Historic Instruments

Collection
Abbreviation
AccessionMaker
Abbreviation
Lowest NoteSizeYear MadePitchPiecesLengthKeysBody: MaterialMounts: MaterialKeys; MaterialNotes
D-Nuremberg GNMMI 139J Dennerf'alto17204183496.5boxAll 3 sections stamped I.DENNER/I(tree)D. Owner's stamp: I.A.K. den 23 Sep Ao 1720.

Nominal and performance pitch from Haynes (2002: 48).

Image and more information here.

CAT image available from
Germanisches National Museum, Nuremberg (2002).
D-Nuremberg GNMMI 140J Dennerf'alto1700-17204213499.5boxivory beak, ferules & footAll 3 sections stamped I.DENNER/I(tree)D.

Nominal and performance pitch from Haynes (2002: 448).

CAT image available from Germanisches National Museum, Nuremberg (2002).

Image & further information here.
DK-Copenhagen: Musikhist. Mus.34J Dennerf'alto4063500box; light brownunmountedAll 3 sections stamped I.DENNER/I(tree)D.

Nominal and performance pitch from Haynes (2002: 447).

Image here (from Heinz Amman).
xD-Berlin2809Rykelf'alto3505ivoryunmountedNULLThis ivory recorder did not survive World War II It came from the Snoeck collection and is described in his catalogue under no 809 as: Flûte à bec ou flûte douce (en ivoire),de 3 pièces, modèle ordinaire.

Ref. Bouterse (2015).
GB-London: RCM63JC Dennerf'alto18C4133498ivoryAll 3 sections stamped I.C.DENNER/I(fir tree)D (on cartouche). The body plain; the head carved with a band of linked circles above the window, a broad band of fluting above the socket, & a band of foliage above that. The bell section also carved.

Nominal and performance pitch from Haynes (2002: 448).

Image here
Unknown: ex GiesbertJ Dennerf'altoivory
USA-MI-Ann Arbor: U Mich.506J Denner, Huenef'alto4303501boxlarge horn mount at bottom of head jointBody & foot stamped I.DENNER/I(tree)D. An additional head was made by von Huene making the instrument playable at A415 Hz.
D-Bavaria: anonymousJ Dennerf'alto3497boxMay be the same as D-Bavaria: Bogenhaus 5 (awaiting confirmation from Bruce Haynes).
D-Bavaria: anonymousJ Dennerf'alto3472boxMay be the same as D-Bavaria: Bogenhaus 4 (awaiting confirmation from Bruce Haynes).
D-Oettingen: HeimatmusJ Dennerf'alto501All 3 sections stamped I. DENNER/I(tree)D.
GB-London: Sotheby'sJ Dennerf'alto4153498boxAll 3 sections stamped I.DENNER/I(tree)D. Ex D-Bavaria: Anonymous.

Offered for sale in 1995 and agan in 1996 (unsold).

Bouterse (1996)gives some measurements.

Nominal and performance pitch from Haynes (2002).
B-Brussels1026J Dennerc'tenorc.1678-17504043640boxNULLNULLAll 3 sections stamped I. DENNER/I(tree)D. Listed by both Mahillon(1978) & Young (1967) as by J.C. Denner.

Nominal and performance pitch from Haynes (2002: 447).

Image & further details here.
xD-Berlin224J Dennertenor36651boxbrassAll 3 sections stamped I. DENNER/I(tree)D.
J-Hamamatsu: MuseumA-0007RJ Dennerc'tenora. 173541436801boxNULLbrassStamped I. DENNER/I(tree)D. Ex USA-NY-Scarsdale: Rosenbaum.
Perfect condition. Well tuned with support fingering and a rich, clear sound with a fully resonating body. a''=0 12- 456- works better in tune. Although the pitch is a bit on the high side, c#'' is playable with 0 1-3 45-7 (Nozaki 2016).
Nominal and performance pitch from Haynes (2002: 448).
I-Modena: MuseoSM 21-1981J Dennerd'voice flute4153632boxStamped I. DENNER/I(tree)D.

Nominal and performance pitch from Haynes (2002).
D-Nuremberg GNMMI 211J Dennerc'tenor1720-174042036631boxbrassAll 3 sections stamped (barely legibly) I. DENNER/I(tree)D.

Nominal and performance pitch from Haynes (2002: 448).

Röntgenaufnahme RB 1404; van der Meer, John Henry: Wegweiser durch die Sammlung historischer Musikinstrumente des GNM. Nürnberg, 3/1982, S. 74.; Musikinstrumente aus Bach´scher Zeit. Ausstellung zu Allerheiligen aus Anlaß des 5. Internationalen Bachfestes in Schaffhausen 1957. Schaffhausen, 1957, Nr. 16.; Steglich, Rudolf: Johann Sebastian Bach - Die großen Meister der Musik. Leipzig, 1935, Abb. 86, Nr. 1.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, S. 55-57 (=Bestandskatalog).

Image & further information here.
GB-London: Sotheby'sJ Dennerc'tenor41036701boxbrassEx D-Anonymous. Bouterse (1996) suggests that thumbhole wear indicates the instrument was played with the right hand uppermost; crack in the foot with a horn ring.

Nominal and performance pitch from Haynes (2002: 447).

Offered for sale in November 1995 and November 1996 (unsold).
D-Eisenach: Bachhaus1-98 (115)JC Dennerc#''+soprano16824402321.5plumStamp on bottom of foot section has been read as 'I.D. & Felbinger 1682'. Sounding length 281.5 mm. Renaissance-shaped exterior profile. Said to be made of jacaranda wood by Legêne (1995), of plum by Klemisch (2006).

Lowest note and performing pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of d'' at a performance pitch of A=395 Hz.

For critical measurements & further details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).

Said to be revolutionary because of its conical bore (Klemisch, 2006).

Baines (1966: 80 & fig. 419)
D-Munich: Deutsches Mus.63053JC Denner, L Hotteterreg'alto3451ebonyivoryHead section stamped I.C. DENNER/D; body & foot stamped fleur de lys/.L./HOTTETERRE.

Pottier (1992: 45) gives the lowest note as f'.
CH-Basel: Hist. Mus.1878 .9JD Dennerf'alto4143515boxunmountedAll 3 sections stamped I.C. DENNER/D/I.

Maker, nominal and performance pitch from Haynes (2002: 448).
D-Berlin5428JC Dennerg'alto3440ivoryAll 3 sections stamped I.C. DENNER/D. Ex Collection Giesbert.
A-Vienna: StaepsJC Dennerf'alto4103495boxivory beak, ferrules & foot ringAll 3 sections stamped I.C. DENNER/D.

Image here (from Heinz Amman).

Nominal and performing pitch from Haynes (2002).
GB-London: Sotheby'sJC Dennerf'alto3475.2plumHead section only.
S-StockholmM163JC Dennerf'alto1675-17073501boxHead stamped I.C. DENNER/D/I; body stamped I.DENNER/I (fir tree) D; foot unstamped.

Image & further details here.
D-Bavaria: anonymousJC Dennerf'alto3505ivoryHead stamped I.C. DENNER/D. Double holes for fingers 6 & 7.

May be the same as D-Bavaria: Bogenhaus 2a (awaiting confirmation from Bruce Haynes).
D-Bavaria: anonymousJC Dennerg'alto4153boxhornHead & body stamped I.C. DENNER/D. Horn repaired.

May be the same as D-Bavaria: Bogenhaus 3 (awaiting confirmation from Bruce Haynes).
USA: anonymousJC Dennerf'alto3499boxAll 3 sections stamped I.C. DENNER/D/I.
UnknownTownsendd''soprano (sixth flute)19C2Stamped 6/Townsend/ManchR

Straight foot, Stanesby-style. Workmanship of the windway is of poor quality. The figure '6' in the makr probably refers to the instrument being a sixth-flute. Well-worn and much used. Sold by auction 1990

Blanchfield (1990)
MacMillan (2007: 200: 2008: 59).
A-Salzburg: Mus. Car.-Aug.Geir 247, Birsak 3/13JC Dennerfbasset47938931boxbrassHead stamped I.C. DENNER/D (unusual scroll). Was edge blown, now bocal enters side of cap.

Nominal and performance pitch from Haynes (2002).
D-Nuremberg GNMMIR 213JC Dennerg#basset1697-17974402828.51boxbrass ferule on widcapbrassHead stamped I.C. DENNER/D (odd scroll). Originally beak-blown; wave profile windcap (not original); foot shape unusual.

Lowest note & performance pitch from Brown (2005b). Haynes (2002) gives nominal pitch a', performance pitch of A=416 Hz.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

Images, further details & extensive references here.
xD-Leipzig1142JC Dennerbasset310251pearLost in the Second World War.
D-Leipzig1143JD Dennerfbasset395310671cherrybrassAll 3 sections stamped I.C. DENNER/D/I; also stamped with ? owner's monogram DA.

Maker, nominal and performance pitch from Haynes (2002).
NL-Amsterdam: City Mus.Beukersc''soprano
I-FolignoUnknownsopranino17C1259.5pearTransitional design. Found in an attic.
NL-Amsterdam: City Mus.Unknownbass
CH-Basel: Hist. Mus.Unknowng'alto3box
CH-Basel: Hist. Mus.1882.123Unknowng'alto3445.5boxBeak carved with fish face; head & foot with acanthus leaves.
UnknownC Schlegelf'altoStamped sun device/CHSCHLEGEL (in scroll)/cresent device (horizontal, convex). Ex Chambure.
CH-Basel: Hist. Mus.Unknownf'alto3ivoryivory or stained wooden beak
CH-Basel: Hist. Mus.1956/632Schellf'alto4153504box; light brownunmountedAll 3 sections stamped H.SCHELL/S/entwined monogram. Monogram on head only.

Nominal and performance pitch from Haynes (2002).

Image here (from Heinz Amman).
CH-Basel: Hist. Mus.Unknowneb'alto3wood
CH-Basel: Hist. Mus.Unknownd'voice flute3Foot very long & slender.
CH-Basel: Hist. Mus.1956.633Rippertd'voice fluteNULL4253580boxunmountedNULLAll 3 sections stamped RIPPERT/dolphin.

Nominal and performance pitch from Martin Kirnbauer ex David Lasocki (2020, pers. comm.) Haynes (2002) noted this as a tenor in c' at a performance pitch of A-467 Hz. This instrument has been listed as a voice flute (tenor in d') elsewhere (Marvin 1972; Pottier 1992) .
CH-Basel: Hist. Mus.1879:100C Schlegelgbasset38401fruitwoodunmountedStamped sun device/CSCHLEGEL (in scroll)/S. Beak-blown.
CH-Basel: Hist. Mus.1879:101C Schlegelfbasset38901fruitwoodunmountedStamped CHRISTIAN (in scroll)/S, CHSCHLEGEL (in scroll)/S & sun device. Bocal enters at side of cap.
UnknownDenneraltoOffered for sale at Sotheby's but attracted no bids.
UnknownBeukersd'voice flute420Offered for sale at Sotheby's but attracted no bids.

Nominal and performance pitch from Haynes (2002: 452).
D-Munich: Bav. Natl. Mus.MU 163Unknownc#''soprano4401ivoryNo maker's mark. Wave profile head. Sounding length 277 mm. Said by Legêne (1995) to play with Matthysz fingerings. Mate to Bayerisches D-Munich: Bav. Natl. Mus. MU 152.

Lowest note and performance pitch from Brown (2005b). Haynes (2003) gives this instrument a nominal pitch of c'' at the performance pitch of A=460 Hz.

For critical measurement & other details see Adrian Brown's Renaissance Recorders Database.
UnknownStanesby Jrf'altobox (stained)Sold at Sotheby's at £24,150.

Image here (from Heinz Amman).
UnknownUnknownearly 18th-century French; heavily charred, especially round the mouth; head badly cracked; sold for £1,035.
D-Munich: Bav. Natl. Mus.MU 152Unknownc''soprano460ivorySounding length 277 mm. Mate to Bayerisches Nationalmuseum (Munich) MU 163.

Lowest note and performance pitch from Brown (2005b). Haynes (2003) gives this instrument a nominal pitch of c'' at the performing pitch of A=460 Hz.

For critical measurements and other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536).
xD-Munich: Bav. Nal. Mus.Mu 161Rippertf'alto3440Hunt illustrates a Rippert ivory alto from Munich but does not indicate which instrument (the other is D-Munich: Stadtmus BNM Mu 166).
D-Munich: Stadtmus.BNM Mu 151Rippertf''sopranino4622245ivoryunmountedboth sections stamped RIPPERT/dolphin; Hunt mentions one of two such instruments in this museum but does not specify which one.

Nominal and Performance Pitch from Haynes (2002).
D-Munich: Stadtmus.180/43SchrattenbachG#extended contrabassNULL4402>16034maplebrassbrassFontanelle band stamped HANS RAVCH VON SCHRATT. Crook enters at top of cap. An extended recorder: lowest note is G#, with all 10 holes closed. c# is produced by the fingering 0 123 4567.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

Lowest note and performance pitch from Brown (2005b). Brown considers this to be an extended instrument, with extensions to the G# below. Haynes (2002) gives this instrument a nominal pitch of G at A=455 Hz.
D-Munich: Stadtmus.41-397Kochf8371boxbrasswalking-stick recorder; 2 round holes at top to blow into; 7 finger holes; 2 more holes further down to emit bell note; stamped S.KOCH/WIEN.
A-Graz: Landesmus.10.484, A.G.ljAnciutif'alto17174303476NULLboxNULLNULLUsed by Harnancourt (Young 1993: 5).
Nominal and performance pitch from Haynes (2002: 452).
Head stamped: [lion of Venice] | ANCIVTI | A MILANO | 1717 | II; body stamped: ANCIUTI | A MILANO | I; foot stamped: ANCIUTI | II
Photographs, technical drawings, measurements: de Avena Braga (2015: 43, 263-270, figs 1-11).
I-Bologna: Accad. Fil.599 (Puglisi 10; Tiella 7)Rafid'++tenor440plumStamped C.·.RAFI / shield with griffin. Sounding length (not original) 497.5 mm. This instrument has been shortened at the foot by ca 25 mm. Damaged by woodworm. Said to work with Jambe de Fer fingerings.

Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives nominal pitch as c' and performing pitch as A=456 Hz. Tiella (2005: 132) gives pitch of ca A = 462 Hz.

For critical measurements, photo & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536); Tiella (2005: 132).
B-BrusselsHieronimo de li FlautiGcontrabass16C1830Stamped HIE.S
B-Brussels1040Boekhoutfbasseta.1715405310482maple, stained dark brownbrassStamped T.BOEKHOUT. Bocal (probably not original) enters top of windcap; crutch missing; 2nd key for fingerhole 3. Some notes playable. See Bouterse (2001).

Image & further details here.


Nominal and performing pitch from Haynes (2002: 450).
B-Brussels2345Bassanof#+bassetc.155044011figured mapleStamped !! (ML-J type P) & thus probably by a member of the Bassano family. Key missing. Sounding length 834 mm. Direct-blown, window/labium towards player. Ex Barbieri Collection, Madrid.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

Brown (2005b: 534).

Image & further details here.
GB-Oxford: Bate109Bressanbb'soprano (fourth flute)18C4243367boxunmountedStamped Pul/BRESSAN/rose; all sections marked 4. Ex Collection Edgar Hunt.

Image here (from Heinz Amman).
GB-Oxford: Bate112Bressanf'altoNULL4043504NULLboxivory beak, mounts & footNULLStamped Pul/BRESSAN/rose. Ex Collection Edgar Hunt.

At the Bristol Madrigal Society’s "Ladies Night" in 1931, one member of the audience was so impressed that he lent (and later gave) Hunt four original eighteenth-century recorders "which had been in his Yorkshire family for many years and he had never heard played," including aparticularly fine Bressan alto in f', now part of the Bate Collection in Oxford (Ehrlich 2021: 31).

Image here (from Heinz Amman).

Nominal and performance pitch from Haynes (2002).

Sound sample here.
GB-Oxford: Batex0Bressan, Harrisf'alto3504boxivoryBody by Bressan, head & foot by Harris; body stamped Pul/BRESSAN/rose. On loan from Anthony Baines.
GB-Oxford: Bate114? Bressanbassetc1700395mapleivoryBressan-style. Ex Collection Edgar Hunt.

Maker, nominal and performance pitch from Haynes (2002).
GB-Oxford: Bate117Bassanof#bassett16C4401boxbrassStamped !! !! (ML-J type H) & thus probably by a member of the Bassano family. Sounding length 848 mm. Ex Michael Morrow; presented by the National Art Collections Fund.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).
D-Berlin470Anciutif''sopranino1733c.4402NULLNULLboxivoryNULLBody stamped between fingerholes 3 & 4 [in raised letters] ANCIVTI | O
Head (with the date) lost during the war.
Cited by Sardelli (2007: 49).
Photograph, measurements, sketch (by Friedrich von Huene) & notes (by Steffen Hickel): de Avena Braga (2015: 285, fig. 37).
D-Berlin659? Danner OR Drebsc#'tenorp. 16344401NULLNULLwoodNULLNULLStamped HD and with what looks like a trefoil just beneath the window with a left pointing stalk, similar to Brussels M1024.
Sounding length 543 mm.
For critical measurements & other details see Adrian Brown's Renaissance Recorders Database
Image & further details here
Ref. Brown (2005/2016; 2005b: 535); Lerch (1996).
D-Berlin660? Danner OR Drebsc#'tenorp.16344401NULLNULLmapleNULLNULLStamped HD. Sounding length 546 mm. Voicing: windway, window & blowing side, towards the player. 16-17th century. Originally from Wenzelskirche, Naumburg.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).

Image & further details here.
D-Berlin2792Beukerseb'alto3500box, unstainedOnly the foot survives today, with no stamp (Bouterse, 2013).
D-Berlin2801Bressanf'alto4053500boxivoryAll 3 sections stamped Pul/BRESSAN/rose.

Nominal and performance pitch from Haynes (2002).
D-Berlin96Bressanc'tenorNULLNULL36751boxivorysilverHead joint seems to have been lost.

See here for photo and other details.
D-Berlin90JC Dennerbasset
D-Berlin2824Boekhoutfbasset410310522maple, stained brownbrassStamped crown/T. BOEKHOUT/Brabant lion. Bocal into side; crutch missing. 2nd key for fingerhole 3. Playable. See Bouterse (2001).

Nominal and performance pitch from Haynes (2002: 451).
USA-MA-Boston: MFA17.1804Nealed'voice flutec. 1730NULL3615NULLpear, varnished blackish-brownunmountedNULLStamped on back of foot: NEALE | [bear with two arrows]; scratched on bottom of foot: NEALE / MAKER

Bessaraboff (1941) notes the scratching as NEAVE, but this seems to have been in error.

Image.

Drawing by Catherine Folkers & Rob Turner (1984) available from the museum.
Bessaraboff (1941); Williams (2007).
B-Brussels434JC Dennera''sopranino17C3921250ivoryWave profile.

Nominal and performing pitch, and attribution to JC Denner from Haynes (2002).

Image & further details here.
B-Brussels189Schrattenbachf'alto (columnar)c.155044015081maplebrassbrassStamped with a double trefoil. Brass box covers window. Sounding length of 386.5 mm. Virtual twin of J-Tokyo: Ino; corresponding tenor & bass instruments are at F-Paris, possible soprano at D-Frankfurt. Formerly part of the collection of the Hansa Huis in Antwerp.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

Images & further details here & there.
B-Brussels1039Boekhoutfbasseta.1715310302maple, stained brownbrassStamped crown/T·BOEKHOUT/lion rampant. Bocal probably not original; crutch missing; 2nd key on fingerhole 3. Bocal enters top of windcap. Unplayable. See Bouterse (2001).

Image & further details here.
B-Brussels2026J Dennerctenor4153640boxListed by both Mahillon (1978) & GSJ 20 as by J.C. Denner.
D-Hamburg: MfHG1924.217G Walchg'alto3410mapleunmountedStamped in scroll I.G. WALCH. Foot not original.
D-Hamburg: MfHG1924.206Bassanof#bassetc155044018991? maplebrassStamped ! (ML-J type unclassified) & thus probably by a member of the Bassano family. Wooden fontanelle; back-blown. Sounding length 849 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.
GB-London: Horniman14.5.47/273Unknown (Nuremberg)ab''sopraninoc.17004401223ivoryStamped D & previously thought to be 17th-century French. Formerly indexed as an 18th-century flageolet of German (Nuremberg) origin! Noted as an early baroque recorder in ab'' by Legêne (1995). Soundng length 181 mm. Broken and repaired by insertion of the broken ends in a brass sleeve over tenons formed in the ivory tube.

For critical measurements and other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536).

Image & further details here.
GB-London: Horniman14.5.47/59Unknown, possibly German or Scandanaviana'alto (third flute)395plum, replacement foot of ? boxwoodCarse Collection. Date of manufacture is controversial.

MacMillan (2007: 201; 2008: 76-77)

Image here.
GB-London: Horniman14.5.47/256Unknownf'alto1700-17503483light brown wood, possibly boxSlim design with flute-like footjoint. Sounding length 423 mm. Carse Collection.

Image here.
GB-London: HornimanM10-1983Bressanf'alto3506boxivory beak, mounts & footStamped Pul/BRESSAN. Purchased by Arnold Dolmetsch in 1905, this instrument was severely modified by him (Meadows 1994). It was lost at Waterloo station after a concert & was later bought by Geoffrey Rendall, a collector of clarinets who returned it to AD some years later (Frances Palmer, pers. comm.)

Images & further details here (from Heinz Amman) & there (from GB-London: Horniman).
GB-London: Horniman14.5.47/203Heitzf'alto1725-17504133505ivory, with wooden blockHeadjoint stamped crown/I.HEITZ/8-petal flower. Sounding length 442 mm. Carse Collection.

Nominal and performance pitch from Haynes (2002: 448).

Image here.
GB-London: Horniman14.5.47/C.274Schuchartf'altoc. 1731-17534103506box, stained darknarrow ivory ring at top of footSounding length 436 mm. Stamped Iul/SCHUCHART/2-headed spread eagle. Carse Collection (ex Nettlefold).

Nominal and performance pitch from Haynes (2002).

Images & further deails here (from Heinz Amman) & there (from GB-London: Horniman).
GB-London: Horniman14.5.47/319Stanesby Srf'altoc. 1700-17334103511ebonyivory beak, ferrules & footStamped T/STANESBY/*. Sounding length 448 mm. Block not original and not properly placed. Carse Collection.

Nominal and performance pitch from Haynes (2002).

Images & further details here (from Heinz Amman) & there (from GB-London: Horniman).
GB-London: Horniman24.3.60/5Adlerfbasset1Not listed in GB-London: Horniman online catalogue (2002).
GB-Chester: Grosvenor Mus.507.L.1925aBressanf'alto4103fruitwoodivoryStamped Pul/BRESSAN/rose. Double holes for fingers 6 & 7. Revoiced and retuned by Carl Dolmetsch. The instrument seems to have been only partially completed by Bressan himself.

Nominal and performance pitch from Haynes (2002).

This instrument can be heard on the following ghastly LP: The Chester Recorders, Plant Life PLR 019 (1979).
GB-Chester: Grosvenor Mus.0.S.25aBressanf'alto4053fruitwoodivoryStamped Pul/BRESSAN/rose. Double holes for fingers 6 & 7. Revoiced and retuned by Carl Dolmetsch. The instrument seems to have been only partially completed by Bressan himself.

Nominal and performance pitch from Haynes (2002).

This instrument can be heard on the following LP: The Chester Recorders, Plant Life PLR 019 (1979).
GB-Chester: Grosvenor Mus.0.S.25bBressand'voice flute4053612boxivoryDouble holes for fingers 6 & 7. Revoiced and retuned and anachronistic single key for lowermost holes removed by Carl Dolmetsch.

This instrument can be heard on the following ghastly LP: The Chester Recorders, Plant Life PLR 019 (1979).

Nominal and performance pitch from Haynes (2002).
GB-Chester: Grosvenor Mus.0.S.25cBressanc'tenor40336811boxivorysilverStamped Pul/BRESSAN/rose. Revoiced and retuned by Carl Dolmetsch. The instrument seems to have been only partially completed by Bressan himself.

This instrument can be heard on the following ghastly LP: The Chester Recorders, Plant Life PLR 019 (1979).

Nominal and performance pitch from Haynes (2002).
GB-Chester: Grosvenor Mus.0.S.25dBressanfbasset409311331woodivorysilverStamped Pul/BRESSAN/rose. Bocal enters top of cap. For detailed measurements see Halfpenny (1955). Original crook missing, replaced by Carl Dolmetsch who also tuned and revoiced the instrument which seems to have been only partially completed by Bressan himself.

This instrument can be heard on the following LP: The Chester Recorders, Plant Life PLR 019 (1979).
USA-MA-Boston: MFA17.1805Unknown & Galping'altobefore 1945NULL1450NULLpear, stained dark brownNULLNULLMade in London, finished by Canon Galpin; playable renaissance style reproduction.

Image here.

Galpin (1910)
Bessaraboff (1941)
MacMillan (2007: 199; 2008: 37)
USA-MA-Boston: MFA17.1806Unknown & Galpind'tenorbefore 1945NULL1643NULLpear, stained light brownNULLNULLMade in London, finished by Canon Galpin; playable renaissance style reproduction.

Image here

Galpin (1910)
Bessaraboff (1941)
MacMillan (2007: 199; 2008: 37-38)
USA-MA-Boston: MFA17.1807Unknown & Galpingbasset20CNULL29211walnut, stained dark reddish-brownbrass ferrulesbrassDirect blown; fontanelle; playable renaissance-style reproduction.

Image here.

Galpin (1910)
Bessaraboff (1941)
MacMillan (2007: 199; 2008: 38)
USA-MA-Boston: MFA17.1808Unknown & Galpincbass19C213301walnut, stained dark reddish-brownbrass ferrules on head and foot; brass bocalbrassBocal blown; fontanelle; playable renaissance-style reproduciton.

Image here.

Galpin (1910)
Bessaraboff (1941)
MacMillan (2007: 199; 2008: 38)
USA-MA-Boston: MFA17.1809Unknowng'alto18C3435ivoryCarved; each section made of several pieces joined by screw threads; beak in the form of a fish head. Probably German. Centre piece looks different from head and foot.

Image here.
GB-Edinburgh: Univ.1037Hakac''sopranoc16804401336.5ivoryStamped R·HAKA (in scoll)/device, a double fleur-de-lys or a sheaf of wheat, similar to Rykel (see Waterhouse 1993). Sounding length 297 mm. Early baroque style instrument; beak separated from body by an incised ring; foot with decorative rings and beading. Unplayable due to damaged labium. On loan from C.H. Brackenbury Memorial Collection.

Lowest note and performing pitch from Brown (2005). Haynes (2002: 450) gives a nominal pitch of c'' and a performing pitch of A=443 Hz for this instrument.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535); Bouterse (2001).

Images & further information here and there.

Purchased by H.I. Brackenbury in Salzburg in June 1928.
GB-Edinburgh: Univ.2941Bressanf'altodark ?fruitwoodBody only, 209 mm long, excluding tenons. Stamped Pul/BRESSAN/rose.
Image & further information here.
GB-Edinburgh: Univ.257Heerdef'altoc17204163499box; stained brownStamped crown/VAN HEERDE. Playable, slightly higher than A415. See Bouterse (2001).

Nominal and performing pitch from Haynes (2002: 450).

Previously owned by Geoffrey Rendall

Image here.

Workshop drawing by M. Wenner and J.-F. Beaudin published by GB-Edinburgh: Univ. (1986).
GB-Edinburgh: Univ.2491Bradburyd'voice flutep. 1689, probably early 18C4053594boxStamped on all sections Jo/BRADBURY/crown. Prior to auction in 1983 it was found in an attic in Driffield, North Humberside, together with a flute and an oboe by Milhouse of Newark.

Image & further details here.
D-Nuremberg GNMMI 98Kynsekerd''sopranoc. 16754402318plumhornStamped Hieronimus & HF. Wave profile. Sounding length 276 mm.

Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of d'' and a performance pitch of A=421 Hz.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

Images and information here and there.

CAT image available from Germanisches National Museum, Nuremberg (2002).
D-Nuremberg GNMMIR 208JC Dennerd'voice flute1690-17104153583.5plumHead stamped I.C. DENNER/D/1, but attributed to J.D. Denner by Haynes (2002).
Nominal and performance pitch from Haynes (loc. cit.)

Röntgenaufnahme RB 357, 824; Kirnbauer, Martin: Historische Holzblasinstrumente in der Sammlung des Germanischen Nationalmuseum. In: Tibia, 14. Jg. (1989), S. 425.; van der Meer, John Henry: Musikinstrumente von der Antike bis zur Gegenwart. München, 1983, S. 130 Abb. 130, Abb. 222.; Young, Philip T.: Twenty-Five Hundred Historical Woodwind Instruments. An Inventory of the Major Collections. New York, 1982, S. 20.; van der Meer, John Henry: Wegweiser durch die Sammlung historischer Musikinstrumente des GNM. Nürnberg, 3/1982, S. 48.; Nickel, Ekkehart: Der Holzblasinstrumentenbau in der Freien Reichsstadt Nürnberg. München, 1971, S. 220.; Talsma, Wilhelm Retze: De Muziekinstrumentenverzameling te Neurenberg. In: Meus en Melodie H. 9 (1969), S. 266.; van der Meer, John Henry: Denner Revisited. In: Galpin Society journal H. 21 (1968), S. 208.; MGG, Art. Denner, Johann Christoph, Abb. 2.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, S. 46-47 (=Bestandskatalog).

CAT image available from Germanisches National Museum, Nuremberg (2002).

Photographic image & further information here.
D-Nuremberg GNMMIR 200Eichentopff'alto1715-17354293483.4boxAll three joints stamped with a device with acorns & leaves and IHEICENTOPF.

Nominal and performance pitch from Haynes (2002: 448).

Schallplattenaufnahme von Franz Brüggen 17 Blockflöten. Das Alte Werk - Telefunken SMA 25073.; Röntgenaufnahme RB 1046; Kirnbauer, Martin: Historische Holzblasinstrumente in der Sammlung des Germanischen Nationalmuseum. In: Tibia, 14. Jg. (1989), S. 426.; Kirnbauer, Martin und Dieter Krickeberg: Untersuchungen an Nürnberger Blockflöten der Zeit zwischen 1650 und 1750. In: Anzeiger der Germanischen Nationalmuseums 1987. Nürnberg, 1988, passim.; Heyde, Herbert: Musikinstrumentenbau. Leipzig, 1986, S. 184.; Prinz, Ulrich (Hrsg.): 300 Jahre Johann Sebastian Bach. Sein Werk in Handschriften und Dokumenten. Musikinstrumente seiner Zeit. Seine Zeitgenossen (= Ausstellungs-Katalog der Staatsgalerie Stuttgart). Tutzing, 1985, S. 293.; van der Meer, John Henry: Wegweiser durch die Sammlung historischer Musikinstrumente des GNM. Nürnberg, 3/1982, S. 49.; Young, Philip T.: Twenty-Five Hundred Historical Woodwind Instruments. An Inventory of the Major Collections. New York, 1982, S. 26.; Langwill, Lyndesay G.: Musical Wind-Instrument Makers. Edinburgh, 6/1980, S. 46 und 277.; Young, Philip T.: Inventories of Instruments: J.H. Eichentopf, Poerschmann, Sattler, A. and H. Grenser, Grundmann. In: Galpin Society Journal H. 31 (1978), S. 111.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, S. 40-41 (=Bestandskatalog).

Image & further information here.
D-Nuremberg GNMMI 99Kynsekerd''sopranoc. 16754402317NULLplumhornNULLStamped Hieronimus & HF. Wave profile. Sounding length 276 mm.

Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of d' at a performance pitch of A=421 Hz.

For critical measurements & details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).

Images & information here. Computer tomography: Martius & Raquet (2005).
D-Nuremberg GNMMI 100Kynsekerg'altoc1675440448plumhornStamped Hieronimus & HF. Wave profile. Sounding length 398 mm.

Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of g' at a performance pitch of A=421 Hz.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

Images & information here.
D-Nuremberg GNMMI 101Kynsekerg'altoc16754402448plumhornStamped Hieronimus & HF. Wave profile.

Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of g' at a performance pitch of A=421 Hz.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).

CAT image available from Germanisches National Museum, Nuremberg (2002).

Images & information here.
D-Nuremberg GNMMI 102Kynsekerd'tenorc16754402590.51plumhornbrassStamped Hieronimus/Franciscus/Kynseker. Sounding length 533 mm.

Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of d' at a performance pitch of A=421 Hz.

Wave profile. For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).

CAT image available from Germanisches National Museum, Nuremberg (2002).

Image and information here.
D-Nuremberg GNMMI 103Kynsekerd'tenorc. 16754402590.51plumhornbrassStamped HF. Wave profile.

Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of d' at a performance pitch of A=421 Hz.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

Image and information here.
D-Nuremberg GNMMI 104Kynsekergbassetc16754409051plumhorn, brassbrassStamped HF/Hieronimus/Franciscus/Kynseker/Nürnberg. Windcap with wave profile. Sounding length 821.5 mm.

Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of g at a performance pitch of A=421 Hz.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).

CAT image available from Germanisches National Museum, Nuremberg (2002).

Image and information here.
D-Nuremberg GNMMIR 201Oberlender Ifaltoc17304153500boxNominal and performance pitch from Haynes (2002).

CAT image available from Germanisches National Museum, Nuremberg (2002).
NL-Dordrecht4001.000.008 (formerly NL-Hague: Ea x -1950)Unknownc''sopranobefore 1418c''1275NULLfruitwoodNULLNULLThe Dordrecht instrument was the first more or less complete medieval recorder discovered. It was found in 1940 in the excavation of a well amongst the ruins of the Huis te Merwede (House on the Merwede) about 3 km east of the town of Dordrecht,. Subsequently, it was loaned to the Haags Gemeentemuseum in 1941, where it remained until 2009, with the exception of a few years during the war. In 2009 it was moved to NL-Dordrecht. Currently, it is on permanent display at Het Hof van Nederland.
The Dordrecht recorder is a small instrument, probably made of fruitwood. A CT examination was performed in 2015. The sounding length is 275 mm, measured over the external curve of the instrument; and the internal bore is 12.3 mm at the most. The tonal distance between the two bottom finger holes is a semitone. The voicing is comparable to that of a tin whistle, wherein the lower range of the instrument is weak, and the higher octave is stronger. The block projects some distance into the bore, and the instrument displays signs of an unsatisfactory attempt at repair, possibly the reason for it being discarded.
Hendriksz. (2015), Hijmans et al. (2015), Loretto 1998).
D-Göttingen: MusikinstrumentensammlungInv.-Nr. L-131Unknownsoprano14C1256fruitwood (Prunus)On loan from D-Göttingen: Stadtarchäologie, Inv.-Nr. 5984.

For photograph see Hakelberg (2003), Klangschaften im archäologischen Befund?

One of several surviving medieval recorders.
NL-HagueEa 581-1933Aardenbergf''sopranino4182260stained boxsilver ring at end of footStamped deer/AARDENBERG (in scroll)/fleur de lys. Left-hand fingerhole 7 plugged with wax. Labium damaged, but playable.

Performance pitch from Bouterse (2004: 22). Haynes (2002: 450) gives this instrument a performance pitch of A=402 Hz.
NL-Amsterdam: Rijksmuseum (Collection Boers)BK-NM-11430-98Aardenbergc''soprano4153358European boxwood, stained brownOn loan to NL-Hague from 1952 to 2010 as
Ea 29-X-1952.

All 3 sections stamped deer/AARDEN?BERG (in scroll)/fleur de lys. Playable. Two repaired cracks in the foot joint.

Nominal and performance pitch from Bouterse (2004: 24). Haynes (2002: 450) gives a performance pitch for this instrument of A=402 Hz.

Image & details here.
GB-London: Sotheby'sStanesby Jrf'alto4103497.8box, stained dark brownSlightly curved. Auctioned Nov. 1996.

Nominal and performance pitch from Haynes (2002).
D-Bavaria: anonymousJC Dennerfbasset310291cherrybrassHead stamped I.C. DENNER/ID. Height with bocal 1078 mm; bocal enters at top of cap.

May be the same as D-Bavaria: Bogenhaus 14b (awaiting confirmation from Bruce Haynes).
D-Bavaria: anonymousJC Dennerfbasset310191cherrybrassHead stamped I.C. DENNER/D. Height with bocal 1071 mm; bocal enters at top of cap.

May be the same as D-Bavaria: Bogenhaus 14b (awaiting confirmation from Bruce Haynes).
D-Nuremberg GNMMI 88JC Dennerfbassetc170040139531plumbrassHead stamped I.C. DENNER/D. Bocal (missing) enters at top of cap.

Nominal and performance pitch from Haynes (2002).

CAT image available from Germanisches National Museum, Nuremberg (2002).
D-Nuremberg GNMMIR 214JC Dennerfbasset1690-171047238921plum1 brass ferule on windcapbrassHead stamped I.C. DENNER/D. Bocal (missing) enters at back of windcap.

Nominal and performance pitch from Haynes (2002).

Kirnbauer, Martin und Dieter Krickeberg: Untersuchungen an Nürnberger Blockflöten der Zeit zwischen 1650 und 1750. In: Anzeiger der Germanischen Nationalmuseums 1987. Nürnberg, 1988, passim.; Young, Philip T.: Twenty-Five Hundred Historical Woodwind Instruments. An Inventory of the Major Collections. New York, 1982, S. 21.; Nickel, Ekkehart: Der Holzblasinstrumentenbau in der Freien Reichsstadt Nürnberg. München, 1971, S. 225.; Talsma, Wilhelm Retze: De Muziekinstrumentenverzameling te Neurenberg. In: Meus en Melodie H. 9 (1969), S. 266.; Young, Philip T.: Woodwind Instruments by the Denners of Nürnberg. In: Galpin Society Journal H. 20 (1967), S. 10 u. Abb. III b.; MGG, Bd. 3, Abb. Sp. 193 Nr. 1, mittleres Instrument; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, S. 71-72 (=Bestandskatalog).

Image & further information here.
D-Munich: Stadtmus.BNM Mu 173 K30JC Dennergbasset40938701ivorybrassHead stamped with an entwined, reversed monogram ICD/D. Bocal enters at side of ivory cap. transferred from D-Munich: Bav. Natl. Mus.

Nominal and performance pitch from Haynes (2002: 447).
D-Munich: Stadtmus.BNM Mu 175JC Dennerfbasset47239011plumbrassHead stamped D/I.C. DENNER. Edge-blown. Transferred from D-Munich: Bav. Natl. Mus. An early instrument by this maker, with a swallow-tail key mounted in two rounded rings.

Nominal and performance pitch from Haynes (2002).
D-Munich: Stadtmus.BNM Mu 179JC Dennerfbasset405310331cherrybrassHead stamped I.C. DENNER/D. Bocal (modern replacement) enters at top of cap. Transferred from D-Munich: Bav. Natl. Mus. A late instrument by this maker.

Nominal and performance pitch from Haynes (2002: 447).
D-Berlin92JC DennerNULLbassetNULL410310181boxNULLbrassHead stamped I.C. DENNER/D. Bocal (missing) enters at top of cap.

Nominal and performance pitch from Haynes (2002).

Baines (1966: 80 & fig. 424).

Photo & more details here
D-Brunswick84JC Dennerbasset310201boxbrassBrass ferule of head stamped I.C. DENNER/D. Bocal (missing) enters at side of cap.
A-Linz: SchlossmusW 156, Mu 8JC Dennerfbasset45038901plumbrassHead stamped I.C. DENNER/D. Bocal (missing) enters at side of cap.

Nominal and performance pitch from Haynes (2002).
A-Linz: SchlossmusMu 9 (W 157)JC Dennerfbasset40539851maplebrassStamped I.C. DENNER/D. Bocal (missing) enters at side of cap.

Nominal and performing pitch from Haynes (2002).
A-Linz: SchlossmusW 158, Mu 116JD Dennerfbasset406310401maplebrassAll 3 sections stamped I.C. DENNER/D/I. Bocal (modern replacement) enters at top of cap.

Maker, nominal and performance pitch from Haynes (2002: 447).
A-Göttweig AbbeyJC Dennerbasset39311woodbrassAll 3 sections stamped I.C. DENNER/D/1. Bocal (missing) enters at top of cap.
NL-Hague1933-0713 (formerly Ea 713-1933)JC Dennerfbasset41839961maplebrass ring on head jointbrassHead stamped I.C. DENNER/D. Bocal (missing) enters top of cap. Playable.

Nominal and performance pitch from Bouterse (2004: 23). Haynes (2002: 447) gives the performance pitch of this instrument as A=410 Hz.
F-ParisE.1516 (C.1388)JC Dennerfbasset17C45839101?plum2 brass ferrules on windcap & centre-joint.brassHead stamped I.C. DENNER/D. Bocal (brass) enters top of windcap. Ex Collection Eugène de Bricqueville.

Nominal and performance pitch from Haynes (2002).

Further details here.
F-ParisE.1641(C.1511)JC Dennerfbasset18C39239781woodbrassHead-joint stamped I.C. DENNER/D. Bocal enters top of windcap.

Performance pitch from Haynes (2002) who does not give the nominal pitch.

Further details here.
Russia-St. Petersburg407JC Dennerbasset3901maplebrassHead carved (rather than stamped) I.C. DENNER/D. Bocal & cap; black lacquered.
A-Göttweig AbbeyJC Dennerbasset39311woodbrassAll 3 sections stamped I.C. DENNER/D/I. Bocal enters at top of cap.
USA-MA-Boston: MFAMFA 1987.550JC Dennerbasset39681boxbrass ferrule on windcap; brass bocal + ivory mpcbrassStamped I.C. DENNER/D/I. Bocal enters top of cap; ivory mouthpiece; bought in Cremona. Photo in MAMIS 6 (1988).

Image here.
D-Eisenach: BachhausL-1JC Dennerfbasset410310171boxbrassStamped I.C. DENNER/D. Bocal (missing) enters top of cap; missing key & head band.

Performing pitch from Haynes (2002) who does not give the nominal pitch.
NL-Hague1952x0030 (formerly Ea 30-X-1952)JC Dennerfbasset38831plumbrassBocal (missing) enters at side of cap. Not playable, leaking.
D-anonymousJ Dennerf'alto3498boxAll 3 sections stamped I. DENNER/(tree)D. Some repairs.
D-Frankfurt/O: Mus. VladrinaJC Dennerbasset9401boxbrassAll 3 joints stamped I.C. DENNER/D/I. Head cap & crook missing; 2 brass bands & 1 new silver band are repairs.
I-Venice: Conservatorio28JC Dennerbasset3ivorybrassAttribution by Conservatory very doubtful. Bocal enters top of cap. Foot missing, replaced with a wooden one by Pietro Verado.

Montague (1985: 47).
I-Venice: Conservatorio29JC Dennerfbasset4273100.71boxbrassHead stamped I.C. DENNER/D. Bocal (missing) enters top of cap. Enormous thumbhole, 14.5 × 12.5 mm.)

Montague (1985: 47).
USA-SD-Vermillion: National Music Museum3605JC Dennergbasset4103103.51fruitwoodbrassbrassStamped on head & foot I.C. DENNER (within a scroll)/D. Bocal (missing) enters top of cap. Head cap detachable, encircled with a brass band. Key with a flat, square cover (corners cut) & a typical, round touchpiece for the left little finger, on the foot (the spring attached to the wood). A crack in the main joint has been repaired with two small pieces of wood that match that of the body set across the crack to hold it together. Ex. coll. de Bricqueville, Versailles.

Nominal and performance pitch from Haynes (2002: 447).
D-LeipzigJ14JC Dennerbasset39941boxbrassAll 3 sections stamped I.C.DENNER/D. Bocal (missing) enters side of cap. Key with odd touch design.
I-Florence: Mus. Stibbert14289Rippertf'alto1701392523grenadillaivoryKaltenbach.

Nominal and performing pitch from Haynes (2002).
I-Florence: Museo Bardini365-157JC Dennerbasset31051nutwoodbrassBocal enters top of cap.
D-Bonn: Beethovenhaus13aJC Dennerbasset3626nutwoodStamped I.C. DENNER/D. Head only, foot & cap missing.

Formerly in the Collection of Josef Zimmermann, Düren, Germany (D-Düren: Zimmermann).
D-anonymousJC Dennercbass31ivorybrassYoung (1993: 60) notes that this instrument is very much like a Denner basset recorder, also in ivory, at D-Munich: Stadtmus. BNM Mu 173.
F-ParisE.368 (C.368)Dupuisf'alto17C4163499boxivoryStamped DVPVIS (in cartouche) surrounded by 4 fleurs-de-lys. Mottled finish on box; black dots around largest of 5 ivory rings. Further details here.

Nominal and Performance Pitch from Haynes (2002).

A plan prepared by Jean-Françrois Beaudin is available (Pottier, 1992: 44).
D-anonymousIIIDupuisc'tenor3664boxivoryEbony studs placed irregularly around ivory mounts.
UnknownDupuisbassetebonyivory (carved)Crutch, a few cracks, crook missing, windway perfect; auctioned by Phillips, January 1989; Early Music 17(3): 405 (1989).
NL-Amsterdam: RijksmuseumBK-NM-11086Aardenbergc''soprano4143358box, stained brownOn loan from 1952 to 2010 to Gemeentemuseum Den Haag, no. Ea 29a-x-1952.

All 3 sections stamped deer/AARDEN?BERG (in scroll)/fleur de lys. Playable.

Nominal and performance pitch from Bouterse (2004: 24). Haynes (2002: 450) gives a performance pitch for this instrument of A=402 Hz.

Image and other details here.
NL-Amsterdam: Rijkmuseum (Collection Boers)BK-NM-11430-92Aardenbergf'alto4183495box, stainedOn loan from 1952 to 2010 to Gemeentemuseum Den Haag as Ea 23-x-1952.

All 3 sections stamped deer/AARDENBERG (in scroll)/fleur de lys/2 fleurs de lys. Hardly playable due to problems with the block.

Nominal and performance pitch from Bouterse (2004: 23). Haynes (2002: 451) gave this instrument a performance pitch of A=415 Hz.
NL-Hague1952x0024 (formerly Ea 24-X-1952)Aardenbergf'alto4193505box, stained brownOn loan from 1952 to 2010 to Gemeentemuseum Den Haag as Ea 24-X-1952.

All 3 sections stamped deer/AARDENBERG (in scroll)/fleur de lys. Playable.

Nominal and performance pitch from Bouterse (2004: 23). Haynes (2002: 451) gives a performance pitch for this instrument of A=415 Hz.
NL-HagueAardenbergf'alto4193508box, stained brownsilverOn loan from 1952-2019 to Gemeentemuseum Den Haag as Ea 32-x-1952.

All 3 sections stamped deer/AARDENBERG (in scroll)/fleur de lys. Thin silver-plated bands added to head & foot. Playable.

Nominal and performance pitch from Bouterse (2004: 25). Haynes (2002: 451) gives the peformance pitch of this instrument as A=410 Hz.
NL-Hague1933-0278 (formerly Ea 278-1933)Beukersc''soprano4122349box, stained brownStamped W. BEUKERS/sheaf of wheat. Has alternative hole for the lowermost finger, plugged with wax. Playable.

Nominal and performance pitch from Haynes (2002: 450).

Image here (from Heinz Amman).
NL-Amsterdam: Rijksmuseum (Collection Boers)BK-NM-11430-87Beukersc''soprano3952349box, stained brownOn loan from 1952-2010 to Gemeentemuseum Den Haag as Ea 25-X-1952.

Stamped W. BEUKERS/sheaf of wheat. Has alternative hole for the lowermost finger plugged with wax. Playable.

Nominal and performing pitch from Bouterse (2004: 23). Haynes (2002: 450) gives a performance pitch for this instrument of A=392 Hz.

Image & details here.
NL-Amsterdam: Rijksmuseum (Collection Boers)BK-NM-11430-96Beukersf'alto4113510box, stained brownOn loan from 1950-2010 to NL-Hague as Ea 26-x-1952.

Stamped 3-prong crown/W:BEUKERS. Labium damaged, but playable.

Nominal and performance pitch from Bouterse (2004: 24). Haynes (2002: 450) gave a performance pitch for this instrument of A=400 Hz.

Image & details here.
NL-Amsterdam: Rijksmuseum (Collection Boers)BK-NM-11430-93Boekhoutf'alto3963510ebonyivory ferulesOn loan from 1952 to 2010 to Rijksmuseum Amsterdam as Ea 27-x-1952.

Stamped T.BOEKHOUT (rather vague). Windway shortened and block is repaired. Playable. See Bouterse (2001; 2004).

Nominal and performing pitch from Bouterse (2004: 24). Haynes (2002: 450) gives a performance pitch for this instrument of A=398 Hz.

Image & details here.
NL-Amsterdam: Rijksmuseum (Boers Collection)BK-NM-11430-95Heerdef'alto4263495box, stained brownOn loan to NL-Hague from 1952 to 2010 as Ea 33-x-1952.

Stamped crown/VAN HEERDE. Once had a foot by Boekhout, but original now restored. Playable, two cracks in foot. See Bouterse (2001; 2004).Nominal and performance pitch from Bouterse (2004: 25). Haynes (2002: 451) gives the performance pitch of this instrument as A=410 Hz.

Image & details here.
? NL-Amsterdam: RijkmuseumBoekhoutf'altobox, stained brownon loan from 1952 (foot) and 1993 (middle joint) to 2010 to the Gemeentemuseum Den
Haag as Ea 21-x-1993.

Only the middle joint (244 mm long) and foot survive. The part that was visible is 202 mm long. Stamped BOEKHOVT (Bouterse 2004: 25 & 2013).
NL-HagueEa 279-1933Unknown / Jagerf'alto3500woodBody only stamped sun/D'JAGER/Brabant lion, probably shortened, fingerholes enlarged. Foot unstamped and possibly not original. The head of an alto recorder, stamped MONDON added at one time to the other joints was removed in 1991. Not playable.

See Bouterse (2001; 2004: 21; 2013).
GB-Bradford2215Mondong'alto3Head carved with two fishes, acanthus leaves & a turk's head. Formerly the property of Lord Astor of Hever & sold in Sotheby's as part of the Hever Castle Collection. Sold by the Early Music Shop for £12,000.
A-ViennaSAM 134 (C 145, KK 8521)Unknowng'alto16C440NULL438.4NULLboxNULLNULLFoot stamped CS. Sounding length 385.2 mm. Plays with Van Eyck/Jambe de Fer fingerings, according to Adrian Brown. Said by Lêgene (1995) to play with Matthyz fingerings. One of the Catajo recoders.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 77); Marvin (1972: 32); Brown (2005b: 534); Darmstädter & Brown (2006: 161-163) - includes colour photographs.
A-ViennaSAM 135 (C 146, KK 8522)Bassanog#'alto16C440NULL427.4NULLboxNULLNULLFoot stamped !! (ML-J type A) & thus probably by a member of the Bassano family, possibly Jeronimo Bassano I (d. ca 1545). Sounding length 380.3 mm. One of the Catajo recorders. The basis for modern reconstructions of the 'Ganassi' recorder.

For critical measurements & other details see: Brown, A. Renaissance Recorders Database; Schlosser (1920: 77); Marvin (1972: 32); Lyndon-Jones (1987: 59); Loretto (1986: 64 f.); Bär (2002: 315, 341); Darmstädter (2004/5: 170 f.); Brown (2005b: 533); Darmstädter & Brown (2006: 164-166) - includes colour photographs; Bali (2007: colour plate).

A case (SAM 171) in A-Vienna made for soprano, 2 altos and a tenor recorders has the same variation of the maker’s mark which is also found on 3 tenors in A-Vienna (SAM 146, 149, 150). Thus the famous 'Ganassi' recorder (SAM 135) may not have been a solo instrument, but part of a consort. See: Lyndon-Jones (1998).

Image here.
A-ViennaC.166, E. 98/C. 390Bressanf'altoNULL4103470NULLboxNULLNULLStamped Pul/BRESSAN/rose. Double holes for vents 3, 6 & 7.

The exterior turnings are not Bressan's usual shapes but more closely resemble J.C. Denner (Rob Turner, 2002).

Huene has suggested that this instrument is in fact a fake (Ehlert & Haase-Moeck, 1999; Nozaki, 2016).

Nominal and performance pitch from Haynes (2002).
A-ViennaBressanfbassetc. 1596955Ex Schloss Ambrass.
A-ViennaUnknownf'altoCovered in tortoishell & gold-pique.
I-Milan: Conservatorio146 (MTS-FD/02)Anciutib♭'soprano17254303377NULLstained (marbelled) boxNULLNULLHead stamped: [lion of Venice] | ANCIVTI | A' MILANO | 1725; body stamped: ANCIUTI A ' | MILAN; foot stamped: ANCIUTI
Image here.
Haynes (2002: 452); Sardelli (2007: 49)
Photograph, measurements and notes (by Renato Meucci): de Avena Braga (2015: 286, fig. 38).
Russia-St. Petersburg404BizeyNULLtenorNULLNULL36741box, lacquered blackivory beak & foot ringbrassStamped fleur de lys/BIZEY/A PARIS/*. Key hinged from lower end.

See Jürisalu (1980), Pottier (1992: 44).
Russia-St. Petersburg405HotteterreNULLtenorNULLNULL36801boxNULLbrassStamped HAUTERRE & HOTETERRE/fleur-de-lys (Young 1980: 724, pl. 55). See Jürisalu (1980).
Russia-St. Petersburg408Boekhoutfbasset415310092box, stained dark brownbrassStamped crown/BOEKHOUT. Brass bocal (original) enters into top of cap (original); 2nd key for finger-hole 3; crutch, in two pieces (original). Playable at slightly lower than A415. See Bouterse (2001).
I-FolignoUnknownsopranino17th C1250.5pear
A-ViennaSAM 154Unknowng'altoNULL4153435.5NULLstained boxNULLNULLDouble holes for lowest finger.
Adrian Brown comments that this instrument is by the same hand as SAM 155 and SAM 154 and that its turning is similar to that of instruments from Nuremberg.
Photograph and measurements (by Adrian Brown): de Avena Braga (2015: 360-361, figs 159-161).
USA-DC-Washington: DCMDCM 1259 (stolen)Unknownf''sopranino18C4422249NULLivoryNULLNULLEngraved with spiral design of birds, lion, horse, deer, snake, a man playing double pipes, & a grape-vine.
Purchased from Rudall, Carte & Co., London (1935).
One of two instruments stolen from the Library of Congress a number of years ago.
Further details and photo here.
Photographs, measurements & technical drawings (by Laura Beha): de Avena Braga (2015: 350-351, figs 139-142).
USA-DC-Washington: DCMDM 1257/5Beukersd''soprano (sixth flute)c17044243307ivoryStamped on body crown/W. BEUKERS/sheaf of wheat. Head & foot carved. The head joint appears to be an unstable piece of ivory having numerous cracks at both ends with a portion of the beak directly above the window broken off but mostly present. Ivory loss inside head joint socket. Body joint lower tenon appears to have been broken and/or slightly shortened. Foot joint ivory loss inside socket. The head and foot joints are elaborately decorated with fluting and ornamental lathe turning décor. Foot joint lower end of bore has a pair of channels carved about 180 degrees apart and to a depth of about 8 millimeters (along inside bore), purpose uncertain. However, this may have been a means of mounting the joint between lathe centers, one of which may have had shallow wings to ensure motion to withstand the forces exerted by the ornamental turning attachments. Acquired from Walter J. Ford, Upper Darby, Pennsylvania (1935).

Nominal and performance pitch from Haynes (2002: 451).

Further details & image here.
USA-DC-Washington: DCMDCM 1214Stanesby Srd''soprano (sixth flute)4103303ivoryunmountedStamped on all sections T/STANESBY/* (sunburst); foot also with 6. Bought from W. Howard Head, London (1934). Beak and foot joint large bottom bead chipped (losses).

Nominal and performance pitch from Haynes (2002).

Further details & image here.
USA-DC-Washington: DCMDM 1360Ottod''soprano (sixth flute)19384402298pearnickel silver ferrule on headStamped on head RUDOLF OTTO'S / CHORFLÖTE.

Bought from A.V. Ebblewhite, London (1938). Seyfrit (1982: 10). Photo Seyfrit (1982: 10 & pl. 2).


Further details and image here.
USA-DC-Washington: DCMDM 0663L Walch IIc''soprano4403341box1 horn ferrule; 1 black-painted metal ferruleStamped on head (5-petalled flower) / LORENZ WALCH / BERCHTESGADEN / C. Head joint block likely a replacement. Bottom joint cracked at socket, horn ferrule replaced with metal ferrule, and painted with black lacquer. Bought from Sigmund Koch, Munich, Germany (1926). This instrument has the characteristic profile of the Berchtesgadner Fleitl. Further details & image here.

Baines (1966: 81 & fig. 432)
MacMillan (2007: 200; 2008: 61).
USA-DC-Washington: DCMDM 1387AdlerJc''sopranoc.193944023201pearNULLsilver(-coloured) metalEx G. Schirmer, New York (1939).
Harlan fingering.

Further details and image here.
USA-DC-Washington: DCMDM 1317RL & Coc''sopranob19374402327rosewood1 nickel siver ferruleStamped on head SOP. C. // IMPORTÉ a'ALLEMAGNE. Stamped on body R. L. & C°.

Bought from Pierre Schneider, Paris (1937) Seyfritt (1982: 8).

Further details and image here.
USA-DC-Washington: DCMDM 1253Bärenreitera'soprano19354402391rosewoodmetal ferrulesBought from Helmluth G. Arendt, Quantico, Va., USA (1935).

Further details and image here.
USA-DC-Washington: DCMDM 1055 (s.12)Bizeyf'alto18C3903525box stained reddish brownStamped fleur de lys/BIZEY/, on head body and foot. Purchased from H. Manière, Paris (1931).

Crack in head joint nearly full length. Two cracks in body, nearly full length.

Further details and image here.

Nominal and performance pitch from Haynes (2002).

A plan of this instrument was prepared by Fred Morgan (Pottier (1992: 44).
USA-DC-Washington: DCMDM 0127 (S.13)Bressanf'alto4153502box stained brownivory beak and ferrulesStamped Pul/BRESSAN/rose. Bought from John Finn,
Essex, UK (1920), ex Dr Thomas Lea Southgate Collection, London, SC 13.

Nominal and performance pitch from Haynes (2002).

Further information and image here.

Baines (1966: 81 & fig. 431).
USA-DC-Washington: DCMDM 1181 (S.14)Bressanf'alto4183508box (stained dark brown)ivoryStamped Pul/BRESSAN/rose. Beak chipped and crudely repaired, time and place unknown. Fingerholes 1, 3 may have been altered. Edge is damaged and shows evidence of alteration. Foot joint, lower ferrules, large decorative terminating bead, cracked circumferentially and detached nearly 320 degrees and broken into 3 pieces.

Gift of C.G. Herbert, Altadena CA, USA (1933)? ex Southgate Collection 14.

Ref. Postcard: Library of Congress (1979), as Miller No. 127.

Nominal and performance pitch from Haynes (2002).

Further details & image here.
USA-DC-Washington: DCMDM 0945Gahnf'alto6485ivoryStamped I.B. [GA, unreadable, surmounted by crown? or other design] HN (in scroll) / IBG (decorative monogram). Some sections are multi-part & screw together. Engraved with spiral design of leaves, flowers, fruit & birds. None of the 3 (or 2) machine threaded devices is still workable, the male sections having both shrunk and broken off to some extent. The edge is chipped and damaged, but still somewhat playable. However, the head joint upper section was clearly split into 2 large portions which were rejoined temporarily by Robert Sheldon using the acrylic adhesive B72 (for exhibition purposes). Ivory chips missing at beak. This instrument was included in the Music Division exhibition, In Praise of Music, in 1992 and was treated cosmetically at that time. The middle portion of the foot joint was curiously missing a slab of ivory not broken away but intentionally removed, creating a flat surface as the result of a saw cut, purpose unknown. A portion of ivory was added by Robert Sheldon using an alophatic adhesive and left slightly oversize to be further finished or worked as desired, or removed.

Highly carved and filled with black ink. Carved with floral design, fruit, leaves, and birds. This recorder is unusual in that the head joint is made of 2 sections, which are joined with machine threads and likewise the foot joint is comprised of 3 sections, the middle and lower 2 of which are also joined with machine threads. However, the foot joint upper section, which contains the little finger tonehole, may have originally contained the female threads joining it to the middle portion in the same way. However, if so, the threading may have been damaged and altered to its present state which is a tenon and socket (tenon on middle section) which is lapped with thread or twine.

Further details & image here.
USA-DC-Washington: DCMDCM 0720Heitzf'altoc17243507box, covered with tortoise shellivoryStamped fleur de lys/I.HEYTZ. Both the head and foot joints are made in 2 separate box parts to allow for the installation of tortoise shell veneer in tapered tubing or ferrule sections plus extra mid-joint ivory ferrules. All of the necessary and decorative components are then glued together to form a completed joint. See the detail of the foot joint. The large ivory bottom ferrule may be original or the restoration work of DCM. The smaller tortoise shell and ivory ferrules are replacements made by Robert E. Sheldon and Rob Turner (Charlottesville, Virginia), respectively. Breakage and shrinkage of the head joint (box core) plus ivory and tortoise shell losses, mostly affecting the body and foot joints. The foot veneer has a curious alteration or addition in the form of a tortoise shell patch or inlay (roughly oval, approx. 31 x 20 mm.), unlikely the work of the maker. The purpose is unknown and not mentioned by Miller. It was added either as a repair for major tortoise shell loss in that area, or perhaps to replace an owner's name plaque inlay of unknown material. Aside from whatever adhesive may have been used, the patch is secured with 4 wooden (box?) dowels which are visible at the bore and have each been disguised on the exterior with an inlaid dot of tortoise shell. Bought from Harold Reeves, London (1927) ex C. van Raalte Collection.

Further details & image here.
USA-DC-Washington: DCMDCM 1359 (S.19)Palanca & Castelf'altoc. 17754103503NULLbox, stained brownivory beak, ferrules & thumb-bush; silver ferrulesNULLHead stamped: И. | CASTEL. | [lion (or griffin) rampant]; body & foot stamped: CARLO | PALANCA
Ivory thumb bush. Lower section flute shaped. Head joint socket wooden spacer ferrule broken & missing about 90°.

Aspects of this instrument are untypical. From the markings it is a combination of two instruments. The head & foot joint socket & ferrule construction is unusual: well-executed, but poor design & likely an alteration. The original appears to have included the normal practice of turning (cutting away) material (box) back to a shoulder to receive a fairly long ornate ferrule (ivory) glued in place. However, both have been turned a second time removing nearly a third of the ivory ferrule & replacing it with a fragile wooden one as a spacer covered with a well-made, turned silver ferrule. The silver ferrules are pronged on the interior for better retention similar to modern woodwind instrument ferrules. The addition of the ferrules is not without logic, but cutting away seemingly stable material (ivory) to apply them is a mystery. Neither socket is cracked & the apparent ferrule revisions seem not to have concerned any repairs. Perhaps the most unusual aspect is the foot exterior design. In place of the typical flared, false bell bottom, the foot tapers down similar to the traverso foot joint design(s) of the period, and the bottom ivory ferrule appears to be original, or period, or at least very skillfully applied if later.

Nominal and performance pitch from Haynes (2002: 452).
Photographs & measurements here; de Avena Braga (2015: 314-315, figs. 77-80).
UnknownNULLAnciutiNULLsopranino18CNULL2218NULLivorysilverNULLCarved decoration, silver ferrule at head-joint.
Formely in the collection of Barons Nathaniel and Albert von Rothschild (Rothschild Inv. No. AR1384).
Auctioned (and sold) by Christies, Sale 6179, 8 July 1999, Lot 40 (see here).
de Avena Braga (2015: 31, footnote 119).
USA-DC-Washington: DCMDCM 327Panormof'altoc. 1750c. 4203487NULLivoryNULLNULLAll sections stamped: IOAN: | PANORM:
Unplayable. Head joint severely cracked into 3 pieces with other cracks and losses.
Purchased from Sumner Healey, New York (1923). Ex Tolbecque.
MacMillan (1983: 492) attributes this to James Panormo (ca 1820-1830), in error.
Further details, photographs, measurements & technical drawings: here; de Avena Braga (2015: 53-54, 334-337, figs 110-117).
USA-DC-Washington: DCMDCM 0658 (S.21)Schellf'alto4043503box (stained light brown)unmountedAll 3 sections stamped H.SCHELL (in scroll)/s/js (entwined monogram), the monogram on the head only. Bought from Sigmund Koch, Munich, Germany (1926).

Nominal and performance pitch from Haynes (2002: 447).

Ref. Postcard: Library of Congress (1979), as Miller 658.

Further details here.
USA-DC-Washington: DCMDM 0328 (S.22)Schuechbauerf'alto18C4613449ivoryunmountedStamped on all sections flower/S/SCHVECHBAVR. Minor shrinkage at each mechanical joint. Foot joint center section bead just below upper thread chipped and missing about 170 degrees in circumference. Lower thread same section chipped. Missing portions but still functional. In the usual 3 joints, head, body, foot, except that the sections are joined with machine threads; 2 for head joint, 3 for foot joint, similar to DCM 945.

Bought from Sumner Healey, New York (1923) ex Tolbecque Collection.

Nominal and performance pitch from Haynes (2002: 449).

Further details & image here.
USA-DC-Washington: DCMDCM 1159Smartf'alto18C3499boxwood, stainedStamped on all sections SMART /.
Head joint edge damaged and slightly shortened. Beak and block chipped and broken at the top. Head joint cracked from socket to window. Body joint wood naturally checked and possibly further damaged at the thumbhole. Foot joint cracked at socket. Fingerhole 7 very crudely altered. Bought from W. Howard Head, London (1932).

Seyfrit (1982: 25); MacMillan (2008: 94).

Further details & image here.
B-Brussels1038Tertonf'alto1710-17524003500box; stained brown1 ivory ferrulesAll 3 sections stamped 3-pronged crown/E:TERTON (definitely no lion). Pitch slightly under A415. See Bouterse (2001).

Nominal and performance pitch from Haynes (2002: 450).

Images and further details here & there.
NL-Hague1933-0374 (formerly Ea 374-1933)Tertonc''soprano4092349stained box, faded brownsilverStamped 3-prong crown/E:TERTON/Brabant lion. Luxuriously made with finely wrought silver mounts at the lower foot ring, the socket bulge of the head and covering the beak. Additional (left-hand) hole for 7th finger is plugged with wax, a feature normally associated with renaissance recorders. Playable. Crack in head glued, labium damaged. See Bouterse (2001; 2004: 22).

Nominal and performance pitch from Bouterse (2005: 22). Haynes (2002: 450) gives performance pitch of A=399 Hz.

Image here (from Heinz Amman).

A video recording of Frans Brüggen playing this instrument can found here.
NL-Hague1933-0978 (formerly Ea 978-1933)Tertonf'alto4193497box; stained brownStamped 3-pronged crown/E:TERTON/Brabant lion. Playable.

Nominal and performance pitch from Bouterse (2004: 23). Haynes (2002: 451) gives the performance pitch of this instrument as A=407 Hz.
NL-Hague1952x00323 (formerly Ea 323-1933)Wyne (Wijne)a'alto (third flute)18C4563411stained boxunmountedHead & body stamped crown/R.WYNE/two-headed eagle & also crown/NYMEGEN (in scroll)/2-headed eagle; foot stamped with a 2-headed eagle. Hardly playable.

See Bouterse (2001; 2004: 21).

Nominal and performance pitch from Bouterse (2004: 21). Haynes (2002: 451) gives a nominal pitch of g' at A=386 MHz.
NL-Hague1993-0363 (formerly Ea 363-1933)Debeyf'alto4123501stained boxStamped DEBEY. Playable, but large crack in head and damage to the mouldings.

On long-term loan to University Instituut voor Muziekwetenschap, Utrecht, Netherlands.

Nominal and performance pitch from Bouterse (2005: 22). Haynes (2002: 451) gives performance pitch of A=405 Hz.
USA-DC-Washington: DCMDCM 0871 (S.24)Tertonf'alto3973507box, stained mid-brownivory beak and ferrulesStamped 3-pronged crown/E:TERTON/Brabant lion. Head joint warped. Beak damaged at tip, both ivory and wooden block. Foot joint cracked at socket with ivory loss at edge of fingerhole. Chips missing from decorative turnings. Bought from G. Hanken & Zoon, Rottterdam, Holland (1929). Playable only with difficulty. See Bouterse (2001).

Nominal and performing pitch from Haynes (2002: 450).

Ref. Postcard: Library of Congress (1979), as Miller No. 871).

Further details here.
USA-DC-Washington: DCM835Unknownf'altoearly 19C4243482boxwoodBought from Henning Oppermann, Basel Swizerland (1929). Not a sophisticated instrument.

MacMillan (2007: 202; 2008: 86-87)
USA-DC-Washington: DCM1351Unknownf'alto18C4153505NULLivoryNULLNULLBought from Harold Reeves, London (1927), ex Taphouse Collection. Seyfrit (1982: 29). Acquired from W. Howard Head, London (1938).
Foot joint constructed in 2 parts joined with machine threads.
Two surface cracks in head joint. Random chips missing from decorative turning.
Further details and image here.
Photographs, measurements & technical drawings (by Bob Marvin, Mark Gaydos): de Avena Braga (2015: 356-359, figs. 152-158).
USA-DC-Washington: DCM1388AdlerJf'altoc.193944034852pearNULLsilver(-coloured) metalStamped Johannes Adler (surrounded by a partial oval with an arrow) // MADE IN GERMANY.

German fingering.

Purchased from G. Schirmer, New York (1939).

Further details and image here.
USA-DC-Washington: DCMDCM 1179Dolmetschf'alto<19324153504cocusivory beak & ferrulesStamped on head, body & foot DOLMETSCH (cross) (circle shape) / 316 (in circle).

Bought from Harold Reeves, London (1935).

Further details & image here.
USA-DC-Washington: DCMDCM 0989 (S.31)Bressand'voice flute4053606.5boxivory ferrulesSstamped on all sections Pul/BRESSAN/rose. Head joint edge slightly damaged but still playable. The area of the thumbhole has been crudely indented for player convenience. Foot joint upper ferrule slightly cracked. Foot joint lower ferrule large decorative bottom bead missing about 150 degrees circumference material. Chips missing on wood near bottom ferrule. The ferrule is also cracked starting outward but not out to edge. Bought from W. Howard Head, London (1929).

Further details & image here.

Nominal and performance pitch from Haynes (2002).
USA-DC-Washington: DCM834Unknown, Bressand'voice flute3573maple, stained dark brownivory ferrulesParts mismatched; head stamped Pul/BRESSAN/rose surrounded by 3 small dots; body & foot unstamped, different wood. The foot joint is cracked in 2 places at the socket, and has 2 twisted wire repairs. The head joint socket is cracked and missing a little over 100 degrees of its ivory ferrule. The edge is badly altered and distorted, and the block possibly not original, is partly missing its beak, and is missing a small area due to wood rot. This instrument is a composite of a likely original head joint with body and foot joints later manufactured. As is, given its present dimensions, the instrument would seem to be a voice flute in D, so-called. However, its original body and foot joints may have been adequately longer to yield a tenor in C, similar to DCM 1321. Bought from Henning Oppermann, Basel, Switzerland (1929).

Further details & image here.
USA-DC-Washington: DCMDCM 1262Cahusacd'voice flute18C3903623maple, stainedivoryStamped on head ?rose/CAHUSAC/LONDON. Foot not original. This instrument is a composite of original, altered, and unoriginal parts. The head joint may be in original condition, unless its socket was cut deeper to take an abnormally long tenon, resulting at the upper end of the body joint when it was drastically shortened. The lower end of the body joint may also have been shortened, and all or some toneholes enlarged. The foot joint is a replacement and not typical although turned by a competent craftsman. Bought from Rudall, Carte & Co., London (1953).

Nominal and performance pitch from Haynes (2002).

Further details & image here.
USA-DC-Washington: DCMDCM 1240, cat. 35Bassanoc#'tenor16C4401630maple, stained reddish brownStamped !! (ML-J type B) & thus probably by a member of the the Bassano family. Back-blown. The labium edge is damaged and partially missing and at that the instrument still plays curiously well.

Purchased from Harold Reeves, London (1935), ex Ellinger Collection.

Further details & images here.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).
USA-DC-Washington: DCM325Unknownc'tenor37101box, stained brownivory ferrulesbrassStamped on all sections with a ? trefoil. in Baroque or pseudo-Baroque style, date of instrument is not known. Portions of it (2 of the ivory ferrules) appearing quite old, with other aspects of the instrument leading one to believe it may be a replica. The one key on the foot joint has a double touch piece for right or left hand usage, although not well-fitted. Furthermore, on the open-standing key on the foot joint, the upper fulcrum key block is unnecessarily deep-cut so as to create a lateral opening (and consequently a leak) into the foot joint socket. As is, this instrument seems to be in B-flat at modern pitch, and therefore could be a tenor in that key as such. However, it could also be in A at high pitch, or in C at very low baroque pitch. Bought from Sumner Healey, New York (1923); formerly in the Tolbecque collection. MacMillan notes the marked external similarity to Tolbecque's copy of a Hotteterre tenor in F-Paris.

Further details & image here.

MacMillan (2008: 99)
USA-DC-Washington: DCMDCM 1321 (S.33)Palancac'tenorNULL4383611NULLbox, fruitwoodNULLNULLStamped on all 3 sections: CARLO | PALANCA.
Beak slightly chipped. Foot joint cracked at both ends. Upper end poorly repaired with brass ferrule, partially set in approximately 1 mm. Bought from Alex Hodson, Lavenham, Surrey, England (1937).

Nominal and performance pitch from Haynes (2002: 452).

Further details & image here.

Saunders (2010: 13-14) gives a detailed plan of this instrument. She notes that the pitch is A=440 Hz. She also reports that the head and foot are made from second-class material with a wavy, knotty grain, and that the windway entrance is almost closed giving the recorder a very soft sound.
Photographs by DCM, measurements, technical drawings by Joanne Saunders: de Avena Braga (2015: 51-53, 328-333, figs 95-109).
USA-DC-Washington: DCM1389AdlerJc'tenorc.193944036431pearNULLnickel silverBought from G. Schirmer, New York (1939).

Stamped Johannes Adler (surrounded by a partial oval with an arrow) // MADE IN GERMANY. German fingering.

Further details and image here.
USA-DC-Washington: DCM1225Bärenreiteratenor193544037571maplemetalmetalferrules & thumbrestBought from Helmuth G. Arendt, Quantico, VA, USA (1935).
USA-DC-Washington: DCMDCM 0860, cat. 38Unknowng#basset19C44028131maplebrass, hornbrassStamped (5-pointed star) / .. (or, 2 small holes). Windcap cracked. Main body slightly warped and cracked at block. Fontanelle cracked in 6 places. Lower portion of key missing. Bottom bell ferrule of animal horn broken into 3 remaining pieces. Currently replaced with painted laminated paper for exhibit use, 1992. Of questionable origin, portions of which may be 17th century parts. Most of this instrument was probably crafted in the 19th century for decorative sales purposes. The fingerhole groupings and placement appear to have been drilled for that purpose and perhaps from a fanciful iconography source. See DCM 907.

Bought from G. Hanken & Zoon, Rotterdam, Holland (1929).

Further details & image here.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database

Brown (2005b: 534)
MacMillan (2008: 98)
USA-DC-Washington: DCMDCM 800 (S.37)Rippertfbassetc1701392311781maple, stainedivorybrassStamped RIPPERT / (dolphin?). Brass bocal enters at top of cap. Foot bulbous with perforations; crutch missing. Middle joint slightly warped. Random chips missing from turnings and ivory ferrules (which look like bone). Bocal and mouthpiece are replicas.

Bought from Henning Oppermann, Basel, Switzerland (1928).

Further details & image here.

Nominal and Performance Pitch from Haynes (2002).
USA-DC-Washington: DCM907Unknownfbasset19C44039371maple, stainedbrassbrass ferrulesBocal & mouthpiece (inserted through windcap) missing; ferrules probably not original. Chips of wood missing from various wood turning beaded elements. A wooden mouthpiece similar to that of DCM 860 exists, but may in fact be another mouthpiece for DCM 860. The current low F key touchpiece and saddle are obviously replacements even if the instrument is as late as turn of the 20th century. Bought from Henning Oppermann, Basel, Switzerland (193?).

Further details & image here.

MacMillan (2008: 98-99)
USA-DC-Washington: DCM1390AdlerJfbassetc.193944039633pearNULLnickel silver and bocalStamped Johannes Adler (surrounded by a partial oval with an arrow) / F BASS // MADE IN GERMANY.

Bocal-blown with plastic mouthpiece.

Bought from G. Shirmer, New York (1939).

Further details and image here.
USA-NY-New York: MMA89.4.2695Mahillonc#''sopranoNULL5202318NULLplumhornNULLStamped Hieronimus [and] HF, but probably a copy by V.C. Mahillon of one of the seven instruments by Hieronimus Kynseker at D-Nuremberg: GNM. The maker's mark is inconsistent with that of Kynseker, and flat windway is not found on authentic instruments by that maker.

Image here.

Brown (1902)
van der Meer (1976)
von Huene (1977)
Hellwig (1978)
MacMillan (2007: 202; 2008: 79-80)
USA-NY-New York: MMA89.4.912Boekhoutc''soprano4063346ebonyivory beak, upper ferrule & footStamped crown/T. BOEKHOUT/Brabant lion. Block probably new. Playable. See Bouterse (2001).

Nominal and performing pitch from Haynes (2002: 450).

Image here.
USA-NY-New York: MMA1976.51Bradburyf'altoNULL4033520.5NULLboxivory (beak, ferrules, foot)NULLNominal and performance pitch from Haynes (2002).

Image here
USA-NY-New York: MMA89.4.2208Oberlender Ig'alto3873441boxhorn ferruleshttp://www.metmuseum.org/toah/images/h2/h2_89.4.22Stamped I.W.OBERLENDER/O in tilted scroll.

Nominal and performance pitch from Haynes (2002).

Image here
USA-NY-New York: MMA89.4.2646Unknown, ? ScandinavianNULLalto19CNULLNULL445NULLmahogany (head & foot), fruitwood (foot)2 horn rings, horn beak, antler inlaid dotsNULLMade in Scandanavia. 3 unmatched sections. MacMillan doubts the provenance of this instrument stating that no recorder activity is described in that region before ca 1830. However, the recorder has more or less continuous history of use and manufacture in Scandanavia throughout the 19th-century until the present day (e.g. the Norwegian Sjøfløyte), and the description from the collection catalogue makes it sound very much like a folk instrument.

Image here.

MacMillan (2007: 202; 2008: 78)
USA-NY-New York: MMA89.4.2663Mahillonf#'altoNULL5202449NULLplumhornNULLStamped Hieronimus [and] HF, but probably a copy by V.C. Mahillon of one of the seven instruments by Hieronimus Kynseker at D-Nuremberg: GNM. The maker's mark is inconsistent with that of Kynseker, and flat windway is not found on authentic instruments by that maker.

Image here

Brown (1902)
van der Meer (1976)
von Huene (1977)
Hellwig (1978)
MacMillan (2007: 202; 2008: 79-80)
USA-NY-New York: MMA89.4.1511Unknown, ? English or Germanf'alto19CNULL3475NULLboxwood3 horn ferrules & beakNULLMacMillan (2007: 202; 2008: 78)
USA-NY-New York: MMA89.4.909Gahnf'altoNULLNULL6488NULLivoryNULLNULLStamped I.B. GAHN. 6 carved sections (foot not original), some of which screw together; engraved with spiral design of leaves, flowers, fruit & birds.
USA-NY-New York: MMA89.4.908Gahnf'alto18CNULL6NULLNULLivoryNULLNULLGerman-made. 6 sections.

Image here
USA-NY-New York: MMA89.4.910Unknownf'altolate 18C3box (head), stained pine (body & foot)2 ivory ferrules? English- or German-made. Centre & foot not original.
USA-NY-New York: MMA53.56.15Unknownf'alto18C3ebonyivory beak & ferrules
USA-NY-New York: MMA89.4.3133Unknownc#'tenorNULL440NULL565NULLmapleNULLNULLPossibly German-made.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536).

For image see here.

A plan of this instrument can be found in Saunders (2010: 15-16) who notes that there is a crack through to the windway along the length of the beak, and two deep burn marks remain around the circumference of the beak where hot wires have been wound to try and secure the crack.
USA-NY-New York: MMA89.4.2644Mahillonc#'tenor19C5202591NULLplumhornNULLStamped Hieronimus [and] HF, but probably a copy by V.C. Mahillon of one of the seven instruments by Hieronimus Kynseker at D-Nuremberg: GNM. The maker's mark is inconsistent with that of Kynseker, and flat windway is not found on authentic instruments by that maker.

Image here

Brown (1902)
van der Meer (1976)
von Huene (1977)
Hellwig (1978)
MacMillan (2007: 202; 2008: 79-80)
USA-NY-New York: MMA53.56.14Unknownd'voice flutelate 18C4153maple (stained)Stamped with a 5-pointed star; German-made.
USA-NY-New York: MMA89.4.2926Unknownbtenor19C26971stained maplebrass ferrulesbrassRenaissance style with a perforated fontanelle.

Brown (1902)
MacMillan (2007: 202; 2008: 81)
USA-NY-New York: MMA89.4.907Unknownc'tenor18CNULL3699 mm1boxivory ferrulesbrassStamped with a fleur de lys; German-made.

Image here
USA-NY-New York: MMA89.4.2045Unknowngbasset19CNULL29381boxbrass3 brass ferrulesRenaissance-style with a cap & perforated fontanelle. Described in the collection catalogue as a reproduciton obtained via Frederico Vellani, then director of the Museo Liceo Musicale in Bologna.

Image here

Brown (1902)
MacMillan (2007: 202; 2008: 81)
USA-NY-New York: MMA89.4.906Unknownfbasset18CNULL31083 mm1maple1 brass & 22 ivory ferrulesbrassStamped with 3 5-pointed stars; German-made. Windcap & brass bocal.

Image here
USA-NY-New York: MMA89.4.2352Unknowndbass19CNULL215053maplebrassbrass? French made reproduction in renaissance-style with a perforated fontanelle & brass bocal.

Image here

Brown (1902)
MacMIllan (2007: 202; 2008: 82)
USA-NY-New York: MMA89.4.682MahillonDextended contrabass19CNULL326024maple3 brass ferrulesbrassBelgian made after Hans Rauch von Schratt[enbach], possibly by V. Mahillon. Stamped with a trefoil, but inconsistent with that used by Rauch von Schrattenbach. Renaissance-style instrument with a windcap, perforated fontanelle & brass bocal. Described in the collection catalogue as a reproduction acquired via Baron de Vinck de Winnezeale, then director of the Museée d'Antiquities du Steen, Antwerp, now B-Antwerp: Vleeshuis. If the lowest note is D, with all 10 holes closed, then G is produced by the fingering 0 123 4567.

Image here

Brown (1902)
MacMillan (2007: 202)
F-ParisE. 683.4 (C.392)J Schlegelf''sopraninoc17504253274ivoryunmountedStamped 2/SCHLEGEL/A BALE. One of a set of 4 recorders (2 sopraninos, 2 altos). Further details here.

Performance pitch from Haynes (2002: 252).

Baines (80 & fig. 423)
F-ParisE. 683.3 (C.392)J Schlegelf''sopraninoc17504303374ivoryunmountedStamped SCHLEGEL/A BALE. One of a set of 4 recorders (2 sopraninos, 2 altos). Further details here.

Performance pitch from Haynes (2002: 252).

Baines (80 & fig. 423)
F-ParisE. 683.2 (C.392)J Schlegelf'altoc17504253516ivoryunmountedStamped 2/SCHLEGEL/A BALE. One of a set of 4 recorders (2 sopraninos, 2 altos). Further details here.

Nominal and performance pitch from Haynes (2002: 252).

Baines (80 & fig. 423)
F-ParisE. 683.1 (C.392)J Schlegelf'altoc17504273516ivoryStamped SCHLEGEL/A BALE. One of a set of 4 recorders (2 sopraninos, 2 altos). Further details here.

Nominal and performance pitch from Haynes (2002: 252).

Baines (80 & fig. 423)
F-ParisE.986.14.1Naustcsoprano18C405NULLNULLNULLboxNULLNULLHead piece only; 153.6 mm long. Stamped lion? Horse?/NAUST/A PARIS/lion? Horse? (lion or horse on all fours walking to right side). Possibly a flageolet. Further details here.

Image and further details here
F-ParisE.1935Bassanoe'tenor440525ivoryStamped !! (ML-J type unclassified) & thus probably by a member of the Bassano family. Partner to F-Paris 2330. Sounding length 466 mm. Bell flared. Head covered with leather and fleur de lys motifs. Said to play with Ganassi fingerings. Could be an alto in g' at 370Hz.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).
F-ParisE.979.2.8M Hotteterreg'altoearly 18C3953476ivoryStamped HOTTETERRE/anchor. Further details here.

A plan of this instrument prepared by Jean-François Beaudin is avaiable (Pottier 1992: 44).

Nominal and performing pitch from Haynes (2002), who suggests this instrument may be by Martin Hotteterre.
F-ParisE.1515 (C.1387)Rippertf'alto18C4563457boxivory beak, foot & ferrulesHead & body stamped shield/RIPPERT/dolphin; foot stamped RIPPERT/dolphin/shield. Ex Collection Eugène de Bricqueville. Further details here.

Nominal and performing pitch from Haynes (2002).

A plan of this instrument prepared by Jean-Fançois Beaudin is available (Pottier, 1992: 46).
F-ParisE.98 (C.390)Oberlender If'alto18C3498ivoryBeak carved as a fish-head; remainder of head & foot carved with acanthus leaves. Collection Chouquet; Collection Soulage; Collection Louis Clapisson.

Described by Pottier (1992: 43) as being Anonymous French with the beak carved in the form of a human head, but described in the on-line catalogue to the Cité de la Musique collection as being by Oberlender I.

Further details here.
F-ParisE.283 (C394 )Bressanf'alto18C4023527NULLwood, covered in tortoiseshellivory beak, ferrules & footNULLStamped Pul/BRESSAN. Ex Collection Louis Clapisson. Image and further details here.

Nominal and performance pitch from Haynes (2002).
F-ParisE.980.2.83Carandetf'altolate 18C4053510stained boxivory beak, 2 ferrules & footEx Collection Geneviève Thibault de Chambure. Further details here.

Cited by Pottier (1992: 44).
F-ParisE. 284 (C. 393)Heitzf'alto18C3528boxivory beak, foot & ferrulesStamped crown/I.HEYTZ/5-petaled flower. Finished in polished tortoise shell (cracked). Ex Collection Louis Clapisson. Further details here.
F-ParisE. 195 (C.399)J Denner, Rykelf'altoc17004153495box; stained brownHead stamped C.RYKEL (in scroll)/device; body & foot stamped I.DENNER. Ex Collection Louis Clapisson. Further details here and Bouterse (2001).
F-ParisE.980.2.82Stanesby Jrf'alto18C4063505NULLbox (ebonised)NULLNULLStamped STANESBY/dolphin. Formerly attributed to Stanesby Jr, and still is by F-Paris. Ex Collection Geneviève Thibault de Chambure. Further details here.

Image here.

Nominal and performance pitch from Haynes (2002)
F-ParisE.590 (C.402)M Hotteterrec'tenor18C40136811mapleivory beak, 2 ivory ferrules, ivory foot ringbrassStamped on each section HOTTETERRE/anchor. Ex Collection Julien Fau. Further details here.

Nominal and performing pitch from Haynes (2002), who suggests this instrument may be by Martin Hotteterre. Note that Haynes cites the accession number as 509, in error.
F-ParisE.980.2.86Stanesby Jrc'tenor18C4074NULLNULLboxNULLNULLDouble holes for finger 7 (equal sized). Flute-style ornamentation around joints copied by Stanesby's apprentices, Cahusac (Library of Congress, Washington) & Goulding (V&A, London). Ex Collection Geneviève Thibault de Chambure.

Nominal and performance pitch from Haynes (2002).

Philippe Bolton reports: The double holes on this recorder are bored in such a way that they converge into one single hole. This seems to combine the advantages of both single and double holes. The single hole on the inside probably favours the airstream when one or both small holes are open. Experiments on copies of this recorder give loud and stable low c#', d', d#' and e'.

The original is a fantastic recorder with an amazing sound. It may well be the instrument Stanesby described as being the 'True Concert Flute', capable of playing with the traverso and the oboe, and also able to play their music.

Image and further details here
F-ParisE.589 (C.413)M Hotteterrefbasset18C399310401maple or fruitwood, ebonised3 ivory ferrulesbrassAll 3 parts stamped HOTTETERRE/anchor. Brass bocal entering at the side of the windcap (not original). Foot bulbous, side-opening. Ex Collection Julien Fau. Further details here.

Nominal and performing pitch from Haynes (2002), who suggests this instrument may be by Martin Hotteterre.

Pottier (1992: 45) suggests this instrument is by Nicolas le hotteterre (m. ?1694).

Baines (1966: 81 & fig. 430).
F-ParisE.691Schrattenbacha#+basset (columnar)44017164maplebrassbrassStamped with a double trefoil. Has three additional keys & fingerholes on the back-bore, in the manner of a bassoon). Brass bocal enters via an ornamental medallion on back.Corresponding alto instrument at Brussels.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Baines (1966: 81 & fig. 428-429); Brown (2005b: 534).

Postel (1974) considers the Saeulenblockfloete Frankfurt 4260. He cites the well-known passage about the Oosters Huys by Burney (p. 146) and comes to the conclusion that that instrument and those in Paris were the instruments from Antwerp mentioned by Burney (p. 150).
F-ParisE.127Schrattenbachd#+bass (columnar)44010064maplebrassbrassStamped with a double trefoil & thus probably by a member of the Schrattenbach family. A columnar recorder with extension (three additional keys & fingerholes & a back-bore, in the manner of a bassoon). Corresponding alto instrument at Brussels.

Postel (1974) considers the Saeulenblockfloete Frankfurt 4260. He cites the well-known passage about the Oosters Huys by Burney (p. 146) and comes to the conclusion that that instrument and those in Paris were the instruments from Antwerp mentioned by Burney (p. 150).

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Baines (1966: 81 & fig. 425-427; Brown (2005b: 534).
F-ParisE.2139Kynsekerf#basset163044029301boxbrass ferrules on windcap & fontanellebrassHead stamped HF/1630. Wave-profile head. Foot turned on eccentric lathe and carved in the form of tree roots with indentations, rows of concentric scallops, etc, Key with fontanelle. Sounding length 852 mm. Ex Collection Paul Cesbron.

Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a performance pitch of A=430 Hz.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).
J-Tokyo: MusashinoA723Boekhoutsopranino4193box, stained brownivory ringsStamped crown/T. BOEKHOUT (indecipherable). One of 2 identical instruments.The pitch of both is rather high, about 50 cents above 415 Hz. See Bouterse (2001).

Performance pitch from Haynes (2002: 451) who does not give the nominal pitch.
J-Tokyo: MusashinoA724Boekhoutsopranino4193box, stained brownivory ringsStamped crown/T. BOEKHOUT (indecipherable). One of 2 identical instruments. The pitch of both is rather high, about 50 cents above 415 Hz. See Bouterse (2001).

Performance pitch from Haynes (2002: 451) who does not give the nominal pitch.
DK-Copenhagen: Rosenborg1.75Unknownc#''+soprano4401narwahl ivoryOne of the 2 so-called 'Rosenborg' recorders. Sounding length 265.5 mm. Plays with van Eyck/Jambe de Fer fingerings, according to Adrian Brown. Said to play with Matthysz fingerings by Eva Legêne (1995).

Lowest note and performance pitch from Brown (2005b).

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

Haynes (2002) gives a nominal pitch of c'' at the performance pitch of A=488 Hz for one of the Rosenborg instruments, but doesn't say which one!
DK-Copenhagen: Rosenborg1.74Unknownc#''+soprano4401narwhal ivoryOne of the 2 so-called 'Rosenborg' recorders. Sounding length 270 mm. Plays with van Eyck/Jambe de Fer fingerings, according to Adrian Brown. Said to play with Matthysz fingerings by Eva Legêne (1995).

Lowest note and performance pitch from Brown (2005b).

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536).

Haynes (2002) gives a nominal pitch of c'' at the performance pitch of A=488 Hz for one of the Rosenborg instruments, but doesn't say which one!
GB-London: RCM96Oberlender If'alto18C3501box, stained brownBody stamped I.W. OBERLENDER/O (on cartouche). Head & foot elaborately carved, the beak with a moustached face, the remainder with scales & foliage.

Image here.
GB-London: RCM67Villarsf'alto18C38735181ivoryTouch decorated with mother of pearlHead & body stamped fleur de lys/VILLARS. Slim design. Head carved with a narrow band of beads above the window; body & bell with wider bands of formal design.

Nominal and performance pitch from Haynes (2002).

Image here.
GB-London: RCM88Unknown, ? Hotteterretenorlate 19C37101wood, stained dark brown2 ivory mounts & bell rimbrassStamped with a mark suggestive of a 5-pointed star.

Loretto (1973) suggested this instrument may have been made by Hoteterre, but Hunt (1974) felt that the evidence for this was unconvincing. Museum staff consider this recorder to be of 19th century origin.

MacMillan (1983: 491; 2007: 202; 2008: 95-96).
S-StockholmF173Bressanf'alto3508ebonyivory beak, ferrules & footAll 3 sections stamped Pul/BRESSAN/rose.

Image here.
GB-London: V&A7469-1861Anciutif'alto17404403475NULLivoryNULLNULLHead stamped: [lion of Venice] | ANCIVTI | A MILAN |1740
Body octagonal. Beak + 2 sockets with lightly carved foliage in low relief and rings of pellets. The base of the head has been slightly shortened. Sounding length 420 mm.
Now at GB-London: Horniman.
Nominal and performance pitch from Haynes (2002: 252).
Images & further details here; Baines (1998: 86 & pl.)
Photographs and measurements: de Avena Braga (2015: 279-282, figs. 25-33).
F-ParisE.681Unknownf'alto18C3443ivoryBody cylindrical; head & foot heavily carved with musical instruments, including a recorder not unlike the one it ornaments. Bought in the sale of Rossini's belongings.

Thibault et al. (1973: 122 & pl. 74)

Further details here.
GB-London: V&AUnknownaltoivoryEnglish; dark rings on head & foot.
GB-London: V&A1124-1869Unknown (Naples)f'alto1730-1750NULL3512NULLfruitwoodivory beak, ferules & footNULLCovered in turtle shell & gold-piqué, silver & with mother-of-pearl inlay.
Before the museum acquired this intrument, it formed part of a decorative trophy of old wind instruments that hung on a wall of the Paris apartment of Gioacchino Antonio Rossini (1782-1868), the great Italian composer of light opera. Leighton (1870); Hunt (1977: 94); Smith (2014). Photo: Thomson (1968).
Image & further deails here.
Photographs, measurements and technical drawings (by Fumitaka Saito): de Avena Braga (2015: 352-355, figs 144-151).
GB-London: V&A287-1882Schuchartf'altoc. 17303486boxivoryStamped Iul/SCHUCHART. The main joint has been cut down by about 14 mm, evidently with the intention of sharpening the instrument by about a semitone.

Images & further details here.
GB-London: V&A285-1882GouldingNULLtenorc. 1786-1834NULL3660NULLstained boxwoodNULLNULLStamped GOULDING & CO.
The foot-joint is in the style of a transverse flute, first seen on recorders by Thomas Stanesby, jr (1692-1745). The bulbous (beehive-shaped) shaped windcap forms a sponge chamber with a centrally placed embouchure. A hole has been crudely pierced in the cap, the purpose of which appears to permit the attachment of a thin membrane to produce a buzzing sound when the instrument is played, mimicking the sound of a mirliton. No longer in playing condition.

Engel (1874: 122)
Chappell (1855-1859)
Welch (1911: 103-127)
MacMillian (2007: 199; 2008: 40-43)

Image & further details here.
GB-London: V&AV&A 293-1882Bressanfbasset310801stained fruitwoodivorybrassStamped Pul/BRESSAN/rose. Brass bocal enters top of cap. Foot with lateral vent hole & socket for crutch. Halfpenny (1955) gives a detailed description, with measurements.

Images & further details here.
I-Bologna: Accad. Fil.UnknownCsubcontrabass2800Formerly I-Verona: Biblioteca Capitolare, but returned to the Academia Filarmonica in 1969. However, the latter say that they do not have the instrument. However, Simone Zaniol saw it in the Biblioteca Capitolare in the 1980s so it cannot have been returned to the Accademia by then. It would appear that this unique instrument has either been lost or stolen (Francis Firth, pers. comm., 2003).
B-Antwerp: Vleeshuis134 (VH2111)SchrattenbachF#+extended contrabass16C44026204maplebrassbrassStamped with a trefoil. Bocal enters at side; all metal parts, fontanelle & head joint cap are replacements. Sounding length is 2433 mm. An extended recorder (lowest note is C#, with all 10 holes closed; F# is produced by the fingering 0 123 4567). One of the keys is at the back.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).

Baines (1966: 80 & fig. 414)
B-Antwerp: Vleeshuis136Bressanfbasset310901woodStamped Pul/Bressan/rose. Bocal enters top of windcap. No crutch.
USA-SD-Vermillion: National Music Museum4202Hakac''sopranoc16804172344ebonyivory beak & ferrulesStamped on both joints R·HAKA (in scroll)/fleur-de-lys. Original, fitted, tooled (brown & gilt) leather-covered case. Playable, a little higher than A415. the block may not be original. See Bouterse (2001).

Nominal and performing pitch from Haynes (2002: 450).
USA-SD-Vermillion: National Music Museum4826?Schellbb'fourth flute (soprano in Bb)c. 17304023349boxivoryStamped Master S on all 3 joints. Ex. Archibald Nettlefold, Collection, Kent, England; ex Philip Bate Collection, London; ex Higbee-Abbott-Zylstra Collection (1989).

Maker, nominal and performance pitch from Haynes (2002).
USA-SD-Vermillion: National Music Museum4825Hallettc''soprano<17603963368boxStamped on all three joints, 4/HALLET. Ex Fritz Spiegl Collection, Liverpool, England; ex Higbee-Abbott-Zylstra Collection, 1989; possibly the instrument referred to by Anonymous (1957) found in the Warwickshire village of Chadshunt, once belonging to the church band there.

Nominal and performance pitch from Haynes (2002).
USA-SD-Vermillion: National Music Museum3978Aardenbergf'alto4153550box (stained)All 3 sections stamped AARDENBERG (in scroll)/fleur de lys/2 fleurs de lys & an animal above (possibly the profile of a bird standing upright). USA-SD-Vermillion: Shrine give length as 504, which probably represents sounding length.

Nominal and performance pitch from Haynes (2002: 451).
USA-SD-Vermillion: National Music Museum4142Gahnf'alto<17114203500boxStamped at the top of the body I. B. GAHN in a scroll with monogram below, all of it now nearly illegible. Head carved in the shape of an anthropomorphic fish; foot carved with leaf patterns.

Nominal and performance pitch from Haynes (2002: 448).
USA-SD-Vermillion: National Music Museum4504Heerdef'altoc. 16704401465NULLivoryNULLNULLStamped just below the window, I.V.H. in a scroll, & thus possibly by Jan van Heerde. Duplicate hole for the bottom hand little finger is plugged. The lowest note sharp by c. 75 cents. Plays with baroque fingering.

Early baroque style instrument. Head separated from body by an incised ring. Foot decorated with incised rings and beading. Sounding length 413.6 mm. See Bouterse (2001, 2015).

Nominal and performance pitch from Haynes (2002: 451) and Brown (2005b: 535).

Image here (from USA-SD-Vermillion: Shrine).
USA-SD-Vermillion: National Music Museum4564Troupalto3boxStamped on head & body W.G. TROUP; foot missing. Ex Arne B. Larson Estate (1988).
USA-SD-Vermillion: National Music Museum4879J-H or J-H-J Rottenburghtenorc170040336751box (stained)ivorybrassStamped on all three joints, I.H./ROTTENBURGH above a star. Ex. coll. Laurent Kaltenbach, Paris.

Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh.
USA-SD-Vermillion: National Music Museum4827Bressand'voice flute<17304013609.5box (stained dark brown)All three joints stamped PUI/BRESSAN/cinquefoil rose. Thumbhole is to the right of the centre, which suggests that the instrument was made for a left-handed player. Ex. coll. Fritz Spiegl, Liverpool, England; ex Higbee-Abbott-Zylstra Collection (1989).

Nominal and performance pitch from Haynes (2002).
USA-SD-Vermillion: National Music Museum3606Rozmberkf#bassetc155044019181boxbrassbrassOne of a set of instruments built for use by the Rožmberk Court Band at Rožmberk Castle in Ceský Krumlov, Bohemia, an ensemble established in 1552 and enlarged during the years up to 1599, when a surviving inventory of the Hofkapelle was taken. At that time, most instruments played in Bohemia came from German and Italian makers. Sounding length 827 mm.

This instrument has been attributed to Azarius or Hans Schnitzer, Munich or Nüremberg. However, it is stamped with ÄÄ (quite different to the mark on Schnitzer instruments). Key with swallowtail touchpiece & a flat, round cover with a sewn-on pad, a heavy brass spring attached to the wood, covered with a perforated fontanelle.

Haynes (2002: 252) gives the nominal performance pitch of this instrument as f at the performance pitch of A=466 Hz.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).

For images, see here.
GB-WarwickM14Bressan, Stanesby Srfalto3498.2boxCentre and foot joints tamed T/STANESBY/8 pointed star

Head by Bressan; body & foot by Stanesby Sr (G. Cook (pers. comm.) - Stanesby Jr according to Young (1993: 37, 221); ex Halfpenny; ex Galpin.

For a black & white photo see Recorder Magazine 24(1): 32 (2004).

Colour photo, sound clip and other details here.
GB-WarwickM15Stanesby SraltoboxMeasurements by Mary Kirkpatrick & by Tim Cranmore (G. Cook, pers. comm.). Probably the instrument Young (1993) refers to as by Stanesby Sr.

For a black & white photo see Recorder Magazine 24(1): 32 (2004).

Colour photo, sound clip and other details here.
GB-WarwickM16Stanesby Srfbasset4053897.51maplebrass ferrule on windcap; brass bocalbrassBocal enters top of windcap.

For a black & white photo see Recorder Magazine 24(1): 32 (2004).

Colour photo here.
Nominal and performance pitch from Haynes (2002).
GB-Bury St. Edmonds: Moyse's HallBressand'voice flute3963boxSlight damage to one side of the windway roof exit; original block; plays well (Gary Cook pers. comm.)

Nominal and performance pitch from Haynes (2002).
CH-Zurich: Mus. Bellerive1963-60-128Boekhoutf'alto3993518box, stained light brownStamped T.BOEKHOUT. Warped but playable. See Bouterse (2001).

Nominal and performance pitch from Haynes (2002: 450).

Image here (from Heinz Amman).
D-Munich: Deutsches Mus.10226Boekhoutfbasset310151box, stainedbrassbrassStamped crown/BOEKHOVT. Bocal (not original) enters into side of windcap; no crutch. See Bouterse (2001).
D-Munich: Deutsches Mus.818Eisenmengerf'alto3492boxUnfinished (no finger holes).
D-Munich: Deutsches Mus.819Unknownf'alto3492boxUnfinished (no finger holes).
J-Tokyo: Toho GakuenBradbury?f'alto4093503boxAll 3 sections stamped 90/BRADBURY/crown.

Nominal and performance pitch from Haynes (2002).
J-Tokyo: Toho SchoolUnknownalto3501fruitwoodivory
D-QuedlinburgNULLUnknowna'alto17C4401NULLNULLNULLNULLNULLStamped 'S'; made in Nuremberg; one of a set of 5 recorders.

Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives a performance pitch for this instrument of A=489 Hz, though he does not give the nominal pitch.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536); Herrmann (2003).

Image here
D-QuedlinburgNULLUnknowna'alto17c4401NULLNULLNULLNULLNULLStamped 'S'; made in Nuremberg; one of a set of 5 recorders. See Kirnbauer (1995). Sounding length 343 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorder Database; Brown (2005b: 536); Herrmann (2003).

Image here
D-QuedlinburgNULL? Schelle'tenorNULL4401NULLNULLNULLNULLNULLStamped 'S'; made in Nuremberg; one of a set of 5 recorders. See Kirnbauer (1995). Sounding length 463 mm.

Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of d' at a performance pitch of A=489 Hz.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

Image here
D-QuedlinburgNULL? Schelle'tenorNULL4401NULLNULLNULLNULLNULLMarked 'S'; made in Nuremberg; one of a set of 5 recorders. Souinding length 464 mm.

Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives this instrument a nominal pitch of d' at a performance pitch of A=489 Hz.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536); Herrmann (2003).

Image here
D-QuedlinburgNULL? SchellabassetNULL4402NULL1NULLNULLNULLStamped 'S'; made in Nuremberg; one of a set of 5 recorders; key covered by a fontanelle. See Kirnbauer (1995). Sounding length 701 mm.

Lowest note and performance pitch from Brown (2005b). Haynes (2002) gives the performance pitch of this instrument as A=489 Hz, but does not give the nominal pitch.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535); Herrmann (2003).

Image here
D-Leipzig1112Hartmann or M Herbst or J Herbst or Heuschkelg#''sopranino1600-16264401224NULLivoryNULLNULLStamped H. Sounding length 193 mm. Finely turned with a dramatic wave profile head and foot.
Attributed by Heyde (1978) to Sebastian Hartmann, but thought by Kirnbauer (1995) to be of Nuremberg origin, possibly by one of the Herbsts or Christoph Heuschkel.
Lowest note and performance pitch from Brown (2005b: 535) who designates this instrument a garklein flutlein. Haynes (2002) gives a nominal pitch of g'' at a performance pitch of A=461 Hz for this instrument and designates it a soprano recorder.
Legêne (1995) notes that this instrument is pitched in c''.
For critical measurements and other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).
Herbert Heyde: Flöten. Musikinstrumenten-Museum der Karl-Marx-Universität Leipzig. Katalog, Bd. 1, Leipzig 1978, S. 33.Georg Kinsky: Musikhistorisches Museum von Wilhelm Heyer in Cöln, Bd. 3: Blas- und Schlaginstrumente [unveröffentlichtes Manuskript, ca. 1912], S. 12.

Image & further information here.
D-Leipzig1130BressanNULLaltoNULLNULL3515NULLbox sheathed with tortoise-shellivory ferules & footNULLOnly the foot joint survives (5.15 cm), the rest of the instrument is lost.
Stamped Pui B[R]ES[S]AN.
See Herbert Heyde: Flöten. Musikinstrumenten-Museum der Karl-Marx-Universität Leipzig. Katalog, Bd. 1, Leipzig 1978, S. 44.Georg Kinsky: Musikhistorisches Museum von Wilhelm Heyer in Cöln, Bd. 3: Blas- und Schlaginstrumente [unveröffentlichtes Manuskript, ca. 1912], S. 18.
Image & further information here.
NL-Amsterdam: RijksmuseumBK-NM-11430-91Bressanc'tenor4156801boxivorybrassOn loan from 1952-2010 to NL-Hague as Ea 28-X-1952.

Stamped Pul/BRESSAN/rose. Playable, labium damaged.

Nominal and performance pitch from Bouterse (2004: 24). Haynes (2002) gives a performance pitch for this instrument of A=404 Hz.

Image & details here.
D-BerlinHotteterref392Size not given by Beaudin (1998).
S-StockholmM165Eichentopfc'tenor1698-17694103665box, dark-stainedivoryStamped (vase with oak-leaves & acorns) H. EICHENTOPF/*. Key in ring.
Nominal and performance pitch from Haynes (2002: 499).
Image & further information here.
USA-Greenville: Sigal Music Museum1997.13Eichentopff'altoc.1725NULL3485NULLboxwoodNULLNULLMaker's mark: (flowerpot with acorns) / I H EICHENTOPF/ (star) on head, body and foot.
Sold for £12,650, 17/12/1997.
Early Music 26(3): 423 - col., 428 - b&w (1998); Rice (2015: 75 & pl.; 2021).
NL-Amsterdam: BrüggenXIBressanf'alto?3993510boxivory beak, head joint, ferrule & foot ringAll 3 sections stamped Pul/BRESSAN/rose. Ex E. Salaman, UK.

Nominal and performance pitch from Haynes (2002). However, it is not clear which of the two Bressan altos in this collection is referred to.

A video recording of Frans Brüggen playing one of his Bressan altos is available here.
NL-Amsterdam: BrüggenXIIGahng'alto4316438ivoryStamped I.B. GAHN. Highly carved with a fish-face beak & acanthus leaves elsewhere on the head & foot. Pieces of different diameters screwed together.

Nominal and performance pitch from Haynes (2002: 449).
NL-Amsterdam: BrüggenIVBressand'voice fluteNULL4173613NULLboxivory beak, joints & foot ringNULLAll 3 sections stamped Pul/BRESSAN/rose. Purchased from Wesley Oler.

Nominal and performance pitch from Haynes (2002).
NL-Amsterdam: BrüggenVBressand'voice fluteNULL4053612NULLmapleivory beak, joints & foot ringNULLAll 3 sections stamped Pul/BRESSAN/rose. Purchased from Wesley Oler.

Nominal and performance pitch from Haynes (2002).
NL-Amsterdam: BrüggenVIJC Dennerd'voice fluteNULL4183576.5NULLplumunmountedNULLHead-joint stamped I.C. DENNER/D/I. Morgan gives length as 612 mm. Haynes (2002: 448) attributes this instrument to J.D. Denner.

Nominal and performance pitch from Haynes (loc. cit)
xA-Salzburg: Mus. Car.-Aug.J Dennertenor650plumStolen.
NL-Amsterdam: BrüggenIIIDupuisc'tenor3933664boxivory beak, joints & foot ringStamped DVPVIS (in cartouche) surrounded by 4 fleurs-de-lys. Ebony studs placed irregularly around ivory mounts.

Nominal and performing pitch from Haynes (2002).

Saunders (2010:10) reports that this instsrument has a very out of tune low c' and that Frans Brüggen thinks that at least part of the foot has been replaced. The instrument hardly sounds.

A detailed plan of this instrument was prepared by Morgan (1981).
CH-Basel: Hist. Mus.1956.630.0Johann Carl DennerNULLsopraninoNULL4202299.5NULLivoryNULLNULLStamped D below the window, & attributed to Johann Christoph Denner. However, Kirnbauer (1992) has argued that this mark is more likely to have belonged to Johann Carl, a brother of JC Denner.

Performance pitch from Haynes (2002) who does not give the nominal pitch.
J-Hamamatsu: MuseumA-0127RJD Dennerf'altoNULL4353475.2NULLplumNULLNULLHead stamped I.C.DENNER/D/I. Ex USA-NY-Scarsdale: Rosenbaum. br>Soft but attractive sound with a fully resonating instrument. Playable even with the badly damaged labium. Two large cracks on both sides of the foot joint. Fine tuned with support fingering. d#''=0 1-3 4-6- is extremely low, Loulié’s alternative, 0 1-3 4/6- works well.

Maker, nominal and performance pitch from Haynes (2002: 449), but (Nozaki (2016) gives the instrument's pitch as 445 Hz or 396 Hz as an alto in g', and gives the maker as J.Ch. Denner.
S-StockholmM1005JC Dennertenor1670-17073650plumivory ferrulesHead & foot stamped I.C. DENNER/D/I.
Images & further information here.
D-Sigmaringen: Schloss304J Denner, Rykel, Hakag'alto4153498box, stainedBody stamped C.RYKEL/fleur-de-lys; head stamped I·DENNER/I/tree; foot double-stamped RYKEL (in scroll)/R·HAKA (in scroll)/fleur-de-lys. Playable, but not easily, at slightly under A415. See Bouterse (2001).
USA-MD-Silver Spring: BurchukCollierboxHead only, 123 mm long; windway curved. Stamped T. COLLIER/Brabant lion, which Maurice Byrne suggests may indicate that instruments so marked were made for Collier by another maker -- see Galpin Society Journal 17: 96.
D-Celle: MoeckCahusacg'alto (second-flute)4483455boxHowever, this instrument is marked with a 2, indicating that it is a second-flute, ie recorder in g' (Nik Tarasov, pers comm. 2004). Haynes (2002) gives the nominal pitch of this instrument as f' and its performance pitch as A=423 Hz).
Private Collection.Cahusacalto3450fruitwoodAttributed to Cahusac. Formerly USA-PA-Philadelphia: Oster.
GB-Leamington Spa: ByrneBressanalto3504fruitwoodivory
CS-Prague: Natl. Mus.1369EBressanf'alto400boxivoryMaker, nominal and performance pitch from Haynes (2002).
GB-London: GreeneUnknownalto3505fruitwoodivory
NL-Amsterdam: BrüggenXBressanf'alto?3993510boxivory beak head joint, ferrule & foot ringAll 3 sections stamped Pul/BRESSAN/rose. Ex Collection Fritz Spiegel, Liverpool.

Nominal and performance pitch from Haynes (2002). However, it is not clear which of the two Bressan altos in this collection is referred to.

A video recording of Frans Brüggen playing one of his Bressan altos is available here.
GB-London: UridgeBressanaltoivory
xD-Leipzig1130Bressanf'alto3515boxivory
UnknownBressanaltoivoryStamped Pul/Bressan/rose. Sale reported Early Music 10/79.
USA: anonymousBressanalto505boxivoryStamped Pul/BRESSAN/rose.
J-Tokyo: IinoBressanf'alto400508stainedStamped Pul/BRESSAN/rose. One of a matched pair in original box.

Waterhouse (1993) describes the case in detail with photographs.

Nominal and performance pitch from Haynes (2002).
GB-Chester: Grosvenor Mus.507.L.1925bBressan?f'alto4103572boxivoryDouble holes for fingers 6 & 7. Revoiced and retuned by Carl Dolmetsch. The instrument seems to have been only partially completed by Bressan himself.

Nominal and performance pitch from Haynes (2002).

This instrument can be heard on the following LP: The Chester Recorders, Plant Life PLR 019 (1979).
GB-Oxford: BateBressand'voice flute4103608boxivoryNominal and performance pitch from Haynes (2002).
J-Tokyo: IinoBressand'voice flute4053605fruitwoodivoryCollection, nominal and performance pitch from Haynes (2002).
USA: anonymousBressand'voice flute4083608boxivoryStamped Pul/BRESSAN/rose.
I-Bologna: Museo1825Bressand'voice fluteNULL4083NULLNULLboxNULLNULLNominal and performance pitch from Tarasov 2004–4, 16–17. Haynes (2002) gives performance pitch of 400 Hz.

Tarasov futher comments: "The probably swollen block sits too high, the channel is far too low, so that the flute is not freely playable already at low breath pressure; in the higher register it buzzes uncomfortably, is unresponsive and, in a nutshell, is entirely clogged."

Sound clip here (Tarasov (2004).

Image & further details here.
I-Bologna: Museo1834Bressand'voice flute1725412360.4NULLbox, stained blackivory ferules & footNULLStamped Pul/BRESSAN/rose.

Nominal and performance pitch from Tarasov (2004–4), 16–17. Haynes (2002) gives pitch as 400 Hz.

Tarasov further comments that this instruments plays over two octaves plus a minor third, including the f#'''.

Sound clip here (Tarasov 2004).

Image & further details here.
D-Brunswick80 (Ck 107)Bressanc'tenor40536801boxivorysilverKey in ring.

Nominal and performance pitch from Haynes (2002).
GB-London: OldhamBressan, Huenec'tenor36971boxHead & body stamped Pul/BRESSAN/rose; foot a replacement by von Huene.
J-Private Collection; formerly GB-London: AveryBressantenor36861stained fruitwoodivory beak, ferrules and foot ringsilverPurchased in a Chichester Antique Market during the 1960s for £5 10s; sold by Sotheby's, 12 November 1986, Lot 202, for £22,000 to a Japanese collector.

Stamped P.I.Bressan / Tudor rose. Key for c/c#.

Played for a live recording for a BBC 1 programme in 1986, by Graham Wells the expert of Sotheby's.

Exhibited in the Galpin Society 40th Anniversary Exhibition, August 1986. See catalogue Made for Music No. 48.
I-Milan: Castello Sforzesco316Attributed to Bressanc'tenor41236751ivoryUnstamped. Key missing.

Nominal and performance pitch from Haynes (2002).
DK-Copenhagen: Musikhist. Mus.E.129Bressanc'tenor36981stained boxivorybrassStamped Pul/BRESSAN/rose. The key is a replacement.

A detailed plan is given by Saunders (2010: 12).
USA: anonymousBressanc'tenor36751sycamoreivorysilver
GB-Norwich: Strangers Hall Mus.NWHCM : 1942.94 : SBressanfbassetc. 1720405310921boxivorysilverMeasurements in Halfpenny (1955). Foot without crutch.

Nominal and performance pitch from Haynes (2002).
CS-Prague: Natl. Mus.370EBressanfbasset31woodivoryStamped Pl/BRESSAN/rose. Bocal enters at top of windcap. Foot with crutch.
J-Tokyo: IinoBressanfbasset310791pearivorysilverStamped Pul/BRESSAN/rose. Foot with missing crutch. Ex Boydell.
UnknownBressanaltoCut down to raise its pitch. Sale reported Early Music 10(2): 233 (1982).
UnknownBressanaltoboxPhoto Early Music 10(3): 368 (1982).
UnknownBressanbasset10793stained fruitwoodivory windcap, ferrules & crutchbrassStamped P.I. Bressan / Tudor Rose. Brass bocal (? not original); foot with side-vent and crutch. Photo Early Music 15(1): 78 (1987). Sold at Sotheby's, 12 November 1986, Lot 206, for £31,900. Discovered in St. Johns, Newfoundland, Canada, early 20th century; illustrated and described by Barra Boydell, Galpin Society Journal XXXII (May 1979). Exhibited Galpin Society 40th Anniversary, August 1986.
UnknownBressanvoice fluteLabium repaired. Offered for sale at Sotheby's, April 1987; reported Early Music 15(4): 529 (1987).
UnknownBressanvoice fluteLabium repaired; foot ferrule replaced. Offered for sale at Sothby's, November 1988; reported Early Music 18(2): 231 (1989).
E-?: WailesBradburyalto3440.5pearStamped BRADBURY/crown.
GB-Shipston-on-Stour: BennetBradburyalto3
J-Tokyo: IinoBorkensc''soprano41533501box; stained brownStamped crown/P BORKENS/Brabant lion. Very playable, slightly lower than A415. See Bouterse (2001).
D-Celle: MoeckBoekhoutf'alto3993508box (light brown)Stamped BOEKHOUT. Thumbhole bushed. Block not original. See Bouterse (2001).

Nominal and performing pitch from Haynes (2002: 450).
GB-London: OldhamBoekhoutf'alto4103box, stained brownStamped crown/T.BOEKHOUT. Lower tenon of middle joint not original. Foot not original, recently made.
Nominal and performing pitch from Haynes (2002: 450).
USA-MA-Boston: private coll.Beukers, BoekhoutaltoboxHead & body by Beukers; foot by Boekhout. Ex Ferguson.
GB-London: BinghamBoekhoutfbasset41039651maplebrassStamped crown/T. BOEKHOUT/Brabant lion. Bocal enters at side of windcap; foot without crutch. This may be identical to the instrument referred to by Bouterse (2001).

Nominal and performance pitch from Haynes (2002: 451).
NL-Blaricum: FergusonBeukersbasset
UnknownBoekhoutbasset1000ex Snoeck 822.
USA: anonymousBoekhoutfbasset310452maple; stained dark brownbrassbrassStamped crown/T. BOEKHOUT/Brabant lion. Bocal (missing) enters top of windcap. Foot with missing crutch. Second key is for fingerhole 3. Playable. See Bouterse (2001).
GB-London: BinghamBoekhoutfbasset310061maplebrassbrassStamped crown/T. BOEKHOUT. Bocal (original but repaired) enters side of windcap (probably original but in a different wood). Block is new. Foot without crutch. Playable. Formerly in the collection of Baron Van Zuylen. See Bouterse (2002).
F-Angers: École de Musique002.119.1 Bizeybassetp. 171651boxwoodivorybrassEach piece marked Fleur de lis / Bizey / 4 points underscore
NL-Utrecht: private coll.Beukersd'voice fluteNULL4303NULLNULLbox, stained brownNULLNULLNominal and performance pitch from Haynes (2002: 451). This instrument was stolen some years ago.
D-Halle: HandelhausMS-327Bauer/Bauermannfbassetc1690boxStamped acorn spray/monogram. Head a later replacement.
UnknownAnciutif'alto1729NULLNULLNULLNULLNULLNULLNULLSold by GB-Bradford: Early Music Shop in 1978. This could be the instrument now in the Moeck Collection.
de Avena Braga (2015: 43).
D-Celle: MoeckAnciutif'alto17294223484NULLboxNULLNULLHead stamped: [lion of Venice] | ANCIVTI | A MILANO | 1729; body stamped: ANCIVTI | A MILAN | I; foot stamped: ANCIVTI | III
This couldbe the instrument sold in 1978 by the Early Music Shop
Nominal and performance pitch from Haynes (2002: 452).
Photographs, measurements, technical drawings: de Avena Braga (2015: 43, 274-277, figs 18-23).
NL-Geldrop: private coll.Aardenbergd''soprano (sixth flute)4012boxNominal and performance pitch from Haynes (2002: 450).
D-Celle: MoeckAardenbergf'alto4083502boxAll 3 sections stamped deer/AARDENBERG (in scroll)/fleur de lys. Ex de Vries.

Nominal and performance pitch from Haynes (2002: 451).
NL-Zwolle: Klemisch8001Aardenbergf'alto4153500boxivory (ferrules)All 3 sections stamped deer/AARDENBERG (in scroll)/fleur de lys. Beak shortened.

Nominal and performance pitch from Haynes (2002: 451).
NL-Nieuwegein: HavelaaxAardenbergf'alto4073boxFoot not original.

Nominal and performance pitch from Haynes (2002: 451).
CH-Zurich: BurgerGahnd''soprano4403307ivoryivoryHead and foot joints highly carved.

Images here and there (from Heinz Amman).
UnknownGahnsopranoivoryex MacGillivray.
D-Leipzig1126Gahnf'alto1698-17114106502ivoryStamped I.B. Gahn/IBG (in script). Pieces of different diameter screwed together. ex col. Paul de Witt 446. Made between 1698 and 1711.

Nominal and performance pitch from Haynes (2002: 447).

Herbert Heyde: Flöten. Musikinstrumenten-Museum der Karl-Marx-Universität Leipzig. Katalog, Bd. 1, Leipzig 1978, S. 42-43.Georg Kinsky: Musikhistorisches Museum von Wilhelm Heyer in Cöln, Bd. 3: Blas- und Schlaginstrumente [unveröffentlichtes Manuskript, ca. 1912], S. 16.

Images & further infromation here & there.
DK-Copenhagen: Musikhist. Mus.E.95Gahnf'alto3501ivoryStamped I.B. GAHN/IBG (in script). Highly carved.
GB-London: OldhamGahnf'alto4507ivorybody stamped I.B. GAHN/IBG (in script). Highly carved. Pieces of different diameter screwed together - head socket unscrews.
CH-Zurich: BurgerGahng'alto6435ivoryStamped I.B GAHN. Highly carved. Pieces of different diameters screwed together - both head & foot sockets & foot end-ring unscrew.
D-Leipzig3243Gahnf'alto4663444ivoryStamped I.B. GAHN/IBG (in script). Hugely bulbous head-joint looks like a recent replacement. Thumbhole has been narrowed with a bush in the style of a 19th-century csakan.

Nominal and performance pitch from Haynes (2002: 449).

Bali (2007: colour plate)
D-Leipzig3022attributed to Gahnf'alto1698-17114743436NULLboxNULLNULLUnstamped. Highly carved with Acanthus leaves on the head and foot, and a fish head on the beak; body a later replacement.

Bali (2007: colour plate); Herbert Heyde: Flöten. Musikinstrumenten-Museum der Karl-Marx-Universität Leipzig. Katalog, Bd. 1, Leipzig 1978, S. 37; Rueger (1982, pl. 108).

Image & further information here.
D-Munich: Bav. Natl. Mus.177attributed to Gahnf'alto3504boxUnstamped. Highly carved. ? Lost.
D-Cologne: HünerbeinGahng'alto425446ivoryEx Sotheby's (1995) ex Giesbert.

Nominal and performance pitch from Haynes (2002: 449).
B-St Hubert: GantyGahn, Haka, Unknownf'alto3511boxHead stamped I.B. GAHN/crown; body stamped R·HAKA (in scroll)/fleur-de-lys; foot unstamped, possibly by Gahn. See Bouterse (2001).
D-Nuremberg GNMMIR 204Gahnf'alto1690-17104253500ivoryStamped I.B. GAHN (or I. GAHN). In a case.
Nominal and performance pitch from Haynes (2002: 449).
Image & further information here.
D-Nuremberg GNMMI 138? Gahn, ? Oberlender circlef'alto1710-17304083505.5boxStamped I W. OBERLENDER in a curved banner. Highly carved.

Nominal and performance pitch from Haynes (2002: 447).

Röntgenaufnahme RB 330; Kirnbauer, Martin: Historische Holzblasinstrumente in der Sammlung des Germanischen Nationalmuseum. In: Tibia, 14. Jg. (1989), S. 425.; Kirnbauer, Martin und Dieter Krickeberg: Untersuchungen an Nürnberger Blockflöten der Zeit zwischen 1650 und 1750. In: Anzeiger der Germanischen Nationalmuseums 1987. Nürnberg, 1988, passim.; Young, Philip T.: Twenty-Five Hundred Historical Woodwind Instruments. An Inventory of the Major Collections. New York, 1982, S. 93.; van der Meer, John Henry: Wegweiser durch die Sammlung historischer Musikinstrumente des GNM. Nürnberg, 3/1982, S 74.; Nickel, Ekkehart: Der Holzblasinstrumentenbau in der Freien Reichsstadt Nürnberg. München, 1971, S. 293.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, S. 35-36 (=Bestandskatalog).

Image & further information here.
USA: anonymousGahnf'alto3504boxStamped I.B. GAHN/IBG (in script). Highly carved.
D-Sigmaringen: Schloss306BGahnalto3402mapleStamped I.B. GAHN/IBG (in script).
J-Tokyo: IinoGahnf'alto6ivoryStamped I.B. GAHN/IBG (in script). Foot missing. 403 mm long. ex Willms.
F-ParisE.979.2.11Unknownf'alto18C4176490ivoryStamped I.W. GAHN. Pieces of ivory of different diameters screwed together. Ex Collection Geneviève Thibault de Chambure.

Nominal and performance pitch from Haynes (2002).

Further details here. Cited by Pottier (1992: 43).
J-Tokyo: IinoGahntenor643ivoryStamped I.B. GAHN/IBG (in script).
J-Tokyo: IinoGahnbasset1008ivoryStamped I.B. GAHN/IBG (in script). Bocal missing.
J-Tokyo: IinoGahnf'alto499ivoryStamped I.B. GAHN/IBG (in script).
J-Tokyo: IinoNULLGouldingg'altoc. 1786-18344053455NULLboxNULLNULLStamped GOULDING & CO/LONDON/2.

The foot-joint is in the style of a transverse flute, first seen on recorders by Thomas Stanesby, jr (1692-1745).

Nominal and performance pitch from Haynes (2002).

MacMillan (2007: 199; 2008: 40)
D-Leipzig1113Grassif''sopranino18C4403252NULLboxhorn rings at bottom of head joint and top of footNULLBody stamped GRASSI [B?]RASSI [unclear sign]. The sign looks like ·[star]·
Performance pitch from Haynes (2002: 252). However, MacMillan gives the pitch as g'' and its size as an 'exilent'. Ralf Netsch says c. 440 Hz and Fumitaka Saito calculates c. 425 Hz (both reported by de Avena Braga (2015: 50)
Bali (2007: colour plate)
MacMillan (2007: 202: 2008: 84). Photographs, measurements, technical drawings (by D-Leipzig & Ralf Netsch): de Avena Braga (2015: 50, 317-321, figs. 82-88).
D-Nuremberg: GNMMI 142Hakaf''sopranino1250ivoryEarly baroque style instrument. Stamped R.HAKA (in scroll)/device (a double fleur-de-lys or a sheaf of wheat, similar to Rykel (see Waterhouse 1993).

The beak is separated from the body of the instrument by an incised ring. Sounding length 212 mm. See Bouterse (2001).
xD-Berlin2810Grensere'alto19C35703boxivorybrassStamped crown/H. GRENSER/DRESDEN. Ring & blocks; keys for d', e & f#'; clarinet-like bell. Possibly a csakan, though the instrument was made in Dresden. Lost during World War I.

Waterhouse (1993)
Young (1993
MacMillan (2007: 202; 2008: 84-95)
D-Potsdam81/634VHakaf''sopranino4401249ivoryStamped R·HAKA (in a scroll), lacking the fleur-de-lys underneath. Early baroque style. Foot flared, with decorative rings and beads. Sounding length 212 mm. Hardly playable. Formerly in the Germanisches Nationalmuseum, Nuremberg, with the inventory number MI 142.

Nominal and performing pitch from Haynes (2002), Brown (2005) & Bouterse (2005).

For critical measurements and other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535); Bouterse (2001, 2005).
D-Berlin1883Hakaf''sopranino2box; coloured light brownStamped R·HAKA (in scroll)/fleur-de-lys. Head missing. Body 156.5 mm long.The foot is turned with the same characteristic profile as other baroque recorders of Haka. The lower footring is turned separately and may represent a repair. See Bouterse (2001).
xD-Berlin2784Hakaeb''soprano2315boxbrassStamped R·HAKA (in scroll)/device - a double fleur-de-lys or a sheaf of wheat, similar to Rykel (see Waterhouse 1993).
D-Leipzig1115Hakac''sopranoNULL4042343NULLboxivory beak, headjoint ferrule & foot ringNULLStamped R·HAKA (in scoll)/fleur-de-lys. Alternative holes for lowermost finger, a feature normally associated with renaissance recorders! Repaired. See Bouterse (2001).

Nominal and performing pitch from Haynes (2002: 450).

Bali (2007: colour photograph).

Image and further details here.
NL-Amsterdam: BrüggenHakac''soprano4102350ebonyivory beak & mountsStamped R·HAKA (in scroll)/fleur-de-lys. Luxuriously made. Head and 1-piece body/foot joint. Playable, but not well. See Bouterse (2001).

Nominal and performing pitch from Haynes (2002: 450).
xD-Berlin2786Hakabb'soprano (fourth flute)1360boxStamped R·HAKA (in scoll)/? device (Sach's catalogue doesn't mention the usual device). Beak onion-shaped.
D-Berlin2798Hakaf'alto4153495boxivory ferruleOnly the foot survives WWII. Stamped R·HAKA (in scroll)/fleur-de-lys. Short description and measurements in Sachs (1922). See Bouterse (2002).
USA: anonymousHakaboxunmountedBody only. Stamped R·HAKA (in scroll)/device - double fleur-de-lys or a sheaf of wheat, similar to Rykel (see Waterhouse 1993).
J-Tokyo: IinoHakactenor3983660box; light brownStamped R·HAKA (in scroll)/fleur-de-lys. Ex van Zuylen, sold Christie's in London (26 October 1987). Playable at slightly under A415. See Bouterse (2001).

Nominal and performing pitch from Haynes (2002: 450).
J-Tokyo: Ueno Gakuen56Hakac'tenor4223645.3ebonyivory beak and ferrulesStamped R·HAKA (in scroll)/fleur-de-lys. Probably the same instrument sold by Sotheby Parke Bernet & Co (8 July 1978). Playable slightly higher than A415 with a newly made head. See Bouterse (2001).

Nominal and performing pitch from Haynes (2002: 450).
S-Göteborg: Historiska Mus.GM 3894Hakafbasset410310201box; light brown, possibly unstainedbrassHead stamped R·HAKA (in scroll)/fleur-de-lys. Bocal (lost) entered side of windcap (missing). Seems to be altered. Partially playable. See Bouterse (2001).

Nominal and performing pitch from Haynes (2002: 450).
NL-HagueEa 532-1933Hakag'alto4151957plum; coloured brownivory (cap)Walking-stick recorder. Stamped R·HAKA (in scroll)/fleur-de-lys. Such instruments were also made ca 1700 by J.C. Denner & Rippert (none survive). 5 tuning holes at end of bore. Playable. See Bouterse (2001).
D-Leipzig1134Valianib'tenorc150044026681boxbrass rings on fontanellebrassStamped Valiani or Vabani. Sounding length 597 mm. Ex Alessandro Kraus 774. Step bore.
For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.
On the basis of his examination of this instrument and an anonymous G alto in Vienna, Klemisch (1997) concludes that the recorder around 1500 favoured the high register, had a wide range and a brilliant, powerful timbre.
Heyghen (2005: 314); Brown (2005b: 536); Baines (1966: 80 & fig. 421); Bali (2007: colour photograph); Herbert Heyde: Flöten. Musikinstrumenten-Museum der Karl-Marx-Universität Leipzig. Katalog, Bd. 1, Leipzig 1978, S. 45-47.Georg Kinsky: Musikhistorisches Museum von Wilhelm Heyer in Cöln, Bd. 3: Blas- und Schlaginstrumente [unveröffentlichtes Manuskript, ca. 1912], S. 19.
Image & further information here.
D-LeipzigRekawalking-stickc. 190022woodbrassbrassProbably made in Markneukirchen.
D-LeipzigUnknownwalking-stickc. 182044ebonyivory?silver
DK-Copenhagen: Musikhist. Mus.CL 417Poerschmanf'alto4043boxStamped I.POERSCHMAN.

The bore appeared to have features unknown in other Baroque recorders: a tapered narrowing course in the head of the recorder, combined with an outgoing [that is, expanding] step at the transition from the head to the middle piece Bergstrøm (1998).

Nominal and performance pitch from Haynes (2002: 447).

Drawing available in Malz++Kassner CAD format Bergstrøm (1999).
NL-Hague: JonxisHeerdef'alto4053box; stained brownOwned by the grandaughter of Mr Jonxis, a Grongingen doctor who was a descendant of Michiel van Bolhuis (d. 1764), probably the first owner of the instrument.

Stamped Brabant lion/VAN HEERDE. Playable, slightly under A415. See Bouterse (2001).

Nominal and performance pitch from Haynes (2002: 451).
I-Bologna: Accad. Fil.595 (Puglisi 1; Tiella 3)Greced'+tenor17C4401plumStamped P•GRECE Sounding length 525 mm. Said to work with Jambe de Fer fingerings.

For critical measurements, photo & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b:535); Tiella (2005:131).
A-ViennaSAM 151 (C 162, KK 8538)Bassanoc#'tenor16C4401623NULLboxNULLNULLStamped !! !! (ML-J type unclassified) below the window/labium & !! on the foot, and thus probably by a member of the Bassano family. Sounding length 556.5 mm. One of the Catajo recorders.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 72); Maravin (1972: 32); Lyndon-Jones (1987: 60); Brown (2005b: 534); Darmstädter (2004/5: 170-178); Darmstädter & Brown (2006: 212-214) – includes colour photographs.
A-ViennaHieronimo de li Flauti17 instruments stamped HIER.S; conceived especially for ensemble playing; the identify of this maker has been established thanks to .... Armando Fiablane (Zaniol); these are the Catajo recorders; 2s, 4S, 4A, 4T, 4b, 2B, 1C.
I-Rome: Museo dSM716Schrattenbachd#'tenor440545box or Cornelian cherryStamped with a double trefoil below windway and on foot. Sounding length 494 mm. Head cracked from top to windway; labium chipped. Originally from Gorga Collection.

For critical measurements and/or other details see Adrian Brown's Renaissance Recorders Database.

Image here (lhs).
S-StockholmM164Heerdef'alto1670-167941531box; stained brownferules in a different woodStamped crown/VAN HEERDE. The foot is not by van Heerde. The head and foot have ferrules in another wood (repairs). Hardly playable. See Bouterse (2001).
Nominal and performance pitch from Haynes (2002: 452).
Images & further information here.
D-Leipzig3244Heerdef'altoNULL4023510NULLbox; stained brownNULLNULLStamped crown/VAN HEERDE. Longer with a wider bore than other instruments by Heerde. Plays well with a beautiful sound, slightly under A415. See Bouterse (2001).

Bali (2007: colour plate)

Nominal and performance pitch from Haynes (2002: 450).

Image and further details here.
F-ParisE.980.2 526Heerdefbasset18C405310101maple; coloured blackbrassStamped crown/VAN HEERDE. Bocal (missing) entered at side of windcap. Ex Collection Geneviève Thibault de Chambure. Playable, slightly below A415. See Bouterse (2001).

Performance pitch from Haynes (2002: 451).

Further details here.
D-Eisenach: BachhausI 99Heitzf'alto4053496.5boxStamped 8-petal flower/IOH HEITZ.

Nominal and performance pitch from Haynes (2002: 447).
D-Leipzig1129Heitzf'alto4023512.5ebonyivory beak, mounts and foot ringBody not original (Zapf); originally coupled with D-Leipzig 1128 to form an 'echo flute'.

Bali (2007: colour plate)
D-Leipzig1128Heitzf'alto4023510ebonyivory beak, mounts and foot ringStamped fleur de lys/I.HEYTZ; originally coupled with D-Leipzig 1129 to form an 'echo flute'.

Nominal and performance pitch from Haynes (2002).

Bali (2007: colour plate)
D-Halle: HandelhausMS 320Heitzf'alto4512box with tortoise-shell veneerivoryStamped fleur de lys/I.HEYTZ.

Image here.
NL-Amsterdam: BrüggenIXHeitzf'alto3983512box with tortoise-shell veneerivory beak, decorative rings, ferrules & foot ringStamped crown/I.HEITZ/*. Detailed description of tortoise-shell technique shown in F.G. Morgan's drawing.

Nominal and performance pitch from Haynes (2002).
A-ViennaAR 1396Heitzf'alto3973515box with tortoise-shell veneerivory; plain gold plaque on footjointStamped star/I.HEITZ.

Nominal and performance pitch from Haynes (2002).

Christie's - London
The Collection of Barons Nathaniel and Albert von Rothschild
Auction Date: Jul 8, 1999
Lot 42
Estimate: $ 6,240 - $ 9,360
D-Munich: Stadtmus.BNM Mu 155/8Heitzf'alto4003509box with tortoise-shell veneerivoryStamped fleur de lys/I.Heytz.

Nominal and performance pitch from Haynes (2002).
D-Munich: Stadtmus.BNM Mu 159Heitzf'alto4003511.5box with tortoise-shell veneerivoryStamped fleur de lys/I.HEYTZ.

Nominal and performance pitch from Haynes (2002).
D-Leipzig1124Heitzf'alto1700-17503505box with tortoise-shell veneer3 ivory ferrulesStamped ?/I.HEYTZ. Only the foot survives; rest lost WW2.
See Bali (2007: colour plate).
Image & further information here.
D-Berlin2807Heitzf'alto3510boxivoryStamped ?/I.HEYTZ.
D-Darmstadt: Hess.Mus.Kg 67 122aattributed to Heitzf'alto4510box with tortoise-shell veneerivoryUnstamped. See Kirnbauer & Krickeberg (1987).
D-Darmstadt: Hess.Mus.Kg 67 122battributed to Heitzf'alto4509.5box with tortoise-shell veneerivoryunstamped. See Kirnbauer & Krickeberg (1987).
B-Antwerp: Vleeshuis135Heitzfbasset31020appleStamped ?/I.HEYTZ. Bocal & windcap missing.
F-ParisE.979.2.9M Hotteterrec'tenor18C40137101maple or fruitwood, dark stainedivory ferrules and foot ringbrassFoot stamped HOTTETERRE/anchor. Ex Collection André Rossignol; Collection Georges Le Cerf; Collection Geneviève Thibault de Chambure. Further details here.

Detailed drawing by Saunders (2010: 7).

Nominal and performing pitch from Haynes (2002), who suggests this instrument may be by Martin Hotteterre.
NL-Amsterdam: BrüggenM Hotteterrec'tenor40336881ebonyivory beak, mounts & foot ringsilverStamped HOTTETERRE/anchor.

Nominal and performing pitch from Haynes (2002), who suggests this instrument may be by Martin Hotteterre.

Saunders (2010: 10) gives the pitch as A415.
USA-DC-Washington: DCM326 (S.18)L Hotteterref'alto18C3903525box, stained reddish brownivory beak & ferrulesStamped on all sections fleur de lys/L/HOTTETERRE. Body joint possibly shortened at lower (end) or both ends. Head joint edge damaged, partly missing, but still working. DCM ledger: Broken clear in two, the 3rd hole from top, and splintered. Had been repaired. Body joint cracked and broken, restored with modern adhesive filler, likely Seyfrit. Foot joint bottom ferrule cracked both radially and circumferentially.

Bought from Sumner Healey, New York (1923) ex Tolbecque Collection.

Further details & image here.

Nominal and performing pitch from Haynes (2002).

A plan of this instrument prepared by Frederick von Huene is available (Pottier, 1992: 45).
D-Nordenham: RitzL Hotteterref'alto3497boxHead stamped HAVTETERRE; foot stamped LH.
J-Hamamatsu: MuseumA-00015RN Hotteterref'altoNULL3903510NULLbox with tortoise-shell veneerNULLNULLStamped */N/HOTTETERRE. Ex USA-NY-Scarsdale: Rosenbaum.
Nominal and performance pitch from Haynes (2002: 444)
The middle joint is shortened and finger-holes 012345 are waxed. Labium is damaged and fixed with some plastic material. New block was fitted by F. von Huene. Tuned without support finger. f' is extremely low Nozaki (2016).
Nominal and performing pitch from Haynes (2002). Nozaki (loc. cit.) gives this instrument's pitch as c. 395 Hz.
F-Blois: ex PetitN Hotteterrec'tenorStamped */N/HOTTETERRE. May now be owned by the Bousquet-Leroux family (Young 1993: 126; Pottier 1992: 45).
J-Tokyo: IinoN Hotteterrefbasset3983108.51mapleivory, 3 brass ferrules (one on windcap)brassAll sections stamped */N/HOTTETERRE. Brass Bocal enters top of windcap. Two ferrules are probably repairs.

Nominal and performing pitch and material - body from Haynes (2002).
F-ParisE.979.2.10N Hotteterrefbasset18C404310011maple or fruitwood, ebonised3 ivory ferrulesbrassStamped */N/HOTTETERRE. Brass bocal enters top of windcap, originally into side. Ex Collection Léon Savoye; Collection Georges Le Cerf; Collection Geneviève Thibault de Chambure. Further details here.

Nominal and performing pitch from Haynes (2002).

A plan of this instrument prepared by Jean-François Beaudin is available (Pottier, 1992: 45).
A-Salzburg: Mus. Car.-Aug.3/7 (G238)Kenigsperger (Königsberger)c'tenor39536751maplebrassStamped .I.W./.KENIGSPERGER./fleur de lys. Key-flap of characteristic design.

Nominal and performance pitch from Haynes (2002: 499).
D-Munich: Deutsches Mus.17233Kenigsperger (Königsberger)c'tenor46136961maplebrassStamped .I.W./.KENIGSPERGER. Key flap of characteristic design.

Nominal and performance pitch from Haynes (2002: 449).
Russia-St. Petersburg401T LotfaltoNULLNULL3500NULLboxNULLNULLStamped OT star LOT star/fdl or stylized cross. See Jürisalu (1980).
NL-Amsterdam: Misset-OudheusdenNULLKlenigg'altoNULLNULL3NULLNULLivoryNULLNULLThis is in a private collection.
xD-Leipzig1172Kochczakan4601ivoryhornsilverStamped S.KOCH.
D-Berlin2829Kocha37boxivorybrassStamped eagle/S.KOCH/WIEN. A csakan. Keys with dome flaps, block-mounted.
D-Leipzig3246Kochab1815-182834757box2 ivory ferulesbrassStamped eagle/S.KOCH/WIEN. A csakan. Keys with domed flap, block-mounted. Additional (?tuning) hole near foot.
Herbert Heyde: Flöten. Musikinstrumenten-Museum der Karl-Marx-Universität Leipzig. Katalog, Bd. 1, Leipzig 1978, S. 60-61.
Image & further information here.
D-Brunswick82Kressfbasset39601plumbrassbrassStamped W.KRESS. Edge blown. Key flaps square. Elaborately turned.
USA-MA-Boston: von HueneLissieuc''soprano4102337boxBody/foot section stamped LISSIEV, between holes 3 & 4.

Collection, Nominal and Performance Pitch from Haynes (2002).
F-Versailles: King's LibraryT LotsopranoFirst of 2 such instruments.
F-Versailles: King's LibraryT LotsopranoSecond of 2 such instruments.
F-Paris: AnonymousT Lotfalto3506boxivoryStamped T star LOT/Brabant lion.
J-Tokyo: IinoNaustf'alto17243903531boxStamped NAUST/Brabant lion (lion only on head joint). Dated in ink on body, probably by early owner.

Performance Pitch from Haynes (2002), who does not give a nominal pitch.
NL-HagueEa 277-1933Oberlender If''sopranino4223260ivoryStamped I.W.OBERLENDER/O in tilted scroll. Playable, two long cracks (not open) in head.

Peformance pitch from Haynes (2002) who does not give the nominal pitch.
I-Rome: Museo dSM2211Oberlender Ifalto500box
A-Vienna: GdM110Oberlender Ig'alto3903500boxivoryNominal and performance pitch from Haynes (2002).
F-ParisE192 (C398)Oberlender IIf'alto18C3503boxStamped I.W.OBERLENDER/O in tilted scroll. Ex Collection Louis Clapisson. Further details here.
F-ParisE.373 (C397)Oberlender Ig'alto18C3873495boxhorn ferrulesEx Collection Georges Kastner.

Nominal and performance pitch from Haynes (2002).

Further details here.
F-ParisE.980.2.81Oberlender If'alto18C4103500boxEx Collection Geneviève Thibault de Chambure. Stamped I.W.OBERLENDER/O in tilted scroll.

Nominal and performance pitch from Haynes (2002: 447).

Further details here.
F-ParisE.980.2.76Oberlender If'alto4303485ivoryEx Collection Geneviève Thibault de Chambure.

Nominal and performance pitch from Haynes (2002: 449).

Further details here.
NL-Hague193300276 (formerly Ea 276-1933)Oberlender If'alto18C4223502ivoryStamped I.W.OBERLENDER/O in tilted scroll. Playable. One crack (not open) in head.

Nominal and performance pitch from Haynes (2002: 448).
DK-Copenhagen: Musikhist. Mus.418Oberlender Ig'alto4103445boxunmountedStamped I.W.OBERLENDER/O in tilted scroll. Bad crack pinned & filled.

Nominal and performance pitch from Haynes (2002: 448).
DK-Copenhagen: Musikhist. Mus.E.101Oberlender If'alto3500ivoryunmountedStamped I.W.OBERLENDER/O in tilted scroll.
D-Munich: Stadtmus.BNM Mu 162Oberlender If'alto4753450ivoryunmountedHead stamped I.W.OBERLENDER/O in tilted scroll.

Nominal and performance pitch from Haynes (2002: 449).
D-Bonn: Beethovenhaus11Oberlender If'alto4663441ivoryunmountedStamped (oddly, similar to bass recorder & oboe) I.W.OBERLENDER/O in tilted scroll (the letters OB & ND run together).

Formerly in the Collection of Josef Zimmermann, Düren, Germany (D-Düren: Zimmermann).

Nominal and performance pitch from Haynes (2002: 449).
D-Bavaria: anonymousOberlender I, H. Schellfalto3499boxunmountedStamped I.W.OBERLENDER/O in tilted scroll (nearly illegible). Body by H. Schell.
D-Leipzig1123Oberlender If'altoNULL4183496NULLboxunmountedNULLStamped I.W.OBERLENDER/O in tilted scroll.
Head and foot intricately carved with Acanthus leaves; beak carvedw ith a grotesque face.
Nominal and performance pitch from Haynes (2002: 449).
Bali (2007: colour plate); Rueger (1982, pl. 108-col.)
D-Leipzig1131Oberlender If'alto3953520boxunmountedStamped I.W.OBERLENDER/O in tilted scroll.

Nominal and performance pitch from Haynes (2002).
xD-Berlin2788Oberlender If#alto3440ivoryunmountedStamped I.W.OBERLENDER (Sachs 1922).
xD-Berlin2808Oberlender Ialto515boxunmountedStamped I.W.OBERLENDER/O in scroll.
S-Stockholm: NordiskaN39218Oberlender Ialto1750-17563boxHorn repair.
Images & further information here.
H-Budapest: Natl. Mus.1860.3Oberlender If'alto4213503boxunmountedHead stamped with a Scroll above an 'O'.

Bali (2007: colour photograph).
I-Modena: MuseoSM 22-1981 (15)Oberlender If'alto4203502boxunmountedStamped I.W.OBERLENDER/O in tilted scroll.

Performance pitch from Haynes (2002: 448).
GB-Meopham: BennOberlender Ialto3496boxunmountedStamped I.W.OBERLENDER/O in tilted scroll.
D-Munich: Stadtmus.57-94 (57/94)Oberlender If'alto4753445ivoryunmountedHead stamped I.W.OBERLENDER/O in tilted scroll.

Nominal and performance pitch from Haynes (2002: 449).
F-ParisE.980.2.80Oberlender IIf'alto18C4173505boxAll 3 sections stamped I.W.OBERLENDER/O in tilted scroll. Beak damaged.

Nominal and performance pitch from Haynes (2002).

Further details here.
D-Berlin5341Oberlender If'alto4173491ivoryunmountedHead & foot stamped I.W.OBERLENDER/O in tilted scroll.

Nominal and performance pitch from Haynes (2002: 448).
I-Rome: Museo dSM114Oberlender Ialtobox
J-Nara-Ikoma: WakabayaskiOberlender Ifalto3495boxunmounted
D-anonymousOberlender Ifalto3495boxunmountedAll 3 sections stamped I.W.OBERLENDER/O in tilted scroll.
D-Nuremberg GNMMI 96Oberlender Ifbasset1710-1730399310211plum1 brass ferule on windcapbrassStamped (oddly, similar to an alto from the same maker at D-Bonn: Beethovenhaus 11) I.W.OBERLENDER/O in tilted scroll. Bocal enters top of windcap.

Image, details & extensive references here.

Nominal and performance pitch from Haynes (2002).
A-Salzburg: Mus. Car.-Aug.Mar. 14 (3/14)Oberlender Ifbasset425310201applebrassbrassStamped I.W.OBERLENDER/O in tilted scroll. Bocal enters top of windcap.

Nominal and performance pitch from Haynes (2002: 449).
F-ParisE.0640Oberlender IIfbasset18C41539201plum1 brass ferrule on windcapbrassStamped I.W.OBERLENDER/O in tilted scroll. Bocal missing, entered top of windcap. Further details here.
xUSA-NY-Scarsdale: Rosenbaum2Oberlender Ialto3500boxunmountedStamped fir tree/(in scroll)I.W.OBERLENDER/O. Highly carved.
I-Fontanelle: V. GilardoneNULLPalancaNULLtenorNULLNULLNULLNULLNULLboxNULLNULLStamped: CARLO | PALANCA
Exhibited Bologna, January 1984. Bernardini (1995) mentions the owner to be in Sardegna, and refers to Paolo Pollastri who spotted it. However from the catalogue of an exhibition in Bologna in January 1984 where Pollastri probably saw it, one reads the owner is in Piemonte.
Leydi & Guizzi (1985: 322); de Avena Braga (2015).
DK-Copenhagen: Musikhist. Mus.E.86Palancaf'altoNULL426-430NULL535NULLboxivoryNULLAll three joints stamped: CARLO | PALANCA | [sun, star or flower]
Foot has of flute form.
This unique instrument is an alto recorder with a flageolet wind-cap which houses a sponge.
Photographs, Measurements & technical drawings (by Ture Bergstrøm): de Avena Braga (2015: 325-326, figs 95-100).
Russia-St. Petersburg403Parentf'altoNULL3973507NULLebonyivory beak, ferrules and footNULLStamped fleur-de-lys (large)/M.PARENT (very vague). Very worn and damaged; block worm-eaten. Playable, considerably under A415. See Jürislau (1980), Bouterse (2001).

Nominal and performing pitch from Haynes (2002: 450).
I-Bologna: Accad. Fil.601 (Puglisi 11; Tiella Bs4)Rafig+basset440plumStamped C.·.RAFI / shield & griffin. Sounding length 775 mm. Said to work with Jambe de Fer fingerings. A roughly cut groove has been added parallel to the windway slit-opening in order to make the positioning of the lip on the top of the recorder more comfortable. Split from top to window.

Lowest note and performance pitch from Brown (2005b). Tiella (2005) gives the performance pitch as ca A=425 Hz.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536).

Tiella (2004: 9 & 2005: 134), gives this instrument the inventory number 602, in error!
D-Eisenach: Bachhaus1-100Rafibbasset440707.5plumbrassStamped RAFI / shield with griffin. Windway, window & blowing side are towards the player. Sounding length 640.2 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536).
B-Bruges: GruuthuseM37Rafiabasset44017531boxbrassStamped with a shield and an unidentified animal, possibly the Brabant Lion, radically different from the shield & griffin found on instruments with additional Rafi mark. Sounding length 705 mm.

Other recorders iwth the same mark are B-Brussels: M2646 & M2647.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005a: 97); Brown (2005b: 536).
D-Frankfurt: M: Hist. Mus.X 4260 (121)Schrattenbachc''+soprano (columnar)4403532maplebrassStamped with a double trefoil & thus probaby by a member of the Schrattenbach family. Columnar recorder (lowest finger-hole gives the bottom note). The plinth & windcap are missing, replaced by a later bell & cap. Keywork & covers not original. Sounding length 269.5 mm.

For critical measurements & other details see Andrew Brown's Renaissance Recorders Database; Brown (2005b: 534).

Postel (1974) considers the Saeulenblockfloete Frankfurt 4260. He cites the well-known passage about the Oosters Huys by Burney (p. 146) and comes to the conclusion that this instrument and those in Paris were the instruments from Antwerp mentioned by Burney (p. 150).
J-Tokyo: IinoSchrattenbachf'alto (columnar)44015111maplebrassbrassStamped with a double trefoil & thus probably by a member of the Schrattenbach family. A brass box covers the window. Formerly part of the van Zuylen Collection, sold at Christies sale, March 1988. A virtual twin of B-Brussels 189; corresponding tenor & bass instruments at F-Paris, possible soprano at D-Frankfurt a M: Hist. Mus.

For critical measurements & further details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).
I-Merano: Landfl. Burg.6852Schrattenbacha#basset44017201? cornelian cherry (Cornus mas)brassbrassStamped with a double trefoil & thus probably by a member of the Schrattenback family. Direct blow (no windcap); windway arched. Well-preserved & playable (Young 1993). Sounding length of 656.3 mm. Almost identical to I-Merano: Landfl. Burg. 6853, apart from sewn-on key-pad.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (200b: 534).

Small image here.
I-Merano: Landfl. Burg.6853Schrattenbacha#basset44017181? cornelian cherry (Cornus mas)brassbrassStamped with a double trefoil & thus probably by a member of the Schrattenbach family. Sounding length 655 mm. Almost identical to I-Merano: Landfl. Burg. 6852, apart from glued-on key-pad. See Journal Galpin Society (1979) for photo.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).

Small image here.
F-ParisE.303 (C.404)Schrattenbacha#basset16C44017201maple or fruitwoodbrassbrassStamped with a double trefoil & thus probably by a member of the Schrattenbach family. Direct blown (no windcap). Sewn-on key-pad; bell rim pared down. Ex Collection Louis Clapisson.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).
A-Salzburg: Mus. Car.-Aug.3/12 (M244)Schrattenbachg#basset153544028401? cornelian cherry (Cornus mas)brassbrassStamped with a double trefoil with a right-pointing tail; windcap band stamped HANS RAVCH VON SCHRATT; fontanelle band stamped IHESUS MARIA ANNA 1535, the same year Ganassi published his tutor (Brown & Lasocki, 2006: 26).

For critical measurements & other details see:

Brown, A. Renaissance Recorders Database; Brown (2005b: 534).
D-Nuremberg GNMMIR 212Schrattenbachg#basset1725-174544028551? boxbrassbrassStamped with a double trefoil, probably by a Schrattenbach family member.

Nominal & performance pitch from Brown (2005b: 534). Haynes (2002) gives a nominal pitch of g at a=459 Hz).

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

Röntgenaufnahme RB 1410, 1482, 1483; Kirnbauer, Martin: Historische Holzblasinstrumente in der Sammlung des Germanischen Nationalmuseum. In: Tibia, 14. Jg. (1989), S. 425.; Kirnbauer, Martin und Dieter Krickeberg: Untersuchungen an Nürnberger Blockflöten der Zeit zwischen 1650 und 1750. In: Anzeiger der Germanischen Nationalmuseums 1987. Nürnberg, 1988, passim mit Abb. S. 277.; van der Meer, John Henry: Wegweiser durch die Sammlung historischer Musikinstrumente des GNM. Nürnberg, 3/1982, S. 9.; Marvin, Bob: Recorders & English Flutes in European Collections. In: Galpin Society Journal H. 25 (1972), S. 33.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, S. 58-59 (=Bestandskatalog); Brown (2005b: 534).

CAT image available from Germanisches National Museum, Nuremberg (2002).

Photographic image & further information here.
I-Modena: MuseoSM 24-1981Schrattenbachg#basset44028481maplebrassStamped with a double trefoil & thus probably by a member of the Shrattenbach family. Key missing.
Sounding length 746.5 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).
D-Munich: Stadtmus.BNM MU 174/37Schrattenbachc#bass440112601maplebrassbrassWindcap band engraved HANS RAVCH VON SCHRATT & a double trefoil with a right-pointing tail; similar to Salzburg basset M244. Sounding length 1087 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).

Brown (loc. cit.) considers this to be a non-extended recorder in c (at modern pitch); Haynes (2002) gives the nominal pitch for this instrument as g. Given the considerably shorter sounding length of 1087 cm compared to 1603 for the extended contra-bass recorder in the Munich Collection (Mu 180) I have accepted Brown's observations in this instance.
B-Brussels188Schrattenbachc#bassc.1540440112501? cornelian cherry (Cornus mas)2 brass ferules on fontanelle, 1 on windcapbrassStamped with a double trefoil & thus probably by a member of the Schrattenbach family. Sounding length is 1138 mm. Key arrangement has been modified with a slab of wood now filling the space under the fontanelle. Cap, fontanelle, key and crook are all replacements. Bocal enters top of windcap.

This instrument was originally part of the collection of the Hansa Huis in Antwerp.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

Brown (2005b: 535); Baines (1966: 80 & fig. 420).

Image & further details here.
I-Verona: Accad. Fil.13.242BassanoF#contrabass<4401plumbrassbrassStamped !! (ML-J type G) & thus probably by a member of the Bassano family. Sounding length 1740.5 mm. Similar in workmanship to 13.253, but has a much larger bore and is badly out of tune. Finger-holes three and six are heavily angled towards the foot of the recorder.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).
I-Verona: Accad. Fil.13.248Schrattenbachc#bass44012141plumbrassbrassStamped with a double trefoil & thus probably by a member of the Schrattenbach family. Cap, crook and fontanelle are all replacements. Sounding length 1116 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Databasse; Brown (2005b: 534).
D-Celle: MoeckSchrattenbach Familyc'+tenor153544016141ivorygold pl.silverStamped with a single trefoil & thus probably by a member of the Schrattenbach family. Sounding length 570.5 mm. The block is also made of ivory.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

For images see here

A video recording of Daniel Brüggen playing this instrument is available here.
D-Munich: Stadtmus.BNM Mu 164Rippertf''sopranino4622244ivoryunmountedBoth sections stamped RIPPERT/dolphin.

Performance pitch from Haynes (2002) who doesn't give the nominal pitch.

Hunt mentions 1 of 2 such instruments at D-Munich Stadtmus. but does not identify which of these he refers to.
D-Munich: Stadtmus.BNM Mu 166 [? 151/4]Rippertf'alto4623460ivoryunmountedAll 3 sections stamped RIPPERT/dolphin. Hunt illustrates a Rippert ivory alto from Munich but does not indicate which instrument he refers to (the other is D-Munich: Bav. Natl. Mus. Mu 161).

Accession Number, nominal and performance pitch from Haynes (2002).
F-ParisE.2136Rippertf'alto18C4643525boxivory beak, foot & ferrulesStamped RIPPERT/dolphin. Ex Collection Paul Cesbron. Further details here.

Nominal and performance pitch from Haynes (2002).
C-BC-Vancouver: private collectionRippertalto
J-Tokyo: IinoRippertf'alto3873520boxivoryAll 3 sections stamped RIPPERT/dolphin.

Nominal and performance pitch from Haynes (2002).
xD-Berlin2803Rippertealto3520boxivory
F-Paris: L.KaltenbackRippertf'altoc17003953630.9bowood, acid- stained orange-brownivory beak and ferrulesPlays well with Hotteterre fingerings (Baudin)

Technical drawing by Jean-Francois Beaudin (1986) here
D-Munich: Stadtmus.57-95 (ex BNM) [? 160/13]Rippertc'tenor46036131ivoryunmountedsilverAll 3 sections stamped RIPPERT/dolphin. Key with ornate swallowtail touch. Hunt illustrates 1 of 2 such instruments in Munich but does not specify which one he refers to (the other is D-Munich: Bav. Natl. Mus.) Marvin (1972) and Pottier (1992: 46) refer to such an instrument with Accession No. 160/13.

Nominal and performance pitch from Haynes (2002).
xD-Munich: Bav. Nal. Mus.Ripperttenor6001ivoryunmountedsilverHunt illustrates 1 of 2 such instruments in Munich but does not specify which one (the other is D-Munich: Stadtmus 57-95).
D-Celle: MoeckRippertc'tenor39237091ebonyivorysilverNominal and Performance Pitch from Haynes (2002).
xGB-Edinburgh: GlenRipperttenorNot at the Kelvingrove Art Gallery & Museum (1982).

Pottier (1992: 46) gives this instrument a pitch of Fa, citing Schmidt (1959: 509). The Glen Collection has now been dispersed. This instrument is not listed in the on-line catalogue of GB-Edinburgh: Univ.
xD-Munich: Bav. Nal. Mus.Mu 157Rippertfbasset39601ivory?
F-ParisC.412, E.247Rippertfbasset18C405311351fruitwood, stained1 ferrule in ivory, 1 in brass, 2 in hornbrassAll 3 sections stamped RIPPERT/dolphin. Brass bocal missing, entered top of windcap. Foot bulbous, ? side-opening. Further details here.

Nominal and performing pitch from Haynes (2002).
F-ParisC.411, E.185Rippertfbasset18C398311001maple or fruitwood1 brass ferrule below windcapbrassAll 3 sections stamped RIPPERT/dolphin. Brass bocal enters at top of windcap. Foot bulbous, ? side-opening. Further details here.

Nominal and performance pitch from Haynes (2002).
xGB-Edinburgh: GlenRippertfbassetNot at Kelvingrove Museum & Art Gallery (1982).

Pottier (1992: 46) gives this instrument a pitch of Fa, citing Schmidt (1959: 509). The Glen Collection has now been dispersed. This instrument is not listed in the on-line catalogue of GB-Edinburgh: Univ.
F-Troyes: Musée0.971Rippertbasset1696-1716310801woodBocal missing. Foot with bulbous stand.
Image here.
D-Leipzig1132attributed to G-A RottenburghNULLtenorNULLNULL3575NULLboxunmountedNULLStamp obliterated. See Heyde (1978). Very well preserved and of excellent musical quality. Although it is outwardly similar to some instruments by J. Chr. Denner, it is more probably of Italian origin (Blezinger, 2002).

Image and further details here.
D-Berlin2799J-H or J-H-J Rottenburghf'alto4033505boxivoryStamped I.H./ROTTENBURGH/star.

Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh.
B-Brussels1036J-H or J-H-J Rottenburghf'alto18C3983502box, stained2 ivory ferulesStamped I.H./ROTTENBURGH/star.

Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh.

Image & further details here.
B-Brussels1027J-H or J-H-J Rottenburghf'altoc.1726-17753963502boxivoryStamped I.H./ROTTENBURGH/star.

Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh.

Image & further details here.
B-Brussels2643-01J-H or J-H-J Rottenburghf'altoc.17504043504plumunmountedStamped I.H./ROTTENBURGH/star. One of an identical pair.

Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh.

Image & further details here.
B-Brussels2643-02J-H or J-H-J Rottenburghf'altoc.17503504plumunmountedStamped I.H./ROTTENBURGH/star. One of an identical pair.

Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh.

Image & further details here.
B-Brussels2644J-H or J-H-J Rottenburghf'alto1700-17753953510? PearunmountedStamped I.H./ROTTENBURGH/star.

Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh.

Image & further details here.
B-Antwerp: Vleeshuis2644 (VH67.I.248)J-H or J-H-J Rottenburghf'alto3boxStamped I.H./ROTTENBURGH/star. Head section only, ca 195 mm long.
B-Gooik: KuijkenJ-H or J-H-J Rottenburghf'alto3boxStamped I.H./ROTTENBURGH/star. Foot section only, <103 mm long.
D-Berlin2814J-H or J-H-J Rottenburghd'tenor3983599boxunmountedStamped I.H./ROTTENBURGH/star.

Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh.
NL-Hague1933-0401 (formerly Ea 401-1933)J-H Rottenburghfbasset3989932stained mapleunmountedbrassStamped I.H./ROTTENBURGH/star. Bocal missing, but entered top of windcap. Hardly playable; some of the foot moulding damaged.

Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh.
B-Bruges: Gruuthuse0.24.XXVIIIJ-H or J-H-J Rottenburghfbasset39839942maplebrassbrassStamped I.H./ROTTENBURGH/star. Bocal enters top of windcap.

Nominal and performance pitch from Haynes (2002), who attributes this instrument to J-H Rottenburgh.
B-Brussels438Rougef'alto1701-17504053500boxivory beak, ferules & footAll 3 sections stamped ROVGE.

Nominal and performance pitch from Haynes (2002).

Image & further details here.
S-StockholmN21979Rykelf'alto4183475ivoryStamped C.RYKEL/fleur-de-lys. Beak unusually shaped with thick bead, probably to repair two longitudinal cracks above the windway. Playable but soft, at slightly above A415. See Bouterse (2001).

Nominal and performance pitch from Haynes (2002: 451).

Image here.
S-StockholmM159JCE Sattlersoprano3336boxunmountedStamped 3-prong crown/I.C.E.SATTLER/S.
S-StockholmM161JCE Sattlerf'alto17-18-17453488boxunmountedStamped 3-prong crown/I.C.E. SATTLER/S.
Images & further information here.
S-StockholmM162JCE Sattlerf'alto4103495boxivoryStamped 3-prong crown/I.C.E. SATTLER/S.

Nominal and performance pitch from Haynes (2002: 448).
USA-MI-Ann Arbor: U Mich.505JCE Sattlerf'alto3495boxunmountedStamped 3-prong crown/I.C.E. SATTLER/S.
A-Linz: SchlossmusW.152, Mu 7Schellf'alto3943500boxunmountedHead stamped H.SCHELL/entwined monogram.

Nominal and performance pitch from Haynes (2002).
GB-London: OldhamSchellf'alto4053501.5ivoryunmountedHead stamped H.SCHELL/entwined monogram.

Nominal and performance pitch from Haynes (2002: 447).
A-Salzburg: MozarteumSchellalto
CH-Geneva: Mus. Instr.114Schellfalto3495boxhornOne brass ring is a repair.
A-Innsbruck: Mus Ferdinadeum2.85Schellfalto3box
I-Bologna: Museo1769Schellg'alto3853boxivoryNominal and performance pitch from Haynes (2002).
D-Bavaria: anonymousSchell, Oberlender If'alto3boxStamped H.SCHELL/S. Body by Schell; head & foot by J.W. Oberlender.
F-ParisE.193 (C.400)Schella'alto4013508boxunmountedHead only stamped H.SCHELL/S entwined monogram. Formerly thought to be by Oberlender I (Young 1993: 206).

Nominal and performance pitch from Haynes (2002: 448) who has a bob each way and gives two entries for this instrument, once as an alto in a' by Schell at 401 Hz (F-Paris C.400), and again as an alto in f' by Oberlender at 410 Hz (F-Paris E.193)!

Further details here.
D-Munich: Deutsches Mus.10197Schellf'alto3505plumunmountedStamped H.SCHELL/S entwined monogram.
A-Innsbruck: Mus FerdinadeumSchellc'tenor4053649boxNominal and performance pitch from Haynes (2002: 447).
I-Rome: Museo dSM2203 & 883Schelltenor18C3654boxStamped H. SCHELL

Belonged to Alessandro and Benedetto Marcello (Li Virghi, 2012).

Images here (second from rhs) and there.
A-Linz: Schlossmus159, Mu 10Schellfbasset40639901mapleunmountedbrassHead stamped H.SCHELL/S/entwined monogram; body & foot stamped H.SCHELL/S. Bocal enters top of windcap.

Nominal and performance pitch from Haynes (2002: 447).
A-Linz: SchlossmusW.160, Mu 11Schellfbasset40839901mapleunmountedbrassHead stamped H.SCHELL/S/ entwined monogram; body & foot stamped H.SCHELL/S.

Nominal and performance pitch from Haynes (2002: 447).
D-Nuremberg GNMMI 95Schellfbasset1690-171040339901box1 brass ferule on windcapbrassStamped H.SCHELL/S/ entwined monogram. Bocal enters top of windcap. Marked 'J. Denner corrigirt'.

Nominal & performance pitch from Haynes (2002).

CAT image available from Germanisches National Museum, Nuremberg (2002).

Images & further information here.
F-ParisE.2140Schellfbasset387310801plumbrass ferrule on bulbous windcapbrassHead stamped H.SCHELL/S/entwined monogram. Bocal missing, entered side of cap. Foot without crutch.

Nominal and performance pitch from Haynes (2002).

For further details see here.

Image here (from Heinz Amman).
USA-MA-Boston: von HueneG Schererf'alto4103511ivoryunmountedStamped on all 3 sections: 2/SCHERER/fleur de lys.

Nominal and performance pitch from Haynes (2002: 449).
D-Leipzig1145Schererfbasset1735-1745410310411walnuthornbrassStamped SCHERER/illegible device. The horn mount is on the top of the foot only & may be a repair. Bocal (missing) enters back of windcap.

Nominal and performance pitch from Haynes (2002: 499).

Bali (2007: colour plate);Herbert Heyde: Flöten. Musikinstrumenten-Museum der Karl-Marx-Universität Leipzig. Katalog, Bd. 1, Leipzig 1978, S. 52.Georg Kinsky: Musikhistorisches Museum von Wilhelm Heyer in Cöln, Bd. 3: Blas- und Schlaginstrumente [unveröffentlichtes Manuskript, ca. 1912], S. 23.

Image & further information here.
CH-Basel: Hist. Mus.1950:89C Schlegelf'alto4273515.5boxunmountedStamped CHRISTIAN in scroll/S (Küng's Stamp 4).

Nominal and performance pitch from Haynes (2002: 252).
CH-Zollikon: MangoldC Schlegelbass3
F-ParisE.2396C Schlegelfbasset18C412310001fruit wood, stained1 brass ferrulebrassStamped sun device/CHSCHLEGEL/S. Bocal enters side of windcap. F-Paris give maker as Jérémias Schlegel! Ex Collection Paul Cesbron. Further details here.

Nominal and performance pitch from Haynes (2002: 252).
GB-Brighton: Municipal Mus.SchuchartaltoboxivoryStamped Iul/SCHUCHART/2-headed spread eagle. Formerly GB-Brighton: Spencer.
USA-NY-New York: MMASchuchartaltoOne of 2.
USA-NY-New York: MMASchuchartaltoTwo of 2.
USA-OH-Cincinnati: Art Mus.Schuchartsopranoc1750Stamped IuI/SCHUCHART/2-headed spread eagle. Ex Taphouse collection.
GB-London: Christies'Schuchartalto3502fruitwoodunmountedHead & foot stamped IuI/SCHUCHART.
USA-OH-Cincinnati: Art Mus.Schuchartalto
D-Bavaria: anonymousSchuechbaurg'alto3439ivoryunmountedStamped flower/S/SCHVECHBAVR.

May be the same as D-Bavaria: Bogenhaus 6a (awaiting confirmation from Bruce Haynes).
D-Nuremberg GNMMIR 210Schuechbauerd'voice flute1710-17304613611.51mapleNULLbrassAll 3 sections stamped SCHVECHBAVR.

Nominal and performance pitch from Haynes (2002: 449).

Röntgenaufnahme RB 1479; Kirnbauer, Martin: Historische Holzblasinstrumente in der Sammlung des Germanischen Nationalmuseum. In: Tibia, 14. Jg. (1989), S. 426.; Kirnbauer, Martin und Dieter Krickeberg: Untersuchungen an Nürnberger Blockflöten der Zeit zwischen 1650 und 1750. In: Anzeiger der Germanischen Nationalmuseums 1987. Nürnberg, 1988, passim.; Musikinstrumente aus Bach´scher Zeit. Ausstellung zu Allerheiligen aus Anlaß des 5. Internationalen Bachfestes in Schaffhausen 1957. Schaffhausen, 1957, Nr. 16.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, S. 48-49 (=Bestandskatalog).

Image & further details here.
NL-Amsterdam: BrüggenVIIIStanesby Srf'alto4033518boxunmountedStamped T/STANESBY/*. Purchased from GB-London: Bingham.

Nominal and performance pitch from Haynes (2002).
GB-London: HornimanM40-1982Stanesby Srf'alto1691-17334113500NULLboxivory ferrulesNULLStamped T/STANESBY/*. Dolmetsch Collection.

Nominal and performance pitch from Haynes (2002).

Images & further details here (from Heinz Amman) & there (from GB-London: Horniman). Young et al. (1997) give the length as 49.5 cm.
GB-Ilford: HalfpennyStanesby Sralto3pearunmounted
GB-London: LiebrechtStanesby Sr, HarrisaltoivoryHead & foot by Denner; body by Harris.
xD-Berlin2806Stanesby Sralto500boxunmounted
CH-Geneva: PiguetStanesby Srf'alto4043503boxunmountedAll 3 sections stamped STANESBY/dolphin.

Nominal and performance pitch from Haynes (2002) who notes that this instrument is no longer owned by Piguet.
ex GB-Upper Bourne End: LefkovitchSothebys Sale LO8251, Lot 149 (7 October 2008)Stanesby Srd'voice fluteNULLNULL3600NULLNULLunmountedNULLStamped T. Stanesby - eight-pointed star
Currently offered for sale, estimate GBP 8,000–15000.
Recorded by Young (1981: 219).
NZ-Wellington: CastleStanesby Src'tenor409Stamped with a single star and the name T. Stanesby.

Acquired by Zillah Castle from a Wellington music teacher, Miss D.B. Heath whose father brought it out from England. The instrument had belong to her father's uncle who came from Tamworth in Stafffordshire. See Recorder News, New Series 12: 5 (1955).

Nominal and performance pitch from Haynes (2002).
NL-Amsterdam: BrügenStanesby Jrd''soprano (sixth flute)4293308ivoryunmountedStamped STANESBY/IUNIOT/F; cherub's head engraved on mouthpiece; grapevine engraved on body. Ex Collection Edgar Hunt.

Nominal and performance pitch from Haynes (2002).

Image here.
A-Vienna: ClemencicStanesby Jrc''sopranoivoryunmountedex Baines, ex Galpin.
J-Tokyo: IinoStanesby Jrc''soprano3ivorygoldStamped STANESBY/IUNIOR/6. Gold points inlaid in ivory, on all 3 sections.
USA: anonymousStanesby Jrbb'sopranoboxunmountedHead only. Stamped STANESBY/IUNIOR/4.
GB-Shipston-on-Stour: BennetStanesby Jrf'alto3Stamped dagger/STANESBY/IUNIOR.
GB-London: Horniman14.5.47/275Stanesby Jrf'alto1734-17543500box (stained brown)Stamped STANESBY/IUNIOR. Sounding length 432 mm. Carse Collection. The labium is badly damaged.

Images & further details here (from Heinz Amman) & there (from GB-London: Horniman).
USA-NY-New York: MMA1982.39Stanesby Jrf'altoNULL4103496.5NULLboxunmountedNULLStamped STANESBY/IUNIOR. Foot with flute-like profile.

Nominal and performance pitch from Haynes (2002).

Image here.
GB-Peebles: DodmanStanesby Jraltoivory
USA: anonymousStanesby Jrf'alto3503boxunmountedStamped STANESBY/IUNIOR.

Sotheby's - New York
Early Musical Instruments
Auction Date: 4 November 1998
Lot 217
Estimate: $ 13,577 - $ 20,365; £ 8,000 - £ 12,000
GB-Sudbury: RaymondStanesby Jralto
J-Tokyo: IinoStanesby Jrf'altoivoryunmountedStamped STANESBY/IUNIOR.
NL-Amsterdam: BrüggenStanesby Jrbbtenor (fourth flute)40337301stained boxunmountedbrassStamped dolphin/STANESBY/IUNIOR/4. Ex Collection Walter Bergmann.

Nominal and performance pitch from Haynes (2002).

According to Brüggen, the block is original (Saunders 2010: 10).
GB-Royston: HardingStanesby Jrbb'tenor
GB-Cambridge: LobbanStanesby Jrtenor
xD-Berlin2785Steenbergenb♭'fourth flute (soprano)NULLNULL2350NULLboxunmountedNULLSachs' catalogue of the Berlin collection lists two Steenbergen recorders (nos. 2785 and 2787): a 2-piece Quartflöte in b♭ (a soprano fourth flute) made of reddish boxwood, and a 3-piece, brown-stained Diskantflöte in g 'in boxwood, with an ivory ring. The Quartflöte, which according to Sachs was 35 cm long, was probably a soprano recorder in c''. The other was 42 cm long, approximately the same length as Robbert Wijne's third flute (recorder in a’, Gemeentemuseum Den Haag Ea 323-1933), meaning that it was probably two tones higher than the ordinary alto recorder in f’.

Unfortunately both of the Steenbergen recorders listed by Sachs were lost in Berlin during or shortly after World War II.

Ref. Bouterse (2015).
xD-Berlin2787Steenbergeng'altoNULLNULL3425NULLboxivoryNULLSachs' catalogue of the Berlin collection lists two Steenbergen recorders (nos. 2785 and 2787): a 2-piece Quartflöte in b♭ (a soprano fourth flute) made of reddish boxwood, and a 3-piece, brown-stained Diskantflöte in g 'in boxwood, with an ivory ring. The Quartflöte, which according to Sachs was 35 cm long, was probably a soprano recorder in c''. The other was 42 cm long, approximately the same length as Robbert Wijne's third flute (recorder in a’, Gemeentemuseum Den Haag Ea 323-1933), meaning that it was probably two tones higher than the ordinary alto recorder in f’.

Unfortunately both of the Steenbergen recorders listed by Sachs were lost in Berlin during or shortly after World War II.

Ref. Bouterse (2015).
S-StockholmM160Steenbergend''sixth flute (soprano)4133312box; stained dark brownhornStamped I:STEENBERGEN (in scroll)/fleur-de-lys. Plays badly, mainly because the surface of the block is rather rough. The socket bulge of the head joint is cracked and is repaired by a ring of horn. See Bourterse (1998, 2001).

Performance pitch from Haynes (2002: 451).

Images & further information here
NL-Amsterdam: BrügenSteenbergenc''soprano4102312box; probably unstainedunmountedStamped I:STEENBERGEN (in scroll)/fleur-de-lys. Sounding length 299.5 mm. Block may not be original. Playable. See Bouterse (2001).

Nominal and performance pitch from Haynes (2002: 451).

Image here.
NL-Amsterdam: BrügenVIISteenbergenf'altoNULL4073503.8NULLbox; stained brownivory beak, ferrules & foot ringNULLStamped I:STEENBERGEN (in scroll)/fleur-de-lys. Sounding length 444.6 mm. Block by Ricardo Kanji. In perfect playing condition. See Bouterse (1998, 2001).

Nominal and performance pitch from Haynes (2002: 451).

Image here.
NL-Ketelhaven:ScheepsarchaelogmusOH-43-208Steenbergenc''sopranoNULL4103NULLNULLboxNULLNULLStamped I:STEENBERGEN/fleur-de-lys. Found in the excavation of a shipwreck which sunk 1888 in bad weather near Ketelhaven when this area was still covered by the sea. The foot is a dummy without a finger-hole, crudely carved in beech, and not original. See Bouterse (1998, 2001).

Nominal and performance pitch from Haynes (2002: 451).
D-Darmstadt: Hess.Mus.HMkg 67:126Steenbergenfbasset405310101pearbrassbrassStamped I:STEENBERGEN (in scroll)/fleur-de-lys. Bocal (missing) enters side of windcap. Restored by Rainer Weber. Block of Cedrela ? odorata is probably not original. Playable, slightly under A415. See Bouterse (1998, 2001).

Nominal and performance pitch from Haynes (2002: 451).
NL-Uithuizen: Menkemaborg597Steenbergenf'alto4083box; stained borwnunmountedMenkemabourg is in Uithuizen, a province of Groningen.

Bouterse considers that the two altos from Groningen mentioned by Young refer to this instrument which was part of a collection moved to Menkemabourg Castle. Stamped I:Steenbergen (in scroll)/fleur-de-lys. Playable. See Bouterse (2001).

Nominal and performance pitch from Haynes (2002: 451).

In a note to Brian Blood, Charles Fischer notes that an ivory alto from this collection is now to be found in the Shrine to Music Museum, Vermillion (USA).
NL-Amsterdam: Rijksmuseum (Boers Collection)BK-NM-11430-94Tertonf'alto4173498box; stained brownunmountedOn loan from 1952 to 2-10 to NL-Hague as
Ea 31-X-1952.
,br>Stamped 3-pronged crown/E:TERTON/Brabant lion. Playable. Long crack in head joint, leaking air.
,br>Nominal and performance pitch from Bouterse (2004: 24). Haynes (2002: 451) gives the performance pitch of this instrument as A=407 Hz.
NL-HagueEa 323-1933Tertonf'alto4153497box; stained brownunmountedStamped 3-pronged crown/E:TERTON/Brabant lion. Playable, slightly under A415. See Bouterse (2001).
USA-CA-Ventura: LendertseTertonf'alto4153boxivory beak and ferrulesStamped 3-pronged crown/E:TERTON/Brabant lion. Labium repaired. Middle joint may have been altered. See Bouterse (2001).
NL-ApeldoornTertonf'alto4073ivoryFormerly located in Zaandam. Very badly damaged but now restored by Martin Wenner (Singen, Germany). Stamped crown/E:TERTON/Brabant lion. See Bouterse (2001).

Nominal and peformance pitch from Haynes (2002: 251).
NL-Hazerswoude-DorpTertonf'alto4103box; stained brown (faded)ivory ferrulesBrutally altered: the labium excised and replaced by a piece of wood, the beak shortened, the block replaced with a piece of broomstick, and wood removed from windway ceiling. Stamped 3-pronged crown/E:TERTON.

Nominal and performance pitch from Haynes (2002: 451).
D-Bonn: Beethovenhaus6A Walchg''sopranino387265ivoryStamped in scroll A:WALCH.

Formerly in the Collection of Josef Zimmermann, Düren, Germany (D-Düren: Zimmermann).

Nominal and performance pitch from Haynes (2002).
GB-London: LumsdenA Walchf'alto
D-Nuremberg GNMMIR 209G Walchc'tenorc. 17163993649.5plumunmountedStamped in scroll G.WALCH/shell.
Nominal and performance pitch from Haynes (2002).
van der Meer, John Henry: Wegweiser durch die Sammlung historischer Musikinstrumente des GNM. Nürnberg, 3/1982, S. 49.; van der Meer, John Henry: Berchtesgadener Holzblasinstrumente in Nürnberg. In: Tibia, 4. Jg. (1979), S. 441.; Zimmermann, Josef: Von Zinken, Flöten und Schalmeien. Düren, 1967, S. 5.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, S. 53-54 (=Bestandskatalog).
Image & further information here.
A-Salzburg: Mus. Car.-Aug.3-OctG Walchbbtenor37711cherryhornbrassStamped (in scroll) G.WALCH/shell. Brass bocal & mouthpiece.
A-Salzburg: Mus. Car.-Aug.3-SepG Walchbbtenor17251cherryunmountedbrassStamped (in scroll) G.WALCH/shell.
A-Salzburg: Mus. Car.-Aug.3-NovG Walchbbtenor37101cherryhornbrassStamped (in scroll) G.WALCH/shell. Brass crook & mouthpiece.
F-ParisE.980.2.92G Walchc'soprano18C3953354fruitwoodunmountedFoot not orignal. Ex Collection Geneviève Thibault de Chambure. Further details here.

Nominal and performing pitch from Haynes (2002).
A-Salzburg: Mus. Car.-Aug.3-AprIG Walchg'alto420plumhornstamped in scroll L:WALCH/shell.
D-Munich: Bav. Natl. Mus.25961L Walch IId''soprano (sixth flute)3300plumunmountedStamped LORENZ WALCH/BERCHTESGADEN/D.

MacMillan (2007: 200).

A Berchtesgadner Fleitl. The 'D' in the mark is a pitch mark.

MacMillan (2008: 59)
A-Salzburg: Mus. Car.-Aug.3-MarL Walch IIc''soprano3335boxhorn ringsStamped C/LORENZ WALCH/BERCHTESGADEN beneath a pitch mark 'C'. A high-quality recorder with a bright, clear timbre and a compass of two octaves with good intonation.

Marvin (1972)
MacMillan (2007: 200; 2008: 59-60)
D-Bonn: Beethovenhaus8L Walch IId''soprano (sixth flute)c. 18803300plumunmountedStamped (5-petal flower)/LORENZ WALCH/BERCHTESGADEN/D.

Formerly in the Collection of Josef Zimmermann, Düren, Germany (D-Düren: Zimmermann).

MacMillan (2007: 200; 2008: 62)
D-Berchtesgaden: Heimat Mus.1074L Walch IIc''soprano19C338palisanderivoryStamped 'C', indicating the pitch.

Bruckner (1978)
Young (1993)
MacMillan (2007: 200; 2008: 62)
D-Berchtesgaden: Heimat Mus.1079L Walch IIab'soprano (third flute)19C419plumunmountedStamped LORENZ WALCH/BERCHTESGADEN/(clover leaf)
Bears the mark 'RW' on the head, as does an alto by Goulding in USA-New York. Also bears the letter 'A', indicating pitch.

Bruckner (1978)
Young (1993)
MacMillan (2007: 200; 2008: 62-63)
D-Stuttgart: HaseL Walch IIsoprano19CMacMillan (2007: 200; 2008: 63)
D-Nuremberg GNMMIR 194L Walch IIc''sopranoc. 1855340plumStamped (flower)/LORENZ WALCH/BERCHTESGADEN
The museum deates this instrument ca 1855, ex Rück

Young (1993)
MacMillan (2007: 200; 2008: 63)
A-Salzburg: Mus. Car.-Aug.3-JanP Walchd''soprano (sixth flute)3300rosewoodivoryStamped (8-petal flower)/PAUL WALCH/BERCHTESDADEN/(8-petal flower)/D
The 'D' indicates the pitch. In poor condition, but the timbre is bright and similar to the soprano by Lorenz Walch II in the same collection.

Young (1993)
MacMillan (2009: 63-64)
D-Nuremberg GNMMIR 195P Walchc''soprano3336boxhornStamped (flower)PAUL WALCH/BERCHTESGADEN/C, the 'C' an indication of pitch.

Young (1993)
MacMillan (2007: 200; 2008: 64)

Image here.
D-Nuremberg GNMMIR 196P Walchc''sopranoc. 1845NULL3338NULLbox2 horn ferulesNULLStamped (flower)PAUL WALCH/BERCTESGADEN/C, the 'C' an indication of pitch.
Young (1993; MacMillan (2007: 200; 2008: 64))
Images & further information here and there.
D-Bremen: MüllerP Walchc''soprano19C3334boxhornMacMillan (2007: 201; 2008: 65)
PL-Jasna Góra Monastery110Weigelfbassetc.1730320001brassStamped crown/(in scroll) H.WEIGEL/W.

Listed in error by Young (2003) as being at PL-Poznan: Museum, see Madry & Franksowsi (2012: 190-191 & fig. 1).
GB-Oxford: Bate111Wynef'alto4083420box; stained brownunmountedStamped crown/R.WYNE/2-headed eagle. Foot missing, recently replaced by a new foot in a diferent style. The block may have been lowered. Ex Collection Edgar Hunt. Playable with some problems at ca A408. See Bouterse (2001).

Nominal and performance pitch from Haynes (2002: 452).
NL-Amsterdam: BrüggenXIIIWynec''soprano4002339.5box; stained brownunmountedStamped crown/R.WYNE (in scroll)/2-headed eagle. Ex Friedrich Schmidtmann, Mönchengladbach. Restored by von Huene who inserted a new labium. Playable a little under A415. See Bouterse (2001).

Nominal and performance pitch from Haynes (2002: 451).
GB-Edinburgh: Univ.3921Bassanoc#'tenor44016111ivory with gold inlaybrass ferules on fontanelle.brassStamped !! (ML-J type unclassified) & thus probably by a member of the Bassano family. Ivory with a gold strip protective inlay at the beak. Foot with fontanelle. sounding length 557 mm. Ex Schloss Baden-Baden & GB: Tony Bingham.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).

Image & further details here.
A-Salzburg: Mus. Car.-Aug17-MarL Walch Ig'altoNULLNULLNULL420NULLplumhornNULLStamped (in scroll) L-Walch/shell.
D-Bavaria: anonymousL Walch If'alto18-19C508plumStamped (in scroll) L.WALCH/shell
Young notes that this instument was in the possession of an old Nuremberg family until ca 1850 and used for amateur music-making. It then passed into the hands of the Bogenhauser Künstlerkapelle.

Young (1993)
MacMillan (2007: 202)
D-Sondershausen: Schloss3.2 Mu 34JC Dennerbasset39901boxbrass (windcap only)brassWindcap & body stamped I.C. DENNER. Brass bocal enters at top of windcap. Restored 1993.
D-Sondershausen: Schloss3.1 Mu6Unknownbasset310181plumbrass (on windcap only)brassBocal enters top of windcap. Restored 1988.
D-Sondershausen: Schloss3.3 Mu35Unknownbasset39891maplebrass (windcap only)brassBocal enters top of windcap. Restored 1993.
NL-Utrecht: Mus.DebeyaltoCopy made by Löbner.
USA-Claremont: FiskeW1W Kochsopranop1934
USA-Claremont: FiskeW2W Kochsopranop1934
USA-Claremont: FiskeW3Unknownsoprano1930
USA-Claremont: FiskeW5W Kochaltop1934
USA-Claremont: FiskeW6Unknownalto1930
USA-Claremont: FiskeW7W Kochtenorp1934
USA-Claremont: FiskeW229Mollenhauersoprano1950
D-Nuremberg GNMMI 642Kynsekerc'''piccolo (garklein flutlein)1650-1670NULL1178NULLivoryNULLNULLStamped HF.
Bär, Frank P.: Neuerwerbsbericht. In: Anzeiger des Germanischen Nationalmuseums 1998. Nürnberg 1999, S. 246.
Image & further information here.
D-Nuremberg GNMMI 197Schind''soprano (sixth-flute)c. 18403320box1 horn feruleThe letter 'D' appears on the body of the instruments: such pitch marks are often found on Bavarian and Austrian instruments, sometimes incorporated in the maker's mark.
MacMillan (2007: 200; 2008: 56))
Image here and there.
D-Nuremberg GNMMI 569Ziemann-Molitorc''sopranoc. 1935NULLNULLNULL6NULLNULLNULLNo thumbhole. There is a similar alto with the same accession number. System Ziemann-Molitor recorders were designed for use in Waldorf schools.
D-Nuremberg GNMMI 598Schustersopranoc. 1930Schneidersche Schulflöte.
D-Nuremberg GNMMI 635Mollenhauerc''soprano1996plasticModel 'Swing'.
D-Nuremberg GNMMI 636Mollenhauerc''soprano19962320plastic (head) & wood (body)Model 'Prima'.
Image & further information here.
D-Nuremberg GNMMI 569Ziemann-Molitorf'altoc. 1935NULLNULLNULL6NULLNULLNULLNo thumbhole. There is a similar soprano with the same accession number. System Ziemann-Molitor recorders were designed for use in Waldorf schools.
D-Nuremberg GNMMI 599Ottof'altoc193534966grenadilla (head & body), ?rosewood (foot)2 silver-coloured metalsilver-coloured metalAppears to have been made for a physically challenged player.

Philipp, Michael: Neuerwerbsbericht. In: Anzeiger des Germanischen Nationalmuseums 1994. Nürnberg 1994, S. 222.

Image & further information here.
D-Nuremberg GNMMI 622Schellf'alto1690-17103482boxHead stamped below the window/labium M SCHELL in a banner above an entwined monogram.
Krickeberg, Dieter: Neuerwerbsbericht. In: Anzeiger des Germanischen Nationalmuseums 1996. Nürnberg 1996, S. 228-229.
Image & further information here.
D-Nuremberg GNM638c1730Made in Nuremberg. On loan from Christine Schmidtner.
D-Nuremberg GNMMIR 203Eglf'altoearly 18C399plumNominal and performance pitch from Haynes (2002), who gives the maker's surname as Eggl.
D-Nuremberg GNMMIR 202Fischef'alto18C4143502plumStamped NI:FISCHE in a banner.
Nominal and performance pitch from Haynes (2002: 448).
Musikinstrumente aus Bach´scher Zeit. Ausstellung zu Allerheiligen aus Anlaß des 5. Internationalen Bachfestes in Schaffhausen 1957. Schaffhausen, 1957, Nr. 15.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, S. 42-43.
Image & further information here.
D-Nuremberg GNMMIR 211Unknownc'18C1box, stained red-brownMade in Nuremberg.
D-Nuremberg GNMMI 594Harland'tenor1930-194035741grenadilla2 silver-coloured metal ferules + 1 on windcapsilver-coloured metalTwo heads, one normal, the other with a windcap and brass bocal!

Image & further information here.
D-Nuremberg GNMMI 595Harlanc'tenor1920-194036321light-coloured wood (? maple)2 brass ferulesbrassPhilipp, Michael: Neuerwerbsbericht. In: Anzeiger des Germanischen Nationalmuseums 1994. Nürnberg 1994, S. 222.

Image & further information here.
D-Nuremberg GNMMI 229Zickfbasset1700-1720310351plumbrass ferule on windcapStamped I.G.ZICK. Bocal (missing) enters at top of windcap.

Kirnbauer, Martin: Historische Holzblasinstrumente in der Sammlung des Germanischen Nationalmuseum. In: Tibia, 14. Jg. (1989), S. 425.; Kirnbauer, Martin und Dieter Krickeberg: Untersuchungen an Nürnberger Blockflöten der Zeit zwischen 1650 und 1750. In: Anzeiger der Germanischen Nationalmuseums 1987. Nürnberg, 1988, passim.; van der Meer, John Henry: Wegweiser durch die Sammlung historischer Musikinstrumente des GNM. Nürnberg, 3/1982, S. 49.; van der Meer, John Henry: Germanisches Nationalmuseum Nürnberg. Geschichte seiner Musikinstrumentensammlung. In: Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitze 1979/80. Hrsg. Von Dagmar Droysen. Berlin, 1981, S. 39.; Langwill, Lyndesay G.: Musical Wind-Instrument Makers. Edinburgh, 6/1980, S. 195.; Nickel, Ekkehart: Der Holzblasinstrumentenbau in der Freien Reichsstadt Nürnberg. München, 1971, S. 286.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, S. 76-77 (=Bestandskatalog).

Image & further information here.
D-Nuremberg GNMMIR 217Unknownfbasset1715-173539621plum2 brass ferules, 1 on windcap, 1 on headBrass bocal enters at top of windcap.

Musikinstrumente aus Bach´scher Zeit. Ausstellung zu Allerheiligen aus Anlaß des 5. Internationalen Bachfestes in Schaffhausen 1957. Schaffhausen, 1957, Nr. 17.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, S. 81-82 (=Bestandskatalog).

Image & further information here.
D-Nuremberg GNMMIR 216Unknownbassetlate 18C31dark brown wood3 brass ferulesbrassMade up of fragments of ? French and German origin. Brass bocal entering at rear of windcap.
Images & further information here.
D-Nuremberg GNMMI 93Unknownfbasset1760-186031085woodDescribed as a 'theatre instrument' in the museum catalogue; possibly a stage prop as it has only 6 finger-holes and a thumbhole. Bocal missing.

van der Meer, John Henry: Germanisches Nationalmuseum Nürnberg. Geschichte seiner Musikinstrumentensammlung. In: Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitze 1979/80. Hrsg. Von Dagmar Droysen. Berlin, 1981, S. 22.; Rettberg, Ralf Leopold von: Die Sammlungen musikalischer Instrumente im Germanischen Nationalmuseum. In: Anzeiger für Kunde der Deutschen Vorzeit, Neue Folge, VII, Heft 2 (1860), Nr. 48.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, S. 85 (= Bestandskatalog); MacMillan (2007: 201: 2008: 76).
Image & further information here.
D-Nuremberg GNMMIR 215Unknownfbassetearly 20C31plum3 brass ferulesbrassStamped NM. Possibly German-made. Bocal missing but entering through rear of windcap.
Images & further information here.
D-Nuremberg GNMMI 145BassanoBbass1550-16004402137843 brass ferulesStamped !! (ML-J type A) & thus probably by Bassano family member. For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

Kirnbauer, Martin: Historische Holzblasinstrumente in der Sammlung des Germanischen Nationalmuseum. In: Tibia, 14. Jg. (1989), S. 425.; van der Meer, John Henry: Musikinstrumente von der Antike bis zur Gegenwart. München, 1983, S. 62, Abb. 96.; van der Meer, John Henry: Wegweiser durch die Sammlung historischer Musikinstrumente des GNM. Nürnberg, 3/1982, S. 9.; van der Meer, John Henry: Germanisches Nationalmuseum Nürnberg. Geschichte seiner Musikinstrumentensammlung. In: Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitze 1979/80. Hrsg. Von Dagmar Droysen. Berlin, 1981, S. 36.; van der Meer, John Henry: Der „alte“ Musikinstrumentenbestand des Germanischen Nationalmuseums (maschinenschriftlich). Nürnberg, 1972, S. 12.; Marvin, Bob: Recorders & English Flutes in European Collections. In: Galpin Society Journal H. 25 (1972), S. 33 u. 44f.; Ott, Alfons: Tausend Jahre Musikleben 800-1800 (= Bibliothek des Germanischen Nationalmuseums zur deutschen Kunst- und Kulturgeschichte, hrsg. von Ludwig Grote, Bd. 18/19). München, 1961, Abb. 57.; Norlind, Tobias: Musikinstrumentens historia i ord och bild. Stockholm, 1941, Abb. Pl. 51, Nr. 3.; Ruth-Sommer, Hermann: Alte Musikinstrumente. Ein Leitfaden für Sammler (= Katalog für Kunst- und Antiquitätensammler, Bd. 8): Berlin, 1916, Abb. Taf. III.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, S. 83-84 (= Bestandskatalog).

Image & further information here.
USA-SD-Vermillion: National Music Museum6043J Denneraltoc17153499boxAll 3 sections stamed I.DENNER (within a scroll)//[fir tree]D. Ex coll. Albrecht Kleinschmidt, Neu Ulm, Germany.
USA-SD-Vermillion: National Music Museum6172Steenbergenf'altoc17204103528NULLivoryNULLNULLOriginally in a private collection in the province of Groningen, in the northern parts of the Netherlands. All 3 sections stamped I:STEENBERGEN (in scroll)/fleur-de-lys. Double holes for fingers 6 & 7 (the double hole for 6 is unequal, 7 is equal). In excellent playing condition. See Bouterse (1998, 2001).

Nominal and performance pitch from Haynes (2002: 451).
USA-SD-Vermillion: National Music Museum6044J Dennertenorc171536721boxbrassAll 3 sections stamped I.DENNER (within a scroll)//[fir tree] D. Key with a round, flat cover on the foot. Ex coll. Albrecht Kleinschmidt, Neu Ulm, Germany.
D-Berlin656gbasset27C440NULLNULL1woodmetal ferrulesNULLStamped KK.
Originally from St Wenzels Kirche, Naumburg. Sounding length 832 mm.
For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).
Image & further details here
D-Berlin2818Bassanog#basset440Stamped ! (ML-J type unclassified), & thus probably by a member of the Bassano family.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

For image see here.
D-Berlin2820Rolfbasset440Stamped A.T. ROL Sounding length 876 mm. Windway, window & blowing side, towards the player.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).
I-Bologna: Museo1768Bassanof#basset440Stamped !! (M-type A) & thus probably by a member of the Bassano family. Sounding length 865.4 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).
I-Bologna: Museo1815Bassanof#basset4401boxbrassStamped !! !! (ML-J type A) & thus probably by a member of the Bassano family. Sounding length 849.7 mm.

Foot with perforated fontanelle and butterfly key.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).
I-Bologna: Museo1830Bassanog#basset440yewStamped !! (ML-J type L) & thus probably by a member of the Bassano family. New baroque foot added, with clarinet-type keys!

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).
I-Bologna: Museo1839Bassanoc#'tenor440box              !!
Stamped !! !! (ML-J type A) & thus probably by a member of the Bassano family. New baroque foot added, with clarinet-type keys!

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).
I-Bologna: Accad. Fil.596 (Puglisi 2; Tiella 4)Greced'+tenor440plumStamped P•GRECE. A brass sleeve is fitted to the upper section which is split from top to window. Sounding length 525 mm. Said to work with Jambe de Fer fingerings.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535); Tiella (2005; 131).

Tiella gives the pitch as ca A=462 Hz.
I-Bologna: Accad. Fil.597 (Puglisi 3; Tiella 5)Greced'+tenor440plumStamped P•GRECE. Sounding length 525 mm. Said to work with Jambe de Fer fingerings. An irremovable brass sleeve is fitted below the mouth of the recorder, which is split along the body.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535); Tiella (2005: 132).

Tiella gives the pitch as ca A=432Hz
I-Bologna: Accad. Fil.598 (Puglisi 4; Tiella 6)Grecec'+tenor440plumStamped P.GRE/C/E. Sounding length 567 mm. Head split from top to windway. Said to work with Jambe de Fer fingerings.

For critical measurements, photo & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535); Tiella (2005: 132).

Tiella gives pitch a ca A=462 Hz.
I-Bologna: Accad. Fil.600 (Puglisi 5; Tiella Bs1)Grecegbasset440plumStamped P•GRECE. Sounding length 765.5 mm. Said to work with Jambe de Fer fingerings. this instrument has the window facing backward. The top of the windcap is flat.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535); Tiella (2005: 133).
I-Bologna: Accad. Fil.603 (Puglisi 6; Tiella Bs2)Greceg+basset440plumStamped P•GRECE. Sounding length 767 mm. Said to work with Jambe de Fer fingerings.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536).

Tiella (2004: 9 & 2005: 134) gives this instrument the inventory number 601, in error!
I-Bologna: Accad. Fil.605 (Puglisi 8; Tiella B1)Grecec+bass4402Stamped P•GRECE. Sounding length 1121.5 mm. Said to work with Jambe de Fer fingerings. Constructed in three parts, two mortised and glued together to form its lower section. The tenon joining body and head is mortised in reverse. A wind-duct has been drilled into the wall of the head in order to insert a mouthpiece. The resulting damage to the beak has been covered by a metal cap.The ramp has been repaired by gluing a metal sheet on the broken edge.

For critical measurements, photo & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536); Tiella (2004 & 2005)

Tiella (2004: 9 & 2005: 134-135) gives this instrument the inventory number of 604, in error!
I-Bologna: Accad. Fil.604 (Puglisi 9; Tiella B2)Grecec+bass44021plumStamped P•GRECE. Sounding length 1109 mm. A wind-duct has been drilled into the wall of the head in order to insert a mouthpiece. The beak has been covered by a metal sleeve. The fontanelle and key are missing. Said to work with Jambe de Fer fingerings.

For critical measurements, photo & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536); Tiella (2004 & 2005).

Tiella (2004: 9 & 2005: 134-146) gives this instrument the inventory number 605, in error!
I-Bologna: Accad. Fil.594 (Puglisi 13; Tiella 1)Bassanod#'tenor440498boxStamped !! !! (ML-J type B) below the window & thus probably by a member of the Bassano family. Sounding length 498 mm. Instrument is warped and has been modified several times. Plays with Ganassi fingerings.

For critical measurements, photo & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005: 533); Tiella (2005).
I-Bologna: Accad. Fil.593 (Puglisi 12; Tiella 2)Unknownd#'tenor4401plumShort windway with markedly sloping ramp. Head split from top to window. Plays with Van Eyck/Jambe de Fer fingerings.

For critical measurements, photo & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536); Tiella (2005: 130).
D-Brunswick81Schnitzerg#basset440boxStamped ÂÂ. Sounding length 781 mm. Instrument has very thin walls; plays with Ganassi fingerings.

For critical measurements & other details see:

Brown, A. Renaissance Recorders Database; Brown (2005b: 534).
D-Brunswick85BassanoB+bass4402plumStamped !! (ML-J type unclassified) & thus probably by a member of the Bassano family. Sounding length 1266.5 mm. In two sections.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.
B-Brussels3330/38Rolf#soprano1550-16004401woodStamped A.T. ROL. Sounding length 205.5 mm. Broken in two pieces.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).

Image & further information here.
B-Brussels1033Bassano?f#bassetc.1550?44021wood2 brass ferules on fontanellebrassStamped !! (ML-J type H) & thus probably by a member of the Bassano family. Sounding length 845 mm. Direct blown: windway and window/labium towards the player.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database

Brown (2005b: 533).

Image & further details here.
B-Brussels440Schrattenbachd#bassc.155044021wood2 brass ferules on fontanelle, 1 on windcapbrassStamped with a double trefoil & thus probably by a member of the Schrattenbach family. Sounding length 1009.5 mm. Cap is a replacement.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

Brown (2005b: 534).

Image & further details here.
B-Brussels1024? Danner OR Drebsc#'tenor1601-16504401boxStamped HD. Sounding length 543.8 mm. This recorder has the same, or similar mark just below the window as Berlin 659, could almost be interpreted as a trefoil.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database

Brown (2005b: 535).

Image & further details here.
B-Brussels1025Bassanoc#'tenor1576-16004401626boxStamped !! (ML-J type unclassisfied). Sounding length 558.5 mm. Labium is replacement.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

Brown (2005b: 534).

Image & further details here.
B-Brussels1031Unknownf#basset16C44021wood, stained dark red.2 brass ferules on fontanelle, 1 on windcapbrassSounding length 849 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database

Brown (2005b: 536).

Image & further details here.
B-Brussels1032Schnitzerg#basset16C46621Cornelian Cherry2 brass ferules on fontanelle, 1 on windcapbrassStamped ÂÂ. Sounding length 781 mm. Plays with Ganassi fingerings.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database

Brown (2005b: 534).

Image & further details here.
B-Brussels1034Schnitzerg#bassetc.155044021light-coloured wood2 brass ferules on fontanellebrassStamped ÂÂ. Sounding length 651 mm. Direct blown (no cap). Fontanelle look original, but bell rim has been almost entirely replaced.

For critical measurements & other details see Renaissance Recorders Database.

Brown (2005b: 534).

Image & further details here.
B-BrusselsM 2646Rafiabasset16C44021? apple2 brass ferules on fontanellebrassStamped with a shield depicting an unknown animal, possibly the Brabant Lion. Sounding length 701 mm. This instrument has the same maker's mark as B-Brussels: M2647 and B-Bruges: M37, thus if the Bruges instrument is considered to be by a member of the Rafi family, then this instrument should be, too. Direct-blown.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005a: 97).

Brown (2005b: 536).

Image & further details here.
B-Brussels2647Rafidbass44021wood2 brass ferules on fontanellebrassStamped with a shield depicting an unknown animal, possibly the Brabant Lion. Sounding length 1083 mm. This instrument has the same mark as B: Brussels 2646 and B-Bruges M37, thus if the Bruges instrument is considered to be by a member of the Rafi family, then this instrument should be, too. Bocal enters top of windcap.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005a: 97).

Brown (2005b: 536).

Image & further details here.
B-Brussels4357Bassanof#?bassetc.1576-160044021wood2 brass ferules on fontanelle, 1 on windcapbrassStamped !! (MJ-L type A) & thus probably by a member of the Bassano family. Sounding length 841 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).

Image & further details here.
B-Brussels4358Bassanof#?bassetc.15504402NULL1wood2 brass ferules on fontanelle, 1 on windcapbrassStamped !! (ML-J type A) & thus probably by a member of the Bassano family. Sounding length 843 mm.
For critical measurements & other details see Adrian Brown's Renaissance Recorders Database
The labium has been expertly repaired. Fingerhole 3 is angled distally.
Image & further details here.
Ref.: Brown (2005b: 533).
DK-Copenhagen: Musikhist. Mus.E78, kat. 38Schnitzerg#basset440mapleStamped ÂÂ. Sounding length 781 mm. The sides of the window are cut away, as with I-Merano 6851 & 6858.

For critical measurements & other details see

Brown, A. Renaissance Recorders Database; Brown (2005b: 534).
DK-Copenhagen: Musikhist. Mus2009-3NULLd#''sopranoNULL4401NULLNULLivoryNULLNULLFound in Silkeborg area, Denmark (Mogens 2016, pers.comm.)
Formerly DK-Private Collection.
No maker's mark. Renaissance/early baroque design with a widely flared foot. Said to play with Matthysz fingerings by Eva Legêne (1995). Closely resembles a soprano recorder by Richard Haka (1646-1709) in Edinburgh University Collection, but is a minor third higher.
For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536).
I-Rome: Museo dSM717Bassanoc#'tenor16C440618Cornelian CherryStamped !! (ML-J type A) & thus probably by a member of the Bassano family. Sounding length 618 mm. Ex Marcello collection.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).

Lyndon-Jones (1998) notes that although the head of this instrument is stamped !! the foot is stamped !! !!

Images here (lhs) & there.
I-Rome: Museo dSM718Bassanocbass44013781Cornelian Cherrybrass, 1 on windcap, 2 on fontanellebrassStamped !!! (M-type A) & thus probably by a member of the Bassano family. Sounding length 1272.5 mm. Crook missing. Ex Marcello collection.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).


Lyndon-Jones (1998) notes that although the head of this instrument is stamped !! !! !! (arranged in a triangle) the foot is stamped !! !!

Images here (lhs) & there.
I-Rome: Museo dSM719Bassanof#basset (extended)16C440211183Cornelian Cherrybrass, 1 on windcap, 2 on fontanellebrassStamped !! (ML-J type A) & thus probably by a member of the Bassano family. Sounding length 1118 mm. One key on front; two on the back. Ex Marcello collection.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).

Lyndon-Jones (1998) notes that although the head of this instrument is stamped !! !! !! (arranged in a triangle) the foot is stamped !! !!

Images here (middle) & there.
I-Rome: Museo dSM720Bassanof#basset44029441Cornelian Cherry1 brass ferrule on windcap, 2 on fontanellebrassStamped !! (ML-J type A). Sounding length 944 mm. This instrument has a brass edge to the labium.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).

Lyndon-Jones (1998) notes that although the head of this instrument is stamped !! the foot is stamped !! !!

Images here (rhs) & there.
D-Frankfurt: M: Hist. Mus.X 4261 (Epstein 120)? Danner OR Drebsf#basset440900? cherryStamped HD. Sounding length 830.5 mm. Part of an 11-recorder set with case D-Frankfurt: M: Hist. Mus.: X4267.

Conical bore: head cylindrical; middle conical, with two separate conical sections; bell campanulate.

For critical measurements, photo & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005a: 81; 2005b: 535).

Epstein (1927); Baines (1966: 80 & fig. 417)
D-Frankfurt: M: Hist. Mus.X 4262 (Epstein 118)? Danner OR Drebsc#'tenor440595? cherryStamped HD. Sounding length 543 mm. Part of an 11-recorder set with case D-Frankfurt: M: Hist. Mus. X4267.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).

Epstein (1927: 118); Baines (1966: 80 & fig. 416)
D-Frankfurt: M: Hist. Mus.X 4263 (Epstein 119)? Danner OR Drebsc#'tenor440? cherryStamped HD. Sounding length 543.8 mm. Part of a 11-recorder set with case D-Frankfurt: M: Hist. Mus. X4267.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brwn (2005b: 535).

Epstein (1927: 119).
D-Frankfurt: M: Hist. Mus.X 4264 (Epstein 116)? Danner OR Drebsg#'alto440405? cherryStamped HD. Sounding length 363 mm. Part of an 11-recorder set with case D-Frankfurt: M: Hist. Mus. X4267.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).

Epstein (1927: 116); Baines (1966: 80 & fig. 415)
D-Frankfurt: M: Hist. Mus.X 4265 (Epstein 117)? Danner OR Drebsg#'alto440? cherryStamped HD. Sounding length 363.9 mm. Part of an 11-recorder set with case D-Frankfurt: M: Hist. Mus. X4267.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).

Epstein (1927: 117).
D-Frankfurt: M: Hist. Mus.X 4266 (Epstein 120b)? Danner OR DrebsCase for eleven recorders including 116-120 unmarked. Lengths of chambers: 2 × 208 mm, 2 × 278 mm, 2 × 322 mm, 2 × 412 mm, 2 × 589 mm & 1 × 905 mm. Appears to be made for basset in f, two tenors in c', two altos in g', two sopranos in c'', two sopranos in d'', and two spraninos in g'' at mezzo punto (Brown & Lasocki, 2006: 24). Bears the mark HD PM.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536).

Epstein (1927: 120b); Baines (1966: 80 & fig. 418)
D-Frankfurt: M: Hist. Mus.X 4267 (Epstein 114)d'tenor4401555Stamped FF/PM. Sounding length 504 mm. Head with tulip-shaped moulding. Van Eyck/Jambe de Fer fingerings. Mate to D-Frankfurt: M: Hist. Mus. X 4268.

For critical measurements, photo & other details see Brown, A. Renaissance Recorders Database; Brown (2005a: 95; 2005b: 535).

Epstein (1927: 114); Baines (1966: 80 & fig. 422)
D-Frankfurt: M: Hist. Mus.X 4268 (Epstein 115)d'tenor440Stamped FF/PM. Sounding length 503.5 mm. Mate to D-Frankfurt: M: Hist. Mus. X 4267.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).

Epstein (1927: 115).
D-Frankfurt: M: Hist. Mus.X 4269PMcaseStamped marked PM. Case for 5 recorders including D-Frankfurt: M: Hist. Mus. 114 & 115. Lengths of chambers: 2 × 315 mm, 1 × 423 mm & 2 × 570 mm. Intended for two tenors in c', one alto in f', and two sopranos in bb' at a pitch a semitone above mezzo punto, ie in fourths, presumably a late trait (Brown & Lasocki, 2006: 24).
NL-Hague240.8NULLd'''piccolo (garklein flutlein)NULL4661NULLNULLivoryNULLNULLSaid by Fred Morgan to work with Matthysz fingerings. For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.
A-Innsbruck: Mus Ferdinadeum21Bassanotenorc. 159011silver sheath on beakStamped !! (ML-J type unclassified) on head and foot & thus probably by a member of the Bassano family.

The key and fontanelle (if any) are missing.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).
D-Leipzig2403Rolf#'alto17C4401465ebonyhorn decoration between beak and window/labiumStamped A.T. ROL. Sounding length 422 mm. Legêne believes this to be more similar to the early baroque recorder by virtue of its bore characteristics. The beak is cut at right angles to form a slender mouthpiece.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

Brown (2005b: 534); Herbert Heyde: Flöten. Musikinstrumenten-Museum der Karl-Marx-Universität Leipzig. Katalog, Bd. 1, Leipzig 1978, S. 36-37; Legêne (1995).

Images & further information here (from D-Leipzig) and there.
A-Linz: SchlossmusMU1CCSc#'tenorNULL440NULLNULLNULLNULLNULLNULLStamped CCS. Sounding length 557.5 mm. Single 7th finger hole.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).

Nominal and performance pitch from Brown (2005). Haynes (2002) gives a nominal pitch of c' and a performance pitch of A=458 Hz for this instrument.

Image here
A-Linz: SchlossmusMU2Unknowng#'basset440Sounding length 817 mm.

Lowest note and performance pitch from Brown (2005b). Haynes (2002: 252) gives this instrument a nominal pitch of g' at the performance pitch of A=451 Hz.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.
GB-London: V&A303-1882Bassanog#basset44018401boxbrassStamped !! (M-type Q) & thus probably by a member of the Bassano family. Sounding length 762 mm. Windcap probably not original.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).

Image & further details here.
GB-London: V&A306-1882Bassanog#basset4401boxbrassbrassStamped !! (ML-J type Q) & thus probably by a member of the Bassano family. Sounding length 761 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).
I-Merano: Landfl. Burg.6851Schnitzerg#basset44028601? cherrybrassStamped ÂÂ. Sounding length 780.5 mm. The sides of the window are cut away, as in tenor (Inv No. 6858) and DK-Copenhagen E.78, kat. 38.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).

Small image here.
I-Merano: Landfl. Burg.6854Schnitzerc#bass440212701maplebrassbrassStamped ÂÂ. Sounding length 1169 mm. Made from two pieces, with a glued joint above fontanelle. Much woodworm and a large crack from hole 4 to above fontanelle. Crook and key look later replacements.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).

Small image here.
I-Merano: Landfl. Burg.6858Schnitzerd#'tenor4401565boxStamped ÂÂ. Sounding length 508 mm. Window sides cut away, as DK-Copenhagen E.78, kat. 38.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.
Brown (2005b: 534).

Small image here.
I-Modena: MuseoSM 18-1981Mazelc'''piccolo (garklein flutlein)c16704401NULLNULLivoryNULLNULLStamped M & thus possibly of Nuremberg origin. Sounding length 143 mm. Wave profile (Kirnbauer 1995).

Thalheimer (1990) notes that this instrument was made by the Nuremberg maker with the mark M, probably from the Mazel family.

Lowest note and performance pitch from Brown (2005b). Haynes (2002) identifies this instrument as a soprano with a nominal pitch of c'' at a performance pitch of A=415 Hz, and he tentatively attributes it to Andreas Maß.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).
F-ParisE.2141UnknownE+contrabass17C440120501fruitwood2 brass ferrulesbrassSounding length 1837 mm. Replacement foot by Henri Gohin.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database & here; Brown (2005b: 536).
F-ParisE.2330Bassanob'soprano17C4401350ivoryHead leather-covered with fleur de lys motifs, not stamped but partner to F-Paris 1935, & thus probably by a member of the Bassano family. Sounding length 306.5 mm. Bell turned cylindrical. Ex Collection Paul Cesbron.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database & here; Brown (2005b: 534).
F-ParisE.2376Bassanog#basset17C44018641fruitwood3 brass ferrules on windcap & fontanellebrassStamped ! (possibly !!) & thus probably by a member of the Bassano family. Plays with Ganassi fingerings. Sounding length 782.5 mm. Ex Collection Paul Cesbron.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database & here.
F-ParisE.301c#bass17C44021340maple5 brass ferrules, & 1 brass sheath on windcapStamped Y. Two-piece construction with a joint between finger-holes 3 & 4 & a tête de negre (carved head) on top of the windcap. Sounding length 1145 mm. Ex Collection Louis Clapisson.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536).
F-ParisE.365Unknown (German)g#basset17C44018701fruit wood3 brass ferrules on windcap & fontanellebrassStamped with a single trefoil. Sounding length 775 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database & here; Brown (2005b: 536).
F-ParisE.980.2.85Unknownd#'tenor17C523520fruitwoodivory beak & mountsSounding length 459.4 mm. Huge bore diameter.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database & here; Brown (2005b: 536).
D-QuedlinburgNULLNULLNULLcase17CNULLNULLNULLNULLNULLNULLNULLCase for seven recorders tuned in alternate fifths and fourths, including the five held at D-Quedlinburg stamped S and clearly dating from the 17th century. (Brown & Lasocki, 2006: 24). Legêne notes that there is space in this case for two soprano recorders, the whereabouts of which are unknown.

Image here
F-La Couture-Boussey: Musée1Unknownc'''piccolo (garklein flutlein)1888-18962285boxwoodMacMillan (2007: 201; 2008; 69)
'Piccolo en UT copié d'un modèle du 17e siècle non précisé'
Image here
F-La Couture-Boussey: Musée2Unknown, after Rafic''soprano1888-1896340boxwoodStamped RAFI, a 19th-century copy.

Image here

MacMillan (2007: 201; 2008: 69-70)
F-La Couture-Boussey: Musée3Unknown, La Couture-Bousseyf'alto1888-18964403442stained boxwoodA 19th-century reconstitution, an unplayable copy of a baroque recorder made for museum display.
McMillan (2007: 201; 2008: 70).
Image here.
F-La Couture-Boussey: Musée5Unknownc'tenor1888-1896NULL36551boxwoodNULLbrassA 19th-century reconstitution in baroque style; an unplayable copy made for museum display.
Head bears the mark J.B.; underside of foot bears the mark CF.d
McMillan (2007: 201; 2008: 70)
Image here.
F-La Couture-Boussey: Musée6Unknown, after Hotteterrec'tenor1888-189636841brassThe instrument, in the style of Hotteterre, is stamped V/M, suggesting that the maker was Victor Charles Mahillon, but the instrument was made in La Couture and Mahillon is not known to have used this mark.
MacMillan (2007: 201; 2008: 70-71)
Image here.
F-La Couture-Boussey: Musée7Unknown, after JC Dennerfbasset1893440NULL9101woodbrass ferrule on windcapbrassStamped J.C. DENNER (in scroll), but the mark is not authentic. This instrument is a 19th-century copy made for museum display.
MacMillan (2007: 201; 2008: 71)
Image here.
F-La Couture-Boussey: Musée8Unknownfbasset1888-189610501'light wood'A 19th-century reconstitution, an unplayable copy made for museum display.

Image here

MacMillan (2007: 201: 2008: 71-72)
F-La Couture-Boussey: Musée15? Martin (not signed)c''soprano?19C233,7boxwoodCollection Inventory (1898)
MacMillan (2008: 92-93)
Image here
F-La Couture-Boussey: Musée17Unknownf'alto1888-1896NULL3476NULLwoodNULLNULLStamped C.F., in poor condition. A 19th-century reconstitution, an unplayable copy made for museum display.
MacMillan (2007: 201; 2008: 72)
Image here.
F-La Couture-Boussey: Musée110Unknown, La Couture-Bousseyd'tenor
A-Salzburg: Mus. Car.-AugM241G Walchg#bassetNULL4401NULL1NULLNULLNULLSounding length 660 mm. Baroque style instrument with typical open standing baroque key. No sign of modification. No fontanelle or cap. Although elliptical, the bore is almost cylindrical.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).
A-Salzburg: Mus. Car.-AugM237a#'bassetNULL440NULLNULLNULL? Cornelian cherry (Cornus mas)NULLNULLStamped PP. Sounding length 655 mm. This highly unusual instrument has a unique key arrangment. The touch activates an upside-down flap beneath a pierced brass cover. There is a score mark below the cover, but the wood seems to match and therefore the bell is probably original. The instrument probably originally had a fontanelle; the mounts having been removed to install the key arrangement. The slight waisting at this point seems to confirm this.The voicing is damaged.

For critical measurements & other deails see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).
Russia-St. Petersburg409BassanoBextended bass4401650? 2Stamped !!! (M-type unclassified), & thus probably by a member of the Bassano family. Speaking length 1650 mm. An extended recorder, probably with two extra keys, in which case the logic should imply that the extra notes are Bb and G# (see extended bassets in Rome and Verona, around a fifth above this instrument.)

For image see here.

For critical measurements & other details see Adrian Brown's Renaissance Recorder Database.
I-Verona: Accad. Fil.13.243BassanoF#-contrabass440Stamped !! (ML-J type A) & thus probably by a member of the Bassano family. Sounding length 1794 mm.

Labium with a beautifully executed brass edge, seen again in I-Verona 13.249.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).
I-Verona: Accad. Fil.13.244B+bass440mapleStamped !! (ML-J type H) & thus probably by a member of the Bassano family. Sounding length 1207 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).
I-Verona: Accad. Fil.13.245BassanoBbass440Stamped !! (ML-J type G) & thus probaby by a member of the Bassano family. Sounding length 1294 mm. Mate to I-Verona: Accad. Fil. 13.246.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).
I-Verona: Accad. Fil.13.246BassanoBbass440Stamped !! (M-type G) & thus probably by a member of the Bassano family. Sounding length 1282 mm. Mate to I-Verona: Accad. Fil. 13.245.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).
I-Verona: Accad. Fil.13.247Schrattenbachc#bass440plumStamped with a double trefoil & thus probably by a member of the Schrattenbach family. Sounding length 1119 mm. Like its sibling, 13.248, the fingerholes are very small and heavily undercut. The crook could be original and is of an unusual form. Cap is a modern replacement.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).
I-Verona: Accad. Fil.13.249Bassanof#basset (extended)4401043Stamped !! (ML-J type A) & thus probably by a member of the Bassano family. Sounding length 1043 mm. Note with all holes covered is d. Fingering 0 123 4567 produces f.

Labium with a beautifully executed brass edge, seen again in I-Verona 13.243.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).
I-Verona: Accad. Fil.13.25Bassanof#basset<440Stamped !! (M-type G) & thus probably by a member of the Bassano family. Sounding length 845 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).
I-Verona: Accad. Fil.13.251Bassanof#basset<440Stamped !! (M-type G) & thus probably by a member of the Bassano family. Sounding length 843 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).
I-Verona: Accad. Fil.13.252Bassanof#basset<440Stamped !! (ML-J type G) & thus probably by a member of the Bassano family. Sounding length 845 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).
I-Verona: Accad. Fil.13.253Bassanof#basset<440Stamped !! (ML-J type G) & thus probably by a member of the Bassano family. Sounding length 845 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).
I-Verona: Accad. Fil.13.254Bassanof#+basset>440Stamped !! (ML-J type H) & thus probably by a member of the Bassano family. Sounding length 821 mm. Similar in workmanship to 13.250, this instrument does not play as well and is in a higher pitch.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 533).
I-Verona: Bibloteca Capitolare1Bassanof#basset440figured mapleStamped !! (M-type N) & thus probably by a member of the Bassano family. Sounding length 837 mm. Damaged by woodworm. For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.
I-Verona: Bibloteca Capitolare2Hieronimo de li Flautig#basset440figured mapleStamped HIERS. Sounding length 733 mm. Damaged by woodworm.

Lowest note and peformance pitch from Brown (2005b).

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).
A-ViennaSAM 132 (C 143, KK 8519)Hieronimo de li Flautibb'altoNULL440NULL374.5NULLboxNULLNULLFoot stamped HIER S· Sounding length 327.0 mm.

Lowest note and performance pitch from Brown (2005b).

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1970: 77); Marvin (1972: 32); Lyndon-Jones (1987: 61); Bär (2002: 314, 342); Brown (2005b: 535); Darmstädter (2004: 161-170; 2005: 104 ff.); Darmstädter & Brown (2006: 155-157) - includes colour photographs.

Image here.
A-ViennaSAM 142 (C 153, KK 8529)Hieronimo de li Flautid#'tenorNULL440NULL533.5NULLboxNULLNULLFoot stamped HIERS· Sounding length 497.0 mm. One of the Catajo recorders. Mate to A-Vienna: SAM 144 & SAM 143.

Lowest note and performance pitch from Brown (2005b).

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 78); Marvin (1973: 32); Lyndon-Jones (1987: 61); Bär (202: 295, 413); Brown (2005b: 535); Darmstädter (2004/5: 161-170); Darmstädter & Brown (2006: 186-188) - includes colour photographs; Bali (2007: colour plate).

Image here.
A-ViennaSAM 143 (C 154, KK 8530)Hieronimo de li Flautid#'tenorNULL440NULL553NULLboxNULLNULLFoot stamped HIERS· Sounding length 495.5 mm. Mate to A-Vienna: SAM 142 & SAM 144. One of the Catajo recorders.

Lowest note and performance pitch from Brown (2005b).

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 78); Marvin (1973: 32); Bär (2002: 295, 413); Brown (2005b: 535); Darmstädter (2005: 103); Van Heyghen (2005: 207); Darmstädter & Brown (2006: 183-185) - includes colour photographs.

Image here.
A-ViennaSAM 144 (C 155, KK 8531)Hieronimo de li Flautid#'tenorNULL440NULL551.3NULLboxNULLNULLFoot stamped HIERS· Sounding length 496.5 mm. Mate to A-Vienna: SAM 142 & SAM 143. One of the Catajo recorders.

Lowest note and performance pitch from Brown (2005b).

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 78); Marvin (1973: 32); Bär (2002: 295, 314); Brown (2005b: 535); Darmstädter (2004/5: 161-170); Darmstädter (2005: 103); Van Hehyghen (2005: 271); Darmstädter & Brown (2006: 192-194) - includes colour photographs.
A-ViennaSAM 159 (C 170, KK 8545)Hieronimo de li Flautig#basset44038271maplewindcap & fontanelle with brass ferrulesbrassFoot stamped HIERS· Sounding length 740.5 mm. Mate to A-Vienna: SAM 160. One of the Catajo recorders.

Lowest note and performance pitch from Brown (2005b).

For critical measurements & other details see Adrian Brown's Renaisance Recorders Database; Schlosser (1920: 79); Maravin (1972: 31); Lyndon-Jones (1987: 61); Bär (2002: 314, 343); Brown (2005b: 535); Darmstädter (2004/5: 161 ff.); Darmstädter (2005: 104 ff); Van Heyghen (2005: 271); Darmstädter & Brown (2006: 226-229) – includes colour photographs.
A-ViennaSAM 160 (C 171, KK 8546)Hieronimo de li Flautig#basset4403827.51maplewindcap & fontanelle with brass ferrulesbrassStamped HIERS· Sounding length 741.5 mm. One of the Catajo recorders; mate to A-Vienna: SAM 159.

Lowest note and peformance pitch from Brown (2005b).

For critical measurements & other details see Adrian Brown's Renaisance Recorders Database; Schlosser (1920: 79); Marvin (1972: 31); Lyndon-Jones (1987: 61); Bär (2002: 295, 314); Brown (2005b: 535); Darmstädter (2005: 106-107); Van Heyghen (2005: 271); Darmstädter & Brown (2006: 230-233) - includes colour photographs.
A-ViennaSAM 139 (C 150, KK 8526)Unknownf'alto440479.2boxUnstamped. Sounding length 426.8 mm.

Labium externally laminated with brass, similar to that on A-Vienna: SAM 157. Adrian Brown (pers. comm., 2006) believes these to be repairs, as these two recorders make a convincing set with SAM 131 and 137, and all four fit into the case SAM 172.

For critical measurements & other details see Adrian Brown's Renaisance Recorders Database; Schlosser (1970: 77); Marvin (1972: 32); Brown (2005b: 563); Darmstädter & Brown (2006: 180-182) - includes colour photographs.
A-ViennaSAM 161 (C 172, KK 8547)g#basset4403845maplewindcap & fontanelle with brass ferrulesbrassStamped HIE·S beneath the window/labium. Sounding length 765.0 mm.

Lowest note and performance pitch from Brown (2005b).

For critical measurements & other details see Adrian Brown's Renaisance Recorders Database; Schlosser (1920: 79); Marvin (1972: 31); Lyndon-Jones (1987: 61); Bär (2002: 313 f., 343 f.); Brown (2005b: 535); Darmstädter (2004/5: 161-170); Darmstädter (2005: 104 ff.); Van Heyghen (2005: 271); Darmstädter & Brown (2006: 234-237).
A-ViennaSAM 162 (C 173, KK 8548)g#basset4403847.51maplewindcap & fontanelle with brass ferrulesbrassStamped HIE·S immediately beneath window/labium. Sounding length 762.0 mm. One of the Catajo recorders.

Lowest note and performance pitch from Brown (2005b).

For critical measurements & other details see Adrian Brown's Renaisance Recorders Database; BSchlosser (1920: 79); Marvin (1972: 31); Bär (2002: 323 f., 343, f); Darmstädter (2004/5: 161-170); Brown (2005B: 535); Darmstädter (2005: 107-108); Darmstädter & Brown (2006: 238-241) – includes colour photographs.
A-ViennaSAM 166 (C 177, KK 8551)c#bass440312601maplewindcap and fontanelle with brass ferrulesbrassStamped HIE·S immediately below the window/labium. Sounding length 1139.5 mm. Bocal of brass. Mate to A-Vienna: SAM 167 & 168. Labium extensively damaged. One of the Catajo recorders.

Lowest note and peformance pitch from Brown (2005b).

For critical measurements & other details see Adrian Brown's Renaisance Recorders Database; Schlosser (1920: 79); Marvin (1982: 31); Lyndon-Jones (1987: 61); Bär (2002: 313f., 343 f.); Darmstädter (2004/5: 161-170); Darmstädter (2005: 104 ff.); Brown (2005b: 535); Van Heyghen (2005: 271); Darmstädter & Brown (2006: 263-267) – includes colour photographs.
A-ViennaSAM 167 (C 178, KK 8552)c#bass440312451maplewindcap and fontanelle with brass ferrulesbrassStamped HIE·S immediately below the window/labium. Sounding length 1123.5 mm. One of the Catajo recorders. Mate to A-Vienna: SAM 166 & 168. Labium undamaged, but cut-up seems small for such a large instrument.

Lowest note and peformance pitch from Brown (2005b).

For critical measurements & other details see Adrian Brown's Renaisance Recorders Database; Schlosser (1920: 79); Marvin (1972: 31); Lyndon-Jones (1987: 61); Bär (202: 313 f., 343, f); Brown (2005b: 535); Darmstädter (2004/5: 161-170); Darmstädter (2005: 104 ff.); Van Heyghen (2005: 271); Darmstädter & Brown (2006: 268-271) – includes colour photographs; Bali (2007: colour photograph).
A-ViennaSAM 169 (C 180, KK 8554)F#contrabass440318351maplewindcap and fontanelle with brass ferrulesbrassStamped HIE·S immediately below window/labium. Sounding length 1692.0 mm. Labium extensively damaged. One of the Catajo recorders.

Lowest note and performance pitch from Brown (2005b).

For critical measurements & other details see Adrian Brown's Renaisance Recorders Database; Schlosser (1920: 79); Marvin (1972: 31); Lyndon-Jones (1987: 61); Bär (2002: 313 f., 343 f.); Darmstädter (2004/5: 161-170); Darmstädter (2005: 104 ff.); Brown (2005b: 535); Van Heyghen (2005: 271); Darmstädter & Brown (2006: 277-282) – includes colour photographs; Bali (2007: colour photograph).
A-ViennaSAM 168 (C 179, KK 8553)c#bass440312461maplewindcap and fontanelle with brass ferrulesbrassStamped HIE·S immediately below the windoway/labium. Sounding length 1118.5 mm. One of the Catajo recorders. Mate to A-Vienna: SAM 166 & 167. Large piece missing from labium.

Lowest note and performance pitch from Brown (2005b).

For critical measurements & other details see Adrian Brown's Renaisance Recorders Database; Schlosser (1920: 79); Maravin (1972: 31); Lyndon-Jones (1987: 61); Bär (2002: 313 f., 343 f.); Darmstädter (2004/5: 161-170); Darmstädter (2005: 194 ff.); Brown (2005b: 535); Van Heyghen (2005: 271); Darmstädter & Brown (2006: 272-276) – includes colour photographs.
A-ViennaSAM 138 (C 149, KK 8525)Bassanof'alto4401477.5walnutFoot stamped !! (M-type unclassified) & thus probably by a member of the Bassano family. Sounding length 428.5 mm. One of the Catajo recorders.

Near cylindrical bore: head ? cylindrical; middle wavy; bell: ?

For critical measurements, photo & other details see Brown, A. Renaisance Recorders Database; Schlosser (1920: 77); Bär (202: 315, 341); Brown (2005a: 83-84); Brown (2005b); Darmstädter (2004/5: 171 ff.); Darmstädter & Brown (2006: 170-172) - includes colour photographs.
A-ViennaSAM 146 (C 157, KK 8533)Bassanod#'tenorNULL440NULL540.3NULLboxNULLNULLFoot stamped !! (ML-J type A) & thus probably by a member of the Bassano family. Sounding length 480.3 mm. The external surface of the labium has an ornamental brass lamina, held by a screw (cf. A-Vienna: SAM 139 & 157.

There is an additional hole immediately above the usual double (alternative) holes for the lower-most finger, a peculiar feature seen again on SAM 141. These double-drilled holes are definitely a later improvement: they are very crudely done and without much understanding of how these things work (Adrian Brown, pers. comm. 2006).

For critical measurements & other details see Adrian Brown's Renaisance Recorders Database; Schlosser (1970: 78); Marvin (1972: 32); Lyndon-Jones (1987: 59; 1988); Bär (2002: 315, 341); Brown (2005b: 533); Darmstädter (2004/5: 170 f.); Darmstädter & Brown (2006: 198-200) - includes colour photographs.

A case (SAM 171) in A-Vienna made for alto, 2 tenors, & bass recorders has the same variation of the maker’s mark which is also found on an alto & 2 other tenors in A-Vienna (SAM 135, 149, 150).
A-ViennaSAM 147 (C 158, KK 8534)Bassanoe'altoNULL440NULL537.5NULLbox, new head of pearNULLNULLFoot stamped !! (ML-J type unclassified) & thus probably by a member of the Bassano family. Sounding length 490.0 mm. Joint (internal) 412 mm from south end, visible step in bore at this point. New portion is crudely made and may not represent original speaking length. One of the Catajo recorders.

For critical measurements & other details see Adrian Brown's Renaisance Recorders Database; Schlosser (1920: 78); Marvin (1972: 32); Lydon-Jones (1987: 60); Bär (2002: 315, 341); Darmstädter (1004/5: 170 ff.); Brown (2005b: 534); Darmstädter & Brown (2006: 201-202) - includes colour photographs.
A-ViennaSAM 149 (C 160, KK 8536)Bassanoc#'tenorNULL440NULL622.4NULLboxNULLNULLFoot stamped !! (ML-J type A) & thus probably by a member of the Bassano family. Sounding length 566.0 mm. One of the Catajo recorders. Probably mate to A-Vienna: SAM 150.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Lyndon-Jones (1998); Brown (2005b: 533); Schlosser (1920: 78); Marvin (1972: 31); Bär (2002: 315, 341); Darmstädter (2004/5: 170-178); Darmstädter & Brown (2006: 206-208) - includes colour photographs.

A case (SAM 171) in A-Vienna made for alto, 2 tenors, & bass recorders has the same variation of the maker’s mark which is also found on an alto & 2 other tenors in A-Vienna (SAM 135, 146, 150).
A-ViennaSAM 150 (C 161, KK 8537)Bassanoc#'tenorNULL440NULL626.7NULLboxNULLNULLStamped !! (ML-J type A) immediately below the window/labium & thus probably by a member of the Bassano family. Sounding length 565.5 mm. One of the Catajo recordes. Probably mate to A-Vienna: SAM 149.

For critical measurements & other details see: Brown, A. Renaissance Recorders Database; Schlosser (1920: 78); Marvin (1972: 31); Bär (2002: 315, 341); Brown (2005a: 86); Brown (2005b); Darmstädter (2004/5: 170-178); Darmstädter & Brown (2006: 209-211) - includes colour photographs.

A case (SAM 171) in A-Vienna made for alto, 2 tenors, & bass recorders has the same variation of the maker’s mark which is also found on an alto & 2 other tenors in A-Vienna (SAM 135, 146, 149). See Lyndon-Jones (1998).
A-ViennaSAM 158/C169/8544Bassanog#basset4407931maplewindcap & fontanelle with brass ferulesbrassStamped !! (ML-J type unclassified) below the window/labium & thus probably by a member of the Bassano family. Sounding length 717.5 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 79); Marvin (1972: 31); Lyndon-Jones (1987: 60); Bär (2002: 315); Darmstädter (2004/5: 170 ff.); Darmstädter & Brown (2006: 222-225) – includes colour photographs.
A-ViennaSAM 164 (C 175, KK 4027)Bassanof#basset44039401maplewindcap and fontanelle with brass ferrulesbrassStamped !!!!!! (ML-J type B) immediately below window/labium & on the foot, and thus probably by a member of the Bassano family. Sounding length 852.5 mm. One of the Catajo recorders.

Beautifully made instrument, keywork & details are of the highest quality, probably a professional players instrument.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 79); Marvin (1972: 31); Bär (2002: 315, 341); Darmstädter (2004/5: 171 ff.); Brown (2005b: 533); Darmstädter & Brown (2006: 246-249) – inlcudes colour photographs.
A-ViennaSAM 165 (A 176, KK 8550)Bassanofbasset44039651maplefontanelle with brass ferrulesbrassStamped !! !! (ML-J type unclassified) immediately beneath the window/labium & on the foot, and thus probably by a member of the Bassano family. Windcap with turned ornamental rings. Sounding length 886 mm. Ex. Schloss Ambras, Innsbruck, where it is now on display.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 79); Marvin (1972: 31); Lyndon-Jones (1987: 60); Bär (2002: 315, 341); Darmstädter (2004/5: 161 ff.); Darmstädter & Brown (2006: 250-253) – includes colour photographs.
A-ViennaSAM 363 (KK 7350)Bassanoc#'tenor4401617.71boxbrassStamped !!!!!! (ML-J type F) & thus probably by a member of the Bassano family. Sounding length 564.0 mm. Originally had a fontanelle but no windcap. Foot remade in baroque style with a closed key.

Near cylindrical bore: head cylindrical, middle conical / cylindrical; bell trumpet-like.

For critical measurements, photograph & other details see: Adrian Brown's Renaissance Recorders Database; Brown (2005a: 84-86); Marvin (1972: 32); Lyndon-Jones (1987: 60); Darmstädter (2004/5: 161, 171); Brown (2005b: 533); Darmstädter & Brown (2006: 254-257) – includes colour photographs.

For image see here.
A-ViennaSAM 157/C168/8543? Bassano?bbtenor440719.11boxfontanelle with brass ferrulesbrassNo maker's mark, but possibly by a member of the Bassano family. Sounding length 656.0 mm. Small intrument with key & fontanelle, but no cap.

Labium externally laminated with brass, similar to SAM 139. Adrian Brown (pers. comm., 2006) believes these to be repairs, as these two recorders make a convincing set with SAM 131 and 137, and all four fit into the case SAM 172.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 79); Brown (2005b: 536); Darmstädter & Brown (2006: 218-221) – includes colour photographs.
A-ViennaSAM 130 (C 140, KK 8517)c''soprano<1640>4401314.9mapleStamped ** (two apples) beneath the window. Sounding length 285.3 mm. Simple renaissance form with a very short windway. Cylindrical down to about the seventh hole, where it suddenly narrows to a smaller diameter, which continues cylindrically throughout the rest of the recorder. Plays with Van Eyck/Jambe de Fer fingerings. One of the Catajo recorders.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1970: 77); Marvin (1972: 32); Brown (2005b: 536); Darmstädter (2005: 99, 109 ff.); Darmstädter & Brown (2006: 145-147) - includes colour photographs.
A-ViennaSAM 126 (C 136, KK 8513)Unknownf''sopranino440254.5boxSounding length 219 mm. Unusual turning, with paired incised rings on beak, below & on bell. Windway very long; exterior profile tapering towards beak. Original block missing. Mate to A-Vienna: SAM 129. One of the Catajo recorders.

For critical measurements & other details see Adrian Brown's Renaisance Recorders Database; Brown (2005b: 536)/ Darmstädter & Brown (2006: 133-135). The latter includes colour photographs of this instrument.
A-ViennaSAM 127 (C 137, KK 8514)Unknowne''sopranoNULL440NULL281NULLboxNULLNULLSounding length 233.0 mm. Highly unusual turning, in the style of A-Vienna: SAM 126 & 129, but without deep scored patterns around window & on bell. A single incised ring between the beak and window. Windway very long; exterior profile tapering in diameter towards beak. One of the Catajo recorders.

For critical measurements & other details see Adrian Brown's Renaisance Recorders Database; Marvin (1972: 32); Brown (2005b: 536); Darmstädter & Brown (2006: 136-138) - includes colour photographs.
A-ViennaSAM 129 (C 139, KK 8516)Unknownd#''soprano440309boxSounding length 258.0 mm. Highly unusual turning, with paired deeply incised rings on the beak, below the window & on the bell. Windway very long; exterior profile tapering towards beak. Original block missing. Mate to A-Vienna: SAM 126. One of the Catajo recorders.

For critical measurements & other details see Adrian Brown's Renaisance Recorders Database; Schlosser (1920: 77); Marvin (1972: 32); Brown (2005b: 536); Darmstädter & Brown (2006: 142-144) - includes colour photographs..
A-ViennaSAM 128 (C 138, KK 8515)Unknownd#''sopranoNULL440NULL264.1NULLplumNULLNULLStamped MI. Sounding length 238.0 mm. Tenon turned on mouthpiece, presumably for missing ornamental mount. Said by Eva Legêne (1995) to work with Matthysz fingerings. However, the lowermost finger-holes seems very small. One of the Catajo recorders.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1970: 77); Marvin (1972: 32); Brown (2005b: 535): Darmstädter & Brown (2006: 139-141) - includes colour photographs.
A-ViennaSAM 131 (C 141, KK 8518)c''soprano4401328.1boxSounding length 285.3 mm. Conical bore: head cylindrical; middle conical; bell campanulate. Plays with Van Eyck/Jambe de Fer fingerings. One of the Catajo recorders.

For critical measurements and other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 77); Marvin (1972: 32); Brown (2005a: 80-81; b: 536); Darmstädter (2005: 99, 109 ff.); Darmstädter & Brown (2006: 148-150) - includes colour photographs.
A-ViennaSAM 140 (C 151, KK 8527)Unknowng#'alto440455.6mapleHead beneath windway stamped ** (two apples). Sounding length 413.5 mm. Plays with Van Eyck/Jambe de Fer fingerings. One of the Catajo recorders.

For critical measurements & other details see Adrian Brown's Renaisance Recorders Database; Schloser (1920: 78); Marvin (1972: 32); Brown (2005b: 536); Darmstädter (2004/5: 99, 109 f.); Darmstädter & Brown (2006: 173-175) - includes colour photographs.
A-ViennaSAM 141 (C 152, KK 8528)e'tenor440506.5boxhorn-sheathed beakOne of the Catajo recorders. Foot stamped CS. Sounding length 454.5 mm. Labium externally laminated with brass, similar to that on SAM 139 and 157.

There is an additional hole immediately above the usual double (alternative) holes for the lower-most finger, a peculiar feature seen again on SAM 146. These double-drilled holes are definitely a later improvement: they are very crudely done and without much understanding of how these things work (Adrian Brown, pers. comm. 2006).


For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 78); Marvin (1972: 32); Brown (2005b: 534); Darmstädter & Brown (2006: 183-185) - includes colour photographs.
A-ViennaSAM 133 (C 144, KK 8520)Unknowng#'alto440378.6mapleSounding length 340.4 mm. Said to be one of the Catajo recorders, though Brown (see below) notes: The fingerholes are not undercut, the wood stain looks almost modern. Block is round and edge radius therefore equals that of bore. From the graph in Darmstadtler & Brown (2006: 158, ff. 1) the bore is very smoothly profiled, quite unlike those of other instruments from the Catajo collection.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 77); Marvin (1972: 32); Brown (2005b: 536); Darmstädter & Brown (2006: 158-160) - includes colour photographs.
A-ViennaSAM 137 (C 148, KK 8524)Unknownf'alto440476.5boxSounding length 425.0 mm. Well made professional looking instrument. Original block missing. One of the Catajo recorders.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 77); Marvin (1972: 32); Brown (2005b: 536); Darmstädter & Brown (2006: 167-169) - includes colour photographs.
A-ViennaSAM 136 (C 147, KK 8523)d#'tenor440506.3boxsilver ring on beak; silver Maltese cross on headStamped W/crown. Sounding length 451.5 mm. Although this instrument has been shortened & new window cut, a trace of original blockline is visible. A perforated band in silver has been inlaid into the beak, presumably to secure a major crack in the head; and a silver Maltese cross has been inlaid into the front of the instrument above the finger-holes. The windway and beak profile are reversed. One of the Catajo recorders.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 77); Brown (2005b: 534); Darmstädter (2005: 99-109); Darmstädter & Brown (2006: 177-179) - includes colour photographs.
A-ViennaSAM 145 (C 156, KK 8532)Unknownd#'tenorNULL440NULL558.7NULLboxNULLNULLFoot stamped with a crown. Sounding length ca 498 mm. Bore taper slight. Very bent, making measurement difficult. One of the Catajo recorders.

For critical measurements & other details see Renaissance Recorders Database; Schlosser (1920: 78); Marvin (1972: 32); Brown (2005b: 534); Darmstädter (2005: 99, 109 ff.); Darmstädter & Brown (2006: 195-197) - includes colour photographs.
A-ViennaSAM 163 (C 174, KK 8549)gbasset4663852.51maplewindcap & fontanelle with brass ferrulesbrassStamped CS or GS, in relief immediately beneath the window/labium. Cf. A-Vienna: SAM 134 & 141. Sounding length 754.0 mm. One of the Catajo recorders.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 79); Maravin (1972: 31); Bär (2002: 315); Darmstädter & Brown (2006: 242-245) – includes colour photographs.
A-ViennaSAM 152 (C 163, KK 8539)Schnitzerc#'tenor440607.5maplefontanelle with brass ferrulesStamped ÂÂ immediately below the window/labium, and on the foot. Sounding length 554.0 mm. Small, direct-blown instrument with fontanelle. One of the Catajo recorders.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 78); Berney (2005: 64); Brown (2005b: 534); Darmstädter (2005: 103); Darmstädter & Brown (2006: 212-214) – includes colour photographs; Bali (2007: colour photograph).
A-ViennaSAM 170 (C 181, KK 8555)Bassano OR HieronimoNULLcaseNULLNULLNULLNULLNULLNULLNULLNULLCase for 8 recorders, including F-Vienna: SAM 132, 142, 143, 144, 159 & 160. Lengths of chambers: 1 × 261 mm, 2 × 378 mm, 3 × 555 mm, 1 × 836 mm, 1 × 838 mm. Intended for two bassets in g, three tenors in d', two altos in a', and soprano probably in e'' at mezzo punto. Marked HIER·S (Brown & Lasocki, 2006).

Brown & Lasocki (2006) suggest that the maker of recorders stamped HIE·S and HIER·S may have been Jeronimo Bassano, who flourished in the early 16th century, rather than the Hieronimo de li flauti from the latter part of the century.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 80); Bär (1920: 321); Stradner (2002: 83); Brown (2005b: 536); Darmstädter (2005: 102); Darmstädter & Brown (2006: 283) – includes colour photograph; Bali (2007: colour plate).

For image see here
A-ViennaSAM 171 (C 182, KK 8556)BassanoNULLNULLNULLNULLNULLNULLNULLNULLNULLNULLLid stamped !! (ML-J type A) & thus probably by a member of the Bassano family. Lengths of chambers: 1 × 287 mm, 2 × 432 mm & 1 × 620 mm (Schlosser). Intended for tenor in c', two altos in g', and soprano in d'' at mezzo punto (Brown & Lasocki, 2006: 24).

The same variation of the maker’s mark is also found on an alto & 3 tenors in A-Vienna (SAM 135, 146, 149, 150). Thus the famous 'Ganassi' recorder (SAM 135) may not have been a solo instrument, but part of a consort. See Lyndon-Jones (1998).

See Adrian Brown's Renaisance Recorders Database; Schlosser (1920: 80); Bär (2002: 321); Stradner (2002: 83); Brown (2005a 93) Brown (2005b: 533, 578); Darmstädter & Brown (2006: 284) – includes colour photograph.
A-ViennaSAM 172 (C 183, KK 8557)UnknowncaseCase for five recorders. Lengths of chambers: 1 × 223 mm, 1 × 343 mm, 2 × 507 mm & 1 × 734 mm. Intended for tenor in c', two altos in g', soprano in d'', and sopranino in a'', at a pitch around a tone below modern, the lower version of tuono corista (Brown & Lasocki, 2006: 24).

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 80); Bär (2002: 321); Stradner (2002: 83); Darmstädter (2005: 102 f.); Brown (2005a: 94); Brown (2005b: 536); Van Heyhghen (2005: 260); Darmstädter & Brown (2006: 285) – includes colour photograph.
A-ViennaSAM 173 (C 184, KK 8558)UnknowncaseCase for four recorders. Lengths of chambers: 1 × 217 mm, 2 × 316 mm & 1 × 456 mm. Intended for alto in g', two sopranos in d'', and sopranino in a'', at a pitch around a semitone lower than modern, the higher version of tuono corista (Brown & Lasocki, 2006: 24).

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Schlosser (1920: 80); Bär (2002: 321); Brown (2005a: 94); DDarmstädter (2005: 102 f.); Darmstädter & Brown (2006: 286) – includes colour photograph.
A-Vienna: GdMI.N. 111Unknownc#bass440Sounding length 1121 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536).
A-Vienna: private collection?Kynsekerf''sopranino440ivoryWave profile. With case.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).
A-Vienna: GdM, but displayed at A-Vienna (2008)IN 115Schnitzerg#basset440walnutbrassStamped ÂÂ. Unusually engraved key. Bocal blown. Sounding length 786 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534).
A-Vienna: GdMI.N. 116Bbass4401Stamped FG HV W. Sounding length 1258 mm. Has an unusual key.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).
A-ViennaSAM 148 (C 159, KK 8535)d'tenor4401551.6mapleStamped ** (two apples) immediately beneath window/labium. Sounding length 507.0 mm. Step bore: head cylindrical; middle cylindrical / sharply conical; bell slightly cylindrical. One of the Catajo recorders.

This instrument has later baroque style mounts over the beak & bell, and thus appears to have been remodelled. It is possible that it plays with van Eyck/Jambe de Fer fingerings.

For critical measurements & other details see Brown, A. Renaissance Recorders Database; Schlosser (1920: 78); Marvin (1972: 32); Brown (2005a: 82-83); Brown (2005b: 536); Darmstädter (2005: 99, 109 ff.); Darmstädter & Brown (2006: 203-205) - includes colour photographs.
B-Brussels4359Unknowng#basset16C46621box, stained darktwo brass ferules on fontanelle, 1 on wincapbrassSounding length 795 mm. Labium has same sort of repair as B-Brussels 1025.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database.

Brown (2005b: 536).

Image & further details here.
GB-London: HornimanM26-1987Unknownalto
GB-London: HornimanM27-1987Dolmetschc''sopranoc. 19484403315dolonite (a form of bakelite)This recorder was donated by Carl Dolmetsch on the occasion of a concert given by the Dolmetsch family at the Horniman Museum in 1987.

Image here (from GB-London: Horniman).
D-Sigmaringen: Schloss318Rafia+basset440? pearStamped shield/Rafi. No key. Sounding length 697 mm. A longer version of the Eisenach instrument.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536).
A-ViennaSAM 624 (A 868)? Danner OR Drebsa+basset15034932751.51stained maple with longitudinal ivory inlayfontanelle with brass ferrulesbrassStamped HD 1503 at the bell and doubled under the window, and a single left-facing trefoil on the bell which might indicate a member of the Schrattenbach family. Sounding length 709.0 mm; Bore cylindrical with flare; probably played with Ganassi fingerings. Ex Schloss Ambras.

A unique instrument with sumptuous ornaments: inlays of ivory and bone as well a several types of dark-stained wood and fine engravings on the brass rings of the fontanelle cage.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Stradner (1987: 53 ff.); Lerch (1996: 86, 282 f.); Kilbey (2002: 172); Darmstädter (2004/5: 161); Berney (2005: 63); Brown (2005b: 535); Darmstädter (2005: 109-110); Darmstädter & Brown (2006: 258-261) – includes colour photographs.
I-Brescia: private collectionc#''soprano4401? cherryStamped ** on bell. Sounding length 290 mm.

Cylindrical bore: head cylindrical; middle cylindrical; bell trumpet-like.

This instrument also has very large fingerholes which which may be a later modification.

The beak-shaped mouthpiece is unusual. Plays with Ganassi fingerings. Large ivory ring above thumbhole, where joint would be. Joint is glued & the instrument is effectively in one piece.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2002); Brown (2005a: 83); Brown (2005b: 536).
F-ParisE.124Unknown18CHead section only, 207 mm long. Intricately carved with a fish-head beak & foliage. Further details here.
F-ParisE.125Unknown18CHead section only. Beak carved with a prominent star. Further details here.
F-ParisE.980.2.263UnknowncaseInscribed Pour M. Robert RICHTER ano 1835 in Wien. 220 mm long. Further details here.
F-Paris: LouvreD.OA.422Kynsekeralto3500woodEx Collection Sauvageot. Further details here.

Note that the inventory number is shared with an instrument in 3 parts (foot missing) and 330 mm long by an Anonymous German maker.
F-ParisE.196Unknown, Germanalto18C445woodhorn (a single ferrule, on head)Stamped G.L. Ex Collection Louis Clapisson. Further details here.
F-ParisE.980.2.75Unknown, Frenchalto18C3505ivoryEx Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.980.2.77Unknown, Frenchalto45.23boxEx Collection Geneviève Thibault de Chambure. Further details here. Cited by Pottier (1992: 43).
F-ParisE.980.2.530Unknownalto20CwoodbrassEx Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.980.2.534Unknownalto20C31Ex Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.980.2.543Unknownalto19C3460woodEx Collection Geneviève Thibault de Chambure. An elegantly designed instrument with a beautifully shaped beak & small bulbous foot joint reminiscent of Stanesby Jr. The photograph caption describes it as a tenor recorder. Further details here

MacMillan (2007: 201; 2008: 65-66).
F-ParisE.980.2.545Unknownalto19C3505ebonyEx Collection Geneviève Thibault de Chambure. Baroque-style instrument Further details here.

MacMillan (2007: 201; 2008: 66)
F-ParisE.980.2.546Unknownalto19C3545ebonyFoot may not be original as its turning is very different to that to the head. Ex Collection Geneviève Thibault de Chambure. Further details here.

MacMillan (2007: 200; 2008: 66)
F-ParisD.B.332Unknownalto5405ivoryEx Collection Sauvageot. Further details here.
F-ParisE.980.2.79Unknownalto18C3495pearEx Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.102Unknown (German)f'alto18C4653488ivoryOrnamental black dots on raised beads Collection Louis Clapisson. Further details here.

Nominal and Performance Pitch from Haynes (2002).
F-ParisE.980.2.84Unknown (German)alto515wood with tortoiseshell coveringivoryIvory beak & five ferules. Ex Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.980.2.531Dolmetschalto<19803woodEx Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.980.2.532Dolmetschalto<19803woodEx Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.980.2.533Dolmetschalto<19803woodEx Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.980.2.544Dolmetschalto20C3woodEx Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.980.2.548Hakaf'alto17C4103NULLNULLebonyivory beak, ferrules & footNULLStamped R·HAKA (in scroll)/fleur-de-lys. Young examined this & a bass recorder by Haka in 1982, but reported that at that time both were lost or missing. They have since come to light.

Nominal and performing pitch from Haynes (2002: 450).

Labium repaired with silver; block lowered. Playable. See Bouterse (2001).

Ex Collection Geneviève Thibault de Chambure.

Image and further details here.
F-ParisE.995.16.1Hotteterrealtoc1700490ivoryStamped on each joint HOTTETERRE/anchor. Beak badly damaged. Further details here, including photos & x-rays.
F-ParisE.980.2.78Staubf'alto18C4153488boxbrass collarStamped N. STAUB. Ex Collection Geneviève Thibault de Chambure.

Nominal and performance pitch from Haynes (2002).

Further details here.
F-ParisE.2339Vacano & KochNULLalto18CNULL3495NULLbox2 horn ferrules, 2 in copperNULLInscribed "Vacano & Koch" on the beak, possibly indicating a later repair. Head & foot carved with fish & acanthus leaves. Ex Collection Paul Cesbron.

Further details here.
F-ParisE.2132Zickalto18C3465boxEx Collection Paul Cesbron. Further details here. Image here
F-ParisE.2365Unknowngbasset18C310291fruitwood (ebonised)1 ivory ferrule (on windcap)brassEx Collection Paul Cesbron. Further details here.
F-ParisE.980.2.528Unknownbass18C31woodbrassEx Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.2397Unknown (Nuremberg)NULLbass18CNULLNULL12001service wood1 brass ferrule on windcapbrassEx Collection Paul Cesbron. Further details here.
F-ParisE.980.2.550Dawsonbass20C31woodBocal (brass) enters top of windcap. Foot with bulbous bass, side-opening. Ex Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.980.2.524Hakafbasset18C4153NULL1box; stained brownNULLbrassStamped R·HAKA (in scroll)/fleur-de-lys. Bocal (lost) entered side of windcap (probably not original). Hardly playable at slightly above A415. See Bouterse (2001).

Nominal and performing pitch from Haynes (2002: 450).

Young examined this instrument & a tenor recorder by Haka in 1982, but that reported that they were lost or missing at that time. They have since come to light.

Ex Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.980.2.527Hotteterre (formerly attributed to Karis)f'basset18C45631wood1 brass ferrule on windcapbrassEx Collection Geneviève Thibault de Chambure. Further details here.

Nominal and performing pitch from Haynes (2002) who attributes this instrument to one of the Hotteterre family. Note that F-Paris attribute it to Karis.
F-ParisE.980.2.549MarksNULLbass20CNULL3NULL1wood3 ferrulesNULLRenaissance style; bocal entering top of windcap; Ex Collection Geneviève Thibault de Chambure.

Image and further details here.

MacMillan (2007: 200) refers to this instrument as a tenor by J-B Martin in error, ie mistaking it for E.980.2.529
F-ParisE.640UnknownsopranoivoryEx Collection Besse-Dumas.

Haynes (2002: 448) cites this instrument as a bass by Oberlender at 412 Hz without designating a nominal pitch. This appears to be an error.

Further details here.
F-ParisE.0250Unknownsoprano20C381Neo-baroque design; single holes for 2 lowermost fingers. Further details here.
F-ParisE.980.2.557Unknownsoprano19C3350? ebonyBaroque design. Ex Collection Geneviève Thibault de Chambure. Further details here.

MacMillan (2007: 201; 2008: 67)
F-ParisE.0647Dolmetschsoprano20CFurther details here.
F-ParisE.994.7.2Heitzc''soprano357box covered with tortoiseshellbeak & ferrules in ivory & ebonyStamped 6-petal flower/I.HEITZ. Seven ivory mounts inlaid with ebony dots; ivory foot ring engraved Ik pfif dewat; 1 ivory mount not original. Purchased from Sotheby's in 1994.

Further details here.
F-ParisE.0355Unknownb'tenor19C3923700stained and varnished mapleFurther details here.

MacMillan (2007: 201; 2008: 68-69)
F-ParisE.982.14.1Aulostenor20CFurther details here.
F-ParisE.982.14.2Aulostenor20CFurther details here.
F-ParisE.982.14.3AulostenorFurther details here.
F-ParisE.982.14.4Aulostenor20CFurther details here.
F-ParisE.982.14.5AulostenorFurther details here.
F-ParisE.982.14.6Aulostenor20CFurther details here.
F-ParisE.982.14.7Aulostenor20CFurther details here.
F-ParisE.980.2.87Unknown (French)c'tenor18C41537101stained wood2 ivory ferrules & a foot ringbrassEx Collection Geneviève Thibault de Chambure. Further details here. Cited by Pottier (1992: 43).
F-ParisE.194Unknowntenor18C655woodEx Collection Louis Clapisson. Further details here.
F-ParisE.980.2.88Unknown (AMS)tenor19C36551fruitwoodStamped AMS, an unidentified mark. Ex Collection Geneviève Thibault de Chambure. Further details here.

MacMillan (2007: 201; 2008: 68)
F-ParisE.2395Unknownbasset18C37651box, ebonised1 brass ferrule on windcapHas a bulbous windcap. Ex Collection Paul Cesbron. Further details here.
F-ParisE.980.2.541Unknowntenor?20C31wood2 metal ferrulesOf plain modern design. Ex Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.980.2.542Unknowntenor19C37101wood2 ivory ferrules, 1 ivory foot ringBaroque design. Ex Collection Geneviève Thibault de Chambure. Further details here.

MacMillan (2007: 201: 2008: 65)
F-ParisE.980.2.547Unknowntenor19C6501? bubingaivory beakbrass, swallow-tailBaroque-style instrument, ex Geneviève Thibault de Chambure. Further details here.

MacMillan (2007: 201; 2008: 66)
F-ParisE.980.2.535C Lamytenor20C1woodOf plain modern design. Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.980.2.537Dawsontenor20C3woodEx Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.980.2.536Dawsontenor20C3woodEx Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.980.2.538Heinrichtenor20C31woodPlain modern design. Ex Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.980.2.539Heinrichtenor20C31woodEx Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.980.2.540Heinrichtenor20C31woodEx Collection Geneviève Thibault de Chambure. Further details here.
F-ParisE.980.2.529J-B MartinNULLtenor1879NULL3NULL1woodivory beak, 2 ivory ferrules, ivory foot ringbrassEx Collection Geneviève Thibault de Chambure. Further details here.

Despite the date given by F-Paris, this may be the recorder referred to by Edgar Hunt (2002: 144): I came accross a tenor, obviously copied from an old one, on the butterfly key of which I read the following: 'P.R. Souvenir de Couture 1875', and on the head of this very fine instrument 'J.B.Martin à son ami Paul Roche'.

MacMillan (2007: 200, but Accession incorrectly given as E 980.2.549; 2008: 53).
F-ParisE.2393Unknownsoprano (? third flute or fourth flute)19C3390stained boxwoodDescribed in the museum catalogue as a 'mezzo soprano', this instrument is too small to be an alto in f' and too large to be a soprano in c''; it could be either a third or fourth flute.

Ex Collection Paul Cesbron. Further details here.

MacMillan (2007: 201; 2008: 68)
F-ParisE.99Unknown17Ccarved ivoryEx Collection Soulage; Collection Louis Clapisson. Further details here.
F-ParisE.0254UnknownFurther details here.
F-ParisE.980.2.525Unknownfbasset18C31fruitwoodbrassEx Collection Geneviève Thibault de Chambure. Further details here. Cited by Pottier (1992: 43).
F-ParisE.980.2.555Unknown19C3woodHead & body only and of very simple outline. Ex Collection Geneviève Thibault de Chambure. Further details here.

MacMillan (2007: 201; 2008: 67)
F-ParisE.980.2.556Unknownalto19C3450woodFlute-style turning on foot joint. Ex Collection Geneviève Thibault de Chambure. Further details here.

MacMillan (2007: 201)
F-ParisE.980.2.558Unknown19C3woodivory beak & 1 ivory ferruleBaroque-style instrument of simple design, foot joint missing. Ex Collection Geneviève Thibault de Chambure. Further details here.

MacMillan (2007: 201; 2008: 67-68)
F-ParisE.0965UnknownFurther details here.
F-ParisE.652attr. GrandiNULLNULL17CNULL3NULLNULLwhite marbleNULLNULLCarved decoration includes a two-headed eagle. Further details & images here.

There is a recorder made by Grandi of dappled brown and white marble in the Galleria Estense, Modena which Anthony Rowland-Jones (pers. comm., 2002) observes looks real but is almost certainly unplayable.

See Tellier, Michèle (1982)
F-ParisE.2137Bellissentatenorbefore 1819 – 1842NULL45577ebonyivory beak, 4 ivory ferrulesnickel silverStamped (lyre/BELLISSENT/A PARIS/crowned#.

A csakan or keyed recorder, with a flared clarinet-like bell. In a palisander case. Further details here.

MacMillan (2007: 199; 2008: 34)
F-ParisE.988.18.1Fehr20CFurther details here.
F-ParisE.1457C GrasNULLsoprano1836-1892NULL3362NULLebonyivory head & footNULLStamped (bird)/GRAS

Further details here.

MacMillan (2007: 199; 2008: 43-44)
F-ParisE.304Lenerc'tenor18C410NULL6971wood1 brass ferrulebrassEx Collection Louis Clapisson.

Nominal and performance pitch from Haynes (2002: 447).

Further details here.
F-ParisE.2138Tolbecqued'tenor19C37101boxwood, ebonised1 ivory ferrules, ivory foot ringbrassHotteterre copy, possibly of F-Paris E.590.

Ex Collection Paul Cesbron. Further details here.

MacMillan (2007: 200)
F-ParisE.980.2.102CamusNULLsopranino or soprano?1810NULLNULL125NULLivoryNULLNULLHead piece only; a small recorder. Ex Collection Geneviève Thibault de Chambure. Further details here.

MacMillan (2007: 199: 2008: 35-36)
NL-Amsterdam: Dept. ArchaeologyUnknownc''soprano?16CFragment. An identifying mark cut with a knife under the windway was probably made by the player rather than the maker. The instrument is widely flared & may have played with so-called 'Ganassi' fingering. For further details & photograph see Bouterse (1995).
NL-Rotterdam: Bureau Oudheidkundig Onderzoek12-35, find 9? van Drielg''sopraninoNULL4401NULLNULLboxhorn (foot ring)NULLStamped P, R or D/V/?D in a riband & thus possibly by van Driel from Amsterdam. Found in the centre of Rotterdam near the Schielandshuis in the Coolsingel area where it was deposited in the ground with rubbish in a ditch. Sounding length 191 mm.

Early baroque style instrument. Sounding length is ca 191 mm. The foot ring is loose and fits over a tenon. Unplayable. See (Bouterse (1995, 2001, 2015).

For critical measurements and other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536).
? NL-Leiden: LakenhalUnknownf''sopranino?18C440Stamped with a maker's mark of possibly four to six letters. Found during excavations of a moat at 't Huys Dever, a castle near Lisse (between Leiden & Haarlem). Surprisingly, this instrument is still playable into the third register with baroque fingerings. For further details see Bouterse (1995).
GB-Oxford: Batex040HammerschmidtNULLaltoNULLNULLNULLNULL3NULLNULLNULLA recorder with semitone keys.
Marked: KLINGSON
The Bate Collection give the provenance of this instrument as the Bohemian town of Schönbach, which seems unlikely. The company only sold recorders from 1936 onwards, by which time they had moved to Watzkenreuth near Fleissen. Later, in 1945 they moved to Burgau.
GB-Oxford: Bate252Unknownsoprano20Cwood (striped grain)Ex Collection Edgar Hunt.
GB-Oxford: Bate253Unknownsoprano20CaluminiumEx Collection Edgar Hunt.
GB-Oxford: BateUnknown, Hong Kongsoprano20CplasticEx Collection Edgar Hunt.
GB-Oxford: Bate291? JB Gahnaltoc1700Head carved. Ex Collection Jeans.
GB-Oxford: Bate296ArnoldTwo half-model recorders glued to a board.
GB-Oxford: Bate250Bärenreiter (Mollenhauer)soprano20CGerman fingering. Ex Collection Edgar Hunt.
GB-Oxford: Bate231Schott (Barnes & Mullins)alto20CEx Collection Edgar Hunt.
GB-Oxford: Bate263Cousensopranino20COf modern design.
GB-Oxford: Bate139CousenaltoModern design.
GB-Oxford: Bate102Dolmetsch 293soprano20CEx Collection Edgar Hunt.
GB-Oxford: Bate99Dolmetsch 3187tenorEx Collection Edgar Hunt.
GB-Oxford: Bate183Dolmetsch 3643sopraninoEx Collection Edgar Hunt.
GB-Oxford: Bate309Dolmetsch 8509850920CWith chin & foot keys. Ex Collection Alec Loretto.
GB-Oxford: Cambridge310Dolmetsch 5435soprano20CWith chin & foot keys. Ex Collection Alec Loretto.
GB-Oxford: Bate202Dolmetschsoprano20CplasticEx Collection Edgar Hunt.
GB-Oxford: Bate203Dolmetschsoprano20CplasticEx Collection Edgar Hunt.
GB-Oxford: Bate233Dolmetschtenor20CplasticEx Collection Edgar Hunt.
GB-Oxford: Bate299Dolmetschsoprano20CplasticHead only. Ex Collection Edgar Hunt.
GB-Oxford: Bate204Dushkinsoprano20CplasticEx Collection Edgar Hunt.
GB-Oxford: Bate110UrquhartNULLaltoc.1720NULL3NULLNULLbox stained in 'tiger-striped' pattern.ivory beak, ferrules & footNULLEx Collection Edgar Hunt.
Vichy Enchères (2021).
Image here
GB-Oxford: Bate215Fehrsoprano20CEx Collection Edgar Hunt.
GB-Oxford: Bate254Ferrerasopranino20CEx Collection Edgar Hunt.
GB-Oxford: Bate197Goble, 951soprano20CEx Collection Edgar Hunt.
GB-Oxford: Bate294Goblealto20CEx Collection Judith Bailey.
GB-Oxford: Bate184Gobletenor20CEx Collection Edgar Hunt.
GB-Oxford: Bate124Greytenor20C
GB-Oxford: Bate113HailNULLvoice flute? 18CNULL3NULLNULLwood2 ivory ferrules & foot ring.NULLEx Collection Edgar Hunt.
GB-Oxford: Bate216Herwigasoprano20C'School' model. Ex Collection Edgar Hunt.
GB-Oxford: Bate217Herwigasoprano20C'Hamlin' model. Ex Collection Edgar Hunt.
GB-Oxford: Bate232Herwigasoprano20C'Hamlin' model. Ex Collection Edgar Hunt.
GB-Oxford: Bate240Herwigatenor20C'Rex' model, 122. Ex Collection Edgar Hunt.
GB-Oxford: Bate229Herwigatenor20C'Solist' model. Ex Collection Edgar Hunt.
GB-Oxford: Batex075Herwigabasset20CEx ACB.
GB-Oxford: Batex0132Hopfc'''piccolo (garklein flutlein)20CNULLNULLNULLNULLNULLNULLNULLRenaissance style instrument. Ex Collection James P.S. Montague.
GB-Oxford: Batex0131Hopfsopranino20CRenaissance style instrument. Ex Collection Jeremy P.S. Montagu.
GB-Oxford: Bate0287GKlemischsoprano20CCopy of an original by Terton. Ex Collection Alec Loretto.
GB-Oxford: Bate286Künggd'soprano (6th flute)20CCopy of an original by Denner. Ex Collection Alex Loretto.
GB-Oxford: Bate101Küngsoprano20CEx Collection Edgar Hunt.
GB-Oxford: Bate247Küngsoprano recorder20CModel 6FS. Ex Collection Edgar Hunt.
GB-Oxford: Bate176Lorettosoprano20CCopy of original by Bressan.
GB-Oxford: Bate285Lorettoalto20C'Ganassi' style instrument with head & 2 bodies.
GB-Oxford: Batex0122Marvinsoprano20CRenaissance style instrument. Ex Collection Jeremy P.S. Montagu.
GB-Oxford: Bate153Marvinalto20C'Ganassi' style instrument.
GB-Oxford: Bate100Mollenhaueralto20CModern style instrument. Ex Collection Edgar Hunt.
GB-Oxford: Bate311Morganalto20CHead-section only. Ex Collection Alex Loretto.
GB-Oxford: Bate235Nikkansoprano20C'Superio' model. Ex Collection Edgar Hunt.
GB-Oxford: Bate234Nikkanalto20C'Superio' model. Ex Collection Edgar Hunt.
GB-Oxford: Bate239Nikkansoprano20C'Superio' model. Ex Collection Edgar Hunt.
GB-Oxford: Bate195Robinsonbasset20CAmateur-made instrument.
GB-Oxford: Bate196RobinsonbassetAmateur-made instrument.
GB-Oxford: Bate115Rudall Cartetenor20CwoodunmountedCopy of an original by Stanesby. Flute-style joints. Ex Collection Edgar Hunt.
GB-Oxford: Batex0140Rudall Cartetenor20CCopy of an orginal by Stanesby. Ex Collection Robert Noble.
GB-Oxford: Bate116Rudall Cartetenorc. 18961633woodCopy of an orignal by Bassano stamped !! !! Ex Collection Edgar Hunt. Passed through Sotheby's sale room in 1978. One of the earliest products of the recorder revival in England.

Welch (1902: 165)
MacMillan (1983: 492; 2007: 202; 2008: 95)
GB-Oxford: Bate307Scheelealto1972Ex Collection Alec Loretto.
GB-Oxford: Bate308Scheelesoprano1972Ex Collection Alec Loretto.
GB-Oxford: Batex072Schottsoprano20CplasticEx Collection ACB.
GB-Oxford: Bate218Schottsoprano20CEx Collection Edgar Hunt.
GB-Oxford: Bate241SchottsopranoplasticEx Collection Edgar Hunt.
GB-Oxford: Bate246SchottsopranoplasticEx Collection Edgar Hunt.
GB-Oxford: Bate242Schottsoprano20CplasticWith a kite mark. Ex Collection Edgar Hunt.
GB-Oxford: Bate243Schottsoprano20CplasticWith kite mark. Ex Collection Edgar Hunt.
GB-Oxford: Bate244Schottsoprano20C2Model 18-5-73. Ex Collection Edgar Hunt.
GB-Oxford: Bate236Schottsoprano20C'Concert' model. Ex Collection Edgar Hunt.
GB-Oxford: Bate249Schottsoprano20C'Concert' model. Ex Collection Edgar Hunt.
GB-Oxford: Bate288Skowronekalto20CAfter an original by Bressan. Ex Collection Alex Loretto.
GB-Oxford: Bate0205ZUnknownsoprano20CEx Collection Edgar Hunt.
GB-Oxford: Bate133Zen-Onsoprano20Cplastic'Stanesby' model. Ex Collection Edgar Hunt.
GB-Oxford: Bate130Zen-Onalto20Cplastic'Bressan' model. Ex Collection Edgar Hunt.
GB-Oxford: Bate248Schottsoprano20C'Concert' model. German fingering. Ex Collection Edgar Hunt.
GB-Oxford: Bate237Schottsoprano20C'Concert' model. Ex Collection Edgar Hunt.
GB-Oxford: Bate238Schottsoprano'Concert' model. German fingering. Ex Collection Edgar Hunt.
GB-Oxford: Bate0255, 0256, 0257, 0258, 0259, 0260Schottsoprano20C6 head joints. Ex Collection Edgar Hunt.
GB-Oxford: Bate312Schottsoprano20CA prototype. Ex Collection Edgar Hunt.
GB-Oxford: Bate0198, 0199, 0200, 0201Schottsoprano20CPrototypes. Ex Collection Edgar Hunt.
GB-Oxford: Bate0206 - 0214Schottsoprano20CPrototypes. Ex Collection Edgar Hunt.
GB-Oxford: Batex073Schottalto20CEx ACB.
GB-Oxford: Bate219Schottalto20CEx Collection Edgar Hunt.
GB-Oxford: Bate220Schottalto20CEx Collection Edgar Hunt.
GB-Oxford: Bate221Schottalto20CEx Collection Edgar Hunt.
GB-Oxford: Bate245Schottalto20C1'Concert' model. Ex Collection Edgar Hunt.
GB-Oxford: Bate262Schottalto20CFoot section only. Ex Collection Edgar Hunt.
GB-Oxford: Bate222Schotttenor20CEx Collection Edgar Hunt.
GB-Oxford: Bate230Schotttenor20C'Concert' model. Ex Collection Edgar Hunt.
GB-Oxford: Bate261Schotttenor20CHead & foot only. Ex Collection Edgar Hunt.
UnknownUnknownalto?18CivoryEx Collection Walter Bergmann. I would be grateful for information concerning the whereabouts of this instrument, which is illustrated in Hunt (1977: pl. XVI).
NL-Amsterdam: BrügenXVIIHallettf''sopranino<17604053259.8ivoryStamped HALLETT on all three sections. Profile similar to the flutes of Stanesby Jr Sounding length 224.3 mm. With original case. Ex Joan Dixon, Wakefield, Great Britan.

Presumably this is the instrument cited by MacMillan (1983: 490).

Nominal and performance pitch from Haynes (2002).

Image here.
UnknownL Lotsoprano6See Glassgold (1963).
UnknownZiegler+See Glassgold (1962).

Probably a csakan, little known in the days when Glassgold was writing (Douglas Macmillan, pers. comm., 2004).
USA-New YorkFirth, Pond & Co.alto1856-18621Thompson discusses a capped internal duct-flute made mid-19th century which may or may not be a recorder. MacMillan (2003) reproduces a sketch of this instrument which he dates between 1856 and 1862. It is the size of an alto with a single key below the lowest tone hole and has a sponge chamber with a centre blowing hole. Thus it appears to be a hybrid with features of the flageolet incorporated into a recorder. Sold by G. King in 1963.

Thompson (1961)
MacMillan (2003; 2008: 89-90)
D-Sigmaringen: SchlossWeisSee Bär (1992).
CS-Prague: Natl. Mus.UnknownbassetOne of two anonymous bassets mentioned by Puklický (1986).
CS-Prague: Natl. Mus.UnknownbassetOne of two anonymous bassets mentioned by Puklický (1986).
CS-Prague: Natl. Mus.BressanaltoSee Puklický (1986).
CS-Prague: Natl. Mus.GheierbassetSee Puklický (1986).
CS-Prague: Natl. Mus.FridrichbassetSee Puklický (1986).
D-Nuremberg: GNMMI 211Staubf'alto1710-17303494ivoryStamped N.STAVB

Röntgenaufnahme RB 269, 820, 826; Kirnbauer, Martin: Historische Holzblasinstrumente in der Sammlung des Germanischen Nationalmuseum. In: Tibia, 14. Jg. (1989), S. 425.; Kirnbauer, Martin und Dieter Krickeberg: Untersuchungen an Nürnberger Blockflöten der Zeit zwischen 1650 und 1750. In: Anzeiger der Germanischen Nationalmuseums 1987. Nürnberg, 1988, passim mit Abb. S. 279.; van der Meer, John Henry: Wegweiser durch die Sammlung historischer Musikinstrumente des GNM. Nürnberg, 3/1982, S 49.; van der Meer, John Henry: Germanisches Nationalmuseum Nürnberg. Geschichte seiner Musikinstrumentensammlung. In: Jahrbuch des Staatlichen Instituts für Musikforschung Preußischer Kulturbesitze 1979/80. Hrsg. Von Dagmar Droysen. Berlin, 1981, S. 37.; Langwill, Lyndesay G.: Musical Wind-Instrument Makers. Edinburgh, 6/1980, S. 169.; Nickel, Ekkehart: Der Holzblasinstrumentenbau in der Freien Reichsstadt Nürnberg. München, 1971, S. 277.; Kirnbauer, Martin: Verzeichnis der Europäischen Musikinstrumente im Germanischen Nationalmuseum Nürnberg. Band 2. Flöten- und Rohrblattinstrumente bis 1750. Wilhelmshaven 1994, S. 32-34 (=Bestandskatalog).

Image & further informaton here.
S-StockholmF172Unknownalto3?boxivory ferule on foot jointHeadjoint stamped with a bird (?penguin).
See Karp (1972).
For image & further information see here.
S-StockholmN29810StaubNULLalto1746NULL3445NULLivoryNULLNULLStamped N.STAVB
Karp (1972)
Images & further information here.
USA-MI-Ann Arbor: U Mich.576Souve or Jouvefbasset17-18C4104NULL1stained mapleNULLbrassBrass cork with ivory mouthpiece. This restored late 17th / early 18th Bass[et] Recorder in F is pitched at a' = 415 Hz. It has four dark-stained maple sections with decorative turnings and is fitted with a brass crook and ivory nozzle mouthpiece extending from the top of cap. It has one brass key (with an ornate touch) that is a flat, round flap mounted in a bulbous ring. The first three sections are marked, "SOUVE / [five-pointed star]".

See Warner, Austin & Huene (1970).

Nominal and performance pitch from Haynes (2002).

Images here.
USA-MI-Ann Arbor: U Mich.Stearns 507Fischeg'alto4153darkened plum or pearhorn replacementStamped N.I. FISCHE, in an unfurled banner.

One of two altos by this maker in this collection. See Warner, Austin & Huene (1970).

Nominal and performance pitch from Haynes (2002: 499).

Images here.
USA-MI-Ann Arbor: U Mich.FischealtoOne of two altos by this maker in this collection. See Warner, Austin & Huene (1970).
Russia-St. PetersburgNULLBressanNULLaltoNULLNULL3NULLNULLNULLivory beak, ferrules and footNULLSee Jürisalu (1980).
I-Merano: Landfl. Burg.6659Unknown (NF)f'alto18C4403485woodStamped NF (in a shield) / NF. Zaniol (1983) believes this to be either a Tyrolean alto in f' at a'=440 Hz or a French alto in g' at a'=390 Hz. Inexpertly restored and the labium badly damaged.

Small image here.
UnknownSteenbergentenorExhibited at the Royal Military Exhibiation, London in 1890 (Bouterse 1998).
Paris: André Bissonet? Steenbergenf'alto3923ivoryUnstamped but turned in the style of Steenbergen. Bouterse (2001) considers it unlikely to be by Steenbergen considering the bore dimensions.

Nominal and performing pitch from Haynes (2002: 450).
P-Lisbon: MuseoMI 203g#basset17C4401service wood (Sorbus domesticus)Stamped BB. Bocal appears to be recent. Original fontanelle replaced with a piece of curved metal. Sounding length of 765 mm.

Apart from alterations there is not much difference between this and instruments depicted by Praetorius.

For more critical measurements and other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 534); Monteiro (2001: 10); Museu da Música (1994).
P-Lisbon: MuseoMIC 204Heerdef'alto18C4053ebonyivory beak and ferrulesStamped crown/VAN HEERDE. Thumbhole well-worn. Playable, under A415. See Buterse (2001).

Nominal and performance pitch from Haynes (2002: 451).
P-Lisbon: Museotenor41A 19th- or early 20th-century fake. No thumbhole; closed key for finger 7.
USA: Oler (private collection)Urquhartf'alto3ivory beak, ferrules and foot ringOler, W.M. (1966). Shickhardt in dispute. Recorder & Music 2 (3): 85 & pl.
GB-YorkNULLUnknownf'alto18CNULL3NULLNULLboxNULLNULLWood, George Bernard. n.d. "Woodwind Instruments in the Castle Museum, York." Published by 'N.D.'
F-Nice: Musée du Palais Lascaris168Castelf'altoc.17304043508NULLebonyivory beak, mounts and foot.NULLAll three sections stamped: stylized N. | CASTEL | [lion (or griffin) rampant]
Double holes for fingers 6 & 7 (equal sized).
An unusual feature of this instrument is the double upper chamfer at the windway exit.
Image here.
Nominal and performance pitch from Haynes (2002: 452).
Photographs, measurements & technical drawings (by Fumitaka Saito & Philippe Bolton): de Avena Braga (2015: 48, 287-289, figs 39-44).
Forneris & Debrabandère (1991: 164-165); Haynes (2002); van Heyghen (2002); de avena Braga (2015); Nozaki (2016).
Unknown? DupuisaltoDouble holes for fingers 6 & 7 (van Heyghen, 2002).

Sold in 1996 at antiquary Bissonet (Place des Vosges), Paris.
CH: Private coll.Boekhoutfbasset41031maple; stained dark brown (almost black)unmountedbrassStamped crown/T. BOEKHOUT/Brabant lion. Windcap and bocal (probably original) with ivory mouthpiece (new), entering at top of windcap (probably original). Playable. See Bouterse (2001).

Nominal and performance pitch from Haynes (2002: 451).

Image here (from Heinz Amman).

Heinz Amman makes a copy of this. See Fischer, C. (2001). 415 recorders. ArtaFacts 6(4).
USA-MA-Boston: MFA1972.1173Huenealto19723485rosewoodivory beak and ferules on head and footAfter J.C. Denner.

Image here.
USA-MA-Boston: MFA68.843Huenealto1968489mapleIn renaissance style.

Image here
USA-MA-Boston: MFA64.2375Huenebasset196439531mahoganybrass ferrules on head and fontanellebrassIn renaissance style. End-cap blown.

Image here.
USA-MA-Boston: MFA65.2682Huenetenor196537461maplebrass ferules on fontanellebrassImage here
CH-Basel: Hist. Mus.1994.237Camusd'voice flute1793-1822440357,15NULLebonyivoryNULLStamped (lion looking to left with raised paws)/CAMUS/A PARIS/(sun), those on the lower two joints omitting 'A PARIS'.

Kirnbauer (2002)
MacMillan (2007: 199; 2008: 35).

This instrument has been shortened in recent times!
CH-Basel: Hist. Mus.1896.199 bF Löhner IIf'altoc. 1800NULLNULL500NULLboxNULLNULLStamped F.LEHNER/FL

CH-Basel 1896.199a & b are identical and were used to accompany services at Adelboden, Switzerland.

Kirnbauer (2001)
MacMillan (2007: 199; 2008: 46-47)
F-Vincennes: PetitNULLBressanNULLaltoNULLNULLNULLNULLNULLbox (ebonised)ivoryNULLSold by William Petit (Vincennes). Appears to have had double holes drilled for fingers 6 and 7 (unequal sized) but now inexpertly filled! See here for photographs.
F-Mont St Vincent: Initial MusicLucien Lot? sopranofl. ca 194626palisanderbrass beak & palisander insert; 1 metal ferrulenickel silverRecently sold by Initial Music (Mt St Vincent, France). For further details see here

MacMillan (2008) suggests that the brass beak would have been covered by a lost ivory cap.

Robert (1998: 79)
MacMillan (2007: 202; 2008: 91-92)
GB-KilmarnockMI/A75Unknownc''sopranoc1650500128.9NULLivoryNULLNULLSee Mezger & Bergstrøm (2001).

Danish recorder-maker Ture Bergrstøm offers reconstructions of this instrument as suitable for the interpretation of the music of Jacob van Eyck's and other 17th-century music.

Image here.
D-Bavaria: private collectionNULLGerlachf'altobefore 1909NULL3NULLNULLboxNULLNULLCopy of a Jacob Denner alto recorder for the Bogenhausen Künstlerkapelle. Although of poor quality it is of considerable historical interest.

Kernbauer (1992: 62)
MacMillan (2007: 199: 2008: 39)
D-private? Danner OR DrebsgbassetStamped HD.

Kirnbauer (1993) notes that this was amongst the instruments used by the Bogenhausen Künstlerkapelle.
D-privateSchuechbauraltoKirnbauer (1993) notes that this was amongst the instruments used by the Bogenhausen Künstlerkapelle.
J-Tokyo: IinoBressanf'Stamped Pul/BRESSAN/rose. One of a matched pair in original box.

Waterhouse (1993) describes the case in detail with photographs.
I-AssisiUnknownbasset415A baroque-style instrument. See Li Virghi (1984).
E-Dublin: anonymousBressanbassetSee Boydell (1979).
D-Nuremberg: ErlangenLehneraltoSee Eschler (1993).
D-Nuremberg: Erlangen26Graesselg'alto19222After Hieronymus Kinsecker (ca 1675). Wave profile head.
One of two such instruments in this collection. See Eschler (1983, 1993).
D-Nuremberg: Erlangen27Graesselg'alto1922After Hieronymus Kinsecker (ca 1675). Wave profile head.
One of two such instruments in this collection. See Eschler (1983, 1993).
D-Nuremberg: Erlangen28Graesselgbasset192231After Hieronymus Kinsecker (ca 1675). Wave profile head.
See Eschler (1983, 1993).
D-Nuremberg: Erlangen29Graesselcbass1922After Hieronymus Kinsecker (ca 1675).
See Eschler (1983, 1993).
IL-Jerusalem: Rubin AcademyUnknownaltoA late Baroque alto presumably originating from Nuremberg. See Joppig (1994).
NL-LisseDever 0588Unknownf''sopraninolate 17C4401NULLNULLboxNULLNULLEarly baroque style instrument found in 't Huys Dever, Lisse, Netherlands. Stamp illegible. Sounding length 208 mm. The beak is separated from the body by an incised ring. There is a tenon over which a separate foot ring would have fitted. See Bouterse (2001, 2015). Sounding length 208 mm.

For critical measurements and other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536).
NL-Hague1933-0267 (formerly: Ea 267-1933)Unknowneb''sopranino17C4401282NULLivoryNULLNULLEarly baroque style. No stamp. Very much like instruments by Haka. Beak separated from body by incised ring. Sounding length 241 mm. Playable. No damage except on labium. See Bouterse (2001; 2004: 21, 2015).

For critical measurements and other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 536).

Image here (from Heinz Amman).
NL-Amsterdam: City Mus.VIN6-3Unknownc''sopranoNULLNULL2 or moreNULLNULL? boxNULLNULLHead joint only. See Bouterse (2001).
NL-Amsterdam: City Mus.LAUS3-4Unknownc''sopranoNULLNULL2 or moreNULLNULLwood (light coloured)NULLNULLHead joint only. See Bouterse (2001).
NL-Amsterdam: GraefmanUnknownsopranowood (stained dark)horn (ferrule)Head joint only. Lowest note c'' or d''. See Bouterse (2001).
NL-AmersfoortGM 1738Unknownc''sopranoNULLNULL2 or moreNULLNULLboxNULLNULLHead joint only. Found in Dordrecht. See Bouterse (2001).
NL-Amsterdam: City Mus.WLO-8-57c''sopranounknown woodUpper part of a walking-stick recorder. See Bouterse (2001).
J-Tokyo: IinoAardenbergf'alto405box, stained brownivory ringsNominal and performance pitch from Haynes (2002: 451).
USA-Greenville: Sigal Music Museum2007.17Beukersc''sopranoc.17204002349NULLbox (stained brown)NULLNULLMarked on head and body W:BEUKERS / (iris flowers)
Nominal and performance pitch from Haynes (2002: 450).
This exceptional instrument formerly belonged to the Dutch recorder pioneer Gerrit Vellekoop.
Van Acht (1991: 82-85); Bouterse, J. (2007: 59); Rice (2015: 77 & pl.; 2021).
NL-Laren: private coll.Beukersf'alto4003box, stained brownFoot by Thomas Boekhout (Bouterse, 2001).

Nominal and performance pitch from Haynes (2002: 450).
NL-Driebergen: private coll.NULLBeukersd'voice fluteNULLNULLNULLNULLNULLbox, stained brownNULLNULL
B-DammeBoekhoutf'alto4153box, brown stainedivory ferrule on footStamped T.BOCHOVT, not certainly by Boekhout. Ivory foot ring not original. Playable at slighty less than A=415. See Bouterse (2001); Museum Sint-Janshospitaal (2003).
.
NL-HagueEa 475-1933Eerens1?fruit wood body; ebony capSupport lost. See Bouterse (2001).
NL-EgmondNULLHakaf''sopraninoNULLNULL2NULLNULLwoodNULLNULLFound in an excavation. Lower part of the body-foot of a 2-part instrument. Bottom hole paired. The turning of the foot is characterstic of Haka. See Bouterse (2001).
NL-HagueMondonaltowoodHead only. Once joined with the body and foot of a recorder by de Jager but removed in 1991. See Bouterse (2001).
NL-Amsterdam: Rijksmuseum (Boers Collection)BK-NM-11430-89Roosenfbasset18C41531stained ?cherrybrass ferrule on head jointbrassOn loan to NL-Hague from 1952 to 2010 as
Ea-x-1952

Stamped I·ROOSEN/rose. The brass bocal (mouthpiece lost) enters the top of the windcap and has a vessel to capture condensation. One crack in socket of head joint and two smaller ones in socket of foot joint, not repaired. Playable with difficulty.

See Bouterse (2001; 2004: 23; 2013).

Nominal and performance pitch from Bouterse (2004: 23). Haynes (2002: 450) gives this instrument a performance pitch of A=400 Hz.
NL-Amsterdam: Rijksmuseum?Heerde / Steenbergenf'alto3box, stained brownOn loan to NL-Hague from 1952 to 2010 as Ea 34-x-1993.

Only the middle joint (253 mm long) survives. The part that would have been visible is 211 mm long).

Bouterse (2001) states that this fragment is stamped I:STEENBERGEN (in scroll)/fleur-de-lys. However, Bouterse (2004: 25) states that it is by van Heerde (father or son) and Bouterse (2013) attributes it to Steenbergen.
D-Lübeck: Amt für Vor- und FrühjgeschichteUnknown (Nuremberg)c16501202ivoryA cylindrical recorder, the foot of which is damaged.

Photograph here.
Stuttgart: Landesdenkmalamt Baden-WürttembergUnknown14C1box & fruitwoodImage here.

One of several surviving medieval recorders. Found in the town of Esslingen (near Stuttgart), Southern Germany where it was excavated from the sediment of the mill channel of the Karmeliter-Monastry. Hakelberg (pers comm., 2003) is of the opinion that the broken light coloured fragment is of box, the better preserved of fruitwood (length ca 25.5 cm), with thumb- and five finger-holes. Unfortunately, during conservation ca 10 cm of the instrument has been lost. Interestingly, it shows the very same characteristic turning profile as the Göttingen recorder (Hakelberg 2002; pers. comm. 2003).
S-StockholmX5267.1Dolmetschsopranino19952? rosewoodSerial number 3311.
Image & further information here.
S-StockholmX5094UnknownsopranoBaroque-style instrument.
Image & further information here.
S-StockholmX5095Mollenhauer?soprano2woodImage & further information here.
S-StockholmN1776
S-StockholmM166
S-StockholmX5096PorstNULLsopranoNULLNULL2NULLNULLlight-coloured woodNULLNULLImage & further information here.

This is similar to an 'Elit' model instrument advertised by Auktionshuset Thelin & Johansson, Oskarshamn, Sweden (2014).
S-StockholmF174JA LöhnerNULLalto18-19CNULL3NULLNULLwoodNULLNULLStamped (tree/J.A.LOHNER [cursive]/A/NURNERG [cursive]/(two stars). Foot appears to be from a different instrument.
MacMillan (2007: 199; 2008: 48).
Image & further information here.
S-StockholmX5368Aulossoprano1950-19602plasticImage & further information here.
S-StockholmAulosT7 model. Recent acquisition.
I: TriesteSchundaI would welcome additional details on this instrument.
I: Trieste1780I would welcome additional details on this instrument.
I: Assisi - Convento di San Francescobass[et]I would welcome additional details on this instrument.
GB-Aylesbury: Waddeson ManorZickivoryHalfpenny, E. (1977). Musical instruments [at Waddeston Manor]. Apollo 184: 446-451.
GB-NorthamptonI would welcome details of this instrument.
Graz: Steirisches VolkskundemuseumI would welcome details of this instrument.
Graz: StadtmuseumSM 1Unknownd''soprano (sixth-flute)c. 1900285grenadillaDescribed as 'without beak' in the catalogue which might indicate a 'folk' recorder. Another soprano in this collection is also described as 'without beak', but is by Scwhweffer.

MacMillan (2007: 201; 2008: 57, 76).
Graz: Diözesanmuseumbass[et]20C. . . a bass recorder with keys, early 20th-century.
I: Vittorio VenetoI would welcome details of this instrument.
C-BC: Victoria1 of 3 recorders. I wold welcome details.
C-BC: Victoria2 of 3 recorders. I would welcome details.
C-BC: Victoria3 of 3 recorders. I would welcome details.
USA-CT: LitchfieldHopkinsI would welcome further details of this instrument.
USA-MA: SturbridgeI would welcome further details of this instrument.
USA-NY: RiverheadI would welcome details of this instrument.
USA-TX: San AntonioRecorders by Weber, Moeck, Dolmetsch, Roessler, von Huene, Hanchet, Fitzpatrick (incl. 2 contrabasses).

I would welcome further details of these instruments.
USA-VA: WilliamsburgNULLUrquhartNULLNULL1710-1740NULL3NULLNULLstained boxwoodivory beak, ferrules & footNULLI would welcome further details of this instrument. It may be that formerly belonging to Wesler Oler.
Vichy Enchères (2021)
USA-SD-Vermillion: National Music MuseumNMM 9826JC Dennerf'altoc1720349.65ivoryStamped below the window, below the third tonehole, and on the foot, I. C. Denner (within a scroll) / D / I . Double holes for finger 7. Possibly by Johann David or Jacob Denner.
I: Paolo FaetiL Hotteterrealto3?boxivory beak and ferrulesThere is an image here.

The middle-joint is stamped Lisseau who made the center joint, possibly to adjust the pitch from the very low original.
CH-Zurich: KunstgewerbemuseumUnknownaltowoodThe head and foot have carved decorations with leafy foliage and a man's face on the beak. The body is clearly not original: it is too long, in two pieces with a plain bulbous ferrule at the mid-joint making it look more like the body of a flute than of a recorder.

I have a photograph of this from the collection of Walter Bergmann. A note in Bergaann's hand reads: 'Blockflöte mit Schuitzereien, Dresden 1850.'

Thus I surmise that the head and foot are 18th century (possibly by Gahn), but the body is a replacement for a lost or damaged original.
ID: CH-Zurich: BurgerGahng'altoA4403ivoryImage here (from Heinz Amman).
B-Brussels2642-01Reichc''sopranoc.17004032350NULLbox (stained brown)NULLNULLStamped B / REICH / fleur-de-lys.

Nominal and performance pitch from Haynes (2002).

Images & further details here (from Heinz Amman) and there. Images and sound clip here.
D-Leipzig1154UnknownNULLsoprano18CNULL3307NULL?boxhornNULLThis is an 'echo flute' comprising two recorders joined at the head by a flange and at the foot by a strut. It was probably made in Saxony.
Image & further information here (from D-Leipzig) and there.
See
Bali (2007: colour plate); Herbert Heyde: Flöten. Musikinstrumenten-Museum der Karl-Marx-Universität Leipzig. Katalog, Bd. 1, Leipzig 1978, S. 54-55.
A-ViennaAR 1393Gahnsopranoc17403ivoryThe centre joint plain, the head and foot joints with stylised acanthus leaves, the beak carved with a reversible grotesque mask.

Christie's - London
The Collection of Barons Nathaniel and Albert von Rothschild
Auction Date : Jul 8, 1999
Lot 36
Estimate: $ 4,680 - $ 7,800

SALESROOM NOTICE: This treble recorder is German, early 18th Century. Maker's label indistinct but probably by Gahn.
USA-New York: Sotheby'sLot 221, 4 November 1998Rippertg'alto18C459ivoryStamped Rippert with the device of a dolphin. In case.

Estimate: $ 13,577 - $ 20,365; £ 8,000 - £ 12,000
USA-New York: Sotheby'sLot 218, 4 November 1998Unknowng'alto17C412fruitwoodivory beak (not original)Estimate: $ 3,395 - $ 5,092; £ 2,000 - £ 3,000.
USA-New York: Sotheby'sLot 26Unknowng'alto19C8741boxhornbrass; cover circularA walking-stick recorder.

Sotheby's - New York
Early Musical Instruments
Auction Date: 4 November 1998
Lot 26
Estimate: $ 1,698 - $ 2,546; £ 1,000 - £ 1,500
USA-New York: Sotheby'sLot 187, Early Musical Instruments, 8 November 199Unknownf'alto18C3ivoryPossibly Dutch, first quarter of the 18th Century.

With turned decoration on the bell, head joint tenon socket and above the labium The lower end of the middle joint of this recorder has been turned away. Presumably this area was damaged and a new ring (now absent) turned to replace this section. The G hole now passes through a tenon.

Estimate: $ 790 - $ 1,106; £ 500 - £ 700
USA-New York: Sotheby'sLot 147, Early Musical Instruments,8 November 1995LamytenorSotheby's - New York
Early Musical Instruments
Auction Date : Nov 8, 1995
Lot 147 : FOUR FLAGEOLETS AND THREE RECORDERS Circa 1810 to modern A six-keyed blackwood single flageolet by G. Butler & Sons, London & Dublin, circa 1850.

Description: silver keys and engraved silver mounts, in case; a box single flageolet by Thomas Prowse, London; another unstamped; a four-keyed rosewood flageolet by Hastrick; a tenor recorder by Lamy; another by Lot; and an alto recorder by Moeck (8).

The present location of this instrument is unknown. It was possibly by Concord Lamy (fl. mid-20th century) rather than Joseph Alfred: other recorders by this maker survive.

MacMillan (2008: 46)
USA-New York: Sotheby'sLot 147, Early Musical Instruments,8 November 1995LottenorSotheby's - New York
Early Musical Instruments
Auction Date : Nov 8, 1995
Lot 147 : FOUR FLAGEOLETS AND THREE RECORDERS Circa 1810 to modern A six-keyed blackwood single flageolet by G. Butler & Sons, London & Dublin, circa 1850.

Description: silver keys and engraved silver mounts, in case; a box single flageolet by Thomas Prowse, London; another unstamped; a four-keyed rosewood flageolet by Hastrick; a tenor recorder by Lamy; another by Lot; and an alto recorder by Moeck (8).

Estimate: $ 221 - $ 316; £ 140 - £ 200
USA-PA-Philadelphia: Samuel T. Freeman & Co.NULLUnknownf'alto17CNULLNULLNULLNULLivoryNULLNULLEx Giusseppe M. Ferrero di Roccaferra (Italian 1912-1999). Auctioned 23 February 2001, Lot 27.
GB-Durham: BowesDolmetschf'alto3470boxivory beakEach section stamped DOLMETSCH in a circle surrounded the number 2063.

For image see here
USA-DC-Washington: DCMDCM 1254Bärenreitere'altoc19354403534cocusnickle silver ferrulesFurther details & image here.
USA-DC-Washington: DCMDCM 1255Bärenreiteratenorc193544037571maplenickel silver ferrulesnickel silverFurther details and image here.
USA-DC-Washington: DCMDCM 1649Unknown94boxHeadpiece only. Stamped (sunburst) / A PARIS.

This may belong to a French flageolet rather than a recorder.

Further details and image here.
USA-DC-Washington: DCMDCM 0745Unknownf'alto18C3492.5Head joint cracked at both ends and repaired with 7 cross pins (former repair). Also the edge was apparently damaged, and a new ivory slip was carved to replace it and secured with a now missing dowel (material?) and also incorrectly positioned to form a proper edge. Foot joint decorative beads, top and bottom, missing portions, one of which is cracked off but still present, plus 2 cracks in socket. Purchased from Harold Reeves, London, 25 Aug.1927. Formerly in the collection of Mr. T. W. Taphouse, Oxford.

Further details & image here.
USA-DC-Washington: DCMDCM 1386Lewis & Scott Mfg. Co. , Plantsville, Connecticut:19392322Black plastic (tenite)metal ferruleMaker's name on Instruction Sheet only which refers to this as a Scotty Piccolo Recorder.

This is the earliest plastic recorder known to me. From the photograph (see below) it is clearly a recorder in all essentials. The thumbhole is easily visible through the first finger hole.

Purchased from G. Schirmer, New York (1939).

Further details & image here.
USA-DC-Washington: DCM329 (stolen)Unknownf''sopranino18C4162263NULLivoryNULLNULL7th hole drilled twice for right or left hand players, the unused hole is plugged.
Purchased from Sumner Healey, New York (1923), ex Tolbecque collection.
One of two instruments stolen from the Library of Congress a number of years ago.

Further details & image here. Photograph, measurements & technical drawing (by Richard Palm): de Avena Braga (2015: 348, figs 137-138).
I-Rome: Private Collectionalto?17C1ivoryStamped M H. Window shape inverted. Exterior profile waisted, similar to late 17C examples from Nuremberg. See Brown (2002).
A-Linz: SchlossmusMu 4 (150)Plaiknerf'alto459Nominal and performance pitch from Haynes (2002).
F-Paris (ex Chambure)Hotteterref'alto415ivoryCited by Haynes (2002) who notes that this instrument has no accession number. It may be the ivory alto recorder in this collection not cited by Haynes, namely E.995.16.1. However, the latter instrument was purchased by the museum in 1995.
J-Tokyo: IinoMondonf'alto395boxCited by Haynes (2002). Could be the instrument formerly owned by Lord Astor of Hever and sold by the Early Music Shop (London).
J-Tokyo: IinoNULLNaustd'voice fluteNULL415NULLNULLNULLNULLNULLNULLCited by Haynes (2002).
F-Paris: Laurent KaltenbachJ-H Rottenburghc'tenor406Cited by Haynes (2002). This appears to be a different Rottenburgh tenor to that acquired from the Kaltenbach Collection by USA-SD-Vermillion: Shrine 4879.
B-Brussels189 or 187Lambertfbasset410Marvin (1972); Pottier (1992: 45); Haynes (2002).

Pottier (loc. cit.) gives the Accession as 187.
I-Milan: Collection G. BizziJ-H. Rottenburghc''soprano415Cited by Haynes (2002).
GB: Collection Richard HarveyBressanf'alto403Cited by Haynes (2002).
USA-MA-Boston: von HueneNULLBressanc'tenorNULL405NULLNULL1? box, dark stainedIvory beak, ferules & foot? silverCited by Haynes (2002). Image Burgess (2015: pl. 37).
USA-MA-Boston: von HueneNULLBressand'voice fluteNULL410NULLNULLNULL? boxIvory beak, ferules & footNULLCited by Haynes (2002). Image Burgess (2015: pl. 37)
J-Tokyo: IinoBressanf'alto400stainedStamped Pul/BRESSAN/rose. One of a matched pair in original box.

Waterhouse (1993) describes the case in detail with photographs.

Nominal and performance pitch from Haynes (2002).
J-Tokyo: Ueno Gakuen87Bressanf'alto401Cited by Haynes (2002).
Brazil-Sao Paolo: R. KanjiBressanf'alto403Cited by Haynes (2002).
J-Tokyo: Ueno GakuenSouchd'voice flute404Cited by Haynes (2002).
J-Tokyo:IinoBressanc'tenor408boxivoryCited by Haynes (2002).
J-Tokyo: IinoStanesby Jr.c'tenor408With traverso-style foot joint.

Cited by Haynes (2002).
USA-Greenville: Sigal Music Museum2015.01Stanesby Jr.f'altoNULL4103495NULLstained boxwoodNULLNULLStamped STANESBY / IUNIOR
Formerly USA-MA-Boston: von Huene.
Haynes (2002), Rice (2015); Lynn (2021, 13 & pl. 5, col.)
GB-Tunbridge WellsCottona'altoc1763424MacMillan (1983) gives this instrument a nominal pitch as g' and the date as ca 1763; Haynes (2002) gives it as a'.

Previously at GB-London: Oldham.

Used by the Parish Clerk to give the pitch for unaccompanied singing in a church in Shipley, Kent, UK (MacMillan 2008: 128-29).
GB-London: Horniman14.5.47JC Denner?g'alto461Cited by Haynes (2002) with an incomplete Accession number. This probably represents one of the three recorders in this collection from unknown makers.
D-Munich: Bav. Natl. Mus.BNM 153Unknownf'alto475Cited by Haynes (2002).
A-Linz: SchlossmusMu 12 (154)Plaiknerg'alto378Cited by Haynes (2002: 446).
D-Bavaria: Bogenhaus4J Dennerg'392Cited by Haynes (2002).

Probably the same as the intrument listed here (awaiting confirmation from Bruce Haynes).
A: Stift SchläglGahnsopranino399Cited by Haynes (2002) who does not give the nominal pitch.
D-Leipzig3140Reichc'tenorNULL402NULLNULLNULLNULLNULLNULLCited by Haynes (2002).
D-Bavaria: Bogenhaus14bJC Dennerfbasset405Cited by Haynes (2002: 447).

Probably the same as the intrument listed here or there (awaiting confirmation from Bruce Haynes).
NL-Amsterdam: BrüggenGallg'alto405Cited by Haynes (2002: 447).
F-Paris: AnonymousHetizc''soprano405Cited by Haynes (2002: 447).
D-Bavaria: Bogenhaus5J Dennerf'alto410Cited by Haynes (2002: 447).

Probably the instrument listed here (awaiting confirmation from Bruce Haynes).
D-Bavaria: Bogenhaus3JC Dennerg'alto410Cited by Haynes (2002: 447).

Probably the instrument listed here (awaiting confirmation from Bruce Haynes).
USA-Greenville: Sigal Music Museum2015.03JD Dennerf'altoc.17004103495NULLboxwoodNULLNULLStamped on all 3 sections I.C.DENNER (in a scroll with rolled ends) / D / I
Formerly USA-MA-Boston: von Huene
Rice (2021) attributes this to JC Denner
Haynes (2002: 447); Rice (2021); Lynn (2021: 12 & pls 3, col.)
StimmerGahnf'alto410Cited by Haynes (2002: 447).
J-Tokyo: IinoEichentopff'alto411Cited by Haynes (2002: 448).
N-Trondheim: Ringve Mus.RMT 84/2Gahnf'altoc17004146507ivory (in 6 parts)Faintly stamped I.B. GAHN/monogram

Aquired by the museum in 1984 and played by the flautist Tore Aune for some years following.

Data from Mats Krouthén, Ringve Museum (pers. comm., 2004).

Performance pitch from Haynes (2002: 448) who does not give the nominal pitch.

For colour photo see Guttormsen et al. (1988: 58-59).
D-Bavaria: Bogenhaus2aJC Dennerf'altoNULL421NULLNULLNULLivoryNULLNULLThis instrument has double holes for fingers 6 and 7.

Cited by Haynes (2002); Nozaki (2016).

Probably the instrument listed here (awaiting confirmation from Bruce Haynes).
Anonymous dealerJ Dennerf'alto425Cited by Haynes (2002: 449).
I-Milan: Museo Teatrale alla ScalaJC Denner ?abasset425Cited by Haynes (2002: 449).
A: Stift SchläglGahnf'alto425Cited by Haynes (2002: 449) as Alto #1.
A-Linz: Schlossmus5 (151)Plaiknerf'456Cited by Haynes (2002: 449).
D-Bavaria: Bogenhaus6aSchuechbaurf'alto458Cited by Haynes (2002: 449).

Probably the instrument listed here (awaiting confirmation from Bruce Haynes).
A-Salzburg: Mus. Car.-Aug.243G Walchf'alto390Cited by Haynes (2002: 449).
A-Salzburg: Mus. Car.-Aug.242/171G Walchf'altoNULL390NULLNULLNULLNULLNULLNULLCited by Haynes (2002: 449).
D-Leipzig1141JD Dennerf'alto435Stamped I.C.DENNER but attributed to J.D. Denner by Haynes (2002: 449) with nominal and performance pitch.
A-Salzburg: Mus. Car.-Aug.3-AprL Walchg'alto18-19C438420plumhornStamped L.WALCH [in scroll]/(shell)

Waterhouse (1993)
Young (1993)
Haynes (2002: 449)
MacMillan (2007: 202; 2008: 85).
A-Salzburg: Mus. Car.-Aug.3-Feb?cl (?gl)c''soprano439Cited by Haynes (2002: 449).
USA-Greenville: Sigal Music Museum2015.04Boekhoutfbassetc.1710405610672, brassmaple, stained brownNULLbrassStamped (crown) / T· BOEKHOUT / (striding lion)
Mouthpiece, brass crook (Von Huene), head joint, middle joint; bulbous foot, and replacement floor peg (Von Huene).
Formerly USA-MA-Boston: von Huene.
Haynes (2002: 451), Bouterse (2013), Rice (2021, pers. comm. 2022); Lynn (2021: pl. 4).
A-ViennaSAM 153Perosac''sopranoundated4153351NULLboxNULLNULLHead stamped: ∴ | D. PEROSA [in a wimpel or scroll] | I
Haynes gives pitch as 410 Hz; Adrian Brown says 415.
Haynes (2002: 452, as 8540). Sardelli (2007: 49 & pl. 6); photographs, measurements & technical drawings (by Adrian Brown, Luca de Paolis): de Avena Braga (2015: 55-57, 338-342, figs 118-124).
I-Milan: Museo Teatrale alla ScalaMTS-FD/03Anciutig'altoNULL4133470.5NULLivoryNULLNULLAll three parts stamped: [lion of Venice]| [in a scroll] ANCIVTI | A MILAN
Windway cracked.
Image here.
Falleti et al. (2009: 215); Haynes (2002: 452); Sardelli (2007: 49 & pl. 5)
Photographs, measurements and other details: de Avena Braga (2015: 283, figs 34-36).
A-ViennaNULLCastelc''sopranoNULL435NULLNULLNULLNULLNULLNULLStamped with a lion (or griffin) rampant.
Haynes (2002: 452).
F-Paris: VeilhanC. Schlegelf'alto435Ex Chambure. Cited by Haynes (2002: 452).
N-Trondheim: Ringve Mus.RMT 78/6Boief'altoc. 1800NULL63432ebonyivory rings and bell rimsilverA recorder with an alternative flageolet head with five wind-channels leading to a sponge chamber. The instrument can be played as a recorder in three pieces. A foot key for the fourth finger of the left hand and a covered key on the mouthpiece to facilitate high trills. The latter is a feature of the flageolet rather than the recorder. When played as a recorder the tone is bright in the upper register, but somewhat softer when played as a flageolet.

Mats Krouthén (pers. comm. 2004)
MacMillan (1983; 2007: 202; 2008: 88).
N-Trondheim: Ringve Mus.NF 1925-0817Oberlender Ialto1705+On loan from Norsk Folkemuseum (Mats Krouthén, Ringve Museum, pers. comm. 2004).
GB-Guildford: MacmillanNULLUnknown, ? Metzlerd'voice flute18CNULL3600NULLboxivory beak, mounts & footNULLStamped METZLER/LONDON/105.WARDOUR ST.

The instrument is in the style of Bressan, and it seems likely that Metzler either repaired or sold the instrument. The foot has been tampered with. Macmillan notes that he saw this recorder whilst visiting Carl Dolmetsch in 1980. It's previous owners were Richard Luckett and Graham Wells. The instrument does not play in tune, and there is little wear around the thumbhole.

MacMillan (1982; 2003; 2008: 96; 2012, pers. comm.)
Montague (2002).
Auctioned by Bonham's, London, Sale 18948 - Fine Musical Instruments, 5 Oct 2011; sold £4,125.

Image here
USA-CT-New Haven: YaleUnknown (? French)alto18C3482.6ivoryFrom the Belle Skinner Collection, incorporated in the Yale University Collection of Musical Instruments in 1961. However, this instrument is not listed in the current on-line catalogue of the Yale collection, though a number of flageolets (including two from France) are.

Cited by Potier (1992: 43); MacMillan (1983). For photographs see Nagel (1978: 66).
USA-CT-New Haven: Yale3159Powell1930Both date and provenance for this instrument may be given incorrectly in Yale University Collection of Musical Instruments (2004). It may be an Orkon, a keyed recorder developed by E.V. Powell in 1941 and manufactured for him by Richard W. Jerome (Chester, New York) between 1942 and 1952.
GB-Torquay: MuseumV4608Hallettc''sopranoNULLNULL3333NULLrosewoodivory beak and upper mountNULLCited by MacMillan (1983); additional data from Douglas MacMillan (pers. comm. 2015)
S-Stockholm: NordiskaLindhCited by MacMillan (1983).
USA-DC: Smithsonian Institute65.0615Unknownc''soprano19C360woodPoorly finished, possibly by an amateur craftsman

MacMillan 1983: 491; 2007: 202; 2008: 83)
USA-DC: Smithsonian InstitutealtoCited by MacMillan (1983: 491).
B-Brussels437Coppensalto18C3woodHighly decorated with engravings and incisions

Cited by Diagram Group (1978: 30), as 'taille de flute douce'. Probably not 19th-century (MacMillan, pers. comm. 2007).

Image & further details here
D-BerlinFritzsche19CCited by MacMillan (1983: 491) who has now identified this as a csakan (MacMillan, pers. comm., 2007).
S-Stockholm: NordiskaN77211.1H. Grenser & WeisnerNULLNULL1817–1826NULL3NULLNULLwoodivory beakNULLThe foot is missing.
Cited by MacMillan (1983) who has identified it as a csakan (MacMillan, pers. comm., 2007), though on what basis is not clear. From the image (see below) it looks like a perfectly ordinary baroque-style recorder.
Image & further details here.
NL-HagueHakkert19CCited by MacMillan (1983: 491).
D-Nuremberg: ErlangenR24JA Löhnerg'alto19CNULLNULL493NULLNULLNULLNULLStamped (tree)/J.A.LOHNER/A/NURNBERG

The foot is of early 19th century manufacture; the upper joints may be very late 18th-century.

Eschler 1983: 115-121)
MacMillan (1983: 491; 2007: 1999; 2008: 47-48)
D-Berlinx2905Noblet & Thibouvillec. 1863The first of two instruments by this maker.

Lost in the Second World War; neither photographs nor documentation have survived.

MacMillan (1983: 491; 2007: 200; 2008: 55).
D-Berlinx2983Noblet & ThibouvilleThe second of two instruments by this maker.

Lost in the Second World War; neither photographs nor documentation have survived.

MacMillan (1983: 491; 2007: 200; 2008: 55).
USA-MA-Boston: MFAProwse19CEx Leslie Lindsay Mason Collection, Boston. Cited as a recorder by MacMillan (1983: 491).

This instrument is not a recorder but a 4-keyed flageolet.
NL-Amsterdam: Historisch MuseumTLDW-1Hakac''soprano4401palisanderivory foot ringGawronski (2004). Amsterdam: varia. In Blazer, W. (ed.) Archeologische Kroniek Noord-Holland (2003: 3-68; 2004: 16-17).

Found in 2003 during an archaeological dig in the Leliedwarsstraat in Amsterdam's Jordaan district (Arnold den Teuling, 2004).

Anthony Rowland-Jones (pers. comm.) reports that this is a hand-fluyt in well-preserved condition. The speaking length is 300 mm. The labium and windway exit are too damaged for it to play properly, but it does produce a thin wheezy sound over a limited range of notes, so one can determine the pitch, which seems low. Adrian Brown has made a copy, which is about a semitone higher than the original

For critical measurements & further details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).
CH-Konstanz1141JC Dennerfbasset39431CherrybrassAll 3 sections stamped I.C. DENNER/D/I.

A copy of this instrument is made by Tom Prescott. See here
D-Ilshofen: ThalheimerNULLUnknownc''soprano17C4202NULLNULLwoodNULLNULLA copy of this instrument is made by Ralf Ehlert who writes:

In 1985 an antique dealer discovered in a Venetian Palazzo a two-section descant recorder, which must have been made in the second half of the 17th century. The original instrument is at c'' = 420 Hz and is in an astonishingly good, playable condition.
CH-Basle: Aeon Workshop CollectionCahusacg'alto (second-flute)c1760418boxMarked with a 2 and thus clearly a second-flute, ie alto in g'. Identical to another Cahuasc second-flute in the Moeck collection.
CH-Basle: Aeon Workshop CollectionBärenreiterc'tenorc19301flamed mapleSee CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
CH-Basle: Aeon Workshop CollectionBärenreiterfbassetc19302plumSee CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
CH-Basle: Aeon Workshop CollectionJ Paetzoldf''sopranino19914402boxSee CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
CH-Basle: Aeon Workshop CollectionJ Paetzold (after Denner)f''sopranino1970420See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
CH-Basle: Aeon Workshop CollectionJ Paetzoldc''soprano19912boxSee CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
CH-Basle: Aeon Workshop CollectionJ Paetzoldab'alto19994402nutwoodSee CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
CH-Basle: Aeon Workshop CollectionA Brownc'tenor1992466mapleRenaissance-style.

See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
CH-Basle: Aeon Workshop CollectionA Brownfbasset19924661boxRenaisance-style.

See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
CH-Basle: Aeon Workshop CollectionNULLMollenhauer (after Kynseker)c'''piccolo (garklein flutlein)1997440NULLNULLNULLmapleNULLNULLSee CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
CH-Basle: Aeon Workshop CollectionNULLMollenhauer (after Kynseker)c'''piccolo (garklein flötlein)1997440NULLNULLNULLmapleNULLNULLSee CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
CH-Basle: Aeon Workshop CollectionMollenhauerf'alto19974402pearSee CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
CH-Basle: Aeon Workshop CollectionHuenec''soprano1991440flamed mapleRenaissance-style.

See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
CH-Basle: Aeon Workshop CollectionHuene (after Denner)f'alto1990415boxSee CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
CH-Basle: Aeon Workshop CollectionHuenec'tenor1992boxSee CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
CH-Basle: Aeon Workshop CollectionKüngbb'soprano (fourth-flute)1997440palisanderSee CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
CH-Basle: Aeon Workshop CollectionBreukink (after Ganassi)g'alto19894401989See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
CH-Basle: Aeon Workshop CollectionMerzdorf (after Gofferje, ca 1930)d'tenor4403plumSee CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
CH-Basle: Aeon Workshop CollectionKoblicekcbass19914404zapateroRenaissance-style.

See CD The Last Rose of Summer, Ensemble Monokel. Home Productions 00108 (2000).
GB: Oxford-Bate405NobletNULLaltoca1820NULL3486NULLboxhorn beak, ferrules, and footNULLFormerly UK: London - Bingham 87 (offered for sale in early 2005).

Stamped (cockerel)/F.NOBLET/(star)
Image here

In very good original condition except for a little damage to horn mouthpiece, which does not affect playing.

MacMillan (2007: 200; 2008: 54)
GB: London - Bingham53? GahnNULLalto18CNULL3503NULLboxNULLNULLNo maker's mark, but in the style of Gahn.

Beak with carved fish head. Head and foot with carved acanthus leaves.

Small chip of wood off top edge of footjoint. Chip from side of centre joint.

Currently for sale at £9,000.

Image here.
F-Vichy: AuctionSchellbassetmetal ferrule on windcapMarked with 3 fleur de lys. Brass bocal, entering at top of windcap. Ex Auguste Tolbecque collection. To be auctioned at Vichy on 18 June 2005.

Bruno Kampmann to Anthony Rowland-Jones, 24 March 2005.
F-Vichy: AuctionNULLUnknownNULLtenorNULLNULLNULLNULLNULLNULLivory mid-joint and foot ringNULLEx Auguste Tolbecque collection.
Auctioned at Vichy on 18 June 2005.
Bruno Kampmann to Anthony Rowland-Jones, 24 March 2005.
Listed in the sale catalogue as a bass, but the photograph shows a tenor.
F-Bellenaves: RenardJ Dennerf'alto4163501boxivory beak, ferrules & footStamped on each joint C. DENNER (in scroll) / I.D. / ICD

Length of head 192 mm; length of middle joint 240 mm; length of foot 103 mm.
In very good playable condition.

Currently offered for sale at Euro 50,000 !
Image here

Cited by Haynes (2002).
F-Bellenaves: RenardDolmetschalto3478rosewoodivory beak, ferrules & footStamped Dolmesch; serial number 7846.

Currently offered for sale at Euro 1200.
ex F-Bellenaves: RenardNULLUnknownNULLaltoc17004173493NULLivoryNULLNULLThe turning and the bore size relate this instrument to the work of Hotteterre.

Restored on the lower end of the middle joint.

Length of head 191 mm; length of middle joint 25.2 mm; Length of foot joint 10.3 mm.

Sold: Currently in the private collection of Andreas and Karin von Pavel, Germany.
F-Bellenaves: RenardUnknown18-19C339boxTurning uncouth. Slightly twisted. Probably italian origin.

Image here.

Currently offered for sale at Euro 900.
F-Bellenaves: RenardBizey or Lotalto3483boxAttributed to a member of Bizey or Lot family.
A crack has been restored on the first joint.

Image here

Length of first joint 184 mm; Length of middle joint 238 mm (197 mm without tenons); Length of foot: 102 mm.

Currently offered for sale at Euro 6,000.
NL-Zwolle: KlemischNULLPerosaf''sopraninoundated4102259NULLivoryNULLNULLHead stamped: PEROSA [in a wimpel or scroll]
Although there are cracks on both head and foot, the instrument plays very well and has a balanced sound. It is stylistically similar to an instrument at the Schola-Cantorum Baseliensis even though this instrument only has a scroll with no name it is also made of ivory and one could think of Perosa being the possible maker. However, the measurements are extremely different from the Vienna instrument. Perosa is probably not the maker of the Basel sopranino. Note by Guido Klemisch.
Photographs, measurements, technical drawings (Guido Klemisch, Federico Sardelli): de Avena Braga (2015: 344-345, figs. 125-127).
Image here
I-Bologna: Accad. Fil.602 (Puglisi 7; Tiella Bs3)Greceg+basset4401plumStamped P•GRECE. A large portion of the body below finger-hole 3 is missing. Sounding length is 765.5 mm.

For critical measurements & other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 563); Tiella (2004 & 2005).

Tiella (2004: 9 & 2005: 134), gives this instrument the inventory number 603, in error!)
NL-Hague1933-0268Unknownc'tenor18C37171stained boxivoryNot playable. Various cracks in head and ivory rings. Key a later replacement.
NL-Hague1933-0275Unknownf'alto18C499maple with tortoiseshell coveringNot playable. Leaks air between wood and tortoiseshell.
NL-Hague1933-0457Unknownf'alto?18C414511stained ? mapleHardly playable but essentially a beautiful sound.

See Bouterse (2004: 22).
NL-Hague1933-0582AB or possibly AEf'alto?19CNULLNULL490NULLstained woodivoryNULLNot playable. A variety of minor damage.

Bouterse (2004: 22)
MacMillan (2008: 99)

Image of head
NL-Hague1933-0583Tottf'alto18C406507stained boxPlayable, no visible damage.

See Bouterse (2004: 23).
NL-Hague1000-0065Unknownalto? boxOnly the head (201 mm long) survives. It has possibly been submerged in water.
D-Darmstadt: Hess.Mus.67:123f#basset440Sounding length 840 mm.

For critical measurements and other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535).
B-Dockham: Steenmuseum204NULLf#''sopranino1696440NULLNULLNULLboxengraved silver ring on footNULLStamped I.V.H. and thus possibly by possibly by Jan van Heerde. Silver ring bears an inscription and the date: 1696.

Lowest note and performance pitch from Brown (2005b).

Bouterse (2015)
I-Pisa: private collectionMHg#'alto440382fruitwoodivoryStamped M. Waisted turning; two ivory mounts, look like Nuremberg instruments. Recess for decorative plaque (missing) below window.

For critical measurements and other details see Adrian Brown's Renaissance Recorders Database; Brown (2005b: 535); Galpin Society Newsletter 4 (2002).
A-ViennaSAM 691Unknownc''soprano440307.2mapleSounding length 277.0 mm. Simple instrument with straight drilled fingerholes, no undercutting. Long ramp for this size instrument. Single incised ring between beak and window.

For critical measurements and other details see Adrian Brown's Renaissance Recorders Database; Darmstädter & Brown (2006: 151-153) - includes colour photographs.
USA-NC-Durham: Duke11Wredesoprano19C231.341boxwoodivorybrassStamped H. WREDE / LONDON on the duct joint.

This instrument was apparently converted from a flageolet to a recorder by carving the tenon of the duct joint into a recorder mouthpiece. Alternatively it is a recorder with a very strange mouthpiece. Further information on this instrument would be most welcome.

MacMillan (2008: 94-95)

Images here.
USA-NC-Durham: Duke13MathieuMetal walking-stick recorder.

Further information on this instrument would be welcome.
D-Lucerne: Richard-Wagner-Museum114?Dennersopranino?17C3ivoryShortened with a replacement foot rendering it a 6-holed pipe. Once bore a maker's mark, possibly beginning with a 'D', but this has faded. Probably made in Nuremberg in the late 17th century, perhaps by one of the Denner family (Weber 2005).
GR- Rhodes: PalacesopraninoboneJack Campin (2005) writes: In the museum in the basement of the Palace of the Knights of St John there is the body of a bone sopranino recorder, attributed to the period of the Knights (1309-1522). Holes in the usual recorderish places, including the thumbhole ... [The instrument was] slightly tapered, I think. The maker hadn't used a lathe - the bone had been filed down a bit externally but there were no decorative markings. I couldn't look down the bore. The holes were cleanly done, better than most folk flutes, with some variations in size ... I suspect the instrument was in one piece: the top is broken off ... it wasn't in the regular museum part, but in the display marking 2400 years of the city of Rhodes which they first put up in 1993.
I-Rome: Museo dSM871Unknown (Italian)tenor4680ivoryImages here and there.
I-Rome: Museo dSM872Unknown3ivoryFoot not original.

Image here.
I-Rome: Museo dSM873Unknown3ivorySpacchi e incollature nella parte finale legate col filo di ferro.

Image here.
I-Rome: Museo dSM874 | 2208UnknownNULLsopraninoNULLNULL3NULLNULLivoryNULLNULLBody and foot stamped: [star] | I
The head is clearly a crude replacement by a different maker to the lower parts. The turning is different and there is no proper windway. The block is too short, and the window is disproportionately large.Images here and there.
Photographs & notes: de Avena Braga (2015: 347, 132-134).
I-Rome: Museo dSM878Unknowntenor31woodbrassImage here
I-Rome: Museo dSM879 | 1421CastelNULLaltoNULLNULL3505.4NULLstained pearwoodNULLNULLAll 3 pieces marked N. CASTEL | [lion (or griffin) rampant]
Image here.
Photographs, measurements & technical drawings (by Fumitaka Saito): de Avena Braga (2015: 48, 295-298, figs 51-56).
I-Rome: Museo dSM880Unknown? voice flute3woodImage here (second from left).
I-Rome: Museo dSM638 ex 881Grassif'altoNULLc.4353218.5NULLboxivory mounts (head & foot); brass ferrule (upper body)NULLAll three parts stamped: GRASSI | IИ MILAИ
Cracks in all three parts. The block appears to be too wide and too short for the head.
The design of the instrument is unusual: the head joint is male rather than female; and there is no upper chamfer at the windway exit (similar to recorders by Anciuti)
Photographs, measurements, technical drawings (by Fumitaka Saito): de Avena Braga (2015: 322-324, figs 89-94).
I-Rome: Museo dSM884 | 698CastelNULLvoice fluteNULLNULL3578.4NULLboxmetal (middle joint ferrule)NULLAll joints stamped N. | CASTEL | [lion (or griffin) rampant]
Photographs, measurements & technical drawings (by Fumitaka Saito): de Avena Braga (2015: 48, 309-312, figs 70-75).
I-Rome: Museo dSM887 |644CastelNULLaltoNULLNULL3521.9NULLboxNULLNULLAll joints stamped: N. | CASTEL | [lion (or griffin) rampant]
Image here.
Photographs, measurements & technical drawings (by Fumitaka Saito): de Avena Braga (2015: 48, 291-294, figs 45-50).
I-Rome: Academia170Casteld'voice flute18C4153533.3NULLboxNULLNULLMarked: N. | CASTEL | [lion (or griffin) rampant]
Photographs, measurements & technical drawings (by Fumitaka Saito): de Avena Braga (2015: 48, 303-308, figs 62-69).
I-Rome: Academia67UnknownNULLNULLNULLNULLNULLNULLNULLNULLNULLNULLDescribed in museum on-line catalogue simply as flauto diritto, this may not be a recorder.
? I-Bologna: PrivateNULLBressand'voice fluteNULL412360.9NULLboxwoodNULLNULLNominal and performing pitch from Tarasov (2004: 16-17).

Tarasov further comments that Tarasov further comments that this instruments plays over two octaves plus a minor third, including the f#'''

Sound clip here, played by N. Tarasov.
GB-London: Sotheby'sStanesbyJralto18C3woodAdvertised (with photograph) in Early Music 4(1): 52 (1976); auctioned 12 February 1976.
GB-London: Sotheby'sBradburyalto17C3woodivory beak, mounts & foot ringAdvertised (with photograph) in Early Music 4(1): 52 (1976); auctioned 12 February 1976.
GB-London: PhillipsGahnalto3ivoryAdvertised (with photograph) in Early Music 10(1): 71 (1982); auctioned Phillips for £4,800.
GB-London: PhillipsUnknown (French)alto?18C3ivoryAdvertised (with photograph) in Early Music 10(1): 71 (1982); auctioned Phillips for £2,100.
GB-London: Sotheby'sRippertg'alto3ivoryAdvertised (with photograph) in Early Music 10(3): 368 (1982); auctioned Sotheby's, London, 7 April1982 for £5,060.
GB-London: Sotheby'sBressanalto3boxAdvertised (with photograph) in Early Music 10(3): 368 (1982); auctioned Sotheby's, London, 7 April1982 for £7,700.
D-Augsburg: MaximilianUnknownBrown & Lasocki (2006) note the existence of a large case bearing the date 1603 and the arms of the city of Augsburg which must have belonged to the city's wind ensemble. It was made to hold no fewer than 28 instruments: 16 recorders, 6 flutes, and 6 conical instruments that may well have been cornetti. The sizes of the recorders would fit our second system exactly (minus the great bass): a single bass in Bb, four bassets in f, four tenors in c', three altos in g', two sopranos in d, and two sopraninos, probably in a, all at mezzo punto.
D-PavelNULLUnknownf'altoc17004173NULLNULLivoryNULLNULLNew block by Guido Klemisch.
Possibly shortened at some time.

The turning and the bore size relate this instrument to the work of Hotteterre.

Restored on the lower end of the middle joint.

Length of head 191 mm; length of middle joint 25.2 mm; Length of foot joint 10.3 mm.

Purchased from Renard, Paris.
D-Halle: HandelhausMS-326BillingNULLsopranino1808–1825NULLNULLNULLNULLNULLNULLNULLStamped (lily/F.BILLING/A.VARSOVIE/(flower)

MacMillan (2007: 199; 2008: 35)
USA-NJ-Newark: RutgersfbassetBelonged to jazz multi-instrumentalist Rahsaan Roland Kirk.
H-Budapest: Natl. Mus.1928.75Stanesby Jrf'alto3black (? ebonised boxwood)ivory ferrule and footHead-joint is missing. The ivory ornamentation is identical to that of an alto by Bressan, namely GB-Oxford: Bate 112. The maker's mark looks like that of another alto by Stanesby photographed by Heinz Amman, namely UK-Sotheby: Sold for 24.150 GBP, and F-Paris: E.980.2.82.

Bali (2007: colour plate).
H-Budapest: Natl. Mus.1977.12Gahnc'tenor?4203Maker's stamp (faint) is GAHN under a clearly visible coat of arms. Only the head- and centre-joint survive, both stamped with a star. Sounding lengths 178 mm (head) and 266 mm (centre). Head in two parts.

Bali (2007: colour plate).
H-Budapest: Liszt Ferenc AcademyNULLDennergbassetNULL44058652ivoryNULLbrassPlaying condition is poor, due to the damaged windway. In dimensions and appearance it is very similar to the instrument in Vermillion. The second key (giving the minor third above the lowest note) is surely a later (perhaps 19th-century) addition, probably made together with the narrowing of the thumb-hole: both reflect the 'csakan-style'. The second entrance in the top of the cap could also be part of this modification.

Bali (2007: colour plate); Tarasov (2010)
RO-Sibiu: Brukenthal14559/M 1102Hieronimo de li flautig#basset17901probably cherryStamped HIER•S• Cap, crook, fontanelle and key missing. the bushes once holding hte key seem to be original; cracks in the bell have been repaired, and its shape has been modified.

See Bali (2007); Buckner (1941).
I-Milan: Private CollectionUnknownc'tenor18C4153649.1boxStamped indistinctly in a banner 4(Ψ)H?E
The device resembles the Greek letter psi, or possibly a trident. Sounding length is 582.5 mm.
Beak damaged in corner; block worm eaten; bore oval; foot in two parts held together by friction.
GB-Oxford: Bate357Renaissance recorder, Oxfordshire Museum's Service per Carol Anderson (Checklist).
GB-Oxford: Bate858Renaissance recorder, Oxforshire Museum's Service per Carol Anderson (Checklist).
GB-Oxford: Bate351Unknowne'altofrom Checklist
GB-Oxford: Bate251Unknown (Hong Kong)c'sopranoplasticStamped 6506. Ex Edgar Hunt.
GB-Oxford: Bate343Aulosc''soprano20C440plastic
GB-Oxford: Bate398Bauml;renreiterbassetHenry Gift (from Checklist)
GB-Oxford: Bate380BoltonaltoHenry Gift.
GB-Oxford: Bate356Boosey & Hawkesc'tenorex Edgar Hunt.
GB-Oxford: Bate384CoolsmaaltoHenry Gift.
GB-Oxford: Bate385CoolsmaaltoHenry Gift.
GB-Oxford: Bate386CoolsmaaltoHenry Gift.
GB-Oxford: Bate389CoolsmaaltoHenry Gift.
GB-Oxford: Bate310Dolmetsch 5435sopranoWith chin and foot keys. Ex Collection Alex Loretto.
GB-Oxford: Bate342Dolmetschplastic
GB-Oxford: Bate370Dolmetsch 5175sopraninoHenry Gift.
GB-Oxford: Bate371Dolmetsch 11545sopraninoHenry Gift.
GB-Oxford: Bate372Dolmetsch 9769sopranoHenry Gift.
GB-Oxford: Bate373Dolmetsch 14832sopranoplasticHenry Gift.
GB-Oxford: Bate377Dolmetsch 7173sopranoHenry Gift.
GB-Oxford: Bate379Dolmetschsoprano