Recording Artist Autographs

[NateO]

I've been meaning to share this small collection I've been working on for the last few years. I pick these up whenever I find them for a fairly cheap price, and while I can't confirm if they are authentic, I've paid so little I don't really worry about it. I'll split the images over a few posts to hopefully make this a little less cluttered. If anyone else happens to own some old autographs, it would be great to see them!

 

First up is Ernestine Schumann-Heink (1861-1936), who probably needs no introduction. What I find neat about her is that she generally dated her autographs, which allows for some additional research. In this case, it is signed in Fort Worth, TX during April 1926. Even though she was in the twilight of her career, evidently Schumann-Heink visiting town was still a notable affair, as evidenced by the attached newspaper articles. She was even to have thrown the first pitch at a local baseball game, but that and her concert had to be cancelled due to an "attack of laryngitis". 

[NateO]

Next up are a few different artists:

 

Reinald Werrenrath (1883-1953) is certainly well known, largely for his Victor recordings, but he also recorded for Edison early on in his career. He’s always been a favorite of mine, and is notable for being one of the few artists whose recordings were released on all of Victor’s label series, black, purple, blue, and finally Red Seal records!

 

Geoffrey O’Hara (1882-1967) is probably more well known as a composer than a singer, but he did record occasionally, including “Navajo Indian Songs” on Edison BA 2451 and a number of Victor discs in the WWI era. His most notable composition was K-K-K-Katy in 1918.

 

Edward Johnson (1878-1959) was a member of the Metropolitan Opera who recorded for Columbia in 1915, and then Victor from 1919-1928. Later on, he became the manager of the Metropolitan Opera. Judging by how few recordings were made and released by Victor, I would gather Mr. Johnson wasn’t a very big seller.

 

Margaret Young (1891-1969) made a number of recordings for Victor, but only one, “On by Jingo!” was ever released by Victor. Young went on to record for Brunswick from 1922-1925, with a number of records being released in that time frame. Interestingly, she came out of retirement in 1949 and recorded for Capitol Records.

[NateO]

Lastly, I saved my two favorites. I would venture to guess most of us are familiar with these two names. Both men had highly successful and similar careers. They both came onto the recording scene in the early 1910s, and were remarkably prolific. In the 1920s, with the rise of dance bands, they both were ubiquitous as vocalists on these records. As their recording careers died off, they entered into radio and also found some success in that field. I value these two the most, because I own so many records by these gentlemen, and many of them I really enjoy!

 

Irving Kaufman (1890-1976) signed this autograph in 1938, during which time he was starring as “Lazy Dan the Minstrel Man” on CBS Radio.

 

Arthur Fields (1884-1953) also gave this autograph in 1938, during which time he was performing on a radio show called “Sunday Drivers”. Fields also had some skills as a songwriter, with a number of his works actually being recorded and seeing some popularity. His co-star on this radio show, Fred Hall (1898-1954) was a noted musician in his own right, as a bandleader and composer on many dime store labels. Fields frequently recorded with Hall’s bands in the late 1920s.

[melvind]

That is a nice archive. Thanks for sharing!

[Tinfoilphono]

That's a great collection of phonograph-related memorabilia. It certainly 'humanizes' those recording artists.

[Fran604g]

Nice collection Nate! As always, your posts are informative and interesting.

[Guest]

I have 2 Ted Lewis signed records and a Tex Beneke autograph. I also have a copy of the Weber and Fields biography signed by them both. Come to think of it I have a record from the WLS players signed by their fiddle player. Nothing that exciting, really.

[phonogfp]

Years ago I stumbled upon this card autographed by Schumann-Heink.  Looks like she spent some time in Texas during early 1926.

 

George P.

 

[NateO]

I'm glad you all enjoyed this small collection of mine. I just wish autographs like this were more common!

 

George, that is neat. She must have been on a tour out that way. It must have been quite an experience for record buyers to see and hear these famous singers in person!

[NateO]

I completely forgot I had this one! It's not exactly an autograph, rather a lithographed souvenir from an Edison Tone Test. 

 

I admittedly don't own any of her records, but Sibyl Sanderson Fagan (1895-1974) was a noted whistler. I don't know about the rest of you, but that's definitely not my listening style... I don't recall who the last surviving early recording artist was, but she must have come close, making it all the way into the mid-1970s. 

[NateO]

It's been quite a few years since I last updated this, but I thought I would add some of the autographs I've acquired since these posts were made. 

 

These first two are actually printed, not signed by hand.

 

Gladys Rice (1890-1983) was a soprano who recorded for numerous companies in the 1910s and 1920s. It's the size of a postcard.

 

The second is George Wilton Ballard (1876-1950), a tenor best known for his Edison recordings (though he did record occasionally for other companies). Ballard is also notable for appearing in Edison's Kinetophone movies. From what I can tell, his recording career dropped off by 1925. He made only two electric records that I can find, both released on Columbia 612-D in 1926. Ballard did not receive label credit for these recordings, rather he was an uncredited part of the Sibyl Sanderson Fagan Ensemble. This was evidently printed to be handed out at Edison tone tests.

 

[NateO]

On the topic of Edison tone tests, very nice certificates were available to people who purchased machines as the result of the tone test recital they attended. This example has the serial number of a phonograph, but was never fully completed. Nonetheless, it is signed by Helen Clark and Joseph A. Phillips (1877-1958). They both recorded as soloists, and were often paired together for duets.  In addition to appearing on Edison records, they each recorded for a number of other labels. There is a third signature on this certificate, but I can't figure out who it is. Any ideas?

 

[NateO]

In the vein of more “highbrow” artists, we have soprano Anna Case (1888-1984). I believe she recorded exclusively for Edison and toured extensively for tone tests. Having lived to 1984, I’d imagine she was one of the last living artists who had recorded in the acoustic era!

 

Irish tenor John McCormack (1884-1945) spent the majority of his recording career as an exclusive Victor artist. I’m sure he needs no introduction here. This autograph was signed less than two months before his death on September 16, 1945.

[NateO]

If ever there was a singer who needs no introduction, it’s Canadian born tenor Henry Burr. Between his solo recordings, duets with Albert Campbell, recordings with the Sterling Trio and Peerless Quartet, his recorded legacy easily numbers several thousand sides. He eventually became an exclusive Victor artist, but prior to that he would happily work for any company who could afford his services. Here are two autographs and one printed example. I’m particularly fond of the signed disc!

[NateO]

John Bieling (1869-1948) is a name not likely familiar to most collectors. Very few record labels bear his name, but he was an important part of the Haydn Quartet (aka the Edison Quartet on brown wax and Gold Moulded cylinders), the American Quartet, and the Heidelberg Quintet. His career began in the 1890s “by the round” days of long recording sessions, and in 1914 he was forced to retire from recording entirely due to the damage his voice sustained. The first “John Bieling Day” was held at his home, a gathering of early recording artists and their fans and these would continue for a few years after his death.

Ironically, the American Quartet record he signed here was recorded after he was forced to retire.

[NateO]

Richard Jose (1862-1941) had a very unique countertenor voice and unfortunately had a short recording career, though he was quite successful on the minstrel stage. A brown wax cylinder exists, recorded c. 1892 for the New England Phonograph Company. His recording career really kicked off in 1902, and he recorded exclusively for Victor for just three years. His recording career likely stopped due to an accident on the stage in 1906. Jose was best known for his rendition of “Silver Threads among the Gold,” and stared in a 1915 silent film centered on that song. After nearly 25 years away from the recording studio, a 68 year old Richard Jose stepped before the microphone for the first time, and made his only electric recordings. These were recorded by MacGregor and Ingram, and available locally in San Francisco (see the ad from the San Francisco Examiner, April 25, 1930). Some of the discs were signed in white ink, as was this example. These recordings are available on YouTube, and despite his advancing years, Jose sounded as good as ever!

[NateO]

Lastly comes one of my favorites, Will Oakland (1880-1956). Born Herman Hinrichs in Jersey City, he joined the Primrose Minstrels in 1905 after being discharged from the Cavalry. Like Richard Jose, Oakland had a unique countertenor voice. He was a success on the minstrel stage, then moved into vaudeville in the early 1910s. He also began a recording career, starting with Edison in 1908 and recording for a number of labels. His recording career gradually tapered off in the late 1910s/early 1920s, but by that time he was a popular radio artist and a nightclub impresario. His career spanned half a century, from the acoustic era to the era of television, with multiple appearances on the Ed Sullivan show. He was still active up to the day of his death.

 

A bit of an aside— if anyone has an Will Oakland records they’d like to sell, please reach out to me. I’m particularly seeking his Edison Diamond Discs, and recordings for Pathe, Emerson (9” discs), Symphonola (9” discs), Okeh and Zonophone.

[phonogfp]

Nice collection of autographs, Nate!

 

I think Will Oakland might deserve an article sometime...!

 

George P.

[Tinfoilphono]

That's an incredible collection. I think all of those deserve to be in an article. It's an amazing and very specialized facet of our hobby.

[Fran604g]

Nate, I'm always impressed by what you bring to "the hobby"! 

 

Thank you for sharing your knowledge with us all, I look forward to seeing you again soon.

 

Fran

 

P.S.: the Certificate of Authenticity for SN 103837 hanging on my diningroom wall adjacent to my beloved C250 was signed on 23 September 1920 by Hardy Williamson and [the] Fleming Trio.

[RodPickett]

Interesting thread.  Thanks for starting it Nate.  Sadly, I have no examples.

[NateO]

Glad you all enjoyed these! I'm a big fan of music of this era— it's what I listen to on a daily basis, either digitally or on a phonograph. So, I enjoy collecting mementos of these singers. I certainly wish these autographs were easier to come by. I'd say my 'holy grail' autographs would be those of Harry Macdonough and Billy Murray. I don't know that this collection would necessarily warrant an article, but I suppose it could be interesting. My other oddly specialized collection is seeking out very late/the final recordings of these artists, especially for the guys who recorded for Berliner or on brown wax.

 

George, be careful what you wish for! I've got several articles written on Oakland, and others in progress. I'm just a slow writer. One of these days…

 

Fran, that's very cool! I thought you had one of those. I wasn't familiar with either of those artists, but I find the Fleming Trio to be interesting choice. Looks like they were an instrumental group, so I imagine that made for a different tone test recital than the usual vocalists. What I wouldn't give to have attended one of those events.

 

[Fran604g]

53 minutes ago, NateO said:

 

Fran, that's very cool! I thought you had one of those. I wasn't familiar with either of those artists, but I find the Fleming Trio to be interesting choice. Looks like they were an instrumental group, so I imagine that made for a different tone test recital than the usual vocalists. What I wouldn't give to have attended one of those events.

 

To attend one of those events would've been really fun!