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Sydney Opera House: 'Olivetti Lettera 22 Typewriter Stuffed With Oyster Shells'

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Oh yes, I can see it now!
(See Australian writer Clive James quoted in Lonely Planet below)
It was very kind of Will Davis, Richard Polt, Miguel Ángel Chávez Silva, Tony Mindling and Scott Kernaghan to take the time and trouble to comment so positively on my previous post, on Olivetti Lettera 22 portable typewriter adverts.
Like Richard, I have been pronouncing "Lettera" since 1965 as "Let-er-ah", but Richard has now got me wondering whether it is more correctly "Let-tera". Anyone know for sure? Scott in his comment mentioned John Lavery, who worked for Olivetti. Maybe John knows?
Scott also mentioned that the Lettera 22 is his favourite Olivetti machine - thus far. "At least from a design perspective."
There is an oft-repeated story about how highly the Olivetti Lettera 22 rated among designs in a survey in the United States in 1958. In looking for Lettera 22 ads last night, I came across a more detailed reference to this in a book called Twentieth Century Designs, and thought it worthwhile re-publishing the full story. Here it is:
At the other end of this scale, perhaps, is the controversial 1957 design, by Danish architect Jørn Utzon, for the Sydney Opera House. When I first saw the Opera House, in 1969, I immediately described it as looking like copulating turtles, a description later repeated by others. I was amused, however, to see in an Australian guide by Lonely Planet (for which Richard Polt was once a contributor) the following words:
I can say here without fear of contradiction that the first person to dance in the Sydney Opera House was my then partner Frances Houlihan. Fran was a ballerina who was approached by a Sydney TV station to perform a part of Swan Lake so that cameramen and technicians could set up their equipment for a coming visit to Sydney by Dame Margot Fonteyn. Fonteyn said she was going to have no time to rehearse for the benefit of the TV people, so a Fonteyn stand-in had to go through the steps instead. Fran was the Fonteyn stand-in. To add to this notable achievement, because the Opera House was then still incomplete, Fran had to dance Swan Lake in blocks and a tutu wearing a hard hat!
I would have written that story on an Olivetti Lettera 32.
So back to typewriters .... Having researched thoroughly for Olivetti Lettera 22 literature, I also can say without fear of contradiction that no othertypewriter has been mentioned as often in novels, biographies, memoirs, travel guides and magazines as this lovely portable.


Typewriter on the Kon-Tiki

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Thor Heyerdahl using a Hermes Featherweight portable typewriter on the 1947 Kon-Tiki voyage.
I went to see the new Kon-Tiki movie last night. I really enjoyed it - I thought it an excellent production: well made, well acted and well directed. Of course, it's always a bonus to go to a movie that features a typewriter.
But as with any movie of this kind - the cinematic recreation of a very well-known historical event - I like to check the details afterwards, to see just how accurate the movie is. I'd actually seen a first edition of Thor Heyerdahl's book The Kon-Tiki Expedition in a bric-a-brac store in Hokitika when I was New Zealand earlier this month, for just $4. Knowing I would be seeing the movie a few weeks later, I thought to buy it, but conscious of over-loading for my return journey (a regular fault of mine on overseas travel) I passed on it. I regret that know. I'd like to read the book.
The typewriter in the movie raises some interesting questions. It is a Remington-Rand portable. But photographs taken on the Kon-Tiki during its 1947 voyage from Peru to Polynesia suggest the typewriter on board was actually a Hermes Featherweight. (Indeed, the Remington-Rand in the movie most likely appeared after this year).
These three images are from Ton's I Dream Lo-Tech blog post on Typewriters at Sea. See the link to this post below.
The Hermes Featherweight is being used by Heyerdahl in the image at the top of this post, but Heyerdahl's book suggests the Hermes Featherweight actually belonged to Knut Haugland (more on him later). What's more, it seems Heyerdahl myself didn't like using typewriters, as he claimed the noise of a typewriter disrupted his thinking while writing. The Kon-Tiki Expedition was apparently handwritten, yet in an exhibition run by the Kon-Tiki Museum (Oslo) and the  village of Stugudal in Tydal (where Heyerdahl wrote Kon-Tikiis an Olivetti Studio 42 whichHeyerdahl is said to have used in writing the book.
(As an aside here, it is staggering to recall that after his great feat, one which attracted worldwide attention, Heyerdahl struggled to get his book published. One publisher said that since no one had drowned, the story wouldn’t be very interesting. In 1953, after 20 rejections, Kon-Tiki finally found a publisher. The book is now available in 66 languages.)
Many of the scenes in the Kon-Tiki movie are based very squarely on images of Heyerdahl taken earlier in his life and during the Kon-Tiki expedition.
The drawing above, showing Heyerdahl typing two-fingered, is from Kon-Tiki and I, written and illustrated by another Kon-Tiki crew member, Heyerdahl's childhood friend Erik Hesselberg.
One of Hesselberg's three daughters,  AnneKarin, lives in Brisbane, Australia.
Real life
The movie
But back to the movie, which I would thoroughly recommend. Ton S (I Dream Lo-Tech) reviewed Kon-Tikiback in February in his Typewriter at Sea post in his Typewriters in the Cinema series. Ton said parallels with Life of Pi were "unavoidable", and my friend Elizabeth said the same thing when we left the movie last night. Ton added that he thought Kon-Tiki the better movie. Both have one really big storm-at-sea scene, lots of weird creatures floating around under the raft/lifeboat, magnificent open ocean shots and ultimately survivors with incredible stories to tell. But of course these are totally different stories: one fictional and so fantastically surreal it has confused many viewers with its true meaning,  the other (mostly) based on fact.
Both are such good movies that the 118 minutes (as in the case of Kon-Tiki) and 127 minutes (in the case of Life of Pi) pass by smoothly. What I especially liked about Kon-Tiki was that the drama was not overplayed. Directors Joachim Rønning and Espen Sandberg clearly grasped that in telling a true story such as this, there was no need to gild the lily, as it were. I was therefore astonished to read that Michael Nordine of LA Weekly thought the movie "could have used a bit more [shark-attracting] blood in the water". How little Nordine understands the needs of a movie-goer. Kon-Tiki contains precisely the right amount of blood in the water. Another reviewer, Hollywood Reporter's Sheri Linden, said the "visual effects ... are convincing, if sometimes ostentatious". Far from being "ostentatious", these provide some of the movie's most memorable and astonishing scenes. They do marvellously convey the crew's "vulnerability to the elements". The US surely deserves better movie reviewers! Can Ton not write the movie reviews for one of these Californian rags? Please?
Nordine and Linden all at sea trying to capture a movie's essence.
Kon-Tiki was nominated for the Best Foreign Language Oscar but lost out to French film Amour. 
The typewriter aside, Kon-Tiki's directors went to extraordinary lengths to cast actors who looked so much like the Kon-Tiki crew members, led by Pål Sverre Valheim Hagen as Heyerdahl. (Thank goodness it was Pål Hagen and not someone like Paul Hogan!).
The Kon-Tiki crew, from left: Thor Heyerdahl, Bengt Danielsson, Erik Hesselberg, Torstein Raaby, Herman Watzinger and Knut Haugland.
From left: Knut Haugland, Bengt Danielsson, Thor Heyerdahl, Erik Hesselberg, Torstein Raaby and Herman Watzinger.
During the movie, however, I had a feeling that some of the crew members were much more interesting people in their own right than the movie would have us believe. At least in the case of Knut Haugland, I was right.
Knut Haugland
Tobias Santelmann as Knut Haugland
Haugland,  who was born in Rjukan, Telemark, was the World War II resistance fighter who was one of the real-life heroes in the raid which inspired the 1963 movie The Heroes of Telemark. This told the story of the 1943 sabotage of the heavy water-producing Norsk Hydro Rjukan plant at Vemork, a nuclear energy project.
Haugland was twice awarded Norway's highest decoration for military gallantry, the War Cross with sword. In addition, he was awarded the Distinguished Service Order and the Military Medal by the British. The United States decorated him with the Medal of Freedom with bronze palm. Haugland was director of the Kon-Tiki Museum from its start in 1947 to 1990 and was chairman of the museum in 1991. Haugland died on Christmas Day 2009, the last living crew member of the Kon-Tiki expedition.

One Man's (Typewriter) Art ....

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This looks like a scene from Switzerland. And as Georg says over there at Sommeregger's Sammelsurium, "The typewriter keeps inspiring artists." But I think I might be repeating, though not necessarily 1000 times, Ken Nichol's succinct Australian brush-off if asked the price of a decent typewriter for a sample of the work of Kasper Pincis. Maybe it's just me.
Pincis, 31, lives and works in London. His materials and tools are newsprint, typewriters, carbon paper, a photocopier, pencils, Letraset and slides.
He finds his typewriters in the Deptford market, a fruit and vegetable and antiques and bric-a-brac market near Greenwich, south-east London.
Pincis includes typewriters in what he calls the "aesthetics of literature and academia", and says they provide a "clarity" which is a constant in his practise.
A blurb explains, "To be typed rather than written: the idea of typing as a separate medium in and of itself plays a key role in Pincis' work. The typing machine, generally seen as old fashioned - known and outdated - may be something understandable as it already refers to something. Standing in between a certain progression it was an important invention, but is no longer used. Recently the incorporation of pencil drawing to typewriter pieces has linked two of Pincis' streams of work. In Navajo Rug, for instance, a typewriter grid gives rhythm and centre to an image taken form an old North American textbook." 
Pincis studied at Camberwell College of Art, gained a BA in Fine Art and History of Art from the Goldsmiths College, University of London, in 2004 and graduated from the Royal Academy in 2007.
Interestingly (given my previous post), one of Pincis's favourite source books is The Kon-Tiki Expedition by Thor Heyerdahl.

QWERTY Under Attack - Yet Again!

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A CALL TO ARMS!
OR SHOULD THAT BE THUMBS?
It's time to man the barricades and marshal the revolutionary forces. QWERTY is under attack - yet again.
Fear not, brave Typospherians! In the coming battle, remember that QWERTY has been around for 140 years now, and has already seen off many a challenge, not the least of which came from Blickensderfer and from Dvorak. It's got a bit of form, which this latest challenger has not.
Know ye that it will see off KALQ too! 
Last week BBC Scotland News reported that "KALQ thumb-type keyboard takes on Qwerty".
As well, CNET reported "Android keyboard Kalq quicker than Qwerty, say scientists". 
The BBC said, "Researchers have created a new keyboard layout which they claim makes 'thumb-typing' faster on touchscreen devices such as tablets and large smartphones. Dr Per Ola Kristensson, from St Andrews University, Fife, Scotland, said traditional Qwerty keyboards had trapped users in 'suboptimal text entry interfaces'.
"The new design has been dubbed KALQ, after the order of keys on one line. Its creators used 'computational optimisation techniques' to identify which gave the best performance.
"Researchers at St Andrews, the Max Planck Institute for Informatics in Germany and Montana Tech in the US joined together to create the virtual keyboard, which will be available as a free app for Android-based devices. 
"According to the research team 'two-thumb typing is ergonomically very different' from typing on physical Qwerty keyboards, which were developed for typewriters in the late 19th Century.
"They claim normal users using a Qwerty keyboard on a touchscreen device were limited to typing at a rate of about 20 words per minute. This is much slower than the rate for normal physical keyboards on computers ...
"With the help of an error correction algorithm, trained users were able to reach 37 words per minute, researchers said. Dr Kristensson, lecturer in human computer interaction in the School of Computer Science at the University of St Andrews, said: 'We believe KALQ provides a large enough performance improvement to incentivise users to switch and benefit from faster and more comfortable typing.'"
Any new system developed by someone who uses the word "incentivise" is doomed before it even gets off the blocks, mark my words.
The developers will present their work at the Conference on Human Factors in Computing Systems in Paris on Wednesday of this week (May 1).
Among 271 comments on the BBC website as of last night were these: "We already have two keyboard layouts, QWERTY for touch typing and the alphabetical layout of most number pads. Though this might help one-finger typists type faster on mobile devices, for touch typists like myself who use more than just two digits it's totally useless."
"I hope manufacturers will configure the OS to provide both and allow the users to flip between the two as required. Then we will see if it has a future."
"After using QWERTY for many years, and converting to Mac, finding the keyboard is just different enough to really screw up productivity (plus having XL 'man thumbs' anyway), not sure I'd want to adapt again."
"I have never seen a single person typing on a smartphone's screen in that manner ever! No one I know has used their thumbs to type since old school phones with number pads! It's all index fingers now!"
A PDF of the research is here.
A Max Planck Institute information sheet titled "Improving Two-Thumb Text Entry on Touchscreen Devices" is here.
A video is here.
Of the QWERTY challengers listed below, from Wilf Beeching's Century of the Typewriter, the closest to KALQ is the Fitch of 1886.
Let's remind ourselves that KALQ is way, way behind the eightball here. The reason is simple. People use QWERTY. Have done for 140 years, almost six generations. That's what they use on computer keyboards. The most serious challenge yet to QWERTY came from Dvorak, and at the end of the day Dvorak was abandoned because it it took too long to retain people who had being using QWERTY. That meant everybody. If you can erase the collective memory of six generations across the English-speaking world, you've got a chance. Otherwise, forget it.




Typewriter in Bob Dylan's Back Pages

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i went home an began writin
Four-and-a-half years ago, Simon & Schuster published a book called Hollywood Foto-Rhetoric: The Lost Manuscript, with "text by Bob Dylan". Despite this fact, it didn't sell. I picked a mint condition copy up at one of those bargain basement places, for about $5. I was curious that a book with "text by Bob Dylan" and including a photograph of a man sitting at a Remington-Rand portable typewriter had been, at least to me, so obscure (and selling, new, at such a low price). At one time or another I think I have owned just about every book written about or by Dylan.
I discovered in a review written by The New York Times' Charles McGrath, under the heading "His Back Pages", that this book contained what Dylan himself, "in characteristic fashion had forgotten all about ... a series of 23 poems he wrote in the early 1960s to accompany a collection of Hollywood photographs by Barry Feinstein".
McGrath said the "Dylan archives [are] a cavernous storage space so full of odds and ends that even Dylan himself doesn’t know what’s in there. Just when you think the place has been emptied out, something new - a bootleg tape, some video footage, a collection of sketches and doodles - pops to light." McGrath called the tome "one of the oddest coffee-table books to come along in a while."
The reviewer said "That 'f' in 'foto-rhetoric' leads you to anticipate a volume in tabloidy, Hollywood Confidential style, and there are a couple of glimpses of weird Kenneth Anger-like Hollywood. But most of the photographs are more moody, even arty, than they are leering or sensational. Feinstein went on to become the court photographer of rock ’n’ roll royalty, but in the early ’60s he was working as a studio flunky for the mogul Harry Cohn, and he took these pictures backstage on movie sets or driving around town after hours.  They’re suffused with a kind of anti­glamour that was probably meant to be tough and unflinching at the time but now seems almost tender."
"What Dylan brings to this vision is a kind of antic surrealism, at times reminiscent of the liner notes he wrote for Highway 61 Revisited ... he is reluctant to call the text poetry. But they certainly look and read like poems, in tense, narrow lines, of just one or two beats sometimes, that stack on the page ...
"The style seems learned partly from the Beats, terse and jangly, with no capitalisation and lots of dropped letters: But the voice is reliably Dylanesque: Occasionally a poem will explicitly comment on the accompanying photograph. 
crashin the sportscar into the chandelier
i called up my best friend
somebody wiped their feet on me
an gave me some pills (See the name on the pill bottle)
i really have nothing against marlon brando
"More often the poems take off on the theme of a photo or enact a scenario ... suggested by it. And sometimes the relation of text to picture is pretty oblique. 
"Most of these poems, it must be said, read like the work of just a few moments. They lack the complexity, the emotional power of some of the great Dylan song lyrics [which] ­really can stand comparison to Marlowe, Keats and Tenny­son. They’re mostly riffs, the poetic equivalent of scale playing. On the other hand, you can read these little verses without humming the tune in your head, and they allow you to appreciate Dylan’s verbal dexterity — his gift for rhyme and free association — in isolation, as it were. This is the kind of quickness and improvisatory brilliance that allowed those great lyrics to happen. Nor is the text of Hollywood Foto-Rhetoric entirely rhetorical. The best poems add up to a wary meditation on fame and celebrity, on the disguises we all put on — themes to which he would later return."

Golightly Typewriter Goes Lightly; Connie Gustafson Stays in Obscurity

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The Golightly-Riter Remington portable typewriter has gone lightly into the night - to a new home, as a gift to a new owner, my son Danny's friend Emily Hansen. It went with a pink Penguin copy of the book that it inspired its creation, Breakfast at Tiffany's, and a pink marshmallow (to be eaten while reading).
It went without a squeak as the world squealed at the revelation Holly Golightly had almost been Connie Gustafson.
Truman Capote's 1958 typescript with his handwritten edits has been sold at auction to Russian retail billionaire Igor Sosin for more than $300,000. The typescript was sold online by Amherst, New Hampshire-based auction house RR Auction.
Capote's handwritten notations include changing the femme fatale's name from Connie Gustafson to the now-iconic Holly Golightly.
 Audrey Hepburn as Holly.
Sadly, Connie Gustafson must remain in obscurity.


Oh Boy! Sunburst Royal Portable Typewriter

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Can you imagine how Buddy Holly felt the first time he laid his hands on a sunburst Fender? Well, if you can do that, you will have some idea of how I felt when I unpacked this sunburst Royal portable typewriter. Oh, boy!
Duane O'Neill in Fender country in California is working on an orange typewriter ribbon for me and this real beauty is screaming out for just such a thing. I'll wait until I hear how Duane gets on before typecasting with the sunburst Royal. Dying to type with it. Sunny days ahead ...


On the Iberian Typewriter Safari: Surfin' from Malibu to Newport, it's as simple as ABC (for Chevron)

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One of the world's most extensive typewriter families stretches out across the globe from the Iberian Peninsula. It is one that embraces brand names such as Siemag (Siegener Maschinenbau AG), Koch's Nähmaschinenwerke AG, ABC, Cole Steel, Royal, Imperial, Sears and (in Portugal) Oliva; as well as Australian labels Chevron and Lemair. Model names include Safari, Malibu and Newport, to name but a few. The common denominator across this vast range of machines is the Lisbon company Messa:
The arrival here this week of a Lemair 3002 portable typewriter was a reminder of just how many variations there are in this family. The Lemair label easily peeled off to reveal it was in fact an ABC 3002. And of course barely readable under the left side of the carriage is the country of origin of this model:
I could already clearly tell from the eBay listing that the ABC 3002 was a very close relation to my Imperial 2002. I was quite surprised when I was given the Imperial 2002 last year, because I hadn't previously seen a design like it. That just showed how easily a typewriter's mask can confuse.  When the ABC 3002 arrived and I slipped off the ribbon spools cover, I can see instantly that the mechanics are identical to every other Messa machine I have ever owned - most commonly the ABC and Lemair 2000 series. The added figure of 2 on the end of 2000 simply represents a new, more "modernised" mask.
Here is the latest addition to my collection, the ABC 3002, aka the Lemair 3002:
Among the models in this range of mechanically identical family members are:
The original Messa version of the 3002
ABC/Lemair 2000S
Sears Newport (Ryan Adney Collection)
Sears Malibu
Sears Chevron
The Messa 2002 range includes:
Royal Safari II
Imperial 2002
Messa 2002
Oliva 2002
Here are a couple of Messa 2000s
ABC 2000
Sears Chevron
The earlier Messa small portable, a direct (plastic) descendant of the ABC-Cole Steel, was variously marketed as an ABC, Lemair, Sears and Oliva, among other names:
This one, made for Messa in Pakistan, is a close relation to the Neckermann Brilliant S, designed by Koch's-ABC
Sears
Oliva
But back to the ABC 3002:
SPACEBAR NOTE: I loved the story told about a Messa 3002 by a Portuguese blogger. It seems there was a man who had owned one of these machines since at least the early 1980s. His 20-something sons referred to it as his "computer". They asked him why he didn't sell it. "The father sharply pressed several piano keys, producing a sound dark, and said, 'I wrote letters to your mother on that 'computer', without it you would not be here. Sell ​​it? Never ... Little ones, this is a typewriter, it's like a computer but with paper, no Facebook and no pornalhada'."

Typewriter Update, April 2013

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'ARGO' MUSEUM
About the time Ben Affleck's movie Argo was deservedly winning three Academy Awards, Japanese national newspaper The Asahi Shimbun was checking out what had become of the real former United States Embassy in Tehran, where much of the action in Argo was set. The image above is part of what The Asahi Shimbun found. It is the so-called "Forgery Room", where CIA operatives created false documents and passports  -including passports for Australia and Canada.
The former embassy is now a museum. It was at the centre of the hostage crisis in which 66 captives were held by Iran's revolutionary students for 444 days between 1979 to 1981.
Alan Arkin and Ben Affleck in Argo
Argo is about the "Canadian Caper", in which CIA "exfiltration specialist" Tony Mendez (Affleck) led the rescue of six US diplomats. The movie won Oscars for Best Film Editing, Best Adapted Screenplay and Best Picture. 
CRANDALL FETCHES $8300
This magnificent New Model Crandall (serial number 5698) sold in Park Rapids, Minnesota, for $8300 after 21 bids. For a long time I thought I was still in the hunt, but toward the end of the eBay auction the bidding got way beyond my means.
A couple of "potential" buyers really tried it on as the bids mounted. One wrote, "First of all I would like to compliment you on your wonderful typewriter. In June this year I will open a typewriter museum which will be one of the most important in the world. The museum – in Piedmont, Italy – will house about 400 antique typewriters. I am not a dealer but your splendid typewriter would be one of the most beautiful examples on display in the museum. I hope you are able to lower the price of the typewriter as I have a very limited budget." [Why didn't I think of that?]
Another said, "I could 'buy now' for $3750, including shipping to Spain." Good try!
The seller described the Crandall as having "really fancy artwork on it, with an iridescent, mother-of-pearl kind of shimmer. All we know is that these are not ordinary typewriters, artistically or technology-wise. Check out the letter-thingy!!!  It's a cylinder with letters all around it."
"It's a shame that more of these beautiful typewriters aren't around, because they really are well-constructed machines. You can tell they were made with pride."
A guide to Crandall values was offered:
$1000-$2000 for a basic non-restoreable (or not worth restoring) parts machine that has parts you need.
$3000 for a mess that might be restoreable cosmetically but will probably never function mechanically.
$4000 for a conservable [sic] Crandall that can definitely be made to work. It includes some significant cosmetic restoration required, or, if not done, will hold down the future value.
$5000 for a nice machine with fairly good mother-of-pearl that has a bit of 'surface rust' here and there and either works or can be easily made to work (often hard to judge).
$6000 for a nice machine that is clean and works but is not beautiful.
$7000-$10,000 for really fine, beautiful Crandall that looks great and works great. On these, the mother-of pearl flowers and other forms (including on the back of the base) have bright colours, the pin-stripping is complete, etc.
On all, add $300- $600 for a baseboard and case and more if it has any original documentation with it. Also, provenance/history matters -add something if the original owner is known, more if she or he historically important and if what the owner used it for is known. 
Apparently the Crandall had been owned by an Oscar Kastet of Rothsay, Minnesota.
COLUMBIA REACHES $3700
Meanwhile, in Melbourne, a Columbia No 2 index typewriter - for which the bidding started at 99c - reached $3700 after 35 bids.
KEYTOP-LESS CORONA 4
Someone sold this Corona 4 on Australia eBay for $122 after 19 bids. I wonder how the buyer felt when he or she received it and realised seven keytops were missing? Or maybe, since the evidence was pretty clear from the listing images, the idea was to spend $122 just to further vandalise this old beauty?
When the Corona first appeared on eBay, I contacted the seller suggesting it might be good idea- just in case, like - if he or she pointed out there were seven keytops missing. The reply: "It's been hiding in our ceiling for at least 20 years, only found during a clean out. Unfortunately I have no idea where these [keytops] are. The typewriter was found when we did renovations, therefore I don't know much about it, hence the low starting price."
The Corona was listed as a "Sweet vintage typewriter which would look ace in a shop display ... Keroac [sic] would be jealous." No mention of the missing keytops.
HIGH HOPES
Two people actually bid on this Underwood 18. It sold for a few dollars more than the starting price of 99c. "May not work properly but has 'retro' appeal," said the seller. Rust has retro appeal? Whatever next? We should start selling rust ...
Even with "its original sticker", this Imperial didn't sell (at $9.99), surprisingly enough:
But this Underwood Champion sold for $610 after 30 bids. Things are definitely looking up Down Under:
This off-white Olivetti Valentine finally sold for $700 in Germany:
Do my eyes need re-testing, or does this Royal look green to you, too? I checked with the seller and it's a "classic Royal grey":
Talking of green, an Irish seller definitely needed his eyes testing, He listed this as an Imperial::
FATE OF NOISELESS 77
The Lonely Platen
The likely, unfortunate history of the aforementioned Corona 4 might have been similar to what seemingly happened to an Underwood Noiseless 77 in the US. Ray Nickson was concerned a new eBay trend might have been emerging when a seller, in separate auctions, listed several parts of the Noiseless - platen, carriage knobs, etc etc, everything BUT the keytops. "I will be interested to see if this fellow can sell all those parts," Ray wrote. "If the seller gets their starting price on each item, they will have made more than they would for an entire machine, I should think. It would be a worrying trend if savvy sellers could make typewriter collectors buy machines in pieces!"
HOW TO SELL A TYPEWRITER
This "teaching and cut model" of an Adler 7 was listed on German eBay. Got you looking, didn't it?
(ANOTHER MOVIE IN WHICH ALAN AяKIN IS ASTONISHINGLY BяILLIANT)
Russian typewriter enthusiasts have joined the TyposphereAleksandr Trofimov, 31, contacted me about using material from my blog on his, which can be seen here. "I am a Russian native who is keen on collecting typewriters. These technical masterpieces currently enjoy increasing interest in Russia, but a very limited number of fans know anything about the history of this invention. Along with my growing passion towards collecting typewriters, I have also learned how to fix and restore them, and - surprisingly enough - I discover that St Petersburg lacks professionals who are skilled at bringing such mechanical devices back to life. Typewriter owners from Russia who contact me about fixing their Underwoods or Royals etc also regret that there are no relevant workshops. As I am myself interested in typewriter history and their heyday years, I see that there is a real need to share this knowledge with my Russian co-fans and collectors."
Aleksandr says of his blog, "This is where I am attempting to tell about the history of typewriters, about celebrities who either contributed to the development of these devices or used typewriters to become famous in whatever creative areas. Also here interested collectors will find good tips on maintenance or restoration. Being a journalist myself, just like you, I aspire to make this as interesting as possible." 
Aleksandr added, "Several fan webpages devoted to
typewriters have been launched in the Russian social network, namely here, yet this very one is referred generally to by only people who are interested in selling or buying typewriters."
ANOTHER DOCO?
A newsletter from Martin Howard in Canada says Martin has been approached by Doug Nichol, a filmmaker from San Francisco, about presenting the history of typewriters as part of a full-length documentary on typewriters. Famous people who still use typewrites have also been interviewed, including Tom Hanks, Sam Sheppard, John Mayer and the Pulitzer Prize-winning author David McCullough. The film will be out this year."
Martin is also working on a book about the world’s first typewriters with Norman Ball, a retired professor of technology in society. Ball is an author and former archivist and curator at the Canada Museum of Science and Technology.
Martin is hoping to be able to create another public exhibit. "It has been five years since 20 of my typewriters formed an exhibit at the Royal Ontario Museum, called ‘Early Typewriters - Gateway to the Information Age’.  A nice legacy of this show is that the exhibit room at the ROM is now referred to as the ‘Typewriter Room’. William Thorsell, former CEO and general manager of the ROM, said: 'The [Howard] collection illustrates mankind’s search for a solution to a challenge, the intriguing avenues explored, the beautiful means by which they were expressed and the technical proficiency of the age. The invention of the typewriter also speaks to social change, and the explosion of communications means in the 19th and early 20th Centuries.' "
YET ANOTHER NAKAJIMA
The Pentagon. It's got to be the 150th model name for a Nakajima, and still counting ...
WHAT I LOVE
Still the same thing; Being contacted by the family of people who have, for one reason or another, been famous in the typewriter world and who have been mentioned in this blog. More on that tomorrow. In the meantime, think "Remington Heiress". Yes, I'm delighted to reveal that Gambi Benedict is alive and well. Read all about it anon. I'm so excited about this development.
Also, there is word about the founder of the Mercedes typewriter company.
WHAT I HATE
Pesky sellers who repeatedly pester you for positive feedback, with "subtle" hints like "You give me positive feedback and I'll give you positive feedback". Like, what else can they give me? Negative feedback? I don't think so.


Typewriter Bits & Pieces Come & Go

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How the day dawned, as seen from my balcony, May 1st. Canberrans traditionally pride themselves in resisting turning on a heater until Anzac Day, April 25. But almost a week later we still haven't used heating here. Keep it up, Canberra.
Dusk this evening, taken a few minutes ago. In between these spectacular skies, it has been a very interesting day, with typewriter bits and pieces arriving from various parts of the globe. First, from Cincinnati, Ohio, came this intriguing package. Charlie the typewriter guard cat checks it out before allowing me to open it. More on his day later.
A typewritten address label, no less! Even a bit of red type. Inside were some real typewriter "goodies". Sender Richard Polt had alerted me there would be, and I was delighted to sift through what he'd been kind enough to send. The package was to contain just platen knobs for an Underwood Noiseless 77, but Richard thankfully and thoughtfully couldn't resist filling in some spare space with a few odds and ends:
A ribbon from Spitzfaden Office Supplies. Wow! I can almost reach out and touch the place. I will be able to in October. And how's that Cincinnati Army Knife? Apart from pliers, it has every Australian male's dream tool, a screwdriver that doubles as a beer bottle opener. Plus a blade, file, scissors - and it's a key ring. Ideal for on-the-spot typewriter repairs. 
Also in this treasure box: A ruler from the Baco Ribbon & Supply Co, plastic type cleaner from AW Faber and another typewriter ribbon. And oh, yes, the embarrassing bits, the platen knobs:
Embarrassing because it was only after Richard's package arrived that I realised I'd asked him for the wrong thing. What I actually needed was the platen itself. Oh well, we live and learn!
This is still in America ...
Anyway, another package arrived from Neil Wiltshire - a decidedly English-sounding name for a chap living in the Czech Republic. But he's obviously a man after my own heart. Have a look at the clever recycling of the Shreddies box:
Inside was this pennant from the Consul typewriter company:
These are the sorts of things I associate with European soccer in the 1950s and '60s, when opposing captains used to shake hands and exchange club pennants before matches. I wonder if Consul had a company soccer team?
Another package contained this bit of typewriter-related artwork, printed on the page of a dictionary:
Inside the case of a typewriter which arrived from the US was this 1951 sheet for a Self Typing Instructor ("No schools, no books"). I imagine this originally came with cardboard hand cutouts:
If it had been used in schools, maybe this would have been the scene:
At the end of the day I had to go over to the post office to pick up another typewriter, this one from Germany. Hats off to sender Silvia Kuvecke of Bardowick in Lower Saxony for the best packing of a typewriter I have ever seen - outside of Richard Polt, that is. Silvia restores one's faith in eBay typewriter sellers and their appreciation of the value of a typewriter - and the need to protect it and that value in transit. Here is the manual for the machine in question, one I will post on shortly:
I almost forgot: there was also some movement in the other direction - that is, outward mail. I got some typewriter parts ready to post to Scott Kernaghan in Brisbane. These are for machines I gave Scott at the Brisbane Type-In in March, both of which came from Museum Victoria's ScienceWorks in Melbourne:
Finally, Charlie the typewriter guard cat. I said I'd get back to him. After checking out Richard's package and giving it the all-clear, Charlie spent the rest of the day basking in the sun and indulging in a bit of light typewriter book reading:

Found: The Remington Typewriter Heiress Alive and Well

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Throughout the long hours and days I put in last November to bring together the incredible story of Remington typewriter heiress Gamble Benedict, I constantly hoped for two things: first, that I would find Gamble was still alive and well; second, that someone close to her would stumble across my blog post and contact me to confirm this.
Those wishes came true this week when George Michael GallagherGamble's son by her first husband, Romanian-born chauffeur Andrei Porumbeanu, contacted me through this blog to say, "Thanks for doing this post. It is fun to read about my mother's past." Gamble, 72, now lives in Hershey, Pennsylvania. Goodness, won't it be fabulous to meet her and talk to her about her fascinating life?
Gamble and her brother Doug were the main beneficiaries of the fortune amassed by Remington typewriter pioneer Henry Harper Benedict. After her headline-grabbing three-year marriage to Porumbeanu ended in 1963, Gamble married New York cop Thomas F.Gallagher.
Henry Benedict was president of Wyckoff, Seamans & Benedict from 1895 and president of the Remington Typewriter Company from 1902 to 1913. Until his death in 1935, he remained the largest stockholder in Remington.
His grand-daughter, Gamble Benedict Sharpe, was born in New York on January 15, 1941. Porumbeanu (born January 27, 1925) meet her in May 1959.  In the early hours of December 27, 1959, Gambi escaped her "gilded cage" in Manhattan and on New Year’s Eve she and Porumbeanu boarded a Norwegian freighter headed for Antwerp. In Paris on January 22, 1960, Gambi was taken into police custody and the next day faced a juvenile court and was flown back to the US.
Yet again Gambi managed to elude her minders and she and Porumbeanu were married in Hendersonville, North Carolina, on April 6, 1960. On April 2, 1961, Gambi gave birth to George Michael in Montclair, New Jersey. But on October 7, 1964,  Gambi was granted an annulment. Gambi and Gallagher  were married on July 1, 1965. Porumbeanu died in New York in 1988.
CORRECTION: George Gallagher pointed out that Courtney Gallagher is his sister. I had been led to believe Gamble had given birth to four sons, two by Porumbeanu and two by Gallagher.

McLoughlin Brothers Typewriter

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The listing, at the starting price of a mere $9.99, of an 1884 McLoughlin Brothers typewriter on US eBay last week caused quite a stir. Not surprisingly, with the auction due to end tomorrow, there has been a flurry of 13 bids and the price has rocketed up to $US2025 ($A1951).
The McLoughlin, the subject of a lead article by Canadian typewriter collector Martin Howard in the December 2011 issue of ETCetera (No 96), is an intriguing machine. As far as I can tell, there was no known patent for it, but my research strongly indicates that it was almost certainly designed for the McLoughlins by the famous printing machine inventor Andrew Campbell. It has all the hallmarks of Campbell's work.
Martin Howard Collection
The McLoughlins' pioneering colour printing of children's books and games required the very best and most advanced printing technology - and that was invented and assigned to the McLoughlins by Campbell. In the mid-1880s, Campbell assigned a large number of his printing-related inventions to the brothers.
Andrew Campbell
What has added to the intrigue of this current eBay sale is that the name of another famous inventor, Charles A. Lieb, appears on it, suggesting that this particular McLoughlin was quite probably owned by Lieb


Cooper Union in the 1860s
Lieb was born in Newstead, New York, in 1856, and educated at the Cooper Union for the Advancement of Science and Art in Manhattan. In the mid- to late 1890s, Lieb made his fortune through his ownership of the Georgetown and Tenallytown Railroad Company and a Washington DC electric lighting plant. Lieb devoted the later years of his life to inventing electric vehicles, wireless telegraph machines and a screw elevator.
In 1899, described as a "capitalist" by The New York Times, Lieb was part of a syndicate which took over the Corliss Steam Engine Works in Providence. Later that year he took part in the first run of the Automobile Club of America, driving an electric vehicle in New York.  At various times Lieb was a mechanical engineer with the Manhattan Transit Company and a manager for Western Union. In 1900 Lieb was joined by Oberlin Smith, who had invented magnetic recording, in the development of the telephonograph. Four years later Lieb was similarly approached by Nikola Tesla about an electric auto-bus. As an "expert" mechanical engineer connected with General Electric, in 1906 Lieb became a director of the United Wireless Telegraph Company, which attempted to merge the dominant Marconi and De Forest systems. 
Nikola Tesla
In early June 1911 Lieb gave $10,000 in bonds to assist building at his alma mater, the Cooper Union. He died three weeks later, on June 25, 1911.
John McLoughlin
Back to the McLoughlins. John McLoughlin was born in New York City on November 29, 1827, and began his working career as a wood engraver for Elton & Co, run by his father, John McLoughlin Snr, and Robert E.Elton. In 1852, John Jnr began the publication of illustrated books and five years later was joined by his brother Edmund (1834-1889). They operated under the name McLoughlin Brothers, with a factory in Brooklyn and head office on Broadway. Through Campbell, the company was able to pioneer the systematic use of colour printing technologies for children's books. John McLoughlin died in Connecticut on April 27, 1905, aged 77.
Campbell Country Cylinder Press
Finally, let's look at Andrew Campbell, who I feel certain designed the McLoughlin Brothers typewriter.  Campbell was born near Trenton, New Jersey, on June 14, 1821. In 1836 he left Trenton to become a driver on a canal. He moved to Alton, Illinois, where he constructed several labour-saving devices. In 1842 he removed to St Louis, where he built an omnibus called the Great Western, the first used in the city, carrying 48 passengers. In 1847, Campbell moved to Columbus, Missouri, where his inventive genius produced a machine for making match and pill boxes. He then devoted his attention to bridge building. He next went to New York City, where he started inventing printing presses.
Campbell became one of the world's most important inventors and manufacturers of printing presses. He was president of the Campbell Printing Press Company of Brooklyn. He invented the press-feeding machine in 1853, and was employed by A.B. Taylor & Co of New York. He built presses for Harper & Brothers and Frank Leslie, of New York, the first ever produced with table distribution, as well as the first automatics. In 1858 he engaged in business for himself; in 1861 he built the Campbell Country Press, which became widely used throughout the country by newspaper publishers. In 1866 he created the two-revolution book press and in 1868 an art press for fine illustrations. Campbell made the first press that printed, inserted, pasted, folded and cut in one continuous operation. He held 50 patents relating to press building. In 1880 he retired from active business but continued to design machines for the McLoughlin Brothers.
Campbell also invented various devices relating to hat manufacture, steam engineering, machinist's tools, lithographic machinery and electrical appliances.  Between 1858-89 he took out about 125 patents, including in the US, Britain, France and Belgium. His son, Andrew Chambre Campbell (1856-1926), was also a machine inventor.
Andrew Campbell died in New York City on April 13, 1890, aged 68.



Rheinmetall Portable Typewriters

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AND

Typed on my one of Rheinmetall KsTs, this one with the serial number 273921 (1948). The abbreviation KsT stands for "Kleinschreibmaschine mit Tabulator"
- or small typewriter with tabulator.

Above and below: My Rheinmetall Supermetall, serial number 555582
This is the second of my black Rheinmetall KsTs (serial number 274529). It is used as a demonstration model, to show how easily the carriage can be removed. This one came to me from the late West Australian collector Bruce Beard.
The listing on Australia eBay earlier this year of a Commodore standard-size typewriter as "a 1930s vintage machine" underlined just how confused people in this country are about Commodores.
Last year a woman in Melbourne contacted me about a Commodore portable (below) she wanted to sell. I went to great lengths to explain to her the admittedly complicated history of the machine, and she listed it for what I thought was a reasonable price. However, a busy body got in touch with her, offered her less money for it, yet told her it was actually more valuable - it was a relabelled Royal, the clever Mr BB said. Bewildered by all this, the woman withdrew the item. Not taking my word for what it was, she then sought advice elsewhere. Naturally I washed my hands of the whole affair. 
This is what she didn't want to know ...
The late Jack Tramiel
Jack Tramiel did not found the Commodore Portable Typewriters firm until after he had bought his office equipment repair shop in the Bronx in 1953. Commodore International Ltd was not established until Tramiel moved assembly operations to Toronto in 1955. At that time Tramiel's $176,000 contractual arrangement with Sears was for typewriters assembled from parts manufactured by Zbrojovka Brno NP, maker of Consul typewriters, in Czechoslovakia.
Tramiel did notstart to deal with German company Rheinmetall-Borsig AG in Sömmerda, Thuringia, until Consul was able to surmount trade restrictions and start to sell machines in the West under its own name, in 1962.
The timing of this suited Rheinmetall and Tramiel. From May 1958, Rheinmetall's Sömmerda factory had been gradually integrated into East Germany's state-owned and Erfurt-based VEB company, with the focus increasingly on data processing and office equipment. The next year, Rheinmetall began to scale back production of its KsT portable typewriter line, introducing the Supermetall, with a rounded front section and the removal of the ribbon colour selector switch from the front panel (it was replaced by a more conventional switch on the side of the keyboard). Significantly, KsT production ended in 1962, when Rheinmetall introduced its automatic electronic invoicing machine under the new trademark Soemtron. Clearly, during this process, already manufactured parts, and the tools and dies and machinery to produce parts for the KsT portable typewriter, became obsolete to Rheinmetall and available to Tramiel.
The year 1962 was also when Commodore became a public stock company (and what an investment it would have been at $2.50 a share back then) and allegedly began to "manufacture" typewriters in Toronto. The truth is, Commodore never "manufactured" a single typewriter. It merely continued to assemble them, but from 1962 using different parts to make a different machine. The idea remained the same: to beat tariff restrictions in Commonwealth countries. Tramiel liked to claim Canadian-assembled typewriters were "Canadian products". But strictly speaking they were not. 
Commodore typewriters assembled in Toronto from Rheinmetall parts and marketed as Commodores date from 1962 - NOT BEFORE. 
The question here is this: Does a Commodore portable typewriter assembled in Canada in the early 1960s from parts built in Germany much earlier than that constitute a 1940s or 50s typewriter on a 60s one? And is it really a Rheinmetall or what it says it is, a Commodore? My feeling is that it is a 1960s Commodore.
But maybe I'm just being pedantic here. After all, I own three beautiful Rheinmetall portables, ranging from 65- to 54-years-old, and I have never kept a single Commodore. I've never owned a Commodore that matched up to a Rheinmetall - maybe a Consul, but never a Rheinmetall. Snobbish? Yes, OK, I'll concede that. But what really concerns me here is people trying to pass off a 60s-assembled Commodore as a German-made typewriter from a significantly earlier period.
I have posted on Tramiel many times on this blog, notably here andhere. So I won't go into his life story again. What I will do is take a close look at Rheinmetall.
The factory and the founder
Rheinmetall AG was founded as Rheinische Metallwaaren und Maschinenfabrik Actiengesellschaft in Dusseldorf on April 13, 1889. It was set up by Heinrich Ehrhardtfrom the Hörder mining and metallurgical organisation, who had been offered a commission to fulfil a large ammunition order from the German War Department, and who got the financial backing of a cconsortium of banks from Berlin, Frankfurt and Dusseldorf to take it onProduction began in December that year.
The Stoewer original (Georg Sommeregger Collection)
In 1901 Ehrhardt took over bankrupt ammunition and weapons factory AG Sömmerda and at the outbreak of World War I, Rheinmetall was one of the largest arms manufacturers in the German Empire. By the end of the war, the workforce had increased to nearly 48,000. But then German arms production was halted. The provisions of the Treaty of Versailles forced Rheinmetall to switch to locomotives, railroad cars, agricultural machinery and steam ploughs. At the factory in Sömmerda, precision mechanical equipment such as typewriters and calculating machines were produced.

Richard Polt Collection
In 1931, Rheinmetall developed its first portable typewriter from a design by Leopold Ferdinand Pascher for Stoewer.
From 1921, the provisions of the Allies allowed Rheinmetall to resume production of weapons systems in small numbers. The German Empire acquired a capital increase in the company in 1925. In April 1933, Rheinmetall acquired locomotive manufacturer Borsig and thus came into possession of a large plant in Berlin-Tegel. Production switched to machine guns, cannons, anti-tank guns, mortars, field guns, anti-aircraft guns and rail guns. Armoured tracked vehicles were also developed. In 1938 the company moved its headquarters from Dusseldorf to Berlin. It was nationalised and fully integrated into the preparations for war.
Richard Polt Collection
Adwoa Bagalini Collection
War severely damaged Rheinmetall's plants. In the reconstruction period, Rheinmetall's factories in Dusseldorf, West Berlin and Unterluess came under the control of the Western Allies and trusteeship, while those in East Germany fell under Soviet control. Rheinmetall AG in Dusseldorf built typewriters, bumpers, lifts, tannery machinery and transportation and loading facilities.
The brilliant KsT line of portable typewriters was introduced in 1945. The Supermetall came out in 1959. The Rheinmetall factory in Sömmerda was on June 3, 1952, returned to the East German government. From 1958 it was run by the state-owned enterprise VEB, which eventually became Robotron.
Nowadays Rheinmetall generates annual sales worth more than four billion euros and is Europe's 10th largest arms company. KSPG is the holding company of Rheinmetall's automotive division and is a global supplier of air supply and emission control systems, coolant and oil, circulating and vacuum pumps, pistons, engine blocks and engine bearings.
The Supermetall:






Busted Ast? Dunera Boy's Astoria Typewriter Exposes Shipping Bruises

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I hasten to add this AST-oria is not busted - far from it. In fact, it is working like a champion - despite the fact it has obviously received a rather nasty bang on its left eyebrow.  
It's a bright, sunny day here today - as can clearly be seen in the reflections off the shiny surface of this Astoria portable typewriter. It has been a long, sunny period for me as well, at least in terms of typewriters arriving from all parts without having suffered any damage in transit.
That I am experiencing a run of good fortune in this regard was reinforced by a 1939 letter I received relating to this Astoria. It reminds us that typewriters being damaged in transit is not something that has just arrived with the advent of eBay. It's been around a very long while:
The story of the Astoria's incredible journey from Austria to Australia can be seen here.
The Astoria (serial number A5676) is part of the "Euro Portable Family" and was made by the Società Industriale Meccanica (SIM) in Turin. 
In 1939 Geoff Winter’s father escaped Austria alone, leaving his family behind him. His family perished under Nazi occupation.
Ernst Winter became one of the famous “Dunera Boys”.
These men came to Australia from war-torn Europe in a troop transport turned "passenger ship" called the Dunera. Their internment and voyage is regarded as “one of the more notorious events of British maritime history”. On July 10, 1940, 2542 detainees, all classified as “enemy aliens”, boarded the Dunera in Liverpool. During the voyage to Australia, the internees’ possessions were rifled and subsequently the British government paid ₤35,000 to the Dunera victims in compensation. Happily, the Astoria survived this outrageous crime.
On arrival in Sydney on September 6, 1940, the detainees were transported by train 750km west to the rural town of Hay in the centre of New South Wales. After Japan attacked Pearl Harbor in December 1941, almost 2000 of these refugees from Nazi oppression were set free.
This pencil and crayon caricature, titled “Rosenbaum typing”, was drawn at the Dunera Boys’ internment camp at Tatura in Victoria by Fred Lowen in 1941.
FOOTNOTE: If Alan ("Son of a Dunera Boy"), who commented on the previous post about this typewriter, is out there and reads this, can he please contact either Geoff Winter or myself. We are trying to get in touch with you.
FOOTNOTE II: The first Australian report of a typewriter being damaged in transit appeared in The Argus in Melbourne on December 9, 1876. Alexander Kennedy Smith was the Mayor of Melbourne at the time. Kennedy Smith was one of the first men to import a typewriter into Australia. His typewriter was one of two Remingtons which arrived in Melbourne from San Francisco through Honolulu, Suva and Auckland aboard the steamship the “City of Adelaide” on November 24, 1876. The other was for W.H.Masters:

Atlas Portable Typewriter

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Two Atlas portable typewriters have been given to me in the past few months by Canberra women. The first (serial number 702012) belonged to the parents of the woman who gave me the crinkle green model. Her parents had bought it in Aden, then a duty-free stopover, when they made the sea voyage from England to Australia as migrants in 1962. The second Atlas (serial number 702401), a cream model, also belonged to the donor's parents and had been bought by them in Hawaii on a trip overseas at about that same time. My third Atlas, one with black gull wings, has the serial number 708978.
The Atlas portables were made by Nippo in Japan, which went on to make the P100 (aka Morse), P200 (aka Argyle P201), P300, the Baby Alpina, Condor and Rexina.
 A comparison of the innards of the Atlas and the Royalite
show them to be identical
The brochure below comes with the Graduate
(many of the images below are from
The Atlas also appears as the CherrylandOrven, Elgin CollegiateDel Mar and Wellon
Wellon was a US-registered trade name owned by the Nippo Machine Company of Yokohama, Japan. Nippo produced Japan's first portable typewriter, in 1961, beating Brother, Nakajima and Silver-Seiko to the punch. The Nippo-designed mask with gull-wings covered mechanics which started out in the Dutch-made Halberg and then moved into the Royalite, when Royal McBee took over Halberg in 1954. Mechanically, only the line space mechanism on the Nippo changed.





Celebratory Typewriter

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This figure, along with almost 1100 posts, 100 followers, going on 4000 comments and an eBay record of close to 500 positive feedbacks means my numbers are rounding out quiet nicely.
Some weeks ago German typewriter collector and historian Thomas Fürtigset out to find out as much as he could about the gold-plated Royal Quiet De Luxe. He canvassed known owners, seeking serial numbers and some background on the models that are in collections around the world.
Thomas received responses from 11 owners and was able to put together a list of 24 machines, including the one once owned by James Bond creator Ian Fleming and bought at auction by actor Pierce Brosnan in 1993. The present ownership of five other models is not known, but Thomas has serial numbers for these. The machines were made between 1948 and 1953, so they are not necessarily linked to Royal's Golden Jubilee year, as has long been believed. Instead, they appear to have been made specially to order.
It seems I am now one of four collectors to own more than one of these typewriters. One collector owns four. The serial numbers on mine are A-1780446 (1949, the fourth oldest on Thomas's list) and A-2030229 (1950). 
There are doubtless more out there. In 1952, they were being given away as prizes in high school competitions run by Royal:
This is the second, later design on Thomas's list. The first and much more common is the 1945 Henry Dreyfuss design.
And they have been around for a very long time. King Tut had one, as did King Alfonzo of Spain:
Popular Mechanics, November 1914
A jealous critic thought Zane Grey had one, Louella Parsons by given one by the Hearst organisation, in 1959 Chicago Tribune Latin America correspondent Jules Dubois used one, and Ella Fitzgeraldsang like one!
This model sold on Etsy 18 months ago. Like my Wedler gold-plated Royal, this one has an individual nameplate on the paper plate:
Finally, here is why a writer in Spin magazine in August 1985 believed singer Leonard Cohen should own a golden Olivetti Lettera 22 portable typewriter:

Triumph Perfekt Portable Typewriter

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This Triumph Perfekt has the serial number 429303
and was made in May 1943, so it celebrates its 70th birthday this month.
It has a key (above the 3) with my initials. Just kidding: RM in this case stands for Reichsmark, the German currency from 1924 to 1948.


Mr Strangetype or: How I Learned to Stop Worrying and (re)Love the Typewriter

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"Mr President, it is not only possible, it is essential. That is the whole idea of this machine, you know."
There's Slim Pickings of 19th century typewriters, so a 1959 one will do just fine!
Typed on my 1959 Olympia SM3 (Schreibmaschine Mittelgroß Modell 3) portable typewriter, serial number 1132235.


Xanti, Saul and the Olivetti Studio 45 Typewriter

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This Olivetti Studio 42, made in Ivrea, Italy, was imported into Australia and sold by Chartres. Its serial number is 840413, meaning it was made in 1952. 
Today's Google Doodle
Saul Bass' artwork
At least one blogger out there believes this artwork from an Olivetti Lettera 22 manual is "Bassist". Schawinsky did design the manual for the Olivetti M40.
Saul Bass
Xanti Schawinsky's artwork
Xanti Schawinsky
This is possibly the only blog where one will ever find an image of a typewriter designer's naked backside. Xanti's on the right. Herbert Bayer's is on the left, South of France 1928.
Some of Saul Bass' famous movie posters
Saul Bass-designed logos
Xanti Schawinsky's 1935 poster for the Olivetti ICO MP1
This is Giovanni Pintori's 1938 poster for the Studio 42. Pintori was responsible for almost all of the most memorable post-war Olivetti typewriter posters, especially those connected with the Lettera 22.
Store displays for the Studio 42, put together by Pintori and Leonardo Sinisgalli in Milan in 1939.
 Giovanni Pintori (1912-1999)
Leonardo Sinisgalli (1908-1981)
 

The team that designed the body of the Olivetti Studio 42: top, Swiss-born artist Alexander "Xanti" Schawinsky (1904-1979), centre architect Gino Pollini (1903-1991), bottom architect Luigi Figini (1903-1984).
Figini and Pollini working together
Below: Some examples of Schawinsky's art





N for Nonpareil: The Gorma Modell N Portable Typewriter

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The Modell E differs from the N in that it has no ribbon colour selector switch. Another variation is the Modell T - the manual which came with my Modell N shows the Modell T, which has a tabulator switch. 
The Groma Modell N was designed by Leopold Ferdinand Pascher (above), born in Vienna on May 31, 1896. Pascher worked for Torpedo in Frankfurt, Bing in Nuremberg, Orga-Privat, Triumph and Stoewer (where his portable became the Rheinmetall KsT) and was one of Germany's most prolific and brilliant typewriter designers between the world wars. The patently solid yet compact mechanical designs of the Rheinmetall KsT and Groma Model N show similarities and are the hallmarks of Pascher's work on portable typewriters.


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