I have a Victrola XIV faintly autographed on the motorbord in white ink
dated 1921 by Luisa Tetrazzini.   Always assumed she signed this at some
Victor dealer's.   Its in storage now, so I can't quote exactly what was
written.

Some years ago Fred McCole offered me what he jokingly called an "Amberola
II" - a I-A mechanism installed in a III case.    (I think he may have
intimated that he sold the original III mechanism to someone who was
turning them into Operas.

Jim Cartwright
Immortal Performances

[email protected]


> [Original Message]
> From: DeeDee Blais <[email protected]>
> To: <[email protected]>
> Date: 11-Jan-2011 11:00:37 PM
> Subject: [Phono-L] Human nature...
>
> Years ago I purchased a Victrola that was autographed by Louisa
Tetrazzini. 
>  Next to the turntable, handwritten in white ink was "Souvenir from
Louisa 
> Tetrazzini, April, 1923". Over the years I acquired other Tetrazzini
items that 
> were signed with the same signature and I'm reasonably sure that the
Victrola 
> autograph is genuine. But why did she sign the Victrola?  I developed a
romantic 
> theory that she was in Portland, Oregon for a performance and instead of
staying 
> in one of the hotels, she stayed with a wealthy Portland family.  As a
courtesy 
> for their hospitality, she signed their Victrola.  I really wanted to
believe my 
> theory, right up to the moment that I saw another Victrola with the same 
> inscription and same date! I had to face the fact that she must have
signed 
> several Victrolas, probably at a Victrola sales promotion for a large
dealer.  I 
> really wanted to believe that my Victrola XVI was the only "Tetrazzini" 
> Victrola. Then I saw a second and it was a XVII!  
> *
> I know strange things happened but they were the exception.  I've
personally 
> seen a Vernis Martin Victrola with an upside down decal.  I was
dumbfounded! 
>  With that said, I still think 99.99% (or more) of the big Amberolas left
the 
> factory with matching numbers. Those numbers were there for a reason. 
When an 
> Edison was traded in, the number was recorded by the dealer.  Stolen
machines 
> were identified by the serial numbers.  I would not expect a dealer to
swap a 
> mechanism from one new machine to another but it was possible. Those
machines 
> are a century old and the original owners a long gone.  Even a machine
that has 
> been in one family has gone through several family members and probably
repairs. 
>  When those same machines started to be collectable I suspect first
generation 
> collectors upgraded mechanisms and cabinets until they were pleased and
gave no 
> thought to the serial numbers.  I remember reading a modern collector
statement 
> that he was against swapping any mechanism or cabinet.  I immediately
realized 
> that I had violated his ethical position by swapping out a very ordinary
and 
> dull works for a nicer one in my mahogany Edison Standard B. Even though
the 
> replacement mechanism was period correct, I had not even considered for
one 
> moment what I was doing something wrong.  
> *
> I recently bought a NOS 1968 Sting-Ray Run-A-Bout from a man that was a
dealer 
> in the 60's and 70's.  The bike was never sold until I bought it.  I
asked the 
> seller if he would write a note on his old letterhead with a brief
history of 
> that bike.  I was with my son, Tyler, and grandson, Wyatt.  Tyler
inquired why I 
> asked for the note and I replied that "providence" of the bike was
important. 
> Wyatt asked what that meant and I replied that the note would show the
history 
> of the bike from the Schwinn factory to me.
> *
> If I were buying a big Amberola and questioned the seller why the numbers
didn't 
> match and his reply was "it's always been that way... my grandfather
bought it 
> new...", that's really not providence.  Too many things could have
happened.  I 
> may really really want to believe it but my better judgement says
otherwise.
> *
> I'll stop now or I'll need to get a title for this book.
>
>
>       
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