MECHANICAL MUSIC
Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments
Volume 68, No. 3 May/June 2022
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
MECHANICAL MUSIC
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 68, No. 3 May/June 2022
MBSI NEWS
5 PresidentÕs Message 7 EditorÕs Notes 8 Outreach Corner
54 In Memoriam
Publications Chair
Bob Caletti
All manuscripts will be subject to editorial review. Articles submitted for publication may be edited or rejected at the discretion of the Publications Committee and the Editorial Staff. The article will not be published with significant changes without the authorÕs approval. All articles are considered to be the authorÕs personal opinion. The author may be asked to substantiate his/her statements.
Mechanical Music (ISSN 1045-795X) is published by the Musical Box Society International, 130 Coral Court, Pismo Beach, CA 93449 six times per year. A Direc.tory of Members, Museums, and Dealers is published biennially. Domestic subscription rate, $60. Periodicals postage paid at San Luis Obispo, CA and additional mailing offices.
Copyright 2022. The Musical Box Society Inter.national, all rights reserved. Mechanical Music cannot be copied, reproduced or transmitted in whole or in part in any form whatsoever without written consent of the Editor and the Executive Committee.
MEMBERS: SEND ADDRESS CORRECTIONS TO: MBSI, PO Box 10196, Springfield, MO 65808-0196 Or, make corrections on the website at www.mbsi.org.
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Features
11 Nickel Notes by Matt Jaro
22 Get ready for the MBSI Annual Meeting!
26 One portable phonograph begets another
28 Almost alive: The story of Accordeo-Boy
38 The Hunt: Tom Kuehn finds just the right disc player
42 The future of the piano
44 Mechanical music contest announced
45 Rare automata up for auction
MBSI has replanted 174 trees so far as part of the Print ReLeaf program.
On the Cover
A gilt-bronze, quarter-striking singing bird musical automaton clock with seven tunes by Jaquet-Droz made in Switzerland circa 1810 that was up for auction in April 2022. Details on Page 45.
The Hunt
the right disc player for his collection. Page 38
M
echanical music is a fascinating hobby! It appeals to the artist, historian, craftsman, and
musician all at the same time. Play an automatic
musical instrument in a room full of people and all else
will stop as the machine enraptures the audience with the
sparkling melodies of yesteryear!
Mechanical music instruments are any sort of auto.
matically-played machine that produces melodic sound
including discs and cylinder music boxes that pluck a steel
comb; orchestrions and organs that engage many instru.
ments at once using vacuum and air pressure; player and
reproducing pianos that use variable vacuum to strike piano
wires; phonographs; and self-playing stringed, wind, and
percussion instruments of any kind.
The Musical Box Society International, chartered by the
New York State Board of Regents, is a nonprofit society
dedicated to the enjoyment, study, and preservation of
automatic musical instruments. Founded in 1949, it now
has members around the world, and supports various educational projects.
Regional chapters and an Annual Meeting held each year in different cities within the United States enable members to visit collections, exchange ideas, and attend educational workshops. Members receive six issues of the journal, Mechanical Music, which also contains advertising space for members who wish to buy, sell, and restore mechanical musical instruments and related items. Members also receive the biennial MBSI Directory of Members, Muse.ums, and Dealers.
The only requirements for membership are an interest in automatic music machines and the desire to share infor.mation about them. And youÕll take pride in knowing you are contributing to the preservation of these marvelous examples of bygone craftsmanship.
More information online at www.MBSI.org, or
Call: (417) 886-8839, or
Email: jbeeman.mbsi@att.net
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By David Corkrum
MBSI President
This message contains quite a bit of administrative information. The MBSI Board of Trustees met via Zoom on Mar. 18, 2022, for its regular mid-year session.
A considerable amount of discussion focused on the finances of the society. Our membership is declining, like so many other specialty organizations, which means our costs are rising while our revenues are shrinking. At some point, if we continue doing what we are doing without making changes, we would need to begin dipping into the monies we hold in reserve and what is in there will not last very long at our current spending rate.
Therefore, it was decided that a dues increase was in order. An increase is not something any of us desire, but it is necessary. The trustees moved to increase the annual dues by $10. This will give us some Òbreathing roomÓ in the future. The increase would take effect on Jan. 1, 2023, if the membership at the upcoming 2022 MBSI Annual Meeting approves the increase. For your information, the last dues increase occurred Jan. 1, 2014, as approved at the 2013 annual meeting.
Another bit of housekeeping has to do with the bylaws and policies and procedures (P&P). Again, as our membership declines, we find ourselves with fewer members attending the annual meetings and the associated business meetings. The last update to the bylaws stated that a quorum would require 50 members to be in attendance. This, we discovered, is not in accordance with the state of New YorkÕs laws governing annual meetings. The requirement for a quorum is 100 members or 10 percent of the total membership, whichever is less. With the recent reductions in attendance, our last two meetings would not have reached the minimum cut-off and any motions would have had to be sent to the membership via mail. This would cause an undue hardship on our secretary as well as our budget.
Therefore, we agreed to change the bylaws and P&P to allow for proxy voting. By the time you are reading this you will probably have received the proxy notification. I urge you to send your proxy vote to me if you have not done so already, but if you can, please, come to the meeting in San Mateo, CA. I am sure that you will have a good time. See Page 22 of this issue for details. A registration packet is included with this issue, as well.
This is all that I have for you currently. The annual meeting hotel is in a good location and, like most of the peninsula where San Mateo is located, there are many restaurants in the area.
Mail any MBSI Editorial / Advertising materials to 130 Coral Court, Pismo Beach, CA 93449 Emails with attachments can be sent to editor@mbsi.org Deadline for the July/August 2022 issue is May 25, 2022
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 Ørst yearÕs 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 yearÕs 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.
been members of MBSI or those who have not been members for three years prior to submission of this certiØcate. SPECIAL OFFER: Purchase one or more Ørst-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 ÒNew MemberÓ gift.
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Phone Email
Sponsor
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.
By Russell Kasselman
MBSI Editor/Publisher
By the time this magazine reaches you, I hope you are clear of any last bitter blasts of winterÕs wrath. I hope you are opening windows and letting in the fresh air, cleaning and polishing and getting ready for the start of a season of outdoor concerts, barbecues and welcoming friends and family to your home. It is Spring, after all, and time for refreshing, renewing and reinvigorating. Maybe itÕs the perfect time to start a music box restoration project. If so, I hope you tell us all about it. We are always look.ing for articles from members doing fun things with music boxes. Share your ideas and experiences anytime by emailing editor@mbsi.org.
Speaking of experiences, look for the 2022 MBSI Annual Meeting registration packet included with this issue. ItÕs your ticket to see some great mechanical music collections, ride a steam train through the California redwoods, catch up with old friends and meet new ones. More details
ADVERTISING
about the upcoming meeting are avail.able on Page 22 of this issue. I hope to see you there.
Thank you to our contributors for this issue. Matt Jaro dives into WurlitzerÕs relationship with the music press during its heyday while Dr. Robert Penna provides another well-researched article about an automaton developed in Paris, France, called Accordeo-Boy.
I was pleased to receive a note from Harold Peters about a portable phonograph in his collection that he was inspired to share after reading Rick SwaneyÕs article. Several photos and a brief description are available for to you to enjoy on Page 26. I hope this sort of item inspires many more of our members to share what they have as it is always wonderful to see what our members have found to collect.
Tom Kuehn rounds out our contrib.utor list this issue with his story of a search for the perfect disc box to compliment his large pneumatic collection. He set some stringent conditions for his search but found success and ended up with the perfect
MAILING ADDRESS
MBSI Editorial / Advertising 130 Coral Court Pismo Beach, CA 93449
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piece. Read about it on Page 38. Have you had to search for something to fit just right into your collection? Tell us about it. We love to hear stories for The Hunt.
EDITORIAL
Advertisements for the July/August 2022 issue of
Articles and photos for the July/August 2022 issue of
Mechanical Music need to be submitted by Jun. 1, 2022.
Mechanical Music need to be submitted by May 25, 2022.
Advertisements for the September/October 2022 issue of
Articles and photos for the September/October 2022 issue
Mechanical Music need to be submitted by Aug. 1, 2022.
of Mechanical Music should be submitted by Jul. 25, 2022.
Welcome new members!
February 2022 March 2022 Mariana Berg-Reuter Michael & Jackie Davis Waynesville, NC Drumright, OK Mark Jones Theodore Johnson College Park, South Australia New York, NY Sponsor: Don Caine Jennifer Lussier Vienna, VA Rene Nilsson Lockport, NY Sponsor: Don Caine Janice Reynolds & Jeff Brosman Decatur, IN Sponsor: Hope Rider Robert School Akron, OH
By Jack Hostetler
Special Exhibits Committee Member
On Dec. 17 and 18, 2021, a group of nine MBSI members and four members of the Mechanical Music Society club of The Villages presented the 8th annual Christmas exhibit in The Villages, FL. This year, we held the event in the recreation center of the Eisenhower Regional Center. We occupied two large rooms for the displays. One room was devoted to the loud machines, including two street organs, two collections of early phonographs, and a great display of original wooden automata.
The other room featured the more gentle-sounding machines. On display were a bird-in-a-cage autom.aton, a collection of Christmas music machines, one wonderful disc box, two roller organs, a huge collection of small music boxes and decorative ceramic figurines.
We have presented this Special Exhibit each year since 2012 (skip.ping only 2020 due to the COVID pandemic). We are already booked for Dec. 17 and 18, 2022.
Each year since 2013 our two
Special Exhibits Committee Chair Mary Ellen Myers with Jack Keith IdoÕs family of Nippers appear very focused on the Hostetler feeling festive. music.
A close-up of one of Jerry HoneÕs Jerry Hone shows some of his wooden automata creations to Craig Darlak and automata. Howard Wyman.
A steady stream of visitors admired Jerry HoneÕs wooden automata and the other mechanical music items on display during the two days of the event.
Attendees talk with Bob Schuljak about his collection of early recorded music and the machines they play on.
groups have also presented a Camp Villages event in the summer. Camp Villages is a summer set of programs for grandchildren visiting grandpar.ents at the The Villages. Our program shows children how music machines work and allows them to build and decorate their own music box. The event is limited to 30 children (plus grandparents to assist). The Villages charges for the event to pay for use of the room, but we provide the parts to construct a music box and deco.rations free of charge. The past few years tickets have sold out the first day they became available.
The Recreation Department of The Villages really appreciates our events and our presentations, so we intend to continue these Special Exhibit events as long as we can. We are also looking into opportunities to put on more Special Exhibits in The Villages and surrounding venues.
Nickel Notes
By Matthew Jaro
The Invisible Giant
In my wanderings through the musical trade press, I noticed that every time J.P. Seeburg burped, there would be an article about it. I donÕt, however, recall seeing much about Rudolph Wurlitzer, the biggest supplier of instruments and coin-operated automatic music machines, band organs and theater organs. I also donÕt recall seeing many advertise.ments (which may explain the lack of articles). So, today, I did a search in the Music Trade Review (MTR) on the word ÒWurlitzerÓ and found to my surprise 1,594 documents with 10,115 instances. The purpose of this article is to discover the truth and reveal interesting facets about the history of the Wurlitzer Company. If Wurlitzer was really underrepresented in the trade press, then this giant company would remain unseen to their readers.
The Wurlitzer Company was established in 1856 by Franz Rudolph Wurlitzer in Cincinnati, OH. He started the business because he could import instruments directly from Europe and thereby undercut his competition who were forced to use a number of middlemen, each of whom would take a profit, thus increasing the price of the end product.
The first reference to Wurlitzer is on Nov. 5, 1880, where the name is mentioned in passing in an article about Cincinnati. The next reference, one week later states: ÒMr. Rudy, of Wurlitzer & BroÕs, declares that the Knabe factory can scarcely supply instruments as fast as he expects to sell them! The small instrument trade of Wurlitzer & Bros. is very large.Ó
ÒMr. RudyÓ must refer to Rudolph. In this period, Wurlitzer mostly sold European instruments but they made some products of their own.
The next reference to Wurlitzer is six years later in 1886, which cites a letter as follows:
ÒPlease send the Music Trade Review regularly. We need it in our business. (Signed) R. Wurlitzer & Bro., Cincinnati, Ohio.Ó
In 1891, Wurlitzer actually received a small editorial comment, talking about its large and elegant quarters on Fourth Street. The company occupied six floors, each 28 feet wide and 175 feet deep (29,400 sq. ft.). In 1892-1897, a running series of ads appeared listing Wurlitzer as a dealer for the Wilcox and White Organ Company (specifically for ÒThe SymphonyÓ organ).
In 1894, the trade press took its first significant notice of Wurlitzer with the publication of an article entitled ÒDealers of the West.Ó
In 1895, the MTR announced the engagement of Howard Wurlitzer, son of Rudolph. Howard was to become president of the company during the time that we are familiar with the company. In 1896 there were several mentions of Òguitar-zithers.Ó There are several other announcements of sales for different lines of instruments.
In April 1898, Wurlitzer announced it would move its factory from Cincin.nati to Orange, NJ. The factory was to take up an entire city block and 100 cottages would be erected to house at least some of the 125 employees. Also in 1898, Wurlitzer was listed as a dealer for Regina music boxes. In 1898-1901, the MTR actually covered trips made by the Wurlitzers, engage.ments and the usual puff pieces saying that business had been exceptionally great for the Wurlitzer Company.
1901
In 1901 there was a short article praising the ÒHowardÓ mandolins and guitars made by Wurlitzer. Could this be because Wurlitzer took out an ad?
In 1901 Wurlitzer got the Cincinnati agency for the Apollo Player Piano (Melville Clark). Wurlitzer also secured the Steinway agency for Cincinnati. Regina revoked WurlitzerÕs agency for Cincinnati. Wurlitzer then became agents of the Symphonion. Anton Wurlitzer (RudolphÕs brother) died in 1901. There was a lengthy article about WurlitzerÕs collection of old fine violins.
1902
The violin bows made by Wurlitzer were praised, saying that the bows were famous in Europe and in America. There are a few other short references to piano sales but not much else in 1902.
Wurlitzer did get agency to the Steck Piano Company in this year.
1903
The MTR noted a trip by Howard Wurlitzer to Chicago, IL, and mentioned its piano business was steadily growing.
The amount of press given to Wurlitzer considerably picked up in 1903, even though the company did not place any advertisements. The newspaper clipping at the top of the center column (just above these words) provides a good idea of the products that Wurlitzer was involved in during 1903.
1904
There is mention that Wurlitzer is selling Paillard music boxes and Brandt mandolins. There is also talk about the Chicago and St. Louis, MO., branches of the company. In Novem.ber 1904 a fire destroyed most of the companyÕs headquarters. Fortunately for Wurlitzer, they were completely insured. The company moved to a new location in about one week. This event was well reported by the MTR. Articles remarked that few enterprises could continue shipping orders despite such calamities. There were many notices of travels of members of the Wurlitzer family and trade details.
1905
Wurlitzer greatly enlarged its stock of talking machines and records. An article appeared this year reporting on the fact that Wurlitzer had represented Victor at the 1904 WorldÕs Fair. The MTR mentions the company is doing business in automatic instruments, notably: the automatic harp, the Tono.phone, the pianino and the military band organ. The entire second half of the references in this year are about the companyÕs move to its new store (in the old, partially-destroyed but rebuilt building).
1906
An announcement is made for the Wurlitzer Player Piano. The company moves into new showrooms in Chicago and opens a Lexington, KY, branch. Wurlitzer becomes a major distributor of Victor and Edison talking machines and records. The company ordered $340,000 worth of instruments from the de Kleist Musical Instrument Manufacturing Company. On Feb. 5, 1906, Wurlitzer ran a two-page advertisement in the MTR. It is entitled ÒOpen Letter to the Music Trade.Ó The letter reads:
ÒIt is a well-known fact that the music dealers throughout the country are laboring under a disadvantage through the competition of the large wholesale and retail mail order houses who do business on a lower margin of profit than the music trade have been accustomed to.
ÒAfter a great deal of consideration, we decided when we printed our last catalog to base our prices on a net 30-day basis, and in this way put the music dealers throughout the country in a position to buy goods at the right prices in such a way as to be able to meet the competition of the mail order houses.Ó
The second page has an extensive price list. Music dealers would note that WurlitzerÕs prices were lower than other jobbers.
Wurlitzer began manufacturing perforated rolls for its automatic instruments this year. The company celebrated its semi-centennial. For the 50th anniversary, Wurlitzer eliminated commissions on piano sales, giving buyers the full benefit of the price. The mandolin-quartette was reported to be doing good business.
1907
There are a number of reports of sales to Peter Bacigalupi of San Francisco, CA. These included band organs for skating rinks and automatic musical instruments. BacigalupiÕs building was destroyed in the 1906 San Francisco earthquake and fire.
1908
There was an announcement that Wurlitzer was handling pianos from Phillipps in Germany. The company also opened a branch in New York City this year. A Wurlitzer Piano-Orchestra (made by Phillipps) was sold to a cafŽ for $6,000. Wurlitzer purchased a harp, guitar and mandolin factory. Steinway pianos continued to be their biggest seller. Wurlitzer incorporated as the Wurlitzer Manufacturing Co. It is interesting to note that the location listed in the incorporation paperwork is North Tonawanda, NY, and Eugen de Kleist is the first vice-president. The capitalization was listed as $1 million.
1909
Since no issues from 1909 are avail.able for the MTR, we switch to The Presto for this year. An article in that magazine carried an item stating that Wurlitzer had declared a dividend of one and one-half percent.
1910
Wurlitzer lost the Steinway agency for Cincinnati this year because they were not selling the Steinway Pianola in good faith. Aeolian (Duo-Art) complained to Steinway that Wurlitzer was making disparaging remarks about the Steinway Pianola.
ÒSteinway took exceptions to these statements on the ground that such public utterances from an accredited Steinway representative had the effect to prejudice the buying public against paying a higher price for either the regular Steinway or the Steinway Pianola pianos.Ó
Wurlitzer wanted to continue the sale of regular Steinway pianos and demanded that Steinway fulfill its contract by delivering pianos. This was a major headline occupying a full page in the Mar. 12, 1910, edition of the MTR. Finally, Steinway relented and agreed to supply pianos until June 1 (rather than March 22) in order to comply with the contract.
Wurlitzer then signed an agreement to carry Chickering and Knabe pianos in Chicago.
This was the year Wurlitzer nego.tiated a purchase of the Hope-Jones Company. Hope-Jones made large theater organs and became the proto.type of the ÒMighty Wurlitzer.Ó
It seems Wurlitzer first talked Hope-Jones into sharing WurlitzerÕs North Tonawanda plant. The following week Wurlitzer announced the outright purchase of Hope-Jones.
Wurlitzer reported a banner year with $2.8 million in sales over the year.
Wurlitzer signed a new agreement for agency with Hohner Harmonicas. It is notable since a few years prior, Wurlitzer had argued with Hohner over WurlitzerÕs 30-day net sales policy and refused to supply harmonicas to the company.
Farney Wurlitzer (son of Rudolph) got married this year. Wurlitzer contin.ued to sell Steinway pianos after its agency expired. Steinway got an injunction against Wurlitzer to refrain from selling Steinway products. Stein.way lifted the temporary injunction for mysterious reasons a few weeks later. Not long after, Wurlitzer sued Steinway for not delivering promised pianos and charging Wurlitzer more for pianos than other dealers (against the terms of the contract).
1911
Wurlitzer planned to expand their North Tonawanda plant. The company came up with a plan to pay its sales.men commissions, thereby reversing its position of several years ago. However, future notices continued to state that Wurlitzer had a no-commis.sion policy. So, we are left to wonder what was going on?
1912
Wurlitzer opened a store selling automatic musical instruments only in Detroit, MI. In addition, the following is a quote:
ÒThe Wurlitzer Co. is publishing advertisements in the local papers with the caption ÒNew Steinway Pianos at greatly reduced prices.Ó
How could they be selling Steinway again?
1913
Wurlitzer stopped carrying Edison phonographs. The company added $3 million in capitalization, making the total capitalization $4 million. Rudolph is now 82 years old. A Hope-Jones Unit Orchestra was sold this year to the Cort Theater and Century Theater, both in New York. There is a description of a skating rink organ in the newspaper clipping at left on this page.
The Wurlitzer-Steinway suit was dismissed by the U.S. Supreme Court.
Eugen de Kleist died in Spain.
Wurlitzer continued to sell many ÒMotion Picture Orchestras.Ó
1914
Rudolph Wurlitzer died this year at the age of 83. The funeral was held Jan. 20, 1914. Howard Wurlitzer took over as company president.
Robert Hope-Jones also died this year. Howard Wurlitzer has an operation for appendicitis. The war in Europe would affect the Wurlitzer CompanyÕs ability to obtain small instruments made largely in Germany and Austria.
1915
Wurlitzer exhibited a Unit Orchestra at the Panama Pacific Exhibition in San Francisco, CA. Organs and orchestri.ons for motion picture theaters were reported to be flying off the shelves in this year. Wurlitzer incorporated the Artola Piano Company of North Tonawanda, NY.
1916
Wurlitzer opened up a new recital hall primarily to demonstrate the Hope-Jones Unit Orchestra. The American Steel and Wire Company placed an advertisement in the MTR touting the ÒGreatest Orchestral Organ in the World.Ó
Notice that it wasnÕt Wurlitzer that placed this ad!
Not to be outdone, Wurlitzer placed a full-page cover ad for the Wurlitzer piano (see facing page) twice this year.
Wurlitzer erected a large illuminated sign on Broadway and Fortieth Street in New York City this year that read ÒWurlitzer Player Pianos.Ó
1917
Sales of theater organs remained strong. Several full-page cover ads were taken out to promote the Wurlitzer harp. (See Page 21 for an example of this ad.)
1918
There are many announcements about employees of Wurlitzer going off to war (including HowardÕs son, Raymond). Q.R.S. took over the Wurlitzer roll cutting plant this year. The plant cut Rolla Artis Rolls in North Tonawanda. As part of this deal, Wurlitzer placed an order with
Q.R.S.
for $2 million worth of rolls.
Q.R.S.
would later move everything to DeKalb, IL.
1919
The Apollo Piano Company bought the Melville Clark Piano Company this year. The interesting thing that is not really divulged in the trade press, is the fact that Wurlitzer supplied the money and was on the board of directors of Apollo. This gave Wurlitzer a line of standard pianos and Apollo Player Pianos. They continued to pretend that Apollo was a separate company. They would use the Apollo name for players and the Wurlitzer name for standard pianos.
1920
Farney Wurlitzer suffered an attack of appendicitis this year. Farney was president of the manufacturing division. Miss Pauline Pabst married Raimond Wurlitzer (the son of Howard Wurlitzer).
1922
Wurlitzer placed a full-page adver.tisement in the MTR noting that the family line of Wurlitzer could be traced back to a Saxon village 200 years ago where Hans Andreas Wurlitzer once made violins. (See Page 16.)
1923
A number of full page ads were placed in the MTR reproducing the text of an advertisement taken out in the Saturday Evening Post.
1924
Wurlitzer was still talking about the company carrying the ÒApollo Repro.ducing PianoÓ even though it was a major stakeholder in the company. Wurlitzer opened a radio department in Cincinnati, OH.
1925
Wurlitzer announced, in a full page ad, the creation of the Wurlitzer Grand Piano Company of DeKalb, IL, that would make grand pianos and repro.ducing grands. This was the location of the old Melville Clark Piano Company.
The ad invites dealers to carry these pianos. The DeKalb plant would discontinue making uprights while the North Tonawanda plant would make them exclusively.
Wurlitzer announced new antique-finish grand pianos, including the Jacobean in a two-page ad. There were 15 antique models available. (An example of an ad for the period grands can be seen on Page 18.)
Wurlitzer continued placing full-page ads in the MTR in order to recruit dealers.
1926
The MTR printed a full-page article about the Wurlitzer North Tonawanda plant. (See Page 19.) There are several full-page ads for the company in the same issue. One ad discusses the Wurlitzer Òone priceÓ policy where a small dealer pays the same for a piano as does a large dealer.
1927
Rudolph H. Wurlitzer became president of the company this year and Howard became chairman of the board of directors.
Wurlitzer ran a full-page cover ad this year promoting the resale of pianos. Wurlitzer also announced a nine-foot concert grand piano. Wurlitzer took out another cover-page ad to discuss its reproducing pianos and metal action (which it stated were impervious to heat or changes in mois.ture). The reproducing piano featured the Apollo reproducing action.
The MTR carried an article about the Wurlitzer action.
1928
Howard Wurlitzer retired from active participation in the business. He died in November. He was 57 years old.
Wurlitzer placed a cover, two-color ad announcing the Treasure Chest of Music (the piano that plays for you).
An announcement was printed in MTR noting that Cyril Farney, manager of the grand piano division, married Phyllis Holt. There are a large number of cover page ads for the companyÕs products throughout this year.
1929
Rudolph H. Wurlitzer was quoted in an article talking about the future of theater organs now that talking pictures are present. In the article he declared that the public would not tolerate the elimination of the organs and their favorite organists.
1931
The Wurlitzer CompanyÕs New York store placed an ad this year pledging to retain its employees. The ad also said that its robust business necessi.tated the employment of extra people.
The company used its ads to encourage people to turn to music
Òin times like theseÓ for relief and relaxation. ÒDonÕt deprive yourselves or your children of music,Ó the ads read. These advertisements were also placed in leading newspapers.
1933
For 1933, we switch to The Presto magazine, since issues of the MTR are not available. The first thing I noticed was a full-page ad stating ÒWurlitzer Pianos are the pianos you can sell.Ó
Wurlitzer announced ÒA Century of ProgressÓ grand piano designed by Russel Wright. Wurlitzer started calling itself ÒWurlitzer and SonsÓ for the first time in 1933.
The company announced a new Simplex automatic phonograph. It is described as a coin-operated Òjukebox.Ó It was designed by Homer Capehart, who went on to design many innovative phonographs, includ.ing the famous Capehart changer for home use.
Summary
With the introduction of the juke.box, our journey ends. The days of automatic musical instruments are drawing to a close. So what conclu.sions can we draw? First, there are 1,594 issues of the MTR that mention Wurlitzer and there are 10,115 instances of the name found in those articles. I went through every one of them to write this article!
Similarly, a search on the name ÒSeeburgÓ yields 838 issues with 5,343 instances. So, contrary to what we may have thought previously, it is clear now that there are almost twice as many issues of the magazine that mention Wurlitzer as there are issues that mention Seeburg. Both Art Reblitz and myself were amazed by this result.
In discussing this discovery, Art and I agreed that we probably didnÕt notice WurlitzerÕs presence in the musical trade press because it was Seeburg who was principally involved in mechanical music machines, whereas Wurlitzer sold small instruments, antique violins, large instruments, coin-operated automatic music machines, orchestrions, band organs, theater organs, harps, upright and grand pianos of many manufacturers and player pianos.
The majority of the references to the Wurlitzer name are simply items describing family visits to a city, leaving or arriving on vacation, trips to Europe, South America, etc. A large number of references also focus on how well the business was doing, real estate transactions, moving and open.ing branches, remodeling, clearance sales, etc. Of chief importance to the music trade were announcements that Wurlitzer would handle certain lines of products in a city (agency).
The advertisements placed by the company were largely for Wurlitzer pianos and were directed at the deal.ers. Ads directed to the general public were placed in the major newspapers and magazines (such as The Saturday Evening Post).
From these references to Wurlitzer you can get some idea of the history of the company. There are, however, scant mentions of the specifications for the various machines or even what models were available. Every time a large instrument was sold, there would be a notice indicating the buyer and the price. This was especially true of the Wurlitzer Theater Organs (Hope-Jones Organs). Wurlitzer manufactured nearly 2,250 theater organs for use in the silent films. Many theaters would compete to obtain the largest organ.
There is an extremely interesting book on the history of Wurlitzer, entitled ÒWurlitzer of Cincinnati, the Name That means Music to MillionsÓ by Mark Palkovic (The History Press). It covers the families, the early years, the retail stores, the theater organs, the jukeboxes, pianos and harps, and even refrigerators made by the company.
Now it is apparent to me that Wurlitzer was not invisible in the musical trade press but rather proudly represented throughout its long history.
Email Matt Jaro at mjaro@verizon. net if you would like any information about style ÒAÓ, ÒGÓ, Ò4XÓ, ÒHÓ or ÒOÓ rolls. Also, comments and suggestions for this column will be appreciated.
Reprinted with permission of the author and The Automatic Musical Instrument CollectorsÕ Association (AMICA). Originally printed in the September/October, 2016 issue of The AMICA Bulletin.
2022 MBSI Annual Meeting, joint with the Automatic Musical Instrument CollectorsÕ Association
Save these dates! Wednesday, Aug. 31, through Monday, Sept. 5
By Robert Thomas
A rare joint convention is the best way to meet others passionate about your hobby. As an AMICAn I enjoyed working with MBSI members on this convention so much that I joined MBSI in order to attend the great MBSI convention in Ft. Myers, FL, in 2021.
Should you make plans to attend this upcoming meeting, IÕm sure you will find new friends and have a marvelously enjoyable time. San Francisco summer weather is never too hot, so bring a jacket and you’ll be comfortable the entire trip. The Bay Area is visually stunning and one featured attraction during this convention is a steam-train ride through a beautiful redwood forest.
A detailed schedule will be available at www.mbsi.org soon, but here are the event highlights.
One full day of workshop presentations will introduce you to a variety of inter.esting topics. Bruce Newman will discuss adventures in restoration and Dave Corkrum will show how he manufactures and duplicates music box discs. Other sessions will cover music box comb tuning, photographing your instruments, publishing magazine articles, and various restoration projects. A harp concert is also scheduled during the workshops.
Several optional tours (an additional cost not included in basic convention registration) will each include bus trans.portation and lunch.
During the first tour, on Thursday, you can spend a day on the Roaring Camp Steam Railroad and take a train trip to the Santa Cruz Beach Boardwalk Carousel. The route through the redwood forest and the scenery at the beach might cause you to start snapping pictures like Hollywood paparazzi.
A view from the seats inside the Paramount Theatre.
On Friday morning, Dave Calendine will play a stunning Wurlitzer organ concert at the art deco Paramount Theatre in Oakland, CA. One note is that the theaterÕs organ is currently undergoing restoration, so if the organ restoration has not been completed in time, another beautiful theater will be visited instead.
That afternoon, two additional tour choices will be available to enjoy. First up is the Victorian house tour in San Francisco that includes time for a comprehensive visit to the Reutlinger/ Skinner and Philip Straus collections. PhilipÕs Mason and Hamlin AMPICO has a vast roll collection, so IÕm sure you will find some of your favorites to play. If you would like to stay outdoors, the other afternoon tour will visit Fisherman’s Wharf and take a Bay Cruise. This is a good option for those who do not wish to navigate the many narrow sets of stairs found on the Victorian Tour. The wharf has great restaurants and you can visit the wonderful MusŽe MŽchanique.
Then, there is the Alcatraz Night Tour
Adam Swanson
that affords a magnificent view of San
Francisco Bay from the former prison. People who have taken the tour before say you will get to experience what the islandÕs former inmates once did, hearing the excitement and joy of San Francisco while you are stuck locked up in a dark cell feeling very far away from the world.
For entertainment during the annual meeting, the annual meeting organizing committee has arranged for four fantastic performers to demonstrate their skills. IÕm sure you’ll be impressed!
Should you want to get a preview so you know what to expect, please go to YouTube and check each of the following folks out. IÕm sure their live performances will be even more memorable.
Adam Swanson is an amazing musicolo.gist and ragtime pianist from Durango, CO. His song introductions are filled with neat information and his music is characterized
A Ramey banjo orchestra and Hupfeld Phonoliszt Violina in Lyle Merithew and Sandy SwirskyÕs home in San Jose, CA.
as Òsunshine from the fingers.Ó
Frederick HodgesÕ performance
features flash musical fire and excitement.
He specializes in the polished piano music of the 1920s and Õ30s, bringing your favorite novelty piano rolls to life. He will present his orchestra at the banquet on Sunday.
Matt Tolentino plays and sings early 20th century music and his accordion will echo in your imagination. His amusing song selections, full of surprises, are sure to bring smiles to everyone.
Mentioned previously, Dave Calen.dine, the musical voice of the Detroit Red Wings, will be performing on the Mighty Wurlitzer.
The whole shebang starts on Wednes.day, Aug. 31, with the AMICA Board and MBSI Board of Trustees holding official meetings. Then Adam SwansonÕs concert takes place later that evening. Thursday and Friday are tour days, while Saturday is workshop day.
A general Mart featuring many attrac.tive items for sale will be held Sunday with a banquet that evening where the Frederick Hodges Orchestra will enter.tain the crowd.
Monday is a day for visiting local collections and it is often a highlight of these conventions. You may engage your own transportation or there are optional (additional cost) bus tours.
Bob and Judy Caletti will welcome guests into their Menlo Park, CA, home to view the rare music boxes, musical clocks, wonderful pianos and orchestri.ons in their collection.
Sandy Swirsky and Lyle Merithew, in San Jose, CA, also have an outstanding collection that includes rare juke boxes, a Ramey banjo orchestra, a Hupfeld Phono.liszt Violina, and beautiful stained glass art and quilting they have created.
Marc and Marguerite Kaufman, in Woodside, CA, have an extensive rare music box collection, musical clocks and a Steinway Spirio reproducing piano full of great music.
The Marriott San Mateo/San Francisco Airport hotel is where the convention will be hosted. It is about 20 minutes south of San Francisco International Airport on U.S. Highway 101.
The convention room rate is $119 per day plus tax, including self-parking and guest room wi-fi. The restaurant is open
6:30 a.m. to 10 p.m.
The convention rate will be available as soon as registration opens. Registration materials can be obtained at the MBSI website, www.mbsi.org. A link to the MBSI website will also be provided on the AMICA website at www.amica.org. A registration packet is included with this edition of Mechanical Music and will be available in the next edition of the AMICA Bulletin.
One portable phonograph collection begets another
By Harold Peter
The cover photo on the January/ February 2021 issue of Mechanical Music along with Rick SwaneyÕs article on his collection of portable phonographs (which I finally got around to reading) inspired me to take these photos of my portable phonograph.
I purchased it in a resale shop in Harrogate, North Yorkshire, England, in the 1980s while living/working in the U.K. It was described as a Òpicnic phonographÓ and included three albums of approximately 6-inch, two-sided, 78-rpm records. Eight of these albums were made by Marspen and 10 were made by Mimusa.
Marks and Spenser (Marspen) is a Brit.ish department store which had 53/8-inch to 6-inch records made circa 1926. Mimusa was owned by Crystalate Gramaphone Record Mfg. Co. and made 51/2-inch and 6-inch records from 1921 through 1930. These were primarily records featuring songs for children and they were sold exclusively by Woolworths in the U.K. for $6 each.
My portable phonograph is not currently operational because of a broken governor spring. The only markings on it are in German, stamped on the reproducer. The speaker horn appears to be plastic imita.tion tortoise shell and it mounts directly on the reproducer. The mica reproducer diaphragm is damaged.
Almost Alive:
This Accordeo-Boy automaton was found in Italy by Cleveland, OH, millionaire John Baird who brought it to the U.S.
Photo courtesy Ron Schmuck, The Great Canadian Nickelodeon Company Limited An Accordeo-Boy as seen in MusŽe MŽchanique, Les Gets, France. Photo by Cory Doctorow on Flickr.
Automatic musical instruments and mechanical devices grew in size and novel new automata appeared in public as entertainments.1
Simply stated, automata are mechanical devices that are relatively self-operating such as robots. A more precise definition is offered by the Merriam-Webster Dictionary which describes them as mechanisms designed to automatically follow a predetermined sequence of operations or to respond to encoded instructions. By extension, most automatic musical instruments can be viewed within this definition. The most widely accepted definition of an automa.ton, however, is a machine that mimics the actions of living creatures.
History has seen many creations of this sort. In 10th century BC China, a manuscript describes an engineer named Yen Shi who presented the king with a life-sized, human-shaped figure with mechanical abili.ties. There are accounts of automata during the Han Dynasty in China dating to the 3rd century BC where it is recorded that an automated orchestra was constructed and entertained the emperor. Automata were also popular in China during both the Sui Dynasty (581-615) and the Tang Dynasty (618-907) where automata served as entertainment at the imperial court. Records describe both animal and human automata including flying birds, an otter, a monk and singing women.2
Examples exist of early Greek and Roman statues that mimicked living beings placed within the temples of their ancient gods. Utilizing steam, water and moving weights, these automata were designed to awe the populace.3
Over the years advances in mechan.ical devices gave inventors more capabilities. In 1206 Arab inventor Al-Jazari created an automatic musical instrument housed within a small boat that sailed upon a lake and entertained dinner guests with music played by miniature musicians. The boat was likewise rowed and steered by miniature sailors.4
In the 14th century European clock.works included animated characters in their creations. In the late 1400s, DaVinci designed a mechanical knight and other automata followed in succeeding centuries. The 16th century
A view of music roll and rear of Accordeo-Boy. Photo courtesy Ron Schmuck, The Great Canadian Nickelodeon Company Limited
was when Renaissance gardens came to life with hydraulic automata and in the 17th and 18th centuries, life-like miniature mechanical creatures and toys became a craze with wealthy Europeans.5
The 18th century was a time of curiosity and technological progress. It was a time of spectacular shows where the public was exposed to a fascinating mix of scientific inven.tions and magic tricks. Those who built mechanical musical instruments and automata made clever use of the effect of self-moving objects. Mech.anisms were concealed in a box or underneath the clothing of the dolls.6
In 1737, Vaucanson unveiled his automated flute player. The automa.ton was a life-size figure of a shepherd that played the tabor and the pipe and had a repertoire of 12 songs. When it was put on display, it is reported that ÒEveryone in Paris would queue up for a ticket to see and hear VaucansonÕs mechanical flute player perform. Was it real? Did the man-sized doll in fact conceal a human being?Ó According to historians, this automaton was the first mechanical device to perform a series of mechanical procedures long enough and complex enough to provide a credible imitation of life.7
In 1773, inventor, watchmaker, and instrument maker John Joseph Merlin built a life-size automaton swan employing 30 pounds of silver, much to the amazement of all who paid to hear it play and see it in action.8 Hundreds of automata of various sizes were created by European craftsmen that copied any number of human and animal attributes. Many played miniature musical instruments such as pianos, dulcimers, flutes, drums, fifes, etc.
The era following World War I saw great advances in automatic musical instruments. Factories which had produced war materials were now able to use their equipment and skills to produce items for the general public. After the desolation of the war, Europeans sought to forget their prob.lems with more lively entertainment. CafŽs, dance halls and places of enter.tainment grew at an exponential rate and inventors hurried to provide new and unusual forms of entertainment. The need for creative and exciting inventions to distract and amuse the people became evident.
Restaurants and cafŽs seeking new diversions looked to novel automatic musical instruments, especially some.thing that could play the latest music craze, jazz. The perfect example of this is found in the artistry of the early 1920s when the automaton called Accordeo-Boy was first released. The lifelike Accordeo-Boy was a type of musical automaton, complete with realistic moving parts. Offered for sale by J. Bodson of Paris, the Accordeo-Boy was a life-sized musi.cal automaton, built especially to entertain patrons of a cafŽ, bistro, or restaurant.9
Imagine a crowded cafŽ and this life.like automaton displayed against one wall. He is seated on a raised platform with an accordion in hand and drums at his feet. After a patron inserts a coin, he begins to ÒplayÓ music while the patrons eat and drink. What an experience it must have been for people dining, listening to the music, and viewing something so unique.
Accordeo-Boy, complete with moving eyes, lips, head, fingers and eyebrows, played selections on his accordion and accompanied himself with drums. Although it is quite clear that he is not a real musician, the illusion is very convincing. For a cafŽ owner at the time, not only did this invention eliminate the need for and cost of live musicians, but it kept the diners entranced by the novelty of the act.
Some believe the face of the Accord.eo-Boy character was modeled after a French singer named Tino Rossi who was popular in the 1930s. Others claim he looks like a young Maurice Cheva.lier. Accordeo-Boy was designed before 1923, which is when he was first released. Therefore, the most likely comparison is to someone who was well-known before that release date. French accordion player and composer Fredo Gardoni was famous from 1918 to 1945 and is therefore the best candidate.10 A photo presented with this article shows the similarity.
A few years later, in 1928, the Double Tino was released. Similar to the Accordeo-Boy in that it featured the sound of the accordion and drums, this instrument features two band members. One of the characters plays only the accordion and the other, as the drummer, plays the snare and bass drums as well as cymbals. The drummer character is much younger looking than the accordionist and is of African descent.
Watching the Double Tino play together is a treat. With two enter.tainers, there is more action in the animation. To make it more realistic, the duo seem to be having a conversa.tion while playing and the accordionist taps his foot to the rhythm of the music.
According to the experts at auction company RM Sotheby, examples of surviving Accordeo-Boy and Double Tino automata were found to have been manufactured by Gastaud et Raibaut of Nice, France, for Maison Bodson of Paris, France. The drums on most machines read, ÒPneuma Accordeon JazzÓ and in small print, ÒJ. Bodson, 70 Rue de Tournelles, Paris.Ó It is likely that this is the original advert as it appears on photos of the product from Bodson. Variations in the advertisement were made over the years as the drum skins were replaced.11
The role of the firm of J. Bodson was likely that of sales office and distributor. Orders were then placed with Gastaud et Raibaut for the manu.facture of each instrument. Bodson had been involved in the manufacture of pianos at his location beginning in 1913 as reported in the ÒFacteurs of Pianos ˆ Paris.Ó12
Surviving machines sport accordi.ons with various labels, demonstrating that the accordion was supplied by other companies. Accordion manu.facturers include Giorgini Eugen, the French Maugein, the Italian Scandalli, and the German-made Hohner.
Dimensions of the 1923 Accord.eo-Boy show its length at 60 inches
(1.50 meters), width at 36 inches
Double Tino display at the Volo Auto Museum, Volo, IL
meters). The weight was increased to accommodate the second automaton and his gear. The view inside the base reveals that the instruments utilize paper rolls and a wind chest much like those found in many nickelodeons.
In the Spring/Summer 1977 (Vol. 23, No. 2) issue of Mechanical Music, two advertisements for the Bodson automata appeared which have been reproduced for this article.
The Bodson automata are rare today. Many were likely destroyed during the chaos and calamity of World War II. Others may have been simply discarded when their novelty wore thin and their employment was no longer useful in a commercial setting. The cost to repair these instruments was also a factor in their disappearance. The few remaining are spread amongst collectors and muse.ums across the globe. Research shows there are two Accordeo-Boys and two Double Tinos in the United States. One of each is currently displayed at the Volo Auto Museum in Volo, IL.
Footnotes
1 ÒRoaring Twenties Paris,Ó Time Out, April 14, 2015. https://www.timeout.com/paris/en/ roaring-twenties-paris
2 Penna, Robert. ÒCuriouser and Curiouser: The Amazing Silver Swan,Ó Mechanical Music, Musical Box Society International, November/ December 2021
3 ÒThe History of Early Automata,Ó History Computer, https://history-computer.com/ concepts/the-history-of-early-automata/
4 Penna, Robert. ÒThe Genius of Al-Jazari: An Automatic Musical Instrument from the 13th Century,Ó Mechanical Music, Musical Box Society International, July/August 2020
5 ÒHistory of Automata,Ó Falmouth Art Gallery, https://automata.falculture. org/a-brief-history-of-automata-and-mechan.ical-toys/
6 Van Dijk, Marian ÒHet Zijn Net Mensen: They Are Almost Human,Ó Robots Love Music, Utrecht: Museum Speelklok, 2018. https://www. researchgate.net/publication/327648457_Van_
Zijl_A_G_W_2018_Robots_love_Music_Do_ they_In_Robots_love_Music_Catalogue_of_ an_exhibition_pp_60_-75_Utrecht_Museum_ Speelklok
7 Norman, J. ÒJacques VaucansonÕs Autom.ata: Complex Enough to Provide a Credible Imitation of Life,Ó HistoryofInformation.com https://historyofinformation.com/detail. php?id=412
8 Penna, Robert. ÒCuriouser and Curiouser: The Amazing Silver Swan,Ó Mechanical Music, Musical Box Society International, November/ December 2021
9 ÒAccordeo Boys,Ó The History of Music Machines, Volo Auto Museum, https://www. volocars.com/blog/history-of-music-machines
10 ÒBoson Double Jazz-Musette Automa.ton,Ó Nickelodeon Company Memories, 2021. http://www.nickelodeonco.com/bodson-double.tino.html
11 ÒBodson Double Tino,Ó RM Sotheby, February 2012 https://rmsothebys.com/en/ auctions/MH12/The-Milhous-Collection/lots/ l770/187821
12 Facteurs de Pianos ˆ Paris, http://www. lieveverbeeck.eu/Paris_fabricants_arr3.htm
Interesting Tidbits
This oddly-shaped piano can be found tucked in a corner of the Xiamen Piano Museum located on Gulangyu Island in the Xiamen province of China. According to www.chinatravel. com, the island is known as the piano island because the 20,000 residents there own an impressive 620 pianos amongst them.
The Piano Museum exhibits more than 100 pianos, some world-famous.
The pianos were collected from the Americas, Australia, Britain, Austria, and France by Hu Youyi, an overseas patriotic Chinese, who was born on Gulangyu Island.
The gems in this collection include a gold-plated piano and a piano created by Muzio Clementi in the year 1801. Few pianos in the world are actually crafted by pianists so it is considered a rare piece. The collection also includes some hand-cranked auto.mated musical instruments.
The first two halls of the museum opened in 2000. To get to the museum, take the ferry from Xiamen to reach Gulangyu. The Piano Museum is located at 45 Huangyan Road, on the islandÕs opposite side.
For more, visit www.chinatravel. com/xiamen/attraction/piano-museum
The Hunt
Story and photos by Thomas Kuehn
Those of you who know me realize that my main interest in automatic musical instruments began with band organs. Over the years it has evolved to include various other types of pneu.matic instruments but not so much with musical boxes. I have seen and heard many cylinder and disc boxes in personal collections, some local, at various locations around the U.S. and overseas. Perhaps it was simply seeing so many examples of these types of mechanical music boxes that led me to feel I should acquire at least one disc musical box so I could better appreciate the subtleties in the design, construction and operation of these instruments. I also wanted to have a good example to demonstrate to visi.tors. While many years have passed since I purchased my 15. inch Poly.phon disc at a local swap meet, I still remember my hunt and the enjoyment of finding just the right piece to add to my collection.
My selection criteria involved find.ing an instrument that played discs of moderate size, not very small ones nor difficult-to-find monsters. Table-top models were of less interest to me as they would require a separate stand or table to rest on. Console models or perhaps a changer would be best. I like to personally inspect an instru.ment before making a final decision to purchase, and that usually means it needs to be within one dayÕs driving distance from our home. This is a severe limitation as most instruments offered for sale while I was in the market were near the east or west coasts, which is quite a bit more than a dayÕs drive from Minnesota.
One of the best investments I have made over the years has been my
Column Graphic by Mary Clegg
membership in MBSI where I learned much from collectors and restorers who know more than I do. Another of my good habits is purchasing books written by knowledgeable authors in the field of mechanical music. In preparation for a potential purchase of a disc-playing music box, I read through the sections on disc musical boxes in the ÒEncyclopedia of Auto.matic Musical InstrumentsÓ by Q. David Bowers, ÒCollecting Musical Boxes and How to Repair ThemÓ by Arthur W. J. G. Ord-Hume and his later book, ÒThe Musical Box A Guide for Collectors.Ó I did not have a copy of the more recent book, ÒThe Encyclo.pedia of Disc Musical Boxes 1881-1920 A History, Catalogue Raisonne, and AppreciationÓ by Q. David Bowers, so I ordered a copy from our sister organization, the Automatic Musical Instrument CollectorsÕ Association (AMICA).
Meanwhile, my search for a box located close enough to me to inspect continued online. One instrument that caught my attention was a Regina 15. inch style 40 console with double combs and a Vernis Martin finish. It was located in an antique shop in southeastern Wisconsin, about a four-hour drive away. This model met all my criteria. It had mid-size discs, a console configuration and was within the driving distance I found acceptable. I read once again Ord-HumeÕs comments on Regina music boxes. ÒIn quality the instru.ments were outstanding on every point with finely-arranged music and superb mechanisms. The cabinetwork was also of the highest order.Ó I knew that discs for this size machine were readily available. A phone call was made, a few questions were answered satisfactorily, the instrument was put on hold, and my wife, Hongyan, and I made arrangements to take a day trip to make the personal inspection.
Winter driving in our part of the country comes with its own chal.lenges. The main criterion is to avoid snowstorms. We picked a day between storms that was bitter cold but with good, dry roads. The temperature was -10 degrees Fahrenheit when we left home in the morning. The lowest temperature indicated by our car thermometer was -17 degrees Fahr.enheit as we passed through a valley in western Wisconsin. We saw both the sunrise as we drove east in the morning and the sunset as we neared home in the afternoon. Our schedule brought us to the shop just before noon.
Upon inspection, the Regina cabi.net, although more than 100 years old, showed no sign of abuse and had aged gracefully. The hand-painted flowers on top and on the front of the cabinet appealed to Hongyan as her main hobby is flower gardening. The mechanism had a short bedplate that I understood to be a plus and the machine was supplied with 10 original discs. I brought along my head-mounted magnifier to carefully inspect the combs and dampers and the projections on the underside of the discs. Everything seemed to be in order. A few discs were played. The banjo attachment worked well but I was not then, nor am I now, fond of the sound it produces. The machine was unrestored, but everything seemed to work as intended and it sounded really good. Unrestored instruments are my preference as they exhibit original factory craftsmanship. A price was negotiated, the necessary funds changed hands and the cabinet was carefully wrapped and placed in the back of our vehicle on some blankets we had brought along. Then we began the trek home.
Upon arriving, we carried the cabinet into a heated area so it would not be subjected to the cold garage (recall the outdoor air temperatures mentioned earlier). The next day it was moved into the upper display room. We removed the wrappings and it was allowed to sit for another day so that it could reach thermal equilibrium
The Regina model 40 in its new home.
When a be felt in the cabinet
playing a few tunes.
music box.
your mind! latest issue of
certificates. So, I gave B a
Lid and front doors open showing the disc storage rack.
Originally Published in The Music Trade Review Vol. 65, No. 21 (Dec. 18, 1915)
The Future Of The Piano
I suppose that every practical piano man who happens to possess the faculty of discriminating between one and another quality of tone, and who besides is interested in the general tonal aspects of the piano, must have asked himself why it is that no real improvement has yet been made in the fundamental sound apparatus of this instrument. For quite 200 years the principle of percussion has been understood and applied to stretched strings through special keyboard mech.anism, and yet in all that time there has been scarcely a promise of refining out of existence the defects which the percus.sion system necessarily involves. These defects, of course, lie in the unmalleability of the tone, its incapacity for swelling or diminution and its shortness of duration.
Now, before we undertake to look at a question like this, we should remember that the piano is, as I remarked above, an instrument of percussion. Its strings are struck. Struck strings vibrate in constantly diminishing amplitude from the moment of the stroke, and in conse.quence their sound quickly dies away. Hence the necessity for elaborate machin.ery of soundboard and high-tension wire, whereby the evanescence of the tone may be at least in part checked. Still, it is to be kept in mind that a struck string cannot and will not sustain its tone adequately, and that all the elaborate intensification of construction that we can devise will never overcome fundamental difficulties arising from the percussive origin of the tone.
Soundboard and string improvements sometimes give us a partial remedy through encouraging stronger sympa.thetic vibrations and greater capacity of each string to continue in audible vibra.tion after being struck. But it can never be forgotten that so long as the piano remains a purely percussive instrument it can never do what a piano ought to do, namely, serve as a musically adequate performer of all musical literature.
When the piano action was first devised the inventor (we need scarcely bother about the claims of Marius, Schroeter, or any other would-be rivals of Cristofori) had in mind two ideas, so far as we can judge by critical examination of all data relating to the facts. He seems to have desired: (1) to produce a new form of action for the harpsichord in which the excitation of the strings should be more powerful and involve less frequent replacement of the contact points, and (2) to be able to graduate the dynamic strength of the tone by graduating the force of the finger pressure on the digital. In Cristo.foriÕs day the harpsichord and its kindred were the only keyed stringed instruments and they each suffered from one or other of the defects which Cristofori desired to remedy. The clavichord was dynamically expressive but extremely feeble in tone power. The harpsichord was tonally stronger but incapable of graduation in dynamics. Cristofori therefore could have had no conception of the possibilities of string vibration as we know them, or of how to take advantage of the peculiar color which the vibrating string is now known to possess. His requirements were purely dynamic. He wanted power and gradation of power. The piano action is a development of his idea, uncontaminated with any other. The fact that the piano remained almost unknown for half a century after CristoforiÕs death, and that for a still further fifty years it was virtu.ally only available to the rich, accounts sufficiently for its having remained till now in popular esteem without its pecu.liar defects becoming intolerable. The truth is that the piano has been a popular possession for only about sixty, and has been nationally distributed for only about
thirty-five, years. Thus it is that not till
recently have we come seriously to see Ñ largely by the light which the invention of the player action has thrown on the subject Ñ that the piano is an instrument of very definite and very narrow limita.tions, that its very principle of being is
the cause of its main deficiency, and that
it must sooner or later be vastly improved if indeed it is to survive permanently. I am not so foolish as to suppose that our recently awakened consciousness of the pianoÕs loosening hold on the affections of the public is due to any recognition by them of the facts set forth above. That would be ridiculous, but it would not be ridiculous to remark that the coming of the player-piano has thrown into sharp relief each and every tonal defect in the percussive stringed apparatus. To what extent this revelation has produced a feeling of indifference towards the piano is not for me to say; the reader may draw his own conclusions.
Some change must come before long, and it is for us to consider what the nature of that change should be. It is plain that
we cannot afford to sacrifice one iota of
the string qualities which we have come to associate with the piano. The little
ÒbiteÓ in the tone, the immediate dynamic
response to varied pressure on the digital, the sympathetic harmonious vibration of the soundboard and other strings in response to the damper pedal; these and other characteristics of the piano we must retain because they are irreplace.able as well as musically worthy. But while retaining these qualities we must recognize the need of doing something further; something that perhaps cannot be done for a long time yet, but which is altogether necessary. We must think of some way for giving the piano the power to swell and diminish its tones under the
control of the finger, and we must find
some way of sustaining the tones. We
must do this without sacrificing anything
of the pianoÕs percussive advantages, without substituting any other control for that of key action and hammer.
The Choralcelo and the Lyrachord have shown us that it is possible to sustain string tone by using the string as the armature of an electro-magnet. But even when the pianoÕs ordinary percussive action is used simultaneously with the electro-magnets the electrically-produced tones do not blend well with the others. The tone of a piano string excited by an electro-magnet, which vibrates it as a whole, loses its partial tone complexity, and produces a tone very much similar to that of an open diapason organ pipe. The tone, in short, tends to become an imita.tion of something else. It is beautiful, but it is not what we are thinking of in the present discussion.
There are, I think, two ways in which we may look at this idea without falling into the pits which are digged for the unwary inquirer. One of these relates to the present system of the piano action. As it stands, the piano touch mechanism is as near perfection as machinery can
be. It fulfills almost quite perfectly its
functions. The principle which governs it is the accepted principle of the piano, the principle that the string must be struck a relatively violent blow after a
method which deprives the finger of any hammer control for a definite time before
and after the moment of contact with the string. Unless I am much in error, this fact provides us with a possible outlook towards something better. Some of my readers may remember the Steinertone, a form of piano action devised by the late Morris Steinert of New Haven, Conn, who left his priceless collection of musi.cal instruments to Yale University. The intention of this action was to give the
finger a more extended control over the
movement of the piano hammer through the medium of an action in which an articulated lever was introduced between the repetition lever and the hammer butt. Mr. SteinertÕs experiment was not
commercially profitable and in time was
abandoned; but it served to demonstrate to the satisfaction of many musicians that a change in the system of hammer control is not alone possible, but possesses distinct advantages. The Steinertone touch was wonderfully elastic and responsive. It
permitted the infliction upon the string
of a variety of blows much more nicely graduated with respect to velocity than is ordinarily possible. It permitted the inflic.tion of a much slower stroke on the string. It kept the hammer within one sixteenth inch of the string as long as the key was depressed and permitted instant repetition with a very slight key rise, equivalent to
the old ÒbebungÓ effect of the clavichord.
But it had mechanical disadvantages, and it was impossible for Mr. Steinert to promote it successfully, for reasons not at all discreditable to him. Nevertheless, I am of the opinion that be Steinert ideas could and should be further analyzed by somebody who might combine mechan.ical talent with pianistic knowledge. If these ideas are again worked out and improved it will mean that one-half of the indictment against the piano will
fall flat. It will mean elimination of the ÒthrowingÓ idea in favor of a manipula.tion of the hammer by the finger directly;
at least it will mean the beginning of an art which will not reach perfection till this goal has been attained. I have always felt
that the final step in piano perfection will
not be in sight till somebody has found a way of bringing the hammer and the hand into more intimate connection. I do not think that Mr. Steinert quite solved the problem, but I am sure that he took a long step in the right direction. The point to be remembered is that as things stand at present the necessities of repetition
and escapement deprive the finger of its
control over the hammer except in a very limited sense. The aim is, therefore, not to provide an action of the present type which shall perhaps repeat more quickly, but to produce an action which shall push the hammer at the string rather than hurl it, and which shall enable the performer to reproduce, in principle at least, the old ÒbebungÓ effect whereby the clavichord.ist could make a sustained tone by the
mere vibration of his finger on the key. I
believe that this can be done.
There is another direction in which I think the character of the piano may in time be revolutionized. But I should prefer to talk about this at greater length next week.
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
Italians seek compositions for Piano Melodico
Italian Mechanical Music Society and Franco Severi Onlus Foundation partner in contest aimed at generating new mechanical music pieces
The Franco Severi Onlus Foundation has announced a ÒComposition Competition for Mechanical Music,Ó with the aim of enhancing and disseminating mechanical music through the creation of a repertoire of new works. The reference instrument will be a mechanical musical instru.ment called the Piano Melodico.
The Piano Melodico was invented by Giovanni Racca in 1886 and built in Bologna. Approximately 10,000 were built. Racca successfully sold many instruments in Italy and around the world as they were valued for both the aesthetics of the instrument and its musical characteristics. More than 2,000 musical titles were available for the hand-cranked instrument which plays perforated cardboard.
Rules for the competition are as follows. Authors must submit a work for the Piano Melodico and soprano voice, lasting no less than 6 minutes and no more than 10.
The text used must be chosen exclusively from the poetic production of Giosu Carducci; the use of translations in languages other than Italian is excluded.
The competition is open to composers of European nationality, without age limits. Composers of non-Euro.pean nationality can also participate, provided they are permanent residents for reasons of work or study in a country of the European community.
No registration fee is required. The works must be sent in pdf format by email to info@ammi-italia.com no later than Dec. 31, 2022, along with the composerÕs contact details.
The anonymity of the scores is not required. The jury, made up of eminent personalities from the musical world, will select three winning works, for which Associazione Musica Mecanica Italiana (AMMI) will create perforated cardboard that will be used to play the pieces on a Piano Melodico that once belonged to Queen Margherita of Savoy.
On the evening of Feb. 25, 2023, at Villa Silvia Carducci a concert will be held for the performance of the finalist works.
Non-winning scores will not be returned, and will be kept in the AMMI archive.
First prize in the competition is Û3,000, second prize is Û2,000 and third prize is Û1,000. The three finalist compos.ers will also be offered hospitality (room and board) for the period of the final concert. Any travel expenses remain the responsibility of the participants.
The juryÕs decision is unappealable and unquestionable.
The Franco Severi Onlus Foundation, located in the 18th-century Villa Silvia Carducci in Cesena, is the owner of the mechanical musical instruments exhibited at the Musicalia Museum, instruments that the Italian State has declared part of its National Heritage. The villa is of particular importance because Giosu Carducci, first Italian Nobel Prize winner, stayed there for 11 summers as guest of the Countess Silvia Pasolini Zanelli. The villa, now restored, appears as it did when it was prepared for the arrival of Queen Margherita in 1905. In the fifth of the seven rooms of the museum, called the QueenÕs Room, the Piano Melodico that belonged to her is on display.
Automata at auction
By Russell Kasselman
Two rare and fascinating automa were presented at an auction conducted by SothebyÕs in Hong Kong this past October. One additional item was on the auction block in April 2022. One item, a gold and enamel nŽcessaire changed hands while the other did not sell. The auction for the third item had not concluded prior to publication of this article. The following details about each piece are presented here for the purposes of allowing fellow collectors and enthusiasts to share in the joy of such wonderful creations.
The first item of note is a large gold, enamel and pearl-set nŽcessaire (or Etui de Voyage) with watch, music and automaton. The winning bid for this nŽcessaire was slightly more than $794,000 (6,225,000 HKD). The piece includes a pair of gold mounted scis.sors, a gold and enamel knife, a gold and enamel perfume vial, a gold and enamel key, a gold and enamel cuticle stick, a gold and enamel awl and associated fitted presentation box. The item was originally created in Switzerland circa 1800 for the Chinese market and first retailed by Peter Orr, a Scottish watchmaker who traveled to India to make his fortune.
Orr and his younger brother, Alex.ander, arrived in Madras, India, in 1843 taking work as watchmakers for the firm of Gordon & Co. Six years later, in 1849, they would purchase the busi.ness from Gordon and turn it into one of the premier silversmith companies in India, changing the name to P. Orr & Sons.1 In 1876 Peter and Alexander were appointed jewelers and silver.smith to the Prince of Wales. Three years later, the company completed construction of a building on Mount Road, now a landmark in the city, that was built in the Byzantine style of architecture by Robert Chrisholm. The three-faced tower clock installed at the top of the building was connected to the Madras Observatory and corrected hourly to ensure that it was always right on time. The premises were inaugurated by Prince George, Duke of York, who later became King George V, and Princess Mary, who later became Queen Mary.2
Originally purchased by a Maha.rajah, the nŽcessaire was sold to Dr. Eugene Geschwind in the 1960s. It was later sold to the John Asprey Private Collection, part of the House of Asprey that was founded in 1781 by goldsmith, silversmith, and watch.maker William Asprey. Asprey was granted a Royal Warrant for dressing cases in 1862 and earned a gold medal at that yearÕs International Exhibition for the same.3 It is not clear when the nŽcessaire changed hands again, but this is the first time it has been up for auction. The buyerÕs name was not revealed after the auction.
The nŽcessaire has a gold dial with sector for regulator above. A cylinder escapement with three independent trains control time, music and auto.mation. The case is made of gold and both sides are lavishly decorated with polychrome and champlevŽ enamel. It is set with pearls and the top opens to reveal the gold and enamel instruments as well as its key. The instrument compartment is velvet lined and holds a wide selection of various tools to keep oneÕs appear.ance, such as scissors, a scent bottle, a winding key for the mechanisms of the music, automata and watch and many other wonderful curiosities. The base of the case is hinged to reveal, on one side, the watch with cylinder and escapement, on the other side, the automated music scene of a lutenist playing to a performing dog. It measures 84 millimeters in length and 45 millimeters in width. A fitted presentation box signed P. Orr & Sons protects the case when not in use.4
Also known as Etui de Voyage or work boxes, nŽcessaires were carried by fashionable ladies to dispense scent and cosmetics. They became popular in the 18th century. A well-to-do lady staying with friends could demonstrate her taste and wealth by pulling this type of item from her
The case resting on its lid with base compartments The case closed and upright makes for an impressive
open for viewing the automaton and clock.
traveling bags.4
The only other known nŽcessaire of equal size, complexity and value is prominently illustrated and described in ÒAutomataÓ by Chapuis & Droz, pages 181-182. This example is part of the private collection of Hans Wils.dorf, the founder of Rolex.4
The second item in the October 2021 auction that was of significant interest to automata collectors was billed as a magician question-and-answer musi.cal automaton snuff box. It was not reported sold, and information about the item has been removed from the auction page on SothebyÕs website. An informational article about the piece remains, however, and offers intrigu.ing details about the treasure.
The gold, enamel and pearl-set musical automaton snuff box was reportedly made in Geneva, Swit.zerland, around 1815. Measuring 90 millimeters in length and 55
display for anyone pulling this out of a travel bag.
millimeters in width, it comes with polychrome enamel picture that two tunes in a fitted Garrard presen-is based on a painting titled ÒThe tation box. NecromancerÓ by Jean Baptiste Le The lid is decorated with a Prince. The miniaturized version of
the artwork depicts a young man and woman consulting a magician and, while the composition is identical to the original painting, the original gray-haired, elderly necromancer has now been converted to a younger man wearing a turban. The image is set within a frame of pearl-set foliage on a blue enamel ground. The lid opens to reveal an enameled riverside scene depicting a magician seated on a rock under two trees, all of which is executed in colored gold.5
The automation of the magician starts with him presenting the viewer with an English riddle and then provid.ing one of six fixed answers while a musical tune is played. Each of the riddles is recorded on a double-sided gold and enamel tablet, which are all stored in a tiny drawer located at the bottom right of the box. To operate the mechanism, a single tablet is inserted into a slot on the top right of the box. Then the viewer pulls a slide that winds up a mainspring which powers the musical movement and automated movements of the magician.
While the music plays, the magician waves his wand and consults his books. As the tune reaches its end, the magician points his wand towards the board on top of the tree in front of him where the answer to the question appears.
The automaton uses five wheels with cams to produce the motion of the magician. The answer wheel is activated by a plunger that enters the hole and is attached to a chain pulley turning a gear to rotate the plate to the intended position. It is held in place with a spring attached to a toothed wheel that is attached to the underside of the answer wheel. Pushing a slide on the left hand side sets in motion the automaton and the music. The music is driven by a pin barrel and the comb has two tunes selected by a slide at the back of the box.
This is one of only five ques.tion-and-answer magician boxes created. Only four boxes remain in existence today and this is the last one in private hands. This box is considered the most complex in terms of operation. It was purchased at a SothebyÕs auction on June 1, 1964, and has remained with that owner since that time. The pre-auction estimate for the item was between $2.5 and $5.1 million.
Renowned automaton master Pierre Jaquet-Droz produced the first magi.cianÕs automaton clock that appeared in the Chinese market. A pair of these unique pieces were produced in Octo.ber 1787 and presented to the Qianlong Emperor in 1795. Other horologists who subsequently designed or made clocks with question-and-answer fortune tellers include Henri Maillardet
The top picture shows the magician consulting his books during the automation while the bottom picture shows the magician revealing the answer to the riddle with his wand.
and Philippe-Samuel Meylan. The The first period, from around 1795 a figure changed the colors of the design was then adapted into watches. to 1805, saw boxes with magicians columns along a colonnade. These
Magician boxes can be grouped pointing a magic wand that conjured boxes marked the second period, under three main periods, which up hidden singing birds. They were starting around 1805. Miniaturiza.include several different mechanisms. followed by temple boxes, in which tion was a trend with the advent
This gilt-bronze, quarter-striking singing bird musical automaton clock features seven tunes with an animated bird and rotating flower vase on top.
A view of the pierced grill floor through which you can see the movement and mechanical workings of the automaton.
of magician snuff boxes and even magician vinaigrettes (perfume boxes). The most complicated group, the question-and-answer magicians, appeared in both box and vinaigrette formats after 1810.6
The Maurice Sandoz collection houses two of the remaining four boxes, one made of tortoiseshell and gold which does not have questions, and the other made of varicolored gold. A third is housed at the Landesmu.seem Fur Musikautomaten in Seewen, Switzerland.
Looking to our third item, we see that it is a gilt-bronze, quarter-striking singing bird musical automaton clock with seven tunes made, once again, for the Chinese market. Signed Henry Borrell, the automaton is believed to have actually been made by Jaquet-Droz in Switzerland circa 1810.
The octagonal bird cage has base panels with gilt bronze foliate swags and crossed musical instrument trophies. The dome is supported by eight palm trees with pineapple form finials. The dome is crowned with a polychrome vase of flowers. The base is fitted with a two-train fusee-driven quarter and hour striking clock with verge escapement and balance. The singing bird uses bellows and a pinned brass barrel to play one of seven tunes on 10 pipes at the hour or at will. The same cylinder causes the feathered bird to flaps its wings, flutter its tail, open and close its beak to the time of the musical notes and rotate nearly 360 degrees. On the top of the dome, the vase of flowers revolves so that the viewer might appreciate all its beauty. The musical movement and clock.work is visible beneath the pierced grill floor. A separate mechanism for the vase is concealed within the dome.
On the underside are two levers controlling the automata and music. The left-hand lever plays the automata at will. The right-hand lever changes the tune between the seven melodies. Winding is done through an opening in the rear right panel. The clock dial is 2.-inches of white enamel with roman numerals. The piece comes with photocopies of GarrardÕs 1988 invoice, including the description and drawings with labeled schematics detailing the various winding holes and levers. The automaton measures 61 centimeters tall.
The firm of Jaquet-Droz & Leschot, was founded by Pierre Jaquet-Droz (1721-1790) in La Chaux-de-Fonds in the mid-18th century. Pierre was later joined by his son Henry-Louis (1752.1791) and protŽgŽ Jean-FrŽdŽric Leschot (1746-1824). In 1784, the business was moved to Geneva, Switzerland. That same year, the firm expanded to London, England, with Henry-Louis and Leschot traveling between the two locations.7
Henry Borrell was a Huguenot clockmaker, born in Switzerland, who moved to London to work. He was known for his fine clocks made for the Chinese and Turkish markets. In 1805 Borrell became a naturalized British subject. Borrell is recorded as living and working at 8 Aldersgate in London in 1794. The following year he moved to 15 Wilderness Row, where he worked until his death in 1840.7
Borrell, born in Couvet in the Canton of Neuchatel, was not far from La Chaux-de-Fonds where Jaquet-Droz & Leschot was founded. Whether Borrell met Jaquet-Droz in Switzerland or later in London is unknown, but examples of their collaboration exist. Another example of a singing bird box with mechanism created by Jaquet-Droz but signed by Henry Borrell is detailed in Sharon & Christian BaillyÕs book, ÒFlights of Fancy,Ó page 105.
Sources
This automaton is one of only two bird cage automaton clocks known that include not only the singing bird but also another automaton featured at the top of the cage. The other clock is in the Palace Museum Clock Collec.tion in the Forbidden City, Beijing.
The automaton bird-cage clock up for auction was first owned by Sir Charles Clore, a wealthy British entre.preneur and philanthropist who made his fortune in finance and real estate. He owned stakes in the Selfridges department store, Garrard, and the bookmaking Agent Benjamin Hill. In 1980 Sir Charles Clore and his daugh.ter Dame Vivien Duffield donated £6 million to the Tate, London, to build the Clore Gallery which houses one of the worldÕs largest collection of works by J. M. W. Turner.
The second owner of the autom.aton bird-cage clock was the firm of Garrard, founded in 1734 by the goldsmith George Wickes. The firm had the distinction of being the first crown jeweler of the United Kingdom. Queen
More online
Smartphone users can scan the QR code above to be taken directly to a video with description of the nŽcessaire and the magician question-and-answer box.
Or go to https://bit.ly/3NXbz8n
Victoria awarded this title to the firm in 1843. They are still in business today simply known as Garrard & Co., Ltd.
The third and current owner is a private collector.
1. https://www.pushkinantiques.com/peter-orr-sons 5. https://watchesbysjx.com/2021/10/enamel-automaton-sothe.
2. https://porrandsons.com/pages/heritage bys-hong-kong-auction.html
3. https://www.asprey.com/us/asprey-heritage 6. https://www.sothebys.com/en/articles/when-magic-meets-mechan.
4. https://www.sothebys.com/en/buy/ ical-marvels-masterpieces-of-automata
auction/2021/important-watches-5/ 7. https://www.sothebys.com/en/buy/auction/2022/important-watch.
an-exceptional-and-large-gold-enamel-and-pearl-set es-i/a-rare-and-important-gilt-bronze-quarter-striking
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? The Hunt
Was there a time you randomly ran across a unique
instrument, then found a way to acquire it and restore it
so that you might display it and tell the story to all who
visit your home?
Answer these questions and you will have the perfect
story for ÒThe HuntÓ column in Mechanical Music.
Every mechanical music instrument has a story
behind it and the readers of Mechanical Music love to Email your story to editor Russell Kasselman at
read them all. editor@mbsi.org or mail a copy to:
Editing help is available if you have a story but are
not sure how to organize it or present it. The important MBSI Editorial Offices
thing is to get it down and pass it on for the enjoyment 130 Coral Court
of others. Pismo Beach, CA 93449
We look forward to hearing from you.
Mary Louise Freiheit Ñ1928-2022
By Hope Rider
Recently I received the sad news that my longtime friend, Mary Lou Freiheit passed away. She and her late husband, Harold Freiheit, and my late husband, Frank Rider, and I met through the Mid-America Chapter of MBSI. When we met, shortly after.ward, Harold was elected chair of the Mid-America Chapter. The Freiheits hosted a meeting at their home in Columbus, OH, on the banks of the Scioto river.
She was born in Youngstown, OH, where she grew up with a strong German heritage. English and German were spoken in her home. She attended the Martin Luther Lutheran Church, in which her family was very active, and graduated from South High School in 1946.
She graduated from Capital Univer.sity in Columbus, OH, in 1950, and became certified with the Western Reserve University School for Medical Technologists. She was a member of Delta Phi Alpha, an honorary organi.zation promoting German language and culture. She was a member of the WomenÕs Athletic Association and the Leonard Science Club, and also played womenÕs basketball.
She worked at Youngstown South Side Hospital as chief technician in charge of the Hematology lab from 1950-1952. She later set up and ran the first out-patient clinic lab at ChildrenÕs Hospital in Columbus, OH, from 1952.1954. After a hiatus to be a full-time mom of four boys, she went back to work full time working for Roche Biomedical Laboratories for 22 years, retiring in 1992.
Mary Lou and Harold (ÒHalÓ) Frei.heit were married from 1952 until his
We are presently working on our next Music Machine Auction Event, and still accepting machines, consignments, and collections for this upcoming event. We have already received fine collections of phonographs, music boxes, antique radios and early televisions, along with estate collections that will be sold at our upcoming auction. This flyer will give you a small glimpse of some of the items to be sold. We are expecting music boxes, street organs, radios and a band organ to start to round out this next event.
We are available to pick up and move collections throughout the country and Canada, and are now scheduling our travels for the East and West Coast, Midwest, and southern states. Call us to get our schedule.
We also want everyone to make note of the upcoming Antique Phonograph Society Convention and Show, ÒMidwest Music ExpoÓ, to be held in Schaumburg, Illinois Saturday and Sunday, June 11 and 12, 2022. We are hoping everyone is able to attend, and/or support the association and their efforts with this first-ever event.
StantonÕs Auctioneers,
Appraisers, & Realtors
(517) 331-8150 cellular
144 S. Main, P.O. Box 146
E-mail Ð stevenEstanton@gmail.com
Vermontville, MI 49096 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
passing in 2004.
Mary Lou and her family were long.time members of the Upper Arlington Lutheran Church, where she sang in the choir. She and her husband were members of several local clubs and organizations including the Columbus Historical Society, the Musical Box Society International, the Carousel Organ Association of America, the Ohio Canal Society and the ÔHeart of OhioÕ Postcard Club. The couple spent a lot of time attending music box
Bob Caletti
conventions and enjoyed participating in many parades with their band organ (calliope) on a float. Mary Lou enjoyed traveling with her family. In 2006, she traveled to Transylvania with the Alli.ance of Transylvania Saxons.
Mary Lou was a joyful person, a dedicated wife and mother, a wonder.ful homemaker, a great cook, and a huge inspiration to all who knew her. She was guided by her faith and was a great role model. She was always welcoming and had a pleasant and fun-loving personality. She loved to go dancing. She enjoyed scrapbooking and making crafts with her grandchil.dren, playing in the yard with them, as well as attending their ball games, dance recitals, and band concerts. Even her grandchildren that lived on the west coast felt loved by her by cards and gifts for every holiday, they knew they were not forgotten.
ÑAdditional information gathered from internet sources.
Specializing in Antique Music Box Restorations ¥ Buy ¥ Sell
605 Wallea Dr. Menlo Park, CA 94025 (650) 325-3898
www.musicboxrestorations.com info@musicboxrestorations.com
Our Condolences
MBSI has also learned that the following members have passed away:
Judith Kohlhaas,
Arthur Thompson of Bozman, MD, passed away in December 2021.
Music Box Company, Inc.
We restore Swiss cylinder and disc music boxes.
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Trust your prized music box to the finest quality restoration available. We have been accused of over restoring! Better over than under I say!
We will pick up your music box anywhere east of the Mississippi River, and transport it to our shop in Randolph, Vermont, where it will be stored in a climate-controlled area until itÕs finished and returned.
We have a complete machine shop where we build Porter Music Boxes, more than 3,000 so far. We are unique in the industry in that we are capable of manufacturing any part needed to restore any music box.
See our website, www.PorterMusicBox.com, to read letters of recommendation and browse a selection of the finest disc boxes currently being manufactured anywhere in the world. We have twin disc models, single disc models with 121/4Ó or15 1/
Ò discs, and table models with beautiful cabinets created for us in Italy. Also we can
occasions.
P.O Box 424 Randolph, VT 05060
support.
Call (802) 728-9694 or email maryP@portermusicbox.com
The Musical Box Society of Great Britain announces the publication of two new books Published in September 2018
100pp Hard Back ISO A4 format [8.27Ó . 11.70Ó; Profusely illustrated in
Supplement to
colour throughout with Additional Illustrations of Models, 89 Additional Lid The Disc Musical Box Pictures Additions to Lists of Models, Patents, Tune Lists & Serial Numbers; Combined Index of Images in the original book and its Supplement.
Compiled and Edited by Kevin McElhone Originally published in 2012 and still available The Disc Musical Box
ISBN 978-0-9557869-6-9
is a compendium of information about Disc Musical Boxes, their Makers and their Music; profusely illustrated in colour throughout with Illustrations of each Disk Musical Box Model, and with Catalogue Scans, Lists of Models, Patents & Tune Lists.
Supplement to
Compiled and Edited by Kevin McElhone
100pp Hard Back ISO A4 format [8.27Ó . 11.70Ó; Profusely illustrated in
Patents, Tune Lists & Tuning Scales; A New Section on Trade Cards; Combined Index of Images in the original book and its Supplement.
The Organette Book is a compendium of information about Organettes, their Makers and their Music. Originally published in 2000 but now out of print although second-hand copies are occasionally available in online auctions.
************************************************************************************************************************ For all MBSGB Publications, please refer to the Musical Box Society of Great Britain website for further details including latest availability, discounted prices and information on how to order. -www.mbsgb.org.uk
58th Annual Meeting of the Automatic Musical Instrument CollectorsÕ Association & 72nd Annual Meeting of the Musical Box Society International
Hosted by the AMICA Founding Chapter and the MBSI Golden Gate Chapter
San Mateo Marriott, near the San Franciso Airport in San Mateo, California
Ride the train through the redwoods to the top of the mountain
to the Santa Cruz Beach Boardwalk and the 1911 Loo. Carousel
LetÕs keep the music playing
Have you solved a problem while repairing, restoring or maintaining a mechanical music box?
Cylinder boxes, disc boxes, band organs, orchestrions and nickelodeons each have their own special needs.
Share your restoration or maintenance tips with other mechanical music enthusiasts.
Email editor@mbsi.org, call (253) 228-1634
or mail to: Mechanical Music 130 Coral Court Pismo Beach, CA 93449
Advertise in The Mart Email your ad to editor@mbsi.org or call (253) 228-1634 to place your
ad for the May/June 2022 issue. Have some spare parts or extra rolls taking up the space where you should be installing your next acquisition? Get the word out to other Add a photo to your ad! collectors by advertising in The Mart, an effective advertising tool at an inexpensive price. Photos are only $30 extra per issue.
Email editor@mbsi.org or call (253) 228-1634 for more details.
GRAND ROLLER ORGAN One of nine in stock Ð some working, some needing work.
Plus: ÉCRITERION 15 .Ó in carved oak case with matching
carved base cabinet. Over 200 discs for it! ÉEUPHONIA 20 .Ó, short bedplate, oak, great sound! ÉMandoline arrangement cylinder box. ÉNINE GRAND ROLLER ORGANS Éa good supply of Grand Roller Organ cobs. ÉREGINA 27Ó Accordion top in mahogany. Excellent! ÉORGANETTES Ð both cob and paper players.
Over 50 in stock in working or do-it-yourself project condition. Over 1000 cobs in stock! Éand much more!
NANCY FRATTI MUSIC BOXES
P.O. Box 400 Ð Canastota NY 13032 USA
315-684-9977 –musicbox@frontiernet.net
LOVELY 1928 CHICKERING AMPICO (A)
THE MART
5Õ4Ó Grand Reproducing Piano with seat RESTORED MUSICAL BOXES Offering a bench. Completely restored by Don McDonald
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Errors attributable to Mechanical Music, and of a significant nature, will be corrected in the following issue without charge, upon notification.
CLASSIFIED ADS
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Minimum Charge: $11 per ad.
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Format: See ads for style
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Restrictions: Ads are strictly limited to mechanical musical instruments and related items and services
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PLEASE NOTE:
The first two words (or more at your choice) and the memberÕs name will be printed in all caps/bold and charged at 60¢ per word.
Mechanical Music
Mechanical Music is mailed to all members at the beginning of every odd month Ñ January, March, May, July, September and November.
MBSI Advertising Statement
It is to be hereby understood that the placing of advertisements by members of the Society in this publication does not constitute nor shall be deemed to constitute any endorsement or approval of the busi.ness practices of advertisers. The Musical Box Society International accepts no liability in connection with any business dealings between members and such advertisers.
It is to be further understood that members are to rely on their own investigation and opinion regarding the reputation and integrity of advertisers in conducting such busi.ness dealings with said advertisers.
variety of antique musical boxes, discs, orphan cylinders, reproducing piano rolls & out of print books about mechanical music. BILL WINEBURGH 973-927-0484 Web: antiquemusicbox.us
THE GOLDEN AGE of AUTOMATIC MUSI.CAL INSTRUMENTS By ART REBLITZ. Award-winning classic that brings historical, musical, and technical information to life with hundreds of large, vivid color photos. We guarantee youÕll find it to be one of the most interesting, inspiring, informative books you have in your libraryÐor your money back. Everyone has been delighted, and some readers have ordered several copies. Get your copy today for $99 plus S/H. MECHANI.CAL MUSIC PRESS-M, 70 Wild Ammonoosuc Rd., Woodsville, NH 03785. (603) 747-2636.
http://www.mechanicalmusicpress.com
with new strings and pins, and with a spool frame that will accommodate B rolls. 18 rolls included. Midi system later installed by Bob Hunt with files on included laptop. $19,500.
ALLAN HERSCHELL (WURLITZER) 105
Carousel organ, circa 1926. Complete owner history known. Powerful and runs great. 11 rolls. $20,000. SEEBURG KT ORCHESTRIAN with violin pipes, tambourine, castanets and triangle. Completely restored by Don McDon.ald with new hammers, felts, pins, strings, pneumatics and tubing. Has original Seeburg motor. 7 rolls. $26,000. All reasonable offers considered. Contact BOB ANDREN, at bobkandren@verizon.net or (805) 630-2187
SUBMIT ADS TO:
MBSI Ads 130 Coral Court Pismo Beach, CA 93449 (253) 228-1634 Email: editor@mbsi.org
REGINA 15-1/2Ó discs (14 supplied) table model style 13, single comb, mahogany, s/ n64120, Oct. 1902, Regina cherub inlay, professionally refurbished. Contact STUART HANSEN, at hansensc@att.net
KNABE MODEL B Ampico 5Õ4Ó Queen Ann style case in figured walnut. Looks and plays great $4,900. Coinola Cupid nickelodeon, completely restored and refinished. Excellent condition. $6,900. Seeburg Greyhound dog race nickelodeon, completely restored and refinished. Excellent condition, $19,900. Faventia street piano on cart. -This one holds its tune well. $690. OIS 20 note electronic street organ on cart over 200 songs on chips excellent condition, $3400. Castlewood Monkey organ on stand, plays great, $2400. Contact BILL & DEE KAVOURAS, at deekav@ aol.com or 352-527-9390
BEAUTIFUL WELTE STYLE 2 COTTAGE ORCHESTRION, outstanding sound, fine pipework with radiating brass trumpets, stunning oak case with gold stenciled glass. 52 KEY GASPARINI FAIR ORGAN, elegant carved and decorated faade with moving figures. COINOLA X ORCHESTRION with beautiful tiger oak case, orchestra bells, and extensive percussion. SEEBURG KT with Xylophone. COINOLA REPRODUCO/SELTZER PHOTOPLAYER tiger grain oak case with piano, violin pipes, flute pipes, and bass pipes. RARE COINOLA C2 orchestrion with flute pipes, percussion, and walnut case.
67 KEYLESS GEBR. BRUDER CAROUSEL ORGAN, impressive carved faade, fantastic sound, large book music library, imported circa 1916 for use on an East Coast carousel, MILLS VIOLANO VIRTUOSO with rolls. WURLITZER STYLE 150 BRASS TRUMPET
band organ with amusement park history. Contact me for more information and photos. If you want to talk mechanical music, give me a call. Contact TIM TRAGER, at Tim@ timtrager.com or P. O. Box 768, Island lake, Illinois 60042. Telephone: 630-269-3059
MARVELS OF MECHANICAL MUSIC – MBSI Video. Fascinating and beautifully-made film which explains the origins of automatic musical instruments, how they are collected and preserved today, and their historic importance, MBSI members and collections are featured. $20 USD. Free shipping in the continental U.S. Additional postage charges apply for other locations. Purchase now at www.mbsi.org
REGINA STYLE 36 autochanger music box. Contact KEITH AMUNDSON, at geela@ comcast.net or (218) 742-7111
REPRODUCTION POLYPHON discs; Cata.logs available for 19 5/8Ó, 22 1/8Ó, and 24 1/2Ó. DAVID CORKRUM 5826 Roberts Ave, Oakland, CA 94605-1156, 510-569-3110, www.polyphonmusic.com
SAVE $Õs on REUGE & THORENS MUSIC BOX REPAIR & RESTORATION Ð MBSI MEMBERS RECEIVE WHOLESALE PRICING.
40 + Years experience servicing all makes & models of cylinder and disc music boxes, bird boxes, bird cages, musical watches, Anri musical figurines, et al. All work guaranteed. WeÕre the only REUGE FACTORY AUTHORIZED Parts & Repair Service Center for all of North America. Contact: DON CAINE -The Music Box Repair Center Unlimited, 24703 Pennsyl.vania Ave., Lomita, CA 90717-1516. Phone:
(310) 534-1557 Email: MBRCU@AOL.COM. On the Web: www.musicboxrepaircenter.com
Display Advertisers
3………. Renaissance Antiques 53…….. Tim Trager 55…….. Stanton Auctions 56…….. Music Box Restorations 56…….. Amazing Musical Oddity 57…….. Porter Music Box Company 58…….. MBSGB 58…….. American Treasure Tour 59…….. Golden Gate Chapter 60…….. Reeder Pianos 60…….. Cottone Auctions 61…….. Nancy Fratti Music Boxes 67…….. Marty Persky Music Boxes 68…….. Breker Auctions
Advertise in The Mart
Ready to trade up, but need to sell one of your current pieces first? Get the word out to other collec.tors by advertising in The Mart, an effective advertising tool at an inex.pensive price.
Email your ad to editor@mbsi.org or call (253) 228-1634 with questions.
OFFICERS, TRUSTEES & COMMITTEES of the MUSICAL BOX SOCIETY INTERNATIONAL¨
OFFICERS COMMITTEES Membership Committee Nominating Committee
Chair, TBD Dan Wilson, Chair
President Audit
David Corkrum, President Tom Kuehn, Immediate Past Pres.
David Corkrum Edward Cooley, Chair, Trustee Richard Dutton, Trustee Bob Caletti, Golden Gate, Trustee 5826 Roberts Avenue Dave Calendine, Trustee Mary Ellen Myers, Trustee, Mary Ellen Myers, Trustee, Oakland, CA 94605 Matt Jaro, Vice President
Southeast Southeast
musikwerke@att.net
Endowment Committee Robin Biggins, Southern California Jonathan Hoyt, Golden Gate Edward Kozak, Treasurer, Chair Judy Caletti, Golden Gate Robin Biggins, Southern California Vice President Edward Cooley, Trustee Gary Goldsmith, Snowbelt Aaron Muller, Lake Michigan Matthew Jaro Dave Calendine, Trustee Julie Morlock, Southeast
Publications Committee
24219 Clematis Dr B Bronson Rob Pollock, Mid-America Bob Caletti, Chair, Trustee Gaithersburg, MD 20882 Wayne Wolf Florie Hirsch, National Capital Richard Dutton, Trustee mjaro@verizon.net Dan Wilson, Piedmont
Executive Committee Steve Boehck
Gerald Yorioka, Northwest IntÕl
David Corkrum, Chair, President Christian Eric
Recording Secretary TBD, East Coast
Matthew Jaro, Vice President Kathleen Eric
Linda Birkitt TBD, Lake Michigan
Tom Kuehn, Immediate Past Pres.
PO Box 145, TBD, Sunbelt Publications
Dave Calendine, Trustee
Sub-Committee
Kuna, ID 83634
Bob Caletti, Trustee Museum Committee
Website Committee
scarletpimpernel28@yahoo.com Sally Craig, Chair
Finance Committee Rick Swaney, Chair
Matt Jaro, Vice President
Treasurer Edward Kozak, Chair, Treasurer B Bronson
Glenn Crater, National Capital
Edward Kozak Wayne Wolf, Vice Chair Knowles Little, Web Secretary
Ken Envall, Southern California 3615 North Campbell Avenue Edward Cooley, Trustee
Julian Grace, Sunbelt Special Exhibits Committee
Chicago, IL 60618 Peter Both Richard Simpson, East Coast Chair Mary Ellen Myers, Trustee, ekozak1970@gmail.com
Marketing Committee Southeast
Museum Sub-Committees
Bob Smith, Chair David Corkrum, President,
Ohio Operations
Judy Caletti Golden Gate
Rob Pollock, Mid-America
TRUSTEES Donald Caine, Southern California
Meetings Committee
Dave Calendine Jack Hostetler, Southeast
Matt Jaro, Chair, Vice President
Bob Caletti SPECIAL ACTIVITIES Knowles Little, National Capital
Judy Caletti
Edward Cooley Judy Miller, Piedmont
Tom Chase Publications Back Issues:
David Corkrum Aaron Muller, Lake Michigan
Cotton Morlock Jacque Beeman
Richard Dutton Wayne Myers, Southeast
Rich Poppe
G.Wayne Finger Regina Certificates: Rick Swaney, Northwest IntÕl B Bronson
Matt Jaro
MBSI Editorial Office: Tom Kuehn MBSI Pins and Seals: Iron Dog Media Mary Ellen Myers Jacque Beeman 130 Coral Court
Pismo Beach, CA 93449
Librarian:
editor@mbsi.org
Jerry Maler
Historian:
Bob Yates
MBSI FUNDS
Members can donate to these funds at any time. Send donations to: General Fund (unrestricted) MBSI Administrator, Endowment Fund (promotes the purposes of MBSI, restricted) PO Box 10196, Ralph Heintz Publications Fund (special literary projects) Springfield, MO 65808-0196. Museum Fund (supports museum operations)
All manuscripts will be subject to editorial review. Committee and the Editorial Staff. are considered to be the 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.
CALENDAR OF EVENTS
Date Event Location Sponsor
Aug. 31-Sept. 5, 2022 Joint MBSI / AMICA Annual Meeting San Mateo, CA Golden Gate Chapter/ AMICA Founding Chapter
May 28-30, 2022 Band and crank organ rally at Lake Winnepesaukah Amusement Park Roseville, GA Carousel Organ Association of America
Jun. 11-12, 2022 Band and crank organ rally at Shupps Grove Antique Market Reinhold, PA Carousel Organ Association of America
Jun. 17-18, 2022 Circus Calliope and Mechanical Music Festival Peru, IN Carousel Organ Association of America
Aug 29-Sept 3, 2023 MBSI Annual Meeting St. Paul, MN Snowbelt Chapter
Send in your information by Jun. 1, 2022, for the July/August 2022 issue. Ask your questions on our Facebook discussion group Ñ the Music Box Society Forum.
Please send dates for the Calendar of Events to editor@mbsi.org
CONTACTS
Administrator Jacque Beeman handles back issues (if available) $6; damaged or issues not received, address changes, MBSI Directory listing changes, credit card charge questions, book orders, status of your membership, membership renewal, membership application, and MBSI Membership Brochures. P.O. Box 10196 Springfield, MO 65808-0196 Phone/Fax (417) 886-8839 jbeeman.mbsi@att.net
Traveling MBSI Display Bill Endlein 21547 NW 154th Pl. High Springs, FL 32643-4519 Phone (386) 454-8359 sembsi@yahoo.com
Regina Certificates: Cost $5. B Bronson Box 154 Dundee, MI 48131 Phone (734) 529-2087 art@d-pcomm.net
Advertising for Mechanical Music Russell Kasselman Iron Dog Media 130 Coral Court Pismo Beach, CA 93449 Phone (253) 228-1634 editor@mbsi.org
CHAPTERS
Snowbelt
Chair: Tracy Tolzmann (651) 674-5149 Dues $10 to Gary Goldsmith 17160 – 245th Avenue Big Lake, MN 55309
Southeast
Chair: Wayne Myers (407) 333-9095 Dues $5 to Bob Yates 1973 Crestview Way Unit 147 Naples, FL 34119
Museum Donations Sally Craig 2720 Old Orchard Road Lancaster, PA 17601 Phone (717) 295-9188 rosebud441@juno.com
MBSI website Rick Swaney 4302 209th Avenue NE Sammamish, WA 98074 Phone (425) 836-3586 r_swaney@msn.com
Web Secretary Knowles Little 9109 Scott Dr. Rockville, MD 20850 Phone (301) 762-6253 kglittle@verizon.net
CHAPTERS
East Coast
Chair: Elise Low (203) 457-9888 Dues $5 to Roger Wiegand 281 Concord Road Wayland, MA 01778 or pay via PayPal, send to treasurer.eccmbsi@gmail.com
Golden Gate
Chair: Jonathan Hoyt jenjenhoyt@yahoo.com Dues $5 to Dave Corkrum 5826 Roberts Ave. Oakland, CA 94605
Japan
Chair: Naoki Shibata 81-72986-1169 naotabibito396amb@salsa.ocn.ne.jp Treasurer: Makiko Watanabe makikomakiko62@yahoo.co.jp
Lake Michigan
Chair: Aaron Muller (847) 962-2330 Dues $5 to James Huffer 7930 N. Kildare Skokie, Illinois 60076
Mid-America
Chair: Rob Pollock (937) 508-4984 Dues $10 to Harold Wade 4616 Boneta Road Medina, OH 44256
National Capital
Chair: Ken Gordon (301) 469-9240 Dues $5 to Florie Hirsch 8917 Wooden Bridge Road Potomac, MD 20854
Northwest International
Chair: Rick Swaney (425) 836-3586 Dues $7.50/person to Kathy Baer 8210 Comox Road Blaine, WA 98230
Piedmont
Temp Chair: Dan Wilson (919) 740-6579 musicboxmac@mac.com Dues $10 to Dan Wilson 4804 Latimer Road Raleigh, NC. 276099
Southern California
Chair: Robin Biggins (310) 377-1472 Dues $10 to Diane Lloyd 1201 Edgeview Drive Cowan Hgts, CA 92705
Sunbelt
Chair: Ray Dickey (713) 467-0349 Dues $10 to Diane Caudill 4585 Felder Road Washington, TX 77880
Copyright 2022 the Musical Box Society International, all rights reserved. Permission to reproduce by any means, in whole or in part, must be obtained in writing from the MBSI Executive Committee and the Editor. Mechanical Music is published in the even months. ISSN 1045-795X
MECHANICAL MUSIC
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
DISPLAY ADVERTISING DIMENSIONS & PER ISSUE COSTS
Dimensions 1 issue 2-3 issues 4-6 issues
Back Cover 8.75Ó x 11.25Ó $600 $540 $510
Inside Covers 8.75Ó x 11.25Ó $450 $405 $383
Full Page 7.25Ó x 9.75Ó $290 $261 $247
Half Page 7.25Ó x 4.5Ó $160 $144 $136
Quarter Page 3.5Ó x 4.5Ó $90 $81 $77
Eighth Page 3.5Ó x 2.125Ó $50 $45 $43
Non-members pay a 10% surcharge on the above rates
Display Discounts shown above are calculated as follows:
3 consecutive ads 10% Discount
6 consecutive ads 15% Discount
QUARTER PAGE 3.5Ó x 4.5Ó EIGHTH PAGE 3.5Ó x 2.125Ó
HALF PAGE HORIZONTAL 7.25Ó x 4.5Ó
CLASSIFIED ADS
¥ 47¢ per word
¥
ALL CAPS, italicized and bold words: 60¢ each.
¥
Minimum Charge: $11.
¥
Limit: One ad in each category
Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments
Volume 63, No. 1 January/February 2017
¥
Format: See ads for style
¥
Restrictions: Ads are strictly limited to mechanical musi.cal instruments and related items and services
PRODUCTION SCHEDULE
CIRCULATION
PRINTING & ARTWORK SPECIFICATIONS
Mechanical Music is mailed to more than 1,500 members of the Musical Mechanical Music is printed on 70 lb gloss Email files to: Box Society International six (6) times paper, with a 100 lb gloss cover, sad-mbsi@irondogmedia.com per year. dle-stitched. Trim size is 8.25Ó x 10.75Ó. USPS or Fed Ex to: Artwork is accepted in the following for-Iron Dog Media, LLC
ALL ADS MUST
mats: PDF, PSD, AI, EPS, TIF. All images 130 Coral Court
BE PREPAID
and colors should be CMYK or Grayscale Pismo Beach, CA 93449
The Musical Box Society International
and all fonts should be embedded or
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converted to outlines. Images should be a
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minimum of 300 dpi resolution.
ISSUE NAME ADS DUE DELIVERED ON
January/February December 1 January 1
March/April February 1 March 1
May/June April 1 May 1
July/August June 1 July 1
September/October August 1 September 1
November/December October 1 November 1
Contact MBSI Publisher Russell Kasselman at (253) 228-1634 or editor@mbsi.org
Mechanical Music at its Best – www.Mechmusic.com
Instrument Brokering & Locating / Appraisals / Inspections / Free Consultation
Welte Style 4 Monster Paganini Orchestrion Welte Brisgovia C Hupfeld Helios Concert Orchestrion 45Õer Niemuth Bacigalupo & Marty Cottage Orchestrion Style II/25
Weber Maesto with Weber Otero with Violina Orchestra Mills Novelty Co.
Automaton Diorama Moving Scene Bowfront Violano
Offerings from the Jerry Cohen Collection
J. P. Seeburg Rare 18.5Ó Miraphone KT Special Unique Sound Chamber
Jaeger Brommer Nicole Overture
20Õer Automaton Musical Chalet Nodding #23288 176 Teeth Musical Chairs Anniversary Organ Cat
Cube Sundial with Compass by David Beringer, c. 1800 Estimate: 3.000 Ð 4.000 ÷ / 3,300 Ð 4,400 US$
Nuremberg Pocket Sundial with
lunar dial and compass, c. 1700 Estimate: 1.800 Ð 2.500 ÷ /1,980 Ð 2,750 US$
37-Key Trumpet Barrel Organ ÒWriting BallÓ by Rasmus by Frati & Co., Berlin, c. 1880 Malling Hansen, Copenhagen/
Fully restored. Excellent playing. Very rare. Denmark, 1867 (Replica) Estimate: 10.000 Ð 15.000 ÷ /
Serial No. 72 Ð Sensational worldÕs11,000 Ð 16,500 US$ 1st typewriter produced in series! Ð
WorldÕs Leading Specialty Auctions Exceptionally rare!
Estimate: 15.000 Ð 25.000 ÷ /17,500 Ð 28,500 US$
ÈScience & TechnologyÇ á ÈToysÇ
Augsburg Calendarium Perpetuum 2 .-inch Reflecting Telescope,
ÈTelephone & Office IconsÇ
(Perpetual Calendar), c. 1720 late 18th Century
Estimate: 3.500 Ð 4.500 ÷ /Estimate: 900 Ð 1.800 ÷ /
ÈMechanical MusicÇ 3,850 Ð 4950 US$
990 Ð 1,980 US$
ÈFairground AttractionsÇ ÈPhotographica & FilmÇ
14 May 2022
Stuart Walking Beam Model Steam Engine, c. 1980 Estimate: 700 Ð 900 ÷ / Victoria (Gardner) Typewriter, John Gardner, 770 Ð 990 US$ Manchester / Fuldau Schreibmaschinen.fabrik Carl Lipp, 1890 Estimate: 7.000 Ð 12.000 ÷ / 7,910 Ð 13,560 US$
ÒThe Fitch Type WriterÓ, 1891 ÒPhonograph Alarm ClockÓ by Lioret and Farcot, 1896 Very rare! Extremely rare! Estimate: 12.000 Ð 16.000 ÷ /
Estimate: 7.000 Ð 10.000 ÷ / 7,700 Ð 11,000 US$ 13,200 Ð 17,600 US$ ÒSholes & GliddenÓ Typewriter, 1873
Excellent condition! 1 . in. Scale Model of a ÒPolyphon No. 105Ó Disc Estimate: 15.000 Ð 18.000 ÷ / Horse-Drawn Portable Musical Box, c. 1899 16,500 Ð 19,800 US$ Engine, c. 1965 Estimate: 6.000 Ð 7.000 ÷ /
Estimate: 1.300 Ð 1.800 ÷ / 6,600 Ð 7,700 US$ 1,430 Ð 1,980 US$
Athanasius Kircher: Romani collegii Societatis Jesu mus¾um celeberrimum,
ÒCrandall New ModelÓ Typewriter, 1879
cujus magnum antiquariae rei, statuarum, imaginum, pictuarumque partem. Superb condition! Amsterdam: J. Janssonius-Waesberghe, 1678 Estimate: 4.000 Ð 6.000 ÷ / 4,400 Ð 6,600 US$
Excellent classic document. Ð Rare historical work. Estimate: 1.200 Ð 1.800 ÷ / 1,320 Ð 1,980 US$
ÒUltraphon TitanicÓ Gramophone, c. 1931 Estimate: 1.500 Ð 2.000 ÷ /
Éand many more !
1,650 Ð 2,200 US$
For more information and large colour photographs of some more of the upcoming Highlights please visit our website at: www.Breker.com / New Highlights and youtube.com/auctionteambreker
Fully-illustrated bilingual (Engl.-German) COLOUR Catalogue available against prepayment only: Euro 28.Ð (Europe) or elsewhere Euro 39.Ð (approx. US$ 45.Ð / Overseas)
. Consignments are welcome at any time!
ÒPathŽ ConcertÓ Rare 24-Key Reed Barrel Organ Gramophone, c. 1910 by John Cocchi, Berlin, c. 1899 Very attractive model.
Very rare! Estimate: 1.000 Ð 1.500 ÷ /
Ð The Specialists in ÈTechnical AntiquesÇ Ð
Estimate: 6.000 Ð 8.000 ÷ / 1,100 Ð 1,650 US$ 6,600 Ð 8,800 US$ 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 e-mail: Auction@Breker.com á www.breker.com á Business Hours: Tue Ð Fri 9 am Ð 5 pm
PLEASE FEEL FREE TO CONTACT OUR INTERNATIONAL REPRESENTATIVES: Japan: Murakami Taizou, Tel./Fax (06) 68 45 86 28 * murakami@ops.dti.ne.jp á China: Jiang Feng, Tel. 138 620 620 75 * jiangfengde@gmail.com Hong Kong, Taiwan, Singapore: Alex Shih-Chieh Lin, (HK), Tel. (+852) 94 90 41 13 * alexsclin@gmail.com England: Tel. +49 (0) 176 991 40593 * AuctionTeamBrekerUK@outlook.de á France: Pierre J. Bickart, Tel. (01) 43 33 86 71 * AuctionTeamKoln@aol.com Russia: Maksim Suravegin, Tel. +7 903 558 02 50 * Maksim-ATB.ru@gmx.net á U.S.A.: Andrew Truman, Tel. (207) 485 8343 * AndrewAuctionTeamBreker@gmail.com
.