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Post by Michael Messer on Mar 22, 2019 17:58:02 GMT
This is an early colour version of the SUPRO RANCHERO that I've not seen before. 1952, early rounded top to the headstock, sunburst finish, brass logo and trapeze tailpiece.  Shine On Michael |
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Post by Michael Messer on Mar 22, 2019 17:58:43 GMT
There must have been countless 're-brandings' and colour variations of the Supro SPECTATOR lap steel. Here is another one! This instrument was released as an 'El Grande' lap steel in 1955. It is interesting because ALL the Supro versions of this instrument had 36 printed frets and all (or most!) of the trade house versions only ever had 28 frets......this one has the 36 Supro length. Odd! (see PTSARS page 296). There are also 'El Grande' versions of the Supro Spectator amplifiers around from the same date.  Shine On Michael |
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Post by Michael Messer on Mar 22, 2019 17:59:26 GMT
This one- the SUPRO SUPER SEVEN - was usually produced in Wedgwood Blue or red (see PTSARS page 195). It appears they were also made in Ivory white and issued as OAHUs at roughly the same date  Shine On Michael |
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Post by Michael Messer on Mar 22, 2019 18:00:05 GMT
It amazes me how often variations in Valco production turn up! Here is a colour variation used on the last of the National Dynamics made very close to the closure of Valco in 1968. Usually a red body with white "wings" by this date - this one has gone back to the earlier black body but the stairstep fingerboard markings now have a red background.  Shine On Michael |
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Post by Michael Messer on Mar 22, 2019 18:00:49 GMT
This Triplate appeared on the market this week. It is numbered A13 - one of a handful in a rare and obscure numbering sequence. These instruments have at various times been assumed to be part of the Chicago A series around 1936. Not so. They have been identified with the last German Silver instruments in 1935. Also not so. This one has a "Pat Pend" stamp which was used from early 1928 to the end of 1931 (even though the patents were issued in mid 1930!). It also has a stock Style 3 (variation 3) "fronds ascending" pattern (see PTARS page 23) which appears on instruments such as Roundneck S46 and squareneck 1387 - both dating to around June 1930 - which is when I think this instrument was made. Interestingly, it has additional "wild rose" engraving (probably done afterwards to fill in the available space in the Style 3 pattern. The "wild rose" however is done by a different "hand" to the original Style 2 pattern. Still, it is another very interesting, "Custom" item from those clever people - the Dopyeras!  Shine On Michael |
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Post by Michael Messer on Mar 22, 2019 18:02:02 GMT
This is also a newly recorded variant on the early Supro amps of 1936. Typically this amp (PTSARS page 337) is the Model D recorded in the 1937 catalogue. Usually with just a cloth speaker cover - this variant however has the cloth and coverplate grill of the previous year's smaller, squarer Supro (Page 336)  Shine On Michael |
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Post by Michael Messer on Mar 22, 2019 18:02:42 GMT
A VERY early metal bodied Triolian Mandolin has just appeared. Early screen coverplate with raised coverplate lip. It features the same early pattern palm tree design used on the early prototype white mandolin shown on Page 47 (PTSARS). The sun seems to be a golden yellow rather than bright red. The actual instrument is considerably worn and shows a white base colour under almost all the paintwork. Perhaps they all started life with a white base. The fingerboard appears to have been painted white as a finished coat and there are no dot markers except for the faint indentations of the three screw covers on the end of the fingerboard. It has lost whatever logo it had (probably a red Triolian shield)  Shine On Michael |
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Post by Michael Messer on Mar 22, 2019 18:03:42 GMT
Here is the one everybody is talking about today that has just surfaced in Seattle - a square neck triplate except that it isn't!. It is a single cone style O-type instrument in a metal square neck body. It is described as '1931' but that can't be correct as it has rolled f holes, a chicken foot coverplate and wiggle pattern around the edge. None of these features is earlier than 1934. The body top also has the two patent numbers and 'Other pats pend' stamped below the fretboard. This occurs on the last original squarenecks in 1934. The serial number is 'H104'. This means nothing in the scheme of National serial numbers. Perhaps the H is 'hawaiian'?? It would seem very unlikely that tooling was produced for this instrument alone so some more must exist. Perhaps the 104 number refers to a starting point of 100 and maybe 4 or 5 prototypes exist. You just knew that National had to try these things didn't you?  Shine On Michael |
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Post by Michael Messer on Mar 22, 2019 18:04:26 GMT
This one is a custom variant of a mid 1980s OMI Model 60 - however, its serial number is 1607. Apart from the engraving it is double bound on the body and the fingerboard. This instrument, according to Mrs. Kirby was made for John Dopyera who gave it to her husband Bashful Brother Oswald. He used it on one or two albums such as "Don't Say Aloha" (featured on the cover) and also on special occasions at the Grand Old Opry. NB: After the album cover photoshoot it seems to have 'acquired' an additional fretmarker dot!  Shine On Michael |
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Post by Michael Messer on Mar 22, 2019 18:05:04 GMT
Here is another Gretsch Electromatic Valco amp that I've just discovered from 1952. It probably should go in around Page 362 in the book. Just how many amps did these people make!  Shine On Michael |
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Post by Michael Messer on Mar 22, 2019 18:05:46 GMT
This is a conventional 'Collegian' version of the Tenor guitar - this one has a darker yellow finish, black scratchplate and is branded as a National. Originally Collegians were branded as Supros but in 1940, they were rebranded as Nationals with the first metal Valco logo badge.(See PTSARS page 79)  Shine On Michael |
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Post by Michael Messer on Mar 22, 2019 18:06:36 GMT
Probably the earliest existing Triolian Tenor. Until this turned up, I didn't know they used the same anemone flower decal on tenors!. It seems they used the anemone on everything - certainly the mythical Tricone Triolian used it as well - maybe the wood mandolin also (which I've never seen!) (NB. This ACTUAL instrument itself has a replacement 1950s tailpiece - so I've corrected it!)  Shine On Michael |
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Post by Michael Messer on Mar 22, 2019 18:07:20 GMT
While we're into lap steels and just to keep everything up to date - here is a different colour version of the National Cast Lap Steels - made around late 1936 (see PTSARS page 283)  Shine On Michael |
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Post by Michael Messer on Mar 22, 2019 18:07:57 GMT
O.K - Here's another New Yorker (I've definitely lost count now!!). This variant is from 1948 BUT it features the 'visual octave' stairstep fingerboard that was used on the National Dynamics at this same time. It goes to prove that National/Valco probably produced just about every variant of everything in any version!!  Shine On Michael |
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Post by Michael Messer on Mar 22, 2019 18:08:32 GMT
This one is difficult to assess. It appears to be ANOTHER version of the New Yorker. (17 or 18 now? - I've lost count. See PTSARS pages 320-327). I would guess this one is around 1941/2. Why? - well it has the 'wartime' wood handrest used during those years and the simple rosewood fingerboard with this particular pattern of dot markers was used on the National wood bodied lap steel made during the same dates. It seems to have a distinctive squared off body and (strangely) has no National logo. Interestingly, it does have tuners with 'National' branded nickeled covers.  Shine On Michael |
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