And he picked this up probably about 18 or 20 years ago for less than . GUEST: And when he passed away, he left all of his instruments to me. It's not like these asymmetrical, kind of funky-looking Hawaiian ukes. And this one is nicely appointed with multiple bindings, and little celluloid ornament, celluloid strip down the fingerboard. So I'm going to think that period-wise, this is just getting into 1930 or maybe the very early '30s. So a 3-M or 3 mahogany model would be worth about ,000 to ,500. Verbal approximations: The values given by the experts on ANTIQUES ROADSHOW are considered "verbal approximations of value." Technically, an "appraisal" is a legal document, generally for insurance purposes, written by a qualified expert and paid for by the owner of the item.
And this was among those, and I think it's one of the sweetest things I've ever seen. And what makes it a higher end Martin uke is that it's got an ebony fingerboard that goes all the way down to the sound hole, instead of these short rosewood fingerboards the lower-end models have. And the Style O had no bindings, the Style 1 had dark bindings, usually rosewood and then later plastic. An appraisal usually involves an extensive amount of research to establish authenticity, provenance, composition, method of construction, and other important attributes of a particular object.
I’ve seen tiples as early as 1925 and as late as the 1970s, this one is from 1949 according to the serial number database on the CF Martin site.
According to Martin’s records, the company produced its first ukes in January, 1916.
The first few featured construction remarkably similar to a standard Martin, with spruce tops and serial numbers.
APPRAISER: As soon as I saw this case walk in, I said, "It's a Martin uke." GUEST: You knew! APPRAISER: See it both in the front and in the back, this nice horizontal flame, which if you cleaned this a little bit would be a little bit more prominent. APPRAISER: So a koa wood model, I would suggest a retail value of at least another $1,000. And though there are no hard and fast rules, an object's auction price can often be half its retail value; yet for other objects, an auction price could be higher than retail.
APPRAISER: Usually higher grade ukes wound up in these nice hard cases. GUEST: My dad was a bluegrass musician, who was also an inveterate yardsaler. APPRAISER: And that was the thing about Martin ukes. APPRAISER: And to make it even better, this is a Style 3-K, which means it's a Style 3 koa wood model. And it's nice because it has not just plain looking koa. And the metal friction pegs that they started using in the late '20s. As a rule, however, retail and insurance/replacement values are about the same.
Hi Chuck, Just saw Dougs posting about his Favilla Baritone Uke. Very early Baritone's 1940's to 1953 had no serial numbers. After 1959 the familiar gold label inside the body bore the model and serial number.
Best, Tom This is truly the cleanest old Favilla (made in New York) baritone uke I've come across yet: no cracks, minor scuffs and scratches, a perfectly straight neck, good satin finish (though, of course, fine weather-checking is seen throughout), and all-original parts.
Now the “tiple” is one of a number of smallish stringed instruments played throughout the Spanish and Portuguese speaking world, where the word is pronounced “teeplay.” But a Martin Tiple is a strange member of the `ukulele family, an instrument that was vitally important to the CF Martin company in their history.
I’ve learned a lot about the Martin Tiple by visiting Uncle Emile’s Blog, There’s something about the organic glow of a fine vintage instrument, the battle scars contribute to the feeling that this is a special object, simply by having survived.
The braguinha, forerunner of the ukulele, was a small four-string instrument tuned in fifths.
Named after the town of Braga in Portugal, the instrument arrived in Hawaii with the first group of Portuguese immigrants in 1878. A second boat, which arrived in 1879, carried not only braguinhas, but also players and three makers; Augusto Dias, Jose do Esperito Santo, and Manuel Nunes.
But over the past few years I’ve tried to go straight, stick with the instruments I have and definitely stay away from oddball stuff that once called out to me.