G. Various European cues.
de Kerckhove, Van
Laere, Verheyden, Verhoeven.
patented "La Royale" cues of variable weight (see Section
J) were manufactured by the Hungarian
The first two have already been described in Sections A and J. The third one is covered with a textile thread 'grip'. Their butt and shaft are about 56 and 83 cm long, respectively.
The next model is different.
Its ebony carved butt
longer (72 cm) and its maple shaft shorter (67cm). This
model is the same as the one shown, with the bolt set for modifying
its butt-end and shaft weights, in an early 1900's Toulet's catalog.
Here are some of these hexagonal bolts whose weight decreases from 40 to 10 g.
The joints of the above 4 'La Royale' are made of metal.
Some cues from the 1960's with metal joints and made of wengé.
of this wood are sometimes used to play artistic billiards or 'billard-golf'.
Brauers cues have typical inlays that are red or green.
Butts 1 to 4 below are signed BRAUERS BREV.
next ones were probably made by the same manufacturer. An interior brass
pipe and a long collar stengthen the joints of 'bottle' shaped butts
3 and 4. Butt No. 3 dates from before 1940, 4 has an inlaid cork wrap,
5 is made of rare woods (Macassar ebony and maple burl) and 6 is of
variable weight. All cues are with wood joints.
The centre of gravity of the next Brauers can be moved (see Section L 2 b Manufacturing).
eSBee (Stany Buyle).
About 30-year-old professional cues.
Butt (from before 1940),
'3-piece' cue from the sixties with a Belgian Glineur's decal. This cue has a lot of Frank Paradise's (U.S.A.) characteristics, i.e. a brass joint screw located in the butt, metal (nickel silver?) and plastic decorative rings, plastic mother-of-pearl and a wrap made of black nylon thread.
Butt 2 is probably Hiolle and the same is true for the 4-point one below,
which dates from the 50's.
The next one is in 3 parts and is very heavy (600 g., for 'billard-golf' in 1970-80). The German manufacturer Boetzel of butt 3 might have produced it.
Finally, an old 4-point cue with a long wooden screw,
bearing the rare handwritten signature of Ed. Horemans
appearing in the preface of his book Le Billard published in 1965.
Four models, the first with a 'normal' joint (brass screw No. 6 of Section L 1 b Screws)
the others with inverse joints (see Section L 1 b Screws),
The decal of the last one is more simple than that of the previous ones .
Van de Kerckhove (Brussels).
Below, two '4-prong' cues dating from before 1940. The first one has a decal and a long wood screw
and the second one, stamped with 'Van de Kerckhove' but probably made by Brunswick, has a '4-prong' shaft with an aluminium screw threading directly into the wood of the butt.
Note that Van de Kerckhove and Horemans have been partners (see below).
Van Laere (Brussels).
The most important of the Belgian firms. See Section F.
One of the few cues built by Alphonse Verheyden, renowned repairman.
A 'Mélis' with metal rings at the butt ends and a black wood screw, known for a long time in Belgium and still currently built under the name of Paramount. See also cue 5 of the group shown in Subdivision Horemans.
Brunswick, Caro, Carrier & Laumé, Castor, Grivaud, Hénin Aîné, Hiolle, Laprévote, Seguin, St. Martin-Palisson.
Photos below display cues of the same cuemaker brought together. Some models have already been shown separately. For more details, see Section L.
See Section E.
Caro (Paris). One of the successors of Chéreau's firm founded in Paris in 1816.
Here are a few signed cues.
The first one is made of rosewood and maple, inlaid with mother-of-pearl
and carved with Art Déco motifs from the 1930's.
It is signed CARO on one of the butt-end inlays and G. CARO Fabricant - PARIS between two rosewood points. The collar is made of 'against the grain' ivory;
The diameters of the butt-end, the collar and the ferrule of the ash shaft are 35.0, 20.5 and 11.5 mm, respectively.
more recent, bear the signature shown in Section L 2. h and look like
Hiolle cues in Section D.
Carrier & Laumé (Paris).
An old signed cue covered with an embedded rubber wrap.
A 'Grivaud International Lyon' (see Section L 2 h) brand '2-piece' carved and inlaid cue.
See Section E.
The most important of the French firms (see Section D).
Five La Technique cues (see Section A), made of various woods and inlaid with mother-of-pearl,
the last two ones (rare) being carved.
A signed 'bottle' shaped cue covered with an embedded rubber wrap, dating from before 1940. Its butt-end has a red ring probably made of ambrolithe.
St. Martin-Palisson (Paris).
The patented and signed St. Martin cue (for more details, see Section A).
Boetzel, Bour, Dorfelder, Finck, Schröder & Kartzke, Wolsing.
Supposed to be the maker of some cues (see Horemans, Wolsing and Section I).
Hiolle's cues distributed or sold by Bour.
A rare Mace-like cue with seven consecutive '4-point' splices (see Section J).
A rare "Cue/Cane' (see Section J).
became one of the most important in the world.
from a postcard of 1919
i) from top to bottom, Nos. 113 (with added rectangular nameplate), 281, 250 and 89 from the 1880s
113 and 250 have white criss-cross and longitudinal rod inlays typical
of Finck and their joint has an inside brass ring. Nos.113 and 89 are
signed by their owners and the butt of No. 250 is 'two-piece'.
ii) the probably even older No. 88,
in 2 parts with sturdy ends fitted together without collar with a long wood joint screw (see below),
iii) a model
with two rounded 'Vignaux' style splices surrounded by 4 coloured veneers, side-by-side and nested.
very complicated assemblage, seen in one of the catalogues above,
and the white inlays suggest Finck manufacturing.
.......................................................................................... Heading of a letter written about 1929.
The very old cue No. 267 'La Reform' (see Section A).
Boetzel might have produced this about 50 years old '4-piece' cue.
This old company (founded in 1880) was known for the quality of its cues and the fine materials used (rosewood, mother-of-pearl [MOP], ivory...). Here are two of its ' 2-piece' models: the 'Mark VII' (*), richly adorned with MOP inlays (the butt ends were restored),
and the 'Premier', extensively carved and inlaid with MOP.
The latter is more than 40 years old. It is signed 'Sampaio' and 'Made in Portugal'. Its shaft, signed 'Sampaio' only, has a narrow brass joint screw (6 mm in diameter). Note that its central motif
appears on the Finck cue No.134 dating from the 1880s (see 'The Billiard
Encyclopedia' 1996, page 275) and recent unsigned cues.
and the 'Kent'
models from that period, with a brass joint screw located in the butt (see Section L 1 b)
(*) This cue with a wooden joint was also sold in France by Brunswick and Proust before 1960.
Olympia and Wilhelmina.
The cues bearing this well-known name were manufactured in the Netherlands and in Belgium. They were sold in these countries and even in the United States and are sometimes signed by Dutch cuemaker Van Eeken. Below are five Olympias with different decorations and decals.
The Van den Broeck brothers made the one with an incomplete blue decal in the 1950-1960s. The other ones are more recent.
A cue dating from about 1930, covered with an embedded cork wrap,
and a more recent 'Cees van Oosterhout' .
Longoni (well-know firm founded in 1945).
Below are three old cues, one '3-piece' Longoni 'Professional'
and two '2-piece' 'Zenith' (trademark created in 1976). The first one is signed Francis Connesson
and the second one is covered with a red textile thread 'grip'.
shaft is made of carbon fiber and the butt contains a weight
and equilibrium point regulator. The weight might be varied between
600 and 660 g. It is 140 cm long. The aluminum extension measures 10
cm and weighs 85 g. The multi-layer leather tip is 12.5 mm in diameter.
Harald Fihl (renowned cue maker, see page 109 of 'The Billiard Encyclopedia' written by Stein and Rubino in 1996).
than 25-year- old cue provided with maker's decal (see Section L 2 h).
worked for Jens Christian Petersen and took over from him for some time.
An interior brass pipe strengthens its joint.
Many thanks to Danish billiards collector Jørgen Peder Jørgensen for his information about these three cue makers he knew.
A mace from the early 1800s.
An old and magnificently decorated cue.