Quantcast
Channel: oz.Typewriter
Viewing all 1889 articles
Browse latest View live

One Last Postcard from Pete Seeger

$
0
0
I was thrilled with the responses to my posts on Pete Seeger and Woody Guthrie, following Pete Seeger's death. emails came from some of the authors I had cited, including Ronald Cohen, who had been alerted to the posts by Will Kaufman. Another welcome comment came from Ed Darrell, host of the always informative and interesting Millard Fillmore's Bathtub website ( I love that title). Ed, like me, is "striving for accuracy in history" - so hard to find these days! (By the way, Ed, there was identifying information with that Pete Seeger at a typewriter photo: it was taken by Rowland Scherman at the Newport Folk Festival in 1963.) I was especially pleased by Ed linking to my Lion Sleeps Tonight post. Talk about striving for accuracy ... 
Ed also linked to Postcards from Old Pete. By coincidence, Ronald Cohen sent me an image of what must have one of Pete Seeger's last postcards. As Ronald said, "It sums up his life, always caring and studying and thinking":
SONNET 65
Since brass, nor stone, nor earth, nor boundless sea,
But sad mortality o'er-sways their power,
How with this rage shall beauty hold a plea,
Whose action is no stronger than a flower?
O, how shall summer's honey breath hold out
Against the wreckful siege of battering days,
When rocks impregnable are not so stout,
Nor gates of steel so strong, but Time decays?
O fearful meditation! where, alack,
Shall Time's best jewel from Time's chest lie hid?
Or what strong hand can hold his swift foot back?
Or who his spoil of beauty can forbid?
O, none, unless this miracle have might,
That in black ink my love may still shine bright.

–William Shakespeare


Il Cielo in Una Stanza (A Room in the Sky) Must Have a Typewriter

$
0
0
I just love this image. It is of Italian musician and singer-songwriter Gino Paoli in his home in Milan in 1971. Paoli (born in Monfalcone on September 23, 1934) has written a number of songs widely regarded as classics in Italian popular music, including Il cielo in una stanza, Che cosa c'è, Senza fine and Sapore di sale.

When you are here with me
this room has no more walls
but typewriters
infinite typewriters
that vibrate for you and for me
up in the immensity of the sky.
Is that a Morepork, by the way?


Willie Dobson's Masterful Underwood Typewriter Designs

$
0
0
Image from Leaping Lemming of Coeur d'Alene, Idaho
In a comment on my post about the Underwood Master Model, Donald Lampert asked if I knew who designed it. At the time I didn't and, with apologies to Donald, I should have checked that out before posting. But I would have guessed Willie Dobson, and as it turns out I would have guessed right.
Dobson's April 1937 mask design. The Master Model did not appear until 1939.

Dobson continued to work on the Master in January 1938 (above and below).

But the basic inner frame for the Underwood standard, used on the Master, was designed in March 1919 by another great Underwood design engineer, Prussian-born William Ferdinand Helmond (August 1871-).
From November 1929 to the end of 1934, Underwood Noiseless standards were made by Remington, but in May 1933 Helmond began to design Underwood's own Noiseless model, which was made until 1946 (the Noiseless portable came from George Gould Going at Remington). 
A Remington-made Underwood Noiseless: Image from myTypewriter.com
The mechanics of the Underwood-made Noiseless were designed by Dobson in December 1934, just before production at Hartford, Connecticut, began:

Dobson is possibly best known (at least by me) as the designer of the Underwood Universal-Champion portable, starting in March 1936, but this model was just one of many typewriters he designed for Underwood. Others include the gorgeous version of the earlier four-bank portable, with the indented front sections (March 1931). Bear in mind that Dobson did not just design masks for Underwood, but all the mechanics as well
Image from myTypewriter.com
William Albert Dobson was born in Tolland, Connecticut, in November 1870. He started working in Hartford as a toolmaker, then as an automobile engineer. Dobson went to work for Underwood as a toolmaker after World War I and rose through the ranks to become Underwood's factory superintendent in the late 1920s. In his later days he remained with the company as a typewriter engineer. He died in 1958 and is buried at the Walnut Grove Cemetery Meriden, New Haven, Connecticut.
"Jake" Neahr (centre)
Getting off the subject of typewriters themselves, I just love this stand designed in 1921 by Jacob Eugene Neahr (1862-1935), Underwood's long-serving general sales manager, for the Underwood 3 portable. Has anyone ever seen one?

Early Australian Typewriter Display Advertising

$
0
0
This undated New Century Caligraph ad was certainly not the first typewriter display advertisement to appear in an Australian newspaper. It was probably published in 1899, the year the New Century Caligraph was being heavily promoted in newspaper advertising campaigns across this country.
The Freeman's Journal, Sydney, May 20, 1899
By that time, typewriter display ads had been appearing in newspapers in Australia for almost 16 years. But the Caligraph was definitely the leading brand in this field. It had had the honour of having the first typewriter display ad in this country, in December 1883. 
But back to the beginning ...
The first typewriter advert to be published in an Australian newspaper was the one above, which appeared three times in the South Australian Register in Adelaide from September 7-9, 1875. On September 6, Adelaide merchant George Witherage Cotton had exhibited the "American type-writer" (Sholes & Glidden) to an impressed audience at his offices in the Queen’s Chambers, 19 Pirie Street, adjacent to the Adelaide Town Hall. The typewriter had arrived directly from the US two months earlier.
George Witherage Cotton (1821-92)
Four more Remington-made typewriters ordered by Cotton came from New York through London and arrived on the City of Berlin on February 18, 1876. One of the typewriters imported by Cotton was seen in Adelaide by a young visiting Englishman, William James Richardson, an event which led directly to Richardson introducing Charles Spiro's Columbia and Bar-Lock typewriters to Britain, introducing typewriters to the British royal family and gaining its patronage, and ultimately to Richardson taking over the Bar-Lock enterprise and basing it in Britain.
The Argus, Melbourne, May 3, 1877
One of the first two typewriters to arrive in Melbourne was imported by William Henry Masters. The two arrived on November 24, 1876, on the steamship the City of Adelaide, from San Francisco through Honolulu, Suva and Auckland. Masters was born in 1843 at Eramosa, Wellington County, Ontario, and subsequently lived in Chippawa in Niagara Falls.
He arrived in Melbourne on the Explorer from Liverpool in England in 1869 and almost immediately set about introducing Australians to the very latest American inventions: first the Nicholson steam-driven sewing machine in 1874, then the typewriter, followed by the Edison-Bell telephone in 1880 (Masters owned the first Melbourne telephone exchange), the electric light (he staged the first floodlit football match played anywhere in the world, in 1879) and finally, in 1888, an electric tram from Thomson-Houston of Boston. 
Illustrated Sydney News, February 3, 1877
In 1859 Alfred Henry Massina joined with William Clarson, Joseph Shallard and Joseph T. Gibbs to form the printing firm of Clarson, Shallard & Co in Melbourne. In 1866 Shallard and Gibbs went to Sydney. They were Australia's first agents for Remington, but lost the agency to Imray and Co in 1885. On October 2, 1890, Gibbs, Shallard & Co was destroyed in a disastrous fire. Irish-born John Francis McCarron (1848-1900), printer and publisher, took over the company name. McCarron died suddenly from cerebral haemorrhage during a polka on June 6, 1900, at the St Vincent's Hospital Ball, Melbourne Town Hall. A. H. Massina & Co installed Victoria's first Linotype machine in 1894.
 Illustrated Sydney News, October 5, 1878
Then came Remington's first challenger, the Caligraph ...
The Telegraph, St Kilda, Prahran and South Yarra Guardian,
December 15, 1883
A year later, in 1884, Stott & Hoare started Australia's first business school, at 80 Elizabeth Street in Melbourne. Stott retains a presence on Elizabeth Street to this day. In 1888 Stott & Hoare took over the Remington agency from Imray and Co.
Company founder Edwin Charles Stott (1861-1932)
The Argus, Melbourne, September 16, 1884
The Argus, Melbourne, May 9, 1885
The Argus, Melbourne, June 20, 1885
The Argus, Melbourne, July 25, 1885
By the end of 1885, Stott & Hoare was also looking for young female typists, becoming the first Australian company to encourage women to take up typing.
Before Stott & Hoare got its hands on the Remington agency, it was held for three years by Imray and Co of Sydney:
The Sydney Morning Herald, September 30, 1885
Illustrated News of Australia, Melbourne, December 25, 1886
The Hall index typewriter had already been selling in Australia for two years when this display advert appeared:

Illustrated News of Australia, Melbourne, January 6, 1886
The West Australian, April 8, 1889
On September 3, 1885, a Hall had become the first second-hand typewriter advertised for sale in Australia, the classified advertising pages of The Sydney Morning Herald becoming the precursor of eBay:
The Hammond first appeared in 1887. There was never an agency in Australia for its main rival, the Crandall.
This very widespread and prolonged advertising campaign took in outposts such as Cootamundra (the Herald) and Portland (the Guardian) from 1886 until 1890.
In 1888 Stott & Hoare took over the Remington agency in New South Wales, Victoria, South Australia and Western Australia,  while in Queensland it was held in 1889-90 by Watson, Ferguson & Co:
The Queensland Figaro, February 23, 1889
The Queenslander, May 10, 1890
November 17, 1888
The Dawn, Sydney, June 1, 1889
Dora Armitage
Meanwhile, our pioneering Dora Armitage was waving the flag for Caligraph:
Dora Elizabeth Robertson Armitage Cooke was born in St Clair, Michigan, on July 14, 1858. She arrived in Sydney from London in 1887, armed herself with a Caligraph, and the following year established the Ladies’ Type-Writing Association. It was a tough start. One company Dora approached replied, “My dear Madam, we have done without type-writing all these years, and think we can do without it longer.” Undaunted, she became a founder of the National Council of Women of New South Wales in 1896 and, in 1899, represented Australia at the International Conference of Women in London.
Dora Robertson grew up on a lumber settlement in Michigan supervised by her Scottish-born father. The family left the US during the Civil War and in 1862 settled in Galle in Ceylon (now Sri Lanka), where Dora’s father opened a branch of the Chartered Mercantile Bank. At age eight, Dora was taken to England to be educated in Bath. She returned to Colombo in 1876. The next year she married Charles Cyrus Armitage, the son of a then wealthy coffee growing family. In 1881, blight struck the coffee crop and the following year the family’s fortunes collapsed. Dora was only 24, with four children, and her hair turned prematurely white with the anguish. She returned to England with her children, but couldn’t bear living with her controlling mother-in-law, so moved in with an aunt in London, a Mrs Traill. When Dora suggested an interest in starting a career as an actress, to make ends meet, Mrs Traill had heart palpitations. The stage was then considered by the well-to-do to be one short step up from street walking. So Mrs Traill went out and bought Dora a Hall index typewriter. It was to change her life. Dora offered one of the first typewriting services in London and then, after making sufficient money and selling off her jewelry, she started her own typewriting office in Birmingham in 1886. In the meantime, her husband had moved from Sri Lanka to Sydney, but had yet again become involved in a failed business venture. The Armitage family paid for Dora to sail to Australia in 1887, in the hope she may be able to support him. In Sydney Dora bought a Caligraph
With money lent to her by Lady Lucy Fairfax, Dora opened her Ladies' Type-Writing Association in the Victoria Arcade, Sydney, on October 1, 1888. Dora’s husband died in 1897, but her efforts for the benefit of working women went on unabated. On her return sea voyage to Australia from the International Conference of Women in London in 1899, Dora sat at the ship captain’s table, and met and fell in love with the captain, Walter White Wingrove Cooke. They married in 1902. Dora sold her Sydney business, returned to England, but continued to campaign for women’s suffrage and social reform. Dora died in 1946, aged 87.
In 1889, the World typewriter made a brief appearance in Australia:
Another business school, the Adelaide Shorthand Institute, was established in 1889 by the Muirden Brothers
The Advertiser, Adelaide, October 28, 1889.
Muirden Brothers was founded by Scottish-born Alexander Muirden, who migrated to South Australia and in 1887 formed Adelaide's first business college, the Adelaide Shorthand Institute. In 1892 his younger brother William (1872-1940) joined him in the business, but Alexander left Adelaide the next year. William combined with William Hogg to operate the Shorthand and Business Training Academy, which provided the earliest correspondence education in the colony, from 1895 teaching country students by letter. In 1900 William Muirden established, as sole proprietor, the consistently successful Muirden College. Mostly begun as institutions to teach shorthand, by the 1890s nearly all business colleges had established typing as a core subject, supplemented by disciplines like book-keeping. By the late 1890s Muirden could boast that his graduates worked in more than 90 per cent of Adelaide's business houses. From 1913 to 1934 Muirden published his Commonwealth Series - widely used and republished booklets on grammar, spelling, and commercial practice for use by students preparing for public examinations all over Australia. Muirden bought Hassett's Business College in Prahran, Melbourne, in 1923, and moved there in 1925 to direct it, as Muirden's Business College (in 1936 the name reverted to Hassett's Commercial College). 
New Zealand-born Betty Caroline Leworthy (1877-1962) trained as a shorthand-typist at Stott's business college in Adelaide. From 1905 she was the founding principal of the Stott's college, which merged in 1912 with Muirden College. In 1920 she opened her own Business College for Girls in Hindmarsh Square; two years later she set up a local branch of Zercho's Business College and in 1923 she managed the Typewriter Co Ltd
The West Australian, April 10, 1889
Welsh-born journalist, editor and Hansard reporter John Rowland Jones (1841-1895) was one of the last convicts to be sent to penal servitude in Australia - as convict No 9783, one of 280 convicts transported on the Hougoumont in 1867-68. Jones was convicted at Ruthin in 1866 for forgery and embezzlement. He was indicted for "having at Denbigh forged and uttered a cheque and order for the payment of 324 pounds, six shillings and 11 pence, with intent to defraud the National Provincial Bank of England".  He was further charged with having "feloniously embezzled the sum of seven pounds, eight shillings and five pence". He had a previous conviction and was transported for eight years. His Ticket of Leave was granted in 1870 and his Certificate of Freedom in 1874.
He worked in Fremantle, Toodyay, Perth and York as a clerk, general servant and a reporter. He was a shorthand reporter (for both the Legislative Council and Legislative Assembly) in Perth from 1872, editor of the Western Australian Times (which was later merged with the Perth Gazette and became The West Australian) in 1880 and as the only Hansard reporter in the colony in 1888-89. 
He built the first house in the Perth suburb of Subiaco, called "Jones's Folly".

World's First Typewriter Repairwoman?

$
0
0
Was Nellie Myra Thatcher the world's first female typewriter repairwoman?
In 1919, the Elmira Arms Company, New York, believed so.
By that time, Nellie had been repairing typewriters of all makes for eight years. The company was the Elmira agent for L.C.Smith.
Typewriter Topicsannounced in 1916 that Nellie had been appointed manager of the company's typewriter department.
In 1919, Typewriter Topics added this item to Nellie's already impressive CV:
Nellie Thatcher was born in Elmira, Chemung, New York, in July 1872, the daughter of newspaper compositor Charles Cady Thatcher (1847-1931) and his wife Almira Caroline Thatcher (1850-1904). After living in Elmira for many years, Nellie moved to Petersburgh, Rensselaer, New York, to be near her older sister, Caroline Thatcher Hubbard (1870-1960), and Caroline's family. She was particularly close to her niece, Myra Hubbard Church. Nellie became a bookkeeper at an orphanage in Troy.
Nellie died, unmarried, at Cambridge, near Troy, on January 24, 1958, aged 85, leaving the bulk of her estate to Myra.




Smith-Corona 2200 Coronamatic Electric Typewriter: More White Smoke Than a Papal Election

$
0
0
Before I get to the ill-fated Smith-Corona Coronamatic 2200 (above), a bit of background on other electric typewriters retrieved last week from my storage shed ...
I clicked on the link Nick Beland kindly sent with his second comment on my Robotron (Erika) electric post - and to my amazement found the Olivetti Lettera 36 for sale on shopgoodwill.com had indeed been made in East Germany. Who knew Olivetti had crept under the Iron Curtain to make its typewriters? And not just any manufacturing plant beyond the Berlin Wall, but the Robotron one.
All this started with what was a casual observation on my part, that the Robotron's carriage looked identical to the Lettera 36's. No wonder I had thought that way. Thanks to Nick's keen eye, we now know they are indeed the same carriage, part of Ettore Sottsass' 1969 design for the Lettera 36.
My aside on the Lettera 36 carriage prompted Nick to recall that he had seen an East German-made machine which looked like a Lettera 36 but had no ribbon cover, which prevented him from positively identifying it. He was naturally curious about the likelihood of an East German-made Olivetti. Then he confirmed his suspicions by finding this one listed for sale:
Above: The East German-made Olivetti Lettera 36 for sale on shopgoodwill.com. Below: My Robotron Erika
Below, my Spanish-made Lettera 36 on top of the Robotron Erika. The carriages are the same, right down to the margin locks and the ridge on the paper guide.
Anyway, I had vowed on my Robotron Erika post to try out more electric typewriters which are stored downstairs, before getting rid of them. And by I should have realised was a portentous coincidence, when I clicked on the link Nick had sent me, there on shopgoodwill.com, alongside the East German-made Lettera 36, was a Smith-Corona Coronamatic 2200.
I had already spotted a Smith-Corona Coronamatic 2200 in a large, heavy case close to the sliding door of my shed. It had looked promising, and when I interpreted the sight of one on shopgoodwill.com as a good omen, I raced downstairs and grabbed it. I like its colours, especially the teal carriage section.
I wondered how I was going to get around the problem of the ribbon cartridge, which I presumed would be dry, but figured I'd be able to work out something, even if only for a very short typecast.
I really liked the arrangement of the carriage release levers being these chromed inserts on the back of the carriage. They felt good, and a good way to move the carriage.
Indeed, I really liked the feel of everything about this typewriter, so much so I was eager to try it out. But the power plug was one of those two-pronged US ones. No worries, said I in my haste, I'll just change it ...
Wait, wait, wait, Robert ... I hear you cry.
Too late! I cry back.
Yes, once again (as I had done some months ago with the Smith-Corona 5TE Ted Munk had helped me fix) I didn't stop to consider the voltage difference.
Gee, this typewriter was typing beautifully for the few seconds I had it operating ... (I wish I'd got a typecast out of it!)
Suddenly, from the left side of the carriage, white smoke started to billow out in large clouds, enough white smoke to signal the election of the next 20 Popes.
The smell filled the room. It was dreadful!
I'd cooked another Smith-Corona typewriter motor.
 Oops! Well and truly fried!
The only outward sign, I later found, was underneath the motor.
Oh well, this was never a typewriter I was going to keep, or to use other than for a short typecast. So I haven't shed any tears over it. Not many, anyway ...
The Smith-Corona Coronamatic 2200 was basically designed by Aaron Charles Zeamer (above; born Colerain, Lancaster, Pennsylvania, June 21, 1915; died Bradenton, Manatee, Florida, September 5, 2006). But the long list of patents under the typewriter stretches back through many developments to Joe Barkdoll's 5TEZeamer had worked with Barkdoll (and Hal Avery) at Groton in the early to mid 1950s. The patents advance to Zeamer's final touch, this 1972 cartridge design (note his initial on the top):

Questions on Typewriters

$
0
0
I get bombarded with questions about typewriters. Perhaps if I used my blog to answer a few of the more regular queries (as well as a few of the more unusual ones), it may stem the blitz a bit.
Please let me stress, these are only my opinions, I don't put them forward as gospel on anything. This is how I feel about these typewriters, based on my own experience (and my own rather pronounced personal preferences).
MY SUGGESTIONS ON THE BEST TYPING PORTABLES
I think the most under-rated portable typewriter, among those readily available on the Australian market, is the later model Olympia SM9, the last metal model to come out of Wilhelmshaven (the one with the orange Olympia circle on the front). I believe these can still be obtained at a good price because not only are they fairly common, but the vast majority of Australian typewriter buyers are completely undiscerning and go for machines in bright colours – pink and purple, for example, followed by red, yellow and orange - rather than out-and-out typability. They probably consider the Olympia SM9 bland in its white and grey colours. But a better designed, better manufactured typewriter of this vintage would be extremely hard to find. It is light years ahead of, say, a Nakajima, or a plastic Olivetti, for the work it does.
Unlike most brands, the later the year of manufacture for the Wilhelmshaven Olympia SM9 the better. So look for a serial number at around 4700000-5500000. The SM9 underwent a number of outer design changes from the early 1960s to the early 70s, but the internal engineering just got better as production processes improved. Quality control does not seem to have been forsaken in pursuit of lower prices. Indeed, Olympia probably priced itself out of the market at that time (the early 70s), because it persisted in using high quality materials in all components. These made it a very stable, durable, reliable typewriter which produced high quality work. But in the marketplace, it couldn’t compete with mass-produced Japanese machines. The price of these benefitted from cheap labour and lighter materials, as well as automated production processes.
Among earlier vintage portable typewriters, a sound pick would be an early model, US-made Smith-Corona 5 Series machine. This line first appeared in 1950. Unlike the Olympia SM9, the Smith-Corona 5 Series did not improve as production continued through the 50s. Quite the opposite. Try to find a machine with a serial number close to 5S 150000-250000, if possible. With the Smith-Corona, production standards did drop off, as SCM tried to compete with Japanese-made machines, which SCM considered to have been “dumped” on the US market at below production costs. SCM portable production moved to Britain in the early 60s – avoid British-made SCM portables like the rabies. They are not in the same class as US-made SCMs.
I consider American collector-historian Will Davis to be the expert in this field – he has certainly had much more experience typing with a far wider range of portables than I have. On his “Best Typers” page, Will ranks the Smith-Corona 5 Series his No 1 pick. See.
As Will points out, the pre-war Smith-Corona Speedline series is also well worth considering, and is recommended. But the refinements made for the 5 Series make it a better line. The Speedline will also be, because of its age, significantly more expensive than a post-war 5 Series typewriter.
I would highly recommend two German lines, the Torpedo 18 and the Alpina, both of which are readily available with QWERTY keyboards. The Torpedo 18 may be found as a Blue Bird, and the Alpina as an Avona or AMC.
With the Torpedo 18, preference should be given to the post-war version. The pre-war Torpedo 18 is also an excellent typewriter, though not so easy to find with a QWERTY keyboard. The post-war improvements, with somewhat superior engineering and production standards, and a much better in-store finish, make this range of the Torpedo 18 almost impossible to beat. It’s a typewriter, properly looked after, that won’t let you down.
The Alpina is one of those brilliant post-war German typewriters that came from what I describe as “boutique” factories – the very opposite to Nakajima. The Alpina shows all the hallmarks of precision engineering and non-production line manufacturing.
Another good example of this is the larger Voss, but to own one of these in Australia would almost certainly mean importing it from Germany. The extra expense would be worth it, but one may need to grapple with a QWERTZ keyboard. Likewise, a late 1930s Groma N, or a Urania from the same period, both top typers.
The post-war East German Optimas and Erikas, and Rheinmetalls from either the pre- or post-war periods, are sturdy, reliable machines which produce good work.
Also recommended is the Hermes 2000, of any vintage, which is another highly under-rated typewriter. I even rate the 2000 above the 3000, and way above the small Baby (or its multitude of variations)
Most of the typewriters I have recommended above (with the possible exception of the Erikas and Rheinmetalls) are what are more aptly called “semi-portables”, as they are generally higher and heavier than genuine “Reiseschreibmaschinen”.
I would class any pre-war Royal as a true portable, and a really worthwhile buy, but Royal portables got much bigger in the 1950s. The immediate post-war Quiet DeLuxe is an outstanding typewriter.
Of the truly small typewriters, the best I have ever used is a post-war Erika 9, made in East Germany by what became known as Robotron. This very basic model is light and compact but produces really excellent work. It evolved from the pre-war Erika Model M“master class” portable, an outstanding machine which is far more elaborate but nonetheless a good investment.
Almost all German-made portables, of any vintage, have their virtues, some more than others. Post-war Adlers, such as the Gabrieles and Contessas, are generally reliable and good typers, as are Triumphs (in the late 50s merged with Adler). Some sound typewriters also came out of Czechoslovakia (Consul) and Bulgaria (Maritsa) and these are easy to obtain in Australia. Of the Italian typewriters, any Olivetti from the pre-war MP2 and Studio 42 and up to and including the Lettera 22 and Studio 44, or an Olivetti-made Invicta, is good. It’s possible to strike it very lucky with an early 50s Everest (as it is, say, with the small German Adler Tessy). But avoid Antares, Montana or IMC.
In the main, I also avoid British-made portables, although some of the Imperial Good Companions made between the end of the war and up to (but excluding) the Messenger are good typewriters.
Underwood produced many excellent portables from the 1920s through to the mid-1950s, but if buying an Underwood, ensure it was made by Underwood in the US, not by Olivetti, post-1960. Generally speaking, to own a good US-made Underwood in Australia, especially from the post-war period, it is necessary to import it from the US, which can be expensive.
For a truly great vintage portable, it is very difficult to go past any Remington made between 1921-1941. The very small machines, from the Model 2 through to the Envoy, are, in my experience, superb typers. But, as a former journalist, I am biased. My first preference will always be toward the very basic, lightweight, compact machines, even ahead of the Olympia SM9, Torpedo 18, Alpina or Hermes 2000 (although the last-named is one I could image myself taking on travels). As for Remington, after 1941, pretty much forget it, especially if it is British or Dutch made.
If one must buy Japanese, buy Brother. And don’t buy a Chinese-made typewriter under any circumstances. Also, as a general rule, avoid anything with a Litton symbol on it, even if it was made in Portugal. 
ONE 'TYPEWRITER' I WOULD NEVER RECOMMEND
I'm not sure whether this German correspondent was trying to take the mickey out of me or not, but here is the exchange:
Q: I'm interested in the typewriter attached to this email ... Do you know how I could come by a sample page written with this TW? Do you think it is any good for occasional letter writing and writing poetry? I'm aware that it is marketed as a toy. Nevertheless, I love it! I can't find this info on the Internet!!!
A: This is a Barbie typewriter. My model types in upper and lower case letters, but most toy typewriters do not (caps only). It is fully plastic, including the carriage, keys and segment, so it is not meant for heavy, even occasional adult use. You’d be lucky to get a sample page written on one. For the reasons mentioned, you very rarely get good alignment or paper grip (see sample below). Replacement ribbons are obtainable but not readily so. Among "real" typewriters, a similar design can be found in the Olympia Traveller C in cream, more recently re-marketed as the Royal Scrittore II in black. Both are Chinese-made and not great typewriters, but still far better than the Barbie.
R: Thank you very much! I find the typewriting beautiful. It might suit me well for some short poems. Do I understand you right that you think it might break after writing one single page? That would be a shame. Please understand that I find this Barbie typewriter the most beautiful typewriter I have seen. The one suggested by you doesn’t come anywhere close. This of course only pertains to my special flavor. Any other suggestions for sparkly, colorful or cute typewriters? Do you happen to know the model name of this one:
What do yo reckon? Maybe I should now suggest something FUNKY and ATOMIC? In purple? A KMart Nakajima?
PS: Cash Busters in South Australia listed a Petite toy typewriter as a real typewriter on eBay last week. The seller ignored me when I pointed this out. The item didn't sell.
HUNTER S.THOMPSON'S LATER TYPEWRITER
Richard Polt asked about the later typewriter seen in the images I posted of Hunter S.Thompson last week. I have found an image offering a closer look at the typewriter. Can anyone identify it?

Seven Rare, Valuable Typewriters For Sale

$
0
0
OK, so here’s the situation. I’ve hit the wall financially. I have to sell some of my most precious (to me, anyway) and valuable typewriters, quickly.
B U T … don’t get the wrong idea. This is not a “fire sale”. I have spent a lot of money on these typewriters and wouldn’t be “giving any of them away” for less than what they’re truly worth.
So anyone genuinely interested in any of these seven typewriters - make me an offer I can’t refuse.
If anyone is interested in another typewriter (not listed here) that they are aware I own, don't hesitate to make an offer on it. It doesn't cost anything to ask.
But please don’t insult me while I’m down.  Make it a serious offer. Contact me at oz.typewriter@gmail.com




 Animal keyboard
 Music keyboard




The Typewriter that Solved the Chalk Farm Blazing Shed Murder Mystery

$
0
0
This typewriter (a Remington?) looks very much the worse for wear after the rented London suburban garden shed in which it sat on a wooden desk was torched on a deep winter's evening on Tuesday, January 3, 1933.
A candle had been lit among the papers strewn across the floor beneath the desk. Paint and oil had been splashed over the paper, the typewriter, the desk and the high stool which stood in front of it.
When firemen had finally doused the blaze at 30 Hawley Crescent, Camden*, they found sitting at the typewriter were the charred remains of a man.
The typist: Samuel James Furnace
Police believed that man was father-of-three Samuel James Furnace, a 39-year-old Camden Town jobbing builder, and that he had ended his own life because of mounting debt.
They were soon to be proved wrong.
Found on the platen, surprisingly unharmed by the fire, was a suicide note which had certainly been typed by Furnace. It said, "Goodbye all. No work. No money. Sam J.Furnace."
That the typewriter had shielded this note from the flames around it helped unlock what British newspapers at the time dubbed the "Chalk Hill Blazing Shed Murder Mystery".
With a label like that, the Fleet Street Press had no doubt taken their cue from some of Agatha Christie's stories. And Christie repaid the compliment, working into one of her murder mysteries the bizarre truth of how a bullet-riddled young rent collector Walter Spatchett - and not Furnace - came to die in that shed.
The credit for unravelling the Chalk Hill Blazing Shed Murder Mystery has gone to St Pancras coroner William Bentley Purchase, who began to suspect something didn't quite add up after police announced that Furnace had suicided. But the fact that Furnace's typed note had survived the fire was critical to cracking this famous case.
When Purchase, closely inspecting the note, decided he should have a look at the corpse, he found the teeth of a much younger man (Spatchett was 24**), and a man with three bullet holes in his back below his right shoulder. A man with a post office savings book in his pocket, belonging to Spatchett, of 43 Dartmouth Park Road, Highgate.
Furnace, meanwhile, had scuppered to Southend-on-Sea. There he contacted his brother-on-law, Charles Tuckfield, asking for money and clothes. Tuckfield told police and on January 15, 12 days after his faked suicide and murder of Spatchett, Furnace was arrested.
Bear in mind these reports appeared AT THE TIME of the murder.
Subsequent stories have got this vital detail completely wrong.
But Furnace escaped the gallows. In case of just such an emergency, he had taken the precaution of sewing a bottle of hydrochloric acid into the lining of his coat. And in a holding cell at the Kentish Town police station on January 16, he swallowed the spirits of salts and was found in a writhing heap on the floor. He died the next day. His last words were, "My dear wife". He didn't type them.
Sam Furnace
*The shed, which Furnace used as an office, was right beside where the BBC MTV Studios (17-29 Hawley) are today.
**The ages of the two dead men are incorrect in previous reports; Spatchett was born in April 1908; Furnace in April 1893.


On This Day in Typewriter History: Anton Demmel's Olympia SF Portable and its 'Two-Fold Increased Velocity' Type Action

$
0
0
PART 247
February 26
(Picking up from Part 246, February 25, 2013)
1963 Splendid brochure
On this day in 1955, Olympia's lead typewriterdesign engineer Anton Demmel patented in Germany his revolutionary "typebar actuating mechanism" for his ultraslim 7.5cm (2.95 inch) high Olympia SF (sehr flach = very flat; not schreibmaschine flach, as commonly held) portable. The invention was patented in the US in October 1958.
Demmel claimed that previous efforts in changing the transmission ratio of the lever systems of ultraslim portables had not obtained "the optimum striking velocity". So he came up with a different way of doing it (described in detail below).
The SF portable (seen above) was launched in 1956 and two years later became the Splendid series (33, 66, 99). The mask for the Olympia SF De Luxe portable which is nowadays most commonly referred as the SF, with the same typing action but a sloping ribbon spools cover (below), was designed by Demmel in 1959 to be part of the new line of Olympia typewriter designs which included the SM7 and SM8 (and later the SM9).
The later SF. What we call now the Splendid was the original SF.
Demmel described the typing action thus:
"The invention is particularly designed for use with typewriters having a very low construction - that is, those known as portables wherein the key levers are coupled to their respective typebars by means of connecting levers and drawbars. In general, the connecting levers are each mounted for pivotal motion on an axis intermediate the ends of the lever, thereby establishing two lever arms, one such arm being coupled to the associated key lever, and the other arm being pivotally connected at its outer end to one end of the drawbar, the other end of the latter in turn being pivotally connected to one arm of the pivotally mounted typebar, the other arm of the typebar carrying at its outer end the type (slug).
"With typebar actuating assemblies of the kind above referred to, efforts have been made to impart to the typebar, during the last portion of its operating or striking stroke, the greatest possible acceleration in order that the type shall strike the paper with the highest possible velocity and momentum, thereby assuring sharp and dark carbon copies even when several sheets of paper, or thick paper, is used. A secondary advantage inherent in high speed typebar actuation is that it enables a corresponding increase in typing speed.
"In order to obtain a high striking velocity for the typebar it has been suggested in the past that means be provided for changing the transmission ratio of the connecting lever as a function of the change in lift imparted to the lever by depression of the key lever. However, so far as is known, the previous constructions have been limited to arrangements wherein it has been possible only to progressively shorten the effective length of that arm of the connecting lever at the side of the pivot axis connected to the key lever.
"The effective length of the other arm of the connecting lever at the opposite side of the pivot axis and which is connected to the drawbar remained constant. Due to the relatively slight maximum amplitude of key lever motion permissible in typewriters of the so-called low construction or portable kind, to bring the typebar from its rest position into the striking position, the prior suggested arrangements for changing the transmission ratio of the lever system do not obtain the optimum striking velocity for the typebar to be accelerated.
"The principal object of the present invention is to provide an improved arrangement for increasing the velocity of the typebars with increasing displacement of the respectively associated key levers, and is characterized by the fact that the connecting levers between the key levers and typebars are mounted for rotation on an axis the position of which changes progressively in such manner that the distance between the instantaneous pivot axis of the lever and the point of connection to the key lever is progressively shortened, while the distance between the instantaneous pivot axis of the connecting lever and the point of connection to the drawbar is simultaneously progressively lengthened. "The net effect is a compound or two-fold increase in the velocity of the typebar during its stroke. One such increase is due to the progressive increase in angular velocity of the connecting lever about its pivot axis and the other increase arises from the progressively increased rate of displacement at that outer end of the lever arm which is coupled to the drawbar, for a given change in angular displacement of the lever about its axis.
"A more specific object of the invention is to provide for a progressive shift in the axis of rotation of the connecting levers according to the arrangement described in the preceding paragraph wherein each connecting lever is provided with a closed arcuate slot intermediate its ends through which a shaft extends and which establishes a pivot axis for the connecting levers, the longitudinal axis of the slot being disposed generally parallel with the longitudinal axis of the relatively straight connecting lever, and the lever being shifted, during its pivotal movement, generally longitudinally of itself on the shaft from one end of the slot to the other, thereby effecting a progressive decrease in the effective length of the input lever arm to which the key lever is connected and a simultaneous progressive increase in the effective length of the output lever arm to which the drawbar is connected.
"Thus the advantage of the particular novel connecting lever arrangement permits acceleration of the typebar to the greatest possible velocity which heretofore has been impossible to achieve with prior known constructions under comparative kinematic conditions and equal lift of key. Moreover, application of a typebar actuating mechanism in accordance with the present invention makes it now possible to achieve likewise advantageous striking and acceleration effects even for a typewriter of the so-called low construction with its inherently restricted number of working parts, although such effects were hitherto obtainable only in larger office machines with their essentially more ample operating mechanisms."
Demmel referenced two previous US patents, from De Witt Clinton Harris for a "typewriter action" in 1922 and Hugo Benzing for a "typebar actuating means" for Seidel & Naumann in 1932.
Also on this day, in 1935, Berthold Baumann applied for a US patent, assigned to Triumph, for a silent carriage return device which "diminished" the "disadvantage of an irregular [left-hand] margin, which occurs with the known devices". In various [existing] constructional forms, Baumann claimed, "spring-loaded pawls are used, which engage in ratchet wheels and are brought into and out of operation by friction members or similar arrangements. In these there is always the disadvantage that the left-hand margin becomes irregular, because the detents [a device used to mechanically resist or arrest the rotation of a wheel, axle, or spindle] or the loose pawl frequently do not engage with certainty at the right moment, so that the first letter of the line is typed in the second or third place. This invention adopts an entirely new way, making use of the known free-wheel arrangement in which small rollers balls make or break the connection between the ratchet escapement wheel and the toothed wheel of the carriage. This makes the device independent of springs, which become fatigued in the course of time, and of friction."
It is interesting that my last post in this series, a year ago, was about typewriters used by English writer Somerset Maugham. Just yesterday, by chance, I came across this image of American writer Glenway Wescott (1901-1987) using a typewriter in Maugham's house in 1942.

On This Day in Typewriter History: 'Hillardized' Underwood Typewriters - The Treatment from Archibald MacLeish's Uncle

$
0
0
PART 248
February 27
Frederic Whittlesey Hillard
On this day in 1919, Frederic Whittlesey Hillard first applied for a US patent for the process which became known the next year as "Hillardizing" Underwood typewriters. Appropriately, he assigned the patent to his own Typewriters Hillardized Inc.

Hillard's Yale obituary shows he was an uncle of famous American poet, writer and the Librarian of Congress Archibald MacLeish*:
Hillard wrote of his invention that it was "an improvement in anti-friction or ball bearing supports for the carriage of a typewriter. The improvement is herein illustrated as applied to the well-known Underwood typewriter, for which instrument it was particularly designed, but this is illustrative only, as the invention has wide application and is not limited to any special form of machine, but applicable generally where the other features of construction and operation permit. The chief object of the invention is to secure an easy running and rapid feeding carriage in a visible typewriting machine and at the same time provide a carriage which may be readily swung upward that the parts of the mechanism thereunder may be readily inspected, repaired and cleaned. This swinging movement of the carriage also is an advantage in that the writing may be inspected practically to the last line on the sheet and the operator by so swinging the carriage can readily tell just how much space is left at the bottom of the sheet or card."
I covered much of Hillard's typewriter-inventing career in a post in this series in August 2011. In all he was issued with 29 typewriter-related patents during a 31–year period between 1897 and 1928. Hillard’s sister, Mary Robbins Hillard (below; 1862-1932), of Middlebury, Connecticut, to whom Frederic assigned three patents between 1915 and 1921, donated Frederic’s papers to the Connecticut Historical Society, where they are still held. Some 150 of his letters relating to his patents for typewriters and typewriters parts, covering 1902-1931, now rest in Hartford.
Typewriter history, however, has not been kind to Hillard, who is perhaps best remembered for a failure - a lost March 1911 court case:
In the earlier 1909 decision:
In 1908,  Hillard was also involved in a patent infringement case against the Fisher Book Typewriter Company in the Federal Supreme Court. Fisher issued a petition for a writ of certiorari to the United States Circuit Court of Appeals, which was denied. A writ of certiorari means an order by a higher court directing a lower court to send the record in a given case for review. This case ended Hillard’s association with the book typewriter. Twelve of Hillard’s 29 patents were related to the Elliott book typewriter. Hillard began working with Walter Platt Hatch in 1894 when the assignee was known as the Elliott and Hatch Book Typewriter CompanyHatch had jointly developed the book typewriter with George Crawford Elliott. Hillard continued to work on improvements for this machine when the assignee became known as the Elliott-Fisher Company. The change of company name occurred with Robert Joseph Fisher’s involvement in 1903. Later Underwood bought out the concern, so the machine became the Underwood-Elliott-Fisher.
After the "Hillardizing" exercise, Hillard went on in 1922 to develop "flexible paper fingers" for the Underwood, a troublesome venture which almost brought about Hillard's premature death.
Here is an insight into Hillard's attitude on labour relations:
*Hillard's nephew, Archibald MacLeish (above, 1892-1982) was born in Glencoe, Illinois. His mother, Martha "Patty" MacLeish (1856-1947), Hillard's sister, was a Vassar garduate, college professor who served as president of Rockford College. 

Typewriter Update, February 2014

$
0
0
This blog turned three-years-old today. This is its 1477th post. In about three weeks' time it will reach one million page views, and then the brakes will go on rather abruptly. This is the last monthly Typewriter Update.
 BLICK ON STAGE, 2014 
This electric Blickensderfer patent schematic will be used by theatre students at Duke University, Durham, North Carolina, to publicise April's staging of Machinal, by Sophie Treadwell. The play was inspired by the real life case of murderer Ruth Snyder, a secretary whose life was dictated by others. She murdered her oppressive boss-husband in the 1920s and was ultimately executed in the electric chair. The students say the "typewriter is a symbol of her lot in life". 
 CORONA ON BROADWAY, 1922 
CORONA INSPIRES ELOQUENCE
Dean Jones waxed eloquent but put a starting price of one cent on this chromed Corona. It still fetched $651 on US eBay, after 80 bids. Dean wrote at least a couple of thousand words in his listing description, but what I'd like to know is this: Is it the same chromed Corona we used to type in at Herman Price's Typewriter Collectors' Gathering at the Chestnut Ridge Typewriter Museum in Fairmont, West Virginia, last October?
Paul Robert types in
BROTHER SIGNATURE?
A correspondent asked me if this Brother had a model name. I only know it as a Montgomery Ward Signature (variously the 088, 510D and 513, which the Japanese label the Model S-513).
Another correspondent very kindly sent me this photo of her aunt in a typing contest in London in the early 1930s.
MISS REMINGTON IN RIO, 1911
Yes, it is definitely she
Copied by Underwood? No, this is the All-Time Miss Typewriter!
HANDS UP
Hands up the Typospherian who posed for this Underwood ad. Just curious ...
IN THE NEWS
International Typewriter Appreciation Month got a mention in the Style Blog ("I Still Miss My Typewriter") of The Washington Post last week. The item began, "There’s something a little plaintive about this obscure annual observance [ITAM]. It’s a reminder of the charm (and - be honest - the frustration) we gave up to enter the computer age." The photo with the blog was taken in December 2012 of a visitor to the WBS70 Apartment Museum in Berlin's Hellersdorf district. WBS70 refers to the 70th series of concrete slab construction first used in East Germany in 1973. The apartment museum is furnished entirely with original East German fittings, including the Robotron (Erika) typewriter being used here. The museum opened in 2004 when massive renovation schemes were about to be implemented in the area. It stands as a living memorial to everyday life and design in the former East Germany.
Wot? No typewriter, Bill?
Bill Wundram (above) filed a column from Engelwood, Florida, for the Quad-City Times, headed "Tales from a Battered Typewriter". "My wife was clearing the shelf of our guest room closet here in Florida. It was stuffed with blankets and faded beach towels. She called out, 'What is this?' Hidden in a dusty corner was a flat, gray object. It was my tattered old Smith-Corona portable typewriter. It was an ecstatic moment for me. It was the one I had used, many years ago, when I was traveling almost around the world on those 'I'm With Bill' cruises that this noospaper used to sponsor. This was before email, so nightly I typed my columns in our stateroom. Helen lost sleep because the dinging bell at the end of each line kept her awake. I would take my typed copy to the radio shack on the cruise ship, where the radio operator would send it to the Quad-City Times. What tales that typewriter could tell ...". The rest of the column is here
Magda Abu-Fadil, director of Media Unlimited in Lebanon, posted an interesting blog story titled "Of Telexes, Typewriters and Old-Fashioned Journalism" on the Huffington Post website. "What is it about telexes and typewriters that makes so many of us wax nostalgic?" she asked. "There's been a spate of articles lately extolling the virtues of those magnificent machines one usually sees in museums, and occasionally in people's homes or offices. I was amused when Pascal Taillandier, the editorial production manager at Agence France-Presse (AFP), posted a picture on LinkedIn of a man punching a telex tape in the back of a van as curious children looked on through the open doors. The 1969 black and white photo in the Spanish town of La Carolina was part of a series marking the 75th anniversary of Spain's EFE news agency. It took me back many years [to] when I filed stories from various capitals via telex for UPI and AFP and reminded me of the infernal noise it made."
Also see "Silence of the Typewriters" at The Hindu.
'UNBROKEN' and the BROKEN TYPEWRITER
Angelina Jolie and Louis Zamperini
Angelina Jolie is wrapping up the filming in Australia of the movie Unbroken, a war drama scripted by Joel and Ethan Coen and based on the New York Times No 1 bestseller by Laura Hillenbrand (author of Seabiscuit)The movie is about Louis Zamperini, who ran for the US in the 5000 metres at the 1936 Berlin Olympic Games (he came eighth) and later became a Japanese prisoner of war. Zamperini, who turned 97 a month ago and is a near neighbour of Jolie in the Hollywood district of Los Angeles, is being played by Jack O'Connell.
In Hillenbrand's 2010 book Unbroken: A World War II Story of Survival, Resilience, and Redemption, the author describes the scene after the Japanese bombing of a tiny Pacific island.
"Funafuti [where Zamperini was a bombardier on a B-24 Liberator bomber] was wrecked. A bomb had struck the church roof,s ending the building down onto itself, but thanks to Corporal Ladd, there had been no one inside. There was a crater where Louie and Phil’s tent had been. Another tent lay collapsed, a bomb standing on its nose in the middle of it. Someone tied the bomb to a truck, dragged it to the beach, and turned sharply, sending the bomb skidding into the ocean. Rosynek walked up the runway and found six Japanese bombs lying in a neat row. The bombs were armed by spinning as they fell, but whoever had dropped them had come in too low, not leaving the bombs enough drop space to arm themselves. The men dragged them into the ocean too. Where the struck B-24s had been, there were deep holes ringed by decapitated coconut trees. One crater, Louie [Zamperini] noted in his diary, was 35-feet deep and 60 feet across. Bits of bomber were sprinkled everywhere. Landing gear and seats that had seen the sunset from one side of Funafuti greeted the sunrise from the other. All that was left of one bomber was a tail, two wingtips, and two propellers,connected by a black smudge. There was a 1200-horsepower Pratt and Whitney engine sitting by itself on the runway; the plane that it belonged to was nowhere to be found.
"Louie came upon a reporter staring into a crater, in tears. Louie walked to him, bracing to see a dead body. Instead, he saw a typewriter, flattened."
Zamperini survived a plane crash in the Pacific Ocean 850 miles west of Oahu, spent 47 days drifting on a raft, reached the Marshall Islands and was immediately captured by the Japanese Navy. He was then held for more than 2 1/2 years in several brutal Japanese internment camps.
BRISBANE TYPE-IN
Typospherians from around Australia will gather under the Story Bridge in Brisbane on the Sunday morning of March 9 to fulfil a promise made at the end of the first Australian Type-In, at the Breakfast Creek Pub in Brisbane on March 10 last year. That is, to meet one year hence and hold the second Australian Type-In!
John Lavery ("mctaggart") at last year's Type-In
NOTHING NEW IN RUSSIA BUYING TYPEWRITERS
From Typewriter Topics, 1920:
FROM RUSSIA WITH LOVE
I think it was my first comment in Russian. In case anyone was wondering about it, it came from Irina Semiletova and was about a post some weeks ago on two Americans caught spying in England for Russia. Irina said, "No country is without spies ... Another thing - to recognise the truth or ignore it. Thanks for the story! All this is sad: born in US, to live a double life in the United Kingdom, and instead of their own island, like Somerset Maugham, not to end up in the most comfortable country."
GRANDFATHERHOOD
I became a grandfather for the first time this week when Isaac was born in Bristol, England, to my son Simon and his partner Nicola.

Wowsers! High and Wide Typewriters

The Rebirth of the Secor Typewriter, 1911-12

$
0
0
The second model Secor of 1911

The first model of 1906: an unmitigated disaster
When Jerome Burgess Secor (1839-1923) set out to revive the fortunes of his typewriter in Derby, Connecticut, in 1910, he had to overturn a four-year history of what he all too readily conceded was:
. A bad typewriter
. Very poor marketing
. Reactionary ownership and management
. Tardy industrial relations, the legacy of a toolmakers' strike in October 1907 over Secor's arbitrary return to a 10-hour day from a nine-hour summer agreement.
It is highly indicative of the low esteem in which Secor was held in the typewriter business in 1910 that Typewriter Topics felt obliged to run this adjoiner sentence to an item about a Yost factory foreman leaving his job to join Secor:
It was certainly some challenge ... but Secor was known to be one of America's ablest engineers. Once he had turned that engineering expertise to vastly improving his typewriter, he then had to develop more assertive business acumen. And he was to prove more than willing to lop heads to get what he wanted. One of them belonged to his original choice as general sales manager, Lee Kingsley. Secor further showed how ruthless for success he had become by headhunting J.Herbert Newport, a former Smith Premier and later L.C.Smith manager in Chicago, to take the sales reins from Kingsley.
Confidence in the new Secor began to rise, and with it the capital stock, from an initial $30,000 to more than half a million. The major backers of the revitalised typewriter enterprise were the Ousatonic Water Power Company (not Housatonic, as stated by Typewriter Topics), represented by dam engineer Daniel Seymour Brinsmade (1845-1912) and his son Daniel Edwards Brinsmade (1874-1956), and Albert Emore Richardson (1844-1919) of Burlington, Vermont, a principal of drug company Wells Richardson, one of the largest drug companies in New England, with offices in Montreal, London and Sydney. Richardson put his son Frederick Albert Richardson (1873-1943) in charge of the totally revamped typewriter organisation. The vice-president was Charles Nelson Downs (1859-1924).
With the groundwork done to ensure Secor could turn around his previous misfortunes, the new Secor typewriter was launched in April 1911:
At first it was thought Secor had recruited Newport to work under Kingsley. But just before the launch of the new model, the typewriter industry was stunned to learn Kingsley's contract had been terminated:
At the end of the first year of the relaunch, the company reported:
As the second year of the new Secor (1912) dawned:
Unfortunately, the selling battle of the future was all too soon lost. The Secor plant, also once the home of the Williams, was sold in December 1915 to Hudson Maxim's Maxim Munitions.
It is perhaps, then, hardly surprising that Jerome Burgess Secor is far better remembered today as a brilliant toy designer than as an ultimate failure as a typewriter inventor.
Secor was to be described as an "American mechanician extraordinary". But this was mainly because of his "extremely fascinating, extremely ingenious mechanical toys". "Unquestionably, this is largely due to the fame of one of his products, the only mechanical bank which he ever manufactured, the Freedman’s Bank."
Secor was certainly a pioneer of the American toy industry, manufacturing a series of intriguing mechanical toys from 1878 to 1882, "the finest toys of their kind which have ever been manufactured in the United States".
Secor was born at Liberty Village, New York, on October 8, 1839. The family was of French Huguenot extraction. His father, Oliver, was a gun maker, and maintained a gun shop on Avenue A in New York. The family moved to Honesdale, Pennsylvania, where Secor attended Honesdale Academy, then to St Louis and Weston, Missouri, and finally to Peoria, Illinois. Among Oliver Secor's customers, according to family tradition, were Kit Carson and Jefferson Davis.
In Peoria, Jerome Secor built and sold toy locomotives and boats. At 20 he took a job in the model room of a sewing machine factory in Chicago. There he perfected a device to “take up” the tension in the machine, which he sold to the company for $1000. With this he opened his own small factory, but it was destroyed in the great Chicago fire of October 8, 1871 - Secor's 32nd birthday. He moved to Bridgeport, Connecticut, and started the Secor Sewing Machine Company in East Bridgeport. Secor bought half of a double house on West Avenue in Bridgeport and found by chance that the owner and occupant of the other half was Edward Ives, well on his way to becoming America’s foremost toy maker. As a sideline to his sewing machine business, Secor started to manufacture mechanical singing birds in cages. A music box in the base, for which Secor not only made the designs and tools, but also composed the tune, furnished the song. The birds were covered with real feathers and wired to perform lifelike movements in conjunction with the tune.
After financial setbacks in the Panic of 1876, Secor closed his sewing machine plant and turned to toy manufacturing full-time. The Freedman’s Bank at one time sold for $66 a dozen wholesale and about $7.50 retail. Secor also patented a cast iron clockwork locomotive and a small singing bird, or “mechanical warbler”.
Secor went on to work for the Bullard Machine Tool Company and later resumed the manufacture of sewing machines. In 1899, he left Bridgeport for Derby to take charge of the Williams Typewriter Company. He had made the tools for this machine, and also for the American Typewriter Company. Secor took over the Williams company and the last-model 1904 Williams No 6 was made by the Secor Typewriter Company. The last Williams was produced in 1909. Secor created an entirely new machine, his Model 1, launched in 1906.
After the failure of his Model 2, Secor started making small tools and special machinery once more. During the First World War, he made tools for rifle production by Maxim and experimented with a rapid fire gun. He also took up the manufacture of small toys again. He retired in 1919 but still designed new machinery for the manufacture of rubber tires from a small shop in the attic of his house in Derby.
He died on September 18, 1923, aged 84.

On This Day in Typewriter History: George Adam Seib, Perfector of the Remington Visible

$
0
0
PART 249
February 28
George Adam Seib (1860-1933), back right, with William McKendree Jenne (1837-1918), centre front, with stick, on the steps in front of the Remington Typewriter Works, Ilion, New York, in 1912. Jenne, the Remington superintendent who built the first Ilion typewriters, in 1873, was called the "Father of the Typewriter". On the top right beside Seib is fellow typewriter inventor Edwin Earle Barney (1866-1949).
George Adam Seib must be one of the last of the truly great typewriter inventors to be covered in this series.
Notwithstanding the claims made about Seib perfecting the visible Monarch and Remington typewriters in this headlined Brooklyn Daily Eagle obituary of October 27, 1933, Seib deserves to be described as one of the greats by dint of the sheer number of typewriter patents he had held - no fewer than 124! And these were assigned not just to Union Trust machines, including the Densmore, but two of them to Franklin as well.
He applied for one of these patents on this day in 1923. While it was titled as a "typewriting machine" patent, in fact it was, like so many of Seib's 124 typewriter patents, for just a part of a typewriter - in this case the stop bar mountings. 
Still, as the Brooklyn Daily Eagle wrote, "For 28 years ... he was an important factor in the development of the Remington typewriter ..." And that long period of commitment and contribution alone entitles him to a place in the upper echelon of typewriter inventors. Yet it is true that Seib did guide the Remington out of 35 years of the darkness of "blind writing" into the light of modern typing.
As Paul Lippman wrote in American Typewriters, Seib's biggest challenge was, in designing the first Remington Visible (the Model 10 of 1908) "to avoid all existing patents accumulated for front-strokes by rivals over 25 years".
Seib may have seemed to later historians - who hardly mention him, if at all - little more than a bit player at Remington. But Seib clearly played a major role in the considerable improvements made to at least two of the typewriters which came under the umbrella of the Union Trust.
Remington rated Seib so highly that in 1911 he was one of eight officers of the company, alongside president Henry Harper Benedict, Clarence Walker Seamans, John Walter Earle (1854-1916) and Oscar Woodward, all giants of the industry.
George Adam Seib was described as the "developing engineer" of the Remington Typewriter Works in Ilion, New York. He was born in Lambrecht, German Palatinate, on November 4, 1860. His father, also George Seib, was a machinist, born in Germany in 1835, who migrated to the US in 1872, settling in New York City.
George Adam Seib travelled with his widowed father, aged 11, and was educated at Tremont High School, New York City. He went to work at the age of 16 as an apprentice electrician and followed that trade for 18 years. Twelve years of that time Seib was with the J. H. Bunell Company, then he had charge of the experimental laboratories of the North American Phonograph Company for three years, after which he went into business for himself, doing laboratory experimental work and manufacturing electrical appliances. In 1893 Seib accepted a position as superintendent of the Franklin Typewriter Company, to remodel that machine and also establish a plant in Brooklyn.
He remained there until 1902, when he became superintendent of the Remington Typewriter Company, taking charge of the Densmore plant in Springfield, Massachusetts, until 1905, then was made superintendent of the Monarch plant in Syracuse, New York, where he remained for three years.
In 1908 he moved to Ilion as superintendent of the Remington Typewriter Works, to manufacture visible machines, the first of which was put on the market in the autumn of that year.
In his early career Seib also took out a number of patents in motor lines and in household articles. He was a member of the American Society of Mechanical Engineers of the Mohawk Valley, the Engineers Club of Utica and the Engineers Club of Ilion. He was president of the board of trade of Ilion from 1912-15 and took an active part in getting a trolley service on Main Street, and was also active in procuring the early construction of the concrete and asphalt road through Ilion Gorge to Cedarville. He was president of the board of directors of Ilion Hospital and a member of the Municipal and Electric Light Commission since its establishment. He was also a member of the Ilion Housing Corporation. 
Sieb died in Ilion on October 25, 1933, aged 72.
Anyone keen to download the annual reports (and financial statements) of the Remington Typewriter Company from 1914 to 1928 can find them here. Be warned, though, that the PDF is quite large.






On This Day in Typewriter History: The Schmitt Express Bakelite Special

$
0
0
PART 250
March 1
On this day in 1955, Heinrich Schmitt (born 1927), of Frankfurt, was issued with a US patent for his Schmitt Express Bakelite portable typewriter. The patent was assigned to Rudolph Wittich, but the machine itself says it was made by Schmitt KG. I have seen claims that the typewriter was actually manufactured by Merz of Frankfurt (although Merz ended production of its own typewriters in 1939).
Wittich inherited the company Wittich Fertigungstechnik GmbH which Franz Wittich had started in Kamnitz, Sudetenland, in 1918. The business relocated to Bavaria and set up shop in Atzmannsricht. At the time of Schmitt’s typewriter design, it had been re-established to manufacture “rubber vehicles” in Gebenbach. In 1955 Wittich, still based in Frankfurt, himself took over development of the Bakelite typewriter.
Schmitt had first applied for a patent in Switzerland in June 1951, and the machine was first produced in 1952.
See my blog posts on the Express here and here.
In his application, Schmitt wrote, "An object of the invention is to make the bearing frame complete with all bearing points entirely as a plastic pressing, the required mechanical strength and dimensional accuracy of the pressed parts being suitably provided for. A feature of the invention is that the plastic bearing frame is adapted to a vertical layout (that is, in the direction of working pressure) of all bearing and guiding surfaces, without overlapping, in such manner that local accumulations of material or undesirable changes in cross-section are avoided. Another feature is that all the journal and pivot bearings as well as the guiding or bearing surfaces form a statically coherent part of the frame and that the latter is made entirely of a hardenable impact and bending resistant, plastic material in a single pressing operation. Yet another feature is that the bearing points are essentially under-dimensioned, and that transition members in the form of webs connected with the casing walls, are provided to equalize the stress in the direction of the least moment."



On This Day in Typewriter History: Qu'elle est Mignonne!

$
0
0
PART 251
March 2
Qu'elle est Mignonne!
She is so cute!
Was the Mignon typewriter's name inspired by Ambroise Thomas's opéra comique, or perhaps by Mignon Nevada, the Paris-born English operatic soprano, Thomas's god-daughter. Her voice was light and agile, just like the Mignon typewriter.
On this day in 1909Friedrich Heinrich Philipp Franz von Hefner-Alteneck (1845-1904) was posthumously granted a US patent for what we know as the Mignon index typewriter.
Hefner-Alteneck had applied for the patent in July 1902, 19 months before he died at Biesdorf outside Berlin.
Friedrich Heinrich Philipp Franz von Hefner-Alteneck
The birth of this unique but hugely successful German manual typewriter came about in a most unusual way. Allgemeine Elektricitäts-Gesellschaft (AEG) was actually trying to further cash in on the burgeoning German market for electrical goods, and naturally looked into the possibility of an electrically-powered typewriter.
  The first model Mignon 
AEG ran small-scale tests on one option, which was an electrified adaption of the Williams typewriter by an American electrician and inventor called Andrew Turnbull MacCoy (1866-1941), of Dover, outside Boston, Massachusetts. MacCoy had been working on the idea of an electric typewriter since 1893 (and continued to do so for another 40 years).
Image courtesy of Richard Polt
Also involved in this tentative project was the Prussian engineer Maximilian Soblik (1861-1917), the inventor of the pneumatic typewriter. See my posts on Soblikhere and here.
Emil Moritz Rathenau
Unconvinced that this idea had a profitable future, AEG founder (in 1887) and (from 1903) general manager Emil Moritz Rathenau (1838-1915) approached Hefner-Alteneck, who was already on the AEG supervisory board, to come up with an alternative plan. But instead of developing an electric typewriter, Hefner-Alteneck, working from his own home, took a design patented in Germany by Louis Sell in 1901 and advanced it to the manual Mignon.
Image courtesy of Berthold Kerschbaumer
I can't find this suggested elsewhere, but is it possible Hefner-Alteneck had initially set out to turn the Sell design into an electrified-typewriter?
The word "mignon" comes from the Middle French for lover, darling or favourite, from the Old French mignot for dainty, pleasing, gentle or kind. It was the title of Thomas' 1866 opéra comique, which was based on Goethe's novel Wilhelm Meisters Lehrjahre ("Wilhelm Meister's Apprenticeship", 1795-96). The opera was adapted and translated into German for performance in Berlin and remained popular until after the turn of the century. Mignon Nevada (1886-1971) was named after the title character. 
Mignon Nevada
 Wilhelm and Mignon

Traipsing Across the Arid Wasteland of Australia, Heading for a Queensland Type-In

$
0
0
See you under the Story Bridge in Brisbane,
(Kangaroo Point end)
 next Sunday morning, March 9, at 11am.
BYOT.

On This Day in Typewriter History: Li Yutang, Devollo Zelotes Sheffield, T.S.Eliot and the Magic Eye on a Chinese Typewriter

$
0
0
PART 252
March 3
Typewriter Topics, 1910
Typewriter Topics, 1912
Unbeknown, it appears, to Typewriter Topics, a typewriter which wrote in Chinese characters had already been built, in 1897, the year its inventor, Devello Zelotes Sheffield, published a work called The Chinese Type-writer: Its Practicability and Value. Until 1899, Scientific American wasn't aware of Sheffield's Chinese typewriter, either:
From Scientific American, June 3, 1899
Devello Zelotes Sheffield (1841-1913)
Inventor of the first practical Chinese-language typewriter, 1897
(This invention does not appear to have been patented in the US)
It would seem that this typewriter was manufactured in the United States for Devello Zelotes Sheffield by Carlos Holly (May 1, 1838-September 29, 1919), an ingenious and inveterate inventor of Lockport, Niagara, New York. Some publications credit Holly with the invention of this typewriter, but what is known is that he made it on behalf of SheffieldIn 1890 Holly built a large stone building near the canal in Lowertown and operated a general machine manufacturing shop there. He also rented space to other entrepreneurs. In advertising for tenants, he wrote, "The best rooms for any kind of manufacturing purposes in this or any other city. Perfect light, strong floors, reliable power, powerful and safe elevator, perfect closet and all conveniences."Holly later transferred his business to Buffalo, New York, where he designed machines and other items for the F.N.Burt Company Factory. Again, no Holly patent for a Chinese-language typewriter appears to exist. 
This image from a 1920 edition of Typewriter Topics would appear to show a development of Dr Sheffield's "cumbersome" typewriter in use.
It certainly looks more like the Sheffield typewriter than any other Chinese writing machine known to exist at that time.
On this day in 1948, writer Lin Yutang filed a patent application for the "Magic Eye" attachment for his famous "Mingkwai" Chinese language typewriter. By the time the patent was issued, in October 1952, the "Mingkwai" - the "clear and quick" typewriter - had already suffered a clear and quick death.
Nonetheless, Lin is still regarded as the inventor of the first Chinese language typewriter, in 1946. But Lin, who had started working on the idea of a "simplified Chinese typewriter" in 1925, had found in his extensive research on the subject that there were at least two precedents.
D.Z.Sheffield
The first was the work of Devello Zelotes Sheffield, an American missionary in China. Sheffield was born on August 13, 1841, in North Gainesville, Wyoming, New York, and educated at Warsaw, NY. He was a school teacher until 1861, when he enlisted in the 17th New York Infantry in the Civil War. After the war he was principal of Castile Union School and later attended the Auburn Theological Seminary. Sheffield graduated from the seminary in 1867 and that same year was sent by the American Board of Commissioners for Foreign Missions to China, arriving in Tungchow, where he developed the famous Lu He Boys' School. He mastered the Chinese language so well that he could preach fluently in Chinese within a few years. Sheffield was put in charge of the revision of the Bible in Mandarin and Wenli. He also compiled textbooks on history, systematic theology, political economics, moral theology, psychology, political science and other topics. In 1913 he went to Pei-Tai-ho for a rest, suffered a second stroke and died on July 1, aged 71. (*I have cheekily added T.S.Eliot's name to the title of this post. Sheffield's oldest son, Alfred Dwight Sheffield [1871-1961] was married to Eliot's eldest sister, Ada [1869-1943].)
In his article "The Invention of the Chinese Typewriter", published in Asia in 1946, Lin Yutang also mentioned a 1911 invention by a Chiou Hou-k'un. This would appear to be the Heuen Chi mentioned in Typewriter Topics in 1915 (an extensive article about Chinese typewriters, published by Typewriter Topics in the same year, can be seen below). Can someone please enlighten me as to whether Chiou Hou-k'un and Heuen Chi could be the same name? If not, I am on the wrong track here.

New York Times, March 23, 1915
This typewriter was patented in the US by Heuen Chi, and assigned to the Republic of China. The patent for applied for in April 1915 and the patent issued in March 1918.


Lin Yutung's first attempt to build his Chinese typewriter followed 13 years later. In 1931 he was sent to Switzerland as a representative of the Academia Sinica for a linguistics conference organised by the Cultural Co-operation Committee of the League of Nations. From there he went to England with the blueprints of his typewriter and recruited Europe's leading typewriter design engineer of the day, Herbert Etheridge, to build a prototype of his machine. Etheridge is best known for his work on the British Bar-Lock and the Imperial and Torpedo portables.
Lin spent all of his savings on the project and quickly ran out of money. He returned to China with the prototype unfinished.



Finally, on April 17, 1946 - exactly 31 years after Heuen Chi had done the same thing -  Lin filed an application for a US patent for his typewriter. And on August 20 the following year, he and his daughter Lin Tai-Yi got the opportunity to demonstrate a completed prototype to Remington in New York. The 36cm × 46cm × 23cm (14in x 18in x 9in) prototype had been made by the Carl E. Krum Company in NYC. The type was on a covered drum and on top of that was the "magic eye" to magnify and allow the typist to select and review characters. 

The above diagram is from R. John Williams' highly recommended The Technê Whim: Lin Yutang and the Invention of the Chinese Typewriter, which appeared in American Literature, Volume 82, No 2, June 2010, published by Duke University Press. A PDF of the article can be downloaded here. Yes, RP, it mentions Heidegger.
On the morning of his appointment with Remington, Lin's machine wouldn't work!  Mingkwai means "clear" and "quick", and in this first test it was neither. It was fixed for a press conference the next day (August 21, 1947), but Remington did not take up the option to manufacture the machine. Lin had invested 22 years work and $120,000 in the project, much of the money borrowed. He found himself heavily in debt.
In May 1948, Lin signed a contract with the Mergenthaler Linotype Company, which soon found the finished product of such a complex machine would have a retail price tag of $1000 on it. The whole enterprise thus ground to a sudden halt.
Modern Mechanix, November 1947
Lin Yutang was born on October 10, 1895, in the town of Banzai, Pinghe, Zhangzhou, Fujian. His father was a Christian minister. Lin studied for his bachelor's degree at Saint John's University in Shanghai, then received a half-scholarship to continue study for a doctoral degree at Harvard University. He left Harvard early to work with the Chinese Labor Corps in France and then moved to Germany, where he completed his requirements for a doctoral degree in Chinese philology at the University of Leipzig. From 1923 to 1926 he taught English literature at Peking University.
Lin died on March 26, 1976, aged 80, and was buried at his home in Yangmingshan, Taipei, Taiwan. His home has been turned into a museum, which is operated by Taipei-based Soochow University. 
Dr Lin in 1975
1911
1915
1920
1920
1922
Walton's 1924 US patent below:



Are You Up For The Challenge? Brisbane Type-In, this Sunday, March 9

$
0
0
  11am, under the Story Bridge, Kangaroo Point end 
For some odd reason, Scott and Nat seem a wee bit concerned about the ute route I'm taking to get there. My letter to the typewriter owners of New South Wales and Queensland, below, might allay their fears:


Viewing all 1889 articles
Browse latest View live