Puglisi Reale e Figli / Domenico Salvadori

Puglisi Reale e Figli

Remarkable on these mandolins is that some are slightly

wider and deeper. Probably that is what results in a deeper

tone compared to other contemporary Napels based

builders. Lots of volume are there as well and a good

balanced tone. Certainly a luthier to look for though

the Vinaccia mandolins have a more refined tone.

One of the better mandolin builders in Catania. The Puglisi 

family started building musical instruments in Catania 

( Sicily ) around 1820. After 1906 the firm name appears as 

'G. Puglisi Reale i Figlio'. The neck needed to be 

straightened out so a new (extended) fingerboard was 

necessary. The bridge was not original at all but on an

auction I was able to buy a lot of old mandolin bridges.

The tailpiece was really bad so I figured for playing 

and changing strings a more modern string holder

was a fine solution. Placing of the original dots was

possible but I prefer a 12th fret dot in favor of the

third fret placing.

 

This instrument has a back built from 19 ribs and of course 

two closing ribs made out of Brasilian rosewood. As has

been said already slightly deeper than the napolitain

counterparts: Nearly 16 cm against 15 cm.

The decoration of the Puglisi mandolins often existed of

a moth executed in tortoise and abalone. Some parts were

missing in the soundhole decoration but that's was not

a big deal. As more than often happens the brace under

the fingerboard has cracked probably due to string pressure.

On the lower right the brand mark is visible and most

of the time can be found on their instruments.

The blue Puglisi label has been presented here, probably

handsigned in red ink. It also states to be in business

from 1908 / 1909 though the firm allready was there

for a longer time. Probably they had other labels printed

every few years so the instruments can be dated a bit.

Giuseppe Puglisi's son Michelangelo took over the 

business around 1910 which resulted in a green label

but still with his fathers' name on it. An extra small

label sticked above the green label says M. Puglisi.

I recently discovered a blue label with the years 1916

1917 at the bottom. So in fact most Puglisi's can be

dated quite securely. I do agree with a repairman in

the USA who states these mandolins are sound wise

more close to the Gibson flat backs as they do not

have that pronounced midrange and treble side most 

of the old Italian bowl backs tend to have.

Careful examination makes clear that there is no stamp 

used for the signature. Building qualities are really good

and so is its' sound. Vibrant and a beautiful low end.

This is a second Puglisi Reale that strangely enough

is a bit harder to date. In 1906 the labels were printed

with RG. Reale & Figli and under the city name 

"Catania" the year of production normally can be

found. The later ones all do have this dating. How-

ever this mandolin has no dating so it is supposed

to be an earlier one: Between 1906 and 1910.

Some inevitable restaurations have been done in the past

on the bowl but nothing seriously. It is in a fine shape.

The bridge must have been original

Another remarkable thing is the printing of this label

that differs slightly from the all blue ones with the

"signature" in red. Of course that signature was printed

together with the rest of the label.

It is obvious there is no year of production under the

name Catania in red. Maybe someone can come up

with some more information??

This was in fact the second Puglisi Reale I was able to buy.

It is a DeMeglio copy but with features added by Puglisi

himself. A lot was left to be done but this one has a beau-

tiful back consisting of 31 ribs and 2 closing ribs all in

Brasilian rosewood executed as was common.

Parts from the original scratichplate were missing but it

needed to be removed. Alas it was too deterioted to

keep it for the future and broke into pieces. You can

see here however that they've putted an extra plate

underneath it. I've kept that of course and placed a 

new scratchplate on this mandolin.

A new extended fingerboard on this one.

The headform that closely resembles the original DeMeglio

headform. Even the tuners have the same look, especially

on the back of the head. As the worm gear is beneath the axe 

you might conclude this is an older one. In the beginning

of the 20th century most mandolin producers mounted it

the other way round compare to the more modern stringed

instruments (Also guitars!). A bit of a clue regarding the 

age of your instrument.

The holes beneath the bridge are clearly visible. It was another 

DeMeglio feature in order to press the strings downwards with

a small piece of wood in order to get more pressure on the 

bridgebone. The Stamp they used can be seen on the right.

Another striking detail is the inlay of snakewood around the 

edge of this mandolin. All in all the woodwork is fine.

Here the tuners can be seen on the back. They weaken 

the head however as some material had to be taken off to

mount them properly.

The neck needed to be resprayed.

And of course the holes in the sides for an even better

sound projection (??)

The original woodwork and some inevitable wax repairs.

Take a close look at the filled holes in the binding. Probably

needed to glue these layers in place.

Curious are the small holes in the binding probably for gluing

things in place.

A beautiful rounded back in remarkable condition

keeping in mind that this instrument is about 110 years old.

The endcap often shows these cracks on Italian mandolins.

They are not harmful but these ones certainly will be cured.

The endcap has to be French polished afterwards.

Another close look at the side holes.

Domenico Salvadori

This neapolitain mandolin has been built in the tradition

 of Vinaccia and can be dated around 1900. Though Salvadori used

paper labels inside this one only has a stamp on the soundboard.

As can be seen the bridge broke off but when I restore it

I allways use the old part. It can be used again with ease

so I will do it. The soundboard will be restored as the laquer on it

is not original. I'll try to keep to stamp on it of course!

The back of this graceful instrument has 29 ribs and the

inner bracing of this mandolin has been done with a lot of care

as can be expected from one of his higher grade models so

I'm curious how its' sound will be. I'll let you know of course.

Carlo Mazzacara of oldmandolins often uses the 100 year old bowlbacks

that are often equipped with brasilian rosewood ribs and made for

even the more celebrated firms by other anonymous makers.

He adds a new soundboard and neck and uses an innovative

bracing for that soundboard. The best of both worlds to

my believe. This picture shows the elaborate purfling and inlay

work that often was executed by specialized craftsmen as well.