Antique mechanical music instruments

A unique private collection of

MECHANICAL MUSIC INSTRUMENTS for sale Soerensen | Copenhagen, Denmark | antique.music.instruments@outlook.com | February 1, 2019 http://bit.ly/antique-music-instruments

Antique mechanical music instruments When we laid eyes on an ad for an Edison phonograph in 1970, we kick started our hobby for collecting antique music boxes, phonographs, gramophones, barrel organs, and musical birdcages.

Collection now for sale The unique collection shown in this catalogue is now for sale. The catalog lists some of the 57 mechanical music machines in the collection. The items include:      

Gramophones Phonographs Music boxes with discs Music boxes with cylinders Barrel organs Musical birdcages

All instruments are in perfect working condition and no parts are missing.

Purchase offers are welcome at any time, both for individual items and preferably for the entire collection. No auction is planned.

Measurements The dimensions of the machines are listed as height x width x depth, in the metric system.

1 meter (m) is equal to 39.4 inches.

1 centimeter (cm) is equal to 0.39 inches.

Contact information For more information, please contact us directly at antique.music.instruments@outlook.com Copenhagen, Denmark.

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Contents Antique mechanical music instruments ............................................................................................... 1 Collection now for sale ........................................................................................................................... 1 Measurements.......................................................................................................................................... 1 Contact information ................................................................................................................................ 1 FEATURED MECHANICAL MUSIC INSTRUMENTS ........................................................................ 4 Item 01 Music und Sprech Automat – Ideal ......................................................................................... 4 Item 02 Klingsor ..................................................................................................................................... 7 Item 15 Puck Lorelei - Phonograph ...................................................................................................... 11 Item 17 Cordephon ................................................................................................................................ 12 Item 18 Grand father’s clock with Polyphone discs ........................................................................... 15 Item 36 Barrel Organ from Magdeburg c. 1894 ..................................................................................18 Item 44 Large Birdcage with a built-in clock c. 1875 ........................................................................ 20 OTHER RARE ANTIQUE MUSIC BOXES ......................................................................................... 22 Item 3 Mikiphone - “pocket” gramophone ........................................................................................ 22 Item 4 Excelda - gramophone ............................................................................................................. 22 Item 5 Peter Pan - gramophone .......................................................................................................... 22 Item 8 Edison - phonograph ............................................................................................................... 23 Item 13 Pathé - phonograph ................................................................................................................ 23 Item 16 Puck Syrena - phonograph ..................................................................................................... 24 Item 19 Symfonion – large floor music box with discs ..................................................................... 24 Item 20 Musik Automat Polyphon – music box with discs .............................................................. 25 Item 22 Polyphon – music box in serpentine case ............................................................................ 26 Item 23 Troubadour – music box with discs ...................................................................................... 26 Item 26 Komet – music box with discs.............................................................................................. 27 Item 29 Kalliope – music box with discs ........................................................................................... 27 Item 30 Edelweiss – music box with discs......................................................................................... 28 Item 32 David Langdorff – cylinder music box Key wind 2-per-turn ............................................. 28 Item 33 PVF – cylinder music box ....................................................................................................... 29 Item 37 Harmonipan – Barrel Organ .................................................................................................. 29 Item 38 Reed-Type ”Monkey Organ” or “Reed Organ”..................................................................... 30 Item 39 ”The Andersson Pianoharpa” ................................................................................................. 31 Item 40 Ariston Organette ................................................................................................................... 31 Item 41 Ariosa Organette ..................................................................................................................... 32 Item 42 Diana Organette ..................................................................................................................... 32 Item 43 Front for a fairground organ ................................................................................................. 33

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Item 45 Small singing bird in gilt cage ............................................................................................... 33 Item 46 Small singing bird in steel cage ............................................................................................ 34 Item 47 Victorian Lady - Musical Automation .................................................................................. 34 Item 53 Musical Wooden Clock .......................................................................................................... 34 HISTORY OF THE MECHANICAL MUSIC INSTRUMENTS........................................................... 35 GRAMOPHONES .......................................................................................................................... 35 PHONOGRAPHS .......................................................................................................................... 35 PUCK PHONOGRAPHS ............................................................................................................... 35 MUSIC BOXES WITH DISCS ....................................................................................................... 36 MUSIC BOXES WITH CYLINDERS ............................................................................................. 37 BARREL ORGANS (Hurdy Gurdy) ............................................................................................... 39 MUSICAL BIRDCAGES................................................................................................................. 40 REFERENCES ........................................................................................................................................ 40

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FEATURED MECHANICAL MUSIC INSTRUMENTS Item 01 Music und Sprech Automat – Ideal A music hall 3-horn coin-operated gramophone for 78 rpm records.

Dimensions 2.2 meters high x 0.70 meters wide x 0.45 meters deep.

Item 01

Description This gramophone from Germany is weight driven and coin operated from the early 20th century. At the top are three impressive large brass horns. The front is decorated with birds and leaves painted on glass and an advertisement for the razor blade company “Georg Schick – Altenmarkt a/A”.

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Item 01

Background This gramophone was once a prime attraction in a museum in Denmark owned by Claes O. Friberg – (MMM Mekanisk Musik Museum. The museum closed down when the owner died).

According to Claes O. Friberg this gramophone is the only original of its kind in the world. The 3-horn gramophone is described and depicted on page 15 in the magazine “American International Galleries Inc. (Automatic Musical Instruments)”, Issue No. 6 of 1976.

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Item 01

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Item 02 Klingsor With dancing biscuit dolls and two lead-framed glazed doors. Made by H. Peters & Co., Leipzig, Germany 1908-1914.

Dimensions 0.97 meters high x 0.38 meters wide x 0.38 meters deep

Item 02

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Description The Klingsor plays 78 rpm records and it has a zither (harp) with 36 strings covering the horn.

In mahogany-stained case with fretted and glazed doors in the Art Nouveau-style.

Between the horn and the turntable compartment there is a dancing couple made of bisque, dancing when the music is playing. Behind are mirrors, giving the impression of several dancing couples. A small light bulb is hidden above.

The glass and cloth on the doors and all the rest is original. The turntable compartment with Klingsor sound box and sloping fall with Klingsor brass label.

Klingsors normally do not have the dancing dolls, and the very few ones found in books and on the internet with dancing dolls are not original biscuit dolls like the one in our Klingsor, which makes ours very special.

Item 02

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Literature H. Peters & Co. of Leipzig was one of that city’s leading musical instrument distributors during the 1890-1914 period. Klingsors were sold in the UK through Murdoch, who was still offering machines in the 1920’s.

A curious instrument that appeared in 1908 was received with ridicule even by German dealers who were by then used to extravagancy of design. This was the Klingsor, which had a zither-like set of tuned metallic wires stretched across the mouth of the horn. The designer was somewhat vague in his claims regarding the precise function of these strings. Presumably, if they had any effect at all, they would reinforce by resonance the discrete series of notes to which they were tuned, but an English advertiser asserted that “the idea of the harp is to disseminate the sound in every direction of the room”.

Item 02

Item 02

The patent specification envisaged the possibility of attaching a keyboard to the instrument and thereby providing a zither accompaniment to the record. Despite its cool reception, the instrument was commercially successful and it was marketed in England, ultimately by Murdoch using locally made cabinets, until 1914 and beyond. (Talking Machines pg. 67).

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The first patents for gramophones equipped with a sort of Zither mounted at the mouth of the horn, and which vibrated in sympathy with the sounds coming from it, were taken out in England in 1907. The Klingsors were made in Leipzig on the same principle, and the name was chosen to help British sales, since the machine was widely distributed in that country. A Klingsor fitted with a door that concealed the zither is a later model. The Klingsor is described in “The Illustrated History of Phonographs� by Daniel Marty from 1989 page 133.

Item 02

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Item 15 Puck Lorelei - Phonograph Manufactured by F. Ruppel Co., Germany in 1906.

Dimensions 0.43 meters high x 0.31 meters wide x 0.28 meters deep (equals the diameter of the horn)

Description This phonograph is very rare and is in perfect condition and with original paint on the horn.

Item 15

At http://forum.talkingmachine.info/viewtopic.php?f=2&t=5944 an identical Lorelei was sold for $ 4,750 in April 2011 at an auction in VA.

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Item 17 Cordephon Mechanical Zither built in table, “Der musikalische Stammtisch� (extremely rare), made by Chordephon Musikwerke, in Leipzig, Germany 1896-1910.

Dimensions 0.79 meters high x 1.01 meters wide x 0.81 meters deep (table)

Item 17 Description Coin-operated table model (mechanism built into top drawer). 18 discs 50.5 cm in diameter.

The discs have a toothed edge. This model plays 60 strings. (Most Chordephons were of the smaller 30-note or 44-note sizes). A similar Chordephon was sold on the Online Collectibles Auctions May 13 2006 for CHF 30,000.

Item 17

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Literature Introduced in the early 1890s, the first Chordephons were hand-cranked. Spring-wound models appeared in 1896 and coinoperated models shortly thereafter. Produced by the Chordephon Fabrik von Musikwerken (Claus & Co.), Chordephon mechanical zithers were sold by sales agents all over the world. H. Peters & Co. and Ludwig Hupfeld, both of Leipzig, were the main wholesale distributors.

Cordephons were made in several sizes. The most popular was the 44-note system which used 36 cm. diameter discs. Although instruments were sold for several years thereafter, the main years of Chordephon popularity were from 1895 to 1910. Toward the end of that period Chordephon sales declined, mostly from a waning interest in disc-type “music Boxes�, but also due to competition from Lochmann, Polyphon, and others who made mechanical instruments with a zither-like sound. Later (c.1912) advertisements for the Chordephon appear under the name of Weissbach & Co., the firm which also manufactured the Komet series of disc-type music boxes. The factory was located at Georgstrasse 8, Leipzig-Gohlis.

Today, Chordephons are regarded as very desirable instruments by collectors. Properly tuned and regulated the Chordephon plays with a brilliant ringing zither-like sound.

Page 357-358 of Encyclopedia of Automatic Musical Instruments by Q. David Bowers 1973.

Item 17

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Item 17

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Item 18 Grand father’s clock with Polyphone discs Made in Germany and extremely rare. 54 teeth in (duplex) double music comb.

Dimensions 2 meters high x 0.53 meters wide x 0.34 meters deep. Uses 28.1 cm (11 ¼”) discs of which there are 8 (uses same size discs as item 22 Polyphon in serpertine case, where there are 21 discs).

Style No. 63

Item 18

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Description The case is of richly carved and ornamented walnut and is superbly preserved. Apart from normal aging, it is virtually as nice as the day it left the factory a century ago. 13-day pendulum clock, striking on gong. Polyphon will play on the hour, or may be silenced if desired.

“Grandmother’s clock” size.

An almost identical clock is shown at http://www.winsteadsauction.com/special_auctions/special_auctions.html

Item 18

Literature Polyphon Clocks: Many different types of Polyphon musical clocks were made. With a few exceptions, these were produced by purchasing cases from a clock manufacturer (usually Lenzkirch) and installing Polyphon mechanisms in them.

As Symphonion also ordered clock cases from Lenzkirch, some Polyphon and Symphonion musical clocks resemble each other quite closely in case styling. For use in hotels and similar public places, many of the Polyphon clocks were equipped with coin slots. Thus, music could be heard at any time (in addition to the hourly concert, which was automatic and free!) by dropping a coin in the aperture.

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Page 145 and 149 of Encyclopedia of Automatic Musical Instruments by Q. David Bowers 1973

Item 18

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Item 36 Barrel Organ from Magdeburg c. 1894 W. Raap, Orgelbauer, Magdeburg (former East Germany)

Dimensions The case measures: 0.59 meters high x 0.50 meters wide x 0.35 meters deep. The wooden barrel is 0.35 meters long.

Item 36

Description A 25-key barrel-organ. Plays 8 tunes from wooden barrel, with original tune sheet. 13 piccolos to front, wooden pipes inside and pipes below. Nice case with inlay.

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Background We acquired this from a well known organ grinder in Denmark called “Cibrino�. This was his first barrel organ. Cibrino often appeared on the walking streets in the large cities in Denmark, where he played his barrel-organ with a parrot on his shoulder or performed some acts with his trained rats.

Item 36

http://www.lot-tissimo.com/de/i/1873594/besondere-drehorgel-unikat-ausfuehrung-w-raaporgelbauermagdeburg-1894-nusbaumgehaeuse-auf shows an almost similar barrel organ.

Item 36

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Item 44 Large Birdcage with a built-in clock c. 1875 A singing bird automation, with musical and mechanical movement. The cage is very rare and in good condition. The built-in clock makes the birdcage very unusual.

Dimensions 0.54 meters high x 0.40 meters wide x 0.26 meters deep

Item 44

Description 3 birds 2 of which are chirping to each other, while their beaks open and close, heads turning from side to side, and tails moving up and down. Sitting on brass perch, dressed with leaves.

The third bird is not activated by the mechanism, and is solely decorative.

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The octagonal cage of brass wire above a gilt-wood base. Key wind.

Item 44

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OTHER RARE ANTIQUE MUSIC BOXES Item 3 Mikiphone - “pocket” gramophone Made in Switzerland 1926 Dimensions: 4.5 cm high and 11 cm in diameter. Nickel plated Description: In the Patent it was described as “Systeme Vadasz”.

Exhibited at the Museum Baud, L’Auberson, Switzerland. A description in the lid shows how to assemble and how to pack the many small parts back into the case.

The Mikiphone is a folding pocket gramophone which when closed resembled a Camembert cheese box in metal. An ingenious mechanism allowed all the accessories to be packed into the box, while the black celluloid sound box was in two parts and could be stored in the case, leaving only the winding handle outside. The turntable is of such small diameter (10cm = 3.9in) that records had to be held in place by a central screw.

Ref.: “The Illustrated History of Phonographs” by Daniel Marty from 1989 page 139.

Item 4 Excelda - gramophone Made by Thorens, Switzerland in 1947.

Dimensions: 5 x 12 x 27 cm. Nickel plated Description: Numerous Swiss machines were made over the years, one of the last being a portable gramophone in the shape of a camera, which remained in production until the Second World War. Ref.: The Excelda is described in “The Illustrated History of Phonographs” by Daniel Marty from 1989 pages 136+138.

Item 5 Peter Pan - gramophone Made by EMI Ltd. Hayes, Middlesex, England in 1923 Dimensions: 13 x 11 x 16.5 cm Description: Peter Pan portable gramophone with original sound box, nickel plated tone arm and four spoke turntable and aluminium horn. In “mock-croc” (hot-pressed cowhide).

Exhibited at the Science Museum, London.

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Item 8 Edison - phonograph Edison model D 1908-1911. Fitted with a 2/4 gearbox.

Large 11-panel Cygnet horn - plays both 2- and 4-minute cylinders Dimensions: The case measures 34 cm high with lid, 14 without lid x 33 x 22 cm. 97 cm high with crane and cygnet horn with original decal. The horn is 73 cm high, 54 cm. wide, diameter 54 cm.

Description: According to Eric Reiss ours is very rare, as the horn is a 11-panel cygnet horn. Has the simple Edison signature rather than the banner decal.

History: The model D came in a restyled case and has 2/4minute gearing as standard equipment along with a 10-panel horn. The D model price was $ 30.

Ref.: The Compleat [sic] Talking Machine, Eric L. Reiss.

Item 13 Pathé - phonograph Pathé No. 1 – 1905-1906 made in France. Serial No. 56550, which is engraved both on the Phonograph and on the recorder.

Dimensions: The case measures 17 x 34 x 23.

Horn height 47 cm. diameter 40 cm.

Description: A rare phonograph with a barrel for large cylinders. Looks as if it came directly from the factory. Aluminum horn and sound boxes for both playing and recording History: The model 1 (also called the “New Perfecta” and “Duplex”) is equipped with a special mandrel adaptor for “Salon” size cylinders. Our machine is also equipped with an “Orpheus” attachment with which the feedscrew guides the horn rather than the reproducer.

Our Pathé is depicted and described in The Compleat [sic] Talking Machine by Eric L. Reiss from 1986 page 183. (Eric Reiss borrowed our Pathé for the photos in his book).

Ref.: The Pathé is also described in “The Illustrated History of Phonographs” by Daniel Marty from 1989 pages 85-95 and 155.

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Item 16 Puck Syrena - phonograph Germany 1905 Description: Perfect condition. Original paint on the horn. The base has the form of a mermaid.

History: The floral-horned Siren was sold in Paris by Morel under the name Au Sou BB de 1855. The phonograph carries no other trademark, although of German origin. The Siren did well on the French market, its colours having been adapted to French tastes.

Ref.: The Siren is depicted and described in “The Illustrated History of Phonographs” page 112-113. Page 121 shows another Puck phonograph the Lyre-shaped.

Item 19 Symfonion – large floor music box with discs Dimensions: 150 x 56 x 30cm, 17 discs with diameter: 48.5 cm. (19 1/8”) Description: Floor model with a storage cabinet underneath containing all 18 discs. Style No. 106.

Walnut case with a glass door. Coin operated. 2 combs each with 53 teeth (a total of 106 teeth one of which is broken). The two-comb movement (duplex music comb) is called “sublime harmonie”.

Literature: Symphonion Music Boxes, Leipzig, Germany. In 1903 Symphonion stated that it was manufacturing instruments at the rate of about 5000 to 6000 per year and was making about 100,000 discs annually. With Polyphon and Regina, Symphonion was one of the “big three” disc music box makers. As a result, Symphonion music boxes are fairly plentiful today.

As might be expected, the main population of extant Symphonions is comprised of table models up to and including the 34.5 cm. (13 5/8”) disc size. Among larger upright models those with 48.5 cm. (19 1/8”) discs are sometimes seen. Mainly those which were earlier used in English pubs in which market they competed with the similar 19 5/8” Polyphon. Still rarer are upright models using 64 cm. (25 ¼”) discs. The other large Symphonion instruments are all extremely rare and, in some instances, not known to exist today.

Ref.: Pages 215 and 229 of Encyclopedia of Automatic Musical Instruments by Q. David Bowers 1973.

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Item 20 Musik Automat Polyphon – music box with discs Einrrinf 5 Phennig. Serial No. 23859, Style No. 49 Dimensions: The case measures 32 x 56 x 45 cm. Discs diameter 40 cm.

Description: 2 combs - each with 75 teeth (a total of 150 teeth - none of which are broken). 10 discs in a drawer underneath the music box. Lid with lettering on a metal sheet.

156 teeth in music comb. Uses 39.8 cm (15 ½” or 15 ¾”) discs. Duplex comb. “Automatic Polyphon coin in slot. Made to take 10 centime pieces (for use in France), 1-penny pieces (England), 5-pfennig pieces (Germany), 1-cent pieces (U.S.A. via Regina), or any other coin desired.

Solid walnut case, with drawer to hold tunes.

Ref.: Page 153 of Encyclopedia of Automatic Musical Instruments by Q. David Bowers 1973.

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Item 22 Polyphon – music box in serpentine case Made in Leipzig 1910, style 42R, serial No. 50108 Dimensions: The case measures 20 cm high x 37 cm wide x 31.5 cm deep. 21 discs 28 cm (11 ¼”) in diameter.

Description: Serpentine case in walnut, with banded veneer around lid. The name “Polyphone” on the lid is possibly inlaid ivory. 1 comb with 56 teeth one of which is broken.

Uses same size discs as our No. 18 Grandfather´s clock with 8 discs.

Literature: This Polyphon was made during the early 20th century by the Polyphon Musikwerke, the world’s largest manufacturer of disc-type music boxes (Polyphon was the parent firm of America’s Regina Music Box Co.).

The serpentine-style (so-called due to the undulating profile of the case sides) case measures 7 ¾” high by 14 ½” wide by 13 ½” deep. A lithograph of cupids at play is on the underside of the lid.

Ref.: Page 24 American International Galleries 1976 and Page 148 of Encyclopedia of Automatic Musical Instruments by Q. David Bowers 1973.

Item 23 Troubadour – music box with discs Made in Leipzig, Germany Dimensions: Walnut case measures 23 x 39 x 37 cm. 7 discs 30 cm in diameter Description: 1 comb with 56 teeth one of which is broken. The cost of the Troubadour was 96 Reichsmark in 1904. Extra discs was Reichsmark 1.44 each.

History: The Troubadour disc boxes were products of B. Grosz & Co., Breikopfstrasse 9, Reudnitz, Leipzig, Germany. Introduced in the 1890’s Troubadour instruments were sold through the early 1900’s. Among the special features used as selling points were the “larger comb (with additional teeth) and metal discs.” A repertoire of almost one hundred tunes was available initially, and the masters for each disc were said to have cost the manufacturers three pounds sterling each to make.

Troubadour disc boxes were sold in small numbers compared to the quantities marketed of Polyphon, Symphonion, and Regina disc instruments. Very few Troubadours survive today.

Ref.: Page 237 of Encyclopedia of Automatic Musical Instruments by Q. David Bowers 1973.

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Item 26 Komet – music box with discs Komet disc Music Boxes (Weissbach & Co., Leipzig), No. 287 Dimensions: The case measures 17 x 32.5 x 26 cm, discs diameter 21 cm

Description: Comb with 40 teeth – none broken. 4 Discs.

Picture inside lid: woman sitting on the globe blowing a horn.

Literature: Made in Germany and embodying certain Swiss features, Komet music boxes were distributed on a limited basis during the 1890’s and early 1900’s. Table models and upright styles were made. Coin-operated Komet boxes were given the “Komet Victoria” name, indicating original use in England.

The trade mark of the Komet is a man blowing a horn. Instruments were made in a number of sizes. Little is known about the Komet instruments today. Apparently few were sold originally – mostly in England and in Germany.

Komet boxes of all disc diameters are very rare today.

Ref.: Page 112 of Encyclopedia of Automatic Musical Instruments by Q. David Bowers 1973.

Item 29 Kalliope – music box with discs Kalliope Musikwerke (Leipzig, Germany), ca. 1900, No.26 Dimensions: The case measures 16 x 26 x 23 cm. Disc dia. 14.5 cm.

Description: 26 teeth, 1 of which is broken. 9 discs. Springwound. Center spindle is a winding post. Picture in the lid showing musical cupids. A Flute and leaves engraved and painted on top of lid.

Literature: During the 1890’s and early 1900’s the Kalliope Musikwerke produced a large number of disc-type music boxes. Most were sold under the “Kalliope” name, but some were produced with “Calliope” spelling. Kalliope disc boxes are of generally excellent tonal quality. Even the smaller models are brilliant and resonant without being harsh. Many smaller models were made with the center spindle serving also as a winding post.

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In 1919 the Kalliope Musikwerke was merged into Menzenhauer & Schmidt with premises at Rungestrasse 17 in Berlin.

Ref.: Page 108 of Encyclopedia of Automatic Musical Instruments

by Q. David Bowers 1973.

Item 30 Edelweiss – music box with discs Dimensions: The box measures 9 x 22 x 15 cm. 27 disc with 11 cm in diameter.

Description: The discs have a toothed edge. 30 teeth.

History: From the 1890’s to the present time, Hermann Thorens (firm founded in 1846) of St. Croix, Switzerland has made a series of small-size disc boxes. Edelweiss (Paillard; later Thorens) boxes were made mostly in small sizes.

Ref.: Page 247 of Encyclopedia of Automatic Musical Instruments by Q. David Bowers 1973.

Item 32 David Langdorff – cylinder music box Key wind 2-per-turn Made in Genoa, Switzerland 1858 serial No. 7923 Dimensions: The case measures 16 x 47 x 21 cm.

Cylinder is 26 x 6.5 cm. Weighs 10 kilograms.

Description: Cylinder plays 2 tunes on each revolution, the cylinder thus having a larger diameter. Comb with 97 teeth. Plays 12 airs. The original tune card showing the airs.

Bedplate solid polished flat brass. Framed glass lid to protect against dust. Key and three control buttons on left side. When the key is not in use it is stored in a compartment on the right hand side of the box together with a key to lock the lid of the box.

The box with beautiful veneer and inlay. We had the cylinder restored in Bath, England with all the pins of the cylinder replaced. http://www.skinnerinc.com/auctions(2345/lots/490 where a similar music box (estimated at $ 15,000-18,000) was sold for $ 17,625 July 2006.

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Item 33 PVF – cylinder music box

By PVF, St. Croix c. 1875 with a zither attachment Made in St. Croix, Switzerland c. 1875 Serial No. 2729 Dimensions: The case measures 15 x 57 x 24 cm. The cylinder is 27.5 cm long. Weighs 14 kilograms.

Description: Comb with 76 teeth. Plays 8 airs.

The original tune card showing the airs. The lid with inlay of multicoloured woods, with boxwood stringing in a veneer of rosewood.

Framed glass lid with hinges to protect against dust. Long playing with two springs housed in separate spring boxes. Zither attachment or as the tune sheet indicates – Mandoline.

Item 37 Harmonipan – Barrel Organ Made in Göttingen, Germany. From c. 1980 with the mikrobox 2000 control system. No. 43, Hofbauer Göttingen.

Dimensions: The case measures 69 x 66 x 37 cm.

Description: 23 piccolos to front, wooden pipes inside and below. Nice case with inlay (the mechanism needs to be restored).

Literature: According to www.hofbauer-orgelbau.de: “The 43 Harmonipan - An answer to the most demanding request: Those who have been missing the characteristic sound of the barrel organ up to now, will be fully satisfied with the “43 Harmonipan”: This organ leaves no wishes unfilled.

The unique control system with fantastic possibilities. The Mikrobox is an electronic control- and storage system. Compared with the old digital memory “barrel” and punched tape” it offers exceptional advantages.

A few of them are listed here:  Storage of an immense amount of data (up to 250 million!) in minimal space. This economical storage technique and the amazingly compact control system enable an enormous saving on space which can be utilized for the installation of small and light instruments or for a multiple of additional organ pipes.

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 The large number of pipes allows not only diatonic scales, as was the case up till now, but also chromatic scales. The result is an incomparable increase in the performable music repertoire.  Possibility of selection from thousands of pieces of music which cost only a fraction of what the “punch-tapes” cost earlier.  Storage of over a thousand interchangeable melodies or melody sequences in each organ.  The force used to turn the handle serves only to supply wind to the pipes. Wind must be generated neither for a pneumatic “punched tape”, nor must a “barrel” be powered.

We acquired this Barrel Organ from Cibrino, this being his last Barrel Organ, Hamonipan.

Cibrino was portrayed in the National Geographic July 1998 with this Harmonipan (please see above picture). The text for the photo says: “I just yell, “Police!” and they wriggle into costume and go,” says 78-year-old Peter Cibrino of his trained rats, stars of a show he has taken on the road for 60 years”.

Item 38 Reed-Type ”Monkey Organ” or “Reed Organ” Dimensions: The case measures 29 x 58 x 29 cm.

Description: The instrument has 6 tunes programmed on a pinned wooden cylinder. And is of 27-key specification. Hand cranked.

Ref.: Page 65 American International Galleries Inc. 1976.

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Item 39 ”The Andersson Pianoharpa” Made in Sweden, Patent No. 2239 Dimensions: 75 x 98 x 56 cm. The wooden barrel is 64 cm long.

Description: An attractive table-style automatic dulcimer built in Sweden in the 19th century. The instrument plays 1 tune on an 18-note set of 36 strings. A wooden box containing 2 additional wooden barrels.

Ref.: Described and depicted in “The Music Box” No. 8 from 1978.

Item 40 Ariston Organette Made in Germany Dimensions: 24 x 40 x 40 cm. 23 cardboard discs diameter 33 cm.

Description: Hand-cranked. 24 steel reeds. Case with stencil decoration and three-quarter turned corner columns. Ink stamp underneath the instrument: “Patent Ehrlich 314390 Frevé é.s.g.d.g.

Made in Germany”.

History: Introduced in 1876 by Paul Ehrlich of Leipzig, Germany, the Ariston quickly achieved success in the marketplace. In 1886 J.M. Grob & Co. (predecessor of Ludwig Hupfeld) acquired the sole agency for the distribution of the Ariston and other Ehrlich reed instruments.

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From 1885 through the first decade of the 20 century Aristons were sold by the hundreds of thousands! In America they were handled by many music stores, department or dry goods stores, and mail order houses. In 1895 an American firm billed the Ariston as “the latest musical wonder” and noted that “the Ariston has 24 full size organ reeds. It plays operatic and dance music with a sparkle and brilliancy never before attained in an automatic organ.

Exclamations of those hearing the Ariston: “It sounds like several instruments,” “why, it is a full orchestra!” “A whole band!” Price $ 15, or with eleven discs, $ 20. Music sheets 50c each. We are having published a large stock of American tunes, hymns, popular airs, etc.”

Ariston discs were usually made of an orange-colored cardboard.

Ref.: Page 746 of Encyclopedia of Automatic Musical Instruments by Q. David Bowers.

Item 41 Ariosa Organette Dimensions: The case measures 17 x 37 x 33 cm.

Description: 6 zinc discs diameter 30 cm. Handcranked. Stamp mark underneath the instrument “Patent No. 10796 Br.s.g.d.g.”

18 steel reeds. Uses annular (ringform) zinc discs.

Sold for 25.50 Reichsmark in 1904.

Schmidt & Co. Phönex Musikwerke, of Leipzig, Germany, manufactured many different varieties of organettes. At the 1909 Easter Fair in Leipzig the firm exhibited examples of the Phönix, Ariosa, Intona, and Diana organettes.

Ref.: Page 751 of Encyclopedia of Automatic Musical Instruments by Q. David Bowers).

Item 42 Diana Organette Made by the Phönix Musikwerke Dimensions: The case measures 15 x 24 x 21 cm.

Description 8 zinc discs diameter 16.5 cm. Hand-cranked. 14 steel reeds. The Diana used 14-note discs measuring 16.5 cm. in diameter.

Diana was sold for 11 Reichsmark, in 1904.

Ref.: Page 751 of Encyclopedia of Automatic Musical Instruments by Q. David Bowers.

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Item 43 Front for a fairground organ Dimensions: 1.25 meters high and 1.37 meters wide

Description: Cocchi, Bacigalupo, and Graffigna the makers of barrel pianos and barrel organs.

This front dates back to before 1896 when Cocchi separated from the firm of Cocchi, Bacigalupo, and Graffigna.

Ref.: Page 845 of Encyclopedia of Automatic Musical Instruments by Q. David Bowers 1973.

Item 45 Small singing bird in gilt cage

by Reuge & Co. of St. Croix, Switzerland, 1969.

Dimensions: 26 cm high and diameter 16 cm.

Description: A singing bird automation, enclosing single feathered bird – key wind on underside.

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Item 46 Small singing bird in steel cage Dimensions: 28 cm high and diameter 16 cm Description: A singing bird automation with two feathered birds.

Item 47 Victorian Lady - Musical Automation Made in France, c. 1885 Dimensions: 47 cm high. Base 9 cm high, 21 cm wide, 14 cm deep.

Description: Hand cranked. Mark on back of neck of doll: the letters S and H with a star in between. The doll, dressed in an elegant outfit and holding a replica violin, moves as the music plays. Head made of bisque, wooden body. Base made of wood with very old (original) chequered paper.

Dating from the late 19th century and early 20th century automata were popular parlor entertainers in the Victorian age.

The music comes from a tiny cylinder movement in the base of the figure.

Ref.: Page 70 Encyclopedia of Automatic Musical Instruments.

Item 53 Musical Wooden Clock Dimensions: 30 x 18 x 12 cm.

Description: The case is of richly carved and ornamented walnut. Has a small brass cylinder and a comb with many teeth. On the back lid, two nails holding the winding key.

Written inside: 12.9.16, which means it was repaired in September 1916.

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HISTORY OF THE MECHANICAL MUSIC INSTRUMENTS Automated musical instruments from the 18th to the 20th centuries are, of course, musical instruments in the true sense of the word with some form of musical program replacing the musically skilled human hand. In principle, any musical instrument can be automated and throughout history, many attempts – both successful and unsuccessful – have been made.

GRAMOPHONES Items 1, 2, 3, 4, 5, 6, 7 The Gramophone, invented in 1888 by Emile Berliner, was produced and distributed in turn by three companies in the United States: Berliner’s own National Gramophone Company, Eldridge Johnson’s Consolidated Gramophone Co. and finally, Johnson’s Victor Talking Machine Co. A number of affiliates, notably the Gramophone Co. in London, took care of overseas production and distribution.

PHONOGRAPHS Items 8, 9, 10, 11, 12, 13, 14 Although Edison’s original tinfoil machine of 1877 was marketed in limited numbers by the Edison Speaking Phonograph Co. and his “Perfected” phonograph (wax cylinders) of 1888 was marketed by both Edison and Jessie Lippincott, Edison’s machines didn’t really have wide distribution until the introduction of the “Spring Motor” phonograph of 1895. After 1895, over 45 distinct outside horn cylinder machines were produced, some in huge quantities. A wide variety of internal horn “Amberolas” were produced after 1909, and 1913 saw the introduction of the first “Diamond Disc” machines.

With the introduction of four-minute cylinders in 1908, special conversion kits became available to owners of older machines so that they, too, could enjoy the new cylinders. Edison also sold repeating attachments which allowed the machine to play the same selection over and over again, limited only by the power of the spring and the tolerance of the listener.

In spite of all of these special devices, Edison was slow in supplying larger horns for his phonographs. Indeed, before the introduction of the black flower horns in 1908, all Edison machines were equipped with simple “Witch’s hat” horns, all brass before 1901, black and brass 1901-1907. Because of the poor sound reproduction of these short horns, owners were forced to purchase larger horns and cranes from outside manufacturers.

What this all boils down to is that few Edison machines are found in their “original” state and dating must be done on the basis of machine design and not on the type of gearing, reproducer, carriage, etc. (The Compleat [sic] Talking Machine, Eric L. Reiss).

PUCK PHONOGRAPHS Items 15, 16 The most remarkable contribution of the Germans to the infant phonograph industry was the celebrated Puck instrument. Built on a cast-iron lyre-shaped base, it had an exposed singlespring motor with a governor and a partially balanced horn connected at the throat to a HTTP://BIT.LY/ANTIQUE-MUSIC-INSTRUMENTS

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reproducer which moved across the cylinder at the latter rotated. The starting lever and speed control were combined so that the owner had to start the instrument and use the first few bars of the music to adjust the speed to a reasonable value. The performance usually ended with the horn falling off the end of the cylinder. No feed-screw was necessary since the instrument was not intended for recording.

It appears to have been invented by W Bahre, who may have been inspired by cylinder instruments without feed-screws designed by Lioret in France (1896) and by Bettini in America (1897). Hundreds of thousands of these simple instruments were manufactured by firms such as Carl Lindström (founded 1896) and sold locally and in England at prices which must have given manufacturer and retailer little or no profit. Their sale continued because it stimulated the sale of cylinders and because it was hoped that their purchasers would ultimately aspire to higher things.

Sometimes the Puck was subjected to the indignity of being given away free to a purchaser of a number of cylinders. It could not at first be sold in America because American courts were likely to look more severely on its possession of a tapered mandrel – an Edison patent – than had the German courts, but it was at one time employed by Columbia to boost its declining cylinder trade.

Inspired by a love-hate relationship towards this exasperating instrument the German manufacturers continued to develop it. The brake and speed adjustment were separated, it was provided with levelling screws and spirit levels, it was modified so at to play Grand size cylinders, it acquired a flower horn. On one model (Syrena) a seductive siren modified the severity of the cast-iron base, on another (Lorelei) there was a figure representing the Lorelei legend.

Whatever the refinements the Puck remained cheap, and although this term is often used pejoratively in accounts of early German contributions to the development of the talking machine it cannot be denied that the Puck gave pleasure to millions who could not otherwise have profited by Edison’s invention. (Talking Machines page 34-35).

MUSIC BOXES WITH DISCS Items 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30 In 1885 the Englishman, Ellis Parr, patented a new type of musical box. It still used the tuned steel comb but in the place of the large and expensive brass cylinder it used cheap, massproduced steel discs into which the music was punched as a series of projections which plucked the teeth of the comb. Whereas the musical cylinders had to be drilled and pinned one by one, the discs could be punched in series from a master disc. The enormous financial advantage of the German disc over the Swiss cylinder resulted in a series of highly successful firms of disc musical boxes in the Leipzig area such as Symphonion, Polyphon and Kalliope.

After some time, in the mid-nineties, Switzerland also attempted to produce a disc musical box, but it was only in America that the new product was as successful as in Germany. This was the Regina disc musical box factory in Rahway, New Jersey.

The great flourishing of the disc musical box, which had started around 1890, was brought to an abrupt end by the First World War. After the war the gramophone and radio completed the collapse. Many types of disc musical boxes have been produced. Between the small handcranked “manivelle” with its 12-cm disc and the majestic self-changing cabinets there was a host of smaller and larger models of which the table model is probably the most well-known. In size

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not unlike a gramophone the average table disc musical box could certainly produce a wide variety of music from the many hundreds of melodies each firm had to offer. The large upright instruments were often provided with a “penny in the slot” device so that they were ideally suited for cafés and waiting rooms. (National Museum, Utrecht, Holland).

MUSIC BOXES WITH CYLINDERS Items 31, 32, 33, 34, 35 The cylinder musical box was born in the Swiss Jura towards the end of the 18th century. In this region, already famous for its production of clocks and watches, the Geneva watchmaker, Antoine Favre, took out patents in 1796 for what he called the “carillon without bells or hammers”. Musical watches with a set of truly miniature bells had been an 18th century speciality of this region, but the scale of notes in these watches was of necessity extremely limited.

One or two simple melodies hardly justified the exquisite craftsmanship (and cost!) that went into these pieces and it is not surprising that the invention of the musical comb brought about quite a revolution. In his watches Antoine Favre replaced the fragile, high-pitched and spaceconsuming saucer bells and hammers by a series of tuned steel teeth that were plucked directly by the pins on the musical cylinder. 20-30 teeth could easily occupy the space of 5 bells, and the tonal range could be extended up to three octaves. This saving of space and cost, while at the same time considerably enlarging the musical possibilities, created a brand-new industry which, in the course of the 19th century, was to produce hundreds of thousands of combplaying musical instruments.

The most well-known is undoubtedly the wooden box with its hinged lid, under which the musical cylinder and the tuned steel comb can clearly be seen. By the middle of the century musical boxes were produced in varying sizes and prices, from the snuffbox variety up to the large, ornate ”coffin” boxes. (National Museum, Utrecht, Holland).

During the period up to 1838, the cases of the instruments were of plain wood, often fruitwood, and the controls, together with the winding hole, were on the left-hand side of the case. These boxes were wound with a key (No. 32) and generally had three controls of brass, covered by an end flap. These controls ran under the whole length of the machine to the various parts they governed. The rearmost control was the tune changer, the center one was for starting the movement and for stopping it at the end of the tune, and the front lever was for stopping the movement instantly, without waiting for the tune to end.

This last was mainly for the use of the checker who adjusted the movement finally before it left the factory. It is obvious that anyone possessing (No. 32) one of these movements would do well not to use the instant stop, since it is dangerous to leave a cylinder in any position except at the end of a tune. If a cylinder is left mid-tune, a certain number of teeth will be left in contact with the pins of the cylinder, and under strain.

A wooden slide was also fitted into the right-hand side of the case to make a compartment just large enough to take the key.

A glass lid in a wooden frame, was introduced to fit inside the case, and over the mechanism to protect against dust. At first, the glass lid simply fitted into the top of the box on a shelf of beading, but later hinges were added. (The Musical Box Handbook by Graham Webb 1984 pages 9 – 11).

Large diameter cylinders: At quite an early period it was found that the use of a cylinder of larger diameter would not only enable a longer air to be performed, but would also allow two or

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even three airs to be played at one complete revolution of the cylinder. (Two per turn Item 32).

(The Musical Box Handbook by Graham Webb 1984 page 19).

By about 1860 the key had been replaced by a permanent lever, which was placed inside the case on the left-hand side. This made it a simpler operation to wind the box. It was soon discovered that it would be easier if the glass lid was a little shorter, so the box could be wound without lifting two lids each time.

At about the same time, the controls were moved from the left-hand side of the box to the right, and mounted, facing upwards, on a thin wooden platform placed where previously the key had been kept.

The bed-plate, on which the movement was mounted, was made of polished flat brass (Item 32). Bed-plates of later movements were made of cast-iron with a ridged surface to give a better appearance to the paint which was applied to them.

The most expensive part of the case had always been the veneer and inlay, and a way was found to save at least some of this expense. At one time, the veneer of the lid had continued right to the edges, the edges being finished by the application of a solid strip of the veneer wood, often inlaid with a single string of boxwood.

At the same time small feet were added to many of the cases. These were also in the basic wood and polished black. Previously, the base of the case had a small cut-out, perhaps ¼ inch high, and extending to within a few inches of the corners, which served as an indication of feet.

It is believed by many that the period 1850-1875 produced some of the finest musical boxes ever made, both for musical quality and case design.

The end of manufacture of cylinder musical boxes came by the beginning of the First World War. During the 1880’s cheaper cases were often finished with transfers after staining and then varnished. At first the transfers were a fair imitation of veneer and inlay, but as time went on they degenerated.

Long playing (Item 33): Probably the most successful attempt at lengthening playing time was by the use of two springs housed in separate spring boxes end to end on the same centre arbour. This increased the playing time of the movement considerably. The method is to be seen in many musical boxes, and is generally an indication of quality since this addition would have increased the cost of the movement, making it only worth while for a good machine.

Another small addition was the “Zither” (Item 33) or harp attachment, which was suspended over the comb, and, when lowered produced a sound likened to a stringed instrument. This device was a roll of tissue paper in a metal holder which, when pushed on to the comb, dampered all or some of the teeth. At the time of its inception, in the 1880’s, this effect was extremely popular, although music lovers will agree that it adds nothing to the quality of the sound.

In fact, the zither can be said to have done more harm than good, since a number of boxes have been found which have been stored with the tissue paper in contact with the teeth of the comb, resulting in the damp paper rusting the teeth and ruining the tone of a lovely box. (The Musical Box Handbook by Graham Webb 1984 pages 12 - 19 + 23).

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BARREL ORGANS (Hurdy Gurdy) Items 36, 37, 38, 39, 40, 41, 42, 43 In Europe the production of barrel organs began in the 16th century. These costly instruments, often driven by weights or springs, were to be found mainly in palaces, castles and churches.

In the 17th and 18th centuries there was an ever increasing production of automatic organs, celebrated composers such as Handel, Mozart and Haydn wrote special compositions for these instruments. In the late 18th and 19th centuries the French Vosges produced enormous quantities of so-called “Serinettes” while the production of larger barrel organs became increasingly important after ca. 1850. Another great centre for the manufacture of a wide variety of barrel organs was the Black Forest in South Germany.

These organs were either hand cranked (when intended for open air performances) or weight/spring driven (when incorporated in clocks). After ca. 1700 London, Amsterdam, Paris, Berlin, Vienna, and Prague gradually superseded Augsburg, the first great centre for the manufacture of musical automata.

The “organo portatile” (portable organ) represents the first type of street organ. By turning the handle, the barrel with its musical pattern of pins (short notes) and bridges of varying lengths (longer notes) rotates and air is pumped by the bellows.

The musical programme lifts the keys which open the various valves under the pipes in order to admit compressed air from the so-called storage bellows. The simplest representative of the barrel organ family is the afore-mentioned “serinette” or bird organ. It was intended to stimulate caged birds to sing the simple melodies that were programmed on small wooden cylinders mostly playing on no more than 10 tiny metal pipes.

The “organo portatile” with its small lungs and voice can hardly have been a lasting success as an open air instrument.

In order to make it more effective the number and size of the pipes were increased, the wind pressure was raised, and the wind supply increased. This caused a rapid growth of the instrument and in the early 19th century the first series production of open air barrel organs was undertaken by Ignaz Bruder in Simonswald (later Waldkirch) in Germany and Giacomo Gavioli in Modena, Italy (later in Paris). In the second half of the century thousands of portable barrel organs, large and small, were produced all over Europe.

Some hundred years ago the portable barrel organ could be seen and heard all over Europe. The organ grinder with his family, dogs, or possibly a monkey, would use large painted “tableaux vivants” or tear-jerkers in order to illustrate the colourful songs which he sang to the accompaniment of his barrel organ.

The most characteristic portable organ of the late 19th century is the type with a prominent set of high-pitched wooden piccolo pipes in the front. A cheaper version, the so-called reed organ (with reeds producing notes as in an accordion or mouth organ) was also made in large numbers for those who could not afford a pipe organ, but their production was relatively shortlived. If the barrel organs were too large to be carried from a leather strap they could be supported on a wooden pole or, if still larger, on a cart. (National Museum, Utrecht, Holland).

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MUSICAL BIRDCAGES Items 44, 45, 46 Mechanical singing birds have been made since the late 19th century and are still being made today, although not in as many varieties as previously. Generally, the boxes come in 1-bird, 2bird, or 3-bird sizes, the larger ones being the more expensive and desirable.

The mechanisms consist of small bellows which operate a slide whistle or flute which gives a warbling sound. Bird chirps, not musical melodies, are produced – some in very realistic imitation of actual bird calls.

REFERENCES Encyclopedia of Automatic Musical Instruments by Q. David Bowers, June 1973, 1008 pages (Including a Dictionary of Automatic Musical Instrument Terms).

The Illustrated History of Phonographs by Daniel Marty, 1981, 193 pages.

The Compleat [sic] Talking Machine by Eric L. Reiss, 1986, 184 pages.

The Musical Box Handbook by Graham Webb, 1984 Talking Machines by V.K. Chew, Science Museum, London, 1981, 80 pages.

Auction catalog from Retonio Gallery with Mechanical Music instruments, Nov. 1984, 80 pages.

Edison’s Fabulous Phonograph booklet, 1972.

Museum guide for The Nationaal Museum of Holland – from Musical Clock to Street Organ, 48 pages

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For more information, please contact antique.music.instruments@outlook.com

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