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821

Rudall Carte & Co.

Stamp: STAMPED ON BODY: (crown/ RUDALL/ CARTE & CO/ 23 BERNERS STREET/ OXFORD STREET/ LONDON/ 2846. On head and foot: (crown/ RUDALL/ CARTE & CO/ LONDON. Additional headjoint with barrel attachment stamped: (cyrillic) A. I. Eppler/ (monogram) AE/ A. I. Eppler/ FLUTEMAKER/ SEATTLE 1984/ No. 081

Comments: This instrument was the treasured companion of a now retired military-band flutist. He used this instrument for many years in quintet and concert music, at A=440. In the 1970's he sent it to Alexander Eppler for an overhaul and new headjoint. He has used it regularly, and the same overhaul remains on the flute. She still plays beautifully, but would play 100 times better with a complete overhaul.

Material: Made of cocus wood with silver keys and trim. Silver headjoint lining.

System: This was built as a fully professional English Boehm system, with offset G, and a C foot. The full-body wood and headjoint have not been thinned. This is a handmade flute of the highest quality, boasting a long life of great service.

Condition: The condition of this flute is that of a trusted friend throughout her 111 years of life! Someone has always been there for this flute when help was needed. In some cases, help was needed far away from London. For example, the C touch on the footjoint is a crude replacement. Most of the maintenance work , such as solder touch-ups where the arms meet the rods, is of the practical rather than artistic variety. The original headjoint carries a closed crack which enters the embouchure, although this does not seem to impede the lovely playing quality. An additional wooden headjoint by Alexander Eppler has been with this flute for several decades.

Pitch: Pitched perfectly at A=440, with both headjoints.

Sounding Length: 602 mm.

Measurements: Scale 226 mm. Emb 11.1x12.2 mm.

Weight: 525

Case: In enormous case with Eppler headjoint.

Sorry, Sold.

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Photographs (click to enlarge):

This flute was made c. 1897, when Rudall Carte & Co. were recognized as among the world's finest flutemakers.
This flute was made c. 1897, when Rudall Carte & Co. were recognized as among the world's finest flutemakers.
The right hand mechanism shows Boehm & Mendler's screw-ball clutchs at the shoulders, Carte's lovely plateau keys, and some solder from an old repair on the F key.
The right hand mechanism shows Boehm & Mendler's screw-ball clutchs at the shoulders, Carte's lovely plateau keys, and some solder from an old repair on the F key.
The G is offset, and the closed G# lever swings underneath.  A wayward and lonely spring hook sits unused on top of the middle rod.
The G is offset, and the closed G# lever swings underneath. A wayward and lonely spring hook sits unused on top of the middle rod.
The pointed arm shows that Carte's modeled their flutes after Louis Lot, as well as Boehm and Mendler, while coming up with their own magnificient sound.
The pointed arm shows that Carte's modeled their flutes after Louis Lot, as well as Boehm and Mendler, while coming up with their own magnificient sound.
The one-piece strap, as seen on Louis Lot's own flutes.
The one-piece strap, as seen on Louis Lot's own flutes.
This beautiful thumb key is patterned after Godfroy and Lot, down to the little ball at the bottom end of the key.  A tail originally extended from the middle rod to slip under this ball, for a B trill.
This beautiful thumb key is patterned after Godfroy and Lot, down to the little ball at the bottom end of the key. A tail originally extended from the middle rod to slip under this ball, for a B trill.
The lovely Carte footjoint carries memories of many concerts and, judging by the C touch, some plastic surgery in Mexico.  It all adds up to the charcter of this flute.
The lovely Carte footjoint carries memories of many concerts and, judging by the C touch, some plastic surgery in Mexico. It all adds up to the charcter of this flute.
The original Carte head has some old cracks, which have not opened in many years (a very good sign of stability).
The embouchure is oval, as on almost all English wooden flutes.
The second head, by Alex Eppler, has a squared oval like modern flutes.
The original Carte head has some old cracks, which have not opened in many years (a very good sign of stability). The embouchure is oval, as on almost all English wooden flutes. The second head, by Alex Eppler, has a squared oval like modern flutes.
The Carte crown conceals the turned wooden corkscrew within.
The Carte crown conceals the turned wooden corkscrew within.
The Eppler head, on the left, has a squared embouchure, and a removable tenon cover so the head can be used on a silver flute.The Eppler head, on the left, has a squared embouchure, and a removable tenon cover so the head can be used on a silver flute.
Eppler, left, and Carte, right.  The oval embouchure seems to give a more gentle sound.Eppler, left, and Carte, right. The oval embouchure seems to give a more gentle sound.