Modern Flutes 
Antique Flutes 
Vintage Flutes 
Oboes 
Rebuilt Bassoons 
Piccolos 
Clarinets 
Antique Clarinets 
Alto Saxophones 
Other Saxophones 
Baritone Saxophones 
Special Stuff 

This page updated 7/3/09 

MODERN FLUTES 

A NEW “BRIO” B-1 FLUTE, IMPORTED AND DISTRIBUTED BY GEMEINHARDT. Exactly like the B-2, but silver head only, the body, foot and keywork all silver plated. Suggested retail price is $1850. “Minimum selling price“ is $1495. This one is only $1095.

William S. Haynes #14,66x (1936). The sterling silver tube measures .016 inches (body and head). The flute was constructed with offset G and extruded tone-holes. Embouchure is slightly square and measures 10.2 X 12.0 mm. Sounding length is 601 mm (A = 440) and the flute has new pads and corks. Crafted when Bill Haynes was the firm’s owner, this is one of the “extra special” plateau keyed flutes. 99% of all Haynes flutes were built with .900 alloy silver or “coin silver”. A few were built, in the 1930’s, of .925 “sterling” silver. Our flute is stamped “sterling” in five places, also has C-sharp trill key. Tube thickness is .016 inches and the original case is almost perfect. Note the 14K gold head position dots on the head and body, too. Produced only three years before the demise of William S. Haynes, we consider this model to be the very best of the plateau flutes of the Haynes workshop. $3175. SOLD
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William S. Haynes #45,91x (1980). hand-made, best model “pre Eastman Winds” flute. The solid silver tube measures .014 inches (body and head). The flute was constructed with inline G, and soldered tone-holes. Sounding length is 633 mm (A = 442) and the flute now has new pads and corks from our shop in Wichita.. Embouchure measures 10.1 X 12.0 mm. It’s a fine “fully hand-made” Haynes with French (open) keys and B foot. The original double case looks new and the flute plays very well. It’s an excellent Haynes that shows superb workmanship and tone-color. $5,350. PROBABLY SOLD.

George Haynes / Selmer-USA #S-2311 (about 1925). In 1920, Selmer-USA and Boston flute maker George W. Haynes entered into an agreement to build a small number of hand-made flutes in their New York workshop. The partnership lasted less than two years, but the flutes stayed in production for a number of years, with the workshop moved to Elkhart. The flutes are rare, identified by the engraved (not stamped) logo. Our flute is so engraved, “SELMER / reg. u.s. pat. off. / Elkhart, Ind. / S 2311” on the head socket and “sterling” engraved on the tube. Our flute is also stamped “2311” on the foot. Keywork is virtually identical to the Wm. S. Haynes plateau-keyed flutes of the time, with full rib construction, rolled tone-holes, gold springs and top-quality workmanship. Sounding length on this one is 601 mm. (A = 440) and the original embouchure measures 9.9 X 10.1 mm. Tube thickness is .018 inches. The original case is leather-bound wood, still in good condition. This particular instrument has been known to our shop for more than 45 years, comes with our top recommendation. More history of it and the family that owned it, is available. Tone color is full and dark, with superb projection. $1500. SOLD

Superb Hand-made flute from the workshop of N.D. Lamberson, serial number 44, made about 1970. Lamberson’s small Iowa shop produced about 750 flutes, all with soldered tone-holes, solid silver or solid gold construction. Our flute has .014 solid silver body, head and foot, comes with TWO foot sections (low B and low C), additional C-sharp trill key. The embouchure is of silver with a 13.5 Karat yellow gold overlay. This particular instrument was previously owned by the principal flute of the Springfield, Missouri Symphony and was used by him in hundreds of concerts and recitals. Price includes a combination case that holds the flute, both foot sections and has room also for a piccolo. Lamberson built this instrument with an “oversized” head section, with embouchure measuring 10.5 X 12.8 mm. It means most modern players would probably be happier with a Dana Sheridan or Pearl head section with dimensions closer to the classical 10.0 X 12.0 figure. Price to be determined after restoration work and all new pads have been completed. $3750. SOLD
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VERNE Q. POWELL #14. French keywork to low C, alternate C & C# touches for the left hand. One-piece body, tone-holes soldered. Made in 1927, shortly after Powell’s departure from the Haynes workshops. SOLD!
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Verne Q. Powell number 911X. Made to our order, a copy of Powell #14, but in all 14K solid gold. Modern scale and A = 442 pitch. Extra keywork for low C & C-sharp, and with integral foot. $19,800.

Carl Schreiber, no serial number, made about 1910. The body is of dark grenadilla. All pleateau (covered) keys are solid silver, with offset G and C foot. Sounding length is 604 mm (A = 435 / 438). Embouchure measures 10.2 X 12.2 mm. Not to be confused with the modern W. Schreiber firm that builds bassoons and other woodwinds, Carl Schreiber’s workshop was established in Markneukirchen in 1891 and existed until Fritz Mehnert bought it in 1929. Schreiber trained with the Moennigs in his home town, soon gained the reputation of being the finest flute maker in Germany. Workmanship is the absolute finest and the tone color of his wood flutes is full and dark, with an especially strong lower register. This particular instrument came to us from a professional player who’s recently made the decision to go back to his vintage Haynes. Top recommendation on this one. $4500.
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Some flute shops do quite a bit of “consignment” selling and that means many of their flutes are sold “as-is, needing repairs”. Our policy is, has been for more than four decades, to offer to our clients ONLY flutes that have been cleaned, dings burnished out, keywork swedged tight and with all new pads and corks. And with our two-year service guarantee, as well.

ALTO AND BASS FLUTES 

Check with us on new Pearl prices!

MODERN FLUTE HEAD SECTIONS 

Michael Allen, London, all silver, .014 “ circa 2005. $950.

Brannen Brothers, Boston, all silver, .014“, circa 2005. $950.

Wm. S. Haynes, Boston, “pre-Eastman”, all silver, .014 “, never sold. $1150.

Wm. S. Haynes, Boston, “pre-Eastman”, silver, 14K riser .016 “, never sold. $1450.

Wm. S. Haynes, Boston, “pre-Eastman”, all silver, .016 “, Used. $650.

Wm. S. Haynes, Boston, “pre-Eastman”, all silver, .016 “, Used. $650.

Dana Sheridan hand-cut, Boston/Cologne. All silver. 014”. New. $1200.

Dana Sheridan hand-cut, Boston/Cologne. Silver, 14K riser. New. $1500.

Dana Sheridan hand-cut, Boston/Cologne. Silver, 14K riser & lip. New. $2500.

Verne Q. Powell “pre-Wasser”, all silver (c. 1950 ?). Used. $950.

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ANTIQUE FLUTES, and/or non Boehm keywork. 

Good conical flute, before 1850, in cocuswood, stamped on each joint “Clair / Belisaire / a Paris”. Five hallmarked silver keys mounted on crescent posts, with ivory mounts. The flute plays well (head all the way in) at 440 pitch, the embouchure measures 9.4 X X 10.7 mm, is original and slightly oval. Sounding length is 537 mm. With original green leather bag. $1850.

Good conical flute in cocuswood, stamped on each joint “Bellissent a Paris”. Five nickel-silver keys mounted on posts, nickel-silver mounts. Nickel-silver tenon rings and sockets. The flue plays well at 440 pitch, the embouchure measures 9.4 X 11.3 mm, is original and slightly oval. With original rosewood case. $1950. SOLD
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Very good rosewood flute from Buffet-Crampon (Paris), circa 1880. Five solid silver keys, no tuning head, with silver mounts to the tenons and sockets. Embouchure measures 9.4 X 11.1 mm. Very good condition, with original leather-covered case, complete with locking mechanism and key, plus original cork-grease pot. Sounding length is 545 and the flute plays very well at A = 440, with the head pushed all the way in. Good example, superb workmanship, quite original. $1690.

Dennis Buffet boxwood flute with one brass key, made about 1800-1810.  Very good flute with original very small embouchure.  A = 430 pitch. $1600  SOLD 03/08
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Clair Godfroy aine rare French flute, a five-keyed conical cocuswood flute showing serial number 2045, made in Paris about 1865. The instrument wears Godfroy’s second stamp (see Giannini). the mounts are ivory, the embouchure is original, measures 8.5 x 10.3 mm. Three keys on the top joint and one on the bottom joint are silver, mounted on crescent plates. The foot is not original, is by Denis Noblet and dates from about 1880. The key and the mounts to the foot are nickel. This one plays very well at 440 pitch or close to it. "Holding for Repairs"

Fine French flute from the workshop of Clair Godfroy aine, before 1855. Eight silver keys, very good original condition, no tuning head. Silver mounts to the tenons and sockets. Embouchure measures 9.9 X 11.3, is original. Sounding length (C foot) is 587 mm. “Fourth stamp” engraving (see Langwill), but without “S.G.D.G.”, which puts it before 1855. Plays well at 435 / 440 pitch, with the head pushed all the way in. $2290.

Fine French flute from the workshop of Clair Godfroy aine, made in 1885. Five silver-plated keys, very good original condition, no tuning head, no cracks, no damage. Nickel-silver mounts to the tenons and sockets. Embouchure measures 9.7 X 10.3, is original and un-altered. Sounding length (D foot) is 544 mm. “Fourth stamp” engraving (see Langwill), but without “S.G.D.G.”, which puts it before 1855. Plays well at 435 pitch, with the head pushed all the way in. This is an unusually fine example, the original mahogany box is stamped “Clair Godfroy aine Brevete s.g.d.g, Rue Montmartre 55, a Paris”, and “12 Octobre, 1885. The flute plays very well. $2765.

Fine French rosewood flute, made before 1820 by Clair Godfroy aine, each joint stamped “ (lyre” / J. Louis / a Paris”. Five hallmarked silver keys are all stamped “CG” and have French hallmark for sterling silver. Very good original condition, with tuning head. Silver mounts. Embouchure measures 8.9 X 9.8, is original. Sounding length is 543 mm. Plays well at 425 (“Mozart pitch”, we say), with the head pushed all the way in. With original green leather bag. $2775.
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AN ORIGINAL ANTIQUE FLUTE FROM THE CLAIR GODFROY WORKSHOP, MADE IN PARIS ABOUT 1860. Vintage and antique French flutes are usually in our collection, but this one’s rather special. Rare French flute from the shop of Clair Godfroy, aine, a five-keyed conical ebony flute made in Paris about 1860. The instrument wears Godfroy’s second stamp (see Giannini and Langwill). The maker’s stamp is faint on the head, “(face in sunburst) / Godfroy / Aine / (star)”. The head appears to be of dark rosewood or grenadilla. The wood is in good condition, with no cracks or damage. The embouchure measures 8.5 X 10.1 mm, slightly oval and has not been enlarged or altered. The head is 207 mm long, end of the metal tenon to the top of the tuning crown. The tuning barrel is also crack-free, the end mounts of solid silver and serial number 2034 stamped on the top mount. The barrel is stamped “ (star) / a Paris / (star)” and is of a more close-grained wood, perhaps dark cocus. The barrel is 89 mm. long. Note the tuning marks on the tenon. The top joint is also crack-free, three solid silver keys mounted on crescent plates. Above the top finger-hole is the engraving “ (face in sunburst) / Godfroy / Aine / (star)” and between the first and second finger-hole “ (star) / a Paris / (star)” It’s the same engraving found on the head + tuning barrel. Top and bottom tenon are capped in silver. The wood is the same as that on the tuning barrel. Top joint measures 215 mm., end of tenon to end of tenon. Lower joint is also crack-free, one solid silver key mounted on crescent plate. Top mount and tenon are also solid silver. The wood is the same as that on the tuning barrel. Lower joint measures 144 mm., end of tenon to top of socket. Foot joint is also crack free, the mounts solid silver, the D-sharp key mounted on crescent plate. The foot is of the same wood as that on the tuning barrel and middle two joints. It’s engraved “ (face in sunburst) / Godfroy / Aine / (star) “ Foot measures 93 mm. The mounts are silver, completely original. The embouchure is original and has not been enlarged or altered, measures 8.5 X 10.1 mm. Three keys on the top joint and one on the bottom joint are silver, mounted on saddles resting on crescent feet. The D# key on the foot has floating flat pad-cup mounted on silver attached to a crescent foot. The pad-cups on the body are round and flat The end-plug is original. The flute plays well at 438 pitch with the tuning barrel pushed all the way in. It’s possible to play the flute as low as 433 pitch by pulling the tuning barrel. Unlike the vast majority of pre-Boehm flutes, the intonation on this instrument is superb, with a good F-sharp. The low D and D-sharp are NOT flat, as on most conical instrument. Total length of the flute, fully assembled, is 623 mm. All parts are original and nothing has been cut shorter or altered in any way. All springs are of steel and appear to be original. The flute has recently had all pads and corks replaced in our shop in Wichita. Over the past decades, our small company has sold more than two-hundred vintage French flutes. We have a reputation for high quality repair and restoration work on instruments of this type. For reference, see the following:
“The New Langwell Index”, a Dictionary of Musical Wind-Instrument Makers and Inventors”, by William Waterhouse, published by Tony Bingham, London, 1993.
“Great Flute Makers of France, The Lot and Godfroy Families, 1650-1900” by Tula Giannini, published by Tony Bingham, London 1993.
“Das goldene Zeitalter der Floete, Frankreich 1832-1932” by Karl Lenski and Karl Ventzke, published by Moeck, Celle, 1992. $1950.00. SOLD 06/08
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Good boxwood flute from Goulding and Company (1786 – 1834 ) stamped “Goulding & Co. / London” on the head and “Goulding & Co. “ on the other three joints. One square and flat brass key. Embouchure measures 8.6 X 9.4 mm and has not been enlarged or altered. The wood and ivory are in good condition, without cracks or damage of any kind. Sounding length is 525 mm. The flute plays well at A = 435. $2450.

Good boxwood flute made about 1800 – 1810 by James Wood stamped “Goulding/ Wood & Co. / Pall Mall / London” on the head and “Goulding / Wood & Co. “ on the other three joints. One square and flat brass key. Embouchure measures 8.4 X 9.5 mm and has not been enlarged or altered. The wood and ivory are in good condition, without cracks or damage of any kind. One original center joint with sounding length 535 mm, a second modern center with sounding length 556. The flute plays well at A = 433 / 435 or at A = 415. $2850.

AN ORIGINAL ANTIQUE FLUTE FROM GOULDING & COMPANY, MADE IN LONDON IN 1800. It’s another instrument from Goulding’s shop, The instrument wears Goulding’s stamp (see Langwill) on the head as “Goulding & Co. / London”, and “Goulding & Co.” on the other three joints. The mounts are ivory, completely original, but two older pin repairs to the ivory. The embouchure is original and has not been enlarged or altered, measures 8.7 X 9.1 mm. The pad-cup to the D-sharp key is original, brass, square and flat. The touch (the top half of the key) looks original, probably is not. The end-plug is original but made without tuning mechanism. The flute plays well at 435 pitch with the head pushed all the way in. The wood on the instrument is in amazingly good condition, without cracks or breaks. Total length of the flute, fully assembled, is 609 mm. Sounding length is 530 mm. SOLD
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Antoine Joseph Lavigne, superb  French flute, c. 1816-1886, has nine hallmarked silver keys, the body of dark cocuswood.  Small embouchure; case looks original, probably from the late 1800’s.  No name on the flute, but each key is hallmarked for sterling, also stamped "A * L".  Lavigne worked in England after 1841, but this flute is definitely French, or perhaps made by a French worker in another land.  Plays very well at A = 440. $2150 SOLD
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5 key flute by Martin Freres. This one is boxwood with ivory bands on the ends of the joints. Keys are brass. It plays very well at A = 440. The flute is in very good original condition, but there is a repaired crack in the barrel joint. Please see the photos attached. The crack does not leak, and the flute plays perfectly. this flute was also made about 1870 - 1880 in La Cuture, near Paris. The price is $1450.00.
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Good boxwood and ivory conical flute by Martin Freres, maker’s mark stamped on each joint. Five brass keys mounted on posts and crescent plates. The flute plays well at 435 pitch, the embouchure measures 9.1 X 10.0 mm, is original and slightly oval. Sounding length is 541 mm. One older crack to the tuning barrel, but no other damage to the wood or to the ivory. $1250.

Small flute in the key of E-flat, each of four joints stamped “(bee) / Martin Fres. / a Paris “. Five nickel keys, no cracks to the rosewood, tenons and sockets mounted also in nickel. Original walnut (?) box. $995.

Boxwood flute by a member of the Metzler family, stamped “Metzler / London” on all four joints. One square and flat brass key. Embouchure measures 9.4 X 10..4 mm and has not been enlarged or altered. The wood and ivory are in good condition, but with an ancient crack to the top of the head joint. Sounding length is 526 mm. The flute plays well at A = 435. $1250.

Superb boxwood flute from the French workshop of Jean Baptiste Tabard, made in Lyon before 1848. Ivory mounts to the boxwood, five well-made silver keys, tuning barrel. Embouchure is original and measures 8.9 X 10.3 mm. Small crack to the head socket. Sounding length is 536 mm. Plays very well at A = 442 pitch, with head section pulled 2 mm. Very fine original example, showing high quality workmanship. $2150.

AN ORIGINAL ANTIQUE FLUTE FROM THE THIBOUVILLE-CABART WORKSHOP, MADE IN PARIS ABOUT 1880. It’s a rare French conical wood flute, a five-keyed rosewood instrument made in Paris about 1880, perhaps as late as 1900. The head, top joint and foot are all engraved (sailing ship) / Thibouville / Cabart / a Paris with Cabart’s flat / sharp / natural logo below the name. The head appears to be of dark rosewood or grenadilla. The wood is in good condition, with no cracks or damage. The embouchure measures 10.5 X 12.0 mm, slightly oval and has not been enlarged or altered. The head is 212 mm long, end of the metal tenon to the top of the tuning crown. Bottom joint is engraved Thibouville / Cabart / a Paris. Tuning barrel section is original, engraved with the name of the dealer Bonnel / a / Rennes The tuning barrel is also crack-free, the end mounts of nickel silver, measures 79 mm long. The top joint is also crack-free, three nickel silver keys. Top joint measures 225 mm., end of tenon to end of tenon. Lower joint is also crack-free, one nickel silver key. Lower joint measures 138 mm., end of tenon to top of socket. Foot joint is also crack free, with nickel-silver D-sharp key. Foot measures 91 mm. The mounts are nickel-silver, completely original. Please note that all three tenons wear the original nickel-silver tenon caps and that the barrel, lower joint and foot sockets are also nickel-silver. The flute plays well at 442 pitch with the tuning barrel pushed all the way in. Pull the tuning barrel just a quarter of an inch and it works very well at 440. Unlike the vast majority of pre-Boehm flutes, the intonation on this instrument is good, with a good F-sharp. The low D and D-sharp are not quite flat, as on most conical instruments. Total length of the flute, fully assembled, is 628 mm. All parts are original and nothing has been cut shorter or altered in any way. All springs are of steel and appear to be original. The flute has recently had all pads and corks replaced in our shop in Wichita. Over the past decades, our small company has sold more than three-hundred vintage French flutes. We have a reputation for high quality repair and restoration work on instruments of this type. William Waterhouse’s New Langwill Index cites Thibouville-Cabart as having been founded in 1869, as successors to Thibouville-Beranger. By 1914, the firm was known as ‘Thiberville sic gendre et succt.". The Langwill also notes under Cabart…certain artist-quality instruments made by Thibouville-Cabart were marked Cabart;…The employment of this name by different persons at different times in different places has led to confusion and error. We note that the flat / sharp / natural logo under the name is the same as that used until the post-war years by the woodwind maker Cabart. That particular firm was absorbed in 1974 by the family that owns the F. Loree oboe workshop in Paris. Cabart oboes are still in production in France. The embouchure is probably a bit too large for the original instrument performance of pre-1800 music, but the flute would be quite appropriate for Cuban music or with an ensemble performing Irish music. It was probably originally intended for amateur playing, around the fireplace after dinner, half a century or more before the advent of radio and television. The bottom line is that it’s quite a nice flute, clean, original and properly restored. SOLD
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Good rosewood flute with five nickel-silver keys, each joint engraved “Thibouville / Cabart / a Paris “ with triple-masted sailship logo above the name and “flat-sharp-natural” musical notation logo under. Keys are flat and round, mounted on modern key posts, each key fitted with flat steel springs. Mounts (tenon rings) are also nickel-silver. Each tenon has nickel-silver cap and each socket is nickel lined. The flute was made with tuning barrel and has not been cut or altered in any way. Total length is 630 mm and the sounding length is 547 mm. Embouchure is original, measures 10.0 X 11.7 mm. The flute plays very well at slightly below A = 440. New pads and corks from our shop in Wichita. Made between 1879 and 1914, according to Langwill. $975. SOLD

Rare ebony flute with ivory fittings by Jean Winnen (b. 1795) made in Paris in the 1830’s. Three centers or “corps de rechange”, stamped 1, 2, 3. Each of the six joints is stamped “(star) / (face in sunburst) / WINNEN / A PARIS “. All parts are original, no cracks to the wood nor to the ivory. One square flat silver key. Embouchure measures 8.8 X 10.8 mm, has not been altered or enlarged. Sounding lengths are 541mm, 547 mm and 555 mm and play at 415, 425 and 435 pitch. The flute has come to us wearing original silk thread windings to four of the tenons and with original leather pad. The green leather bag appears to be the original. $7850.
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VINTAGE AND COLLECTOR FLUTES WITH BOEHM KEYWORK  

H. BETTONEY Flute, all sterling silver, Boehm plateau keywork to low C, made in Boston about 1930. Like a "commercial" Haynes, only showing simpler keywork. New pads & corks, plays well at 440. Serial #A464l. $1350 
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AUGUSTE BONNEVILLE (Paris), #1010, made about 1890. Vintage French flute with all parts silver-plated over nickel alloy. Original plate to the body is good, the embouchure plate and some keys with new silver. French keywork to low C, in-line G, new pads and corks. Sounding length is 596 mm (head appears to have been shortened about 4 mm.) the original embouchure measures 10.2 mm x 12.0 mm. Case is original and good. It’s an early and good silver-plated Bonneville that plays well, in fine restored condition. $3250.

AUGUSTE BONNEVILLE (Paris) #4423 (about 1900). Solid silver construction, very clean with no dents or damage. All parts are original and un-altered, with original case. Seamed construction to the head, body and foot and with each section and each key hallmarked with the French stamp for sterling silver. New pads and corks from our shop in Wichita. Condition is nearly perfect on this fine vintage Paris instrument. Embouchure measures 10.1 X 12.2 mm; sounding length is 602 mm. Bonneville flutes are often in our collection, but this is an especially fine example. $5650.

AN ORIGINAL ANTIQUE FLUTE FROM THE BUFFET-CRAMPON WORKSHOPS, MADE IN PARIS IN 1901. It’s a superb French flute from the Buffet’s Paris workshops with solid silver Boehm-system keywork. The head joint is of dark rosewood and is stamped “Buffet / Crampon et. Cie / a Paris “ inside their logo. Total length of the head is 136 mm and the embouchure measures 10.5 X 12.5 mm, slightly oval. The lip side of the embouchure wears an original solid silver plate. The embouchure does not show any signs of having been enlarged and the head shows now evidence of having been made shorter. The body wears the same stamp as does the head, plus Buffet’s serial number P181L. Keywork is normal French Boehm-system, with in-line G and B-flat trill above the right hand stack keys. All keys show the maker’s stamp as well as the French hallmark for sterling silver. Grommets are original and the G-sharp, B and lower half of the G key wear the original French pins and washers. Springs for the F-sharp and F are modern replacements, but the other springs are blued steel and appear to be the originals. Pads and corks are new, from our shop in Wichita. Total length of the body is 350 mm., end of tenon to end of tenon. Foot section wears the same stamp as does the head, plus the letter P just below the socket. All three keys have been stamped with the maker’s mark plus the French hallmark for sterling silver. Steel springs are original. Length of the foot is 133 mm. Total length of the flute, fully assembled, is 679 mm. Sounding length, center of embouchure to the end of the foot, is 608 mm. The Fifth edition of the Grove Dictionary has a good report on 19th. century pitch. From this and other sources, we know that French flute makers built flutes at all sorts of different pitches. In 1859, the French government recommended the so-called Diapason Normale at A = 435. But in that same year, many Parisian orchestras, including the Opera, were using A = 448. From Lenski and Ventzke’s excellent 1992 volume Das goldene Zeitalter der Floete, we read that the 1876 “Vorgeschlagene Standardstimmung Bruessel” or “the recommended standard pitch in Brussels” was A = 432. And so it is with our superb Buffet flute. An A = 440 cylindrical Boehm-system flute with C foot has a sounding length of 600 or 601 mm. Our flute is 7 or 8 mm longer and that means you cannot use it in an ensemble that tunes at 440, especially not at 442. And even a group using the old pre-1900 French normal pitch of 435 with find this flute a bit low in pitch. That doesn’t mean our flute is a beautiful door-stop, though. A musician performing with an original instrument ensemble doing mid 1900 century pieces and tuning to 430 or 432 will find this flute absolutely perfect. Yes, we recognize that our flute was NOT built in 1850, but the tone-color and pitch are more atuned to the mid 19th. century than to modern performance. The wood on the instrument is in good condition, with the normal small expansion crack to the head socket. That crack has been repaired in our shop and is now stable and almost invisible. The flute has recently had all pads and corks replaced in our shop in Wichita. Over the past decades, our small company has sold more than two-hundred vintage French flutes. We have a reputation for high quality repair and restoration work on instruments of this type. $4500 
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GEORGES LEBLANC Flute (Paris and La Couture), made in France about 1935. The head, body and all keys are of silver plated nickel-silver alloy. Tone-holes are soldered and the French keywork is to low B. The G key is half offset. The tube measures .015 inches and the original embouchure measures 10.5 X 11.5 mm. The head section is engraved “G. LeBlanc, Paris” with LeBlanc’s ornate logo. The same engraving is found on the body of the flute and number 2081 is stamped on the rib for the C key. The foot is not engraved, has “D” stamped on the rib, between the C and B tone-hole. The total sounding length is 634 mm (A = 440 - 441) and the flute shows high quality workmanship throughout. The original leather case is stamped “G. Leblanc” with Paris address. Aside from a small worn spot to the silver plate by the right hand thumb area, the instrument is pristine. It wears new pads and corks from our shop in Wichita. $1500.
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DJALMA JULLIOT (La Couture), made in France in 1920. The head, body, foot and all keys are of silver plated nickel-silver alloy. Tone-holes are soldered and the French keywork is to low C. The G is half offset. Tube measures .015 inches and the slightly square original embouchure measures exactly 10.0 X 12.0 mm. The head, body and foot are all engraved “1920, Djalma Julliot, La Couture-Boussey (Eure), Brevete, S.G.D.G.”. Total sounding length is 600 mm and the flute plays well at A = 440 pitch. The head has not been cut shorter or altered and the instrument has not been “re-tuned”. $2150.

LeBRET, L.L. (Paris), vintage French flute, made about 1900, serial number 1831A. Engraved “LeBret, Paris” on the embouchure plate. Top-quality solid silver vintage LeBret with the more traditional keywork than is found on the later instruments. Embouchure measures 10.5 X 12.2 and the sounding length is 602 mm. The instrument has been played very little in the past 100 years. The tone-holes and embouchure dimensions are virtually identical to many of the L.Lot flutes of the 1880’s. $7500.
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LeBRET (Paris), made about 1930, after the LeBret workshops were sold to Malerne. Soldered tone-holes, silver plated body, head, foot and all keywork. Everthing is very original, no wear to the silver plate and a small square embouchure that measures 10 x 12 mm. This is a good vintage French flute, fully restored and playable, but not for everybody. $1650 

ANTIQUE FLUTES FROM THE “STRADIVARIUS OF FLUTE MAKERS”

LOUIS LOT (Paris), #281x, made in 1879/1880. All silver construction. Seamed construction, with two (only) French hallmarks and maker’s stamps to the metal. Embouchure is original, measures 10.2x11.7mm. Pad spuds are original, pads are new. Never altered or re-tuned, but the head has been shortened 3 mm, and the tuning ring has been moved upward the same. Sounding length is now 600/601mm, the tube thickness is .014 inches. The case is 19th century, almost certainly original. Keywork shows minimal wear, all steels, springs and hinge tubes are orignal. $17,500. SOLD
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L. LOT (Paris), #456x, made in 1888.  Rare French flute, all silver, seamed construction with maker’s marks and French hallmarks on each joint, but not found on the keywork.  Embouchure is original, measures exactly 10.0mm x 12.0mm.  The head has never been shortened, the embouchure never enlarged.  All pad spuds are original, the case is newer.  Never altered or “re-tuned”, pristine and superb example of Lot’s work.  Sounding length is 598mm, tube thickness is .155 inch. The case is 19th century, probably not original. Not for sale at this time...
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LOUIS LOT (Paris), #535x, made in 1892. All silver, seamed construction with multiple maker’s marks and French hallmarks on each joint and on most keys. Sounding length is 604 mm, the embouchure is original and 10.1 x 11.9 mm. The head has not been shortened, the embouchure never enlarged. All pad spuds and washers are original, the case is original. Never “re-tuned”, now with new pads and corks from our shop in Wichita. . Superb and clean early L. Lot silver flute showing minimal wear to the keywork. Tube thickness is .014 inch. $11,500. SOLD

LOUIS LOT (Paris), #587x, made in 1895. All silver, seamed construction with multiple maker’s marks and French hallmarks. Plateau (covered) keywork to low C, in-line G. It’s a recent acquisition from an amateur musician who’s owned it since 1976. Some documentation is available that the flute was once the property of New York Philharmonic flutist John Wummer. SOLD 03/07

LOUIS LOT (Paris), #607X, made in 1896. All solid silver, seamed construction with multiple maker’s marks and French hallmarks. Sounding length is 600 mm, appears to not have been shortened. Embouchure is 10.0 X 11.9 mm. Pad spuds and washers are all original. Never “re-tuned”, by Dember 15 with new pads and corks. Tube thickness is .014, seamed silver. The case is original. Dorus G-sharp. Keywork shows minimal wear. $11,000. SOLD

LOUIS LOT (Paris), #6930, made in 1902. Very good example in silver plate, quite original with no more than one percent wear to the original finish. Embouchure is original and solid silver, measures 10.2 x 12.0 mm. The head appears to have been shortened four mm, but the embouchure has never enlarged. All pad spuds are original, the case is newer. Never altered or “re-tuned”, it’s a very good example. Sounding length is 594 mm (head pushed all the way in…) and the tube thickness is .013 inch. $8,500.

Charles Mahillon, made in after 1878. Conical flute in cocuswood, with ring keys of nickel-silver. C foot, sounding length is 600. No cracks to the wood, plateau touch for first finger right hand F key and third finger left-hand G. Plays well at A = 430 / 432 pitch. Fine instrument, waiting for repairs. $XXXX

CLAUDE RIVE (Paris) #121X, circa 1910 (?). All silver construction with many French hallmarks, in-line G and C foot. It’s a superb flute, but it’s been played a bit. Embouchure measures 10.5 X 12.2 mm and the sounding length is 597 mm. The head appears to have been shortened about 4 mm. Acquired by us with six damaged (filed flat) pad cups, we’ve replaced the damaged cups with new silver parts from Haynes. Flutes from the Rive workshop are somewhat rare: we’ve had only four of them in the past decade. This one plays very well, with the clean vintage tone-color we expect of the best “old French”. This one’s $5250. SOLD

R. SIOUR-CHAPELAIN, Paris (circa 1925), silver plated over nickel-silver, plateau keywork, full hand-made construction with soldered tone-holes. Fine flute from the l920's. $1750 

VINTAGE HEAD SECTIONS 

Djalma Julliot (LeCouture), circa 1920. Silver plate over nickel alloy. $650.

LeBret / Malerne (Paris), circa 1940. Silver plate over nickel alloy. $650.

Louis Lot (Paris) number 7456, silver, seamed construction, cut 6 mm. $2500.

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USED OBOES 

Fox 333 oboe, #409x, new pads and corks, excellent condition. Body is of polypropelene, silver plated keywork is "semi-full conservatory", including low Bb, left-hand F, forked F resonance key, but no split ring for third finger right hand and no "banana key" additional key for low C, and no articulated low B/Bb to low C#. This one was recently to Fox for a full factory overhaul, with new pads and corks, no damage or cracks of any kind. Case is original and looks new. Suggested list price new is $4150, this one is only $1695. $1695.

Good German oboe from the Hans Kreul workshop in Tuebingen, imported by Mirafone-USA, serial number 34898. The instrument has “almost full conservatory” keywork, including left-hand F, one & three forked F for the right hand, “banana key” for the third finger right hand and low B-flat resonance key. Does not have split ring for the third finger right hand, does not have third 8va. key. Original silver plate is perfect, with no wear anywhere. Tone-color is full and dark, with good intonation. Now part of the French S.M.L. conglomerate, the Kreul workshop in Germany is still in business. Kreul oboes were imported to the US under a dozen or more names, including “Mirafone”, “Lucerne”, “Ben-Wal” (Ben Storch and Waldemar Bhosys partnership) and “Gordet” (Peter Gordon). This one’s a best buy at $1945.

Superb professional quality oboe from the workshop of A. Santoni, made in Pare (Italy) about 1990. The instrument is stamped with serial number 14. Santoni’s miniscule workshop produced a small number of high-quality oboes and clarinets. Pare is located on the Swiss-Italian border, not too far from Como. Our oboe has come to us in pristine original condition, without cracks or damage of any kind. Third octave key, F-resonance and Left-hand F keys, B to C# articulated mechanism, ring key for third finger right hand. In short, it has all the keywork found on the best French “full conservatory” oboes. Highest recommendation on this one! $3350.
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Good American oboe from the Conn-Selmer Company, model 104, made in the USA, stamped “Signet Soloist”, serial number F8502. Introduced more than 25 years ago, the 104 oboes from Selmer have been very well received as “step up” oboes for advanced students and adult amateurs. The body and bell are made of crack-proof indestructible plastic, the silver plated keywork is “full conservatory”, including low B-flat, left-hand F, forked F resonance key, split ring for third finger right hand, “banana key” additional key for low C, articulated low B/B-flat to low C#. This one has all new pads and corks, no damage or cracks of any kind. Case is new. Suggested retail price on a new one is now $3525, with street price about $2850. This one’s like new, a “best buy” at $1695.

F. Lorree (Paris), #EG-8x, made in 1978. The instrument has come to us in pristine original condition, with no cracks to the wood of the top or bottom joint, absolutely no wear to the silver-plated keywork. It has left-hand F, also forked F resonance key. The oboe does also have the articulated mechanism for the low B-Bb to low C# trill. This one has the original Loree French case that's nearly perfect. A new Loree is now a bit close to $7500. This one's a best bu at $4450. SOLD

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SOME GOOD REBUILT BASSOONS  

New Heckel Bocals: Yes, they're expensive, but they are the best! $945

Superb pro quality bassoon from Fox Products Model IV, serial number 9,50x (1981). Originally designed by Chicago Symphony Orchestra bassoonist Hugo Fox, the model four was up-graded in 1970, has been in production every year since. The body is of indestructible polypropylene plastic, the keywork nickel plated over nickel-silver alloy. Keywork is to high D, with rollers on F, Ab, Eb and Db keys. Plateau key for third finger left hand. According to Fox, the model IV differs from the “Renard model 41” by more hand-finishing to the exterior of the body and by additional tuning work. Nickel plate to the keywork is still very good, with no wear at all. New pads and corks from our shop in Wichita plus new case. Suggested retail price from Fox is now $7295, with street price about $5,000. With one new Fox C1 and one new Fox C2 bocal, the price is $2045.

RARE BASSOON FROM THE WILHELM HECKEL WORKSHOP IN BIEBRICH. Heckel Bassoon #9600. SOLD

Good student bassoon from the Linton Company, made in Indiana about 1975. It’s their model 5K, serial number 34900, made of indestructible plastic, still has 100% original nickel plate to the keywork, two good original Linton bocals and a good original case. We’ve replaced pads and corks, cleaned it up and recommend it to a client wanting a good-playing yet inexpensive American bassoon. Keywork is to high C (no high D), condition is “9.5 out of 10”. Street price on a new one is now about $2850. This one’s $1575.

Italian bassoon labelled "Horst Moennig Los Angeles Import", made about 1970?. Keywork to high C, original varnish in very good condition, two new bocals and a new case, new pads and corks, $1650

Vintage German bassoon made about 1970 by Gebrueder Moennig (Markneukirchen, Germany), serial number 13,600. The bassoon wears good original finish to the wood, has one original Moennig #2 bocal plus one new #1 bocal (Fox or Moennig) original high D and original good nickel plate to the keywork. Finger holes are hard rubber lined. All tenons are original. Rollers on A-flat, F-sharp and F-natural (boot) plus thumb F# (boot) and on D-sharp and C-sharp (long joint) plus the extended C-touch that we usually see on Moennig bassoons. Also with E-flat trill key on the wing. The case is new, all pads and corks are new, from our shop in Wichita. Very good and original example. It’s a good and original example from East Germany, before the wall came down. Moennig still makes a similar instrument, now with a street price in excess of $5500. This one’s $3250. SOLD

Vintage German bassoon made between 1955 and 1960 by Gebrueder Moennig (Markneukirchen, Germany), serial number 11029. The bassoon wears new finish to the wood, has original high D and original good silver plate to the keywork. There's an additional E-flat key on the wing and all finger-holes are ebonite or nickel-silver lined. Rollers on the front F-sharp, F and A-flat also on the back B-flat plus rollers on the C-sharp and D-sharp on the long joint. All tenons are original and the wing tenon wears an original nickel-silver cap. The case is new, all pads and corks are new, from our shop in Wichita. This one's $2450. SOLD
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Rare antique French bassoon, made in Lyon between 1836 and 1867 by Louis Muller. Eight brass salt-spoon keys with matching brass bell ring. The brass crook has seamed construction, possibly original, probably from the same time-period. Bell, boot and long joint are very faintly stamped with the name of the maker, with his logo above the stamp and indecipherable letters (“a Lyon” ? ) below. Good player, very original. $5850.
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Good German bassoon from Wenzel Schreiber, model S-54-D. Serial #878x, made in 1965. The instrument has 99% original varnish, no cracks to the wood and with good bell ring. Keys have very good original nickel plate with almost no wear to the plating. Price includes one original Schreiber and one Puechner bocals. With high D keywork and water tubes for the finger-holes. All tenons are original and have brass caps. Wing joint sockets are also brass lined. The wood has no cracks or damage. It wears new pads, of course, from our shop in Wichita. New case as well. Street price on a new one is now a bit below $5,000. This one’s a very good example, with a “best buy” price of $2850.

Good German bassoon from Wenzel Schreiber, model S-5014. Serial #30,49X, made in 1993. The instrument has 100% original varnish, no cracks to the wood and with good original bell ring. Keys are silver plated with no wear to the plating. Price includes two original Schreiber bocals. With original high D keywork and water tubes for the finger-holes. All tenons are original and have brass caps. Wing joint sockets are also brass lined. The wood has no cracks or damage. It wears new pads, of course, from our shop in Wichita. Original Winter case is still good. Street price on a new one is now a bit below $5,000. This one’s like new, with a “best buy” price of $3150. SOLD

Good German bassoon from Wenzel Schreiber, #815X, made in 1964. The instrument has 100% new varnish and full keywork to high D, but no high E. Keys are nickel plated. Price includes new Fox bocals and good original case. Schreiber’s current model S-16 is produced with key blanks they buy from Italy or other sources. It’s only the better quality bassoons that are made with German keywork they built themselves. Our bassoon has German keys, the instrument made fully by Schreiber. The wood has no cracks or damage. The bassoon wears new pads from our shop and comes with our two-year service warranty. Suggested retail price on a new one is now $9770. Our price for this one: $2250. SOLD

ALL BASSOONS (and other winds) sold by Wichita Band Instrument Company (new or used) come with our 24 month service warranty. We always, always replace all pads & corks and mechanically rebuild the instrument to "like new" specs. Bassoons are expensive and used instruments often represent good value. Why buy a new one?  

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MODERN AND VINTAGE PICCOLOS  

A SUPERB VINTAGE WILLIAM S. HAYNES SILVER C PICCOLO. Sounding length is 262 mm, the head possibly shortened by 2 mm. The flute now has new pads and corks from our shop in Wichita.. Embouchure measures 9.1 X 10.7 mm. The picc has the good original case with it and plays very well. It’s a “Golden Age” Haynes that shows superb workmanship and tone-color. $2,450.

Powell kingwood piccolo, sold by us new about 10 years ago, perfect condition. SOLD

A SUPERB VINTAGE WILLIAM S. HAYNES SILVER C PICCOLO FROM 1961.
This superb piccolo from Haynes "Golden Age" was purchased new in 1961 and had the same owner until now. The serial number is 31,09x.
The owner was a full-time professional musician in a major west coast city, a woodwind doubler who played tenor sax and clarinet mostly, and used the piccolo only occasionally.
The piccolo has had good care over the years and shows no signs of heavy use or wear. Our shop disassembled the piccolo, lightly polished the solid silver body and keys, and replaced all pads and corks. Light scratches to the body were not buffed away, thus preserving the original body thickness. The keywork is tight as new. The instrument looks superb and plays beautifully!
Sounding length is 262 mm; the piccolo tuned to modern A = 440 pitch
The embouchure measures 9.2 x 10.9 mm.
The piccolo is completely original, never altered, and never damaged.
The original case was tired, so we've replaced it with a new leather-covered professional piccolo case and included a new fleece-lined canvas case cover.
This is a superb vintage piccolo showing quality American workmanship from a very good time period for the William S. Haynes Company in Boston.
Haynes is now Chinese-owned; a new Haynes piccolo is $4500.
This one is the "real thing": The best of traditional American piccolo design combined with craftsmanship of a type no longer avaialble.
Full history is available. The original owner has given us permission to provide his contact information to the new owner.
Top recommendation on this one. $2250. SOLD
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Conical wood C piccolo from Wm. S. Haynes Company, #(X)748X (?). All new pads and corks from our shop in Wichita, new case. It’s a modern piccolo, but the serial number is illegible. No cracks to the wood. Sounding length is 265 mm; embouchure measures 9.2 X 10.9. Definitely at A = 440 pitch. A new one is now $4500. This one’s $2250. SOLD 03/08

 
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USED AND VINTAGE CLARINETS  

BUFFET HISTORY 
Founded in 1839 by Jean-Louis Buffet-Crampon, Buffet clarinets soon became the choice of the majority of the world’s professional players. By 1900, Buffet had a workforce of 200 craftsmen, producing clarinets, flutes and saxophones, all of high quality. 

Paul Evette and Ernest Schaeffer bought the firm in 1885. “Evette and Schaeffer” clarinets were the “step up” instruments from Buffet until about 1980. A public corporation since 1929, the company was absorbed into the Boosey-Hawkes conglomerate in 1981. 

Instruments made between 1935 and 1980 are considered by many to be the very best of Buffet’s production. The American investor Martin Tolchin bought Buffet in the mid 1970’s. He was aware of the fact that not all clarinet players agreed on the tone-color of their instrument, so the “R-13” (“Arthur King”, we call them...) model was soon joined by the “Continentale”, the “S-1”, the “BC-20” and later the “RC”. All have subtle differences, all are considered to be “top of the line” equals. Before 1980, the Buffet name was only engraved on their best clarinets: the “step up” and student quality instruments were stamped “Evette & Schaeffer” or “Evette”. Today, the Buffet name and logo are engraved on the entire line of Buffet instruments, from the German-made plastic to their very best clarinets. 

Wichita Band Instrument Company has sold new and used clarinets from Buffet-Crampon since the early 1950’s. Clarinets acquired by us are always crack-free, wear our new pads and corks and carry our two-year service warranty. 

Buffet is now a part of the Boosey-Hawkes Musical Instrument Company of London. 

Wichita Band’s clarinet warranty is the same as it’s been for more than three decades: “All new and used clarinets sold by us come with our 24-month service warranty, which is in addition to any factory warranties. For two full years, we will repair or replace (whichever in our estimation is the more advisable), any pads, corks, springs or other parts required, at no charge to the customer. In the event of cracked or damaged wood sections, we will repair at no cost to the customer or replace the section and charge the customer only for our costs (wholesale) for the parts. The customer is responsible for shipping costs. Cases and plating finishes are, unfortunately, not covered by our warranty.” 
 

RECONDITIONED VINTAGE AND MODERN BUFFET-CRAMPON Bb CLARINETS

BUFFET-CRAMPON “model 13” B-flat clarinet #1P-220, made in France in 1901. It’s actually been played very little in the past century. Keywork shows minimal wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, the tenons sharp. Pads & corks are new and from our shop in Wichita. It’s old, but an excellent instrument that shows top quality wood and workmanship. $1595.

BUFFET-CRAMPON "model 13" B-flat clarinet #1P-470, made in France in 1901. It's actually been played very little in the past century. Keywork shows minimal wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, the tenons still sharp and not rounded. Pads & corks are new and from our shop in Wichita. It's old, but an excellent instrument that shows top quality wood and workmanship. $1595

BUFFET-CRAMPON "model 13" B-flat clarinet #1R-20, made in France in 1902. It's actually been played very little in the past century. Keywork shows minimal wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, the tenons sharp. Pads & corks are new and from our shop in Wichita. It's old, but an excellent instrument that shows top quality wood and workmanship. $1595

BUFFET-CRAMPON “model 13” B-flat clarinet #V8X, made in France in 1905. Keywork shows very little wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, the tenons sharp and not worn. Pads & corks are new and from our shop in Wichita. Case is new. This is the clarinet that made Buffet famous, with superb wood quality and a rich tone-color. $1595.

BUFFET-CRAMPON “model 13” B-flat clarinet #740-CI, made in France in 1909. Keywork shows very little wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, the tenons sharp and not worn. Pads & corks are new and from our shop in Wichita. Case is new. This is the clarinet that made Buffet famous, with superb wood quality and a rich tone-color. $1595.

BUFFET-CRAMPON “model 13” B-flat clarinet #820GX, made in France in 1912. Keywork shows very little wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, the tenons sharp and not worn. Pads & corks are new and from our shop in Wichita. Case is new. This is the clarinet that made Buffet famous, with superb wood quality and a rich tone-color. $1595.

BUFFET-CRAMPON “model 13” clarinet #357X, made in France in 1929. Keywork shows very little wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. The tenons are still sharp and not worn. Pads & corks are new and from our shop in Wichita. Case is new. This is the clarinet that made Buffet famous, with superb wood quality and a rich tone-color. Not for everybody, but for those wanting the “old Buffet sound”, it’s absolutely perfect. $1595.

BUFFET-CRAMPON “model 13” clarinet #560x, made in France in 1930. Keywork shows very little wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. The tenons are still sharp and not worn. Pads & corks are new and from our shop in Wichita. Case is new. This is the clarinet that made Buffet famous, with superb wood quality and a rich tone-color. Not for everybody, but for those wanting the “old Buffet sound”, it’s absolutely perfect. $1695.

BUFFET-CRAMPON model R-13, #46,40x, made in France in 1953 or 1954. It’s a good and little-used example from Buffet’s “Golden Era”. Keywork shows minimal wear to the rings and hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, new pads & corks from our shop in Wichita. It’s the clarinet that made Buffet famous, with superb wood quality and a rich tone-color. With the original “pochette” Buffet case or with a new one, as you wish. In our opinion, this particular clarinet is just about as fine an instrument as you’d find anywhere and better than a new one, we believe. $1995.

BUFFET-CRAMPON model BC-20, #76,910 made in France in 1963. Introduced in the mid 1960’s, the BC-20 was based on Buffet’s decision to manufacture several “top of the line” clarinets with tone-colors a little different from their standard R-13 model. At the time, the R-13 was reserved strictly for the US market, was not available outside America. The BC-20 was not a student instrument, but carried the same price as the R-13. Our clarinet shows minimal wear to the rings and hinge-tubes and the original SILVER plate is still very good. No cracks to the wood, new pads & corks from our shop in Wichita. Tenons are sharp, not worn or rounded off. This one came to us totally original. The price includes a new flat case from MTG. This one gets our top recommendation. $1795.

BUFFET-CRAMPON model BC-20, #78,39X made in France in 1964. Introduced in the mid 1960’s, the BC-20 was based on Buffet’s decision to manufacture several “top of the line” clarinets with tone-colors a little different from their standard R-13 model. At the time, the R-13 was reserved strictly for the US market, was not available outside America. The BC-20 was not a student instrument, but carried the same price as the R-13. Silver plated keywork, new pads & corks from our shop in Wichita. The price includes a new flat case from MTG. This one gets our top recommendation. $1395. BUFFET-CRAMPON model R-13 B-flat clarinet, #91563, made in France in 1966. The original nickel plating is still very good, we’ve replated a few keys that had wear. No cracks to the wood, new pads & corks from our shop in Wichita. Tenons are sharp, not worn or rounded off. The price includes a new “pochette” case or Pro-Tec case. Built in the “Tolchin years”, before the Bozos at Boosey-Hawkes took over. Better than a new one, in our opinion. $1995.

BUFFET-CRAMPON model R-13 B-flat clarinet, #160,35x, made in France in 1975. The original nickel plating is still very good, almost perfect. No cracks to the wood, new pads & corks from our shop in Wichita. Tenons are sharp, not worn or rounded off. This one came to us totally original. The price includes the original Jakob Winter case that’s like new or, if you prefer, a new “pochette” case. Built in the “Tolchin years”, before the Bozos at Boosey-Hawkes took over. Better than a new one, in our opinion. $1995. SOLD

BUFFET-CRAMPON model R-13 B-flat clarinet, #417,761, made in France about 1996. The original nickel plating is still very good. no cracks to the wood, new pads & corks from our shop in Wichita. This one came to us totally original. The price includes good original case and new case cover. $1945. PROBABLY SOLD.

BUFFET-CRAMPON model R-C B-flat clarinet, #474,51X, made in France in 1998 or 1999. The original silver plating is still very good, with no wear. No cracks to the wood, new pads & corks from our shop in Wichita. First and only previous owner was the professor at the Brussels Conservatory, who recently traded this one to us for a circa 1900 vintage Buffet clarinet. The price includes good original case plus a VanDoren B-45 mouthpiece. Buffet’s RC with silver keys now has a suggested retail price of $6110, minimum selling price of $3670. This one’s a fine example with a “best buy” price. $2295.
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BUFFET-CRAMPON “Evette-Schaeffer E-13” B-flat clarinet #220X, made in France about 1955. Keywork wears new silver plate and all pads / corks have been replaced in our shop in Wichita. No cracks to the wood, the tenons still sharp. Buffet’s model E-13 clarinet, was one step down from their “top of the line” R-13. This one’s a good example, has been used very little and comes with a new case and our recommendation. Today, ALL Buffet clarinets below their R-13 pro model are made in Germany or China. Our E-13 is 100% French. $1095.

BUFFET-CRAMPON “Evette-Schaeffer E-13” B-flat clarinet #K290X, made in France about 1955. Keywork wears new silver plate and all pads / corks have been replaced in our shop in Wichita. No cracks to the wood, the tenons still sharp. Buffet’s model E-13 clarinet, was one step down from their “top of the line” R-13. This one’s a good example, has been used very little and comes with a new case and our recommendation. Today, ALL Buffet clarinets below their R-13 pro model are made in Germany or China. Our E-13 is 100% French. $1095.

BUFFET-CRAMPON “Evette-Schaeffer E-13” B-flat clarinet #K3235X, made in France 1975. Keywork wears good nickel plate and all pads / corks have been replaced in our shop in Wichita. No cracks to the wood, the tenons still sharp. Buffet’s model E-13 clarinet, was one step down from their “top of the line” R-13. This one’s a good example, has been used very little and comes with a new case and our recommendation. Today, ALL Buffet clarinets below their R-13 pro model are made in Germany or China. Our E-13 is 100% French. $1295.

BUFFET-CRAMPON model BC-20 #77,470, made in France in 1963. Introduced in the mid 1960's, the BC-20 was based on Buffet's decision to manufacture several "top of the line" clarinets with tone-colors a little different from their standard R-13 model. At the time, the R-13 was reserved strictly for the US market, was not available outside America. The BC-20 was not a student instrument, but carried the same price as the R-13. Our clarinet shows minimal wear to the rings and hinge-tubes and the original nickel plate is still very good. No cracks to the wood, new pads & corks from our shop in Wichita. Tenons are sharp, not worn or rounded off. This one came to us totally original. The price includes a new flat case from MTG. $1695. SOLD 01/07
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BUFFET-CRAMPON model S-1, #125,840 made in France in 1971. Introduced in the early 1970’s, the S-1 was based on Buffet’s decision to manufacture a clarinet with bore size and tone-color similar to their superb pre-WW-II instruments. The bore is slightly smaller, the sound a little brighter than a modern R-13, but everything else is identical. Buffet’s 1975 catalog reads “…Since the introduction of the S-1 and R-13 series, clarinetists throughout the world have had two distinctly different Buffet bores from which to choose…” The S-1 was not a student instrument, but carried the same price as the R-13. Our clarinet shows minimal wear to the rings and hinge-tubes and the original nickel plate is like new. No cracks to the wood, new pads & corks from our shop in Wichita. Tenons are sharp, not worn or rounded off. This one came to us totally original. The price includes a new flat case from MTG or the original 1971 case. This one gets our top recommendation. SOLD
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BUFFET-CRAMPON R-13 model B-flat clarinet, #202,190, made in 1980. This one's nearly perfect, has nickel plated keywork with minimal wear to the keys, 99% original plating. The clarinet comes with one 66 mm barrel, VanDoren mouthpiece and new MTG case. New pads and corks from our shop in Wichita, of course. No cracks anywhere! Suggested retail price on a new one is now $4597. This one's $1949. SOLD
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RECONDITIONED VINTAGE AND MODERN BUFFET-CRAMPON "A", "ALTO", "BASS", AND OTHER CLARINETS

BUFFET-CRAMPON “model R13A” A clarinet #188,57X, made in France in 1978. Here’s a superb example from Buffet’s “Golden Era”. Keywork shows no wear to the rings or hinge-tubes and the original nickel plate shows no wear at all. No cracks to the wood, the tenons still sharp and not at all rounded. Pads & corks are new and from our shop in Wichita. Original double case is perfect, looks like a new one. It’s a pre-Boosey Buffet that is, in our opinion, far superior to anything currently in production. This one’s $2395.
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BUFFET-CRAMPON “model R13A” A clarinet #505,68X, made in France in 2002. Here’s a perfect used example. Keywork shows no wear to the rings or hinge-tubes and the original nickel plate shows no wear at all. No cracks to the wood, the tenons still sharp and not at all rounded. Pads & corks are new and from our shop in Wichita. Original double case is perfect, looks like a new one. It’s a nice Buffet that is, in our opinion. This one’s $2695.

BUFFET-CRAMPON “model R13 Eb” Eb clarinet #118,81X, made in France in 1971. Here’s a superb example from Buffet’s “Golden Era”. Keywork shows no wear to the rings or hinge-tubes and the original nickel plate shows no wear at all. No cracks to the wood, the tenons still sharp and not at all rounded. Pads & corks are new and from our shop in Wichita. Original case is very nice. It’s a pre-Boosey Buffet that is, in our opinion, far superior to anything currently in production. This one’s $2495.

BUFFET-CRAMPON “model 13” A clarinet #600, made in France in 1928. Here’s a superb example from Buffet’s “Golden Era”. Keywork shows very little wear to the rings or hinge-tubes and the silver plate is new, as the instrument came to us with raw nickel-silver keys. No cracks to the wood, the tenons still sharp and not at all rounded. Pads & corks are new and from our shop in Wichita. It’s old, but an excellent instrument that shows top quality wood and workmanship. $1995. SOLD
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BUFFET-CRAMPON model 1191, BASS CLARINET “Professional”. #2131X Made in France in 1968, it’s in pristine original condition, range to low E-flat. No cracks to the wood, almost no wear to the nickel plated keywork. Current suggested retail price is now $13,060 with minimum selling price of $7936. This one’s come to us in fine original condition, with new Van Doren mouthpiece. Original case is still in good condition. LONG time of delivery on a new instrument, but this one’s available today for $3950. SOLD

CABART A PARIS, good clarinet in the key of A, no serial number, made in France about 1930. No cracks or damage to the wood, superb workmanship and quality everywhere. This one has original nickel-silver keywork, new pads and corks from our shop and a solid original French double case. Since 1974, Cabart has been part of the F. Loree oboe workshops. This one’s $1095.
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Good American C.G. Conn, Ltd., "Albert System" clarinet, made in Elkhart in 1919, bearing the serial number B53498L. The body, bell and barrel are all of ebonite, the clarinet has 14 keys, five rings, four rollers. Original nickel-silver keys are tight and without wear, all pads and corks are new. The original case is in fine condition and the clarinet comes with the original Conn mouthpiece. Good player, not expensive at $945.

Rare clarinet in the key of C, made in Elkhart in 1923 by C. G. Conn, Ltd. Serial #C108210L. The instrument has come to us in nearly pristine condition, with normal seventeen key / six ring Boehm system keywork. It’s been played very little in the past 83 years, still even has the original guarantee letter with it. Body is of ebonite (“hard rubber”) and all pads & corks are new, from our shop in Wichita. The original case is perfect. Rare, good player, not expensive. $1150.

Rare clarinet made in Elkhart in 1928 by C. G. Conn, Ltd. Serial #B216,220L. The instrument has come to us in very good original condition, with normal seventeen key / six ring Boehm system keywork. It’s been played very little in the past 78 years. Body is silver plated over nickel-silver alloy and all pads & corks are new, from our shop in Wichita. In 1928, this was Conn’s “Top of the Line” Clarinet. Five piece model, even the bell section screws off. Rare, good player. $1095.

VINTAGE CONN PROFESSIONAL METAL CLARINET, MADE IN ELKHART IN 1929. Today when we think of Conn instruments, it’s brasses that come to mind. They’ve been part of Steinway Properties for a number of years. Yes, we sell their new instruments in our shop in Wichita and have a very good relationship with the company. But back before 1955, Conn also had a sterling reputation for saxophones and clarinets. Their model 444N pro-quality wood clarinets were used by many Big Band players and even a few symphony musicians. From 1925 to 1955, the Elkhart workshop turned out top-quality clarinets in large number. Just after the First World War, it was clear to America’s flute makers that the trend was definitely turning from wood to silver. The last production of wood flutes at the Wm. S. Haynes Company until recently, I mean… was in 1918. Virtually all Haynes flutes made since then have been of silver. And so it was, for a time, with clarinets. We’ve heard it was the one of the reasons master flute maker Verne Q. Powell left Haynes in 1926. Verne was the designer of the superb Haynes metal clarinet, only a handful of which were built. Powell was unable to convince Bill Haynes that …metal clarinets, like metal flutes, will be the only instruments used by all the pro musicians of the future… So in the mid 1920’s, C.G. Conn introduced a top of the line metal clarinet. Conn’s earliest metal clarinets date from the 1880’s, of course. But the Improved All Metal Clarinet was designed to be their very best instrument, more costly than their best wood clarinet. Conn’s 1925 catalog says it all. …after several years of long, tedious experiment, developed a new and original design… And… Body comes apart in four sections: barrel, top, bottom, bell. The new clarinet was designated model 624N, and we do occasionally have them in our collection in Wichita. They’re easily identified by the B-flat trill being on the opposite side to the register key, by the unique square key-arms to the B and B-flat trills, by the double-walled bell with gold inside the bell and by the simple fact that the instruments come apart in pieces, just like a wood clarinet. Conn’s 1925 catalog also describes the clarinet we today call their armored model, and for some reason it, too, was given the model number 624N. Go figure… A short decade later, Conn was still producing a pro-model metal clarinet, as well as their student Pan-Am and Cavalier instruments. Their 1935 model 514N was a fine instrument, but the keywork had already been made cheaper and the sections did not disassemble. The 514N sold in 1935 for $95; Conn’s best wood clarinet, the 444n, in that same year was $130.00. Although American flute production had switched from wood to metal, pro-quality metal clarinets never quite caught on. It’s a pity, as their model 624N clarinets play VERY well. Think circa 1925 Selmer-Paris wood clarinet, but with a little brighter tone-color. This particular Conn dates from 1929 and was Conn’s most-expensive instrument at that time; more costly than their best 17 keyed/six ringed wood instrument. As with all of Conn’s pro-model clarinets, the quality of workmanship was absolutely superb, arguably better than on any clarinet made today. Our clarinet has no damage anywhere. Keywork is silver plated over solid nickel silver, German silver, some call it and all pads and corks are new, from out shop in Wichita. Body, bell and barrel sections are silver plated, except for a small worn spot to top of the upper joint and for the gold inside the bell, the original silver is 99%. Price includes the original Conn case and our two-year service warranty comes with the instrument. The bell is engraved made by /C.G. Conn, Ltd./Elkhart, Ind./USA. Bottom joint is clearly stamped B215700L Tuning barrel works perfectly and the hard rubber mouthpiece without name may be original. Of course if you dig long enough, you can find one of these fine instruments for sale. Our clarinet differs from those only by the fact that we’ve fully restored it, have fitted new white kid pads to it and have swedged keywork tight again. And the original plating is 99% intact, plus it’s got a good original Conn case. The bottom line is that this is superb example of an instrument produced when Conn built high quality clarinets and we give it an enthusiastic recommendation. $1095.00 SOLD
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German clarinet from the workshop of Carl Kruspe, made in Erfurt about 1940.. It’s come to us in fine original condition, with unplated nickel-silver keywork, no cracks to the wood. We’ve replaced all pads and corks in our shop in Wichita. Bell, lower and upper joints and barrel section are all stamped “ C K (plus butterfly logo) / C. Kruspe / Erfurt / B / * / 2 “. No serial number found. The instrument is similar to an “Albert system” instrument, but with additional mechanism from the top joint rings to the register key, to improve intonation on the high C-sharp and higher. Thirteen keys and four rings, four rollers on the lower joint. According the the Langwill Index, “…the ‘System Kruspe clarinet’ became the model most used in Germany…” This particular instrument came to us from a country auction in France. We believe it was left behind when the German occupiers went home, in 1944. The case is from Musik Alexander in Mainz and dates from the 1950’s. Richard Muelfeld, the clarinet player for whom Johannes Brahms composed the two sonatas, the quintet and the trio, preferred the clarinets of Carl Kruspe above all others. Rare, not for everybody, this one’s $1150. SOLD
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G.LEBLANC (Paris), #3380, made in France before 1950. It’s come to us in good original condition. New pads and corks, new silver plate to the nickel-alloy keys. No cracks, new pads and corks. Well known for the many “Noblet” clarinets sold to French and American musicians, this “LeBlanc” model would have been one of the very first “top of the line” instruments from them. $995.

G.LEBLANC (Paris), #3660, made in France before 1950. It’s come to us in good original condition and with standard keywork. New pads and corks, new silver plate to the nickel-alloy keys. No cracks, new pads and corks. Well known for the many “Noblet” clarinets sold to French and American musicians, this “LeBlanc” model would have been one of the very first “top of the line” instruments from them. $995.

G. LeBlanc (Paris) “L-7” Bb clarinet #29,20X, made in France in 1975. Based on Leon LeBlanc’s so-called “double L” design, but with an inverse conical top joint that was designed to offer a similar tone-color to Buffet’s vintage model R-13 clarinet. This one’s come to us in fine condition, nickel-plated keywork, no cracks to the wood, good original case and with all new pads and corks from our shop in Wichita. Very good player, similar to a mid-fifties R-13 Buffet. Recommended and not expensive! $1295.

LeBlanc / Noblet model 55 wood ALTO clarinet, #6740, made in France about 1970. No cracks to the wood, new case, new pads and corks from our shop in Wichita. Price includes a good used Selmer (Paris) C-Star mouthpiece. Suggested retail price on a new one is now $6240. This one’s $1650.

G. LEBLANC (Paris), model 400, #6790. Pro model BASS clarinet made about 35 years ago. New nickel plate to some keywork, new pads and corks from our own shop in Wichita. New mouthpiece. New retail price is now $8315. This is a good example, now fully restored, ready to play. No cracks anywhere, no dents or dings to the bell or neck and the case is in very good condition. Recommended! SOLD
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LeBlanc model 350 CONTRABASS in EE-flat clarinet, #42x, made in France about 1965. Everything is very original, minor dents and dings burnished out in our shop in Wichita plus new pads and corks from our shop. Range is to low C. It’s a very clean and original example, fully reconditioned by our shop, good original case, new mouthpiece. Time of delivery on a new instrument is “unknown”, said to be in excess of one year. Our instrument is 4,250. SOLD

LeBlanc model 342 CONTRABASS in BB-flat clarinet, #101x, made in France about 1980. Everything is very original, minor dents and dings burnished out in our shop in Wichita plus new pads and corks from our shop. Range is to E-flat. It’s a very clean and original example, fully reconditioned by our shop. All new pads and corks, original good case and mouthpiece. This one is the “long and straight” LeBlanc B-flat contra, easier to keep in adjustment than the so-called “paper clip” model 340. Our instrument is $4150. SOLD

LeBlanc model 340 CONTRABASS in BB-flat clarinet, #67x, made in France about 1970. Everything is very original, minor dents and dings burnished out in our shop in Wichita plus new pads and corks from our shop. Range is to D. It’s a very clean and original example, fully reconditioned by our shop. Suggested retail price on a new one is now $15,025.00 with school bid price about $9200. Time of delivery on a new instrument is “unknown”, said to be in excess of one year. Our instrument is $5,550. SOLD

H. SELMER (Paris) rare Bb clarinet, #950 (1927). Keywork is silver-plated over nickel alloy, standard 17 key and 6 ring keys. The BODY, BELL AND BARREL are of SOLID EBONY, not grenadilla. The case is French, from the 1950’s. Superb workmanship and playing characteristics, this is the instrument that made Selmer’s firm famous. “Pre Benny Goodman” model, we’d call it. This instrument does not come with Selmers manufacturer's warranty. $1495

H. SELMER (Paris) rare Bb clarinet, #4100 (1929).  The chromatic F#/C# key is silver plated, but all other keywork is solid silver!  Acquired by us missing a bell section, it now wears a new Selmer (Paris) bell.  Pads and corks are new, the clarinet is crack free and very clean: no damage to the wood, the original barrel section never cut shorter, the tenons still sharp and not “rounded off”.  Pre-1930 Selmer clarinets are often superb, play not unlike modern instruments and very much unlike the later “big bore” instruments.  This clarinet has normal Boehm keywork and articulated C#/G#.  Nice one!  This instrument does not come with Selmers manufacturer's warranty.  $1150 
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H.SELMER (Paris) vintage Bb clarinet, #N800 (1946), one of the very first post-war clarinets from Selmer.  The keys are unplated nickel alloy, the case original.  No cracks to the wood, pads and corks are new.  It’s a good “Big Bore” Selmer, like the one Benny Goodman played at Carnegie Hall. This instrument does not come with Selmers manufacturer's warranty. $1095 
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H. Selmer (Paris), “Series Nine Star” clarinet, #U470x (1965). It’s a very good sixties Selmer, similar in concept to Selmer’s “Centered Tone” model, but with a bit more focus to the sound. Pads and corks are new, the clarinet is crack-free and clean. Original tenons are sharp, keywork shows minimal wear, with absolutely no wear to the nickel plate. With new case. The instrument’s been played little in the past forty-three years. Normal 17 key / 6 ring Boehm system keys. $1295. SOLD

H. Selmer (Paris) model “Series Nine” Clarinet, #T1800, made in France in 1963. It’s come to us in good original condition, with no cracks or damage to the wood. The keys are nickel plated and show minimal wear. Tenons are sharp and the clarinet has all new pads and corks from our shop. In the sixties, the Series Nine was Selmer’s “top of the line”. This one plays very well, comes with our top recommendation. The lower joint and bell section are later replacements. Standard keywork, new case. Recommended! SOLD
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H. Selmer (Paris), Series 10S-II, #M8260 (2006?). It’s a new instrument that came to us via a “summer special” from Conn-Selmer. Never been sold, never rented, never used as a “demonstrator”. Still with factory guarantee card. Normal 17 key / 6 ring Boehm system keys. Absolutely nothing wrong with it! $1895.
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Set of two (B-flat and A) Selmer-Paris “Signature” clarinets. The A clarinet is new, never sold or rented, used by us on a couple of displays. The B-flat has been played a few times more, wears all original pads and corks except for waterproof corks we’ve put on the Eb/Ab and C#/G# keys on both instruments. The instruments are sold with four tuning barrels stamped “645”, “A63”, “A625” and “A65”, Selmer C85-105 mouthpiece and a deluxe double “pochette” case, with Selmer case cover. B-flat serial number is PO480x; A clarinet serial number is M835x. Suggested retail price on the set is $14,785. Street price is about $8,000. The set = $5450. SOLD

Selmer-USA B-flat bass clarinet, #7182x, made in the US about 1995. The keywork extends to low E-flat, the keys, neck and bell are nickel plate and show minimal wear. Indestructible plastic body, no damage anywhere. Original case is solid. New pads and corks from our shop in Wichita. Suggested retail price on a new one is now $2075.00; MAP price on a new one is now $1569. This one’s “like new” for $1095. SOLD

H. Selmer (Paris) model 35, B-flat bass clarinet #D107x, made in France about 1985 . The keywork extends to low E-flat, the keys, neck and bell are all nickel plated and show minimal wear. Grenadilla wood body, no cracks or damage. New case and it’s furnished with a good Selmer (Paris) C-star mouthpiece. Pads and corks are new, from our shop in Wichita. It’s a very good example, pretty much “like new”. The model 35 does have alternate Eb / Ab key for the little finger left hand. Suggested retail price is now $9,670 with a six to eight month time of delivery. This one’s a mere $2,750. SOLD

Selmer-USA E-flat contra-alto clarinet, #528x, made in the US about 1988. The keywork extends to low E-flat, the keys, neck and bell are nickel plate and show minimal wear. Indestructible plastic body, no damage anywhere. Original case is solid. New pads and corks from our shop in Wichita. Suggested retail price on a new one is now $3060.00; MAP price on a new one is now $2299. This one’s “like new” for $1725.

H. Selmer (Paris) E-flat contra-alto clarinet # V9970, made in France about 1970. The keywork extends to low E-flat, the keys, neck and bell are all nickel plated and show minimal wear. Rosewood body, no cracks or damage. Original case is solid and it’s furnished with a good Selmer (Paris) C-star mouthpiece. Pads and corks are new, from our shop in Wichita. It’s a very good example, pretty much “like new”. Suggested retail price is now $15,505 with a six to eight month time of delivery. This one’s a mere $4750. SOLD
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SML (Strasser-Marigaux-Lemaire) wood clarinet, “Lemaire” model, #34070, a good step-up clarinet, made in Paris in the early 1980’s. Mostly known for superb oboes and the “Gold Medal” saxes that were discontinued years ago, SML continues today to produce superb woodwind instruments. The “Lemaire” model was offered as their “mid range” instrument: below the top-of-the-line Marigaux and Strasser instruments, but better than the 5-Star and “Ebo-Tone” models. A few SML clarinets were imported into the US by the King Musical Instrument Company back in the eighties. They’re comparable with Buffet’s E-13 models and actually play very well. This one’s $895.

SML (Strasser-Marigaux-Lemaire) wood clarinet, “Lemaire” model, #34090, a good step-up clarinet, made in Paris in the early 1980’s. Mostly known for superb oboes and the “Gold Medal” saxes that were discontinued years ago, SML continues today to produce superb woodwind instruments. The “Lemaire” model was offered as their “mid range” instrument: below the top-of-the-line Marigaux and Strasser instruments, but better than the 5-Star and “Ebo-Tone” models. A few SML clarinets were imported into the US by the King Musical Instrument Company back in the eighties. They’re comparable with Buffet’s E-13 models and actually play very well. This one’s $895.

We often have a good selection of rebuilt clarinets in our warehouse. We’re particular about what we acquire and usually turn down instruments with excessive key wear or wood damage. Older clarinets often have better quality wood than new instruments, however. That means a rebuilt instrument that we’ve rebuilt can often be “better than new”.

Here’s what we do to all the used clarinets we sell:

The instrument is taken apart and everything washed clean. We don’t believe in chemical dips, but do use plenty of soap and water! All wood parts are inspected for checks and damage, polished and then soaked in oil for three days. After the body-shop work’s been completed, we swedge hinge-tubes tight again and re-fit to the clarinet body. Finally, pads and corks are replaced and the instrument play-tested. Most customers tell us that our clarinets are then actually “mechanically better than new”.

Wichita Band’s service warranty is the same as it’s been for more than thirty years:

“ALL new and all used instruments sold by Wichita Band Instrument Company come with our 24 month service warranty. It’s in addition to any factory guarantees. For two full years, we will repair or replace (whichever in our estimation is the more advisable), pads, corks, springs or other parts required, at no charge to the customer. In the event of cracked or damaged wood sections, we will repair at no cost to the customer or replace the section and charge the customer only for our net costs for the replacement section. Often, wood replacement parts are supplied from the manufacturer at no charge. The customer is responsible for shipping and insurance charges. Cases and plating finishes are not covered by our service warranty but are sometimes covered by factory guarantees.”

Wichita Band Instrument Company maintains a repair department capable of restoration work of the highest quality. Even though repairs are essentially “free” for the first two years, after that period has expired, we remain at your service to maintain and repair your musical equipment forever. It’s our “service after the sale” promise and has been since 1953!
 

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ANTIQUE, ALBERT SYSTEM, AND ODD CLARINETS 

Rare French C clarinet, faintly stamped “Daniel”. Dark rosewood body, thirteen nickel-silver “salt spoon” keys, two rings. Barrel and top joint are all one piece. No cracks to the wood, original mouthpiece. The name “Daniel” probably refers to the dealer who sold the clarinet rather than the maker. Perhaps from the Gautrot / Couesnon company, pre 1900. Good example, new pads and corks from our shop in Wichita. Perfect for Dixieland or Klezmer. $1050.

Fine French Bb clarinet, non-Boehm “Albert” keywork, from the Couesnon workshops, made in Paris about 1910. 13 “salt-spoon” keys, no rings. Very good condition, with no cracks to the wood, no damage of any kind. The wood is ebony, not grenadilla. See Couesnon’s 1913 catalog, showing this one as their model number 180. Good player, perfect for Dixieland or Klezmer. New pads and corks, of course. $1050.

Boxwood and ivory C clarinet by Jame, made in Paris probably in the first quarter of the 19th. century. Five square and flat brass keys, heavy ivory mounts. The instrument is in good original condition and plays very well. No cracks to the boxwood, no cracks or damage to the original ivory, except for cracks and repairs to the ivory bell ring. The rosewood C-clarinet mouthpiece is probably from the late 19th century. Barrel, top, middle and lower joints plus the bell all are engraved “ (five pointed star) / Jame / Paris”. Tenons are original, not cut shorter. Intonation is very good at A = 435 / 438 pitch. Total length, bell ring to tip of mouthpiece = 609 mm. The “New Langwill Index” does cite the maker, but with minimal information. $1445.

Boxwood and ivory C clarinet by Wood and Ivy, made in London between 1837 and 1847. Eight round and flat brass keys, heavy ivory mounts. The instrument is superb original condition and plays very well. No cracks to the boxwood, no cracks or damage to the original ivory. The ebonite C-clarinet mouthpiece is probably from the late 19th / early 20th century. Barrel, top and lower joints all are engraved “Wood & Ivy”. Bell is engraved “Wood & Ivy / late / Geo. Wood / New Compton Strt. / 50 / Soho / London”. Tenons are original, not cut shorter, no cracks or damage to the wood nor the ivory. Intonation is very good at A = 435 / 438 pitch. Total length, bell ring to tip of mouthpiece = 591 mm. $1950.
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Boxwood clarinet by Martin Freres, made in Paris before 1850. The clarinet is also of boxwood, stamped “ (bee) / Martin Freres / a Paris / (MF monogram)” on barrel, top, middle and lower joint plus on the bell. Each joint is stamped “A” under the name and monogram. Five flat and round brass key, the mounts of horn. Bell ring is wood. The rosewood mouthpiece is original, stamped with the maker’s name, but with a new tenon. The top tenon of the top joint came to us cut 5 - 6 mm shorter, has been restored by us to original length. Total length, fully assembled is 689 mm. We believe the clarinet to have been made before 1850. There are no cracks to the instrument. Please note that even though each joint is marked “A”, the instrument does not play at A = 440. We believe it was built as an A clarinet, built to the so-called “Paris Opera pitch” of 448. It is therefore not usable as an A clarinet, but works very well as a B-flat instrument at A = 425 - 428 pitch. $1850.
Photos are of Bb clarinet.
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Boxwood clarinet from Lefevre and Company, Nantes, circa 1870. Barrel is stamped “ (star) / Lefevre / & Cie / a Nantes / B “, is 66 mm. long. Top joint in B-flat has same stamp, has seven “salt-spoon” nickel-silver keys, is 218 mm. long, end of top tenon to end of bottom tenon. Second top joint is stamped the same, has six “salt-spoon” nickel-silver keys, is 250 mm. long, end of tenon to top socket. Bell section is also stamped the same, is 111 mm long. Mouthpiece is stamped “ (star) / Lefevre / a Paris / (star) “, is of ebony or dark grenadilla and is in very good original condition, without cracks, chips or alterations, is 88 mm. long. All sections, including the mouthpiece are in excellent original condition, without damage. No cracks, chips or damage to the boxwood, no breaks, chips or missing pieces to the ivory mounts. All tenons are sharp, without damage or rounded off edges. Total length of the instrument, bell ring to tip of the beak is 652 mm. Intonation is very good on the instrument, but a bit higher than A = 440, closer to A = 444 / 446. $1945.

Boxwood A-clarinet, made in Germany, circa 1870. The instrument appears to have had a name at one time, now illegible. Barrel is mounted in nickel-silver is 66 mm. long. Top joint in has seven round nickel-silver keys, is 249 mm. long, end of top tenon to end of bottom tenon. Bottom joint has six round nickel-silver keys, is 260 mm long, top of socket to bottom of tenon. Bell has nickel-silver socket ring and bell ring, is 106 mm long. Case may be oringinal, definitely dates from before 1900. With either a pre-1900 C. Kruspe / Erfurt rosewood and nickel mouthpiece that has a very close tip or similar rosewood mouthpiece from Clemens Meinl (Wernitzgruen). The instrument plays very well in the key of A, at 440 pitch. $2650.

Good German clarinet from the workshop of G.H. Hueller in Schoeneck, the body of dark rosewood. 17 nickel-silver keys, six rings. Coiuld be called a “full Albert system”, but more accurately “Oehler system” clarinet. No cracks to the wood, all parts original. Maker’s stamp to bell, top and bottom joints, no stamp to the barrel or mouthpiece. Probably dates from the late 1930’s, plays very well at A = 440 pitch. $1050.

German clarinet from the workshop of Carl Kruspe, made in Erfurt about 1930. It’s come to us in good original condition, with unplated nickel-silver keywork, small surface crack to the top joint, banded and now invisible. We’ve replaced all pads and corks in our shop in Wichita. Bell, lower and upper joints plus bell section are all stamped “ C K (plus butterfly logo) / C. Kruspe / Erfurt / B / * / 2 “. No engraving to the barrel section. No serial number found. Thirteen keys and two rings, no rollers. According the the Langwill Index, “…the ‘System Kruspe clarinet’ became the model most used in Germany…” This particular instrument came to us from a country auction in France. We believe it was left behind when the German occupiers went home, in 1944. Richard Muelfeld, the clarinet player for whom Johannes Brahms composed the two sonatas, the quintet and the trio, preferred the clarinets of Carl Kruspe above all others. Rare, not for everybody, this one’s $985.

German clarinet from the workshop of Carl Kruspe, made in Erfurt about 1940.It’s come to us in fine original condition, with unplated nickel-silver keywork, no cracks to the wood. We’ve replaced all pads and corks in our shop in Wichita. Bell, lower and upper joints and barrel section are all stamped “ C K (plus butterfly logo) / C. Kruspe / Erfurt / B / * / 2 “. No serial number found. The instrument is similar to an “Albert system” instrument, but with additional mechanism from the top joint rings to the register key, to improve intonation on the high C-sharp and higher. Thirteen keys and four rings, four rollers on the lower joint. According the the Langwill Index, “…the ‘System Kruspe clarinet’ became the model most used in Germany…” This particular instrument came to us from a country auction in France. We believe it was left behind when the German occupiers went home, in 1944. The case is from Musik Alexander in Mainz and dates from the 1950’s. Richard Muelfeld, the clarinet player for whom Johannes Brahms composed the two sonatas, the quintet and the trio, preferred the clarinets of Carl Kruspe above all others. Rare, not for everybody, this one’s $1150. SOLD

Boxwood B-flat clarinet by Herouard Freres, made in France about 1860. Thirteen flat salt-spoon brass keys, brass posts mounted to oval plates. Stamped with maker’s name and logo (fourth stamp) on the barrel, top joint and bell, stamped twice on the middle joint. No cracks to the boxwood joints or bell, older crack to the barrel. The instrument fitted with heavy original horn mounts. The top tenon of the top joint has been cut shorter, now restored by our shop in Wichita. (waiting for repairs, not yet for sale)

Rare fifteen keyed boxwood clarinet by Georges Guerre, made in Paris before 1853, consisting of: Barrel section in boxwood, with ivory mounts, no engraving, length of the barrel is 155 mm. The figured boxwood top joint is lightly stamped “ (sunburst face) / Guerre / a Paris / (five pointed star) / B“, fitted with 8 salt-spoon brass keys mounted on brass posts attached to brass plates. Total length of the top joint, tenon to tenon is 220 mm. Bottom joint is also stamped “ (sunburst face) / Guerre / a Paris / (five pointed star) / B “, fitted with 7 salt-spoon brass keys mounted on brass posts attached to brass plates. Total length of the bottom joint, including lower tenon, is 256 mm. Bell is lightly stamped “ (sunburst face) / Guerre / a Paris / (five pointed star) / B “ Total length of the bell, flare to socket, is 109 mm. Rosewood mouthpiece is without stamp, measures 82 mm in length. Repairs to the wood of the bell flare and to the ivory bell ring. Total length, assembled is 649 mm. (waiting for repairs, not yet for sale)

Grenadilla or rosewood clarinet in B-flat by William Meinl, made in New York about 1920. Fifteen nickel-silver keys, five rings, five black rollers. The bell section is from the same time period, but by Penzel & Mueller. This is a good “late Albert” B-flat that’s come to us in very good condition.
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German clarinet from Gustav Mollenhauer, made in Kassel, probably before 1940. The Oehler-system keywork has 17 keys and five rings. Four rollers on the bottom joint. Top and bottom joints and bell are stamped with the maker’s name and logo. Mouthpiece and two barrel sections are stamped “G. Mollenhauer u. Soehne, Kassel”. Keywork is silver plated, very original. Serial number 32212 on the body (top and bottom joints) and on both barrels. Original mouthpiece is stamped 2233 on the table. Original case, new pads and corks from our shop in Wichita. The instrument play well at A = 442 pitch. $2150. (Scheduled for restoration later in 2008)

Interesting German clarinet from the workshop of Oskar Neidhardt, made in Schoeneck before 1940. The Oehler-system keywork has 16 keys and six rings. Four rollers on the bottom joint. Top and bottom joints and bell are stamped with the maker’s name and logo. Mouthpiece and barrel section are stamped “G. Mollenhauer u. Soehne, Cassel”. Keywork is silver plated, wood is in very good condition, with no cracks or damage. No serial number on the body, the barrel shows number 30630. The instrument is f mm shorter than a modern Buffet or Selmer clarinet, plays at A = 445 pitch. $1475
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Boxwood clarinet by Michel Amlingue ( 1782 - 1830 ). The instrument wears original ivory mounts, made in the key of B-flat with additional top joint in the key of A. Barrel is stamped “ (star) / Amlingue / a Paris / B “, is 65 mm. long. Top joint has same stamp, two flat square brass keys ( A and B-flat ), is 225 mm. long. Second top joint is stamped “ (star) / Amlinge / a Paris / A “, has also two flat square brass keys, is 250 mm. long. Third joint is stamped “ (star) / Amlinge / a Paris / B “, is 119 long. Fourth joint is stamped “ (star) / Amlingue / a Paris / B “ wears three flat and square brass keys (the touches for the E/B and F-# / C# are extendable) and measures 157 mm. Bell section is also stamped “ (star) / Amlingue / a Paris / B “. The original rosewood mouthpiece is also stamped “ (star) / Amlingue / a Paris / B “. All sections except the bell and the mouthpiece are in excellent original condition, without damage. The mouthpiece is original, but with restoration to the beak. The bell ring has been cracked in two places and there are boxwood grafting repairs to the bell flare. Total length of the instrument, bell ring to tip of the restored beak (B-flat section in place) is 675 mm. Total length with A section in place is 700 mm. Phillip Young’s book “4900 Historical Woodwind Instruments” cites only nineteen clarinets by Amlingue and only three with A-clarinet center. We believe the clarinet to have been built before 1830. $5,000. SOLD
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ALTO SAXES, all models, all years.....  

Here’s what we do to all used saxes we sell:

The instrument is taken apart and everything washed clean. We don’t believe in chemical dips, but do use plenty of soap and water! Dings are next burnished from body, bell, end-bow and neck. With a little effort, we can make things look “like new” again. After the body-shop work’s been completed, we swedge hinge-tubes tight again and re-fit to the sax body. Finally, pads and corks are replaced and the instrument play-tested. Most customers tell us that our saxes are then actually “mechanically better than new”.

C.G. Conn alto #248,71x, a “transitional” sax from 1931. Low B & Bb on the same side of the bell, underslung 8va. key and tuning neck, this one’s got all the features of the “Lady Face” saxes, but with Art Deco engraving to the bell and not lady face. Rolled t-holes, adjustable t-rest, stove-pipe 8va. spout. Acquired by us with NO lacquer, we’ve polished it lightly, then sprayed with three coats of Nikolas 2105 lacquer. New pads & corks from our shop and keywork swedged tight. This one looks and plays like a new instrument! You’ll not find a better alto anywhere! $1975.

C.G. Conn 6M “Lady Face” alto sax #277,57x, an original sax from 1936. Low B & Bb on the same side of the bell, underslung 8va. key and tuning neck, this one’s got all the features of the “Lady Face” instruments. Does have rolled t-holes, does have stove-pipe 8va. spout plus all the other classic 6M features. Original lacquer is still good, worn less than one percent. Sharp engraving to the bell, NEVER any dents or dings, sharp key pearls, NO “forked E-flat”. The original case is perfect and the original Conn “Steelay #5” mouthpiece looks like it’s never been played. New pads & corks from our shop. Aside from a spot of lacquer wear to the thumb rest and to the 8va. key, it’s perfect. Very good example that has the dark tone-color that made 1930 Conn saxes famous. $2995. SOLD

C.G. Conn alto #239,280, a “transitional” sax from 1930.
Vintage saxes from Selmer, Conn and King are usually in our collection in Wichita, but this one’s the best Conn alto we’ve had for several years. The original silver shows no wear at all, it’s never sustained any dents or dings and it’s as clean as the day it left the factory.
Long story, though…
About 1923, Conn introduced a newly designed sax that we call the “Chu Berry” model----after the jazz great who died in 1941. Low B and Bb tone-holes are always on the opposite sides of the bell and the G# touch is “fingernail file” type, the high E touch is flat and the engraving is usually the simple Conn name in script, sometimes the Conn name inside floral engraving. Chromatic F-# touch was shaped like a long tear drop and the octave key touch was usually round. Octave spout on the neck is small, the saxes always had rolled tone-holes. The sound is sweet and easily controlled. Some of these play very well indeed.
In our opinion, the best of the Conn saxes were the pre 1950 “Lady Face” models which began to appear in 1935. Low B and Bb were on the same side of the bell, the G# touch had become an elongated triangle, the high E touch was curved at the top of the key. Octave spout on the neck was “stove pipe” design and the altos had underslung octave key. Altos always had the adjustable screw-tuning device, but tenors and baritones never did. Tone-holes were always rolled and the octave mechanism on the body featured the little square brass box as a rider. And they all had the “Lady Face” engraving to the bell. We like these saxes.
Although both models were fitted with set-screws for the pivots, the pivot screws for the Chus were flat at the tip; the Lady Face models always had pointed pivots.
And occasionally we see a Conn alto that’s halfway in between…
“Transitional” saxes from Conn are more rare and are always good players. We sometimes see tenors and altos that have some features of the “Chu Berry” models and some from the later “Lady Face” saxes. These date between 1930 and 1935, have interesting “Art Deco” engraving.
Our Conn alto is an early transitional, wears serial number 239,280 and was made in Elkhart in 1930.
Low B and B-flat pad cups are on opposite sides of the bell, like on a Chu.
Long teardrop chromatic F-sharp and fingernail file G-sharp are also like on a Chu.
But the high E key-touch and the octave key touch are like on the later Lady Face 6M models. Plus, the pivot screws are pointed, like on a Lady Face 6M.
And the sax wears the superb Art Deco engraving that’s typical of the transitionals and no other…
Please note that the original Conn case is very good, has original latches and even the original keys.
This one’s been played very little in the past 76 years. It came to us with the original white kid pads, none of which had ever been replaced.
Neck has the typical pre-1935 octave key, with top-mounted octave key and screw tuning mechanism. The mechanism is tight, does not leak.
This one does have first finger trill key for G#, as well.
High E key touch is curved, like on all 6M Lady Face models.
Key pearls are sharp, absolutely perfect, with no wear to the silver on the stacks. Hinge-tubes show no loose play at all.
We’re ABSOLUTELY certain the silver finish on this one is original. And so is the superb gold plate inside the bell. “Gold wash”, some people call it.
Pads and corks are new and from our shop in Wichita. We’ve used “reso pads” from Ferree’s that are identical to the originals.
Price on this one is a mere $1750. It’s suitable for Dixieland, Big Band playing, classical saxophone quartet, or pretty much whatever you want to do with it. Top recommendation! SOLD
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C.G.CONN (Elkhart) model “6M Lady Face”, #282,400, made in 1938. Rare vintage alto saxophone has original dark lacquer worn maybe 10%, mostly in the engraving grooves to the bell. (Conn engraved saxes after they lacquered them...) Never any dents or serious damage, the sax comes with original good case. These pre-1940 Conn 6M altos play very well, were favored by many jazz players in the forties and fifties. Recommended! New pads and corks from our shop, of course. $1925 SOLD 04/06
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H.N. White "KING VOLL-TRUE", #140900 (1933), has original case, newer mouthpiece, some gold-plate left inside the bell. The original silver plate finish is worn only 5% or so, the body and bell appear to have never been dented or damaged. This is a good vintage alto! $995 
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H.N.White “KING ZEPHYR” #299,800 (1949), a fine “step-up” alto from the “Golden Years” at King.  The lacquer is from about 1990, looks very good, has good engraving to the bell, dends and dings burnished out in our shop and new pads and corks.  New case.  Like the one Cannonball used, only without the silver bell or neck. $1495 
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"King SUPER 20" alto from the H.N. White Company, #450660, built in Eastlake in 1968 or 1969. 75 – 80 % original lacquer, keywork showing minimal wear, a few minor dings burnished from the end-bow, body and bell. Good engraving to the bell plus sunbursts to low B and B-flat pad cups. All parts original, including original key-guards. Neck is sterling silver. Bell is brass. Tone-holes are brazed (“silver soldered”) to the body. Very good player, solid and easy to get the low notes. This one’s not been played much, will have new pads and corks from our shop. Rare, very good player…just like the one used by Charlie Parker or Cannonball Adderley. Vintage saxes are always in our collection in Wichita, but this one’s a good example, not expensive and a very good player. The original dark lacquer finish is worn a bit, but it’s never sustained any major dents and it’s clean and in excellent mechanical condition. The body of the instrument is good, with sharp engraving to the brass (not silver) bell, with tone-holes brazed (“silver soldered”) to the body and with all key-guards original and in good condition. This is one of the later Super 20’s, when King was making them with solid nickel (rather than brass) for the hinge tubes of the stacks, the palm and side keys. Note also that the sax has good sunburst engraving to the low B and B-flat pad cups and that all the pivots have the original hexagon locks. The sax has now had all pads and corks replaced in our shop and is ready to ship today. There is minor etching and some belt-buckle scratches to the brass on the back of the body, but the sax is original and generally quite good. Pads and corks are new on the instrument and the keywork is still tight, pearls showing minimal wear. Note the minor wear to the original strap ring, though. King Musical Instrument Company is now part of the Steinway Group, the conglomerate that owns Selmer-USA, Conn, King, Artley, Holton, LeBlanc and a dozen other names. We’ve been authorized dealers for their NEW instruments for half a century and have the highest regard for their saxophones. But this vintage King tenor is quite special: there’s NOTHING like it that’s now in production. And King stopped making saxes back in the mid 1980’s. $2850 SOLD
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LeBlanc/Noblet alto sax, #712x (1960), made in France. In the sixties and seventies, LeBlanc produced a full line of saxophones. Their "LeBlanc System" alto and tenors were well received by classical players, but the intricate keywork was difficult to keep in adjustment. Their Noblet saxes showed high quality French workmanship, with tone-color similar to a Selmer of the forties and with normal sax keywork. This one wears original lacquer that's worn maybe 10%, all dings burnished out in our shop, good original case, new pads and corks. The Noblet saxes were intended to be good "step up" or "middle range" instruments, with rib construction, excellent "feel" and superb intonation. $1250.
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“Presentation” model alto sax, the bell engraved “D. Fleurguin / Premier Prix du Conservatoire / de / Paris” and “(A.Sax logo) / Medaille d’Or 1900 / Adolphe SAX / Fnur de Academie Ne de Musique / 84 Rue Myrha / PARIS”. This particular instrument has come to us in very good original condition, wearing 95% of the original bright silver finish, pearls to the stack keys, no high F, double 8va. touch, range from low B-flat to high F. High quality workmanship, never any major damage anywhere. Original reed-box, original Masspacher silver-plated mouthpiece, original case. According to Langwill, the Sax workshops were located at #84 Rue Myrha from 1905 until the company was acquired, in 1928, by Selmer. We believe our saxophone dates from about 1910. No serial number anywhere, this one a “one-off special” made for a fellow who had just won first prize at the Conservatory. Good player, unusual to find one this original, still in good condition. $3850.

Selmer “SSS” or “Selmer Super Sax”, an alto #18,265 (October, 1933). It’s a good example that wears 90% original silver finish. Minor dents and dings burnished out by us, plus new pads and corks from our shop in Wichita. Pads have domed metal resonators with rivets. No front high F-keywork, though. Some of the finest jazz players of the thirties and forties used this model or the similar “Cigar Cutter”. Woody Herman, Jimmy Dorsey, Hymie Schertzer, Joe Allard. Good cutting power, with improved intonation over the CG models, the SSS alto was a superb saxophone that’s today rare, but still highly recommended by us! This one’s $3250. SOLD

Selmer Balanced Action Alto #30,538 (early 1941). It’s a rare and superb example that wears 99% original silver finish, minimal engraving to the bell. During the Second World War, Selmer did continue to produce saxophones, but built fewer than 500 a year. This one’s never been dented or dinged, key pearls still very sharp, stack hinge-tubes showing minimal swedging. New pads and corks from our shop in Wichita. Pads have domed metal resonators with rivets. Based on the fact that key pearls are sharp, solder-scraper marks are clearly visible around all key posts and the fact that there’s no wear, dips, etch marks or scratches under the silver, we’re convinced this one is original and close to pristine in condition. It’s been played very little since it was new and comes with our top recommendation. Think Al Galladoro, Walt Levinsky, Phil Woods, Bud Shank. Best alto ever, in our estimation. $5,850.

Selmer Balanced Action Alto #31,06x (1943). It's a good example that wears 98% silver finish, minimal engraving to the bell. We believe that it was a factory overheaul and re-plate, from about 1965, perhaps later. During the Second World War, Selmer did continue to produce saxophones, but built fewer than 500 a year. New pads and corks from our shop in Wichita. Pads have domed metal resonators with rivets. Not a "closet queen", but a superb player, fully restored, good for another century or more. $3650.

Selmer Balanced Action Alto #31,41x (1943). It’s a rare and superb example that wears 99% original silver finish, minimal engraving to the bell. During the Second World War, Selmer did continue to produce saxophones, but built fewer than 500 a year. This one’s never been dented or dinged, ebonite key pearls still very sharp, stack hinge-tubes showing minimal swedging. New pads and corks from our shop in Wichita. Pads have domed metal resonators with rivets. Based on the fact that key pearls are sharp, solder-scraper marks are clearly visible around all key posts and the fact that there’s no wear, dips, etch marks or scratches under the silver, we’re convinced this one is original and close to pristine in condition. It’s been played very little since it was new and comes with our top recommendation. Think Al Galladoro, Walt Levinsky, Phil Woods, Bud Shank. Best alto ever, in our estimation. $5850. SOLD
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Selmer Balanced Action Alto #32,29X (1945). 100% bright silver finish, good engraving to the bell. Might be original finish, but more likely a circa 1955 Selmer factory overhaul. Ebonite key pearls still very sharp, stack hinge-tubes showing minimal swedging. New pads and corks from our shop in Wichita. Pads have domed metal resonators with rivets. This one came to us with a few dents to the end-bow and bell, now burnished out in our shop. Very good player, solid and clean. Neck is particularly good, with never any dents or dings. Think Al Galladoro, Walt Levinsky, Phil Woods, Bud Shank. Best alto ever, in our estimation. $4350.

H. Selmer (Paris) Super Balanced Action Alto #45,79x (1951). Very good and original example that wears 99% original bright silver finish, gold plate inside the bell, new pads and corks from our shop in Wichita. Neck and end-bow dings and dents burnished out in our shop, key pearls still sharp, stack hinge-tubes still very tight. This one’s been played very little since it was new. Good example that’s now in excellent condition, highly recommended. Think Al Galladoro, Walt Levinsky, Phil Woods, Bud Shank. $4,950.
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H. Selmer (Paris) Super Balanced Action Alto #52,83x (1953). Absolutely pristine example that wears 99% original satin silver finish to the body, bright silver plate keywork and keyguards, gold wash inside the bell. New pads and corks from our shop in Wichita. Minor end-bow dings burnished out in our shop, key pearls still sharp, stack hinge-tubes still very tight. WITH HIGH F# KEYWORK. New Pro-Tec case. This one’s been played very little since it was new. Has high F-sharp keywork, also. Superb example that’s in excellent condition, highly recommended. Think Al Galladoro, Walt Levinsky, Phil Woods, Bud Shank. Best alto ever, and this one’s very close to perfect. $5975.

H. Selmer (Paris) “Super Balanced Action” alto sax #41,17x (July, 1950). Pristine example that wears 100% original bright silver finish, good engraving to the bell. Never dented or dinged, key pearls still very sharp, stack hinge-tubes never swedged. Original French solid case and good original Selmer mouthpiece. This one’s been played about five times since it was new. Superb example that’s in pristine condition, highly recommended. Think Al Galladoro, Walt Levinsky, Phil Woods, Paul Desmond, Bud Shank. The late BA saxes were the best ever, in our opinion. This one’s very close to being perfect. $6250.00. SOLD
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Selmer Balanced Action Alto #32,520 (late 1946 or early 1947). Superb example that wears 99% original satin silver finish, good engraving to the bell. The sax has never been dented or dinged, ebonite key pearls still very sharp, stack hinge-tubes showing minimal swedging. This one’s recently had new pads and corks from a Selmer-trained technician and needs absolutely nothing doing to it. Pads have domed metal resonators with rivets. Based on the fact that key pearls are sharp, solder-scraper marks are clearly visible around all key posts and the fact that there’s no wear, dips, etch marks or scratches under the silver, we’re convinced this one is original and close to pristine in condition. It’s been played very little since it was new and comes with our top recommendation. Think Al Galladoro, Walt Levinsky, Phil Woods, Bud Shank. Best alto ever, in our estimation. $5450. SOLD
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H. Selmer (Paris) “Mark Six” alto saxophone #73,48x. (July, 1958). 100% original bright silver finish, minimal engraving to the bell. This one has never been abused, dented, or damaged or dinged, appears to have never been played. It’s definitely original bright silver finish. New pads and corks from our shop in Wichita. Hinge-tubes show minimal wear and are very tight. Original key pearls as sharp as the day they left the factory, half a century ago. Original case looks new. This is a SUPER clean example from Selmer’s “Golden era”, comes with our top recommendation. Best one we’ve seen for a decade. $7,975. SOLD

H. Selmer (Paris) “Mark Six” alto saxophone #209,207. (1973). 99% original bright silver finish, minimal engraving to the bell. This one has never been abused, seriously dented, or damaged. Minor dings burnished out in our shop in Wichita. It’s definitely original bright silver finish. New pads and corks from our shop in Wichita. Hinge-tubes show minimal wear and are very tight. Pearls are very sharp, “like new”. This is a very clean example from Selmer’s “Golden era”, comes with our top recommendation. With new Pro-Tech case, too. With high F-sharp keywork! Very close to being perfect. $5,975.

Mark Six alto saxophone #240,4xx (March, 1975). It’s one of the very last of the Mark Six models, totally original, with 95% original lacquer finish, very good engraving to the bell and end-bow, with high F-sharp, but never dented or dinged. Engraved “Mark VI” on the bell. This one’s clean and in very good original condition! New pads and corks from our shop in Wichita and with new case. Most of the lacquer wear is on the neck, of course. $5,750.
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Mark Six Selmer alto saxophone #56,020 (November, 1954). The lacquer is definitely American, definitely original and is worn 40% or a bit more. Engraving to the bell and end-bow is sharp, has not been buffed or burnished over. The braided bands that connect the end-bow to the bell and to the body show no sign of being buffed over. Two feet (not three) that hold the low C key-guard have been re-soldered decades ago and will be cleaned up by us. It’s a one-owner alto that came to us from a fellow who was a pro player in New York, later in San Francisco. After a tour with the Buddy Morrow band and a stint with the RCA orchestra in New York, he relocated to Frisco, stayed there for four decades doing lounge work at the St. Francis Hotel. This one came to us in very original condition, never having had a major mechanical overhaul. We’ve cleaned it up, swedged keywork tight again, have replaced all pads and corks. Even though the lacquer shows some wear, the key pearls are actually still sharp and hinge-tubes have not required major tightening. Serial number is on the neck and yes, it’s a very good player. $5995. SOLD
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Selmer Mark Six alto #123,820. (May, 1965). 99% original bright silver finish, good engraving to the bell, high F-sharp. This one has never been abused, dented, or damaged or dinged. It’s definitely original bright silver finish. New pads and corks from our shop in Wichita using the original tone-boosters. Hinge-tubes show minimal wear and are very tight. This is a very clean example from Selmer’s “Golden era”, comes with our top recommendation. Very close to being perfect. $6,875. SOLD 04/07
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Selmer Mark Six alto #140,13X (1967). 98% original French lacquer. Clean example, now has new pads (stainless steel convex resonators) and corks from our shop. Straight, clean and without damage, minimal engraving to the bell. Never any dents, very minor dings to the bell and body have been burnished out, now invisible. It’s not been played much in the past 40 years! Price includes new case, Selmer mouthpiece. $5,250. SOLD 12/07
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Selmer (Paris) Super Action 80, Series II alto, #571,69X (2001). Superb original example that has 99% original lacquer finish, good engraving to the bell, minor dings removed and with “like new” original case. New pads and corks from our shop in Wichita! Price includes a good original Selmer (Paris) C* mouthpiece. Looks like a new one, but a lot less expensive! This one gets our top recommendation! Suggested retail price is now $6565. A “Best buy” at $3,250.

Good French alto saxophone from Strasser-Marigaux-Lemaire “SML” #703X (1948). Bell is engraved “SML / Strasser Marigaux / Lemaire / 144-146 Boul. de la Villette / PARIS / France / (five pointed star) and on the other side of the bell “SUPER”. It’s a rare pro-model alto from the company that was, in the forties, the main competition to Selmer. This one was their best model, with rolled tone-holes, curved G-sharp, rib construction. Predecessor and similar to the later “Gold Medallion” model. Original silver plate is worn maybe five percent, no major damage or dents, ever. Original #4 SML mouthpiece and original case come with the instrument. New pads and corks from our shop. This one’s a fine player, with tone-color comparable with Selmer’s post-war “Balanced Action” models. Recommended for classical, Big Band or all-around playing. This one’s $1985. SOLD

Selmer-USA model 1242 alto saxophone #813,500 (1982). It's a good student-level alto that's 100% "made in America", now with a suggested retail price of $1815. This one's a good "9.0" on a scale of ten, recommended for the particular customer who must have an American Selmer and nothing else. With all new pads and corks from our shop in Wichita. This one's $895.00.

Selmer-USA model AS-300 alto saxophone #1254580 (2003). It's a good student-level alto that's 100% "made in America", now with a suggested retail price of $1815.00. This one's a good "9.5" on a scale of ten, recommended for the particular customer who must have a Selmer AS-300 and nothing else. This one's $895.

Yamaha YAS-23 / Vito. Identical to the YAS-23 alto, but with "Vito" stamped on the bell. Assembled in Kenosha, Wisconsin from Yamaha YAS-23 parts. Mint condition, $895

Good pro-model alto saxophone from Yanagisawa, model A901 serial number OO24114X. This one wears 100% original lacquer finish, never dented or dinged, has high F#, new case. ALL pads and corks are new, from our shop in Wichita. New “suggested retail” is now $4250. We consider these “best buy” saxes. The body and neck are identical to the “top of the line” Yanagisawa saxes, but the design of the keywork is a bit simpler. Good player, not expensive. $1945.

All saxes sold by Wichita Band Instrument Company have been taken apart, cleaned, dents and dings burnished out, keywork swedged tight and all pads & corks replaced. Whether it's a new, used or vintage instrument, our 24 month service warranty is included in the price! If you buy it from us, there's no need to spend an extra $600 to have it refurbished, 'cause a used sax from us is as good or better than a new one! 
 
 

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TENOR SAXES, rebuilt used & vintage 

Here’s what we do to all used saxes we sell:

The instrument is taken apart and everything washed clean. We don’t believe in chemical dips, but do use plenty of soap and water! Dings are next burnished from body, bell, end-bow and neck. With a little effort, we can make things look “like new” again. After the body-shop work’s been completed, we swedge hinge-tubes tight again and re-fit to the sax body. Finally, pads and corks are replaced and the instrument play-tested. Most customers tell us that our saxes are then actually “mechanically better than new”.

BUESCHER “True-Tone” tenor #91600 (1922), a good early Buescher that’s got 75% original satin gold plate, no dents or dings, “snap-in” pads. Does not have front high F though. Does have forked Eb for the right hand stack. Good example, not expensive for a classic gold-plated tenor. SOLD
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GOOD PRO-MODEL "BUESCHER ARISTOCRAT" TENOR, 1941 VINTAGE, 85% ORIGINAL LACQUER. Back in 1941, before Buescher started making the "model 400" and when Selmer saxes were not being imported, the American-made "Aristocrat" model from Buescher was the tenor of choice by lots of pro players. Conn "Lady Face" 10M models sold better, but for guys who wanted a solid saxophone with good intonation, dead dependable mechanics and with low notes that never had any resistance at all, the Aristo was the answer. The absolute finest classical sax player who ever lived, Danish-American virtuoso Sigurd Rascher always used Bueschers and never anything else. The guy was an unbelievably fine saxophonist, arguably the best of the best. The Aristocrat followed the earlier "True Tone" from Buescher, had some rather nice features not found on the earlier models. All the key-guards were flat brass "ribbon" style, not the older brass wire guvards. Springs were gold-plated screw-in "Norton" springs. Easy to remove, easy to adjust. First finger G-sharp trill for the right hand. Low B and B-flat tone-holes on the same side, close to the player. Buescher's "snap in" pads continued with the Aristocrat models. Bell flare was reinforced with a garland or "kranz" to the underside of the bell. Bell diameter was 132 mm, with a wider throat than on the True Tones. They're good players that stayed in the pre-war form until the introduction of the "400" models. The post-war "Big B" Aristocrats are virtually identical to our tenor, with minor changes to the bell flare, no longer with G# first finger RH trill. Our sax has been played little in the past seven decades, still wears 80 - 85% of the original finish, still with good and sharp engraving to the bell. The neck on our tenor is from Buescher, but it's from a later instrument---from the sixties or later. It works very well, wears new lacquer finish. Our tenor's had some dings to the end-bow, now burnished out in our shop. A couple of dings also to the body, but never any serious damage anywhere. Pads and corks are new, from our shop in Wichita. $1495

C.G. Conn 10M “Lady Face” tenor #270,529 (1935 or 1936). Good engraving to the bell and 90% lacquer that looks original, but is not. Keywork is still tight, with modern case. Yes, it’s got rolled tone-holes. New pads & corks from our shop, of course. Probably a factory overhaul from Conn’s Elkhart shop, about 1950. There was, in the opinion of some, no finer tenor sax ever built. Clean and straight example, very good player. $2250.
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C.G. Conn 10M “Lady Face” tenor #295,39x (1941). Good engraving to the bell and 95% lacquer that looks original, but probably is not. Keywork is still very tight, the original case is solid. Yes, it's got rolled tone-holes. New pads and corks from our shop of course. Original case is almost perfect and it comes with the original Conn "Steelay" mouthpiece. There was, in the opinion of some, no finer tenor sax ever built. Clean and straight example that's probably a circa 1950 factory overhaul. $2450.
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C.G. Conn 10M “Lady Face” tenor #300,92x (1941). Good engraving to the bell, and 98% dark lacquer that looks original, but almost certainly is not. Keywork has been swedged tight again by our shop, key pearls are still sharp. Minor dings to the end-bow have been burnished out, now invisible. Yes, it's got rolled tone-holes. New pads & corks from our shop, of course. There was, in the opinion of some, no finer tenor sax ever built. Clean and straight example that we believe to be a circa 1950 factory overhaul. $1950.
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C.G. Conn 10M “Lady Face” tenor #326,63x (1947). Sharp engraving to the bell and no major dents or damage. Doesn’t have rolled tone-holes, but does have original lacquer. Finish is worn maybe 15%. Keywork is still tight with still very sharp key pearls. Dings to the end-bow have been burnished out, now invisible. New pads & corks from our shop, of course. No “forked E-flat” on this one, which we think is a plus. One of the first of the “Lady Face” Conn tenors, it’s a very good player, not expensive at $2150.

C.G.CONN 16M #K07200 (Elkhart, 1970), lacquer finish to the body is good, showing some scuff marks, but no serious damage.  Keywork is nickel plated.  New pads and corks, and with all dings burnished out. $995  SOLD
With a new case. $1065 

DOLNET tenor sax, #24520, made in France about 1955. The original bright silver finish is worn less than 5% and minor dings have been burnished out in our shop in Wichita. Three feet to the key guards have also been re-soldered by us. Dolnet saxes were in production until the late sixties. The firm was never very large and even though they specialized in saxes, we’ve seen only a few in the States. Often compared to SML saxes, a few pro players (Johnny Hodges, others…) actually did play them. This one wears new pads and corks, isn’t for everyone, but is a good pro French tenor for a very reasonable price. $1595. SOLD 06/08

“King Zephyr Special” tenor saxophone from the King Musical Instrument Company, #229,7xx. built in Cleveland in 1939 or 1940. Good engraving to the bell and lower pad-cups. Tone-holes are brazed (“silver soldered”) to the body. Very good player, solid and easy to get the low notes. It’s a fine “Zephyr Special” model, has sterling silver neck and made with the pearl inlay to the key-touches. This one’s never had any large dents or dings, but has come to us wearing almost no lacquer. We’ve lightly polished and sprayed with a new coat of Nikolas 2105 acrylic lacquer. The Zephyr Special saxes always play very well with minimal resistance, bright tone-color. Perfect for 1960’s R & R, jazz, Big Band or just about anything. Think Roland Kirk or Yusef Lateef. This one’s $3350, with new case, new pads and corks from our shop in Wichita.

King "Super 20" tenor sax, #532,000, (1977)built in Eastlake about 1982. 95% original bright original lacquer, brass pad-cups, solid nickel (not plated) key touches. Nothing worn, never any major dents, a few minor dings and a bell wrilnkle burnished out plus a dent to the socket end of the neck has been balled out. Good engraving to the bell. Tone-holes are brazed (“silver soldered”) to the body. Very good player, solid and easy to get the low notes. It’s a late“Super 20” model, has brass neck and made without the pearl inlay to the key-touches. The saxes always play very well with minimal resistance, bright tone-color. Perfect for 1960’s R & R, jazz, Big Band or just about anything. Think Roland Kirk or Yusef Lateef. Yep, Cannonball Adderley used a King Super 20 alto. Some history available on this sax, as well. This one’s $2950, with new case, new pads and corks from our shop in Wichita.
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Martin “Committee” tenor #193400 (1955), a “top of the line” tenor from Martin that wears about 90% replacement lacquer, has sharp engraving to the bell, matching serial number to the neck. Built in Indiana until the mid 1970’s, Martin’s saxophones always had soldered tone-holes, very light key action and were made of heavy brass. Tone color is dark, intonation superb. In the sixties, their student sax was given the “Indiana” name; the “Committee” was the best model. Today, most people call these “The Martin”, from the engraving on the bell. New pads and corks, new case. $1495.

Adolfe Sax tenor saxophone, #1816x, a very good collector's piece made by the original sax company. Please email for more info.

SELMER (Paris) "Super" tenor, #15,910 (1931), with 95% of the original good silver plate finish, no dents or damage. This is a fine and exceptional tenor, not for everybody, but a good and valuable instrument for those wanting a "Super" that's almost perfect.    $4850  SOLD5 08/07
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H. Selmer (Paris) Mark Six Tenor #67,200 (May 1957). 99% original bright silver plate finish, very good engraving to the bell and end-bow, with HIGH F# KEYWORK, Almost mint! $7650. SOLD
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H. Selmer (Paris) Mark Six Tenor #125,338. (1965). 95% French lacquer that looks original but almost certainly is not. Minimal engraving to the bell. Semer-USA no longer does factory overhauls, but Selmer-France still does. This one looks like it was re-lacquered at Selmer’s French factory about 20 years ago. Neck’s never been dented or creased, some dings to the body and end-bow have been burnished out by our shop in Wichita. With new pads & corks, new case, it’s not exactly a “closet queen”, but is a good player and an honest example of a mid-sixties Mark Six that’s also a fine player. $5,250.

Selmer (Paris) tenor saxophone, “Mark Six”, Serial #126,83X (1965) has 99% original bright silver plate finish, minimal engraving to the bell. This one is a superb and very original example and yes, we’re absolutely certain the silver plate is original. Never any major dents, dings to the bell, minor end-bow dings have now been burnished out. Logo and serial number have never been polished over and the neck has never been creased. Thin line of brass showing on the high D and D-sharp key-touches and the thumb rest: otherwise, it’s pretty much perfect. New case, new pads and corks from our shop in Wichita. Good serial number, very original sax that’s been well cared for in the past 43 years. $6,750. SOLD
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Selmer (Paris) tenor saxophone, “Mark Six”, Serial #134,27x (1965) has 99% original bright silver plate finish, minimal engraving to the bell. This one is a superb and very original example and yes, we’re absolutely certain the silver plate is original. Never any major dents, dings to the bell, minor end-bow dings have now been burnished out. Logo and serial number have never been polished over and the neck has never been creased. Good original case, new pads and corks from our shop in Wichita. Good serial number, very original sax that’s been well cared for in the past 43 years. $6,950.
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Selmer (Paris) tenor saxophone, “Mark Six”, Serial #145,85X (1966) has 95% original lacquer finish to the body with 98% original silver plate to the keywork, minimal engraving to the bell. This one is a superb and very original example and yes, we’re absolutely certain the lacquer and silver plate is original. Never any major dents, dings to the bell, minor end-bow dings have now been burnished out. Logo and serial number have never been polished over and the neck has never been creased. Nice original Selmer case, pads and corks from our shop in Wichita. Good serial number, very original sax that’s been well cared for in the past 43 years. $5,850.

H. Selmer (Paris) Mark Six Tenor #178,550 (1971). 75 - 80% original lacquer finish, minimal engraving to the bell, has high F#. All keywork has original bright silver finish, showing almost no wear to the plating. With new pads & corks, new case, it's a very good example that's come to us in good original condition $5,250.

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H. Selmer (Paris) Mark Six Tenor #206,165. (April, 1973). 98 % original French lacquer, good engraving to the bell. With new pads & corks, very good original French case and original Selmer (Paris) B-star mouthpiece. Has high F-sharp keywork. Minor dings to the end-bow have been burnished out in our shop, bottom foot of low C key guard has been re-soldered. Never any major dents or damage. Not pristine, but close to it. “Mark Six” engraved on the bell. $8,150.
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Selmer (Paris) Super Action 80, Series II tenor saxophone, #492,90X (1997 or 1998). Good original example that has 98% original lacquer finish, good engraving to the bell, several small dents and dings now removed and with new Pro-Tech case. New pads and corks from our shop in Wichita! Price includes good original Selmer (Paris) mouthpiece. This one gets our top recommendation! Suggested retail price is now $7660. A “Best buy” at $3,150.

Selmer-USA model 1244 tenor saxophone, #1214990 (2002?). It's a good student-tenor that's now with a suggested retail price of $2260. This one's a good "9.9" on a scale of ten, recommended for those who want an American made Selmer tenor and nothing else. It's in "almost new" condition. $1095.

All saxes sold by Wichita Band Instrument Company have been taken apart, cleaned, dents and dings burnished out, keywork swedged tight and all pads & corks replaced. Whether it's a new, used or vintage instrument, our 24 month service warranty is included in the price! If you buy it from us, there's no need to spend an extra $600 to have it refurbished, 'cause a used sax from us is as good or better than a new one! 

OTHER SAXES................. 

Demo Selmer model Super Action 80 III black lacquer finish (2006?), This one’s an almost new Super Action 80 III soprano that’s never been sold, but has been demo'ed a few times. Keywork to high G. $3695

Good pro-model soprano saxophone from Yanagisawa, model SS-981. Serial number 278,748, made in Japan in late 2007 or early 2008. SS-981 is the same model as their SS-991, but with keywork to high F-sharp, not to high G. This one wears 100% original lacquer finish, has high F#, “like new” original case & mouthpiece. Acquired by us from a shop that has gone out of business, we believe this one to have never been sold, used only in the shop as a “demonstrator”. SS-981 models are still sold overseas, are not imported to the USA by the American agent. New retail price on an SS-991 is now $6070. This one’s a “best buy” at $2475.

RARE BUESCHER STRAIGHT SOPRANO SAX, MADE IN ELKHART IN 1925, THINK "SIDNEY BECHET". Vintage saxes from Selmer, Conn and Buescher are usually in our collection in Wichita, and this one’s a good example, played about five times since it was new. The original bright silver finish is worn less than one percent, it’s never sustained any dents or dings and it’s very clean. Buescher straight Bb soprano #190,250, made in Elkhart in 1925. The original silver is 99%, good gold wash inside the bell. All new pads & corks from our shop, original case. Played very little since new, basically “mint” condition. Please note that the original Buescher case is perfect, without breaks or scratches anywhere. Have a look also at the thumb-rest, with NO silver wear at all. Note the high D, D-sharp and F key-touches, designed like an alto (and like modern saxes from Selmer), with each key mounted on separate posts. The palm keys feel the same as they do on a good alto. The sax came to us with ALL original pads, from 1925. We cleaned it up, replaced all pads with modern “snap in” pads that are close to the originals, but tan kid rather than white. Selmer-Paris mouthpiece comes with it. We tried several, came to the conclusion that a modern Selmer mouthpiece works best, gives the best intonation. Yes, Jazz great Sidney Bechet really did use a Buescher exactly like this one. This is a really prime example, with high notes NOT sharp, keywork tight, pearls still sharp. Except for a little worn edge to the stack G, this momma’s PERFECT. Price is a mere $1750 on this one. It’s suitable for Dixieland, Big Band playing, classical saxophone quartet, Kenny-G imitations or whatever you want to do with it. Top recommendation! SOLD 12/06
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C.G. Conn straight Bb soprano #M143,250, made in Elkhart in 1925. The original silver is 100%, good gold wash inside the bell. All new pads & corks from our shop, original case. Range is to high F. Rolled tone-holes everywhere. Played very little since new, basically “mint” condition. Vintage saxes from Selmer, Conn and King are usually in our collection in Wichita, but this one’s THE BEST soprano we’ve had for months. The original bright silver finish is worn less than one percent, it’s never sustained any dents or dings and it’s very clean. Please note that the new case is perfect, without breaks or scratches anywhere. Original Conn “Steelay” mouthpiece (large tone-chamber) works very well on this instrument. Use a Rico #2 ½ or #3 or a Van Doren 3 or 3 ½. The mouthpiece is very forgiving and won’t cause you reed problems at all! NO silver wear to any of the keys and the pearls are as sharp as the day the sax came from the factory in Elkhart. Octave key touch is like on a later 6M alto, curved to fit the pearl button. Note the high D, D-sharp and F key-touches, designed like an alto (and like modern saxes from Selmer), with each key mounted on separate posts. The palm keys feel the same as they do on a good alto. For those who are interested in such things, I was told this was the soprano that Keilwerth copied, back in the sixties and even until today. Except Keilwerth’s never made a soprano with rolled tone-holes. This is a really prime example, with high notes NOT sharp, keywork tight, pearls still sharp. This momma’s PERFECT. It’s suitable for Dixieland, Big Band playing, classical saxophone quartet, Kenny-G imitations or whatever you want to do with it. Top recommendation! $1995 SOLD 11/06
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"The King" Bb straight soprano sax from H.N. White, #9772x (1926 or 1927). Early good silver King with 99% original silver plate, new pads and corks, good case. Good player, perfect for Dixieland or Ragtime. $1895 SOLD

Selmer (Paris) Mark VI Eb sopranino sax, #187,xxx (1970), 98% original lacquer finish, original Selmer C* mouthpiece, new pads and corks installed by us. $4995 SOLD

 
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C-Melodies: 

Vintage C-Melody saxophone by BUESCHER, #143300, made in Elkhart in 1923. Very clean example with 100% original silver plate, gold wash inside the bell, “snap in” pads, original case (funky, but OK), with new pads and corks. This one’s very original, played about six times in the past 80 years. $1150.

C.G. Conn 8M C-Melody #103,560 (1923). Rolled tone-holes, forked Eb, front high F, tenor-style neck and with rectangular G# key. This one’s got 95% original burnished bright gold plate finish, original clean case and original Conn mouthpiece. New pads & corks from our shop, of course. Yep, it’s the same model that Frankie Trumbauer played and you won’t find a better example anywhere. This one’s a bit special in that it wears superb original “floral plus full body naked lady”. This one’s $2150. SOLD

C.G. CONN (Elkhart), #100700, made in 1922.  Superb “C-melody” tenor saxophone, 95% good original silver plate, rolled tone-holes, front high F and “alto-style” tuning neck.  The case and mouthpiece are original.  Some minor plating wear at the thumb-rest, but otherwise very good.  Small dent on the flange of the end-bow.  This is the same model used by the famous Chicago-jazzer Frankie Trumbauer, regarded by many as the finest C-melody, ever! $1150 

KING “C-melody”, made by the H.N. White Co., #56,900 (1920-21), the sax wears 98% of the original burnished gold plate finish, also with very good floral engraving to the bell. The mouthpiece and case are original and very good. The sax does have front high F keywork, 1& 3 “Forked Eb”, plus new pads and corks from our shop in Wichita. Never dented or dinged in any way, but several of the key touches have been replated. Very nice and rare example! $2395 SOLD 01/06
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BARITONE and BASS SAXOPHONES 

Superb baritone saxophone from Buffet-Crampon, model S-1, #29,16X (1979). This one has 95% original lacquer finish, brass (not copper) body and keywork. Range is to low A. Still in production in France in miniscule numbers, the vast majority of Buffet saxes are now built in China. This one’s a “real Buffet”, a superb player with perfect intonation and a dark and full tone-color. New pads and corks from our shop in Wichita. New case, new mouthpipece, no dents or dings. Clean and good example, absolutely the finest classical saxophone ever made… $4150.

Good LeBLANC / VITO baritone sax, serial #23,65x made in France about 1975. In the sixties and seventies, LeBlanc produced a full line of saxophones. Their “LeBlanc System” alto and tenors were well received by classical players, but the intricate keywork was never applied to the baritones. Their Noblet and Vito baritone saxes showed high quality French workmanship, with tone-color similar to a Selmer of the forties. This one wears original lacquer that’s worn maybe 20%, all dings burnished out in our shop, good original case and mouthpiece and, of course, new pads and corks. “Made in France” stamped on the body, as well. This one’s a best buy at $2,550.

Selmer (Paris) Mark Six Baritone sax, #283,88X, made in France 1978. Original American lacquer finish is worn about 50%. No engraving to the bell; dents & small dings have been burnished out in our shop in Wichita. Range is to low B-flat. Late Mark Six, goodood player, all original, now straight and tight, all dings burnished out, new pads and corks from our shop in Wichita. Price includes new mouthpiece, good original case. $4,850.

Good Selmer-USA baritone saxophone, model number 156, serial number 945,14X, made in Elkhart about 10 years ago. Not a Chinese import, but definitely “made in USA”. Original lacquer finish is worn maybe 10%. Dents and dings have been burnished out, all new pads and corks plus RANGE TO LOW A. Good player, “big bell” model. Selmer no longer produces this model in the States, imports (from China) model BS500 (retail price $5530) which is close, but with simpler workmanship. This one’s $2250.

Yanagisawa “VSP-VITO” baritone sax, #0014465X, made in Japan about 15 years ago. Original gold lacquer finish is worn about 20%. Does have low A keywork. Pads and corks are new, all dents and dings removed in our shop in Wichita. Suggested retail price on Yanagisawa’s identical 901 baritone is now $8,750 with street price about $5500. This one’s in very good original condition, not beat, good player and not expensive. $2850.

Yanagisawa pro model 901 baritone sax, #0022874X, made in Japan about 10 years ago. Original gold lacquer finish is worn about 10%. Does have low A keywork. Pads and corks are new, all dents and dings removed in our shop in Wichita. Suggested retail price on Yanagisawa’s 901 baritone is now $8,750 with street price about $5500. This one’s in very good original condition, not beat, good player and not expensive. $3250.

Martin “Committee” baritone sax #204,64X (1958), a “top of the line” bari from Martin that wears about 80% original dark lacquer, has sharp engraving to the bell, matching serial number to the neck. Built in Indiana until the mid 1970’s, Martin’s saxophones always had soldered tone-holes, very light key action and were made of heavy brass. Tone color is dark, intonation superb. In the sixties, their student sax was given the “Indiana” name; the “Committee” was the best model. Today, most people call these “The Martin”, from the engraving on the bell. Original Martin mouthpiece, keywork to low B-flat. New pads and corks, new case, very good player and not expensive at $2495. SOLD

Rare Buescher “True Tone” B-flat BASS saxophone, #42,150, made in Elkhart in 1918. This one’s quite original, still has 99% of the original satin silver finish, bright silver inside the bell. All tone-holes have been removed and re-soldered, keywork has been swedged tight and all pads have been replaced. Never any major dents, but minor dings have been burnished out in our shop in Wichita. Case is new, French mouthpiece is from the same period, large tone-chamber and stamped “F. Barbier a Paris”. Previously owned by a fellow who bought it more than 30 years ago, this one’s unusual because it’s never had any major dents or damage. Perhaps as fine a bass as you’d find anywhere and a “best buy” at $8850. SOLD

Good Selmer (Paris) Super Balanced Action Baritone sax, #38,46x, made in France 1949. Original American lacquer finish is worn about 40%. Serial number is also on the neck. Very good engraving to the bell, never any large dents, but numerous small dings have been burnished out in our shop in Wichita. Range is to low B-flat. Very good player, all original, now straight and tight, all dings burnished out, new pads and corks from our shop in Wichita. Price includes new case, new mouthpiece. $6,950. SOLD
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Selmer Mark VI bari sax, keywork to low Bb, #138,6xx (1967)Original American lacquer finish is worn maybe 10%. Very good engraving to the bell, never any large dents, small dings have been burnished out in our shop in Wichita. Range is to low B-flat. Very good player, all original, now straight and tight, all dings burnished out, new pads and corks from our shop in Wichita. Price includes new mouthpiece. $6,950. SOLD Photos are before restoration:
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RARE SELMER MARK VI BARI SAX, MADE IN FRANCE IN 1965, ORIGINAL SILVER PLATE FINISH! Superb Selmer (Paris) Mark Six Baritone sax, #124,0XX, made in France in 1965. Original bright silver finish is worn maybe 5%, the body straight, keywork showing minimal wear. Range is to low B-flat and there’s but minimal engraving to the bell. This is one of the baritones of the early M6 design: the top bow slightly smaller in diameter, the tone-color bright and tight. It’s not at all like one of the later M6 baritones. New pads and corks from our shop in Wichita and new plating to a few of the keys. We acquired this sax missing a few lower stack keys and key guards, but luckily we had some original parts to help us in the restoration of this fine instrument. Very good player, not perfect, but quite a fine sax, indeed. Here’s the condition report ! Never any major damage to the original neck. A few minor dings have been burnished out. Original neck tenon is still very tight. As with saxes built for the non-USA market, there is no serial number on the exterior of the tenon. Bell is very good, but with minimal engraving. Never any major dents to the bell plus the name engraving and logo are still very sharp and have not been buffed over. Matching serial number is on the bell-to-body flange. Braids to the ferrule that connects the end-bow to the bell are very sharp, have not been buffed over. Silver plate to the bell flair is good, just worn a little on the exterior bell rim. End bow is also very good, never any big dents, but a few small dings have been burnished out in our shop in Wichita. The ferrule that connects the end-bow to the body is a new Selmer Paris replacement. The keyguards on the pad cups on the end bow are also modern Selmer replacements and have 3 feet instead of 2. Body is straight, has never had any major dents. Original strap-ring shows a some wear to the silver plate, and some wear to the ring itself. Original thumb-rest shows some wear to the silver. Solder scraper marks (showing workmanship by hand) are clearly visible around the t-rest and strap ring. Excess solder flash on most saxes today is removed by an acid dip. In 1965, Selmer was still hand-scraping solder flash. Have a good look at our close-up photos of the left side of the bell to body brace and to the left hand side of the thumb-rest. The solder scraper marks are clearly visible and that shows, without a doubt, the sax hasn’t been buffed over in a re-plate repair. The silver finish is definitely original and looks terrific! Palm key touches are very good, with virtually no visible wear to the original silver plate. All pad cups are straight, all except two of the pearls are original and don’t show excessive wear. The pearl cups show no over-polishing or buffing traces. Hinge tubes to the stacks came to us in very good condition. We’ve done some minimal key swedging to tighten the keywork, but not much was necessary. Today, all French Selmer saxes are manufactured, assembled and padded in France. Before 1980, many Selmer saxes were sent to Elkhart in bits and pieces, assembled, padded and lacquered in the States. The “American” Selmer-Paris saxes were usually (not always...) marketed with serial number to the neck tenon. “French” Selmer-Paris saxes did not have serial number stamped on the neck. Our Mark Six is a “French” Selmer-Paris bari. We are absolutely certain the bright silver finish to the body is original. We note that there is no wear, pitting, scratches or etch marks under the silver in the places that first show wear: around the strap ring and to the left of the thumb-rest area. Silver plated Selmers are rare in the States but were the “finish of choice” for French players. We’ve played thousands of Selmer Mark Sixes over the past five decades and can tell NO DIFFERENCE in playing characteristics between lacquer and silver. Case is a new Pro-Tec case that includes a shoulder strap. Our price isn’t cheap on this one, but it wears new pads (Ferree’s, with stainless steel resonators) and corks from our shop in Wichita, has tight keywork and has not had any major damage to the body or neck and it comes with our 24 month service warranty. Yeah, you can probably buy one for a lower price, but yer not a-gonna know how it plays until you have it padded, de-dinged and cleaned up. If it comes from our shop, you’re guaranteed it’ll be in TOP condition when you take it out of the box! $6499. SOLD 06/06
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