Established in 1873 by A Stathopoulo, “The House of Stathopoulo” were in the beginning manufacturers of most fretted instruments except banjos. The first banjos were made in 1876. In the early 1920’s, as the Epiphone Banjo Corporation it launched its “Epiphone Recording Banjo” in both tenor and plectrum models. 5 string banjos were only supplied to special order. The sales of these instruments which included new principles of hoop and neck construction was so phenomenal that in 1925 the firm bought the factory of the Favoran Co. at 35 Wilbur Avenue, long Island, NY, and moved all its production there closing its factory in NY City. In 1928 it became Epiphone Banjo Corporation. By 1935 the company, now named Epiphone Inc. , had eleven models of their “Recording Banjos” , the instruments ranged in price from $150 - $500, in addition to two models of electric tenor-banjo which could be supplied as plectrum-banjos to special order. Product ion stopped abruptly when America entered WW2 and did not start again until the 1950’s when the banjo started to be used again in entertainment circles and the address of the company at this time was 142 W. 14th St. NY City. On 5th April 1957 the Harmony Company of Chicago purchased the company and continued to market four models of the banjos. Epaminondes A Stathopoulo (who always signed himself “Epi”), president of the company died on 6th June 1943. Pictures courtesy of Stuart Morrison Epiphone next maker

Towards the end of the 1920’s three engineer brothers named Barnes in the Woolwich area decided to make banjos. They slavishly copied the Essex "Paragon" model and named their product "Paratone." At a superficial glance it was difficult to tell the two makes apart, it is not known when they ceased making banjos. Barnes Brothers Do you have a banjo by this maker? can you supply us some images? next maker

... the eldest of 8 children born in Lancashire (Ulverston?) he always advertised himself as "the pioneer maker of mandolins and guitars in Great Britain" and from about 1886 appears to have also made zither- banjos in his factory at 4a Kentish Town Road, London. A feature of these instruments was the balalaika-type of machine head faced with a highly engraved nickel silver plate; all the buttons being on the one side. About the year 1890 he produced a banjo with a hoop of aluminum and claimed to be the first to use this metal for a banjo hoop. In 1893, in conjunction with J. E. Nott-Barnes, he was running the St.Cecilia B.M. & G. Club in which he later claimed to have played the first piccolo banjo, an instrument he had himself made. (In 1896 he was the official conductor of the club at its concerts.) In May 1903 , Messrs James Sinton Ltd. of 151/153 Wardorf Street, London, were advertising "J. G. Winder mandolins etc. are made in our London workshops" yet in the picture of his "factory" is a notice"Albert Hopkins sole agent for J G Winder's English Made Mandolines and Banjos" In February 1910 he wrote from 532 Caledonian Road, London, N. "as a musical instrument maker" to the President of the Board of Trade (on the occasion of the opening of "Labour Exchanges") suggesting a scheme for teaching the making of musical instruments. He said he would like to see established a "School of Musical Instrument Making" with reading room. library and museum "to teach in a first-class and up-to-date manner." John Geldert Winder 1859 to 1931 next maker

next maker Abbott trained as a cabinet maker and was a maker of banjos from about 1895 and sold under his own name and made for other firms and teachers (e.g. Barnes & Mullins , John Alvey Turner , Norton Greenop , Charles Skinner, Len Shevill , G. Scarth) . When Barnes &, Mullins came to London in 1901,and soon after, started their own workshops at Harrow, Middlesex, John G. Abbott supervised the making of the Barnes & Mullins banjos and zither-banjos. In 1905 he left Barnes & Mullins to form his own company with the title of J. G (George). Abbott & Co. and a factory at 97/99 Hampstead Road, London, N.W.l. The instruments they made were grouped under the general names of "Mirabile" (banjos), "Monarch" (plectrum-banjo and tenor-banjos) and Amboyna" (Zither-banjos). About 1928 his workshops were transferred to 44 Chalton Street,Euston Road (where his son-learned the art of instrument making) and four years later he became, part of the Besson Co., when his works were transferred to Besson’s premises at Stanhope Place, Marble Arch, London, when the making of banjos virtually ceased, his activities being devoted to making plectrum guitars (sold under the brand of "Aristone"). In 1936 he suffered from serious internal trouble from which he never fully recovered. He died on February 11, 1938 after a brief illness. John (“Jack") Abbott, son of the above learned the craft of instrument making in his father's workshops. When his father joined Besson & Co. in 1932, he established his own one room work-shops at various addresses in London for the making of, mostly, guitars. He did make a few banjos and even steel guitars with a pickup, which were branded "Abbott-Victor”. He gave up business in 1957. John G Abbott 1878 to 1938

...of 193 Great Brinswick Street, Dublin was a successful teacher of the banjo and a promoter of local concerts from about 1890 to the turn of the century. He sold banjos bearing his name as maker but it is thought they were made for him by Barnes & Mullins. C F Allen Do you have a banjo by this maker? can you supply us some images? next maker

In 1883 he sold his factories and in 1889 went into partnership in the musical instrument business with Frank, his son as Stratton & Son. It is probably during this period that he sold banjos, almost certainly made for him by Buckbee , under the model names of Bijou and Appolo . These would have been gut strung banjos. John Franklin Stratton 1832-1912 next maker .. His first commercial venture in 1859 was to open a shop in New York as a music retailer being an accomplished player of wind instruments and a leader of various bands and orchestras. During the civil war he was a supplier of field trumpets. Stratton & John Foote joined forces in 1864 to buy an instrument importing business and then set up several companies in Germany to manufacture both woodwind and stringed instruments.

William E Temlett 1866 to 1921 next maker In 1864 William Temlett Snr established a workshop for making banjos at 95 Union Street, London, S.E. William Ernest Telmett had started work in his father's factory in early boyhood but left at the age of thirty to form his own business. Born in 1865, W. E. Temlett left school at the age of 14 and entered his father's factory and it was not long before he was appointed manager. But as he grew older, disagreements with his father became more frequent and in 1895 he left to form his own business. He set up a workshop at 29 Charlotte Street, Blackfriars, London, S.E., and for some years keen rivalry waged between father and son. W.E. Temlett prospered and within a year he was advertising that the instruments he made could only be bought through retailers not direct from him. His "Apollo" zither- banjos and the "Hercules" and "Mozart" banjos enjoyed healthy sales all over the country; the latter being said to be good copies of S. S. Stewart 's instruments. In October 1898 he launched his own monthly fretted instrument magazine - "The Banjo, Mandolin & Guitar News" - which enjoyed an existence for some years and this, coupled with the many concerts he organised in and around London, did much to popularise his instruments. He was an enlightened employer and every year took his entire staff, male and female, to the seaside for the day and gave an annual dinner and dance for their benefit at which the leading fretted instrument soloists would perform. In addition to his instrument making, he published fretted instrument music but his extensive catalogue was purchased by John Alvey Turner in 1903 and absorbed into the latter's vast catalogue. Pictures of WE Temlett's "Patent", all metal pot, ivory flush frets, ebony neck courtesy of Skip Sail, Picture of WE Temlett courtesy of Steve Prior

Vega In 1889 in Boston, Mass. Julian Nelson and his brother Carl, with two skilled musical instrument makers named John Pahn and John Sweson, formed a small company for the making of guitars. Calling themselves The Vega Company, Julian and the two Johns started to produce some high quality guitars in their one roomed “factory”. Carl took no active part in production ; he was merely the financial adviser (book keeper) in the beginning. Business prospered and kept the three craftsmen busy but for some years Vega guitars were only known in and around Boston. Julian Nelson was an expert on woods and was always responsible for the selection and purchase of the quality timbers that went into the making of Vega instruments. (He died on 14th July 1920 at the age of 51 but his insistence on only the best woods for Vega instruments, was a legacy he left behind him). After a few years Julian and Carl Nelson purchased the controlling interest of the other two partners and Carl entered the firm as full-time financial adviser and a move was made to larger premises on one of the waterfront streets in Boston. To cope with the fast increasing demand for Vega Instruments a number of workmen were added to the pay roll and several wood working machines installed. In addition to guitars the Vega Company now started to make mandolins, which were fast becoming popular in the USA. With Mandolin Clubs (orchestras) being formed everywhere in America the name of Vega started to become known from the East Coast to California. The demand for Vega guitars and mandolins continued to grow apace and soon the company had outgrown its small factory. Having in mind the future development of the company, in 1908 the two brothers Nelson bought the Standard Band Instrument Company (?) from Thompson & Odell (the music publishers and importers) who, incidentally, had originally acquired the firm and its factory about 1880 from Quimby Brothers and DC Hall (its founders) who were the first instrument makers of any note in Boston. This was the first expansion which made it possible for the Vega Company to sell goods other than those they actually made. (It is interesting to note that this remains the status quo to this very day {1967}) The Vega plant was moved into the spacious Standard Co factory at 62 Sudbury Street where, with the additional machines and up-to-date facilities they remained until June 1917 when they moved to even larger premises at 155 Columbus Avenue. In 1904 the premises of AC Fairbanks & co in Washington Street was destroyed by fire. These makers of high class banjos were held in high esteem by banjoists. The firm at this time was owned by Messrs Dodge & Cummings but the affairs of the company had been in the capable hands of David L Day, a name regarded with respect throughout the whole banjo world. The Vega Co. was offered the trading name and salvaged plant of Fairbanks and with their purchase Vega added the making of banjos to their growing activities. David L Day was taken into the Vega company assuming managerial duties in the firms new banjo department. From the Fairbanks company Vega also acquired some of the skilled banjo makers and, perhaps more importantly, the services of Herbert J Fandel , who started with the Fairbanks company in 1889 and was to play an important part in the design and promotion of Vega banjos. When the Vega company became a fully-fledged corporation under the incorporating laws of the state of Massachusetts, David Day was elect Secretary of the company. With the acquisition of the Fairbanks Company Vega not only started to make banjos with their own name but also continued to market the Fairbanks products. For a time they used both names as trading companies: the Fairbanks Company being at 63 Sudbury Street and the Vega Company at 62. All models in the Fairbanks range were also available as Vega instruments. In addition to supervising the banjo making part of the factory David Day was “on the road” selling these high class instruments. In 1908 the Fairbanks “Whyte Laydie” was redesigned by David Day and a year later Vega produced the famous “Tu-ba-phone” banjos, both of which were revolutionary in design. Under the management of Carl Nelson (Treasurer) Julian Nelson (President and Factory Superintendent) and David Day (Secretary and Sales Manager) the new Vega company grew in size and prestige. When he dance band boom started Vega instruments were eagerly sought by players everywhere and the company was hard put to it to keep up with the unprecedented demand. Here it might be mentioned that in 1918 the company made the special extra-large hoop banjos with low G fifth string used by Brent Hayes in all his world tours. In 1920 the factory was turning out eight models which ranged from the cheapest to the dearest: “Senator”, “Regent”, “Imperial Electric”, Whyte Laydie No. 2”, “Whyte Laydie No. 7”, “Tu-ba-phone No. 3”, “Tu-ba-phone No. 9” and the “Tu-ba-Phone Delux”, the latter three having 11” hoops and the others 10 ¾”. In 1922, after an active business association with the form for eighteen years David Day resigned his position with the Vega company to become Vice-President and general Manager of the Bacon Banjo Company. “Bert” Fandel replaced Day as Sales Manager and his high standards of instrument perfection did much to further the booming sales of Vega tenor-banjos and plectrum-banjos at that time. It was under his aegis (with Julian Nelson having passed away 3 years earlier) that in 1923 Vega re-designed most of their banjos and, in 1927, in addition, produced its “Vegaphone” model and, in 1927, its revolutionary “Vegavox”. A modern version of an old ideas in banjo construction which found favour with many solo and orchestra players. The discontinued banjo production when the USA entered WWII but recommenced production in the late 1960’s and continue to make a full range of banjos, including long necked “folk” banjos and models in the style of the pre-war “Vegavox” Instruments. The Vega Co., Inc. is now ( 1967 ) located at 40 Leon Street Boston, Mass. USA. Pictures courtesy of S teve Prior next maker

Weymann The firm of HA Weymann & Son of 923 Market Street, Philadelphia Pa., was established in 1864 as makers of stringed instruments. As early as 1903 they were advertising themselves as music dealers and manufacturers of the celebrated “Keystone” mandolins, banjos and guitars. In February 1917 they were incorporate and moved to 1108 Chestnut Street and it was soon after this that thy commenced to make the range of banjos by which they became known all over the world. These instruments were of a type in which wood played a major part. The hoops were made entirely of wood, built up in two separate sections (upper and lower) of ten laminations, and tapered internally to give what was claimed to be a “megaphonic effect” . The brackets for tightening the vellum passed through the lower section of the hoop which protruded enough to take them. The range was called “Orchestral” instruments and were fitted with a patent “combination neck brace and adjuster” and special Weymann “Four to One” (registered) centre-gear tuning pegs. In addition they had a “Patented Tone Resonator” (fitted to the banjo hoop by felt covered spring clamps) which had a fretwork designed metal flange connected to its upper edge. By 1928 the firm had moved to Tenth & Filbert Streets, Philadelphia and its subtlety renamed “Orchestra” banjos ranged in price from $140 to $420 while its “Keystone State” range (fitted with non-detachable resonators) were priced from $35 to $85. The firm seems to have stopped manufacturing banjos in the early 1930’s. Pictures of banjo-ukulele courtesy of Smakulas Fretted Instruments Pictures of 5 string & tenor courtesy of Steve Prior Next Maker

In 1897 Messrs Rettburg and Lange took over the factory and banjo making plant of J H Buckbee and established a factory at 383 Second Avenue, New York City. By 1903 they had moved to 115-121 East 13th Street and from this address in 1908 they announced the production of their “Orpheum” range of banjos. Three years later they were able to announce that increasing business had made then seek even larger premises at 225-227 East 24th Street. In January 1915 they advertised their “Brass Band Orpheum” – an new banjo with 29 frets (to high G) . The neck on this instrument was joined to the hoop at the 20th fret with a fret board extension over the velum carrying the extra 9 frets. July 1918 saw the debut of the “Orpheum Plectrum banjo” and a new 5 string with a long fifth string tuned to an octave below the third string (this banjo was similar to the Vega banjo Brent Hayes had played for some years). It was in August 1920 that the company was granted a US patent for its new “Paramount” banjo and this new instrument (designed by William L Lange) made its first appearance in 1921. In 1922 William took over sole control of the company and changed the title to Wm L Lange. In September of that year he announced (as “successor to Rettberg & Lange) six styles of the “Paramount” banjos. “Paramount” banjos became world famous and were much sought after by all the leading dance-band players. The five spacious floors at East 24th Street accommodated over 250 workers making banjos and included its own plating shop. It was during this period that Wm D Bowen tested all banjos leaving the factory. In November 1922 Lange made what was said to be the World’s largest banjo. It was for the Paul Whiteman orchestra and is said to have cost $500. The instrument weighed 35 pounds and was five feet long. The hoop was 24" in diameter and the neck 3 feet long and was playable! In the early part of 1925 the Lange factory bought out a cheaper model instrument with the name of “Langstile” and this incorporated a resonator made of metal and mahogany. Such was the demand for this cheaper instrument that it was produced at a second factory located in Brooklyn where instruments (notably the “Challenger” and the “Artcraft” range) were also made for other manufacturers and retailers to sell. All manufacturing ceased in 1939. Rettburg & Lange Next Maker

References to a John Jones, of Lea Bridge Road, London, as a "lone" maker of banjos have been discovered but apart from the fact that he died in the 1920s and his workshop was in the garden of his house, nothing else has been unearthed except that making banjos was his full-time occupation. How and where he sold the banjos he made is not known. November 2012: John Jones (b 1861 in Bethnel Green) and his son John CA Jones (b 1884 in Bethnel Green) were both resident, in 1911, at 196 Lea Bridge Road and both recorded as chairmakers. John Jones 1861 to .. Do you have a pre 1940's banjo by this maker? can you supply us some images? next maker

It would appear that Albert Houdlett & Son makers of drums and banjos were in existence in the early 1860’s for Friederich Gretsch was working in their factory until he was 27 when he left to form his own business. In a list of banjo makers included in the June 1928 issue of “The Cresendo”a firm or Houdlett of 40 Melrose Street,Brooklyn, New York were listed as makers of “Lynbrook” (brookLyn), “Nu-art” and “Nu-way” banjos and a "Royal Parlour" 5 string, they went out of business in 1930. The “Music Trades” magazine of February 1958 referred to the company as “long defunct”. "Lynbrook" pictures courtesy of Jim Kvalheim Albert Houdlett & Son 1865-1930 next maker