Users browsing this forum: Bing [Bot] , Google [Bot] and 3 guests. Posted: Sat Jul 31, pm. I have long been a fan of the Brunswick phonographs and records. I think it's a fascinating company, and had wondered when a "Brunswick Collector's Guide" would come along. There was a Mr.
To Excl. However, it is not promised and your patience will be required and appreciated at all times. His education as a pianist has been received from such famous teachers as W. In discussing the move Mr. He was accompanied to New York by B. Delivered on consignment. A full invoice should be emailed to the winner by the auctioneer within a day or two. In order to co-operate with the sales force the advertising department of Brunswick model r phonographs Brunswick Co.
Lactation on free video. On this Date...
But the credit for the Brunswick cabinets has gone to others. There is no need to send the crank or any other part. Models with fully restored Brunswick model r phonographs and lubricated connections can sound great, but few collectors want to risk replacing diaphragm gaskets on the large and complicated reproducers. It was an overnight sensation and Victor was hard pressed for years to fulfill the demand for its Brunswick model r phonographs Victrola models. Soft volume steel needles are Btunswick with a more gradual taper at the tip. Brunswick became a separate company and a unit of Decca in with Tarnopol serving as executive vice-president. Hundreds applied for the agency of this revolutionary line. Atlanta or Dallas. In other words, it is modeo limited to one make of records, as is the usual practice. Brunswick grants to the Record Co. Collender merged with Brunswick and Balke, forming the world's largest billiard equipment company and calling itself by the "Brunswick-Balke-Collender Company. The happy sounds of a snappy 's fox trot can still brighten the day, and there is real pleasure from listening to a beautiful operatic or concert record on a magnificent cabinet phonograph. All previously existing Brunswick master series were discontinued at the end of or, Pat is gay a few Adult movie datbase free, within the next year or so.
Edison had a relatively small piece of the market by this time.
- Brunswick is unique among the famous manufacturers of phonographs from a century ago in that the company is still in business, although no longer in the entertainment field.
- The Brunswick-Balke-Collender Co.
- I bought a phonograph!
- Owners of phonographs contact me on a daily basis and ask good questions.
- Edison had a relatively small piece of the market by this time.
The Brunswick-Balke-Collender Co. In an article written in , B. Bensinger, then President of the company, recalled the early days as follows:.
In a slump in the piano business caused a shift to the making of phonograph cabinets, which department eventually turned into the making of the complete instrument Our getting into the phonograph business and our success in it have been just one long process of looking around for better and better means of marketing By May Brunswick had already developed this part of their business to the point where their cabinet factory in Dubuque, Iowa was working on the production of 16, machines for delivery in August.
The exact length of the agreement is not known, but it was probably for two or three years. Telegrams and letters came from dealers everywhere. Hundreds applied for the agency of this revolutionary line. Now heavy advance orders are coming daily. And we shall soon be ready to start the initial shipments Those who secure this agency at once will be in a strong position to make a flying start when our impressive campaign of advertising starts this Fall throughout the nation.
Never have values like these been known before on high-class phonographs. The promised advertising campaign commenced on October 28, with a two-page spread in the Saturday Evening Post. A full-page advertisement in the November issue of Talking Machine World followed up on this new publicity by adding:. We knew that this super-phonograph would create a sensation, yet we hardly dared to hope for such an immediate and extensive response. This came from two sources.
First from music lovers themselves Second, from people and concerns wishing to handle the Brunswick phonograph. From both we realized that our work of years was appreciated and that Brunswick was destined to become a leader.
The House of Brunswick is not new in the phonograph world. Its executives and craftsmen are not unfamiliar with phonograph requirements. For years this organization has been manufacturing the finer cabinets for the leading concerns. But the credit for the Brunswick cabinets has gone to others. Now we give our master production our own name, having spent much time and money in perfecting the mechanism The Brunswick plays all records.
In other words, it is not limited to one make of records, as is the usual practice. Then we went still further. This opens up to all American homes the largest musical library the world has ever known. Also the needles required for other records, such as the jewel point, steel, etc. Our national advertising campaign in magazines and newspapers is just starting. We mean to make the Brunswick phonograph a tremendous success. Although never mentioned in the American trade press, by this time Brunswick had already produced their own line of disc records.
While the exact date when Brunswick began producing records as well as phonographs is unknown, there is little doubt that recording must have begun in late and record production soon after. It is very doubtful that the company would have gone to all this trouble just for the relatively small market available in Canada, so it is quite probable that this was part of a long-term strategy to eventually market records in the U.
Since no Brunswick company files seem to have survived from this period, the full answers to these questions will probably never be known, but the sequence of events described above seem to point in the direction suggested.
The earliest recording sessions seem to have taken place in New York, and it is believed that the records were also manufactured in the U. The "Ultona" was launched publicly on August 6, in advertisements, which advised: "At the turn of a hand you adapt The Ultona to any type of record.
A child can do it. It is practically automatic. It is said that the first records came out remarkably well. By this time Brunswick had abandoned the vertical recording process used for its first Canadian release only discs.
From mid, all Brunswick recordings were made by the lateral process, but the same matrix series continued in use. In fact, it is apparent that the use of both recording processes overlapped for a significant period, as the lowest known lateral master is followed by later vertical masters. The early Brunswick ledgers have been lost so the exact date when the vertical process was discontinued will probably never be known. By late a sufficient quantity of lateral recordings had been stockpiled and the first American Brunswick records were released in January The Talking Machine World of that month ran a two-page article to mark the occasion.
The announcement of these new records by one of the leading talking machine companies has created great interest in trade circles and the records already in the hands of Brunswick dealers throughout the country have everywhere been received with the greatest enthusiasm. The rise of the Brunswick Co.
As soon as the new plants are ready and the new presses installed the production of Brunswick records will grow by leaps and bounds The organization of men who are in charge of the new records is comprised of individuals who have had a wide experience in the talking machine field It is as manager of the record department that the Brunswick-Balke-Collender Co.
Brophy who The general of the inner sanctum of the recording rooms is Frank Hofbauer, who is an American scientist whose merit has won him recognition in a highly specialized field. Since he has had full charge of the recording laboratories With Thomas A.
Edison personally Mr. Hofbauer worked for eight years in phonographic experimentation, and was five more years in the Edison recording laboratory. His education as a pianist has been received from such famous teachers as W. Mathews, W. Eames is director of the Cosmopolitan School of Music in Chicago He has firm faith in the future of the talking machine industry and his plans for the development of the Brunswick record list are most comprehensive.
As general musical director of the recording laboratories the Brunswick Co. Rogers, whose training in theoretical and applied music began in the Cincinnati College of Music. He was for some time cornet soloist with the noted band under the baton of John Philip Sousa. He was with the Victor Talking Machine Co. Walter Haenschen, who is manager and director of the popular record department, is a pianist of recognized ability, his experience dating from his graduation from Washington University in St.
Louis in Throughout the Middle West he has earned an enviable reputation as an expert in dance music and was in manager of the talking machine department of Scruggs, Vandervoort and Barney in St. The first record shipment has already gone out to the trade and others will appear at regular intervals.
Within a few months a considerable record catalog will be built up and will grow rapidly Deutsch, assistant secretary of the Brunswick-Balke-Collender Co. The recording laboratories are now in temporary quarters at 19 E. It is interesting to note that none of the individuals mentioned in the above article as associated with the recording laboratories have any prior involvements after [sic].
This suggests that while the new Brunswick records are represented as an entirely new endeavor, that in fact most if not all of those named had been involved with recording activity for Brunswick prior to and possibly since or Early in May the Brunswick recording laboratories moved into their permanent New York home at E. The new quarters are handsomely finished and arranged with a view to securing the maximum of comfort and convenience.
On the twelfth floor are the main offices which are furnished in mahogany and white. Here William A. Brophy, general manager of the record division, has his offices. On the same floor there is also a committee room which is designed to meet the needs of meetings of all kinds as well as for the demonstration of new records now and then.
The top floor is occupied by two recording rooms completely equipped with modem devices for recording. Behind these is the machine shop where the matrices are given a few final touches in the hands of experienced workers under the guidance of Frank Hofbauer. A special room has been set aside for the use of artists and will be furnished with easy chairs and a plentiful supply of books and magazines.
Next to the recording rooms are the offices of Walter Haenschen, in charge of the popular and dance record division, and Walter Rogers, general musical director. The final touch to the completion of the laboratories is a balcony which adjoins the large recording room and affords a good view of the skyscrapers of the city and of the river. Haenschen already has plans for the summer months when he will bring out some irresistible dance numbers and possibly give a porch party or two The October 15, issue of Talking Machine World recorded a special occasion, which shows that Brunswick was becoming serious about producing records for the ethnic market:.
At a recent meeting and banquet given by the phonograph division of the New York offices of the Brunswick-Balke-Collender Co. This meeting was held at the Hotel Pennsylvania under the direction of E. Strauss, [sales] manager of the New York branch, who acted as toastmaster for the occasion, introducing the artists and speakers present The first Brunswick foreign records are ten selections by Cantor Kwartin, and this introductory list was prepared through the efforts of Chester Abelowitz, New York district sales representative of the Brunswick Co.
Cantor Kwartin, who will make records exclusively for the Brunswick Co. Strauss and was given an enthusiastic reception. Other artists present on this occasion were Theodore Kittay, an exclusive Brunswick artist, Simon Paskel, Sam Silberbusch and Mischa Wachtel, all of whom favored the diners with several selections. William A. Brophy, head of the Brunswick recording department, was introduced and discussed interestingly the work of the recording laboratories in the making of these new foreign records, stating that these records were some of the best ever reproduced by the Brunswick organization.
Dwyer, treasurer of the Brunswick Co. Abelowitz closed the meeting with a few friendly remarks on the new foreign catalog, in which he stated that these first records by Cantor Kwartin are being received most enthusiastically by dealers and record buyers throughout the country. Although the Brunswick-Balke-Collender Co.
The Edison discs are played with a precision ground diamond stylus and the sound box is held parallel to the record surface. Regrettably, some Ultona tone arms are made of pot metal, which can swell and weaken over time, easily breaking and shattering. Pathe discs were made until Throughout the Middle West he has earned an enviable reputation as an expert in dance music and was in manager of the talking machine department of Scruggs, Vandervoort and Barney in St. Brunswick Tone-Arm Suit.
Brunswick model r phonographs. Featured Artist
Some people wonder where they may buy needles for the Edison and Columbia cylinder phonographs. Cylinder phonographs have a sound box that uses a precision ground sapphire or diamond stylus.
These semi-permanent styli need not be changed continually. Similarly, thick Edison diamond disc phonographs use a precision ground diamond stylus. A steel needle would ruin the Edison disc records.
Antique phonograph dealers can sell and install new jewel styli and make any needed sound box adjustments at the same time. Restoring the mechanical parts of Victor, Edison, and Brunswick phonographs is usually no problem.
The technology is essentially 19 th century and not difficult to determine. The antique phonograph dealers listed below can make needed repairs. Information here is current as of early Be aware that phone numbers and addresses may change! Jeff Lutton jlutton accessbee. If you prefer to make your own repairs, contact dealers who sell phonograph parts. Some of them also sell photocopies of original instruction manuals for several of the more popular phonograph brands.
They usually have a good supply of original and reproduction phonograph parts. They also have a lot of off-brand parts. Many of the off-brand phonograph companies used the same metal parts sold by independent manufacturing firms.
Thus many off-brands used the same or similar tone arms, sound boxes, turntables, spring motors, crank, and so on. Keep all moving parts well lubricated. Use only high quality grease and oil. Keep the felt pads on the spinning balls speed control governor on the spring motor well oiled.
Working with the large phonograph springs is tricky and even a little dangerous. Suddenly released from its casing a phonograph spring can sling black grease, occupy half a room, and possibly cause some bad cuts. They can clean and lubricate the springs and even replace broken springs. The most critical part of any acoustic phonograph is the sound box. This is where the mechanical vibrations from the needle and stylus bar are converted into actual sound.
Most sound box diaphragms were made of a thin sheet of clear mica, although Celluloid, glass, guttapercha, and thin metal were also used. Mechanical phonographs from the early days of electrically recorded records to usually have an improved design sound box with a thin metal diaphragm.
If you hear rattling noises or distorted sounds coming from the sound box, new soft rubber gaskets may need to be installed on both sides of the diaphragm. With time the old original gaskets tend to harden and even crack.
New gaskets permit the diaphragm to have better compliance and thus better sound reproduction with less record wear. Again, the dealers sell soft rubber gaskets and gasket tubing; they are also best equipped to install the new gaskets and to make essential adjustments to the sound box when new gaskets are installed.
Determining a value for a phonograph sight unseen is too difficult for me. The value depends on the rarity of the model, the condition of the cabinet and hardware, and the manner in which you advertise or sell your phonograph. The value can be reduced by a broken spring, rattling sound box, badly damaged cabinet, or missing parts. The value of most small upright or console floor model phonographs from the s is usually only a few hundred dollars. The larger and more expensive phonograph models usually had cabinets with carvings, wood inlay patterns, curved legs or other ornamentation.
They also had gold plated exposed metal parts; the less expensive models were usually without ornamentation, smaller and had nickel plated hardware. In general, cabinets made during the early or mids are of higher quality than those made during the late s and s.
A phonograph for sale in an antiques shop can demand a higher value than one sold through a newspaper advertisement. Phonographs and parts are often available for bid on eBay. It is important to know the phonograph brand and model. Often the owner does not know or state the model. For most phonographs there is a small metal tag with the model name, number or letter stamped onto it along with the serial number for that actual phonograph.
Tags are usually located near the turntable or at the back of the cabinet. Most Brunswick phonographs have a small round medallion near the turntable with the model and serial number stamped onto it.
Patent dates are also stamped or printed onto many tags. The latest patent date does not indicate the date when the phonograph was made. A patent had a life span of 18 years and important patent dates, such as the Victor patent, were often listed on the Victrola cabinet tags for many years. Internal horn phonographs are sometimes found with an electric motor to spin the turntable even though the sound reproduction was still acoustic mechanical. An electric motor was an option available for an extra cost, although today these electric motor models are not worth more than the same model with a standard spring motor.
Often these early electric motors are found to be somewhat noisy. Most external and internal horn acoustic phonographs were designed to play acoustically recorded 78 rpm shellac records made between it is difficult to find discs made as early as this! They may also play early electrically recorded records made between and Also, these later records are made of softer shellac and are meant to be played with a light weight crystal pickup and the electronic impulses passed through a radio amplifier and speaker.
If you do play these later 78 rpm records on your mechanical phonograph, it is best to use the thin soft volume steel needles as they are easier on the records. It is amazing how much of the original finish can be brought out by a thorough cleaning and polishing. Until around most cabinets were finished with either several layers of hand rubbed shellac or with one or two coats of shellac followed by several coats of true varnish.
After fine satin lacquer finishes became the standard. It is possible to briefly re-dissolve the original shellac and lacquer finishes, but it is best to have experience with this reamalgamation method.
When restoring a cabinet it is tempting to use one of the modern synthetic varnishes, which have a fine long-lasting finish, but lack the aged patina of the original shellac and varnish or the deep shine of the original lacquer.
If cabinet work is not possible, it may be best to remove the metal parts and have a professional refinishing firm restore the cabinet. An experienced woodworker can even replace missing veneer sections and stain the wood to match the original.
Most often a phonograph with a refinished cabinet is obvious to experienced collectors and worth less than the same model with the original finish intact. However, the newly re-plated parts will not have the same appearance as the original aged gold or nickel finish. Selling a phonograph may be done locally, especially for large cabinet models that would require crating for shipping.
Phonographs can be sold through a local auction house or in an antiques store. Some dealers will sell an item on commission. We need to make a distinction between external horn machine they have exposed horns and internal horn machines these are cabinet models--the horn that amplifies sound is inside, hidden from view.
But nobody has gone to the trouble of doing the same for internal horn phonographs. Making such large cabinets would be difficult and expensive and hardly worth the considerable effort needed. Many original phonographs can be found for just a few hundred dollars.
An experienced collector can easily identify these fake models, which are a mix of original parts from various phonograph brands along with some reproduction parts. The tone arm and sound box can be almost any brand and the spring motor may have come from a small suitcase model. The external horn is usually a brass bell or a large pressed pattern metal horn. Often the horn connection is crudely welded and set at a high angle.
Overall appearance may be appealing, but such machines horrify serious collectors. Occasionally you will find a phonograph with mixed U. Many of the off-brand internal horn phonographs were made with pot metal parts, which is high in lead content and does not age well; it tends to become brittle, swell, and break.
It is not unusual to find a phonograph with the sound box and tone arm missing or in pieces. There is some variation between brands, but the first task is to remove the crank, which is called a winding key in some instruction manuals. It should unwind and can be pulled out of the cabinet. Brunswick's expensive models featured large ornate cabinets with hand crafted designs and carvings, a testament to the factories' wood workers.
In the late 'teens, the company issued some vertical-cut shellac records but only in Canada. Early Brunswick discs were not sold in the U. By special arrangement, Brunswick phonograph dealers would sell only Pathe records and advertise Pathe records in local newspapers. Brunswick benefited since its phonographs played Pathe discs, and Pathe purchased Brunswick cabinets. This lasted until late Brunswick could put many machines on the market in a short time and, in , many 78s.
Unlike most new companies making these products, Brunswick had its own large cabinet manufacturing facilities and a national retail network. A distinctive Brunswick innovation was its Ultona reproducer, patented by Louis Taxon on September 18, It is designed to play the three main types of discs sold in that period: normal lateral shellac Victor and Columbia 78s , vertical cut shellac Pathe , and vertical cut Diamond Discs Edison. The reproducer has four movable parts which can be adjusted to play any record.
Steel needles can be inserted, played, and then removed. Twist the reproducer and its permanent diamond point with independent stylus-diaphragm plays Edison discs. A ball-shaped sapphire stylus mounted in a metal shank plays Pathes and other vertical cut discs. A sliding weight allows for proper pressure on a record. The elaborate design of the tone arm causes air leaks but these can be sealed with grease. Regrettably, some Ultona tone arms are made of pot metal, which can swell and weaken over time, easily breaking and shattering.
Opinions vary regarding Brunswick machines with the Ultona. Most listeners consider the sound to be merely adequate. Models with fully restored reproducers and lubricated connections can sound great, but few collectors want to risk replacing diaphragm gaskets on the large and complicated reproducers. When Edison discs are played, record grooves must move the stylus and heavy reproducer across the disc since no gearing mechanism from the motor advances the tone arm as is the case in Edison models.
Some collectors hesitate to play Edison records with the Ultona reproducer for fear of damaging records. Check the condition of the Edison jewel stylus often and carefully. Edison executives probably had Brunswick's Ultona in mind when adding this warning to Edison record envelopes: "This Re-Creation should not be played on any instrument except the Edison Diamond Disc Phonograph and with the Edison Diamond Disc Reproducer, and we decline responsibility for any damage that may occur to it if this warning is ignored.
All Brunswick spring motors are of amazingly good quality--well-designed and quiet running. All have two or three-spring motors. Grease originally used to lubricate springs must have been high quality because the springs today rarely require new grease. Brunswicks have internal horns made of holly or spruce wood.
The smaller back sections of the horns often have amazingly complex splicing--perhaps to a cheaper wood--in order to connect to the horn throat.
All models have a simple short wood tube connecting the tone arm's base to the horn throat, providing a completely wood sound reproducing system below the tone arm. Regarding its internal wood horn, Brunswick claimed, "It is a vibrant tone chamber like the sounding board of a piano or violin.
New Brunswick phonographs came with a set of 10 and inch record albums. Brunswick also made accessory items such as steel needles, needle tins and envelopes, record dusters, even a small ladies' pocket mirror with the reverse side containing the early Brunswick logo! Brunswick records first appeared in stores in January, Early celebrity records series had similar labels with a violet background.
Brunswick records are well-recorded, bright in the higher register. Many rank them among the best acoustic records made.
Brunswick Phonograph | eBay
Users browsing this forum: Bing [Bot] , Google [Bot] and 3 guests. Posted: Sat Jul 31, pm. I have long been a fan of the Brunswick phonographs and records.
I think it's a fascinating company, and had wondered when a "Brunswick Collector's Guide" would come along. There was a Mr. R J Wakeman thatI had hopedwas involved in such an endeavor, but that may have been just wishful thinking on my part.
He has posted a very good overview-type write-up on Tim Gracyk's website about Brunswick. The chapter about the phonographs and records is far too brief for my taste. According to that Brunswick book and Mr Wakeman the decision to jump into the phonograph industry seems to be a "corporate decision" sort of thing.
The discussion went along the lines of: You've all seen these things, how hard could it be to make our own? Given that a number of the uprights have very Edison-looking details, it seems likely that Brunswick had already produced more than one run of cabinets for Edison, and had the jigs, forms, cutting knives on hand. I always thought that the molded oval horn had a decidedly Edison look to the profile, but have never researched the patent info covered by the dates on the horn decal that usually is found at the front.
Somewhere in storage up in NY, I have an old magazine called "Good Furniture" which dates to the late teens maybe ? In addition to numerous photos of furnished interiors of the day, with the odd phonograph advert here and there, there is an article reviewing the state of the phonograph industry as a producer of fine cabinetry.
In it, the authors are extolling the new direction the phonograph industry was headed in the production of cabinets designed to blend into the "tasteful" interiors. Most of the cabinets shown in the article were Art Cases or consoles, very much like the Brunswick we see in the above post.
It's interesting thatin their daythe consoles were the expensive, up-market, "tasteful" way of having phonograph music in the home. Today, among most collectors, they may be appreciated for the skilled woodworking involved, but otherwise they're just awful floorspace hogs.
But back to Brunswickbeyond magazine adverts for individual models, it seems like there must have been lavish catalogs to display the whole line of models. Maybe somebody out there has some and just didn't feel like there was any interest out here. Well, yes! There is! And over the years I have heard two different pronunciations for the second name of Brunswick-Balke-Collendar. One person said it as "Balk" the other said it as "Balkey"which was right and does it matter any more?
Posted: Sun Aug 01, am. Well, I have little to contribute regarding Brunswick model identification. This one is taken from Discovering Antique Phonographs, What I find interesting is that the lower carving looks the same as that on Bruce's A I wonder if Cabinet Factory No. I just compared the feet again I guess not Anyway, I always thought this particular Brunswick was interesting George P.
Well since we're into Brunswicks I'll scan more. Brunswick machines sold very well up here and they were heavily advertised in Canadian publications. Brunswick rather courted the Canadian market for some reason: the first Brunswick records were sold up here There was a Brunswick factory here in Toronto and one of the American company's early forays into recording in the field was a trip to Toronto to record the Toronto Mendelssohn Choir, our huge choral group which is still very much with us.
If you ever run across any of the records you'll hear that mediocre Light Ray sound in all its fuzzy glory. I like the sounds the machines produce: their horns must have made the Edison gang gnash their teeth, but they do sound very nice. Brunswick went for what The Gramophone magazine in the acoustic days would have called a "Romantic" sound vs " Realistic : a warm rather mellow tone which diminishes surface noise and makes the rather brilliant Brunswick acoustics sound particularly fine when played on the big Ultona.
George, It's funny you showed that scan. I was in an antique shop today and met a local collector by random coincidence. During our conversation I mentioned that there is a Columbia phonograph that uses the Amberola I cabinet. This gentleman didn't think I was correct and that I must have my facts mixed up.
I told him I had read about it, but couldn't recall which book it was in. Now I can email him and tell him where he can find it! By the way, while hunting today I found a strange table top model that I would love to know more about. It has large glass sides that show the motor, horn and other inner workings. It is a small internal horn phonograph with relatively cheap looking parts.
The tag on the machine said that it was used in a music shop to demonstrate how a phonograph works. The phonograph looked like it was of the correct period, but I have just never seen anything like it. I didn't have my camera with me, but I did take a couple of pictures with my cell phone.
If anyone would like me to send them via text message and would like to take a stab at identifying it for me, please let me know. There wasn't any identifying names on the reproducer, cabinet or anywhere else. I would be interested in having someone else take a look to see what they think. Sorry about straying off topic! It sure is the same one! Still there and I still can't figure out what it is. It is probably a good indicator that it isn't anything to get worked up about as it has been there for over a year without selling.
But when I saw it again, I was intrigued. There aren't any markings anywhere. It is strictly for demonstration purposes only. It doesn't have the craftsmanship to match a glass sided Zon-o-phone or Kurtzman. But it is interesting in it's own respect. I will probably have to take a picture with my digital camera and post it here to see what others think. It may be a modern Frankenphone of sorts. But maybe not Posted: Sun Aug 01, pm.
Yup, I meant Brunswick. Don't know why I typed Columbia. Page 2 of 2. Previous topic Next topic. Post subject: Re: Brunswick Model List? You do not have the required permissions to view the files attached to this post.
Jim You do not have the required permissions to view the files attached to this post. SonnyPhono wrote: George, It's funny you showed that scan. If you are interested in any of these web results, please post and I will include those links. I'm thinking that you mis-typed "Columbia" instead for "Brunswick," right? I'm not aware of a Columbia that came factory-equipped in an Edison cabinet.
Your collector friend may be right! You cannot post new topics in this forum You cannot reply to topics in this forum You cannot edit your posts in this forum You cannot delete your posts in this forum You cannot post attachments in this forum.