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Oud Gallery
On this page you can take a look at other people's ouds and also display your own. Just send me your oud pics, together with as much information as possible about the origin, construction, stringing, etc. of the oud, and I will add them to the gallery.
The following ouds are owned by Alan Rophie. The first of these, shown below, was made by Hana Nahat in 1903. The length from base to nut is 28", and from base to top of pegbox is 32". Other dimensions are: scale length 23.5", width 14.5", depth 8" and neck length 8". The fretwork over the soundhole is made of wood, with Arabic calligraphy overlaid in bone at the centre, which is a trademark of Nahat luthiers. The portrait of Hana Nahat is from inside the oud. Also shown is a risha or quill.
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The next oud is a Munir Bashir oud by Mohammed Fadel Hussein, made 9/3/1992, purchased from Ronny Andersson. The bowl is made of rosewood and mahogany with a European spruce top, and the neck and pegbox are made of rosewood. The fingerboard is made of fibreglass and the string length is 57cm. The weight of this oud is very similar to that of the Nahat shown above. It has a deep rich sound with good sustain and is very loud.
Finally, we have Alan's Turkish oud made by Sabri Usta (Sabri Goktepe) from Ankara on 2/6/2000. This oud is very lightweight and has a string length of 59 cm. The soundboard is cypress, the fingerboard is oak and the
bowl is oak and mahogany. The rosettes are made of formica. The oud has a beautiful sound with long sustain, and is very easy to play with good action.
The photo below shows Alan Rophie's whole collection: (left to right) oud by Hana Nahat, oud by Sabri Usta, oud by Mohammed Fadel Hussein.
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The oud below is owned by Richard Hankey. He built it himself in 1979 and it has a walnut back with inlay, an ivory fingerboard and roses, with stereo internal three-axis transducers. It is based on a 1959 Nahat oud that he obtained in exchange for one of his own. Unfortunately, the Nahat had been damaged in a fire so it was just used for measurement purposes in constructing the present oud.
Richard Hankey also built the Persian oud (Barbat) below for a client. Note the pickguard in the shape of a map of Iran.
The first two pics below show a Nahat replica oud constructed by Richard. The back of this oud is all walnut, and the face is made from German spruce which has been aged for over 35 years. The photo on the far right shows a 1927 oud of unknown origin with its face replaced and stained by Richard. The rose was copied from a 1946 Najarian oud. The back is quite plain with no decoration and the oud has a unique edge trim.
The following picture shows Richard Hankey's complete collection of ouds.
Back row (on table) left to right:
Middle row (on chairs/floor) left to right:
Front row (on floor) left to right:
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The next selection of ouds is owned by Basem Schurmann-Darwisch from Germany. The first of these is a double-necked oud, which has the tunings of a bass oud and standard oud. The oud was designed by Basem and made in Egypt. The third picture below shows this oud together with others from his extensive collection.
Another of Basem's instruments is this oud-qanun, with a leather bridge and the tuning EADGCF. It is made from sycamore wood, and was manufactured by Maurice Farouk Shehata in Cairo.
Basem recently designed the following double-necked instrument, which was also made by Maurice Farouk Shehata. It is made from sycamore wood, with the upper neck in Arab tuning and the lower neck in Turkish tuning. The oud is now owned by Prof. Issam El Mallah of Munich University.
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This oud belongs to George Dordoni and was made by Samir Hamido, El Qalaa Street, Cairo. It was bought at Sadek Musical Instruments and Handicrafts in Sharjah, UAE at
the Central Gold Souk, block 4 shop 17. It has been modified to accept the full Arabic tuning DGADGC; the high C string is a Pyramid, the rest are D'Addario.
The body staves are mahogany, as is the neck and nut. The pegbox and tuning pegs are olivewod, and have a delicate but delightful smell when turned or rubbed.
This oud belongs to John Erlich of Berkeley, California. It was built by Maurice Farouk Shehata's company 'Al-Aseel' of Cairo. The instrument was bought at his shop in Cairo in May 2000 for $700 (original asking price $1200). The nut was clearly grooved for primarily five-course playing, but John asked Mourice to string the sixth course (at the high end) before buying the instrument. The instrument has a nice deep sound, well-constructed fingerboard and tuning pegs, but quite a high action.
The instrument below belongs to Daniel Franke (pictured), who works at the Institute of History of Arabic-Islamic Sciences in Frankfurt, Germany. The oud was built in 1926 by Riza Usta of Istanbul. The ribs are made from plane and near-eastern walnut, and the original face seems to have been replaced with one made from cedar. The oud is strung with varnished gut and copper-spun silk.
The following ouds are all owned by the Institute of History of Arabic-Islamic Sciences in Frankfurt, Germany. The first of these is an 'ud qadim made by Gerhard Soehne, a reconstruction based upon literary documents and early pictorial evidence, researched by E. Neubauer for the Institute. It is made of cypress/cedar with gut strings.
The next pictures show a North African kwitra (left), purchased by the Institute from Tony Bingham, London. It is thought to date from the 18th century, judging from comparable instruments in the Royal College, London and Kunsthistorisches Museum, Vienna. The second instrument (right) is an oud by Fathi Amin, Cairo, 1987. This is a very good, resonant instrument selected for the Institute by the distinguished oud player Karim al-Assad of Freiburg, Germany.
The following oud is owned by Tony Klein from Sweden. It was made by Roufan Nahat of Damascus in 1908. It has a single extremely beautiful and elaborate rose of bone upon a wood underlay, including Arabic lettering in the centre. The top appears to be of cedar and the fingerboard is finely inlaid with a series of swans in bone or ivory.
The ouds below belong to Stephen Bayne from Seattle. The first three pictures show an oud with a mother-of-pearl and abalone fingerboard, made by Sarkis Chirikdjian of Erevan, Armenia, in 1973. Stephen is also shown playing a Hanna Nahat bass oud, which he no longer owns.
This oud belongs to David Obeid and was made by Abdo G. Nahat & Son of Rue el-Warde, Damascus in 1924 (makers no. 2161).
The following two ouds belong to Mike Malek of California (see his website). The top row of photos show an oud made by Maurice Farouk Shehata, and was purchased from his Al Aseel shop in Hadayek el Koba, Cairo. Maurice learned the trade from his father Farouk Shehata, and he has built many ouds for top Khaleeji musicians, like Mohammad Abdou and Nabil Shaeil. The oud is made of padauk, and has a great deep resonant sound. One of Maurice's apprentices is shown putting on the final coat of finishing.
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The following pictures show Mike's oud collection as of March 2004.
The next oud belongs to John Kaprielian and was made in 1967 by
Ali and Muwaffaq Khalife. They are some of the most famous oud
makers in Syria, and their workshop is based in Jobar, a suburb of Damascus. Ali Khalife
died a few years ago, and Muwaffaq is now running the business.
The following instruments belong to Dr. Tufan Hicdonmez of Istanbul.
The first oud was made in 1914 by Kapidagli Ilya (or Ilia ek Peramos in Greek), a Greek master luthier of Istanbul at the begining of the 20th century. The oud is labelled inside in Ottoman Turkish and Greek, with a picture of Ilias Kanakhis. It was repaired two years ago by Cengiz Usta (Cengiz Sarikus, Master Luthier of Istanbul, tel: +90 212 631 8686 www.veyselmuzik.com).
Ilias Kanakhis (or Ilia ek Peramos) was one a master luthier of Istanbul in the early 20th century. He was Greek in origin, and was born in a small town called Peramos on the southern cost of the Sea of Marmara. He was known in Turkey as Kapidagli Ilya (which means 'Ilia from the Kapidag Peninsula'). He worked for many years in Istanbul and later he moved to Thessaloniki, Greece.
The translation of the label inside the oud, which is in Ottoman Turkish (with Arabic script) and Greek - is as follows:
Beyazitda Maliyye Civarinda Numara 20 (at Beyazit around Maliyye #20) KATASKEVI (product of) ILIA EK PERAMOU (Ilia from Peramos) KON / POLIS BAGIAZIT Ar. 20 (Istanbul Beyazit #20) 1914 The next oud was manufactured by Artin Hatun, an Armenian master luthier of Istanbul, around 1960. His establishment, founded in 1929, no longer exists. The inside label has a picture of the luthier. The oud was repaired and the rosettes replaced by the luthier Nihat Usta of Galata, Istanbul. The translation of the Turkish label inside the oud is as follows:
Tesis tarihi 1929 (Date of Establishment 1929) Selamet Pasaji No 10 (Bodrum Kat) Osmanbey-Istanbul The following instrument is an extremely well-preserved Manol oud. It was constructed in 1909 by the Greek master luthier Manolis Venios, who was probably the most famous oud maker of Istanbul in the early 20th century. The translation of the label inside the oud, which is in Ottoman Turkish (with Arabic script) and Greek - is as follows:
Daraliyye Sandikcilar Caddesi numara 168 (Daraliyye Sandikcilar Avenue no. 168) KATASKEVI (Made by) ADELPHON VENIOU (Venios Brothers) EN KONSTANTINOUPOLI (in Istanbul) Megali Odos Galata, aritmos 168 (Great Avenue Galata, number 168) 1909 The next oud was made by Garabet Boyaciyan (Boyadjian in Armenian script) made in Istanbul in 1950, and repaired by master luthier Cengiz Sarikus. The handwritten label has Boyacian's name in both modern Turkish and Armenian script. The following instrument was made by Arsak Koseyan, one of the most prominent Armenian oud makers of Istanbul in the early 20th century. The instrument is of the 'zenne' type, circa 1920 - the label, in Ottoman and Armenian scripts, gives the name and address of the luthier. Next we have an oud made by Kosti Karagoz, a prominent Ottoman-Greek oud maker of Istanbul in the early 20th century. The label inside is written in Ottoman Turkish, Greek and Armenian, and includes a stylized logo with the crescent and star of the Turkish flag. This oud (circa late 1910) has all original parts except for the mahogany fingerboard surface, which was replaced by the master luthier Cengiz Sarikus of Istanbul, who also made the oud playable. The following oud was made by Bahriyeli Haci Bey, a Turkish oud maker of Istanbul in the early 20th Century. Bahriyeli (the sailor) Haci Bey produced a handwritten label inside in both Turkish and Arabic script with his name and the year 927. The oud was probably custom-made, and has a bone fingerboard base and ornaments in ivory around rosettes and the face. Bahriyeli Haci Bey put his own sailor logo made of ivory on the body of the oud. The instrument is all original, except for some replaced ornamental stripes around the face. The oud was made playable by the master luthier Cengiz Sarikus of Istanbul. Next we have an oud built by Khatchik H. Atamian, a well-known Ottoman Turkish-Armenian luthier from Istanbul who made ouds until the late 1940s. The oud is all original, but is currently unplayable and requires restoration. The label inside includes a picture of the luthier with his name in Ottoman Turkish, Armenian and French, the date of manufacture (1921) and place (Istanbul). Finally, we have two examples of cumbus owned by Dr Hicdonmez. The first three pictures show the earliest version of cumbus ever made, probably in 1929 or 1930. It has the original logo on the natural skin, with the name of the Cumbus family written in its original form "Cunbus". The last three photos show the more familiar type of cumbus, probably made in the 1970s. This instrument was restored by Dr Hicdonmez himself - the artificial skin was replaced with a natural one and some small replacement parts were also obtained from the Cumbus company.
The following oud belonged to Rod Blocksidge from Birmingham, UK. It was made by the English lute maker Martin Bowers from Maldon in Essex, and was based on two extant Damascus style ouds which Martin carried out restoration on in the past. The body, neck and pegbox are of English walnut, with holly spacers, and the soundboard is of European spruce. The pegs and bridge are of plum and the roses carved from holly.
The next oud is owned by Osama Zayed and was built in 2002 by Nazih Ghadban from Lebanon. The string length is 60cm, the bowl is made from mahoghany and beech with small palissandre strips between the ribs, and the soundboard is made from the best kind of cedar wood. The brace system was developed by Nazih ghadban and there are three elliptical soundholes. The pick guard is specially shaped from palissandre and the bridge is made of maple. The neck is of beech wood, the nut and pegbox of walnut, and the pegs made from apricot. The fingerboard uses a special kind of fibre and the finishing of the oud uses French varnish. The oud is currently strung with Thomastic strings made in Austria with the tuning (low to high) FADGC.
The next oud is owned by Thomas Boulos from Arizona. According to Nazih Ghadban from Lebanon the instrument was made by Abdo Nahat of Syria (shown on label inside oud) in his early years, between 1825 and 1839. It is therefore believed to be the oldest Nahat oud in existence. The instrument is known to have belonged to Farid al-Atrache, who gave it to an American woman around 1955.
The next selection of ouds is owned by Armen Sevag from Philadelphia, who performs with the Aravod Ensemble (www.aravod.com). The first instrument is a 1902 Manol made in Istanbul, with the original face and a pickup installed. The next oud is a 1970 Karibyan, which is all original except for the pegs and pickup (installed by Kyvelos in Watertown, Mass., who did a masterful restoration).
The third instrument is a recent Izmir-made oud by Temel Sehit, with lovely wood inlaywork throughout the instrument. Next, we have a new instrument by Haluk Eraydin of Ankara (www.eraydinsazevi.com.tr), with custom wenge and paduk bowl, full ebony fingerboard, dual transducer pickup system and horn rosettes. The following oud is owned by Armen's cousin Jeff, and was purchased from Engin Erogluer, Hadi Usta’s son in Istanbul. It was made in 2000 and has lovely cinar wood and a full flush fingerboard. Another nice touch is the wood inlay in the centre of the back of the neck. This oud was custom made by Haluk Eraydin of Ankara and features guitar tuners. It has a mahogany and black walnut bowl, and a lovely rich deep finish. The next oud in Armen's collection is this lovely instrument made by Temel Sehit, which is probably 15-20 years old given the tone and colour of the top. It has a full-length ebony fingerboard and trademark wood inlays throughout the instrument. The final oud was custom-built by Maurice Shehata of Cairo, Egypt. It has a padouk bowl with abalone binding and extensive abalone inlay throughout, and is also fitted with a pickup. Here is a group photo of five of Armen's ouds on beautiful oud stands built by Jameel Abraham.
The next oud is owned by Ntinos Zarifopoulos from Greece. It is a Turkish-style instrument made by Dimitris Rapakousios (www.dimitrisouds.com). The body is maple, the face is cedar, the fingerboard is ebony, the rosette is padouk, and abalone was used for the marquetry.
This oud is owned by Adel Salameh who currently lives in France. It was made by Georges Hana Nahat in 1941 and reportedly sounds identical to the Nahat oud of Farid al-Atrache.
The next instrument is owned by the oud maker Tasos Theodorakis from Greece (see his website). It is a Manol oud made in 1904 in Istanbul, and the label inside is in both Ottoman Turkish and Greek script. The body is made of walnut and plum wood, the top is of spruce, the fingerboard and pegs are made of ebony, and the rosette is of horn.
This oud is owned by Lee Varis from California, and was bought secondhand from Wa'el Kakish of Pasadena, CA. The label inside says 'Oud House, Amed Abd El Haliem'. The woods used for construction are uncertain - the face appears to be cedar, the back seems to be alternating strips of walnut, rosewood (pallisander?) and a light wood (maple or beech?). The fingerboard seems to be finished with a dark stain which hides the actual wood that was used (definitely not rosewood or ebony), and it also shows some wear. There is a light lacquer finish over everything except the fingerboard, including the face. The pegs are not fitted well and the nut (which appears to be bone) is not particularly well finished. The bowl has a slightly shallower depth that makes it particularly comfortable to hold, and all in all it is an instrument of intermediate quality - decent sound, full warm bass with a little weakness in the treble strings.
The following two ouds belongs to Victor Esses from New York, and were made by Nazih Ghadban (www.oudnazihghadban.com). The first of these was constructed in 2005. The bowl, neck and pegbox are made from walnut of Lebanon, the soundboard is spruce, the bridge is walnut and the fingerboard and pegs are ebony. The string length is 58.5 cm, the strings currently on the oud are made by Aquila for Turkish tuning and the tuning used is (low to high) cgdAFC. The second oud was made in 2006. The bowl is made from walnut, the soundboard is spruce and the pickguard, fingerboard and pegs are ebony. The string length is 58.5 cm, the oud is strung with custom Aquila lute and Nylgut strings and these are tuned to (low to high) cgdAFC.
The next oud is owned by jazz guitarist Roy Patterson from Toronto, Canada (roypatterson.com). It was commissioned through the Nile Shop in Cairo and was built by Maurice Farouk Shehata. The body is made of rosewood with one stave of ebony to marry the top to the body, which balances the colour of the ebony fingerboard, bridge and tuning pegs. The top is spruce and the scale length is 24 and 3/8 inches. Maurice's ouds are beautiful in their simplicity, and this oud has a great balance of clarity with a deep bass with lots of sustain. A nice touch is the brass rings on the tuning pegs.
The following ouds are owned by Spyros Koliavasilis from Greece. The Turkish oud on the left was made by Gulec Ejder in 1996, and belonged previously to Spyros's teacher, the famous Greek oud player Nikos Saragoudas. The back is made of mahogany with maple fillets, the front is spruce, and the fingerboard, pegs and rosettes are made of ebony. The oud in the middle was built in 2004 by Dimitris Rapakousios (www.dimitrisouds.com), and was influenced by the great Manol. The back is made of red Brasilian pallisander and African amazakoue (African pallisander), the front is made from very old German spruce, it has an ebony fingerboard and pegs, and horn rosettes. The oud on the right was also made by Dimitris Rapakousios in 2003 - the back is made of wenge and padouk, the front is old German spruce, and the fingerboard and pegs are made from palisander. The lower photo shows detail from the base of the Manol-style oud in the centre.
The next instrument belongs to Jean-Luc Vezier from France, and is an Abdo Dagher oud completed in March 2001. The soundboard is made of very old piano spruce and the bowl of the best Saaj Hindy wood from Egypt, which is no longer available. The pegbox, pegs, rose and rosettes are made all made of rosewood. The width of the oud is 42 cm and the length of strings is 62.5 cm.
The following ouds belong to Jameel Abraham from the USA. The first one was built from scratch using Richard Hankey's book 'The Oud, Construction and Repair' (available here) and is based on a 1920 Nahat oud. The back is made from 50 year-old American Walnut (with 13 ribs), the fingerboard is ebony and the soundboard is Livane spruce. The pegbox is walnut with ebony pegs, the soundhole and edge inlay are walnut and maple, the nut is bone and the pickguard is black cherry. The scale length is 59.5 cm and the oud is tuned to Arabic tuning (however, Jameel's teacher Issa Boulos believes it would perform better in Turkish tuning due to the shorter scale length). The second instrument is a child's oud, which Jameel bought from Ebay for $70 and almost completely rebuilt. The first two pictures show the oud as purchased, and subsequent ones are of the instrument following reconstruction. It still has the original back of maple and mahogany, but the neck is now mahogany, the fingerboard is ebony, the soundboard is Livane spruce, the pegbox is walnut (with ebony pegs) and the nut is bone. The scale length is 51.5cm. The final picture shows Jameel's two ouds together. Jameel has his own website, where you can find photo-journals of both these oud construction projects. There is detailed information on the materials and techniques used, together with beautiful photos showing each stage of the construction process.
The following ouds are owned by Andy Kasparian from Massachussets (see his oud website). The first instrument was made by Andy himself - it is a 13-string 7-course oud that was completed in August 2001. The back is made of 25 alternating staves of mahogany and maple, and the top of spruce. Because of the space needed to accommodate the extra strings, the fingerboard width is 1 3/4 inches at the nut and 2 1/2 inches at the base of the neck. Rosewood was used for the fingerboard, the pickguard and the 13 pegs, and as you can see there are no rosettes. The oud has a beautiful haunting mellow sound. The next instrument is a Maeit Islayen oud from Istanbul made in 1974. The back consists of 19 walnut staves with inlay. The original soundboard is made of spruce with three sound holes covered with hand-carved green abalone. The fingerboard is made of rosewood and the pegs are ebony. The sound is very warm and exciting. Andy bought the oud almost 20 years ago from a novice player, who had previously bought it from the well-known Rhode Island oud player Zaven Donabedian.
The next oud is owned by Elias Nardi from Italy. It is a Bashir-style oud made by Nazih Ghadban in 2004. The bowl is made of alternate walnut and beechwood, the top is made of the best kind of cedar wood (with matt lacquer finish) with three elliptic holes, and the edge of the soundboard is made of a double strip of ebony and maple. The Oud is constructed with the Nazih's brace system. It has a floating bridge of maple, while the pickguard is mahogany. The neck is walnut and the nut is made of rosewood like the pegbox, whereas the pegs are made of ebony. The fingerboard is a special fibre. The current strings are La Bella for the wound and Pyramid for the unwound. The oud has a magnificent deep and rich sound, with a great projecton and a lot of volume. Elias also owns this beautiful 1930 Nahat oud.
The following instrument is owned and was made by Julien Stryjak, who is studying violin maing in Mirecourt, France. This is the first oud he has made and was completed July 2004. It is based on the model in Richard Hankey's book with a personal touch. The back, neck and pegbox are made of walnut, and the front of French spruce. The fingerboard and pegs are ebony, the roses bone, and the neck stringer rosewood. The external inlay is ebony-lemon wood-rosewood. It is tuned to the standard Arabic tuning C(D)GADGC.
The next oud belongs to Elyasaf Shweka. It was found in an old attic in Israel, in a very bad condition, and was rebuilt by Camil Mouesee of Nazareth. The whole of the front is new (with a photo of the remains of the original front included), but the back is original. It was built by Moharan Sa-Yaan in 1924, and this maker was probably from Iran. The original fingerboard was longer than average and the tuning was no doubt different from what is common now. Mr Mouesse cut more then 2 cm from the fingerboard and removed the ivory inlay because it was in a bad condition. The sound of the oud is very warm and deep. View Pictures => 1 2 3 4 5 6 7
The next two ouds are owned by Francois Rainville from Montreal in Quebec (Canada). The first of these was made in 2005 by Ismail Hakki Fencioglu, master lutemaker, oudist, singer and composer from Istanbul. It is a turkish model tuned (starting from the high course) DAEBF#D. The back is made of Macassar ebony and African mahogany with maple veneer. The table is European spruce with horn rosettes and the fingerboard and pegs are African ebony. At the end of the head, the maker put a "nazar boncugu" for protection from the evil eye. The second oud was made in Casablanca, Morocco in 2005 by Hamza Rais from Lutherie de Luxe. The back is made of walnut, paduk and maple and the pegs are possibly of olive-wood. There is fine wood and bone ornamenation around the holes and the oud has a very nice tone with lots of volume.
The following oud is owned by David Lindley from California. It was made in Damascus in 1930 by Mihran Mississian and resembles a Nahat. It is a very plain Arabic oud with figured walnut bowl and French-polished spruce top, and has an unusual sound - focused, woody with a lot of midrange and fairly loud. David bought the oud at McCabe's guitar shop and since then, Henry Besancon has repaired some of the cracks in the back and Viken Najarian has carried out a neck set.
Here we have an instrument owned by Ronny Andersson from Sweden. It was made by the Armenian luthier Siragan Matossian of St. John’s Hotel, Christian Quarter, Old City, Jerusalem (Jordan). The maker's label includes both Arabic and English script. The oud is currently undergoing a full restoration by Richard Hankey.
The final oud is owned by Matthew Warman from England. It is an example of Nazih Ghadban's 13-string 'Sada El Rouh' model, which translates as 'Echo of the Soul/Spirit', and was completed on 10/10/2007. The bowl is 50cm x 37cm and is made of alternate ribs of old walnut and rosewood. The fingerboard is ebony, made to a 58.5cm string scale, and the top is spruce. Nazih incorporates a unique pegbox design on this 13-string oud: not wanting to have an extra long pegbox due to the extra peg, he has designed a shorter pegbox with two levels, where the upper level takes four pegs, and the bottom level the the remainder. This design is very functional and is no any heavier than a traditional pegbox. The Arabic calligraphy on the pickguard reads 'Al Salam' (Peace) and the calligraphy carved from bone in the centre of the rosette reads 'Sada El Rouh'. View Pictures => 1 2 3 4 5 6 7
This section of the gallery is devoted to historical photos of ouds and oud players. The five photos below were submitted by Richard Hankey, and additional information was provided by Daniel Franke.
The first photo shows and Egyptian oud player, and the second features an unknown woman with oud. The third picture shows the first Iraqi tailpiece oud made for Munir Bashir by Mohammed Fadel Hussein in 1956. The fourth picture is a photo of H. Aram Gulezyan. Finally, we have Salman Shukur, the Iraqi oud virtuoso (later of Syria), probably holding his Usta Ali oud. Usta Ali of Baghdad made the special instruments as requested by Sherif Muhiddin Targan and his school (notably Salman Shukur and Jamil Bashir).
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