- King Cleveland Saxophone Serial Number Chart
- King Saxophone Serial Number Chart Pdf
- King Saxophone Serial Number Chart Generator
- Saxophone Serial Numbers: Info & Chart
Saxophone Serial Numbers. Click here to look at all Saxophones by model types. Important facts to consider before you look up your serial number: King serial numbers are difficult to track due to the different variations of product changes and the lack of official records. All of the serial numbers listed on this page end when The H. Over 100 company's databases containing dates of manufacture of musical instruments. Saxophone.org - created by saxophone players for saxophone players. Features an active saxophone forum, buy sell trade your sax, saxophone museum, sax teachers and more. This serial number chart is based on a chart provided to me by a reader of this website and poster to SOTW, Schorsch, and is supplemented with serial number data from standardized serial number charts found at places like Dr. Rick's Music, Lars Kirsmer's MusicTrader, etc. Vintage Buescher, Conn, Martin, King & Selmer Serial Numbers. There are quite a few saxophone serial number charts on the internet, these ones have mostly been adapted from existing manufacturers’ and saxophone enthusiasts’ charts.
King Cleveland Saxophone Serial Number Chart
The development of a serial number list has been very difficult because of the lack of official records. Mr. H. N. White kept very detailed records but when the company was sold to the Seeburg Corporation all official records were destroyed. When looking up the age of your instrument, complete the following steps: (1.) Find your instruments catalog page and year that the catalog was made. Pay special attention to the small details on your instrument because most artists drawings account for unique changes and features. (2.) Compare your findings to the serial number list. Please keep in mind that most catalogs were dated on the back and should be trusted more than the serial number list.
1/01/2008 We have reevaluated the serial number list to reflect new information. The number of instruments produced in the early years 1893-1905, has been reduced.
The serial number lists are NOT 100% accurate.
Brass King Serial Numbers
Tractive dog tracker phone number. 267,501-277,000
String Serial Numbers
American Standard String Bass Serial Numbers
1942-1946 No Production WWII
1947 Limited Production
|1936 001 |
1942-1946 No Production WWII
1947-1948 No Production
Cleveland and American Standard Serial Numbers:
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Models and Stencils: General Information
(1925/26 to Current)
Introduction:: Company Foundations :: We're Movin' On Up
Stencil Manufacture:: More Stencis :: Modern Production :: Source Info
Model Feature Pages
|Website Home>Keilwerth Home (General Information)|
The Keilwerth company is probably the most challenging manufacturer to write about for two reasons:
• Julius Keilwerth and his brothers were involved with most of the German AND Czech saxophone market, so much so that it’s impossible to just talk about Julius Keilwerth divorced from these other companies.
That being said, I’m doing a bit of a different format for these pages and I’m going to try to present as complete as possible history – but it’s by no means complete. The links will take you to pages with more information or pictures.
King Saxophone Serial Number Chart Pdf.
Johann Keilwerth had three sons Max (1898 – 1968), Richard and Julius (1894 - 1962).
Julius Keilwerth first worked for the Kohlert company in Graslitz, Czechoslovakia (A.K.A. the “Czech/Slovak Republic” or “CSR”). After this apprenticeship, Julius and Max established a workshop in their home around 1925 or 1926. They primarily manufactured saxophones for Adler (a small German manufacturer that disappeared after World War II) and FX Hüller (another small German manufacturer, the saxophone department of which Max helped “develop” from 1923 to 1925).
Brief geography lesson: Adler and Hüller were located in Markneukirchen, Germany. That’s about 20 or so miles from Graslitz, Czechoslovakia.
At this point, an aside: these first horns (see the 'Early Models') borrowed much from the overall design of the Conn “Virtuoso Deluxe” model New Wonder horns: additional inlaid pearl keytouches, microtuner necks, rolled toneholes, etc. However, there are quite a few other German-made horns I’ve seen that also have one or more of these features and it’s been suggested many times that Conn actually borrowed from the Germans. Considering the patent dates I’ve seen from Conn and lack of any saxophone patent by any Keilwerth, it’s more probable that the German manufacturers borrowed these features from the Americans, rather than vice versa.
Somewhat amusingly, around 1920 - 1930, most German saxophones, regardless of manufacturer, started to look almost identical. There are a couple reasons for this:
• Julius Keilwerth stenciled some saxophones for Kohlert – and each borrowed heavily from each others' designs.
Julius Keilwerth fast became the largest saxophone manufacturer in Germany with appx. 150 workers (Kohlert was still the largest instrument manufacturer, with over 600 employees). Then World War II happened.
There’s no information that I could find about Keilwerth DURING WWII. It’s known that the Nazi regime initially considered the saxophone a “Western menace” and frowned on its use, but there were definitely a few companies that flourished and these horns occasionally do appear on eBay and are engraved with full Nazi regalia.
Anyhow, in 1948, the Keilwerth company was 'nationalized' and the workshops in Graslitz were taken over by the Czech collective combine, Amati (founded in 1946, according to Amati’s website. The second of Amati’s names, “Kraslice”, is the Czech spelling of Graslitz). Amati's workers were recruited predominantly from former resident instrument companies, such as F.X. Hüller, Kohlert and Keilwerth. Richard Keilwerth worked with the Amati company until 1949 and Max worked with them until 1951.
Amati saxophones built after the war and into the 50's retained the name Toneking (see below), which Julius Keilwerth had originally used as the name of his top professional-model horns.
This obviously creates a great deal of confusion, especially when you look at the below chart:
I think that you can forward the argument -- especially because of the late serial numbers on some Amati horns (which go into the Series III serials) -- that the Amati Toneking was made with Keilwerth tooling and parts -- with some minor changes for the neck. (Please note that ALL Amati-made Tonekings are engraved 'Amati'.)
|We're Movin' On Up|
Julius Keilwerth fled to Nauheim, Germany in 1947 and moved into a new, larger facility. This company was handed over in 1962 to Julius' son, Josef Keilwerth, and was then sold in 1989 to the French company Buffet (from the group of firms formerly owned by Boosey & Hawkes). The instrument division of the Boosey & Hawkes company was then sold to the Musicgroup company in 2003.
Max Keilwerth left the Amati company for Trossingen, Germany and began building saxophones for the Hohner company (the 'Hohner President') until about 1967.
Richard Keilwerth left the Amati company for Markneukirchen, Germany and founded another large woodwind company – primarily concerned with clarinets. However, he also has stenciled a few horns for other companies, most notably the baritone saxophones for the Weltklang company (the former FX Hüller company and now called the B&S company -- a division of JA Musik).
It seems that the move from Czechoslovakia to Germany made Julius Keilwerth more interested in promoting his products throughout the world. To this end, Keilwerth designed new versions of his Toneking and New King horns and stenciled this design to a bunch of different companies in a move that compares very favorably to the stencil craze of the American saxophone market from 1915 to 1929. However, in addition to just stenciling these horns, Keilwerth also sent out saxophone bodies to a variety of manufacturers who would add their own keywork. This means that you can find horns produced by smaller German companies that you’ve never heard of that look astonishingly like a Keilwerth, but aren’t, such as the horns made by Dorfler and Jurka (a company Keilwerth summarily purchased).
In addition to this in-country stenciling, Keilwerth maintained his relationship with Selmer throughout the 1950’s and produced the wonderful Bundy and Bundy Special horns for them – horns that were not produced as professional models, but are very highly regarded by most people that have played these horns -- as they're variations on the New King design (Series IV). Finally, Keilwerth developed at least one model student/intermediate saxophone for the Boosey and Hawkes company. New research indicates that these horns were produced in very low quantities and Keilwerth themselves don't know how many horns were produced -- or during what years.
In 1962, the Keilwerth company management was turned over to Julius’ son, Josef.
King Saxophone Serial Number Chart Generator
From 1965 to 1986, Herbert Couf, the president of the WT Armstrong company, had three Keilwerth models stenciled for him under the model name 'H-Couf': the 'Superba I', 'Superba II' and 'Royalist'. These instruments were built in Germany and corresponded (to a large extent) to the Toneking Special (Superba I) and Toneking (Superba II) – the latter two were pro models and featured a high F# key. The Royalist was the intermediate model, without high F# key, and roughly corresponded to the Keilwerth New King model.
In a parallel move, Daniel J. Henkin started importing horns for the Conn company under the banner name of “DJH Modified” – not exactly “modified”, more like 'custom engraved' :)
King also imported at least one model model from Keilwerth, the Tempo and added this import to their other available stencil lines: the King Lemaire (produced by Amati -- a stencil of their Super Classic model) and the King Marigaux (produced by SML -- a stencil of their Gold Medal 'II' model).
Allegedly, Keilwerth also supplied saxophone bodies to Armstrong. Armstrong then added their own keywork to these bodies – similarly to what other German manufacturers did with Keilwerth sax bodies decades before. The result of this is NOT the H-Couf Royalist II, 3100 and 3200 horns, according to Keilwerth, but they're unsure which horns they were.
In 1986, Keilwerth started producing a brand new pro model, the Peter Ponzol, and then the company was acquired by Boosey and Hawkes in 1989. This may have actually been a good thing: the model line was reinvigorated with the introduction of the ST, SX and EX90 models, rolled tone rings – and the opportunity to build horns for and borrow techniques from Buffet.
What’s next for Keilwerth? While typing this in Feburary 2003, Boosey and Hawkes sold their musical instrument division to Musicgroup. I'm hoping this bodes well for the former B&H saxophone lines, the beautiful Buffet S3 Prestige and the Keilwerth models. Time will tell, but almost immediately after this acquisition, Keilwerth did come out with the EX90 series III, so things are looking up!
Finally, translations were provided by www.altavista.com
.. and one erratum ..
I have been told that, after WWI and during WWII, it is correct to say that what's now the Czech republic was essentially part of Germany. Distinction so noted. However, it is important to keep in mind that Kohlert, Keilwerth and (vintage) Amati-produced Keilwerth horns saxophones are engraved or stamped differently based on where they were produced. SO, the assertion that Keilwerth occasionally makes, 'We always made saxophones in Germany. No where else!' is technically correct, but you will find early Keilwerth horns engraved with 'CSR' or 'Czechoslovakia'.