Gibson A-4 Carved Top Mandolin (1911)
LOADING IMAGES
Gibson A-4 Model Carved Top Mandolin (1911), made in Kalamazoo, serial # 11948, sunburst top, dark stained back and sides finish, birch back and sides, spruce top, mahogany neck, original black hard shell case.
The A-4 was Gibson's highest priced "A" style mandolin for much of the company's early history. This ebony topped example is fairly early, dating to 1911 when Gibson was just becoming THE major force in the mandolin market. By this point the instrument has a somewhat sharper neck pitch, and the sound is more fully developed compared to mandolins from just a year or so earlier.
The sadly unsung Gibson employee George Laurian had recently been busy re-developing the company's instruments into what they became in the 1910s. Laurian made many improvements to Orville Gibson's original designs, starting as early as 1904. In 1909 he began developing the "modern" neck angle which improved both volume and tone dramatically. The patent for the new carved ebony bridge issued in his name is dated September 1909. This mandolin also features an early elevated pickguard ("Guard plate" in Gibson nomenclature) another Laurian innovation also patented in 1909. The securing clamp is the initial violin-style version only used for a short time.
This period's A-4 features also include the black top finish, and the lovely pearl and wire inlaid grained ivoroid buttons on the Handel tuners, the new "classic" Gibson engraved tailpiece cover and a pearl fleur-de-lis and Gibson logo inlaid on the headstock. This is a lovely-sounding playable piece of Art Nouveau, and another fine example of the instruments with which Gibson first conquered the fretted world.
Overall length is 25 1/2 in. (64.8 cm.), 10 1/16 in. (25.6 cm.) across at the widest point, and 1 13/16 in. (4.6 cm.) in depth, measured at side of rim. Scale length is 14 in. (356 mm.).
This is a very good-playing old A-4; it shows fairly light general wear and was recently beautifully refretted with period correct wire but has no other major repairs or alterations. The original varnish finish shows scuffs and dings, most notably a few deeper marks on the top. The sharp "V" seam on the back of the neck has some wear to the center laminate on the spine, with finish worn through in several spots.
There is a small typical seam repair to the lower back edge, with a piece of binding patched in below the tailpiece. All hardware is original and intact including the inlaid tuners, tailpiece with the cover and even the oft-missing pickguard. This is also a nice player's A-4; it sings with a brighter chime than many but retains a nice, woody overtone. It is ready to gig, complete in its original HSC, itself in surprisingly good condition for nearly 110 years on. Overall Excellent Condition.
The A-4 was Gibson's highest priced "A" style mandolin for much of the company's early history. This ebony topped example is fairly early, dating to 1911 when Gibson was just becoming THE major force in the mandolin market. By this point the instrument has a somewhat sharper neck pitch, and the sound is more fully developed compared to mandolins from just a year or so earlier.
The sadly unsung Gibson employee George Laurian had recently been busy re-developing the company's instruments into what they became in the 1910s. Laurian made many improvements to Orville Gibson's original designs, starting as early as 1904. In 1909 he began developing the "modern" neck angle which improved both volume and tone dramatically. The patent for the new carved ebony bridge issued in his name is dated September 1909. This mandolin also features an early elevated pickguard ("Guard plate" in Gibson nomenclature) another Laurian innovation also patented in 1909. The securing clamp is the initial violin-style version only used for a short time.
This period's A-4 features also include the black top finish, and the lovely pearl and wire inlaid grained ivoroid buttons on the Handel tuners, the new "classic" Gibson engraved tailpiece cover and a pearl fleur-de-lis and Gibson logo inlaid on the headstock. This is a lovely-sounding playable piece of Art Nouveau, and another fine example of the instruments with which Gibson first conquered the fretted world.
Overall length is 25 1/2 in. (64.8 cm.), 10 1/16 in. (25.6 cm.) across at the widest point, and 1 13/16 in. (4.6 cm.) in depth, measured at side of rim. Scale length is 14 in. (356 mm.).
This is a very good-playing old A-4; it shows fairly light general wear and was recently beautifully refretted with period correct wire but has no other major repairs or alterations. The original varnish finish shows scuffs and dings, most notably a few deeper marks on the top. The sharp "V" seam on the back of the neck has some wear to the center laminate on the spine, with finish worn through in several spots.
There is a small typical seam repair to the lower back edge, with a piece of binding patched in below the tailpiece. All hardware is original and intact including the inlaid tuners, tailpiece with the cover and even the oft-missing pickguard. This is also a nice player's A-4; it sings with a brighter chime than many but retains a nice, woody overtone. It is ready to gig, complete in its original HSC, itself in surprisingly good condition for nearly 110 years on. Overall Excellent Condition.