Recorder Home Page

Recorder Iconography
Compiled by Nicholas S. Lander
Jan Mabuse (original name Jan Gossaert or Jenni Gossart, also
called Jan Malbodius)
Flemish painter who was one of the first artists to introduce the
style of the Italian Renaissance into the Low Countries, painted
portraits and religious and mythological subjects; born County of
Hainaut [now in Netherlands] (ca 1478), died Breda, Brabant (ca
1532).
- Malvagna Triptych, altarpiece, centre panel (recto): Virgin and Child, 44.5 × 35 cm, Jan Mabuse (ca 1478-ca 1532). Detail.
Palermo: Galleria Regionale della Sicilia Palazzo Abatellis.
Ref. Glück (1928: 307); Wallraf-Richartz Jahrbuch 32 (1970: 101); Friedländer (1967-, VIII: no.2, pl. 4-5); Thomson (1968: 74 & plate op. p. 32 – b&w); Visual Collection, Fine Arts Library, Harvard University, 371.G698.34[a]); Rasmussen (1999b); Website: Koninklijk Instituut voor het Kunstpatrimonium (2010-b&w).
The Virgin and Child are enthroned in a window surrounded by gothic tracery of exquisite design. In the background are the buildings and gardens
of a palace. In the foreground, three putti sing and others play lute and a cylindrical duct-flute (flageolet or recorder), probably a recorder since all fingers of the player's lowermost (left) hand seem to be covering their holes. There is a single turned bead on the foot-piece.
- Virgin and Child, copy by Adriaen
Isenbrandt (op. 1510 – m. 1551) after Jan Mabuse (ca
1478-ca 1532). Detail. Washington D.C.: National Gallery of Art.
Ref. Burlington Magazine 121 (1979, September supplement,
unnumbered page - col.); Die Weltkunst 51 (1981: 1517);
Rasmussen (1999b). A copy of the centre-panel of Mabuse's
Malvagna Triptych which has a lute player and two singers
at the left and a bladder pipe replacing the recorder at the
right.
- Virgin and Child, copy by Adriaen Isenbrandt (op. 1510
- m. 1551) after Jan Mabuse (ca 1478-ca 1532). Ref. Burlington
Magazine 121 (1979, September supplement, unnumbered page -
col.); Die Weltkunst 51 (1981: 1517); Rasmussen (1999b). A
copy of the centre-panel of Mabuse's Malvagna Triptych
which has a lute player and two singers at the left and a bladder
pipe replacing the recorder at the right. See above. Not
seen.
- Virgin and Child, oil on panel, 90.8 × 62.8cm, after Jan Mabuse (ca
1478-ca 1532).
Location unknown: formerly in the collection of Freiherr von Hövel; sold by Sotheby's Parke Bernet, 16 June 1977, Lot 151; auctioned by Bonham's New York, "Old Master Paintings", Sale 13698, 27 January 2006, Lot 215.
Ref. Friedländer (1967-, VIII: pl. 7/2a); Rasmussen (1999b); Website: Bonhams (2006 - col.) A copy of the
centre-panel of Mabuse's Malvagna Triptych which has the same group at the left (a right-handed lute player and three singers). It also has the recorder player at the right. See above. The little recorder player seems to have got the fingers and thumb of his uppermost (left) hand in quite a muddle!
- Virgin and Child, copy by Adriaen Isenbrandt (op. 1510
- m. 1551) after Jan Mabuse (ca 1478-ca 1532). Location unknown.
Ref. Friedländer (1967-, XI: no. 134, pl. 112); Rasmussen
(1999b). A copy of the centre-panel of Mabuse's Malvagna
Triptych See above. Not seen.
- Virgin and Child, after Jan Mabuse (ca
1478-ca 1532). Location unknown; sold, New York (1988). Ref.
Burlington Magazine 130 (1988, p. xvii-col.); Rasmussen
(1999b); Gabrius Data Bank, OMP (2002- col.); Himjans (2005: 219). A copy of the
centre-panel of Mabuse's Malvagna Triptych which has the
same group at the left (a lute player and three singers), but the
lute player is left handed! It also has the recorder player at
the right. See above.
- Virgin and Child, after Jan Mabuse (ca 1478-ca 1532).
Location unknown: formerly in the collection of Lord Northbrook.
Ref. Friedländer (1967-, VIII: pl. 7/2b); Rasmussen (1999b).
A copy of the centre-panel of Mabuse's Malvagna Triptych
See above. Not seen.
- The Adoration of the Kings (?1506), oil on wood, 177.2
× 161.3 cm, Jan Mabuse (ca 1478-ca 1532). London: National
Gallery, Inv. 2790. Ref. National Gallery, London: Postcard
811861-col. The kings pay homage to Mary and the infant Jesus
surrounded by their retinue whilst angels hover above. In the
foreground, a dog worries a bone, watched by a second hound. An
alto recorder is held by one of the ?shepherds visible between
the brickwork immediately behind the kneeling king. The
instrument has a longish beak and a very clearly depicted
window/labium. No finger-holes are visible because of the shadow
on the instrument and its being clutched in the man's right hand,
but the bell end and bore opening are very clear, the latter
seemingly expanding at its lower end. Notes after Anthony
Rowland-Jones (pers. comm., 1999).
- Triptych, central panel: The Holy Family (ca 1505, 50 × 31 cm, Jan Mabuse ca 1478-ca 1532).
Detail.
Lisbon: Museu Nacional de Arte Antiga, Inv. 1479.
Ref. Paris RIdIM (1999); Liesbeth van der Sluijs (pers. comm., 2001); Koninklijk Instituut voor het Kunstpatrimonium (2010-col. & b&w).
In the central panel, two winged angels to the right of the Holy Family play a small lute and a
long, cylindrical flared-bell recorder. The characteristic beak and window/labium of the latter are clearly depicted, and the
players hands are perfectly positioned for a recorder. To the left of this panel two winged angels play rebec and an obscure
instrument. Some authorities have argued for a slightly later date of ca 1510-1515. The left and right panels, by the Master of Frankfurt (op. 1460-1520), depict St Catherine of Alexandria and St Barbara.
Cyrillo Volkmar [Cirillo Wolkmar] Machado
Portuguese painter, as well as an art and architectural historian of the second half of the eighteenth century; his paintings included allegorical and mythological subjects; born Lisbon (1748), died Lisbon (1823).
- Mercury about to Kill the Sleeping Argus with his
Sword, pen & ink drawing from an original print, Cyrillo
Volkmar Machado (1748-1823). Exhibited Fitzwilliam Museum,
Cambridge (2000). Ref. Anthony Rowland-Jones (pers. comm. 2000).
After an original print in the collection of the Museu de Arte
Antigua, Lisbon. Probably intended as a tile (azuelo)
design. A possible recorder lies on the ground. It has a clearly
beaked mouth-piece and window/labium but only five finger-holes,
in line and equally spaced, are shown (no part of the instrument
is occluded). The bell end has no flare. It could be a flageolet
or shepherd's pipe, slightly carelessly depicted. Notes by
Anthony Rowland-Jones (pers. comm., 2000).
Jacopo di Zanobi Machiavelli [Macchiavello]
Italian painter; born Florence (ca 1418), died ? Pisa (1479).
- Coronation of the Virgin (1479), ca 170 × 170 cm, Zanobi Machiavelli (ca 1418-1479).
Dijon: Musée des Beaux-Arts, Cat. 1883, No. 81;
Ref. Mirimonde (1965: pl. IV); Winternitz (1979: 142-144, pl. 68 - b&w; 1982: 61- & pl. 49); Wiese (1988: fig. 10 – b&w); Archiv Moeck; Anthony Rowland-Jones (pers. comm., 2001 & 2003; 2007a: 40 & fig. 2 - col.)
Wathed by four saints, the Virgin is crowned by Jesus to an accompaniment provided by angel musicians. In a group of four angels in the foreground, one sings, one plays lute, one fiddle and one recorder. The latter has a pale mouthpiece end with a clear window labium, but a darker body. It is cylindrical and cantus/alto size. Played right hand upper, and both hands have all fingers on, except the second finger of the right hand which is raised. However, three holes show between the fingers, together with double holes at the bottom just below the left hand. The bell end has no flare, but shows quite a large bore opening. In the catalogue (no. 28), reference is made to an inscription on the picture – OPUS CENOBII DEMACHIAVELLIS. MCCCLXXIIII (i.e. 1479). The group with the recorder is in the lower part of the ranks of angel musicians in this picture. Above, behind the throne, are angels with cornamuse [ie bagpipe], pipe and tabor, trumpets, triangle, cymbals and a basque drum.
James McArdell
Irish engraver; his output includes ca 200 mezzotints after other
artists, nearly all of which are portraits; he also produced
prints after Rembrandt, Peter Paul Rubens, William Hogarth and
others; born Dublin (?1728), died London (1765). See also Jan
Miense Molenaer (ca 1610-1668).
- Benjamin Hallet (1743-1765), engraving by Thomas
Jenkins (ca 1720-1798) after a painting by James McArdell
(1728/9-1765). The Hague: Gemeentesmuseum, Music Department. Ref.
Anthony Rowland-Jones (pers. comm., 2001); Website: Historische Portraits bedeutender Persönlichkeiten (2009). The whereabouts of the
painting on which this engraving is based is unknown. It
illustrates the five-year old Benjamin Hallet (wearing a dress) playing the cello.
Beneath it says:
A Child not yet five Years Old, who
under the tuition of Oswald, Performed on the flute at Drury Lane
Theatre ano 1748 for 50 Nights with extraordinary
Skill & Applause, and in the following year was able to play
his part in any Concert on the Violincello.
"The child plays at a desk on which there is a music-book and a
wind instrument. It could be an alto recorder with a long
mouthpiece, and ivory rings at the head/body joint, and half-way
down the body. The instrument is seen mainly from beneath so no
window/labium is shown, but three or four finger-holes can just
be made out. In the under part of the head end are what seem to
be two holes close together. This could be transverse flute"
(Rowland-Jones, loc. cit.)
Adam McCauley
Contemporary USA illustrator, drummer and surfer who lives in
Oakland, California. Adam's Home Page.
- Cover: American Recorder 41(2): Snake Charmer
(2000), Adam McCauley (contemporary). A leptomorphic
snake-charmer, surrounded by smiling reptiles, plays his
neo-baroque recorder.
Buddy McCue
Contemporary USAmerican artist, ukelele player and composer; born Chatanooga (1965).
- Still-life with Musical Instruments (before December 2011), oil painting, Buddy McCue (1965–).
On a table lie four books (one open), a goat-skin drum, a violin and a neo-baroque alto recorder with ivory (or plastic) mounts.
Donald McKinlay
British sculptor, painter, draughtsman and printmaker living and working in Cloughfold, Lancashire; political events around the world and the reporting of them in the popular press have provided him with source material for a number of years; most of his work relates to the human figure and everyday situations; born Bootle (1929).
- Seated Female Playing the Recorder (1979), watercolour and pencil, 76 × 56 cm, Donald McKinlay (1929–).
Nantwich: Peter Wilson Fine Art Auctioneers, February Fine Art, 16 February 2011, Lot 521.
A naked woman sitting in a chair plays an alto neo-baroque recorder.
MacRegol
Irish scribe, Bishop and Abbot of Birr; is one of the few artists
of the Early Christian Period whose name we know because he
signed his book at the end:
"Macregol illuminated these gospels. Whoever reads
and understands this narration, pray for Macreguil the
scribe."
His illuminated manuscript copy of the Four Gospels is now in
the, Bodleian Library in Oxford, one of the greatest treasures
there. It was only in 1814 that Fr. Charles O'Conor of the
O'Conor Don family, saw the connection between the Macregol of
this book and the entries in the Irish Annals about the year 821:
"Macriagoil Ua Magleni, Scribe, Abbot, Bishop of
Birr, died."
So the manuscript got another name: The Book of Birr in
addition to Macregol's Gospels, and it is also called
The Rushworth Gospels after the man who presented it to
the Bodleian library in the seventeenth century. Macregol was
illuminating his gospels at about the same time as the anonymous
scribes of the Book of Kells. His script is similar to
their scripts, one of which is featured on the back of the Irish
five pound note but his illumination is not as elaborate. The
cover and some pages are missing but the book is otherwise in
good condition.
- Decoration, from the Rushworth Gospels (2nd
half of the 8th century), MacRegol (d. 822). Oxford: Bodleian
Library, MS. Auct. D.2.19. Ref. Westwood & Zaczek (1996:
114-115, pl. 44-col.); Buckley (1991: 182, fig. 47). A bearded
man with an elaborate hat plays a small pipe, possibly a
duct-flute; his thumb is held up in the air.
Macrino d'Alba [Gian Giacomo de Alladio or Fava; il
'Macrino']
Italian artist; his work is characterised by its rich interwoven
colours, firm design and vibrant chiaroscuro; painted religous
subjects; born Alba (ca 1465/70), died ca 1528.
- Virgin and Child with Saints and Angels, Macrino
d'Alba (ca 1465/70 – a 1528). Turin: Galleria Sabauda. Ref.
Toesca (1911: 50); Viale (1939: pl. 88); d'Ancona & Gengaro
(1953: 320 – fig.); Piana (1962: pl. IX-col.); Catalog
(1971: fig. 204, pl. 89); Humfrey & Kemp. (1990: 139); Visual
Collection, Fine Arts Library, Harvard University,
372.M259.34[b]; Rasmussen (1999b, 2000). "Mannerist angels play
rebec and lute. The Virgin's throne levitates. The angels are in
what would be the conventional position below the throne, if it
were there. There are also a couple of musical putti, one holding
a recorder (?), the other blowing a crumhorn" (Rasmussen 1999b). Not seen.
- Translation of Saint Demeure (1490), wood, 154 ×
146 cm, Macrino d'Alba (ca 1465/70--a1528). Location unknown:
Sold Hôtel Rameau, Versailles, 1 February 1970. Ref.
Hôtel Rameau, Sale Catalogue No. 59 (1 February 1970),
Paris RIdIM (2000). The Virgin and Child enthroned levitate above
a church accompanied by angel putti some of whom play musical
instruments including a lute and a pipe (possibly a recorder).
Two figures stand either side, presumably the Saints before and
after their beatification since that on the left has a halo.
Paul Madeline (1863-1920), French
French painter who lived and worked in Paris at a time when both the Impressionist and Post-Impressionist movements were dominating the French scene; he is known chiefly for his landscapes, in which depicted the French landscape in sumptuous colour and in loose brushstrokes; born 1863, died Paris (1920.).
- Recorder Player, oil painting, 38.1 × 17.8 cm, Paul Madeline (1863-1920).
Brussels: Horta, 8 December 1997, Lot 170 .
Ref. Artfact (2004).
Not seen.
Madonna Master (early 14th century), French
- Psalter of Robert de Lisle: Scenes from the Childhood of Christ: Annunciation to the Shepherds (ca 1310), Madonna Master.
British Library, Arundel MSS83 part II f. 124r.
Ref. Sandler (1999); British Library: Images Online (2005).
Six scenes from the childhood of Christ. Nativity; Annunciation to the Shepherds; Circumcision; Adoration of the Magi; Presentation of Christ in the Temple, with Joseph carrying the offering of turtle doves; Flight into Egypt. In the latter, an idol topples from a pagan altar as Christ passes. The Annunciation to the Shepherds depicts Gabriel holding a banner bearing the words "Gloria in Excelis Deo", above three shepherds with their sheep. Two of the shepherds gesture upwards. One plays a slender cylindrical pipe with the hint of a window/labium and thus probably a duct-flute.
Mariano di Maella (1739-1819)
- Ceiling fresco, attributed to Mariano di Maella (1739-1819).
Madrid: Palacio Real, Royal Libarary, now the musical instruments
museum (in the room next to the Stradivarius Room). Ref. Anthony
Rowland-Jones (pers. comm., 2001). “Three women musicians,
one a singer with music on a table nearby, another holds what
seems to be a small recorder in right hand. The beak and
window/labium are clear, but there is no more detailing”
(Rowland-Jones, loc. cit.)
Girolamo di Francesco Magagni [ditto Giomo del Sodoma or
Girolamo da Siena]
Italian painter; born Siena (1507), died Siena (1562).
- Glory of angels (1550), Girolamo di
Francesco Magagni (1507-1562). Detail. Siena: Museo dell'Opera
del Duomo. Ref. Bolaffi (1972-1976: pl. 131-b&w); Paolo Biordi (2002, pers. comm.) On each side of a
central angel seated on a cloud reading from a banner, two angel
musicians sing and play long cylindrical tenor-sized recorders.
The one on the right is particularly well depicted and the beak,
window/labium, finger-holes and slightly flared bell are clearly
visible.
Domenico-Fedeli Maggiotto [or Majotto]
Italian painter whose early works adhere to the expressive
formulae of his teacher, Piazzetta, and are concentrated on genre
subjects charactersied by a plasticity of form and a strong
preference for chiaroscuro effects; his later paintings display a
tendency towards impersonal eclecticism; born Venice (1712), died
Venice (1794); father of the painter Francesco Maggiotto
(1738-1805).
- Flageolet Player, 57.5 × 45.5 cm,
Domenico-Fedeli Maggiotto (1712-1794), Private Collection. Ref. ?
Sale Catalogue; Paris RIdIM (2000). A young, rather petulant
looking boy holds in his right hand a small duct-flute (probably
a flageolet, as the title suggests) with a long beak and a turned
and flared bell. Only two finger-holes are visible.
- Boy with a Recorder (ca 1740), oil on canvas, 72
× 57 cm, Domenico-Fedeli Maggiotto (1712-1794). Venice: Ca'
Rezzonico, Museo del Settecento Veneziano. Ref. Giambattista
Piazzetta: il suo tempo, la sua scuola (1983: 157, item. 63).
A young boy with a tassle over his left shoulder holds a small
turned baroque recorder. Modelled on an original by Piazzetta.
- Mandolin Player and Flute
Player, oil on canvas, Domenico-Fedeli Maggiotto
(1712-1794). Location unknown: Auctioned by Finarte, 9 December
1999 (sold). Ref. Gabrius Data Bank, OMP (2002 - b&w). A
young boy holds a soprano, flared-bell recorder over his right
shoulder. The beak, window/labium and four finger-holes are
visible (the others are hidden underneath his hand, the lowermost
of which is slightly offset to the player's left). Modelled on an
original by Piazzetta. Offered for sale with a pendant entitled
Mandolin Player in which a buxom lass plays a mandola.
- Boy with a Flute, oil on canvas, 70 × 50 cm, Domenico-Fideli Maggiotto (1712-1794).
Vienna: Dorotheum, 12 December 2011, Lot 158; formerly Finarte, 24 November 1999 (unsold); Dorotheum, Vienna, 21 March 2002.
Ref. Gabrius Data Bank, OMP (2002 - col.); Dorotheum, auction catalogue (2002 - col.)
A young boy holds a soprano, flared-bell recorder over his right shoulder. The beak,
window/labium and four finger-holes are visible (the others are hidden underneath his hand, the lowermost of which is slightly offset to the player's left). Modelled on an original by Piazzetta.
- Boy with a Recorder (ca 1740), oil on
canvas, 59.7 × 45.7 cm, Domenico-Fedeli Maggiotto
(1712-1794). New York: Sotheby's, 3 October 1996, Lot 1003.
Ref. Rijksbureau voor Kunsthistorische Documentatie
(2001); Anthony Rowland-Jones (pers. comm., 2001); Gabrius Data
Bank, OMP (2002 - col.); Artfact (2003).
A young boy holds a soprano, flared-bell recorder over his right shoulder. The beak, window/labium and
five finger-holes are visible (the others are hidden underneath
his hand, the lowermost of which is slightly offset to the
player's left). Auctioned with another work by the same artist (a
pendant) entitled Girl with a Tambourine.
- A Sheperdess with a Gourd and a Peasant Boy
playing a Pipe, oil on canvas, Domenico-Fedeli Maggiotto
(1712-1794). Location unknown. Ref. Gabrius Data Bank, OMP (2002 - col.) A young
woman leans on her elbow holding a gourd and a stave in the crook
of her left arm. Beside and slightly behind her, a younger boy
plays a pipe the details of which are obscure, but his fingers
are well disposed for recorder playing an the little finger of
his lowermost (left) hand is outstretched to cover its hole.
Reminiscent of Piazzetta' style.
- Shepherd Lad with a Flute, oil on canvas, 71 ×
53 cm, Domenico-Fedeli Maggiotto (1712-1794) OR Giuseppe Angeli
(1710-1798). Stockholm: Universitet, No. 64. Ref. RIdIM Stockholm
(2001); Anthony Rowland-Jones (pers. comm., 2001). A shepherd
leans on his left elbow holding an alto late-baroque recorder in
his right hand cradled in the crook of his left elbow. The lower
end of the recorder is out of frame.
- Loving Couple, 83 × 59 cm, Domenico-Fedeli Maggiotto (1712-1794).
Location unknown: offered for sale by Siegfried Kuhnke - Gallerie Hofmarkmühle, Pähl am Ammersee, 1994.
Ref. Weltkunst 64: 22 - col. (1994); Constance Scholten (pers. comm., 2005).
A young man holding a rather thick one-piece baroque-style recorder with a widely flared bell leans towards his buxom female companion.
- A Young Man Holding a Flute, with a Young Woman Beyond, oil on canvas, 54.5. × 43 cm, Domenico-Fedeli Maggiotto (1712-1794).
Location unknown: Sotheby's (New York), Sale N08282, "Important Old Master Paintings and European Works of Art", Lot 196, 26 January 2007 (sold).
Ref. Sale Catalogue (2007 - col.)
A young man grips a renaissance-style recorder fiercely in one hand gazing intently at a young woman at his shoulder whose look is equally intense.
- The Concert, engraving, tondo, 22.0 × 19.0 cm, Domenico-Fedeli Maggiotto (1712-1794).
Venice: Museo Correr.
Three youths sing and play a colascione (long-necked lute), and a slender, cylindrical duct-flute, possibly a recorder, the beak of which is clearly depicted.
Alessandro Magnasco [Il Lissandrino]
Italian artist of the Genoese school; painted rococco style religious subjects, genre scenes, landscapes, and architectural ruins; born Genoa (1667), died Genoa (1749).
- The Concert, Alessandro Magnasco
Bergamo: Private Collection.
Ref. Abbiati (1939 - b&w); Angelo Zaniol (pers. comm., 2003).
On a terrace musicians play a torban (a long-necked lute with a series of unfretted strings above the trebles), a rectangular harpsichord and a viol. The harpsichordist also sings, as does a child beside him. A figure with a floral crown standing behind the torban player mimics him. Another person stands behind the harpsichord, drumming his fingers on the lid on which a bird is perched. On the floor in the middle of the picture a small child bangs a tambourine. A cat runs towards a slender, conical pipe (possibly a recorder) which lies on the floor beside the child.
Carlo Magnone (17th century), Italian
- Lute
Player (1642), Carlo Magnone. Rome: Palazzo Barberini.
Ref. Thomson & Rowland-Jones (1995: 42, pl. 15a, inset 2
– b&w); Greetings Card: Closerie #5064 (1996-col.); CD
Cover: Sonate per Flauto e Basso Continuo, Poema
Harmonico, Lindoro MPC-0702, Sevilla (1998, detail-col.) A
variant copy of the original by Caravaggio. A young woman plays a
lute, her music books on a table in front of her with a
flared-bell recorder (with paired holes for the lowermost
finger), violin, and miniature spinet.
Gian-Francesco de Maineri
Italian painter active in the regions of Ferrare and Parma; known for sophisticated religious pieces; born ca 1460, died 1505.
- The Virgin and Child Enthroned between a Soldier Saint and St John the Baptist, oil and egg tempera on wood, 247 × 163.8 cm, Gian-Francesco de Maineri (ca 1460-1505) & Lorenzo Costa (ca 1459/60 - 1535).
London: National Gallery NG1119. Ref. Rowland-Jones
(1999d: 124, fig. 1 – b&w). This work was painted for the high altar of the Oratory of the Conception, Ferrara (attached to the church of S. Francesco) and was probably commissioned by Carlo and Camillo Strozzi. At the base of the Virgin's throne near the bottom of this large altarpiece is a predella with five scenes from the life of Christ which were
painted by Maineri who began the picture – it was finished by Lorenzo Costa. Three of the five
scenes are partly obscured by the legs of the two standing saints. The scene on the far right depicts the Nativity in which one of the shepherds appears to be playing a pipe. At this size, features of the instrument are not apparent; indeed it is just possible that we are looking at the end of a shepherd's staff, but the position of the chin makes this unlikely. If it is an instrument, it is likely to be a duct-flute.
Hans Johann der Maler
German artist and follower of Lucas Cranach; born 1544-1550.
- The Ten Commandments: Thou shalt not commit
adultery (1528/9), tempera on pinewood, Hans Johann der Maler
(born 1544-1550 - ?). Dresden: Historical Museum; formerly in the
Kreuzkirche, Dresden. Ref. Archiv Moeck; Rowland-Jones (1999b:
6-7, fig. 5 – b&w). A gentleman with cloak, ornate hat,
sword and pointed shoes, serenades his mistress in the balcony
above with the help of three musicians playing a mute cornett, a
slightly flared recorder, and a lute. The lutenist has his back
to us. Oddly, the woman has her hands on her companion's
shoulders. He points at the scene below, perhaps reminding her of
his own marriage vows. There is also a small dog, symbolic of
loyalty.
Pat M. Mallinson
British artist who taught at Farnborough Hill in Hampshire and was on the staff of the new Camden School of Art; she exhibited at the Royal Academy and her work is found in collections and galleries in Britain and overseas.
- Children, aquatint/etching on paper, 19 × 30 cm, Pat M. Mallinson (1930-2008).
gallerybs3 (2009).
A little girl sits on a chair playing a neo-baroque recorder to accompany her sister who is singing whilst leaning on the back of the chair.
Cornelis de Man
Seventeenth-century Netherlandish painter whose subjects include
genre scenes, mercantile scenes, landscapes, church interiors.
- Chess Players, 98 × 85 cm, Cornelis de Man (17th
century). Budapest: Szépmüvészeti
Múzeum, No. 320 (464). Ref. Berni (1969, 2: #723); Paris
RIdIM (1999). Watched by their cat, a couple play chess at a
table seated on ornate chairs. On the wall behind them hangs a cittern. On the floor in front of the fire are a cat, a bellows and some sticks of wood. One of the latter resembles the beak and window/labium of a duct-flute, for which it has been mistaken.
Jacobus Sibrandi Mancadan
Dutch artist and government official who served as burgomaster of
Franeker from 1637 to 1639 and of Leeuwarden in 1645; his primary
occupation, however, was painting; born Leeuwarden (1602), died
Tjerkgaast (1680).
- Landscape with a Flute-playing Shepherd, oil on panel, 40 × 49.5 cm, Jacobus Sibrandi Mancadan (1602-1680).
Leeuwarden: Fries Museum.
Ref. Rijksbureau voor Kunsthistorische Documentatie 21634 (2010-b&w).
A flock of goats are browsing on a hillock beside a wall. On the slope of the hillock sits a shepherd playing a slender duct-flute, probably a recorder.
- Landscape, oil on panel, Jacobus Sibrandi Mancadan (1602-1680).
Private collection.
Ref. Rijksbureau voor Kunsthistorische Documentatie ex Antony Rowland-Jones (pers comm., 2001).
A pastoral scene with cattle and a woman with garlands. In the foreground, next to a pitcher and a
shepherd's crook, is a soprano size duct-flute with a very slight
bell-flare, six finger-holes in line, and an offset hole for the
little finger of the lowermost hand.
Francesco Mancini
Italian painter; his art is rooted in the classicist tradition of
Bologna and Emilia Romagna; his work is almost exclusively
ecclesiastical, and he made a significant contribution to the
development of the form and iconography of the altarpiece; born
S. Angelo in Vado (1679), died Rome (1758).
- Nativity, Francesco Mancini (1679-1758). Rome: Santa
Maria Maggiore. Ref. Postcard (2002: col.) The Christ-child is
admired by shepherds and other visitors. Overhead angels hover,
one playing a lute, another a slender, flared, tenor-sized pipe,
possibly a recorder.
Karel [Carel] van Mander III
Flemish-born Dutch painter and poet, who is mainly remembered as a biographer of Netherlandish artists; as an artist he played an important role in Northern Mannerism in the Netherlands; his own pictures, which were mainly religious and allegorical, adopted the elongated forms of the Mannerist, but his later works showed a tendency towards naturalism; Frans Hals was probably his pupil; born Meulebeke (1548), died Heemskerk (1606).
- Serenade, trompe l'oeil ceiling painting, Karel van Mander (1548-1606).
Amalienborg: Palace, Christian VII's Mansion.
Ref. Lassen et al. (1973: opp. p. 184); Rasmussen (2002, Bagpipe).
"'Peasants' peering down 'through the ceiling' sing and play two bagpipes, flute, nine whistles or tiny recorders, and perhaps a jew's harp. It must have been quite a serenade" (Rasmussen, loc. cit.) Not seen.
- Old Woman with a Flute (ca 1639), red, white & black chalk on paper, oval, 553 × 397 mm, Karel van Mander III (1548-1606).
Copenhagen: Statens Museum for Kunst – Kobberstiksammling.
Ref. Rijksbureau voor Kunsthistoriche Documentatie 65626 (2010-b&w).
On old woman in a bonnet and wearing a beautiful smile holds a wide tenor renaissance-style recorder of which only the head and body are visible.
- The Times of Day: Midday or The Passage of
Phoebus (1621), See print by Jacob Matham (1571-1631).
Emmanuel Mané-Katz
Ukrainian/French painter and sculptor, of the main masters of the
"Ecole de Paris"; born into a religious Jewish family, he was
much influenced by Jewish mysticism; his subjects include themes
drawn from life in the ghettos of Eastern Europe, the rabbis and
Talmudic students, the fiddlers and drummers, comedians and
beggars; he also painted a number of landscapes and flower
studies; later in life his style became expressionist and
baroque, with loose brushwork and rhythmical forms; born 1894,
died 1962.
- Hassidic Flute Player, Emmanuel
Mané-Katz (1894-1962). Location unknown. Ref. Gabrius Data
Bank, 20th Century (2002 - b&w). A man in a long coat leans
backwards playing a vertical flute, possibly a
recorder, but more likely a kaval.
- Flute Player, bronze figure, 36 cm high,
Emmanuel Mané-Katz (1894-1962). Location unknown:
Currently offered for sale by Matsa for Public Auctions (2002).
Ref. Matsa for Public Auctions (2002 - col.) A man in a hat plays
a vertical flute, possibly a recorder, since all fingers of the lowermost (right) hand are covering their holes, but more likely a kaval.
Bartolomeo Manfredi
Italian painter of the Roman school; a Carravaggist who
specialised in low-life scenes of taverns, soldiers in
guardrooms, card-playing, and the like; no works signed by or
documented as his survive; born Mantua (1582), died Rome (p.
1622).
- Figures Making Music Around a Table,
oil on canvas, attributed to Bartolomeo Manfredi (1582-p.1622).
Amsterdam: Sotheby's, Sale AM0805, Old Master Paintings and a Collection of Important Frames, 8 May 2001 (sold).
Ref. Gabrius Data Bank, OMP (2002 - col.) Similar but not quite
identical to Theodoor Rombouts' A Musical Party (Auctioned
by Sotheby's, 19 April 2002). Sitting at a table, a theorbist and
a recorder player accompany a singer who stands between them. A
serving man brings them wine. On the table are open music books,
a lute, a cittern and an unusual flute which appears to be made
of ivory with a wooden insert in the head joint. The recorder is
a near-cylindrical tenor with a one-keyed foot-joint and
fontanelle.
Lisa Manning
Contemporary American artist who works out of her studio in
Beverly, MA; her illustrations have appeared in The Atlantic
Monthly, Business Week, Computer Life,
Fortune Magazine, MS Magazine, The New York
Times, US News & World Report and Working Woman
Magazine; born Boston MA. Web page.
- Recorder Onstage (1994), Lisa Manning (contemporary).
Ref. American Recorder 25(3): cover (1994). A stylised
figure plays a flared-bell recorder on a stage.
Giovanni di Niccolo Mansueti (op. 1485-1527), Italian
- Coronation of the Virgin, canvas, 146 × 118 cm,
Giovanni di Niccolo Mansueti (op. 1485-1527). Location unknown;
sold Galerie Crespi, 2 June 1914, Cat.37; sold Galerie G. Petit,
Paris. Ref. Paris RIdIM. The Virgin is crowned by Christ whilst
both are embraced from behind by God the Father. Between them is the dove
symbolising the Holy Ghost. Above, two angels play
fiddle and rebec; below, two putti play lute and a flared-bell
pipe which could be recorder.
Andrea Mantegna (1431-1506)
Italian painter, one of the great stylistic innovators whose
influence on the whole practice of painting was immense; his
works are characterised by the sculptural modelling of his
figures, his incisive line, his treatment of landscape in
geological layers, his stressed gestures, and his tragic use of
colour; active mainly in Padua and Mantua, briefly in Verona,
Florence and Rome; born Isola di Carturo, near Vicenza (1431),
died Mantua (1506).
The origin of the designs of the so-called "Tarocchi Cards of Mantegna", is controversial. It has long been thought that they are derived from designs by a Ferrara painter, possibly Baccio Baldini (op. 1460-1485), for use in the Ducal court. However, Kenneth Clark (see McClean, 1983) has attributed the designs to Parrasio Michele (1516-1578), Master of the School of Ferrara. More recently, Prinke (1990) has argued that the designs were, in fact, by Mantegna himself. In this catalogue, data on the cards relevant to recorder iconography is listed under Baldini.
- Allegory of Vice and Virtue, unfinished drawing in pen & pencil (brown,
black, red and white), 28.6 × 44.1 cm, Andrea Mantegna (1431-1506). London:
British Museum. Ref. Tietze-Conrat (1956); Archiv Moeck.
This unfinished drawing forms the upper half of a composition which is fully illustrated in an engraving by Giovanni Antonio da Brescia. Both are inscribed on the right with the words: VIRTUS COMBVSTA ('Virtue in flames') which summarises the complex humanist allegory.
The 'invention' illustrates the idea of the hold of Ignorance over humanity. In the centre of the top half, Error, a man with ass's ears, leads an unsuspecting woman to the edge of a pit. She is both literally and morally blind. Error is encouraged by a winged figure of a satyr (half-man and half-goat) with bat's wings, bird's feet and a conspicuous codpiece who plays a pipe and symbolizes Lust. Between the satyr and blind woman is a man with a sack over his head, tied at the neck, who leads a dog on a leash. This man feigns blindness and may well be Fraud. To the right, Ignorance, a fat crowned woman, sits on a globe holding a rudder. The unstable globe and rudder both represent Fortune. Serving their queen are Ingratitude, with blindfold and scarf, and Avarice (greed) or Envy with dirty hair and large ears. On the far right are burning laurel leaves, a symbol of Virtue.
Mantegna's original drawing for the lower half of the image is lost, but the complete composition of the allegory is recorded in the print. Below is the pit into which the woman is about to fall, piled high with bodies. To the left is a female figure changing into a tree with a label VIRTUS DESERTA ('Deserted Virtue). Choking the tree are thorns and just below another inscription: VIRTUTI S.A.I. (Ignorance is always opposed to Virtue). At the right, however, Mercury saves a figure from the pit, implying that Reason and Virtue can provide salvation. Unusually he wears laurel leaves on his feet, not the usual feathers.
The satyr's pipe has enough finger-holes to be a recorder, though it is sightly curved in the manner of a cornett, and no window/labium is visible.
Pietro Marascalchi [da Feltre], called 'Lo Spada' (The Sword)
Italian painter active in the Veneto and especially in the province of Belluno; born 1522, died 1589.
- Madonna and Child with Saints Girolamo and Vittore (ca
1560), oil on canvas, Pietro Marascalchi (1522-1589). Ref.
Villa i Tatti ND 621 BG P58 (2000); Conte (1998: 127-128, fig. -
b&w); Paolo Biordi (pers. comm., 2000). The Madonna and Child
are seated on a throne on either side of which stand the two
Saints. At their feet, a winged putto plays a flared-bell pipe,
possibly a recorder.
Carlo Maratta [Maratti] (1625-1713), Italian (Rome)
Italian artist, the leading painter in Rome in the late 17th
century, he continued the tadition of the Classical Grand Manner,
based on Raphael; his works include altarpieces, frescos and
portraits; born 1625, died 1713.
- Assumption of the Virgin, oil on canvas, Carlo Maratta
(1625-1713). Toledo: ? Cathedral. Ref. Anthony Rowland-Jones
(pers. comm., 2001). "A cello, viola, lute and recorder are
played by unwinged angels The recorder is held close to the
angel's mouth, in a perfect playing position, all fingers on with
right hand lower; part of finger-holes three and five may show
beside the fingers. Alto size with slight bell flare and one
incised ring close to bell. The mouthpiece and window/labium are
in shade" (Rowland-Jones, loc. cit.)
- Virgin with Angels, painting, Carlo Maratta (1625-1713).
Location unknown.
Ref. Website: klassiskgitar.net (2007 - col.)
The Virgin reads from a small book surrounded by angels one of whom also reads from a book, another holds a gothic harp, and a third holds a very tiny pipe (probably a duct-flute, possibly a recorder), the details of which are obscure.
Miguel March
Spanish draughtsman and painter who worked in a number of genres, including,
allegorical, still-life, battle and religious works; born
Valencia ca 1633, died 1670; son of the painter Esteban March (ca
1610-1668).
- Autumn (ca 1655), oil on canvas, 67.5 × 90 cm, Miguel March (ca 1633-1670).
San Pio, Valencia: Museo de Belles Artes San Pío V, Inv. 3601.
Ref. Pintura y Musica en el Museo San Pío [Valencia,
Spain] (1995: 85); Frechina (1998: 209, fig. 143), Escalas (1998
- col.); Anthony Rowland-Jones (pers. comm., 2003).
One of a series of paintings representing Autumn, Winter, Time and The Miser. It is possible that there were additional works representing Spring and Summer.
A young man in a feathered hat plays a cylindrical duct-flute (probably a flageolet since there are only two holes for each hand) to an appreciative parrot who perches above a
table on which are scattered grapes and peaches. Behind the bird, a carved panel depicts a woman carrying what looks like a sack of farm produce, thus emphasising the pastoral associations of this painting. The foot of the instrument is slightly flared, and the third finger of the lower (left) hand touches the rim of the bell as if to indicate where the sound comes from.
Girolamo Marchesi da Cotignola (ca 1471/5 – ca
1540/1550), Italian
- Enthroned Virgin and Saints / Sacra
conversazione, Girolamo Marchesi da Cotignola (1471 - ca
1540). San Marino: La Pinacoteca di San Francesco, Museo. Ref.
Ricci (1903: 39); Ricci (1906: 39); Rasmussen (1999b); Hijmans (2005: 222). On either
side of the enthroned Virgin and Child stand the Saints. St Giovanni indicates Jesus and Mary to a young St Marino who stands
at the bottom left. At their feet sit two putti, one playing a lute, the other playing a cylindrical recorder with one hand and holding a sheet of music in the other. In the background is Mt Titano.
Gerhard Marcks
German sculptor, painter and graphic artist associated with the
Bauhaus where he became head of pottery in Dornburg,
near Weimar; before the war his works were censored and
confiscated; after the war he had many exhibitions, created many
memorials and church monuments, and even designed a bridge in
Halle; he also made expressionist woodcuts; born Berlin (1889),
died Burgbrohl/Eifel (1991).
- Orpheus in the Underworld (1947/1948), woodcut 32.1 × 36.1 cm (image),
Gerhard Marcks (1889-1981). Bremen: Gerhard Marcks Haus H180-8;
San Francisco: de Young Museum; Ann Arbor: University of Michigan
Museum of Art 1964/1.112 Ref. Gerhard Marcks Haus (2001); University of Michigan Museum of Art (2000).
The sixth of ten woodcuts in the Orpheus series. A naked Orpheus
gazes at a demure-looking Euridice whilst a black male figure, a
coat over his shoulders, plays a long flared-bell pipe which
could represent a recorder.
- Trude Jalowetz, preliminary sketch
(1932), drawing, 39 × 25 cm, Gerhard Marcks (1889-1991).
Bremen: Gerhard Marcks Haus, D123. Ref. Gerhard Marcks Haus (2001). Trude Jalowetz (an
artist's model, died 1977) stands playing a slender cylindrical
pipe of tenor size. There is just a hint of a window/labium, so
this may represent a recorder.
- Flute Player (1932), sculpture,
bronze, 54 cm high, Gerhard Marcks (1889-1991). Private
Collection. Ref. Website: Gerhard Marcks Haus. A young woman stands playing a
narrowly conical pipe of tenor size. All fingers of both hands seem
to be employed, and there is no trace of beak, window/labium or
reed. Nonetheless, this may represent a recorder.
- Greek Flute Player (1933), statue, Gerhard Marcks
(1889-1991). Karlsruhe: Badischen Landesmuseum. A man with a cape
over his head plays a duct-flute (possibly a recorder).
Rocco Marconi
Italian artist active mainly in Venice and Treviso; he was a follower of Giovanni Bellini in whose workshop he spent some 25 years; born ? Venice (a. 1490), died 1529.
- Transfigured Christ with St Peter and St Andrew (ca
1524), Rocco Marconi (a. 1490 – m. 1529). Venice: Basilica
dei Santi Giovanni e Paolo. Ref. Boccazzi (1965: 165); Burlington Magazine Burlington 116 (1974: 390); Humfrey (1993: 70, pl. 63); Rasmussen (2005).
"Sitting comfortably on a cumulus cloud, three angel-putti look
down on Christ. On the right, one plays a soprano/alto recorder
(left hand lower, a shadowy area possibly representing a
window/labium is rather high up leaving space for only a short
windway). Three lower finger-holes are visible, the missing one
hidden by or under one of the left-hand fingers of the
angel-putto player. The profile is cylindrical with a gradual
bell expansion to fairly wide at the end with not much impression
of wood thickening" (Anthony Rowland-Jones, pers. comm.,
2000).
Hans von Marées
German draughtsman and painter of the so-called Idealist school;
born Elberfeld, Prussia (1837), died Rome (1887).
- Flute Player, charcoal on paper, 29.2 × 13.3 cm, Hans von Marées
(1837-1887). Munich: Staatliche Graphische Sammlung, Inv. 1913:
32. Ref. Munich RIdIM (1999, Mgs - 405). A naked young man leaning against a tree plays a duct-flute, possibly a
recorder, but it is not clear. Notes by Anthony Rowland-Jones (pers. comm., 1999).
Maretz (17th century), France
- Frontispiece, Discours sur les Arcs Triomphaux
dressés en la ville d'Aix, à l'hereuse
arrivée de … Louys XIII. roy de France & de
Navarre: Troisiesme Arc, by Chasteuil Galup, published by Tholosan,
Aix-en-Provence (1624): Troubadour (1624), engraving by Maretz.
Copy offered for sale by Otto Haas, London (1959).
Ref. Otto Haas, Sale Catalogue 37, A Selection of rare
Music from Boethius to Webern, London, (1959); Paris RIdIM
(1999); Google Books (2010). "An interesting and rare work describing and illustrating
triumphal arches erected in honour of Louis XIII on the occasion
of his visit to Aix in 1624. This book would have no place in a
music catalogue, were it not for the Troubadour reproduced on the
cover of this catalogue" (Haas, loc. cit.) "L'habit est celuy e
son siècle. Sa main soutient un sceptre de Laurier. On
void auprés de luy une trompette, une lyre, & quelques
autres instruments de musique. Les roses, les oeillets, les
violettes naissent, dessours ses pas … " It represents the
survival of a medieval ideal in an age of classicism. In addition
to the trumpet and violin are a cornett and a small flared-bell
recorder.
Onorio Marinari
Italian painter and printmaker active mainly in Florence; his paintings include a number of altarpieces for Florentine churches and a self portrait, now in the Uffizzi; his illustrated Fabbrica ed uso dell' Annulo Astronomico was published in 1674; son of the minor painter Sigismondo di Pietro Marinari (op. 1650), cousin of the Florentine painter Carlo Dolci (1616-1686).
- Annunciation to the Shepherds, oil on canvas, 90.7 × 68 cm, Onorio Marinari (1627-1715).
London: Sotheby's Sale LL11037, Old Master and British Paintings Day Sale, 8 December 2011, Lot 127.
A young shepherd sits holding a flared-bell pipe, possibly a recorder though no details of finger-holes or window/labium can be discerned. Beside him, a companion holding a stouter flared-bell pipe (possibly the chanter of a bagpipe) looks up in astonishment at the angel Gabriel above. in the background are cows and sheep against a hilly landscape. An autographed variant of this painting, on a smaller scale, is in the Casa di Risparmio di Pistoia e Pescia.
Giovanni Marino (18th century), Italy
- St Benedict (1728), low relief sculpture, Giovanni Marino (18th century).
Monreale: Duomo, Cappella di San Benedetto, altar.
Ref. Schiro (1996: 115 - col.); Charles Rowland-Jones (pers. comm., 2007).
In the central panel, St Benedict is lifted to heaven by angels. At the top left an angel plays a violin, and top right another plays a recorder. The violin bow, the recorder itself and St Benedict's bishop's crozier are all represented in gold against the white marble of this fine bas-relief. The recorder is alto-sized or a little larger, and it is a perfect representation of a baroque instrument. The angel plays right hand lowermost, with all his fingers on the instrument, although the sculptor has placed the hands rather too close together.
Simon Marmion
Franco-Flemish miniaturist and book illuminator who worked in the Burgundian court of the noted patrons Philip the Good and Margaret of York; a radical artist who introduced and developed the use of new colours and colour relationships which made him a pioneer in the depiction of atmospheric effects in landscap (some scholars controversially believe that Marmion painted the first pure landscape); also noted for the clarity of his narrative and sensitive conveying of the emotions of his characters; active ca 1425-1489.
- Triptych, centre panel: Virgin and Child in a Landscape with a Trompe L'oeil Frame (late 15th century), oil on panel 50.2 × 36.8 cm, circle of Simon Marmion (op. 1425-1489).
New York: Sotheby's, Old Masters 2000 and A Celebration of the Still Life, 28 January 2000, Lot 9.
The left wing of the triptych is the National Gallery, London; the right wing was sold by Sotheby's, New York, in 1992. The artist has conjoined town and country, urban and rustic in a decidedly Rogerian manner. Courtiers can be seen playing recorders and dancing, others on horseback or sitting on the grass in the hills and along the banks of a river which flows across the background of the triptych. The painter is thought to be either a Flemish artist working in France or a French artist working in the north (along the present Belgian border).
Jacob Marrel [Marrell, Marzell, Morrel or Morsel]
German still-life painter, engraver, and art dealer active in Utrecht; he specialised in floral still-lifes and botanical illustration of tulip varieties; stepfather of the entomologist and artist Maria Sibylla Merian (1647-1717);
born Frankenthal (1614), died Frankfurt (1681).
- Pronk Still-life, oil on canvas, 127.7 × 185.2 cm, Jacob Marrel (1614-1681).
New York: Sotheby's, Old Master Paintings, 17 December 1998, Lot 38.
Ref. Gabrius Data Bank, OMP (2002 - col.); Artfact (2003); Rijksbureau voor Kunsthistoriche Documentatie )2010-col.)
Probably a late work by the artist. On a table beneath a velvet drape are a musical score, violin, pipe (?flute, ?recorder), a ham on a plate, a shell, a glass goblet, melon, grapes, peaches, a fig and plums on a silver tazza, cherries, pomegranates, melons, lemons, shells. A glass roemer stands on a small cabinet behind. A macaw perches on a chair. The body of the pipe is hidden beneath the music book, its head beneath the violin; but the foot is visible and this seems to be cylindrical, so a flute
seems more probable.
- Vanitas Still-life (1637), Jacob Marrel (1614-1681).
Ref. Gemar-Koelzsch (1995: 169, pl.); Rowland-Jones, pers. comm., 2004).
A large vase full of flowers, and a beautifully painted violin leaning at the right. Bubbles above, books, smoking pipes, etc. below, and at the very bottom sticking out from what looks like a small sheet of music in the right corner the slightly flared bell of a small pipe, showing a quite wide bore and a finger- or tuning-hole near to it. Anthony has mistaken a piece of candlewax for a recorder! In the right-hand corner a little mouse nibbles at some crumbs.
Giovanni Martinelli
Italian painter active mostly in Florence; born Montevarchi (ca 1600 or 1604), died 1659.
- Music, Giovanni Martinelli (ca 1600-1659).
Florence: Galleria Corsini (1922). Ref. Archiv Moeck. A personification of
Music holds a cylindrical recorder, only the head and upper body
of which is visible. The beak appears to be encased in a metal
sleeve.
- Music, painting (oval), Giovanni Martinelli (ca 1600-1659).
Location unknown: auctioned 06/07/2005 (sold).
Ref. Gabrius Databank (2007 - col.)
A copy of the original in the Galleria Corsini, Florence. A personification of Music holds a cylindrical recorder, only the head and upper body of which is visible. The beak appears to be encased in a metal sleeve.
- Music, painting (oval), Giovanni Martinelli (ca 1600-1659).
Martinelli (ca 1610-1659).
Location unknown: auctioned 06/12/2005 (sold).
Ref. Gabrius Databank (2007 - col.)
A small copy of the original in the Galleria Corsini, Florence. A personification of Music holds a cylindrical recorder, only the head and upper body of which is visible. The beak appears to be encased in a metal sleeve.
Ben Martinez (contemporary), USA
- The past is now; the future was then! (1991), Ben
Martinez (contemporary). Ref. American Recorder 32(2):
cover-col. (1991). A mock-Elizabethan couple: he plays
harpsichord; she plays a wind synthesizer!
- Untitled (1992), Ben Martinez (contemporary) Ref.
American Recorder 33 (3): cover-col. (1992). A seated
youth plays an alto recorder of modern design to a girl sitting
at his feet who holds open a book of music.
- Wired for Sound, Ben Martinez (contemporary) Ref.
American Recorder.
Bernat [Bernardo] Martorell
Spanish painter of the Barcelona school known for his scrupulous
attention to detail, his ability to convey an impression of depth
and space and to give life to all elements of his compositions;
born 1427, died 1452.
- Coronation of the Virgin, paint on panel, Bernat
Martorell (1427-1452). Barcelona: Colección Viñas. Ref. Gudiol
(1986: 654); Ballester (1999: 168-169 & pl. 84); Rowland-Jones (1997: 13-14).
Mary is crowned by Christ to an accompaniment provided by six musical angels. Three of the angels play
cylindrical duct-flutes (probably recorders); others play rebec, lute and
harp.
Félix Mas (contemporary), Spanish
- Flauta de pico alto, oil on canvas, 61 × 46 cm, Félix Mas
Madrid: Galería de Arte Castello 120, Exhibition 30 October – 14 November 2001.
Ref. Galería de Arte Castello 120 (2003).
A young woman wearing a hat made of leaves, her eyes closed, holds a slender baroque style recorder.
Henri Leopold Masson
Canadian artist best known for his genre, landscape, and figure drawing; born Belgium (1907), died Ottawa, Canada (1996).
- Recorder Player, oil on masonite, 20.3 × cm, Henri Leopold Masson (1907-1996).
Location unknown; sold by Galerie d'Art Vincent, Ottawa
Ref. Website: Galerie d'Art Vincent (2005 - col.)
A young woman in a white gown plays an alto recorder.
- Recorder Player, pastel on board, 30.4 × 20.3 cm, Henri Leopold Masson (1907-1996).
Location unknown, sold by Red Kettle, Victoria BC.
Ref. Website: Red Kettle Art & Collectibles (2006).
A young woman seated plays a recorder, another woman standing by her side listens.
Master of 1416 (early 15th century), Italian
(Florentine)
- Childbirth tray (desco da parto) with scenes from Boccaccio's Commedia delle ninfe fiorentine: Ameto's Discovery of the Nymphs and Contest between the Shepherds Alcesto and Acaten (1410), verso of a marriage salver, tempera on wood, 12-sided,
53.7 × 56.2 cm, Master of 1416 (early 15th century).
New York: Metroplitan Museum of Art. Ref. Website: Metropolitan Museum of Art.
Like its companion piece (26.287.2), the reverse of this marriage
salver illustrates an episode from Boccaccio's Comedia delle
Ninfe Fiorentine, written in about 1342. The hunter Ameto and
two nymphs judge a musical competition between the shepherds
Alcesto (who represents liesure) and Acaten (who represents idustry). The contestant on the left plays a pipe,
quite possibly a duct-flute (flageolet or recorder). The incident was a critical prelude to Ameto's embrace of the virtuous life. The escutcheon at the right appears to be that of the Di Lupo Parra family of Pisa.
Master of the Aachen Altarpiece [Master of the
Aix-la-Chapelle Altarpiece]
German painter (formerly thought to be Flemish), named after the
great winged altarpiece with scenes from the Passion (ca 1510,
Aachen, Domschatzkam.), painted for the Carmelite church in
Cologne; he adopted a restless and capricious style of Mannerism,
his figures being alluringly full and soft; known from works in
Aachen and Munich; active from ca 1460-1520, in Cologne between
ca 1480 and 1500.
- Virgin and Child with Angelic Musicians (ca 1480), oil
on panel, 52.5 × 46.3 cm, Master of the Aachen Altarpiece
(op. ca 1460-1520). Munich: Alte Pinakothek, Inv. 10756. Ref.
Buchner (1960: pl. 26-col.); Stange (1934-: V, no. 241);
Ragghianti (1969: 31, pl.-col.); Rasmussen (1999a); Website: klassiskgitar.net (2007 - col.)
On each side of the Virgin and Child are trios of musical angels. On the left
are two singers and a lutenist reading from a large score. On the
right are a singer, an organist and a duct-flute (probably a
recorder) player. The duct-flute is cylindrical and the
window/labium is clearly depicted.
Master of S. Agostino (early 14th century), Italy
- Life of St John the Evangelist: The Journey to Ephesus, St
John on Patmos (early 14th century), Master of S. Agostino
(early 14th century). Rimini: Chiesa di S. Agostino. Ref.
Berenson (1968, 1: 359); Fratelli Alinari, S. p. A., Florence:
photographs 30417-30418; Marcheselli (1972; pl. III & 4); van
Marle (? date: 4: 308-310 & fig. 157); Volpe (1965: 31-35,
77, & figs 144-148); Brown (1985: 270 & pl.
325b-b&w). "On the journey to Ephesus, one figure in the boat
plays a shawm or recorder, and another plays pipe and tabor"
(Brown, loc. cit.) The "recorder" is clearly a shawm, judging by
the expansion and tuning hole at the bell end; the lowest holes
are almost half-way up the instrument, which is played with
puffed cheeks (Rowland-Jones, pers com.)
Master of the Abbey of Afflighem = Master
of the Joseph Sequence
Master of the Aix Annunciation [? Jean Boyer (French)] (15th
century), French
French painter of the Annunciation altarpiece in the church of St
Magdalen at Aix, the wings of which are preserved at Brussels and
Vierhouten and one fragment at Amsterdam; thought by some to be
executed by Jean Boyer, Court Painter to King René of
Provence ca 1450.
- The Marriage of Jacob and Rachel, canvas on wood, 178
× 256 cm, Master of the Aix Annunciation (15th century).
Aix-en-Provence: Musée Granet. Ref. Lallement & Devaux
(1996: 256). Includes a recorder. Not seen.
Master of the Aix-la-Chapelle Altarpiece =
Master of the Aachen Altarpiece
Master of the Acquavella Still-life (op. ca 1610-1620),
Italian (Rome)
- Still-life with a Violinist (ca 1620), oil on canvas,
83 × 118 cm, Master of the Acquavella Still-life (op. ca
1610-1620). Private Collection. Ref. Postcard: Royal Academy of
Arts, London (2001); Exhibited Royal Academy of Arts: The
Genius of Rome, 1592-1623), Brown (2001); Anthony Rowland-Jones (2001: 13-16, fig.-b&w); Heyghen (2005: 313).
A young man in a feathered cap plays a violin in front of a bench
on which there is an enormous bowl of fruit (grapes,
pomegranites, apples, pumpkins, pears, apples and pears), two
music books and three cylindrical recorders. Of the latter only
the head of one is visible (showing beak and window/labium), the
body and foot of another (showing holes for six fingers,
including paired holes for the lowermost finger), and the body of
a third much bigger recorder (no details). One of the music books is an open canto part-book with the music of Cipriano De Rore's madrigal Anchor che col partire. Heyghen (loc. cit.) suggests that the two recorders in the foreground are a tenor and 'discant' respectively and that the 'discant' is of "Ganassi" style – wistful thinking, perhaps.
Master of Archbishop Don Sancho Rojas (15th century), Spanish
Master of Arguis
Spanish artist active in the first half of the fifteenth century; stylistically, his work is derived from the tradition of the International Gothic in Aragon; his name is derived from a retable of Saint Michael dating to about 1440, now in the Museo del Prado, Madrid, and once the main altarpiece of the church of Arguis; two other paintings, both dedicated to St Anne, are attributed to him, one is in Barcelona, and the other, a small triptych, is in Alquezar.
- Altar-piece dedicated to St Ana: Meeting of St Ana and St
Joaquin, Master of Arguis (15th century). Alquezar (Huesca):
Collegiata.
Iglesia Parroquial. Ref. Ballester (2001: 14, fig. 5a-b&w;
15, fig. 5b-b&w). Depicts the marriage of the parents of
Mary. To the right of the Saints stands a musician holding a
flared-bell recorder with an incised decorative ring on the beak
and seven finger-holes visible, the lowermost offset.
Master of Astorga (early 16th century) Spanish
- Altar-piece (in part): Birth of Christ with Saint Domingo and Saint Lorenzo (1510-1515), oil on panel, 1350 × 980 cm, Master of Astorga (early 16th century).
Madrid: Museo Lázaro Galdiano, Inv. 3014.
Ref. Ruck (1926-1927, 2: 499, no. 1023); Sartori (1963-1964: fig. 277); Salmen (1976: 64-65, fig. 14); Thomson (1968/1974: op. p. 33-b&w); Visual Collection, Fine Arts Library, Harvard University 376.As86.22N (2002); Rasmussen (2002, Bagpipe).
The top frame depicts the adoration of the Christ Child by his parents, angels and shepherds, and the two frames below depict St Domingo and St Lorenzo. The main scene takes place amongst a series of Corinthian pillars surmounted by arches, with the ruins of an arched doorway in the background. On the right, a shepherd is dancing, to music played by two of his companions on bagpipe and a cylindrical duct-flute, possibly a recorder. In the lower frame, the two Saints stand before open windows with drapes of gold.
Master of the Barbarigo Altarpiece (early 16th century),
Italian
- Assumption of the Virgin, bronze reliefs, Master of
the Barbarigo Altarpiece (16th century). Venice: Santa Maria
della Carita, on the funerary monument of the Doges Marco and
Agostino Barbarigo. Two angels lift the Virgin from below.
Between them a third angel-putto plays a slender, flared-bell
soprano recorder (left hand lowermost). Beside the Virgin, two
other angels play rebec and fiddle. Notes by Anthony
Rowland-Jones (pers. comm., 2000).
- Coronation of the Virgin, bronze relief, Master of the
Barbarigo Altarpiece (16th century). Venice: Santa Maria della
Carita, on the funerary monument of the Doges Marco and Agostino
Barbarigo. Angels at the upper left and right play trumpets;
those on the lower part play lute, ?crumhorn, rebec, portative
organ, and what may be a small recorder. Notes by Anthony
Rowland-Jones (pers. comm., 2000).
Master of the St Bartholomew Altarpiece [Master of the St Thomas Altarpiece
Early Netherlandish painter active in Germany; one of the most recognizable artists of the early Renaissance period in German art; his identity remains unknown, but it has been suggested that given the number of commissions he executed for the Carthusian order he may have been a member himself; his paintings are characterized by their use of bright, enamel-like colors and an affinity to the International Gothic style; op. 1470-1510.
- Virgin and Child with Musical Angels, Master of the St
Bartholomew Altarpiece (op. 1470-1510). London: National Gallery.
Ref. Langmuir (1999: 17, pl. 13 – col.); Website: klassiskgitar.net (2007 - col.)
The Virgin and Child enthroned are surrounded by angel musicians who sing and
play instruments including psaltery, fiddle, lute, harp and a
small conical pipe with a flared bell, convincing neither as a
recorder nor as a shawm in soft music of this kind. Notes by
Anthony Rowland-Jones (pers. comm., 1999).
Master known as 'BB', from the studio of Evaristo
Baschenis (17th century), Italian
- Still-life with Musical Instruments (ca 1650), Master
known as 'BB', from the studio of Evaristo Baschenis (1607-1677).
Kassel: Schloss Wilhelmshöhe, Gemäldegalerie Alte Meister.
Ref. Archiv. Moeck.
A spinet sits on a table with three lutes, a violin and
the head of a cylindrical duct-flute (probably a recorder).
- Strumenti musicali, oil on canvas, 87 × 115 cm,
Master known as 'BB', from the studio of Evaristo Baschenis
(1607-1677). Bergamo: Collegio Vescovile Sant'Alessandro. Ref.
Francone et al. (1996: 278-279, pl. 61-col.) On a draped table
beneath richly embroidered hangings lie a book with an apple on
top, several books piled on top of each other, two music books,
three lutes, a vihuela, a harpsichord, a violin and bow, and a
flared-bell recorder only the foot and lower body of which are
visible.
Master of Bedford [Master of the Duke of Bedford, Bedford Master]
A manuscript illuminator active in Paris during the fifteenth century, named for the work he did on two books illustrated for John of Lancaster, Duke of Bedford, English Regent in France 1422-1435, one a Book of Hours, the other a Breviary; active 1405-1435. The Bedford Master is known to have been the head of an atelier.
- Livre de la chasse [Book of Hunting] by Gaston Phoebus, Count of Foix and Béarn (1331-1391): Banquet (1405-1415), painted miniature on vellum, margins decorated with a border of floreate rinceaux, atelier of Master of Bedford (op. 1405-1435).
Detail.
New York: Pierpont Morgan Library, MS M.1044, fol. 58r.
Ref. Website: CORSAIR (2011 - col.); Website: theartwolf.com (2011).
Gaston recorded the three "special delights" of his life as "arms, love and hunting" his Livre de chasse, composed between 1387-1389, was dedicated to Phillip the Bold, Duke of Burgandy. It is written in a clear narrative voice and is illustrated with exquisite miniatures. It has become the most famous hunting book of the middle ages.
This miniature depicts the pre-hunt meal. The Lord or Master of the Hunt, wearing hat and fur-lined garment sits behind a draped table, flanked by two men, one wearing a hat. Two of the men face each other in conversation: one points to a servant bearing the steaming droppings of the stag to be hunted; the other gestures towards a servant carrying a pitcher. The third man gestures to a servant carrying a platter of food (fish or chicken, perhaps). At the left end of the table, are six horses penned within a wattle fence which two of the horses seem to be chewing. At the right end of the table, a man plays a cylindrical pipe, probably a recorder since there is a faint hint of the window/labium and all fingers of this lowermost (left) hand seem to be employed. The huntsmen sit on turf benches at two other draped tables on which are loaves, platters of food (fish or chicken, perhaps) and goblets. One of them drinks from a goblet, another eats, one reaches for food, and another cuts a loaf with a knife. In front of the horse pen, a man wearing a hood sits swigging from small cask. Beside him are five dogs; and behind those four more dogs drink from a stream in which three covered pitchers are cooling. The scene is set in a grassy landscape with trees against a decorated background.
This book is thought to have been commissioned by Philip the Bold’s son, John the Fearless (1371–1419), who presumably inherited his father’s manuscript and had copies made. During the late fifteenth century, it was owned by King Ferdinand II of Aragón and Queen Isabella of Castile, who added to it their full-page coat of arms. It is one of the 46 known surviving copies, including one in the Bibliothèque Nationale de France made at the same time and containing the same cycle of 87 miniatures. However, the musician is absent from the banquet depicted in MS Française 616 (Bibliothèque Nationale, Paris), which differs in many other ways, too. Early printed editions of Le Livre de la chasse, made in Paris, date from ca 1507. A facsimile edition was published by Faksimile Verlag, Lucerne, in 2005.
Master of the Béguins
? Flemish painter, possibly Abraham Willemsens (op. 1627-1672),
active in Paris; his name is in reference to the type of peasant
bonnet or béguin worn by many of the female figures
in his paintings; the works now given to this artist were
formerly attributed to the Le Nain brothers; flourished ca
1650-1670.
- The Tavern, canvas, 93 × 117 cm, Master of the
Béguins (op. ca 1650-1670). Paris: Louvre, Inv. 6839. Ref.
Lallement (1997: 200). Men, women and children with a shepherd
and sheep, a still-life of vegetables, against a landscape with
ruins. A small boy plays on a pipe (possibly a flageolet).
Master of the Berlin Passion
German or Netherlandish engraver, named after a Passion cycle of
nine engravings (1482), of which seven were glued in a manuscript
(Berlin, Kupferstichkab.) from the Lower Rhine, written in the
convent of the Sisters of the Common Life at Arnheim; recently
identified with Israhel van Meckenem's father; fl. 1450-1470.
- Ornament with a Couple playing Chess, engraving, 10.5
× 14.5 cm, Master of the Berlin Passion (fl. 1450-1470).
Oxford: Ashmolean Museum. Ref. Ashmolean Museum: postcard. Shows
a couple playing chess, surrounded by plants, animals and their
keepers, a hunter, and two musicians. One of the latter plays a
straight trumpet, the other a cylindrical duct-flute (flageolet
or recorder).
Master of the Brussels Initials, Master of Egon, & the
Third Painter
- The Hours of Charles the Noble, King of Navarre (1361-1425), Compline: Coronation of the Virgin (1404-1405), ink, tempera, and gold on vellum, 19.4 × 13.7 cm, Master of the Brussels Initials, the Egon Master and the Third Painter. Cleveland: Museum of Art, 1964.40,
folio 96 recto. Ref. Ford (1991: 8: 3, #63 & #78); Anthony Rowland-Jones (2006: 4).
Behind the main scene, four angels play musical instruments. At left, an angel plays a fiddle (5 pegs); another a lute. At the right, another angel plays a vertical pipe (recorder?), another a harp. The figures are all minute so there are no details shown on the pipe. It is cylindrical, of soprano or alto length, and played right hand uppermsot, three fingers down. The lower (left) hand shows only two fingers. The upper wrist is very low, suggesting a thumb-hole.
Master of the Burnham Collection –
see Bonanal Zaortiga
Master of Canapost [Master of Seu d Urgell]
Late 15th-century Spanish (Catalan) painter known known by two
different names whose artistic personality is apparent in a small
group of works from Canapost, Girona and Seu d'Urgell,
Puigcerdà and Perpignan.
- Retaule de la Mare de Deu de la Llet (ca 1470), oil on wood,
Master of Canapost. Girona: Museo d'Art. Ref. Museum of Art,
Girona: postcard No. 25 (detail, col.); Gudiol (1986: 1002);
Rowland-Jones (1997c: 10); Vicens & Barral (?date - col.); Ballester (1990: 152-153 & pl. 56).
Originally the altarpiece of the Virgin from S Esteve, Canapost, near Girona. The Virgin and Child
are entertained by angel musicians playing vielle and a narrow, cylindrical duct-flute (flageolet or recorder).
Master of Cappenberg – See Jan
Baegert
Master of Castelsardo
Italian artist who owes his name to the splendid altarpieces that are conserved in the Cathedral of Sant'Antonio Abate, Castelsardo; he is to be considered an artist of the first rank in the period in which Sardinia had become a meeting point for the trends of the Italian Renaissance and the Flemish and Catalan schools; active late 15th and early 16th centuries.
- Virgin Enthroned (a. 1492), tempera and oil on panel, Master of Castelsardo (late 15th century).
Castelsardo (near Sassari): Duomo di Sant'Antonio Abate.
Ref. Angelo Zaniol (pers. comm., 2003).
One of four polyptych elements painted before 1492 using a combination of tempera and oil on wood with a background of gold depicting the Madonna with Child and angelic musicians, the Trinity with cherubs (winged putti) and tetramorph, the Arcangel Michael and in the two compartments of the predella, the Apostles Philip, Bartholomew, Mathias and Matthew. Here, six rather grim-looking musical angels surrounding the the Virgin and Child play vielle (fretted), lute, harp, vihuela de mano, jingle ring, and a cylindrical recorder the paired holes for the lowermost finger clearly depicted. On top of the back of the throne two cherubs play similar cylindrical recorders and a third plays a bagpipe. From this it would appear that the vihuela de mano was known not only in Spain but perhaps in Sardinia as early as the second half of the 15th century.
Master of the Champion des Dames, French
French illuminator tapestry desiger; known from 182 illuminations distributed in eight manuscripts, and of two tapestries; active north around the town of Lille during the second half of 15th century.
- The Nine Muses (1441-1442), from Martin le Franc (1410-1461), Le
Champion des Dames, Master of the Champion des Dames (late 15th century).
Grenoble: Bibliothèque Municipale de Grenoble, Ms 875, fol. 365.
Ref. Buchner (1961: fig. 136); Hindley (1971: 90 - b&w); Bowles (1983: pl. 12); Moeck (1984: August
– col.); Zaniol (1984, November: 5); Rowland-Jones (1999b: 32-33); Hijmans (2005: 220).
The Nine Muses sing and play organetto, symphony, pipe
& tabor, shawm, psaltery, straight trumpet, mandora and a
cylindrical recorder of the Dordrecht kind.
- Francvouloir and Malebouche [Freethinker and Evil
Tongue], (1441-1442), from Martin le Franc (1410-1461), Le Champion des Dames,
Master of the Champion des Dames (late 15th century). Grenoble: Bibliothèque
Municipale de Grenoble, Ms 352 Res. Ref. Buchner (1961: fig.
136); Moeck (1984: August – col.); Rowland-Jones (1999b:
32-33). A girl sits by a pool playing a cylindrical recorder of
the Dordrecht kind. Beside her, Freethinker and Evil Tongue argue
about her virtue!
- The Nine Muses (1451), from Martin le Franc (1410-1461), Le Champion des Dames, miniature, 4.6 × 8.4 cm, Master of the Champion des Dames (late 15th century).
Paris: Bibliothèque Nationale, MS Fr. 12476, fol. 109v.
Ref. Wangermée (1969: 17, pl. 7-col.); Spruit (1969: 28); Alamire, Postcard C2 BEF200 (1996); Rowland-Jones (1999b: 32-33); Hijmans (2005: 220).
The Muses play shawm (Euterpe, Muse of music and lyric poetry), organetto (Urania), double pipes (Melpomene, Muse of tragedy), slide trumpet (Caliope, Muse of epic poetry)), rebec (Clio, Muse of history), a small cylindrical pipe, possibly a recorder (Polyhymnia, Muse of sacred hymns) and triangle (Erato, Muse of lyric and erotic love poetry), and sing (Thalia, Muse of comedy and pastoral poetry). This manuscript of a long poem by Marin le Franc, inspired by the Roman de la Rose, is a dediatory copy prepared for Philip the Good, whose arms appear on it. The copyist, J. Boignan d'Arras, signed his work and dated it on fol. 147v.
Master of the Cité des Dames
Prolific French illuminator, active in Paris during the first two decades of the 15th century; named after the five or more copies of Christine de Pisan’s Cité des Dames illustrated by the Master and his workshop; his early work is closely related to that of Jacquemart de Hesdin, with whom he executed the Barcelona Hours (ca 1401; Barcelona, Bib. Central, MS. 1850); both artists used the same Italianate method of modelling flesh tones with green underpaint, and many of Jacquemart’s figures and compositions were adopted by the Master of the Cité des Dames; although the Italian elements in his work are pronounced, it has been argued that he came from the Netherlands in consideration of his evocation of realistic detail in scenes of domestic and city life, his innovative treatment of landscape, and his distinctive rendering of interior space and architectural settings.
- From L'Epître d'Othéa: Midas Judging the Contest between Pan and Apollo, from Christine de Pisan: Oeuvres (1410-1411), illumination, attributed to the Master of the Cité des Dames and his workshop, French.
London: British Library, MS Harley 4431, fol. 108. Ref. Archiv Moeck; Boragno (1998:
13 - b&w); Rowland-Jones (2006: 6 & fig. 4 - col.)
King Midas gets donkey's ears by making a false judgement
between Phoebus Apollo, playing a harp, and Pan, playing a cylindrical
duct-flute (probably a recorder). In the text, the latter is called frestel
and flaiol, and the harp is called a lyre. Boragno (loc. cit.) gives the date
as ca 1450 and may thus refer to a later edition such as that edited by Jan
Miélot (Flemish, after 1460).
Master of Cologne – see Stephan Lochner
Master of the Death of the Virgin –
see Joos van Cleve
Master of the David Scenes in the Grimani Breviary
Italian illuminator whose workshop specialized in manuscripts with rich and special border decoration for their rich and wealthy clientele; fl. Bruges, around 1500.
- Triumph of David, from the Breviary of Cardinal
Grimani (1490-1510), attributed to the Master of the David Scenes in the
Grimani Breviary (late 15th century). Venice: Biblioteca
San Marco, fol. 288v. Ref. Grimani Breviary (1972: 46); Rasmussen
(1999b). "The Welcoming Women play rebec, harp, lute and woodwind
(tabor pipe or recorder)" (Rasmusen, loc. cit.) Not seen.
- The Month of May, from the Hours of Joanna of Castile,
attributed to Master of the David Scenes in the Grimani
Breviary (late 15th century). London: British Library, Ms
Add. 18852, fol. 5v. Ref. Kren (1983: 62); Rasmussen (1999b). "In
a boat women sing and play a lute and a man holds a recorder"
(Rasmussen, loc. cit.)
Master of Delft
Netherlandish painter named after the wings of the Triptych with the Virgin and Child with St Anne by the Master of Frankfurt, which is now in Aachen; the Master's works display the influence of Cornelis Engelbrechtsz, and he also incorporated quotations from the early prints of Lucas van Leyden; op. ca 1490-1520.
- Triptych, central panel: Nativity (op. ca 1490 - 1520), Master of
Delft (op. ca 1510), Netherlandish. Utrecht: Museum
Catharijneconvent. Ref. Anthony Rowland-Jones (pers. comm.,
2001). to the right of the Virgin are three musical angels. One
plays bagpipes, one sings from music, and a third plays a slender
cylindrical recorder. The window/labium is clear, the left hand
is held lowermost with the middle and little fingers lifted, the
other two down. All fingers of the upper (right) hand are
down.
- Virgin and Child with Saints and Angels (1505-1515), 84.5 × 68 cm, Master of Delft (op. ca 1490-1520).
Amsterdam: Rijksmuseum, Inv. SK-A-3141.
Ref. Friedländer (1967, X: no. 62, pl. 47); Visual Collection, Fine Arts Library, Harvard University, 374.M3926.34[a]; Rassmussen (2002, Bagpipe); Arnold den Teuling (pers. comm., 2008).
The central panel of a triptych.
The Virgin sits in a garden, the Child on her lap. Before her are two Sybills, one with a book, the other with a flower. To her right is Joseph. Background music is provided by three musical angels, to her right. One of the latter plays bagpipes, one sings from music, and a third plays a slender cylindrical recorder. There is a hint of a window/labium, the left hand is held lowermost with the middle and little fingers lifted, the other two down. All fingers of the upper (right) hand are down. Similar to the above, or perhaps one and the same.
Master known as 'DS' (16th century), German.
- Typus Musice from Gregor Reisch Margarita philosophica [Pearls of Wisdom]
(1503, Johanne Schottus, Freiburg im Breisgau), woodcut, Master known as 'DS', German.
Cambridge: Harvard University, Houghton Library (1508
edn); Erfurt: Angermuseum (1515 edn), Amplonius Library (1516
edn); London: Science Museum (1535 edn); Vienna: Die Österreichische Nationalbibliothek.
Ref. Hass (1928: 106); Peter (1958: 43); Leichtentritt (1956: cover); Becker (1970: cover); Archiv Moeck; Anthony Rowland-Jones (pers. comm, 2002); Schmid (1994: 247-260, figs 1 & 2).
A personification of Music is surrounded by players of harp, lute,
organ and recorder who seem to be being conducted by a man with a long stick.
The recorder is cylindrical and played right-hand down (including the little-finger). To the right, a man holds a pair of scales. The 1516 edition spells the author's name as 'Reiss'. "The illustration is exactly the same; presumably the appearance of a man [Phythagoras] with the scales in it is a [visual] pun!" (Rowland-Jones, loc. cit.) An adaptation of this woodcut appears in a 16th-century Italian miniature, probably from an Italian edition. A rather different illustration of Typus Musices (sic.) by an anonymous artist, also including a recorder player, appeared in the Grüninger edition (Strassburg, 1504) and the fourth edition (1517).
- Untitled, from Gregor Reisch's Margarita philosophica [Pearls of Wisdom]
(1508, Strassburg), woodcut, Master known as' DS', German. Ref.
Bock (1924, #21); Wiese (1988: fig. 36); Becker (1970: cover);
Archiv Moeck. A man and two women frolic on a patio beside a
culvert. They are entertained by two naked musicans one of whom
sings whilst the other plays a slightly flared recorder (all
fingers of the lowermost hand cover holes). In the distance boats
lie offshore and birds fly overhead.
Master of Egerton 1070
French miniaturist who may have been Netherlandish by birth, but his known activity is linked to Paris where he is known to have worked from ca 1405-1420.
- Book of Hours: Tree of Jesse (ca 1430), Master of
Egerton 1070. New York: Pierpont Morgan Library, M. 919, folio 23. Detail.
Ref. Ford & Green (1988: #539 & cover illustration); Rowland-Jones (2006: 7 & fig. 5c). Illustration for
'Liber generationis Jesu Christi', Book of Matthew. In the Middle Ages the prophecy of Isaiah that a Messiah would spring from the family of Jesse, the father of David, was interpreted visually as a genealogical tree at the foot of which was the reclining figure of Jesse. On the branches of the tree appear the ancestors of Christ. It culminates in the Virgin and the Saviour. In this example, seven kings play instruments: a fiddle, lute, recorder, harp, gittern and portative organ. David plays a harp (right border). The pipe is of tenor size, slender and cylindrical, and the hands are placed as if for a recorder, but a third of the instrument is below the player's lower hand, and the detailing at his mouth is unclear. There could be a tuning hole at the bell end, a characteristic associated with the shawm, although the ring decoration and the slightness of the flare at the bell suggest that it might be a recorder, which would be more appropriate than a shawm to appear amongst the bas instruments played by all the other kings in this particular band.
Master of Egon – see Master of the
Brussels Initials
Master of the Fiesole Epiphany [Maestro dell'Epifania di
Fiesole] (late 15th century), Italian
- Coronation of the Virgin (late 15th century), Master
of the Fiesole Epiphany (late 15th century). Florence: Galleria
della Accademia, Inv. (1890) 496. Ref. Anthony Rowland-Jones
(pers. comm., 2002). Angels play psaltery, tambourine, two shawms
(one player, the other held near the mouth, showing its reed),
and two cylindrical ? recorders (but puffed cheeks, and
window/labium in shadow or not indicated – ? underneath).
One of the recorders is of alto/tenor size, with a key and
fontanelle for the little finger; the other is of soprano size,
played left hand uppermost, but showing eight finger-holes in
line and paired holes for the little finger of the lowermost
hand.
Master of [Maestro de] Fonollosa (15th century), Spanish
- Altar-piece, centre panel: Virgin and Child (1410), painting on panel, Master of Fonollosa (15th
century). Barcelona: Museu Nacional d'Art de Catalunya. Ref. Ballester (1990: 156-157 & fig. 64);
Rowland-Jones (1997: p. 11, fig 9A); Rowland-Jones (1997f, 38
(5): fig. 8A-b&w; 2006: 20-21 & fig. 20-b&w).
Originally from Centelles (Osona), near Zaragosa, which, like Valencia, was one of the centres of music-making
of the Aragonese court away from its principal location in Barcelona. The Virgin and Child are surrounded by angel musicians playing vielle, harp and two duct-flutes (flageolet or recorder), one small and one large.
Master [Maestro] Francesco [Master of the Teaching
Christ]
Italian artist who worked in the late Gothic Tuscan tradition
involving lavish use of gold, during the last years of the 14th
century and the early years of the 15th century.
- Madonna and Child Enthroned (ca 1400), wood panel, 138
× 68 cm, Master Francesco (late 14th - early 15th century).
Florence: Foundling Hospital, Art Collection, Inv. AFS 236505.
Ref. Anthony Rowland-Jones (pers. comm., 2002). The Madonna and
Child are surrounded by angels one of whom plays a narrowly
conical pipe. the instrument has a very narrow mouthpiece and
there is no sign of a window/labium. The outstretched thumb of
the upper hand may indicate the presence of a thumbhole. This and
the low wrists and careful placing of the fingers, including that
of little finger of the lowermost hand offset may indicate that a
recorder was intended, and the context of the subject calls for
soft music. If it were a recorder it would be the earliest
reprsentation in Italian art.
Master of Frankfurt [? Hendrik van Hueluwe]
South Netherlandish painter of the St Anna Altar painted (ca 1505) for the Dominican Priory in Frankfurt (now in the Städelsches Kunstintitut, Frankfurt) and to whom some some 40 paintings are attributed; he seems to have run a large and very active workshop in Antwerp from around 1490 until about 1520. Although we do not know his name there is a portrait of the Master of Frankfurt and his wife in the Royal Museum in Antwerp; he has been tentatively identified as Hendrik van Hueluwe, a free Master in Antwerp from 1483 onwards and a prominent member of the artists' Guild of St Luke during the early 16th century.
- Holy Family with Music-Making Angels, panel, Master of Frankfurt (op. 1460-1520).
Liverpool: Walker Art Gallery.
Ref. Sale Catalogue, Sotheby's, London, 3 February (1954: No. 101); Friedländer (1967-, VII: cat. no. 131, pl. 104); Rasmussen (1999b). The Virgin feeds the Christ Child whilst she is being read to by a Joseph. They are serenaded by angels playing harp, rebec, lute and a slender flared pipe. The little finger of the lowermost hand is covering its hole, so this may have been intended to represent a recorder rather than a shawm, which would be far too loud in this context. In the foreground is a monkey. The composition of the Walker's panel is similar to works painted by other artists, in particular a picture now in a Lisbon museum. During the 15th and early 16th centuries it was quite common for artists to borrow whole compositions as well as details from other artists. It is thought that both the painter of the Lisbon picture and The Master of Frankfurt took their composition from an unidentified earlier picture by another artist – possibly Joos van Cleve, one of the major Antwerp artists at this time.
Master of the Glorification of Mary (fl. 1460-1480)
- Glorification of Mary (1470), tempera on oak panel, 108.7 × 93.4 cm, Master of the Glorification of Mary (op. 1460-1480).
Worms: Kunsthaus Heylshof, Inv. Nr. 2.
Ref. Linde (1962: 69 - b&w); Angelo Zaniol (pers. comm, 2003).
The Virgin and Holy-Child surrounded by a glory of angels, many of whom play musical instruments including fiddle, lute, organ, psaltery, harp, hurdy-gurdy, and three duct-flutes (possibly recorders).
Master of Gysbrecht van Brederode
Netherlandish illuminator; fl. ca 1450-1475.
- Hours of Gysbrecht van Brederode: Coronation of the Vigin, illlumination, 10.5 × 7 cm, Master of Gysbrecht van Brederode (fl. ca 1450-1475).
Liège: Université de Liège, Bibliothèque, MS Wittert 13, ff. 13v-14r).
Ref. Website: Université de Liège, Bibliothèques; Brassinne (1924).
The Virgin and Child surrounded by a mandorla are crowned by two angels. Amongst the marginal decorations are a bird, the head of a man with glasses, and musical angels playing harp, rebec, pipe and tabor, lute and a cylindrical recorder. The window/labium of the recorder are clearly depicted.
Master known as 'HB' = Hans Brosamer
Master known as 'HL'
German sculptor, wood-carver and engraver active ca 1511-1526 in Upper Rhine.
- Coronation of the Virgin (1526), wooden sculpture, Master HL (op. 1515-1526).
Breisach: St Stephensmünster.
Ref. Walter Bergmann (ex Anthony Rowland-Jones, pers. comm., 2003 - b&w).
Two hands hold an elaborate crown surmounted by a dove above the Virgin's head. The crown itself is richly carved with angel musicians playing organetto, lute, gittern, and a slender flared pipe (possibly a duct-flute). On the far left-hand side a fifth angel can be seen playing a pipe with a much wider flare.
Master of the Holy Blood [Maître du Saint-Sang]
Name given to the anonymous Netherlandish painter of the triptych
of the Lamentation that belonged to the Bruges Brotherhood
of the Holy Blood. Some 30 works have been attributed to this
Master, who has been characterized as a competent but unassuming
practitioner; active in Bruges ca 1530.
- Holy Family with an Angel (ca 1500-1520), panel, Master of the Holy Blood (op. ca
1530). Private Collection; shown Central Picture Galleries, New York (1960).
Ref. Advert, Le Conoisseur, April 1960; Rijksbureau voor Kunsthistorische Documentatie 21322 (2001).
To the right of Mary, an angel plays a short duct-flute held in the right hand, the left hand lower but obscured.
The mouthpiece and window/labium are very clearly depicted.
Master of the Holy Night (op. early 16th century),
Germany
- Holy Family, Master of the Holy Night (op. early 16th
century). Bonn: Provinzial Museum. Ref. Catalog, Provinzial
Museum (1927: pl. 33); Rasmussen (1999b). Angels play fiddle,
harp, lute and recorder. "Cf. sale, Sotheby's, 26 June 1964, lot
8. Similar to an early 16th century German painting in Madrid,
Monasterio de las Descalzas Reales" (Rasmussen, loc. cit.)
Master of the Housebook [Master of the Amsterdam Cabinet]
German engraver and painter named for a series of vigorous and sophisticated drawings of everyday life found in the Hausbuch at Castle Wolfegg; many of his engravings are in the Rijksmuseum, Amsterdam; his work is thought to have influenced Bosch, Bruegel, and Dürer; he is apparently the first artist to use drypoint, a form of engraving, for all of his prints (other than woodcuts he may have designed); born 1430/5, died after 1480.
- An Old Woman and a Dancing Fool (ca 1480), engraving, Master of the Housebook (1430/5 - op. 1480).
Ref. Lehrs & Mayor (1969: no. 549); Hutchinson (1972: 175); Fildelt Kok (1985: no. 107); Rasmussen (2004: Bells).
The fool has a recorder in his sock and two large pellet bells on his jacket (Rasmussen, loc. cit.) Fildelt Kok (loc. cit) suggests that they represent the fool Marcolf and his old wife Polikana. Not seen.
- From Venus and Mars, fol. 14r: Apollo (The Sun) and
his Children (ca 1480), Master of the Housebook (1430/5 - op. 1480).
Schloss Wolfegg, near Ravensburg; Berlin: Gemäldegalerie; Paris: Bibliothèque National, Print Collection.
Ref. Graul (1934: pl. 6); Wolfegg (1480/1997: 35, pl. 18); Mirimonde (1977: 210, fig. 133); Welker (1983: 121); Moeck (1984: September - b&w); Paris RIdIM (1999); Anthony Rowland-Jones (pers. comm., 2001); Blazekovic (2003: fig. 12.4a); Hijmans (2005: 216).
An illustration in a medieval house-book. Children play in and around a walled garden; some sing
and play musical instruments, including two shawms, trumpet, and bagpipe; one
lad holds a lute under his arm and a small tabor in the other hand. A young
couple feed a falcon on a table watched by another couple. In a chapel, a
priest prays, and a woman gives alms to a cripple seated on the porch. A
jester figure leans over a small wall and pipes along with the singers on a
cylindrical duct-flute (flageolet or recorder) with window/labium and four
finger-holes visible. Both his hands are on the upper part of the instrument.
Behind, youths play various games including wrestling and jousting. Above,
Apollo rides across the sky on a magnificent steed, a sceptre in one hand, a
banner on a spear in the other.
Venus and Mars contains
illustrations of the planets, gardens of love and jousting tournaments,
medicinal and household remedies, as well as chapters on mining and the art of
war. Completed around 1480, this unique book is particularly famous for its
meticulous draftsmanship. Active in the Middle Rhine region, the illustrator,
who portrayed his world with sensitivity and wit, exercised a considerable
influence on his younger contemporary, Albert Dürer. The identity of the
artist and his patrons, however, still remain a mystery, though some of the
illustrations are thought to be by the Master of the Amsterdam Cabinet. For
over 300 years this world-renowned manuscript has been kept in the collection
of the Princes of Waldburg Wolfegg at Schloss Wolfegg near Ravensburg,
Germany.
Master known as 'J.H.' (op. 1647-1666)
- Bacchic Procession of Putti, Master known as 'J.H.' (op. 1647-1666).
Disley: Lyme Hall, Great Staircase, South wall.
Ref. Anthony Rowland-Jones (pers. comm., 2003).
A long landscape-shaped composition of great merit. A putto at centre left plays what could be a soprano duct-flute, perhaps a recorder. It is not at all clearly painted. Note by Rowland-Jones (loc. cit.)
Master Jocomart – See Jaime
Baco
Master of the Joseph Sequence
South Netherlandish artist active in Brussels (1490-1500), named
after a series of tondi illustrating the Legend of St
Joseph. Eight panels with scenes from the Life of Christ and the
Life of the Virgin from the abbey of Afflighem have been
attributed to the same painter and give the artist his
alternative name.
- Joseph Sold to the Ismaelites, Master of the Joseph
Sequence (op. 1490-1500). Berlin: Staatliche Museen
Preußischer Kulturbesitz, Gemäldergalerie. Ref.
Anthony Rowland-Jones (pers. comm., 2001). At the top of the
painting, a group of shepherds sit on a grassy knoll having a
picnic lunch. One of their member stands behind them, apparently
playing a pipe, though this is obscure.
Master of Lanaja = Blasco de
Grañen
Master of the Leafy Embroidery [Master of the Embroidered
Foliage]
A catch-all name referring to a group of painters active in Brussels and Bruges in the late fifteenth century who created a number of works that include foliage depicted in an almost mechanical technique, with small luminous raised marks, reminiscent of embroidery stitches; known from conflations or copies of Rogier van der Weyden’s work; active ca 1495-1500. Recent research suggests that some of the paintings attributed to this Master were in fact not created by a single artist. Instead, they were probably painted by different artists using a common source that circulated within one or among several workshops (Exhibition: Medieval Mystery, Sterling and Francine Clark Art Institute, 2004).
- Triptych, panel: Virgin with Child and Three Angel
Musicians, Master of the Leafy Embroidery (op. ca 1495-1500).
Palermo (Sicily): Private Collection. Ref. Friedländer
(1967-, IV: cat. supp. 129, pl. 111); Paris RIdIM (1999);
Rasmussen (1999b). Part of an altarpiece in the style of Memling,
to whom this work has been attributed. The Virgin reads a book to
the Christ-child whilst on one side angels sing, and on the other
play lute and a cylindrical duct-flute (flageolet or recorder).
The bell of the latter instrument is hidden and the window/labium
is quite clear, but the disposition of the fingers seems
haphazard. Rasmussen (loc. cit.) gives the location of this work
as "Polizzi Generosa, Chiesa Madre".
- Virgin and Child, Master of the Leafy Embroidery (op.
ca 1495-1500). Private Collection. Ref. Gábrici (1924/25:
145-161); Bessler (1931: pl. XIII); Pirro (1940: opp. p. 80); van
den Borren & Colsson (1950: 56); Sale catalogue: Charpentier,
Paris, 7 December 1951; Friedländer (1967-, IV: cat. 88, pl.
83); Lambotte (? date: pl. 17); Rasmussen (1999b). "Three angels
at the left sing (one offers the choir book to the Christ-child).
The motet is Walter Frye's Ave Regina coelorum, Mater Regis
angelorum. Angels at the right play fiddle, lute and recorder
(?)" (Rasmussen, loc. cit.) There is a replica (with only lute-
and recorder-playing angels at the right) in an Italian
collection (Pirro, loc. cit).
- Coronation of the Virgin, Master of the Leafy
Embroidery (op. ca 1495-1500). Paris: Louvre, Inv. RF 1973-35.
Ref. Fischer (1972: 13); Paris RIdIM (1999); Website: Joconde (2010-col.)
In front of an embroidered screen, the Virgin with the Christ-child on her lap
is crowned by two flying angels. On her right, angel musicians
sing from a book a motet by the English composer Walter Frye (fl.
1450-1475), illustrated by this painting; on her left, angels
play lute, fiddle, and a small cylindrical duct-flute (flageolet
or recorder). The bell of the latter instrument is hidden and the
window/labium is quite clear, but the disposition of the fingers
seems haphazard.
- Madonna with Angel Musicians, Master of the Leafy
Embroidery (op. ca 1495-1500). Paris: Collection Féral.
Ref. Wiese (1988: fig. 16 – b&w); Archiv Moeck. Mary
and the Christ-child are surrounded by angel musicians singing
and playing lute, vielle and a small, cylindrical duct-flute
(flageolet or recorder).
Master of the Legend of St George
Painter, active in Germany, apparently an immigrant in Cologne,
possibly of Netherlandish origin; named after the St George
altarpiece (Wallraf-Richartz-Museum, Cologne) the central panel
of which is divided into four sections with multiple narrative
scenes from the Life of St George; flourished 1460-1490).
- Altarpiece: Nativity, Master of the Legend of St
George (op. 1460-1490). Cologne: Wallraf-Richartz-Museum, 117.
Ref. Munich RIdIM (1999: KNwr 113). Mary prays before the
Christ-child; Joseph holds a candle; beasts eat from a trough in
the barn behind. A choir of miniature angels sing, and two others
parade with censor and mitre rather officiously. In the
background, are shepherds and their dogs in a field of sheep. One
of the shepherds stands cross-legged playing a duct-flute with a
clear window/labium, three holes showing beneath the player's
hand, and a Virdung-style bell end. An angel hovers above but,
unlike the other shepherds and the dogs, the recorder-player
doesn't notice. In the foreground is a procession of visitors,
including a man and two nuns. There are two shields bearing coats
of arms at the bottom of the painting.
Master of the Life of Mary (fl 1460-1480), German
Active in Cologne (fl. 1460-1480); named after a series of
paintings of the Vigin's life in the Alte Pinakothek in Munich.
- The Glorification of Mary, Master of the Life of Mary
(fl. 1460-1480). Munich: Alte Pinakothek. Ref. Linde (1962/1974:
p. 69 – b&w). Depicts a heavenly choir with angels
playing various instruments including shawm, organetto, psaltery
and a cylindrical duct-flute (flageolet or recorder).
Master of Longares = Enrique de Essencop
Master of the Louvre Nativity
Italian painter active in Florence (c.1460-1490), probably Fra Diamante (according to Bernard Berenson). Fra Diamante was a Carmelite prior and frescoist who was the friend and assistant of Filippo Lippi; born Prato (c.1430), died c. 1498.
- Altar-piece, centre panel:
Nativity, ? oil/tempera/ wood, 166.5 × 166.5 cm,
Master of the Louvre Nativity (op. c.1460-1490).
Detail. Paris: Louvre, Inv. 338. Ref. Joconde
Website (1999). Intended for the church of Santa Margherita
de Prato. The Holy Family is shown before a ruined barn; animals
look on; angels hover overhead; a shepherd sits amongst his sheep
playing his pipe, probably a duct-flute (possibly a recorder); in
the distance are a river and a walled town.
Master of the St Lucy Legend
South Netherlandish painter and draughtsman who takes his name from a group of some 45-50 paintings linked stylistically to the panel of the Legend of St Lucy (1480; Bruges, St Jacob); The Master’s paintings are technically proficient reworkings of established themes; the static compositions, cool colours and subdued emotion of his works give his paintings a solemn, rather than expressive, effect; active ca 1475–1505.
- Mary Queen of Heaven (ca 1485), oil on panel, 199.2 × 161.8 cm (panel: 201.5 × 163.8 cm), Master of the St Lucy Legend (fl. c.1475-1505).
Detail.
Washington: National Gallery of Art, Samuel H. Kress Collection 1952.2.13. Ref. Canfalonieri, in Fabbri
(?date, 1: 103 – detail); Remnant (1981: 116, pl. 96
– b&w); Ford (1986: 36). Mary is supported by angels
and surrounded by a host of angel musicians singing and playing
three shawms, folded trumpet, vielle, two harps, dulcimer, two
lutes, positive organ and a trio of flared-bell recorders.
Master of the Lyversberg Passion
Flemish artist who worked in Cologne, known for a number of
altarpiece sections formerly in the Lyversberg Collection which
are now to be found at Cologne and Nuremberg; active 1460-1490.
- Coronation of the Virgin (ca 1463), Master of the
Lyversberg Passion (op. 1460-1490). Detail 1. Detail 2.
Munich: Alte Pinakothek. Ref. TIBIA - Musikbilder auf Postkarten,
Series 3, Nr 1 – Ed. Moeck Nr 11103 (1987-col.) Thomson
& Rowland-Jones (1995: 14, fig. 7); Card Aid, London:
postcard 41746, Angeli Musicali; CD Cover: A Christmas
Tapestry, The Dolmetsch Ensemble, Fidelis (Harmonia Mundi)
FIDCD 103; CD Cover: Lucente Stella, Pierre Hamon, Opus
111, OPS 30-122; Rowland-Jones (1999b: 13); Hijmans (2005: 216). Mary is crowned by God the Father and God the Son, the Holy Spirit hovers above. Angels hovering below hold up the throne, and a host of angel musicians on either side sing and play
three large cylindrical recorders accompanied by mandoras and harps (left), and three smaller recorders accompanied by sackbut, lutes and vielle (right). However, the lower hand of each recorder player is occluded by the angel in front.
Master of the Mailänd Offertory (16th century)
- Holy Family with Priest and Angel Musicians, Master of
the Mailänd Offertory (16th century). Berlin: Staatliche
Museen Preußischer Kulturbesitz, Gemäldegalerie. Ref.
Wiese (1988: fig. 20 – b&w). A man reads from a book to
a boy whilst angel musicians play lute, vielle and a slender pipe
(possibly a recorder).
Master of the Manassei Chapel (late 14th century), Italian
(Florentine)
Thought by Berenson to have been Angelo [or Agnolo] Gaddi di
Taddeo (ca 1350-1396), by Salvrini to be the Master of Vicchio di
Rimaggio (op. ca 1390), and by Zeri to be a follower of Angelo
Gaddi, etc., etc.
- Virgin and Child with Saints and Angels, Master of the
Manassei Chapel (late 14th century). São Paulo, Brasil:
Museo d'Arte. Ref. Boskovits (1975: 241, fig. 420); Brown (1985:
266, #315 – b&w). "Two angels play shawms or recorders"
(Brown, loc. cit.) The reproduction is very indistinct: there is
no bell flare, but too much of the instrument is below the lower
hand to suggest a recorder. Shawms or single duct-flutes would be
my suggestion here" (Rowland-Jones, pers com.)
Master of Maria am Gestade (op. ca 1460), Austrian.
- Altar-piece: Coronation of Maria, 202 × 161 cm,
Master of Maria am Gestade. Vienna: Redemptoristenkloster. Ref.
Pächt (1929: 19); Liesbeth van der Sluijs (pers. comm.,
2001). Against a Gothic balcony, God the Father (centre right)
crowns the kneeling Maria (center left). Small female angels
arrange Maria's cloak. At the bottom right, three small female
angels sing from a book. On the balcony, is an orchestra of small
angels who play before church windows. To the right are players
of ? tenor recorder, triangle, shawm, cornett, and singers. To
the left players of lute, harp, vielle, and singers. In the
middle are an organist, a lutenist, and four singers This
composition is cruciform and symmetric, and the figures are light
and lively. Notes by Liesbeth van der Sluijs (loc., cit.)
Master of the Mazarine Manuscript (fl. 1410-1415), French.
- Book of Hours: Annunciation to the Shepherds (1410-1415), illumination on parchment, 24.8 × 17.4 cm, French.
Paris: Bibliothèque Mazarine, ms. 0469, f. 056v.
Ref. Liber Floridus (2005 - col.)
Long attributed to Maître de Boucicaut, but now to Maître de la Mazarine, named after this manuscript.
A scene in the centre of a page illustrates Luke 2,9 depicting the Annunciation to the Shepherds. Three shepherds seated on the ground look upwards at three angels, one of whom holds a banner reading [G]loria in [altissimis] deo" (Luke 2,14). Their sheep graze, a dog looks back at its master. One of the shepherds holds a duct-flute in his left hand. A number of finger-holes are visible and their is a hint of a windway/labium.
In the lower left corner, a scene illustrating Luke 2,8 depicts Shepherds Watching their Sheep. One shepherd sits beneath a tree leaning on his hand; the other leans over a rock playing a duct-flute with a slightly flared bell, his dog curled up in front of him. There is the hint of a window/labium and a number of finger-holes are visible.
Master of the Milan Adoration – See
Jan de Beer
Master of Olot
The anonymous late 15th-century Spanish painter of a series of altarpieces parish church of St Stephen at Olot, Santa Cristina Hermitage, Rigardà and elsewhere in a Flemish-influenced style; the suggested identification of this artist as Miquel Torell (op. 1471-1487) is controversial.
- Altarpiece dedicated to Saint Eulàlia: Virgin and Child (1470-1487), panel,
Master of Olot (15th century). Detail.
Rigardà: La iglesia paroissiale Sainte Eulalie et Sainte Julie.
Ref. Guidiol (? date: 900); Ballester (1990: 176-177 & pl. 103); Rowland-Jones (1997: 14,
fig. 12-b&w, detail); Recorder Magazine 25(4): (2005: 142 & front cover - col.) Originally from a nearby monastery which escaped the destruction of the French Revolution. Restored 40 years ago, but most of the work was to preserve the wood, especially the panel joins, with not much pictorial touching up. Between two angel musicians, the Holy Child sits on Mary's lap reading from a book. The angel on the left plays a lute; that on the right plays a flared tenor-sized recorder with double holes for the little finger of the lowermost hand which looks almost too good to be true.
Master of Ottobeuren [Meister von Ottobeuren], German (Memmingen)
- Christ being Crowned with Thorns (ca 1510-1515),
Master of Ottobeuren (possibly Hans Thomas), German. Hamburg:
Museum für Kunst und Gewerbe. Ref. Rowland-Jones (1999: 129,
fig. 6 - b&w). “With great force two men beat the crown
of thorns deep upon Christ's head, while a curly-haired younger
man kneels beside Christ and puts in his hand what at first looks
like a short stick or baton. It could be the 'reed in his right
hand' mentioned in Matthew ch. 27, v. 29, but the object is here
being put into Christ's left hand which may have symbolic intent.
Moreover, the upper end is shaped roughly conically as if it were
the beak of a duct-flute and the bottom end is bored out some way
up, which suggests that the 'gift' might be a pipe of some kind.
The face of the man is badly damaged around his nose and mouth,
but his eyes seem to express hate. Christ bows his head in
anguish, hardly noticing the insult which would be implied by a
pipe. His eyes are closed” (Rowland-Jones, loc. cit.)
Master of the Ovile Madonna – see Bartolomeo Bulgarini
Master of Perea [Maestro de Perea] (late 15th century),
Spanish
Little known Spanish Gopthic painter active in Valencia in the late 15th century; he was amongst those that first adopted the innovations of the Quattrocento; his style combines Italian-style landscapes properly constructed according to their geometric perspective with the older Gothic style in the rendering of the figures and the application of gold leaf to some surfaces; his name refers to an altarpiece made for Pedro de Perea in the church of the monastery of Portacoeli;
- Altar-piece of Santa Ana, panel: Anunciation to St
Joaquin, Master of Perea (late 15th century). Xàtiva:
College. Ref. Ballester (2001: 13, fig. 4-b&w). Depicts the
appearance of an Angel who inform the Saint that that his wife
will give birth to a daughter of whom the Messiah will be born.
According to legend, San Joaquin dedicated himself to the care of
his flocks and was indeed in the fields when the Angel appeared
to him, so it is not surprising that that the artist represents
his companions as shepherds. Thus, in the foreground beneath the
Saint, stand two shepherds; another kneels, a flared-bell pipe
(possibly a duct-flute) stuck through his belt.
Master of the Pollinger Panels [Meister der Pollinger Tafeln] (15th century),
Bavarian
German (Bavarian) artist (possibly Gabriel Angler, fl.
1434-1482); one of the most distinctive artists in early Bavarian
painting who created a series of paintings formerly in the
convent church at Polling, two from an altarpiece depicting the
life of the Virgin; eight others illustrate the foundation of a
monastery and formed the wings of an elaborate cruciform
altarpiece.
- Birth of Christ (1444), Master of the Polling Panels (15th century).
Munich: Bayerische Staatsgemäldesammlungen
814 (formerly German National Museum, Inv. 4565). Ref.
Weihnacht (1950: 48); Peter (1958: 43); Munich RIdIM
(1999, Mstag - 814). Altarpiece dedicated to the Virgin Mary, from
St Augustine's Church, Pollinger, Nuremberg. " … a group of
angels is gathered around the crib. Some of them are kneeling in
a circle round the Christ-child in adoration; a little to one
side, at the head of the crib, there stands a group of angels
making music. Three of them are singing from an open Codex,
whilst three others are accompanying the singers on a treble
recorder, a regal and a harp" (Peter, loc. cit.) Another group of musical angels at the bottom right of the painting sing to the accompaniment of lute and vielle. The recorder is cylindrical perfectly depicted, the window/labium clear and the fingers all covering their holes correctly.
Master of the Prayer Book of 1500
Flemish painter of illuminated manuscripts active in Bruges; his name is derived from a collection of devotional manuscripts from the same artist dating to about the start of the 16th century; notwithstanding his name, the Master is best known for the work he did painting secular images, incorporating details from daily life in a number of his original narratives; his interest in courtly life, as well as the daily activities of the lower classes, may be seen as well in his paintings for calendars; op. 1485 - c.1520.
- Book of Hours: Virgin and Child (1490-1500), illumination, ca 17.7 × 10 cm, Master of the Prayer Book of 1500 (op. 1485 - c.1520).
Paris: Musée Marmottan Monet: Wildenstein Collection, No. 152, M.6307.
Ref. Anthony Rowland-Jones (pers. comm., 2004).
The fifth of ten illuminations from a Book of Hours published in Bruges. The Virgin suckles the Holy Child. Facing her are two musical angels, one playing a clearly depicted tenor recorder, left hand lowermost, all fingers on, and the right thumb flatly covering its hole underneath. The mouthpiece is beaked and the window/labium is clear.
- Roman de la Rose: Dance of Mirth (ca 1490-1500),
Master of the Prayer Book of ca 1500, ? Bruges. 394 × 292 mm,
London: British Library, Harley MS 4425, f. 14v.
Ref. The Museums & Galleries Collection:
postcard KGB90 (1995); Brassy (1999). Musicians play pipe &
tabor, harp, and a flared-bell recorder with the window/labium
area and a hole for the little finger of the lowermost (right)
hand clearly shown
Master of the Putti [Maestro dei Putti] (op. 1680-1690), Italian
- [Faun], sculpture, Master of the Putti (op. 1680-1690).
Vicenza: Palazzo Leoni Montanari, Sala dei Fauni.
Ref. Brugnolo & Cevese (1993: 75 - col.); Paulo Biordi (pers. comm, 2002).
Watched by a bust of a woman with elaborately coiffured hair, a young satyr plays a conical duct-flute (probably a recorder). The windway/labium and five finger-holes are clearly visible, the lowermost not offset. Although wide, the bell has very thick walls indicating that the bore is not particularly flared.
Master of the Saluces Hours (15th century), French
The Saluces Book of Hours dates from the second half of the 15th century (probably the third quarter). Although it came from Saluzzo, the illuminator's name is derived from that part of Savoy which is now in France.
- Mary with the Child and Angel Musicians, from the
Saluces (Savoy) Book of Hours (ca 1460), illumination,
Master of the Saluces Book of Hours. London: British Library, MS.
Add. 27697, fol. 105 v. Ref. Calendar: Musica 1970
(Bärenreiter); Archiv Moeck; Paris RIdIM (1999); Walter Bergmann (ex Anthony Rowland-Jones, pers. comm., 2003).
The Virgin and Holy Child, enthroned, are surrounded by musical angels. Those on the left play tambour, psaltery, nakers, shawms and a duct-flute (possibly a recorder) the beak and window/labium of which are clearly visible. Those on the right play lutes, harp, organetto, triangle, pipe and tabor. Three angels appear to be singers.
Master of Seu d Urgell – See Master
of Canapost
Master of the St Thomas Altarpiece –
See Master of the St Bartholomew Altarpiece
Master of La Secuita [Maestro de La Secuita](15th century), Spanish
- Altarpiece of the Virgin (1425-1440), Master of La
Secuita. Tarragona: Museu Diocesà. Ref. Gudiol (1986:
574); Ballester (1990: 184-185 & pl. 118); Rowland-Jones (1997: 11, fig. 7-b&w; 1999b: 33); Pedros (2007: 176 & fig. 73-b&w).
The central panel depicts the Virgin
and Child surrounded by four angel musicians playing lute, harp,
psaltery, and a duct-flute with rather more holes than fingers.
The lowermost finger-hole of the latter is clearly doubled, which
makes it quite likely that this represents a recorder.
Pedros (loc. cit.) attributes this work to Pascual (or Pascasi, or Pasqual) Ortoneda (doc. 1423-1460), possibly brother of the painter Matthew Ortoneda (doc. 1391-1433).
Master of the Stockholm Musicans (17th century), Dutch
- [Shepherd with a Recorder], 78 × 62 cm, Master of the Stockholm Musicians (17th century).
Location unknown: auctioned P. de Boer, Amsterdam (1945), attributed to Dirk van Baburen.
Ref. Rijksbureau voor Kunsthistorische Documentatie, The Hague, Negative L34200; Ruth van Baak Griffioen (pers. comm., 2003).
A man in a loose-fitting shirt holds a hand-fluyt, the foot of which is out of frame.
- Young Woman with a Recorder,
after Jan van Bijlert (1598-1671) by the Master of the Stockholm
Musicians (17th century).
Private Collection; auctioned by Sotheby's,
London (9 December 1981), Lot. 78. Ref. Sotheby's, Sale
Catalogue; Buijsen & Grijp (1993: 224-227, fig. –
b&w); Wind (1997: vol.2, cover – col.) Attributed to
Gerrit van Honthorst (1590-1656) by Sotheby's (loc. cit).
Identical to Bijlert's Girl with a Flute in the Art
Gallery of New South Wales (see above), Sydney and an unsigned
version in the Pushkin Museum of Fine Arts, Moscow.
Master of the Teaching Christ Master =
Master Francesco
Master of the Trapani Polyptych
Early fifteenth-century Italian artist, most likely a Sicilian, influenced by contemporary Tuscan painters.
- Virgin with Child and Angels, painting, Master of the Trapani Polyptych (early 15th century).
Detail (restored).
Palermo: Galleria Regionale della Sicilia Palazzo Abatellis, Inv. 18.
Ref. Brown (1980); Brown 1986: #540 – b&w); Thomson
& Rowland-Jones (1995: 4, pl. 2B); Anthony Rowland-Jones
(pers. comm., 2000; 2006: 15 & fig. 14-col.) From the monastery of S. Martino alle Scale,
Palermo. Formerly attributed to Turino Vanni (fl. 1390-1427),
Italian (Sicilian). The Virgin and Child are surrounded by six
angels. An angel on the lower left-hand corner of the painting
plays a double pipe. Another on the lower right-hand corner plays
a duct-flute which may be a flageolet or a recorder. The
instrument, with its beaded foot piece, is strikingly suggestive
of the Dordrecht recorder, the lower tenon of which had provision
for just such a foot-piece. However, the fingers are deployed in
a 'four-plus-two' fingering suggestive of flageolet playing.
Since the photograph reproduced in Thomson & Rowland-Jones
(loc. cit) was taken, this painting has been allowed to
deteriorate considerably but has recently been restored, minus
the angel's little finger on each hand and with the halo partially obliterated. Also there are slight signs of a little
finger-hole, probably added by the restorer who assumed the
instrument to be a recorder rather than a flageolet (perhaps he
was an admirer of Howard Mayer Brown). Anyone now looking at the
picture would assume it is a recorder, despite earlier evidence
to the contrary (Anthony Rowland-Jones, pers. comm., 2000).
- Coronation of the Virgin with Saints Peter and St
Paul, painting, Master of the Trapani Polyptych (early 15th century). Detail. Palermo: Galleria Regionale della
Sicilia Palazzo Abatellis, Inv. 24.
Ref. Anthony
Rowland-Jones (pers. comm., 2000); California State University
Systems: World of Art Web Kiosk (2002 - col.) From the Church of
St Pietro la Bagliata, Palermo. The Virgin is crowned by Christ.
A panel to the left depicts St Peter; that on the right St Paul.
Beneath the Virgin, angel musicians play straight trumpets,
organetto, fiddle, harp and lute, and two play identical
cylindrical pipes. On the pipe on the left, three finger-holes
for the upper (left) hand are clearly visible, and although only
three fingers of the right hand seem to be used the index finger
seems to be operating two holes. On the pipe on the right only
one finger of each hand is covering its hole, but there are a
further two holes visible above and a further two below the lower
(left hand). Thus these instruments very possibly represent
recorders, though there is no window/labium visible on either.
Master of the van Morrison Triptych (15th century)
Two works containing recorders previously thought to be by this artist are now attributed to an anonymous Netherlandish Master of the early 16th century.
Master of the Vitae Imperatorum
Italian illuminator, amongst the formemost of those employed at the court of the Visconti; active Milan (1431-1459).
- Pontifical: marginal decoration (1433 to 1438), illumination on parchment, 350 × 255 mm, Master of the Vitae Imperatorum (1431-1459).
Cambridge: Fitzwilliam Museum, MS 28
Surrounded by birds of various kinds, two putto sit on either side of the papal coat of arms, one playing a small lute, the other playing a flared-bell pipe, possibly intended to represent a recorder.
Master of the Vraie cronicque descoce
Flemish illuminator, a follower of Willem Vrelant (ca 1450-1475). The focus on recorders in the illuminations detailed below is similar to those by an anonymous artist in a 15th-century French manuscript version of the Eclogues held in the Bibliotheque Municipale, Dijon.
- Virgil, Opera omnia, Volume 1, Eclogues, follower of Willem
Vrelant (illuminator), Bruges: Flute-playing contest between Menalcas and
Dametas with Palemon as judge (ca 1450-1475), illuminated
miniature on vellum, 10.0 x 9.5 cm, Master of the Vraie
cronicque descoce (15th century). The Hague: Koninklijke
Bibliotheek, KB, 76 E 21 I, Fol. 20r: min. Ref. Koninklijke
Bibliotheek: Medieval Illuminated Manuscripts (2002). Surrounded by
sheep and a pert looking cow, Palemon leans on his staff
listening as Menalcas and Dametas play their recorders. One
shepherd has a further three recorders in a bag suspended from
his waist; the other has two more in a sling around his side. The
instruments are cylindrical and of plain profile; the
window/labium and the characteristic paired holes for the little
finger of the lowermost hand are clearly depicted.
- Virgil, Opera omnia, Volume 1, Eclogues, follower of Willem
Vrelant (illuminator), Bruges: Mopsus and Menalcas about to play a song
eulogizing Daphnis, the ideal shepherd (ca 1450-1475),
miniature on vellum, 9.0 x 9.5 cm, Master of the Vraie
cronicque descoce (15th century). The Hague: Koninklijke
Bibliotheek, KB, 76 E 21 I, Fol. 25r: min. Ref. Koninklijke
Bibliotheek: Medieval Illuminated Manuscripts (2002). The two
shepherds meet each other in a hilly pasture, recorders at the
ready, their sheep following. The beak, and window/labium of each
cylindrical instrument are clearly visible. On one the paired
holes for the little finger of the lowermost hand are clearly
depicted, but no other finger-holes are visible. On the other the
three uppermost finger-holes are visible but the lower ones are
covered by the player's hand.
- Virgil, Opera omnia, Volume 1, Eclogues, follower of Willem
Vrelant (illuminator), Bruges: Damon complains to Alphesibeus about his
unrequited love (ca 1450-1475), miniature on vellum, 9.0
x 9.5 cm, Master of the Vraie cronicque descoce (15th
century). The Hague: Koninklijke Bibliotheek, KB, 76 E 21 I, Fol.
32r: min. Ref. Koninklijke Bibliotheek: Medieval Illuminated Manuscripts (2002). Two shepherds
seem to be having a discussion about recorders: one has a
recorder in a sling at his side, the other holds his up as if to
make a point. A woman reads from a book at a podium. Beside her
another shepherd plays his recorder earnestly. The characteristic
window/labium and paired holes for the little finger of the
lowermost hand are clearly visible in each instrument. In the
background a bride and groom stand either side of a priest at the
door of a church. In the center of the picture Damon clasps his
hands beseechingly.
- Virgil, Opera omnia, Volume 1, Eclogues, follower of Willem
Vrelant (illuminator), Bruges: Meris, Virgil's tenant, brings goats to
Lyadas, the new owner of Virgil's estate (ca 1450-1475),
miniature on vellum, 8.0 x 9.5 cm, Master of the Vraie
cronicque descoce (15th century). The Hague: Koninklijke
Bibliotheek, KB, 76 E 21 I, Fol. 35r: min. Ref. Koninklijke
Bibliotheek: Medieval Illuminated Manuscripts (2002); Recorder Magazine 23(3): front cover (2003: detail - col.)
Meris drives his sheep (not goats) up the road leading to a castle. On the
grass beside the road two shepherds sit playing their recorders,
two more beside them on the ground. All four instruments are
cylindrical, their window/labium and finger-holes clearly
depicted. One of the recorders on the ground has holes for 7
fingers, the lowermost paired.
- Virgil, Opera omnia, Volume 1, Eclogues, follower of Willem
Vrelant (illuminator), Bruges: The shepherds commiserate with Gallus, because
Lycoris has left him (ca 1450-1475), miniature on vellum,
8.0 x 9.5 cm, Master of the Vraie cronicque descoce (15th
century). The Hague: Koninklijke Bibliotheek, KB, 76 E 21 I, Fol.
37r: min. Ref. Koninklijke Bibliotheek: Medieval Illuminated Manuscripts (2002). Gallus, lying
prostrate on the grass is surrounded by his friends leaning on
their staves, and their sheep. Two of the shepherds have recorders
in slings around their waists. Another shepherd sits on a rocky
ledge nearby playing his recorder. All the instruments are
cylindrical, their window/labium and finger-holes clearly
visible.
- Virgil, Opera omnia, Volume 2: Georgics, follower of Willem
Vrelant (illuminator), Bruges: Farmers and their livestock (ca
1450-1475), miniature on vellum, 7.0 x 9.5 cm, Master of the
Vraie cronicque descoce (15th century). The Hague:
Koninklijke Bibliotheek, KB, 76 E 21 I, Fol. 28r: min. Ref.
Koninklijke Bibliotheek: Medieval Illuminated Manuscripts (2002). Two farmers
stand amidst their sheep, pigs, cows and donkeys, a number of
which are copulating. Behind them a shepherd sits on the grass
playing a cylindrical pipe (probably a recorder) to some sheep.
- Virgil, Opera omnia, Volume 2: Georgics, follower of Willem
Vrelant (illuminator), Bruges: Flute-playing contest between Corydon and
Thyrsis with Daphnis as judge (ca 1450-1475), miniature
on vellum, 9.0 x 9.5 cm, Master of the Vraie cronicque
descoce (15th century). The Hague: Koninklijke Bibliotheek,
KB, 76 E 21 I, Fol. Fol. 30r: min. Ref. Koninklijke Bibliotheek:
Medieval Illuminated Manuscripts (2002).
Daphnis sits beneath a tree, a recorder on the ground at his
side. Corydon and Thyrsis stand beside him playing their
recorders. One of the contestants has a second recorder tucked in
a sling around his waist. The beak, window/labium and
finger-holes of each instrument are clearly depicted.
Master of the Västerås Triptych (op. Antwerp, ca
1515-1520), Flemish
- Virgin and Child, Master of the Västerås
Triptych (op. Antwerp, ca. 1515-1520). Location unknown; sold
Milan (1996). Ref. Burlington Magazine 138 (1996 - col.);
Die Weltkunst (1984, 54: 3485); Rasmussen (1999b).
“Three angels at the left sing and one plays a harp. Angels
at the right play fiddle, lute and recorder” (Rasmussen,
loc. cit.) Die Weltkunst (loc. cit.), ie Munich art
market, attrributes this to Jacob Cornelisz van Amsterdam;
Rasmussen asserts that it is not. Not seen.
Master of Viella (late 15th century), Spanish
- Altarpiece: The Decapitation of Saint John the Baptist and
the Feast of Herod, tempera, Master of Viella (late 15th
century). Blanes (Barcelona): Private Collection. Ref. RIdIM/RCMI
Newsletter 20 (1): 35 (1995). From the Retaule de Sant Joan
Baptista. "On the right, Salome offers Saint John the
Baptist's severed head to Herodias, in front of Herod and a
servant. On the left, the executioner sheathes his sword beside
Saint John's beheaded body. In the background, two minstrels
playing two recorders."
Master known as 'WR' (16th century), German.
- Musical Instruments (1524), Master known as 'WR',
German. Erlangen: Universitätsbibliothek, Ms. B 200, fol.
128 r. Ref. Lutze (1936: S. 58 u. 69 f.); Scharenberg (1993);
Archiv Moeck. Includes copies of illustrations from Virdung
(1511) including trumpets, drums, kettledrums, and a pair of
recorders.
Master XXX with an L (op. ca 1559), Dutch
- Vanitas (1559), engraving, Master XXX with an L (op. ca 1559).
Ref. Hollstein (1949-, 13: 104, nos 1-2); Rasmussen (2002, Lute).
"A man and a woman seated beside a table. Among the objects on the table are a lute and two ? recorders" (Rasmussen, loc. cit.)
Master of Zweder van Culemborg precursor, Dutch
Miniaturist, active in Utrecht (op. ca 1425).
- Book of Hours (use of Utrecht): Hours of the Holy Spirit: Sext:
An angel making music, illuminated initial and border decoration on vellum (ca 1425), 30 x 35 cm, Master of Zweder van Culemborg, precursor (illuminator), Utrecht.
The Hague: Koninklijke Bibliotheek, KB, 133 M 131, Fol. 116v: hist. in.
Ref. Koninklijke Bibliotheek: Medieval Illuminated Manuscripts (2002).
A kneeling angel plays a cylindrical duct-flute, possibly a recorder, the window/labium clearly depicted.
- Book of Hours (use of Utrecht): Hours of the Holy Spirit: None: An angel making music, illuminated initial and border decoration on vellum (ca 1425), 30 x 35 cm, Master of Zweder van Culemborg, precursor (illuminator), Utrecht.
The Hague: Koninklijke Bibliotheek, KB, 133 M 131, Fol. 119r: hist. in.
Ref. Koninklijke Bibliotheek: Medieval Illuminated Manuscripts (2002).
A seated angel plays a cylindrical pipe, probably a duct-flute, possibly a recorder since the little finger of the lowermost (left) hand covers its hole.
- Book of Hours (use of Utrecht): Hours of the Holy Spirit: Compline: An angel making music, illuminated initial and border decoration on vellum (ca 1425), 30 x 35 cm, Master of Zweder van Culemborg, precursor (illuminator), Utrecht.
The Hague: Koninklijke Bibliotheek, KB, 133 M 131, Fol. 126r: hist. in.
Ref. Koninklijke Bibliotheek: Medieval Illuminated Manuscripts (2002).
A seated angel plays a cylindrical pipe, probably a duct-flute, possibly a recorder since the little finger of the lowermost (left) hand covers its hole.
Jacob [Jacques] Matham
Dutch engraver, draughtsman and painter; born Haarlem (1571),
died Haarlem (1631); stepson of the pre-eminent engraver Hendrick
Goltzius, whose style he closely imitated; father of Theodor Matham (1605/6-1676).
- Proclamation to the Shepherds (1621), print after
Veronese by Jacob Matham (1571-1631). Ref. Bartsch (1854-1870,4:
1309.206); Munich RIdIM (1999). One of the shepherds has a
recorder in his belt.
- The Times of Day (series): Meridies [Midday] or
The Passage of Phoebus, (1621), print after Karel van
Mander by Jacob Matham (1571-1631). Ref. Bartsch (1854-1870,
?vol., 3: 174, 177); Munich RIdIM (1999). The four times of day
were Matin (Aurora), Midi (Phoebus), Soir (Venus), Nuit
(Morpheus). Labourers in the field stop for lunch. One carries a
bagpipe and a pipe with a sharp bell-end which could be a bagpipe
chanter, shawm or recorder. The beak and windway of the latter
are clearly depicted, side-on. Two finger-holes are visible
beneath the hand holding the instrument. Apollo (surprisingly)
plays a hurdy-gurdy. Notes by Anthony Rowland-Jones (pers. comm.,
2000).
- Satyr admiring Sleeping Venus, print after Hans
Rottenhammer the Elder (1564-1625) by Jacob Matham (1571-1631).
Ref. Bartsch (1854-1870, 4: 193.180); Munich RIdIM (1999). The
Satyr holds a recorder.
- Rest on the Flight to Egypt (1610), engraving by Jacob Matham (1571-1631), after
Bartholomaeus Spranger (1546-1611)
Ref. Bartsch (1854-1870, 4: 183/202); Rowland-Jones (2000a: 165
– figs - b&w). Mary holding the Holy Infant in one hand
and the arm of the young St John the Baptist in the other as they
stroll out of the picture to the right. Behind them, Joseph
assisted by an angel and two putti tethers the horse, watched by
a dog. A basket on the ground beside the dog contains Jospeph's
carpenter's tools and a very likely 'Virdung'-type recorder. The
latter has a beaked mouthpiece and, although no finger-holes are
shown, the window/labium is clear. The foot has a marked turned
bead above a strong but short bell flare. Is this one of the
nativity shepherds' gifts, or did Joseph make it himself? There
could be a second, smaller recorder in the basket. Notes (in
part) by Anthony Rowland-Jones (pers. comm., 2000).
Theodor [or Dirk] Matham
Dutch engraver and draughtsman; born Harlem (1605/6), died Amsterdam (1676); son of Jacob Matham
(1571-1631).
- Vanitas (1622), engraving, Theodor Matham
(1605/6-1676). Haarlem: Gemeinde Archiv. Ref. Fischer (1972:
85-91). Through a double window-frame can be seen a room situated
higher and further away in which a richly-clad company is
banqueting, raising glasses to the accompaniment of music played
by a group of musicians sitting on a balcony. Beneath the window
is a cartouche with a skull and the title 'Vanitas'. In the
foreground is a table on which are a tray with glass goblets, a
pewter wine flask with a long neck, a two-part song-book with
music and four couplets by the priest-musician Jan Albert Ban, a
cittern, lute, five-stringed cello and a wind instrument all but
the flared bell of which is hidden behind the lute. The flared
bell of the wind instrument, described by Fischer (loc. cit) as a
'flute', may belong to a recorder. There is also an open chest
with gold coins and jewels and, on a cupboard, a cup with a
cherub's head. The complex symbolism of this work and its
relationship to a number of sources are discussed at length by
Fischer (loc. cit.)
Pieter Matthijsz. (17th century), Netherlands
- Swag of Musical Instruments (1641), wood carving, ? Pieter Matthijsz. (17th century).
Alkmaar: Grote Sing Laurenskerk, Van Hagerbeer/Schnitger organ, between shutters of the Rugpositief and the main chest.
Ref. Bouterse (2009 - pers. comm.)
One of two swags of musical instruments; one depicts harp, horn, flute, lute, ? oboe, tambourine (with jingle rings and pellet bells), and triangle; the other depicts horns, trumpet, violin, and a baroque recorder. Despite the date, the mouthpiece of the recorder looks very baroque, the rest (especially the foot rings) are more 'transitional'. The case of the main organ was designed by the painter/architect Jacob van Campen (1595-1657). The case of the Rugpositief organ was made in the workshop of Van Hagerbeer in Leiden. Although the organ has undergone many repairs and rennovations over the years, the orginal casework has been retained. Frank van Wijk, the current organist at the Laurenskerk in Alkmaar, confirms that the woodcarvings are from 1641 by Pieter Matthijsz. whose name and the year appear on the panels. More information about the organ and its history can be found here.
Paolo de Matteis
Italian painter and silversmith working in Naples, Paris, Calabria, Genoa, Rome; painted frescoes, altarpieces and allegorical and mythological pictures; born Piano del Cilento near Salerno (1662), died Naples (1728).
- Child Holding a Mirror and a Flute, painting, Paolo de Matteis (1662-1728).
Location unknown: auctioned 05/06/2002 (unsold)
Ref. Gabrius Data Bank (2007 - col.)
A naked child reclines on a large orange cushion holding a mirror in his left hand and a slender, cylindrical duct-flute in the right. The beak of the duct-flute is clearly depicted but it could represent a flageolet or recorder. Possibly allegorical.
Taco Iwashima Matthews
Contemporary Japanese-born graphic artist.
- [Recorder Player] (2001), Taco Iwashima Matthews (20-21st century).
Ref. Chopin (2001); Taco.
One of a series of illustrations of girls playing musical instruments. In this a slender girl walks off stage left, holding her neo-baroque recorder in one hand, a score in the other. Chopin is a magazine introducing American
compositions, musicians, and schools to Japanese readers.
Matteo di Giovanni di Bartolo [Matteo da Siena]
Italian painter working in Sienna influenced by the discoveries
and innovations of the early 15th-century Florentine school; born
ca 1430?, died 1495.
- Assumption of the Virgin (1474), tempera on wood, 33.8
× 171.3 cm, Matteo di Giovanni di Bartolo (ca 1430? -1495).
London: National Gallery, No. 1155B. Ref. Howard (1946: 6-7, pl.
2-col.); Website: klassiskgitar.net (2007 0- col.)
The Virgin is surrounded by musical angels, six each side
and eight beneath. To her right, one angel plays a pipe, probably
a recorder as at least seven finger-holes and the window/labium
are shown. The mouthpiece of the instrument is of a different
material (white) to the body; there are no double holes. An angel
centre left plays a double duct-flute; however these have enough finger-holes (including paired holes for the lowermost vent) to be recorders. Other angels sing and play lute, tambourine (with jingles), nakers, sackbut (with bell over the shoudler), vielle, harp, and cymbals. Next to the harpist is another recorder player whose instrument is largely hidden but the bell-end is visible with the players third and little right-hand finger on their holes.
Paulus Matthysz
Dutch music-printer, composer, publisher prominent in Amsterdam; probably an amateur recorder player himself, he published Jacob van Eyck's Der Fluyten Lust-hof and a collection entitled 't Uitnement Kabinet; born 1614, died 1684. Three extant copies of Der Fluyten Lust-hof include the tutor Vertoninge en Onderwyzinge op de Handt-fluit (1649), presumably by Matthysz, and a tutor by Gerband van Blanckenburgh, Onderwyzinge hoeman alle de Toonen…op de Handt-Fluyt (1655/6).
- 'Vertoninge en Onderwyzinge op de Hand-fluit': Recorder (1649), Paulus Matthysz 1614-1684).
Ref. Morgan (1984); Legêne (1995: 110-114); Thiemo Wind (2006, pers. comm.)
Part of part of the anthology 't Uitnemend Kabinet. Shows a recorder with an externally cylindrical profile. This illustration is identical to that published later by Gerbrandt van Blanckenburgh (1655/6).
Christoph Murer [Maurer]
Swiss glass painter, woodcut designer, etcher, illustrator and playwright; he lived much of his life in Strassbourg, often working in collaboration with his fellow Swiss artist, Tobias Stimmer; born Zurich (1558), died Winterthur (1614).
- XLI Emblemata miscella nova, published Zürich (1622): XXXIX, The Choice of Hercules, etching Christoph Murer (1558-1614).
Ref. Panofsky (1930, 46: pl. 25); Gazette des Beaux-Arts (1967, 69: 336); Rasmussen (2002, Lute).
"Includes a treble viol or violin and a recorder on the ground and a woman (Voluptas) holding a lute in one hand and raising a tazza with the other. She is on the right side of the composition, the side that leads to the 'via mortis'" (Rasmussen, loc. cit.)
Moshe Maurer (1891-1971)
Austro-Hungarian-born artist who emigrated to Holland and thence to London where he lived and worked; his oil paintings and watercolours depict everyday Jewish life and religious ceremonies, and stories from the Jewish ghettos; born Brody in Ostgalizien (1891), died London (1971).
- Street Music in Warsaw (1964), Moshe Maurer (1891-1971).
Locality unknown. Ref. Rijksbureau voor Kunsthistorische Documentatie
(2001); Anthony Rowland-Jones (pers. comm., 2001). Two old Jews
in the ghetto play a violin and what could be a flared-bell
soprano recorder, although the instrument is unclear.
Lodovico [Ludovico] Mazzanti
Italian painter; works include religous and mythological
subjects, and portraits; born Orvieto (1679), died 1775.
- Mercury and Argus, oil on canvas,
Lodovico Mazzanti (1679-1775). Ref. Gabrius Data Bank, OMP (2000
- b&w). Watched by Io (as a heifer), Mercury lulls Argus to
sleep by playing on a slender, flared-bell pipe (possibly a
recorder). Offered for sale with a pendant entitled Zephyr and
Flora.
Girolamo Mazzola Bedoli
Italian painter and draughtsman of the Parma School; born Viadana (ca 1505), died Parma (ca 1569-1570); cousin and disciple of Girolamo Francesco Maria Mazzola (Parmigianino), to whom many of his works have been attributed.
- Nativity, Girolamo Mazzola Bedoli (ca 1505 - ca 1569/70).
Parma: S. Maria della Steccata.
Ref. Tesori d'arte cristiana (1966-1968, 4: 347); Exhibition: Viadana, Sodalizio Amici dell'Arte, Disgeni di Girolamo Mazzola Bedoli (1971: no. 50); Milan Universita Cattolica … (1972: pl. CXXVIII); Visual Collection, Fine Arts Library, Harvard University, 372.M4597.22N[a]; Rasmussen (2002, Bagpipe).
"Shepherds play recorder (pausing) and bagpipe" (Rasmussen, loc. cit.)
Girolamo Francesco Maria Mazzola
[Mazzuoli] = Parmigianino
Angelo Mazzoleni
Contemporary Italian painter working in Bergamo; his work has embraced the use of archetypes and symbols, primitivism, and neosincretismo; many of his works are paintings in oil or mixed technique on canvas, but he has also used acrylics, tempera, sand and special plasters and pastas, fabrics, and has modelled in clay and other materials; born Florence (1952). Web Page.
- Suonatrice di Flauto, oil on canvas, 70 × 60 cm, Angelo Mazzoleni (1952-).
A woman in a red cap plays a selnder conical pipe with one hand. There are far more holes than fingers!
- Sunoatoro di Flauto, oil on canvas, 90 × 50 cm, Angelo Mazzoleni (1952-).
A man in a top hat wearing a checked jacket, shirt and pants and red shoes plays a slender, conical pipe. There are far more holes than fingers.
- Le tre Musiche, oil on canvas, 80 × 100 cm, Angelo Mazzoleni (1952-).
Three naked women play rebec, keyboard and a slender, concial pipe. The pipe has far more holes than fingers.
Lodovico Mazzolino [Mazzuoli, Manzulin or Mazzuoli da
Ferrara] (ca 1480-p. 1530), Italian
- Pharaoh and his Host Overwhelmed in the Red Sea
(1521), Lodovico Mazzolinio (ca 1480-p. 1530). Dublin: National
Gallery of Ireland. Ref. Boydell (1985: 48, fig. 38). Amidst the
confusion of Israelites on the right hand side of the painting,
two men play slender duct-flutes (flageolets or recorders) and
another the drum.
J.G. Meall
English artist, active 1674-1675.
- Portrait of a Gentleman (1675), oil on panel, 40.6 × 32 cm, J.G. Meall.
London: Christie's, Sale 6068, Old Master Pictures, 16 December 1998, Lot 109.
Ref. Rijksbureau voor Kunsthistoriche Documentatie 58994 (2010-col.)
In the middle of a neglected weed-ridden field, a well-dressed man sits on a stone block amongst the ruins of a church, including an archway through which can be seen a windmill. His left arm is outstretched and in his hand he holds a small recorder, perfectly depicted. On the seat beside him is a flute. On a wall or bench beside him a violin and bow, an oboe, and a cornetto lie crossed over an open book of music. On the ground before him lie a rifle and a dead duck. In the lower left-hand corner is the coat of arms of the Uyl family. An unusual vanitas portrait.
Richard Meares (English)
- Frontispiece, A Compleat Method for Attaining to Play a
Through Bass upon either Organ, Harpsichord or Theorbo Lute
(1717), by Godfry Keller, published by Richard Meares, London,
England. London: British Museum. Ref. Mirimonde (1974: 55, fig.
39); Paris RIdIM (1999). St Cecilia sits at a chamber organ
surrounded by garlands of musical instruments. That on the right
includes a trumpet, violin, oboe and turned baroque
recorder.
Israhel & J. van Meckenem
Dutch artists (father and son with same name) who worked in
Boscholt and Cleves (active 1450-1503).
- The Dancing Fool, 75 × 52, print, Israhel & J. van Meckenem (op. 1450-1503).
Vienna.
Ref. Strauss (1978, 23: 95, no. 13); Archiv Moeck; Rasmussen (2002, Horn).
A fool dances, making music by scraping a brush on a cow's jawbone. A
curved horn hangs from his arm and, beneath his feet, lies a recorder of
which the paired holes for the lowermost finger are clearly
shown.
- Der Narr [The Jester], 75 × 52, print, Israhel
& J. van Meckenem (op. 1450-1503). Ref. Munich RIdIM (1999);
Bartsch (1854-1870, 9: 236); Rasmussen (2002-2004: Bagpipe). A fool with bagipes and a recorder
tucked into his belt, bells on his cap and sleeve and a bagppe on the ground between his feet.
Reinier Megan [Meganck or Meganet] (1637-1690), Flemish
- Vanitas, Reinier Megan (1637-1690). Location unknown:
Private Collection. Ref. Grijp (1998: 40, fig. 75). On a draped
marble bench are a candlestick and lighted candle (almost burnt
down), a skull, some books, a goblet, a rebec and bow, an
hour-glass, a pocket watch, an open music book and an ivory
duct-flute only the head and first two finger-holes of which are
visible.
Johann Caspar [Kaspar] Meglinger (1595 – ca 1670), Swiss
- Dance of Death, painting, Johann Caspar Meglinger
(1595 – ca 1670). Lucerne: Le Pont des Moulins, one of 16
pictures. Ref. Paris RIdIM (2000). A triangular painting at the
base of which are a coats of arms and a couplet either side
reading:
Leg him Bildhauer dein mensur
Ein Todstreich hat geschlagen d'Uhr |
Ein Todtenlopf dein werk nachtracht
Truk d augen zu so ist er gmacht. |
Sculptor, thy chisel lay aside,
For now thy doom doth thee betide. |
Close but thine eyes: thy work is done
–
A Death's head stands where yet was none. |
The figure of Death (with a skull-like head) stabs to death a
sculptor who fights back in vain with the chisel of his trade. On
a balcony in the background between colonades, a woman clad in a
dress with a low-neckline and a halter, also with a death's head,
plays a flared-bell pipe (a reed pipe or duct-flute, possibly a
recorder); beside her a man plays a keyboard instrument.
Meissen Porcelain
Meissen porcelain or Meissen china was the first European hard-paste porcelain. It was developed by Ehrenfried Walther von Tschirnhaus in 1708 whose work was continued by Johann Friedrich Böttger who brought porcelain to the market, and has often been credited with the invention. The production of porcelain at Meissen, near Dresden, started in 1710 and attracted artists and artisans to establish one of the most famous porcelain manufacturers, still in business today as Staatliche Porzellan-Manufaktur Meissen GmbH. Its crossed swords logo, one of the oldest trademarks in existence, was introduced in 1720 to protect its production. Meissen dominated the style of European porcelain until 1756.
- [Musicians], porcelain figurines, 26 cm & 25 cm high, Meissen Porcelain (19th century).
Jersey: Bonhams Sale 15317 - The Channel Islands Sale, 5 November 2007, Lot 5.
Modelled as a gentleman playing bagpipes, a dog and sheep at his feet, his lady companion playing a baroque-style alto recorder, a sheep at her feet, both wearing detailed 18th-century costume, crossed swords mark, incised No. 3. The characteristic beak and window/labium of the recorder are clearly depicted. The foot-piece seems to have fallen off, and the player's left hand clasps the head rather than the body of the instrument.
- Boy musician (c. 1780-1790), porcelain figurine, 11 cm high Meissen Porcelain.
Knowles: Bonham's Sale 16292 - European Ceramics, Glass & Asian Art, 8 July 2008, Lot 377.
A boy standing and playing a pipe, wearing a light blue coat over black breeches, a puce scarf tied around his waist, on a square base with moulded border, crossed swords and star mark used during the Marcolini period of Meissen production. The bulbous beak of the instrument would seem to indicate a recorder; the foot is missing.
Johann Peter Melchior
German master porcelain modeler who worked for three German manufactories: Hochst, Frankenthal, and Nymphenburg; many of his models were based on Boucher's paintings and demonstrate extraordinary skill in translating their delicate mythological or pastoral scenes into figure groups; as rococo figures went out of fashion as table decorations in the 1770s, Melchior contributed designs to neo-classical tablewares and figurines, adding playful putti and cupids to tureens and in relief on urns, and he fashioned classical busts that could either be painted and glazed to resemble bronze or left in the biscuit state; born Lintorf, now part of Ratingen near Dusseldorf (before 1747), died ? Munich (1825).
- Musical Goup: Woman Playing with Children, porcelain figurine, 21.6 cm high, Johann Peter Melchior (a. 1747 - 1825).
Heidelberg: Kurpfälzisches Museum, Inv. Po 10.
Ref. Munich RIdIM (2002, HDkm - 59); Rowland-Jones (pers. comm., 2002).
The woman sits holding a duct-flute in one hand, a roll of music in the other, a small boy on either side of her.
Andrea Meldolla = Andrea Schiavone
Altobello dei Meloni
Italian painter known for his expressionistic religious frescoes, and fine portraits; born Cremona (ca 1490), died ca 1547.
- The Madonna in Glory with Angels, Altobello dei Meloni
(fl. 1497-1530). Cremona: Chiesa de S. Abbondio. Ref. Signori
(1928: 59); Campi (1938: 184); Paris RIdIM (1999); Rasmussen
(1999b). The Virgin holding the Christ-child is surrounded by
angels some of whom play musical instruments. Below her, three
angels play two violas da braccio and lute; two flanking angels
on each side play long cylindrical recorders with flared bells,
their windows quite clearly shown.
Elif Memisoglu (contemporary), USAmerican
- Untitled (2008), cover illustration, Elif Memisoglu (contemporary).
Ref. American Recorder Journal 49(3): front cover (2008 - col.)
A stylised girl sits on a park bench a recorder in her lap, an earthworm beside her, and flowers, trees and butterflies around.
Hans Memling
Leading Flemish painter of the Bruges school during the period of
the city's political and commercial decline; his altarpieces,
devotional diptychs and triptychs, and portraits are
characterized by their gentle, sweet tranquillity; born
Seligenstadt, near Frankfurt am Main ( ca 1430/35), died Bruges
(1494).
- Triptych of the Mystical Marriage of St Catherine: right panel: St John the Baptist and the Evangelist (1479), painting, Hans Memling (ca 1430/35-1494).
Detail.
Bruges: State Museum. Ref. AVM, Marconistraat 5, B-8400 Ostende:
postcard; Peter (1958: 43); Hindley (1971: pl. 11 - col.); Hijmans (2005: 218).
Legend has it that St John the Evangelist, while exiled on the isle of Pathmos in the Aegean Sea, wrote down several letters and visions. These were compiled as the Revelation of St John. Here he is seen looking from his book to see Christ enthroned surrounded by king-musicians who sing and play various instruments. One king tootles on a small cylindrical pipe, but seems to have no idea of what to do with his fingers (Rowland-Jones, pers com.)! The pipe is a duct-flute (flageolet or recorder), with the labium/window very clearly shown. The left panel of the triptych shows the beheading of John the Baptist; the centre panel depicts the mystic marriage of St Catherine.
- Triptych: central panel: Virgin and Child (15th
century), copy after Hans Memling (ca 1430/35-1494). Madrid:
Colección Adanaro. Ref. Paris RIdIM (1999). The Virgin
holds the Christ-child out to a young angel on her left. To her
right, a second angel plays a long slender cylindrical pipe,
possibly a recorder.
Anton Raffael [Raphael] Mengs
German fresco and portrait painter who settled in Italy and also
worked in Spain, decorating the Royal Palaces at Madrid and
Arunjuez; the leader of the Neo-classical reform in painting and
as highly regarded as Tiepolo in his day, though his frescos seem
dull and sterile to us; born ? Dresden (1728), died 1779; son of
a court painter of Dresden, Ismael Mengs (d. 1764).
- Parnassus (1761), ceiling fresco, Anton Raffael Mengs
(1728-1779). Rome: Villa Albani. Ref. Levey (1959: 203, pl. 105).
Apollo stands surrounded by the Muses who variously write, sing, declaim, dance and make astronomical observations. ? Euterpe (Muse of music and lyric poetry) holds two flared-bell pipes, one longer and more slender than the other, The shorter one seems to have a window/labium and probably represents a duct-flute, though only three finger-holes are visible. The other may reprsent a mute cornett. At the centre of this painting a spring gushes forth; and behind Apollo an old man lies in the bushes.
- The Apotheosis of Trajan (1764), ceiling fresco, Anton
Raffael Mengs (1728-1779). Madrid: Palacio Real, Gasparini
Drawing Room. Ref. Anthony Rowland-Jones (pers. comm., 2000).
“Includes a group of women and putti, with a winged Father
Time. The musicians include a singer with a lyre and a player of
a small trumpet or cornett, together with a young woman who blows
one pipe in her right hand and holds another exactly parallel in
her left. This may have been intended to refer to marriage
symbolism. The pipes are of soprano/alto size, but the detailing
is insufficient for identification” (Rowland-Jones, loc.
cit.)
Philip [Philippe, Pierre-Philippe] Mercier
French painter and etcher who worked in London; his works
comprise domestic genre and conversation pieces; born Berlin
1689/1691, died London 1760.
- Children Making Music, oil on canvas,
Philip Mercier (1689-1760). Location unknown: Auctioned 5 July
2000 (sold). Ref. Gabrius Data Bank, OMP (2002 - col.) An
elegantly dressed young woman plays a guitar, a young man holds a
violin to his shoulder pointing with his bow to a score held over
a table by one of two children in front of him. The other child
holds a turned baroque recorder of soprano/alto size. On the
table are a cushion and a lute, face down. Another lad peeps out
from behind a drape in the background. An almost identical painting auctioned on 3 October 2001 by Dorotheum, Vienna, with the title Musizierende Gesellschaft [Musical Gathering] was attributed to Johann Heinrich Tischbein I (1722-1789), and very similar paintings have been attributed to Jean Raoux (1677-1734) and other unknown imitators of that artist.
- Lady Preparing for a Masked Ball, oil on canvas, 119 × 96 cm, Philip Mercier (1689-1760).
Vienna: Dorotheum, 15 October 1996, Lot 122.
Ref. Sale Catalogue, Dodrotheum, Vienna (1996: 122).
A room full of bustling characters each looking wildly in a different direction! The central figure is a woman holding a mask in one hand and her little boy's hand in the other. In the top left hand corner a man in a red jacket plays a clearly depicted baroque recorder of alto/tenor size, riht hand uppermost.
- Rural Dance, oil on canvas, 47 × 58.4 cm, attributed to Philip Mercier (1689-1760).
Vienna, Dorotheum, Old Master Paintings, 22 June 2010, Lot 148.
In a forest glade, a man and a woman dance to music provided by musette (with double chanters) played by a man, a tambourine (with both jingle rings and pellet bells) played by a woman, and a conical pipe (possibly a recorder) played by a boy. Another young man holds a wine-glass. A small girl reaches out for her mother, one of the dancers. A couple in the bushes behind the central scene seem to find more interested in each other than in the merry-makers.
Marin Mersenne (17th century), French
French priest, mathematician, natural philosopher and theologian; born
near Oizé, Maine (1588), died, Paris (1648).
- Recorders (1636), engravings from Harmonie
Universelle III: 237, 239, Marin Mersenne 1588-1648).
Detail (bass recorder).
Published by Sébastien Cramoisy, Paris. Ref. Pottier (1995: 136, pl.
11). Depicts more or less cylindrical, flared-bell recorders of
various sizes.
Gabriel Metsu (also spelled Metzu)
Dutch painter of genre scenes of everyday middle-class Dutch
life, executed with consummate taste in color and tone; he also
painted some history subjects and occasional portraits and still
lifes; born Leiden (1629), died Amsterdam (1667); son of the
painter Jacques Metsu.
- The Concert, 55.5 × 48 cm, Gabriel Metsu (1629-1667).
Location unknown: formerly C. Benedict Collection, Paris.
Ref. Robinson (1974: 209, fig. 181); Griffioen (1988: 440-441).
a woman sits playing the virginals on a table. Seated on on end of the palyer a man plays a lute. Seated to the side and behind him another man plays a flared-bell recorder of alto size. Behind the virginals and to the right sits a woman, possibly a singer.
- Inspiration,
oil on panel, 19.3 × 17.3 cm, Gabriel Metsu (1629-1667). Roermond: Private
Collection. Ref. Bouterse (1995: 85-86); Moeck, Celle: TIBIA
– Musikbilder auf Postkarten, Series 2(4), No. 11102 (col.);
Rijksbureau voor Kunsthistoriche Documentatie 186694 (2010-b&w).
The painter himself as a young man plays an early baroque style
recorder of simple design with flared, ornamented bell. He reads
from music on a table supported by a small statue and an artist's
palette. This might almost be a companion piece for Berkheyde's
Self-portrait.
- Young Artist Playing a Recorder, painting, 18.8
× 16.9 cm, Gabriel Metsu (1629-1667). Amsterdam: Sotheby,
Mak van Waay, 9 June (1977), Lot 21. Ref. Getty Research
Institute: Study Photo
Collection (1999). Not seen. Is this the painting referred to
as Inspiration above?
- [Unknown], Gabriel Metsu (1629-1667). Whereabouts
unknown. A woman plays a viol with a recorder and the same statue
as above also depicted (Rowland-Jones, pers. comm. )
Quentin Metsys [Massijs]
Flemish artist, the leading painter in Antwerp from ca 1510 until
his death; his eclectic style was borrowed from Leonardo,
Dürer, van Eyck, van der Weyden and van der Goes amongst
others; produced portraits, satirical or genre works, and
religious paintings, the latter often against a mountainous
landscape painted in aerial perspective; born ca 1465/6, died
Antwerp (1530).
- Triptych La Conferie de Sainte Anne: left panel,
Quentin Metsys (ca 1465/6-1530). Brussels: Koninklijke Musea voor
Schone Kunsten van België, Cat. MA 299. Ref. Paris RIdIM
(1999). From an open window in a tower beside a village a figure
looks out over the moat and across a pasture to a shepherd who is
blowing a cylindrical flared-bell recorder. All fingers of the
lower (left) hand are employed covering holes, and the shadow of
the window/labium is clearly visible.
- Nativity, School of Quentin Metsys (ca 1465/6-1530).
Santa Barbara: Museum of Art. Ref. Gazette des Beaux-Arts
69 (1967); February: La chronique des arts, no. 1176, p.
68); Rasmussen (1999b). "Angels play lute and recorder"
(Rasmussen, loc. cit.)
Johann Georg Mettel (18th century), German
- Woman with a Flute watched by an old Man (1760),
drawing on paper, 30.6 × 22.9 cm, Johann Georg Mettel (18th century).
Darmstadt: Hessiches Landesmuseum, Inv. H2 AE 337. Ref. Munich
RIdIM (1999, DAhl - 149). A rather sallow-looking woman holds a
turned baroque alto recorder in her right hand; in her lap is a
musical score; behind her a sly looking bearded old man peers at
her lasciviously. The woman, her posture, her music and her recorder bear a strong resemblance to N. Mettelli's Flautist (Frankfurt am Main). The similarity between the artists names must be signficant.
N. Metteli (18th century), Italian.
- Flautist, engraving after Franciscus von der Majn, by N. Mettelli (18th century).
? Milan.
Ref. Angelo Zaniol (pers. comm., 2003); Il Laboratorio (1988).
A woman holds a turned alto recorder in her right hand; in her lap is a musical score. The woman, her posture, her music and her recorder bear a strong resemblance to Johann Georg Mettel's Woman with a Flute watched by an Old Man (Hessiches Landesmuseum, Darmstadt). The similarity between the artists names must be signficant.
Christian Wilhelm Meyer
German sculptor and porcelain modeller active in Berlin; born 1761, died 1788.
- Boys Emblematic of the Senses (ca 1769-1770), 2 Berlin porcelain figurines, 11.5 cm high, modelled by Christian Wilhelm Meyer (1761-1788).
London: Christie's, A Century of Berlin Porcelain: The Dr K.H. Wadsack Collection, 8 October 2002, Lot 204.
Ref. Artfact (2004).
Blue sceptre marks to undersides of bases. Hearing in a grey hat, pale-pink jacket over a white shirt, orange breeches supported by brown braces, holding the bagpipes and a bell. Sme ll in a beige jacket, white apron and shirt and lilac breeches, with a basket and posy of flowers, standing before a draped pot-pourri vase. Both supported by tree-stumps on triangular scroll-moulded bases enriched in gilding (the first with restoration to hat, bagpipes, bell, recorder in his pocket and with minute chipping to bows at knees, the second with damage and restoration to head and hat, left arm extensively damaged and restored and with restoration to basket, flowers and posy, some minute chipping to base).
Michael & Eutychios = Michael & Eutychios Astrapas
Théobald Michau
Flemish painter of mostly small-scale cabinet
pictures depicting landscapes, river views, scenes of winter,
markets and villages, peopled with tiny figures strolling or
working, sometimes celebrating or drinking, often dressed in blue
or red and accompanied by a few animals; born Doornik [Tournai]
(1676), died Antwerp (1765).
- Landscape with Dancing Peasants, Théobald
Michau (1676-1765). Location unknown. Ref. Rijksbureau voor
Kunsthistorische Documentatie 32446 (2001); Anthony Rowland-Jones
(pers. comm., 2001). A young man by a tree plays a soprano sized
pipe with a medium bell-flare, left hand lowermost. The details
are not clear, but the instrument is held in recorder playing
position.
Claude Michel, called 'Clodion'
French sculptor who worked in Rome and Paris; he enjoyed a wide
reputation until the French Revolution when the rococo style was
superseded by neo-classicism; a superb modeler of small-scale
terra cotta pieces, he also excelled at carving marble with
subtlety and precision, including some life-size pieces.
- Poetry and Music (ca 1774-1778), marble
sculpture, 117.5 × 88.9 × 60 cm, Claude Michel
(1738-1814). Detail. Washington, National Gallery of Art, Samuel
H. Kress Collection, 1952.5.98. Ref. Ford (1986: #163). One of
four representations of the arts and sciences commissioned by
Louis XV's finance minister, Abbé Terray, to decorate the
dining room of his Parisian mansion, celebrating his appointment
as Director of the Royal Buildings in 1774. Ford (loc. cit.)
notes the presence of a recorder in this sculpture. A standing
putto (Music) plucks a viol; his companion (Poetry), seated,
holds a note-book in his lap and a stylus in the other. On the
ground before them in a wreath lie a trumpet and a slender
cylindrical object the tip of which is cut obliquely and might
represent the back of the beak of a duct-flute with its
characteristic block. A featureless cylindrical object projecting
from beneath a drape in between the violist's feet appears to be
a scroll of paper rather than a wind instrument.
- Model for Poetry and Music (1774),
terra cotta sculpture, 27 × 23.3 × 15.6 cm, Claude
Michel (1738-1814). Detail Washington, National Gallery of Art, Loula D.
Lasker Fund 1976.10.1) In this model the standing putto (Music)
plucks a lute his companion (Poetry), seated, holds a note-book
in his lap, his right hand raised to his brow. On the ground
before them in a wreath lie a trumpet and a slender cylindrical
object the tip of which is cut obliquely and might represent the
back of the beak of a duct-flute with its characteristic block.
What may be a recorder projects from beneath a drape in between
the violist's feet, namely the upper part of a cylindrical pipe
the (unusually truncate) block and first three finger-holes of
which are visible but no details of a window/labium. It seems
categorically different from the paper scroll in the model (see
above), but could just as well represent a transverse flute.
Jean Michelin
French artist; born Langres (1623), died Jersey (1696).
- Citizens, canvas, 60.5 × 75 cm, Jean Michelin
(1623-1696). Bordeaux: Musée des Beaux-arts, Bx 1964 11 3. Ref. Paris RIdIM (1999). An old woman with a basket
of wood on her back sits on a stone in front of a stone
building. A young boy plays on a tiny duct-flute (flageolet or
recorder) watched by two smaller girls. A bearded man leans on
his stick. There is a similar work in the National Gallery of Ireland, Dublin.
- Coronation of the Rosary, canvas, 87 × 117 cm,
Jean Michelin (1623-1696). Location unknown; offered for sale by
Drouot-Richelieu, Paris, 24 February (1992), Cat. No. 25. Ref.
Paris RIdIM (1999). Two men and seven women sit around a long
table served by two waiters. At the far end of the table one of
the women is wearing a garland in her hair. To the side, a man
plays a violin and a small boy plays a tiny duct-flute (flageolet
or recorder). Through a doorway the kitchen can be seen.
Jan Miel
Dutch painter, active in Rome and Turin, one of the Bambocciate, a group of mainly Dutch artists that worked in Rome in the mid seventeenth century, followers of Pieter van Laer, who was nicknamed 'il Bamboccio' (meaning puppet or large baby) because of his physically deformed body; most of his pictures are scenes of low life, but he also painted
frescoes in Roman churches and palaces, and figures for Claude's landscapes; born Beveren-Was, near Antwerp (1599), died Turin (1663).
- The Flute Player, oil on panel, 23 × 19 cm, Jan
Miel (1589-1663). Location unknown; sold at Doullens (between
Paris and Amiens), 27 November (1994). Ref. Paris RIdIM (1999). A
man holds a slightly flared pipe which is blown by an old crone
sitting on a step. There is insufficient detail to tell if a
shawm or recorder is intended.
Hans Mielich [Muelich]
German artist; the leading painter in Bavaria in the
mid-sixteenth century; born ca 1516, died 1573.
- The Bavarian Court Chapel (ca 1570), illumination, 59.9 × 44.7 cm, Hans Mielich (c.1516-1573).
From a publication of Psalms by Orlando di Lassus. Detail.
Munich: Bayerisches Staatsbibliothek, MS A11 f.187.
Ref. Wangermée (1968: 274, pl. 97-col.); Salmen
(1976 : 156-157, pl. 106); Boydell (1978); Meer (1983: pl. 126-col.); Langdon
& Norwich (1991: pl. 4-col.); Alamire M13 (1996). A
contemporary painting of the Munich court orchestra in a hall of the palace. It shows
Orlando Lassus standing by the side of the Duke on the extreme left listening to an ensemble of
musicians depicted in realistic detail. Salmen identifies among
the many instruments a basset recorder and a ? tenor recorder. The
basset recorder with its distinctive bocal and window is very
clear, though only the upper section is visible; in addition
there actually appear to be at least two other duct-flutes,
possibly an alto and tenor recorder, immediately to the left of
the basset recorder player. Boydell (1978) has argued that the instrument immediately behind the seated viol player is a windcap instrument rather than a recorder.
- The Banquet (1548), Hans Mielich. Detail.
Hartford: Wadsworth Atheneum.
Ref. Wollitz (1991: 125, detail – b&w).
Musicians (both male and female) play all kinds of instruments
including harpsichord, trombone, viol, lute, transverse flute,
and a long pipe with a flared bell (probably a tenor recorder,
judging by the position of the lower hand which shows the little
finger covering its hole).
Frans van Mieris the Elder
Dutch artist from an illustrious family of goldsmiths and painters; his minutely proportioned subjects
with bright colors, a shiny finish, and precise attention to detail were painted on small wooden or
copper panel; he represented common incidents in the lives of the working class as well as the habits and customs of the wealthy; born Leiden (1635), died 1691); father of Jan van Mieris and Willem van Mieris (1635-1681).
- Boys Playing Flute and Drum, oil on panel, 18.5 × 14 cm, follower of Frans van Meris (1635-1681).
Ref. Sotheby's (New York), Sale NO8166: Old Master and 19th Century European Art, 28 January 2006, Lot 81; Bonham's (Knightsbridge), Sale 13502 - Old Master Paintings, 14 June 2006, Lot 198.
Beneath a small bird-cage, a boy in a soft hat with a feather beats a drum which he leans on a bench beside him. In the background, another boy plays a duct-flute (flageolet or recorder), only the head of which is visible. One of a pair of paintings auctioned together, the other depicting a man leaning against a table with a large roemer in his right hand. The present whereabouts of the original paintings by van Mieris is unknown.
Willem van Mieris
Dutch artist and teacher from an illustrious family of goldsmiths and painters; he adopted his father'style, but besides genre pieces also produced portraits, landscapes, history pieces and mythological subjects; after 1700 Van Mieris specialised in shop and kitchen interiors; his dispassionate, meticulous style was much admired; born Leiden (1662), died Leiden (1747); son of Frans van Mieris (1635-1681), brother of brother of Jan van Mieris.
- Daphnis and Cloe (1689), canvas, 63.5 × 80.5 cm, Willem van Mieris (1635-1681).
Ref. Rijksbureau voor Kunsthistoriche Documentatie 52666 (2010-col.)
Location unknown: auctioned Sotheby's, London, 16 December 1999, Lot 55.
Whilst Chloe sits beside a stream beneath a tree stroking a lamb she is entertained by Daphnis playing cylindrical pipe. No details of the pipe can be seen, but his fingers are perfectly disposed for recorder-playing. Beside Daphnis his dog sits patiently. At Chloe's feet a baby crawls towards the river bank. A couple are swimming in the river.
Pierre Mignard, called le Romain
French painter and frescoist in the classical Baroque manner, active in Rome and Paris; known primarily for his court portraits (many of them allegorical), but also historical and regious paintings; his style was based on the approved models of the Carracci, Domenichino and Poussin; he was strongly opposed to the Académie royale, and, in spite of his own stylistic origins, championed the Venetian or 'colourist' school; born Troyes (1610), died Paris (1695).
-
St Cecilia Playing the Harp (1691), oil on canvas, 74
× 56 cm, Pierre Mignard (1610-1695). Paris: Louvre, Inv.
6641. Ref. Dalla Corte (1936, 2: 179); Mirimonde (1974: 179, pl.
139); Mirimonde (1975: fig 91 - b&w); Haynes (1988: 32, fig.
17 – b&w); Sadie (1990: pl. 26 – b&w);
Pottier (1992: 49, pl. XXXV – b&w); Pottier (1995: 134,
pl. 8-b&w); Lallement (1997: 200, 202, pl. 15 - b&w);
Louvre (1974: no. 572); Joconde Website (1999); Visual Collection, Fine Arts Library, Harvard
University, 375.M585.38C; Rasmussen (1999c); Magni (?date: 548);
Paolo Biordi (pers. comm., 2000); Burgess & Haynes (2004: pl. 19 - col.); Rowland-Jones (2007: 7 & fig. 3-b&w).
Looking heavenward, St Cecilia plays the double harp; a cherub (winged putto) at her side sings from a music
book. Leaning against a table beside her is a viol; on the floor
lie an oboe, a timbrel, and a baroque alto recorder with ivory
mounts. Elements of this work found their way into the
frontispiece of Handel's Alexander (1726) engraved by John
Cluer (?-1728) and again for the title page of Handel's
Admeto (1727).
Eva Legêne (cited in Rowland-Jones, loc. cit.) believes this to be 'the earliest representation in French painting of a late Baroque recorder'. Whilst that may or may not be true of paintings, a number of French precedents are to be found in the present enumerative catalogue, including:
- The Elements: L'Air, tapestry, Le Brun (1664). Florence: Palazzo Pitti
- Spring, tapestry, Le Brun (before 1680), Château de Versailles
- Title Page: La fuite de roi à Angleterre, à trois instruments (1689), engraving, Dérosier, Amsterdam
- Frontispiece: Piéces de clavecin composées par J. Henry d'Anglebert …- Paris, l'auteur (s.d.) Gravure d'après P. Mignard (1689)), engraving, Cornelis Vermeulen
- Title page: Les Trios des Opera de Monsieur de Lully (1690), engraving, published by Amédée le Chevalier
- Musical Still-life (ca 1680-1690), oil on canvas, Desports, present location unknown
- Hearing, tapestry, Le Brun (1691 or before), Château de Versailles
- La Musique, engraving by C. Vermeulen after Pierre
Mignard (1610-1695). Paris: Bibliothèque Nationale,
Département des Estampes et de la Photographie, Kd 3 t1;
Cliche Giraudon 73 C 61661. Ref. Mirrimonde (1975: pl. 12, fig.
19 – b&w); Pottier (1992: 38, pl. XXIV); Archiv Moeck.
Seated on a ball, a personification of Music plays the lyre.
Around her, cherubs (winged putti) sing and play violin, transverse flute,
organetto. A viol stands in one corner, a harpsichord in the
other. On the plinth in front lie a lute, a score, a violin and a
turned baroque recorder. A garland above the harpsichord contains
oboe, syrinx, horn, and straight trumpet.
- St Cecilia Playing the Harp, engraving by
François Chereau after Pierre Mignard (1610-1695). The
Hague: Gemeentesmuseum, Music Department. Ref. Anthony
Rowland-Jones (pers. comm., 2001). Engraving from the painting of
the same name (Paris: Louvre, Inv. 6641). "The beak of the
recorder is strongly curved with a strengthening bulge in the
ivory mouthpieces just above the window/labium. The bore opening
at the bell can be seen, showing little widening in relation to
the thickness of the ivory. There is considerable baroque
decoration at the joint between the foot and the body. This
appears to be a recorder of ca 1680-1690" (Rowland-Jones, loc.
cit.)
- St Cecilia Playing the Harp (? ca 1850), anonymous
engraving after Pierre Mignard (1610-1695). The Hague:
Gemeentesmuseum, Music Department. Ref. Anthony Rowland-Jones
(pers. comm., 2001). Another engraving from the painting of the
same name – see description above.
- St Cecilia, 41.0 × 31.7 cm, engraving by Jacques Bouillard (ca 1747-1806), possibly after a drawing by Jean Dubois the younger (1644-1694), or by his brother Louis Dubois the younger (1647-1702), after the painting St Cecilia Playing the Harp by Pieree Mignard (1610-1695).
Washington DC.: Library of Congress, Dayton C. Miller Flute Collection, 0590/V.
Ref. Jan Lancaster ex Robert Bigio (pers. comm., 2007).
See description above.
Gustav Adolph Millar (18th century), Austrian
- Frontispiece: Gradus ad parnassum by Joseph Fux
(1725), engraving, Gustav Adolph Millar (18th century). Ref.
Blume (1949-1963, 4: pl. 48); Angelo Zaniol ex Anthony
Rowland-Jones (pers. comm., 2000). As the winged horse Pegasus
spreads his pinions above, a personification of Music seated at
the top of a stair crowns the composer before an audience of
scantilly clad nymphs. An ornamental frame around the scene
includes trophies of masks and musical instruments including
trumpets, harp, lyre, musette, bagpipe, organ, oboes, syrinx
(duct-flute style), viol, tambourine, shawms and a three-piece
alto baroque recorder.
Lloyd Miller
Contemporary USAmerican graphic artist and designer based in New York with a reputation for creating complex hybrid images. Artist's Web-site.
- Still-life with Recorder, cover image, Lloyd Miller (contemporary).
American Recorder 48(2): front cover (2008).
A stylised recorder split longitudinally into two colours is seen against a table with a blank scroll of manuscript paper and a vase with a leafy stem. In the background is an open window with billowing curtains.
Carl Milles
Swedish sculptor, born Carl Emil Wilhelm Andersson; apprenticed as a cabinetmaker and studied sculpture at evening classes followed by study in Paris where he worked as a coffin-maker and at other jobs while attending lectures at the Sorbonne; later joined Auguste Rodin's studio; born Uppsala (1875), died Millesgården (1955).
- Boy with a Recorder, bronze sculpture, ? Carl Milles (1875-1955).
St Louis: Missouri Botanic Gardens, Shoenberg Temperate House.
Ref. Webshots (2004 - col.)
A young boy sits, legs astride, playing a long cylindrical recorder. At his foot is a frog; on his knee a bird is perched.
Hendrick van Minderhout
Dutch artist; born Rotterdam (1532), died Antwerp (1696).
- Landscape with the Rape of Europa, Hendrick van
Minderhout (1632-1696). Rouen: Museés des Beaux Arts, Inv.
818.1.16 Ref. Anthony Rowland-Jones (pers. comm., 2000). At right
foreground Mercury pretending to be a shepherd and cowherd
watches. His caduceus and winged helmet are on the rock nearby.
He plays a slender duct-flute (flageolet or recorder), right hand
uppermost, the left with the second, third and little finger
raised. The detail is too small for any finger-holes to be
visible, but the beaked moutpiece is clear.
Pablo Minguet e Yrol
Spanish writer and engraver who published a series popular
manuals on subjects ranging from from religion to magic tricks.
Among them were Academia musical de los instrumentos
(Madrid, 1752-1754), a set of instrumental tutors.
- Title page: Academia musical de los instrumentos
(1752-1754), engraving, Pablo Minguet e Yrol. Published Madrid.
Ref. Early Music 9(4): 559 (1981); Thomson &
Rowland-Jones (1995: 86, pl. 25): Pascual (1997: 32). Musicians
play around a harpsichord, including what could be a baroque
recorder (but might just as well be a chalumeau – an early
form of clarinet) with flute, harp, violin, guitar, and psaltery
(ie a plucked dulcimer). A flageolet lies on the bench on which
the harpsichord stands. In front lie a lute, guitar, mandola and
mandolin.
Misume (contemporary)
- [Untitled] (1975), drawing, Misume. Ref. Advertisement for
Roessler, Early Music 14(1): 150 (1986). Stylised drawing
of a young boy playing a soprano recorder.
Agostino Mitelli
Italian painter active in Bologna and Madrid; specialised in
quadriatura; born 1609, died 1660.
- Untitled, chalk drawing, Agostino Mitelli (1609-1660).
Munich: Staatsliche Graphische Sammlung, Inv. 2810. Ref. Munich
RIdIM (1999, Mgs - 442). A landscape with an Arcadian loggia
decorated with musical instruments which seem to include a
recorder, although it is in shade and difficult to identify.
Notes by Anthony Rowland-Jones (1999).
Nicoletto [Rosex] da Modena [called Nicolo Rosa] (op. 1500-1522), Italian
- Mercury the Flute Player, engraving by Nicoletto da
Modena (op. 1500-1522). Paris: Louvre, Rothschild Cabinet. Ref. Mirimonde (1977:
28, pl. 3). In his right hand Mecury holds his caduceus; in his
left he holds a flared-bell recorder. He stands before an
archway, a town visible in the distance.
Jean Baptiste Moerkercke (? – 1689), Flemish
- Still-life with Musical Instruments,
oil on canvas, Jean Baptiste Moerkercke (? – 1689). Ref. Gabrius Data Bank, OMP (2001 - col.) On and around a
table are scattered a carved nautilus shell, an elaborate vase, a
statuette, fruit, sheet music, a violin, a large cittern, and a
cylindrical alto-sized recorder the window/labium and seven
finger-holes (in line) are clearly depicted.
Pier Francesco [Pierfrancesco] Mola
Italian artist, one of the chief representatives of a
distinctively romantic strain in Roman painting in the
mid-17th-century, whose style is characterized by warm colouring
and soft modelling; he painted frescos in Roman churches and
palaces, but his best-known works are small canvases with
religious or mythological figures set in landscapes; born
Coldrerio, near Como (1612), died Rome (1666).
- Mercury putting Argus to Sleep, Pier Francesco Mola
(1612-1666). Oberlin: Allen Memorial Art Museum, Oberlin College,
Inv. 61.85. Ref. Archiv Moeck; Rowland-Jones (1998c: 16; 1999);
Paulo Biordi (2000, pers. comm.) Argus leans heavily on his staff
whilst Mercury (Hermes), seated on a log, soothes him to sleep by
playing on a flared-bell, one-piece recorder. A goat and Io (whom
Jupiter has turned into a white heiffer) look on.
- Mercury and Argus (ca 1640), Pier Francesco Mola
(1612-1666). Berlin: Staatliche Museen Preußischer
Kulturbesitz, Gemäldegalerie. Ref. Anthony Rowland-Jones
(pers. comm., 2001). "Mercury plays a tenor-sized pipe, right
hand lowermost. The instrument is of Ganassi design with a
cylindrical body and a short medium flare. The playing position
and the lower little finger possibly covering the offset
finger-hole suggest a recorder, but other details are not
visible" (Rowland-Jones, loc. cit.)
- Mercury and Argus, engraving after Pier Francesco Mola (1612-1666).
Ref. Bartsch (1854-1870, 19: 207.6). Seated on a rock, Mercury
plays a flared-bell pipe to Argus who reclines beneath a tree. In
the background is Io (who has been turned into a white heiffer by
Jupiter). A dog seems as rapt in the music as Argus himself. The
beak of the pipe is very narrow (more like a reed pipe) and no
window/labium is visible, but there are holes for all four
fingers of the lowermost (right) hand so this probably represents
a recorder.
- Adoration of the Shepherds, canvas, oil on canvas, 75 × 100 cm,
Pier Francesco Mola (1612-1666). Vienna: Kunsthistorisches
Museum, Inv.-Nr. GG_9117. Ref. Paris RIdIM (1999); Paulo Biordi (2000,
pers. comm.); Innsbruck RIdIM (2001, Nr 325); CD cover:
Stöltze, Christmas Oratorio, CPO 999 735-2); Prof.
Tilman Seebas (pers. comm., 2001). Mary cradles the Christ-child,
watched by an admiring angel. Joseph stands to one side, leaning
wearily against the wall. A shepherd kneels before the Holy
Family, his offering of a lamb lying at his feet; a second
shepherd stands behind him waiting to make his own offering, his
wife beside him with a basket of produce; a third shepherd, also
with a basket, kneels playing an alto sized flared-bell recorder;
behind, two boys look on through a gap in the wall.
- [Recorder Player], pen and brown ink with black chalk, 175
× 141 mm, Pier Francesco Mola (1612-1666). Location
unknown. Ref. Warburg Instittute, London. A man sits playing a
long, flared-bell, one-piece recorder (slightly bent) to a
younger man beside him.
- Bacchante, Pier Francesco Mola (1612-1666). Location
unknown; offered for sale by Casa d'Aste Pitti, Florence, 4-8
November (1976), No. 549. Ref. Paulo Biordi (2000, pers. comm.)
The head and shoulders of a Bacchante clutching with her left
hand a cylindrical duct-flute (almost certainly a recorder), the
head, window/labium of which are clearly visible. She points with
her right hand as if to capture our attention.
- Episode in the Life of Bacchus, oil on canvas, 40.5
× 47 cm, Pier Francesco Mola (1612-1666). Location unknown;
auctioned Sotheby's, London, 8 December (1976), No. 45. Ref.
Sotheby's Catalogue (loc. cit); Paulo Biordi (2000, pers. comm.)
Bacchus as a young boy with a jar of wine at his feet as big as
himself, tootles on a duct-flute (probably a recorder). The
instrument is cylindrical with a flared bell, the end of the bore
clearly visible and the window/labium can just be glimpsed
beneath his pudgy hand. His efforts are watched by an admiring
Bacchante.
- Young Musician Playing a Viola da Gamba, Pier Francesco Mola (1612-1666).
Bellinzona (Switzerland): Palazzo Governativo, Sala del Consiglio di Stato.
Ref. Ferino-Pagden (2001: 137); ? exhibited Lugano: Museo Cantonale d'Arte.
A young man plays a bass viol in the form of a large cello (? violone). On the ground before him, together with music, a shawm and what appears to be a small trombone, is an alto recorder. The mouthpieces is beaked and the window/labium is very clear. Where the head merges into the body and where the body merges into the fothere are a incised rings possibly at joints. All seven finger-holes are visible and the lowermost is offset to one side. Below the lowermost hole there is a gradually increasing bell flare.
- The Piping Shepherd Boy, oil on canvas, 144.8 × 195.6 cm, Pier Francesco Mola (1612-1666).
London: Foundling Museum.
Ref. Charles Rowland-Jones (pers. comm., 2004).
A young shepherd sits facing his dog with his right leg stretched out along the bottom of the picture. There is a donkey and three sheep in the background. He holds an unambiguous soprano recorder to his lips in playing position. Presented to the Foundling Hospital by William Agnew in 1891.
Jan Miense Molenaer
Dutch artist known for his genre paintings of drinkers,
lute-players, girls at the spinet and social gatherings, and dark
accounts of peasant life; he also painted regigious scences,
allegories and portraits; born Haarlem (ca 1610), died Haarlem
(1668), husband of Judith Leyster (1609-1660).
-
Women at her Toilet (Lady World, Allegory of Vanity)
(1633), oil on canvas, 102 × 127 cm, Jan Miense Molenaer
(ca 1610-1688). Detail., Another
detail. Toledo, Ohio: Museum of Art. Ref. Ember (1984: pl. 40
– b&w, detail - col.); Sutton (1984: pl. 20); IJdelheld
#18; Griffioen (1988: 440-1); Kortenhorst von Bogendorf Rupprath
(1993: 305, fig. 33b); Southgate (2002 - col.); Rijksbureau voor Kunsthistoriche Documentatie 2623 (2010-b&w).
An allegory of vanity which shows a duct-flute (recorder or flageolet) hanging
on the wall to the left of the central figures with a small
transverse flute, a small shawm, a violin, a cittern, and a lute;
a cello hangs on the same wall to the right. A virginal stands
open on the other side of the room. Cf. A Boy Playing a
Flute by Molenaer's wife, Judith Leyster, National Museum,
Stockholm in which the same instruments hang on the wall behind.
The duct-flute illustrated here, with its distinctive beak, is
strongly reminiscent of the 'Dordrecht-style' recorder's beak and
foot which have turned tenons for just such additions. Although
only six finger-holes are shown it is oriented in such a way that
there could be an offset hole for the little finger of the lower
hand as well as a thumb-hole.
- Girl with a Recorder (1661), Jan
Miense Molenaer (ca 1610-1668). Canada: Private Collection. Ref.
London: Courtauld Institute, Witt Collection; Thomson &
Rowland-Jones (1995: 187, pl. 37 – b&w). A smiling,
happy girl wearing a feathered cap holds a flared-bell alto
recorder. There is a ? 19th-century copy of this in the Bate
Collection, School of Music, Oxford University presented, along
with his instruments, by French recorder player and teacher Jean
Henry (Rowland-Jones, pers. comm. 2000).
- Girl with a Recorder (1743-1765)), mezzotint engraving
by James McArdell (1728/9-1765) after Jan Miense Molenaer (ca
1610-1668). The Hague: Gemeentesmuseum, Music Department. Ref.
Anthony Rowland-Jones (pers. comm., 2001). "Based on an original
painting of unknown location [see above). The interesting thing
about this well-known image is that the engraver has shown the
whole recorder, with the bell end still well clear of the left
edge of the picture. Has the engraver 'extended' his original or
was Molenaer's painting cut?" (Rowland-Jones, loc. cit.)
- The Duet (ca 1629), oil on canvas, 64.1 × 50.5
cm, Jan Miense Molenaer. Seatle: Art Museum, 61.162. Ref. Sutton
(1984: pl. 19); Rasmussen & Huene (1982: 32, fig. 6,
b&w); Griffioen (1988: 440-441); Wind (1997, vol. 1:
cover-col.); Rowland-Jones (1999b: 6, fig. 4 - b&w; 2000c:
87); Seatle Art Museum (2001 - col.). A woman (possibly the
artist's wife, Judith Leyster) holds a narrow, one-piece,
flared-profile, alto recorder expanding gradually from beak to
foot, accompanied by a male theorbo player (possibly Molenaer
himself) who is using a foot-warmer as a foot-stool. The role
reversal here is emphasised by the presence of Molenaer's
signature on the foot warmer, a form of comfort normally reserved
for women.
- Portrait of Musicians, panel, 47 × 62.9 cm, Jan
Miense Molenaer (ca 1610-1668). Location Unknown: formerly London: Thos. Agnew & Sons (1960).
Ref. Burlington Magazine 111: 314, fig. 62 (1969, b&w);
Connoisseur 146: cover (1960-col.); Rasmussen & Huene
(1982: 32, fig. 7, b&w); Griffioen (1988: 440-441); Paris RIdIM
(1999); Bridgeman Art Library (2003: Image BAL 14079 - col.); Dutch University Institute for Art History, Florence (2011-b&w).
A girl (possibly the artist's wife, Judith Leyster) holds
a narrow, one-piece, flared-profile, soprano recorder expanding
gradually from beak to foot, whilst her companion plays the
violin, his left foot on a barrel. In the background a young boy
holds a cat; in the foreground a girl is playing with a dog. Above the recorder player is a small window through which a maid is peeking.
There are a number of versions of this painting, each a little
different and with various titles, including:
- sold by Beaux-arts, Brussels, October 1979
- sold by Fisher, Lucerne, 1 December 1984
- offered for sale by Sotheby's (Amsterdam), 11 September 1999 (unsold); Phillip's, 4 October 1990 (unsold)
- Alan Jacobs Gallery, London, ca 2003
- offered for sale by Sotheby's (Amsterdam), 13 May 2003.
And a seemingly identical painting is attributed to Molenaer's wife, Judith Leyster, as The Young Musicians.
- Children Making Music and a Girl Holding a
Cat, oil on canvas, school of Jan Miense Molenaer (ca 1610-1688).
Location unknown: Offered for sale by Sotheby's (Amsterdam), 11 September 1999 (unsold); Phillip's, 4 October 1990 (unsold); auctioned 13/05/2003 (sold). Ref. Gabrius Data Bank, OMP (2002-col.)
A lad half-perched on a barrel plays
the violin; a girl behind the barrel holds a cat; a girl seated
in the foreground right plays with a dog; a young woman holds a
flared-bell recorder in her right hand, pointing with her
outstretched left arm at the violinist. The beak and
window/labium of the recorder are clearly depicted but no
finger-holes can be discerned as the instrument is viewed from
the side. There is no window above the recorder player in this version.
- Interior Scene with Children Making Music (ca 1628), oil on panel, 54 × 65.2 cm, Jan Miense Molenaer (ca 1610-1688).
Location unknown: offered for sale by Sotheby's (Amsterdam), 13 May 2003.
Ref. Sale Catalogue: Old Master Paintings, Sale AM0885, Sotheby's (Amsterdam), Lot 31 (13 May 2003: 44 - col.); Constance Scholten (pers. comm., 2005); Rijksbureau voor Kunsthistoriche Documentatie 114825 (2010-col.)
A lad half-perched on a barrel plays the violin; a girl behind the barrel holds a cat; a girl seated
in the foreground right plays with a dog; a young woman holds a
flared-bell recorder in her right hand, pointing with her
outstretched left arm at the violinist. The beak and
window/labium of the recorder are clearly depicted but no
finger-holes can be discerned as the instrument is viewed from
the side. There is no window above the recorder player in this version. And in the background are the shadowy figures of two men absent from other versions seen.
- Merry Company, Jan Miense Molenaer (ca 1610-1668).
Rotterdam: Museum Boijmans Van Beuningen. Ref. Martin (1935: 378,
fig. 225); Griffioen (1988: 440-441).
A man sits at a fireplace holding his goblet out for a serving man to fill with wine. Half-turning in his chair he listens to his companion seated behind hime who blows a soprano-siezed, flared-bell recorder.
- Peasant Wedding (ca 1662), oil on canvas, 93 ×
133 cm, Jan Miense Molenaer (ca 1610-1668). Private Collection.
Ref. Buijsen & Grijp (1993: No. 28); Spliethoff (2000 37 -
col.) A peasant wedding is set in a tavern. The marriage couple
sit embracing in the centre of the room. Behind them guests are
seated at a table; in the background, others dance to music
provided by a fiddler at the back of the room; in the foreground,
a young boy and a small girl play with a flared-bell pipe, very
probably a recorder. The lad holds the recorder out for the girl
to blow.
- The Artist in his Studio, panel, 40 × 36.5 cm,
Jan Miense Molenaer (ca 1610-1668). Private Collection. Ref.
Kortenhorst von Bogendorf Rupprath (1993: 302-306, fig. 27);
Buijsen. & Grijp (1993: 272, fig. 3); Rowland-Jones (2000b).
A self-portrait which includes some of the same instruments on
the wall as his own Woman at her Toilet and in his wife's
(Judith Leyster) Boy Playing a Flute, namely a violin, a
flute with six finger-holes and a flared-bell recorder with seven
finger-holes, the lowermost offset. Before his easel on which
stands the painting (a grim vanitas still-life) on which he
works, the artist, palette and brush at the ready, leans back on
his chair whilst an old woman (her lap filled with gold and
silver coins) implores him for attention by gesturing with one
hand, the other grasping his arm.
- Vanitas with a Painter / Vanitas with a Standing Figure, Jan Miense Molenaer (ca 1610-1668). Uppsala: Universitet, Konstsamlingarna, UU 28. Ref.
Anthony Rowland-Jones (pers. comm., 2000; 2002d: 96-97, fig. 8 - b&w);
Sidén (2001: 139, pl. 1, detail - col.); Rowland-Jones (2004, 43, fig. 6-b&w).
A copy of an original in private hands in Sweden. The central subject, a
richly clad painter, is shown holding an emptied flagon and a
skeleton of Death hovers to his right. The portrait he is
painting includes a globe and an old man. At the bottom centre is
a skull. To the left are a lute, a kit, and two duct-flutes
(probably recorders) under the lute, in the shade. Both
duct-flutes are of soprano/alto size and cylindrical, the upper
one less fat. One shows a beak, window/labium and at the lower
end four finger-holes in line and one offset. The other has a
window/labium and six finger-holes in line, and another close to
the bell, with a decorative ring and a very wide bell-opening. At
the right next to a cello, on a music book the lower part of
another possible recorder is visible. The latter has a short
gentle flare to the bell end and a wide bore opening, but no
finger-holes are visible. This is probably a late painting,
perhaps after his wife's death in 1660 (he died in 1668). The two
recorders are very much in the shade (?=mourning) but are in a
position suggesting marriage symbolism. The lower-right hand one
is larger than the other. Notes by Rowland-Jones (loc. cit.)
- Interior, 34.5 × 34 cm, panel, Jan Miense
Molenaer (ca 1610-1668). Location unknown; sold by Drout, Paris,
12 Mai (1975), Salle 10/11, #23. Ref. Paris RIdIM (1999). A man
sits at a table, dozing over his clay (smoking) pipe. Opposite
him, sits another man holding a jug watching dog balancing
precariously on his hind legs whilst a third man behind the table
plays a cross-flute. On the wall hang a shawm, a kit and bow and
(upside down) a small tapering recorder with seven finger-holes
clearly visible.
- Clarinet Player, oil on panel, 31.5 × 25 cm, Jan Miense Molenaer (ca 1610-1668).
Rotterdam: Museum Boijmans Van Beuningen, Inv. 1533. Ref. Rijksbureau voor
Kunsthistorische Documentatie (25262 (2010-b&w); Anthony Rowland-Jones
(pers. comm., 2001). Three peasants amuse themselves in front of a fire. One drinks from a mug, one smokes, and a third with his foot on a stool plays a slender, conical pipe of soprano-alto size with a flared bell. No details of the instrument other than its profile are visible, but there is no reason to suppose it is a clarinet – especially since that instrument wasn't ivented until ca 1730!. Much more likely is a recorder or other duct-flute. The instrument is held left hand lowermost, fingers covering or obscuring the holes, except for the third and fourth. The beak and window/labium are clearly depicted and the recorder has a gentle flare to a moderately wide bell end, with one decorative ring.
- Couple Making Music in an Interior, oil on panel, 29.2 &tiems; 22.9 cm, Jan Miense Molenaer (ca 1610-1668).
London: Christie's, Sale 6434, Important Old Master Pictures, 25 April 2001, Lot 12.
Ref. Christies Catalogue (2001, April:
23, pl.); Gabrius, OMP (2001 - col.); Anthony Rowland-Jones
(pers. comm., 2001; 2002d: 96-97, fig. 9 - b&w); Rijksbureau voor Kunsthistoriche Documentatie 104981 (2010-col.)
A couple seated at a table sing
together, possibly Jan Miense and his wife, the artist Judith
Leyster. He sings, holding a lute upright on his knee; she sings
from an open music book held in her left hand, apparently keeping
time with her right. On the table itself lie a violin, a tankard,
a small book, and a little clay smoking pipe. On a lower table in
the bottom right-hand corner lie two pipes (probably recorders),
as if to confirm their harmony in marriage. The largest has its
bell facing forward and appears to be of Ganassi-style.
- Merry Peasants, Jan Miense Molenaer (ca 1610-1668).
The Hague: Maritshuis, Inv. 407 (currently on loan to an
Embassy). Ref. Rijksbureau voor Kunsthistorische Documentatie
(2001); Anthony Rowland-Jones (pers. comm., 2001). In a crowded
room, a group of peasants sit around a table smoking and talking.
At the right of the table a woman with a music score on her lap
plays a soprano/alto recorder of wave profile, right hand
lowermost. All her fingers are on the instrument, but the second
finger of her right hand is lifted and she suppports the
instrument with her little finger . There is an incised ring very
close to the foot. The bell opening shows some flare. Opposite
her a woman standing with her hand on one hip, a glass in the
other, is being propositioned by her companion.
- Peasants in front of an Inn (ca 1630), Jan Miense
Molenaer (ca 1610-1668). Haarlem: Frans Hals Museum. Ref. Charles
Rowland-Jones (pers. comm., 2001). A group of peasants dance to
music played by fiddle and recorder of soprano/alto size. The
window/labium and possibly four finger-holes show, but the other
holes are covered by the player's fingers.
- Peasants near a Tavern, Jan Miense Molenaer (ca 1610-1668).
Location unknown: exhibited Frans Hals Museum, Judith Leyster, De eerste vrouw die meesterschilder werd, 19 December 2009 – 9 May 2010.
Ref. Jan Bouterse (pers. comm., 2009).
Before a tavern a young man sits at a table his clay pipe in hand. Beside him another man plays a violin. Behind them a couple converse: he offers her a drinking glass; she holds a recorder. In the foreground, a young child sprawls across a barrel.
- Scene with Dwarfs (1646), Jan Miense Molenaer (ca
1610-1668). Dordrecht: Museum (City Art Gallery). Ref. Anthony
Rowland-Jones (pers. comm., 2001). At the top of the picture, a
man underneath an inn sign holds a soprano recorder, right hand
uppermost, all fingers down, the remainder obscured. The
characteristic head and window/labium are clearly depicted.
- Painter in his Studio Painting a Vanitas Still-life, 42 × 48 cm, Jan Miense Molenaer (ca 1610-1668).
The Hague: Museum Bredius, Inv. 191-1946, Cat. 125.
Ref. Langemeyer & Peters (1979: 458); Vroom (1980, II, fig. 27); Buijsen & Grijp (1993: 269 - col.); Griffioen (1988: 440-441); Francone et al. (1996: 30, fig. 17); Ferino Pagden & S., Marques (2000: 150, no. I.30 - col.); Rasmusen (1999-2004, Lute); Rijksbureau voor Kunsthistoriche Documentatie 23015 (2010-b&w).
An artist paints at his easel a still-life based on the array of musical instruments, books, animal skulls, a sword, and a lamp on the table before him. Amongst the instruments are a lute, violin and a duct-flute (flageolet or soprano recorder) shown end on with only two finger-holes visible. A cello leans against the end of the table. There is a map on the wall behind the table. Formerly attributed to Gerard Donck (a. 1610 – ca 1640) and Hendrick Pot (ca 1585-1657) but reassigned by F. Meyer at the Rijksbureau voor Kunsthistorische Documentatie in conjunction with the painting's current location at Museum Bredius (Debra Pring, pers. comm., 2006).
- Peasants Musicmaking and Drinking around a Table, oil on panel, 16 × 15.5 cm, Jan Miense Molenaer (ca 1610-1668).
Stockholm: Bukowski, 26-28 November 1997, Lot 314.
Ref. Anthony Rowland-Jones (pers. comm., 2001); Rijksbureau voor Kunsthistoriche Documentatie 37068 (2010-col.)
Around a table a group of peasants are drinking and amusing themselves with some rustic music-making. A large woman in a bonnet and apron sings from a sheeet of paper. A man plays a recorder, the window/labium and bell-flare well depicted. Others join in by singing. Formerly attributed to Adriaen van Ostade, but reassigned to Molenaer by Fred G. Meijer (1997).
- Tavern Interior with Numerous Peasants Making Music and Merry-making, oil on panel, 62.5 × 79.0 cm, Jan Miense Molenaer (ca 1610-1668).
London: Sotheby's, Old Master & British Paintings Day Sale, 9 December 2010, Lot 127.
In a busy tavern peasants drink, play cards, carouse and sing to music played on a violin. At a table to the right a man in a brown coat and hat sits holding a flared recorder. Although details of the window/labium and finger-holes are not visible, the disposition of the fingers both hands and of the thumb of the uppermost (right) hand are unmistakable those of a recorder.
- Peasants Making Music in an Interior, Jan Miense Molenaer (ca 1610-1668).
London: Christie's.
Ref. Dutch University Institute for Art History, Florence (2011-b&w).
A man and a woman singing sit beside each other at a table on which sits a musician with an arch-lute. In the background, another couple chat. In the foreground, a small boy plays a slender pipe with a large bell which, although it resembles a small shawm, might possibly be meant to represent a recorder, given the context.
Molinaretto = Giovane Maria delle Piane
Antonio Molinari
Italian baroque painter of the Venetian School; he typically painted tumultuous narratives of mythology and religion in large canvases; his characteristic manner of depicting figures was in poses of extreme torsion and vigorous movement; born Venice (1655), died Venice (1704).
- Mercury and Argus, drawing on paper, Antonio Molinari (1655-1704).
Paris: Musée du Louvre, Département des Arts Graphiques, Inv. 17401, Recto.
Argus leans against a tree, asleep, as Mercury plays his cylindrical pipe with one hand and draws his sword with the other.
- Mercury and Argus, drawing on paper, Antonio Molinari (1655-1704).
Paris: Musée du Louvre, Département des Arts Graphiques, Inv. 17620, Recto.
Argus sleeps with his head in his arms as Mercury plays his flared bell pipe with one hand and draws his sword with the other.
- Mercury and Argus, oil on canvas, 100 × 135 cm, Antonio Molinari (1655-1704).
Versailles: Musée National des Châteaux de Versailles et de Trianon, MV 7153.
Ref. Website: Joconde (2011).
In a riverside clearing in the forest, Mercury pipes Argus asleep whilst Io (as a white heifer) grazes. Mercury's pipe is long and cylindrical with an abruptly flared bell.
Paolo Monaldi
Italian figurative and landscape painter and frescoist, active in
Rome; his works include bambocciate, scenes of simple
country life (games, dances and drinking sessions) in settings
that are characteristically amongst ruined buildings, and a few
religious paintings; active 1720-1799.
- A Beggar Boy and a Boy Playing a Pipe,
oil on panel, Paolo Monaldi (op. 1720-1799). Ref. Gabrius Data
Bank, OMP (2002 - col.) On a dusty road a beggar holding a score
in one hand conducts a boy playing a greatly flared alto-sized
recorder, the beak and window/labium of which are clearly
visible.
- Peasants Resting and Making Music in a Landscape, oil on canvas, 61.5 × 47.4 cm, Paolo Monaldi (op. 1720-1799).
Location unknown: Estate of Chester and Claire Kellogg; auctioned at Sotheby's (London), Sale L06032, Old Master Paintings Day, 06 July 2006, Lot 226 (unsold).
Ref. Sotheby's Sale Catalogue LO6032 (2006: Lot 226); Gabrius Data Bank (2007 - col.)
A family rest beside the road under a tree. Mum slumps exhausted on a rocky ledge, her distaff under her arm, her work in her lap and in a basket on the ground beside her. A young girl sits on the ground with her dog, gazing in concern at Mum. Dad stands cross-legged, playing on a tenor-sized recorder with a strongly flared bell, the window-labium and several finger-holes clearly visible. In the background sheep and goats drink from a river. Another version of this composition by Monaldi is recorded by Andrea Busiri Vici (1975: 269) as on the Roman art market.
Cristoforo Monari – see Cristoforo
Munari
Monogrammist AB (17th century), Italian (Bergamo)
- Still-life with Music and Musical Instruments, canvas,
116.5 × 82.5 cm, Monogrammist AB (17th century). Location
unknown. Sale catalogue (colour photograph); Paris RIdIM (2000).
on a table covered with a richly embroidered cloth lie a number
of music part-books and musical instruments. The latter include
violin and bow, harp, bassoon, soprano and tenor chalumeaux, mute
cornett, and two basset recorders of baroque design, both with a
single key and one with a side-mounted bocal.
Monogrammist AH
Artist active in Southern Netherlands ca 1500.
- Altarpiece, Monogrammist AH
Lyon: Musée des Beaux Arts, Inv. H-647(a).
Ref. Anthony Rowland-Jones (pers. comm., 2003).
Like many altarpieces this interestingly constructed painting contains several scenes from the life of Christ in addition to the Nativity, including the Visitation (top left), Annunciation to the Shepherds, and their arrival at the gate leading to the manger. Both the latter show recorders. Very much in Byzantine positioning, the scene at the top right shows two shepherds looking up in response to the (golden) angel above, while a third, apparently unconcerned, sits below with his shepherd's pipe. Although the detail of the pipe is too small for identification it has an elongated beak. It is at least a duct-flute, possibly a recorder. The pipe held by the shepherd at the gate is in larger detail and more can be seen – again the sharp beak, though rather less elongated, the darker wood of the plug, the flange at the bell (though the pipe is cylindrical with no flare). It seems to be just about alto size.
Monogrammist B
Italian engraver in the style of the Italian printmaker and
painter Giulio Giulio (di Antonio) Bonasone (ca. 1510 - a. 1576);
active mid-sixteenth century.
- The Seven Liberal Arts: Music (1544),
engraving, 16.8 x 10.8 cm (image), Monogrammist B. San Francisco:
de Young Museum 5050161212620016 A001416. Allegorical depiction
of Music. A naked female figure sits with an open score on her
lap, a long cylindrical pipe (probably a flute) in her hand, a
lute beside her, a fiddle and bow at her feet. Behind her are a
portative organ and a case for a number of wind instruments,
possibly recorders.
Monogrammist CM
This artist may be Christoph Murer.
- Jakob Micyllus' Metamorphoses: Mercury and Argus (Leipzig, 1582), woodcut, Monogrammist CM.
Beneath a tree, Argus nods whilst Mercury seated opposite him plays a slender cylindrical pipe. The latter is very likely a recorder since the little finger of the lowermost (left) hand is crooked to cover its hole, and a shadow appears to represent a window/labium. Borrowed from the designs from the cycle of 178 woodcuts produced by Bernard Salomon for a French (and Dutch) simplified Ovid, the Metamorphose figurée (Lyon, 1557), used by a number of Renaissance artists.
Monogrammist CVN (1731-1795), Dutch =
Cornelis van Noorde
Monogrammist CVP (17th century), Flemish
- Mercury and Argus, tableau in tiles, Monogrammist CVP
(17th century). Antwerp: Museum Brouwershuis. Ref. Warburg
Institute, London; Anthony Rowland-Jones (pers. comm., 2000).
Mercury plays a long pipe with both hands, including the little
finger of his lowermost (right) hand. His upper thumb is well
under the instrument, but no window/labium is visible.
Monogrammist ES (op. ca 1440-1468) German
- A Fool and a Lady, engraving, Monogramist ES (opc. ca 1440-1469).
Ref. Lehrs & Mayor (1969: no. 138); Rasmussen (2004: Bells).
"The fool has a recorder stuck in a purse and many bells on his cap. He fondles the lady and she tugs at his gown" (Rasmussen, loc. cit.) Not seen.
Monogrammist FM (17th century), Dutch
- ? Apollo and the Muses, Monogrammist FM (17th
century). Ref. Bartsch (1854-1870, 20: 56 UND). Apollo sits on a
grassy knoll playing his lyre. Behind him, Pegasus canters across
the sky and putti fly through the air and climb trees. At his
feet, the Muses sing and play organ, viol, cymbals, lute,
tambourine and triangle; one holds a straight trumpet, another
bagpipes. Scattered in the foreground are papers and books and an
astrolabe which a very small putto is turning. Behind the player
of the viol can be seen the end of a tenor or bass wind
instrument (shawm or recorder) with fontanelle and bore flare. In
the centre foreground is a bearded old man in a loin-cloth above
whom two winged putti hold a heraldic device of some kind.
Monogrammist FMD (18th century), German
- Serenade with Flute and Harp, grey pen and pencil
drawing, Monogrammist FMD (18th century). Munich: Staatliche
Graphische Sammlung. Ref. Munich RIdIM (1999, Mgs - 945). Two men
play a recorder and a small harp.
Monogrammist FP
- Mercury, Monogrammist FP. Ref. Bartsch (1843-1876:
17); Rowland-Jones (2000c: fig. 11). Mercury, naked but for his
winged helmet and sandals, sits in the fork of a tree fitting
seven duct-flutes (with up to four finger-holes) together to form
a syrinx, his caduceus between his legs. He's going to need that
magic wand if his contraption is to work!
Monogrammist GB – See Guillaume Benson
Monogrammist GP = Georg Pencz
Monogrammist HS (early 18th century), ? Danish
- Portrait of a Young Man, oil on canvas, 105.2 ×
88 cm, Monogrammist HS (early 18th century). London: Sotheby's,
20010712 (auctioned as "The Property of a Gentleman"). Ref.
Sotheby's Catalogue (2001: 106, fig. 207). A youth wearing a red
jacket stands full-length holding a baroque recorder of
soprano/alto size recorder within a clasical interior with a view
of a courtyard beyond. On a window ledge behind him are his hat
and sword.
Monogrammist H***W*** (op. 17th century), Dutch
- A Young Boy Blowing Bubbles with a Vanitas Still-life, oil on canvas, 79 × 116 cm, Monogrammist H***W*** (17th century).
London: Sotheby's Sale W05717, Old Master Paintings, 05 July 2005, Lot 491 (sold).
Ref. Rijksbureau voor Kunsthistoriche Documentatie 122484 (2010-col.)
A young boy with flowing locks leans against a table holding in one hand a straw with a bubble to the light and with the other a shell. On the table are scattered an hourglass, a skull, a ? money bag tied at the top, a candlestick and holder, a framed mirror, a statue, a tankard, a violin and bow, and a soprano hand-fluyt, perfectly depicted, with the lowermost hole offset.
Monogrammist MT, possibly Martin Treu (16th century),
German
- [Title unknown] (1543), Monogrammist MT (possibly Martin
Treu). Location unknown. Ref. Bartch (1854-1870, 9: 73.24);
Warburg Institute, London. Two men in slashed jackets and
breeches play drum and a conical pipe which could be a mute
cornett, but which just might be a recorder. Cf. Beham's Three
Soldiers.
Monogrammist SPQ
- Frontispiece: LA MVSICA DEL MOLTO MAGNIFICO ET ECCELL. M.
GIROLAMO FALETI TRADOTTA DAL VERSO HEROICO LATI NO IN OTTAVA RIMA
DA G.M.V., illuminated manuscript, Venice (1560-1564),
Monogrammist SPQ (fl. 1560-1564). Location unknown; sold ?
vendor, London ? date. Ref. Sale Catalogue, London, ? vendor (?
date); Paris RIdIM (2000). A work authored by G.M. Verdezotti
(1525-1600). However, in the top right-hand corner of the
ornamental margin of the title page (opposite the frontispiece)
in a small rectangular box the monogram SPQ appears, presumably
that of the artist. In the frontispiece, the winged figure of
Music sits before a latice-work fence behind which is a bird and
a stag. In her left hand she holds a lyre, with her right she
points to a campanulate flower, presumably meant to represent a
lily. Beside her throne stands a viol and on the ground lies a
lute. Beneath her feet is a cylindrical duct-flute (flageolet or
recorder).
Monogrammist Z (18th century), German
- Musicians in a Church Interior (early 18th century), engraving, 15.4 × 18.1 cm, Monogrammist Z (18th century).
German. The Hague: Gemeentemuseum. Ref. Anthony Rowland-Jones (pers. comm.,
2001); Tibia 30(1): front cover (2005). A small choir (with two boys visible) in a protestant church with
recorder and flute playing together with continuo played on both organ and
harpsichord. The recorder player reads from a score entitled Cantata …
Flauto balanced on the edge of the Italian-style harpsichord. The
alto/tenor sized recorder is of the slender three-piece baroque style well
fitted to the high tessitura of recorder parts by Bach and Telemann. Beneath
the harpsichord the following verse appears:
Rührt die Zauberthon empfindich deine
Brust,
Erregt dis Saiterspiel bey dir vergnügte Lust,
Wird durch die
Harmonie der Sinnen Kraft benomen:
Gedencke nur dabey; sie ist vom Himmel
Kommen.
Bartolommeo/Bartolomeo Montagna
Italian early Renaissance painter, the most eminent master of the
school of Vicenza whose paintings shows a crystal-clear sense of
construction and volume; born Brescia (ca 1450), died Vicenza
(1523).
- Polyptych, central panel: Virgin and Child Enthroned with Angel Musicians, Bartolommeo Montagna (ca 1450-1523).
Lyon: Musée des Beaux-Arts, Palais Saint-Pierre.
Ref. Walter Bergmann Collection, No. 45; LP Record Cover: L'Art de la Flûte,
Volume I: La Flûte à Bec du Moyen-âge au
XVIIIe Siècle, Roger
Cotte et le Groupe des Instruments Anciens de Paris, Arion 30 A
070 (1969); Levenson (1973: 324 – fig.); Burlington
Magazine 98 (1956: 312 - fig.); La Revue des Arts 6
(1956: 81 – fig.); Rasmussen (1999c); Anthony Rowland-Jones (pers. comm.); Website: Joconde (2010).
A boy seated on the base of the predella beneath the enthroned Virgin and Child plays a tambourine, his legs crossed. On each side of him a boy kneeling on one leg plays a very clearly depicted, slightly flared duct-flute (flageolet or
recorder). The two side panels have been lost.
Carel de Moor
Netherlandish artist, the greatest of the so-called "Leiden
Fine Painters"; born Leiden or Warmond (1656), died 1739.
- Still-life with Books and Musical Instruments, Carel
de Moor (1656-1739). Location unknown; sold Hotel Drout, 1 July
(1991), 14:30 pm, Salles 1 & 7, Cat. #21. Ref. Catologue de
Vente (1991: #21 -col.); Paris RIdIM (1999). Tarot cards, a
picture, scarf, watch, papers, a violin, a small lute and the
head of a turned baroque (Hotteterre-style) recorder crossed with
the middle and foot of another. Probably a vanitas.
Charles Moreau (1830-?)
- Spellbound, Charles Moreau (1830-?).
Location unknown.
Ref. Greetings Card, Woodmansterne, London (1998: S 053118 -
col.); Website: Getty Images (2010-col.)
A young boy leans against a tree playing a peculiar pipe to
a picnic basket, the lid of which is slightly open. The pipe has
an ivory head and foot, the later campanular. The body is made of
wood and has a bulbous expansion near the foot. The boys cheeks
are slightly puffed and there is no indication of a
window/labium, so this may represent a capped reed instrument of
some kind. However, all four fingers of the lower (right) hand
seem to be covering their holes.
Jean François Moreau (18th century), Netherlands
- Musical trophies (1733-1736), gold-relief in wood, Jean François Moreau (18th century).
Gouda: St Janskerk, organ console balcony.
Ref. Anthony Rowland-Jones (pers. comm., 2004).
There are two trophies with musical instruments on each side of the balcony, including trombone, viola, oboe, and the head of an alto recorder, up to the third finger-hole before the rest is hidden. The recorder is shown side-on with a turned-over beak and clear window-labium.
Hippolyte François Moreau
French sculptor who worked in bronze and marble; born Dijon (1832), died Neuilly-sur-Seine (1927); second son of the sculptor Jean-Baptiste Moreau.
- Rustic Recorder, bronze sculpture, Hippolyte François Moreau (1832-1927).
Brussels: Horta, 17 March 1997, Lot 116 .
Ref. Artfact (2004).
Not seen.
- Young Man with Recorder and Lady wth Cymbals, bronze sculpture on red marble base, Hippolyte François Moreau (1832-1927).
Antwerp: Amberes; 26 May 1997, Lot 815.
Ref. Artfct (2004).
Not seen.
Paulus Janszoon Moreelse
Dutch painter and architect, best known for his portraits of
shepherds and blonde shepherdesses with a deep decolletage;
designed the Catherine Gate (destroyed) and possibly the
façade of the Meat Market in Utrecht; born Utrecht (1571),
died Utrecht (1638).
- Shepherd with a Pipe, 94 × 71.5 cm, Paulus Jansz. Moreelse
(1571-1638). Edinburgh: National Gallery of Scotland. Ref.
Kettering (1983: fig. 5); Griffioen (1988: 440-441). A shepherd in a loose fur cloak an wearing a hat with flowers in it, holds a soprano hand-fluyt as if about to play it left-hand up. A copy of this in the Uffizi, Florence, provides the basis for a
self-portrait by Jacob Backer.
- Flute Player, Paulus Janszoon Moreelse (1571-1638).
Munich: Bayerisches Nationalmuseum. Ref. Archiv Moeck. A man
holds a cylindrical duct-flute. The bell is slightly turned; the
head is in shadow, but the fingering is as of a recorder.
- Shepherd with a Pipe, Paulus Jansz. Moreelse (1571-1638).
Ref. Il Flauto Traverso Nell'Arte (2005: 2).
A shepherd holds a cylindrical pipe which he is about to play. This picture is presented on a web-site devoted to the transverse flute. However, the instrument seems more like a cylindrical duct-flute. The head is in shadow, but the position of the player's thumb and the fingering with the little finger of the lowermost (right) hand down strongly suggest a recorder.
- Shepherd and Shepherdess or Man with a Tulip,
Paulus Janszoon Moreelse (1571-1638). Münster:
Westfälisches Landesmuseum. Ref. Anthony Rowland-Jones
(pers. comm., 2001). A man holds a tulip with his right hand. His
left holds a cylindrical duct-flute, fairly fat and showing the
windway opening from beneath, and the outline of the block. There
is a decorative incised ring, well below which appear two holes
spaced obliquely. The rest of the instrument is obscured
Moretto da Brescia [born Alessandro Buonvicino (or
Bonvincino)]
Italian artist, active mainly in his native Brescia where he was
the leading painter of his day; he established a large practice
as painter of altarpieces and other religious works, the best of
which display a characteristic gravity and poetic feeling for
nature; also painted portraits and is now credited with
introducing the independent full-length portrait to Italy; born
Brescia (ca 1498), died 1554.
- Virgin and Child in Glory with Five Female Saints also
known as The Virgin in Glory with Five Martyrs (1540),
Moretto da Brescia (ca 1498-1554).
Verona: S. Giorgio in Braida/S. Giorgio Maggiore.
Ref. Gombosi (1943: cat. no.189, pl. 77); Mirimonde (1974: pl.
71); Kinsky 1982: 11 – detail); Art Bulletin 64
(1982); Visual Collection, Fine Arts Library, Harvard University,
372.M815.34; Paris RIdIM (1999); Rasmussen (1999b). The other
matyr/saints are Sts Caterina, Lucia, Agate and Agness. The
Virgin and Child sit comfortably on a cloud. Beneath them the
Martyrs (all women) variously discourse amongst themselves, read
a book or gaze heavenward. St Cecilia seems to have a bet each
way, one eye gazing upwards, the other down, whilst she holds her
organetto upside down such that its pipes must surely fall to the
ground where lie scattered a number of musical instruments
including a rebec (with an elaborately carved back) and bow, a
lute, a cornett, and two flared bell duct-flutes, one an alto
recorder with seven finger-holes (including an offest hole for
the lowermost finger), the other of soprano size but with only
six finger-holes showing. The window/labium area of each is
clearly depicted. Cecilia's face is similar to Raphael's
depiction of the same scene, but here the instruments scattered
at the Saint's feet are not broken. Notes by Anthony
Rowland-Jones (pers. comm.)
- Adoration of the Shepherds, Moretto da Brescia (ca
1498-1554). Berlin: Staatliche Museen Preußischer
Kulturbesitz, Gemädergalerie. Ref. Munich RIdIM (1999, Bgd
- 90); Anthony Rowland-Jones (pers. comm., 2001). Shepherds arrive
to pay homage to the infant Jesus who lies in a wicker basket.
One of the shepherds in the act of doffing his cap and kneeling,
turns away from us, in his belt an alto-sized cylindrical
recorder with a clear window/labium, a slightly flared bell with
a small decorative ring, and holes for seven fingers, including
paired holes for the lowermost finger. In the background a second
shepherd climbs over a wall a flared-bell pipe in his hand.
Barbara Brooks Morgan
American artist whose drawings, prints, watercolors and paintings were widely exhibited in the 1920s and 1930s; she turned to photography in 1935 exploring both expressionist and manipulated image photography; she became well-known for her penetrating studies of modern dancers such as Martha Graham, Merce Cunningham, and José Limón; born southern California (1900), died 1992.
- Girl Playing Recorder (1945, printed ca 1980), gelatin silver print, 40 × 50 cm, Barbara Morgan.
New York: Swann Galleries, Photographic Literature and Photographs, 6 June 2002, Lot 399; New York: Bruce Silverstein Gallery (2003).
Ref. Artfact (2003 – photo available by subscription).
A young girl sits on a roof-top playing a recorder. There is a lake in the background. But is it art?
Berthe(-Marie-Pauline) Morisot
French painter and printmaker; an original, influential and
highly regarded member of the Impressionists of whom she was the
most intimate, depicting people happy and at home; with her
sister Edma, she worked as a copyist in the Louvre; born Bourges
(1841), died Paris (1895); grandaughter of the artist
Jean-Honoré Fragonard (1732-1806), and sister-in-law of
the Realist painter Edouard Manet (1832-1883).
- [Edouard] Manet's Daughter Playing the Recorder,
coloured pencil on paper, 20.3 × 14 cm, Berthe Morisot
(1841-1895). Private Collection. Ref. Bridgeman Art Library
(2001: Image ID AGN 130351 - col.)
A young girl seen in side profile sits playing a slender cylindrical pipe.
- The Flageolet, pastels on paper,
Berthe Morisot (1841-1895).
Private Collection: Auctioned 15 May 1990 (unsold). Ref. Gabrius Data Bank, OMP (2002 - col.); Website: The Pleasant Companion (2007 - col.)
Two girls (one in straw hat) sit in a garden playing cylindrical
duct-flutes. However, as French flageolets were still being played in France during the period when Morisot was active, it seems possible to take this work at face value.
- Study for The Flageolet, pastels on
paper, Berthe Morisot (1841-1895). Location unknown: Auctioned 9
April 2002 (sold). Ref. Gabrius Data Bank, OMP (2002 - col.) A
girl faces us playing a wind instrument. A very vague sketch for
the above.
P. Morley
- Girl with a Recorder, P. Morley (20th century).
Warnham: Denhams, Fine Art, Antique and Collectables auction 8 June 2011, Lot 862.
Seated on a bench, a rather sour looking girl plays a neo-baroque recorder. Leaning against the bench beside her is a lute.
Giovanni Battista Moroni
Italian Renaissance painter notable for his sober and dignified
portraits of almost photographic precision; born Abino (1525),
died Bergamo (1578).
- Concerto, (?1556), 1.36 × 1.86 cm, variously
attributed to Bernardino Licinio da Pordenone (ca 1498 –
a.1565) and Giovanni Battista Moroni (1525-1578). Vercelli:
Borgogna Museum. Ref. Limberg (1992: 121, fig. 7 –
b&w); Paolo Biordi (pers. comm., 2000). A patrician young man
and a woman play cornetts and two young women hold cylindrical
duct-flutes (probably recorders). The women on the right holds an
open score which is probably readable.
- A Composer with a Recorder and Music Manuscript, pen and brown ink on laid paper, 12.1 × 94 cm, attributed to Giovanni Battista Moroni (1525-1578).
Location unknown: auctioned by Goodfriend (1993: 22-23, pl. 77); ex coll. Padre Resta (the so-called Borghese Collection).
Ref. Catalogue: Prints and Drawings of Musical Interest, Goodfriend (1993: 22-23, pl. 77); Michael Fleming (pers. comm., 2006).
The attribution to Moroni is given in Padre Resta's hand on the recto of the sheet. Resta (1635-1714) is generally considered reliable. An oddly pear-shaped, sour-faced man stands at a table on which lies a music manuscript. In his right hand he holds what looks like a container of some kind (for the pipe, perhaps), in his left a pipe (probably a recorder). Only part of the body and one end of the instrument can be seen. Four finger-holes are depicted and there seems to have been some attempt to depict the beak and window/labium of a recorder. It has been suggested that the drawing depicts Orlando Lassus (1532-1594). One of the Bassanos is a remote possibility, too. But this may just as well be a picture of a member of a distinguished Venetian family, shown to set off his musical gifts – even to the extent of portraying him rather dishabille. There is a painting of almost identical composition in the Detroit Institute attributed to Titian, probably in error; although the faces of the subjects are different there must be some connection between them (see below).
- Man Holding a Flute (ca 1560-1565), oil on canvas, 122.2 × 100.3 cm, ? Giovanni Battista Moroni (1525-1578).
Detroit: Detroit Institute 27.385.
Ref. Catalogue: Prints and Drawings of Musical Interest, Goodfriend (1993: 23).
An oddly pear-shaped man stands at a table on which lies a music manuscript. In his right hand he holds what looks like a container of some kind (for the pipe, perhaps), in his left a pipe (probably a recorder). Only part of the body and one end of the instrument can be seen. Only part of the body and one end of the instrument can be seen. Holes for seven fingers are depicted, including paired holes for the little finger of the lowermost hand, and there seems to have been some attempt to depict the beak and window/labium of a recorder. The beak appears to be sheathed in metal. This painting is attributed to Titian by the Detroit Institute. However, given its striking similarity with a drawing attributed to Moroni (see above), the latter artist seems more likely. Titian used recorder symbolism in a variety of ways, and was generally rather careful in how he depicted the instrument. Neither the drawing nor the painting shows the instrument accurately.
William Morris
British craftsman, designer, writer, typographer, and Socialist; his career as a designer led to the formation of Morris, Marshall, Faulkner & Co. in 1861 (later renamed Morris & Co) was particularly well-known for its stained glass, examples of which can be seen in churches throughout Britain. Morris produced some 150 designs which are often characterised by their delightful foliage patterns; born Walthamstow (1834) died Hammersmith (1896).
- Musical Angels (1873), stained glass, design by William Morris.
Over Stowey, Somerset: Church of St Peter and St Paul.
Ref. Poulson (1944: 47, fig.); A.B. Sainsbury ex Anthony Rowland-Jones (pers. comm, 2004).
An angel plays a harp and second plays an ambiguous slightly tapered pipe which might be taken to represent a recorder.
Carla Moss
American sculptor working in clay, bronze and other media; her works include, figurative, zoological, marine, and figurative subjects as well as public art; born San Francisco.
- Flute Player 127 × 122 cm, Carla Moss (contemporary).
Milpitas, California: City Hall, pond.
Ref. Website: Carla Moss, Sculptor (2005 - col.)
A young girl sits on a rock playing a slender cylindrical pipe, possibly a recorder.
- Flute Player 20.3 × 30.5 × 22.9 cm, Carla Moss (contemporary).
Milpitas, California: City Hall, pond.
Ref. Website: Carla Moss, Sculptor (2005 - col.)
A replica of the above. A young girl sits on a rock playing a slender cylindrical pipe, possibly a recorder.
John Mossman (1817-1890)
Scottish sculptor and teacher working in Glasgow, completing many well known statues, busts and friezes for public buildings and spaces there. These include statues of Sir Robert Peel, Thomas Campbell and David Livingstone, all in George Square; founder member of the Glasgow School of Art where he taught modelling; his firm of J & G Mossman produced an enormous quantity of monuments for cemetries in Glasgow and elsewhere in Scotland; born 1817, died 1890.
- [Cherub Musicians], carved stone figures, 150 cm high, John Mossman (1817-1890).
Edinburgh: Bonhams Sale 11788 - The Scottish Sale, 24 August 2005, Lot 771.
A young boy (naked apart from a cloak across his back) plays stylised pipe (possibly a duct-flute] and a young girl (in a tunic) holds an open book of music. Neither have wings.
Christophe Moucherel
French turner, cabinet-maker, type-founder and organ builder; he built his first organ in 1716; by the time he was commissioned for the monumental organ for Albi Cathedral in 1734, he had already completed 12 organs and had worked on another 25; after completing the instrument at Albi in 1737, he went on to build the organs at Castres and Narbonne, and at the Abbey of Boulbonne; after 1761 there is no further trace of him; born Toul (1686), died p. 1761.
- Musical Trophies (1723-1725), organ case panels, carved wood, Christophe Moucherel (1686-p.1761).
Mouzon: l'Eglise-Abbatiale Notre-Dame de Mouzon.
Ref. Paul Motte (2011); Anthony Rowland-Jones (2011); Web-site: Orgue historique du Mouzon (Ardennes) (2011).
This organ is the outstanding feature of the church's interior. From 1988-1981 a complete restoration was undertaken since little of Moucherel's original instrument remained apart from the case, the pedal wind chests, and the pedal 6' and 12' ranks.
From a web-site devoted to this organ and its restoration, it seems that the organ case was by the carpenter Henry Baillard Stenay, and the sculpture by Jacques Lemaire. Panels on left and right front of the case are carved with musical garlands. The right-hand panel comprises an upper garland of lyre, flute, oboe and serpent, above a lower garland of alto recorder, small bagpipe (cornemuse), bassoon, trumpet and oboe oboe. The left-hand panel comprises an upper garland of violincello piccolo (with five strings), oboe, tenor and soprano recorders, trumpet and ? flute, above a lower garland of syrinx, horn, two flutes and trumpet. On top of the positive organ (in front of the organ bench) a carved putto at the front of the case conducts, and on either side putti play flute and shawm.
Henry Siddons Mowbray
American artist known for his genre, figure and decorative paintings; born Alexandria, Egypt (1858), died 1929.
- Young Flute Player,oil on panel, 11.9 × 6.6 cm, Henry Siddons Mowbray (1959-1928).
Bolton: Skinner, 20 March 2003, Lot 899; Fairfield: James D. Julia, Spectacular Maine 3 Day Auction, 20-22 August 2003, Lot 1567.
An impressionistic scene with what appear to be two young mythological forest dwellers around a cauldron. One plays a small recorder-like pipe while another looks on. Signed lower right "H.S. Mowbray". Housed in a pierced decorated gilt frame set in a burgundy velvet lined shadow box.
Isaac Muillon
French artist; born Paris (1614), died 1673.
- Allegory of Music, Isaac Muillon (1614-1673). Paris:
Louvre. Ref. Lallement (1997). Probably depicts Apollo and the
Muses. Includes a small duct-flute (flageolet or recorder). Not
seen.
Wilhelmine Christana Müler (18th century), German
- Shepherd scene (1773), watercolour on paper, Wilhelmine Christina Müler (18th century).
Tübingen.
Ref. Munich RIdIM (2003, Slm - 310).
A shepherd plays a ? recorder to his shepherdess in an idealistic landscape.
Mulinaretto = Giovanni Maria dalle Piane
Albert Müller-Single (19th century)
- [Untitled] (1844), print after an original painting by Albert
Müller-Single (19th century). Published in Munich. Ref.
Archiv. Moeck. An elderly man (a walker judging by his satchel,
hat and stick) sits on a bench before a kitchen fire playing a
duct-flute (flageolet or recorder) to two children and their
mother. The instrument is narrow and cylindrical with a flared
bell and an ornate, bulbous head.
Karl Friedrich Moritz Müller (1822-1865), German
- Tiroler am Feuerherd (Cooking Fire), Karl Friedrich
Moritz Müller (1822-1865). Mainz: Mittelrheinisches
Landesmuseum, Inv. 30. Ref. Munich RIdIM 1999, MZlm - 43). A young
man plays a recorder; two young women stand by. Not seen.
Cristoforo [Cristofano] Munari [Monari, Monarico]
Italian artist specialising in still-life painting; his style is
characterized by a realistic treatment of detail and a subtle
play of reflections and transparencies, suggestive of the manner
of such Dutch artists as Jan de Heem; born Reggio Emilia (1667),
died Pisa (1720).
- [Still-life] (1706-1715), oil on canvas, 42 × 67
cm, Cristoforo Munari (1667-1720). Florence: Galleria degli
Uffizi, Inv. 135 (not on display, 2002). Ref. American
Recorder 37(5): cover (1996-col.); Rowland-Jones (1997b: 12;
pers. comm., 2002); Baldassari (1999: 170, no. 64); Badiarov (2005 - col.).
Depicts books, music, a cello, violin, lute, trumpet, a bowl of fruit, a typical 3-piece turned baroque
recorder, china, and an exquisite delicate glass container.
- Still-life with Musical Instruments, oil on canvas, 99
× 134 cm, Cristoforo Munari (1667-1720). Florence: Galleria
degli Uffizi, Inv. 7591 (not on display, 2002). Ref. Paris RIdIM
(1999); Francone et al. (1996: 296-297, pl. 70-col.); Anthony
Rowland-Jones (pers. comm., 2002). On a table is a jumble of
objects including a roll of music, a violin, music, crockery,
fruit (including a cut lemon), a trumpet, books, and the head and
body of a typical alto baroque recorder.
- Still-life with Musical Instruments, Cristoforo Munari
(1667-1720). Florence: Galleria degli Uffizi (not on display,
2002). Ref. Paris RIdIM (1999). A cello stands beside a
cloth-covered table on which there is a jumble of objects
including a lute and tea cups (without handles); falling off it
is a plate with a joint of ham, flowers, fruit, some music, and a
perfectly depicted alto baroque recorder in which all features
are absolutely clear.
- Fruit, Pots, Books and Flute, oil on canvas, 172 × 146 cm, Cristoforo Munari (1667-1720).
Florence: Galleria degli Uffizi (not on display, 2002).
Ref. Website: Artothek (2007: 15921 - col.)
On a cloth-covered table is a jumble of objects including a wine-glass, a bowl, a basin, cups (without handles), a vase in which a rolled-up sheet of music is stuffed, an open book, lemons, and a perfectly depicted alto baroque recorder in which all features are absolutely clear. The recorder has an ivory beak and mounts. There is an identical painting in the Galleria Palatina (see below).
- Still-life, painting, Cristoforo Munari (1667-1720).
Florence: Galleria Palatina.
Ref. Exhibition on Tour: Still-Life Painting and the Medici Collections (2006-2008); CD cover: Giuseppe Sammartini, XII Sonatas for two German Flutes, I Fiori Musicali, Tactus.
On a cloth-covered table is a jumble of objects including a wine-glass, a bowl, a basin, cups (without handles), a vase in which a rolled-up sheet of music is stuffed, an open book, lemons, and a perfectly depicted alto baroque recorder in which all features are absolutely clear. The recorder has an ivory beak and mounts. There is an identical painting in the Galleria degli Uffizi (see above).
- Trompe l'Oeil with Musical Instruments (ca 1703-1713),
Cristoforo Munari (1667-1720). Florence: Galleria della
Accademia, Musical Instrument Museum; on loan from Galleria
Palatina (Pitti Palace Gallery). Ref. Postcard: M34015,
Woodmansterne Publications, Watford (1997-col.); Paris RIdIM
(1999); Bayer (2000: 41, fig. 27 – b&w); Anthony
Rowland-Jones (pers. comm., 2002); Website: klassiskitar.net (2007 - col.)
A garland of musical instruments tied together, including a cornett, violin, mandola
and a turned baroque recorder with ivory mouthpiece and ferrules.
- Still-life with Musical Instruments (ca 1707-1713),
Cristoforo Munari (1667-1720). Florence: Galleria della
Accademia, Musical Instrument Museum; on loan from Galleria
Palatina (Pitti Palace Gallery), Inv. (1890) 7591. Ref. Anthony
Rowland-Jones (pers. comm., 2002). At centre left, most
prominent, stands a fine cello, with music lying in front of it. Beside on the ground, centre-stage is
a perfect alto recorder of late baroque design in light wood (? box). A lute, and cups on a table centre right with
a wealth of fruit, notably water-melons – one uncut, apples and a gourd.
- Still-life with Musical Instruments (ca 1710-1715),
oil on canvas, 140 × 100 cm, Cristoforo Munari (1667-1720).
Detail.
Houston: Museum of Fine Arts, Samuel H. Kress Collection. Ref. CD
cover, Baroque Recorder Concerti, Scott Reiss &
Hesperus, Golden Apple GACD 7550 (1989, detail-col.); Paris RIdIM
(1999). On a table covered in a lavishly embroidered cloth are a
tray with small decanters of wine and an ornate drinking glass
balanced on top of a couple of books, a vase of flowers, a
platter with some peaches and a couple of tea cups without
handles, a violin, an ink well and quill, some music, and a
turned alto baroque recorder.
- Still-life with Musical Instruments, Cristoforo Munari
(1667-1720). Bergamo: Private Collection. Ref. Archiv Moeck. A
violin leans against a box on a table with a glass jug and
glasses, playing cards, books, some fruit, papers and books, and
a turned, 3-piece, baroque alto recorder.
- Still-life, Cristoforo Munari (1667-1720). Location
unknown; offered for sale by Guglielmo Canessa at the Biennale
des Antiquaires, Florence (1963). Ref. Sale Catalogue (1963: No.
376); RIdIM (2000). On a table covered in a lavishly embroidered
cloth are two drinking tumblers, a cello and bow, and a violin
and bow. Above the cello hangs a metal ring on which a bird is
perched pecking at some cherries or other fruit. On a smaller
lower table in the foreground are a bowl of fruit, some sheet
music and a beautifully depicted alto baroque recorder with ivory
beak, centre-joint and foot.
- Still-life, canvas, 98 × 73 cm, Cristoforo
Munari (1667-1720). Bergamo: Private Collection. Ref. Catalogue
de l''Exposition de Bordeaux (1969); RIdIM (2000). On a table
covered in a lavishly embroidered cloth are scattered a metal
plate with biscuits, a mandola, a book, sheet music, playing
cards, a violin, a cabinet, a metal platter with glass-ware on
it, and an alto baroque recorder with turned decorative rings on
the beak and centre-joint (only the first two finger-holes are
visible) the lower part of the instrument is beyond the frame of
the painting.
- Still-life, Cristoforo Munari (1667-1720).
Ref. Baldassari & Benati (1999). Location unknown.
On a table lie an inkwell, a knife, music, a spinet, violin and bow, cornett, a
very small flared-bell duct-flute of simple (renaissance) design.
The latter is possibly a recorder, but it is viewed from behind
and only the thumb-hole is visible the position of which is more
suggestive of a flageolet.
- Still-life / Allegory of Art, oil on canvas, 118 × 94 cm, Cristoforo Munari (1667-1720).
Reggio Emilia: Fondazione Pietro Manodori.
Ref. Baldassari & Benati (1999). On a table lie a
bust with a laurel wreath, an ornate urn, a knife and bowl, an
artist's palatte, books, music, a small mandola, and a baroque
alto recorder.
- Still Life with Violin, Fruit and Glasses, oil on
canvas, 135 × 97 cm, Cristoforo Munari (1667-1720). Modena:
Galleria Estense, Inv. 2978. Ref. Cosetta (1985, 1: pl. 71);
Anthony Rowland-Jones (pers. comm., 2002). Includes a tenor
recorder, cello, lute, and Milanese mandolin as well as the
violin (? viola), and music which Cosetta says is legible but
does not identify. The recorder is visible from the foot up to
finger-hole five. Notes by Rowland-Jones (loc. cit.)
- Still-life, oil on canvas, 100 × 75 cm, Cristoforo Munari (1667-1720).
London: Robilant & Voena (2005). Formerly, New York: Christie's, Sale 1009, Important Old Master Paintings, 25 January 2002, Lot 41; Buenos Aires: J.C. Naon, D. Lorenzo Pellerano, his sale, Lot 350.
Ref. Sale Catalogue, Christies (New York) 2009 (2002: 57-58 - col.; Artfact (2003); Artnet (2005).
Porcelain cups and a façon de venise glass on a salver, with a ewer of wine, a peeled lemon, peaches and other fruit, all before a plinth with a cello and a recorder. [Beneath the latter can be seen the heaad of a transverse flute.] The same cello and recorder recur in a similar position in another still-life by the artist (Galleria degli Uffizi, Florence), illustrated in Baldassari (1999: 170, no. 64), which suggests that the artist may have actually owned the instruments. Interestingly only one of the many musical scores depicted by Munari can actually be read, which suggests he was not himself able to read music (Baldassari 1999: 21). The present work is a fine example of Munari's ability to capture the subtle play of reflections and transparencies created by the careful choice and placement of objects, evident here in the rendering of the porcelain on the salver and the description of the glass and ewer. Munari used these and other motifs in numerous works, presumably as a means of exploring his interest in these effects – for example, the cup atop the upturned saucer on the salver can also be found in two other pictures (one in a private collection, Modena, the other in the Museo Civico di Palazzo Bianco, Genova (Baldassari 1999: 195-196, nos. 109-110), while the ewer of wine recurs in a still life in a private collection, Bergamo (Baldassari, 1999: 151, no. 29). Such artistic concerns reveal the influence of Flemish still-life artists such as Jan Davidsz. de Heem and the German painter Christian Berentz, who worked in Rome in the early part of the eighteenth century. Baldassari (1999: 213, no. 31) records a studio copy after the present work depicting only the lower left part of the still life, with the porcelain on the slaver and the fruit before it (Christie's, New York, 10 January 1980, Lot 211). Description and notes from Christies Sale Catalogue 1009 (loc. cit.)
- Still-life, Cristoforo Munari (1667-1720).
Rome: Camera dei Deputati, Palazzo di Montecitorio.
On a bench are a tray with a crystal glass decanter and goblet and two china tea-cups, a glass jug, a larger china bowl, a platter with a roughly cut-open watermelon, a napkin with apples and lemons on it, a small round pill-box, and a baroque recorder. Only the head and upper body of the latter is visible; it is without mounts.
- Still-life with Musical Instruments, Cristoforo Munari (1667-1720).
Montepulciano: Museo Civico e Pinacoteca Crociani.
Ref. Website: CeramicaToscana.it (2007 - col.)
On a table lie two tea-cups, books, papers, music, a guitar, a lute, and a baroque alto recorder with ivory beak and mounts.
- Still-life, oil on canvas, 57.7 × 71.7 cm, Cristoforo Munari (1667-1720).
New York: Sotheby's Sale N08645, Old Master & 19th Century European Art, 10 June 2010, Lot 42.
Formerly Fresno Metropolitan Museum of Art and Science, Acc. FMM 82.39.
On a bench lie some books, a marble urn, an upturned bowl, an open book, a mandolin and a perfectly depicted alto recoder.
Vic Muniz
Brazilian-born artist who now lives and works in Brooklyn, NY and Sao Paolo; born Sao Paolo (1961). Artist's web page here.
- Pictures of Junk Series: Mercury, Argus and Io, photograph, 40 × 101.6 cm, after Jacob Van Campen, by Vic Muniz.
San Francisco: Rena Bransten Gallery, Exhibition: Bulfinch’s Recycling Yard: Vik Muniz Pictures of Junk , 13 April 13 - 27 May 2006.
For his Pictures of Junk Muniz has chosen domestic and industrial detritus to reinterpret old Master paintings of the Greek and Roman gods by artists ranging from Titian to Velasquez. Using a warehouse floor as his canvas, Muniz’s arrangement of everything from hub caps, tires, squashed coke cans, nuts, bolts, gaskets, pipes, coils of wire and broken appliances, to an upright piano, is photographed from an elevated gantry, the height reducing these objects to the size of brushstrokes. The work detailed here is a parody of Campen's original. Here, Argus reclines on a pile of junk slumped against a tree made of junk.
Serapio Hernández Muñoz
Spanish woodcarver and writer born in Avila where he worked as a shepherd from the age of 6 for 3 pesetas a day until he was old enough for military service; he taught himself woodcarving to while away the hours; later he performed various jobs and emigrated to Germany, after many years returning to Madrid.
Artist's web page.
- Sculptured lectern (? date), carved wood relief, 34 × 50 cm, Serapio Hernández Muñoz (contemporary).
Ref. Website: Anges Musiciens (2010-col.)
Amongst swirling foliage, four winged putti sing and play a baroque-style recorder, violin and viol. In the centre is an organetto above which is an urn. A banner across the top reads "Mvsica AETATEM FLORIDAM FACIT" (Music improves health).
- Carved basset recorder: head joint (ca 1995), carved wood relief, Serapio Hernández Muñoz (contemporary).
An elaborately carved basset recorder of neo-baroque design. The head features a variety of designs. The window is the mouth of a man, with a beard extending beneath the labium; on the other side is the head of a cat. Around the middle are a standing man playing a lute and a kneeling man playing a recorder. The later is taken from Plate 19 of Filippo Bonanni's Cabinetto Armonico (1716, 1723, 1776).
Ramón de Mur
Spanish (Catalan) painter; known primarily as an imitator than a creative artist, but he was a fine colourist and there is a sense of richness and elegance in his works, reminiscent of Franco-Flemish manuscript illumination; active in the provinces of Tarragona and Lérida (early 14th century). Attempts to identify Ramon de Mur with Bernat Martorell have not been generally accepted, although he may perhaps have worked in his atelier and their works have been confused.
- The Expulsion from Paradise: Moses on Sinai from an
altar-piece from the church of Guimerà (ca 1402-1412),
Ramón de Mur.
Vic: Museu Diocesà. Ref.
Rowland-Jones (1997: 15, fig. 13-b&w, detail). Three
shepherds watch over their sheep; one shepherd plays a
cylindrical duct-flute (recorder or flageolet).
- La Verge de la Llet (1415-1425), from an altar-piece
from the church of Santa Maria de Cervera, Spain, Ramón de
Mur. Detail.
Barcelona: Museu Nacional d'Art de Catalunya.
Ref. Gudiol (1986: 40 - col.); Woodfield (1984: 23); Ballester (1990: 172-173 & pl. 92; 2001: 12, fig. 2 - b&w); Rowland-Jones (1997: p. 10, fig. 6 – b&w); Paolo Biordi (pers. comm., 2000); Pedros (2007: 167-169 & fig. 50-b&w).
Angel musicians surround the Virgin and Child. One angel plays a narrow cylindrical duct-flute (flageolet or recorder); others play lutes, harp, and rebec.
Francesco de Mura
Italian late baroque painter of religious subjects and portraits active in Naples and Turin; his later style tends to neoclassicism; born Naples (1696), died Naples (1782).
- Allegory of Spring, 237 × 128 cm, Francesco de Mura (1696-1782 ).
London: Sotheby's, 8 December 2010, Lot 33, unsold.
On a garden balcony a woman plays a tambourine. On a step below her a young boy plays a duct-flute, probably a recorder
given the dispostion of his fingers. Between them a putto leans against a terracotta pot observing the piper. One of a pair, the other titled Allegory of Autumn in which a seated woman with a lap full of grapes offers some to a lutenist whilst a small boy watches.
Bartolomé Esteban Murillo (1618-1682)
Spanish Baroque religious painter noted for his soft
sfumato and idealized, sometimes precious manner; born
Seville (1618), died Seville (1682).
- The Flute Player, attributed to Bartolomé
Esteban Murillo (1618-1682). Chartres: Bishops Palace Museum.
Ref. Rowland-Jones (1995: 45, footnote 8). Shows a recorder with
double holes for little finger of lowest hand.
- The Flute Player, attributed to Bartolomé
Esteban Murillo (1618-1682). Bavarian Oberster Rechnungshof, Inv.
5206 (3157). Ref. Rowland-Jones (1999, pers. comm.) Identical to
the above. Shows a recorder with double holes for little finger
of lowest hand.
Domenico Muzzi
Italian court painter and professor at the Academy of Fine Arts of Parma; born Parma (1742), died 1812.
- Four designs for book illustrations: Putti making music and studying astronomy and navigation, black chalk, pen and brown ink, grey wash, 204 × 137 mm, Domenico Muzzi (1742-1812).
London: Christies, Sale 7367, Master Drawings from the OPPè Collection, 5 December 2006, Lot 56.
Comprises four scenes. In the second, putti play violin, triangle and a slender, cylindrical pipe (possibly a duct-flute). A lute and an open music book lie either side of them.
Pietro Muttoni – see Pietro della
Vechia
Roz [Rosemary] Myers
Contemporary English lithographer, print-maker, wood-engraver and
painter with a dual focus on recording buildings which are old
and in danger of vanishing, and on cats; lives and works in
Cambridge.
- Tiger
Rag (1997), watercolour, Roz Myers (contemporary). Ref.
Pride Magazine 179: front cover - col. (1997). Depicts a
pussycat playing a soprano recorder. A portrait of the famous
composer Cataturian, perhaps!

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