Gramophone Made for the Gramophone Exhibition in Seville in 1925
- AZ*
- Victor IV
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Re: Gramophone Made for the Gramophone Exhibition in Seville in 1925
And as is often the case, the tonearm is resting on the wrong side of the turntable, in the record chewing position. It's still just a crapophone.
Best regards ... AZ*
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- Victor I
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Re: Gramophone Made for the Gramophone Exhibition in Seville in 1925
Apart from the mechanical aspects which have been knowledgeably addressed, close examination of the metalwork itself may be the best evidence.
I showed the images of the player to a retired silversmith I know and these were his remarks:
1. Odd that the only "engraving" is done on primarily flat surfaces, not the columns (except for their squared capitals), and not on the "dome" top which looks like an "inverted salad bowl."
2. All of the "engraved" surfaces look like surface-polished castings with lots of casting flaws on every one. The finish work is crude at best. In fact, there is very little evidence of handwork other than the original engraved slugs made to manufacture the brass castings.
3. Jewelers make their living from the jewels themselves primarily; the settings, precious metal work, are secondary and only really to sell the stones that are of value. This would have been the undertaking of a silversmith, and if he was any good, he would have worked in silver, not brass.
4. It's not signed because no silversmith worth his reputation wouldn't want to be associated with it. Spain had many Muslim silversmiths centuries ago who were masters of their craft, and this, in no way, represents any tradition of their artistry, then or now.
5. He laughed and said the translation of the Arabic might be "made in India."
Just his opinion, but I found it interesting.
R.
I showed the images of the player to a retired silversmith I know and these were his remarks:
1. Odd that the only "engraving" is done on primarily flat surfaces, not the columns (except for their squared capitals), and not on the "dome" top which looks like an "inverted salad bowl."
2. All of the "engraved" surfaces look like surface-polished castings with lots of casting flaws on every one. The finish work is crude at best. In fact, there is very little evidence of handwork other than the original engraved slugs made to manufacture the brass castings.
3. Jewelers make their living from the jewels themselves primarily; the settings, precious metal work, are secondary and only really to sell the stones that are of value. This would have been the undertaking of a silversmith, and if he was any good, he would have worked in silver, not brass.
4. It's not signed because no silversmith worth his reputation wouldn't want to be associated with it. Spain had many Muslim silversmiths centuries ago who were masters of their craft, and this, in no way, represents any tradition of their artistry, then or now.
5. He laughed and said the translation of the Arabic might be "made in India."
Just his opinion, but I found it interesting.
R.
- Inigo
- Victor VI
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Re: Gramophone Made for the Gramophone Exhibition in Seville in 1925
What a mystery! Both machines in the same auction house!
https://www.subastassegre.com/default/c ... =Gramofono
https://www.subastassegre.com/default/c ... =Gramofono
Inigo
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- Victor II
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Re: Gramophone Made for the Gramophone Exhibition in Seville in 1925
The Christie's sale in question was in September 1981, and consisted of the contents of the Mekanisk Musik Museum in Copenhagen. I have no recollection of the story behind that weird gramophone, which would have come from the late Claes Friberg. Where he got the story from, I don't know, but I think it reasonable to doubt that the exhibition in question, if there was one, was exclusively a 'gramophone' show. I haven't a prices realised list for that sale, but the estimate was £350 - £500.