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Number	Collection: Abbreviation	Accession	Maker: Abbreviation	Lowest Note	Size	Year Made	Pitch	Pieces	Length	Keys	Body: Material	Mounts: Material	Keys: Material	Notes
1	D-Nuremberg GNM	MI 139	J Denner	f’	alto	1720	418	3	496.5		box			All 3 sections stamped I.DENNER/I(tree)D. Owner’s stamp: I.A.K. den 23 Sep Ao 1720. Nominal & performance pitch from Haynes (2002: 48). Image & more information (MIMO); CAT image (Germanisches National Museum, Nuremberg 2002).
2	D-Nuremberg GNM	MI 140	J Denner	f’	alto	1700-1720	421	3	499.5		box	ivory beak, ferules & foot		All 3 sections stamped I.DENNER/I(tree)D Nominal & performance pitch from Haynes (2002: 448). CAT image (Germanisches National Museum, Nuremberg 2002). Image & further information from MIMO.
3	DK-Copenhagen: Musikhist. Mus.	34	J Denner	f’	alto		406	3	500		box; light brown	unmounted		All 3 sections stamped I.DENNER/I(tree)D. Nominal & performance pitch from Haynes (2002: 447). Image (Heinz Amman 2003).
4	xD-Berlin	2809	Rykel	f’	alto			3	505		ivory	unmounted		This 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 (Bouterse 2015).
5	GB-London: RCM	0063	J Denner	f’	alto	18C	413	3	498		ivory			All 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; bell section also carved. Nominal & performance pitch from Haynes (2002: 448). “I.C.DENNER (on cartouche) / I [fir tree mark] D” Image & further details.
6	Unknown: ex Giesbert		J Denner	f’	alto						ivory
7	USA-MI-Ann Arbor: U Mich.	506	J Denner, Huene	f’	alto		430	3	501		box	large horn mount at bottom of head joint		Body & foot stamped I.DENNER/I(tree)D An additional head by von Huene making the instrument playable at A415 Hz.
8	D-Bavaria: anonymous		J Denner	f’	alto			3	497		box			May be the same as D-Bavaria: Bogenhaus 5.
9	D-Bavaria: anonymous		J Denner	f’	alto			3	472		box			May be the same as D-Bavaria: Bogenhaus 4.
10	D-Oettingen: Heimatmus		J Denner	f’	alto				501					All 3 sections stamped I. DENNER/I(tree)D
11	GB-London: Sotheby’s		J Denner	f’	alto		415	3	498		box			All 3 sections stamped I.DENNER/I(tree)D Ex D-Bavaria: Anonymous. Offered for sale in 1995 & agan in 1996 (unsold). Bouterse (1996)gives some measurements. Nominal & performance pitch from Haynes (2002).
12	B-Brussels	1026	J Denner	c’	tenor	c.1678-1750	404	3	640		box			All 3 sections stamped I.DENNER/I(tree)D. Listed by both Mahillon(1978) & Young (1967) as by J.C. Denner. Nominal & performance pitch from Haynes (2002: 447). Image & further details.
13	xD-Berlin	224	J Denner		tenor			3	665	1	box		brass	All 3 sections stamped I. DENNER/I(tree)D.
14	J-Hamamatsu: Museum	A-0007R	J Denner	c’	tenor	a. 1735	414	3	680	1	box		brass	Stamped 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 & performance pitch from Haynes (2002: 448).
15	I-Modena: Museo	SM 21-1981	J Denner	d’	voice flute		415	3	632		box			Stamped I. DENNER/I(tree)D. Nominal and performance pitch from Haynes (2002).
16	D-Nuremberg GNM	MI 211	J Denner	c’	tenor	1720-1740	420	3	663	1	box		brass	All 3 sections stamped (barely legibly) I. DENNER/I(tree)D. Nominal & 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).
17	GB-London: Sotheby’s		J Denner	c’	tenor		410	3	670	1	box		brass	Ex 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 & performance pitch from Haynes (2002: 447). Offered for sale in November 1995 & again in November 1996 (unsold).
18	D-Eisenach: Bachhaus	1-98 (115)	JC Denner	c#”+	soprano	1682	440	2	321.5		plum			Stamp 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 & 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, images & further details see Brown (2005/2023; 2005b: 535), Baines (1966: 80 & fig. 419). Said to be revolutionary because of its conical bore (Klemisch, 2006).
19	D-Munich: Deutsches Mus.	63053	JC Denner, L Hotteterre	g’	alto			3	451		ebony	ivory		Head section stamped I.C. DENNER/D; body & foot stamped fleur de lys/.L./HOTTETERRE. Pottier (1992: 45) gives the lowest note as f’.
20	CH-Basel: Hist. Mus.	1878 .9	JD Denner	f’	alto		414	3	515		box	unmounted		All 3 sections stamped I.C. DENNER/D/I. Maker, nominal & performance pitch from Haynes (2002: 448).
21	D-Berlin	5428	JC Denner	g’	alto			3	440		ivory			All 3 sections stamped I.C. DENNER/D. Ex Collection Giesbert.
22	A-Vienna: Staeps		JC Denner	f’	alto		410	3	495		box	ivory beak, ferrules & foot ring		All 3 sections stamped I.C. DENNER/D. Image from Heinz Amman (2003). Nominal & performing pitch from Haynes (2002).
23	GB-London: Sotheby’s		JC Denner	f’	alto			3	475.2		plum			Head section only.
24	S-Stockholm	M163	JC Denner	f’	alto	1675-1707		3	501		box			Head stamped I.C. DENNER/D/I; body stamped I.DENNER/I (fir tree) D; foot unstamped. Image & further details. (MIMO).
25	D-Bavaria: anonymous		JC Denner	f’	alto			3	505		ivory			Head stamped I.C. DENNER/D. Double holes for fingers 6 & 7. May be the same as D-Bavaria: Bogenhaus 2a.
26	D-Bavaria: anonymous		JC Denner	g’	alto		415	3			box	horn		Head & body stamped I.C. DENNER/D. Horn repaired. May be the same as D-Bavaria: Bogenhaus 3.
27	USA: anonymous		JC Denner	f’	alto			3	499		box			All 3 sections stamped I.C. DENNER/D/I.
28	Unknown		Townsend	d”	soprano (sixth flute)	19C		2						Stamped 6/Townsend/ManchR Straight foot, Stanesby-style. Workmanship of the windway is of poor quality. The figure ‘6’ 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).
29	A-Salzburg: Mus. Car.-Aug.	Geir 247, Birsak 3/13	JC Denner	f	basset		479	3	893	1	box		brass	Head stamped I.C. DENNER/D (unusual scroll) Was edge blown, now bocal enters side of cap. Nominal & performance pitch from Haynes (2002).
30	D-Nuremberg GNM	MR 213	JC Denner	g#	basset	1697-1797	440	2	828.5	1	box	brass ferule on widcap	brass	Head 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 Kirnbauer (1994), and Adrian Brown’s Renaissance Recorders Database.
31	xD-Leipzig	1142	JC Denner		basset			3	1025	1	pear			Lost in the Second World War.
32	D-Leipzig	1143	JD Denner	f	basset		395	3	1067	1	cherry		brass	All 3 sections stamped I.C. DENNER/D/I Also stamped with ? owner’s monogram DA. Maker, nominal & performance pitch from Haynes (2002).
33	NL-Amsterdam: City Mus.		Beukers	c”	soprano
34	I-Foligno		Unknown		sopranino	17C		1	259.5		pear			Transitional design. Found in an attic.
35	NL-Amsterdam: City Mus.		Unknown		bass
36	CH-Basel: Hist. Mus.		Unknown	g’	alto			3			box
37	CH-Basel: Hist. Mus.	1882.123	Unknown	g’	alto			3	445.5		box			Beak carved with fish face; head & foot with acanthus leaves.
38	Unknown		C Schlegel	f’	alto									Stamped sun device/CHSCHLEGEL (in scroll)/cresent device (horizontal, convex) Ex Chambure.
39	CH-Basel: Hist. Mus.		Unknown	f’	alto			3			ivory	ivory or stained wooden beak
40	CH-Basel: Hist. Mus.	1956/632	Schell	f’	alto		415	3	504		box; light brown	unmounted		All 3 sections stamped H.SCHELL/S/entwined monogram. Monogram on head only. Nominal & performance pitch from Haynes (2002). Image (Heinz Amman 2003).
41	CH-Basel: Hist. Mus.		Unknown	e♭’	alto			3			wood
42	CH-Basel: Hist. Mus.		Unknown	d’	voice flute			3						Foot very long & slender.
43	CH-Basel: Hist. Mus.	1956.633	Rippert	d’	voice flute		425	3	580		box	unmounted		All 3 sections stamped RIPPERT/dolphin Nominal & 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).
44	CH-Basel: Hist. Mus.	1879:100	C Schlegel	g	basset			3	840	1	fruitwood	unmounted		Stamped sun device/CSCHLEGEL (in scroll)/S. Beak-blown.
45	CH-Basel: Hist. Mus.	1879:101	C Schlegel	f	basset			3	890	1	fruitwood	unmounted		Stamped CHRISTIAN (in scroll)/S, CHSCHLEGEL (in scroll)/S & sun device. Bocal enters at side of cap.
46	Unknown		Denner		alto									Offered for sale at Sotheby’s but attracted no bids.
47	Unknown		Beukers	d’	voice flute		420							Offered for sale at Sotheby’s but attracted no bids. Nominal & performance pitch from Haynes (2002: 452).
48	D-Munich: Bav. Natl. Mus.	MU 163	Unknown	c#”	soprano		440	1			ivory			No 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.
49	Unknown		Stanesby Jr	f’	alto						box (stained)			Sold at Sotheby’s at £24,150. Image (Heinz Amman 2003).
50	Unknown		Unknown											Early 18th-century French; heavily charred, especially round the mouth; head badly cracked. Sold for £1,035.
51	D-Munich: Bav. Natl. Mus.	MU 152	Unknown	c”	soprano		460				ivory			Sounding 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, and Brown (2005b: 536).
52	xD-Munich: Bav. Nal. Mus.	Mu 161	Rippert	f’	alto			3	440					Hunt illustrates a Rippert ivory alto from Munich but does not indicate which instrument (the other is D-Munich: Stadtmus BNM Mu 166).
53	D-Munich: Stadtmus.	BNM Mu 151	Rippert	f”	sopranino		462	2	245		ivory	unmounted		Both 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).
54	D-Munich: Stadtmus.	180/43	Schrattenbach	G#	extended contrabass		440	2	>1603	4	maple	brass	brass	Fontanelle 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.
55	D-Munich: Stadtmus.	41-397	Koch	f					837	1	box		brass	A walking-stick recorder, stamped S.KOCH/WIEN 2 round holes at top to blow into; 7 finger holes; 2 more holes further down to emit bell note.
56	A-Graz: Landesmus.	10.484, A.G.lj	Anciuti	f’	alto	1717	430	3	476		box			Used 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).
57	I-Bologna: Accad. Fil.	599 (Puglisi 10; Tiella 7)	Rafi	d’++	tenor		440				plum			Stamped 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).
58	B-Brussels		Hieronimo de li Flauti	G	contrabass	16C			1830					Stamped HIE.S Not listed in the museum’s database.
59	B-Brussels	1040	Boekhout	f	basset	a.1715	405	3	1100	2	maple, stained dark brown		brass	Stamped T.BOEKHOUT. Bocal (probably not original) enters top of windcap; crutch missing; 2nd key for fingerhole 3. Some notes playable (Bouterse 2001). Nominal and performing pitch from Haynes (2002: 450). Images & further details.
60	B-Brussels	2345	Bassano	f#+	basset	c.1550	440	1	900	1	figured maple			Stamped !! (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 Brown (2005/2023; 2005b: 534). Image & further details.
61	GB-Oxford: Bate	109	Bressan	b♭’	soprano (fourth flute)	18C	424	3	367		box	unmounted		Stamped Pul/BRESSAN/rose; all sections marked 4. Ex Collection Edgar Hunt. Image (from Heinz Amman).
62	GB-Oxford: Bate	112	Bressan	f’	alto		404	3	504		box	ivory beak, mounts & foot		Stamped 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 a particularly fine Bressan alto in f’, now part of the Bate Collection in Oxford (Ehrlich 2021: 31). Image (from Heinz Amman). Nominal and performance pitch from Haynes (2002). Sound sample here.
63	GB-Oxford: Bate	x0	Bressan, Harris	f’	alto			3	504		box	ivory		Body by Bressan, head & foot by Harris. Body stamped Pul/BRESSAN/rose. On loan from Anthony Baines.
64	GB-Oxford: Bate	114	? Bressan		basset	c1700	395				maple	ivory		Bressan-style. Ex Collection Edgar Hunt. Maker, nominal and performance pitch from Haynes (2002).
65	GB-Oxford: Bate	117	Bassano	f#	bassett	16C	440			1	box		brass	Stamped !! !! (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).
66	D-Berlin	470	Anciuti	f”	sopranino	1733	c.440	2			box	ivory		Body stamped between fingerholes 3 & 4 [in raised letters] ANCIVTI \| O Head (with the date) lost during the war. Sardelli (2007: 49); Photograph, measurements, sketch (by Friedrich von Huene) & notes (by Steffen Hickel): de Avena Braga (2015: 285, fig. 37).
67	D-Berlin	659	? Danner OR Drebs	c#’	tenor	p. 1634	440	1			wood			Stamped 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; Brown (2005/2016; 2005b: 535); Lerch (1996).
68	D-Berlin	660	? Danner OR Drebs	c#’	tenor	p.1634	440	1			maple			Stamped HD. Sounding length 546 mm. Voicing: windway, window & blowing side, towards the player. Originally from Wenzelskirche, Naumburg. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database.
69	D-Berlin	2792	Beukers	e♭’	alto			3	500		box, unstained			Only the foot survives today, with no stamp (Bouterse, 2013).
70	D-Berlin	2801	Bressan	f’	alto		405	3	500		box	ivory		All 3 sections stamped Pul/BRESSAN/rose Nominal and performance pitch from Haynes (2002).
71	D-Berlin	96	Bressan	c’	tenor			3	675	1	box	ivory	silver	Head joint seems to have been lost. Photographs & other detailshere.
72	D-Berlin	90	JC Denner		basset
74	D-Berlin	2824	Boekhout	f	basset		410	3	1052	2	maple, stained brown		brass	Stamped crown/T. BOEKHOUT/Brabant lion Bocal into side; crutch missing. 2nd key for fingerhole 3. Playable (Bouterse 2001). Nominal and performance pitch from Haynes (2002: 451).
75	USA-MA-Boston: MFA	17.1804	Neale	d’	voice flute	c. 1730		3	615		pear, varnished blackish-brown	unmounted		Stamped 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).
76	B-Brussels	0434	JC Denner	a”	sopranino	17C	392	1	235		ivory			Wave profile. Finger holes in line. Nominal and performing pitch, and attribution to JC Denner from Haynes (2002). Image & further details.
77	B-Brussels	0189	Schrattenbach	f’	alto (columnar)	c.1550	440	1	508	1	maple	brass	brass	Stamped 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 Brown (2005/2023). Images & further details.
78	B-Brussels	1039	Boekhout	f	basset	a.1715		3	1100	2	maple, stained brown		brass	Stamped crown/T·BOEKHOUT/lion rampant Bocal probably not original; crutch missing; 2nd key on fingerhole 3. Bocal enters top of windcap. Unplayable. (Bouterse 2001). Images & further details.
80	D-Hamburg: MfHG	1924.217	G Walch	g’	alto			3	410		maple	unmounted		Stamped in scroll I.G. WALCH. Foot not original.
81	D-Hamburg: MfHG	1924.206	Bassano	f#	basset	c1550	440	1	899	1	? maple		brass	Stamped ! (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.
82	GB-London: Horniman	14.5.47/273	Unknown (Nuremberg)	a♭”	sopranino	c.1700	440	1	223		ivory			Stamped 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). Sounding 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 .
83	GB-London: Horniman	14.5.47/59	Unknown, possibly German or Scandanavian	a’	alto (third flute)				395		plum, replacement foot of ? boxwood			Carse Collection. Date of manufacture is controversial. MacMillan (2007: 201; 2008: 76-77).
84	GB-London: Horniman	14.5.47/256	Unknown	f’	alto	1700-1750		3	483		light brown wood, possibly box			Slim design with flute-like footjoint. Sounding length 423 mm. Carse Collection. Image.
85	GB-London: Horniman	M10-1983	Bressan	f’	alto			3	506		box	ivory beak, mounts & foot		Stamped 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 Dolmetsch some years later (Frances Palmer, pers. comm.) Images and further details here (from Heinz Amman) & there (from GB-London: Horniman).
86	GB-London: Horniman	14.5.47/203	Heitz	f’	alto	1725-1750	413	3	505		ivory, with wooden block			Headjoint stamped crown/I.HEITZ/8-petal flower Sounding length 442 mm. Carse Collection. Nominal and performance pitch from Haynes (2002: 448). Image (from GB-London: Horniman).
87	GB-London: Horniman	14.5.47/C.274	Schuchart	f’	alto	c. 1731-1753	410	3	506		box, stained dark	narrow ivory ring at top of foot		Stamped Iul/SCHUCHART/2-headed spread eagle Carse Collection (ex Nettlefold). Sounding length 436 mm. Nominal and performance pitch from Haynes (2002). Images & further deails here (from Heinz Amman) & there (from GB-London: Horniman).
88	GB-London: Horniman	14.5.47/319	Stanesby Sr	f’	alto	c. 1700-1733	410	3	511		ebony	ivory beak, ferrules & foot		Stamped 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).
89	GB-London: Horniman	24.3.60/5	Adler	f	basset					1				Not listed in GB-London: Horniman online catalogue (2002).
90	GB-Chester: Grosvenor Mus.	507.L.1925a	Bressan	f’	alto		410	3			fruitwood	ivory		Stamped Pul/BRESSAN/rosez 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).
91	GB-Chester: Grosvenor Mus.	0.S.25a	Bressan	f’	alto		405	3			fruitwood	ivory		Stamped 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).
92	GB-Chester: Grosvenor Mus.	0.S.25b	Bressan	d’	voice flute		405	3	612		box	ivory		Double 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 LP: The Chester Recorders, Plant Life PLR 019 (1979). Nominal and performance pitch from Haynes (2002).
93	GB-Chester: Grosvenor Mus.	0.S.25c	Bressan	c’	tenor		403	3	681	1	box	ivory	silver	Stamped 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 LP: The Chester Recorders, Plant Life PLR 019 (1979). Nominal and performance pitch from Haynes (2002).
94	GB-Chester: Grosvenor Mus.	0.S.25d	Bressan	f	basset		409	3	1133	1	wood	ivory	silver	Stamped 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).
95	USA-MA-Boston: MFA	17.1805	Unknown & Galpin	g’	alto	before 1945		1	450		pear, stained dark brown			Made in London, finished by Canon Galpin; playable renaissance style reproduction. Image. Galpin (1910); Bessaraboff (1941); MacMillan (2007: 199; 2008: 37).
96	USA-MA-Boston: MFA	17.1806	Unknown & Galpin	d’	tenor	before 1945		1	643		pear, stained light brown			Made in London, finished by Canon Galpin; playable renaissance style reproduction. Image. Galpin (1910); Bessaraboff (1941); MacMillan (2007: 199; 2008: 37-38).
97	USA-MA-Boston: MFA	17.1807	Unknown & Galpin	g	basset	20C		2	921	1	walnut, stained dark reddish-brown	brass ferrules	brass	Direct blown; fontanelle; playable renaissance-style reproduction. Image. Galpin (1910); Bessaraboff (1941); MacMillan (2007: 199; 2008: 38).
98	USA-MA-Boston: MFA	17.1808	Unknown & Galpin	c	bass	19C		2	1330	1	walnut, stained dark reddish-brown	brass ferrules on head and foot; brass bocal	brass	Bocal blown; fontanelle; playable renaissance-style reproduciton. Image. Galpin (1910); Bessaraboff (1941); MacMillan (2007: 199; 2008: 38).
99	USA-MA-Boston: MFA	17.1809	Unknown	g’	alto	18C		3	0435		ivory			Carved; 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 and further details.
100	GB-Edinburgh: Univ.	1037	Haka	c”	soprano	c1680	440	1	336.5		ivory			Stamped R·HAKA (in scoll)/device, a double fleur-de-lys or a sheaf of wheat, similar to Rykel (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 and 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.
101	GB-Edinburgh: Univ.	2941	Bressan	f’	alto						dark ?fruitwood			Stamped Pul/BRESSAN/rose. Body only, 209 mm long, excluding tenons. Image & further information.
102	GB-Edinburgh: Univ.	257	Heerde	f’	alto	c1720	416	3	499		box; stained brown			Stamped crown/VAN HEERDE Playable, slightly higher than A=415 Hz. See Bouterse (2001). Nominal and performing pitch from Haynes (2002: 450). Previously owned by Geoffrey Rendall Image. Workshop drawing by M. Wenner and J.-F. Beaudin, published by GB-Edinburgh: Univ. (1986).
103	GB-Edinburgh: Univ.	2491	Bradbury	d’	voice flute	p. 1689, probably early 18C	405	3	594		box			Stamped 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.
104	D-Nuremberg GNM	MI 98	Kynseker	d”	soprano	c. 1675	440	2	318		plum	horn		Stamped 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).
105	D-Nuremberg GNM	MIR 208	JC Denner	d’	voice flute	1690-1710	415	3	583.5		plum			Head 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 and further details.
106	D-Nuremberg GNM	MIR 200	Eichentopf	f’	alto	1715-1735	429	3	483.4		box			All three joints stamped with a device with acorns & leaves and iheichentopf. 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.
107	D-Nuremberg GNM	MI 99	Kynseker	d”	soprano	c. 1675	440	2	317		plum	horn		Stamped 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, and Brown (2005b: 535). Images & further information . Computer tomography: Martius & Raquet (2005).
108	D-Nuremberg GNM	MI 100	Kynseker	g’	alto	c1675	440		448		plum	horn		Stamped 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 & further information.
109	D-Nuremberg GNM	MI 101	Kynseker	g’	alto	c1675	440	2	448		plum	horn		Stamped 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 & further information.
110	D-Nuremberg GNM	MI 102	Kynseker	d’	tenor	c1675	440	2	590.5	1	plum	horn	brass	Stamped Hieronimus/Franciscus/Kynseker Wave profile. 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.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 further information.
111	D-Nuremberg GNM	MI 103	Kynseker	d’	tenor	c. 1675	440	2	590.5	1	plum	horn	brass	Stamped 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.
112	D-Nuremberg GNM	MI 104	Kynseker	g	basset	c1675	440		905	1	plum	horn, brass	brass	Stamped 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 fruther information.
113	D-Nuremberg GNM	MIR 201	Oberlender I	f	alto	c1730	415	3	500		box			Nominal and performance pitch from Haynes (2002). CAT image available from Germanisches National Museum, Nuremberg (2002).
114	NL-Dordrecht	4001.000.008 (formerly NL-Hague: Ea x -1950)	Unknown	c”	soprano	before 1418	c”	1	275		fruitwood			The 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 Rast of the town of Dordrecht,. Dubsequently, 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).
115	D-Göttingen: Musikinstrumentensammlung	Inv.-Nr. L-131	Unknown		soprano	14C		1	256		fruitwood (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.
116	NL-Hague	Ea 581-1933	Aardenberg	f”	sopranino		418	2	260		stained box	silver ring at end of foot		Stamped 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.
117	NL-Amsterdam: Rijksmuseum (Collection Boers)	BK-NM-11430-98	Aardenberg	c”	soprano		415	3	358		European boxwood, stained brown			On 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. Two repaired cracks in the foot joint; playable. Nominal and performance pitch from Bouterse (2004: 24). Haynes (2002: 450) gives a performance pitch for this instrument of A=402 Hz. Image & details.
118	GB-London: Sotheby’s		Stanesby Jr	f’	alto		410	3	497.8		box, stained dark brown			Slightly curved. Nominal and performance pitch from Haynes (2002). Auctioned Nov. 1996.
119	D-Bavaria: anonymous		JC Denner	f	basset			3	1029	1	cherry		brass	Head 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).
120	D-Bavaria: anonymous		JC Denner	f	basset			3	1019	1	cherry		brass	Head 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).
121	D-Nuremberg GNM	MI 88	JC Denner	f	basset	c1700	401	3	953	1	plum		brass	Head 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).
122	D-Nuremberg GNM	MIR 214	JC Denner	f	basset	1690-1710	472	3	892	1	plum	1 brass ferule on windcap	brass	Head stamped I.C. Denner/D. Bocal (missing) enters at back of windcap. Nominal and performance pitch from Haynes (2002). Kirnbauer & Krickeberg (1987/1988); Young (1982, s. 21); Nickel, (1971, s. 225); Retze (1969, s. 266); Young (1967); Kirnbauer (1994, s. 71-72). Image & further information.
123	D-Munich: Stadtmus.	BNM Mu 173 K30	JC Denner	g	basset		409	3	870	1	ivory		brass	Head 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).
124	D-Munich: Stadtmus.	BNM Mu 175	JC Denner	f	basset		472	3	901	1	plum		brass	Transferred from D-Munich: Bav. Natl. Mus. Head stamped D/I.C. DENNER. Edge-blown. An early instrument by this maker, with a swallow-tail key mounted in two rounded rings. Nominal and performance pitch from Haynes (2002).
125	D-Munich: Stadtmus.	BNM Mu 179	JC Denner	f	basset		405	3	1033	1	cherry		brass	Transferred from D-Munich: Bav. Natl. Mus. Head stamped I.C. DENNER/D. Bocal (modern replacement) enters at top of cap. A late instrument by this maker. Nominal and performance pitch from Haynes (2002: 447).
126	D-Berlin	92	JC Denner	C	bass	18C	410	3	1018	1	box		brass	Head 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.
127	D-Brunswick	84	JC Denner		basset			3	1020	1	box		brass	Brass ferule of head stamped I.C. DENNER/D. Bocal (missing) enters at side of cap.
128	A-Linz: Schlossmus	W 156, Mu 8	JC Denner	f	basset		450	3	890	1	plum		brass	Head stamped I.C. DENNER/D. Bocal (missing) enters at side of cap. Nominal and performance pitch from Haynes (2002).
129	A-Linz: Schlossmus	Mu 9 (W 157)	JC Denner	f	basset		405	3	985	1	maple		brass	Stamped I.C. DENNER/D. Bocal (missing) enters at side of cap. Nominal and performing pitch from Haynes (2002).
130	A-Linz: Schlossmus	W 158, Mu 116	JD Denner	f	basset		406	3	1040	1	maple		brass	All 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).
131	A-Göttweig Abbey		JC Denner		basset			3	931	1	wood		brass	All 3 sections stamped I.C. DENNER/D/1. Bocal (missing) enters at top of cap.
132	NL-Hague	1933-0713 (formerly Ea 713-1933)	JC Denner	f	basset		418	3	996	1	maple	brass ring on head joint	brass	Head 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.
133	F-Paris	E.1516 (C.1388)	JC Denner	f	basset	17C	458	3	910	1	?plum	2 brass ferrules on windcap & centre-joint.	brass	Head stamped I.C. DENNER/D. Bocal (brass) enters top of windcap. Ex Collection EugÃ¨ne de Bricqueville. Nominal and performance pitch from Haynes (2002). Further details.
134	F-Paris	E.1641(C.1511)	JC Denner	f	basset	18C	392	3	978	1	wood		brass	Head-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.
135	Russia-St. Petersburg	407	JC Denner		basset			3	90	1	maple		brass	Head carved (rather than stamped) I.C. DENNER/D. Bocal & cap; black lacquered.
136	A-Göttweig Abbey		JC Denner		basset			3	931	1	wood		brass	All 3 sections stamped I.C. DENNER/D/I. Bocal enters at top of cap.
137	USA-MA-Boston: MFA	MFA 1987.550	JC Denner		basset			3	968	1	box	brass ferrule on windcap; brass bocal + ivory mouthpiece	brass	Stamped I.C. DENNER/D/I. Bocal enters top of cap; ivory mouthpiece Purchased in Cremona. Photo in MAMIS 6 (1988). Image.
138	D-Eisenach: Bachhaus	L-1	JC Denner	f	basset		410	3	1017	1	box		brass	Stamped 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.
139	NL-Hague	1952×0030 (formerly Ea 30-X-1952)	JC Denner	f	basset			3	883	1	plum		brass	Bocal (missing) enters at side of cap. Unplayable, leaking.
140	D-anonymous		J Denner	f’	alto			3	498		box			All 3 sections stamped I. DENNER/(tree)D. Some repairs.
141	D-Frankfurt/O: Mus. Vladrina		JC Denner		basset				940	1	box		brass	All 3 joints stamped I.C. DENNER/D/I. Head cap & crook missing. Two brass bands & one new silver band are repairs.
142	I-Venice: Conservatorio	28	JC Denner		basset			3			ivory		brass	Attribution by Conservatory very doubtful. Bocal enters top of cap. Foot missing, replaced with a wooden one by Pietro Verado. Montague (1985: 47).
143	I-Venice: Conservatorio	29	JC Denner	f	basset		427	3	100.7	1	box		brass	Head stamped I.C. DENNER/D. Bocal (missing) enters top of cap. Enormous thumbhole, 14.5 × 12.5 mm.) Montague (1985: 47).
144	USA-SD-Vermillion: National Music Museum	3605	JC Denner	g	basset		410	3	103.5	1	fruitwood	brass	brass	Ex. coll. de Bricqueville, Versailles. Stamped 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), and 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. Nominal and performance pitch from Haynes (2002: 447).
145	D-Leipzig	J14	JC Denner		basset			3	994	1	box		brass	All 3 sections stamped I.C.DENNER/D. Bocal (missing) enters side of cap. Key with an odd touch design.
146	I-Florence: Mus. Stibbert	14289	Rippert	f’	alto	1701	392		523		grenadilla	ivory		Nominal and performing pitch from Haynes (2002).
147	I-Florence: Museo Bardini	365-157	JC Denner		basset			3	105	1	nutwood		brass	Bocal enters top of cap.
148	D-Bonn: Beethovenhaus	13a	JC Denner		basset			3	626		nutwood			Formerly in the Collection of Josef Zimmermann, Düren, Germany (D-Düren: Zimmermann) Stamped I.C. DENNER/D. Head only, foot & cap missing.
149	D-anonymous		JC Denner	c	bass			3		1	ivory		brass	Young (1993: 60) notes that this instrument is very much like a Denner basset recorder, also in ivory, at D-Munich: Stadtmus. BNM Mu 173.
150	F-Paris	E.368 (C.368)	Dupuis	f’	alto	17C	416	3	499		box	ivory		Stamped DVPVIS (in cartouche) surrounded by 4 fleurs-de-lys. Mottled finish on box; black dots around largest of 5 ivory rings. Further details. Nominal and Performance Pitch from Haynes (2002). A plan prepared by Jean-Françrois Beaudin is available (Pottier, 1992: 44).
151	D-anonymous	III	Dupuis	c’	tenor			3	664		box	ivory		Ebony studs placed irregularly around ivory mounts.
152	Unknown		Dupuis		basset						ebony	ivory (carved)		Crutch, a few cracks, crook missing, windway perfect. Auctioned by Phillips, January 1989 (Early Music 17(3): 405 (1989)).
153	NL-Amsterdam: Rijksmuseum	BK-NM-11086	Aardenberg	c”	soprano		414	3	358		box, stained brown			On 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.
154	NL-Amsterdam: Rijkmuseum (Collection Boers)	BK-NM-11430-92	Aardenberg	f’	alto		418	3	495		box, stained			On 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.
155	NL-Hague	1952×0024 (formerly Ea 24-X-1952)	Aardenberg	f’	alto		419	3	505		box, stained brown			On 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.
156	NL-Hague		Aardenberg	f’	alto		419	3	508		box, stained brown	silver		On 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.
157	NL-Hague	1933-0278 (formerly Ea 278-1933)	Beukers	c”	soprano		412	2	349		box, stained brown			Stamped 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 (from Heinz Amman).
158	NL-Amsterdam: Rijksmuseum (Collection Boers)	BK-NM-11430-87	Beukers	c”	soprano		395	2	349		box, stained brown			On 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.
159	NL-Amsterdam: Rijksmuseum (Collection Boers)	BK-NM-11430-96	Beukers	f’	alto		411	3	510		box, stained brown			On 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.
160	NL-Amsterdam: Rijksmuseum (Collection Boers)	BK-NM-11430-93	Boekhout	f’	alto		396	3	510		ebony	ivory ferules		On 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.
161	NL-Amsterdam: Rijksmuseum (Boers Collection)	BK-NM-11430-95	Heerde	f’	alto		426	3	495		box, stained brown			On 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 (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.
162	? NL-Amsterdam: Rijkmuseum		Boekhout	f’	alto						box, stained brown			On loan from 1952 (foot) and 1993 (middle joint) to 2010 to the Gemeentemuseum Den Haag as Ea 21-x-1993.Only the middle joint and foot survive (Bouterse 2004: 25 & 2013).
163	NL-Hague	Ea 279-1933	Unknown / Jager	f’	alto			3	500		wood			Body 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. Unplayable (Bouterse 2001; 2004: 21; 2013).
164	GB-Bradford	2215	Mondon	g’	alto			3						Head carved with two fishes, acanthus leaves & a Turk’s head. Formerly the property of Lord Astor of Hever & sold at Sotheby’s as part of the Hever Castle Collection. Sold by the Early Music Shop for £12,000.
165	A-Vienna	SAM 134 (C 145, KK 8521)	Unknown	g’	alto	16C	440		438.4		box			Foot 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 recorders. For critical measurements & other details see Brown (2005/2023); Schlosser (1920: 77); Marvin (1972: 32); Brown (2005b: 534); Darmstädter & Brown (2006: 161-163 & colour photographs).
166	A-Vienna	SAM 135 (C 146, KK 8522)	Bassano	g#’	alto	16C	440		427.4		box			Foot stamped !! (ML-J type A) & thus probably by a member of the Bassano family, possibly Jeronimo Bassano (d. ca 1545). One of the Catajo recorders. The basis for modern reconstructions of the so-called ‘Ganassi’ recorder. Sounding length 380.3 mm. For critical measurements & other details see: Brown 2005/2023); Schlosser (1920: 77); Marvin (1972: 32); Lyndon-Jones (1987: 59; 1998); Loretto (1986: 64 f.); Bär (2002: 315, 341); Darmstädter (2004/5: 170 f.); Brown (2005b: 533); Darmstädter & Brown (2006: 164-166 & 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. Image.
167	A-Vienna	C.166, E. 98/C. 390	Bressan	f’	alto		410	3	470		box			Stamped 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). von Huene has suggested that this instrument is in fact a fake (Ehlert & Haase-Moeck, 1999; Nozaki, 2016). Nominal and performance pitch from Haynes (2002).
168	A-Vienna		Bressan	f	basset	c. 1596			955					Ex A-Innsbruck: Schloss Ambrass.
169	A-Vienna		Unknown	f’	alto									Covered in tortoishell & gold-pique.
170	I-Milan: Conservatorio	146 (MTS-FD/02)	Anciuti	b’	soprano	1725	430	3	377		stained (marbelled) box			Head stamped: [lion of Venice] \| ANCIVTI \| A’ MILANO \| 1725; body stamped: ANCIUTI A ‘ \| MILAN; foot stamped: ANCIUTI Image. Haynes (2002: 452); Sardelli (2007: 49) Photograph, measurements and notes (by Renato Meucci): de Avena Braga (2015: 286, fig. 38).
171	Russia-St. Petersburg	404	Bizey		tenor			3	674	1	box, lacquered black	ivory beak & foot ring	brass	Stamped fleur de lys/BIZEY/A PARIS/* Key hinged from lower end. See Jürisalu (1980), Pottier (1992: 44).
172	Russia-St. Petersburg	405	Hotteterre		tenor			3	680	1	box		brass	Stamped HAUTERRE & HOTETERRE/fleur-de-lys Young (1980: 724, pl. 55); Jürisalu (1980).
173	Russia-St. Petersburg	408	Boekhout	f	basset		415	3	1009	2	box, stained dark brown		brass	Stamped 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 (Bouterse 2001).
174	I-Foligno		Unknown		sopranino	17th C		1	250.5		pear
1620	A-Vienna	SAM 154	Unknown	g’	alto		415	3	435.5		stained box			Double 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).
176	USA-DC-Washington: DCM	DCM 1259 (stolen)	Unknown	f”	sopranino	18C	442	2	249		ivory			Engraved 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 Photographs, measurements & technical drawings (by Laura Beha): de Avena Braga (2015: 350-351, figs 139-142).
177	USA-DC-Washington: DCM	DM 1257/5	Beukers	d”	soprano (sixth flute)	c1704	424	3	307		ivory			Acquired from Walter J. Ford, Upper Darby, Pennsylvania (1935). Stamped 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° apart and to a depth of about 8 mm (along inside bore), purpose uncertain. However, this may have been a means of mounting the joint between lathe centres, one of which may have had shallow wings to ensure motion to withstand the forces exerted by the ornamental turning attachments. Nominal and performance pitch from Haynes (2002: 451). Further details & image.
178	USA-DC-Washington: DCM	DCM 1214	Stanesby Sr	d”	soprano (sixth flute)		410	3	303		ivory	unmounted		Purchased from W. Howard Head, London (1934). Stamped on all sections T/STANESBY/* (sunburst); foot also with 6. Beak and foot joint large bottom bead chipped (losses). Nominal and performance pitch from Haynes (2002). Further details & image.
179	USA-DC-Washington: DCM	DM 1360	Otto	d”	soprano (sixth flute)	1938	440	2	298		pear	nickel silver ferrule on head		Purchased from A.V. Ebblewhite, London (1938). Stamped on head RUDOLF OTTO’S / CHORFLÖTE. Seyfrit (1982: 10 & pl.) Further details and image.
180	USA-DC-Washington: DCM	DM 0663	L Walch II	c”	soprano		440	3	341		box	1 horn ferrule; 1 black-painted metal ferrule		Purchased from Sigmund Koch, Munich, Germany (1926). Stamped 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. This instrument has the characteristic profile of the Berchtesgadner Fleitl. Baines (1966: 81 & fig. 432) MacMillan (2007: 200; 2008: 61). Further details & image.
181	USA-DC-Washington: DCM	DM 1387	AdlerJ	c”	soprano	c.1939	440	2	320	1	pear		silver(-coloured) metal	Ex G. Schirmer, New York (1939). Harlan fingering. Further details and image.
182	USA-DC-Washington: DCM	DM 1317	RL & Co	c”	soprano	b1937	440	2	327		rosewood	1 nickel siver ferrule		Purchased from Pierre Schneider, Paris (1937) Stamped on head SOP. C. // IMPORTÉ a’ALLEMAGNE. Stamped on body R. L. & Co. Seyfritt (1982: 8). Further details and image here.
183	USA-DC-Washington: DCM	DM 1253	Bärenreiter	a’	soprano	1935	440	2	391		rosewood	metal ferrules		Purchased from Helmluth G. Arendt, Quantico, Va., USA (1935). Further details and image.
184	USA-DC-Washington: DCM	DM 1055 (s.12)	Bizey	f’	alto	18C	390	3	525		box stained reddish brown			Purchased from H. Maniäre, Paris (1931). Stamped fleur de lys/BIZEY/, on head body and foot. Crack in head joint nearly full length. Two cracks in body, nearly full length. Further details and image. Nominal and performance pitch from Haynes (2002). A plan of this instrument was prepared by Fred Morgan (Pottier (1992: 44).
185	USA-DC-Washington: DCM	DM 0127 (S.13)	Bressan	f’	alto		415	3	502		box stained brown	ivory beak and ferrules		Purchased from John Finn, Essex, UK (1920), from the collection of Dr Thomas Lea Southgate, London, SC 13. Stamped Pul/BRESSAN/rose. Nominal and performance pitch from Haynes (2002). Further information and image. Baines (1966: 81 & fig. 431).
186	USA-DC-Washington: DCM	DM 1181 (S.14)	Bressan	f’	alto		418	3	508		box (stained dark brown)	ivory		Gift of C.G. Herbert, Altadena CA, USA (1933)? ex Southgate Collection 14. Stamped 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° and broken into 3 pieces. Postcard: Library of Congress (1979), as Miller No. 127. Nominal and performance pitch from Haynes (2002). Further details & image.
187	USA-DC-Washington: DCM	DM 0945	Gahn	f’	alto			6	485		ivory			Stamped 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 allophatic 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.
188	USA-DC-Washington: DCM	DCM 0720	Heitz	f’	alto	c1724		3	507		box, covered with tortoise shell	ivory		Purchased from Harold Reeves, London (1927), ex the C. van Raalte collection. Stamped 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 × 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. Further details & image.
189	USA-DC-Washington: DCM	DCM 1359 (S.19)	Palanca & Castel	f’	alto	c. 1775	410	3	503		box, stained brown	ivory beak, ferrules & thumb-bush; silver ferrules		Head stamped: D \| 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 and measurements here & de Avena Braga (2015: 314-315, figs. 77-80).
1613	Unknown		Anciuti		sopranino	18C		2	218		ivory	silver		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. Carved decoration, silver ferrule at head-joint. See here) and de Avena Braga (2015: 31, footnote 119).
190	USA-DC-Washington: DCM	DCM 327	Panormo	f’	alto	c. 1750	c. 420	3	487		ivory			Purchased from Sumner Healey, New York (1923). Ex Tolbecque. All sections stamped: IOAN: \| PANORM: Unplayable. Head joint severely cracked into 3 pieces with other cracks and losses. MacMillan (1983: 492) attributes this to James Panormo (ca 1820-1830), in error. Further details, photographs, measurements & technical drawings: here, and de Avena Braga (2015: 53-54, 334-337, figs 110-117).
191	USA-DC-Washington: DCM	DCM 0658 (S.21)	Schell	f’	alto		404	3	503		box (stained light brown)	unmounted		Bought from Sigmund Koch, Munich, Germany (1926). All 3 sections stamped H.SCHELL (in scroll)/s/js (entwined monogram), the monogram on the head only. Nominal and performance pitch from Haynes (2002: 447). Postcard: Library of Congress (1979), as Miller 658. Further details.
192	USA-DC-Washington: DCM	DM 0328 (S.22)	Schuechbauer	f’	alto	18C	461	3	449		ivory	unmounted		Bought from Sumner Healey, New York, ex Tolbecque Collection. Stamped 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° 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. (1923) Nominal and performance pitch from Haynes (2002: 449). Further details & image.
193	USA-DC-Washington: DCM	DCM 1159	Smart	f’	alto	18C		3	499		boxwood, stained			Purchased from W. Howard Head, London (1932). Stamped 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. Seyfrit (1982: 25); MacMillan (2008: 94). Further details and image.
194	B-Brussels	1038	Terton	f’	alto	1710-1752	400	3	520		box; stained brown	2 ivory ferrules		All 3 sections stamped 3-pronged crown/E:TERTON (definitely no lion) Pitch slightly under A=415 Hz (Bouterse 2001). Nominal and performance pitch from Haynes (2002: 450). Images and further details.
195	NL-Hague	1933-0374 (formerly Ea 374-1933)	Terton	c”	soprano		409	2	349		stained box, faded brown	silver		Stamped 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 (from Heinz Amman). A video recording of frans Brüggen playing this instrument can found here.
196	NL-Hague	1933-0978 (formerly Ea 978-1933)	Terton	f’	alto		419	3	497		box; stained brown			Stamped 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.
197	NL-Hague	1952×00323 (formerly Ea 323-1933)	Wyne (Wijne)	a’	alto (third flute)	18C	456	3	411		stained box	unmounted		Head & 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 (Bouterse 2001; 2004: 21). Nominal and performance pitch from Bouterse (2004: 21). Haynes (2002: 451) gives a nominal pitch of g’ at A=386 Hz.
198	NL-Hague	1993-0363 (formerly Ea 363-1933)	Debey	f’	alto		412	3	501		stained box			On long-term loan to University Instituut voor Muziekwetenschap, Utrecht, Netherlands. Stamped DEBEY Playable, but large crack in head and damage to the mouldings. Nominal and performance pitch from Bouterse (2005: 22). Haynes (2002: 451) gives performance pitch of A=405 Hz.
199	USA-DC-Washington: DCM	DCM 0871 (S.24)	Terton	f’	alto		397	3	507		box, stained mid-brown	ivory beak and ferrules		Stamped 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). Postcard: Library of Congress (1979), as Miller No. 871). Further details.
200	USA-DC-Washington: DCM	835	Unknown	f’	alto	early 19C	424	3	482		boxwood			Purchased from Henning Oppermann, Basel Swizerland (1929). An unsophisticated instrument. MacMillan (2007: 202; 2008: 86-87).
201	USA-DC-Washington: DCM	1351	Unknown	f’	alto	18C	415	3	505		ivory			Purchased 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. Photographs, measurements & technical drawings (by Bob Marvin, Mark Gaydos): de Avena Braga (2015: 356-359, figs. 152-158).
202	USA-DC-Washington: DCM	1388	AdlerJ	f’	alto	c.1939	440	3	485	2	pear		silver(-coloured) metal	Purchased 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.
203	USA-DC-Washington: DCM	DCM 1179	Dolmetsch	f’	alto	a.1932	415	3	504		cocus	ivory beak & ferrules		Purchased from Harold Reeves, London (1935). Stamped on head, body & foot DOLMETSCH (cross) (circle shape) / 316 (in circle). Further details & image.
204	USA-DC-Washington: DCM	DCM 0989 (S.31)	Bressan	d’	voice flute		405	3	606.5		box	ivory ferrules		Purchased from W. Howard Head, London (1929). Stamped 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° circumference material. Chips missing on wood near bottom ferrule. The ferrule is also cracked starting outward but not out to edge. Further details & image. Nominal and performance pitch from Haynes (2002).
205	USA-DC-Washington: DCM	834	Unknown, Bressan	d’	voice flute			3	573		maple, stained dark brown	ivory ferrules		Purchased from Henning Oppermann, Basel, Switzerland (1929). Parts mismatched: head stamped Pul/BRESSAN/rose surrounded by 3 small dots; body & foot unstamped. 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° of its ivory ferrule. The labium is badly altered and distorted, and the block possibly not original; 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 manufactured later in a different wood. 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. Further details & image.
206	USA-DC-Washington: DCM	DCM 1262	Cahusac	d’	voice flute	18C	390	3	623		maple, stained	ivory		Purchased from Rudall, Carte & Co., London (1953). Stamped on head ?rose/CAHUSAC/LONDON. 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. Nominal and performance pitch from Haynes (2002). Further details & image
207	USA-DC-Washington: DCM	DCM 1240, cat. 35	Bassano	c#’	tenor	16C	440	1	630		maple, stained reddish brown			Purchased from Harold Reeves, London (1935), ex Ellinger Collection. Stamped !! (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. Further details & images. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database, and Brown (2005b: 533).
208	USA-DC-Washington: DCM	325	Unknown	c’	tenor			3	710	1	box, stained brown	ivory ferrules	brass	Purchased from Sumner Healey, New York (1923); formerly in the Tolbecque collection. Stamped 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♭ 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. MacMillan notes the marked external similarity to Tolbecque’s copy of a Hotteterre tenor in F-Paris. Further details & image. MacMillan (2008: 99).
209	USA-DC-Washington: DCM	DCM 1321 (S.33)	Palanca	c’	tenor		438	3	611		box, fruitwood			Purchased from Alex Hodson, Lavenham, Surrey, England (1937). Stamped 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. Nominal and performance pitch from Haynes (2002: 452). Further details & image. 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).
210	USA-DC-Washington: DCM	1389	AdlerJ	c’	tenor	c.1939	440	3	643	1	pear		nickel silver	Purchased 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.
211	USA-DC-Washington: DCM	1255	Bärenreiter	a	tenor	1935	440	3	757	1	maple	metal	metal ferrules & thumbrest	Purchased from Helmuth G. Arendt, Quantico, VA, USA (1935). Image and further details.
212	USA-DC-Washington: DCM	DCM 0860, cat. 38	Unknown	g#	basset	19C	440	2	813	1	maple	brass, horn	brass	Purchased from G. Hanken & Zoon, Rotterdam, Holland (1929). Stamped (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. Further details & image. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database, Brown (2005b: 534), MacMillan (2008: 98).
213	USA-DC-Washington: DCM	DCM 800 (S.37)	Rippert	f	basset	c1701	392	3	1178	1	maple, stained	ivory	brass	Purchased from Henning Oppermann, Basel, Switzerland (1928). Stamped 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. Nominal and Performance Pitch from Haynes (2002). Further details & image here.
214	USA-DC-Washington: DCM	0907	Unknown	f	basset	19C	440	3	937	1	maple, stained	brass	brass ferrules	Bought from Henning Oppermann, Basel, Switzerland (193?). Bocal & 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 0860. The current low f key touchpiece and saddle are obviously replacements even if the instrument is as late as turn of the 20th century. Further details & image, MacMillan (2008: 98-99).
215	USA-DC-Washington: DCM	1390	AdlerJ	f	basset	c.1939	440	3	963	3	pear		nickel silver and bocal	Purchased from G. Shirmer, New York (1939). Stamped Johannes Adler (surrounded by a partial oval with an arrow) / F BASS // MADE IN GERMANY. Bocal-blown with plastic mouthpiece. Further details and image.
216	USA-NY-New York: MMA	89.4.2695	Mahillon	c#”	soprano		520	2	318		plum	horn		Stamped 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. Brown (1902), van der Meer (1976), von Huene (1977), Hellwig (1978), MacMillan (2007: 202; 2008: 79-80).
217	USA-NY-New York: MMA	89.4.912	Boekhout	c”	soprano		406	3	346		ebony	ivory beak, upper ferrule & foot		Stamped crown/T. BOEKHOUT/Brabant lion. Block probably new. Playable. See Bouterse (2001). Nominal and performing pitch from Haynes (2002: 450). Image.
218	USA-NY-New York: MMA	1976.51	Bradbury	f’	alto		403	3	520.5		box	ivory (beak, ferrules, foot)		Nominal and performance pitch from Haynes (2002). Image
219	USA-NY-New York: MMA	89.4.2208	Oberlender I	g’	alto		387	3	441		box	horn ferrules		Stamped I.W.OBERLENDER/O in tilted scroll. Nominal and performance pitch from Haynes (2002). Image
220	USA-NY-New York: MMA	89.4.2646	Unknown, ? Scandinavian		alto	19C			445		mahogany (head & foot), fruitwood (foot)	2 horn rings, horn beak, antler inlaid dots		From The Crosby Brown Collection of Musical Instruments, 1889. Made 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 from the 18th- and throughout the 19th-century until the present day (e.g. the Norwegian sjøfløyte), and the description from the collection catalogue and the online image makes it seem ridiculous enough to be a folk instrument. Image. MacMillan (2007: 202; 2008: 78).
221	USA-NY-New York: MMA	89.4.2663	Mahillon	f#’	alto		520	2	449		plum	horn		Stamped 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 Brown (1902), van der Meer (1976), von Huene (1977), Hellwig (1978),MacMillan (2007: 202; 2008: 79-80)
222	USA-NY-New York: MMA	89.4.1511	Unknown, ? English or German	f’	alto	19C		3	475		boxwood	3 horn ferrules & beak		MacMillan (2007: 202; 2008: 78)
223	USA-NY-New York: MMA	89.4.909	Gahn	f’	alto			6	488		ivory			Stamped I.B. GAHN 6 carved sections (foot not original), some of which screw together; engraved with spiral design of leaves, flowers, fruit & birds.
224	USA-NY-New York: MMA	89.4.908	Gahn	f’	alto	18C		6			ivory			German-made. Six sections. Image
225	USA-NY-New York: MMA	89.4.910	Unknown	f’	alto	late 18C		3			box (head), stained pine (body & foot)	2 ivory ferrules		? English- or German-made. Centre & foot not original.
226	USA-NY-New York: MMA	53.56.15	Unknown	f’	alto	18C		3			ebony	ivory beak & ferrules
227	USA-NY-New York: MMA	89.4.3133	Unknown	c#’	tenor		440		565		maple			Possibly German-made. For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database; Brown (2005b: 536). 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. Images
228	USA-NY-New York: MMA	89.4.2644	Mahillon	c#’	tenor	19C	520	2	591		plum	horn		Stamped 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 Brown (1902), van der Meer (1976), von Huene (1977), Hellwig (1978), MacMillan (2007: 202; 2008: 79-80)
229	USA-NY-New York: MMA	53.56.14	Unknown	d’	voice flute	late 18C	415	3			maple (stained)			German-made. Stamped with a 5-pointed star.
230	USA-NY-New York: MMA	89.4.2926	Unknown	b	tenor	19C		2	697	1	stained maple	brass ferrules	brass	Renaissance style with a perforated fontanelle. Brown (1902), MacMillan (2007: 202; 2008: 81)
231	USA-NY-New York: MMA	89.4.907	Unknown	c’	tenor	18C		3	699 mm	1	box	ivory ferrules	brass	German-made. Stamped with a fleur de lys. Image
232	USA-NY-New York: MMA	89.4.2045	Unknown	g	basset	19C		2	938	1	box	brass	3 brass ferrules	Renaissance-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 Brown (1902), MacMillan (2007: 202; 2008: 81).
233	USA-NY-New York: MMA	89.4.906	Unknown	f	basset	18C		3	1083 mm	1	maple	1 brass & 22 ivory ferrules	brass	German-made. Stamped with 3 5-pointed stars. Windcap & brass bocal. Image
234	USA-NY-New York: MMA	89.4.2352	Unknown	d	bass	19C		2	1505	3	maple	brass	brass	? French-made reproduction in renaissance-style with a perforated fontanelle & brass bocal. Image Brown (1902), MacMIllan (2007: 202; 2008: 82).
235	USA-NY-New York: MMA	89.4.682	Mahillon	D	extended contrabass	19C		3	2602	4	maple	3 brass ferrules	brass	Belgian-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 Musée 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 Brown (1902), MacMillan (2007: 202).
236	F-Paris	E. 683.4 (C.392)	J Schlegel	f”	sopranino	c1750	425	3	274		ivory	unmounted		Stamped 2/SCHLEGEL/A BALE. One of a set of 4 recorders (2 sopraninos, 2 altos). Performance pitch from Haynes (2002: 252). Further details. Baines (80 & fig. 423)
237	F-Paris	E. 683.3 (C.392)	J Schlegel	f”	sopranino	c1750	430	3	374		ivory	unmounted		Stamped SCHLEGEL/A BALE. One of a set of 4 recorders (2 sopraninos, 2 altos). Performance pitch from Haynes (2002: 252). Further details. Baines (80 & fig. 423).
238	F-Paris	E. 683.2 (C.392)	J Schlegel	f’	alto	c1750	425	3	516		ivory	unmounted		Stamped 2/SCHLEGEL/A BALE. One of a set of 4 recorders (2 sopraninos, 2 altos). Nominal and performance pitch from Haynes (2002: 252). Further details. Baines (80 & fig. 423).
239	F-Paris	E. 683.1 (C.392)	J Schlegel	f’	alto	c1750	427	3	516		ivory			Stamped SCHLEGEL/A BALE. One of a set of 4 recorders (2 sopraninos, 2 altos). Nominal and performance pitch from Haynes (2002: 252). Further details. Baines (80 & fig. 423).
240	F-Paris	E.986.14.1	Naust	c	soprano	18C	405				box			Stamped lion? Horse?/NAUST/A PARIS/animal passant (a lion or horse on all fours walking to right side). Head piece only; 153.6 mm long, possibly from a flageolet. Further details here and there. 241,F-Paris,E.1935,Bassano,e’,tenor,,440,,525,,ivory,,,Stamped !! (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	and Brown (2005b: 534).”
242	F-Paris	E.979.2.8	M Hotteterre	g’	alto	early 18C	395	3	476		ivory			Stamped HOTTETERRE/anchor. Nominal and performing pitch from Haynes (2002), who suggests this instrument may be by Martin Hotteterre. a href=http://www.cite-musique.fr/francais/Default.aspx>Further details. A plan of this instrument prepared by Jean-François Beaudin is avaiable (Pottier 1992: 44).
243	F-Paris	E.1515 (C.1387)	Rippert	f’	alto	18C	456	3	457		box	ivory beak, foot & ferrules		Ex Collection Eugène de Bricqueville. Head & body stamped shield/RIPPERT/dolphin; foot stamped RIPPERT/dolphin/shield. Nominal and performing pitch from Haynes (2002). Further details. A plan of this instrument prepared by Jean-François Beaudin is available (Pottier, 1992: 46).
244	F-Paris	E.98 (C.390)	Oberlender I	f’	alto	18C		3	498		ivory			Ex collections of Chouquet, Soulage and Louis Clapisson. Beak carved as a fish-head; remainder of head & foot carved with acanthus leaves. 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 of the Cité de la Musique collection as being by Oberlender I. Further details.
245	F-Paris	E.283 (C394 )	Bressan	f’	alto	18C	402	3	527		wood, covered in tortoiseshell	ivory beak, ferrules & foot		Ex Collection Louis Clapisson. Stamped Pul/BRESSAN. Nominal and performance pitch from Haynes (2002) Image and further details.
246	F-Paris	E.980.2.83	Carandet	f’	alto	late 18C	405	3	510		stained box	ivory beak, 2 ferrules & foot		Ex Collection Geneviève Thibault de Chambure. Further details., and Pottier (1992: 44).
247	F-Paris	E. 284 (C. 393)	Heitz	f’	alto	18C		3	528		box	ivory beak, foot & ferrules		Ex Collection Louis Clapisson. Stamped crown/I.HEYTZ/5-petaled flower. Finished in polished tortoise shell (cracked). Further details.
248	F-Paris	E. 195 (C.399)	J Denner, Rykel	f’	alto	c1700	415	3	495		box; stained brown			Ex Collection Louis Clapisson. Head stamped C.RYKEL (in scroll)/device; body & foot stamped I.DENNER. Further details; and Bouterse (2001).
249	F-Paris	E.980.2.82	Stanesby Jr	f’	alto	18C	406	3	505		box (ebonised)			Ex Collection Geneviève Thibault de Chambure. Stamped STANESBY/dolphin. Formerly attributed to Stanesby Jr, and still is by F-Paris. Nominal and performance pitch from Haynes (2002) Further details. Image.
250	F-Paris	E.590 (C.402)	M Hotteterre	c’	tenor	18C	401	3	681	1	maple	ivory beak, 2 ivory ferrules, ivory foot ring	brass	Ex Collection Julien Fau. Stamped on each section HOTTETERRE/anchor. 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. Further details.
251	F-Paris	E.980.2.86	Stanesby Jr	c’	tenor	18C	407	4			box			Ex Collection Geneviève Thibault de Chambure. Double holes for finger 7 (equal sized). Flute-style ornamentation around joints copied by Stanesby’s apprentices, Cahusac (Library of Congress, Washington) and Goulding (V&A, London). 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.
252	F-Paris	E.589 (C.413)	M Hotteterre	f	basset	18C	399	3	1040	1	maple or fruitwood, ebonised	3 ivory ferrules	brass	Ex Collection Julien Fau. All 3 parts stamped HOTTETERRE/anchor. Brass bocal entering at the side of the windcap (not original). Foot bulbous, side-opening. Nominal and performing pitch from Haynes (2002), who suggests this instrument may be by Martin Hotteterre. Further details.; Baines (1966: 81 & fig. 430); and Pottier (1992: 45), who suggests this instrument is by Nicolas Hotteterre (m. ?1694).
253	F-Paris	E.691	Schrattenbach	a#+	basset (columnar)		440	1	716	4	maple	brass	brass	Stamped 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); and Postel (1974), who 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).
254	F-Paris	E.127	Schrattenbach	d#+	bass (columnar)		440		1006	4	maple	brass	brass	Stamped with a double trefoil & thus probably by a member of the Schrattenbach family. Corresponding alto instrument at Brussels. A columnar recorder with extension (three additional keys & fingerholes & a back-bore, in the manner of a bassoon). 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’sRenaissance Recorders Database; Baines (1966: 81 & fig. 425-427; and Brown (2005b: 534).
255	F-Paris	E.2139	Kynseker	f#	basset	1630	440	2	930	1	box	brass ferrules on windcap & fontanelle	brass	Ex Collection Paul Cesbron. Head 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. 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; and Brown (2005b: 535).
256	J-Tokyo: Musashino	A723	Boekhout		sopranino		419	3			box, stained brown	ivory rings		Stamped crown/T. BOEKHOUT (indecipherable). One of two identical instruments.The pitch of both is rather high, about 50 cents above 415 Hz (Bouterse 2001). Performance pitch from Haynes (2002: 451) who does not give the nominal pitch.
257	J-Tokyo: Musashino	A724	Boekhout		sopranino		419	3			box, stained brown	ivory rings		Stamped crown/T. BOEKHOUT (indecipherable). One of 2 identical instruments. The pitch of both is rather high, about 50 cents above 415 Hz (Bouterse (2001). Performance pitch from Haynes (2002: 451) who does not give the nominal pitch.
258	DK-Copenhagen: Rosenborg	1.75	Unknown	c#”+	soprano		440	1			narwahl ivory			One of the two 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). 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! For critical measurements & other details see Adrian Brown’s Renaissance Recorders Database.
259	DK-Copenhagen: Rosenborg	1.74	Unknown	c#”+	soprano		440	1			narwhal ivory			One of the two 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; and 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!
260	GB-London: RCM	96	Oberlender I	f’	alto	18C		3	501		box, stained brown			Body stamped I.W. OBERLENDER/O (on cartouche). Head & foot elaborately carved, the beak with a moustached face, the remainder with scales & foliage. Image.
261	GB-London: RCM	0067	Villars	f’	alto	18C	387	3	518	1	ivory		Touch decorated with mother of pearl	Head & 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 & further details.
262	GB-London: RCM	88	Unknown, ? Hotteterre		tenor	late 19C		3	710	1	wood, stained dark brown	2 ivory mounts & bell rim	brass	Stamped 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 it to be of 19th century origin. Image & further details. MacMillan (1983: 491; 2007: 202; 2008: 95-96).
263	S-Stockholm	F173	Bressan	f’	alto			3	508		ebony	ivory beak, ferrules & foot		All 3 sections stamped Pul/BRESSAN/rose. Image.
264	GB-London: V&A	7469-1861	Anciuti	f’	alto	1740	440	3	475		ivory			Head 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; Baines (1998: 86 & pl.); de Avena Braga (2015: 279-282, figs. 25-33).
265	F-Paris	E.681	Unknown	f’	alto	18C		3	443		ivory			Body 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. Further details; Thibault et al. (1973: 122 & pl. 74).
266	GB-London: V&A		Unknown		alto						ivory			English; dark rings on head & foot.
267	GB-London: V&A	1124-1869	Unknown (Naples)	f’	alto	1730-1750		3	512		fruitwood	ivory beak, ferules & foot		Covered 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. Images, technical drawings & further details here; Leighton (1870); Hunt (1977: 94); Smith (2014); Thomson (1968); de Avena Braga (2015: 352-355, figs 144-151).
268	GB-London: V&A	287-1882	Schuchart	f’	alto	c. 1730		3	486		box	ivory		Stamped 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.
269	GB-London: V&A	285-1882	Goulding		tenor	c. 1786-1834		3	660		stained boxwood			Stamped 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. Images & further details here; Engel (1874: 122); Chappell (1855-1859); Welch (1911: 103-127); MacMillian (2007: 199; 2008: 40-43).
270	GB-London: V&A	V&A 293-1882	Bressan	f	basset			3	1080	1	stained fruitwood	ivory	brass	Stamped Pul/BRESSAN/rose. Brass bocal enters top of cap. Foot with lateral vent hole & socket for crutch. Images, measurements & further details here; Halfpenny (1955).