Bowlbacks of Note

[Stefano]

The 1914 edition is easly readable also here: http://www.archive.org/stream/guitar...ge/n9/mode/2up.

The 1972 edition, as you can see into the index (second photo), contains many authors not treated in the 1914 edition, for example Pettine and Ranieri.

Stefano

[Jim Garber]

Thanks. K. That is good to know. I will check to see if there are things in that earlier edition that are not in the later. I have to say, tho that having a bound edition is much more convenient to me. YMMV.

[K. WONG]

It is better to have both, the 1914 and the 1972 edition.
Bone's photo next to the title page in the 1914 edition cannot be found in the 1972 edition. In the stead, in the 1972 edition, between pages 64 and 65, you can find another photo of Bone, but an old man is he.
I have some difficulties with the link that Stefano has given, but in the downloaded 1914 edition, at the very back of the book, one can find pages of advertisement which I find very interesting, and these few pages cannot be found in the 1972 edition.
There should be more differences between these two editions. Like JG, I have the bounded 1972 edition, and I have downloaded the 1914 edition, I have read the 1972 edition many times, but except the advertisement that I have just said, I have not read the content of the 1914 edition. It is not very convenient to me.

[Martin Jonas]

The adverts are indeed fascinating. We discussed the 1914 Bone download a few months ago here and I posted some of the adverts then.

Martin

[Alex Timmerman]

Hi all,

I agree with K. Wong; if possible to find them it is always nice to have all editions. Or better 'publications' for the 1914 and 1954 are the editions with changes, improvements and additions while the 1972 is a reprint of the 1954 edition. So, including this 2nd and enlarged one, the one that was edited and published in 1954 by Philip J. Bone himself.

Small differences between the second 1954 edition and the reprint of it published in 1974 by Bone's daughter Irene Bone, such as the added 'new Preface' (a kind of extra introduction with interesting details on her father P.J. Bone) written by Irene and the omission in the 1972 republication of the dedication note by P.J. Bone (only found in the 1954 edition) to his daughter etc., are fun to notice and can be of interest also.


Best,

Alex

[Jim Garber]

Funny... I can't remember what I post. I am embarrassed to say I originated that post that Martin mentions about the Bone download. hah!!

[Bob A]

A gentleman from the Netherlands posted a query and linked to some photos of a high-end bowlback with a Silvestri label, looking for info. Anyone?

http://www.mandolincafe.com/forum/sh...ad.php?t=53975

[Richard Walz]

Depends on how you define 'high-end'... I would say slightly 'over-the-top' on the inlays. Not sure this approach works well for the acoustics but it probably helped keep the instrument from ruin and neglect.

[Bob A]

Indeed. It was the nature and extent of trim that brought the phrase to hand; I agree that a fancy instrument is likely to be treated in a far less cavalier fashion than a run-of-the-factory example. Nevertheless I find playing the ornate models somewhat intimidating; I hate it when bits of pearl pop off.

From what I could make out, it seemed in good condition for its years, unlike others such as myself.

[Giannis Tsoulogiannis]

Beautifull mandolin from the cretan maker Rompogiannakis
http://www.nrompogianakis.com/el/Klassic%20mandolin.php

[Bob A]

Looking at no. 1 I find the scroll to be much more pleasing than the Embergher hook, or the L&H scroll, on their respective top-line instruments. Reserving judgement on the double-circle soundhole, I will note that the opening area seems a bit scant for the size of the belly. I assume a smaller soundhole would influence the tone toward the midrange, but that's just a guess.


It would be interesting to have a firsthand player's account of his (or her) perception of the mandolin. Thanks for the link; despite my current level of instrument saturation it's good to knowthat temptation has not entirely withered away in my bosom.

[Giannis Tsoulogiannis]

As the maker told me the scroll and the double soundhole are influences from the cretan lyra.
The maker has calculated the opening of the double soundhole to be the same with the oval soundhole.
He makes beautifull lyras and laouta (lute) too.

[Jim Garber]

10 String Ceccherini. I sort of forgot that these were strung 2-2-3-3 as opposed to the Vega 10 strings which were 5 course instruments.

[Martin Jonas]

That Ceccherini is very similar to the Ceccherini 10-string I had for a while, but in better condition. I converted mine to an 8-string and sold it to an Ebay buyer in Naples (sending it home!). I liked it, though, only selling it because I already had two others by that builder. The tailpiece cover is not original (should have the same inlay pattern as the scratch plate), but other than that it looks pretty solid.

Martin

[Jim Garber]

Vinaccia in the classifieds. NFI.

Despite what the seller says, this is a mid-grade Vinaccia. It is odd that he doesn't mention what wood the bowl is made from. or did I just overlook that?

[Jim Garber]

Jeff Chu posted these aforementioned Calaces in the classifieds.

[Jim Garber]

Last call on this beat up Luigi Salsedo fluted ornate mandolin.

[vkioulaphides]

Ah, bygone beauty...

Victor (who-never-had-any-to-begin-with )

[dave17120]

I have photos of a strange bowlback mandolin........... the owner wonders if I know anything about it?! I hate saying no.... so here goes....

[dave17120]

...........and here is the signature, looks like Costa Alfredo. Can anyone decide what is written beneath? Jog any memories? Look familiar at all? (Not to me, but I can hope...)

[vkioulaphides]

From what I can tell, it says "fabbricante" (i.e. builder) M. Barche. That being the plural of "barca" (i.e. boat, ship), and based on the hull-like ribs, I'd say: Naples Shipyards, Alfredo Coast, late 19th century.

Seriously, now: I have never seen such a thing! I, too, would like to know. I yield the floor...

Cheers,

Victor

[Jim Garber]

Victor might be in the right realm even with his humor. Looks like the maker might have taken a burlap sack to line the bowl. Very unusual bowl rib pattern. My guess is that it is a sort of talented amateur maker, maybe a retired shipbuilder. I don't recall the name from my list, but I will check later.

[vkioulaphides]

By my usual (nutty) free-association, I was thinking of the hulls of Dutch platbodem (flat-bottom) canal-boats which, being so flat, often had to have some vertical, some lateral beams in order to attain the desired shape.

The burlap, of course, confirms my hunch.

Let us see who can unfold the mystery out of the burlap...

Cheers,

Victor

[Jim Garber]

It looks like those sideways ribs are of oak, which also might indicate that the maker might have made a trip to the 19th or early 20th century equivalent of the Home Depot.

[Chris Berardi]

From what I can tell, it says "fabbricante"

Looks more like a G or J to me. Of course, "Gabbricante" or "Jabbricante" makes even less sense.