A. Galiano Raphael Chiani Mandolin ????

[Carolina Chris]

Hi - my husband inherited this flat back mandolin. We have been trying to find out some information on what level of mandolin it is - low/mid/high? We want to sell it, but there is so little about this company on the internet that I don't know if that means there isn't much because they weren't very good, or if there isn't much because they are rare? Is this considered a good maker?

Neither of us play, so I can't really say how it sounds, but I see no serious cracks or breaks (there is a slight crack opening where the "back of the neck" joins the body. It also has a small area on the bottom back where a bit of the veneer seems to be wanting to lift. The "keys" that tighten the strings are all there, 1 of them is missing the tiny screw but could easily be put back once it was restrung. The case is in rough shape but still functioning. The case looks very similar to one that is on my Grandfather's Vega K Mandolin so I'm guessing this mandolin might be from the '20's as well.

The mandolin has a 2" x 3" off-white label inside with a masonic symbol that say A. Galiano, Raphael Chiani Fabbricante Mandolini and e Chittare (makers of Mandolins and Guitars).

Any information on this would be much appreciated! BTW - I am in awe of the musical talent you all seem to possess! I have no abilities whatsoever - when I try to play I feel like I'm trying to rub my head and my stomach at the same time! LOL

[Jim Garber]

I believe that Galiano was a distributor or retailer and many of the mandolins were made by other companies or makers. In fact Mike Holmes on the mugwumps.com site cites that Galiano was a brnad name used by the Oscar Schmidt Company.

There are Galiano instruments out there without Ciani's name on them and I can only assume that he had nothing to do with those but may have insisted that his name appeared on the label for the ones that he had a hand in. Those were usually pretty simple instruments without much ornament.

Historically, Raphael Ciani's (check the spelling on the label) main claim to fame these days is that he was the uncle of John D'Angelico, who became well known for his exquisite archtop guitars. I have seem only a few Galiano/Ciani flatback mandolins. This one looks pretty simple but could be a nice instrument. The shape reminds me of 1930's carved top Martins, tho the neck angle as far as I can tell is not as extreme.

Please feel free to post more photos of this. I would like to see how deep the sides are and what the whole back looks like.

Value would basically be based on condition. The binding you show is an easy repair but if the neck needs to be reset that could be a costly repair and there might be some need for that if the neck joint does show a gap as you mention.

[brunello97]

I have a few flatback Galiano mandolins in my files but none with une forme de poire as this one does. It is quite curious. If you are interested in selling it, please send me an private message through the board here.

Mick

[Carolina Chris]

Please feel free to post more photos of this. I would like to see how deep the sides are and what the whole back looks like.

Value would basically be based on condition. The binding you show is an easy repair but if the neck needs to be reset that could be a costly repair and there might be some need for that if the neck joint does show a gap as you mention.

Thank you Jim for your reply - here are some more pictures, we will try to get some of the back and side over the weekend. Maybe you can tell by the picture if the neck requires repair. It does not feel loose, but there is certainly a narrow separation there...

[Jim Garber]

That neck will come looser once strings are at full tension even if you use light or ultra light gauge. I would not tune it up to or near to pitch in its current condition.

Of course, you cannot tune it completely to pitch since two strings don't have their posts/gears. I only see one screw for the round gear into the post.Is there another screw? You might have to find an identical screw from another set of tuners to get that working or else have to replace the tuners altogether. That should not be too difficult, I would hope.

[mrmando]

The Musical Instrument Museum has a carved-back 2-point Galiano/Ciani which it alleges was actually built by D'Angelico when he worked for his uncle.

[Jim Garber]

Martin: no way to prove that it was made by D'A unless he has a label. I still am basically of the opinion that he was a relatively young teen and might have started building then but that mostly he did piecework or swept the floor.

You got a link to a picture of this instrument?

[joec]

You got a link to a picture of this instrument?

Ciani Two Point
Jim,
I found this thread after stumbling on this very mandolin when I recently visited the NMM on a cross-country drive. I must admit I was so stunned by the whole of the collection, that the mando didn't make much of impression at the time. Now, I see that it may be a closer predecessor (not by design) of my two-point model than anything else I've seen. It looks like they've made some connections with later D'A builds/inlay, and perhaps there is some other evidence of a connection in the mando's provenance. Arian Sheets, the Stringed Instruments Curator, is very knowledgeable and thorough, and her observations of the development of the mandolin from a historic perspective were extremely enlightening. Although some of the pictures on their website could use updating or be larger, it continues to be a great representation of a giant slice of musical-technological history.
One giant hole in their collection which would be fun for the mando community to try to fill: a for real, genuine Loar F5 for us to Cat-scan, poke and prod a bit (with some allowance for concertizing of course)---a bit off topic, I know.
cheers!
Joe C.

[Jim Garber]

I still am unconvinced of a definite attribution to John D'Angelico. There is no doubt that he was around and may have had a hand in the making of this but he could have easily been sweeping up the shavings or running down the street for a cup of espresso.

As far as the headstock inlay as an indicator:

abalone foliate inlay of identical design to that on NMM 10772, plectrum guitar by John D’Angelico, 1937.

I believe that these pearl inlays were made for the trade by another shop, probably in New York. I have a Luigi Ricca bowlback with the same inlay.

In fact, one possible source for luthier inlay was Louis Handel and Company which likely also provided the once mysteriously-named Handel tuners.

[brunello97]

Jim, is this the Ricca you were referring to? Not sure where this came from in my files, but I think it was from you.

Also another with the same inlay, this a broken headstock Ciani/Galiano from the same era. Maybe when folks are finished writing histories of Chicago-based builders somebody will take up the cause with the MidAtlanticRim mandolins. The Schmidt/Galiano/Ciani/D'Angelico connection remains obscure to me.

Mick

[Jim Garber]

Here is another one from another NY maker, Yosco.

Yes, Mick, that is my Ricca mandolin. The New York area makers were just as incestuous as the Chicago ones. And let us not leave out the Boston scene also: Vega/Ditson/Howe-Orme/Fairbanks etc.

[brunello97]

Vosco? Cool. Is that from a banjo?

Do you think these MOP inlays came in from sources (such as Handel) already set into headstock veneer material, which that was then fitted to (local) instruments? Or was the inlay work done in-house?

Mick

[Jim Garber]

Vosco? Cool. Is that from a banjo?

Do you think these MOP inlays came in from sources (such as Handel) already set into headstock veneer material, which that was then fitted to (local) instruments? Or was the inlay work done in-house?

The name was Lawrence Yosco and I think that name was anglicized italian, prob Iosco. For those interested, a patent.

I thought I had a seen a reprint of a catalog of pearl inlay, maybe put out by Dover, but I am prob dreaming.