Volume 70, No. 6 November/December 2024

MECHANICAL MUSIC
Journal of the Musical Box Society International
Devoted to All Automatic Musical Instruments
Volume 70, No. 6 November/December 2024

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Editor/Publisher
Russell Kasselman
(253) 228-1634
editor@mbsi.org
MBSI Editorial Office:
Iron Dog Media
130 Coral Court
Pismo Beach, CA 93449
editor@mbsi.org
Publications Chair
Bob Caletti
All manuscripts will be subject to editorial review. Articles submitted for publication may be edited or rejected at the discretion of the Publications Committee and the Editorial Staff. The article will not be published with significant changes without the authorÕs approval. All articles are considered to be the authorÕs personal opinion. The author may be asked to substantiate his/her statements.
Mechanical Music (ISSN 1045-795X) is published by the Musical Box Society International, 130 Coral Court, Pismo Beach, CA 93449 six times per year. A Direc.tory of Members, Museums, and Dealers is published biennially. Domestic subscription rate, $60. Periodicals postage paid at San Luis Obispo, CA and additional mailing offi ces.
Copyright 2024. The Musical Box Society Inter.national, all rights reserved. Mechanical Music cannot be copied, reproduced or transmitted in whole or in part in any form whatsoever without written consent of the Editor and the Executive Committee.
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MBSI News
5 PresidentÕs Message
7 EditorÕs Notes
19 Annual MBSI Financial
Statements
48 In Memoriam

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

Chapter Reports
42 Southern California 46 Golden Gate

MEMBERSHIP APPLICATION

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

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

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

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

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

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

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

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

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

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

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

WE WANT YOUR STORY!
Every mechanical musical instrument has a tale to tell. Share the history of people who owned your instrument before you, or the story of its restoration, or just what makes it an interesting piece. Send stories via email to editor@mbsi.org or mail your story to Iron Dog Media, 130 Coral Court, Pismo Beach, CA 93449
Le Petit Songbird

By Robert F. Penna, Ph.D.

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

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

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

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

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

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

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

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

1.
wikipedia.org/wiki/Richard_Trevithick

2.
wikipedia.org/wiki/Wootz_steel

Figure 5: The small spring barrel.

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

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

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

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

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

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

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

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

2024 MBSI Annual Meeting

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Let the dancing commence! Photo by B Bronson.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

WE WANT YOUR STORY!
Every mechanical musical instrument has a tale to tell. Share the history of people who owned your instrument before you, or the story of its restoration, or just what makes it an interesting piece. Send stories via email to editor@mbsi.org or mail your story to Iron Dog Media, 130 Coral Court, Pismo Beach, CA 93449

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

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

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

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

mechanical music library.

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

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

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

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

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

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

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

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

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

Wednesday & Thursday Day Tours

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

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

Bob Caletti

Specializing in Antique Music Box Restorations ¥ Buy ¥ Sell

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

Add a photo to your ad!

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

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

¥
Combs are repaired and tuned.

¥
Nickel plated parts can be replated. –

able. We have been accused of over restoring! Better over than under we say! We can arrange pick-up and transportation of your music boxes, but
feel free to transport or ship it to us in beautiful Randolph, Vermont. We will store your treasure in a climate-controlled area until itÕs
We have a complete machine shop where we build Porter Music Boxes, more than 3,000 so far. We are unique in the industry in that we are capable of manufacturing all the parts needed to restore any music box.
See our website, www.PorterMusicBox..com, to read letters of recommendation
currently being manufactured anywhere in the world. We have twin disc models, single disc models with 12 .Ó discs, and table models with beautiful cabinets created in Italy. We also sell CDÕs, variety of small music boxes, Disc sleeves and a large list of discs both 15 .Ó and 12 .Ó.
Movie stars like Wayne Newton, Myron Florin, Tom T. Hall, Charles Osgood and a Sultan from Malaysia are amongst the list of Porter Music Box owners, not to mention the more than 1,000 owners in Japan. Author of Encyclopedia of Auto.matic Musical Instruments Q. David Bowers wrote a letter of recommendation. ÒWhen Dwight and his crew of music box restorers work on an antique music box, cylinder, or disc type, no mechanical detail is ignored. Every part regardless of its purpose is inspected for wear and all steps necessary to make it like, or better than new are taken.Ó
Call (802) 728-9694 or
P.O Box 424 email ronc@portermusicbox.com Randolph, VT 05060

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

Published in September 2018

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

Supplement to
colour throughout with Additional Illustrations of Models, 89 Additional Lid

The Disc Musical Box Pictures Additions to Lists of Models, Patents, Tune Lists & Serial Numbers;

Combined Index of Images in the original book and its Supplement.

Compiled and Edited by

Kevin McElhone

Originally published in 2012 and still available The Disc Musical Box

ISBN 978-0-9557869-6-9
is a compendium of information about Disc Musical Boxes, their Makers and their Music; profusely illustrated in colour throughout with Illustrations of each Disk Musical Box Model, and with Catalogue Scans, Lists of Models, Patents & Tune Lists.

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

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

The Organette Book

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

Kevin McElhone

ISBN 978-0-9557869-5-2 The Organette Book is a compendium of information about Organettes, their Makers and their Music. Originally published in 2000 but now out of print although second-hand copies are occasionally available in online auctions.
************************************************************************************************************************ For all MBSGB Publications, please refer to the Musical Box Society of Great Britain website for further details including latest availability, discounted prices and information on how to order. – www.mbsgb.org.uk

>> Three Grand Format Overture Boxes, with brass & enamel inlays >> Two fat cylinder Overture boxes, 6 & 8 tunes >> Nicole Fat cylinder 2/turn >> Keywinds, both exposed control & covered >> Sec
onal Comb boxes, with exposed controls >> Mermod Fat Cylinder Soprano, 4 cylinders, on table (above from the Amos & Ruth Fowler Collec
on!) >> 20Ó Regina Upright; 20Ó Regina on base >> 15Ó Regina curved front changer >> Organe
es, two Monkey organs >> Reginaphone, style 240 >> over 10,000 discs; 100s of cobs >> and LOTS more!
N
ancy
F
rat
t
i
M
u
si
c
B
o
x
e
s
PO Box 400 -Canastota NY 13032 USA
315-684-9977 -musicbox@fron
ernet.net

RESTORED MUSICAL BOXES Offering a variety of antique musical boxes, discs, orphan cylinders, reproducing piano rolls & out of print books about mechanical music. BILL WINEBURGH 973-927-0484 Web: antiquemusicbox.us
THE GOLDEN AGE of AUTOMATIC MUSI.CAL INSTRUMENTS By ART REBLITZ. Award-winning classic that brings historical, musical, and technical information to life with hundreds of large, vivid color photos. We guarantee youÕll find it to be one of the most interesting, inspiring, informative books you have in your libraryÐor your money back. Everyone has been delighted, and some readers have ordered several copies. Get your copy today for $99 plus S/H. MECHANI.CAL MUSIC PRESS-M, 70 Wild Ammonoosuc Rd., Woodsville, NH 03785. (603) 747-2636.
http://www.mechanicalmusicpress.com
MARVELS OF MECHANICAL MUSIC – MBSI Video. Fascinating and beautifully-made film which explains the origins of automatic musical instruments, how they are collected and preserved today, and their historic importance, MBSI members and collections are featured. $20 USD. Free shipping in the continental U.S. Additional postage charges apply for other locations. Purchase now at www.mbsi.org

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

Display Advertising Dimensions and Costs
Dimensions 1 issue 3 issues* 6 issues*
Back Cover 8.75Ó x 11.25Ó $600 $540 $510
Inside Covers 8.75Ó x 11.25Ó $450 $405 $382.50
Full Page 7.25Ó x 9.75Ó $290 $261 $246.50
Half Page 7.25Ó x 4.5Ó $160 $144 $136
Quarter Page 3.5Ó x 4.5Ó $90 $81 $76.50
Eighth Page 3.5Ó x 2.125Ó $50 $45 $42.50
Add a 10% surcharge to the prices shown above if you are not a member of MBSI.
*Display Discounts shown above are calculated as follows: 3 consecutive ads: 10% Discount 6 consecutive ads: 15% Discount

Advertise in The Mart

Have some spare parts or extra rolls taking up the space where you should be installing your next acquisition? Ready to trade up, but need to sell one of your current pieces first? Get the word out to other collectors in The Mart, an effective advertising tool at an inexpensive price. Copy or cut out the form below and mail it in to get started. All ads are published in Mechanical Music and on the MBSI website at www.mbsi.org
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Text of ad
ALL ADS MUST BE PREPAID
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ADVERTISING SPECS:
Display ads may be submitted camera-ready, as PDF files, or with text and instructions. File submission guidelines available on request.
Errors attributable to Mechanical Music, and of a significant nature, will be corrected in the following issue without charge, upon notification.
Advertise in The Mart
Have some spare parts or extra rolls taking up the space where you should be installing your next acquisition? Get the word out to other collectors by advertising in The Mart, an effective advertising tool at an inexpensive price.
Email your ad to editor@mbsi.org or call (253) 228-1634 to place your ad for the November/ December 2024 issue.
Add a photo to your ad!
Photos are only $30 extra per issue.
Email editor@mbsi.org or call (253) 228-1634 for more details.

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

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

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

Members can donate to these funds at any time. Send donations to: MBSI Administrator, PO Box 10196, Springfield, MO 65808-0196.
General Fund (unrestricted) Endowment Fund (promotes the purposes of MBSI, restricted) Ralph Heintz Publications Fund (special literary projects) Museum Fund (supports museum operations)
Membership Committee
Chair, Vacant Richard Dutton, Trustee Mary Ellen Myers, Trustee,
Southeast Robin Biggins, Southern California Judy Caletti, Golden Gate Gary Goldsmith, Snowbelt Florie Hirsch, National Capital Judy Miller, Southeast Rob Pollock, Mid-America Dan Wilson, Southeast Gerald Yorioka, Northwest IntÕl TBD, East Coast TBD, Lake Michigan TBD, Sunbelt
Museum Committee
Sally Craig, Chair Dave Calendine, Trustee Glenn Crater, National Capital Ken Envall, Southern California Julian Grace, Sunbelt Richard Simpson, East Coast
Museum Sub-Committees
Ohio Operations Rob Pollock, Mid-America
Nominating Committee
Judy Caletti, Chair David Corkrum, Immediate Past President Bob Caletti, Golden Gate, Vice President Mary Ellen Myers, Trustee,
Southeast Tracy Tolzmann, Snowbelt Rob Pollock, Mid-America Marc Pichla, Lake Michigan
MBSI Editorial Office:
Iron Dog Media 130 Coral Court Pismo Beach, CA 93449 editor@mbsi.org
SUBMIT ADS TO:
MBSI Ads 130 Coral Court Pismo Beach, CA 93449 (253) 228-1634 Email: editor@mbsi.org
Publications Committee
Bob Caletti, Chair,
Vice President Richard Dutton, Trustee Paul Bellamy Steve Boehck Christian Eric Kathleen Eric
Publications Sub-Committee
Website Committee Rick Swaney, Chair B Bronson Knowles Little, Web Secretary
Special Exhibits Committee
Mary Ellen Myers, Chair, Trustee, Southeast David Corkrum, Immediate Past
President, Golden Gate Donald Caine, Southern California Richard Dutton, Trustee, East Coast Jack Hostetler, Southeast Knowles Little, National Capital Judy Miller, Southeast Aaron Muller, Lake Michigan Wayne Myers, Southeast Rick Swaney, Trustee,
Northwest International
SPECIAL ACTIVITIES Publications Back Issues:
Jacque Beeman
Regina Certificates:
B Bronson
MBSI Pins and Seals:
Jacque Beeman
Librarian:
Jerry Maler
Historian:
Bob Yates
All manuscripts will be subject to editorial review. Articles submitted for publication may be edited or rejected at the discretion of the Publications Committee and the Editorial Staff. The article will not be published with significant changes without the authorÕs approval. All articles are considered to be the authorÕs personal opinion. The author may be asked to substantiate his/her statements.

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

Email event details to editor@mbsi.org by Dec. 1, 2024, for the January/February 2025 issue. Ask your questions on our Facebook discussion group Ñ search for the Music Box Society Forum.
CONTACTS

Administrator Jacque Beeman handles back issues (if available) $6; damaged or issues not received, address changes, MBSI Directory listing changes, credit card charge questions, book orders, status of your membership, membership renewal, membership application, and MBSI Membership Brochures. P.O. Box 10196 Springfield, MO 65808-0196 Phone (417) 576-4280 jbeeman.mbsi@att.net
CHAPTERS
East Coast
Chair: Elise Low (203) 457-9888 No Dues in 2024 Roger Wiegand 281 Concord Road Wayland, MA 01778 treasurer.eccmbsi@gmail.com
Golden Gate
Chair: Judy Caletti jeeperjudy@gmail.com Dues $5 to Dave Corkrum 5826 Roberts Ave. Oakland, CA 94605
Japan
Chair: Naoki Shibata 81-72986-1169 naotabibito396amb@ salsa.ocn.ne.jp Treasurer: Makiko Watanabe makikomakiko62@yahoo.co.jp

Lake Michigan
Chair: Mark Pichla (847) 962-2330 Dues $5 to James Huffer 7930 N. Kildare Skokie, Illinois 60076
Mid-America
Chair: Rob Pollock (937) 508-4984 Dues $10 to Harold Wade 4616 Boneta Road Medina, OH 44256
National Capital
Chair: Cheryl Hack (410) 757-2164 cahack@aacc.edu Dues $5 to Florie Hirsch 8917 Wooden Bridge Road Potomac, MD 20854
Northwest International
Chair: Rick Swaney (425) 836-3586 Dues $7.50/person to Kathy Baer 8210 Comox Road Blaine, WA 98230
Regina Certificates: Cost $10. B Bronson Box 154 Dundee, MI 48131 Phone (734) 529-2087 art@d-pcomm.net
Advertising for Mechanical Music Russell Kasselman Iron Dog Media 130 Coral Court Pismo Beach, CA 93449 Phone (253) 228-1634 editor@mbsi.org
Museum Donations Sally Craig 2720 Old Orchard Road Lancaster, PA 17601 Phone (717) 295-9188 rosebud441@juno.com
CHAPTERS
Snowbelt
Chair: Tracy Tolzmann (651) 674-5149 No Dues in 2024
Southeast
Chair: Jim Kracht 305-251-6983 Dues $5 to Bob Yates 1973 Crestview Way Unit 147 Naples, FL 34119
MBSI website Rick Swaney 4302 209th Avenue NE Sammamish, WA 98074 Phone (425) 836-3586 r_swaney@msn.com
Web Secretary Knowles Little 9109 Scott Dr. Rockville, MD 20850 Phone (301) 762-6253 kglittle@verizon.net
Southern California
Chair: Robin Biggins (310) 377-1472 Dues $10 to Franne Einberg 10524 Blythe Ave Los Angeles CA 90064
Sunbelt
Chair: Marty Nevel currency33@AOL.COM No Dues in 2024

Copyright 2024 the Musical Box Society International, all rights reserved. Permission to reproduce by any means, in whole or in part, must be obtained in writing from the MBSI Executive Committee and the Editor. Mechanical Music is published in the even months. ISSN 1045-795X
MECHANICAL MUSIC
Journal of the Musical Box Society International
MECHANICAL MUSIC
Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments
Volume 63, No. 3 May/June 2017
MECHANICAL MUSIC
Journal of the Musical Box Society International Devoted to All Automatic Musical Instruments
Volume 63, No. 1 January/February 2017

CIRCULATION
Mechanical Music is mailed to more than 1,000 members of the Musical Box Society International six (6) times per year.
ALL ADS MUST BE PREPAID
The Musical Box Society International
accepts VISA, Mastercard and online
payments via PayPal.
Devoted to All Automatic Musical Instruments

DISPLAY ADVERTISING DIMENSIONS & PER ISSUE COSTS
Dimensions 1 issue 2-3 issues 4-6 issues
Back Cover 8.75Ó x 11.25Ó $600 $540 $510
Inside Covers 8.75Ó x 11.25Ó $450 $405 $383
Full Page 7.25Ó x 9.75Ó $290 $261 $247
Half Page 7.25Ó x 4.5Ó $160 $144 $136
Quarter Page 3.5Ó x 4.5Ó $90 $81 $77
Eighth Page 3.5Ó x 2.125Ó $50 $45 $43

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
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EIGHTH CLASSIFIED ADS PAGE
QUARTER
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January/February December 1
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PRINTING & ARTWORK SPECIFICATIONS
Mechanical Music is printed on 70 lb gloss Email Ø les to: paper, with a 100 lb gloss cover, sad-mbsi@irondogmedia.com 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 mats: PDF, PSD, AI, EPS, TIF. All images 130 Coral Court and colors should be CMYK or Grayscale Pismo Beach, CA 93449 and all fonts should be embedded or converted to outlines. Images should be a minimum of 300 dpi resolution.
Contact MBSI Publisher Russell Kasselman at (253) 228-1634 or editor@mbsi.org
Mechanical Music at its Best -www.Mechmusic.com
Instrument Brokering & Locating / Appraisals / Inspections / Free Consultation

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

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

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