Work Page 1-26
1930s B&D Senorita
"Tatham Special"
This would be considered an instrument that was labeled at the factory who wanted to market something under a private label in their own distribution network.
And sometimes it would be an Artist's Name, or an Orchestra, etc.
Whatever would sell it.
I have seen also from Bacon, a "Pifer Special" ,"Gordon", "Lyric", to name a few
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19 fret tenor
Clean/Repair as needed to play.
This is a late model Senorita from the Gretsch era.
(Pre-war/ Post-Flood)
One thing that makes it "Special" other than it is branded Tatham. is that it has geared pegs and not friction I suppose, as well as instead of having a perloid resonator back, it had a metallic silver/ golden brown sunburst.
As a guess, I surmise that the Gretsch may have ran low by then on sheet perloid and merely used up a flamed maple resonator whose concentric lines can be seen, but were never turned in to binding purfling channels.
B&D parts that were left over from the flood were being mixed with newer parts made for / by Gretsch to transition what parts that were left, that were deemed usable making for a more economical outcome since they had what was from the bins in Groton.
Editorial
Gretsch adapted, knowing well that this was a limited market that they hoped to capitalize on, while they could play off of the Bacon Banjo Co.'s wonderful reputation.
In my opinion, in this time period, they re still very good banjos.
VM
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INITIAL PICS
This would be considered an instrument that was labeled at the factory who wanted to market something under a private label in their own distribution network.
And sometimes it would be an Artist's Name, or an Orchestra, etc.
Whatever would sell it.
I have seen also from Bacon, a "Pifer Special" ,"Gordon", "Lyric", to name a few
********************
19 fret tenor
Clean/Repair as needed to play.
This is a late model Senorita from the Gretsch era.
(Pre-war/ Post-Flood)
One thing that makes it "Special" other than it is branded Tatham. is that it has geared pegs and not friction I suppose, as well as instead of having a perloid resonator back, it had a metallic silver/ golden brown sunburst.
As a guess, I surmise that the Gretsch may have ran low by then on sheet perloid and merely used up a flamed maple resonator whose concentric lines can be seen, but were never turned in to binding purfling channels.
B&D parts that were left over from the flood were being mixed with newer parts made for / by Gretsch to transition what parts that were left, that were deemed usable making for a more economical outcome since they had what was from the bins in Groton.
Editorial
Gretsch adapted, knowing well that this was a limited market that they hoped to capitalize on, while they could play off of the Bacon Banjo Co.'s wonderful reputation.
In my opinion, in this time period, they re still very good banjos.
VM
*****************
INITIAL PICS
Skin head, not original
No fret wear, fret marker paint needs a fresh coat.
All as it should be inside.
I will spin it to achieve the factory look.
I have small cracks to fix inside the back.
Silver re=sprayed
Tuned to pitch and settling in.
Hardware in VG condition.
Original finish.
That is the same silver as inside the resonator.
The golden brown gives the gold appearance.
3 coats of clear.
Doing the detail paint.
String order on the way, was delayed by weather.
Water damage.
Ready to seal damage.
Silver applied.
Re-assembling the rim.
Re-fretting with modern 147 wire.
Tone is clean and clear, nice and playable.
FINAL PICS
Thanks for looking and sharing,
VM
VM