Mechanical Music Mechanical Music
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 65, No. 4 July/August 2019
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Mechanical Music
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 65, No. 4 July/August 2019
Editor/Publisher
Russell Kasselman
(253) 228-1634
editor@mbsi.org
MBSI Editorial Office:
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
editor@mbsi.org
Publications Chair
Bob Caletti
All manuscripts will be subject to editorial
review. Articles submitted for publication may
be edited or rejected at the discretion of the
Publications Committee and the Editorial
Staff. The article will not be published with
significant changes without the authorÕs
approval. All articles are considered to be the
authorÕs personal opinion. The author may be
asked to substantiate his/her statements.
Mechanical Music (ISSN 1045-795X) is published by
the Musical Box Society International, 130 Coral Court,
Pismo Beach, CA 93449 six times per year. A 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 2019. The Musical Box Society International,
all rights reserved. Mechanical Music
cannot be copied, reproduced or transmitted in
whole or in part in any form whatsoever without
written consent of the Editor and the Executive
Committee.
MEMBERS: SEND ADDRESS CORRECTIONS TO:
MBSI, PO Box 10196,
Springfield, MO 65808-0196
Or, make corrections on the website at www.mbsi.org.
POSTMASTER: SEND ADDRESS CHANGES TO
MBSI, PO Box 10196,
Springfield, MO 65808-0196
MBSI NEWS
5 PresidentÕs Message
7 EditorÕs Notes
8 Mid-Year Trustee
Meeting Minutes
54 In Memoriam
Features
13 Nickel Notes
by Matt Jaro
21 A guide to researching
tunes and their
composers
36 50 years of stories in one
box
38 Cartoon Crankers: Crank
organs in the cartoons
45 Love at first note
CHAPTER
REPORTS
48 National Capital
50 Southern California
On the Cover
The gorgeous pipes and roll
mechanism of Alan Bies and Steve
BoehckÕs Welte Style IV Orches-
trion. Page 13.
The Hunt
Wayne Finger shares the story of
his search for a musical Sputnik.
Page 34.
MBSI has replanted 55 trees so far as part
of the Print ReLeaf program.
July/August 2019 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.
MEMBERSHIP APPLICATION
Last name First Name Initial
Last Name First Name Initial
Address
City
State / Zip
Postal Code / Country
Phone
Fax
Sponsor (optional)
A
A
fascinating hobby! It combines all the appeals of
art, history, craftsmanship, and music all into one.
Automatic music doesnÕt 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 ÒMusic BoxÓ 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.
Check or Money Order Payable to: MBSI Treasurer (US Funds Only)
Mail to: New Member Registration – MBSI
PO Box 10196
Springfield, MO 65808-0196
Visa/MasterCard
Exp. Date CCV
Signature
Membership Dues
US members (per household)……………………………………….$60
Student Membership…………………………………………………….$20
(online journal access only)
Canada…………………………………………………………………………$70
Other International………………………………………………………$75
(Add $20 for International air mail.)
Join online: www.mbsi.org/join-mbsi
Member Benefits
Six magazines annually Ñ 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
Dealers, and a list of the regional chapters.
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 youÕll 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 July/August 2019
By Clay Witt
MBSI President
Everyone should have received the
pamphlet about the 2019 MBSI annual
meeting with the last issue of Mechanical
Music. I hope you will look it over
carefully and consider attending. The
meeting will be in a Washington, DC,
suburb in a hotel conveniently near
a Metro stop. Meeting Chair Matt
Jaro and his team have put together
some great programs and activities
and, of course, there is a lot to see
in the DC area before and after the
meeting. Annual meetings are a great
place to make new friends and renew
acquaintance with old friends too. The
pamphlet includes the registration
form.
MBSI is pleased to announce the
availability of a new book you may
wish to add to your mechanical music
library. There are many volumes about
the history of European musical boxes
made in Switzerland, Germany, and
France, but that is not all of the story.
There was also a thriving industry producing
quality musical boxes in the
19th century in the Austrian Empire.
Information about those instruments,
particularly for English
speakers, has been much harder to
come by. An important work on this
subject, previously only available in
German, has been released in a revised
and updated English language edition.
It is “Musical Boxes from Prague and
Vienna” by Dr. Helmut Kowar, issued
by the Austrian Academy of Sciences
Press. Several organizationsÕ financial
contributions have made this possible.
The Musical Box Society International
and the Musical Box Society of Great
Britain jointly funded the printing
cost. Translation was funded by
two foundations, the Franz-Josef
Mayer-Gunthof Wissenschafts und
Forschungsstiftung and the Stiftung
Familie Philipp Politzer.
The volume is generously sized
at approximately 8. inches by 11.
inches. It span 246 pages and is well
illustrated, including an extensive
catalog of known instrument examples.
It is currently available from the
academy at verlag.oeaw.ac.at/musicalboxes-
from-prague-and-vienna. (Note
the icon at the upper right of the web-
page that makes an English language
version of the web page available.) We
have been informed that the academy
will also be making the book available
on Amazon.com and through a U.S.
distributor at www.isdistribution.
com, but that had not yet happened at
the time this message was written in
late May.
More online
Smartphone users can scan the
QR code above to be taken directly
to the Austrian Academy of Sci
ences Press website.
HereÕs wishing you a great summer!
I hope to see you at the annual
meeting.
A Lasting Legacy In order for anything
once alive to have
meaning, its effect
must remain alive in
eternity in some way
Ð Ernest Becker, Philosopher
The Musical Box Society International
Throughout its history, MBSI has fostered an interest in and preservation of is a 501(c)(3) non-profit organization.
automatic musical instruments. Your gift to the Endowment Fund will All donations to the Endowment
support programs that will help future generations appreciate these Fund are tax deductible.
achievements of manÕs creative genius. Visit www.mbsi.org to learn more. A gift of any size is welcome.
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.
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 ÒsponsorÓ 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
Springfield, MO 65808-0196
Phone/Fax: (417) 886-8839
Musical Box Society International
P.O. Box 10196
Springfield, MO 65808-0196
Phone/Fax: (417) 886-8839
Dues Voucher Ð $15
New U.S. members may join MBSI for one year at $45 (instead
of $60); Canadians $55 (instead of $70; and, other International
members at $60 (instead of $75). This certi cate must accom-
pany payment and a copy of the completed membership
application from page 4 of this issue of Mechanical Music.
New Member Name(s):
Authorized by MBSI Administrator
NEW MEMBER
GIFT CERTIFICATE
New members are those who have never been members of MBSI
or those who have not been members for three years prior to
submission of this voucher.
New members are those who have never
been members of MBSI or those who have
not been members for three years prior to
submission of this certi cate.
Gift Membership Name
Address, City, State, ZIP
Phone Email
Sponsor
SPECIAL OFFER: Purchase one or more rst-year MBSI gift
memberships at $45 each U.S., $55 Canadian, or $60 other International
and you will receive $5 off your next year’s MBSI membership
renewal for each “New Member” gift.
Please mail this form together with your check made payable to ÒMBSIÓ 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.
EditorÕs Notes MAILING ADDRESS
MBSI Editorial/Advertising
130 Coral Court
Pismo Beach, CA 93449
EMAIL ADDRESS
editor@mbsi.org
PHONE
(253) 228-1634
EditorÕs Notes MAILING ADDRESS
MBSI Editorial/Advertising
130 Coral Court
Pismo Beach, CA 93449
EMAIL ADDRESS
editor@mbsi.org
PHONE
(253) 228-1634
By Russell Kasselman
MBSI Editor/Publisher
Please pardon my shotgun approach
this issue, but it seems like IÕve got a
lot to say and very little space to say it
in. So, letÕs get right down to it,
First, I offer my apologies to Ron
Bopp and the Carousel Organ Association
of America for not properly
noting the fact that Charles HildebrandtÕs
article on repairing a Raffin
crank organ in our last edition actually
first appeared in the July 2018 issue
of the Carousel Organ. The fault for
this information not appearing with
the article lies completely with me as
Charles did make me aware of the fact
that the article was previously printed,
but I simply dropped the ball and forgot
to include it. I sincerely appreciate
Ron for bringing it to my attention and
keeping us all on track.
Next, IÕve been asked to put out a
call for some volunteer assistance
with a project that is core to the
mission of the society. MBSI needs
someone to help with record keeping
when it comes to the instruments it
owns and loans out to museums in
order to promote mechanical music as
a hobby and also educate the public.
The job isnÕt tough. At its core,
it consists of simple data entry of
information about MBSIÕs instruments
into a computer via a web page. There
is training and support available, so
you would not be completely on your
own and the time commitment isnÕt
huge either. If you are interested in
helping, please contact me using the
information in the top right corner of
this page. Please leave me a message
if calling as I canÕt get to every phone
call immediately.
Now, some quick words about the
content of this issue. First, of course,
is a huge thank you to all the folks who
contributed articles. Without you, we
would all be missing out on so much
good stuff.
Matt Jaro leads us off in his Nickel
Notes column with a review of the
Houston, TX, collection owned and
maintained by Alan Bies and Steve
Boehck. If you havenÕt heard those
names before, you should definitely
hit the MBSI archives online and do
some reading. Alan and Steve are big
contributors to the hobby and this
society and their collection is not one
to be missed.
Then Richard Dutton provides
us with a comprehensive guide to
searching out the history of the tunes
we listen to and their composers. He
provides many sources of information
and good methods to use them, with
some great examples of the work he
has already done in this regard. This
is an article you will find yourself
coming back to again and again.
New contributors Brian Roenigk
and Mark Singleton then add good
sauce to the mix of this issue. Brian
writes about an Olympia disc box that
holds 50 years of family memories for
him and itÕs a good reminder to us all
how something simple can become
so precious. MarkÕs article recalls his
finding an original Henri Reymond
cylinder box and thinking outside the
box to complete its restoration.
Wayne Finger is our The Hunt
columnist this issue with good tale
on finding a very interesting musical
Sputnik for his collection.
Rounding it all out is an article by
Robert Penna detailing the ways organ
crankers were portrayed in early cartoons.
ItÕs an enjoyable romp. Be sure
to watch the cartoons online for even
more fun.
Welcome new members!
April 2019
Scott & Victoria Knolton
Palmer MA
Sponsor: Bob Caletti
Michael Argain
Fresno CA
Sponsor: Bob Caletti
May 2019
Dewey Bracy
Tampa FL
Michael Mount
Martin TN
Steve & Sandy Dean
Centerville OH
Nels Peterson & Mitchell Chinn Maria Martinez
West Henrietta NY Johnson City NY
Bruce Miller & Brenda Harris Sponsor: Bob Caletti
Lake Oswego OR Linda Gray-Moin
Sylvia Keilty Stanford CA
Tampa FL Sponsor: Bob Caletti
Sponsor: David Knight Kevin & Fahnda Leuenberger
Laurence Broadmoore Brentwood CA
San Fernando CA Sponsor: John Leuenberger
Carol Ditto Rich LeVangie & Kathryn Dunn
New Philadelphia Ohio Nashua NH
Sponsor: Al Haresty Steve & Kirsten Klosinski
Thomas Wilcox Richfield MN
Columbia PA
Sponsors: C.Witt, F.Nicks,
K.Goldman
July/August 2019 MECHANICAL MUSIC 7
Mid-Year TrusteesÕ Meeting Minutes
Back row, from left to right: Trustee Ed Cooley, Recording Secretary David Corkrum, Trustee Wayne Finger, Trustee MaryEllen
Myers. Front row, from left to right, Trustee Judy Caletti, Vice President Tom Keuhn, President Clay Witt, Trustee Sally Craig.
Naples, FL, April 5, 2019
These minutes will be official
when approved and voted on during
the annual meeting of the Board of
TrusteeÕs in Rockville, MD in 2019.
The meeting was convened at 9:07
a.m. Present: Clay Witt, President presiding;
Judy Caletti, Tom Kuehn, Sally
Craig, Wayne Finger, Ed Cooley, and
Mary Ellen Myers. (seven present of
eight, a quorum). Also present: David
Corkrum, recording secretary.
1. President Clay Witt opened the
meeting with remarks about Trustee
John Bryant. Trustee Bryant has
resigned due to health issues. President
Witt was going to appoint Robert
Caletti to the position, but the board
would then have two members from
the same household serving contrary
to the bylaws. It was decided to leave
the position vacant until the annual
meeting. Trustee Cooley moved,
seconded by Trustee Craig, to leave
this position vacant until the annual
meeting. The motion passed.
Trustee Mary Pollock joined the
meeting via teleconference. Her attendance
was approved by the trustees.
President Witt also reported that
the Warren G. Harding Museum has
received many donations for the
restoration of their reproducing piano
from other sources and is no longer in
need of money from MBSI.
2. The minutes of the Aug. 28, 2018,
Trustees meeting, held in Detroit, MI,
were published in Volume 64, issue #6
of Mechanical Music. There were no
corrections, additions or deletions.
Trustee Caletti moved, seconded by
Trustee Craig, to approve the minutes.
The motion passed.
8 MECHANICAL MUSIC July/August 2019
3. President Witt presented old
business which is the support of the
English language version of the book,
“Musical Boxes of Prague and Vienna.”
In an email received from Dr. Kowar,
he reported that the final corrections
to the book have been sent to the
publisher and all preparations are
complete. The book will number 246
pages.
4. The AMICA/MBSI cooperative
group is still working to ensure that
AMICA and MBSI annual meetings do
not occur in the same area two years
in a row. There was some discussion
on this subject.
5. Recording Secretary David
Corkrum presented the current board
actions for review.
6. Trustee Kuehn presented the vice
presidentÕs report. The vice president
oversees the awards process. The
Nominating Committee received one
nomination for the Darlene Mirijanian
Award. The Marketing Committee did
not submit nominations for the Roehl
Ambassador Award. The PresidentÕs
Award has been determined. There
were two nominations for the TrusteesÕ
Award and one nomination for
the Q. David Bowers Literary Award
from the Publications Committee. The
Unsung Hero Award will be announced
at the annual meeting. Trustee Kuehn
will provide a Power Point slide show
at the annual meeting to present the
awards. The vice presidentÕs report
was received.
7. President Witt presented the
MBSI administratorÕs report. The current
membership as of Mar. 1, 2019,
is 1,214. Memberships as of Dec. 31,
2018 were 1,145. For the period Jul.
1 to Dec. 31, 2018, there were 46 new
memberships, 34 of which came from
the website (74 percent).
Because of the voucher program,
MBSI gained 11 new memberships
in 2018. New member lists are sent
each month to the chapter chairs,
trustees, and Membership Committee
coordinators and to the Membership
Committee chair. The gift/sponsor
program was initiated in July 2008,
resulting in 127 new members through
Dec. 31, 2018. Each sponsor receives
a thank you post card and is added
to the $5 discount program. Also,
questionnaires were sent to those
members who are on the 90 days past
due non-renewal list. The administratorÕs
report was received.
8. Audit Committee Chair Cooley
presented his report.
The external review of financial
reports is conducted at the end of
each calendar year by Ms. Cinda L.
Rodgers, CPA. Rodgers has accepted
MBSI’s contract extension for 2019.
All remaining book inventories were
distributed last year. Other sales items
have been inventoried by the administrator
as of January 2019.
The analysis of revenue comparison
to dues received was completed. The
difference in amounts was less than
1 percent which is considered an
acceptable variance.
Except for five members, all conflict
of interest statements were received
by the recording secretary and forwarded
to the committee.
There was some discussion about
MBSI’s complex dues structure and
its policy. No significant answer was
arrived at on how to simplify it.
The Audit Committee report was
received.
Chair Rob Pollock joined via
teleconference. His attendance was
approved by the trustees.
9. Membership Committee Chair
Rob Pollock presented his report.
Membership in MBSI continues to
decrease at a rate of about 3 percent
per year. A two-pronged effort was
launched last spring to staunch
membership decline. So far, this has
not worked. Recording Secretary
Dave Corkrum asked Chair Pollock
about student membership. So far,
there have only been a couple of these
memberships. Secretary Corkrum
suggested that the committee post
posters at colleges, universities and
even high schools with information
regarding the MBSI and the student
program. Chair Pollock indicated that
he has posters in electronic format.
Secretary Corkrum suggested he send
this to his members, have them reproduced
on foam core (Costco is the
cheapest) and deliver them to these
institutions.
Secretary Corkrum also questioned
Chair Pollock about the Welcome
Package and he stated that he not had
time to work on this and no member
of his committee had offered to assist.
The Membership Committee report
was received.
Marketing Committee Chair Pollock
then presented his report. The effort
to advertise on the YouTube channel
ÒWintergatanÓ was not achieved due
to a lack of availability on their part.
Recently, he had reviewed some
organizational videos on YouTube that
were produced on a professional level
and introduced the organization about
who they are and what they do. He recommends
that we obtain quotes from
professional videographers, obtain
approval from the trustees and then
produce the video. There was considerable
discussion. Chair Pollock
will talk with Lowell Boehland, Don
Henry and B Bronson to obtain some
background on this project. Trustee
Finger moved, seconded by Trustee
Myers, to authorize the Marketing
Committee to spend up to $3,000 to
hire a professional videographer to
produce a three to five-minute introductory
video, recognizing that if it
costs more than $1,000, multiple bids
must be obtained. The motion passed.
The Marketing Committee report was
received.
10.. Nominations Committee Chair
Dan Wilson presented his report. He
extended a sincere thank you to Judy
Caletti who has served nine and one
half years on the Board of Trustees,
including two years as vice president
and two years as president; to Mary
Pollock for serving eight years as
trustee; for John Bryant for serving
four years as trustee and to David
Corkrum for serving 14 years as the
recording secretary.
Chair Wilson also thanked the Nominating
Committee members for their
help in the selection and recruitment
of worthy candidates.
The Nominating Committee respectfully
submits the following slate of
July/August 2019 MECHANICAL MUSIC 9
officers and trustees to be approved
for confirmation at the 2019 MBSI
Annual Meeting.
President
¥ Tom Kuehn to serve a two-year
term
Vice President
¥ David Corkrum to serve first
one-year term.
Trustees
¥ David Corkrum to serve first
four-year term.
¥ Matt Jaro to serve first four-year
term.
¥ Bob Caletti to serve first four-year
term.
Treasurer
¥ Ed Kozak to serve another
one-year term.
Recording Secretary
¥ Linda Birkitt to serve first one-
year term.
All nominees have confirmed
that they are willing to accept these
positions. Trustee Craig moved, seconded
by Trustee Cooley, to accept
the recommendation as they stand.
The motion passed. The Nominations
Committee report was received.
11. Meetings Committee Chair Tom
Kuehn presented his report. The
future meetings are as follows:
¥ 2019 National Capital Chapter
¥ 2020 Golden Gate Chapter (joint
meeting with AMICA)
¥ 2021 Southeast Chapter
¥ 2022 Lake Michigan Chapter
Tentative
¥ 2023 Southern California Chapter
Tentative
Chair Kuehn reported that the
review and update of the MBSI Meetings
Manual has been completed and
uploaded to the website. The Meetings
Committee report was received.
12. Museum Committee Chair
Sally Craig presented her report. As
of this date, there have been no new
additions of musical instruments.
The East Coast Chapter sent in a
donation of $3,500 to be used for
conservation of musical instruments.
The Guitarophone is still awaiting
restoration, but Chair Craig stated she
would contact Jerry Ryder who indicated
he could restore the instrument.
Chair Craig asks if any member has
knowledge about this instrument and
its restoration to contact the Museum
Committee.
The Museum Committee has developed
a questionnaire for persons
requesting to borrow instruments
from the society. Questions relating
to the storage, placement, duration
of use and climate control are some
of the questions included in this questionnaire.
The Museum Committee
report was received.
13. Publications Committee Chair
Bob Caletti presented his report. Positive
comments continue to come in
about the societyÕs publication. Chair
Caletti has an idea of having our members
help with the update of the MTR
and Presto archive which would allow
viewers to view these documents in
the same way that they can view the
journal.
With regards to display advertising
in Mechanical Music, the committee
proposes to offer the big display
advertisers online advertising on the
website at no additional cost and for
the same period as the advertisement
appears in the journal. This could also
be extended to the members offering
them additional exposure of their ads.
This would make display advertising
more attractive to them and possibly
increase our percentage of advertising
in the journal. Trustee Kuehn moved,
seconded by Trustee Myers, to offer
big-display advertisers who advertise
in the journal display space on the
societyÕs website at no additional cost
and for the same time period. The
motion passed.
Trustee Finger suggested that our
website have a translation available
for our members who reside in other
countries. This could possibly bring in
new members from countries whose
primary language is not English.
These translations are not perfect, but
they do convey the information. In
the future, the society might find that
there are members who are willing
to clear up the language into a more
usable form. This process could possibly
be transferred over to the journal.
President Witt stated that this was
a very good idea and that the society
should implement this. The Publications
Committee report was received.
14. Finance Committee Chair
Ed Kozak entered the meeting via
teleconference. His attendance was
approved by the trustees. Chair Kozak
reported that the SocietyÕs accounting
firm compiled the financial statements
for the year ending Dec. 31, 2018, and
issued their report in March 2019.
Total fund balances for 2018 increased
by $30,545. The main items of revenue
and expenses were dues revenue
of $78,583, convention income of
$69,012, convention expense of
$49,674, publishing revenue of
$21,835 and publishing expense of
$74,603. Accounting, tax preparation
and administrative expenses totaled
$31,229.
The society continues its investment
laddering philosophy. Non-endowment
certificates of deposit and
a money market deposit totaled
$508,000 and $20,275 respectively.
The budget for 2019 was approved
at the last annual meeting and a
few minor changes were made. The
updated budget was submitted to
the trustees. The Finance Committee
report was received.
Chair Kozak is also chair of the
Endowment Committee. The endowment
fund balance stands at $153,165.
The balance increased by $1,065 due to
donations made to it. The endowment
interest earned fund shows a balance
of $46,248. Two-thirds of this amount,
or $30,832 is available for projects or
programs.
Trustee Caletti moved, seconded
by Trustee Pollock, to approve the
amended budget for 2019. The motion
passed. The Endowment Committee
report was received.
15. Publications Committee Chair
Caletti presented editor Russell KasselmanÕs
report. Advertising revenue
declined in 2018, ranging between
11.58 percent and 21.9 percent per
issue. This follows an industry trend
in which print publications across
10 MECHANICAL MUSIC July/August 2019
the U.S. are losing advertising dollars
at approximately 5 percent per year
with no rebound anticipated. More
advertisers are seeking to build their
own websites and conduct their own
marketing via email and social media.
It remains to be seen if this will work.
Content submitted for publication in
the journal continues to be outstanding
in quality. The journal is an insatiable
consumer of content so the search for
additional writers is always ongoing.
The editor has pursued exchanges
of both articles and advertising with
other collector societies. The results
are mixed. Smaller organizations are
willing to send information while
larger organizations merely want to
exchange journals. Russell is not sure
his efforts will be worth the time spent,
though he remains open-minded that
someday information exchanges will
become easier and more frequent.
The editor is always open to new
ideas so if a member has a Òlight
bulbÓ moment and remembers to jot
it down, donÕt hesitate to pass it along
so that we can add it to the mix and
keep Mechanical Music as fresh and
interesting as possible. The editorÕs
report was received
16. Publications Committee Chair
Caletti presented Web Subcommittee
Chair Rick SwaneyÕs report. The MBSI
collection is now viewable on the
website. Access is via the Instrument
Gallery menu. Each instrument is
represented by a photo and short
description. A logged-in member can
click on the instrument to bring up
more information. The editor will
update the categories of instruments
prior to the annual meeting. The editor
has also created several programs
to assist in managing the collection
database. There was considerable
discussion about having a database
manager, someone who would identify
the instruments with pictures
and maintain the status of the MBSI
collection. Museum Chair Craig stated
that she has all the paperwork for
donations for the last 15 years. For
the years prior to this, the paperwork
is stored in Houston. It was suggested
that the society have the paperwork
in Houston scanned by a professional
scanning company. Publications Chair
Caletti stated he would write up an
article about seeking a database manager
and submit it for publication in
the journal.
Trustee Finger moved, seconded by
Trustee Craig, to approve the placement
of ads at the top and bottom
of the front page of the website. Ads
would be cycled each time the web
page is opened. The price for these
ads would be $100 per month to advertise
at the top of the page and $50 per
month for the bottom of the page. The
motion passed.
Six workshop videos from the 2018
annual meeting have been added to
the website and are available in high
definition (HD).
At the last trustees meeting there
was a discussion on selling ad space
on the home page. A mockup was
created. Clicking on the ad would take
the viewer to the advertiserÕs website.
Ads would be cycled each time the
website is accessed, giving the viewer
a different ad each time.
Website views are at a healthy 3,000
to 4,000 per month. Note that this is
a view count of pages visited, not the
total number of visitors.
The MBSI Facebook page continues
to be viewed with 474 likes and over
500 followers. This forum has grown
slowly and has just 36 registered members.
The Web Subcommittee report
was received.
17. Trustee Myers presented the Special
Exhibits Committee report. She is
informally acting as chair and Wayne
Myers is a member of the committee.
She stated that the Baker House of
Sumter County welcomes mechanical
music machines during house opening
and at special events. The committee
also plans to play and display street/
crank organs at the World Circus Day
at ShowFolks in Sarasota, FL.
Trustee Myers presented a proposal
of appointing a Special Exhibits
Coordinator for each chapter. Each
coordinator would submit, in turn,
information about special events
held in their area which would be
published in the journal. Trustee Craig
moved, seconded by Trustee Finger
that the Special Exhibits Committee
ask each chapter chair to appoint
a member from the chapter to the
Special Exhibits Committee to coordinate
special events. There was some
discussion. The motion passed. The
Special Exhibits Committee report
was received.
18. President Witt presented proposed
amendments to the Policies
and Procedures (P&P). Trustee Kuehn
moved, seconded by Trustee Finger,
to approve the amendments to the
P&P. There was considerable discussion
about three alternative options
concerning how to amend a provision
concerning the now obsolete
presidentÕs reception in the finance
subsection of the meetings section.
The options concerned whether the
cost of the opening night reception
that has preplaced the presidentÕs
reception would be part of the SocietyÕs
budget, in whole or in part, or
would be entirely chargeable to the
meeting budget. The original motion
failed as being premature, because
no option had yet been selected. Each
alternate provision was voted on in
turn. Motions to approve alternates
A (the SocietyÕs budget would cover
all the cost) and C (all the cost would
be chargeable to the meeting budget)
failed. Trustee Finger moved, seconded
by Trustee Cooley, to approve
option B which provides for a contribution
to the cost of the opening night
reception in an amount chargeable
to the SocietyÕs budget not to exceed
$15 per registrant. The motion passed.
Trustee Kuehn moved, seconded by
Trustee Caletti, to approve the amendments
to the P&P, as amended. The
motion passed.
19. President Witt started a discussion
on what the Society should do
when a member passes away with
respect to continuing to carry the
name of the deceased member on the
membership rolls, and therefore in the
MBSI Directory. After considerable
discussion by the board, President
Witt moved, seconded by Trustee
Craig, that if there is a survivor to a
member who has passed away to ask
the survivor if they wish the name to
remain on the membership, drop the
July/August 2019 MECHANICAL MUSIC 11
name if they ask for it and have a space
on the renewal form in which a surviving
member may note any changes to
the membership. The motion passed.
20. President Witt stated that there
is a vacancy on the Executive Committee
due to the resignation of John
Bryant. Trustee Craig volunteered
to be a member of the committee.
Trustee Caletti moved, seconded by
Trustee Cooley to appoint Trustee
Craig to the Executive Committee.
The motion passed.
21. President Witt moved, seconded
by Trustee Caletti to write a letter to
the existing members of the Japanese
International Chapter (JIC) and
inform them that MBSI proposes to
dissolve the chapter and inform them
of their right to submit a rebuttal. The
letter will explain why we are taking
the action and offer to assist loyal JIC
members in any way that MBSI can if
they wish to form a new chapter.
That the MBSI inform the five leaders
of the break-away group that MBSI
proposes to terminate their MBSI
membership and inform them of their
right to submit a rebuttal.
A Special Committee composed of
President Witt, Trustee Kuehn and
Trustee Caletti is to work together to
draft appropriate letters, which will
include a Japanese translation of the
letters.
We will also inform the current
treasurer that upon dissolution of the
chapter, the funds of the chapter must
be returned to the MBSI, but MBSI
will hold those funds for a period of
one year to provide an opportunity
for members to form a new chapter.
These funds will then be transferred
to the new chapter when it is formed.
The motion passed unanimously.
22. Trustee Caletti moved, seconded
by Trustee Craig, to adjourn. The
motion passed.
The mid-year trustees meeting
adjourned at 4:37 p.m.
Respectfully submitted,
David W. Corkrum
Recording Secretary
April 25, 2019
The Musical Box Society of Great Britain announces the publication of two new books
Published in September 2018
100pp Hard Back ISO A4 format [8.27Ó . 11.70Ó; Profusely illustrated in
Supplement to
colour throughout with Additional Illustrations of Models, 89 Additional Lid
The Disc Musical Box Pictures Additions to Lists of Models, Patents, Tune Lists & Serial Numbers;
Combined Index of Images in the original book and its Supplement.
Compiled and Edited by
Kevin McElhone
Originally published in 2012 and still available The Disc Musical Box
ISBN 978-0-9557869-6-9
is a compendium of information about Disc Musical Boxes, their Makers and
their Music; profusely illustrated in colour throughout with Illustrations of
each Disk Musical Box Model, and with Catalogue Scans, Lists of Models,
Patents & Tune Lists.
colour throughout;Additional Illustrations of Models; Additions to Lists of
Supplement to 100pp Hard Back ISO A4 format [8.27Ó . 11.70Ó; Profusely illustrated in
The Organette Book
Patents, Tune Lists & Tuning Scales; A New Section on Trade Cards;
Compiled and Edited by
Combined Index of Images in the original book and its Supplement.
Kevin McElhone
ISBN 978-0-9557869-5-2 The Organette Book is a compendium of information about Organettes,
their Makers and their Music. Originally published in 2000 but now out of
print although second-hand copies are occasionally available in online
auctions.
************************************************************************************************************************
For all MBSGB Publications, please refer to the Musical Box Society of Great Britain website for further details including latest
availability, discounted prices and information on how to order. -www.mbsgb.org.uk
12 MECHANICAL MUSIC July/August 2019
Nickel Notes
By Matthew Jaro
In the last riveting episode of Nickel
Notes, I promised an article about
Alan Bies and Steve Boehck who live
in Houston, TX. As I would not want to
disappoint my beloved readers, here is
that promised article. Alan and Steve
live in a beautiful Victorian house in
Houston Heights. The inside of their
home is so amazing that it is nearly
impossible to take it all in. I find the
best method is to jump in anywhere
just to get started, so I will kick this
off by telling you the story of Alan.
Alan Gets Excited About
Mechanical Music
AlanÕs father, who was born in 1907,
serviced jukeboxes in the 1930s in the
Central Texas region. Alan remembers
his dad working on all the nickelodeons
and music boxes and holding a
deep appreciation of them which he
then passed on to Alan. When Alan
was 5 or 6 years old, he saw a disk
music box in an antique shop and
remembers thinking a box like that
would really be something neat to
have.
AlanÕs aunt and uncle lived in
Minnesota and the family would take
frequent trips there. On one trip,
AlanÕs father got sick and they had
to stop for a while in Atoka, OK, near
Bob NelsonÕs Chuckwagon CafŽ. Alan
walked to a nearby museum and heard
a MillÕs Violano for the first time. He
was 7 or 8 years old then, and he got
so excited he spent most of his time
exploring all the machines.
AlanÕs parents and relatives loved
antiques and by the time Alan was in
the sixth grade, he wanted to get an
antique telephone. Next came wall
clocks and then ceiling fans. His
parents helped him to acquire these
items. One local man, who had antique
telephones, had an Edison cylinder
player. Alan got one in the seventh
grade and took it to school. Everyone
loved it. Then, Alan decided that it
was time to acquire a music box. At an
antique shop, there was a single-cylinder
Mermod box with a case that
was falling apart. It had bad teeth in
the comb and a faulty governor. AlanÕs
dad helped him fix the case. He sent
the works to Baud Frres in Switzerland
to be fixed.
Then Alan saw a big Polyphon disk
music box in an antique shop. The
family scraped up $514 to buy it.
Player Pianos and Nickelodeons
Alan acquired a Cable-Nelson player
piano in 1964. He learned how to patch
it up and fix leaks so it played well. In
1966, he made a trip through some of
the southern states. He visited Bob
Johnson in Rossville, GA. When Alan
arrived, Bob was on the phone negotiating
to buy the New York Paramount
theatre organ. Finally, he went to a big
metal building full of machines. This is
where Alan heard the Welte Brisgovia
that Bob Gilson currently owns. Alan
was enthralled. Next, Alan went to
Pennsylvania to buy clocks. He had
begun a business fixing and selling
clocks. Alan went to Wexford, PA, to
see Larry Givens. Larry had to go on a
Steve Boehck (left) and Alan Bies in their Victorian home in Houston, TX.
July/August 2019 MECHANICAL MUSIC 13
Above: The exterior of Alan’s Seeburg H with statues
on both pillars and a forest scene in the stained
glass. Right: the inside of the Seeburg H with drums,
xylophone and pipes for playing all sorts of wonderful
music.
trip and initially said he didnÕt have much time.
But when Alan was so enthusiastic about the
machines, Larry spent half the day. When Alan
walked in the door, the Seeburg H was playing.
B Bronson currently has the machine Alan saw.
Alan signed LarryÕs guest book in 1966, and many
years later Larry sent him a copy of this page!!
The Seeburg H
AlanÕs aunt sent him a letter stating that there
was a place with a lot of machines in Minnesota
and his aunt knew the owners. The family went
on a trip there. Alan was reading the newspaper
and saw an ad from Ozzie and Marie KlavestadÕs
Stagecoach Inn in Shakopee, MN. Well, Alan
opened the front door to see the side of a Seeburg
H with the statue and was wild with joy. It turned
14 MECHANICAL MUSIC July/August 2019
out that none of the machines were for
sale but they did buy a French barrel
organ that was marketed by Wurlitzer.
They were playing the machine backwards
so that all of the barrel pins had
fallen out. Alan found them all and
replaced them.
Ozzie told him, ÒAlan, if I ever sell
the Seeburg H, itÕs yours.Ó After a lot
of complexity and eight and a half
more years Alan finally bought that
Seeburg H.
Acquisitions
An ad in 1966 advertised a player
organ with brass pipes. Alan was
hoping for a Welte but it turned out to
be a Reproduco. Alan acquired it and
got it working. Bill Stewart of Music
Treasure in Kemah, TX, introduced
Alan to Harvey and Marion Roehl,
who were visiting the state. Harvey
insisted that Alan join MBSI. Harvey
even carried with him membership
application blanks.
In the summer of 1967, when Alan
was still in high school, the family
went to Minnesota and while there
Alan bought a Wurlitzer 146 and a
105 band organ and restored them.
Alan later went to Houston Baptist
College where he studied business
and economics.
Alan Meets Steve
In 1966, Red Whaley, an antique
dealer in Dallas, TX, who had music
boxes, repeatedly told Alan that he
should meet Steve Boehck who was
attending Texas Christian University
in Fort Worth, TX, (a neighboring
city) because they both liked the same
things and both frequented RedÕs
antique shop. Steve majored in history
(as a pre-law major) and minored in
business economics. SteveÕs father
had passed away several years earlier.
His mother remarried and moved to
Maryland, so Steve lived in Houston
with his aunt when he was not attending
school. In addition, there was
an article in the Houston Chronicle
asserting that Alan Bies was the only
music box collector in the Houston
area. Steve saw this article, called
Alan, and told him that he, too, was a
teenage music box collector. Suffice it
to say, the two decided to join forces
Right next to the Seeburg H sits a machine called The Adler. It is a disc music box
with organ, drums, triangle and comb.
July/August 2019 MECHANICAL MUSIC 15
The Cremona K purchased as a jumble of parts by Alan and eventually restored to pristine condition by Steve and Alan.
because there were not enough music
boxes to go around if they were in
competition for them.
Steve Boehck
SteveÕs interest in music boxes also
stems from childhood. SteveÕs grandparents
had some novelty musical
items such as a Griesbaum Whistler,
and a musical Swiss Chalet. His grandmother
gave him a Bremond cylinder
box. SteveÕs parents were interested in
antiques and would go on trips north
looking for early American items. On
one such trip he found an antique
store with serious musical boxes,
and he wound up buying a 155/8-inch
Olympia disc box in good condition.
His parents helped him cover the $125
price tag as he was only 14-years-old
at the time.
A few years passed during which
Steve acquired eight to 10 machines
new to him. During college, Steve said
he would try to go to Red WhaleyÕs
unloading sales, where Red would sell
items newly acquired from a buying
trip. Red only marked the machines
up about 20 percent so the prices
were affordable even for the young
collectors.
After college graduation in 1968,
Steve was drafted into the army. Alan
visited him in Stuttgart, Germany,
where they searched for music boxes.
In 1972, Steve moved back to Houston,
working with his brother in the
construction equipment industry. Don
Mudd was an auctioneer who came to
town with a big antique clock auction
in 1976. Both Alan and Steve worked
for Don fixing clocks, music boxes
and setting up the sales for several
years.
Steve was introduced to MBSI in
1966 through founding members
Lucille and Al Hacker, who recorded
machines and sold their records in
department stores while dressed in
Victorian costumes.
The Cremona K
After seeing the Seeburg H at the
Stagecoach Inn, Alan was frantic to
find one. On one of the family trips
to Minnesota in 1969, the family
decided to stop at saloons and ask
the bartenders. Since Alan wasnÕt of
legal drinking age, his father would go
into the saloon, order a beer, show a
picture of a Seeburg H and see what
resulted. There was one false lead, but
at one antique shop they tried, Alan
was referred to a little resort called
ÒMosquito HeightsÓ since they had a
piano with stained glass in their back
room. Upon inspecting the machine, it
was evident that it wasnÕt a Seeburg H
but instead a Cremona K. Parts were
strewn all over from a flood. The stack
and pipe chests were warped and
there was a lot of rusty parts. AlanÕs
father paid $150 for the machine. With
the efforts of Don Teach, and Wayne
Holton, Alan and Steve were able to
restore this machine so that it would
16 MECHANICAL MUSIC July/August 2019
This Wurlitzer 180 Band Organ sat in the basement of the Houston Astrodome in the collection of Judge Roy Hofheinz until it
was purchased at auction by Alan and his father for a record setting price following Hofheinz’s death.
play beautifully. For those interested,
the story of this machine can be found
in Mechanical Music, Vol. 53, No. 5,
September/October 2007, pages 56-57.
The Wurlitzer 180 Band Organ
In 1968, Alan would work on
machines for Duke Parish of Cripple
Creek, CO, and Houston, TX. One day,
Alan and Duke delivered a Tiffany
window portraying the Landing of
Columbus to Hathaway and Bowers.
Duke was busy packing up a Wurlitzer
Style YO Photoplayer he bought while
Terry took Alan on a private tour of
the machines. The Wurlitzer 180 was
the premium band organ and there he
saw a chassis for the 180. Immense!
AlanÕs interest waned a bit when
he found out it played Caliola rolls.
However, it was destined for Houston,
where Judge Roy Hofheinz acquired it
for his Astrodome. The machine sat in
the basement of the Astrodome until
1974 due to a stroke that Roy had.
The investors in the Astro-domain
Corporation ordered the sale of the
instrument collection for an auction
which Dana Johnson helped to put
together. Alan helped and succeeded
in getting 220 volts fed into the auction
site so they could hear the machine.
Alan decided that he had to have it. His
dad helped and they won the auction
for a record-setting price in 1974.
The Phonoliszt Violina
Walt Bellm ran BellmÕs Cars and
Music of Yesterday museum in Sarasota,
FL, until 1997. Walt had two
Hupfeld Phonoliszt Violina machines
and tried to sell one by auction. No
acceptable bids were received. Walt
knew that Alan wanted a Phonoliszt
and gave Alan first chance to buy it
at a set price. He did. This machine
(pictured on Page 18) is a really nice
example of a late model.
The Welte Style IV Orchestrion
One of the show pieces of Alan and
SteveÕs collection is a beautiful Style
IV Welte Orchestrion. Standing 10 feet
high, with beautiful pipework and
cabinetry, it is indeed impressive. In
1966, a collector from Oklahoma, Bob
Nelson, and an antique dealer from
July/August 2019 MECHANICAL MUSIC 17
Alan purchased this Hupfeld Phonoliszt-Violina from BellmÕs
Cars and Music of Yesterday museum in Sarasota, FL, after it
failed to get acceptable bids at auction.
Steve and Alan’s Welte Style IV orchestrion that Alan acquired
in 1968.
This machine is a Kalliston Organette. The metal band rotates
around the machine, playing the music.
A closeup of the Welte’s roll mechanism and the gleaming
pipes that make the machine so visually appealing.
Dallas, Red Whaley, acquired the collection of Charles Merralls
of Southern California. Red ended up with the Style IV
in his garage, unassembled, in Dallas. Whaley told Alan that
Dave Bowers was interested in acquiring the collection and
Alan should act if he wanted the Welte. Alan had previously
bought music boxes from Whaley, but nothing like this.
Dave did come and he bought quite a few machines, but
not the Welte. So 1968 found Alan taking out a loan from
the local credit union. The long and complex story of the
restoration follows. Pipes were mixed up and Alan was
lucky enough to procure the correct pipes. There were
other components that were missing and replacements
were found. Steve wrote a comprehensive article about
this machine for Mechanical Music, Vol. 51, No. 1, Spring
2005, pages 6-18.
Miscellany
As with many collectors, Steve and Alan are interested in
more than just music boxes. One fun thing found in their
home is a C&C electric fan (pictured on Page 20), that
combines a fan with a lamp. The lamp is wired in series
with the fan and thus acts as a resistor. A high wattage light
July/August 2019 MECHANICAL MUSIC 19
bulb will slow the fan down, and a low
wattage one will speed it up. If you
put a fuse in the lamp socket, the fan
will run full speed. Steve and Alan got
interested in early electric fans when
they saw a dragon phone booth fan
that they just fell in love with.
Steve got interested in Loetz glass
after seeing Mrs. Darwin KlinetobÕs
collection of Steuben glass that he
says glowed Òlike King TutÕs tomb.Ó
He chose Loetz because it is sort of a
poor manÕs Tiffany or Steuben.
Also in the collection is an early
Encore Banjo. It is interesting to note
that the valves contain ball bearings.
The company changed from steel
to aluminum bearings, since poor
vacuum conditions might not be able
to lift the heavier steel bearings. The
Holtons found this machine in an
antique shop in Beaumont, TX. The
owner was thinking about making it
into a china cabinet!
Alan and Steve may be reached at
biesboehck@comcast.net
Email Matt Jaro at mjaro@verizon.
net if you would like any information
about style ÒAÓ, ÒGÓ, Ò4XÓ, ÒHÓ or ÒOÓ rolls.
Also, comments and suggestions for this
column will be appreciated.
Reprinted with permission of the
author and The Automatic Musical
Instrument CollectorsÕ Association
(AMICA). Originally printed in the May/
June 2013 issue of The AMICA Bulletin.
The C&C electric fan that slows or
speeds up based on the bulb wattage.
Steve and Alan rescued this Encore Banjo from an antique shop owner in Beaumont,
TX, who might have instead turned it into a china cabinet.
20 MECHANICAL MUSIC July/August 2019
A guide to researching
tunes and their composers
by Richard Dutton
ave you ever wanted to find
out more information about a
piece of music you especially
liked on a cylinder, disc, roll or
cob such as when, where and
by whom it was written or popularized or
what role it played in the culture of its time?
Have you ever wanted to track down sheet
music for a piece so that you could learn its
lyrics or play it yourself on your own musical
instrument? It is now possible to locate, on
the Internet, all sorts of details about even
the most obscure tunes of the past and their
composers and to find sheet music for them
that can be downloaded at no charge. One
does not have to be a computer expert to do
this. The research techniques and resources
described in this article are all ones I have
discovered myself and can also be used by
anyone with computer access.
Photo by Richard Dutton Photo by Richard Dutton
Three rollers, or “cobs,” from the author’s collection.
About 20 years ago I first began to
do research on the music that found
its way onto rollers or ÒcobsÓ that
were made for the 20-note cob roller
organ beginning in the 1880s. I would
go to the New York Public LibraryÕs
Music Library in New York City and
look up the title of a piece in the card
catalogue, and if there was a card
showing that the library had a copy of
the sheet music for the piece or that
the piece appeared in a book in the
libraryÕs collection, I would copy information
from the card onto a call slip.
Then, I would hand in the slip at the
reference desk and someone would
take it upstairs into the libraryÕs stacks
and, if the sheet music or book was on
the shelf where it was supposed to
be, bring it down to me. Sometimes
it took as much as half an hour from
handing over the slip to getting the
book or sheet music. Once I had it in
my hands so that I could look at it, I
would take notes about it using only a
pencil and, if it was not too fragile an
item, make photocopies of it, feeding
coins into one of a small number of
No stone left unturned
Several sidebars to this article
(in boxes like this one throughout
the following pages) provide
examples of what I hope some
will find to be interesting information
regarding lesser-known
composers and songwriters found
by using the research techniques
and resources described herein.
These sidebars include details
about John F. Palmer, who wrote
the lyrics to the popular 1890s
waltz song ÒThe Band Played
On,Ó and also the very prolific but
now forgotten blind Philadelphia
composer Edward Mack, whose
best-known work was the once
quite popular ÒGeneral GrantÕs
Grand March.Ó
In addition, there are details
about the McAloon brothers, minstrel
performers who collaborated
on the little-known piece ÒThe
Wedding of the Lily and the Rose,Ó
which was a precursor to Scott
JoplinÕs rags as well as a favorite
of his.
Then there is also the obscure
Harry W. Guyer, who composed
a now-forgotten march tune that
was put onto a Grand roller organ
cob while he was a student at Cornell
University and is apparently
not remembered for any other
musical effort.
Lastly, the mysterious ÒProfessor
Weiss,Ó who composed the
tune to an unusual 1896 song
titled ÒIÕll Tell Papa on YouÓ under
a pseudonym, may have had a connection
as composer and arranger
of tunes to the Autophone Company,
the sole manufacturer of
cob roller organs.
22 MECHANICAL MUSIC July/August 2019
available copying machines.
Doing similar research today on
my computer is remarkably easy by
comparison. Research can be done at
home at any time of the day or night.
The quantity of information available
on the Internet has expanded exponentially
and is increasing all the time.
Many old and rare books and items of
sheet music in the Library of Congress
and in university and municipal libraries
(including the New York Public
Library) have now been digitized and
can be viewed online just as if you
were holding them in your hands.
In addition, information about
individual composers can now be
found not only in secondary sources
often dating from long after the fact
but also from census records, articles
and references in old newspapers
and periodicals, birth, baptismal,
marriage, naturalization, passport and
death records, and street directories
that are all now available and easily
accessible online.
Moreover, copies of items of sheet
music viewed online can generally be
downloaded for free, and copies of
items of sheet music found to be held
in library collections but not viewable
online can usually be easily ordered,
sometimes for free and sometimes for
a fee that is, in most cases, reasonable.
Also, the scope of available materials
is global, so that you can access books
and sheet music the originals of which
may be in libraries in, for example,
Great Britain, Germany or elsewhere
in Europe, and individual words or
phrases or even page after page from
certain works in foreign languages can
be translated into English using, for
example, GoogleÕs translate feature,
www.translate.google.com.
The following are a few examples
that illustrate some simple considerations
involved in using basic search
techniques in Internet music research:
Example 1: Suppose you are trying
to locate information about, say, the
19th-century American songwriter
Stephen Foster, who is sometimes
referred to as Stephen C. Foster or
Stephen Collins Foster.
If you search by typing in just the
words Stephen Foster, you will get
all items that include the words ÒStephenÓ
and ÒFosterÓ, even if they are
not consecutive and in the same order,
that is, items in which he is referred to
as Stephen Foster, Stephen C. Foster
and Stephen Collins Foster, but also
extraneous items that, say, include
both the names Stephen King and
Jodie Foster.
If on the other hand you type in ÒStephen
FosterÓ in quotes you will get
only items in which his name appears
in exactly that form and eliminate
extraneous items that just happen to
include the words Stephen and Foster
but also eliminate items in which he is
referred to as ÒStephen C. FosterÓ or
ÒStephen Collins FosterÓ.
Solution: Do the search different
ways, without quotes and also with
quotes, using any different forms of
the name you know.
Photo courtesy Library Company of Philadelphia
July/August 2019 MECHANICAL MUSIC 23
A warning about accuracy of information
As the body of details available online has continued
to grow rapidly, information has been added to many
websites that purports to be authoritative but is often
undocumented and, in many cases, incorrect. A statement
of fact that is simply wrong is then frequently
picked up and repeated on other websites until it is
literally all over the Internet.
I found an example of contradictory ÒfactsÓ about
writers and composers that were stated authoritatively
both on websites and in books while tracking down
information about the author of the lyrics (Meta Orred)
and the composer of the tune (Annie Fortescue Harrison)
of ÒIn the GloamingÓ (which appeared on roller
organ cob No. 131). I first noted that the birthdates
given for both Orred and Harrison were inconsistent
from source to source. Orred is sometimes reported
as having been born in 1845 and sometimes in 1846.
Likewise, Harrison is sometimes reported as having
been born in 1850 and sometimes in 1851.
This sort of minor inconsistency is understandable
since birthdates of 19th-century figures, by necessity,
are generally determined not from the scanty birth
records of that era, but rather from obituary notices or
other biographical information written after a personÕs
death. So, if an article written upon someoneÕs death in
1918 says that a person died at age 56, the person could
have been born in either 1861 or 1862, depending upon
whether he or she had attained his or her 1918 birthday
by the time of his or her death.
A more glaring error, however, that appears in many
sources is the statement that Orred died in 1953 (giving
no birth year for her). Other sources give a death year
of 1925, which would be more consistent with a birth
year of 1845 or 1846.
In resolving this inconsistency, I first found that ÒIn
the GloamingÓ appeared in OrredÕs 1874 book ÒPoemsÓ,
which is completely digitized online. From that piece
of evidence, I was able to surmise that if she actually
died in 1953, even if she lived to be as old as 100, she
would have had to have written the more than three
dozen poems in her book and then had them published
before she was 21. To me, that seems unlikely and
therefore the more reliable sources are those that put
her death year at 1925.
Surprisingly, errors can appear not only in information
available online but also in recently published
books Ð even those written by academics Ð about
music, composers and songwriters of the past. It is
best to remember that simply because a source is more
recent does not make it more authoritative.
For example, the author of one book confused ÒIn
the Gloaming,Ó which is a sentimental drawing-room
ballad, with the much later rollicking song ÒRoaming
in the Gloaming,Ó sung and recorded by Scottish comedian
and singer Harry Lauder. The author then went on
to say that the song was popularized by Lauder in 1874,
the year OrredÕs poems were published, even though
Lauder would have been only 4 years old at that time!
Errors like this can be expected to result in the
spreading of misinformation, create confusion and
make it harder for future researchers to determine the
true details. Therefore, I advise anyone who wishes
to do further research of his or her own concerning
music of the roller organ era (about 1885 until about
1925) to be wary of secondary sources, both on websites
and in books. I recommend instead concentrating
on sheet music published during that era (with the
caveat that it sometimes includes the name of an
arranger rather than the composer and the copyright
date of the arrangement rather than of the original
piece) and newspaper articles, obituary notices and
other biographical information dating from shortly
after a piece of music was written or a composer or
songwriter was living.
Even sources like these, however, are far from
infallible and contain many incorrect statements and
inconsistencies. Obituary articles about music figures
and other newspaper articles about them written many
years ago frequently contain mistaken information
with regard to an individualÕs age at death, as composers
who were also stage performers, for example, often
lied about their ages as adults, perhaps so that they
would be regarded as younger than they really were.
Also, a composerÕs second or third spouse might not
even know the composerÕs real date of birth and therefore
might provide incorrect information for purposes
of a death certificate. Therefore, to determine someoneÕs
year of birth in the absence of a birth record, a
census record from when the person was a child giving
his or her age at that time is probably the most reliable
source to use. I have also found, however, that census
records can contain inaccuracies and inconsistent
information about the same person from decade to
decade, perhaps because this person was not always
the one who provided details about the members of
the household to the census taker.
In summary, when doing research in this area you
have to be skeptical and check each source against
others whenever you can.
Ð Richard Dutton
24 MECHANICAL MUSIC July/August 2019
Example 2: Stephen Foster is so
well-known that even if you typed
in just his name without quotes you
would get a lengthy list of relevant
search results. Suppose, however, that
instead you wanted to locate information
about a forgotten 19th-century
songwriter with a sort of name that
many different individuals all over the
U.S. may have had during the past 150
years, such as ÒArthur W. French.Ó
Solution: To avoid getting items
such as an obituary notice for someone
named Arthur W. French who
died in New Mexico last year and had
nothing to do with music, search using
ÒArthur W. FrenchÓ and then (to pick
up references in which his middle initial
was not used) ÒArthur French,Ó in
each case in quotes and followed by a
further qualifying word such as music,
lyrics, song or songwriter, or the term
Òsheet musicÓ in quotes.
Example 3: Suppose you are
researching the tune ÒYankee DoodleÓ
and when you type in that title in
quotes you find that you are getting
many references to the much later
song ÒYankee Doodle DandyÓ mixed in
with references to ÒYankee Doodle.Ó
Solution: Use the ÒminusÓ function
so that your search is ÒYankee DoodleÓ
-Dandy. This will eliminate items in
which the extraneous word ÒDandyÓ
appears.
Example 4: Suppose that you have
the title of a song slightly wrong. If
you type in the title as you have it, in
quotes, the search engine will search
for only references using those exact
words in that exact order and you may
not get any results that relate to a song
of that title.
In this regard, the manufacturer
of roller organ cobs, the Autophone
Company, in many instances included
on the label of a cob a title slightly
different from the title as it appeared
in sheet music for a song. Some examples
are ÒGood-Bye, My Old Southern
HomeÓ (cob) vs. ÒGood-Bye to my
Old Southern HomeÓ (sheet music),
or ÒWhip-Poor-WillÕs SongÓ (cob) vs.
ÒThe Whip-Poor-WillÕs Echo SongÓ
(sheet music), and ÒKiss Me as I Fall
to SleepÓ (cob) vs. ÒKiss Me, as I Fall
Photo courtesy Wikipedia.org
The sheet music cover for ÒAfter the BallÓ by Charles K. Harris. Sales of sheet music
for this song reached into millions, making Harris wealthy.
AsleepÓ (sheet music).
Solution: To perform a search,
always start with the full title you have,
in quotes, but if you get no search
results that relate to a song with that
title and it is possible that the title
you have is not exactly correct, then,
to pick up any slightly different title,
instead try typing in the title without
quotes or typing in different portions of
the title in quotes, but follow what you
type in with a qualifier such as song,
music, lyrics or the term Òsheet musicÓ
in quotes as you did in the search for
the songwriter ÒArthur W. FrenchÓ
above so that you do not get every
reference in which, say, the words
ÒSouthern HomeÓ appear together with
no connection to any song.
The following research resources
will be helpful in performing online
searches:
July/August 2019 MECHANICAL MUSIC 25
Myles McCarthy, born John F. Palmer
The once very popular waltz song ÒThe Band Played
OnÓ (on Grand roller organ cob No. 2126) dates from
1895. Its lyrics were written by John F. Palmer (18661928)
and its music by Charles B. Ward.
James J. Geller, in ÒFamous Songs and their Stories,Ó
relates how Palmer, then a young actor living in the
Harlem neighborhood of New York City, was called
to breakfast by his sister Pauline but was listening to
a German band playing in the street and said, ÒOne
moment. Let the band play on.Ó
Pauline replied that ÒThe Band Played OnÓ would
be a good title for a song.
Palmer then crafted lyrics for
a song of that title and came
up with music to accompany
them. He was incapable of
transcribing the melody himself,
so he hired a drummer
at a local theater to do it for
him. He then faced the problem
of finding a publisher for
the piece. Ward, a vaudeville
performer as well as a small-
scale music publisher, heard
Palmer humming the tune
and found it appealing. Ward
offered to arrange for the
song to be published and,
after making a few minor
changes in the tune, listed
himself as composer. Ward
vigorously promoted the
piece, performing it himself,
and the sheet music sold
more than a million copies.
James J. Fuld, in ÒThe
Book of World-Famous
Music, Classical, Popular
and Folk,Ó says, ÒAll that is
known about Palmer is that he was an actor in New
York City.Ó Piecing together scraps from a number of
sources located using the research techniques and
references described in this article, however, makes it
clear that Palmer was in fact a reasonably well-known
actor who had a long career that extended into the
era of silent films. He would not, however, have been
recognizable to most people as Palmer, but instead be
known only by his stage name Myles McCarthy, the
name of an Irish character he played in a production
called ÒDear Hearts of IrelandÓ in 1899. It was the name
by which he continued to be known, even including it
as his alternate name in legal documents.
Sheet music cover for ÒThe Band Played On.Ó
The 1880 U.S. Census shows John Palmer, age 14,
and Pauline Palmer, age 7, living with their parents
at 121 East 109th Street in the Harlem neighborhood
of New York City. The 1889 and 1897 New York City
street directories list John F. Palmer, actor, living at
69 East 121st Street and 17 West 135th Street, respectively,
both addresses also in Harlem. An entry in the
ActorsÕ Society Monthly Bulletin (New York, NY) for
Jul. 1, 1899, listing performances in which actors were
engaged reads, ÒJack Palmer, As Miles McCarthy, starring
in ÔDear Hearts of Ireland.ÕÓ
An interview with Myles
McCarthy (not even mentioning
the name John F. Palmer)
appeared in an entertainment
column in The Des Moines
Leader (Iowa) on Oct. 15, 1899,
quoting ÒMcCarthyÓ about
how he had just appeared in
ÒDear Hearts of IrelandÓ in
Des Moines and that he had
written that play in only three
nights and had also written the
song ÒThe Band Played OnÓ in
six minutes and had earned
more than $2,800 from it.
An article in the San Francisco
Call of May 24, 1909,
refers to a vaudeville sketch
performed by Myles McCarthy
and Pauline Palmer (that is,
Palmer and his sister). A U.S.
passport application dated
Oct. 13, 1920, for ÒJohn F.
Palmer, Professional Name
Myles McCarthyÓ states that
he was born in Montreal, Canada,
on Apr. 27, 1866. It goes
on to say that he had lived
in the U.S. since 1869, had his permanent residence
in New York, and listed his profession as actor. The
corresponding passport application for his wife, Aida,
listed her professional name as ÒAida WoolcottÓ and
noted she was an actress. A 1920 U.S. Census record
lists ÒMyles McCartheyÓ [sic] and his wife Adia [sic] at
an address in Venice, CA, with an incorrect listing of
his age but stating that he had been born in Canada
and his occupation was actor. Finally, a California
death record lists the death of ÒJohn F. PalmerÓ on
Sept. 27, 1928, at age 62.
ÐRichard Dutton
26 MECHANICAL MUSIC July/August 2019
1. Sheet Music: Before the era of
recorded music, people would buy
sheet music for a piece they liked and
bring it home to play on their own
pianos and organs and the popularity
of a piece was measured in terms of
sheet music sales. While there were
earlier cases in which an enormous
number of copies of the sheet music
for a particular piece were sold (such
as the sheet music for the old favorite
ÒHome, Sweet HomeÓ right after the
song first appeared in the 1820s), the
example that is probably most often
cited, with sheet music sales rapidly
reaching into the millions, involves the
1892 waltz song ÒAfter the Ball.Ó Its lyricist
and composer, Charles K. Harris,
was a 25-year-old banjo player turned
songwriter who wrote it for an amateur
minstrel show in Milwaukee and published
sheet music for it himself, and
when sales of the sheet music took off,
his life was quickly transformed and
he enjoyed a long career as a major
songwriter and music publisher. He
described the origins and phenomenal
instantaneous spread in popularity
of the song in his 1926 autobiography
ÒAfter the Ball: Forty Years of MelodyÓ
(New York, Frank-Maurice, Inc.)
(digitized in its entirety on the website
www.archive.org).
Copies of sheet music for ÒAfter the
BallÓ are accordingly easy to locate
even today. If you perform a Google
search with the words Òafter the ballÓ
in quotes, ÒHarris,Ó and Òsheet musicÓ
in quotes, you will quickly locate
copies of HarrisÕ original 1892 sheet
music for the piece, fully digitized
and viewable and downloadable at no
charge, from the Lester S. Levy Sheet
Music Collection at Johns Hopkins
University and in the historic sheet
music collections at the libraries of
Duke University and the University of
Maine. Other institutions with especially
notable sheet music collections
that are frequently encountered when
performing similar searches are the
New York Public Library, Connecticut
College, the University of Tennessee,
the University of Virginia, Indiana
University, the University of North
Carolina, Temple University, Baylor
University and, of course, the United
States Library of Congress. While a
The prolific but
little-known Edward Mack
ÒGeneral GrantÕs Grand March,Ó
which appeared on roller organ
cob No. 480, is the best-known
composition of a very prolific
but little-known Philadelphia
composer named Edward Mack.
There are more than 750 items of
sheet music in the United States
Library of Congress collection in
which the tune is attributed to ÒE.
Mack.Ó
In many cases Mack was
clearly just the arranger, as in the
case, for example, of pieces like
ÒAnnie Laurie,Ó ÒHome, Sweet
Home,Ó and ÒOn the Beautiful Stuttgart, Germany, and lists his
Blue Danube,Ó not to mention his occupation as musician.
many arrangements of themes Annual reports for the Penn-
from operas for the piano. He sylvania Institution for the
was, however, presumably the Instruction of the Blind in Phil-
composer of a very large number adelphia show that an Edward
of other pieces with unfamiliar Mack was a student there at least
titles, especially dance tunes. It as early as 1846 and as late as 1850,
is remarkable that nearly nothing and the report for 1859 listing the
has been written about such a schoolÕs accomplished graduates
prolific producer of music and, includes ÒEdward Mack, organist,
even stranger, that his life story music teacher and piano tuner.Ó
was not more popular because he Annual Philadelphia city direcwas
apparently blind. tories variously list, beginning in
A majority of the sheet music 1856, ÒE. Mack,Ó ÒEdward Mack,Ó
containing tunes attributed to him or ÒEdward L. MackÓ as a Òprof.
was published in Philadelphia, of music,Ó Òmusic teacher,Ó or
PA, and there is a Philadelphia Òteacher.Ó Beyond this, appardeath
certificate for an Edward ently very little information about
L. Mack reporting his death on Mack has been preserved.
Jan. 7, 1882, at the age of 56. The
ÐRichard Dutton
certificate gives his birthplace as
separate search for a particular item
of sheet music could be made on each
such institutionÕs own website, it is
easier simply to do a single Google
search, which will give results in all of
these collections.
Sheet music for a piece of music often
provides clues that can lead to more
information about the composer and/
or lyricist and more details concerning
the piece, including when, where and
how it came to be written, popularized
and performed. Sometimes the cover
will include the name of a show in
which the piece was included, the
name and perhaps also a photograph of
a performer who sang it, a dedication to
a person in a particular city with which
a writer of the song had a connection,
or names of other songs written by the
same songwriter. The place of publication
of the sheet music is also relevant,
July/August 2019 MECHANICAL MUSIC 27
Scott Joplin, the McAloon brothers and
ÒThe Wedding Of The Lily And The RoseÓ
I have always felt that the tune on Grand roller organ In LeMackÕs lyrics, the singer falls asleep while sitting
cob No. 2021, ÒThe Wedding of the Lily and the Rose,Ó on a bench in a garden and has a dream in which a lily
sounded similar to piano rags by the African-American marries a rose with various other flowers in the garden
pianist and composer Scott Joplin, but when I located participating. There is sheet music for the piece in the
the sheet music for it, I found it had Library of Congress collection.
a copyright date of 1892, seven years The Theatre Magazine, Vol. VII,
before JoplinÕs first rag appeared. I No. 22 (New York, 1891) contains a
recently discovered, however, that review of ÒAunt BridgetÕs BabyÓ fol-
the tune was not only familiar to Jop-lowing its opening on May 18, 1891,
lin but was one that he apparently at the Bijou Theater in New York
particularly liked and performed and lists Mack and LeMack in the
himself. Proof of this comes from an cast. Massachusetts birth records
advertisement in the Nov. 25, 1902, show William Andrew McAloonÕs
edition of the St. Louis Post-Dis-(misspelled ÒMcLoonÓ) date of
patch calling Joplin Òthe king of birth as Jul. 25, 1863, and Thomas
rag-time writersÓ and announcing Francis McAloonÕs date of birth as
that he was going to play the piece Apr. 26, 1865. The 1870 U.S. Census
as a trio with two brothers of his as shows William McAloon, age 6, and
part of a program that evening on Thomas McAloon, age 5, living in
stage at the Germania Theater in St. Boston with their Irish-born parents.
Louis, MO. The piece was the only Obituary articles in the Brooklyn
one mentioned in the advertisement
that was not by Joplin himself.
Its tune was composed by W. Andrew Mack (18631931),
its words were written by Thomas LeMack
(1865-1899) and it was introduced in a comic Òstage
IrishÓ production titled ÒAunt BridgetÕs Baby.Ó Mack
and LeMack were Boston-born brothers whose real
name was McAloon. Mack (William A. McAloon)
was a singer, comedian and actor. LeMack (Thomas
McAloon) was a comedian and dancer and both
performed with minstrel troupes and are mentioned
in Edward LeRoy RiceÕs 1911 book ÒMonarchs of MinstrelsyÓ
(see paragraph 4 under Òresearch resourcesÓ
in the main article).
Daily Eagle on May 22 and 23, 1931,
reported Andrew MackÕs death at his home in Bayside,
Queens, NY, and included a photograph of Mack. The
May 22 article said he Òwas regarded as one of the
most popular comedians and singers in the history of
the stage in this countryÓ and noted that he appeared
almost entirely in Irish plays. By contrast, a brief article
in the New York Times on Feb. 28, 1899, reported the
death on the previous day of heart disease of Thomas
LeMack, describing him as a Òwell-known vaudeville
performerÓ and noting his relationship to his, by then
much better-known, brother.
ÐRichard Dutton
especially if sheet music can be located
for other songs by the same songwriter
and all or most of it was published in
that same city, which would suggest
that the songwriter lived in or near
that city. Sheet music generally also
includes a copyright date for the piece
and this is relevant to when the piece
could have first been put into a form for
a mechanical music machine on which
the piece appeared and thus when that
machine may have been made.
An interesting reference work I
have sometimes found helpful if I have
the title of a piece and want to find
the name of its composer is the Complete
Catalogue of Sheet Music and
Musical Works published in 1870 by
the Board of Music Trade of the U.S.,
the 20 members of which were sheet
music publishing firms. It is a nearly
600-page list of items of sheet music
in print at that time in each case giving
a pieceÕs title and composer and the
publisher. It covers a great variety of
music from popular songs to classical
and operatic works to dance pieces
of all kinds. The entire book has been
digitized on www.google.com.
2. Old Song Collections: There are
a number of collections of songs in
book form published more than a century
ago that contain music and lyrics
for favorite songs at the time, both
songs that remain well-known and
ones that are now forgotten. These
works include:
Helen Kendrick Johnson, ÒOur
Familiar Songs and Those Who Made
ThemÓ (New York, Henry Holt and
Co., 1881) (includes 300 songs and a
28 MECHANICAL MUSIC July/August 2019
Harry W. Guyer of Cornell
paragraph giving background information
about each of them -digitized
on www.hathitrust.org and www.
archive.org)
Henry Frederic Reddall, comp.,
ÒSongs That Never DieÓ (no publisher
stated, 1892 – music and lyrics of
nearly 300 songs plus music for additional
instrumental pieces – digitized
on www.hathitrust.org)
ÒHeart Songs Dear to the American
PeopleÓ (Boston, Chapple Publishing
Company, 1909 – music and lyrics of
hundreds of favorite songs submitted
by readers of The National Magazine
-digitized on www.hathitrust.org)
3. More Recent Books About
Popular Music: These books are still
under copyright and have accordingly
not been digitized and put online in
their entirety but used copies of them
can be purchased online, often for surprisingly
reasonable prices, through
websites such as www.abebooks.com,
www.alibris.com and www.ebay.com.
James J. Fuld, ÒThe Book of
World-Famous Music, Classical,
Popular and Folk,Ó 3rd Ed. (New
York, Dover Publications, Inc., 1985)
(contains a lengthy paragraph about
each of the hundreds of pieces of
music that are included as well as the
opening notes of the tune in musical
notation and information about sheet
music for the piece)
Peter Gammond, ÒThe Oxford Companion
to Popular MusicÓ (New York,
Oxford University Press, 1991 – a work
in encyclopedia format including
entries, alphabetically arranged, for
composers, lyricists, songs, shows,
types of music, etc., comprehensively
indexed under the headings Òpeople
and groups,Ó Òshows and films,Ó and
Òsongs and albumsÓ)
James J. Geller, ÒFamous Songs and
their StoriesÓ (New York, Garden City
Publishing Co., Inc., 1940 – includes
a brief article in the format of a
newspaper column for each of more
than 50 popular songs dating from
the 1870s through the turn of the 20th
century)
4. Works Containing Biographical
Information About Composers and
Lyricists: A biographical dictionary
The Fall 1903 Sears Roebuck
catalog listed the composer of
ÒUniversity MarchÓ on Grand
roller organ cob No. 2069 as
ÒGuyer.Ó United States copyright
records show that sheet music for
a piece titled ÒUniversity MarchÓ
by H. W. Guyer of Sunbury, PA,
was filed in 1894 in order to
secure a copyright. Knowing that
the composerÕs name was H. W.
Guyer and that he lived in Sun-
bury opened the door to locating
and piecing together all sorts of
details about him from a variety
of sources.
His full name was Harry W.
(William) Guyer. He lived from
1871 to 1943 and he spent most
of his life in Sunbury, a small city
on the Susquehanna River in Northumberland
County, PA, where
his family owned a considerable
amount of commercial real estate
and operated the Central Hotel
beginning in 1882. Although he
was mentioned in dozens of newspaper
articles over many decades,
no article about him included any
reference to music. Rather, they
covered his involvement in the
sport of rowing and in later years
reported on his business interests.
ÒUniversity MarchÓ would have
been written when Guyer was
only 23 years old and may be his
only published musical work.
One might ask how this obscure
march found its way onto the
Grand roller organ. The answer,
of musicians, originally compiled by
Theodore Baker and therefore known
as ÒBakerÕs Biographical Dictionary,Ó
is still in print and is updated periodically,
but because I am interested
primarily in music that is more than
100 years old I prefer to work with
the 1900 edition, which is out of
copyright, has been digitized and can
be viewed online at www.archive.org.
apparently, is that Guyer attended
Cornell University in Ithaca,
NY, where roller organs were
manufactured. The ÒUniversityÓ
in the title of the march therefore
most likely refers to Cornell and
for that reason the tune came to
the attention of the Autophone
Company and was put on a cob.
The December 1893 issue of
The Shield, a publication of the
Phi Kappa Psi fraternity, listed
Guyer as one of the Ònew menÓ
in the chapter of the fraternity at
Cornell. The February 1894 issue
listed Guyer as having been initiated
into the fraternity in 1893,
his college class as 1897 and his
intended occupation as electrical
engineering.
The Jan. 31, 1898, issue noted
that Guyer had taken charge of
the Central Hotel. 1900 and 1910
U.S. Census records show Harry
Guyer living in Sunbury with the
occupation Òmanager hotelÓ and
Òhotel proprietor,Ó respectively.
An obituary article about GuyerÕs
mother Catherine in the Jun. 8,
1922, edition of the Selinsgrove
Times-Tribune includes information
about the Guyer family and
the Central Hotel and a Pennsylvania
death certificate for Guyer
reports his date of death as Nov.
23, 1943, and his date of birth as
Aug. 19, 1871.
ÐRichard Dutton
The following works are all from the
same era and have also been digitized
as indicated:
W. S. B. Mathews, assoc. ed., ÒA
Hundred Years of Music in AmericaÓ
(Chicago, G.L. Howe, 1889 – digitized
on www.hathitrust.org)
Edward LeRoy Rice, ÒMonarchs
of Minstrelsy, from ÔDaddyÕ Rice to
DateÓ (New York, Kenny Publishing
July/August 2019 MECHANICAL MUSIC 29
The song ÒIÕll Tell Papa On YouÓ and the
mysterious Professor Weiss
By piecing together information from a variety of
sources, I was able to establish that ÒIÕll Tell Papa on
YouÓ (on Grand roller organ cob No. 2131) is an 1896
song with words by Margaret B. Keeler (1869-1903), a
high school teacher in Honesdale, Wayne County, PA.
The music is by ÒFred. Lone,Ó a pseudonym of George
O. T. Weiss (1853-1915), a music teacher and composer
who lived in New York City and spent part of the year
in and around Honesdale teaching there.
There is sheet music for this unusual piece in the New
York Public Library attributing the words to Margaret
B. Keeler and the music to Fred. Lone. A note about the
song in the Feb. 27, 1896, edition of the Wayne County
Herald, published in Honesdale, identified Keeler as a
teacher at Honesdale High School but attributed the
music not to ÒFred. LoneÓ but to ÒProf. Weiss.Ó
A notice in the Jun. 30, 1892, edition of the same
newspaper had announced that Professor George
O. T. Weiss of New York City, Òthe eminent musician
and composer,Ó was again at his old quarters for the
summer and was taking pupils.
An article in the Aug. 15, 1895, edition reported on
a music recital in Honesdale given by ÒProf. Weiss,
the eminent author and executant,Ó and a note in the
Oct. 1, 1896, edition reported that ÒProf. Weiss, of New
York City, will take charge of a musical organization in
Honesdale.Ó
An article in the Oct. 30, 1896, edition of the Scranton
Republican reported under ÒCarbondale NewsÓ
that the several-hundred-strong St. Rose BoysÕ and
GirlsÕ choral class was giving a performance under the
direction of Prof. George O. T. Weiss of New York City,
who had been teaching them for several months, and
a notice in the Jun. 18, 1898, edition of the same newspaper
reported that dance music for a local event was
provided by ÒProf. Weiss of Carbondale.Ó Carbondale
is about 15 miles from Honesdale. Thus, George O. T.
Weiss, known simply as ÒProf. WeissÓ to Honesdale
residents, a New Yorker who spent his summers in
and around Honesdale, wrote the music to accompany
Honesdale schoolteacher Margaret KeelerÕs lyrics to
ÒIÕll Tell Papa on YouÓ and used the pseudonym ÒFred.
LoneÓ instead of his own name when the song was
published.
In this regard, the newspaper article referred to
above that identified ÒProf. WeissÓ rather than ÒFred.
Co., 1911 – contains information about
many minstrel performers, a number
of whom were also songwriters and
sometimes performed their own songs
– digitized on www.archive.org)
ÒAppletonÕs Cyclopaedia of
American BiographyÓ (New York, D.
Appleton and Company, multi-volume
work, first volume [Aaron-Crandall]
with a copyright date of 1886 – digitized
on www.hathitrust.org)
Thomas William Herringshaw, ÒHerringshawÕs
Encyclopedia of American
Biography of the Nineteenth CenturyÓ
(Chicago, American PublishersÕ
Association, 1905 – one-volume work
-digitized on www.hathitrust.org)
ÒNational Cyclopaedia of American
BiographyÓ (New York, James T. White
& Company, multi-volume work,
first volume with a copyright date of
1891; biographies in each volume are
not arranged alphabetically so that
an index volume must be used to
locate the biography of any particular
individual – digitized on www.hathitrust.
org)
Frances E. Willard and Mary A.
Livermore, eds., ÒAmerican Women,
Fifteen Hundred Biographies with
Over 1,400 PortraitsÓ (New York, etc.,
Mast Crowell & Kirkpatrick, 1897 –
digitized on www.hathitrust.org)
5. Classical, Operatic and Theatre
Music: A standard reference work
for well over a century that includes
amazingly detailed information with
regard to ÒseriousÓ (as opposed to
ÒpopularÓ) music and its composers is
the multi-volume ÒGroveÕs Dictionary
of Music and Musicians.Ó It continues
to be updated and published today, but
I once again prefer to use an earlier
edition because of the age of the music
I research and I was able to buy a fine
used set of the 3rd Edition (1935) from
one of the online booksellers mentioned
above for something like $35.
For information about operas, I
often also refer to the less scholarly
ÒVictrola Book of the Opera: Stories
of the Operas with Illustrations
& Descriptions of Victor Opera
Records,Ó published in many editions
by the Victor Talking Machine
Company beginning in 1912 and
containing details concerning many
operas, including some wonderful
old operas with beautiful music that
are seldom performed today such as
ÒMarthaÓ and ÒThe Bohemian Girl,Ó in
each case providing a list of characters,
an act-by-act plot summary and
the titles of significant arias and where
in the opera they are sung. A complete
copy of the 1919 edition has been digitized
on the U.S. Library of Congress
website (www.loc.gov).
Two additional books about operas
and operettas, both digitized on www.
hathitrust.org, are:
George P. Upton, ÒThe Standard
Operas: Their Plots, Their Music, and
Their ComposersÓ (Chicago, A. C.
30 MECHANICAL MUSIC July/August 2019
LoneÓ as the composer also specifically referred to the and arranged tunes for the Autophone Company to put
same edition of the sheet music for the song as is held onto roller organ cobs.
by the New York Public Library, which clearly names Online research also uncovered many further details
Lone as the composer on the cover page and makes about Keeler and Weiss. The 1870 and 1880 U.S. Cenno
mention of Weiss. As further evidence that Lone sus records show ÒMaggie B. Keeler,Ó ages Ò6/12Ó (six
and Weiss were the same person, it could not possibly months old) and 11, respectively, living in Montrose,
be just a coincidence that in the catalogue of titles of PA, about 24 miles south of Binghamton. The 1892
items of sheet music entered in the U.S. Library of New York State Census records show Keeler, age 23,
Congress under the U.S. Copyright Law from Feb. 10 living in Binghamton with her widowed mother and
through 15, 1896, which contains hundreds of such brothers and teaching there. The 1900 U.S. Census
titles, the entry that immediately follows ÒIÕll Tell Papa records show Keeler, a 30-year-old teacher, living in
On You. By Fred. LoneÓ is ÒSalutaris Hostia. By George Honesdale as a boarder. A note in the Nov. 26, 1901,
O. T. Weiss.Ó edition of the Pittston Gazette reported that ÒMiss
Weiss may well have used the Lone pseudonym Margaret B. Keeler, a former teacher of the Honesdale
because he was also a composer of ÒseriousÓ music High School, is now principal of one of the government
and did not want his real name associated with a schools in Porto Rico.Ó A Puerto Rico Civil Registry
frivolous child song. The sheet music was very heavily entry shows KeelerÕs marriage there on May 10, 1902,
promoted in notices in newspapers all over the United to one Christian Barentzen. An article in the Mar. 4,
States in March and April, 1896, always mentioning 1903, edition of the Scranton Republican reported the
LoneÕs name, but never KeelerÕs or WeissÕs. death of Margaret Keeler Barentzen in childbirth at age
An interesting question that might be asked about 33 in Binghamton, noting that she had taught school
George O. T. Weiss is whether he was also the com-for years in Binghamton, Montrose and Honesdale and
poser of either or both of the tunes on Grand roller had gone to Puerto Rico to teach two years earlier and
organ cobs No. 2092, ÒMilitary March,Ó and No. 2139, was married there.
ÒAutophone Melody,Ó both of which the list of Grand George Weiss, according to 1880 U.S. Census records,
cobs in the Fall, 1903 Sears Roebuck catalog attributed was then a Òmusic teacher,Ó age 27, born in Germany,
merely to ÒWeiss.Ó I have not been able to locate any residing in New York City. In the 1900 U.S. Census
other information about, or any sheet music for, either records George O. T. Weiss is listed as a Òteacher of
tune, which is unusual, and the second title clearly music,Ó born in 1853 in Germany, who immigrated to
refers to the Autophone Company of Ithaca, NY, the the U.S. in 1874 and was residing in New York City. A
sole manufacturer of cob roller organs. Honesdale is New York City municipal death record gives the dates
only about 70 miles south of Binghamton, NY, where of birth and death of ÒGeorge Weiss,Ó a Òmusic teacherÓ
Keeler had a home and at one time taught (see below), born in Germany, as Mar. 31, 1853, and Feb. 22, 1915,
and Binghamton is less than 50 miles from Ithaca. All of respectively.
these connections lead to the hypothesis that George
ÐRichard Dutton
O. T. Weiss may have been someone who composed
McClurg & Co., 1903) and
ÒThe Standard Light Operas, Their
Plots and Their MusicÓ (Chicago, A. C.
McClurg & Co., 1902).
More recent books on the musical
theatre, still under copyright but available
inexpensively from online used
book sellers mentioned above, are:
Gerald Bordman, updated by
Richard Norton, ÒAmerican Musical
Theatre: A Chronicle,Ó 4th ed. (New
York, Oxford University Press, 2010)
Gerald Bordman and Thomas S.
Hischak, ÒThe Oxford Companion to
American Theatre,Ó 3rd ed. (New York
and Oxford, Oxford University Press,
2004)
Kurt Ganzl, ÒThe Encyclopedia of
the Musical Theatre,Ó 2nd ed. (New
York, Schirmer Books, 2001)
The International Music Score
Library Project (IMSLP)/Petrucci
Music LibraryÕs website, www.imslp.
org, includes complete scores for
many operas and operettas as well as
sheet music for many classical works,
all viewable at no charge. As an
alternative to this, merely performing
a Google search using, for example,
the words ÒBohemian GirlÓ in quotes,
the word opera and the word score
will give as results several different
editions of the score for the opera
digitized on www.hathitrust.org.
Finally, complete performances of
many operas and operettas can be
viewed at no charge on www.youtube.
com in order to determine whether a
particular tune is indeed in a particular
opera or operetta and, if so, where
it appears.
6. Hymns: Most of the hymns that
were included on the cob roller organ
were evangelical hymns that were current
in the U.S. between 1885 and 1900.
Probably the best print source for the
lyrics and music to hymns of this type
is ÒGospel Hymns Nos. 1 to 6 Complete,Ó
edited by Ira D. Sankey, James
McGranahan and George C. Stebbins,
July/August 2019 MECHANICAL MUSIC 31
copyrighted in 1894 and digitized on
www.hathitrust.org. While the hymns
on the roller organ do not appear to
have been taken from this hymnal,
there is a big overlap between its contents
and the hymn tunes on cobs and
it contains 70 of the 89 English-language
hymns (that is, excluding the
Swedish hymns and the one Finnish
hymn) on cobs No. 1-100. A number
of the English-language hymns (that
is, excluding the Spanish, Norwegian,
German and Swedish hymns) on the
higher-numbered hymn cobs in the
No. 601-760 range appear to have
been taken from three other hymnals:
the hymns on 14 cobs in this range
appeared in an 1887 hymnal compiled
by Daniel B. Towner, ÒHymns New and
Old: For Use in Gospel Meetings and
Other Religious Services,Ó digitized
on www.hathitrust.org, the hymns
on four other cobs appeared in two
hymnals compiled by Edwin O. Excell
and the hymns on eight additional
cobs came from an 1871 hymnal,
ÒPure Gold for the Sunday School,Ó
compiled by W. Howard Doane and
Robert Lowry and digitized on www.
archive.org. Two sources for lyrics
and music of most of the Catholic
hymns on cobs No. 751-759 are ÒThe
Roman Hymnal,Ó an 1884 compilation
by Rev. J. B. Young, S. J., and ÒThe
Catholic YouthÕs Hymnbook. By the
Christian Brothers.Ó (New York, P. J.
OÕShea, 1871), both digitized on www.
archive.org.
There are also websites that include
voluminous information about hymns
and their writers and composers as
well as the opportunity to listen to
MIDI (Musical Instrument Digital
Interface) recordings of their tunes
on oneÕs computer speaker at no
charge. One is www.hymntime.com
(incorporating what was formerly
accessible on www.cyberhymnal.
org) and another is www.hymnary.
org. The latter contains scans of pages
of hymnals, in some cases very old
ones, in which a particular hymn has
appeared. In addition, some books
that contain information about the
writers and composers of hymns are:
Charles H. Gabriel, ÒThe Singers and
Their Songs: Sketches of Living Gospel
Hymn WritersÓ (The Rodeheaver
Company, Chicago and Philadelphia,
1916 – digitized on www.hathitrust.org
and www.archive.org)
J. H. (Jacob Henry) Hall, ÒBiography
of Gospel Song and Hymn WritersÓ
(New York, Fleming H. Revell Co.,
1914) (digitized on www.archive.org)
Donald P. Hustad, ÒDictionary-Handbook
to Hymns for the Living ChurchÓ
(Carol Stream, IL, Hope Publishing
Co., 1978)
John Julian, ed., ÒA Dictionary of
HymnologyÓ (New York, Dover Publications,
reprint of 1907 ed. – digitized
on www.hathitrust.org)
Henry Lowell Mason, comp.,
ÒHymn-Tunes of Lowell Mason: A
BibliographyÓ (Cambridge, Massachusetts,
The University Press, 1944)
Robert Guy McCutchan, ÒOur
Hymnody: A Manual of the Methodist
HymnalÓ (New York, etc., The Methodist
Book Concern, 1937)
Ira D. Sankey, ÒMy Life and the Story
of the Gospel HymnsÓ (New York and
London, Harper & Brothers, 1907 – digitized
on www.archive.org)
7. Foreign Music: By using the
research techniques described here,
sometimes in conjunction with online
translating tools, I have, surprisingly,
been able to find amazingly detailed
information about Norwegian and
German hymns and songs and Bohemian
songs that appeared on the roller
organ and their composers and lyricists.
There is insufficient space in this
article, however, to say much about
this research, so I refer those who are
interested to my writeups about the
roller organ cobs that contained these
types of music on the website www.
rollerorgans.com, following the links
to ÒDuttonÕs Handbook.Ó
It is interesting that, because of
the lack of international copyright
protection at the time, it was possible
for a publisher such as DeWitt in New
York City to publish sheet music in the
1870s and 1880s for songs that were
well-known and popular in England,
including many music hall songs, and
sell each item of such sheet music for
only five cents a copy because it did
not have to pay any royalties. DeWittÕs
list of its Òhalf dimeÓ sheet music
in its catalogue of Òpopular cheap
publicationsÓ in the ÒPublisherÕs Trade
List AnnualÓ (many editions of which
are digitized on www.hathitrust.org)
is, accordingly, a good source for
the names of the composers of such
English songs.
8. Finding and Piecing Together
Details about the Lives of Lit-
tle-Known Composers: A great deal
has been written about, say, Johann
Strauss II or Stephen Foster, but very
often you may have just the name-and
maybe only the last name–of a
composer of an obscure tune that you
find interesting or appealing and you
would like to find out more about the
person. How do you proceed?
Solution: As an example, the Fall
1903 edition of the Sears Roebuck
catalog listed the titles of all Grand
(32-note) roller organ cobs except
for a few of the highest numbered
ones along with the composerÕs
name (usually only the last name)
in parentheses and the composer of
an interesting and very pretty piece,
ÒHow Dear to Me the Hour,Ó was listed
as just ÒKleber.Ó Performing a Google
search with the title of the piece in
quotes and the word ÒKleberÓ leads
immediately to sheet music for the
piece on www.hathitrust.org giving
the composerÕs name as Henry Kleber,
and a further Google search with
his full name in quotes followed by
the word ÒcomposerÓ leads to more
information about him. Knowing the
composerÕs full name also makes it
possible to piece together all sorts
of additional information about him
using the websites:
¥ www.familysearch.org (run by
the Church of Jesus Christ of
Latter-Day Saints [the Mormon
Church]; free access);
¥ www.ancestry.com (includes a
vast searchable information bank
with birth, baptismal, marriage,
naturalization, passport and death
records, census records, street
directories and even such things
as old Sears Roebuck catalogs);
and
¥ www.newspapers.com (includes
fully searchable digitized copies
of complete issues of newspapers
32 MECHANICAL MUSIC July/August 2019
from all over the U.S. and else
where; searches can be limited
to a specified time period or a
certain state or states).
There is a semi-annual fee for use of
the latter two websites, but free access
is provided on computers at some
public libraries (along with free access
to other websites that enable one
to search digitized archives of some
newspapers such as the New York
Times that are not included in their
entirety on www.newspapers.com).
Putting together pieces of information
from all of these sources produces
a fairly detailed picture of the composer
Henry J. Kleber, including the
facts that he was born in Darmstadt,
Germany in 1816, he was brought to
Pittsburgh, PA, by his parents in 1830,
and he began teaching music there
only five years later. He was a church
organist, tenor singer, teacher and
music dealer in Pittsburgh who was
associated with the great songwriter
Stephen Foster during FosterÕs years
in the Pittsburgh area. He is said to
have provided Foster the only instruction
in music Foster ever received, led
the choir that sang at FosterÕs funeral,
and died in 1897.
Kleber has remained at least somewhat
known, primarily because of his
relationship with his very well-known
protŽgŽ Stephen Foster, but it was
considerably more difficult to find
any information about the songwriter
Arthur W. French, whom I mentioned
previously in Example 2 in discussing
basic search techniques. There is
sheet music in the Library of Congress
collection for the song ÒFar Away
Where Angels DwellÓ (which was on
roller organ cob No. 281) that gives
the lyricistÕs name as Arthur W. French
and the composerÕs name as George
W. Persley, and a number of sources
located online state that ÒGeorge W.
PersleyÓ was a pseudonym of a Chicago
composer and music publisher named
George W. Brown. Likewise, there is
sheet music in the Lester S. Levy Sheet
Music Collection at Johns Hopkins
University for the song ÒDown Among
de Sugar CaneÓ (cob No. 284) that gives
the lyricistÕs name as Arthur W. French
and the composerÕs name as Charles D.
Blake, who, according to a number of
sources located online, was a church
organist, pianist, piano dealer and very
prolific composer in the Boston area
who is known to have written music
under 11 different names. French is
also credited with writing the lyrics
to a large number of hymns, including
ÒSome Sweet DayÓ (cob No. 611), as
well as other secular songs on the roller
organ including ÒSome Day IÕll Wander
Back AgainÓ (cob No. 374) and ÒTake
Me Back to Home and MotherÓ (cob
No. 375). After a great deal of research,
I could find no information about him
and, especially in light of his association
with Persley and Blake, was
ready to conclude that his name, too,
may have been a pseudonym. Then,
however, I happened to come across
an advertisement placed by French in
the May 4, 1872, edition of The New
York Clipper addressed ÒTo Musical
Composers,Ó in which he referred to
himself as Òthe popular writer of Song
PoetryÓ and Òauthor of the words to
nearly a hundred songs,Ó offering to
write the words to ÒBallads, Glees or
Cantatas, both Sentimental, Comic or
Sacred,Ó and giving his address merely
as Bridgeport, CT. Knowing FrenchÕs
Bridgeport connection made it possible
to do more specific searches using
both FrenchÕs name in quotes and the
word Bridgeport and I then found, in a
response to a letter of inquiry in the Feb.
10, 1923, issue of Presto, the American
music trade weekly, a statement by the
editor of the publication that French
was a Òwell-known writer of song
versesÓ in the 1870s, Òperhaps the most
prolific of the song-word writersÓ and
that he was an employee of the Singer
Sewing Machine Co. in the Bridgeport,
Conn. factory of that industry.
I then found that in the 1870 U.S census
French, then age 24, was indeed
listed as a clerk in a sewing machine
factory, but by the 1880 census his
profession was listed as journalist,
and after that I found a reference to
French in an 1886 book by Rev. Samuel
Orcutt, ÒA History of the Old Town
of Stratford and the City of Bridgeport
Connecticut,Ó Part II, that said he was
city editor and later night editor of the
Bridgeport Morning News. Finally, in
the Feb. 5, 1916, issue of The Music
Trade Review, I found a report of
FrenchÕs death a week earlier at his
home in Bridgeport describing him
as Òa retired newspaper man and the
author of a number of songs of more
or less popularityÓ and noting that
he often said, but never proved, that
he had written the lyrics to the very
popular song ÒSilver Threads Among
the Gold.Ó
These scraps of information are
perhaps all that have been preserved
about French despite his authorship
of the lyrics of a number of songs and
hymns that were at least at one time
reasonably popular.
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
July/August 2019 MECHANICAL MUSIC 33
The Hunt
Column Graphic by Mary Clegg
Story and Photo By Dr. G Wayne Finger
The Hunt
Column Graphic by Mary Clegg
Story and Photo By Dr. G Wayne Finger
The Hunt for a Musical Sputnik
Last June I visited the Speelklok
Museum in Utrecht, near Amsterdam.
It is my favorite mechanical music
museum. Their live guided tours
demonstrate all types of mechanical
music instruments from music boxes
to the large fairground organs. They
also display and interactively demonstrate
how mechanical music devices
work.
On the second floor of the museum
in a glass cabinet were several interesting
music boxes. They were ÒmodernÓ
Ð from the 1950s and very museum
worthy. One caught my eye. It was a
Russian music box commemorating
the launch of Sputnik in 1957 (Photo
1). It was made of a black circular
base with a gold toned hemisphere on
it showing the Soviet Union. A clear
plastic stand was holding the Sputnik
satellite, as if it launched from the
hemisphere. Inside the hemisphere
was the music box. I wondered what
song it played and if the movement
was made in USSR or imported from
the Swiss.
Having worked in the space industry
for over 30 years my house has a personal
collection of space memorabilia.
This Sputnik music box was a historical
piece that combines mechanical
music with a premier space event. It
intrigued both my long-term interests
and seemed like a good idea. So I
The Sputnik music box displayed in Museum Speelklok.
started looking for one.
Like many things MBSI folks look
for, a Soviet Sputnik music box from
the 1950s is not something anybody
runs into very often. You have to go
looking for it. In this case, the looking
had to be worldwide. So I used the
internet, eventually searching on
eBay. When the search terms were
for, ÒSputnik music boxÓ there were
no results. However ÒSputnik musicÓ
without the word ÒboxÓ found several
listings. People in Bulgaria and
Ukraine know it is not a ÒboxÓ. I made
an offer to a seller in Bulgaria with a
98% favorable rating and we agreed
on a price. He accepted PayPal, so
the money transfer was easy. Several
weeks later the package arrived.
The music box was complete
34 MECHANICAL MUSIC July/August 2019
The musical mechanism with unusual cylinder.
A closeup of the pins in the cylinder.
although it played very slowly. If
wound even a moderate amount,
it made a bad grinding sound and
released all the spring tension. That
was a reason to look inside and see
what was going on. Also, by looking
inside, I would find out which kind of
musical movement the Russians used.
Three screws came out easily and
the bottom board with the movement
came off. There was an unusual small
cylinder movement. (Photo 2) There
was an unmarked base plate casting
with a cylinder which appeared to be
made out of a phenolic or early plastic.
Metal pins were inserted into the
cylinder. (Photo 3) The comb looked
typical. This was unlike any Swiss
movement I had seen before. I assume
this was made in the USSR.
The governor endless screw was
very loose. When wound a little, the
endless slipped and the cylinder did a
run. That was the grinding sound I had
been hearing. I was disturbed at the
run. However, I was also impressed – It
must be a very rugged little movement
because all of the teeth are still there
and were playing well, even after
numerous runs.
I took the endless off and saw that
its lower support was a steel circular
piece with a recess to receive the
The finished Sputnik Music Box in the authorÕs collection.
bottom shaft of the endless. It adjusted
up and down, being held in place by
a set screw. I adjusted the lower support
up about a sixteenth of an inch
and re-tightened the set screw. The
endless was now secure on the shaft
and regulates the speed correctly. No
more runs.
Now this music box is on display
(Figure 4). It plays well. Its music is
a tune that, although unfamiliar to
me, sounds very Russian. The tune
is described as what the composer
imagined Sputnik was hearing up in
space! It nicely ties together both
music boxes and space exploration. I
learned more about both music boxes
and the Soviet space program.
Overall, this was a very satisfying
ÒHuntÓ.
July/August 2019 MECHANICAL MUSIC 35
50 years of stories in a box
By Brian Roenigk
In the July/August 2018 edition of
Mechanical Music (Vol. 64, No. 4) a
request was made for stories about
our mechanical music instruments
and what makes them interesting.
In the picture is a 151/2 inch Olympia
music box. For most collectors this
plain box is really nothing special. It
plays well, the wood is in fine condition,
there are no missing teeth, and
it has a modest carving on the front.
What makes this simple box so special
to me is the nearly 50 years of stories
and memories I have of it, even though
IÕve only owned it since 2009.
My uncle, Marty Roenigk, was an
icon in the mechanical music world.
He and my aunt, Elise, are long time
members and committee members
of MBSI. My uncle was a recipient of
the Q. David Bowers Literary Award
(1988) and my aunt was a past president
(1990-1991). In the issue of MBSI
I mentioned above I was delighted to
see a picture of them at the 25th Annual
Meeting of MBSI (1974). It is because
of my aunt and uncle that this music
box gives me years of mechanical
music stories and memories and what
makes this box interesting.
Since I was young I can remember
music boxes, band organs, slot
machines, nickelodeons, and coin
operated machines of all types in my
life. Between my father, David, and
my uncle, I grew up with these impressive
feats of engineering. My father
restored many machines for my uncle
and for himself including player pianos,
slot machines, band organs, and a
plethora of other machines. I remember
seeing parts scattered throughout
the house. Visiting my uncleÕs house
in East Hampton, CT, was always an
adventure. It was a large house with
at least three stories of musical boxes,
monkey organs, and band organs that
lined the halls and rooms of the entire
house. As you may be able to surmise,
I grew up with the lingo, the names
of all the manufactures and models,
as well as learning the history of
Two views of the Olympia disc box that hold so many memories for the author.
mechanical music.
As I grew older, my dad and I would
drive throughout Ohio and the surrounding
states to pick up a machine
or any other device my uncle had purchased,
generally sight unseen. At the
age I started driving, I was sent out on
my own to pick up these purchases.
Once I got even older, my uncle had
my routing and account numbers to
my checking account; many mornings
I would wake up with thousands of
dollars in my account for the next
adventure to pay for yet another
36 MECHANICAL MUSIC July/August 2019
machine to add to his collection. And
then there was the regular drop off Ð a
momentÕs notice via a phone call from
him giving me details of when the next
seller was going to leave a music box
at my house.
In early spring of 2009, my uncle
called and asked me to go to the far
east side of Cleveland, OH. As usual,
I had the money in hand and drove to
a womanÕs house to pick up the music
box. I donÕt remember her name, but
she was a very sweet lady whose
husband had just passed, and she was
selling a 151/2-inch Olympia music box
along with a few other items that were
his. I had a pleasant conversation with
her and explained that I was picking
this us up for my uncle and that it was
going to a good home. I brought the
box home and it stayed at my house
for a several weeks awaiting my aunt
and uncle to come through town and
pick it up. Just a few days before summer,
I received a call that my uncle had
passed away. I asked my Aunt Elise if I
could purchase the box from her, as it
was the last pick up I had done for my
uncle. I was overjoyed to have my first
mechanical music instrument that was
previously owned by my Uncle Marty.
At my uncleÕs wake, Carla Wiemer was
nice enough to give me my first year
MBSI membership. IÕm happy to say
IÕve been a member ever since.
People collect mechanical music
instruments for different reasons and
the attachment people have to these
instruments is different for everyone,
as well. You requested stories about
our instruments and what makes
them interesting, as well as their
stories and histories. Well, appear-
ance-wise there really isnÕt anything
especially interesting about my 151/2inch
Olympia box. ItÕs not the fanciest
box ever made, nor the biggest. It
wasnÕt owned by anyone famous that
IÕm aware of and itÕs not the oldest
ever made either. At first glance the
box is meek and modest, but it holds
nearly 50 years of memories. For me,
thereÕs something more to collecting
mechanical music instruments than
the machine itself or its history or
rarity. For me, itÕs memories of my
childhood, my family, and hopefully
future stories for my children. ThatÕs
what makes this Olympia music box
interesting to me.
A Lasting Legacy
Throughout its history, MBSI has fostered an interest in and
preservation of automatic musical instruments. Your gift to the
Endowment Fund will support programs that will help future
generations appreciate these achievements of manÕs creative
genius. Visit www.mbsi.org to learn more.
In order for anything
once alive to have
meaning, its effect
must remain alive in
eternity in some way
Ð Ernest Becker, Philosopher
The Musical Box Society International
is a 501(c)(3) non-profit organization.
All donations to the Endowment
Fund are tax deductible.
A gift of any size is welcome.
Seeking your stories for ….
Did you once spend time finding the perfect musical
antique to round out your collection? What was it? How
did you find it? Was it in ruins, or in perfect condition?
Was there a time you randomly ran across a unique
instrument then found a way to acquire it and restore it
so that you might display it and tell the story to all who
visit your home?
Answer these questions and you will have the perfect
story for ÒThe HuntÓ column in Mechanical Music.
Editing help is available if you have a story, but you
are not sure how to organize it or present it. We look
The Hunt
forward to hearing from you.
Email your story to editor Russell Kasselman at
editor@mbsi.org.
July/August 2019 MECHANICAL MUSIC 37
The organ grinder and his instrument from ÒTail of the Monkey.Ó
The portrayal of hand-cranked instruments in early cartoons
Robert F. Penna, Ph.D.
Until the middle of the 20th century,
street organs and street pianos held
a prominent place in the hearts and
consciousness of the American pub
lic. Brought to our countryÕs shores in
the early 19th Century by European
immigrants, their popularity grew
as successive waves of immigrants
and veterans of the Civil War1 spread
their music across the land. On street
corners and parks, organ grinders
could be seen and heard playing their
melodies. Their music ranged from
popular tunes of the day, operas, classical
music and patriotic songs.
With the rise of the movie industry,
radio, and the phonograph, the number
of organ grinders began to wane.
It is a rare occurrence indeed if one
finds an organ grinder on our streets
or parks today. Yet, they remain present
in many an old movie and cartoon
instantly recognized by all.
In one 1940s film, ÒWinterset,Ó a
street piano saves the hero and his
girlfriend from a murderous villain2.
On the other hand, in cartoons, organ
grinders and their instruments are
often portrayed in a comedic fashion.
Sometimes the machineÕs workings
are not portrayed appropriately. This
article will point out some of the more
humorous uses of these magnificent
instruments and the hard-working
men behind them.
The Tail of the Monkey (1926)
In 1926, Walter Lantz, the famous
originator of the Woody Woodpecker
cartoon series, starred in his own
production entitled, ÒThe Tail of the
MonkeyÓ under the label ÒUnnatural
History Cartoon.Ó This half live action/
half animated film starred Lantz as
an Italian organ grinder. While obvi
1 Penna, Robert. ÒBarrel Organs and 2 Penna, Robert. ÒThe Hurdy Gurdy to the
ously singing and playing his organ
Disabled Civil War Veterans,Ó Mechanical Rescue: An Example of Cinematic Music,Ó
Music, Vol. 64 No. 3, May/June 2018 Mechanical Music, Summer/Spring 1984 (remember it is the silent film era),
38 MECHANICAL MUSIC July/August 2019
The organ grinder tells the girl the story of his monkey and the The grinderÕs monkey appears to be listening intently to the
reason he uses his tail to take things. story told by the grinder.
The cartoon version of the monkey using his tail while working
on the ring for the king.
The mischievous monkey with the grinderÕs pocket watch sto-
len with the now infamous tail.
his monkey steals a little girlÕs lollipop
using his tail (an obviously animated
tail superimposed on the film).
The upset little girl begins to cry
inconsolably. Lantz exclaims, ÒHey
Ð Monk! WatÕsamat Ð you taka da
lollipop?Ó As the girl keeps crying,
the organ grinder decides to tell her a
story to divert her attention. He continues
with ÒMe tella you why da monk
she alla time use da tail!Ó At that point,
the action is relayed as a cartoon. A
synopsis of the action shows a monkey
hard at work as a blacksmith. He
seems to constantly injure his tail as
he works. The tail is hit by a hammer,
things drop on it, it gets burned in the
furnace, caught in a mousetrap, etc.
Yet, the monkey seems industrious
and continues working even though
he is in pain.
A problem arises when he is given a
special order from King Hippo to make
a wedding ring by 5:15 p.m. Unfortunately
for the monkey, he is left alone
to do the job as his assistant leaves at
quitting time. Desperate to get the job
done, the monkey begins to employ
his tail as a third hand, completing the
kingÕs order and gaining recognition
as the official jeweler of the crown.
At the end of the film, Lantz appears
with a smiling girl who seems to have
forgiven the monkey for his theft. But
as they stand and smile, the monkeyÕs
animated tail is used to steal the
organ grinderÕs pocket watch which
falls and breaks on the cobblestone
street. Lantz is then seen carrying his
organ and walking hurriedly down the
road. The live action sequences afford
todayÕs viewer a realistic look into
how a 1920s organ grinder looked,
performed and interacted with his
audience.
Hurdy Gurdy (1929)
Here is a cartoon that gives the
viewer a look into the supposedly real
workings of a street organ. The main
character is Oswald the Lucky Rabbit
who was originally designed and
drawn by Walt Disney. However, in
1928, Disney lost the rights to Oswald
July/August 2019 MECHANICAL MUSIC 39
The organ grinder and his monkey from ÒHurdy Gurdy.Ó The organ grinder wonders why the music has stopped.
The ÒmechanismÓ inside a barrel organ turns out to be a pia-
no-playing mouse who has fallen asleep.
After a shout from the organ grinder, the ÒmechanismÓ starts
playing again, producing organ sounds from a piano.
to his former associates and went on
to design his own well-known character,
Mickey Mouse3.
In this 1929 early sound cartoon,
drawn by Walter Lantz, a group of animals
dressed as humans are enjoying
the antics of a monkey dancing to the
music of a barrel organ. At this point
in the cartoon, however, the music
sounds like it is coming from a theatre
organ.
The large bear that busily cranks the
instrument becomes perplexed when
the music suddenly stops. Peering
inside, we see the workings of this
machine Ð it is a small mouse seated at
After losing his monkey to an unfortunate bubblegum incident, the organ grinder
takes Oswald as his new Òmonkey.Ó
3 ÒThe Unbelievable History of Oswald the
Lucky RabbitÓ Oh My Disney,
https://ohmy.disney.com/insider/2016/09/05/
oswald-the-lucky-rabbit/
40 MECHANICAL MUSIC July/August 2019
Oswald escapes using the organ as a pogo stick while holding Oswald uses the organ as a baseball bat to fight off bricks
hands with his new girlfriend.
a piano. The bear yells and the mouse
begins to play a jazzy piano piece first
with his hands and then with his feet.
The monkey continues cavorting to
the music which suddenly changes to
the sound of an organ once again.
It is at this point that Oswald shows
up to watch the show while chewing
gum and blowing bubbles. With a bit
of a malicious smile, he tosses the
gum on the ground under the feet of
the dancing monkey who immediately
steps on it. In typical cartoon fashion,
the monkey is soon completely
covered in the sticky substance. With
his monkey incapacitated, the angry
organ grinder leashes Oswald and
forces him to become his assistant.
Oswald, of course, is unwilling so the
organ grinder himself dances; again to
the sounds of a theatre organ.
This all changes when they spot
a young girl cat offering them a coin
as she swings from a clothesline. The
barrel organ player sees the money
and encourages Lucky to go get it.
Oswald is more interested in the
girl and after jumping into a nearby
window, Oswald begins to kiss the
girl. The frustrated organ grinder then
pulls on OswaldÕs leash. Upset with
being pulled away from the girl, he
ties the leash to a neighborÕs bathtub.
The neighbor, a portly hippo, and
the tub fly out the window when the
angry organ grinder pulls too hard. In
typical cartoon fashion, this leads to a
chase with Oswald and his girl riding
a galloping barrel organ. Throwing
thrown by the organ grinder.
bricks, which Oswald bats back with
the instrument, the organ grinder is
vanquished and Oswald and the girl
continue kissing to the end.
Mariutch (1930)
Do you remember the ÒFamous
Bouncing BallÓ cartoons? These were
produced to assist audience members
to sing along while watching films
and cartoons (actually a precursor to
karaoke today). Adopted by Fleischer
Studios in 1929, they became a popular
feature adding to the enjoyment
of audiences as they sang along to
popular tunes of the day. In this cartoon,
a street piano, although not its
music, is featured.
ÒMariutch,Ó originally released on
Nov. 15, 1930, tells the story of an
Italian immigrant who believes his
wife has returned to Italy. He grieves
for her, as he is lonely. But as he
wanders the streets of New York, his
cartoon antics include flirting with a
young woman, kicking a police officer
by mistake and getting chased by said
officer. After many a sight gag, including
the policeman switching clothes
at a fun house ride with an elderly
The Italian immigrantÕs wife as the hoochie-coochie dancing girl in ÒMariutch.Ó
July/August 2019 MECHANICAL MUSIC 41
The Italian immigrant plays a street piano in the cartoon The inner workings of a street piano turn out to be a monkey
ÒMariutch.Ó
woman, the man ducks into a cafŽ/
peep show in Coney Island. There
he sees a hoochie-coochie dancing
alluringly. She uses sexually provocative
moves to entertain her audience
of gaping men. Of course as in many
cartoons of this era, the audience is
comprised of animals dressed up as
humans.
Imagine his surprise as the man
recognizes his wife Mariutch as the
hoochie-coochie star. His surprise
knocks him to the floor whereupon the
policeman hits him over the head with
his baton. At this point, the announcer
interrupts and in a thick Italian accent
advises the audience to sing to the
words beneath the bouncing ball.
The lyrics of the then popular song,
ÒMariutch,Ó are sung. Later, the Italian
is seen playing a street piano with the
song again sung. The actual singer of
ÒMariutchÓ was Billy Murray, considered
by many as the first recording
star. Murray was famous for his dialect
songs and hundreds of recordings for
Victor, Edison and Columbia records4.
ÒI feel much-a mad all the day;
Thought my Mariutch went away:
When I saw that steamboat-a leave,
Waste-a much-a time when I
grieve;
Steam-boat she no go to Italy,
4 ÒAnimation: FleischerÕs Screen Song,
ÔMariutch,Ó from www.animationresources.
org/cartoons-fleischers-screen-song-mariutch/
playing a harmonica in the cartoon ÒMariutch.Ó
She wait a while; Ôcause last night
I saw my Mariutch at Coney Isle.
DonÕt you tell-a nobody-a
What I tell-a you,
What-a you think my Mariutch-a
do.
Mariutch she make-a de hootcha
ma kootch
Down at Coney Isle, make me
smile,
She go like-a this, like-a that, like-a
this,
She make-a soch-a dance and
never move-a de feet,
ThatÕs a funny style, some one
yelled like-a that,
ÔHey look out! YouÕll break-a your
back.Õ
When my Mariutch make-a
hootch-a ma kootch.Ó
As the cartoon continues and the
immigrant cranks a street piano, it
begins to fall apart piece by piece.
This reveals the inner workings of this
intriguing instrument. It is a monkey
wearing a fez playing a harmonica
while the man is turning his tail. Suddenly
the harmonica changes into an
accordion with the monkey not missing
a beat, then back to a harmonica
until the end of the song.
As the song progresses, a smiling
organ grinder becomes the bouncing
ball and leaps from lyric to lyric. The
final segment holds a surprise for the
audience. MariutchÕs silhouette is seen
through the stage curtain. She seems
to entirely disrobe, but when the
curtain rises it turns out to be three
acrobats forming a human pyramid,
which merely resembles a woman.
Hurdy-Gurdy Hare (1948)
Released by Warner Brothers as
part of their Merry Melodies cartoon
series, this production stars Bugs
Bunny as a Central Park resident looking
for money-making opportunities.
Looking through advertisements in
the newspaper, Bugs spots an ad for
a hurdy-gurdy and monkey. Saying ÒIÕll
go into the music business. . . ah, the
old masters. . . Beethoven, Brahms,
and Bach (mispronounced as Batch),Ó
he heads off to purchase the gear.
Soon he is seen walking down the
street while a monkey turns the crank
of a street organ with his tail. In this
cartoon, the sound of the street organ
is realistic.
Believing he will make a lot of
money, Bugs directs the monkey with
ÒOK monkey, start collecting.Ó The
monkey climbs New York apartments
and with tin cup in hand, collects coins
from the open windows. However,
when he returns to the ground, the cup
is empty. Bugs discovers the money in
the monkeyÕs hat, tries to kick him and
misses. After the monkey runs away,
Bugs decides to take his place collecting
coins. Impersonating the monkey,
he climbs up an apartment house and
tries to collect coins. In the meantime,
the monkey speaks to his friend, a
giant gorilla whom he convinces to
seek revenge against Bugs. Here the
42 MECHANICAL MUSIC July/August 2019
Bugs bounces down the street with organ and monkey in tow in the cartoon ÒHurdy-Gurdy Hare.Ó
typical cartoon frolics begin.
With his hallmark, ÒWhatÕs up doc?Ó
Bugs counters every move the gorilla
makes with antics of his own. In
one scene, the gorilla is talked into
jumping off the building. He, however,
breaks through the sidewalk onto a
subway track. Dazed by his fall, Bugs
leads the staggering gorilla to the hole
where he falls in again. Bugs looks at
the audience and says, ÒAinÕt I a devil.Ó
Exploding cigars and door tricks only
enrage the gorilla. When all seems at
its worse, Bugs decides to play a violin
he finds in an apartment thinking that
music can calm a savage beast. In fact,
it does, as the gorilla starts dancing to
the tune. This gives Bugs an idea. The
final scene shows the monkey playing
the street organ, the gorilla forcibly
taking ÒdonationsÓ from the apartment
dwellers and Bugs ringing up collections
on a cash register.
Bugs reaps the dream rewards of a street organ player in ÒHurdy-Gurdy Hare.Ó
July/August 2019 MECHANICAL MUSIC 43
CONCLUSIONS
In the early part of the 20th century,
organ grinders were still a common
sight. Although they started to disappear
through legislative actions and
more likely because of the availability
of other musical options, they often
remained in the films and, more often,
cartoons. As we have seen in this
article and others, automatic musical
instruments still fascinated the public.
Sometimes the music imitated the
sound of an actual machine; other
times it could be the melodious sounds
of a harmonica, piano or organ. All had
one thing in common Ð they produced
music to the delight or annoyance of
the listeners.
A fairly recent article that appeared
in Mechanical Music by this same
author is ÒOrgan Grinders, the Mayor
and Cartoons of the 1930s,Ó (January/
February 2018). The piece provided
insights into three additional cartoons
which held interesting depictions
of the organ grinder. Warner BrothersÕ
ÒThe Organ Grinder,Ó and two
Fleischer Studio shorts, ÒMy Friend
the Monkey,Ó and ÒOrgan GrinderÕs
SwingÓ provided insights into the
general publicÕs attitudes and appreciation
of the organ grinder and his
monkey. All are readily available on
the internet.
Although the organ grinder is no
longer found on our streets or in our
parks, his presence remains. He is in
our collective imagination. Instantly
recognizable, he can be found in background
scenes of movies, cartoons
and television. Even when the man
and machine are not visible, the music
is often played and the sound is recognizable
as the organ grinderÕs music.
It is interesting to note how American
humor has changed over the
years. What was considered funny 50
or more years ago is often tasteless
and offensive today. Individuals of any
ethnic, racial or religious background
are no longer considered to be appropriate
subjects of humor. Mariutch
would be seen today as an intelligent
and enterprising woman, who when
left penniless at the dock, obtained a
paying job to tide her over until she
could return to Italy. These caricatures
are an unfortunate part of historical
stereotypes. They should be understood
only in an historical perspective
as they are now unacceptable.
Additional reading: Penna, Robert. ÒOrgan
Grinders, the Mayor and Cartoons of the
1930Õs,Ó Mechanical Music, January/ February
2018
More online
Smartphone users can scan the QR codes above to be taken directly to the websites listed below.
To view the websites on your computer, type the following URLs into your browser.
Tail of the Monkey (1926)
www.youtube.com/watch?v=UyU0DG4f6PY
Oswald the Lucky Rabbit (1929)
www.youtube.com/watch?v=ALQknzgiJe0 also at https://www.youtube.com/watch?v=pO3rbiMZkvo
Mariutch (1930)
www.youtube.com/watch?v=6wrRgYqB2cY
Hurdy-Gurdy Hare (1948)
www.topcartoons.tv/hurdy-gurdy-hare/ 1948
Tail of the Monkey
(1926)
Mariutch (1930) Hurdy-Gurdy Hare
(1948)
Oswald the Lucky Rabbit (1929)
44 MECHANICAL MUSIC July/August 2019
Love at First Note
By Mark Singleton
We all have those casual friends or
acquaintances that we enjoy bumping
into and catching up with at sales and
fairs, etc. One day, after a longer than
usual hiatus, one such chap rang me
quite out of the blue to pick my brains
over something or other. After a little
chitchat, he inquired about whether I
was still into musical boxes? Then, he
asked me to remind him exactly what
I was looking for.
ÒPrimarily a plain looking case,
usually devoid of inlay, three exposed
controls on the left. If you see one,
regardless of condition, take a quick
picture and let me know,Ó I told him.
The inevitable pause, and then he
asked what might I usually pay for
such a thing. I explained that each
box is unique and that I could only
gauge any offer on seeing the actual
piece, but the price would normally
be higher if there is a metal tune sheet
included. I continued to explain that
the price can increase dramatically
if the box has a fat cylinder and even
more if there is a graph type engraved
cylinder surface. If he saw one of
those, whatever the condition, I told
him he would be on to something.
Around a week later, the phone
rang, ÒHey up Mark! I think IÕve found
one of those boxes you were looking
for.Ó
ÒGo on,Ó came my reply.
ÒWell, itÕs a plain case, except for a
little cross banding, walnut I think…
Three exposed control levers, a fat
cylinder and a tiny little brass tune
sheet, engraved in copperplate script
with the names of four overtures! Any
interest?Ó
With mind racing, I asked if there
was anything else. He confirmed there
was a name on the comb, Robert
Nicols or something, but he couldnÕt
be sure because it was so dirty.
I inquired about where it had
surfaced, and the answer came that
apparently a well-known clock dealer
had taken it in part exchange on something
or other 40 years prior. Despite
trusting this chap implicitly, I was
understandably cautious. Instead of
snatching his hand off at the giveaway
price I was quoted, I indicated my
interest, and let him know I would
make a decision as soon as I could.
A quick check on the music box
register, where it was not listed, and
several phone calls later, I satisfied
myself of the boxÕs clear title. It was
48 hours later I called to let him know
I would take it.
ÒThereÕs a problem Mark,Ó he said.
ÒThe owner has cleaned the comb
a little, done some research on the
maker, Reymond Nicole and found
one went for quite a sum at auction,
so you will have to be in the bidding if
you want itÓ
With a sunken heart, and resigned
to the fact that it was just another of
those goose chases, I gave it a final
pitch. I took a gamble and offered to
pay the price the previous example
made, sight unseen. Ten minutes
passed. ÒYou are on, when do want to
collect it?Ó was the response.
July/August 2019 MECHANICAL MUSIC 45
ÒTomorrow,Ó came my instant reply
before anything else could go wrong.
On inspection, a once magnificent
box looking very disheveled and sorry
for itself sat before me. The mechanism
was olive green and gunged up,
a light surface rust on parts of the
comb, and evidence of tune weight
sulphation with the giveaway white
powder between the bass teeth as is
the norm with every unrestored Reymond
Nicole that has surfaced to date.
Reymond Music Box Movement
The tune sheet is small, 25 millimeters
by 65 millimeters, and beautifully
engraved, listing the four pieces.
¥ Ouverture de la Muette
¥ Ouverture de la Fiancee
¥ Ouverture de la Fra Diavalo
¥ Duo de Robert le Diable
The cylinder pins had survived
unblemished, but the comb was a
different story. It had 22 missing tips,
due to the effort of lifting the weight
of so many bass teeth stuck fast with
sulphation. The case was relatively
plain, giving a mere hint of something
special lying within, by displaying an
interesting (presumed) walnut veneer
panel to the lid, with a 30 millimeter
deep Rosewood cross banding, as
described.
The deal was done, and the onerous
challenge of restoration then reared
its head. I took it to one of the best in
the business and after looking it over
for a good while, he declared he would
do his best, but only if I could get the
comb re-leaded. ThatÕs when the problem
started. We are talking 200 teeth
on a 26-centimeter (10.-inch) long
comb and a 70-millimeter (2.-inch)
diameter cylinder. ItÕs intricate work
on a Polyphon, but that could be considered
heavy engineering compared
to this. Who could do this work? Dead
end after dead end!
Eventually, a light bulb moment! I
asked a friend, a welder by trade, if he
would be prepared to do it. ÒWHAT!Ó
I heard in my head the collecting
world exclaim in disbelief. But I knew
this chap and he is a gifted artisan
craftsman, who built his own electron-
ically-controlled precision machine
for automatically welding titanium
specifically for racing motorcycle
exhausts. He tried his hand on a scrap
10 air comb.
ÒNo problem Mark,Ó he said, until
of course he saw THE COMB…
ÒMmmmmm, IÕm going to have to
think about that,Ó he said.
In the meantime, a duplex 45
centimeter Polyphon turned up that
needed a re-lead. I sent the combs
along to my welder for practice. Due
to other demands on his time, many
months passed, but when they came
back to me they were done to a high
standard. Still, those who knew my
plan cautioned me against letting him
loose on such a fine comb. I, however,
had every confidence in my man, and
so I urged him to get on with it. A year
soon passed, and after a little more
pushing, it was job on.
The problem with soldering new
tuning weights to such a fine comb
was heat dissipation. So that the
teeth either side didnÕt lose their own
weights, a jig was built to hold the
inverted comb at neck level, and a
large-looking glass was attached so
both sides could be seen at the same
time. It was decided to use a traditional
iron heated in the fire rather than fine
flame or electric. I was amazed when
a box full of brand new, old stock, copper
tipped soldering irons were pulled
46 MECHANICAL MUSIC July/August 2019
out of a magic cupboard. One was
carefully selected and the tip ground
and altered to form an anvil type ridge,
2 millimeters high by 0.8 millimeters
wide, allowing for direct contact with
the prior tinned tooth face.
The tune weights, all pre-made and
numbered, were applied alternately,
the second phase involving using the
weights thus applied as shoulders to
support the remaining leads still needing
to be affixed. Elongated Titanium
shims were then used not only to keep
the leads apart, but prevent the solder
from bridging. These shims protruded
upwards by around 100 millimeters
to quickly absorb and dissipate heat.
After all the research and development
done to perfect this technique,
the whole operation took four hours.
Once back with the restorer, not
only did the 22 hooked tips need
replacing, but all the dampers also
(one must remember that the dampers
on early boxes are fixed with a flush
fit taper pin, with each needing to be
skilfully drilled out. It was a most time
consuming and laborious job.
The governor required a rebuild,
and the comb tips were carefully
honed and the comb re-tuned. It was
then time to re assemble and set it
up. During a conversation with the
restorer, I expressed my hope that it
would make a good box.
ÒPut it this way, have you ever heard
a bad one?Ó was his sobering response.
Point taken, but my breath was still
baited. The call came that my box was
ready. It was 40 hours later. I drove the
250 miles to collect, thinking of the
five years of hard work and dedication
behind us.
What would it sound like? Would
I like it? Would it all be worth it? My
mind was racing, and my the pulse had
definitely quickened.
As I moved forward to turn it on,
throat dry, I was quietly told the
arrangements were very, very good.
With my finger on the start lever I
gulped, thinking ÒWas this really
happening?Ó
Reymond Music Box
Why, you might ask, could anyone
get so excited over a music box?
Let me tell you. The name stamp
on this box was made after music
box maker Henri Reymond married
the daughter of the great musical
box master himself, Francois Nicole.
On the odd piece of his work known
to survive, his work was usually
signed Reymond. He built boxes with
excellent quality, exceptional arrangements,
and, after the marriage, despite
now working in the same building as
both his father in law and Francois
Lecoultre, Henri Reymond remained
his own man.
There are distinctive differences in
both the style of comb construction,
expression, musical tone, and soul.
Quite commendably, he had his own
ideas and stuck fast.
Two of the musical pieces on this
box, I have heard on at least two Francois
Nicole boxes. The arrangements
on my box are totally different, not
better or worse, just here we have
HenriÕs own interpretation.
Now, if you are lucky enough to ever
acquire a genuine Francois Nicole,
(Not to be confused with F. Nicole)
you really will have found the holy
grail of mechanical music. The art is
in the musical quality and the tonal
colors. They are aptly described by
the late Menno Jonkers as the Michelangelo
of music boxes.
In the same vein, if you ever find a
Reymond, you will have the chalice
that sits beside the grail. Some may
argue this point, but a good Reymond
is pretty much on par with a Francois,
just featuring a differing style of
delivery. ReymondÕs father in law will
always have that edge, after all he did
invent the steel damper and went on
to pioneer the design of the one piece
comb, with Franois Lecoultre, but I
am certainly not disappointed.
As the lever shifted to play, the
box felt eerily still. The usual slight
vibration and barely audible hum felt
as the governor starts was absent.
With a clear and pure tone, this special
box started to produce music. I had
conditioned my mind to be skeptical,
but after playing all four pieces, I was
smitten. It was love at the first note!
The gentleman who restored the
box had done more than just repair it,
he breathed life back into it with his
magical fingers and critical ear. He
was able to entice out the immortal
soul of Henri Reymond.
I extend a big thanks to Alan
Godier, Russ Parker, Geoff Maddon,
and his daughter, Emily, for their
parts in making this happen. Each
have done themselves, the box and
myself proud.
More online
Smartphone users can scan the
QR code above to be taken directly
to a video of the box playing.
To view the video on your
computer, go to https://youtu.be/
W1v4mpXai-s
This article first appeared at
www.silvertonemusicboxes.co.uk/
blog
July/August 2019 MECHANICAL MUSIC 47
National Capital Chapter
Chapter Chair: Matt Jaro
Reporters: Donna and Gene Borrelli
Photographers: Gene Borrelli and Paul
Senger
Apr. 7, 2019 Ð Rockville, MD
The National Capital Chapter held
a planning meeting for the upcoming
MBSI Annual Meeting on Sunday, Apr.
7, at the house of Knowles and Ginny
Little in Rockville, MD. There were
27 in attendance including two new
members and one guest.
The 2019 MBSI Annual Meeting will
be held Aug. 27-31 at the Rockville
Hilton, in Rockville MD. This location
is a short Metro ride to Washington,
DC. The theme of the convention is
ÒIt All Began with Ragtime: American
Popular Music, American Mechanical
Music.Ó Look for more information on
the convention as well as registration
forms online at www.mbsi.org. This
was both a planning and arts and craft
session as members helped with centerpieces
as well as other decorations
to be used at the convention.
Following the business meeting,
Knowles and Ginny demonstrated
their collection to members. The
LittleÕs collection includes a Steinway
Duo-Art reproducing piano with Spencer
Chase MIDI player, a Mira 18 inch
disc music box restored by Knowles, a
Regina 151/2 inch disc music box with
MIDI player designed by Knowles,
and additional 151/2 inch and 20. inch
Regina disc music boxes and a Lowery
Organ.
We thank Knowles and Ginny for
hosting the meeting.
Donna Borrelli and Ken Gordon work on decorations for the Annual Meeting.
Paul Senger and Joe Orens with the Steinway Duo-Art that features a Spence Chase
MIDI player.
Matt Jaro reviews plans for the Annual
Meeting in Rockville, MD.
Paul Senger, Jon Ford, Mildred Hardman, Alan Genteman and Steve Kelly participate
in business meeting
Guest Barry Kelly talks about his experience
with a jazz music club.
Ginny Little going over plans for the hos-
Cheryl Hack, Beni Jaro and Ginny Little enjoy a break before the business meeting. pitality room at the annual meeting.
Terry Bender, Richard Simpson and Barry Kelly enjoy the Richard Simpson and Jack Hardman enjoy cookies and con-
weather on the back porch. versation after the business meeting.
July/August 2019 MECHANICAL MUSIC 49
Southern California Chapter
Chair: Robin Biggins
Reporter: Ardis Prescott
Photographer: Lowell Boehland
Apr. 27, 2019 Ð Redlands CA.
It is not often we have the pleasure
of holding a double-header chapter
meeting at two beautifully restored
historic Victorian homes in one day.
There were 34 members and guests in
attendance.
Our first stop was at the historic
home of Harold and Barbara Hastain
where we enjoyed a delicious light
luncheon, endlessly prepared by
the HastainÕs granddaughter, Shirie,
before exploring their lovely home.
Barbara has a wonderful doll collection
in the upper floor of their home.
There are several hundred dolls in all
sizes, and the ladies were delighted to
Our hosts, Barbara and Harold Hastain with a small section of their collection.
The chapter gathered for a group photo on the veranda.
The HastainÕs living room full of antiques.
Jerry Pell and Harold Hastain talk about
a Western Electric Nickelodeon.
Hildegard Davis and Ardis Prescott
admire the 1928 Ford Model A. A partial view of Barbara HastainÕs doll collection.
July/August 2019 MECHANICAL MUSIC 51
The replica 19th century country store in one room of the Morris home.
An automaton, possibly by Roullet et
Decamps. When the girl lifts the lid, a
The Morris living room is also packed with wonderful antiques to marvel over. rabbit peeks out.
52 MECHANICAL MUSIC July/August 2019
Our hosts, Pam and Paul Morris with a portion of their collection.
Robin Biggins and Paul Morris talk over an art-case disc player at the Morris home.
see them and reminisce about dolls
they recall from their childhood.
The men meanwhile were enjoying
all the musical instruments and
HaroldÕs antique automobiles. There
are rooms full of interesting antiques,
some of which were purchased from
trips overseas and are displayed within
glass domes. The musical instruments
ranged from street organs to nickelodeons,
disc and cylinder musical
boxes and everything in between.
We held the chapter business meeting
on the front veranda, overlooking
the HastainÕs orchard of more than
50 orange trees and huge palm trees.
Harold told us how he met Barbara,
and their life events throughout the
last 63 years together.
Future chapter meetings were
discussed and Ed Cooley encouraged
everyone to attend the MBSI Annual
Meeting in Rockville, MD. Frank Nix
told us about the AMICA Annual Meeting
coming up in Seattle, WA, in July.
We then walked to the Victorian
home of Paul and Pam Morris for
more light refreshments and snacks.
Over the years Paul and Pam have
completely restored their beautiful
home by doing almost all the work
themselves, and it is really gorgeous.
They have been actively engaged in
the antique business, so their collection
is all top class, with many unique
items. They utilized one room on the
first floor to construct a typical 19th
century country store and then filled it
with all original products.
The landscaping of their large property
is pristine, including a fountain
and swimming pool. They have a variety
of mechanical musical machines
and a beautiful automaton with a
surprise finale!
What a wonderful day we had and
what generous hosts they are. We are
blessed to have such sharing members
and friends in our Southern California
Chapter.
Chapter members enjoying conversation in a beautiful setting.
July/August 2019 MECHANICAL MUSIC 53
In Memoriam In Memoriam
John Flint
By Hope Rider
I was saddened to hear of the loss of
John Flint, of Livonia, MI. John served
as president of the Mid-America Chapter
and he and Nan never missed a
band organ rally put on by the chapter,
nor a MBSI national meeting. John also
served on the MBSI Board of Trustees.
He and Nan always made an effort to
be active and attend as many events as
they could for as long as they could.
Their colorful red trailer with gold
trim carried a 1925 Tanglay calliope.
John, and especially Nan, opened
their home to chapter members many
times, serving ice cream and showing
and playing their collection of
automatic musical instruments. They
had a very large collection of music
rolls which they shared with members.
The photo of John was taken in
the year 2000 when John and Nana
organized the 25th annual Mid-Am
Band Organ Rally. The rally was held
at Crossroads Village, MI, near their
home of Livionia.
54 MECHANICAL MUSIC July/August 2019
Francis H. Conroy, Jr.
Francis Harold Conroy, Jr., age 90,
of Seymour, CT, passed away Apr. 29,
2019 at home surrounded by his loving
family.
Frank and his wife were members
of the East Coast Chapter of MBSI.
Frank was born in Seymour on Apr.
2, 1929, the second son of the late
Frank Harold Conroy Sr. and Frieda
Mitchell Conroy. Frank attended
Seymour schools and graduated from
the University of New Haven with
a degree in criminal justice. Frank
served his country in the United States
Air Corps for three years, then served
in the Korean War as a member of
the United States Marine Corps. Following
his military service he became
a member of the Connecticut State
Police retiring as sergeant after 22
years.
Frank then
committed his
time to several
state and local
commissions
including the
Seymour Police
Commission,
the New Haven
Regional Water Authority, the Seymour
Land Trust, and the Seymour
Board of Selectmen. He served two
terms as Seymour First Selectman. He
was instrumental in two community
park projects, the Katherine Matthies
Field and Legion Pool and establishing
Silvermine Industrial Parks.
He was honored to be the grand
marshal of the Seymour Christmas
COLLECTOR CARS ¥ VINTAGE MOTORCYCLES ¥ BRASS ERA PARTS ¥ MUSIC BOXES ¥ COLLECTIBLES & MORE!
THE AMAZING BILL ÔROGERÕ DICKENSON COLLECTION
JULY 20 & 21, 2019
25820 7TH ST. WEST ¥ ZIMMERMAN, MINNESOTA, 55398
Parade and was given the 2018 Community
Service Award.
Frank was passionate about spending
time with his family and many
friends. He is survived by his beloved
wife of 67 years Anna Ginty Conroy,
four children, nine grandchildren and
two great grandchildren.
The family has established the Frank
and Ann Conroy Fund for the Joy of
Music at the Valley Community Foundation
(VCF) to share Frank and AnnÕs
love of music with Seymour youth. In
lieu of flowers, contributions may be
made to the Conroy Fund and mailed
to VCF, 253-A Elizabeth Street Derby
CT 06418 or made on-line at www.
valleyfoundation.org and select the
Frank and Ann Conroy Fund for the
Joy of Music.
DAY 1 Ð 9AM: COLLECTOR CARS- VINTAGE MOTORCYCLES- PARTS- MEMORABILIA
DAY 2 Ð 9:30AM: PLAYER PIANOS, MUSICAL BOXES, SLOT MACHINES- COLLECTIBLES
PREVIEW JULY 19, 2019: 10AM-7:30PM- MUSIC-FOOD
For more auctions, inventory,
pictures, and more visit:
www.vanderbrinkauctions.com
Yvette VanDerBrink Auctioneer
MN 67-73
507-673-2517 or 605-201-7005
VanDerBrink Auctions is pleased to bring you the
Amazing Bill ÒRogerÓ Dickenson Collections. Bill was a
xture around Anoka and Elk River, MN, with his Bus
Service. He would quietly help people and more than
willing to charter school kids to their events. Bill carried
his fatherÕs love of music with an amazing musical box
and player piano collection, and many more collectibles.
When he retired, he further expanded his love of Brass
Era vehicles and going to swap meets and auctions to
build his collection. Everything will be sold to the
highest bidder onsite and with online bidding. You wonÕt
want to miss this amazing auction!
CARS: Rare 1916 Woods Mobilette, 1906 REO, 1914 Saxon, 1920 Overland,
1935 Auburn Model 851 Phaeton, 1907 International Hi-Wheeler, 1907
Jackson Roadster, 1909 McIntrye Pickup, 1910 Metz, 1915 Metz, 1914
Trumble Roadster, 1907 Schacht Roadster, 1906 Kiblinger High Wheeler,
1906 Sears Model H, 1912 Buick Roadster, and MORE!
VINTAGE MOTORCYCLES: Huge amount of Brass Era Parts & More! Lamps,
Garnishes, Sheet Metal, and more!
PLAYER PIANOS, MUSICAL BOXES, SLOT MACHINES: My Little
StockBroker Slot Machine, Shooting games, Strength machines, Toys, music
boxes, player pianos, and MANY MORE COLLECTIBLES TO BE FOUND!
THE BILL ÒROGERÓ DICKENSON ESTATE
July/August 2019 MECHANICAL MUSIC 55
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Mechanical Music
Devoted to All Automatic Musical Instruments
Journal of the Musical Box Society International
Mechanical Music
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 63, No. 3 May/June 2017
Mechanical Music
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 63, No. 1 January/February 2017
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CLASSIFIED ADS
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bold words: 60¢ each.
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StantonÕs Fall Music Machine
3-Day Auction 3-Day Auction
To be held in the Barry Expo Center, Barry County Fairgrounds,
at 1350 N. M-37 Highway, Hastings, Michigan (4-1/2 miles northwest of Hastingsor 20 miles southeast of Grand Rapids on M-37 to the sale site)
THURSDAY, FRIDAY AND SATURDAY,
NOVEMBER 21, 22, & 23, 2019
ThursdayÕs Luncheon at 11:30 A.M. – 12:00 Noon
ThursdayÕs Auction Begins at 12:30 P.M.
Friday & SaturdayÕs Auction Begins at 9:00 A.M. Each Day
Having just finished our spring event, we are already planning our fall event and scheduling our
travels, and meeting with collectors, estate and museums as we gather the items that will be
included in our large fall auction.
The fall event started this type of specialized sale at StantonÕs and has always proven to be a
strong and interesting offering. Contact us early to have your items included, and call to get on
our travel schedule. We already have trips planned to various locations on the west coast, as
well as the south and of course the Midwest and east coast. DonÕt wait to the last minute and
anticipate that we will be able to drop everything and head your wayÉitÕs a lot easier to call early
to discuss your situation Ð giving us an adequate amount of time to plan, schedule and promotethe items that you have collected.
Steven E. Stanton, (517) 331-8150Email Ð stevenEstanton@gmail.com
Michael C. Bleisch, (517) 231-0868Email Ð mcbleisch@gmail.com
Rare Edison Eclipse
Coin Operated
Phonograph
Edison Amberola Model 1A floor model
cylinder machine
Orchestral Regina 27Ó
upright music box
Rare Paillard
Snuff Box,
Circa 1855
Reginaphone 20-3/4Ó
combination music box
& phonograph
StantonÕs Auctioneers,
AUCTIONEERS & REALTORSSTANTONÕSSteven E. Stanton
(517) 331-8150 cellular
Appraisers, & Realtors
(517) 852-0627 evening
144 S. Main, P.O. Box 146
Vermontville, MI 49096 E-mail Ð 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 Ð mcbleisch@gmail.com
Website: www.stantons-auctions.com
Now Available for Purchase,
The Lifelong Collection of
Mechanical Music Machines
Cherished by Ralph and Gloria
www.TheAmazingMusicalOddity.com
Now Available for Purchase,
The Lifelong Collection of
Mechanical Music Machines
Cherished by Ralph and Gloria
www.TheAmazingMusicalOddity.com
For more information,
Please contact Howie Schack:
817-994-4321
MusicalHowie@gmail.com
BenÕs 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
Email: mbsi@irondogmedia.com to place your ad here!
This could be your ad right here!
Chet Ramsay
Antiques
Complete Restoration
Services Available.
Specializing in Music Boxes
Ð Ð
Bought ¥ Sold ¥ Repaired
¥ Outside Horn Phonographs
¥ 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
Criterion Upright Double Comb
Music Box – $4,000-$6,000
French Interchangable Cylinder
Music Box – $3,000-$5,000
Regina Music Box – $1,500-$2,500
Upcoming at Auction – March 23, 2019
For more info about buying or selling at auction, please contact: Matt Cottone | 585-243-1000
cottoneauctions.com
COTTONE AUCTIONS
July/August 2019 MECHANICAL MUSIC 59
70th Annual Meeting
August 27 – 30, 2019
Hilton Washington, DC/Rockville Hotel
Rockville, Maryland
National Capital Chapter, Hosts
In 1992,
for the 43rd Annual
Meeting, my great, great
Grandfather visited Dick
and Cheryl HackÕs
collection to see if their
Decap played Tiger Rag.
Now I am returning to see if
Dick has finally found Tiger
Rag for one of his many
instruments.
See you there !
Splendid Collectons
Remarkable Instruments
Memorable Music
Unique Workshops
Mind Blowing Mart
1992
70th Annual Meeting
August 27 – 30, 2019
Hilton Washington, DC/Rockville Hotel
Rockville, Maryland
National Capital Chapter, Hosts
In 1992,
for the 43rd Annual
Meeting, my great, great
Grandfather visited Dick
and Cheryl HackÕs
collection to see if their
Decap played Tiger Rag.
Now I am returning to see if
Dick has finally found Tiger
Rag for one of his many
instruments.
See you there !
Splendid Collectons
Remarkable Instruments
Memorable Music
Unique Workshops
Mind Blowing Mart
1992
Gourmet Dinners
Historic 70th Anniversary Presentation
Jan Bender, Registrar jbzn5063@cox.net 703-430-9566
Matt Jaro, Chapter Chair, Meeting Chair mjaro@verizon.net 301-482-2008
Historic B/W photo: MBSI News Bulletin May/June 1992
Nancy Fratti Music Boxes
Criterion 20 .Ó
ÉDouble Comb
ÉBase storage area
ÉOriginal extra disc storage
cabinet
available
ÉBeautifully refinished
ÉComes
with
15 Discs
315-684-9977 -PO Box 400 Ð Canastota NY 13032 USA
musicbox@frontiernet.net
-www.nancyfrattimusicboxes.com
Buying, Selling and Disbursing Collections for 51 years!
THE MART THE MART
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Mechanical Music
Mechanical Music is mailed to all
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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 youÕll find it to be one of the
most interesting, inspiring, informative books
you have in your libraryÐor your money back.
Everyone has been delighted, and some
readers have ordered several copies. Get
your copy today for $99 plus S/H. MECHANICAL
MUSIC PRESS-M, 70 Wild Ammonoosuc
Rd., Woodsville, NH 03785. (603) 747-2636.
http://www.mechanicalmusicpress.com
1928 WEBER 6Õ4Ó Duo Art Walnut Art Case
Louis XVI 80118 with original matching
bench. Finish in good condition, original ivory
keys, player restored 20 years ago but still
plays well. $8,500 Donald Huene, 7429 North
Valentine, Fresno CA 93711 (559) 431-1639,
yosemf@aol.com Contact: DONALD HUENE,
(559) 431-1639, yosemf@aol.com 7429 N
Valentine Ave Fresno, 93711-0643 United
States
MILLS VIOLANO, choice playing condition,
rare walnut cabinet, well maintained,
reduced price, $24,950; ELECTRA/SEEBURG
keyboard Nickelodeon, xylophone and bells,
professionally restored, $7450; antique
GAVIOLI conductor figure $2500; CARL FREI
CONCERT ORGAN, 89 keyless, over 1500
meters choice music, nine carved figures,
price reduced, $125K HERB BRABANDT,
502-425-4263, johebra3@twc.com for
photos/information
PORTER MIDI Music Box. Baroque 15-1/2
disc model, custom Knowles Little MIDI
Player, Italian inlaid case and matching base
cabinet. 800 disc MIDI music library. Create
lists of your favorites and play continuously.
A musical and engineering marvel! Very
reasonably priced. JAMES GOODRICH 407340-
6210; goodrichjw@gmail.com.
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62 MECHANICAL MUSIC July/August 2019
MORTIER 101 KEY dance hall organ, book
and MIDI operation, tweaked by Verbeeck in
2018 ,located in Miami, reduced to $26,000
HOWARD SANFORD 305-932-7972 howardsanford@
bellsouth.net
REGINA STYLE music box for sale in New
York City auction July 14th. Working music
box, single comb, with 25 discs ranging from
the original discs from the 1800s, through
the American Song Book, to Holiday Songs,
to a modern TV show theme song. You can
bid on-line if not in NYC. Buyer responsible
for shipping. Contact: CHARLES SNIDER,
6463704090, gladnyc10@gmail.com,
www.liveauctioneers.com/item/72631667_
antique-regina-style-music-box-25-discs.
40 West 17th Street5th Avenue Auctions New
York, NY 10011 United States
MARVELS OF MECHANICAL MUSIC – MBSI
Video. Fascinating and beautifully-made
film which explains the origins of automatic
musical instruments, how they are collected
and preserved today, and their historic
importance, MBSI members and collections
are featured. $20 USD. Free shipping in the
continental U.S. Additional postage charges
apply for other locations.
WANTED
LOOKING TO BUY Grand Roller Organ
32-note cobs. Contact: DAVID COSMO, 845224-
6355, dave@cprdave.com
SERVICES
REPRODUCTION POLYPHON discs; Catalogs
available for 19 5/8Ó, 22 1/8Ó, and 24 1/2Ó.
DAVID CORKRUM 5826 Roberts Ave, Oakland,
CA 94605-1156, 510-569-3110,
www.polyphonmusic.com
SAVE $Õs on REUGE & THORENS MUSIC
BOX REPAIR & RESTORATION Ð MBSI
MEMBERS RECEIVE WHOLESALE PRICING.
40 + Years experience servicing all makes
& models of cylinder and disc music boxes,
bird boxes, bird cages, musical watches, Anri
musical figurines, et al. All work guaranteed.
WeÕre the only REUGE FACTORY AUTHORIZED
Parts & Repair Service Center for all of North
America. Contact: DON CAINE -The Music
Advertise in The Mart
Have some spare parts or extra rolls taking up the space where you should be
installing your next acquisition? Ready to trade up, but need to sell one of your
current pieces first? Get the word out to other collectors by advertising in The
Mart, an effective advertising tool at an inexpensive price.
Fill out the form below and mail to MBSI at 130 Coral Court, Pismo Beach, CA
93449. Call (253) 228-1634 with questions.
Name Phone
Text of ad
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
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2 Renaissance Antiques
55 VanDerBrink Auctions
57 StantonÕs Auctioneers & Realtors
58 Schack Collection
59 BenÕs Player Piano Service
59 Chet Ramsay Antiques
59 Cottone Auctions
59 Bob Caletti Music Box
Restorations
60 National Capital Chapter
61 Nancy Fratti Music Boxes
66 Marty Persky
67 Morphy Auctions
68 Auction Team Breker
Each One
Reach One
New Member
July/August 2019 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
Judy Caletti
Ed Cooley
Sally Craig
Wayne Finger
Tom Kuehn
Mary Ellen Myers
Mary Pollock
Clay Witt
MBSI FUNDS
COMMITTEES
Audit
Edward Cooley, Chair, Trustee
Mary Pollock, Trustee
G.Wayne Finger, Trustee
Endowment Committee
Edward Kozak, Treasurer, Chair
Mary Pollock, Trustee
B Bronson
Executive Committee
Clay Witt, Chair, President
Tom Kuehn, Vice President
Mary Pollock, Trustee
Judy Caletti, Immediate Past Pres.
Sally Craig, Trustee
Finance Committee
Edward Kozak, Chair, Treasurer
Wayne Wolf, Vice Chair
Tom Kuehn, Vice President
Judy Caletti, Trustee
Peter Both
B Bronson
Marketing Committee
Rob Pollock, Chair
G.Wayne Finger, Trustee
Bob Smith
Meetings Committee
Tom Kuehn, Chair, Vice President
Mary Pollock, Trustee
Don Henry
Matt Jaro
Cotton Morlock
Rich Poppe
Membership Committee
Rob Pollock, Chair
Judy Caletti, Trustee,
Immediate Past President
Linda Birkitt, Southern California
Membership Committee
(cont.)
Tom Chase, Snowbelt
Glen Crater, East Coast
Mary Grace, Sunbelt
Florie Hirsch, National Capital
Julie Hughes, Golden Gate
Julie Morlock, Southeast
Dan Wilson, Piedmont
Gerald Yorioka, Northwest IntÕl
TBD, Great Lakes
TBD, Japanese IntÕl
Museum Committee
Sally Craig, Chair, Trustee
Ken Envall, Southern California
Julian Grace, Sunbelt
Wayne Myers, Southeast
Museum Sub-Committees
Ohio Operations
Emery Prior
Nominating Committee
Dan Wilson, Chairman
Judy Caletti, Trustee
Mary Pollock, Trustee
Johnathan Hoyt
Judy Miller
Dale Tyvand
Bill Wineburgh
Publications Committee
Bob Caletti, Chair
Tom Kuehn, Vice President
Steve Boehck
Dave Corkrum
Christian Eric
Kathleen Eric
Terry Smythe
Publications
Sub-Committee
Website Committee
Rick Swaney, Chair
Julian Grace
B Bronson
Don Henry
Knowles Little, Web Secretary
Special Exhibits Committee
Chair – Temporarily Vacant
David Corkrum, Golden Gate
Robert Ebert, Mid-America
Jack Hostetler, Southeast
Judy Miller, Piedmont
Mary Ellen Myers, Southeast
Rick Swaney, Northwest IntÕl
SPECIAL ACTIVITIES
Publications Back Issues:
Jacque Beeman
Regina Certificates:
Bob Yates
MBSI Pins and Seals:
Jacque Beeman
Librarian:
Jerry Maler
Historian:
Bob Yates
MBSI Editorial Office:
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
editor@mbsi.org
Members can donate to these funds at any time.
Send donations to: General Fund (unrestricted)
MBSI Administrator, Endowment Fund (promotes the purposes of MBSI, restricted)
PO Box 10196, Ralph Heintz Publications Fund (special literary projects)
Springfield, MO 65808-0196. Museum Fund (supports museum operations)
All manuscripts will be subject to editorial review. Committee and the Editorial Staff. are considered to be the authorÕs 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 authorÕs approval. All articles statements.
64 MECHANICAL MUSIC July/August 2019
CALENDAR OF EVENTS
Date Event Location Sponsor
July 20-21, 2019 Mid-Am Band Organ Rally Urbana, OH Rob Pollock
Aug. 18, 2019 Golden Gate Chapter Meeting Belmont, CA Richard and Julie Hughes
Aug 27-31, 2019 2019 MBSI Annual Meeting Rockville, MD National Capital Chapter
Nov. 17, 2019 Golden Gate Chapter Meeting Morgan Hill, CA Chris and Greg Hopwood
Please send dates for the Calendar of Events to Russell Kasselman (editor@mbsi.org)
CONTACTS
Administrator Jacque Beeman handles back issues (if available) $6;
damaged or issues not received, address changes, MBSI Directory
listing changes, credit card charge questions, book orders, status of your
membership, membership renewal, membership application, and MBSI
Membership Brochures.
P.O. Box 10196
Springfield, MO 65808-0196
Phone/Fax (417) 886-8839
jbeeman.mbsi@att.net
CHAPTERS
East Coast
Chair: Elise Low
(203) 457-9888
Dues $10 to Geoffrey Wilson
804 Appleton Way
Whippany, NJ 07981
Golden Gate
Chair: Jonathan Hoyt
(408) 214-9313
Dues $5 to Dave Corkrum
5826 Roberts Ave.
Oakland, CA 94605
Lake Michigan
Chair: Aaron Muller
(847) 962-2330
Dues $5 to James Huffer
7930 N. Kildare
Skokie, Illinois 60076
Mid-America
Chair: Rob Pollock
(937) 508-4984
Dues $10 to Harold Wade
4616 Boneta Road
Medina, OH 44256
National Capital
Chair: Matthew Jaro
(301) 482-2008
Dues $5 to Florie Hirsch
8917 Wooden Bridge Road
Potomac, MD 20854
Northwest International
Chair: Rick Swaney
(425) 836-3586
Dues $7.50/person to Kathy Baer
8210 Comox Road
Blaine, WA 98230
Piedmont
Chair: Vernon Gantt
(919) 264-2222
vgjr123@yahoo.com
Dues $10 to Vernon Gantt
PO Box 20238
Raleigh, NC 27619
Snowbelt
Chair: Tracy Tolzmann
(651) 674-5149
Dues $10 to Gary Goldsmith
17160 – 245th Avenue
Big Lake, MN 55309
Traveling MBSI Display
Bill Endlein
21547 NW 154th Pl.
High Springs, FL 32643-4519
Phone (386) 454-8359
sembsi@yahoo.com
Regina Certificates: Cost $5.
B Bronson
Box 154
Dundee, MI 48131
Phone (734) 529-2087
art@d-pcomm.net
Advertising for Mechanical Music
Russell Kasselman
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
Phone (253) 228-1634
editor@mbsi.org
CHAPTERS
Southeast
Chair: Jack Hostetler
(352) 633-1942
Dues $5 to Clay Witt
820 Del Rio Way Unit 203
Merritt Island, FL 32953
Southern California
Chair: Robin Biggins
(310) 377-1472
Dues $10 to Bob Lloyd
1201 Edgeview Drive
Cowan Hgts, CA 92705
Museum Donations
Sally Craig,
2720 Old Orchard Road
Lancaster, PA 17601
Phone (717) 295-9188
rosebud441@juno.com
MBSI website
Rick Swaney,
4302 209th Avenue NE
Sammamish, WA 98074
Phone (425) 836-3586
r_swaney@msn.com
Web Secretary
Knowles Little
9109 Scott Dr.
Rockville, MD 20850
Phone (301) 762-6253
kglittle@verizon.net
Sunbelt
Chair: Ray Dickey
(713) 467-0349
Dues $10 to Diane Caudill
4585 Felder Road
Washington, TX 77880
Copyright 2018 the Musical Box Society International, all rights reserved. Permission to reproduce by any means, in whole or in part, must be obtained in writing
from the MBSI Executive Committee and the Editor. Mechanical Music is published in the even months. ISSN 1045-795X
July/August 2019 MECHANICAL MUSIC 65
MARTY PERSKY
Instrument Brokering & Locating / Appraisals / Inspections / Free Consultation
Spectacular Ruth 38
Popper Felix Mortier 84 key CafŽ Hupfeld Helios II/25 Welte 4 Concert
Wurlitzer 850A Wurlitzer BX with Wonderlight Bow Front Violano Niemuth 45-Key Bacigalupo
Visit www.Mechmusic.com for information on these and other fine instruments.
T:847-675-6144 Email: Marty@Mechmusic.com
4520 Arville St.#1 | Las Vegas, NV 89103 | MorphyAuctions.com | 877-968-8880
NOW ACCEPTING CONSIGNMENTS FOR 2019
4520 Arville St.#1 | Las Vegas, NV 89103 | MorphyAuctions.com | 877-968-8880
NOW ACCEPTING CONSIGNMENTS FOR 2019
Closing date for entries: 1 September 2019
Ð Illustrated are just a few of our highlights from last sale on 18 May 2019 Ð
Free consignment shipping to Germany Ð if delivered or sent to our location
in Garden City Park, NY 11040 (10 miles east of JFK Airport)
Free shipping for any major consignment from the U.K.! You just pack Ð we do the rest!
For more highlights and videos, visit www.Breker.com/New Highlights
or youtube.com/auctionteambreker
Fully-illustrated bilingual (Engl.-German) COLOUR Catalogue available against prepayment only:
Euro 28.Ð (Europe) or elsewhere Euro 37.Ð (approx. US$ 44.Ð / Overseas)
(Bank draft, cash or by Credit Card with CVV and expiry date: MasterCard/Visa/AmEx)
. Consignments for Future Auctions Always Welcome! .
Ð The Specialists in ÈTechnical AntiquesÇ Ð
P. O. Box 50 11 19, 50971 Koeln/Germany á Tel.: +49 / 2236 / 38 43 40 á Fax: +49 / 2236 / 38 43 430
Otto-Hahn-Str. 10, 50997 Koeln (Godorf)/Germany
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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
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Russia: Maksim Suravegin, Tel. +7 903 558 02 50 * Maksim-ATB.ru@gmx.net
Consignments are invited for our
Autumn Auction on 9 November 2019
Contemporary Musical
Automaton Portrait of
John F. Kennedy by
Christian Bailly, 2015
Sold:
22.670/ US$ 25,390
Silver-gilt and Enamel Singing Bird Box
by Charles Bruguier, c. 1840
Sold: 25.188/ US$ 28,210
Rare Five-Revolution Grand Format Variations Musical Box by Nicole Frres, c. 1862
Sold: 41.560/ US$ 46,547
Rock-Ola Tempo I Jukebox, 1959
Sold: 9.445/ US$ 10,578
Automaton
Banjo Player
by Vichy, c. 1900
Sold:
8.816/ US$ 9,874
ÈMikadoÇ Polyphon 24 .-inch
Disc Musical Box, c. 1900
Sold: 25.188/ US$ 28,210
Regina Style 33 Automatic Disc-
Changing Musical Box, c. 1900
Sold: 22.670/ US$ 25,390
ÈGirl on the TelephoneÇ
Musical Automaton
by Renou, c. 1900
Sold: 8.186/ US$ 9,168
Swiss Station-type Musical
Theatre, c. 1890
Sold: 22.670/ US$ 25,390
Orchestral Cylinder Musical Box
for the Chinese Market, c. 1890
Sold: 10.075 / US$ 11,284
Harmonipan
Barrel Organ
by Sabas Hock
Sšhne, Edenkoben,
Rheinland-Pfalz
Sold:
8.418/ US$ 9,428
ÝÝMechanical Music
& AutomataÜÜ
WorldÕs Leading Specialty Auction of