Harp Mandolas

Once the rarest of the rare, four are known, all coming to our attention only since 2007!  And we finally have some labels.  The first one found originally caused some confusion.  

To Bob and I, it was obvious that someone inadvertently swapped the serial number with the style number when entering the information.  "145" must be the style number, as stated in the ad.  That leaves "402" as the serial number - which is at least partially logical as the "-02" would indicate that this is the second mandola built. To me, the only explanation for the "4" is that they started a new 400 series for the mandolas, rather than adding them in sequence to the already-in-production mandolins (which were in the 200's at the time).  Note that, while the standard harp mandolin label was used, "mandola" was not added, as in the two cello labels (next).

The second label found (October, 2009) proved our conclusion: It is properly labeled "Style 145" and the serial number appears to read "405."  The "closed loop" number 5 looks like the same handwriting as the "501/601" cello below.  Additionally, they have pasted over the last letters of "mandolin" and handwritten the "a" to quickly, if crudely, create "mandola" - just like the "mando-cello" below!

Here's a funny story about the first mandola above, which will clear up an error in Bob's The Larsons’ Creations, Centennial Edition.  Astute researchers may recall that when that "final" book was published in 2007, there still were no Dyer harp mandolas known...or were there?  Actually, yes...and right under our noses!  On page 157 of the book there is a photo of an instrument sold by Mandolin Brothers as a "harp mandolin."   I took one look at it and called Bob.  "Clearly this is a harp mandola!" I insisted.  Bob then admitted he was always suspicious, as the the pickguard was so similar to the one in the Cadenza ad.  I hadn't even gotten to the pickguard appearance - the body shape alone was obvious, being much more bulbous than the much slimmer harp mandolins.  Bob added that the moment he saw it, he asked Mandolin Bros. about it, but it had just been sold to an overseas collector (I wonder if he knows what he's got?!).   The scale length wasn't listed, nor could it (now) be checked.  Yes, Stan and staff are experts, but somehow they made a rare mistake (sorry, boys!) and Bob should have trusted his instincts. 

The second Dyer harp mandola came to our attention in June, 2008.  This one has a much shorter, thicker arm than the other, but has a pickguard matching the original ad woodcut.  Unfortunately, there is no label - and it has been a bit "overly-customized" - a painting on the soundboard and three large holes in the top that were made to attach a pickup.

A third specimen showed up in August, 2008, and with a label, as discussed above.  Note that it has still a different harp arm length and shape.  

Then in October, 2009, Bob sent me the image of the fourth mandola with the label, discussed above.  From the serial numbers (402 and 405) we can so far surmise that at least five specimens were built (401 through 405).  The two label-less instruments shown may or may not be within this series.

Harp Mandocellos

Two of these incredibly rare beasts have been discovered - perhaps the only two ever built.  Amazingly, both labels are intact - but, oh, what a tangled web they weave!  The fancier specimen is stamped "250" for the style, and expectedly matches the "style 250" in the ad.  Its serial number is 102 - and for once, we can be positive of the number, as it was typed in.  The other specimen is labeled Style 200, which makes sense for a plainer model.  However, its serial number is a completely different series.  What is going on?!  Clearly, the handwritten serial number is not "101," which would have tied things up nicely.  No, it appears to be "601."  It could even be "501" - if you think the latter unlikely, then examine the row of labels below.  I'm leaning toward "501."  Either way, we seem to be stuck with two series of mandocello numbers.  It is extremely unlikely that the two instruments were not built within two or three short years of each other (c.1917), and Bob has always agreed that it is virtually impossible that #102 was built in the early 1900's, before the harp mandolin and well before the mandolin orchestra's heyday.

My conclusion is that #501/601 coincides with "mandocello #1" - #102 would of course be "mandocello #2" - thus, two cellos known, with the serial number equivalents of "1" and "2."

We now know that mandolins had their own numbering system in the 100's to 200's, aparenrly duplicating the harp guitars.  And we now deduce that the mandolas were meant to have had their own 400 series.  Thus a 500 series would make perfect sense for the mandocellos.  600 also, although that had been used by the harp guitars (but like the mandolin case, perhaps not a problem to duplicate when they were "different instruments."  

So far, so good.  The only question is why they didn't stick with the series and used "102."  I have no idea, unless different individuals were taking care of the system and make an error or were re-arranging things.  Note that both labels modify the standard harp mandolin label in different ways.

Below is a series of label images that led me to consider "No. 501" for the mandocello.

Note the handwritten number 5 and 6 in the series, starting from the left.  Personally, I cannot judge how many of these serial numbers are in the same hand or penned by different individuals.  The third label from the left has been in my folders for years, but never added to our serial number list.  Now I remember why.  I couldn't tell if it was "845" or "865."  Can you?  I wasn't sure if that was a second poorly-written "4" or what.  I thought the last digit must be a "6."  Now that I've seen many written sixes, I realized that that must be "6," meaning the last digit can't be another six, but something else - a "5" with the loop closed (ink bleeding or penmanship).  Considering again the cello, which owner Mickie Zekley only recently photographed for us - Bob thought it looked like someone was trying to turn some other number into a six.  It does at that.  It also looks not all that different from the five in the previous label to me (even though the top stem is curving).  Just listing all the options.

Bottom line: We can reasonably date the cellos - to 1917-1918, possibly an early 1916 prototype (Mickie's), but we can't state their serial number series, which is nonsensical and unreadable.

Ron Petit, the owner of #102, also owns a very fancy Dyer harp mandolin. When asked how he acquired these two prizes, Ron added, "These two instruments have remained together since leaving the Dyer store!  I bought them from a fellow in Richfield, Minnesota in 1994, who had bought them from the original owner in 1954.  These two instruments were used in a family Vaudeville band - with the husband (double neck harp guitar with more ivory than anything I've ever seen), wife (piano) and two daughters (mandocello and mandolin).  Very serious instruments for a family band - no doubt there are pictures out there somewhere of this band in action."

Dyer Harp Mandolin Design

Knutsen or the Larsons?  This was the focus of my original 2002 article, and remains an intriguing design question, for which we still don't have the answer, or at least overwhelming proof.

Two versions of Knutsen "Double Point" harp guitars, and right, the first  Dyer harp mandolin (not to scale)