The Louis Lot stamp changed over the years.  This one has only one period in

The Louis Lot stamp changed over the years. This one has only one period in "L.L", and no hyphen in "Louis Lot". The original ring position can just barely be seen about 3-4 mm below the current position. This allows the flute to be played at A=440 quite easily.

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837

Louis Lot

Paris, France

Stamp: Engraved on headjoint and upper body: L. L / LOUIS LOT / PARIS / BREVETÉ . Additionally on headjoint between Paris and Breveté: 6764 /

Comments: It is highly unusual to play on a Louis Lot flute that is virtually brand new. Quite interestingly, the flute feels new. Playing on this flute is a bit like taking a glass of fine old Burgandy just as the bottle has been opened. One knows that every subsequent sip will be even more delicious, as the wine breathes in the glass. The embouchure is built for a tone-conscious player of 1900. The focus is quite concentrated. The tone is built from the bottom up, unlike a modern embouchure, which starts with volume and avoids the foundation of tone. This flute is a consumate Lot; it reflects it's era, yet shows great respect for the expressiveness of past flutes. Earlier Lots do not have quite as much texture to the tone as this instrument, which is partly a function of the extra volume built into this flute. However the beautiful embouchure gives the player complete control, and offers the intensity of tone for which Lots are famous. This flute is a sweetheart who will make a good, if demanding, partner, whose input into the relationship will be endlessly expansive.

Material: The delicately engraved gold lipplate and the guilloché engraving on the silver barrel set this lovely flute apart. The fact that it is in perfect, beautiful and barely used condition, and is an extraordinary player helps identify this flute as a rare treasure.

System: This flute is the standard model 5, silver flute with C foot, trill to Bb, with additional orders for an engraved gold lipplate, guilloché engraving on the barrel, and an embossed case. The headjoint tenon appears to have fairly recently been cut a few millimeters, to raise the possible playing pitch.

Condition: The flute and the case look practically unused. The instrument has just been overhauled in Europe. We see absolutely no signs of abuse or damage on the mechanism; in fact, there is hardly any sign of use at all. This flute is as close to brand new as one can ever hope to find in a vintage instrument. It appears as though the headjoint tenon was cut, fairly recently, by a few millimeters, to raise the available pitch. We do not condone this, but it is undeniably useful.

Pitch: The instrument was almost certainly made for the French pitch of A=435. The headjoint has been cut about 4 millimeters, bringing the useable pitch up to A=440.

Sounding Length: Sounding length 600 mm.

Measurements: Scale length 278 mm. Embouchure 9.9 x 11.7 mm.

Weight: 406 g.

Case: The classic Louis Lot case is also in practically brand new condition, which helps suggest that it is original with the flute. Furthermore, it is embossed with the initials, " J. I ", also suggesting it was made for a presentation flute such as this one.

Sorry, sold.

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Photographs (click to enlarge):

The flute and the case are both in practically perfect condition.  The purple cloth in the case is the nicest we have seen.
The flute and the case are both in practically perfect condition. The purple cloth in the case is the nicest we have seen.
All of the keywork is in brand new condition.  Here we see the right hand, with the
All of the keywork is in brand new condition. Here we see the right hand, with the "hanging T" clutch.
This flute includes a magic mirror.  If one looks often enough it will become possible to see the best fluteplayer in the world.
This flute includes a magic mirror. If one looks often enough it will become possible to see the best fluteplayer in the world.
The side G# and trill to Bb are beautifully made and preserved.  Barat had an aesthetic that was perhaps a bit more linear than the earlier makers, and his flutes are well known as great players.
The side G# and trill to Bb are beautifully made and preserved. Barat had an aesthetic that was perhaps a bit more linear than the earlier makers, and his flutes are well known as great players.
The beautifully engraved solid gold lipplate is cut with a fantastic embouchure in the
The beautifully engraved solid gold lipplate is cut with a fantastic embouchure in the "old" style, with a small opening of 9.9 x 11.7 mm. The "sweet spot" is small, resulting in a powerful and compressed tone.
The hallmarks on the lipplate are the eagle's head of gold from Paris (left) and the maker's mark <H#V> (right), which Villette registered around 1876, and was used by the Louis Lot Co. to c.1907.
The eagle's beak is to the right of the stamp.
The hallmarks on the lipplate are the eagle's head of gold from Paris (left) and the maker's mark (right), which Villette registered around 1876, and was used by the Louis Lot Co. to c.1907. The eagle's beak is to the right of the stamp.
The underside of the lipplate shows a lovely clean chimney and flange.
The underside of the lipplate shows a lovely clean chimney and flange.
The thumb keys are designed to include the Briccialdi key to Bb, but not the old trill to B.  Thus the lower shank is so attractively finished on the right end.
The thumb keys are designed to include the Briccialdi key to Bb, but not the old trill to B. Thus the lower shank is so attractively finished on the right end.