Attention given to the English 19th century simple system flute, has been to a great extent dominated by the firm of Rudall & Rose, and their later manifestations as Rudall, Rose & Carte, and finally Rudall Carte. (for all interested in this area, Robert Bigio's "Rudall Carte and the Art of the Flute in England" is required reading.)
There is of course, very good reason for this. Their flutes were superbly made, and as astute businessmen they remained at the head of the market from their founding in 1821 until the early 20th century. Along with the great deal of interest that collectors in modern times have shown in these instruments, and the very large number of instruments that they made, and the fact that they successfully navigated the new world of the Böhm flute, their dominance becomes less surprising and thus no surprise that some of the other makers have been ignored or neglected.
In a previous post I talked about how George Rudall set up in business in 1821 with the Scottish maker John Rose, and how before this date, as a teacher, he had flutes made for his pupils by John Willis who was one of the most important and best makers in early 19th century England. At that time I also speculated as to why George Rudall had then begun to have his flutes made by John Rose, who at the time was an unknown maker. With a little more thought I might have realised that John Willis' dates might have given a clue. Born in 1782, he died at the early age of 41 in 1823. Was it possible that Rudall was aware of Willis' potential health problems at this time? Arguing against this is the fact that the Willis workshop continued to produce flutes of the highest quality after John Willis died.
Among which, is the flute that's the topic of this post, belonging to Garry Walsh, who has kindly allowed me to feature it here.
An experienced eye would immediately place this instrument in the same group as those that Willis made for George Rudall. The overall lines, and particularly the silver sheathed cap and foot end are characteristic. With this one though we can be sure that it is a Villiers St. product.
But the stamp initially suggests otherwise...
...as it clearly reads.
FENTUM
78 STRAND
LONDON
1240
The mark above though, is revelatory. This is the "Villiers St. lyre" which appears on very many flutes made in the Villiers St. workshop. Not all flutes made at no. 25 have this stamp, but all that have it were made there.
The attribution to Villiers St. is, in this case, easily confirmed by the stamp on the foot which gives the game away by confirming that not only was it made in Villiers St., but was made by Willis & Goodlad.
Although it is not in the least unusual to have a flute purportedly made by one maker in reality to have been made by another, it is unusual to have both "makers"
full names and workshop addresses on the same flute.
As in the case of the flutes made by Willis for George Rudall, the Willis stamp appears only on the foot.
In this case the stamp is that of Willis and Goodlad whose dates are 1825-1834.
The patent stamp? I have to say I've no idea to what patent it might refer. The whole area of flute patents in the 19th century requires research. Patent stamps appear to have been thrown around like snuff at a wake in 19th century London.
As might very well be expected, this flute is a wonderful player, responsive, with a particularly rich tone, excellent volume, and courtesy of the small holes, accurate internal tuning.
The work I carried out was simply to replace the crown and screw cork which had been replaced by a domed monstrosity.
...and in case you were wondering, the Google Maps screenshot at the top, shows the very central location of 25 Villiers St. (red pin).
It's now a Prêt à Manger, and I'm beginning to wonder if there's some pattern here..
Dollard's old premises in central Dublin is now a pizzeria.
