Number Description Price
Rudall and Rose
Serial #3036
This is the professional English flute of the day, with 8 silver keys and a footjoint to C, and the special R&*R Patent headjoint. Sold.
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Claude Laurent

Paris France
This is an eight keyed flute with foot to C. The keywork is extremely sophisticated for this period, with guides for the long keys, specially shaped steel springs, and a footjoint mechanism of great creativity. The headjoint is fitted with a small tuning slide, possibly establishing the French tradition of a partial slide. The midjoint's lower tenon is a threaded bronze (?) screw-in design, introduced by Laurent around 1819. This flute represents the second great period of Laurent's keymaking, characterized by creative ways to deal with the footjoint keys, the tenons, and the tuning slide. The D# key is still articulated. The C and C# footjoint keys are made with a sophisticated square swivel, allowing lateral motion but no rotation of the pad. By 1826 it appears that another keymaker worked in the shop, and the swiveled D# was abandoned. This design period extends roughly from 1819 to 1826. These are also the years in which Godfroy and Bellisent were establishing their reputations, and also experimenting with key design.Sold.
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Godfroy and Lot, att. (Lotfroy)

This instrument is the Godfroy ring key, vaulted clutch system, with Boehm's horizontal open G# and a trill to the thumb key. The foot is to C, and is built with the new in-line design. As far as we can tell the modern footjoint is first seen on this flute. The trills, from the bottom, operate the thumb, D, and D# respectively, thus today's set up is the reverse of this. The screws and threaded steels are all at metric pitches, and use the same .04 pitch as the Godfroy 1832 system and silver Godfroy #811 here now as well. The headjoint taper is steeper than the tapers on the other flutes of this series (including the Rudall & Rose marked flutes), except for the Rudall & Rose in the Bate collection, which has a similar taper, and the same French screw threads (thanks to Gary Lewis for taper measurements). The footjoint tone holes are a size larger than the body tone holes. This shows that later French flutes with equal size toneholes are an intentional design, preferred over the graduated tone holes. The tube is probably either French or German. Metal tests have begun, but not enough flutes have so far been tested to present conclusive findings. We can say that the contents of the Maillechort headjoint tube on our current flute (copper 667, zinc 187, nickel 129 ppt.) closely matches the recipe used for the upper C# key on Godfroy conical ring keyed flute #751: copper 663, zinc 187, nickel 122 ppt. The French silver standard was 950 parts per thousand. Silver content over 947 was found through metal tests on: 1. Godfroy, Lot and Boehm att. (S166-Valenza): crown: 982 ppt . 2. Godfroy & Lot att. (S938-this flute described here) the barrel embouchure cover: 952 ppt. 3. Louis Lot 339 (S438-Valenza) body tube: 949.9, headjoint tube: 950, lipplate: 952 ppt. 4. Godfroy 525 (S447-Valenza): wood flute, silver crown tip: 955 ppt. It is well known that Boehm was highly skilled in manufacturing metals. It is conceivable that he brought this tube to France with him when he worked with Godfroy and Lot from late June to August. If not from Boehm, then Godfroy and Lot probably acquired the metal locally, and this would be the earliest existing completely French metal flute. As we process the patterns of these and further metal tests far more results will emerge. Today is simply safe to say that the workshop of Godfroy and Lot certainly had materials in use that match the materials used on this flute. Sold.
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Martin Gordon

Boston Mass.
Gold headjoint with medium overcutting and sharp lipplate leading edge cutoff.Sold.
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American Flute Guild.
Los Angeles USA
No image at this timeMade in Elkhart IN by Emerson Deford, embouchure cut by Paul Rabino. French model with offset G, B foot with gizmo. Fancy rings. Drawn tone holes.Removed.
$ 1,600
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