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841

Clair Godfroy, ainé

Paris, France

Stamp: Stamped on headjoint and upper body joint (footjoint unstamped): (head of Medusa) / (in oval cartouche)Clair/Godfroy, ainé/A Paris(end of cartouche)/(monogram) "C" over "G".

Comments: Louis Dorus played on a flute like this one during his extraordinary ascendency to the top of French fluteplaing. Using a flute like this one he performed most of the flute solos at the Société des Concerts from 1836 to 1847. The tone is very sweet, and strong and even, just as it is supposed to be.

Material: This beautiful flute is made of a fairly thick piece of cocus(?) wood, with silver keys and trim. The springs were originally flat (probably including the Dorus G#), yet during years of use the flat springs have mostly been replaced with needles.

System: This is the Godfroy version of Boehm's 1832-system conical-bore ring-keyed flute. The foot is to C, their is a trill to B, and the G# is the Dorus variety.

Condition: This historically important flute has also been considered a valuable playing instrument. The flute has been used, yet all of the important parts remain original. There are a few odd cracks at the sockets, but nothing special. The flat springs have mostly been replaced with needle springs.

Pitch: Pitch c. A=430, as far as I can tell.

Sounding Length: Sounding length 590 mm.

Measurements: Embouchure 10.2 x 12.

Case: In original case, showing wear.

Sorry, sold.

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Photographs (click to enlarge):

The D# key is the first place to look for the model style from the Godfroy and Lot shops.  This model, the early Boehm system, started with the strange, kidney shaped D# key.
The D# key is the first place to look for the model style from the Godfroy and Lot shops. This model, the early Boehm system, started with the strange, kidney shaped D# key.
Here we see the original Dorus G#, made and designed at Godfroy's for this model flute.  The lower vaulted clutch, for the F#, is also visible.
Here we see the original Dorus G#, made and designed at Godfroy's for this model flute. The lower vaulted clutch, for the F#, is also visible.
Boehm made his early thumb keys with two holes, as seen here.  The note coming out of these holes is the C.  The tail under the ball at the bottom of the key is for trilling the B to C.
Boehm made his early thumb keys with two holes, as seen here. The note coming out of these holes is the C. The tail under the ball at the bottom of the key is for trilling the B to C.
The upper vaulted clutch and the Bb.  Boehm very cleverly included the Bb key on a ring around the tone hole.
The upper vaulted clutch and the Bb. Boehm very cleverly included the Bb key on a ring around the tone hole.
The lower vaulted clutch closes the pad over the G hole.
The lower vaulted clutch closes the pad over the G hole.
The right hand mechanism is marvelous in the simplicity of it's complicated processes!
The right hand mechanism is marvelous in the simplicity of it's complicated processes!
The upper vaulted clutch, with the insertion rod and receiving hole on the Bb key.
The upper vaulted clutch, with the insertion rod and receiving hole on the Bb key.
The masterfully made trill key shank rides under the rod for the D#.
The masterfully made trill key shank rides under the rod for the D#.
The embouchure is worn but appears unaltered.
The embouchure is worn but appears unaltered.