Recorder Home Page

Recorder Iconography

Compiled by Nicholas S. Lander

D

Mary Ann Dabritz, contemporary (USA)

Bas relief bronze hook, after John Smith (? after 1654-1742), Mary Ann Dabritz (2001). A Cast of Characters. Ornamental hook after John Smith's design for Peter Prelleur's The Modern Music Master Or The Universal Musician, London (1731).
Bas relief bronze hook, after Johann Christoph Weigel (17-18th century), Mary Ann Dabritz (2001). A Cast of Characters. Ornamental hook reproducing the design from Weigel's Musicalishes Theatrum (ca 1720).

Richard Dadd

Minor English (Victorian) artist; his early paintings were of landscape, marine and animal subjects, but he is known chiefly today for a few tremendously evocative fairy paintings and for having murdered his father in a fit of manic depression; most of his work was done during his 20 year sojourn in Bethlem Hospital (Bedlam) and later in Broadmoor; he painted for himself and had no audience, no following, no patrons, and very little in the way of intellectual community; born Chatham (1817), died Broadmoor (1886).

Negation (1860), oil on canvas, 50.7 × 34.2, Richard Dadd (1819-1887). New Haven: Yale Center for British Art, Paul Mellon Collection. Ref. Bridgeman Art Library (2001: Image ID YBA 127212). Beside a stream, a woman carrying a water pitcher in one hand leads a little girl away from two women seated on a rocky hillside who, together, hold another pitcher. The girl holds a small flared-bell recorder in her other hand. Everyone looks very glum. What can it mean?

Bernardo Daddi

Italian artist; an important painter of the generation which succeeded that of Giotto and Duccio; his frescoes, small devotional panels and portable altarpieces depict tall and robust figures in movement, accompanied by gestures; for the most part, his colour is restrained and monotonous; he took an unprecedented pleasure in covering vacant surfaces with figures and other incidental figures; born Florence (ca 1290), died Florence (1348), of the plague.

Triptych altarpiece, left wing: Nativity with Shepherds, Bernardo Daddi (ca 1290-1348). Berlin: Gemädegalerie. Ref. Anthony Rowland-Jones (pers. comm., 2001). The centre panel depicts the Coronation of the Virgin and includes two long trumpets, two portative organs, a fiddle and a citole. On the Nativity panel (left wing), a shepherd holds up with both hands a slightly outwardly conical pipe, with no identifying details.
Polyptych of San Pancrazio, right predella panel: Annunciation and Nativity (1336-1338), tempera on wood, 50 × 38.5 cm, Bernardo Daddi (ca 1290-1348). Florence: Galleria degli Uffizi, Inv. (1890) 8345. Ref. Berti (1978: 26, pl. 5-b&w); Anthony Rowland-Jones (pers. comm., 2002). Painted for the church of San Pancrazio, Florence. The central section depicts the Virgin and Holy Child surrounded by Saints. The predella panels represent episodes in the life of the Virgin. In the annunciation to the shepherds, one shepherd looks upwards and the other sitting playing a bagpipe with many musical angels, mainly in pairs each comprising a singer and an instrumentalist. The latter include fiddle, small lute, psaltery and tambourine, and two alto-size pipes, both played right-hand lowermost and with puffed cheeks. One of the pipes has a mark of some sort where one would expect the window/labium of a recorder to be, the other not. But the playing position looks right for recorders, the distance from the lower hand to the bell is not great, and there is only a slight bell flare. One pipe (played by a red angel) has a hole just below the lower hand; the other, played by a blue angel, has a hole near the bell (? tuning hole) but there could be another, in line with just below his hand. These instruments do not look like shawms or cornetts. Notes by Rowland-Jones (loc. cit.)
Madonna with Child and Saints, Bernardo Daddi (ca 1290-1348). Siena: Pinacoteca Nazionale, Inv. 73. Ref. Anthony Rowland-Jones (pers. comm., 2002). An angel plays a pipe which is slightly conical, and then slightly outcurved towards the bell. The player's lips are relaxed; the left hand is uppermost; all fingers of both hands are down; there is no sign of a window/labium, but this picture is faint with age and very rubbed. A second similar pipe is played by another angel below with, it seems, puffed cheeks, left-hand also uppermost, all fingers down. Other instruments are a psaltery and a portative organ.

Francois Van Daellen [Dale, Dalen] (op. 1636-1670), Netherlandish

Vanitas, panel, 25.5 × 19.9 cm, Francois Van Daellen (op. 1636-1670). Florence: Galleria Palatina (Pitti Palace), Inv. 1890, n. 1077. Ref. Website: Bernard Huyvaert, Artpics, Dutch 17th Century; Paolo Biordi (pers. comm., 2000). In an alcove lie a candle and holder (tipped on its side where it is caught in the act of falling, the wick still smoking), a skull, and books. The upper part of a recorder sticks out from under one of the books, the beak, window/labium and first two finger-holes clearly visible.

A companion-piece in the Pitti Palace, also called Vanitas, by the same artist contains some of the same elements: In an alcove right lie books, papers, another skull and a smouldering candle in its holder.
Vanitas Still-life (1692), oil on oak panel, 30.5 × 28.3 cm, Francois Van Daellen (op. 1636-1670). Detroit: Detroit Institute of Arts, 59.402. On a marbled bench partly covered with a black drape are books, a candlestick and snuffed but smoking candle, a thigh bone and the top half of a human skull. Projecting from underneath the latter is a cylindrical soprano recorder, only the head and body of which are seen.

Johann I Dallinger von Dalling (1741-1806), German (Vienna)

Musical Gathering, Johann I Dallinger von Dalling (1741-1806). Karlsruhe: Kunstahalle, Inv. 1912. Ref. Munich RIdIM (1999: KAkh 19). Depicts many players and instruments, including a young man playing a recorder of soprano/alto size, left hand lowermost. Notes by Anthony Rowland-Jones (pers. comm., 1999).

Michael Damaskinos

The greatest Greek (Cretan) iconographer of the day, painted almost the whole iconostasis as well as many other sacred images in San Giorgio dei Greci (Greek Orthodox Cathedral of Saint George) in Venice (1574-1582).

Icon from The Birth of Christ (1577), Michael Damaskinos (op. 1574-1582). Venice: San Giorgio dei Greci (Greek Orthodox Cathedral of Saint George). Ref. Anthony Rowland-Jones (pers. comm., 2000). Painted for the Greek Church of St George, Venice. Damaskinos was familiar with the work of Parmigiano, Bassano and Raimondi. A shepherd plays a pipe, probably a duct-flute since it seems to have a window/labium. Below the uppermost (right) hand two finger-holes are visible; the bell is somewhat flared. Notes by Anthony Rowland-Jones (pers. comm., 2000).

Florentin Damoiselet

French painter and tapestry designer; born Paris (1644), died 1690.

Air sur l'Adour (?1683-1684), oil on canvas, Florentin Damoiselet (1644-1690) & Claude Huillot (Reims 1632- Paris 1702). Landes: Town Hall, Musée du Louvre Inv. 3639. Ref. Website: Iconography de la cornamuse (2009); Brochure: Boston Early Music Festival (2009 - col, as Amour et fleurs). A winged cupid clambering over a balcony, holds a circlet above his head in one hand and toys with a flower amongst a bunch of them beside him with the other. Littered on the balcony are a bassoon, a lute, a violin, a musette and a baroque recorder. Only the head and uppermost body of the latter are visible. In the centre of the composition is a small orange tree in a pot. Possibly one of 58 tableaux de fleurs et d'enfants painted 1683-1684 for display at the Château de Marly.

Danckerts (17th century), Dutch

There were a number of artists with this surname.

Title unknown, Danckerts (17th century). Brunswick: Herzog Anton Ulrich-Museum. Ref. Munich RIdIM (1999: BSm 340). Includes a duct-flute, but not clearly depicted. Notes by Anthony Rowland-Jones (pers. comm., 1999).

Giovannie Stefano Danedi [called Montalto Treviglio]

Italian artist; born 1612, died Milan (1690).

Apollo Flaying Marsyas (17th century), Giovannie Stefano Danedi [called Montalto Treviglio] (1612-1690). Rouen: Museé des Beaux Arts. Ref. Anthony Rowland-Jones (pers. comm., (2000); Website: Greek Mythology Links by Carlos Pareda (2001). Marsyas screams in agony as he is flayed by a rather serene-looking Apollo. On the ground beside the satyr lies a cylindrical duct-flute with a window/labium and six finger-holes and a slight bell flare, but no sign of little finger-holes.

Honoré Daumier

French graphic artist, caricaturist, painter and sculptor; his caricatures were often of political import – in 1832 he was imprisioned for depicting the king as a Rabbelasian glutton; born Marseille 1808), died Valmondois (1879).

Street Singers, Honoré Daumier (1808-1879). Locality unknown. Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001). A man sings and plays the violin. Another, with tall crumpled hat, holds a pipe of some sort in his right hand. The lower part of the pipe is obscured; the top has a pointed mouthpiece. The piper has three fingers on top his instrument, the thumb underneath.

Paul Decker the Elder

German architect and copperplate engraver; born Nuremberg (1677), died Leipzig (1722).

Wenn je burch etwas ist erlaubt …, engraving, Paul Decker the Elder (1677-1722). Ref. Archiv Moeck. A man and a woman sing, hand in hand, accompanied by musicians playing two baroque alto recorders and oboe. A verse beneath reads:

Wenn je burch etwas ist erlabut, Zeit zu vertreiben
So mag es wohl bas Musizieren sein.
Und das Bergnügen ist genug nicht zu beschreiben,
Man singt, man bläst, man geigt und stimmt duch alles ein.
Es bringt die harmonie ein himmlisches Entzücken
Und läßt unds auch en bild der Lebenslust erblicken.

Whenever it's allowed to while away the time
Music-making may be the most innocent way.
The charm of its rich combat is indescribable;
One sings, one pipes, another fiddles, yet all join together.
Harmony, a heavenly delight, arises
And lets us glimpse an image of life's transience.

This appears to be an excerpt from the more detailed engraving reproduced by Steudner (ca 1700).

Dulcissimum Melos Bona Fama (ca 1700), engraving, 2.5 × 33.5 cm, by Johann Christoph Steudner (1677-1713), ? after Paul Decker (1677-1722). Halle: Handel Haus, Sign. BS – VI 29. Ref. Salmen (1969: 83); Linde (1962: 93, 1974: 77); Salmen (1969: 84) [Villa I Tatti ML85 M87]; Paolo Biordi (pes. com., 2000). Depicts two alto baroque recorders with oboe, harpsichord, violin, cello, singers (holding hands) – and a conductor waving a roll of paper! An accompanying poem (in German and Italian) elucidates the symbolism (see above).

Marijke A. Deege

Contemporary Dutch sculptress living an working in Hoogblokland; her output includes stone, wood, bronze, terracotta, some polyester figures, and mosaics; wife of Marcus Ravenswaaij, the Gorinchem city sculptor. Web Page.

Do-re-mi, bronze sculpture, Marijke A. Deege (contemporary). Exhibited "Open Beeldhowersatelier en – Tuin, 10 December 1994 - 1 January 1995. Ref. Tableau Magazine (1994, 3: 17 - col.) A young boy, standing naked with a bird perched on his head, plays a neo-baroque recorder.

Paul Joseph Delcloche

Flemish painter; born Liège or Namur (1716), died Liège (1755).

Pastoral Poetry (ca 1755), oil on canvas, Paul Joseph Delcloche (1716-1755). Liège: Palais de Justice. Ref. Institute Royal du Patrimonie Artistique / Koninklijk Instituut voor hef Kunstpatrimonium (IRPA/KIK), Brussels (2007). In a forest beside a stream, a female personification of pastoral poetry plays a flared-bell pipe, watched by a dog, sheep and goats. A banner beneath reads: PASTORUM CARMINA LUDO. No details of the pipe are visible, but the fingers are deployed as for recorder-playing.

Dirck van Delen

Dutch town counciller, burgomaster and artist; his focus was on architectural themes, originally depicting renaissance palaces, later adding gothic church interiors; he copied the figures in these architectural works from paintings by the artist Dirck Hals of Haarlem; his paintings were a major inspiration to the younger generation of architectural artists from Antwerp; born Heusden, near Den Bosch (1605), died Arnemuiden (1671).

Interior of a Palace, oil on canvas, Dirck van Delen (1605-1671) & Dirck Hals ((1591-1656). Prague: Národní Galerie, Šternberský Palác [National Gallery, Sternberg Palace], Inv. 0-15689. Men and women around a meal table in a sumptious room are entertained by three young men playing violin, lute and alto recorder. The labium and top two finger holes of the recorder are clearly visible. In the centre servants fill wine glasses from an ornate cooler-tub; there is a bed in a corner of the room.

Paul Delvaux

Belgian painter and printmaker; one of the major exponents of surrealism in Belgium; in many of his works he incorporated the somnambulant figures that were to become his trademark; born Antheit, near Huy (1897), died Veurne (1994).

L'Evell de la Forêt [The awakening of the forest], (1939), 150 × 200 cm, Paul Delvaux. London: sold by Sotheby's. Ref. Sotheby's (1982: cover); Archiv Moeck. Watched by a well-dressed couple on the far left, the forest is filled with naked women, spirits of the forest. A single naked man on the far right plays a thin pipe (possibly a duct-flute).

Marco Dente da Ravenna (1493-1527) – See Rubens

Guyart Desmoulin (15th century), French (Parisian)

Bible Historiale: Jesse Tree (1410), illumination, Guyart Desmoulin. Brussels: Koninklijke Bibliotheek van België / Bibiothèque royale de Belgique, MS 9002, f. 223. Ref. Rowland-Jones (1999c: 33). A king lies sleeping whilst above him hover Mary and the Christ-child surrounded by kings playing musical instruments – nakers, harp, vielle, lute, psaltery, rebec, organetto, tromba marina, bagpipe, and a tenor-size recorder which is slightly conical in profile.

Alexandre-François Desportes

French painter of animals, royal portraits and still-lifes and designer of tapestry cartoons for the Gobelins; noted for his landscape studies made directly from nature; credited with helping to popularize Flemish art, one of the essential ingredients of the Rococo style in France; born Champigneule (1661), died Paris (1743).

Musical still-life (ca 1680-1690), oil on canvas, Alexandre François Desportes (1661-1743). Location unknown. Ref. Favre (1990: 82-83-col.); Gabrius Data Bank (2001 - col.) On a draped table lie music scores, a violin and bow, and two baroque recorders. One of the recorders is in a dark wood and inclined towards the viewer, its foot hidden behind the violin; the other is in a pale wood, and only the last three finger-holes can be seen; the rest is hidden behind some music.
Still-life, oil on canvas, 76 × 63.5 cm; follower of Alexandre-François Desportes (1661-1743). Private Collection. Ref. Paris RIdIM (1999). "A violin and bow, flutes and music scores lie on a draped table." One of the "flutes" is a turned baroque recorder only the lower part of the body and foot of which are visible. Sold by Christie's, 26 March 1928, lot III, as van Aelst. Purchased by the present owner in 1973.

Claude-Louis Desrais (1746-1816), French

Recorder and Drum, sketch, Claude-Louis Desrais (1746-1816). Paris: Private Collection. Ref. Paris RIdIM (1999). A woman in an elaborate dress and an enormous puffed up wig strolls along playing an ornately turned alto baroque recorder. She is followed by a man beating an enormous drum.

Gerrit van Deurs (? – before 1702), Dutch

Zoo de ouden zangen zoo pijpen de jongen [As the old ones sing so the young ones pipe] (1663), Gerrit van Deurs (? - before 1702). ? Johannesburg: Art Gallery. Ref. Carman (1988). Depicts a family music scene in which a young boy in the foreground plays a small soprano recorder; another holds a recorder in his hand; a youth plays a flute.

Theophile Louis Deyrolle ( – 1923), French

Le Joeur de flûte et la petite laitière [The Flute-player and the little Milkmaid] (1875), oil on canvas, 115.6 × 80.6 cm, Theophile Louis Deyrolle (late 19th century). Location unknown: sold by Me Marc-Arthur Kohn – Drouto Richelieu Salle 5, 16 February 1996. Ref. Sale catalogue (1976: lot 76); Paris RIdIM (2000). Before a rustic gate, a young bare-footed boy plays a small flared-bell duct-flute with a long windway (probaby a flageolet of the time) to a milkmaid holding her metal pail.

Abraham (Jansz.) van Diepenbeek

Flemish glass-painter, draughtsman, painter and tapestry designer; his reputation rests primarily on his drawings and oil sketches, of which several hundred survive, intended mainly as designs for stained-glass windows and prints; born 's Hertengebosch (1596), died Anterwerp (1675).

The Holy Family with Angels, engraving in brown ink and wash, Abraham van Diepenbeek (1596-1675). Vienna: Albertina, cat. 9426. Ref. Bernt (1948-1980, 4: 177 – b&w). The Holy Family sit and a bank beside a style. Before them, eight winged putti dance in a circle holding hands. Behind them, on a cloud, two angel putti play fiddle and a small duct-flute (flageolet or recorder).

Hilarius Dietterlin (17th century), German (Strassbourg)

The Taking of Christ on the Mount of Olives (1621), aquarelle, Hilarius Dietterlin (17th century). Munich: Staatliche Graphische Sammlung 40578. Ref. Fischel (1932); Munich RIdIM (1999: Mgs 139). On the ground, at the feet of a child on the left of the picture, lies a recorder. The child also seems to be holding another smaller recorder.

Dionijs van Nijmegen (1705-1798), Netherlands

Decorated panel (1756), oil on wood, Dionijs van Nijmegen (1705-1798). Breda: Museum Inv. S 06240. Ref. Anthony Rowland-Jones (pers. comm., 2004). One of two large panels from a house at 18 Catharina Street, Breda. The larger panel shows a broad logia with trees, a column at left and a crescent balcony wall at right. In the distance are more tall trees and distant mountains across pasture. Behind a low inner wall stand two women, and a boy, at the left. The boy drapes his arm over a cello. The woman on the right sings from a music-book on a stand on the low wall, beside which rest an oboe and a recorder, which lies on its side. The recorder is of a very beautiful late-baroque design, in boxwood with ivory mounts and bell. The head of the recorder is behind the music but the thumb-hole and the little finger-hole offset to the left are clearly shown.

Ditz (contemporary), Austrian

Scotland, Ditz (contemporary). Private Collection. Ref. Bridgeman Art Library (2001: Image ID DI 21250). Amidst rolling hills, a young lad sits playing a recorder beneath a confier tree. In the valley below is a village.

Simon van der Does

Dutch artist whose principle subject matter comprised shepherds and their flocks in Italianate, and sometimes mountainous, settings; born 1653, died 1718.

Shepherd Playing a Pipe, black chalk and ink wash, 13 × 20.5 cm, Simon van der Does (1653-1718). Paris: Musée de Louvre, Inv. 23460. Amidst his sheep, goats and a cow, a shepherd leans against a tree stump playing a large, slender, flared-bell pipe. It could be a duct-flute, even a recorder, but there is insufficient detail to tell. This could be a preparatory drawing for Does' Landscape with a Shepherd and Sheep, Maritshuis, The Hague.
Southern Landscape with Shepherd and Sheep, Simon van der Does (1653-1718). The Hague: Mauritshuis, Koninklijk Kabinet van Schilderijen. Ref. Rijksbureau voor Kunsthistorische Documentatie 22402 (2001); Anthony Rowland-Jones (pers. comm., 2001). A shepherd boy plays a soprano- or alto-sized pipe, probably a recorder. Does' Shepherd Playing a Pipe, Louvre, Paris, could be a preparatory drawing for this painting.

Bartholomeus [Bartholomäus] (Willemsz.) Dolendo

Dutch engraver; born ? Leiden (ca 1571), died Leiden ca (1629); brother of the engraver Zacharias Dolendo (1561/73 – 1604).

Portrait of a recorder player, engraving after a design by Lucas van Leyden, Bartholomeus Dolendo (ca 1571-ca 1629). Ref. Buijsen & Grijp (1993: 226); Debra Pring (pers. comm., 2006). Said by Buijsen & Grijp (loc. cit.) to depict a young man with a long recorder; but in reality the instrument is very clearly a transverse flute. An accompanying verse reads:

Well lusti[c]h fluyterken
Wilt mynen lust coelen,
Fluyt met u luytken
Dat ick 't mavh voelen

Well, lusty little flutist,
Won't you cool my lust?
Flute with your little lute,
So that I too may feel it.

Ernst von Dombrowski

Austrian draughtsman, wood-engraver and painter associated with the German fascist and neofacist movements; born 1896, died 1985.

Little Angels with Recorders (1979), woodcut, Ernst von Dombrowski (1896-1985). Ref. Archiv Moeck. Two child angels play stylised recorders; a third holds his in the crook of one arm.

Domenichino [Domenico Zampieri]

Italian painter who was a leading practitioner of Baroque classicism in Rome and Bologna noted for his monumental and landscape painting, born Bologna (1581), died Naples (1641).

St Cecilia with an Angel holding a Score (1625-1633), oil on canvas, 160 × 120 cm, Domenichino, (1581-1641). Paris: Musée de Louvre, Inv. 793. Ref. Berenson (1952: vol. 1 pl. 183); Lallement & Devaux (1996: 240-2421, pl. 7 - b&w); Joconde Website (1999); Bridgeman Art Library (2001: image 89777); Website: Città dell'Arte. The saint plays a viol which stands on a bench on which a child stands holding a music book above its head. A soprano flared-bell recorder lies on the bench. There is an engraving of this by Etienne Picart (1632-1721).
St Cecilia, oil on canvas, circle of Domenichino (1581-1641). Ref. Gabrius Data Bank (2001 - col.) A copy of the original in the Musée de Louvre, Paris. Auctioned 5 December 1991 (Gabrius, loc. cit.)
St Cecilia, oil on canvas, circle of Domenichino (1581-1641). Ref. Gabrius Data Bank (2001 - col.) A copy of the original in the Musée de Louvre, Paris. Auctioned 14 December 1990 (Gabrius, loc. cit.)
St Cecilia (ca 1820-1830), engraving, 8 × 5.9 cm, Lambert, after Domenichino (1581-1641). Hall in Tirol: Sammlung Hochenegg. Ref. Innsbruck RIdIM (2001, Nr 325); Prof. Tilman Seebas (pers. comm., 2001). A copy of the original in the Musée de Louvre, Paris.
St Cecilia, engraving by Etienne Picart (1632-1721), after Domenico Zampieri (called Domenichino). Location unknown. Ref. ? Author (1982: 48); Paolo Biordi (pers. comm., 2000). A copy of the original in the Musée de Louvre, Paris.
Martyrdom of St Agnes (1625), preparatory drawing, Domenichino (1581-1641). Windsor Castle. Angel musicians play harp, organ, viola, bass viol and alto recorder. The recorder is shown side-on, so holes do not show, but the fingering position (right hand uppermost) including the left hand little finger (all fingers down) is correct. There is a brief bell flare, Virdung style. Notes by Anthony Rowland-Jones (pers. comm.)
Martyrdom of St Agnes (1625), oil on canvas, 533 × 342 cm, Domenichino (1581-1641). Bologna: Art Gallery. Ref. La Rassegua Musicale 1 (1930); Emiliani (1969: 322, no. 223 [Villa I Tatti N252OE41967]); Mirimonde (1974: 73); Angelo Spear (1996: 32 [Villa I Tatti ND 623]); Zaniol ex Anthony Rowland-Jones (pers. comm., 2000); Paolo Biordi (pers. comm., 2000). Above the scene of Agnes' murder, angel musicians play harp, organ, two viols (one a large bass) and alto recorder. The recorder is shown side-on, so finger-holes do not show, but the fingering position (right hand uppermost) including the left hand little finger (all fingers down) is correct. There is a brief bell flare, Virdung style. Above all, Christ leans down to join hands with an angel, presumably Agnes as she ascends into heaven.
Hermione [Erminia] among the Shepherds (1623-1625), oil on canvas, 123 × 181 cm [118 × 178 cm (1683), 126, × 168 cm (1709-1710)], Domenichino (1581-1641). Paris: Louvre, Inv. 799. Ref. Lallement & Devaux (1996: 241-242); Joconde Website (1999); Anthony Rowland-Jones (pers. comm., 2007). Hermione, clad in armour and carrying a spear, greets a group of shepherds seated beneath a tree. An old man, greets her in return; a youth holds a syrinx; a second youth peers out from behind the bushes; a child plays a cylindrical pipe, probably a duct-flute (possibly a recorder). There are copies in the Gustave Moreau Museum, Paris (Inv15764), by G. Moreau, and in private collections by an anonymous 19th-century painter (see Champlin et Perkins 1888: pl. 47).
Mercury stealing the Herds of Admetus (?) guarded by Apollo, 261.6 × 201.9 cm, fresco (transferred to canvas on wood), Domenichino (1581-1641). London: National Gallery, Inv. 6291. The subject illustrates a tale from Ovid's Metamorphosis II: 680-707. Apollo sits dreamily playing his pipe (a conical instrument played with all fingers of lower (left) hand covering their holes and the hint of a window/labium suggesting a recorder) as Mercury steals the herd.
The Temptation of St Anthony, oil on canvas, 161 × 227 cm, Domenichino (1581-1641). Modena: Galleria Estense. Ref. Cosetta (1985, 1: pl. 55); Anthony Rowland-Jones (pers. comm., 2001). At the back, right centre, six girls dance in a circle accompanied by two young men playing ? recorder and tambourine. The recorder player, with a feather in his hat, plays left hand uppermost. His instrument is not clear, but is of soprano/alto size.
Allegory of the Reign of Pope Paul V (1605-1621), brush point with brown wash heightened with white on bluish/grey paper, Domenichino (1581-1641). Stockholm: Nationalmuseum, NM 1105/1863. Ref. Exhibited Asmolean Museum, Oxford (2002); Anthony Rowland-Jones (pers. comm., 2002). In classical style, A personification of Rome carries aloft a statuette of Fame. Figures line up on both sides, including a girl playing an 'aulos', with a man leading a sacrificial bull further to her right. In fact she holds centrally across the body of the instrument in each hand, two beaked duct-flutes with the window/labium visible on the one in her right hand. This shows two, perhaps three, finger-holes below her hand (none visible above), the lower offset to the player's right. The other has two finger-holes in line below the hand. All is a little blurry as the medium doesn't make for accuracy. Both instruments have medium to slight bell-flare (otherwise cylindrical), the one in her left hand less so than the right. This appears to be a case of substitution of recorders for the aulos. Notes by Rowland-Jones (loc. cit.)

Domenico di Paris

Italian sculptor, bronze-caster, wood-carver and stuccoist; he undertook to execute reliefs to cover the ceilings of upper rooms in the Palazzo Schifanoia, Ferrara, and although the contract makes no mention of the walls, the elaborate polychromed stucco decorations on the walls of the antechamber are universally given to him and Bongiovanni di Geminiano; born Padua (fl. ca 1443-1501).

Wall decorations, stucco, (? ca 1480), Domenico di Paris (fl. ca 1443-1501). Ferrara: Palazzo Schifanoia, Musei Civici di Arte Antica, Salone de Stucchi [Room of the Virtues]. Ref. Anthony Rowland-Jones (pers. comm., 2000). The stucco is painted with instruments and angel wings in gold. Many instruments are depicted on the upper wall next to the ceiling. Two on each side of a representation of 'Spes' (ie Hope) could be recorders of tenor size, one with the right and the other with the left hand uppermost but lower to suit the composition. The left-hand instrument has a beaked mouthpiece and an offset hole for the little finger of the lowermost hand, and it has a slighlty more flared bell than the right-hand instrument; no window/labium or other finger-holes are visible.

Donatello [Donato di Niccolò di Betto Bardi]

Italian (Florentine) sculptor, the greatest of his age, who excelled in his rendering of human character and the emotional force of his dramatic narratives; worked in stone, metal, wood, terracotta, stucco, and even glass; an innovator in relief sculpture, carved or cast; born Florence (1386/7), died Florence (1466).

Musical angels, bronze relief, Donatello (1386/7-1466). Padua: Basilica di Sant'Antonio, reredos of the high altar. Ref. Paris RIdIM (2000); Web Gallery of Art. Includes five musical angels, including two who sing from a music book, one playing mandola, one playing double pipes, and another a small flared-bell pipe. All fingers of both hands seem to be employed covering holes; a raised bead seems to hint at a pirouette and the players cheeks are puffed out, indicating a shawm, though a recorder remains a possibility, given the context.
Pulpit: bronze reliefs (1465), Donatello (1386/7-1466). Florence: Basilica de San Lorenzo, North pulpit. Ref. Anthony Rowland-Jones (pers. comm., 2002). These pulpits, the result of collaboration between Donatello and his pupils Bertoldo and Bellano, were not quite finished when Donatello died. They depict Christ's Passion and Resurrection. There are friezes of frolicking putti along the bottom of the central panel on the north side of the north pulpit, and along all of the top three panels. Some of the putti are blowing short pipes which could be duct-flutes, judging from the positions of their hands. Images of the pulpits can be found at the Web Gallery of Art and Australian National University web-sites.

Francesco Donnela (early 16th century), Italian

Coronation of the Virgin, fresco, workshop of Francesco Donnela (early 16th century). Albi (France): Basilica of Sainte Cecile (Cathedral), ceiling vault of the nave. Ref. Rey (1934: 313); Rasmussen (1999c). "Three groups of three musical angels, including one with lute, woodwind (recorder?) and tambourine" (Rasmusen, loc. cit.) Not seen.

Lambert (Harmensz.) Doomer

Dutch painter, draughtsman and collector; born Amsterdam (1624), died Amsterdam (1700).

Shepherd and Shepherdess (ca 1670/75), 52.5 × 77.5 cm, Lambert Doomer (1624-1700). Oldenburg: Landesmuseum für Kunst und Kulturgesichte. Ref. Muller et al. (1978: 63); Griffioen (1988: 438-439). In a copse, surrounded by sheep, goats and a dog, a shepherd fingers an alto/tenor sized early baroque-style recorder which is blown by a shepherdess. The recorder has a wave-profile head and an abrubtly flaring bell.
Interior with Peasants Singing and Dancing Around a Table (1681), oil on panel, 43 × 62 cm, Lambert Doomer (1624-1700). Location unknown: formerly Lord Digby, Dorset. Ref. Sumowski (1983, 1: 478, fig. 223); Gabrius Data Bank (2001 - col.) Around a table laden with food, peasants eat, drink, dance and sing to music played by a man standing at the right playing a flared-bell pipe (shawm or recorder) and a small child leaning over her father's knee playing a small cylindrical duct-flute (probably a recorder). Between the two musicans, a brown and white dog dances on its hind legs! Auctioned 23 April 1998, sold (Gabrius, loc. cit.)

Johann Jakob Dorner I

German painter and etcher of historical occasions, genre scenes and portraits; worked in Augsburg as a façade painter and in Munich, where he was employed copying the Dutch paintings at Schloss Schleissheim, later appointed a court painter to Elector Max III Joseph; born Ehrenstetten, near Freiburg im Breisgau (1741), died Munich (1813).

Title unknown, Johann Jakob Dorner I (1741-1813). Frankfurt: Städelsches Kunstinstitut: Städtische Galerie, Inv. 823. Ref. Munich RIdIM (1999: Fsm 137). Peasants or beggars in rough torn clothes. A man plays bagpipes and a boy plays a small pipe (possibly a recorder). Notes by Anthony Rowland-Jones (pers. comm., 1999).

Dosso Dossi [Giovanni de Lutero or Luteri or de Constantino]

Italian draughtsman and painter; the outstanding painter of the Ferrarese School; he spent most of his career in Ferrara, combining with the poet Ariosto in devising court entertainments, triumphs, tapestries, etc; he painted mythological and religious works, portraits, and decorative frescos; his work has a personal quality of fantasy and a sense of color and texture that gives it an individual stamp; born ca 1490, died Ferrara (1542); brother of the painter Batista Dossi (op. 1512-m.1548).

Soldier in Armour Accompanied by a Female Recorder Player (ca 1513), Dosso Dossi (ca 1490-1542). Venice: Collection Vittorio Cini. Ref. Paolo Biordi (pers. comm., 2002). A bearded soldier in armour holds a pair of gloves. Beside him, a young woman holds a large, wide, cylindrical recorder the beak, window/labium, and first four finger-holes of which are clearly depicted.
[Recorder Player], fresco, Dosso Dossi (ca 1490-1542). Trento: Castello del Buonconsiglio. Ref. Angelo Zaniol (pers. comm., 2003); Heyghen (2005: 249, 252 & 321 - col.) A man plays a tenor-sized cylindrical recorder with a distinctive white (?ivory) beak. The window/labium is clearly visible. Beside him is a harpsichord.
Bacchanal, Dosso Dossi Rome: Museo Nazionale di Castel di Sant'Angelo, Sala dei Festoni. Ref. Postcard: Museo Nazionale di Castel Sant'Angelo, Nr. 35150; Walter Bergmann (ex Anthony Rowland-Jones, pers. comm., 2003 - col.). Naked or part-naked men and women desport themselves beside a stream. One of their number plays a viola da bracchio; behind three fully clad youths play lute and two recorders, the characteristic beak and window/labium of each clearly visible. To the right of the adults two naked children play with monkeys. In the background, a river winds past a town on a hill.

Gerrit (Gerard) Dou

Dutch Baroque painter, leading artist of the school of Leiden, especially known for his small, detailed, and elaborately finished domestic genre paintings and portraits; born Leiden (1613), died Leiden (1675)

Woman playing the Clavichord (ca 1655), oil, 37.5 × 30 cm, Gerrit Dou (1613-1675). Detail. London: Dulwich Picture Gallery, Inv. 56. Ref. Brown, Images 118; Early Music 8 (2): front cover (col.); Griffioen (1988: 438-439); van Dijck & Koopman (1987: no. 134); Paolo Biordi (pers. comm., 2000). A woman sits at a table playing a clavichord; a viol stands against a smaller table to her right on which a book of music lies open. In front of that is a jug in a basket. Lying across the right-hand corner of the music book is a small, one-piece, cylindrical duct-flute (probably a soprano recorder, though only the upper four finger-holes are visible). There is another version in the Staatliche Kunstsammlungen – Gemäldegalerie Alte Meister, Dresden.
Woman playing the Clavichord, oil, Gerrit Dou (1613-1675). Dresden: Staatliche Kunstsammlungen – Gemäldegalerie Alte Meister. Ref. van Dijck & Koopman (1987: no. 131); Paolo Biordi (pers. comm., 2000). A woman sits at a table playing a clavichord; a viol stands against a smaller table to her right on which a book of music lies open. In front of that is a jug in a basket. Lying across the right-hand corner of the music book is a small, one-piece, cylindrical duct-flute (probably a soprano recorder, though only the upper four finger holes are visible). There is another version in the Dulwich Picture Gallery, London.
The Little Musician, wood, 21 × 16 cm, Gerrit Dou (1613-1675). Paris. Ref. Paris RIdIM (1999). A boy in a lace collar sits at a table holding a soprano recorder the window/labium of which is clearly shown, as are the off-set little-finger-hole and the slightly flared bell with two decorative incised rings.
Boy Playing the Flute, oil on wood, oval, 14.6 × 12.3 cm, Gerrit Dou (1613-1675). Innsbruck: Tiroler Landesmuseum Ferdinandeum, 024. Ref. flautotraverso.it (2003 - col.); FBI Art Theft Program (2005). A boy in a feathered hat sits playing a small, flared-bell recorder. On a table beside him lies an open music book. This work was stolen from the Museum between May 17th and 19th, 2001.
The Flute Player, engraving, 15 × 11 cm, by Friedrich John (1769-1848), after Gerrit Dou (1613-1675). Uppsala: Universitetbibliotek, UBG 1925/5. Ref. RIdIM Stockholm (2000); Anthony Rowland-Jones (pers. comm., 2000). A young man with an open music book at his side plays a flared-bell recorder with a wide bore opening. Details of the beak and window/labium are unclear. Notes by Anthony Rowlad-Jones (loc. cit.)
A Young Artist Sketching, oil on panel, Gerrit Dou (1613-1675). Ref. Gabrius Data Bank (2001 - col.) A young artist sits at a curtain-draped table before a stone casement in a candlelit room sketching a bronze statue of Orpheus and Cerberus. Beside his sketch book is a cylindrical object which gives every appearance of being a recorder, the beak and window/labium clearly delineated. Auctioned 23 May 1997 (Gabrius, loc. cit.)

Frans Bartholomeus Douven [Doeven, Douven de Jonge] (1688-p.1726), German

Euterpe, oil on canvas, Frans Bartholomeus Douven (1688-p.1726). Ref. Gabrius Data Bank (2000 - b&w). Euterpe sits on the plinth of a cenotaph, surrounded by birds (two ? thrushes and a parrot). In her hands is a conical duct-flute (probably a recorder). All fingers of her uppermost (left) hand and the first two fingers of her lowermost (right) hand are covering their holes. The bell opening is very wide and the walls seem very thin. Beside her are a tambourine (with jingles) and an open book of music which it may be possible to read.

Henrik [Heinrich] Douvermann [Dowermann] (op. 1510-1544), German

Virgin and Child with St Anne, wood sculpture, attrib. Henrik Douvermann (op. 1510-1544). Kalkar: Pfarrkirche St Nikolai. Ref. Pantheon 29: 469 (1971); Rasmussen (2002, Bagpipe). "Angels play rebec (?), bagpipe and recorder (?)" (Rasmussen,loc. cit.) This may be part of Douvermann's Sieben-Schmerzen-Altar (1522) in St Nikolai.

Cornelis Jacobs Drebbel [or Drebber] (1572-1634), Dutch

The Seven Arts: Music, print by Cornelis Jacobs Drebbel (1572-1634), after Hendrick Goltzius (1558-1617). Ref. Bartsch 3/5 (120); Munich RIdIM (1999). Includes a recorder.

Willem [Wilhelmus] Drost

Dutch painter, draughtsman and printmaker, possibly of German origin, of whom very little is known; only half a dozen paintings (and an even smaller number of etchings) are recognized as being by him; all his works that are dated are of the 1650s, when he is presumed to have been a pupil of Rembrandt; born ? Germany (ca 1630), died ? Amsterdam (after 1680).

Fluteplayer (ca 1665-1660), oil on canvas, 74.9 × 62.2 cm, Willem Drost (ca. 1630-1680+). Location unknown: auctioned 27 October 2004 (unsold). Paris: Philippe Le Burgue (dealer). Ref. Sumowski (1983[-94], I: 634, #325); Griffioen (1988: 438-439); Gabrius Data Bank (2007 - col.); Bikker (2001: p. 140 & fig. 31). A half-length figure of a young man seen in side-profile who plays an alto-sized hand-fluyt, his lowermost (right) hand in perfect recorder-playing position with all fingers in play.
Mercury and Argus (ca 1660), canvas, 116.5 × 98.5 cm, Willem Drost (ca. 1630-1680+). Dresden: Staatliche Kunstsammlungen – Gemäldegalerie Alte Meister, Inv. 1608. Ref. Sumowski (1983[-94], I: 623, #314); Griffioen (1988: 438-439); Bikker (2001: 132 & fig. 26). A drowsy Argus leans against his stick. Beside him, Mercury has disguised himself as a shepherd boy but has forgotten the wings on his hat. Mercury holds a near-cylindrical recorder of soprano size. This is clearly a recorder with its characteristic beak and window/labiium. Two holes are visible by the little finger of the upper (right) hand; four holes are visible under the left hand, the upper two very close to the fingers.
Boy with a Recorder, panel, 75 × 64.5 cm, Willem Drost (ca. 1630-1680+). Florence: Galleria Palatina (Pitti Palace Gallery), Inv. 18890, n. 2935. Ref. Paolo Biordi (pers. comm., 2000); Bikker (2001: 141 & fig. 32). A pensive boy in a skull-cap holds a small cylindrical recorder the beak, window/labium and first three finger-holes of which are visible. This painting had a pendant depicting an old man, dressed in black and white, holding a book. The two may have represented a teacher and his pupil (Bikker, loc. cit.)
Young Man with a Flute, oil on canvas, 99 × 82.5 cm, Willem Drost (ca. 1630-1680+). Scandinavia: Private Collecton. Ref. Gabrius Data Bank (2001 - col.); Biker (2001: 144 & fig. 34). A young man in a wide-brimmed straw hat, his left arm outstretched, holds a small cylindrical duct-flute (probably a recorder) in his right hand. The window/labium is clearly visible and a single finger-hole shows between his fingers. Auctioned 27 January 2000, lot 58, unsold (Gabrius, loc. cit.; Bikker loc. cit.)

Jean(-Philippe-Arthur) Dubuffet (1901-1985)

French painter, sculptor, printmaker, collector and writer; an avant-garde maverick whose revolt against beauty and conformity has come to be seen as a symptomatic and appreciable influence in 20th-century culture; born Le Havre (1901), died Paris (1985).

Er hat die Sandalen ausgezogen [He has pulled his sandals off], Jean Dubuffet (1901-1985). Hamburg: Kunsthalle, No. 5364. A dreadful picture! A ghastly oriental character sits crosslegged – sandals beside him – on a mat; no sign of snakes! He plays a duct-flute with six conspicuously large finger-holes (it is just possible that another is covered by the player's upper (left) hand – finger 1 is down).

Isaac Duchemin (op. 1590), Flemish

Tabula Asinaria (late 16th century), engraving, Isaac Duchemin (op. 1590). Location unknown: sold Berlin: Galerie Gerda Bassenge. Ref. Burlington Magazine, October (1999) In a barn-like artist's studio, horses trample the furniture, easel, paintings and props. The latter includes a globe, a sundial, a lute, a very stout bass recorder with a fontanelle and swallow-tail key, and a container for flutes (perhaps smaller recorders). Through a vast doorway, winged horses fly to join their vandalistic friends; beneath them six ladies (one seated) survey the scene. In the foreground right, men and women pour liquid into a sack!

Jacob A. Duck (or Duyck)

Dutch painter and etcher of the Utrecht School; known for his portraits, merry companies, and domestic scenes; born ? Utrecht (ca 1600), died Utrecht (ca 1660).

Musical Gathering, oil, 49 × 38.5 cm, Jacob A. Duck (ca 1600 – ca1660). Dresden: Staatliche Kunstsammlungen – Gemäldegalerie Alte Meister, Kat. 1388 (1908). Ref. Haas (1931: 170); Archiv Moeck; Salmen (1969, 3: 59); Viola da Gamba Society of America (1975: 10); Paolo Biordi (pers. comm., 2000). Musicans seated around a table play viols and a duct-flute (beak and window/labium are clear ), probably a recorder by playing position and context. A woman is obviously playing a harpsichord or spinet, the instrument hidden behind a table: a man leaning over her shoulder is turning the page for her! Notes (in part) by Anthony Rowland-Jones (pers. comm., 2000).
The Musical (or Amorous) Trio, 50 × 42 cm, Jacob A. Duck (ca 1600 – ca 1660). ? Private collection. Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001); Web site: The Great Bass Viol (2004 - col.) Depicts an interior, probably a brothel, with a covered bed in the background. A man plays a bass viol and a woman a soprano viol at a table. A girl holds a music book for a man playing a recorder, the bell end of which is obscured by her hand. The recorder player holds his instrument right hand lowermost; all his fingers are down, the upper little finger supporting the side of the instrument. The beak is clear and the window/labium is just visible in shadow.
Ladies and Gentlemen of Pleasure Making Music in an Interior, oil on canvas, Jacob A. Duck (ca 1600 – ca 1660). Ref. Gabrius Data Bank (2001 - col.) Depicts an interior, probably a brothel, with a covered bed in the background. A man plays a bass viol and a woman a soprano viol at a table. A girl holds a music book for a man playing a recorder, the bell end of which is obscured by her hand. The recorder player holds his instrument right hand lowermost; all his fingers are down, the upper little finger supporting the side of the instrument. The beak is clear and the window/labium is just visible in shadow. Auctioned 13 September 1990 (Gabrius, loc. cit.) Identical to the Musical Gathering by the same artist at the Staatliche Kunstsammlungen, Dresden.

Claude Augustin Pierre Duflos (1700-1786), French – see Johann Eleazar Schenau

Duits (? dates), ? provenance

Pastoral Scene, Duits. Private Collection. Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001). Two shepherds listen to a third playing a soprano-sized pipe which has a narrow mouthpiece but a short, strong bell-flare. The instrument is played left hand uppermost with the thumb-hole covered underneath, the first and second fingers and the first finger of the right hand raised. The other fingers are down, but the little finger is stretched to cover a hole quite close to the bell expansion. Thus this would seem to represent a recorder.

François Duret-Robert (17th-18th century), French – see Giulio Pippi

Francis Leonard Dupont (1756-1821), French

Still-life, Francis Leonard Dupont (1756-1821). London: Phillips Auction House. Ref. Bridgeman Library of Art (2001: Image ID PFA 52082). On a table are a bowl of fruit, a fruit-knife, music score, a vase of flowers, and a small recorder with a very curved beak.

Albrecht Dürer

Painter, printmaker, engraver, etcher and draughtsman, generally regarded as the greatest German Renaissance artist; also the author of three works on geometry and perspective, anatomy, and fortification; active in southern Germany and the Alsace, Basle, Nuremberg, Augsburg and the Netherands; born Nuremberg (1471), died Nuremberg (1528).

[The Men's Bath] (ca 1496-1497), woodcut, 39.1 × 28 cm (image), Albrecht Dürer (1471-1528). San Francisco: de Young Museum 3306201406690044 A010898; Sibiu (Romania): Muzeul Muzeul National Brukenthal; Walsall: New Art Gallery; Auckland: Auckland Art Gallery, 1962/10/4; Washington DC: Dayton C. Miller Flute Collection; Vienna: Albertina, DG1934/496. Ref. Wollitz (1982: 244); Zaniol (1984, December: 7, fig. 7 – detail); Landau & Parshall (1994: 172, pl. 181); Thomson & Rowland-Jones (1995: 215, pl. 42); Hijtmans (2005: 216); Lancaster (2007: 16, fig.) A group of men lounge in a town bath house are entertained by two musicians, one playing a flared-bell recorder, the other a rebec. This illustration is exceptionally clear, showing an instrument in one-piece form with a distinctive flared bell and tone-holes for seven fingers (including double holes for the little finger of the lowest hand, one of which would have been blocked with wax), and appears to be of the design consistent with the so-called 'Ganassi-style' recorder (Thomson & Rowland-Jones, loc. cit.)
Book of Hours of the Emperor Maximilian I, Albrecht Dürer (1471-1528). Munich: Bayerische Staatsbibliothek, f. 19r. Ref. Munich RIdIM (1999, Strauss 3/1515/14). A circle with many instruments including one which could be a recorder or a shawm, and another which may be a small recorder.
Border decoration: Maximilian I's Prayer Book (1515), engraving, Albrecht Dürer (1471-1528). Ref. Thomson (1974: 23, fig. 4); Thomson & Rowland-Jones (1995: 225); Hijmans (2005: 217). Shows a fox sitting by a stream playing a small duct-flute (possibly a recorder) to some hens who seem about to join him for supper.
Von nachtes Hofyeren, pl. 62 from Sebastian Brant's Narrenschiff (1494, Nuremburg), woodcut after Albrecht Dürer (1471-1528). Basel: Library; Heidelberg: University Library. Ref. Ref; ? Author (1964/1988, 60/2: 218); Rasmussen (1999b); Art and Early Music (2001). Fools (with asses' ears and bells) playing musical instruments serenade a bare-bossomed woman who douses them with the contents of her chamber pot for their troubles. Two of the fools plays cylindrical pipes (probably duct-flutes). Their companions sing and play lute. This is similar but by no means identical to that below.
Von nachtes Hofyeren, pl. 62 from Sebastian Brant's Narrenschiff (1494, Nuremburg), woodcut after Albrecht Dürer (1471-1528). Basel: Library; Heidelberg: University Library. Ref. Wiese (1988: fig. 39); Archiv Moeck. Fools (with asses' ears and bells) playing musical instruments serenade a bare-bossomed woman who douses them with the contents of her chamber pot for their troubles. Two of the fools plays cylindrical pipes (probably duct-flutes). Their companions sing and play lute. This is similar but by no means identical to that above.

Cornelis Dusart

Dutch genre painter,draughtsman and printmaker; known for his raucous tavern scenes; pupil and close friend of Adriaen van Ostade whose style he followed; born Haarlem (1660), died Haarlem (1704).

Caricature, Head of a Leering Man, a Recorder Tucked into his Hat (1690), round, 97 cm diameter, red and black chalk and watercolour on vellum, 155 × 144 mm, Cornelis Dusart f. (1660-1704). Germany: Private Collection; formerly The Hague: Haags Historisch Museum, Unicorno Collectie; auctioned Sotheby's (Amsterdam), May 2004, Lot 80. Ref. Rijksbureau voor Kunsthistorische Documentatie (2007, fig. 0000126748 - col.); American Recorder ? vol.: 8 (2004 - b&w). Shows a caricature of a leering peasant with a small, flared-bell recorder fixed to his hat, very much like that depicted by Brouwer (see above) and elsewhere by Dusart himself. The off-set hole for the little finger of the lowermost hand is clearly depicted.
The Fiddler in the Inn (1685), copperplate print, Cornelis Dusart f. (1660-1704). Ann Arbor: University of Michegan, Museum of Art, Acc. No. 1992/2.18; New York: New York Public Library, Print Collection; New York: David Tunick Inc. (2005). Ref. Roth & Beck (1965: pl. 29); Bartsch 7/19 (477); Munich RIdIM (1999); University of Michegan, Museum of Art (2001); Website: New York Public Library (2001). A tavern scene in which variously carousing and dozing peasants, including the hooded rat-catcher, are entertained by one of their number who plays the fiddle. There is a small recorder (with seven finger-holes including the lowermost offset) fixed to his hat, very much like that depicted by Brouwer (see above) and elsewhere by Dusart himself. A dog watches a child annoying another mutt. The Latin caption below refers to the simple amusement of peasants.
Recorder Player, Cornelis Dusart f. (1660-1704). Heidelberg: Gotha. Ref. Archiv Moeck. A man with one leg plays a small flared-bell recorder, his music open on a small table before him.
A Flute-player Charming a Peasant and Children by a Farm, Seen though a Gateway, oil on panel, 23.4 × 17.9 cm, Cornelis Dusart f. (1660-1704). Private Collection: currently offered for sale by David Koester Gallery, Zurich (2005). Ref. Gabrius Data Bank (2001 - col.) In front of his cottage, a peasant sits with his daughter at a table. His son stands holding a basket, and his wife stands in the dooway as they are entertained by a man playing an alto-sized pipe, possibly recorder though no details can be seen, but more likely a flute. Auctioned 8 May 1995 (Gabrius, loc. cit.).

Thomas Germain Joseph Duvivier

French painter and member of a family of artists active in Paris; known for his depictions of architecture, still-lifes, portraits, sculptures, and tromp l'oeil; born 1635, died 1814.

Still-life with Bust of a Woman in Marble, Flute and Score, in a Niche

Old Master and 19th Century Drawings and Paintings, Sale PF9011

Pieter Jacobsz. (Colinchovius) Duyfhuysen [Duiufhuizen, Duyfhuisjen, Duyfhuljsen]

Dutch genre painter; born Rotterdam (1608), died Rotterdam (1677).

Interior with woman playing a recorder, Pieter Duyfhusysen (1608-1677). Basel: Private Collection. Ref. Archiv Moeck. A peasant woman, with what looks like a dead bird on her lap, plays an alto recorder to a young boy. A man leaning on a long stick looks on.
Peasant Interior (ca 1660), oil on panel, 39 × 51 cm, Pieter Duyfhusysen (1608-1677). Detail. The Hague: Hoogsteder & Hoogsteder. Ref. Buijsen & Grijp (1993); Gabrius Data Bank (2001 - b&w); Spliethoff, M. et al. (2002: 10-11, pl.- col.) A man sits on a stool, filling his pipe from an earthenware bowl. Leaning over his shoulder is another man with a nasty leer on his face, and threaded through a tuck in his hat is a recorder much like those depicted by Brouwer and Dusart but much bigger. Behind them at a table two men play cards. Hanging on the wall is a garland of garlic. Smoking was held to cause impotence; the outsize recorder (an obvious phallic symbol) says much about the other man's potency, and garlic was held to be an aphrodisiac. Auctioned 21 June 1990, unsold (Gabrius, loc. cit.)

Abraham van Dyck [van Dyck of Alkmaar]

Dutch artist; born Amsterdam (1635/6), died Amsterdam (1672).

The Piping Boy, oil on canvas, (1635/6-1672). Ref. Gabrius Data Bank (2002 - col.) Half-length portrait of a seated youth, in a slashed doublet and red hat, playing a slender recorder with a prominently flared bell. His right hand is uppermost, and his thumb and fingers are perfectly positioned for recorder playing.

Sir Anthony van Dyck

One of the most prominent Flemish artists of the 17th century; prolific painter of portraits of European aristocracy and works on religious and mythological subjects, also a fine draftsman and etcher; active Antwerp, Genoa and London; born Antwerp (1599), died London (1641).

Lucas van Uffel (1621-1627), oil on canvas, 124.5 × 100.6 cm, Sir Anthony van Dyck (1599-1641). New York: Metropolitan Museum of Art, 14.40.619. Ref. Howard (1983: 148, pl. 68 – col.) The Flemish merchant and shipowner Lucas van Uffel (died 1637) holds a pair of dividers on a table on which are a globe, a bust, the bow of a viol, a cylindrical recorder and some sheet music. The dividers and the recorder had the same symbolism for van Dyck as they did for Cranach almost a century earlier, ie as something challenging one's power of learning and need to achieve, but they doubtless reflect the subject's various interests. Note by Anthony Rowland-Jones (pers. comm.) A preliminary sketch for this (without any of the props) was acutioned on 24 January 1901 but unsold (Gabrius Data Bank OMP, 2001).
Drunken Silenus Supported by Satyrs (ca 1620), oil on canvas, 133.5 × 197 cm, Sir Anthony van Dyck (1599-1641). London: National Gallery, NG853. Ref. Anthony Rowland-Jones (pers. comm., 2002). Silenus is surrounded by satyrs and revellers. At the lower right two putti offer him grapes, while above them an old Bacchante carries a torch. On the left a figure plays pipes, and a young Bacchante squeezes grapes over Silenus. The piper plays two duct-flutes: that in his right hand is a perfect, very slightly flared recorder with seven finger-holes; only the upper portion of the instrument in his left hand is visible, but it looks no different from its companion. This work was previously thought to be by Rubens, but recent examination of the way the brush-strokes were applied has resulted in its being re-assigned to van Dyck whilst he was still working in Rubens' studio. The sky and landscape are probably by Jan Wildens, and the foliage and fruit by Frans Snijders. The composition derives in part from a work of a similar subject by Rubens, The March of Silenus (Munich, Alte Pinakothek).
Marsyas Kneeling with Flute, oil on canvas, Sir Anthony van Dyck (1599-1641). Národní Galerie, Šternberský Palác [National Gallery, Sternberg Palace], Inv. DO-4206 Marsyas (with horns, furry ears and curling tounge) kneeling on his right leg, grasps a small, narrowly conical duct-flute (possibly a recorder) in his right hand. The beak and triangular window/labium of the latter are clearly depicted but only two finger-holes are visible, one above and one below Marsyas' hand.
Silenus Drunk with a Following of Bacchantes and Satyrs, canvas, 123 × 137 cm, school of Sir Anthony van Dyck (1599-1641). Pommersfelden: Wessenstein Schloss, von Schönborn-Wissentheid Collection, Inv. 483a, Cat. 160. Ref. Leppert (1977: 46). A bacchanal in the countryside in which two sharply conical recorders are played in double-aulos fashion; six finger-holes are visible.