Recorder Home Page

Recorder Iconography

Compiled by Nicholas S. Lander

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Nathan Eckenrode

• Recorder in the Park, acrylic, Nathan Eckenrode (contemporary). A girl with plaits plays a stylised recorder.

Gérard Edelinck – see Antoine Coypel

Gerbrand van den Eeckhout

• Conversation Piece / Portrait of the Tolling Children in Pastoral Dress (1667), 142 7times; 170 cm, Gerbrand van den Eeckhout (1621-1674). Location unknown; formerly London: Noortman Gallery (dealer). Ref. Burlington Magazine 121 (1979, col.); Rasmussen & Huene (1982: 31, fig. 2, b&w); Kettering (1983: fig. 88); Sumowski (1983[-94], II: 902, fig. 539); Griffioen (1988: 438-9). A young woman is seated in a forest glade; a toddler stands beside her dressed in shepherd garb. A youth sits behind them holding a narrow, one-piece, flared-profile recorder expanding gradually from beak to foot. To the right are two girls who have been picking flowers; and seated before them a young boy strokes a cat.
• Interior with singing Pair and Listener (1655), oil on canvas, 76 × 64.5 cm, Gerbrand van der Eeckhout (1621-1674). Copenhagen: Statens Museum for Kunst. Ref. Sumowski (1983[-94], II: 872, pl. 509); Griffioen (1988: 438-439). A woman sings seated at a table; opposite her sits another musican, his soprano recorder and music lie before him. Behind the woman, his arm around her shoulder, another man listens.
• Hermes lulls Argus to sleep (1666), 94 × 110 cm, Gerbrand van den Eeckhout (1621-1674). Berlin: Bode Museum (formerly Kaiser-Friedrich-Museum). Ref. Sumowski (1983[-94], II: 822, pl. 459); Griffioen (1988: 438-439); Rowland-Jones (1998c: 16; 1999). On a wooded hillside, Hermes (Mercury) has lulled Argus to sleep by playing on a soprano flared-bell recorder which he holds in his left hand, reaching out for his sword with his right. Io (as a white heifer) stands behind them.
• Flute Player, oil on wood, 62 × 46 cm, Gerbrand van den Eeckhout (1621-1674). Bordeaux: Musée des Beaux Arts, Inv. BXE 312 ; BXM 6126. Ref. Joconde Website (1999). Portrait of an unknown man with a duct-flute (flageolet or recorder); a bust in profile. Not seen.
• Musical Company, canvas, 94 × 83 cm, Gerbrand van der Eeckhout (1621-1674). The Hague: Gemeentemuseum. Ref. Buijsen & Grijp (1993). A lutensit averts his eyes from his companions, a man and a woman who sing together from a shared score. A small pipe (almost certainly a duct-flute) lies on the table beside the lutenist, its head hidden behind a music book.

Gilberto Almeida Egas

• La Novia, Gilberto Almeida Egas (1928 –) Ref. Exhibition: La Novia del Cielo, Holmes à Court Gallery, Perth, Western Austdralia (2001). Two harliquinesque men play long (tenor-sized) cylindrical pipes each with seven finger-holes covered and thus possibly recorders, though probably intended to represent the native pinkillu (a six-holed duct-flute).

Pieter Cornelisz. van Egmont (ca 1615 - ca 1664), Flemish

• A Musician Playing a Violin by a Draped Casement, Pieter Cornelisz. van Egmont (ca 1615 - ca 1664). London: Johnny van Haeften Gallery. Ref. Bridgeman Art Library (2002: Image ID BAL 49338 - col.) An artist sits playing the violin in a window at a table on which are an open music book, a globe, a hat, a conch shell, a drawing, and a small cylindrical recorder with a flared foot. The characterstic window/labium and seven finger-holes of the latter are clearly visible. There is another version of this painting in reverse (see below), though more of the recorder is in frame.
• Self-Portrait of the Artist Playing a Violin at a Window, oil on panel, Pieter Cornelisz. van Egmont (ca 1615 - ca 1664). Ref. Gabrius Data Bank, OMP (2001 - b&w); Anthony Rowland-Jones (pers. comm., 2009). An artist sits playing the violin in a window at a table on which are an open music book, a globe, a hat, a conch shell, a drawing, and a small cylindrical recorder with a flared foot, the characterstic window/labium and seven finger-holes of which are clearly visible. Auctioned Dorotheum 6 June 1991, unsold; and 7 July 1993, unsold (Gabrius, loc. cit.) On the recorder, a maker's mark is visible on the which looks prominent enought to be legible in the original (Anthony Rowland-Jones (loc. cit.) There is another version of this work in reverse (see above), though rather less of the recorder is in frame.

Edwin Eichinger (1892-1950), Austrian

• The Recorder, oil on panel, 41.3 × 52.7 cm, Edwin Eichinger (1892-1950). Asheville: Brunk Auctions, 6 January 1996, Lot 850. Ref. Artfact (2004). Not seen. This may depict a recorder of public deeds rather than a musical instrument!

B. van Eijsen (ca 1679-1702), Dutch

• Vanitas Still-life, oil on canvas, 95.3 × 117 cm, B. van Eijsen (ca 1679-1702). Location unknown: auctioned 17 December 1999, unsold. Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague ex Ruth van Baak Griffioen (pers. comm., 2003); Gabrius Data Bank, OMP (2003 - col.) On a draped table lies a jumble of objects including a sword, a casket, an inkwell and plume, books, papers, a necklace, a vase of flowers, a nautilus shell, a conch shell, a watch, a trumpet, a transverse flute and a recorder with a metal-sheathed beak and a maker's mark, the foot hidden behind the nautilus shell. A book is open at a graphically illustrated page concerning the tyranny of the Spanish. A handbill hanging in the centre has a portrait of King Charles II.

Jahn Ekenaes (1847-1920), Norwegian

• Playing the Recorder, oil painting, 43.2 × 50.8 cm, Jahn Ekenaes (1847-1920). Oslo: Blomqvist, 23 October 1995, Lot 89. Ref. Artfact (2004). Not seen.

Ignaz Elhafen

• Pan teaching a Nymph to play a Pipe, ivory relief, Ignaz Elhafen (1685 - ca 1715). London: Wallace Collection, S264. The 'pipe' is rather ambiguous, but could be a recorder.
• Bacchantes, ivory relief, 10.8 × 20.1 cm, Ignaz Elhafen (1685 - ca 1715). Munich: Bayerische Nationalmuseum, Inv. R 4672. Ref. Munich RIdIM (2002: Mbnm - 177); Anthony Rowland-Jones (pers. comm., 2002). A satyr (with horns and goat feet) plays a cylindrical duct-flute to a nymph offering a bunch of grapes to a small child who reaches up for them. The four lowermost finger-holes of the duct-flute are visible. If we suppose that three finger-holes are concealed by the uppermost (right) hand then this may represent a recorder, though the thumb is wildly out of position.

Aubry Emile (early 20th century), France

• Bacchanale, oil on canvas, 89 × 116 cm, Aubry Emile (early 20th century). Paris: Louvre, Musée d'Orsay, Inv. RF 1978-41. Ref. Joconde Website (1999). A mythological scene which includes a naked woman dancing, a horn of plenty, a cupid, a faun, a recorder, a ram, and fruit. Not seen.

Martianus II van den Enden (? – 1673), Flemish

• St Cecilia, print, Martianus II van den Enden (? – 1673). Paris: Bibliothèque Nationale, Département des Estampes et de la Photographie. Ref. Mirimonde (1974: 134); Paolo Biordi (pers. comm., 2000). Beneath a framed bust of St Cecilia lie a viol, jingle ring, lute, organetto, cornett and a pipe (probably a recorder) the head of which is hidden behind the organ. Five finger-holes are visible on the pipe and the bore is expanded at the foot.

Martin Engelbrecht (Augsburg 1684-1756), German

• Woodwind Instruments (ca 1720-1730), etching & engraving, 29.7 × 18.5 cm, Martin Englebrecht (1684-1756). New York: Public Library; Washington DC.: Library of Congress (hand-coloured), Dayton Miller Iconography Collection, 0391. Ref. Wollitz (1991: 177); Beck & Roth (1965: pl. 32). A gentleman reclining cross-legged in a high-backed chair plays a turned baroque alto recorder. On a table beside lies another baroque soprano recorder (only the head of which is visible), a small wind instrument (possibly a flageolet), an oboe, what appears to be a small chalumeau without a reed (mistakenly referred to as a small recorder by Roth & Beck), an ink-well and quill, and a clarinet (the reed mounted above). Behind him lies a dog; in the corner stands a very large bassoon. The second verse of the sentimental little poem singles out the sweet and charming effect possible of woodwind instruments which even rival the song of the nightingale. The first first includes words to the effect:

  There is nothing like the lovely sounds you can make on wooden pipes,
  that is, if your tongue and teeth are where they should be.

  The posture and clothing of the player, details of the patio on which he sits, and the general construction of the image bear a marked resemblance to an engraving said to be by Giovanni Alberto Tameravi (? ca 1730). It is certain that one is modelled on the other; indeed, they may be by the same hand.
• Musica (ca 1740), Martin Englebrecht (1684-1756). Nuremberg: Germanisches Nationalmuseum, Inv. HB 27 318. Ref. Munich RIdIM (1999: Ngm 818). Shows a variety of instruments, twelve in all, including a recorder. Note by Anthony Rowland-Jones (pers. comm., 1999).
• A Female Wood Turner (1730), engraving Martin Englebrecht (1684-1756). Berlin: Kunstbibliothek, Pe 8 Nr. 26. Ref. Munich RIdIM (1999: Bkb 380). A woman in an elegant flared dress is decorated with instruments, a spinning-wheel, some chair legs, bobbins and games. The instruments include two trumpets, and a number of duct-flutes hanging from her left shoulder. The latter have the narrowly attenuate beaks of flageolets, but have the flared bells and paired finger-holes for the little finger of the lowermost hand which are characteristic of the recorder.
• Assemblage nouveau des manouvries habilles: Pipemaker (ca 1730-1740), coloured engraving, Martin Englebrecht (1684-1756). Biningen: Collection Ernst W. Buser. Ref. Joppig (1988: pl. - col.) A pipemaker holds his lathe above his head. Hanging from his clothes are all manner of tools and wind instruments, including oboes, bassoon, cornetts, flutes, and perfectly depicted baroque recorder. Behind the maker two happy customers play oboe and flute.
• Assemblage nouveau des manouvries habilles: Female Pipemaker (ca 1730-1740), coloured engraving, Martin Englebrecht (1684-1756). Biningen: Collection Ernst W. Buser. Ref. Joppig (1988: pl. - col.) A female pipemaker plays a perfectly depicted baroque recorder. Hanging from her clothes are all manner of tools and wind instruments, including cornetts, bassoon, shawm, hunting horn, Turkish horn, bagpipe and two more baroque recorders. Behind her two happy customers play bagpipe and oboe.

Joseph Enzer (18th century), English

• Plaster work frieze (ca 1730), Joseph Enzer, English. Montrose, Scotland: House of Dun, saloon. Ref. Hersom (1994: 65). One of the moulded clusters of the frieze is of musical instruments – bassoon, lute, oboe, recorder, flute and violin (Hersom, loc. cit.) the House of Dun is a beautiful Georgian Townhouse designed by William Adam and built in 1730, with superb plasterwork by Joseph Enzer.

Enrique de Essencop [Master of Longares] (14th century), Spanish

• Virgin of Lirio, possibly by Enrique de Essencop (late 14th century). Barcelona: Museu Nacional d'Art de Catalunya, Inv. 64025. Ref. Gudiol (1986); Ballester(2000: 12, fig. 3 – b&w); Anthony Rowland-Jones (pers. comm., 2001; 2006a: 20 & fig. 19-col.; 2006b: 17 & ill. 5 - b&w). The Virgin and Child are surrounded by angel musicians playing harp, mandora, psaltery and cylindrical pipe (probably a recorder). A priest kneels in prayer. Side-panels contain illustrations of the Saints. "The pipe has an unusual mouthpiece, rather like the pirouette of a shawm. It has no bell-flare and the almost obscured end shows the incised rings found in the Pere Serra representations. And a shawm would be completely out of place in this group of music-making for the Virgin … a crude cut-away at the top may represent the window/labium, and the left hand little finger is raised as if for action. The lips are relaxed, and the cheeks not puffed out" (Anthony Rowland-Jones, 2001, loc. cit.) Longares is near Saragossa, from whence King John of Aragon (who reigned from 1387-1396) wrote a letter dated 23 July 1378 asking for lutes and "flahutes" to be sent to him "as soon as possible" from Ponç in Valencia (Ballester 2000: 10-12), very posibly a reference to recorders.

Maurice Estève

• Flute Players (1931), oil on canvas, 130 × 81 cm, Maurice Estève (1904-2001). Bourges: Musée Estève. Ref. Joconde (2007 - col.) A child watches two nude men playing stylized vertical flutes. All fingers of both hands are covering their holes, so these could be recorders.

Eusebio (di Jacopo di Cristoforo) da San Giorgio

• Adoration of the Magi (1505/6), Eusebio da San Giorgio (1465-1470 - 1539). Perugia: Galeria Nazionale dell'Umbria. Ref. Cecchini (1932: 169); Gallenga (1905: pl. 72); Gallenga (1907: 73); Jacobsen (1914: pl. 53a); Visual Collection, Fine Arts Library, Harvard University, 372.Eu75.22a; Rasmussen (1999b). "Angels play fiddle (tuning), rebec, lute and woodwind (recorder or, more likely, mute cornett)" (Rasmussen, loc. cit.) This work was executed for the Oddi Chapel in S Agostino, Perugia. The year MDV or MDVI is inscribed on the hem of the Virgin's robe. Not seen.

Caesar [Cesar] (Bovetius [Boetius]) van Everdingen

• The Four Muses with Pegasus (ca 1650), oil on canvas, 340 × 230 cm, Caesar van Everdingen (1616/17-1678). The Hague: Koninklijk Paleis, Huis ten Bosch. Ref. Haak(1984/1996 258, pl. 544); Griffioen (1988: 438-439); Web Gallery of Art (2001). Four of the Muses, largely naked, sing and play lute, and a viol (plucked). Pegasus rears up behind them. In the foreground are scattered musical instruments, including a hurdy-gurdy, two viols, a harp, an organetto, two trumpets, two shawms (one ornately carved), and a soprano-sized duct-flute (probably a recorder), partly hidden behind the harp.
• Organ shutters (1645), Ceaser van Everdingen (1616/17-1678). Alkmaar: Grote of St-Laurenskerk, great organ. Ref. Paolo Biordi (pers. comm., 2002). Musicians sing and play cittern, lute and a small recorder from a balcony. The recorder is played by a child from an open music-book perched on the edge of the balcony. His instrument, of one-piece renaissance design with a slightly flared bell, is played right hand uppermost. The window/labium and a number of finger-holes are clearly visible, including paired holes for the lowermost finger. The organ's origins date back to 1630. The general plan, which has been preserved to this day, was designed by Jacob van Campen, the famous architect of the royal palace in Amsterdam. Although its internal workings have been altered, most recently by Flentrop, the external case and ornamentation has remained untouched.

Abraham van der Eyk [Eyck; Van Dyck d'Alkmaar] (Netherlandish)

• Portrait of a Composer (1715), oil on canvas, 48 × 39 cm, Abraham van der Eyk (op. 1709-1725). Location unknown: offered for sale 26 October 1990 (unsold). Ref. Gabrius Data Bank, OMP (2002 - col.); Constance Scholten (pers. comm., 2005). In an interior, a composer, seated, full length, wears an embroidered coat and blue satin cloak. On a table before him are musical scores across which lies a soprano baroque recorder, the head of which has a ivory beak and ferrule. To the side are shelves with books beneath a tasselled drape. Behind, a beautifully depicted viol hangs on the wall by a ribbon. In the distance, through a door, can be seen a wild landscape. One of the scores, labelled Anthem, is legible.

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