Unfortunately, it’s come time for me to let go of my August Pollmann banjo. I’ve not played it much in the last year or so, and it’s just collecting dust (quite literally). Open to reasonable offers.
I got this in trade several years ago and fixed it up. This instrument retains a tag (see last photo) from one F.H. Griffith of Philadelphia, Pa, a music and instrument dealer at the time, positioned right above the top back brace with the typical “Pat. May 3rd 1887” branding. While a plainer model, that is made up for by being the rosewood version, with bookmatched back (with striking sapwood inclusion) and sides (the fingerboard, dyed some, also appears to be rosewood). Typically, Pollmanns were made with either mahogany or rosewood back and sides, and on the rare chance with figured maple. I’ve commonly seen mahogany models, but rosewood examples not as often. The spruce top and mahogany neck finishes are original and untouched. To repair some of the cracks it had in the back and sides, I ended up sanding and refinishing it (unfortunately, it was colder weather at the time and the finish I used went on a bit heavier than I meant for it, and it cratered some on the sides). Some of the original finish’s crackling can still be seen in spots where I didn’t completely remove it. The fingerboard does have some divots in the first couple of frets, and there is some fret wear as well. The frets appear to be original. The middle back brace appears to be a replacement done sometime ago (it looked to have been worked on at one time long before I got it, along with a clear repair for the crack that ran along the treble side 3/4s of its length, which I repaired and touched up). There is a few hairline cracks on the back, though stable and for the most part cleated. There is one on the top which I’m pretty sure I also cleated. There is minor seam separation of the top on either side of the sound hole, but nothing serious nor affecting anything.
I replaced the missing peghead medallion with a faithful reproduction from Mark Ralston. I found a set of original 1888 pat. Grover pegs as it would have originally had (the screws on couple are a little tight to tighten them, but hold). The original bridge, nut, and pip were missing, and I made those components from ebony. It has a slight twist and a bit of upbow in the neck. I decided because of this to string it with nylon strings, and typically have kept it tuned around 1 to 1 1/2 steps below G (though I did try it once at G, but it sounded a bit restricted and tight). To attach the strings in the manner of how it would have been strung, given the details from the patent drawing for the Gerke tailpiece (this one being original to it), I enlarged the slots in order for the strings to fit (I know, I know, very sacrilegious by the purists). As I’ve read, the Pollmanns are believed to have been strung with steel (I would figure with ball-end strings), and in order for the strings to achieve adequate break angle at the bridge, the string wraps around the bar held in the slot by the extended fingers and underneath it before crossing over the bridge. I tied figure eight knots (a couple on the thinner strings), to secure them, but I could also see using small string beads with a knot (Strings By Mail carries them), to secure them as well. I decided to make that minor modification as I’ve seen several where they’re just tied on, and don’t provide the adequate break angle for the strings to stay in the bridge slots.
I’ve done some recording with it, and it’s been a wonderful instrument, but feel I’ve not been giving it the attention it deserves. I’ve thought of it, with the stringing and tunings, of it being my “banjo lute,” having a lutish or classical guitar sound. It lends itself well to slow, fingerpicked pieces, much of which I recorded on it, but its sounds ok clawhammer style.
I don’t have a case for it, but will be packed securely for shipping. I will also include a set of LaBella No. 17 nylon strings with it, as I had planned at some point to restring it with them. I currently have medium tension classic Nylguts on it with a wound fourth from an older set, and it’s quite tarnished, though playable.
The restoration video shows in fair detail the work I did to it: youtu.be/IzChHal0iLE?si=RQObfa7UsyAr3Fte
One of the last recordings I made with it playing a Carolan tune, “Miss MacMurray”: youtu.be/aFOGgLeVAPs?si=75kXwkz5AF_nxep0
