bouzoukimaker
Oud Lover
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1928 Oud in bad shape.
I have this old oud. the lable has the name N. Kachadourian there is arabic or Turkish writing which I can't read. The year 1928 N0. 1225. I was
thinking to restore it. Does anyone know of this builder?
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Jonathan
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Can you post some pictures?
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bouzoukimaker
Oud Lover
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1928 Oud in bad shape.
I have pictures of the label and of the oud.
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bouzoukimaker
Oud Lover
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Sorry about that first pict. Here's a picture of the label.
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bouzoukimaker
Oud Lover
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Here a pict. of the bowl.
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Andy
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I haven't heard of this builder but do you have a picture of the face and neck that you can post.
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al-Halabi
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Based on the label the maker worked in Beirut.
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bouzoukimaker
Oud Lover
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1928 oud in bad shape.
Here is a pict of the back on the neck.
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bouzoukimaker
Oud Lover
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1928 oud in bad shape.
The front of the neck.
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bouzoukimaker
Oud Lover
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1928 oud in bad shape.
The face
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bouzoukimaker
Oud Lover
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1928 oud in bad shape.
Here is the inside of the face. The face is in such bad shape. What advise would you give about the face. Should I make a new on with the old braces
or should I put this one backe together?
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bouzoukimaker
Oud Lover
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1928 oud in bad shape.
I only have the large rose. the small ones are lost.
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Jonathan
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There are people on this site that know a lot more about ouds than I do, but I would strongly encourage you to keep as much as possible, including the
face and braces.
The soundboard looks like it is all there--just cracked. I would think that with some hide glue and careful careful sanding, it could look great.
And, the little MOP or abalone inlay around the holes gives is character.
If you change the face and/or braces, the instrument's tone changes so much, and what are you left with? It would be neither Khatchadurian's work,
nor yours. So, I guess I would honor the original luthier's work, and try to bring it back to its original condition.
That being said, to my eyes, the fingerboard is hideous. I am not sure what I am looking at. I think in that instance I would be tempted just to
replace it with ebony.
I know I seem to be contradicting myself in the approach here, but there is a difference--the fingerboard does not affect the tone. I wonder if it
was original. The rest of the work looks a lot more refined.
Otherwise, I would hope that you try to restore it as much as possible to its original condition. I think it could look great.
The central rosette looks fine. Could it possibly be ivory? Or is it bone?
Not sure what is going on with those "half" braces (missing one) near the bottom. Sort of unusual.
Thanks so much for sharing the photographs.
Just curious--is there a "cap" on the bottom, or some type of inlay?
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bouzoukimaker
Oud Lover
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yes the cap is shell inlay.
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bouzoukimaker
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I think the rose is ivory backed by what looks to be walnut. It is a little wharped. I have been trying to flatten it out withsome wheights.
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Jonathan
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Can anybody translate it? It looks like there is an inscription in there.
Of course, it might not have been original to the oud.
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oudmaker
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I only can read last part of the Ottoman inscription:
... ...... iymal olunmustur ..... ( .... ...... made by...)
I am assuming the beginning part of the inscription is the maker`s name
Dincer
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oudmaker
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I also think that there are two labels. One which is smaller and under the Armenian inscription has also Ottoman or Arabic writings which I can hardly
see after magnifying but I can not read.
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bouzoukimaker
Oud Lover
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1928 oud in bad shape.
I thought I would try to get a better picture of the label. See if this any clearer.
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OUDRx
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It says vnagorts in armenian) N. Kachadourian as you can see. I'm not sure what that means.
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jdowning
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Thanks for the images. Nice looking instrument.
I agree with Jonathan that you should try to preserve as much of the original fabric of the oud as possible - including the fingerboard which could be
original as the edge purfling mimics that of the soundholes and the edge of the belly. Also there seem to be wear marks on the ivory (?) panels made
by the strings so they have been there a while. Fingerboards inlaid with ivory panels like your oud were commonly found on superior quality European
lutes and guitars of the 17th C so I would bet that this style of fingerboard decoration is also to be found in ouds?
A very interesting detail for me is that the point of the heart shaped decoration below the fingerboard defines the bottom edge of the neck block so
is equivalent to the fingerboard "stings" in lutes (which seem to serve the same purpose) and may, therefore, be part of the barring geometry of the
oud.
I shall check out the barring geometry as best I can from your photo (which will be subject to some barrel distortion no doubt) - to see if it
conforms to any historical standard common to ouds and lutes.
Good luck with the restoration.
John
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hakeem.ram
Oud Junkie
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Hi Bouzoukimaker!
Should u ever decide not to restore it, pls send the 'junk' to me! I am more than happy to have that. :P
I seriously think you should keep it and restore it. I am no pro at stuff like this but surely This instrument or the wood to survive the test of time
would really be worth restoring.
Nonetheless the offer to take it away from you should u decide to junk it stands :P
ENjoy your treasure!
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Andy
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Beautiful oud, I think it would be worth restoring the soundboard. It looks like it can be repaired, the cracks are easy for a "bouzoukimaker" to fill
in with very thin strips of matching wood and then fitting the top back on. Good luck. Let us know what it looks like when it is restored.
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