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Antique
Phonograph
News
Canadian Antique Phonograph Society
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Mar-Apr 2006
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| Jan-Feb |
Mar-Apr |
May-Jun |
Jul-Oct |
Nov-Dec
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Another Nightmare Story ... But In The End An Interesting Discovery
by Jean-Paul Agnard
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Fifteen listening tubes can be used at once!
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Have you ever paid 5 times the price asked for an item? This is what happened to me recently when I first
went through eBay-UK to buy a modified Edison Diamond Disc reproducer for a duplicate Amberola III which
I am restoring.
After the classic exchange of e-mails regarding this transaction, the seller added:
"Among my bits
and pieces I have a rare metal object which fits on a phonograph reproducer instead of a horn, with 15
curved hollow tubes, and allows people with headphones to listen to the recorded music with hearing or
listening device. It is 3 1/2" long and the metal tubes are 1" long 1/4" diam. and 3/16"
bore protruding from one end. Price if you are interested £20 and could be sent with the reproducer."
So, I immediately (as you can imagine) answered:
"Yes, I am interested by your 15 ear tubes device for
20 pounds. Is it possible to have a picture, just to see how it looks like? Yes, please, send it with the
reproducer and I will send you a check this time (I already have your address)."
Two days afterward - I still do not know what happened in the meantime - I received this strange answer:
"I have health problems (he is 84), recently had an eight day stay in hospital, and saw the Dr.
yesterday, and an Xray today. Enough said about that. I have decided to keep the phonograph ear attachment
(one is not supposed to make deals outside of eBay)."
?????? (as if eBay were entitled to stop all other commercial transactions on earth)
This made no sense to me as, to my way of thinking, once a deal is sealed, it is sacred. For example, I recently
cut all new contacts with a French collector who asked me to make a deal for a Graphophone "Q" sold
in France with a French reversible cabinet and interesting decal (Type "B" is common over there, but
it was the first time I heard of such a "Q" accompanied by an original ad). After having accepted in
return a nearly mint Puck "Mermaid", he changed his mind, just because he had found another "Mermaid"
over there. This is the kind of pleasantry that I do not really appreciate, especially when he had already packed up
the "Q" and it was in the hands of somebody who was supposed to bring it to me next year.
In 35 years of collecting, maybe 3 or 4 individuals have played this little game with me, always with the same results
on my side. Termination. In the case of the ear-tube device, I was disappointed, even if the pictures had not come yet.
My answer was as follows:
"I find questionable the fact that you offered me the phonograph ear attachment for
20.00 pounds, and once I say "yes", you change your mind. As for me, the deal was sealed as soon as I have
accepted your price. On my side, I have only one word that I respect, it seems that it is not the same on your side."
Then he tried to tell me the story that, while packing the Diamond Disc reproducer, he dropped it on the floor and
broke it (which, of course, was likely not true).
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This picture shows how the piece connects to an Edison reproducer
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Confronting this situation, I asked for delivery of my Diamond Disc reproducer or pictures of it, in its broken state,
suggesting that negative feedback could be used in case of refusal. The reaction was quick and concise:
"Reproducer posted today Saturday 19th".
This first problem was solved. After having used the stick, I tried to use the carrot:
"Thanks a lot for the
reproducer. Sure, I will let you know when arrived. Just for my information, can you please, send me a picture of
your phonograph ear attachment. If you think you made a mistake and asked too low, may be, we could arrive to an agreement."
And then, the waited-for pictures arrived - 4 days later. Faced with such an astounding piece of apparatus, I realized
that I was going to have to walk on eggs with him and that, with my first mis-step, I could say bye-bye to it.
In the meantime, the modified Diamond Disc reproducer arrived, unbroken, and I continued to ask him for a price for
the ear-tube device. I e-mailed him on the 23rd, the 24th and the 25th. Finally, on the 26th, still seeing no answer
arriving, I made the proposal that he sell it to me at the same price that he had already sold me the Diamond Disc
reproducer; namely 49 pounds. That same day, I received his answer: 100 pounds! After my acceptance, certainly
realizing that he had treated me unfairly, he proposed to me that he include, for free, a Gem Model D reproducer
carriage to help make the pill easier to swallow. Very soon on eBay, I am not quite sure to be able to get my 80
pounds back.
Anyhow, everything is well which ended well (I am not sure of the English translation of this French proverb), but
it can make a good Christmas story. The only thing left for me is to make another 15 repro ear tube sets, having
recently sold my original ones with my long oak Class-M.
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The Regal Phonograph Company Ltd. of Toronto
Part II
by Jennifer Mueller
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From the Canadian Music Trades Journal, Feb 1917, showing one of the first advertisements
for the new company
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Manufacture and Models
It is very difficult to determine exactly how the "Victoria" and "Ideal" phonographs were
manufactured. It is known that Regal finished the cabinets and assembled the machines from parts purchased wholesale.
Initially Stevenson likely did this himself, although it is not clear if he made the cabinets. When the company
expanded in 1917, a factory was set up on Church Street. Regal possibly began to manufacture cabinets in the Church
Street factory, but the date may be as late as 1921 when Ideal Cabinets Ltd., came into existence. Since Regal employed
a "Finisher" from 1917 onwards, some cabinet work did occur. 18
Later, the factory relocated to West Toronto Junction, while the offices and retail store remained on Church Street.
The cabinets were constructed from wood and wood veneers which were then hand-polished to a gleaming shine. The
phonograph machines continued to be assembled from purchased parts. Regal’s suppliers included W.H. Banfield & Sons Ltd.
(a Canadian manufacturer of phonograph motors located at 370-386 Pape Avenue, Toronto), and General Phonograph
Corporation (formerly the Otto Heineman Phonograph Supply Co., an American firm with a Canadian office in Toronto)
among others. 19
Transfers bearing the "Ideal Perfect Tone" mark were then applied to the machines.
Regal produced at least eighteen different models in its seven year history. It manufactured both tabletop and floor
models, all of which were handoperated and were capable of playing all makes of records without the use of special
attachments. One of the early "Ideal" phonographs, Model 2, was a "mahogany finished cabinet, equipped
with a double spring, fibre geared motor, universal tone arm and jewel point." 20
This tabletop phonograph retailed for $25.00 in 1917.
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A Stupendous Sale. Toronto Evening Telegram Dec 20, 1920
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Oddly enough, more information is available on the "Premier" phonograph, the successor to the "Ideal".
The cabinet phonographs are identical in appearance, and since E.A. Stevenson was responsible for the manufacture of both
machines, it is safe to assume that many of the specifications would be similar too. The "Premier", like the
"Ideal", was equipped with a tone modulator and a convertible tone arm, which permitted the playing of any
make of record. The motor had a heavy cast frame, two detachable barrels made of spring steel, bronze meshing gears,
was graduated for seven different speeds and was capable of playing three records on one winding. The phonograph had
a twelve-inch turntable. Models were available with either a fretwork grille or with doors. Weight was approximately
75 lbs. 21
Dimensions and finish varied with the model.
Appendix A consists of a table which provides a description of the known "Victoria" and "Ideal" models
and their prices. Model information comes primarily from company advertisements. Based on their illustrations, there
doesn’t appear to be much difference between some of the models, although newspapers were notorious for using stock images
rather than true illustrations.
Distribution
The Regal Phonograph Company was a very small player in the highly competitive Canadian market, and Stevenson’s first
attempts to distribute the "Victoria" model were a dismal failure. His reasons for trying to sell the "Victoria"
through agents and false newspaper ads rather than through retail stores remains a mystery. Perhaps he was still employed
at Nordheimer’s, or perhaps he had trouble finding willing retailers. Regardless, his fraud conviction must have tarnished
his reputation. It is no wonder that Stevenson stopped manufacturing "Victoria" models and introduced the "Ideal"
line of phonographs. It is possible that because of his conviction, Stevenson also had difficultly finding retailers for his new
line. Instead he attempted to attract "canvassing piano dealers and salesmen who have no salesrooms, or who do not wish
to carry a stock of phonographs." 22
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Toronto Evening Telegram, Dec 23,1920 pg 21. The same models were distributed
by Victoria Music at same price. Note error in models - The #14 is a really a #12 & vice versa.
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This new strategy had an impact on the distribution of the "Ideal" phonograph, dispersing sales to smaller
centres and rural communities. In 1916 one of Regal’s first sales agents, Maurice Cohen, a salesmen from Toronto,
held the "exclusive agency for the sale of Ideal Perfect Tone Phonographs," 23
in Northern Ontario, including North Bay, Cochrane, Sault Ste. Marie and Port Arthur (now Thunder Bay). The relationship with Cohen
was probably short-lived since Cohen attempted to trademark the "Ideal Perfect Tone" name without Stevenson’s approval.
According to Stevenson’s lawyers, Cohen was "only one of many agents who have purchased phonographs on like terms," and thus had
no rights to the name.24
Regal tried to maintain its sales in northern Ontario by distributing its machines through the Victoria Music Club in 1920. Although there
is no absolute proof, evidence indicates that Regal manufactured machines for the Club which labelled them "Victoria" so as not
to "conflict with the manufacturer’s regular trade." 25
Club members were offered a choice of Model No. 6, 12 or 14 and a monthly selection of records for reasonable payments. This sales technique
was a popular method of selling phonographs and records in the early 1920s. Several major retailers launched clubs with special sales plans.
Unfortunately, not much is known about the Victoria Music Club, other than one distributor in New Liskeard, Ontario. Only two months of
advertising later, and the Victoria Music Club disappeared.
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One of only two known Victoria Music Club advertisements. The Club promoted and sold
Regal phonographs under the "Victoria" model name in Northern Ontario.
(New Liskeard Speaker, March 4, 1920, p.3)
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After this episode, Regal’s marketing strategy changed and became more focussed upon Toronto. The company hired W. Norman Martin
as its salesman. Martin, who also became secretary-treasurer for Ideal Cabinets, greatly expanded the number of retailers.
26
Although it is impossible to determine Regal’s complete network of dealers, there were at least seventeen retailers who sold Ideal
Phonographs in Toronto in 1921.27
The majority were stationers, jewellers or tobacco shops who sold phonographs as a sideline, but there were several phonograph retailers
among the group. Regal also continued to operate its retail store on Church Street. A cursory review of a few other newspapers and
directories beyond Toronto did not reveal any additional retailers.
Regal’s advertising, mostly in the Toronto Evening Telegram, remained limited to sales events and the peak Christmas period. In its entire
existence, Regal placed only eight ads in the industry magazine, The Canadian Music Trades Journal, and six of
those appeared in 1917, when the company underwent a major expansion. It did, however, advertise in the annual Canada
Gazetteer and Business Directory, a national directory used by businesses across the country. The ad targeted
potential dealers, large and small, and included an illustration of Regal’s latest model and indicated the price range
of models available. This single advertisement would have given Ideal Phonographs greater visibility to retailers
across Canada than any ad in the newspaper or even from the trade journal. But if the bankruptcy ads can be believed
(perhaps with a grain of salt), "Ideal" phonographs did find a market. According to the liquidators, "hundreds
and thousands of these superior grade phonographs are in use from coast to coast. Reliability and steadfastness of
manufacturing policy gave a phonograph to the Canadian trade worthy of its high merit, as the peer of all phonographs."
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Conclusion
My old phonograph cabinet is embellished with three gold maple leaves and the word "Victoria" scrolled under the
lid. Part of Regal’s patented lighting system also remains. On the back is the small brass plaque identifying it as an
"Ideal" phonograph, manufactured by the Regal Phonograph Company. It looks very much like a Model 14 "Ideal"
phonograph and it may be a relic of the short-lived Victoria Music Club or old "Victoria" model stock. I guess
I will never really know. Sadly, I will also never know if it had a perfect tone, or who danced to its music. But I do
know from where it came, and I am pleased to have this small piece of Canadian music history in my home.
Appendix A: Regal Phonograph Company phonograph models
| Model No. |
Year Advertised |
Description |
Price |
| Victoria |
1915-1916 |
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$80.00 |
| Ideal Models |
| Model No. 2 |
1917 |
Tabletop phonograph, mahogany finish only, equipped with
double-spring, fibre geared motor, universal tone arm and jewel
point. 8" h x 14 ½" w x 15 ½" d |
$25.00 |
| Model 6 * |
1920 |
Tabletop phonograph with heavy motor (plays 3 records on 1
winding), 12" turntable, universal tone arm. Available in oak,
walnut or mahogany. Matching cabinet also available. |
$75.00 |
| Model 9 |
1921 |
Tabletop phonograph. Matching floor cabinet also available. |
$75.00 |
| Model 10 |
1916 |
Tabletop phonograph, open case, oak finish, 9" h x 16" w x 16" d |
$17.50 |
| Model 12* |
1920, 1921, 1922 |
Floor cabinet model, 43 ½ high, multiple spring motor, universal
tone arm, electric light, automatic hood support. Available in
fumed oak, mahogany, walnut. |
$125.00 |
| Model 14* |
1919, 1920 |
Floor cabinet model, 45" high, multiple spring motor, improved
tone control. Available in mahogany, fumed oak and walnut. 1920
version included automatic hood support, universal tone arm and
electric light. |
$140.00 (1920 price $175.00) |
| Model 15 |
1919 |
Floor cabinet model, available in walnut, mahogany and fumed
oak with a fretwork grille. |
$150.00 |
| Model 15G |
1916 |
Floor cabinet model, fretwork grille. |
$185.00 |
| Model 16 |
circa 1919-1920 |
Floor cabinet model, straight legs, top cabinet included shelves
for records. Available in mahogany, fumed oak, walnut |
$165.00 |
| Model 50 |
1916, 1917 |
Tabletop phonograph, available in oak or mahogany finish
13" h x 17" w x 19" d |
$45.00 |
| Model 60 |
1915-1916 |
Tabletop phonograph, available in mahogany, golden or fumed
oak finish |
$60.00 |
| Model 75 |
1917 |
Floor cabinet model, mahogany finish
42" h x 19" w x 21" d |
$75.00 |
| Model 85 |
1917 |
fumed oak |
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| Model 100 |
1916, 1917 |
Floor cabinet model, available in oak or mahogany 43" h x 18" w
x 21" d |
$100.00 |
| Model 1918 |
1917, 1918 |
Floor cabinet model |
$90.00 |
| Model B |
1922 |
Floor cabinet model, decorative grille, cabinet in fumed oak,
mahogany, golden oak |
Reg. $155.00 Sale $87.50 |
| Style 8 |
1922 |
Reg. Ideal Co. style, floor cabinet model |
Reg. $270.00 Liquidation price $69.00 |
| Style B |
1922 |
Chippendale style floor cabinet model, (very similar to Model 15) |
Reg. $225.00 Liquidation price $47.00 |
| Style H |
1922 |
Colonial Style floor cabinet model on casters |
Reg. $200.00 Liquidation price $37.00 |
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1922 |
Queen Ann style |
Reg. $270 Liquidation price $57.00 |
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1922 |
Parlor Grand style |
Reg. $295.00 Liquidation price $78.00 |
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1922 |
De Luxe style |
Reg. $325.00 Liquidation price $98.00 |
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Endnotes
| 18. |
City of Toronto Archives, City of Toronto Assessment Rolls, Ward 3,
Division 5, 1916-1918. |
| 19. |
Advertisement, Hughes Sales Co., Toronto Star, 7 July 1922, p.20. |
| 20. |
"The New 'Ideal'," Canadian Music Trades Journal, Volume XVII,
No.8, January 1917, p. 65. |
| 21. |
Advertisement, United Factories Outlet Co., The Globe, 13 April 1923, p.5. |
| 22. |
"The 'Ideal' Phonograph," Canadian Music Trades Journal,
Volume XVII, No. 6, November 1916, p. 72. See also Regal Phonograph Co. advertisement, p. 42. |
| 23. |
Library and Archives Canada (LAC), RG 105, Vol. 68, docket 88771.
Letter from E.E.W. Curry, O’Connor & Wallace, Barristers & Solicitors to the Honourable Minister of
Agriculture, 5 October 1916. |
| 24. |
LAC, RG 105, Vol. 68, docket 88771. Trademark application for Ideal
Perfect Tone Phonograph, October 1916. |
| 25. |
Victoria Music Club advertisement, New Liskeard Speaker, 19 February 1920, p.3. |
| 26. |
The Toronto City Directory, 1921 (Toronto: Might Directories Ltd., 1921). See also the Toronto
City Directory for 1922. |
| 27. |
Regal Phonograph Company advertisement, Toronto Evening Telegram, 4 November 1921, p. 26. |
| 28. |
Advertisement, Hughes Sales Co., Toronto Star, 26 May, 1922, p.10. |
Many thanks to Sarah Fontaine and Morag Carnie at the Archives of Ontario for all their assistance. Larry McNally,
Bryan DeWalt, Arthur Zimmerman and Marcel Barriault were very patient with all my "exciting" discoveries
and provided much useful advice.
Jennifer Mueller is a historian living in Ottawa. She currently works as a Litigation Information Analyst for Indian
and Northern Affairs Canada. She would welcome any additional information about the Regal Phonograph Company.
She can be reached through CAPS at info@CAPSnews.org
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Vernon Dalhart: First Star of Country Music by Jack Palmer
Reviewed by David Lennick
As long as most CAPS members have known Jack Palmer, we’ve known of his fascination with country music’s first
superstar, Vernon Dalhart. We’ve also known that Jack was working on a book about the singer, and collecting
information on every one of his recordings in all incarnations. The results are now available from Mainspring Press,
and they’re fascinating, even if you’re not a fan of the genre or if you think Dalhart was a one-trick pony.
Certainly "The Prisoner’s Song" was one of the best-selling records of the 1920s, issued on over fifty
labels, but it was only one of almost 800 songs Dalhart recorded between 1915 and 1932 and under dozens of pseudonyms.
Unlike most popular recording artists of the 20s, Vernon Dalhart never became popular on radio or in other media,
and he was in his forties when his most famous recordings were made. Born Marion Try Slaughter in Jefferson, Texas,
in 1883, Dalhart was a light classical singer who enjoyed success in operas and musical comedies in the 1910s.
He was also one of the most popular artists in the Edison stable, on records and in live concerts. But as Jack
tells us, he was also not a very nice man, cheating colleagues and even relatives out of royalties. "The Prisoner’s
Song" was credited to Dalhart’s cousin, Guy Massey, whose share of the proceeds was a whopping five percent.
Only years later did all rights revert to the Massey family, who still collect royalties today.
The intrigue behind "The Prisoner’s Song" is told in great detail. We’re also treated to fascinating
accounts of the recording and publishing industries in the 1920s, previously unpublished photographs, and of
course Dalhart’s story through the Depression and the 1940s when he was all but forgotten by the entertainment
business. There was no comeback; Dalhart taught voice and worked at non-musical jobs, just to keep active, until
his death in 1948.
More than a quarter of the book is devoted to an incredibly thorough but frustrating discography by Robert Olsen.
Thorough because of its quest for completeness, and it was still being revised as the book went to press; frustrating
because it’s laid out not in chronological order but by record label, and alphabetical at that. If you want to see
how many times Dalhart recorded "The Prisoner’s Song", you consult the title index and then flip back to each
of the pages listed, and you still won’t know which version was recorded first (it was the one for Victor, August 13, 1924).
A chronological list of sessions is provided. Discographical quibbles aside, Jack has given us a most enjoyable account
of one of the bestselling recording artists.
VERNON DALHART: FIRST STAR OF COUNTRY MUSIC – JACK PALMER
MAINSPRING PRESS, DENVER, COLORADO, 2005 is available from the publisher,
http://www.mainspringpress.com or from Jack
Palmer at 145 North 21st Street, Battle Creek, MI 49015-1704-USA. ISBN 0-9772735-0-4 Price is US $39.00 postpaid.
Please mention if you want an autographed copy.
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