The firm of Rudall & Rose, later Rudall, Rose & Carte, and finally Rudall Carte, dominated flute making in Britain for a century. How to date Rudall flute? Robert's records of the 8key flutes begin very late in the serial number series. S755 Rudall Carte & Co. 755 Rudall Carte & Co. This is an extraordinary example of what we believe to be the finest wooden Boehm system flutes ever made, namely the Carte thinned wood one. Rudall Cylindrical Flute Serial Numbers.
Rudall Rose, & Carte simple system flute register THE RUDALL & ROSE - RUDALL, ROSE & CARTE - RUDALL CARTE & CO. REGISTER This is an attempt to document surviving simple system flutes made by Geo. Rudall, Rudall & Rose, Rudall, Rose & Carte & Co. And Rudall Carte & Co.
The main source of this information has been auction house sites, E-bay auction listings, music instrument collections, internet flute sites, Robert Bigio's work 'The art of the flute', highly recommended, and from contact with owners of Rudall & Rose, Rudall, Rose & Carte and Rudall & Carte simple system flutes such as John McLeod, Jem Hammond, Andrew Kirby, Andrew Pickering. I decided to make a register available based on serial numbers and including any auction house description, or other information that is connected to each flute/serial number.
New holland 841 round baler net manual. It's a bit hard to say without knowing more about the specific flute in question. Rudall Carte flutes. (like serial numbers. Flute was a Rudall Carte.
Please notify me of any new serial numbers not in the register, also of any discrepancies or mistakes. Rose - 1816-1821 John Rose University of Edinburgh: Stamped with a thistle motif and 'J.M. ROSE / EDINBURGH / 1'. Technical description: Rosewood, 3 sections (lower body and foot in one piece); silver keys with slim keytouches and shanks; 3 ivory ferrules; ivory cap; no tuning-slide but graduated ivory screw-stopper; slightly oval embouchure-hole; overlapping low C/C touches; socket at top of upper body, tenon on head.
Keymount type: knob. Keyhead type: flat, round; low C and C pad riveted to keyhead. Repair History: A few springs have been replaced and roughly soldered to keytouches; lowest keyflap is a replacement by Daniel Bangham (2002). Measures 659 mm.
John Rose Bate Collection: Stamp: Jn Rose Edinb - ebony, head joint has no tuning slide, six silver square flat keys, silver rings, 673 mm (Ref.: R. Bigio - Rudall Rose & Carte, p 158) John Rose University of Edinburgh: Stamp: Thistle J. Rose Edinburgh - cocuswood, tuning slide, round flat keys, wide silver rings, 667 mm (Ref.: R.
Rudall Carte Serial Numbers Flute Player Images
Bigio - Rudall Rose & Carte, p 159).
The firm of Rudall & Rose, later Rudall, Rose & Carte, and finally Rudall Carte, dominated flute making in Britain for a century and a half from their founding in 1822. For much of their existence almost every professional flute player and most serious amateurs in Britain played on one of this firm’s instruments. The original firm, Rudall & Rose, produced simple-system flutes of the highest quality before they were persuaded by Richard Carte, a student of George Rudall, to begin production of Theobald Boehm’s early conical flute. The firm went on to buy the British rights to manufacture Boehm’s 1847 cylindrical flute, which is the basis of the instrument most flute players use today. Richard Carte, a brilliant businessman, joined the firm as a partner in the early 1850s and transformed them from a small business producing high- quality flutes to a hugely-successful concern that produced and sold flutes and most other instruments as well as publishing books, music and, for eight decades, The Musical Directory, an annual guide to the music business in Britain. Rudall, Rose & Carte, as they became, bought the business of Thomas Key, military musical instrument maker, adding brass and percussion instruments to their catalogue.
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Rudall Carte Serial Numbers Flute Player Name
In addition to their instruments and publications, the firm promoted concerts, for a time under the management of Richard Carte’s son, Richard D’Oyly Carte, who later made his fortune promoting the operas of Gilbert & Sullivan. The firm became Rudall, Carte & Company in 1872. This book is a comprehensive history of the firm and contains detailed descriptions of the many innovative instruments they made. There are hundreds of colour photographs of flutes, alto flutes, bass flutes and piccolos, each shown in at least two views, and where necessary in three or four views with photographs of details. The firm’s output is shown in context with photographs of dozens of flutes made by their competitors including Willis, Prowse, Monzani, Wood, Wylde, ‘Pratten’s Perfected’ by Boosey & Co., Fentum, Godfroy, Koch, Boehm, Laurent, Gerock, Badger, Ward, Card, Siccama, Clinton, Lot, Collard and Boehm & Mendler.