Steiff Pianos 1842-1951

'Charles M Stieff was a 19th-century American industrialist and piano manufacturer, based in Baltimore, Maryland. To this date, Stieff pianos still exist in the Washington/Baltimore area. To change from teaching music and languages to dealing in pianos, and finally to become the founder of one of the largest and most respected piano manufacturing firms, was the career of Charles Maximilian Stieff. Born in Württemberg on July 19, 1805, Stieff was educated at Stuttgart. In 1831 he emigrated to America and settled at Baltimore, where he took the chair in Haspart's school as professor of languages and also acted as leader of a church choir. In 1842 he imported his first pianos from Germany, and opened regular piano ware-rooms on Liberty Street in 1843. Observing the success of the various piano manufacturers in Baltimore, Stieff undertook an extensive trip to Europe in 1852, studying the methods of the best piano manufacturers there. Upon his return he admitted his sons into partnership and started the manufacture of the "Stieff" piano, entrusting the management of the factory to Jacob Gross, an expert piano maker of the old school. Born in Württemberg on July 26, 1819, Gross learned his trade in Stuttgart and afterward worked in some of the leading factories of Germany, Switzerland, Spain and Paris. Coming to America in 1848, he familiarized himself with the methods prevailing here, working in Troy, New York then going to Baltimore. He had worked for the Stieff Piano Factory from 1856, and on Christmas Day, 1860 he had married Catharina Christiana Stieff (1833–1906), daughter of Charles Maximilian Stieff, owner. His joining the Stieff family business was an excellent combination, the professional musician and businessman, Stieff, supported by the artistic piano maker and factory expert, Gross. The product of the firm was at once accepted as of superior merit and received distinguished awards wherever exhibited.

 The founder of the firm having passed to the unknown beyond, the business was carried on most successfully by his sons, Charles and Frederick P. Stieff, the technical management of the factories being in the hands of Charles J. Gross, who was educated by his father, Jacob Gross. It was remarkable that the great fire which destroyed nearly the entire business portion of the city of Baltimore in 1904 should stop short in its northward flight on the wall of the Stieff building, on North Liberty Street, just as if it had had respect for this landmark where the Stieffs had sold pianos for 63 years. The firm of Chas M. Stieff used to distribute its products almost entirely through its own stores, which were found in every prominent city of the southern States, as well as at Boston and elsewhere.  During the 20th Century, many dealers sold the Stieff Piano alongside of some of the most expensive piano lines as an affordable alternative. Stieff pianos are commonly referred to as 'the poor man's Steinway', and were often sold as a second line in higher end Steinway dealerships throughout the 20th Century. Charles M. Stieff pianos are consistently some of the finest pianos we see come through restoration shops today. Sadly, Stieff closed operations and was liquidated in 1951.'

-=Late 1880's Ericsson Telegraph Instrument=-

L.M.Ericsson Postal Morse Telegraph Register c.1885 Antique Brass/Mahogany

'Technique (creation media)	Mahogany wood, brass, steel
Creation period	1885-1895
Culture/Origin	/Sweden
Style and motive	Industrial
Artist/Maker/Creator	Swedish manufacture Ericsson & Co, Stockholm
Any inscription/marks	Serial (1?) 893; service sticker dated 1938
Overall Condition	Very good
Imperfections/defects (see pics first of all)	Usage wear minor; missing very simple spring (marked on photo)
Restoration if any	No
Measurements metric ()	38 cm long 42 cm high
Measurements inches ()	14,57 in long
Net weight	5 kg
App. Gross weight /dimensional	10 kg

Notes:

Model JL 4030. Rare Long version – extended on right for additional switch contacts. Rare spring trigger/stopper at back side. Amazing object for collection, the must!'

The History of the Flashlight: 1896 to about 1922

'In 1896, the first dry cell battery was invented. Unlike previous batteries, it used a paste electrolyte instead of a liquid. This was the first battery suitable for portable electrical devices, as it did not spill or break easily and worked in any orientation. Portable hand-held electric lights offered advantages in convenience and safety over (combustion) torches, candles and lanterns. The electric lamp was odorless, smokeless, and emitted less heat than combustion-powered lighting. It could be instantly turned on and off, and avoided fire risk.

On January 10, 1899, American Electrical Novelty and Manufacturing Company obtained U.S. Patent No. 617,592 (filed 12 March 1898) from David Misell, its English inventor. This "electric device" designed by Misell was powered by "D" batteries laid front to back in a paper tube with the light bulb and a rough brass reflector at the end. The company donated some of these devices to the New York City police, who responded favorably to them.These early flashlights ran on zinc–carbon batteries, which could not provide a steady electric current and required periodic 'rest' to continue functioning. Because these early flashlights also used energy-inefficient carbon-filament bulbs, "resting" occurred at short intervals. Consequently, they could be used only in brief flashes, hence the popular name flashlight.

Carbon-filament bulbs and fairly crude dry cells made early flashlights an expensive novelty with low sales and low manufacturer interest. Development of the tungsten-filament lamp around 1906, with three times the efficacy of carbon filament types, and improved batteries, made flashlights more useful and popular. The advantage of instant control, and the lack of flame, heat, smoke and odor, meant that hand-held electric lights began to replace combustion-based lamps such as the hurricane lantern. By 1922 several types were available; the tubular hand-held variety, a lantern style that could be set down for extended use, pocket size lamps for close work, and large reflector searchlight-type lamps for lighting distant objects. In 1922 there were an estimated 10 million flashlight users in the United States, with annual sales of renewal batteries and flashlights at $20 million, comparable to sales of many line-operated electrical appliances. Miniature lamps developed for flashlight and automotive uses became an important sector of the incandescent lamp manufacturing business.'

A Quick History of the Peanut Butter & Jelly Sandwich

'Food historians do not know exactly when the peanut butter and jelly sandwich was first

prepared, and there have been no advertisements or mentions of Peanut Butter &Jelly before the 1940s.
Peanut butter wasn't invented until 1890, and it became a hit at the 1904 World's Fair in
St. Louis.  During the 1920s and 1930s, commercial brands of peanut butter such as Peter
Pan and Skippy were introduced. Around the same time, pre-sliced bread became
common in the U.S.  However, there's no mention of peanut butter and jelly sandwiches
before the 1940s.

It is known, however, that both peanut butter and jelly were on the U.S. Military ration
menus in World War II, and some have suggested that the GIs added jelly to their peanut
butter to make it taste better. It was an instant hit and returning GIs made peanut butter
and jelly sales soar in the U.S.'

-=Tupperware History=-

'Brownie Wise was a pioneering American saleswoman largely responsible for the success of Tupperware through her development of the "party plan" system of marketing. A former sales representative for Stanley Home Products, Wise found Tupperware to be a product with broad appeal and soon began selling it at home parties. In 1950 she moved to Florida and created a social networking marketing system through dealers and sellers that quickly outsold Tupperware's store sales. This caught the attention of Earl Tupper, Tupperware inventor, who invited her to be vice president of Tupperware Home Parties in 1951. She insisted that he market his products exclusively through party plans, where women invited friends and neighbors to a combination social event/sales presentation. Wise ran the sales division, Tupperware Home Parties, Inc, from Kissimmee, Florida and had the freedom to implement her marketing strategies. Her methods were extremely successful. Her ability to tap into popular culture, the desire for happiness helped recruit thousands of women into a career at a time when a woman's role was conventionally tied to the home. Her noted TV appearances, magazine and newspaper articles made her a household name. In 1954 she became the first woman to appear on the cover of Business Week.

Wise invented much of the corporate culture of Tupperware and, by extension, other party-plan marketing organizations. She was especially keen on incentives, one of the chief ones being trips to Florida to the annual 'Jubilee' at company's sales headquarters for motivational meetings and socializing with other successful representatives. Top sellers would be presented with exotic gifts such as speedboats, trips and appliances carefully planned in the company of their husbands. She created idioms and rituals such as pilgrimage to a specially designed well in the Tupperware grounds for sellers to cast their wishes, "Brownie Wings" and costumed graduation ceremonies. Dealers would go on treasure hunts where prizes would be buried in the ground. Extravagant shows, parties and motivational talks comprised the four day convention. Wise was presented to the company's representatives as something of an idealized 1950s woman. Her marketing skill in leveraging the social networking model and motivating thousands of women to come together in their homes to sell Tupperware was unrivaled. The essential liberation of many women through earning their own salary in the context of male-driven post-World War II, pre-feminist culture of the 1950s created many challenges. Her own relationship with Earl Tupper was in constant flux. Soon the private face of Tupper and the public one eventually headed towards irreconcilable differences as Wise's success turned her into a celebrity. In 1958 Tupper forced Wise out. Soon after every reference to her was removed from company literature; it was as if she had never existed. She owned no stock and left with one year's salary. Wise attempted to form her own party-plan cosmetics company, Cinderella, but was unsuccessful; after this she largely faded from view and died in relative obscurity in 1992.  Soon after he parted ways with Wise, Tupper sold the Tupperware organization to Dart Industries for US$16 million.'

1907 Wilkinson Slag Glass Table Lamp

'This is a fabulous slag glass lamp by Wilkinson. These guys made some of the heaviest and most detailed slag lamps out there, and this one is no exception. Take a look at the workmanship....and the glass!! The six panel shade has a heavy overlay design of wreaths and bows and is fitted with mottled granite backed, amber and green glass.

When lit it gives off a terrific glow. I see no chips or cracks in the glass and all of the filigree is there. The shade measures 18 1/2" in diameter and is 9" deep. It rests on a very nice Wilkinson square footed base, and as displayed measures 26" tall.

The base is actually stamped with the design number "109-2" on the underside, and the base plate even has the "WILKINSON CO. BROOKLYN, NY" stamp on it (as pictured). It has its old and orignal porcelain lined sockets with Bryant labeled shells. It has been wired and is ready to use and enjoy. I am offering this great example of Wilkinson's work.'

The 1773 "Empress" Harpsichord of Burkhart Shudi

'

A harpsichord of the largest size is this, the culmination of an instrument that had remained in use for nearly three hundred years, but, at the time this one was made, was about to be replaced by the pianoforte. This fine harpsichord bears the joint name of Shudi and Broadwood, London. The instrument is numbered 691, and the books of the original firm show that it was made for the Empress Maria Theresa, and shipped on the 20th of August, 1773, Shudi's final year of life. Shudi had established his business as a harpsichord-maker about 1732. Through Handel’s friendship he became patronized by Frederick, Prince of Wales, father of George III, and was permitted to use the sign of “The Plume of Feathers” for his house. He was honored with a commission from Maria Theresa’s old enemy, Frederick the Great, to make two harpsichords for the “Neues Palais” at Potsdam, where they are still to be seen.

It may be said of Shudi and Jacob Kirkman, once fellow apprentices, and afterwards competitors, that they left the harpsichords a more powerful instrument, and more varied in effect, by means of stops and registers, than it had ever been before. Shudi was the inventor of the Venetian swell (patented 1769), which he intended for the harpsichords. When the patent expired this contrivance was generally adopted in England, and becoming transferred to the organ, has remained, ever since, an important means of effect in that instrument. The figure in the plate shows the Venetian swell open, as it would be when the right pedal is put down. There are four registers and six stops in this instrument. Taking them in their order from left to right, we find on the left-hand side, the “lute,” the plectra of which pluck the first unison string, near the wrest-plank bridge, and give a more reedy sound than is obtained from the usual striking-places; the “octave,” which, as its name indicates, acts upon strings tuned an octave higher, which are of shorter length, ad lie below the others; and the “buff” (sometimes called “harp”) stop, which partly mutes the second unison strings throughout, by the contact of small pads of leather. On the right-hand side are the first and second rows of unison strings. The upper key-board has the first unison and lute only, while all the registers come under the player’s control on the lower key-board. The machine stop, at the left hand of the key-boards, permits an agreeable change to lute and buff (harp) by using the left pedal and both sets of keys. Kirkman appears to have arranged his left-hand stops differently—buff, lute, & octave. The dimensions of the harpsichord here drawn are 8 feet 9¾ inches in extreme length, and 3 feet 4 inches in width at the key-boards. The great width of this key-board of the modern pianoforte renders it impossible, in designing one, to reproduce the special grace of the harpsichord.

Among composers, those who have best understood the genius of the harpsichord have been Handel and Scarlatti. The former, which his famous Air with variations in D Minor and the Presto following it, summed up the history and techniques of the instrument, as far as it was then known. Scarlatti found such new features to display in technical contrivance and effect, that we are still attracted by an individuality, the originality of which is, as yet, untouched by time. The only parallel instance, although resembling in no other way, is that of Frédéric Chopin as a composer and performer on the pianoforte.

With the harpsichord went out the figured bass accompaniment, or through-bass, that, for two hundred years, had been the foundation of a correct musical education. By degrees the training for technique and memory came to occupy that attention with pianoforte players which had been devoted to developing the fluency of improvisation expected from the harpsichord player.'

1929 Oval Window Model A Business Coupe

'A historic 1929 Ford Model A Oval Window Business Coupe. This particular Oval Window style coupe (also called Businessman’s Coupe) was a rare one year production. In fact, it is actually believed to be offered for sale by Ford during only a two month period in the summer of 1929. It has also been stated that Ford “believes” up to 800 were made in conjunction with a large business fair that was being held in Los Angeles.

                                                

This car has been preserved by a single owner since his purchase as the third owner in the summer of 1957. It was his first car and he paid $74 for it, which was a ton of money to him at the time. Yes, it is fully paid for now. He kept this and all of the cars in his collection in excellent condition and always stored them inside with climate control.

 

The engine is a flat 4 with approximately 2,500 miles on it since it was completely rebuilt and balanced. A genuine and period correct Ford manifold heater was added. This car has a 3 speed manual gearbox. The engine runs properly and shifts through all gears as it should. The steering and mechanical drum brakes are also up to par. It is not ready for the Grand Prix, but, will get you around where you need to go with confidence. 

The original gas tank in front of the windshield rusted and is part of the dash. The new gas tank has been discreetly installed at the feet of the rumble seat and without close inspection appears like luggage. This old car has a rear mounted spare. The body and fender paint is good with minor weathering and a chip in the driver’s side rear. 

The top is in excellent condition both inside and outside. The interior is also very presentable and well preserved. There is a marble shift knob, fire extinguisher, and manual choke in dash. The two levers are idle speed and timing advance well.

This collector piece would be perfect for driving whenever the mood or event appears. '