"Look for the Red Hand"

“Ask for the Red Hand” ...and other Phonographic Conundrums by Allen Koenigsberg T he proverbial “paper trail” can usually be counted on to solve a variety of puzzles, but just as often, it simply raises more questions. Such is the case with the documents we present today. The famous ‘umbrella signature’ of Thomas Edison (in several varieties) was not formally trademarked by him until 1899-1903 (e.g. Reg. 41,659), and he generally attested to its first commercial use as Dec. 15, 1897. However, it had really appeared as far back as 1880, when it was affixed to the glass-bottle paper label of the infamous topical anesthetic Polyform (which he was only able to patent in England). But long before the familiar gold transfers were shellacked onto phonographs (in late 1897), it was known widely enough to personify him, and was emblazoned on the cover of this 1890 Souvenir Booklet (about 9” by 12”, 36 pages). The occasion was the Fifth Avenue Grand Opening at the NYC Lenox Lyceum (on April 7 th ) of Edison’s Electrical Inventions, brought over directly from its successful run at the 1889 Paris Exposition. His autograph was fully 8” across and seems poised for take-off — the interior featured his North American phonograph, his life story, various related steel engravings, and a half-page advertisement for his newly-introduced Talking Doll (which may be as rare as the booklet). Even though Mrs. Andrew Carnegie was one of the sponsors, it is 16 The Antique Phonograph DECEMBER 2012 almost impossible to find photos of the display there, and A.T.E. Wangemann noted that 24 of the devices were eventually transferred (by July) to Minneapolis, Minn. But where did they go after that? As the phonograph business expanded, new ways of using advertising began to be used, some with curious results. The National Phonograph Co. (Edison) began – in late 1899 - to use a logo of a small hand showing how to hold a cylinder record and leave its surface untouched (cf. The Phonograph and How to Use It). This was further dramatized by coloring the hand bright red and instructing the consumer to look for it – although ‘where’ wasn’t exactly clear as none of their products were actually marked in that way; the ads appeared for a while, however, in many diverse publications, such as the Scientific American, Pearson’s Magazine, McBride’s, Harper’s, & Recreation. Neither the slogan (in our title) nor the phrase itself was officially trademarked, but celluloid advertising pins (7/8” dia.) made by Whitehead & Hoag began to circulate, as well as small “bookmarks” about 3” long (see here). The International Textbook Co. (ICS) of Scranton, Penn. did file a trademark (37,985, Dec. 1901) showing a similar hand and cylinder, but without any mention of their color. May we expect some day to find a store sign showing a giant Red Hand for the shopper’s convenience? At any rate, it was phased out with the era of brown wax records and none are known to show the new black wax moulded cylinders of early 1902. There must have been something in the air or water of Chicago that produced so many inventors and phonographic entrepreneurs. A man (supposedly) named David E. Boswell apparently planned to open a shop there at 156-158 Lake Street (next to his storage battery location), but instead moved it to 85 Dearborn Street. However, only when I corrected his name to Daniel Evertt did things fall into place and I then found him in The Patent History of the Phonograph. His first business incorporation (D. E. DECEMBER 2012 The Antique Phonograph 17 Boswell Co./late 1895) remarkably listed one Thomas B. Lambert, perhaps as an electrical expert (Lambert’s specialty, learned at Cornell Univ.). In late 1896, Boswell began to market an improved phonograph with a gateless mandrel, inexplicably named the Ediphone, since there was no evidence of the Wizard’s slightest involvement. But Boswell’s patent, somewhat similar (576,081, filed in Sept. 1895), showed a stationary reproducer and reciprocating cylinder. The three incorporators of the company (front men?) were Wm. H. Hagans, John E. Mathews, and Robert S. Miller, but it was Boswell (1872-1947) as the President who was sued by the American Graphophone Co. in 1897 –- twice – the first for infringing “Columbia’s” mechanical patents and the second for recording violations (he lost each time). There was a brief mention in The Phonoscope and Music Trade Review (both with the incorrect first name) but there was no article, ad, or illustration anywhere at all; so what we have here is the cover of a rare 4-page booklet measuring 6” by 8-1/2” and the knowledge that only one such phonograph exists today (with a belt drive), and the feedscrew (25 tpi) amazingly taking the usual place of the straight edge in front. The actual oak cabinet is 17 inches wide and Edison did not himself trademark the word Ediphone until 1917! One would definitely not know from the description (‘runs 3 records on one winding’) the exact nature of the motor behind the hinged door and lock, but it turned out to be a brass 2-spring Amet with the three steel-ball governor. This first Ediphone Co. never held an annual meeting, was severely under-capitalized at $1000, and there were only 3 other investors: Vincent A. Taylor, Harry Flyton, and C. H. Evans. As mail order sources became more popular, not only did the machines appear in the larger ‘Wish Books’ of the time, but Sears and Montgomery Ward began to issue smaller specialized editions highlighting their wares. Here we see such a detailed 64-page catalog, about 5” by 7”, containing many engravings and photographs from the “Cheapest Supply House on Earth.” Based on the 18 The Antique Phonograph DECEMBER 2012 testimonial letters inside and the various models shown, it probably dates from March 1898, and illustrates the long and favored connection between Columbia and Sears, Roebuck & Co. There are listings of hundreds of cylinder titles by Gaskin, Quinn, Spencer, Johnson, Hunting, and other popular artists of the day, along with an amazing range of equipment: coin-ops, horns, cabinets, listening tubes, exhibition outfits and posters, as well as a full line of movie projectors and films. Modern collectors will no doubt be surprised to see the new Eagle Graphophone referred to as the Gem (an Edison product which did not yet exist). Were these specialized off-prints issued on an annual basis? The use of full color in advertising soon spread to talking machines, and even the National Phonograph Co. soon broke out of their usual monochrome efforts. His earlier monthly record lists were rather plain, but by 1903, Edison began to use elegant cards (see here) measuring 3-1/2” by 6” which are noted for their bright hues and tints. This particular example (Form 402) was briefly available during May 1903 and was used to advertise a mere twelve titles. The actual cylinders in question (#83928403) were themselves black but would not have white titles on their rims until August 1904. Alert readers will also note the absence of the term “Gold Moulded” here as it was not used by National until late Oct. 1903 (Form 500). Columbia’s moulded cylinders, widely advertised around the same time, were still brown wax (case-hardened), and would not appear as black until August 1903. Although they too would eventually use the glowing metallic term in their ads, Columbia’s patents did not show the vaporization techniques used by Edison to generate the master recording. In the first year of moulded production (1902-03), the National Phonograph Co. sold 4.3 million cylinders and nearly double that the year after. Collectors can clearly see how every piece of paper, no matter how small, can shed some light on the history of our favorite companies and their products. If you have something out of the ordinary, be sure to write and let us know. Allen welcomes correspondence on matters phonographic ([email protected]) and invites readers to further pursue these subjects at www.phonobooks.com. DECEMBER 2012 The Antique Phonograph 19