Guitar
Maker
Gibson
Date1924
Place MadeKalamazoo, Michigan, United States, North America
ModelL-3
Serial No.80892
SignedSilkscreened in gold on top of peghead front: The / GibsonOn sticker inside of guitar below the sound hole: Gibson Guitar Style L – 3 / Number
80892 is hereby GUARANTEED against faulty workmanship or material. Should / this
instrument with proper care and usage, go wrong, / we agree to repair it free of charge at our / factory, or replace with another of the same style or value. / GIBSON MANDOLIN- GUITAR CO. / (Manufacturers) / Kalamazoo, Mich., U.S.A.
MarkingsStamped into pickguard: PAT. MAR. 30 '09
Stamped into tailpiece mounting plate: PATENTED JULY 19, 1910
Stamped into bridge: PAT'D JAN. 18-24
On sticker inside of guitar: 80892
DescriptionTestimonials from teacher-dealers and pictures of the ensembles they coached featured prominently in Gibson’s early marketing materials. By setting up endorsement deals and exclusive sales territories for prominent local musicians, Gibson could ensure that their instruments were getting in the hands of local students and musical ensembles. The enormous popularity of plectrum ensembles through the 1930s ensured the rapid growth of the company. NMM 10275 was sold by Albert Bellson, Gibson artist-endorser, to his student, Josephine Spears, a dry goods clerk, on December 22, 1926.
Albert Bellson, originally Alfonso Balassone from St. Angelo, Italy, was trained in the classical Italian mandolin tradition, but readily adopted American instruments, along with his brothers, Louis and Julius. The three Bellson brothers were top Gibson dealers in the St. Paul/Minneapolis area, as well as soloists and touring musicians. Albert remained an influential teacher through the 1960s and coached many generations of players, including current mandolin soloists: Peter Oshtroushko, who briefly studied guitar with Albert Bellson (and who swears by his Gibson Style A mandolin) and Richard Walz, who has explored the mandolin’s classical Italian roots through the works of Bellson’s own teacher, Giuseppe Pettine, as well as historical performance practices of the 18th century. Louis Bellson’s son of the same name later became a famous jazz drummer, and Julius Bellson worked at Gibson as the company historian for many years.
Top: Bound spruce, A-braced arched-top with orange burst finish,
Back: Mahogany two-piece straight braced arched-back with dark stained finish
Sides: Bound mahogany with dark stained finish
Neck: Mahogany
Peghead: Mahogany "snakehead" style peghead with Gibson logo
Fingerboard: Ebony with yellow celluloid binding, meets body at thirteenth fret
Frets: Nineteen nickel-silver frets
Inlay: Mother-of-pearl dot position markers at frets 5, 7,9, 12, and 15
Bridge: Ebony, adjustable, stamped into bridge foot: PAT'D JAN. 18-24
Tailpiece: Steel trapeze style, stamped into mounting plate: PATENTED JULY 19, 1910
Tuners: Three on each side of peghead, nickel-plated, open-geared with celluloid knobs.
Sound hole: Round with multiple inlays, herringbone inlay in center
Pickguard: Tortoise shell, stamped: PAT. MAR. 30 '09
DimensionsOverall length: 984 mm (38 3/4 inches)
Vibrating string length: 616 mm (24 1/4 inches)
Fingerboard length: 432 mm (17 inches)
Fingerboard width at nut: 44 mm (1 3/4 inches)
Fingerboard width at body: 57 mm (2-1/4 inches)
Width at lower bout: 350 mm (13 13/16 inches)
Width at upper bout: 260 mm (10 1/4 inches)
Width at waist: 205 mm (8 inches)
Sound hole width: 76 mm (3 1/8 inch)
Depth of body at neck: 83 mm (3-1/4 inches)
Depth of body at bottom: 83 mm (3-1/4 inches)
ProvenancePurchased from Willie's Guitars, St. Paul, Minneapolis, 2002.
Published ReferencesLarson, André P., "Recent Acquisitions," National Music Museum Newsletter 30, No. 2 (May 2003), p. 6.
Credit LineBoard of Trustees, 2002
Object number10275
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