Folkway Music -- Instrument Gallery - Mandolin & Banjo Gallery

Last updated: July 4, 2008 Questions? Please email info@folkwaymusic.com.

Please note: These are some of the more notable instruments
that have recently been sold by Folkway Music.
None of these instruments are for sale.

Gallery Sections:
  Martin   Gibson   Other Acoustic Guitars   Resonators   Mandolins & Banjos   Archtop Guitars
  Classical Guitars   Electric Guitars   Amplifiers   Miscellaneous   Lefty Instruments
  Repaired Instruments

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1922 (Circa) Lyon & Healy Style A Professional
Serial # 1797. The favorite vintage American instrument amongst Classical Mandolinists, the Lyon & Healy Style A Professional was offered for a period of roughly twenty years beginning in 1917. The first incarnation of the Style A had a symmetrical body, but was very soon replaced by the asymmetrically pointed instrument pictured here. The model was built in very limited numbers, branded first as the Lyon & Healy Style A Professional, then from 1923 as the Washburn Style A, and in 1928 (when Tonk Bros. acquired Lyon and Healy) the model was renamed the Washburn "Deluxe". Quality deteriorated somewhat after the Tonk Bros. acquisition, and today the pre-Washburn asymmetrical Style A's are the rarest and most desirable non-Gibson Mandolins from that era. Similar to the instruments built by Gibson, the Lyon & Healy mandolins featured carved plates, akin to those standard in violin building for the previous two centuries. They are exceedingly fine instruments, but not well suited to Bluegrass, as they were designed to be bright and clear, rather than percussive and loud. The Style A was built by some of the finest craftsmen of the day, as is exemplified in the details of the mandolin pictured here. Lyon & Healy's best mandolin line consisted of three models, Styles A, B, and C; Style A being the most ornate (and most expensive) of the trio. Its top and back are meticulously carved of spruce and figured maple, with all sides bound in triple layers. Its most striking features are the violin-like carved scroll headstock, with inlaid tuning machines covered by a black "Vulcanized Hard Rubber" cover, and its ornately engraved tailpiece cover. The new Bakelite-looking "Hard Rubber" was also formed into the instrument's pickguard, neck reinforcement, and tuning machine buttons, while ebony was chosen for the fingerboard and bridge. This Style A is in absolutely stunning and original condition. It is both breathtaking and perfectly preserved, with no cracks, structural issues or finish wear. We have replaced its original bridge with a custom fabricated height-adjustable and intonated part that fits exactly within the footprint of the original, which we will furnish with the instrument. We chose to replace the bridge as it was both too high and without compensation, which made the instrument mostly unusable. This mandolin is now very playable, with original fretwork that is in excellent condition and a very comfortable set up. It has a scale length of 13 inches and a bone nut 1-1/8" wide. Very fine sound, with surprising volume and fullness. It is unlikely that you will ever find another Lyon & Healy Style A professional in comparable condition.
With original hard shell case.
NOT FOR SALE

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1960's Framus Mandolin
No serial number. The Bavarian pumpkin-top, complete with a Gretsch-inspired cat's eye soundhole! Pear-shaped body with extra-deep sides (2-1/4") add extra warmth and bass response to this laminate instrument. Excellent playability, frets, and action; and recently set-up in shop. Completely original, including cool pickguard, tuners, bridge, and tailpiece. A good sound, cool looking vintage mando.
With chipboard case
SOLD

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New Yanuziello Electric Mandolin
Whoa, there! I expected to sound like Kevin Breit when I fired this one up, and what do you know...? It turns out that a good portion of Kevin's magic with Norah Jones (and so many others) comes from the relentlessly awesome instruments Joe Yanuziello has created for him. In short, I've never sounded so much like a master until I wound this incredibly smooth little monster all the way out! Joe builds the chambered body from solid mahogany with a maple cap and mills the bridge and pickup cover completely by hand from solid brass, which is then nickel plated. Every little detail is from the hand of a world-class craftsman. The ivoroid binding and pickguard follow a neo-cowboy esthetic over the flawless black nitrocellulose finish. The headstock and fingerboard are matching pieces of old-growth Brazilian rosewood. That's a custom-wound Lindy Fralin DeArmond-style pickup doing the dirty work that Joe has Lindy custom-build for his instruments...
Yanuziello even customizes TKL hard cases to fit his mandolins! A hot little number from one of the planet's best luthiers.
SOLD

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1960's Harmony "Reso-Tone" Banjo set
Harmony always built a wide range of instruments, and among their most interesting post-war designs are their Reso-Tone banjos built in the early 1960's.

"The tone is amazing" say professional artists who have played the Harmony Banjos. Modernizing banjo construction with the solid non-warping RESO-TONE rim and resonator has produced a series of instruments with superior tone and powerful banjo "ring and snap." ...Try one for yourself to see how Harmony craftsmanship has improved a favorite instrument
-From Harmony's 1963 catalog

This pair of banjos comprises the No. 8105 Tenor Deluxe 30 Bracket, and the No. 28105 5-string Deluxe. The RESO-TONE material that the rim and resonator are molded of is essentially Bakelite, but in 1960's trade-mark guise. The necks on these banjos are steel-reinforced brown-painted hardwood with "Ebonized" bound fingerboards, and are fitted with open-geared tuning machines. The 5 string is nicely set-up and plays well, the 4 string has high action and would require a heel-cut to be more playable. Both have original calf-skin heads.
SOLD

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1915 Vega Little Wonder Guitar Banjo
Serial # 31591. Six string banjos from the 'teens are not particularly common thanks, mostly, to the fact that guitar had still not become the predominant instrument that it is today. The 'teens were the mandolin years in popular American music, and the populace still had to fall for both the Ukulele and the Banjo before deciding that the six string guitar was the instrument of choice. All the major manufacturers offered six string banjos, but relatively few were built. Dating from 1915, this instrument is Fairbanks-branded, but manufactured by Vega of Boston.
Maple rim with an 11-7/8" head diameter, 30 brackets, and simply appointed with a celluloid band and natural finish. Three-piece maple neck with an unbound ebony fingerboard and simple pearl dot inlays. Original friction pegs and bone nut. The instrument is in excellent and very playable condition. All brackets are intact, and fretwork is spot on. The Remo head and ebony bridge are replacement parts, but the instrument is otherwise original. 1-25/32" nut width, 25.2" scale length; comfortable C-shaped neck. Strung with nickel-wound 10-46 gauge strings the banjo sounds great; it makes for a good ragtime or fingerstyle instrument and is a lot of fun to play.
With newer hard shell case
On Consignment
SOLD

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1917 Gibson A-1
Serial #35106. A wonderful sounding, well set up, and beautifully well kept pumpkin-top A-1 from the glory days of the mandolin era. This under-the-bed special is in remarkable condition, especially when you consider that it was built 91 years ago! No cracks, no top sinkage, no excessive finish wear, and no fret wear on this instrument. It's completely original except for an identical replacement bridge made in our shop (have a look at the detail photo). Very nicely set up with action set at 3-4 64ths and excellent neck and frets. Carved spruce top and birch back, bound top and ebony fingerboard, The Gibson logo inlaid in pearl, ivoroid button Waverly tuning machines, tortoiseshell celluloid pickguard with intact mounting bracket; The Gibson engraved nickel-silver tailpiece. No repairs and no issues. Loud and warm, if you're into mandolins at all you'll love the sound of this A-1 - it definitely holds company with the best A style mandolins that have passed through Folkway over the years.
With original hard shell case
On Consignment
SOLD

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1967 Harmony Monterey Octave Mandolin
Procrastination takes on a whole new meaning here at Folkway... Sometimes we just don't feel like working on a valuable vintage guitar. It's at those times that some hapless old Harmony goes under the knife and gets turned into an Octave Mandolin! This one did last Saturday, and you'll likely be glad it did! It's tough to make a bad sounding octave mando, and these old archtop harmonys are great candidates for conversion. You can string this one up as an octave mando, an Irish bouzouki, mandocello, or whatever else you fancy that uses 8 strings and a guitar scale length. Nice fretwork and action, new bone nut, clamshell tailpiece, adjustable ebony bridge, and a pair of banjo tuners for those extra two strings. Solid spruce top, laminate maple back and sides. A few repaired cracks, but structurally very sound.
SOLD

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1920 Gibson H-1 Mandola
Serial # 60117. A fine example of the classic Gibsons that were made just before Lloyd Loar's tenancy. This one is warm, with plenty of bite and cut, and will suit ensemble players well. It is all original, including the "JAN, 18-21" adjustable ebony bridge. The nut is 1 5/16" with a nice V-neck. Ivoroid-bound top and fingerboard, which has the 21st-fret extension for the A string. The finish on the back and sides is in exceptional condition, some areas on the top have flaked off of the grain, but there is no damage and there no cracks on this beautiful instrument; however the top's center-seam has been reglued between the bridge and tailpiece. The frets are original with little wear, and the instrument plays nicely. The original case is in great condition.
On consignment
SOLD

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1904 Vega Whyte Laydie No. 2
Serial #23714. A nice example of the pre-eminent old-time banjo, still in the family of the original owner. This is a "pre-fire" Vega, crafted and engraved by their finest artisans at the peak of the company's prowess. Examples from only a short time later show a marked decrease in craftsmanship, most easily notable in the quality of the inlays and engravings. This one's had a few mods over the years, including filing down the tension hoop (!?!) and drilling one lug bolt right through the rim, but with the original "bubble" case, it's still a grand old laydie and worthy of deep respect. The Whyte Laydie represents a few major changes in the evolution of the banjo: Firstly the rolled tone ring resting on the scalloped brass support, and covered with a formed brass sheet under the skin head. This is heavier than almost any older system and gives the unmistakable bright-but-plunky old-time sound. Another big break from Victorian tradition is the maple neck and body left in a natural shellac finish with no brown stain. Unfortunately most of these have dyed pearwood boards and overlays instead of ebony, and this very worn board is no exception. This instrument has had the tenth-fret marker moved from the ninth fret at some point: either some guitar player moved it to the ninth and then mended his evil ways, or it started out wrong and got fixed! We replaced the treble side ivoroid fingerboard binding and reglued the dowel-stick, and sent it home for another century of pickin' and grinnin'.
NOT FOR SALE

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1913 Gibson K-2 Mandocello
Serial # 15759. In years leading up to the First World War, about two decades before the guitar's rise to popularity and the first Singin' Cowboys, the most common family of instruments in America was that of the Mandolin. Mandolin Orchestras could be found in just about any urban center in the country, and mandolin-family instruments were being produced in just about every imaginable fashion. The Gibson Mandolin -Guitar Company was one of the predominant producers of high-end instruments, and naturally took an interest in expanding the popularity of their products; they became the nation's largest promoter of Mandolin Orchestras, and outfitted thousands of musicians with their instruments. Among the mandolin varieties the Gibson company produced was the Mandocello, a guitar-sized instrument with a 24.75" scale length and four courses of strings, with unison pairs tuned C-G-D-A.
The instrument pictured here was built in 1913, near the height of the Mandolin craze. It has an ivoriod bound spruce and birch carved body, with a black top and reddish-brown back and sides. Its appointments and construction are consistent with the Style 4 Mandolins (with which you may be more familiar). It has a three-piece neck, pearl "The Gibson" headstock logo and Fleur-de-Lys ornament, bound ebony fingerboard with pearl dot markers, bound oval soundhole with a double rope pattern rosette; non-adjustable compensated ebony bridge, elevated tortoise-celluloid pickguard, and clamshell tailpiece. There are no cracks on this 'cello, and it is completely original save for the pickguard mounting bracket, and the binding on the treble side of the fingerboard up to the 16th fret (the work was very nicely done, a long time ago). The top shows no sinkage, and the neck and frets are true. Its original nut has additional string-grooves from being guitar-strung at some point in the instrument's long history, and a strap button has been added to the heel of the neck. We have just finished a thorough set up of this instrument as well. The mandocello's original shellac finish is intact and in fine condition with minor scratches here and there, and shows no areas of excessive wear. This is a very fine sounding instrument; it has great volume and sustain, and a presence befitting of any contemporary mandolin orchestra.
Two cases accompany this instrument: its original tooled leather Maulbetsch & Whittemore, and a more recent Harptone custom-made hard shell.
SOLD

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1925 Gibson MB-4
FON 11832-10. The Trap-door banjos built by Gibson in the early 1920's are some of the most attractive instruments the company every made. At the high end of the model line up was the Style 4, which featured a gorgeous Cremona sunburst finish, expertly bound "Moccasin" style headstock with pearl logo and Fleur-de-Lys inlay, bound ebony fingerboard, resonator, rim, and heel, three-piece curly maple neck, and pearl nut. The MB-4 is Mandolin version of the style, with 13-7/8" scale, 1-3/16" nut, and 10-1/2" head. The MB-4 pictured here is a local one-family instrument, and in very fine condition. It is missing its tailpiece cover, and five brackets are replacements, but it is otherwise original, intact, and in good working order with a fresh set up.
With original hard shell case
SOLD

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1935 Gibson A-50
FON 169A-9. Priced at $50 at the height of The Great Depression the A-50 was Gibson's fanciest A style instrument, and 15$ more expensive than the J-35 guitar introduced a year later! The A-50 featured a body of carved spruce and maple, a one-piece mahogany neck, brazilian Rosewood fingerboard and adjustable ebony bridge. The pickguard and tailpiece were the standard issue of the day, and the Gibson logo was inlaid in pearl on the headstock. The body was bound in white and featured a sunburst top finish matched with Cremona back and sides. The neck was equipped with a truss rod and had a nut width of 1-3/16". This particular instrument is in near-mint condition, it is completely original and in perfect working order. Although the mandolins Gibson was building 10 years after the departure of Loyd Loar are not renowned for their tone, this A-50 is highly collectible thanks to the pristine condition that it is in, and doesn't sound half bad! They don't come much nicer than this.
With original "Red Line" hard shell case
On Consignment
SOLD

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1935 Gibson TB-3 conversion
FON 42-2 By late 1929 Gibson's banjo designs had pretty much reached modern standards. Mastertone pot assemblies had cast one-piece flanges and tone rings, double coordinator rods, 24 hooks and a standard 11" head. But the banjo was, at that time, beginning its decline in popularity and on its way out as America's instrument. The guitar would soon become the instrument of choice for the nation's most famous cowboys, engineers and hobos. But those Mastertones built between '29 and the Second World War would soon find favor with a different musician than the Jazz players they were designed for. Bluegrass was taking root, and the Gibson Mastertone was the banjo of choice. Today original five string Mastertones from that era have become amongst the most sought after acoustic instruments on the vintage market.

The TB-3 pictured here was built in 1935. It features a Mastertone pot assembly with a cast one-piece flange and 40 hole arch-top tone ring. All of its metal parts are original and intact, and its flange is not cracked. It has a very nice replacement 5 string neck built by Frank Neat, and comes with its original tenor neck and hard shell case. Its four original Grover tuners are in service on the new neck, and its original Presto 4-string tailpiece was not replaced in the conversion. One resonator screw is a replacement, and the original mahogany resonator (and original 4 string neck) have been over-brushed with lacquer. The finish on the rim is original. This is a very fine and collectable arch-top Mastertone.

With hard shell case
On Consignment
SOLD

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1925 Gibson A-Jr
Serial #81896. The A-Jr was Gibson's most basic and inexpensive mandolin during its tenure from 1919 to 1927. It was constructed identically to all the higher-end A models, but its trim and adornment was significantly scaled down. The only binding on this mandolin is around the sound hole; the finish is a uniform dark brown, and there is no logo on the headstock. Additionally, to keep the price low on this model, Gibson omitted a truss-rod (which was by that time a standard feature on all mandolins), and fitted the instrument with a clamshell tailpiece and an ebony nut. Its body is carved of spruce and maple, its neck is mahogany. Ebony fingerboard with pearl dot position markers, Loar-era "Snakehead" headstock, adjustable bridge and pickguard, and Waverly tuning machines. This A-Jr. is in excellent condition overall. It is without cracks or structural issues, and is original with the exception of two tuner buttons and its adjustable bridge (which is a slightly later Gibson part). There is some finish wear around the body edges, adjacent to the fingerboard, and on the neck; and the frets show normal wear under the A and E strings. The instrument is well set up and plays nicely. Typical of Snakehead A models, it is a fine sounding instrument, with surprising volume.
With non-original hard case
SOLD

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1930's Michigan Banjo-Uke
Michigan branded instruments were likely built in Chicago by Regal during the middle part of the 1900's. They were modestly priced student-grade instruments made available through catalog stores across the country. There really isn't any other known history about this brand though, so I'm afraid that's as far down this road as I can take you. The banjo-uke pictured here has a 7-3/4" skin head, and 13" scale length. It's built of birch and finished in a slight sunburst lacquer. We've cleaned off all the dust and set it up, but its original tuners are a little temperamental... we'd suggest replacing them if you plan to use the instrument regularly. Which you should do if you buy it, because it sounds great.
SOLD

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1981 Martin Model A Mandolin
Serial # 26174. Virtually unchanged in design from 1917 until its discontinuation in 1988, the 1981 Model A shown here is a 90 year old in the body of a 26 year old! It is truly fascinating that Martin offered their bent-top basic model mando as recently as George Michael's hit song "Faith", and the Bush Sr. Presidency!
The instrument is in just about mint condition, but does show some fret wear. Mahogany back and sides, bent Sitka spruce top, style 18 appointments. Mahogany neck, rosewood fingerboard; ebony bridge and nut, Kluson tuners (which Martin must have stockpiled in the late 1960's!), and clamshell tailpiece. 1-5/32" nut width, 13" scale, neck joins the body at the 10th fret. The mandolin is well set up and plays nicely.
With original hard shell case
On Consignment
SOLD

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1915 Gibson H-1 Mandola
Serial # 23584. A super-fine pumpkin-top Mandola from the golden era of the mid-teens. This particular instrument is exquisite condition overall, and shows only minor wear to the frets and finish. It is completely original and intact, and having been set-up in our shop it plays as nicely as it looks. It is an under-the-bed special, the strings that we removed seemed to have been on this mandola for a long long time. The neck and fretwork are excellent, and the top's arch is the same as it was when it left Kalamazoo some 92 years ago... Ninety two years ago?! Yes, really. The finish is gorgeous, the nickel plating on the tailpiece and tuning machines is un-tarnished, there are no cracks anywhere on the instrument, and the tortoise-shell celluloid pickguard is intact and not showing any signs of the decomposition that oft plagues them. Have a look at the felt lining inside the original case - the color is unfaded... Best yet, this instrument sounds wonderful. It is loud when you want it to be, and subtle when you softly ask it. The high A string has life all the way up the neck, and there is a warmth that washed over you when you strum a big C chord in the first position. Do you think we like this one?? Is it that obvious?
With original hard shell case
On consignment
SOLD

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1917 Gibson A-1
Serial # 37313. There's not even dust on this 90 year old mandolin. It is without a doubt the cleanest and most original pumpkin-top Gibson A we've ever seen. There is virtually no wear to the finish or frets and all the parts are in perfect condition. The tuning machines have no wear on their gears. And then there's the case that looks like it was made last week. This Mandolin is nuts. We've set it up, so that after 90 years maybe someone will play it - carefully! A true investment-quality instrument, especially when you take into account how under-priced A models are in today's hot vintage market.
On Consignment
SOLD

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1929 Gibson TB-3
FON 9025-17. This TB-3 came in for some set up work last week. It is a beautiful instrument, and completely original. A few months and one string away from being worth an awful lot of money! Gibson switched to the one-piece flange sometime in '29, but this one still has its tube and plate. The original owner told us he thought he must have had it for more than 30 years but his wife reminded him that they bought it new on their honeymoon! You do the math! I'm sure there are a lot of you out there who'd love to convert this one, but you can't have it... sorry.
SOLD

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1958 Stella Octave Mandolin
A Folkway Music creation, this '50's Stella student-model guitar has been converted to a 24" scale octave mandolin. It is a remarkably fine sounding instrument - very rich and resonant, and lots of sustain. The body measures 13.25" wide, and the nut is 1-3/4". Two planetary banjo tuners have been installed in the center of the headstock to handle the extra stings, and the original 6 string tuners handle the rest. The original tuners are a bit stiff, but hold their tuning well. Adjustable rosewood bridge, bone nut, aged newer clamshell tailpiece. Good playability, but for some minor buzzing in the upper fret area. We like this thing, and we're sure you will too!
SOLD

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1985 Apitius F Model
The name Apitius has become synonymous with the modern bluegrass mandolin, as this Canadian Luthier's instruments have come to be revered within bluegrass circles the world over. His instruments are beautifully built and finished, and have the power, chop, and richness we've all come to expect from a quality mandolin. The F Model pictured here was built in 1985 (according to the current owner), although there are no date or serial number markings to be found. Its body it constructed of beautifully figured hard maple and tight, perfectly quartered spruce, and finished in a deep and rich Cremona sunburst. Apitius's carving is immaculate, with perfect recurves and a graceful scroll. The neck length and scale length are F-5 standard, and the slightly radiused bound fingerboard has a nut width of 1-5/32". Ebony bridge, gold hardware, and pearl nut. The mandolin is in excellent condition, but with two small dings near the top edges.
With original hard shell case
SOLD

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1930's Dobro Model 250 Mandolin
No serial #. Available for a few years in the mid 1930's, the Dobro Model 250 Mandolin was the mando-version of the Model 25 guitar. The instrument features bound top and back, two-tone sunburst top and dark brown back and sides. Unbound ebonized fingerboard on a Maple neck. Three-segment f-holes, nickel resonator cover, "Bell Brand" tailpiece, and 4-on-a-plate open geared tuners. 13-7/8" scale length, 1-1/4" nut. One very small repaired crack on the treble side, upper bout, otherwise the instrument is in excellent condition. Neck, and frets are in good shape. Action measures 4 to 6 64th, with room to be lowered further should you desire. Included is the original case. A very cool package.
SOLD

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1916 Gibson A-
Serial #26224. Our third pumpkin-top Gibson this month is this near-perfect 1916 A- mandolin. It is in almost the same ridiculously clean condition as the mint 1917 we posted a few weeks back, but with a touch of playwear and a tiny chip missing from the ebony bridge base. The instrument is complete and entirely original, with an intact pickguard and bracket, tuners and tailpiece. No cracks, separations or structural issues, and a perfect top arch with no sinkage. The frets and fingerboard are true and level, and the instrument plays buzz-free all the way up the neck with comfortable low action. We wish all the vintage pieces we encounter would be in such fine and playable condition! It has a sweet voice, with a nice openness and rich sustain.
With a non-original hard shell case
SOLD

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1914 Gibson H-1
Serial # 18980. At 92 years of age, it's incredible to imagine the musical diversity this mandola has partaken in over its life. What was the first song played on it way back before the First World War? How many people called this their-own instrument over the four generations since it was built? From a receipt dated June 30th 1920 we know that it was sold to a Mr. J. M. Connally from Miss Grace M. Jackson and Mrs. F. M. Jackson for forty five dollars; but who were these people? Were the Jackson's selling the Mandola after Mr. Jackson, husband and father, passed away? After all, forty five dollars was a significant amount at that time. These are questions that we will never know the answers to, sadly. What we do know, however, is that Mr. J.M. Connally and the various subsequent owners of this instrument valued it highly and took very good care of it to this day.
It is in excellent condition, with no cracks, scrapes or bruises; just some minor playwear to the finish on the neck and some mild grooving on the frets. The Mandola is completely original with the exception of a 1920's replacement adjustable bridge (the original, in the case pocket, is fractured and not useable), and it is in perfect working order. The top arch is fine, as are the neck, tuners, pickguard, and tailpiece; and the shellac finish has a rich patina. Mandolas all sound great; but Gibsons from the 'teens particularly so. There is a familiarity and warmth to the tonal response the Mandola offers - it is in the same range as the human voice - and this instrument can warm the coldest winter night with its lovely sweetness. Excuse the flowery metaphors; but it really is a wonderful instrument! We've completed as set up on this instrument, and needed to position the bridge slightly rearward for proper tunability; you'll notice the finish in front of it is marred from years of the bridge being in the wrong place. Instruments like this don't come around too often, sadly - and this one will bring happiness to many more generations over the years to come.
With its original hard shell case, and 1920 bill of sale.
SOLD

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1935 Gibson A-00
The flat-backed A-00 was Gibson's most economical mandolin when it was introduced at the height of the Great Depression. The mando version of the classic L-00, it featured similar appointments to its larger 6 string cousin. The sunburst-finished carved spruce top is single-bound in white, and the dark-brown back and sides are unbound maple. The bridge and nut are ebony, and the fingerboard is Brazilian rosewood with simple pearl dot inlays. A simple silk-screened Gibson logo adorns an otherwise plain headstock. The mandolin's tuners, clamshell tailpiece, and pickguard are all original, the pickguard suffering slightly from mild decay. It's in excellent condition, with good frets and a true neck, and the in-shop set-up we've just finished has made it a very playable instrument. 13-7/8" scale length, and a nut-width of just about 1-3/16".
With original soft shell case
SOLD

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1926 Vega Style N
Serial # 71304. It's not common to encounter simply appointed tenor banjos that have not been badly handled over the years. This Vega Style N is a definite exception to the rule though - and we're pleased to offer it to you. Although the Style N is not a lavish instrument, it is very much a quality banjo. The rim is 5-ply maple and 9/16" thick, 11" wide, and has 26 brackets. All nickel plating is intact and in good shape, and all of the brackets are original. The Rogers velum head is also in perfect condition - and the names of some of the banjo's past owners have been inked on the underside. The neck and frets are pretty much perfect, the action is comfortable, and the set up is spot on. The original tuners work well to boot. Finally, the original case is in equally fine condition, and the original Vega bracket wrench is included! This is a fine vintage banjo, and a great sounding one too.
SOLD

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c.1950 Gretsch New Yorker Banjo
The New Yorker model guitars and banjos were marketed by Gretsch as "favorite models with students but also bought for stand-by instruments by many professionals because of their excellent tone and easy playing action" - 1955 Gretsch catalogue. The banjo pictured here is a 5 string, brass rim resonator instrument. It has been set up in shop and plays nicely; its voice is fairly jangly, but warm enough to enjoy. The rim assembly's silver plating has tarnished and worn over the years to an attractive vintage-jewelry patina. The tuners and tailpiece have been upgraded, and the bridge a replacement installed during the banjo's recent set up. 20 brackets, bound fingerboard and resonator, curly dark-stained maple fingerboard with dot inlays, New Yorker plastic head stock overlay. There aren't too many of these around, and if you're a Gretsch collector it might be a while before you find another like it.
SOLD

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Arthur Hensel Mandolin
Our well-educated guess is that this mandolin was built by Toronto builder Arthur Hensel, although there is no label or markings to confirm this. The carve of the neck, finish and stain; binding style, material and size; nut, fingerboard, and frets all point to Hensel as the builder - but this the very first Mandolin we've encountered that would bear his mark. It is unfortunately not playable (the top caved in after the braces separated), so we can't tell you anything about what it sounds like. It's a lovely instrument though, and we'd certainly like to find another just like it!
Not for sale

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1941 Gibson A-00 Mandolin
FON 3706-18. While we are calling this Mandolin an A-00, we are equally certain that it is an A-1... or an A-50. Gibson Catalog descriptions from this era are dubious at best, and the company is famous for building instruments of the same model with differing trim and construction details. In any case, here are its specifications: 10-1/4" wide, A-style body with f-holes; solid carved spruce top, solid carved maple back. Lacquer finish, sunburst top, rich red mahogany stained back and sides. One piece mahogany neck, with Brazilian rosewood fingerboard and ebony nut. Nickel Grover open geared tuners with white (now yellow) buttons, Gibson silk-screened script logo. Clamshell tailpiece, tortoise-celluloid pickguard, adjustable ebony bridge. Bound top, and unbound back. The instrument is in excellent and original condition, with a normal but not extensive, amount of wear and tear. Set up in our shop, the mandolin plays very well with comfortably low action. The first 7 frets appear to have been replaced, but they are nearly indistinguishable from the originals. There is plenty of fret life left, and many tunes left to be played in this attractive instrument.
With newer hard case.
On Consignment
SOLD

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1912 Martin Style 00 Mandolin
Serial #3508. How I wish all 94 year old Martins were in this kind of condition! This Mandolin is nearly perfect, with only the slightest signs of wear to the finish. Better still, it is perfectly playable! 9 Brazilian rosewood ribs, spruce top, bar-fretted ebony fingerboard with simple pearl dot inlays, original nickel-silver tuning machines and tailpiece, ebony bridge, and inlaid tortoise-shell pickguard. An understated but classy instrument. It is very playable with low action, and good fretwork, and sounds quite lovely. 13" scale, 1-1/8" nut.
On consignment without case.
SOLD

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1930 Vega Tubaphone Guitar-Banjo
Now here's a rare one. It's an original Vega Tubaphone Guitar-Banjo! Built in 1930 (serial # 90274), this instrument was built at the tail-end of the banjo craze; when musicians were re-discovering the guitar. The late 20's and early 30's saw an array of interesting banjo-guitar hybrids with companies such as Vega, Gibson, and even Martin getting into fray. In fact the successful introduction of Martin's OM 14 fret guitars was due, largely, to the wanting of banjo players for guitar with longer necks!

This 6 string Vega banjo features a 30 bracket Tubaphone pot with a 11 13/16" head - the same pot that is considered the holy-grail for Vega fans. The bracket nuts are open-ended, interestingly, and the rim is 1/2" thick. The instrument is completely original, with the exception of one replaced bracket nut, possibly the nut, and probably the frets. The resonator appears to have been professionally modified. The holes, while appearing original, are likely the work of a skilled luthier. The result of this modification is a banjo with the comfort of closed-back instruments, that maintains the tone of an open-back. The nut width is 1 3/4", and the scale length is 25 3/4". Playability is perfect. The original hard shell case is a work of art in of itself, and still has the Vega badge and logo stitched on to the velour inside. Please explore the many photos we've provided of this incredible instrument.
SOLD

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1926 Gibson TB-1
FON 8325-24. A great banjo for Celtic players, the short scale feels great and can be tuned to C or G. This banjo has a truckload of vintage charm, and it plays like you want it to! 11 inch diameter head, 3/4" three-ply maple rim, diamond-hole stamped flange with 22 brackets; single coordinator rod, 21" scale length. Very cool original Elton pickguard with built-in pickholder, original arm rest and friction tuners. Single-bound fingerboard and maple resonator. Non-orig tailpiece and two changed resonator screws (we had to tell you!) A simply appointed tenor banjo, the TB-1 occupied the lower end of the Gibson banjo lineup in its day. The warm tone of this instrument is the result of a simple brass hoop tone ring mated with Gibson's 3/4" maple rim, its 11" head, and short 21" scale length. With the original hardshell case in great shape.
SOLD

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1930's B&D Ramona Mandolin
SN# 1189. Bacon and Day were known primarily for the high-quality and often incredibly ornate Banjos built in the twenties and thirties. Not many carved instruments are known to have been built, but those which have been unearthed appear to have been constructed with the same degree of craftsmanship as the company's expensive banjos. Pictured here is a Ramona Mandolin, likely to have been built in the 1930's. It is carved instrument, with a spruce top and bird's eye maple back and rims. The fingerboard is Brazilian Rosewood with pearl block inlays and cream celluloid binding. Celluloid engraved headstock overlay, and matching triple-bound pickguard. The instrument is in near-new condition, as is its original fitted Geib Alligator case. 13.75" scale, 1-3/16" nut width. Of interest will be the c.1930 B&D Ramona guitar pictured in the previously sold page of Archtop.com's webite: http://archtop.com/ac_ramona.html (Link used by permission).
SOLD

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1926 Martin Style B Mandolin
Ok, so it's not a Loar F-5, but it is a prewar Martin Brazilian herringbone. With beautiful full tone, loud and rich, this instrument will make any Old-Time, Classical or Celtic player extremely happy. It is unfortunate that our pictures were not able to properly capture how beautiful this mandolin is in person. The blush on the back is hardly visible in actual daylight. It features an Adirondack spruce bent top, Brazilian rosewood body, ebony fingerboard with bar frets, inlaid engraved Waverly tuners and engraved tailpiece. Other cool features are the herringbone rosette and backstrip, flush inlaid pickguard, abalone diamond position markers, ivory nut, original ebony bridge and sides swept flush into the heel. This was a top-quality instrument in its day, long before the invention of bluegrass, and it has held up the way such an instrument should. The action is currently at 5-6/64" with D'Addario J-74's: very playable. The scale is a comfortable 13", the nut is 1 1/8". It has no cracks or damage, but extensive playwear on the top only. The frets are great, with normal wear in the first position. It is being sold without a case.
SOLD

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1927 Gibson A-4
A very nice mandolin, made just after the change back from snakehead to paddle headstock. That means it has the powerful tone of the maple back and sides and the original adjustable bridge and truss rod of the Loar period, coupled to the great looks of the earlier 'Teens A-4s. This one also has the slightly wider 1 3/16" bone nut, which many players prefer. The original tuners have plenty of life. There's a little honest playwear but no cracks or seam separations. The first eight frets have been replaced many years ago, and all of the frets have recently been leveled and crowned. Two brass rings for tying a strap have been left in place by a previous owner. The instrument has a loud, balanced tone with some sweetness and some good old-fashioned chop. The original green-lined case is in good condition, too.
SOLD

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1955 Harmony Electra
Ok, tenor nuts, this one's for you. It doesn't get more retro than this red and white beauty. Think of smiling blonde mothers with red lipstick handing out peanut butter sandwiches in red-checkered kitchens to you and all your friends. Think of those white cowboy boots with red stitching you always wanted when you were eight! This little number has no playwear, and comes in its original 'gator case. That one super-cool chicken head cranks the volume from the original DeArmond. Very playable, and sounds great.
SOLD

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1924 Gibson A-2z
Serial #79609. Although Lloyd didn't get around to signing this one, it's got the magic. It shines through a bit of good honest playwear, with a rich, open sound. It is in remarkable condition, crack-free and original, with good tight tuners and the adjustable Patent bridge in great shape. The frets show a fair amount of wear in the lower position. We had fun playing "Antiques Roadshow" with this one, when it was brought in from under Grandma's bed. Did we think they could get $800 for it? As ever, our mother's voices from the back of our heads made us tell the whole truth, so we now offer it on consignment with a clear conscience! We've given it a good cleanup and a pro setup, and it's a hot little number, indeed. The A-2z was an upgraded version of the teens A-2, introduced during the Loar years. It features double binding around the Adirondack spruce top with ivoroid, double bound soundhole, and a narrow 1 3/32" nut. The original greenlined hard case is in great condition, inside and out.
SOLD

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1919 Gibson A-2
A particularly fine sounding example of Gibson's brown-topped A-2. This one is completely original, crack-free, and very playable. Its 3 piece red-spruce top is in great shape with no sinkage below the bridge. The top's center section is fairly wide-grained, with tightly grained and quarter-sawn bookmatched bass and treble sections; possibly part of the reason that this one sounds so good. This A-2 also has the rare aluminum bridge top that does a good job of adding a little extra punch and sparkle. We think that the bridge is original to the instrument, although the serial number dates this mandolin a year or two earlier than the aluminum-top bridges; it is entirely possible that this instrument was completed in '21, but numbered in '19. It has a woody voice, fairly open, with a very responsive back; subtle overtones, and good strength. The pickguard support clamp is missing, and with only a few small dings and some fretwear from eighty-some years of tunes, there's not much else that can be held against this beauty.
With original hard shell case
SOLD

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2004 Gibson F-9
From time to time, we feel compelled to rescue the poor doggy in the window of the big-box chain stores. This one came from such a place in Buffalo, which will remain anonymous. It is actually a brand new instrument, but badly needed a setup and some loving. Since the kind of guys who buy Gibson Mandolins don't usually shop in that kind of store, they found it impossible to sell, and let us have it near cost. So you get a brand-new F-9 at a second-hand price, no playwear. Curly maple, Sitka spruce, ebony fretboard and bridge, decent tuners and a gigbag. Plays and sounds great.
SOLD

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2001 Gibson F-5 Fern
Famous for their projection and percussive 'cut', the Gibson F-5 is the instrument of choice for most contemporary bluegrass and progressive acoustic musicians. This example features a beautiful sunburst lacquer finish over figured maple and spruce. It is meticulously carved and built to the the same specifications that Lloyd Loar employed. "Fern" headstock inlay in abalone pearl, engraved gold tailpiece and matching gold hardware. This instrument is in near-new condition with no scratches, dings, or dents. It has just been set up and plays wonderfully in every position.
Original hard shell case included
SOLD
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1924 Gibson H1 Mandola
Imagine our excitement opening this beautiful case for the first time. Yes, we do have a good job! Unfortunately we do have to sell some of what comes through. So we offer you this super-clean Lloyd Loar period blackface H-1 mandola. Who doesn't long for that beautiful voice going down to "C"? It's got more cut than many mandolas, making it ideal for ensemble playing, where the 'dola can often be lost. It has very little playwear, but the original frets have been dressed quite low. The tuners are fine. We repaired a hairline top-crack next to the fingerboard, it is otherwise crack free. There is a little wear from the pickguard clamp. You will not find a more desirable Loar H-1. And, we'll throw in the original hard case, too.
SOLD

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1934 Gibson A-Century
Well folks, this is it! Being the pinnacle of "cool", a Century-of-Progress Mandolin would make a splash in any condition; this one takes the cake and swallows it whole. Any visitor to our Gallery page knows that we have had the good fortune to handle some extraordinary instruments here at Folkway. This mandolin is absolutely the cleanest vintage instrument I have ever seen, let alone held. This one has NEVER been played, and yes, those are the original strings. The mother-of-countertop still has the factory oil-sheen on the fingerboard. The original case is without any wear or even dust. Unfortunately, we do not know the story, and we weren't there when the tomb was cracked open and the pure clean air of 1934 was breathed once more. Its last home was a pawn shop in Chicago (yes, that still happens!). This is the perfect instrument for any collector who can't play mandolin, because it would be a crime to even bring this one up to pitch. There is a four letter word for this one, that we would never use, and it starts with M.
SOLD

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1912 Gibson F-4
Although it's not for sale, we like to give you all a peak at the cool stuff we have the pleasure of restoring and repairing. This early 2-point mando has the full modern height bridge, with cherry neck and curly maple (not birch) body. We gave the instrument all new frets and refitted the bridge and pearl nut. Big job, and not easy on an instrument that had already been refretted twice before, but it came out absolutely perfect, giving this grand old lady the ability to sing with comfort, ease and style.
NOT FOR SALE

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1921 Gibson F-4
Definitely the treat of the week for our repair shop staff, this incredible instrument is a joy in every way. Inherited through family, this mandolin has clearly never been played. The vivid sunburst is completely unfaded and just glows! Subtly flamed maple seems to light up from inside. In pictures these style 4's look a little garish, in person, everyone who has seen this instrument has dropped their jaw. This was the top of the line when it was made in 1921; the very next year the F-5 usurped that role. Personally, (cash aside!) I'd take this over an F-5, and this is pretty much the holy grail for anyone who doesn't play bluegrass. I don't expect to see such a clean one again. We simply repaired a clean "Bill Monroe" crack on the scroll, and a loose end on the single interior brace. I'm glad to report there is no top sinkage, and the crack is all but invisible now, with no finish touch up. This is indeed one of the very best sounding mandolins I have ever played: loud, rich and full, lots of sustain, no mushiness and a big warm bottom end.
Currently for sale on our Mandolins and Banjos page!

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1997 Apitius Grand Classic F-5
A tremendous example of a hand-crafted F-5 style mandolin. Oliver Apitius' mandolins are among the most highly regarded bluegrass instruments ever made, which is why there is currently a two to three year wait for new instruments from this Canadian maker. This is Apitius' top-of-the-line model, featuring German spruce top; highly flamed maple back, rims and neck; ebony fingerboard, bridge and pickguard; pearl nut, gold Schaller tuners with MOP buttons, and a stunning abalone floral motif on the headstock. The plates are beautifully and evenly carved in the traditional pattern; reflective nitrocellulose lacquer finish. Although the instrument appears virtually unplayed, it has developed a rich voice, with clear projection, articulation and sustain. Send your banjo player home with his tail between his legs! There can be no doubt, this is a master-grade instrument.
Sold with a like-new Calton fiberglass case.
SOLD

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1917 Gibson A-1
Loud, full and warm: this one has it. In remarkable condition, an extremely beautiful instrument in every way. The back and rims are darker than most, and the back is one piece and sports a nice even figure, which is rare on these 'Teens Gibsons. The top has one "bearclaw" in the Adirondack spruce, and shows no significant playwear. Top and ebony fingerboard are bound in ivoroid. All original bone nut, ebony bridge, and tuners with little wear. Nice low action and original frets in ok condition. This one has the more "Dalmation" figured pickguard in great shape. Most importantly this mandolin sounds great, definitely one of the best I have played, rich and yet loud enough to be heard. You will not be disappointed. And the original hardshell case is just as clean.
SOLD

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1930's Stromberg-Voisinet Mandolin
Apparently an early draft from the creator of the Smurfs, this is actually a dynamite mandolin. Big warm voice, and loud; there's always a look of surprise when someone picks up good flattop mando and falls in love. All original and very playable, with a soft case.
SOLD

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1913 Gibson A-3
Serial #13523. 100% original and in great condition, this is a collector's or player's delight. Set up with its original bridge, nut, saddles, pickguard, and hardware this instrument has a great vintage vibe and tone. Bound top and back, bound fingerboard and soundhole, pearl The Gibson logo and inlay, pumpkin top finish and reddish back, sides and neck finish. There is a repaired seam separation on the tail of the instrument.
Original Hard-shell case included
SOLD

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1930's Recording King Mandolin
Black with white binding, oval hole, asymmetrical body shape, and pearloid headstock. Beautifully stamped tuners with black bakelite buttons, carved ebony bridge. All in all, one of the best looking mandolins that's ever come through the shop. Action and playability are fine thanks to a recent in-shop set up.
Older soft case included
SOLD

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1924 Gibson A-Jr
Snakehead, 100% original and crack-free, and amazing projection and volume. The Lloyd Loar era Junior A's are full-sized, full Gibson quality mandolins, with no frills, and a gorgeous warm brown stain all over. Plenty of life in the frets, tuners are fine, original pickguard and soft case. This mandolin has an exceptional warm tone with more cut than most 'teens A's, probably because of the maple back and sides that Loar specified. A couple of well-repaired seam separations, very little playwear: a great mandolin at a great price!
Period soft shell case included
SOLD

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1930's Kay Kraft Banjo
Stromberg-Voisonet styling, with pearloid headstock veneer. The classic Kay Kraft look. It's playable, and has a tone of its own!
SOLD

2001 Doug Woodley Kalamazoo Klassic A-4 Special EXC+++

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2001 Doug Woodley Kalamazoo Klassic A-4 Special
Doug Woodley is one of the fin