Gibson F-4 Arch Top Mandolin (1922)
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Gibson F-4 Model Arch Top Mandolin (1922), made in Kalamazoo, Michigan, serial # 68284, Cremona Brown Sunburst varnish finish, Maple back and sides, spruce top, mahogany neck with ebony fingerboard, original black hard shell case.
As vintage mandolins go there are not too many more hallowed instruments than a Gibson Style F-4 Artist Model from the early-mid 1920's. This example was built early in 1922, just as the "Lloyd Loar" period was getting seriously underway at the Kalamazoo factory. It carries a very early example of the darker, more ambered (and less red) sunburst finish Gibson would shortly begin calling "Cremona Brown" and using on the new Style 5 Master Models. At the time this mandolin was made the F-5 was in the design process but not yet in production; this F-4 was still Gibson's top-of-the-line mandolin. As such it represents a lovely portrait of Gibson's craftsmanship approaching the apex of the mandolin era, before the company's focus shifted to banjos and then guitars.
Both the serial number on the label and the Factory order number (11558) stamped on the neck block of this mandolin date to the first half of 1922, just before the F-5 was to be launched. Mandolins from this particular time are revered for their beautiful sound, elegant Art Nouveau look and exceptional build quality, the result of 20 years of Gibson perfecting founder Orville's designs. Even after the $250 F-5's introduction the F-4 remained priced at $150.00, an extremely expensive and prestigious instrument.
This F-4 still has a mix of features typical of the period. The two-piece back and sides are made of superbly grained flamed maple; despite Gibson's catalog descriptions, only the Style 4 instruments were actually built with the specified maple body. The top, back and sides feature a beautiful deep sunburst finish, shaded from deep brown to an amber center without the redder pigment used earlier. Loar chose this as the trademark look for his Master Models, with "Cremona Brown" referencing the birthplace of the most revered violins in the world. Relatively few F-4's were finished this way, making this one something of a rarity.
The top, back and neck are bound in grained ivoroid. The soundhole has a wide ivoroid band with half-herringbone trim lines around it. Other fittings are standard for the period including a raised tortoise celluloid pickguard with the side clamp, engraved "The Gibson" tailpiece cover and ivoried button tuners. The adjustable ebony bridge is the rare early "double wheel" version with an extra set of adjusting wheels securing the saddle from above, something quickly deleted.
The elaborate scrolled headstock is bound and carries the slanted "The Gibson" pearl logo over the original long "flowerpot" inlay that would be discontinued within a year or so due to the addition of a truss rod cover. The mahogany neck just pre-dates the introduction of the adjustable truss rod; it has an ebony strip down the center and is slightly slimmer than 1910's examples with a more subtle but still distinct "V" profile. The tuners are the special open back strips specific to this model, with elongated shafts on the ends. A distinctive touch from this period is a genuine pearl nut.
The venerable F-4 was overshadowed by the new heavily-promoted F-5 after 1923, but examples from the first half of the decade are among the finest ever built and spectacular sounding mandolins. The tone is mellower than Gibson's subsequent F-hole instruments, but with plenty of body and "bite" when needed. This instrument would have been the top choice for any virtuoso mandolinist in 1922, and today is still an iconic creation, especially in this fairly rare and very attractive finish. It shows many scars from over a century of use but like a fine old violin is still a wonderful instrument to play.
Overall length is 26 1/4 in. (66.7 cm.), 10 in. (25.4 cm.) wide at lower bout, 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 3/16 in. (30 mm.).
This mandolin has been gigged for decades, having gone to many festivals and gatherings over the last half century or so. As might be expected it shows a lot of play wear but has remained completely intact and surprisingly practically all original since leaving Kalamazoo over 100 years ago. The original finish shows a large collection of dings, scratches and dents most heavily to the top but retains excellent color with minimal fade and a lovely patina. There is a noticeable pick wear to the area below the pickguard down to the wood in spots. The back of the neck is partially worn down to the wood, while the headstock has checking and dinging on the face and some wear spots to the back edges.
Despite the wear the body and neck show no cracks or visible repairs, even the back/side seams are solid with no evidence of separation. The headstock scroll has never suffered any splits, a common malady with these. All the hardware is original and complete including the tuners, tailpiece, and raised celluloid pickguard; the early style adjustable ebony bridge has a small split repaired by the treble side of the saddle.
The mandolin has been neatly refretted with wire slightly larger than the 1922 pattern, showing minimal subsequent wear. Some small splits to the neck binding have been glued up and polished out. This is a very sweet and enjoyable mandolin to play with a powerful but warm, full-bodied sound and comfortable action. Even with the extensive "honest wear" the stately Cremona finish is beautiful to behold, and marks this F-4 as an especially classy survivor of the eventful century since Gibson's first glory days. It is housed in a very well worn and traveled original HSC that is not the prettiest anymore but fully functional. Overall Very Good + Condition.
As vintage mandolins go there are not too many more hallowed instruments than a Gibson Style F-4 Artist Model from the early-mid 1920's. This example was built early in 1922, just as the "Lloyd Loar" period was getting seriously underway at the Kalamazoo factory. It carries a very early example of the darker, more ambered (and less red) sunburst finish Gibson would shortly begin calling "Cremona Brown" and using on the new Style 5 Master Models. At the time this mandolin was made the F-5 was in the design process but not yet in production; this F-4 was still Gibson's top-of-the-line mandolin. As such it represents a lovely portrait of Gibson's craftsmanship approaching the apex of the mandolin era, before the company's focus shifted to banjos and then guitars.
Both the serial number on the label and the Factory order number (11558) stamped on the neck block of this mandolin date to the first half of 1922, just before the F-5 was to be launched. Mandolins from this particular time are revered for their beautiful sound, elegant Art Nouveau look and exceptional build quality, the result of 20 years of Gibson perfecting founder Orville's designs. Even after the $250 F-5's introduction the F-4 remained priced at $150.00, an extremely expensive and prestigious instrument.
This F-4 still has a mix of features typical of the period. The two-piece back and sides are made of superbly grained flamed maple; despite Gibson's catalog descriptions, only the Style 4 instruments were actually built with the specified maple body. The top, back and sides feature a beautiful deep sunburst finish, shaded from deep brown to an amber center without the redder pigment used earlier. Loar chose this as the trademark look for his Master Models, with "Cremona Brown" referencing the birthplace of the most revered violins in the world. Relatively few F-4's were finished this way, making this one something of a rarity.
The top, back and neck are bound in grained ivoroid. The soundhole has a wide ivoroid band with half-herringbone trim lines around it. Other fittings are standard for the period including a raised tortoise celluloid pickguard with the side clamp, engraved "The Gibson" tailpiece cover and ivoried button tuners. The adjustable ebony bridge is the rare early "double wheel" version with an extra set of adjusting wheels securing the saddle from above, something quickly deleted.
The elaborate scrolled headstock is bound and carries the slanted "The Gibson" pearl logo over the original long "flowerpot" inlay that would be discontinued within a year or so due to the addition of a truss rod cover. The mahogany neck just pre-dates the introduction of the adjustable truss rod; it has an ebony strip down the center and is slightly slimmer than 1910's examples with a more subtle but still distinct "V" profile. The tuners are the special open back strips specific to this model, with elongated shafts on the ends. A distinctive touch from this period is a genuine pearl nut.
The venerable F-4 was overshadowed by the new heavily-promoted F-5 after 1923, but examples from the first half of the decade are among the finest ever built and spectacular sounding mandolins. The tone is mellower than Gibson's subsequent F-hole instruments, but with plenty of body and "bite" when needed. This instrument would have been the top choice for any virtuoso mandolinist in 1922, and today is still an iconic creation, especially in this fairly rare and very attractive finish. It shows many scars from over a century of use but like a fine old violin is still a wonderful instrument to play.
Overall length is 26 1/4 in. (66.7 cm.), 10 in. (25.4 cm.) wide at lower bout, 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 3/16 in. (30 mm.).
This mandolin has been gigged for decades, having gone to many festivals and gatherings over the last half century or so. As might be expected it shows a lot of play wear but has remained completely intact and surprisingly practically all original since leaving Kalamazoo over 100 years ago. The original finish shows a large collection of dings, scratches and dents most heavily to the top but retains excellent color with minimal fade and a lovely patina. There is a noticeable pick wear to the area below the pickguard down to the wood in spots. The back of the neck is partially worn down to the wood, while the headstock has checking and dinging on the face and some wear spots to the back edges.
Despite the wear the body and neck show no cracks or visible repairs, even the back/side seams are solid with no evidence of separation. The headstock scroll has never suffered any splits, a common malady with these. All the hardware is original and complete including the tuners, tailpiece, and raised celluloid pickguard; the early style adjustable ebony bridge has a small split repaired by the treble side of the saddle.
The mandolin has been neatly refretted with wire slightly larger than the 1922 pattern, showing minimal subsequent wear. Some small splits to the neck binding have been glued up and polished out. This is a very sweet and enjoyable mandolin to play with a powerful but warm, full-bodied sound and comfortable action. Even with the extensive "honest wear" the stately Cremona finish is beautiful to behold, and marks this F-4 as an especially classy survivor of the eventful century since Gibson's first glory days. It is housed in a very well worn and traveled original HSC that is not the prettiest anymore but fully functional. Overall Very Good + Condition.