Mandolin Central

Gibson F-5 mandolin #73681, June 13th, 1923

Gibson F-5 73681 signed by Acoustic Engineer Lloyd Loar and dated “June 13th, 1923:” Entirely original and in extremely fine condition.

Each time I put the pick to these strings, I light up with delight.  The word that comes to mind is “exquisite.”  The range of mood and tonality of which this mandolin is capable is almost unbelievable.  There is no end to what it gives as plectral enthusiasm rises to all-out fortissimo; on the other end of the spectrum, the delicate notes of the pianissimo are sheer joy.  It was only after I had acquired this mandolin that I found out that it was the same one I had admired in the hands of classical mandolin master Gino Paparelli, a mainstay of the Bay Area mandolin scene in California. He was an extremely accomplished musician and composer, and a captivating personality. No wonder this F-5 sounds so great!

Features and appointments are original and consistent with the factory specifications for this model and date and include the classic arch-carved Adirondack spruce top with parallel tone bar construction and f-holes; one-piece curly maple neck  (which places the bridge in the center of the f-holes); back and sides of nicely figured hard maple; headstock inlay consisting of “The Gibson” in mother-of-pearl and abalone flowerpot; pearl button tuners with engraved endplate; hand-engraved tailpiece; all hardware silver plated; white/black/white binding with the black facing top on the body and facing side on the neck and peghead; Cremona shaded-sunburst varnish finish and original Geib and Schaefer rectangular case with green silk plush liner. When Gino Paparelli first found Gibson F-5 73681 (circa 1937), an aluminum bridge saddle (à la Dave Apollon: the type seen on the first generation of the Gibson adjustable bridge) was on the standard 1923 ebony base; although currently replaced with ebony for a fuller tone, the metal saddle is extant and included in the case (in our experience, the metal saddle gives an incredibly loud and bright sound to the treble, but eliminates the warmth of the lower mids and bass). The original bridge base remains intact and perfectly fitted on the mandolin, just as Lloyd Loar intended it. And speaking of perfect fit, the set up on this mandolin is precise, fingerboard relief optimal and frets dressed as smooth as silk. In short, it is easy on the fingers and allows for smooth and swift transitions through the left hand positions; even when action is set low, there is no fret buzz.

To showcase the power and versatility of this instrument, we hope you enjoy the following video of “I Don’t Love Nobody.”

To illustrate the gentler side of F-5 73681 and to honor Signore Paparelli’s Italian heritage, we have included our arrangement of the classic “Come Back To Sorrento.”

Note: The only repairs this mandolin ever required was to address worn frets. First, in San Francisco years ago; more recently, by acclaimed luthier Richie Dotson of Virginia.  During that event, Mr. Dotson realized the original fingerboard had become loose and made the necessary repair with the same methods (hot hide glue) as were used when it had been originally installed in 1923. This work appears seamless, and in no way can be detected. Mr. Dotson also made and installed a faithful reproduction of the 1923 ebony bridge saddle which would have been standard factory specification for this mandolin. Other than these necessary events of maintenance, this mandolin remains unalterated from original.

For further inquiry, please ask for Tony Williamson at Mandolin Central for more information, photos and terms of sale.

Contact us by email: mandolincentral@gmail.com