By Carol J. Perry
Back before there was radio and television, America was a nation of singers. There was a piano in virtually every parlor, and the “evening song-fest” was a regular occurrence.
With all that singing going on, there was an enormous demand for both pianos and easy-to-read printed song sheets for the pianists. A mid-19th-century book on manufacturing in America describes the phenomenon in this flowery fashion: “The true place of this art is at the altar of ‘home,’ where it shines calm and effulgent, animating or soothing in turn, in the form of domestic musical harmony.”
American manufacturers, seeing the popularity of European imported piano-fortes, lost no time in producing a new line of pianos, both upright and “grand” models. By 1867, instead of being the largest importer, America had become the largest exporter of pianos – especially those made by New York based Steinway & Sons. It was about at this same time that the popularity of sheet music grew tenfold. (One publisher in 1867 advertised 33,000 different pieces of sheet music!) Publishers raced to put out the huge quantity of song sheets all those parlor performers would need. It didn’t take long for publishers to figure out that cover art could help to sell a song. Earlier in the 19th century song covers had featured ornate lettering, but few illustrations. Now they engaged some of the finest lithographers in the country. Most of the major engraving firms of the period did song “fronts” and some of the artists they employed went on to enjoy very bright futures. The list includes such illustrious names as Harrison Fisher, Fitz Hugh Lane, Palmer Cox, Winslow Homer and Nathaniel Currier. Even the great Whisler did a cover for a graduating class. The title was “Song of the Graduates.” Some of the loveliest covers produced during the lithograph period were from the E.T. Paull Publishing Company. Edward T. Paull insisted that the sheet music cover should be as exciting as the music itself. Paul published music from 1890 through 1920, and these days E.T. Paull sheet music often sells for premium prices.
By the time the beginning of the 20th century rolled around, vaudeville had become the most effective way to introduce new songs, and covers began to be decorated with portraits of such show business luminaries as Lillian Russell, Al Jolson and Eddie Cantor. New songs were being written at a rapid pace. During the years between 1890 and 1930 — which is known as the Tin-Pan-Alley era — it is said that more than 500,000 were produced.
(About that name… “Tin Pan Alley.” Legend tells us that the term was thought up by a writer for the New York World newspaper to describe the pingy piano sounds coming from the district where songwriters worked on 28th Street just off Broadway.)
Of course, not everyone was able to attend vaudeville shows. Some folks couldn’t afford it, and some didn’t live near a theater. So song promoters needed another way to get those song sheets into America’s parlors. There were music stores in just about every city and town in the country. Here a musician would sit at a piano and play the day’s popular songs. (The pianists accepted requests from the shoppers and canny publishers often hired “song-pluggers” to callout their song titles, hoping to promote sales that way!) Department stores and five-and-ten cent stores featured big song sheet departments too.
Even after radio and television came along, buyers continued to gather up sheet music. The handsome lithographs had given way to less labor intensive and less costly photographic images, and piano stools had been replaced by hinged-top piano benches with neat compartments for storing the music sheets. Early sheet music, pre-World War I, generally measured 11 x 14. Around 1920 most publishers converted to the 9 x 12 size. Some of that pre-1920 music turns up with raggedy edges. That’s because they didn’t really fit into the new benches.
Today’s collector of song sheets finds almost limitless possibilities in specialized subject matter. Because the quantities produced were so enormous, not too many examples are what might be considered “rare.” For the most part, you can build a good collection of song sheets for comparatively little money. But, what to collect?
Most experts in the field recommend that you select one subject, and try not to get distracted! Some folks like to collect transportation songs, with covers showing trains, planes, automobiles, bicycles and ships. Sports makes a good topic, especially baseball. Black Americana is a popular field of song sheet collecting and so is Walt Disney. There were many songs which incorporated the names of states and cities. Some collectors try to get a song for every state.
Lots of collectors like covers showing movie stars or Broadway performers. Some at the top of this category are Judy Garland, Fred Astaire, Marilyn Monroe and Shirley Temple.
Artwork can be the basis for your collection. Some artists seen often on covers are Barbelle, Stormer, Frew and Manning. Of course, art by some of the more famous illustrators will command higher prices.
Unlike many other vintage items, value of sheet music doesn’t depend on age. In fact, some 1950s tunes are worth more than much of the 1850s music. And, oddly enough, most of the time, the more familiar the song, the less it’s worth! That’s because the most popular songs were printed in such huge quantities that they’re not hard to find.
It doesn’t take a fortune to get started on your sheet music collection. Most common sheets are valued at $5 or less. Some nice examples still show up at yard sales, and many antiques shops have baskets filled with them. Maybe you’ll be lucky, and pick up something wonderful…for a song!
COLLECTING TIPS
Some collectors like to frame their favorite covers. If you do so, the experts suggest that you frame the whole song sheet, not just the front. That way the integrity of the sheet is preserved.
Unless you come across something truly rare, don’t settle for sheet music in bad condition — with tears, stains or pencil marks.
If you are going to stack your sheets in storage, experts say to put acid-free paper between each sheet because the ink on the covers sometimes tends to “bleed.”
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