Here's the list. All VICTOR. Visually graded. I do know how to properly ship 78s--check my feedback.
1. 64078 Evan Williams V+ 2. 16464 Victor String Quartet V++ 3. 16695 That Girl Quartet E-
4, 19702 Victor Salon orchestra E- / V++
5. 18102 Billy Murray E- / E- 6. 18251 Sterling Trio Albert Campbell V++ / V++ 7. 20011 Victor Concert Orchestra E- / V++ 8. 17545 Harry Macdonough / Edna Brown James Harrison V++ / V++ 9. 16967 Neapolitan Trio E- / E- 10. 64046 Josef Hollman V++ 11. 5614 Nat M Wills V+

Shipping: $8

78 rpm materials

The earliest disc records (1889–1894) were made of variety of materials including hard . Around 1895, a -based material was introduced and became standard. Formulas for the mixture varied by manufacturer over time, but it was typically about one-third shellac and two-thirds mineral filler (finely pulverized or ), with cotton fibers to add tensile strength, carbon black for color (without which it tended to be an unattractive "dirty" gray or brown color), and a very small amount of a lubricant to facilitate release from the manufacturing press. Columbia Records used a laminated disc with a core of coarser material or fiber.

The production of shellac records continued throughout the 78 rpm era which lasted until the 1950s in industrialized nations, but well into the 1960s in others. Less abrasive formulations were developed during its waning years and very late examples in like-new condition can have noise levels as low as vinyl.[]

Flexible, "unbreakable" alternatives to shellac were introduced by several manufacturers during the 78 rpm era. Beginning in 1904, Nicole Records of the UK coated or a similar substance onto a cardboard core disc for a few years, but they were noisy. In the United States, Columbia Records introduced flexible, fiber-cored "Marconi Velvet Tone Record" pressings in 1907, but their longevity and relatively quiet surfaces depended on the use of special gold-plated Marconi Needles and the product was not successful. Thin, flexible plastic records such as the German Phonycord and the British Filmophone and Goodson records appeared around 1930 but not for long. The contemporary French Cellodiscs, made of a very thin black plastic resembling the vinyl "sound sheet" magazine inserts of the 1965–1985 era, were similarly short-lived. In the US, were introduced in early 1930. They were made of a patented translucent plastic called coated on a heavy brown paper base. A new issue debuted weekly, sold at newsstands like a magazine. Although inexpensive and commercially successful at first, they fell victim to the and US production ended in 1932. Durium records continued to be made in the UK and as late as 1950 in Italy, where the name "Durium" survived into the era as a brand of vinyl records. Despite these innovations, shellac continued to be used for the overwhelming majority of commercial 78 rpm records throughout the format's lifetime.

In 1931, RCA Victor introduced vinyl plastic-based Victrolac as a material for unusual-format and special-purpose records. One was a 16-inch, ​33 1⁄3 rpm record used by the sound-on-disc movie system. In 1932, RCA began using Victrolac in a home recording system. By the end of the 1930s vinyl's light weight, strength, and low had made it the preferred material for prerecorded radio programming and other critical applications. For ordinary 78 rpm records, however, the much higher cost of the synthetic plastic, as well as its vulnerability to the heavy pickups and mass-produced steel needles used in home record players, made its general substitution for shellac impractical at that time.

During the Second World War, the United States Armed Forces produced thousands of 12-inch vinyl 78 rpm for use by the troops overseas. After the war, the use of vinyl became more practical as new record players with lightweight crystal pickups and precision-ground styli made of or an exotic alloy proliferated. In late 1945, RCA Victor began offering "De Luxe" transparent red vinyl pressings of some classical 78s, at a de luxe price. Later, introduced vinyl Deccalite 78s, while other record companies used vinyl formulations trademarked as Metrolite, Merco Plastic, and Sav-o-flex, but these were mainly used to produce "unbreakable" children's records and special thin vinyl DJ pressings for shipment to radio stations.

78 rpm disc sizes 1914 pharmacy student Joseph A. Ferko asked the owner of Fralinger's Drugs to sponsor a string band in the Mummers parade. The request was granted, and Ferko led the "Fralinger String Band" for several years, placing third in their 1915 attempt but winning in 1920.

The "Ferko String Band" had its beginnings in 1922. Ferko left the Fralinger pharmacy in 1921 to open his own establishment. He led the "North Philadelphia String Band" for the 1922 parade, but later that year founded his own band, co-founded by Walter Butterworth and Charles Keegan.

Ferko first won the string-band division in 1927 with an entry entitled "Cards." The 1929 incarnation not only won the event, but it was estimated that its parade float was the largest ever up to that point.

In addition to the Mummers Parade, Ferko also has a long history of performing in various parades and special occasions within the United States, Canada, as well as places far away as France and Hong Kong.

Although Ferko has always been primarily purposed for Philadelphia, highlights of 1929 contests culminated in top placement in contests in New York, Atlantic City, Baltimore, , and York, PA.

They played for 's 1933 Presidential inauguration.

Although Philadelphia string bands had been exclusively a "male's club", in 1935 Joseph Ferko started a ladies' auxiliary which brought women into club activities. This action influenced other string bands to follow suit, although female participation in the actual parade was almost non-existent until the late 1970s.

In 1947 they began recording sessions at the studio for the Miller Brothers' new . Their recording of "" was picked up for national distribution by . This prompted Paul Miller to commission new songs specifically for Ferko. One of the resulting songs, "Heartbreaker", became a national hit[][], in part thanks to the because as amateur musicians, they were not covered by the .

The profits from these Ferko records would later enable the Miller brothers to launch the career of . By Spring 1948 Billboard estimated they were among the top 25 musical attractions in 5 out of 8 national regions, and most popular in the Southeast United States where they ranked number 18 among all musical acts.

In May 1948, the band appeared on the cover of , in which it was announced that they had sold more than 350,000 records for Palda, and that their theme song "Hello", written by bandmembers Harry Leary and Robert Traub, was selected for use at the .

Their 1955 recording of "" sold more than 1 million records.

The group found popularity in Germany in 1956 with a recording of "", charting as high as position 15. By the late 1950s the band was funded by the .

Founder Joseph A. Ferko died in 1964.

Performance style

The band typically has around 60 performing members, but recorded performances can involve anywhere from a couple dozen to a couple hundred participants. The age of group members is wide-ranging, known to encompass members from 15 to 80 years old. Performances consist of familiar tunes arranged specifically for the band.

Instruments used include accordion, banjo, bells, drums, Glockenspiel, guitar, mandolin, saxophone, and violin The details of musical balance are largely ignored yet often achieved. The elaborate costumes are such essential part of the performance that a 1995 theft of the apparel caused the cancellation of several shows. Marching maneuvers are a typical part of the presentation.

Appearances in film and television

The Ferko String Band can be seen briefly in the movie . They have also appeared on the television shows , , and , with host Gary Moore, and .

Controversy

The group's 2013 performance aroused controversy when their theme for the year alluded to in a performance entitled "Ferko's Bringin’ Back the Minstrel Days". The performance celebrated the music of Al Jolson and his contributions to early American music and theater. This performance was criticized by some, for the portrayal of performers within a vaudeville act, including the professor of Africana Studies Guthrie Ramsey, among others.