Holton Collegiate Cornet Serial Numbers

Does anyone known where to find info on the Model Numbers that Holton used ex: 230, 232, 566, 666, etc. And how to correctly identify model number with model type? Was the 232 a Revelation or a Stratodyne.

What was the Model 566 and 666 were they both Collegiate model types? Model Types, Years and Serial Numbers:.

Holton - Chicago Years:1915-1918 Serials: 1-2000. Holton - Elkhorn Years:1918-1925 Serials: 1201-18499. Holton - Rudy Weidoeft Years:1925-1932 Serials: 0. Holton - Revelation Years:1925-1980 Serials: 35. Holton - Collegiate Years: 1932-1979 Serials: 135. Holton - Stratodyne Years:1948-1958 Serials: 199 source: Does anyone have a list like the above list for model numbers, years, etc.? Aside from the early models (Beauforts and early Revelations) without a model number, the number will be stamped right above the serial number.

We then correlate those with old ads in many cases (i.e., the 234/Stratodyne). The 566/666 (altos) and 576 (tenors) were indeed Collegiates-they will have a large 'Collegiate' engraving on the bell. There were older Collegiates too, very similar to the 'Revelations' (Revelations are usually called 'Elkhorns' by non Holton folks, as that's all that's really engraved on them, other than a design.) Those Collegiates will also be clearly marked by engraving on the bell. A lot of the numbered models were just identified by their number, as far as I know, aside from the kinda rare 400-series horns (the alto is a 465, the Bari is a 480) which did have a name, the 'Ideal'. Their engraving was sometimes a large globe. You don't see a lot of those.

Here's a 666-pretty rare-even with the fancy silver and copper metal, still marked 'Collegiate' Other weird and rare models: Reso-tones-search the Holton section-some good info and pics in there. Jazzbug has a 214 Tenor, and there's pics of a couple 204 altos. These are very ornate and have a ring around the bell edge. Note: there seems to be a lot of overlap in some models. For example, 232 (right side bell keys) and 233 (left side bell keys) were apparently were made at the same time.

I think the Resotones were also made at the same time as 203/213/215s (Revelations when they gained model numbers). I haven't seen a list as you have laid out, but member LaPorte posted an accurate serial number list. The serial numbers, combined with pics of specific horns and their respective numbers (especially in the 'Modern Vintage Holton' thread give a pretty good idea when theses horns were made. I haven't see any numerical designation for Rudy Wiedoefts, but Rudy's (unless transitional models) are also clearly engraved as such.

Those catalogs on saxophone.org were great to see. (Now I want a 244 Stratodyne Tenor and 271 Bari more than ever!) Also, there are more Baris-I've seen (and uploaded) pics of a 274, and I think also a 273. Lastly the 204 alto and 214 Tenor were 'Resotones'-extremely fancy and premium early horns Thank you for the additional information. Geauxsax, I am assuming the Baritone 273 and 274 are Revelation's can you confirm this please? I have never heard of a Holton Resotone do you know what years they were made and if they are stencils like the Beaufort Models? I know from the catalogs that the 214 is actual a Revelation Baritone would Holton have used the same number on two different saxophones? Pages 8 and 9 of the 'Modern Vintage Holtons' thread have 270, 273, and 274 baris.

There's a 480 (460?) 'Ideal' Bari in there somewhere as well. The 4XX series was termed the 'Ideal' Not sure if the other ones were Revelations or not-it was a generic term used by Holton for most of their saxes-engraved occasionally, but more often not. Lastly, I've never seen model numbers on any C melodies or sopranos. They may have carried internal numeric designations at the company and in catalogs, but I think both types died out right around the time Holton started stamping model numbers near the serial numbers. I'm not sure all those model numbers listed were used-no proof, just a hunch. Here's a good link on Resotones. Note some confusion as Jazzbug originally thought the stamp was 244 instead of 214.

Geauxsax, all the model numbers I listed with the exception of the Resotone 204 Alto, and the Baritones 273, 274, and 480 that you provided came from the Holton catalogs and price lists found. Would Holton list model numbers in their catalogs and price lists and then not actually use them? That would make tracking models very confusing. Ok, I have three new questions: Did Holton actual repeat model numbers with the model 214 was it used for the Res-o-tone Tenor as well as a the Revelation Baritone?

Did Holton stamp the model number on ever saxophone produced that had a model number assigned in a catalog or price list? Did Holton list model numbers in their catalogs and price lists and then not actually sell these models to the public? At the moment these are questions that I am not sure how to find the answers too. Any ideas on how to resolve these questions? Geauxsax, all the model numbers I listed with the exception of the Resotone 204 Alto, and the Baritones 273, 274, and 480 that you provided came from the Holton catalogs and price lists found. Would Holton list model numbers in their catalogs and price lists and then not actually use them?

That would make tracking models very confusing. Ok, I have three new questions: Did Holton actual repeat model numbers with the model 214 was it used for the Res-o-tone Tenor as well as a the Revelation Baritone? Did Holton stamp the model number on ever saxophone produced that had a model number assigned in a catalog or price list?

Did Holton list model numbers in their catalogs and price lists and then not actually sell these models to the public? At the moment these are questions that I am not sure how to find the answers too. Any ideas on how to resolve these questions? Holton made many horns without model numbers-the cut off seems to be in the early 1930s. For example, my Revelation Tenor doesn't have a model number stamped, nor does it even say Revelation (just the usual floral design and Elkhorn).

Also, I've never seen or heard of a Rudy, or any soprano or C-Melody carrying a model number. They were simply made before Holton started stamping them, best I can tell. There may have been a 214 Baritone-maybe it was the unstamped Revelation bari that preceded the 215. If that's the case, then they recycled the number. In my mind, if they weren't stamped, then I don't refer to them by model number.

Olds Cornet Serial Numbers

Really, the only possibilities before numbers anyway were Revelations, Collegiates, Rudy Wiedoefts, and earlier Beauforts from what I know, with the term Revelation blanketing nearly the entire line. My guess is that before Holton started stamping the numbers, they were just internal company designations, or for catalog ordering purposes.

It also wouldn't surprise me if the catalogs had some wrong, or listed numbers that never actually got built.

Source: Music Trades Database, G. Leblanc Company “Frank Holton was a professional trombonist with the famous Sousa band and associate of the leading musicians of the late 19th century. He was a business manager and trombone soloist; a theatre musician and entrepreneur. The legacy of Frank Holton continues to this day, over 100 years later, focusing on providing musicians with the finest tools on which to perform their craft.

Holton began his company in 1896 in Chicago, after numerous engagements as a trombonist in many leading performing groups. As a former member of Sousa’s great band, and an associate and friend of trombonist Arthur Pryor and cornetist Herbert L. Clarke, Holton enjoyed wide renown.

At forty year’s of age, Frank Holton created his own recipe for trombone slide oil. He soon took on the sale of used band instruments. Vander Cook (who later started the Vander Cook School of Music) stated that, “The present factory is the result of his perseverance and his making one good tone at a time, which method he applied to overcome the obstacles as they arose before him. Holton’s contacts and friendships made in his professional musician days served him well during these years. Many of his friends in the theatre and dance band circuits had made their way to top symphony jobs, bringing their Holton instruments to Boston, New York, Philadelphia and other highly respected orchestras.

One interesting note is that the first trumpet player with the Boston Symphony, Vincent Bach, used and endorsed the Holton trumpet at that time. In 1917, Holton had completed tooling for a complete line of saxophones, in order to meet with the saxophone craze that was just beginning. His factory, though, was at capacity and needed to grow. One of his early customers and friend suggested that Holton combine his love of Wisconsin farms with his work and set up a new factory in Elkhorn, Wisconsin.

The citizens of Elkhorn built him a factory of over 35,000 square feet and, while bringing in or training a workforce proved difficult, the first profits for the Wisconsin-based company showed themselves in 1920. The organization of school bands and the promise of?a playing band within twelve weeks, brought Holton good sales results, but this growth in student instrument demand was not a good fit for the higher-priced professional instruments that Holton was producing.

The company introduced lower-priced outsourced instruments under such names as Pertin and Beaufort until it could introduce its own?Collegiate? Line in the early 1930’s. Holton retired at age 82 and sold his controlling shares to longtime associate, William Kull. Frank Holton died on April 16, 1942. Kull remained the CEO until his death in 1944, but the Frank Holton Company was essentially run by the sales manager, Elliott Kehl, a long-time Holton employee. Kehl found war work to keep the factory open during a time when all brass was directed to the war effort. Over the next several years, Kehl was allowed to purchase a majority share in the company as he led a program of re-engineering and improving the line of instruments.

Kehl also revived work with key artists, including Phillip Farkas, first horn player of the Chicago Symphony. In 1956, the Holton Farkas model French horn was introduced to great acclaim. That same year, new tooling for saxophones brought Holton into the modern saxophone world. In 1962, the decision to sell the Frank Holton Company to the G.

Leblanc Corporation was made. Leblanc brought its strength in woodwind instruments together with Holton brass expertise, creating a much more formidable competitor in the band instrument industry. Through the remainder of the century, Holton continued to produce student and professional brass instruments. Its work with international star Maynard Ferguson and his “Superbone” continued Frank Holton’s commitment to working with the finest artists.

Development with key educators such as Chicago’s Ethel Merker keeps Holton French horn development moving even beyond what Phillip Farkas has envisioned. Efforts to help young people progress included the introduction of a child-size single horn.

In 2005, the company introduced the new Holton Collegiate line of low brass instruments. Like its predecessor in the 1930’s, this high-quality, lower-priced instrument line provides the ideal combination of performance and value for school music programs. The second century of Holton continues to be written, however, the purchase of Leblanc and Holton by Steinway Musical Instruments bodes well for the company. Working with key artists, serving amateur musicians, and developing exciting new opportunities were key to Frank Holton’s vision.

Now as part of Steinway Musical Instruments and its band and orchestra division, Conn-Selmer, Inc., Holton instruments continue to excite the musical mind and provide today’s musicians with the finest instruments on which to experience the joy of music.”. Source: Music Trades Database, G. Leblanc Company “Holton was acquired by Leblanc in 1964, but the story behind this pioneering brassmaker began in 1898 in Chicago.

The original company consisted of one small room and a modest assortment of tools. The real capital of the venture, however, lay not in these humble surroundings but in the enthusiasm, perseverance, and skill of Frank Holton, a man of many musical and technical accomplishments.

Holton, who had been first trombonist in John Philip Sousa’s band, sought to perfect the band music he loved and played so well. He wanted instruments that would meet his own rigid standards, and that desire led him to manufacture his own. His efforts were quickly rewarded.

The best players came to play Holton instruments, and the best craftsmen came to work for Frank Holton. This led to expansion in a new plant in Elkhorn, Wisconsin, where the fame and fortune of the Holton name have continued to grow. Holton today is the world’s largest producer of French horns, including the Farkas and Merker-Matic models. Maynard Ferguson collaborated on a family of brass instruments that bears his name. The Harvey Phillips model tubas were introduced in 1996. Holton’s second edition of its Collegiate Series of student band instruments is designed and priced for today’s demanding student market. The company offers a complete range of artist and student model brass and woodwind instruments.

Holton oils for valves and slides are leading products in their field. Frank Holton’s own formula is still followed and is a closely guarded secret. Other popular Holton accessories include Holton artist-quality mouthpieces for brass instruments, replacement parts, and an extensive range of accessories for brasswind instruments.”. Moved to Elkhorn, WI in Spring of 1918. The Janesville Daily Gazette April 18, 1918 BAND INSTRUMENT FACTORY TO OPEN IN ELKHORN MONDAY Elkhorn, April 12. The little city of Elkhorn, the county seat of Walworth county, is the new home of Frank Holton & Company, largest exclusive manufacturers of band instruments in the United States.

The Holton company was formerly in Chicago, but moved into their new building in Elkhorn this week, where they will formally open for business Monday morning. More than a year ago a committee of several of Elkhorn’s business men investigated the proposition of inducing the band instrument factory to move from Chicago to Elkhorn. The matter was laid before the citizen’s of the city, who agreed that it was Elkhorn’s great opportunity, and accordingly a modern building was built, to be turned over to the factory, and becomes eventually the property of Frank Holton & Co. Frank Holton & Company is an old established business, employing more than 200 people, and advanced far beyond the experimental stage. For several years the owners of the business had been planning to move the factory away from Chicago, and labor difficulties, and were induced to choose Elkhorn, though they had many tempting offers made them by other progressive cities. The first carload of machinery arrived from Chicago Tuesday evening, draw and is being received at the rate “of three and four carloads daily.” A total of 85 carloads of machinery must be moved. Fifteen erecting machinists are at work installing the equipment fast as it arrives, and within a few days the entire plant will be in operation.

The business office fixtures and office crew will arrive in Elkhorn Saturday, and the factory will open for business Monday morning. For a few months the help situation will prevent the factory from turning out a normal quantity of instruments. Many of the workmen did not wish to move from Chicago to a smaller town, so there is quite a shortage of help, both skilled and unskilled. Like most small inland cities, Elkhorn is not adapted to large factories, especially those that would have large freight shipments, or need immense quanties of water.

The quantities of raw material that must be used in band instruments are not large, and the greater proportion of the cost of an instrument is represented by the skilled labor. The factory is equipped to take the raw material, manufacture the instrument, including the plating and engraving, and also make the packing cases. One of the pleasing features about the factory is that a large band, under the direction of skilled musicians, is maintained at all times, available for various public gatherings. Frank Holton d Apr.

17, 1942, Elkhorn, WI. THE SHEBOYGAN (WIS.) PRESS, FRIDAY, APRIL 17, 1942 Founder Of Holton Company Is Dead Elkhorn, Wis. Frank Holton, founder of Frank Holton & Co, band instrument manufacturers, died yesterday after a long illness. He was 84 years old. Holton, a native of Allegan, Mich., once was trombonist with the late John Philip Sousa’s band. He founded his instrument company in Chicago, later moving to Elkhorn. He retired from business four years ago.

Holton is survived by a widow and a sister. Funeral services will be held here tomorrow.