(New York Times, Sep. 25, 1865)

(New York Times, Oct. 23, 1865)

THE ARION

Has the Patent Reversed Wooden Agraffe Bridge, Patent Full Iron Frame and Patent Diagonal Sustaining Bar.   The Patent Arion Piano remains in tune longer and has the best quality of tone of any Piano in the market.   It was awarded the premium over Steinway, Chicker- ing adn others, at the Fair of the American Institute in New York, after a blindfold trial.   The Patent Arion Pianos are ALL SEVEN AND ONE-THIRD OCTAVES, Price LOWER THAN ANY OTHER FIRST CLASS INSTRUMENT, and WAR- RANTED for a LIFE TIME.

...

Churches, Ministers and Teachers Liberally Dealt with. EVERY INSTRUMENT WARRANTED.

Agents wanted in every County. Send for Circular.

A. J. VIELE, General Western Agent,

At the Music Store of J. L. PETERS & CO.,

212 N. Fifth St., ST. LOUIS, MO.

In ordering, state in what paper you saw the adver- tisement.

(St. Louis Christian Advocate, Aug. 24, 1870)

(New York Herald, May 16, 1872)

THE ARION

The Most Powerful !

Is the Purest in Tone !

(Sedalia Daily Democrat [Missouri], Aug. 2, 1872)

(Colorado Weekly Chieftan [Pueblo, CO], Jan. 2, 1873)

THE PATENT
ARION PIANO-FORTES
ARE
Unsurpassed in Elegance of Finish,
AND
EXCEL ALL OTHERS IN TONE AND DURABILITY.
Arion Piano-Forte Factory.
The Patent Arion Piano-Fortes are now used exclusively in the New York Conservatory of Music.
It is acknowledged that the most severe test a Piano can undergo is constant use in a Conservatory. The New York Conservatory of Music is the oldest and most extensive institudion of the kind in America. It has constantly in use from TWENTY-FIVE TO THIRTY ARION PIANOS, and we re- spectfully refer to this Conservatory as to the durability and excellent qualities of our instruments. Our Pianos are also used by the leading Seminaries and Colleges throughout the United States, and by many of the principal Opera Troupes.
At every Fair at which it has been exhibited during the past four years, the Arion Piano has received the
FIRST PREMIUM.
without a single exception - a fact unparalleled in the manufacture of Pianos. It received the First Premium at the Fair of the American Institute, held in New York in 1867, in competition with the best makes of Pianos.
Every Instrument Warranted for Five Years.
ILLUSTRATED CIRCULARS MAILED FREE.
The Arion Piano-Forte Co.
(Incorporated by the State of New York.)
WAREROOMS, No. 5 EAST FOURTEENTH ST.
Manufactory, - - - Mott Haven, Westchester County, N. Y.
CHAS. H. COVELL, Pres't	J. B. SIMPSON, Jr., Sec'y and Treas.	GEO. C. MANNER, Sup't

(Brittan's Journal, 1874)

ELEGANCE AND EXCELLENCE, RICHNESS

of tone and durability, reduced prices and Fair dealings are all to be had at McDonald's old established Arion Piano Warerooms, 143 Fourth Street near South Third Street, sign of the

GOLDEN PIANO.

Instalments or a heavy discount for cash, also se- cond hand Pianos for sale or to rent.

BROOKLYN, E.D.N.Y.

(Brooklyn Life, Walzes, 1880)

Francis Bacon, Manufacturer of the Bacon Pianos, Nos. 204 to 206 East 43d Street, near Grand Central Depot. -- The name of Bacon has been honorably and successfully identified with the manufacture of pianos from a very early date. In this historical review of the trade, it will be of special interest to refer to the earliest commencement of the trade in New York. This we are enabled to do through the courtesy of Mr. Francis Bacon, who is in the direct line of successor to John Jacob Astor, who, as will be seen by the following advertisement, was the founder of the business in New York. On January 10, 1789, he advertised : "J. Jacob Astor, No. 81 Queen Street, has for sale an assortment of pianofortes, made by the best makers in London, which he will sell on reasonable terms." In 1802 Astor retired from the piano business and was succeeded by John and Michael Paff, at No. 127 Broadway. In 1815 William Dubois succeeded them and imported pianos at no. 125 Broadway. In 1836 the firm becam Dubois & Bacon, and was succeeded by the firm of Bacon & Raven in 1841. In 1856, by the death of the senior Mr. Bacon, the firm became Raven & Bacon. In 1871 the firm became Bacon & Karr, and was succeeded in 1880 by the present proprietor, Mr. Francis Bacon. Intending purchasers of pianos will notice that his house has been connected with the manufacture and sale of pianos longer than any other in the trade. Mr. Bacon, personally, has now been closely identified with the manufacture of pianos for the last thirty years, and possesses the best of practical skill coupled with a wide range of experience. His factory is centrally located at Nos 204 and 206 East 43d Street, near Grand Central Depot, where he is possessed of every facility for manufacturing the justly celebrated Bacon pianos. All valuable improvements are introduced into these instruments and none but strictly first-class pianos are allowed to leave the premises. Among the latest improvements is Mr. Bacon's patented mode of inserting the tuning pins. It is found only in his pianos, and by means of it tuners are enabled to give greater satisfaction from the solidity of their tuning and by the pianos remaining longer in tune. Mr. Bacon manufactures every class of grand, square, and upright pianos, in ebony and rosewood cases, and in the latest styles. He makes pianos to order to suit any style of furniture : all instruments are fully warranted, those sold in the city or immediate vicinity being kept in tune for one year free of charge. The Bacon pianos received the highest medal and diploma at the Philadelphia Centennial Exhibition, which were awarded after the closes examination and in direct competition with over one hundred instruemnts of the bwest makers in the world. The judges decided that the Bacon pianos was entitled to the highest medal and diploma and was specially notable for strength and evenness of tone, pleasant touch, and smooth finish. Mr. Bacon refers with pleasure to hundreds of New York's most prominent citizens who are his patrons, and who can testify as to the superior merits of his pianos. Mr. Bacon is a native of this city, a life-long resident, and one of our most respected and popular manufacturers.

(New York's Great Industries, 1884)

(New York Times, Nov. 24, 1860)

(New York Times, July 25, 1863)

(New York Times, 28.09.1859)

(New York Times, Sept 1, 1865)

(New York Times, Dec. 13, 1865)

(Trow's New York Directory, 1867)

(New York Herald, March 15, 1870)

(Brooklyn Daily Eagle, 20.12.1879)

(Trow's New York Directory, 1867)

(Trow's New York Directory, 1867)

(Essex County Republican, 20.10.1852)

R. M. Bent & Co. Manufacturers of Square and Upright Pianos, No. 453 West 36th Street. - The great advancement made of late years in musical culture has rendered the task of the piano manufacturer one demanding no ordinary skill and enterprise. As in every other branch of industry competition in this has grown to be of the keenest, and the growth of capable players and critics has advanced with the appearance of superior instruments. As a consequence many piano manufacturers of reputable standing for some years have been pushed out of existence, through inability to meet the exacting requirements of the times. There is no risk, therefore, in hazarding the opinion, that any firm that has stood the strain of the last fifteen years' marvellous improvement in musical culture, and the construction of musical instruments and whose merits are still unchallenged has every reason to be proud of the ordeal through which it passed, and to be highly sanguine of its career in the future. Such has been the fortunate lot of Messrs. R. M. Bent & Co., whose pianos are to-day in the full light of advanced musical intelligence, rated as highly as they were fifteen years ago, and regarded in many respects of unrivalled excellence. They are the manufacturers of the celebrated three stringed, treble full agraffe pianos, and among the points of superiority are their great strength, durability in every climate, and beauty of proportion and finish, coupled with a peculiar musical quality and richness entirely their own. Besides square pianos they also make the cabinet, grand upright, parlor uprights, and a small pony upright, which for beauty and originality of design, superiority of workmanship, delicacy of action and volume of tone, are unexcelled. They unite every advantage of the best pianos produced. The business was established in 1870, under the firm name of Beames & Bent, both practical workmen of long experience. In 1880 Mr. Bent bought out the original firm and about the same time purchased the entire stock and premises of the late firm of Bloomfield & Otis, and since which time the business has prospered and increased beyond the most sanguine expectations. The firm removed to their present six-story building, 25x100, about three years ago. It is equipped with all the most improved machinery and appliances, and gives employment to a large force of skilled workmen. The business is so large, that negotiations are now being engaged in for the adjoining building of the same dimensions, as that at present occupied, which will double their present production. This is done to meet the requirements of the trade, which is annually increasing. The house carries a large stock of pianos, and maintains agencies all over the United States, Canada, and West Indies, their sales being of such proportions as to stamp this one of our leading, representative manufacturing enterprises. Mr. Bent, the senior member of the firm, was born in this city and regularly brought up to the piano forte manufacturing business, since his fourteenth year. He has always taken an active interest in every movement that had for its object the welfare and advancement of his fellow citizens, and adornment of his native city. He is well known in trade circles and is esteemed as an honorable, enterprising and conscientious business man.

(New York's Great Industries, 1885)

(New York Herald, May 18, 1869)

(New York Herald, March 15, 1870)

(New York City Directory, 1867)

(New York Herald, May 16, 1872)

(Brooklyn Daily Eagle, 20.12.1879)

Billings & Richmond, Manufacturers of the Billings Piano. Factory. No. 124 and 126 West 25th Street ; Warerooms, No. 21 East 14th Street. - A representative member of the piano manufacturing trade of New York is the firm of Billings & Richmond, manufacturers of the justly celebrated Billings piano. Their record is to every respect a most enviable one. Strict honor and rigid integrity have ever characterized their transactions with the public, while, as is well knwon, they have from the start produced strictly first-class instruments at nominally low prices. From the commencement of their manufacturing carrer, they determined to conduct their business in a straightforward, legitimate manner. To them, their own reputation and the good-will of their patrons has ever been of far more value and importance than would be the temporary profit gained by glaring imposition. They have now been established in business for thirteen years, and have effectually filled the wide field opened to pianos of superior excellence at figures within the reach of all. Every piano they sell combines the best workmanship bost inside and out, at a very moderate price. While it is the rule for so-called manufacturers to buy their casess and action from irresponsible makers, and simply put together the various parts, the firm of Billings & Richmond, in common with the best, make every part of their pianos in their own factory. They personally select and contract for the very best of the various kinds of woods entering into the manufacture of the cases, as also all the other materials which enter into the composition of a pianoforte. Their ripe judgment and practical experience superintend every detail of the manufactory, so that they construct instruments embodying only the very best of everything, and which accounts for the high reputation of the Billings' piano, both in Europe and America. While they do not indulge in high-sounding announcements that their pianos are superior to all others, yet they do unhesitatingly and justly challenge the world to produce for the price a superior instrument, and they claim unresevedly for the Billings piano the following points of excellence :
1. Smoothness and evenness of tone ;
2. Purity of tone ;
3. Symmetry of construction, and
4. Lowness of price.
The members of the firm of Billings & Richmond are gentlemen of cast practical experience, who have had a life-long connection with all branches of the piano making business, and who are minutely conversant with every detail. Thus qualified, they embarked in the manufacture of a class of instruments which have ever reflected lasting credit upon them, and afforded permanent satisfaction to the thousands of their customers. Their factory, which is conveniently located in West 25th Street, is of large dimensions, and fitted up in modern style, with every possible appliance for the production of perfect instruments. Each piano embodies all the latest improvements, besides several valuable patents, exclusively owned by the firm, and to be found in their instruments only, while experienced designers are kept constantly at work to try and devise something new, pleasing and substantial. They employ about one hundred skilled hands, and their annual outfit is of great and steadily growing magnitude. The firm's office and warerooms are at No. 21 East 14th Street, an absolutely central location, and where they have occupied magnificent premises for the last eight years. Here can be seen a complete stock of their pianos, which, as regards finish and elegance, make an unusually fine display, while a trial is sufficient to vouch for beauty and volume of tone and perfection of mechanism. They make every style of grand, square and upright pianos. Their new upright has several attractive features, not found in those of other makers. The success that has attended their efforts to produce a perfect upright has been most flatttering, and their uprights in their beautiful new style cases, with all the improvements made, are adapted to the wants of every class of purchaser, and will afford permanent satisfaction to the possessor by reason of their superior musical qualities. Their grand and square pianos also possess distinguishing characteristics of excellence, and it is only proper to add that with every piano manufacturer, the firm gives a guarantee that it is a perfect instrument in every respect (made of the best seasoned material), and hold themselves responsible for any radical defect in the same for the term of six years from date of purchase. In fact they give a written and signed guarantee, thus ensuring perfect security in purchasing of their house. Messrs. Billings & Richmond have in their possession thousands of the most flattering testimonials from purchasers of their instruments in all parts of the United States and Canada, and which unanimously tend to show the universal popularity of the Billings' piano. We have room for but one, which goes to prove that it stands in the front rank of all makers as regards tone and quality. It reads as follows :
"The two pianos on trial vs. yours were the 'Rogers upright of Boston, list eight hundred and fifty dollars,' and the 'Steinway & Sons, N. Y., list six hundred and fifty dollars.' A gentleman who is an enthusiast for the Steinway played the 'Steinway' and 'Billings' blindfolded, and pronounced decidedly in favor of the Billings piano - 'the action was so nice, the tone was so clear and open' - but he certainly thought he was speaking this of the Steinway - we told him one was a Steinway before he played.
"AYRES, MITHOFF, DANN & CO.,
"Columbus, Ohio."
The co-partners, Mr. J. N. Billings and Mr. M. O. Richmond, give close personal attention to every detail of their large business, and have built up a permanent and constantly growing wholesale and retail trade. They are both natives of New York, responsible and popular citizens, and their instruments will in all cases be found to be strictly first-class, as represented, while sold at a medium price, and no one that consults their own interests should fail to call upon Messrs. Billings & Richmond, or write them, before buying a piano of any other make.

(New York's Leading Industries, 1884)

(New York Times, Nov. 10, 1865)

(New York Times, Dec. 28, 1865)

(Trow's New York Directory, 1867)

(New York Times, Dec. 24, 1866)

(New York Times, Sep. 25, 1863)

(New York Times, Nov. 10, 1863)

(New York Times, Oct. 26, 1864)

(New York Times, May 30, 1866)

PIANO FORTES!
T	HE Subscribers would respectfully invite attention to their stock of Piano Fortes, among them may be found the best
assortment of Boardman & Gray's with and without the celebra- ted Dolce Compania attachement, (not AEolioan) ever offered west of Albany. The superiority of these Pianos is universally ac- knowledged, and they have received ten first class premiums within the past five years, in all places where placed in competi- tion with all the makes generally known in this vicinity. The eight hundred dollar Piano sold by us last month to a gentleman in Philadelphia was pronounced the finest ever exhibited in this city. Every instrument is warranted to give perfect satisfaction and the new attachment is now so much in use that a Piano is not considered perfect without it. We shall be happy to show to all who call on us, and pledge ourselves to deliver in this city any Piano Forte made by them at precisely the same price charg- ed at the manufactory without adding transportation, &c.
Buffalo, Dec. 18 1852		J. SAGE & SONS

(The Erie Observer, Mar. 12, 1853)

(New York Times, May 13, 1860)

(New York Times, Dec. 24, 1861)

(New York Times, Jan. 4, 1862)

(New York Times, May 22, 1862)

(New York Times, Sept. 20, 1862)

(New York Times, Jan. 5, 1863)

(New York Times, Apr. 25, 1863)

(New York Times, June 25, 1864)

(Rocky Mountain News [CO], Mar. 13, 1866)

(New York City Directory, 1867)

(Trow's New York Directory, 1867)

(New York Times, Feb. 10, 1863)

(New York Times, Feb. 25, 1863)

(New York Times, May 11, 1863)

(New York Times, July 25, 1863)

(New York Times, Sep. 25, 1863)

(New York Times, Dec. 24, 1863)

(New York Times, Feb. 25, 1864)

(New York Times, Dec. 24, 1864)

(New York Times, Oct. 10, 1865)

	SAXTON'S
ST. LOUIS PIANO WAREROOMS
WM. B. BRADBURY'S
New-Scale Piano-Fortes!
From $550 to $1000.
MASON & HAMLIN'S
CABINET ORGANS!
From $100 to $600
THE BEAUTIFUL
BOUDOIR PIANO!
MADE BY
JAMES W. VOSE,
From $375 to $500.
CHAMBERS & GABLER'S
Full Iron Frame, New-Scale, Over-Strung,
PIANO-FORTES!
From $400 to $800.
PIANOS!
MADE BY
NEW YORK PIANO-FORTE COMPANY,
From $490 to $700.
Every Instrument Warranted for FIVE YEARS.
NO CHARGE FOR BOXING AND SHIPPING.
SOLD AT FACTORY PRICES
BY
M. H. Saxton & Company
(Under Southern Hotel),
COR. FIFTH AND WALNUT STREETS,
SAINT LOUIS, MISSOURI

(St. Louis Christian Advocate, Jan. 25, 1866)

(New York Times, June 16, 1866)

BRADBURY PIANOS.

Rev. BRADFORD K. PIERCE says : "We have had for more than three years in our home one of the 'Bradbury Pianos,' advertised in our paper by Mr. Freeborn Garretson Smith, its manufacturer. Its tone and touch are admirable, the former being full and sweet, and the latter grateful to the performer. It preserves its pitch and tune in a remarkable manner, and altogether is one of the best instruments that we have seen. It has more than fulfilled the promise of Mr. Smith when he sold it to use, at his office in New York. We heartily commend his announcements to such of our readers as are proposing to purchase a piano."
Dr. T. DEWITT TALMAGE : "Friend Smith is a Methodist, but his pianos are all orthodox : you ought to hear mine talk and sing. It is adapted to morning prayers of the gayest parties."
BISHOP AMES says : "My Bradbury Piano is found, after sever test and trial, to be equal to all you promised, and is in all respects, in richness of tone and singing qualities, everything that could be desired. Yours truly,

Dr. E. O. HAVEN says : "My Bradbury Piano continues to grow better every day, and myself and family more and more in love with it. It is the pet of our Household."
BISHOP SIMPSON says : "After a trial in his family for years, for beauty of finish and workmanship and for splendid quality of tone, our Bradbury Piano cannot be equaled."
The best manufactured ; warranted for six years. Pianos to let, and rent applied if purchased ; monthly installments received for the same. Old pianos taken in exchange : cash paid for the same. Second-hand pianos at great bargains, from $50 to $200. Pianos tuned and repaired.
Organs and Melodeons to Clergymen, Sabbath-schools and Churches, supplied at a liberal discount. Send for illustrated price list. When we will say something to please you.

FREEBORN GARRETSON SMITH

Late Supt. for and successor to WM. B. BRADBURY, No. 14 E. 14th Street, bet. Broadway and 5th Avenue, N.Y. Factory, corner Raymond and Willoughby Sts., Brooklyn.

(Our South American Cousins, 1878)

(Trow's New York Directory, 1867)

A. Brautigam, Manufacturer and Dealer in Upright, Square and Grand Pianofortes, No. 8 East 17th Street. - The metropolis has always been the centre of the piano trade, and prominent among the leading establishments in this line is that of Mr. A. Brautigam, who for the past twenty years has carried on the manufacturing of pianofortes. "The Brautigam" is an instrument that has found its way into popular favor, and possesses many fine qualities which are lacking in other pianos. It is unrivalled for purity of tone, singing quality and rich, clear, resonant sound, and has found favor in the homes of our wealthiest families and a choice collection of these splendid instruments, in uprights, square and grands, are constantly on exhibition at the warerooms, No. 8 East 17th Street. Mr. Brautigam makes a specialty of renting pianos to responsible parties, and the business done is constantly increasing. Mr. Brautigam is a genial gentleman whose friends are legion. As a business man he is energetic, liberal and honorable in everything, and is a man with whom it is a pleasure to deal. He is highly esteemed in trade circles for the straightforward and well-balanced methods by which his business is conducted.

(New York's Great Industries, 1884)

A BRAUTIGAM, Manufacturer of and Dealer in Upright. Square, and Grand Piano Fortes. No. 8 East Seventeenth Street. The great advancement made of late years in musical culture has rendered the task of the piano manufacturer and dealer one demanding superior skill and enterprise. Prominent among the successful representatives of the piano trade in the metropolis is Mr. A Brautigam, who established this business in its present location thirty years ago, and from the very start has obtained a liberal and influential patronage. His upright, grand, and square pianos are unsurpassed for elegance of finish, beauty of design, purity of tone, evenness of action, and delicacy of touch, combined with great power and general excellence. Every possible improvement has been introduced into these instruments, which have no superiors in this country or Europe, while the prices quoted for them are extremely reasonable. These pianos are sold either for cash or on the instalment plan, or are rented to patrons at low rates Mr. Brautigam makes pianos to suit any style of furniture; all instruments are fully warranted, and those sold in the city or vicinity are kept in tune one year free of charge. Special attention is paid to repairing and tuning. Mr. Brautigam was born in Germany, but has resided in New York for the last forty years. Mr. Brautigam's upright, square, and grand pianos are sold at prices as low as can be named for first-class instruments.

(Illustrated New York, 1888)

(New York Herald Dec. 29, 1869)

(New York City Directory, 1857)

J. Burns Brown, Successor to Charles J. Betts, Manufacturer of Piano-Fortes, No. 8 Union Square, Fourth Avenue. - The manufacture of pianos is one of the great industries of the United States, a leading representative in Fourth Avenue being Mr. J. Burns Brown. This house woriginally established in 1797, by Mr. Geib, at No. 11 Maiden Lane, and after various changes of location was eventually removed to its present eligible position. In 1860, Mr. Betts succeeded to the business, and in January, 1385, was succeeded by the present proprietor. The house enjoys a liberal and influential patronage, in consequence of the superiority of the instruments. Mr. Brown is a gentleman having a thorough knowledge of this branch of business in every department, and is well known for the general excellence of his square and upright pianos, which combine a sweetness and brilliancy of tone, with easy action. The premises occupied are commodious, and are stocked with an excellent assortment of Steinway's, Weber's, Chickering's, etc., in addition to pianos of his own manufacture. These instruments are made from well seasoned materials, and are always warranted. Pianos and organs are sold on the installment principle, or let, according to the wishes of customers. Mr. Brown also attends to tuning and repairing. He is a native of New York, and was formerly in partnership with Brambach, on East Seventeenth street. Mr. Brown learned the piano mansturing business in this house entering into its employ when a boy of fifteen years of age, and now, after eighteen years, he is sole proprietor. The popularity of the concern since Mr. Brown's assuming the entire control has steadily increased, the orders showing sensible addition ; and we may reason. ably assume that the trade will in the future largely expand under his judicious, and energetic management.

(New York's Great Industries, 1885)

(New York Times, June 9, 1866)

(Brooklyn Eagle, 20.08.1857)

THE PIANO CASE. - The case of Mr. J. B. Wheaton, a music teacher, who was arrested last week on a complaint of Charles Bunce, who charged him with having stolen a piano worth $150, was called up before Justice Boerum yesterday afternoon, when the complaintant failed to appear, and the accused was discharged.

(Police Courts, Brooklyn Eagle, 21.06.1862)

(Trow's New York Directory, 1867)

(Brooklyn Daily Eagle, 22.05.1862)

(New York Times, July 10, 1863)

(New York Times, Apr. 11, 1864)

(New York Times, June 25, 1864)

(New York Times, Jan. 2, 1865)

(Trow's New York Directory, 1867)

Calenberg & Vaupel, Sole Manufacturers of the Bijou and Separable Upright Pianos, Manufactory and Warerooms, Nos. 333 and 335 West 36th Street. The firm of Calenberg & Vaupel has been closely identified with the manufacture and sale of the best class of grand, square and upright pianos known to the trade, since their establishment in 1858. They manufacture their pianos in their own beautiful 4-story building, 38x100 feet in area,the lot being 75x100, with dry basement and cellar, which gives them abundance of light on all four sides of their factory, and also perfect ventilation. In the cellar is situated the dry room, in which the lumber used in the manufacture of the pianos, is placed, and by that means always have well seasoned material on hand for use. On the first, or street floor, are the commodious warerooms, office and shipping room. The second floor is devoted to the finishing and regulating of tone and action, the fly finishing, etc. ; the third floor as casemaking department, and the fourth floor for varnishing and polishing cases. The manufacturing department is under the able management of the senior partner, who is ably assisted by Mr. Vaupel in the office and salesrooms, and also a number of foremen of acknowledged ability and integrity, being subordinates in their respective departments. Special rates are offered by the firm to the clergy, professionals, teachers, and parties forming a club of three or more. Among the prominent persons who unite in recommending their pianos, we notice the names of Prof. Justin Juch, Miss Emma Juch, Prof. I. G. Widmann, Prof. Doehring, Prof. W. Kaepplinger, Prof. Braun, Profs. Kanski, Huehue and Becker ; also Carl Aushutz, Antonio Barilli, T. D. Sullivan, New York Catholic Protectory, Prof. Elie Charlier, "Charlier Institute," and various others. Mr. H. S. Calenberg is a native of Germany, who came to this country some 35 years ago, and is a resident of New Rochelle, N.Y. - Mr. A. Vaupel was also born in Germany, and resides in New York City.

(New York's Great Industries, 1885)

(Trow's New York Directory, 1867)

(New York Daily Times, Dec. 15, 1852)

(Trow's New York Directory, 1867)

(New York Times, Dec. 11, 1864)

(New York Times, Jan. 12, 1865)

(New York Times, Mar. 11, 1865)

(New York Times, Aug. 20, 1865)

(New York Past, Present and Future, 1849)

(New York Times, Feb. 18, 1860)

(New York Times, Apr. 3, 1860)

(New York Times, May 1, 1860)

(New York Times, Nov. 24, 1860)

(New York Times, Mar. 8, 1862)

(New York Times, Apr. 10, 1863)

(New York Times, Dec. 24, 1863)

(New York Times, June 25, 1864)

(New York Times, Dec. 10, 1865)

(New York Times, Dec. 28, 1865)

(New York Times, Mar. 16, 1866)

(New York Times, July 5, 1866)

(New York Times, Dec. 24, 1866)

(New York Times, Jan. 4, 1868)

(New York Herald Dec. 29, 1869)

(New York Times, July 10, 1872)

(New York Times, Aug. 24, 1863)

(New York Times, Feb. 25, 1864)

(New York Times, June 24, 1864)

(New York Times, Oct. 26, 1864)

(New York Times, Mar. 11, 1865)

(New York Times, Oct. 10, 1865)

(New York Times, Mar. 15, 1866)

(Trow's New York Directory, 1867)

(New York Times, Aug. 23, 1860)

	BOSTON PIANO FORTES. -
	Just received from Boston, some new and splendid Piano Fortes, from Wil-
kins & Newhall, Hallet, Davis & Co., Parkhurst & Co., Lord & Cumston, and all the princial ma- nufactories in the city. The instruments from Wil- kins & Newhall are of the same class of those for which they received the Gold Medal at the recent Fair in Boston, and are superior instruments, both in tone and finish. The subscriber would also call the attention of the public to the new patent Harp attached to Hallet, Davis & Co.'s Pianos. Persons desirous of purchasing, are invited to call and exa- mine, between the hours of 4 and 6 P. M., at the Classical Hall, (opp. the Lyceum,) Washington st.
J. L. CUMMINGS.

(Brooklyn Daily Eagle, 18.09.1844)

(New York Times, Sep. 11, 1858)

(New York Times, Oct. 26, 1864)

(New York Times, Dec. 24, 1864)

(New York Times, Mar. 11, 1865)

(New York Times, May 27, 1865)

(New York Times, Aug. 20, 1865)

(New York Times, Nov. 10, 1865)

(New York Times, Dec. 13, 1865)

(New York Times, Jan. 10, 1866)

(New York Times, Mar. 15, 1866)

(Trow's New York Directory, 1867)

(New York Times, Jan 1, 1865)

(New York Times, Dec. 24, 1866)

DECKER BROTHERS,

PIANO-FORTES,

Wareroom and Factory,

One Block West of Broadway,

NEW YORK.

IMPROVEMENT IN PIANO-FORTES. - One of the simplest and most truly valuable improvements yet made in the Piano-Forte is that invented and patented by Decker Brothers, No. 91 Bleecker Street. - New York Tribune, April 23, 1864.

(Trow's New York Directory, 1867)

DECKER BROS' PIANO MANUFACTORY [Seneca Falls]

(State of New York, 1882)

(New York Herald, March 15, 1870)

F. Denninger, Piano Forte Case Factory, Nos. 653 and 6 East 156th Street. - At Nos. 653 and 655 East street, will be found the manufactory of Mr. Deninger, an establishment built and conducted for the purpose of manufacturing piano cases. The proprietor, is a native of Germany, who came to the United States in 1867, and commenced his present venture in 1878. He employs about thirty men steadily, has a capital of $12,000 invested, and his aggregate trade amounts to $30,000 per annum. His building has a capacity of 36x100 feet, the motive power for driving machinery being an engine of forty-five horse-power.

(New York's Great Industries, 1885)

Chas. B. Dickinson & Co., Manufacturers of the "American Piano," No. 48 University Place. - The impetus given to musical taste throughout Europe and America is unquestionably due to the pianoforte, the manufacture of which has been happily facilitated in a wonderful degree by the application of steam power. For the present generation the piano has become an absolute necessity, a costant source of pleasure, a powerful means for the development and acquisition of the musical art. Our children are now taught their letters and notes simultaneously, and for a young man or girl of the present day to be found deficient in the rudiments of music is thought to be almost as reprehensible as an ignorance of the common rules of arithmetic. A prominent house engages in the manufacture of grand, square and upright pianos is that of Messrs. Dickinson & Co., No. 48 University Place, which was originally established in 1859. After several changes, on the death of Mr. S. T. Dickinson the present proprietor, Mr. Chas. B. Dickinson, succeeded to the business, and has associated with him a special partner. Ever since the foundation of the house the firm of Dickinson & Co. have derived the greatest satisfacton from the reputation voluntarily accorded them by the professional and amateur world, of manufacturing all their pianofortes of equal merit and excellence, and maintaining the highest standard in the production of these famous instruments. The specialty of this house is the "American Piano," which for quality of tone, lightness of touch and beauty of finish is unsurpassed by any similar instrument of any contemporary concerm, and by careful attention to details and the employment of skilful artisans, combined with proprly seasoned materials, Dickinson & Co. are enabled confidently to warrant every instrument leaving the factory for a term of six years. The firm is unable to compete with the cheap trash with which the market is flooded, and which are dear at half the price they sell at. Many a purchaser of these "cheap John" pianos has found when keys begin to rattle, key-board to give and asthmatic tones to proceed from his instrument, that it would have been much better and cheaper to thave paid a little more and obtained a substantial and lifetime pianoforte. Music is the universal language of the human race, the one tongue that was not confused in the confusion of tongues at the Tower of Babel, and is nature's own vocabulary of passion, joy, sorrow, hope and love. There is no economy in placing in the parlor for the education of the family an instrument that is false in its interpretation of music, and which in the end must subvert and destroy the taste for harmony which it was intended to elevate and establish. The pianos of Dickinson & Co. are known and admired in musical circles all over this vast country, from Canada to Texas, and from Maine to California, and also in some of the fashionable and brilliant saloons of Paris and London. We can conscientiously commend Dickinson & Co.'s pianos to those interested, being assured that they are equal if not superior to any in the market. In power and quality of tone, delicacy of touch, perfection of mechanism, durability and general excellence, these instruments are not excelled, if rarely equalled, and they combine all these rare and grand qualities which constitute a really fine piano. The firm offer specially liberal terms to purchasers, and those having dealings with this house will derive both satisfaction and profit.

(New York's Leading Industries, 1884)

(Trow's New York Directory, 1867)

(Trow's New York Directory, 1867)

(Trow's New York Directory, 1867)

(Trow's New York Directory, 1867)

ALFRED DOLGE, manufacturer, one of the most remarkable men for whom America is indebted to the mother land of Germany, was born in Chemnitz in that country, Dec. 22, 1848. His father, August, was one of the leaders of the Revolution of 1848-49, and the honor of being twice tried by court martial was accorded to him. Twice he was sentenced to death, but the penalty of his courageous efforts for liberty was afterward changed to imprisonment for fifteen years.
Alfred attended the public schools of Leipzig during his boyhood, and then learned the trade of piano making in his father's factory, an art requiring the highest mechanical skill. Attracted to America by the greater liberty and more promising opportunities of the new world, he landed at Castle Garden on the 9th of September in 1866. A strongly built, capable and practical youth, he accepted the first employment which offered, and found work on a farm in Wisconsin for one season. Returning then to the East, he spent two and a half years at his trade of piano making. With $500, which he had earned by diligent labor at the bench and saved by careful economy, Mr. Dolge began, in July, 1869, the importation of piano materials from Europe. The felts employed by piano makers in this country were at that time purchased abroad, but Mr. Dolge believed that they could be, and should be, made in America. To believe is, with a nature as energetic as his, to act. In 1871, therefore, Mr. Dolge began the manufacture of piano felts, in Brooklyn, and thus became the actual pioneer of this valuable industry in the United States. In 1874, he moved the works to Dolgeville, in Herkimer county, N.Y. In this beautiful town, a large factory has gradually come into existence through his persistent energy; and at these works Mr. Dolge has also developed the most highly approved felt machinery known to the whole industry. Departments for making the different parts of pianos have been added to the factory, one after another, until Mr. Dolge is now the proprietor of the most complete, the largest and most highly developed piano material manufactory in the world. Employment is given to a large force of skillful operatives; and probably no where in the United States can there be found a finer group of working people than those to whom Mr. Dolge has been both an employer and benefactor. His enterprise has finally put an end to the importation of piano materials from Europe, and rendered America entirely independent of every other land for its supply of these articles. If it be added that the performance of public services of great utility has brought Mr. Dolge a fortune, it must be said on the other hand that he has bestowed far greater benefits than he has received.
But to say that he is a successful manufacturer, by no means sums up the remarkable career of Alfred Dolge. The village of Dolgeville, founded by him, has become the model industrial town of American origin, both in its social and economic aspects. It has all the advantages of modern ideas and city methods, without the disadvantage of the paternalism usually associated with so called ideal towns. A free public school and an academy of the highest order, fully equipped with scientific apparatus and with all the modern appointments, have been built by Mr. Dolge and given to the town. Houses containing from six to nine rooms have been built, many of them wholly or in part by Mr. Dolge, and now belong to the workmen themselves. Mr. Dolge has also converted the woodlands surrounding the town into parks, which will always remain a permanent and beautiful feature of the place. In all which pertains to making Dolgeville a model town in its sanitary, educational and picturesque aspects, Mr. Dolge has shown a practical good sense, amounting to real greatness. He is the leader of his people, not their patron.
The most significant of the new ideas introduced at Dolgeville, and the one whose influence will be the most permanent and far reaching, is Mr. Dolge's contribution to the solution of the labor problem. One of the most depressing features of the present industrial system, apparently the one most difficult of treatment, is the discharge of workmen, when they reach the stage of "diminishing returns," or declining efficiency. It is a complaint against modern capital, that it takes labor when it is young and vigorous, exploits its vitality, and ruthlessly throws it aside, when it has passed the prime of life or approaches old age, The workmen are then too old to learn a new trade. Except in rare cases, they are liable to become recipients of charity or entirely dependent for support upon the younger members of their families.
It is thus held, and not without force, that a hopeless old age is all the average working man can hope for, unless he dies in the harness. This is made the basis of much of the Socialistic attack upon modern capital.
For this complaint, Mr. Dolge has, by experiments continued through twenty years, developed a successful remedy, based upon economic and scientific principles, which enables every workman to retire at the age of sixty with a competence for the remainder of his life. It is a system of industrial insurance, which is to labor what a depreciation fund is to capital. It provides for the retirement of workmen when they reach the age of declining efficiency, in the same way that a depreciation fund provides for replacing old machinery with new. This system entirely eliminates the inhumanity hitherto involved in the discharge of old and often faithful workmen. By providing for them a permanent income for the remainder of their lives, the hopelessness of old age is entirely overcome.
In an article in The Social Economist for June, 1892, presenting the leading features of his system, Mr. Dolge says: "In order, therefore, to obtain the best results from laborers, they must not only live under good conditions while working, but they must be placed beyond the fear of want in their old age. To secure this, a labor depreciation or insurance fund should be made an established part of the cost of production, just the same as depreciation for machinery is provided for now. From these, two important advantages are obtained: (1.) Laborers can be retired without becoming paupers, when they cease to be profitable factors in production, or when they reach what economists call the stage of 'diminishing returns.' (2.) Their future being assured, laborers would feel safe in keeping their wives at home, sending their children to school, and otherwise living up to the full extent of their income. Thus, instead of constantly trying to restrict their standard of living to provide for old age, they would have every inducement for extending it, which would tend to increase their intelligence, social character and individuality, and develop not only more efficient laborers, but a higher manhood and superior citizenship among our people."
Mr. Dolge's plan is entirely free from the slightest taint of paternalism, being based upon strictly economic and thoroughly practical business principles and verified by a test of twenty years. It is susceptible of universal application. If this were made a national policy, as it easily might be, it would tend to eliminate pauperism from this country, might do it altogether, and would certainly do much to destroy the acrimonious spirit which is creating a social antagonism against present methods of production. In this, Mr. Dolge has proved himself a social philosopher as well as a successful manufacturer, qualities rarely found together. To grow rich, and at the same time to become more democratic towards the masses, is a quality of greatness.
Mr. Dolge is now the head of the great firm of Alfred Dolge & Son; a partner in C. F. Zimmerman & Co., manufacturers of autoharps; and Daniel Green & Co., second vice president of The Little Falls & Dolgeville Railroad, and in New York city, trustee of The German Savings Bank, and member of the Republican and Liederkranz clubs.
By his marriage, Dec. 22, 1868, to Anna Auguste Horn, he has five children, Rudolf, William, Ernst, Henry and Fritz Dolge. His home is now in New York city, where he has become widely known and greatly respected. He is an interesting speaker and has frequently been heard with profit before public assemblages in explanation of economic questions.

(America's Successful Men of Affairs, 1895.

(New York Times, 28.09.1859)

(New York Times, 28.09.1859)

(New York Times, 02.02.1860)

(New York Times, May 12, 1860)

P IANOS RENDERED DURABLE AS VIO LINS
("Cremona - The most esteemed violin now in use, made by family of Amadeus, of Cremona, Italy, 100 years ago." - CYCLOPAEDIA.)
  1. Worn our Pianos permanently and perfectly re stored.
  2. New Pianos assured against decay.
  3. Cost for this, only from $30 to $60.
  4. Pianos, with this patent improvement, for sale.
DRIGGS' STRING CLAMP PIANOS. Warerooms, MASON BUILDING, BROADWAY, AND 4TH- ST. ENTRANCE NO. 390 4TH-ST., NEXT DOOR EAST OF CON ESS.
  1. The Piano-forte is at once the most expensive and perishable article of household furniture. The outlay ought to secure an instrument to last for genera tions, and, like the violin, even improve with age ; but, as the pockets of husbands and fathers testify, it does not. $300 to $1,000 spent for a piano become in a few years a dead loss, for the instrument is them musically worn out and useless. This individual, and, we may add, public and national loss - considering that pianos are as plenty as three-story houses, and are counted by hundreds of thousands - is now finally corrected and reformed by a sim ple invention of Mr. S. B. DRIGGS - simple, because all great inventions are but the adoption of Nature's obvious laws.
  II. If economical reasons regarding this costly and frail instrument, as at present made, be forcible in the time of peace, with the National Government espenses at 2,000, 000 a month, the same arguments now, when these outlays are officially rated at $2,000,000 a day, become of immens urably greater force. It is even respectable for persons to say they need money, and have to save. Economy cer tainly, then, may begin with the luxury of the piano. That such economy is alone practicable by Driggs' Im provement shall be shown.
  III. This patent accurately described below by our leading musicians and eminent journals, can be applied equally to PIANOS, OLD, WORN-OUT, OR NEW.
  The private holder, or the manufacturer, of a new piano who desires it guarded against decay, (like the violin,) or the possessor of a worn-out piano, long since consigned as lumber to the garret, can, at an expense of from THIRTY to SIXTY DOLLARS, obtain this security to its perma nent life to the one case, and ensuring renovation in the other. The subscribers honorably pledge themselves to take a piano, an utter wreck as regards tone, and make it as good as ever for this sum. This will include new cover ing for the hammers, and new strings throughout, secured by the clamp.
  IV. The Subscribers keep on hand new pianos made by the best manufacturers, with this Patent String-Clamp added.
  V. The subscribers leave descriptive explanations to the following authorities. The approval, absolute and un qualified, of Mr. Morgan and Mr. Berge, the great organ ists, who have not their superiors in Europe ; of Mr. Bristow, whose reputation as a composer has crossed the Atlantic ; of Mr. Fradel, whose piano compositions are known in all the capitals of Europe and America, etc., etc., etc. ; besides the scientific dicta of the leading musi cal, and the metropolitan daily journals subjoined, estab lish the artistic and economical value of the invention to the entire musical world.
OPINIONS OF EMINENT MUSICIANS.
  The undersigned, after a thorough and critical examina tion of Mr. S. B. Driggs' newly-patented method for string ing Piano-Fortes, cheerfully bear testimony to the great superiority over the ordinary mode now in use. It re leives the bridge and sounding-board from all strain or pressure in any direction, thereby eminently increasing the tone and vibratory power of the instrument. It is exceedingly simple in construction, and cannot really go our of order. It is likewise of great utility by reason of its ready application to all pianos, old as well as new. The ef fect of this improvement is an increase of tone to a great de gree, at the same time rendering it perfectly pure, distinct, and musical. We have examined old pianos restrung after this method, each exhibiting in a marked manner all the peculiarities above stated. We have reason to believe that pianos strung in this way will improve, and not deteriorate in tone by age, and take great pleasure in recommending to all manufacturers and the public generally, so important and useful an improvement as this, known as "DRIGGS' PATENT STRING-CLAMP."
GEO. W. MORGAN, WM. BERGE, GEO. F. BRISTOW, CHAS. FRADEL, H. W. A. BEALE, etc., etc., etc.
OPINIONS OF THE NEW-YORK PRESS.
From the New-York Herarld, Oct. 28, 1861
  INTERESTING IMPROVEMENT IN ACOUSTICS. - A very inter esting exhibition of an improvement in the acoustic prop erties of the pianoforte took place before a large number of musical gentlemen, professional and amateur, on Thursday evening, at the room No. 350 4th-st. It was the application of a new string-clamp, invented by Spencer B. Driggs, the inventor of the Wallace "Violin Piano" the object being to avoid the oblique position of the strings on the bridge, and thus not only to prevent the instru ment from jarring, but to increase its tone immensely and preserve its tone for a great length of time. By this sim ple invention the strings are kept in perfect line, and all strain upon the bridge, screw and sounding-board obvi ated. The experiment worked to perfection, and received the warmest approbation of the professional gentlemen present.
From the New-York Express, Oct. 28, 1861.
  IMPROVING THE PIANO. - A new invention, which is now attracting the attention of musicians and musical ama teurs, is that called the "Driggs Patent String-Clamp" for pianos. By a simple clamp of metal screwed to the bridge of the instrument, and through wich the strings pass, the bridge and the sounding-board are relieved from all side compression. It increases the tone nearly double, on account of the freedon in the vibration, and the instru ment cannot really get out of tune. It can be applied to all old pianos, thus restoring such as have grown "tin- pan-ny," as it is usually termed. The invention is to be examined by the curious, in 4th-st., corner of Lafayette place.
From the Musical Review and World, Nov. 9, 1861.
  A NEW IMPROVEMENT IN PIANO-FORTES. - It is well known that the ordinary mode of attaching or connecting the strings of a piano-forte with the sounding-board is by placing each string under oblique pins, (behind and in front,) and about one inch apart, on top of the bridg, giv ing the strings a zigzag form, which is necessary, to pre vent jarring upon the flat surface of the bridge, where they rest. But, even with such precaution, it does not re quire the most powerful playing to overpower the instru ent sufficiently to cause a jar.
  The patent string-clamp of Mr. Driggs is the most simple and practical remedy for that defect that can possibly be conceived of.
  The most noticeable features that first strike the player upon trying this improvement are the free, open tone - the absence of unpleasant harmonics, in testing the "singing" qualities - the proper pitch sound remaining, the normal sound to the last vanishing - an individuality and distinction fo tone in each note, and a grandeur and power of tone that cannot be overcome by the most pow erful playing.
  It can be applied to any piano, old or new, at a small expense. Instruments containing this improvement can be seen at No. 350 4th-st.
From the New-York Times, Nov. 11, 1861.
  The piano-forte occupies so important a position in the world of music, that any genuine improvement in its mode of manufacture, by which new results are obtained, can scarcely be valued too highly. A step in this forward di rection seems to have been made lately by Mr. S. B. Driggs, a gentleman who has spent over ten years of his life and a comfortable fortune in endeavoring to improve the instrument. Every one knows how a piano is strung, but few know of the fact that the twisting strain of the strings on the plan is from 6,000 to 7,000 pounds, causing, as a matter of course, the bridge and sounding-board to be held so tightly that freedom of vibration is seriously ob structed. This fact tends to a gradual deterioration of power after a few years' time, as the strings become im bedded, and draws into straight line. A sweet but wiry tone is all that remains of the former grandeur of the in strument. Mr. Driggs claims that this result is attribu table solely to the present erroneous way of stringing, and to obviate it he has invented a contrivance called a "string-clamp," by which the board and bridge are com pletely relieved from strain. It would hardly interest our readers to describe this clamp, but the musically-inclined will find it worth their while to pay a visit to No. 350 4th- st., where pianos in which it has been introduced can be seen. The tone is unquestionably improved, and the in strument cannot apparently be overpowered by heavy playing, the volume of sound being in proportion to the strength of the blow, and all jarring of the strings being out of the question. Mr. Driggs has certainly proved that that a piano strung with his patent clamp is most sensi tive to vibration, and gives a freer and more sympathetic response than one that has been strung on the old plan but whether, as he claims, the piano thus constructed will absolutely improve with age, like the violin, remains to be demonstrated. It is certainly a great and popular recom mendation of the clamp that it can be applied to the old est instrument, and restore it from a state of chronic wheeziness to one of renewed vigor, at a very trifling and insignificant cost.
From the New-York Tribune, Nov. 26, 1861.
  A new improvement by the ingenious and liberal Mr. Driggs, on the mode of stringing pianos, so as to save the strain on the wood, and to be applied to the renovation of worn-out instruments - worn out as regards tone - is exciting much attention amog the eminent professors and manufacturers.
  Few persons are aware of the immense amount of [] and capital involved in the production of American Pianos, and the enormous amount, to many millions of dollars, annually sold. When we reflect that they are nearly as common as curtains and mirrors, we may arrive at the fact that the value of the number manufactured each year would present noble figures compared with national sta ples, even such as King Cotton.
  An invention, therefore, which aims to improve the tone, strengthen the works, diminish the necessity for frequent tuning, and prolong the vitality of the instru ment, is a matter of importance, both as it regards the taste and the pocket. There is on exhibition in the Mason Buildings, in 4th-st., next to Broadway, a piano, which claims to possess such improvement. It is by Mr. Driggs. It has already been extensively praised by the Press - the daily and musical as well - has [ably ?] undergone the in vestigation of many leading manufacturers, and received the approval of some of our highest porfessors of music. The invention consists of the mode of fastening the strings. The strain on the wood from the combined action of the strings is several thousand pounds. This causes the deterioration of pianos, which, unlike violins, grow worse with age.
  The ordinary way of attaching or connecting the strings of a piano to the bridge is by placing each string under oblique pins, behind and in front, on top of the bridge, and about one inch apart, giving the strings a zig-zag form, which is necessary to prevent jarring upon the flat surface of the bridge, where they rest ; but with the open pedal, it does not require the most powerful playing to cause a jar sufficient to destroy the purity of tone, when the instrument is overpowered. The twisting strain upon the bridge and board, caused by placing and holding the strings so out of line, is immense - not less than 6,000 pounds on an ordinary piano, tuned to concert pitch. The string clamp of Mr. Driggs is a simple and practical rem edy for this. The clamp is formed with two straight pa rallel jaws, and a right angles with the strings, and the screw that causes the jaws to bite and hold the strings also secures the clamp firmly to the bridge or bear ing-point, and with positive certainty secure every vibration which the strings can make, beyond the possi bility of a jar ; and whether the strings may - as they not infrequently do, from the peculiar spring of the hammer, shank or key - assume a lateral, or longitudinal, a perpen dicular or a circulatory vibration, they are all equally secured in every direction by the clamp, and there is no possi bility of change by time and use, as ordinarily construct ed. Every string is kept in perfect line, from the hitch- pin to the tuning block, and there is no strain or weight whatever on the screw, bridge or sounding-board, leaving these free to develop tone in its purity. By this simple arrangement it is claimed the piano will remain much longer in tune ; and, as a plain and philosophical fact, where the board is not overpowered by strain, improve by age and use, and be absolutely more valuable after twenty- five years' proper use than when new. It is capable of being easily and inexpensively applied to worn-out and condemned instruments, giving them a new lease of tuneful life.
From the New-York World, Jan. 8, 1862.
  SOMETHING NEW IN PIANO-FORTES. - Americans have a laudable passion for perfecting the piano-forte. The Pat ent Office people generally have under consideration something like a baker's dozen of novel expedients for adding to the value of the favorite instrument. The re sult is that we are constantly achieving new triumphs of mechanical skill in its manufacture, adn are distancing all foreign competitors. The past Fall has witnessed the introduction of a feature in the mode of stringing pianos that certainly deserves general attention from all lovers of music. The improvement in question is the invention of Mr. S. B. Driggs, a gentleman already widely known as the originator of some useful patents in this line.
  Mr. Driggs claims, and justly, that the prevalent method of stringing is faulty, and in place of it he has applied a fastening termed a "string-clamp," which ef fectually relieves the board and bridge from strain. Here tofore the twisting strain upon the bridge and board caused by placing and holding the strings out of line, has been rated at 6,000 or 7,000 pounds on all ordinary pianos, tuned to concert pitch. The clamp obviates the undesira ble results of this enormous pressure, and therefore adds to the sweetness, brilliance, and power of the tone. Fur thermore, it is claimed that the instrument must improve by use and age, like other vibrating instruments, where the board is not overstrained, so that a piano, with clamped strings, will be actually more valuable when twenty years old than when fresh from the factory.
  There are minor effects, equally desirable, resulting from this simple contrivance. Old pianos, of any make, can be refitted at a trifling cost on this principle, so as to regain, or rather to surpass, their pristine qualities of tone. Practical illustrations of the truth of our remarks can be obtained by all who are curious in the matter by visiting the warerooms, No. 350 4th-st.
  PIANOS, OLD AND NEW, containing this improve ment, can be seen at our Warerooms. THE TIME RE QUIRED to [make?] the alteration and apply the STRING CLAMP to pianos will not ordinarily exceed ONE WEEK.
DRIGGS & TOOKER. No. 350 4th-st., New-York.

(New York Times, Feb. 20, 1862)

MUSICAL. - Mr. SPENCER B. DRIGGS, whose ingenious inventions and bold thories in connection with the piano-forte have resulted in many important improvements in that instrument, has recently completed a grand piano-forte which, by its power, quality and duration of tone, deserves to rank as an advance on anything yet accomplished. It may be seen at No. 744 Broadway, and is well worth a visit from parties interestd in this truly domestic orchestra ; this real condenser of polyphony ; this solitary muse of the parlor - the piano-forte. The day is not far distant when America will supply Europe with pianos - the day already being past when Europe could supply America. The writing on the wall was seen distinctly in 1862, when an American house (STEINWAY & SONS) bore off the prize at the great London International Exhibition. It was curious then to notice how timidly the great bulk of makers clung to the oldest devices of their craft, and how positively those who had only stepped a little forward found themselves in advance of their contemporaries. In America there has been a steady effort during the past ten years to go ahead of the time ; to leave the old beaten path and strike out boldly into new regions of sound. Hence, the superiority which, in 1862 was regarded as astonishing, but which was, nevertheless, cordially and generously acknowledged. Mr. DRIGGS stands alone in his department, as a pioneer. He has literally hewn a way for himself. From the commencement, the prospects were new and delightful, but it is only now that he has, as it were, settled upon his theories and cultivated them to the point of absolute productiveness. The grand piano, to which we have referred, is an achievement of which he may well feel satisfied. We cannot enter into an explanation of the technical peculiarities of its construction. They are striking to the general perception, and philosophical to the informed mind. The results are a beautiful and extraordinary quality of tone ; a power and roundness of sound that we have not heard equalled. When the instrument has been supplied with a better action than the one which it now possesses, it will, we are sure, command the attention of the musical world. We learn with satisfaction that a large and wealty corporation has taken the patents in hand, and they intend manufacturing pianos on Mr. DRIGGS' principles. Anything that adds to the charm of home is a benefit to the community, and a good piano is one of the happiest means to this end. Mr. DRIGGS has spent a fortune in maturing his plans, we hope he may amass a larger one in their consummation!

(New York Times, Feb. 28 1864)

CARD
  The following private correspondence has been pro cured, with permission for its publication, and we pub lish it for the benefit of those who may feel an interest in the subject.
  Prof. Fradel is one of our most learned and eminent men, in all that relates to the science of music.
THE DRIGGS PATENT PIANO CO.
    Sole Proprietors and manufacturers,
        No. 3 Union-square, New-York.
  MR. S. B. DRIGGS - Dear Sir ; Since I was in the ware rooms of your Company, a few days ago, anad tried your many pianos, I have been ill, and confined to my room, and as many of my professional acquaintances, during their friendly visits, have, in speaking of your pianos, asked my opinion and criticism, I would like to know some thing more of them. That the tone is more full in body, and more free in the singing qualities than can be found in other pianos, any musician can readily perceive, and I would like to known how you obtain such freedom through out the entire scale. I have heretofore been unable to per ceive any marked differences of tone in the various pianos of our best makers. They have each their good points, but I have heard it remarked (and my own observation confirms it) that there is fully as much difference in tone between the several instruments of any one maker, in his own warerooms, as there is between his collectively and those of his neighbor.
  But your instruments, I find, are quite different. They seem to have a clear voice in every note, and a satisfying finish of tone, that I have never heard in the piano-forte before. Will you gratify me so much as to give me a de scription, or rather a scientific analysis of this tone, em bracing your own views on the subject, and I shall be greatly obliged. Respectfully yours,
CHARLES FRADEL,   NEW-YORK, Aug. 28, 1864.
AUGUST 29, 1864.
  PROF. C. FRADEL - My Dear Sir : I hasten to reply to your friendly and excellent letter of yesterday's date, and in doing so, I will at once express my thanks for the opportunity it affords me of answering the important queries you put, and of explaining certain other cogent points suggested thereby. The task, however, of giving an intelligent criticism on an instrument of such dignity, real grandeur and importance, is by no means an easy one, but instigated by your letter, I set myself to it with pleasure ; and let me at once admit that there is much more study applied to the manufacture of the piano now- a-days than formerly. This is shown in the superior in struments manufactured by intelligent makers. It is beginning to be seen that some knowledge of science, some slight familiarity with the inflexible laws that gov ern vibration and sound, is necessary. From such cir cumstances, it is not unreasonable to predict that the next generation will possess a perfect piano. We must not expect too much now, for, study in the right direc tion, has but just commneced, and a trade which has, for a century, has been conducted on a basis of pure tradition, cannot be expected to throw off its prejudices, either willingly or rapidly. A piano maker dies harder than his piano.
  As to my patented improvements, they are plain and simple. A few words of explanation will be all that you will require. Vibration, you are aware, is the first and last condition of sound. Every part of a piano-forte vi brates before the desired note is produced, even to the very hinges and casters. Now, the only portion of the instrument that can be properly used to gather up and magnify this sound, is the outside shell, and it follows, of course, that whatever is added in thickness of timbers, or wood of any kind, becomes a sort of excresence that absorbs and obstructs the free dom, as well as deforms and destroys the purity of tone which the instrument would naturally have, if it were not clogged up by such incumbrances. Necessity has of course to provide the requisite strength for resisting the pull of the strings, (nearly equal to twenty thousand pounds) and experience has demonstrated that wood alone is not adequate to this test. Hence the introduc tion of an iron frame, which all good makers now use. But in my mind, the application of the iron frame, even by the best makers, as they now use it, is almost as un philosophical as it would be to make the instru ment without it. Their mode of manufacture is to construct a thick and heavy case of wood, - braced very strongly - to which they attach an iron frame, and screwing it firmly to the entire case and sounding-board. In this way it is capable of resisting the strains fo the strings, but it does so under conditions that are fatal to its durability. When the in strument is put in a parlor for use, the same temperature and heat that shrinks the thick wood to its smallest pos sible capacity, expands the iron, and so through every change of temperature there is an antagonistic action, t he wood pulliing one way, the iron another. There can be no wonder why the piano-forte (contrary to the well- known fact that all other musical instruments improve by vibration, age and use,) gradually deteriorates in tone until its original grandeur is worn out and nothing but gingling and untunable wreck is left behind.   My pianos are constructed on the general principle of the violin, with but a thin case of wood sufficiently strong to carry an iron frame, action, &c., in their proper posi tions. The iron frame is so braced within itself that it takes the entire pull of the strings.
  The result is, that the tone producing parts of the in strument - namely, the case and sounding board, are wholly free to perform their vibratory functions. Not a single pound of strain is imposed upon them. You can see at a glance, that this is a new feature in the construc tion of the piano, and one which will cause the instru ment to improve with age and long use. At least, its construction and grandeur of tone cannot but remain unimpaired, sufficiently long to wear our a dozen sets of keys and actions. As to the voice-like quality of tone to which you refer, it is the highest compliment you could pay the instrument. That kind of subdued, or [uealed] tone, which seems of late to have become some what of a standard for the piano, caused wholly by an absence of free vibration. I must confess, it is not my aim nor my wish to imitate. It is impossible to obtain a free and open tone by any system of manufacture, (I speak here from experience,) that connects a solid cast iron frame, firmly to, and with the case and sounding board, and there can be no doubt that the tone of my pianos give a much better, richer and more colorable representation of the human voice, than can be obtained from any piano of the ordinary construction. At a short distance from the instrument, or in an adjoining room, it does not require much imagination to believe, that the tones evolved, come from well trained voices. Again, the parts are so well balanced (i. e., the voice in each register, or as you describe it, "a clear voice in every note," is so distinct, that polyphonic playing is compara tively easy and well defined.
  And in this respect I may add, that it is almost impos sible to properly perform the better class of musical com positions on an ordinary made piano. The base is so ap parently ponderous, yet superficial, and so much more FREE in vibration than the tenor and treble, that in changing a singing melody from one part of the scale to the other, it gives the impression to the critical listener, as well as to the performer, that some other instrument has suddenly been called into the performance. The suave and graceful effect of the cantabile is consequently lost. You will in a critical examination of my pianos perceive, that the notes preserve their exact vibratory balance to the end, and therefore do no deflect from the absolute standard of intonation - a matter of vital importance, not only in a melodic sense, but in every consideration that attaches to the sci ence of music. On all other pianos that I have ever heard, the vibrations are so cramped and enslaved, that they only perform a part of their work, and generally disappear in whirring harmonics, long before the value of the note has been obtained. I am aware, of course, that these harmonics are natural to all musical vibration, but they ought not to become the most prominent sounds, and their presence in fact is always a defect. It is be cause certain wind instruments are free from this blem ish, that they excercise their remarkable charm over the senses. The clarionette is acknowledged to be the in strument, that most nearly approaches the human voice, and it will not take long for any one to decide that my pianos have even stronger affinites to nature, than the instrument I have named. Sincerely yours,
S. B. DRIGGS.

(New York Times, Oct 10, 1864)

(New York Times, May 3, 1866)

(Trow's New York Directory, 1867)

(New York City Directory, 1857)

(New York Times, Feb. 6, 1860)

(New York Times, Feb. 18, 1860)

(Brooklyn Daily Eagle, 19.06.1860)

John B. Dunham.
	Overstrung Grand Square and Upright Pianos.
	Established in 1834.
Are pronounced to be the best Pianos manufactured. Each Instrument warranted 5 years. Send for Circular. Warerooms and Manufactory, 75 to 85 East 13th Street, near Broadway, N.Y.

(Harper's Weekly, 1861)

(New York Times, Dec. 10, 1864)

(New York Times, Mar. 15, 1866)

(New York Times, Apr. 16, 1866)

(Guide to Washington and Vicinity, 1868)

	UNHAM
	PIANOS
	Dunham & Sons, Manufacturers,
	Warerooms, 18 East 14th St.,
	[Established 1834.]		NEW YORK.
Prices Reasonable.		Terms Easy.

(Georgetown Courier [CO] June 13, 1878)

(Trow's New York Directory, 1867)

(Quincy Daily Whig [IL], Oct. 21, 1854)

(New York Times, Dec. 10, 1865)

	EMPIRE CITY
	PIANO-FORTE COMPANY,
	MANUFACTORY AND WAREROOMS,
178 PRINCE STREET, five blocks West of Broadway, New York.

(Trow's New York Directory, 1867)

(The Cranbury Press [NJ], Aug. 17, 1888)

(New York Daily Times, Apr. 14, 1853)

(New York Daily Times, June 4, 1853)

(New York Times, 28.09.1859)

(New York Times, Dec. 24, 1861)

(New York Daily Times, Dec. 15, 1852)

(New York Daily Times, Apr. 14, 1853)

(New York Times, July 22, 1860)

(New York Times, Dec. 24, 1861)

(New York Times, Feb. 8, 1862)

(New York Times, Dec. 24, 1863)

(New York Times, Feb. 16, 1866)

(New York Times, June 9, 1866)

(New York Times, Oct. 26, 1866)

(New York City Directory, 1867)

(Trow's New York Directory, 1867)

ERNEST GABLER, manufacturer, born in Glogau, Germany, Jan. 1, 1824, died in New York city, Feb. 27, 1883. While not so famous as several other of the piano manufacturers of New York, he was a very successful man, and by quiet and persevering industry gained an excellent fortune. He came to America in 1852, and two years later began the making of pianofortes. The factory is now on East 22d street, and a large establishment. When his brother Emil became a partner, he adopted the firm name of Ernest Gabler & Bro., which is yet retained. His wife, one son, and several daughters inherit his property.

(America's Successful Men of Affairs, 1895.

(New York City Directory, 1857)

(New York Times, Sep. 6, 1859)

(New York Times, Feb. 18, 1860)

(New York Times, Jan. 19, 1864)

(New York Times, Aug. 20, 1865)

(Trow's New York Directory, 1867)

New Patent, A. & W. Geib, 23 Maiden Lane, New York

(ca.1823-1828; The Furniture of our Forefathers, 1906)

[A. & W.] Geib have reopened their store, 23 Maiden Lane, where they offer an extensive assortment of pianofortes of their own manufacture, also some by Clementi and Broadwood.

(1823; The Furniture of our Forefathers)

[John Geib and Son] respectfully inform the public and lovers of the arts that they have just constructed a Forte Piano on a new plan, it having 4 pedals : 1st, the Harp ; 2d, the Bassoon ; 3d, the Full Chorus ; 4th, the Swell, to which they invite the curious and ingenious, hoping it will meet their approbation.

(1807; The Furniture of our Forefathers, 1906)

[John and Adam Geib & Co. advertise a] superb musical clock manufactured in Paris, which plays a large variety of the best music, set on six barrels, and is united with a first-rate time-piecs. It is perhaps superior to anything of the kind imported into the United States ; being valued at thirteen hundred dollars ; and is offered for sale at that price, or will be exhibited to any Lady or Gentleman who will honour the above named firm with a call at their Piano Forte warehouse and wholesale and retail music store, No. 23 Maiden Lane.

(1817; The Furniture of our Forefathers, 1906)

(New York Daily Times, Apr. 14, 1853)

(Trow's New York Directory, 1867)

(The Canada Directory, 1851)

(New York Daily Times, Apr. 14, 1853)

(New York Herald, Apr. 13, 1869)

(New York Times, May 22, 1862)

(The Columbia Spy [PA], Dec. 2, 1865)

(Liberty Weekly Tribune [MO], Dec. 7, 1866)

(Trow's New York Directory, 1867)

(New York Times, Sep. 11, 1858)

(New York Times, May 12, 1860)

(New York Times, Oct. 20, 1862)

(New York Times, Feb. 10, 1863)

(New York Times, Apr. 10, 1863)

(New York Times, Dec. 24, 1863)

(New York Times, Jan. 19, 1864)

(New York Times, Oct. 26, 1864)

(New York Times, Oct. 23, 1865)

(New York Times, Jan. 10, 1866)

(New York Times, Mar. 15, 1866)

(New York Times, Dec. 24, 1866)

(Daily Denver Gazette [CO], Feb. 21, 1868)

(New York Herald Dec. 29, 1869)

(New York Herald, May 16, 1872)

(New York Times, Oct. 20, 1862)

(Industrial America, 1876)

DESTRUCTION BY FIRE OF HALE'S PIANO FACTORY, ON WEST THIRTY-FIFTH STREET, SEPTEMBER 3D.

(1877; Mid-Manhattan Picture Collection)

A Large Piano Factory. - Hale's new piano-forte factory, Philadelphia, is said to be the largest building of the kind in the United States. It is of brick, with walls 24in. thick, and is eight stories in height. On the top floor three immense iron tanks have been placed, which are filled with water from the roof. Connected with these are iron pipes extending through each floor. To the pipes hose is attached, so that a flood of water can be poured upon any part of the building. On every floor rows of pails filled with water are keps contantly standing. The building is a vast storehouse of inflammable material, however, and a fire once under headway could not be extinguished. The only hope would be that the 1,200 workmen could all get down the stairways at either end of the building, or make their escape by the endless chain fire escapes which hang outside the windows on each of the four sides of the building. Iron shutters protect the exposed windows, and the drying rooms are of solid iron. The stoves and glue pots stand on immense brick hearths, and on every floor is stationed a man whose duty it is to keep an eye on inflammable material. When all the machinery is in place the capacity of the factory will be 200 pianos a week.

(English Mechanic and World of Science, Aug. 2, 1878)

Within the last two years, one of the New-York factories (that of Joseph P. Hale) has begun to do business on a scale which promises to put its sales ahead of the houses of both Chickering and Steinway. Mr. Hale, a Massachusetts man by birth, began piano-making in New York in 1860, after having first accumulated a fortune in the crockery and real-estate trades in Worcester, Mass. His purpose was to cheapen the selling-cost of the piano. He wasnted "the people," as contrasted with the upper ten thousand, to have a piano which would be both good, and cheap enough for them to afford. He entered upon the manufacture on a large scale, and by 1872 had a factory in New-York City capable of building sixty pianos a week. He has recently undertaken to increase the capacity of his factory to a hundred and fifty pianos a week ; which would be three times greater than that of any other factory in the world, and would supply one-fifth of the trade of the continent. Mr. Hale's operations made a great sensation in the piano-trade in 1877.

(Industrial History of the United States, 1878)

(Don Giovanni, 1857)

(New York Times, Sep. 6, 1859)

(New York Times, Sep. 19, 1860)

(New York Times, Dec. 24, 1863)

(Trow's New York Directory, 1867)

WHOLESALE AND RETAIL

Special Wholesale Rates to Catholic Institutions.

Pianos shipped to all parts of the world. Every Piano warranted for five years. Send for Illustrated Catalogue to H. HARDMAN, Pianoforte Manufacturer, corner 57th Street and 10th Avenue, New York City.

(The Illustrated Catholic Family Annual, 1874)

(New York Times, Sep. 6, 1859)

CHRS. HAUSMANN & CO.,
PIANO-FORTE MANUFACTURERS
No. 1 BROOME ST.,		Cor. of EAST STREET, NEW YORK.
CHRS. HAUSMANN,	ADAM SCHMITT,	JOHN MILLER.

(Trow's New York Directory, 1867)

(New York Daily Times, Dec. 15, 1852)

(New York Daily Times, Apr. 14, 1853)

(New York Daily Times, June 4, 1853)

(New York Times, Sep. 6, 1859)

(New York Times, Jan. 1, 1861)

(New York Times, Jan. 5, 1863)

(New York Times, Dec. 28, 1865)

(New York Times, Dec. 24, 1866)

(Trow's New York Directory, 1867)

(Trow's New York Directory, 1867)

(Trow's New York Directory, 1867)

(Trow's New York Directory, 1867)

(New York Daily Times, Apr. 14, 1853)

(New York Times, June 10, 1863)

(New York Times, July 25, 1863)

(Brooklyn Daily Eagle, 14.11.1845)

(Trow's New York Directory, 1867)

(New York Times, Jan. 25, 1865)

(Trow's New York Directory, 1867)

(Brooklyn Daily Eagle, 24.01.1868)

IHLSENG & HOLMSTROM

Manufacturers of

PIANO-FORTES,

Warerooms, No. 530 Fulton Street, Brooklyn, N.Y.

Pianos, Parlor and Church Organs for sale
on monthly instalments. Old Pianos
taken in exchange.

(New York State Directory, 1870)

(New York Times, May 27, 1865)

(Trow's New York Directory, 1867)

JAMES & HOLMSTROM, Manufacturers of Grand, Square, and Upright Pianos, 233 and 235 East Twenty-first Street.-The, firm of Messrs. James & Holmstrom has been for several years before the American people, as manufacturers of first-class grand, square, and upright pianos, and their standing has always been of the highest character. There are a number of other houses more pretentious, which advertise in high-sounding phraseology, but for an honest, reliable, trustworthy firm with which to deal, we do not know a better one than Messrs. James & Holnstrom's in the piano trade. The present firm was organized in 1872, the copartners being F. P. James and Andrew Holmstrom, both of whom are practical and experienced piano makers, fully conversant with every detail and feature of the business and the requirements of patrons. The premises occupied comprise a superior four story and basement building, 50x100 feet in dimensions. The workshops are fully supplied with the latest-improved tools, appliances, and machinery known to the trade. Highly-skilled workmen are employed, and the machinery is driven by steam power. By adopting sundry new and valuable improvements, suggested by years of experience, the firm have succeeded in imparting to their pianos a matchless purity and evenness of tcne throughout the entire scale. The touch of these splendid pianos is light and elastic, the tone brilliant and sonorous, with an exquisite, clear treble, devoid of that metallic ring so noticeable in pianos made by many celebrated manufacturers. In point of finish, style, durability, and quality of tone, these pianos are fully up to the stardard so long sought for by leading professional and amateur pianists, being desirable alike for the requirements of the parlor, or the severer tests of the concert, hall. Messrs. James and Holmstrom have received numbers of flattering testimonials from eminent musicians throughout the United States and abroad, many of whom have tested these pianos for years, and without hesitation rank them among the leading instruments of the present day. The firm warrant every grand, square, or upright piano that leaves their warerooms, for a term of five years. Messrs. James & Holmstrom make a specialty of upright pianos. and are prepared to furnish upright instruments that will stand in tune as long as sny grand or square piano ever manufactured, while in point of quality and quantity of tone, strength, elegance, and durability, these piano fortes are absolutely unrivalled in the United States or Europe. This responsible firm does not aim to compete with the so-called cheap pianos that flood the market, but desires only to furnish an instrument that will be a credit to the partners and a pleasure to the buyer: consequently the prices have been arranged as low as good workmanship and first-class materials will admit. Mr. James is a native of New York State, while his partner, Mr. Holhnstrom, was born in Sweden, but has resided in America for the last quarter of a century. During the civil war, Mr. James enlisted in the Forty-fourth New York Volunteer Infantry, and served with credit and bravery from 1861 to 1865 in the Army of the Potomac. He was present at several important battles, and was noted for his devotion to the cause of the Union. Both gentlemen are highly esteemed by the community as liberal honorable, and conscientious business men, and their prospects in the near future in the piano trade are of the most encouraging and flattering character. They take pleasure in extending to any persons contemplating the purchase of a piano a cordial invitation to hear, see, and examine their splendid instruments before purchasing elsewhere.

(Illustrated New York, 1888)

(New York Times, Dec. 13, 1865)

(New York Herald, May 18, 1869)

(Trow's New York Directory, 1867)

(New York Times, May 2, 1860)

(Trow's New York Directory, 1867)

(New York Times, Dec. 24, 1866)

(Trow's New York Directory, 1867)

(Trow's New York Directory, 1867)

(Trow's New York Directory, 1867)

(Trow's New York Directory, 1867)

(Brooklyn Daily Eagle, 04.09.1874)

(Trow's New York Directory, 1867)

(Trow's New York Directory, 1867)

(Trow's New York Directory, 1867)

(Trow's New York Directory, 1867)

(New York Daily Times, Dec. 15, 1852)

(New York Daily Tines, Apr. 14, 1853)

(New York Times, Jan. 8, 1858)

(New York Times, June 19, 1858)

ANOTHER VICTORY!
LIGHT, NEWTON & BRADBURY'S Piano FOrte Ahead
in New England. Received the First Premium
at the Connecticut State Fair.
L	OWELL MASON, JAS B. WEBB, NATHAN RICHARD- SON, well known as the best Musical Authority in
Boston pronounce them equal to any Piano FOrte made in the United States. All disinterested Professors, Ama- teurs and Judges of a good Piano in New York pronounce them the best.   BOARDMAN, GRAY & CO.'S CAMPANA ATTACHMENT, cer- tainly are the only Piano Fortes, whose exquisite sweet- ness of tone, and so celebrate all over the world, compare with the above instruments.
E. M. MANN, ERIE, PA.,
Is sole agent for the above manufacturers, and has a five assortment at New York prices on time for approved paper, or a liberal discount for cash.
	Also an assortment of other Pianos at great bargains. 4 Second hand Pianos at bargains. 15 Piano Stools from $5 to $12. 12 Piano Spreads, Beautiful Patterns, cheap. 25 Music Portfolios, 4 to, the most splendid. 150 Guitars, Violins, Banjos, Flutinia, Accordeons, Flutes, &c., &c.    Sheet Music at Reduced Prices.
Erie, Dec. 8, 1855. 30		MANN'S Music Store.

(The Erie Observer [PA], Jan. 26, 1856)

(New York Times, Sep. 6, 1859)

(New York Times, Feb. 18, 1860)

(New York Times, May 8, 1860)

(New York Times, Sep. 19, 1860)

(New York Times, Jan. 25, 1863)

(New York Times, Mar. 25, 1863)

F. C. Lighte, & Co.

Manufacturers of

FIRST CLASS GRAND & SQUVRE

Piano Fortes.

Sole Patentee of LIGHT'S celebrated Pat- ent Insulated Iron Frame. Are also makers of the very BEST PIANO-FORTES in the Market,

Having been awarded the

Highest Premium at the American World's Fair,

and the Exhibition of the Industry of all Na- tions. Besides numerous other Gold and Sil- ver Medals, together with testimonials from all the most distinguished Musical celebrities in Europe and America.   They have just received the Highest prem- ium at the Illinois State Fair - The Indiana State Fair - The Iowa State Fair - The Wis- consin State Fair, etc. In competition with the most celebrated Manufacturers of New York, Boston, Philadelphia, Baltimore, &c.   Warerooms - 421 BROOME STREET, Near Broadway, New York city. Orders by mail promptly attended to - send for circular.

(Daily Denver Gazette [CO], Jan. 7, 1868)

LINDEMANN, Wilhelm
(Article entitled Der aelteste deutsche Pianofabrikant in Amerika" [The Oldest German Piano Manufacturer in America]). ... The reputation of STEINWEG, WEBER, KNABE, DECKER, STECK, and other factories in the East, and that of Messrs. BRITTING and BIERE & son in Cincinnati is well-known. [We present] the biography of the oldest of them, Herr Wilhelm LINDEMANN. The owner of the well-known piano factory Lindemann and Sons came from the capital and residence city of Dresden, Saxony, from whence the father [Wilhelm LINDEMANN] emigrated to New York more than forty years ago. He was the third son of the preacher Karl Gotthilf LINDEMANN of Mauersberg, a village near Annaberg in the Erzgebirge. The family had a tradition of having come from Thuringia and that they were related to the mother of Dr. [Martin] Luther, who was a Lindemann. Wilhelm [Lindemann's] father came from a simple bourgeois family (his father was a weaver) and attended the municipal gymnasium [highschool] in Zwickau, thereafter [the University of] Wittenberg, an institution famous from the time of Luther. [The father] studied Theology and thereafter became the poorly paid rector of the municipal school in Joehstadt on the Bohemian border in a rough and lonely area of the Erzgebirge. Here he became the father of numerous children by his wife Amalia LANGER (five of the thirteen children died young). Of the seven surviving sons, six attended universities and only the third, Wilhelm [Lindemann], born on 28 Mar. 1794, devoted himself to ... craftsmanship.
After having learned cabinetmaking from an uncle on his mother's side in his birthplace of Joehstadt, Wilhelm Lindemann decided to perfect his craft in places outside this small and remote mountain village. He went to Wien [Vienna] in 1812 and devoted himself to perfecting himself in artistic cabinetmaking [Kunsttischlerei], an art which he was later to use in the manufacture of pianos. He then worked for a year as a pianomaker in Muenchen [Munich] and thereafter in the famous establishment of BREITKOPF and HAERTEL in Leipzig, and lastly with ROSENKRANZ in Dresden. He then went into business for himself, not limiting himself to old methods but inventing many improvements in pianomaking which were innovations in Europe and eventually led him to come to America. Unfortunately, he did not have sufficient capital to maintain a large warehouse or to become a salesman, which was a great disadvantage, because the dealers in Dresden and Leipzig to whom he sold his pianos took all the profits, leaving him poor.
As a consequence, [Lindemann] decided to turn his back on the Fatherland and to emigrate to America leaving his family in Germany. He landed on 19 Dec 1834 in New York without knowing the language or business practices of the country. While staying at one of the many German boardinghouses in New York, he learned that there were only two piano factories in America : DUBOIS and STODART in New York and CHICKERING in Boston. [Footnote : The firm of Dubois and Stodart later became Stodart and DUNHAM, when Herr Dubois left the firm and came to Cincinnati, where he founded a piano and billiard factory on Sycamore Street. His firm was unprofitable, but he carried on the business until the beginning of the 1850s in Cincinnati.] The New York firm [Dubois and Stodart], wherein a Frenchman was principle sotckholder, was the leading firm. Employing an interpreter, Herr Lindemann went to [Dubois and Stodart] where he met a German named -- UNGER, a salesman. Lindemann asked for work and [Unger] promised to speak on his behalf but informed him that the pianomakers had a protective association which had to give its agreement to the hiring of new workers. The next day the association held a shop meeting and approved his hiring. However, the delay of several days in finding work made [Herr Lindemann] highly indignant.
At that time, New York was not yet the powerful "world city" it is today, but for America it was a metropolitan center. The piano and musical business was still quite primitive. The most important of the stores was the firm of GEIB and WALKER at 23 Maiden Lane. It was in this store that Herr Lindemann became the tuner and repairman... Herr Lindemann was paid eight dollars weekly in salary.
Herr Lindemann left the boardinghouse and rented a room together with a shipmate, Herr -- PRUNO. He bought a pair of ordinary chairs, a table, and a stove, and cooked his own meals. By such economies he was able to save $80 in a few months, which he sent to his family in Germany. It was not long until his weekly salary was increased to twelve dollars, and, since he also made repairs and did other work privately, he soon earned between eighteen and twenty dollars per week -- then a really good sum. The next year he sent for his family ; they arrived safely in New York on 27 Oct 1835 accompanied by his brother-in-law Dr. Anton GESCHEIDT.
The next year (1836) Lindemann established his own business at the corner of Bank and Fourth streets. The business was small, with only one journeyman worker, and came near to being closed, when the bank crisis of 1837 caused many enterprises to fold. During this crisis Lindemann met Herren -- SIMON and -- GERDING who offered him a place in Jamaica, Long Island, which he found necessary to accept. In 1842 he moved back to New York and established his business on James Street, where his oldest son, Hermann [LINDEMANN] helped him. By 1844 Lindemann had so expanded his business that he was able to produce two instruments per week ; consequently he had to move his shop to Centre Street and to enlarge it.
Five years later (1849) Lindemann made his son Hermann a parnter in the business. Inn the same year he moved the shop to 56 Franklin Street and began producing four instruments per week. He remained here until 1858, when he moved his factory to 171-173 Mercer Street. It was here that Hermann Lindemann developed the "Cycloid" piano in 1860, which brought the firm considerable fame.
The Civil war had its influence on the firm, and half of the workers had to be dismissed. In 1863-1864 the business improved and, when the "Cycloid" piano began to be promoted, the firm flourished. The factory again had to be expanded, so that the building at 92 Bleeker street was rented and about eight pianos per week were manufactured. In 1864 two additional sons, Heinrich and Ferdinant LINDEMANN became partners in the firm which today is one of the most prosperous in the country.
Lindemann pianos are to be found throughout the world -- Germany, France, Mexico, the West Indies, South America, California, Oregon, and even in the Sandwich Islands. Since sales in the American West were particularly important, the firm found it necessary in 1874 to found a branch [Zweighaus] in Cincinnati at 173 West Fourth Street under the management of the oldest son Hermann Lindemann. 1st March [1875] Herr Wilhelm Lindemann, the oldest [living] manufacturer in America, celebrated his 82nd birthday.

(Early 19th Century German Settlers..., 1984)

(New York Times, Aug. 23, 1860)

(New York Times, Sept. 19, 1860)

(New York Times, Dec. 25, 1865)

(New York Herald Dec. 29, 1869)

(New York Herald, May 16, 1872)

Lindemann & Sons, Manufacturers of Pianos, No. 92 Bleecker Street. - The firm of Lindeman & Sons has long been before the American people as manufactueres of first-class pianos, their standing being amongst the highest. There are other houses more pretentious who advertise in high-sounding phraseology, by for an honest, reliable, trustworthy firm with which to deal we do not know a better in the piano trade. The history of the house is one which dates away back to the year 1821, when the firm began to manufacture in Dresden, Saxony. The date of the establishement of the New York house is 1836. A full and comprehensive line of grand, square and upright pianos are made by this reputable firm, which find a large and constantly increasing sale throughout the length and breadth of the United States, and which are ever to be found highly endorsed by those using them. The following award for distinctive excellence may be given as few amongst many prizes, namely the gold medals at the American Institute Fair, 1865 and 1867 ; Indiana State Fair, 1865 ; Kansas Agricultural Society, 1863 ; Ohio State Fair, 1882. It is not too much for us to say that the Lindeman piano is sought after in every corner of the globe, and may be found in France, Germany, Mexico, South America, Japan and the Sandwich Islands. Their sweet, deep, sympathetic tone is their distinctive characteristic. This, combined with their faultless action and elegance of design and fineness in finish, make them the most desirable pianos in market. The patent cycloid pianos of this firm's manufacture well merit them the universal approbation and large patronage given them. In fact we do not consider them other than equal to the best concert grand. For tone and strength and expression we cannot conceive of any better, and have no hesitancy in recommending them as such to the readers of this review. Since the introduction of the cycloid it cannot be denied but that the square pianos are becoming articles of ancient furniture and are not held in the esteem they once were. It is needless for us at this writing to prolong the article bearing on this house. Thousands of endorsements of those who have used them might be here given. It is sufficient to say that the house has an untarnished name for honor, honesty and square dealing. They may be consulted either from their New York headquarters, No. 92 Bleecker Street, or their Cincinnati branch, No. 173 West Fourth Street.

(New York's Great Industries, 1884)

(Trow's New York Directory, 1867)

PIANO FORTES.

(New American Practical Navigator, 1826)

(Trow's New York Directory, 1867)

(New York Times, May 1, 1860)

(Trow's New York Directory, 1867)