Mechanical Music Mechanical Music
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 64, No. 1 January/February 2018
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Editor/Publisher
Russell Kasselman
(253) 2281-634
editor@mbsi.org
MBSI Editorial Office:
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
editor@mbsi.org
Publications Chair
Bob Caletti
All manuscripts will be subject to editorial
review. Articles submitted for publication may
be edited or rejected at the discretion of the
Publications Committee and the Editorial
Staff. The article will not be published with
significant changes without the author’s
approval. All articles are considered to be the
author’s personal opinion. The author may be
asked to substantiate his/her statements.
Mechanical Music (ISSN 1045-795X) is published by
the Musical Box Society International, 130 Coral Court,
Pismo Beach, CA 93449 six times per year. A Directory
of Members, Museums and Dealers is published
biennially. Domestic subscription rate, $60. Periodicals
postage paid at San Luis Obispo, CA and additional
mailing offices.
Copyright 2018. The Musical Box Society International,
all rights reserved. Mechanical Music
cannot be copied, reproduced or transmitted in
whole or in part in any form whatsoever without
written consent of the Editor and the Executive
Committee.
MEMBERS: SEND ADDRESS CORRECTIONS TO:
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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
Mechanical Music
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 64, No. 1
January/February 2018
MBSI NEWS
5 President’s Message
7 Editor’s Notes
8 Special Exhibits Com
mittee report
9 Homeschool students
build music boxes
10 Nickel Notes by Matt
Jaro
36 Monkey organ grinders
in the cartoons
56 In Memoriam
CHAPTER
REPORTS
43 Golden Gate
44 Sunbelt
45 National Capital
48 Southeast
52 Southern California
Each One
Reach One
New Member
On the Cover
Ken Gordon has compiled a
working discography for the
Symphonion Model 38, three-disc
Eroica music box. Page 28.
16 – Comb repairs
Repairing and replacing teeth in a
music box comb.
January/February 2018 MECHANICAL MUSIC 3
The World of Mechanical Music The World of Mechanical Music
Copy this page, and give it to a potential new member. Spread the word about MBSI.
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Six magazines annually — Mechanical Music plus the
Directory of Members, Museums, and Dealers (published
every two years). Membership also entitles you to participate
in the Annual Meeting and to join regional chapters.
New members receive a welcome letter, a Goods & Supplies
Order Form, Directory of Members, Museums, and
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A
A
fascinating hobby! It combines all the appeals of
art, history, craftsmanship, and music all into one.
Automatic music doesn’t just sit there; it is ever
willing to perform for those who care to hear it. Play an
automatic music machine in a room full of people and all
else will stop as the machine enraptures the audience with
the sparkling melodies of yesteryear!
A “Music Box” is any sort of automatic music instrument
that plays music via the plucking of teeth on a tuned steel
comb through various mechanisms; musical automata;
orchestrions; player and reproducing pianos and organs;
phonographs; and self-playing stringed, wind, and percussion
instruments of any kind.
The Musical Box Society International, chartered by the
New York State Board of Regents, is a nonprofit society
dedicated to the enjoyment, study, and preservation of
automatic musical instruments. Founded in 1949, it now
has members around the world, and supports various
educational projects.
Regional chapters and an Annual Meeting held each year
in different cities within the United States enable members
to visit collections, exchange ideas, and attend educational
workshops.
Members receive the scholarly journal, Mechanical
Music, which also contains advertising space for members
who wish to buy, sell, and restore mechanical musical
instruments and related items; the Directory of Members,
Museums, and Dealers.
The only requirements for membership are an interest in
automatic music machines and the desire to share information
about them. And you’ll take pride in knowing you
are contributing to the preservation of these marvelous
examples of bygone craftsmanship.
More Information:
Phone/Fax: (417) 886-8839
Email: jbeeman.mbsi@att.net
4 MECHANICAL MUSIC January/February 2018
By Clay Witt
MBSI President
This issue’s message is a bit of a
potpourri with a variety of topics
ranging from a promising book, some
ruminations about mechanical music
instruments and their life stories, and
winding up with a little bit of routine
Society business.
Spielwerke aus Prag und Wien
We have been blessed by a variety
of books about musical boxes and
their history. Chances are that English
speakers who want to know the history
of instruments as they developed
in Switzerland, France and Germany
can find the answers they seek in
any one of several fine books by
outstanding authors, works that many
of us have in our private libraries. But
there were also centers of production
further east, including Prague and
Vienna, and information in English
about instruments made there is fairly
sparse.
The Society has recently received
good reports about a book written by
Dr. Helmut Kowar, Head of the Phonogram
Archive at the Austrian Academy
of Sciences, published in German by
the Academy, entitled “Spielwerke
aus Prag und Wien” (Musical Boxes
from Prague and Vienna). There are
some discussions about the possible
publication of an expanded version of
this work in English. Both our Society
and the Musical Box Society of Great
Britain have expressed support for the
project to the Academy. We will keep
you informed as things develop.
The Secret Lives of Mechanical
Music Machines
There used to be an occasionally
recurring article in Mechanical Music
called The Hunt. In it, members told
stories about how they had tracked
down some instrument in their
collection until the prize was at last
obtained – often after a long search
and following a series of clues leading
from point A to point Z. It was often
the first article I read when a new
issue arrived.
I am sometimes amazed at how
mechanical music machines can show
up in unlikely places. Perhaps the
second phonograph I added to my
collection is a Pathé Model 75 floor
phonograph. It showed up on my local
Craigslist one day. I made arrangements
to go and see it. It was on offer
by a man who lived in modest circumstances
in a trailer located deep in
some local woods. He had worked as
a security guard for a local company.
Eventually, that company closed and
its premises had to be cleared out. The
phonograph was found in the attic.
No one wanted it, so the man took it
home.
The circa 1915 machine had evidently
been retired to that attic for
storage decades before. I was pleased
to give it a new home. I recognize now
that it is a fairly pedestrian machine,
but to me it was fascinating. I was then
just beginning to learn about antique
phonographs.
The machine opened for me the
story of the foray of the French firm of
Pathé Frères into the American phonograph
industry in the first quarter
of the 20th century, a story involving
their vertical cut records in sizes from
small to huge, some of which start in
the middle and play to the outside, and
their reusable sapphire stylus in the
days when most regular phonographs
used steel needles that had to be
replaced after playing one record.
All of this was brought back to mind
very recently when a friend asked me
to accompany him on a trip to inspect
a cylinder station box on offer an hour
or so’s drive south. I won’t say too
much about it as he may wish to write
an article about the adventure and the
instrument, but suffice it to say it was
housed in similar circumstances. It
had been inherited from the owner’s
parents who had acquired it in Europe
a half century ago. There it sat, lovingly
wrapped in a blanket needing
only cleaning, lubrication, and some
adjustment and a few coin mechanism
pieces replaced.
You just never know what may be
out there. There are still treasurers to
be uncovered. Perhaps you have had
similar adventures and can provide an
article about The Hunt for Mechanical
Music.
A Bit of Closing Business
Day-to-day operating decisions
between trustee meetings are made
by our MBSI Executive Committee. In
the interest of transparency, we let you
know what decisions the committee
has made since previous Mechanical
Music editions. On Oct. 19th the
committee unanimously approved a
recommendation from the Museum
Committee to pick up the remaining
MBSI instruments that had been
on loan to the Lockwood-Mathews
Mansion Museum in Norwalk, CT. The
plan is to bring them up to speed and
have them available for other displays
as the exhibition we once had at Lock-
wood-Mathews closed down some
time ago.
Have a suggestion?
Send it via email to editor@mbsi.org
or call (253) 228-1634.
MBSI MEMBERSHIP DRIVE
EACH ONE/REACH ONE NEW MEMBER
MBSI is always interested in increasing its membership and is pleased to offer new members a $15
discount off their rst year’s membership. You are considered a new member if you have not been a
member in the past three years. This discount is also available on our website, www.mbsi.org.
Current MBSI members who sponsor a new member will receive a $5 discount off their next year’s
MBSI membership renewal for each sponsorship. Attach a copy of the discount voucher below to a
copy of the membership application form on Page 4 of this issue of Mechanical Music. Place your
name as “sponsor” on the application form.
Please make copies of these forms as needed and send the completed forms with checks to the MBSI
administrator at the address listed below.
★
★
★★
®
(INTERNATIONAL)
ORGANIZED IN 1949
DEVOTED TO ALL MECHANICAL MUSICAL INSTRUMENTS
★
★
★★
®
(INTERNATIONAL)
ORGANIZED IN 1949
DEVOTED TO ALL MECHANICAL MUSICAL INSTRUMENTS
Musical Box Society International
P.O. Box 10196
Spring eld, MO 65808-0196
Phone/Fax: (417) 886-8839
Musical Box Society International
P.O. Box 10196
Spring eld, MO 65808-0196
Phone/Fax: (417) 886-8839
Dues Voucher – $15
New U.S. members may join MBSI for one year at $45 (instead
of $60); Canadians $55 (instead of $70; and, other International
members at $60 (instead of $75). This certi cate must accom-
pany payment and a copy of the completed membership
application from page 4 of this issue of Mechanical Music.
New Member Name(s):
Expires: 01/01/2017
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New members are those who have never been members
of MBSI or those who have not been members for three
years prior to submission of this voucher.
New members are those who have never
been members of MBSI or those who
have not been members for three years
prior to submission of this certi cate.
SPECIAL OFFER: Purchase one or more rst-year MBSI gift
memberships at $45 each U.S., $55 Canadian, or $60 other International
and you will receive $5 off your next year’s MBSI membership
renewal for each “New Member” gift.
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Please mail this form together with your check made payable to “MBSI” to the MBSI Administrator at the address listed
above. Memberships are $45 for U.S. residents, $55 for Canadian residents, and $60 for other International residents.
Editor’s Notes Editor’s Notes
By Russell Kasselman
MBSI Editor/Publisher
Happy New Year, and welcome to
2018. Once again, we have a wonderful
set of articles packed into this issue.
Matt Jaro takes a different take
from his traditional column material
and leads us on a tour of the Hard-
man collection in Great Falls, VA,
giving details about their Wurlitzer
four-manual theater pipe organ that is
housed in an 85-foot long, 50-foot wide
and 38-foot high barn built specifically
to display and enjoy the organ. It’s an
enjoyable journey through Jack and
Mildred Hardman’s early start in the
hobby to their current position that
allows them to share their collection
with so many others.
Next, Publications Committee Chair
Bob Caletti details his visit to Southern
California Chapter Chair Robin
Biggins’ home where Robin shares his
knowledge of repairing a tooth in the
metal comb of a disc box. This is the
type of restoration article that really
exemplifies the spirit of this Society,
two members getting together to
share information about how to keep
mechanical music machines playing
their best for future generations of
music lovers.
Then, Ken Gordon recaps his presentation
from the most recent annual
meeting regarding a discography he
has compiled for the Symphonion
Model 38 music box, commonly
known as an Eroica. This listing of
all known discs and songs is a work
in progress, and a valuable one for
anyone who owns one of these unique
music boxes that plays three separate
discs at the same time. Take a look at
the list and perhaps you could find a
set of three discs you would just love
to add to your collection.
Robert Penna then returns with
another well-written article on the
history of monkey organ grinders and
their long-lasting impact on society at
large. His research into these past purveyors
of street-level entertainment
and their legacy is a welcome addition
to the Society’s ever-growing bank of
materials held in its archives.
Many thanks go to the reporters and
photographers for the Golden Gate,
Sunbelt, National Capital, Southeast,
and Southern California chapters who
submitted reports for this journal.
I’m sure I’m not the only one who is
MAILING ADDRESS
MBSI Editorial/Advertising
130 Coral Court
Pismo Beach, CA 93449
EMAIL ADDRESS
editor@mbsi.org
PHONE
(253) 228-1634
grateful to see so many of our members
gathering to share their love of
mechanical music and enjoy each others’
company. If you haven’t attended
a chapter meeting in a while, consider
checking the calendar of events on
Page 65 of this issue to see what’s
coming up near you. The Society
website at www.mbsi.org/events-2/ is
updated as often as possible with new
events for you to attend.
We’re always looking for new articles,
so feel free to make a New Year’s
Resolution to write up a maintenance
and repair article or share the story
of your hunt for a new treasure. We
would all love to read it.
Welcome new members!
October 2017
Jann & Gary Lamborn
West Chester, PA
Margaret Schlesinger
Chicago, IL
Christopher & Chris Morales
Staten Island, NY
Vicki Newton
East Haddam, CT
John Smith
Hot Springs, AR
Kyle Nasmen
Corvallis, OR
Sponsor: John Pohlpeter
Andy Adams
Bristol, CT
Rick Meyers November 2017
Portland, OR
Paul & M. Veeder John Farmer
Norwalk, CTKidderminister, Worcestershire
Wolfgang Brommer Sponsor: Roy Evett
Waldkirch, Barry Gross
Robert (Dave) & Cindy UhrichLansing, MI
Omaha, NEGary & Carol Voight
Gilbert Duerinck & Gerda Stappaerts Zimmerman, MN
Beerse, AntwerpenSponsor: Laurence Crawford
Frank Ingraffia Myron Lindeman
Pinole, CARedwood Falls, MN
Jean LequySponsor: Laurence Crawford
Vinzelles, Bourgogne Barry Kasindorf
Sharon, MA
Ellen Thomsen
Berkeley, CA
January/February 2018 MECHANICAL MUSIC 7
Special Exhibits Committee Special Exhibits Committee
By Wayne Myers
When we first embarked on the challenge
to get youth engaged in making
cylinder boxes more than four years
ago, we started our youth workshops
by having someone explain how a cylinder
box works and then we gave out
kits for kids to construct and decorate
their own boxes.
Since that time we have honed our
event planning and now instead of a
spoken presentation we start out with
a short Youtube video showing how
the devices work and revealing the
science behind them. One thing that
remains the same is that we still bring
in prepared kits that include decorations
and instructions so that the kids
can quickly and easily complete a
project and see the results.
One other thing we noticed while
conducting our workshops is that
some of our participants tend to
finish their boxes earlier than others.
So, we started to bring some back up
strip readers for the early finishers to
experiment with and listen to additional
music. Additionally, we bring
a high-end cylinder box to show how
these where made circa 1850. We even
bring some table favors from past
MBSI Annual Meetings for fun.
We always bring current and back
issues of Mechanical Music as well as
applications so that people can sign up
to join the Society. These events have
worked well as outreach events and
the Southeast Chapter, along with the
Special Exhibits Committee, would be
happy to help any chapter to follow
the model we have established.
The Southeast Chapter also conducts
an annual summer camp at The Villages,
FL, which we have done for four years.
The Villages controls the attendance,
which is limited to between 30-35 children
plus grandparents and sometimes
parents. It’s great when we get all three
generations involved in working with
music boxes and getting exposed to
the hobby of mechanical music. We
supply the box kits and decorations
Mary Ellen Myers preps music box
cases for an upcoming workshop that
will teach youth, their parents and
grandparents about mechanical music.
that are purchased with the Special
Exhibits Committee budget. These kits
typically cost $5 each. The kits usually
have three different movements each
with a Christmas-themed song to
choose from.
The Villages charges $10 per person
for the event to cover the costs of miscellaneous
items such as paper towels,
water, etc. The Villages also covers
any overhead, including insurance.
We bring in a team of 10 or so MBSI
volunteers. Mary Ellen Myers makes
a presentation about how to put the
boxes together after the introduction
video mentioned earlier. The other
volunteers rotate through the room to
help the kids with assembly and answer
any questions. The event usually lasts
about four hours. Jack Hostetler has
been our point man with The Villages
and they love him and us for providing
such an engaging activity.
Feedback on these events have been
nothing but positive. It’s a great way
to generate an interest in mechanical
music and spread the word about the
Society. We encourage anyone with a
desire to get more people interested
in this hobby to take what we have
learned and spread the word even further
by conducting their own events
at community centers or anywhere a
group of people can gather to have a
fun time together.
Our next Special Exhibits Event is
on Jan. 12-13 at Saint Armands Circle
in Sarasota, FL, for a robust organ
Wayne Myers drills holes in the cases
where the keywind and musical move-
ments will be installed during the
workshop.
Demonstration cylinder boxes and strip
readers that play different tunes are
good ways to keep kids occupied if they
finish earlier than others in their group.
rally in the park supplemented by the
Sailors Circus annual event and the
Wind Jammers Circus Band.
Hope you can attend!
Contact me by email at wmyers5@
cfl.rr.com or at (407) 333-9095 for
more information.
8 MECHANICAL MUSIC January/February 2018
Judy Miller explains the history, science and mechanics of the Students enjoyed cranking the organ to make music before
monkey organ she brought to the event. they built their own music boxes.
Homeschool students enjoy building music boxes
By Judy Miller
Recently, I took advantage of an
opportunity to conduct a mechanical
music box building workshop at a
homeschool in Hendersonville, NC.
Six students and five of their parents
attended. I knew one of the parents
from my church and found out that
they had an interest in music, so it just
naturally worked out that I was able
to organize the visit and I’m really glad
I did.
I wasn’t sure beforehand how many
kids I would have in the workshop so
I prepared 12 boxes with plain sides
for ease of decoration. I sanded them,
drilled holes to hold the key wind
and glued movements in the boxes
ahead of time. I also cut templates for
patterns so the kids could cut pictures
to fit. I brought several magazines with
subjects such as birds and blooms that
had lots of attractive pictures in them.
I started by conducting a demonstration
of music boxes (an 11-inch
Regina, some table favors, and my
monkey organ). I let the kids and parents
crank the organ and I gave a short
history of what options people had
to hear music before electricity. The
rest of the time in the workshop was
dedicated to decorating the boxes.
The entire workshop took only
a couple of hours and it was very
successful. It seemed everyone was
happy to have taken the time to come
and learn about something they hadn’t
experienced before.
I encourage all MBSI members to
consider conducing a workshop like
this. If there are any senior centers
in your area, that might be a good
place to start and a good chance to get
grandparents, parents and children
all in the same room and exposed to
mechanical music.
You don’t even need to make a
music box. You could simply show a
DVD, or demonstrate a small box from
your own collection.
If you have any questions about conducting
a workshop or presentation,
please feel free to call me and ask.
There are so many kids being homeschooled,
the field is open for getting to
our youth. Just allow yourself to have
fun doing it.
Have a suggestion?
Send it in via email to editor@mbsi.org or drop us a note to the MBSI Editorial Offices at 130 Coral Court, Pismo Beach, CA 93449.
January/February 2018 MECHANICAL MUSIC 9
Nickel Notes
By Matthew Jaro
In the past, Nickel Notes has
explored many aspects of mechanical
music: rolls, trade newspapers,
nickelodeons, roll cutters, new music,
instrument collections, etc. This time,
I am proud to offer something entirely
different: the biggest automatic musical
instrument you can ever imagine:
a four manual Wurlitzer Theatre Pipe
Organ – in a home! This monster
belongs to Jack and Mildred Hard-
man of Great Falls, VA. The pages of
Mechanical Music can’t begin to capture
the sound and the majesty of this
instrument. This article discusses the
organ and other mechanical instruments
in the Hardman collection.
The organ is housed in what the
Hardmans call “the barn.” Actually,
it is an impressive structure on two
levels, 85 feet long, 50 feet wide and 38
feet high. There is a really great website
that has pictures, history, sound
samples, etc. of this instrument. It is
http://hardmanwurlitzer.com
Beginnings
I asked Jack how he got started in
mechanical music. I ask everybody
this question. The answers are always
different and interesting. They may
provide clues for attracting new
people to the hobby, a major initiative
given the aging of our membership.
Around 1971, Jack and Mildred went
to Vestal, NY (near Binghamton), to
visit a friend who took the Hardmans
to see Harvey Roehl. They made their
introductions, and Harvey quietly
slipped away. Then, Jack heard this
piano playing. The piano was compelling.
When it was playing, he had to
listen – and this was nice clean piano
playing. Jack followed the music into
Jack and Mildred Hardman with their organ.
The four-manual Wurlitzer horseshoe console purchased from Jasper Sanfilippo.
10 MECHANICAL MUSIC January/February 2018
Brass trumpet pipes are shown in the top photo and solo pipes in the lower photo.
the other room, and there was Harvey
standing next to the piano, not seated
on the bench. Jack just had to learn
more about this. What was this all
about? He had seen player pianos, but
he never saw a grand piano playing by
itself. This was new to him. This was
the very beginning of his interest in
reproducing pianos.
Of course, Jack and Mildred asked
Harvey all about this, and then he took
them out to the music room and it was
just overwhelming. All of this music
machinery – beautifully restored
antiques that the Roehls restored
themselves – was just remarkable. It
was a total eye-opener. Harvey was
such a wealth of information, enthusiasm
and inspiration to Mildred and
Jack.
Jack knew immediately that he
had to have one of those pianos. He
joined MBSI and later, an AMICA
chapter in New Jersey. Mildred was
as interested in the music as Jack. She
became involved in the selection and
restoration aspects of their collection.
Jack is especially interested in the
reproducing pianos, because the
music played really sounds wonderful
and not at all mechanical.
Pipe Dreams
I asked Jack when he knew that he
wanted to get a pipe organ. When he
was a 5-year-old, rolling around on the
kitchen floor, he heard a sound that
was new to him coming from the radio.
He asked his mom what that was, and
she said “That’s Dick Liebert.”
He then asked, “What’s a Dick
Liebert?”
The reply was “He’s the guy that
plays at Radio City.”
“What’s Radio City?”
His mother explained that it was an
organ at the Radio City Music Hall.
Jack’s parents ended up taking little
Jack on a journey to Radio City. He
attended his first movie “The Yearling”
and he was young enough so that the
subject matter was a little upsetting.
His dad explained that it was just a
movie, a story put on film and it looks
very realistic. The best part was that
he got to hear the big Wurlitzer play,
and by luck, it was indeed Dick Liebert
at the console for that performance.
January/February 2018 MECHANICAL MUSIC 11
During the interlude, Jack was able
to go up to the console and look at
the back of Dick Liebert sitting there,
moving the controls, buttons, etc.
Jack thought: “Someday I’m going to
have one of those things” – and by
golly, that’s the way it worked out!
Organ Acquisition
I asked Jack how he got this particular
organ. He said he sold his business
interests in 1989. He was living in New
Jersey at the time, where the business
was located. He needed more space
to have an organ, and wanted to move
south where it was a little bit warmer.
The Hardmans looked around North
Carolina and Florida and eventually
decided that the Washington, DC, area
would be great. A Realtor showed
them Great Falls, VA. It was an eye
opener. They were in range of the cultural
attractions and transportation
facilities of Washington, DC, but they
would have a semi-rural setting with
enough elbow room. They bought an
older house and decided to modify it
to add the things that were important
to them.
The Hardmans built the pipe organ
barn with the objective of acquiring
an organ later. The barn had to be big
enough to accommodate an instrument,
have good acoustics and provide
a place for Jack’s workshop. It was
during the final phase of construction
that Jack learned the organ owned
by Dick Simonton of California, then
deceased, would probably become
available in the near future. Richard C.
“Dick” Simonton is perhaps most well-
known and remembered for fostering
the creation of the American Association
of Theater Organ Enthusiasts
in 1955, now the American Theater
Organ Society (ATOS). He had been
bitten by the theater organ bug in his
youth, while growing up in the Seattle,
WA, area.
The time came when Dick Simonton’s
widow reached a conclusion that
she would have to give up the home
and move elsewhere. The question
was “what do they do with the theater
organ?” Jack made a date to look at
the instrument while visiting California
to attend an MBSI convention.
Mrs. Simonton said Jack was welcome
A view of part of the Uniflex relay system switches.
to come look, but they could not play
the organ since some wind lines were
separated and still being repaired.
Jack visited anyway, since he knew
what such an organ could sound like.
They agreed on a price, and Jack
began planning for its removal.
However, before the instrument
could be removed and shipped to Virginia,
the Northridge, CA, earthquake
happened. It was discovered, during
the moving process, that the earthquake
had damaged 100 pipes that
would need repair or replacement.
Mrs. Simonton offered to pay for those
repairs and related costs.
The Console
When Jack was first looking for
an organ, he thought that he would
have to assemble an instrument
from orphaned parts – pipes, wind
chests and other components. Jasper
Sanfilippo wanted to sell the console
that was in his American Orchestrion
Room at the time. It was interesting
to Jack because it was an original
four-manual Wurlitzer horseshoe console,
and Wurlitzer didn’t make many
of these things. Jack bought the console
from Jasper, and just stored it in
the barn. Later, after purchasing the
Simonton instrument, Jack decided
he preferred Jasper’s console, and
sold the Simonton console which has
since been restored and is installed in
a private home in Wichita, KS.
Technical Issues
One of the early questions Jack had
was how to handle the relays. He left
the pneumatic relays in Simonton’s
home because he knew he didn’t want
to put all the labor and funds into
restoring them. By this time, com-
puter-based organ relays were well
known and available, and he thought
“for sure, that’s the way I want to go”
because Jack understood computers.
He chose the Uniflex relay system
because of its unusual flexibility. Each
switch on the console is connected
to an interface card. A scanner polls
each switch in turn to determine
what is opened or closed. The results
are sent to the computer which multiplexes
the signals and sends them
to the pipe chambers. There, they
are decoded and the pipe valves are
opened appropriately.
I asked Jack if he added additional
pipes. He said, “That’s another curious
story.” He was on a tour bus with the
ATOS convention. He got a tap on the
shoulder and it was Simon Gledhill,
one of the world’s top theatre organists.
Simon said he understood that
Jack had recently acquired the Simon-
ton organ and he was pleased that it
was going to be restored and installed.
If he could do anything to help, he
would be glad to do so. Jack needed
12 MECHANICAL MUSIC January/February 2018
A unique horn array spotted in the barn.
A closeup of one small set of horns.
someone with a lot of experience to
help him write the specifications for
his new instrument because it would
certainly be different from what
Simonton had. For example, there was
no room and no wind at Simontons
for the missing 16-foot octave tibia.
He knew that he should certainly have
that important octave.
Simon volunteered to create an
Excel spreadsheet to give them
something to talk about. So they had a
back-and-forth exchange of ideas and
information. He found that there were
some redundant pipes, which could be
sold, and he could pick up several new
ranks of pipes including the 16-foot
octave tibia.
He wanted to replace the chimes
with another set having more notes.
Simon did ask for the Tuba Mirabilis.
He could not find an original Wurlitzer
set but bought a set from Joe Clipp of
the Trivo Company in Hagerstown,
MD. Jack also added a few top octaves
to round things out and give a little
shimmer to the sound that is so characteristic
of a big Wurlitzer.
The blower and power supply had to
be upgraded to meet the need for additional
air in the organ.
The Blower and the Power Supply
The blower was a problem in itself.
The Simonton organ had a 10-horsepower
blower and rotated at high
speed. Jack brought it back, restored it
and had the motor serviced. When they
were installing the organ, they needed
wind pressure to test it. The motor was
three phase, and of course they only
had single phase power. He bought a
rotary converter to transform single
phase to three-phase power. It turned
out that the 10 horses didn’t provide
enough capacity to handle the larger
instrument. So, he started looking for
a large blower. After a lot of searching
he found one in an old stone church
in Philadelphia. The blower had to be
rebuilt, because the Wurlitzer required
more wind volume than the church
organ. This meant that wider fan blades
were needed. Jack also wanted lower
speed to keep the noise down. The
rotary converter worked but was really
noisy. He reused two of the fans from
the church blower and had a third fan
built. You cannot hear the blower running
in the listening area. He replaced
the rotary converter with a solid-state
system that could also provide a variable
frequency drive to soft-start the
motor. The motor is accelerated over a
period of 30 seconds to prevent brownouts
from an across-the-line start of a
big motor.
January/February 2018 MECHANICAL MUSIC 13
Guests listen to a performance on the organ in the barn built specifically to hold it.
Wiring and Final Assembly
Wiring the organ was a big job. He
hired part-time temporary help to
assist in the wiring. Each stop on the
console is functional. There are no
unused ranks. Simon Gledhill’s problem
in drawing up the specifications
was finding enough stop-tabs to control
the instrument with the degree
of unification he would prefer. They
added two swing-out trays under the
keyboard shelf. Some multi-function
switches were added.
Organ presets are a way to set
many stops at one time automatically.
The stops themselves on the console
actually move up or down when the
presets are activated. The stops have
an on-coil and off-coil to move the
switches automatically. On earlier
organs, mechanical relays were used.
Now all of this is under software
control. Nearly 9,000 pneumatics and
pallet valves were re-leathered over a
three and one half year period as part
of the restoration.
Enjoying the Fruits of all the Labor
There is software to record and play
back performances that is bundled
with the Uniflex system controlling
the organ. The software is user-modifiable
and many modifications have
been made since the organ was first
played after installation. All concert
performances are recorded. Jack is
very careful never to let the recordings
leave his house. It’s just an historical
record of what was played here. This
is what makes it an automatic musical
instrument. Often, after dinner, Jack
and Mildred go down to the barn with
a cup of coffee, pick an organist and
listen to a few tunes.
Some of the other mechanical music
makers in the Hardman collection are
briefly described below.
The Edgerton Seeburg KT Special
Replica
I asked Jack how he got the Edgerton
Seeburg KT Special replica. Bill
Edgerton ran the Mechanical Music
Center in Connecticut and he wanted
to create a replica of the Seeburg KT
Special. Jack raves about this machine
and its builder.
“He is a methodical guy with very
high standards and he succeeded in
creating a perfect replica,” Jack said.
“He really went out of his way to make
it as accurate as he possibly could.
He did a magnificent job. I am totally
impressed by the quality of work that
he did.”
Bill made roughly 58 or 60 instruments,
and Jack says that he feels
fortunate to own one of them.
The Hardman’s Edgerton Seeburg KT
Special Replica.
The DeKei Dutch Street Organ
Jack and Mildred have a beautiful
Dutch Street organ named “DeKei”
(The Key). I asked Jack about this
organ and he related the following
story. Jack heard a number of organs
while visiting home collections, and he
loved the sweeter sound of the Dutch
organs as opposed to the brassier
sound of many German street organs.
So, Jack and Mildred started to look
for a Dutch street organ. After a while,
Jack and Mildred met Andrew Pilmer
during the course of some of the organ
festivals they attended during the early
1980s. Andrew said he would keep an
eye out for what Jack was looking
for. One day he called from England
and told of an instrument that would
probably be available and would Jack
be interested in coming to look at it.
Jack said yes. He loved the tuning
scheme that was devised by Carl Frei,
and this was a Carl Frei type of instrument.
Since it was a modern organ, it
was allowed to be exported out of the
Netherlands. It was built in 1970. Jack
said he hadn’t heard the thing for 30
seconds when he knew that was IT.
Andrew held it for a couple of months
and packed it in a container with other
instruments bound for the U.S. It came
into Baltimore harbor. He had some
trouble in customs since the officials
14 MECHANICAL MUSIC January/February 2018
A view of the DeKei Dutch Street organ
before it was shipped to the U.S.
wanted the Vehicle Identification
Number and department of transportation
sticker for the trailer that came
with it, but eventually that issue was
resolved. The Hardmans have taken
the organ out to participate in a local
parade in their town only once. They
soon learned that it is just too much
trouble to do again.
The Steinway Duo-Art Reproducing
Piano
I asked Jack about his Steinway
Duo-Art reproducing piano. Mildred
found that instrument, he said. At
the time, Jack owned a 6-foot, 4-inch
Knabe Ampico A. Mildred was reading
the local newspaper, and said to Jack,
“How would you like a Steinway
player piano?” Jack tried calling the
number in the ad, no answer. Then
he called three times that night, no
answer. Jack asked his secretary to try
the number several times each day to
try to get an answer. Well, she called
for over a month, and finally got an
answer. Jack spoke with the woman,
and said, “Gosh, we’ve been trying to
reach you, because you advertised a
piano for sale.”
She said, “Yeah, I know, nobody’s
called about it.” He made arrangements
to see the instrument. They
bought and loaded the piano to be
moved, and she said “don’t forget the
rolls.”
Jack said “what rolls?” She said,
“There’s a lot of them in the closet.
They go with it!” She opened the
closet door, and Jack said it was like
Fibber-McGee’s closet – the rolls
were just falling out! There were 750
rolls! So, it was a fortunate purchase.
Plus, Jack said it was a real bargain.
It is a 1926 piano, essentially a model
M, 5-foot, 7-inches with an elongated
Two images of the Hardman’s Steinway Duo-Art Reproducing Piano. Jack says he
loves mechanical music pianos because of their natural sound.
case. The case was restored by Alan
Lightcap, near Philadelphia and the
piano was restored by Trefz, a good
piano rebuilder. They corrected the
crown in the sounding board.
I hope you enjoyed this journey
into a world that is quite different
from the standard mechanical music
environment. Jack Hardman’s Wurlitzer
is really the ultimate automatic
music machine and also one of the
biggest restoration and installation
tasks imaginable. Please feel free to
send me an email with comments,
suggestions for topics, etc. My email
address is mjaro@verizon.net
Please feel free to email Matt Jaro at
mjaro@verizon.net if you would like
any information about style “A”, “G”,
“4X”, “H” or “O” rolls. Also, comments
and suggestions for this column will be
appreciated.
Reprinted with permission of the
author and The Automatic Musical
Instrument Collectors’ Association
(AMICA). Originally printed in the January/
February 2012 issue of The AMICA
Bulletin.
January/February 2018 MECHANICAL MUSIC 15
Repairing and replacing teeth
in a music box comb
1. Place comb on holding fixture behind lathe and clamp with hold down
clamps.
2. Place flexible shaft device in milling attachment on lathe.
3. Put .012” thick tipping grinding wheel on flexible shaft device.
Article and Photos by Bob Caletti Supplies Needed:
• Tipping wire (.014”) (avail-
able from Nancy Fratti)
• Oil Hardening Tool Steel
(0-1), 3/32” x 2 ½” stock
• Tipping grinding wheel, .012”
thick x 2” diameter (available
from Nancy Fratti)
• Saw blade for cutting tool
steel teeth to the proper
width, .020” thick x 2”
diameter
• Comb tooth slot grinding
wheel, .082 thick x 3” diame-
ter, width will vary based on
the tooth being replaced
• Flexible shaft device for
slitting and grinding (Fore-
dom or similar)
Not too long ago, I had the opportu-
nity to visit Robin Biggins during a trip
to southern California and while there
he took time out of his busy schedule
to show me how he replaces music
box comb teeth. While Robin worked,
I documented his process and now I’m
pleased to share it with all members
of the society through this article.
Certainly, other professional restorers
and even some amateurs may have
different ways of doing this sort of
work but in the end, I think the results
would most likely be similar.
Procedure: Replacing tips
Tipping grinding wheel on the flexible shaft device.
Grinding wheel in center of tooth needing a tip.
4. Position grinding wheel in center
of tooth needing a tip and
grind a slot for the tipping wire.
5. Position the grinding wheel axle
above the tooth so when the cut
is made the anvil will not be cut.
6. Dress width of tipping wire with
file or stone to match slot cut in
tooth, it should be a snug fit.
7. The replacement wire should be
angled at the end that goes into
the tooth so it will fit the end of
the slot just cut.
8. Put rosin flux on tipping wire
and slot where wire will go in
tooth and on top of tooth tip.
9. Solder tipping wire in with regular
solder, soldering iron tip will
be on top of tooth with flux.
Grinding slot in tooth tip for tipping wire.
Tipping wire fitted into tooth tip.
Soldering tipping wire into tooth tip.
January/February 2018 MECHANICAL MUSIC 17
10. Cut off tipping wire with a flexible shaft device
grinding wheel.
11. Clean off excess solder on tip of tooth by scraping or
stoning and then file smooth.
12. Grind the tip to length and put a bevel on the top of
tooth tip if the other teeth have a bevel.
Tooth shown with tipping wire cut a little long.
Grinding tooth tip.
Filling the top of the tooth tip smooth. Check the length of the tip and match to the other tips.
18 MECHANICAL MUSIC January/February 2018
13. Check the tip center to center distance with a pair Procedure: Solder a detached bell
of dividers.
linkage to a comb tooth
14. Clean off the flux with lacquer thinner and then wash
with a solution of baking soda and water to neutral-1. Using a file, clean the solder off the end of bell linkize
the flux and prevent corrosion. age where it was soldered on.
15. Dry with compressed air.
Checking the tip center to center distance.
Bell linkage and comb in holding fixture.
Cleaning the end of the bell linkage arm.
Bend the new tip carefully if necessary.
January/February 2018 MECHANICAL MUSIC 19
2. Flux both the tooth and linkage end where solder
joint will be.
3. Hold and position the linkage over the tooth with a
Kelley Clamp or similar device.
4. Solder linkage arm to the tooth using regular solder.
Apply soldering iron heat from underside (top face
of comb tooth), see picture on the left bottom of this
page.
Positioning bell linkage arm over comb tooth.
Soldering bell linkage arm onto comb tooth.
Removing excess solder.
5. Make sure the front face of the linkage arms line up
with the others.
6. Clean off any excess solder with a grinding wheel.
7. Clean off flux with lacquer thinner and then wash
with a solution of baking soda and water to neutralize
the flux and prevent corrosion.
8. Dry with compressed air.
Procedure: Replacing teeth 3. Place flexible shaft device in milling attachment on
lathe.
1. Place comb on holding fixture behind lathe and 4. Put comb tooth slot grinding wheel on flexible shaft
clamp with hold down clamps. device (.081” thick in this case or whatever the
2. Measure the width of the tooth you want to replace. tooth width is).
Note the grinding wheel has some of the woven
reinforcement removed on the outer diameter to
assure a more accurate width of cut
5. Position the grinding wheel in the center of where
the tooth will go and grind a slot for the tooth.
6. Cut slot in comb as shown, about .187” deep in the
direction of the length of the tooth.
Measuring tooth width.
Grinding wheel positioned to grind tooth slot in comb. Cutting slot in comb.
January/February 2018 MECHANICAL MUSIC 21
7. Measure tooth slot width and cut a new tooth out
of 0-1 tool steel about .002” wider than the slot you
just made in the comb.
8. Draw file the grind marks off of the tooth blank ,
top and bottom, so the file lines go along the length
of the tooth.
Note: “Draw filling” is done by holding a flat Mill
Smooth or Mill Bastard file by the handle with the
left hand, and the other end with the right hand,
and drawing the file towards you along the tooth
length.
Comb with slot ground out of comb for replacement tooth.
Draw filing tooth to remove grind marks from tool steel stock.
Cutting tooth blank from 0-1 tool steel.
Initial fitting of new tooth into comb.
22 MECHANICAL MUSIC January/February 2018
9. File an angle on the end of the tooth blank and
dress the end to match the end shape in the ground
out comb slot.
10. Fit the new tooth into the comb slot you just
made – file, stone, or grind the width of the tooth to
fit snugly in the comb with a slight taper from top to
bottom on the new tooth so it will wedge in place
when tapped in from the end and tapped down from
the top.
11. Tap in the new tooth and then remove, look for
witness marks (shiny burnished look) on the sides
of the replacement tooth.
12. Stone these high spots so the tooth fits snugly
in place, repeat the above step until a good fit is
obtained.
13. If after tapping the tooth in place the rear tip
looks bent up, remove the tooth and draw file to
straighten the bent end.
14. Fit the tooth in place slightly proud in height and
mark the length a little long, the final length will be
determined later.
15. Cut off the tooth a little long.
Scribing tooth to mark the length.
Scribe lines where tooth clears base and where anvil goes.
16. Fit tooth in place again and mark locations where
tooth clears the base and where the anvil goes.
17. Measure the thickness of the tooth between these
marks and file to the correct thickness.
18. If the tooth is a cylinder box tooth then also mark
where the anvil and relief slot will go for the
damper wire clearance and saw or file this groove
into the tooth.
Filing slots in tooth.
January/February 2018 MECHANICAL MUSIC 23
Finished tooth profile.
Drilling damper wire hole in tooth.
19. Drill the damper wire hole in the tooth where the
cylinder box damper and pin goes using a #72, or
#74 drill.
20. Prepare a can with oil in it for quenching the tooth
after hardening.
21. Harden the new tooth by laying it on a piece of
asbestos or copper sheet metal.
22. Heat the tooth to a bright cherry red color with a
propane torch and then quench the tooth in oil.
23. Use a magnetic pickup tool to retrieve the tooth
from the oil bath.
24. Rinse the tooth in lacquer thinner.
25. Sand the top of the new tooth with 220 grit emery
cloth to a bright finish so that the tempering color
change will be evident during tempering.
26. Lay the tooth on its side on top of a piece of asbestos
or copper sheet.
27. Heat the tooth from the bottom of the asbestos or
copper sheet until the tooth changes color to a dark
blue and then place it on a piece of paper and let
it air cool. The heating process will be much faster
with the copper sheet so proceed slowly if you are
using a copper sheet.
28. Sand the edges of the tooth where it will be soldered
into the comb to remove the dark blue oxide coating,
being careful not to remove too much, which could
affect the snug fit.
29. Fit the tooth and check the tooth for straightness, if
it is bent to one side then remove the tooth and use
a cold chisel to gently punch the bottom side corner
that needs to expand to make the tooth straight
30. Put the tooth back in the comb and check for
straightness.
Can with oil for quenching and magnetic tooth extracting tool
with wire handle.
Tooth ready for hardening sitting on a piece of asbestos held
with pliers.
24 MECHANICAL MUSIC January/February 2018
31. When the tooth is straight, remove the tooth and flux
the tooth joint and top surface of the joint with TIX
flux.
32. Tap the tooth into the comb slot to the final
position.
33. Tape the end of the tooth with masking tape to the
ends of the other adjacent teeth to hold the tooth’s
position and assure it won’t move during soldering.
Tooth taped into place and with masking tape to hold position
during soldering.
Soldering in new tooth.
Soldering the tooth and adding additional flux to the top of
the joint.
34. Solder with TIX solder.
35. Use a small #1 tip on an oxyacetylene torch to heat
the top of the tooth joint.
36. Add flux as necessary to the tooth joint.
37. Avoid heating any adjacent teeth.
38. Heat the comb base near the end of the tooth joint
and add more solder, avoid heating the tooth itself so
as to avoid tempering the tooth.
39. Cool comb quickly with a wet rag.
40. Remove most of the solder by scraping and then
rubbing with medium emery cloth. Excess solder
will clog up the grinding wheel. Then use the flexible
shaft grinder with a 1” diameter wheel at a slow
speed to carefully hone the top of the tooth. Finish
with a strip of medium emery cloth until smooth and
blended.
41. Check the stiffness of the new tooth to see if it is
similar to the adjacent teeth.
Sanding tooth joint to remove excess solder.
January/February 2018 MECHANICAL MUSIC 25
42. Place some emery cloth over the end of a square
piece of wood and sand the joint smooth.
43. Cut the new tooth to length, even with the adjacent
teeth.
44. Using a divider to check tooth to tooth pitch.
45. Grind the tip configuration with the flexible shaft
type device to match the adjacent teeth.
46. The only thing left to do is damper the tooth if it is a
cylinder box comb and tune the tooth.
47. For a disc music box comb, only tuning will be
necessary.
48. If the tooth is a bass tooth it will need to have a piece
of lead soldered onto the bottom side of the tooth for
tuning similar to the other leaded teeth.
View of sanded smooth tooth joint which if done correctly will
be almost invisible.
Send us your restoration tips
The next time you find yourself ready to maintain or
undertake a bit of restoration on a music box you own,
please consider picking up a pen, paper and a camera
(or your smartphone).
Your method may differ from others who do the
same sort of work, but everyone can learn something
from the way others get it done. Just write down each
step as you do it and take a quick photo. Send the steps
and photos to editor@mbsi.org and we’ll help mold it
into a package worthy of publication.
We look forward to hearing from you soon.
Sanding joint smooth.
New tooth fitted into comb.
26 MECHANICAL MUSIC January/February 2018
Mechanical
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January/February 2018 MECHANICAL MUSIC 27
Identifying discs for the
Symphonion Eroica 3-Disc Music Box
By Ken Gordon
The purpose of this article is to
share the process and results of a
year-long research project to identify
all the discs (tunes) produced for the
model 38 music box, which was manufactured
by the Symphonion Company
starting in 1885, although the patent
date is 1894. This box is often called
an Eroica.
This project was prompted by my
acquisition, about a year ago, of one
of these Eroica music boxes. The
moment the box arrived, I felt a desire
to identify the discs I acquired in the
purchase and also those I might want
to obtain in the future. That task was
complicated by the fact that many of
the labels on the discs I had purchased
were not readable, and usually in German
(since that is where the music
box was manufactured). After searching
in the U.S. and other countries, I
concluded that either no person ever
made a list of all the discs issued by
Symphonion, or that no one kept
any copy of a list if it had ever been
created. I decided to try to compile
such a list for my benefit and for other
collectors to use as a reference. Such
a list is usually called a discography.
A brief description of the Eroica is
in order as context for this research.
As stated, the music box was produced
by the Symphonion Company
in Leipzig, Germany, starting in 1895.
To avoid high U.S. import tariffs,
the mechanisms were usually made
in Germany, and the wooden cases
made in the U.S. The Eroica plays
three 135/8-inch discs simultaneously
in a synchronized manner. The comb
is built in a sublime harmony piccolo
pianoforte arrangement. The three
bedplates and combs are identical.
It is often coin-operated, using a U.S.
nickel, but many examples of home
models (without coin operation)
can also be found. The Eroica was
designed and produced at the time
recorded music from phonographs
was significantly reducing the market
for music boxes, but the quality of the
musical arrangements allowed by the
three discs kept this particular model
of music box popular for several more
years among scholars and collectors.
It was sold either with a flat gallery top
(Model 38 – the most common type),
or with a clock in the top (Model 38A),
or with a clock and ornate dome top
(Model 38B).
To compile as complete a discography
as I could, I sought the help of
collectors and museums in the U.S.,
U.K., Japan. Germany, Sweden, and
Switzerland. Nearly everyone I spoke
to or exchanged letters or emails with
was very cooperative in sharing their
information about their discs. Some
discographies consist of just a list of
numbers and brief titles, but I wanted
a more enhanced list that would
help other collectors understand
the music itself, including who the
composers were and when the tunes
were composed. For selfish reasons, I
also wanted to have as much of this
information as possible presented in
English. Thus, I conducted significant
research online and translated the
German titles into English as best I
could.
Since all the discs produced for the
Eroica were issued in the late 1890s
and early 1900s, all the music was
composed before about 1900. Most
music came from existing operas,
classical compositions, German folk
tunes, and some popular music hall
tunes. Many of these tunes are also
found on disc music boxes from other
manufacturers, since this period
encompassed the peak of the production
of disc music boxes in both
Europe and the U.S.
As far as I know, no newer music
has been arranged for the Eroica. Two
collectors (one in the U.S. and one in
the U.K.) have helpfully punched some
new discs copied from original discs.
As scholars have discovered, four
types of expression are found on the
discs. The discs for the Eroica are
always labeled A, B, and C. A typical
original disc (readable) is shown in
the accompanying photo at right. The
four types of expression are:
• Type I – A, B, and C discs
are punched the same (no
expression)
• Type II – A and B discs are the
same, but C is punched slightly
advanced (rarely found)
• Type III – A and B discs are the
same, but C is different (not
common)
• Type IV – A, B, and C discs are
punched differently (full expression
– most common)
It is hard to identify the type unless
you have the discs in hand or listen to
the music. I have indicated the types
on my list where known, but this is
secondhand information and probably
not complete. Single discs of the
Symphonion 6000 series can be played
on the Eroica, but three additional
positioning holes must be drilled.
The result of my research to date
has produced a list of 186 disc sets
produced by Symphonion for the
Eroica. Symphonion used the 8000
series to number these discs, but later
issued some numbered in the 18000
series. No one can tell me why they
changed to the 18000 series, but it
may have been used for discs manufactured
by its subsidiary in the U.S.
We do have evidence that some discs
were produced in the U.S., prior to
the subsidiary’s bankruptcy in 1902.
I could not find evidence of when
Symphonion stopped making Eroica
machines or discs in Germany, but I
assume it was no later than the 1910s.
28 MECHANICAL MUSIC January/February 2018
January/February 2018 MECHANICAL MUSIC 29
There are seven numbers in the
8000 series for which I do not have
any data, but there are also four tunes
(shown at the end of my list) for
which I have data but the numbers
are not readable – thus three numbers
remain to be identified (if they were
actually used). I have also identified
19 in the 18000 series – ranging from
18002 to 18035. It is unknown if all
18000 numbers were used or if any of
the 8000 series after 8164 exist.
I am sure the list contains errors in
translations or completeness, but this
seems the proper time to share it with
other collectors. I hope that this will
also prompt anybody who owns Eroica
discs to send me corrections and
additions so I can keep it up to date
(email me at kengordon@alum.mit.
edu). This list will also be available
on the MBSI website at www.MBSI.
org, updated as additional information
becomes available.
INTRODUCTION many collectors in the U.S., U.K., Switzerland, Sweden, and
This list attempts to identify the full number of 135/8-inch Germany.
3-disc sets issued by the Symphonion Company for the There are certainly errors, incomplete data, or poor
Model 38 Eroica Music Box from 1894 to about 1901. translations. Please send additions or corrections to
It was compiled by Kenneth Gordon with the help of kengordon@alum.mit.edu.
No. Title (From disc label, w/ English translation where known) Composer
8001 Waltz from Faust (1859) Charles-François Gounod
8002 In The Window, serenade (Beim Fensterlein) Op. 41 No.1, (1882) Thomas Koschat
8003 In the Forest (Im Walde) (1800) Carl Maria von Weber
8004 Silent Night, Holy Night (Stille Nacht, Heilige Nacht) (1818), Christmas Carol Franz Xavier Gruber
8005
8006 Rheinlaendischer Reitermarsch
8007 The Lawyers Ball, Dance (Juristenball- Taenze) (1864) Johann Strauss Jr.
8008 Dance of Love (Gavotte D’Amore ) (1881) Curt Langer
8009 I Pray For You, Dear Little Birds ( O Bitt ‘euch Liebe Voegelein) (1851) Ferdinand Gumbert
8010 Second Portion Overture, “The Huguenots” (1836) Giacomo Meyebeer
8011 Every Year Again (Alle Jahre Wieder), Xmas Carol (1837) Friedrich Silcher
8012 The Last Hour Of The Year (Des Jahres Letzte Stunde) (1784) Johann Abraham Peter Schulz
8013 Come, Little Children (Ihr Kinderlein kommet) -German Christmans Carol (1790) Johann Abraham Peter Schulz
8014 O’ How Joyfully (O Du Froehliche o du Selige) (O sanctissima, Hymn) Anonymous German Christmas Carol
8015 Among The Shepherds (Unter Hirten), Weihnachts (Christmas Carol) Udylle H. Meyer
8016 Spinn, Spinn! (Estlaendischer Volkslied) (Swedish Folk Song) Hugo Richard Jungst
8017 Carinthian Folk Song (Kaernthner Gmuath) Op. 11 (1882) Thomas Koschcat
8018 O Christmas Tree (O Tannenbaum) (1824) Ernst Augshutz
8019 Child, Pay Close Attention (Bueaberl merk dir’s fein), Traditional folk song Adolf Kirchl
8020 The Skater’s Waltz (Der Schlittschuhlaeufer) (1882) Emile Waldteufel
8021 I Once Had A Beautiful Homeland (Ich hatte einst ein schoenes Vaterland) (1867) Eduard Lassen
8022 Styrian Dance No. 1 A. V. Goldschmidt or Joseph Lanner
8023 The Carinthian (Da Kaerntnerbua) Op. 4 No. 2 (1882) Folk Song Thomas Koschcat
8024 On the Ramparts at Strasbourg (Zu Strassburg auf der Schanz) (1888) Gaustv Mahler
8025 Salon Gavotte (1893) M. Kogler.
8026 Flower Song – From Faust (Bluemlein Traut) (1854) Charles-François Gounod
8027 Forsaken (Verlassen bin i) (Op. 4 No. 4, (1874), Folk Song from Carinthia Thomas Koschcat
8028 Gaiety March (Frohsinn Marsch ) (1877) Carl Hauschild
8029 I Wish My Love Could Silently Flow (Ich wollt meine Liebe ergoesse sich) (1836) Felix Mendelssohn
*no-expression
30 MECHANICAL MUSIC January/February 2018
No. Title (From disc label, w/ English translation where known) Composer
8030 Monastery Bells (Nocturne) (Die Klosterglocken) (Cloches du monastère) (1854) Louis James Alfred Lefébure-Wély
8031 The Last Rose of Summer – from Opera “Martha” (1847) Friedrich von Flotow
8032 Blue Danube Waltz (Donau Walzer) (An der schoenen blauen Donau (1886) Johann Strauss Jr.
8033 Forest Meditation (Waldandacht) (1873) Franz W. Abt.
8034 Near the Sea (Am Meer, Lied ) From the Collection called Swan Song. (1828) Franz Schubert
8035 Already The Evening Bells Are Ringing (Schon die Abendoglocken klingen) (1834) ,
from Night in Granada
Conradin Kreutzer
8036 Intermezzo a. d. Opera “Cavalleria Rusticana” (Grand Fantasia) (1890) Pietro Mascagni
8037 When My Granny was Twenty (Wie mein Ahnerin 20 Jahr, aus “Der Vogelhandier”-
The Bird Seller, 1891)
Carl Zeller
8038 God Save the Queen (Den Koenig segne Gott) (1745) (aka My Country ‘tis of Thee
-Words in 1832)
Thomas Arne
8039 King Prussian Army March (Koenigl. Preussische Armee), (AM II, 7) (1806) (March
des Bardillon Garde)
Traditional
8040 Calm Is The Sea (Still ruht der See) (1879) Liedson Heinrich Pfeil
8041 Stephanie, Gavotte Opus 312, (1880) Alphons Czibulka
8042 Stabat Mater (The Sorrows Of Mary or Grieving Mother) (1842) Gioachino Rossini
8043 Viennese Spirt Waltz (Wiener Blut) (1873) Johann Strauss Jr.
8044 Wine, Women, and Song (Wein, Weib und Gesang Walzer) (1869) Johann Strauss Jr.
8045 Prayer Song (Gebet), from Der Freischhuetz (The Marksman) (1821), First Romantic
Opera
Carl Maria von Weber
8046 Snowbells Herald the Spring (Schneeglockchen laeuten den Fruhling ein) (1846) Wilhelm Taubert
8047 I Send These Flowers (Joh sende diese Blumen Dein, Lied ) Joseph Franz Wagner
8048 Trumpeter of Sackingen (Behuet dich Gott) (1884) Victor Ernst Nessler
8049 The Band of Students Waltz (La Estudiantine) (1883) Emile Waldtenfel
8050 My Mother Was So Good (Meine Mutter war so gut) Josef Ferdinand Nesmuller
8051 Bridal Chorus from Lohengrin (Brautchor aus Lohengrin) (1848) (Wedding Entry
March)
Richard Wagner
8052 The lonely little rose in the valley (Einsame Roeslein im Thal) (1871) Eduard Hermes
8053 Don’t Be Cross, (Sei Nicht Bos), from the Opera “Der Obersteiger” (1844) Carl Zeller
8054 Master Miner: Miner’s Lamp (Grubenlichter Walzer nach Motiven der Operette “Der
Obersteiger” ) (1844)
Carl Zeller
8055 Del Alpensauger Marsch A. Nellhandl
8056 The Petersburg March (Der Petersburger Marsch), (AM II 113) (1837) Johann Heinrich Walch
8057 King Karl March (Koenig Karl Marsch ) In Honor of King Karl 1 von Wurttemburg
(1868)
Carl Ludwig Unrath
8058 Parade Marsch No. 1 Carl Maria von Weber
8059 Invitation to the Dance, concerto (Aufforderung zum Tanz) , Opus 65, (1819) Willi Mollendorf
8060 High Habsburg March (Hoch Habsburg Marsch ), Opus 86, (1879) Johann Nepomuk Král,
8061 Miserere, a. d. Opt. “Der Troubadour” (1853) Giuseppe Verdi
8062 Triumphant March, from the Opera Aida (Triumpmarsch aus Aida) (1871) Giuseppe Verdi
8063 I am alone, but not lonely (Einsam bin ich nicht alleine “aus Preciosa” ) (1821) Carl Maria von Weber
8064 Coronation March, from the Opera “Le Prophet” (Kroenungs Marsch) Giacomo Meyerbeer
8065 Sonata in E Flat Major (Es-Dur) , Op 5, No. 3 (1894) Johann Nepomnk Hummel
8066 Jolly Brothers Waltz (Lustige Brueder Walzer ) (1891) Robert Vollstedt
*no-expression
January/February 2018 MECHANICAL MUSIC 31
No. Title (From disc label, w/ English translation where known) Composer
8067 * Walzer a.d. Opt. “Der Mikado” (1885) Arthur Sullivan
8068 Ave Maria (Meditation Prelude von Bach) Charles-François Gounod
8069 Symphonion Marsch C. Schwerin
8070 Russian National Anthem (ordered by Emperor Nickolas) (1833) Alexis von Lwoff
8071 *Waltz from Operette “Die Glocken von Corneville” or “The Bells of Corneville”
(1877)
Robert Planquette
8072 Torgau March Frederick the Great, King of Prussia
8073 Radetzky Marsch (1848) (AM 145 AMS) Johann Strauss Sr.
8074 Poet and Peasant Overture (1846) Franz von Suppe
8075 The Lion Awakes (Le Revil du Lion) (Erwachen des Loewen) (1848) Rontsky (or Ronsinsky)
8076 March of the Hanoverian Guard Hunter’s Battalion (Marsch des Jaeger Bataillons)
(1905)
Richard Strauss
8077 George’s March, Fourth Regiment March Paul Gerold
8078 March of the Seventh Regiment (Alt Hannoversch, Carousel March) Late 18th centry Irish tune
8079 I am sitting in the deep cellar here, (Im Tiefen Keller sitz ich hier, Lied ) German
drinking song
L. Fisher
8080 Barcarolle, from The Tales of Hoffmann (Les Contes d’Hoffmann) (1880) Jacques Offenbach
8081 Austria’s Sons March (Oesterreichs Soehne Marsch) Josef Zistler
8082 Happy New Year, Polka Chr. Bach
8083 * Roses from the South (Rosen aus dem Sueden Walzer a.d. Opt. “Das Spitzentuch
der Koenigin”) (1880)
Johann Strauss Jr.
8084 * Grand Entry March from Tannhauser (Einzug Der Gaeste) (Auf Der Wartburg
Marsch) (1845)
Richard Wagner
8085 The Heavenly Violin, German Waltz, (Der Himmel voller Geigen) Carl Michael Ziehrer
8086 Chorus and Ballet- from “Preciosa” (1821) Carl Maria von Weber
8087 Hearts, Song with Chorus (1894) Charles K. Harris
8088 From Olden Times, Waltz (Aus alten Zeiten Walzer) Joseph Bayer
8089 Carinthian Marching Song (Kaerntner Liedermarsch) (Karuth March) Anton Seifert
8090 Conference Quadrille – Part 1 (England) R. Kitzer
8090 Conference Quadrille – Part 2 (Russia), R. Kitzer
8090 Conference Quadrille -Part 3 (France) R. Kitzer
8090 Conference Quadrille – Part 4 (Italy) R. Kitzer
8090 Conferance Quadrille – Part 5 (Austria) R. Kitzer
8090 Conference Quadrille – Part 6 (Germany) R. Kitzer
8091 Hannover’s Royal Greeting March (Hannoverscher Koenigsgruss Marsch) Johan Christian Bach
8092 Under the Double Eagle March (Unter dem doppelten Adler Marsch) (1893) Joseph F. Wagner
8093 Sleep, You Sweet Angel, You (Schlaf wohl, mein suesser Engel) German Song Frz. Abt
8094 Parade March, from the Opera Moses (1816) Etinne Mehul
8095 Alexander, March, Royal Prussian Army March AM II 161 (1814) Ludwig Beethoven
8096 * This is the Day that the Lord Created (Dies ist der Tag, den Gott gemacht), Christmas
Song (1757)
Christian Fürchtegott Gellert
8097 From Heaven I Descend (Von Himmel hoch da komn ich her) (1535) Martin Luther
8098 Hold Out My Soul, Choral
*no-expression
32 MECHANICAL MUSIC January/February 2018
No. Title (From disc label, w/ English translation where known) Composer
8099 Song on Aegir, Part 1 (Aegir is the North Sea God) (1894) HM The German Emperor Kiser
Wilhelm II
8099 Song on Aegir, Part 2 (Aegir is the North Sea God) (1894) HM The German Emperor Kiser
Wilhelm II
Holyest Night (O Holy Night) (Christnacht) (Christmas Song) Otto Taubert
8101 Storming The Dybbol Rebouts (Duppler-Schanzen -Sturmmarsch), March, (1864)
(AM II 186)
Gotttfried Piefke
8102 La Paloma (The Dove), Cuban Dance Song (Type III disc -A&B the same, C different)
(1861)
Sebastian Yradier
8103 Say Au Revoir, But Not Goodbye Harry Kennedy
8104 Columbia, the Gem of the Ocean (1843) David T. Shaw
Chimes of the Deep (1876) R. Goerdeler
8106 Song of the Peace Emissary (Gesang des Friedens Boten, aus “Rienzi” ) (1840) Richard Wagner
8107 You Lovely Eye (Du liebes Auge) German Song Reichardt
8108 Chorus from Opera “Rienzi” (Jauchzet ihr Thaler) (1840) Richard Wagner
8109 Your Savior (Deinem Heiland, Geistliches Lied (Spirtual Song) (1781) Johann Michael Haydn
Bruno, Waltz C. Schwerin
8111 Holy God, We Praise Thy Name (Grosser Gott wir loben dich), (1852) German Hymn Heinrich Bone
8112 The Rat Catcher (Der Rattenfaenger) (1898) Robert Engelhardt & Adolph Neuendorff
8113 On The Beautiful Rhine (Am wunderschoenen Rhein) Discs A & B are the same, C is
different
Rud. Forster
8114 The Gipsy Queen, Rhinelander (Die Zigeunerkoenigin) Paul Linke
Calife of Bagdad Overture (French Comic Opera) (1800) Adrien Boieldieu
8116 Moravo, oh Mahren (Moravia, Moravia) (Czech patriotic song) (from Bohemian folk
songs)
Vaclav Hanka
8117 Mussian March (AM II 248) (1882) Carl Carl
8118 King Grove Waltz (J. Kongeluden Vals. ) Chr. Jensen.
8119
Sweet Marie, waltz (1893) Raymom Moore
8121 Side Walks Of New York (1894) Charles B. Lawlor
8122 The Honeymoon March (1894) George Rosey (aka George Rosen-
burg)
8123 The Brave Soldier (Landsoldaten) (1848) (Danish Patriotic Song) Emil Hornemann
8124 Listen To The Mocking Bird (1855) Richard Milburn
Old Hundred, Hymn James J. Freeman
8126 The Liberty Bell March (1893) John Phillips Sousa
8127 Anna Waltz, from the Operette “La Chansonette” (1894) Rudolf Delinger
8128 But There Are Others, Bicycle Song Ed. Wolsieffer
8129 Southern Railway March (1895) (Written for Cotton States and International Exposition)
Wm. C. Rehm
* The Washington Post March (1889) John Phillips Sousa
8131
8132 Home Sweet Home (1823) Henry Bishop
*no-expression
January/February 2018 MECHANICAL MUSIC 33
No. Title (From disc label, w/ English translation where known) Composer
8133 Auld Lang Syne, Old Scotch Song (Words from poem by Robert Burns in 1796) Wm. Clifton
8134 Rákóczi March (Rakoczy Indulo in Hungarian) (1846), early Hungarian National
Anthum
Hector Berlioz
8135 The Directorate March (1894) John Phillips Sousa
8136 The Manhattan Beach March (1893) John Phillips Sousa
8137 Private Thommy Atkins (English Music Hall Song) (1893) Samual Potter
8138 Strolling Round The Town or The Rickety Rackety Crew (1893) Harry Castling
8139 And her golden hair was hanging down her back (English Music Hall Song) (1896) Felix Mc Glennon
8140 Lueger Marsch (1897) Written in honor of Karl Lueger, famous Mayor of Vienna Ed Nerradt
8141 Washed In The Blood of the Lamb, Hymn (1870) Tillius C. O’Kane
8142 The Ship I love (1893) Felix Mc Glennon
8143 Jesus Lover of My Soul, Famous Hymn (1834) (Words by Charles Wesley 1740) Simon B. Marsh
8144 The Blood of the Lamb, Hymn (1881) Henry S. Perkins
8145
8146
8147 Down The Road (English Music Hall Song) (1893) Fred. Gilbert
8148
8149
8150 There’s a Picture for You (1894) Charles Obsorne
8151 Impudence, Schottische Alan Macey
8152 Ben Bolt, “Oh! Don’t You Remember!”, Ballad (1848) Nelson Kneass
8153 Sunshine of Paradise Ally (1895) John W. Bratton
8154 Our Johnny! C. Scott (Probably Cyril Scott)
8155 Sun of my Soul, Thou Savior Dear (Old hymn) Paul Ritter
8156 Glory to Thee, My God (1500’s) (Christmas Hymn) (Type III disc arrangment- A&B
same, C different)
Thomas Tallis
8157 Emmet’s Lullaby (1878) Joseph K. Emmet
8158 A Gaiety Girl- from Sunshine Above (1893) Sidney Jones
8159 * My Pearl’s Bowery Girl (1894) Andrew Mack
8160 Beau Ideal March (1893) John Phillips Sousa
8161 The High School Cadets March (1890) John Phillips Sousa
8162 Darkie’s Deam song (1890) George L. Lansing
8163 “Trust-Look-Whom”, Waltz (alt Take Care In Whom You Trust) (Trau, Schau, Wem)
(1895)
Johann Strauss Jr.
8164 O Come All Ye Faithful (Adeste Fidelis) (1751) (Christmans Carol) John Francis Wade
18002 El Captain March (1895) John Phillips Sousa
18003 My Old Kentucky Home (1852) Stephen Foster
18004 Spanish Waltz (Espanita Waltz) (1895) George Rosey (aka George Rosenberg)
18008 O Promise Me (1887) Reginald de Koven
18009 Spring Song Felix Mendelssohn
18011 Turkish Patrol March (1885) Frank White Meacham
18013 Old Folks At Home (Swanne River) (1851) Stephen Foster
*no-expression
34 MECHANICAL MUSIC January/February 2018
No. Title (From disc label, w/ English translation where known) Composer
18014 La Marseillaise (1792) (French National Anthem) Claude Joseph Rougt de Lisle
18015 Narcissus (1891) Ethelbert Nevin
18020 Marching Through Georgia (1865) Henry Clay Work
18022 The Last Hope, Melody (1854) Louis Moreau Gottschalk
18023 Minuet (Menuet) Johann Bach
18027 Stars and Stripes (1896) John Phillips Sousa
10828 Mecican Butterfly Dance (Schottische) (1900) Tom Clark
10832 American Patrol (1885) Frank White Meacham
18033 We’ll laugh and sing (all our cares away) from the Opera La Traviata- The Fallen
Women (1853)
Giuseppe Verdi
18035 Tyroliene from Willian Tell (1829) Giacchino Rossini
18039 Star Spangled Banner (1776 for music, 1814 for lyrics by Francis Scott Key) John Stafford Smith
18045 Pilgrims Chorus from Opera Tannhauser (1845) Richard Wagner
? Ah! May Heaven Grant You Pardon (Ah! che a voi perdoni Iddio) Quintent from Opera
Martha (1847)
Friedrich von Flotow
? Oh Could I Again So Love (Ach koennt’ ich noch einmal so lieben) “May Waltz”
(1900)
Wilhelim Alter
? The Charming Miller’s Wife (Reizende Muellerin) (Gesangswaltz-A Singing Waltz)
(partial number ?514)
Otto Teich
? * The Anvil Polka (Amboss Polka) (Opus 91) (1864) Albert Parlow
*no-expression
January/February 2018 MECHANICAL MUSIC 35
Organ Grinders, the Mayor
and Cartoons of the 1930s
Robert F. Penna, Ph.D.
When considering the disappearance
of street or barrel organs, many
people often lay blame on New York
City Mayor Fiorello La Guardia as the
man who banned them from the city
and ultimately destroyed a cultural
institution. When La Guardia refused
to renew street organ grinder licenses
in 1936, many of the barrels that contained
a record of the popular music of
the day were destroyed as the grinders
were rousted from the streets by law
enforcement. Many times the loss of
a barrel meant there was no longer
any trace of the songs recorded on
it. Before the invention of the record
player, these were the only recordings
of the music of the era.
It is less well known that New York
City was only one of several cities
to declare these automatic musical
instruments and the practice of grinding
them illegal. Many cities in the
United Kingdom also had ordinances
prohibiting organ grinders. Authorities
often encouraged policemen to
treat the grinders as beggars or public
nuisances.1
According to Arthur W.J.G. Ord-
Hume, the disappearance of organ
grinders from European streets was
in large part due to the early application
of national and international
copyright laws. At the end of the 19th
and the beginning of the 20th century,
European publishers of sheet music
and the holders of copyrights to the
most popular operatic tunes of the
day often banded together to enforce
collection of performance duties from
1 https://en.wikipedia.org/wiki/
Street_organ
Photo courtesy Library of Congress
Depictions of organ grinders in the media were often not flattering.
any musician playing their property in
any venue. When faced with notaries
and the hounding of legal representatives
of the music industry of the time,
organ grinders began to disappear.2
It was only through the involvement
of First Lady Eleanor Roosevelt that
the organ grinder lasted in Washington,
DC, until the late 1940s. According
2 Ord-Hume, Arthur W.J.G. Barrel Organ:
The Story of the Mechanical Organ And Its
Repair. South Brunswick, New Jersey: A.S.
Barnes, 1978.
to a Dec. 9, 1936 Post article, Pietro
“Pete” Battaglioli, who for 20 years
had earned a living from passersby
who gave him pennies, nickels and
dimes to hear songs such as “Dixie”
and “Funiculi, Funicula,” was stopped
by police. They charged him with
solicitation of alms. A friend of the
organ grinder reportedly wrote a letter
about the man’s plight and sent it
to First Lady Eleanor Roosevelt, who
then used her influence on his behalf.
District Commissioner Melvin Hazen
36 MECHANICAL MUSIC January/February 2018
overruled the police and awarded a
license to Pietro. “Organ grinding is no
crime,” Hazen explained to the newspaper.
“If people want to give the man
something now and then, I don’t think
that constitutes solicitation of alms.”
Battaglioli, who complained that the
phonograph and the radio were unfair
competition, continued working the
streets until his death shortly after
World War II.3
It would appear that a large number
of people disagreed with the bans
and still missed the street organ even
after Mayor LaGuardia dismissed
them as public nuisances citing various
reasons for his actions. Among
his reasons for the ban were that the
playing of these instruments endangered
children by placing them close
to automobile traffic. He also argued
that organ grinders encouraged
begging, and, as the vast majority of
the organ grinders in New York were
Italian, they were the pawns of Mafia
gangsters who rented them their
instruments and locations.4
According to some sources,
however, there was another, more
personal, reason for the ban. LaGuardia’s
parents were both born in Italy
and, living in Prescott, AZ, he had
not experienced prejudice until an
incident occurred which scarred him.
As described in his autobiography,
“I must have been about 10 when a
street organ-grinder with a monkey
blew into town. He, and particularly
the monkey, attracted a great deal of
attention. I can still hear the cries of
the kids: ‘A dago with a monkey! Hey,
Fiorello, you’re a dago too. Where’s
your monkey?’ It hurt. . . The kids
taunted me for a long time after that.
I couldn’t understand it. What difference
was there between us? Some
of their families hadn’t been in the
3 Kiger, Patrick. “Organ Grinders and
Their Monkeys Entertained on DC Sidewalks.”
August 4, 2015. Located at: http://
blogs.weta.org/boundarystones/2015/08/04/
organ-grinders-and-their-monkeys-once-entertained-
dc-sidewalks
4 Yavner, Louise. “Why La Guardia Put an
End to Organ Grinding,” letter to the editor
of The New York Times, January 5, 1982. Ms.
Yavner was the president of the La Guardia
Centennial and his former Commissioner of
Investigation,
Photo courtesy New York Public Library
In this depiction, a butler pays an organ grinder to stop playing and go away.
country any longer than mine.”5
For movie audiences of the 1930s,
the organ grinder was immediately
recognizable even though they were
disappearing on the streets. Cartoons
from Fleischer Studios and Warner
Brothers demonstrated the barrel
organ’s continuing appeal to the pub
lic. In addition to reviving the nostalgia
of the organ grinder, the animators
incorporated the new music style of
jazz. In many cartoons, jazz is often
introduced coming from the barrel
5 Roberts, Sam, “City Room; How Bias in
Arizona Spelled an End for New York Organ
Grinders. The New York Times. August 3,
2010.
organ, although jazz was not known to
have been played by historical organ
grinders. Combining jazz and barrel
organs became possible within the
imaginative realm of the cartoon.
This mixing of fantasy and memory
extended not only to the musical
but to the visual realm as well. The
capuchin monkey, although no longer
a fixture of the street, was now
restored to its place alongside the
organ grinder. Banished as a result of
strict health regulations, the creature
was a boon to animators who were
expected to provide a near constant
supply of humorous visual gags. The
antics of the monkeys, which included
January/February 2018 MECHANICAL MUSIC 37
The opening screen of “The Organ
Grinder” a 1933 cartoon short depicts
an Italian immigrant organ grinder and
his monkey companion
scat singing, dancing, and the playing
of musical instruments, are rife with
allusions to jazz and jazz musicians.6
The author of this article selected
three cartoons as interesting examples
of the depiction of the organ grinder.
Warner Brothers’ The Organ Grinder,
and two Fleischer Studio shorts, My
Friend the Monkey, and Organ Grinder’s
Swing provide us with insights
into the general public’s attitudes
and appreciation of the organ grinder
and his monkey. Some if not all three
cartoons are readily accessible on
Youtube.com. See footnotes.
In The Organ Grinder, a 1933 short
that was part of Warner Brothers’
Merry Melodies series, an overweight,
jovial Italian organ grinder cranks his
instrument as he navigates city streets
with his monkey. As the animators
were contractually obligated to use a
Warner song as the title song in each
of their shorts, the cartoon featured
a song from the Warner song catalog
entitled “The Organ Grinder” with
music by Sam Stept and lyrics by Herb
Magidson.7
The organ grinder accompanies his
instrument by singing the verse and
chorus of the song. In the meantime,
the monkey collects money from
6 Michael Accinno, “Organ Grinder’s
Swing: representations of street music in New
York city, 1850-1937.” Doctoral dissertation:
University of Iowa 2010. pp92-93
7 Daniel Goldmark, “Happy Harmonies:
Music and the Hollywood Animated Cartoon”
(Ph.D. diss., University of California, Los
Angeles, 2001), 20. The study was later
released as Tunes for ‘toons: Music and the
Hollywood Cartoon (Berkeley: University of
California Press, 2005).
Scenes from the 1939 Betty Boop short cartoon show a more romanticized version
of an Italian organ grinder and his dancing, monkey companion.
pedestrians and tenement dwellers,
all the while engaging in a variety of
visual gags such as “unzipping” the
peel of a banana and wheeling himself
across a clothesline by jumping into a
pair of hanging underwear. The scene
is populated with characters who
happily hum, scat, and sing along to
the title song, a light-hearted, tuneful
melody written in a swing idiom.
The monkey is depicted as a talented
performer. He plays a more
improvisatory style in the midst of his
intrigued and appreciative audience.
When a group of children arrive on
the scene to watch the duo of street
performers, the organ man instructs
the monkey to “get hot.” The organ
38 MECHANICAL MUSIC January/February 2018
Two scenes from the cartoon short titled Organ Grinder’s Swing featuring Popeye,
Bluto, Wimpy and Olive Oyl.
begins to grind out the title song at a
heightened rhythmic pace, its timbre
becoming even more exaggerated in
order to mimic the wheezy, out-oftune
sound of an actual barrel organ.
The monkey begins to prance
around and parody several celebrities—
including homages to comedy
duo Laurel and Hardy and to Harpo
Marx complete with a wig and a harp.
The monkey then proceeds to give
a fantastical performance played
simultaneously on several instruments
including the clarinet, piano,
accordion, and snare drum.8
Although produced by a different
team at New York-based Fleischer
Studios, the 1939 Betty Boop short
My Friend the Monkey depicts the
public’s appreciation of the organ
8 Michael Accinno, “Organ Grinder’s
Swing: representations of street music in New
York city, 1850-1937.” Doctoral dissertation:
University of Iowa 2010. pp95-98
grinder and his monkey. In this short,
Betty Boop is entertained by an organ
grinder and his monkey who entertain
outside her apartment playing a simple
waltz. When Betty asks the monkey to
dance, the grinder flips a switch on the
organ and plays a jazz tune. The monkey
immediately begins scat singing.
Having gained the attention of Betty,
who briefly scats back, the monkey is
invited into the apartment to play with
Betty’s pet dog. As Betty negotiates
to buy the monkey with “Mr. Organ
Man,” her dog and the monkey have a
typical cartoon battle. Unfortunately
for the pup, Betty buys the monkey
leaving the dog in shock.
Also produced at Fleischer Studios,
the 1937 short Organ Grinder’s
Swing also demonstrates the public’s
fondness for the organ grinder and
his monkey. Set in New York and
chronologically close to La Guardia’s
legal action, it helps us gauge the public’s
attitudes toward the ban of street
organs. In the cartoon, Popeye and his
nemesis, Bluto come to blows over the
presence of an organ grinder. Wimpy,
often depicted as a lazy individual
with a voracious appetite, appeared in
front of their apartment building with
his monkey.
While the barrel organ plays a
catchy tune, Popeye and Olive Oyl
dance to the tune being played on the
organ. Soon Bluto brusquely implores
the organ grinder to “cut out that
racket and get outta here!” Popeye’s
response—“Music is good for yous,
and I says he stays”— illustrates the
characters’ basic disagreement over
the difference between noise and
music. Simply substitute Popeye
for the public and Bluto for Mayor
LaGuardia, and one can readily surmise
the special humor of this piece
for the 1930s audiences.
For all those who remember the
Popeye cartoons, the typical fisticuffs
between Popeye and Bluto take place.
Bluto’s negativity towards the organ
grinder leads to the confrontation
with Popeye. Whimpy and the monkey
are Bluto’s initial targets. However,
Popeye intercedes and Olive Oyl and
the monkey join in. Bluto destroys the
barrel organ by repeatedly jumping
upon it. Fortunately, a can of spinach
January/February 2018 MECHANICAL MUSIC 39
delivered by the monkey turns the
tables on Bluto. At one point, Bluto
ends up on a clothes line in ladies
knickers. The final scene sees Bluto
smashed into a player piano with
Popeye using his arm as the crank to
play music much to the delight of the
movie-going audience.
The conclusion of Organ Grinder’s
Swing symbolically demonstrates a
reversal of restrictions against street
organs and their players. The average
citizen (Popeye) punishes Bluto
(Mayor LaGuardia) for the extinction
of the “people’s musicians.” The
mayor is portrayed as an oafish bully
picking on the organ grinders and
their monkeys and, of course, anyone
who would defend them. This poetical
justice is evident in the symbolic act
of Bluto becoming part of a human
barrel organ played by Popeye.9
9 Michael Accinno, “Organ Grinder’s
Swing: representations of street music in New
York city, 1850-1937.” Doctoral dissertation:
University of Iowa 2010. pp101-102
Although the organ grinder was banished
from our streets, the nostalgia
of his presence remains. The organ
grinder is in our collective imagination.
He is instantly recognizable by
everyone. He crops up in the background
scenes of movies, cartoons
and television. Despite being exiled,
the organ grinder and his music were
never completely silenced.
Watch the cartoons online
The Organ Grinder – viewable at: http://looneytunes.wikia.com/wiki/File:The_Organ_Grinder_(1933)
My Friend the Monkey – viewable at: https://www.youtube.com/watch?v=9XE5rx3j5ks
Organ Grinder’s Swing – viewable at: http://www.dailymotion.com/video/xkbmjo
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Jean-Claude Piguet’s compilation of two separate works chronicles the development of the musical
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this fascinating story describes the erratic fortunes of the people who were involved, their companies,
and the social and economic climate they endured. An outstanding and important work,
originally in French, now in English.
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SPECIAL: $10 PPD U.S.A.
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The Golden Anniversary Book
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A pictorial and editorial walk through 50 years of
and will encourage
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Additional shipping charges for 1st class U.S. or airmail foreign shipments are shown on the checkout page.
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Prices subject to change.
40 MECHANICAL MUSIC January/February 2018
An introduction to Mechanical Music
Recently, the Association of Musical the wide-range of items that people in with MBSI and will be
Box Collectors (AMBC) in the United musical box societies often collect. published a few pages at
Kingdom produced a wonderful book Written by Paul Bellamy and Juliet a time in Mechanical Music, for the
let introducing many different types of Fynes, with additional materials con enjoyment of all our members, both
mechanical musical instruments and tributed by Ted Brown and design/ new and long-time veterans.
providing brief descriptions of each for photography work by Chris Fynes, this For more information, visit the
people who might be unfamiliar with booklet has been generously shared AMBC website at www. ambc.org.uk
An introduction to Mechanical Music
Golden Gate Chapter
Harpist Pamela Scholz treats guests to
an afternoon of live entertainment.
Chair: Richard Hughes
Reporter: Jenny Hoyt
Photographer: Jonathan Hoyt
Nov. 12, 2017 – Santa Clara, CA
Members of the Golden Gate Chapter
gathered for our fall meeting at the
home of Greg and Chris Hopwood. The
meeting was held on Nov. 12, and was
attended by approximately 20 established
members. The Hopwood’s home
is situated in the hills of the southern
Santa Clara valley, overlooking the
nearly full Anderson reservoir.
Although the Hopwoods do not have
automatic musical instruments at their
home, guests were still very much
entertained. In fact, Chris arranged
for one of the most terrific musical
surprises the chapter has ever enjoyed,
live music from a professional harpist!
Pamela Scholz played both classical
and contemporary pieces on her Salvi
Sinfonietta harp. Pamela is a member
The chapter members gathered for a brief business meeting.
The hospitality of meeting hosts Greg and Chris Hopwood is the only thing better
than the incredible view from their home.
of the South Valley Symphony, and has
been playing since 1988. Additionally,
David Corkrum brought a Mermod
Freres Harp-Piccolo cylinder box, ca.
1877, from his collection for the group
to enjoy. He and Pamela had hoped
that she and the music box could play
a duet, but this did not work out..
The Hopwoods created an atmosphere
of relaxation as the afternoon
began with an opportunity to grab a
glass of wine and mingle with friends,
while enjoying the live music. In time,
everyone settled in for a delicious
meal, which was followed by a brief
business meeting. The meeting
adjourned, and guests were again free
to wind down through the evening by
enjoying more delicious food, conversation
with good friends and, of
course, the incredible view from the
Hopwood’s home.
The chapter would like to express
our sincere thanks to Greg and Chris
for welcoming us into their beautiful
home and for arranging an afternoon
of such lovely entertainment. Their
warm hospitality made this gathering
a truly unique, memorable and relaxing
one.
Sunbelt Chapter
Co-Chairs: Ray Dickey and
Julian Grace
Reporter: Mary Grace
Photographer: Mary Grace
Mar. 25, 2017 – Houston, TX
Our spring meeting was hosted by
Philip and Sandra Smith in their lovely
Houston, TX, home filled with wonderful
antique music boxes, as well as
antique furniture, art glass, American
Brilliant cut glass rare lamps, Victorian
silver pieces and many carved
wooden art objects.
The Smiths have collected antiques
from all over the world and display
them in an attractive and comfortable
setting. Their music boxes and
machines are displayed on the first
and second story of their home, as
well as in a music room located in an
outside building.
The collection includes automata,
cylinder and disc machines, organs
and time pieces.
The chapter meeting was conducted
by Chapter Co-Chairs Dr. Ray Dickey
and Julian Grace. There were 16
Sunbelt members in attendance, some
traveling from as far away as San
Antonio and Bulverde, TX
Sandra Smith prepared a lovely table
for the Sunbelt Chapter members,
filled with delicious and tempting
treats. She definitely has a gift for
creating beautiful and tasty canapes
and snacks. Not only a lovely hostess,
Sandra is also very knowledgeable in
the source and history of her antiques
and seems to enjoy sharing the stories
behind many of her treasures.
Before and after our business meeting,
Philip gave an interesting tour
of their home, playing some of their
machines and telling the stories that
so often go with them.
He was eager to answer questions
asked by the members and share the
favorite “The Hunt” escapades we all
love to hear.
Chapter members gathered for a group photo.
Host Philip Smith (left), with chapter
co-chairs Julian Grace (center) and Ray
Dickey.
Host Sandra Smith (left) with Jennifer
Elmendorf-Lehman (center) and Ethel
Bowman.
Chris and Judith Klinetob. Steve Cunningham.
The Sunbelt Chapter members their home for such a lovely afternoon
extend warm and sincere gratitude to meeting and also for their participation
Philip and Sandra Smith for opening up in the Sunbelt Chapter.
National Capital Chapter
Chair: Sally Craig
Reporters: Donna and Gene Borrelli
Photographers: Gene Borrelli and Paul
Senger
Oct. 22, 2017 – Gaithersburg, MD
The National Capital Chapter held
its fall meeting at the home of Beni
and Matt Jaro in Gaithersburg, MD, on
Sunday, Oct. 22, 2017. There were 33
members in attendance. Following a
buffet lunch, the meeting was called
to order by Chapter Chair Sally Craig.
The meeting focused on preparations
for the 2019 MBSI Annual Convention,
which will be hosted by the National
Capital Chapter. Paul Senger conducted
the election of chapter officers.
New officers elected are Chair Matt
Jaro, Co-Vice Chairs John Wells and
David Burke, Treasurer Florie Hirsch,
and Co-Secretaries Donna and Gene
Borrelli.
Matt and Beni have an extensive collection
of mechanical music including
a Seeburg K (with xylophone), a
Seeburg G, and a Seeburg H. They also
have a Nelson-Wiggen 4x Orchestrion,
a Wurlitzer 153 Band Organ, and a 1926
Chickering Ampico piano. Together
with chapter member Dick Hack, Matt
recently designed and installed a MIDI
Host Matt Jaro explains the new Western Electric Mascot C to Richard Simpson.
The joy is evident on Matt Jaro’s face as
he conducts a demonstration of the new
Western Electric Mascot C.
A detail shot of the beautiful restoration on the Western Electric Mascot C.
Paul Senger, Bob Goldsmith, Richard Simpson and David Burke enjoying the collection tour. Wurlitzer 153 and Mascot in
background.
The Jaro’s new, beautifully-restored Western Electric Mascot Our hosts Beni and Matt Jaro with Sally Craig ready to cut the
C nickelodeon. theme cake.
46 MECHANICAL MUSIC January/February 2018
Paul Senger admires the more elegant roll mechanism in the
Western Electric compared to the parent Seeburg machines.
Paul Senger admires the more elegant roll mechanism in the
Western Electric compared to the parent Seeburg machines.
Don Lundry looks on in background. Jack Hardman performs a serious piece on the grand piano.
system for the Seeburg H, which Matt
demonstrated for the group. He also
played his recently acquired Western
Electric Mascot C, which he had fully
restored as well as several of their
other instruments.
Following the mechanical music
demonstration, the group retired
downstairs to the film theater. We had
the opportunity to view the video for
the 2018 MBSI convention in Detroit,
MI, as well as vintage cartoons, a 1963
newsreel, and several comedy shorts.
The NCC Holiday meeting will
be held at the home of Cheryl and
Dick Hack on Dec. 3, in Annapolis
Maryland.
Donna Borrelli, Paul Senger and Bob Goldsmith watch as Matt explains his new
MIDI system on Seeburg H
Settled in with popcorn, candy and sodas, chapter members are ready for some fun movies.
January/February 2018 MECHANICAL MUSIC 47
Southeast Chapter
Chair: Judy Miller
Reporter: Margery Sanford
Photographer: Howard Sanford
Nov. 3-5 – Largo, FL
Largo, the fourth largest city in the
Tampa Bay, FL, area, was the gathering
place for the Southeast Chapter of
MBSI on Nov. 3-5, 2017. What a wonderful
time we all had. The weather
was gorgeous and the weekend activities
were well planned.
A short business meeting was held
on Friday night for the 37 registrants,
which included three new members
who were heartily welcomed to
the chapter. The new members are
Dwight Porter and Dorothy and Burt
Kalet. Three major honorees were celebrated:
First, our very own treasurer,
Clay Witt, was congratulated on his
appointment as the next president of
the national MBSI. Second, Dan Wilson,
of North Carolina, received the
MBSI President’s award for outstanding
service during his time as an MBSI
trustee. And third, Mary Ellen Myers
was named a new trustee of the MBSI
national organization. It was further
announced that Mary Ann Hostetler
will take over editing the chapter
newsletter, the Rag. There will be no
charge for members’ classified ads.
Lastly, Chapter President Judy Miller
described a very successful exhibit
for a group of home schooled students
which she organized and conducted.
She has provided a write up on that
event elsewhere in this journal.
Members were then encouraged to
attend and bring instruments to the
Christmas show at The Villages, FL.
Exposure to the public is very high
at that time since around 650 people
come each of the two days it runs.
Saturday was spent at Largo Central
Park for a well-attended organ rally
and opportunity to ride miniature
railroads. The trains are one-eighth
of full size and run through the park
for about one mile. One of the steam
Howard Wyman with his Wurlitzer Band organ replica.
John Martin (left) and Dwight Porter with a Raffin organ (and capuchin monkey).
Martin Van Zanten with his model steam locomotive. Craig Darlak cranks an organ to entertain visitors.
Cotton Morlock plays his roll-operated trumpet. Marylou Van Zanten with a Pell Organ in the park.
January/February 2018 MECHANICAL MUSIC 49
Julie and Cotton Morlock with a Celestina organ.
Bill and Claire Zaiser take their turn at the monkey organ.
Howard Sanford and his monkey entertain park visitors.
Wayne and Mary Ellen Myers with an organ in an easy-to-maneuver
wagon.
Norman Bauer takes a turn with the Raffin organ. Another of the small-scale locomotives on the rails.
50 MECHANICAL MUSIC January/February 2018
engines is owned and operated by chapter member Martin
VanZenten.
On Sunday, three open houses were held. The first was
at John Martin and Norm Bauer’s. Their home is filled with
mechanical music, stained glass and other collectibles,
notably chocolate pots. The second was at long-time member
Tom Bristow’s to see his 27-inch Regina Changer and
18½-inch Mira Console plus a vast collection of treasures.
The third was at Howard Wyman’s of Valrico, FL, where his
self-built Wurlitzer 105 band organ and other instruments
were played.
Upcoming chapter events include Jan. 12-13, 2018, in
Sarasota, FL, where we were invited to join the circus
Showfolks as we did last year. And Jan. 26 -27, 2018, in
Jacksonville, FL, when the irrepressible Cotton and Julie
Morlock will host with silent movies, accompanied by
our own talented Steve Brittain and a Magic Lantern Tour
of 1934 Europe. The big welcome is out for all friends,
snowbirds, tourists to join us at every event. So do come
on down!
Tom Bristow with his Mira disc box.
Elaine Goldy cranks a monkey organ while her cheerful com-
panion smiles from underneath.
Tom Bristow and his colorful phonograph horn.
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
January/February 2018 MECHANICAL MUSIC 51
Southern California
Chair: Robin Biggins
Reporter: Linda Birkitt
Photographer: Lowell Boeland
Oct. 14, 2017 – Wrightwood, CA
The MBSI meeting for October was
held in the idyllic town of Wrightwood,
CA, at the home of Jerry Pell and Diane
Minzey. You could never have planned
a more quixotic day weather-wise for
a MBSI meeting!
This meeting was a joint meeting
with an Automatic Musical Instrument
Collectors’ Association (AMICA)
chapter. Don Henry chaired the
AMICA meeting and Robin Biggins
chaired the MBSI meeting. After a
lively socialization period, Don Henry
called the AMICA members to order
followed by Robin Biggins doing the
same for MBSI. Forty-five members
put in an appearance for the joint
meeting. No guests were present at
this meeting. Potential guests missed
out on a great time. There were no
new members at this meeting. No
treasurer’s report was forthcoming as
Bob Lloyd was not in attendance.
Robin thanked Jerry Pell and Diane
Minzey for their gracious hospitality.
The members brought homemade
apple pie, pumpkin pie, chips and dips,
carrot cake, and cookies. Jerry and
Diane furnished libations. As a side
note, Don Henry informed the group
that he will be moving to Albuquerque,
NM, but said he would host a meeting
there after he is settled. That would be
great!
Frank Nix hosted a Christmas Party
on Dec. 10, 2017, for both AMICA and
MBSI members. It was announced
that the AMICA Annual Convention
will be held Jun. 3, 2018 in the Black
Hills of South Dakota.
Robin announced with sadness that
Jay Carsman has resigned his post as
secretary of the Southern California
MBSI chapter, as he has not been
recuperating as fast as he thought
he might from a recent surgery. On
Our gracious hosts, Diane Minzey and Jerry Pell.
Robin Biggins conducts the MBSI business meeting.
Mar. 16, 2018, there will be a mid-year Mar. 17, 2018.
MBSI Trustees meeting at the Musical Jerry Pell announced he had two
Instrument Museum in Phoenix, AZ. new Ampico rolls for sale that were
The trustees will meet first on Mar. re-cut by Tim Baxter to sell for $20.
16, 2018 with the regular Southern The rolls play Fingal’s Cave Overture
California Chapter meeting starting by Felix Mendelssohn with four-hand
Chapter members paused for a group photo in the wonderful weather of Wrightwood, CA.
One of two surviving Gebruder 67-keyless scale organs in the world. More
details about this organ are found in the information plaque at right.
January/February 2018 MECHANICAL MUSIC 53
The music room with Herb Mercer and Ralph Benitz. A closeup of the Seeburg C shows the art glass and inner
workings of the machine.
Robbie Rhodes entertains on the beautiful 6-foot 1-inch
Andrew Barrett plays the Seeburg C. Mason & Hamlin RAA piano.
Guests listen to a rare Wilcox & White piano with the “Artrio” reproducing mechanism.
54 MECHANICAL MUSIC January/February 2018
arrangement. These are Ampico B
model coded rolls but can also be
played on an Ampico A model piano.
We are planning a meeting for February
for MBSI with date and location
to be determined. Check the MBSI
website at www.mbsi.org for details.
There being no further business for
the chapter to discuss, the meeting
was adjourned. Chapter members
continued to enjoy each others’
company as well as to delight in the
music played by Robbie Rhodes and
Andrew Barrett. Subsequently, 16
members traveled the short distance
to downtown Wrightwood to enjoy a
wonderful Mexican meal.
A great big thank you to Diane
and Jerry for the lovely time in the
mountains.
Everyone enjoyed a wonderful spread of food. Pictures (from left to right) are: Ardis
Prescott, Phyllis Goetz, Dick Goetz, Don Henry, Joanna Boehland, Joel Feldman,
Robin Biggins and Cathy Feldman.
Jerry Pell conducts a tour of his workshop where it appears a rather large project is still in the works.
January/February 2018 MECHANICAL MUSIC 55
In Memoriam In Memoriam
Kathleen “Kathy” Kananen
By Hope Rider
We were all sorry to hear that longtime
MBSI member Kathleen (Mrs.
David Kananen), recently passed
away.
David and Kathleen’s home was in
rural Napoleon, OH, which is near
Bowling Green State University.
At Bowling Green they learned the
competitive sport of curling, which
consists of sliding a heavy stone
along an alley made of ice toward a
target while sweepers help guide the
stone by sweeping the ice in front
of the stone with brooms. Curling
is now an Olympic sport. David and
Kathleen competed on the ice for 20
years.
During their 54 years together, they
also participated in MBSI, several
international meetings, monkey organ
rallies and band organ rallies. They with their neighbors as the Kananen’s Kathy will be missed, not only by
could often be seen in top hat and home has a lovely blueberry patch her husband and family but also by
straw hat to entertain many rally visi-nearby. their many friends in their MBSI and
tors with their Pell street organ. Kathy is survived by her husband, associated organizations as well as
Spring kept them busy and popular two daughters, and one son. their many neighbors.
David and Kathleen Kananen in 2007 with their Pell street organ.
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56 MECHANICAL MUSIC January/February 2018
In Memoriam In Memoriam
Louise Brown Alden Cassity
By Paul Senger
Louise Cassity passed away on
Jun. 29, 2017, at the age of 94, at
Briar Meadow assisted living home in
Derwood, MD, where she lived for the
last nine years. She was born on Feb.
27, 1923, in a farm house in Denton,
MD, one of a family of 10 children.
She was married to Raymond C.
Alden, a minor league baseball umpire
who predeceased her. Her second
marriage was to Allen Cassity in 1998.
She is survived by Allen, a son and a
daughter, three sisters, one brother,
many nieces and nephews, and other
extended family.
Louise received her undergraduate
degree from Bridgewater College and
a master’s degree from the University
of Maryland cum laude in education.
She had a long career as a teacher in
Montgomery County, MD, spanning
from 1942 to 1979.
Allen and Louise Cassity have been
members of MBSI and the National
Capital Chapter for more than 20
years. They are regular participants
at chapter meetings and national
conventions.
She was active in many organizations
during college and serving
as an officer or on committees at
Hughes United Methodist Church,
Methodist Women, 4-H, Alpha Delta
Kappa (ADK) (International Honorary
Organization for Women Educators),
Retired Teachers, Interfaith Training
Network and others.
A memorial service was held in
Olney, MD on Oct. 10, 2017, led by
Rev. Dr. David McAllister Wilson,
President of Wesley Theological Seminary.
She was praised by members
of ADK, Montgomery County Public
Schools Retirees Association, friends
and neighbors for her teaching,
organizational, and financial skills.
She developed a unique financial
handbook for retired teachers titled
The Business of Living and Dying for
Montgomery County Public School
Employees. She was remembered as a
playwright and actress for the skits she
conducted for the ADK conventions.
Contributions may be made
to Wesley Theological Seminary
Scholarship Fund, Alpha Delta
Kappa Sorority Scholarship Fund,
Montgomery County Retired Teachers
Scholarship Fund, St. Jude’s Children
Hospital or Bridgewater College.
Merriel Ann Bellamy
By Paul Bellamy
My wife, Merriel Ann Bellamy was
a joint MBSI member but only visited
one convention because she disliked
long-haul air travel. She was active
with me in the UK when we were joint
members of a number of UK mechanical
music societies.
She suffered for a number of
years with a degenerative dementia
condition that took away her
power of speech and eventually,
movement. Despite this, her memory
remained intact as did her wonderful
spirit which enabled her to enjoy
mechanical music meetings until the
final moment, Aug. 17, 2017.
Instead of flowers, I asked for
donations to be made to the Imperial
College, London, the department of
Brain Science. The result was a wonderful
and practical tribute by those
who knew her and raised over £1,600,
every cent of which will be put to use
without the deduction of management
fees or overheads.
The total amount is expected to
be over £2,000 with the added bonus
of a UK tax rebate on that sum of 25
percent.
Condolences
MBSI would like to convey its
condolences to the families of the
following members who passed
away.
Ann Wilson, wife of Charles Wilson,
of Prospect, KY, who passed
away on October 9, 2017. She collected
and sold small manivelles ,
musical child’s toys, talking dolls,
and other musical items.
Norman Gan, husband of Wanda
Bryant, of Sherman Oaks, CA.
John Lewis of Pasadena, CA.
January/February 2018 MECHANICAL MUSIC 57
Regina 15½” Changer Crest
Quality carving in Oak or Mahogany – unfinished, ready to stain – $1,100.
Price includes postage within the U.S.
Nancy Fratti Music Boxes
315-684-9977 – musicbox@frontiernet.net
Ben’s Player Piano Service
Repair and restoration of air powered mechanical music
devices of all description.
Player pianos
Reproduing pianos
Dance organs
Fairground organs
Nickelodeon pianos
Original historically
Correct techniques
And materials used
Throughout in the
Rebuilding process.
Benjamin R Gottfried
464 Dugan Road, Richfield Springs NY 13439
Bensplayerservice.com 315-858-2164
SAMPLE Restorations, LLC.
Joe Smith
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58 MECHANICAL MUSIC January/February 2018
Chet Ramsay
Antiques
Complete Restoration
Services Available.
Specializing in Music Boxes
– –
Bought •
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Outside Horn Phonographs
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Music Boxes
Come visit our Victorian
showroom and workshop
East Fallowfield Twp.
2460 Strasburg Road
Coatesville, PA 19320
2 miles south of Coatesville
610-384-0514
Showroom open by appointment
2017 MBSI Annual Meeting Table Favors
Representation of a Regina disc player with two tunes available: “Whistle a Happy
Tune” and “English Country Garden.” When the key is wound, the tune plays and the
disc turns. $25 each, inclding shipping to the continental U.S. Shipping elsewhere is
subject actual shipping charges. Accepted forms of payment are PayPal, check,
and money order. Contact Bill Guimes at bill.guimes@gmail.com or call (908)
850-1986 and leave a message.Will make a nice addition to your table favor
collection. Will make an unusual holiday gift. Only 60 of each tune left!!
January/February 2018 MECHANICAL MUSIC 59
STANTON’S AUCTION ofAutomatic Musical Machines Automatic Musical Machines
Thursday, Friday and Saturday, APRIL 26, 27, & 28, 2018
PLEASE NOTE THE CHANGE OF LOCATION & DATES
To be held on the BARRY COUNTY Fairgrounds, at 1350 N. M-37 Highway, Hastings, MichiganThe fairgrounds are 6 miles northwest of Hastings, or 27 miles southeast of Grand Rapids andthe Gerald R. Ford International Airport on M-37 to the sale site.
The auction already includes the Clifford Rorrer Collection with a Rare Victor
Auxetophone, A Victor VI phonograph with matching mahogany cabinet with gold
Corinthian columns, a fine Reginaphone Style 150 serpentine case 15-1/2” disc music
box with nickel horn for playing box music box and phonograph records, other music
boxes, band organs, Symphonion grandfather’s clock with music box, many rare
examples, and an excellent selection of phonographs of all types.
We are accepting additional collections for our sale,
call for information on participating.
We offer a full-service operation that is completely insured, our rates are competitive,
and we have a background in this field that exceeds others selling items of this type.
Also, the buyer’s premium charged at our auctions is one of the lowest in the nation…
which is extremely advantageous to both sellers and buyers alike.
Plan on contacting us to discuss ourtravel schedule and have your itemsincluded in our upcoming event.
Make sure to benefit from the
national and international advertising
that will
done be over the course of the
next six months, in print, newspapers,
specialty publications, direct mailings,
and through online technology.
Steven E. Stanton
(517) 331-8150 cellular
Email – stevenEstanton@gmail.com
Stanton’s Auctioneers,
AUCTIONEERS & REALTORSSTANTON’SSteven E. Stanton
(517) 331-8150 cellular
Appraisers, & Realtors
(517) 852-0627 evening
144 S. Main, P.O. Box 146
Vermontville, MI 49096 E-mail – stevenEstanton@gmail.com
Phone: (517) 726-0181
Michael C. Bleisch
Fax: (517) 726-0060
(517) 231-0868 cellular
E-mail: stantonsauctions@sbcglobal.net
E-mail – mcbleisch@gmail.com
Website: www.stantons-auctions.com
The
Magnificence
of
Mermod
Freres
+
35
Cylinders!
(Carved undersideof lid)
Fully carved on front, top, sides,
table front and underside of lid. 17 ½” cylinders, 210 tunes!
Matching cylinder chest.
Sublime Harmony Piccolo,
Nancy Fratti Music Boxes -316.684.9977
PO Box 400 – Canastota NY 13032
musicbox@frontiernet.net –www.nancyfrattimusicboxes.com
THE MART THE MART
CLASSIFIED ADS
• 47¢ per word
• ALL CAPS, italicized and bold
words: 60¢ each.
• Minimum Charge: $11 per ad.
• Limit: One ad in each category
• Format: See ads for style
• Restrictions: Ads are strictly
limited to mechanical musical
instruments and related items and
services
• MBSI member’s name must
appear in ad
• Non-members may advertise at the
rates listed plus a 10% surcharge
PLEASE NOTE:
The first two words (or more
at your choice) and the member’s
name will be printed in all caps/bold
and charged at 60¢ per word.
Mechanical Music
Mechanical Music is mailed to all
members at the beginning of every
odd month — January, March, May,
July, September and November.
MBSI Advertising Statement
It is to be hereby understood
that the placing of advertisements
by members of the Society in this
publication does not constitute nor
shall be deemed to constitute any
endorsement or approval of the business
practices of advertisers. The
Musical Box Society International
accepts no liability in connection
with any business dealings between
members and such advertisers.
It is to be further understood that
members are to rely on their own
investigation and opinion regarding
the reputation and integrity of
advertisers in conducting such business
dealings with said advertisers.
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 MUSICAL
INSTRUMENTS By ART REBLITZ.
Award-winning classic that brings historical,
musical, and technical information to life
with hundreds of large, vivid color photos.
We guarantee you’ll find it to be one of the
most interesting, inspiring, informative books
you have in your library–or your money back.
Everyone has been delighted, and some
readers have ordered several copies. Get
your copy today for $99 plus S/H. MECHANICAL
MUSIC PRESS-M, 70 Wild Ammonoosuc
Rd., Woodsville, NH 03785. (603) 747-2636.
http://www.mechanicalmusicpress.com
WE SELL MIDI files for all style of organs, and
Band Organ music rolls for all styles. Special
Release: Style 165 Roll No. 6855 Rag Roll
Arranged by Rich Olsen $85 + $5 S/H “NEW
Christmas rolls for style 165 Roll No. 6883
& 6884” Arranged by Andrew Park $85 + $5
S/H Call us to place your order or email us for
info on our music rolls & midi files. Contact:
ANDY ADAMS, (860) 261-5923, sales@
wurlitzerrolls.com, http://www.wurlitzerrolls.
com. Gold Leaf Galleries 410 Emmett St. Unit
86Bristol, CT 06010 United States
STELLA 17 1/2 inch player, original base
cabinet, and 38 discs. Plays well/ serviced
by Roger Puls in February, 2016. Estimated
value at that time was $6000-$7000. Asking
for $3500. Images are on eBay and craigslist
(Dayton). posts. Contact: LAWRENCE
CZERNIAK, (937) 935-9829, espn009@
roadrunner.com Ohio
Display Advertising Dimensions and Costs
Dimensions 1 issue 3 issues* 6 issues*
Back Cover 8.75” x 11.25” $600 $540 $510
Inside Covers 8.75” x 11.25” $450 $405 $383
Full Page 7.25” x 9.75” $290 $261 $246
Half Page 7.25” x 4.5” $160 $144 $136
Quarter Page 3.5” x 4.5” $90 $81 $77
Eighth Page 3.5” x 2.125” $50 $45 $43
Add a 10% surcharge to the prices shown above if you are not a member of MBSI.
*Display Discounts shown above are calculated as follows:
3 consecutive ads 10% Discount
6 consecutive ads 15% Discount
ALL ADS MUST BE PREPAID
We accept VISA/MC and Paypal.
ADVERTISING DEADLINES:
The 1st day of each even month:
Feb., Apr., Jun, Aug., Oct. and Dec.
Display ads may be submitted
camera-ready, as PDF files, or with
text and instructions. File submission
guidelines available on request.
Errors attributable to Mechanical
Music, and of a significant nature, will
be corrected in the following issue
without charge, upon notification.
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.
SUBMIT ADS TO:
MBSI Ads
130 Coral Court
Pismo Beach, CA 93449
(253) 228-1634
Email: editor@mbsi.org
62 MECHANICAL MUSIC January/February 2018
STYLE 40 Regina floor model in original surface
and excellent condition. Tiger mahogany,
double comb, short bedplate, great voice,
fast/slow lever; zither attachment and 54
discs. Originally owned and sold by Ruth
Bornand. Many Christmas carols. $4,950.
Pick up or you set up shipping. Contact: JOE
MOFFITT, Email: joe.moffitt@cbmoves.com
(914) 723-2139
WANTED
WANTED: ART Case Steinway Duo-Art & Raf-
fin Organ. Contact MARTY PERSKY at (847)
675-6144 or email Marty@MechMusic.com.
WANTED: REGINA 20-3/4 inch style 39
music box in good original condition. Also
interested in acquiring a Restored Mills violin.
Contact: DON KROENLEIN, (217) 620-8650,
fbac@one-eleven.net
NEED SOMEONE to repair a Regina disc player
within a reasonable drive of Collegeville, PA.
Please email me. Contact: TARA FLYNN,
(215) 570-5925, taralflynn@comcast.net
SERVICES
REPRODUCTION POLYPHON discs; Catalogs
available for 19 5/8”, 22 1/8”, and 24 1/2”.
DAVID CORKRUM 5826 Roberts Ave, Oakland,
CA 94605-1156, 510-569-3110,
www.polyphonmusic.com
SAVE $’s on REUGE & THORENS MUSIC
BOX REPAIR & RESTORATION – MBSI
MEMBERS RECEIVE WHOLESALE PRICING.
35 + 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.
We’re the only REUGE FACTORY AUTHORIZED
Parts & Repair Service Center for all of North
America. Contact: DON CAINE -The Music
Box Repair Center Unlimited, 24703 Pennsylvania
Ave., Lomita, CA 90717-1516. Phone:
(310) 534-1557 Email: MBRCU@AOL.COM.
On the Web: www.musicboxrepaircenter.com
WHISTLER, BIRD BOX & BIRD CAGE REPAIR
Re-feathering for bird boxes & bird cages.
Repairs to bird cages, bird boxes & whistlers.
Traditional bellows recovering & repair.
Replacing rubber bellows with our own custom
made diaphragms. Fax 843 285 – 5927
Email to: jrmackay@comcast.net Contact:
RUSS MACKAY, (843) 879-9447, jrmackay@
comcast.net 257 Okehampton Drive Goose
Creek, SC 29445 United States
8TH MECHANICAL MUSIC CRUISE-TOUR
to Belgium (Brussels, medieval Bruges and
Ghent where time stood still) the Netherlands
(Amsterdam, Haarlem, Utrecht) and one-
week Viking Rhine Cruise. Mechanical music
and art museums, factories, collections. Oct
23 – Nov 6, 2018. Call Nick Lerescu: (772)882-
4032; lerescu@gmail.com Contact:
NICK LERESCU, (772) 882-4032, LERESCU@
GMAIL.COM 5652 SPANISH RIVER
RDFT PIERCE, Florida 34951 United States
ADVERTISE IN THE MART! Email your ad
to editor@mbsi.org or call (253) 228-1634
to place your ad for the January/February
2018 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
2 Renaissance Antiques
58 Bob Caletti Music Box
Restorations
58 Ben’s Player Piano Service
58 Nancy Fratti Music Boxes
59 Chet Ramsay Antiques
59 Cottone Auctions
59 East Coast Chapter, MBSI
60 Stanton’s Auctioneers & Realtors
61 Nancy Fratti Music Boxes
66 Marty Persky
67 Morphy Auctions
68 Auction Team Brekker
Our advertisers help make this publication
possible. Please visit them soon!
Advertise in The Mart
Have some spare parts or extra rolls taking up the space where you should be
installing your next acquisition?
Ready to trade up, but need to sell one of your current pieces first?
Get the word out to other collectors by advertising in The Mart, an effective
advertising tool at an inexpensive price.
Go online to place your advertisement at www.mbsi.org, fill out the form below,
or contact Russell Kasselman at (253) 228-1634 to get started.
You may also email advertisements to editor@mbsi.org
Each One
Reach One
New Member
January/February 2018 MECHANICAL MUSIC 63
OFFICERS, TRUSTEES & COMMITTEES of the
MUSICAL BOX SOCIETY INTERNATIONAL®
OFFICERS
President
Clay Witt
820 Del Rio Way Unit 303
Merritt Island, FL 32953
floridaclay@floridaclay.net
Vice President
Tom Kuehn
4 Williams Woods
Mahtomedi, MN 55115
kuehn001@umn.edu
Recording Secretary
David Corkrum
5826 Roberts Avenue
Oakland, CA 94605
musikwerke@att.net
Treasurer
Edward Kozak
3615 North Campbell Avenue
Chicago, IL 60618
kozak@seldenfox.com
TRUSTEES
John Bryant
Judy Caletti
Ed Cooley
Sally Craig
Wayne Finger
Tom Kuehn
Mary Ellen Myers
Mary Pollock
Clay Witt
BOARD ADVISER
Junichi Natori,
International Adviser
MBSI FUNDS
COMMITTEES
Audit Committee
Edward Cooley, Chair, Trustee
Mary Pollock, Trustee
G.Wayne Finger, Trustee
Endowment Committee
Tom Kuehn, Vice President
Mary Pollock, Trustee
B Bronson
Edward Kozak
Executive Committee
Clay Witt, Chair, President
Tom Kuehn, Vice President
Mary Pollock, Trustee
Judy Caletti, Immediate Past Pres.
John Bryant, Trustee
Finance Committee
Edward Kozak, Chair
Tom Kuehn, Vice President
Wayne Wolf, Vice Chair
B Bronson
Peter Both
Marketing Committee
Rob Pollock, Chair
John Bryant, Trustee
Wayne Finger, Trustee
Bob Smith
Meetings Committee
Tom Kuehn, Chair, Vice President
Mary Pollock, Trustee
Carol Beck
Don Henry
Marty Persky
Rich Poppe
Membership Committee
Rob Pollock, Chair
Judy Caletti, Immediate Past Pres.
Tom Chase, Snowbelt
Mary Grace, Sunbelt
Linda Birkitt, Southern California
Florie Hirsch, National Capital
Julie Hughes, Golden Gate
Gerald Yorioka, Northwest Int’l
Julie Morlock, Southeast
Dan Wilson, Piedmont
Museum Committee
Sally Craig, Chair, Trustee
John Bryant, Trustee
Ken Envall, Southern California
Julian Grace, Sunbelt
Wayne Myers, Southeast
Ray Parkinson, Northwest Int’l
Bill Wineburgh, East Coast
Ron Yancy, East Coast
Museum Sub-Committees
Ohio Operations
Emery Prior
Nominating Committee
Dan Wilson, Chair
Mary Pollock, Trustee
Judy Caletti, Immediate Past Pres.
Carol Beck
Steve Boehck
Ray Dickey
Vernon Gantt
Publications Committee
Bob Caletti, Chair
Tom Kuehn, Trustee
Paul Bellamy
Steve Boehck
Dave Corkrum
Christian Eric
Kathleen Eric
Terry Smythe
Publications
Sub-Committee
Website Committee
Rick Swaney, Chair
Wayne Finger, Trustee
Julian Grace
B Bronson
Don Henry
Knowles Little, Web Secretary
Special Exhibits Committee
Wayne Myers, Chair
John Bryant, Trustee
David Corkrum, Golden Gate
Robert Ebert, Mid-America
Jack Hostetler, Southeast
Judy Miller, Piedmont
Mary Ellen Myers, Southeast
Rick Swaney, Northwest Int’l
Bill Wineburgh, East Coast
SPECIAL ACTIVITIES
Publications Back Issues:
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Regina Certificates:
Bob Yates
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Jacque Beeman
Librarian:
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Members can donate to these funds at any time.
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All manuscripts will be subject to editorial review. Committee and the Editorial Staff. are considered to be the author’s personal opinion.
Articles submitted for publication may be edited The article will not be published with significant The author may be asked to substantiate his/her
or rejected at the discretion of the Publications changes without the author’s approval. All articles statements.
64 MECHANICAL MUSIC January/February 2018
CALENDAR OF EVENTS
Date Event Location Sponsor
Jan. 26-28, 2018 Southeast Chapter meeting Jacksonville, FL Julie & Cotton Morlock
Feb. 24, 2018 Southern California Chapter meeting San Diego, CA Lelland Fletcher
Mar. 16, 2018 Trustees Mid-Year meeting, Musical Instrument Museum Phoenix, AZ Southern California Chapter
Mar. 17, 2018 Southern California Chapter meeting Phoenix, AZ Southern California Chapter
Apr. 20-22, 2018 Northwest International Chapter meeting in conjunction with
the Magic Lantern Society of U.S. and Canada convention
Victoria, BC
Aug. 28-Sept. 1, 2018 2018 MBSI Annual Meeting Detroit, MI Mid-America Chapter
Please send dates for the Calendar of Events to Russell Kasselman (editor@mbsi.org)
CONTACTS
Administrator Jacque Beeman handles back issues (if available) $6;
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Membership Brochures.
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CHAPTERS
East Coast
Chair: Bill Wineburgh
(973) 927-0484
Dues $10 to Geoffrey Wilson
804 Appleton Way
Whippany, NJ 07981
Golden Gate
Chair: Richard Hughes
(650) 593-1261
Dues $5 to Dave Corkrum
5826 Roberts Ave.
Oakland, CA 94605
Japanese International
Chair: Tomiju Endo x
+81-42-339-9099
Dues Japanese yen 4,000 to
Sadahiko Sakauchi
5-2-41 Nigawa-cho
Nishinomiya-shi
662-0811 Japan
Lake Michigan
Chair: Marty Nevel
(312) 613-8500
Dues $5 to James Huffer
7930 N. Kildare
Skokie, Illinois 60076
Mid-America
Chair: Dave Calendine
(810) 449-8037
Dues $10 to Harold Wade
4616 Boneta Road
Medina, OH 44256
National Capital
Chair: Matthew Jaro
(301) 482-2008
Dues $5 to Florie Hirsch
8917 Wooden Bridge Road
Potomac, MD 20854
Northwest International
Chair: Dale Tyvand
(425) 774-7230
Dues $7.50/person to Kathy Baer
8210 Comox Road
Blaine, WA 98230
Piedmont
Chair: Vernon Gantt
(919) 264-2222
vgjr123@yahoo.com
Dues $10 to Vernon Gantt
PO Box 20238
Raleigh, NC 27619
Traveling MBSI Display
Bill Endlein
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High Springs, FL 32643-4519
Phone (386) 454-8359
sembsi@yahoo.com
Regina Certificates: Cost $5.
Bob Yates
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Phone (412) 486-8435
rsublima@juno.com
Advertising for Mechanical Music
Russell Kasselman
Iron Dog Media
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CHAPTERS
Snowbelt
Chair: Tracy Tolzmann
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Dues $10 to Gary Goldsmith
17160 – 245th Avenue
Big Lake, MN 55309
Southeast
Chair: Judy Miller
(828) 513-7007
Dues $5 to Julie Morlock
780 Cherry Grove Road
Orange Park, FL 32073
Museum Donations
Sally Craig,
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Lancaster, PA 17601
Phone (717) 295-9188
rosebud441@juno.com
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Rick Swaney,
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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 Bob Lloyd
1201 Edgeview Drive
Cowan Hgts, CA 92705
Sunbelt
Chair: Ray Dickey
(713) 467-0349
Dues $10 to Mary Grace
13431 Grand Masterpiece
Houston, TX 77041
Copyright 2016 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
January/February 2018 MECHANICAL MUSIC 65
MARTY PERSKY
AUTOMATIC MUSICAL INSTRUMENT SPECIALIST
SERVING COLLECTORS WORLDWIDE
Instrument Brokering & Locating
Appraisals / Inspections / Free Consultation
Popper Felix Mortier 84 key Café Wurlitzer MPO 33A Welte 4 Concert
Bow front Violano Weber Grandezza Violina Orchestra Weber Maesto
Holl 43-Key 2 Barrels Knabe AMPICO 5’8” Louis XV Wall Box Collection Niemuth 45-Key Bacigalupo
Wanted: Art Case Steinway Duo-Art & Raffin Organ.
Visit Mechmusic.com
for more information on these and other fine instruments.
Tel: 847-675-6144 Email: Marty@MechMusic.com
4520 arville st. #1 · las vegas, NV 89103 | MorphyAuctions.com · 877-968-8880 4520 arville st. #1 · las vegas, NV 89103 | MorphyAuctions.com · 877-968-8880
Mechanical Music &
Automata
– Leading the Field in Specialist Auctions –
P.O. Box 50 11 19, 50971 Koeln/Germany · Tel.: +49/2236/38 43 40 · Fax: +49/2236/38 43 430
Otto-Hahn-Str. 10, 50997 Koeln (Godorf)/Germany · e-mail: Auction@Breker.com · Business hours: Tuesday – Friday 9 am – 5 pm
PLEASE FEEL FREE TO CONTACT OUR INTERNATIONAL REPRESENTATIVES:
U.S.A.: Andrew Truman, Tel. (207) 485 8343 * AndrewAuctionTeamBreker@gmail.com
Australia & New Zealand: P. Bardenheier, (NZ), Tel./Fax (+64) (0)9 817 72 68 * dbarden@orcon.net.nz
Japan: Murakami Taizou, Tel./Fax (06) 68 45 86 28 * murakami@ops.dti.ne.jp · China: Jiang Feng, Tel. 138 620 620 75 * jiangfengde@gmail.com
Hong Kong, Taiwan, Singapore: Alex Shih-Chieh Lin, (HK), Tel. (+852) 94 90 41 13 * alexsclin@gmail.com
England: Tel. (0)777 963 7317 * AuctionTeamBrekerUK@outlook.de · France: Pierre J. Bickart, Tel. (01) 43 33 86 71 * AuctionTeamKoln@aol.com
Russia: Polyguide Ltd. Moscow, Tel. (925) 740 66 03, Tel./Fax (985) 999 93 55 * ml.mediaservice@gmail.com
A selection of our recent auction highlights, many consigned by customers
in Britain and America. Achieving record prices for mechanical music
instruments of all forms, whether a single piece or a complete collection.
Consignments are invited for our
Spring Specialty Auction
on May 26, 2018
Closing date for entries: February 15, 2018
Musical Photograph Album with Marine
Automaton, c. 1890
Sold: 3.600 / $ 4,200 / £ 3,150
“Voix Celeste” Organ Box by
Ducommun-Girod, c. 1870
Sold: 22.100 / $ 25,900 / £ 19,500
Contemporary 38-Key Barrel Organ
Sold: 6.900 / $ 8,000 / £ 6,000
“Kalliston-Pankalon”
Percussion Organette, c. 1898
Sold: 17.200 / $ 20,100 /
£ 15,100
“Orpheus” 22 5/8-inch Table
Disc Musical Box, c. 1898
Sold: 14.750 / $ 17,250 /
£ 13,000
Early Fusee Musical Clock Base, c. 1820
Sold: 5.900 / $ 6,900 / £ 5,200
Station Musical Chalet by Mermod
Frères, c. 1890
Sold: 24.600 / $ 28,800 / £ 21,650
Station Musical Box with Movement
by Karrer
Sold: 27.000 / $ 31,600 / £ 23,750
Singing Birds in Cage by Bontems,
c. 1910
Sold: 11.000 / $ 12,850 / £ 9,700
Overture Musical Box by Paillard-
Vaucher et Fils, c. 1885
Sold: 6.400 / $ 7,500 / £ 5,600
Monkey Jazz Quartet
Advertising Automata, 1960s
Sold: 1.350 /
$ 1,580 / £ 1,200
“Bébé Niche” Musical
Automaton by Lambert,
c. 1895
Sold: 8.000 /
$ 9,350 / £ 7,050
Komet 24 1/2-inch Disc
Musical Box, c. 1898
Sold: 14.750 / $ 17,250 /
£ 13,000
Orchestral Musical Box, c. 1880
Sold: 12.900 / $ 15,100 /
£ 11,350
Regina Style 31 Disc-
Changer, c. 1900
Sold: 24.600 / $ 28,800 /
£ 21,650
Free collection and transport for any major consignment in the U.K.!
Free U.S. or Canada consignment shipping to Germany – if delivered or sent to our location
in Garden City Park, NY 11040 (10 miles east of JFK Airport)
For confidential auction estimates and advice, please contact us in Germany
or through an international representative (see below).