The traditional Italian mandolin, as we know it today, emerged in the mid to late 19th century. It was based on earlier or baroque versions of the mandolin, but with key innovations such as steel strings and machine heads, developments often attributed to the Vinaccia family in Naples.
Mandolin popularity reached its peak in the early 20th century, when thousands of makers across Italy, France, Germany, the USA, and beyond produced tens of thousands of instruments each year. Most were built quickly and cheaply to capitalise on the booming demand. As a result, the majority of mandolins from that period found on the second-hand market today are low grade instruments in unplayable condition. Years of string tension and neglect have taken their toll on these mandolins. Although almost any mandolin can be restored, the painstaking work and long hours involved often make restoration uneconomical, with costs sometimes exceeding the instrument’s post-restoration value by threefold.
That said, some makers produced instruments of much higher quality. The “big three” names are Luigi Embergher in Rome, along with the Vinaccia and Calace families in Naples. Their mandolins command higher prices and, in most cases, are worth restoring. Other makers also produced fine instruments valued by musicians for their quality and sound, but the “big three” remain the most sought after.
Mandolins were typically produced in several grades. There were plain student models, orchestra models of intermediate quality, and ornate soloist models—often the maker’s showpieces that won medals at international exhibitions. These medals were later proudly displayed on the labels of subsequent instruments.
Roman mandolins made by Luigi Embergher’s predecessors and contemporaries also attract the interest of collectors and musicologists. Other popular makers include Umberto Ceccherini from Naples, Carlo Bruno from Turin, Mozzani, De Cristofaro, De Meglio, several Catania makers (such as the higher-grade Puglisi instruments or those of Francesco Olivieri), as well as Del Perugia, Kisslinger, Hasermann, and others. Early mandolins from the 18th century are also in demand.
If you have an old mandolin, don’t automatically assume it’s a valuable treasure. Most old mandolins in poor condition are suitable only as decorative pieces. However, if you own a more ornate or finely crafted instrument—especially one in good condition—it’s worth having it examined by an expert. We’d be happy to take a look and provide you with an informal appraisal. If you’d like us to do so, please email photos of your instrument to [email protected] Thank you.