WS15-11

Fairbanks                     Un-designated Electric                 5 String Banjeaurine

 

S/N: 94            1890                                          12 ½ x 20"                                        4 3/4 lb.

 

Fully original.

 

Condition: Mint.

 

Background: After the 1890 invention of the Electric tone ring, Fairbanks began producing banjos with that feature and stamped “Electric” 1 or 2 places on the dowel stick. Only later did they become standardized enough to also be designated with names and /or model numbers. As might be predicted these very early Electrics show considerable variation adding greatly to their charm and desirability. In the prior decade, Fairbanks & Cole catalogs showed no models that routinely came with oak necks and only two that offered oak as an option. A moderate number of Fairbanks’ early Electrics had necks of oak, a practice that appears to have quickly stopped. These included both un-designated and numbered models and came with both plain and carved heels. The oak is heavily and darkly grained making these instruments more “handsome than beautiful” .

As 4 part orchestrations for the banjo began to be written, the “regular” banjo commonly played the bass part and the banjeaurine was developed to play the lead/melody part. Their necks are considerably shorter than on standard banjos . Many early ones had very large pots and in later years they tended to conform to more customary banjo sizes
 

 

Features of this instrument:

1) Ex-Bollman Collection and as such it was pictured in his section of the first Tsumura book ( Page 112, upper left corner).

2) Lovely oak neck with heavy grain and a very thick walnut veneer under the board.

3) Incredibly attractive purple wood that contrasts beautifully with the oak neck was used for the back strap and heel cap.( For those with a special interest in beautiful and exotic woods, see the addendum below).
4) Although finely engraved inlays are one of the outstanding traits of Boston banjos, I am one of those collectors who equally enjoys superbly done saw-cut inlay work without engraving. This instrument is a perfect example with its delightful Art Nouveau shapes and tasteful mixture of abalone, white, and colored pearl.
5) Extended fingerboard.
6) Tension hoop with a higher inner surface with a rolled top edge that curves over the hooks and a lower outer surface that hides the flesh hoop.
7) S/N- 94 would have been made soon after they were recycled.
8) Flat ( Cobra) hooks and square ( 4 sided) nuts.
9) Ivory tailpiece with carved decorations.
10) Ivory tuners with lovely grain.

Addendum: The tree that yields this wood is widely distributed from Mexico to southern Brazil. Generally known as Purpleheart, in the U. S. it is often called either violetwood or amaranth and it is by the latter of those that it is mentioned in instrument descriptions in Fairbanks & Cole catalogs. Made from the heartwood of the tree, it is truly a fascinating wood. When first cut, it is a dull brown but upon exposure it rapidly turns a bright purple making it one of the most distinctive and vividly colored of commercial woods. If exposure is prolonged the purple color fades and the wood tones to a rich brownish-red. The grain is generally straight but occasionally wavy or interlocked. Purpleheart polishes easily and glues well but is rather difficult to work with a considerable blunting effect on tools. That may account for its relative rarity on banjos. It has an amazing array of commercial uses. Being very durable, its predominant usage is in heavy outdoor constructional work such as bridges and freshwater pilings and docks. Specialized uses include boat building, diving boards, skis, gymnasium equipment, sculptures, tool handles, decorative veneers, wood flooring, and the butts of billiard cues.  

 

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