COMPANY HISTORY
The Epiphone company ranks as the oldest of the major banjo manufacturers (having been founded in 1873 by Anastasios Stathopoulo as the House of Stathopoulo). The company grew under the sole proprietorship of its founder until it was incorporated in 1923 as Epiphone (with the Stathopoulo sons making up the executive committee). The company's name was derived by combining the nickname of Stathopoulo's son Epaminondes "Epi" (the company's president) with the word "phone" (a popular generic term for transferring a variety of audible sounds), thus "Epiphone".
The new Epiphone company concentrated on banjo production, introducing their "Recording" line of instruments in 1925. Of the four models introduced that year (the Artist, Bandmaster, Concert and De Luxe Art), the Concert and the De Luxe Art models are the most remembered for their distinctive dragon inlay on the peghead. These models were produced for just over two years, at which time four new models (the Alahmbra, Concert Special, Dansant and Emperor) were added to the line and the original models were cosmetically redesigned. From the understated utility of the Model A to the opulent elegance of the Emperor, Epiphone banjos were a favorite among banjoists of the day because of their bright, cutting tone and durable construction.
In 1935, based on trends in American popular music, Epiphone all but discontinued banjo production and switched its manufacturing emphasis to guitars. This foresighted move allowed the Epiphone company to stay in business while most other "banjo only" manufactures were disolved. Many of the most respected guitars of the 1940's and 50's bear the Epiphone name (providing the only serious competition that the Gibson name was to ever encounter). The Stathopoulo family maintained control of the company until 1957 when the "Epiphone" name and product line were purchased by the Chicago Musical Instrument company (the company which owned Gibson).
While there are lesser grade instruments being produced today under the Epiphone name, the Recording series of banjos produced by the Stathopoulo family in the 1920's and 30's stand as some of the finest banjos of all time. The National Four-String Banjo Hall of Fame Museum is indeed fortunate to have numerous examples of the finest work of the Epiphone Banjo Coporation.
EPIPHONE INSTRUMENTS CURRENTLY IN THE MUSEUM COLL
ECTION
Epiphone De Luxe Art Tenor Banjo - 1927
This Epiphone Recording De Luxe Are model from the first series of Epiphone Recording banjos (1925-1926/27) was built in early 1927. The neck, shell and resonator are constructed of a combination of ebony and
maple woods (dyed black to look like ebony). All metal parts are hand-engraved and gold-plated. A distinctive feature of this instrument is the mother-of-pearl inlay work that adorns the fingerboard and peghead. The "Dragon" motif of the peghead follows through to the fingerboard inlays, all of which feature scrimshaw engraving as well. In the two years of production, Epiphone offered several variations of the resonator back on the De Luxe Art model. Our example, with the hand-carved and painted dragon's head is the most desirable by today's banjo collectors. The warmth of wood marquetry binding around the resonator and sides of the fingerboard adds another element of elegance to this instrument.
Of the four original models of the Epiphone Recording banjos offered between 1925 and 1927, this example of the De Luxe Art model with these features is certainly the rarest. From the Jack Canine Collection
Epiphone Recording Model A Tenor Banjo (Smokey Montgomery) - 1928
While the Epiphone Recording Model A was the least expensive instrument of the second series of Epiphone Recording Banjos (1926-1935), it featured all the same basic components as the rest of the product line. The tone ring, flange and other sound critical metal parts are identical throughout the Recording series of banjos. On this model, the metal parts are nickel-plated and the wood construction is basic walnut. While not as elaborate as the rest of the line, this banjo features better than average basic inlays, and provided it purchaser with a substantial instrument at a reasonable cost. Donated by the estate of Marvin "Smokey" Montgomery
Epiphone Recording Model B Tenor Banjo - 1927
To be competitive with most other banjo manufacturers of the 1920's, Epiphone attempted to offer a variety of decorative levels of their basic Recording model banjos to fit the taste and budget of any banjoist. General upgrades include gold-plating, more exotic woods, added inlay, etc. Next to the bottom of their product line, the Epiphone model B (sometimes referred to as "Bandmaster") was a beautiful, yet affordable instrument.
The example of the Epiphone Bandmaster was constructed between 1926 and 1927 and is unique in that it features a combination of cosmetic appointments common to both the first series of Recording banjos (1925-26) and the second series (1927-35). The basic metal components of the Epiphone Recording design body are gold-plated. The resonator back (which by 1927 should be covered with celluloid) is, in fact, a beautiful rosewood (a feature of the earlier series). The neck and peghead are inlaid with extensive mother-of-pearl and the entire instrument is bound with elegant wood marquetry.
Even though relatively inexpensive, the Epiphone Bandmaster is both a fine musical instrument and example of refined banjo decor. From the Jack Canine Collection
Epiphone Recording Concert Tenor Banjo - 1927
Epiphone Recording Concert Special Tenor Banjo - 1928
In the 1920's, once most banjo manufacturers were satisfied with their basic banjo designs, they began adding more and more decorative features to their instruments. While, by today's standards, the use of celluloid (or plastic) in instrument construction would not be done, one must remember that in the 1920's this new material was exotic and very workable as a decorative medium in banjo construction. Nowhere is the creative and tasteful use of celluloid in banjo construction more evident than in the second series of Epiphone recording banjos (Manufactured between 1927 and 1935).
This Epiphone Concert, built in 1928 is the first of the company's models to feature extensive celluloid throughout. From the resonator sides and back, to the fingerboard and the front and back of the peghead, engraved and tinted celluloid can be seen everywhere. Of course, the body of the instrument features the proven Epiphone Recording metal parts which are gold plated. The rosewood neck of this instrument has a beautiful grain, accented by a tastefully hand-carved heel. This instrument is unusual in that most Epiphone Concert models of this era do not have the star-like pattern engraved on the resonator back seen on this banjo.
As a moderately priced instrument, the Epiphone Concert offered banjoists a fine working tool that offered showmanship appeal as well. From the Jack Canine Collection
Epiphone Recording Concert De Luxe Plectrum Banjo - 1930
As an attempt to satisfy every taste, most of the major banjo manufacturers would offer, on a "custom made" basis, almost any variation or combination of the components or decorative features found in their standard product line. Furthermore, employees of these companies may have had the ability to make an instrument for themselves (building and decorating it as they saw fit). As a result, occasionally a banjo surfaces that defies catalog or hearsay description and must considered "one-of-a-kind". The Epiphone Concert De Luxe banjo in our collection certainly falls within that category.
Whether made as a custom order or an employee instrument, this Epiphone Concert De Luxe banjo has a combination of components and decorative features, along with a unique body design feature that have not been seen in any other known example of an Epiphone Recording banjo. To begin with, with depth of the body (drum) of the instrument is a full 1/4 inch deeper that the standard Recording design. These metal parts were then engraved and heavily gold-plated. The resonator back is curly maple with concentric rings and decorative accents of wood marquetry. Curly maple construction continues on the neck (which also features a hand-carved heel decoration). The resonator sides a overlaid with hand-engraved and painted celluloid (a feature that is also carries through to the fingerboard as well as the front and back of the peghead). The elaborate patterns seen throughout the celluloid trim of this banjo are unique to this instrument.
While the exact history of this banjo remains a mystery, it is clearly a unique masterwork of the Epiphone craftsmen. From the Jack Canine Collection
Epiphone Recording De Luxe Tenor Banjo - 1927
Rarity of woods used and decorative features often established the price and position in the product line of a particular model of banjo. Nearing the top of the Epiphone Recording banjo line was a model that was destined to be recognized as one of the company's most dignified instruments; The Epiphone Recording De Luxe.
This Epiphone Recording De Luxe, made in 1927, features a combination of celluloid decoration (common to the line at the time) and ebony wood components interwoven into stunning design. The two-piece ebony neck is slender in contour and accented by a hand-carved heel. The resonator back combines maple (dyed black to look like ebony) inlaid with celluloid which is engraved in a floral pattern. That motif is continued on the sides of the resonator, the peghead overlay, and the fingerboard (which on this model consists of alternating blocks of celluloid and ebony). All metal parts are engraved and gold-plated and accent binding of wood marquetry can be seen throughout the instrument.
In an era where showmanship appeal in banjos often achieved via the over-use of glitter and rhinestones, the Epiphone Recording De Luxe stands as one the most majestic banjos of its day. From the Jack Canine Collection
Epiphone Recording Dansant Tenor Banjo - 1930
Theater audiences of the 1920's (and banjoists that performed for them) craved showmanship appeal in the banjos seen in the stage presentations of the day. Often, this showmanship appeal was achieved via the use sparkling materials such as glitter laden celluloid and rhinestones as decorative elements of the banjos being manufactured at the time. Many banjo manufacturers fell in
the trap of over-use of such elements, resulting in instrument which, by today's standards, appear gaudy and cheap. Others, such as Epiphone, made restrained use of these materials. The Epiphone Dansant Recording model banjo provided musicians and audiences with a wonderful combination of utility and showmanship elements.
This example of the Epiphone Recording Dansant model was manufactured in 1930. The standard sound components of the Recording banjo design were all engraved and gold-plated. The resonator back and sides (along with the back of the peghead) are overlaid with sparkling gold-flaked celluloid (which feature a combination of floral patterns and regal crests-all engraved and hand painted). The neck is made of white holly wood (unique to the product line) and has the accent of a carved heel. The fingerboard and peghead overlay are celluloid (again engraved and hand painted in a floral motif).
While the use of gold-sparkle celluloid as a decorative element in banjo construction may not be considered by today's luthiers, in the 1920's the combination of the musicality and visual appeal of the Epiphone Recording Dansant model made it a sensation. From the Jack Canine Collection
Epiphone Recording Emperor Tenor Banjo - 1927
By 1927, the banjo's popularity in the United States had hit its peak. By this time, most banjo manufacturers were satisfied with their basic banjo construction designs and product lines. In an effort introduce something new and, of course, call attention to their products, most banjo companies designed and introduced what would be their ultimate offering in terms of the showmanship appeal that an ornately decorated instrument would provide. Epiphone's entry was the elegant Emperor model.
While it must be remembered that all Epiphone Recording banjos had the same basic parts, it is what Epiphone artists did with those parts that make the Emperor model such an outstanding instrument. This example of the Emperor was made between 1927 and 1928. All of the metal parts are hand-engraved in a unique pattern unlike other
Epiphone models. The resonator back as well as the front and back of the peghead are covered with celluloid which was hand-engraved in a floral pattern and hand-painted. The crest in the center of the resonator back and the urn engraved on the peghead give a regal touch to the motif. Note the fingerboard with consists of a bed of alternating ebony and celluloid blocks, the length of which is engraved in vine-line floral pattern. As an additional attention getting feature (so important to the stage performers of the day), the outer edge of the front of the peghead in inlaid with rhinestones.
As their ultimate top-of-the-line instrument, Epiphone chose to price the Emperor model at $500 while the other manufacturer's similar models generally sold for $450. This $50 difference may be one of the reasons why entire production run of the Emperor model was, by all accounts, less than 10 instruments. This scarcity, along with its outstanding array of decorative features make the Epiphone Emperor a true banjo treasure. From the Jack Canine Collection
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