D'Angelico Scroll Model previously owned by David Grisman Model Carved Top Mandolin (1945), New York City.

This beautiful blonde carved F-hole mandolin is an exceptionally rare instrument, one of only two "Gibson" style scroll-body D'Angelico mandolins known to exist, and the only natural finish example. It has a very well documented history since its creation including having belonged for a time to David Grisman as part of the "Dawg Collection" from which a COA and pick are included. This is a singular instrument in every way.

This mandolin was built in 1944-5 by John D'Angelico in his Kenmare Street shop, according to the story that accompanies it requiring a certain amount of badgering from the player it was made for! During WWII professional grade archtop guitars (and mandolins) were in short supply, Gibsons in particular. After 1942 John D'Angelico had so much business from professional guitarists he discouraged orders for mandolins so he could fully concentrate on guitars! Documentation accompanying this instrument details how the original buyer Ermini Marino had to "wear down" a reluctant John to get the his mandolin built at all!

This is somewhat ironic as the Mandolin played a large part in John D'Angelico's early life. Born in New York in 1905, he was apprenticed to his luthier uncle Raphael Ciani at an early age. Bowlback mandolins were the shop's primary product, along with violins, banjos and flat-top guitars. John took over when Ciani died in the 1920s before hanging out his own shingle in 1932. His primary output as an independent luthier was carved-top guitars but the mandolin was literally in his blood; his family came from Naples, birthplace of the modern mandolin.

D'Angelico mandolins in general are relatively rare; those made before 1940 do not appear on any known serial number lists and only 49 are recorded in his shop ledgers built between 1940 and 1944. These are noted in three ascending design grades: plain, good, and scroll. That "Scroll" designation usually refers to a violin-style scrolled peghead, not a Gibson F-style body but this instrument is different, obviously based on the then 20 year old F-5 design with a similar shape and parallel braced F-hole top. This is the most "modern" mandolin model John ever built; His earlier designs were largely based on the 1910s Lyon and Healy Style A with a two-point body.

This mandolin bears no visible serial number, corresponding to a gap in John's ledgers between #168 in 1944 and #154, the last one recorded in 1954. According to a letter provided, this mandolin was built for a musician named Ermini Marino, who played mandolin on New York's Italian-themed radio station WOV in a trio with two guitarists. Marino recounts going to John's shop to order a mandolin and being rebuffed, then asking the luthier to listen to him play on the radio and decide. After repeated entreaties, Marino "wore him down" and John finally agreed to craft the instrument for him. The process took longer than usual, which John blamed on the difficulty in procuring first-class materials during the war. Marino recounts going by the shop "every week" to encourage the job along, finally being rewarded for his patience around 1945 with this splendid instrument. From that point on it was his pride and joy, only ever played by him until he sold it over 50 years later in 1997. It is probable that the Gibson-like silhouette and natural finish were Marino's preference, but this is not mentioned in the accompanying paperwork.

The instrument bears a celluloid "D'Angelico, New York" inlay on the peghead and his stamp on the inner back and heelbock. The body is a "lump scroll" design, not open carved like a Gibson but defined by a curved binding line inlaid into the wood. The top and back edges are bound in 5-ply celluloid; the deeply arched back is carved from a single piece of highly flamed maple. The F-holes in the parallel braced spruce top are single bound, the (replica) tortoise celluloid pickguard is 5-ply bound. The adjustable rosewood bridge appears to be a standard Gibson made piece (John may have had this in the parts box!) while the tailpiece is a standard period "clamshell" with a fancy engraved cover.

The slim but fairly deep round-backed neck is carved from a single piece of maple with a bound, pearl block inlaid ebony fingerboard. This features an elevated extension on the treble side carrying 7 partial frets beyond the 17 full frets allowing the player a full double octave on the E string. A pearl block between the 14 and 15th frets bears the delicately engraved name "Marino". The flared headstock face is single-bound with an edge-engraved pearl shield inlay below the D'Angelico script and the familiar finial at the top. The tuners are openback Waverly strips with ivoroid buttons.

This is simply a beautiful instrument, both visually and sonically. The sound is full, smooth and penetrating with a more sophisticated edge than many Gibsons. It is neither as classically polite as the Lyon & Healy styled D'Angelicos or as cutting as a Gibson F-5, but stakes out its own ground in between them. Marino had been playing a Kay mandolin; receiving this instrument must have quickly elevated him to a new level of artistry! This stunning mandolin with its combination of beauty, power and clarity is truly beautiful to look at and even more so to play; one can imagine for Mr. Marino it was well worth the wait!

Overall length is 25 3/4 in. (65.4 cm.), 10 3/16 in. (25.9 cm.) across at the widest point, and 2 in. (5.1 cm.) in depth, measured at side of rim. Scale length is 14 in. (356 mm.). Width of nut is 1 3/16 in. (30 mm.).

This mandolin remains in excellent playing condition and nearly all original, with no major structural repairs but some sensitively done cosmetic restoration along the way, mostly due to celluloid deterioration. This was a working instrument for some years, and in the original owner's possession for over 50; it was a prized piece and always well cared for. There is some typical finish checking (in the unmistakable D'Angelico "wave" pattern) and light wear overall, with some specific areas of finish work over the decades.

The top looks to have been sprayed over in clear lacquer decades ago, likely by John D'Angelico or Jimmy D'Aquisto as it matches the rest of the finish exactly both in texture and under UV examination. This is primarily detectable due to a small spot of wear along the back edge above the tailpiece that is under this finish; owners of these makers instruments often took them in for maintenance as they became worn. This also appears to have occurred before outgassing from the original celluloid pickguard caused some minor discoloration underneath the excellent repro now mounted.

The headstock