The Talking Machine Forum — For All Antique Phonographs & Recordings

Wolfe wrote:Among opera singers on Banner Columbia, a Stracciari or Barrientos are so common.

Maybe Rosa Ponselle's first records from 1918 in E copies or something like that might be more valuable on the "market". Or Mary Garden. Those don't turn up nearly as often as anything like Olive Fremstad and the other stable at Columbia at the time.

Just pulling a couple of names off the top of the head. By "somewhat valuable" I mean maybe 15 dollars +/- (that seems to be where Larry Holdridge is starting his acoustic Columbia Stracciaris) and possibly salable in good condition where Oscar Seagle would be worth a buck or less if you could sell it at all. The point is that the label does not in itself indicate value; the contents and condition are what matter.

drh wrote:Just pulling a couple of names off the top of the head. By "somewhat valuable" I mean maybe 15 dollars +/- (that seems to be where Larry Holdridge is starting his acoustic Columbia Stracciaris) and possibly salable in good condition where Oscar Seagle would be worth a buck or less if you could sell it at all. The point is that the label does not in itself indicate value; the contents and condition are what matter.

Since you've mentioned Larry, his final auction after, what, close to 50 years of them (?) has just closed, a very sad thing for his customers, myself included. A record purchased from Larry is almost always the most stone cold perfect copy you could ever hope to own. I know I'll certainly miss the anticipation of both the annual catalog full of goodies, but also the anticipation of the invoice! This year's will likely be no exception the some great and unique records for my collection.

Sean

drh wrote:

Wolfe wrote:Among opera singers on Banner Columbia, a Stracciari or Barrientos are so common.

Maybe Rosa Ponselle's first records from 1918 in E copies or something like that might be more valuable on the "market". Or Mary Garden. Those don't turn up nearly as often as anything like Olive Fremstad and the other stable at Columbia at the time.

Just pulling a couple of names off the top of the head. By "somewhat valuable" I mean maybe 15 dollars +/- (that seems to be where Larry Holdridge is starting his acoustic Columbia Stracciaris) and possibly salable in good condition where Oscar Seagle would be worth a buck or less if you could sell it at all. The point is that the label does not in itself indicate value; the contents and condition are what matter.

Yes, the Banner labels themselves are plentiful out there. Another area where folks may get to thinking they've funded their retirement is if they find one that has the artist name scrawled in the runout.

This signature on the shellac must have been a common practice in that era. Not Victor, not Edison or others, but many Columbias and Fonotipias of 1910-1920 have these signatures. Looks like some companies tried to identify their products that way, against pirate repressings....