It cannot be overstated the effect that the Gibson F5 mandolin has had on popular American culture, let alone bluegrass, folk, rock n’ roll, and more. Shortly after Bill Monroe bought his July 9, 1923 Lloyd Loar signed Gibson F5, his music, named after the band of the same name, took the world by storm, influencing music from folk, Americana, gospel and more, all the way to being one of the early inspirations for Rock N’ Roll.

Signed by acoustic engineer and shop foreman Lloyd Loar on January 5th, 1923, one of five mandolins approved and signed that day, this beautiful F5 has had a storied past that now has a new opportunity to be continued by its next discerning player.

This mandolin is a definite winner, with a nice, woody chop, and bright, chimey single notes, and though it’s sat for at least a few years, it’s quickly coming back to life and wowing us while it does.

Made before all the details of the F5 had been ironed out, this fairly early production F5 still features the F4 style Handel tuners, (though they lack the well known inlaid tuning buttons, which went away a year or two previously), as well as the early, more outward facing tuner angle and 15/16ths spacing, which was quickly replaced by the more familiar narrow end tuners. Also included in this early “working things out” stage is a different, single piece fretboard binding than later examples, being just one piece of ivoroid instead of the white/black/white stripe sandwich that appears two months later. It’s possible as well that the F4 style tailpiece on this instrument is original, given its early serial, but more likely is a contemporary replacement.

The neck on this mandolin is a slightly larger feel than other F5’s of its contemporary, still with a nut width just a breath over 1 1/16, but with a slightly larger, more F4 like neck profile. It’s amazingly comfortable, and surprisingly modern feeling, having an almost Collings like feel to it.

This mandolin, with its beautiful spruce top and amazing flamed maple back and sides, has seen a front and back refinish in its long life (the sides, neck and headstock retain their original finish), most likely before 1944, and, done by a violin maker, since it’s also a varnish finish and the application is similar to many violin finish techniques. Either way, it’s an old refinish, and darned gorgeous to boot.

The ebony fretboard has been replaced with a radiused, scooped fretboard as well, likely by Lynn Dudenbostel, mandolin maker of Chris Thile fame and respected figure in the mandolin community, who has made several fretboards for Loars over the years. The original, however, still sits in the original case, wrapped and ready to go! The bridge foot is original, the saddle a replacement made to match the radius, but the original saddle is also safe in the case should you want to change it back.

All in all, it’s amazing that even after 103 years, and at least 82 of them being with the newer varnish, this mandolin has survived in the state it’s in today, with zero structural issues, and an impeccably good setup.

This one is for the history books. Comes with authentication papers from Elderly Music.

Comes with the original rectangular black, green lined hard case from Gibson.

Local pickup only.

Along with his inarguable contribution to American folk music (though unintentionally, bluegrass was invented nearly 14 years after this instrument was built), Lloyd Loar also went through Gibson’s catalogue and redesigned a number of instruments that were mainly being used only for the already declining in popularity mandolin orchestra, one of which he himself was the leader, arranger, and, by his work at Gibson, instrument designer: the Gibsonians.

The Mandola, long a staple in Gibson’s lineup as the larger, slightly clunkier brother to the mandolin, was, alongside the F model mandolin, given a major overhaul in line with Loar’s vision for the “Stradivarius of mandolins”. Work on the “H5: The Master Mandola, Professional Special"“, the new top of the line designation for the Mandola, however, wouldn’t start until April of 1923, well into the production of the F5. The next one to appear wouldn’t be there for another nine months, with the next one seen being signed on January 7th, 1924, with a further 17 being made until the end of 1924.

This one, most likely signed October 7th, 1924, is as good as these are always purported to be, though it’s wildly difficult to find one to corroborate that anecdote, as there were reportedly only 19 of these ever made by Gibson.

With a nearly bang on 16” scale, a larger body with nearly identical sized soundholes to the F5, the H5 has a monstrous, if focused tone, plenty of low end with a surprising amount of high end sparkle, sitting well in a mix between mandolins and guitars (like it was designed to do!).

This one was refinished by Gibson sometime in the late 1920’s or very early 1930’s, having that darker, lacquer finish that became a staple of post Loar production. Strangely, though not out of line with Gibson’s usual bizarre tactics, the Loar signed label was also removed, either by the original owner, or by Gibson. It’s a loss for sure, but beneath the original glue under the missing label is the almost never seen Factory Order Number, which, along with the serial, place this beauty right smack dab on October 7th, 1924.

The tailpiece cover is also a 90’s Gibson replacement, off of an F5L, though it ties the instrument together nicely.

There is one crack in the top, near the scroll, that is stable and hasn't seen any movement.

Has authentication papers from George Gruhn and David Grisman.

Comes with the original hard shell, green lined case. Come get this piece of history while it’s here!

Local Pickup Only.