The Hidden Bed

QUESTION: My husband and I recently purchased an older home. After we closed the sale, we discovered a Murphy bed in one of the smaller bedrooms. Though the bed needs some refurbishment and a new mattress, it’s seems to be in working order. Can you tell me more about Murphy beds and perhaps how old this bed might be.

ANSWER: Murphy beds have been around since the early 20th century. They have been made continuously by various companies, so it’s difficult to tell how old your bed is.

The Industrial Revolution brought with it lots of innovative ideas for convertible furniture, but it wasn’t until immigrants began arriving in greater numbers in the latter part of the 19th century that some of these came into common use. Whole families often had to live in one room—eating, relaxing, and sleeping in the same space—so that they needed furniture that served dual purposes. Beds stand out as the primary convertible piece of furniture most wanted by urban dwellers at the time. 

By the late 18th and early 19th centuries, the rolling trundle bed had become a common piece of furniture in homes. This large rectangular box rolled under high bedsteads for storage during the day. At night, an adult or child would pull on a rope and drag the bed out for sleeping.

A Murphy bed, on the other hand—also called a wall bed, pull down bed, fold-down bed, or hidden bed—is one that’s hinged at one end to store vertically against the wall, or inside of a closet or cabinet.

William Lawrence Murphy invented the Murphy Bed around 1900 in San Francisco. Legend says that he was falling for a young opera singer and courting customs at that time wouldn’t permit a lady to enter a gentleman’s bedroom. His invention allowed him to stow his bed in his closet, transforming his one-room apartment from a bedroom into a parlor.

Murphy then formed the Murphy Bed Company and patented his “In-A-Door” bed in 1908. He never trademarked the name “Murphy Bed.” 

Earlier fold-up beds had existed and were even available through the Sears Catalog, but Murphy introduced pivot and counterbalanced designs for which he received a series of patents. 

In 1911, William L. Murphy filed a patent for what he called his “disappearing bed.” His innovative design enabled a person to convert a bedroom to a sitting room by folding the bed back into a chifforobe-style cabinet mounted to the wall. 

Most Murphy beds don’t have box springs. Instead, the mattress usually lies on a platform or mesh, held in place so as not to sag when in a closed position. The mattress is often attached with elastic straps to hold the mattress in position when the unit is folded upright.

One of the most unique hideaway beds was the convertible piano bed from 1885. This piece could be placed in the family’s parlor and by day the room would look stylish and functional as not everyone could even afford a piano. Then by night it was a bed, affording a large family more flexibility with their sleeping arrangements. Later Murphy beds catered to the poor, but early versions may have appealed to middle and upper classes as curiosities.

Sarah Goode, the co-owner of a furniture store in Chicago with her carpenter husband, filed a patent in 1885 a patent for a “cabinet bed,” more commonly known as a “bed in a box.” Goode’s customers often complained that they liked the furniture she and her husband sold but simply didn’t have anywhere to put it in their small, urban homes.

So Goode set about inventing a folding cabinet bed that when not in use looked like a desk standing against the wall. Goode’s design was far more elaborate than a bed-in-a-box. Her folding bed unit had hinged sections that were easily raised or lowered by an adult.

Essentially, when the user folded the cabinet down, it changed shape revealing a bed. The concept wasn’t new since other manufacturers had developed “hideaway” beds that could be found in early Sears catalogs. Many of the manufacturers of these pieces had factories in Indiana. 

Unlike Murphy beds or piano beds, Goode’s cabinet bed was movable and short in stature, allowing for a safer experience and ease in moving the bed around the room. Upright hideaway beds need to be fixed to the wall so that they didn’t topple over, but cabinet beds could be freestanding.

Another feature that separated Goode’s design from all but the piano bed was that her roll-top cabinet desk-bed was actually a functional desk, with working storage and a writing surface to be accessed when not in bed form. It isn’t known if Goode’s furniture company made these beds or if she licensed her patent to other furniture makers. However, an existing cabinet-desk-bed from the era doesn’t mention anything about Goode or her patent, instead it bears the label of A.H. Andrews & Company, based in Chicago, that claim to be the sole manufacturer of such a bed.

Today both new and antique Murphy beds are quite costly, most selling for at least $1,200 to $1,500 for either.

To read more articles on antiques, please visit the Antiques Articles section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the over 30,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about the "Antiques of Christmas" in the 2021 Holiday Edition, online now. And to read daily posts about unique objects from the past and their histories, like the #Antiques and More Collection on Facebook.

Somewhere to Dream

QUESTION: My husband and recently purchased an antique four-poster bed from around 1810.  The dealer called it a tester bed. It originally had a canopy which needs to be replaced. Can you tell me what a tester is and something about the origins of this type of bed?

ANSWER: Initially the wooden frame of the bed was far less important that the trappings of textiles that surrounded it. Most any reference to a bed centuries ago actually meant the mattress and whatever cloth materials people piled upon it.

During medieval times there was no particular room set aside for sleeping quarters, thus the bed became almost a room within the household. Some of the more elaborate bedsteads had both a room and sliding panel walls. Occupants could climb inside and stuff them-selves off from the rest of the chilly and drafty residence.

Gradually, heavy curtains replaced the side panels of the "bedroom," but the basic roof remained. The solid roof, known as a tester, retained the name even though the roof covering eventually became one of cloth and curtains as the sides had been.

Basically, a bedstead and two posts supported the roof of these early beds. Over the decades makers adopted a style which incorporated four posts which supported the full tester canopy.

Early in the 18th century, during the Queen Anne period, wealthy homeowners often covered their four-poster beds with velvet and other textiles so extensively that they obscured the basic woodwork. Cabinetmakers used back panels less and less. As the century progressed, the rear posts remained covered with curtains while the front posts became more visible. As a consequence, bed makers carved and decorated the front posts more elaborately.

Some of the most impressive four-poster  beds reached heights of eight feet or more, complete with a sweeping array of curtains and canopy. Cabinetmakers made sturdy frames from mahogany or walnut. People could close panels of curtains at night for more warmth and security. Matching coverlets and bases then totally enveloped the grand bed in a sea of cloth.



Wealthy homeowners continued to import fabric for their bed coverings from Europe in the 1750s and 1760s. But with the increase in leisure activities and attention to developing social graces that characterized the time, fancy needlework done by women and school girls often supplied the decorative detail.

By the dawn of the 18th century, the finest bed available was the Chippendale bed. The Chippendale and those similar in style displayed predominantly high foot posts which were handsomely carved and ended elegantly with ball and claw feet. By contrast, cabinetmakers sometimes didn’t carve the head posts and instead left them plain to be extensively decorated by fabrics. Elaborate decorating of the beds gradually increased as owners opted for serpentine headboards and reeled posts in lieu of additional drapes.

By the 1800s, the lavish use of fabrics on beds had diminished considerably and the wood itself had more of a prominent role in the overall design. Almost without exception, cabinetmakers carved or decorated posts. In addition, homeowners began placing their beds in separate rooms designed for sleeping, usually on the second floor of their houses, instead of in parlors or various other locations in their homes.  .

The rise of the Empire period in the 1820s had an impact on a vast assortment of furniture, including the bed. Scrolled headboards were very fashionable, and posts were decorated with acanthus leaves and detailed beading. Mahogany remained one of the most popular woods of choice.

It wasn’t unusual for the well established to spend more for their bed furnishings than on the actual wood structure, itself. They preferred bright colors over white and added  fine linen-like textiles in shades of red, blue, yellow and green. Many also used generous amounts of silk and lace, along with woolen cloths.

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And the Band Played On

QUESTION: Recently, I visited the Morris Museum in Morristown, New Jersey, where they have a fine collection of old music boxes. I love the tinny music that they played. And as sophisticated as music playing devices are these days, I still enjoy the romantic sound of those old machines. What can you tell me about their history? I know they’re highly collectible, but it would take a small fortune to be able to collect them.

ANSWER: Music boxes come in all shapes and sizes, from the tiny ones inside jewelry boxes to the gigantic band organs found on old carousels. I believe the type you’re speaking of are the ones produced for home use.

By definition, a music box is an automatic musical instrument in a box that produces musical notes by using a set of pins placed on a revolving cylinder or disc to pluck the tuned teeth, called lamellae, of a steel comb.

In 1796, Antoine Favre-Salomon, a clockmaker from Geneva replaced the stack of bells of a carillon by a comb with multiple pre-tuned metallic notes in order to reduce space, and together with a horizontally placed pinned barrel, produced more varied and complex sounds. This he called carillons à musique, French for "chimes of music." Slivers of steel, shaped, polished, tapered, and screwed into position so that the projections in a rotating cylinder could pluck at its free extremity was capable of emitting a pure musical sound at an acceptable pitch and volume for its size. Some of the more deluxe models also contained a tiny drum and/or bells in addition to the metal comb.

The typical table music box had six interchangeable cylinders. It could have been any size from that of a hat box to a large piece of furniture, but most were tabletop models.  Artisan clockmakers produced clockwork mechanisms to power them. For most of the 19th century, Switzerland was home to the majority of music box makers. Jérémie Recordon and Samuel Junod opened the first music box factory there in 1815. There were also a few manufacturers in Bohemia and Germany. By the end of the 19th century, some of the European makers had opened factories in the United States.

Manufacturers made the cylinders of metal and powered them by a spring. In some of the more deluxe models the cylinders could be removed to change melodies, thanks to an invention by Paillard in 1862, which Metert of Geneva perfected in 1879.

But the cylinder music box was, at best, a cumber-some device, and expensive. From the beginnings of today's music box technology, the music box underwent a progressive improvement in Germany and later in the United States.

In 1870, a new type of music box appeared in Germany that played changeable flat discs instead of cylinders. Invented almost simultaneously in London by Ellis Parrand and in Leipzig by Paul Lochmann, it revolutionized devices that played music. The worldwide center of the industry was in Leipzig and Berlin. In the last decades of the 19th century, however, mass-produced models, such as the Polyphon, made use of interchangeable metal disks instead of cylinders. The cylinder-based machines rapidly lost popularity. By 1895 more than 3,000 people were employed in Leipzig, and exports from there went to many parts of the world.

The term "music box" also applied to clockwork devices which had a removable metal disk or cylinder that was only used to program them without producing the sounds directly by means of pins and a comb. Instead, the cylinder or disk worked by activating bellows and levers which fed and opened pneumatic valves which, in turn, activated a modified wind instrument or plucked the chords on a modified string instrument. The Orchestrion could do both at the same time, essentially combining a music box with a player piano.



One of the earliest music boxes to be sold in America was called the Symphonion. It employed steel discs, had a patented fly wheel, speed regulator, side dampers, and double comb arrangement. One winding would allow it to play for 30 minutes. The Symphonion won awards at shows in Chicago in 1893 and Antwerp, Belgium in 1894. Prices ranged, depending on the degree of sophistication, from $4 all the way up to $300.

There were many variations of these large music machines, usually built for the wealthy of the pre-phonograph 19th century. Some were called the Symphonium while others were called the Concert Regina Music Box machine. Both variations were as tall as a grandfather clock and both used interchangeable large disks to play different sets of tunes. Both were spring-wound and driven and both had a bell-like sound. The machines were often made in England, Italy, and the US, with additional disks made in Switzerland, Austria, and Prussia. Early "jukebox" pay versions of them existed in public places.

At the end of the 19th century and the beginning of the 20th, most music boxes were gradually replaced by player pianos, which were louder and more versatile and melodious, when kept tuned, and by the smaller gramophones which had the advantage of playing back voices. Escalating labor costs increased the price and further reduced volume.

But the invention of the phonograph, the First World War, and the economic crisis in the 1920s made the luxury music box completely disappear.


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For My Lady’s Dressing Table

QUESTION: When I was a little girl back in the early 1950s, I remember my mother’s skirted dressing table with its many glass and silver boxes, which contained her combs and her perfumes and the fine white powder she used when she went out. Sometimes when she was busy doing something, I would sneak into her bedroom and sit at her dressing table and play with her dressing set, pretending to be a big girl. Now that I’m older and have been all grown up for quite a while, I’d like to find out more about those early dressing sets. I’ve seen some at flea markets, but I have no idea if they’re worth much. Can you help me?

ANSWER:  Dressing table sets first became fashionable in the 18th century. Back then, a variety of items may have graced a lady’s dressing table, including comb and brush sets, little boxes, and perfume bottles. 

Perhaps the most beautiful items of the Victorian lady's dressing table were the brush sets, which included hair brushes, clothes brushes, hat brushes, combs and a hand mirror. These sets became fashionable in the second half  of the 18th century.

Leading silversmiths of the time backed many of them with engraved silver. Others used ivory or tortoiseshell backs, sometimes inlaid with the fancy scrolled monogram of the owner in silver.

Combs have been in existence since ancient Egypt. The Romans taught the Britons to use  combs rather than go through their hair with four fingers. An early alternative to the comb was a scratching stick, often in the form of a hand or bird's foot carved in ivory or hardwood, which ladies might also use to relieve their itching scalps.

There were two categories of combs. Ladies used back, puff and side combs to hold their hair in place after having it styled. Both men and women used dressing and folding combs to arrange their hair, These dressing combs were often part of fancy brush sets.



Early comb makers used cattle horn, ivory, and tortoiseshell for their combs, as well as wood, bone and metal. Ivory and tortoiseshell were the most desirable and costly. At the end of the 19th century, a cheaper substitute for ivory was Xylonite, also called French Ivory, an early form of white plastic sold by the Xylonite Company. Few of these sets have survived because when the brushes wore out, a woman would discard the entire set.

In addition to comb and brush sets, a variety of boxes adorned ladies’ dressing tables. First made in the 17th century, dresser boxes contained a number of tiny compartments and drawers to hold trinkets, jewelry, and other items, and often had a mirror fitted in the inside of them. Today, these have become known generically as “jewelry boxes.”

Patch boxes are small elegant boxes used to store patchet, worn by wealthy women to hide an imperfection or to draw attention to a pleasing facial feature. Made from a variety of materials, patchet were often shaped
like tiny hearts, circles or diamonds.

But powder boxes were the most essential item on the dressing table. Figural ones took the form of half dolls or ballet dancers. From 1870 to 1920 a woman could wear powder without being considered a prostitute, so these boxes appeared in large quantities. A few of them contained a tiny puff, made of fibers or cotton with a tiny handle sticking up.

Another container to hold powder was the talc, a small elongated container similar to a salt  shaker. A lady shook some talc out on her fingers to help ease the often tight-fitting kid gloves onto her hands.

But one of the largest and most ornate containers found on a dressing table was the porcelain trinket box, made by Limoges, Capodimonte, and other European and Asian porcelain companies. Ladies used it to hold button-cufflinks. odd pieces of jewelry, or small souvenirs,. Some featured hand-painted flowers, designs and portraits and came lined with colored plush or velvet. The more elaborate boxes had interior division and trays.

Another required item on a lady’s dressing table was the perfume bottle. The tradition of encasing perfumes in expensive and beautiful containers is an ancient one. Ancient Egyptians used alabaster bottles to store perfumes, due to its density and coolness to prevent evaporation, but they also used elaborate blown glass perfume containers.


The variety of 18th century perfume containers was as wide as that of their fragrances and uses. Liquid perfume came in beautiful Louis XIV-style pear-shaped porcelain bottles. Glass perfume bottles became increasingly popular.



Fine china makers brought out all sorts of dainty things for the dressing table. The hairpin holder, hair receiver, pin tray, manicure set and the small tray upon which it lies, powder boxes, cold-cream casket, lotion bottles, rouge pot, comb and brush, jewel boxes, frames of the hand and triple mirrors, bonbonniere, perfume bottles, sachet holders and the cunning little barrel for small change were all of china and all matched and decorated with small isolated flowers pansies, violets or daisies—scattered carelessly over the entire surface.

Although not as common as porcelain dresser sets, matched dresser sets in cut glass, pressed glass and milk glass appeared in the late 19th century. Cut glass colognes came in a variety of shapes. The stoppers might have matched the design or have been made of silver.

Dressing table sets can range from perhaps $25 at a flea market to over $300,000 at auction, depending on when they were made. Finding one from the 18th century in one piece will be a challenge.

To read more articles on antiques, please visit the Antiques Article section of my Web site.  And to stay up to the minute on antiques and collectibles, please join the other 18,000 readers by following my free online magazine, #TheAntiquesAlmanac. Learn more about Colonial America in the Spring 2018 Edition, "Early Americana," online now.

Beauty in a Little Box

QUESTION: My favorite aunt left me a beautiful metal jewelry box that looks like tarnished silver. It’s got daisies on it and on the bottom it’s marked “N.B. Rogers.” I know that Rogers Brothers is famous for its silver flatware, but did they also make jewelry boxes? Also, what can you tell me about the design of this box?

ANSWER: Sorry to burst your bubble, but your jewelry box isn’t made of silver. It’s actually white metal, also known as “Britannia” or art metal and dates from the first decade of the 20th century. And the flower on it is a lotus flower, not a daisy.

The creation of mail order catalogs by Marshall Field, Montgomery Ward, Sears, Roebuck and Company, and Macy's in the late 19th century made it possible for the average middle class woman to purchase lovely fashions and accessories at affordable prices.

One of these accessories was the jewelry box—more popularly called the jewel box—a repository for her most precious jewelry and keepsakes. The growth in popularity of these "art metal" jewel boxes, also called jewel caskets or jewel cases, paralleled the growth of catalog shopping which promoted them as ' dainty gifts for Milady." Jewel boxes came in sizes ranging from the smallest ring box to large handkerchief and glove boxes.

Between 1900 and 1910, Art Nouveau, a French term meaning "new art" coined by Maison de 1'Art Nouveau, a Paris gallery which opened in 1895, was the predominant design style in the United States. A romantic style influenced by the art forms of Japan, it used many motifs borrowed from nature, including flowers, leaves, vines, and birds. It also became known for its curves and asymmetrical elements. Of the Art Nouveau jewel boxes produced in the United States, those with the floral motifs were the most popular.

The two most prevalent flowers used on jewel boxes were roses and poppies. Daisies, four-leaf-clovers, lily of the valley, pond lilies, violets, carnations, and a myriad of other flowers also decorated jewel boxes. This maybe due, in part, to the important role flowers played during the Victorian era.

The jewelry trade promoted the “Flower of the Month” concept during the early 1900s. Fueled by consumers’ desire for more decorative objects, the jewelry industry improved production, distribution and marketing methods. Little by little, the role of flowers as a decorative motif became the central theme. Manufacturers assigned specific flowers to birth months, decorating jewel boxes with roses of love for June, carnations for admiration for February, and holly for foresight for December.

The interiors of these jewel boxes were as beautiful as their exteriors. Linings of fine silk, faille, jacquard, and satin gave them a luxurious appearance. Because silk could be easily dyed, it came in a rainbow of colors, although jewel box linings used the pale hues of pink, green, and blue. Manufacturers trimmed trimmed the linings with a fine twisted-silk cording.

During the early part of the 20th century, many American manufacturers produced art metal wares, with jewel boxes being one of their most popular items. Many of these manufacturers have long passed into history but one, Rogers Brothers, still exists today. There were several "Rogers" brothers in business at the turn of the century, and the name gained national recognition due, in large' part, to the wide distribution of mail order catalogs. The name became so popular that other companies tried to adopt it, results in many lawsuits. Though the original Rogers family became known for its flatware, one brother, N. Burton Rogers; founded his own art metal company and produced many Art Nouveau jewel boxes marked “N.B. Rogers.”.

By 1915, the popularity of art metal jewel boxes had reached its peak: With the coming of World War I, production slowed. The earlier naturalistic, yet interpretive Art Nouveau flowers, leaves, and vines, had become "conventional" floral decoration. By 1925, the production of art metal jewel boxes had ceased altogether.

Music From the Past That Captures Your Heart

QUESTION: I’m now the proud owner of a beautiful 19th-century music box that has been handed down for generations ever since my great-grandfather owned it. It’s a real beauty and still plays. I can tell it needs service, but I have no idea where to take it. The type of box I have has a metal cylinder inside with little pins stuck into it. As it turns, the mechanism plucks the pins to produce the music. I also have several different cylinders for it. On the inside of the lid is a label that says “Made by Nicole Freres of Geneva, Switzerland.” What can you tell me about my music box? Also, can you tell me where I should take it to be serviced?

ANSWER: You have a unique cylinder music box made by the prestigious Geneva company of Nicole Freres in 1862. This particular music box reproduces the sound of a piano forte using a two-comb movement, combined with a two-per-turn format on its larger cylinder that enables it to play a dozen operatic tunes with elegant sound. The musical mechanism sits in a beautiful rosewood case with intricate inlays.

When people think of mechanical music, most think of music boxes. The early ones like the one you have appeared at the beginning of the 19th century and lasted until about the time of World War I. However, people tend to lump all types of mechanical music devices into the general music box category. What you have is far beyond the type used in jewelry boxes and other novelties. It’s the forerunner of the phonograph and of all the other music players on the market today.

Mechanical music is a live performance of music, played by a machine, without any human intervention, except for winding it up, plugging it in, or turning it off. The invention of mechanical music devices allowed people to enjoy music before electricity, when the only option was to attend a live performance or to create their own music.

Mechanical music goes back to the 14th century, with the invention of the carillon, which automatically played music on tuned bells actuated by hammers on levers by way of a pinned drum. Primarily used in churches to play hymns, the drum could be programmed to play different song selections by moving the pins from one location to another.

The mechanical pipe organ appeared in the 15th century. This instrument, through valves actuated by pins on the drum, allowed selected pipes to play organ music mechanically. During the 16th century, the mechanical pipe organ gained widespread popularity in Europe, and soon expanded beyond churches and public buildings. It became a must-have novelty for aristocratic society. Eventually, cabinetmakers built   desks and cabinets to encase carillons or pipe organs. These mechanical devices became so trendy for the well-to-do that heeled that famous musicians of the day, including Beethoven, Handel and Mozart, actually wrote pieces specifically for them.

It wasn’t until the late 18th century that mechanical music experienced any change. In 1796, Antoine Favre, a Geneva clockmaker, patented a device to make carillons play without bells or hammers. His invention paved the way for cylinder boxes, which had a comb of hard steel with a series of teeth or tiny  tuning forks, which graduated from long and thick to short and thin. Pins placed on a rotating cylinder, which when moved laterally, plucked these teeth and produced different tunes.

Clockmakers began constructing cylinder boxes in the late 18th century and continued making them well into the late 19th century. Over time, the mechanical music industry saw many advances in technology. Eventually, they developed over 20 different musical effects by changing the size, placement, tuning, and arrangement of the pins on the cylinder. Most cylinder boxes reproduce music of either a mandolin or a piano forte. The first produces a softer more folksy sound while the second produces a louder bolder sound simulating an early piano. Most mandolin cylinder music boxes played only 4 to 6 tunes while the piano forte version played 12.

And although the cylinder music box revolutionized the mechanical music industry, it had its limitations.  While interchangeable cylinders allowed for the playing of different tunes, it was a cumbersome process to change them. In the late 1880s, all that changed with the introduction in Germany of the disc musical box. This revolutionized the industry because instead of the slow and delicate process of inserting pins in cylinders, the discs could be stamped out by machine. Also, it was easy for people to change the discs on the machines, making it possible for them to hear the latest tunes.

While the 19th century also saw the development of many other forms of mechanical music, none could hold their own against the evolution of the phonographic record player and by the 1920s, interest in music boxes had subsided.

What makes mechanical music devices unique is their blend of art, history, music, and mechanics. Although they can’t be compared to other collectibles, condition, rarity and market demand still affect the price. They also take a good deal of maintenance to keep them running well and, thus, enabling them to hold their value. Only a professional music box restoration expert can make sure that a box is kept in good condition. However, finding one may be a challenge but worth it since a cylinder box in excellent condition can sell for four figures.

The All-American Music Box

QUESTION: I have a Gem Roller Organ that has been in my family for some time.  It spent the last few years in a closet high up on a shelf.  The bellows are in working order and the keys respond to the pins but it has stopped playing.  What can you tell me about it? Also, can it be repaired?

ANSWER: You’ve got one of the original Gem Roller Organs produced by the Autophone Company of Ithaca, New York.  Since it’s intact and in relatively good condition, it most likely needs cleaning, which you should have done by a professional who works on music boxes and gramophones.

In the late 1880's, the Autophone Company began making hand-cranked roller reed organs which operated by forcing air out through the reeds under pressure with exposed bellows. They named their most common and least expensive one “The Gem Roller Organ,” producing tens of thousands in a single year. Some time later, the company began producing a a more efficient vacuum-operated model, calling it simply the "Gem Roller Organ."

Earlier models, like the one pictured above, were pressure operated which forced air out through the reeds. This was changed early on in production to the more efficient vacuum system which became the standard for the majority of American made organette's.

Because of its relative simplicity, the company was able to keep the cost of its roller organ affordable. Sears & Roebuck, in their 1902 Catalog, offered the Gem Roller Organ for as low as $3.25, including three rollers. Contracting with Autophone to produce large quantities of these devices enabled Sears to sell in volume and keep its price low.

The Gem Roller Organ, available in either a painted black or walnut-like finish with gold stenciled applied designs, used teeth or pins embedded into a 20-note wooden roller, similar to the cylinders used in Swiss music boxes. Pins operated on valve keys while a gear turned the roller. The mass-produced 20-note rollers, priced as low as 18 cents each—and according to the Sears Catalog, less than the price of a traditional sheet of music—played a wide range of tunes, from classical to sacred to ethnic and popular tunes. The 1902 Sears Catalog listed 220 different rollers of the over 1,200 different titles then available.

The tone of a roller organ was similar to a cabinet parlor organ of the time. At 16 inches long, 14 inches wide and 9 inches high, the Gem Roller Organ was small and light enough to place on a parlor table.
The Autophone Co. used native woods for their construction, and the wood finishes on their early machines may be quite beautiful.

Since Autofphone usually printed the manufacturing date on the bottom of the case, it’s relatively easy to date the device, itself. All rollers show a copyright date of July 14, 1885, even though the Autophone sold them from the late 1880's through the late 1920's—an amazing lifespan for a single basic design. Their success may be attributed to the full, rich sound and pleasing music arrangements offered on the rollers.

Unfortunately, roller organs quickly fell out of favor after the introduction of the phonograph around the turn of the 20th century even though they cost much less than disk or cylinder music boxes manufactured during the same period. Considered the common-mans form of entertainment since music boxes and other instruments were much more expensive, roller organs could be found in many middle class homes..Most eventually ended up in the attic, in the barn, or simply thrown away, but thanks to their nostalgic music, collectors are once again interested in them.

Today, roller organs sell for anywhere from $120 to over $800, depending on the condition and the number of rollers included.

What to Do With Old Cameras

QUESTION: I just purchased a good digital camera, and I love it. Besides my 35mm camera, I have several other older cameras. What can I do with them? Are they collectable?

ANSWER: Now that digital photography has become firmly a part of people’s lives, what should everyone do with their old cameras? Even though photography has been around for well over a century, it’s taken a long time for photographic gear–cameras in particular–to become part of the collectible scene.

Last summer, as I was browsing a local church flea market, I saw an entire table full of cameras of every type and description. Most were 35mm castoffs, but a few were older. With the ease of taking photos with a digital camera, let alone not having to buy film, it’s no wonder the dealer had so many cameras and lenses on hand. But are these recent castoffs worth anything in the collectible market? That’s the big question.

Unfortunately, in the world of photographic memorabilia, recent 35mm cameras aren’t worth much unless they’re classic cameras or rare or unique models. Sure, in perhaps 20 years or so, their value will climb, but for right now their only value remains as used cameras.

So what types of cameras can you collect without breaking the bank? There are lots of modern cameras that have long ago outlasted their usefulness that can create an interesting camera collection. You can pick up a decent 100-year-old Kodak box camera for about $25 to $35 at flea markets. Folding cameras go for a bit more. There are also lots of other cameras, like Kodak’s Brownie that you can buy to start a modest collection.

The biggest problem with collecting cameras, however, is where to put them. Ideally, you should display them in a glass-doored cabinet to keep them from getting dusty. If you can’t display them, buy one of those large plastic storage bins at your local discount store and wrap each camera in bubble wrap. Be sure to put some drying agent in the bin to keep moisture from building up.

For more information on collecting cameras, read Collectors Snap Up Old Cameras.