Recorder Home Page

Recorder Iconography

Compiled by Nicholas S. Lander

G

Adriaen van Gaesbeeck

• Interior with Woman Sewing and Three Children, Adriaen van Gaesbeeck (1621-1650). Karlsruhe: Kunsthalle. Ref. Sumowski (1983[-94], I: 507); Griffioen (1988: 440-441). A young woman seated before an open window plys her needle and thread watching her two young boys playing whilst a baby slumbers in a wicker basket. A painting on the wall at the back of the room, beneath a spiral staircase, depicts a man in side-profile playing a recorder, right hand uppermost.
• Young Man in a Study (1640-1650), Adriaen van Gaesbeeck (1621-1650). Amsterdam: Rijksmuseum. Ref. Website: gallica (2012-b&w) A young lad strikes a pose in his father's study which is lit by a large window. He leans on a table dangling one of his gloves by a finger – he seems to have lost the other one – holding a hat in against his hip with the other hand. On the table an open book leans against an up-turned lute, lying on a map with an inkwell and a slender recorder of alto or tenor size, the beak, window/labium and seven finger-holes clearly visible, the lowermost offset, but the foot out of view behind the book. Behind the lute are a globe and a statue of Aphrodite without her nightie, but just managing to cover her nether parts modestly with a drape. A second globe, more books, a conch, and a roll of paper are on a high shelf and other books and maps are scattered about the room. In the background A maid descends a spiral staircase carrying a file of papers. On a pillar supporting the stair hangs an oval portrait of a young girl holding a basket of fruit.

Joannes [Jan] Galle – see Martin de Vos

Fernando Gallego

• Coronation of Mary (?1480), Fernando Gallego (c.1440-1507). Salamanca: Dioscesan Museum. Ref. Website: flickr, groenling's photostream (2012-col.) Christ crowns Mary, surrounded by musical angels singing and playing a large waisted fiddle, folded trumpets, lute a ? mute cornetto and a small recorder mostly hidden behind the lutenist but the window/labium visible. King David (wearing a crown) plays his harp. Donors hold banners.

Lattanzio Gambara (ca 1530-1574)

• Apollo with Putto, / Apollo and Orpheus (1557), 107 × 182 cm, Lattanzio Gambara (ca 1530-1574). Brescia: Tosio Martinego Art Gallery. Ref. Begni Redona Pier, V. & G. Vezzoli (1978: 89 – col.); Gianpaolo Capuzzo (pers. comm.); Exhibition, Portland Art Museum, Great Painters in Brescia From the Renaissance to the 18th Century (29 April 2006 17 September (2006); Website: gallica (2012-b&w). Apollo relclines in an archway holding his bow and lira da braccio. Beside him a putto (possibly his son, Orpheus) holds a cylindrical pipe, only the upper five finger-holes of which are visible (the area where the embouchure hole of a flute or the window/labium of a recorder might be is covered by his hands). Orpheus father is usually said to be Oeagrus, a Thracian king, but, according to another account, it was the god Apollo. Similarly, his mother was Calliope (Muse of epic poetry) or a daughter of Pierus, son of Makednos. Apollo became fond of Orpheus and gave him a little golden lyre and taught him to play it; Orpheus's mother taught him to make verses for singing.
• Two Muses, fresco, Lattanzio Gambara (ca 1530-1574). Brescia: Palazzetto di via Gabriele Rosa 39, ceiling. Ref. Begni Redona Pier, V. & G. Vezzoli (1978: 133 – col.) Two muses sit opposite one another. The one on the left is fully clothed and holds an alto-sized recorder of 'choke-bore' form; that on the right is mostly naked and holds a small harp between her legs, a ? cornett in her right hand, and a small statuette in her left.

Giuseppe Gambarini, (1680-1725), Italian

• Dancing Peasants or A Dance in the Country (1715-1720), oil on canvas, 61.5 × 76.5 cm, Giuseppe Gambarini, (1680-1725). Stuttgart: Staatsgalerie, Inv. L144. Ref. State Gallery, Stuttgart (1992: 130 – b& w); Website: gallica (2012-b&w). A couple dance to music played by a man and a woman both playing tambourines and a second man playing a flared bell duct-flute of alto/tenor size the window/labium of which is clear, the outstretched lowermost little finger crooked – though there is no evidence of an offset hole for it.
• Adoration of the Shepherds (ca 1710), Giuseppe Gambarini, (1680-1725). Bologna: Marano di Castenaso, Collezione Francesco Molinari Pradelli. Ref. Angelo Zaniol (pers. comm, 2003). The Holy Family admire the Child in a crib, above which hover seraphim. In front of the crib and to the right a shepherd on his knees holds his right hand to his heart in wonder; in his left hand he holds a perfectly depicted turned baroque recorder of alto size. In a basket at his feet are some chicks.

Guy Gambier (20th century), French

• Les joueses de pipeau [The Girl Pipers], oil on canvas, 81 × 65 cm, Guy Gambier (20th century). Location unknown; sold Paris: Palais Galliéra, 4 April 1974 by Laruin, Guilloux & Beffetaud. Ref. Sale catalogue (1974: No. 32); Paris RIdIM (2000). Two pretty young girls with flowers in their hair play flared-bell pipes, one larger than the other. These seem somewhat fanciful in design and there is no obvious beak or window/labium on either.

John Gamble (1847-1911), English

• Decorated piano case, John Gamble (1847-1911). London: Victoria & Albert Museum, side of grand piano. Ref. Yorke (1986: title page & 59 - b&w). Piano by Robert Wornum & Sons (ca 1870), presented by Sir Henry Cole, the V & A's first Director, decorated with instruments in the museum's collection. The front panel includes lute, triangle, oboes, shawm, tabor, viol, harp and a renaissance-style tenor recorder with fontanelle and key for the lowermost finger.

Silvestro Ganassi del Fontego (1492-mid-16th century), Italian

• Title page: La Fontegara (1535), woodcut, Silvestro Ganassi del Fontego (1492-mid-16th century). Published by the author, Venice. Ref. Linde (1962/1974: 43); Fraenkel (1968: pl. 10); Slim (1985: 405, fig. 6); Thomson & Rowland-Jones (1995: 121, fig. 29); Lyndon-Jones (1996: 18-28); Hijmans (2005: 223); Darmstädter & Brown (2006: 53, fig. 8). Shows three near-cylindrical recorders accompanying a singer, whilst a fourth recorder-player is unoccupied; three viols and a lute hang on the wall, and two cornetts lie on the window-ledge in front of the music table.
  
  Interpreting these illustrations as Virdung/Agricola rather than Ganassi-bore, Rowland-Jones (1994, 1995) has argued that Ganassi's high-note fingerings are most unlikely to have worked with recorders of the kind depicted in his book. However, Marvin (1978) presented an illustrated and detailed article on making recorders exptrapolated from the Fontegara frontispiece, estimating measurements from other details depicted to produce an instrument that worked well with Ganassi's fingerings. See Loretto (1995).
  
  More recently, Reiners (1997) has pointed out that certain makers marks are referred to by Ganassi. Indeed three of these makers marks are clearly reproduced in Ganassi's fingering charts. Of these, two are strikingly similar to those associated with the Schnitzer family (all born in Munich and mostly working in Nürnberg), and Rauch of Schrattenbach (a small town 10 miles S of Memmingen, SW of Munich) respectively. The third, a 'B', may refer to the Venetian Bassano family. However, none of the surviving recorders bearing these marks or attributed to these makers exhibit the range and fingering characteristics described by Ganassi.
  
  Lyndon-Jones (loc. cit.) has suggested that some or all the musicians depicted are members of the Bassano family.

Gaetano Gandolfi

• Marriage at Cana (1775), Gaetano Gandolfi (1734-1802). Bolgona: Pinacoteca Nazionale. Six musicians on a balcony above the feast play harp, trumpet, syrinx, cornett, cymbals and a duct-flute with a beaked mouthpiece and window/labium area visible. There is possibly a single finger hole showing; the right hand is uppermost, but the hand and the rest of the instrument is obscured between the skirt of the woman player. The duct-flute could be of tenor size; its head end is cylindrical and fairly wide. Notes by Anthony Rowland-Jones (pers. comm.)

Ubaldo Gandolfi

• Mercury Lulling Argus to sleep, ca 1770-1775, oil on canvas, 218.4 × 136.9 cm, Ubaldo Gandolfi (1728-1781). Raleigh: North Carolina Museum of Art, Accession No. 83.1 Ref. Website: North Carolina Museum of art (2001); Warburg Institute, London; Anthony Rowland-Jones (pers. comm., 2000). Commissioned to adorn the walls of the palace of the Marescalchi family in Bologna, this painting originally formed part of a series of six works illustrating classical myths, including the story of Jupiter and Io. Here, Mercury – wearing a winged helmet and ankle bracelets – lulls Argus to sleep by playing his small slender duct-flute (flageolet or recorder – only the lower holes are visible before a slight bell flare and, since he is slightly turned away, his lips and the upper part of the instrument are not visible). In one of the companion paintings, Gandolfi represents the imminent dispatch of Argus with a touch of humor, as Mercury gestures for the viewer to be quiet so as not to wake the sleeping giant.
• Mercury About to Behead Argus (ca 1770-75), oil on canvas, 218.4 × 136.9 cm, Ubaldo Gandolfi (1728-1781). Raleigh: North Carolina Museum of Art, Accession No. 83.2 Ref. Website: North Carolina Museum of Art (2000); Warburg Institute, London; Anthony Rowland-Jones (pers. comm., 2000). Commissioned to adorn the walls of the palace of the Marescalchi family in Bologna, this painting originally formed part of a series of six works illustrating classical myths, including the story of Jupiter and Io. This work depicts the imminent dispatch of Argus with a touch of humor, as Mercury gestures for the viewer to be quiet so as not to wake the sleeping giant. In the shadows at his feet lie Mercury's caduceus and a recorder with eight finger-holes in line. In one of the companion paintings, Gandolfi depicts Mercury – wearing a winged helmet and ankle bracelets – lulling Argus to sleep by playing his small slender duct-flute (flageolet or recorder).

Jean Ganière

• The Flute Player, hand-coloured engraving 27.2 × 19.0 cm, Jean Ganière (1615?-1666). Washington: Library of Congress, Dayton Miller Flute Collection 0309/X. Ref. Lancaster (2007: 18, fig.-col.) Published by engraver, publisher and musician Nicolas Langlois (1640-?). Half-length portrait of a youth in a buttoned jacket over a red blouse, and a brown peaked cap, who plays a cylindrical duct-flute, left hand uppermost. The little finger of his lowermost hand is beneath the instrument and no finger-hole is visible. This, and the date, suggest that this is a flageolet rather than a recorder. Below, the following doggerl appears:
  
  

  Escoute amy a la pareille Je e uay jouer des meruesille Sur ceste fluste une edançon Et pur lamour de ta meystresse Et pour faire passer ta tristesse Je suis seul qu en faict leçon.

  Listen friend to the instrument I am going to play marvels for you On this flute a song And for the love of your mistress And to make your sadness go away It is I alone who gives a lesson in this.

• The Flute Player, engraving, 26.5 × 18.8 cm, by Auguste Quesnel after Jean Francois (1803-1866) after Jean Ganière (1615?-1666). Paris: Bibliothéque Nationale, Département des Estampes, Cliché c 48 183. Ref. Mirimonde (1975: fig. 113); Pottier (1992: 50, pl. 36); Pottier (1992: 50, pl. XXXVI; 1995: 136, pol. 10); Archiv Moeck; Paris RIdIM (1999); Website: gallica (2012-b&w). Published by Half-length portrait of a youth in a buttoned jacket over a blouse, and a peaked cap, who plays a cylindrical duct-flute, left hand uppermost. The little finger of his lowermost hand is beneath the instrument and no finger-hole is visible. This, and the date, suggest that this is a flageolet rather than a recorder. Below, the following doggerl appears:
  
  

  Escoute amy a la pareille Je e uay jouer des meruesille Sur ceste fluste une edançon Et pur lamour de ta meystresse Et pour faire passer ta tristesse Je suis seul qu en faict leçon.

  Listen friend to the instrument I am going to play marvels for you On this flute a song And for the love of your mistress And to make your sadness go away It is I alone who gives a lesson in this.

• Young Woman Playing a Flute (1639), engraving, Jean Ganière (1615?-1666). Location unknown. Ref. Website: gallica (2012-b&w, as Young Man Playing a Flute). A wild-eyed young woman with curly hair and wearing an elaborately embroidered gown plays a broadly conical duct-flute. The beak and window/labium are clearly depicted, the player has two holes covered and another five open ones can be seen, so this is probably intended to represent a recorder. However, the little finger of the player's lowermost (right) hand is held beneath the instrument in the many often adopted by flageolet players. Some verses beneath the picture read:
  
  

  Ma flûte a des accords sy doux Et ta voix c'est sy naturelle Que les dammes naymant rien quelle Apollon meme en est jaloux D'elle on a du plaisir beaucoup Quant une damme la manie Mais sa plus parfaite harmonie C'est quand elle faite le coucou

  My flute sounds so sweet And its voice is so natural That the ladies care nothing that Even Apollo himself is jealous With it one can have lot of fun As a mad woman But its most perfect harmony Is when it makes the sound of a cuckoo

Raffaellino del Garbo

• Virgin and Child with two Musical Angels, Raffaellino del Garbo (1479-1524/7). Berlin: Gemädegalerie. Ref. Anthony Rowland-Jones (pers. comm., 2001; 2006b: 33, 35, fig. 7 - col.) On each side of the Virgin and Child, angels hold musical instruments. The one on the left holds a psaltery of fanciful construction; that on the right holds a syrinx comprising five duct-flutes tied together by a leather strap with tassels. Each duct-flute has a distinct beak and window/labium. Each of the four on the right has has two finger-holes, one at the top and one near the foot. The largest duct-flute (on the left) has and additional paired finger-hole immediately above the foot. This is a fanciful hybrid instrument. There is a version of this in the National Gallery, London.
• Virgin and Child with two Musical Angels, Raffaellino del Garbo (1479-1524/7). London: National Gallery On each side of the Virgin and Child, angels hold musical instruments. The one on the left holds a psaltery of fanciful construction; that on the right holds a syrinx comprising five duct-flutes tied together by a leather strap with tassels. Each duct-flute has a distinct beak and window/labium. Each of the four on the right has has two finger-holes, one at the top and one near the foot. The largest duct-flute (on the left) has an additional paired finger-hole immediately above the foot. This is a fanciful hybrid instrument. There is a version of this in the Gemädegalerie, Berlin.

Jan-Antoon [Joannes Antonius] Garemijn [Garemyn]

• Shepherd and Shepherdess, Jan-Anton Garemyn (1712-1799). Ref. Gabrius Data Bank (2002 - b&w). A pendant pair: A shepherdess and her dog on a hillside; a shepherd with his dog, seated beneath a tree playing a flared bell pipe, left-hand uppermost, finger-holes 3, 5 and 6 exposed; finger-hole 7 possibly just visible offset to the player's right.

Nicolas de Gargillière (1656-1746), French

• Love and the Arts, Nicolas de Gargillière (1656-1746). Location unknown. Ref. Paris RIdIM (1999). Cupid stands brandishing a lighted torch in his left hand, pointing upwards with his right. At his feet lie a violin, dividers and set square, an artist's palette and brushes, and a turned baroque recorder with ivory beak and ferrules.

Thomas Garner

• A Concert (1836), etching & engraving, 21.5 × 27.2 cm, by Thomas Garner (1789-1868) after ? Padovanino II (1588-1648). London: British Museum, Inv. 1861,1214.54. Ref. Website: British Museum (2012-col.) National Gallery, NG3. Ref. Langdon & Norwich (1991: 57 - b&w, detail). A young woman listens to a group of musicians. A young boy sings, another plays an very slender pipe (as thin as a straw), a third plays a cello, a fourth (on whose shoulder the young woman leans) appears to be conducting. The original painting on which this work is based, can be found in the National Gallery where it is attributed to an imitator of Titian. There is another version of it in a private collection in Venice (see below); and there is a woodcut of it by John Linnell (1792-1882) in the Tate Gallery, London, in which the recorder is ommitted altogether.

Il Garofalo [Benvenuto Tisi]

• St Cecilia, Il Garofalo (ca 1481-1559). Rome: Galleria Nazional d'Arte Antica, Palazzo Barberini. Ref. Paris RIdIM (1999). Above St Cecilia, angels play lute and a large harp; at her feet lie a narrow viol, a timbrel, two triangles, and a flared-bell duct-flute (flageolet or recorder) on which four finger-holes are visible.
• Saints Antonio da Padova, Antonio Abate and Cecilia, oil on panel, 227 × 172 cm, Il Garofalo (ca 1481-1559). Rome: Galleria Nazional d'Arte Antica, Palazzo Barberini, Inv. 1766. Ref. ? Author Garofalo (? date: 623, plate 21, cat. 100); Paolo Biordi (pers. comm., 2000); Anthony Rowland-Jones (pers. comm. 2002). A tribute to Raphael. From the Church of Santa Maria Nuova di Ferrara, Rome. St Cecilia, holding an organetto, looks up at a heavenly choir which, unlike Raphael's, is supported with instruments (lute, viol, psaltery). Her organ (about to be dropped, perhaps) rests at a precarious angle on a marble ledge, its pipes in clusters rather than in a row. At her feet on stony ground lie a tambourine (with jingles) with torn skin, the broken scroll of a viol, and two black cylindrical duct-flutes (probably recorders) of alto size, the window/labium of one of which is just visible. The latter instrument has six finger-holes in line and one little finger-hole offset to the player's right; the other has six finger-holes visible after the point where the other instrument crosses it. Garofolo clearly understood Raphael's symbolism of "marriage abjured and unconsummated".
• Virgin and Child in Glory, Il Garofalo (ca 1481-1559). Coral Gables, Florida: Lowe Art Museum (ex Kress). Ref. Catalog of the Holford Collection, Dorchester House (1927: pl. CV); Shapley (1968: fig. 193); Visual Collection, Fine Arts Library, Harvard University, 372.G192.34[i]; Rasmussen (1999b, 2005). "Angels on the left play viol and lute, on the right, viol and woodwind (flute or recorder)" (Rasmussen, loc. cit.) Not seen.
• Virgin in Glory with Saints, oil on canvas, 61 × 40 cm, studio of Il Garofalo (ca 1481-1559). Rome: Pinacoteca Capitolina, Inv. 192, PC 18. Ref. Mazzariol (1960: fig. 31); Neppi (1959); Visual Collection, Fine Arts Library, Harvard University, 372.G192.34[f]; Rasmussen (1999b); Website: Pinacoteca Capitolina (2001); Anthony Rowland-Jones (pers. comm., 2002). Angels at the left play lute, lyre, and a soprano cylindrical recorder with a slight and short bell flare; angels at the right positive organ and and a small harp. The beak of the recorder is rather long; the window/labium is clearly depicted. The fingers of the player's upper (right) hand cover all their holes. The little finger of the lowermost (left) hand is hidden by the sleeve of the lutenist. Notes by Rowland-Jones (loc. cit.)
• Madonna and Child in Glory on Clouds with Saints Jerome and Francis of Assisi and Two Donors from the Suxena Family (1514), oil on panel, 246 × 146 cm, Il Garofalo (1481-1559). Ferrara: Palazzo dei Diamanti, Galleria Nazionale, Inv. 148. Ref. Anthony Rowland-Jones (pers. comm., 2000); Paolo Biordi (pers. comm., 2000). Originally from the church of Santo Spirito (chapel of the Immaculate Conception), Ferrara. The Virgin and child are seated on a cloud. To their lower left, a group of musical angels play postiive organ, harp and a pipe and tabor (a small window/labium is clear and the instrument is played one-handed, the right hand beating a small drum). On the lower right a second group of angels play lute and an ambiguous slender pipe, very likely a duct-flute, held at the rim of the bell flare and thus possibly a reed instrument; though no window/labium is shown; all the fingers of the upper (left) had are covering their holes, but the bell end is in the shadow of the lute. Putti on clouds above the musicians hold tablets reading 'ALPHA ET O' and wave olive branches. Notes in part by Anthony Rowland-Jones (pers. comm., 2000).

Bernardino Gatti (il Sojaro)

• The Ascension of Christ (1549), fresco, Bernardino Gatti (1495-1576). Cremona: Chiesa di San Sigismondo, ceiling. Ref. Marconi, Cenova: postcard (col.); Anthony Rowland-Jones (pers. comm.) Christ is lifted up to heaven surrounded by a host of cherubim in the shape of a mandorla in the midst of a cloud on which angels are seated and winged putti gambol. One of the angels at the top right of the panel plays lute; at the top left of the panel another angel musician plays psaltery (in the shape of a figure eight), and two more hold cylindrical pipes with slightly flared bells. One of the latter has what appears to be a window/labium and is thus probably a duct-flute. The upper part of the second pipe is hidden from view. Below, on earth, the apostles (11 at this stage) gaze up in awe at the departing figure or kneel in prayer.

Paul Gauguin

• The Flageolet Player on the Cliff (1889), oil on canvas, 73 × 92 cm, Paul Gauguin (1848-1903). Indianapolis: Indianapolis Museum of Art, Inv. 1998.168. "In October 1889, Gauguin left Pont-Aven, the artists' colony in Brittany where he had developed his revolutionary approach to painting, in favor of the more remote village of Le Pouldu. There he painted this panoramic view of the rugged Atlantic shoreline. The canvas is a powerful application of his ideals, particularly the assertion that the artist should reinterpret nature according to his own imagination. With his bold pairings of near and far, steep and flat, Gauguin merged distant beaches and craggy cliffs into a nearly abstract surface pattern. The image, however, is based upon details of the actual site. Period photographs show that the waves at the upper left do meet the beach in a broad arc, and Gauguin wrote that the sands of Le Pouldu looked rose, not yellow. At the right is a girl with her scythe and a boy playing a Breton instrument known as a flageolet, or flute." Actually, the instrument has a distinctly flared bell and a pirouette and reed and so almost certainly represents a Breton bombarde, an instrument related to the oboe.

Giovanni Battista Gaulli [called il Baciccio, Baciccia]

• Bacchanal, drawing in ink and pencil on plain and coloured paper, 25.1 × 29.4 cm, Giovanni Battista Gaulli (1639-1709). Troyes: Musée des Beaux Artes, Inv. 9514. Ref. Joconde Website (1999). A mythological scene against a landscape, with dancing bacchantes and satyrs, food and drink, Silenus, putti, a child, a loving couple, an elephant, a lyre, a syrinx, a timbrel and a duct-flute (flageolet or recorder). Not seen.
• Allegory of Justice and Music, 18.2 × 11.9 cm, Giovanni Battista Gaulli (1639-1709). Düsseldorf: Kunstmuseum, FP 1929. Ref. Munich RIdIM (1999, DÜk - 245). In a valley before a town, a personification of Music sits on the grass whilst Justice holding her shield and scales hovers above her attended by a putto. In her left hand Music picks up a bagpipe; in her left she holds a duct-flute (flageolet or recorder), the window/labium and several finger-holes of which can be discerned. Beside her is a putto, holding what looks like a crown.

Martin [Marten] Joseph [Jozef] Geeraerts, Flemish

• Tiré du Cabinet de Mr Le Brun, engraving by G. Texler (c.1750-?) after Martin Joseph Geeraerts (1707-1791). Munich: Bayerische Staatsbibilothek. Ref. Research Center for Musical Iconography (1978: 9, item 49). In a domestic interior two musicians play recorder and guitar as part of a music lesson. Not seen.

Walter Geikie

• Woman with baby on her knee, grandmother knitting and second child playing flute, etching, 17.4 × 15.7 cm (image), Walter Geikie (1795-1837). San Francisco: de Young Museum, Achenbach Foundation for Graphic Arts 4157201102090087 A038789. The 'flute' here is clearly a small duct-flute, possibly a recorder.

Claude Gellée – see Claude

Benedetto Gennari II

• Holy Family (1682), oil on canvas, 213.8 × 168.0 cm, Benedetto Gennari II (1633-1715). Birmingham: Museums & Art Gallery, Cat. P1274. Ref. Daniels (1970: 300); Miller (1983: 24-29); Bagni 1986: 97); Anthony Rowland-Jones (pers. comm., 2004). Commissioned by the wife of James Duke of York (later King James II) for the private chapel in St James' Palace, London. The picture shows Joseph lifting Jesus to feed at Mary's breast. Above, an angel choir with two singing, sharing a book, one playing a violin, and another playing an alto-size pipe which touches his lips, but is held obliquely, perhaps to enable him to look down at the Holy Family. the pipe, which shows no sings of a window/labium (or the embouchure hole of a flute) is slender and very slightly conical to a stronger bell flare which reveals a wide bore oopening. But the mouthpiece end is slightly beaked. The angel has his right hand lowermost. Above the left hand two finger-holes are visible and also perhaps two more beneath the right hand, one of which is offset. Bearing in mind the date, place and subject, they artist might have had a recorder in mind rather than flute or flageolet. Notes by Rowland-Jones (loc. cit.)
• A Sleeping Shepherd Discovered by Two Women (ca 1681), oil on canvs, 153.7 × 204.5 cm, Benedetto Gennari II (1633-1715). Her Majest Queen Elizabeth II: Royal Collection, Inv. RCIN 402706. Two women leen over a sleeping shepherd. One with a smile on her face points to his groin whilst the other takes a perfectly depicted baroque alto recorder from the sleeper's hand. In the background a young boy drinks from a bottle. This work was painted for Charles II.

Abraham Genoels

• Minerva and the Muses, painting, Abraham Genoels (1640-1723). Location unknown. Ref. Website: gallica (2012-b&w). In a clearing beside a pool in the forest Minerva visits the Muses one of whom (? Euterpe) plays a slender pipe, possibly a recorder.

Artemisia Gentileschi (Artemisia Lomi) & Orazio Gentileschi (Orazio Lomi)

• Allegory of Peace and the Arts under the English Crown: The Muses Euterpe and Polyhymnia(ca 1639), ceiling panel, oil on canvas, Artemisia Gentileschi (1597- after 1631) & Orazio Gentileschi (Orazio Lomi, ca 1563-1639). London: Marlborough House, ceiling of the Main Hall. Ref. Bissell (1981: fig. 142 - b&w; 1999: 271-272, pl. xxv - col., fig. 171 - b&w); Garrard (1989: 114-116, fig. 106 & 108 – b&w;); Lloyd (1979: 162, pl. 3 – col.) Originally painted for the Queen's House at Greenwich then removed to Marlborough House, London. Polyhymnia (Muse of sacred hymns, sacred poetry and eloquence) holds a mirror up to Euterpe (Muse of music and lyric poetry) who holds a large (? tenor) flared-bell recorder. It has been variously argued that the figure of Euterpe was painted by Artemisia Gentileschi (Garrard loc, cit.) or Orazio Gentileschi (Bissell 1999, loc. cit.)

Orazio Gentileschi, (Orazio Lomi)

• The Lute Player (ca 1610), oil on canvas, 144 × 130 cm, Orazio Gentileschi (ca 1563-1639). Washington: National Gallery of Art. Ref. Gazette des Beaux-Arts 63: La chronique des Arts 1141 (1964: 50); Moir (1967: fig. 81); Marangoni (1973: fig. 166); Bissell (1981: opp. p. 37 0 col.); Christiansen (1990: 75); Visual Collection, Fine Arts Library, Harvard University, 372.G2894.90[a] (2002); Exhibition, Metropolitan Museum of Art, New York: Orazio and Artemisia Gentileschi (2002); Rasmussen (2002, Lute); Web Gallery of Art (2009). Depicts a female lutenist tuning. On a table lie a cornett, a violin and bow, and what appears to be the foot of a flared-bell recorder, given the offset hole for the little finger of the lower hand.
• The Lute Player (1626), 144 × 130 cm, Orazio Gentileschi (ca 1563-1639). Vaduz: Princely Art Collection. Ref. Fernau (1958: 130-col.); Lloyd (1979: 162, pl. 3 – col.) Depicts a female lutenist playing or tuning. On a table lie a cornett, a violin, and what appears to be the foot of a flared-bell recorder, given the offset hole for the little finger of the lower hand.
• The Lute Player (1834), mezzotint with some etching, 23.0 × 17.8 cm, by A.M. Huffman (op. 1825-1859) after Orazio Gentileschi (ca 1563-1639). London: British Museum, Inv. 2010,7081.6358. Ref. Website: British Museum (2012-b&w). Depicts a female lutenist playing or tuning. On a table lie a cornett, a violin, and what appears to be the foot of a flared-bell recorder, given the offset hole for the little finger of the lower hand. Lettered below the image with the title The Light Guitar. Published by Samuel Hollyer.

David Gentleman (1930-), English

• Cover illustration: The Music Masters (1958), wood-engraving, David Gentleman (op. 1930 - present). Ref. Bacharach (1958: front cover). A baroque-style recorder with ivory beak and mounts lies across an open book of music surrounded by grass and herbs.

Konstantin Gerhardinger (1888-1970)

• Hitler Youth (1936), Konstantin Gerhardinger (1888-1970). Munich: Bayerische Staatsgemäldesammlungen, 14568. Ref. Munich RIdIM (1999, Mstag - 230). A Hitler Youth, in uniform complete with swastika arm-bands, holds an alto recorder of modern design (bell end with slight flare) in his right hand.

Gerhart

• Children Music-making, oil on canvas (grisailles), Gerhart. Location unknown: Auctioned by Christie's, 7 July 1995 (sold). Ref. Gabrius Data Bank (2002 - col.) A putto conducts two others who play tambourine and a small recorder. The latter is cylindical with an abrubtly flared foot. The first three fingers of the players upper (left) hand and all four fingers of the lower hand are covering their holes and the thumb is perfectly positioned for recorder playing. On the ground is a larger flared-bell pipe the head of which is hidden underneath the recorder player's left foot; only five inline finger-holes are visible, and the bell opening is very much expanded.

Niccolò di Pietro Gerini, Spinello di Luca Spinelli [Spinello Aretino] & Lorenzo di Niccolò Gerini

• Coronation of the Virgin; Saints Felicita and Andrew (1401), wood, 275 × 218 cm, Niccolò di Pietro Gerini (op. 1368- m. 1415), Spinello di Luca Spinelli (ca 1346?-1410) & Lorenzo di Niccolò Gerini (op. 1392-1440). Florence: Galleria della Accademia, Sala del tardo Trecento II, Inv. 8468. Ref. Bonsanti (1987: 90, 76 - col.) From the high altar of the church of Santa Felicita, Florence. In the centre panel, Christ crowns Mary whilst angel musicians are blowing up a storm beneath them on nakers, fiddle, ? mandora, bagpipes and a small pipe (probably a shawm but possibly a duct-flute).

Salomon Gessner

• Sihl River Forest, pen & ink on paper, 29 × 40.5 cm, Salomon Gessner (1730-1788). Munich: Staatliche Graphische Sammlung, Inv. 21082. Ref. Munich RIdIM (2009, Mgs - 242). Sheep graze on the green banks of the river Sihl. In the middle ground, a boy sits under one of three trees, playing a small pipe (possibly a recorder). In the background cattle graze in a fenced meadow. Not seen.

Ethan Gettman

• Musical Odyssey (2005), Ethan Gettman (contemporary). Ref. American Recorder, 46(4): front cover (2005 - col.) A baroque recorder stands proudly in the middle of a rockpool at the foot of some cliffs. On the sea-shore behind sit three shadowy figures.

Andreas Geyer (18th century), German

• Title unknown (1729), copperplate engraving, 19.0 × 29.3 cm, Andreas Geyer (18th century). Regensburg: Thurn und Taxis Zentralarchiv und Hofbibliothek, Inv. 2 Ex.TT Rat111 45 & 45a. Ref. Munich RIdIM (1999, Rttba - 110). A city view of Regensburg, beside the Danube, on board a ship, Fame, at the bow, plays a trumpet. At the oars are various virtues, the Muses with drums in the rear, two folded trupets, two violins, cello, harp, lute and one, presumably Euterpe (Muse of music and lyrical poetry), with a ? recorder. Not seen.

Jacques [Jacob] de Gheyn II

• Group of Two Half-figures Singing and One Playing ? Recorder, pen & ink drawing, 6.6 × 5.1 mm, Jacques de Gheyn II (1565-1629). Düsseldorf: Kunstmuseum, FP 4837. Ref. Getty Research Institute for the History of Art and the Humanities: Photostudy Collection (2006); RIdM Munich (2009, DÜk 259). Sketch of three children playing music under a wreath or ring-shaped chandeliers. Two of the children sing from note book; the third child has a small duct-flute or shawm. Not seen.
• Studies of heads, arms, hands and a youth seen from behind (early 17th century), pen and two shades of brown ink, heightened with white, over black chalk, within black ink framing lines, on buff paper, 29.5 × 19.1 cm, Jacques de Gheyn II (1565-1629). Location unknown: auctioned November 2003, unsold. Ref. Website: Kunstbus (2006). " … this previously unrecorded sheet of figure studies by de Gheyn, which has been in the possession of the family of the present owners at least since the 18th century and perhaps longer, is one of the most elaborate and important study sheets by the artist to have survived. It consists of no fewer than 29 separate studies: 8 studies of children’s heads; 3 studies of a youth (one half-length, and two of his head), a study of a posed arm and hand, two studies of pairs of hands, and 15 studies of individual hands, three of which hold objects (a quill, a book and a recorder)" (Catalogue, cited by Kunstbus.)

Pier Leone Ghezzi

• The Prodigal Son (ca 1720-1730), oil on canvas, 98.4 × 134.3 cm, Pier Leone Ghezzi (1674-1755). Minneapolis: Institute of Arts, Inv. 71.23. The New Testament parable of the prodigal son is depicted at the moment when the celebration of his return has begun. Instead of stressing the morals of the story – repentance and forgiveness, this is a festive genre scene in which rich colors, warm tonalities and theatrical lighting are combined with the airy, fresh colors of the landscape and female musicians. The latter play tambourine (with jingle rings) and a small duct-flute, possibly a recorder.

Ridolfo (Bigordi) Il Ghirlandaio

• Adoration of the Shepherds (1510), oil on panel, 148 × 132 cm, Ridolfo Il Ghirlandaio (1483-1525). Budapest: Szépmüvészeti Múzeum. Mary and Joseph kneel before the Christ Child, flanked by two saints. Behind are four shepheds, one of whom also kneels. One of the shepherds, wearing a wreath points out the Child to one of his companions. Stuck in a fold of his cloak the end of a pipe (probably a recorder) can be seen its flared bell and wide opening and the lowermost finger-hole clearly depicted. Three angels hover above.

Giorgio Ghisi

• Hercules victorious over the Lernaean Hydra (c.1558), print, 35.7 × 21.2 cm, engraving by Giorgio Ghisi (1520-1582) after Giovanni Battista Bertani (1516–1576). Berlin-Grunewald: Galerie Bassenge, 2006, lot 5136 Ref. Bellini & Leach (1983); Borsch et al. (1985: 24); Website: Wikipedia (2007-b&w); Website: LombardiaBeniCulturali (2008-b&w). Having just completed the second of his twelve Labours, Hercules (uncircumcised) leans on his enormous club as he stands triumphantly over the vanquished Leraean Hydra (an ancient serpent-like water beast with many heads) whose guts he has just ripped out. In his other hand he holds the cloth to protect himself from the toxic fumes. A decorative border includes two trophies of musical instruments: that on the left comprises three violas da braccio (with their bows) and three indeterminate curved wind instruments (possibly cornetti); that on the right comprises three viols (with their bows), three indeterminate curved wind instruments (possibly cornetti) and three recorders (two with only the lower body and foot depicted, one with only the head depicted).

Felice Giani

• Mercury and Argus, oil on canvas, oval, Felice Giani (1758-1823). Ref. Gabrius Data Bank (2000 - b&w). Offered for sale with a pendant, Vertumnus presenting Pomona with Flowers. Mercury sits on a bench playing a conical, flared-bell pipe to a sleeping Argus. A number of finger-holes are visible, but the instrument looks more like a small shawm than a recorder.

Antonio Gianlisi, the younger

• Musical Instruments, oil on canvas, Antonio Gianlisi, the younger (1677-1727). Ref. Gabrius Data Bank (2001 - col.) On a shell-shaped table lie scattered musical scores, a miniature portrait, an hourglass, a globe, and musical instruments including guitar, theorbo, two lutes, cello, shawm, and a small cylindrical recorder with a flared bell. The window/labium and finger-holes of the latter are clearly depicted.

Corrado Giaquinto

• Mercury and Argus, oil on canvas, Corrado Giaquinto (ca 1700-1765). Ref. Gabrius Data Bank (2000 - b&w). Argus drowses beneath a tree, watched by Io (as a heifer) who sits beside him. In the distance, Mercury plays a flared-bell pipe (no details visible) that may represent a recorder.

Grinling Gibbons

• Overmantel: Trophy (1692), limewood carving, Grinling Gibbons (1648-1721). Petworth, Sussex: Petworth House, East wall of the Carved Room. Ref. Balding & Mansell, for the National Trust (1966): postcard (col.); Early Music 2(1): 24 (1974 - b& w); Early Music 10(1): 73 (1982 – b&w); Sayce & Esterley (2000); Recorder Magazine 21(3): 123 (2000); Bridgeman Art Library (2001: image 132278); Rowland-Jones (2005b: 38-39 & fig. 6 - b&w); Sayce & Esterly (2000); Lasocki (2006: 14). An elaborate trophy depicting arrows, plants, beads, music manuscript, and musical instruments, including violin, cittern, ? oboes, two baroque recorders (one showing the head, another the body and foot), and identifiable pages from Henry Purcell's The Fairy Queen.
• Fireplace surround (1699-1700), woodcarving, Grinling Gibbons (1648-1721). Richmond: Hampton Court Palace, The Music Room. Ref. Lasocki (2006: 14). In 1699-1700 Wren completed the new King's Apartments for William III, and called in Grinling Gibbons for wood-carving work, including the fireplace surround in what has now been called "The Music Room". At the upper left of the surround is an exquisitely carved trophy crossing an oboe and a recorder. The latter is pure Hotteterre with the slightly curved-over beak. The wood is not lime (Gibbons' usual and favourite) probably because that was too delicate near the fire and at waist level, but was originally lime-washed to give a lime-wood effect. In the recent restorations the ugly lime was removed revealing what might be dark oak. The recorder is shown side-on, therefore no finger holes are visible. Note by Anthony Rowland-Jones (pers. comm.)
• Design for a chimney-piece (1689-1694), Pen and brown ink over graphite under-drawing, with yellow ochre, green-yellow, pink, blue and grey washes, on laid paper, Grinling Gibbons (1648-1721). London: Sir John Soane's Museum, SM, volume 110/52. Ref. Web-site: Sir John Soane's Museum Drawings (2006-col.) Design for a chimney-piece for Hampton Court, with a reclining cherub on the mantel shelf, beneath a drapery canopy suspended from ribbons entwined with a recorder, sheet music and flowers, and the fire surround with two billing doves in the frieze panel. One of Gibbons's most elegant compositions. The fire surround would have been in carved stone or marble and the cherub probably in limewood; the glass or porcelain vases would have been real examples and the drapery would probably have been trompe l'oeil carving, again in limewood. The baroque recorder in the trophy is accurately drawn, with the correct number of fingerholes and the bottom one properly displaced.
• Carved panel (1682), limewood, 140 × 107 cm, Grinling Gibbons (1648-1721). Florence: Palazo Pitti. Ref. Drummer (1685); Sayce & Esterley (2000); Lasocki (2006: 14). This panel was commissioned from Grinling Gibbons by King Charles II as a gift to the Grand Duke of Tuscany, and was transported from England on H.M.S. Woolwich. At Leghorn it was delivered to Sir Thomas Dereham, the British Envoy in Florence, for presentation to the Grand Duke (Drummer 1685). It includes carved baroque-style recorders that differ in the width of their bore (Lasocki 2006, loc. cit.) The ribbon in this panel has the raised inscription "G Gibbons Inven(tor)", the latter letters disappearing behind the ribbon's curve; 'inventor' is a more inclusive term than 'fecit,' which might imply that Gibbons executed another's design.
• Overmantel (1683 or later), woodcarving, Grinling Gibbons (1648-1721). Watford: Cassiobury House, Inner Library. Ref. Sayce & Esterley (2000); Recorder Magazine 21(3): 123 (2000); Rowland-Jones (2005b: 38); Lasocki (2006: 14). Includes a recorder and a very accurate representation of a page from Humphry Salter's The Genteel Companion with the tune Twas Woman Made me Love complete with recorder tablature.
• Trophy, limewood carving, Grinling Gibbons (1648-1721). Stokport: Lyme Park, Saloon. Ref. Website: National Trust Images (2007, Image reference 156137-col.) A musical trophy comprising a violin and bow, two oboes, two ?lutes viewed from behind (neck and pegbox only), the foot of a recorder with its characteristic offset hole for the lowermost finger, an open music book, leaves, fruit, flowers, two medalions, and ribbons.

Aleksander Gierymski

• Der Gänsehirt (ca 1875), Aleksander Gierymski (1850-1901). Ref. Barach (1957: fig. ?) A young girl sits beneath a tree playing a pipe (probably a duct-flute), ignored by some foraging ducks.

Claude Gillot

• Drummer and a Girl playing two Flutes, pen and ink, 16.3 × 20.8 cm, Claude Gillot (1673-1722). Paris: Musée de Louvre, Print Collection, Inv. 26771. Ref. Paris RIdIM (1999). One of a suite of four sketches. Whilst a man bangs a huge drum beneath a tree, a young woman in a dress and a wide-brimmed hat holds two pipes. If she is seriously considering playing them then they must surely be duct-flutes, probably three-holed pipes.
• Design for the decoration of a harpsichord (1710s), pen & pen, brush, Indian ink and water-colour, 28.1 × 46.3 cm, Claude Gillot (1673-1722). St Petersberg: Hermitage (ex Stieglitz Museum). Ref. Exhibition, French Drawings and Paintings from the Hermitage: Poussin to Picasso, Hermitage Rooms, Somserset House London (2001-2002); Anthony Rowland-Jones (pers. comm., 2001). "Shows various musical instruments and, at the centre of the bentside, a trophy with a possible duct-flute crossed with a viola above it. The finger-holes are visible on each side of the occluded section. The instrument is of tenor size and cylindrical, but has an incised decorative ring at the bell end before a very slight flare. What might be a window/labium is very close to the unbeaked opposite end, as the blur suggests an oblique shape (?labium). This is a poor representation of either a recorder or a transverse flute" (Rowland-Jones, loc. cit.)

James Gillray

• Elizabethan Shepherd Playing the Recorder (ca 1811), grey and black ink, 23.8 × 21.8 cm, James Gillray (1756-1815). Grosse Pointe, Michigan: Draper Hill Collection. Ref.: Witt Library, London; Paris RIdIM (1999). A shepherd in a feathered hat holds a duct-flute (almost certainly a recorder) with a strongly flared bell. He plays right hand lowermost, but only four fingers of this hand are visible, closing their holes. The beak is very slender.

Lodovico Gimignani (1643-1679)

• Mercury Lulls Argus to Sleep by Making Music, oil on canvas, Lodovico Gimignani (1643-1679). Location unknown. Ref. Dutch University Institute for Art History, Florence (2011-b&w). Argus dozes uncomfortably on a rock as Mercury plays a long, slender flared bell pipe. No details of a beak or window/labium are visible, but the presence of holes for seven fingers with the lowermost two doubled hints at the possibility that a recorder was intended.

Luca Giordano [Lucas Jordán]

• Elevation of St Idelfonso (1692-1702), fresco, Luca Giordano (1632-1705). Detail. Toledo: Cathedral, Main Sacristy. Ref. Rowland-Jones (pers. comm., 2000); Wikimedia commons (2012-col.) "This huge ceiling fresco painting, covering 250 square metres was painted between 1692 and 1702, when Giordano was court painter to Charles II of Spain. Along the length of the painting are several groups of angel musicians. Near the centre an angel holds a bass recorder. The bocal and window/labium are very clear. The player has the first two fingers of his left hand on the body of the instrument, but two fingers are beneath. Below that there are three quite widely-spaced finger-holes, followed by the right hand with the first finger presumably on a hole. The other fingers of the right hand point downwards, but the rest of the instrument is hidden in a Baroque cloud.
  
  "At the North (far) end a rather feminine looking angel, without wings, holds another bass recorder with a strongly S-shaped bocal, and the window/labium quite near the cap at the top of the instrument. The player has her left hand against the side of the body of the instrument, with the first finger extending towards the window/labium. Two finger-holes are then visible lower down, before the edge of a balcony and another Baroque cloud cut off the rest of the instrument.
  
  "Another group close to the centre of the composition includes a flying angel in red playing a lute, with another winged angel behind playing a recorder of alto size. The right hand is upper, and all the fingers except the first of the right hand are down, presumably covering holes. The lower part of the body and the bell end are then visible. There is a further bass recorder, again with a strongly curved bocal, with the player's left hand close to the window/labium. The upper central part of the body is hidden, but five finger-holes are shown before the player's lower right hand. The end is unflared, with a very clear bore opening. Bass recorders often look like dulcians, but I believe that these are all clear examples of recorders.
  
  "On a balcony at centre side of the composition a small angel plays a pipe, but with insufficient details for recognition" (Rowland-Jones, loc. cit.)
• Four Women Making Music, oil on canvas, 57.2 × 101.6 cm, Luca Giordano (1632-1705). The Hague: Maritshuis, Cat. 321. Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001); Angelo Zaniol (pers. comm., 2003). Two women sing, another plays lute and a third (a negress) plays a conical pipe (possibly a recorder) of alto size. Currently on loan to the Rijksmuseum, Amsterdam, Inv. SK-C-1353.
• Recorder Player in a Garland of Flowers, oil on canvas, 100 × 75 cm, Luca Giordano (1632-1705). Milan: offered for sale by Porro Art Consulting (2005). Ref. Porro Art Consulting Catalogue: Dipinti e Disegni Antichi dal XV al XIX secolo, 6 June 2005, Lot 91a. One of a pendant pair with Tambourine Player in a Garland of Flowers (loc. cit., Lot 91b). Head and shoulders portrait of a somewhat portly man holding a cylindrical recorder of alto size, right hand uppermost. His female companion is similarly depicted playing a tambourine with jingle rings. It seems likely that the extensive floral garland was painted by Giuseppe Recco (1634-1695), amongst the best still-life painters of his day.

Giorgione [born Giorgio Barbarelli, also known as Castelfranco Veneto and as Giorgio da Castelfranco]

• Singer with a Recorder, oil on canvas, 102 × 78 cm, attributed to Giorgio Giorgione (1476/8-1510). Rome: Galleria Borghese. Ref. Visual Information Access (VIA), Harvard University (2000); Harvard University Fine Arts Library, Visual Collections, 1997.15171; Bridgeman Art Library (2003: Image ID AII 135257 - col.), as Singer with a Flute) A man in a white shirt and a skull-cap doffs a red hat with his right hand whilst holding a cylindrical duct-flute (possibly a recorder) in his left hand. The instrument is of alto-size, and the beak window/labium is readily discerned. Companion piece to The Impassioned Singer, also in the Galleria Borghese. The attribution of these two works is strongly debated. Some scholars think them to be the work of Domenico Capriolo (1494-1528); others assume that they were executed in the period following the death of Giorgione.
• Fresco (ca 1498), attributed to Giorgione (1477/8-1510). Castelfranco, Treviso: Casa Marta Pellizzari (Giorgione's birth-place), NE wall, right-hand side. Ref. Zampetti (1968/70: pl. 111 - col.); Rossi (1983: 40); Gentili (1999: 8); Angelo Zaniol (pers. comm. 1999); Paolo Biordi (pers. com, 2001). A frieze in monochrome and fine yellow ground. A collection of musical instruments including a lute, a viol of curious construction a heart-shaped hurdy-gurdy, a ? keyed harp, pellet bells, and a case containing at least six duct-flutes of different sizes (thus very likely recorders), only the heads (including window/labium) of which are visible.
• The Young Flute Player, oil on canvas, circle of Giorgione (1477/8-1510). Ref. Gabrius Data Bank (2001 - b& w). A young man in a turban-like hat with a bow holds a small duct-flute (flageolet or recorder) in his right hand. The beak and window/labium of the instrument are clearly depicted and two or three finger-holes can be seen beneath his hand, but the end of the instrument is out of view. Auctioned 25 May 1993, sold (Gabrius, loc. cit.)

Giotto (de Bondone)

• Baroncelli Polyptych: Coronation of the Virgin (ca 1325-1335), tempera on panel, Giotto (1267-75 – 1337) & Workshop. Details: left panels, central panel, second from right panel, far right panel. Florence: Basilica di Santa Croce. Ref. Burckhardt (1988: 49, pl. 32-col.) A concert of musical angels surround the crowning of the Virgin. Although this work depicts an extensive instrumentarium there are no recorders! This possibly provides negative evidence for the existence of the recorder in Italy at this time, but see below. This is generally considered to be a work of Giotto’s collaborators, possibly Taddeo Gaddi (ca 1300- ca 1366).
• Untitled fresco, (ca 1305-1306), ? follower of Giotto (1267-75 – 1337). Detail. Padua: Cappella degli Scrovegni, upper part of the triumphal arch (apse). Ref. Hérubel (1967); Liesbeth van der Sluis (pers. comm., 2001). In the middle on a golden throne sits God, angels on either side of him. To the left and right are two groups of angels (some of which play music on psaltery and perhaps a lute. On the far right three little angels play slightly flared pipes: two play double-pipes, and the other a slightly obscured single pipe held in one hand. Although these pipes may be duct-flutes they do not appear to be recorders; indeed they might just as well represent small shawms or trumpets.
• The Virgin's Wedding Procession (ca 1305-1306), fresco, Giotto di Bondone (ca 1267-1337). Padua: Cappella degli Scrovegni. Ref. Bridgeman Art Library (2003: Images BEN 65205, 67134, 102754 - col.); Beck (1999: 7-24); Early Music 27(1): front cover, detail-col. Three musicians play an oval fiddle and two fanciful wind instruments. One of the latter is cylindrical and might be thought to represent a pipe of some kind. However, both winds were originally depicted as trumpets before they were painted over by the artist (Beck, loc. cit.), and the manner in which they are held and the inflated cheeks of the players are clearly more suited to brass.
• St Francis in Glory (ca 1334), scene from a fresco cycle, school of Giotto di Bondone (ca 1267-1337). Assisi: Basilica Papale di San Francesco, Basilica Inferiore. Ref. Brown (1985: #167-b&w). According to Brown (loc. cit.), "two angels play pipe and tabor (or shawm or recorder)", but his reproduction is too small to confirm this. St Francis, enthroned, is surrounded by angels a number of whom play musical instruments. Four play straight trumpets, two on each side. And one angel on each side plays a short pipe with a flared bell. Although the pipes could be small shawms, the players' fingers are deployed perfectly for recorder playing with all four fingers of their lowermost hands covering their holes. I see no pipe and tabor here, but there is a cymbal player beside each piper.

Giovanello d'Italia (op. 1504-1531), Italian

• Ascension, Giovanello d'Italia (op 1504-1531). Syracuse: Galleria Regionale del Palazzo Bellomo. Ref. Anthony Rowland-Jones (pers. comm., 2000). Originally from Messina. The attribution is doubtful. On either side of Christ, angels play slender flared-bell pipes. No beak or window/labium is shown on either, but the mouthpiece rests on the lips of the player. The pipe on the left is played right hand uppermost beneath which three finger-holes clearly visible; the little finger of the lowermost (left) hand is on the side of the instrument and the lower-most hole is offset. The pipe on the right is held one-handed, two finger-holes visible above the hand and three finger-holes visible below. These may be intended to represent recorders. Another angel plays a large fiddle. Notes by Anthony Rowland-Jones (pers. comm., 2000).

Girolamo da Santa Croce

• St Thomas à Becket Enthroned with Four other Saints, Girolamo da Santa Croce (1480/1485-1556). Venice: San Silvestro. Ref. Visual Collection, Fine Arts Library, Harvard University, 372.G459.38Th; Rasmussen (1999b). "Angels play renaissance fiddle, lute and recorder" (Rasmussen, loc. cit.)
• Nativity, oil tempera on poplar panel, 57.5 × 74 cm, Girolamo da Santa Croce (1480/1485-1556). Prague: National Gallery. Ref. Pujmanova & Prbyl (2008: 284-286, pl.-b&w). Watched by an ox and an ass, Mary and Joseph kneel on each side of the Holy Child who is tended by two putti. Standing on the beams of the barn above, three putti sing in praise of God beneath the star of Bethlehem, and more putti are arriving on the roof, bearing objects symbolising the matyrdom of Christ: a crown of thorns, a sponge, a cross, a scourge, a spear and a ladder. on the right the Three Kings arrive on their steeds. And on the left, a shepherd sits holding a perfectly depicted alto recorder, the beak, window/labium, finger-holes and flared bell clearly depicted.

Cornelis Norbertus Gijsbrechts = Cornelis Norbertus Gysbrechts

Nicolaes de Giselaer

• Interior with four Musicians oil on canvas, 39 × 65 cm, Nicolaes de Giselaer (1583-1645). Groningen: Groninger Museum, Inv. 1931-105. Ref. Rijksbureau voor Kunsthistorische Documentatie 23019 (2010-b&w); Anthony Rowland-Jones (pers. comm., 2001). Four men sing and play theorbo, violin and a slender, soprano- or alto-sized pipe, possibly a recorder but not clear.

Steven Gjertson

• The Recorder Lesson (1981), oil on canvas, 70 × 55 cm, Steven Gjertson (1949-). Private Collection: David and Sharon Jasper. Ref. LeSueur (1993 - col.); Recorder & Music 13(3): front cover (1993 – col.); Ref. American Society of Classical Realism (1993). Seated on an ornate lounge chair, a young girl practices on a modern, keyed tenor recorder, assisted by her mother who leans over her shoulder. This is one of Gjertson's most familiar paintings. It was commissioned by someone who wanted a small painting with a musical theme using the artist's Victorian sofa and this particular Oriental vase. As in all of Gjertson's work, there is an emphasis on beautiful and expressive line. The painting's tightly-woven design is unified by the interplay of flowing lines between the figures and the sofa.

E.-J. Glairon-Mondet

• Le Fluteur [Recorder Player] (1786), engraving, 41.9 & 29.0 cm, after Caravaggio (1573-1610), by E.-J. Glairon-Mondet (op. 1786-1801/5). Galerie du Palais Royal, gravée d'après les Tableaux des differentes Ecoles qui la composent: avec un abrégé de la vie des peintres & une description historique de chaque tableau, par Mr. l'abbé de Fontenai Dedièe à S. A. S. Monseigneur le duc d'Orléans, premier prince du sang, par J. Couché, Paris, Chez J. Couché … vol. I (1786), 'Ecole de Lombardie' under 'Michel-ange Amerigi dit Le Caravage', no. 3 in index at front of vol. I. Washington DC: Library of Congress, Dayton C. Miller Collection, 0073/V. Ref. Advertisement for Sydney Society of Recorder Players (ca 1975); Lancaster (2007: 22, fig.) A melancholy young man holds a cylindrical soprano recorder, right hand uppermost. His torso is turned to the right, but he gazes directly at the viewer. His expression seems mournful or melancholy. His eyes are large, his hair is long, and the light coming from the right creates strong light and dark contrasts in his face, hair, and hands. From a three-volume folio of etchings and engravings after paintings in the collection of the Duc d'Orleans in the Palais Royal. He was the cousin of Louis XVI, who was guillotined in 1793. The collection was dispersed in 1798, at which time the painting was thought to have been by Caravaggio. Although the original painting on which the Miller print was based has yet to be traced, the etching is somewhat reminiscent of an anonymous painting entitled Boy with a Flageolet in the Ashmolean Museum, Oxford (A113), now thought to be by a Northern Italian artist but formerly attributed to Caravaggio, amongst others. However, the boy in the painting wears a hat and different clothing; his face is angled slightly differently, and he does not look directly at the viewer as does the boy in the print. The fingers on the upper hand are also placed slightly differently.

Johannes [or Jan] 'Polidoro' [Polidor, Polidoor or Polydore] Glauber

• Landscape with Shepherd and Flute Player, oil on canvas, 195 × 249 cm, Johannes Glauber (1646-1726). Paris: Musée de Louvre, Inv. 1301. Ref. Website: Joconde (1999). Beside a rough road leading through a clearing amongst wooded hills a young man plays to his girlfriend on his pipe, probably a duct-flute (possibly a recorder). On the hillside opposite sits a shepherd minding his flock. Along the path walks a young woman carrying a bundle on her head. The figures have been attributed to Gérard de Lairesse.
• Ideal Landscape with Waterfall, Johannes Glauber (1646-1726). Brunswick: Herzog Anton Ulrich-Museum, Inv. No. 400. Ref. Anthony Rowland-Jones (pers. comm., 2001). "Most of the picture is of craggy mountains, but there is one flat area, a green meadow by a torrent, where a shepherd with six sheep, sits piping on what is probably a duct-flute. The position is alright for a recorder – no puffed cheeks, left-hand lower near the bell; and the instrument seems to be of alto size" (Rowland-Jones, loc. cit.)

Friedrich Christian Glume

• Mercury and Argus (1742), stone relief, Friedrich Christian Glume (1714-1752). Berlin: Märkisches Museum. Ref. Bildarchiv Foto Marburg (DISKUS-Objekt-Dokument 00070688,T – b&w). One of three reliefs originally from the gable of the Berlin Opera House. Watched by Io (as a heifer), Argus is lulled asleep by Mercury who plays a flared-bell pipe. Although no beak or window/labium can be seen, three fingers of the player's top (right) hand and all four of the lower hand cover their holes, indicating that the instrument might represent a recorder.

Imero Gobbato

• From Beany and his New Recorder by Carol Panter (1972), drawing, Imero Gobbato (1923-). Ref. Beany and his New Recorder, Carol Panter, Four Winds, New York (1972). An illustration from a children's story. Beany pensively holds his new recorder in his right hand while looking for "one of his favorite places to sit, a smooth flat rock that jutted out of the trees." Beany recognizes that this "fine forest seat for a boy and a cat " would enhance his practice sessions and nurture his musical abilities. The cat is walking across the rock, his tail held high.

Tom Godin

• [Tweety Bird] (2002), drawing, Tom Godin (contemporary). Ref. This is a recorder (2003). Illustration to an article recounting an experiment using a recorder to simulate a Pygmy Owl call. A pygmy owl plays a recorder.

Hugo van der Goes

• Adoration of the Shepherds (ca 1480), oak panel, 97 × 245 cm, follower of Hugo van der Goes (ca 1440-1482). Detail. Berlin: Gemäldegalerie, No. 546. Ref. Staatliche Museen Preussischer Kulturbesitz (1968: 51, pl. 29 – b&w); Archiv Moeck (detail); Bock (1985/6: 146-147, pl. -col); Recorder Magazine 22(4): front cover (2002, detail, col.) Two shepherds run towards the crib, falling over each other in their haste. Behind them a shepherd claps his hands to accompany his companion who plays on a small flared-bell recorder with what appears to be a metal-sheathed beak. This is an old copy of a lost original, which was also copied by Gerard David in a painting in the Alte Pinakothek, Munich.
• Adoration of the Shepherds (ca 1480), panel, Hugo van der Goes (ca 1440-1482). Dresden: Staatliche Kunstsammlungen – Gemäldegalerie Alte Meister. Ref. Boragno (1998: 14 – b&w). As Mary and Joseph kneel beside the crib surrounded by angels, two shepherds rush in from the left. In the background another shepherd plays a cylindrical recorder with what appears to be a metal-sheathed beak, the flared-bell, window and a number of finger-holes clearly shown. A fourth shepherd claps his hands as an accompaniment.

Hans-Peter Goettsche

• Recorder Player (1927), sculptor, Hans-Peter Goettsche (20-21st century). Berlin: Deutsche Akademie der Kunste. Ref. Walter Bergman (ex Anthony Rowland-Jones, pers. comm., 2003 - b&w). A girl plays a highly stylised recorder.

Jacob Gole

• Monk with a Recorder (1724), print, 18.4 × 23.4 cm, Jacob Gole (c. 1660-1737) after Cornelis Dusart f. (1660-1704). Amsterdam: Rijksmuseum, RP-P-2003-124. This print is part of a 50-part series on the subject of the abuses of the Catholic clergy. A rather leary-looking monk standing, appears to be counting on the fingers of his left hand. Tucked in a loop on the shoulder of his cowl is a baroque recorder of alto-size.

Chris Gollon

• Wall of Death (1999), mixed media on panel, 122 × 91 cm, Chris Gollon (1953-). Private Collection. Ref. Bridgeman Art Library (2002: Image ID IAP 138432). A surealistic depiction of a fairground "wall of death" ride in which a woman becomes gruesomely twisted and distorted and a cloaked figure plays a conical recorder which has become curved like a cornett, though a tiny window/labium is clearly visible.

Hendrick [Hendrik] Goltzius [Gols, Goltius, Goltz, Golzius]

• Contest between Apollo and Pan or The Judgment of Midas (1590), Hendrick Goltzius (1558-1617). Ref. Bartsch (1854-1870, 3: 140.43); Munich RIdIM (1999). Apollo plays the violin (or viola), Pan plays a small recorder; Terpschore accompanies him on her lute.
• Contest between Apollo and Pan or The Judgment of Midas, Hendrick Goltzius (1558-1617). Ref. Bartsch (1854-1870, 3: 40 S1); Munich RIdIM (1999). Apollo plays the violin (or viola), Pan plays a small recorder; Terpschore accompanies him on her lute.
• Woman with a Recorder, Hendrick Goltzius (1558-1617). Ref. Bartsch (1854-1870, 3: 213c); Munich RIdIM (1999).
• Mercury and Argus (1580-1590), engraving, 82 × 63 mm, Hendrick Goltzius (1558-1617). New York: C. & J. Goodfriend (2005); Amsterdam: Rijksmuseum, Inv. RP-P-OB-10.131. Ref. Bartsch(1854-1870, 3: 47.157); Strauss 172; Munich RIdIM (1999); Rowland-Jones (2000c: fig. 6). Monogrammed "HG.f.". Argus with his staff is falling asleep. Mercury (with a winged helmet) seated by him plays a cylindrical recorder with a very slight flare at the bell, right hand lowermost, little finger covering a hole. No finger-holes or window/labium are shown, but there is a clear beaked mouthpiece, and the playing position is perfect for a recorder. Notes by Anthony Rowland-Jones (pers. comm., 2000).
• Mercury and Argus, Hendrick Goltzius (1558-1617). Ref. Bartsch(1854-1870, 3: 105.17). Argus watches suspiciously as Mercury plays a pipe ? with a pirouette and no sign of windway/labium, but there is only a slight bell-flare to a moulded ring. The right hand is lowermost with the little finger on. No finger-holes are visible. A caption below quotes from Ovid's Metamorphoses, Book 1:
  

  Fallaci cantus modulamine deperit Argus,
  In somnem sopit fistula blanda virum.

• Mercury, Argus and Io (? 17th century), after Hendrick Goltzius (1558-1617), Anonymous (? 17th century). Ref. Blanker et al. (1999: pl. 46 – b&w.) Mercury, as a peasant, plays a narrowly cylindrical recorder.
• Mercury Putting Argus to Sleep (1589), engraving, 17.7 × 25.5 cm, after Hendrik Goltzius (Dutch, 1558-1617). Amsterdam: Rijksmuseum, Inv. RP-P-1882-A-6359. Ref. Weslyan University: Davison Art Center (2003); Bartsch (1978, 3: 355). Plate 17 from the series of 52 plates illustrating Ovid's Metamorphoses, engraved in the workshop of Goltzius. Mercury, as a peasant, sits on a rock playing a narrowly cylindrical pipe with a more or less abrupt bell flare. The arrangement of his fingers and thumb are perfect for recorder playing, and the little finger of his lowermost (right) hand is covering its hole. Argus sits beneath a tree, listening, his dog beside him. Between Argus and Mercury, stands Io (as a heifer). A caption below quotes from Ovid's Metamorphoses, Book 1:
  

  Centum oculis vigilem Tegees illusit alumnus, Æternique astu iussa parentis obit.

  Fallaci cantus modulamine deperit Argus, In somnem sopit fistula blanda virum.

• The Virgin and Child with Music-making Angels and the Annunciation to the Shepherds Beyond, oil on canvas, Hendrick Goltzius (1558-1617). Ref. Gabrius Data Bank (2001 - col.) Auctioned 9 July 1999, sold (Gabrius, loc. cit.) The Virgin lifts the covers from the sleeping Christ-child who is serenaded by putti playing cittern and a slender duct-flute (probably a recorder), though the details are obscure.
• Woman with a Flute and a Musical Trophy (1598-1602), engraving on paper, 4.6 × 4.6 cm, Hendrick Goltzius (1558-1617). Amsterdam: Rijksmuseum, Inv. RP-P-OB-10.287. Depicts two sides of a medallion: one side with a portrait of a woman holding a small duct-flute, possibly a recorder; the other side with a trophy comprising a music book, violin, bagpipe, shawm, and two ? flutes. Each side has a caption (both reversed) in Dutch: that with the trophy reads IS VRV RECHT OM VOEGHEN GOET; that with the portrait reads: t'ydel berooyt.

Thomas Sword Good

• The Power of Music (1823), oil on panel, 33.1 × 50.5 cm, Thomas Sword Good (1789-1872). Newcastle upon Tyne: Laing Art Gallery, TWCMS:B6671. Ref. Archiv Moeck. An old man dances, waving his cane in the air to the music of a woman playing the cello and a young man playing a baroque-style recorder. A tambourine with jingle rings leans against a chair in the foreground. A parrot in a cage stands in a corner in the background.
• The Power of Music (1830), mixed method mezzotint, 48.6 × 39.4 cm, by W. Morrison (a.1829-p.1838 after Thomas Sword Good (1789-1872). London: British Museum, Inv. 2010,7081.4617 & 2010,7081.7486. Ref. Website: British Museum (2012-b&w). An old man dances, waving his cane in the air to the music of a woman playing the cello and a young man playing a baroque-style recorder. A tambourine with jingle rings leans against a chair in the foreground. A parrot in a cage stands in a corner in the background.

R.C. Gorman

• The Flute Player (2000), oil pastel drawing, 109 × 120 cm, R.C. Goorman. Taos: Navajo Gallery. Ref. flautotaverso.it (2003 - col.) A pueblo indian woman plays a duct-flute. Whilst this probably represents the American Indian flute, the absence of the external block and the fact that the little finger of the lowermost (right) hand is raised above the instrument as if poised above a hole makes this seem very much like a recorder. This work is currently offered for sale at US $17,000.

Jan Gossaert or Jenni Gossart, also called Jan Malbodius = Jan Mabuse

Pam Gossner

• Santa Fe Window with Recorder (2007), pastel, Pam Gossner (contemporary). Ref. American Recorder 48(4): front cover (2007). On a ledge beneath a window with blue drapes is a vase of dried flowers and some lotus fruit, a baroque-style recoder and a closed music score.

Thomas Cooper Gotch

• A Woodlander, or Piping to the Never Never Land, watercolour on paper, 17.2 × 12.1 cm, Thomas Cooper Gotch (1854-1931). London: Mallett Gallery. Bridgeman Art Library (2003: Image MAL 85981 - col.) A man playing the pipe is seen side-profile in silhoutte against a background of trees. The pipe has a flared bell but no other features. The player's hand and finger positions seem to suggest that a recorder was intended.

Gottfried Bernhard Götz [Göz; Goez; Goetz]

• Apollo and the Muses, grey sketch with white tint, 13.5 × 18.5 cm, Gottfried Bernhard Götz (1708-1774). Munich: Bayerische Staatsgemäldesammlungen, Inv. 31960. Ref. Munich RIdIM (1999, Mgs-246). Apollo and the Muses make music on Mt Helicon. Apollo is sits in the middle of a rock and plays on a lyre. Behind him are Pegasus and the Hippocrene Spring. To the right of Apollo two of the Muses play flute and harp, and below him a third is singing from sheet music accompanied by a fourth on lute. A Muse with her back to the viewer, plays on a violin. Below another Muse plays harp and two more play recorders; another plays triangle (with rings).
• Musicians (ca 1751), detail from a fresco, Gottfried Bernhard Götz (1708-1774). Donanwörth: Château de Leithem. Ref. Paris RIdIM (1999). Beneath some trees, a man plays a violin accompanied by a young woman on a lute and an older woman holding a turned, flared-bell recorder (left hand lowermost).

Jakob Götzenberger

• Virgin in Glory (1820-1866), pencil on paper, 41.7 × 57 cm, Jakob Götzenberger (1802-1866). Heidelberg: Kurpfälzisches Museum, Inv. Z 770. Ref. Munich RIdIM (2002, HDkm - 121); Rowland-Jones (pers. comm., 2002). The Virgin in glory is surrounded by angels; beside her is Joan of Arc; at their feet are two musical angels with duct-flute and a psaltery.
• Faunetto con tibia [Faun with a Pipe], pencil on paper, 18.6 × 15 cm, Jakob Götzenberger (1802-1866). Heidelberg: Kurpfälzisches Museum, Inv. Z 3012. Ref. Munich RIdIM (2002, HDkm - 128); Rowland-Jones (pers. comm., 2002). A standing bacchante, wearing a wreath and with a lion-skin over one arm, holds a duct-flute.

Gottfried-Bernhard Götz & Joseph Anton Feuchtmeyer

• Angel Concert (1749), fresco, Gottfried Bernhard Götz (1708-1774) & Joseph Anton Feuchtmeyer (1696-1770). Birnau: Convent Church, ceiling. Ref. Wagner (1961: 149 - pl.); Walter Bergmann (ex Anthony Rowland-Jones, pers. comm., 2003 - b&w). Gabriel descends from the heavens surrounded by angel musicians in groups who sing and play trumpets, kettle drums, violins, cello, transverse flute, horns, lute, and a group of four putti sing and play two well-depicted baroque recorders.

Gottfried-Bernhard Götz & Johann Chrysostomus Winck

• Laetitia [Happiness] (1757), book illustration, Gottfried Bernhard Goetz (1708-1744) & Johann Chrysostomus Winck (1725-1795). Augsburg: Städtische Kunstsammlungen, Inv. G 5272. Ref. Munich RIdIM (1999, Ask - 266). Includes a pipe (oboe or recorder), and a lute. Notes by Anthony Rowland-Jones (pers. comm., 1999; 2002).

Anton [Antoine] Goubau [Goubeau] I

• Lunch in the Country – A Concert Scene, Anton Goubau (1616-1698). Rome: Villa Corsini, Picture Gallery. Ref. Anthony Rowland-Jones (pers. comm., 2002). Four men, one seated singing, with music, and (? music) books. One carries a lute. A man at the left holds a cylindrical pipe, probably of tenor size though the head and foot are both hidden, but five finger-holes can be seen. Another man, standing behind a table, has his left hand on another pipe, but the lute hides one end and a book the other. Three finger-holes are seen to the left of his hand, two to the right. Recorders seem quite likely in both cases.

Gilliam van der Gouwen

• Musica dis curae est, engraving after Philipp Tidemann (1657-1705), by Gilliam van der Gouwen (op. 1669-1713). Ref. Archiv Moeck. Apollo, strumming his lyre, is surrounded by musicians playing viol, vielle, flute, and a columnar bass recorder. The winged horse, Pegasus, gallops in the clouds above, where the gods desport themselves.

Francicso (José) de Goya [y Lucientes) (1746-1828), Spanish

• Poetry and Poets, Francisco de Goya (1746-1828). Stockholm: Nationalmuseum, NM 5592. Ref. Anthony Rowland-Jones (pers. comm., 2000). The laurel-wreathed figure of Poetry sits on a rather pointed rock around which three putti fly. One holds a French horn, one a pair of cymbals, and a third a cylindrical soprano duct-flute held up in his right hand. The window/labium is shown by a black rectangular mark, and below the clutching hand are three finger-holes in line. It is uncertain whether there are six or seven finger-holes in all. Notes by Rowland-Jones (loc. cit.)

Carl [Charles Grav] von Graimberg [Graf Charles de Graimberg] (1774-1865), German

• Sheet with 12 vignettes of the [Schloss] Otthenrichsbau (1819), ink and pencil on paper, 18.2 × 42.1 cm, Carl von Graimberg (1774-1865). Heidelberg: Kurpfälzisches Museum, Inv. Z 605. Ref. Munich RIdIM (2002, HDkm - 133); Rowland-Jones (pers. comm., 2002). Trophies with musical instruments, including folded trumpet and kettle drums; trombone, harp and fiddle; shawm, cornett, and folded trumpet; recorder, sordun and syrinx; sordun, cornett and music book; recorder; hurdy-gurdy, shawm, lute and recorder; pipe and tabor; recorder, cornett and flute, shawm, cornett and zither; recorder, ?sordun and bagpipe.
• Sheet with 19 vignettes of the [Schloss] Otthenrichsbau (1820), ink and pencil on paper, 40.4 × 53.1 cm, Carl von Graimberg (1774-1865). Heidelberg: Kurpfälzisches Museum, Inv. Z 5574. Ref. Munich RIdIM (2002, HDkm - 134); Rowland-Jones (pers. comm., 2002). Trophies with musical instruments, including hurdy-gurdy, shawm, lute and recorder; recorder, ?sordun and bagpipe.

Antiveduto Gramatica [Grammatica, della Grammatica]

• St Cecilia (1610-1612), Antiveduto Gramatica (1571-1626). Lisbon: Museo de Arte Antigua. Ref. Spear (1971: 108); Rasmussen (1999c; 2002, Lute); Angelo Zaniol (2003, pers. comm.) "The Saint sings, angels play harp and lute, and there are a violin, little lute, recorder and tambourine (the tambourine of his Turin painting) on a table in front of them" (Rasmussen, loc. cit.) The recorder is slender with a slightly flared bell; the window/labium and all seven finger-holes in-line are visible. There is another version in the Kunsthistorisches Museum, Vienna, with a slightly different arrangement of instruments and the players dressed differently.
• St Cecilia (1620-1625), oil on canvas, 91 × 120 cm, Antiveduto Gramatica (1571-1626). Vienna: Kunsthistorisches Museum, Inv.-Nr. GG_249. The Saint sings, angels play harp and lute, and there are a violin, little lute, recorder and tambourine (the tambourine of his Turin painting) on a table in front of them. The recorder is slender with a slightly flared bell; the window/labium and the three lowermost finger-holes in-line are visible. There is another version in the Museo de Arte Antigua, Lisbon, with a slightly different arrangement of instruments and the players dressed differently
• The Lute Player (fragment of a Music Party) (ca 1615), oil on canvas, 119 × 85 cm, Antiveduto Gramatica (1571-1626). Turin: Galleria Sabauda. Ref. Galleria Sabauda, Turin (1971: 368, pl. 139); Gozio (1968: 1353); Moir (1967: fig. 115); Die Musik in Geschichte und Gegenwart. XIII (taf 14); Pisetzky (1966: 14); Rasmussen (1999c; 2002, Lute); Sartori (1964-4, 1: pl. opp. p. 96 – col.); Spear (1971: no. 33); Visual Collection, Fine Arts Library, Harvard University, 372.C178.90[i]). "He plays an archlute or small chitarrone. On the table in front of him a guitar, recorder (?-very partly visible) and tambourine" (Rasmussen, loc. cit.) A copy (location unknown) shows the missing portion at the left, with a woman playing a harpsichord and a man playing a flute (Spear 1971: fig. 25).
• Euterpe, Antiveduto Gramatica (1571-1626). Turin: Palazzo Chiablese. Ref. Papi (1995); Angelo Zaniol (pers. comm., 2003). A very buxom Euterpe (Muse of music and lyrical poetry) holds a cornett and a flared-bell 'Ganassi'-style recorder in her left hand. With her right hand she withdraws two flared-bell pipes from a cylindrical container at her side.
• Euterpe, Antiveduto Gramatica (1571-1626). Turin: Circolo Ufficiali di Presidio, già nelle Collezioni ducali del Castello del Valentino. Ref. Angelo Zaniol (pers. comm., 2004). Standing in front of an organ, Euterpe (Muse of music and lyrical poetry) looks at us over her shoulder holding in her right hand a transverse flute and a slender cylindrical duct-flute and in her left hand (held against her hip) a larger flared-bell duct-flute. Only six holes are visible on the smaller of the duct-flutes (though another may be hidden beneath her thumb), the window/labium is crudely fashioned in the manner of a folk instrument, and the beak is very short. Thus it might represent a flageolet rather than a recorder as such. It is possible that the longer instrument represents a recorder, though only the four lowermost holes (in-line) are visible, details of the window/labium are occluded, and the beak seems rather short.

Louis Grandet (2nd half of 17th century)

• Massacre of Orpheus, oil on canvas, 225 × 410 cm, Louis Grandet (2nd half of 17th century). Verona: Museo del Castelvecchio, Inv. 5885-1B609. Ref. Anthony Rowland-Jones (pers. comm.) There are various accounts of the death of Orpheus. Ovid recounts that the Ciconian women, Dionysus' followers, spurned by Orpheus, who had forsworn the love of women after the death of Eurydice and had taken only youths as his lovers, first threw sticks and stones at him as he played, but his music was so beautiful even the rocks and branches refused to hit him. Enraged, the women tore him to pieces during the frenzy of their Bacchic orgies. In this painting, Orpheus is set upon by the women amidst much noisy music and dancing. An alto recorder joins in at right centre. The instrument is narrow, but has a clearly shown window/labium. The player's left hand is uppermost, with fingers poised, and six finger-holes are showing – the seventh is covered, though the little finger-hole is not offset. There is an extensive but gentle bell flare.

Niccolás Granello [Granelo]

• Allegory of Music, ceiling painting, Niccolás Granello (ca 1550-1593). Real Monasterio de San Lorenzo de El Escorial, Library. Ref. Centre for Music Documentation (CMD), Madrid (2001); Anthony Rowland-Jones (pers. comm., 2001). An angel or boy holds up what could be an alto recorder. It is held by two hands close together, probably covering only one finger-hole, but three equally spaced finger-holes are shown before the rest of the instrument is obscured by an arch at the side of the vault. The beak and window/labium are perfectly painted, with two incised rings close together, just above the window/labium” (Rowland-Jones (loc. cit.)

Blasco de Grañen [Master of Lanaja]

• Altarpiece, central panel: Virgin and Angels playing Musical Instruments and Donor (1438), tempera on wood, 167 × 107 cm, Blasco de Grañen (op. 1422-1459). Madrid: Museo Lázaro Galdeano. Ref. Ballester (1990: 162-163 & pl. 75); Pérez Sanchez (1995, 1); Post (? date, 2: 333); Rowland-Jones (1997: 14); Sartarelli (1997: 34-46, fig. 5); Ducay (2007b: pp. 18-23 & fig. 5-6 – b&w); Website: gallica (2012-b&w). From the village of Lanaja in Huesca province. The name of the donor, Sperandeu de Fé, and the date of the commission can be read on the panel at the foot of the painting, between a priest and an angel holding the shield of the donor. The Virgin, holding a spray of lilies, enthroned with the Christ Child on her lap, a golden orb in his hand, is surrounded by angel musicians who play rebec, mandola, harp, and a cylindrical recorder with all fingers of the lower (right) hand covering their holes. Behind, an angel in a pulpit reads or sings from an open book. The double holes for the lowermost finger of the are clearly visible on the recorder. Its use in these paintings by Blasco de Grañen some 50-60 years after Serra's original is striking.
• Altarpiece, central panel: Virgin and Angels playing Musical Instruments (c. 1450), oil on wood, Blasco de Grañen (op. 1422-1459). Saragossa: Museo Ibercaja Camón Aznar. Ref. Wilfried Praet (2010). Depicts the Virgin enthroned with the Christ Child on her lap, a bird in his hand, surrounded by angel musicians who sing and play mandola, harp, lute, and a cylindrical recorder. The latter is clearly depicted with window/labium, and paired finger-holes for the little finger of the lowermost (left) hand clearly visible. The recorder-playing angel is very similar to that depicted 60 years earlier by Pere Serra (c.1357-1409), and copied by Catalan artists for some 20 years after his original. Its use in these paintings by Blasco de Grañen some 50-60 years after Serra's original is striking.
• Virgin and Child with Angels, painting on wood, circle of Blasco de Grañen (op. 1422-1459). Barcelona: Private Collection. Ref. Ballester (1990: 130-131, pl. 12). The Virgin and Child are surrounded by six angels, four of whom play instruments: two on the left play harp and mandola, and two on the right play lute and a cylindrical recorder. The musicians and their instruments are more or less identical with the Saragossa altarpiece.

William James Grant

• The Sleeping Drummer Boy (1850), painting, William James Grant (19th century). Ref. MacMillan (1983: 495). "A recorder is clearly shown … The instrument illustrated here is a baroque type of recorder with ivory mounts: however, it appears to have eight tone holes, together with a thumb hole" (MacMillan, loc. cit.)

Emilio Grau-Sala

• Boy with a Pipe, Emilio Grau-Sala (1911-1975). Location unknown: Auctioned 12 May 1994 (sold). Ref. Gabrius Data Bank (2002 - col.) In a forest surrounded by trees and fallen leaves, a boy in red shorts, a striped shirt and a blue cap plays a narrowly conical pipe. The instrument has far too many finger-holes and it is not clear if it has a reed or window/labium. It could be meant to represent a recorder.

Francine Gravel

• Quatre Saisons, mixed media, 25.4 × 25.4 cm, Francine Gravel (1944-). Edmonton, Alberta: Scott Gallery. Children play violin, recorder, cello and flute. The recorder is stylised, and slightly flared; the window/labium is clearly depicted and the fingers are in recorder playing position, the little finger of the lowermost (right) hand extended and covering its hole.
• Pavane pour une nuit paisible (1977), Oil on linen canvas, 25.4 × 30.5 cm, Francine Gravel (1944-). Kelowna: Studio, Francine Gravel (2006). Children play lute and two recorders. The recorders are stylised, and cylindrical; in each the window/labium is clearly depicted and the fingers are in recorder playing position, the little finger of the lowermost (right) hand extended and covering its hole.
• Dans un rêve (1996), oil on linen canvas, 40.6 × 45.7 cm, Francine Gravel (1944-). Kelowna: Studio, Francine Gravel (2006). A child sleeps her head resting on her crossed arms on a book on a table on which are a vase of flowers and a small, cylindrical duct-flute. The latter, viewed laterally, is possibly a recorder, though only six finger-holes can be seen: the lowermost may be hidden from view.
• A Celebration of Music oil on linen canvas, 50.8 × 61.0 cm, Francine Gravel (1944-). Ref: Phone Directory, Telus Edmonton Area (1997-1998: front cover - col.) "Music is, and has been, an important source of my inspiration for many years. The project for the creation of A Celebration of Music has further explored my love for music as well as my feeling for Edmonton as a place. For Edmonton is the city where my career as an artist began to blossom, and this is reflected in my choice of the season for this painting. Spring, as well as youth, are symbols of hope and renewal, both present in the work. This hope and renewal are also commemorated this year in the opening of the Francis Winspear Center for Music. The open frame suggests a future that can expand beyond its limits; and, at the same time, it symbolizes the richness and dreams of the past as they have contributed to the present. In this we all share."
  
  Against the backdrop of houses musicians play violin, two flutes, double bass and recorder. The window/labium and finger-holes of the latter are clearly enough depicted.
• Aubade au point du jour (1996), 71.2 × 91.4 cm, Francine Gravel (1944-). Kelowna: Studio, Francine Gravel (2006). Against a background of houses illuminated by the rising sun, musicians play three violins, recorder, cello (or double bass) and oboe. The recorder is cylindrical, the window/labium clearly depicted and all fingers covering their holes.
• Allegro, Francine Gravel (1944-). Ref. Allegro, Magazine of the Vancouver Symphony Orchestra (1993: cover-col.) A musician in a turban plays a cylindrical recorder, the window/labium clearly depicted and the fingers held perfectly for recorder playing. Behind, are clowns and acrobats.
• The Garden (2001), oil on linen, 101.6 × 137.2 cm, Francine Gravel (1944-). Kelowna: Hambleton Galleries (2006). In a garden opening onto fields jungle animals listen to a young man playing a conical recorder. The window/labium of the latter is clearly visible and the fingers are deployed as for recorder-playing. A small girl sits in a tree playing the violin.
• Panorama Symphonique (1997), 152.4 × 243.8 cm, Francine Gravel (1944-). Kelowna: Studio, Francine Gravel (2006). At the entrance to a church, musicians play four cylindrical recorders, lute, two flutes, violin and oboe. In the background a woman dances with a clown. A town is seen in the bacground.
• Concierto Pastorale, Francine Gravel (1944-). Ref. CD Cover: Timothy Hutchins (flute), CBC Vancouver Orchestral [Mario Bernard], CBC 5171. Musicans play recorder and flute, the window/labium of the former clearly depicted and the fingers deployed as for recorder-playing. Behind them a man leads a horse, and another musician stands holding a violin.
• Whence the Music (1998), Francine Gravel (1944-). Ref. Programme Cover: National Youth Orchestra of Canada. Musicians sing and play cello, violin, viola, flute and recorder, the window/labium of the latter clearly depicted.
• Recorder Quintet (2001-2002), Francine Gravel (1944-). Ref. CD cover, Celebration!, Vancouver Youth Symphony Orchestra. Musicians play double bass, cello, viola, violin and recorder. The latter is viewed in side profile, the fingers deployed as for recorder-playing and the double holes for the lowermost finger clearly depicted.
• Musique de Tzigane, oil on linen, 50.8 × 15.2 cm, Francine Gravel (1944-). Kelowna: Hambleton Galleries (2006). A young woman plays violin accompanied by a young man on recorder, the window/labium of the latter clearly depicted.
• Les Sons d'une Cité, oil on linen, 76.2 × 101.6 cm, Francine Gravel (1944-). Kelowna: Hambleton Galleries (2006). Against a backdrop of trees and town-houses, musicians play four recorders, and two violins. A girl admires a blue daisy flower.
• Winter Serenade, mixed media, 25.4 × 25.4 cm, Francine Gravel (1944-). Kelowna: Hambleton Galleries (2006). Rugged up against the cold evening, a girl and a boy play recorder and violin, the cylindrical recorder clearly depicted. In the background are snow-covered town-houses.
• Small Ensemble, 61.0 × 40.6 cm, Francine Gravel (1944-). Kelowna: Hambleton Galleries (2006). A girl in a mask plays a recorder, the window/labium, and paired holes for the two lower-most fingers clearly depicted. Behind her, other children play flute and three oboes.
• Musique sous les Etoiles, poster, 99.1 × 63.5 cm, Francine Gravel (1944-). Ref. Website: The Art Ark (2006). A girl plays a cylindrical recorder accompanied by a boy who plays lute. Behind them, two girls dance surrounded by trees and town-houses. In the background the sun sets over the water.

Pieter (Fransz.) de Grebber

• Allegory of Marriage, drawing in ink and pencil on white and coloured paper, 26.5 × 43 cm, Pieter de Grebber (ca 1600 – 1652-4). Rennes: Musée des Beaux Artes, Inv. 794.1.3377. Ref. Joconde Website (1999). A man and a woman, Cupid, playful putti, sheep, a leafy crown, a vase or chalice, baskets, trees, birds, a duct-flute (flageolet or recorder). Not seen.
• Shepherd Pair in a Landscape, canvas, 116 × 155 cm, Pieter de Grebber (ca 1600 – 1652-4). Wiesbaden: Gemäldegalerie. Ref. Rijksbureau voor Kunsthistoriche Documentatie 2455 (2010-b&w). A young woman and a young lad sit on a hillside. He leans slightly over her with a pipe held in his fist pointed towards her ankles. The pipe has a flared bell, and seven finger-holes are visible with the lowermost offset, so this is very likely a recorder. Behind the lad is a goat; beside the woman is a sleeping dog. The young woman's flowing dress seems most unlikely atire for a shepherdess. An identical painting is currently advertised by Sotheby's (Amsterdam) – see below.
• Pastorale, canvas, 121 × 155 cm, Pieter de Grebber (ca 1600 – 1652-4). Amsterdam: Sotheby's Sale , Old Master Paintings, 30 November 2010, Lot 75; formerly in the collection of Jakob and Rosa Oppenheimer. Ref. Rijksbureau voor Kunsthistoriche Documentatie 2455 (2010-b&w). A young woman and a young lad sit on a hillside. He leans slightly over her with a pipe held in his fist pointed towards her ankles. The pipe has a flared bell, and seven finger-holes are visible with the lowermost offset, so this is very likely a recorder. Behind the lad is a goat; beside the woman is a sleeping dog. The young woman's flowing dress seems most unlikely atire for a shepherdess. This is identical to a painting in the Gemäldegalerie, Wiesbaden – see above.

Doménicos Theotocópoulos, called 'El Greco'

• Annunciation (1597-1600), oil on canvas, 315 × 174 cm, El Greco (1541-1614). Villanueva y Geltrú, Spain: Museu Victor Balaguer. Ref. Troutman (1984: 29-30, pl. 22 – col.); Early Music 20(4): front cover (1992 – col.); Recorder Magazine, September: front cover (1994 – col.); Rowland-Jones (1994: 75-78); Thomson & Rowland-Jones (1995: 42, detail); Website: gallica (2012-b&w, detail). Depicts the Virgin's reception of the Holy Ghost.. Above, a host of musical angels sing and play cello, virginals, harp, lute; one (who seems to have lost his part whilst all about are playing theirs) holds a flared-bell recorder.
• Annunciation (1596-1600), 114 × 67 cm, El Greco (1541-1614). Madrid: Museo Thyssen-Bornemisza. Ref. Heinemann (1969: pl. 286 – col.); Rowland-Jones (1995: 80; pers. comm., 2001). Depicts the Virgin's reception of the Holy Ghost.(see above). "This version has a slightly stronger bell and bore flare than the one in the Prado, and shows no paired little finger-holes" (Rowland-Jones, pers. comm., 2001).
• Annunciation (1596-1600), El Greco (1541-1614). Madrid: Prado, Inv. 3888. Ref. Anthony Rowland-Jones (pers. comm., 2001). "The Prado version of this picture (3888), which it seems El Greco painted several times, is much the same as the one in the Thyssen-Bornemisza Collection. The angel at top centre left holds his recorder vertically. It has paired little finger-holes and a medium bell flare and is probably of soprano size" (Rowland-Jones, loc. cit.)
• Immaculate Conception (1606-1613), oil on canvas, 348 × 174.5 cm, El Greco (1541-1614). Toledo: Museo de Santa Cruz, Inv. No.1277. Ref. Anthony Rowland-Jones (pers.com., 2001). Painted for the High Altar of the Chapel of Oballe, San Vicente, Toledo, begun 1607, finished 1613, this painting represents the Immaculate Conception, although it has often been referred to as an Assumption. "The angel's recorder this time has something like ten small holes in line, all below the player's hands. A string bass nearby is also rather sketchily painted" (Rowland-Jones, loc. cit.)
• Immaculate Conception (1607-1613), oil on canvas, 108 × 82 cm, El Greco (1541-1614). Madrid: Thyssen-Bornemisza Collection, Inv. 170. Ref. Heinemann (1969: pl. 285 – col.); Rowland-Jones (1994: 75-78, fig. 2, detail – b&w; pers. comm. 2001). "This picture appears in other versions. The recorder held by the angel is of soprano size and the four lowest finger-holes are showing, the bottom one slightly offset and not far from the slightly flared bell. The angel's hands hide the other finger-holes, but the window/labium and beak are very clear" (Rowland-Jones, pers. comm. 2001).
• Immaculate Conception (1607-1610), oil on canvas, 323 × 167 cm, El Greco (1541-1614). Toledo: Santo Cruz Museum. Ref. Troutman (1984: 34, pl. 44-col.); Rowland-Jones (1995: 80). The Virgin is surrounded by angels singing and playing instruments, amongst them a flared-bell recorder.
• The Martyrdom of St Maurice and his Legions, (1579/80-82), oil on canvas, 448 × 301 cm, El Greco (1541-1614). Real Monasterio de San Lorenzo de El Escorial, Chapter House. Ref. Troutman (1984: 27, pl. 14 – col.) The subject, the martyrdom of the soldier Saint with his legions for his refusal to worship the pagan gods, expresses the conviction of faith that inspired the crusade. Above the main scene on the battlefield angels hover, including a group of musical angels singing and playing cello, lute, and an ambiguous pipe (possibly a recorder).
• Angelic Concert, oil on canvas, 112 × 205 cm, (ca 1610), oil on canvas, El Greco (1541-1614). Athens: Ethniki Pinakotheki, kai Mouseiou Soutzou. Ref. Website: The Great Bass Viol: Musical Iconography (2003 - col). Six musical angels sing and play harp, bass viol and a slender pipe (probably a duct-flute, possibly a recorder, though no details are visible. This is possibly the last work painted by El Greco.

Stammatico Greco (15th century), Italian

• Assumption, Stammatico Greco (15th century). Subiaco: Monastero di San Benedetto. Mary is seated with Christ in a mandorla on a throne surrounded by musical angels who play, from left to right: mandora, snare drum, double-flute or shawm, lute, another double-flute or shawm, recorder or shawm. there is a copy of this by Johann Anton Alban Ramboux (1790-1866) in the Kunstamuseum, Düsseldorf. Not seen.
• Assumption, ink & watercolour on paper, 36 × 47 cm, Johann Anton Alban Ramboux (1790-1866) after Stammatico Greco (15th century). Düsseldorf: Kunstmuseum, Inv. M 115, SV 132, Nr. 248. Ref. RIdM Munich (2009, DÜk 402). Mary is seated with Christ in a mandorla on a throne surrounded by angels who play, from left to right: mandora, snare drum, double-flute or shawm, lute, another double-flute or shawm, recorder or shawm. A copy of the original in the Monastero di San Benedetto, Subiaco. Not seen.

Thomas Greeting

• Title page: The Pleasant Companion or New Lessons and Instructions for the Flagelet, Thomas Greeting, London (1673). Ref. Website: here of a Sunday Morning (2013). Welch (1811/1961: 61) notes that the The Pleasant Companion was published as early as 1661. A gentleman sits at a table playing a small flageolet (the lowermost little finger is positioned underneath the instrument). On the table lie a music book and a second, larger, one-piece, turned, flageolet with 4 holes above and 2 below, the latter out of view. A small viol hangs on the wall.
• Title page: The Pleasant Companion or New Lessons and Instructions for the Flagelet, Thomas Greeting, London (1680). Ref. Library of Congress (2002). Welch (1811/1961: 61) notes that the The Pleasant Companion was published as early as 1661. A gentleman sits at a table playing a small flageolet (the lowermost little finger is positioned underneath the instrument). On the table lie a music book and a second, larger, one-piece, turned, flageolet with 4 holes above and 2 below, the latter out of view. A small viol hangs on the wall.
• Title page: The Pleasant Companion, Thomas Greeting, London (1682). London: Library, British Museum. Ref. Welch (1911/1961: 50, fig. 21); Remnant (1981: 114, pl. 95 – b&w). Welch (loc. cit. 61) notes that The Pleasant Companion was published as early as 1661. A gentleman sits at a table playing a small flageolet (the lowermost little finger is positioned underneath the instrument). On the table lie a music book and a second, larger, one-piece, turned, flageolet with 4 holes above and 2 below, the latter out of view. A small viol hangs on the wall.

Gregorio di Cecco (di Lucca) [Gregorio da Siena (fl. 1389-1423), Italian (Sienese)

• Polyptych, central panel: Madonna of Humility with Music-Making Angels (1423), painting, Gegoria di Cecco di Lucca (? 1389-95 – 1423). Siena: Museo dell'Opera del Duomo, No. 49. Ref. Disertoni (1978: fig. ?); Brown (1985: #215); Paris RIdIM; Anthony Rowland-Jones (pers. comm., 2002). Three musical angels on each side of the Virgin and Child, at left play (in order, downwards) nakers, lute and psaltery, and at the right harp, fiddle and ? recorder. The latter is played left hand uppermost and is cylindrical, the bell end hiden by the Virgin's mantle. It is of soprano size. The wrists of both hands are held low, with two finger-holes showing above the right hand, and two above the left. Two fingers of the left hand and possibly one of the right hand appear to cover their holes. No window/labium is evident. The players lips and cheeks are relaxed. Notes by Rowland-Jones (loc. cit.).

Jean-Baptiste Greuze

• Girl with Flute by Jean-Baptiste Greuze (1725-1805). Ref. Website: Corbis Images MA03439A (2009). A young girl in side profile plays a pipe with the characteristic beak of a recorder, the window/labium clearly visible.

Fritz Griebel

• Hausmusik (1952), pen & ink sketch, Fritz Griebel (1899-1976). Ref. Archiv Moeck. Two young lads depicted in profile play stylised recorders.

Elo Grieguez

• Troubador with Recorder, oil on canvas, 41 × 33 cm, Elo Grieguez (op. 1999-2012 et suiv.) A troubador stands before a window holding an anachronous baroque alto recorder with ivory beak, mounts and foot. One of a series depicting troubadors with various instruments including harp, mandolin and oboe.

Jaccques de Grief = Jaccques de Claeuw

A. de Grieksche (18th century), Netherlands

• Monkey playing a Recorder (1701-1722), porcelain figurine (Delft), 17 cm high, A. de Grieksche (18th century). Antwerp: Museum Smidt van Gelder, Inv. Sm 1052/2. Ref. Paris RIdIM (1999). A monkey wearing a jerkin and a three-cornered hat sits cross-legged atop a pedestal playing a cylindrical duct-flute (probably a recorder), right hand down.

Hans Baldung Grien – see Baldung

Gerhard Grimm

• Recorder-playing Children (1979), woodcut, Gerhard Grimm (1927-1998). Ludwigsburg: Sammlung Rudolf & Uta Henning, Bismarckstr. 32, 4140 (1982). Ref. Archiv. Moeck. Two young girls play recorders, one tapping her toe in time to the music.

Samuel Hieronymous Grimm

• The Church Choristers (1773), mezzotint, 34.1 × 24.6 cm, published by Carington Bowles after Samuel Hieronymous Grimm (1733-1794). London: British Museum, Inv. J,7.9. & 1935,0522.1.46 (hand-coloured). Ref. Website: British Museum (2012-col.) Eight male singers in a box pew inside a church sing from a book with one on the right playing a tenor-sized tuning pipe (described by the BM as a recorder, in error) of sharply tapering design and with a plunger in the foot, and two holding a book; a hatchment in upper right above a plaque lettered with the epitaph

  Stephen and Time
  Are now both even,
  Stephen beat Time
  Now Time beat Stephen

(Jean) Alexis Grimou [Grimoud, Grimoux]

• Le flûteur (1740), print, 20 × 14.3 cm, engraved by Bernard François Lépicié, père (1698-1755), after Alexis Grimou (1678-1733). Marseille: Musée Grobet-Labadié; Paris: Bibliothèque Nationale, Print Collection, 72 B 58966; Washington DC: Library of Congress, Dayton C. Miller Flute Collection,0155/L. Ref. Pottier (1992: 55, pl. XLI); Seyfrit (1992, frontispiece); Archiv Moeck; Jan Lancaster ex Robert Bigio (pers. comm., 2007). Manchester: Private Collection of John Turner; Washington DC.: Library of Congress, Dayton C. Miller Flute Collection. Against an open sky above a distant landscape, a boy (seen in half-length) plays an elaborately turned baroque recorder. More or less identical to a ? 19th century copy of the original painting in the Bate Collection, Oxford (see below).
• Le flûteur, ? 19th century copy of an original painting by Alexis Grimou (1678-1733). Oxford: Bate Collection, Faculty of Music, University of Oxford. Ref. Recorder & Music Magazine 1(8): 227 (1964). Presented, along with his instruments, by French recorder player and teacher Jean Henry (Rowland-Jones, pers. comm. 2000). A boy plays an elaborately turned baroque recorder. More or less identical to an engraving after the original (see above)
• The Shepherd Musician, Alexis Grimou (1678-1733). Paris: Arts Déco, AD 322 21. Ref. Pottier (1992: 56, pl. XLII – b&w); Archiv Moeck. A lad plays a turned baroque alto recorder.
• The Little Flute-Player, Alexis Grimou (1678-1733). Dresden: Stadtmuseum. Ref. Website: AllPosters.com (2001); Anthony Rowland-Jones (pers. comm., 2001); Website: gallica (20120b&w). A young boy (beautifully dressed in a ruff, slashed sleeves and a feathered hat) holds an alto recorder of baroque design. The beak, window/labium and flared bell are clearly depicted, and the thumb is perfectly positioned for recorder playing.
• Page-boy with a Recorder, Alexis Grimou (1678-1733). Moscow: Pushkin State Museum of Fine Arts. Ref. CD cover: Georg Philipp Telemann, 3 Orchestral Suites, CPO (2006). A young boy (beautifully dressed in a ruff, slashed sleeves and a feathered hat) holds an alto recorder of baroque design. The beak, window/labium and flared bell are clearly depicted, and the thumb is perfectly positioned for recorder playing. Very similar to The Little Flute-Player (Stadtmmuseum, Dresden), and yet details of the boys face and slashed sleeves are different, and this boy faces left (i.e. the other way).
• A Flute Player, oil on canvas, 45.8 × 32. 8 cm, Alexis Grimou (1678-1733). New York: Sotheby's, Old Master Paintings Part II, 6 July 2000, Lot 405. Ref. Gabrius Data Bank (2001 - col.) A young lad in a velvet suit, lace collar and black tricorn hat is about to play an alto/tenor baroque recorder. Auctioned 6 July 2000, unsold (Gabrius, loc. cit.) This appears to be a sketch for a larger work by Grimou, signed and dated 1716, which was with Galerie Segoura, Paris, in 1997.
• A Young Boy Playing the recorder, oil on canvas, after Alexis Grimou (1678-1733). Location unknown: auctioned 20 October 2005 (sold) Ref. Gabrius Data Bank (2007 - col.) A crude copy of an original by Grimoud, somewhat similar to that above. A young lad in a velvet suit, lace collar and black tricorn hat is about to play an alto/tenor baroque recorder. Auctioned 28 May 1999, unsold (Gabrius, loc. cit.)
• Le Flûteur Champêtre [The Country Flautist, engraving after Alexis Grimou (1678-1733). Location unknown. Ref. Website: gallica (2011-b&w). A young lad in a velvet suit, lace collar and tricorn hat is about to play an alto/tenor baroque recorder. This appears to be based on the original. A legend is unreadable.
• Young Man Playing a Recorder (1716), painting, Alexis Grimou (1678-1733). Location unknown: formerly Galerie Segoura, Paris. Ref. Figaro illustré N2.F5 Folio (24 September 1906 - col.) Maisant in Turner (1996, 13: 665-6). "This is a different painting than the one on which the Miller print (see above) was based. In this work, the young man sits in right profile against a very similar landscape. He wears an orange-colored jacket and breeches and a dark brown hat. His eyes, also brown as is his hair, are turned to the viewer as he holds the recorder in his hands. He does not play the recorder, however. He only holds it as if he is about to play. The recorder in the painting reproduced on the cover of Figaro illustré is very similar to that in the Miller print. There are some slight variations in the turnings of the two instruments, but they are very, very similar. The recorder can be seen fully in the painting" (Lancaster, loc. cit.) A sketch for this painting was auctioned by Sotheby's, New York, in 2000 (unsold).
• Portrait of a Young Man Playing the Recorder, oil on canvas, 86.4 × 68.6 cm, attributed to Alexis Grimou (1678-1733). Location unknown: Sothebys Sale N08282, Important Old Master Paintings and European Works of Art, Lot 360, 25-26 January 2007 (sold). Ref. Sale Catalogue (2007 - col.) A man in a slouch hat with a blue bow plays a perfectly depicted baroque alto recorder.
• Hurdy-Gurdy Player with a Boy Playing A Recorder (1727), Alexis Grimou (1680-1733). Location unknown: auctioned Hôtel Drouot, Paris, 25 March 1925. Ref. Sale Catalogue, Hôtel Drout (1925: no. 25 - fig.); Maisant in Turner (1996, 13: 665-6). Not seen.
• Young Flautist, canvas, 59 × 45 cm, follower of Alexis Grimou (1680-1733). Paris: Étude Tajan, Old Master Paintings, Sale 9369, 21 October 2009, Lot 93. A very young boy in slashed sleeves, a lace collar and a feathered cap, holds a recorder, only the head and upper body of which are visible.
• A Young Boy Holding a Recorder, oil on canvas, 66 × 65.4 cm, follower of Alexis Grimou (1680-1733). London: Christie's, Old Master Pictures, 29 October 1997, Lot 240. Ref. Artfact (2004). Not seen.

George Grosz

• Ständchen [Serenade] (1922), lithograph, 63.2 × 47.9 cm (image), George Grosz (1893-1938). San Francisco: de Young Museum 3329201303440045 A011048. A rich man in a bowler hat, smoking a cigar, walks heedlessly past a prostitute plying her trade, and a man with both legs cut off at the knees pipes on what looks like a recorder (but could be a small clarinet), a hat with a few coins in it before him.

Johann Friedrich Gruber [Grueber]

• Vanitas Still-life with Musical Instruments (after 1661), canvas, 153 x 166.5 cm, Johann Friedrich Gruber (1620-1681). Amsterdam: Rijksmuseum. Ref. Leppert (1977: 63); Ember (1984: pl. 46 – col.); Paris RIdIM (1999); flautotraverso.it (2003 - col.); Debra Pring (pers. comm., 2006). Formerly attributed to Cornelis Jansz. de Heem (1631-1695), and bearing his signature, this work is now attributed by the Rijksmuseum to Gruber. Musical instruments, fruit, a wine jug, music books, and gold plate lie in splendid disarray. The instruments include a viol, a pair of bagpipes, a violin, a cittern, two lutes, tambourine, trumpet, a tiny duct flute (possibly a recorder, six finger-holes visible), the head of a larger duct-flute (possibly a recorder) and the flared foot of what might be another.

Matthias [Mathis] Grünewald [Gothart or Neithardt]

• Mockery of Christ (16th century), painting, after Matthias Grünewald (ca 1470-1528). Detail. Sibiu/Hermannstadt (Romania): Muzeul National Brukenthal. Ref. Charles Rowland-Jones (pers. comm., 2008). A copy of Maththias Grünewald's Mockery of Christ (1503) in the Alte Pinakotheck, Munich. But here the character at top left plays a tabor pipe as one finger is under the pipe and sticks out at the other side. Moreover, the noise and the association with (lecherous) dancing are part of the mockery. It is close to the original but the copyist has substituted a clearly depicted soprano/alto-sized duct-flute with seven in-line finger holes and a flared bell for Grünewald's shorter, cylindrical pipe. This has to be deliberate as almost everything else is pretty accurate. The instrument is a little slender for a renaissance recorder at its upper part, but otherwise it certainly seems to be a recorder. The fingers, all well-painted, are held in a manner which looks as if they are playing the instrument but in fact bear no relation to the positions of the finger-holes. Perhaps the recorder alludes to the impending death of Christ.

Felipe Guaman Poma de Ayala

• Canciones y música, arawi: pinqullu, canción de los mozos; wanka, canción de las mozas [Songs and music, arawi: pinqullu, song of young men; wanka, song of young women] (1616), pen and ink drawing, Felipe Guaman Poma (1532-1616). Copenhagen: Kongelige Bibliotek, Manuscript Department, Gl. kgl. S. 2232, 4°. Ref. Guaman Poma de Ayala (1616/2001: 318). Two young men sit atop a rocky crag (their sheaves of straw strapped to their backs) playing duct-flutes (pinkillu) to two naked young women who appear to be bathing in a stream.
• El coro de la iglesia canta la Salve Regina [The church choir performs the Salve Regina], (1616), pen and ink drawing, Felipe Guaman Poma (1632-1616). Copenhagen: Kongelige Bibliotek, Manuscript Department, Gl. kgl. S. 2232, 4°. Ref. Guaman Poma de Ayala (1616/2001: 666); Stobart (1996: 476, fig. 5). Five singer/instrumentalists read from music on a lectern. Four play long flared-bell duct-flutes (recorders) which seem to have been confused with shawms, although the window/labium of each is clear. Their leader points to the music with a stick, holding an alto-sized duct-flute (recorder) at his side in his left hand. The beak, labium five lowermost finger-holes and flared bell of the latter are clearly depicted.
• Los auxiliares andinos de doctrina: el cantor, el fiscal y el sacristán [The native assistants of the parish: the chorister, the church assistant, and the sacristan], (1616), pen and ink drawing, Felipe Guaman Poma (1532-1616). Copenhagen: Kongelige Bibliotek, Manuscript Department, Gl. kgl. S. 2232, 4°. Ref. Guaman Poma de Ayala (1616/2001: 675). On the right, the chorister (wearing a brimmed hat) plays a flared-bell duct-flute (surely a recorder) with beak and window/labium clearly depicted. He plays left hand uppermost, and with all fingers of his lower hand covering their holes, the lowermost crooked and clearly stretching downwards as this is a long instrument of tenor-size. On the right, the assistant (wearing a high bowler hat) waves his keys. The sacristan (wearing an elaborate peaked hat, reminiscent of a helmet) stands between the others on one leg holding a stout staff and what is probably a cross, looking for all the world like Mercury!

Jacopo Guarana

• Trionfo della musica (1776), ceiling painting, Jacopo Guarana (1720-1808). Venice: Hospital of Santa Maria dei Derehitti, Music Room. Ref. Laini (1992: 77, fig. 15). Musical angels play straight trumpet, cello, lute, and kettledrum. One, a female figure who seems to be waving away a marauding bird, has the bottom end of a wind instrument with a flared bell (possibly a recorder) projecting between her and the kettledrum.
• Glory of Saint Martin, fresco, Jacopo Guarana (1720-1808). Venice: Chiesa di San Martino Vescovo, soffitto. Ref. Fondazione G. Cini - Venezia, Istituto per la Musica (ABo); Institut für Musikwissenschaft (2003 - col.) "This large fresco celebrates the ascent into heaven of the holy bishop of Tours. In an architectonical prospective realized by the artist Domenico Bruni, the saint is shown surrounded by a multitude of celebrating angels who accompany him in his celestial ascent. Sitting along the lower cornice, some angel musicians are forming an unusual instrumental ensemble, characterized by the presence of the colascione, depicted on the left beside two angels singing from a music book. This instrument rarely appears in sacred scenes, because it was generally associated with popular music. Beside the colascione an angel plays a vertical flute with a fairly wide [word missing]. A harp player and two singing angels follow. To the right in the upper part of the fresco, also near the cornice, an angel with a violin in his left hand and a bow in the right one seems to be distracted from its performance by a putto behind him. Saint Martin was elected Bishop of Tours in 371 and is remembered above all for the episode in which he gives half of his cloak to a beggar" (Institut für Musikwissenschaft, loc. cit.) The reproduction is far too small to see the vertical flute: it may represent a recorder.
• Matrimonio degli innamorati (early 18th century), fresco, Jacopo Guarana (1720-1808). Veneto: Villa Contarini Rota Piva. Ref. Angelo Zaniol (pers. comm., 2003). Musicians sing and dance for the happy couple. One holds a triangle (with jingle rings) above her head, one dances whilst playing a tambourine, a youth plays a slender pipe (possibly a duct-flute, though the details are not clear), and a kneeling youngster holds a flared pipe, possibly a shawm).

Il Guercino da Cento [original name Giovanni Francesco Barbieri]

• Summer Diversions, panel (on copper), 35 × 47 cm, Il Guercino (1591-1666). Florence: Uffizi 1379. Ref. Olimpio (1956: 1433-1434); Mahon (1968, fig. 20); Berti (1978: 117); Brown & Lascelle (1972: 102-103); Gregori (1994: 255, fig. 470) [Villi I Tatti N2570G74]; Sartori (1974: 103); Paolo Biordi (pers. comm., 2000); Ferino-Pagden (2001, 256, no. IV.17); Visual Collection, Fine Arts Library, Harvard University, 372.G937.8[a] (2002); Rasmussen (2002, Lute); Website: gallica (2012-b&w). A group of eight men and women sit on the bank of a river. Several of them play instruments: two duct-flutes (flageolets or recorders), violin, long-necked lute, viol; one sings. A chariot drawn by two horses is crossing the river.
• The Genius of the Arts and Sciences, copied from an originial by Il Guercino (1591-1666). Stuttgart: Württembergische Staatsgalerie, Inv. 251. Ref. Munich RIdIM (1999, Ssg - 50). A cylindrical alto recorder lies at at the foot of a serious-looking putto, with a violin and music beside him.
• Tavern Scene with Mummers / Comedy Scene with Musicians, drawing, Il Guercino (1591-1666). Oxford: Ashmolean Museum. Ref. Ashmolean Museum (1956: no. 861, pl.CXC); Burlington Magazine (1986, 128: March supp. p. 36); Turner & Plazzotta (1991: fi.g 185); Camiz (1994: 61, fig. 2); Visual Collection, Fine Arts Library, Harvard University, 372d.G937.90[I] (2002); Rasmussen (2002, Lute). In a large crowded room, musicians seated on a platform play violin, viol, lute and a cylindrical pipe which could be a recorder since all fingers of the lowermost hand are covering their holes.
• The Concert, drawing, Il Guercino (1591-1666). Cambridge: Harvard University, Fogg Art Museum. Ref. Visual Collection, Fine Arts Library, Harvard University, 372d.G937.90[F] (2002); Rasmussen (2002, Lute). "Figures play violin and lute and hold a recorder. There is a cornett (?) on the table. The instruments are poorly drawn" (Rasmussen, loc. cit.)
• Sacred and Profane Love (ca 1622), canvas, 122 × 168 cm, Il Guercino (1591-1666). Genoa: Galleria Nazionale della Liguria (Palazzo Spinola). Ref. Charles Rowland-Jones (2003, pers. comm.) At the top left of the picture are two crossed soprano recorders in the shadows, head ends uppermost. Elsewhere, this symbolises marriage ended by death.
• Woman Playing a Pipe, pen and ink drawing with brown wash on white card, 225.6 × 18.2 cm, Il Guercino (1591-1666). Florence: Museo Horne. A woman seen in side profile blows a cylindrical pipe (zufolo) which she holds in one hand.
• Virtuous Cupid, oil on canvas, 105.5 × 151.5 cm, Il Guercino (1591-1666). Vienna: Dorotheum, Old Master Paintings, 13 April 2011, Lot 438, formerly English private colleciton; auctioned Sotheby's (London), Sale L06032, Old Master Paintings, 22 October 2003, Lot 214 (sold); auctioned Sotheby's, London, 6 July 2006 (sold). Auctioned at Sotheby’s, London, on 6 July 2006, with a provenance from Richard 4th Baron Coleridge (1905–1984); in the catalogue, the painting was erroneously attributed to Cesare Gennari and wrongly identified as an Allegory of the Liberal Arts. In the meantime, research conducted by Dr Francesca Baldassari, Denis Mahon, and Prof Nicholas Turner has positively established Guercino’s authorship. A half recumbent putto holds up a book of music. In front of him lies an artist's palette and brushes. Beside him, beneath a draped curtain, is a bust, a lute, mallet & chisels, a violin and bow and a perfectly depicted renaissance-style cylindrical recorder with a distinctive flared foot, an off-set hole for the lowermost finger, and a maker's mark just visible. This painting is the companion piece to Guercino’s composition of Amore Fedele, now in the National Gallery, Washington. Both paintings were made for Giovanni Donato Correggio (1608–1674), Guercino’s collector and patron. Recent cleaning of the painting has made it possible to regain a sense of the landscape’s spatial depth and the readability of such details as the three tiny figures on the riverbank, the castle on the right-hand side, and the cottages in the background. 'It is highly probable that Guercino intended here to allude to the plains around Cento (the artist’s native town) on the River Reno: The delicate sfumato of the flesh tones and the subtle chromatic transitions are typical features of Guercino’s well-known phase at the beginning of the 1650s'. (Baldassari 2008).

François Guérin (op. 1751-1791), French

• Pastorale (1758), 100 × 147.5 cm, François Guérin (op. 1751-1791). USA: Private Collection. Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001). An Arcadian shepherd embraces a shepherdess with a straw hat. She plays a pipe with a long mouthpiece. Her upper (right) hand is raised showing three finger-holes beneath; her lower hand has the first finger raised, the second and third down, and the fourth lifted, exposing the hole beneath. The lower part of the instrument expands to a wide bell and bore opening. Although no window/labium is visible, this may be intended to represent a recorder.

Giovanni Guerra

• From Pegasus-Brunen von Bomarzo: The Muses, (1598), print by Giovanni Guerra (1544-1618), after Bernardo Buontalenti (?1536-1608). Vienna: Graphicische Sammlung Albertina, Handzeichnungen Bd. 7, n. 37199. Ref. Sommer-Mathis, A. (1996: 90, fig. 15). Watched by a male figure (? Apollo, ? Zeus), the nine Muses stand around the rim of a font or well, several holding musical instruments including lute, lyre and a slender flared-bell pipe, possibly a recorder.
  
  Bernardo Buontalenti was an Italian stage designer, theatre architect and costume designer; a brilliant stage technician, he was one of the original innovators of the Baroque theatre and decorative arts; he also designed palaces, gardens, fortresses, and villas and practiced military engineering; born Florence (?1536), died Florence (1608).

F. Guidotti (late 18th century), French

• Still-life, oil on canvas, 73 × 88 cm, attributed to F. Guidotti (late 18th century). Marseille: Musée Grobet-Labadié, Inv. 3433. Ref. Joconde Website (1999). A lemon, a peach, a watermelon, a pottery vessel, a guitar, and a duct-flute (flageolet or recorder). Not seen.

Dieudonné-Barthélémy Guibal (1699-1757)

• Three Musicians, statue, Dieudonné-Barthélémy Guibal (1699-1757). Ref. Demandre Bernard (pers. comm, 2006) Château d'Haroué (département de Meurthe et Moselle), ca 35 km SW of Nancy. Three musicians sing and play lute and recorder. The latter is held right hand uppermost.

Bonnie Diane Gummow

• Musical Bubbles (2006), oil pastel Bonnie Diane Gummow (op. 2006). American Recorder 47(4): front cover (2006 - col.) An aerial view of a young child blowing bubbles through their recorder.

Johann Eberlin von Günzberg

• Title Page, Der clocker thurn bin ich genant (1522), woodcut, Johann Eberlin von Günzberg (ca 1465-1533). Ref. Postcard: Musica Pretiosa Verlag, Visbiburg MPV-PK-0012 (?date); Munchener Digitaliserungs Zentrum Digitale Bibliotek (2010). Four children dressed as jesters dance in a circle to music played by a fifth child playing a cylindrical duct-flute, probably a recorder; although the foot is not visible, there does seem to be a duplicate offset hole for the lowermost finger. Other children tumble through rings, balance on enormous pellet bells and generally frolic about.

Cornelis Norbertus Gysbrechts (Gijsbrechts)

• Musikinstrumenter ophægt på en væg [Trompe l'oeil with Musical Instruments] (1672), oil on canvas, 168 × 115 cm, Cornelis Norbertus Gysbrechts (?1610 - ?1675). Copenhagen: Statens Museum for Kunst, Inv. 3073; on permanent loan to Musikhistorisk Museum og Carl Claudius' Samling. Ref. Legêne (1995: 116, pl. 6); Musica Antiqua (? date: cover); Archiv Moeck; Rijksbureau voor Kunsthistorische Documentatie 21322 (2010-b&w); Anthony Rowland-Jones (pers. comm., 2001); Bouterse (2001: Appendix C.1); Ausoni (2009: 265-col.); Website: gallica (2012-b&w). Depicts a musical trophy including orpharion, flutes, violin, double-strung harp, cittern, kit, a walking-stick flute, a renaissance-style basset recorder with fontanelle and reversed beak and window, two recorders of slender cylindrical design reminiscent of the 'Rosenborg' recorders), and a baroque-style tenor recorder (in three parts with turned joints).

  It has been argued (by Legêne, loc. cit.) that the last-mentioned of the above recorders may be the earliest painting of a baroque recorder. However, Jan Frans Nollekens' (1602-1648) Children's Concert obviously predates Gysbrechts, as may depictions by other Dutch and Flemish painters.

• En violin og dokumenter ophægte på en væg [Trompe l'oeil with Musical Instruments] (1672), oil on canvas, 117 × 80 cm, Cornelis Norbertus Gysbrechts (?1610 - ?1675). Copenhagen: Statens Museum for Kunst. Ref. Rijksbureau voor Kunsthistorische Documentatie 21321 (2001); Anthony Rowland-Jones (pers. comm., 2001); Website: gallica (2012-b&w). On a wall hang a violin and bow, and a bundle of feathers. Beneath them is a leather strap holding some papers, some manuscript music, a printed music book, some more feathers, and a perfectly depicted hand-fluyt
• Vanitas, Cornelis Norbertus Gysbrechts (?1610 - ?1675). Private Collection. Ref. Bernt (1969, 1: 459); Mirimonde (1971: 235, fig. 8); Leppert (1979: 16, footnote); Rasmussen (2002, Trumpet) "Frequently, artists even placed the skull on top of a recorder, as if to clamp the instrument in its jaws" (Leppert, 1971: 12). "Only the head of the recorder shows; there is also a trumpet and a flute with an adjustable stopper (Anthony Rowland-Jones, pers. comm., 2000)." Leppert's extraordinary assertion would be difficult to substantiate. The only other examples noted in the present catalogue (which contains data for almost 4,000 images) are by Gijsbrechts himself (see below) and by Pieter van Steenwijck (ca 1615 – after 1654).
• Vanitas, Cornelis Norbetus Gysbrechts (?1610 - ?1675). Location unknown. Ref. Sale catalogue (?date: fig. 25); Paris RIdIM (2000); Website: gallica (2012-b&w). In an oval-shaped cavity in a stone wall various objects are heaped together, including a lute, quills, spectacles, candlestick, papers, hourglass, a watch, a trumpet (the bell of which projects from under a cloth), a skull which seems to grip a recorder in its jaws, although only the head of the instrument is visible.
• Vanitas, Cornelis Norbetus Gysbrechts (?1610 - ?1675). Bordeaux: Museée des Beaux-Arts. Ref. Anthony Rowland-Jones (2008, pers. comm.) Includes a probable renaissance-style tenor recorder only part of which is visible showing three large finger-holes in line, and a tapering profile. Other objects include an hour-glass, a guttering candle, several gold pieces, all on a table covered with a cloth. On top of the pile, in shadow, are a violin and bow and the recorder, the latter leaning upwards.
• Vanitas (1668), oil on canvas, 63.5 × 51.3 cm, follower of Cornelis Norbetus Gysbrechts (?1610-?1675). Amsterdam: Sotheby's, Sale AM1090, Old Master Paintings, 18 May 2010, Lot 47. A still-life with an hourglass, a deck of cards, a skull resting on music sheets, an ewer, a recorder (only the upper head visible), a candlestick, a slender wineglass (half-empty), a pipe and glowing taper, and other vanitas objects arranged on a partly draped tabletop. Bubbles float above.

Franciscus Gysbrechts

• Vanitas, Franciscus Gysbrechts (op. 1672-1677). Recklinghausen: Private collection. Ref. Bernt (1970: pl. 487); Archiv Moeck. Depicts a table covered with drawings, a feathered cap, a highly ornamental metal vase, a horn, a flute, and a cape with tassels from underneath which the head of a recorder is visible.
• Cupboard, oil on canvas, 116 × 68.5 cm, Franciscus Gysbrechts (op. 1672-1677). Hamburg: Kunsthalle. Ref. Bridgeman Art Library (2002: Image ID HKH 145546). Door; trompe l'oeil; book; page; pages; candlestick; notebook; bookcase; case; cabinet; recorder; drawings; key. The recorder could just as well be a flute.
• Still-life, 135 × 116 cm, Franciscus Gysbrechts (op. 1672-1677). Location unknown: auctioned by Sotheby's, New York, 6-7 ?Month 1975. Ref. Rijksbureau voor Kunsthistorische Documentatie ex Ruth van Baak Griffioen (pers. comm., 2003). On a shelf in an alcove are an embroidered cover, a globe, a straw-covered bottle with a lighted candle, a candlestick and lighted candle, writing implements, papers, an hourglass, medals, a lute and a renaissance-style recorder with a metal-sheathed beak sitting beneath the upper jaw of a skull. Only the head and upper body of the recorder is visible.
• Vanitas, oil on canvas, 116.1 × 100.3 cm, Franciscus Gysbrechts (op. 1672-1677). London: Christie's, 29 October 1999, Lot 40. Ref. Artfact (2004); Rijksbureau voor Kunsthistoriche Documentatie 27095 (2010-col.) A cello leans against a covered table on which are a brass urn, a bowl, a large plate, a watch, a transverse flute, an ambiguous wind instrument, and some drawings. Only the foot and body of the latter can be seen with no finger-holes or other details visible; it could represent a mute cornett or a recorder.

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