J.Parslow
Banjo Maker Kingston-on-Thames Surrey
A REGISTER OF SURVIVING BANJOS
&
Compiled
executed by Ed M Parslow
. . . and then there were 10 +1
C. Helsen / M. Parslow
Emily Parslow
E. Parslow
A photo possibly of James Parslow and at least four of his banjos
All his machinery was steam-driven with almost every part of the banjo made by his own hands. His open back models were made in two versions: 11” hoop with generally a 26¼” scale and a 12” a 27¼” scale. His zither banjos had an 8 highly shaped tension hoop & former in an 11” case.
The necks of his instruments were laminated both vertically and horizontally depending on the style; and on many, pearl dots were placed at the 5th peg side of the neck to correspond with each fret – as used on fretless instruments
Parslow was a lover of decoration and he collected Chinese mother-of-pearl gaming chips from which he would fashion stars, crescents, arrows and dots to embellish the fretboards of his banjos. With minor variations, no two Parslow banjos would be identical in this respect but in general he chose the 5th 7th 9th 12th & 17th fret positions for the main inlays whereas the majority of makers preferred using the 10th
He devised a style of metal perch-pole which could be adjusted at one or both ends by screw-nuts to make the hoop rigid. His earlier tailpieces were simply wire-tied to the perch-pole fixing and were either wood, bone or ebony but the later open back banjos had cast brass or bronze ‘Lyre’ style tailpieces with copper lugs. He often used the “split” second fret at the 1st string on many of his banjos
and after progressing from the violin-style friction tuning pegs, he used the American 1888 patented Filstrup & Van Zandt non slip tuners.
Because he never used serial numbers, it is difficult to date the evolution and output of his instruments especially in the design of the headstock; the switch from stamped to engraved nameplate and the style of heel.
An advertising feature in The Kingston and Surbiton Illustrated dated 1911, boasted ’. . . there is a large and increasing demand of instruments of his manufacture throughout the country . . . Parslow is a genuine manufacturer, every part of the instrument, from the rims to the pearl ornamentation being made on the premises, and large quantities are exported to well-known American houses . . .’
In addition to his instrument-making and carpentry he maintained a landing stage and boathouse business. To help advertise the Parslow instruments, he also ran a successful music studio and a banjo quartet with outstanding pupils appearing at local concerts.
Jimmy’ Parslow died aged 72 in the November of 1919 and it appears that the business then folded as he had no children. His nephew Charlie Parslow played banjo professionally – it is said with The Palladium Minstrels and touring the world with Al Jolson.
Views of Burgoines Boat Yard where James Thomas served his apprenticeship
The James T Landing Stage and Boathouse bill head A possible piece of self-promotion from C. Helsen
B. Parslow
C. Helsen
The original Parslow bio from Britsh Banjo Makers web site, literal and grammatical mistakes & all
Terry Holland compiler of ‘British Banjo Makers’ web page (now The Vintage Banjo Maker) playing a Parslow (#1) shortly before his death
E. Parslow
Typical Parslow characteristic headstock, heel plate, perch pole, tailpiece, inlay work and shoe fixing
A partial stepped 2nd fret under the first string seen on Parslow #12, 13, 20 & 27 with the section of the 2nd fret filed flush. On at least six others here they have been removed and the slot filled in. This was to correct intonation in mainly ‘C’ tuning.
THE STEPPED 2nd FRET
Parslow Headstocks & Tailpieces
Neck variations
Dots between frets 1,3,7,9,12,15,17,19
Pearl position dots at fret 3, 5, 7, 9, 12, 17
Pearl position dots at each fret
Parslow #2
Parslow #15
Parslow #8
Parslow #18, 22 & 26
Parslow #25
6 pieces
Parslow #4 & 19
Pearl position dots at each fret
Pearl position dots at each fret
Parslow #24 10 pieces
laminated from 1 to 8 layers of Ebony & Maple on the Mahogany neck both vertically and horizontally
Parslow #9
Parslow #5
Parslow #12, 13, 20, 21, 23 & 27
Parslow #1 & 3
Parslow #6, 7 & 16
#14
#17
Pearl position dots at each fret
Position dots between frets 7, 9, 12
Pearl position dots at each fret
Pearl position dots at each fret
Parslow
Parslow
The Adjustable Perch Pole or Dowel Stick Splice variations of the fretboard & headstock top veneer at the nut
As used on # 1, 21 & 25
As used on # 2, 3, 4, 5, 6, 7, 8, 12, 14, 15, 17 & 18
Headstock
Exploded views
Headstock
As Parslow had no serial numbering system for his instruments, only time and patience will determine their age, so each banjo in this Register is given an identification # in the order it is discovered.
E. Parslow
E. Parslow
PARSLOW NAMEPLATES
#6 #19 & #26 mispelt Parstow and machine engraved
JAMES PARSLOW’s use of the FILSTRUP & VAN ZANDT
PATENT NON-SLIP TUNING PEG
Highly engraved pot of Parslow #25
Parslow #1 Custodian Ed Parslow
Pot: 12” Overspun Mahogany – Wall: ⅜” thick, 2⅜” deep
Tensioners: 30
Fretboard: Ebony – Length: 19”
Nut: 1¼” – @12th: 1⅞”
Frets: 19 originally had a stepped 2nd fret under the 1st string
5th string pip: Above 5th fret
Scale: 27¼” – Overall Length: 36¼”
Neck: Mahogany, 4-piece – Profile: Arched
Perch Pole: ½” Nickel plate brass tube encasing central rod connecting neck to tailpiece
Headstock: 51/8” Tailpiece: Curved Lyre
Only the neck has survived and rebuilt on a William E Temlett hoop/pot & hardware tailpiece by Graham Hurlock
Parslow #2 Custodian Ed Parslow
Pot by Temlett: 12” Overspun Maple – Wall: ⅜” thick, 2⅜” deep
Tensioners: 24
Fretboard: Ebony – Length: 19”
Nut: 13/16” – @12th: 1⅞”
Frets: 19 originally had a stepped 2nd fret under the 1st string
5th string pip: Above 5th fret
Scale: 27¼” – Overall Length: 36⅝”
Neck: Mahogany, 4-piece – Profile: Arched
Perch Pole: ⅝” Brass tube with wood core extending into heel
Headstock: 51/8” Tailpiece: Brass by Graham Hurlock
Position markers: 5 Nickel-Silver/Pewter Stars – see also Parslow #15
Parslow #3 Custodian Ed Parslow
Pot: 12” Overspun Mahogany – Wall: ⁵/₁₆” thick, 2⅜” deep
Tensioners: 30
Fretboard: Ebony – Length: 18⅞”
Nut: 1¼” – @12th: 1⅞”
Frets: 19 originally had a stepped 2nd fret under the 1st string
5th string pip: Below 5th fret
Scale: 27¼” – Overall Length: 361/8”
Neck: Mahogany, 4-piece – Profile: Arched
Perch Pole: Mahogany
Headstock: 51/8” Tailpiece: Curved Lyre
Parslow #4 Custodian Ed Parslow
Pot: 11” Overspun Mahogany – Wall: ⁵/₁₆” thick, 2⅜” deep
Tensioners: 30
Fretboard: Ebony – Length: 19¼” – Headstock length: 59/16”
Nut: 1¼” – @12th: 1⅞”
Frets: 21
5th string pip: Above 5th fret
Scale: 27” – Overall Length: 355/8”
Neck: Mahogany, 9-piece – Profile: Arched Pearl dots align with each fret on 5th peg side
Perch Pole: ½” Nickel plate brass tube encasing central rod connecting neck to tailpiece
Headstock: 53/8” Tailpiece: Curved deluxe Lyre
Parslow #5 Custodian Ed Parslow
Pot: 11” Overspun Maple – Wall: ⅜” thick, 2⅜” deep
Tensioners: 26
Fretboard: Ebony – Length: 19” – Headstock length: 5½”
Nut: 15/16” – @12th: 1⅞”
Frets: 21 With enhanced position dots on 10th fret
5th string pip: Above 5th fret
Scale: 26¼” – Overall Length: 35½”
Neck: Mahogany, 2-piece – Profile: Round Pearl dots align with each fret on 5th peg side
Perch Pole: ½” Brass Tube encasing central rod connecting neck to tailpiece
Headstock: 5¼” Tailpiece: Curved Lyre
Engravers spelling mistake of Parslow also seen on #19 & #26
Parslow #6 Custodian Ed Parslow
Original owner: C H Pinch
Pot: 11” Overspun Mahogany – Wall: ⁵/₁₆” thick, 2⅜” deep
Tensioners: 36
Fretboard: Ebony – Length: 18⅞” – Headstock length: 5⅝”
Nut: 15/16” – @12th: 1⅞”
Frets: 21 originally had a stepped 2nd fret under the 1st string
5th string pip: Above 5th fret
Scale: 26¼” – Overall Length: 35½”
Neck: Mahogany, 5-piece – Profile: Round Pearl dots align with each fret on 5th peg side
Perch Pole: ½” Brass tube encasing central rod connecting neck to tailpiece
Headstock: 53/8” Tailpiece: Curved deluxe Lyre
Parslow #7 Custodian Bob Parslow
Pot: 11” Overspun Maple – Wall: ⅜” thick, 2¼” deep
Tensioners: 30
Fretboard: Ebony – Length: 19¼”
Nut: 1¼” – @12th: 1⅞”
Frets: 21
5th string pip: Above 5th fret
Scale: 26½”
Neck: Mahogany, 4-piece – Profile: Arched Pearl dots align with each fret on 5th peg side
Perch Pole: ½” Brass tube encasing central rod connecting neck to tailpiece
Headstock: 53/8” Tailpiece: Angular Lyre
Parslow #8 Custodian Graham Parslow
Pot: 11” Overspun Maple – Wall: ⅜” thick, 2½” deep
Tensioners: 28
Fretboard: Ebony – Length: 19”
Nut: 1¼” – @12th: 1⅞”
Frets: 20
5th string pip: Above 5th fret – Tuning pegs: Ebony friction
Scale: 27”
Neck: Mahogany, 4-piece – Profile: Round Pearl dots align with frets 3, 5, 7, 9, 12 & 17th on 5th peg side
Perch Pole: ½” Nickel plate brass tube – encasing central rod connecting neck to tailpiece
Headstock: 53/8” Tailpiece: Angular Lyre
Parslow #9 Custodian Steve Harrison
Pot: 11” Overspun Mahogany – Wall: ¼” thick, 2⅜” deep
Tensioners: 24
Fretboard: Ebony – Length: 18”
Nut: 1¼” – @12th: 1⅞”
Frets: 20
5th string pip: Below 5th fret
Scale: 25”
Neck: Mahogany, 2-piece – Profile: Round
Perch Pole: Mahogany
Headstock: 51/8”
Tailpiece: Ebony Weaver copy – tied to perch pole connector
(Charlie) Parslow #10 Custodian unknown
Original owner: Charlie Parslow 1875 - 1964 Nephew of JTP
Pot: 11” Overspun – Wall: ⅜” thick, 2⅜” deep
Tensioners: 26
Fretboard: Ebony – Length: ”
Nut: 1¼” – @12th: 1⅞”
Frets: 20
5th string pip: Above 5th fret
Scale: 27¼”
Neck: Mahogany – Profile:
Perch Pole:
Headstock: 51/8”
Tailpiece: Undefined under custom Nickel plate swivel cover
C. Helsen / M. Parslow
(Charlie) Parslow #11 Custodian
unknown
Original owner: Charlie Parslow 1875 - 1964 Nephew of JTP
Pot: 11” Overspun – Wall: ⅜” thick, 2⅜” deep
Tensioners: 26
Fretboard: Ebony – Length: ”
Nut: 1¼” – @12th: 1⅞”
Frets: 19
5th string pip: Above 5th fret
Scale: 27¼”
Neck: Mahogany – Profile:
Perch Pole:
Headstock: 51/8”
Tailpiece: Undefined under custom Nickel plate swivel cover
C. Helsen / M. Parslow
Parslow #12 Custodian Rob Malpas
Pot: 12” Overspun Mahogany – Wall: ⅜” thick, 2½” deep
Tensioners: 30
Fretboard: Ebony – Length: 19”
Nut: 1¼” – @12th: 1⅞”
Frets: 19 with a stepped 2nd fret under the 1st string
5th string pip: Above 5th fret
Scale: 27¼”
Neck: Mahogany, 4-piece – Profile: Arched
Perch Pole: ½” Nickel plate brass tube encasing central rod connecting neck to tailpiece
Headstock: 51/8” Tailpiece: Undefined
Terry Tyler (Seabird)
A little history Monday, July 2, 2007
This is my first ever Blog, but I felt compelled to start one, since this is somewhat of a red letter day, banjowise, for me.
This morning I received a little piece of Banjo history (in the UK at least) - a Banjo hand-made around 120 years ago by “Jimmy” Parslow, of Kingston-uponThames, Surrey – all original right down to the skin head and friction tuners, with an engraved plate on the heel of the neck. The pics on this page show the new arrival.
An added bonus is that it has wonderful tone for OT Clawhammer - just what I’d hoped for!
Even better now!
Tuesday, July 3, 2007
So today I took a trip to Hobgoblin Music, wherein dwells the local fount of knowledge of all things Banjo and unveiled my beautiful Parslow Open Back for him. I’d noticed that the ‘jo went a half-tone sharp at the 12th fret on all strings and asked his advice. When he’d finished drooling over it, he took some measurements and declared that the bridge needed moving closer to the tailpiece to around 5 cm - the difference in tuning and tone is now superb - I’d also decided to re-string the Banjo with Nylon which left the tuning spot-on, and now gives a much softer and “old time” sound. All in all, I’m very pleased that “Jimmy” has joined the growing row of instruments propped up in my den. It’s a Gosh Darned Good Banjo Day today! (now, where have I read that lately)?
Parslow #13 Custodian Terry Tyler in 2007
Pot: 12” Overspun – Wall: ⅜” thick, 2⅜” deep
Tensioners: 30
Fretboard: Ebony – Length: 19”
Nut: 1¼” – @12th: 1⅞”
Frets: 19 with a stepped 2nd fret under the 1st string
5th string pip: Below 5th fret
Scale: 27¼”
Neck: Mahogany, 3-piece – Profile: Arched
Perch Pole: Headstock: 51/8”
Tailpiece: Undefined
Todateunlocated
Parslow #14 Custodian unknown
Pot: 12” Overspun Mahogany – Wall: ⅜” thick, 2⅜” deep
Tensioners: 30
Fretboard: Ebony – Length: ”
Nut: 1¼” – @12th: 1⅞”
Frets: 19
5th string pip: Above 5th fret
Scale: 27¼” Headstock: 51/8”
Neck: Mahogany, 6-piece – Profile: Arched Pearl dots align with each fret on 5th peg side
Perch Pole: ½” Nickel plate brass tube encasing central rod connecting neck to tailpiece
Tailpiece: Curved Lyre
Parslow #15 Custodian Rob Wheaton
Pot: 12” Overspun Mahogany – Wall: ⅜” thick, 2¼” deep
Tensioners: 30
Fretboard: Ebony – Length: 19”
Nut: 1¼” – @12th: 1⅞”
Frets: 19
5th string pip: Above 5th fret
Scale: 27¼”
Neck: Mahogany, 4-piece – Profile: Arched
Perch Pole: Mahogany
Headstock: 51/8” Tailpiece: Angular Lyre
Position markers: 5 Nickel-Silver/Pewter stars – see also Parslow #2
Parslow Zither banjo
Parslow #16 Custodian Carole Helsen
Pot: 8½” Pot case: 11” wide, ½” thick, 2½” deep
Tensioner bolts: 20 Fretboard: Ebony – Length: 18¾ ”
5th string tubed from 5th peg position to headstock
Nut: 13/16” – @12th: 1¾” Frets: 22 Scale: 25⅝”
Neck: Mahogany, 4-piece – Profile: Arched, Pearl dots align with each fret on 5th peg side
Headstock: 6” 6-tuner slotted guitar style
Perch Pole: ½” Brass tube encasing central rod connecting neck to tailpiece
Tailpiece: Pressed metal with provision for eight strings
Two Patent dates: (1) Oct 26 1886 (2) May 15 1894
The 5th string tube port
Parslow #17 Custodian Ed Parslow
Original owner: Harry Diamond 1874-1907
Pot: 12” Overspun Mahogany – Wall: ⅜” thick, 2⅜” deep
Tensioners: 36
Fretboard: Ebony – Length: 19”
Nut: 13/16” – @12th: 113/16”
Frets: 19 originally with a stepped 2nd fret under the 1st string
5th string pip: Below 5th fret
Scale: 27¼” – Overall Length: 36½”
Neck: Mahogany, 10-piece – Profile: Arched
Perch Pole: ½” Nickel plate brass tube encasing central rod connecting neck to tailpiece
Headstock: 51/8” Tailpiece: Curved Lyre
Tuning peg Patent mark: PAT. MAY 8 88
Harry Diamond 1874-1907
Harry Diamond was a minstrel who attracted adoring audiences but he died practically penniless in 1907 (aged 33).
The inscription on his headstone says:
In Memoriam
Harry Diamond
Musician & Vocalist
Died at Ross May 18 1907
Aged 33
Erected by a few friends
The marble headstone was erected after an extensive whip-round.
Harry made his home in Ross during the winter months, where he taught the banjo, held musical evenings and partying. During the summer months he went off to more fashionable resorts where he played his banjo for a living.
He was a muscular and broad shouldered man. He was well liked, a perfect musician and was always willing to help out at charitable events but at 33 he fell victim to heart disease and dropsy.
Frederick Cooper, a leading Ross citizen, organized the fund-raising for the funeral. This was met with tremendous response; the book he used to jot down the details is still in existence.
As a mark of sorrow, sprigs of yew were thrown onto the coffin and among the wreaths was a floral banjo. The headstone, made by Ursells of Ross, features a banjo with a broken string to signify the loves and death of the player. The headstone used to be regularly cleaned in his memory, although the current state of the stone sadly suggests that this may not be quite such a regular event anymore.
Parslow #18 Custodian Ed Parslow
Pot: 11” Overspun Mahogany – Wall: ⅜” thick, 2⅜” deep
Tensioners: 30
Fretboard: Ebony – Length: 19¼”
Nut: 1¼” – @12th: 1⅞”
Frets: 21 – 5th string pip: Above 5th fret
Scale: 26¼” – Overall Length: 355/8”
Neck: Mahogany, 4-piece – Profile: Arched Pearl dots align with each fret on 5th peg side
Headstock: 5¼” Possibly an earlier version without stepped waist
Perch Pole: ½” Nickel plate brass tube encasing central rod connecting neck to tailpiece
Tailpiece: Curved Lyre
Engravers spelling mistake of Parslow also seen on #6 & #26
Parslow #19 Custodian Paul Henry sold in 2015
Pot: 11” Overspun Mahogany – Wall: ⅜” thick, 2⅜” deep
Tensioners: 30
Fretboard: Ebony – Length: ”
Nut: 1¼” – @12th: 1⅞”
Frets: 22
5th string pip: Below 5th fret
Scale: 27¼”
Neck: Mahogany, 9-piece, Profile: Arched
Perch Pole: ½” Nickel plate brass tube encasing central rod connecting neck to tailpiece
Headstock: 5⅜” Tailpiece: Curved deluxe Lyre
This banjo was played in Traditional Jazz bands since the early 50’s by Steven’s father, Don Coe (pictured), hence four strings and bracket for a resonator.
Don Coe purchased this banjo in 1953 at a shop which bore the sign “Parslow & Sons” off Fairfield West, Kingston-on-Thames, for the princely sum of £8.
Parslow #20 Custodian Steven Coe
Pot: 12” Overspun Mahogany – Wall: ⅜” thick, 2⅜” deep
Tensioners: 30
Fretboard: Ebony – Length: 19”
Nut: 1⅛” – @12th: 1⅞”
Frets: 19 With a stepped 2nd fret under the 1st string
5th string pip: Below 5th fret
Scale: 27½”
Neck: Mahogany, 4-piece – Profile: Arched
Perch Pole: ½” Nickel plate brass tube encasing central rod connecting neck to tailpiece
Headstock: 5⅜” Tailpiece: Curved Lyre
Parslow #21 Custodian sold July 12 2015 £121:11
Pot: 12” Overspun Mahogany – Wall: ⅜” thick, 2⅜” deep
Tensioners: 30
Fretboard: Ebony – Length: ”
Nut: 1¼” – @12th: 1⅞”
Frets: 19
5th string pip: Above 5th fret
Scale: 27¼”
Todateunlocated
Neck: Mahogany, 4-piece – Profile: Arched
Perch Pole: Mahogany
Headstock: 5⅜” Tailpiece: Angular Lyre
Parslow #22 Custodian unknown
Pot: 11” Overspun Mahogany – Wall: ⅜” thick, 2⅜” deep
Tensioners: 30
Fretboard: Ebony – Length: 19”
Nut: 1⅛” – @12th: 1⅞” Frets: 20
5th string pip: Above 5th fret
Scale: 26¼”
Neck: Mahogany, 4-piece – Profile: Arched
Pearl dots align with each fret on 5th peg side
Perch Pole: Unknown due to Resonator but possibly ½” Nickel plate brass tube encasing central rod connecting neck to tailpiece
Headstock: 51/8”
Tailpiece: Undefined replacement
Resonator: Nickel plate but of unknown origin
Parslow #23 Custodian Gill Sands
Pot: 12” Overspun Mahogany – Wall: ⅜” thick, 2⅜” deep
Tensioners: 30
Fretboard: Ebony – Length: 18¾”
Nut: 1¼” – @12th: 1⅞” Frets: 19
5th string pip: Above 5th fret
Scale: 27¼”
Neck: Mahogany, 4-piece – Profile: Arched
Perch Pole: ½” Nickel plate brass tube encasing central rod connecting neck to tailpiece
Tailpiece: Basic flat metal plate with copper pins and rivets
Headstock: 5”
Tuning Pegs: Ornate Ivory friction
Parslow Zither banjo
This banjo was originally taken to Canada in 1904 by Henry Hill and is now with relative Russell in Northern Virginia
The 5th string tube port
Parslow #24 Custodian Russell Scott
Pot: 8½” Pot case: 11” wide, ½” thick, 2½” deep
Tensioner bolts: 20 5th string pip: Above 5th fret
Fretboard: Ebony – Length: 18¾ ” – Neck: Mahogany, 10-piece
5th string tubed from 5th peg position to headstock
Nut: 13/16” – @12th: 1¾” Frets: 22 Scale: 25⅝”
Headstock: 6” 6-tuner slotted guitar style
Profile: Arched, Pearl dots align with each fret on 5th peg side
Tailpiece: 5-string of unknown origin
Perch Pole: ½” Brass tube encasing central rod connecting neck to tailpiece
It is possible due to the amount of intricate engraving on the pot that it was produced by James Parslow for the 1882 Kingston Industrial Exhibition as it had friction violin style tuning pegs and a wooden dowel post.
Parslow #25 Custodian Ed Parslow
Pot: 12” Engraved Overspun Maple – Wall: 5/16” thick, 2⅜” deep
Tensioners: 36
Fretboard: Ebony – Length: 191/8”
Nut: 1¼” – @12th: 1⅞”
Frets: 19 originally had a stepped 2nd fret under the 1st string
5th string pip: Above 5th fret
Scale: 26¼”
Neck: Mahogany, 6-piece – Profile: Arched
Perch Pole: Mahogany
Tailpiece: Replaced Parslow nickel Lyre
Headstock: 5”
Tuning Pegs: Filstrup & Van Zandt friction replacing Ornate friction
Parslow nickel lyre Hand engraving detail
This banjo was brought into Graham’s workshop in Auckland, New Zealand with the customers hope of it being restored for around $150NZ (£80) With a broken vellum skin, one unserviceable tuning peg, fretboard & adjoining layers separated from the neck, some pearl inlays & bridge missing, the need of a refret & restring, put the instrument well beyond the customers budget.
Graham then took it on as a personal project, then thankfully, was persuaded to part with this impressive restoration and have it returned to the UK.
Sadly no information is available as to how and when the banjo arrived in New Zealand.
Restoration of Parslow #25
by
Graham (Bones) Hurlock at his workshop Barebones Folk Instruments, Auckland, New Zealand in 2021
State of the engraved pot & head on arrival at the workshop and below after having received a good polish
Possibly an original friction tuning peg
New frets prior to them being dressed
Hand engraved tension hoop detail
The ebony fretboard and the four maple & ebony layers had separated from the rest of the neck
Parslow Zither banjo
5th string tube port & pip
Engravers spelling mistake of Parslow also seen on #6 & #19. It is possible these were mechanically engraved at the same time.
Parslow #26 Custodian Ed Parslow
Pot: 8½” Pot case: 11” wide, ½” thick, 23/8” deep, 5/8” dome
Tensioner bolts: 20 – Fretboard: Ebony – Length: 187/8”
Pearl fretboard position dots at fret 3, 5, 7, 9, 12 & 17th
5th string tubed from 5th peg position to headstock
Nut: 13/8” – @12th: 17/8” Frets: 22 Scale: 25¾”
Neck: Mahogany, 4-piece – Profile: Round, Pearl dots align with each fret on 5th peg side
Headstock: 6” 6-tuner slotted guitar style
Tailpiece: Polished Angular Lyre 5th string pip: Below 5th fret
Perch Pole: ½” Brass tube encasing central rod connecting neck to tailpiece
Overall Length: 35½”
Construction of the Parslow Zither banjo
based on Parslow #26
The hoops are a matched pair with only one position for locating the 20 tensioner bolts
Fake
Parslow #27 : Custodian Ed Parslow
Original owner: Gilbert Beeston
Pot: 11” Overspun Mahogany – Wall: ⁵/₁₆” thick, 2⅜” deep
Tensioners: 26
Fretboard: Ebony – Length: 19” – Headstock Length: 53/₁₆ ”
Nut: 1¼” – @12th: 1⅞”
Frets: 22 With a floating 2nd fret under the 1st string
5th string pip: Above 5th fret
Scale: 257/8” – Overall Length: 353/₁₆ ”
Neck, Mahogany, 4-piece – Profile: Arched
Perch Pole: ½” Nickel plate brass tube encasing central rod connecting neck to tailpiece
Tailpiece: Replaced Curved Lyre
Tuning Pegs: Slingerland patent non-slip replacing Ivoroid friction
Case #2251
KINGSTON AND SURBITON – ILLUSTRATED. 1911
Mr. J Parslow, Manufacturer and Teacher of the Banjo, Fairfield Road.
Our musical tastes are progressive, and since the piano has become so common, we feel a craving for variety. German bands and Italian street organs, we have got almost tired of, and even whistling ladies are more numerous than there seems any absolute necessity for ; the violin is a delightful instrument, and it is fashionable, in fact it is so fashionable that amateur performers are ludicrously common and are becoming a nuisance. The public now prefer the softer and more thrilling, more vibrating tones of the banjo, which seems so closely allied to the charming minstrelsy, which, originating among the poetic children of the west, has for many years, by its pathos and its humour, delighted the people of this country. The banjo is in fact the harp and guitar of the English people, and its soft tones and brisk movements are grateful to the feelings of the “man in the street,” as well as to the more refined tastes of the drawing room and music hall. In recent years considerable attention has been given to improvements in the manufacture of these charming instruments, and the production of fittings and accessories. The celebrated Kingston banjo, with nickel fittings, is now probably the most perfect instrument of its kind made in England, and is not only useful from a
musical point of view, but forms a very ornamental household accessory. Mr. J. Parslow, the maker of the Kingston banjo, for which he received the highest award at the exhibition in 1882, has recently opened an establishment at Fairfield Road, for the manufacture and sale of his great speciality and the usual strings, cases, and other requisites. Mr. Parslow is not a mere mechanical constructor of these instruments, he is a skilled and experienced musician, and understands every characteristic of the instrument, having had 25 years’ experience as a practical banjo maker and tutor. His shop at Fairfield Road, is a handsome establishment with good plate-glass front, and contains a choice assortment of banjos for parlour and concert purposes. The instruments are very handsomely finished, and are remarkable for perfection of tone and touch. All kinds of cases and accessories are supplied, and banjo performing is thoroughly taught in every branch. The superior excellence of Mr. Parslow’s goods has been fully recognised, and there is a large and increasing demand for instruments of his manufacture throughout the country, among both professional and amateur performers. We may add that Mr. Parslow is a genuine manufacturer, every part of the instrument, from the rims to the pearl ornamentation, being made on the premises, and large quantities are exported to wellknown American houses, and are used by the most clever banjoists of the day.