was born in Salford, Manchester (then in the County of Lancashire) and was recorded in the 1871 censusas a Mucsical instrument maker aged 25. In the late 1870s he was based in Piccadilly, Manchester was making 7-string, smooth- arm banjos with 12 in. hoops, twenty four brackets and push-in ivory pegs. These well-constructed instruments had a pair of crossed banjos about 2 in. In length cut out of mother of pearl and handsomely etched inlaid into the ebony fingerboard where it joined the metal hoop. It is not known when he ceased making banjos but he does not appear in the 1881 census. Charles Henshaw 1846 to .. Do you have a pre 1940's banjo by this maker? can you supply us some images? next maker

In 1964 Rock Wood Carvers of Oregon, Illinois formed a subsidiary company “The Steam Instrument Co”. for the purpose of making banjos. Later the name of the company was changed to the Salstrom Banjo Company. The instruments produced included banjos, tenor-banjos, plectrum-banjos, and the long necked folk banjos. Prices ranged from $122 to $245. Salstrom Do you have a pre 1940's banjo by this maker? can you supply us some images? next maker

John Dopyera was a Slovak-American inventor and entrepreneur, and a maker of stringed instruments. His inventions include the resonator guitar and important contributions in the early development of the electric guitar. For the full history on all aspects of this maker see National Banjos and Banjo Ukes section of Colin McCubbin's awesome site. John Dopyera 1893 -1988 next maker

In 1926 Stewart re-joined Marks. By then the tenor banjo boom was in full swing so Marks figured to get in on the game and used the Stewart name on the "Fred Stewart Magictone" tenor banjo.By 1894 his factory was turning out really first class instruments by the hundreds (priced from as low as $10 to as high as $200) and he had an agency in every town in the country as well as selling to agents in countries all over the world. At different times he kept full page advertisement running in “The New York Clipper” and he did a lot to make America “banjo conscious”. Demand for Stewart banjos far exceeded production for some years. At the Columbian Exposition in Chicago in 1893 he had a display of banjos and the catalogue for the Exposition stated: “SS Stewart’s banjo manufactory in Church Street, Philadelphia, is the only establishment of its kind in the world – the largest and most complete banjo manufactory in existence”. It conceded the fact that there were other larger factories making banjos but added that they also made other instruments. “Stewart’s factory only made banjos” it proclaimed. Stewart was the first maker to strengthen the banjo neck with inlays of hardwood set on the cross grain to prevent warping. He once said “on my banjos I claim no new inventions nor have I any patents connected therewith. I do claim an improved and more perfected banjo, secured by processes of manufacture; some of which remain secrets of my own and which to attempt to protect by letters of patent would merely place part of my knowledge in the hands of others”. It is interesting to note that in the late 1890’s Francis Beddard, an Englishman, settled in Philadelphia and secured employment in the Stewart factory. He returned to England in 1901 and made the first “ John Grey ” banjos for Barnett Samuel & Son Ltd. On 1st January 1898 SS Stewart merged with George Bauer, mandolin and guitar maker, and the firm of Stewart & Bauer opened a new factory at 1414/1412 North 6th St., Philadelphia, with Stewart’s eldest son Frederick S. taking up a position in the office. On 6th April of the same year Stewart died of apoplexy and three years later the firm failed. George Bauer then formed his own company and the Bauer Company of 726/730 Girard Avenue, produced “Stewart” banjos “made on the original models and designs in the original Stewart Factory” but, despite the announcement that “every effort to maintain the high standard of these celebrated instruments would be made” inferior materials were used and the instruments did not sell. In 1920 Marks bought out Stern. Fred J Stewart had joined Jos. W Stern & Co of 34 East 21st St., New York City, when Stewart & Bauer had failed and Stern’s started to produce the SS Stewart’s Son Improved “4S” banjos. At prices ranging from $9 to $65 the instruments were said to be made under the personal supervision of Fred J Stewart. They were advertising this instrument for at least three years but no later mention has been found. In August 1914 Buegeleison & Jacobsen of New York City announced that they had bought the “patent rights” of the Stewart banjo and would resume the manufacture of banjos bearing the SS Stewart name but these instruments were mass produced factory made banjos and did not compare in quality or tone to the original Stewart instruments made in Philadelphia. Buegeleison & Jacobsen ceased to make banjos when America entered the 2nd WorldWar. In 1926 Stewart re-joined Marks. By then the tenor banjo boom was in full swing so Marks figured to get in on the game and used the Stewart name on the "Fred Stewart Magictone" tenor banjo. Samuel Swaim Stewart 1855 to 1898 next maker .. was born in Philadelphia , PA on 8th January 1855. He originally studied the violin but in 1872 took banjo lessons from George C Dobson. Six years later he opened a studio for teaching the banjo in his native city which laid the foundation for what became a vast publishing and manufacturing businesses. Being dissatisfied with the banjos currently being produced he spent a lot of time studying construction and in 1879 opened a factory at 221/223 Church Street. Improving on the designs of Clarke, Dobson, Schall etc., as George Lansing Said many years later “he took the reins of banjoism in his hands and it is to him … we owe a debt of gratitude for the popularity of the instrument”.

Alfred Weaver 1857 to 1939 next maker ... started to make banjos at the age of twenty-one in a workshop which he established at 7 Upper St. Martin's Lane, London, W.C.2. ( at 24 years old the census has him as a musical instrument maker, married and living at 54 Balsover Street, Marylebone, Middlesex with four other famillies in the same house , he is not recorded as living in 7 St Martins Lane until he was about 28 where he was a banjo maker working from home ) he was still making banjos out of the same address in 1915. His early unfretted instruments had an ornately engraved German-silver spun over pot, highly polished fingerboard, , which was fixed to the neck by some fifty counter sunk screws on each side. At first he made the fashionable seven-string and six-string models, but when the five-string banjo became established he concentrated on these and even converted many of his earlier instruments, when he could lay is hands on them. His craftsman-built instruments were always plain and unadorned and could easily he identified by the spoon shaped heel butt. He made banjos with varying size hoops, from 10 in. to 12 in., mostly with push-in pegs of ebony and always with a gut-attached band tailpiece. This preference for push-in pegs and wooden tailpiece was based on the theory that no metal should be in contact with the strings. He made some zither-banjos at the height of the popularity of this instrument, but they were inclined to be heavy and lacking in true zither-banjo tone. Weaver banjos were played by many distinguished people (notably King Edward VII) and such leading professionals as James Bohee , Edwin French, Pat Shortis, Charlie Rogers, Joe Morley, Chas. E. Stainer, Tarrant Bailey Jr., and George E. Morris, to name but a few. In addition to the instruments stamped "Alfred Weaver, Maker" on the perch pole, he made banjos for others which although unmistakably Weaver-made, bore the retailers name. Banjos made by this outstanding British craftsman can still be found bearing the trade names of James Bohee , Alfred D. Cammeyer , John Alvey Turner , Clifford Essex , etc. He retired to Bournemouth, Hampshire in 1936, and a year later all his unfinished instruments, parts, timber, etc., were acquired by John Alvey Turner. Ltd., who, employing Sidney Young , to produced "Weaver" model banjos for some years. These were not stamped with Weaver's name on the perch pole. On June 17th, 1939, Alfred Weaver was crossing Christchurch Rd, Bournemouth, when he was knocked down by a van. He was rushed to Boscombe Hospital, but died just before midnight. For additional research on Weaver go to witchhazelmusic 5 string pictures courtesy of Noud Koevoets Tenor pictures courtesy of David Neve

... was born in Bromley Kent , he was one of the earliest of commercial makers in London and was also a teacher and dealer.. In the early 1870's he had a shop and studio at 2 Eccleston Street, Victoria, from which he sold his own make of unfretted banjos. He had various addresses near Victoria Station before the year when he moved to 122 Fleet Street, E.C. It is interesting to note that Will Mitchell (many years later to be in charge of the Clifford Essex workshops) was employed by Nice before he (Mitchell) went to the workshops of Richard Spencer . Nice ran a flourishing studio and shop in Fleet Street teaching all the fretted instruments and selling banjo and zither-banjos he had helped fashion in his workshop. His premises were the meeting place for many professionals of the day. When he died, Arthur Stanley (the elder) took over his business but did continue the manufacturing side. William Nice 1855 to 1901 Do you have a pre 1940's banjo by this maker? can you supply us some images? next maker

.. of Boston Mass. was a well known banjo soloist and composer in the 1890's and many of his solos were published by Carl Fischer. He designed the banjo bearinng his name which, with its patented hoop, "was constructed on entirely new and scientific principles" and patented the tone chamber under the rim. The pot of this banjo was made of bell metal with a fairly narrow outside hoop of wood which was rabbeted over the top to allow the velum to rest on it to promote "a most wonderful sound". Luscomb banjos were made in 4 grades as well as three grades of Banjeaurines and a Piccolo with a 8" rim. Models included The Luscomb and Artiste, and Silver Chime The instruments were made and sold by Thompson & Odell . Co. of 523 Washington Street, Boston, Mass. from about 1891 to the late 1920's. Gut strung Luscomb images courtesy of Lars Dahl John F Luscomb next maker

Performer, composer, arranger and teacher of the banjo, Joe (Joshua) Daniels (whose real name was Joseph Toledano) established a studio at 28 Bishopsgate Street, London, in 1870 and, after a few years, moved to 112 Leadenhall Street where he started to advertise himself as "Musical Instrument Maker" and teacher of the banjo, mandolin and guitar - in addition to stage dancing. In 1887 he took out a patent for a metal casing (or "sound box") round the banjo hoop and a spring device to keep down the pressure bar of the banjo tailpiece. Later he patented his ”Defiance” banjo which had a 9 in. vellum glued direct on to a 1/4in square bezel though which straining bolts passed to engage in a flange fixed to an all metal resonator-type back. The metal hoop had oval-shape vents cut into it at regular intervals all the way round its perimeter. The metal used in this unusual banjo was very thin aluminum (or some other lightweight alloy) and the instrument was extremely light to handle. It is doubtful whether Daniels actually made the instruments himself. The hoops were obviously spun and the conventional arm used could have been made in the workshops of John E. Dallas . It is possible that Daniels assembled the instruments so in effect he could rightly call himself an "instrument maker." The Prince of Wales (later King Edward VII) presented Daniels with a silver medallion inscribed with the Fleur de Lys and this was fixed to the peghead of the banjo Joe Daniels always played in his public performances. He died in March 1915, at the age of 73. Further information go to this Old Time Herald article by Lewis Stern Pictures courtesy of Brown Dog Banjos . Contrary to the one described above this instrument is heavy, probably made of brass and heavily nickel plated Joe Daniels .. 1842 to 1915 next maker

William Schmick next maker ... of 514 N 9th St., New Jersey took out a patent on September 23rd 1914 for his “Lyric” banjo, tenor-banjo, mandolin-banjo and guitar-banjo. Speaking of the instruments at the time “The Crescendo” said “While this new arrival resembles the English zither pattern, and indeed was modelled after that type, every essential feature represents a change from all previous forms of banjo production, the inventors object being to produce an instrument that would be effective with gut strings instead of wire. The head forms the lid of a wooden box and is self-contained; that is it is not fixed to the box as all but just rests there and acts like a second bridge for the strings. When the strings are removed this head, with its novel hoop for tightening, can be lifted out of the enclosure. It is not necessary to do this every time you wish to tighten the head, however, for special brackets are provided for that purpose, hidden from view but easily accessible around the top of the vellum. When a new head is needed one can be put on without disturbing the neck or the dowel piece, and the instrument re-strung and played at once for the vellum always remains at the same height, no matter how loose or tight it is.” This instrument had a hoop constructed on similar lines to that used in zither-banjos but in the upper perimeter were 22/24 sound holes. It apparently sold, far as late a 1925 Carl Fischer Inc. were selling them in their New York, Chicago and Boston shops according to their advertisements. images courtesy of M Beadles

When George Scarth abandoned his violin-importing business and took over the general music shop at 69 Charing Cross Road, London, in 1929 he was at first content to sell the occasional banjo which he would obtain from his usual wholesaler. However, in 1931 he decided to launch his own brand of banjo and the first Scarth banjos were designed and made for him by Robert ("Bob") Blake. When the demand for these high-class instruments increased, J. G. Abbott was called upon to also make for him. Scarth banjos ranged from an inexpensive model to a really high-class expensive instrument: the "Model B2" being a good copy of the American "Vegavox." None of the instruments the sold bear the name Scarth, but they can be identified by the old-English letter "S" (made of mother-of-pearl) inlaid in the pegheads. No Scarth banjos were made after 1936. when the demand was more for plectrum guitars. By this time the firm moved 55 Charing Cross Road. George Scarth Do you have a pre 1940's banjo by this maker? can you supply us some images? next maker

... was founded in 1926 in Chicagi Il., from the joining of two Boston firms--Nokes & Nicolai and JosephPacheco with the Liberty Rawhide Company-a major Chicago supplier of banjo and drum heads from 1920. Contemporary articles state that Liberty had purchased the "stock and good will" of the other two companies, and moved the stock in trade and equipment to new quarters in Chicago; each man was to have responsibility for his own end of the business, while John W. Placko, president of Liberty, was to supervise the manufacture of the drum and banjos heads. Within a year the new company had failed and was sold at auction, in August, 1927; since the factory and most of the machinery were new, there was great competition for the assets, which were finally purchased by Slingerland Liberty Music Company 1926-1927 Do you have a pre 1940's banjo by this maker? can you supply us some images? next maker