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Repairing a Blickensderfer Typewriter Case

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This Blickensderfer typewriter case had suffered some severe water damage on the watch of a previous owner. Blick cases are such beautiful things and I hated seeing it in the terrible state it was in. Every time I look at it, I cringed.
Neglect had caused the thin wood veneer to "bubble", break and lift off the core panels. The top sheet of wood veneer had warped completely away from the front section, above the leather handle strap. As well, the panels had seriously buckled in parts. The back of the case and both front edges nearest the handle were the worst affected. 
Would I do any further damage if I attempted to at least partially restore the case? Well, maybe, but anything would be better than the way it was.
As it turned out, the yawning gaps around the edges and elsewhere could be closed, and the wood veneer reapplied to the straightened core panels, with the use of plastic wood and clips. I should have taken a "before" photo, but didn't think about photographing the process until I was more than halfway through it.
Once the plastic wood had dried and hardened, I was able to sand it back, apply a smooth surface of matching wood putty, and colour it with wax touch-up crayon and a darkening coat of tan boot polish. Then I rubbed in furniture polish to give the whole surface a consistent look, and sealed it all off with a satin stain spray paint. I also carefully took the deep rust off the clasps and handle grips with a wire brush on an electric drill.
So it's back looking pretty presentable, even if the top coat is still drying ... Indeed, compared to what it was like, it now looks absolutely fabulous - these "after" photos don't do it justice. One thing I have been able to do successfully over the years is restore typewriter cases, if not always the machines inside them!
I must have just about every size and shape of wooden Blick case by now - but boy, I wish I had one of these:

The $340 million Typewriter

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There appears to be no middle ground when it comes to opinions about the IBM Selectric-lookalike Remington SR-101 typewriter. Typewriter enthusiasts familiar with the machine are either vehemently in favour of whatever virtues it had or regard the SR-101 with the utmost loathing. Comments from an overwhelming majority of disgruntled users range from a mild "unreliable" to "a nightmare" and "horrible quality" to "the SR-101 fell apart from just being looked at. A most terrible piece of equipment!"
One theory has it that the failings of the SR-101 were the result of an IBM "payback". It was claimed Remington had filed a lawsuit against IBM at the time of the launch of the Selectric, in 1961. IBM allegedly settled by agreeing to supply specifications. IBM was said to have "taken their revenge" by delivering altered plans on required materials. "The materials used in the manufacture of the SR- 101 were indeed largely the cause of the machine's many ailments," wrote one critic.
Sperry-Remington released the SR-101 in June 1975:
It was one of the last desperate throws of the dice by the one-proud Remington typewriter company. Within six years of the SR-101's launch, Remington was in deep trouble. In 1978, Remington acquired the proprietary technology for producing the SR-101 from Sperry. The next year Remington licensed this technology to its Dutch manufacturing subsidiary, Remington Rand Business Systems BV. The licensing agreement required Remington BV to pay Remington a royalty of about $50 a typewriter for, among other things, the use of the technology. The licensing agreement also contained a confidentiality clause that required Remington BV to treat all information "with reasonable confidence" and to prevent disclosures to third parties.
During 1980-81, Remington Rand New Jersey was selling these "electromechanical typewriters" under the Remington Rand logo. Remington Rand Delaware, as the parent company, collected royalties on the sale and production of the typewriters. The Remington companies also included two wholly-owned subsidiaries: Remington Rand Business Systems BV in DenBosch, Holland, and Remington Systems Italiana SPA in Naples, Italy. All typewriters sold by Remington New Jersey were manufactured at these two sites: the Naples plant produced virtually all typewriters sold in Remington's North American market, while the DenBosch plant produced typewriters for sale in Remington's other markets.
Two earthquakes that struck first Irpinia east of Naples, on November 23, 1980 (6.89 on the Richter scale), then Ferentino, north of Naples, on January 10, 1981 (4.4), both seriously damaged the Remington plant in Naples. In November typewriter production ceased for five working days. It resumed on December 2, 1980. The second earthquake again stopped operations. Production resumed on February 17, 1981. But on March 25, 1981, the Naples subsidiary was closed as a result of an Italian bankruptcy proceeding that was not related to the earthquakes. As a consequence, Remington lost all control over, and received no more typewriters from, its Italian plant.
Almost concurrently, Remington's Holland plant went into bankruptcy and stopped shipping typewriters. Remington's United States companies also filed for bankruptcy. After the bankruptcy of its European subsidiaries, Remington was not able to locate alternative typewriter production facilities. As a result, the company went into a passive marketing mode in an effort to stretch its US inventory of typewriters until it could switch to an alternative product. In November 1980 it held 32,500 typewriters and satisfied its ordinary sales obligations, selling 5400 typewriters. Inventory increased to 34,000 typewriters in December, 35,052 in January and dipped only slightly to 28,334 in February 1981. But between March-June 1981, Remington's inventory decreased from 27,364 to 11,814 typewriters. Remington was able to acquire 14,500 typewriters from an outside source (Brother in Japan) between September-November 1981.
The company reorganised in December 1981 and changed its focus to the electronic SR-101 typewriter.
In 1984, the Remington Rand Corporation (which changed its name that year to the Kilbarr Corporation; it was also later known as the Pennbarr Corporation) took successful court action in New Jersey against Dutch company Business Systems Incorporated International (BSI), and was awarded damages of $221.4 million for misappropriation of trade secrets in relation to the SR-101.
The damages comprised $4.95 million for injury to the value of Remington's trademark, $38 million in lost royalty payments and Remington's estimate of almost $178 million lost profits from sales of machines, parts and supplies for the time that it would take Remington to develop an alternate source of supply of electronic typewriters. Remington asserted it would have made $209.67 per machine on sales of 100,000 machines per year for eight years.
However, in 1994-95, a US Court of Appeals found against Remington, and questioned the “speculative nature of Remington's unchallenged proffers that were embodied in the first judgment. The findings were based on Remington's unchallenged proofs that:
“(1) it would have needed eight years to find an alternate source of supply [of electronic typewriters].
“(2) Remington would have made profits of $209.67 per machine on sales, parts and supplies; and
“(3) Remington's market share and sales would have remained constant from 1982 through 1989, at a level of 100,000 units per year. Given that Remington was unprofitable and in bankruptcy at the time of the sale, BSI might have questioned the level of Remington's assumed profits. Furthermore, Remington's assumption that it would have sold 100,000 typewriters per year from 1982 to 1989 invites rebuttal based on the huge growth in the use of word processing computers in place of typewriters during that period.”
The litigation focused on the transfer and use of proprietary technology for the production of the SR-101.
After the initial finding, BSI went into insolvency, preventing Remington from collecting the judgment. Remington then won a subsequent judgment, awarding it damages of more than $339.4 million, against Amsterdam-Rotterdam Bank and another Dutch bank, Pierson, Heldring & Pierson. Remingtonasserted that the banks were responsible for BSI's misappropriation of SR-101 trade secrets and were liable for the judgment against BSI by virtue of their complicity in the misappropriation and their control over BSI's defence of the New Jersey litigation.
The jury rejected the claim of the banks that they were protected by releases executed by Remington, finding that the releases were fraudulently induced. The district court held the banks liable for the damages previously found in Remington's suit against BSI, barring the banks from contesting the amount of Remington's damages. Interest of $118 million was added to the original judgment, taking the total to $339.4 million.
The banks appealed against this judgment in 1994-95, saying the district court erred in failing to give effect to the releases executed in their favour by Remington, and in precluding the banks from contesting the amount of Remington's damages. The court of appeals agreed with the banks.
The contracts between Remington and Remington BV provided that Remington BV would manufacture the SR-101 and supply Remington with the typewriters. To provide working capital for this venture, Remington BV obtained loans of $10 million from the banks, secured by liens on Remington BV's assets.
Both Remington and Remington BV soon began experiencing financial difficulty. By the end of March 1981, Remington sought bankruptcy protection, while Remington BV had defaulted on its loans and entered "suspension of payments" proceedings in Holland under Dutch insolvency laws. Remington BV was declared bankrupt on May 26, 1981. Its assets, including the technology licensed from Remington, were subsequently sold by the Dutch bankruptcy to BSI, which had been formed by a group of Middle Eastern investors to acquire Remington BV's business, with financing provided in part by the banks.
 Remington contended that the sale of Remington BV was the result of a conspiracy formed on May 11, 1981, between the banks, the trustees and the investors to misappropriate Remington's typewriter technology. Remington claimed the conspirators plotted to distract it by an insincere proposal to buy Remington's stock while they put Remington BV into bankruptcy and arranged to sell its assets to BSI.
With this objective, the trustees sent an ultimatum to Remington on May 12, 1981, demanding that the shares of Remington itself be sold to the investors by May 20, 1981, failing which Remington BV would be forced into bankruptcy on that date. Remington sought to negotiate this demand, but the investors, who never intended to purchase Remington, refused and secretly pursued independent negotiations with the trustees to acquire Remington BV. On May 19, 1981, Remington sent a telex to the trustees and the banks stating its willingness to negotiate a sale of Remington. This forestalled the bankruptcy of Remington BV.
Meanwhile, negotiations for the sale of Remington BV continued between the banks, the trustees and the investors. On May 25, 1981, the investors tendered an offer to the trustees. The next day, May 26, 1981, on the petition of the trustees, Remington BV was declared bankrupt. That same day, the trustees asked the Dutch bankruptcy judge overseeing the Remington BV proceedings for permission to conduct a private sale. Remington learned of these developments on May 27 through its Dutch counsel, Allard Voute, who read of the bankruptcy and impending sale in Dutch newspapers.
On June 1, 1981, the Dutch bankruptcy judge approved the sale. The Dutch judge's approval was based in part on the trustees' representations that a sale of Remington itself was impossible, because of the licensing agreement. As proof of this, the trustees had submitted the May 12 ultimatum without revealing the existence of Remington's May 19 reply. On June 4, 1981, the trustees sold Remington BV's assets to the newly created BSI. The sale had the effect of transferring and disclosing the SR-101 know-how to BSI. About $8 million, or 90 per cent, of the sale proceeds went to the banks as payment for loans extended to Remington BV. The banks subsequently entered into new loan agreements with BSI.
This left Remington without product source. BSI, on the other hand, began efforts to develop a distribution network in the United States, independent of Remington.
Remington negotiated with BSI to receive BSI's typewriters for sale in the US. In August 1981, after these negotiations failed, Remingtonfiled suit against BSI in the US bankruptcy court for New Jersey. Remingtonaccused BSI of trademark infringement and misappropriation of trade secrets. Remington sought a preliminary injunction preventing BSI from selling typewriters in the US.
Remington began articulating suspicions about the banks’s involvement in BSI's affairs. In December 1981, Remington asserted is efforts to secure a typewriter supply from Remington BV in April 1981 had been defeated by interference from the investors, with "either the cooperation of or the support of or the trickery and deceit of the Dutch banks". In April 1982, Remington claimed the banks, the investors, and the trustees had worked together to frustrate Remington's efforts to maintain an ongoing relationship with its Dutch subsidiary.
In September 1984, the New Jersey district court imposed liability on BSI for using the SR-101 technology without compensating Remington. The court held a separate trial to determine damages. Before the trial, however, BSI entered suspension of payments proceedings in Holland and was declared bankrupt. The trial on damages proceeded in April 1985.
Remington then took further action against the banks, in New Jersey and New York, charging them with participation in BSI's misappropriation and continued use of Remington's trade secrets and seeking to hold the banks liable for the judgment Remington had won against BSI. The special verdict contained findings that the banks had conspired with others to acquire and operate Remington BV's business by "fraud, trickery and deceit", and that the banks had fraudulently concealed material facts to induce Remington to sign releases. The jury found that the banks were liable for the damages awarded by the New Jersey court against BSI because they substantially participated in the control of BSI's earlier litigation.
In 1994-95, a US Court of Appeals found against Remington’s argument that the releases were fraudulently obtained. “There was no showing that Remington signed the releases while labouring under mistaken assumptions about the banks' involvement in BSI's acquisition of Remington BV. Remingtonwas well aware there was a close relationship between the banks and BSI.”

The Naked Underwood

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The last of the booty typewriters I've tackled is this Underwood, which, apart from having been badly neglected, had a snapped paper bail, a broken drawband and several missing keytops, including a shift key. The typebasket was totally jammed up. I took the machine apart completely and stripped every trace of dirty grey paint off it before reassembling it. I'm experimenting with a number of different products to get a nice, smooth and even shine all over. One thing I found worked well in cleaning up the segment and typebars was oven cleaner. I've jury rigged a paper bail from an earlier model, a spare parts machine, and used the drawband off that to get this one working again. Still plenty to do yet, including finding some keytops, but I like the way it's looking. Better naked, I say, than in shabby clothes:

The Giger Underwood

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Inspired (and distracted) by overnight comments and ideas from Richard Polt, Erik Jaros and Ted Munk, the Naked Underwood has indeed turned into the Giger Underwood. Thanks for pointing me in this direction, you three visionaries. I was wondering what I would do with it next. I love it, now for a few keytops.

Halberg Portable Typewriter

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David Lawrence, the only typewriter repairman in Auckland, New Zealand (he's at Environ Printers on Mount Eden, if you ever happen to visit God's Own Country), this morning alerted me to this Halberg portable typewriter (serial number 1705X) for sale on eBay in Germany ("buy it now" $US399; #311036541350).
This Halberg looks to be the same model as the Halberg Junior that Spider Webz blogged on at the end of last December. See her post here. Spider gave us a peep under the ribbon spools cover and also included this ad, which she linked to Georg Sommeregger's typewriters.ch site:
A month ago David had a very pleasant experience on acquiring an Antares Parva, and made some interesting remarks about it. "It has the most amazing action, shorter keystrokes than the Hermes Baby, fine, crisp and snappy printing, and a cadence that just rings my bell. It has never been touched by a screwdriver, and yet every single key works perfectly, the ribbon control is perfect, the alignment is perfect, the bell rings and all I had to do was fit a new ribbon and roll in paper. It has shot to the top of my go-to, grab-and-use machines. There were no bids on this, until mine, and I got it for a song, but would [now] be happy paying more for such a brilliant typer. Olivetti Lettera 22-32 machines garner lots of interest and often high bidding, but I just cannot get comfortable with the action, it's just too soft and genteel and delicate and the keys are too crowded with the 32. But this machine ... I just want to type and type and type."
I mention this because, photographed from above, the Halberg immediately reminds one of the Antares Parva. For one thing, the keytops and top plate are almost identical.
If I could still afford to buy typewriters, I might have been interested in the Halberg, even at this elevated price (Spider, seemingly, got hers for a lot less). I've always been fascinated by how closely related the Halberg is to the Royalite and the later Nippo portable typewriters (at least mechanically, if not so much outwardly). The case for the Halberg looks like it belongs to a Corona Zephyr or Skyriter, but from the side the Halberg does resemble the size and basic shape of a Royalite. There are obvious comparisons, too, to the Hermes Baby/Rocket. At a quick glance, the Halberg looks like a hotch-potch of them all, although the Parva obviously came later.
Nippo Atlas
Under the cover of Spider's Halberg Junior
Under the cover of Georg's Halberg
 Under the cover of a Royalite
Underneath the Nippo Atlas, left, and a Royalite
 Under the cover of a Nippo
Under the cover of a Nippo P-200
The Halberg was made by Halberg Machinefabriek NV, Cuyk, Holland. Founded in Limburg in 1941, the company started making typewriters in 1952, but the factory was taken over by Royal in November, 1954. 

The Exodus Continues - 82 Typewriters Will Stay

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I'm pleased to say the process of significantly downsizing my typewriter collection goes on unabated.  So far it's been quite painless. Two friends arrived today and left with 12 typewriters, making 57 that have left here in the past 10 days. By Friday evening I'm hoping to have reached the 100 mark.
I'm glad this pair took the chance today to see the museum close to how it was earlier in the year, with more than 200 typewriters on display. The way things are going, it won't look like this for much longer. Shelves are already starting to empty.
One of the friends who visited commented, "Downsizing a typewriter collection is like trying to keep an inflated balloon under water. It keeps bouncing back, still inflated." He also said, "You can't seriously expect to get your collection down to 82 typewriters. There are far too many great machines here."
Well, I am serious, and below is the list of the 82 typewriters I have earmarked to hold on to. It will be much easier for me to handle a collection of 82 than 367 (now down to 310).

Alpina (grey-cream)
Astoria (Dunera Boys)
Bar-Let portable (Sherwood Forest green)
Barr portable (black, gift from Richard Polt)
4 Bennetts (including 2 Juniors)
4 Bijou/Erika portables
12 Blickenderfers (models 5 to 9, Featherweight, Home, Rem-Blick)
Continental portable (faux woodgrain)
7 Corona portables (including 4 Specials, Miles Franklin, gold-plated model 3, red model 4)
Everest Model 90 portable (burgundy)
Fox folding portable (gift from Richard Polt)
Gossen Tippa (red)
2 Groma portables (black model N and burgundy Kolibri)
Hall (Salem)
2 Hammonds (Ideal No 2, square keyboard No 2)
2 Hermes (Featherweight and black 2000)
Imperial Model B portable
Imperial Good Companion
Invicta portable (green)
Masspro (green)
Mignon
New Yost
2 Noiseless portables
Oliver 5
2 Olivettis ( red ICO MP1, green Valentine)
5 Remington portables (models 1, 4, 5; Remette; Remington-Rand Model 1)
Remington 2 Standard
Rooy
4 Royal portables (Signet, red-black Model O, sunburst Model P, grey-black QDL) 
Royal Standard 1 
2 Smith-Corona Series 5 portable (pink, 5TE electric)
Smith Premier portable (green)
4 Standard Foldings
Sun No 2
Torpedo 18
Tradition (Olympia)
6 Underwoods black, red Universal/Champion; Model 3, black, faux woodgrain model 4, Noiseless 77)
Voss Learnette
Winsor (gift from Richard Polt)

Farewell Vendex, Farewell Bing

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Vendex later became Vendex KBB after a 1999 merger with Koninklijke Bijenkorf Beheer and is apparently now known as Maxeda, a Dutch retail group that operates in Europe, the Middle East and Dutch dependencies in North America. The firm is mostly known for large Dutch department stores and other shop formats. In 2004 Maxeda was taken over by a consortium of investors led by American private equity firm Kohlberg Kravis Roberts.  Vendex's origins are in Vroom & Dreesmann (V&D), founded in Amsterdam in 1887 by Wilhel mus Hermannus Vroom (1850-1925) and Anton Caspar Rudolph Dreesmann (1854-1934). KBB’s history goes back to 1870, when Simon Philip Goudsmit (1844-1889) started a shop in Amsterdam. 
THE BING No 2
Mark Adams's later post, on the Bing No 2, was timely because my own Bing No 2 had only left here yesterday, headed for a new home in Sydney. I had acquired it many years ago from the estate of the late Australian typewriter collector, Bruce Beard.
The Bing No 2 was designed as a "child's typewriting machine" in 1925 by Ludwig Reischl, born on March 28, 1881, in Passau, Lower Bavaria. He joined Bing in 1912 and also designed the Orga-Privat.
Made by Bing-Werke, Vorm Gebrüder Bing AG, Nuremberg, the Bing No 2 was described as a “teaching aid typewriter” and was produced especially for export to North America. The Bing Brothers company, founded in 1863 by Ignaz and Adolf Bing, was world famous for making metal toys.
Ludwig Reischl

120 Must-Go Typewriters

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Following my post last night on the 82 typewriters I have earmarked to keep, I've been asked by a number of people who I know to be genuinely interested buyers - and who have been very satisfied with typewriters I have already sold them - to list some of the machines I am now selling. For their benefit, below is a list of 120 to choose from:

Adler Contessa (orange)
Adler Gabriele 25
Adler Model 7 x 2
Adler Tessy (orange red, QWERTZ)
Adler Tippa x 2 (earlier model)
Adler Tippa (later model, yellow)
Antares Little Star
Bantam
Bar-Lock portable
Bar-Lock 24, standard
Bijou folding portable in leather round-top case
Blick Universal
Brosette (silver grey, QWERTZ)
Cole Steel
Consul (red)
Continental portable x 2, shiny black 340 QWERTZ, and dark brown faux woodgrain
Corona 4, blue with gold panelling
Corona 4, black with gold panelling, going cheap, needs work.
Corona Skyriter
Corona Special flattop, red front panel and crown logo
Corona Standard ("Speedline") portable, shiny black
Corona Zephyr
Diamant (QWERTZ)
Empire thrust-action portable
Erika 5 portable x 2 (bilingual and another, both shiny blacked spools)
Erika 9 (crinkle grey)
Erika 10 (large portable, green)
Erika 12
Erika M, shiny black QWERTZ
Gossen Tippa (fawn)
Gossen Tippa Pilot x 2 (fawn and burgundy)
Groma Kolibri, burgundy
Halda portable (green, red stripe)
Hermes 2000 x 2 (khaki green, hospital green)
HG Palmer (Smith-Corona) Sterling, light brown
Imperial Good Companion x 3 - Models 3 (nice shiny grey), 4 and 6
Maritsa 11 (cream, pale blue)
Mercedes Prima, exposed spools, shiny black
Mercedes Selekta portable, shiny black
Mercedes K45 (grey, QWERTZ)
Mercedes late portables x 2 (in Olivetti Dora mask, bright yellow and lime green, QWERTZ)
Monarch Pioneer portable (some red keytops)
Monarch Premier portable (black and red)
Montana Luxe ( = Hermes Baby, mustard with red keytops, QWERTZ)
Oliver portable (crinkle black, exposed spools)
Olivetti ICO MP1, shiny black
Olivetti early portable, crinkle black
Olivetti Studio 42, crinkle black
Olivetti Valentine (red)
Olympia Elite, shiny black
Olympia Monica, cream
Olympia SF x 2 (turquoise and grey, pink and grey)
Olympia SM, variety of models, green x 2, crinkle black, burgundy
Olympia SM7 (pink and grey)
Olympia SM9
Olympia Splendid 99 (red)
Olympia Traveller C (cream, made in China)
Optima Elite x 3, crinkle black, brown, dark silvery grey
Optima P1 ultraflat portable (pale green, QWERTZ)
Orel (Adler Model 7, QWERTZ)
Orga-Privat, shiny black in large metal case
Perkeo
Remette
Remie Scout (red and black)
Remington Noiseless, shiny black
Remtor
Rheinmetall portables x 4, shiny black pre-war QWERTY, shiny black post-war QWERTZ, African mahogany, cream
Rooy (green, AZERTY)
Royal Companion (light brown)
Royal Eldorado, black and gold
Royal Junior
Royal Model O (crocodile skin blue)
Royal Model P (brown faux woodgrain)
Royal QDL, shiny light brown
Royal Roytab (pale blue)
Royal 10, crinkle black, standard
Sears Courier (Olivetti Lettera 22), dark red, white keytops
Senta portable, shiny black, full decals,  in large wooden box
Scheidegger (Princess) x 2, two-tone brown
Smith-Corona Golden Shield Courier
Smith Premier 10, standard
Stoewer Elite on wood base
Torpedo 15 portable, shiny black
Torpedo 17 portable, shiny black
Torpedo 18, later model, cream and brown
Torpedo 18 (early x 2, shiny black and crinkle green)
Torpedo 20 (light metallic green)
Triumph Gabriele 2 (two-tone brown)
Triumph Norm 6, burgundy, QWERTZ
Triumph Perfekt, early model, burgundy, QWERTZ
Triumph Perfekt later models, x 2 (cream and brown, one is QWERTZ)
Underwood Junior
Underwood Noiseless, crinkle black
Underwood Quiet Tab De Luxe (light green grey)
Underwood Universal (early version, Model 4, shiny black)
Underwood Universal (later model, crinkle black)
Underwood Model 4 with USB attachment
Urania portable x 2, shiny black QWERTZ, burgundy
Vendex (Brother, green)
Voss S24 (green)

Typewriter Update

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Top Typospherian makes the Boston Globe:
"Jobs of Yesteryear" - 
Typewriter collector and repairer Tom Furrier runs the Cambridge Typewriter Company in Arlington, Massachusetts.
Vogue is a rare art deco typeface on a 1929 Royal.
How a Typewriter Helped Me Find My Voice, by Tyler Knott Gregson, above, author of Chasers of the Light, on the Huffington Post.
Vanity Fair's Hollywood - The 5 Best Moments from the 2014 Emmys; 2. Game of Thrones author George R.R. Martin was handed "a giant, medieval typewriter" while sitting in the audience.

What a Week!

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I haven't had a week like this in living memory. It is due to reach a crescendo today, when, all things going according to Hoyle, as many as 40 more typewriters leave this place.
On Sunday I heard from Sydney typewriter collector, retiring politician Richard Amery, that he had a brief break in New South Wales Government business and wanted to visit the typewriter museum the next day. I was delighted to have the chance to see him again, as Richard hadn't been in Canberra since he opened the typewriter exhibition here in July 2012. Richard arrived with Terry Cooksley on Monday morning and the two spent more than four hours here, taking away about 12 typewriters that they bought between them. It was highly appropriate that Richard should see the museum in this latest setting, before all the displays are completely dismantled and it no longer exists, as it was he who had opened the museum when it was first established in Narrabundah, in 2007. I think it's highly likely that Richard and Terry will have been the last people to see the museum in its (almost) full bloom.
I had a day to recover from all this excitement before making another two-hour typewriter presentation, this time to a packed thearette at Goodwin House in Canberra. This required packing the typewriter-mobile with boxes of typewriters for a temporary, small exhibition, also possibly for the last time. What most certainly will not be seen on display again here in Australia is the lovely little burgundy Groma Kolibri, which is heading for London next week, destined for the collection of Piotr Trumpiel (as has been noted in comments on my typewriters-for-sale post on Tuesday).

Vive Remington! Fantastique Français clavier Remington 3 machine à écrire portative

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On Friday, just before another 40 odd typewriters left these premises (taking the total of my downsizing in a fortnight to more than 120), this fabulous Remington 3 portable arrived here. It was a gift from Sydney photographer Daniel Shipp. As Richard Polt points out on his Remington portables guide at The Classic Typewriter Page, it is rare to find one with "Remington 3" on the front lip. I now have examples with both "3" and "4" on the lip:
The AZERTY keyboard Remington 3 has the serial number V416391, which, according to the Typewriter Serial Number Data Base, would date it from 1934 - it's in pretty good nick for an 80-year-old typewriter!
Daniel told me, "I think our great Aunty’s husband wrote his war memoir on it (it was never published). Aunty was French, and I believe the typewriter may have come from Europe."
The case has a Lloyd Triestino cabin sticker on it identifying the typewriter as belonging to the Lavallée family of 63 Gymea Bay Road, Gymea, south of Sydney. This establishment, which once may have been called "Annie de Paris", is now a delicatessen, the Gymea Fresh Deli:
Below, Sydney photographer Daniel Shipp, the donor

From the World's Longest Cab Ride to the Lady of the Swamp Mystery: How NOT to Write a Good Story

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Driver William Charles Samuel Heard and one of his passengers, Ada Murch Beal, take a rest during their 7000-mile cab ride through the centre and eastern seaboard of Australia. In the background is Heard's Hudson Super Six Supercharged Sports Tourer car. Charlie Heard was born in 1895 in Numurkah, Victoria, and died aged 55 in Kahibah in 1951.
In the days when journalists used typewriters to write stories, they also had to scour through musty old "hard copy" - bound newspapers or clippings files - to do their background research. It was hard yakka, yes, but more often than not these primary sources of information proved invaluable.
Much of this data is not just still available, it's usually more readily accessible - in digitised form. But does that mean journalists go looking for it anymore? Well, sadly, the evidence would suggest the answer to that is a firm "No".
We are all familiar with the notion that in this age of communications technology, researching and writing stories is infinitely easier than it was before the advent of the Internet. That may well be so, but it strikes me that what it has achieved is to make journalist far lazier than they once were. The information is out there for them, but perhaps because they feel pressured to file online quickly, they dodge any kind of real digging and publish something that is often entirely superficial.
An example is the excitement in the Australian media in the past week or so about the publication of a book called The World's Longest Taxi Fare (see here and here), concerning three ladies hiring a driver called Charlie Heard in 1930 to take them from Lorne in Victoria to Darwin in the Northern Territory and back through Brisbane and Sydney, a distance of 11,200 kilometres (more than 7000 miles).
It's bound to be a great story, I agree - yet it could have been a whole lot better. The newspaper and TV journalists who have written and spoken about the book have completely missed a connection with one of Australia's most fascinating and enduring mysteries - that of the Lady of the Swamp, Margaret Clement.
The "Lady of the Swamp" - the eccentric Margaret Clement with her beloved dog Dingo just before she disappeared without trace in 1952. This mystery has never been solved, but one of Charlie Heard's 1930 taxi passengers was front and centre of it.
One of the women who made the taxi trip was at the heart of the swamp mystery. She was, indeed, the niece and beneficiary of the wealthy lady who disappeared in a Victorian swamp in 1952. Her name was Eileen Victoria Glenny.
Eileen Victoria Glenny
The swamp in front of the Tullaree homestead.
Margaret is on the left and second from right is Eileen Glenny's mother, Flora Clement-Glenny.
Larry O'Toole's book on Charlie Heard's taxi ride is essentially in two parts - first a description of the 1930 trip, and secondly a description of the "recreation" of the journey by Heard's grandchildren in 2008.
It has to be said here that newspaper coverage of the 2008 "recreation" was vastly superior to what has appeared in the past week or so, regarding the publication of the book (See, for example, the London Independent's story, "Driving Miss Ada", here). That in itself may well be a reflection of falling standards in journalism research, in just the past six years. 
Both in 2008 and in the past week, however, Eileen Glenny has been dismissed with just a passing reference - her name and little more. In 2008, she was called a "nurse and housemaid". She was, indeed, a fully qualified nurse - in fact on occasion she had also performed the duties of a doctor. But Glenny was most certainly not a housemaid. She was, both financially and in spirit, a decidedly independent woman, an adventurer who had travelled the world - from South America to the South Seas and the Continent - seeking out fresh challenges. Joining Ada Murch Beal and fellow nurse Lily May Wilmot on the cross-Australia drive was but one of them.
 1928
1931
While the story of Charlie Heard and his trip appears to have been well documented by his descendants and by O'Toole, newspaper and TV reports about O'Toole's book provide utterly inadequate details about Heard's three passengers. Lily Wilmot's surname is invariably mispelled.
Ada Murch Beal was born at Birregurra, Victoria, in 1864, one of seven children to settlers Charles Beal (1821-1888) and Amy née Murch (1827-1925). The family ran Mount Gellibrand sheep station at Winchelsea, 1853–1860, and then lived at the residences ‘Bleak House’ in Birregurra and ‘Varna’ in Lorne. As an adult, Ada lived at the residence ‘Llandoo’ in Lorne. She never married and died at the Birregurra Hospital on December 16, 1948, aged 84Lily May Wilmot was born in 1879 in Collingwood, Melbourne,
to Edmund Wilmot and Jane Ruth Baker née Martin, and was an only child. She never married and died in 1956 in Blackburn, aged 77. Eileen Victoria Glenny was born in Ballarat in 1901 to George Robert Anderson Glenny and Flora née Clement. She never married and died in 1985 in Ballarat, aged 84.

Red Letter Day - Typewriters on Father's Day in Oz

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We celebrated Father's Day in Australia yesterday and I was taken to a very pleasant lunch by my son Danny and soon-to-be daughter-in-law Emily. Typewriters for the coming wedding were on the menu. No, I didn't get the red Corona 4 portable typewriter as a gift, I've had that for quite a while now. But I was given a pack of Museum of Modern Art note cards, which seem to have stolen Piotr Trumpiel's idea of putting a pop-up typewriter inside.
My hands have been a bit busy in the past week, so a short break today was most welcome.

The Egyptian Kangaroo and the Australian 'sine qua non' Bijou Folding Typewriter

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This image was taken in mid-December 1914 at Mena Camp, beside the Giza Pyramids, 10 miles outside Cairo. The 10th Battalion (South Australian) Infantry of the 3rd Brigade, Australian Imperial Force, had just arrived in Egypt on His Majesty's Australian Troop Saldanha, having left Adelaide on October 21. The battalion soon began preparing for the disastrous Australian and New Zealand Army Corps (ANZAC) assault on Gallipoli in the Dardanelles, Turkey, Ottoman Empire, the following April.
One of the South Australian soldiers took to Egypt with him a kangaroo, as the regimental mascot. The kangaroo was given to the Cairo Zoological Gardens when the unit headed to Gallipoli and, in so many cases, certain death.
Among the many 10th Battalion troops who would die at Gallipoli was Lieutenant Trevor Owen Smyth, a 28-year-old station manager from Adelaide when he enlisted, as one of 131 members of the Adelaide Rowing Club, on August 19, 1914. His battalion was part of the covering force for the landing at Gallipoli, on April 25, 1915, and so was the first ashore at 4.30am. The South Australians were heavily involved in establishing and defending the front line of the ANZAC position. Owen Smyth was killed in action just three weeks later, on May  16, and was buried at Beach Cemetery, at the southern end of Anzac Cove.
Six weeks before Owen Smyth's battalion left Australia, his father, Charles Edward Owen Smyth, a leading Adelaide civil servant, had presented the unit with a Corona 3 folding portable typewriter. Owen Smyth Sr had intended to buy the Corona 3 for the battalion from citizen donations, but when he enquired about a price for the portable, its Australian agents, Stott & Underwood, had donated the typewriter. Not to be outdone by its arch rival's gesture, the Remington-controlled United Typewriter and Supplies Company then gave Owen Smyth Sr a German-made Bijou folding portable typewriter, which Owen Smyth passed on to the South Australian Light Horse Regiment
Packing a Bijou - a 3rd Light Horseman at Girga, Egypt, 1915
The 3rd Light Horse Regiment was raised in Adelaide on August 17, 1914, and its three squadrons included a Tasmanian group raised and trained in Hobart. In Egypt they joined the 1st and 2nd Regiments to form the 1st Light Horse Brigade. The 1st Light Horse Brigade deployed to Gallipoli in May 1915 and the 3rd Light Horse played a defensive role throughout the campaign. The regiment joined the Allied advance across the Sinai in 1916 and was subsequently involved in the fighting to secure the Turkish outposts on the Palestine frontier. Gaza finally fell in November, after a wide outflanking move through Beersheba. With the capture of Gaza, the Turkish position in southern Palestine collapsed. The 3rd Light Horse Regiment took part in the advance to Jaffa that followed, and was then committed to operations to clear and occupy the west bank of the Jordan River. It was involved in the repulse of a major German and Turkish attack in July 1918.

Frank Hurley's photo of the 3rd's camp at Belah, February 1918
Charles Edward Owen Smyth was born on New Year's Day 1851 at Ferrybank, County Kilkenny, Ireland, the son of a naval architect. He was educated at the Erasmus Smith High School, Dublin. After travelling the world as a sailor he settled in Adelaide in 1876 and joined the civil service. In 1886 Owen Smyth was appointed to head the new South Australian Works and Buildings Department and controlled the design, construction, maintenance, letting and rent of public buildings until he retired in 1920. Owen Smyth died on October 1, 1925, aged 74.
C.E. Owen Smyth is standing second from the left
The Bijou folding portable typewriter was introduced to Australia in 1913. The previous year, Chartres had gained the rights to sell Remington typewriters in Australia, which had previously been held by Stott. As a consequence, Stott joined forces with Underwood. When the Corona 3 was launched in 1912, Stott & Underwood won the agency to sell it Australia, as Corona had no Australian outlets and Underwood had no portable typewriter.
The Bijou was described in Australian advertising as a "sine qua non" - that is, an indispensable and essential action, condition or ingredient
Remington responded by gaining the rights to sell the Corona 3's then only competitor in size, weight and c0mpactness, the Bijou (Erika), which was made by Seidel & Naumann in Dresden. Based on the Standard Folding Typewriter, predecessor of the Corona 3, the Erika-Bijou was launched in 1910 while the Corona company was still in the process of redesigning the Standard Folding. Remington sold the Bijou in Australia through its subsidiary, the United Typewriter and Supplies Company, which was an offshoot of the Remington-controlled Union Trust.

Why Form Must Follow Emotion: The Beauty of Typewriter Design

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The Powerhouse Museum - Sydney's Museum of Applied Arts and Sciences - has yet again taken out of storage and dusted off its gleaming Blickensderfer 6 typewriter. The museum is showcasing its design and technology collection through a new exhibition called Interface: People, Machines, Design. The exhibition continues until October next year. See the web pages here.
Interface: People, Machines, Design "features iconic products from the world’s most famous brands, including Olivetti, Braun and Apple [and] explores how a handful of companies, designers and industrial visionaries transformed clunky machines of a century ago and created the must-have items that we can’t live without today".
New South Wales Minister for the Arts Troy Grant said, “Each of us has memories of the technologies that have changed our lives. The mobile phone highlights the way technology and design has rapidly evolved, from the heavy object of a few decades ago to the sleek multifunctional device of today. This exhibition is a fine example of the way the museum’s collection can communicate the history of technological innovation."
The Powerhouse says Interface: People, Machines, Design "plays homage to designers past and present and explores their philosophies and inspirations. The exhibition also reveals the design methods from 50 years ago that have stood the test of time and remain influential today. Design visionaries whose work is explored in the exhibition include: Dieter Rams, the German industrial designer who was Braun’s design visionary; Steve Jobs and Steve Wozniak, co-founders of Apple; Doug Engelbart, an influential figure of computer interface design; Olivetti designers Marcello Nizzoli, Ettore Sottsass and Mario Bellini; and Hartmut Esslinger, whose early Apple designs helped shape Apple’s transformation into a global brand; and current designer Sir Jonathan Ive.
Ettore Sottsass at his home in Milan in March 1969, a month after the Olivetti Valentine was launched in Barcelona. He is with his wife, the Italian writer and translator Fernanda Pivano.
Esslinger was interviewed for a feature article by Stephen Brook in The Australian newspaper's Weekend A Plus supplement:
FORM follows function, the design mantra goes, but not in Hartmut Esslinger’s design world. For him, form follows emotion. “In modern products, there’s a lack of emotion and emotional appeal is really missing right now,” says the German-born designer, who divides his time between his homeland and the US.
And don’t get him started on the design mantra of functional simplicity. “That’s not beautiful. That’s boring. At one point in Germany, design sank into this mania of simplicity and I said, ‘Nobody feels anything about this stuff any more, you need more emotion.’ It was considered emotion wouldn’t work in Germany but I said ‘it sells better’.” Before Jonathan Ive there was Esslinger. His Frog design group was called in by Steve Jobs in the 1980s to help shape Apple’s transformation. That started with the Apple IIc, which was launched in 1984, the same year as the Macintosh, but the simpler home computer outsold its more sophisticated stablemate for years. In 1983 Esslinger pitched up at Apple as a design consultant, urging Jobs to revamp processes that placed designers at the mercy of engineers. Esslinger wanted one design leader at Apple, involved years ahead of any actual product development. He got it. Thus, the Apple IIc, the first to encapsulate Esslinger’s “Snow White” design scheme for Apple: horizontal and vertical stripes to give the illusion of a reduction in the machine’s volume, a three-dimensional Apple logo inlaid on the product case and an off-white colour scheme. More than 400,000 units sold that first year. Esslinger says now of the Apple IIc: “That was a little bit like a little friend; computers had been hostile before.” It was designed to impart a particular message to consumers: “I am an intelligent being, I am not a stupid radio just playing music.”
Esslinger is on the phone from Germany’s Black Forest, a passionate and exuberant advocate expounding his unique worldview. While many of his famous designs are now museum pieces, he looks resolutely to the future. Esslinger is talking in anticipation of the exhibition Interface: People, Machines, Design at Sydney’s Powerhouse Museum. It is a world of iconic products, of Olivetti electric typewriters, Braun radios and Apple computers, telling the story of how a handful of industrial visionaries transformed clunky machines, elevating the industry in the process. Other designers featured include Dieter Rams, the German industrial designer for Braun who was such a strong advocate for functional simplicity; Jobs and Steve Wozniak, co-founders of Apple; Doug Engelbart, a seminal figure in computer interface design; and Olivetti designers Marcello Nizzoli, Ettore Sottsass and Mario Bellini
“There’s crazy stuff in there that I forgot existed — the old typewriters I like,” Esslinger says.
The exhibition contains a rare Apple I computer and the Xerox Alto computer that transformed Jobs’s vision of personal computing. When Jobs was shown the Xerox Alto, he immediately realised it was the future, even if Xerox didn’t. “It was the combustion engine of the information age, it accelerated it,” says Esslinger of the device. “How blind executives were not to recognise what they had in their hand.”
“The Mac, it was stolen from Xerox but we converted it into an experience that was not about the office — it was about writing poetry or whatever.” Indeed, an early Apple II advertisement featured the computer on a kitchen table, and Jobs was inspired to model the Apple II case on a Cuisinart electric mixer he saw while wandering through the kitchen appliance section of Macy’s department store. “It’s important to understand as a designer you have to create a platform and invite people into it and they discover stuff they never thought of before. That is the emotional stuff that design has to do,” Esslinger says. “Each innovation must have the magical gap that people can invent something for themselves. “Companies try and control more and more,” he says, “Apple tries to control.”
The exhibition looks at the interface between people and technology, but also the relationship between art and design: Italian futurists, geometric abstraction and later pop art at Olivetti, functionalism and modernism at Braun, and the non-threatening kitchen appliance aesthetic that influenced the early Apple computers. 
These men were the “masterminds”, according to the director of the Museum of Applied Arts and Sciences, Rose Hiscock. “We are delighted to explore the ideals behind these design masterminds of our generation, whose influence continues to be felt in everyday objects we all use intuitively today.”
The acceleration is such that a variant of the Macintosh I [the author] can remember tapping out school assignments on is now a museum exhibit. A first-generation Apple 2G iPhone from 2007 looks as out of date as an Apple II.
Kids attending this exhibition may need a briefing from their parents on what was the point of a typewriter.
Esslinger sees a slow disconnect between consumers and machines. Something is missing. “Products are a bit too generic — they can get copied and copied and copied. Like a pebble in the river, but you have to find a nice ­pebble. They become less transparent. You don’t know what’s in an iPhone but you know exactly what it does. This is what we are missing today, what it is exactly doing. Walking in the city, you see windows and doors and buildings and you know where you are. With so many apps today, you don’t know where you are, there’s a lack of identification and a lack of belonging. We are really in a transition phase to find ways to connect people with products.”
So when purchasing he encourages consumers to “think twice”. “Follow your feelings when you buy a product, let it talk to you. This connection must be thought about.” As to the future, he is firm. It will be about robotics. “With robots you can do so much more than just electronic devices. That’s why Google invests so much in that area.” He leaves us with a final plea. “One thing I am really adamant about: encourage young people to use their talent and live a creative life and don’t turn into a conservative coward. “There are so many creative people in the world but most of them don’t make it. Encourage people and also be yourself.” 

Sheening Up the Japan

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The Shine Also Rises
(as does the Urania)
Before
After
Many of us have tried various methods of restoring the high sheen to the japan black finish on our old typewriters. In Australia, collectors often look with envy at typewriters offered for sale by Derrick Brown in Brisbane, after Derrick had given them his "special treatment". It's almost three years since Ryan Adney at Magic Margin described his polishing technique here. There's a PDF of Richard Milton's restoration secrets here. And there are plenty of very useful tips on Richard Polt's The Classic Typewriter Pagehere.
Over the years I have experimented with a large range of products, with varying degree of success. In the past week or so, I have used what were for me "new" cleaner-polishers, and feel confident in recommending at least two of them. It was a shame I didn't take a "before" photograph of the Remington 3 portable I received last Friday, because using these products completely transformed the paintwork. The little Rem now stands out like a beacon from the pack with its gleaming finish.
I did take "before and after" photos of three portables I worked on today, but I'm afraid the images don't really do credit to the improvements in their looks. None of the three looked too bad to start with (unlike the Remington 3, which was visibly crudded). But I can assure you, they are all now far shinier than they were a few hours ago.
Three things I should point out:
1. I wouldn't risk getting any of these products near a decal.
2. For the sake of the exercise, I only worked on the top plates. From experience, it is usually the top plate, especially when it is a fairly flat surface, which cops the bulk of the build-up of crud over the years. The sides and paper plate are often not as badly affected by crud.
Crud can be deceptive. It's often almost like a transparent film, but it's there - blocking a clear view between the original japanning of 80 or 90 years ago and you today. You can often polish up a typewriter, even after using something like a light cleaning lubricant, and while the surface make appear to look better, the crud is still there. As Ryan Adney pointed out, it's only when you use something that will lift the crud, and then take a look at your cleaning rag, that you realise how much of it was/is actually clinging tight to the typewriter.
And it's only when you have cleaned the crud off that you begin to see the real results of your efforts, and the japan black starts to shine through as it should.
3. As Derrick Brown has often said, nothing, absolutely nothing, will in the end beat good ol' elbow grease. Whatever product or method you use, at the end of the day it's the amount of your rubbing and polishing that will count.
I get good results on making a start on breaking up the crud by using something as simple and handy as a few drops of dish washing liquid. Between each stage of the process I wash off any residue with the light cleaning lubricant.
After that I used both of the "new" (to me) products I found very useful, again applying the lubricant to "wash off" residue between applications. I worked in small areas at a time, such as one side in front of the left spool, then the other side. Thus the products I used didn't have time to settle and dry, but were on the surface for maybe 20-30 seconds at the very most at any one time. Where possible (and perhaps this is cheating), I also used a buffer pad electric drill attachment - again with great care. 
Anyway, I was pleased with the results. One way of telling the difference in these photos is to look at how blurry or clear the reflections from my back yard are (it's a mulberry tree in winter - bare).

Weird Coincidences: Deaths link Arctic Waste with Australian Outback

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A side-scan sonar image of a Franklin expedition ship on the sea floor in northern Canada.
Ottawa, Today (September 10, 2014): Canadian explorers have found the wreck of one of two ships lost in the 1845 Franklin expedition to Canada's Northwest Passage, solving an enduring historical mystery and bolstering Canada's claim to the key Arctic trade route.
One of the last things, if not the last thing that William John Wills, of Burke and Wills fame, wrote, the day before he died at the Breerily Waterhole on Cooper’s Creek on June 28, 1861*, was a letter to his father, also William Wills, who was then living in Melbourne.
The letter opened:
Cooper's Creek,
27 June 1861
My Dear Father,
These are probably the last lines you will ever get from me. We are on the point of starvation not so much from absolute want of food, but from the want of nutriment in what we can get.
Our position, although more provoking, is probably not near so disagreeable as that of poor Harry and his companions.
Harry Le Vesconte
The “poor Harry” to whom Wills referred was his cousin, Henry Thomas Dundas Le Vesconte, who, like Wills, was born in Devon in England, but who was almost 21 years Wills’s senior.
Rear-Admiral Sir John Franklin
The “disagreeable” position in which Le Vesconte and his companions had found themselves was being trapped in ice, aboard the Erebus, off King William Island in Canada, in September 1846. He died in the arctic wastes in March 1848.
Le Vesconte was second lieutenant to the Erebus under Rear-Admiral Sir John Franklin on Franklin’s ill-fated polar expedition of 1845, in which Franklin tried to chart and navigate a section of the Northwest Passage in the Canadian Arctic. Franklin and the all crew and officers of Erebus and the Terror perished.
The Erebus and the Terror among icebergs. Chromoxylograph from The Polar World by G.Hartwig (London, 1874)
(This same Franklin, incidentally, was a popular lieutenant-governor of Van Diemen's Land [Tasmania] from 1836-43 and the Franklin River is named in his honour.)
Almost 13 years after Wills’s death in the Australian outback, and 26 years after the death of Wills’s cousin Le Vesconte in an Arctic wilderness, another explorer, William Ernest Powell Giles , was traversing Australia’s vast interior.
And here emerged a most remarkable coincidence which linked Wills, Le Vesconte and Giles’s fellow explorer, Alfred Gibson.
Ernest Giles
On April 21, 1874, Ernest Giles and Gibson left what Giles had called Circus Water, 10 miles east of Lake Christopher on the northern slopes of the Rawlinson Range in Western Australia. They headed west, toward a desert which would later be named by Giles after Gibson.
Gibson Desert
As they rode together, Giles remarked to Gibson “that the day was the [13th] anniversary of Burke and Wills's return to their depot at Cooper's Creek”. Burke and Wills had made it back from the Gulf of Carpentaria.
In his book Australia Twice Traversed, ironically subtitled “The Romance of Exploration”, Giles recounted his talk with Gibson. It was probably not what one might call a close conversation, as Giles made it clear that Gibson, even in the constant 100-degree heat, showed a great adversity to joining the group’s regular ablutions. Not even the ants would get close enough to nibble on him at night.
Nonetheless, wrote Giles, he “then recited to [Gibson], as he did not appear to know anything whatever about it, the hardships [Burke and Wills] endured, their desperate struggles for existence, and death there, and I casually remarked that Wills had a brother [actually a cousin] who also lost his life in the field of discovery. He had gone out with Sir John Franklin in 1845.
“Gibson then said, ‘Oh! I had a brother who died with Franklin at the North Pole, and my father had a deal of trouble to get his pay from government’.”
So William Wills had a cousin and Alfred Gibson a brother, both of whom died with Franklin, and both of whom were in their thoughts in the Australia outback a day or two before Wills and Gibson died.
Although Gibson told Giles about this at least 26 years after it had happened, and Giles regarded Gibson as “a young man” when he first met him, Gibson’s brother, William Gibson, was a 22-year-old subordinate officers' steward on the HMS Terror.
Giles bids farewell to Gibson
Giles’s recollections of his conversation with Gibson, two days before Gibson died, are revealing:
“He seemed in a very jocular vein this morning, which was not often the case, for he was usually rather sulky, sometimes for days together, and he said, ‘How is it, that in all these exploring expeditions a lot of people go and die?’ I said, ‘I don't know, Gibson, how it is, but there are many dangers in exploring, besides accidents and attacks from the natives, that may at any time cause the death of some of the people engaged in it; but I believe want of judgment, or knowledge, or courage in individuals, often brought about their deaths. Death, however, is a thing that must occur to every one sooner or later.’ To this he replied, ‘Well, I shouldn't like to die in this part of the country, anyhow’.”
Of course, Gibson did exactly that. He disappeared on horseback into his desert on April 23, 1874, and no trace of him was ever found.
*The name used by Wills himself was Cooper’s Creek. It is now called Cooper Creek. The date of Wills’ death is officially June 28, 1861, but it is now believed he may have died on June 30 or July 1. His letter to his father was brought back to Melbourne by the sole survivor of those who had reached the Gulf, John King. It ends, 
“I think to live about four or five days. Spirits are excellent. Adieu, my dear Father. Love to Tom. W. J. Wills.”

Typewriter Update

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Méarchlár Gaelach
According to Eddie McIlwaine, writing this week in the Belfast Telegraph in Northern Ireland (a newspaper to which I once contributed rugby notes), Tom Hanks is on a quest to find a Gaelic language keyboard typewriter.
Letter written by Irish playwright Brendan Behan on a Gaelic keyboard typewriter. Now there's a film I'd love Tom Hanks to make - the incredibly boozy life of Brendan Behan!
McIlwaine said "Hanks' obsession with typewriters [was] explained to me in a letter [he] put together on an old Underwood a few years back". Writing about the typewriter app for iPad, the Hanx Writer (which he pointed out was "now No 1 in the international iTunes App Store"), McIlwaine said, "Hanks and I first started corresponding early in 2008 when I was trying to find him a Gaelic language typewriter to complete his huge collection of the machines. So far I've had no luck - but I'm still hopeful and still searching.
"Hanks also collects what he calls rare typewriter sightings, including the Royal on which Ernest Hemingway knocked out at least one of his novels. He declared, 'I would walk the length and breadth of Belfast in search of the perfect shop with a typewriter in the window.'"
If he wants a Gaelic language keyboard typewriter that badly, Hanks would be best advised to stay right away from Northern Ireland and try a Gaeltacht in the west of the Republic of Ireland. Or Dingle in County Kerry, where I saw at least two such typewriters in shop windows during my travels about four years ago.
The red pub is the place I'd recommend that Hanks stays in Dingle, near where Ryan's Daughter (no relation to Saving Private Ryan) was filmed.
Depantsed!
Auckland, New Zealand, typewriter technician and collector David Lawrence had a laugh the other day. David has taken to scouring German eBay for typewriters and saw this English translation for a listing: "And please READ, UNDERSTAND and then ACT ... The last auction went thoroughly into the pants, because the buyer wanted to have delivered the goods to other European countries ..."
Frak me!
Last week, when I offered an Erika Model M portable for sale on this blog, a curious Richard Polt also checked out German eBay prices, and came across this astonishing sale for a mere 75 euros ($US97, $A106). It got one bid!
The seller didn't think to put "Fraktur" in the auction description. As Richard said, "Unbelievable."
Be aware
Two well-known US typewriter sellers appear to have been hacked. No names, no pack drill (as I don't want to impede their businesses), but I've been receiving spam emails, allegedly from each of them, one referring to "collectible machines". As I have done some business with both in the past, it's a worry to think my email address is on the receiving end of this stuff. So just be aware!
Ads of the month
Miss September candidates

The Way We Were

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Miranda Otto plays Meredith Appleton and Annie Martin her friend Nettie Stanley in the commendable 2010 Australian movie South Solitary, which deals with post-traumatic stress disorder suffered by soldiers returning from World War I. See story on South Solitary below.
Australia is in the midst of a frenetic bout of film making and book publishing to mark the centenary of the outbreak of World War I.
In the past week, two brilliantly-made Australian series, both screened on ABC TV and both dealing with the realities of the "Great War" have sadly ended. The first, Anzac Girls, was a fairly heavily fictionalised version of the experiences of real nurses, in Egypt, Greece and on the Western Front. Although at times it had threatened to degrade itself into Days of Our Lives at Gallipoli, Anzac Girls was eventually rescued by its final episodes, in which viewers were given a truly acute sense of what these astonishingly brave women went through on Lemnos in 1915 and in France and Belgium in 1916-18.
The second series, The War That Changed Us, was even more enthralling. Although it, too, was based on real war diaries, letters and stories, and actors playing real people in convincingly re-created situations, it also mixed in real (and very cleverly coloured) footage, both from the war and from the home front. The fact that it was focused equally on the war and the situation back in Australia during the war, made it all that more interesting. The socio-political events in Australia between 1914-18, mostly concerning pro- and anti-war campaigners, and the distress for families of soldiers and nurses, might have come as a revelation to many viewers. The re-created and real footage was interspersed with insightful interviews with war historians. One of them was Bill Gammage, who a few years ago gave me his father's 1938 cork-platened Royal De Luxe portable:
It was the expert use of a much earlier Royal typewriter which caught my attention in The War That Changed Us.
The typist was Virginia Gay, playing the part of anti-war campaigner, feminist and suffragist Vida Jane Goldstein (1869-1949). See biographies of Vida hereand here.
The real Vida
Virginia Gay playing Vida, right.
The typewriter Virginia Gay used in the series was a Royal Standard No 1. I have taken the liberty here of using an imagine from Mark Adams' blog, as, like the Royal used in the TV series, it has the Royal logo on the side, which mine lacks (and anyway, Mark takes better photos):
Virginia Gay's adeptness in typing on the Royal in many scenes from The War That Changed Us impressed me no end.  Along with this series raising the issue of the then-undiagnosed post-traumatic stress disorder suffered by so many soldiers and nurses after World War I, Virginia's typing reminding me of my own small contribution to an excellent 2010 Australian film, South Solitary.
Before filming started on this movie, I was asked by the producers to provide a machine so that the lead actress, Miranda Otto, could learn how to use a typewriter.
Like Virginia Gay in The War That Changed Us, I thought Miranda did a pretty good job of it in South Solitary.
Scriptwriter and director Shirley Barrett told Graeme Blundell for an article in The Australian that she had asked Miranda "to learn to type on the period typewriter [the character] Meredith uses in the film, at one point suggesting she actually write the daily call sheets for the film's crew".
Otto confirmed this: "Yes, she [Barrett] wanted me to but I never ended up that good a typist. Even though I practised and practised and practised."
Blundell added, "She laughs loudly again, and mimes such manic typing action that a woman who has sat next to us with a coffee turns her back on us."
Another thing Otto had to learn to do was carry a sheep uphill!
Imagine trying to carry a sheep AND a big, heavy old typewriter
Moved by its treatment of post-traumatic stress disorder and the way in which World War I survivors were far too often misunderstood, here is my own August 5, 2010, column on Solitary South:
There is a wonderfully etched character called Jack Fleet in the commendable Australia film South Solitary, set in 1927 at a lighthouse smack bang in the teeth of the Roaring Forties in the Southern Ocean.
Fleet, played by New Zealander Marton Csokas, is very much the solitary, a Welshman still hiding away from the horrors experienced fighting on the Western Front in World War I. There is the suggestion he is a shell-shocked deserter; another lighthouse keeper, Harry Stanley (Rohan Nichol), says Fleet is better off at this end of the earth rather than in his native Britain, where they shot shrieker soldiers.
The lead character, Meredith Appleton (brilliantly played by Miranda Otto), pleads with Fleet to open up and explain his sullen moodiness. Meredith is sympathetic, unlike Stanley, or more so Meredith’s taskmaster uncle, George Wadsworth (Miranda's father, Barry Otto).
Shirley Barrett’s screenwriting subtly reflects the attitudes of the day, attitudes born of an ignorance of the realities of what soldiers like Fleet had endured. That ignorance, in turn, had been created at the time of the war by strict censorship, in spite of the best efforts of Australian journalist Keith Murdoch and historian Charles Bean. If Australia knew what its young men were being subjected to, its willingness to throw them into the conflict might have waned [a point later strongly borne out in The War That Changed Us].
Ignorance, and even the pretence of it, may have been an excuse for the way men like Fleet were treated in the post-war years. There was little if any understanding of the effects of being exposed to constant bombardment, surrounded by death on all sides, the deprivation of sleep, or proper meals, hygiene and medical assistance, or any sort of relief from the regime of kill or be killed.
Even after World War II, doctors struggled with ways to calm the shattered nerves of Australian veterans. Many suffered from what is now known as post-traumatic stress disorder, but back then there was no name for it, let alone a treatment. After the war, Australian psychiatrist John Cade (above; see here and here), working in an unused kitchen at the Bundoora Repatriation Mental Hospital in Melbourne, conducted crude experiments which led to the discovery of lithium as a treatment of bipolar disorder. He found the lithium ion had a calming effect and carried out a trial of lithium citrate or lithium carbonate on some of his patients diagnosed with mania, dementia praecox (schizophrenia) or melancholia.
It is now recognised that post-traumatic stress disorder is an anxiety disorder quite separate from bipolar or depression, or indeed acute stress disorder. It may develop from was once called shell shock or battle fatigue, or what is now known as combat stress reaction, the symptoms of which characterise much of Fleet’s behaviour in South Solitary, such as a disconnection from one's surroundings.
It’s interesting how much more we now know about such disorders and their treatment, especially as a result of the impact of conflict on the men and women who served in two world wars, Korea, Vietnam and Iraq and Afghanistan. And yet ignorance of the truth continues to be used as a defence in so many other areas of war. It’s mind-boggling that the Holocaust remains a topic of debate.
Last month [July 2010] SBS screened a three-part BBC documentary series called Nuremberg: Nazis On Trial. The second part concentrated on Herman Goering, who had insisted to his suicide on the eve of his hanging that everything he and his co-defendants had done was because of their German patriotism. He claimed he knew nothing of the concentration camps, a staggering assertion on its own. But the truth was on trial at Nuremberg, and regardless of Goering’s lying and his cowardly end, the truth was the ultimate winner.
The truth about war is now [in August 2010], of course, the bottom line of the defence being offered by Townsville-born journalist Julian Assange, the founder and editor-in-chief of WikiLeaks, as he reveals tens of thousands of secret documents in his Afghan War Diary. The world has a right to know – even if the logs endanger the lives of Afghani civilians, not to mention US and allied troops. Assange’s decision to publish and be damned came shortly after he took part in a hearing in Brussels discussing Internet censorship and newspaper gagging.
Assange  has been called the “internet's freedom fighter” and Pentagon Papers whistleblower Daniel Ellsberg (above) said Assange was “serving our [American] democracy and serving our rule of law precisely by challenging the secrecy regulations, which are not laws in most cases, in this country”. Ellsberg added Assange’s work was “all to the good of our democratic functioning” and that his “instincts are that most of this material deserves to be out”.
While the ethics of all this are being weighed up around the world, today [August 5, 2010] we mark the anniversary of the 1735 acquittal on a seditious libel charge of New York Weekly Journal editor and publisher John Peter Zenger (above). Zenger was sued by New York’s royal governor Sir William Cosby. He won on the basis that what he had published – material written by lawyer and statesman James Alexander - was true. It is considered a landmark decision in the history of the freedom of the press and a milestone in American jurisprudence.
The judge had ordered jurors to find Zenger  guilty of printing false, scandalous, and malicious articles. Defence attorney Andrew Hamilton (above) responded that a finding otherwise was “the best cause of liberty...”  He convinced the jury that whether words are libellous depends on whether the reader considers them true. Hamilton persuaded them to take part in jury nullification, “sending a message about some social issue that is larger than the case itself or because the result dictated by law is contrary to the jury's sense of justice, morality, or fairness”.  It was one of the first times in American history a lawyer had challenged the laws rather than claiming innocence for his client.
Zenger later wrote, "No nation, ancient or modern, ever lost the liberty of speaking freely, writing, or publishing their sentiments, but forthwith lost their liberty in general and became slaves”.  American statesman Gouverneur Morris (above) said, “The trial of Zenger in 1735 was the germ of American freedom, the morning star of that liberty which subsequently revolutionised America.*”
*All of which is all the more interesting in light of another recently ended TV series, The United States of Secrets, about the Edward Snowden documents.

Short interview with typewriting sports writer Gianni Mura

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Richard Polt has very kindly sent me this audio of a short interview with typewriting Italian sports writer Gianni Mura, who I featured in a blog post here
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