Gibson F-7 Carved Top Mandolin (1937)
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Item #7383
Gibson F-7 Model Carved Top Mandolin (1937), made in Kalamazoo, Michigan, serial # 94366, sunburst top, dark back and sides finish, maple back and sides, spruce top, mahogany neck with rosewood fingerboard, original black - red line hard shell case.
The 1930's F-7 is one of the rarest of all Gibson mandolins, a historically interesting and very distinctive looking and sounding instrument. This example dates to 1937, several years after the model was introduced in 1934-it was discontinued in 1939. The F-7, along with the very similar F-10 and F-12 were intended as a line of F-hole master-grade instruments to complement the superlative but extremely expensive F-5 mandolin, which at $250.00 was out of reach of all but the most well-heeled players in the depression era. Unfortunately interest in the mandolin was quite low at that time, and there was little demand for any expensive mandolins at all. While the similarly-positioned L-7, L-10 and L-12 guitars were relatively successful the mandolins vanished nearly without a trace, with only the least expensive F-7 lasting more than a year or so in the catalog.
The F-7 features a typical Gibson sunburst finish on the top with a dark shaded back and sides, similar to the better known L-7 guitar. There is elegant shaped pearl inlay on the fingerboard (in a variation on the "Nick Lucas" pattern) and a pearl fleur-de-Lys on the headstock. Originally retailing at $125.00 (plus case) the mandolin was half the cost of an F-5, but still priced above nearly all other extant mandolins during the depression. The structural design of this trio of instruments is a bit odd to modern eyes as they combine the f-hole, scroll body construction of the F-5 with the shorter neck of the older oval-hole F-4. The scale length is the same, but the neck is sunk further into the body, pushing the bridge further back towards the tailpiece. Despite this apparent oddity, the F-7 sounds great with a distinctive guttural bark, if not quite the full bright projection and clarity of its longer-necked cousin. This is a fabulous mandolin for either player and collector, and an uncommon find in a pre-war Gibson artist model. All of Bill Monroe's early recordings in the 1930's with his brother Charlie were cut with a 1935 F-7, and this instrument is fully worthy of that sonic heritage.
Overall length is 26 1/4 in. (66.7 cm.), 10 1/8 in. (25.7 cm.) wide, and 1 3/4 in. (4.4 cm.) in depth, measured at side of rim. Scale length is 13 3/4 in. (349 mm.). Width of nut is 1 3/16 in. (30 mm.). This is a lovely original mandolin showing some moderate play wear but no major repairs. There are pick marks and scrapes to the top finish, most notably on the scroll and area just below. There are some small dings showing a bit of fill-in in the below the bridge on the lower treble quarter. The rest of the instrument does not show as much wear as the top, with the back, sides and neck being comparatively clean. The mandolin is all original except the bridge top, which is a modern reproduction-the original is included, but is cracked. Playability is excellent, with the original frets still intact just taken down slightly. This mandolin has a fabulous sound-it really does capture the character of the Monroe Brothers records! One of the coolest Gibson mandolins we have had, which definitely has a unique character. Excellent - Condition.
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The 1930's F-7 is one of the rarest of all Gibson mandolins, a historically interesting and very distinctive looking and sounding instrument. This example dates to 1937, several years after the model was introduced in 1934-it was discontinued in 1939. The F-7, along with the very similar F-10 and F-12 were intended as a line of F-hole master-grade instruments to complement the superlative but extremely expensive F-5 mandolin, which at $250.00 was out of reach of all but the most well-heeled players in the depression era. Unfortunately interest in the mandolin was quite low at that time, and there was little demand for any expensive mandolins at all. While the similarly-positioned L-7, L-10 and L-12 guitars were relatively successful the mandolins vanished nearly without a trace, with only the least expensive F-7 lasting more than a year or so in the catalog.
The F-7 features a typical Gibson sunburst finish on the top with a dark shaded back and sides, similar to the better known L-7 guitar. There is elegant shaped pearl inlay on the fingerboard (in a variation on the "Nick Lucas" pattern) and a pearl fleur-de-Lys on the headstock. Originally retailing at $125.00 (plus case) the mandolin was half the cost of an F-5, but still priced above nearly all other extant mandolins during the depression. The structural design of this trio of instruments is a bit odd to modern eyes as they combine the f-hole, scroll body construction of the F-5 with the shorter neck of the older oval-hole F-4. The scale length is the same, but the neck is sunk further into the body, pushing the bridge further back towards the tailpiece. Despite this apparent oddity, the F-7 sounds great with a distinctive guttural bark, if not quite the full bright projection and clarity of its longer-necked cousin. This is a fabulous mandolin for either player and collector, and an uncommon find in a pre-war Gibson artist model. All of Bill Monroe's early recordings in the 1930's with his brother Charlie were cut with a 1935 F-7, and this instrument is fully worthy of that sonic heritage.
Overall length is 26 1/4 in. (66.7 cm.), 10 1/8 in. (25.7 cm.) wide, and 1 3/4 in. (4.4 cm.) in depth, measured at side of rim. Scale length is 13 3/4 in. (349 mm.). Width of nut is 1 3/16 in. (30 mm.). This is a lovely original mandolin showing some moderate play wear but no major repairs. There are pick marks and scrapes to the top finish, most notably on the scroll and area just below. There are some small dings showing a bit of fill-in in the below the bridge on the lower treble quarter. The rest of the instrument does not show as much wear as the top, with the back, sides and neck being comparatively clean. The mandolin is all original except the bridge top, which is a modern reproduction-the original is included, but is cracked. Playability is excellent, with the original frets still intact just taken down slightly. This mandolin has a fabulous sound-it really does capture the character of the Monroe Brothers records! One of the coolest Gibson mandolins we have had, which definitely has a unique character. Excellent - Condition.
