A. G. Badger
No serial number.
|This flute is a full, professional quality flute with the assurance of having completed the experimental stages. This flute is a perfectly built in-line, closed hole, closed G#, standard thumb, B trill flute with a foot to B, right pinkie operated. A lovely "tail" to the G# lever gives a trill touch for the right hand. The open footjoint keys are fitted with Badger's wonderful height adjuster. This flute is quite high pitched, possibly at Steinway's 1879 pitch of A=457.||Sold.
Native American, possibly Andean Rollano??
|This fipple flute has quite clearly been very carefully made. The tone holes are actually broadly undercut. The flute is bent to make it easier to play, since it is so long. The bore has been hollowed out by splitting the wood. The bottom is partially stopped, with a small center hole. I thought this might be a node in the wood, like bamboo, but Laurence Libin pointed out that the maker simply didn't hollow out all the way to the end. Nonetheless, the type of wood is unknown (here anyway). The wrappings appear to be animal sinews. An iron (?) wire, about the size and shape of a coat hanger, was used in an apparent repair at the mouth of the flute. This is a true fipple flute, built like the recorders, with an inserted block, windway, and carefully cut and shaped fipple. The block is awkward compared to the rest of the flute, but certainly looks contemporary. The Native American flutes in the Miller Collection are principally activated by a tie-on fipple, not the cut windway as on this flute.||View More|
|This is a model 5, silver flute with C foot and independent G#. There is also a gold embouchure (said to be from a Lot 300 series), which was added later. The trill is to B. The strap is of one piece, and the right hand clutches are shoulder-stopped. The footjoint is the lovely original Lotfroy design, with the little hanging finger for C#. The original silver embouchure assembly is included, which is an "over and under", double flanged chimney. This embouchure has been opened on the sides, which is why the unaltered gold plate was put on.||Sold.|
Rudall Carte & Co., Ltd.
|This is the Radcliff system, of the highest quality. The body is completely thinned, and made in one piece with the foot to B. The headjoint is also thinned, leaving a bold lipplate area with an oval embouchure. The cap and cork adjuster are threaded wood. The pitch is high, probably A=452. The Radcliff System was made famous through the recordings of John Amadio. These recordings are amazing, and his use of the flute is unreal. He was able to make these instruments talk, and he told a whole story with his pieces. It is hard to find someone who uses a flute this way anymore, except maybe Robert Dick, in his own way. Radcliff was looking a bit to the past, unlike Robert I think, and he designed his flute to retain his favorite characteristics of the old Nicholson flute. After the speaking tone, clearly, the F# fingering was the most important. To retain the first finger F#, Radcliff went to great lengths, including adding a simple doubled hole for F#, the key kept closed until used. This seemed too simple, so he levered the short F touch to include closing the Bb key, as the first finger does on the Boehm system. He also doubled the hole for C, and put the B hole under the thumb. The G# is a standard independent closed G#. Why this makes these flutes speak with such dexterity and variety I do not know.||Sold.|
|This is a one keyed flute with three interchangeable midjoints for adjusting the pitch. The embouchure is very small, 7.9x 8.4 mm, and, along with the tone holes, is very broadly undercut. The spring for the single key appears to have been originally attached to the wood; there is now a more recent steel spring riveted to the key. The head cork is free, and the ivory cap is friction-fit.||Sold.|