Mitterhofer Typewriter Claim Upsets US Historian

The 1864 Mitterhofer machine was on show in the exhibition "Mountains, People and the Economy of the Ostmark" in 1939.

Today the 200th anniversary of the birth of early typewriter inventor Peter Mitterhofer is being marked in his home town of Parcines in the Tyrol. In August 1925 US newspapers ran a story from Innsbruck saying a memorial tablet had been unveiled at Mitterhoffer’s home. The story claimed Mitterhofer was THE inventor of the typewriter, and went on to state that Carlos Glidden had seen Mitterhofer’s machine at the Imperial Polytechnic Institute at Vienna and given the idea to Latham Sholes and Samuel Soulé. That is to say, the Sholes & Glidden was a COPY of Mitterhofer’s machine. This caused huge indignation in America. In October 1925, US newspaper stories headed “Exposes attempt to discredit famous American inventor” explaimed how Colonel John Wright Vrooman (1844-1929), president of the Herkimer County Historical Association, had proved that Glidden had never been outside the US and had never heard of Mitterhofer. Vrooman had “defeated a foreign attempt to take the honor [of inventing the typewriter] from America.”

Ninety-seven years on, however, Mitterhofer's Wikipedia entry still says, "Technical details of his developments were patented by Sholes and Glidden in the US in 1868 independently of Mitterhofer as an in-house development and created the basis for the series production of the first usable typewriters ... Professor Rudolf Granichstaedten-Czerva, who published a biography of Peter Mitterhofer in 1924, [said] Mitterhofer experienced the success of the typewriters manufactured in the US by Sholes, but without having any part in it. On August 27, 1893, he died bitter. On his tombstone is the saying: 'The others who learned from him were allowed to reap the fruits of his talent'. It was probably the great similarity of Mitterhofer's models with the models produced in America by the Remington company that prompted the Innsbruck professor to write the saying on the tombstone." All of which, of course, is utter nonsense.

The Queen is Dead, Long Live the King’s Typewriter

My dear friend Gary McGill, originally from Dillmanstown outside Kumara, was, I believe, the only male born in New Zealand on the same day that King Charles III entered the world. Gary still has a typewriter. I wonder if Charles still has his?

Charles got his typewriter on May 5, 1949, nine days before he turned six months old. It was given to his mother, then Princess Elizabeth, at the British Industries Fair at Olympia in London. The typewriter is an Empire Aristocrat with 18-carat gold key rings and typebars (which Gary’s doesn’t have). The Aristocrat was presented to the future Queen by a Mrs S.S. Elliott, secretary of the Office Appliances Trade Association. Future British Prime Minister Harold Wilson, as president of the Board of Trade, had welcomed the princess, her husband, mother and sister to the fair.

Mrs Elliott told Elizabeth, “We thought that perhaps Prince Charles might begin to learn his alphabet from the keyboard.” “What a good idea,” replied Elizabeth.

The Empire Aristocrat was made by Bill Mawle’s company, British Typewriters, in West Bromwich. It was from this plant, originally established as George Salter’s Spring Works, that in 1878 the West Bromwich Albion football club emerged, out of the company’s cricket team. In 1935 Mawle, a World War I flying ace (and later Group Captain Mawle OBE DFC), was sales manager for the Imperial Typewriter Company in Leicester. He was sent to a trade show in Switzerland and there spotted a new slimline portable typewriter, later to become famous as the Hermes Baby. Mawle bought the British rights to the design for £3000 and returned to Britain to begin manufacturing at the then abandoned Sattler factory. Mawle’s company, later known as Empire Typewriters, was sold to the American typewriter concern L.C. Smith Corona in 1962.

WD-40 and Typewriters: Never the Twain Should Meet

Whenever I fix a typewriter, I offer the customer free after-service care. Yesterday, for the first time, that offer was taken up. Three years ago I had worked on a 70-year-old Royal HHP standard which had been bought for a Canberra woman by her mother-in-law, from the San Francisco Typewriter Exchange. Last week the owner contacted me to say the keys and typebars wouldn’t move. She wasn’t wrong. It would have taken a sledgehammer to get them operational.

The owner said she had no knowledge of anyone spraying anything into the segment. But, from experience, that is exactly what had happened. And the guilty item: WD-40! WD-40 is a water dispersant spray, not a lubricant. WD-40 shouldn’t be allowed within a 100 miles of a typewriter, the keys and typebars of which work through a combination of a multitude of gears, levers and springs and good ol’ gravity. Allow WD-40 anywhere near those gears, lever connections and springs, or the groves of the segment, and you’re asking for big, big problems. WD-40 works like Lanolin, it congeals and clogs.

It took 24 hours of serious bubble bathing, relubricating and much gentle manual persuasion to get the keys and typebars working properly again. Today’s lesson? Never use WD-40 as a lubricant. And never, ever, use it on a typewriter.

When Jeff Missed Out To The Typewriter Guy

While I was cleaning up this Remington Noiseless portable for today’s typewriter presentation, I came across what I at first took to be a bit of foliage or piece of cloth buried inside the workings of the machine. Nothing unusual in that. I brushed it out and only some time later looked more closely at it - and realised it was a typed slip of paper. “Do you love me or Jeff” was the plaintive cry of the guy who once owned this lovely machine. “No” the future Mrs Typewriter Guy seems to have written on it in pencil. I’m taking it to mean she didn’t love Jeff, just the Typewriter Guy. Lovers of typewriters, after all, make the best lovers. What’s your interpretation?

The Ongoing Popularity of Portable Typewriters

RIP James Caan (1940-2022)

Actor James Caan, who died in Los Angeles on Wednesday, aged 82, will be best remembered by typewriter lovers for his manhandling of a Royal 10 standard in the 1990 movie Misery. He also used a Smith-Corona electric portable in that film, and it wasn't the only movie in which Caan used a typewriter. He was seen typing on an L.C. Smith in 1975's Funny Girl, in which he played impresario and theatrical showman Billy Rose, opposite Barbra Streisand as comedienne Fanny Brice, Rose's first wife, and also in Neil Simon's semi-autobographical Chapter Two in 1979, in which Caan played George Schneider, a New York City author. In this movie Caan was also using a Royal, but a much more modern Ultronic electric. James Edmund Caan was born in The Bronx on March 26, 1940.

The stunt typewriter

Typewriter Dinkuses

Did you know dinkuses, the plural of dinkus, is an anagram of unkissed? Yet there once was many a time when, rushing against deadline to make up a sports page on an evening newspaper’s stone floor, that I kissed the wooden back side of a dinkus, offered to me by a compositor as a way of filling a gaping hole, left by a story which had fallen an inch or so short. In more recent times, I have gathered a small collection of typewriter-related dinkuses, as has Peter Weill (see ETCetera No 109, Summer 2015).

A couple of my typewriter dinkuses mounted on wooden blocks.

In the digital age, Richard Polt’s efforts, between 2015-18, to get the emoji subcommittee of the Unicode Technical Committee to accept a typewriter emoji have been as yet unsuccessful, but he remains determined. As he said back in May, “The typewriter still powerfully symbolizes the act and craft of creative writing.” (You can read about Richard’s submission here.)

Richard's suggested emojis.

In the meantime, we can always use the scan of a typewriter dinkus when we need one.

Seven years ago, Writing New South Wales tweeted that “dinkus” was a “new word from today”. It was at least 90 years behind the times, possibly as much as 140 years and maybe even 160 years. My own efforts to find the origin of the word dinkus, as I know it, relied in March 2011 on Australia’s Macquarie Dictionary, which said: “A dinkus is a small drawing used in printing to decorate a page, or to break up a block of type. It was coined by an artist on [Sydney’s] The Bulletin magazine in the 1920s, and it is derived from the word dinky, meaning ‘small’.” I now find that in 1952, the Melbourne Herald's head proof reader, Charles Crampton, said there was a printers' embossing tool called a "dinkus-and-die", with a "dinking" tool which fitted perfectly into the die. "Hence we get a 'dinky-die fit'." So from dinkus came the Australian term "dinkie-die", meaning straight and true ("It's not a lie, it's dinkie-die"), as well as the expression "fair dinkum" ("Fair dinkum, I use a typewriter all the time"). The Herald journalist, social commentator and activist E.W.Tipping said, "Printers call a small picture used to fill up a space in the compositor's forme a dinkus, the latter getting its name obviously from it being used to wedge tightly the type."

 Wiktionary gets it right by describing dinkus as “A small drawing or artwork used for decoration in a magazine or periodical”. In print newspapers in the hot metal days, a dinkus was usually used to give the eyes a momentary rest from reading a page of “grey matter” – that is, columns of a small black typeface on a light background. Wikipedia gets it wrong by confining dinkus to “a typographic symbol which often consists of three spaced asterisks in a horizontal row … The symbol has a variety of uses, and it usually denotes an intentional omission or a logical ‘break’ of varying degree in a written work.” Wikipedia compounds its mistake by adding, “In Australian English, particularly in the news media, the word refers to a small photograph of the author of a news article. Outside of Australia, this is often referred to as a headshot.” Wiki is most decidedly wrong on this count.

Last month (June), The New Yorker featured typewriter use in dinkuses (it calls them “spots”), one (seen at the top of this post) above a wonderful tribute to the late Roger Angell (“That Titian of the Typewriter”), written by the incomparable David Remnick, the other among the regular “spots” that run through the magazine, in this case showing people writing using all manner of machines and methods.

This last one was not entirely "new", as a similar idea had been used to advertise the Bar-Let portable typewriter in 1934:

Vale Frank Moorhouse (1938-2022)

Frank Moorhouse, one of Australia’s most celebrated and controversial writers, died early on Sunday morning at a hospital in Sydney, aged 83. Moorhouse wrote 18 books, many screenplays and countless essays. He was renowned for his use of the discontinuous narrative in works such as The Americans, Baby and Forty-Seventeen. He was a life-long activist who supported feminism, advocated for gay liberation and supported indigenous land rights. Moorhouse’s activism on behalf of authors led to him becoming a member of the distinguished writers panel for PEN, an international organisation for freedom of speech for poets, essayists and novelists. The 1989-2011 “Edith Trilogy”, a fictional account of the League of Nations and made up of the novels Grand Days, Dark Palace (which won him the 2001 Miles Franklin Literary Award) and Cold Light, affected the career paths of many women.

Moorhouse was born in the New South Wales town of Nowra a few days before Christmas 1938. His New Zealand-born father, electrical engineer, dairy machine inventor and manufacturer Frank Osborne Moorhouse, moved to Australia in 1925. The younger Frank began his working life in 1955 as a cadet reporter on Sydney’s Daily Telegraph and from 1957 worked as a journalist for the Wagga Wagga Advertiser, Riverina Express, Lockhart Review and Boorowa News. At 18 he published his first short story, “The Young Girl and the American Sailor”, in Southerly magazine. Moorhouse lived for many years in the Sydney suburb of Balmain, where together with Clive James, Germaine Greer and Robert Hughes he became part of the “Sydney Push” - an anti-censorship movement that protested against right-wing politics and championed freedom of speech and sexual liberation. 

Clive James at a Remington Rand.

Germaine Greer.

Robert Hughes at an Olivetti Lettera 32.

Searing Cutlass Typewriter in Taylor Swift Short

Taylor Swift last week “spilled secrets about her short film” All Too Well during a screening at the Tribeca Film Festival in New York. These included “why that red typewriter is so important” – the featured Sears Cutlass represents, apparently, “this dream and hope of being a writer”. It's a Smith-Corona manual portable sold under the Sears brand and, judging by Ted Munk's Typerwriter Database, reasonably common:

There are many online articles out there which explain more fully than I can be bothered to do the "relevance" of the typewriter to Swift's film.

Typewriters in the News

In Bloomington, Indiana, last week, a typewriter and a puppet of Kurt Vonnegut were part of the "Nature Tour of the Century" during the Granfalloon Festival. Granfalloon is an annual event of arts, music and scholarship inspired by Hoosier author Kurt Vonnegut. (Hoosier is the official demonym for the people of  Indiana; Vonnegut was born in Indianapolis.) Below are some images of Vonnegut with typewriters:

Meanwhile, in British Columbia, typewriters were displayed at the Richmond Museum's artifact storage warehouse during the "Doors Open Richmond" event last week. This is where the city stores historical artifact collections.

Johnny Depp and Typewriter

Have you Heard? Johnny Depp isn't taking any money from Amber but has bought himself a Glasgow-made Remington portable typewriter to write lyrics for a song he'll perform with Jeff Beck.

Margin Release, and a Turning Point for ozTypewriter

ozTypewriter reached five million page views at 8.22 last night, June 8, and to celebrate the milestone we popped the cork on a bottle of Veuve Clicquot. A bit extravagant? Well, it’s been a long slog, 2917 posts in more than 11 years. The five-million mark has been both a goal and a cut-off point for me for some time now. My original intention was to stop blogging altogether, but with encouraging comments from the like of Ted, Joe, Bill and Dave, I’ve decided to merely apply the brakes, pull over and idle for a while. It’s not exactly a hibernation, certainly not a complete closure, but just slow-down time. I may, as Ted suggested, decide to turn off comments, for no other reason than that between blogging and fixing typewriters, I never have enough time to respond to all comments, or reply to emails for that matter. Plus, if everything goes according to Hoyle, we should be doing a fair bit of travelling in the second half of 2022.

Yes, ozTypewriter has become a bit of a yoke around my neck, so the plan is to continue posting, but only occasionally, certainly not with the same regularity with which I’ve tried to post since the end of February 2011. Before reaching five million page views, I simply hadn’t been able to get to all the posts I had planned to write – there are probably 30 or 40 ideas still floating about in this study, all of which I still intend to get to one day before I die. For all that, I do wonder about the ongoing relevance of ozTypewriter – online interest in typewriters, as reflected in the various social media sites and platforms, has definitely changed considerably since I started blogging. Sometimes the page view numbers just straggled along and I found myself urging on this "turning point". Blogging began to feel a little like too much hard work for scant return.

An unexpected part of yesterday's celebrations was to find this nice little Nakajima Litton Imperial portable typewriter in a Salvos store. We'd been clearing out things and donating stuff to the Salvos, when by chance I saw this Imperial hidden under a shelf. I can't remember the last time I found a typewriter at any op-shop in Canberra.

Anyway, enough of that … once I’ve recovered from last night’s celebrations I’ll start thinking about resuming posts and clearing the decks of typewriter history topics. There’s one post in particular I’ve been “getting to” for many weeks now, and it’s a bit of a “scoop” for ozTypewriter. In the meantime, we’ve just taking a bit of a break and will be back soon – although with nothing like the former ferocity

Erika Model 4 Folding Portable Typewriter

A young Canberra lady has entrusted me with the task of working on her great-grandfather's 1927 Erika model 4 folding portable typewriter (serial number 81633). The Model 4 was introudced in 1926, not 1923, as noted elsewhere (the Model 3 came out in 1923).

This is a real beauty. And I've got it typing beautifully, too. I did the scan above without putting in new ribbon, and one can imagine how brittle the ribbon has become after being in the machine for probably 70 years or more. From what I've been told about it, I doubt if this typewriter has been used in all that time. The capitals and figures shift keys were almost rigid from lack of use, and of course the feed rollers have flattened out.

The case it comes in has a sort of mock crocodile skin covering. The case has stickers from the famous Raffles Hotel in Singapore (noted for the Gin Sling) and German shipping company Norddeutscher Lloyd of Breman. Inside the case are the typewriter's original brushes. The Japanned paintwork is so shiny who can see your reflection in it.

These Erika portables were made by Seidel & Naumann in Dresden and sold in Australia as the Bijou. Although Bijous were taken to Egypt in 1915 by Australian military units, Prime Minister Billy Hughes, who used a lookalike Corona 3, briefly outlawed the importing company, Chartres, as an "alien" organisation because of the German origin of the Bijou. The Chartres family mostly imported and distributed Remingtons from the US, while the Stott family imported Underwoods.

The young lady's grandfather was German but apparently was in business in Thailand for most of his life. The brand name Erika comes from the grand-daughter of company founder Bruno Naumann.