Gibson A5 Mandolin Serial Numbers

Gibson introduced a new pattern when they began producing solid body guitars. An ink stamp on the back of the headstock which included either 5 or 6 digits. The first digit is the year and the other numbers are production numbers. This system is fairly reliable for guitars made from 1953 to 1961. Example: 3 0602 = 1953 Note. 'Identifying Gibson instruments by serial number is tricky at best and downright impossible in some cases. The best methods of identifying them is by using a combination of the serial number, the factory order number and any features that are particular to a specific time that changes may have occurred in instrument design (i.e.

GUEST:It was purchased by my great-grandfather during the Depression. He purchased it from, I believe, a neighbor who at the time needed some extra money, and he wanted his son, my grandfather, to learn how to play a musical instrument.APPRAISER:Well, when you walked in with this, I saw the case, I went, 'Oh, my God, I know what that is.'

And I thought, 'Can it be?' And I opened up the case and there it was, this wonderful Gibson F-5 mandolin. It's the type of F-5 that's very easy for us to identify the year from because I can tell that it's what we call a Lloyd Loar model F-5 with this fern inlay in the peghead.GUEST:Okay.APPRAISER:Lloyd Loar was an acoustic engineer and great mandolin virtuoso who worked at the Gibson company back in the '10s and '20s. And he really was the father of the modern mandolin. And what he did to make the mandolin what it is today is. He did various things to it like internally, it has parallel tone bars.GUEST:Okay.APPRAISER:It has an elevated fingerboard, elevated over the body.

It has two F holes, like a violin, and actually, similar to a violin, it has the bridge positioned around the center of the body, around the center of the arch. Berkeley puppet interview. And it is arched like a violin and tap toned, meaning internally tuned. The thicknesses of the plates inside are tuned like a violin.GUEST:Okay.APPRAISER:And Loar was the first guy to do this to a mandolin. It also has a longer playing length of the neck.

It has 15 frets to the body. Earlier mandolins had shorter necks. Gibson had been making these F-style mandolins from the turn of the century on, but this innovation in mandolin making was something that Loar excelled in, and this became basically the prototype style for all mandolins to come. Loar also developed this nice little, neat screw-in Pickard clip, which was a lot neater than the earlier ones. It has inside the Gibson label with serial number, as well. And the other side, it's got the master model label.

Now, this was the professional, master-grade mandolin that Gibson put out late 1922 and onwards. And these early ones, the ones made while Loar was at the factory from late 1922 through 1924, we call them Lloyd Loar model F-5s. This has the most beautiful what they call Cremona brown sunburst color to it. If I had to grade it in Gibson mandolins, or Lloyd Loar mandolins, I'd probably put it in the top ten percent of the ones I've seen.GUEST:Wow.APPRAISER:When did he buy it again?GUEST:During the Great Depression. From what I understand, he paid $20 for it, and at the time, you know, it was estimated probably around $600 is what I'm told.APPRAISER:Right, that being said, I would say these days, a correct asking price through a dealer in a shop would be about $175,000.GUEST:Oh, my gosh! (laughs) Wow! It's been in a closet in a farmhouse for many, many years.

Executive producer shares her tips for getting the most out of ANTIQUES ROADSHOW.Value can change:The value of an item is dependent upon many things, including the condition of the object itself, trends in the market for that kind of object, and thelocation where the item will be sold. These are just some of the reasons why the answer to the question 'What's it worth?' Is so often 'It depends.'

Note the date:Take note of the date the appraisal was recorded. This information appears in the upper left corner of the page, with the label 'Appraised On.' Valueschange over time according to market forces, so the current value of the item could be higher, lower, or the same as when our expert first appraised it.Context is key:Listen carefully. Most of our experts will give appraisal values in context.

For example, you'll often hear them say what an item is worth 'at auction,' or'retail,' or 'for insurance purposes' (replacement value). Retail prices are different from wholesale prices. Often an auctioneer will talk about what sheknows best: the auction market.

A shop owner will usually talk about what he knows best: the retail price he'd place on the object in his shop. And thoughthere are no hard and fast rules, an object's auction price can often be half its retail value; yet for other objects, an auction price could be higherthan retail. As a rule, however, retail and insurance/replacement values are about the same.Verbal approximations:The values given by the experts on ANTIQUES ROADSHOW are considered 'verbal approximations of value.'

Technically, an 'appraisal' is a legal document,generally for insurance purposes, written by a qualified expert and paid for by the owner of the item. An appraisal usually involves an extensive amount ofresearch to establish authenticity, provenance, composition, method of construction, and other important attributes of a particular object.Opinion of value:As with all appraisals, the verbal approximations of value given at ROADSHOW events are our experts' opinions formed from their knowledge of antiques andcollectibles, market trends, and other factors. Although our valuations are based on research and experience, opinions can, and sometimes do, vary amongexperts.Appraiser affiliations:Finally, the affiliation of the appraiser may have changed since the appraisal was recorded.

To see current contact information for an appraiser in theROADSHOW Archive, click on the link below the appraiser's picture. Ouralso contains a complete list of active ROADSHOW appraisers and their contact details and biographies.

Gibson A Model GuideCopyright © 1995, 1996 Dan Beimborn and Maxwell McCulloughThis page was authored by Dan Beimborn and originally appeared on the Mandolin Pages web site, now revised as the Mandolin Archive, a guide. In the spring of 1997 Dan decided to liquidate the Mandolin Pages and distribute them in various locations on the web. I was pleased that he offered the Mandolin Cafe the following Vintage Gibson A Mandolin guide.The Vintage Gibson guide was made possible in part by Maxwell McCollough who provided the beautiful photographs you see in the A-Model guide. Information from George Gruhn and Walter Carter is used throughout the guide.This guide is intended as a starting point in a search for a Gibson A-model mandolin from the years 1907-1935.

Brief Historical NotesThe Gibson Company went through several stages of model design for their mandolins in the last 100 years. The early prototype models were hand-built by Orville Gibson himself, and are very thick and chunky looking as evidenced in of his workshop with many of the earliest A and F model mandolins made hanging on the wall (photo used with permission of the Gibson company).The basic 'A' and 'F' model shapes were developed around the turn of the century, and have become the basis for most serious imitators since. Regular production began in the early years of the 1900's, and continued unbroken until the WWII years, and again afterwards up to the modern times. The most generally trustworthy vintage Gibsons fall into the 1900-1930 years, when the instrument was popular and many were produced. First ImpressionsIf you are looking to purchase a vintage Gibson to use as a playing instrument, the first good thing to check (before even the price!) is the sound. Strum it, hit chords, open notes, etc.

Tune it up, or get the owner to tune it for you. If it doesn't sing, forget it- there are enough of them out there that you will eventually find one that you like. Get a general impression from the instrument how 'played in' it is. A nearly unplayed instrument will sound somewhat quiet and muffled (not 'Broken in'), where one that has had a lot of service may ring loudly with little effort at all. If it has the 'unplayed' sound, it is harder to judge what it will eventually sound like. Instruments can take anywhere from 1-10 years to really break in, depending on how often you play.Sometimes instruments that haven't been played in a while are 'sleeping', it can take a month or so to 're-break' them.

Mine sat in the shop for 2 years after the first owner died, and it took about 2 weeks of solid playing to get it to have a 'wide open' sound again. The best thing you can possibly do is try several different instruments.You will build a strong knowledge of the variations through experience.

Remember, you are looking for an instrument that will have a very strong influence on your enjoyment of playing music!If you've discovered a well broken-in instrument that you like the sound of, you can move onto the next step-. If the sound is 'muffled' or unplayed, check out the following section. What to Look For in a 'Mint Condition' InstrumentA vintage mandolin that hasn't really been played much or broken in should be approached like a brand new instrument. The sound will probably mellow over the years (if it isn't abused or mistreated) into a sound that is similar to a broken-in model of the same vintage. The important breakdowns are:1900-1910 Orville Gibson labels, 'pineapple' shaped tailpiece cover1910-1920 Fixed bridge models, the biggest production years1921-1925 Adjustable bridges, truss rods other Loar-Hart innovations1925-1935 Varnish finish changes to a shinier lacquer topcoat.Compare a 'Broken in' Gibson from the same period (1900-1907; 1908-1920) for a fairly accurate estimate of how the instrument will eventually sound. For the period of 1921 onward, try to get a near exact analogue because there are so many differences.

Mandolins in Very Good Condition Should Have All of the Following:. Nice, easy to use tuning pegs. No significant fret wear.

No finger depressions on the finger board. Clean finish where it would have been scratched by the pick if played. A case with little or no visible wear.

Parts that correspond to the model year (see below - 'Model Verification'). A new-looking label inside (white paper, not yellowed; legible model numbers and serial number)All of the above are signs of use and wear. They are not really bad in and of themselves, but they do indicate how much an instrument has been played. If your eyes tell you a story that is not compatible with the 'mint condition' or 'as new' description, be wary. The Gibson LabelThe first thing to look at is the label. It should tell you the model number and serial number of the instrument.

Some were written in pen, some in pencil. Mine (1921) is nearly illegible, but with a bright light and a lot of patience, I was able to read all of the information from the inside. The serial number (when compared to the ones in Gibson records) will tell you within a few months of when your instrument was made. Also, with a dental mirror and flashlight, you should be able to see a different factory number up on the block where the neck meets the body inside the instrument.The label will probably have yellowed somewhat with age, but a nice new-looking piece of whitish-grey speckled paper with crisp, clear writing does not indicate a forgery - that's what they were like when brand new! The early instruments with Serials below 10000 have a lyre mandolin and Orville Gibson's face on the label. Model VerificationYou will want to make sure that the instrument you are looking at is the model that it is advertised as, because those little model numbers do a lot to the price of the instrument. The higher numbers have more fancy decorative features in general, but do not necessarily sound any better than 'lower end' models.

I personally would be hard pressed to trade my A0 for an A4. Anyway, don't pay A4 prices for an A0!!There are many instruments that break the rules, but these are a few basic guidelines:A or F Model?This one is easy.

If it has a curlycue on the bass side of the neck next to the fingerboard, it is an F model ('Florentine') mandolin. An A model mandolin is symmetrical, and teardrop-shaped.L-R: Gibson A3, Gibson F4BridgePrior to 1921, the only bridges made for Gibson mandolins (A or F) were made from a single piece of wood, with no adjusting screws. Models around 1910-1921 have little inserts on the saddle for compensation. If the instrument has an adjustible bridge and a date prior to 1921, it is most likely a replacement bridge. Many instruments had upgraded parts as gibson released new models.BindingThe term 'binding' refers to the white band that surrounds the face, back, neck, or headstock of the mandolin. More binding = high model number. The only completely unbound Gibson was the Ajr model, a stripped-down (in decoration) version of the classic A model.

Prices should range relative to each other in this fashion: Models and DescriptionsL-R: A, A2Z, A3, F4AjrPlain model, with no binding or inlay decoration at all, brown finish. Plain tailpiece cover.

Shaped hardshell or canvas case. Can have the 'snakehead' peghead (see below)A or A0Brown or black finish, binding only on face and in soundhole.

One ring of purfling around the soundhole. Pickguard that is pinned into the fingerboard and bridge, clamped to the side of the instrument. Pearl dots on fingerboard. Dark stained birch (not the best 'wavy' or 'curly' cut) back and sides. 'The Gibson' stamped on tailpiece cover. Shaped hardshell case.A1Similar to A0, has some features (double purfling on soundhole) of an A2.

'The Gibson' stamped on tailpiece cover, inlaid in headstock.A2 or A2ZBrown, black, or blonde finish all possible. Binding on front, back, soundhole, fingerboard; 'The Gibson' inlaid into the headstock, closer grained (most of the time!) spruce top then a model A0; pickguard that is pinned into the fingerboard, bridge, and clamps to the sides of the instrument. Double ring of purfling around the soundhole. Pearl dots on the fingerboard. Dark stained birch back sides (still not usually a 'Wavy' or 'curly' cut). 'The Gibson' stamped on tailpiece cover.

Headpiece veneered in black on the front. Black inlay along the 'keel' in the back of the neck.A2-ZSimilar to A2, but with snakehead peghead, blonde finish, b/w binding, and (usually) A2-z on the label.Made in the Loar period (1924-25).A3Nearly identical to an A2, but with an orange top in the teens, and a refrigerator-White top in the late teens, early twenties. A squiggle inlay in the headstock under 'The Gibson'. Bound on top, back, sides, around the fingerboard. The binding on the top is black then white. These are somewhat rare.

Wood quality improving (tighter grain, more 'nice looking' features). Bitch sides and back stained red. Bound fingerboard, no extension 'The Gibson' stamped in tailpiece cover. Headstock with black wood veneer top. Black inlay along the 'keel' in the back of the neck.

Shaped hardshell case with red lining most of the time.A4The top of the line. Red, black, or red sunburst finish (red in the middle fading to black or brown at the sides), fleur-de-lis under 'The Gibson'; Handel inlaid tuner buttons prior to 1916 (WWI) (a dotted '+' in each button). Thick white ring between the double purfling around the soundhole.

Can have 'Snakehead peghead' (see below). Shaped fingerboard extension. Black veneered headstock, front back. Black inlay along the 'keel' in the back of the neck. Shaped hardshell case with green or red silk lining most common.

Some Features That Any Model May Have:L-R: A3 peghead, 'snakehead' peghead, F4 pegheadSnakehead' peghead:This is a peghead that tapers from small to large from the top, rather than the other way around. Conventional wisdom is that these somehow sound better, and prices go up accordingly. These can exist on any model numbers including the Ajr (most common 1924- when most if not all Gibosn A models had them).

The 'rules' for purfling and inlay seem to be put on hold for snakeheads, the specs seem interchangable accross modelsNeck Shape:The standard Gibson A models had a 'keel' shapedneck, similar to the letter 'v'. The 'keel' is rounded, butthe modern 'U' shaped neck is considerably rounder. Anyway,some Gibsons have slightly more rounded necks.Neck Woods:Most Gibson A models had a Honduras Mahogany neck ('Unwarpable' in the catalog literature!), some had a maple neck. Additional InformationSee: AcknowledgementsMany thanks are due to the net community, including Maxwell McCullough for the pictures and Tony Williamson for his encouragement.