Sorry to do this gang, but I must delete the post and picture originally here, and end the conversation (on my part anyway) as I’ve just parted ways with my employer, and so it’s no longer apropriate for me to post pictures of their work without specific consent, etc. Hope you understand.
Loren
Stupid question time - I absolutely love inlay and etching work, and this is a particularly beautiful example, but how would I keep it clean? Wouldn’t the silver tarnish? How would I clean it without negatively affecting the wood? Would there be concerns with the wood shrinking over time, causing the inlay to become loose or fall out? (this is not a criticism - just my ignorance)
Thx,
djm
Good question DJM. I have also seen flutes that have much engraving and carving done to them and wondered how they felt in the hands.
like this one from David Migoya’s site.
http://www.fyfer-restorations.com/
My first thought was “how did it play?”
That’s really cool, Loren. So are you saying you all made it and it’s based on a Bresnan flute or did Bresnan make it? Obviously, I’m willing to flaunt my ignorance with regards to any flute baroquish (although I do know what a Grenser is like)!
Eric
Nice work!
An original Bressan with the silver filigree work is on permanent display in the Victoria & Albert Museum in London. Worth a look when passing by.
I think it’s actually Peter Bressan. His mark shows his (adopted) name PuI Bressan, where the u between the two initials is a u-shaped hyphen. It gets regularly reported as Pol or Pui. His original name was Pierre Jaillard.
But back to the topic - nice work!
Terry
So how old is this flute? And from where?
who is this fella, anyhow?
I want one, in large hole Rudall form.