Early Electric Singer Sewing Tables (revision 2)

Changes in early electric Singer Tables (revision 2)

It's been an adventure. My first post on the type 40 showed four specific variations and as time went by and more evidence arrived... it appears as though there were indeed five distinct versions. I did write a short addendum on the first post putting forth the proposition that there may be a fifth, but one single cabinet didn't make it so in my book. Then I happened upon a second, and a third. Oh by golly, it's a revolution!

Re-numbered type 40 Library Table variations:

V1. The first version remains the first,

a short-lived 1920 to 1921 model with foot rest.

Middle split top w/right hand drop down leaf

3 drawers (One pull-out, one drop down, one oil can shelf)

2 leg crossbars and pyramid medallions on front legs

Resources for information on these early type 40s is scant. The theory that I've been running with is that Singer probably did not design a cabinet specifically for an electric-only machine... unless they planned on offering an electric only machine. It would seem odd for a company to design something they weren't planning to use. The history of the first offerings of Singer electric machines is also difficult to pin down. From all appearances Singer had the 101 model in the works and the type 40 was going to be the new 'electric only' cabinet.

Western Electric had already been selling electric home machines in the 19 teens with limited success. So Singer did have a resource to imitate.  Singer also offered the 'electric motor kit' in 1920 allowing conversions of previously sold treadle or crank machines over to the new power source. The kit had specific instructions on where and how to drill and thread a hole in the cast iron to accept the bolt that would hold the motor and bracket.

This advertisement above in particular seems to suggest what I believed all along: that the type 40 had been designed for the 101 exclusively and they both were to be introduced in 1920 as the new high-end, electric-only, top of the line sewing machine in the new "Singer 101 Electric cabinet".

Meanwhile, the 'electrification' kits for outside mounted motors and public demand for electrified machines lead Singer to change the casting (addition of motor bosses) in many other Singer models sometime in late 1920.  It appears as if there were two specific lines of development happening concurrently. One was the planned introduction of the potted motor 101... and the second was the more organic (and unplanned) adaptation of the exterior mounted motor assembly.

Some sources say the first electric cabinet (type 40) was indeed sold in 1920, but that it housed a model 66... other references have the type 40 first being sold in 1918... which makes no sense at all since Singer didn't have an electric machine to offer the domestic market in 1918. The other thing that I need to keep in mind is that the timing of products being offered to the public may have been different between the US the UK, and else where in the world. The model 101 was never offered anywhere else but here in North America - again, adding to confusion.

I have yet to find an example of a model 66 with a casting date of 1920 in an original version type 40 Library table, and I have seen two correctly dated 101's in such a cabinet.  This is not to say that another one of Singer's other models wasn't sold in the first version of the type 40. It's entirely possible that it happened, but available evidence does not indicate that such a combination was planned by Singer. Adaptation and invention of exterior mounted motors seems to have taken all the wind out of the sails when it came to the introduction of the potted motor, electric-only model 101 - the first mass-produced and specifically designed all-electric domestic sewing machine.

 

V2 Circa 1921 to 1923

No footrest.   

Middle split top w/right hand drop down leaf

3 drawers (One pull-out, one drop down, one oil can shelf)

3 leg crossbars and pyramid medallions on front legs

V3 *new distinctions: 1925 to early 1927

Middle split w/one drop down leaf 

No three 'doors' on the front - just one wider pull down drawer. 

No crossbars between the legs

Pyramid medallions on front legs.

V4 1927 - to early1930

Middle split w/one drop down leaf 

One pull down drawer

Change in leg design* - a detail that had previously escaped me.

No crossbars or medallions on legs

About those legs... it appears as though the decorative cut in the legs was changed - this is just below where the medallions had been placed on the front, but the cut is inclusive of the back legs as well. Sometime between 1927 and 1930 the carved flair is changed. Prior to 1930 this flair was a single swipe of the lathe, and then sometime after 1930 the flair became formed by a double swipe. There are probably far more technical terms for this little detail... and if you know what they are, please share. =)

V5 late 1930 to 1957

Off-center split - right leaf remains horizontal

One pull down drawer

No crossbars or medallions on legs
Double cut flair to leg knees

The Queen Anne Variation

I should make room for the QA. The 'Queen Anne' table is often noted as being it's own variation of the type 40. Nomenclature of the times refers to the table as "Type 40 (Queen Anne). I had thought for a long time that the Queen Anne was introduced in 1939 with the new Singer 201, but it appears as though perhaps the table was around way before that.

I'll go out a limb here because I've only seen one of these and will probably see more as I did with the type 40 variation... but this is a Queen Anne with a center split top and drop down right hand leaf. This would suggest... that the QA may have been in production prior to 1932.  I'd like to see more evidence, but I can't rule it out.

V7. The usual Queen Anne table with 75/25 split.

Early Singer Combination Tables.

Again, there seems to be different variations of the early combination table. One may have a simple one-piece insert that fills the empty space where the machine would sit so that the table can be used as a table and then there's a second version has a three piece hinged insert that is not removable but folds in such a way to allow a machine to be rolled up into place.

Variation 1: for the portable

The insert space on one combination table may be large enough to accept the lower half of a portable case,  where on another table the machine is bolted in and flips down like a more 'normal' electric cabinet. Some were built specifically for use with a portable machine and foot pedal, others yet have a built-in knee control with wiring systems similar to those on the early type 40's.  Some combos had a single pull out drawer, some had a hinged door, and others yet appear to have had no drawer at all.

All of these wooden early versions date back into the 1920's and typically seem to use the same wooden leg design as the type 40 Library table.  They seem to be the same height and depth, but are wider.

If you search through some of the online sites documenting historical changes in the Singer line, ISMACS and Needlebar do not exactly agree with each other. It may be that Singer introduced specific changes in the cabinets here in the US, and then made changes to them before going to Europe.

Variation 2: built in machine.

For example, when Needlebar shows a type 40 Deluxe Library Table as "E01" (Electric cabinet 1) the table pictured is the second variation of the type 40, not the first, and they show it housing a model 66... whereas the first electric available here was the potted motor 101 in 1920 in the first variation of the type 40 table (not the second), followed by different models with exterior mounted belt driven motors in 1921.

The Combination tables listed by Needlebar begin with the model 301 and proceed numerically to 307. Differences in individual exterior design are not noted, but the specific machine model number to table model number match are recorded as the following:

301 - for 99 and 128 machine models.
302 - for 15, 66, 115, 127 models (with knee control)
303 - for 15, 66, 115, 127, and 201 models
304 - for 101-12 models
305 - for 15-60, 66-6 & 127-13 models (with knee control)
306 - for 15-87, 15-90, 66-6, 101-4 & 127-13 models (with knee control)
307 - for 24 and 68 models

Of all of the above models significant visual design difference are shown in the 305 & 306. The 305 appears to have had taller front, back, and side panels than any of the other combo tables, and the 306 appears to be the only model without a drawer.

ISMACS list of Singer Combination tables lists only the following:
301 - 99, 128
304 - 101

It is also interesting to note the curvature of the knee controller. The same two piece 'hook' style of controller is found in many of the early type 40 cabinets which eventually gave way to a nearly straight single piece lever.

Variation 3: Built in machine with side drawer.

Changes in design of the "Combination Table" line of tables begin sometime around 1925 where you see the single pull out drawer removed and in it's place comes a side drawer with spool spindles.

*again, these are only my observations. The truth may be out there. Consider this a work in progress. =)

Comments and Corrections are very welcome.

Passion? Or abberant behavior...

I hate to put any fine chips in the finish, but there are times when sewing machine restoration isn't all that glamorous. (No! tell me it's not true!) There's not always some crazy road-trip miss-adventure into the great unknown or mysterious machine appearing in the driveway overnight. There are quiet weeks, times when the heat and humidity make you think twice about visiting the workshop. Days when the work you really need to get done is so mundane that's it's difficult to stay thrilled.

I made a challenge for myself to begin in one corner and clean and fix all the little things that I've put off.  The result has left me very satisfied on one hand, but it meant some rather quiet and monotonous hours.

Sometimes a picture is worth a thousand words.

I suppose it wouldn't have been so bad if there hadn't been two of them! Two Kenmore footballs: a 117.580 and 581. Each needing a complete cleaning. The crinkle finish is lovely and durable and really neat in the light gray... and very darn annoying to clean. It really did involve a lot of time with a bucket of cleanser and a toothbrush.

The second machine gave me fits when it came to amount of gunk inside the presser foot spring bar area.  The black bar that should move up and down against the presser foot lever is supposed to move! This one didn't. Two nights of an oil soak and in the end I still needed a small tack hammer to get it out of the spot it had glued itself into.

Cleaning does make maintenance and repair seem way more exciting, fun, and interesting.

This 1930 Singer 101 (V4 type 40) was far too slow. I had already cleaned and oiled the machine once and it still wasn't what I had in mind. A thousand stitch-a-minute machine should sew a lot quicker than it was doing. I ended up with the motor service instructions from the owner's manual... pulled the motor out and cleaned and re-greased all the proper points. Amazing that they believed the owner would do this twice a year! Speed increased, sound decreased, but it still wasn't enough. The ceramic controller on this one may be on it's way out since a change in control mechanisms made all the difference. I bypassed the knee control and subbed in a foot pedal, and away it went. Now, it's almost too fast.

Then there was one where just the very act of cleaning tested me.

 

This 40's Singer model 66 wasn't a recent arrival, more important things had leaped ahead of it. The motor turned, the mechs spun, the wiring looked fine. A short test a while back saw that the light glowed and the motor sounded good, and off into the corner it went. Little did I know...

That's an amazing amount of lint.

I've never seen a front end packed like this...

Suddenly this little 66 is a superstar.

Everything else about the machine was pretty normal except for that same old moral question. Antique sewing machines are so different than many other antiques in that people want to use them. The thing with many collectors is having a fully operational machine so that the fun comes from sewing with one and then another.  There's a certain pleasure learning the subtle differences and controls.

For a machine to purr along and manipulate a thin little thread as it was designed... all the pathways must be clean and free of any debris. This often means having to remove very specific areas of wonderful aged patina. That's always a hard call. I left a little more than usual on this 66.

The underside of the presser foot is spotless because it will be in touch with new material. The thin edges are clean, but I left the dull haze on top that's taken 70 years to form. I did the same with areas on on the needle and foot bar.

The pillar behind the motor is spotless to limit motor-killing dust, but I left the age on the inspection panel. I'm happy with this overall look; a delicate balance between function and decades of acquired character.

It does make me wonder though. I know it's just me in some regard. I'm the one that 'has to' make sure all the working bits are clean and perfect. I'm the one that wants the machine to present well, and I'm the one taking all the time. It's either a passion to recover these nearly lost pieces of history... or some sort of O-c-d driven personality quirk.  There is a certain redundancy to it that concerns me. I need to mix things up more, change it up, stay out of a rut...

Some disappointing news on the Adler front:

Yep. That is what's left of the timing belt. Try as I might I have yet been able to find the part number online. The machine is model 453a circa 1955... and I am still digging through websites (mostly in German) to see if I can find a replacement. It's going to be interesting when I find one, because that means having to time a 60 plus year old machine without any written clue as to what I'm doing. Ah; back to the great unknown!


Next post 'may' be a redo of the Model 40 DeLuxe library Table.

I've had to re-number the versions, and add a few clarifications.

Bam-bam and Waiting for Zane

I thought that I might get a little break as I waited for that much anticipated phone call. I feel like one of those TV Picker guys. Every time I try to imagine 'hundreds of sewing machines'  my excitement level goes up, my pulse quickens, and patience seems a tad scarce. This is the hard part, the waiting.

To take my mind off things, I went back down into the garage and began a simple re-poly on the Lady Kenmore cabinet. The original finish was just rolling off. I could rub the old finish away with my fingernail - that's how brittle it was.  Fortunately the entire cabinet is very close to the same color and many panels seem perfectly fine, so the fix here isn't going to be a major re-do. A little bit of sanding, a rub down with the 4-ought steel wool and then a tack cloth and a couple of poly coats until the amber matches.

I made the mistake of looking at CL and found another Lady K that was not running. I couldn't help myself. The price was crazy reasonable for a non-functioning machine. So now I have a spare. I like this. Sewing with a fifty plus year old machine is a lot of fun, but having to find parts isn't. Having one in reserve is perfect.

When I brought it home the hand wheel refused to do a full turn in either direction. The strange thing is that when the wheel began to bind, it didn't feel hard. The bind, whatever it was, had some give to it. My first thought was that perhaps somewhere along the line some thread had made it to where it shouldn't be and that never mixes well with the usual German tolerances.

Everything was fine in the front and the feed dogs were clear. The bobbin case had a bobbin half full of thread and the other half was wound all over the insides. It took a few minutes to dislodge every trace of blue thread. Once I finished, I lowered the machine without a bobbin or carrier and wouldn't you know the wheel did a full rotation. It was time for some oil drops and a check of the wiring, and then power, and away she went. Within the hour it was back up and running and sewing. The only difference between this model 89 and the other one came down to the date of manufacture. This one is a 1958 model while the first is a '59. Other than that, they're identical.
 


Then came a visit to The Sewing Machine Lady. I needed a few new parts (which she always has) and she handed me some old Kenmore stuff she didn't have any use for. Had the opportunity to see an ancient Howe treadle and a Wilcox & Gibbs, both of which still work and could be museum pieces!

I wish I knew how the magic works, I swear, sometimes it's just plan weird. Among the Kenmore things was a manual for a model 52 and a box of the double sided orange cams. Little did any of us know that I might need them the very next day.

A request came in wondering if I might have an older, solid, durable, steel machine for a very energetic teen learning to sew. The young man is sewing hockey jerseys and apparently he's been a little too rough on Mom's machine.

A quick glance through the stack of available machine heads and wouldn't you know...  I just so happened to have a Kenmore 158.525 sitting in the garage without a pedal. It's solid steel through and through and it runs and sews wonderfully. I added the owner's manual and cam set that Kathy gave me... and cleaned up a fantastic solid-wood table with matching chair.  It also has a Kenmore ID plate, but I've never seen one like this:

How perfect is this? An all-steel machine with straight stitch, zigzag, back tack, decorative cams, double needle and free sewing capable... with a built in 4-step button hole option in a heavy duty chuck of solid wood cabinet? No plastic, no veneer! And I have the owner's manual and the attachment box with 7 cams. Wouldn't you think this is about as teenager proof as it gets!

It made me work. It's been serviced and oiled, and oiled again. I've scoured the bobbin area for every speck of dust. I didn't like the wear spots on the power cord, so those have been replaced. The motor sparked a tad too much, so I tore it down, cleaned out all the carbon dust and put a shine to the armature. I went through all the cams to make sure the mechs worked the way they should and I cleaned and polished everything twice. The noise level has dropped, the machine runs crazy smooth, and I think I've done everything I can to give a young sewer a good learning experience.

I think it's great to learn to sew on a machine like this, Everything is out in the open, visible, no computer programing needed and you have to care for it. A powerful lesson on all accounts. If the table and chair were to be here another day, I would have had them sanded down and re-finished. There's a few glaring blemishes. But all-in-all the whole thing makes me smile. I've nick-named it Bam-bam. It must be the bone-like wood trim?

The only question I have is... How on earth do all of these things know to come together this way? A machine from McKee's Rocks, a cabinet from Irwin, and a manual and cam set from Zelie! Or is this just one of those things that I shouldn't question. I feel like some cosmic conduit. The needed thing over here must be moved to over there... and I'm just the clueless delivery guy.

However it works, I'm happy to have it. We'll make the best of it.

The other machine to be on the bench soon is thanks again to Greg and I never saw this coming. Where does he find these things? Or maybe I should be asking how do these things find Greg? It's just amazing. This machine is an Adler. That's right, the same company that builds those high-end commercial machines. Apparently they offered a scant few models for home use. This is the harder to find model 453.

It appears to be all there with attachments and owner's manual. I'm guessing from the look of it that it desperately needs a good cleaning and servicing. A domestic-use Adler machine... omg. How fantastic is this? This could be a show piece. It's probably a work horse, probably as durable as they come - because that's what Adler makes. This could make a sewing room super special. I'm going to have to be very careful and pull out all the stops. It needs to be a show-stopper.

So yes, I have things to do and they're important and special and fun... but it's still there in the back of my mind.

I'm waiting for the man to call and say he's found the time to show us all those machines and parts from a dealership that began in 1951.  It's a daydream come true and the wait is just driving me crazy.