Database Reports for Victor and Coinola Coin Pianos,
and Reproduco Player Pipe Organs
Operators Coin Pianos, Orchestrions, and Organs
The Operators Piano Company was founded in 1909 by Louis Severson, C.R. Dibble, and Alfred Livingston of Chicago, Illinois, and was to become a prolific enterprise responsible for manufacturing a wide
variety of coin-operated pianos and orchestrions, which are highly prized by
mechanical music collectors today.
Louis Severson was the main invigorating force behind the company's success. He was born in Norway in 1882, and was relocated to the U.S. when his parents moved to Iowa in 1883. After moving to Chicago in 1904, at the age of 22, he began repairing coin operated pianos for route operators in the Chicago area. Severson was a talented mechanic and technician, traits that would serve him well in the coming years. The name Operator's Piano Company (with an apostrophe) was appropriately chosen simply because the business began as a piano repair shop, where electric pianos operated by route operators throughout the Chicago area were brought in to be serviced and repaired, whereupon the owner-operator would again place the refreshed coin piano in a profitable location. Then, in time, when the fledging company started advertising the apostrophe was oftentimes dropped, with the name eventually becoming the familiar Operators Piano Company that we know of today.
At some point the company introduced its line of Victor Coin pianos. These were keyboard-style pianos with a mandolin attachment. Early examples used pneumatic stacks and possibly other components obtained from the Marquette Piano Company, which had begun in 1905 by manufacturing player mechanisms for other piano companies prior to making
its own coin pianos. The Victor Coin piano was a sturdy A roll piano with three window openings in the upper front
panel: a rectangular one in the middle, with an oval window on each side. Victor
Coin pianos usually have simple but pretty art glass with colored borders
surrounding clear pieces through which the piano action can be observed as it plays.
Operators introduced the Coinola brand name in 1913 and made
its own player mechanisms. The first Coinola model was the Style A, a piano with mandolin attachment, and having the same
case design as the previous Victor, but with all interior mechanisms now made
by Operators. Before long other styles of A roll pianos followed, such as the Bell Piano, basically a Style A with a 24-note set of orchestra bells mounted inside and above the keyboard.
By the early teens, the Operators’ line included a variety of keyboard and cabinet coin piano styles, along with a variety of instrumentation options. It is probably safe to say that the very successful Operators coin piano line reached its zenith with the 1919 introduction of the tall Style CO keyboard piano orchestrion, and then in 1920 with the debut of the largest coin operated instrument ever to be made by Operators, the impressive Style SO cabinet orchestrion, both of which utilized the solo "O" music roll.
The last coin operated piano to added to the Operators Piano Company's Coinola brand was the Midget Duplex, introduced in 1927, also known as the Thirty Tune Coinola. It used a 66-note piano, but tuned differently than the typical late-style 66-note O-roll Midget pianos, so as to accommodate the style A-roll scale. And it featured a duplex 10-tune roll frame arrangement, each roll frame utilizing a standardized style "A" music roll scale, but supplied with Capitol A rolls of a special extended 15-tune length. The duplex roll setup did not shift to the other frame when the in use roll went into rewind. Instead, a small lever front center on the case allowed the patron to select which roll was desired, left or right, and then once a coin was dropped and the piano motor started a "foolproof locking" system prevented any further roll selection, until the piano motor shut down and any residual vacuum had bled off. Unfortunately, by the time the Midget Duplex became available the coin piano market was in serious decline, and the automatic phonograph in its commercial ascendancy, leaving few buyers for the new Coinola Midget Duplex. Soon after its introduction advertisements by the Operators Piano Company disappeared from trade publications, although instruments were shipped up into 1930.
Coinola coin pianos and orchestrions are noted for many exceptional
musical arrangements and a rather unique but wonderful toe-tapping sound.
This is in part due to the superb musical arrangements found on solo "O" music rolls. Coinola instruments are relatively scarce, compared to the surviving
specimens made by Seeburg or Wurlitzer.
In early 1916, Operators introduced a self-playing, self-contained piano-pipe
organ for theatres and mortuaries called the Reproduco. Although they aren’t
coin-operated, we include them in the Coinola list because they are a
related product and a real hit with collectors, thanks in part to some
well-arranged popular music rolls for theatre use.
But this popular combination piano and organ was not the first instrument to bear the Reproduco name,
nor was it to be the last. The first Operators piano to use the Reproduco name was an electric home player piano
without organ pipes, which was on the market for about a year before the Reproduco piano/organ came out.
The last item to bear the Reproduco name (and the same nameplate) was a primitive early jukebox with a little
pump and a few pneumatics to control the tone arm and record changer mechanism, which Operators made for
David Rockola. It was this innovative device that motivated Rockola to buy out Louis Severson’s share
of the Operators Piano Company and to go into the jukebox business a few years later, naming the new
product “Rock-Ola.”
The Reproduco had a full piano keyboard and a 61-note organ keyboard; a 12-note pedalboard was also offered as an option. The pipe complement of this combination keyboard-style piano and pipe organ included 37 quintadena (or rarely, metal violin) pipes, 37 open wooden flute pipes, 24 stopped flute or “diapason” pipes inside the case, plus another 12 large stopped diapason pipes mounted vertically behind the piano soundboard. But popularity of the Reproduco was not limited to theater use, as it was a hit with the mortuary trade as well. The popularity of the Reproduco was so great, in fact, that the Reproduco line was expanded with the Super Junior Reproduco and the Super Reproduco, both of which has side-cabinets to hold the additional ranks of pipework and usually a 12-note pedalboard. The original Reproduco piano/organ was now the Standard Reproduco, with roll mechanism variations depending upon whether the instrument was to be used for mortuary or theater use.
But by the early 1920s the Reproduco line was to undergo more changes with the addition of instruments that eliminated the piano altogether. These true player pipe organs utilized a horseshoe console with one or two manuals (or keyboards). The latest of these player pipe organs, and if survival is used as a measurement there were apparently the most popular, were the Unified Mortuary Organ and the Unified Reproduco Organ. These essentially self-contained pipe organs followed the same basic pipework scale parameters laid out and established in 1916 for the Standard Reproduco piano/organs. Pipework was divided between the organ console and a single side-cabinet, with the largest 12 stopped diapasons mounted either on a small free-standing chest, or on the backside of the organ console or side-cabinet. The unified pipe organs also differed from the piano-based Reproduco piano/organs by using a special wide music roll 15-1/4" wide, with 134 tracker hole positions.
The Operators
Piano Company also provided complete mechanisms for coin pianos and orchestrions to house of Lyon &
Healy, Chicago’s largest full-line music retailer. Established in 1864, Lyon & Healy was one of the largest music house in America during the era of coin-operated pianos and orchestrions, from the 1890s through the 1920s. The company strove to supply everything musical—from novelties to large instruments, “Everything known in music” being a slogan. They either
installed the Operators built mechanisms in its own pianos, or had Operators install them,
and then sold them under the Empress Electric brand. Empress has its own section in the
registry because the pianos, cabinets, and art glass are different from
Operators’ pianos and fall into a different serial numbering series.
Using the Information on This Page
This page continues with detailed descriptions and photos of various
technical and/or mechanical features, which are deemed important for a truly
useful understanding of both the database reports and to effectively fill in
the Survey Reporting Form.The
actual database reports and survey form can be accessed in the Distribution of Database Information section and then
clicking on the large Download button at the bottom of
this page.
Types and Sources of Operators Pianos
Operators’ style letters and serial numbering are more complicated than
most other brands because many models of instruments with keyboards were
mixed together into several large groups of numbers, but each model of
keyboardless instrument had its own unique numbering series.
Three
main types of piano plates have been observed in Operators’ keyboard-style
pianos, with examples viewable by clicking on the small thumbnail image at
right:
The earliest Victor and Coinola keyboard pianos, made through the
mid-teens, were probably obtained from Smith, Barnes & Strohber,
characterized by an open face pinblock with a two-piece plate similar to
those used in early Cremona pianos. In this design, the upper portion of
the plate surrounding the pinblock is separate from the main plate
below.
The second type of piano has a full plate covering the pinblock,
with a normal tuning pin configuration. As in the early Coinola pianos
made by Smith, Barnes and Strohber, there is an extra break in the
middle of the treble section, with a total of four sections of hammers.
We now believe this piano is a second, later variety of Smith, Barnes
and Strohber.
The third type is of a design used by Seybold (see images 3 and 4 by
clicking the above thumbnail image) with an odd tuning pin
configuration, with one vertical row of pins staggered much higher or
lower than the next. Plate types 2 and 3 might have been sold
concurrently during the late ’teens and the ’twenties, but more
information is needed to confirm or invalidate this. There may have been
other types of keyboard style Coinola pianos as well.
Operators’
first cabinet (keyboardless) style piano was the Midget, introduced in 1916.
It was available playing either A or O rolls with various combinations of
extra instruments. Early Midgets used the same style 61-note keyboardless
Haddorff pianos with an open face pinblock as used in the Link 2E, Seeburg K
and KT, Nelson-Wiggen 4X, 5X, and 6, etc. Later Midgets, representing most
examples surviving today, used a 66-note piano of unknown manufacture with
the pinblock entirely covered.
The smaller keyboardless Coinola Cupid, introduced in 1921 and later
called the “Tiny Coinola,” used a 53-note piano similar to the one installed
in the small Seeburg L and Western Electric Mascot, but of unknown
manufacture.
The SO, the largest keyboardless model, used a full 88-note piano back
made by Seybold, the same as the pianos used in all other late model Coinola
and Reproduco pianos.
Operators Serial Numbers
The following list summarizes major groups of numbers shown in the
registry report, setting the stage for further research and a more complete
history of mechanical development after more details become known.
Unfortunately, certain restorers have occasionally put a Coinola decal on
a Victor piano because the piano plate has the Operators name and they think
the Coinola decal is prettier or might make the piano more valuable. The
presence of a Cremona stack helps to substantiate the Victor brand, but the
most conclusive evidence is an original fallboard decal or a photograph of
the piano before refinishing.
Keyboard-style pianos:
10,xxx series (circa 1909-1910): Very early Victor
A roll pianos with Marquette stacks, early Operators roll mechanisms,
vacuum pumps and reservoirs, and pianos that appear to have been made by
Smith, Barnes and Strohber with two-piece piano plates. The Operators
name is cast into the upper part of the piano plate but the Coinola name
is not used.
11,xxx series (probably circa 1910-1911): One
example of an early Coinola A roll piano.
20,xxx through 30,xxx (unknown era): A few examples
of various keyboard-style models. More information is needed.
110,xxx through 182,xxx (middle through late era?): Many different models of Coinola keyboard-style pianos, a few Victors,
early 61-note Midgets and one early Reproduco. It seems likely that all
pianos in this group are of the second type (the later variety of Smith,
Barnes and Strohber, with a full plate covering the pinblock and
ordinary tuning pin configuration), but more information is needed to
confirm this. The wide spread of numbers in this group obviously
represent far more pianos than were ever sold by Operators.
279,xxx through 285,xxx (circa late teens through end of
production): Many different models of Coinola keyboard-style pianos, and also most Reproducos and Unified Reproducos with keyboard(s), with or without a piano. It is possible that all pianos in this group (for instruments that had one) were made by
Seybold, that the numbers are Operators’ numbers, and that the highest number in this series minus 279,000 represents a total of all later keyboard-style instruments sold by Operators. When submitting information on Coinola and
Reproduco pianos, please note the type of piano plate, as shown in the photos above (in the Types and Sources of Operators Pianos section).
The transition from early to late style pumps and roll mechanisms seems
to have been made during the time Operators was using Smith, Barnes and
Strohber pianos. It will be possible to create a dating chart and chronology
of mechanical improvements only after many more piano stack numbers have
been submitted, allowing us to put the various numbering series and designs
in chronological order, to know if various numbering series overlapped, etc.
Coinolas and Reproducos share the same numbering series. To facilitate study
of each brand separately or both groups together, they are listed both ways
in the Registry.
Keyboardless (cabinet-style) pianos:
0500 through 05xx (circa mid-20s through end of production): One example of a keyboardless Reproduco organ without piano, in a cabinet resembling a small version of an SO orchestrion with display pipes on the front, has the serial number 0527. Based on the following numbering given to other keyboardless styles, we surmise that the 0500 series was assigned to this style of instrument, and that no more than 100 were made because only two are known to exist.
8,000 through 9,xxx (1921 through end of production): All known examples of the keyboardless Coinola Cupid (or Tiny), and no
other models, are in this series. The highest number in this series
minus 8,000 probably represents the total number of Cupid/Tiny pianos
made.
80,000 through 80,999 and 90,000 through 90,xxx (1916
through end of production): Most examples of the 66-note
keyboardless Coinola Midget, and no other models, are in this series.
The highest number in the 90,000 series minus 90,000, plus the 1,000
pianos in the 80,000 series probably represent all 66-note Midgets made.
300,xxx (1920 through end of production): All three
known original examples of the large keyboardless SO orchestrion, and no
other models, are in this series. With the prototype SO illustrated in the “Coinola Portfolio” reprinted by Vestal Press bearing the number 300,002, and three extant examples numbered 300,011, …16, and …23, Q. David Bowers has pointed out that fewer than
50 were made, as suggested by rules of probability.
Summary of numbers, sorted numerically (not
chronologically):
0500 – 05xx (c. mid-20s through end): Keyboardless Reproduco organs.
8,000 - 9,xxx (1921 through end): All Cupids.
10,000 series (c. 1909-1910): Very early Victor A
roll pianos.
11,000 series (c. 1910-1911?): Early Coinola A roll
piano, one example.
20,000 – 30,xxx (unknown era): Various models.
80,000 – 80,999 and 90,000 – 90,xxx (1916 through end): 66-note Midgets.
110,xxx – 182,xxx (c. early teens through mid or late
teens): Many different models with keyboards, and 61-note Midgets.
279,xxx through 285,xxx (c. mid or late teens through end of
production): Many different keyboard-style models.
300,xxx (1920 through end): SO orchestrions.
Operators Stack Numbers
Stack serial numbers might be either on the front or back of a stack;
only a few stack numbers have been reported. Seeburg and Marquette stack
numbers have proven to be very useful in helping to put various groups of
serial numbers in order, because stacks were numbered sequentially through
the years regardless of brand or model of piano. As more stack numbers are
added to the Operators Registry, it might become possible to make more sense
of all the different piano numbering series.
Extra Instruments
Most Coinolas with pipes have open wooden flutes, metal violins, or both.
Many ranks of metal violins were supplied by Jerome B. Meyer and Sons of
Milwaukee. A few model C-2 orchestrions had vacuum-operated harmonium reeds
instead of pipes.
In instruments with bells or xylophone, the earliest instruments have
bells and the latest usually have xylophone, but certain models, including
the Midget, were offered with a choice of either instrument.
Most standard model Reproduco piano organs (intended for mortuary and theatre use) have 98 pipes arranged in 1½ ranks.
The Diapason register controls the low flutes, consisting of 12 large stopped wooden bass
flute pipes located behind the piano soundboard, plus 12 smaller stopped wooden
accompaniment pipes inside and under the keyboard. The treble has separate
registers for 37 open wooden flutes, and either 37 metal quintadenas
(usually) or 37 small scale metal violins (very rarely). The combination of
24 bass/accompaniment stopped pipes and 37 treble pipes forms a continuous
61-note organ scale at 8’ pitch. The larger Super Junior Reproduco had additional pipework in a side-cabinet, and the even more elaborate Super Reproduco had yet additional pipework and a 30-onote xylophone in its side-cabinet. These "Super" models were intended for theatre use. For yet more demanding situations, Operators made the two-manual horseshoe console Reproduco Unified Mortuary Organ and the Unified Theatre Organ.
Art Glass
Standard art glass designs are shown in Bowers’ Encyclopedia of Automatic
Musical Instruments and the forthcoming Reblitz-Bowers Guide to Coin
Operated American Pianos and Orchestrions.
Mechanical Design Changes
In general, the earliest Operators A roll pianos with keyboards had the
pump and roll mechanism under the keyboard and the extra instruments above,
if present. After orchestrions were introduced, most keyboard style pianos
except the tall style CO had these parts reversed, with the pump and roll
mechanism above the keyboard and any extra instruments below.
Roll Mechanisms
Early
Operators A roll pianos have spoolboxes with cast iron side frames. In
these, the music roll unwinds from the front of the feed spool, over the
tracker bar, and winds onto the front of the takeup spool as in a Seeburg or
Cremona.
An
intermediate type of A roll spoolbox has steel side plates instead of cast
iron side frames, again with the music roll winding from the front of the
feed spool, over the tracker bar, and onto the front of the takeup spool.
This type is less common than the other two types.
The
final type of A roll spoolbox has steel side plates, but the roll is turned
around so the paper unwinds from the back of the takeup spool, over the
tracker bar (which is mounted farther back than in the earlier types), and
onto the back of the takeup spool. With this configuration, the lowest notes
are toward the right side of the roll, so the tracker bar tubing must be
crossed on its way to the pneumatic stack.
All
O roll orchestrions have spoolboxes with steel side plates. In these, the
paper winds off the back of the feed spool, over the tracker bar, and then
onto the back of the takeup spool. O rolls are perforated with the notes
running up the scale from left to right with the paper coming off the back
of the spool, so the stack tubing is connected to the tracker bar in order
from left to right.
Theatre model Reproduco piano-organs have 10-tune spoolboxes with steel
side plates like typical O roll orchestrion spoolboxes. Some models have one
spoolbox to the right above the keyboards, a rotary vacuum pump to the left
and an electric motor in the middle. Others have twin spoolboxes and have
the vacuum pump mounted in the remote blower box. Mortuary models have a
smaller wooden spoolbox driven by a vacuum motor, as in a home player piano. And then there are the larger Reproduco two-manual Unified Organs, which have a single roll mechanism centered in the upper front part of the horseshoe console. The Unified Mortuary Organ plays the 134-hole Unified Funeral Organ roll (wound on a flanged player piano type spool), and the Unified Theatre Organ plays the 134-hole Unified Reproduco Organ Music roll (wound on a 2-1/2" ID cardboard core for use with interchangeable spools).
Pneumatic Stacks
The
earliest Victor Coin pianos have pneumatic stacks made by the Marquette
Piano Co.
The
first stack made by Operators has the pneumatics and valves mounted in deck
boards. In some examples, the top seats are Bakelite rings. There may be
other styles as well.
The next design is similar but has unit pneumatics, each pneumatic having
its own self-contained valve and pouch for easy servicing of individual
notes without disassembling the entire stack. At least three configurations
of unit pneumatic stacks were made. One is similar to the deck board stack,
with Bakelite rings for the top seats. Another has an adjustable brass tube
threaded into the wood for each top seat, with the valve and Bakelite bottom
seat inserted from the bottom of the valve well before the unit is glued
together. In the most common type, each top seat is an adjustable brass tube
threaded into a fiber washer, with the fiber washer screwed to the wood so
it can be removed from the outside without breaking the unit apart.
Production
dates for each type remain unknown, although it seems that unit stacks with
Bakelite seats or brass and fiber seats might have been made concurrently
for different models or price levels. More information is needed.
Pumps
Operators’
first style of pump has a square steel frame sitting up on one corner. This
style was used in early Victor Coin and Coinola pianos and was mounted under
the keyboard.
The
next style of vacuum pump has two pairs of vertically mounted bellows with
the crankshaft between, typically mounted above the keyboard. The bellows
are mounted with the hinge ends facing down in some examples, and up in
others.
The
last style is a typical box pump with a wooden frame that holds four bellows
and conducts the suction to the vacuum reservoir, also mounted above the
keyboard. Several styles of connecting rods or straps were used to connect
the crankshaft to the bellows.
In
Coinola pianos with pipes, a similar box pump was used but it was enclosed
with sheet metal on the front and back to capture the pressure exhausted
from the flap valves on the vacuum bellows.
Reproduco piano-organs have a blower to supply pressure to the pipes. In
some instruments, a box-type vacuum pump is mounted above the keyboard, and
in others, it is mounted alongside the blower in a separate "soundproof" cabinet. Two different blower sizes have been observed, the smaller one used for the Standard Reproduco Piano Organs, and the larger volume blower used with the Reproduco Unified Mortuary and Theatre Organs.
Coin Entry Chutes
Operators
used several types of coin entry chutes for coin-operated pianos and
orchestrions. One early style had a push-pull coin slide mounted
horizontally. A mid-era style also had a push-pull slide, but it was mounted
diagonally. The last major style had a pushbutton with a vertical slot
immediately above.
Coin Accumulator Mechanisms
Victor
Coin and early Coinola pianos have a coin accumulator mechanism similar to
the Cremona type 2. Later coin-operated instruments have a spring-loaded
ratchet wheel similar in concept to a Nelson-Wiggen or Wurlitzer
accumulator.
Reproduco organs did not normally ship with coin-in-the-slot capabilities, because they were intended for the mortuary or theatre trade, whereby a pianist or organist actually played the instrument, or alternately it simply played music rolls, in some cases with an operator standing by to change rolls, other times unattended and playing the same roll over and over. The closest thing to a coin mechanism mentioned in the observed Reproduco literature is a remotely controlled "magazine," which could be actuated by pushbutton using a low voltage battery powered circuit. The magazine consisted of a sturdy cast iron box containing a "play" counting ratchet wheel mechanism and two sets of carbon-block electrical contacts, one contact set for the blower motor, and the other for the smaller motor inside the Reproduco case used to power the roll mechanism (and vacuum pump—unless the pump was located in the external blower cabinet). The first tap on the remote button would power up the organ, and each successive tap would add another tune "play" to the magazine's ratchet wheel counter. A couple of instances of coin mechanisms having been installed in a Reproduco piano organ have been reported, but the originality of any such instances cannot be verified and therefore remain suspect.
The Operators Piano Company Database
The primary information that went into building up the Operators Piano
Company (Coinola) database has been meticulously gathered over a period of
45 years by Art Reblitz, a longtime expert in the restoration, history, and
music of automatic pianos and organs. Whenever he has had access to or
enjoyed the opportunity to rebuild an Operators piano or orchestrion, he has
carefully recorded mechanical and historical details of interest. Many other
people, listed under Acknowledgements in the Introduction to the Registry, also submitted
information to Art. Don Teach and Dana Johnson have been particularly
helpful. The result of their painstaking effort is presented in an orderly,
easy to read format in the report offered below.
By default, current ownership information is not integral to the database
project, but a provision exists whereby the current owner's name information
can be accommodated and then shown in database reports. However, this will
be done only if and when specific written permission is granted to the
Mechanical Music Press specifically authorizing us to show and/or distribute
individual ownership information. Furthermore, if and when such
authorization is granted, the Mechanical Music Press and/or its authors
shall assume no liability or responsibility of any kind, nor to any extent,
regarding any inferred, purported, or actual privacy intrusions, incidents,
or claims.
Updating the Database and Reporting Errors
We cordially invite and solicit additional information for instruments currently not listed, and additional details for those already listed but that have little recorded information—every little bit more information helps.
To ADD ANOTHER ITEM TO THE DATABASE or to facilitate the reporting of errors please send an e-mail message to
and include the following information:
• Victor / Coinola Coin Pianos:
Click here to download the coin piano Survey Formand then copy (press Ctrl + A to select all text) and paste the text into the body of an email. Then, at your leisure, you can answer the survey questions pasted into your e-mail message. You can also easily "Save As" the file to your computer or print the Survey Form and use it as a reference guide.
Attach a series of photographs showing the instrument's exterior and interior mechanisms to the e-mail message (for answering many technical questions often overlooked or misunderstood when answering questions on the Survey Form).
• Reproduco Piano/Organs:
Click here to download the Reproduco Piano/Organ Survey Formand then copy (press Ctrl + A to select all text) and paste the text into the body of an email. Then, at your leisure, you can answer the survey questions pasted into your e-mail message. You can also easily "Save As" the file to your computer or print the Survey Form and use it as a reference guide.
Attach a series of photographs showing the instrument's exterior and interior mechanisms to the e-mail message (for answering many technical questions often overlooked or misunderstood when answering questions on the Survey Form).
• Reproduco Unified Organs:
Click here to download the Reproduco Unified Organ Survey Formand then copy (press Ctrl + A to select all text) and paste the text into the body of an email. Then, at your leisure, you can answer the survey questions pasted into your e-mail message. You can also easily "Save As" the file to your computer or print the Survey Form and use it as a reference guide.
Attach a series of photographs showing the instrument's exterior and interior mechanisms to the e-mail message (for answering many technical questions often overlooked or misunderstood when answering questions on the Survey Form).
Thank you for any assistance you may
provide. If we have any questions or need further information regarding your e-mail submittal someone will contact you.
Distribution of Database Information Last Updated on June 13,
2024
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All database report information is
offered "as is," without any guarantee or warranty whatsoever of any kind,
neither stated, implied, nor inferred, as to the accuracy, correctness,
exactness, suitability, or usefulness of any content.
Credits:
Compiled by Art Reblitz, and transferred into database
format by Terry Hathaway.
Graphics:
Terry Hathaway, Q. David Bowers for catalogue source
material.
Photographs:
Art Reblitz, Dana Johnson, Rob Goodale, John Kadlec, Richard Lokemoen, Mike Mount, Stevens Mortuary, Jim Quashnock, John Rutoskey, and Don Teach.
