Carousel Organ, Issue No. 33 — October, 2007 Organ Figures Shane Seagrave echanical organs have provided music for switch- century. Nobody is sure how they actually started to be used backs, shows and merry-go-rounds for many a on fairground organs, but the early French instruments often Mdecade. They have provided much enjoyment and a were designed, (intentionally or by accident!) in the style of a unique atmosphere to the midways, first powered by hand European parlor “sideboard,” which would have contained fig- cranking, then by steam engines and finally by electrical power. urines and various other ornaments that a family would own. Many of the early organs were made by the famous Gavioli Fronts of the mid-19th Century large barrel organs often company of Paris (Figure 1) but later, other French organs, appeared to be similar to a sideboard, even with the mantle made by the Limonaire Brothers, Gasparini and Marenghi fac- cloth which was often draped across the top of it (represented in tories, joined an ever-growing market. In addition, there were carved work on the organ front) and perhaps the carved figures instruments made in Germany—such as Bruder, Ruth, were intended to represent their china equivalents; those which Wellershaus, Hooghuys, and Van Der Beeken, and Verbeeck were often proudly displayed on a sideboard. They were cer- from Belgium. tainly added to provide an extra eye-catching attraction for the organ. After all, those instruments which have no figures on the front—unless they have moving lights or visual percussion mechanisms—can be pretty boring, from the view of the gener- al public. My theory is that the appearance on the organ of “lit- tle people” acted as a draw to children and adults who would, perhaps, have found music emanating from a strange machine perhaps rather frightening! In the 1880s, when impressively large French and German barrel organs—often up to 130 keys—were commonplace at European and American fairs, Figure 1. Two static organ figures carved by Demetz adorn the facade automated figures of a Gavioli & Cie fair organ. representing mili- tary servicemen Preserved today in many of our collections, these organs (Figure 3) were at are a musical reminder of the past—a time often referred to as their height of popu- the “good old days.” A prominent feature of many organs was larity. Bandmasters some type of figurine (Figure 2), either an animated or static tended to be dressed form which today we associate with fairground or band organs. in an Army or Navy It is in this respect that I officers uniform, would like to enlighten you often complete with with this article. a plumed hat. There As to its precise ori- were large four feet Figure 3. An ornately painted conductor figure gins the organ figure has a high trumpet players dressed in military style. vague early history. In par- standing at the side, ticular, just how they came superbly carved and painted in matching uniforms. They would to be carved for mechanical turn their heads and raise their instruments to their mouths as musical instruments is pret- the trumpet pipes of the organ came into play. This is consistent ty obscure. It seems to stem with the times when you consider that mechanical organs were back to the time when indeed intended to represent and, in many cases replace, mili- 'tableau vivant' (living tary bands. These appropriately termed “band organs” were, scenes) were very popular from the 1890s onwards, increasingly being used by showmen on the early street barrel to replace their costly live bands which, previously, had com- organs, particularly those monly supplied music on the fairgrounds during the 19th centu- that were used in Europe at ry. Figure 2. An animated conductor fig- the beginning of the 19th ure ready for action. 15 Carousel Organ, Issue No. 33 — October, 2007 As the Edwardian period (1901 - 1910) pro- gressed, French- made organs sold into the English market, tended to be adorned with female figures carved in the “paraders” style (Figure 4). These were girls who lit- erally paraded up and down on the Figure 6 (left). A bandmaster complete with the tri-corn hat and long stages of the coat. hugely popular fairground variety Figure 7 (right). A European-carved static organ figure wearing a long or early cinema flowing dress. shows to attract the public inside The sources of figurines the big tent Animated figures supplied with French-made instruments behind. They were nearly all made in northern Italy; in the Tyrol region. Figure 4. A female figure carved in the “paraders” Having said that, organs sold by the Paris-based Limonaire style. were often dressed in the Brothers firm tended to sport automata carved in their own fac- most revealing outfits, no skirts or dresses but tight pants—to tories or by local sculptors. Gavioli, Foucher-Gasparini and show their legs—and very tight fitting corsets to accentuate Marenghi organs featured superb automata made by the cele- their buxom hourglass figures! This was considered very risqué brated family of wood sculptors by the name of Demetz. They for the time! (Figure 5). On the organs used at Continental were, originally, from Spain, but had migrated to Tyrolean Italy, European showgrounds, however, it is interesting to note that probably somewhere around the late 16th or early 17th century. few, if any, of the parader style of figure were to be found. In They were famed world-wide for carving exquisite church fact, on the organs that were sold to the European manufactur- Madonnas, saints, cherubs, putti and other decorative wood- ers “home” markets (France, Germany, Holland and Belgium) work used in Catholic churches, particularly in the very heavi- the figures were carved in the mid to late-18th Century styles of ly ornamented baroque-period churches built in Germany in the dress. Tri-corn 17th & 18th centuries. Demetz carving is to be found widely hats, britches throughout Europe, adorning many manually-played church and tailcoats organs. Their workmanship in both detail and quality is simply were most popu- outstanding. lar on the band- In Germany female figures carved in the “shepherdess” master figures, style typical of the court dress of the 18th century were popular. even if they The southern-German town of Waldkirch (pronounced Vald- were female! keer-k) in the Black Forest had become a centre of mechanical This was the organ production with the firms of Wilhelm Bruder, Bruder 18th century Brothers (Gebrüder Bruder) and Adolf Ruth & Son, based there. court style Gavioli had established a subsidiary factory in the town from (Figure 6). The 1898. All these businesses bought automated figures carved by girls would often the well-known resident wood sculptor Joseph Dopp. Dopp and represent shep- his workmen also designed and carved many beautiful organ herdesses with facades. Some of his original watercolor designs are now pre- very flowing served in the Waldkirch museum and the famous National dresses, just Mechanical Musical Museum in Utrecht, Holland. stopping below the knee with Restoration high-heeled Figure 8 shows five organ figures as I received them. As shoes with buck- you can see, they were in a pretty dilapidated condition. Each Figure 5. A most risqué dresssing for an organ was badly damaged by wood worm and the effects of time. les, and com- figure. plete with ornate They had come from a Gavioli organ believed to be about 87 hats (Figure 7). keys. It had been owned by an Irish showman who had burned 16 Carousel Organ, Issue No. 33 — October, 2007 Figure 10 (left). The three articulation motor mechanism in the back of the unrestored figure. Figure 11 (right). A restored view of the back of the conductor figure detailing the restored pneumatics. Figure 8. Five organ figures remaining from a now-destroyed 87-key Gaviioli fair organ. the organ, for its insurance value, in hard times—just after this by making new motors for the rebuilt figure. Figure 11 is a World War II. Fortunately the figures were put to one side in a photograph taken a month later, with the re-leathered motors box and they lay in his winter quarters in Ireland until I received installed and in 100% operation. them in 1980. It is rare to find a set of five like this and I was On the back of the conductor figure there are some rather quite excited when they were brought to me for restoration. oddly carved lines. I must admit I’m not too sure why the carv- Figure 9 shows er decided to put them in. They don’t seem to enhance the look an overall photo of of the figure at all, but it is a reflection of how they did things the conductor figure in those days. The rear of the figure would probably never be before I started seen by the general public visiting the fair; the carver just put restoration. He’s them in anyway. fairly complete apart In another close-up from the fact that his of the conductor (before right foot is missing. restoration was start- While the arms are ed—Figure 12), you there his fingers are can see, dangling from missing off his con- the end of his severed ducting hand. The right arm, is the old mechanism for the rusted wire linkage three-way articula- which I had to replace tion was fairly com- to get the arm to con- plete although it had duct again. The main been attacked by feature of this photo is wood worm. A rear the gilding which I did view (Figure 10) not reproduce on the shows the articula- restored figure.