Gibson F-4 Carved Top Mandolin (1927)
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Item # 11158
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Gibson F-4 Model Carved Top Mandolin (1927), made in Kalamazoo, Michigan, serial # 81690, red sunburst finish, flame maple back and sides, spruce top; mahogany neck with ebony fingerboard, original black hard shell case.
As Gibson mandolins go there are not many more hallowed instruments than a Style F-4 Artist model, especially those from the company's "Lloyd Loar" era. This mandolin was made just after that period -- modern scholarship dates it to late 1926-early 1927 -- and still includes all the improvements and details Loar helped develop at Gibson. It is a lovely example of Gibson's craftsmanship from a time that was just ending, as interest in the mandolin waned and players turned to banjos and then guitars.
This example is practically identical to the Loar era instruments, and maintains the unmatched sound quality and perfected features including the adjustable truss rod, raised adjustable bridge and slimmer neck profile. The F-4 Artist's model had been Gibson's highest grade mandolin until the advent of the Master Model F-5 in 1922, and even after that model's introduction remained at a price of $150.00, one of the most expensive instruments of the time.
Lloyd Loar's tenure as "acoustic engineer" at Gibson has become so mythical that sometimes separating fact from fiction is difficult. Certainly the mandolin family instruments made during the period of Loar's employment are the most perfectly realized in Gibson's history, and have become the template for most similar instruments since. The mandolins of the "Loar Era" show the influence of a master player on both design and execution, although other Gibson employees (especially Thaddeus McHugh and Lewis A. Williams) actually engineered many of the technical improvements. Loar was primarily concerned with 'voicing' the instruments properly; the Master Model Style 5 line was his greatest contribution with their violin-style F-hole tops but all Gibson mandolin family instruments were refined and improved at the same time.
This F-4 features a two-piece bookmatched back and sides of beautifully flamed maple; despite Gibson's catalog descriptions, only the Style 4 instruments were actually built with the specified maple body. Top, back, sides and neck feature a beautiful dark, rich red sunburst finish and are bound in grained ivoroid. The headstock carries flowerpot inlay, a Gibson pearl logo mounted at an acute angle and Waverly strip tuners with grained ivoroid buttons.
The pickguard is the usual elevated tortoise celluloid piece, with the 1920's metal bracket. The previously top-of-the-line F-4 may have been overshadowed somewhat by the Master Model F-5, but the examples from this decade are still the finest ever built and often spectacular sounding mandolins. The tone is somewhat mellower than Gibson's f-hole instruments, but with plenty of body and "bite" when needed.
The factory order number 8474 stamped on the heelblock indicates this mandolin was assembled late in 1926, while the serial number suggests it was shipped out in early-mid 1927. Master Lloyd had "left the building" a couple of years before, but this F-4 is still built to the same specs as those under his watch. The late-20's-the "jazz era" was in, and mandolin sales were rapidly declining to nil. Few batches of F-4's were built as the company turned mostly to banjo and then guitar production. This F-4 is a fine example of Gibson's best traditional mandolin work, from the very end of that period. It remains in lightly played but original condition, a lovely reminder of the company's first great period.
Overall length is 26 1/4 in. (66.7 cm.), 10 in. (25.4 cm.) wide, and 1 3/4 in. (4.4 cm.) in depth, measured at side of rim. Scale length is 14 in. (356 mm.). Width of nut is 1 1/8 in. (29 mm.).
This wonderful sounding mandolin has seen only some moderate playtime over the last 95 years and remains in excellent original condition. There is some mostly minor finish wear overall, most notably some long checking to the top and back with small dings, flakes, dents and scrapes scattered around. The upper rim of the soundhole shows pickmarks into the wood. There is very little wear to the back of the neck, just a small spot worn through on the treble side of the nut. The back of the headstock has wear off the top edge and some noticeable checking, the face more dings and scrapes.
All hardware is original and complete including the tuners, tailpiece, bridge pickguard and clamp, in only lightly worn condition. The original frets have been lightly crowned and the mandolin still plays extremely well with a rich ringing tone. A great example of the just-post Loar F-4, complete with a nicely preserved green-lined OHSC. Overall Excellent Condition.
As Gibson mandolins go there are not many more hallowed instruments than a Style F-4 Artist model, especially those from the company's "Lloyd Loar" era. This mandolin was made just after that period -- modern scholarship dates it to late 1926-early 1927 -- and still includes all the improvements and details Loar helped develop at Gibson. It is a lovely example of Gibson's craftsmanship from a time that was just ending, as interest in the mandolin waned and players turned to banjos and then guitars.
This example is practically identical to the Loar era instruments, and maintains the unmatched sound quality and perfected features including the adjustable truss rod, raised adjustable bridge and slimmer neck profile. The F-4 Artist's model had been Gibson's highest grade mandolin until the advent of the Master Model F-5 in 1922, and even after that model's introduction remained at a price of $150.00, one of the most expensive instruments of the time.
Lloyd Loar's tenure as "acoustic engineer" at Gibson has become so mythical that sometimes separating fact from fiction is difficult. Certainly the mandolin family instruments made during the period of Loar's employment are the most perfectly realized in Gibson's history, and have become the template for most similar instruments since. The mandolins of the "Loar Era" show the influence of a master player on both design and execution, although other Gibson employees (especially Thaddeus McHugh and Lewis A. Williams) actually engineered many of the technical improvements. Loar was primarily concerned with 'voicing' the instruments properly; the Master Model Style 5 line was his greatest contribution with their violin-style F-hole tops but all Gibson mandolin family instruments were refined and improved at the same time.
This F-4 features a two-piece bookmatched back and sides of beautifully flamed maple; despite Gibson's catalog descriptions, only the Style 4 instruments were actually built with the specified maple body. Top, back, sides and neck feature a beautiful dark, rich red sunburst finish and are bound in grained ivoroid. The headstock carries flowerpot inlay, a Gibson pearl logo mounted at an acute angle and Waverly strip tuners with grained ivoroid buttons.
The pickguard is the usual elevated tortoise celluloid piece, with the 1920's metal bracket. The previously top-of-the-line F-4 may have been overshadowed somewhat by the Master Model F-5, but the examples from this decade are still the finest ever built and often spectacular sounding mandolins. The tone is somewhat mellower than Gibson's f-hole instruments, but with plenty of body and "bite" when needed.
The factory order number 8474 stamped on the heelblock indicates this mandolin was assembled late in 1926, while the serial number suggests it was shipped out in early-mid 1927. Master Lloyd had "left the building" a couple of years before, but this F-4 is still built to the same specs as those under his watch. The late-20's-the "jazz era" was in, and mandolin sales were rapidly declining to nil. Few batches of F-4's were built as the company turned mostly to banjo and then guitar production. This F-4 is a fine example of Gibson's best traditional mandolin work, from the very end of that period. It remains in lightly played but original condition, a lovely reminder of the company's first great period.
Overall length is 26 1/4 in. (66.7 cm.), 10 in. (25.4 cm.) wide, and 1 3/4 in. (4.4 cm.) in depth, measured at side of rim. Scale length is 14 in. (356 mm.). Width of nut is 1 1/8 in. (29 mm.).
This wonderful sounding mandolin has seen only some moderate playtime over the last 95 years and remains in excellent original condition. There is some mostly minor finish wear overall, most notably some long checking to the top and back with small dings, flakes, dents and scrapes scattered around. The upper rim of the soundhole shows pickmarks into the wood. There is very little wear to the back of the neck, just a small spot worn through on the treble side of the nut. The back of the headstock has wear off the top edge and some noticeable checking, the face more dings and scrapes.
All hardware is original and complete including the tuners, tailpiece, bridge pickguard and clamp, in only lightly worn condition. The original frets have been lightly crowned and the mandolin still plays extremely well with a rich ringing tone. A great example of the just-post Loar F-4, complete with a nicely preserved green-lined OHSC. Overall Excellent Condition.