I was thinking of Paddy Carty.
Larsen does cite Limerick/London flutist Paddy Taylor as a Radcliffe player. Maybe that’s who I was thinking about. 
Cheers,
Aaron
But isn’t this a beauty?
Wow!
Glauber, that is indeed one lovely flute!
Look at that key mechanism, though…I bet that thing is as hard as…well…an oboe to regulate and adjust!!!
–James
Whatever key is just below and outside the G# key is pretty prominent. That mechanism really sticks out there, and looks like it would be pretty easy to bump on things, at least for those of us that are physically challenged.
Gorgeous flute, though!
Dana
That should be the equivalent of the long-F, but given the complexity of that mechanism, how many keys it actually moves is anybody’s guess.
–James
I’m unfamiliar with Paddy Carty–where can I find him?
BTW, in case anyone didn’t know Grey Larsen is teaching at Rocky Mountain Fiddle campe this August.
Caitlin
That flute Glauber posted a pic of does indeed look difficult to maintain. Maybe another reason Carty chose that type of flute. He was a jeweler, so maintaining fine metal work was something he was used to.
Corin
What it does is a little more clear in this image:
In this flute, the fingering for F# is like in a simple-system flute. To get the Fnat, you have to close an additional key (labeled F# Hole in the picture). So it’s different from the 8-key flute, where you would finger an E and open the F key. There are 3 ways to make F-nat in this system (short and long levers for that F-nat key, and the Baroque forked fingering, since RH-3 is also connected to the F-nat key). If you’re interested in this kind of flute, you should read the text in the page.
The address of the page is:
http://www.oldflutes.com/articles/radcliff.htm
It’s part of Rick Wilson’s site; lots of great stuff there.
That mechanism, BTW, is simpler than it looks. Simpler than the Boehm mechanism. It just has a lot of rods in it, while the Boehm makes a couple of rods do double duty.
Heaven!