{"id":33873,"date":"2026-10-06T08:56:42","date_gmt":"2026-10-06T06:56:42","guid":{"rendered":"https:\/\/vichy-encheres.com\/?p=33873"},"modified":"2026-10-21T17:56:42","modified_gmt":"2026-10-21T15:56:42","slug":"flageolet-double-julius-streker","status":"publish","type":"post","link":"https:\/\/vichy-encheres.com\/en\/2026\/10\/06\/flageolet-double-julius-streker\/","title":{"rendered":"Julius Streker (1838-1900) : un flageolet double et la m\u00e9thode signal\u00e9e par Waterhouse retrouv\u00e9e\u00a0"},"content":{"rendered":"\n
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Comme chaque ann\u00e9e, nos ventes d\u2019instruments sont l\u2019occasion de mettre en lumi\u00e8re des instruments ou facteurs m\u00e9connus. Le 7 novembre 2026, Vichy Ench\u00e8res pr\u00e9sentera ainsi un flageolet double portant l\u2019estampille \u201cJ. STREKER [lyre] MULHOUSE\u201d. L\u2019instrument est accompagn\u00e9 de son \u00e9tui, d\u2019une m\u00e9thode manuscrite de Streker intitul\u00e9e \u201cSchule zur gr\u00fcndlichen und schnellen Erlernung des Doppelflageolets\u201d<\/em> et d\u2019une tablature ancienne. Julius Streker \u00e9tait jusque-l\u00e0 tr\u00e8s peu document\u00e9. Son nom et sa production de flageolets doubles \u00e9taient principalement connus par une notice de William Waterhouse dans The New Langwill Index<\/em> en 1993, et par une note du m\u00eame auteur dans The Galpin Society Journal<\/em> en 1999. Cette note pourrait \u00eatre anecdotique, mais il se trouve qu\u2019elle mentionne pr\u00e9cis\u00e9ment la m\u00e9thode qui accompagne l\u2019instrument de la prochaine vente Vichy Ench\u00e8res. Cela est particuli\u00e8rement remarquable sur le plan historique et patrimonial, car aucun exemplaire n\u2019avait pu \u00eatre localis\u00e9 \u00e0 ce jour. Sa d\u00e9couverte est donc exceptionnelle et vient apporter une preuve mat\u00e9rielle et unique du travail de Julius Streker. La d\u00e9couverte de cet ensemble a \u00e9t\u00e9 le point de d\u00e9part de recherches plus approfondies sur Streker, qui ont permis de pr\u00e9ciser son identit\u00e9 et son activit\u00e9, ainsi que sa post\u00e9rit\u00e9 professionnelle, tout en repla\u00e7ant sa production dans l\u2019histoire de la diffusion continentale du flageolet double.<\/p>\n<\/blockquote>\n\n\n\n

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Par C\u00e9cile Alves-Convert, documentaliste pour Vichy Ench\u00e8res<\/h6>\n\n\n\n
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Catalogue<\/a><\/div>\n\n\n\n
Vente du 6 novembre 2026<\/a><\/div>\n\n\n\n
Vente du 7 novembre 2026<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
English version<\/a><\/div>\n<\/div>\n\n\n\n
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Julius Streker, facteur d\u2019instruments \u00e0 Mulhouse<\/h1>\n\n\n\n
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Un facteur jusque-l\u00e0 peu connu<\/h2>\n\n\n\n
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\"Neue<\/a>
Neue M\u00fclhauser Zeitung, 9 nov. 1884, p. 4-6<\/figcaption><\/figure>\n\n\n\n
\"Mulhouse,<\/a>
Mulhouse, Le passage du Th\u00e9\u00e2tre, ann\u00e9es 1970<\/figcaption><\/figure>\n\n\n\n
\"Neue<\/a>
Neue M\u00fclhauser Zeitung, 1 nov. 1884, p. 4-6<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

La principale source concernant Julius Streker est le New Langwill Index<\/em> (1993)[1]<\/sup><\/a> de William Waterhouse, qui ne livre que de br\u00e8ves informations \u00e0 son sujet. Waterhouse y situe son activit\u00e9 \u00e0 M\u00fchlhausen, dans le Vogtland en Allemagne, vers le milieu du XIX\u00e8me si\u00e8cle. En 1999, dans son article consacr\u00e9 au flageolet double anglais, Waterhouse mentionne Streker dans une note, pour signaler l\u2019existence d\u2019une m\u00e9thode de flageolet double \u00e9crite par le facteur et intitul\u00e9e Schule zur gr\u00fcndlichen und schnellen Erlernung des Doppelflageoletts<\/em> (une m\u00e9thode d\u2019apprentissage du flageolet double avec table de doigt\u00e9s). Il pr\u00e9cise qu\u2019elle a \u00e9t\u00e9 r\u00e9dig\u00e9e vers 1870 \u00e0 \u201cM\u00fclhausen\/Elsa\u00df\u201d[2]<\/sup><\/a>, mais n\u2019en donne aucune localisation. Cette note est particuli\u00e8rement int\u00e9ressante puisqu\u2019elle cite pr\u00e9cis\u00e9ment le titre de la m\u00e9thode qui accompagne l\u2019instrument en vente \u00e0 Vichy Ench\u00e8res, alors qu\u2019on n\u2019en connaissait pas d\u2019exemplaire jusque-l\u00e0. Elle est aussi significative car, \u00e0 la diff\u00e9rence de ce que Waterhouse avait \u00e9crit dans le Langwill, elle situe la r\u00e9alisation de la m\u00e9thode \u00e0 \u201cM\u00fclhausen\/Elsa\u00df\u201d, c\u2019est-\u00e0-dire \u00e0 Mulhouse en Alsace, et non plus M\u00fchlhausen dans le Vogtland.<\/p>\n\n\n\n

La d\u00e9couverte de la m\u00e9thode \u00e0 Vichy Ench\u00e8res permet de confirmer cela, car elle est bien inscrite \u201cJul. Streker \/ Musik Instrumentenmacher \/ Mulhausen\/E\u201d, (E pour Elsa\u00df, Alsace). <\/p>\n\n\n\n

De plus, le flageolet double qui accompagne la m\u00e9thode porte une estampille en fran\u00e7ais indiquant \u201cJ. STREKER [lyre] MULHOUSE\u201d. L\u2019emploi de la forme fran\u00e7aise de \u201cMulhouse\u201d confirme ainsi la localisation de Streker \u00e0 Mulhouse plut\u00f4t qu\u2019\u00e0 M\u00fchlhausen dans le Vogtland.<\/p>\n\n\n\n

Afin d\u2019enrichir cette donn\u00e9e, nous avons \u00e9pluch\u00e9 la presse contemporaine de Mulhouse. <\/p>\n\n\n\n

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[1]<\/sup><\/a> William Waterhouse, The New Langwill Index, A Dictionary of Musical Wind-Instrument Makers and Inventors, Tony Bingham, London, 1993<\/p>\n\n\n\n

[2]<\/sup><\/a>  William Waterhouse, \u201cThe flageolet double-Made in England\u201d, The Galpin Society Journal<\/em>, vol. 52, avril 1999, p. 182<\/p>\n<\/div>\n\n\n\n

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Deux annonces publi\u00e9es dans la Neue M\u00fclhauser Zeitung<\/em>, les 1er et 9 novembre 1884, ont permis d\u2019\u00e9tablir pr\u00e9cis\u00e9ment son adresse, ainsi que son pr\u00e9nom et sa profession de \u201cMusik-Instrumentenmacher\u201d. Ces annonces donnent l\u2019adresse suivante : \u201cSeilergraben 8 u. Ecke Passage-Couvert, M\u00fclhausen im Elsa\u00df\u201d, c\u2019est-\u00e0-dire \u201c8 Seilergraben et angle Passage-Couvert, Mulhouse en Alsace\u201d. Celle-ci correspond aujourd’hui \u00e0 l’intersection de la rue des Cordiers et du Passage du Th\u00e9\u00e2tre, dans le centre historique de Mulhouse. <\/p>\n\n\n\n

Les annonces pr\u00e9sentent Streker comme un facteur d\u2019instruments proposant la fabrication et la r\u00e9paration \u201crapides et \u00e0 bon prix de tous les instruments de musique\u201d. Il est \u00e9galement pr\u00e9cis\u00e9 que les pianinos et les harmoniums sont accord\u00e9s avec soin et \u00e0 un prix mod\u00e9r\u00e9. Il s\u2019occupait donc d\u2019un large panel d\u2019instruments.<\/p>\n\n\n\n

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\"William<\/a>
William Waterhouse, New Langwill Index, 1993, notes sur Streker<\/figcaption><\/figure>\n\n\n\n
\"William<\/a>
William Waterhouse, New Langwill Index, 1993, notes sur Streker<\/figcaption><\/figure>\n\n\n\n
\"William<\/a>
William Waterhouse, \u201cThe flageolet double-Made in England\u201d, The Galpin Society Journal, vol. 52, avril 1999<\/figcaption><\/figure>\n\n\n\n
\"M\u00e9thode<\/a><\/figure>\n
M\u00e9thode de double flageolet de Julius Streker.
Document mis en vente par Vichy Ench\u00e8res le 7 novembre 2026.
\u00a9 Vichy Ench\u00e8res<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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\"Rare<\/a><\/figure>\n\n\n\n
\"Rare<\/a><\/figure>\n
Rare flageolet double de Julius Streker, avec sa m\u00e9thode manuscrite, dernier tiers du XIX\u00e8me.
Instrument et documents mis en vente par Vichy Ench\u00e8res le 7 novembre 2026.
\u00a9 Vichy Ench\u00e8res<\/figcaption><\/figure>\n\n\n\n
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Un atelier dans le contexte industriel et culturel de Mulhouse<\/h2>\n\n\n\n
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L\u2019activit\u00e9 de Julius Streker s\u2019inscrit dans le contexte commercial et culturel de Mulhouse. Au XIX\u00e8me<\/sup> si\u00e8cle, la ville \u00e9tait un important centre industriel, notamment textile et m\u00e9canique. L\u2019expansion d\u2019une bourgeoisie urbaine, d\u2019\u00e9tablissements d\u2019enseignement, de soci\u00e9t\u00e9s musicales, th\u00e9\u00e2tres et de pratiques domestiques de la musique assurait aux artisans une client\u00e8le ais\u00e9e.<\/p>\n\n\n\n

Apr\u00e8s la guerre franco-prussienne et l\u2019annexion de l\u2019Alsace-Lorraine \u00e0 l\u2019Empire allemand en 1870, Mulhouse prit officiellement le nom de \u201cM\u00fclhausen\u201d – d\u2019o\u00f9 la confusion avec la ville allemande. Mulhouse se d\u00e9veloppa alors dans un environnement linguistique et culturel complexe, au contact des espaces fran\u00e7ais, allemand et suisse. La coexistence chez Streker du fran\u00e7ais – pour les estampilles -, et de l\u2019allemand – pour les annonces -, refl\u00e8te ce contexte particulier.<\/p>\n\n\n\n

Dans son article sur le flageolet double publi\u00e9 dans The Galpin Society<\/em>, William Waterhouse date justement la m\u00e9thode pour flageolet de Streker d\u2019apr\u00e8s 1870, soit apr\u00e8s l\u2019annexion de l\u2019Alsace-Lorraine.<\/p>\n<\/div>\n\n\n\n

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\"Vue<\/a><\/figure>\n<\/div>
Vue de Mulhausen, prise de la plateforme du b\u00e2timent de la Soci\u00e9t\u00e9 industrielle, lithographie de Simon Fils \u00e0 Strasbourg<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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La lyre, ou cithare, signe distinctif de la maison Streker<\/h2>\n\n\n\n
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\"Neue<\/a>
Neue M\u00fclhauser Zeitung, 1 nov. 1884, p. 4-6<\/figcaption><\/figure>\n\n\n\n
\"Rare<\/a>
Rare flageolet double de Julius Streker, avec sa m\u00e9thode manuscrite, dernier tiers du XIX\u00e8me. Instrument mis en vente par Vichy Ench\u00e8res le 7 novembre 2026 \u00a9 Vichy Ench\u00e8res<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n\n\n\n
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L\u2019estampille du flageolet double de Streker associe l\u2019initiale et le patronyme du facteur, une petite lyre et le nom de la ville o\u00f9 il \u00e9tait \u00e9tabli, soit \u201cJ. STREKER [lyre] MULHOUSE\u201d. Le motif de la lyre est int\u00e9ressant puisqu\u2019il appara\u00eet aussi – parfois plus sous forme de cithare – dans ses annonces publicitaires publi\u00e9es en 1884. La r\u00e9p\u00e9tition de cette lyre sur l\u2019instrument et dans la presse laisse donc penser qu\u2019elle \u00e9tait l\u2019embl\u00e8me, ou le signe distinctif, de sa maison.<\/p>\n\n\n\n

Cette correspondance est digne d\u2019int\u00e9r\u00eat car elle pourrait orienter certaines attributions futures, dans le cadre de d\u00e9couvertes d\u2019instruments \u00e0 estampille illisible mais pr\u00e9sentant une lyre et une facture proches de celle de Julius Streker.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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Streker et les tourneurs de bois<\/h2>\n\n\n\n
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\"Tourneur<\/a><\/figure>\n
Tourneur de bois, 18e si\u00e8cle, Drechsler une Holzdrehbank von, Photo Stock – Alamy.<\/figcaption><\/figure>\n\n\n\n
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Concernant l\u2019activit\u00e9 et la formation de Julius Streker, des recherches suppl\u00e9mentaires ont permis d\u2019\u00e9tablir de nouvelles hypoth\u00e8ses sur son parcours. En effet, nous avons pu retrouver deux annonces contemporaines publi\u00e9es dans des journaux de Mulhouse en 1888, qui associent le nom de \u201cStreker\u201d \u00e0 la fabrication de pipes, de cannes, d\u2019accessoires de billard ou encore de tabati\u00e8res[1]<\/sup><\/a>. <\/p>\n\n\n\n

En l\u2019absence de pr\u00e9nom, il est impossible d\u2019affirmer avec certitude qu\u2019elles se rapportent directement \u00e0 Julius Streker. Mais la concordance entre le nom, le lieu et la p\u00e9riode d\u2019activit\u00e9 donnent toutes les raisons de penser que Julius Streker, ou au moins un membre de sa famille, travaillaient les objets tourn\u00e9s. <\/p>\n\n\n\n

Ce rapprochement entre les tourneurs de bois et les facteurs d\u2019instruments est d\u2019ailleurs connu dans l\u2019histoire de la facture instrumentale. La fabrication des pipes comme celle des instruments \u00e0 vent exigeait la ma\u00eetrise du tournage et du percement r\u00e9gulier du bois. Plusieurs facteurs importants furent ainsi tourneurs de formation.<\/p>\n\n\n\n

A titre d\u2019exemples, Johann Andreas Kinigsperger, facteur de fl\u00fbtes et de bassons \u00e0 Roding, semble avoir d\u2019abord appris le m\u00e9tier de tourneur sur bois<\/a>.<\/p>\n\n\n\n

Johann Heitz fut lui aussi tourneur et \u00e9b\u00e9niste<\/a> avant d\u2019\u00eatre nomm\u00e9, en 1710, \u201ctourneur de la cour royale et des arts, ainsi que fabricant d\u2019instruments de musique\u201d.<\/p>\n\n\n\n

Enfin, au XIX\u00e8me<\/sup> si\u00e8cle, Charles-Joseph Sax, p\u00e8re d\u2019Adolphe Sax, \u00e9tait \u00e9galement issu du m\u00e9tier de tourneur sur bois. Cette interconnexion se retrouve encore \u00e0 l\u2019\u00e9poque de Julius Streker dans le bassin de La Couture-Boussey, o\u00f9 les maisons Lot, Godfroy, Noblet ou Djalma Julliot entretenaient cette tradition de facture instrumentale issue du tournage du buis.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Centre de recherches sur l\u2019histoire des familles du Haut-Rhin, base \u201cPublicit\u00e9s anciennes\u201d, notices \u201cSTREKER\u201d, Mulhouse, 1888<\/a><\/p>\n<\/div>\n\n\n\n

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\"Hulot<\/a>
Hulot P\u00e8re, Encyclop\u00e9die du Tourneur m\u00e9canicien, L.J. Goussier et Berthault, Attelier de Tourneur en bois et ivoire, Acad\u00e9mie Royale des Sciences, 1775, planche 31<\/figcaption><\/figure>\n\n\n\n
\"Centre<\/a><\/figure>\n
Centre de Recherches sur l’Histoire des Familles, base de donn\u00e9es, www.crhf.net<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Fin de vie et post\u00e9rit\u00e9<\/h2>\n\n\n\n
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Nos recherches dans les archives ont \u00e9galement permis de retrouver plusieurs informations in\u00e9dites qui compl\u00e8tent la biographie encore lacunaire de Julius Streker et \u00e9clairent la post\u00e9rit\u00e9 de son activit\u00e9 \u00e0 Mulhouse. Alors qu\u2019il \u00e9tait jusque-l\u00e0 connu comme actif autour du milieu du XIX\u00e8me<\/sup> si\u00e8cle, nous sommes parvenus \u00e0 retrouver l\u2019enregistrement de son d\u00e9c\u00e8s \u00e0 Mulhouse le 23 novembre 1900. Cela est particuli\u00e8rement int\u00e9ressant, car l\u2019annonce pr\u00e9cise qu\u2019il avait alors 62 ans, ce qui situe sa naissance en 1838. La presse le pr\u00e9sente comme facteur d\u2019instruments de musique et \u00e9poux de Christine Friederika Kramer[1]<\/sup><\/a>.<\/p>\n\n\n\n

Nous avons \u00e9galement retrouv\u00e9 la mention de \u201cJul. Streker\u201d dans le Musikalisch-literarischer Monatsbericht<\/em> de 1911, comme \u00e9diteur \u00e0 Mulhouse d\u2019Ivresse amoureuse<\/em> ou Liebesrausch<\/em>, une valse lente pour piano de Chr. Bennaner[2]<\/sup><\/a>. Cette mention peut correspondre au maintien du nom commercial de la Maison ou \u00e0 la reprise de l\u2019activit\u00e9 par un successeur. Elle montre en tout cas que l\u2019\u00e9tablissement Streker participait \u00e9galement \u00e0 la diffusion de musique imprim\u00e9e, dans le prolongement de la m\u00e9thode de flageolet double signal\u00e9e par William Waterhouse[3]<\/sup><\/a> et aujourd\u2019hui retrouv\u00e9e \u00e0 Vichy Ench\u00e8res.<\/p>\n\n\n\n

Enfin, nos recherches dans la presse mulhousienne ont fait appara\u00eetre un certain Jules Streker, vraisemblablement un fils de Julius, bien que cette filiation reste \u00e0 confirmer. La mention de \u201cJul. Streker\u201d comme \u00e9diteur d\u2019une valse pour piano en 1911<\/a> pourrait ainsi se rapporter \u00e0 ce successeur, d\u2019autant plus que l\u2019on a aussi retrouv\u00e9 une annonce de Jules Streker proposant un piano \u00e0 la vente en 1913[4]<\/a>.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Express, journal politique paraissant \u00e0 Mulhouse<\/em>, 9 d\u00e9cembre 1900, rubrique \u201cTodesf\u00e4lle\u201d, p. 3-4<\/p>\n\n\n\n

[2]<\/sup><\/a> Musikalisch-literarischer Monatsbericht \u00fcber neue Musikalien, musikalische Schriften und Abbildungen<\/em>, Leipzig, Friedrich Hofmeister, 1911, p. 140-141<\/p>\n\n\n\n

[3]<\/sup><\/a> William Waterhouse, \u201cThe flageolet double-Made in England\u201d, The Galpin Society Journal<\/em>, vol. 52, avril 1999, p. 182<\/p>\n\n\n\n

[4]<\/sup><\/a> <\/sup>Neue M\u00fclhauser Zeitung, Mulhausen, 8 novembre 1913<\/p>\n\n\n\n

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En 1929, il tient au \u201cPassage Couvert, 26\u201d, un commerce d\u2019instruments, de partitions, de cordes, de gramophones et de disques, assurant \u00e9galement les r\u00e9parations[2]<\/sup><\/a>. L\u2019adresse semble \u00eatre la m\u00eame ou tout proche de celle de Julius Streker, dans le Passage Couvert (certainement celui du Th\u00e9\u00e2tre). Ces documents dessinent ainsi le profil d\u2019un professionnel particuli\u00e8rement li\u00e9 au piano et \u00e0 la diffusion de musique imprim\u00e9e. Son activit\u00e9 semble prolonger et \u00e9largir celle de Julius – probablement son p\u00e8re -, qui proposait d\u00e9j\u00e0 en 1884 la r\u00e9paration des instruments ainsi que l\u2019entretien et l\u2019accord des pianos et harmoniums.<\/p>\n\n\n\n

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[2]<\/sup><\/a> Der Republikaner, M\u00fclhauser Volkszeitung, Sozialistisches Organ f\u00fcr den Ober-Rhein, 31 juillet 1929<\/p>\n\n\n\n

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\"Friedrich<\/a>
Friedrich Hofmeister, Musikalisch literarischer Monatsbericht, 1911<\/figcaption><\/figure>\n\n\n\n
\"Neue<\/a>
Neue M\u00fclhauser Zeitung, Mulhausen, 8 novembre 1913<\/figcaption><\/figure>\n\n\n\n
\"Express<\/a>
Express 9 d\u00e9cembre 1900<\/figcaption><\/figure>\n\n\n\n
\"Der<\/a>
Der Republikaner, M\u00fclhauser Volkszeitung, Sozialistisches Organ f\u00fcr den Ober-Rhein, 31 juillet 1929<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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D\u00e9couverte du flageolet double et de la m\u00e9thode cit\u00e9e par Waterhouse<\/h1>\n\n\n\n
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Un des deux seuls flageolet double connus de Julius Streker<\/h2>\n\n\n\n
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Le flageolet double pr\u00e9sent\u00e9 par Vichy Ench\u00e8res est r\u00e9alis\u00e9 en buis. Ses deux corps parall\u00e8les sont reli\u00e9s \u00e0 une t\u00eate commune charg\u00e9e de distribuer le souffle. Le facteur devait \u00e9quilibrer les deux conduits afin que les tuyaux puissent parler simultan\u00e9ment sans que l\u2019un domine constamment l\u2019autre. La r\u00e9gularit\u00e9 des canaux et l\u2019ajustement de la t\u00eate \u00e9taient par cons\u00e9quent d\u00e9terminants pour la r\u00e9ponse de l\u2019instrument[1]<\/sup><\/a>.<\/p>\n\n\n\n

Six clefs en laiton sont mont\u00e9es sur des blocs de bois rapport\u00e9s. <\/p>\n\n\n\n

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[1]<\/sup><\/a> William Waterhouse, \u201cThe flageolet double-Made in England\u201d, The Galpin Society Journal<\/em>, vol. 52, avril 1999<\/p>\n<\/div>\n\n\n\n

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Elles pouvaient faciliter l\u2019\u00e9mission des alt\u00e9rations, \u00e9tendre la tessiture ou corriger l\u2019intonation de certaines notes. La qualit\u00e9 des mat\u00e9riaux employ\u00e9s et de la facture de l\u2019instrument indique que celui-ci \u00e9tait destin\u00e9 \u00e0 une client\u00e8le ais\u00e9e.<\/p>\n\n\n\n

Les instruments de Julius Streker sont aujourd\u2019hui presque tous perdus. A l\u2019exception d\u2019un autre mod\u00e8le signal\u00e9 sur le site Music Treasures<\/a><\/em>, aucun mod\u00e8le ne permet d\u2019\u00e9tudier pr\u00e9cis\u00e9ment sa production. Le flageolet double pr\u00e9sent\u00e9 par Vichy Ench\u00e8res rev\u00eat donc une importance patrimoniale majeure, d\u2019autant plus qu\u2019il conserve sa m\u00e9thode manuscrite originale.<\/p>\n\n\n\n

\n<\/div>\n<\/div>\n\n\n\n
\n
\"Rare<\/a><\/figure>\n\n\n\n
\"Rare<\/a><\/figure>\n\n\n\n
\"Rare<\/a><\/figure>\n
Rare flageolet double de Julius Streker, dernier tiers du XIX\u00e8me.
Instrument mis en vente par Vichy Ench\u00e8res le 7 novembre 2026.
\u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

La m\u00e9thode cit\u00e9e par William Waterhouse enfin retrouv\u00e9e ?<\/h2>\n\n\n\n
<\/div>\n\n\n\n
\n
\n

William Waterhouse signale en 1993, dans le Langwill, une Grifftabelle<\/em>, ou tablature de doigt\u00e9s, destin\u00e9e aux flageolets doubles de Julius Streker et suppos\u00e9ment conserv\u00e9e \u00e0 la Bayerische Staatsbibliothek<\/em> de Munich. Cette localisation n\u2019a cependant pas pu \u00eatre confirm\u00e9e. \u00c0 notre demande, les documentalistes de la biblioth\u00e8que ont effectu\u00e9 des recherches dans leurs fonds sans retrouver le document ni aucune cote correspondant. La piste du Deutsches Museum<\/em> de Munich et celle des archives William Waterhouse, conserv\u00e9es au Royal Northern College of Music<\/em>, n\u2019ont pas davantage abouti. La Bayerische Staatsbibliothek<\/em> ayant par ailleurs confirm\u00e9 qu\u2019elle conservait de fa\u00e7on p\u00e9renne ses collections, l\u2019hypoth\u00e8se d\u2019une vente ou d\u2019une \u00e9limination du document para\u00eet devoir \u00eatre \u00e9cart\u00e9e[1]<\/sup><\/a>.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a> Nous remercions Uta Schaumberg de la Bayerische Staatsbibliothek de Munich et Heather Roberts du Royal Northern College of Music pour leurs recherches dans leurs collections<\/p>\n<\/div>\n\n\n\n

\n

La localisation donn\u00e9e en 1993 par Waterhouse semble donc r\u00e9sulter d\u2019une confusion ou d\u2019une information impossible \u00e0 v\u00e9rifier. En 1999, nous l\u2019avons vu, Waterhouse mentionne cette m\u00e9thode de Streker intitul\u00e9e \u201cSchule zur gr\u00fcndlichen und schnellen Erlernung des Doppelflageolets\u201d<\/em>, qu\u2019il date d\u2019apr\u00e8s 1870 et qu\u2019il situe \u00e0 \u201cM\u00fclhausen\/Elsa\u00df\u201d, sans reprendre la localisation munichoise. Le titre, le lieu et la datation correspondent pr\u00e9cis\u00e9ment aux indications port\u00e9es par la m\u00e9thode conserv\u00e9e avec le flageolet double pr\u00e9sent\u00e9 par Vichy Ench\u00e8res. Il est d\u00e8s lors possible que la Grifftabelle<\/em> cit\u00e9e en 1993 et la m\u00e9thode mentionn\u00e9e en 1999 d\u00e9signent un seul et m\u00eame document et que Waterhouse ait rectifi\u00e9 implicitement sa premi\u00e8re notice de 1993, dans sa note de 1999.<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\"William<\/a>
William Waterhouse, New Langwill Index, 1993, notes sur Streker<\/figcaption><\/figure>\n\n\n\n
\"William<\/a>
William Waterhouse, \u201cThe flageolet double-Made in England\u201d, The Galpin Society Journal, vol. 52, avril 1999<\/figcaption><\/figure>\n\n\n\n
\"M\u00e9thode<\/a><\/figure>\n\n\n\n
\"M\u00e9thode<\/a><\/figure>\n
M\u00e9thode de double flageolet de Julius Streker.
Documents mis en vente par Vichy Ench\u00e8res le 7 novembre 2026.
\u00a9 Vichy Ench\u00e8res<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Un instrument indissociable de sa m\u00e9thode<\/h2>\n\n\n\n
<\/div>\n\n\n\n
\n
\n

D\u00e8s son apparition, le flageolet double fut accompagn\u00e9 de publications p\u00e9dagogiques. La m\u00e9thode de John Purkis contribua \u00e0 la diffusion du mod\u00e8le brevet\u00e9 par Scott, tandis que John Bainbridge publia des instructions adapt\u00e9es \u00e0 ses propres instruments. <\/p>\n\n\n\n

Ces ouvrages r\u00e9pondaient \u00e0 une difficult\u00e9 concr\u00e8te, puisque les doigt\u00e9s d\u2019un instrument double ne pouvaient pas \u00eatre simplement d\u00e9duits de ceux du flageolet ordinaire[1]<\/sup><\/a>. <\/p>\n\n\n\n

La m\u00e9thode manuscrite conserv\u00e9e avec l\u2019instrument de Vichy Ench\u00e8res s\u2019inscrit dans cette tradition. R\u00e9dig\u00e9e en allemand, elle comprend une tablature consacr\u00e9e au tuyau gauche, d\u00e9sign\u00e9 par la mention Tabelle f\u00fcr linkes Rohr<\/em>. <\/p>\n\n\n\n

Un dessin repr\u00e9sente le corps de l\u2019instrument, ses trous et ses clefs. <\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a> John Purkis, Scott & Purkis\u2019s Delecta Harmonia or Patent Double-Flageolet<\/em>, Londres, vers 1806<\/p>\n<\/div>\n\n\n\n

\n

La l\u00e9gende \u201co = offen\u201d ; \u201c\u25cf = zu\u201d indique qu\u2019un cercle vide correspond \u00e0 un trou ou \u00e0 une clef ouverts, tandis qu\u2019un disque noir signale un trou bouch\u00e9 ou une clef press\u00e9e.<\/p>\n\n\n\n

Les doigt\u00e9s sont associ\u00e9s aux notes inscrites sur une port\u00e9e et \u00e0 leur d\u00e9signation alphab\u00e9tique germanique.<\/p>\n\n\n\n

Une telle tablature constitue une repr\u00e9sentation condens\u00e9e du fonctionnement acoustique de l\u2019instrument. Elle permet d\u2019\u00e9tablir la correspondance entre les sons recherch\u00e9s, le tuyau employ\u00e9 et les clefs \u00e0 actionner. Elle \u00e9tait d\u2019autant plus n\u00e9cessaire que les flageolets doubles ne furent jamais compl\u00e8tement uniformis\u00e9s. L\u2019accord des tuyaux, le nombre de clefs, la tessiture et la disposition des trous pouvaient varier selon les facteurs. Une table de doigt\u00e9s n\u2019\u00e9tait donc pas n\u00e9cessairement adapt\u00e9e \u00e0 tous les mod\u00e8les[1]<\/sup><\/a>.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a> William Waterhouse, \u201cThe flageolet double-Made in England\u201d, The Galpin Society Journal<\/em>, vol. 52, avril 1999<\/p>\n<\/div>\n<\/div>\n\n\n\n

\n
\"Rare<\/a><\/figure>\n\n\n\n
\"M\u00e9thode<\/a><\/figure>\n
Rare flageolet double de Julius Streker, avec sa m\u00e9thode manuscrite, dernier tiers du XIX\u00e8me.
Instrument mis en vente par Vichy Ench\u00e8res le 7 novembre 2026.
\u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

Un t\u00e9moignage de la diffusion continentale du flageolet double et du r\u00f4le de Streker<\/h2>\n\n\n\n
<\/div>\n\n\n\n
\n
\n

La situation de Mulhouse donne \u00e0 cet ensemble un int\u00e9r\u00eat particulier. Invent\u00e9 en Angleterre en 1805, le flageolet double conna\u00eet pendant pr\u00e8s d\u2019un demi-si\u00e8cle un succ\u00e8s qui d\u00e9passe rapidement Londres et Dublin. William Bainbridge tenta de prot\u00e9ger son invention en France, mais celle-ci fut copi\u00e9e sur le continent, principalement par des facteurs allemands[1]<\/sup><\/a>. Waterhouse rel\u00e8ve plusieurs indices de cette diffusion germanique. Un dessin accompagn\u00e9 d\u2019une table de doigt\u00e9s, aujourd\u2019hui conserv\u00e9 \u00e0 Markneukirchen, aurait servi de mod\u00e8le aux facteurs du Vogtland. Un flageolet double figure \u00e9galement dans le tarif illustr\u00e9 des marchands I. Kampffens S\u00f6hne, actifs \u00e0 Neukirchen vers 1830.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a> William Waterhouse, \u201cThe flageolet double-Made in England\u201d, The Galpin Society Journal<\/em>, vol. 52, avril 1999<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\"Rare<\/a>
Rare flageolet double de Julius Streker, avec sa m\u00e9thode manuscrite, dernier tiers du XIX\u00e8me. Instrument mis en vente par Vichy Ench\u00e8res le 7 novembre 2026.
\u00a9 Vichy Ench\u00e8res<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n\n\n\n
\n

\u00c0 G\u00f6ttingen, le facteur Georg Streitwolf con\u00e7ut sa propre variante et publia une Tabelle nebst 14 Uebungsst\u00fccken f\u00fcr das Doppel-Flageolet<\/em>.<\/p>\n\n\n\n

Waterhouse recense enfin des instruments sign\u00e9s par Gerhard Hanniecke \u00e0 Oldenburg, Jacob David Helwert et Carl August Schaufler \u00e0 Stuttgart, Johann Andreas Mollenhauer \u00e0 Fulda, et bien s\u00fbr, la m\u00e9thode de Julius Streker aujourd\u2019hui retrouv\u00e9e \u00e0 Vichy Ench\u00e8res[1]<\/sup><\/a>.<\/p>\n\n\n\n

L\u2019instrument de Streker appartient donc \u00e0 une v\u00e9ritable tradition continentale, nourrie par les mod\u00e8les anglais mais adapt\u00e9e par les ateliers germaniques. Mulhouse occupait toutefois une position singuli\u00e8re, \u00e0 la rencontre des espaces fran\u00e7ais, allemands et suisses. Cette situation se lit directement sur l\u2019ensemble conserv\u00e9, puisque Streker publie ses annonces en allemand sous la d\u00e9signation de Musik-Instrumentenmacher<\/em> \u00e0 \u201cM\u00fclhausen im Elsass\u201d, que sa m\u00e9thode emploie l\u2019allemand mais que l\u2019instrument porte l\u2019estampille fran\u00e7aise.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a> William Waterhouse, \u201cThe flageolet double-Made in England\u201d, The Galpin Society Journal<\/em>, vol. 52, avril 1999<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\"Londres,<\/a><\/figure>\n
Londres, 1855<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n
\n

Ce flageolet double se r\u00e9v\u00e8le ainsi \u00e0 nous comme un t\u00e9moignage particuli\u00e8rement rare de l\u2019activit\u00e9 de Julius Streker. Les recherches men\u00e9es dans la presse permettent d\u00e9sormais de mieux situer ce facteur, n\u00e9 certainement en 1838, \u00e9tabli \u00e0 Mulhouse et mort en 1900, et dont l\u2019activit\u00e9 semble avoir \u00e9t\u00e9 prolong\u00e9e par Jules Streker. Elles r\u00e9v\u00e8lent un atelier polyvalent, associ\u00e9 \u00e0 la fabrication et \u00e0 la r\u00e9paration des instruments, \u00e0 l\u2019entretien des pianos et harmoniums, puis \u00e0 la diffusion de partitions et au commerce musical. L\u2019importance patrimoniale de l\u2019ensemble tient surtout \u00e0 la conservation conjointe de l\u2019instrument et de sa m\u00e9thode manuscrite. Son titre, son lieu d\u2019origine et sa datation correspondent exactement \u00e0 la m\u00e9thode signal\u00e9e par William Waterhouse en 1999. Bien que l\u2019on ne puisse \u00e9tablir avec certitude son rapport avec la Grifftabelle<\/em> mentionn\u00e9e en 1993, aujourd\u2019hui introuvable, ce document apporte une preuve mat\u00e9rielle essentielle de la production de Streker. Cet ensemble documente non seulement un facteur encore peu connu, mais aussi la circulation continentale d\u2019un instrument invent\u00e9 en Angleterre. \u00c0 travers sa facture, son estampille fran\u00e7aise et sa m\u00e9thode allemande, il refl\u00e8te pleinement la situation culturelle de Mulhouse \u00e0 la fin du XIX\u00e8me si\u00e8cle.<\/p>\n<\/blockquote>\n\n\n\n

<\/div>\n\n\n\n
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<\/div>\n\n\n\n

JULIUS STREKER (1838 \u2013 1900): THE DISOVERY OF A DOUBLE FLAGEOLET AND THE METHOD MENTIONED BY WATERHOUSE<\/h1>\n\n\n\n
\n
<\/div>\n\n\n\n

As is the case every year, our instrument auctions provide an opportunity to showcase lesser-known instruments or makers. On 7 November 2026, Vichy Ench\u00e8res will present a double flageolet bearing the stamp \u201cJ. STREKER [lyre] MULHOUSE\u201d. The instrument comes with its case, a manuscript method by Streker titled<\/em> Schule zur gr\u00fcndlichen und schnellen Erlernung des Doppelflageolets, and an old fingering chart. Until now, very little documentation existed regarding Julius Streker. His name and his production of double flageolets were known primarily through an entry by William Waterhouse in<\/em> The New Langwill Index in 1993, and a note by the same author in<\/em> The Galpin Society Journal in 1999. While this note might seem anecdotal, it happens to mention the very method accompanying the instrument in the upcoming Vichy Ench\u00e8res sale. This is of particular historical and cultural significance, as it had not been previously possible to find copy of it. Its discovery is therefore exceptional, providing a unique and tangible piece of evidence of Julius Streker\u2019s work. The discovery of this set sparked further research into Streker, which allowed to shed light on his identity and activity, as well as his professional legacy, while placing his instruments within the history of the double flageolet\u2019s spread across the continent<\/em>.<\/p>\n<\/blockquote>\n\n\n\n

<\/div>\n\n\n\n
By C\u00e9cile Alves-Convert, archivist at Vichy Ench\u00e8res<\/h6>\n\n\n\n
<\/div>\n\n\n\n
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Catalog<\/a><\/div>\n\n\n\n
Sale on 6 November 2026<\/a><\/div>\n\n\n\n
Sale on 7 November 2026<\/a><\/div>\n\n\n\n
Contact<\/a><\/div>\n\n\n\n
Experts<\/a><\/div>\n\n\n\n
Version fran\u00e7aise<\/a><\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n

Julius Streker, instrument maker in Mulhouse<\/h1>\n\n\n\n
<\/div>\n\n\n\n

A MAKER LITTLE-KNOWN UNTIL NOW<\/h2>\n\n\n\n
<\/div>\n\n\n\n
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\n
\"Neue<\/a>
Neue M\u00fclhauser Zeitung, 9 nov. 1884, p. 4-6<\/figcaption><\/figure>\n\n\n\n
\"Mulhouse,<\/a>
Mulhouse, Le passage du Th\u00e9\u00e2tre, ann\u00e9es 1970<\/figcaption><\/figure>\n\n\n\n
\"Neue<\/a>
Neue M\u00fclhauser Zeitung, 1 nov. 1884, p. 4-6<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

The primary source of information regarding Julius Streker is William Waterhouse\u2019s New Langwill Index<\/em> of 1993[1]<\/sup><\/a> , which only provides summary information about him. In it, Waterhouse situates his activity in M\u00fchlhausen, in the Vogtland region of Germany, around the mid-19th century. In a 1999 article dedicated to the English double flageolet, Waterhouse mentions Streker in a footnote, noting the existence of a double flageolet method written by the maker titled Schule zur gr\u00fcndlichen und schnellen Erlernung des Doppelflageoletts<\/em> (a method for learning the double flageolet, including a fingering chart). He specifies that it was written around 1870 in \u201cM\u00fclhausen\/Elsa\u00df\u201d[2]<\/sup><\/a>, ], but does not provide its location. This note is particularly interesting because it includes the exact title of the method accompanying the instrument being sold at Vichy Ench\u00e8res, even though there weren\u2019t any extant copies of it known until now. It is also significant because, contrary to what Waterhouse had written in the Langwill<\/em>, it places the writing of the method in \u201cM\u00fclhausen\/Elsa\u00df\u201d, in other words in Mulhouse in the Alsace region, rather than M\u00fchlhausen in the Vogtland region.<\/p>\n\n\n\n

The discovery of the method at Vichy Ench\u00e8res confirms this, as it bears the inscription \u201cJul. Streker \/ Musik Instrumentenmacher \/ Mulhausen\/E\u201d (in which E stands for Elsa\u00df\/Alsace).<\/p>\n\n\n\n

Furthermore, the double flageolet accompanying the method bears a stamp in French reading \u201cJ. STREKER [lyre] MULHOUSE\u201d. The use of the French form \u201cMulhouse\u201d thus confirms that Streker was based in Mulhouse rather than in M\u00fchlhausen in the Vogtland region.<\/p>\n\n\n\n

To flesh out this information, we combed through the contemporary press of Mulhouse.<\/p>\n\n\n\n

\n\n\n\n

[1]<\/sup><\/a> William Waterhouse, The New Langwill Index, A Dictionary of Musical Wind-Instrument Makers and Inventors, Tony Bingham, London, 1993<\/p>\n\n\n\n

[2]<\/sup><\/a>  William Waterhouse, \u201cThe flageolet double-Made in England\u201d, The Galpin Society Journal<\/em>, vol. 52, avril 1999, p. 182<\/p>\n<\/div>\n\n\n\n

\n

Two advertisements, published in the Neue M\u00fclhauser Zeitung<\/em> on 1 and 9 November 1884, made it possible to determine his address, as well as his first name and his profession as a \u201cMusik-Instrumentenmacher<\/em>\u201d. These advertisements list the following address: \u201cSeilergraben 8 u. Ecke Passage-Couvert, M\u00fclhausen im Elsa\u00df\u201d, i.e. \u201c8 Seilergraben and the corner of Passage-Couvert, Mulhouse in Alsace\u201d. This location corresponds today to the intersection of rue des Cordiers and Passage du Th\u00e9\u00e2tre in Mulhouse\u2019s historic centre.\u00a0<\/p>\n\n\n\n

The advertisements present Streker as an instrument maker offering \u201cfast and reasonably priced\u201d manufacturing and repair services for \u201call musical instruments\u201d. They also mention that upright pianos and harmoniums were tuned with care and for a moderate fee. He therefore handled a wide range of instruments.<\/p>\n\n\n\n

<\/div>\n\n\n\n
\n
\"William<\/a>
William Waterhouse, New Langwill Index, 1993, notes sur Streker<\/figcaption><\/figure>\n\n\n\n
\"William<\/a>
William Waterhouse, New Langwill Index, 1993, notes sur Streker<\/figcaption><\/figure>\n\n\n\n
\"William<\/a>
William Waterhouse, \u201cThe flageolet double-Made in England\u201d, The Galpin Society Journal, vol. 52, avril 1999<\/figcaption><\/figure>\n\n\n\n
\"M\u00e9thode<\/a><\/figure>\n
M\u00e9thode de double flageolet de Julius Streker.
Document mis en vente par Vichy Ench\u00e8res le 7 novembre 2026.
\u00a9 Vichy Ench\u00e8res<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
\n
\"Rare<\/a><\/figure>\n\n\n\n
\"Rare<\/a><\/figure>\n
Rare flageolet double de Julius Streker, avec sa m\u00e9thode manuscrite, dernier tiers du XIX\u00e8me.
Instrument et documents mis en vente par Vichy Ench\u00e8res le 7 novembre 2026.
\u00a9 Vichy Ench\u00e8res<\/figcaption><\/figure>\n\n\n\n
<\/div>\n\n\n\n

A WORKSHOP WITHIN THE INDUSTRIAL AND CULTURAL ENVIRONMENT OF MULHOUSE<\/h2>\n\n\n\n
<\/div>\n\n\n\n
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Julius Streker carried out his activities within the commercial and cultural environment of Mulhouse. In the 19th<\/sup> century, the city was a major industrial hub, particularly in the textile and mechanical sectors. The growth of an urban middle class, educational institutions, musical societies, theatres and music-making in domestic settings provided a wealthy clientele for craftsmen.<\/p>\n\n\n\n

Following the Franco-Prussian War and the annexation of Alsace-Lorraine by the German Empire in 1870, Mulhouse officially adopted the name of \u201cM\u00fclhausen\u201d \u2013 hence the confusion with the German city of the same name. Mulhouse subsequently developed within a complex linguistic and cultural environment, at the confluence of France, Germany and Switzerland. The coexistence of Streker\u2019s use of French, for the instrument\u2019s stamps, and German, for advertisements, reflects this particular context.<\/p>\n\n\n\n

In his article on the double flageolet published in The Galpin Society Journal<\/em>, William Waterhouse correctly dates Streker\u2019s flageolet method book to after 1870, i.e. after the annexation of Alsace-Lorraine.<\/p>\n<\/div>\n\n\n\n

\n
\n
\"Vue<\/a><\/figure>\n<\/div>
Vue de Mulhausen, prise de la plateforme du b\u00e2timent de la Soci\u00e9t\u00e9 industrielle, lithographie de Simon Fils \u00e0 Strasbourg<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
<\/div>\n\n\n\n

THE LYRE, OR ZITHER: A DISTINCTIVE BRAND MARK OF THE STREKER FIRM<\/h2>\n\n\n\n
<\/div>\n\n\n\n
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\"Neue<\/a>
Neue M\u00fclhauser Zeitung, 1 nov. 1884, p. 4-6<\/figcaption><\/figure>\n\n\n\n
\"Rare<\/a>
Rare flageolet double de Julius Streker, avec sa m\u00e9thode manuscrite, dernier tiers du XIX\u00e8me. Instrument mis en vente par Vichy Ench\u00e8res le 7 novembre 2026 \u00a9 Vichy Ench\u00e8res<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n\n\n\n
\n

The stamp on Streker\u2019s double flageolet features the maker\u2019s initial and surname, a small lyre, and the name of the city where he was based, i.e. \u201cJ. STREKER [lyre] MULHOUSE\u201d. The lyre motif is noteworthy, as it also appears \u2013 sometimes rather in the form of a zither \u2013 in advertisements he published in 1884. The recurrence of this lyre on the instrument and in the press suggests it was the emblem, or distinctive brand mark, of his firm.<\/p>\n\n\n\n

This feature is significant, as it could inform future attributions, regarding instruments with illegible stamps that nonetheless feature a lyre and craftsmanship similar to that of Julius Streker.<\/p>\n<\/div>\n<\/div>\n\n\n\n

<\/div>\n\n\n\n

Streker and wood turners<\/h2>\n\n\n\n
<\/div>\n\n\n\n
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\"Tourneur<\/a><\/figure>\n
Tourneur de bois, 18e si\u00e8cle, Drechsler une Holzdrehbank von, Photo Stock – Alamy.<\/figcaption><\/figure>\n\n\n\n
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Further research into Julius Streker\u2019s activities and training has led to new theories regarding his career path. We found two contemporary advertisements published in Mulhouse newspapers in 1888 that associate the name \u201cStreker\u201d with the manufacture of pipes, walking sticks, billiard accessories and snuffboxes[1]<\/sup><\/a>.<\/p>\n\n\n\n

As the first name is not mentioned, it is impossible to be certain that these advertisements refer indeed to Julius Streker. However, the matching name, location and period of activity strongly suggest that Julius Streker, or at least a member of his family, worked with turned objects..<\/p>\n\n\n\n

This connection between wood turners and instrument makers is well established in the history of instrument making. Manufacturing pipes, much like making wind instruments, required mastery of wood turning, and precise and uniform boring. Consequently, several prominent makers began their careers as turners.<\/p>\n\n\n\n

For instance, Johann Andreas Kinigsperger, a maker of flutes and bassoons in Roding, appears to have first learned the trade of wood turning<\/a>.<\/p>\n\n\n\n

Johann Heitz was also a turner and cabinetmaker <\/a> before being appointed, in 1710, as “royal court and arts turner, as well as musical instrument maker”.<\/p>\n\n\n\n

Finally, in the 19th<\/sup> century, Charles-Joseph Sax, Adolphe Sax\u2019s father, also came from a background in wood turning. This connection was also in evidence, during Julius Streker\u2019s time, in the instrument making cradle of La Couture-Boussey, where firms such as Lot, Godfroy, Noblet and Djalma Julliot upheld a tradition of instrument making rooted in boxwood turning.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Centre de recherches sur l\u2019histoire des familles du Haut-Rhin, base \u201cPublicit\u00e9s anciennes\u201d, notices \u201cSTREKER\u201d, Mulhouse, 1888<\/a><\/p>\n<\/div>\n\n\n\n

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\"Hulot<\/a>
Hulot P\u00e8re, Encyclop\u00e9die du Tourneur m\u00e9canicien, L.J. Goussier et Berthault, Attelier de Tourneur en bois et ivoire, Acad\u00e9mie Royale des Sciences, 1775, planche 31<\/figcaption><\/figure>\n\n\n\n
\"Centre<\/a><\/figure>\n
Centre de Recherches sur l’Histoire des Familles, base de donn\u00e9es, www.crhf.net<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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Later years and legacy<\/h2>\n\n\n\n
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Our research into historical archives also uncovered previously unknown information that fills gaps in Julius Streker\u2019s biography, and sheds light on the legacy of his work in Mulhouse. While he was previously known to have been active around the mid-19th<\/sup> century, we managed to find the record of his death in Mulhouse on 23 November 1900. This is particularly interesting because the notice specifies that he was 62 years old at the time, placing his birth in 1838. The press described him as a musical instrument maker and the husband of Christine Friederika Kramer[1]<\/sup><\/a>.<\/p>\n\n\n\n

We also found a reference to \u201cJul. Streker\u201d in the Musikalisch-literarischer Monatsbericht<\/em> of 1911, as the Mulhouse-based publisher of Ivresse amoureuse<\/em>, or Liebesrausch<\/em>, a slow waltz for piano by Chr. Bennaner[2]<\/sup><\/a>. This entry could indicate either the continued use of the firm\u2019s trade name, or the takeover of the business by a successor. In any case, it demonstrates that the firm of Streker was also involved in the distribution of printed music, an extension of the double flageolet method mentioned by William Waterhouse[3]<\/sup><\/a> and recently rediscovered at Vichy Ench\u00e8res.<\/p>\n\n\n\n

Finally, our research into the Mulhouse press revealed a certain Jules Streker, likely a son of Julius, though this lineage remains to be confirmed. The reference to \u201cJul. Streker\u201d as the publisher of a piano waltz in 1911<\/a> might therefore correspond to this successor, especially given that we also found an advertisement from 1913 in which Jules Streker offered a piano for sale[4]<\/a>.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Express, journal politique paraissant \u00e0 Mulhouse<\/em>, 9 d\u00e9cembre 1900, rubrique \u201cTodesf\u00e4lle\u201d, p. 3-4<\/p>\n\n\n\n

[2]<\/sup><\/a> Musikalisch-literarischer Monatsbericht \u00fcber neue Musikalien, musikalische Schriften und Abbildungen<\/em>, Leipzig, Friedrich Hofmeister, 1911, p. 140-141<\/p>\n\n\n\n

[3]<\/sup><\/a> William Waterhouse, \u201cThe flageolet double-Made in England\u201d, The Galpin Society Journal<\/em>, vol. 52, avril 1999, p. 182<\/p>\n\n\n\n

[4]<\/sup><\/a> <\/sup>Neue M\u00fclhauser Zeitung, Mulhausen, 8 novembre 1913<\/p>\n\n\n\n

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In 1929, he ran a shop at \u201cPassage Couvert, 26\u201d selling instruments, sheet music, strings, gramophones and records, while also providing repair services[2]<\/sup><\/a>. The address appears to be the same as, or very close to, that of Julius Streker in the Passage Couvert (almost certainly that of the Th\u00e9\u00e2tre). These documents therefore paint the picture of a professional closely linked to the piano and the distribution of printed music. His activities seemed to have continued and expanded upon those of Julius \u2013 likely his father \u2013 who, as early as 1884, offered instrument repairs as well as the maintenance and tuning of pianos and harmoniums.<\/p>\n\n\n\n

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[2]<\/sup><\/a> Der Republikaner, M\u00fclhauser Volkszeitung, Sozialistisches Organ f\u00fcr den Ober-Rhein, 31 juillet 1929<\/p>\n\n\n\n

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\"Friedrich<\/a>
Friedrich Hofmeister, Musikalisch literarischer Monatsbericht, 1911<\/figcaption><\/figure>\n\n\n\n
\"Neue<\/a>
Neue M\u00fclhauser Zeitung, Mulhausen, 8 novembre 1913<\/figcaption><\/figure>\n\n\n\n
\"Express<\/a>
Express 9 d\u00e9cembre 1900<\/figcaption><\/figure>\n\n\n\n
\"Der<\/a>
Der Republikaner, M\u00fclhauser Volkszeitung, Sozialistisches Organ f\u00fcr den Ober-Rhein, 31 juillet 1929<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n<\/div>\n\n\n\n
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The discovery of the double flageolet and the method mentioned by Waterhouse<\/h1>\n\n\n\n
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One of only two known double flageolets by julius streker<\/h2>\n\n\n\n
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The double flageolet presented by Vichy Ench\u00e8res is made of boxwood. Its two parallel bodies are connected to a common head designed to distribute the player’s breath. The maker had to balance the two conduits so that the pipes could sound simultaneously without one consistently overpowering the other. The uniformity of the channels and the set-up of the head were therefore crucial to the instrument’s response[1]<\/sup><\/a>.<\/p>\n\n\n\n

Six brass keys are mounted on applied wooden blocks.<\/p>\n\n\n\n

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[1]<\/sup><\/a> William Waterhouse, \u201cThe flageolet double-Made in England\u201d, The Galpin Society Journal<\/em>, vol. 52, avril 1999<\/p>\n<\/div>\n\n\n\n

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They allowed to play accidentals, extended the range, and corrected the intonation of certain notes. The quality of the materials used and the instrument’s craftsmanship indicate that it was intended for a wealthy clientele.<\/p>\n\n\n\n

Almost all of Julius Streker\u2019s instruments are now lost. With the exception of another example mentioned on the website Music Treasures<\/a><\/em>, there are no surviving examples that would allow for a detailed study of his output. The double flageolet presented by Vichy Ench\u00e8res is therefore of major cultural significance, especially as it retains its original manuscript method book.<\/p>\n\n\n\n

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\"Rare<\/a><\/figure>\n\n\n\n
\"Rare<\/a><\/figure>\n\n\n\n
\"Rare<\/a><\/figure>\n
Rare flageolet double de Julius Streker, dernier tiers du XIX\u00e8me.
Instrument mis en vente par Vichy Ench\u00e8res le 7 novembre 2026.
\u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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The method book mentioned by william waterhouse finally rediscovered?<\/h2>\n\n\n\n
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In 1993, in the Langwill<\/em>, William Waterhouse noted the existence of a Grifftabelle<\/em>, i.e. fingering chart, designed for Julius Streker\u2019s double flageolets, supposedly held at the Bayerische Staatsbibliothek<\/em> in Munich. However, this location could not be confirmed. At our request, the library\u2019s information specialists searched their archives but did not find either the document or any reference to it. Leads involving the Deutsches Museum<\/em> in Munich and the William Waterhouse archives, held at the Royal Northern College of Music<\/em>, also proved fruitless. Furthermore, given that the Bayerische Staatsbibliothek<\/em> indicated that it permanently retains its collections, the theory that the document was sold or discarded could be safely ruled out[1]<\/sup><\/a>.<\/p>\n\n\n\n

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[1]<\/sup><\/a> Nous remercions Uta Schaumberg de la Bayerische Staatsbibliothek de Munich et Heather Roberts du Royal Northern College of Music pour leurs recherches dans leurs collections<\/p>\n<\/div>\n\n\n\n

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The location indicated by Waterhouse in 1993 therefore seems to result from some confusion, or information that cannot be ascertained. As previously noted, in 1999 Waterhouse mentioned this method by Streker, titled \u201cSchule zur gr\u00fcndlichen und schnellen Erlernung des Doppelflageolets<\/em>\u201d, dating it to after 1870 and placing its origin in “M\u00fclhausen\/Elsa\u00df”, without making reference again to its supposed location in Munich. The title, location and date correspond precisely to the indications found on the method kept with the double flageolet offered by Vichy Ench\u00e8res. It is therefore possible that the Grifftabelle<\/em> cited in 1993 and the method mentioned in 1999 refer to the same document, and that Waterhouse implicitly corrected his initial entry of 1993 in the one he made in 1999.<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"William<\/a>
William Waterhouse, New Langwill Index, 1993, notes sur Streker<\/figcaption><\/figure>\n\n\n\n
\"William<\/a>
William Waterhouse, \u201cThe flageolet double-Made in England\u201d, The Galpin Society Journal, vol. 52, avril 1999<\/figcaption><\/figure>\n\n\n\n
\"M\u00e9thode<\/a><\/figure>\n\n\n\n
\"M\u00e9thode<\/a><\/figure>\n
M\u00e9thode de double flageolet de Julius Streker.
Documents mis en vente par Vichy Ench\u00e8res le 7 novembre 2026.
\u00a9 Vichy Ench\u00e8res<\/figcaption><\/figure>\n\n\n\n
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An instrument inseparable from its method<\/h2>\n\n\n\n
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From its advent, the double flageolet was accompanied by educational publications. John Purkis\u2019s method helped popularize the model patented by Scott, while John Bainbridge published instructions tailored to his own instruments.<\/p>\n\n\n\n

These works addressed a practical challenge, as the fingerings for a double instrument could not simply be deduced from those of the standard flageolet[1]<\/sup><\/a>.<\/p>\n\n\n\n

The manuscript method preserved alongside the instrument at Vichy Ench\u00e8res belongs to this tradition. Written in German, it includes a fingering chart for the left pipe, titled Tabelle f\u00fcr linkes Rohr<\/em>.<\/p>\n\n\n\n

A drawing depicts the instrument\u2019s body, its holes and its keys.<\/p>\n\n\n\n

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[1]<\/sup><\/a> John Purkis, Scott & Purkis\u2019s Delecta Harmonia or Patent Double-Flageolet<\/em>, Londres, vers 1806<\/p>\n<\/div>\n\n\n\n

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The legend \u201co = offen\u201d and \u201c\u25cf = zu\u201d indicates that an open circle corresponds to an open hole or key, while a solid black circle signifies a closed hole or a depressed key.<\/p>\n\n\n\n

The fingerings are associated with the corresponding notes written on a musical staff and to their German alphabetical designations.<\/p>\n\n\n\n

Such a chart serves as a condensed representation of the instrument\u2019s acoustic operation. It establishes the relationship between the desired notes, the specific pipe used, and the keys to be operated. This was all the more necessary since double flageolets were never fully standardized. The tuning of the pipes, number of keys, note range and placement of holes could vary from one maker to another. Consequently, a given fingering chart was not necessarily suitable for every model[1]<\/sup><\/a>.<\/p>\n\n\n\n

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[1]<\/sup><\/a> William Waterhouse, \u201cThe flageolet double-Made in England\u201d, The Galpin Society Journal<\/em>, vol. 52, avril 1999<\/p>\n<\/div>\n<\/div>\n\n\n\n

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\"Rare<\/a><\/figure>\n\n\n\n
\"M\u00e9thode<\/a><\/figure>\n
Rare flageolet double de Julius Streker, avec sa m\u00e9thode manuscrite, dernier tiers du XIX\u00e8me.
Instrument mis en vente par Vichy Ench\u00e8res le 7 novembre 2026.
\u00a9 Vichy Ench\u00e8res\/ Photo C. Darbelet<\/figcaption><\/figure>\n\n\n\n
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Evidence of the spread of the double flageolet across the continent and of streker\u2019s role<\/h2>\n\n\n\n
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The location of Mulhouse lends this set a particular interest. Invented in England in 1805, the double flageolet enjoyed success for nearly half a century, and this success quickly spread beyond London and Dublin. William Bainbridge attempted to patent his invention in France, but it was copied on the continent, primarily by German makers[1]<\/sup><\/a>. Waterhouse noted several signs of this spread in Germany. A drawing accompanied by a fingering chart, now held in Markneukirchen, is believed to have served as a model for makers in the Vogtland region. A double flageolet also appears in the illustrated catalogue of the merchants I. Kampffens S\u00f6hne, who were active in Neukirchen around 1830.<\/p>\n\n\n\n

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[1]<\/sup><\/a> William Waterhouse, \u201cThe flageolet double-Made in England\u201d, The Galpin Society Journal<\/em>, vol. 52, avril 1999<\/p>\n\n\n\n

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\"Rare<\/a>
Rare flageolet double de Julius Streker, avec sa m\u00e9thode manuscrite, dernier tiers du XIX\u00e8me. Instrument mis en vente par Vichy Ench\u00e8res le 7 novembre 2026.
\u00a9 Vichy Ench\u00e8res<\/figcaption><\/figure>\n<\/figure>\n<\/div>\n\n\n\n
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In G\u00f6ttingen, the maker Georg Streitwolf designed his own variant and published a Tabelle nebst 14 Uebungsst\u00fccken f\u00fcr das Doppel-Flageolet<\/em>.<\/p>\n\n\n\n

Finally, Waterhouse lists instruments signed by Gerhard Hanniecke in Oldenburg, Jacob David Helwert and Carl August Schaufler in Stuttgart, and Johann Andreas Mollenhauer in Fulda, as well as, of course, the method book by Julius Streker that recently resurfaced at Vichy Ench\u00e8res[1]<\/sup><\/a>.<\/p>\n\n\n\n

The instrument by Streker thus belongs to a genuine continental tradition, inspired by English models which were adapted by German workshops. Mulhouse, however, occupied a unique position at the confluence of France, Germany and Switzerland. This position is clearly in evidence in the surviving material, as Streker published advertisements in German, identifying himself as a Musik-Instrumentenmacher<\/em> in “M\u00fclhausen im Elsass”, and also wrote his method book in German, but the instrument bears a maker’s stamp in French.<\/p>\n\n\n\n

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[1]<\/sup><\/a> William Waterhouse, \u201cThe flageolet double-Made in England\u201d, The Galpin Society Journal<\/em>, vol. 52, avril 1999<\/p>\n\n\n\n

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\"Londres,<\/a><\/figure>\n
Londres, 1855<\/figcaption><\/figure>\n<\/div>\n<\/div>\n\n\n\n
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This double flageolet thus stands as a particularly rare testament to the work of Julius Streker. Research conducted into press archives has shed new light on this instrument maker \u2013 likely born in 1838, based in Mulhouse and deceased in 1900 \u2013 whose business appears to have been continued by Jules Streker. It reveals a multifaceted workshop involved in instrument manufacturing and repair, the maintenance of pianos and harmoniums, and then the distribution of sheet music and the music trade. The collection\u2019s significance as cultural heritage lies primarily in the joint preservation of the instrument and its accompanying manuscript method book. Its title, place of origin and date correspond exactly to the method mentioned by William Waterhouse in 1999. Although its connection to the \u2013 now lost \u2013<\/em> Grifftabelle noted in 1993 cannot be established with certainty, this document provides vital tangible evidence of Streker\u2019s output. This collection documents not only a little-known maker but also the spread across the continent of an instrument invented in England. Through its construction, maker\u2019s mark in French and method book in German, it perfectly embodies the cultural position of Mulhouse in the late 19th<\/sup> century<\/em>.<\/p>\n<\/blockquote>\n\n\n\n

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\ud83d\ude80 Suivez-nous !<\/strong><\/h2>\n\n\n\n