The banjo, the quintessential ‘American’ instrument, from bluegrass to ragtime jazz. It boasts a complex history, rooted in the transatlantic slave trade. The modern image of the banjo is set against the backdrop of pastoral North America.

But where does this image come from? To find out, I delved into the 19th century, where, by researching the social, economic, decorative and technical aspects of the banjo, I sought to find answers. The focus of my project was on S.S. Stewart, one of the most influential makers of this period. I built two replicas of an S.S. Stewart banjo, based on information from original catalogues and the dimensions of an original instrument. In addition, I built a hypothetical reconstruction of an instrument that Stewart was said to have built for Horace Weston. Horace Weston was one of the most accomplished and skilled banjoists of the late 19th century.

With nylon strings, carving on the heel, mother-of-pearl inlays, a nickel-plated tuning system and a rim clad in German Silver, these banjos not only sound different but also differ aesthetically from their modern counterparts.

The hypothetical reconstruction for Horace Weston was created based on a surviving sketch of the heel carving. We also find information in letters between S.S. Stewart and Horace Weston regarding the instrument’s dimensions and Horace’s preferences. The result is a compromise between Horace’s needs, S.S. Stewart’s wishes and, at times, a gap in our knowledge that must be filled…