R. A. Mango Flat Back, Bent Top Mandolin, c. 1932, original black hard shell case.

R. A. Mango Flat Back, Bent Top Mandolin, c. 1932, made in New York, NY, natural finish, mahogany back, sides and neck; spruce top, ebony fingerboard, original black hard shell case.

This interesting mandolin bears the stamp of one R. A. Mango, a New York Italian-American luthier about whom not much is known but who was active in the city before WWII. It is one of the more interesting mandolins we have seen recently, not publicly seen before now and a lovely part of the mostly-lost fretted history of the New York City area. It was brought to us by the original owner's family, anecdotally purchased for a young girl to learn on in the early 1930s. There is no label, but Mango's small die stamp is present on the back of the headstock and he built several known mandolins to this same basic pattern.

This medium-fancy instrument appears entirely handmade, and does not use any identifiable commercial parts except the tuner strips and ubiquitous "clamshell" tailpiece. It is somewhat similar in design to some flatback Vega and Harmony/Schutt style Chicago-made mandolins of the period but retains an individual character. It is built with a bent spruce top over a soft 2-point mahogany body; the mahogany neck has an unbound, dot inlaid ebony fingerboard. The top and soundhole edges have fancy chain-pattern wood marquetry with celluloid edge binding. The back is single bound with a herringbone backstrip. The headstock has a Vinaccia-style cutout at the top. The most charming feature is the large inlaid pickguard has only one decorative inlay; a pearl mayfly emblem, embodying in the image of this ephemeral insect the idea that life is short and to be enjoyed every day!

Rocco Antonio Mango had his own small shop on east 22nd street in Manhattan, part of the large Italian-American community in the New York area that contributed many great musicians to the era, and many instrument makers including John D'Angelico. There is conjecture that he may have worked alongside D'Angelico in the Ciani shop on Kenmare street until it closed around 1930, but that is unproven. While R. A. Mango himself has largely faded into obscurity, we have seen a few of his rare creations and they are always fine instruments, further evidence of the creative pool of talent at work designing and building string instruments in the Gotham City of the 1920s and '30s.

Overall length is 24 1/4 in. (61.6 cm.), 10 1/8 in. (25.7 cm.) across at the widest point, and 2 1/2 in. (6.4 cm.) in depth at side, taken at the end block. Scale length is 14 in. (356 mm.). Width of nut is 1 1/4 in. (32 mm.).

This possibly unique mandolin remains in largely original, unaltered condition; it has been fitted with a hand-carved replica period style floating bridge but the original is in the case. The Mango bridge is too tall for a comfortable modern playing action but is a small work of are in itself so we have replaced it rather than doing any alterations. The original finish has some general wear but nothing too serious with fine checking (mostly to the top) and small dings, dents and scratches overall. The back of the neck was partially worn to the wood in the lower positions and on the heel and appears to have an ancient overfinish.

This is likely related to the only notable repair, which is the neck was removed and reset long ago, likely by the maker when the instrument was fairly new. There is a small crack across the section of the back that laps over the neck heel that would have needed to be separated to remove the neck, yet the marquetry strip running through this area appears undisturbed. This is sealed and finished over in a manner consistent with the rest of the original finish; the only conclusion we can come to is Mango likely had to re-work the instrument early on to improve playability; after all the family story is it was made for a young girl!

The original frets were likely crowned down at some point and show little subsequent wear. This is a very nice playing mandolin with a more powerful but still sweet sound compared to many factory-made instruments of the period. Overall this is lovely instrument from one of NYC's great unsung string artisans of the 1930's, still in the original hard case. Overall Excellent - Condition.