Yes, Dolmetsch made loose copies of Stanesby Senior altos along with Bressans. I believe the more refined of the latter also carried a facsimile of Bressan’s famous mark.
Anyhow, here is an entry point into their website which the chose to leave up for reference purposes, since they are no longer in business.
Poke around. Lots to explore. If you look hard enough, you’ll see my contribution regarding double-holes & Bressans.
Regarding the model characteristics to the originals: Once an original instrument in A403-410 has been scaled to A440, and simplified for mass production, not very much of the original sound will be there. I suspect the Zen-on Bressan has a wee-bit, based on my comparisons, and the fact that Frederik von Huene was involved, suggests likely more than others. One thing for sure is it really isn’t a consort instrument. It does have a nice reedy edge, and full volume like real Bressans. More so than any of the other factory-made ones I own.
I think just the outer appearance is more likely the similarity. The Yamaha may vaguely look like a Rottenburgh, but it won’t sound, or look like an A410 one any more than Moeck’s A442 Rottenburghs do. But they are pleasing contrivances to play and millions enjoy playing them. I’ve always like Moeck’s Rottenburgh keyless tenor, which von Huene freely admits in his book that the internals of that model are completely made up. Still, a satisfying one to play—especially the more recent ones in boxwood.
Mainly French & English baroque repertoire on an A403 Bressan, and an A415 DeBey. Recorder enthusiast since 1971. Early Music program at York University, French baroque instruction at Royal Conservatory in Toronto.