Fairbanks Whyte Laydie # 7 5 String Banjo (1902), ser. #20847, period black hard shell case.

Fairbanks Whyte Laydie # 7 Model 5 String Banjo (1902), made in Boston, Mass., serial # 20847, natural varnish finish, laminated maple rim and neck, ebony fingerboard, period black hard shell case.

This is simply one of the most beautiful and historically important banjos we have ever had, a splendid very early first-generation Fairbanks Whyte Laydie #7, one of the most celebrated of all 5-strings. This instrument is simply a standard by which openback banjos are judged, not only a visual marvel but producing a sound that few other banjos, new or old, can match. The Whyte Laydie in 1901 was a supreme work of the banjo maker's art, the finest production model Fairbanks built at the time (The Tu-Ba-Phone was still some years away). This first-year example is a feast for the eyes as well as the ears!

This early #7 is an exceptionally beautiful banjo, showing a number of subtle differences from the later 1900s and 1910s examples. It was built by the original A.C. Fairbanks company in late 1901 or early 1902 before the disastrous fire of March 1904 and subsequent buyout by the Vega company. The Whyte Laydie model was launched in 1901, largely the brainchild of David Day, chief engineer at Fairbanks and arguably the single most important if relatively unsung banjo designer of all time. His technical and aesthetic innovations have been widely copied for many decades, yet few banjo players even know his name.

When introduced his Whyte Laydie rim was a revolutionary design, the first to carry Day's patented bracket band with the shoes mounted to the metal piece surrounding the rim, not drilled through it. The rim is topped by the older "Electric" tone ring on a scalloped base, introduced by A. C. Fairbanks in 1890 and still a standard today. The bottom of the rim is capped with tortoiseshell material on both edges and has elaborate herringbone marquetry along the bottom. The rim carries closed-end nuts on the original superbly elegant cobra hooks and an original period "Elite" tailpiece. The dowel has earlier more delicate "Whyte Laydie" and "#7" stamps on the sides and the metal Fairbanks nameplate pinned on the back. The stamped serial numbers match on the stick and rim.

The rim and laminated maple neck are finished in the natural varnish that gave the model its name; the neck has a slightly deeper profile than later examples. The early-style hand-engraved pearl inlay on the peghead and fingerboard includes an elaborate floral pattern on the face, the famous "gryphon" design on the headstock rear and deeply incised individually shaped pearl inlays on the bound fingerboard; all of these have been widely imitated since. The pearl-inlaid ebony cap sits atop an elaborately carved heel rendered in a flowing Art Nouveau design. This banjo retains a complete set of the original very elaborate carved ivory friction pegs with a floral emblem in the center.

125 or so years on this primal Whyte Laydie #7 remains a testament to the dedication of David L. Day and the original Fairbanks crew that built it. At the time it was almost universally regarded as the finest instrument of its type yet made, the pinnacle of banjo development to that point. Fairbanks made a few custom "Deluxe" models with even fancier cosmetics, but this #7 was the de facto top of the production line. Early first-year Whyte Laydie #7 models are extremely rare; this one was long part of the Bollman collection, renowned as the finest assemblage of high-end Boston banjos extant. It is an exceptional banjo in every way, both as a piece of history and as a player's instrument.

Overall length is 35 5/8 in. (90.5 cm.), 10 3/4 in. (27.3 cm.) diameter head, and 2 3/8 in. (6 cm.) in depth, measured at side of rim. Scale length is 26 in. (660 mm.). Width of nut is 1 1/4 in. (32 mm.).

This nearly 125 year old banjo remains in splendid nearly all original condition showing only light wear and tear, having been apparently never heavily played and far less re-worked than many. The only notable work done is an old clear overfinish to the face and back of the headstock and the heelcap; the dyed wood veneers used on these areas are very prone to cracking and chipping so have often been sealed this way. The laminate seam above the heel cap has a slim bit of touchup as well; the rest of the neck finish remains original. The rim finish has some light typical wear but nothing too heavy; there is a small bit of scarring to the dowel from the neck brace screw being adjusted.

The hardware appears original and correct; the original and superbly elegant cobra hooks and nuts are a complete matched set, the Elite tailpiece is certainly period, and likely original. The plating is relatively well preserved overall with minor loss here and there and some scarring around the rim of the hoop. The beautiful original ivory pegs are fully intact and functioning, although as always should be handled with care.

The frets are original with virtually no wear, the fretboard has never been planed so the inlay is beautifully undisturbed. The banjo is set up with a genuine calf skin head and more modern bridge, strung with Nylon strings. Although the neck and rim are certainly stout enough for steel stringing, the delicate original pegs are not really suitable for this and we would recommend the instrument only be used with Nylon, Nylgut or actual gut strings as would be historically correct. In this mode it is a truly excellent player with the spectacular warm and rich traditional sound these are renowned for, as fine a "classical" banjo as one might wish. It rests in a nice period HSC, which appears to be of 1920s vintage and is in fine shape except for a taped-over handle. Overall Excellent - Condition.