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.

Joannes [Jan] Galle – see Martin de Vos

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). Apollo relclines in an archway holding his bow and lira da braccio. Beside him a putto (? 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).
• Two Muses, fresco, Lattanzio Gambara (ca 1530-1574). Brescia: Palazzetto di via G. 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). 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 (16th century), Italian

• Title page: La Fontegara (1535), woodcut, Silvestro Ganassi del Fontego. 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 Art Museum, Accession No. 83.1 Ref. North Carolina Art Museum (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 Art Museum, Accession No. 83.2 Ref. North Carolina Art Museum (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, 26.5 × 18.8 cm (Paris), 27.2 × 19.0 cm (Washington) engraving by Auguste Quesnel after Jean Francois (1803-1866) after Jean Ganière (1615?-1666). Paris: Bibliothéque Nationale, Département des Estampes, Cliché c 48 183; DC: Library of Congress 0309 (hand-coloured). Ref. Mirimonde (1975: fig. 113); Pottier (1992: 50, pl. 36); Pottier (1992: 50, pl. XXXVI; 1995: 136, pol. 10); Archiv Moeck; Paris RIdIM (1999); Lancaster (2007: 18, fig.-col.) Published by Nicolas Langlois (1640-?). Half-length portrait of a youth in a buttoned jacket 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 verse 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.

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 and 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.

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); 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.) 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. Notes by Anthony Rowland-Jones (pers. comm.)

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." However, the instrument has a distinctly flared bell, more characteristic of a recorder than a flageolet.

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, 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.

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 4157201102090087 A038789. The 'flute' here is clearly a small duct-flute, possibly a recorder.

Claude Gellée – see Claude

Cesare Gennare

• Allegory of the Liberal Arts, oil on canvas, 105 × 151.4 cm, Cesare Gennare (1637-1688). Location unknown: auctioned Sotheby's (London), Sale L06032, Old Master Paintings, 22 October 2003, Lot 214 (sold); auctioned 6 July 2006 (sold). Ref. Website: Sotheby's (2007 - col.); Gabrius Databank (2007 - col.) 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.

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.)

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, 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 holds a mirror up to Euterpe 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). Image from Carol Gerten-Jackson; Image from Web Gallery of Art. 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). 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.

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, 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, 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).

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), print, Andreas Geyer (18th century). Regensburg: Thurn und Taxis Zentralarchiv und Hofbibliothek, Inv. 2 Ex.TT Rat111 45 & 45a. Ref. Munich RIdIM (1999: Rtt 110). A ship on the Danube at Regensburg, with allegorical music. Fame, at the bow, plays a trumpet. The Muses are aboard, including one, presumably Euterpe, with a ? recorder. Not seen.

Jacques [Jacob] de Gheyn II

• Group of Two Half-figures Singing and One Playing ? Recorder, pen and bistre or ink drawing, 67 × 50 mm, Jacob II de Gheyn (1565-1629). Düsseldorf: Kunstmuseum, FP 4837. Ref. Getty Research Institute for the History of Art and the Humanities: Photostudy Collection (2006). 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.)

Ridolfo Ghirlandaio

• Adoration of the Shepherds (1510), oil on panel, 148 × 132 cm, Ridolfo 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.

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 (1677-1727)

• 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 Fiary Queen. There is another image (b&w) at Encyclopedia Britannica (user name & password required).
• 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.)
• Carved panel (1682), limewood, 140 × 107 cm, Grinling Gibbons (1648-1721). Detail (b&aw); detail (col.) 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.

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, pen & ink wash and water-colour, Claude Gillot (1673-1722). St Petersberg: Hermitage. 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.
• A Little Music, or the Delights of Harmony (1810), coloured etching, James Gillray (1757-1815). Oxford: New College. Ref. Bridgeman Art Library (2003: Image NCO 89959 - col.) A caricature of domestic music making of the period. An old man snores in an easy chair as the rest of the family make music: a man and a woman sing from a shared score; a man in military clothes plays the flute, a dog barking at his feet; a woman plays the harpsichord whilst a wild-looking man besides her sings and turns pages; a little boy in a high chair leans over the back of the harpsichord playing a flared bell duct-flute (possibly a recorder), the window/labium clearly visible. Beneath the harpsichord the family cat, standing on a score of its own arches its back and spits.

Luca Giordano [Lucas Jordán]

• Elevation of St Idelfonso (1692-1702), fresco, Luca Giordano (1632-1705). Toledo: Cathedral, Main Sacristy. Ref. Rowland-Jones (pers. comm., 2000); Archdiocese of Toledo (2001 - 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, 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.
• 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). Detail. 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: S. Francesco, Lower Church. 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. There are trumpets and other shawms in this fresco; recorder seems an unlikely companion (Rowland-Jones, pers. comm.)

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.)

Cornelis Norbertus Gijsbrechts = Cornelis Norbertus Gysbrechts

Nicolaes de Giselaer

• Interior with four Musicians Nicolaes de Giselaer (1583-1645). Location unknown: formerly The Hague: Collection Cornelis Hofstede de Groot. Ref. Rijksbureau voor Kunsthistorische Documentatie 23019 (2001); Anthony Rowland-Jones (pers. comm., 2001). Four men sing and play theorbo, violin and a soprano- or alto-sized pipe, probably 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 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, N2050.P3C6. Ref. Lancaster (2007: 22, fig.); Advertisement for Sydney Society of Recorder Players (ca 1975). A melancholy young man holds a cylindrical soprano recorder, right hand uppermost. 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. The etching is somewhat reminiscent of a painting entitled Boy with a Flageolet now 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. Joconde Website (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 Lanscape 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 waling across the rock, his tail held high.

Tom Godin (contemporary), Canadian

• [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.

J. Goeree

• Wedding of Pieter Vlaming and Wynanda Calkoen (1706), engraving by J. Goeree (1670-1731). The Hague: Koninklijke Bibliotheek, KBH 853 B 12 Ref. Memosyne: Occasional Poetry and Prints (2002). Published by Willem (II) Goeree Willem. "Framed by Ouroboros, the indestructable sovereignty of Love is demonstrated; in the centre the statue of Cupid, the base of which is inscribed 'Mens Immota'; on the floor Envy and the Scythe of Time, who is demonstrating his destructive powers in the background; to the left the couple is guided to the bed. To the left Venus is represented as Constancy, leaning on a column, holding a flaming heart and pointing to the central scene; at her feet: two doves, a turkey, and a crane(?); to the right Juno (crown and sceptre) is explaining to Minerva (lance, shield, helmet, Gorgoneion) that 'it's not enough to be learned – one has to love as well'; two cupids, one with a torch, the other with bow and arrow, lean against a cracked globe; on the floor: a lyre, a mask, open book ("Corpus Juris"?), Tables of the Law(?), a sword; a tomb behind the central scene with two children carressing; two hearts, inscribed 'V' and 'K'" (Memosyne, loc. cit.) The column is surmounted by an image of ?Priapus decorated with a trophy comprising a bow and arrow crossed with 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). 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 Munich Pinakothek.
• 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-Peer 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.

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. This one-off work was sold by Picasso.Mio.com, Madrid.

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 a small recorder; Terpschore accompanies the protagonists 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 a small recorder; Terpschore accompanies the protagonists on her lute.
• Woman with a Recorder, Hendrick Goltzius (1558-1617). Ref. Bartsch (1854-1870, 3: 213c); Munich RIdIM (1999).
• Mercury and Argus (ca 1583), engraving, 82 × 63 mm, Hendrick Goltzius (1558-1617). New York: C. & J. Goodfriend (2005). 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, 174 × 250 mm, after Hendrik Goltzius (Dutch, 1558-1617). 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.

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.

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.

Gottfried Bernhard Götz [Göz; Goez; Goetz]

• Apollo and the Muses, grey sketch with white tint, Gottfried Bernhard Götz (1708-1774). Munich: Bayerische Staatsgemäldesammlungen, Inv. 31960. Ref. Munich RIdIM (1999: Mgs 246). Apollo has a lyre, the Muses their usual instruments including recorder (? Euterpe). Notes by Anthony Rowland-Jones (pers. comm., 1999).
• 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).

Gottfried-Bernhard Götz & Joseph Anton Feuchtmeyer

• Angels 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.

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 & 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).

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

Jakob Götzenberger (19th century), German

• Virgin in Glory (1820-1866), pencil on paper, 41.7 × 57 cm, Jakob Götzenberger. 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. 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.

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 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, Antiveduto Gramatica (1571-1626). Vienna: Kunsthistorisches Museum. 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 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 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 x 410 cm, Louis Grandet (2nd half of 17th century) Verona: Museo del Castelvecchio, Inv. 5885-1B609. While Orpheus is set upon by the Furies, much noisy music and dancing goes on. 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, possibly also of the bore. Notes by Anthony Rowland-Jones (pers. comm.)

Niccolás [ [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 (1437), tempera on wood, Blasco de Grañen (op. 1422-1459). Image from Web Gallery of Art. Madrid: Museo Lázaro Galdeano. Ref. Pérez Sanchez (1995, 1); Post (? date, 2: 333); Rowland-Jones (1997: 14); Sartarelli (1997: 34-46, fig. 5). 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. Shows angel musicians with 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.

William James Grant (1829-1866), British

• 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 &tims; 63.5 cm, Francine Gravel (1944-). Ref. 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.

Doménicos Theotocópoulos, called 'El Greco'

• Annunciation (1597-1600), oil on canvas, 315 × 174 cm, El Greco (1541-1614). Detail. 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). 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.)
• Annunciation (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). "This version was originally painted for the oval chapel of the church of St Vincent in Toledo. 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.)
• 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).
• 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.
• Angelic Concert (ca 1610), oil on canvas, El Greco (1541-1614). Athens: National Gallery. Ref. 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.

Thomas Greeting (fl. 1682), English

• 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 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: Virgin and Child with 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.).

Fritz Griebel

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

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 (1927-)

• Recorder-playing Children (1979), woodcut, Gerhard Grimm (1927-). 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.

(Jean) Alexis Grimou [Grimoud, Grimoux]

• Le flûteur (1740), print, 20 × 16.5 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. 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. A boy 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. AllPosters.com (2001); Anthony Rowland-Jones (pers. comm., 2001). 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.
• 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 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.
• Young Man Playing a Recorder (1716), Alexis Grimou (1678-1733). Paris: Galerie Segoura. Ref. Maisant in Turner (1996, 13: 665-6). Not seen. A sketch for this painting was auctioned by Sotheby's, New York, in 2000 (unsold).
• 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 hat is about to play an alto/tenor baroque recorder. Auctioned 28 May 1999, unsold (Gabrius, loc. cit.)
• 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.
• 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 x 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). 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 litle 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 i