Randolph Herr's question about Beethoven's Sonata Op 31 No. 2 on
Duo-Art is easily answered from Charles Davis Smith's rollography,
which lists two versions: Mero 7410, 7418, 7424; Ney 8013, 8014, 8015
(these latter being Artona numbers).

In case anyone's interested, I can offer a bit more information about
Artona.

The Artona rolls would have been from unissued masters found in the
remains of the UK Aeolian operation, Universal Music Roll Company.
This was purchased immediately after the war by Gordon Iles, who
operated for a short time from the original Hayes factory west of
London.  These early 'Universal' rolls use die-cast metal spool ends and
very stiff brown paper with nice Art-Deco leaders (often printed on the
reverse of original Aeolian ones), and clearly are from original master
rolls.  Later rolls are mechanical copies, so at some point the master
rolls went.  I've never really managed to get any clear information
about this era of UK roll history -- one day, perhaps!

After a fairly short while trading as Universal, Iles changed the name
to Artona and moved all the equipment to Ramsgate (c.1950?).  He ran
the business until 1981, mostly making 88-note rolls.  Sadly these
gradually evolved to using poor paper because he had to keep costs
right down in order to sell anything, aiming at the declining residual
domestic market rather than the enthusiasts of today.  The 1950s rolls
(in green boxes) are significantly better than the later (white box)
ones.  If you go to www.britishpathe.com you can find a 3-minute film
of him circa 1960, cutting a roll.

The Duo-Art recuts were part of a fairly limited reissue series that
ran through the 1960s after the preservationist hobby was set up --
the Player Piano Group was founded in 1959 and a fit of enthusiasm for
these things occurred in the following years.  This included issuing of
some 24 unissued rolls found in the archives, including the Ney rolls.
Apparently not all of these rolls were in a finished state! For various
reasons this part of Artona's business remained very much a sideline.
The Duo-Art recuts used better material and boxes than the 88-note
commercial production, but don't compare in recut quality with what
can be achieved today.

When Iles sold up, the perforators went to Paul Young, who traded as
Autoplayer.  He computerised the roll master side but never made a
success of the business.  Mike Boyd then purchased them and made a
limited number of very good rolls with Rex Lawson's reworked software.

For the present whereabouts of the original Duo-Art material in Gordon
Iles' collection Gerald Stonehill must be the best source of
information.  The 88-note Artona material survives elsewhere, although
I don't think there will ever be any call for its reissue.

Julian Dyer, London