Holton Serial Numbers

1. Holton Trumpets History
2. Holton Serial Numbers
3. Holton Collegiate Cornet Serial Numbers

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During the 1970′s, the 3rd and 4th digit of the serial number indicate the year of manufacture. 1972 – 127 – 127 – 127 – 127 – 127 – 127 – 127 – 127 – 001 – 001 – 001 – 001 – 001 – 00128485. Dedicated to the generations of high skilled persons which created, and the players which performed on instruments of the Frank Holton & Company; Makers of High Grade Band Instruments. HoltonLoyalist.com is not related in any way to current manufacturer of Holton instruments; the Conn Selmer Company.

.Manufacturers, models - stencils and serial numbers

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The aim of this page is to (hopefully) help you to identify the manufacturer, and even possibly the 'build year' of your C-Melody. I know you could look on the bell and say 'Ah - Martin', but sadly that doesn't apply to stencils. So, the table on the right will have links to a pages showing a selection of C-Melody saxes, some I've owned, some I still do, and with the mechanism and design features of each manufacturer - the pictures are quite good resolution, and unprotected, so can be copied and pasted into a suitable graphics package for better viewing, e.g. zooming. Please feel free to do this, but if you re-use the pictures in any other context, please ask me first, and I'd also appreciate a mention of this site.

Rather than put 'return' links on each page, I've either opened some in a new window, or others require the use of your browser 'back arrow' to get back to this page. It will take a while to find examples showing all the differences, and I hope to be able to make a 'truth table' as well, for quick checking and identification. Until then, please follow this link to my Q&A page, and check out the excellent pages by Saxpics, Dr Rick, and Cybersax, to identify which manufacturer built your stencil.

Sadly, e.g., all Martin stencils don't have all the standard Martin features etc. etc. And, some Stencil names appear on saxes from more than one manufacturer ! Fun, isn't it ? I'm still learning a few things myself in the process. A far from comprehensive list of Stencil names is at the end of the page - link is on the table opposite - and I'll also set up a gallery of pictures of C-Melody saxes I've owned in the past, as examples of most manufacturers art. The vast majority of the pictures were taken by (and owned by) me, but, if I've inadvertently used someone else's example, I sincerely apologise - drop me an email and I'll either credit you, or if you so wish I'll remove the picture.

Below are short lists of serial numbers for the years ( mostly up to the thirties ) that C-Melody saxes were produced 'in quantity'. I thought it would be useful to have them for all the C-Melody manufacturers together in one place (and in alphabetical order, not preference...). Links to pages with more comprehensive serial number listings, and further model info, are included with each list, as are references to the origins of the data. I'd just like to say a great big ' Thanks ! ' to anyone involved in compiling and/or publishing those lists - very much appreciated !!

Please note that C-Melody 'stencil' serial numbers don't usually correspond with the relevant manufacturers 'own brand name' sequences - there are some theories as to how you can work the date out, but I'm afraid the answer is usually just ' made in the 1920's... '

Also be aware that the serial numbers below weren't just for C-Melody saxes, each instrument produced was assigned a sequential unique number, so (for example) in Jan-1924, 60993 could have been a Tenor Sax, 60994 a C-Mel, 60995 a Soprano, etc. etc. - at least that's how I understand it ? Thinking about that, it's probably more logical that the numbers were assigned in 'blocks' to maybe a group C-Mel's, then alto's etc. for a certain production run. Each group of bodies could then be stamped sequentially. Anybody out there know how it really was ?

So anyway, you should also be able to use these lists to date some of the vintage saxes of that period.

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Please note : Page (always) under re-structuring... - June 2011

Just a selection of serial number lists - many more available on the internet...

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Buescher

1915 25103
1916 28875
1917 32350
1918 37540
1919 46975
1920 61255
1921 78525
1922 99275
1923 125750
1924 150250
1925 175275
1926 202350
1927 222175
1928 235250
1929 275275
1930 255250
1931 260125
1932 264025
1933 265523

( courtesy of - http://www.coolsax.pwp.blueyonder.co.uk/serialnos.HTM#Buescher )

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Conn

30,000 - 1914
35,000 - 1916
40,000 - 1917
50,000 - 1919
58,000 - 1920
64,000 - 1921
83,000 - 1922
101,775 - 1923
124,600 - 1924
145,400 - 1925
167,900 - 1926
193,450 - 1927
209,250 - 1928
224,600 - 1929
237,800 - 1930
244,700 - 1931
249,230 - 1932
256,501 - 1933

( courtesy of - http://www.fortunecity.co.uk/madchester/rave/360/conn_serial.html )

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Evette & Schaeffer ( Buffet Crampon )

19500 17.09.1910
20000 21.01.1911
20500 02.03.1912
21000 11.05.1912
21500 20.11.1912
22000 30.07.1913
22500 11.07.1914
23000 08.06.1916
23500 17.01.1917
24000 18.03.1919
24500 27.03.1920
25000 09.07.1921
26000 14.10.1922
26500 04.08.1923
27000 31.05.1924
27500 15.11.1924
28000 11.07.1925
29000 25.09.1926

( courtesy of - http://saxwelt.de/index.php?module=ContentExpress&file=index&func=display&ceid=61&meid=66 )

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Holton

1 1901
254 1902
476 1903
526 1904
1151 1905
1872 1906
3345 1907
4630 1908
6071 1909
9474 1910
12,402 1911
15,950 1912
20,807 1913
21,100 1914
31,622 1915
33,671 1916
37,909 1917
(note- interleaving number changes)
41,070 - 43,972 1918
55,000 - 55,249 1918
43,973 - 47,600 1919
55,250 - 57,040 1919
47,601 - 49,817 1920
57,041 - 58,499 1920
70,000 - 70,549 1920
49,818 - 54,999 1921
58,500 - 59,499 1921
70,550 - 73,199 1921
59,500 - 60,599 1922
73,200 - 76,099 1922
60,600 - 61,649 1923
76,100 - 81,000 1923
61,650 - 62,199 1924
81,001 - 85,600 1924
62,200 - 62,899 1925
85,900 - 89,849 1925
62,900 - 63,149 1926
89,850 - 92,799 1926
63,150 - 63,299 1927
92,800 - 97,199 1927
63,300 - 63,549 1928
97,200 - 101,399 1928
63,550 - 63,849 1929
101,400 - 105,199 1929
63,850 - 64,049 1930
105,200 - 108,399 1930
64,050 - 64,149 1931
108,400 - 111,049 1931
111,099 - 113,899 1932
113,990 - 114,999 1933

( courtesy of - http://www.mouthpieceheaven.com/content/holton.htm )

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King / H N White

Note: - these serial numbers should be taken with a 'pinch of salt', the accuracy is doubtful. I've heard from Joe Uebelacker, who has a King C-Melody s/no 34xxx. Going by the published serial numbers, this places it's age somewhere between 1893 and 1915 (helpful...) However, on the same website there is an announcement that the 'King C-Melody was introduced around 1916-1920' - in fact probably closer to 1920 Hrmmmmm.

Date Serial Number
1893-1915 1-50,000
1915-1925 50,000-78,000
1925-1930 78,001-126,000
1930-1935 126,001-161,000

( courtesy of - http://www.hnwhite.com/serial%20number%20sax.htm )

Note - it is rumoured, that from the 30's, King C-Mels were produced engraved as 'Cleveland'

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Martin

Serial# Year
17221 1919
19482 1920
19933 1921
23781 1921
29942 1922
34838 1923
40644 1924
48489 152342 1925
54853
67852 162852 1926
172051
79254 1927
86687 1928
*192536 1027 1929
*first digit dropped on most serial numbers
98324 2982 1930
101622 7119 1931
105096 1932
106546 1933
108301 1934
10758 111253 1935
14526 116551 1936

( courtesy of - http://www.mouthpieceheaven.com/content/serials.htm Theo Wanne )

- and a 'simpler' list -

Serial Number & Year Manufactured --- Serial Number & Year Manufactured
17,221 1919 --- 19,482 1920
23,781 1921 --- 29,942 1922
34,838 1923 --- 40,644 1924
48,489 1925 --- 67,852 1926
79,254 1927 --- 86,687 1928
92,536 1929 --- 98,324 1930
101,622 1931 --- 105,096 1932
106,546 1933 --- 108,301 1934
111,253 1935 --- 116,551 1936

( courtesy of - http://www.musictrader.com/martin.html )

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Selmer - Paris

( Not 'Selmer - New York', which is a US stencil )

The list continues right up to 1992, so is well worth a visit - link below

( courtesy of - http://www.selmer.com/content/selmerparis/saxophones/serial_no.php )

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York

Serial Numbers Comments
0 - 8497 Made prior to 1903
8500 - 57,000 Made between 1903 and 1913
57,000 - 112,000 Made between 1913-1938

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A few Stencil names- ( I'm sure there are loads more out there..... )

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Note 1 - Lyon & Healy either made, designed, or commissioned their 'own' C-Melody saxes at the start of the era, from parts seemingly supplied by the major manufacturers. Typically those 'own' models have a strange mix of the Martin body (with bevelled tone-holes), but with the Conn 'mercedes' low C guard, and either a Martin style neck (straight brace) or a Conn style neck (curved brace). (but) I've also seen one 'Gretsch' stencil with the same mix........

Later Lyon & Healy C-Melody's were pure Buescher or Martin stencils. King also produced a limited number of stencils engraved Lyon & Healy Inspiration, usefully with the aux-Front-F key, but without the 'double-G' cup. I own one of those - it's my backup C-Mel, check out Big Ugly , also featured at the top of this page.

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History of Frank Holton & Co.

There are many variations of this story, but here is the best timeline we’ve been able to piece together about the Frank Holton & Co. instrument manufacturing company.

Frank Holton

Source: 1860 US Census
Heath Township, Allegan, MI June 23, 1860
Father: Otis M. ? or L.? Holton (Born 1827: New York); Farmer
Mother: Hanna A. Holton (Born 1829: Michigan)
Siblings:
Emma E
Alice
Frank E
Leona (? spelling)

Frank E. Holton

Source: 1870 US Census
Allegan Village, June 10, 1870

Frank Holton official roster of John Philips Sousa Band (age 33-34)

source:
John Philip Sousa official website
Sousa Band Roster
http://www.dws.org/sousa/band/roster.htm

York briefly participated in two partnerships, Smith & York (1883) and York & Holton (1885) before naming the company J.W. York and Company.

source:
Lars Kilmer York Serial Number List
York Serial Number list
http://www.musictrader.com/york.html

Holton Trumpets History

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. H. A. 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. Mr. 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. G. 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.”

Frank E. Holton, (unrecognizable)
Florence E. Holton; Music Teacher

Source: 1900 US Census
Hyde Park Township, City of Chicago, IL June 8, 1900

Built factory on West Side of Chicago (1907)

source: Wisconsin Historical Society website
A trip through an instrument factory in Elkhorn, 1920
http://www.wisconsinhistory.org/turningpoints/search.asp?id=1211

Frank Holton, Manufacturer Band Instruments
Florence Holton; Music Teacher

2652 Jackson Blvd.
Chicago, IL

Source: 1910 US Census
Track M5, City of Chicago, IL April 15, 1910

Moved to Elkhorn, Wisconsin, from Chicago in 1917.

source: G. Leblanc Company website
http://www.gleblanc.com/history/index.php

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.

THE GRAND RAPIDS XXX, GRAND RAPIDS, WB.
6/12/1919

Elkhorn— Frank Holton, president of Frank Holton & Co., will build twenty-five new houses on property recently purchased of O. B. Rogers in the north part of the city. Work will start soon and it is expected that the houses will be completed before winter.

The houses will be modern five and six room bungalows costing from $3,000 to $4,000, and all will have different exteriors.

Frank Holton, Band (unrecognizable)
Florence Holton

North Wisconsin Street
Elkhorn, WI

Source: 1920 US Census
Elkhorn, WI Jan. 24, 1920

The Janesville Daily Gazette
April 23, 1923

Frank Holton has, purchased the Henry Barnes home and possession will be-given May 15. Mr. Holton comes into possession of a home which is in one of the finest locations in the city.

(presumably this was the house at 640 North Broad Street, Elkhorn, WI)

Frank Holton, Band Factory
Florence Holton

640 North Broad Street
Elkhorn, WI

Emma (Sister) lived at 625 North Broad Street

Source: 1930 US Census
Elkhorn, WI April 2, 1930

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. (4/18/1942)

Holton Serial Numbers

Acquired by Steinway Musical Instruments, Conn Selmer Division

Note the circular driveway, and original building still existing today.
Photo: Google Earth

330 N Church Street, Elkhorn, WI 53121

Holton Collegiate Cornet Serial Numbers

Manufacturing of Holton instruments was retained in Elkhorn, Wisconsin until 2008 when it was relocated to Eastlake, Ohio.