Gibson L-5 Arch Top Acoustic Guitar (1934)
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Item # 9264
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Gibson L-5 Model Arch Top Acoustic Guitar (1934), made in Kalamazoo, Michigan, serial # 91652, Cremona Brown Sunburst finish, curly maple back and sides, spruce top; maple neck with ebony fingerboard, original black hard shell case.
This 1934 L-5 is a very nice example of the pre-eminent orchestra guitar of its era -- the original f-hole carved top guitar -- and an extremely fine-sounding instrument by any standard. Debuting in 1923-4, the L-5 was the first modern archtop; at the time this one was built nearly ten years later it was still the top of Gibson's line and generally considered the finest guitar orchestra made.
By 1934 dance and jazz band banjoists had almost universally converted to guitar; the top-of-the-line L-5 along with Epiphone's competing Deluxe were the choice of nearly all top professional guitar players. Eddie Lang, the era's most influential guitarist, went from a Gibson L-4 to a dot-neck (probably 1927) L-5, then to an early block neck L-5 around 1930, setting the trend for all to follow. From that time the L-5 ruled the roost for orchestra guitars, giving Gibson a dominance in this style of instrument they never lost.
That said, these early L-5s are fairly rare guitars today. Retailing at $275.00 (plus case), the L-5 was an extremely expensive instrument for the time (the top-of-the-line Martin pearl-trimmed Style 0M-45 retailed $100.00 less). At the height of the Depression, only working professional users with steady salaries could afford the indulgence of such an instrument.
Most of these 16" 1930s L-5s were played extensively for many years, some owners preferring them to any later guitars. They can often be seen in the hands of recording studio players well into the 1960s. As constant working guitars, these instruments were many times modified, refitted, or refinished. This one shows signs of use but remains in original condition, a superb instrument with all of its original character intact.
This guitar shows typical features for the early-mid 1930s; the transition between variants of the 16" L-5 is inexact at best. Referencing both the serial number and factory order number, it was likely built in the second half of 1934 and shipped in early 1935. At that point the new 17" wide "Advanced" L-5 was already waiting in the wings, although some players continued to prefer the older model and they were shipped for several years onward.
The side-line bound, straight-end ebony fingerboard has genuine pearl block inlay in place of the pearloid found on earlier 1930's versions. The 3-piece laminated curly maple neck has a noticeable "V" spine with a relatively shallow profile. The pearl inlaid flowerpot in the triple-bound headstock and straight across "Gibson" logo are hallmarks of the 1932-35 L-5, as are the then-new Grover G-98 tuners, gold plated with metal "butterbean" buttons. The long triple-bound celluloid pickguard is screwed to the top by the neck block instead of pinned to the side of the fingerboard. The tailpiece is the 1930's "string through" style and the adjustable ebony bridge still has the 1920s split base with a patent number stamp.
The top, back, and sides carry a beautifully blended dark sunburst finish; the back is burl maple with a lovely figure. The top and back are triple bound. The original owner's name "Sam Rosenberg" is engraved on the truss rod cover, a Gibson factory service and a lovely personal touch. Sam must have played it well, the instrument has a powerful and very versatile sound typical of the best early L-5s; simultaneously warm and incisive with plenty of depth. It plays perfectly and is extremely responsive for an archtop guitar...it even sounds lovely fingerstyle! Another delightful and inspiring example of one of our all-time favorite instruments.
Overall length is 40 3/4 in. (103.5 cm.), 16 in. (40.6 cm.) wide at lower bout, and 3 1/4 in. (8.3 cm.) in depth, measured at side of rim. Scale length is 24 3/4 in. (629 mm.). Width of nut is 1 3/4 in. (44 mm.).
This wonderful playing and sounding L-5 has some visible wear and tear but remains in excellent structural condition and more original than many similar survivors. The finish shows scratches, dings and dents overall, but no large areas of loss. The most notable are some belt buckle spots and scratches in the upper center of the back and an area worn away on the top front edge above the fingerboard, adjacent to some lighter pick wear. The back of the neck is worn through on the spine and some edges but retains more of the finish intact than many. There is a small spot on the side of the fingerboard extension where it looks like screw holes from a DeArmond pickup mount have been patched over, and a strap button hole patched on the side above the heel.
The guitar has been refretted with period correct wire, the fingerboard has been trued and shows very little wear. Amazingly enough there are no cracks anywhere, and no visible repairs beyond the refret. All hardware is original except the pickguard which is a nicely done replacement in the correct style. The original bridge top looks to have been cut down just a bit but the neck angle is very good and there is plenty of room for adjustment. This lovely L-5 is still housed in the original case, which is quite solid with some external wear and a replaced handle. Overall this is a delightful example, a joy to play and to hear. Excellent - Condition.
This 1934 L-5 is a very nice example of the pre-eminent orchestra guitar of its era -- the original f-hole carved top guitar -- and an extremely fine-sounding instrument by any standard. Debuting in 1923-4, the L-5 was the first modern archtop; at the time this one was built nearly ten years later it was still the top of Gibson's line and generally considered the finest guitar orchestra made.
By 1934 dance and jazz band banjoists had almost universally converted to guitar; the top-of-the-line L-5 along with Epiphone's competing Deluxe were the choice of nearly all top professional guitar players. Eddie Lang, the era's most influential guitarist, went from a Gibson L-4 to a dot-neck (probably 1927) L-5, then to an early block neck L-5 around 1930, setting the trend for all to follow. From that time the L-5 ruled the roost for orchestra guitars, giving Gibson a dominance in this style of instrument they never lost.
That said, these early L-5s are fairly rare guitars today. Retailing at $275.00 (plus case), the L-5 was an extremely expensive instrument for the time (the top-of-the-line Martin pearl-trimmed Style 0M-45 retailed $100.00 less). At the height of the Depression, only working professional users with steady salaries could afford the indulgence of such an instrument.
Most of these 16" 1930s L-5s were played extensively for many years, some owners preferring them to any later guitars. They can often be seen in the hands of recording studio players well into the 1960s. As constant working guitars, these instruments were many times modified, refitted, or refinished. This one shows signs of use but remains in original condition, a superb instrument with all of its original character intact.
This guitar shows typical features for the early-mid 1930s; the transition between variants of the 16" L-5 is inexact at best. Referencing both the serial number and factory order number, it was likely built in the second half of 1934 and shipped in early 1935. At that point the new 17" wide "Advanced" L-5 was already waiting in the wings, although some players continued to prefer the older model and they were shipped for several years onward.
The side-line bound, straight-end ebony fingerboard has genuine pearl block inlay in place of the pearloid found on earlier 1930's versions. The 3-piece laminated curly maple neck has a noticeable "V" spine with a relatively shallow profile. The pearl inlaid flowerpot in the triple-bound headstock and straight across "Gibson" logo are hallmarks of the 1932-35 L-5, as are the then-new Grover G-98 tuners, gold plated with metal "butterbean" buttons. The long triple-bound celluloid pickguard is screwed to the top by the neck block instead of pinned to the side of the fingerboard. The tailpiece is the 1930's "string through" style and the adjustable ebony bridge still has the 1920s split base with a patent number stamp.
The top, back, and sides carry a beautifully blended dark sunburst finish; the back is burl maple with a lovely figure. The top and back are triple bound. The original owner's name "Sam Rosenberg" is engraved on the truss rod cover, a Gibson factory service and a lovely personal touch. Sam must have played it well, the instrument has a powerful and very versatile sound typical of the best early L-5s; simultaneously warm and incisive with plenty of depth. It plays perfectly and is extremely responsive for an archtop guitar...it even sounds lovely fingerstyle! Another delightful and inspiring example of one of our all-time favorite instruments.
Overall length is 40 3/4 in. (103.5 cm.), 16 in. (40.6 cm.) wide at lower bout, and 3 1/4 in. (8.3 cm.) in depth, measured at side of rim. Scale length is 24 3/4 in. (629 mm.). Width of nut is 1 3/4 in. (44 mm.).
This wonderful playing and sounding L-5 has some visible wear and tear but remains in excellent structural condition and more original than many similar survivors. The finish shows scratches, dings and dents overall, but no large areas of loss. The most notable are some belt buckle spots and scratches in the upper center of the back and an area worn away on the top front edge above the fingerboard, adjacent to some lighter pick wear. The back of the neck is worn through on the spine and some edges but retains more of the finish intact than many. There is a small spot on the side of the fingerboard extension where it looks like screw holes from a DeArmond pickup mount have been patched over, and a strap button hole patched on the side above the heel.
The guitar has been refretted with period correct wire, the fingerboard has been trued and shows very little wear. Amazingly enough there are no cracks anywhere, and no visible repairs beyond the refret. All hardware is original except the pickguard which is a nicely done replacement in the correct style. The original bridge top looks to have been cut down just a bit but the neck angle is very good and there is plenty of room for adjustment. This lovely L-5 is still housed in the original case, which is quite solid with some external wear and a replaced handle. Overall this is a delightful example, a joy to play and to hear. Excellent - Condition.