Thought you all might enjoy these as much as I do!

http://i47.tinypic.com/2wg9fzb.jpg http://i47.tinypic.com/70xs3b.jpg

Isnt it beautiful?? -- The colours so vivid and clear on the vid and the makings in the set??

:)

I'm in SERIOUS Lust... Imagine stumbiln' on one o' thease in an Aunty-Kue Store or a yard sale one day..And it had a GOOD 15GP22...Whine, Whimper...(grin)

This one has a 19VP22:

http://www.earlytelevision.org/cbs_205.html

I guess the owner deleted the back in favor of the optional chassis illumination kit.
LOL.
Sorry...couldn't resist.
Phil

Well, Reeferman, I ain't TOO sorry he did...(grin) Like a LOT of us here, the "Guttiwutts" are almost as impressive as the picture they make...

I had a Motorola with the 19VP22, but I don't remember the CRT having been mounted with the blue gun down, but maybe it was. Was the 19VP22 always so mounted, or just on the CBS model?

I am guessing in the screen picture the bloke in the suit'n'tie is Ed Sullivan and the show is "Toast Of The Town".

Unless you have documentation claiming this is an actual screen picture, it isn't. It's just a pasted-in photo for use in the advertisement. And yes, that is Ed Sullivan, whose program was on CBS.

The rectangular mask really shrinks the face of the 19" tube. That, coupled with the fact that the cabinet is big as a combo, makes it look like a 15" set if you don't have a reference to scale.

Here's a pic of mine, which has a 21" tube...

http://tvontheporch.com/images/img_9755_1_242x250.jpg

...better illustrating just what a massive beast the 205 is.

I have seen half of the surviving sets; none of them have the earlier CBS-Columbia script logo as illustrated in the ad.

Unless you have documentation claiming this is an actual screen picture, it isn't. It's just a pasted-in photo for use in the advertisement. And yes, that is Ed Sullivan, whose program was on CBS.

Haha I knew that :) , it looks too photo perfect to be an actual screen picture and I know back then in photos and films it was common practice to paste in photos instead of taking screen snaps, I wasn't meaning it was an actual screen picture when I made my statement but referring to the picture on screen.

My set also has the later style CBS Columbia badge. But the 19VP22 CRT and CT-100-like IF Video and Color circuitry are capable of delivering a picture almost as good as the pasted in photo in the ad.

Looking for history and value. Everything works and all original. This link is to the album I created on this site. Any help would be GREATLY appreciated. This is located in Tennessee.

http://www.videokarma.org/album.php?albumid=608

I recognized those pictures from this 1997 American Heritage of Invention and Technology magazine article: http://www.earlytelevision.org/pdf/color_wars.pdf
(They are used on the front and back covers of the magazine.)

WHERE in Tennessee ?!? (Hopin' its NE Tennessee...Grin)

I'm in SERIOUS Lust... Imagine stumbiln' on one o' thease in an Aunty-Kue Store or a yard sale one day..And it had a GOOD 15GP22...Whine, Whimper...(grin)The pic is outstanding for sure!!

I havent seen one @ salvation army but I do look thru the TVs once in awhile and im sure something like this would stick out :)

that screen shot is amazing.like technicolor at home!

Sadly though, neither the Sullivan show nor "What's My Line?" from that evening were preserved-- CBS was unable to come up with a compatible way to kinescope them!

(Color photos from the WML? program do exist, however-- one of them is on the cover of the "soundtrack" LP that was issued by Dot Records.)

- Kevin

The producers of What's My Line began archiving their own kinescope copies of the broadcasts in early 1953 after they learned such kinescopes were routinely destroyed by CBS. A black & white kinescope of that night's WML was did exist, but is now lost to some unspecified mishap.

Sorry, but WML? producer Gil Fates' notes indicate that no kinescope was made of the show that evening (September 19, 1954). And as it happened, this program was also notable for being Steve Allen's final show as a regular member of the panel.

For the record, there were **two** Mystery Guests presented to the panel that night-- Gina Lollobrigida and Robert Young. The program aired live from Studio 72, which was one of the few CBS facilities that was outfitted for color broadcasting.

- Kevin

I recognized those pictures from this 1997 American Heritage of Invention and Technology magazine article: http://www.earlytelevision.org/pdf/color_wars.pdf
(They are used on the front and back covers of the magazine.)

What is not mentioned in the article is that RCA tried very hard but could not successfully make a 21 inch color CRT. The article does not point out where the 21 inch color CRT came from. It did not come from RCA.

CBS, in 1954, invented and patented the CBS Colortron which is the 19 inch tube that made the 205 possible.

RCA very quietly bought a manufacturing license from CBS and made a 21 inch version of the CBS Colortron. RCA and other manufacturers continued to pay royalties to CBS for the rights to build the 21AXP22 through 1967.

Also, Sarnoff was so firmly determined to make color television compatible that he overlooked the unintended consequence of his desire:
People with B&W sets could watch color programs without spending $$$$ to
see it. The result of compatibility is that the uptake for color dragged on for 20 years before all the networks were broadcasting full time in color and the sales of color sets took over 10 years to reach the goal Sarnoff had set in 1954.
RCA was gone by the late 1980s.
CBS is still here.
I wonder, who really won the color war?

RCA was gone by the late 1980s.
CBS is still here.
I wonder, who really won the color war?

i agree and that was a brilliant statement!

Also, Sarnoff was so firmly determined to make color television compatible that he overlooked the unintended consequence of his desire:
People with B&W sets could watch color programs without spending $$$$ to
see it. The result of compatibility is that the uptake for color dragged on for 20 years before all the networks were broadcasting full time in color and the sales of color sets took over 10 years to reach the goal Sarnoff had set in 1954.


If I 'm not mistaken, B&W compatibility was not necessarily a result of any grand vision that the General may have had... I think it was (at least an unstated) requirement from the Federal regulators that were going to approve the new standard. Maybe it's just hindsight, but it would seem logical that any system that allowed for cross-viewing would have an edge, given that it was inclusive of the families that had already made the then-considerable investment in purchasing B&W TV sets.

- Kevin