report to the Marketing Committee chair.
President Jaro moved to roll the Membership Committee into the Marketing Committee and dissolve the current Membership Committee. Trustee Cooley seconded the motion. Motion carried. (It will be noted that the Membership Committee report given by Trustee Dutton was presented before the Marketing Committee report which was out of the usual order on the agenda. All of Trustee DuttonÕs remarks were made prior to the motion to dissolve the Membership Committee.) Trustee Dutton will work with the Policy and Procedures and Bylaw documents so that they will conform to the motion. The report was received.
Meetings Committee Report
The Meetings Committee consists of Chair Trustee Poppe and members Tom Chase, Judy Caletti and Tom Kuehn. This committee makes the following recommendations regarding the upcoming annual meetings.
1. The 2024 Southern California 75th anniversary meeting is being held at the Sheraton Hotel in Agoura Hills, CA, from Jun. 30ÐJul. 6, 2024, with Frank Nix as organizer and Sandy Swirsky as registrar.
2. The 2025 Lake Michigan 76th anni.versary meeting will be in Chicago, IL. It is where the largest and best attended meetings have previously been held. Marty Persky will organize the meeting with a hotel cost report forthcoming. The hope was to attract 225 to 250 people, but recent turnouts do not support those numbers. Trustee Corkrum stressed that more blocks of rooms need to be made available. The Chicago area has recently lost some larger collections such as those belonging to Al and Susan Choffnes, Wayne Wolf, Marty Nevel, Carol Veome and Jim and Sherrie Krughoff. Although Sanfilippo is still the anchor, other venues will be needed to attract attendees.
3. The 2026 Princeton, NJ, 77th anni.versary meeting will be a joint MBSI and Automatic Musical Instrument CollectorsÕ Association (AMICA) meeting with AMICA taking the lead. Glenn Thomas will be the organizer and Joel Cluskey will be the contact. Cluskey would like to see joint meet.ings going forward between AMICA and MBSI. The guidelines for joint annual meetings will be given to the AMICA convention coordinator.
President Jaro stated his legacy to MBSI will be to ensure that MBSI European membersÕ needs will be properly served. The report was received.
Membership Committee Report
Trustee Dutton, a member of the Membership Committee, presented the following report as no chair for this committee currently exists. Trustee Dutton emphasized the importance of this committee becoming more proac.tive. With guidance from the trustees, programs could be developed by individuals or a chapter, to captivate new members. Such programs could be held at houses of worship, libraries, senior centers, or other public venues as well as in membersÕ homes. Organ rallies could be held in public parks, for example, to attract new members. Emphasis on less expensive collect.ibles could be part of the outreach program. Individual members should consider themselves as proselytizers, as well as enthusiasts in the commu.nity. The role of the Membership Committee going forward could be to assist the board and other committees around outreach. If this suggestion is taken, this committeeÕs role should be clarified and specified. The report was received.
Museum Committee Report
Chair Craig indicated that since the last report of March 2024, no new donations have been added to the collection. Inventory has remained the same and no instruments have been reported as damaged. Member Richard Simpson has monitored the collection at American Treasure Tour (A.T.T.) in the last two to three weeks, and some of the instruments are being played during the walking tours. Trustee Calendine has been contacted to review the collection, but his sched.ule has not allowed him to do so yet. Expenses for updating the museum asset database will be paid through the Zivin Digital Archive Fund.
The A.T.T. has both restricted and unrestricted items in its collection, and a list of the restricted items will be generated by Trustee Calendine. Vice President Caletti referenced the Bylaws Article 5, Section 4 regarding disposal of items at the A.T. T. which says Ò… The Board may sell, mortgage or otherwise use and dispose of property as they see fit for the best interests of the Society.Ó
The 2023 Annual Meeting table favor (a mechanical piano player pencil sharpener) will be donated by Trustee Poppe to the A.T.T. collection. The report was received.
Nominating Committee Report
Chair Judy Caletti noted that current members of this committee are Trustee Corkrum, Vice President Caletti, Trustee Myers, and Rob Pollock. New members rotating into the committee will be Robin Biggins, Elise Low and Cheryl Hack. Several attempts have been made to contact the Japan Chap.ter to be included in the rotation, but with no success. At this time, the Japan Chapter is not included in the rotation for the Nominating Committee, nor is the Piedmont Chapter as it has been dissolved. A motion was made by Trustee Corkrum, and seconded by Trustee Calendine, that the current rotation roster in the Policies and Procedures will be replaced with the one in the Nominating Committee report. Motion carried.
The Nominating Committee submit.ted the following slate of officers for approval at the Mid-year Meeting:
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President, Matt Jaro
(2-year term);

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Vice President Bob Caletti
(1-year term);

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Treasurer, Ed Kozak
(another 1-year term);

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Recording Secretary, Linda Birkitt (another 1-year term); and

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Dave Calendine will serve another 4-year term.

The report was received.
Publications Committee Report
Vice President B. Caletti thanked all who contributed to the journal, including the general membership of MBSI, members of the Publication Committee, and the Proofreading Team. Additionally, thanks go out to Russell Kasselman, editor/publisher and Rick Swaney, Website Subcom.mittee chair, for their tireless work.
Many articles that have been published in MBSI journals previ.ously could be reprinted as well as articles from other music box related organizations. If members know of articles which were published elsewhere, please advise the editor/publisher.
The Board of Trustees has decided that to save money, the MBSI Direc.tory of Members, Museums and Dealers will not be published in paper form from now on but be available on the website. Members will be able to print sections of the directory from their home computers. The report was received.
Editor/Publisher Report
Editor/publisher Kasselman indi-
cated that from the November/December 2023 issue of Mechanical Music, 34 writers contributed articles, columns, chapter meeting reports or in-memoriam tributes to the journal. Additional contributors will be needed to keep the quality and size of the jour.nal the same going forward.
Nineteen different photographers contributed images that make the magazine so much more enjoyable to view. Therefore, thanks to all writers and photographers who help keep the journal interesting and engaging for its members. Please, chapter chairs, encourage members to write an article for the journal so that MBSIÕs archive of material for future generations will continue to expand. It would be excel.lent if members contributed additional articles about pianos, clocks, bird boxes, automata, photographs, calli.opes, band organs or any other type of mechanical musical items in their collections.
At times, articles of interest from other mechanical music societies in the world may be reprinted so that MBSI members may have the most comprehensive view of the hobby possible. This year the journal reprinted articles from the AMICA journal and Vox Humana. Multilingual members are encouraged to suggest articles that might be reprinted from other mechanical music journals from around the world.
Advertising percentages remained steady, filling an average of 15.70 percent of journal pages (compared to 15.07 percent last year). Thanks go out to Nancy Fratti, Marty Persky, Steve Stanton, Porter Music Boxes, Bob Caletti, Renaissance Antiques, Breker Auctions and Morphy Auctions for their support of Mechanical Music this year. The editor/publisher continues to market advertising opportunities to auction companies, insurance compa.nies and parts/supply companies, but success in obtaining new and consis.tent advertising revenue has been limited. Costs for paper, printing and mailing continue to escalate.
Journal Advertising Percentages:
¥
Nov/Dec 2023 14.89 percent

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Jan/Feb 2024 14.89 percent

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Mar/Apr 2024 16.73 percent

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May/Jun 2024 15.24 percent

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July/Aug 2024 16.73 percent

This is an average advertising percentage of 15.70 percent (some are paid advertisements, and some are not).
The report was received.
Special Exhibits
Committee Report
Trustee Myers commented that people who attend mechanical music events do remember experiences of both seeing, listening to and learning about music boxes. For example, not long ago the exhibits director of the Orlando History Museum contacted the Southeast Chapter regarding loan.ing some memorabilia used during an exhibit held by MBSI at the Orlando Science Center 14 years ago. This demonstrates that listening as well as presenter and presentee interactions do make impressions.
The Special Exhibits Committee hosted or planned the following events:
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The Villages Christmas Show;

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Sarasota World Circus Day displayed/sold music box carou.sels which were leftover table favors from a recent convention;

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At the Henry Plant House/Museum on the campus of the University of Tampa, Mark Yaffe hosted and presented a paper titled ÒImperfect Harmony: Man, Machine, and Music,Ó allowing the younger generation to experience mechanical music. Instruments are played there twice a week, and brochures are available at this site.

Lake Mary Museum in Lake Mary, FL, has offered MBSI a spot in its annual Christmas exhibit geared toward the holidays that celebrates the founding of the city of Lake Mary. This museum offers many opportunities for MBSI to interact with visitors.
The Biltmore House in Asheville, NC, is considering a small display of mechanical instruments in keeping with home entertainment during the Ògilded ageÓ of the times. Judy Miller is researching further information about this event, anticipated to be ready in September 2025.
Tracy Tolzmann presented a local (Minneapolis/St. Paul, MN) television two-part broadcast on the Cafesjain Carousel and the Wurlitzer 153 Band Organ.
Martin VanZanten from Palm Harbor, FL, will be hosting an exhibit at the ÒCollections at PalmettoÓ museum known for classic cars, a steam engine, and a rideable railroad. He will be exhibiting a few items from his personal musical box collection. This will take place in late fall until the end of the year.
Trustee Dutton is exploring the Ocean County, NJ, library system for use of library community rooms for MBSI presentations.
Knowles Little reported that National Capital Chapter held its 26th one-day exhibit and demonstration at C & O Canal Park, Great Falls, MD. Ten chapter members demonstrated various mechanical music instru.ments to the public. Paul Senger was involved with the Carousel Organ Association of America (COAA) rally event at Knoebels Amusement Park in June where at least 20 organs were signed up. The report was received.
Website Subcommittee Report
Trustee Swaney indicated that the updated MBSI website was launched at the time of the mid-year meeting. Due to feedback, the main menu was modified to make some pages easier to find. No other additions or changes have been made since then, except for a temporary notice of the convention hotel rate deadline on the home page.
Enhancements are coming to the members-only search feature. Quick searches by instrument type, interest and by state will be added. The search results will be reformatted.
The MBSI Facebook page has more than 1,000 followers, but there hasnÕt been much to follow of late. To improve the situation, a weekly post describing interesting member instruments will be initiated.
The MBSI Facebook Forum contin.ues to gain members every month. The current count is 2,746, which is 260 new members since the mid-year meeting. In the last two months there were 171 posts accompanied by 609 comments. The report was received.
Old Business
Per President Jaro, the only old business was an informal discussion regarding the joint meeting guidelines between AMICA and MBSI.
New Business
President Jaro indicated that there was no new business. Having no further business before the board, President Jaro asked for a motion to adjourn the meeting. A motion to adjourn the 2024 Annual TrusteesÕ Meeting was made by Trustee Calen.dine and seconded by President Jaro at 7:07 p.m. Pacific Daylight Time.
Report submitted by Linda Birkitt, MBSI Recording Secretary
Recorded July 1, 2024

Annual MBSI Financial Statements will be published in the
November/December 2024
issue of Mechanical Music

Minutes of the 75th Annual MBSI Business Meeting

Agoura Hills, CA,Ñ Jul. 6, 2024
President Matt Jaro called to order the 2024 MBSI Annual Business Meet.ing at 9:55 a.m. Due to the number of proxies received and those members present, a quorum existed.
President Jaro read the names of members who passed away since the 2023 annual meeting:
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Constance Barsky

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Mary Jo Bopp

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Matthew Caulfield

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Janet Grossman

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Richard and Nancy Hales

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Barbara Ann Hildebrant

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Tom Larsen

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Bob Lloyd

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Helen Mueller

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Bill Nunn

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Arthur W.J.G. Ord-Hume

¥
Mike Perry

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Leroy Plyler

¥
Chet Ramsay

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Jacob ÒJimÓ Ratsoy

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Larry Reece

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Marian Sanfilippo

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Howard Sanford

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Gloria Schack

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Timothy ÒTimÓ Trage.

A moment of silence was observed in remembrance.
Sincere appreciation was extended to Frank Nix and his team.
The officers and board of trustees were introduced.
Past presidents and past trustees were recognized and asked to stand.
First-time attendees and those attending from outside the United States were asked to stand and be recognized.
OfficersÕ Reports
Immediate Past President and temporary Recording Secretary David Corkrum reported that the minutes of the 74th MBSI Annual Meeting held in St. Paul, MN, were published in Vol. 69, No. 6, of Mechanical Music. There being no corrections, additions or deletions, President Jaro entertained a motion to approve the minutes. The motion was made and seconded to approve the minutes. The motion passed.
President Jaro presented, in the absence of the vice president, the vice presidentÕs report. The vice president has two main jobs; one is to handle the awards process and the other is to oversee the conduct of the societyÕs chapters. President Jaro congratu.lated the following award recipients:

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Bill and Stacy Nunn for receiving the PresidentÕs Award;

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Tracy and Merrie Tolzmann for receiving the Unsung Hero Award;

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Michael Falco for receiving the Darlene Mirijanian Award;

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Mark Yaffe and Arthur W.J.G. Ord-Hume for receiving the TrusteeÕs Award;

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Dan Zelinsky for receiving the Roehl Ambassador Award; and

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David Corkrum for receiving the Lifetime Service Award.

The report was received.
President Jaro then presented the TreasurerÕs report. Because of the early nature of this meeting, the following, except as noted is informa.tion from the end of year December 2023. Some of the highlights from the report are dues revenue for 2023 was $59,653 compared to $63,909 for the year 2022. Non-endowment certifi.cates of deposit totaled $476,000 as of May 31, 2024. The average rate of return was 3.3 percent. The report was received.
The Endowment Fund is $163,605 as of Dec. 31, 2023. On May 31, 2024, the investment portfolio for the fund is made up of three certificates of deposit totaling $161,000 with interest rates averaging about 4 percent. The fund also has a Vanguard cash reserve of $2,605 earning 5.38 percent. The report was received.
President Jaro presented the admin.istratorÕs report. Current membership as of Jun. 15, 2024, is 951. Forty new memberships were received during the first six months of 2024. Orders processed during the first six months totaled 52. There was nothing else significant to report. The report was received.
Committee Reports
Audit Committee Chair Ed Cooley presented the Audit Committee report. Jerry Mitchell, CPA, of Nixa, MO, who conducted the required annual finan.cial review, stated that based on his review, he is not aware of any material modifications that should be made to the financial statements. They are in accordance with accounting princi.ples generally accepted in the United States of America.
The committee is also responsible for the comparison of membership data with amounts received for member.ship dues. The report was received.
Marketing and Membership Committees have been combined due to shared common goals. President Jaro presented the report. Print ads were placed in several periodicals hoping to attract new members. No obvious increase was noted. A promo.tional program was developed for mechanical music restorers/dealers and antique dealers to acquire new members and was sent out via email by the editor to a list of 155 names. It included a cover letter and two attachments Ñ a sell sheet including a link to our website and a member.ship application. They were asked to forward the attachments to their customer list or include it with their correspondence. A new membership brochure was designed, printed and is available for distribution. The report was received.
Meetings Committee Chair Rich Poppe presented the report on the dates of upcoming meetings. The 2025 meeting will take place in the Chicago, IL, area and will be a joint meeting with AMICA with the Lake Michigan Chapter of MBSI taking the lead. The 2026 annual meeting will take place in Princeton, NJ, with AMICA taking the lead. The report was received.
Museum Committee Chair Sally Craig was not present, so the report was presented by President Jaro. Since the last report, no new donations have been added to the collection. Trustee Dave Calendine will conduct a review of the collection soon. The report was received.
Publications Committee Chair Bob Caletti was not able to be present. President Jaro presented the report. Chair Caletti wished to thank the committee members and the large number of proof readers. He also thanked editor Russell Kasselman and Website Subcommittee Chair Rick Swaney for their work on the society publications and website. Many articles printed in the past can be used in the societyÕs journal along with articles published by some of our sister societies. The editor would also like to see more how-to articles. If a member has the information, the editor would be happy to help develop it. The board of trustees has decided that in order to save money, the Directory of Members, Museums and Dealers will not be published in paper form from now on but will be available on the website. The report was received.
The Editor/publisher report was presented by editor Russell Kassel.man. A total of 34 writers contributed articles, columns, meeting reports or in-memoriam tributes to the journal. The editor extended his sincere thanks to all these writers and photographers who help keep the journal interesting and engaging for the members.
The editor continues to search for articles of interest that might be reprinted in our magazine. This year, reprinted articles originated from the Automatic Musical Instrument CollectorsÕ Association, the Carousel Organ Association of America, and Vox Humana. It would be excellent if members contributed articles about pianos, clocks, bird boxes, phono.graphs, calliopes, band organs or any other type of mechanical musical items in their collections.
Advertising percentages remained steady, filling an average of 15.70 percent of journal pages compared to 15.07 percent last year. The editor thanked consistent advertisers includ.ing Nancy Fratti, Marty Persky, Steve Stanton, Porter Music Boxes, Bob Caletti, Renaissance Antiques, Breker Auctions and Morphy Auctions for their support of Mechanical Music.
Costs for producing the journal continue to rise due to postage and paper cost increases. The editor has continued to keep the websiteÕs core code and all plugins up to date so that site security is as tight as possible. The report was received.
Website Subcommittee Chair Rick Swaney presented the report. The updated website was launched at the time of the mid-year trusteeÕs meet.ing. The main menu was modified to make some pages easier to find. Some enhancements are coming to the member search feature. A search by instrument type interest will be added. It will be easier to search for members by state, just by clicking on a state name. The search results will be reformatted to better fit phone screens.
The MBSI Facebook page has more than 1,000 followers, but there hasnÕt been much to follow. To improve the situation, Chair Swaney is making weekly posts about interesting member instruments. The MBSI Facebook forum continues to gain members. The current count is 2,746. In the last two months there were 171 posts accompanied by 609 comments. The report was received.
Special Exhibits Committee Chair Mary Ellen Myers reported there were a few exhibits held throughout Florida including those at The Villages. Mark Yaffe is hosting an exhibit on the campus of the University of Tampa called ÒImperfect Harmony: Man, Machine and Music.Ó He has brought some of his instruments which are on display in a Victorian Chamber of the museum. The exhibit will be on display until December. See the article in the last issue of Mechanical Music. The report was received.
Nominating Committee Chair Judy Caletti reported that the following slate is presented for the member.shipÕs approval:
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For President, Matt Jaro to complete the second year of a two-year term;

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Vice President Bob Caletti to serve a second one-year term;

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Treasurer Ed Kozak to serve another one-year term;

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Recording Secretary Linda
Birkitt to serve another one-year term; and

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Trustee Dave Calendine to serve a second four-year term.

President Jaro entertained a motion to accept the slate as presented. A motion was made and seconded. The motion passed.
There being no old or new busi.ness, President Jaro entertained a motion to adjourn the meeting. The motion passed, and the meeting was adjourned at 10:23 a.m.
Respectfully Submitted,
David Corkrum
Acting Recording Secretary
Jul. 9, 2024

Selected Photos from the
2024 MBSI Annual Meeting

EditorÕs Note: The following pages include a few of the many photos taken at the most recent MBSI national gathering in Los Angeles, CA. A more extensive write-up and many more photos will be featured in the November/December issue of Mechanical Music.

The interior of the Old Town Music Hall with its Mighty Wurlitzer Theater Organ was a delight for early-bird attendees. (Photos by Russell Kasselman).

The Mighty Wurlitzer Theater Organ next to the 92-note Bšsendorfer concert grand piano on the stage at the Old Town Music Hall.

Glowing neon accentuated the organ concert put on by Stirling Yearing prior to a screening of the classic film ÒThe Sting,Ó which features music from the ragtime era.

Above: Chuck Levy demonstrates and describes a selection of his automata to visitors. (Photo by Geoff Ward) Below: One of the two cases full of automata at Chuck LevyÕs home near the Santa Monica Pier in Los Angeles, CA. (Photo by Lowell Boehland)

The Getty MuseumÕs angles and curves are themselves architectural works of art against the blue California skyline. (Photo by Doreen Kasselman)

Joe Rinaudo performs a number on the Style 41 Special Fotoplayer for mechanical music enthusiasts after a show at the Academy of Motion Picture Arts and Sciences Pickford Theater. (Photo by Russell Kasselman)

The inner workings of the four-tune, 77-note Mandoline Zither Tabatire music box in an Amboyna case recently acquired by Bernard Novell. (All photos by Bernard Novell)

Switching Gears

The tale of a ÔtechieÕ turned hobbyist restorer

By Russell Kasselman
ItÕs rare in life when an opportunity presents itself and a person walking down one path jumps completely to an entirely different path in what seems like an instant. That, however, is almost exactly what happened for Bernard Novell of Oxfordshire, England. Stuck at home during the Covid pandemic, he was watching a television program on the BBC called The Repair Shop, which follows the restoration of many treasured items. Bernard was particularly inspired by an episode that covered the restoration of a musical box and its movement. The son of a master crafts.man woodworker himself, he retired from his job as a project manager in 2012 and became involved with several local community groups. Restrictions on people gathering together during the pandemic severely curtailed the activities of the groups he had joined, so he started looking for something to keep him occupied. He decided to start reading and researching more about musical boxes.
His first purchase was a 12/72 Cartel musical box by an unknown maker which had, allegedly, already been restored. This claim was later found to be a little way from the truth and the 12-tune, 72-note box definitely needed further work. The simple act of making the purchase, however, really ignited BernardÕs desire to start a collection with the intention of find.ing more music boxes that he could restore himself.
He also decided to build a website, www.bernysmusicboxes.co.uk, where he could document his collection and restoration diaries.
Since BernardÕs previous career was related to information technology, it is not surprising that his website is well organized and full of information about music boxes in his collection and diaries showing how the boxes are restored, with many photos of the process. It also includes general information about repairing and main.taining music boxes. Bernard also built and maintains the website for the Association of Musical Box Collectors (AMBC), www.ambc.org.uk, which is based in the United Kingdom.
ÒAt the start I was buying all sorts of musical boxes including novelties,Ó Bernard said. ÒIt was part of the learn.ing curve. A Crown Devon musical tankard and cigarette box I purchased were part of a job-lot of four items and not the main item that I wanted which was a 2/36 Cuendet movement in a box with an alpine scene in marquetry on the lid. I restored the mechanisms of both the ceramic pieces and sold them on for more than the original purchase price for the four. I do enjoy experimenting, but over time I have become more discerning when look.ing at potential purchases. I now only buy Cartels, Tabatires and Manivelles that are Ôspecial,Õ or have the potential to be so. IÕm starting to part with some of my collection that no longer hold my interest.Ó
One of BernardÕs recent auction acquisitions is a 4/77 Mandoline Zither Tabatire circa 1890, with Serial No. 4976. He describes it as a rare Tabatire in a beautiful Amboyna case with a pristine tune sheet. Amboyna is a profusely-burred hardwood that is obtained from the Narra tree (Pterocarpus indices) native to South Eastern Asia, Northern Australasia and the Western Pacific Ocean islands.
This box was originally retailed by musical box importers C. Scotcher & Sons with a shop located at 36 Bull Street, Birmingham, England. Bernard notes that the box has hardly a mark on the case or movement, though there are a few pins that need straight.ening. The auctioneer described the box as being made circa 1870 but BernardÕs own research shows one tune as being composed in 1889 so he thinks that the box was more likely to have been made circa 1890. Bernard has also deduced that the box was most likely to have been made in Sainte Croix, Switzerland, by Paillard who invented the zither in about 1886. His reasoning behind this comes from the fact that he saw an identical movement for sale a few weeks after he made his purchase of the 4/77 Mandoline Zither Tabatire. Although in a very poor condition, the zither was clearly marked PVF. BernardÕs box plays four tunes. The first is ÒLe jet dÕEau,Ó one of five ÒCinq poemsÓ written by Charles Baudelaire. ÒLe Jet dÕEauÓ was finished in March 1889. The second tune is ÒThe Carnival of Venice,Ó based on a Neapolitan folk tune called ÒO Mamma, Mamma Cara.Ó It was popularized by violinist and composer Niccolo Paganini who wrote 20 variations on the original tune. He titled it ÒIl Carnevale Di Venezia,Ó Op. 10. In 1829 Paganini wrote to a friend, ÒThe variations IÕve composed on the graceful Neapolitan ditty, ÔO Mamma, Mamma Cara,Õ outshine everything. I canÕt describe it.Ó Tune three is ÒVictoria Grande Valse,Ó written for piano by Jules Schulhoff in 1846. It was originally titled ÒGrande valse brilliant,Ó Op.6. Tune four is ÒHome Sweet Home,Ó a song adapted from American actor and dramatist John Howard PayneÕs 1823 opera ÒClari,Ó or the ÒMaid of Milan.Ó The songÕs melody was composed by Englishman Sir Henry Bishop with lyrics by Payne. Bishop had earlier published a more elaborate version of this melody, naming it ÒA Sicilian Air,Ó but he later confessed to having written it himself.
Bernard said that what attracted him to the box was the fact that it had a Zither, an unusual feature for a Tabatire. ÒI had never seen one before,Ó he said. ÒSecondly, the quality of the case and its general condition. Thirdly, the interesting tunes and the pristine tune sheet. For me it was highly desirable. I was very lucky to win the auction.Ó
The box measures approximately 6-inches long by 4-inches wide by 2-inches high. Bernard noted one unusual thing about the control buttons on the box. There are three on the front and one on the left side. The left side one operates the tune change/repeat. The left front is the on/off. The right front operates the zither up/down. The front center button does nothing at all. ÒSo why is it there?Ó Bernard wonders.
To build on his previous wood.working knowledge, Bernard took an antique restoration class in 2021 focused primarily on learning how to restore wooden boxes. Instructor Peter Thompson spent a lifetime in antique restoration and his five-day course had just three students which meant Bernard got a lot of one-to-one instruction. He says he is now very confident when it comes to stripping, cleaning, restoring and polishing wood.
ÒMy fellow member-friends in the AMBC help me with advice,Ó Bernard said. ÒJames Preddy (AKA The Music Box Restorer) is not too keen on giving away his secrets, but he is an amazing restorer and does fantastic work on my combs and dampers which are beyond my aging eyes.Ó
Bernard also spends time commu.nicating with other musical box enthusiasts, some from other coun.tries like Darren J. Wallace in Ontario, Canada, Kristina Powers in Chicago, IL, and Serban Lucien in Romania. Darren posts many details of his work on quality cylinder and disc boxes on Facebook. Kristina is a collector of classic mid-20th century boxes by Reuge and Thorens etc. Serban is into the smaller Tabatire movements from the late 19th century. Much of the communication is via WhatsApp, Facebook Messenger or email.
Bernard maintains what he calls a reasonable library of music box and antique box books which are partic.ularly useful for research. He reads the journals of the MBSI, Musical Box Society of Great Britain (MBSGB) and AMBC to build his knowledge base further.
Geoff Crowther, an engineer friend who lives in BernardÕs village, makes replacement parts for those mech.anisms that require them. ÒGeoff brought back at least two smaller mechanisms from the dead,Ó Bernard said. ÒWithout Geoff they would have become spare parts.Ó
One of those ÒresurrectedÓ boxes is a 6/51 movement in a mini Cartel-style box circa 1880. This type of box is known as a Petites Musique, with a movement similar in mechan.ical design to that of a snuff box or Tabatire. The box looks like a tiny version of a Cartel box. Bernard said it arrived at his home in a sorry state, with no cylinder drive pin and no snail cam register peg. Geoff painstakingly made new ones plus a new male Geneva stop part. The case needed some attention too. A corner of veneer was missing from the top that needed to be matched and there were several woodworm holes that were filled with wax. The frame for the glass cover was in pieces requiring re-gluing and the box was completely refinished with black French polish for the inte.rior and shellac polish for the exterior.
The tunes were identified, with help from tune sheet expert Paul Bellamy, as:
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ÒThe Last Rose of SummerÓ by Thomas Moore (pre 1852)

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ÒThose Evening BellsÓ by Thomas Moore (pre 1852)

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ÒGoodbye SweetheartÓ by John Liptrot Hatton (early 1860s)

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ÒBoccaccio WaltzÓ (c 1879)

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ÒThe Banks & BraesÓ By Robbie Burns (1781)

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ÒTramp, Tramp, TrampÓ (1864). This is a U.S. Civil War favorite with words by George F. Foot. It was known as ÒThe PrisonerÕs Hope.Ó ItÕs also the base tune for the famous ÒDo You Hear the People SingÓ from ÒLes MisŽrablesÓ

Since one tune played by the box is from 1879, Bernard figures it is likely to have been made around 1880. An extensive set of photos of the box is presented on BernardÕs website.
Like many other restorers and collectors, Bernard has noticed a waning interest in the hobby. He has attempted to apprentice himself to master restoration experts but found those he spoke with arenÕt open to mentoring another person. Sharing knowledge of the hobby remains important to Bernard and his website includes a section on restoring musical boxes. This section includes warnings to amateurs that undertak.ing a restoration of either a case or a mechanism can be dangerous in that a wrong move could severely devalue the box or cause the mechanism to stop working.
ÒI found it very difficult to get the sort of information that IÕve added when I was learning,Ó Bernard said. ÒI hope what IÕve written is useful to those who want to restore boxes themselves. The way I look at it is, if they are going to try, at least they have the chance to read first, rather than making a catastrophic, and possibly costly, mistake and learning from that.Ó
Many a shelf in BernardÕs home is filled with his collection and his work.shop is brimming with projects in progress and those waiting their turn. He is thankful to have a patient spouse who puts up with his hobby work even though Bernard said she politely refuses to dust his musical boxes, a task he says he does not mind doing himself as it gives him an excuse to play a few during the process.
Among the instruments listed in the workshop section of his website are:
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An 8/88 Paillard Vaucher et Fils Cartel bought at auction in March 2022. The Serial No. 1824 suggests that this box was made around 1884. The tune sheet is missing but a PVF patent engraved on the Zither makes identifying the boxÕs maker fairly simple. Bernard feels that it may be possible to produce a replica tune sheet once the tunes have been identified. The restoration of the mechanism is finished, apart from the comb and dampers, but the case remains to be restored.

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A 6/41 Paillard Vaucher et Fils, bells in sight, interchangeable cylinder Cartel, purchased at auction in June 2023. Restoration of the musical movement started July 2024. Initial observations showed an almost collapsed box housing the spare cylinders. The bedplate had been repainted, without taking anything apart, so there was a lot of gold to be removed from places it shouldnÕt be. Considerable wear and poor adjustment made the start-stop system inoperable. One interesting thing discovered on inspection is that the governor and spring barrel hang under.neath the bedplate. Additional issues were discovered during dismantling, mainly that parts of the mechanism have had some early significant repairs particu.larly to the spring barrel, which has been over-clad due to a split in the original casing, and the start-stop lever mechanism spring is a thin piece of brass, crudely formed and fixed. The female Geneva stop has been modified and may not be the original. Its screw thread was stripped and has been replaced.

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A 6/107 Nicole Frres key-wound Serial No. 36495 circa 1859 that was bought from a private seller in December 2023 as part of a job lot of nine assorted musical boxes. There were some relatively minor losses to the marquetry plus all four corners of the lid were partly detached. No key was included for the lock. The comb had been repaired not too well so it required re-tipping. Some dampers needed adjust.ment. Scratched on the end of the great wheel is ÒAJD Repinned 426.Ó Bernard thinks this means that the cylinder was re-pinned in April 1926.

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A 12/72 Nicole Frres Cartel, Serial No. 42222 also bought in December 2023 as part of a job lot of nine music boxes. This one is destined for a friend. Bernard repaired a tiny piece of marquetry, and the front panel required some work to hide a previous attempt to repair some scuffs in the scumble finish. He then re-polished the case with several coats of pure shellac. The glass lid had lost some putty which was repaired using epoxy filler and then hidden with dark red mahogany stain. A new pair of hinges were fitted. The lock required a key (found in BernardÕs stock) and tassel. The keep was recessed too far so it needed packing to get it to latch. The movement has been stripped, cleaned and reassembled. The comb has been tuned and the dampers repaired by The Music Box Restorer. The only thing remaining is to figure out the tune sheet for this box.

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A 6/103 Cartel music box, circa 1830, Serial No. 2861 purchased from eBay in October 2023. This box features an unusual, rare tune sheet, intact but glued to the inside of the lid. Anthony BulleidÕs book on tune sheets shows a similar tune sheet No. 259 as unattributed. The seller informed Bernard that the box belonged to her grandmotherÕs family and spent several years in the loft, unloved and unappreciated. Issues found on first inspection included oil, rust and dust (typical) plus two teeth missing from the comb. Only four or five dampers were present. The stop mechanism pin was broken off and missing. The cylinder had too many missing and bent pins and therefore requires re-pinning. One fixing screw and washer were missing from the outside of the box. The Geneva stop mechanism is not damaged. The case has no woodworm and is in pretty good condition but will be re-polished.

Bernard says he still follows auctions for music boxes on a regular basis but isnÕt necessarily looking to grow his collection beyond its current size, though he keeps a watchful eye open for the exceptional. Mostly, he searches for boxes that he can restore and sell.
One such box, bought in 2021, has just been finished. Although it appeared to be a fairly run-of-the-mill 8/78 Cartel, it has turned out to be anything but ordinary. Made by Langdorff & Fils in 1882, the case had originally been quite plain with just three boxwood strings around the lid and scumble finish to the sides. Some.where in this boxÕs past, an owner or restorer added a striking cartouche in fruit woods, mother-of-pearl and brass to the centre of the lid. The movement was very dirty and there were some issues with some of the components. The pristine tune sheet, written in Romanian, was the only clue to this box being something different. Bernard carried out his usual strip, clean and reassembly of the mecha.nism. In doing so, he found that the cylinder pins were in poor shape with many being missing or bent and the governor needed repair. He decided to ask James Preddy to do a full re-pin, adjust the governor and tune the comb plus repair the dampers. James told Bernard that there were more than twice as many sharps and flats on this comb than on any other comb he had worked on. The sound produced with all new pins and restored comb is extraordinary. Five of the tunes are traditional folk dances from Romania, Serbia and Croatia. One is the Roma.nian National Dance and there is also a waltz from Austria. This box most likely would have been made to order and therefore is a one-off and rare.
For those looking to buy a first music box by auction (or in person), Bernard offers this advice, ÒLook at the overall condition. Are there any broken teeth? Are there any missing parts? Definitely ask to see and hear it working. Check that the Geneva stop works. Try and compare with other boxes seen for sale and form a maximum price in your mind, taking into account taxes, fees and carriage costs. Ask the auctioneer or seller any questions you may have. If you want to buy, enter your maximum bid or offer and donÕt be tempted to increase it. This will not be easy if you are following the auction on eBay or are at the auction in person.Ó
Generating interest in mechanical music starts with exposing more people to the boxes so they can look and listen. Bernard has given several talks to local groups such as Rotary Clubs, u3a and Probus. He is planning to take a selection of his boxes to the Royal Horological InstituteÕs Open Day at Caterham, UK, in October. He is currently working on adding a tune library to the AMBC website.

BernardÕs first purchase was a 12-tune, 72-note Cartel music box of unknown origin.

The Mandoline Zither Tabatire music box in an Amboyna case shown open with glass cover and closed with three buttons along the front of the case.

A six-tune, 51-note mini Cartel box as purchased by Bernard.

The movement after restoration with new parts installed.

The finished box with tune sheet and glass cover.

The refinished case shines like new after restoration.

An eight-tune, 88-note Paillard Vaucher et Fils Cartel as received (above) and after restoration of the cylinder, combs and base.plate. The case remains to be restored.

A 6/41 Paillard Vaucher et Fils, bells in sight, interchangeable cylinder Cartel music box undergoing restoration.

A 6/107 Nicole Frres key-wound Serial No. 36495 circa 1859 before restoration.

NOVELL | See Page 26

Novell collection note

Among the treasures in Bernard NovellÕs collection is this 8/130 Cuendet Sublime Piccolo three-comb movement Serial No. 19895, circa 1896.
It is a significant music box in that the left and center combs are tuned to produce the sublime harmonic effect, being tuned to the same scale but with slightly different frequency for each pitch. When teeth of the same pitch on each comb are plucked together the combined frequencies interfere with each other to give a slight vibrato effect. The left comb has 44 teeth, and the center comb has 43. It is unknown why this is. BernardÕs theory is that it is because the first bass tooth of the left comb is the only one not used to produce the sublime effect. Slow vibration in pairs does not always produce the desired effect at the lower end of the scaleÕs register.
The right-hand comb produces the piccolo effect. It has 43 teeth tuned to a higher but matching pitch to the treble end of the other two combs. Instead of detectable vibrato when plucked at the same time as their counterparts on the other two combs, the higher frequency and shorter period of vibration produces a sort of descant effect, riding above the melody. Although the scale range for just 43 teeth is small, probably about four octaves, the musical effect depends on the skill of the unknown arranger, which is often overlooked.
Purchased at auction in August 2022, this huge 30-inch long case appeared to be in relatively good overall condi.tion with its original tune sheet.
ÒWhen it arrived, I found the springs fully wound and the cylinder stopped part way through a tune,Ó Bernard said. ÒI also discovered some damage to the teeth of the great wheel and various other issues such as many missing and bent pins and dampers plus a broken tooth, all of which needed professional restoration by The Music Box Restorer. But firstly, I do my bit Ñ lots of cleaning and polishing.Ó
Tune 1 is ÒLa Fille du rŽgiment MarcheÓ by Donizetti. ÒThe Daughter of the RegimentÓ is an opera in two acts by Gaetano Donizetti first performed in Paris on Feb. 11, 1840.
Tune 2 is ÒLes Cloches de CorneilleÓ by Planquette. The ÒBells of CorneilleÓ is an opera comique in three acts composed by Robert Planquette to a libretto by Louis Clairville and Charles Gabet. It was first performed at the Fantasies-Parisiennes on Apr. 19, 1877.
Tune 3 is ÒLohengrinÓ (Wagner-Werks-Verzeichnis 75), which is a romantic opera in three acts composed and written by Richard Wagner, first performed in 1850. The most popular and recognisable part is ÒThe Bridal Chorus,Ó colloquially known in English-speaking countries as ÒHere Comes The Bride.Ó
Tune 4 is ÒIl Trovatore ÔCoro des ZingariÕÓ by Guiseppe Verdi. ÒThe TroubadourÓ is an opera in four acts by Verdi to an Italian libretto largely written by Salvadore Cammarano based on the play ÒEl trovadorÓ (1836) by Antonio Garcia GutiŽrrez. It premiered at the Teatro Apollo in Rome on Jan. 19, 1853.
Tune 5 is ÒOrphŽe aux enfers,Ó which is a comic opera composed by Jaques Offenbach to a French text written by Ludovic HalŽvy. ÒOrpheus in the UnderworldÓ was first performed as a two-act opera in Paris on Oct. 21, 1858. It was extensively revised and expanded in a four act ÒopŽra fŽerieÓ version presented at the ThŽ‰tre de la Ga”tŽ in Paris on Feb. 7, 1874.
Tune 6 is ÒLa Marjolaine,Ó which is an opŽra bouffe in three acts by Charles Lecocq, words by Eugne Leterrier and Albert Vanloo. It opened at the ThŽ‰tre de la Renais.sance, Paris on Feb. 3, 1877. Set in Flanders, it depicts a deceitful, and ultimately unsuccessful, attempt to damage a virtuous womanÕs reputation.
Tune 7 is ÒOverture de PoŽte et PaysanÓ by Franz von Suppe. ÒPoet and Peasant OvertureÓ is almost unheard of on a music box say some, but others say itÕs in the top 40.
Tune 8 is ÒVie dÕartisteÓ by Johann Strauss II written in 1867. ÒArtistÕs LifeÓ followed closely on the success of the popular ÒThe Blue Danube,Ó also known as ÒKŸnstlerleben.Ó

Parts and pieces from the six-tune, 107-note Nicole Frres key-wound cylinder box.

NOVELL | From Page 23

The marquetry from the Nicole Frres key-wound music box is also in need of repair.

A six-tune, 103-note Cartel music box, made circa 1830, with Serial No. 2861 that Bernard purchased from eBay in October 2023. This box features an unusually rare tune sheet, intact but glued to the inside of the lid.

Nickel Notes

By Matthew Jaro

It is with sadness that I must report that Mary Jo Bopp died in September 2023. Her services to the mechanical music field will always be remembered and her presence is sorely missed. This column appears almost as it was written in 2019 with only a few minor updates.
For this issue of Nickel Notes I have the honor of interviewing a real V.I.P. in the mechanical music world. Ron Bopp co-founded the Carousel Organ Association of America (COAA). He is a past president of MBSI, he conducted many tour groups to visit collections in Europe and he has been the editor of the COAA journal since its beginnings. There is so much to write about I found it a difficult task to set it all down. Ron helped by providing an enormous amount of documentation and photography to supplement my article. So, letÕs begin the journey into the life of this incredibly versatile and talented man.
Beginnings
Faithful readers of this column know my first question to Ron would be, ÒHow did you get started in mechanical music?Ó It turns out that in the late 1960s, Ron had a good friend who was in the antique business. This friend was selling a couple of wall-mounted Polyphon music boxes. Ron couldnÕt afford them at this point in his life, but he told the friend that if the boxes didnÕt sell, Ron knew of a firm in Los Angeles that would buy them. That, of course, was Hathaway and Bowers!
To help satisfy RonÕs mechanical music itch, his antique dealer friend helped him scour Kirksville, MO, where they found some player pianos and pump organs. I asked Ron if he restored the player pianos, and he said, ÒTried to!Ó He made one piano into a sort of orchestrion with a xylo.phone added from the Player Piano Company. It didnÕt play very well but it was an attempt.
In 1972, Ron made the acquain.tance of Bill Pohl of Joplin, MO. Bill was a small dealer in coin-operated machines and reproducing pianos. Ron bought his first coin-operated piano from Bill, a Western Electric Mascot. Ron had it restored by Jerry Biasella who remarked that it sounded better than a Seeburg L. The machine is now owned by RonÕs son, Jason.
Mary Jo worked as a nurse for Ron at his OB/ GYN practice in Joplin, MO, that he started in 1973. They both went through a divorce and were married in 1980. At their wedding there was a Wurlitzer 125 band organ in the back.ground to provide music. Mary Jo also liked mechanical music, so the Bopps started going to the MBSI Mid-Amer.ica chapter band organ rallies. They went to every organ rally religiously for many years.
The Bumbling Bruder Tours
Ron and Mary Jo are well-known for conducting Bumbling Bruder Tours (BBTs) of Europe. I have been on two of the tours myself and they were fabulous. The tours coincide with the Waldkirch, Germany, organ festival that is held every three years. The tours covered many collections mainly in Germany, Holland, Belgium, England and Switzerland. The tours were much less expensive than commercial tours would have been Ñ and a lot more fun.
In the late 1980s, Ron became friends with Art Eltzroth of Cleburne, TX. Art owned several corrugated carton companies and had a collection consisting of all brand-new machines. Art approached Ron about going over to Europe to see some of the collec.tors. He offered to pay RonÕs and Mary JoÕs way. Since Ron had just finished his term as president of MBSI, he knew a lot of the Europeans, like Siegfried Wendel, Freddie Kunzle and others. So, the Bopps and Art spent about a week touring in 1989. Two years later Art took them to Europe again to see some northern European collections. That sparked RonÕs interest in touring more collections.
In 1996, Ron and Mary Jo put together a tour group that included Terry and Joan Haughawout, Frank and Hope Rider and Jerry Biasella. They used a seven-passenger van to get around Europe. The tour was a success and Ron was now really excited about going again, so in 1999 he put together his first big tour group. His next two or three tours involved about 48 people. Ron felt that number was too hard to manage, so for his most recent tours he dropped the group size down to between 20 to 30 people. He found that using a smaller bus made it easier to get to some of the small collections.
Ron joined MBSI in 1972 and then the Automatic Musical Instrument CollectorsÕ Association (AMICA) in 1973. He and several couples all went to the AMICA convention in Fort Worth, TX.
Ron was a co-founder of COAA with Terry Haughawout. Ron took on the job of journal editor in the Summer of 1999. At this time, there wasnÕt a lot of information being published about band organs. MBSI was primarily focused on music boxes and AMICA was primarily reporting about reproducing pianos. The first COAA rally was at Carousel Concepts near Marion, OH. Ron has continued to edit The Carousel Organ, COAAÕs journal, since its first issue was printed more than 20 years ago!
Retirement
Ron left his medical practice in 1996, but instead of retiring, Ron took positions as a locum tenens physi.cian. He calls this being a Òweekend warrior,Ó covering weekend shifts and vacation days for other doctors. He did this until 2014, when he retired for real. Ron and Mary Jo then moved to Bradenton, FL, in 2008.
Highlights and Honors
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Mary Jo and Ron have been involved in AMICA and MBSI for more than 45 years!

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In 1981, they helped establish the Kansas City, MO, AMICA group called the Heart of America Chapter.

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Ron was president of MBSI from 1985 to 1987.

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Ron was the 1990 MBSI Annual Meeting convention chair for the convention held in Indianapolis, IN.

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Ron and Mary Jo received the AMICA PresidentÕs Award in 1993.

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Ron and Mary Jo received the MBSI TrusteesÕ award in 1996

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Mary Jo was convention chair of the 2002 AMICA convention in Springdale, AR

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Ron received the AMICA Leo Ornstein Literary Award in 2003

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Ron received the MBSI Q. David Bowers Literary Award in 2014

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Ron authored two mechanical music books, ÒThe American Carousel OrganÑAn Illustrated EncyclopediaÓ and ÒFantastic European OrgansÓ

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Ron edited the MBSI Mid-Am ChapterÕs book called ÒOrgans of the Mid-Am ChapterÓ

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Ron has authored more than 84 papers on mechanical musical instruments

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Ron has presented 32 audiovisual programs on mechanical musical instruments.

The Collections
Ron and Mary Jo liked to have a revolving collection rather than acquiring large numbers of instru.ments. They bought instruments they wanted and sold others to make room and to free up funds. In this way, they were able to experience a large variety of instruments without running out of space or money.
The following information was collected with the help of Ron for the writing of this article.
The first coin piano was the Western Electric Mascot Ron bought from Bill Pohl in 1972.
In 1974 a Seeburg E was bought from Jim Wells in northern Virginia. It was restored and refinished by Ron. It was sold to Don Kroenlein of Mowea.qua, IL, in 1981 (Figure 1, Page 29).
The first of three Mills Violanos was bought in 1975 with the help of Ben and Mary Lilien who lived in Los Angeles, CA (Figure 2, Page 29). It was bought from Don Adams and sold in 1980 to the best man at RonÕs and Mary JoÕs wedding, Gerold Koehler who lives in Joplin, MO. Gerold still has the instrument. ItÕs an early Mills with an oak case. You can see a young Ron Bopp in the photo.
In 1976, while visiting Ben and Mary Lilien, Ron met Bill and Patsy Allen of Santa Anna, CA, and saw their collection. Bill had a pristine Wurlitzer 125 Military Band Organ for sale. It was pricey at the time but after some hand wringing Ron decided to buy this organ. The organ was used at multiple Mid-Am (MBSI) and Heart of America (AMICA) rallies. RonÕs favorite photo of himself is with his large-format Mamiya camera sitting on the ledge of the Wurlitzer trailer (Figure 3, Page 29).
The organ was used in several hospi.tal charity events. At one such event, a high-risk pregnancy fair hosted by Freeman Hospital of Joplin, MO, ÒCharlie ChaplinÓ (played by Mary Jo Bopp) made an appearance with the organ (Figure 3A, Page 31). Taking the organ to rallies led to RonÕs love of outdoor mechanical music which then evolved into his current position as editor of the Carousel Organ (Figure 3B, Page 31). At the reception after Ron and Mary JoÕs wedding, held at their house in the outskirts of Joplin, the Wurlitzer band organ played all day celebrating the event (Figure 3C, Page 32).
The organ was sold in 1983 to a St. Louis, MO, collector who placed it in his dining room. The collector subse.quently was divorced by his wife. (Was the organ the reason?) He later was found guilty of trying to kill a girl.friend and finally, after some time in jail, committed suicide. One day in the 1980s, Jerry Biasella and Marty Persky were traveling through St. Louis when Jerry heard a familiar sound. They chased it down and on a second story landing of a downtown building, their Wurlitzer 125 was playing. The organ eventually ended up in the Tim Trager collection.
The first of three instruments purchased through Bonnie Tekstra who worked for American Interna.tional Galleries (AIG) was a Western Electric keyboard piano, formerly in the Larry Givens collection (Figure 4, Page 32). It was purchased in 1977. It had no coin slot. Ron traded it to a dealer in 1980 for a Wurlitzer orchestrion.
The second AIG transaction was the purchase of a striking Cremona G coin piano with flute pipes in 1979 (Figure 5, Page 33). It was featured on the cover of a 1977 AIG catalog (Figure 5A, Page 33). It was finished in Circassian walnut and was one of the more attractive instruments in their collection. At that time, mechan.ical musical instruments could be purchased by oneÕs retirement plan and this instrument and the above Western Electric piano was acquired this way. Eventually, the piano was removed from the retirement plan and traded to Fred Kern of East St. Louis in 1981 for a Weber Salon Piano mit violinspiel, some cash and a mounted wild boarÕs head (the deal breaker).
1979 found Mary Jo and Ron trav.eling from Joplin to Columbia, MO, to attend the University of Missouri football games (Ron is a ÒMizzouÓ alum). They stopped at a touristy shoe store in Lake of the Ozarks, MO. (Mary Jo is a Òshoeaholic.Ó) There, Ron discovered a cabinet coin piano. It was a Fox PianoTainer (Figure 6, Page 33). Ron had to get the owner off the roof to discuss purchasing this coin piano. It was restored by Jerry Biasella. It played a standard A roll. This was the first of four found at this location. The piano was sold to Arden Kemler of Texas in 1988.
The owner of the shoe store, Les Blair, said to Ron, Òif you are interested in this, perhaps you should come in the back of the store.Ó He did and discov.ered a Peerless 44 coin piano (Figure 7, Page 33). The Peerless 44 uses an endless roll of which there were none with the piano. The first seven rolls Ron acquired for the piano cost him $600. The next 150 cost $600! This was a most interesting piano as were the titles of the rolls which mirrored the time of production. The piano was eventually sold to Rick Crandall to help with a down payment for a house.
The third piano from Les was a Peerless Elite coin piano (Figure 8, Page 34). The piano was restored by Jerry Biasella. The case was restored and refinished by Ron. Most of the art glass was missing, but Mary Jo traced an existing Elite in California to dupli.cate the original glass. An A roll frame came with the piano, but they wanted to bring it back to original condition. Art Reblitz recommended they contact Tom Sprague. They did, and Tom did have an original roll frame which then rounded out the restoration. The Elite uses a very wide and very rare roll (Figure 8A, Page 34). All 88 notes are represented on the roll and runs from the bottom of the scale to the top were quite dramatic. This piano was sold to Don Nielson in 1999.
After picking up the third piano (on the third trip to watch the Mizzou foot.ball team) Les Blair said he also had a fourth piano in a candy story attached to his shoe store. It was a Standard coin piano that used an A roll (Figure 9, Page 34). Four football games, four coin-pianos! A total sum of $4,000 was spent on acquiring the four coin pianos from Les Blair. No restoration was done to this piano and it was sold to Chris Romig who lived in Michigan.
1979 was a busy year for Ron and Mary Jo as far as collecting mechani.cal pianos went. They acquired a Style 20 American Fotoplayer from Bill Pohl (Figure 10, Page 34). The machine came from a theater in rural Kansas. It was incomplete but after a few trips to Los Angeles, CA, for medical meetings Ron found himself at the doorstep of Joe Rinaudo, a famed photoplayer entertainer. Joe also had a restored Style 20 American Fotoplayer and Ron was able to copy missing components as well as have Joe construct an orig.inal light over the roll frames. They used the photoplayer extensively, especially for Charlie Chaplin movies (Figure 10A, Page 34). The unit was sold in 1994 through Galen Bird of Kansas City, to Joel and Pam Jancko of Plantation, FL, where it holds a prominent place in their collection.
In 1980 Ron and Mary Jo made their third and last purchase from AIG. This was a Seeburg Expression Piano with a coin slot. It was a really neat piano with expression. It played special XP rolls (usually five tunes). Restored by Jerry Biasella, the piano sat in RonÕs medical office for several years. It was sold in 1984 to a private collector. The piano became the subject of an article called ÒSeeburg Expression PianosÓ in the AMICA Technicalities (Vol. V, 1981).
In 1980 Ron and Mary Jo visited Bill and Ann Edgerton in Connecticut. They had drinks and dinner and then toured BillÕs Mechanical Music Center, Inc. sales room. Awaiting them was an unrestored Wurlitzer B orchestrion. Complete restoration of the mechan.ical portion of the orchestrion was done by Jerry Biasella. The silver fox appearance was restored to the case by Ron. A highlight of the orchestrion was the attractive art glass (Figure 11, Page 34) with projecting lamps. While many original and recut rolls were available the one vintage roll that came with the orchestrion was the primary roll played as it had wonderful syncopation (Figure 11A). Enjoying the orchestrion came to an end in 1995 as it was brokered to a collector in Japan.
The fall of 1981 found Ron and Mary Jo touring New England states to enjoy the fall foliage, Vermont cheddar cheese and other such treats. Finding a small piano restoration shop in rural Vermont they met up with George Borndt. George had an irresistible 49-key Limonaire Frres Fair Organ. After a husband-wife discussion the Limonaire was purchased and even.tually shipped back to their home in Joplin. When it arrived at their newly-constructed, detached music room, building Ron proudly informed the movers that he would demon.strate the organ for them. There was a cacophony of noise until Ron found which end was up and which end was supposed to go through the tracker frame first! Ron realized, in retrospect, that there are two ends of a piece of book music and there are also two sides. The Limonaire was popular and the Bopps took it to many rallies as well as the 1981 MBSI Annual Meeting at which time ÒCharlie ChaplinÓ made another appearance (Figure 12). The purchase of this instrument marked the beginning, at least for the Bopps, of the appreciation of European instruments and the subsequent acquisition of more. The organ was brokered, through Jim Brady, to a buyer in Japan in 1995.
Another trip to Los Angeles for a medical conference in 1981 found Ron at the home and collection of Rudy and Norma Edwards. Their collection was awesome. Rudy had a Weber Unika Salon Piano for sale (Figure 13, Page 36). Ron found the music irresist.ible and after negotiating with Rudy the piano became part of the Bopp collection. Ron and Mary Jo enjoyed this piano so much it traveled with them through several home moves. Jerry Biasella restored the mechanical portion and Ron refinished the case. Rolls were obtained from Kurt Elbers of New Orleans, LA, and Tom Jensen of Germany. Each one was a treat to listen to. They traded the Unika to Terry Haughawout in Bloomdale, OH, in 2001 for a 100 percent restored Mills Violano (their third Mills). The Unika is currently in a Swiss collection.
Also in 1981, a Seeburg KT Orches.trion (Figure 14) was purchased from a Mr. Flavin. The Bopps enjoyed the KT for seven years then sold it to Bill Rau of New Orleans, LA, for the same amount they paid for it. This helped raise money to buy their beloved 52-key Gebruder Bruder Fair Organ.
These tastes of European music led Ron and Mary Jo to visit to the piano shop of Fred Kern in East St. Louis, MO. They purchased from him an unrestored Weber Salon Piano mit Violinspiel (Figure 15, Page 37). This was a very large cased piano. Jerry Biasella restored the mechanical portion and Ron restored the case.
This large piano was essentially the predecessor of the Weber Unika. It has four more violin pipes and a double swell shutter arrangement for more sophisticated expression. Margaret Taylor, of Kansas City, MO, repainted the reverse painting which had a motion effect of water pouring out of a fountain (Figure 15A, Page 37). Rolls were difficult to come by at that time. (Ron understands a roll project has since started.) He traveled to Sarasota, FL, specifically to meet with Walt Bellm to try and acquire some. Ron said their meeting was cordial and the food was good but no rolls were obtained.
The Salon Piano was sold to Franklyn Corya of Indiana in 1985. It changed hands several times and eventually was featured in the Milhous Collection in Boca Raton, FL. It was sold at their auction to a European collector.
In 1982 Ron and Mary Jo found themselves on the East Coast and visited Ed Fryer. Ed was well known for his work with Link coin pianos. They purchased a Link 2E coin piano and had it shipped back to Joplin. The Link 2E had a piano, mandolin and a xylophone. It used the continuous roll which Ron learned can spill out all over the ground if you leave the bottom doors open while the piano is playing. He only used one roll on the piano, the ÒDan SlackÓ special. In my opinion it was a good choice of great music. The Bopps traded the Link 2E in 1986 to Bill Pohl for a Nelson Wiggins orchestrion piano.
Another purchase from Bill Edger.tonÕs Mechanical Music Center was a PopperÕs Konzertist Welte Piano (Figure 16, Page 38). The year was 1983. It plays the common PopperÕs roll that is usable for all PopperÕs machines. The Konzertist is not coin-operated. A side note, in the process of refinishing the case, Ron used a piano tilter to bring the piano on its back. Bill had installed new rollers to the bottom of the piano and when Ron tilted it back to the upright position the piano quickly got away from him. It was at this point that he hoped a previous thought to himself of Òif I am going to die, I want it to be related to mechanical musicÓ would not come true that day. Jerry Biasella restored the mechanical portion and Ron restored/refinished the case. It was sold in 1990.
In 1983 the Bopps purchased an original Tangley calliope mounted on a restored 1949 Diamond T truck from Bill Pohl. It won an award every year in a Joplin parade. It was a little bit of a pain to move in and out of a normal home garage since all the large brass pipes had to be removed and stored away first. It was sold in 1985 to a Kansas state senator for promotional work.
A Weber Grandezza (Figure 17, Page 38) was purchased from Galen Bird of Grandview, MO, in 1984. Another great European salon piano again restored by Jerry Biasella. This was sold to Bill Rau in 1988. An inexperienced mover picked up the Grandezza for the trip to New Orleans and instead of tying the piano to the side of the truck he laid it down on its back. Mercury from the original mercury pots that were included in the restoration spilled over the entire back of the piano. Bill Rau and Kurt ElberÕs son (who worked for Rau) were miffed over the spilling of the mercury.
A second Mills Violano, this time in a mahogany case, was obtained from Rudy Edwards in 1984 (Figure 18, Page 38). It was serviced by Chuck Pfeiffer while in Joplin, then sold to a Mr. Parry in Australia in 1986.
That same year Ron and Mary Jo traded the previously noted Link 2E for a nice Nelson Wiggins 5X Orches.trion from Bill Pohl (Figure 19, Page 38). The Nelson Wiggins had a nice sound with a complement of traps to accompany the piano. It was sold in 2004 to Bill Rau of New Orleans.
Also in 1986, the Bopps acquired a Seeburg C Xylophonion from Sam Robbins (Figure 20, Page 39). An uncommon Seeburg coin piano, it featured a reiterating xylophone (found at the bottom of the case instead on top where it could be viewed). Unusual for an A roll piano was the tune indicator. It was sold in 1989 to Dan Daniels of Wichita, KS.
In 1988 Ron and Mary Jo acquired their beloved 52-key Gebruder Bruder Fair Organ (Figure 21, Page 39) from Don Snyder, a collector who lived in New Springfield, OH. Ron was made aware of the organ and flew to Pitts.burgh, PA, where Don picked him up from the airport. They drove to DonÕs car parts store where he sold Model A replicas and test-played the organ. Ron negotiated a 10 percent discount on the asking price, had a nice lunch and then Don drove Ron back to the airport. Ron flew back to Joplin all in one day! They never regretted that quick transaction. The organ came with one stack of book music.
Over the next 20 years Ron made and cut approximately 16 more stacks (each playing 22 minutes) of music. Another aspect of the hobby was making and punching out music for the organ. For Ron, there was nothing more satisfying than spending eight hours to make a two-and-a-half-min.ute piece of music, then going to the organ and playing it. The organ was maintained by Terry Haughawout. The organ was trailered to multiple organ rallies and for various events and celebrations.
The Bopps sold the organ to Tom Hutchinson of Sturgeon, MO, in 1988 in preparation for a move to Florida. The Bopps were afraid the loud music might be offensive to their new neigh.bors but later found that most were hard of hearing. Tom subsequently sold the organ and the chassis is now behind a different faade on JaneÕs Carousel (under the Brooklyn Bridge) and the BruderÕs original faade is at the Merry-Go-Round museum in Sandusky, OH.
In 1989 the Bopps acquired a beautiful Seeburg C (Figure 22, Page 40) from a Mr. Herzog. This Seeburg model had only piano and mandolin effect but had gorgeous art glass and lamps on the end post. Ron had been wanting this piano ever since he saw one in the Don McDonald collection in 1976. It was sold in 1993 to Dave Weber of St. Louis, MO.
A second Tangley calliope was added to the collection in 1990. It was a reproduction and purchased from the Dave Miner calliope manufactur.ing firm in Iowa. Mounted in its own trailer, this unit was easy to pull in parades (Figure 23, Page 40). Again, pulling with their restored 1929 Slant Windshield Model A, it won many prizes in the Joplin parades. It was sold in 2004 to a Chevrolet dealership in Enid, OK, to be used for sales promotion.
In 1997 Ron and Mary Jo acquired a very large instrument, a 77-key Burs.ens Dance Organ (Figure 24, Page 40) from the auction of the Miles Musical Museum in Eureka Springs, AR. The auctioneer talked fast and retrospec.tively Ron felt that they paid more than they should have, a cautionary tale for those buying at auctions! The Bopps had a large metal building next to their lake home which could house this tall organ. It took five people (Terry and Joan Haughawout, Jerry Biasella, Mary Jo and Ron) to move this from the trailer to the inside of the building. It sold to Blaine Thomas of Manhattan, KS, in 2004. As of Septem.ber 2018 the organ was up for sale by the descendants of Blaine.
The last instrument added to the traveling collection was a third Mills Violano (Figure 25, Page 40) which came to the BoppsÕ log home on Grand Lake OÕ The Cherokees in 2001. A 100-point restoration was performed by the Haughawout Music Company. It was paid in full with a trade for their former Weber Unika. This machine used MIDI as well as the traditional roll which added much versatility. At the time the Bopps owned it, David Wasson did the excellent arrange.ments for the MIDI files. They parted with it in 2003 to a coin-op collector from the North East United States.
Ron and Mary Jo have had many smaller instruments over the years along with reproducing pianos. Two of these pianos stand out. A nice Mason & Hamlin AMPICO reproducing piano (Figure 26, Page 40) in burl walnut was acquired and restored by Bill Ackman of Cleveland, OH. It eventually went to Carla Weimer (a past president of MBSI) in Springfield, MO.
The smaller organs and similar instruments of note included a Deagan Xylophone mounted on a Cushman Truckster (Figure 27, Page 41), various street organs by Pell, Raffin, JŠger & Brommer (including a medium-sized organ) and a 45-key Verbeeck which recently has transferred to the owner.ship of Stefan Batist of Rome, GA.
The other piano that recently left the collection was a 5-foot 8-inch Louis XV Knabe AMPICO with matching bench (Figure 28, Page 41). It was purchased from Bill Pohl in 1986 and restored by Jerry Biasella. The piano in its art case stood out in their collection. It was sold to Steve Cobb of Kansas City, MO.
Afterthoughts
A fun fact is that Ron had the first personalized plate issued for Joplin, MO, in 1979. Of course, ÒAMPICOÓ had to be on the plate.
Interestingly, the instruments Ron and Mary Jo possessed the longest, and enjoyed the most, were the 52-key Gebruder Bruder Fair Organ and the Weber Unika Salon Piano, both having their origins in Waldkirch, Germany.
Today, the Bopps are downsizing to move to a smaller dwelling. They currently have a pair of Pell Harmonette organs and a small music box. This does not mean that they have lost interest in mechanical music in general and coin pianos and organs, specifically. Ron finds being editor of a mechanical musical journal to be quite rewarding and an interesting aspect to this wonderful hobby.
Additionally, Ron and Mary Jo have enjoyed organizing tours to Europe and England to view and listen to more great mechanical music, specifically fair, dance and Dutch street organs. The next Bumbling Bruder Tour will be the 9th tri-annual tour.
Ron Bopp can be reached at rbopp1@tampabay.rr.com

Ron and Mary Jo Bopp on their anniversary in 2018.

Figure 2: Ron with Mills Violano No. 1.

Figure 1: The Seeburg E from Jim Wells (1974).

Figure 3: Ron with the Wurlitzer 125 in 1981.

Figure 3A: ÒCharlie ChaplinÓ with the Wurlitzer.

Figure 3B: Ron with the Wurlitzer.

Figure 3C: Wurlitzer at the BoppsÕ wedding.

Figure 4: The Western Electric keyboard.

Figure 5A: The Cremona G on the cover of American International Galleries magazine.

Figure 5: The Cremona G.

Figure 6: The Fox PianoTainer.

Figure 7: The Peerless 44 coin piano.

Figure 8: Peerless Elite coin piano.

Figure 8A: Peerless Elite roll frame with a wide roll.

Figure 9: A Standard coin piano.

Figure 10: American Fotoplayer Style 20.

Figure 10A: American Fotoplayer Style 20.

Figure 11: Wurlitzer B orchestrion art glass.

Figure 12: 49-key Limonaire and Charlie Chaplin.

Figure 11A: Wurlitzer B orchestrion.

Figure 13: The Weber Unika Salon piano.

Figure 14: The Seeburg KT orchestrion.

Figure 15: Weber Salon piano (unre.stored) and Fred Kern

Figure 15A: Weber Salon piano (restored).

Figure 16: The PopperÕs Konzertist Welte Piano.

Figure 17: The Weber Grandezza.

Figure 18: The Mills Violano No. 2.

Figure 19: The Nelson-Wiggin 5x orchestrion.

Figure 20: The Seeburg C ÒXylophonion.Ó

Figure 21: The 52-key Gebruder Bruder fair organ.

Figure 22: Seeburg C coin piano.

Figure 23: The Tangley Calliope reproduction.

Figure 25: The Mills Violano with Mike Kropff.

Figure 26: The Mason & Hamlin AMPICO.

Email Matt Jaro at mjaro@verizon.net if you would like any information about style ÒAÓ, ÒGÓ, Ò4XÓ, ÒHÓ or ÒOÓ rolls. Also, comments and suggestions for this column will be appreciated.
Reprinted with permission of the author and The Auto.matic Musical Instrument CollectorsÕ Association (AMICA). Originally printed in the January/February 2019 issue of The AMICA Bulletin.

Figure 24: The 77-key Bursens dance organ.

Figure 28: The 5-foot 8-inch Louis XV Knabe AMPICO.

Figure 27: The Deagan Unifon on a Cushman Truckster.

Interesting Tidbits

John E Osborne wrote in recently to share a photo he took of his 3-year-old grandsons listening to their first nickelodeon. They are captivated by the music, intently studying the operation of the Nelson-Wiggen pump. John has titled the photo ÒNew Members On the Way.Ó

Snowbelt Chapter

Chapter Chair: Tracy Tolzmann
Reporters: Merrie and Tracy Tolzmann
Photographer: Tracy Tolzmann
Jun. 15, 2024 ÑÊBig Lake, MN
The Snowbelt Chapter of MBSI met with the Northern Lights Chapter of the Automatic Musical Instrument CollectorsÕ Association (AMICA) for a joint meeting at the beautiful rural Big Lake, MN, home of Gary Goldsmith and Alex Stolitza.
The rainy weather on the warm afternoon of June 15 did not dampen the spirits of the 24 in attendance as members reacquainted themselves, gathering in Gary and AlexÕs new conservatory. A gallery room is under construction which will feature GaryÕs glass collection consisting of Art Nouveau items and some choice pieces from the Steuben Glass works.
Alex conducted a tour of the numerous musical boxes in their collection, including several Kalliope instruments, one featuring bells. A coin-operated 24.-inch Polyphon required two pennies to play and featured a gambling attachment that may have returned the userÕs investment and then some! A Mermod Frres cylinder box with bells, drum, and castanets was a fascinating instru.ment to 4-year-old Georgia Klosinski, whose father, Stephen, was a guest and a new collector of automatic musical instruments. It was nice to have some young blood in our ranks, and if GeorgiaÕs interests continue, there will be future generations of members to come!
Of particular interest was the QRS Playola system installed on a Fischer AMPICO reproducing piano. Using a regular Windows PC running vanBas.coÕs KaraokeÊPlayer software, a link to a USB port on the computer provides input to the Playola system.ÊThe end result is the piano plays with recorded orchestral accompaniment and vocals coming through stereo speakers.
Following the tour, appetizers were enjoyed as business meetings of the two organizations were held jointly. A substantial number of members belong to both societies and have enthusiastically endorsed the idea of meeting jointly. Business began with the introduction of Nate Otto, who owns Rum River Restorations in Anoka, MN. Nate expertly restores pneumatic instruments and did a workshop on his Style 15 American Fotoplayer at last yearÕs MBSI Annual Meeting in Saint Paul, MN. He invited everyone to an open house to demon.strate the instrument the day after our meeting, and several members planned to attend. The Snowbelt Chapter and Nate are partnering in an effort to organize a public display and demonstration of instruments to spread the joy of collecting and to encourage new MBSI memberships.
It was reported that Lawrence and Phyllis Crawford are both convalesc.ing at an Arlington, MN, health care facility having suffered some medical issues. The Crawfords have made the difficult decision to move off their beautiful farm, with their collection of rare musical boxes going to auction through Stanton Auctions on Aug. 29Ð31. Their clock collection will be sold by StantonÕs Jun. 29. An online sale of their household items will be conducted by Southern Minnesota Auctions of Nicollet, MN, and will take place Jul. 23ÐAug. 8. The CrawfordsÕ collection is primarily made up of musical boxes from LawrenceÕs late parents, F. Richard and Esther Craw.ford, who were founding members of MBSI. This collection features exam.ples of every instrument described in a 1938 article by L. G. Jaccards that had inspired Richard to start the collection. LawrenceÕs 3/24 Wurlitzer Theater Pipe Organ, Opus 916, is being offered by Marty PerskyÕs Mechmusic.com.
The upcoming 2024 MBSI Annual Meeting in Los Angeles was discussed, with delegates from the Snowbelt Chapter registered, although no one from the local AMICA chapter will be attending. The two local chapters have decided that both organizationsÕ future meetings will be held jointly, with the next event scheduled for Saturday, Sept. 28, at the Robbinsdale, MN, home of Ron Olsen. Volunteers were encouraged to host a meeting, and a late summer session may be scheduled. Finding a host for a holiday gathering is a goal.
With the tragic January death of Bill Nunn, the Snowbelt Chapter is seeking a new vice president and treasurer, positions Bill had held in the chapter for many years. BillÕs widow, Stacy, is continuing BillÕs tradi.tion of offering tours of the Skyrock Farm Organ Collection, with Tracy Tolzmann conducting the tours of the instruments. The interest generated in automatic musical instruments by these tours is a wonderful outreach for the society.
Business concluded with the serv.ing of a delicious dinner featuring fried chicken and fresh corn-on-the-cob with side dishes and desserts provided by attendees. Needless to say, the traditional Minnesota potluck meal was excellent! Socializing and listening to instruments continued as the rain finally stopped, allowing members to depart without getting soaked. Everyone thanked Gary and Alex for their hospitality and a wonderful afternoon as we look forward to our next meeting.

Alex Stolitza displays the PolyphonÕs disc storage as Ralph Schultz looks on.

Alex plays the Mermod Frres as AMICAn Craig Remmen observes.

The Mermod Frres cylinder box with bells, drum, and castanets.

Georgia and Steve Klosinski enjoy the Polyphon.

A Kalliope box is enjoyed by (L to R) John Ellingson, Tom Chase, Tom Kuehn, Jeff Ingebrigtson, and Ron Olsen.

Host Alex Stolitza with the 18.-inch Mira disc music box.

Alex shows the Mira discs as Carol Schultz and Georgia, Steve and Victor Klosinski listen.

Alex at the computer control center for the Playola system.

Alex explains the wonders of the QRS Playola piano system on the Fischer AMPICO.

Georgia and Steve Klosinski enjoy the Polyphon.

Alex displays a 15.-inch Regina disc as Victor Klosinski looks on.

Southern California Chapter

Chapter Chair: Robin Biggins
Reporter: Robin Biggins
Photographer: Lowell Boehland
Jun. 23, 2024 Ñ San Diego, CA
Promptly at noon on Jun. 23, 2024, Brent Hoag and Sonia Johnson opened their San Diego, CA, home to the Southern California Chapter of MBSI. Brent and Sonia are most cordial hosts. They provided us with a sumptuous Asian luncheon followed by a tasty dessert. Because of the somewhat smaller number of attend.ees at this meeting, Brent was able to give us a more personal tour of his varied collections.
Chapter Chair Robin Biggins opened the business meeting where members discussed the upcoming AMICA/MBSI annual meeting in Agoura Hills, CA, and introduced a new member, Blue Lolan, along with a friend, Vincent Johnson. Brent has collected many interesting things from around the world, but of course his collection of musical boxes interested us the most. There were smaller early sectional comb and key-wind cylinder boxes along with larger orchestral formats with bells and organ sections. Most all had features not typically seen. Chap.ter members marveled at a stunning collection of Reuge boxes, including an automaton and a huge box with 15 interchangeable cylinders that was produced to commemorate the bicen.tennial of the musical box. The box is named ÒAntoine Favre.Ó Because of long travel distance and heavy traffic, some members had to depart the meeting early and were not included in the group photo. Lowell Boehland, as he so often does, took wonderful photos at our event.
More photos from the event are presented on the following pages.

Brent demonstrates his Reuge automaton to new members, Blue Lolan and Vincent Johnson. The automaton features a young Mozart sitting at a mahogany piano. While the music plays, his head moves up and down and his hands move up and down above the keyboard. MozartÕs head is made of Limoges porcelain from France. His costume is sewn from fine silk and lace. It plays three excerpts from a Mozart sonata: Allegro, Andante and Rondo.

Brent shows guests the hidden drawer where interchangeable cylinders are stored for this musical box that features drums, bells and castanets.

Brent demonstrates a Bremond orchestra box with multiple cylinders.

A ÒFranois LecoultreÓ limited edition interchangeable cylin.der music box made by Reuge. It was created to honor the Swiss watchmaker who developed a way to make the musical movementÕs comb in one piece, allowing for more elaborate pieces of music to be played.

Brent displays a beautifully hand-carved Bremond with inter.changeable cylinders.

The incredible John Manger & Co. overture machine with four combs, the first two are sublime harmonie, then mandoline and piccolo.

A Capital ÒCuffÓ box.

Sonia and Brent show some of their art and sculpture.

A small showing of BrentÕs replica FabergŽ egg collection.

Brent shows one of his carved Mammoth tusks.

The view of San Diego from the Hoag home.

A ÒPetit OrchestraÓ by Bremond, with separate organ controls for reeds and flutes that was made in 1872. The picture on the right shows the tune sheet for this musical box.

The traditional group photo caught almost all the participants who attended the meeting.

Arthur W.J.G. Ord-Hume Ñ 1932Ð2024

By Steve Ryder
Historian, restorer and prolific author Arthur Ord-Hume, passed away May 25 following a short illness. At 92 he remained completely active, with his latest book published just this past January.
Descended from a line of musicians, composers and conductors Arthur grew up on the northwestern fringe of greater London.1 The inner core of the family home was devoted to a vast music archive, and so it became a meeting point for luminaries and historians of the music world. Arthur, however, charted a somewhat differ.ent path than his family and their friends.
Arthur was a small boy when he caught his first sight of a light aircraft taking off, followed in time by his being offered a flight in one. He caught the bug and aviation became his first love.2 As he grew, he tried his hand at redesigning, and attempting to remodel, light aircraft that were damaged or left rotting after World War II, but post-war authorities were wary of licensing any craft that was home-modified or home-built. So, Arthur set up an association of like-minded people to advocate for licensing, and the resulting publicity pushed the ultralight flying movement forward.
After serving in the Royal Air Force and earning a mechanical engineering degree, Arthur started a career in structural aircraft design. He sold design plans to those who wanted to build an aircraft at home, but his day job was as lead designer at De Havilland Aircraft and other firms. Eventually, he formed a partnership in his own company, Phoenix Aircraft, in the late 1950s.3
Arthur built a bungalow on the Isle of Wight. All along the English Channel were old resort hotels and pubs that were still adorned with antiquated, wall-hanging, coin-op Polyphon disc music boxes. Most were largely broken, neglected and mute. Arthur became curious about them, especially since they could be purchased for next to nothing, so he explored how he might repair them. This search for information led to him meeting pioneer collectors in the London area, chief amongst them, Cyril de Vere Green.
It was at CyrilÕs urging and with Hughes RyderÕs assistance that Arthur paid a one-night visit in 1962 to the collection of Murtogh D. Guinness in New York, NY.4 He returned for an extended stay with the Ryders in 1968. Having seen the Guinness collection on the prior visit, Arthur brought with him an extra suitcase jammed with camera and recording equipment.
At least four of his subsequent trips to the U.S. centered around delivering keynote presentations at MBSIÕs annual meetings. Many might recall his talk on ÒMusical ClocksÓ in Sara.sota, FL. Such trips always included a stop to visit New York-area collections and, oftentimes, visits to the original factory buildings of Regina, Symphon.ion, F.G. Otto and the Aeolian Co.
Some American MBSI members may also recall organized tours to Europe that included meetings of MBSIÕs sister organization, the Musical Box Society of Great Britain (MBSGB), with side-visits to various collections. On more than one of those tours, the red carpet was rolled out at the Victo.ria & Albert Museum where Arthur demonstrated instruments.
Arthur served variously as the editor and the president of MBSGB. The societyÕs journal, The Music Box, featured, as it does now, articles of interest by members, articles by its editor, reviews and the occasional catalog reprint.
Best known around the world for his illustrated books, Arthur produced more than a dozen in the field of mechanical music, primarily on collect.ing or repair but with greater insight on their music than could previously be found. Arguably, the most highly-refer.enced of his tomes are ÒMusical BoxÓ and ÒBarrel Organ,Ó followed by ÒThe Musical Clock.Ó5 In addition, he wrote numerous articles for specialized jour.nals within allied fields.
It can be said with great respect that not all of ArthurÕs suppositions, historical interpretations or recom.mended techniques passed without controversy, but this merely served to generate vibrant discussion amongst those who might otherwise have remained mute and the collective body of knowledge is better for it. Arthur was chosen by MBSI to be the first recipient of its Q. David Bowers Literary Award.
It can be said that Arthur was not driven by the same forces that drive many enthusiasts. While many collectors are naturally drawn to those instruments that are accessible, if not affordable, Arthur became increasingly driven towards the study of instru.ments that were out of a collectorÕs normal orbit, the rare and unique. One example of this is the Componium, an organ that improvised innumerable musical variations as it played.
The decision to self-publish a twice-yearly journal called Music & Automata was a perfectly natural next step for Arthur. This journal served as a blank canvas on which he could dig into ancient themes, present more exhaustive analyses of obscure objects, transcribe previously unknown music to written scores and so on. Music & Automata was produced from 1983 to 1992. They contain a meaningful part of ArthurÕs discoveries.
The 1980s and 1990s were a fruitful period for Arthur as he formed a strong relationship with the National Museum van Speelklok tot Pierement (now Museum Speelklok) in Utrecht, the Netherlands. He personally enjoyed a strong bond with its then director, Drs. Jan Jaap Haspels. Arthur and Jan Jaap were invited to be part of an international team advising the restorers of ItalyÕs oldest mechanical (water-driven) organ at the Quirinal Palace in Rome.
In 1993 I was asked to accompany Arthur to examine an exotic organ and carillon called ÒPagoda Clock.Ó It was about to come up for auction at SothebyÕs, London. Attributed to James Cox, circa 1775, the instrument featured a nine-tier pagoda that rose as the music played and an automa.ton Peacock performed. It sold for a handsome sum to a Middle Eastern client. This instrument was delivered to Arthur for restoration. When he took it apart, Arthur found he was the first one to peer into its bellows in its more than 200-year history. The grain of the thin pallets were sealed with pages torn from a school copybook signed by a young Mary Ann Beloudy, thus identifying the organÕs maker as her father, Joseph Beloudy of London (1759-1838). It doesnÕt get more personal than that!
In the 1990s I and my brother were approached by an institution to restore a tall-case clock made by Kinzing and Roentgen that had played music from a pipe organ together with a dulcimer. (Any collectors who have seen the dulcimer-playing lady automaton in Paris, which was made for Marie Antoinette, will recall that Kinzing and Roentgen were its maker.) Little did I know that dulcimers in these rare clocks were built to be easily remov.able for tuning, the result being that many of the few surviving examples have lost their dulcimers over time. We quickly realized we were in over our heads, so Arthur graciously offered to team up with us on the restoration and revive the dulcimer.
He arranged to personally take the measurements of a similar clock at the MusŽe des Arts et Metiers in Paris, France, and, despite some incongru.ities with the subject clockÕs specs, he drew up precise engineering drawings for our missing dulcimer. He and his wife Ruth searched timber yards over.seas for the proper woods, and other places for the proper wire. He crafted the new dulcimer by hand, built a tran.sit case to hold it, and carried it over on his flight from London. He assisted us with the rest of the restoration, and it was a success.
Arthur sometimes helped influence events. He, Ruth and I were present for the Guinness familyÕs private memorial ceremony for Murtogh in England in 2002. After the service, MurtoghÕs sister, Lady Normanby, asked for assistance in finding a suit.able location for his collection. Arthur provided valuable advice. When the Morris Museum was considered, he wrote a strong letter of endorsement in support of the location. Later, the Morris Museum invited him to pen the preface to the collectionÕs catalog.6
It was a pleasure to see Arthur shift gears in the new century. While continuing to produce books and articles on mechanical music, he pivoted back to his first love, avia.tion. He and Ruth became familiar faces at air shows where there was obvious demand for affordable, highly illustrated books on the post-war era of flight. Arthur produced some two dozen of these type books. Books on other subjects included local histo.ries. He seemed to ease into a rhythm of taking time for other enjoyments, while at the same time never slowing down.
A tribute like this could never go without making mention of his incred.ible library on mechanical music, automata, and the related field of horology. The idea for the library took root, according to Arthur, during the same time his interest in the subject was growing in 1958. There were few books in English available at that time, so he started to collect rare, out-of-print and foreign works. Then, in a premeditated fashion, he went to the British Library to examine its pre-war catalog in order to determine what listed works had perished in the bombings. He did the same at major libraries around his home country and then across the rest of Europe. He subscribed to the related serial publications and as they accumulated would have them handsomely bound. Great care was taken to integrate original makersÕ catalogs, news and magazine articles, monographs, manuscripts, and treatises pertaining to the social context and trade history of these instruments. In addition, he maintained a sound archive, film positives and a photo collection. I certainly hope that his lifeÕs work can be preserved in its entirety and pref.erably where it can be appreciated by serious students.
My family will certainly miss him greatly. Our sympathies go to Ruth Ord-Hume, to his family and friends.
Acknowledgments:
First, thanks go to Ruth. We are also indebted to Ben Dunnell, editor of Aeroplane magazine, for the early photos and for the benefit of ArthurÕs final interview, which appeared in the October issue of that publication.

Arthur designing the undercarriage for an ultra-light aircraft in the 1950s.

Musical Pagoda Clock. Its height at rest is 47 inches or 1.2 meters. (SHR, London, 1993)

in the mid 1990s in Summit, NJ, working with Jere Ryder on the disassembled chas.sis from the tall-case musical clock made by Kinzing/Roentgen.

Posing with the newly-crafted dulcimer in his garden. (Photo courtesy Ruth Ord-Hume, Surrey, mid-1990s)

Sources
1. The homes were in suburban Pinner and the then semi-rural hamlet of Hatch End. MBSI member Andrew Pilmer points out that one of his grandfather JamesÕ best known marches, Lynwood, Òis still a fair organ favourite.Ó Thanks to Dr. Timothy Thirst, MBE, for his input.
2. There is a British PathŽ short on YouTube titled (1953) Garden Plane, that shows a 21-year-old Arthur working on a Luton Minor aircraft in the front garden of his parentÕs home: Garden Plane (1953) (youtube.com/watch?v=K0GRi_UGNxU)
3. MBSI News Bulletin, issue #42, Sept. 1981, pp.8-9.
4. MBSI News Bulletin, issue #165, Mar/Apr 2002, pp.16-17
5. Musical Box Ð A History and CollectorÕs Guide (George Allen & Unwin, London, 1980); Barrel Organ Ð The Story of the Mechanical Organ and How to Repair It (George Allen & Unwin, London, 1978); The Musical Clock Ð Musical & Automaton Clocks & Watches (Mayfield Books, Derbyshire, 1995).
6. Musical Machines and Living Dolls Ð The Murtogh D. Guinness Collection of Mechanical Musical Instruments and Automata by Ellen M. Snyder-Grenier (Morris Museum, Morris.town, NJ, 2011)

FOR SALE
RESTORED MUSICAL BOXES Offering a variety of antique musical boxes, discs, orphan cylinders, reproducing piano rolls & out of print books about mechanical music. BILL WINEBURGH 973-927-0484 Web: antiquemusicbox.us
THE GOLDEN AGE of AUTOMATIC 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 youÕll find it to be one of the most interesting, inspiring, informative books you have in your libraryÐor 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
1898 GERMAN POLYPHON coin operated music box. Comes with 10 – 19-1/2 inch disks. Plays beautifully! $6,900.00. Contact SUE OLSON, at sue_olson2@comcast.net or (360) 480-5827
EXTREMELY RARE home model Encore Banjo Serial #H2. 1900, African Mahogany Original motor & electronics Original Directions & Operating Instructions Original Rewind hard.ware Many Old & New rolls Including ÒDulling BanjosÓ Best offer over $75,000. Contact WAYNE MYERS, at wmyers5@cfl.rr.com or (407) 630-1360
MYERS COLLECTION FOR SALE
¥
Encore Banjo 1900 Home Model H2 American Mahogany

¥
Seeburg K 1920 Original motor

¥
Symphony 18 1/4 Disc Box Circa 1888 Matching Table

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Bremond Interchangeable 13 inch circa 1875 Matching Table 3 Cylinders

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Regina 15 1/2 in Changer 1900 Stain glass Bow Front Dozens of discs

¥
Symphony 13 in Wall Mount Circa 1890 5 pfennig coin operated Carved Walnut with Clock

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Edison Fireside Model A 2&4 min. Circa 1909 Oakland Decorative Horn

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BrittaniÕs 9 in Disc Box Circa 1900 Original & New Discs

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Gem Roller Organ Circa 1880 Original & New Cobs

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Edison Diamond Disc Floor Model Many Classic Discs

Contact WAYNE MYERS, at wmyers5@cfl.rr.com or (407) 630-1360
FOR SALE
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
SERVICES
REPRODUCTION POLYPHON discs; Cata.logs available for 19 5/8Ó, 22 1/8Ó, and 24 1/2Ó. DAVID CORKRUM 5826 Roberts Ave, Oakland, CA 94605-1156, 510-569-3110,
www.polyphonmusic.com
SAVE $Õs on REUGE & THORENS MUSIC BOX REPAIR & RESTORATION Ð MBSI MEMBERS RECEIVE WHOLESALE PRICING. 40 + Years experience servicing all makes & models of cylinder and disc music boxes, bird boxes, bird cages, musical watches, Anri musical figurines, et al. All work guaranteed. WeÕre the only REUGE FACTORY AUTHORIZED Parts & Repair Service Center for all of North America. Contact: DON CAINE – The Music Box Repair Center Unlimited, 24703 Pennsyl.vania Ave., Lomita, CA 90717-1516. Phone: (310) 534-1557 Email: MBRCU@AOL.COM. On the Web: www.musicboxrepaircenter.com

THE MARTTHE MART

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2……….Renaissance Antiques
54……..Morphy Auctions
55……..Morphy Auctions
56……..American Treasure Tour
56……..Music Box Restorations
56 …….Automata Magazine
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58……..NAWCC
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OFFICERS, TRUSTEES & COMMITTEES of the
MUSICAL BOX SOCIETY INTERNATIONAL¨

OFFICERS
President
Matthew Jaro
24219 Clematis Dr
Gaithersburg, MD 20882
mjaro@verizon.net
Vice President
Bob Caletti,
605 Wallea Drive
Menlo Park, CA 94025
bcaletti@pacbell.net
Recording Secretary
Linda Birkitt
PO Box 145,
Kuna, ID 83634
scarletpimpernel28@yahoo.com
Treasurer
Edward Kozak
3615 North Campbell Avenue
Chicago, IL 60618
ekozak1970@gmail.com
TRUSTEES
Dave Calendine
Bob Caletti
Edward Cooley
David Corkrum
Richard Dutton
Rich Poppe
Matt Jaro
Mary Ellen Myers
Rick Swaney
COMMITTEES
Audit
Edward Cooley, Chair, Trustee
Bob Caletti, Vice President
Dave Calendine, Trustee
Endowment Committee
Edward Kozak, Treasurer, Chair
Edward Cooley, Trustee
Dave Calendine, Trustee
B Bronson
Executive Committee
Matthew Jaro, Chair, President
Bob Caletti, Vice President
David Corkrum, Immediate
Past President
Edward Cooley, Trustee
Rich Poppe, Trustee
Finance Committee
Edward Kozak, Chair, Treasurer
Edward Cooley, Trustee
Peter Both
Marketing Committee
Bob Smith, Chair
Edward Cooley, Trustee
Richard Dutton, Trustee
Judy Caletti
Don Caine
John Miller
Meetings Committee
Rich Poppe, Chair, Trustee
Judy Caletti
Tom Chase
Cotton Morlock
Tom Kuehn
Membership Committee
Chair, Vacant
Richard Dutton, Trustee
Mary Ellen Myers, Trustee,
Southeast
Robin Biggins, Southern California
Judy Caletti, Golden Gate
Gary Goldsmith, Snowbelt
Florie Hirsch, National Capital
Judy Miller, Southeast
Rob Pollock, Mid-America
Dan Wilson, Southeast
Gerald Yorioka, Northwest IntÕl
TBD, East Coast
TBD, Lake Michigan
TBD, Sunbelt
Museum Committee
Sally Craig, Chair
Dave Calendine, Trustee
Glenn Crater, National Capital
Ken Envall, Southern California
Julian Grace, Sunbelt
Richard Simpson, East Coast
Museum Sub-Committees
Ohio Operations
Rob Pollock, Mid-America
Nominating Committee
Judy Caletti, Chair
David Corkrum, Immediate
Past President
Bob Caletti, Golden Gate,
Vice President
Mary Ellen Myers, Trustee,
Southeast
Tracy Tolzmann, Snowbelt
Rob Pollock, Mid-America
Marc Pichla, Lake Michigan
Publications Committee
Bob Caletti, Chair,
Vice President
Richard Dutton, Trustee
Paul Bellamy
Steve Boehck
Christian Eric
Kathleen Eric
Publications Sub-Committee
Website Committee
Rick Swaney, Chair
B Bronson
Knowles Little, Web Secretary
Special Exhibits Committee
Mary Ellen Myers, Chair, Trustee,
Southeast
David Corkrum, Immediate Past
President, Golden Gate
Donald Caine, Southern California
Richard Dutton, Trustee, East Coast
Jack Hostetler, Southeast
Knowles Little, National Capital
Judy Miller, Southeast
Aaron Muller, Lake Michigan
Wayne Myers, Southeast
Rick Swaney, Trustee,
Northwest International
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CALENDAR OF EVENTS

Date
Event
Location
Sponsor

Aug. 11, 2024
Mid-America Chapter meeting
NelisÕ Dutch Village Holland, MI, 10am
Rob Pollock

Sept. 22, 2024
National Capital Chapter meeting
Gaithersburg, MD
Matt and Beni Jaro

Sept. 28, 2024
Snowbelt Chapter Meeting
Robinsdale, MN
Ron Olsen

Oct. 28, 2024
East Coast Chapter meeting
Zoom (online)
Roger Wiegand

Email event details to editor@mbsi.org by Oct. 1, 2024, for the November/December 2024 issue.
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CHAPTERS

East Coast
Chair: Elise Low
(203) 457-9888
No Dues in 2024
Roger Wiegand
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Wayland, MA 01778
treasurer.eccmbsi@gmail.com
Golden Gate
Chair: Judy Caletti
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Dues $5 to Dave Corkrum
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Japan
Chair: Naoki Shibata
81-72986-1169
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Treasurer: Makiko Watanabe
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Lake Michigan
Chair: Mark Pichla
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Dues $5 to James Huffer
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Mid-America
Chair: Rob Pollock
(937) 508-4984
Dues $10 to Harold Wade
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Medina, OH 44256
National Capital
Chair: Cheryl Hack
(410) 757-2164
cahack@aacc.edu
Dues $5 to Florie Hirsch
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Potomac, MD 20854
Northwest International
Chair: Rick Swaney
(425) 836-3586
Dues $7.50/person to Kathy Baer
8210 Comox Road
Blaine, WA 98230
Snowbelt
Chair: Tracy Tolzmann
(651) 674-5149
No Dues in 2024
Southeast
Chair: Jim Kracht
305-251-6983
Dues $5 to Bob Yates
1973 Crestview Way Unit 147
Naples, FL 34119
Southern California
Chair: Robin Biggins
(310) 377-1472
Dues $10 to Franne Einberg
10524 Blythe Ave
Los Angeles CA 90064
Sunbelt
Chair: Marty Nevel
currency33@AOL.COM
No Dues in 2024

CHAPTERS

Copyright 2022 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

Volume 70, No. 4 July/August 2024

Devoted to All Automatic Musical Instruments

Journal of the Musical Box Society International

Volume 70, No. 4 July/August 2024

5 PresidentÕs Message
7 EditorÕs Notes
51 In Memoriam

MBSI News

On the Cover
A barrel organ built for royalty by Anton Beyer is restored after 20 years of work. Page 26

By Matthew Jaro
MBSI President
I wish to begin by thanking all the members who sent me their proxy votes. Your proxy votes are vital to the continuing operation of our society.
As a 501(c)(3) corporation char.tered in the state of New York we are required to hold annual business meetings with a quorum consisting of the lesser of 10 percent of our membership or 100 members. We have around 930 members in the society, so a quorum would be 93 members. To date, only 53 registrations have been received for our next annual meeting, which would not have met our require.ments. Your proxy votes, however, make it possible to meet our goal and keep our 501(c)(3) designation that makes us a tax-exempt organization.
According to Internal Revenue Code Section 501(c)(3), exempt purposes include charitable, reli.gious, educational, scientific, literary, testing for public safety, fostering national or international amateur sports competition, and preventing cruelty to children or animals. MBSI falls under the educational purposes in this definition. Most importantly, it means that all donations to MBSI are tax-deductible for the donors and every dollar can be used by MBSI to support its mission.
The lack of a quorum is not the only challenge we face as we continue to see lower attendance at the annual meetings. With too few hotel rooms being filled, we donÕt have much nego.tiating leverage to ask for better rates. It also creates somewhat of a Catch 22 since most hotels require a minimum number of rooms to be booked before they will offer free meeting rooms or other services to groups like ours.
This leaves our meeting planners with difficult choices to make. If we set our goal for the minimum number of booked rooms too small it becomes unprofitable for the hotel, and MBSI winds up paying for extras like banquet rooms and workshop spaces. If we set our goal for the minimum number of rooms booked too high, then it is possible we wonÕt be able to meet our goal and we will end up owing the hotel significant money to make up for holding open rooms that did not get reserved.
Recently, hotels have also been writ.ing contracts that specify a maximum number of rooms that they will furnish at an advertised rate. Additional rooms are then made available at a higher cost to participants. If we fail to fill the maximum number of rooms offered at the lowest rate, then there will be compensation due to the hotel. All this means is that the people planning each annual meeting have to work very hard to find just the right number of rooms to ask a hotel for since itÕs impossible to guess how many attendees we will have. Conducting joint meetings with the Automatic Musical Instrument CollectorsÕ Association has helped mitigate these problems somewhat, which is one good thing.
Finding volunteers to tackle challenges like these when planning an annual meeting is becoming increasingly difficult, and it means a very small number of people can end up doing many tasks to make a meeting happen. In addition, our aging membership means people are downsizing their collections, and that provides fewer places to visit on the tours. Also, as individuals age, they often find they no longer have the energy or desire to help. We see this also happening when we request participation in our standing commit.tees or finding qualified candidates to serve as society officers.
Traditionally our regional chapters have hosted the annual conventions on a rotating basis. Today, fewer and fewer chapters have the capability to plan and host a meeting in their region. The impact of this is that it limits the number of cities where we can hold a convention and it increases the frequency with which certain chapters are asked to host meetings.
One solution to this might be choosing a location where there is no regional chapter. For example, Phoenix, AZ, is home to the Musical Instrument Museum and other musical sites, but there is no chapter to take responsibility for the event. Might it be possible to plan a convention in such a place? It could breathe fresh air into the schedule, but it could also backfire if the location isnÕt attractive enough to draw a large attendance.
We know that MBSI members want to see mechanical music collections, so if anyone has creative suggestions, on this or any topic, please write me a note or email me at mjaro@verizon.net.

Mechanical Music

34 National Capital
37 Snowbelt
38 Lake Michigan
43 Southern California
45 Southern California
48 Golden Gate

A perfect fit
Mark and Christel Yaffe had just the right instrument to become part of an exhibit at the Tampa Bay Hotel. Page 8.

MECHANICAL MUSIC

Journal of the Musical Box Society International

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
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 authorÕs approval. All articles are considered to be the authorÕs 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 2024. 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:
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Or, make corrections on the website at www.mbsi.org.
POSTMASTER: SEND ADDRESS CHANGES TO
MBSI, PO Box 10196,
Springfield, MO 65808-0196

Features

8 A perfect fit
12 Nickel Notes
19 Conventions are about more than the music
26 Making music for royalty

Chapter Reports

MBSI has replanted 277 trees so far as part of the Print ReLeaf program.

EditorÕs Notes

MAILING ADDRESS
MBSI Editorial / Advertising
130 Coral Court
Pismo Beach, CA 93449
EMAIL ADDRESS
editor@mbsi.org

By Russell Kasselman
MBSI Editor/Publisher
This issue carries with it the sad news that several prominent and knowledgeable voices in the mechanical music community have fallen silent. The most recent, as I was informed by Steve Ryder, is Arthur W.J.G. Ord-Hume of London, England. Arthur authored more than a dozen books about mechanical music, many of which are available in the MBSI library and are often labeled as a must-read for anyone looking to restore a music box. Arthur also wrote hundreds of articles for The Music Box, the journal of the Musical Box Society of Great Britain, and for his own self-published twice-annual Music & Automata journal. In addi.tion Arthur restored many of the most rare music boxes in the world. Steve is in the process of preparing a more detailed article for our next issue.
We also recently lost Matthew Caulfield, who may be best known for his work with the Seabreeze Park carousel and its Wurlitzer 165 band organ. MatthewÕs name might be most recognizable to anyone who is a regular reader of Mechanical Music Digest (https://www.mmdigest.com/) where he served as a reserve editor and contributed hundreds of articles over the years. Matthew was certainly a knowledgeable character and many, IÕm sure, will continue to be grateful for the experience he shared on the MMD forum.
Then there is Tim Trager. Tim might best be described as an mechanical music hound. Search the archives of Mechanical Music and references to the phrase ÒTim Trager helped located the instrumentÓ are peppered all over the results. Those who worked with Tim valued his encyclopedic knowl.edge of organs and other automatic music. He was a collector of catalogs and business literature surrounding mechanical music and he was happy to share what he knew with anyone who asked. His website, timtrager.com, is only a small representation of the number of mechanical music exchanges he has taken part in. Tim was passionate about promoting the hobby and he wasnÕt shy about shar.ing his ideas for how MBSI might be improved.
I am grateful for the contributions of each of these voices made to mechani.cal music since I claim no expertise at all on the subject. Without the infor.mation shared by Arthur, Matthew and Tim, I and IÕm guessing so many of you would be left flailing in the wind when trying to figure out much of anything about automatic music. I end this column, therefore, with a plea to all of you in the hobby who have knowledge that might benefit those who are coming after you. Find a way to share it. Write it down. Make video recordings. Post it to social media. Please donÕt let it disappear into the void where nobody can find it.

Upcoming Deadlines

ADVERTISING
Advertisements for the September/October 2024 issue of Mechanical Music to be submitted by Aug. 1, 2024.
Advertisements for the November/December 2024 issue of Mechanical Music to be submitted by Oct. 1, 2024.

EDITORIAL
Articles for the September/October 2024 issue of Mechanical Music should be submitted by Jul. 25, 2024.
Articles for the November/December 2024 issue of Mechanical Music should be submitted by Sept. 25, 2024.

Welcome new members!

April 2024
Ben Schwartz
Maplewood, NJ
Thomas & Diana Belcher
Tampa, FL
Jennifer & Roger Carter
Woodbine, MD
Hope Cain
Sulphur Springs, TX
Bruce & Joy Klawiter
Holland, MI
Alan Erringer
Portland, OR
May 2024
Stephen Bay & Jenna Ahonen
Dallas, TX
Brian Smith
Martinez, GA
Jack & Chris Bacon
St. Michael, MN
Mike & Marcy Orkin
Northridge, CA
Sadahiko Sakauchi
Nishinomiya-shi, Hyogo-ken Japan
Joseph & Carol Comeau
LaGrange, ME
Justin Tan & Stefa Witt
Livingston, NJ
H. Kveen
Santa Ana, CA
Uriah Bueller
Boulder, CO

Just the right fit

A hotel built in 1884 seems exactly the right setting for part of the Yaffe collection

By Mark Yaffe
The Tampa Bay Hotel, a 511-room palace, was personally financed and built by visionary entrepreneur Henry B. Plant in 1884. It was completely electric and fire proof. It catered to elite society who gathered there to escape harsh northern winters.
In 1898, Plant catapulted Tampa, FL, and his hotel onto the interna.tional stage. The hotel became the headquarters for the U.S. Army during the Spanish-American War. It housed officers, foreign dignitaries, war correspondents as well as Red Cross personnel.
In the early 1890s, Plant purchased a Welte orchestrion for his home. The price was $5,000. Shortly afterward, in 1896, he decided to buy a second orchestrion for his guests to enjoy at his Tampa Bay Hotel.
Over time, as with many other mechanical musical instruments, the orchestrion fell in disrepair and was ultimately lost, destroyed or simply thrown away. The Tampa Bay Hotel closed its doors in 1932 and in 1933 the building became part of the University of Tampa and the Henry B. Plant Museum.
Two years ago, the Plant MuseumÕs board of directors decided to exhibit mechanical music instruments that had once adorned the Tampa Bay HotelÕs music room.
They felt fortunate to locate a Welte only a few miles away from the museum at our home. Several board members and staff came to visit our collection and they seemed just mesmerized. Christel and I were happy to loan out our Welte and several other instruments that now look and sound beautiful in their temporary home at the museum.
The Welte from our collection was once the property of Paul CorinÕs Music Museum in Cornwall, England. We purchased it around 1995 and had it completely restored in California by Ron Cappel and Dave Sorrow.
Almost 30 years later, Dave disassembled, transported and reassembled the Welte and other instruments so that they could be properly displayed at the museum.
The exhibit is called ÒImperfect Harmony: Man, Machine and Music.Ó It opened Mar. 23, 2024, and will continue to be available until Dec. 23, 2024.
The Henry B. Plant Museum is located at 401 W. Kennedy Boulevard in Tampa, FL. It is open from 10 a.m. to 5 p.m. Tuesday through Saturday and noon to 5 p.m. on Sundays. Call (813) 254-1891 or go to www.plantmuseum.com for information.
Museum visitors can listen to the instruments every Wednesday at noon and on Saturdays at 11 a.m.
The museum has a display table with a copy of David BowersÕ ÒEncy.clopedia of Mechanical MusicÓ and MBSI membership brochures. If you find yourself in the area before Christ.mas 2024, please consider a visit to the museum. It is beautifully preserved and the grounds are spectacular too.

The exterior of the Tampa Bay Hotel built by Henry B. Plant in 1884.

On the facing page and above, the Welte orchestrion and other items from Mark and Christel YaffeÕs collection on display at the museum.

A Mills Violano fills one corner of the music room in the museum.

An ÒEncyclopedia of Automatic Musical InstrumentsÓ by Q. David Bowers, along with other books and brochures promot.ing the mechanical music hobby on a table for guests to enjoy.

A Black Forest musical box and clock entice visitors to take a closer look.

An ornately-decorated interchangeable cylinder musical box with extra cylinders in storage underneath on loan from the Yaffes.

The museum display includes many musical items to keep visitors busy.

Nickel Notes

By Matthew Jaro

Plugging the Songs

In previous Nickel Notes columns, we have discussed many aspects of mechanical music, but we never detailed how songs were advertised and promoted in the days before radio and even phonographs and even after.wards into the 1920s. Consequently, this issue is devoted to Plugging the Songs.
Before 1900
In the 1880s the Music Trade Review (then called the Music Trade Journal) concentrated on instru.ments (especially pianos and organs) and classical music news. There might be announcements of musical comedies and operettas, but these were not advertisements. Mechanical instrument advertising was limited to organettes. By 1891 there were announcements about the Autom.aton Piano Co., but no songs were advertised.
1900 to 1910
In 1900 the Angelus Cabinet Piano Player was advertised by Wilcox and White Co. A trade magazine article stated that sheet-music sales were expanding, noting that ÒCake-WalkÓ and the ÒCoonÓ song had particularly brisk sales. Vocal music was reported to sell three times more than instru.mental music. Chicago seemed, at the time, to be the center of sheet music sales. Columbia Graphophones and records began to be advertised in 1900. Regina music boxes were also advertised. In 1905 Perfection Music rolls were first advertised by the Perforated Music Roll Company. The Automusic Perforating Company also began advertising. Victor records advertised Marcella Sembrich and Maud Powell violin records, but these were all classical. In 1905 music publisher M. Witmark advertised sales of sheet music from the musical comedy ÒFantanÓ by Raymond Hubell and Robert B. Smith. Sol Bloom advertised ÒKisses,Ó ÒA Bit OÕBlarneyÓ and several others of equal fame. The Nicklin Coin-Operated Piano was advertised as well.
In 1909 Lyon and Healy advertised military band organs and mechanical pianos. The music trade publications at this time contained larger numbers of player piano ads. There were also many manufacturers of piano parts and accessories that placed adver.tisements. The advertisements placed by music publishers grew during this time, hawking various titles that they wanted to promote. Examples included ÒMake a Noise Like a Hoop and Roll Away,Ó and ÒMy Brudda Sylvest.Ó This latter song was a big hit and is still relatively well known. It was composed by Fred Fischer and first advertised in 1908. Advertising for this song continued every week until 1910. Later in 1910 it was adver.tised by Charles K Harris. It became a folk-song and is still sung by Irish music bands. A secondary title is ÒBig Strong Man.Ó ÒSunbonnet SueÓ was also advertised by Gus Edwards who wrote the melody for the song. Will D. Cobb wrote the lyrics.
In 1910 the Victor Talking Machine Company placed ads explaining why piano dealers should carry Victor products. The ads state that selling records and record players will boost piano sales and are much easier to sell than pianos. The spread of phonograph records was instrumental in selling sheet music to piano store customers who would buy the music after hearing the records. Columbia adopted the same strategy as Victor in attempting to get piano dealers to sell Columbia products. Both compa.nies said that selling the phonograph would be only the beginning because customers must have records to play on their phonographs.
The Music Trade Review began featuring a music section, where sheet music was discussed and reviewed. Authors writing for this section fawned over the latest song by Ernest Ball, ÒMy Heart has Learned to Love You,Ó and the article includes a repro.duction of the front cover of the sheet music. Ball was co-author of ÒWhen Irish Eyes are Smiling,Ó ÒMother MachreeÓ and other well-known songs. At this point the music trade publications began advertising indi.vidual songs like ÒThat Italian Rag,Ó by Al Piantadosi (who wrote ÒThe Curse of an Aching HeartÓ).
1911-1915
An advertisement for ÒAll Aboard for Blanket Bay,Ó by Harry von Tilzer gives us a clue as to one means of plugging songs. The producers made more than 1,000 sets of slides, so the song could be played and sung along with in movie theaters. von Tilzer also wrote ÒA Bird in the Gilded Cage,Ó ÒWait ÕTil the Sun Shines Nellie,Ó ÒI Want a Girl Just Like the Girl that Married Dear old DadÓ and countless others.
At this point in time, we know there were the following outlets for the public to obtain new music:
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Sheet music dealers, including piano dealers

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Phonograph records

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Player-piano rolls

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Motion picture theaters

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Coin-operated pianos

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Live theater and Vaudeville

An announcement distributed by Leo Feist Publishers states that a Vaudeville group introduced the song ÒThink It Over Mary,Ó which was so popular that the company had orders rolling in. It seems obvious to me that theatrical presentations stimulated music sales.
What Shall We Do With Our
Sheet Music Department?
In 1912 player pianos were so successful that the Music Trade Review had a separate Player section in the front of the newspaper. An inter.esting article from this year stated that customers could go into a music store where phonograph records and sheet music were sold on the first floor and find the selection great enough to supply all customers with the latest songs. Player piano rolls, however, were often sold on the second floor and the distribution system is not adequate to keep the stores supplied, said the article. ÒEvery piano house in town is dissatisfied,Ó said a dealer, Òwith roll merchandising as it is.Ó
The same issue of the music trade magazine talks about the problem with stores selling sheet music. One interesting comment in the article notes that some songs sold millions of copies. This is far more than I would have expected for this period.
Song plugging was so prevalent in 1914 that thieves even posed as music salesmen to rob their victimÕs homes a few days later.
In 1914 the American Society of Composers, Authors and Publishers (ASCAP) was founded to ensure that music publishers and composers received the royalties due to them from live performances or broadcasts of their music.
In 1915, Presto magazine ran an article called ÒThe Plugged Hit (How and Why the Plugger Plugs).Ó It is well known that song pluggers appeared in department stores and music stores in order to promote new songs with the hope of creating a hit, but there was much more to it than that. Consider this chain of events:
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Even before professional copies of a new song were turned out, typewritten lyrics were provided for early birds who visited the music rooms of the publisher.

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House piano players drilled the music into the heads of the Vaudeville artists or Cabaret singers as the words were held in hand.

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On the evening of the day a promising song was completed, it was performed in hurriedly accomplished form in cabarets around New York and sometimes in theaters where pianos consti.tuted the orchestra.

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Professional copies were secured from the printer as quickly as proofs could be approved and copies printed.

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While all the above was happen.ing, a professional ÒpluggerÓ would have been visiting Vaudeville artists at the theaters, meeting them on the street or in restaurants at lunch or dinner and spreading the news that another Òsure-fireÓ hit has been born. The plugger would let the artists know that all they needed to do was call at the firmÕs music rooms to have the proof established.

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The mail carried first proof copies of the song throughout the country to Vaudeville artists friendly to the publisher. These acts were known to use the new songs the publisher turned out, and they were Òbig namesÓ who could make songs popular all around the country. The artists appreciated the courtesy of having Òfirst crackÓ at a new song that might be particularly adapted to their style.

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Orchestrations were prepared by arrangers employed at every publisher to do initial work with songs that would be given an early trial before the public.

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Later, a printer would be called upon to supply orchestrations to aid vocalists if the song still promised to be successful. Still later, band parts were printed for a wider distribution of the melody of a song that stood the early test and rigors of being thoroughly tested.

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About this time the various trade papers would carry advertise.ments inviting the attention of those in the music profession generally. These advertisements would lead to a nationwide distribution of professional copies. All this time the Òsong pluggerÓ would still be visiting theaters in New York, Chicago and other big cities, interviewing individual singers and urging the claims of the Ònew hit.Ó

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Additionally, squads of singers were sent to Vaudeville theaters in big towns to sing the chorus and perhaps parade the aisles ÒdinningÓ the melody into the ears of the assemblage. Individual ÒboostersÓ were sent into the boxes or orchestra seats at other theaters, while the ÒsquadsÓ and singles would tour the cafes and cabarets, working late into the night, or early into the morning, after a busy day in the music rooms of their firm.

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Phonograph records were made after the song proved that it had sufficient signs of permanent, or even semi-permanent popularity.

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The ÒBarrel-organsÓ and hurdy-gurdys were the last to take up the new song and bands would play it in the open. Orchestras played it in cafes and at the dancing cabarets. As it became more widespread, boys would begin whistling it, men and women would begin humming it and eventually it would reach the high tide of its vogue.

ItÕs clear from the article that a lot of work was required to promote a song and early results could prove to be life or death to the new songÕs distribution and sales. The process of promoting songs was certainly more complex than a simple plugger working at a department store or a music store. Astute readers might notice that IÕve made no mention of music rolls and of course there was no mention of radio. It could be that nickelodeons were still not really popular enough to make much of an impact.
This above described chain of events was reinforced by a 1916 article in Presto talking about a certain song plugger who would dash into a motion picture house at the end of a picture, stand up with the orchestra and begin performing something which his firm hoped will be a hit. He would have previously given the orchestra free copies of the music. The patrons of the show might think the plugger was a paid entertainer. Sometimes the manager would threaten to throw the plugger out or have him arrested, but that didnÕt matter. Five hundred persons would have heard the new song and perhaps some of them would buy it the next day.
1916-1920
In 1916, there was a lot of discussion about the Stevens Price Maintenance Bill which would enforce maintenance of resale prices and legalize fair-trade pricing. Of course, the American Fair-Trade League supported this. The main objective of the 1914 Stevens Price Maintenance Bill was to establish the right of a manufacturer to Òprescribe the sole, uniform price at which each article covered by a sales contract may be resold.Ó The bill failed to pass and instead the Federal Trade Commission was established. The FTC felt that such contracts were anti-competitive. The music merchants had hoped to prevent certain dealers from selling items below cost or at a reduced profit to attract more customers, but it was not to be.
In 1919 one of the big hits was the Irish tenor John McCormack singing ÒRoses of Picardy.Ó The song was writ.ten in Britain in 1916 and originally published by Chappell and Company. Haydn Wood, the composer, also wrote ÒDanny Boy.Ó In 1918, Chappell placed a three-column ad showing McCormack and the sheet music as well as listing all the versions avail.able. British soldiers sang it in France. During the First World War the sheet music sold at a rate of 40,000 copies per month. It remained popular after the war. There are more than 150 recordings of the song.
ÒDardanellaÓ
In 1919, there was an article about the song ÒDardanella.Ó
The song was published by a number of roll companies: Artrio Rolls, Aeolian, Altoona, Republic, Rhymodik and Universal to name a few. In 1920, a column listing current rolls, stated under the headline ÒQRS MUSIC COMPANY:Ó ÒÔDardanellaÕ is here, of course, and there is even a ÔDardanella BluesÕ to make it complete.Ó
It is mentioned that the sheet music is simplified by the publisher to greatly add to the sales. I have a theory (unconfirmed) about sheet music. In the 19th century, the only entertainment available was usually a piano at home (with singers). The music had to be simple because they were played by amateurs for home entertainment. They were usually quadrilles, waltzes polkas and ballads. In the 1920s, the choices for entertain.ment expanded to include records, piano rolls, concerts, night clubs and, later, radio. The sheet music arrange.ments in the 1920s got more difficult and I think many numbers were aimed at professional musicians or at least very advanced amateurs. Chord progressions and harmonies became much more complex than their 19th century counterparts.
ÒDardanellaÓ was published in 1919 by Fred Fisher. Band leader Ben Selvin recorded the song for several record companies and by some estimates, more than 5 million copies were sold (Wikipedia). In 1919 The Music Trade Review saw a prepublication manu.script to ÒDardanellaÓ.
Popularity of the song continued to increase in 1920.
Stores began adding window displays to advertise the rolls. (See image above.)
ÒDardanellaÓ was a huge hit on the West Coast. San Francisco-based Sherman, Clay & Co.Õs sheet music department received 25,000 copies of ÒDardanellaÓ by express and reported an unprecedented demand for the music.
PathŽ records devoted a full-page ad selling its three recordings of the tune. (See facing page for image.)
The song sold so well that the composer regretted selling his rights for $100 and sued the publisher.
In 1922 composer Felix Bernard lost his case against publisher Fred Fisher and the publisher was entitled to damages resulting from an injunction restraining him from disbursing any money received from the song.
Another publisher charged soon after that the lyrics to ÒDardanellaÓ were written by a songwriter under contract with the Remick publishing house (owned by Alfred Bryan) and not by Fred Fisher, as the name on the title page of the sheet music indicated. The Music Trade Review commented on the situation to say that ÒIt looks as though ÔDardanellaÕ is going to be a financial success for the lawyers as well as for the writers and publishers.Ó
By September, counterfeit copies of ÒDardanellaÓ appeared on the West Coast. The printer, Walter Hodges, pleaded guilty and was fined $100 for the crime. He sold his counterfeit copies at 10 cents apiece.
In March 1922 Fred Fisher sued composer Jerome Kern and his publisher over the song ÒKalua.Ó
One of the claims made was that the bass line for ÒKaluaÓ was copied from ÒDardanella.Ó
In 1924 the case was tried and a decision returned. Presiding was a famous judge, Billings Learned Hand. The judge decided that even though Kern may have unconsciously copied the bass figures of ÒDardanellaÓ in his song ÒKalua,Ó it was still a copyright infringement. This has now become known as Òthe unconscious copying doctrine.Ó It was certainly an inge.nious way of punishing the infringer without questioning his integrity. As for damages, the judge asserted that Fred Fisher wasnÕt damaged at all by ÒKalua.Ó First, the judge said, ÒDarda.nellaÓ had receded from popularity and it was doubtful that the presence of ÒKaluaÓ would have had any effect whatsoever on ÒDardanellaÓ sales. Since the minimum fine for the copy.right infraction was $250, Kern was fined that amount. Kern did not have to pay the FisherÕs attorney fees since the judge felt they were discretionary.
Later legal opinion was that the original decision was incorrect since the bass line of both ÒDardanellaÓ and ÒKaluaÓ was an ÒAlbertiÓ bass which had been already used in a number of classical compositions and therefore shouldnÕt be forbidden for any song in the popular genre.
In 1928 Mills Music bought the rights to ÒDardanellaÓ and hoped to reissue it with a new arrangement. Also, in 1928, Felix Bernard joined the staff of M. Witmark and Sons.
By 1922 ÒDardanellaÓ was almost forgotten. The big hit of that year was ÒStumbling.Ó ÒDardanella,Ó however, was the first popular song to sell more than 1 million records. In fact, count.ing all the recordings of the song, 6.5 million copies of the song were sold, and 2 million copies of the sheet music were sold.
1921-1925
After ÒDardanella,Ó everything else seemed mundane. Recordings and sheet music did, however, become big business. A 1921 Paul Whiteman ad appeared on Page 4 of the Music Trade Review advertising sheet music! Prior to ÒDardanellaÓ most sheet music and record ads were relegated to the last few pages of each issue.
In the same 1921 issue was an ad for the song ÒWhispering.Ó This song became quite successful selling more than 2 million copies.
Sherman, Clay & Co. was the publisher of this song, but Paul Whiteman made it famous.
Radio broadcasting started in 1920 with station KDKA in Pittsburgh, PA. ChicagoÕs first station KYW started in 1921. By 1922, there were 600 radio stations in the U.S. One ad claimed a range of 150 miles.
One of the big hits of 1923 was ÒToot, Toot, Tootsie.Ó
In 1923, Lyon and Healy was adver.tising its radio department.
Lawyers for ASCAP were trying to get the radio stations to pay royalties for each time a song was played on the radio. One article in Presto said:
ÒWithin the last two months, owing mainly to the popularity of the radio, the royalties of the authors and composers have fallen off alarmingly.Ó
ÒThe national copyright law gives us the exclusive rights to control the public performance of our numbers.Ó
ÒIt is a mistaken idea that the broadcasting of a piece of music tends to popularize it. The days of the Ôsong pluggerÕ are gone. If a popular number is played to death, the demand for it soon ceases, and it has been this abuse of the popular song that has shortened its life.Ó
In 1924, radio really became aware of radio.
In 1925 the DeForest Radio Company took out a full-page ad in the Music Trade Review. From then on, everything changed, and I end the article on this note. The life of this particular song plugger, however, will live on to plug another day.

Email Matt Jaro at mjaro@verizon.net if you would like any information about style ÒAÓ, ÒGÓ, Ò4XÓ, ÒHÓ or ÒOÓ rolls. Also, comments and suggestions for this column will be appreciated.
Reprinted with permission of the author and The Automatic Musical Instrument CollectorsÕ Association (AMICA). Originally printed in the November/December 2018 issue of The AMICA Bulletin.

A musical box society convention is about more than the music

(EditorÕs Note: This article was previously published in the December 2023 issue of Vox Humana, the journal of the Mechanical Organ OwnersÕ Society in Great Britain. It has been lightly edited, reviewed by the author and approved for publication in Mechanical Music.)
By Michael Clark
2023 has been a return to several ÒnormalÓ events for me, although my budget pocket had to be squeezed tight with some of the increased costs.
One thing my wife, Felicity, and I enjoyed in the pre-pandemic days was visiting the USA to partake in the Musi.cal Box Society International annual conventions, which by the nature of the country, are held each year in a different state dependent on whether there are sufficient chapter members and instrument collections in the area. MBSIÕs regional chapters provide a social outlet for members in specific areas and the distances between each can be substantial.
The Snowbelt Chapter, probably the smallest active one in the society, played host for the 2023 convention. I attended this convention on my own and observed it was a smaller group of people joining than at other events I had previously been to.
I travelled from Leeds to Amster.dam and then by direct flight to the twin cities, which are St. Paul and Minneapolis, MN. St. Paul is the capi.tal of Minnesota and was the base this year for the convention, which took place in the downtown (city centre) Doubletree by Hilton Hotel.
Day one (Monday)
I arrived at the hotel by way of the public bus from the airport to downtown.
Day two (Tuesday)
The official first day of the conven.tion, but mainly it is only for trustee meetings and committees. I was free to roam, so, having noticed the state Capitol building and cathedral perched high above the city, I set off to explore. I took the tram to the Capitol building, which, after taking external photographs from the end of the lawn, I entered and found a tour about to start. An extensive tour wound around the inside, including the space under the dome, the House of Representatives and the Senate room. A lot of artwork and history of the state were explained. Then it was up to the roof where in front of the dome is the Quadriga, a gold-plated copper sculpture of chariot and horses named ÒThe Progress of the State.Ó In the near distance I could see downtown St. Paul, while in the far distance were the tall buildings of downtown Minneapolis.
I then went below the Capitol building where underground tunnels connect it to the various ministry buildings that surround it. These were built so employees who needed to move from building to building can do so safely during the blazing heat (like the day I was present) but more particularly in the long frozen, snow-covered winter, which can last for more than six months.
Next it was out into the sunshine and onward by foot for a half mile or so to the huge Catholic cathedral of St. Paul. Inside was a vast number of pews to accommodate 3,000 members of the congregation and a balcony in front of the east window where a lovely Aeolian-Skinner organ was seen but unfortunately not heard.
I travelled back to the hotel by another bus and had time to say hello to some other delegates who were gathered in the hospitality room collecting their passes and tickets for specific events during the week.
Day 3 (Wednesday)
It was an early start with breakfast in the hotel, then I boarded the tour bus to view the first collection. The destination was two hours away and belonged to pig breeder Kiven Lukes and his wife, Cheryl. In the large music room-cum-banqueting hall-cum-amusement arcade were not just mechanical instruments but some old and unusual arcade games which guests were allowed to play (helped by a nickel or dime of course).
We then went outside where Kiven had arranged for one of his farm colleagues to show us some of the animals bred on the farm. First, we saw a 4-month-old 600-pound steer named ÒBubbles,Ó who was only one third of his 12-month-old full-grown weight. Then we saw a show pig that was almost ready for market. The pig gave its keeper a good run for its money as it meandered among the guests and the foliage in the house grounds.
Then it was back inside for a demonstration of all the instruments followed by a lunch of É huge pork chops!!
On the bus again we drove down some farm roads to an open corner of a corn field. Here we saw two massive Case IH 450 Quadtrack tractors near a combine, seeding machine and a small gazebo for shade.
Kiven explained the farm imple.ments while guests were invited to drive the two tractors. I joined in the queue and was amazed to sit so high up on a tractor with caterpillar tracks on each of the four corners. Then it was on to the actual corn crop, which was lower in height and yield due to the poor weather conditions of the summer but still measured about 7 feet high, with cobs awaiting harvesting. Guests wandered among the stalks of the crop while Kiven explained the features of the crop. These are a lesser quality crop than for human consump.tion, he told us, but he grows about 25 percent of the corn and soya needed for his business, helping him to breed 100,000 pigs for market per annum.
Finally, it was back to the main building for a last drink and more music before returning to the hotel. The official welcome dinner that evening was our first social event.
Day 4 (Thursday)
Things were getting busy with two buses scheduled for this day, one going clockwise and the other anti.clockwise. My bus set off to the lovely home of Thomas and Hongyan Kuehn where the musical instruments are kept in a two-level music room, with a stunning view of a lake to the back.
A 1992 replica Wurlitzer 105 military band organ greeted us in the driveway while in the place of the adjoined garage was TomÕs workshop where he was showing guests his latest project, a Loesche Model 9 built circa 1910. Instruments were demonstrated while guests roamed the house and grounds.
All too soon we had to board the bus for our next destination, Skyrock Farm, where Bill and Stacy Nunn were waiting to give us lunch in their magnificent Victorian ballroom. While we settled in and ate, music was played first on the 3-14 Barton theatre pipe organ. Then the fairground organs were demonstrated one at a time while the guests wandered round the large exhibition hall. Also within the building were a juvenile carousel, a huge collection of model carousel ornaments and music boxes, carousel animals and many other artefacts of the hobby. There was also a music cutting machine being used and work being done on a 1912 Ruth organ front that was explained by Stacy who was involved in its restoration and redecoration.
Moving on quickly we were ushered out to the NunnsÕ business arena to see show horse training. They were holding summer riding schools for youngsters, and one of their star pupils, Bohden, riding Conan, demon.strated his ability over the jumps. Also outside was an amusement park rail.road which we took turns ÒsqueezingÓ into the seats for a ride around the house and museum grounds.
We returned to the hotel and a rapid turnaround, re-boarding the buses and heading to the nearby Cafesjian Carousel in Como Park. Here we were provided with a meal of fried chicken followed by the traditional ice cream social. Guests rode the 1914 PTC carousel and enjoyed the company of fellow members on this lovely machine, principally saved by Gerard L. Cafesjian, a St. Paul businessman and philanthropist who stepped in after the ride had completed 74 years at the Minnesota State Fair, only 1 mile from where the ride now stands in its pavilion. The organ, a Wurlitzer 153, is not the original organ as that was destroyed in a fire in 1939.
Day 5 (Friday)
The morning activity was four work.shops, 45-minute sessions on varied subjects. First, Fred Dahlinger gave an illustrated talk on ÒEnjoying Legend.ary Ruth Organs,Ó which covered many of the larger organs built by A. Ruth & Son, bringing their history to life and current location if preserved.
John Miller then gave a talk named ÒFutureproofing Mechanical Music.Ó I found it to be a very interesting look at this organ builderÕs view on how things may progress and where tech.nology will help.
Nate Otto, a young yet extremely enthusiastic restorer of 88-note player pianos and photoplayers, made a presentation titled ÒAn Impractical Penchant for Photoplayers,Ó that involved his own Style 15 American Photoplayer. He demonstrated its capabilities by playing a sequence of rolls that provided his guest, a former Ringling Brothers Circus clown, Neal Skoy, the background and effects for a live stunt show involving a folding chair, rope, briefcase and a bunch of flowers.
The fourth workshop, by Nancy Fratti, gave helpful suggestions in a talk titled ÒDispersing your collection Ñ what are your options?Ó
After an awards lunch at the hotel, it was back to the buses for a ÒGangster Tour.Ó This started very suddenly with the arrival on the bus of our guide, who introduced himself as Baby Face Nelson and proceeded alarmingly to lark about in gangster fashion, describing what used to happen in St. Paul and describing the well-known gangsters who spent time there as well as their eventual fates. It appeared that the main draw for St. Paul was the allegedly corrupt police chief of the time.
We toured caves, saw historic buildings and locations relating to the gangster activities and heard lots of stories of the time period.
After returning to the hotel for dinner, we enjoyed an evening of classic comedy movies accompanied by Nate on his photoplayer.
Day 6 (Saturday)
This was the main convention day with an early morning start featur.ing the Annual Meeting Breakfast, followed by the appointments and conveyance of society information to the membership. Once concluded, vendors setting up for the afternoon mart went to another room where, in due course, many instruments, large and small, were on show for inspection and purchase, together with many smaller mechanical music accessories, books and memorabilia.
I took this opportunity, having researched the possibilities, to catch a service bus near the hotel for a 10-minute ride to the outskirts of St. Paul where a heritage group has taken over a railroad roundhouse and adjoining premises, including a turn.table. The group constructed a facility for vehicle restoration and storage, while on a short piece of track they give caboose rides behind a large shunting locomotive, running parallel to the existing network of the Great Northern Railway. There is also an exhibition hall, shop and cafŽ making for a pleasant place for an hour or two to learn about the local railroads.
The previous day, when I was wear.ing a Bluebell Railway T-shirt, I met Jeff Ingbrigtson who told me he was a member of this railroad society. He informed me he would come and meet me after a commitment he had as one of the MBSI chapter event organisers, so I was very pleased to find him standing in the yard when I returned from my caboose ride.
He showed me the workshops and told me about the facility and some of the vehicles stored and being restored. He, with his partner Lisa Tenhoff, also kindly gave me a lift back to the hotel in time to join in the mart, a very informal opportunity to catch up with friends and acquaintances old and new as well as possibly acquiring some new instruments.
While the mart was being tidied away there was time for a walk round the town, and I discovered Cossetta, a superb Italian establishment, sort of a cross between a grocery shop, restaurant, deli, cafŽ, gelato and bakery parlour, about 15 minutes from the hotel.
That evening was set aside for the MBSI annual banquet where, following the food and some thanks from Snowbelt Chapter Chair Tracy M. Tolzmann, we were entertained by a local magician, Frederick Baisch, who included some of the audience in his performance. His act ran along a theme familiar to me in that some tricks would appear to fail, like the well-known UK magician Tommy Cooper.
The evening concluded with distri.butions of table favours, a group photo with the international members of MBSI and saying farewells.
Many left for home early on Sunday, but I had accepted an invitation from Jeff and Lisa to go to a couple of open house events close by. Our first stop was at Ron OlsenÕs, whose home, ÒHuston Place,Ó is a restored 1922 property containing his collection of approximately 250 antique lamps and light fixtures. The main attrac.tions were three player pianos, each with a different player action. These were demonstrated in rotation, first a 1921 6-foot 2-inch Baldwin C with a Welte-Mignon, then a 1927 6-foot 6-inch Steinway OR with a Duo-Art and finally a 1926 Mason & Hamlin RAA with an AMPICO.Ó (It has a ÒBÓ drawer but is an AMPICO A reproduc.ing system.)
We next stopped at JeffÕs home to see his spectacular model railroad in action and other small-scale steam exhibits. Finally, it was on to Rich and Heidi PoppeÕs home where music boxes and small instruments were in an abundance and several MBSI members offered tips on restoration and fault-finding to those present.
Having returned to the hotel, I wandered off to find some of the ÒPeanutsÓ memorials, in the form of bronze castings of the characters from the newspaper cartoon, dotted around Rice Park and the surrounding streets. Peanuts creator Charles M. Schultz was a resident of St. Paul and drew many of his cartoon strips while there. The bronzes were created after art students descended on the city following his death. They made models for consideration as memori.als to each character and a fund was created to continue maintenance of the works. I made a brief visit to the local science museum overlooking the Mississippi River and finally I made a return visit to Cossetta for another lovely gelato, appreciated in the heat of the afternoon.
On Monday I headed home, content with a great week with so many friendly people and an agenda that covered all sorts of music and local interest to boot.

The state capitol building in St. Paul, MN.

Minnesota capitol building rooftop quadriga, a copper sculpture covered in gold leaf entitled ÒThe Progress of the State.Ó

Overlooking the city, the Cathedral of Paul the Apostle was completed in 1915.

The Skinner organ, rebuilt by Quimby in 2013, with 4 manuals and 86 ranks in the Catholic cathedral.

Kiven Lukes demonstrates a 1920s Seeburg KT that was restored in 2006.

An MBSI nature trail, looking for cobs of corn.

The author at the tractor steps.

Tom KuehnÕs replica Wurlitzer style 105.

Tom KuehnÕs Loesche Model 9 faade. (Photo by Tom Kuehn)

Tom Kuehn explains his latest project

ÒConanÓ being ridden by Bohden at Skyrock Farm.

Charlie at the helm of the NunnsÕ amusement park train.

Stacy and Bill serve up a wonderful lunch.

1912 original Ruth faade under restoration.

CafesjianÕs Carousel in Como Park, St. Paul.

Tour guide Ryan does a fantastic Baby Face Nelson act in the Gangster Cave.

Caboose rides are available on open days at Great Northern Roundhouse in St. Paul. The locomotive is a General Motors Model SW-1 600hp switcher built in 1949, No. 3110.

The Jackson Street Roundhouse at the Minnesota Transportation Museum.

The Cossetta Italian Deli where tasty gelato can be found on a hot day.

Musical tribute to Peanuts featuring Schroeder and Lucy in Rice Park.

The Mississippi River viewed from the science museum in downtown St. Paul, MN.

Music for royalty

An 1826 Anton Beyer musical clock with barrel organ is restored to glory

By Ugo Casiglia
In 1826, Vienna-born Anton Beyer, a maker of musical clocks registered with the Viennese instrument makers guild, plied his trade in Naples, Italy, and produced an instrument that caught the eye of a Branciforte prince of Butera who desired to place it in his familyÕs palace in Palermo, which faced the sea and is commonly known today as Palazzo Butera. It remained there slowly sinking into disrepair until just after the turn of the 21st century when it was acquired by Ugo Casiglia who restores and constructs historical keyboard instruments. CasigliaÕs workshop is in the small town of Cinisi, Italy, and has operated there since 1985. After two years of work, the instrument is once again sounding and looking as if it were new.
This particular Flotenuhr or Spieluhr Ñ as these instruments were then called in German Ñ is the only one remaining in private hands today. Its maker, Beyer, would have been considered something of a ÒmechanicÓ in his day, bringing together the skills of a watchmaker, organ builder and cabinet maker to produce something so valuable it could only have been purchased by the aristocratic class. We know much about Beyer and his fellow musical clock makers because of the work of Helmut Kowar and his book ÒDie Wiener Flotenuhr.Ó Helmut is a great scholar of mechanical music and serves as curator of the section dedicated to musical automata at the Kunsthistorisches Museum in Vienna as well as acting as the director of the phonographic and ethnomusicological archive of the same city.
From HelmutÕs research, we know that BeyerÕs activity dates back to 1813, the year in which he was registered as a Òburgerlicher spieluhrmacher,Ó or maker of musical clocks. In 1817 his workshop was located at No. 146 Laimgrube, an area where many other Viennese builders operated (among them Anton Walter, Ferdinand Hofmann, Mathias Muller, Johann Schanz, to name a few of the most well known). Some time later, Beyer moved his residence to 99 Spittelberg in Pelikangasse where he still resided in 1823. After that, he abandoned Vienna for Naples at the request of the Bourbon royals. When Beyer arrived in Naples, the city was still one of the most important musical centers in Europe and a privileged observation point for contemporary opera produc.tion (which also constituted the main repertoire of cylinder organs of the time). Naples was also home to some of the most important and prestigious ruling houses in Europe around which a rich aristocracy moved, sensitive to foreign fashions, in particular those of Vienna and Paris.
The Naples that Beyer chose to relo.cate to had previously been shaped by a series of significant events. Prior to the arrival of NapoleonÕs troops, an Austrian queen, Maria Carolina of Habsburg Ñ 13th daughter of Empress Maria Theresa of Austria and elder sister of Marie Antoinette of France Ñ sat on the throne of Naples and Sicily. Maria Carolina significantly favored cultural and political relations between the Neapolitan court and that of Vienna. Following NapoleonÕs defeat and the Congress of Vienna in 1814Ð1815, the commercial and cultural relations between Naples and the Habsburg empire were not substan.tially affected, and Naples, despite suffering the protectionist policy of the customs system promulgated after the establishment of the new kingdom of the Two Sicilies, continued to attract many foreign artisans. Beyer and others were attracted to the city not only for its cultural activity but also because it was experiencing a period of economic development which made the capital of the King.dom a lively hotbed of manufacturing and commercial activities.
No other manufacturers of cylinder organs with clockwork mechanisms were locally active at the time Beyer arrived in Naples, meaning that he was invited by Austrian royalty to introduce harmonic machines to the aristocrats in that city. On Oct. 15, 1823, the royal treasurer assigned Beyer a monthly salary of 36 ducats retroactive to Aug. 6, 1823, the date at which he had left Vienna to travel to Naples. Once in Naples, Beyer was housed near the royal palace, in via Egiziaca, which had been specially renovated at the expense of the crown. The first of the two instruments that Beyer built for the Caserta Royal Palace dates back to a few months after his arrival and bears the date 1823 on one of the bellows and on a gear. The second instrument, dated 1826, is the Flotenuhr featured in this article that belonged to the princes of Butera, as previously mentioned. The specimens built by Beyer are still considered noteworthy items of interest in the catalog ÒDe essays of Neapolitan manufactures exposed to the solemn exhibitionÓ promoting craft exhibitions in 1832 and then again in 1834. The instrument that was exhibited at the craft exhibition in 1834, one equipped with eight cylin.ders, was purchased for 300 ducats.
Beyer was buried in the municipal cemetery of Caserta, but the exact year of his death is not known.
The 1826 Flotenuhr that is the subject of this article is contained within a secretary equipped with drawers, shelves and secret closets. It is veneered with precious woods and embellished with bronzes, wooden inlays and mother-of-pearl decorations. The mechanical heart is protected by a large door secured with a lock and key. (In later models, a large front window was used so that the chest of drawers and pendulum clock were always on display.) In the lower part of the case there is a compartment intended for storing six spare cylinders that can be accessed through a door in the left side of the case. In the sheepskin folds of the bellows is found a calligraphic hand-written note that is clearly legi.ble, reading ÒJOSEPH HAIN in Wien 1826.Óa This not only provides us with a precise date of manufacture but also reveals that Beyer was in the habit of obtaining sound materials from the trusted Viennese organ builder Joseph Hain.
All the mechanical parts, the clock and the pinned cylinders were produced by Beyer. The cabinet was likely produced by prestigious Neapolitan workers in the sector.
The complex and meticulous resto.ration of this instrument encompassed the entire machine. The gear train was completely dismantled and cleaned of encrustations and dirt residues and then protected with 3 percent benzotri.azole. The restoration of the key frame was more complex. The stickers, in mild steel, were completely rusted and many of the keys were mutilated. The parts that could still perform the function of reading the cylinders were restored and copies were then made to complete the 44 others that were completely damaged. The resto.ration of the clock was carried out by a master craftsman in the sector. The parts specifically pertaining to the organ, windchests and bellows were in excellent condition, and the bellows had been maintained keeping the original sheepskins. The only restoration needed was the repair of a few slight and not very significant cracks. The windchest was cleaned and the two small, delicate fans were restored. Only a few of the 44 4-foot Viennese cusp pipes were missing, and replacements were rebuilt using the same wood and technique as Beyer would have done. The engine of the instrument, a lead weight weighing 52 kilograms, was recon.structed by measuring the shape and dimensions of a similar instrument that is now preserved in Palazzo Mirto in Palermo. The weight slides into a special compartment at the bottom right of the case supported by a multi-strand steel cable. The support would have originally been made of gut. The repairs to the case were minor, filling small wooden gaps and cleaning any metal parts. The original patina was renewed with shellac resin varnish applied with a pad. An entire set of 22 cylinders was restored by reconstruct.ing the numerous breaks and missing parts with brass plate. Only one cylin.der, seriously deformed in its wooden structure, was kept in its current state and is therefore not operational. The instrument today is fully functional and complete.
This instrument is scheduled to go to auction in October but it is currently available for private sale.
The restoration was carried out by Ugo CasigliaÕs workshop, ÒAntichi Stru.menti da Asto,Ó a company involved in the construction and restoration of historical keyboard instruments for 35 years. See more at http://www.ugocasiglia.it/en Watch and listen to this instrument at https://youtu.be/x1_RONoG7Fw?feature=shared

Antonio Beyer put his name prominently on this card inside the machine.

The timepiece at the top center of the case was designed and built by Anton Beyer, whereas the rest of the case and the musical components were most likely made by other master craftsmen in the city of Naples, Italy.

A center panel opened with a key reveals the makerÕs card and shelves for displaying other valuable pieces.

The metallic detail pieces adorning the case were meticulously restored.

An inner panel hides the musical mechanism and pipes. This view is without a cylinder loaded.

Cylinders are loaded into the mechanism via a door on the left side of the machine. The steel pins are raised while loading the cylinder, then lowered to play the music.

This detailed view shows where the cylinder connects to the gears.

A crank handle is found behind a panel on the right side of the case. The weight that drives the mechanism is behind the case and raised via the wire around the spool.

The lever to start the music playing is at the front of the mechanism.

Steel pins that ÒreadÓ the cylinder are lowered via a lever on the left side of the case.

A closer view of one of the 22 cylinders available for the machine.

A view from behind the case showing some of the 44 pipes and the cylinder.

The bellows with original sheepskin coverings push air through the pipes.

An excerpt from ÒThe Progress of Sciences, Letters and Arts Ñ Periodic work Ñ Volume IX Ñ Naples 1834Ó
ÒMr.Õs so-called harmonic machine has nothing harmonic about it. Antonio Beyer: it is nothing but a perfected accordion; because without a handlebar to shake it, it plays any music you want by itself, as long as it does not exceed a duration of four to five minutes; and it does this thanks to a driving weight which, once the instrument is loaded, makes the double bellows that animate the pipes go, and the cylinder where the sonata is played with a special artifice turns on the axis. These cylinders being able to change and replace one another, it is clear that the same mechanism serves to play, as we were saying, all the music that is played by the hand on the gravicymbal, however reduced to the dimensions that are compatible with those of the instrument. First in Venice, then in Vienna such improve.ments were made; and from Vienna the aforementioned mechanic brought this fabrication to Naples, where he had the right to do so. He gives the instrument the shape of a well-ornate wardrobe, and adds a pendulum clock which at every hour, with a click similar to that of the bell, giving motion to the cylinder and the bellows, makes one of those sonatas be heard. We will not attempt to explain how the pegs and bridges protruding from the surface of the cylinder, meeting and lifting in its revolution the tips affixed under the keys, open the corresponding cores of the pipes and produce the sounds; nor how it happens that even the longest symphonies, by increasing the volume and length of the cylinder, can be understood in this way; but we must not remain silent that the clarity and sweetness of the sounds is great, the perfection with which this type of automatic music performs the most complicated harmonies is incredible.Ó

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:
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Always ask the host if photo.graphs or video may be taken. If you intend to publish these photographs/videos, please get the hostÕs permission to do so and ask whether the host wants the collection identified.

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Do not smoke inside the home and ask permission to smoke outside the home on the ownerÕs property.

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Never bring food or drink near any of the instruments.

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ÒHands OffÓ is the best policy and beware of belt buckles and other objects that could cause damage.

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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 Ñ some of them can be pretty finicky.

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Never try to adjust or repair an instrument unless asked to do so by the host.

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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.

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DonÕt ask the host if a particular instrument can be purchased unless it is marked ÒFor Sale.Ó 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.

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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.

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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.

WriterÕs guidelines for Mechanical Music

The MBSI Publications Committee wants to maintain and improve the quality of its magazines. The following guidelines are designed to help you in preparing your articles for publication.
Title
Please include words that allow your article to be categorized and filed in an index of articles. You may include a subtitle which may further clarify the title.
Outline
Please organize your article in a chronological, logical format. Avoid lengthy paragraphs and sentences.
Punctuation
In most instances, quotation marks are typed after periods and commas. ÒThis example has the proper format.Ó
Be consistent with capitalization, numerals, names, etc. The Associ.ated Press Stylebook is used as a basic reference tool for questions of consistency. Decimal points should be preceded by a 0 if they are only fractional. Example: 0.25 is correct. The editor and members of the Publi.cations Committee will proof read articles for accuracy and consistency.
Footnotes and Bibliography
Provide footnotes and a bibliog.raphy where appropriate. Provide reference websites and a list of further reading suggestions if available. When quoting materials, note the numeric footnote in the text.
Photographs
Provide digital photos whenever possible. Try to eliminate background clutter when taking pictures. Be sure there is enough light or a good flash. Take care to avoid the flash reflection on the instruments. Shut off the date and time recorder on your camera. Set the camera to take photos with the highest resolution possible. Send in the high-resolution photos. Do not reduce the size for the purposes of email, instead send several emails with a few photos in each email. Printed photos are acceptable but not recommended.
If photos correspond to the text to illustrate a procedure or particular piece of a music box, please note this in the photographÕs file name. For example, if you refer to Figure 1 in the text please title the photo Figure1.jpg to ensure the correct image appears in the correct position on the page. If you are not able to alter the photographÕs title, please provide captions for photos that clearly identify them and where they should be positioned in the article if that is important to the presentation of the material.
Article Text
If possible, please submit the article in either Microsoft Word format as a .doc attachment or include it as text in an email. As a last resort, a typed document can be accepted via mail. Do not type in all caps.
Review Process
All articles are reviewed by the editor and the Publications Commit.tee chair and can be referred to one or more members of the Publications Committee or a recognized expert to be checked for technical and histori.cal accuracy. Even though the article is assumed to be the authorÕs opinion, and thoughtful opinions are encour.aged to stimulate discussion and more research, the author may be asked to substantiate his/her statements.
If describing the restoration of an antique instrument and using materials not originally used in the manufacture of that instrument, the author should explain why he/she chose to use alternative materials.
No article should be written in such a way that it can be construed as commercial advertising for oneÕs own products, goods, or services or those of any other individual or company.
The panel may make suggestions which will be noted and the article returned to the author for his/her response. This is standard procedure for any technical and professional publication. The goal of the review process is to help make every article as good as it can possibly be and to contain as few errors as possible. In no manner should this process be construed as censorship. The author will receive a proof of the typeset and formatted article. It should be read carefully. After the second proof, no changes can be made. It is understood that the author can withdraw the article at any time prior to publication.
Mechanical Music is published six times per year. Materials intended for publication should be submitted approximately 60 days prior to the publication date for any issue. For example, materials to be published in the March/April issue of Mechanical Music (March 1 delivery date) should be submitted on or about January 1.
The article publishing schedule is dependent on the review process and other obligations that are time sensi.tive. Although every effort is made to publish articles within a few months of submission, the date of publication is dependent on the number of articles in process, their length, and the review process. The editor will make every effort to keep the author informed about the probable publication date. Authors may contact the editor at any time for an update.
Thank you for your contribution(s) to Mechanical Music. Your efforts are of great value to this generation and future generations of mechanical music enthusiasts.
Send articles to:
MBSI Editor
130 Coral Court
Pismo Beach, CA 93449
Email: editor@mbsi.org
Phone: (253) 228-1634
Copy this page and keep it handy, then look at your collection. There certainly must be a musical piece that you found after either searching for it for many years or through unusual circumstances. It could be a subject for our popular, ÒThe HuntÓ series. We look forward to receiving many stories in the coming months.

National Capital Chapter

Chapter Chair: Cheryl Hack
Reporters: Paul Senger
Photographers: Ginny Little,
Paul Senger
May 26, 2024 Ñ Potomac, MD
The National Capital Chapter (NCC) held its 26th Annual Organ Grind and Music Box Demonstration at the Chesapeake and Ohio Canal National Historic Park overlooking the Great Falls of the Potomac River. Our group joined others as part of the Great Falls Tavern Discovery Space event, a festival where visitors can participate in self-directed, hands-on activities related to the canal. There was no rain, but it was a typical Washington day with temperatures in the 80s. Despite the heat, we still had lots of visitors listen to and crank our instruments.
Cheryl and Dick Hack and their grandson, Travis Hanna, demon.strated an Arthur Prinsen 32-pipe book-playing organ on wheels. They let lots of visitors from young to old play the organ. Everyone thinks it is fun to watch the book music go through the organ.
Paul Senger brought his 20-note John Smith organ he built 20 years ago as well as his newly-acquired Ivan Nechada 25-key, 50-note barrel organ. The Ivan Nechada organ was previously owned by Chet and Jean Ramsay. The organ was built in about 1900 in Odessa, Ukraine. Kids who played the organs got an official organ grinder certificate. Kevin Holley, a new chapter member, demonstrated organs all day and taught visitors about organ functions as well as how to play the organs. Paul also brought a few other small organs including a circa-1790 serinette and his childhood Jack-in-the-Box. The little toy has survived rallies for nearly 15 years now.
Ginny Little manned the Touch Table with lots of mechanical music toys and small instruments for the younger visitors to play with. It is always our favorite exhibit and attracts lots of families. Knowles Little brought his 1906 15.-inch Regina disc music box and some ephemera on Regina organs.
Joe Orens and Florie Hirsch brought two Hofbauer TanzbŠr accordions. With a top hat and formal attire, JoeÕs playing is so realistic he is often asked to play a special request. We had great help unloading and loading our vehi.cles. John, a park service contractor, helped Paul and the Littles unload and setup in the morning. Kevin Holley and his father, Jeff, helped everybody pack their cars in the evening. John, Kevin, and Jeff were a big help to our aging bodies. At the end of the day, our cars were packed in record time.
Our National Park Service contact ranger Amanda Zimmerman thanked us for our performance.
ÒThank you all again for coming out yesterday,Ó she told us. ÒWe love having you, and the visitors enjoy it as well. WeÕre estimating that you had approximately 600 contacts, so thank you very much for providing a unique experience. We look forward to having you all back soon!Ó
Thanks to everybody who came to share our hobby with the public and celebrate our 26th anniversary of attending this event. These have been great opportunities to bring mechani.cal music and joy to so many people.

Cheryl Hack ready for the first song on the Prinsen Organ.

Knowles Little tells a visitor about the Regina music box.

Travis Hanna plays grandparentÕs Dick and CherylÕs Prinsen organ.

A pair of musical box fans checking out Paul SengerÕs new barrel organ.

Paul Senger debuts his Ivan Nechada barrel organ from Odessa, Ukraine.

Florie Hirsch and Joe Orens entertain with their TanzbŠr accordions.

Kevin Holley gets set up with Paul SengerÕs 20 Note John Smith organ.

Knowles Little at the Touch Table ready for some more kids.

Kevin Holley and Paul Senger with the John Smith organ.

A visiting family tries out the John Smith organ.

Snowbelt Chapter 2024 status update

By Tracy M. Tolzmann,
Chapter Chair
With the successful 74th MBSI Annual Meeting last Labor Day in Saint Paul, MN, behind us, the Snow.belt Chapter went somewhat dormant for the remainder of the year.
Our chapter was shocked by the unexpected death of Chapter Vice President and Treasurer Bill Nunn on Jan. 22. BillÕs contributions to the world of automatic music and especially fairground organs are renowned, and tours of his Skyrock Farm collection have introduced countless people to our organization. BillÕs widow, Stacy, is maintaining the collection and is dedicated to having the tours continue.
News of chapter member Larry ReeceÕs death on Jan. 16 following a long illness was received in February. His family suggests remembering LarryÕs love of pneumatic instruments and his smile every time you drop a coin into a music machine!
Our first meeting of 2024 was held on Jun. 15 at Gary Goldsmith and Alex StolitzaÕs Big Lake, MN, home. This was a joint meeting with the Northern Lights Chapter of the Auto.matic Musical Instrument CollectorsÕ Association (AMICA). With a large overlap in membership between the two groups, joint meetings have become an excellent way for our two organizations to rebuild following the Covid interruption.
Chapter membership dues have been suspended since our Covid hiatus as we return to regular meet.ings. We share our newsletters with 40 documented MBSI member families in Minnesota, Iowa, western Wisconsin, North Dakota and South Dakota, and consider them members of our chap.ter. They are kept apprised of chapter activities through paperless e-mail messaging, which saves on printing and mailing expenses. In an effort to entice lapsed national members back into the fold, and to attract new enthu.siasts who have yet to join the society, we invited an additional 26 former and potential new MBSI partners to attend our events this year.
The Snowbelt Chapter is especially proud of member Richard Poppe, who serves as an MBSI trustee, and Tom Kuehn, an MBSI past president.
Snowbelt has been a smaller chapter in the MBSI and has experienced diffi.culty in attracting younger members, as is the case with many organizations. Snowbelt remains, however, a strong chapter with a core of dedicated members and leadership that strive to keep the hobby of collecting and shar.ing automatic musical instruments alive for all.
We look forward to returning to a more regular calendar of activities and meeting the new MBSI members who have joined the society and our chap.ter following our Covid hiatus. AMICA member Ron Olsen will host our next gathering on Sept. 28, another joint event with the Northern Lights group. Finding a host for our annual holiday party is in the works.
Current officers in the Snowbelt Chapter are Tracy M. Tolzmann, chairman and treasurer, and Merrie Tolzmann, vice chair and secretary.

Lake Michigan Chapter

Chapter Chair: Mark Pichla
Reporter: Marty Persky
Photographers: Ken Walczak, Kathy Cavitt, Adrian Calderon
Jun. 1, 2024 Ñ Barrington, IL
On Saturday, Jun. 1, the Lake Mich.igan Chapter hosted another soiree at the Sanfilippo Estate. Attendees included members of MBSI, the Auto.matic Musical Instrument CollectorsÕ Association, the Carousel Organ Asso.ciation of America and the Silent Film Society of Chicago. We especially want to thank Chapter Secretary James Huffer who handled registrations for the event and then realized he had a work commitment that prevented him from attending.
A rainy day did not dampen activ.ities. Umbrellas were dropped off at the Grand FoyerÕs coat closet and name badges were handed out. Then, everyone was free to roam.
Docents played instruments throughout the collection. At 3 p.m. the steam engines below the theater were Òfired upÓ on compressed air. From 4Ð5 p.m. three groups, one at a time, were escorted on a four-story tour of the Wurlitzer theater organ chambers. There is a fifth story, but that is only for technicians to make their way into the attic to service mechanicals and the ethereal chamber which speaks through the skylight above and behind the balcony. Although only quieter songs were played, quiet in the theater does not generally mean quiet in the chambers.
Everyone assembled in the theater at 5 p.m. for welcome addresses from Marty Persky and Sanfilippo Founda.tion Executive Director Greg Leifel. Marty let Greg be the one to announce the carousel was temporarily out of order.
Then, rising from below the stage, came Jay Warren, ChicagoÕs foremost photoplay organist, playing on the five-manual console. Upon request, Jay accompanied two lesser-known silent films, Buster KeatonÕs 1922 ÒCopsÓ and Charlie Chase in 1926 ÒMighty Like a Moose.Ó The first film was somewhat of a dark comedy, more acceptable at the time and the second was clever even though some may have said preposterous. Accompanied by Jay on the mighty Wurlitzer 5/80, they were both great fun.
Fortunately for everyone in atten.dance, the rain subsided for the walk to the carousel pavilion. As guests lined up for wine and soft drinks, the 121-key DeCap dance organ filled the pavilion with music. In the adjoining steam engine gallery a mini-mart was open for business. Piano and nick.elodeon rolls were a big seller, but books not so much.
The 92-key Fasano, 84-key Hooghuys and 92-key DeCap dance organs along with the 92-key Verbeeck street organ each got their turn to play. Tables were called up to the dinner buffet one by one, starting from the back.
Lined up on the buffet table was garden salad, dinner rolls, Chicken Kiev, roasted potatoes, green beans almondine, and chef-carved roast beef. As usual, no one would leave hungry. Dessert would wait a bit until the two custard-filled cakes were cut and fresh cut fruit came onto the buffet.
Although the carousel could not be run, guests were permitted to sit on the horses and gondolas for photo opportunities. Also, the loversÕ tub still spun just fine under arm power. Jasper SanfilippoÕs first fair organ, the 80-key Bruder that was brought home in bushel baskets was played with its waltzing couples automaton. Then it was time to bring out the big guns. The eveningÕs finale, ÒBattle of the OrgansÓ started with the ÒCan CanÓ played on the Wurlitzer 180 trumpet organ (one of three ever made) and then it was played again on the 110-key Gavioliphone. The Gavioli closed the evening with Ò76 Trombones in the Big Parade.Ó
The Sanfilippo estate will host the joint MBSI/AMICA Annual convention Saturday banquet in late August 2025.

Chapter members and guests listen to the 92-key Limonaire organ play in the car.ousel pavilion.

Marty Persky (right) describes the displayed, complete line of Edison cylinder phonographs in extra-cost mahogany.

The buffet table is readied as organs play during the social hour.

The Hupfeld Helios III plays with the door open to let visitors see the music roll play.

Chapter member Bear Schultz (right) demonstrates the Ramey Banjo Orchestra.

Guests tour the inside of the ornately-decorated palace rail car.

Guests dressed in period attire enjoying the palace rail car.

Jack and Mildred Hardman enjoying cake. Jack wanted to know where the ice cream was to go with his cake.

The Miller and Bohl Families with Sandy Persky and two fair organ books bought at the mini mart.

Jay Warren at the console to accompany two silent movies in the theater.

Guests posing with the Imhof and Mukle Orchestrion in the Grand Foyer.

Some of the items available for sale in the mart.

Two cakes provided dessert for all.

The new display of motors at the base of the 1904 Corliss steam-operated electric power plant.

Chapter members and guests enjoy the music of the 92-key Verbeeck street organ.

The 121-key DeCap entertains the crowd after dinner.

Southern California Chapter

Chapter Chair: Robin Biggins
Reporter: Robin Biggins
Photographer: Lowell Boehland
Apr. 27, 2024 Ñ Wrightwood, CA
A visit to Wrightwood, CA, is quite a drive for most of us, but it is a wonderful area and well worth it. Even in April there was still snow on the mountains and the flowers and trees were blooming. The area is spectacular, with evidence of huge earthquakes thousands of years ago, and the small town is tucked in as if it is in another world. Our hosts, Jerry Pell and Diane Minzey, have a lovely home in Wrightwood where they enjoy the restoration of many musical machines to the delight of many of their neighbors.
This meeting included Automatic Musical Instrument CollectorsÕ Association members and quite a few neighbors who enjoyed the music and a wonderful array of food. Apart from the instruments, Jerry and Diane have accumulated an interesting assortment of related photographs and literature about the history of mechanical music. We all had a great day of education and music.

Our hosts, Jerry Pell and Diane Minzey.

Bill Chapman looks at the Marshall & Wendell Ampico B piano which is right next to the Western Electric nickelodeon.

The rear of the Reproduco showing the organ pipes.

Jerry Pell, far right, discusses the Reproduco upright piano with interested chapter members and guests.

Jerry Pell plays a tune on the 1918 Edison Diamond Disc phonograph.

Chapter members and guests listen to the Seeburg KT with flute pipes

Robin Biggins conducts the chapter business meeting.

A Seeburg C shows off its colors and lighted lower cabinet revealing the mechanics behind the magical music.

Southern California Chapter

A group photo made possible by our talented photographer Lowell Boehland.

Chapter Chair: Robin Biggins
Reporter: Robin Biggins
Photographer: Lowell Boehland
May 25, 2024 Ñ San Juan Capistrano, CA
What a wonderful meeting we had at the beautiful home of David and Dixie Boehm in the gated community of San Juan Capistrano, CA. It seems amaz.ing to me that they have been able to move so many large mechanical musi.cal machines into their new home in such a short time after retirement.
Dave and Dixie have been long-time collectors, but business pressures kept them from realizing their love for mechanical music. Back in the 1980s Dave and George Baker reproduced 14 mechanical Wurlitzer harps that are still in use. The first one of these is still in Dave and DixieÕs collection. In addition, their collec.tion includes many unrestored disc changing machines, and many cylinder boxes, both restored and unrestored, that will keep Dave busy for months.
This meeting included 30 chapter members, and a wonderful lunch was provided. It was great to be able to visit with all the old and new friends, some of whom we had not seen for years. Dave was able to entertain us with stories of the Òolden daysÓ and events with a lot of members who have since passed away.
We had a brief business meeting reminding everyone that the annual MBSI/AMICA convention was coming up soon, and our next chapter meeting will be in San Diego, CA.

Our hosts, David and Dixie Boehm, with the Popper Salon Orchester.

Brent Hoag and Sonia Johnson with the Seeburg model H orchestrion.

The BoehmsÕ collection includes the first reproduction Wurlitzer Harp produced.

Bob Burtscher and Anita Lichtman with the 25-inch Kalliope that includes a Òhorse raceÓ feature.

Doug Desfor and David Frank enjoying the Imhof and Mukle orchestrion with center panel open to show the action hap.pening inside.

Robin Biggins displays the Mermod Frres interchangeable Sublime Harmonie, with drum, wood block, and six bells with Mandarin beaters.

Jerry Pell and Dave Boehm reminisce near a Cremona G.

Sonia Johnson enjoys the Mills Violano during a tune.

The Imhof and Mukle with center panel closed next to a three-disc Symphonion.

Judy and Bob Burtscher with Dixie Boehm.

MBSI Golden Gate and
AMICA Founding Chapters Meeting

Chapter Chair: Judy Caletti
Reporter: David Corkrum
Photographer: Rob Thomas
May 19, 2024 Ñ San Jose, CA
The Golden Gate Chapter held a joint meeting with the AMICA Founding Chapter at the Orchestria Palm Court, a restaurant in downtown San Jose, CA, in the theater district. The restaurant is owned by chapter members Mark Williams and Russ Kriegel. Mark and Russ started the restaurant as a way of showcasing fine music with fine dining. The restaurant is filled with all manner of mechanical music with pneumatic instruments taking center stage. There are also music boxes and phonographs.
The soda fountain is where much of the restaurantÕs ÒshineÓ comes from. The drinks made here are unique. This reporter has tried only one, which was the Briar and Rose made with blackberry phosphate soda, rose essence and vanilla ice cream. It was so good I had a second. There are about 13 different fountain drinks available, and each is unique. Their menu changes throughout the year. You can read more about the restau.rant by logging on to their website at orchestriapalmcourt.com.
Meeting attendees had a great time listening to the various machines and enjoying a buffet luncheon. The many instruments on display include an Imhof and Mukle Commandant II orchestrion, Coinolas X and A models, upright music boxes and many differ.ent phonographs that are connected to what I would call an automatic carousel, which controls the playing of each instrument. You might hear a couple of orchestrions followed by a reproducing piano and then a music box. Tune changes are made either by the machines or Mark and Russ.
Short business meetings were held by each chapter and there were many discussions about the future of both organizations.
From what I saw and heard, we all had a great time, and we thank Mark and Russ for hosting this joint meeting.

Our co-host, Russ Kriegel, at the Baldwin Welte reproducing grand piano.

Chapter members were able to listen to many of the instruments play while they enjoyed a casual afternoon at the Orchestria Palm Court restaurant.

Blanche Korfmacher and John Ulricha enjoy lunch and a con.versation with Russ Kriegel (standing).

A Western Electric ÒMascotÓ coin piano with xylophone is an elegant surface for an antique lamp to rest upon.

An Electramuse acoustic jukebox in the restaurant.

In this view from the soda fountain, several of the nickelodeons can be seen high.lighted on an upper landing while the Imhof and Mukle Commandant II dominates the lower left along the wall.

Jared Di Bartolomeo admires the Chickering Ampico reproducing grand piano.

A Polyphon model 24 featuring a 22-inch disc with 16 bar bells is part of the col.lection at the restaurant.

Dennis and Linda Ronberg, Linda Thorpe and our co-host Mark Williams share sto.ries and a meal.

Matthew Caulfield Ñ 1933Ð2024

Compiled from Internet Sources
Matthew Caulfield, a well-known voice in the mechanical music world, has passed away at age 90. Matthew served for many years on the MBSI Publications Committee and also was a reserve editor for the Mechanical Music Digest (https://www.mmdigest.com/), writing more than 1,000 post.ings on the site.
His catalog of Wurlitzer Style 165 rolls, online at wurlitzer-rolls.com, is the reason many 165 rolls were recut and redistributed.
In his youth, Matthew as fascinated with the band organ and carousel at Seabreeze Park in Rochester, NY, working there while in college. He earned degrees from the University of Rochester and the University of Chicago studying classics. After the carousel and original Wurlitzer 165 band organ was lost in a 1994 fire, Matthew donated his collection of Wurlitzer 165 rolls to play on the replica band organ built by Johnny Verbeeck that was later reinstalled at the park. The organ is loaded with two rolls at a time, one plays while the other rewinds, allowing for uninter.rupted music.
MatthewÕs career was spent at the Library of Congress from 1962Ð1997. He speaks several languages and once taught Latin at Duke University.
After retirement Matthew made it his mission to operate the Seabreeze Park carousel and maintain its band organ for as long as he physically could do so.

Our Condolences
Well-known historian Arthur W.J.G. Ord-Hume, passed away on May 25, 2024. He authored more than a dozen books and hundreds of articles on mechanical musical instruments. Born in London, England, he was an instrumental force in the early decades of the Musical Box Society of Great Britain, serving variously as the groupÕs editor and its president. From 1983 through 1992 he self-published the semi-annual journal, Music & Automata. As a restorer, he handled some of the rarest and unique pieces to surface in his lifetime. Our sympathies go to his widow, Ruth, and to his descendants. More information will be published in the next issue of Mechanical Music.

Timothy ÒTimÓ Trager Ñ 1958Ð2024

By Rory J. Lehman
Tim was born Apr. 4, 1958, in Chicago, IL, to Edward J. Trager II and Gloria A. Trager. He grew up near Lake Geneva, WI, in a large house commissioned by his late father. Beginning at a young age, Tim was fascinated with anything mechanical. It started with a visit to Nevada City Music Hall near Virginia City, MT, where he was intrigued by all the music machines that filled the old ghost town. He was also interested in the three band organs that were on the Riverview park PTC No. 17 carousel in downtown Chicago as well as their calliope that he would later add to his collection.
At age 5, he sat down on SantaÕs lap and had asked for a band organ. As the story goes, the store Santa told him there was no such thing and that was the moment Tim knew the guy was fake since the real Santa Claus would actually know what a band organ was.
Tim did get an organ for Christmas that year. His father had overheard that the conversation with the store Santa, so he found a junk man that was able to locate a barrel organ to surprise Tim. His father put a piece of string near the Christmas tree and Tim followed the long strand to the barrel organ two rooms away. TimÕs lifelong passion was launched.
As the years, rolled by, he was offered a player piano from the neigh.borÕs pool house, a Tangley calliope, and a Wurlitzer 146A Band organ from the D.C. National Mall off of the 1915 Herschell Spillman Carousel. Tim amassed a wonderful collection of organs, nickelodeons, automatons, and tons of historical paperwork rang.ing from music machines to carousel catalogs. His most impressive machine was the 110-key Gavioli that came out of the former amusement park at Euclid Beach Park in Cleveland, OH. It was fully chromatic and had never been converted.
Tim leaves behind more than just a collection of top-quality of machines. He had extensive historic knowledge, and amazing selling skills. For more than 35 years he was a broker finding music machines for big collectors such as Jasper Sanfilippo, James ÒJimÓ Krughoff, the Milhouse brothers and many others. Tim was a friend to the young enthusiasts in the hobby and would encourage anyone who had hopes of buying an organ someday. An example of how he helped youngsters get started is a story recounted by TimÕs close friend Mikey Mills. Mikey recalls that he, Tim and Jasper hung out at SanfilippoÕs when Mikey was about 13 or 14. Jasper ordered a pizza, and they played music machines until about midnight! Tim also got Mikey a job as a docent years ago at KrughoffÕs and supported him in getting started in the field. Mikey never forgot how Tim helped him.
TimÕs parents were very supportive of his passion for music machines. They always encouraged Tim greatly in collecting and dealing music machines. Tim also had an impressive education. He studied law and applied the skills he learned from his educa.tion to selling music machines. He inspired his friends to be as great as they could possibly be.
Tim was also known for his hilarious jokes and good conversation. He was a friend you could count on when you had no one else to turn to. He inspired many younger music machine enthu.siasts and he served as a good role model for them.
With many people visiting and calling during his illness, we know that when he passed he realized just how much he meant to so many. In my mind, he will forever be one of Òthe greatsÓ of mechanical music.
Tim died Apr. 11, 2024, at Condell Medical Center, Libertyville, IL, after a long illness. A memorial service was put on at Volo Auto Museum in his honor for those who didnÕt get to say goodbye to him before he passed. He was cremated according to his wishes and will be placed in the family burial plot. Tim leaves behind his brother Edward ÒNedÓ Trager III as well as his friends Mikey Mills, Warren Officer, Dylan Hallman, Alex Schuchter, John Miller, Wayne Holton, Roland Hopkins, Julius Vermolen, Jim Walgreen, Susan Germaine, Gavin McDonough and myself.

Tim Trager shared his mechanical musical knowledge with all who asked to talk with him about it. He brokered many deals for mechanical music machines during his career.

Tim Trager in his younger years.

By Hope Rider
Recently I received the sad news that Tim Trager, of McHenry, IL, passed away at age 66. My late husband and I met Tim when he was a young boy in the early 1970s. His mother, Gloria, brought him to a Mid-America Band Organ Rally held at ÒStagecoach StopÓ in Irish Hills, MI. Dan Slack, of Fremont, OH, had trailered a large German fairground organ to the rally and it fascinated Tim. Dan played a few tunes, then left with friends to deliver this large organ to its new owner in Kentucky.
TimÕs interest in mechanical music never waned. He and his parents attended many MBSI meetings and Midwest rallies. He studied law in college but never practiced in that field. Instead, he became a dealer of mechanical music. He gathered memorabilia and bought and sold automatic musical machines for the rest of his life. His clients were in America and abroad.
Neighbors and friends helped Tim through his final days. A neighbor and piano technician, Terry Younce, and TerryÕs wife, Patricia, visited Tim often at home and during his hospital stays. TimÕs brother, Edward (Ned), was also very supportive.
A memorial service at the Volo Auto Museum in Volo, IL, where Tim had placed a carousel and band organ. People rode the carousel, listened to the band organ and shared stories of Tim.

Tim Trager with his parents, Edward and Gloria Trager, during a 2002 open house at Hope and Frank RiderÕs home in Wabash, IN.

Gloria Schack Ñ 1937Ð2024

By Howie Schack
It is with peace and sadness that I report the death of my mother, Gloria Schack. After several years in a friendly memory care community, Gloria passed away on Apr. 17, 2024. She was 87.
My mother grew up in Chicago, IL. It was there, at a young age, that she met my father, Ralph. Soon after they married they enjoyed raising a family. Ralph was a pharmacist, and my mother a secretary. My sister, Linda, and I were important to my parents until the late 1970s when we took a back seat to their new hobby. It started with a few old slot machines, and before long it was music boxes. In 1981, they moved to Southern Cali.fornia. Their simple Palos Verdes, CA, home quickly grew into a facility for more collecting with a 1,500 square foot addition. ÒThe Music RoomÓ they called it. It was at that point I realized MBSI actually meant ÒMore Boxes Seemed InevitableÓ for my parents.
It wasnÕt just music boxes that showed up. Over several years, my parents adopted large music machines, such as the Welte (Style 3) and the Weber Otero. As much as they loved collecting, it was the friends they met within the society which brought them the most joy. If you knew Gloria, you knew she loved walking, making pancakes, and talking about her child.hood. She invited an endless supply of people to see the collection. If you were a member, of course you were welcome. If a plumber was called to the house to fix a leaking sink, they didnÕt leave the house without a tour. That was my mom.
As many MBSI readers know, my father, Ralph Schack (MBSI President 2004-2005), passed away in 2015. A wonderful ÒIn MemoriamÓ piece was published in the November/December 2015 issue of this magazine. It was written by our dear friend of the family, Robin Biggins. Robin, as many of you know, has been deeply involved with the MBSI Southern California Chapter. It is important for me to acknowledge his incredible spirit toward collecting, and of course his loyalty in friendship.
Robin visited my mother countless times after the death of my father. With a recent cognitive decline, during the last few years, Gloria was unable to tell her famous stories and engage in meaningful conversation. Her condition never stopped Robin from his frequent visits to see her. I can only be forever grateful.
MBSI was like a family to my parents. I am honored to still be in touch with many of you.

Gloria Schack hosts a Southern California Chapter meeting at her home in 2016.

Ralph and Gloria Schack in ÒThe Music RoomÓ with some of their collection in 2015.

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CALLIAPHONE BUILT in 1986 and has appeared at many MSBI functions in Florida. Currently located in Brooksville, FL. Includes a trailer for easy moving. We want it to go to a good home so please make your best offer to purchase. It also comes with many music rolls to play. Contact KATRINA FOLL, at Katrinasftr@icloud.com or (786) 348-4786
I HAVE many items from my hobby of restor.ing player pianos, building and restoring nickelodeons, and rebuilding and restoring band organs. Items consist of blowers, rotary pumps, pipes, drums, triangles, castanets, tubing, some midi parts, brass tubing etc. Also have a home-built reed playing band organ playing 150 music. Getting older and would like them to go to fellow enthusiast. All items negotiable and reasonable. Contact DON RUGH, at rughx2@yahoo.com or (310) 625-7867
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THE MARTTHE MART

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Mechanical Music
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OFFICERS, TRUSTEES & COMMITTEES of the
MUSICAL BOX SOCIETY INTERNATIONAL¨

OFFICERS
President
Matthew Jaro
24219 Clematis Dr
Gaithersburg, MD 20882
mjaro@verizon.net
Vice President
Bob Caletti,
605 Wallea Drive
Menlo Park, CA 94025
bcaletti@pacbell.net
Recording Secretary
Linda Birkitt
PO Box 145,
Kuna, ID 83634
scarletpimpernel28@yahoo.com
Treasurer
Edward Kozak
3615 North Campbell Avenue
Chicago, IL 60618
ekozak1970@gmail.com
TRUSTEES
Dave Calendine
Bob Caletti
Edward Cooley
David Corkrum
Richard Dutton
Rich Poppe
Matt Jaro
Mary Ellen Myers
Rick Swaney
COMMITTEES
Audit
Edward Cooley, Chair, Trustee
Bob Caletti, Vice President
Dave Calendine, Trustee
Endowment Committee
Edward Kozak, Treasurer, Chair
Edward Cooley, Trustee
Dave Calendine, Trustee
B Bronson
Executive Committee
Matthew Jaro, Chair, President
Bob Caletti, Vice President
David Corkrum, Immediate
Past President
Edward Cooley, Trustee
Rich Poppe, Trustee
Finance Committee
Edward Kozak, Chair, Treasurer
Edward Cooley, Trustee
Peter Both
Marketing Committee
Bob Smith, Chair
Edward Cooley, Trustee
Judy Caletti
Don Caine
John Miller
Meetings Committee
Rich Poppe, Chair, Trustee
Judy Caletti
Tom Chase
Cotton Morlock
Tom Kuehn
Membership Committee
Chair, Vacant
Richard Dutton, Trustee
Mary Ellen Myers, Trustee,
Southeast
Robin Biggins, Southern California
Judy Caletti, Golden Gate
Gary Goldsmith, Snowbelt
Florie Hirsch, National Capital
Judy Miller, Southeast
Rob Pollock, Mid-America
Dan Wilson, Southeast
Gerald Yorioka, Northwest IntÕl
TBD, East Coast
TBD, Lake Michigan
TBD, Sunbelt
Museum Committee
Sally Craig, Chair
Dave Calendine, Trustee
Glenn Crater, National Capital
Ken Envall, Southern California
Julian Grace, Sunbelt
Richard Simpson, East Coast
Museum Sub-Committees
Ohio Operations
Rob Pollock, Mid-America
Nominating Committee
Judy Caletti, Chair
David Corkrum, Immediate
Past President
Bob Caletti, Golden Gate,
Vice President
Mary Ellen Myers, Trustee,
Southeast
Tracy Tolzmann, Snowbelt
Rob Pollock, Mid-America
Marc Pichla, Lake Michigan
Publications Committee
Bob Caletti, Chair,
Vice President
Richard Dutton, Trustee
Paul Bellamy
Steve Boehck
Christian Eric
Kathleen Eric
Publications Sub-Committee
Website Committee
Rick Swaney, Chair
B Bronson
Knowles Little, Web Secretary
Special Exhibits Committee
Mary Ellen Myers, Chair, Trustee,
Southeast
David Corkrum, Immediate Past
President, Golden Gate
Donald Caine, Southern California
Richard Dutton, Trustee, East Coast
Jack Hostetler, Southeast
Knowles Little, National Capital
Judy Miller, Southeast
Aaron Muller, Lake Michigan
Wayne Myers, Southeast
Rick Swaney, Trustee,
Northwest International
SPECIAL ACTIVITIES
Publications Back Issues:
Jacque Beeman
Regina Certificates:
B Bronson
MBSI Pins and Seals:
Jacque Beeman
Librarian:
Jerry Maler
Historian:
Bob Yates

MBSI FUNDS
Members can donate to these funds at any time.
Send donations to:
MBSI Administrator,
PO Box 10196,
Springfield, MO 65808-0196.
General Fund (unrestricted)
Endowment Fund (promotes the purposes of
MBSI, restricted)
Ralph Heintz Publications Fund (special
literary projects)
Museum Fund (supports museum operations)

MBSI Editorial Office:
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
editor@mbsi.org
SUBMIT ADS TO:
MBSI Ads
130 Coral Court
Pismo Beach, CA 93449
(253) 228-1634
Email: editor@mbsi.org
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 authorÕs approval. All articles are considered to be the authorÕs personal opinion. The author may be asked to substantiate his/her statements.

CALENDAR OF EVENTS

Date
Event
Location
Sponsor

Aug. 11, 2024
Mid-America Chapter meeting
NelisÕ Dutch Village Holland, MI, 10am
Rob Pollock

Sept. 22, 2024
National Capital Chapter meeting
Gaithersburg, MD
Matt and Beni Jaro

Sept. 28, 2024
Snowbelt Chapter Meeting
Robinsdale, MN
Ron Olsen

Email event details to editor@mbsi.org by Aug. 1, 2024, for the September/October 2024 issue.
Ask your questions on our Facebook discussion group Ñ search for the Music Box Society Forum.

Please send dates for the Calendar of Events to 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) 576-4280
jbeeman.mbsi@att.net
Regina Certificates: Cost $10.
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
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
No Dues in 2024
Roger Wiegand
281 Concord Road
Wayland, MA 01778
treasurer.eccmbsi@gmail.com
Golden Gate
Chair: Judy Caletti
jeeperjudy@gmail.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: Mark Pichla
(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: Cheryl Hack
(410) 757-2164
cahack@aacc.edu
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
Snowbelt
Chair: Tracy Tolzmann
(651) 674-5149
No Dues in 2024
Southeast
Chair: Jim Kracht
305-251-6983
Dues $5 to Bob Yates
1973 Crestview Way Unit 147
Naples, FL 34119
Southern California
Chair: Robin Biggins
(310) 377-1472
Dues $10 to Franne Einberg
10524 Blythe Ave
Los Angeles CA 90064
Sunbelt
Chair: Marty Nevel
currency33@AOL.COM
No Dues in 2024

CHAPTERS

Copyright 2022 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

Volume 70, No. 3 May/June 2024

Devoted to All Automatic Musical Instruments

Journal of the Musical Box Society International

Volume 70, No. 3 May/June 2024

5 PresidentÕs Message
7 EditorÕs Notes
8 Mid-year Trustee
Meeting Minutes
49 In Memoriam

MBSI News

On the Cover
A tale of two pianos tracked down after many years and added to a treasured collection. Page 33

By Matthew Jaro
MBSI President
MBSIÕs journal, Mechanical Music, is worth the membership dues alone, but our society offers far more than these printed pages to its members. New members and those who only interact with MBSI by reading this journal might not know that MBSI has 11 local chapters, spread out around the United States and Japan. Chapters usually meet three to four times a year in varying geographic areas.
Membership in the national MBSI automatically makes one eligible to join a single local chapter or multiple chapters if desired. Local chapter membership fees generally range from $5 to $10 per year. The chapters usually meet in membersÕ houses where you can visit some very interesting collec.tions, enjoy some great parties and meet new friends. The back half of each issue of Mechanical Music often features local chapter meeting reports with pictures illustrating the activities. In addition, each chapter typically has some educational activities it engages in during the year to tell the world about mechanical music. For example, the National Capital Chapter makes yearly visits to the Chesapeake and Ohio National Historical Park run by the National Park Service. Members bring portable instruments like monkey organs, cylinder music boxes, disc music boxes and roller cob organs to play for the public pass.ing by on side of the Potomac River in Washington, D.C.
Most importantly, each local chapter gets a chance to host an MBSI annual meeting bringing mechanical music enthusiasts to their area from around the country and around the world. Hosting an annual meeting is gener.ally an endeavor that is undertaken by many members of the chapter. It is certainly a community effort. The host chapter is responsible for obtaining a hotel, planning all the events Ñ including tours, banquets, buses, open houses, marketplaces, business meetings, entertainment, registration and publicity Ñ and constructing table favors if the chapter decides to provide them.
Another benefit of membership in MBSI is access to the members-only section of the societyÕs website found at mbsi.org. An online membership directory can show you any memberÕs phone number, address and collecting interests so you can get in touch to compare notes or view another memberÕs collection if they are willing to have you visit. (Only a few members opt out of appearing in the directory but we really encourage everyone to participate because it helps build our community.) This information is updated regularly and you can also update your own information so other members can reach out to you.
The website also features news items along with interesting articles and videos you can enjoy. There are a large number of videos available covering a huge range of topics. There is a text-only version of a number of issues of Mechanical Music so you can translate them into your favorite language if you wish. A wonderful addition to the website is the ability to search and read MBSI journals, the Music Trade Review (MTR) and Presto magazine issues. MTR and Presto are newspapers about the music industry in the late 1800s and early 1900s. These magazines contain articles about the manufacturers of nickelodeons, orchestrions, music rolls, reproducing pianos and many other topics.
The website also contains descrip.tions of MBSI-owned instruments in the museum collections. MBSIÕs instruments are displayed on the premises of the American Treasure Tours facility in Oaks, PA, which is just outside of Philadelphia, PA. MBSI has also loaned instruments to the Musical Instrument Museum just outside of Phoenix, AZ.
The website has a store where you can buy books, seals and a Regina certificate stating the date and orig.inal purchaser of any Regina music box. There is also a DVD called ÒThe Marvels of Mechanical MusicÓ which provides a good introduction to the hobby.
I have met very close friends through MBSI and part of our friendship is based on our common interests. ItÕs important to preserve and use our antique instruments and the music they play so that this unique heritage is passed from one generation to the next. IÕve heard it said that we are just guardians of this material.
I hope this little summary gives you a better idea of some of the benefits of membership. Above all, I hope you will be inspired to participate more fully in our society.

Mechanical Music

43 Golden Gate
45 Southeast

Connecting through
music boxes
Sadahiko and Yuriko Sakauchi spread joy through sharing their music boxes in many places. Page 36.

MECHANICAL MUSIC

Journal of the Musical Box Society International

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
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 authorÕs approval. All articles are considered to be the authorÕs 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 2024. 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.
POSTMASTER: SEND ADDRESS CHANGES TO
MBSI, PO Box 10196,
Springfield, MO 65808-0196

Features

12 Nickel Notes
23 An unclaimed orphan
of WWII
25 The Hunt: A modern interpretation of
automaton paintings
33 A tale of two pianos
36 Making connections
with music boxes
40 Annual meeting preview
42 Interesting tidbits

Chapter Reports

MBSI has replanted 258 trees so far as part of the Print ReLeaf program.

EditorÕs Notes

MAILING ADDRESS
MBSI Editorial / Advertising
130 Coral Court
Pismo Beach, CA 93449
EMAIL ADDRESS
editor@mbsi.org

By Russell Kasselman
MBSI Editor/Publisher
I would like to take a moment to congratulate our three first-time contributors to this issue for stepping outside their comfort zone and shar.ing their stories with us all. Roger DeWeese, Jim Neuman, and Sadahiko Sakauchi each sent in an article with accompanying photos that are both informative and entertaining. After you read the articles, donÕt be afraid to reach out and say thank you to them for allowing us to join in their music box experiences and for helping to expand the societyÕs archives.
Enjoying content from a new source serves as a good reminder to us all how deep and wide this hobby can be. Mechanical Music has covered everything from cylinder and disc music boxes to automata and phonographs, not to mention organs, orchestrions and nickelodeons. Our members are interested in music and history, woodworking and metalwork. Whether it be a navigating a maze of pneumatic tubing or restoring the intricate plucking of the tiniest metal teeth on a comb, our membership is sure to be interested in hearing about it. Feel free to jot down your stories the next time you find yourself telling them to a friend. All it takes is a simple email to get the ball rolling and your story can become a part of MBSIÕs vast bank of knowledge available for future mechanical music enthusiasts to learn from.
Now shifting gears to the upcoming annual meeting that will be held in and around Los Angeles, CA, I want to remind everyone that it is not too late to make your reservations to attend. Southern California is home to some incredible collections of mechanical music and this yearÕs meeting, joint with the Automatic Musical Instrument CollectorsÕ Association (AMICA), offers many opportunities to make new connections with mechanical music enthusiasts you may not have met yet. A description of one of the tours planned for the meeting can be found on Page 40 of this issue. Additional information and a meeting sign-up form is available on both the MBSI website at mbsi.org or the AMICA website at amica.org. I hope to see you there.
One quick reminder; please make sure your contact information stays up to date. Changing your address or phone number is easy since you only need to log into the mbsi.org website and click on the Update My Information button in the members-only section. Snowbirds and frequent travelers can make updates as often as needed to be sure you donÕt miss even one issue of Mechanical Music.

Morris Museum hosts AutomataCon May 17-19

AutomataCon is a gathering of those who enjoy or are curious about animated objects, both historical automata and present-day kinetic artworks. This three-day event is being hosted for the fourth time at the Morris Museum in Morristown, NJ, from May 17Ð19, 2024.
The privately-run event will kick off with a social reception on Friday evening, followed by two full days of programs. Convention attendees can pre-register for just one day or the entire weekend. The museumÕs courtyard will feature visiting automata exhibitors, artists, live demonstrations of kinetic artworks, the famed Guinness Gallery, and the Spark!Lab workshop where children can create their own automaton on Saturday. The main gallery exhibition is ÒSet in Motion: Kinetic Worlds from the Studio of Richard Whitten.Ó The artist will be present to discuss his work.
Get your tickets at www.AutomataCon.org
The Morris Museum is at 6 Normandy Heights Road
Morristown, NJ 07960
Call (973) 971-3724 for more information.

Welcome new members!

February 2024
Robyn & Jim Johnson
Kennesaw, GA
Carl Hasbargen
St. Paul, MN
Joseph & Joseph Steed III
Candor, NC
Mr R
Horse Shoe, NC
Robert Braun
Alameda, CA
Sponsor: Bob Caletti
Randolph Shrider
Marietta, OH
March 2024
John Diehl
San Diego, CA
Patrick Donohue
Stony Brook, NY
Kristina Hensel
Denver, CO
Florent Wagner
Leawood, KS
Allen & Judy Marcovitch
Boynton Beach, FL.
Justin Miles
Vancouver, BC

MBSI Mid-year TrusteesÕ Meeting

From top left: MBSI President Matt Jaro, Trustee Dave Calendine, Recording Secretary Linda Birkitt, Immediate Past President David Corkrum, Trustee Edward Cooley, Trustee Rich Poppe, MBSI Vice President Bob Caletti, Trustee Mary Ellen Myers, Trustee Rick Swaney and Trustee Richard Dutton.

Mar. 15, 2024
MBSI President Matt Jaro, called the 2024 MBSI Mid-year TrusteesÕ Meeting to order at 9:03 p.m. on Mar. 15, 2024, via Zoom. Those in attendance were President Matt Jaro Ñ presiding Ñ Vice President Bob Caletti, Trustee Dave Calendine, Trustee Ed Cooley, Immediate Past President and Trustee David Corkrum, Trustee Richard Dutton, Trustee Mary Ellen Myers, Trustee Rich Poppe, and Trustee Rick Swaney. Nine of nine trustees composed the required quorum. Also in attendance were Judy Caletti (Nominating Committee chair), Sally Craig (Museum Committee chair), Linda Birkitt (recording secretary), Russell Kasselman (editor), and Ed Kozak (treasurer).
President Jaro asked the recording secretary to comment on the minutes of the 2023 MBSI Annual TrusteesÕ Meeting minutes since all the trustees had read the document prior to this meeting. No additions, deletions, or corrections were noted by the trustees. Trustee Dutton moved and Trustee Corkrum seconded the motion to approve the minutes of the meeting as published in Volume 69, Issue No. 6 of Mechanical Music. Motion carried.
Board Actions
President Jaro asked the recording secretary to review the board actions. President Jaro will inform the MBSI administrator to create a separate line item for 2024 membership renewals by adding an additional processing fee of 5 percent as an added fee for credit card use (ongoing). Bob CalettiÕs name will be added to the Audit Committee and the editor will be informed of same. In the future, under the Meetings Committee, the convention fees will be separated from the credit card processing fees. This must occur in any future joint meetings which may transpire. Addi.tionally, in the future, a safe deposit box will be rented only as needed and be under Museum Committee control. Trustee Myers announced that Trustee Dutton, a member of the East Coast Chapter, has been selected and has agreed to become a representative for the Special Exhibits Committee. This leaves two chapters not represented on this committee. The Sunbelt Chap.ter now has a chapter chair, Marty Nevel. Report received.
Vice PresidentÕs Report
The vice president is responsible for coordinating the annual awards process and ensuring timely action to obtain nominations as required to present to the board at its mid-year meeting. This process has been completed and nominees will be presented and voted on during a closed-door session. Additionally, the vice president is responsible for gathering necessary information, completing and filing the annual report from the society to the Board of Regents of the University of New York no later than the Jul. 1 filing deadline. The vice president will provide guid.ance and advice to the chapters of the society, keep informed of committee activities and review and recommend revisions to the bylaws and policies and procedures. Vice President Caletti indicated that the Guidestar document has been updated. The report has been received.
Finance Committee Report
Treasurer Kozak presented the financial statements ending Dec. 31, 2023, and indicated that total fund balances decreased by $10,959 (decrease of $16,277 in 2022). From 2020 to 2024, there was a 6 percent decrease in assets.
The main items of revenue and expense for the year were:
1) Dues revenue of $59,653 ($63,909 in 2022).
2) The annual convention contrib.uted a gain of $151 for the year.
3) Publishing revenue of $14,113 ($17,902 in 2022) and publishing expense of $70,794 ($80,378 in 2022).
4) Accounting, tax preparation and administrative expenses totaled $34,218 ($36,699 in 2022).
Non-endowment certificates of deposit and money market deposits totaled $476,000 and $25,134, respec.tively, on Dec. 31, 2023. The average rate of return was 2.7 percent. The maturities of the laddered certificates are as follows:
¥
2024 Ñ $230,000;

¥
2025 Ñ $150,000;

¥
2026 Ñ $50,000

¥
2027 Ñ $46,000.

On Dec. 31, 2023, temporarily restricted assets totaled $160,511, which may be used as seed money for future annual meetings. The seed money is limited to $15,000. The total of restricted cash assets and the contingency amount to $205,511 as of Dec. 31, 2023. Cash, certificates of deposit maturing in 2024, accounts receivable and money market funds total $298,549 on Dec. 31, 2023. Much of the restricted cash is part of the investment portfolio of certificates of deposit terms and is not immediately available for use.
Declines in membership and the cost of the societyÕs publication may hinder operations.
In February 2024, a request was made to the trustees to review the approved budget for 2024 and suggest any changes. The budget projects a deficit of $38,185.
A list of amounts more than $1,000 paid to vendors, in 2023, was provided. The report was received.
Endowment Committee Report
Treasurer Kozak indicated that the Endowment Fund balance is a perpet.ual duration asset, totaling $163,605 as of Dec. 31, 2023. The fund balance increased by a donation of $1,145 from a previous balance of $162,460 as of Dec. 31, 2022.
On Dec. 31, 2023, the investment portfolio for the fund was made up of three certificates of deposit totaling $161,000 that mature in 2024 ($101,000), and 2025 ($60,000). Inter.est rates average about 4 percent.
The fund also has a Vanguard cash reserves balance of $1,840 as of Dec. 31, 2023, which earns currently 5.2 percent interest.
No grants or loans were requested from the trust estate in 2023.
Interest is accumulated in the Endowment Fund principal. The balance in this Endowment Interest Earned Fund is $46,847 on Dec. 31, 2023. Two-thirds of this amount, or $31,231, is available currently for proj.ects or programs from the trust estate.
President Jaro moved and Trustee Cooley seconded that the budget be approved. Motion carried. The report was received.
Administration
President Jaro presented the MBSI administratorÕs report. Currently, there are 880 members of MBSI as of Dec. 31, 2023. In 2022 there were 937. As of Feb. 21, 2024, there are 937 members. Thirty-four new memberships were generated from Jul. 1, 2023, to Dec. 31, 2023. Twenty-five of these came from the website (74 percent). In calendar year 2023, 74 new memberships came to fruition and of these, 55 were website members (74 percent). These new members received the 50 percent new membership discount.
Don Caine was the dealer recipient of a free renewal for sponsoring three new members and there is a 13-way tie for the member recipient of a free renewal for sponsoring one new member each. The winners were Ardis Prescott, Bill Wineburgh, Trustee Caletti, Brooks Low, Hope Rider, Jack Hostetler, Jessica Holden, Kelly Newsome, Nancy Stevens, Nancy Van Broekhoven, Robin Biggins, editor Kasselman, and Wayne Myers. Report received.
Audit Committee
Trustee Cooley presented the Audit Committee report. Budgeted revenue was $7,987 higher than the dues received. This result was caused primarily by two factors. 1) Prior to the dues increase of Jan. 1, 2023, the cost to join or renew was always the same regardless of month paid. Approximately 43 percent of MBSI membersÕ anniversary dates are in December. About 200 members paid their 2023 renewals in December 2022 at the previous $60 rate. 2) Also, 55 new website members paid the special first year rate of $35. In summary, large rate discounts for an unknown quantity of new members combined with the large attrition rate of current members will complicate the budget.ing and audit process going forward.
Trustee Calendine noted that in the American Theater Organ Society (ATOS), the group has been retain.ing 70 percent to 75 percent of the reduced-price memberships for the first year who have renewed for the following year at the full membership price. ATOS focuses on professional magazine presentation and reinvigo.rating the chapters at the local level. Audit report has been received.
Marketing Committee Report
A promotional program for mechanical music restorers/dealers and antique dealers to acquire new members, has been developed. The editor will be sending out this program via email the first week of March, which will reach 155 targeted names. There will be a cover letter and two attachments Ñ a sell sheet including a link to the website and a membership application. These intended recipients will be asked to forward the attach.ments to their customer list or to include it with their correspondence.
An updated MBSI brochure is expected to be available for the upcoming July annual meeting.
Two additional testimonial videos have been produced and are awaiting uploading to the website.
The current Marketing Committee members are Bob Smith, Chair, Judy Caletti, Don Caine and Trustee Cooley. The report was received.
Meetings Committee Report
Trustee Poppe reported that 75 members were anticipated to attend the annual meeting in held in 2023 in St. Paul, MN. A total of 84 members actually attended the meeting with $150 being returned to the society as profit. Michael Clark, from England, attended the annual meeting and wrote a very complimentary article about the meeting which was published in the Mechanical Organ Owners Society (MOOS) magazine. It was suggested to have this article reprinted in Mechan.ical Music or placed on the website.
Upcoming annual meetings are listed below:
2024 Ñ Southern California 75th anniversary meeting (Jun. 30 to Jul. 6) is a joint meeting with the Auto.matic Musical Instrument CollectorsÕ Association (AMICA) taking the lead, at the Sheraton Agoura Hills Hotel. Frank Nix is the organizer and Sandy Swirsky is the registrar.
2025 Ñ Lake Michigan 76th anni.versary meeting in Chicago, IL, will be a joint meeting with MBSI taking the lead. Marty Persky is working on meeting plans.
2026 Ñ Princeton, NJ, 77th anni.versary meeting will be led by Glenn Thomas and AMICA will be taking the lead for this meeting.
2027 Ñ Mid-Am Chapter meeting needs to be discussed with the chapter.
2028 Ñ National Capital Chapter meeting has not yet been discussed with chapter members.
A document titled ÒGuidance for future Joint Annual MeetingsÓ is being developed by the Meetings Committee with valuable assistance from Judy Caletti. This guidance will require that the Meetings Committee be part of the approval process for the hotel contract. Additionally, the guidance will specify that there must be legal review of the contract. When completed, this document will be placed in the MBSI Policies and Procedures and in the MBSI Meetings Manual.
President Jaro suggested that since collections are disappearing, and there are fewer volunteers to put together an annual meeting, that MBSI consider having an annual meeting that is not hosted by any one local chapter, but instead be someplace independent, for example, an annual meeting in Japan, or Phoenix, AZ, to see the Musical Instrument Museum (MIM) and Organ Stop Pizza. MBSI needs to seek more variety in locale for its annual meetings. Trustee Cooley suggested going to more than one city for a meeting. Report has been received.
Museum Committee Report
Chair Craig invited Trustee Calen.dine, as suggested by the MBSI Trustees, to assist the Museum Committee in inventorying the Amer.ican Treasure Tour (A.T.T.) collection and cleaning up the numbering system of the Barry Johnson collection. Per Chair Craig, only some of the database is inaccurate. Some items have been stored in Wappingers Falls, NY, and then moved to Trenton, NJ, for storage. Some of those items were on loan and did not even belong to MBSI. Member Bill Wineburgh maintained the data.base for some 30 years for free, after which the database was converted to be part of the societyÕs website. Much discussion ensued regarding Museum Committee budgetary line items, as well as the potential way items at the A.T.T. may eventually be sold. Some donated items have restrictions on them as to how the items must be managed.
The Archives Committee has disbanded. At one time, it was managed by B Bronson and Bob Yates, per Chair Craig.
After much discussion, Trustee Calendine moved, and Trustee Myers seconded a motion to approve that database maintenance digital format should go on line 104 of the budget under the Zivin Digital Archive Fund, which will be managed by the Trust.ees. Motion carried. This report has been received.
Nominating Committee Report
Chair Judy Caletti will be assisted by Nominating Committee members, Trustee Caletti, Trustee Myers, and Immediate Past President David Corkrum. The members of the Nomi.nating Committee rotate every two years and Judy Caletti said she looks forward to having a Japanese Chapter member join in at the next rotation. President Jaro suggested that it might be a goal to secure a European to become a member of the MBSI Board. Report received.
Special Exhibits
Committee Report
Chair Myers thanked Trustee Dutton for joining the Special Exhib.its Committee. Current Committee members are Trustee Myers (South.east), chair; Trustee Corkrum (Golden Gate); Donald Caine (Southern California); Knowles Little (National Capitol); Aaron Muller (Lake Michi.gan); Wayne Myers (Southeast); John Hostetler (Southeast); Rick Swaney (Northwest International). These members have been contacted regard.ing exhibits in their area as well as their desire to stay on the committee. All have agreed to stay on.
The Southeast Chapter hosted its annual Christmas Show, attracting interested people, some of whom became new MBSI members. Jack Hostetler continues to hold monthly meetings on various topics regarding mechanical music for residents of The Villages, FL, with the hope that they will become MBSI members.
Judy Miller, past Southeast Chapter chair, and former trustee, holds a yearly membership in the Biltmore House and Estate in North Carolina. She is exploring the possibility of MBSI participating in a future event in late 2025, involving mechanical musical instruments. The supervisor of volunteers at the Sarasota Opera House in Sarasota, FL, has not agreed to have a mechanical music box be played during pre-shows and intermissions due to the size of the lobby. Report received.
Publication Committee Report
Chair Bob Caletti thanked all contributors to the journal including the Publication Committee and the proof-reading team, as well as editor Kasselman and Trustee Swaney, who is also the Website Subcommittee chair.
Trustee Caletti said the Publication Committee would love to publish more Òhow toÓ articles, so if anyone is interested in writing one, that would be greatly appreciated.
Editor Kasselman and Trustee Swaney investigated an issue with members downloading digital issues of Mechanical Music and concluded that there is no way to allow a member to read a PDF without also being able to download it. A PDF can be password protected, but anyone who wants to download and distribute a PDF can distribute the password as well. The only other option is to not expose the full PDF to the user but have the web server display it one page at a time. This is the way it was done on the old website, which was a much less enjoyable reading experience compared to using a PDF reader. Also, a determined member could capture each page and reassemble an article. Even though that would be an arduous task, it would be doable.
After much discussion regarding publication costs, a motion was made by Trustee Calendine and seconded by President Jaro, to cease publication of the MBSI Directory of Members, Museums and Dealers and place that information under the membership section of the website, and fund editor Kasselman to add more detail to the online search feature. Motion carried. Trustee Poppe voiced concerns about losing vendorsÕ support by publishing only in the online directory. Editor Kasselman noted that the challenge will be to convince the vendors to remain with MBSI at the same rate, using an online format rather than a printed version. Trustee Calendine stated that an article needs to be writ.ten in Mechanical Music to elaborate the changes in the new webpage and to consider decreasing the number of journals published annually. Trustee Swaney will write an article detailing how to log onto the website. Report received.
Editor/Publisher Report
The average advertising pages remained steady at an average of 16.36 percent of the total pages printed between May/June 2023 and March/April 2024. The percentage of adver.tising pages in each issue for the past 12 months is as follows:
¥
May/June 2023 Ñ 16.36 percent;

¥
July/August 2023 Ñ 19.30 percent;

¥
September/October 2023 Ñ 15.99 percent;

¥
November/December 2023 Ñ 14.89 percent;

¥
January/February 2024 Ñ 14.89 percent and

¥
March/April 2024 Ñ 16.73 percent.

New article submissions to the jour.nal are steady enough that we have not had to reprint many articles from previous issues of Mechanical Music, the Music Trade Review, Presto, or journals published by other mechani.cal music societies. The journal is, as it will always be, an insatiable consumer of content so the search for additional writers continues.
Website advertising is stagnant currently, but it is hoped that a refresh of the website homepage may help attract new advertisers. The editor has provided support to the Marketing Committee in several of its efforts to attract new members this year and will continue to do so.
This is the fifth year in a row a volunteer was needed to serve as the societyÕs asset database manager. The program allows a person to use the MBSI website to update the status of all the societyÕs instruments on a regu.lar basis, post photos of instruments, and record any moving of instruments from place to place. Currently, the editor/publisher is filling this role on a per-hour fee basis. Report received.
Web Subcommittee Report
The long-awaited update to the MBSI website is now live. Currently, editor Kasselman is archiving the current website code and data and replacing them with the new ones. Thanks to Trustee Caletti, 10 new instruments, with photos but without owner identification, were added to the Member Instrument Gallery.
During the last quarter, the website averaged 3,000 views from approxi.mately 900 unique visitors per month. The top viewed pages are:
¥
Instrument Gallery Ñ 537 views;

¥
MBSI Collection Ñ 424 views;

¥
Member logins Ñ 384 and

¥
Chapters Ñ 372 views.

Since the start of the year, the soci.etyÕs Facebook group has received 274 posts, 1,087 comments, and a total of 32,816 views. This group now has 2,486 members. That is an increase of 705 new members since the annual meeting.
Future plans include making the Journal article index filterable by author, category, and subject. Articles will also be retrievable via a single click. Facebook Forum posts will be viewable from within the website. MBSI historical information such as past presidents and awards is moving to the members-only section of the website and more member video testimonials will be added to the home page. Report received.
Old Business
President Jaro noted that there was no old business.
New Business
No new business was presented before the board. Having no other business before the board, a motion was made by Trustee Calendine, and seconded by Trustee Poppe to adjourn the meeting. The meeting was adjourned at 2:08 p.m.
Respectfully submitted,
Linda Birkitt
MBSI recording secretary
March 15, 2024

Nickel Notes

By Matthew Jaro
Photographs by B Bronson, Ed Cooley, Bill Nunn, and Glenn Thomas

Bill and Stacy Nunn

For this issue of Nickel Notes, we travel to Skyrock Farms, in Medina, MN, to visit Bill and Stacy Nunn. Their principal occupation is horse training and horsemanship lessons. Their mission statement is:
ÒAt Skyrock we teach horseman.ship to develop the horseÕs natural athletic ability and willingness to work making him calm, supple and attentive to his rider.Ó
ÒWe train and show hunters and jumpers as well as teach English riding lessons to riders of all levels. Our goal is to culminate compassion.ate, confident riders with effective aids and relaxed horses. If riding is your passion, Skyrock is your place.Ó
Now, the attentive reader will ask: ÒWhat does this have to do with mechanical music?Ó Since horses and carousels go together and carousels require band organs to supply the music, the link is established. Bill and Stacy write:
ÒWe invite you to our farm to enjoy the ambiance of our horses, flower gardens and the fresh country air. The carousel building is home to our antique carousel and 1900s dance organ collection. Home cooked meals, music and horses come together to culminate an experience like no other! We look forward to having you as our guest.Ó
The Nunns have about 40 horses on the property. They travel to a lot of horse shows all around the country. They also give riding lessons, train horses and conduct a day camp. The carousels and organs are a hobby that just spun off from their main business.
Beginnings
So, letÕs be the guests of the Nunns as we explore their incredible mechanical music collection.
Bill has owned Skyrock Farms since 1982. Someone gave Bill a small carousel music box with a date and a name on it. He found it intriguing, so he looked for a book on carousels and bought a coffee-table style volume. He was hooked. Bill said he found the history interesting because of the age of the carousels and their makers. He thought about someday finding a carousel animal. Then he saw one at a garage sale. It didnÕt have any ears and the two front legs were missing. It was a little Herschell-Spillman. Bill found a couple more while browsing antique stores. He said he didnÕt really mean to start collecting carousel horses, it just sort of happened. He found that once he was hooked, he started to see carousel animals at all the sales he went to.
At one of the sales, Bill saw a little Ragtime calliope. It wasnÕt playing but was very inexpensive. He thought it would be a fun thing to have next to the carousel horses. He fixed it and added glockenspiels and drums. The repair work was intriguing, so Bill decided to find out more about mechanical music. He ended up finding a North Tonawanda band organ which played Wurlitzer style 125 music. It was for sale by a man who dealt in church organs. The man also happened to be carving a carousel. The man had an old Parker frame and old Parker horses that he was duplicating with the idea that one day he would have a full carousel.
The seller explained next that he had put the carousel project on hold because he recently bought an RV so now he was more in the mood to sell stuff. Bill ended up buying one of the Parker horses, the North Tonawanda organ and a derelict Wellershaus band organ that was in pieces. Originally, the Wellershaus was a barrel organ that was in the process of being changed to play Wurlitzer music. It is currently being restored and will eventually play book music. Bill now had two organs and he didnÕt even know how to change a roll. Bill restored the North Tonawanda organ pretty much by himself. (What a great accomplishment!) The whole process was a learning experience. From there, Bill said his collecting just progressed from one thing to the next. It was more opportunity buying than anything.
Growing the Collection
Bill had a friend who came to see the North Tonawanda organ play. The friend said, ÒI know where there is another one of those. ItÕs bigger but itÕs the same idea and itÕs up in a barn.Ó Bill went to see it and found a Mortier organ that was converted to play Wurlitzer 165 rolls. He bought it and now he had three organs and he still didnÕt know a thing about them. He had to find people to help and thatÕs what led him to join MBSI and the Snowbelt Chapter. This was approximately in 1999.
Bill did a lot of reading and figured he next wanted a keyed organ and something European, not any more American stuff. While researching the history of his Mortier he called Ron Bennett in Texas. During the conversation, Ron related that he had a Hooghuys Organ for sale. Ron had it all apart and said he wouldnÕt ever have the time or energy to put it all together. Bill bought the organ. It was all in pieces. Bill said he often acquired instruments that big collectors might pass up. The faade of the Hooghuys organ was painted over at some point in the past in Europe with just one color. It took Bill an entire winter, but he scraped off all the paint and found gorgeous artwork underneath the tan enamel paint. Seeing the size of the faade, it is obvious that Bill has both significant patience and a unique ability to imagine what it would look like after all the hard work was done. He said, Òwhen a carpenter sees a pile of wood he envisions a house, but if you see a pile a wood you envision a pile of wood. If you see a junk organ, you have to have vision.Ó
Dick Lokemoen in Merrill, WI, restored the Hooghuys organ for Bill. ÒDick is a meticulous restorer and great guy to boot. He knows music and mechanics. He has restored organs which probably would have never been done.Ó
Bill bought a 57-key Gavioli Organ from Steve Lannick near Pittsburgh, PA. Steve was a great craftsman. He had taken the organ completely apart and stored all the pieces in boxes. Then Steve got sick and had to sell the organ as is. Bill hired Russell Wattam from England to help with this resto.ration. Russell made some new pipes and the glockenspiel unit to replace what was missing. Bill did the rest of restoration on the organ in-house. I asked Bill how he learned how to do all the pneumatic work. He said, ÒYou learn as you go. ThatÕs the fun part of all this. You get to meet a lot of people. The trick is Ñ If you need something done, hire someone better than you. Hire the best people you can.Ó
Another acquisition was a Marenghi Dance Organ. It was built in Paris in 1905. Originally, the organ was special-ordered by a restaurant in Antwerp, Belgium. It spent 60 years in the restaurant before it came to the U.S., where Alan Bies worked on it a little bit. Dick Lokemoen also worked on the organ. It was later bought by Greg Filardo in Milwaukee, WI, and then sold to Bill. Greg was in the process of moving and wanted to sell some pieces so Bill took the opportu.nity to buy it.
Bill has a 45-key Limonaire Organ which he got through Tim Trager. He also has a Wurlitzer 146 organ which Bill bought from Dick Lokemoen. Dick owned the organ for 40 years. Dick restored it 40 years ago and itÕs still working.
Next, Bill bought a 107 Bruder (52-keyless) that was on a carousel in Alaska. It was advertised on eBay. No one bid on it and Bill bought it after the sale. It had been converted to play Wurlitzer 150 music. Bill converted it back. Dick Lokemoen also restored that organ. It came with no library of music but now can play more than 3,000 meters of music.
Bill has a Mandolin PianOrchestra duplicate built by Dick Lokemoen. This instrument has a great library of music and since it was initially made by Phillips, half of the music is from Europe and half is from America.
Bill has an 89-key Black Forest Gavi.oli organ. It took 10 years to restore both the chassis and the massive faade for this machine. The chassis was restored by Jeffery Verbeek and Martin Conrads.
Bill bought a carousel from a theme park and populated it with his own collection including a mix of Parker horses, Herschell-Spillman horses, a German cow (Gustav Heyn), a zebra, a pig, a cat and a goat (Gustav Bayol).
Collecting Music
Bill doesnÕt just collect organs, he collects music. Most of BillÕs organs now have more than 3,000 meters of book music they can play. The music was either bought, punched or copied from patterns owned by other people. Bill has two scanners to copy other music rolls and books. They were built by Kevin Keymer. Terry Smythe introduced Bill to Kevin who has been instrumental in helping Bill. Kevin built the scanners and designed the punches (Bill has two automatic punching machines to punch all the books). Bill said he has probably punched about 13,000 meters of music with the automatic punches. Bill has one additional scanner made by Gene Gerety. This third scanner can handle extremely wide rolls, like Seeburg H rolls that are 15. inches wide. Bill believes in sharing scans of music and helping people to obtain scans. ÒItÕs all in the family,Ó he said. He uses software written by Kevin to process the rolls. The scanner essentially takes a giant picture which is then converted to a MIDI file. It could also be converted to a punch file for making books. Bill said his main problem is the condition of the books. Even though he tries to repair them as best he can, some of them are derelict and the resulting digital file will require editing to become a functioning MIDI file. A cardboard music book can be warped, torn and not feed through correctly. Bill said he winds up with deadly accurate scans because the scanning speed is about a third of the actual speed at which the rolls play in the organs.
Music Arranging and Transcribing
Bill has been fortunate to get some very good musicians to work for him in transcribing and arranging new material. Richard Olsen was the first one. He was a wonderful arranger but to our great loss, he has passed away. I can attest to the quality of his work since I own several Wurlitzer 150 rolls that Richard arranged. Richard did a lot of songs for BillÕs Marenghi organ. He started doing work for the Hooghuys organ before he died.
Alexey Romashkov was just out of college when Bill met him. Alexey knows European music as well as U.S. music. HeÕs a very good musician and excellent piano player. He has edited and transcribed thousands of meters of music for Bill. For example, Alexey arranged the Bohemian Rhapsody for the Marenghi. A video of the organ playing the roll has nearly 7 million views on YouTube. Unfortunately for Bill, Alexey moved to California and put the music on hold while he does online marketing. Bill recently hired three more arrangers who are in the process of learning from Alexey. One of them (Kim Jipson) has already produced some great music and might be one of the best in the world eventually. One problem Bill said he experiences is that there is no stan.dardized software that is ready-made for this type of work. Everyone uses a different program, such as Abelton, or Legend. Also, if you build a virtual organ for Apple Macintosh, it is not compatible with Windows computer.
The process of repairing old music is as follows: Bill first scans the old books into a cis file. Kevin then makes a MIDI file which he sends to the arranger. The arranger then uses whatever program he wants to edit the file. Usually, the arranger must first unscramble the scale to make the notes easier to deal with. When it is done, the file goes back to Kevin who transforms it to a punch file. It is then sent to Bill where it is turned into a playable book. When Bill transcribes music, he does it from similar scales and organs. For example, Bill has taken a lot of 69-key Marenghi music and transcribed it to play on the 81-key Marenghi.
Also, Bill found that music for the Limonaire organ is very similar to that used in the Hooghuys organ. An algo.rithm does most of the work to match things up, but there are still missing notes, etc. that must be flushed out. A lot of times Bill said that Alexey would start with an arrangement and change it so much that he would say, ÒItÕs mine now.Ó Bill is continually mentoring new arrangers with the hope of finding the next Rich Olsen!
Sharing, Preserving
and Documenting
One of the great things about Dick, Kevin and Bill is that they keep nothing secret. They do not like to deal with people who have secret software or proprietary hardware. They believe in freely sharing knowledge. Bill said he thinks that if you are going to collect music, you must become familiar with scanning and processing as well. He said this is especially true for any machine that has limited music available.
As an example of how Bill works to save music, he bought about 600 meters of 89-key Gavioli music on eBay. It was in tatters. Some pieces were 2 and 3 feet long. Bill said he tried to sort those out and match as many as he could, then he scanned them all. He asked Peter Mackett in England for help. Peter identified almost all the song pieces, matching all 500 snippets of music. Peter can listen to three bars of a song and tell you what it is and who arranged it. Out of all of this, Bill probably made 1,000 new meters of music for the big Gavioli. It was a labor of love. It was all wonderful British fairground music that otherwise might have been lost.
One person who has been of enor.mous help to Bill is Fred Dahlinger. When Bill went to his first organ rally in Columbus, OH, he took his Mortier to the rally. Bill knew nothing about the organÕs history. He went home on Monday and the next day in the mail Bill received a manila envelope from Fred with all sorts of pictures and information about his organ. Ever since then, Fred and Bill have been great friends. Fred is an incredibly great resource. He has row upon row of filing cabinets filled with historical information.
Skyrock Farm Tours
Bill and Stacy started giving tours several years ago when BillÕs mom was in assisted living care. BillÕs mom brought a group of her friends to see the collection. Skyrock Farm soon became a hit with a list of assisted-liv.ing homes. More and more people heard about the farm and now they even have bus tours arranged by tour companies calling to schedule visits. On the tours, Bill gives a 90-minute presentation about the carousel and the organs; then Stacy and Bill cook and serve a great lunch. After lunch they give a horse jumping demonstra.tion with Stacy jumping big jumps.
Two vintage amusement park trains run through the property, so they also let visitors have a train ride. The Nunns have had tour groups come from as far away as California and Texas. Often people on the tour will rate each stop. Skyrock Farm has always been first in both venue and food. These tours expose a lot of people to mechanical music. Bill said he even gets to talk about making the music books. People love seeing the music books go through the organ. ÒIt is a privilege to have these wonderful antiques and it is our responsibility to protect and preserve them and we have an obligation to share them.Ó
Organ Collection
Here is a list of all the organs in the Nunn collection:
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Gavioli 57-key Dance organ189

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Gavioli 65-key Fair organ 1910

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Gavioli 89-key 1905 Fair organ Built in Black Forest

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Limonaire 45-key 1902 Fair organ

¥
Marenghi 81-key Dance organ 1905

¥
Hooghuys 77-key Dance organ 1914

¥
Mahauden 80-key Dance organ 1905

¥
Bruder 52-keyless Fair organ 1919

¥
Wellershaus 46-keyless Fair organ 1910

¥
German barrel organ 44-key

¥
Mortier fair organ playing 165 rolls 1923

¥
Wurlitzer 146 band organ 1922

¥
North Tonawanda 125 band organ

¥
Wurlitzer PianOrchestra replica

¥
Thijs Gravendaal Dutch street organ 38-key

¥
Richter fair organ 79-keyless 1914

¥
Barton Theater organ three manual 15 rank 1929

Bill Nunn passed away unex.pectedly on Jan. 22, 2024. He is sorely missed. Six years ago, I wrote a Nickel Notes article about Bill and Stacy. I feel it is important to reprint this now as a reminder for all the wonderful contributions the Nunns have made to mechanical music. It was written when Bill was still alive and excited about his many proj.ects, so the text is written in the present tense. I think Bill would have liked it this way.
Ñ Matt Jaro

Bill and Stacy Nunn, with their son Charlie. (Photo courtesy Bill Nunn)

The sign at the entrance to Skyrock Farms. (Photo courtesy Bill Nunn)

Bill Nunn at the carousel. (Photo by Ed Cooley)

This Wellerhaus organ originally played barrel music, was partially converted to play Wurlitzer music but now plays book music after a restoration by Bill Nunn. (Photo courtesy Bill Nunn)

The Gavioli 57-key organ that Bill Nunn reassembled from parts and restored with help from Russell Wattam. (Photo by Glenn Thomas)

This Marenghi 81-key organ spent 60 years entertaining at a restaurant in Antwerp, Belgium, before being brought to the United States. (Photo courtesy Bill Nunn)

Top left: The Limonaire organ. Top right: The Wurlitzer 146 organ. Bottom: The Bruder 52-keyless. (Photos courtesy Bill Nunn)

The Mandolin PianOrchestra replica built by Dick Lokemoen. (Photo by Glenn Thomas)

The full Gavioli 89-key organ and a detailed shot of the pipes. (Top photo courtesy Bill Nunn. Bottom photo by Ed Cooley)

The Mortier dance organ Bill found in a barn that led him to join MBSI and the Snowbelt Chapter. (Photo by B Bronson)

The 89-key Black Forest Gavioli dance organ that took 10 years to restore. (Photo courtesy Bill Nunn)

Bill Nunn demonstrates his process for punching music books. (Photo by B Bronson)

Book music storage racks with books of music neatly organized and labeled. (Photo by Ed Cooley)

Bill NunnÕs automatic music punch in action. (Photo courtesy Bill Nunn)

Email Matt Jaro at mjaro@verizon.net if you would like any information about style ÒAÓ, ÒGÓ, Ò4XÓ, ÒHÓ or ÒOÓ rolls. Also, comments and suggestions for this column will be appreciated.
Reprinted with permission of the author and The Automatic Musical Instrument CollectorsÕ Association (AMICA). Originally printed in the September/October 2018 issue of The AMICA Bulletin.

A photo of a music box with dancing figures taken by the British army soldiers during recovery operations in 1945 seeking to return art pilfered from France to its original owners. The music box was located in Aachen, Germany and is now housed in the Louvre Museum in Paris, France. Its original owners have never been found.

An Unclaimed Orphan of WWII

By Dr. Robert Penna

On display at the MusŽe Gadagne in Lyon, France, is a marvel of automata and mechanical music. The museum which is famous for housing the World Puppet Museum holds an unclaimed object simply titled ÒOrgue de danse ˆ anches,Ó or dance organ with reeds.
The instrument was manufactured circa 1878 by Jerome-Thibouville-Lamy & Cie whose Mirecourt factory specialized in organs and violins. The mahogany case contains small animated figures in front of a mirror. As the music is played, a hunter, a Turk, a French infantryman dancing with a canteen girl, a Russian and a fashionable woman become animated. Though non-operational at this time, four musical arias are played successively: ÒStraussÕs Waltz,Ó ÒLa Narbonnaise,Ó ÒPrayer in the CornerÓ and ÒWhen everything rests here.Ó
A label inside the dance organ states ÒMonsieur Mougenot, organ and serinette maker Ñ Piano Store, rue Sainte Apolline 3A.Ó According to some authorities, the label most likely designated Mougenot as the seller, because at the time it was common to put the sellerÕs name on an item rather than the maker. Likely, this rare and beautiful item was originally sold to a wealthy Parisian family, but was sacri.ficed during the German occupation of World War II and then confiscated.
How this remarkable piece found its way to the museum in Lyon is fascinating. Considered an artwork by the French Office Of Private Property and Interests (OBIP) and confiscated by the Artistic Recovery Commission after World War II, it was recovered in a museum in Aachen, Germany.1 The valuable instrument was meant to be returned to its rightful owners once they had been identified. But who were the owners? How could they be identified?
The Nazi occupation of Paris began on Jun. 14, 1940, with the departure of the French government to Vichy. Paris was then governed by the German military administration (Militarverwaltung). For Parisians, the occupation was a series of frus.trations, shortages, and humiliations. Rationing of food, tobacco, coal, and clothing was imposed and shortages grew greater each year. It is estimated that more than a million Parisians left the city for the provinces. Jews were targeted and more than 13,000 were sent to the Auschwitz concentration camp. It was not until Aug. 25, 1944, that the city was liberated and life could slowly return to Ònormal.Ó2
In the midst of this four-year reign of terror and turmoil, many Parisians sold their most treasured possessions in order to survive. Priceless art works, jewelry and valuable antiquities were sold for minuscule amounts. Food and coal were priceless commodities and worth any sacrifice. The possessions of Jewish families were simply confis.cated and sold or sent to Germany.3
British forces sent the artwork to the Central Collecting Point in Dussel.dorf, Germany, from its location in Aachen. It was then sent to the OBIP on Feb. 26, 1948, and shipped to France on Mar. 4 of the same year. At that time, it was registered as a piece of antique furniture, but it was even.tually reclassified as a work of art and placed in the custody of the Louvre Museum in Paris, France, in May 1951. At that time, it was registered as a dance organ and recorded in the list of Objects of Art Recovery under the number OAR 284. Although exhibited at the Chateau de Compiegne during the summer of 1950, the dance organ was deposited in the Gadagne Museum in Lyon in July 1951.
Delving into the background of this piece has been difficult. The name of the original purchaser was lost as the sales records of Monsieur MougenotÕs Piano Store were destroyed during the war. No record appears as to the owner of the instrument at the start of the war or who had sold it to an antiques dealer. The only record appears in the German files of the Aachen museum which indicates that the instrument was obtained from M. Georges Charliat, an antiques dealer whose shop was located at 46 rue de Miromesnil in Paris.4
So, there it sits at a museum in Lyon, non-playing, and nearly forgotten. The hope of its return to its rightful owners is long gone. One wonders how many automatic instruments were relocated to Germany and long lost to their rightful owners or their families.

The music box features six dancing figures and plays four tunes.

A side view of the music box shows a portion of the hand crank in the rear and what might be a lid locking mechanism.

The hand-written tune sheet for the box is well preserved.

A dealerÕs label with the name Monsieur Mougenot is prominently displayed under the lid of the music box.

Footnotes
1. ÒParis in World War IIÓ Wikipedia – https://en.wikipedia.org/wiki/Paris_in_World_War_II
2. ÒCommission de recuperation artistiqueÓ Wikipedia – https://en.wikipedia.org/wiki/Commission_de_rŽcupŽration_artistique
3. Rosbottom, Ronald. When Paris Went Dark: The City of Light Under German Occupation 1940-1944. New York: Little, Brown & Company, 2014.
4. ÒOrgue de danse a anches,Ó Departement des Objets dÕart, Louvre Collection – https://collections.louvre.fr/ark:/53355/cl010101630

The Hunt

Story and Photo By Roger DeWeese

Column Graphic by Mary Clegg

A Modern Interpretation of Historic Automaton Paintings

This modern version of an automaton musical painting is 3 feet wide and 2 feet deep. It features a moving balloon, ship, train, clock, waterwheel and windmill.

Life is a continual learning process and that is what makes it so interest.ing. My challenging adventure into the unknown started years ago at an MBSI meeting at the home of Dr. Lelland Fletcher in San Diego, CA. ÒFletchÓ had a large and unique collection of clocks along with a diverse botanical collection of palm trees surrounding his home near Mission Bay, CA. His antique collection also included music boxes, phonographs and other things such as two automata Òpaintings.Ó One of those paintings was beyond repair but the other looked like it had a chance of being repaired even though it had not worked for years. I found myself frequently thinking about that painting and I started researching automaton paintings. I found a few paintings in European museums and in some antique stores, but they were expensive if they were even for sale.
The more I thought about these paintings, the more I thought it might be fun to build a painting myself to demonstrate the typical features usually found in automaton paintings such as operational small clocks, windmills, hot-air balloons, trains, sail.ing ships at sea and sometimes people or animals. I developed a concept for a scene that would include most of these features along with a moving bell in a steeple and a water wheel. Ultimately, I added an AC-programmed music box, battery-operated chimes that played on the hour, and variable intensity lighting. I decided to make the scene out of a number of plywood panels that would be independent from each other so that I could lift out a panel if what was on it needed some work. I ended up with 18 panels that made the complete scene, and I used three small AC motors to run things like the water wheel, the bell in the steeple and the windmill. A somewhat larger AC motor ran the train, the ocean with a sailboat, and the hot-air balloons. Pullies on wood dowel shafts and various types of cords were used to connect everything. (I went very low tech.) The panels were mounted on a base so I could remove everything at once from the enclosure for access to make changes. The automaton paint.ing is 3 feet wide, 6 feet tall (including the table) and 2 feet deep. It weighs in right at 300 pounds.
The artwork in most automaton paintings is usually quite good, but I am not a painter. Fortunately for me, my wife is a watercolor artist. With a little assistance from some wine, we had a great time painting all 18 panels. For the enclosure, I purchased two windows from a junkyard, took out the glass, repaired major flaws with lots of Bondo, installed back-to-back mirrors where the glass had been, added ÒcrackleÓ paint to the window frames, made a new enclosure, and built a high table to put it all on. The height of the table was based on an assumption that standing adults would be viewing the painting. A continuing challenge has been to find a cord for the pullies that is either flat or round (depending on the pullies) and does not stretch over time and lose traction on the pullies. Splicing, gluing or tying the ends of the cords to make a loop without creating a stiff bump at the junction is also a challenge. The splice bump tends to either stop the pulley or throw the cord off the pulley especially on small radius pullies. The selected motor sizes, power, and speeds, along with the pulley diameters, were educated guesses that seemed to work out fine.
As time passed on, so did our friend ÒFletch.Ó His collections were auctioned off, and I was able to purchase the painting I was interested in from his son. As I disassembled the painting I knew I was in real trouble. There were so many things wrong with it that I honestly questioned if it ever worked even when it was new. At the risk of devaluing the painting I decided that it was more important to me that it worked than trying to preserve any antique value of the painting. I assumed that the painting could be about 120 years old. It was brittle, frail and had to be handled very carefully. I ended up changing most of the pullies that had been powered originally by threads (of all things, I thought). From my experience with the automaton painting that I had built from scratch, I felt I needed as much friction as possible between the pullies and the power cords, so I started experiment.ing with different types of cording from leather to cotton. The larger cord solved the friction problem but created a new ÒbumpÓ problem again at the knots. I would not have believed that the ultimate solution was to use a Kevlar thread that, when tied, made practically no bump knots at all and is now working fine. In order to increase the cord friction with the pullies I ran the cords through a block of violin bow resin until it squeaked and got sticky (about 30 seconds). The resin is also soluble in acetone and can then be painted onto the running surface of the pullies if necessary for more fric.tion. It is possible to add one or two more threads to increase the friction if using one thread/cord results in some slipping. The antique painting is 2 feet wide, 19 inches tall and 6 inches deep. It weighs 13 pounds.
I find that sometimes I can derive better solutions if I get away from a particular problem, do something else for a while, and then come back to the problem later. I am also less reluctant to stay with an idea that isnÕt working well because it frees me up to think of something better or sometimes an improvement just comes to me while I am following the original plan.
For many reasons I knew I was way out of my comfort zone when it came to repairing the actual painting part. I checked with the experts at Balboa Park, where we had had a couple of our paintings cleaned, to see if they could touch up two spots on the background of the painting. They wanted a great deal of money just to evaluate the situation and they had a very high hourly rate to do any work. I politely declined since their bill would probably have exceeded the value of the painting. The background painting had originally been painted on a stiff paper and the paper was cracking. The edges of the paper had been glued to the wood of the box, so removing the painted paper was not possible. With a great deal of reluctance I used a small circular saw to open a large hole in the back of the wood frame. This gave me the access I needed to reinforce with tape all of the cracks and prevent any further cracking.
While friction was my friend in making the pullies work better, friction of any kind anywhere else on the paintingÕs systems was my enemy. I donÕt know how many times I took most of the painting all apart while looking for whatever was causing a problem. With it all together there was no visual access to certain problem areas, so the process of elimination had to take place by guessing at what might be the problem. Underneath the old wood buildings, the Òocean,Ó and other places, all the threads go in various directions while the trains and other things are passing close by. As a result, the painting has to be run in a vertical position or the trains that are dangling underneath the scene start running into things and get stuck.
I give a lot of credit to the music box main spring that runs everything and still plays a tune at the same time. It is stronger than I had hoped for and seems to do the job even if the running time is a bit short. The musical movement is located in the bottom right hand corner when looking at the front of the painting.Ê IÕm not sure what the music is that it plays but it is nice enough.
In the end, I was able to get everything running, it looks good, sounds good, and it was yet another good learning experience. I will admit, however, it was perhaps the ulti.mate test of my patience for a while.

The automaton musical painting is enclosed with mirrored window frames that can protect it when it is not in use.

The table is designed so that it will be at an easy viewing level for most standing adults.

The various layers and inner workings of the painting are easier to visualize when seen from the side.

During construction of the painting many iterations of pulley and cord combinations were tried to get the best functionality.

In this view of the left side of the painting, you can see the windmill, train track, water wheel and ship.

A mockup of the ship in wood and the sails in brass.

Some of the pulleys and cords that move the train back and forth.

On the right side of the painting is the clocktower in the castle.

Some of the pulleys and cords that manage the motion of elements in the painting.

The painting is made of 18 separate panels making it relatively easy to disassemble and maintain.

The antique automaton musical painting may be 120 years old or more. It features a moving hot-air balloon, train, windmill and ship. It is 2 feet wide, 19 inches tall and 6 inches deep. At left is one of the panels removed from the frame. Like the modern version of the painting, this one is constructed in layers.

A pulley and cord drive the motion of the windmill at the top left of the painting.

The main inner panel of the painting from behind showing the path of the train as it transitions from one side of the painting to the other.

A closeup view of the train cars and cord they are attached to.

Several of the various sizes of pulleys that drive different sections of the painting.

The painted sky is glued to the wood and difficult to repair.

The cords run in complex patterns behind the scenes.

This view shows the painting assembled but with the frame off.

Seeking your stories for …

The Hunt

Did you once spend time finding the perfect musical antique to round out your collection? What was it? How did you find it? Was it in ruins, or in perfect condition?
Was there a time you randomly ran across a unique instrument then found a way to acquire it and restore it so that you might display it and tell the story to all who visit your home?
Answer these questions and you will have the perfect story for ÒThe HuntÓ column in Mechanical Music.
Every mechanical music instrument has a story behind it and the readers of Mechanical Music love to read them all.
Editing help is available if you have a story, but you are not sure how to organize it or present it. The important thing is to get it down and pass it on for the enjoyment of others.
We look forward to hearing from you.
Email your story to editor Russell Kasselman at
editor@mbsi.org or mail a copy to:
MBSI Editorial Offices
130 Coral Court
Pismo Beach, CA 93449

A Tale of Two Pianos

By James Neuman
In 1963, as a young ensign just out of Naval Officer Candidate School in Newport, RI, I received orders to the USS Cavalier, APA-37 assigned to duty in Vietnam, but stationed out of San Diego, CA. As members of the Òships companyÓ for four years, we often went as a group of officers to Mickey FinnÕs Pizza Restaurant and Speak.easy on University Avenue, between 10th and Vermont, in the Hillcrest Neighborhood of San Diego.
The food was edible, but the enter.tainment from the Dixieland Band, with Fred Finn at the piano, his wife (aka) Mickey and the ÒFlying Dutch.manÓ on banjo, was the highlight. My interest, on the other hand, was more in the small back room that housed a half dozen or so coin pianos. I would always Òsneak awayÓ from our group to sometimes drop several dollars worth of nickels into Òthem coin grabbers.Ó
When I was released from active duty in 1967, I resettled in Orange County, CA. Quite a few years after that, lost now to my memory, I found that Fred had moved his show from San Diego to several permanent engagements in various major casino hotels on the strip in Las Vegas, NV. Seeking out his show in Vegas, I was lucky enough to meet him and reminded him of the days when officers and enlisted men from various San Diego-based ships would frequent his show and eat his pizza. I inquired as to the fate of the piano collection and was told that he had opened an antique shop some.where down at the end of the strip, and that a few of the pianos were left there for the asking.
Rushing out to the store, I found two pianos were left and for sale. One was a Peerless 44-note and the other a National Selective eight-roll changer. I negotiated a deal and bought both pianos, which remain as part of my collec.tion to this very day. The National needed restoration, so I eventually (after having it for some years) sent it to George Baker, late of Costa Mesa, CA. The Peerless, luckily for me, was still in good working order. The Peerless still features the tax sticker, inside, from the city of San Diego, indicating that the last coin-op license was purchased in 1968. The irony of this story is the fact, as a young man I fed nickels into both these pianos to be entertained, and now more than 60 years later they are still entertaining me as part of my own collection. Although I cannot say for sure, the National may have been from the old KnottÕs Berry Farm Collection, since I recall as a child, seeing many of those old Nationals in the amusement parkÕs early barns. I recall playing them way back in the 1950s which I owe to the beginning of my lifelong interest in coin pianos. It is indeed a small world if that is also the case. Both pianos have recently (during the pandemic) received the TLC of Josh Rapier, a Southern California restorer, and will still be going strong, no doubt, for years to come.
The photos attached include the two pianos, a promo.tional show photo from the Mickey Finn Show, and a San Diego Fire helmet that was aways displayed prominently on the stage of the Mickey Finn Speakeasy in San Diego.

The Peerless 44-note automatic piano in the authorÕs collection.

Photos from the Mickey Finn show and other San Diego, CA, memorabilia collected by James Neuman and longtime business partner, Allan H. Lifson.

The tax sticker inside the Peerless from when it was operated as a commercial entertainment machine.

Making connections
with music boxes

By Nancy Fratti with Sadahiko Sakauchi

Sadahiko and Yuriko Sakauchi in their home with their collection of music boxes.

A customer in Japan, Sadahiko Sakauchi, wrote me a moving story of what he did with one of the music boxes he bought from me decades ago. His story is about how he took it and another disc box to a hospital and played them for the patients, and then for one very special patient.
ÒThank you very much for the history story about my Regina No. 9. [I had told him about how I acquired the box before he had it.] Let me also tell you that I have a story about the Regina No. 9, which is great.Ó
ÒI have brought music boxes as a volunteer to many hospitals, juvenile homes, schools and other places for concerts. I think it has been more than 30 years and more than 100 times as you can see in the photos I send you. A few years after I started such activities, I received a request from an institution for the physically and mentally challenged in the city to give a music box concert. At that time, I did not have a cylinder music box, so I brought a Polyphon 24-inch tabletop model, a Regina No. 9 and the neces.sary discs and gave a concert. When it was over, the head of staff asked me to play the boxes for a girl about a high school junior in age, who was bedridden in a room upstairs.Ó
ÒThe Polyphon was too heavy to fit into the small ward, so I took the lighter Regina No. 9 to her bedside. The girl was in bed unable to move her arms, legs and fingers. She was unable to speak and was blind, cut off from contact with the outside world. The only evidence that she was alive was the screen on the bedside heart monitor. She had never been to school and had never received music educa.tion. She has no knowledge of music history, musicology or musical nota.tion in her head.Ó
ÒHer father had hold of one end of the music box and put the other end on the bed. I think the sound of the music box and the vibrations were trans.mitted to her body through the bed at the same time. I played her a few simple melodic songs, such as lulla.bies and folk songs. Then the father and the staff said to me, ÔThis child is rarely happy. Now she is very happy!Õ In my mind, the question arose, ÔHow can we know that when she should have no means of communicating her intentions?Õ A staff member sensed this and told me, ÔShe expresses her joy and gratitude by moving her tongue!Õ He said for her, the only means of communicating with the outside world was her tongue. I never imagined that Regina No. 9 which I bought from you so long ago, would be so powerful that it would bring so much joy to people. She must have sensed the pure fundamental fascina.tion of music, unencumbered by any outside influence and felt the primor.dial attraction of music that cannot be heard by ears and minds. So, she used the last bit of communiquŽ she possessed to say with all her might, ÔThank you.Õ I was so grateful to her. When I heard that, I couldnÕt hold back the tears that were streaming down my face.Ó
ÒI come from a Samurai family, and my ancestors were in charge of managing guns in the countryside. I was educated by my grandfather that Samurai are not tearful. My grand.father also taught me that Samurai should be on the side of the weak, so I felt now that I could be a full-fledged Samurai successor.Ó
ÒThe following year I gave a concert at the same place, but there was no request for a concert for her. She must have left, with the soul of Regina No. 9 in her mind, for a place where she could be free from physical worries and where she could always listen to her music box.Ó
That story reminded me of a similar situation I experienced while exhibit.ing at an antique show sometime in the 1990s. The show was held in a large old Victorian home and each dealer had a room to themselves. A young man came into my room and stared at the 15-inch Regina I had on display. I asked if he would like to hear it and he explained he was partially deaf. He then asked permission to put his hands on the box to feel the vibra.tions. ÒOf course!Ó I replied. I played a few tunes for him and he said he had a friend in another room and would be right back. He left and came back with his friend, telling me she was totally deaf. He again asked permission for her to feel the box. I played a few discs for her and watched her eyes go wide with the first one, and her smile get bigger the more she Òheard!Ó I asked her friend to tell her to put her fingers under the box to see if it felt different. She did and started to laugh. She could feel the deeper bass notes!
They both thanked me profusely and were signing/talking to each other as they happily left the room.
Those two people never expected to have a new experience when they came to the show, but they definitely left with one that made them laugh with unabashed pleasure.
ÒMusic boxes entertain with their unique and beautiful sounds, but the pleasure is doubled if two people listen to them together, and quintupled if five people listen together,Ó Sadahiko said to me. ÒThat is why this hobby is so interesting and hard to stop.Ó
In these two simple but touching stories, how can we not see what a moving impact an act of kindness, like sharing our wonderful machines, can have on people?

The Polyphon 24-inch table model and Regina No. 9 along with other music boxes set up for a school performance.

The Regina No. 9 from Sadahiko SakauchiÕs collection that would make such a dif.ference for a young woman confined to her bed.

Sadahiko SakauchiÕs music boxes set up for a presentation in a hospital for patients.

MBSI/AMICA Annual Meeting
Nethercutt tour preview and ideas for expanding your trip

The Nethercutt Collection

(This tour is included as part of convention registration.)
J.B. and Dorothy Nethercutt are founders of the Nethercutt Collection and past owners/CEOs of Merle Norman Cosmetics.
Born in South Bend, IN, on Oct. 11, 1913, J.B. moved to Santa Monica, CA, in 1923 to live with his aunt, Merle Neth.ercutt Norman, who was the founder of Merle Norman Cosmetics. J.B. later left his studies at California Institute of Technology to go into business with his aunt. On Sept. 3, 1933, J.B. married his high school sweetheart, Dorothy Sykes. The marriage lasted more than 70 years until Dorothy’s death on Oct. 8, 2004. It was during their early years together that J.B. and Dorothy began their love affair with old cars.
In 1956, J.B. purchased two cars, a 1936 Duesenberg Convertible Road.ster for $5,000 and a 1930 DuPont Town Car for $500, both needing total restorations. The DuPont restoration, which J.B. estimated would take a few weeks, instead took 18 months and cost more than $65,000. By 1958, his meticulously rebuilt project claimed its first prize Ñ the coveted ÒBest of ShowÓ award at the prestigious Pebble Beach, CA, Concours d’Ele.gance. By the summer of 1992, his cars had won the Pebble Beach Concours d’Elegance six times, more than any other individual. The Duesenberg and DuPont are still part of the Nethercutt Collection.
As the Nethercutt collection grew, J.B. was determined to share his masterpieces with the public. In 1974, he and Dorothy opened a museum in the foothills of the San Gabriel Mountains, which has been free to the public since its opening.
J.B., who passed away on Dec. 6, 2004, at the age of 91, memorably stated: ÒThe recognition and preserva.tion of beauty has been a major focus of my life. It would suit me well if what people remembered me was, ÔWhere he went, he left beauty behind.ÕÓ
Current chairman of the board of the Nethercutt Foundation and vice chair.man of the board of Merle Norman Cosmetics Jack Nethercutt with his wife Helen now proudly carry on the work that J.B. and Dorothy began. Early on, Jack exhibited a fondness for cars and discovered his natural abilities on the race track. His sports car racing career from the 1950s and 1960s is showcased in the Nethercutt CollectionÕs Lower Gallery.
Jack hung up his helmet to help with the family business. A University of Southern California graduate, he served as vice president of marketing of Merle Norman Cosmetics and later as company president in 1973. He held this post for a number of years before leaving to explore other interests, including ownership of a Las Vegas, NV, restaurant.
In March 2002, Jack returned as president of Merle Norman Cosmet.ics. He and Helen continue to restore museum-quality cars, entering and winning at virtually every concours in which their stunning cars appear.
See more information at www.neth.ercuttcollection.org.

Jack and Helen Nethercutt

J.B. and Dorothy Nethercutt

A few of the restored antique automobiles in the grand salon of the Nethercutt Collection.

The music room in the Nethercutt Collection.

More ways to enjoy Southern California

From the Beaches to the Mountains Ñ Los Angeles Area
Pacific Coast Highway:
¥
Santa Monica Pier Merry-Go-Round

405 North:
¥
Six Flags Magic Mountain (Santa Clarita)

23 North of Agoura Hills:
¥
The Reagan Library (Many important world-changing events happened during Ronald ReganÕs administra.tion including the tearing down of the Berlin Wall, completing the first agreement for the reduction of nuclear weapons and the breakup of the Soviet Union. ItÕs still a meeting place for allied officials.)

Hollywood:
¥
GraumanÕs Chinese Theatre

¥
Pantages Theater (Built in the days of the beautiful theaters, now shows and concerts)

¥
Magic Castle

¥
Hollywood Bowl

¥
DisneyÕs El Capitan

¥
Hollywood Museum

Downtown L.A. Area:
¥
Dorothy Chandler Pavilion

¥
Ahmanson Theatre

¥
Mark Taper Forum

¥
Walt Disney Concert Hall

¥
Los Angeles Coliseum (Built for 1932 Olympics. Jesse Owens competed here in 1935. In the 1940s promo.tional programs were held to collect metal and rubber, with speeches by Jimmy Doolittle and General Patton, and the war games were held here.)

¥
Natural History Museum and Science Center

¥
Griffith Park Observatory

¥
Los Angeles Zoo

¥
Peterson Auto Museum (across the street from La Brea Tar Pits)

¥
La Brea Tar Pits (Discovery of millions of prehistoric animals)

¥
Dodger Stadium

Other Attractions:
¥
Disneyland

¥
KnottÕs Berry Farm

¥
Long Beach Aquarium

¥
Huntington Library

Interesting Tidbits

For Christmas I was given the complete collection of the ÒOur GangÓ comedies. In one 1929 episode one of the kids has a Rollmonica, along with a novel way of playing it.
The first picture shows the Rollmonica lying open and the child loading in the roll. Then he takes an inflated balloon and attaches it to the mouthpiece. He turns the crank and the music begins! The soundtrack is an early one but the music does sound like a typical Rollmonica.
One never knows when a sighting will happen in old movies!
John Osborne
Stanton, CA

Golden Gate Chapter

Chapter Chair: Judy Caletti
Reporter: Judy Caletti
Photographer: Rob Thomas
Feb. 11, 2024 Ñ Corte Madera CA
On Sunday, Feb. 11, AMICA held a meeting at the lovely home of Bonnie and Bob Gonzales. MBSI Golden Gate Chapter members were invited to attend as guests. Bonnie and Bob were great hosts sharing the delightful music of their Coinola C2 Orchestrion, their Seeburg KT Special, a 1924 Weber Duo Art 6-foot grand piano, a 7-foot Yamaha C6 Disklavier, and a three-manual Conn theater organ! Live entertainment was provided by
Jared DiBartolomeo who played several pieces on the Yamaha grand piano.
Bob and Bonnie also have an incred.ible sheet music collection, lovingly sorted and cataloged into many binders, all alphabetically sorted. They fill two large bookcases with approximately 100 binders.
Good food, wonderful entertain.ment, great music and lively friendship was had by all! It was a truly fun afternoon.

Listening to the Weber Duo Art are John Kiszla, Jared DiBartolomeo, Bob Gonzalez and Bob and Judy Caletti.

Jared DiBartolomeo playing the Yamaha grand piano for Sandy Swirsky, Judy Caletti and Lewis Motisher

Bonnie Gonzalez, Julie Cole, Ron Brandon, Bob Gonzalez and Audrey Mahler enjoy a bit of fun during the meeting.

Meeting hosts Bonnie and Bob Gonzalez perhaps holding their lunch choices or could it be labels describing their personality traits?

Southeast Chapter

Chapter Chair: Jim Kracht
Reporter: B Bronson
Photographer: B Bronson
Mar. 1-2, 2024ÑÊSt. Cloud, FL
The Southeast Chapter joined with members of the Carousel Organ Association of America and enjoyed a nice weekend of mechanical music. Although the weather threatened to be stormy a couple of times, it turned out to be a beautiful couple of days. The snowbirds particularly savored the sunshine.
The fun began in St. Cloud at Bill and Cyndy HallÕs collection which consists of a wide variety of American and European organs and circus memora.bilia. While attendees sat in the main building, Cyndy gave some details and history of each instrument while Bill ran a couple of tunes on them.
The group was then invited outside to hear the wonderful sounding, recently restored Ruth model 37, in its own trailer. Andrew Pilmer and Russell Wattam, from England, were on hand to present this most recent addition to the collection. Andrew recounted its history and his and RussellÕs efforts to bring the organ back to life. After the concert, another building was opened which displayed some vintage autos, fun circus banners and more organs!
It had been some time since break.fast so most of the members then went to Krush Brau Park, in Kissimmee, FL, a sort of restaurant/hall for some delicious German food and beer. The waiters were entertaining and engag.ing, providing a good time for all. Following that, several of the group took a Sunset Cruise on Lake Toho on a Mississippi River-type paddlewheel boat.
The next morning, attendees were encouraged to visit the Florida Strawberry Festival in Plant City, FL. This was the 89th annual gala which included a midway with rides, parades, band concerts, a strawberry queen and of course, strawberries in every shape, form and concoction you could imagine.
The afternoon offered a guided tour of the ShowmenÕs Carnival and Circus Museum in Riverview, FL. Inside a four-story building was a full-size Ferris wheel and merry-go-round surrounded by two floors of midway games and vintage prizes. It also featured a scale model of a midway with rides and concession stands. The diorama stretches to more than 60 feet long and has more than 15,000 hand-painted miniature people!
The meeting concluded that evening at Mark and Christel YaffeÕs fantastic collection in Tampa, FL. This collec.tion includes American nickelodeons and reproducing pianos, European orchestrions, rare music boxes and large Belgian dance organs. It was a great ending to a very fun couple of days.
Thank you to all who helped make the meeting possible!

Chapter members enjoyed snacks and a presentation inside Bill and Cyndy HallÕs main collection building that is filled with organs and circus memorabilia.

Outside, Andrew Pilmer, Cyndy and Bill Hall and Russell Wattam showed off the Ruth model 37 organ that was recently restored and now is installed in its own trailer ready for adventure.

Inside Bill and Cyndy HallÕs second collection building with classic autos and more organs.

Bob Yates and Mary Lou Van Dorn dance to a tune played on the Limonaire Bolero Organ.

A merry-go-round and Ferris wheel inside the International Independent ShowmenÕs Museum. The exterior is below.

A carnival diorama inside the showmenÕs museum features more than 15,000 hand-painted miniature figures.

The diorama stretches for more than 60 feet along the museum show floor.

An Ideal Orchestre Marenghi orchestrion in the Yaffe collection.

An overview showing both Decap and Mortier dance organs among pianos and other mechanical music instruments in the Yaffe collection.

Christel Yaffe made visitors feel wel.come while viewing her collection.

Mark Yaffe and Bill Edgerton enjoy some friendly conversation among the instru.ments on display.

Jacob ÒJimÓ Ratsoy Ñ 1932Ð2024

Compiled from internet sources
Jacob ÒJimÓ Ratsoy of Richmond, B.C. Jim has passed away of natural causes.
Jim was born in Smoky Lake, Alberta, the only child of Pearl and Metro Ratsoy. In 1937 his parents lost their farm during the depression and moved into town. Pearl opened and successfully operated a general store, and Metro owned various car and tractor franchises.
Jim married Marcia Louise in 1954. In 67 years of marriage, they had four children and spent time in Edmonton, Wetaskwin, Winnipeg and eventually settled in Richmond, B.C. where Jim acquired a new car dealership. Jim eventually added three more deal.erships that would be known as the Landsdowne Auto Family.
Jim amassed one of CanadaÕs premier showrooms of vintage cars and memorabilia. His collection included some 130 classics from the 1940s, 1950s and 1960s. His team restored and brought life back to everything Jim bought. Jim then built a massive showroom that protected not only these classics but also his collection of player pianos, orches.trions, phonographs, juke boxes and hundreds of pieces of memorabilia. He held many fundraising events for charities and hosted MBSIÕs North.west International Chapter for several meetings.
Two websites cover JimÕs collection of cars, memorabilia and mechanical music. Find them at https://grand.pasoldmemories.space/ and https://grandpasoldcars.com/
A television interview Jim did with a Richmond station is available on YouTube at https://www.youtube.com/watch?v=teUTd6x08hU

Dr. Howard S. Sanford ÑÊ1933Ð2023

By Julie Morlock
Howard Sanford, M.D., was born in Floral Park, NY, in 1933. A graduate of New YorkÕs Columbia School of Phar.macy, he went on to obtain his M.D. from Northwestern University Medical School in Chicago, IL. He completed his internship at Philadelphia General Hospital, in Philadelphia, PA, and then his residency at the University of Michigan in Ann Arbor, MI. In 1962, he became a fellow in cardiology at Jack.son Memorial Hospital in Miami, FL.
Howard practiced internal medi.cine and cardiology in North Miami Beach, FL, for 30 years, which was interrupted by a 2-year tour of duty in the U.S. Army Medical Corps. He served as a lieutenant colonel and cardiology consultant for the whole First Army. After retirement, he spent 19 years as a physician in the Student Health Service of Florida International University in Miami, FL. He also volunteered as a physician for the government on Indian reserva.tions and local medical clinics for the homeless.
His love of automatic mechanical music culminated in a large collection of self-playing organs and long-stand.ing involvement with the Musical Box Society International. On the national level, he served as trustee for several years and served on both the Member.ship and Nominating committees. He was a member of the Southeast Chapter, serving as chapter chair from 1994 to 1996 and as reporter/photog.rapher (with wife Margery) for many years. In 2001 he was awarded the Dr. Joe Bailey award for his outstanding leadership, contributions and service to the Southeast Chapter.
In his enthusiasm for classical music, he and Margery hosted many pianists performing locally as well as traveling musicians participating in the Chopin International piano competitions. Traveling was another favorite activity, including trips to India, China, Russia, and Israel, where Howard served with Sar El, the volunteer organization of the Israeli Defense Forces.
Howard passed away on Apr. 27, 2023. Besides Margery, his loving wife of 62 years, he is survived by two sons, Allan and Steven (Heather) Sanford; six granddaughters and his sister, Arlene Horlick. His greatest joy was spending time with his family. He is missed by all who knew him.

Howard Sanford at the 2017 Showfolks Clubhouse Organ Rally.

Howard and Margery Sanford participating in a 2014 Exhibit at The Villages, FL.

Howard Sanford with his Mortier organ during an open house for the 2014 MBSI Annual Meeting.

Howard Sanford displays his George Washington automaton with accordion during an open house for the 2014 MBSI Annual Meeting.

Barbara Ann Hildebrant Ñ 1952Ð2023

By Charles Hildebrant
Barbara Hildebrant was born in June 1952, and passed away on Sept. 22, 2023. She graduated from the Univer.sity of Bridgeport, in Bridgeport, CT, in 1974 with a degree in nursing. She served for 34 years as charge nurse in the coronary critical care unit of Overlook Hospital, in Summit, NJ. Barbara married Charles Hildebrant, a nurseryman (who happened to have a mechanical music collection) in Oldwick, NJ, in 1988.
Barbara had many interests, including but not limited to quilting, traveling, mechanical music and read.ing. (She devoured books constantly!) She was active in several quilting organizations, but her main member.ship was with the national Quilt Historical Society, a nationwide group devoted to the conservation of the art of quilting and fine quilts of the past. BarbaraÕs own quilts were outstanding and were exhibited many times. They were declared pieces of fine art.
Her interest in mechanical music curiously preceded her meeting her future husband, Charles. Barbara became fascinated with mechan.ical music during a surprise and unplanned visit to the Musical Wonder House, in Wiscasset, ME, in 1976. The Musical Wonder House was a mansion of 35 rooms packed with all manner of music boxes, pianos, and anything that could possibly create music by itself. Barbara later met Charles at a dance where Charles first asked for her telephone number, but Barbara wouldnÕt give it out. He was persistent, however, and the rest is history.
Both Barbara and Charles loved to travel. Their memberships in the Carousel Organ Association of Amer.ica, Musical Box Society International and Automatic Musical Instrument CollectorsÕ Association opened many doors for them. They visited places from the northernmost reaches of Canada to the very southern tip of New Zealand. New Zealand was truly interesting since there only were six mechanical music collectors in all of the country. These were spread over 1,000 miles but Barbara and Charles visited every one of them. Many of those wonderful collectors that Barbara and Charles met in New Zealand would visit the couple if they came to the U.S.
Barbara could operate every instrument in the coupleÕs collection, from music boxes to calliopes to band organs. The one she really loved was her Raffin crank organ. She was always right at the front cranking away at every ÒmeetÓ within driving distance. She took her organ to every.thing from Christmas carol singalongs to ladiesÕ quilting meetings, and every mechanical music club gathering.
Barbara and Charles hosted many East Coast MBSI picnics at their home. Sometimes there were more than 100 people attending. Barbara was ready to solve any problem. She and Charles counted Harvey and Marion Roehl, Murray Clark, and Jack and Mildred Hardman among their many friends.
Barbara passed away after a long illness, leaving a sad emptiness to a chair at all of our mechanical music gatherings.

Barbara and Charles Hildebrant with the center section of a Photo-Player during a tour of the Crankers Collection.

Barbara and Charles Hildebrant demonstrate their 20-note Raffin Organ at the Morris Museum.

Larry Reece Ñ 1950Ð2024

When Larry Reece arrived 74 years ago, a creative soul full of curiosity and adventure was unleashed. He was kind, fearless and focused until Jan. 16, 2024. Larry was a humble true friend to all generations making everyone feel important. You could count on Larry to listen, teach, and entertain.
He taught firearm safety, freely shared his tricks of the trade, and would call you, just because. All creatures were his friends, dogs were his love. As a teen he wrestled, played football, and turned wrenches. The creative Larry was an antique store owner, talented chef, theater patron, developer of his own black and white photographs, collector of century-old music machines, and a prankster, with an infectious smile. ÒLectricÓ was a downtown architecture history buff.
Travel to Asia, Europe, New Zealand and more fueled his curiosity of other cultures. His work took him to Prudhoe Bay for the Alaskan pipeline and to Antarctica with many stops in between to work on nuclear and coal-fired power houses. ÒLectricÓ had an uncanny ability to repair all electronic things. Remember LarryÕs smile every time you drop a coin into a music machine.
Survived by siblings Tana Hazen (Les), Debbie Reece, Dan Reece, and soul-mate Vicki Reece. Memorials to the Animal Humane Society.

Barbara Hildebrant at home.

Barbara Hildebrant plays her Raffin organ at the East Coast Chapter summer picnic at KnoebelÕs Grove Amusement Park, Elysburg, PA.

Barbara Hildebrant plays her Raffin organ at ShuppÕs Grove Antique Market in Adamstown, PA.

Tom Larsen Ñ 1941Ð2024

By Paul Senger
I am sad to announce the passing of Thomas ÒTomÓ Larsen on Feb. 1, 2024, at the age of 82. He is survived by his wife of 51 years, Frances Larsen.
Tom started collecting mechanical musical instruments in 1972. His collection included pianos, organs, and music boxes. He was a member of the Automated Musical Instruments Collectors Association and the Musi.cal Box Society International as well as the National Capital Chapter for more than 40 years.
Tom, Frances and daughter, Kristin, were regular attendees at chapter meetings and at MBSI annual meeting workshops and site setups.
Tom attained the rank of lieutenant colonel in the Air Force and had a PhD in aerospace engineering. He was lead or principal engineer on several leading-edge national defense programs. For example, he served as the Air ForceÕs first principal engineer for Remotely Piloted and Autonomous Flight Vehicles, now called drones. Later, Tom was asked to relocate to Washington, D.C. to serve as the Deputy Technical Director and Deputy for Advanced Technology for the Joint Services Cruise Missiles Program Office.
In 2008, Tom was diagnosed with the autoimmune disease, Myasthenia Gravis. He became an avid supporter for Myasthenia Gravis research and his team, TomÕs Rockets Ñ Blast Off for The Cure, raised more than $120,000 specifically for research into cures for Myasthenia Gravis. Tom went through extensive medical procedures to fight off the effects of the disease. During the COVID pandemic the Larsens became unable to participate in chap.ter activities due to his autoimmune disease. We missed seeing them at our meetings.
Tom was active in his church, singing in the choir, playing in the handbell choir and cooking for the monthly menÕs breakfast. During the pandemic, he participated in as many activities as he could through Zoom to stay in touch with his many friends.
He leaves Frances, sons Eric and Brian (Abigail); daugh.ters Kristin, and Catherine (Will) Coley; five grandchildren; two brothers and a sister.
Here is the link to TomÕs full obituary: https://tinyurl.com/NCC-Larsen-1
In lieu of flowers, memorial donations may be given in TomÕs name designated for ÒResearch OnlyÓ to the Myasthenia Gravis Foundation of America (MGFA), 290 Turnpike Road, Suite 5-315, Westborough, Massachusetts 01581 or https://tinyurl.com/NCC-Larsen-2 .
Our deepest sympathy goes out to Frances, Kristin and the rest of the family.

Tom Larsen with his TomÕs Rockets team walking to raise money for Myasthenia Gravis research.

Tom Larsen and Charlie Kratz enjoying a roll on the Duo Art in 2008.

Tom Larsen and Dick Hack in front of DickÕs BursenÕs CafŽ organ in 2018.

FOR SALE
RESTORED MUSICAL BOXES Offering a variety of antique musical boxes, discs, orphan cylinders, reproducing piano rolls & out of print books about mechanical music. BILL WINEBURGH 973-927-0484 Web: antiquemusicbox.us
THE GOLDEN AGE of AUTOMATIC 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 youÕll find it to be one of the most interesting, inspiring, informative books you have in your libraryÐor 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
PAILLARD INTERCHANGEABLE CYLINDER Music Box with 6 bells, 6 13-inch brass cylinders, (8 songs each, so 48 selections) in burled walnut case with matching table. Excellent sound and condition. $17,500 JOSEPH SIGMON jkentsigmon@gmail.com North Carolina
FREE: FISCHER AMPICO SPINET piano serial # 172062 (late 1936) functioning decently. You move from Nashville, TN area. JERRY MALER 615-368-2661 jeraldrmaler@hotmail.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
SERVICES
REPRODUCTION POLYPHON discs; Cata.logs available for 19 5/8Ó, 22 1/8Ó, and 24 1/2Ó. DAVID CORKRUM 5826 Roberts Ave, Oakland, CA 94605-1156, 510-569-3110,
www.polyphonmusic.com
SAVE $Õs on REUGE & THORENS MUSIC BOX REPAIR & RESTORATION Ð MBSI MEMBERS RECEIVE WHOLESALE PRICING. 40 + Years experience servicing all makes & models of cylinder and disc music boxes, bird boxes, bird cages, musical watches, Anri musical figurines, et al. All work guaranteed. WeÕre the only REUGE FACTORY AUTHORIZED Parts & Repair Service Center for all of North America. Contact: DON CAINE – The Music Box Repair Center Unlimited, 24703 Pennsyl.vania Ave., Lomita, CA 90717-1516. Phone: (310) 534-1557 Email: MBRCU@AOL.COM. On the Web: www.musicboxrepaircenter.com

THE MARTTHE MART

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Mechanical Music
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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.

ORDER EXTRAS
Directory of Members, Museums and Dealers are $10 for members. (International shipping is extra).
Call MBSI Administrator Jacque Beeman at (417) 886-8839 or send a check to:
Musical Box Society International
P.O. Box 10196
Springfield, MO 65808-0196

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Display Advertisers in this issue

2……….Renaissance Antiques
56……..StantonÕs Auctioneers
57……..StantonÕs Auctioneers
58……..American Treasure Tour
58……..Automata Magazine
58……..NAWCC
59……..Porter Music Box Company
60……..MBSGB
60……..Mechanical Organ and Clock Works
61……..Nancy Fratti Music Boxes
63……..Music Box Restorations
63 …….Cottone Auctions
68……..Marty Persky

OFFICERS, TRUSTEES & COMMITTEES of the
MUSICAL BOX SOCIETY INTERNATIONAL¨

OFFICERS
President
Matthew Jaro
24219 Clematis Dr
Gaithersburg, MD 20882
mjaro@verizon.net
Vice President
Bob Caletti,
605 Wallea Drive
Menlo Park, CA 94025
bcaletti@pacbell.net
Recording Secretary
Linda Birkitt
PO Box 145,
Kuna, ID 83634
scarletpimpernel28@yahoo.com
Treasurer
Edward Kozak
3615 North Campbell Avenue
Chicago, IL 60618
ekozak1970@gmail.com
TRUSTEES
Dave Calendine
Bob Caletti
Edward Cooley
David Corkrum
Richard Dutton
Rich Poppe
Matt Jaro
Mary Ellen Myers
Rick Swaney
COMMITTEES
Audit
Edward Cooley, Chair, Trustee
Bob Caletti, Vice President
Dave Calendine, Trustee
Endowment Committee
Edward Kozak, Treasurer, Chair
Edward Cooley, Trustee
Dave Calendine, Trustee
B Bronson
Executive Committee
Matthew Jaro, Chair, President
Bob Caletti, Vice President
David Corkrum, Immediate
Past President
Edward Cooley, Trustee
Rich Poppe, Trustee
Finance Committee
Edward Kozak, Chair, Treasurer
Edward Cooley, Trustee
Peter Both
Marketing Committee
Bob Smith, Chair
Edward Cooley, Trustee
Judy Caletti
Don Caine
John Miller
Meetings Committee
Rich Poppe, Chair, Trustee
Judy Caletti
Tom Chase
Cotton Morlock
Tom Kuehn
Membership Committee
Chair, Vacant
Richard Dutton, Trustee
Mary Ellen Myers, Trustee,
Southeast
Robin Biggins, Southern California
Judy Caletti, Golden Gate
Gary Goldsmith, Snowbelt
Florie Hirsch, National Capital
Judy Miller, Southeast
Rob Pollock, Mid-America
Dan Wilson, Southeast
Gerald Yorioka, Northwest IntÕl
TBD, East Coast
TBD, Lake Michigan
TBD, Sunbelt
Museum Committee
Sally Craig, Chair
Dave Calendine, Trustee
Glenn Crater, National Capital
Ken Envall, Southern California
Julian Grace, Sunbelt
Richard Simpson, East Coast
Museum Sub-Committees
Ohio Operations
Rob Pollock, Mid-America
Nominating Committee
Judy Caletti, Chair
David Corkrum, Immediate
Past President
Bob Caletti, Golden Gate,
Vice President
Mary Ellen Myers, Trustee,
Southeast
Tracy Tolzmann, Snowbelt
Rob Pollock, Mid-America
Marc Pichla, Lake Michigan
Publications Committee
Bob Caletti, Chair,
Vice President
Richard Dutton, Trustee
Paul Bellamy
Steve Boehck
Christian Eric
Kathleen Eric
Publications Sub-Committee
Website Committee
Rick Swaney, Chair
B Bronson
Knowles Little, Web Secretary
Special Exhibits Committee
Mary Ellen Myers, Chair, Trustee,
Southeast
David Corkrum, Immediate Past
President, Golden Gate
Donald Caine, Southern California
Richard Dutton, Trustee, East Coast
Jack Hostetler, Southeast
Knowles Little, National Capital
Judy Miller, Southeast
Aaron Muller, Lake Michigan
Wayne Myers, Southeast
Rick Swaney, Trustee,
Northwest International
SPECIAL ACTIVITIES
Publications Back Issues:
Jacque Beeman
Regina Certificates:
B Bronson
MBSI Pins and Seals:
Jacque Beeman
Librarian:
Jerry Maler
Historian:
Bob Yates

MBSI FUNDS
Members can donate to these funds at any time.
Send donations to:
MBSI Administrator,
PO Box 10196,
Springfield, MO 65808-0196.
General Fund (unrestricted)
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MBSI, restricted)
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literary projects)
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MBSI Editorial Office:
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editor@mbsi.org
SUBMIT ADS TO:
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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 authorÕs approval. All articles are considered to be the authorÕs personal opinion. The author may be asked to substantiate his/her statements.

CALENDAR OF EVENTS

Date
Event
Location
Sponsor

May 17-19
AutomataCon
Morristown, NJ
Morris Museum

July 3-7, 2024
MBSI Annual Meeting
Los Angeles, CA
Southern California Chapter Joint with AMICA

Email event details to editor@mbsi.org by Jun. 1, 2024, for the July/August 2024 issue.
Ask your questions on our Facebook discussion group Ñ search for the Music Box Society Forum.

Please send dates for the Calendar of Events to 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) 576-4280
jbeeman.mbsi@att.net
Regina Certificates: Cost $10.
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
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
No Dues in 2024
Roger Wiegand
281 Concord Road
Wayland, MA 01778
treasurer.eccmbsi@gmail.com
Golden Gate
Chair: Judy Caletti
jeeperjudy@gmail.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: Mark Pichla
(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: Cheryl Hack
(410) 757-2164
cahack@aacc.edu
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
Snowbelt
Chair: Tracy Tolzmann
(651) 674-5149
No Dues in 2024
Southeast
Chair: Jim Kracht
305-251-6983
Dues $5 to Bob Yates
1973 Crestview Way Unit 147
Naples, FL 34119
Southern California
Chair: Robin Biggins
(310) 377-1472
Dues $10 to Franne Einberg
10524 Blythe Ave
Los Angeles CA 90064
Sunbelt
Chair: Marty Nevel
currency33@AOL.COM
No Dues in 2024

CHAPTERS

Copyright 2022 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

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