This double flageolet was restored and is in playing condition. It has a nominal pitch of C and lowest note D. It is made of beautiful boxwood and has five silver keys and two windcutter keys (labium shutters). The original beak, wind distributor and studs are all made of ivory....
This keyed French flageolet was made by Frédéric Eléanor GODFROY. He was born in 1805 in Paris and was the eldest son of Clair Godfroy (1774-1841). He was a woodwind instrument maker from 1827 to 1844. The GODFROY family was active in the 18th and 19th centuries. They were initially...
This is a rare and beautiful English flageolet made by John SIMPSON (c.1800-1869). Little is known about John Simpson. He was a very important London flageolet maker, but also a player and teacher. It seems that he was a trained by William BAINBRIDGE (1768/9-1830) and perhaps married Bainbridge’s daughter. He...
You thought you’d seen it all, but this lovely wind instrument is proof you haven’t! It’s a cross-blown flageolet or flute-flageolet. John PARKER (ca.1757-1813) was highly regarded in the instrument-making trade. He was also an oboist, bass singer and bassoon player. He worked out of 52 Long Lane, Southwark, England for...
This rare Cocuswood English flageolet with alternative piccolo head joint was made by a company led by George BUTLER (1795-1870) – the head of a family of instrument makers that were producing and dealing in brass, woodwind and many other instruments in Dublin and in London between 1826 and 1927....
This French flageolet was made by Frédéric Eléanor GODFROY. He was born in 1805 in Paris and was the eldest son of Clair Godfroy (1774-1841). He was a woodwind instrument maker from 1827 to 1844. The GODFROY family was active in the 18th and 19th centuries. They were initially in...
Cocuswood is the very dense hardwood of a Caribbean flowering tree called the ‘Brya ebenus’.
‘Brya ebenus’ belongs to the pea family ‘Fabaceae’ and is native to the Caribbean islands of Jamaica and Cuba. It also goes by the quite romantic name of Jamaica Rain Tree because it blossoms bright yellow-orange flowers right after it rains.
Cocuswood’s lovely medium to dark reddish-brown colour is further enhanced with dark blackish streaks. With time, its colour darkens. The grain of cocuswood tends to be straight or a bit wavy. It has a wonderful natural lustre and a fine, even texture.
So absolutely nothing to do with coconuts or coconut trees at all! Really!
With its amazing density, hardness and colour, it’s no wonder that this wood was considered to be one of the very best tonewoods and was widely used in the manufacture of woodwind instruments in the 1800s. It was an exotic, tropical alternative to woods such as boxwood, which were widely used at the time. Flutes, oboes and bagpipes were crafted in cocuswood as well as other items such as carvings or inlays.
Back then cocuswood was all the rage and sadly, due to this previous over-exploitation and the small size of its natural habitat, this wonderful natural resource has been commercially exhausted. So, it is not a protected species, but extremely expensive and difficult to source – making it a very special wood indeed.
Boxwood is a lovely wood and it’s hardly surprising that it remains quite a favourite among today’s woodwind instrument makers. Buxus sempervirens, known as European boxwood, or common boxwood, is a species of flowering plant. It is an evergreen bush really, rather than a tree. It takes a long time to grow and it is difficult to find completely straight trunks without knots to use for items such as flutes.
Boxwood has a uniform grain and is very dense and hard, which is why it was so popular for wood turning and instrument making in the 18th century. At that time many instruments were predominantly made from boxwood. Then several tropical hardwoods became popular during the 1800s as tonewood. People wanted to have furniture and also instruments made from exotic types of wood. So, boxwood lost ground to these newcomers to Europe.
There were also some disadvantages to boxwood: its tendency to warp and easily soil. This led to the ‘banana’ effect with flutes for example, as the wood warped over time.
The wood is naturally yellow in colour and can be left with a natural, polished finished. Boxwood then darkens over time to have a nice honey-yellow colour. It can also be stained using acid staining to give it an orange-brown or dark-brown colour, and in wooden flute construction, many makers use a violin varnish for the finish. This is an extremely arduous technique that requires expertise and precision.
Sadly, since around 2006, the spread of the box tree moth called the Cydalima perspectalis has led to huge losses of boxwood ‘trees’ that have taken hundreds of years to grow. It was sad to see forests of boxwood reduced to almost nothing.
Now it’s very rare and wonderful to see just one full grown 100+ year boxwood tree. So, when that happens – some people just can’t resist and have to hug it!
