Here's a Lansing model, serial number 6358. These photos were sent by Barry who did an extensive restoration job.
"I acquired the instrument around 1980 from my girlfriend's mother, now my mother-in-law of 30 years. She, in turn, got it from a friend of hers, who had it hanging on the wall of a restaurant he owned on Long Island. When I received, the instrument was missing its fingerboard, nut, head, bridge, and tailpiece, and I believe the heel cap as well. Some of the abalone inlays were also missing from the peghead. The dry and brittle condition of the peghead suggested that the instrument may have been exposed to fire, although I didn't have any history to corroborate that. I tried research instrument as best as possible given the available resources - incomplete collections of back issues of Mugwump's magazine, and the collections of various public libraries - but never did come across much of anything. I returned the instrument playability by making a new fretboard, and heel cap, and re-did a peghead overlay, using as much of the original inlay as I could salvage, and cutting the rest out of sheet abalone. I just guessed it the decorations I used for the fretboard ornamentation; using the suggestion of one advisor that, often, banjos of this period had a mirror image reflection of the ornamentation at the base of the peghead across the nut, in the first fret space. The inlays are a combination of commercially available pieces, and pieces I cut freehand. The red underlay below the peghead, fingerboard, and heel cap were my own addition, again at the advice of an advisor who had some experience with early instruments."
"I acquired the instrument around 1980 from my girlfriend's mother, now my mother-in-law of 30 years. She, in turn, got it from a friend of hers, who had it hanging on the wall of a restaurant he owned on Long Island. When I received, the instrument was missing its fingerboard, nut, head, bridge, and tailpiece, and I believe the heel cap as well. Some of the abalone inlays were also missing from the peghead. The dry and brittle condition of the peghead suggested that the instrument may have been exposed to fire, although I didn't have any history to corroborate that. I tried research instrument as best as possible given the available resources - incomplete collections of back issues of Mugwump's magazine, and the collections of various public libraries - but never did come across much of anything. I returned the instrument playability by making a new fretboard, and heel cap, and re-did a peghead overlay, using as much of the original inlay as I could salvage, and cutting the rest out of sheet abalone. I just guessed it the decorations I used for the fretboard ornamentation; using the suggestion of one advisor that, often, banjos of this period had a mirror image reflection of the ornamentation at the base of the peghead across the nut, in the first fret space. The inlays are a combination of commercially available pieces, and pieces I cut freehand. The red underlay below the peghead, fingerboard, and heel cap were my own addition, again at the advice of an advisor who had some experience with early instruments."