Most collectors of coin-operated pianos and orchestrions are quite familiar with the more prolific and well-known manufacturers. The major players usually include the Rudolph Wurlitzer Company, the Marquette Piano Company with its Victor and Cremona brands, the J. P. Seeburg Piano Company (and its secretly owned back-door Western Electric Piano Company brand specifically devised to stimulate competition amongst Seeburg dealers), the Operators Piano Company and its Coinola brand, Lyon and Healy with its Empress brand, the Nelson-Wiggen Piano Company. And then there are a few other lesser-known manufacturers, for which surviving specimens are relatively rare.
But what about the Peerless Piano Player Company, today one of those more obscure brands, with surviving specimens being somewhat rare. This paucity of surviving Peerless pianos and orchestrions is probably in large part due to Peerless instruments being amongst the earliest of the paper music roll operated piano players built here in America, predating all of the major well-known brands that collectors usually search out and enjoy today. The later manufacturers of coin-operated pianos either outlived the Peerless brand, or came along after its demise, and so dominated the automatic musical instrument scene during the later years of automatic musical instruments, more or less leaving Peerless behind in the dustbin of history. And although the mechanical details and evolution of various Peerless instruments remain somewhat a mystery, the detailed historical crumbs left behind do, after some meticulous digging through various sources, still survive and remarkably so.
For an exceptionally thorough and incredibly detailed historical accounting of Roth & Engelhardt, the beginning of the Peerless Piano Player Company, and the brand’s travails during the later era of F. Engelhardt & Sons, and finally ending with the National Electric Piano Company, a must read is the Reblitz-Bowers Encyclopedia of American Coin-Operated Pianos and Orchestrions. Available through AMICA Publications, this entirely new hardcover book in 8-1/2” X 11” format contains over 900 pages packed with pictures and the history of every major American builder of coin pianos and orchestrions.
Alfred P. Roth and Frederick Engelhardt
Alfred P. Roth and Frederick Engelhardt formed a partnership in 1888 to make grand and upright piano actions, which officially became Roth & Engelhardt in January of 1889. Both men had been employees of Alfred Dolge, who operated a large felt and piano factory in Dolgeville, located in upstate New York. Alfred Roth spent most of his time in Dolge’s New York City office, where he became quite familiar with the music industry. But fire destroyed the new company’s New York City premises, and so, due to their familiarity with the Mohawk Valley area, the manufacturing operation was moved to St. Johnsville, New York, about 10 miles southeast of Dolgeville. The company was set up in a small frame building, with a new brick factory under construction located next to the New York Central Railroad’s main line. Frederick Engelhardt managed the factory in St. Johnsville, while Alfred Roth took care of sales, advertising, and finances from the company office in New York City.
By 1893 Roth & Engelhardt was a booming business, emphasizing quality and beauty for their line of high-quality piano actions. Over the next years the factory was enlarged and improved several times, enabling the company to keep up with demand for their quality products. Then along came the Goolman Patent, filed by Fred R. Goolman, a resident of Los Angeles, California, and granted on February 1, 1898. The object of the invention was, first, to provide an automatic piano-player which operates with a much more perfect action and a finer and more delicate expression; and secondly, to control the entire music and operate the expression-pedals and rewind the music on the music-roll after it has been played without the assistance of the operator. A related patent, by Fred R. Goolman, granted in April of 1898, added refinements and details to the above patent. Roth & Engelhardt acquired the rights to the above two respective patents on February 1 and April 26, 1898.
In 1899 there appeared an announcement in The Music Trade Review, February 2, 1899, reporting that Roth & Engelhardt had acquired a half interest in the Autono Pneumatic Piano Company and moved the operation to St. Johnsville, whereupon the Peerless Piano Player Company was formed as a division or part of Roth & Engelhardt. This acquisition gave Peerless rights to an “Automatic Playing Attachment for Pianos,” for which the piano player mechanisms were to be added to a regular upright piano. In the article Alfred Roth made it clear that the company’s aim was to build and make available a piano player that could operate under any conditions, either by electricity, with alternating or direct current, or water motor. Thus, the era of Peerless coin operated pianos and orchestrions was soon to come about.
The Roth & Engelhardt Era
The following chronology suggests the year of introduction to the general public for various Peerless models made by Roth & Engelhardt; not public mention or trade magazine article describing or showing a particular style or model prior to its official introduction.
1899: Harmonist Piano Player Attachment (for upright pianos). Plays Harmonist rewind 66-note music rolls. This so-called attachment could be installed in any upright piano, and the self-playing device was said to not in any way distract from the appearance of the piano. The self-playing device itself consisted of a rewind type roll mechanism mounted at far right underneath the keyboard, a pneumatic stack situated below the keyboard, pneumatics for the piano pedals fastened to the piano floor, vacuum bellows mounted between two back posts behind the soundboard, and an electric motor mounted in the bottom of the piano case to power the vacuum bellows and roll mechanism. A foot powered version of the Harmonist Piano Player Attachment was also available, due to many homes being not yet electrified.
1900: Harmonist (Push-Up) Piano Player. Plays Harmonist rewind 66-note music rolls. It was a foot pumped or treadle operated rewind type piano player consisting of a small wooden cabinet that could be pushed up to the keyboard of a regular upright or grand piano, similar to the popular German built “front sitter” or Vorsetzer. Based upon the popular foot-pumped Harmonist, an electrical adaptation was soon developed, the foot pedals replaced by a small electric motor mounted inside at the bottom of the case. This was a “Peerless portable” piano player, as compared to the earlier Harmonist piano player attachment for upright pianos.
1902: Peerless Style D coin piano. Plays 7,000 Series endless “D” rolls. The Style “D” was an ornate upright piano with an oval glass window in the upper part of the piano case providing a splendid view of the piano action. The official Style D description only specifies a piano, there is no mention of a mandolin attachment, nor do advertising pictures examined appear to show one, but a cut-away skeletal demonstration model used at expositions to attract admiring crowds did have what appears to be a manually operated curtain type mandolin attachment. Thus, there is a possibility that some Style D pianos were factory fitted with manually operated mandolin attachments. Offered in mahogany, walnut or oak, the interior was illuminated with electric light bulbs. Case designs varied over the years. The endless roll mechanism and its associated bin was attached to the backside of the piano. The Style “D” with the beautiful oval window proved to be a perennial favorite with coin-piano route operators, and so production of this simple coin operated piano was continued for many years.
1903: Peerless Style 44. Plays 6,000 Series endless “Style 44” rolls. The Style 44 was a coin-operated cabinet piano that made use of an abbreviated 44-note piano with a manually operated mandolin attachment. It played an endless music roll with the roll mechanism and storage bin located at the bottom of the cabinet. All mechanisms were snuggled inside the furniture case. There were two cabinet variations, the early one having a flattened oval shaped window in the upper part of the case, so that the piano could be viewed by patrons, enticing them to pay for additional tunes. Within a year after introduction the case was redesigned and the glass panel in the upper part of the case had a scalloped edge. Due to the Style 44's compactness, it was exceedingly popular in places where space was at a premium.
In 1906 a new product called “Art Ivory” (a euphemism for celluloid) was developed and after rigorous testing was reportedly found to be superior to ivory from elephants. At some point the company had begun manufacturing piano keyboards and keys, in addition to their long-standing production of high-quality piano actions, all of which were promoted to piano manufacturers. In a follow up article, the Roth & Engelhardt factory was referred to as a “piano plant,” whereupon a spokesman hastened to make clear that the company did not make pianos and had no intention of doing so. However, the company did have the Peerless Piano Player Company name cast into the piano plates for at least some of the pianos built elsewhere, which the company then built and installed the interior player and other mechanisms.
And, circa 1906, the Peerless Piano Player Company introduced a new emblem or logotype featuring a shield and dragon. This logo soon made its appearance in the form of small rectangular brass plate that was attached to Peerless pianos and orchestrions.
1907: Peerless Style D-X. Plays 7,000 Series endless “DX” rolls. The Style D-X, or later simply DX, consisted of an upright piano, available in oak or mahogany, and was the first Peerless orchestrion design. Instrumentation consisted of a piano, 18 wood xylophone bars, snare drum, bass drum, and cymbal, with the percussion mounted externally on top of the piano case. The xylophone was visible behind glass in the upper part of the piano, enticing patrons to play another tune. An endless roll mechanism and its associated storage bin was attached to the back of the piano. According to the The Music Trade Review, April 3, 1909: The new Style D-X Peerless automatic piano … is proving to be a very popular seller.
1907: Peerless Style D-M. Plays 7,000 Series endless “DX” rolls (and possibly a “DXM” roll arranged specifically for this style). The Style D-M, or later simply DM, consisted of an upright piano identical to that of the Style D-X, and was offered in oak or mahogany. Instrumentation consisted of a piano, 25 metalaphone bars, snare drum, bass drum, and cymbal. The metalaphone bars were visible behind glass in the upper part of the piano, while the drums and cymbal were mounted externally on top of the piano case. An endless roll mechanism and its associated bin was attached to the back of the piano. The metalaphone consisted of a set of 25 bell bars, and were normally referred to later on by other coin-piano manufacturers as orchestra bells.
1907: Peerless Style D-F. Plays 7,000 Series endless “DX” rolls. The Style D-F, or later simply DF, was built using an upright piano identical to those used in the Style DX, and was available in oak or mahogany. Instrumentation consisted of piano, a gleaming rank of 32 symmetrically arranged metal flute pipes displayed prominently behind clear glass, and snare drum, bass drum, and cymbal, with the percussion mounted externally on top of the piano case. An endless roll mechanism and its associated bin was attached to the back of the piano.
The Frederick Engelhardt & Sons Era
On January 1, 1908, Alfred P. Roth, the senior member of Roth & Engelhardt firm, retired. The resulting transition brought about a new company name, Frederick Engelhardt & Sons, usually abbreviated as F. Engelhardt & Sons. Things continued on much as they had before, honoring past commitments and obligations. The new principals were Frederick Engelhardt and his sons, Alfred D. Engelhardt and Walter L. Engelhardt, both of whom had been with Engelhardt and Roth since the 1890s.
F. Engelhardt & Sons continued on with the production of the above Engelhardt and Roth era Peerless line, with the following chronology suggesting the year of introduction to the general public for various new Peerless models, but that were made by the reorganized firm now known as F. Engelhardt and Sons; no mention is made of any public announcements or trade magazine articles describing or showing a particular style or model prior to its official introduction.
1909: Peerless Style O Orchestrion (modified in 1911). Plays 20,000 Series rewind “O” rolls. The keyboard Style “O” orchestrion made its appearance using a 20-tune rewind type music roll, the first keyboard style coin-operated Peerless instrument that did not use the bulky endless music roll system. The Style “O” was made in different case styles, culminating in what was known as the Style “O” Orchestrion, Model DeLuxe, with a fumed oak, wax finish case—brass trimmed throughout. Early versions had symmetrically arranged metal pipes, while in later instruments the wooden violin and flute pipes were arranged chromatically. For the time it was an impressive orchestrion, with piano, mandolin attachment, a rank of 36 wooden violin pipes, a second rank of 36 wooden flute pipes, a snare drum, bass drum, tympani effect, cymbal, triangle, and castanets. It was reportedly a veritable orchestra of six men. Production of the DeLuxe was continued into the 1920s by the National Electric Piano Company, successor to the Engelhardt Piano Company. National Electric offered two versions, the Style “O” (coin-operated) for general business purposes, and the Style “M” (push-button operated) for theatre use.
1910: The Peerless Orchestrion Style A, available in several designs, VIII, IX, and X. Plays 7,000 Series endless “DX” rolls. Introduced late in the year, the new product line were to be known as Style A coin-operated orchestrions, which were reportedly “magnificent instruments, and the musical effect produced fully equals that of an expensive imported orchestrion.” The case was dark wax finished oak, with art glass panels illuminated by small electric lights in back of each panel. These orchestrions used the same mechanism as did the earlier Peerless Style D series, with an endless-roll mechanism and its bulky bin located on the backside of the piano. It had a rank of 32 metal flute pipes arranged symmetrically, along with snare and bass drums, and a genuine Turkish cymbal. The piano case had a tall extension that was embellished with art glass panels in a Gothic arrangement. The style RR (reroll or rewind roll) music roll system was also introduced during the year 1910, which was a much simpler and more convenient roll playing technology, resulting in the Peerless Orchestrion Style A being the last Peerless coin piano introduced that used the old endless music roll system inconveniently mounted on the backside of the piano case.
1910: Peerless Style RR. Plays 10,000 Series rewind “RR” rolls. This new style was fundamentally an evolved Style “D” piano, but instead with the feeder pump and roll mechanism located within the confines of the piano case. The style designation “RR” stood for “reroll” or “rewind type music roll,” each roll containing up to 20 tunes. The case was dark wax-finished oak or dull finished mahogany. The roll mechanism was mounted in the bottom right of the piano, below the keyboard, completely replacing the cumbersome endless roll mechanism and its bulky storage bin normally mounted on the backside of keyboard type instruments. This was reportedly the first commercial coin-operated rewind type piano (no instrumentation other than piano) offered by F. Engelhardt and Sons, mainly to compete with other coin-piano manufacturers that had standardized on the far more convenient and easy to deal with rewind type roll frames. The rewind type “RR” music rolls were similar in layout to the 7,000 Series endless style “D-X” music rolls, with the same note scale and hole spacing, but that added two on/off registers for additional musical instruments, such as for a mandolin attachment and a rank of pipes.
1910: Peerless Style F and Style V. Plays 10,000 Series rewind “RR” rolls. These were upright coin-operated pianos, and had three panels of geometric styled art glass across the upper front. The Style F was equipped with 37 wooden flute pipes mounted behind the piano soundboard. The Style V was probably identical to the Style F, but that substituted wooden violin pipes in place of the flute pipes. Cases were available in oak or mahogany.
An article in the Music Trades, December 3, 1910, described the music roll aspect of F. Engelhardt & Sons:
F. Engelhardt & Sons arrange and cut all their music rolls from original master stencils, assuring musical excellence of the highest standard. The rolls, which consist of many thousand compositions, are sold direct to the trade. They are Styles 44, D, D-X, D-M, D-F and Peerless-Orchestrion Style A in designs VIII and IX, which use endless rolls containing five selections to the roll, and Styles F, V, and RR, using music mounted on spools, having twenty selections to the roll. The paper used in the manufacture of these rolls is manufactured exclusively for them and is of superior wearing quality. All genuine Peerless perforated rolls bear their trade mark.
1911: Peerless 88-Note Elite. Plays 30,000 Series rewind “Elite” rolls. Introduced mid-year, the Elite was advertised as possessing a handsome arts and crafts style case with cathedral glass panels and lamps, and it was also “designed to meet the demands of discriminating buyers and for use in places where the so-called automatic piano was objectionable for obvious reasons.” To overcome such objections, the instrument was equipped with a vacuum regulator controlled by a small lever located under the keyboard, so that the volume could be regulated to suit the size of the room. The Elite was a keyboard style upright piano with three colorful art glass panels of geometric design spread across the upper part of the case, and on either side of the case were two hanging art glass lamps of a matching design. A piano with a mandolin attachment was standard, although there were models with a rank of either wooden violin or wooden flute pipes mounted on the backside of the piano behind the soundboard. The “Elite” music roll included control holes for turning a mandolin attachment on and off automatically, but none for any pipework, which would have had to be turned on or off manually. The Elite used a 15-tune rewind type music roll, although, it was said, other lengths could be provided on special order. It was one of the few American coin pianos to feature a full 88-note piano scale. The Elite continued to be marketed up through the Engelhardt Piano Company era, with “Engelhardt” on the fallboard.
On July 26, 1911, the St. Johnsville News reported that F. Engelhardt & Sons was making changes in the music roll department due to the constant increase in the demand for the perforated music rolls used in the automatic piano players manufactured by F. Engelhardt & Sons. They have found it necessary to remove that department from the wood building adjoining the foundry to the larger brick building directly west and facing the New York Central railroad tracks. The building has recently been used as a store house and also contained the heating plant.
Contractor Everetts has a force of men engaged in making extensive repairs to the interior and when finished will be a model and commodious plant for the manufacture of this class of goods. It is divided into three departments, the pattern making [for arranging and laying out the master music rolls - ed.], under B.P. Austin; the music roll cutting, under Lester H. Elwood, and the packing and shipping, under George Plank, Jr. In the new quarters the patterns will be made in the east end of the building and the music cutting machinery in the west end below, and the packing and shipping department will be on the second floor.
1911: Peerless Trio Cabinet Piano. Plays 40,000 Series rewind “Trio” rolls. The Peerless Trio was designed for places in which space was at a premium, and it was reportedly The Most Talked of Automatic Piano in the Trade. It was a keyboardless tallish looking cabinet piano that was introduced in the autumn of 1911. The two upper front access doors were fitted with art glass panels of a simple geometric design. Instrumentation consisted of a 44-note piano, 25 wooden flute pipes, 25 wooden violin pipes, and a “Solo Mandolin” device (mandolin attachment) controlled automatically by means of the perforated music roll. The Music Trade Review, July 29, 1911, noted that this new style coin-operated electric piano is proving one of the most successful of the many instruments made by this celebrated concern. Each roll contains twenty selections, and the piano is also equipped with a new magazine slot that will take twenty nickels, and this slot may be controlled from the wall slots located in the different rooms at any resort in which this instrument is placed.
1912: Peerless Style O DeLuxe Orchestrion. Plays 20,000 Series rewind “O” rolls. It was introduced in April of 1912, and used a 15-tune rewind roll, with other available music rolls listed in the 20,000 series. Instrumentation included a full 88-note piano (played by 66 notes in the roll plus bass and treble octave-couplers), “Solo Mandolin” attachment, 36 wood violin pipes, 36 wood flute pipes, snare drum, bass drum, tympani effect, cymbal, triangle, and castanets. Contains a magazine coin slot mechanism holding upward from one to twenty coins. Fumed oak, wax finish case. Brass trimmed throughout. Electric lamps illuminate the interior of the instrument when playing. Of note in the catalogue specifications page: “Using rolls containing fifteen (15) selections, which re-roll automatically after last selection has been played, although any piece can be repeated by means of pneumatic push buttons provided, which will re-roll the piece to any desired part and another button will start it playing again—a feature not found on any similar instrument.”
1912: Peerless Arcadian Orchestrion—Engelhardt Style. Plays 20,000 Series rewind “O” rolls. (Named after the Greek city of Arcadia, where people lived idyllic lives.) The Arcadian Orchestrion was introduced in the autumn of 1912. Art glass panels in each of the two upper access doors depict an Arcadian scene. It made use of a 15-tune rewind roll, with other available music rolls listed in the 20,000 series. Instrumentation included a full 88-note piano (played by 66 notes in the roll plus bass and treble octave-couplers), a set of wood pipes, thirty-two (32) in number, either violin or flute in early examples, or both violin and flute in subsequent examples, snare drum, bass drum, tympani effect, cymbal, triangle, and a set of castanets. All orchestral effects are produced automatically and correctly direct from the perforated music roll and true to the composer’s interpretation. Fumed oak or circassian walnut case. Brass trimmed throughout. Electric lights illuminate the interior of the instrument when playing. Of note in the catalogue specifications page: “Using rolls containing fifteen (15) selections, which re-roll automatically after last selection has been played, although any piece can be repeated by means of pneumatic push buttons provided, which will re-roll the piece to any desired part and another button will start it playing again—a feature not found on any similar instrument.” [ed. note: except for the similar Style O DeLuxe orchestrion described immediately above!] The Arcadian enjoyed a long production run, and the case was redesigned using a Seybold piano during the Engelhardt-Seybold Company Era.
1912: Peerless Cabaret, Model A and Model B pianos. Plays 10,000 Series rewind “RR” rolls. Introduced in the autumn of 1912, these were upright pianos with three art glass panels of geometric design in the upper front of the piano. The fallboard decal for the catalogue picture bears the simple brand name of “Engelhardt.” The Cabaret piano seems to be a variation of the Style “RR,” playing the same rewind music roll, but with the rewind roll mechanism located above the keyboard, and with three art glass panels instead of the single oval glass window.
1913: Peerless Wisteria Orchestrion. Plays 20,000 Series rewind “O” rolls. This was the last model introduced by F. Engelhardt & Sons, but the model was continued by the new Engelhardt-Seybold Company using Seybold pianos and a redesigned furniture case. Above the fallboard, the case was embellished with a beautiful set of scenic art glass panels, the upper row consisting of four three-dimensional decorative pieces, the lower row of larger panels depicting an elegant scenic setting with a robed lady highlighting the center section. The right-hand door also served as the music roll access door, making it easy to change music rolls. Flanking the keyboard area are two brass trimmed hanging art glass lamps. Instrumentation consisted of an 88-note piano (played by 66 notes in the roll plus bass and treble octave-couplers), a set of wooden violin or flute pipes, castanets, and triangle.
In September of 1913, the announcement was made that the National Music Roll Company had been organized for the purpose of making 88-note home player piano rolls. Trademarks had been filed for “Hand Played” and “Master Record.” In the F. Engelhardt & Sons factory complex a special area had been set aside for this roll cutting operation, which ranged from arranging music rolls to making production copies and then boxing them for sale. The timing here is curious, considering that the new Photo Orchestra could only play 88-note home player piano rolls. At some point, however, National also made music rolls for Peerless pianos and orchestrions. Prior to this time, F. Engelhardt & Sons had issued many roll bulletins, lists, and news releases, with the last music roll bulletin being issued in December of 1912.
The Engelhardt-Seybold Company Era
In 1913, Alfred D. Engelhardt, working out of his New York City office, determined that if the company was to expand further a Chicago connection would be ideal, especially if it was a manufacturer of pianos. Up until this time pianos were bought from other suppliers and Engelhardt merely installed the interior components. After some due diligence, Alfred Engelhardt met with the owners of the Seybold Piano & Organ Company, located in Elgin, a suburb of Chicago.
The Utica Herald Dispatch, November 1, 1913, reported the merger:
ABSORBED BY THE ENGELHARDTS, the Seybold Piano & Organ Company of Elgin, Ill.—Capital $1,250,000. In the consolidation of the F. Engelhardt & Sons business of St. Johnsville, and that of the Seybold Piano & Organ Co., of Elgin, Illinois,…two well established and progressive enterprising concerns of the piano industry have joined hands for a mutual conduct of business under one management. The Peerless was the pioneer automatic piano operating with a perforated tune sheet, and the factories at St. Johnsville are the most complete and up-to-date and the product is sold the world over. The Seybold pianos, player-pianos and the celebrated Seybold reed-pipe organs have won recognition and today enjoy enviable reputation. The only active officer of the Seybold Company from its very beginning has been Fred H. Ackemann, and under the consolidation he will also remain one of the officers with the Engelhardts. Their factories will both be operated the same as heretofore, the several at St. Johnsville, and the others at Elgin, Ill.
At St. Johnsville will be manufactured the auto-pneumatic player mechanisms and perforated music-rolls, and at Elgin the pianos and organs. The individuality of both concerns as to the instruments will be maintained. The Engelhardt Action Plant will remain the same, an independent institution personally conducted by Frederick Engelhardt, it having been run as such independently for the past several years so that the new company will only conduct the manufacture of the Peerless auto piano and orchestrion, perforated music rolls for all instruments, and the Seybold piano, player-piano and the Seybold reed-pipe organ.
It is proposed that the general offices be established at Chicago and to maintain offices in New York City and establish one on the Pacific Coast, presumably in San Francisco. Eastern prospects in general are good with both branches. The $125,000 cash is being placed into the business in addition to the present assets. The company will be organized for $1,250,000 with paid up stock of $1,000,000, $245,000 preferred stock remaining in the treasury to be used for future expansion of the business if this should be deemed advisable. The personnel of the new company consist of Frederick Engelhardt, Alfred D. and Walter L. Engelhardt and Fred H. Ackemann.
Following the merger, coin-operated pianos and orchestrions continued to be shipped from St. Johnsville. However, certain Peerless styles were either completely assembled in Elgin or Seybold supplied pianos to the St. Johnsville location. Previous to the merger, Peerless instruments were built around pianos of an unknown brand. Manufacture of the Arcadian orchestrions was transferred to the Seybold plant, and built using Seybold pianos, but with a revised case design that eliminated the front posts and added an ornate overhanging top. Wisteria orchestrions were also made with Seybold pianos. Only one new automatic piano was introduced by the newly merged company.
Over the next year and a half there was a lot of happy talk and many rosy articles praising the success and prosperity of the new company. But it was for naught. In July of 1915 the truth was revealed, the Engelhardt-Seybold Company was bankrupt, and receivership meetings were taking place. St. Johnsville citizens blamed the debacle on Alfred D. Engelhardt for his wild delusions of grandeur. In Elgin, the home of Seybold, a different view persisted, the dynamic Seybold was ruined by merging with Roth & Engelhardt. Meanwhile in St. Johnsville, the bankruptcy trustees arranged with Fredrick Kornbrust (a long-time Peerless employee named by the Central Trust Company of Illinois to be the new custodian) to reactivate the National Music Roll Company. An auction of the factories and contents was scheduled for February 1, 1916. Bids were to be solicited for the entire property. The music roll factory with full equipment was to continue operation by the trustee until sold. However, interest was nil, and the sale did not take place.
Lawsuits were aplenty, as various factions blamed the other for the debacle. Many attempts were made by the bankruptcy trustees to find a private buyer, but to no avail. Then on August 29, 1916, at 10:30 a.m., the entire machinery, stock, and equipment of the Engelhardt-Seybold Company was to be sold on the premises (by order of the trustee) at public auction. This included 250 pianos and player pianos of all varieties, styles, and sizes, ranging in value up to $3,000 each, entire machine shop, Jones & Lamson and National Acme Screw machines, universal millers, gear cutters, lathes, shapers, drills, general machine tools, and a quantity of small equipment, woodworking department, 500 woodworking machines of a general line, all of the highest class. Action-making department: full equipment of the highest class of automatic action-making machinery, and a tremendous stock of raw materials, plus $10,000 worth of small tools. The final auction took place as scheduled.
Frederick and Walter Engelhardt bought 250 completed pianos and orchestrions plus parts and some related machinery. Fredrick J. Kornbrust was the successful bidder for the equipment and inventory of the National Music Roll Company, and the purchase included a number of pianos, automatic players, orchestrions, and equipment for making and repairing all kinds of pianos and musical instruments. The auction netted $28,500. In October, the real estate was sold by private treaty for $36,000. The factory complex once appraised at nearly a half million dollars, including real estate, realized less than $75,000.
The Engelhardt-Seybold Company continued to offer some of the earlier Engelhardt coin-pianos and orchestrions, but with some changes, such as using Seybold pianos with revised case designs. The following chronology only shows the suggested year of public introduction for newly introduced models made by the Engelhardt-Seybold Company, with no mention of re-issued Engelhardt models with revised designs. No mention is made of any public announcements or trade magazine articles describing or showing a particular style or model prior to its official introduction.
1914: The Photo Orchestra. This photoplayer was the Peerless entry into the field of photoplayers in which the American Photo Player Company and Wurlitzer had captured a strong foothold. The Photo Orchestra was available in at least two styles. Of the two, the smaller version consisted of an upright piano fitted with two standard 88-note player piano spoolboxes, one over the other and centered in the upper part of the piano. The piano plate builders name cast into it reads: “Peerless Piano Player Co.; F. Engelhardt & Sons, Prop’rs.” At bottom center of the piano is a fold-down pedal assembly with two large organ pedals for controlling swell shutters (that when in use obstruct and prevent any use of the regular piano pedals). In the side cabinet, adjacent to the right of the piano, is a rank of 37 stopped wooden flutes, behind it a rank of 37 wooden violin pipes, and behind the violin pipes is a bass drum and cymbal, to the right a snare drum, and situated at the far-right side of the case is a triangle and a set of castanets. Behind the drums and situated at the upper left side of the case is a metalaphone. The larger style consisted of an upright piano flanked by two side chests, and may have been able to play either 88-Note home player piano rewind rolls or 20,000 Series rewind “O” rolls, but as of this writing there is no further information.
1914: Seybold Style SA. It was a coin-operated piano playing Peerless 10,000 series rewind “RR” rolls. In June of 1914 the Style SA was exhibited at the Chicago showroom, formerly introducing it to the public. It was built entirely in Elgin, Illinois, and play could be initiated by coin slot, “pay stations,” or push button. It was available in dark wax finished oak or mahogany, with beautifully designed art glass panels, and brass trimmed throughout. The interior, when playing, was illuminated by electric lamps. Automatic expression was one of the special features. The mandolin solo effect (a mandolin attachment) is operated automatically by the perforations in the music roll. The Music Trade Review, August 22, 1914, carried an article that mentions a repetitive tune feature for the Style SA: “... A repetition of any particular piece is made possible by the use of pneumatic push buttons.” The Peerless Style “O” DeLuxe and the Arcadian, both introduced in 1912, were the first Peerless instruments to make use of this unusual feature.
1914: Seybold Orchestral Piano. Plays 20,000 Series rewind “O” rolls. An excerpt from an article in The Presto, of October 29, 1914, provides only a hint at what this instrument might have been like: "... The first style received at the company’s Chicago warerooms this week was sold to a visiting dealer within one hour after it had been put on display, and “repeat” orders were also given. The attractiveness of the instrument lies in the easy response of its individual features, which have been made to co-operate to the drop of the “slug,” and also in the case design, the ornamentation on which is novel in every respect." No other information is currently available; no examples are known to exist.
1914: Peerless Arcadian Orchestrion—Seybold Style. Plays 20,000 Series rewind “O” rolls. The original Peerless Arcadian Orchestrion was introduced in 1912 by Frederick Engelhardt & Sons and had proven itself very popular. Following the Engelhardt-Seybold merger a completely new design was created. It was based around a Seybold piano, and manufactured, at least in part, at the Seybold factory in Elgin, Illinois. The mandolin attachment in the new style Arcadian used a sliding tray supporting a row of thin wooden "paddles" as in a Cremona coin piano. When a hammer shank struck the rear end shank (or wooden dowel) of the hardwood paddle assembly, the thin leading edge of the paddle struck the piano strings, producing a mandolin-like sound. This replaced the much simpler mandolin curtain consisting of cloth or leather strips tipped with a metal clip that banged against the piano strings when struck by a hammer. The cabinet was a little taller and more massive looking than the early Arcadian and had an overhang at the top of the case. Instrumentation in the late style case was similar to the earlier Arcadian, and consisted of a full 88-note piano (played by 66 notes in the roll plus bass and treble octave-couplers), a rank of 32 wooden violin pipes and a rank of 32 wooden flute pipes, snare drum, bass drum, tympani effect, cymbal, triangle, and a set of castanets. The art glass was also of a new design, still scenic but with metal overlays representing a forest of trees varying in height.
The Engelhardt Piano Company Era
It is currently unknown exactly when the Engelhardt Piano Company was officially organized, but it was at some point formed by Frederick Engelhardt and his son, Walter D. Engelhardt. The earliest Music Trade Review article that mentioned the Engelhardt Piano Company appeared on April 24, 1915, an excerpt of which follows: “The Engelhardt Piano Co., St. Johnsville, N.Y., reports a most satisfactory demand for all the instruments in its line, and particularly for the Banjorchestra, which has proven particularly successful with the dealers, and is being placed in a large number of public and semi-public places, including dance halls and ice cream parlors.” And so, the Engelhardt Piano Company had obviously established some sort of relationship with the Connorized Music Company, which may have begun in early 1915 when the Banjorchestra was announced and publicly marketed to dealers and customers alike. Thus, the question, was the Engelhardt Piano Company a sales and marketing agent for Connorized Banjorchestras, or was there some other kind of close arrangement? Nothing seen in the various trade journals to date sheds any light on this puzzling question.
By early April of 1916 the Englehardt Piano Company was known to have begun the small-scale manufacturing of Peerless Phonographs or talking machines. The business was set up in St. Johnsville, using the old Petit Bijou Piano Company building on South Division Street. In the latter part of the year, completed Peerless player pianos, coin-operated pianos and orchestrions, acquired from the August 29, 1916, Englehardt-Seybold bankruptcy sale, were sold off in due course. So-called “new” instruments were also made out of older models, sometimes intermingling spare parts on hand from earlier days, whereupon a unique new style might emerge, but one that would probably never specifically be mentioned in a catalogue or advertising material. However, missing from the Engelhardt lineup of previous years was any mention of photoplayer type instruments. Thus, it seems that the Engelhardt Piano Company was quite busy, in addition to the sale of Connorized Banjorchestras.
One ongoing mystery is the business relationship between the Connorized Music Company (the purported manufacturer of the Connorized Banjorchestra) and the Engelhardt Piano Company. James O’Connor, the president of the Connorized Music Company, as a young man reportedly perfected the Encore Banjo, which, once O’Connor had perfected it, was then sold and serviced by the American Automatic Banjo Company. Because there were difficulties obtaining endless music rolls, it was decided to manufacture them in-house. It happened that another company was also having a hard time getting rolls and appealed to Mr. O'Connor to make music rolls for them. This led to the Connorized music roll business being started in 1900, whereupon the name of the company was changed to the Connorized Music Company, a successful enterprise that lived on until April of 1928, when James O’Connor, still president of the company, decided to quit manufacturing and was negotiating for the sale of the stock and manufacturing equipment. Considering that James O’Connor had been studying and working with mechanical music related technologies ever since he was a young man, possibly beginning with the Encore Automatic Banjo, he was amply capable of conceptualizing and building the Connorized Banjorchestra, the evolutionary outcome of the earlier Encore Automatic Banjo.
And yet, from late 1914 up through mid-1915, there were detailed illustrated articles in the Music Trade Review about the Connorized Banjorchestra, and its inventor, James O’Connor, extolling the Banjorchestra’s reception by dealers and customers alike. But after mid-year 1915, there is no further mention of the Connorized name in relation to the Banjorchestra, thereafter the name is only tied to the Englehardt Piano Company. And then, in 1917, articles begin to appear that imply that Engelhardt was manufacturing the Banjorchestra in-house. So, what happened? Was the reception of the Banjorchestra disappointingly low, and so Connorized decided to exit that aspect of their business, and instead focus solely on its very successful player-piano music roll business? Did Englehardt, possibly acting as a sales agent, market and sell the stock of unsold Connorized Banjorchestras, and then once stock was nearly exhausted begin manufacturing a new Banjorchestra of their own design? Whatever the case, the following article seems to support the idea that Engelhardt had, in fact, taken on the building of Banjorchestras in their St. Johnsville, New York, factory:
The Music Trade Review of August 4, 1917:
The Engelhardt Piano Co., St. Johnsville, N.Y., report a heavy demand for their new expression player piano or home electric, which is their latest product and represents a number of new ideas in that class of instrument, the result of twenty years’ experience in the player field. The company also stated that the demand is good for their other types of coin-operated instruments, including piano orchestrions and Banjorchestras. The latter instrument has been on the market for about six months and is proving very popular with airdromes, dancing academies, amusement parks, and similar resorts. New and complete catalogs of the various models have been issued.
The Engelhardt Piano Co., who recently began the manufacture of the Banjorchestra, have just issued a most attractive and interesting booklet regarding the desirability of the instrument for dancing purposes. The booklet bears the caption: “On With the Dance,” and the text is set off with numerous pen and ink sketches of jazz bands and couples indulging in the intricacies of modern dance steps. Three illustrations of the Banjorchestra are included in the booklet, one showing the instrument as it appears on the floor, one with the lower panels open and the mechanism exposed, and a third with the back open and the piano section brought to view. The various features of the instrument are explained in detail in the text.
The Engelhardt Co. has also issued three folders regarding the various pianos in the company’s line. One folder treats of the Engelhardt coin-operated piano model “A,” with an illustration of the instrument in colors and a page of details regarding it. A black and white picture of the instrument with the mechanism at both top and bottom exposed is included in the folder on a separate sheet. The second folder calls attention to the Engelhardt coin-operated piano in model “B” and the Engelhardt coin-operated orchestrion in models “C” and “D,” with the features of the various models described in great detail. The difference in the various instruments lies in the number and variety of orchestral attachments. Model “B” is illustrated in the folder in colors. The third folder concerns the latest Engelhardt products, the Engelhardt expression player piano, model “G,” an electrically driven instrument with an artistic mahogany case along the standard piano lines. The instrument can be played either by hand or by power, and has already proven distinctly popular. Specifications regarding the instrument are also included in the folder.
Apart from the newly designed and improved Engelhardt Banjorchestra, which may have more or less continued on with its original mechanical layout and form, a variety of other coin-operated instruments were put together and sold that were oftentimes an odd mix of Peerless and non-original but otherwise satisfactory parts. Unfinished pre-bankruptcy pianos were often completed by installing roll frames and other player mechanisms made by other coin piano manufacturers. In some instances, brand new pianos were outfitted with some mix of old parts intermingled alongside new style player mechanisms, which might include a modern rotary style pump, or a new Simplex Player Action pneumatic stack. Whether, or not, these cobbled together instruments resembled previous Engelhardt inspired models, or were offered as some new model remains somewhat a mystery, due to the absence of advertising or other printed material. However, assessing the situation after noting a few extant oddball specimens from this period, it seems as though the company was busy using up any and all incomplete pianos, cabinets, and spare parts, melding these leftovers together, no matter the combination, hoping to make something that might be salable. Thus, it could be said that the Engelhardt Piano Company was not so much a manufacturer, but rather more an assembler of the remaining remnants of past triumphs.
During the 1920s, the Engelhardt Piano Company maintained a relationship with the National Electric Piano Company, but in reality, it had little impact, either on the coin-piano industry or on the town of St. Johnsville, New York. The company was suffering a gradual decline, and by 1928 what little remained of the company was owned by the Welte Company, Inc., of New York City, which was, likewise, in precarious condition itself and on the brink of failure. Thus, sadly, it seems that the Engelhardt Piano Company was more or less a re-hash of the old, mixed together with some attempts to make new, but nonetheless tarnishing the earlier Engelhardt era of well-crafted and beautiful designs that flourished in a more elegant past era now forever gone.
The following chronology only shows the suggested year of public introduction for newly introduced models made by the Engelhardt Piano Company, with no attention given to any public announcements or trade magazine articles describing or showing a particular style or model prior to its official introduction. The only exception to this is the first item in the list, which is a sampling of the undocumented mix and match oddities assembled from old and new parts, which are included as miscellany.
1915 up through the 1920s: Miscellaneous undocumented Engelhardt mix and match oddities assembled from recycled old and new parts. There is currently no way to know how complete (or incomplete) any assemblage of undocumented Engelhardt coin pianos might be, or when they might have been assembled and sold, because there are no extant records nor advertising mentions from which to understand the scope or range of the oddities produced. Because many old Peerless pianos, as well as pianos built by other manufacturers, were recycled by Engelhardt, serial numbers (usually an important attribute for determining build sequence and dating) for so-called Engelhardt pianos may seem to be contradictorily erratic, making no logical sense whatsoever. Making sense of this mess often requires careful examination of any suspect so-called Engelhardt pianos, so as to determine whether the whole coin piano, from start to finish, was produced and assembled by the Engelhardt Piano Company, or not, sorting out the recycled oddities from the genuine thing.
1915: Engelhardt Banjorchestra—Connorized Built. The Connorized Banjorchestra was the inspiration of James O’Connor, the president of the Connorized Music Company of New York City, a company whose principal officers had been involved with the American Automatic Banjo Company, who manufactured and distributed the Encore automatic banjo at the turn of the century. The idea for a Banjorchestra became reality in 1914, as a result of the “banjo craze” over the preceding two years, with the Banjorchestra perfected by November of 1914. Although announced earlier, a public marketing campaign began in early 1915, this then considered the year of introduction. Instrumentation included a 44-note piano, four-string banjo, tambourine, triangle, snare drum, and bass drum effect (a beater thumping on the soundboard). The rewind type music rolls were arranged and cut by the Connorized Music Company, and generally consisted of ten tunes. Special dance rolls were available on special order. Later on, Banjorchestra rolls were made by the coin-operated roll division of QRS through 1919, and the “Banjo-Orchestra” roll cut by the Clark Orchestra Roll Company starting in 1920.
1917: Engelhardt Model A coin piano. Plays 50,000 Series standard 65-note “A” rolls. This was a keyboard style piano, available in oak or mahogany, introduced in the summer of 1917. It had three art glass panels of simple geometric design located above the keyboard, the center panel larger. The fallboard displayed an “Engelhardt” decal. Instrumentation consisted of a piano, probably a mandolin attachment, and either a 24-note xylophone or a set of 24 orchestra bells. The coin slot magazine could register up to 24 coins. For serviceability, the model “A” used “individual units for each pneumatic or note mechanism in the piano, each one an exact duplicate of the other, interchangeable, and each unit complete in itself, screwed to the front channel board with two screws.”
1917: The Engelhardt Model B, C, and D orchestrions. Plays 20,000 Series rewind “O” rolls. These three models were presented during the summer of 1917. All three made use of the same style all-purpose case, consisting of an upright piano with a tall case extension. Above the keyboard were three scenic art glass panels, the center one larger, and each with a domed but separately made art-glass decorative top piece. The fallboard of each displayed an “Engelhardt” decal. Instrumentation, other than the obvious piano, is unknown.
1918: Engelhardt Style F cabinet piano. The Style F series of cabinet style coin pianos had a single large art glass panel with some colored but mostly clear glass, which permitted an enticing view of the instrumentation. There were five variations: (1) piano with mandolin attachment, (2) piano with mandolin attachment and a set of orchestra bells, (3) piano with mandolin attachment and xylophone, (4) piano with mandolin attachment and flute pipes, and (5) the Style F orchestrion with a piano, mandolin attachment, wooden flute pipes, snare drum, bass drum effect (a beater hitting the piano soundboard), and cymbal. Variations 1 through 4 probably used industry standard 65-note "A" rolls. The roll type used on the Style F orchestrion is unknown.
1917: Engelhardt Banjorchestra—Engelhardt Built. Probably first available mid-year, the Engelhardt built version was in a distinctive Engelhardt cabinet containing the standard late style Engelhardt rotary pump, spoolbox, and stack with Simplex pneumatics. A Mahogany case was specified, although oak cases were available. It played 10-tune Banjorchestra rolls made by the coin-operated roll division of QRS through 1919, and the “Banjo-Orchestra” roll made by the Clark Orchestra Roll Company starting in 1920, and possibly rolls from others. Instrumentation included a 58-note piano, four-string banjo, tambourine, triangle, wood block, snare drum, and bass drum effect (a beater thumping on the soundboard). The rewind music roll mechanism was located directly behind the lower doors, was easily accessible, and directly connected with the pumping apparatus by a shaft, thus eliminating any troublesome belting. All working components were comfortably fitted inside the Engelhardt style keyboardless upright cabinet, permitting the instrument to stand flush against a wall. All parts were standardized and therefore easily interchangeable. The Banjorchestra could be had with either plain glass or a special art glass panel, with electric lights illuminating the interior when playing. The coin slot was especially designed to return slugs, and pennies will not operate the instrument.
The National Electric Piano Company Era
The National Music Roll Company had remained more or less active during the failure and bankruptcy liquidation of the Engelhardt-Seybold Company. The creditors reasoned that the continuing production of music rolls for Peerless instruments would make the failed company’s assets more valuable. At the liquidation auction on August 29, 1916, Fredrick J. Kornbrust acquired many things, as set forth in the following trade magazine article:
The Presto, September 21, 1916:
Frederick J. Kornbrust, of St. Johnsville, New York, has purchased the plant of the music roll company there. Mr. Kornbrust has been identified with the piano trade for the past 25 years and started in the piano manufacturing business as a workman, and through his efforts and ability advanced to foreman, superintendent, salesman, and manager of the piano and music roll factories of the village. Mr. Kornbrust has purchased a big quantity of pianos, automatic players, orchestrions, etc., also stock of material and equipment for the making and repairing of all kinds of pianos and musical instruments.
On another page in The Presto was a letter from Frederick Kornbrust dated September 16:
For your information, which we believe you also appreciate as a matter of news, we would state that the undersigned has purchased the complete plant and equipment of the National Music Roll Company, together with the complete stock of Peerless Instruments, and is prepared not only to furnish music rolls for all styles of Peerless pianos, but will handle repairs of every nature for all lines of automatic instruments, especially Peerless, which you will note from the circulars enclosed. We are taking the liberty to call this matter to your attention should you have occasion, from time to time, to reply to inquiries received, you will understand that the Engelhardt interests are no longer connected in any way with the National Music Roll Company, and is not associated with it in the handling of Peerless Instruments. Thank you for your courtesy in this matter.
Very truly yours,
National Music Roll Co.
F.J. Kornbrust
The National Music Roll Company had of necessity relocated after the forced liquidation sale, occupying premises on William Street in St. Johnsville, not far from the former Engelhardt factory complex. In addition to music rolls, Kornbrust also sold Peerless instruments he had acquired at the liquidation auction and, further, made new ones, including some from old parts, which were then sold under the “National” name.
In April of 1918, Kornbrust purchased the stock of piano cases and other inventory of the defunct Fort Plain Electric Piano Company. The company had been organized in the spring of 1912, and was located in the town of Fort Plain, not far from St. Johnsville. The company entered production, but unfortunately expectations were not fulfilled, and so in November of 1913 it filed for bankruptcy. In May of 1914 its assets were liquidated at auction. These pianos and miscellany were used by Kornbrust in the making of new coin-operated instruments in St. Johnsville.
Meanwhile, the roll cutting business kept expanding. National advertised that it could supply “Peerless rolls for Peerless automatic pianos and orchestrions and for all styles of electric 65-note rewind pianos.” These were designated as Peerless 50,000 Series rolls, which were identical to the industry standard “A” roll. In addition, such brands as “Master Record” and “Auto Inscribed (Temporized)” 88-note home player piano rolls were produced.
The Music Trade Review, February 5, 1920:
The February-March Bulletin of the National Music Roll Co. of St. Johnsville, New York, of electric piano music for Peerless Automatic Pianos and Orchestrions as well as for all styles of electric rewind pianos has been issued. The National Music Roll Company is now cutting music for all styles of electric (65 note) rewind instruments. The company has 46 makes of instruments on its cutting list. The music includes all the celebrated marches and popular rags. The lists comprise fine collections of song and dance rolls.
Kornbrust had been making and selling coin pianos and orchestrions for several years, which included instruments made for components he had acquired from the Fort Plain Electric Piano Company inventory. At some point he concluded that the demand for his coin-pianos was sufficient to make plans for a major expansion.
The Presto carried this on May 1, 1920:
The National Electric Piano Co., of St. Johnsville, N.Y., has plans under way for the erection of a modern plant for the manufacture of electric coin-operated pianos and orchestrions. This building will also be the home of the National Music Roll Co., manufacturers of electric music rolls, which owns and controls the above concern. The National Music Roll Co. is an old established concern and at one time owned by the now bankrupt Engelhardt-Seybold Co. Fredrick J. Kornbrust, who is in control, is well known to the trade, having been associated with the various branches of the piano and music roll business for the past 28 years.
The National Electric Piano Company carried on the Engelhardt tradition and used the Peerless name for its products, including the old Peerless Piano Player Co. name on fallboards of its electric pianos. Occasionally, the company name was mistakenly given as the National Piano Player Company.
The Presto, January 22, 1921:
Support by the trade has been an active factor in inducing Mr. Kornbrust to continue the manufacture of coin-operated instruments. He now has associated with him the most desirable of the former Peerless mechanics in the development of a standardized product. No one having any of the old style Peerless instruments need make any outlay for rebuilding as music and parts can be secured from this firm for all styles. A plot of ground has been purchased and when building conditions approach the normal condition [referring to the slump in the economy] a modern plant will be built which will be the home of both the National Electric Piano Company and the National Music Roll Company, and in the near future will show some of the most novel items in musical merchandise upon the market which this enterprising firm is now developing.
National Electric instruments included a new line of coin-operated keyboard pianos with various instrumentation, which were sold as the Art Cabaret and the slightly more sophisticated Colonial Elite series. Cabinet-style orchestrions were made as well. How many coin-operated instruments were sold and shipped by National Electric is unknown. For whatever reason, publicity concerning the National Electric Piano Company was minimal, and few news items have been located concerning it.
And yet, a possible clue as to the success, or lack thereof, of National Electric has turned up. The Gottfried and the Meyer pipe organ companies were among the suppliers of pipes to the coin-piano industry during the 1920s. Meyer’s records show the following deliveries to the National Electric Piano Company, tallies that may in some way reflect the quantity of coin-operated instruments shipped by National Electric:
In comparison to the quantities of coin operated pianos shipped by the major coin piano manufacturers, such as Seeburg and Wurlitzer, to the extent that the above pipework delivery figures might represent National Electric’s production, it suggests that the company had little impact on the coin piano industry, notwithstanding any glowing trade articles regarding the success of National Electric. Adjusting for the possible but unknown number of new coin pianos sold with no pipework, versus those that did have pipework, perhaps the aforementioned pipework quantities delivered will help explain the rarity of extant National Electric Piano Company coin pianos and orchestrions.
The following chronology shows the estimated date range of public introduction for newly introduced models made by the National Electric Piano Company. Undocumented production is not included.
1920: National Electric Piano Company Peerless Orchestrion Model DeLuxe. Available in two models: Style “O” for (Coin-Operated) general business purposes, and Style “M” for (push-button operated) theatre use. Plays 20,000 Series rewind “O” rolls. The DeLuxe was originally introduced in April of 1912 by F. Engelhardt & Sons. The style was popular enough that National Electric continued production, having purchased a large quantity of unsold stock and unused parts from the Engelhardt-Seybold bankruptcy sale in August of 1916. Instrumentation did included a full 88-note piano (played by 66 notes in the roll plus bass and treble octave-couplers), “Solo Mandolin” attachment, snare drum, bass drum, tympani effect, cymbal, and maybe triangle and castanets. For pipework, whether it was an either or option, or possibly an option to have two ranks is unknown, but the pipework available would have been 36 wood violin pipes and/or 36 wood flute pipes.
1920s: National Electric Art Cabaret Style A. Plays 10,000 Series rewind “RR” rolls or 50,000 Series standard 65-note “A” rolls. Keyboard piano with mandolin attachment.
1920s: National Electric Art Cabaret Style B. Plays 10,000 Series rewind “RR” rolls or 50,000 Series standard 65-note “A” rolls. Keyboard piano, mandolin attachment, and choice of violin or flute pipes.
1920s: National Electric Art Cabaret Style C “Semi-Orchestrion.” Plays 20,000 Series rewind “O” rolls. Keyboard piano, mandolin attachment, bass drum, snare drum, cymbal, and triangle.
1920s: National Electric Art Cabaret Style D Theatre Orchestrion. Plays 20,000 Series rewind “O” rolls. Keyboard piano, mandolin attachment, bass drum, snare drum, cymbal, triangle, and choice of violin or flute pipes.
1920s: National Electric Colonial Elite Style E. Plays 10,000 Series rewind “RR” rolls or 50,000 Series standard 65-note “A” rolls. Same as the Art Cabaret Style A, but in a more ornate case.
1920s: National Electric Colonial Elite Style F. Plays 10,000 Series rewind “RR” rolls or 50,000 Series standard 65-note “A” rolls. Same as the Art Cabaret Style B, but in a more ornate case.
1920s: National Electric Colonial Elite Style G “Semi-Orchestrion.” Plays 20,000 Series rewind “O” rolls. Same as the Art Cabaret Style C, but in a more ornate case.
1920s: National Electric Colonial Elite Style H Theatre Orchestrion, Plays 20,000 Series rewind “O” rolls. Same as the Art Cabaret Style D, but in a more ornate case. The Colonial Elite is a keyboard style piano with the roll mechanism and pipework located above the keyboard behind the art glass panel. The electric motor, rotary style vacuum/pressure pump, bass and snare drums, triangle, castanets, etc., are arranged below the keyboard, filling the lower part of the piano. The coin magazine can be tripped either by a coin drop or remotely by means of a battery connected wall box or push button. Typically, a coin piano advertised for theater use meant that it could be remotely operated by push buttons, which in this case the piano could be started and up to about 20 plays could be accumulated by pushing a single button, but no other push button control was available for this instrument.
1920s: National Electric Cabinet Orchestrion. Plays Operators “O” rolls. Instrumentation includes piano, mandolin effect, snare drum, cymbal, triangle, castanets, wood block, and bass drum effect (a beater thumping on the soundboard).
Technical Attributes
As a general rule of thumb for Peerless keyboard style pianos, if the pneumatic stack is located below the keyboard (original early format) the bulky endless roll mechanism and the feeder pumps will be mounted on the backside of the piano between their own respective pair of back posts. But if the stack is located immediately above the keyboard a rewind type roll frame will be situated somewhere inside the piano case, with the feeder pumps, depending upon the style, either placed on the backside of the piano or somewhere below the keyboard in the bottom of the piano case. However, this rule of thumb does not always apply. There are very likely factory refurbished older style instruments that violate this rule, having for instance replaced the original cumbersome endless roll mechanism with a more modern rewind roll frame, and who knows what crazy alterations were made by route operators to keep old coin-operated pianos operational, especially in the later years of the 1920s and up into the 1930s.
Creating oddball variations that paid no heed to original catalogue specifications became prevalent during the declining years of the Engelhardt Piano Company and the National Electric Piano Company eras. Remains of unfinished instruments bought at auction, combined with a helter-skelter mix of unused parts, sometimes combined with new mechanisms common to other coin-operated piano manufacturers, were fitted together in whatever way possible, so as to be made into something thought salable. Consequently, the off-breed instruments often bore little or no resemblance to established cataloged Peerless styles. What type of music roll these cobbled together instruments played varied widely, with possibilities that included not only some variety of Peerless music rolls, but also industry standard type “A” music rolls, Automatic Music Roll Company style “G” music rolls (as used on Seeburg’s popular style G orchestrion), and the Operators Piano Company’s popular style “O” music rolls. This general unpredictability makes categorizing Peerless instruments strictly by music roll type, or almost any other mechanical or musical attribute, a hit-and-miss affair, as any experienced collector familiar with the Peerless Piano Player Company brand of pianos and orchestrions will tend to agree.
Coin and Magazine Slot Boxes
Coin operated electrical switches can be said to fall into one of two basic categories. First on the scene were the often crude coin slot switching devices that did nothing more than make a simple electrical contact when triggered by a coin drop, and then open that electrical circuit once a shut-off signal was received. By the early teens, the magazine slot boxes became commonly available, which could usually mechanically accumulate up to 20 plays—one play for each coin dropped into the slot—whereupon each shut-off signal would subtract one play, until the piano finally played all the accumulated tune plays and shut itself off.
A variety of diverse coin triggered electrical switching mechanisms have been observed in Peeerless coin pianos and orchestrions, ranging from early and somewhat crude devices to the later well engineered and produced magazine slot boxes. For the earliest switching devices, a coin dropped in the slot would wedge itself between two electrically isolated metal contact surfaces, closing an electrical circuit, then dropping the coin and opening the electrical circuit when a shut-off signal was received. Or the coin might hit a paddle or lever that, in turn, allowed electrical contacts to close, and when the shut-off perforation crossed over the tracker bar a small pneumatic would pull the electrical contacts open and reset a latch that kept the contacts open until another coin was dropped. In one early coin slot box the coin itself made the electrical connection when it lodged itself between two electrically isolated metal contact points, and could accumulate up to several coins, stacking them one on top of the other, the bottom coin making the electrical connection, and then dropping the bottom coin when the shut-off signal was received. The piano would continue to play until all coins stacked within the mechanism had been released, one at a time. Of all the variations observed in Peerless instruments, the majority are of the magazine slot box type, but only one coin slot switching mechanism has been possibly identified as to its manufacturer, all others remaining an enigma.
Peerless, Engelhardt, and National Feeder Pumps
Because the Peerless Piano Player Company was one of the very early manufacturers of commercial electrically powered coin operated pianos there was little historical precedent in terms of mechanical design or utility. Consequently, anyone considering dabbling with untested coin piano trade possibilities, essentially had to start from scratch, trying out and testing new ideas, equipment, and devising marketing strategies. Moreover, being that Peerless was somewhat isolated in comparatively small St. Johnsville, New York—far away from the large industrial centers, such as Chicago, Ill, that would come to spawn a huge and highly competitive industry–the Peerless engineers were not significantly influenced by what other incipient coin piano manufacturers were thinking or devising. And so, innovation flourished in St. Johnsville, and Peerless came up with some mechanical player components that sometimes bore little mechanical resemblance to mechanisms that would be produced by the upcoming and soon to be successful industrial giants, such as Wurlitzer, Marquette, Seeburg, Coinola, and others. Thus, it should come as no surprise that, when it came to pumps, Peerless designs tended to be quite unique, even comparatively odd, that is, until the late teens when the simple box frame, 4-lobe, rotary pump had become popular. It was easy to install and maintain, could be purchased from outside suppliers, and was fast becoming the pump type of choice for many coin piano manufacturers, as well as becoming the favored choice for Peerless pianos and orchestrions.
Endless Versus Rewind Music Rolls
It is important to understand that endless and rewind music rolls are not interchangeable, no matter whether you spool or unspool them or not. They always differ, or at least they should differ, even when both the endless and rewind type music rolls are of the same exact musical arrangement, as well as the same tracker scale. Endless rolls are constant speed. Thus, the tempo remains constant throughout the playing of the music roll. Rewind type music rolls, however, are not constant speed, with the paper speed over the tracker bar constantly increasing when the roll is being played. This speed variability is due to the paper winding onto the take-up spool. As the effective diameter of the take-up spool increases, due to paper buildup, the speed at which the roll transverses the tracker bar also increases. To compensate for this, the paper speed passing through the perforator’s cutting head must be incrementally adjusted to offset paper buildup when the roll is played, otherwise the tempo would be noticeably much too fast toward the end of the music roll. The end result: If an endless roll is spooled for use on a rewind type roll frame the music will become increasingly too fast, but when a rewind roll is used on an endless roll frame the music will become ever slower and plodding.
"D" and "DX" Music Rolls
Peerless “D” and “DX” named music rolls are not the same. They are an oddity, both different and not interchangeable, but sharing the same 7,000 Series designation, and both are 11-¾” wide. The “D” music roll was specifically for use on the Style D piano, while the later “DX” music rolls were for use on the Peerless Styles “DX,” “DM,” and “DF.” The two roll variations were likely differentiated by name, i.e., “D” or “DX,” rather than identifying them using the confused 7,000 Series alias. Where the two rolls mechanically differed is endless “D” rolls were designed for a 69-hole tracker bar, with 6 holes per inch spacing, while endless “DX” rolls were laid out for a 71-hole tracker bar, with 6-½ holes per inch spacing. By slightly increasing the holes per inch the same width paper roll could then accommodate the two additional tracker bar holes. This would have allowed the “D” and “DX” pianos to use the same width roll frame, but fitted with the appropriate holes per inch tracker bar.
But why might keeping the same roll frame width be important? If a wider music roll was introduced to accommodate the two additional tracker holes the roll mechanism would also need to be wider, and because the roll frame and associated storage bin were located behind the piano they had to fit within the space allocated between the piano back-posts for whatever brand and style piano the company was buying. Thus, as illogical as it might seem today, it apparently was thought a better option to make a new 6-½ hole per inch cutter head for yet another converted or new roll perforator, although it required a hole spacing that was, at the time, unique for the “DX,” “DM,” and “DF” models. The other option would be to use a wider music roll and roll frame using the standard 6 holes per inch spacing for the new “DX” rolls. But this wider roll frame and associated storage bin might not fit between the piano back-posts of pianos already in stock, or that would be purchased in the future, without some serious jiggering. But then, complicating the issue, Peerless was somewhat notorious for shipping pianos that used a music roll different than what was originally specified in advertising or catalogues. This raises the possibility that after the “DX” music rolls were introduced there is a chance that at least some Style “D” pianos were equipped to play the newer “DX” type music rolls.
But the 66-note Style “D” music roll was not the first 66-note roll manufactured by Roth and Engelhardt. So, what came before it? The Harmonist Piano Player Attachment was introduced in 1899, and the Harmonist (push-up) Piano Player in 1900, both of which used a 66-note rewind type music roll manufactured by Roth and Engelhardt. Moreover, for any upright piano with an electric powered Harmonist Piano Player Attachment installed, an accessory coin slot box, housed in a little wooden cabinet, could be attached to the upper side of the piano case. A similar option was available for the electric powered Harmonist (push-up) Piano Player. Thus, something originally intended for home use had been adapted to coin-operation. The next evolutionary step seems to have been the Peerless Style “D” coin piano, with a small coin slot box attached to the upper right side of the piano case. This was the first Peerless to be, dedicated from the get-go, a commercially viable coin operated piano. Now, to speculate a bit, it seems reasonable that the company would use a music roll layout already in production and that was musically fully adequate, in this instance the roll used on the Harmonist piano players. The format had to be changed somewhat, of course, from a single, or maybe two tune rewind type roll, to a multi-tune endless format roll. But because the Harmonist rewind roll did not have nor need a shutoff perforation, to accommodate this necessary function on the Style “D” roll it was multiplexed by using two bass notes on the piano. When either note was played individually, the piano note was played, but if both notes occurred simultaneously, the shutoff function was invoked. Curiously, the Series 7,000 Style “D” (and later Style “DX”) rolls are the only Peerless music rolls that do not have a dedicated shutoff function–all other Peerless roll layouts have a tracker hole position specifically for the shutoff function, giving more credence to the idea that the Style “D” roll was basically a repurposed Harmonist roll with an added multiplexed shutoff function.
Tracker Scales
The following Peerless tracker scales are thought to be accurate, but none of them are actual copies of original Engelhardt scale sticks. Instead, they have been ascertained by examining extant Peerless instruments, for which the original rubber tubing and mechanisms have remained nearly or fully intact and/or by examination of Peerless music rolls. Moreover, there is the possibility that an instrument examined has been altered during a factory rehab, or by some nameless route operator who was trying to keep an instrument functional, with no interest in maintaining originality. Therefore, please be aware that these scales are subject to change if and when new information becomes available.
Tracker Bar Scale for Peerless
Endless 6,000 Series Music Rolls
Endless 6,000 Series Style “44” Scale
8 ¼” wide, 6 holes per inch—44 Playing Notes
1-5. Playing notes: F-A.
6. Shutoff.
7-8. Playing notes, continued: A#-B.
9. Sustaining pedal.
10-42. Playing notes, continued: C-G#.
43. Hammer rail down.
44. Hammer rail up.
45-48. Playing notes, continued: A-C.
Tracker Bar Scales for Peerless Endless 7,000 Series Music Rolls
Endless 7,000 Series Style “D” Scale
11 ¾” wide, 6 holes per inch—66 Playing Notes
Endless 7,000 Series Style “DX” Scale
11 ¾” wide, 6 holes per inch—66 Playing Notes
1. Playing note C (displaced by sustaining pedal).
1. Bass drum.
2. Hammer rail down.
2. Playing note C (displaced by sustaining pedal).
3. Hammer rail up.
3. Hammer rail down.
4-8. Playing notes G to B.
4. Hammer rail up.
9. Sustaining pedal.
5 to 9. Playing notes G to B.
10-69. Playing notes C# to C.
10. Sustaining pedal.
4 + 6. Shutoff.
11 to 70. Playing notes C# to C.
71. Snare drum.
5 + 7. Shutoff.
In styles “D” and “DX” two of the low playing-note pneumatics are connected by a T-shaped lever, which allows each note to be played separately, but when both pneumatics are activated simultaneously the "T" lever transfers their motion to the shutoff valve.
Tracker Scale for Peerless
Unknown Series of Music Rolls
“Peerless Piano” Scale
Music roll details unknown—66 Playing Notes
1. Release suction. (Style “DX” bass drum.)*
2. Note C (displaced by sustaining pedal).
3. Soft pedal off.
4. Soft pedal on.
5 to 9. Notes in order G to B.
10. Sustaining pedal.
11 to 28. Notes in order C# to F#.
29 to 65. Notes in order G to G. (noted “pipes”)**
66 to 70. Notes in order G# to C.
71. Rewind. (Style “DX” snare drum.)*
72. Nickel trip. (No style “DX” hole 72.)*
* The items in red show “DX” roll functions that differ from this mystery tracker bar scale.
** The note span 29 through 65 are noted “pipes,” and suggest this roll is for an instrument with a pipe compass of 37 notes.
This scale simply marked “Peerless Piano” was acquired by Hathaway & Bowers, Inc., circa 1968-69, and is of unknown origin. Except for the functions of holes 1, 71 and 72, the layout conincides perfectly with the Style “DX” music roll layout.
Tracker Bar Scale for Peerless
Rewind 10,000 Series Music Rolls
Rewind 10,000 Series Style “RR” Scale
11 ¾" wide; 6½ holes per inch—66 Playing Notes
1. Instrument A on.
2. Rewind.
3. Sustaining pedal.
4. Cancel instruments A and B.
5. Instrument B on.
6 to 71. 66 playing notes in order.
72. Play.
73. Shutoff.
Tracker Scales for Peerless 20,000 & 30,000 Series Music Rolls
Rewind 20,000 Series Style “O” (DeLuxe) Scale
14 ½” wide, 7 holes per inch—66 Playing Notes
Rewind 30,000 Series Style “Elite” Scale
14 ½” wide, 7 holes per inch—66 Playing Notes
1. Not used.
1. Not used.
2. Not used.
2-11. playing notes: A-F#.
3. Cymbal.
12. note C (displaced by sustaining pedal).
4. Tympani, reiterating.
13. Hammer rail down.
5. Bass Drum.
14. Hammer rail up.
6. Left snare drum beater.
15-19. playing notes, continued: G-B.
7. Middle snare drum beater.
20. Sustaining pedal.
8. Right snare drum beater.
21-92. playing notes, continued: C#-C.
9. note C (displaced by sustaining pedal).
93 Shutoff.
10. Hammer rail down.
94 Play.
11. Hammer rail up (low suction off by hole 17).
95. Rewind.
12-16. Playing notes G-B.
96 Mandolin off.
17. Sustaining pedal.
97 Mandolin on.
18-77. playing notes, continued C#-C.
78. Shutoff.
79. Rewind (or hole 95 in some rolls).
80. Violin pipes off.
81. Violin pipes on.
82. Flute pipes off.
83. Flute pipes on.
84. Castanets (Tambourine*).
85. Mandolin off.
86. Play.
87. Castanets.
88. Triangle.
89. Mandolin on.
90-97. Not used (certain rolls use hole 95 for rewind).
* A Hathaway & Bowers, Inc., tracker scale, circa 1968-69, shows hole 84 to be for a tambourine.
Holes 2-11, 15-19, 12, and 21-92 form the complete chromatic scale for all 88 notes on the piano.
Certain Peerless O roll orchestrions have a 66-note piano stack, from G to C, playing note holes listed above. Other Peerless orchestrions have a full 88-note stack with the bass and treble octave-coupled as follows: piano keys 1-10 are coupled to keys 13 -22 respectively, keys 11 and 12 are not coupled and keys 77-88 are coupled to keys 65-76 respectively.
Tracker Scale for Peerless
Rewind 40,000 Series Music Rolls
Rewind Style “RR” Music Roll Scale
11 ¾" wide; 6½ holes per inch—44 Playing Notes
1. Blank.
2 to 5. Automatic register controls.
6. Blank.
7. Register control.
8 to 12. Notes in order F to A.
13. Shutoff.
14. Note A#.
15. Note B.
16. Sustaining pedal.
17 to 49. Notes in order C to G#.
50. Hammer rail down.
51. Hammer rail up.
52 to 55. Notes in order A to C.
56. Rewind.
57. Play.
This scale was formulated by viewing an unmarked original Trio roll. Holes 1 and 6 are not used on that roll, while 2 to 5 and 7 turn various things on and off. The Trio contains a 44-note piano, 25 violin pipes, and 25 flute pipes; the roll is an expanded version of the 44-note Peerless roll, whose functions are the same as holes 8 through 55 of the Trio roll.
The Peerless Piano Player Database
The Peerless Piano Player database encompasses the manufacturing output of Roth & Engelhardt, F. Engelhardt & Sons, Engelhardt-Seybold, and the later Engelhardt Piano Company and the National Electric Piano Company. The primary information that went into populating the Peerless database was gathered over a period of many years by Art Reblitz and Dana Johnson, longtime history buffs, collectors,
and experts in restoration of various automatic pianos and orchestrions. Whenever
these men had access to a Peerless branded piano or orchestrion
they recorded certain mechanical and historical details of interest.
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
Historical information regarding the subject piano companies is readily available, but technical information is sparse, mainly because the number of surviving specimens are rare as compared to other major brands, such as Seeburg and Wurlitzer, for which a lot of advertising and technical information still exists. Thus, for any surviving Peerless, Engelhardt, or National Electric instruments, a detailed technical description along with accompanying photographs are an important necessity. As some of you may already know, because of the reorganizations and ownership changes over the years, Peerless coin pianos and orchestrions, even for the same model, can vary widely as to mechanical tweaks and the location of components. For instance, the stack might be above or below the keyboard, the roll mechanism might be above or below the keyboard or behind the sounding board, while the feeder pump might be found under the keyboard or occasionally behind the sounding board. The various mechanical variations are many and need to be better understood to accommodate the easy collection and reporting of data, and to understand the evolution of Peerless, Engelhardt, and National Electric coin-operated pianos. All technical and photographic information will be carefully studied and archived for possible future use if and when a new Peerless page and associated database are made available.
When it comes to photographs, both Exterior and interior photographs are needed, as follows:
Exterior photographs should include an overall picture of the furniture cabinet, and a side or other views should there be some control knob, coin chute entry fixture, or other notable feature. And whenever there are mechanisms behind the soundboard detailed photographs are important
Interior photographs should include an overall picture, along with more detailed photographs of such things as pipework, drums and other striking instruments, the roll mechanism, stack detail, feeder pumps, electric motor (if original), coin mechanism, and any other unusual or odd mechanical features.
Please include the following information along with the above mentioned photographs:
Piano serial numbers are a must have, because the Registry databases use the serial number as the primary indexing field.
Piano plate lettering (Peerless Piano Player Co., Engelhardt and Roth, Engelhardt-Seybold, etc.) and any other plate markings such as a date code.
Brand name (Peerless, Engelhardt, National Electric, etc.).
Style or model designation.
Pneumatic stack serial number.
Music roll type (endless or rewind) and Peerless style or number series (6,000, 7,000, 10,000, 20,000, 30,000, 40,000, or standard "A" rolls, "G" rolls, "O" rolls, etc.), plus any special label notations.
Any dates and/or notations on or about the piano and player mechanisms can be important in estimating a manufacturing date.
A historical summary of the piano (such as past owners, locations, etc.) would be useful if known.
Scanned copies of any original Peerless, Engelhardt, or National Electric Piano Company advertising, catalogs, or other pertinent information.
How to Submit Feedback and Piano Information
Feedback and piano technical information and photographs can be emailed to
and any collected information pertinent to the project will be studied and archived for possible future use.
The Mechanical Music Press email provider can accept and process email messages larger then 10 megabytes, which is the limit for many providers, and so there is usually no problem with email messages with many attached images.
Thank you for your interest and effort in helping to make the Peerless page project successful.
Distribution of Database Information Last Updated on August 4, 2024
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report files require Adobe Acrobat Reader (or its equivalent) to view, use, or print
their contents. The free Acrobat Reader can be downloaded from Adobe by clicking
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Download the current database report
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8 pages.
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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:
Art Reblitz and Q. David Bowers (The Reblitz-Bowers Encyclopedia of American Coin-Operated Pianos and Orchestrions).
Art Reblitz (Treasures of Mechanical Music (Vestal Press, 1981).
Terry Hathaway for compossition and layout.
Ron Cappel (H&B Peerless tracker bar scales).
Photographs:
Peerless emblem or logotype introduced circa 1906.
Art Reblitz and Q. David Bowers (The Reblitz-Bowers Encyclopedia of American Coin-Operated Pianos and Orchestrions).
Dana Johnson, Art Reblitz, Paul Horgan, Terry Hathaway.
