Follow-up on Recent Sales (and Non-Sales)

Well, to say that I was surprised to hear that the "Syracuse Daily Standard Presentation Drum" sold at auction at Stair Galleries in Hudson, New York, on Sunday for $2,000 would be an understatement (Telephone call, March 30, 2009). Shocked would be a better description. The drum is attractive but if all it takes to turn a $300 relic into a $2,000 collector's item is a slick paint job, a lot of underemployed artists will be brushing up their emblazonment and antiquing techniques and converting old junkers into next month's NYC rent payments. They will be spinning straw into gold.

Worth $2,000?
I am sorry but I really must speak out against this. This drum is NOT WORTH $2,000! But as long as there are people out there with more money than judgment, we will see more of this.

What's Wrong with This Drum? The basic drum looks fine -- market value $300 to $600 based on sales over the past year of basically similar drums (size, design, materials, etc.). Why did this drum draw attention? The painting. But that is also what's wrong with the drum. The painting is striking. In fact it's so striking that it can't be original. And the auction house confirmed in an email to me over the past weekend that the drum had been overpainted. Well, whether the new painting merely copied the old painting or is brand new makes little difference. The drum would have retained more value had there been only a visible old painting of an eagle with the flag burst motif, even if washed out and partially lost. The overpainting, however, destroyed any historic significance and value that the painting (and the drum) might have had. But, that's just my opinion. Some buyer evidently proved me wrong for in the marketplace, value is defined as the price that a willing seller and a willing buyer agree upon for the transfer of an asset. My concern, among others, is that with buyers willing to purchase adulterated goods, whatever stock that may remain of old fading chipped painted drums could be in jeopardy by financially motivated artists seeking to profit from a bit of sprucing up with a paintbrush and possibly anachronistic paint materials.

Fraud in the Drum Marketplace: First let me make it clear -- there is no evidence of which I am aware of any fraud in this auction. However, past examples of questionably high prices have been reported in this blog in the past and we will continue to offer our opinion when something strikes us a just not quite right. See, e.g., "Caveat Emptor -- 'Civil War' Drum Questioned by Reader", this blog, January 29, 2009. Also, see "IS IT AUTHENTIC OR BOGUS?: Brass Eagle Drum attributed to Spanish American War", this blog, November 30, 2008.

Leo Brennan's Drums Still Available: On a different note, Leo Brennan's large collection of modern and antique drum offerings, reported in various recent posts on this blog, has not sold. No bids even for any of the drums on eBay. So the eBay market is telling Leo that his starting prices were too high to get any action going. My advice is to start with a lower price but set a reserve. That way, at least some intelligence on the market's appetite for his drums will be received. Also, putting so many drums on eBay at the same time simply floods the market which is thin to begin with. Start with one good Cooperman drum, set a low entry price, keep your reserve wherever you want it and at least get some bidding action going.

What's Available This Week

Today, a "Syracuse Daily Standard Presentation Drum" will go on the auction block at Stair Galleries in Hudson, New York. The auction house confirmed in an email to me late last week that the drum's painting (the most interesting part of the drum) had been over-painted, which accounts for the painting's remarkable sharpness and contrasts. However, for the estimated price ($300-$500), this drum is worth a day's ride. The auction starts at 11:00 a.m. this morning and this item should hit the block at about 12:30 p.m. today. See Syracuse Daily Standard Presentation Drum.

And, for the arm-chair shopper, Leo Brennan has put eight rope drums on eBay, all in excellent condition, three of which are vintage. The others, although modern, have some recent history of interest as well.

The oldies are an 1889 J.H. Buckbee, a pre-1820 Abner Stevens and an 1837 Eli Brown. Folks, if you don't have one of these in your collection, here is an opportunity. Stevens and Brown drums do not come along every day, and virtually never on eBay. The Buckbee, with a starting price of $300, could be a steal (if no reserve). I have two Buckbees and they are unique for their unusual snare mechanism. See "Leo J. Brennan's J.H. Buckbee Drum"

Brennan's pre-1820 Stevens drum ("Leo J. Brennan's Abner Stevens Drum (pre-1820)" is a classic and shows characteristic aging surface finish as well as an elaborate tack pattern and hand-painted star design.

Finally, Brennan's "1837 Eli Brown and Son Field Drum with Label" is a fine example of Eli Brown and Son's work (shell only). Although the starting price is a bit steep ($4,500), it is a Brown drum and you just cannot get those drums.

Brennan completes his current eBay offerings (he has more drums but only these are for sale at the moment) with a sampling of Cooperman, Gretsch/Soistmann, and Saum drums from the 1960s, 1970s and 1980s, all restored and playable, and most bearing the emblazonment of one or another fife and drum corps. The 1989 Frank "Swat" Saum drum bearing the Landcraft Fife and Drum Corps (North Haven, CT) painting is the most interesting and important contemporary drum in Brennan's current eBay collection.

Circa 1840 tack decorated snare drum 16-1/2" high

Artfact has this information but requires a subscription for more info. I'll try to find this drum elsewhere on the Internet.

Lot 679: Circa 1840 tack decorated snare drum 16-1/2" high by 16-1/2" diameter having a natural wood finish shell and red painted wood hoops. A paper label inside reads "Henry H. Guetter/Importer of every description of German and/French musical instruments./Bethlehem, PA/Instruments of all kinds/carefully repaired/Fresh violin strings". Henry H. Guetter was born in Germany in 1797, came to America in 1817, and died in 1847. Included are (2) drumsticks. The drum is in fine condition having both heads intact, a shell with no cracks, and old worn tensioning cords having leather ears that appear to be original.

Syracuse Daily Standard Presentation Drum

Lot 1017 : AMERICAN ROPE-TIED BENTWOOD DRUM
Inscribed, "Presented to the 149th from the Syracuse Daily Standard," painted with an eagle and shield of the Republic; 12 1/4 in., 16 1/2 in. diam. Provenance: The Estate of Fred F. and Lois K. Rogers.

Estimate : $300 - $500

Auction Date : Mar 29, 2009

Stair Galleries
549 Warren Street
Hudson, New York 12534
Phone: 518 751 1000
Fax: 518 751 1010
Email: information@stairgalleries.com

Woodman Drum

MAINE CIVIL WAR PERIOD MILITIA DRUM. A fine example of a mid-19th C. tack decorated maple wood drum made by "M. Woodman". The drum body is of maple with two varnished maple wood rims. 16-xxx/xxx" in diameter. The rims are each 1-xxx/xxx" high and the assembled drum stands 15" tall. Visible through the eye hole is its original green paper label reading "M. Woodman, Manufacturer of/DRUMS, of all kinds. Farmington Falls, Me". Of particular interest is the tack decoration surrounding the eyehole, which forms a Maltese cross or 5th Corps badge. The maple body seam is tacked as well. An excellent, mostly orig, Civil War or earlier drum from Maine. The drum is accompanied by two rosewood drumsticks of the same period as the drum. CONDITION: Excellent. Ropes are replaced but the orig untouched finish of the drum remains. Both of its period heads are intact with the orig snare at the bottom and seven of its eight orig leather adjusters remain. Leather adjusters are dry and flexed. Top head is split about 8-xxx/xxx". Some shrinking and warping. Drumsticks are in good condition with the expected nicks, scratches and wear at the tips. Overall a very nice condition early Maine-made drum. 4-57369 CW111 (400-600). Source: Values4Antiques.com

3d Georgia Regiment Bass Drum

Blog reader Will Chappell wrote to us drawing our attention to this drum:



The 3rd Regiment was organized in April 1861 with companies from Burke, Clarke, Greene, Houston, Morgan, Newton, Putnam, Richmond, and Wilkinson counties. The 3rd served early in the war at Norfolk, Va., where it assisted in converting the Union ship Merrimac into the Confederate ironclad Virginia. A part of the regiment served in the famous battle against the Union ironclad Monitor on March 9, 1862.
***
This drum entered Confederate service with Seaborn Barnwell of the Dawson Grays from Greene County, the unit which became Company C of the 3rd Regiment. The drum beat all the calls from the regiment’s formation at Portsmouth, Va., April 26, 1861 to its surrender at Appomattox on April 9, 1865. When the regiment stacked its guns, the drum was hung on the pile of rifles. Pvt. Minor Hobbs of Company C took the drum and brought it back to Greene County, Georgia. Capt. W. A. Wright, son of Gen. Ambrose Wright, preserved the drum until a survivor’s committee of the 3rd Georgia presented it to the State Capitol. Source: 3rd Regiment Georgia Volunteers.

The drum is now located in the Georgia Capitol Museum, Hall of Valor.

Horstmann Eagle Drum Raises Questions

Horstman eagle drum sold recently for $2,350:


Compare with another Horstmann eagle drum sold in 2005 for $13,225:

Blog reader Will Chappell wrote drawing our attention to the above (top) very attractive Horstmann eagle drum that has obviously seen some refurbishment. However, why did it sell for only $2,350 when another Horstmann Eagle drum (immediately above) sold four years ago for $13,225? Is it the market or are the drums different? It could be a bit of both.

James D. Julia auctioneers described the top drum above as follows in its Gun Spring 2009 catalog:

CIVIL WAR-ERA U.S. INFANTRY DECORATED EAGLE DRUM. This Civil War period labeled drum has a paper label affixed on the interior from Horstmann Brothers & Company of Philadelphia. The drum, with hand-painted eagle decoration on the side, depicts an American eagle with outstretched wings having a shield belly and a banner in its mouth reading “U.S. INFANTRY”. The drum features its original decoration on the side of the drum and much of the original paint decoration on the bands. Both the drum heads and the roping recently replaced in the appropriate and authentic style of the original. SIZE: 16-3/4” dia. X 15”h. CONDITION: Red paint on bands worn and overall wear to decoration on side; most of image still present and strong. 8-87531 JJ (3,000-4,000)

Catalog no. 2392J
Gun Spring 09

Will's correspondence with me follows:

-----

Hi Ellis,

I have never seen a Horstmann like this one. The eagle has a yellow head, and the banner reads "U.S. Infantry" instead of "Reg. U.S. Infantry" and is also painted yellow instead of white. A nice drum for a good price.

Will

-----

Will,

Cf. price for the other Horstmann drum sold in 2005 -- much different. The new sales involved a refurbished drum, with possibly some overpainting as well. That might account for the difference. And the economy might account for some of the difference also.

Ellis

-----

Ellis,

Hmmm...If it was repainted, they did a good job matching the yellow to the original paint. I wonder if Jim Smith has seen a Horstmann eagle with a yellow head before. The "U.S. Infantry" is definitely suspicous.

Will

-----

The other Horstmann drum sold by James D. Julia in 2005 for $13,225 was described as follows:

CIVIL WAR REGULATION REGIMENTAL EAGLE DRUM. 15-1/2” tall with 16-1/2” diameter. Painted ribbon reads “__ REG. U.S. INFANTRY” held in beak of painted eagle with patriotic shield. Maker’s label inside reads “MANUFACTURED BY HORSTMANN & BROTHERS & CO. MILITARY FURNISHERS. FIFTH & CHERRY STREETS, PHILADELPHIA”. This is a fine, untouched drum and it would be hard to find a better one. CONDITION: Drum overall very good, all parts appear original. Painting is very good with some crazing. 4-56226 JS179 (4,000-8,000)

Catalog No. 2371
GUN Fall 05

John Robbins' Bunker Hill Drum at Old State House, Boston

Drum used by John Robbins at Battle of Bunker Hill, per Flickr post (search www.flickr.com for "boston" and "drum").

A "John Robbins" is listed as wounded at Lexington, Frothingham, R., History of the Siege of Boston, and of the Battles of Lexington, Concord, etc., p. 80.

John Robbins, Esq. (1762-1836) ... was a prominent figure in Acton's town affairs and social life. His record of public service began at the age of 13 when, as the son of the Captain of Acton's East Militia Company, he was the messenger who carried the alarm of the British march to Concord, 19 April 1775, to the Captain of Acton's Minutemen Company and to the acting Captain of the West Militia Company. From 1793 to 1830 he filled various town offices: Town Treasurer for 15 years; Town Clerk, 1 year; Selectman, 12 years; and for 8 years Town Meeting Moderator, a position for which his stentorian voice seemed admirably suited. He was also a Justice of the Peace, the Treasurer of the Town's private Social Library in the early nineteenth century and active in the preparation for the Town's centennial celebration in 1835. His wife Sally (Jones) and daughters were active in the organization of Acton's Evangelical (now Congregational) Church in 1832. John Robbins House, Great Road Acton, MA, By Robert H. Nylander, 1989.

------------

Compare the Robbins drum with another drum from that era with emblazonment by Charles Hubbard, discussed in a post in this blog, "William H. Guthman's Incredible Drum Collection", January 7, 2009. Given the time periods involved and the similarity of the emblazonments, one wonders whether Hubbard, who did the painting on Guthman's Boston City Guards drum (photo below) was also responsible for the Robbins' drum's painting:

612 IMPORTANT “BOSTON CITY GUARDS” MILITIA DRUM, PAINTED BY CHARLES HUBBARD, CIRCA 1824. Painted with an adaptation of the Seal of the Commonwealth of Massachusetts within flags and trumpets, the banners inscribed “City Guards” and “Instituted Sept. 1821,” the red and black striped sides within black bands, appears to retain its original skins and hoops, signed and dated beneath the shield “Chs. Hubbard./ Boston/ 1824.” Height 17 ½ inches, diameter 17 inches. Charles Hubbard (1801-76) worked in Boston from the mid-1820’s until 1869. In 1834 he advertised as a sign and ornamental painter, and painter of military standards and masonic regalia. This drum was painted for the volunteer militia regiment Boston City Guards, using their insignia adapted from the seal of Massachusetts as the decoration. Literature: Discussed and illustrated in William Guthman, “American Militia Drums, 1775-1845,” THE MAGAZINE ANTIQUES, July 1982, p. 155, fig. 12.

"Who Took The Drum Out of Drum Corps?"

"Who Took The Drum Out of Drum Corps?" by Ken Mazur (from RAMD Virtual Symposium 1997: Crossroads). See http://www.rudimentaldrumming.com/tips.html for Ken's lengthy (very) exposition of a lot of fascinating drum corps history.

The following clips are metaphors for what's happened to drum corps. We've gone from this (acoustic drums):



to this (not acoustic drums, not drums but electronic pick-ups attached to a drum head):

Vogt Eagle Drum in Smithsonian Collection

Blog reader, drum mechanic, drummer and Fashnacht enthusiast George Kubicek wrote this morning alerting us to this rare beauty.


Union drum

This 1864 military-issue rope-tension snare drum was made by Ernest Vogt of Philadelphia, Pennsylvania. The drum was used in the Civil War by Samuel Kyle, who served as a private in Captain James Christie’s Company K, 22nd New Jersey Volunteers. The eagle embellishment on the side of the drum was a common design but varied from manufacturer to manufacturer. Many of the field drummers were young boys, age twelve to sixteen. A drummer sounded the morning and evening camp duties and also sounded the field maneuvers. Most field drummers would have been accompanied by fifers.

Division of Cultural History, Musical History
National Museum of American History, Smithsonian Institution
Behring Center
Gift of John S. Kyle

Morss Drum in Vermont Virtual Museum

"Vermont in the Civil War" is a virtual museum* located online.

From the John Gibson Collection in the Virtual Museum of Vermont in the Civil War:

Richard H. Morse [Note: the drum says "Morss"], age 19(?), credited to Wolcott, Lamoille County, Vermont, enlisted on June 26, 1862 and mustered in as a private in Co. H, 9th Vermont Volunteer Infantry. On December 26, 1864, he was promoted to Principal Musician of the regiment, and he mustered out with the regiment on June 13, 1865. Morse was born on February 2, 1846 (if correct, this makes him only 16 when he enlisted), and died on July 6, 1910. He is buried in the McLaren cemetery, in Greensboro, Orleans County, Vermont.

John Gibson is a Montpelier, Vermont native, currently residing in Maryland. He is an artisan, specializing in applied decorative finishes, a historian of American made toys from the Golden Age of Toymaking, and a Civil War collector and dealer specializing in Vermont related items with a fondness for the 2nd Vermont Infantry. Vermont in the Civil War.

Also in the "Vermont in the Civil War" virtual museum: Postwar Grand Army of the Republic, Rutland GAR Photograph, Collection of Francis Guber:

Click on photo to enlarge
See also Virtual Museum Music Room by David Niles.
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*A virtual museum does not have any real treasures, but simply scans or transcripts of historical material. Source: VermontCivilWar.Org Database; Creator/Webmaster: Tom Ledoux

Slingerland Cloud Label Military Rod Drum

This Slingerland scalloped cloud badge/label (1928 to 1941 according to Vintage Drum Guide) single tension military rod drum was in just too good condition to let it pass me by, so I bought it on eBay (item no. 170309559326) this evening for $157.50 (plus $25 shipping). To me it represents a point in time, probably 1930s, before double tension and after rope. The snare strainer lacks a quick throw-off lever so this baby is probably on the older side. The seller is andrewofgeorgia803( 10).

Slingerland offered a double tension snare drum as early as 1928. See Vintage Drum Center's historic 1928 Slingerland 4 pc. circa 1928 Sea Green Pearl drum set.

When the drum is delivered, I'll see whether any more specific information concerning date of manufacture appears on the drum.

Signed 1860's (J.W. Pepper) Civil War Drum

eBay seller bran419( 146) describes item no. 110360236425, "Signed 1860's (J.W. Pepper) Civil War Drum", as follows:

This rare civil war drum features fine wide oak veneer wood with top and bottom trims around the head in dark mahogany. All pieces of this drum are original including strings, metal hooks, leather, original drum tightening key and original drum heads on top and bottom. Inside this drum is signed J.W. Pepper Drums - Musical Instruments - Music and Musical Merchandise. Eighth and Locust street - Philadelphia - Pennsylvania. Size is 15 1/2" in diameter and 13 1/2" in height. No damage to drum heads on top or bottom. Mint condition for a drum of this age. Great piece for Civil War memoribillia collector.

Abner D. Stevens Drum from Finney Family

eBay seller cjetti( 225) describes this Abner Stevens drum, eBay item no. 220374723734, as follows:

Up for auction is an Authentic Civil War Military Drum that has been passed down through one family. This is a beautiful U.S. Regulation drum that is in nice condition. [cjetti( 225)] purchased this from the descendants of Colonel William Finney, a Confederate Officer from the Civil War and a co-founder of the Western Portion of the Pony Express. It has the original makers label inside of “A.D. Stevens Pittsfield Drum Factory” from Massachusetts. ...

This Civil War drum was owned by Colonel William Wood Finney of the Confederate States of America of Virginia. It was passed down through his family and has been in the possession of the Finney Family continuously from Col. Finney’s death in 1910 until 2008 when [cjetti( 225)] purchased it. The original owner was Colonel Finney, a Civil War Confederate Officer, and a co-founder of the Western Portion of the Pony Express. His estate was located in Powhatan County Virginia and named Elioch. Colonel Finney was a graduate of the Virginia Military Institute in the class of 1848. He was the son of Captain William Finney and Elizabeth Crichton Wood and was born at "Prospect Hill," in Powhatan County, on May 16, 1829. During the American Civil War he served under Colonel Thomas J. (Stonewall) Jackson at Harper's Ferry, and later under his successor, General Joseph E. Johnston. He was later commissioned by President Davis a Lieutenant-Colonel and was assigned to the 50th Regiment of Virginia Infantry. He participated in the battle of Lewisburg West Virginia where he was taken prisoner and three months later he was exchanged at Vicksburg and returned to Richmond Virginia. He passed away January 26th 1910 and is buried at Saint Luke’s Cemetery in Powhatan County Virginia with his wife Constance Williams Finney. [cjetti( 225)] will provide a notarized letter of provenance signed by me stating the history of ownership of this drum including the direct lineage of family members the drum was passed down through starting with Colonel Finney CSA. The Great, Great, Granddaughter of Colonel Finney did not know for sure if the drum was used in her Great, Great, Grandfather’s Rebel Army or if it was a war relic Colonel Finney acquired.

Abner D. Stevens started business in 1794 in Massachusetts and his company produced drums at least through the Civil War years. He made Bass, Military and children’s drums. He sold military drums to the U.S. Government during the war years and “made a handsome fortune”. According to a book titled “THE HISTORY OF PITTSFIELD MASS.” “Mr. Stevens made a good rattling instrument”. In 1809 Abner Stevens moved his drum making business from Hancock Massachusetts to a shop he built on North Street in Pittsfield Massachusetts. Several of his drums are in museums and collections across the country with dates in the early 1800s going through 1864. [cjetti( 225) has] never seen any of his drums that were dated after the Civil War.

The drum itself could not be nicer! It was made by A.D. Stevens, address 103 North Street Pittsfield Massachusetts and bears his label inside the body of the drum. It measures 14 ¾ inches high and is 16 ½ inches wide with red painted rim hoops on both ends. It still has the rope that keeps tension on the heads of the drum and has 9 original leather tensioners still attached to the tension rope. Both heads are still intact but show much wear and age but no rips or tears. It is all original and has had no repairs or alterations to my knowledge. It has the standard military colors for a drum for the War. The body appears to be made of ash or maple and is stained a tan color. It has a “lap’ joint to it where it is secured by about a dozen tacks or nails per hoop. It also has the vent hole in it’s side that you can look through to see the original makers label. Both rims have a “lap” joint where they come together and two little tacks to hold it secure. They are both painted the military red color and when examined closely you can see the original paint has a crackled look to it. Tuning adjustments were made using the 5-string snare strainer on the bottom head. The original strainer is still in place and one end is still secured with two little wooden pegs that [cjetti( 225)] tried to show in the pics. [cjetti( 225)] can not tell for sure if the tension rope is original or a very, very old replacement. The wear pattern on the rope conforms to the rest of the drum but someone with more knowledge than me on drums would have to say for sure. It still has 9 of it’s original leather tensioners on the rope that were used to pull the two heads together when playing the drum and would be loosened up when the drum was not in use. That way it spared the heads from unnecessary strain. It is only missing one leather tensioner. The drum has all of the wear marks and dings and stains that you would expect to see on a drum from the Civil War era and it sure displays [w]onderfully!

Leo J. Brennan's Buck Soistmann Drum (ca. 1964)

Tim Brennan wrote about this drum from his father's, Leo J. Brennan, collection. Leo J. Brennan operates "Ye Old Colonial Sutler's Shoppe" of Madison, Connecticut:

[This] drum is more modern than a Brown or a Stevens but ... I think it's worthy of inclusion in your blog: a [Buck] Soistmann.

This drum stands 24" high and the heads are 17 inches wide. There are individual set screws for snare adjustment on this one.

There are 3 iron feet on the bottom to prevent direct contact with the ground, and 2 atop counterbalanced by the sling hook. There are the customary 10 leather ears with a star motif.

By far the most dramatic aspect of this drum is the handpainted shell: The symbolic eagle clutching arrows and olive branch, facing left with shield and ribbon, wings extended against the rising sun. It's a real eyeful. I have seen a drum of this type with different colored rims on ebay last week, it was described as a GAR (Grand Army of the Republic) drum, excellent condition, the original shell by Buck Soistmann but finished by another, with a buy it now price of ... $6,750. (Suffice it to say, it got no bids ....) More later, Tim.

P.S. ... I do know that this drum was made for the Dickerson band, and that was quite a while ago, but I'll get a defintive date for you. Nice looking field drum, though. It's currently an end table in my dad's living room [with] a glass top made to protect the head ..., it's quite preserved.

***
... [D]arn nice blog. I love to check up on it daily. You probably don't hear that enough. Good night, Tim

[Editor's Note: The Charles W. Dickerson Fife and Drum Corps


Charles W. Dickerson Field Music (New Rochelle, NY) performing at the 2007 Westbrook Muster in Westbrook, Ct.

See also Boddie, D. L. (1981). We've come a long way together: The story of a drum corps. New Rochelle, N.Y.: Charles W. Dickerson Field Music Corp. Gift of Gannett Suburban Newspapers to Westchester County Historical Society.

Also, concerning the connection among Sanford Moeller (who made the drums played by the Dickerson corps) and the corps: "Another drummer, similar to Moore, was Sanford Moeller from New York who taught Gene Krupa and Jim Chapin. Moeller produced great drum lines from 1933 to about 1960 that used a system of wave motions in their playing, which was truly unique in appearance from other corps (Andrews: 1). One of these drum lines exists today under the name of the Charles W. Dickerson Fife, Drum and Bugle Corps in Mt. Vernon, New York." The Timeline Of Marching And Field Percussion: Part 3, By Jeff Hartsough and Derrick Logozzo.

And Cliff Barrows links it all together for us in Drummer's Service "Rudimental Drumming", The Rudimental Drumming Message Board: "Here is the history of Drummer's Service that I know. Gus Moeller started his drum making in NYC, and the business was taken over by Buck Soistman and moved to Maryland. Bill Reamer took over the business after Buck Soistman in the early 70's. Bill's son, Andy, and another drummer, Mark, from the Independance Fife and Drum Corps worked there too. I remember that Mark did the painting."

Dominick Cuccia's family's set of Reamer Drums

Leo J. Brennan's Eli Brown Drum (1829)

Tim Brennan wrote about this drum from his father's, Leo J. Brennan, collection. Leo J. Brennan operates "Ye Old Colonial Sutler's Shoppe" of Madison, Connecticut:

Here is an 1829 vintage Eli Brown field drum. It has the elaborate and extensive tack pattern that distinguishes a Brown drum. It retains the original calfskin heads, although there is a small rip on the beater head and the bottom head is caved in. The label clearly states the date, the Brown name and the number 1602. The craftsmanship includes hemp ropes, ten iron hooks top and bottom, vermillion rims, and of the original ears most are remnants and only the one is intact. The drum is 17 inches tall and the circumference of the maple shell is 54 inches. The snares and strainer assembly are intact. The drum belongs to my father .... He was active in fife and drum and sutlery for decades .... He accumulated many field drums over the last half century. Hope this is interesting to you, Sincerely Tim Brennan

Leo J. Brennan's J.H. Buckbee Drum

Tim Brennan wrote about this drum from his father's, Leo J. Brennan, collection. Leo J. Brennan operates "Ye Old Colonial Sutler's Shoppe" of Madison, Connecticut:

Perhaps some of the readers of this blog could shed some light on this field drum. It has a mahogony shell and is 11 inches in height. The heads are 15 inches wide, the bottom snare head may be the original calfskin but the top head has been replaced. The rope is hemp and it has ten leather adjustment ears. The strainer assembly is unique in that the snares can be adjusted while on the march through a long tension rod and key rather than manually while at rest. The maker label states "Rohan, State Street, New Haven CT" and the year is either 1887 or 1857. Any ideas on who Rohan was? This drum is one of many my father has collected over the years but now is letting go of. Sincerely, Tim Brennan

I can only imagine Tim's delight when I sent him a link to the following post on this blog concerning J.H. Buckbee drums: "Known for Banjos, J.H. Buckbee Made Drums Too". Also, note "Drum with Characteristic J.H. Buckbee Snare Mechanism".

Tim Brennan's Response:
I certainly did enjoy the link you sent me, I was thrilled to see the matching snare mechanism, the star pattern on the ears, the JHB initials: it really was illuminating. I never would have guessed a banjo maker. Kudos to you Ellis for having figured that out. You're probably right in that Rohan was a distributor, not a maker, but at least the label dates it.

Leo J. Brennan's Abner Stevens Drum (pre-1820)

Tim Brennan wrote about this drum from his father's, Leo J. Brennan, collection. Leo J. Brennan operates "Ye Old Colonial Sutler's Shoppe" of Madison, Connecticut:

Here we have a nice example of an Abner Stevens drum. It has the signature tack pattern and the 8 pointed blue star with gold trim. It is pre 1820 because Stevens began putting painted floral designs on his shells at that date and this one is conspicuous in its absence. The heads are 15 and a half inches across, composed of original calfskin with small tears.

The shell is maple, ropes are spun from hemp, and there are 6 ear remnants, only one of which is intact. There is some blistering on the shell surface from heat exposure during prolonged storage, probably in someone's attic. Overall height is 15 and a half inches. There is a nice strainer of the Civil War style. Unfortunately at some point over the last 180 years someone drilled 8 small holes on the top and bottom rims, perhaps to rig some rope or a carrying sling. That's a shame.

This one is on consignment at my dad's sutlery, someone asked him to sell it for them.

A nice drum, though.

Also, now on eBay as item 280327090946:

Up for auction is an original authentic Abner Stevens snare field drum. The maple shell bears the signature circular Stevens tack pattern around the vent hole. The date on this drum is pre-1820, that is the year Stevens began to adorn all his drums with a handpainted floral design, and that design is conspicuous in it's absence on this example. The interior label bears his name. The drum retains its original calfskin heads, 16 inches across, each has a several inch long gash. The overall height of the drum is 15 and a half inches. The shell is of the overlapped variety and not the butted one. There are eight drill through marks on the bottom rim and one on the top rim. Of the six original ears only one is left. There is some slight blistering on the shell due to exposure to heat during prolonged storage. The ropes are sprun from hemp and the strainer is of the civil war style. The vent hole is in the middle of a handpainted eight pointed star, bluish with gold trim. This historic museum quality drum is a fine example of the early work of an important American drum maker.

Wm. F. Ludwig's 1864 Rogers Eagle Drum

Pulling the information together for this posting has been very interesting. In addition to Alan Kaylor Cline's article below which discusses a 1990 restoration of this drum once owned by Wm. F. Ludwig, Sr., Wm. F. Ludwig, Jr. and now owned by Wm. F. Ludwig, III, I had the opportunity to speak with WFL, III as well as with Alan Cline. (See WFL, III play Three Camps.)

This is also the same drum played on these albums (according to Alan Kaylor Cline who restored the drum in 1990 for Bill Ludwig, Jr., and who spoke personally with Frederick Fennell about it):

Fennell, Frederick - The Civil War-Its Music And Sounds Volume 1



Fennell, Frederick - The Civil War-Its Music And Sounds Volume 2


Another Fennell standard, "The Spirit of 76", was recorded using modern screw tension drums, according to Cline.


Bill Ludwig, Jr. and Frederick Fennell were cabin mates in the early 1930s at the Interlochen Music Camp. 2002 EWE gala program - revised, Notes re "Concerto for Percussion", p. 11.

Fennell told Cline that Fennell and WFL, Jr. were lifetime friends and often went to Civil War battlefields to play their Eagle drums (email from Cline to Ellis Mirsky, 3/5/09).

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The Restoration of an 1864 Eagle Drum
Alan Kaylor Cline
8603 Altus Cove
Austin, Texas 78759
In December of 1989 I met Mr. William F. Ludwig Jr.at the Midwest International Band and Orchestra Clinic in Chicago. After discussing the demise of calfskin drumheads, I mentioned that I had brought a newly completed rope tension drum with me to Chicago for a performance. Since I had done much of the construction of that drum, Mr. Ludwig wondered whether I might be interested in restoring a rope tension drum from his collection. Three days later I was traveling back to Austin with Mr. Ludwig's Eagle drum. The drum was one of 30,000 produced for the United States Army during the Civil War. On the inside of the shell of Ludwig's Eagle drum is a label:

Manufactured
by
A. ROGERS
Flushing, L. I.
(The Rogers Drum Company is still active although I understand the drums are actually produced in Taiwan now.)

[Editor: "A Directory of American Military Goods Dealers & Manufacturers 1785-1915", Bazelon and McGuinn, p. 140 notes that Alexander Rogers of Flushing, New York had seven contracts from August 1862 to September, 1863 for a total of 1,900 infantry drums and three contracts for a total of 2,500 infantry drums.]

Also inside the shell has been pasted an interesting but undated newspaper clipping presumably from Barre, Vermont.

FINE COLLECTION OF DRUMS
S. N. Parker Has Many of the Old "Eagle" Type

Eagle drums that one day led the martial tread of thousands of Vermont soldiers in the Civil War are in the possession of Sherman N. Parker, a North Main street harness dealer, who recently procured the well-known Wheelock & Dawley collection of 18 snare drums that saw service in the Rebellion. Until recently the exact whereabouts of the drums has not been generally known, but Mr. Parker set about to complete his own collection with the result that he was able to purchase the remnant of the drum supply forwarded by the captains of several state companies to Quartermaster P. P. Pitkin at the close of the war.

Time has had its way with the original rope, ears and heads of the drums, but the barrels are wholly intact. Painting in pigment of unmistakable colors on each drum are the national colors, and the belligerent eagle whence is derived the name of the drum. In a number of instances worn-out drum heads bear the inscription of the companies in which they were used. People who have a penchant for army relics join with Mr. Parker in believing his collection to be the largest of its kind in existence. Since it became known that the harness man has had secured the drums a number of historical societies have made overtures for a drum to add to their exhibit. Mr. Parker has generously offered to place one of the drums in the historical room of the Barre city hall and some of the other drums will doubtless find their way into historical collections of the same sort.
Possibly this was one of those drums in the article but I am unaware of how it came to Ludwig's possession.

The drum itself has a shell measuring 16 inches in diameter and 12 inches deep. This is contrasted with the Revolutionary War era drums that were typically larger - perhaps 17 inches by 17 inches. As the article mentions, there is an 18 inch wide rendering of an eagle in whose beak is a banner reading "REGt U. S. INFANTRY". There is space before the word "REGt" to hold numerals. However, according to Mr. Ludwig, although constructed in 1864, the drum was never actually assigned to a regiment and was never used in battle. Thus no numerals were ever added. Immediately to the right of the painting, are 41 (apparently originally 44) brass tacks arrayed in a circle, two chevrons, and two vertical lines. Although decorative, the tacks actually are also functional: holding together the wooden shell at the section of overlap. The drum has 1 5/8 inch high counterhoops drilled with ten holes for the tensioning rope. There are eight gut snares strained by a screw-fashion mechanism. The drum weighs about 5 pounds 12 ounces.

During its 125 year lifetime the drum probably underwent previous restorations. Mr. Ludwig mentioned that the eagle artwork had been redone in Milwaukee at some point. There were four different types of leather ears of different age, size, and construction, so some (if not all) of the ten ears were not original. It is also possible that the rope was replaced. Obviously the heads were not 125 years old and I believe the snare straining mechanism may be new - certainly from the marks apparently it had been repositioned several inches down the shell at some time.

Mr. Ludwig's greatest concern was the rope. Since the rope passes over the counterhoops, whenever the drum rested on its top or bottom counterhoop it was actually resting on the rope. Years of friction had caused severe fraying at twelve such locations. Eventually these would have simply snapped. Several of the ears were in very poor condition as well and would not have been able to withstand prolonged tension. There was also deterioration of the wooden counterhoops primarily on the top edges but with some minor paint chipping as well. The artwork was cracked and dull. Considering its age and usage, however, the drum was in good condition.

A thorny issue I faced from the moment I agreed to work on the drum was the ethical question of restoring an historical artifact. I discussed this with two conservators at the University of Texas Memorial Museum and was essentially told to leave the drum alone. They said if I was to change something I should perform only such operations as could be reversed. I couldn't conceive of techniques for say repairing the rope but allowing for the repairs to be undone. Given the premise that the drum was to be playable when I was done, I simply adopted the attitude that I would make the drum playable and presentable, and when it was necessary to replace a part, I would try to make that consistent with the construction of the original Eagle drums. (I admit that I still am uncomfortable about the matter.)

The restoration began by measuring, photographing and disassembling the drum. I considered the rope and the ears the major concerns. One possibility was cutting out the frayed sections of rope and splicing the remainder but there simply was not sufficient length to allow the twelve splices. As I found it, the rope was 3/16 inch hemp arranged as four strands wrapped around a core. Despite contacting major rope companies across the country I could find no current supplier or producer of such a product. Furthermore, even replacing the rope with a natural fiber strong enough for the requisite tension yet smooth enough to allow the sliding of the ears would be difficult. After studying Civil War era photographs of Eagle drums I decided that white linen rope seemed to have been used and ordered 35 feet of it of Scottish origin.

The ears presented a different predicament. Some of the ears were usable but were they original? If I was to have new ears made should I copy what might have been only a replacement anyway? Here again I studied the pictures and found quite a bit of nonuniformity. Leather drum ears are of two principle types: rectangular and conical. The rectangular types are just long rectangles folded along the short axis and sewn. The rope passes between the fold and the sewing. The conical style ear wraps around the rope and is sewn on the side toward the shell. The cone opens up on one end into a large flap for grasping when applying the tension. The photographs showed both were used in the Civil War. (As an interesting aside, the photographs also showed that occasionally the ears were attached in an inverted fashion so that tension was applied by sliding the ears up rather than down.) I opted for the conical ears and since have realized the unexpected benefit that they slide much easier then the rectangular ones. The ears were hand-made by Cooperman Fife and Drum Company of Centerbrook, Connecticut. They arrived in a natural leather state: I dyed them dark brown.

The shell was the next problem. After cleaning the painted artwork, it still appeared dull. I was also worried about the cracking of the paint. In an attempt at brightening the painting and protecting the surface I hand-rubbed fifteen coats of tung oil varnish onto it. I also removed the finish from the unpainted remainder of the shell, then sanded and re-varnished it. The counterhoops were sanded and wood-filler was applied to the distressed portions. Three coats of enamel were applied and finally a coat of matte finish varnish that reduces the gloss and protects the paint. The snare-side hoop had become distorted in shape from circularity. Given several days of tension, it was to returned to uniform curvature. All of the metalwork was removed, rubbed with fine steel wool, and polished.

Upon reassembly, it was necessary to keep tension on the heads to allow for stretching of the linen rope. As the rope stretches, it may become necessary to remove slack. The sound the drum produces indicates that the current tension is sufficient.