9: ’course, if you have a bull-fiddle case your problem is simple.Ī.S.

Bardin Devil Take the Blue-Tail Fly in Bardin Omnibus (1976) 543: The big, dark-coloured man who slapped the bull-fiddle. getting hot on the bull fiddle and the guitar. Underneath the quaver and whine of the jazz they beat the time The feet dancing on the crowded cabaret floor listen cautiously for the trombone, the bassoon and the bull fiddle. Hecht A Thousand and One Afternoons The bassoon and the bull fiddle-they umpah ump along. 4/8: Bull-fiddle manipulator’s name is Oats.ī. Revisited 209/1: A ‘bull-fiddle’ which is American for violoncello. ( US gay) of a lesbian or male homosexual, masculine, aggressive. (Walla Walla, WA) 19: Bull-cook – a flunkey who does the heavy and dirty work for theģ. Alexander ‘Bad Word’ in Best of Manhunt (2019) He was trying to handle a big bull rattler and it sank its fangs right into his bare arm. for Lakes ’ AS XIX:2 104: The hard work on is muling or bull-work.ĭ. Farrell Judgement Day in Studs Lonigan (1936) 579: ‘Pipe down!’ a bull voice called out. Barker ‘More Hobo Lingo’ in AS II:12 506: ‘Bull’ as an adjective commonly means ‘large’. 6 June 11/5: Youse see a banker - de old man - stakes me wid a flat joint one day Dead easy graft, but he sends a bull con along to guard his dough. n.p.: ‘The bull bed-bug, sure, that has been atein’ the children for the past two months’. 1843) Melville White-Jacket (1990) 279: May-Day was a full-blooded bull-negro-so the sailors called him-with a skull like an iron tea-kettle. Surtees Hillingdon Hall I 48: The great Bull niggers, that he had never seen or cared to set eyes upon. Haliburton Clockmaker III 45: If there was a thing on airth that Ahab hated like pison, I do believe it was a great bull-nigger. In 1856 he opened his New Orleans music publishing business on Magazine Street.T. Grunewalds… Piano, Organ, and Music House, New Orleans, La.” Louis Grunewald (1827-1915), of German birth, immigrated to New Orleans in 1852, performing as an organist in several Catholic churches in that city (Abel 2000, 268 derived from Boudreaux 1977, 72). Label inside original coffin case reads: “L. This fact, and the other details, points to a circa 1870 date, not 1880s or 90’s). (note: this guitar is not signed personally by factory foreman, etc, on underside of top….

Characteristic, three Martin stamps: “CF Martin & Co, New York” ink stamped on neck block “CF Martin & Co, New York” ink stamped on center strip inside and “CF Martin New York”, stamped/pressed into brazilian rosewood back of guitar, up near the heel.

Neither need attention and are left alone to preserve originality.

Two cracks in spruce top one is bridge to bottom of top the other is from near bridge to soundhole first one described is beneath an internal brace second is 2mm adjacent to a different brace.

Original ebony bridge, and bridge plate.

Solid Brazilian rosewood back and sides.

The original ivory saddle is worn through at the strings, but still functions nicely. On this guitar, for the sake of originality, we’ve kept its original saddle intact. The figured Brazilian rosewood back and sides are unusual– in these decades of the 19th century (and through the middle of the 20th) Martin usually did not use this kind of figured, lovely Brazilian (they preferred the more straight-grained variety). This guitar even has its original coffin case–necessary in the days when Martin guitars were shipped out by railroad or wagon train. Another all-original pre-war Martin… but you have to go back a few more wars on this one- to just after the Civil War.

1870 gitbox guitar