Gibson L-5 Arch Top Acoustic Guitar (1933)
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Item # 6425
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Gibson L-5 Model Arch Top Acoustic Guitar (1933), made in Kalamazoo, Michigan, sunburst lacquer finish, maple back and sides, spruce top; maple neck with ebony fingerboard, original black hard shell case.
This 1933 L-5 is a fine player's example of the pre-eminent orchestra guitar of its era-the original F-hole archtop guitar- and an extremely fine sounding instrument. Debuting in 1923-4 the L-5 was the first modern archtop; at the time this one was built nearly ten years later is was still the top of Gibson's line and generally considered the finest carved top guitar made. Orchestra and jazz band banjoists had by this time almost universally converted to guitar; the $275.00 L-5 along with Epiphone's competing Deluxe were the choice of nearly all top professional guitar players of the time. Eddie Lang, the era's most influential guitarist, went from a Gibson L-4 to a dot-neck (probably 1927) L-5 then an early block neck L-5 in 1929 setting the trend for all to follow. In 1933 L-5 still ruled the roost for orchestra guitars, and gave Gibson a dominance in this style of instrument that the company never lost.
That said, these early L-5's are fairly rare guitars today. Retailing at $275.00 (plus case!) the L-5 was extremely expensive (a top-of-the-line Martin pearl-trimmed Style 45's retailed around $100.00 less). At the height of the depression only top professional users with steady salaries could afford the indulgence of such an instrument. Most 16" 1930's L-5's were used extensively for many years, some owners preferring them to any later guitars…they are still often seen in the hands of recording studio players well into the 1960's. As working guitars these instruments have often been heavily modified, refitted or refinished…like many this one has had some restoration but remains a superb instrument with much of its original character.
This guitar shows typical features for the early 1930's L-5's; the single-bound, straight-end ebony fingerboard has pearl block inlay in place of the dots used up through 1929. The 3-piece laminated curly maple neck has a prominent "V" spine with a medium shallow profile. The pearl inlayed flowerpot in the headstock and straight across "The Gibson" logo are the hallmarks of the 1930-33 L-5, as is the longer triple-bound celluloid pickguard screwed to the top instead of mounted to the side of the fingerboard. The top, back and sides carry a beautiful dark sunburst finish over lovely figured curly maple. This particular guitar has a powerful sound typical of the best early L-5's; simultaneously warm and incisive with plenty of depth. It is extremely responsive for an archtop guitar, and even sounds quite fingerstyle!
Overall length is 40 3/4 in. (103.5 cm.), 16 1/8 in. (41 cm.) wide at lower bout, and 3 3/8 in. (8.6 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 early L-5 looks to have had an eventful life up to this point including some recent top-notch restoration, and has come back as an excellent playing instrument and a wonderful sounding guitar. The carved top required a patch near the fingerboard end to repair an old pickup installation; both the arched spruce top itself and the braces underneath have been carefully restored to the original pattern. This can be seen on very careful observationSmall holes for two knobs and a jack (in the usual areas) were similarly filled with the matching wood. The original sunburst lacquer top finish was retained as much as possible-there is an overspray to the darker areas to cover the repaired sections, but the overall look maintains the original tone of the 1930's Gibson finish. The back and sides retain their original finish, with some average wear (dings, chips and scratches) and an area of touch up to the lower side where the jack repair was effected. The guitar has also had a neck reset and refret with the period-correct style wire (retaining the original celluloid binding) and there is some overspray to the neck finish. The original gold-plated Grover tuners are intact and the headstock face is untouched original finish, and the bone nut and truss rod cover are original. He bridge and pickguatd are correct style reproductions, the tailpiece is correct but has been replated in an antique gold. Overall this remains an extremely fine instrument, loke most early L-5's- notwithstanding some unfortunate events in its past. This guitar's restoration makes this an excellent value in a 16" L-5, one of our most requested instruments. Includes the worn but functional OHSC. Restored to Excellent Condition.
This 1933 L-5 is a fine player's example of the pre-eminent orchestra guitar of its era-the original F-hole archtop guitar- and an extremely fine sounding instrument. Debuting in 1923-4 the L-5 was the first modern archtop; at the time this one was built nearly ten years later is was still the top of Gibson's line and generally considered the finest carved top guitar made. Orchestra and jazz band banjoists had by this time almost universally converted to guitar; the $275.00 L-5 along with Epiphone's competing Deluxe were the choice of nearly all top professional guitar players of the time. Eddie Lang, the era's most influential guitarist, went from a Gibson L-4 to a dot-neck (probably 1927) L-5 then an early block neck L-5 in 1929 setting the trend for all to follow. In 1933 L-5 still ruled the roost for orchestra guitars, and gave Gibson a dominance in this style of instrument that the company never lost.
That said, these early L-5's are fairly rare guitars today. Retailing at $275.00 (plus case!) the L-5 was extremely expensive (a top-of-the-line Martin pearl-trimmed Style 45's retailed around $100.00 less). At the height of the depression only top professional users with steady salaries could afford the indulgence of such an instrument. Most 16" 1930's L-5's were used extensively for many years, some owners preferring them to any later guitars…they are still often seen in the hands of recording studio players well into the 1960's. As working guitars these instruments have often been heavily modified, refitted or refinished…like many this one has had some restoration but remains a superb instrument with much of its original character.
This guitar shows typical features for the early 1930's L-5's; the single-bound, straight-end ebony fingerboard has pearl block inlay in place of the dots used up through 1929. The 3-piece laminated curly maple neck has a prominent "V" spine with a medium shallow profile. The pearl inlayed flowerpot in the headstock and straight across "The Gibson" logo are the hallmarks of the 1930-33 L-5, as is the longer triple-bound celluloid pickguard screwed to the top instead of mounted to the side of the fingerboard. The top, back and sides carry a beautiful dark sunburst finish over lovely figured curly maple. This particular guitar has a powerful sound typical of the best early L-5's; simultaneously warm and incisive with plenty of depth. It is extremely responsive for an archtop guitar, and even sounds quite fingerstyle!
Overall length is 40 3/4 in. (103.5 cm.), 16 1/8 in. (41 cm.) wide at lower bout, and 3 3/8 in. (8.6 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 early L-5 looks to have had an eventful life up to this point including some recent top-notch restoration, and has come back as an excellent playing instrument and a wonderful sounding guitar. The carved top required a patch near the fingerboard end to repair an old pickup installation; both the arched spruce top itself and the braces underneath have been carefully restored to the original pattern. This can be seen on very careful observationSmall holes for two knobs and a jack (in the usual areas) were similarly filled with the matching wood. The original sunburst lacquer top finish was retained as much as possible-there is an overspray to the darker areas to cover the repaired sections, but the overall look maintains the original tone of the 1930's Gibson finish. The back and sides retain their original finish, with some average wear (dings, chips and scratches) and an area of touch up to the lower side where the jack repair was effected. The guitar has also had a neck reset and refret with the period-correct style wire (retaining the original celluloid binding) and there is some overspray to the neck finish. The original gold-plated Grover tuners are intact and the headstock face is untouched original finish, and the bone nut and truss rod cover are original. He bridge and pickguatd are correct style reproductions, the tailpiece is correct but has been replated in an antique gold. Overall this remains an extremely fine instrument, loke most early L-5's- notwithstanding some unfortunate events in its past. This guitar's restoration makes this an excellent value in a 16" L-5, one of our most requested instruments. Includes the worn but functional OHSC. Restored to Excellent Condition.