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INSTRUMENTS CURRENTLY AVAILABLE FOR SALE

If you are interested in one of my instruments for sale please drop me a message through contact form.


Payments can be made through Paypal                        or bank transfer.

International postage depends on destination so please leave me a message for a quote.
Due to Brexit Import Duty fees now apply to EU Countries in a same was as Non EU Countries


As a musician I understand that choosing an instrument just by looking at photos is quite difficult therefore I accept returns with no problems in case the instrument didn't appeal to you, although the return cost would have to be covered by the buyer.

Suzuki Mandolin
Model 201
Nagoya 1960's

at £260 including free shipping within UK

Vintage Japanese Mandolin restored to fully playable condition. Label is missing here however, having searched for same model I managed to establish it is a Suzuki Model 201 produced in Nagoya, Japan, usually dated around early 1960's.

Structurally mandolin was fine apart from pulled neck which required re-setting. Mandolin has now a new slightly thicker ebony fretboard to provide more re-enforcement. Soundboard is slightly distorted in upper part from previous neck issue but there's no cracks or splits. Old heavy lacquer has been removed and replaced throughout with shellac which is much lighter finish. Tuners were only lightly cleaned and lubricated, show very little wear and work fine.

Sound wise it's very loud, bright and deep tone with very good sustain. Action is set to 1.7mm at treble side and 2.2mm at bass side over 12th fret.


Sound sample available upon request, please message me if required.

It's fitted with Optima Silverwound strings SET4125  .010 - .032


Mandolin specification:
Soundboard – Solid Spruce with wooden pick-guard and M.O.P inlay
Armrest - Maple stained brown
Bowl – 22 maple ribs and fruit-wood side slats
Neck – V/U shaped, made of maple stained orange/brown
Fretboard – New Ebony with MOP inlay with white binding
Nut – new bone
Bridge – new ebony with bone saddle
Frets – 17 1.1mm crown width, Japanese Nickel-silver

Instruments measurements are as follows:
- total length 63.5cm
- body width 20cm
- body depth 15cm
- from nut to 12th fret 168.5mm (total scale length 337mm)
- Neck width at nut is 27.5mm, at body merge 38.4mm

 

More photos available on request.
 

Suzuki Mandolin Model 201
Suzuki Mandolin Model 201
Suzuki Mandolin Model 201
Suzuki Mandolin Model 201

Pasquale Angara & Pasquale D'Isanto
Allievi di Vinaccia
Napoli 1896


SOLD


Antique Neapolitan Mandolin labelled Premiata Fabbrica di Strumenti Armonici con Medagli a D'Argento e Diploma - Pasquale Angara & Pasquale D'Isanto, Allievi di Vinaccia (students of), Corso Garibaldi No.169, Napoli, year 1896.
Mandolin is in a very good condition and did not require any structural repairs. Everything is kept in original aged state apart from fretboard/frets whic
h were too worn to work with and slight modification of bridge and new nut to adjust height due to fretboard swap. Finish throughout remains untouched.
Structurally it is very similar to mandolins made by Vinaccia
with strutting ending before lining, not supported by it which allows soundboard to vibrate more freely and produces more mellower tone.

Mandolin is fully playable and set up well with action of 1.5mm on treble side and 1.8 on bass side at 12th fret.

It's fitted with a premium set of strings - Optima Goldin specially polished SET2125
Sound sample available on request (p
lease message me if required)

Mandolin comes with original case which isn't too bad for it's age, one hatch is missing but still usable.

Mandolin specification:
Soundboard – Solid Spruce with wooden pick-guard 
Bowl – 15 maple ribs and rosewood side slats
Neck – U shaped, made of maple with rosewood veneer
Fretboard – New Ebony with MOP inlay 
Nut – new bone
Bridge – original, ebony with bone saddle
Frets – 17 1.1mm crown width, Japanese Nickel-silver

Instruments measurements are as follows:
- total length 59cm
- body width 19.4cm
- body depth 14cm
- from nut fret to 12th fret 168.5mm (total scale length 337mm)
- Neck width at nut is 29.4mm, at body merge 34.7mm


More photos available upon request.

Angara & D'Isanto Mandolin
Angara & D'Isanto Mandolin Label
Angara & D'Isanto Mandolin

Francesco Perretti & Figli
Napoli


at £360 including free shipping within UK


Antique Flat-back Mandolin labelled Francesco Perretti & Figli, Fabbrica di Strumenti Musicali, Fondato nel 1840, Napoli, Italia. Date not present, possibly made around 1920's.

Mandolin was in very good condition for it's
age, not requiring any structural repairs. Fretboard and frets were too worn to work with so replaced completely to allow set up with action as low as 1.3mm on treble side and 1.6mm on bass side at 12th fret therefore plays very easily. Finish is original throughout but received a thin film of shellac on top to revive wood grain.

Mandolin has quite large body which translates into deeper tone but still with very good volume and sustain. Sound sample available on request
(please message me if required)

It's fitted with a premium set of strings - Optima Chrome Special SET4105
Comes with original case which is also in very good condition for it's age, even includes a key.

Mandolin specification:
Soundboard – Solid Spruce with faux tortoiseshell pick-guard 
Back and sides – Solid Rosewood
Neck – V shaped, made of maple (stained dark brown)
Fretboard – New Concert, Ebony with MOP inlay 
Nut – new bone
Bridge – New ebony with bone saddle
Frets – 24 1.1mm crown width, Japanese Nickel-silver

Instruments measurements are as follows:
- total length 63cm (body length 32.5cm)
- body width 22.4cm
- body depth 5.5cm at neck, 7.7cm at tailpiece
- from nut fret to 12th fret 166.5mm (total scale length 333mm)
- Neck width at nut is 29.9mm, at body merge 39.5mm


More photos available upon request.

Francesco Perretti
Francesco Perretti Label
Francesco Perretti
Francesco Perretti

Robert Barth
Stuttgart


SOLD

Antique Bowl-back Mandolin made by Robert Barth, Stuttgart, Germany. Most of the label was missing however what was left of it was enough to find who the maker was.
Robert Barth (1864-1945), mainly a violin maker, had his workshop initially in Markneukirchen but later moved to Stuttgart.
Mandolin looks ve
ry Italian, especially the headstock however, there's few elements that suggests it was his interpretation of Italian mandolin. Finish, was a hard lacquer which wasn't used by Italian makers in early 1900's, fretboard and frets were more German style. Pickguard was missing but remains suggest it was a paper picture with transparent plastic on top of it. I couldn't find photos of a similar one and as soundboard was badly scratched in area below pickguard/fretboard I decided to changed pickguard type and shape completely.
Other work involved, replacing fretboard and frets, few splits between ribs, some ribs were badly twisted so couldn't be aligned properly however, they are now glued securely. Finish removed and replaced with shellac throughout. Tun
ers only lubricated, work fine and turn a bit hard when reaching final tunning. Bridge and nut replaced with new ones.

Mandolin is set up very well with action as low as 1.5 above 12th fret so plays super light. It is fitted with Pyramid 529 Silver-wound Stings - very light .009 - .032
It comes with a case but it's in a rather poor state so will serve only as extra protection during transport.

Mandolin has a deep bright tone with very good sustain and good volume. Sound sample available upon request.


Mandolin specification:
Soundboard – Solid Spruce with wooden pick-guard 
Bowl – 21 Rosewood ribs
Neck – V shaped, made of maple with rosewood veneer
Fretboard – New rosewood with MOP inlay 
Nut – new bone
Bridge – New ebony with bone saddle
Frets – 17 1.1mm crown width, Japanese Nickel-silver

Instruments measurements are as follows:
- total length 60cm
- body width 19.8cm
- body depth 14cm
- from nut fret to 12th fret 165.5mm (total scale length 331mm)
- Neck width at nut is 29.2mm, at body merge 38.2mm

More photos available upon request.

Robert Barth Mandolin
Robert Barth Mandolin
Robert Barth Mandolin

The International College of Music

SOLD

Antique flat-back mandolin labelled - Sold only by "The International College of Music", 230 Edgware Road, London W. Most likely Instrument was actually made in Markneukirchen, Germany just as Neapolitan or Vienesse College of Music Mandolins (Guitar and violin shaped mandolins), also likely to be distributed by post and part of correspondence course. Estimate date of make - between 1910-20's.

Mandolin is now in fully playable, set up well with low action of
1.4mm at 12th fret so plays nice and easy. 

There was no cracks to soundboard or body however soundboard sunk in a lot as original strutting was too thin. Repairs therefore involved: replacing strutting, replacing fretboard and frets, replacing nut and bridge. Hardware also had to be replaced so mandolin has a new tuners and tailpiece. Original finish was very worn, especially on soundboard so replaced throughout with shellac while maintaining original colors.

Tonally it performs very well with strong mids and lots of volu
me. Sound sample to follow shortly (please message me if required).

It's fitted with Optima Silverwound strings SET4125  .010 - .032

Mandolin specification:
Soundboard – Solid Spruce with inlaid wooden binding
Back and sides – Maple (stained orange/brown)
Neck – V shaped, made of maple (stained black)
Fretboard – New, Ebony with MOP inlay 
Nut – new ebony
Bridge – New ebony
Frets – 17 1.1mm crown width, Japanese Nickel-silver

Instruments measurements are as follows:
- total length 60cm (body length 33.4cm)
- body width 23.3cm
- body depth 5.2cm at neck, 4.4cm at tailpiece
- from nut fret to 12th fret 166.5mm (total scale length 333mm)
- Neck width at nut is 28.3mm, at body merge 35mm

More photos available upon request.

International College of Music
International College of Music
International College of Music
International College of Music

Pietro Ruffini
Brescia



SOLD

Antique Italian Mandolin labelled Pietro Ruffini, Premiata Fabbrica di Strumenti Musicali, Brescia, Italy. Imported by Ball Beavon & Co. London. Date not present but likely to be around early 1900's.

Mandolin is restored to fully playable condition and set up strictly for Nylgut strings only. 
Repairs involved: replacing fretboard and frets to remedy high action, hairline crack to soundboard, few splits between ribs, some ribs were badly twisted so couldn't be aligned properly however, it is now glued securely. Tuners were be
yond repair so had to be replace with new ones, bridge and nut are also new. Finish replaced completely with shellac throughout.

As it's set up for Nylgut strings it plays very easily, action is set to 1.6mm - 1.9mm bass side above 12th fret. 
Tonally it's surprisingly well with good volume even with the type of strings fitted (Aquila M1 Red Series). Sound sample available on request 
(please message me if required)

Mandolin specification:
Soundboard – Solid Spruce with wooden pick-guard 
Bowl – 15 maple ribs and rosewood side sla
ts and back clasp
Neck – U/V shaped, made of maple with rosewood veneer
Fretboard – New Rosewood with MOP inlay 
Nut – new bone
Bridge – original, ebony
Frets – 17 1.1mm crown width, J
apanese Nickel-silver

Instruments measurements are as follows:
- total length 60cm
- body width 19.2cm
- body depth 14.3cm
- from nut fret to 12th fret 168.5mm (total scale length 337mm)
- Neck width at nut is 30.9mm, at body merge 39.1mm

More photos available upon request.

Pietro Ruffini
Pietro Ruffini
Pietro Ruffini Label
Pietro Ruffini

Octaviola

12 String Mandola

SOLD

Mandola with triple course with a lower octave is rather rare instrument from a mandolin family, previously I had only one such mandola under brand Gut Klang which was referred to as Octaviola (see Mandriola page) therefore we can assume this may have been a name for this type of instrument at that time. Here no label is present however it is quite easy to tell it was also made in Germany and possibly around 1920-30's. It required full restoration including new thicker fretboard to create slightly more space between top and strings whilst retaining original scale length, bridge replaced with a new one specially designed for this instrument.

This instrument was actually restored back in November 2020 however I decided to keep it with me for some time to see how it copes with tension of 12 strings on that scale length after all work carried out on it. It's now more than 3 years and it's all holding well so I'm confident it will do so. Due to number of strings I would still advise not to keep it under full tension all the time.

 

Sound wise it's not the loudest but makes you fall in love straight away anyway, see video below.

Octaviola has a scale length of 418mm and is tuned to Ccc – Ggg – Ddd - Aaa

It's currently fitted with custom made set - D'Addario Phosphor Bronze

Instruments measurements are as follows:

- total length 75cm - body width 26cm - body length 38cm - body depth 11.5cm

​- from nut to 12th fret 209mm (total scale length 418mm)

- Neck width at nut is 38mm, at 9th fret 48mm

Octaviola
Octaviola
Octaviola
Octaviola
Octaviola

For more photos including a sound sample see video below
Music recorded - Sunset, original piece comosed on this very Octaviola

Vincenzo Gagliano & Figlio

at £1400 including free UK delivery
 

About Mandolin:
 

Round-back Neapolitan Mandolin labelled Vincenzo Gagliano & Figlio, Casa fondata nel 1700, Fabrica di Corde Armoniche e Strumenti da Corde, 48 Strada Monteoliveto, Napoli. As mentioned below articles, Vincenzo was mainly involved in producing strings and cellos therefore Mandolin would have been made by his co- workers or acquired from other luthier specializing in producing this type of instruments which would then be sold at Gaglianos workshop or perhaps made by his predecessors Antonio or Raffaele who also did make few Mandolins. Original label of maker is present but almost entirely covered by Vincenzo's therefore not possible to establish who's it was. Date of make may be estimated between late 1870 to early 1880s.

Mandolin itself was made in a very common style for that period with back made of 25 rosewood ribs, finished with a strip of tulip-wood around sides and clasp. Soundboard made of fine close-grained spruce with tortoiseshell pick-guard and sound-hole decorated with Mother of Pearl and wooden purfling strips, edging finished with interchanging pattern of M.O.P. and tortoiseshell bits. Headstock has side slotted tuners which was probably more common on mandolins form late 18th c. as was thicker round neck shape. Neck and head would have been made of maple covered with rosewood veneer.


Restoration work included: replacing fretboard and frets to allow good set up with action set to as low as 1.5mm at 12th fret over treble side and 1.8mm over bass side. New bridge has been made in style of those found on higher models but with modern style saddle allowing to set compensation for G and A strings to improve intonation.

Headstock had many chips and small bits of wood missing, now all filled in and shape brought back to original. Tuners were quite rusty so needed a good clean to get them working smoothly again.

Soundboard was mainly intact with only a shrinkage split in the middle, here spruce joint slat glued from underneath is still in place and holding well, split has been filled using a spruce strip.

Finish on soundboard was gone so after a gentle clean it has been re-finished using light coat of shellac. All missing pieces of M.O.P. replaced around edging.

Bowl had few splits between ribs and some ribs broken near clasp, all carefully glued back together and no longer a structural issue. Here original finish was only lightly cleaned and covered with thin layer of shellac to revive wood grain. Finish on neck and head was replaced also with shellac.

Mandolin is fitted with premium set of strings - Optima Goldin, Specially Polished 2125.

Included in price also are, new wooden hard shell Gewa case.

Sound sample upon request.

Soundboard – Solid Spruce with tortoiseshell pick-guard and M.O.P. inlay

Bowl – 25 rosewood ribs and tulip-wood sides

Neck – Maple with rosewood veneer

Fretboard – New Rosewood with MOP inlay

Nut – New bone

Bridge – New rosewood with bone saddle

Frets – 17 Japanese Nickel silver1.1mm crown width

Approximate measurements are as follows:

- total length 58cm - body width 19.7cm - body depth 14.8mm

- from nut fret to 12th fret 165mm (total scale length 330mm)

- Neck width at nut is 27.60 mm, at body merge 36.8mm


About maker:
 

Vincenzo Gagliano (c.1820 – 1886) Son of Raffaele and the last of the Gagliano dynasty, Vincenzo joined the workshop of Raffaele and Antonio Gagliano some years before their respective deaths in 1857 and 1860. His hand is evident in the brothers’ final instruments, especially the cellos. He went on to inherit the workshop but, despite his talent as a maker, was unable to sustain the momentum of the business. Few instruments still bear his original labels today, many having acquired the labels of his predecessors.

 

An interesting and insightful article found in “Amadeus – Book of the violin”
 

"Violin making in Naples also developed relatively late, founded by members of the Gagliano dynasty. A romantic tale tells how the excellent violin and mandolin player Alessandro Gagliano (b. ca. 1660, d. 1725 in Naples) came to be a luthier. A member of a noble family, he had killed his opponent in a duel and had to flee. He hid in the forests, during which period he experimented with making instruments. Recognizing his gift for this, he apprenticed himself to Nicolò Amati and later to Antonio Stradivari. He returned to Naples in 1695. His violins, violas, and cellos have a beautiful tone, though craftsmanship and varnish are not always first-rate. On his labels he refers to himself as a pupil of Stradivari. Talent for violin making often seems to have been inherited, so that many dynasties of luthiers emerged. Heredity, constant involvement with the field, and experience gained while young, these were important prerequisites for excellence. The most remarkable example of such continuity is the Gagliano family in Naples. It can be traced back to Alessandro Gagliano (b. ca. 1660), whose offspring are still active participants in violin making. Their family tree includes six generations of luthiers, including the present firm of Vincenzo Gagliano e Figlio. It is not enough to own a Gagliano; now one must know the maker's first name! That, however, is often difficult if the original label no longer exists. Moreover, many instruments were built cooperatively by workers in the same shop. Outstanding members of the family (as reflected in current prices for their violins) were Nicola I and Gennaro, but the high level of workmanship carried over to the next generation. Gradually, however, industrial methods Genealogy of the Gagliano Family of Luthiers were introduced. Giuseppe and Antonio I often worked separately, but labels in the violins they sold read "Joseph et Antonius / Gagliani filii Nicolaj et Nepotesjanuarj F. Neap. 17." Instruments produced by members of the fourth generation, while still retaining characteristics of the family, were labeled "Fabbrica di Violini, ed altri strumenti / armonici dei Fratelli Giuseppe / ed Antonio Gagliano Napoli 18 / Strada Cerriglio num. 37."
Members of the Neapolitan Vinaccia family were mostly active in the second half of the eighteenth century. Instruments by Gennaro Vinaccia (d. 1778) are most highly regarded. Aside from these reasons for the supposed decline in Italian instrument making, we can point to the appearance of highly skilled violin makers in other European countries, and to the growing demand for inexpensive instruments, especially for beginners. Increasingly, a builder's time was needed for making repairs. Thus Pietro Giovanni Mantegazza (d. 1796 in Milan) made few new violins but was much in demand for working on those of del Gesù. Henley says that late in life Antonio (d. 1860) and Raffaele Gagliano (d. 1857), two highly talented brothers, "stooped" to making violins on a commercial basis, "for the sake of money. They neglected their talent and uncritically manufactured instruments of all degrees of quality." This censure may sound very high-minded from our vantage point, but the criticism is unjustified given the reality of the market ca. 1750"

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