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This page updated 6/25/08
MODERN FLUTES
COME SEE US AT THE NATIONAL FLUTE ASSOCIATION FLUTE SHOW IN KANSAS CITY, MISSOURI AUGUST 7-9, 2008
Willliam S. Haynes #22,84X (1953). The solid silver tube measures .014 inches (body and head). The flute was constructed with inline G and soldered tone-holes. Sounding length is 598 mm (A = 442) and the flute now has new pads and corks from our shop in Wichita.. Embouchure measures 10.3 X 12.3 mm. It’s a fine “fully hand-made” Haynes with French (open) keys and C foot. The flute has a good original case with it and the flute plays very well. It’s a “Golden Age” Haynes that shows superb workmanship and tone-color. $3,450.
Willliam S. Haynes #31,959 (1962). The solid silver tube measures .016 inches (body and head). The flute was constructed with offset G and extruded tone-holes. Embouchure is slightly square and measures 10.3 X 12.1 mm. Sounding length is 602 mm (A = 440) and the flute has new pads and corks. It’s a fine extruded tone-hole Haynes, but with Plateau keys and C foot. The original case is in very good condition and the flute plays very well. $2575.
Willliam S. Haynes #24,41X (1955). The solid silver tube measures .014 inches (body and head). The flute was constructed with offset G and soldered tone-holes. Sounding length is 596 mm (A = 443) and the flute now has new pads and corks from our shop in Wichita. Embouchure measures 10.2 X 12.2 mm. It’s a fine “fully hand-made” Haynes, but with plateau keys and C foot, with split E mechanism. The original case is in very good condition and the flute plays very well. $3,250. SOLD
Muramatsu “gold clad” model AD-RH flute, serial #44,57x, made in 1995. Very clean example with B foot, French keywork, in-line G. Body, foot, head and all keys are solid silver, the head, body and foot with .017 inch tube. Keywork is solid silver. All silver parts are heavily gold-plated with Muramatsu’s unique “gold clad” process. Embouchure measures exactly 10.2 X 11.8 mm, slightly square. The sounding length is 633 mm (A = 443). New suggested retail price is now $9850. The flute was built to modern scale. Previously one of the collection of a professional player in Florida, it’s been used very little since it was new. We’ve been told the original owner usually played a silver Brannen flute, used his Muramatsu as a back-up. This one’s $6,250, is absolutely “like new”.
VERNE Q. POWELL #14. French keywork to low C, alternate C & C# touches for the left hand. One-piece body, tone-holes soldered. Made in 1927, shortly after Powell’s departure from the Haynes workshops. $17,500.00
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Koichiro Sakurai; Ranzan, Japan, number 201x, made about 2005. The body is of Cocobolo red-brown rosewood. All French (open) keys are solid silver, with in-line G and B foot. Sounding length is 631 mm (A = 443). Embouchure measures 10.2 X 11.9 mm. Relatively unknown in America, Sakurai’s small workshop produces a handful of superb flutes each year. Workmanship is the absollute finest and the tone color of his wood flutes is full and reedy, with an especially strong lower register. This particular instrument came to us from a professional player who’s recently made the decision to play “Old French”. Top recommendation on this one. $7500.
Yamaha YFL-561H flute, a “semi pro” instrument that features solid silver head, body and foot with silver plated keywork. Low B foot, offset-G, all keys with pointed pad-cups and extended key arms. In production for about a decade, now replaced by Yamaha’s model YFL-674H. Current suggested retail price is $4240, with a street price around $2700. Our flute has come to us in fine original condition, will have all pads and corks replaced by the end of January. Serial number is O5102xxA and the “A” means it was assembled in Grand Rapids, Michigan. “Made in Japan” on the head socket, the original case in good condition. This one’s a “best buy” at $1595.00. SOLD
Some flute shops do quite a bit of “consignment” selling and that means many of their flutes are sold “as-is, needing repairs”. Our policy is, has been for more than four decades, to offer to our clients ONLY flutes that have been cleaned, dings burnished out, keywork swedged tight and with all new pads and corks. And with our two-year service guarantee, as well.
ALTO AND BASS FLUTES
MODERN FLUTE HEAD SECTIONS
BETTONEY solid silver flute head section, .900(?), c. 1925, 10.5x11.8mm $450
WILLIAM S. HAYNES head section, c. 1975, .016 silver tube, 10.3x12.2 $825
WILLIAM S. HAYNES head section, c. 1990, .016 silver tube, 10.3x12.2 $825
V.Q. POWELL head section, handmade, silver, c. 1980. $850
V.Q. POWELL silver head section, c. 1970, 10.5x12.2mm $850
V.Q. POWELL silver head section, c. 1975, 10.5x12.3mm $850
ANTIQUE FLUTES, and/or non Boehm keywork.
Coming soon... Please email for more info.
Clair Godfroy conical rosewood flute, six silver keys...
J. Louis conical rosewood flute, five silver keys.
N. Godfroy conical ebony flute, ivory rings, four silver keys.
Clair Belisaire, conical rosewood flute, five silver keys, ivory rings.
Tabard a Lyon conical boxwood flute, five silver keys, ivory rings.
Good conical flute in cocuswood, stamped on each joint “Bellissent a Paris”. Five nickel-silver keys mounted on posts, nickel-silver mounts. Nickel-silver tenon rings and sockets. The flue plays well at 440 pitch, the embouchure measures 9.4 X 11.3 mm, is original and slightly oval. With original rosewood case. $1650.
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Dennis Buffet boxwood flute with one brass key, made about 1800-1810.
Very good flute with original very small embouchure. A = 430 pitch.
$1600 SOLD 03/08
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Clair Godfroy aine rare French flute, a five-keyed conical cocuswood flute showing serial number 2045, made in Paris about 1865. The instrument wears Godfroy’s second stamp (see Giannini). the mounts are ivory, the embouchure is original, measures 8.5 x 10.3 mm. Three keys on the top joint and one on the bottom joint are silver, mounted on crescent plates. The foot is not original, is by Denis Noblet and dates from about 1880. The key and the mounts to the foot are nickel. This one plays very well at 440 pitch or close to it. "Holding for Repairs"
AN ORIGINAL ANTIQUE FLUTE FROM THE CLAIR GODFROY WORKSHOP, MADE IN PARIS ABOUT 1860.
Vintage and antique French flutes are usually in our collection, but this one’s rather special.
Rare French flute from the shop of Clair Godfroy, aine, a five-keyed conical ebony flute made in Paris about 1860. The instrument wears Godfroy’s second stamp (see Giannini and Langwill).
The maker’s stamp is faint on the head, “(face in sunburst) / Godfroy / Aine / (star)”. The head appears to be of dark rosewood or grenadilla. The wood is in good condition, with no cracks or damage. The embouchure measures 8.5 X 10.1 mm, slightly oval and has not been enlarged or altered. The head is 207 mm long, end of the metal tenon to the top of the tuning crown.
The tuning barrel is also crack-free, the end mounts of solid silver and serial number 2034 stamped on the top mount. The barrel is stamped “ (star) / a Paris / (star)” and is of a more close-grained wood, perhaps dark cocus. The barrel is 89 mm. long. Note the tuning marks on the tenon.
The top joint is also crack-free, three solid silver keys mounted on crescent plates. Above the top finger-hole is the engraving “ (face in sunburst) / Godfroy / Aine / (star)” and between the first and second finger-hole “ (star) / a Paris / (star)” It’s the same engraving found on the head + tuning barrel. Top and bottom tenon are capped in silver. The wood is the same as that on the tuning barrel. Top joint measures 215 mm., end of tenon to end of tenon.
Lower joint is also crack-free, one solid silver key mounted on crescent plate. Top mount and tenon are also solid silver. The wood is the same as that on the tuning barrel. Lower joint measures 144 mm., end of tenon to top of socket.
Foot joint is also crack free, the mounts solid silver, the D-sharp key mounted on crescent plate. The foot is of the same wood as that on the tuning barrel and middle two joints. It’s engraved “ (face in sunburst) / Godfroy / Aine / (star) “ Foot measures 93 mm.
The mounts are silver, completely original. The embouchure is original and has not been enlarged or altered, measures 8.5 X 10.1 mm. Three keys on the top joint and one on the bottom joint are silver, mounted on saddles resting on crescent feet.
The D# key on the foot has floating flat pad-cup mounted on silver attached to a crescent foot. The pad-cups on the body are round and flat The end-plug is original.
The flute plays well at 438 pitch with the tuning barrel pushed all the way in. It’s possible to play the flute as low as 433 pitch by pulling the tuning barrel.
Unlike the vast majority of pre-Boehm flutes, the intonation on this instrument is superb, with a good F-sharp. The low D and D-sharp are NOT flat, as on most conical instrument.
Total length of the flute, fully assembled, is 623 mm. All parts are original and nothing has been cut shorter or altered in any way.
All springs are of steel and appear to be original.
The flute has recently had all pads and corks replaced in our shop in Wichita. Over the past decades, our small company has sold more than two-hundred vintage French flutes. We have a reputation for high quality repair and restoration work on instruments of this type.
For reference, see the following:
“The New Langwell Index”, a Dictionary of Musical Wind-Instrument Makers and Inventors”, by William Waterhouse, published by Tony Bingham, London, 1993.
“Great Flute Makers of France, The Lot and Godfroy Families, 1650-1900” by Tula Giannini, published by Tony Bingham, London 1993.
“Das goldene Zeitalter der Floete, Frankreich 1832-1932” by Karl Lenski and Karl Ventzke, published by Moeck, Celle, 1992. $1950.00. SOLD 06/08
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AN ORIGINAL ANTIQUE FLUTE FROM GOULDING & WOOD, MADE IN LONDON ABOUT 1800. A good English flute from the shop of George Goulding, a one-keyed conical boxwood flute made in London about 1800, by James Wood (see Langwill). The instrument is stamped on the head “Goulding / Wood & Co. / Pall Mall / London”, and “Goulding / Wood & Co.” on the other three joints. The mounts are ivory, completely original. The embouchure is original and has not been enlarged or altered, measures 8.6 X 9.7 mm. The end-plug is original but made without tuning mechanism. The flute plays well at 435 pitch. An additional modern center section is also with the flute, enabling it to play at 415 pitch. The wood on the instrument is particularly attractive, of highly flamed boxwood. All parts are original and nothing has been cut shorter or altered. Original center shows two older repaired cracks to the top tenon. Total length (with original center) = 609 mm. Sounding length (original center) = 535 mm. Total length (with modern center) = 631 mm. Sounding length (modern center) = 556 mm. $2650.
AN ORIGINAL ANTIQUE FLUTE FROM GOULDING & COMPANY, MADE IN LONDON IN 1800. Vintage and antique flutes are usually in our collection, but this one’s rather special. A good English flute from the shop of George Goulding, a one-keyed conical boxwood flute made in London about 1800. The instrument wears Goulding’s stamp (see Langwill) on the head as “Goulding & Co. / London”, and “Goulding & Co.” on the other three joints. The mounts are ivory, completely original. The embouchure is original and has not been enlarged or altered, measures 8.6 X 9.4 mm. The D-sharp key is original, brass, square and flat. The end-plug is original but made without tuning mechanism. The flute plays well at 435 pitch. The wood on the instrument is in amazingly good condition, with no cracks or damage anywhere. All parts are original and nothing has been cut shorter or altered in any way. Total length = 600 mm. Sounding length = 525 mm. $2450.
AN ORIGINAL ANTIQUE FLUTE FROM GOULDING & COMPANY, MADE IN LONDON IN 1800. It’s another instrument from Goulding’s shop, The instrument wears Goulding’s stamp (see Langwill) on the head as “Goulding & Co. / London”, and “Goulding & Co.” on the other three joints. The mounts are ivory, completely original, but two older pin repairs to the ivory. The embouchure is original and has not been enlarged or altered, measures 8.7 X 9.1 mm. The pad-cup to the D-sharp key is original, brass, square and flat. The touch (the top half of the key) looks original, probably is not. The end-plug is original but made without tuning mechanism. The flute plays well at 435 pitch with the head pushed all the way in. The wood on the instrument is in amazingly good condition, without cracks or breaks. Total length of the flute, fully assembled, is 609 mm. Sounding length is 530 mm. $2150.
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Antoine Joseph Lavigne, superb French flute, c. 1816-1886, has
nine hallmarked silver keys, the body of dark cocuswood. Small embouchure;
case looks original, probably from the late 1800’s. No name on the
flute, but each key is hallmarked for sterling, also stamped "A * L".
Lavigne worked in England after 1841, but this flute is definitely French,
or perhaps made by a French worker in another land. Plays very well
at A = 440. $2150 SOLD
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5 key flute by Martin Freres. This one is boxwood with ivory bands on the ends of the joints. Keys are brass. It plays very well at A = 440. The flute is in very good original condition, but there is a repaired crack in the barrel joint. Please see the photos attached. The crack does not leak, and the flute plays perfectly. this flute was also made about 1870 - 1880 in La Cuture, near Paris. The price is $1250.00.
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Small flute in the key of E-flat, each of four joints stamped “(bee) / Martin Fres. / a Paris “. Five nickel keys, no cracks to the rosewood, tenons and sockets mounted also in nickel. Original walnut (?) box. $995.
Boxwood flute by a member of the Metzler family, stamped “Metzler / London” on all four joints. One square and flat brass key. Embouchure measures 9.4 X 10..4 mm and has not been enlarged or altered. The wood and ivory are in good condition, but with an ancient crack to the top of the head joint. Sounding length is 526 mm. The flute plays well at A = 435. $1250.
AN ORIGINAL ANTIQUE FLUTE FROM THE THIBOUVILLE-CABART WORKSHOP, MADE IN PARIS ABOUT 1880.
It’s a rare French conical wood flute, a five-keyed rosewood instrument made in Paris about 1880, perhaps as late as 1900.
The head, top joint and foot are all engraved (sailing ship) / Thibouville / Cabart / a Paris with Cabart’s flat / sharp / natural logo below the name. The head appears to be of dark rosewood or grenadilla. The wood is in good condition, with no cracks or damage. The embouchure measures 10.5 X 12.0 mm, slightly oval and has not been enlarged or altered. The head is 212 mm long, end of the metal tenon to the top of the tuning crown.
Bottom joint is engraved Thibouville / Cabart / a Paris.
Tuning barrel section is original, engraved with the name of the dealer Bonnel / a / Rennes
The tuning barrel is also crack-free, the end mounts of nickel silver, measures 79 mm long.
The top joint is also crack-free, three nickel silver keys. Top joint measures 225 mm., end of tenon to end of tenon.
Lower joint is also crack-free, one nickel silver key. Lower joint measures 138 mm., end of tenon to top of socket.
Foot joint is also crack free, with nickel-silver D-sharp key. Foot measures 91 mm.
The mounts are nickel-silver, completely original.
Please note that all three tenons wear the original nickel-silver tenon caps and that the barrel, lower joint and foot sockets are also nickel-silver.
The flute plays well at 442 pitch with the tuning barrel pushed all the way in. Pull the tuning barrel just a quarter of an inch and it works very well at 440.
Unlike the vast majority of pre-Boehm flutes, the intonation on this instrument is good, with a good F-sharp. The low D and D-sharp are not quite flat, as on most conical instruments.
Total length of the flute, fully assembled, is 628 mm. All parts are original and nothing has been cut shorter or altered in any way.
All springs are of steel and appear to be original.
The flute has recently had all pads and corks replaced in our shop in Wichita. Over the past decades, our small company has sold more than three-hundred vintage French flutes. We have a reputation for high quality repair and restoration work on instruments of this type.
William Waterhouse’s New Langwill Index cites Thibouville-Cabart as having been founded in 1869, as successors to Thibouville-Beranger. By 1914, the firm was known as ‘Thiberville sic gendre et succt.".
The Langwill also notes under Cabart…certain artist-quality instruments made by Thibouville-Cabart were marked Cabart;…The employment of this name by different persons at different times in different places has led to confusion and error.
We note that the flat / sharp / natural logo under the name is the same as that used until the post-war years by the woodwind maker Cabart. That particular firm was absorbed in 1974 by the family that owns the F. Loree oboe workshop in Paris. Cabart oboes are still in production in France.
The embouchure is probably a bit too large for the original instrument performance of pre-1800 music, but the flute would be quite appropriate for Cuban music or with an ensemble performing Irish music.
It was probably originally intended for amateur playing, around the fireplace after dinner, half a century or more before the advent of radio and television.
The bottom line is that it’s quite a nice flute, clean, original and properly restored. $795.
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Noblet & Thibouville (1862 – 1887 and later) dark cocuswood conical flute with five nickel-silver keys. Head section, top joint, bottom joint are stamped “Noblet & / Thibouville / a Ivry Bataille”; Embouchure measures 9.6 X 10.9 mm. Total length is 625 mm; Sounding length is 547 mm. With original box. $1195.
Good rosewood flute with five nickel-silver keys, each joint engraved “Thibouville / Cabart / a Paris “ with triple-masted sailship logo above the name and “flat-sharp-natural” musical notation logo under. Keys are flat and round, mounted on modern key posts, each key fitted with flat steel springs. Mounts (tenon rings) are also nickel-silver. Each tenon has nickel-silver cap and each socket is nickel lined. The flute was made with tuning barrel and has not been cut or altered in any way. Total length is 630 mm and the sounding length is 547 mm. Embouchure is original, measures 10.0 X 11.7 mm. The flute plays very well at slightly below A = 440. New pads and corks from our shop in Wichita. Made between 1879 and 1914, according to Langwill. $975.
Rare ebony flute with ivory fittings by Jean Winnen (b. 1795) made in Paris in the 1830’s. Three centers or “corps de rechange”, stamped 1, 2, 3. Each of the six joints is stamped “(star) / (face in sunburst) / WINNEN / A PARIS “. All parts are original, no cracks to the wood nor to the ivory. One square flat silver key. Embouchure measures 8.8 X 10.8 mm, has not been altered or enlarged. Sounding lengths are 541mm, 547 mm and 555 mm and play at 415, 425 and 435 pitch. The flute has come to us wearing original silk thread windings to four of the tenons and with original leather pad. The green leather bag appears to be the original. $7850.
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VINTAGE AND COLLECTOR FLUTES WITH BOEHM KEYWORK
Coming in soon, please email for more info.
Mahillon Boehm system conical flute in rosewood.
Djalma Julliot silver plated flute.
H. BETTONEY Flute, all sterling silver, Boehm plateau keywork to low C, made
in Boston about 1930. Like a "commercial" Haynes, only showing simpler
keywork. New pads & corks, plays well at 440. Serial #A464l. $1350
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AUGUSTE BONNEVILLE (Paris), #1010, made about 1890. Vintage French flute with all parts silver-plated over nickel alloy. Original plate to the body is good, the embouchure plate and some keys with new silver. French keywork to low C, in-line G, new pads and corks. Sounding length is 596 mm (head appears to have been shortened about 4 mm.) the original embouchure measures 10.2 mm x 12.0 mm. Case is original and good. It’s an early and good silver-plated Bonneville that plays well, in fine restored condition. $2950.
AUGUSTE BONNEVILLE (Paris) #2800 (about 1890). Solid silver construction, very clean with no dents or damage. All parts are original and un-altered, the original case is almost perfect. New pads and corks from our shop in Wichita. Condition is nearly perfect on this fine vintage Paris instrument. Embouchure measures 10.3 X 12.2 mm; sounding length is 602 mm. $7500.
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AN ORIGINAL ANTIQUE FLUTE FROM THE BUFFET-CRAMPON WORKSHOPS, MADE IN PARIS IN 1901.
It’s a superb French flute from the Buffet’s Paris workshops with solid silver Boehm-system keywork.
The head joint is of dark rosewood and is stamped “Buffet / Crampon et. Cie / a Paris “ inside their logo. Total length of the head is 136 mm and the embouchure measures 10.5 X 12.5 mm, slightly oval. The lip side of the embouchure wears an original solid silver plate. The embouchure does not show any signs of having been enlarged and the head shows now evidence of having been made shorter.
The body wears the same stamp as does the head, plus Buffet’s serial number P181L. Keywork is normal French Boehm-system, with in-line G and B-flat trill above the right hand stack keys. All keys show the maker’s stamp as well as the French hallmark for sterling silver. Grommets are original and the G-sharp, B and lower half of the G key wear the original French pins and washers.
Springs for the F-sharp and F are modern replacements, but the other springs are blued steel and appear to be the originals. Pads and corks are new, from our shop in Wichita. Total length of the body is 350 mm., end of tenon to end of tenon.
Foot section wears the same stamp as does the head, plus the letter P just below the socket. All three keys have been stamped with the maker’s mark plus the French hallmark for sterling silver. Steel springs are original. Length of the foot is 133 mm.
Total length of the flute, fully assembled, is 679 mm.
Sounding length, center of embouchure to the end of the foot, is 608 mm.
The Fifth edition of the Grove Dictionary has a good report on 19th. century pitch. From this and other sources, we know that French flute makers built flutes at all sorts of different pitches. In 1859, the French government recommended the so-called Diapason Normale at A = 435. But in that same year, many Parisian orchestras, including the Opera, were using A = 448.
From Lenski and Ventzke’s excellent 1992 volume Das goldene Zeitalter der Floete, we read that the 1876 “Vorgeschlagene Standardstimmung Bruessel” or “the recommended standard pitch in Brussels” was A = 432.
And so it is with our superb Buffet flute. An A = 440 cylindrical Boehm-system flute with C foot has a sounding length of 600 or 601 mm. Our flute is 7 or 8 mm longer and that means you cannot use it in an ensemble that tunes at 440, especially not at 442. And even a group using the old pre-1900 French normal pitch of 435 with find this flute a bit low in pitch.
That doesn’t mean our flute is a beautiful door-stop, though. A musician performing with an original instrument ensemble doing mid 1900 century pieces and tuning to 430 or 432 will find this flute absolutely perfect. Yes, we recognize that our flute was NOT built in 1850, but the tone-color and pitch are more atuned to the mid 19th. century than to modern performance.
The wood on the instrument is in good condition, with the normal small expansion crack to the head socket. That crack has been repaired in our shop and is now stable and almost invisible.
The flute has recently had all pads and corks replaced in our shop in Wichita. Over the past decades, our small company has sold more than two-hundred vintage French flutes. We have a reputation for high quality repair and restoration work on instruments of this type.
$3500
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RARE VINTAGE FLUTE BY DEBONNEETBEAU de COUTELIER (ref: Louis Lot workshops), MADE IN PARIS ABOUT 1890.
For the past five or six years, I’ve reserved Louis Lot #4566 for my own use. According to the record books, it was built in Paris in 1886 and was a product of the Lot workshops during the years (1882 – 1889) the firm was owned by DeBoneetbeau de Coulier.
I’ve played thousands of flutes over the years and even though I’m an amateur player, I have a pretty fair idea about what’s a good flute. Lot #4566 is, in my opinion, the finest I’ve ever played. Before I reserved it for myself, I used a 14K Haynes and before that an early Powell. I like Lot #4566 better.
My first impression of Lot #4566 wasn’t very positive. I liked the tone-color, but it wasn’t an “easy play” instrument, like some of the modern flutes. But I kept coming back to it, finally became accustomed to how a 19th. century Paris flute works. I’ve since tried dozens of other pro-quality instruments and now that I’ve learned how to make Lot #4566 perform properly, I wouldn’t trade it for anything.
Nobody seems to know much about DeBoneetbeau, though. By 1889, Lot’s shop had been taken over by Barat and the previous owner seems to have faded into history.
I’ve been told that Verne Powell’s first flutes were based on 4,000 series Lots, but I’ve never seen it in writing. I must say that Powell #14, now also in my safe, has very similar pad-cups and mechanism.
We do know that there was a Deboneetbeau who ran a music shop in Paris during the first half of the twentieth century and we assume that they must have been related to the fellow who owned L.Lot for a time.
Have a look at the comparison of our two flutes, please… NOTE: FOR THE COMPARISON PHOTOS, THE LOT IS THE FLUTE ON THE RIGHT.
Head section of Lot #4566 has total length of 219 mm and has not been cut, altered, made shorter or retuned in any way. Seamed silver construction, with 39 mm tenon, embouchure at 10.0 X 12.0 or maybe 10.0 X 11.9. Sounding length of the head is 149 mm. Engraving reads “L. L / Louis Lot / Paris / 4566 / Brevette “.
Head section of the Deboneetbeau Fils we’re posting today on EBay has total length of 220 mm, has not been cut, altered, made shorter or retuned in any way. Seamed silver-plated construction, the embouchure at 9.0 X 12.0 mm. Sounding length of the head is 154 mm.
Body of Lot #4566 has a total length of 366 mm and is also totally original. Seamed silver construction, normal French keywork, soldered tone-holes and in-line G. It’s engraved on the tube “L. L / Louis Lot / Paris / Brevete “.
Body of our Deboneetbeau Fils has a total length of 368 mm as is also totally original. Seamed silver-plate construction, normal French keywork, soldered tone-holes and in-line G. It’s engraved on the barrel “E. D. de C. / E. Deboneetbeau Fils / Paris / 596 “.
Foot of Lot #4566 has a total length of 131 mm and is totally original. Seamed silver construction, C foot, soldered tone-holes.
Foot of our Deboneetbeau Fils has a total length of 131 and is also totally original. Seamed silver-plated construction, C foot, soldered tone-holes.
Total sounding length of Lot #4566 is 599 mm. Total sounding length of the Deboneetbeau Fils is 600 mm. Both flutes play well at A = 440, not 435, not 442.
Tube thickness on Lot #4566 measures .013 or .014 inches, depending on where you measure. Tube thickness on the Deboneetbeau Fils measures .014 inches.
Both flutes were new pads and corks from our shop in Wichita. We’ve restored and sold more than two hundred 19th. century French flutes and have a good reputation for quality work.
The bottom line is that our Deboneetbeau Fils flute actually plays very close to my Lot #4566. But it’s a LOT (no pun intended…) cheaper.
If you want a modern flute with a full and dark voice, this one’s not for you. If you’re after a vintage French instrument that produces that particular sweet and unique tone-color that no other flutes do, this one’s perfect.
Our Debonneetbeau flute is silver plated over nickel alloy. The original silver plate is 100%, with NO worn spots, bubbles, finger marks or anything else. The flute is in pristine original condition. For those who might ask, the tube is constructed of “nickel-silver” also known as “Neusilber” or “Maillechord”. Some experts will insist that the metal is an alloy of silver and nickel, but it’s not so. The metal is an alloy of nickel, copper and zinc.
$2499
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GEORGES LEBLANC Flute (Paris and La Couture), made in France about 1935. The head, body and all keys are of silver plated nickel-silver alloy. Tone-holes are soldered and the French keywork is to low B. The G key is half offset. The tube measures .015 inches and the original embouchure measures 10.5 X 11.5 mm. The head section is engraved “G. LeBlanc, Paris” with LeBlanc’s ornate logo. The same engraving is found on the body of the flute and number 2081 is stamped on the rib for the C key. The foot is not engraved, has “D” stamped on the rib, between the C and B tone-hole. The total sounding length is 634 mm (A = 440 - 441) and the flute shows high quality workmanship throughout. The original leather case is stamped “G. Leblanc” with Paris address. Aside from a small worn spot to the silver plate by the right hand thumb area, the instrument is pristine. It wears new pads and corks from our shop in Wichita. $1500.
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DJALMA JULLIOT (La Couture), made in France in 1920. The head, body, foot and all keys are of silver plated nickel-silver alloy. Tone-holes are soldered and the French keywork is to low C. The G is half offset. Tube measures .015 inches and the slightly square original embouchure measures exactly 10.0 X 12.0 mm. The head, body and foot are all engraved “1920, Djalma Julliot, La Couture-Boussey (Eure), Brevete, S.G.D.G.”. Total sounding length is 600 mm and the flute plays well at A = 440 pitch. The head has not been cut shorter or altered and the instrument has not been “re-tuned”. $2150.
LeBRET, L.L. (Paris), vintage French flute, made about 1900, serial number 1800A. Engraved “LeBret, Paris” on the embouchure plate. Top-quality solid silver vintage LeBret with the more traditional keywork than is found on the later instruments. Embouchure measures 10.5 X 12.2 and the sounding length is 602 mm. The instrument has been played very little in the past 100 years. The tone-holes and embouchure dimensioins are virtually identical to L.Lot flutes of the 1880’s. SOLD
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LeBRET (Paris), made about 1930, after the LeBret workshops were sold to Malerne. Soldered tone-holes, silver plated body, head, foot and all keywork. Everthing is very original, no wear to the silver plate and a small square embouchure that measures 10 x 12 mm. This is a good vintage French flute, fully restored and playable, but not for everybody. $1650
ANTIQUE FLUTES FROM THE “STRADIVARIUS OF FLUTE MAKERS”
LOUIS LOT (Paris), #846 made in 1864 Conical flute in cocuswood, with ring keys of nickel-silver. D foot, sounding length is 535 and the embouchure measures 10.1 X 11.5 mm. No cracks to the wood, plateau touch for third finger right hand D key. Case is original. Virtually identical to Lot number 346 (see Lenski / Ventzke page 183) but at 435 pitch, not 444. Superb example that’s come to us in excellent condition. $12,500.
LOUIS LOT (Paris), #2040, made in 1875. Silver-plated over nickel alloy, the name and serial number faintly stamped on the body of the flute.. Sounding length is 599 mm, the embouchure is original and measures 10.0 x 11.8 mm. The head has never been altered but has no engraving and may not be original to the flute All pad spuds and washers are original. Tube thickness is .15 inch. BODY AND FOOT ONLY. SOLD
LOUIS LOT (Paris), #281x, made in 1879/1880. All silver construction. Seamed construction, with two (only) French hallmarks and maker’s stamps to the metal. Embouchure is original, measures 10.2x11.7mm. Pad spuds are original, pads are new. Never altered or re-tuned, but the head has been shortened 3 mm, and the tuning ring has been moved upward the same. Sounding length is now 600/601mm, the tube thickness is .014 inches. The case is 19th century, almost certainly original. Keywork shows minimal wear, all steels, springs and hinge tubes are orignal. $17,500. SOLD
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L. LOT (Paris), #456x, made in 1888. Rare French flute, all silver,
seamed construction with maker’s marks and French hallmarks on each joint,
but not found on the keywork. Embouchure is original, measures exactly
10.0mm x 12.0mm. The head has never been shortened, the embouchure
never enlarged. All pad spuds are original, the case is newer.
Never altered or “re-tuned”, pristine and superb example of Lot’s work.
Sounding length is 598mm, tube thickness is .155 inch. The case is 19th century, probably not original. Not for sale at this time...
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LOUIS LOT (Paris), #535x, made in 1892. All silver, seamed construction with multiple maker’s marks and French hallmarks on each joint and on most keys. Sounding length is 604 mm, the embouchure is original and 10.1 x 11.9 mm. The head has not been shortened, the embouchure never enlarged. All pad spuds and washers are original, the case is original. Never “re-tuned”, now with new pads and corks from our shop in Wichita. . Superb and clean early L. Lot silver flute showing minimal wear to the keywork. Tube thickness is .014 inch.
LOUIS LOT (Paris), #587x, made in 1895. All silver, seamed construction with multiple maker’s marks and French hallmarks. Plateau (covered) keywork to low C, in-line G. It’s a recent acquisition from an amateur musician who’s owned it since 1976. Some documentation is available that the flute was once the property of New York Philharmonic flutist John Wummer. SOLD 03/07
LOUIS LOT (Paris), #607X, made in 1896. All solid silver, seamed construction with multiple maker’s marks and French hallmarks. Sounding length is 600 mm, appears to not have been shortened. Embouchure is 10.0 X 11.9 mm. Pad spuds and washers are all original. Never “re-tuned”, by Dember 15 with new pads and corks. Tube thickness is .014, seamed silver. The case is original. Dorus G-sharp. Keywork shows minimal wear.
LOUIS LOT (Paris), #6930, made in 1902. Very good example in silver plate, quite original with no more than one percent wear to the original finish. Embouchure is original and solid silver, measures 10.2 x 12.0 mm. The head appears to have been shortened four mm, but the embouchure has never enlarged. All pad spuds are original, the case is newer. Never altered or “re-tuned”, it’s a very good example. Sounding length is 594 mm (head pushed all the way in…) and the tube thickness is .013 inch.
CLAUDE RIVE (Paris) #121X, circa 1910 (?). All silver construction with many French hallmarks, in-line G and C foot. It’s a superb flute, but it’s been played a bit. Embouchure measures 10.5 X 12.2 mm and the sounding length is 597 mm. The head appears to have been shortened about 4 mm. Acquired by us with six damaged (filed flat) pad cups, we’ve replaced the damaged cups with new silver parts from Haynes. Flutes from the Rive workshop are somewhat rare: we’ve had only four of them in the past decade. This one plays very well, with the clean vintage tone-color we expect of the best “old French”. This one’s $5250.
RUDALL & ROSE (London), Boehm system ring keys to low C, with Dorus
G#, all wood body, sterling keywork, elaborate head tuning system, rosewood
body, foot & head. Original case. Early Boehm flute, made in England
c. 1855. SOLD
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R. SIOUR-CHAPELAIN, Paris (circa 1925), silver plated over nickel-silver, plateau keywork, full hand-made construction with soldered tone-holes. Fine flute from the l920's. $1750
VINTAGE HEAD SECTIONS
RUDALL, CARTE & CO. (London) head section, c. 1900, ebonite, silver mounts, 10.5 x 12.3 mm. $750
USED OBOES
Fine French oboe from Roland Rigoutat’s (Paris) workshops, serial number 19xB, made in Paris about 1980. The instrument has come to us in pristine original condition, with no cracks to the wood of the top or bottom joint, absolutely no wear to the silver-plated keywork. It has left-hand F, also forked F resonance key. The oboe does have articulated mechanism for the low B-Bb to low C# trill. This one has the original French case. This one’s a best buy at $4150.
Superb professional quality oboe from the workshop of A. Santoni, made in Pare (Italy) about 1990. The instrument is stamped with serial number 14. Santoni’s miniscule workshop produced a small number of high-quality oboes and clarinets. Pare is located on the Swiss-Italian border, not too far from Como. Our oboe has come to us in pristine original condition, without cracks or damage of any kind. Third octave key, F-resonance and Left-hand F keys, B to C# articulated mechanism, ring key for third finger right hand. In short, it has all the keywork found on the best French “full conservatory” oboes. Highest recommendation on this one! $3350.
F. Lorree (Paris), #EG-8x, made in 1978. The instrument has come to us in pristine original condition, with no cracks to the wood of the top or bottom joint, absolutely no wear to the silver-plated keywork. It has left-hand F, also forked F resonance key. The oboe does also have the articulated mechanism for the low B-Bb to low C# trill. This one has the original Loree French case that's nearly perfect. A new Loree is now a bit close to $7500. This one's a best bu at $4450. SOLD
SOME GOOD REBUILT BASSOONS
New Heckel Bocals: Yes, they're expensive, but they are the best! $845
RARE BASSOON FROM THE WILHELM HECKEL WORKSHOP IN BIEBRICH. Heckel Bassoon #9600. SOLD
Good student bassoon from the Linton Company, made in Indiana about 1975. It’s their model 5K, serial number 34900, made of indestructible plastic, still has 100% original nickel plate to the keywork, two good original Linton bocals and a good original case. We’ve replaced pads and corks, cleaned it up and recommend it to a client wanting a good-playing yet inexpensive American bassoon. Keywork is to high C (no high D), condition is “9.5 out of 10”. Street price on a new one is now about $2850. This one’s $1575.
Vintage German bassoon made about 1970 by Gebrueder Moennig (Markneukirchen, Germany), serial number 13,600. The bassoon wears good original finish to the wood, has one original Moennig #2 bocal plus one new #1 bocal (Fox or Moennig) original high D and original good nickel plate to the keywork. Finger holes are hard rubber lined. All tenons are original. Rollers on A-flat, F-sharp and F-natural (boot) plus thumb F# (boot) and on D-sharp and C-sharp (long joint) plus the extended C-touch that we usually see on Moennig bassoons. Also with E-flat trill key on the wing. The case is new, all pads and corks are new, from our shop in Wichita. Very good and original example. It’s a good and original example from East Germany, before the wall came down. Moennig still makes a similar instrument, now with a street price in excess of $5500. This one’s $3250.
Vintage German bassoon made between 1955 and 1960 by Gebrueder Moennig (Markneukirchen, Germany), serial number 11029. The bassoon wears new finish to the wood, has original high D and original good silver plate to the keywork. There's an additional E-flat key on the wing and all finger-holes are ebonite or nickel-silver lined. Rollers on the front F-sharp, F and A-flat also on the back B-flat plus rollers on the C-sharp and D-sharp on the long joint. All tenons are original and the wing tenon wears an original nickel-silver cap. The case is new, all pads and corks are new, from our shop in Wichita. This one's $2450. SOLD
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Vintage German bassoon made about 1960 by Gebrueder Moennig (Markneukirchen, Germany), serial number 16,230, stamped on the bell “Horst Moennig, Los Angeles”. The bassoon wears original varnish (not wood lacquer…), has two new Moennig or Fox bocals, keywork to high D is silver-plated and the case is new. Now in our repair shop undergoing full mechanical overhaul and re-padding. This one’s $2450.
Rare antique French bassoon, made in Lyon between 1836 and 1867 by Louis Muller. Eight brass salt-spoon keys with matching brass bell ring. The brass crook has seamed construction, possibly original, probably from the same time-period. Bell, boot and long joint are very faintly stamped with the name of the maker, with his logo above the stamp and indecipherable letters (“a Lyon” ? ) below. Good player, very original. $5850.
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Superb bassoon by Vincenz Puechner, made in Graslitz before 1948. The instrument shows high quality workmanship, wears original varnish and has been played little in the past sixty years. Acquired by us wearing original keywork, we’ve sent the instrument to the Puechner workshop in Nauheim to have high D, high E keywork added plus finger-holes lined with water tubes. The bassoon should be back in our hands in February, at which time we’ll replace pads and corks and fit it to a new case. Depending on our costs for the new keywork, the price should be around $5500. SOLD
Good German bassoon from Wenzel Schreiber, model S-5014. Serial #30,49X, made in 1993. The instrument has 100% original varnish, no cracks to the wood and with good original bell ring. Keys are silver plated with no wear to the plating. Price includes two original Schreiber bocals. With original high D keywork and water tubes for the finger-holes. All tenons are original and have brass caps. Wing joint sockets are also brass lined. The wood has no cracks or damage. It wears new pads, of course, from our shop in Wichita. Original Winter case is still good. Street price on a new one is now a bit below $5,000. This one’s like new, with a “best buy” price of $3150.
Good German bassoon from Wenzel Schreiber, #815X, made in 1964. The instrument has 100% new varnish and full keywork to high D, but no high E. Keys are nickel plated. Price includes new Fox bocals and good original case. Schreiber’s current model S-16 is produced with key blanks they buy from Italy or other sources. It’s only the better quality bassoons that are made with German keywork they built themselves. Our bassoon has German keys, the instrument made fully by Schreiber. The wood has no cracks or damage. The bassoon wears new pads from our shop and comes with our two-year service warranty. Suggested retail price on a new one is now $9770. Our price for this one: $2250.
ALL BASSOONS (and other winds) sold by Wichita Band Instrument Company (new or used) come with our 24 month service warranty. We always, always replace all pads & corks and mechanically rebuild the instrument to "like new" specs. Bassoons are expensive and used instruments often represent good value. Why buy a new one?
MODERN AND VINTAGE PICCOLOS
A SUPERB VINTAGE WILLIAM S. HAYNES SILVER C PICCOLO FROM 1961.
This superb piccolo from Haynes "Golden Age" was purchased new in 1961 and had the same owner until now. The serial number is 31,09x.
The owner was a full-time professional musician in a major west coast city, a woodwind doubler who played tenor sax and clarinet mostly, and used the piccolo only occasionally.
The piccolo has had good care over the years and shows no signs of heavy use or wear. Our shop disassembled the piccolo, lightly polished the solid silver body and keys, and replaced all pads and corks. Light scratches to the body were not buffed away, thus preserving the original body thickness. The keywork is tight as new. The instrument looks superb and plays beautifully!
Sounding length is 262 mm; the piccolo tuned to modern A = 440 pitch
The embouchure measures 9.2 x 10.9 mm.
The piccolo is completely original, never altered, and never damaged.
The original case was tired, so we've replaced it with a new leather-covered professional piccolo case and included a new fleece-lined canvas case cover.
This is a superb vintage piccolo showing quality American workmanship from a very good time period for the William S. Haynes Company in Boston.
Haynes is now Chinese-owned; a new Haynes piccolo is $4500.
This one is the "real thing": The best of traditional American piccolo design combined with craftsmanship of a type no longer avaialble.
Full history is available. The original owner has given us permission to provide his contact information to the new owner.
Top recommendation on this one. $2250.
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Conical wood C piccolo from Wm. S. Haynes Company, #(X)748X (?). All new pads and corks from our shop in Wichita, new case. It’s a modern piccolo, but the serial number is illegible. No cracks to the wood. Sounding length is 265 mm; embouchure measures 9.2 X 10.9. Definitely at A = 440 pitch. A new one is now $4500. This one’s $2250. SOLD 03/08
Conical “pre Gemeinhardt” wood C piccolo from Roy Seaman, #25X. All new pads and corks from our shop in Wichita, new case. No cracks to the wood. Sounding length is 265 mm; embouchure measures 9.2 X 10.9. Definitely at A = 440 pitch. A new one is now $4500. This one’s $1850. SOLD 03/08
USED AND VINTAGE CLARINETS
COME SEE US AT CLARINET FEST 2008 IN KANSAS CITY, MISSOURI, July 3-5, 2008 (University of Missouri, KC)
BUFFET HISTORY
Founded in 1839 by Jean-Louis Buffet-Crampon, Buffet clarinets soon
became the choice of the majority of the world’s professional players.
By 1900, Buffet had a workforce of 200 craftsmen, producing clarinets,
flutes and saxophones, all of high quality.
Paul Evette and Ernest Schaeffer bought the firm in 1885. “Evette and Schaeffer” clarinets were the “step up” instruments from Buffet until about 1980. A public corporation since 1929, the company was absorbed into the Boosey-Hawkes conglomerate in 1981.
Instruments made between 1935 and 1980 are considered by many to be the very best of Buffet’s production. The American investor Martin Tolchin bought Buffet in the mid 1970’s. He was aware of the fact that not all clarinet players agreed on the tone-color of their instrument, so the “R-13” (“Arthur King”, we call them...) model was soon joined by the “Continentale”, the “S-1”, the “BC-20” and later the “RC”. All have subtle differences, all are considered to be “top of the line” equals. Before 1980, the Buffet name was only engraved on their best clarinets: the “step up” and student quality instruments were stamped “Evette & Schaeffer” or “Evette”. Today, the Buffet name and logo are engraved on the entire line of Buffet instruments, from the German-made plastic to their very best clarinets.
Wichita Band Instrument Company has sold new and used clarinets from Buffet-Crampon since the early 1950’s. Clarinets acquired by us are always crack-free, wear our new pads and corks and carry our two-year service warranty.
Buffet is now a part of the Boosey-Hawkes Musical Instrument Company of London.
Wichita Band’s clarinet warranty is the same as it’s been for more than
three decades: “All new and used clarinets sold by us come with our 24-month
service warranty, which is in addition to any factory warranties. For two
full years, we will repair or replace (whichever in our estimation is the
more advisable), any pads, corks, springs or other parts required, at no
charge to the customer. In the event of cracked or damaged wood sections,
we will repair at no cost to the customer or replace the section and charge
the customer only for our costs (wholesale) for the parts. The customer
is responsible for shipping costs. Cases and plating finishes are, unfortunately,
not covered by our warranty.”
RECONDITIONED VINTAGE AND MODERN BUFFET-CRAMPON Bb CLARINETS
BUFFET-CRAMPON “model 13” B-flat clarinet #1P-220, made in France in 1901. It’s actually been played very little in the past century. Keywork shows minimal wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, the tenons sharp. Pads & corks are new and from our shop in Wichita. It’s old, but an excellent instrument that shows top quality wood and workmanship. $1595.
BUFFET-CRAMPON "model 13" B-flat clarinet #1P-470, made in France in 1901. It's actually been played very little in the past century. Keywork shows minimal wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, the tenons still sharp and not rounded. Pads & corks are new and from our shop in Wichita. It's old, but an excellent instrument that shows top quality wood and workmanship. $1595
BUFFET-CRAMPON "model 13" B-flat clarinet #1R-20, made in France in 1902. It's actually been played very little in the past century. Keywork shows minimal wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, the tenons sharp. Pads & corks are new and from our shop in Wichita. It's old, but an excellent instrument that shows top quality wood and workmanship. $1595
BUFFET-CRAMPON “model 13” B-flat clarinet #V8X, made in France in 1905. Keywork shows very little wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, the tenons sharp and not worn. Pads & corks are new and from our shop in Wichita. Case is new. This is the clarinet that made Buffet famous, with superb wood quality and a rich tone-color. $1595.
BUFFET-CRAMPON “model 13” B-flat clarinet #740-CI, made in France in 1909. Keywork shows very little wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, the tenons sharp and not worn. Pads & corks are new and from our shop in Wichita. Case is new. This is the clarinet that made Buffet famous, with superb wood quality and a rich tone-color. $1595.
BUFFET-CRAMPON “model 13” B-flat clarinet #820GX, made in France in 1912. Keywork shows very little wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, the tenons sharp and not worn. Pads & corks are new and from our shop in Wichita. Case is new. This is the clarinet that made Buffet famous, with superb wood quality and a rich tone-color. $1595.
BUFFET-CRAMPON “model 13” clarinet #357X, made in France in 1929. Keywork shows very little wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. The tenons are still sharp and not worn. Pads & corks are new and from our shop in Wichita. Case is new. This is the clarinet that made Buffet famous, with superb wood quality and a rich tone-color. Not for everybody, but for those wanting the “old Buffet sound”, it’s absolutely perfect. $1595.
BUFFET-CRAMPON “model 13” clarinet #560x, made in France in 1930. Keywork shows very little wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. The tenons are still sharp and not worn. Pads & corks are new and from our shop in Wichita. Case is new. This is the clarinet that made Buffet famous, with superb wood quality and a rich tone-color. Not for everybody, but for those wanting the “old Buffet sound”, it’s absolutely perfect. $1695.
BUFFET-CRAMPON model 13, #16,240, made in France in 1934. It’s a very good example from Buffet’s “Golden Era”. Original silver plate is in good condition, with some keys overplated with new silver. No cracks to the wood, new pads & corks from our shop in Wichita. The wood is very dark and close-grained, no cracks or damage of any kind. It’s the clarinet that made Buffet famous, with superb wood quality and a rich tone-color. This one’s offered with a new case from MTS. It’s about as good a clarinet as you can buy… $1,695.
BUFFET-CRAMPON model 13, #26,54X, made in France in 1945. It’s a good and little-used example from Buffet’s “Golden Era”. Keywork shows minimal wear to the rings and hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, new pads & corks from our shop in Wichita. It’s the clarinet that made Buffet famous, with superb wood quality and a rich tone-color. Top recommendation on this one! $1895.
BUFFET-CRAMPON model BC-20, #76,910 made in France in 1963. Introduced in the mid 1960’s, the BC-20 was based on Buffet’s decision to manufacture several “top of the line” clarinets with tone-colors a little different from their standard R-13 model. At the time, the R-13 was reserved strictly for the US market, was not available outside America. The BC-20 was not a student instrument, but carried the same price as the R-13. Our clarinet shows minimal wear to the rings and hinge-tubes and the original SILVER plate is still very good. No cracks to the wood, new pads & corks from our shop in Wichita. Tenons are sharp, not worn or rounded off. This one came to us totally original. The price includes a new flat case from MTG. This one gets our top recommendation. $1795.
BUFFET-CRAMPON model BC-20, #78,39X made in France in 1964. Introduced in the mid 1960’s, the BC-20 was based on Buffet’s decision to manufacture several “top of the line” clarinets with tone-colors a little different from their standard R-13 model. At the time, the R-13 was reserved strictly for the US market, was not available outside America. The BC-20 was not a student instrument, but carried the same price as the R-13. Silver plated keywork, new pads & corks from our shop in Wichita. The price includes a new flat case from MTG. This one gets our top recommendation. $1395.
BUFFET-CRAMPON model BC-20 #77,470, made in France in 1963. Introduced in the mid 1960's, the BC-20 was based on Buffet's decision to manufacture several "top of the line" clarinets with tone-colors a little different from their standard R-13 model. At the time, the R-13 was reserved strictly for the US market, was not available outside America. The BC-20 was not a student instrument, but carried the same price as the R-13. Our clarinet shows minimal wear to the rings and hinge-tubes and the original nickel plate is still very good. No cracks to the wood, new pads & corks from our shop in Wichita. Tenons are sharp, not worn or rounded off. This one came to us totally original. The price includes a new flat case from MTG. $1695. SOLD 01/07
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BUFFET-CRAMPON model S-1, #125,840 made in France in 1971. Introduced in the early 1970’s, the S-1 was based on Buffet’s decision to manufacture a clarinet with bore size and tone-color similar to their superb pre-WW-II instruments. The bore is slightly smaller, the sound a little brighter than a modern R-13, but everything else is identical. Buffet’s 1975 catalog reads “…Since the introduction of the S-1 and R-13 series, clarinetists throughout the world have had two distinctly different Buffet bores from which to choose…” The S-1 was not a student instrument, but carried the same price as the R-13. Our clarinet shows minimal wear to the rings and hinge-tubes and the original nickel plate is like new. No cracks to the wood, new pads & corks from our shop in Wichita. Tenons are sharp, not worn or rounded off. This one came to us totally original. The price includes a new flat case from MTG or the original 1971 case. This one gets our top recommendation. $1695. SOLD
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BUFFET-CRAMPON R-13 model B-flat clarinet, #202,190, made in 1980. This one's nearly perfect, has nickel plated keywork with minimal wear to the keys, 99% original plating. The clarinet comes with one 66 mm barrel, VanDoren mouthpiece and new MTG case. New pads and corks from our shop in Wichita, of course. No cracks anywhere! Suggested retail price on a new one is now $4597. This one's $1949. SOLD
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BUFFET-CRAMPON model R-13 B-flat clarinet, #259,61X, made in France in 1984. No cracks to the wood, new pads & corks from our shop in Wichita. Tenons are sharp, not worn or rounded off. The price includes the original case, in fine condition. Better than a new one, in our opinion. $1995.
BUFFET-CRAMPON model R-13 B-flat clarinet, #396,54X, made in France in 1995. The original nickel plating is still very good. No cracks to the wood, new pads & corks from our shop in Wichita. Tenons are sharp, not worn or rounded off. This one came to us totally original. The price includes original case, still in very good condtion. $1945.
BUFFET-CRAMPON model R-13 B-flat clarinet, #409,91X, made in France about 1995. The original nickel plating is still very good, with only minor wear. No cracks to the wood, new pads & corks from our shop in Wichita. This one came to us totally original. The price includes good original case and new case cover. $1945.
RECONDITIONED VINTAGE AND MODERN BUFFET-CRAMPON "A" AND OTHER CLARINETS
BUFFET-CRAMPON “model 13” A clarinet #122K, made in France in 1897. Here’s a superb example from the start of Buffet’s “Golden Era”. Keywork shows very little wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, the tenons still sharp and not at all rounded. Pads & corks are new and from our shop in Wichita. It’s old, but an excellent instrument that shows top quality wood and workmanship. Barrel section is new. With double case. $1895.
BUFFET-CRAMPON “model 13” A clarinet #391LX, made in France in 1918. Here’s a superb example from Buffet’s “Golden Era”. Keywork shows very little wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, the tenons still sharp and not at all rounded. Pads & corks are new and from our shop in Wichita. It’s old, but an excellent instrument that shows top quality wood and workmanship. $1795.
BUFFET-CRAMPON “model 13” A clarinet #600, made in France in 1928. Here’s a superb example from Buffet’s “Golden Era”. Keywork shows very little wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, the tenons still sharp and not at all rounded. Pads & corks are new and from our shop in Wichita. It’s old, but an excellent instrument that shows top quality wood and workmanship. $1995.
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BUFFET-CRAMPON model 1191, BASS CLARINET “Professional”. #2131X Made in France in 1968, it’s in pristine original condition, range to low E-flat. No cracks to the wood, almost no wear to the nickel plated keywork. Current suggested retail price is now $13,060 with minimum selling price of $7936. This one’s come to us in fine original condition, with new Van Doren mouthpiece. Original case is still in good condition. LONG time of delivery on a new instrument, but this one’s available today for $4950.
BUFFET-CRAMPON “Evette-Schaeffer E-13” B-flat clarinet #220X, made in France about 1955. Keywork wears new silver plate and all pads / corks have been replaced in our shop in Wichita. No cracks to the wood, the tenons still sharp. Buffet’s model E-13 clarinet, was one step down from their “top of the line” R-13. This one’s a good example, has been used very little and comes with a new case and our recommendation. Today, ALL Buffet clarinets below their R-13 pro model are made in Germany or China. Our E-13 is 100% French. $1095.
BUFFET-CRAMPON “Evette-Schaeffer E-13” B-flat clarinet #K290X, made in France about 1955. Keywork wears new silver plate and all pads / corks have been replaced in our shop in Wichita. No cracks to the wood, the tenons still sharp. Buffet’s model E-13 clarinet, was one step down from their “top of the line” R-13. This one’s a good example, has been used very little and comes with a new case and our recommendation. Today, ALL Buffet clarinets below their R-13 pro model are made in Germany or China. Our E-13 is 100% French. $1095.
BUFFET-CRAMPON “Evette-Schaeffer E-13” B-flat clarinet #K3235X, made in France 1975. Keywork wears good nickel plate and all pads / corks have been replaced in our shop in Wichita. No cracks to the wood, the tenons still sharp. Buffet’s model E-13 clarinet, was one step down from their “top of the line” R-13. This one’s a good example, has been used very little and comes with a new case and our recommendation. Today, ALL Buffet clarinets below their R-13 pro model are made in Germany or China. Our E-13 is 100% French. $1295.
CABART A PARIS, good clarinet in the key of A, no serial number, made in France about 1930. No cracks or damage to the wood, superb workmanship and quality everywhere. This one has original nickel-silver keywork, new pads and corks from our shop and a solid original French double case. Since 1974, Cabart has been part of the F. Loree oboe workshops. This one’s $1095.
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Rare clarinet in the key of C, made in Elkhart in 1923 by C. G. Conn, Ltd. Serial #C108210L. The instrument has come to us in nearly pristine condition, with normal seventeen key / six ring Boehm system keywork. It’s been played very little in the past 83 years, still even has the original guarantee letter with it. Body is of ebonite (“hard rubber”) and all pads & corks are new, from our shop in Wichita. The original case is perfect. Rare, good player, not expensive. $1150.
Rare clarinet made in Elkhart in 1928 by C. G. Conn, Ltd. Serial #B216,220L. The instrument has come to us in very good original condition, with normal seventeen key / six ring Boehm system keywork. It’s been played very little in the past 78 years. Body is silver plated over nickel-silver alloy and all pads & corks are new, from our shop in Wichita. In 1928, this was Conn’s “Top of the Line” Clarinet. Five piece model, even the bell section screws off. Rare, good player. $1095.
VINTAGE CONN PROFESSIONAL METAL CLARINET, MADE IN ELKHART IN 1929.
Today when we think of Conn instruments, it’s brasses that come to mind. They’ve been part of Steinway Properties for a number of years. Yes, we sell their new instruments in our shop in Wichita and have a very good relationship with the company.
But back before 1955, Conn also had a sterling reputation for saxophones and clarinets. Their model 444N pro-quality wood clarinets were used by many Big Band players and even a few symphony musicians. From 1925 to 1955, the Elkhart workshop turned out top-quality clarinets in large number.
Just after the First World War, it was clear to America’s flute makers that the trend was definitely turning from wood to silver. The last production of wood flutes at the Wm. S. Haynes Company until recently, I mean… was in 1918. Virtually all Haynes flutes made since then have been of silver.
And so it was, for a time, with clarinets. We’ve heard it was the one of the reasons master flute maker Verne Q. Powell left Haynes in 1926. Verne was the designer of the superb Haynes metal clarinet, only a handful of which were built. Powell was unable to convince Bill Haynes that …metal clarinets, like metal flutes, will be the only instruments used by all the pro musicians of the future…
So in the mid 1920’s, C.G. Conn introduced a top of the line metal clarinet. Conn’s earliest metal clarinets date from the 1880’s, of course. But the Improved All Metal Clarinet was designed to be their very best instrument, more costly than their best wood clarinet.
Conn’s 1925 catalog says it all. …after several years of long, tedious experiment, developed a new and original design…
And… Body comes apart in four sections: barrel, top, bottom, bell.
The new clarinet was designated model 624N, and we do occasionally have them in our collection in Wichita. They’re easily identified by the B-flat trill being on the opposite side to the register key, by the unique square key-arms to the B and B-flat trills, by the double-walled bell with gold inside the bell and by the simple fact that the instruments come apart in pieces, just like a wood clarinet.
Conn’s 1925 catalog also describes the clarinet we today call their armored model, and for some reason it, too, was given the model number 624N. Go figure…
A short decade later, Conn was still producing a pro-model metal clarinet, as well as their student Pan-Am and Cavalier instruments. Their 1935 model 514N was a fine instrument, but the keywork had already been made cheaper and the sections did not disassemble. The 514N sold in 1935 for $95; Conn’s best wood clarinet, the 444n, in that same year was $130.00.
Although American flute production had switched from wood to metal, pro-quality metal clarinets never quite caught on.
It’s a pity, as their model 624N clarinets play VERY well. Think circa 1925 Selmer-Paris wood clarinet, but with a little brighter tone-color.
This particular Conn dates from 1929 and was Conn’s most-expensive instrument at that time; more costly than their best 17 keyed/six ringed wood instrument.
As with all of Conn’s pro-model clarinets, the quality of workmanship was absolutely superb, arguably better than on any clarinet made today. Our clarinet has no damage anywhere. Keywork is silver plated over solid nickel silver, German silver, some call it and all pads and corks are new, from out shop in Wichita.
Body, bell and barrel sections are silver plated, except for a small worn spot to top of the upper joint and for the gold inside the bell, the original silver is 99%.
Price includes the original Conn case and our two-year service warranty comes with the instrument.
The bell is engraved made by /C.G. Conn, Ltd./Elkhart, Ind./USA.
Bottom joint is clearly stamped B215700L
Tuning barrel works perfectly and the hard rubber mouthpiece without name may be original.
Of course if you dig long enough, you can find one of these fine instruments for sale. Our clarinet differs from those only by the fact that we’ve fully restored it, have fitted new white kid pads to it and have swedged keywork tight again. And the original plating is 99% intact, plus it’s got a good original Conn case.
The bottom line is that this is superb example of an instrument produced when Conn built high quality clarinets and we give it an enthusiastic recommendation.
$1095.00 SOLD
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German clarinet from the workshop of Carl Kruspe, made in Erfurt about 1940.. It’s come to us in fine original condition, with unplated nickel-silver keywork, no cracks to the wood. We’ve replaced all pads and corks in our shop in Wichita. Bell, lower and upper joints and barrel section are all stamped “ C K (plus butterfly logo) / C. Kruspe / Erfurt / B / * / 2 “. No serial number found. The instrument is similar to an “Albert system” instrument, but with additional mechanism from the top joint rings to the register key, to improve intonation on the high C-sharp and higher. Thirteen keys and four rings, four rollers on the lower joint. According the the Langwill Index, “…the ‘System Kruspe clarinet’ became the model most used in Germany…” This particular instrument came to us from a country auction in France. We believe it was left behind when the German occupiers went home, in 1944. The case is from Musik Alexander in Mainz and dates from the 1950’s. Richard Muelfeld, the clarinet player for whom Johannes Brahms composed the two sonatas, the quintet and the trio, preferred the clarinets of Carl Kruspe above all others. Rare, not for everybody, this one’s $1150.
G.LEBLANC (Paris), #3380, made in France before 1950. It’s come to us in good original condition. New pads and corks, new silver plate to the nickel-alloy keys. No cracks, new pads and corks. Well known for the many “Noblet” clarinets sold to French and American musicians, this “LeBlanc” model would have been one of the very first “top of the line” instruments from them. $995.
G.LEBLANC (Paris), #3660, made in France before 1950. It’s come to us in good original condition and with standard keywork. New pads and corks, new silver plate to the nickel-alloy keys. No cracks, new pads and corks. Well known for the many “Noblet” clarinets sold to French and American musicians, this “LeBlanc” model would have been one of the very first “top of the line” instruments from them. $995.
LeBlanc / Noblet model 40 wood clarinet, #15950A, made in France about 1985. No cracks to the wood, new case, new pads and corks from our shop in Wichita. Price includes a good used VanDoren 2RV mouthpiece. Suggested retail price on a new one is now $1530. This one’s $595.
LeBlanc / Noblet model 40 wood clarinet, #D51950, made in France about 2005. No cracks to the wood, new case, new pads and corks from our shop in Wichita. Price includes a original mouthpiece and case, both “like new”. Suggested retail price on a new one is now $1670. This one’s $695.
LeBlanc / Noblet model 55 wood ALTO clarinet, #6740, made in France about 1970. No cracks to the wood, new case, new pads and corks from our shop in Wichita. Price includes a good used Selmer (Paris) C-Star mouthpiece. Suggested retail price on a new one is now $6240. This one’s $1650.
LeBlanc model 500 “LL” wood BASS clarinet, #12090, made in France about 1980. Original nickel plate to the keywork is good, no cracks to the wood. New case, new pads and corks from our shop in Wichita. Range is to low E-flat. It’s a clean and original example, fully reconditioned by our shop. Originally designed by Leon LeBlanc, the model 500 bass was their “top of the line” bass, several hundred dollars more expensive than their superb “model 400”. This one’s a good example, has a fine and “reedy” tone-color. This one’s $2650.
G. LEBLANC (Paris), model 400, #6790. Pro model BASS clarinet made about 35 years ago. New nickel plate to some keywork, new pads and corks from our own shop in Wichita. New mouthpiece. New retail price is now $8315. This is a good example, now fully restored, ready to play. No cracks anywhere, no dents or dings to the bell or neck and the case is in very good condition. Wichita Symphony Orchestra uses one exactly like it… Recommended! $2650. SOLD
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Plastic bass clarinets from LeBlanc and Selmer are often in our inventory. Pads and corks are always 100% new and the instruments are clean and ready to play. Prices start at $965.
LeBlanc model 340 CONTRABASS in BB-flat clarinet, #36X, made in France about 1965. Everything is very original, minor dents and dings burnished out in our shop in Wichita plus new pads and corks from our shop. Range is to D. It’s a very clean and original example, fully reconditioned by our shop. Suggested retail price on a new one is now $15,025.00 with school bid price about $9200. Time of delivery on a new instrument is “unknown”, said to be in excess of one year. Our instrument is $5550.
LeBlanc model 340 CONTRABASS in BB-flat clarinet, #51X, made in France about 1965. Everything is very original, minor dents and dings burnished out in our shop in Wichita plus new pads and corks from our shop. Range is to D. It’s a very clean and original example, fully reconditioned by our shop. Suggested retail price on a new one is now $15,025.00 with school bid price about $9200. Time of delivery on a new instrument is “unknown”, said to be in excess of one year. Our instrument is $5550.
LeBlanc model 340 CONTRABASS in BB-flat clarinet, #67x, made in France about 1970. Everything is very original, minor dents and dings burnished out in our shop in Wichita plus new pads and corks from our shop. Range is to D. It’s a very clean and original example, fully reconditioned by our shop. Suggested retail price on a new one is now $15,025.00 with school bid price about $9200. Time of delivery on a new instrument is “unknown”, said to be in excess of one year. Our instrument is $5,550. SOLD
Interesting German clarinet from the workshop of Oskar Neidhardt, made in Schoeneck before 1940. The Oehler-system keywork has 16 keys and six rings. Four rollers on the bottom joint. Top and bottom joints and bell are stamped with the maker’s name and logo. Mouthpiece and barrel section are stamped “G. Mollenhauer u. Soehne, Cassel”. Keywork is silver plated, wood is in very good condition, with no cracks or damage. No serial number on the body, the barrel shows number 30630. The instrument is f mm shorter than a modern Buffet or Selmer clarinet, plays at A = 445 pitch. $1475
H. SELMER (Paris) rare Bb clarinet, #950 (1927). Keywork is silver-plated over nickel alloy, standard 17 key and 6 ring keys. The BODY, BELL AND BARREL are of SOLID EBONY, not grenadilla. The case is French, from the 1950’s. Superb workmanship and playing characteristics, this is the instrument that made Selmer’s firm famous. “Pre Benny Goodman” model, we’d call it. This instrument does not come with Selmers manufacturer's warranty. $1495
H. SELMER (Paris) rare Bb clarinet, #4100 (1929). The chromatic
F#/C# key is silver plated, but all other keywork is solid silver!
Acquired by us missing a bell section, it now wears a new Selmer (Paris)
bell. Pads and corks are new, the clarinet is crack free and very
clean: no damage to the wood, the original barrel section never cut shorter,
the tenons still sharp and not “rounded off”. Pre-1930 Selmer clarinets
are often superb, play not unlike modern instruments and very much unlike
the later “big bore” instruments. This clarinet has normal Boehm
keywork and articulated C#/G#. Nice one! This instrument does
not come with Selmers manufacturer's warranty. $1150
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H.SELMER (Paris) vintage Bb clarinet, #N800 (1946), one of the very
first post-war clarinets from Selmer. The keys are unplated nickel
alloy, the case original. No cracks to the wood, pads and corks are
new. It’s a good “Big Bore” Selmer, like the one Benny Goodman played at Carnegie Hall. This instrument
does not come with Selmers manufacturer's warranty. $1095
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H. Selmer (Paris), A clarinet, “Centered Tone”, #P851x (1954). This one has come to us in superb original condition, and appears to have been played very little. The instrument has no cracks to the wood, new pads and with the original unplated nickel-silver alloy keywork. New double case. $1650.
H. Selmer (Paris), “Series Nine” clarinet, #S460X (1961). It’s a good sixties Selmer, similar in concept to Selmer’s “Centered Tone” model, but with a bit more focus to the sound. Pads and corks are new, the clarinet is crack-free and clean. Original tenons are sharp, keywork shows minimal wear, with absolutely no wear to the nickel plate. With new case. The instrument’s been played little in the past forty-five years. Normal 17 key / 6 ring Boehm system keys. $1095.
H. Selmer (Paris) model “Series Nine” Clarinet, #T1800, made in France in 1963. It’s come to us in good original condition, with no cracks or damage to the wood. The keys are nickel plated and show minimal wear. Tenons are sharp and the clarinet has all new pads and corks from our shop. In the sixties, the Series Nine was Selmer’s “top of the line”. This one plays very well, comes with our top recommendation. The lower joint and bell section are later replacements. Standard keywork, new case. Recommended! $1145. SOLD
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H. Selmer (Paris), Series 10S-II, #NO48x (2007). It’s a new instrument that came to us via a “summer special” from Conn-Selmer. Never been sold, never rented, never used as a “demonstrator”. Still with factory guarantee card. Normal 17 key / 6 ring Boehm system keys. Absolutely nothing wrong with it! $1389.
H. Selmer (Paris) alto clarinet, Q43x, made in France in 1955 . The keywork extends to low E-natural, the keys, neck and bell are all silver plated and show minimal wear. Grenadilla wood body, no cracks or damage. New case and it’s furnished with a good Selmer (Paris) C-star mouthpiece. Pads and corks are new, from our shop in Wichita. It’s a very good example, pretty much “like new”. Suggested retail price is now $8735 with a six to eight month time of delivery. This one’s a mere $1650.
H. Selmer (Paris), E-flat SOPRANINO clarinet #Y875x, made in France about 1974. The nickel plated keywork shows no wear anywhere. Grenadilla wood body with no cracks or damage of any kind. Good original case and it’s furnished with a VanDoren mouthpiece. Pads and corks are new, from our shop in Wichita. It’s a very good example, pretty much “like new”. Suggested retail price is now $5815 with a six to eight month time of delivery. This one’s a mere $2750.
H. Selmer (Paris), E-flat SOPRANINO clarinet #D733X, made in France about 1990. The silver plated keywork shows no wear anywhere. Grenadilla wood body with no cracks or damage of any kind. Good original case and it’s furnished with a VanDoren mouthpiece. Pads and corks are new, from our shop in Wichita. It’s a very good example, pretty much “like new”. Suggested retail price is now $5815 with a six to eight month time of delivery. This one’s a mere $2750. SOLD 03/08
H. Selmer (Paris) model 35, B-flat bass clarinet #D107x, made in France about 1985 . The keywork extends to low E-flat, the keys, neck and bell are all nickel plated and show minimal wear. Grenadilla wood body, no cracks or damage. New case and it’s furnished with a good Selmer (Paris) C-star mouthpiece. Pads and corks are new, from our shop in Wichita. It’s a very good example, pretty much “like new”. The model 35 does have alternate Eb / Ab key for the little finger left hand. Suggested retail price is now $9,670 with a six to eight month time of delivery. This one’s a mere $2,750. SOLD
H. Selmer (Paris) E-flat contra-alto clarinet # V9970, made in France about 1970. The keywork extends to low E-flat, the keys, neck and bell are all nickel plated and show minimal wear. Rosewood body, no cracks or damage. Original case is solid and it’s furnished with a good Selmer (Paris) C-star mouthpiece. Pads and corks are new, from our shop in Wichita. It’s a very good example, pretty much “like new”. Suggested retail price is now $15,505 with a six to eight month time of delivery. This one’s a mere $4750. SOLD
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Selmer-USA E-flat contra-alto clarinet, #7754, made in the US about 1990. The keywork extends to low E-flat, the keys, neck and bell are nickel plate and show minimal wear. Indestructible plastic body, no damage anywhere. Original case is solid. New pads and corks from our shop in Wichita. Suggested retail price on a new one is now $3060.00; MAP price on a new one is now $2299. This one’s “like new” for $1695.
Selmer-USA E-flat contra-alto clarinet, #7847, made in the US about 1990. The keywork extends to low E-flat, the keys, neck and bell are nickel plate and show minimal wear. Indestructible plastic body, no damage anywhere. New case. New pads and corks from our shop in Wichita. Suggested retail price on a new one is now $2940.00; MAP price on a new one is now $2199. This one’s SOLD.
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SML (Strasser-Marigaux-Lemaire) wood clarinet, “Lemaire” model, #34070, a good step-up clarinet, made in Paris in the early 1980’s. Mostly known for superb oboes and the “Gold Medal” saxes that were discontinued years ago, SML continues today to produce superb woodwind instruments. The “Lemaire” model was offered as their “mid range” instrument: below the top-of-the-line Marigaux and Strasser instruments, but better than the 5-Star and “Ebo-Tone” models. A few SML clarinets were imported into the US by the King Musical Instrument Company back in the eighties. They’re comparable with Buffet’s E-13 models and actually play very well. This one’s $895.
SML (Strasser-Marigaux-Lemaire) wood clarinet, “Lemaire” model, #34090, a good step-up clarinet, made in Paris in the early 1980’s. Mostly known for superb oboes and the “Gold Medal” saxes that were discontinued years ago, SML continues today to produce superb woodwind instruments. The “Lemaire” model was offered as their “mid range” instrument: below the top-of-the-line Marigaux and Strasser instruments, but better than the 5-Star and “Ebo-Tone” models. A few SML clarinets were imported into the US by the King Musical Instrument Company back in the eighties. They’re comparable with Buffet’s E-13 models and actually play very well. This one’s $895.
We often have a good selection of rebuilt clarinets in our warehouse. We’re particular about what we acquire and usually turn down instruments with excessive key wear or wood damage. Older clarinets often have better quality wood than new instruments, however. That means a rebuilt instrument that we’ve rebuilt can often be “better than new”.
Here’s what we do to all the used clarinets we sell:
The instrument is taken apart and everything washed clean. We don’t believe in chemical dips, but do use plenty of soap and water! All wood parts are inspected for checks and damage, polished and then soaked in oil for three days. After the body-shop work’s been completed, we swedge hinge-tubes tight again and re-fit to the clarinet body. Finally, pads and corks are replaced and the instrument play-tested. Most customers tell us that our clarinets are then actually “mechanically better than new”.
Wichita Band’s service warranty is the same as it’s been for more than thirty years:
“ALL new and all used instruments sold by Wichita Band Instrument Company come with our 24 month service warranty. It’s in addition to any factory guarantees. For two full years, we will repair or replace (whichever in our estimation is the more advisable), pads, corks, springs or other parts required, at no charge to the customer. In the event of cracked or damaged wood sections, we will repair at no cost to the customer or replace the section and charge the customer only for our net costs for the replacement section. Often, wood replacement parts are supplied from the manufacturer at no charge. The customer is responsible for shipping and insurance charges. Cases and plating finishes are not covered by our service warranty but are sometimes covered by factory guarantees.”
Wichita Band Instrument Company maintains a repair department capable of restoration work of the highest quality. Even though repairs are essentially “free” for the first two years, after that period has expired, we remain at your service to maintain and repair your musical equipment forever. It’s our “service after the sale” promise and has been since 1953!
ANTIQUE AND ODD CLARINETS
Just in... Very rare German 13 key "A" clarinet in boxwood, c.1850?, please email for more info...
Boxwood and ivory C clarinet by Jame, made in Paris probably in the first quarter of the 19th. century. Five square and flat brass keys, heavy ivory mounts. The instrument is in good original condition and plays very well. No cracks to the boxwood, no cracks or damage to the original ivory, except for cracks and repairs to the ivory bell ring. The rosewood C-clarinet mouthpiece is probably from the late 19th century. Barrel, top, middle and lower joints plus the bell all are engraved “ (five pointed star) / Jame / Paris”. Tenons are original, not cut shorter. Intonation is very good at A = 435 / 438 pitch. Total length, bell ring to tip of mouthpiece = 609 mm. The “New Langwill Index” does cite the maker, but with minimal information. $1245.
Boxwood and ivory C clarinet by Wood and Ivy, made in London between 1837 and 1847. Eight round and flat brass keys, heavy ivory mounts. The instrument is superb original condition and plays very well. No cracks to the boxwood, no cracks or damage to the original ivory. The ebonite C-clarinet mouthpiece is probably from the late 19th / early 20th century. Barrel, top and lower joints all are engraved “Wood & Ivy”. Bell is engraved “Wood & Ivy / late / Geo. Wood / New Compton Strt. / 50 / Soho / London”. Tenons are original, not cut shorter, no cracks or damage to the wood nor the ivory. Intonation is very good at A = 435 / 438 pitch. Total length, bell ring to tip of mouthpiece = 591 mm. $1850.
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Boxwood clarinet by Martin Freres, made in Paris before 1850. The clarinet is also of boxwood, stamped “ (bee) / Martin Freres / a Paris / (MF monogram)” on barrel, top, middle and lower joint plus on the bell. Each joint is stamped “A” under the name and monogram. Five flat and round brass key, the mounts of horn. Bell ring is wood. The rosewood mouthpiece is original, stamped with the maker’s name, but with a new tenon. The top tenon of the top joint came to us cut 5 - 6 mm shorter, has been restored by us to original length. Total length, fully assembled is 689 mm. We believe the clarinet to have been made before 1850. There are no cracks to the instrument. Please note that even though each joint is marked “A”, the instrument does not play at A = 440. We believe it was built as an A clarinet, built to the so-called “Paris Opera pitch” of 448. It is therefore not usable as an A clarinet, but works very well as a B-flat instrument at A = 425 - 428 pitch. $1850.
Photos are of Bb clarinet.
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Boxwood clarinet from Lefevre and Company, Nantes, circa 1870. Barrel is stamped “ (star) / Lefevre / & Cie / a Nantes / B “, is 66 mm. long. Top joint in B-flat has same stamp, has seven “salt-spoon” nickel-silver keys, is 218 mm. long, end of top tenon to end of bottom tenon. Second top joint is stamped the same, has six “salt-spoon” nickel-silver keys, is 250 mm. long, end of tenon to top socket. Bell section is also stamped the same, is 111 mm long. Mouthpiece is stamped “ (star) / Lefevre / a Paris / (star) “, is of ebony or dark grenadilla and is in very good original condition, without cracks, chips or alterations, is 88 mm. long. All sections, including the mouthpiece are in excellent original condition, without damage. No cracks, chips or damage to the boxwood, no breaks, chips or missing pieces to the ivory mounts. All tenons are sharp, without damage or rounded off edges. Total length of the instrument, bell ring to tip of the beak is 652 mm. Intonation is very good on the instrument, but a bit higher than A = 440, closer to A = 444 / 446. $1945.
German clarinet from the workshop of Carl Kruspe, made in Erfurt about 1940.It’s come to us in fine original condition, with unplated nickel-silver keywork, no cracks to the wood. We’ve replaced all pads and corks in our shop in Wichita. Bell, lower and upper joints and barrel section are all stamped “ C K (plus butterfly logo) / C. Kruspe / Erfurt / B / * / 2 “. No serial number found. The instrument is similar to an “Albert system” instrument, but with additional mechanism from the top joint rings to the register key, to improve intonation on the high C-sharp and higher. Thirteen keys and four rings, four rollers on the lower joint. According the the Langwill Index, “…the ‘System Kruspe clarinet’ became the model most used in Germany…” This particular instrument came to us from a country auction in France. We believe it was left behind when the German occupiers went home, in 1944. The case is from Musik Alexander in Mainz and dates from the 1950’s. Richard Muelfeld, the clarinet player for whom Johannes Brahms composed the two sonatas, the quintet and the trio, preferred the clarinets of Carl Kruspe above all others. Rare, not for everybody, this one’s $1150.
Boxwood B-flat clarinet by Herouard Freres, made in France about 1860. Thirteen flat salt-spoon brass keys, brass posts mounted to oval plates. Stamped with maker’s name and logo (fourth stamp) on the barrel, top joint and bell, stamped twice on the middle joint. No cracks to the boxwood joints or bell, older crack to the barrel. The instrument fitted with heavy original horn mounts. The top tenon of the top joint has been cut shorter, now restored by our shop in Wichita. (waiting for repairs, not yet for sale)
Rare fifteen keyed boxwood clarinet by Georges Guerre, made in Paris before 1853, consisting of: Barrel section in boxwood, with ivory mounts, no engraving, length of the barrel is 155 mm. The figured boxwood top joint is lightly stamped “ (sunburst face) / Guerre / a Paris / (five pointed star) / B“, fitted with 8 salt-spoon brass keys mounted on brass posts attached to brass plates. Total length of the top joint, tenon to tenon is 220 mm. Bottom joint is also stamped “ (sunburst face) / Guerre / a Paris / (five pointed star) / B “, fitted with 7 salt-spoon brass keys mounted on brass posts attached to brass plates. Total length of the bottom joint, including lower tenon, is 256 mm. Bell is lightly stamped “ (sunburst face) / Guerre / a Paris / (five pointed star) / B “ Total length of the bell, flare to socket, is 109 mm. Rosewood mouthpiece is without stamp, measures 82 mm in length. Repairs to the wood of the bell flare and to the ivory bell ring. Total length, assembled is 649 mm. (waiting for repairs, not yet for sale)
Grenadilla or rosewood clarinet in B-flat by William Meinl, made in New York about 1920. Fifteen nickel-silver keys, five rings, five black rollers. The bell section is from the same time period, but by Penzel & Mueller. This is a good “late Albert” B-flat that’s come to us in very good condition.
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Interesting German clarinet from the workshop of Oskar Neidhardt, made in Schoeneck before 1940. The Oehler-system keywork has 16 keys and six rings. Four rollers on the bottom joint. Top and bottom joints and bell are stamped with the maker’s name and logo. Mouthpiece and barrel section are stamped “G. Mollenhauer u. Soehne, Cassel”. Keywork is silver plated, wood is in very good condition, with no cracks or damage. No serial number on the body, the barrel shows number 30630. The instrument is f mm shorter than a modern Buffet or Selmer clarinet, plays at A = 445 pitch. $1475
Boxwood clarinet by Michel Amlingue ( 1782 - 1830 ). The instrument wears original ivory mounts, made in the key of B-flat with additional top joint in the key of A. Barrel is stamped “ (star) / Amlingue / a Paris / B “, is 65 mm. long. Top joint has same stamp, two flat square brass keys ( A and B-flat ), is 225 mm. long. Second top joint is stamped “ (star) / Amlinge / a Paris / A “, has also two flat square brass keys, is 250 mm. long. Third joint is stamped “ (star) / Amlinge / a Paris / B “, is 119 long. Fourth joint is stamped “ (star) / Amlingue / a Paris / B “ wears three flat and square brass keys (the touches for the E/B and F-# / C# are extendable) and measures 157 mm. Bell section is also stamped “ (star) / Amlingue / a Paris / B “. The original rosewood mouthpiece is also stamped “ (star) / Amlingue / a Paris / B “. All sections except the bell and the mouthpiece are in excellent original condition, without damage. The mouthpiece is original, but with restoration to the beak. The bell ring has been cracked in two places and there are boxwood grafting repairs to the bell flare. Total length of the instrument, bell ring to tip of the restored beak (B-flat section in place) is 675 mm. Total length with A section in place is 700 mm. Phillip Young’s book “4900 Historical Woodwind Instruments” cites only nineteen clarinets by Amlingue and only three with A-clarinet center. We believe the clarinet to have been built before 1830. $5,000. SOLD
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ALTO SAXES, all models, all years.....
Here’s what we do to all used saxes we sell:
The instrument is taken apart and everything washed clean. We don’t believe in chemical dips, but do use plenty of soap and water! Dings are next burnished from body, bell, end-bow and neck. With a little effort, we can make things look “like new” again. After the body-shop work’s been completed, we swedge hinge-tubes tight again and re-fit to the sax body. Finally, pads and corks are replaced and the instrument play-tested. Most customers tell us that our saxes are then actually “mechanically better than new”.
C.G. Conn alto #239,280, a “transitional” sax from 1930.
Vintage saxes from Selmer, Conn and King are usually in our collection in Wichita, but this one’s the best Conn alto we’ve had for several years. The original silver shows no wear at all, it’s never sustained any dents or dings and it’s as clean as the day it left the factory.
Long story, though…
About 1923, Conn introduced a newly designed sax that we call the “Chu Berry” model----after the jazz great who died in 1941. Low B and Bb tone-holes are always on the opposite sides of the bell and the G# touch is “fingernail file” type, the high E touch is flat and the engraving is usually the simple Conn name in script, sometimes the Conn name inside floral engraving. Chromatic F-# touch was shaped like a long tear drop and the octave key touch was usually round. Octave spout on the neck is small, the saxes always had rolled tone-holes. The sound is sweet and easily controlled. Some of these play very well indeed.
In our opinion, the best of the Conn saxes were the pre 1950 “Lady Face” models which began to appear in 1935. Low B and Bb were on the same side of the bell, the G# touch had become an elongated triangle, the high E touch was curved at the top of the key. Octave spout on the neck was “stove pipe” design and the altos had underslung octave key. Altos always had the adjustable screw-tuning device, but tenors and baritones never did. Tone-holes were always rolled and the octave mechanism on the body featured the little square brass box as a rider. And they all had the “Lady Face” engraving to the bell. We like these saxes.
Although both models were fitted with set-screws for the pivots, the pivot screws for the Chus were flat at the tip; the Lady Face models always had pointed pivots.
And occasionally we see a Conn alto that’s halfway in between…
“Transitional” saxes from Conn are more rare and are always good players. We sometimes see tenors and altos that have some features of the “Chu Berry” models and some from the later “Lady Face” saxes. These date between 1930 and 1935, have interesting “Art Deco” engraving.
Our Conn alto is an early transitional, wears serial number 239,280 and was made in Elkhart in 1930.
Low B and B-flat pad cups are on opposite sides of the bell, like on a Chu.
Long teardrop chromatic F-sharp and fingernail file G-sharp are also like on a Chu.
But the high E key-touch and the octave key touch are like on the later Lady Face 6M models. Plus, the pivot screws are pointed, like on a Lady Face 6M.
And the sax wears the superb Art Deco engraving that’s typical of the transitionals and no other…
Please note that the original Conn case is very good, has original latches and even the original keys.
This one’s been played very little in the past 76 years. It came to us with the original white kid pads, none of which had ever been replaced.
Neck has the typical pre-1935 octave key, with top-mounted octave key and screw tuning mechanism. The mechanism is tight, does not leak.
This one does have first finger trill key for G#, as well.
High E key touch is curved, like on all 6M Lady Face models.
Key pearls are sharp, absolutely perfect, with no wear to the silver on the stacks. Hinge-tubes show no loose play at all.
We’re ABSOLUTELY certain the silver finish on this one is original. And so is the superb gold plate inside the bell. “Gold wash”, some people call it.
Pads and corks are new and from our shop in Wichita. We’ve used “reso pads” from Ferree’s that are identical to the originals.
Price on this one is a mere $1750. It’s suitable for Dixieland, Big Band playing, classical saxophone quartet, or pretty much whatever you want to do with it. Top recommendation! SOLD
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C.G. Conn alto #248,71x, a “transitional” sax from 1931. Low B & Bb on the same side of the bell, underslung 8va. key and tuning neck, this one’s got all the features of the “Lady Face” saxes, but with Art Deco engraving to the bell and not lady face. Rolled t-holes, adjustable t-rest, stove-pipe 8va. spout. Acquired by us with NO lacquer, we’ve polished it lightly, then sprayed with thr