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811

Louis Lot

Stamp: Stamped? on headjoint and upper body: L. L./ LOUIS-LOT/ PARIS/ 1125. Footjoint unstamped. Note: no Breveté stamp.

Comments: This flute is a humbling joy to behold. This is the Stradivarius of flutes, in perfect original condition. Although the measurements seem to equal a scale at A=435, this flute has recently been used, and played in concert at A=440.

Material: Made of silver throughout, with white-steel springs. Original pad washers gilt. A recent overhaul has added a metal washer to the pad arrangement. Cork screw metal.

System: Louis Lot's model 5, silver flute with independent G#, C foot. No Bb or C trill key. "New foot", with large tone holes. Body holes appear to be uniform. Footjoint pinned, with obelisk.

Condition: This beautiful flute is minimally used, and practically unaltered from it's moment of birth. There are very few signs of wear. Some solder where the arms meet the rods on the right-hand keys suggests a repair at some time. This repair left the keys slightly misplaced, and should be corrected. I suspect that one spring (for the trill keys) has been replaced. There is some solder around the low C# tone hole. The headjoint appears to be absolutely original. The tenon is uncut, and the ring unmoved. The crown is perfect, and is beautifully built, with the bottom beading actually overlaying the headjoint tube. The embouchure is unaltered, and measures 11.91 x 10.1 mm.

Pitch: Appears to play at A=440, in spite of measuring out to a scale of A=435.

Sounding Length: Sounding length 604 mm.

Measurements: Embouchure angle 7˚. Emb. 11.91 mm x 10.1 mm. Chimney wall quite high at 5.2 mm. Scale 227 mm. Emb to A hole 333 mm. to C # 235 mm. FJ tone holes 15.9 mm.

Weight: 377g

Case: In original modestly worn case.

Sorry, Sold.

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Photographs (click to enlarge):

Both the headjoint stamp (right) and the body stamp appear to be stamped, not engraved.  Lot’s own hyphen appears, yet the usual Breveté does not.  The marks have not been buffed.
Both the headjoint stamp (right) and the body stamp appear to be stamped, not engraved. Lot’s own hyphen appears, yet the usual Breveté does not. The marks have not been buffed.
The right hand mechanism, with Lot’s original shoulder clutches.  The keys show very little wear from use, but small bits of solder on the two right keys suggest minor repairs had been made.
The right hand mechanism, with Lot’s original shoulder clutches. The keys show very little wear from use, but small bits of solder on the two right keys suggest minor repairs had been made.
The new independant G# is original on this flute.   Note that there is no trill key for B or Bb.
The new independant G# is original on this flute. Note that there is no trill key for B or Bb.
The beautiful and graceful G# touchpiece.
The beautiful and graceful G# touchpiece.
The left-hand mechanism with the shoulder clutch at the B.
The left-hand mechanism with the shoulder clutch at the B.
Louis Lot’s beautiful footjoint.
This is the “New Model” footjoint, with larger tone holes than those on the body.
Louis Lot’s beautiful footjoint. This is the “New Model” footjoint, with larger tone holes than those on the body.
The rear of Lot’s footjoint shows the special loop clutch for the C#.  This was replaced with the pinless mechanism on the later footjoints of Villette.
The rear of Lot’s footjoint shows the special loop clutch for the C#. This was replaced with the pinless mechanism on the later footjoints of Villette.
This simple and elegant backclutch is the core of Lot and Godfroy’s design for the Boehm mechanism, now in universal use.
This simple and elegant backclutch is the core of Lot and Godfroy’s design for the Boehm mechanism, now in universal use.
The beautiful Louis Lot crown with three rows of beading and a dimpled top.  The bottom row of beading very delicately overlaps the silver head tube.
The beautiful Louis Lot crown with three rows of beading and a dimpled top. The bottom row of beading very delicately overlaps the silver head tube.