No serial number.
|This is a nine-keyed flute, with foot to B. The headjoint is fully lined for a tuning slide. The low B key is operated with a long key under the flute for the right thumb. The G# key is a short key on the midjoint. The low C key has a vaulted shank over the C#. The high C key is fitted in very long shoulders. The short F key appears to have been fitted later; the shoulders are inset, not integral, the brass pad seat is slightly different than the other brass seats (it has a small lip on the top), and the key does not seem to have the same square hole for the spring rivet as the other keys. There is a filled-in channel across the surface of the flute, between the F keys. Possibly there was a different arrangement for the F originally, with just one hole for the two keys. The embouchure is rectangular with rounded corners, and appears unaltered.||Sold.|
Rudall Carte & Co. Ltd.
|Full Boehm system, with C foot. Covered tone holes; offset G. Headjoint thinned, with raised lipplate, and fully lined with silver (?) tube, Body and foot not thinned, and footjoint socket also lined with silver(?) tube; this one about 4 cm long, extending around and past the D# hole. This instrument has been rebuilt at Cartes in 1939; presumably after that time the trill was changed from B to Bb. The strap is one piece, and the footjoint uses the old pinned design with back-clutch. The keys were used on a new body in 1939, built to A=440, instead of A=452 as the flute had been originally (Bigio). This conversion included fitting two pieces of silver in the strap, lengthening it by a full 9 millimeters (one is 5.8mm, the other 3.2mm).||Sold.|
|This is Lot’s model 5, silver flute with C foot. This has been the most popular flute model ever designed. Since it’s introduction by Lot and Godfroy around 1850, virtually every flutemaker has adopted design elements from this model. The trill is to B. For many years, flutists used this lever to trill the thumb key, giving a B to C trill. Lot called this a C trill, incidentally. After Lot’s retirement, sometime in the 1880’s, the use of this trill to close the Bb key, on top of the flute, became widespread. The topside clutches are Lot and Godfroy’s original shoulder clutches, before the “hanging T” clutch was invented. These clutches, along with the ingenious “back-clutch” constitute Lot’s ability to synthesize disparate parts into a simple whole, making order out of the chaos of Boehm’s invention. The lipplate is the “over and under”, or Top Hat style, with a full flange on the top and bottom of the chimney. We believe that this is the special “embouchure unié” Lot mentions in his record book, starting with flute #740 in 1863. This embouchure design gives considerably greater support to the lipplate, and allows a thinner piece of silver. Furthermore, the plate can be soft-soldered to the chimney flange. The lipplate is cut with Lot’s “Guilloché” pattern. This is a machined engraving, using a special tool. It was an extra order, and was one of Lot’s few nods towards the machine age. The guilloché cut gives the player more control at the lip, and adds elegance to the flute. The tone holes are graduated. There are three basic sizes, 14.5mm (left hand), 15.2 mm (right hand), and 16.5 mm (foot). Boehm also believed in graduated holes, but they were more expensive to manufacture, he said. The footjoint is the original pinned design with backclutch. This beautiful and elegant footjoint was first designed by Lot and Godfroy shortly after purchasing the cylindrical patent rights in 1847. It was immediately adapted by most flutemakers, whether for simple-system or new model flutes. I believe that Lot continued to use this pinned foot, although the modern pinless foot was introduced around his retirement. The tail of the low C key rests on the mysterious obelisk that Lot used for a few years at this time. There is something special about this obelisk, which shows up on some of the Lot company’s tastiest flutes. Louis Lot eschewed complication. There is no real benefit from this obelisk, which simply replaces the longer tail generally in use. It is highly possible that this is an artistic choice, invoking a special meaning unrelated to efficiency. The last time we suspected “external” symbolism in flutemaking was the introduction of Claude Laurent’s “zig-zag” G# key in the tumultuous few years after Napoleon’s downfall.||Sorry, sold
A. G. Badger
New York USA
|This unique flute is built with a 20 mm bore, very large tone holes, a heavy tube, and foot to low Bb. It is a closed-hole, offset G flute with B trill. The low B is left-pinkie operated. There is a Mother-of-Pearl finger rest (á la Boehm) for the left index. The backclutch is Boehm's two-piece design. Open foot keys height (except Bb) adjustable with Badger's unique screw. Toneholes graduated from 14 mm at B hole. Footjoint toneholes an unbelievable 18 mm. E hole 16 mm. Thumb crutch holder remains, but the crutch is gone. This flute clearly shows Badger's continuing interest in Boehm's flute designing. In the 1860's Boehm experimented with the 20 mm bore, as well as perfected the use of wooden headjoints on silver flutes.||Sold.|
|Model 2, wood flute with silver keys to low B, left pinkie operated.||Removed.|