Recorder Home Page

Recorder Iconography

Compiled by Nicholas S. Lander

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Rosina Wachtmeister

• [? Title] (1985), greeting card, Rosina Wachtmeister (1939-). Netherlands: Paper Hearts. A solo recorder player depicted against a Handelian collage (Rowland-Jones, pers. comm.)
• Sonatine per Due, offset lithograph (foil embossed), 44 × 52 cm, Rosina Wachtmeister (1939-). Ref. Greeting card: Paper Hearts, Netherlands AC 39758 (1985 - col.); ARTinaClick.com (2003 - col.); Art.com (2003 - col.). Depicts two recorder players with stylised recorders against a background of the score of Beethoven's Pathétique Sonata.
• I Musicisti, offset lithograph (foil embossed), 25 × 30 cm, Rosina Wachtmeister (1939-). Ref. art.com (2001-col.) A stylised violinist and piper in a garden arbor. The pipe is cylindrical, as long as the violin and has the suggestion of a window/labium: it could thus represent a recorder.
• Flutist, offset lithograph 30 × 40 cm, Rosina Wachtmeister (1939-) Ref. Artland.co (2003 - col.) Against a background of a fragmented musical score, a flutist wearing a golden crown and flowers on each shoulder. The "flute" is clearly a duct-flute (probably a recorder), the window/labium of which is clearly depicted.
• [Ensemble], offset lithograph, Rosina Wachtmeister (1939-). Ref. Galerie-B.com (2003 - col.) Two singers, a violinist, a piper, and a keyboard player make music together. The pipe narrowly flared and has the suggestion of a window/labium, and the fingers and thumb are well-positioned for recorder-playing.
• Two Golden Flutes, lithograph, Rosina Wachtmeister (1939-). Ref. Website: Postershop.ch (2007). Two girls wearing roses play narrowly flared pipes, one with just a hint of a window/labium and the fingers and thumb well-positioned for recorder-playing.

Cornelius [Corneille] de Wael

• Hearing, Cornelius de Wael (1592-1667). Ref. Olimpio (1956: 1226); Paolo Biordi (2000). Musicians around a table play lute, archlute, viol, violin and a pipe with a very slender beak which could be a recorder.

Richard Wallwork

• The Trio, drypoint, 13.8 × 9.3 cm, Richard Wallwork (1882-1955). Auckland: Auckland Art Gallery, 1930/15/1. The 12th of 25 prints. Three rabbits play syrinx, flute and a cylindrical pipe (probably a duct-flute), respectively. They are conducted by a fourth rabbit.

Jutta Waloschek [Jutta María de las Manos]

• Delight in Disorder (1990), line drawing, Jutta Waloschek (1931–). Rear cover of CD Delight in Disorder (2-part English Consort Music, 1640-80), played by Pedro Memelsdorff recorder) and Andreas Staier (harpsichord), Deutsche Harmonia Mundi CD 05472 77318 2. Shows stylised recorder & harpsichord players.
• Flute and Magic, IV: Tempelhalle, Tamino: "Sie lebt! Ich danke Euch dafür" (1996), line drawing, Jutta Waloschek (1931–). Ref. Flute and Magic, to texts of the Magic Flute of Emanuel Schikaneder and Wolfgang Amadeus Mozart. Tamino plays his (duct-)flute, which is of tenor size and conical in profile, in a temple full of lions, tigers, elks and birds.
• Flute and Magic, VIII: Tamino, Papegano, Flöte und Glöchen, drei Knaben: "Seid uns zum zweiten Mal wilkommen" (1996), line drawing, Jutta Waloschek (1931–). Ref. Flute and Magic, to texts of the Magic Flute of Emanuel Schikaneder and Wolfgang Amadeus Mozart. Tamino and Papegano rush towards each other with open arms. In the background one girl plays a bell tree, another ?sings, and a lad plays a recorder of which the beak, window/labium and finger-holes (including one offset for the lowermost finger) are clearly depicted.
• Flute and Magic, X: Vorthalle der Feuer Wasserprobe, Flöte, Tamino, Pamina: "… es schnitt in einer Zauberstunde, mein Vater (die Flöte), aus tiefstem Grunde der tausendjährigen Eiche aus …" (1996), line drawing, Jutta Waloschek (1931–). Ref. Flute and Magic, to texts of the Magic Flute of Emanuel Schikaneder and Wolfgang Amadeus Mozart. Beneath a tree, Pamina welcomes Tamino who holds a recorder the beak, window/labium, finger-holes and bell of which are clearly depicted.

Goffredo [Gottfried] Wals

• Mythological Scene, (early 17th century), oil on copper, round, 13 cm diam., Goffredo Wals. Auctioned 27 May 1998 by Ketterer Kunst, Hamburg. One of two paintings (a pair). In the right hand painting a faun plays a pipe (possibly a recorder) to a nymph who is tended flowers by a putto.

Jacob van Walscapelle

• Vanitas Still-life with Roses (1685), canvas, 65.5 × 79 cm, Jacob van Walscapelle (1644-1727). London: Julius Weitzner. Ref. Bol (1969: 317, pl. 290); Palais Galleries (Paris), Catalogue (1964: 95); Griffioen (1988: 440-441). On a shelf stand a host of objects around a vase of roses, including papers, music, an ink-well, spectacles, a watch, a teapot, a necklace, a globe, an hour-glass, and a soprano flared-bell recorder, the bell decorated with turnings.

Antoni [Anthonie] Waterlo [Waterloo] (ca 1610-1690), Dutch

• Mercury and Argus, Anthoni Waterlo (ca 1610-1690). Ref. Bartsch (1843-1876, II: 129.127); Warburg Institute, London; Anthony Rowland-Jones (pers. comm., 2000). In a beautiful hilly woodland, watched by Io (as a heifer), Mercury pipes Argus to sleep playing a flared-bell recorder, the beak and window/labium of which are more or less clearly depicted, the little finger of the lowermost (left hand) covering its offset finger-hole.

Samuel Watson

Watson is gone, whose skilful Art disploy'd
To th' very life whatever nature made.
View but his wonderous work at Chatsworth Hall
Which were so gazed at and admired by all.

• Trophy (1692-1694), limewood carving, Samuel Watson. Chatsworth House: State Dining Room. Ref. Anthony Rowland-Jones (pers. comm., 2003). A trophy of musical instruments, violin, viola, piccolo cello and tenor-size baroque recorder complete in all parts.
• Angel Musicians (ca 1689), wooden carving, Samuel Watson. Chatsworth House: Chapel, Gallery. Ref. Anthony Rowland-Jones (pers. comm., 2003). On the back wall of the gallery are many detailed carvings, amongst them four angels, one on each side with an instrument. The angel on the right has a violin, and that on the left holds up a tenor baroque recorder, perfect in all details.
• Trophy (late 1680s), overdoor limewood carving, Samuel Watson. Stamford, Lincolnshire: Burghley House, 1st George Room. Ref. Postcard, Heritage House Group, Derby (2004 - col.); Rowland-Jones (2005b: 35-36 & ill. 1-b&w). An intricate and ornate trophy incorporating two birds, a quill, coin, watch, medallion, necklace, lute, violin, oboe (only the bell visible), and a baroque recorder only the head of which is visible (seen in side profile) from beneath an open music book and other decoration. This work has been attributed to Grinling Gibbons (1648-1721), who was in some way involved.

François(-Louis-Joseph) Watteau [Watteau de Lille]

• Rustic Dance, oil on wood, 29.3 × 36.2 cm, François-Louis Joseph Watteau (1758-1823). Lille: Museé des Beaux-Arts, P350. Ref. Bridgeman Art Library (2003: Image LIL 16758 - col.); Joconde (2003). In the shade of a wooded hill, watched by two women and a man, a couple dance to the accompaniment of a man playing a tenor-sized flared-bell pipe. From the small reproduction the instrument looks like a clarinet, but a shadow just below the beak could represent a windway/labium, so a recorder remains a possibility. Their picnic things are spread out before them.

Jean-Antonie Watteau

• L'embarquement de Cythère (1717), oil on canvas, 129 cm × 194 cm Jean-Antoine Watteau (1684-1721). Paris: Musée du Louvre, Inv. 8525. Ref. Christina Rowland Jones (pers. comm., 2004); Artchive (2004 - col.) A slightly later companion piece to this painting (Charlottenburg Palace, Berlin), is entitled Pélerinage à l'île de Cythère [Pilgrimage to Cythera] (1718). These titles have caused much confusion in the literature. Perhaps all that need be said here is that if the lovers are departing Venus' island in L'embarquement then they are shown arriving there in the Pélerinage.
  
  Cythera was the island where Venus was born. It was a special place only for lovers. The statue of Venus is bedecked with roses and garlands. Elegant gentlemen help the ladies to their feet. And perhaps the most touching aspect is the melancholy and sidelong glances of the women showing what surely must be their reluctance to leave this beautiful and restful place. L'embarquement shows French Rococo at its peak. The elegant men, the women dressed in their shimmering silks, and the rose-cheeked cherubs are all indicative of the style of this movement. Watteau's theatrical influence is also apparent – his composition has been likened to a choreographed minuet. Indeed, this work has an ambiance of poignant longing. The day of love has come to an end.
  
  A recorder appears not in the painting itself but in its elaborately carved and gilded frame which appears to be contemporaneous. There is a small trophy at the top centre with what appears to be a small viol crossed with a rather stubby alto recorder of baroque design. The recorder is partly obscured, but the lower part of the body is clear with three finger-holes in the body section and one in the turned foot-joint section. The end of the head sticks out opposite showing a beaked mouthpiece, though the window/labium is not visible.
• The Dance OR Iris, oil on canvas, 97 × 166 cm, Jean-Antonie Watteau (1684-1721). Berlin: Gemäldegalerie (on loan from Government of the Federal Republic of Germany). Ref. Staatliche Museen Preussischer Kulturbesitz (1968: 113-114, pl. 95 - b&w); Thomson (1974: 74 & plate 5 - b&w); Michel (1984: 207, detail - col.); postcard: Ernst Wasmuth, Tübingen-Berlin, EW 26 - col.; Bridgeman Art Library (2003: Image BLY 21173 - col.) A young boy plays a gently flared soprano recorder (to judge by the position of the thumb of the upper and the little finger of the lower hands) for a dancing girl whilst his companions, a young lad with a shepherd's crook and a young girl look on. A sleepy dog lies at the musician's feet.
• Pastorale, anonymous engraving after Jean-Antonie Watteau (1684-1721). Paris: Bibliothèque Nationale, Print Collection, Cliche 81C 107421. Ref. Pottier (1992: 21, pl. VIII); Archiv Moeck. Based on The Dance (see above). A small boy plays a recorder (the beak, window/labium and fingering clearly depicted) while a girl dances and their companions and a dog look on.
• Company in a Park, copy of an original by Jean-Antonie Watteau (1684-1721). Munich: Bayerische Staatsgemäldesammlungen, Inv. 1161 (5062). Ref. Munich RIdIM (1999: Mstag 708). The original is in the Gemäldegalerie Dahlem, Berlin. In the foreground on the ground, lying across music are a lute, a violin, and a recorder with an ivory moutpiece and ferrule at the headjoint Notes by Anthony Rowland-Jones (pers. comm., 1999).
• La Lorgneuse [The Wanton Glance] (ca 1727), engraving, 38.8 × 28.5 cm, by Gérard Jean-Baptiste Scotin II (1698 - p. 1746), after Jean-Antonie Watteau (1684-1721). Pairs: Bibliotheque National, dB 15a t. 1 fol.; Washington: National Gallery, Print Collection, Db 15a t1; The Hague: Gementemuseum; Stockholm: Nationalmuseum NMG 84/1876. Ref. Cafritz et al. (1988: 155, fig. 146); Pottier (1992: 17, pl. IV); Archiv Moeck; RIdIM Stockholm (2000); Anthony Rowland-Jones (2000c: 86, fig. 4). A young couple are seated on a bank with a tower in the background. As the title would suggest, she casts a sideways glance at her companion who holds a cylindrical soprano recorder which he is doubtless about to play for her. “The recorder is depicted with the hands in pefect playing position. The instrument is completely cylindrical, with a beaked mouthpiece, a window/labium shown by a dark rectangular makring. The right hand is uppermost, all three fingers down. Three fingers of the left hand are covering their holes, with one more hole, in line, shown with the little finger in readiness” (Rowland-Jones, loc. cit.)
• Le Lorgneur, oil on canvas, attributed to Jean-Antonie Watteau (1684-1721). Ref. Gabrius Data Bank, OMP (2001 - col.) Beneath a tree a woman seated with her fan and a small child peering out from behind her are serenaded by a man standing with a guitar. Beside her a young boy plays a cylindrical pipe held somewhat to the side which may be a transverse flute or possibly a recorder. Auctioned 22 May 1990, sold (Gabrius, loc. cit.)
• Sketch of the Hands of a Recorder Player, Jean-Antonie Watteau (1684-1721). Amsterdam: Rijksmuseum. Ref. Pottier (1992: 54, pol. XL); Archiv Moeck. A turned baroque recorder is held in the hands of its player, reminiscent of Picart's Recorder player's Hands, the frontispiece of Principes de la flûte traversière (1707) by Jacques Hotteterre (1674-1763).
• Sheet of Studies, red and black chalk, 19.6 × 25.4 cm, Jean-Antonie Watteau (1684-1721). Amsterdam: Rijksmuseum, PM 752. Ref. Michel (1984: 78, fig. 44); Mirimonde (1973: 242 - Pl. 18, fig. 31); Archiv Moeck; Constance Scholten (pers. comm., 2005). An elderly woman holds out a baroque three-piece recorder to a young man who is held back by a little girl.
• Landscape with Waterfall (ca 1715), oil on canvas 72 × 106 cm, Jean-Antonie Watteau (1684-1721). St Petersburg: Hermitage, Inv. No. 7766. Ref. Eisler (1990: 336-337, col.); Zotolov (199?: pl. 14 - col.) A finely-dressed couple walk beside a river towards a village, surrounded by snow-capped mountains. On the opposite side of the river, in the bottom right hand corner of the painting, a shepherd sits playing a cylindrical duct-flute, almost certainly a recorder (all fingers of lower hand covering holes).
• Rustic Dance (ca 1710), oil on canvas, 51 × 59 cm, Jean-Antonie Watteau (1684-1721). Indianapolis: Museum of Arts Ref. Michel (1984: pl. 207 - b&w). A young couple dance to an accompaniment provided by a man playing a musette, a youth playing a flared bell duct-flute (flageolet or recorder), and a young girl playing a timbrel. A third musician holds what might be another duct-flute. A child looks on, imploring the dancers to stop.
• Fêtes au dieu Pan, oil on canvas, 65 × 81 cm, Jean-Antonie Watteau (1684-1721). Los Angeles: Collection A. Hammer. Ref. Michel (1984: 212, pl. 209, b& w). Seated on a sloping bank a hatted and smocked man ('Gilles') plays a cylindrical duct-flute (possibly a recorder) watched by semi-clad nymphs and a few fauns who are gathered under the trees of the forest.
• The Children of Bachus (ca 1750), engraving by Étienne Fessard (1714-1777) after Jean-Antonie Watteau (1684-1721). Paris: Bibliothéque Nationale, Print Collection. Ref. Pottier (1992: 67, LIII). Not seen. There is a painting by an anonymous 18th-century copyist after an engraving by Fessard after Watteau in the Mus&eeacute; de Louvre, Paris ( 60 H ; 74 L), but in that the wind instruments are syrinxes rather than recorders.
• A Pierrot Sitting: Sketch of Drapery, drawing, Jean-Antonie Watteau (1684-1721). Stockholm: Nationalmuseum, NM H 2822/1863, F 1309. Ref. RIdIM Stockholm (2000); Anthony Rowland-Jones (pers. comm., 2000). To the left of a sketchily drawn draped figure, a Pierrot sits leaning to one side playing a baroque style recorder. The mouthpiece and lips are sketchy. The left-hand is uppermost with the 1st and fourth fingers raised, the other fingers are down; the lower hand has the first and second fingers down, the others raised. No finger-holes are visible. A window/labium may be partly visible behind the first finger. The decoration (with three small rings set apart in the foot area), slight bell flare, and the player's attitude strongly suggest a recorder. Notes by Anthony Rowland-Jones (loc. cit.)
• Fêtes au dieu Pan, engraving by Michel Aubert (1700-1757) after Jean-Antonie Watteau (1684-1721). Stockholm: Nationalmuseum, NMG sn. Ref. RIdIM Stockholm (2000); Anthony Rowland-Jones (pers. comm., 2000). In a valley surrounded by nymphs of the forest, Pierrot, seated on some steps beside a pool, plays a small cylindrical pipe (probably a recorder) to the accompaniment of one of the nymphs on guitar. The piper bears a striking aspect to Watteau's sketch, A Pierrot Sitting (Nationalmuseum, Stockholm), though he is seen here in reverse. He plays right hand upermost with his thumb well tucked underneath. The first and second fingers of the left hand may be on the instrumetn, but although he is playing this hand is pulled slightly away. The beak is clearly shown, and a small mark possibly represents the window/labium. No finger-holes can be seen. Notes by Anthony Rowland-Jones (loc. cit.)
• Fêtes au dieu Pan, engraving by Michel Aubert (1700-1757) after Jean-Antonie Watteau (1684-1721). Paris: Bibliothèque Nationale, Print Collection, Db 15 G-H. Ref. Pottier (1992: 68, pl. LIV). Seated on a rock above a pool a man plays a pipe (possibly a recorder) surrounded by the nymphs of the forest.
• Les Divertissements champêtres, oil on canvas, 128 × 193 cm, Jean-Antonie Watteau (1684-1721). London: Wallace Collection. Ref. Michel (1984: 205, fig. 198). In a forest finely clad men, women and children amuse themselves variously, presided over by a statue of a naked woman. Some converse, others stroll, a group at the rear listen to music played by ? Gilles on a pipe which could be a recorder.
• Feuille de paravent / Shepherd Dancing to the Sound of a Flute (1727), etching, 39.5 cm. × 19.6 cm, by Louis Crépy (1680 - 1750) after a design by Jean-Antonie Watteau (1684-1721). Paris: Bibliothèque Nationale, Print Collection Db 15A t. 2 fol. ; Cambridge, USA: Fogg Art Museum, M23349. Ref. Pottier (1992: 58, pl. XLIV); Archiv Moeck; Anthony Rowland-Jones (pers. comm., 2007). One of a series of etchings. Watched by a seated companion, a shepherd dances to an music played by his companion on a pipe. Elaborate marginal decoration includes a bagpipe, and a hanging trophy comprising a tambourine (with jingle rings) crossed with two baroque-style recorders. The seated shepherd holds an ambiguous pipe, possibly also a recorder.
• Evening Landscape with a Spinner (ca 1715), after Rembrandt van Rijn (1606-1669) by Jean-Antoinne Watteau (1684-1721). Rotterdam: Museum Boyman Van Beuningen. Ref. Postcard A2037, Art Unlimited, Amsterdam (2001, col.). Based on an etching by Rembrandt. A young woman sits spinning on a bank at the edge of a forest, her distaff under her left harm, a note in her right hand. At her feet, a young man wearing a hat with an upturned brim and a bow holds a baroque-style recorder with characteristically turned beak and window/labium clearly visible.
• Indiscretion, engraving by Michel Aubert (1700-1757), after a painting by Jean-Antonie Watteau (1684-1721). Paris: Bibliothèque Nationale, Département des Estampes et de la Photographie, Db 15a t2; Louvre, Cabinet Rothschild. Ref. Pottier (1992: 19, pl. VI); Archiv Moeck; Paris RIdIM (1999). A young woman sits on a mossy bank spinning with a distaff. Lying on the slope before her, a young man holds what is clearly a small recorder which is not quite long enough to reach the edge of the lady's skirt. It's hard to see who is being indiscreet. It could be that the lad is looking up the girl's dress, but his eyes seem focused on his instrument.
  
  In Watteau's painting L'Indiscret (Boymans van Beuningen Museum, Rotterdam) a young man holds what is clearly a transverse flute. which he uses to lift a young woman's skirt. A near identical scene is depicted in Rembrandt's 1642 drawing Shepherd Playing a Flute to a Sheperdess (Seattle Museum) in which a sly young shepherd with a parrot on his back looks as if he is about to play his cross-flute but is casting his eyes up his young companion's dress as she arranges some flowers into a wreath on her lap. The original model for all these works may have been Abraham Bloemaert's 1627 painting Shepherd and Shepherdess (Nidersächsiches Landesmuseum, Hannover) which depicts a similar scene.

Louis-Joseph Watteau [Watteau de Lille]

• Concert champêtre (1773), red ink on paper, 22 × 20 cm, Louis-Joseph Watteau (1684-1721). Tournai: Musée des Beaux-Arts, Cat. 680. Ref. Institute Royal du Patrimonie Artistique / Koninklijk Instituut voor hef Kunstpatrimonium (IRPA/KIK), Brussels (2007). On the edge of a forest a group of young men and women enjoy a picnic together. Three of the party entertain the others by singing and playing bagpipe and a flared-bell pipe, very possibly a recorder. A dog sleeps; sheep browse, etc.

Sir Christopher Webb

• Stained glass window (1949), designed by Sir Christopher Webb (1886-1966). Chichester: Cathedral, North nave aisle. Within the window, which commemorates Thomas Weelkes (1576-1623) a former organist at Chichester Cathedral. Weelkes, with a choirboy beside him, holds in his left hand an anachronistic tenor recorder of Bressan style in a dark-wood with ivory mounts. It is a much admired window, justifiably. At the top of the window in the tracery is a roundel with a slender oboe, with a fontanelle and butterfly key, crossed across a book with large initials 'TW', with a second tenor recorder of the same design as the other but with an ivory mouthpiece as well as the rings. The choirboy sings from a music-book entitled Hosanna to the Son of David, while Weelkes keeps time with his right hand. Webb consulted Carl Dolmetsch on the design of the recorders, as the latter used to take part in an annual event in the Cathedral organised by Bishop Bell who did great things in the artistic embellishment of Sussex churches. Notes by Anthony Rowland-Jones (pers. comm., 2000 & 2001).

Jan-Baptiste Weenix the Elder (1621-1663)

• Party in a Barge (1671!), Jan-Baptiste Weenix the Elder (1621-1663). Paris: Louvre, Inv. 1936. Ref. Paris RIdIM (1999). In centre of an elegant one-masted boat a young woman plays a lute leaning against her companion who clicks his fingers with delight. Beside and slightly behind the couple a man stands playing a perfect little recorder. The other passengers include two old men and a young boy who gazes into the water. A small swan swims alongside. On the shore is a sombre castle amongst whose pillars a corpulent man in a turban stands watching. In the harbour behind stand several stately galleons.

Bernhard Heinrich Weyhe

• Decorative table-piece, silver (1761-1763), Bernhard Heinrich Weyhe (1761-1763). Munich: Bayerisches Nationalmuseum, Inv. 81/216. Ref. Müller (1985: 28); Munich RIdIM (2002: Mbnm - 483); Anthony Rowland-Jones (pers. comm., 2002). Part of a spectacular 169-piece table service made by 11 leading silversmiths in Augsburg from 1757 to ca 1765 for the Archbishop of Hildesheim, Friedrich Wilhelm of Westphalia. From the concerts in the three centre-pieces to tiny details on handles of sauce-boats, the theme is music and musical instruments. Even in miniature, details of instruments are perfect. Recorders are the most frequently appearing wind instruments with very few flutes. The middle and most splendid of three centre-table decorations depicts clavichord, oboe, cello, violin, flute, trumpet, drum and two recorders. Both recorders are alto, one beside the central concert but played outwards, and the other at an upper level.
• Decorative table-piece, 61 × 60.5 × 47 cm, silver (1761-1763), Bernhard Heinrich Weyhe (1761-1763). Munich: Bayerisches Nationalmuseum, Inv. 81/217. Ref. Müller (1985: 39-40); Munich RIdIM (2002: Mbnm - 490); Anthony Rowland-Jones (pers. comm., 2002). Part of the table service described above. One of the decorative pieces placed near the head of the table depicts violin, cello, double-bass, horn, trumpet, drum and recorder.
• Mustard-pot (1761-1763), silver, 19.7 cm high, Bernhard Heinrich Weyhe (1761-1763). Munich: Bayerisches Nationalmuseum, Inv. 81/248,11-2. Ref. Müller (1985: 33-34); Munich RIdIM (2002: Mbnm - 497); Anthony Rowland-Jones (pers. comm., 2002). Part of the table service described above. The base of the mustard-pots depicts a violin and recorder.
• Sauce-boat (1761-1763), silver, 7 cm high, Bernhard Heinrich Weyhe (1761-1763). Munich: Bayerisches Nationalmuseum, Inv. 81/257 Ref. Müller (1985: 41); Munich RIdIM (2002: Mbnm - 494); Anthony Rowland-Jones (pers. comm., 2002). Part of the table service described above. The handles on the centre of the hinged lid of each of 4 sauce-boats are decorated with instruments, one with hunting horn, lute and recorder, two with hunting horns only, and the fourth with lute and recorder.
• Salt-shaker (1761-1763), silver, Bernhard Heinrich Weyhe (1761-1763). Munich: Bayerisches Nationalmuseum. Ref. Müller (1985: 42); Anthony Rowland-Jones (pers. comm., 2002). Part of the table service described above. The lid of the salt-shaker is surmounted by msuical instruments including a horn and a lute frum underneath which juts out the foot of a wind-instrument, probably a recorder as the bell is slightly flared.
• Decanters (1761-1763), silver, 7.2 × 20.8 cm, Bernhard Heinrich Weyhe (1761-1763). Munich: Bayerisches Nationalmuseum, Inv. 81/235-81/247. Ref. Müller (1985: 47); Munich RIdIM (2002: Mbnm - 494); Anthony Rowland-Jones (pers. comm., 2002). Part of the table service described above. The 13 decanters (the 14th is in a private collection) each have glass stoppers with elaborate silver handles, each with a different musical design. Some repeat the motif of recorder and lute, and recorders appear in others.
• Soup Toureen (1761-1763), silver, 30 × 44.5 × 21 cm, Bernhard Heinrich Weyhe (1761-1763). Munich: Bayerisches Nationalmuseum, Inv. 81/220. Ref. Müller (1985: 50); Munich RIdIM (2002: Mbnm - 484); Anthony Rowland-Jones (pers. comm., 2002). Part of the table service described above. Perched atop the lid is a youth playing a recorder underneath a tree. The recorder has a bulbous beak and a flared bell, and fingers and thumb are in perfect recorder-playing position. Other instruments on this item include flute, violin, cello, viol, trumpet, lute and horn.
• Toureen (1761-1763), silver, 31 × 50 × 23 cm, Bernhard Heinrich Weyhe (1761-1763). Munich: Bayerisches Nationalmuseum, Inv. 81/222. Ref. Müller (1985: 51); Munich RIdIM (2002: Mbnm - 485); Anthony Rowland-Jones (pers. comm., 2002). Part of the table service described above. This toureen depicts violin, cello, lute, flute, horn and a tiny duct-flute only the head and upper body of which can be seen underneath the neck of a violin. Could it be a bird-flageolet?
• Toureen (1761-1763), silver, 29.7 × 43 × 21.5 cm, Bernhard Heinrich Weyhe (1761-1763). Munich: Bayerisches Nationalmuseum, Inv. 81/219. Ref. Müller (1985: 53); Munich RIdIM (2002: Mbnm - 492); Anthony Rowland-Jones (pers. comm., 2002). Part of the table service described above. This toureen depicts violin, recorder or clarinet, flute, cello, lute and horn. Anthony Rowland-Jones reports that he was unable to spot the recorder.
• Toureen (1761-1763), silver, 30.2 × 44.5 × 21 cm, Bernhard Heinrich Weyhe (1761-1763). Munich: Bayerisches Nationalmuseum, Inv. 81/223. Ref. Müller (1985: 51); Munich RIdIM (2002: Mbnm - 486); Anthony Rowland-Jones (pers. comm., 2002). Part of the table service described above. This toureen depicts violin, lute, recorder, cello and horn. The recorder has a bulbous beak and a flared bell. Notes by Anthony Rowland-Jones (loc. cit.)

Johann Christoph Weigel

• Flûte douse from Musicalishes Theatrum (ca 1720), Johann Christoph Weigel (1661-1725). Ref. Weigel (1720, facsimile 1961: blatt 12); Clemencic (1968: 84, pl. 95 - b&w); Hunt (1975). A gentleman seated on a high-backed chair with one leg on a footstool plays an ornately carved baroque alto recorder. A verse below extols the efficacy of the recorder as a serenading instrument.
• Bassoon Flûte from Musicalishes Theatrum (ca 1720), Johann Christoph Weigel (1661-1725). Nuremberg: German National Museum. Ref. Weigel (1720, facsimile1961: blatt 13). Shows a baroque basset recorder.
• Der Pfeiffenmacher [The Wind Instrument Maker] (1698), engraving, 20.6 × 15.2 cm, Johann Christoph Weigel. Published in Nuremberg. Washington DC: Library of Congress, Dayton C. Miller Collection. Ref. Advert: Zuleger & Co. (1974); Revista de Flauta de Pico 10: 14 (1998); Lancaster (2007: 20, fig.) Shows an instrument maker seated at his bench with his tools and various instruments including bassoons, cornett, double recorder and a three-piece, baroque-style recorder with a very elaborate bell.

Thomas Weisenberger

• Flute and Strings (2005), print, 30 × 40 cm, Thomas Wesenberger (1956-). Neo-baroque recorders with mandolin.

Paul Weisse (ca 1535-1591), German

• Pewter flagon (ca 1570), Paul Weisse (ca 1535-1591). Ref. Drury (1986: 215, fig.); Anthony Rowland-Jones (pers. comm., 2001). This flagon has the town mark Zittau (Saxony) on the handle, with the maker's mark. Made for a butcher's guild and would have been intended for display. The reliefs were made in a series of moulds. One includes theree musicians in Roman costume, one playing a gently flared ? tenor recorder played right hand lowermost, the beak and window/labium visible, but no finger-holes although all fingers are down. The attitude suggests a recorder. Notes by Rowland-Jones (loc. cit.)

Hans Adam Weissenkirchner

• Mercury and Argus, oil on canvas, Hans Adam Weissenkirchner (1646-1695). Ref. Gabrius Data Bank, OMP (2000 - col.) Mercury pipes Argus asleep. His instrument is small and slender with a prominently flared bell. Although Mercury's cheeks are slightly puffed, the hint of a window/labium indicates that a duct-flute (possibly a recorder) may be intended.

Manfred Welzel (1926-)

• Girls playing Recorders (1960), bronze sculpture, Manfred Welzel (1926-). Stuttgart: a school. Ref. Archiv Moeck. Three girls stand in a circle playing slender, cylindrical pipes (stylised recorders).

Adriaen van der Werff

• Lovers spied upon by Children (1694), Adriaen van der Werff (1659-1722). Detail. Amsterdam: Rijksmuseum. A highly erotic subject in which two naked lovers embrace under the watchful eye of a statue (? Pan). At their feet a recorder with a flared bell and ornamental turning lies discarded.
• Pastoral Scene (1689), oil on oak panel, 58.5 × 47.5 cm, Adriaen van der Werff (1659-1722). Dresden: Gemäldegalerie. Ref. Web Gallery of Art (2001); Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm. 2001). In a garden, against a background of statues, a semi-clad shepherd embraces a young woman whose dress has fallen from her shoulders. At their feet are scattered a belt and purse (made from a gourd), a lamb and a crook. From underneath the shepherds discarded cloak the foot of a recorder can be seen, the bottom two finger-hole clearly visible, the lowermost offset. The bell-end of the instrument is in Virdung-style. There is a drawing of this at the National Gallery of Scotland, Edingburgh.
• Flute-playing Faun and Nymph, drawing, Adriaen van der Werff (1659-1722). Edinburgh: National Gallery of Scotland. Ref. Rijksbureau voor Kunsthistorische Documentatie 10779 (2001); Anthony Rowland-Jones (pers. comm. 2001). In a garden, against a background of statues, a semi-clad shepherd embraces a young woman whose dress has fallen from her shoulders. At their feet are scattered a belt and purse (made from a gourd),a lamb and a crook. From underneath the shepherds discarded cloak the foot of a recorder can be seen, the bottom two finger-hole clearly visible, the lowermost offset. The bell-end of the instrument is in Virdung-style. There is a painting of this at the Gemäldegalerie, Dresden.
• Shepherd and Shepherdess (ca 1696), painting, Adriaen van der Werff (1659-1722). Kassel: Gemäldegalerie Alte Meister. Ref. Exhibtion De kroon op het werk: Hollandse schilderkunst van 1680-1750 [Topping it off: Dutch painting from 1680 to 1750], 18 February – 27 May 2007. An almost naked shepherdess leans soulfully against her shepherd who idly fingers a cylindrical pipe with a flared-bell. His finger position is strongly suggestive of a recorder, although other characteristic details are not clear. Other versions of this painting can be found in the University of Stockholm Collection and in the Hoogsteder Collection, Amsterdam (see below).
• Pastoral Lovers, oil on canvas (transferred), 69 × 61 cm, Adriaen van der Werff (1659-1722). Stockholm: University of Stockholm Collection, No. 128. Ref. RIdM Stockholm (2000); Anthony Rowland-Jones (2000c: 85, fig. 3). An almost naked shepherdess leans soulfully against her shepherd who idly fingers his flared-bell pipe. His finger position is strongly suggestive of a recorder, although other characteristic details are not clear. This painting is a reduced version of a larger painting with the same motif in Kassel, Germany.
• Flute Playing Shepherd, oil on canvas, 76.6 × 60 cm, Adriaen van der Werff (1659-1722) & workshop. The Hague: Hoogsteder & Hoogsteder (2009). An almost naked shepherdess leans soulfully against her shepherd who idly fingers a cylindrical pipe with a flared-bell. His finger position is strongly suggestive of a recorder, although other characteristic details are not clear. This is a larger version of the Shepherd and Shepherdess in Kassel.
• Faun Playing the Flute, oil on canvas, 72 × 63 cm, Adriaen van der Werff (1659-1722). Stockholm: National Museum, NM 697. Ref. RIdM Stockholm (2000); Anthony Rowland-Jones (pers. comm., 2000). A shepherd holding a soprano flared-bell recorder (with paired finger-holes for the lowermost finger) gazes into the eyes of a shepherdess as they sit at the foot of a statue beside a stream. The instrument is a typical Dutch hand fluyt with wave profile and a wide bore opening at the bell end. The players right hand is uppermost; the third and fourth finger of the left (lower) hand are raised enough to show two in-line finger-holes under them (Rowland-Jones, loc. cit.) There is another version of this in the Anton Ulrich-Museum, Brunswick entitled Shepherd and Shepherdess, attributed to Caspar Netscher. In both version the models appear to be identical to those used in Werff's Pastoral Lovers
• Portrait of a Gentleman, oil on canvas, circle of Adriaen van der Werff (1659-1722). Ref. Gabrius Data Bank, OMP (2001 - col.) A man half length in a brown coat with slashed sleeves and a plumed hat holding a musical score, a recorder and a baton is viewed through an open window with a shutter. Auctioned 21 October 1994, sold (Gabrius, loc. cit.)

Pieter van der Werff

• Granida and Daifilo (1711), oil on panel, 37 × 39 cm, Pieter van der Werff (1665-1722). Cologne: Wallraf-Richartz Muzeum, Dep. 478. Ref. Web Gallery of Art (2001-col.) Many Dutch artists painted scenes from the popular pastoral play Granida,written about 1605. Here, the shepherd Daifilo, looking suitably love-lorn, sits at the feet of the Persian Princess Granida as she holds out a flower for him to smell. Across her lap he holds a perfectly depicted soprano recorder with decorated turnings at the slightly expanded foot. On the ground in front of them lie a gourd with a belt (? shepherd's purse) and a shepherd's crook.

Hans Werl [Wörl]

• Madonna in Glory with Holy Martyrs (1600), Hans Werl. (ca 1570-1608). Bremen: Kunsthalle. Ref. Munich RIdIM (1999: Bkh 80). Among a vast array of instruments played by angels on both sides of the Virgin is a cylindrical duct-flute with six finger-holes visible, but possibly a recorder.

Arnold van Westerhout (1651-1725), Flemish

• Frontispiece: Gabinetto Armonico, Fiippo Bonanni, (1716), engraving, Arnold van Westerhout (1651-1725). Ref. Bonanni (1716/1964: frontispiece). Depicts a screen above which the words of Psalm CL, Laudate eum in sono Tubae … are written. On and below the supporting plinth many instruments lie scattered including lutes, viol, mandola, jews harp, conch, bagpipes, syrinx, lyre, lyra di braccio, guitar, oboe and two narrow pipes which may be duct-flutes (flageolet or recorder). One of the latter is almost cylindrical; the other has a distinctly flared bell.
• From Filippo Bonanni's Gabinetto Armonico (1716): Flauto, engraving, Arnold van Westerhout (1651-1725). Ref. Bonanni (1716/1964: fig. 19). Depicts an old man with a walking stick, kneeling and playing a cylindrical, wide, duct-flute (probably a recorder, though only two or three holes are shown).
• Untitled, engraving, Arnold van Westerhout (1651-1725). Venice: Levi Foundation Library. Ref. Angelo Zaniol ex Anthony Rowland-Jones (pers. comm., 2000). An elaborately dressed figure with a spiked punk hairdo (?male or female, ?Music, ?King David) sits on a throne playing a harp. Angels and putti floating on a cloud above sing and play violin, lute, organ and a small cylindrical duct-flute (flageolet or recorder) of which the window/labium can be seen. At the foot of the plinth on which the harpist sits lie a wreath and branched sceptre.

Jacob Jacobsz. de Wet

• Visit of Minerva to the Muses (mid-17th century), Jacob Jacobsz. de Wet (1640-1697). Rouen: Museé des Beaux Arts. Ref. Anthony Rowland-Jones (pers. comm., 2000). Minerva appears in the sky to the group of seated Muses. One of the latter has an open book, one plays a flute, one an eight-stringed harp, one (with a male companion) holds what looks like a shawm, and one with her back towards the viewer plays what appears to be lute. On the ground are more books, a tambourine and what is possibly a tenor recorder. The latter has six or seven finger-holes in a line and the beak is unclear, but its narrow bore in comparison with the wide, expanding bell-end of the shawm provides further evidence that this second wind instrument is a recorder. Notes by Anthony Rowland-Jones (pers. comm., 2000).

Susan Dorothea White

• Genevieve Lacey (2003), pen drawing, 15 × 20 cm, Susan Dorothea White (1941-). Sketchy portrait of the Australian recorder player, seen in side profile playing a neo-baroque recorder.

William Whittaker

• The Recorder, William Whittaker (contemporary). A young woman with disheveled hair, is on her hands and knees on a carpet. There is a neo-baroque recorder in front of her.

Jerome [Hieronymous] Wierix (1553-1619), Flemish

• Jesus with Musical Angels, engraving by Jerome Wierix (1553-1619). The Hague: Gemeentesmuseum, Music Department. Ref. Anthony Rowland-Jones (pers. comm., 2001). "The young Jesus, with a music book in his left hand, stands on a small cloud. One angel at the top left plays a tenor recorder which is mainly cylindrical but with a fairly strong but short bell flare, the window/labium clear. All fingers are down; right hand lowermost, including the little finger, presumably covering its hole. finger-holes five and six are just discernible by their fingers" (Rowland-Jones, loc. cit.)
• Five Depictions of the Child Jesus playing Musical Instruments, engraving by Jerome Wierix (1553-1619). The Hague: Gemeentesmuseum, Music Department. Ref. Kockelbergh (1994: 67, no. 17b); Rasmussen (2002-2004, Horn). "He [ie Jesus] plays violin, cello, cittern, harp and lute. There are also unplayed musical instruments in the interstices: mandora, flute, recorder, pommer, cornett, reverse-curve fingered horn and trumpet" (Rasmussen, loc. cit.)

Poen de Wijs

• Four Elements: Air>, oil on canvas, 120 × 120 cm, Poen de Wijs (1948–). The Hague: De Twee Pauwen (Gallery). Ref. Website: De Twee Pauwen (2006 - col.) In the mid-ground a boy looks through a coloured telescope, three young girls blow, their cheeks puffed up, and another girl wearing a newspaper hat holds her hands over her mouth. In the foreground is an exotic bird (a raptor of some kind). Scattered around the edge are a toy windmill, a flower, bubble-pipes and bubbles, a butterfly, a feather, a ribbon, and a clearly depicted three-piece baroque recorder. In the monochrome background stand people of different nations.
• Time and Space: Time, oil on canvas, 120 × 150 cm, Poen de Wijs (1984–). Location unknown: offered for sale by De Twee Pauwen, The Hague (2005). Ref. Tableau 27: 2 (2005); Constance van Scholten (pers. comm., 2005). In the foreground a naked youth wearing a newspaper hat plays a perfectly depicted alto baroque recorder. Kittens gambol around him. Above and to the right hangs an antique clock. In the monochrome background are children of different nations.

Bridget E. Wilde

• Moonlight Music (2001), pen and Prismacolours, Bridget E. Wilde (1972-). Ref. Bewildered Furries (2003 - col.) A decidedly female fox sits on a slope playing a recorder, a spiral tunnel in the background. "The genesis of this drawing was a lovely black and white photo by Barbara Morgan, featuring a preteen girl playing a recorder on a rooftop. Needless to say, I made numerous changes to the subject matter, but the pose is very much the same" (Wilde, loc. cit.)

Sarah Wilkins

• Cover: American Recorder 39(2): Untitled (1994), Sarah Wilkins (contemporary). A young woman (stylised) holds a neo-baroque recorder from the finger-holes of which sprout leaves.

Joseph Willems

• The Music Lesson (ca 1765), Joseph Willems (1715-1766), softpaste porcelain figurine with polychrome enamels and gilding, 38.73 × 27.94 cm high, modelled with alterations after the painting The Enjoyable Lesson by François Boucher (1748), by Joseph Willems (1715-1766). Made by Chelsea Porcelain Manufactory, UK. Perth: Art Gallery of Western Australia; Melbourne: National Gallery of Victoria; London: Victoria & Albert Museum; Munich: Bayerischen Nationalmuseum; Boston: Museum of Fine Arts, Inv. 95.492. Shows a flared-bell recorder played by a shepherd (who fingers the instrument) and a shepherdess (who blows it). A little dog and two lambs are at their feet, and they are backed by flowering hawthorn and surrounded by flowers and foliage. From the Chelsea Manufactory's gold anchor period. The Museum of Fine Arts, Boston, believe this to be modelled by Louis Francis Roubiliac (1695-1762).

Abraham Willemsen (1627-1672), Dutch

• Old Peasants by a Fountain, Abraham Willemsen (1627-1672). Location unknown. Ref. Rijksbureau voor Kunsthistorische Documentatie 26837 (2001); Anthony Rowland-Jones (pers. comm., 2001). Five women around a fountain with a young man playing a soprano-sized flared-bell pipe (possibly a recorder), left hand lowermost.

Johan Willenges (1560-1625), German

• The Five Senses: Hearing, print by Johan Willenges (1560-1625) after Adriaen Collaert (ca 1560-1618). Lübeck: Museen für Kunst- und Kulturgeschichte, Inv. 1943.485i. Ref. Munich RIdIM (1999: LÜmk 20). Among many instruments is a case (? of leather) designed to hold seven instruments. The lower part of a recorder protrudes from one of the compartments. For a similar case see Holbein's The Ambassadors (London: National Gallery).

Evan Wilson

• The Recorder Player, giclee on canvas, 20 × 16 Evan Wilson (1953-). Hoosick: Evan Wilson (for sale). A woman wearing a black dressing gown sits on a chair beside her bed playing a baroque-style alto recorder in ebony with ivory mounts (or possibly a plastic one).

Jeremias van Winghe

• Elegant Company Making Music by Night, oil on canvas, Jeremias van Winghe (1578-1645). Location unknown: Auctioned by Christie's, 30 October 1998 (unsold). Ref. Gabrius Data Bank, OMP (2002 - col.) Identical to Musical Company, attributed to Joos van Winghe (see below). By the light of flares, musicians sing and play virginals and transverse flute. Beside the virginalist stands a harp. In the background a man is tuning a violone. On a table in the foreground lie a music book, a trombone, a lute, a small violin, a conical alto-sized recorder (apparently of wave design) of which the window/labium and finger-holes visible, and a tenor recorder with a fontanelle, a window/labium, and holes for six fingers clearly visible. The beak of the latter is of curious construction, being metal-sheathed with a sort of flange and thus possibly represents a shawm rather than a recorder. This version is in poor condition.

Joos [Jodocus; Jost] van [a] Winghe

• Musical Company, oil on canvas, Joos van Winghe (ca 1544-1603). Location unknown: Auctioned 6 June 1999 (sold). Ref. Musées Royaux des Beaux-Arts de Belgique, Bulletin (1955, 4: 245); Gabrius Data Bank, OMP (2001 - col.); Rasmussen (2002, Lute). Identical to Elegant Company Making Music by Night, attributed to Jeremias van Winghe (see above). By the light of flares, musicians sing and play virginals and transverse flute. Beside the virginalist stands a harp. In the background a man is tuning a violone. On a table in the foreground lie a music book, a trombone, a lute, a small violin, a conical alto-sized recorder (apparently of wave design) of which the window/labium and finger-holes visible, and a tenor recorder with a fontanelle, a window/labium, and holes for six fingers clearly visible. The beak of the latter is of curious construction, being metal-sheathed with a sort of flange and thus possibly represents a shawm rather than a recorder.

Leo Winstead

• Vanitas, oil on wood, 45 × 60 cm, Leo Winstead (contemporary). Ref. Leo Winstead (2002 - col.) "This painting was inpsired by 17th century Dutch still-lifes. In many still-life paintings of that time, the theme of mortality was stressed through the inclusion of one or more items which symbolized the worthlessness of material existence. The human skull was among the most popular of these symbols" (Winstead, loc. cit.) On a bench lie a skull, a book, coins, a scarlet cloth, a candlestick with a pink candle, a neo-baroque tenor recorder (by ?Adler) with one key on the foot, and a brass platter on which the recorder bag and a candle-snuffer are placed.

Hendrik de Winter

• Title page: Maendelyks Musikaels Tydverdryf (1751/2), Antoine Mahut, engraved by Jan Punt (1711-1779) after a design by Hendrik de Winter (1711-1782), published by A. Olofsen, Amsterdam. London: British Museum. Ref. Fraenkel (1968: pl. 158). The title details are surrounded by an ornate border. In the bottom right hand corner a woman sits playing a chamber organ. Behind her sit two putti, one holding a score, the other playing a flute. The border itself is made up of musical instruments including two oboes, lute, two horns, a flute, a violin, two folded trumpets and a flared-bell recorder the beak, window/labium, five finger-holes, and ornamental beading are clearly visible.

Jacob de Wit

• Allegorie op de Wetenschap (1724), oil on canvas, 120 × 90 cm, Jacob de Wit (1695-1754). Amsterdam: Kunsthandel Jacques Fÿnaut. Ref. Staring (1958: 145: fig. 100); Constance Scholten ex Anthony Rowland-Jones (pers. comm., 2008). A vanitas which includes three putti, the middle one of which holds a recorder.

James de Witt (op. ca 1675), Dutch

• [Putti Teaching Birds to Sing], painting, James de Witt (op. ca 1675). Location unknown: exhibited Sabin Galleries, London. Ref. Newspaper cutting ex Walter Bergmann (ex Anthony Rowland-Jones, pers. comm. 2003 - b&w). Six putti are teaching birds to sing. One plays a small baroque recorder (its beak, window/labium and flared bell clearly depicted) to a bird in a cage partly covered with a cloth as advocated by Meares in The Bird Fancyer's Delight (1717). One of the putti holds a T-shaped perch and has just let a couple of birds fly free which yet another putto trys to catch. Two putti lean against the cage seemingly in earnest conversation. The remaining putto holds his finger to his lips, calling for quiet so that the training can commence.

Hans Witten (fl. late 15th to early 16th century) and Franz Maidburg (fl. 1503-1525), German

• Portal (1525), stone carving, 11 m high, Hans Witten (fl. late 15th to early 16th century) & Franz Maidburg (fl. 1503-1525) Chemnitz: Schloßkirche, North portal. Ref. Archiv Moeck; The Schlossviertel (castle quarter) of Chemnitz (2001). The portal has been restored and placed inside the church for protection from the weather. It was originally coloured. At the bottom, are the founders of the cloister, the Emperor Lothar and his wife Richenza, as well as the Bishop and Abbot who are in the middle. Above, is St Benedict of the cloister's order and Scholastika; in the centre is Mary with the infant Jesus as patroness of the cloister. The outer parts depict John the Baptist and John the Evangelist. At the top is the Throne of God with the Holy Trinity, God the Father sitting on the throne, Jesus the son at the Cross; above the beam is a dove, as the Holy Ghost. On both sides angels play instruments. Three angles play crumhorns; two play lutes; two play stout, flared-bell pipes (shawms, trumpets or possibly recorders), their wings outstretched.

Moyses van Wittenbrouk

• Mercury and Argus, Moyses van Wittenbrouk (1595/1600-1648). Berin: Gemädergalerie. Ref. Anthony Rowland-Jones (pers. comm., 2001). Mecury plays a soprano/alto-size pipe to a reclining Argus. His right hand is uppermost, and the first finger of each hand is lifted high. There are no identifying details.

Jan Baptist [Baptiste] Wolfaerts [Wolfert, Wolffordt]

• Garden Landscape with Shawm Player, Jan Baptist Wolfert (1640-1658). Ref. Bernt (1969, 2: 1415). The 'shawm' is more likely to be a soprano-size duct-flute, as cheeks and lips are relaxed. The left hand is lowermost, and there is a slight bell-flare. The instrument is of very small size and the details are unclear. Notes by Anthony Rowland-Jones (pers. comm., 2000).
• Landscape with a Shepherd and his Flock (1640-1658), Jan Baptist Wolfaerts (1625-1687). Ref. Rijksbureau voor Kunsthistorische Documentatie 34959 (2001); Anthony Rowland-Jones (pers. comm. 2001). The shepherd plays a probable flared-bell soprano recorder, right hand lowermost.

Michael Wolgemut and Wilhem Pleydenwurff

The German painter and woodcut designer Wilhelm Pleydenwurff trained in the workshop of his stepfather Michael Wolgemut; born Nuremburg (ca 1460), died Nuremberg (1994)

Liber chronicarum cum figuris et ymaginibus abinitio mundi, known as the Nuremberg Chronicle, is one of the most famous books of the 15th century. The text is a history of the world from creation to the year of publication, 1493. It was written by Nuremberg physician, Hartmann Schedel, and printed by Anton Koberger, one of the leading printers/publishers of his day. The Chronicle is famous for its woodcuts from the workshops of Nuremberg artists Michael Wolgemut and his stepson Wilhelm Pleydenwurff. Albrecht Dürer was an apprentice in Wolgemut's workshop and may have assisted in the production of some of the woodcuts. There are 1809 illustrations in the Chronicle produced from 645 unique woodblocks. The Latin edition was published in July 1493; a German language version, Das Buch der Croniken und Geschicheten, translated by Georg Alt, was issued five months after the Latin edition.

• Liber chronicarum cum figuris et ymaginibus abinitio mundi [The Nuremberg Chronicle of the World]: The Lord as Ruler of the Cosmic Harmony (1493) by Hartmann Schedel (1440-1514), woodcut, Michael Wolgemut (1434-1519) or Wilhelm Pleydenwurff (ca 1460-1494). Cambridge: Harvard University Art Museums; Clinton (New York): Hamilton College, Library; Dartmouth College: Rauner Library; Eugene: University of Orgegon, Library; Durham (North Carolina): Duke University, Library; Hamilton (Ontario): McMaster University, Library; London: University of London, Kings College, Library; Missouri: University of Missouri, Museum of Art and Archeology; Poughkeepsie (New York): Thompson Library, Vassar College; Syracuse: University Library; Washington: Washington University Library; Wolfville (Nova Scotia): Acadia University, Special Collections. Ref. Schedel (1493/2001); Meyer-Beyer (1970: 2); Rasmussen (1999b); Munich RIdIM (1999, Bartsch 10a). Illustration for the seventh day of creation. Angels encircle God the Father playing music on lute, recorder and a small harp.
• Liber chronicarum cum figuris et ymaginibus abinitio mundi [The Nuremberg Chronicle of the World]: fol. 10, Family Tree (1493), by Hartmann Schedel (1440-1514), woodcut, Michael Wolgemut (1434-1519) or Wilhelm Pleydenwurff (ca 1460-1494). Cambridge (Mass.): Harvard University Art Museums; Durham (North Carolina): Duke University, Library; Clinton (New York): Hamilton College, Library; Dartmouth College: Rauner Library; Eugene: University of Orgegon, Library; Hamilton (Ontario): McMaster University, Library; London: Kings College, Library; Missouri: University of Missouri: Museum of Art and Archeology; Poughkeepsie (New York): Thompson Library, Vassar College; Syracuse: University Library; Washington: University Library; Wolfville (Nova Scotia): Acadia University, Special Collections. Ref. Schedel (1493/2001); Muggeridge (1999). Men and women arranged in a family tree play musical instruments including rebec, organetto and ? fiddle; a women holds a small recorder, the characteristic beak, finger-holes and flared bell of which are clearly depicted.

Sylvia Woodcock Clark

• Night Recorder Lessons Under Starry Sky, oil on paper, 15 × 10 cm, Sylvia Woodcock Clark (20-21st century). Edinburgh: Lyon & Turnbull, Sale 154, Lot 114, 1 September 2006. Ref. Website: Artfact (2007). A stylised child plays a stylised recorder beneath a stylised starry sky.

John Woolston

• Trophy (ca 1728), wall decoration, John Woolston (early 18th century). Northampton: Lamport Hall, 'High Room' or 'Music Hall' (original entrance hall), East wall. Ref. Anthony Rowland-Jones (2000, pers. comm.) Comprises a book of music (not legible), lyre, drum and a short straight trumpet, with other instruments including a five-pipe syrinx with whistle mouthpieces, and a probably recorder. The characteristically beaked mouthpiece and window/labium of the latter are clearly depicted, but the body of the instrument is hidden below the second finger-hole behind the music-book and other instruments

Frans [Franz] Wouters

• Le Concert Champêtre, Frans Wouters (? 1612-1659). Dijon: Museum, Cat. 41. Ref. Mirimonde (? date-4: 281, fig. 27-b&w); Mirimonde (1965); Mirimonde (1977: 189, pl. 117); Paris RIdIM (1999). A couple sit beneath a tree. She is in a fair state of undress and holds a stout cylindrical recorder with an offset hole for the little finger of the lowermost (right) hand, though she seems unfamiliar with how to play it. The beak and window/labium of the recorder are underneath and not seen. He grasps the finger-board of his theorbo. In front of them lies an open score from which, doubtless, he has been playing a little earlier -- obviously very effectively. A goat with huge horns grazes contentedly beside them. In the distance a road stretches towards a village.
• [Vanitas], Frans Wouters (? 1612-1659). Antwerp: 602. Ref. Bernt (1969, 2: 1420). A clear 'baroque' tenor recorder is seen from underneath, but why the lower hole? This is at the bottom right with a confusion of other objects. At the centre one putto blows a bubble and another watches. If turnery indicates joints, then this instrument is in four sections with a joint at the centre. Notes by Anthony Rowland-Jones (pers. comm., 2000).
• Pastoral Scene, Frans Wouters (? 1612-1659). Private Collection. Ref. Rijksbureau voor Kunsthistorische Documentatie (2001); Anthony Rowland-Jones (pers. comm., 2001). A young man in a velvet waistcoat sits beside a lightly clad woman who holds a cylindrical soprano-sized duct-flute (possibly a recorder) in both hands. The beak and three finger- holes are visible.
• Bachanalian Scene in a Landscape, oil on panel, Frans Wouters (? 1612-1659). Ref. Gabrius Data Bank, OMP (2001-col.) Revellers dance in a circle to music played by a bagpiper sitting in a tree, and a man playing a flared-bell pipe (possibly a recorder) at the foot of the tree. Auctioned 7 November 2000 and 8 May 2001, unsold (Gabrius, loc. cit.)
• The Triumph of Silenus, oil on canvas, Frans Wouters (? 1612-1659). Ref. Gabrius Data Bank, OMP (2001-col.) Revellers carry Silenus from his mule into a clearing in the forest. Beside the mule a small naked child holds what appears to be a flared-bell pipe (possibly a recorder). Auctioned 4 October 2000, unsold (Gabrius, loc. cit.)
• The Andrians, oil, attributed to Frans Wouters (? 1612-1659). Ref. Gabrius Data Bank, OMP (2001-col.) An interpretation of Titian's Bacchanal of the Andrians with some differences. Two women in the centre both hold more or less cylindrical duct-flutes (recorders). Auctioned 8 July 1999, sold (Gabrius, loc. cit.)

Jan [or Stap] Woutersz. [or Wouters] (1599-?1633), Dutch

• Peasants as Lawyers, 76 × 107.5 cm, Jan Woutersz. (1599-?1633). Amsterdam: Rijksmuseum. Ref. Bernt (1948-1980, 4: pl. 329; 1969, 2: 1423); Griffioen (1988: 440-41); Anthony Rowland-Jones (pes. comm., 2000). Two men and a woman with a child on her lap sit around a table discussing a legal document. The child holds a very small, cylindrical duct-flute (possibly a garklein flütlein) in the right hand, the two uppermost fingers covering their holes beneath which are four open holes (cf. Jordaens).

Michaelina Woutier [Woutiers] (17th century), Flemish

• The Recorder Payer (1650), canvas, 70 × 61 cm, Michaelina Woutier (17th century). Location unknown: sold Drout, 28 May 1975, Salle 6, me J. Ph. Bondu. Ref. Sale Catalogue (photo); Paris RIdIM (1999). One of a series of five canvases depicting young boys. A young lad in a cap plays a flared-bell recorder, the hole for the little finger of the lowermost (right) hand clearly shown.

Philips Pauwelsz. Wouwerman [Wouwermans] (1619-1668), Dutch

• Hunting for Hares, Philips Pauwelsz. Wouwerman [Wouwermans] (1619-1668). Madrid: Prado, Inv. 2145. Ref. Ibañez & Gallego (1972: 193). "One of the hunters, on horseback, blows a hunting horn; others seem inactive. Another group of people make merry in a field: seated on the ground one plucks a lute; beside them another, standing, plays a duct-flute (perhaps a recorder). On top of a tower, another group contemplates the scene, listening to the playing of a cittern (the curved peg-box of which is unmistakable) and to another musician who plays an ambiguous pipe (perhaps a second duct-flute). To complete the scene, a stone figure blows a curved trumpet from which spurts a jet of water" (Transl. from Ibañez & Gallego, loc. cit.)

Daniel Wright, Jr

• Frontispiece: Daniel Wright The Compleat Tutor for ye Flute … (ca (1734). Ref. Vinquist (1974: 58, 213-214). “The seated gentleman [recorder] player is pictured in an idyllic setting playing duets with a cherub while four other cherubs dance in the background” (Vinquist, loc. cit. 58, 213-214).
• Frontispiece: Daniel Wright The Compleat Tutor for ye Flute … (1745), London, engraving. The Hague: Gemeentemuseum. Supervised by his tutor, a young man practices the recorder seated at a small semicircular table. On the wall behind, above a second semicircular table, hang three more recorders.

Joseph Wright

• Maria and her Dog Silvio (1781), oil on canvas, 160 × 115.5 cm, Joseph Wright (1734-1797). Derby: Art Gallery. Ref. Lasocki & Prior (1995: 248 & 249, footnote 5). “Christopher's [ie Christopher Bassano's] grandson Richard (1750-1815), who lived in Derby, married Mary Waterfield (1759-1833) in 1780; a year later she sat for the portrait … The literary reference is to the melancholic young widow in Lawrence Sterne's Sentimental Journey (1767) who played a 'pipe'. In the portrait she clearly holds in her right hand a descant recorder, the instrument on which her ancestors-in-law had such a distinguished career.” Maria sits, dressed in white, in a pitiful manner. Her father has died, she has been deserted by her lover and she fears for her sanity. Only her little dog Silvio remains true to her. An engraving by Peltro William Tomkins entitled Maria may represent the same scene.
• Edwin (1778), oil on canvas, 158 x 117 cm, Joseph Wright of Derby (1734-1797). London: Christie's, Important British & Irish Art, 11 November 1999, Lot 5. Ref. Artfact (2003). A portrait of Edwin from Dr James Beattie's The Minstrel; Or, The Progress of Genius (1771), an account of the childhood of Edwin, who will become 'The Minstrel', but who is here still a budding 'genius'. The child of a humble shepherd and his wife, he grows up free to roam the countryside, tutored only by nature; yet Edwin is 'no vulgar boy'. Habitually solitary, sensitive to nature in all her moods, he prefers above all to frequent 'the deep untrodden groves'. It is in such a grove that Wright chooses to depict him, musing in solitude, holding the 'one short pipe of rudest minstrelsy' (possibly a duct-flute, only partly visible behind Edwin's right knee) which is his only possession. Wright sees Edwin as a youthful image of melancholy. He does not depict a specific episode in Beattie's long poem, but seems rather to take his cue from stanza XXII, which suggests the emotions reflected in Edwin's face:

  Even sad vicissitude amused his soul:
  And if a sigh would sometimes intervene
  And down his cheek a tear of pity roll
  A sigh, a tear, so sweet he wished not to control.

  On a rock behind Edwin are inscribed the words "exulting view'd in Nature's frame Goodness untainted, wisdom unconfined/Grace grandeur and Utility combined." Not seen.

Peter Wtewael [Wtenwael, Wttewael] = Peter Uytewael

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