1927 Gibson L-5 Master Model Sunburst

Gibson L-5 Master Guitar from 1927, in excellent condition.

In this year 2024, we mark the first centenary of the L-5 model, an absolutely central and emblematic guitar in the pantheon of American lutherie of the 20th century, and what is more of a determining historical importance for the evolution of these instruments – and we are particularly delighted on this occasion to be able to offer such a beautiful example for sale. The first L-5s were originally designed to complete the mandolin orchestra as envisioned by Orville Gibson at the start of the 20th century, before becoming, with their many imitators, the first "jazz" guitars and the true driving force of the big band rhythm sections of the following decade, continuing to dominate this musical genre to this day. Furthermore, at the time of its introduction, the L-5 constituted a real turning point in guitar making since it was the first modern archtop combining soundholes similar to those of a violin, a neck with 14 frets outside the body and a raised fingerboard. At the time this model was built, it took its place at the top of Gibson's high end and then had no serious competition. Other manufacturers would soon embark on this same path (D'Angelico and Stromberg among others), but always based on the standard constituted by the original L-5.

Let us emphasize to what extent the L-5 “Master Guitar” from the 1920s is an extremely rare guitar today: first of all, its new price of $275.00, exorbitant for the time, undoubtedly posed serious limitations at its initial dispersal (in comparison, a Martin 000-45 in exceptional exotic woods and entirely decorated with mother-of-pearl cost $105.00 less at the same time). Moreover, there was virtually no market for such instruments: in the early 1920s, Lewis A. Williams, the eccentric general manager of The Gibson, still stubbornly held a position that the past, present and Gibson's future had to be centered around the mandolin alone, giving relatively little credit to the development and promotion of other instruments such as banjos and guitars and blaming the newfound American enthusiasm for jazz and Hawaiian music to taint the popularity of the mandolin. His bet would quickly prove to be a losing one, since these two musical genres would lastingly dominate the musical landscape of the following decades, relegating the mandolin to bluegrass bands and giving the great mandolin orchestras that once proudly posed on Gibson's promotional brochures a sympathetically folksy air. Things were off to a bad start for the guitar made in Kalamazoo, especially since Gibson quickly filled its catalog with professional quality banjos so much so that at the height of the first jazz era around 1928, the banjo had become the instrument generally accepted for the rhythmic role in orchestras. So what about the L-5? In fact, there were very few professional musicians in the mid-1920s who could afford or even conceive the need for such an instrument. Ultimately, it was through the intervention of Eddie Lang, the most influential guitarist of the time, that the tide began to turn in favor of the L-5. At the beginning of the 1930s, Lang's choice of this model opened the way for other popular musicians, including Nick Lucas and Roy Smeck, and finally offered Gibson, through these big names, an unexpected opportunity to promote their guitars, leading to a domination of the archtop guitar market that they have never lost since. It is therefore easy to understand why L-5s from the 1920s are not numerous, and it is certain that few examples will have reached us as well preserved as the instrument presented here.

This guitar was manufactured towards the end of January 1927, and shipped in March of the same year. It bears its original white oval style label, a sign of the changing times: during the period when Lloyd Loar occupied a position within Gibson with a vague qualification to say the least (Engineer of Acoustics, sic.), the highest instruments of the range of which the L-5 was a part were given a label bearing the words Master Model, signed by the hand of Loar. After his departure, the remaining labels were stuck to the inside of the instruments until stock ran out, concomitantly used with the white oval labels as is the case on this guitar. In addition, it has all the typical characteristics of a 1927 L-5 “Master Guitar”, once again inherited from the Loar era: carved spruce top, flamed maple back, sides and neck (the patterns of the maple on the back are particularly remarkable), superb “Cremona Brown” Sunburst varnish finish... We also find “The Gibson” logo and the flowerpot motif inlaid in mother-of-pearl on the headstock, the original gold-plated tuners engraved with floral motifs with mother-of-pearl buttons, the tailpiece also gold-plated, the adjustable ebony bridge… This guitar, three years shy of turning 100 years old, is superbly preserved to this day. We only note that the varnish on the bottom, the sides and the neck is not original, that it was recharged on the soundboard, as well as an old regluing of the bottom joint. Aside from these points, we find the guitar exceptionally free of breaks or other defects. The instrument's top is very fine, its entire violin making is light and controlled, giving it a sound of unparalleled beauty and great voluptuousness.

We conclude by quoting the words that introduce the Gibson Master Guitar L-5 in the catalog: "Such a guitar as the Gibson is more than a noble instrument. It becomes a companion... a friend... a moulder of musical taste... yielding the intimate pleasure found only in personal performance. [...] To take up the Gibson guitar is to throw ice open the doors of new opportunities for increased joy.... pleasure.... and profit, too, if you like."

The guitar has been fully appraised, set up and prepared in our workshop, and is in impeccable playing condition with low action and fair intonation.

Sold in its original hardshell case, accompanied by its certificate of authenticity produced by Jérôme Casanova.